D I G I T A L
This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA
Overview
Download & View D I G I T A L as PDF for free.
More details
- Words: 940,740
- Pages: 1,311
Loading documents preview...
THE
DIGITAL PENTAGRAM
Pentagram Magazine — 1946 to 1959 — converted for use with Adobe Acrobat viewer
PENTAGRAM MAGAZINE Martin Breese, London 2001 No part of this CD-ROM or its contents may be copied or duplicated or reproduced in any way whether electronic or otherwise without the copyright owner’s permission. Martin Breese, 164 Kensington Park Road, London W11 2ER, United Kingdom
INTRODUCTION BY MARTIN BREESE Some years ago I received a telephone call from the manager of the book department at Sothebys in London. I was told that a complete set of Peter Warlock’s Pentagram and an almost complete file of the Magic Wand had been entered for the sale. There was a large file of original artwork as well. I went along to the sale and was able to bid successfully for these items. I enquired about the vendor and was told that he was a descendant of the publisher of these magazines. Eventually I was able to meet up with him and he was not even aware of the fact that he actually owned the entire copyright on several magazines and many other Magic Wand publications. I expressed my interest in purchasing the copyright to all of this material and we reached an agreement that enabled me to become the owner of all the publications (books, pamphlets and magazines) owned and published by the Magic Wand Publishing Company and not previously sold to anyone else. The way was now clear for me to republish at will. Pentagram was first published and edited by Peter Warlock in October 1946. Volume three issue, number seven produced in April 1949 was the last to be financed and selfpublished by Peter Warlock. From then on, until the magazine’s demise with volume fourteen, issue number three in December 1959, it was edited by Peter Warlock but published by the Magic Wand Publishing Company in Enfield, Middlesex. From May 1949 Peter had a new publisher but remained the editor and founder. A few years ago Peter Warlock also very kindly transferred to me all his rights in Pentagram issues that he owned. Pentagram had a total of 1270 pages and was supported by the advertisers of the day. It included a happy mix of editorial comment, reports, advertising and practical magical contributions from the leading innovators and performers of the day. Some time after Pentagram ceased being published, the Supreme Magic Company under the ownership of Edwin Hooper, produced a magazine edited by Peter Warlock and entitled The New Pentagram and this magazine continued publication for many years. In 1990 I published a book which gathered together card magic from Pentagram and this was released under the title of The Best of Pentagram Card Magic. I planned to release a very high quality reprint of the entire magazine in two beautifully bound volumes… but that is another story and, as I write, is a matter for my lawyers in the UK and the USA. Max Maven has very kindly provided a short piece on Pentagram and its impact on the world of magic and Peter Warlock has written the foreword in which he modestly discusses the contribution that Pentagram has made towards mentalism and its creative performance. (T A Waters in his Encyclopaedia of Magic and Magicians published in 1988 says of Pentagram magazine, ‘… it was noted for the very high quality of the magic published in its pages, much of it created by editor, Warlock’). Peter Warlock attributes the impact of his magazine to its contents and its contributors rather than to himself and
he forgets his own catalytic contribution to the world of magic by the actual creation of Pentagram. The late Peter Warlock was a giant in the world of magic. He created numerous classical effects and wrote many significant books. To me his major contribution to our art is Pentagram magazine and I do hope that the publication of this CD-ROM will reintroduce a whole new group of younger magicians to the exciting world of Pentagram magic. Martin Breese, London, England April 2001
ANENT THE PENTAGRAM BY MAX MAVEN (Introduction written specifically for the proposed re-issue of the Pentagram in volume form but still appropriate to this CD-ROM) A good magic book can be thrilling. A file of a good magic magazine can go beyond that. The difference is organic. A book is a summation of ideas that have come together at a certain place and time; a periodical is, by definition, a work in progress. What you hold in your hands is a synthesis of the two. The material in this book was culled from a journal that from 1946 to 1959 offered splendid contributions from some of the keenest minds in magic. The quality of the material is a testament to the magazine’s editor, Peter Warlock, whose intellectual ardour for new ideas and scholarly respect for old ideas blended together to establish an interactive forum for top creators of that era. In the course of its evolution, the Pentagram presented fine offerings from some of my favourite inventors: Stanley Collins, Tom Sellers, Stewart James, Alex Elmsley. Roy Walton, Jack Avis and, of course, Peter Warlock himself. Surely you will discover favourites of your own. The magazine featured many types of conjuring, but its contents skewed towards the editor’s own interests. As a result, over the years the Pentagram provided a lot of mentalism, held to an unusually high standard. If you are familiar with the Pentagram, then there is nothing more that need be said; you’re undoubtedly eager to move on. If this is all new to you, keep reading; you have many treats in store. Max Maven, Hollywood, California 1990
FOREWORD BY PETER WARLOCK Still awaiting demobilisation from the army, the idea of publication of the Pentagram came into being. The spur, when reading Bruce Elliott’s comment regarding the birth of Abracadabra in February 1946, that this was obviously a domestic magazine. First the matter of name and then so many letters to friends in this country and America. The reply was encouraging and with the help of Tom Boot arrangements were made for publication to take place in October, the printers George Searson of Nottingham. And so, in those final army days, the matter of contacting dealers, possible advertisers, setting and making illustrations for the first three issues. At Hereford the first post war convention, taking a stand and cajoling customers as subscribers. Never was the intention to deal exclusively with tricks of a mental nature in the magazine and those with a complete file will know that there was a catholic coverage of the magic scene the main concession being given to tricks needing little or no especial apparatus. In the thirties as a student of magic literature will find, the publication of tricks of a mentalistic or psychic nature were increasing in number, and then in 1934 with the coming of Annemann’s Jinx more and more magicians were turning their attention to magic of the mind. And so in the Pentagram many contributors were found to be following this intriguing trail. Largely, mental magic when analysed, offers few plots. In the main, one appears to read a spectator’s mind, or in some way predict the future. Add to this pseudo psychometry and forms of calculation. Of these things have come into being novel ways of presentation. Even two person telepathy is only an extension of single person mind reading. With the invitation of Martin Breese to present a list of what in my opinion are the best mentalism contributions, some famous names are to be found. Of these contributions most of all I would lay stress on first of all the late Al Koran’s ‘A Letter from Al Koran’ for this way back in 1944 was later to be part of Al’s professional presentation. Although mention of the conventional three items suggested many will recall his Dream Car and Dream Holiday predictions, and, whilst a commercial version of the effect has been marketed (Confabulation, Ken Brooke), the method described has no snags, is inexpensive and quite easy to handle. Three other items of note, Edmund Rowlands’‘Impromptu Torn Newspaper Test’, Arthur Carter’s ‘One Red Card,’this later receiving treatment by Karl Fulves, Martin Gardener and Dai Vernon in Chronicles, and never to be forgotten the devilishing mystifying contribution by my very great friend Jack Avis, this entitled ‘Chronokinesis’. But add to this so much more for your pleasure and knowledge. Thank too the publisher for keeping alive the effects of many of those contributors no longer with us. Peter Warlock, London, England July 1990
CONTENTS AND INDEXES INDEXES Effects index – effects listed by type Contributor index – effects listed by contributor(s)
CONTENTS Vol.
No.
Page
1
1
1
1
1
1
1
1
1
1
2
1
Date
Effect
Type
Contributor(s)
Oct-46 Your Fate In A Teacup
Mental Effects
Peter Warlock
3
Oct-46 Super Speller
Card Tricks & Routines
George Blake
4
Oct-46 Cig-Repeat
Cigarette Effects
Cecil Tebbett
5
Oct-46 Tissue Paper Monte
Miscellaneous
Tom Sellers
7
Nov-46 Chains
Miscellaneous
Robert Harbin
2
8
Nov-46 The Thread In The Maze
Card Tricks & Routines
Peter Warlock
1
2
9
Nov-46 Prelude To Duo Coincido
Card Tricks & Routines
Peter Warlock
1
2
9
Nov-46 Duo Coincido
Card Tricks & Routines
Douglas Francis
1
2
10
Nov-46 Porous Glass
Silk Effects
Anon & Peter Warlock
1
2
11
Nov-46 Duo Coincido (cont.)
Card Tricks & Routines
Douglas Francis
1
3
13
Dec-46 Lamps
Miscellaneous
Robert Harbin
Children’s Effects
Wilfred Tyler
1
3
14
Dec-46 Warlock’s Silvertown Express
1
3
15
Dec-46 A ‘Plaint
Card Tricks & Routines
Stanley Collins
1
3
16
Dec-46 Aerial Treasury
Coin & Money Effects
Geoffrey Buckingham
1
3
17
Dec-46 Travel Ring
Ring Effects
Charles Harrison
1
3
19
Dec-46 Lamps (cont.)
Miscellaneous
Robert Harbin
1
3
19
Dec-46 a ‘Plaint
Card Tricks & Routines
Stanley Collins
1
4
21
Jan-47 Money
Coin & Money Effects
Robert Harbin
1
4
22
Jan-47 The Genii In The Calendar Mental Effects
J. F. Bruce
1
4
23
Jan-47 Four a Side
Peter Warlock
1
4
23
Jan-47 The Genii In The Calendar Mental Effects (cont.)
J. F. Bruce
1
4
24
Jan-47 Aerial Treasury (cont.)
Coin & Money Effects
Geoffrey Buckingham
1
5
27
Feb-47 Spirit News Conference
Mental Effects
Robert Tothill
1
5
29
Feb-47 Footnote To Spirit News Conference
Mental Effects
Eric C. Lewis
1
5
30
Feb-47 Mark Of The Reader
Card Tricks & Routines
Stewart James
1
5
30
Feb-47 The Secret Of Ga-Oh
Mental Effects
Orville Meyer
1
5
31
Feb-47 The Bill And the Lemon
Miscellaneous
Dr. E. G. Ervin
1
5
31
Feb-47 Insto Transpo Slates
Slate Effects
Peter Warlock
1
6
35
Mar-47 Symsilk
Miscellaneous
Robert Harbin
Slate Effects
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
1
6
36
Mar-47 Double-Lift Plus
Card Tricks & Routines
Stanley Collins
1
6
37
Mar-47 Chameleon Thimbles
Thimble Effects
Douglas Francis
1
6
37
Mar-47 Arcana (cont.)
Mental Effects
Claude Collier
1
6
38
Mar-47 Arcana
Mental Effects
Claude Collier
1
6
39
Mar-47 The Art To Enchant
Miscellaneous
S. H. Sharpe
1
7
43
Apr-47 Robbers And Sheep
Children’s Effects
Peter Warlock
1
7
45
Apr-47 Have A Scotch
Miscellaneous Effects
Douglas Francis
1
7
46
Apr-47 Prevhue
Mental Effects
L. A. Belcher
1
7
47
Apr-47 The Nonsuch Card Prediction
Card Tricks & Routines
Francis Haxton
1
7
48
Apr-47 Invisible Flight
Card Tricks & Routines
Ken Burrows
1
8
51
May-47 A Trick With A ‘Punch’
Card Tricks & Routines
Rev. G. E. Arrowsmith
1
8
52
May-47 Slates Of Hecate (cont.)
Slate Effects
Jack Morrison
1
8
53
May-47 365
Mental Effects
Tom Sellers
1
8
55
May-47 Slates Of Hecate
Slate Effects
Jack Morrison
1
9
59
Jun-47 You Can’t Be Wrong
Mental Effects
John Brearley
1
9
61
Jun-47 Welcome
Paper Effects
Tan Hock Chuan
1
9
61
Jun-47 Cig-Flower
Cigarette Effects
Peter Warlock
1
9
62
Jun-47 Melted Currency
Cabaret Effects
James Douglas
1
9
63
Jun-47 Split-Fan Pass
Card Tricks & Routines
S. H. Sharpe
1
10
67
Jul-47
Western 1-2-4-8
Card Tricks & Routines
Victor Peacock
1
10
68
Jul-47
Climax Prediction (cont.)
Card Tricks & Routines
Reg. Gayton
1
10
69
Jul-47
Silk Filter
Silk Effects
Peter Warlock
1
10
70
Jul-47
Paint Brush Colour Change Card Tricks & Routines
Stanley Collins
1
10
70
Jul-47
Climax Prediction
Card Tricks & Routines
Reg. Gayton
1
10
71
Jul-47
Sense In The Dark
Mental Effects
Peter Warlock
1
11
75
Aug-47 Twins Of Trigon
Card Tricks & Routines
Peter Warlock
1
11
76
Aug-47 Crumple Coin
Coin & Money Effects
Peter Warlock
1
11
77
Aug-47 Re-Covery
Miscellaneous Effects
James Douglas
1
11
78
Aug-47 So You don’t Like Chemicals!
Miscellaneous Effects
Harry Vernon
1
11
79
Aug-47 Penetrating Tumbler
Miscellaneous Effects
Edward G. Brown
1
11
81
Aug-47 Penetrating Tumbler (cont.) Miscellaneous Effects
Edward G. Brown
1
12
83
Sep-47 Adhesive Glass
Miscellaneous Effects
Peter Warlock
1
12
85
Sep-47 Untying Sympathy
Silk Effects
James Douglas
1
12
86
Sep-47 Word Sense
Mental Effects
Reg. Gayton & Peter Warlock
1
12
87
Sep-47 Magical Suggestion
Card Tricks & Routines
John Kenyon
1
12
89
Sep-47 Word Sense (cont.)
Mental Effects
Reg. Gayton
2
1
1
Oct-47 Who’ll Bell The Cat?
Children’s Effects
Peter Warlock
2
1
3
Oct-47 The Mystery Of Any Card
Card Tricks & Routines
Rev. G. E. Arrowsmith
2
1
4
Oct-47 Sticks That Pass In The Bight
Miscellaneous Effects
Jules Giraud
Vol.
No.
Page
2
1
5
2
1
2
Date
Effect
Type
Contributor(s)
Oct-47 The Mystery Of Any Card (cont.)
Card Tricks & Routines
Rev. G. E. Arrowsmith
5
Oct-47 Sticks That Pass In The Bight (cont.)
Miscellaneous Effects
Jules Giraud
2
9
Nov-47 Abdul And His Egg
Children’s Effects
Wilfred Tyler
2
2
11
Nov-47 The Case Of The Curious Chronometer
Slate Effects
James Douglas
2
2
12
Nov-47 Card discovery by Telephone
Mental Effects
Victor Peacock
2
2
13
Nov-47 The Perfect False Shuffle For Out Of This world
Card Tricks & Routines
Anonymous
2
3
17
Dec-47 Enchanted Petals 2
Miscellaneous Effects
Peter Warlock
2
3
19
Dec-47 Spectator Selection
Card Tricks & Routines
Francis Haxton
Card Tricks & Routines
Louis Histed
2
3
20
Dec-47 The Fastest Indices In The World
2
3
21
Dec-47 Hot Money!
Cabaret Effects
Anon
2
3
21
Dec-47 The Fastest Indices In The World (cont.)
Card Tricks & Routines
Louis Histed
2
4
25
Jan-48 The Two Thoughts
Card Tricks & Routines
Jim Merlini
2
4
26
Jan-48 Different Milk Penetration
Miscellaneous Effects
Tom Sellers
2
4
26
Jan-48 The Two Thoughts (cont.)
Card Tricks & Routines
Jim Merlini
2
4
27
Jan-48 Photographic Absorption
Card Tricks & Routines
James Douglas
2
4
28
Jan-48 For The Meek
Card Tricks & Routines
Peter Warlock
2
4
29
Jan-48 Good Evening
Miscellaneous Effects
Herbert Milton
2
5
33
Feb-48 Cryptogramagic
Cabaret Effects
Stanley Collins
2
5
35
Feb-48 The Spectator Directs
Mental Effects
Leslie May
2
5
36
Feb-48 Austerity Augury
Miscellaneous Effects
Peter Warlock
2
5
37
Feb-48 The Spectator Directs (cont.)
Mental Effects
Leslie May
2
5
38
Feb-48 Cryptogramagic (cont.)
Cabaret Effects
Stanley Collins
2
6
41
Mar-48 Prisoner In The Silk
Miscellaneous Effects
Jules Giraud
2
6
43
Mar-48 Match-Ring
Close-up Effects
Jack Eddlestone
2
6
44
Mar-48 Ringo 2
Miscellaneous
Peter Warlock
2
6
44
Mar-48 Ring In An Emergancy
Cabaret Effects
Billy McComb
2
6
45
Mar-48 Acme Ring Release
Close-up Effects
Charles Jordan
2
7
49
Apr-48 Ultra-Anti-Gravity
Miscellaneous Effects
Olle Oson Liberg
2
7
51
Apr-48 Anti-Gravity Cigarettes
Cigarette Effects
Tom Sellers
2
7
51
Apr-48 Two in Harmony
Mental Effects
H. C. Mole
2
7
52
Apr-48 Wingless Victory
Card Tricks & Routines
Louis Histed
2
7
53
Apr-48 Two in Harmony (cont.)
Mental Effects
H. C. Mole
2
8
57
May-48 Psychic Card 2
Card Tricks & Routines
Francis Haxton
2
8
58
May-48 Bricks Through the Window
Miscellaneous Effects
J. F Orrin
2
8
59
May-48 The Acme Book Test
Mental Effects
J. A. Esler
2
8
60
May-48 Turn Down An Empty Glass
Miscellaneous Effects
Peter Warlock
Vol.
No.
Page
2
8
60
2
8
2 2
Date
Effect
Type
Contributor(s)
May-48 Wot! Another Telephone Card Trick
Mental Effects
Jack Potter
63
May-48 Psychic Card 2 (cont.)
Card Tricks & Routines
Francis Haxton
9
65
Jun-48 1: Believe It Or Not
Silk Effects
James Douglas
9
66
Jun-48 2: Free Ring
Cabaret Effects
James Douglas
2
9
67
Jun-48 Thanks to Marlo
Card Tricks & Routines
Peter Warlock
2
9
68
Jun-48 My Astral Eye
Card Tricks & Routines
J. Demaline
2
9
69
Jun-48 My Astral Eye (cont.)
Card Tricks & Routines
J. Demaline
2
9
69
Jun-48 Thanks to Marlo (cont.)
Card Tricks & Routines
Peter Warlock
2
9
71
Jun-48 Free Ring (cont.)
Cabaret Effects
James Douglas
2
10
73
Jul-48
Birthday Honours
Card Tricks & Routines
Jules Giraud
2
10
75
Jul-48
X – The Unknown
Miscellaneous Effects
Peter Warlock
2
10
76
Jul-48
Sands – Which?
Miscellaneous Effects
S. H. Sharpe
2
10
77
Jul-48
Thoughts On The Palm
Card Tricks & Routines
Douglas Francis
2
11
81
Aug-48 Kismet
Mental Effects
Will Dexter
2
11
83
Aug-48 Silk Away
Silk Effects
Milbourne Christopher
2
11
84
Aug-48 Super Sympathetic Cubes
Miscellaneous Effects
Leslie Drake
2
11
85
Aug-48 A Legacy From Jordan
Card Tricks & Routines
Francis Haxton
2
12
89
Sep-48 The Confetti Charmer
Miscellaneous Effects
Rudi Jader
2
12
91
Sep-48 1: Long Ago And Far Away!
Miscellaneous Effects
Peter Warlock
2
12
92
Sep-48 2: Willow Pattern Plus
Miscellaneous Effects
Peter Warlock
3
1
1
Oct-48 On Pencil Reading
Mental Effects
C. L. Boarde
3
1
3
Oct-48 A Letter From Al Koran
Mental Effects
Al Koran
3
1
4
Oct-48 Eleventeen Storey Leaper
Card Tricks & Routines
Stewart James
3
1
4
Oct-48 On Pencil Reading (cont.)
Mental Effects
C. L. Boarde
3
2
7
Nov-48 A Letter From Al Koran (cont.)
Mental Effects
Al Koran
3
2
9
Nov-48 Lesson In Banking
Miscellaneous Effects
H. Robertson Keene
3
2
11
Nov-48 “I, Give It Up”
Card Tricks & Routines
Wilfred Jonson
3
2
11
Nov-48 Passe Passe Matches
Close-up Effects
Allan Lambie
3
2
12
Nov-48 Lesson In Banking
Miscellaneous Effects
H. Robertson Keene
3
2
14
Nov-48 Passe Passe Matches (cont.) Close-up Effects
Allan Lambie
3
3
17
Dec-48 Ringing The Needle
Miscellaneous Effects
J. F Orrin
3
3
19
Dec-48 Turn Of Card
Card Tricks & Routines
Will Dexter
3
3
20
Dec-48 Weird Wire
Mental Effects
Theo Anneman & Robert Lund
3
3
21
Dec-48 Atomic Silk
Miscellaneous Effects
Peter Warlock
3
3
21
Dec-48 Turn Of Card (cont.)
Card Tricks & Routines
Will Dexter
3
3
23
Dec-48 Weird Wire (cont.)
Mental Effects
Theo Anneman & Robert Lund
3
4
25
Jan-49 Legerdebrain
Card Tricks & Routines
Peter Moffat
3
4
26
Jan-49 An Ace Change
Card Tricks & Routines
Roy Walton
3
4
27
Jan-49 The Disappearing Hole
Coin & Money Effects
Brian McCarthy
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
3
4
28
Jan-49 Prevhue Plus
Mental Effects
Len Belcher
3
4
28
Jan-49 An Ace Change (cont.)
Card Tricks & Routines
Roy Walton
3
4
29
Jan-49 Unskilful Skill
Card Tricks & Routines
G. E. Arrowsmith
3
4
31
Jan-49 Unskilful Skill (cont.)
Card Tricks & Routines
G. E. Arrowsmith
3
5
33
Feb-49 Strange Harmony
Card Tricks & Routines
Peter Warlock
3
5
35
Feb-49 Watered Wine
Miscellaneous Effects
Tan Hock Chuan
3
5
35
Feb-49 Contagious Luck
Mental Effects
Robert Fairthorne
3
5
36
Feb-49 Man On Top Of The Train Mental Effects
Leslie May
3
5
39
Feb-49 Contagious Luck (cont.)
Mental Effects
Robert Fairthorne
3
6
41
Mar-49 Fire Alarm!
Coin & Money Effects
Joe Stuthard
3
6
43
Mar-49 Thrustfully Yours!
Card Tricks & Routines
Francis Haxton
3
6
44
Mar-49 Time will Tell
Utility Items
Will Dexter
3
6
45
Mar-49 A Stitch In Time
Card Tricks & Routines
Jules Giraud
3
6
47
Mar-49 A Stitch In Time (cont.)
Card Tricks & Routines
Jules Giraud
3
7
49
Apr-49 Shadow!
Miscellaneous Effects
Robert Tothill
3
7
50
Apr-49 The Mentalist’s Dream
Card Tricks & Routines
Charles Wicks
3
7
51
Apr-49 Chopitup
Cabaret Effects
J. F Orrin
3
7
52
Apr-49 Shadow! (cont.)
Miscellaneous Effects
Robert Tothill
3
7
52
Apr-49 The Mentalist’s Dream (cont.)
Card Tricks & Routines
Charles Wicks
3
7
53
Apr-49 Darn Clever
Card Tricks & Routines
Len Belcher
3
8
57
May-49 Thanks To Ellis!
Ring Effects
John A. M. Howie
3
8
58
May-49 The Guessing Game
Close-up Effects
Richard Armour
3
8
58
May-49 The Slaphappy Pass
Card Tricks & Routines
Peter Sutton
3
8
60
May-49 The Two Thoughts
Card Tricks & Routines
Peter Sutton
3
8
60
May-49 William Selects A Number Close-up Effects
Billy McComb
3
8
61
May-49 Destiny
Close-up Effects
Len Belcher
3
9
66
Jun-49 Three White-Handled Daggers
Card Tricks & Routines
Douglas Dexter
3
9
68
Jun-49 Sharpe Scissors
Close-up Effects
S. H. Sharpe
3
9
69
Jun-49 Making A Candle Light
Miscellaneous Effects
Douglas Dexter
3
9
71
Jun-49 Three White-Handled Daggers (cont.)
Card Tricks & Routines
Douglas Dexter
3
10
73
Jul-49
Super Sharpe Scissors
Close-up Effects
George Braund
3
10
74
Jul-49
Extra Sharpe Scissors
Cabaret Effects
C. E. Logan
3
10
75
Jul-49
A Matter Of Massacre!
Card Tricks & Routines
John Young
3
10
76
Jul-49
Material To A Matchbox
Mental Effects
James Esler
3
10
76
Jul-49
Floored!
Card Tricks & Routines
Bill Bishop
3
11
81
Aug-49 A Matter Of Some Gravity Card Tricks & Routines
“Anon, Herbert Milton & Peter Warlock”
3
11
83
Aug-49 Over My Shoulder!
Close-up Effects
Sid Emons
3
11
84
Aug-49 Mental Persuasion
Card Tricks & Routines
Francis Haxton
3
11
85
Aug-49 The Shape Of Things To Come
Mental Effects
Charles Gardner
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
3
11
86
Aug-49 Magical Magazines
Miscellaneous
Stewart James
3
12
90
Sep-49 Knife In Hand
Miscellaneous
Percy Naldrett & Douglas Dexter
3
12
91
Sep-49 Cream Of The Jest
Silk Effects
Peter Warlock
3
12
93
Sep-49 “A Boy, A Bag And Some Egg Tricks Eggs!”
Francis White
4
1
1
Oct-49 Jiffy Slate
Slate Effects
Louis Histed
4
1
3
Oct-49 On Threading A Needle
Miscellaneous Effects
Eric De La Mare
4
1
5
Oct-49 Chameleon Thimbles Again Thimble Effects
Peter Sutton
4
2
9
Nov-49 Up Cards And At ‘em
Card Tricks & Routines
Gil Leaney
4
2
11
Nov-49 Ghost Story
Egg Tricks
John Brearley
4
2
13
Nov-49 Psychic Post Card
Card Tricks & Routines
G. E. Arrowsmith
4
2
14
Nov-49 Hypnotic Multiplication
Card Tricks & Routines
R. H. Michaelson
4
3
17
Dec-49 Garendon Slate
Slate Effects
Peter Warlock
4
3
19
Dec-49 Mother Goose Prediction
Mental Effects
Douglas Francis
4
3
20
Dec-49 Prediction Plus One
Mental Effects
Len Belcher
4
3
20
Dec-49 Death From A Newspaper
Mental Effects
A. Tapsell
4
3
23
Dec-49 Mother Goose Prediction (cont.)
Mental Effects
Douglas Francis
4
4
25
Jan-50 Pay Day
Mental Effects
Jack Vosburgh & Will Dexter
4
4
26
Jan-50 Image On The Retina
Card Tricks & Routines
Will Dexter
4
4
26
Jan-50 Pay Day (cont.)
Mental Effects
Jack Vosburgh & Will Dexter
4
4
27
Jan-50 Riddle Of The Ring
Children’s Effects
Jules Giraud
4
4
29
Jan-50 Automatic Prediction
Card Tricks & Routines
Vic Maxwell
4
4
29
Jan-50 The Case Of The Baffling Burglars
Miscellaneous Effects
A. A. Dickson
4
4
31
Jan-50 The Case Of The Baffling Burglars (cont.)
Miscellaneous Effects
A. A. Dickson
4
5
33
Feb-50 “Bubble, Bubble!”
Card Tricks & Routines
Dr. Stanley Jaks
4
5
34
Feb-50 Technique For Sale
Card Tricks & Routines
Robert C. Tothill
4
5
36
Feb-50 Take It Or Leave It!
Mental Effects
Al Koran
4
5
36
Feb-50 Ring On Pencil
Ring Effects
Harry Boughen
4
5
38
Feb-50 Technique For Sale (cont.) Card Tricks & Routines
Robert C. Tothill
4
5
39
Feb-50 Technique For Sale (cont.) Card Tricks & Routines
Robert C. Tothill
4
6
41
Mar-50 Impromptu Solo-WhistBridge Deal
Card Tricks & Routines
Gustave Southall
4
6
43
Mar-50 Autograph Hunter
Mental Effects
Ron Bailie
4
6
43
Mar-50 Coin Routine
Coin & Money Effects
Harry Latour
4
6
44
Mar-50 Billiard Ball Routine
Ball Effects
Geoffrey Buckingham
4
6
47
Mar-50 Impromptu Solo-WhistBridge Deal (cont.)
Card Tricks & Routines
Gustave Southall
4
6
47
Mar-50 Coin Routine (cont.)
Coin & Money Effects
Harry Latour
4
7
49
Apr-50 Burnt And Restored Note Effect
Coin & Money Effects
Douglas Dexter
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
4
7
52
Apr-50 All Smoke
Cigarette Effects
A. C. P Medrington
4
7
52
Apr-50 Bones Of Contention
Card Tricks & Routines
A. C. P Medrington
4
7
53
Apr-50 Seeing By Phone
Mental Effects
Ernest Hammond
4
7
54
Apr-50 Billiard Ball Routine (cont.) Ball Effects
Geoffrey Buckingham
4
7
55
Apr-50 Name Your Choice
Card Tricks & Routines
A. C. P Medrington
4
8
57
May-50 Mental Match-Ic
Mental Effects
C. L. Board
4
8
58
May-50 Restless Choice
Card Tricks & Routines
Francis Haxton
4
8
59
May-50 The Book Of One Word
Miscellaneous Effects
Stanley Collins
4
8
60
May-50 Billiard Ball Routine (cont.) Ball Effects
Geoffrey Buckingham
4
9
65
Jun-50 Tearing Them Up!
Mental Effects
Ron Bailie
4
9
67
Jun-50 Line Of Silks
Silk Effects
Tan Hock Chuan
4
9
68
Jun-50 Missing Link Pack
Card Tricks & Routines
Percy James
4
9
71
Jun-50 The Gap In The Line
Card Tricks & Routines
Arthur Carter
4
10
73
Jul-50
Linklater
Miscellaneous Effects
Elizabeth Warlock
4
10
75
Jul-50
Kismet 2
Mental Effects
Will Dexter
4
10
76
Jul-50
Thermometer
Miscellaneous
Will Dexter
4
10
76
Jul-50
A Christianer Conception
Card Tricks & Routines
Nicholls Harley
4
10
77
Jul-50
Slately Telepathic
Slate Effects
Fred Williams
4
10
77
Jul-50
Kismet 2 (cont.)
Mental Effects
Will Dexter
4
10
78
Jul-50
A Note And Two Coins
Coin & Money Effects
Peter Warlock
4
10
79
Jul-50
Linklater (cont.)
Miscellaneous Effects
Elizabeth Warlock
4
11
81
Aug-50 Predicto
Mental Effects
Herbert Milton
4
11
83
Aug-50 Jack Sheppard
Ring Effects
R. Woodhouse Pitman
4
11
85
Aug-50 The Curse Of Scotland
Miscellaneous
S. Hiddleston
4
11
86
Aug-50 Cards Across
Card Tricks & Routines
Peter Warlock
4
11
87
Aug-50 Predicto (cont.)
Mental Effects
Herbert Milton
4
11
87
Aug-50 Cards Across (cont.)
Card Tricks & Routines
Peter Warlock
4
12
89
Sep-50 Trigon 7
Card Tricks & Routines
Peter Warlock
4
12
91
Sep-50 Do as I Do – Brainwave
Card Tricks & Routines
Gustave Southall
4
12
91
Sep-50 The Mystery Of The Sixth Card
Card Tricks & Routines
Arthur Carter
4
12
92
Sep-50 Trigon 7 (cont.)
Card Tricks & Routines
Peter Warlock
4
12
93
Sep-50 The Curiosity Cat
Miscellaneous Effects
James Douglas
5
1
1
Oct-50 Double Stop
Card Tricks & Routines
Franklin V. Taylor
5
1
2
Oct-50 Miracle Miraskill
Card Tricks & Routines
Stewart James & Peter Warlock
5
1
3
Oct-50 A Letter From Peter Moffat Mental Effects
Peter Moffat
5
1
4
Oct-50 Hocus Pocus Pack
Card Tricks & Routines
Percy James
5
1
7
Oct-50 Double Stop (cont.)
Card Tricks & Routines
Franklin V. Taylor
5
1
7
Oct-50 Hocus Pocus Pack (cont.)
Card Tricks & Routines
Percy James
5
2
9
Nov-50 The Enchanted Chalk And The Magic Portfolio
Children’s Effects
Jules Giraud
5
2
11
Nov-50 An Underground Journey
Mental Effects
R. C. Tothill
5
2
12
Nov-50 Two Minds
Mental Effects
L. A. Belcher
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
5
2
13
Nov-50 Psychic Writing
Card Tricks & Routines
Rev. G. E. Arrowsmith
5
2
14
Nov-50 The Semper Paratus Discovery
Card Tricks & Routines
J. A. Esler
5
3
17
Dec-50 The Plot Thickens
Mental Effects
Ron Bailie & Leslie May
5
3
19
Dec-50 Minds In Harmony
Mental Effects
Ron Bailie
5
3
21
Dec-50 Occipital Occultism
Card Tricks & Routines
Leslie May
5
3
21
Dec-50 Telepathy Test
Mental Effects
Ron Bailie
5
3
23
Dec-50 Euclid’s Enigma
Card Tricks & Routines
Leslie May
5
4
25
Jan-51 Revised Version
Card Tricks & Routines
His Honour Judge Ernest Wethered
5
4
28
Jan-51 Supper With The Borgias
Mental Effects
Will Dexter
5
4
29
Jan-51 Music Maestro
Mental Effects
J. B. Findlay
5
5
33
Feb-51 The Magic Of Colour
Silk Effects
Arthur Sherwood
5
6
41
Mar-51 The Finger Of Fate
Mental Effects
Ron Bailie
5
6
42
Mar-51 Beads Of Bagdad
Children’s Effects
Wilfred Tyler
5
6
43
Mar-51 Kiss Me Kate!
Card Tricks & Routines
Tan Hock Chuan
5
6
43
Mar-51 The Whisper Of An Idol
Card Tricks & Routines
Arthur Carter
5
6
44
Mar-51 Arise Sir!
Card Tricks & Routines
Leslie May
5
6
44
Mar-51 Beads Of Bagdad (cont.)
Children’s Effects
Wilfred Tyler
5
6
44
Mar-51 The Whisper Of An Idol (cont.)
Card Tricks & Routines
Arthur Carter
5
7
49
Apr-51 Sweet Simplicity 1
Card Tricks & Routines
Peter Warlock
5
7
50
Apr-51 Sweet Simplicity 2
Card Tricks & Routines
Peter Warlock
5
7
51
Apr-51 Sweet Simplicity 3
Card Tricks & Routines
Peter Warlock
5
7
52
Apr-51 Supreme Colour Prediction Mental Effects
Raymond Of Leeds
5
7
53
Apr-51 Impulse Writing
Mental Effects
Raymond Of Leeds
5
7
55
Apr-51 Sweet Simplicity 3 (cont.)
Card Tricks & Routines
Peter Warlock
5
7
55
Apr-51 Impulse Writing (cont.)
Mental Effects
Raymond Of Leeds
5
8
57
May-51 Magazine Switcher
Utility Items
Ron Bailie
5
8
59
May-51 Pagan Papers In Embryo
Miscellaneous Effects
Peter Warlock
5
8
59
May-51 Back To Methuselah
Card Tricks & Routines
Peter Warlock
5
8
61
May-51 Impromptu Changing Bag
Utility Items
Hen Fetsch
5
8
61
May-51 Tear The Cards
Card Tricks & Routines
Hen Fetsch
5
8
61
May-51 Double Stop
Card Tricks & Routines
R. J. Fisher
Utility Items
Ron Bailie
5
8
63
May-51 Magazine Switcher (cont.)
5
8
63
May-51 Back To Methuselah (cont.) Card Tricks & Routines
Peter Warlock
5
9
65
Jun-51 Lined Up
Mental Effects
Ron Bailie
5
9
66
Jun-51 “Clever Devils, Those Hungarians”
Utility Items
Will Dexter
5
9
67
Jun-51 A Trick With A Purpose
Card Tricks & Routines
Wilfred Jonson
5
9
67
Jun-51 “Clever Devils, Those Hungarians (cont.)”
Utility Items
Will Dexter
5
9
68
Jun-51 Paired Thoughts
Card Tricks & Routines
Francis Haxton
5
9
68
Jun-51 Canastics
Card Tricks & Routines
Jack Yates
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
5
9
71
Jun-51 Lined Up (cont.)
Mental Effects
Ron Bailie
5
10
73
Jul-51
After Annemann
Card Tricks & Routines
Hubert Lambert
5
10
75
Jul-51
Double-Stoppered
Card Tricks & Routines
Ron Bailie
5
10
76
Jul-51
Colour Sense of The Coins Coin & Money Effects
W. Gibson & Peter Warlock
5
10
79
Jul-51
After Annemann (cont.)
Card Tricks & Routines
Hubert Lambert
5
10
79
Jul-51
Double-Stoppered (cont.)
Card Tricks & Routines
Ron Bailie
5
11
81
Aug-51 The 27th Card
Card Tricks & Routines
C. Dudley Whitnall
5
11
83
Aug-51 The Knot That Is Not
Miscellaneous
Victor Peacock
5
11
84
Aug-51 Turnover Change
Card Tricks & Routines
Harry Hickson
5
11
85
Aug-51 Bewildering Bunnies
Children’s Effects
James Douglas
5
11
85
Aug-51 It’s A Game
Miscellaneous Effects
James Douglas
5
11
86
Aug-51 A Sympathetic Rhyme
Patter
Arthur Carter
5
12
89
Sep-51 “Ring, Coin And Handkerchief”
Coin & Money Effects
Al Koran
5
12
91
Sep-51 Double-Deletion
Mental Effects
Leslie May
5
12
92
Sep-51 My Favourite Card
Card Tricks & Routines
Nicholls Harley
5
12
93
Sep-51 Semper Paratus Plus
Card Tricks & Routines
Arthur Carter
5
12
93
Sep-51 Cut Your Number
Card Tricks & Routines
Francis Haxton
5
12
94
Sep-51 All Fair Force
Card Tricks & Routines
Francis Haxton
5
12
95
Sep-51 My Favourite Card (cont.)
Card Tricks & Routines
Nicholls Harley
6
1
1
Oct-51 The Cap And Pence
Coin & Money Effects
Eric De La Mare
6
1
3
Oct-51 Improved Sure-Fire Force
Card Tricks & Routines
C. Dudley Whitnall
6
1
5
Oct-51 Mind Out Of Time Again
Card Tricks & Routines
T. B. Donovan
6
1
5
Oct-51 Diluted Discovery
Card Tricks & Routines
J. A. Esler
6
1
6
Oct-51 Diluted Discovery (cont.)
Card Tricks & Routines
J. A. Esler
6
2
9
Nov-51 Twin Ribbons
Ribbon Effects
James Douglas
6
2
10
Nov-51 The Ladies Looking Glass Sans Pass
Card Tricks & Routines
Tudor Brock
6
2
11
Nov-51 Subconcious Publicity
Mental Effects
Len Belcher
6
2
11
Nov-51 Just In Time
Card Tricks & Routines
James Douglas
6
2
12
Nov-51 A Quick Return
Close-up Effects
James Douglas
6
2
13
Nov-51 Just In Time (cont.)
Card Tricks & Routines
James Douglas
6
2
14
Nov-51 The Ladies Looking Glass Sans Pass (cont.)
Card Tricks & Routines
Tudor Brock
6
2
15
Nov-51 Twin Ribbons (cont.)
Ribbon Effects
James Douglas
6
3
17
Dec-51 One Red Card
Card Tricks & Routines
Arthur Carter
6
3
18
Dec-51 “For Those Horrors, The ‘Teeny Weenies’”
Children’s Effects
Peter Warlock
6
3
20
Dec-51 Operation Psychic
Mental Effects
B. E. Rasmussen
6
3
20
Dec-51 “For Those Horrors, The ‘Teeny Weenies’(cont.)”
Children’s Effects
Peter Warlock
6
3
21
Dec-51 An Uncanny Force
Mental Effects
Herbert Milton
6
3
21
Dec-51 By Three
Card Tricks & Routines
George Johnson
6
3
22
Dec-51 A Juggling Force
Utility Items
J. G. Findlay
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
6
4
25
Jan-52 Express Delivery
Utility Items
Harry Hickson
6
4
26
Jan-52 Mystic Multiplication
Miscellaneous
Stanley Collins
6
4
26
Jan-52 The Gap In The Curtain
Slate Effects
Peter Warlock
6
4
30
Jan-52 A Strange Coincidence
Card Tricks & Routines
Freddy Clarke
6
4
31
Jan-52 Express Delivery (cont.)
Utility Items
Harry Hickson
6
5
33
Feb-52 Election Selection
Mental Effects
Leslie May
6
5
35
Feb-52 Two By Two
Mental Effects
Leslie May
6
5
36
Feb-52 It’s A Date
Coin & Money Effects
Leslie May
6
5
37
Feb-52 The Word Within
Mental Effects
Leslie May
6
5
38
Feb-52 By Thought And Deed
Mental Effects
Leslie May
6
6
41
Mar-52 Creating An Impression
Mental Effects
Ron Bailie
6
6
43
Mar-52 Tip For Cigarette Workers
Cigarette Effects
Leslie May
6
6
44
Mar-52 Prestimentalation (!)
Mental Effects
Ron Bailie
6
6
47
Mar-52 Idea For A Nail Writer
Utility Items
Anonymous
6
7
49
Apr-52 Epilogue To Thoth
Ring Effects
Hans Trixer
6
7
50
Apr-52 Wishful Thinking
Mental Effects
Ron Bailie
6
7
51
Apr-52 Fourth Dimensional Thoughts
Mental Effects
Ron Bailie
6
7
53
Apr-52 I Do as You Do As I do
Card Tricks & Routines
C. Dudley Whitnall
6
8
57
May-52 Let’s Choose A Word
Mental Effects
James Douglas
6
8
58
May-52 Out Of The Loop
Ring Effects
Jack Miller & Peter Warlock
6
8
60
May-52 Cupro
Coin & Money Effects
Tommy Vanderschmidt
6
8
60
May-52 Here It Is!
Silk Effects
James Douglas
6
8
62
May-52 Double Stop
Card Tricks & Routines
Jack Potter
6
9
65
Jun-52 Discovery X
Card Tricks & Routines
Billy O’Conner
6
9
66
Jun-52 Persistant Ghost
Slate Effects
Arturo
6
9
67
Jun-52 Face-Down Forethought
Card Tricks & Routines
Ron Bailie
6
9
68
Jun-52 Precogspeller
Card Tricks & Routines
Peter Warlock
6
10
73
Jul-52
Loops Entwined
Close-up Effects
Jack Avis
6
10
74
Jul-52
Version Of Precogspeller
Card Tricks & Routines
Hans Trixer
6
10
75
Jul-52
Make Mine Milk
Mental Effects
Peter Warlock
6
10
77
Jul-52
Coinjuration
Coin & Money Effects
Bobby Bernard
6
10
79
Jul-52
Cardthought
Card Tricks & Routines
B. A. Rasmussen
6
11
81
Aug-52 Linking Ring Manipulation Ring Effects
Dudley Whitnall
6
11
84
Aug-52 Ropan Ring
Ring Effects
Jack Avis
6
11
85
Aug-52 Jardine Ellis Routine
Ring Effects
Bertram Millidge
6
12
89
Sep-52 Sandwich Spread
Card Tricks & Routines
Peter Warlock
6
12
90
Sep-52 Knifed
Knife Effects
Roy Walton
6
12
91
Sep-52 Linking Ring Manipulation Ring Effects (cont.)
Dudley Whitnall
7
1
1
Oct-52 Astral Coin
Coin & Money Effects
Tan Hock Chuan
7
1
2
Oct-52 Nota Bene
Coin & Money Effects
J. A. Esler
7
1
3
Oct-52 “Full Stop, Double Stop!”
Card Tricks & Routines
Hugh A. Carroll
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
7
1
3
Oct-52 Sands Of Gobi
Miscellaneous
Tan Hock Chuan
7
1
5
Oct-52 Four Cards – Four Envelopes
Mental Effects
Edmund Rowland
7
1
5
Oct-52 Astral Coin (cont.)
Coin & Money Effects
Tan Hock Chuan
7
2
9
Nov-52 The Perfect Window Envelope
Miscellaneous
Peter Warlock
7
2
10
Nov-52 All At Sea
Close-up Effects
Will Dexter
7
2
11
Nov-52 An Impromptu Torn Newspaper Test
Mental Effects
Edmund Rowland
7
2
12
Nov-52 The Thumb Tie Effect
Miscellaneous
Charles Harrison
7
3
17
Dec-52 The Binding Ring
Paper Effects
Douglas Francis
7
3
19
Dec-52 The Enchanted Basket
Card Tricks & Routines
Treborix
7
3
21
Dec-52 the A-C.I.D Test
Card Tricks & Routines
Leslie May
7
4
25
Jan-53 The Borgia Affair
Mental Effects
James Esler
7
4
26
Jan-53 Yrutnec Hteitnewt
Silk Effects
James Douglas
7
4
27
Jan-53 Collected Thoughts
Mental Effects
Len Belcher
7
4
28
Jan-53 Thumb Fun
Ring Effects
Franklin V. Taylor
7
5
33
Feb-53 Two Into One Will Go
Miscellaneous
Brian McCarthy
7
5
36
Feb-53 Colourblind
Card Tricks & Routines
Francis Haxton
7
5
37
Feb-53 Your Choice
Coin & Money Effects
Jack Avis
7
5
38
Feb-53 Poison In Jest
Mental Effects
Peter Warlock
7
5
39
Feb-53 Buried Treasure
Card Tricks & Routines
Alex Elmsley
7
5
40
Feb-53 Fantasy In Silk
Silk Effects
Fred Kaps
7
5
41
Feb-53 Jacob’s Elevator
Card Tricks & Routines
Hans Trixer
7
5
42
Feb-53 The Psychic Seven
Card Tricks & Routines
Arthur Carter
7
5
42
Feb-53 Jacob’s Elevator (cont.)
Card Tricks & Routines
Hans Trixer
7
6
45
Mar-53 Kortially Yours
Card Tricks & Routines
Milton Kort
7
6
46
Mar-53 Angle On Marlo
Card Tricks & Routines
Peter Warlock
7
6
47
Mar-53 Angle On Angle On Marlo Card Tricks & Routines
Stewart James
7
6
48
Mar-53 Thoughts Out Of Print
Mental Effects
Dr. Stanley Jaks
7
6
49
Mar-53 Do you Reverse
Mental Effects
Leslie May
7
6
50
Mar-53 Angle On Marlo (cont.)
Card Tricks & Routines
Peter Warlock
7
6
50
Mar-53 Kortially Yours (cont.)
Card Tricks & Routines
Milton Kort
7
7
53
Apr-53 Miracle Porous Glass
Silk Effects
Peter Warlock
7
7
55
Apr-53 Mentalist v. Marlo
Card Tricks & Routines
Peter Warlock
7
7
56
Apr-53 Kortially Yours II
Card Tricks & Routines
Jack Potter
7
8
61
May-53 The Hindu Thread Trick
Cabaret Effects
Hans Trixer
7
8
61
May-53 The Hindu Thread Trick
Close-up Effects
Al Baker, Kaplan, Peter Warlock & Hans Trixer
7
8
65
May-53 The Astral Coin Rides Again
Close-up Effects
Alex Elmsley
7
9
69
Jun-53 Laced Up
Ring Effects
John A. M. Howie
7
9
71
Jun-53 Double Up Discovery
Close-up Effects
Norman Macleod
7
9
72
Jun-53 Written On Time
Mental Effects
John Derris
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
7
9
73
Jun-53 Pawrus Coin
Coin & Money Effects
Bobby Bernard
7
9
74
Jun-53 Pawrus Coin (cont.)
Coin & Money Effects
Bobby Bernard
7
10
77
Jul-53
The Ring Binds Again
Miscellaneous
Douglas Francis
7
10
78
Jul-53
Hold a Candle
Mental Effects
Peter Moffat
7
10
79
Jul-53
Variation On Card Incidence
Card Tricks & Routines
Peter Moffat
7
10
80
Jul-53
One More Chance
Miscellaneous
Will Dexter
7
10
81
Jul-53
Invulnerable
Coin & Money Effects
Peter Warlock
7
11
85
Aug-53 Ye Bonny Banks
Coin & Money Effects
Leslie May
7
11
87
Aug-53 Beyond Belief
Card Tricks & Routines
Roy Scott
7
11
87
Aug-53 I’ve Got your Number
Card Tricks & Routines
Roy Scott
7
11
88
Aug-53 Nae Bother At A’
Mental Effects
Oliver Mackenzie
7
11
89
Aug-53 Your Astral In 3D
Mental Effects
George Pigott
7
12
93
Sep-53 The Incredible Stab
Card Tricks & Routines
Bob Driebeek
7
12
95
Sep-53 Rouge Et Noir
Card Tricks & Routines
Dr. Daley
7
12
96
Sep-53 Space Controlled
Card Tricks & Routines
Roy Scott
7
12
97
Sep-53 Result Of Thought
Card Tricks & Routines
Roy Scott
7
12
97
Sep-53 A Joker Prediction
Card Tricks & Routines
Arthur F. G. Carter
8
1
1
Oct-53 Variation On Le Paul’s Cards In The Sealed Envelope
Card Tricks & Routines
His Honour Judge Ernest Wethered
8
1
3
Oct-53 Dead Reckoning
Slate Effects
Peter Warlock
8
1
5
Oct-53 The Aeroplane Card Trick
Card Tricks & Routines
Dai Vernon
8
1
5
Oct-53 Tristing The Twister
Cigarette Effects
James Douglas
8
2
9
Nov-53 Epitaph For Brown
Card Tricks & Routines
Peter Warlock
8
2
12
Nov-53 The Want Ad. Test I Like
Slate Effects
Peter Warlock
8
2
14
Nov-53 Thanks To Stewart James
Miscellaneous Effects
Peter Warlock & Maurice Sardina
8
3
17
Dec-53 The Hole In The Table
Coin & Money Effects
Jack Avis
8
3
19
Dec-53 Rara Avis
Card Tricks & Routines
Jack Avis
8
3
20
Dec-53 Spin Cut Aces
Card Tricks & Routines
Jack Avis
8
4
25
Jan-54 Chronokinesis
Mental Effects
Jack Avis
8
4
26
Jan-54 Change Fold
Miscellaneous
Herbert Milton
8
4
28
Jan-54 The Finish For The Ambitious Card Routine
Card Tricks & Routines
Jack Avis
8
4
29
Jan-54 The Chinese Butterflies
Miscellaneous
Will Dexter
8
5
33
Feb-54 On The Lap Of The Gods
Card Tricks & Routines
Arthur Carter
8
5
35
Feb-54 The Perennial Phoenix
Miscellaneous Effects
Arthur Carter
8
5
36
Feb-54 Three More Poker Chips
Mental Effects
Arthur Carter
8
5
37
Feb-54 The Fathoming Of The Word
Mental Effects
Arthur Carter
8
6
41
Mar-54 The Give-away Collecting Box
Miscellaneous Effects
Edmund Rowland
8
6
42
Mar-54 A Quick Turn Over Board
Miscellaneous Effects
Edmund Rowland
8
6
43
Mar-54 A Total Mystery
Mental Effects
Edmund Rowland
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
8
6
44
Mar-54 A Perfect Mirror Envelope Utility Items
Edmund Rowland
8
6
46
Mar-54 Clean Carbon
Edmund Rowland
8
7
49
Apr-54 Gambling’s Goblin Goblet Miscellaneous Effects
John Gambling
8
7
51
Apr-54 Rhodesia Reverse
Card Tricks & Routines
Hans Trixer
8
7
53
Apr-54 Tea Leaves
Miscellaneous Effects
James Douglas
8
7
53
Apr-54 Dated Flight
Cabaret Effects
James Douglas
8
8
57
May-54 The Cardician’s First Problem
Card Tricks & Routines
Peter Warlock
8
8
58
May-54 The Cardician’s Second Problem
Card Tricks & Routines
Peter Warlock
8
8
60
May-54 Handling The Window Envelope
Utility Items
Peter Warlock
8
8
61
May-54 A Note On Edmund Rowland’s Give Away Collecting Box
Miscellaneous Effects
Jack Avis
8
9
65
Jun-54 The Obedient Colours
Miscellaneous Effects
Douglas Dexter
8
9
66
Jun-54 Chango
Card Tricks & Routines
Roy Walton
8
9
67
Jun-54 A Letter At A Time
Card Tricks & Routines
Peter Warlock
8
9
68
Jun-54 The £50 Challenge Portrait Mental Effects
G. E. Arrowsmith
8
10
73
Jul-54
John Howie’s Routines Ring Effects With The Jardine Ellis Ring
John A. M. Howie
8
10
76
Jul-54
Addenda To Gambling’s Goblets
Miscellaneous Effects
His Honour Judge Ernest Wethered
8
10
77
Jul-54
Changing Coins
Coin & Money Effects
Mystico
8
10
78
Jul-54
The Give Away Collecting Miscellaneous Effects Box Again
8
11
81
Aug-54 Annemann Interlude
Miscellaneous
Gustave Southall
8
11
82
Aug-54 Sham Shuffle
Card Tricks & Routines
Gustave Southall
8
11
83
Aug-54 Personal Touch
Miscellaneous
Gustave Southall
8
11
84
Aug-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
8
12
89
Sep-54 4th Dimensional Postal Order
Miscellaneous Effects
Peter Warlock
8
12
90
Sep-54 One Over The Eight
Card Tricks & Routines
James Esler
8
12
91
Sep-54 Sans Falcon
Number Magic
James Esler
8
12
92
Sep-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
1
1
Oct-54 They’re All Jacks!
Card Tricks & Routines
Winston H. Freer
9
1
2
Oct-54 Tripalteration
Card Tricks & Routines
Winston H. Freer
9
1
3
Oct-54 A Matter Of Habit
Cigarette Effects
James Douglas
9
1
4
Oct-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
2
9
Nov-54 Annemann Assembly
Harry E. Burnside & Charles W. Cameron
Utility Items
Mental Effects
Edmund Rowland
Vol.
No.
Page
Date
Effect
Type
9
2
12
Nov-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
3
17
Dec-54 Erdnase And All That
Card Tricks & Routines
Roy Walton
9
3
18
Dec-54 The Hindu Needle Trick
Close-up Effects
Billy McComb
9
3
20
Dec-54 Do It By Numbers
Number Magic
Leslie May
9
3
20
Dec-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
3
23
Dec-54 The Hindu Needle Trick (cont.)
Close-up Effects
Billy McComb
9
4
25
Jan-55 The Dance Of The Seven Veils
Card Tricks & Routines
Comrie Mackay
9
4
27
Jan-55 The Name’s The Same
Cabaret Effects
Leslie May
9
4
28
Jan-55 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
4
31
Jan-55 The Dance Of The Seven Veils (cont.)
Card Tricks & Routines
Comrie Mackay
9
5
33
Feb-55 Pentacle Of Pan
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
5
35
Feb-55 Transformations Extraordinary
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
5
36
Feb-55 Inter Spatial Sorcery
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
5
37
Feb-55 Transpo Thoughts
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
6
41
Mar-55 The Sands Of Time
Card Tricks & Routines
Bobby Bernard
9
6
42
Mar-55 Poor Man’s Last Card
Card Tricks & Routines
Peter Warlock
9
6
43
Mar-55 A Twentieth Cantury Card
Card Tricks & Routines
James Douglas
9
6
44
Mar-55 The Thought Recorder
Mental Effects
Leslie May
9
6
45
Mar-55 Surprize
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
7
49
Apr-55 Variations On The Taped Slate
Slate Effects
His Honour Judge Ernest Wethered
9
7
52
Apr-55 The Ghost Of Pascal
Slate Effects
Corvelo
9
7
53
Apr-55 A Letter From Roy E. Short Coin & Money Effects
Roy E. Short
9
7
55
Apr-55 A Study In Smoke
Miscellaneous Effects
Arthur Carter
9
8
57
May-55 1 – 2 – 3
Card Tricks & Routines
Dai Vernon
9
8
58
May-55 Just Injog
Card Tricks & Routines
Dai Vernon
9
8
59
May-55 Al’n And Dai Again
Card Tricks & Routines
Dai Vernon
9
8
61
May-55 Let’s Predict A card
Card Tricks & Routines
Hans Trixer
Ring Effects
Roy Johnson
Card Tricks & Routines
Dr. Nicholls Harley
9
8
61
May-55 A Jardine Ellis Ring Routine
9
9
65
Jun-55 The Ultimate Three Card Prediction
9
9
67
Jun-55 No Clue Spectator Location Card Tricks & Routines
Contributor(s)
Francis Haxton
Vol.
No.
Page
9
9
67
9
9
9
Date
Effect
Type
Contributor(s)
Jun-55 Ultimate Three Card Prediction (cont.)
Card Tricks & Routines
Dr. Nicholls Harley
68
Jun-55 Two Think As One
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
69
Jun-55 Unpredictable Predictions
Card Tricks & Routines
Phil Wye
9
9
69
Jun-55 Two Think As One
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
9
70
Jun-55 What Are You Playing?
Mental Effects
G. E. Arrowsmith
9
10
73
Jul-55
Take Three
Card Tricks & Routines
Peter Warlock
9
10
75
Jul-55
Controlled Thought
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
10
76
Jul-55
Return To Marlo
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
10
77
Jul-55
Royal Quadrille
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
10
79
Jul-55
Take Three (cont.)
Card Tricks & Routines
Peter Warlock
9
11
81
Aug-55 The Idol Whispers Again
Mental Effects
Arthur Carter
9
11
82
Aug-55 Trigon Seventeen
Card Tricks & Routines
Peter Warlock
9
11
83
Aug-55 A Card Miracle
Card Tricks & Routines
Douglas Dexter
9
12
89
Sep-55 Max Malini
Miscellaneous Effects
Eric De La Mare
9
12
93
Sep-55 Prediction Of Ptah
Mental Effects
Harry E. Burnside & Charles W. Cameron
10
1
1
Oct-55 The Needle Trick
Classic Effects
Hans Trixer
10
1
5
Oct-55 Salute To John Ramsay
Coin & Money Effects
John Derris
10
2
9
Nov-55 The New Intruder
Card Tricks & Routines
Jack Avis
10
2
10
Nov-55 The Lucky Ring
Ring Effects
Peter Warlock
10
2
12
Nov-55 Variation On A Theme Take Three
Card Tricks & Routines
Francis Haxton
10
2
13
Nov-55 Variation On A Theme Take Three – Again
Card Tricks & Routines
Dr. Stanley Jaks
10
2
14
Nov-55 Peek Deck Prediction
Card Tricks & Routines
Maurice S. Howarth
10
2
14
Nov-55 Addenum For The New Intruder
Card Tricks & Routines
Jack Avis & Peter Warlock
10
2
15
Nov-55 The Magician’s Ten Commandments
Miscellaneous
Douglas Dexter
10
3
17
Dec-55 Poker
Card Tricks & Routines
Roy Walton
10
3
18
Dec-55 Thanks To Everyone
Ring Effects
Peter Macdonald
10
3
19
Dec-55 Sympathy In Colour
Card Tricks & Routines
Tony Blitz
10
3
21
Dec-55 Mirrorslate
Slate Effects
Len Belcher
10
3
22
Dec-55 Skryring
Card Tricks & Routines
Maurice S. Howarth
10
4
25
Jan-56 Parti-Piece
Ribbon Effects
Peter Warlock
10
4
27
Jan-56 Ike-Newspaper-Prediction
Mental Effects
Hans Trixer
10
4
29
Jan-56 Vibrato
Mental Effects
Comrie Mackay
10
4
30
Jan-56 Casting The Future
Card Tricks & Routines
H. A. Adams
10
5
33
Feb-56 The Edinburgh Radio Prediction
Mental Effects
Peter Warlock
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
10
5
38
Feb-56 Silks At The Fingertips
Silk Effects
Peter Warlock
10
6
41
Mar-56 Puzzle For Wantons
Card Tricks & Routines
Jack Avis
10
6
42
Mar-56 Aces In The Ascendant
Card Tricks & Routines
Dudley Whitnall
10
6
43
Mar-56 The Lady And The Tramp
Card Tricks & Routines
Peter Warlock
10
7
49
Apr-56 The Lady And The Tramp (cont.)
Card Tricks & Routines
Peter Warlock
10
7
54
Apr-56 My Choice
Coin & Money Effects
Peter Warlock
10
7
55
Apr-56 Joker Transformations Extraordinary
Card Tricks & Routines
Herb Runge
10
8
57
May-56 A Bow To U. F. Grant
Coin & Money Effects
Peter Warlock
10
8
59
May-56 Three Dice – Fifty Two Cards
Card Tricks & Routines
Roy Walton
10
8
59
May-56 A Letter From Francis Haxton
Card Tricks & Routines
Francis Haxton
10
8
60
May-56 Again The Dead Name
Mental Effects
Peter Warlock
10
8
62
May-56 Bluff Card Stab
Card Tricks & Routines
Ravelli
10
9
65
Jun-56 A Simplified Newspaper Test
Mental Effects
Edmund Rowland
10
9
66
Jun-56 Cubit
Miscellaneous Effects
Edmund Rowland
10
9
67
Jun-56 Right From Left
Paper Effects
Edmund Rowland
10
9
68
Jun-56 Multiple Addition
Miscellaneous Effects
Edmund Rowland
10
9
69
Jun-56 A New Flap Die Box
Miscellaneous Effects
Edmund Rowland
10
10
73
Jul-56
Ethereal Coins
Coin & Money Effects
Bobby Bernard
10
10
74
Jul-56
Fun With Flash String
Utility Items
Bobby Bernard
10
10
74
Jul-56
Black And White
Miscellaneous Effects
Bobby Bernard
10
10
75
Jul-56
Miniature Slate Supreme
Slate Effects
Bobby Bernard
10
10
75
Jul-56
Bewilder-Ring
Coin & Money Effects
Bobby Bernard
10
10
76
Jul-56
Simplicity Speller
Card Tricks & Routines
Bobby Bernard
10
10
77
Jul-56
Utility Altar Light
Miscellaneous Effects
Bobby Bernard
10
10
78
Jul-56
Colorfuso
Card Tricks & Routines
Peter Warlock
10
11
81
Aug-56 Divination Of Two Mentally Selected Cards
Card Tricks & Routines
The Late Edward G. Brown
10
11
82
Aug-56 The Wick’s Theme
Mental Effects
Peter Warlock
10
11
86
Aug-56 Brown Study
Card Tricks & Routines
T. S. Ransom
10
12
89
Sep-56 The Chain Of Silks
Silk Effects
Marconick
10
12
90
Sep-56 Open Intruder
Card Tricks & Routines
Alex Elmsley
10
12
91
Sep-56 Still Taking Three
Card Tricks & Routines
Alex Elmsley
11
1
1
Oct-56 Take This Ring
Ring Effects
John Derris
11
1
2
Oct-56 The Close-Up Slate Test
Slate Effects
Peter Warlock
11
1
4
Oct-56 The Digest Book Test
Slate Effects
Peter Warlock
11
1
5
Oct-56 Designo
Miscellaneous Effects
Peter Warlock
11
1
6
Oct-56 An Angle on Clippo
Paper Effects
Peter Warlock
Coin & Money Effects
John Derris
Card Tricks & Routines
Alex Elmsley
11
2
9
Nov-56 The Jojamajo Cap And Coins Mystery
11
2
11
Nov-56 Brownwaves
Vol.
No.
Page
11
2
13
11
2
11 11
Date
Effect
Type
Contributor(s)
Nov-56 Thought On A Mentally Selected Card
Card Tricks & Routines
Jack Yates
13
Nov-56 Tumblejack
Card Tricks & Routines
John Derris
2
15
Nov-56 Posthumous Influence
Mental Effects
G. E. Arrowsmith
3
17
Dec-56 Handkerchief And Glass To Classic Effects Hat
Edward Brown
11
3
21
Dec-56 The Four Card Pack
Card Tricks & Routines
John Derris
11
4
25
Jan-57 Eight Dice And a Card
Card Tricks & Routines
Stewart James
11
4
25
Jan-57 Thoughts In Motion
Card Tricks & Routines
Stewart James
11
4
26
Jan-57 Production Of A Cricket Bat
Miscellaneous Effects
J. A Holland
11
4
27
Jan-57 Simplified Divination Of Two Mentally Selected Cards
Card Tricks & Routines
Dudley Whitnall
11
4
29
Jan-57 Two More Mentally Selected Cards
Card Tricks & Routines
John P. Hamilton
11
4
30
Jan-57 Les Cartes A La Manche
Card Tricks & Routines
Stanley Collins
11
5
33
Feb-57 The Big Squeeze
Close-up Effects
John Derris
11
5
35
Feb-57 Third Sight
Card Tricks & Routines
Stewart James
11
5
36
Feb-57 Dealing With The Unknown Card Tricks & Routines
Stewart James
11
5
37
Feb-57 Trigon Two
Card Tricks & Routines
Peter Warlock
11
6
41
Mar-57 The Substitute
Card Tricks & Routines
Roy Scott
11
6
42
Mar-57 Clannish
Card Tricks & Routines
Roy Scott
11
6
44
Mar-57 E. S. P. Experiment
Mental Effects
Harry E. Burnside & Charles W. Cameron
11
6
44
Mar-57 A Needle Match
Close-up Effects
Major Leslie May M.B.E
11
6
45
Mar-57 It’s On The Cards
Mental Effects
Major Leslie May M.B.E
11
6
47
Mar-57 The World’s Greatest
Card Tricks & Routines
Stewart James
11
6
47
Mar-57 Vida Pack
Card Tricks & Routines
Stewart James
11
7
49
Apr-57 Eric’s De La Nightmare
Coin & Money Effects
John Derris
11
7
50
Apr-57 The Little Man
Children’s Effects
Peter Warlock
11
7
52
Apr-57 Alias
Card Tricks & Routines
Stewart James
11
7
53
Apr-57 Predestinacetion
Card Tricks & Routines
Stewart James
11
7
53
Apr-56 Tele-Coincido
Mental Effects
Peter Warlock
Close-up Effects
Bob Driebeek
11
8
57
May-57 No Guessing
11
8
58
May-57 Triple Mental Coincidence Card Tricks & Routines
Ravelli
11
8
59
May-57 The Hoodoo Cards
Card Tricks & Routines
Stewart James
11
8
60
May-57 Brownwaves – No Looking Card Tricks & Routines
Alex Elmsley
11
8
60
May-57 30th Century Prophecy
Mental Effects
Peter Warlock
11
9
65
Jun-57 The Prisoners
Classic Effects
Peter Warlock
11
9
68
Jun-57 Simplex Coin Transpo
Coin & Money Effects
Ravelli
11
9
68
Jun-57 Heduz
Card Tricks & Routines
Stewart James
11
9
69
Jun-57 Three In Council
Card Tricks & Routines
Francis Haxton, Jack Avis & Peter Warlock
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
11
9
70
Jun-57 Mathematics Of The Weave Card Tricks & Routines Shuffle
Alex Elmsley
11
10
73
Jul-57
Holiday From Reason
Card Tricks & Routines
Stewart James
11
10
74
Jul-57
Synchromagic
Card Tricks & Routines
Stewart James
11
10
74
Jul-57
Thimblekin
Thimble Effects
Bob Driebeek
11
10
75
Jul-57
Finish For Four Ace Routine
Card Tricks & Routines
A. W. Roots
11
10
75
Jul-57
The Taped Slate
Slate Effects
Peter Warlock
11
10
78
Jul-57
Mathematics Of The Weave Card Tricks & Routines Shuffle (cont.)
11
11
81
Aug-57 The Handcuffed Cardician
Card Tricks & Routines
Hans Trixer
11
11
82
Aug-57 Double Surprise
Card Tricks & Routines
Jack Avis
11
11
82
Aug-57 Simplicity Two Person Prediction
Slate Effects
Peter Warlock
11
11
84
Aug-57 Six In A Row
Mental Effects
Corvelo
11
11
85
Aug-57 Mathematics Of The Weave Card Tricks & Routines Shuffle (cont.)
Alex Elmsley
11
11
86
Aug-57 I Never Use Cards
Card Tricks & Routines
Erik Padt
11
12
89
Sep-57 Predicted Mental Spell
Card Tricks & Routines
Edward Marlo
11
12
92
Sep-57 Extended Mental Spell
Card Tricks & Routines
Edward Marlo
11
12
92
Sep-57 Behind The Screen
Card Tricks & Routines
Peter Warlock
11
12
93
Sep-57 “Small, Medium And Large”
Mental Effects
Peter Warlock
12
1
1
Oct-57 The Dollis Coin Vanish
Coin & Money Effects
John Derris
12
1
2
Oct-57 Three Card Routine
Card Tricks & Routines
A. W. Roots
12
1
3
Oct-57 My Sealed Message Reading Routine
Mental Effects
Ger Moto
12
1
4
Oct-57 Face Up Card At Number
Card Tricks & Routines
A. W. Roots
12
1
4
Oct-57 A Warlock’s Prediction
Mental Effects
Peter Warlock
12
2
9
Nov-57 Rainbow Cup And Balls
Classic Effects
Fred Lowe
12
2
12
Nov-57 Bag In The Egg
Miscellaneous Effects
Fred Lowe
12
2
13
Nov-57 Passe Dice Stack
Miscellaneous Effects
Fred Lowe
Alex Elmsley
12
3
17
Dec-57 A Coin Fantasy
Coin & Money Effects
Fred Kaps
12
3
18
Dec-57 About Turn!
Card Tricks & Routines
Hugh Scott
12
3
19
Dec-57 Addition To The Brainwave Card Tricks & Routines
Peter Warlock
12
3
20
Dec-57 Personal Prediction
Mental Effects
Peter Warlock
12
3
22
Dec-57 Triple Telephone Test
Mental Effects
Tom Sellers
12
3
22
Dec-57 Reverse Card Discovery
Card Tricks & Routines
Tom Sellers
12
4
25
Jan-58 A Scarf Called Moebius
Card Tricks & Routines
Roy Walton
12
4
27
Jan-58 Telling the Colours
Mental Effects
Tom Sellers
12
4
28
Jan-58 Colour And Number Prediction
Mental Effects
Tom Sellers
12
4
29
Jan-58 My Billet Switch
Utility Items
Peter Warlock
12
4
30
Jan-58 What’s In A Dead Name
Mental Effects
Peter Warlock
12
5
33
Feb-58 Diabolo’s Coin Vanish
Coin & Money Effects
Diabolo (Russell Sharp)
Vol.
No.
Page
12
5
34
12
5
12 12
Date
Effect
Type
Contributor(s)
Feb-58 A Stranger Re-Visits Paradise
Card Tricks & Routines
Peter Warlock
35
Feb-58 Variation On A Theme
Mental Effects
Roy Walton
5
36
Feb-58 A Pretty Sillk Flourish
Silk Effects
James Douglas
5
37
Feb-58 May I Borrow a Book?
Mental Effects
Peter Warlock
12
6
41
Mar-58 The Magic Of Japan
Paper Effects
Diabolo (Russell Sharp)
12
6
44
Mar-58 Silver To Copper
Coin & Money Effects
Phoa Yan Tiong
12
6
46
Mar-58 Four Whites
Card Tricks & Routines
Brian Glover
12
6
46
Mar-58 Call That Number
Mental Effects
Peter Warlock
12
7
49
Apr-58 Magic Square Telepathy
Mental Effects
Peter Warlock
12
7
51
Apr-58 Anent About Turn
Card Tricks & Routines
Jack Avis, Alex Elmsley, Roy Walton & John Messenger
12
7
52
Apr-58 Two Read A Book
Mental Effects
Peter Warlock
12
7
53
Apr-58 Pin Pointed Slates
Slate Effects
Peter Warlock
12
8
57
May-58 The Allerton Masterpiece
Card Tricks & Routines
Gustave Southall
12
8
58
May-58 Impromptu Stranger
Card Tricks & Routines
Edward Marlo
12
8
59
May-58 The Reverse Stack
Card Tricks & Routines
Roy Scott
12
8
61
May-58 Screened Thoughts
Mental Effects
Peter Warlock
12
8
62
May-58 Mathematics Of The Weave Card Tricks & Routines Shuffle
Alex Elmsley
12
9
65
Jun-58 I Got A Horse
Miscellaneous Effects
Gustave Southall
12
9
66
Jun-58 Sympathetic Coincidence
Card Tricks & Routines
Edward Marlo
12
9
67
Jun-58 A Tip For The Card In Cigarette
Cigarette Effects
Ravelli (Switzerland)
12
9
67
Jun-58 Ace Elimination
Card Tricks & Routines
Ravelli (Switzerland)
12
9
68
Jun-58 A Tip For The Sympathetic Utility Items Silks
Peter Warlock
12
9
69
Jun-58 Psychic Card
Mental Effects
Peter Warlock
12
10
73
Jul-58
Silk In A Loop
Close-up Effects
Marconick
12
10
74
Jul-58
Clipped Prediction
Mental Effects
Brian Glover
12
10
75
Jul-58
The Centre Double Lift
Card Tricks & Routines
Jack Avis
12
10
76
Jul-58
Stab In The Dark
Card Tricks & Routines
Peter Warlock
12
10
78
Jul-58
Come Nine
Miscellaneous Effects
Edmund Rowland
12
11
81
Aug-58 Thanks To Moebius
Paper Effects
Edmund Rowland
12
11
82
Aug-58 A Master Speller
Miscellaneous Effects
Edmund Rowland
12
11
83
Aug-58 Two-Fold Location
Utility Items
Edmund Rowland
12
11
85
Aug-58 Page-It
Number Magic
Edmund Rowland
12
11
86
Aug-58 The Cards Rise
Card Tricks & Routines
Peter Warlock
12
12
89
Sep-58 Quick Tot
Number Magic
Edmund Rowland
12
12
90
Sep-58 Peculiar Patience
Card Tricks & Routines
John A. M. Howie
12
12
91
Sep-58 Decimus
Miscellaneous Effects
Edmund Rowland
12
12
92
Sep-58 A Simple Production
Miscellaneous Effects
Edmund Rowland
12
12
93
Sep-58 Well Matched
Utility Items
Edmund Rowland
12
12
95
Sep-58 The Tip Routine
Coin & Money Effects
Ravelli (Switzerland)
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
13
1
1
Oct-58 Flight Of The Blues
Card Tricks & Routines
Francis Haxton
13
1
2
Oct-58 Reversible Knots
Close-up Effects
Edmund Rowland
13
1
3
Oct-58 Queens And Water
Card Tricks & Routines
Roy Walton
13
1
4
Oct-58 The Postman Always Rings Mental Effects Once
Leslie May
13
2
9
Nov-58 The Glass Through Coat
Miscellaneous Effects
Hans Trixer
13
2
10
Nov-58 Strictly Straight
Card Tricks & Routines
Rusduck
13
2
11
Nov-58 Food For Thought
Mental Effects
Leslie May
13
3
17
Dec-58 Autoring Escape
Ring Effects
Eddie Joseph
13
3
19
Dec-58 The Eternal Travellers
Card Tricks & Routines
Hans Trixer
13
3
20
Dec-58 The Turncoats
Card Tricks & Routines
Peter Warlock
13
3
22
Dec-58 A New Principle For The Sypathetic Silks
Silk Effects
Fred Elink
13
4
25
Jan-59 One In Three
Card Tricks & Routines
John Derris
13
4
26
Jan-59 The Meff Coin Vanish
Coin & Money Effects
Brian Glover
13
4
27
Jan-59 Colour-Number
Mental Effects
Peter Warlock
13
4
29
Jan-59 Colour-Number (cont.)
Mental Effects
Peter Warlock
13
4
30
Jan-59 “Smack, Dab In The Middle”
Card Tricks & Routines
Brian Glover
13
5
33
Feb-59 Sucker Silver
Coin & Money Effects
Alex Elmsley
13
5
35
Feb-59 Double Double
Mental Effects
Peter Warlock
13
5
37
Feb-59 Eric’s Aces
Card Tricks & Routines
Eric De La Mare
13
6
41
Mar-59 Double Thought Wave
Card Tricks & Routines
Jack Avis
13
6
42
Mar-59 The Triangle
Card Tricks & Routines
Graham Adams
13
6
43
Mar-59 Ne Plus Ultra
Card Tricks & Routines
Graham Adams
13
6
44
Mar-59 A Letter From John P. Hamilton (cont.)
Card Tricks & Routines
John P. Hamilton
13
6
45
Mar-59 A Letter From John P. Hamilton
Card Tricks & Routines
John P. Hamilton
13
7
49
Apr-59 Cigarettes to Flowers
Miscellaneous Effects
Peter Warlock
13
7
50
Apr-59 The Whispering Trick
Card Tricks & Routines
Graham Adams
13
7
50
Apr-59 Line Of Silks
Silk Effects
Peter Warlock
13
7
51
Apr-59 Any Card Called For
Card Tricks & Routines
Graham Adams
13
7
53
Apr-59 The Boomerang Card
Card Tricks & Routines
Graham Adams
13
8
57
May-59 See How It Runs!
Miscellaneous Effects
Peter Warlock
13
8
59
May-59 My Favourite Trick
Card Tricks & Routines
Graham Adams
13
8
60
May-59 You Do As I Do
Card Tricks & Routines
Graham Adams
13
8
61
May-59 A New Spelling Bee – With Card Tricks & Routines A Surprise Ending
Graham Adams
13
9
65
Jun-59 Market Harborough To Derby
Card Tricks & Routines
Francis Haxton & Peter Warlock
13
9
68
Jun-59 The Card On The Arm
Card Tricks & Routines
Graham Adams
13
9
68
Jun-59 The Card In The Cigarette (First Method)
Card Tricks & Routines
Graham Adams
Vol.
No.
Page
13
9
69
13
10
13 13
Date
Effect
Type
Contributor(s)
Jun-59 The Card In The Cigarette (Second Method)
Card Tricks & Routines
Graham Adams
73
Jun-59 Silken Loops
Silk Effects
Peter Warlock
10
75
Jun-59 A Card Discovery
Card Tricks & Routines
Graham Adams
10
75
Jun-59 The Cut Card Revealed
Card Tricks & Routines
Graham Adams
13
10
76
Jun-59 Erdnase On Mentalism
Card Tricks & Routines
Graham Adams
13
10
76
Jun-59 A Card Combination
Card Tricks & Routines
Graham Adams
13
11
81
Aug-59 The Key Of Fortunato
Mental Effects
Peter Warlock
13
11
84
Aug-59 Accompanied By The Joker Card Tricks & Routines
Graham Adams
13
11
86
Aug-59 The Sleepy Card
Card Tricks & Routines
Graham Adams
13
11
86
Aug-59 Simplicity
Card Tricks & Routines
Graham Adams
13
12
89
Sep-59 The Magic Bowl Of Bung Ho
Miscellaneous Effects
Hubert Leslie
13
12
90
Sep-59 A Routine For The Super Bill Head Tube
Cabaret Effects
The Revd. Michael Seacome
13
12
92
Sep-59 A Catch
Close-up Effects
Graham Adams
13
12
92
Sep-59 Assembling The Pack
Card Tricks & Routines
Graham Adams
13
12
94
Sep-59 A Nap Routine
Card Tricks & Routines
Graham Adams
14
1
1
Oct-59 An Indian Fable
Coin & Money Effects
Bobby Bernard
14
1
2
Oct-59 Stamp In Transit
Card Tricks & Routines
Brian Glover
14
1
3
Oct-59 Lexicon Haunted Pack
Card Tricks & Routines
Brian Glover
14
1
3
Oct-59 Gambling Routines – A Game Of Nap
Card Tricks & Routines
Graham Adams
14
1
4
Oct-59 How to Play Nap
Card Tricks & Routines
Graham Adams
14
1
5
Oct-59 Bottom Dealing
Card Tricks & Routines
Graham Adams
14
2
9
Nov-59 Ringcord
Ring Effects
Peter Warlock
14
2
11
Nov-59 Precog Five
Card Tricks & Routines
Peter Warlock
14
2
12
Nov-59 Second Dealing
Card Tricks & Routines
Graham Adams
14
2
13
Nov-59 Dealing Bottom Cards With Card Tricks & Routines One Hand
Graham Adams
14
2
13
Nov-59 Dealing Seconds With One Card Tricks & Routines Hand
Graham Adams
14
2
13
Nov-59 Jumping Jacks
Card Tricks & Routines
Graham Adams
14
2
14
Nov-59 A Dealing Routine
Card Tricks & Routines
Graham Adams
14
3
17
Dec-59 Thanks To Joseph And James
Mental Effects
Leslie May
14
3
18
Dec-59 Stamp Of Approval
Card Tricks & Routines
Jack Avis
14
3
19
Dec-59 Hugh Scott’s Double Hop
Card Tricks & Routines
Jack Avis
14
3
20
Dec-59 A Useful Card Palm
Card Tricks & Routines
Graham Adams
14
3
20
Dec-59 A Variation In The Diagonal Palm Shift
Card Tricks & Routines
Graham Adams
PENTAGRAM An independent monthly bulletin for all who want good magic
Vol.
I
NO. I
O ,
1946
Price IL
The writing of one’s first editorial is no easy task. Of how much to say and how much not to say. I do think, however, that I should tell my readers the main policy of the “ Pentagram.” Its main purpose is to presenttested practical magical effects and routines. In this sphere quality will come before quantity. Book reviews and apparatus reviewswill be given in an unbiassed manner. Many of my friends have asked me whether, because of my predilection, the “ Pentagram ” will deal only with mental magic. I should like to say here, now, that it will publish within its pages effects suitable for all types of magicians.
One issue, the February one, will be an exception, as it will be anAnnemann commemoration number, every contribution comprising new material contributed by “ Jinx ” contributors.
\f’ith a similar title I described a prediction effect in a recent copy of the B.M.S. Journal. This version is far more advanced in effect and adds a piece of worthwhile apparatus tothe armoury of the mentalist. Effect.Three members of the audience arenominated as helpers and designated A, B and C. A is handed six pieces of cardboard each a different colour and B is handed a deck of cards. The operator approaches C with a book and a knife. Round the former is a paper wrapper. C: is requested to stick the knife through the paperinto the book. The knife is then left in position and the wrapperrcmol-ed. Book and knife are left in the charge of C:. These preliminaries performed the, operator returnsto his performing position andfrom his table lifts a teacup. “ Many of you, no doubt, have hadyour fortune told in a teacup,andoneoften sees books on fortunetelling,called ‘ Your Fate in a Teacup.’ Perhaps you are sceptical, and so to-night I am going to tempt the Fates.” At this point the operatortipsfrom the teacup on to his h-ancl three folded piecesof paper, coloured respectively red, white, and blue. T o A, he says, “ This is your fate ” at the same time holding up the red paper anddropping it back into the cup. T o B he makes a similar remark,droppingthe white paperinto the cup. And, lastly, the blue paper is dropped in for C. A is now requested to choose one of the coloured cardsand hold it up. We will supposethat “ orange ” is chosen. A member of the audience is asked to make a note of the choice. B is now asked to glance through the cards in his hands, choose one, and hold it aloft. We mill suppose
that it is the two of clubs. The member of the audience isasked to notethis too. Lastly C is requested to open the book atthe place wherehe inserted the knife, and choose either page. Suggesting thatthe average number of lines on a page is thirty, C is asked to name any number between oneandthirtyandcount down tothat line. Then to say aloud the first and last letters of that line. We will suppose that the line is 27 on page 15 1 and thewords “ love ” and hate ” These too are noted by the member of the audience. The operator now .recapitulates and emphasises how with each choice the odds havebeen stepped up . six, fifty two, sixty thousand ! ‘‘ Remember,” he says, “ I said that yourfate was in theteacup.’’ He picks up the teacup and tips the folded papers on to hishand. Advancing to A hehands him the red paper, to B he hands the white, and to C the blue. Aisasked to open the paperand see what is written. He does so, and reads out Your fate is that you will prefer ‘ Orange.’ ” The first prediction is correct ! B thenopenshispaper and reads “ Your fate is that you will choose the two of Clubs ” ! Finally C opens his paperand reads “ Your fate is that you will choose line 27 on ,:age 151, and the first word of that line will be love whilst the last willbe “ hate.” The motifof this effectis that of restricted choice. In the fairest possible manner the helpers have apparently a wide range of choice.,Actually that choice is limited to forty-nine. As I consider this the main means to the end, let us discuss this first. First of allsixpieces of cardboard coloured Blue, Green, Red,Yellow,Orange
It is only by criticism that one can knowone’s own weaknesses. I do not want weakness in this bulletin, and I shall morethan welcome the opinions of its readers. I should like to conclude this very brief note by thanking all those who have beenso helpful in making the publication of this- bulletin a practical possibility;
..
YOUR
FATE IN A
TEACUP-contimced from page I
and Black (I know black is technically not B colour, but by the majority of people it is so considered). The size of thesecards is immaterial. These cardsconstitutethe only free choice. The deck of cardswhich is handed to +e second spectator consists of twelve cards repeated four times. I suggest thatfor conveniences sake thesecards shduld range fromAce to Queen, the order and suits being mixed. With this deck in his hands the second spectator ‘obviouslya n only have one of twelwe choices. En the book the use of a wrapper is to cover a slide which will forcethe knife to gobetween two previously decided pages. This slideconsistssimply of two pieces of t$h cardboard inserted into the pages required and doubledback ontothe cover of the book. The wrapper is thenputin placeand gluedh whichhasthe dduble. c e t . of pressing the pagestogetherandconcealing the slide. Figs. E and F show what 1. mean. m e book should be fairly thick and contain illustrations. I forgot tomention a couple of points regarding work to be done before the slides are inserted and the wrapper placed on. The first is that the two pages must consist of one printed page and an oppositeone of afullpage illustration. Secondly thatthe operator must take thirty-one pieces of thin blue paper (each measuring three inches by two). On t h i p of thesepapershe writes Your fate is that you will choose line . on page . and,the first word of that line willbe andthe last will The blanks. will be be filled into covernumber of page, each line and the first and last wordsinthose lines. Onthe thirty-first “billet, the operatorwillwriteYourfate is that you will choose page on whichthereis a picture of (followed by description). These pieces of paper are now folded lengthwise and crosswise, so that their final measurement is one and a half inches by one quarter of an inch. As each one is folded it is placed into a billet index which is to be described.Quiteobviouslythe chief pointisthat order shall not be lost or confused. Now forthe billet index. There have beenmany ideas put out for the accommodation of billets, but from of my own point ofview I have not found one capable accommodatingover fifty billets andgivingtrouble-free delivery. Letme describe theone I use. First of all you will wantsomecardboard the thickness of three playing cards(failing this playing cards can be stuck together giving the desiredthickness). One piece i s cuttothe size 34” X l&”andequidistant.alongitslengthare cut six pieces measuring 5/16” X 1”. Two piecesof playing card 3&” X 1” are glue respectively front and back of this comb-looking piece of card so that a piece of card with six slots is formed(Fig. B showsexactlywhat I mean). Theseslotsarecapable of accommodating billets when folded tothe size stated, so thathalf-an-inchprojects. Pieces of linentapearegluedinthepositionshownin Fig C , and a piece of thin, but strong, cardboard is cut to shapeandstapledtotheslottedcard(Fig. C again). Anotherslottedholder is made tothesame size, whilst to these sizes :othersaremade 2 c 3 34;; X l+;; 2 @ 3*,, X 2 @ 3* X 1Q” 1 @ 38” X 19” The size of theslots m each onebeingthesame.
..
..
... ...
. ..
Slips of thick cardboard 34” X 4’’aze now glued between the linen tapes withthe billet holders arranged in ascending anddescendingorderasshownin fig. D. This is an arrangement that makes for compactness. The flaps Whenfinishedthereader should all fwe the Sameway. has a holder capable of taking fifty-four billets, which for, card work, would mean the whole deck, Joker and Score Card. The index is now prepared for theeffect as f o i l o ~ :s Into the first holder are placed six red pieces of paper is writtena on eachofwhich message with 8 colourcorresponding to thesixcards. Into the next,twelvedivisionsare placed pieces of white paper carrying the namesof the twelve cards. We have already discussed the magazineandrnentioned that the thirty-one billets go intotheindexin a known order. One final point to be discussed and that is the teacup. a fair-sized cup is taken, and about half-way down a circle of cardboardfromthecentre of whicha piece of card half an inchindiameter has been cut, is jammed and stopped from moving by means of scotch tape (see fig. A). This is somewhatreminiscent of a wasp trap and if abillet is droppedthrough the holeintothecupareversal of the cup will not allow it to fall out. That is the apparatus forthe effect, andalthough it seems a lot it is all a means to an end. From the audience’s point of view there is no apparatus. The only other requirements are three slips of paper : onered, one white, and one blue, folded to resemblethe billets in the index. These are placed on top of the cardboard circle inthe cup.Withthecup,cards,and book on table,asmallpaper knifeinbreastpocket,andthe index in the trousers pocket the operator isready forthe presentation. As thethreemembers of the audience are being chosen the operator picks up the colouredcards,playingcardsand book. He advances to A, handinghimthecolouredcards. T o B the deck of playingcards is given. Moving to C , hehandshim the knife with the right hand, retaining the wrapped book in the left. C is asked to push the point of the knife through the wrapper and into the leaves of the book. This being done and making sure that the knife is well gripped, the operator holds the book and knife aloft for all to see, a t thesametimeaccentuatingtheimpossibility of anyone knowing the particular pages thattheknife would find. The operator nowmoves theknife to oneside of the wrapper and rips wrapper and pieces on card away from book. The book andknifearethenhanded to C , and the wrapper and card placed in pocket. Great care should be taken here to see that when C receives it there is no possibility of the knife slipping onto the floor, thus ruining the force. These preliminaries having been accomplished, the operator picks up the cup and tips into his right hand thethreefolded billets. The cup is thenreplacedon the table. Showing the red first he takes it with his left hand and drops it into the cup, taking care that it enters the circular opening in the card. This procedure is repeatedwiththeremaining twobillets. The operator now places his right hand in pocket opening the llap of the fake which covers the red billets. Directly A chooses his colour the appropriate billet is located and pulled out of itshiding place. Tt is not palmed,butsimply heId. A member of theaudience isasked to notethecolour. Continued on page 5
T h e reader may have come across many types of spelling tricks, and, like myself, have found that most of them had snags one way or another. Perhaps there was too much to remember, or, perhaps, there were too many ‘ ifs ’ and ‘ buts.’ Therefore I set myself the task of finding a routine that was straightforward, easily remembered, non-confusing to the audience,and would bear repetition,for, while I agree in part that effects should not be repeated before the same audience, I find from experience that spelling effects when presented once only leave the impression of a lucky fluke on the performer’s part, but, if repeated, gain ratherthan lose by such repetition. After literally hundreds of try-outs, pages upon pages of figures and calculations, I came upon what follows, and I can only hope that the reader will think as highly of it as I do myself. Or do we all think our own ‘ children ’ the best ? The performerfans out a pack of giantcards and invitesaspectator to merely think of one card he sees. When the choice has been made,performer closes the fan, remarking, “ This gentleman has merely thought of a card and at the moment it must be admitted that he is the only person who knows what the card is.Now sir, will you make me a promise ? I a m going to ask you a series of questions, and I want you to promise that you will tellme thetruthin your answers, for I intend to spell outyour answers, moving acard at a time for each letter spelled. If I succeed inthe effect, I shall be able to turn up the very card you arethinking of now.” Fromhereon the performer asks the colour of the card, then the suit, whether it is a picture card or a spot card,and, finally, asking its value, turns up the very card. Each answer given by the spectator is spelled out, even to “ yes ” or “ no ’’ when asked if it is apicture card. The routine is always the same, with no variations whatever, and in all cases the next card following the completion of the spelling is always turned up and is the chosen card. I t cannot fail. Continuing, the performer says, “ You may think I was lucky, so what do you say to a really convincing test ? I will ask a lady this time to be as awkward as she can and to chose a most difficult card. Perhaps you, madam, will kindly concentrate on one of these cards. Make it as difficult as you can, please. You have made your choice ? Thank you ! ” and, without further ado, the performer places the cards intoa small holder, backs outwards, so that he has to handlethem as little as possible. I t is a simple box affair, just slightly larger than half the height of the cards. The performer then goes through the same spelling routine, moving one card at a time from the front of the box to the baek. At the completion of the spelling the performer names the card, which, of course, has been gleaned from the spectator’s answers, and which is now known to the audience, then, pointing to the houlette, one card is seen slowly rising from the rest. When the card is almost half way out, the performer takes it cleanly from the box, brings it forward, turns it round and displays it as the card initially thought of. You will need twelve giant cards. Did I mention at the beginning that a pack of cards was fanned ? Perhaps I did, but believe me, if you fan twelve giant cards in front of an audience unused to suchthings, the twelve cards will look like two handsful. Anyway, that’s all you need. Here are the cards :--8S, 9D, 10s (or ten of diamonds would dohere), KH, JC, AS, QD, SC, SD, 7C, 8H, 9H. Theyare arranged in that order, eight of spades being on the back and nine of hearts on the face. tinderboth indexes of the nine of hearts make a
small red line. With the cards so arranged, display them face outwards, running through them in small cuts as you name them,and placing the cards cut off to the back of the packet. Thus you have apparently handled them carelessly but have not disarranged their order, for cutting the nine of hearts to the front or face, brings them back to the original order. Fan them out fora choice and then close the fan. Explain how you are going to spell the spectator’s answers, illustrating your remarks by moving a few cards one at atimefrom topto bottom. Before asking the first question fan the cards towards yourself, pretend to study them and remark “ I think I will take a chance andcutthe cardshere this time.” In any case you always cut the nine of hearts to the face of the packet, hence the small mark on the index, just to remind you. From this position, and turning the cards face downwards, you can now spell any card in the set, if you use the following questionnaire. Always askthe questions in the singular and interpret in thesingular. If you remember that the theanswer routine is perfectly straightforward. (1) Is the colour of your card red or black ? Spell red or black. (2) Is your carda heart or a diamond ? Spell heart or diamond. Is yourcarda club or aspade ? Spell club or spade. (3) Is yourcardapicturecard ? Spell yes or no. Fromherethere will naturally be a diversion, according to whether the answer IS yes or no. Suppose it is yes. .3fterspelling yes, proceed :(4) Is your card a king, queen or jac,k ? Spell king, queen or jack andturnup the next card. Suppose the answer was no. Having spelled no, proceed :( S ) Not apicture card. Then it must have been aspot card. Was your card high or low ? Remember, Sir,Eight upto Ace is high, Seven down to Two is low. I repeat, Ace, King,Queen, down to Eight is considered high, Seven down to Two is considered low. High or low ? Spell high or low. ( 6 ) How many spots on your chosen card ? Whatever the answer, count that number of cards from top to bottom, and at the finish turn up the next card. So, briefly, we have the following rules, which are always adhered to :Always cut the nine of hearts to the face before spelling ; Alwaysask the questions inthe singular and interpret the answers in the singular, as :--. Red,Black,Heart,Diamond,Club,Spade, no. High or low King, @ueen, Jack. Yes or are naturally spelled as given. Always count the number of spots given, in the case of aspotcard, moving acardfor each count from top to bottom ; and, finally, Always remember that .-Ice is high, then king, queen, jack, down to eight are high, and that seven down to two are low. That’s all ! Oh, the Rising Card Effect ? I almost forgot ! The spelling is exactly the same except that the cards are moved in the houlette instead of in the hand, and always from back to face of the packet. The chosen card is then the nearest one to the audience at the conclusion of the spelling. As to the rising effect, youwill perhaps arrange your own method. Mine is a box, the mouth of which is four and three-quarter inches by three-quarters of an inch, and the depth inside is five inches, thus leaving Continued on page 4
Those who, like myself, havehad the pleasure of witnessing Mr. Tebbctt perform this series of sleights know full well the deceptive nature of the effect produced. It is a nice interlude and makes a welcome change from alighted cigarette production. The onerator nlaces a hat onatable and standing right side io audieke raises his left hand back towards audience. It is closed into a fist, andthen acigarette is slowly seen to emerge at the top. The right hand removes this cigarette depositing into it the hat. T h e production is repeated some half-dozen times, and with the taking of the penultimate cigarette from the left hand, any theory that the right hand deposits a cigarette in the left hand under the process of removal of the produced cigarette, is disproved as the right hand is, without audible comment shown to be quiteempty.
n
T h e requirements for producing the effect are few, just a hatand six or seven cigarettes. One of these cigarettes is in a clip on the left side of the operator, whilst the remainderare in a position for easy acquirement by the right hand. A hat,either the operator’s or one belonging to a member of one’s audience should he available. The righthandobtains possession of the half dozen cigarettes andinthe action o f placing the hat on the table, loads all hut one into it. The remainingone is thumb-clipped. Whilst thehat is being placed onthe table the left hand has obtained possession of the cigarette onthe left side. Turning right side tothe audience, the operator raises his left hand, fingers outstretched back to audience and closed into a fist. Withattention directed by mannerism or patter towards the left hand, a slight upward movement of the left thumb inside the fist causes the concealed cigarette to rise. When a couple of inches of the cigarette
. ..
S U P E R
S
..
P E L, L E
R-continued
is visible, the right hand approaches the left to remove the cigarette. Now comes one of the vital moves. As the tips of the first and second fingers of the right hand reach to take thetip of the exposed cigarette, the concealed thumh-clipped cigarc tte in the right hand enters the left fist (Fig. 1 shows the cigarette by means of a dotted line). In synchronisation with the taking of the cigarette from the left hand by theright and under cover of the latter, the thumb of the left hand guides the intruderinto the position for the next production (Fig. 2 shows what happens, the right hand not being shown). The right handapparently places the first Cigarette into the hat, actually leaving the latter with the cigarette thumbclipped and ready to repeat the move which is done once more. With the apparent production of the third cigarette the left hand turns over to the position shown in Fig. 3. The righthandthis time approaches with the concealed thumb-clipped cigarette, and takes thetip of the exposed cigarette as in Fig. 4. In removing the cigarette from the left hand, it is turned over on the hand in an upward movement, and as the left hand fingers open to release it, Jhe thumbclipped cigarette in the right hand is left in its place. The right hand carries through its upward move ment and the left hand turns back tothe audience for next production. The right hand now apparently places the produced Cigarette into the hat,butthistime picksup anotherand comes away with two thumb-clipped. After the production of the next cigarette, the right hand leaves the two thumbclipped cigarettes inside the left fist. The left hand thumb nom pushes up one of the cigarettes, and in approaching the left hand to remove it the right hand is seen to be empty. This should be a s unostentatiously as possible. as possible. The right hand drops this cigarette into the hat, and as a finale picks up the latter. The final cigarette rises from the left hand and is dropped in to the hat which is held underneath.
from page 3
two inches of the cards standing-out.Inside the box is a small metal bar, made in theshape of a trough or channel, and this slides in grooves cut in the sides and near to the front of the box. These grooves, one on each side terminate about half-an-inch from thetop of the box, thus giving a rise of just over four inches. The ends of the bar are drilled to take two threads, and these threads pass upthe grooves mentioned, out through small holes at the top front corners, thence along the two narrow edgcs of the box and down the back to a small rising motor attached to the back of the box. T h e threads pass through
one eyelet in the ctntr,: of thc back, thus gathering the two threads together as one for the motor roller. For the spelling, the cards 80 back outwards, behind the metal bar, and as each card is spelled it is placed at the back, pushing the other cards slightly forward each time. As the last card is spelled and placed at the back, the now front card, the chosen one, is eased slightly forward and into the metal channel, and the motor started up. If a motor is not available the anchoring of the threads to the table, the performer picking up the box and causing a tautening of the threads would achieve the same object,
hlr. Sellersinthis effect hasproducedsomething which is hard to find an impromptu effect capable of stage performance. EXfect,-Three hatsareborrowedand p k e d ina row on atable. The operatorthentakesasquare of white tissue about a foot square, rolls it into a ball and dropsintotherighthandhat.Another piece of white tissue is similarly treated and dropped into the left hand hat.Lastlyasquare of redtissue is rolled intoa ball and dropped into the centre hat. Duringall this procedure the operator is careful to let the audience see that nothing but the paper balls go into the hats. The hats are then movedaboutandtheaudience asked to say whathat the red ball is in. Needless to say theyarewrong,not once, but repeatedly so. The requirements for this effect are simple . just the borrowed hats and four tw~lveinch squares of tissue, three of which are white, the remaining sheet being red. Prior to presentation, the operator screws up one piece of white tissue into a ball and drops it into his left trousers pocket. The remainingsheets of paperare placed on his @Me. Presentati6n.-Havingobtained possession of the white ball of tissue with his left hand, the operator asks for the foan of three hats. The request being answered, h e takes “dre first with his right hand and passes it to the left whicir takes it in such a manner that the ball of tissue is held aga*mst insidebandand covered by the fingee, thumb, of cause, is grippinetheoutside of the brim. The hatshould be held crown towardsaudience. The next hat is taken by the right hand and again passed to the left, which, by temporarily releasing the grip of the thumb, takes this hat and holds the two brims together, so thdt in effect one hat is on top of the other. The third hat is taken by the right hand and the operator returns to his platform. The hat he is holding.fitli his right hand is placed on the table to the operator’s right. The right hand. takes the topmost hat from the left hand and places i t on the left hand side of the table. The left hand now allows thecrown todropand released thegriponthe
...
..
Y O U R FATE IN A TEACUP-continued
B is now asked
whiteball of tissue whichnow drops into the hat. The right hand takes this hat and places it between the other two. From the audience’s point ofview three hats have been borrowed and placed ontheoperator’stable. The sequence of moves has given perfect cover for the load. The pieces of’tissue arerolled at thefinger tips and dropped intothehats. The positionbeingthat each hat has a ball of white tissue, the centre hat having a ball of red tissue as well. T h e hats are moved about and audienc: asked to state the :hereaboutsof the red ball. Oh, no, says the operator, you are wrong,” and, carefully showing his hand, reaches inside the chosen ht, takes the white ballwithhisfingertipsand finger palms thered .b l!: He withdrawshis hand saying,inanartlessmanner, I told you.” The white ballis dropped back into the hat and reachinginsideone of theotherhats,theoperator brings the finger-palmed red ball to &,finger tips, saying, “ You should watch more carefully ! The red ball is now dropped back into the hat from which it was apparently taken, and showing his hands to be quite empty, he places each hand in the mmining two hats and brings out from each awhite ball. Heoffentorepeatthe effect. The hats are again moved about and with a similar procedure on the part of the operator, the audience are wrong again. Once morethe effect isrepeated,butatthe finish the procedure differs slightly in this way : w e n the operator goes tothehatfromthe red ball, he finger-palms the white ball, the hat is then taken by the .brim with the left hand and allowed to swing down so that the audience p n see that it is empty. The red ball is thrown inside, leavmg the white ball still finger-palmed. The righthand now takes the hat from the left and the white ballis held under the brim completely concealed by the fingers of the right hand. The left hand now picks up one of the other hats and holding ahove thehatcontainingthe red ball lets thewhite ball drop mtoit. This is repeatedwith the other hat. The right hand now t u r n the hat over, allowing the three balls to drop on to the table. The fingerpalmed ball can be retained during the return of the hats and then pocketed.
%
from page
to glance through his cards,
choose oneandname it. Again- theappropriatebillet is withdrawn and the card noted. C is now asked to open the book and chooseeither page. If itistheprinted page h e is then asked to choose a line, etc. The last billet is found whilst either the words or picture. ace being noted. At this stage the operator has three billets in his hand ; they should be in a light finger palm position, as the hand leaves the pocket. There is a recapitulation, the left hand picks up the cup at the same time there is a raising of the
right arm and in a natural way the cup is turned over on totherighthand.Nothing, of course, leaves thecup, but as the right hand is fullyspreadtheappearance of thethree finger-palmed billet is perfect a deception. ‘I’he cup is replaced on the table, the billets opened and read thenCurtain. Manufacturingrights of theabove-describedbillet by hlagikraftStudios. indexareheldinthiscountry Arrangements are also in hand for its mamrfacture in the L’mted States.
.. .
STOP PRESS : MAGICIANS’ CLUB. As w e go to press we hear from our friend Tom Harris that Mr. WILL GOLDSTON is staging a series of SUNDAY EVENING SHOWS at the WINDMILL THEATRE. The first of such shows to be held on SUNDAY, 27th OCTOBER, 1946. Mr. Will Goldston no doubt will he able to supply further particulars on application.
ll/@ per year, post free, from t “GREENBANKS,” BRAMCOTE, NOTTS., or from your dealer 1/1 per copy, post free
::
THE MAGIC WAND
GOLDSTON’S BEST 1s THE WORLD’S BEST
...
Novkl Linesarenowinstock
Thefollowing
,a& %iiahi. REVIEW (famousfor FOV~Yyears) October issuenow on sale containssix entries for the Mental Magic Cobpetition andmore more GOOD MAGIC by the Fwmost Writcrs. Per issue 318 f i s t paid ; Annual Subscription 1416 post $aid
QEORQE ARMSTRONB, THE MAQIC WAND PUBLUHINO 11 MONAWERY
TheCharmedDial,Ribbonsand Box, 35/The “ Best-of-all ” ProductionBoxes,60/Cardbox (a la The ‘‘ Jewel * * Brass Roterberg), 30/The Brass “Wonder * * Box (a la Bartl), 25/TheMetalChangingBOX, .10/6 The ‘ Aladdin *’ Fake to produce -12 Coins singly from fingertips,6/6 Gold PlatedPalming Coins, 2/6 per dozeit 6-foot SpringSnake, 1716 Cabbage, 4/9 Monstra .Banana, 4/9 BangPistol.withsilkbanner, 22/6. PleaseNote : thz ahgte triuks weredetnonstrated the I.R.M. Conoention last month. postage extra on all xoods ~-
WILL
GOLDSTON
’
....
LONDON, W.C.2.
Conjuring Books for Sale No Callers
47
GEORGEJENNESS Inverness Avenue, Enfield, Middlesex
MAGICAL BOOKS. & MSS;, Etc. Available on 3d.
Loan.
Stamp for Lists
F.ROBINSON, Magician, STATHERN, MELTON MOWBRAY, LEICS.
at
Mrs. LAURA WUBEY wouldlike it known that she is stillcarrying on herhusband’s business at the same address . ” DORCHESTER,” Turner Road, NEW MALDEN, Surrey
LTD.,
..
Leicester Square Phone : WHI. 3304
JAMES,,GRAYSON
.
OLDANDNEW. Let me knowyour wants LISTFREE FOR STAMPED ENVELOPE
(first floor suile), 14 Irving Street
0 0 ,
QARDEFJS, ENFIELD, MIDDLESEX
Welcome
to the Pentagram
@‘ Your Books am the mod valuable guide that havo ovor km to mrni ulation
~ o mis a r n ~ ~ otn r
and our best wishes for its success. W e lookforward to making new friends and clientsthroughitspages. Like the Pentagram,
writton;
23 GREENFIELD AVENUE,
A - e z effects being regularly produced. -4re you on our mailing list ?
Board Covers lO/- ; De-Luxe Cloth Bound edition, autographed l+. From your Dealer, OY post free from the Author,cjo. :
GILDERSOME, Nr.. LEEDS
MAGIKRAFT STUDIOS
Maker of Highklass Magical Effects, Stage Illusions, etc. PhoneorTelegram
MORLEY
:
899
Address :-
MAGIKRAFT STANDS FOR THE BEST IN MAGIC
(ERIC C. LEWIS)
Nearly 30 yearsinthe
66
husigess
IT 9,
32 VERRTON STREET
NORTHAMPTON
HENRI “C.,
my list of exclusive effectsthat also contains useful hints and tips for magicians. Send Id. in s t a m p s to :
‘‘ ZAHAREE ,” Magician , 16 & 18 Watts)Place CHATHAM KENT,
DEIEEVAH
BUS.,
1BM.r S S M C
The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call at his studw :l CLARENCE ROAD Harborne, Birminghamli
Magic, and all am quit0 so reads Ron.Lamson’s unsolicited testimonial to Edward Victor’s latest book
. . . . .
“
FURTHER MAGIC OF THE HANDS * *
BAYARD GRIRISHAW, The Bungalow, Castleton House, Rochdale Stamped envebpe brings prospectus
THE MAGIC CIRCLE President : His Grace the Dukr o?Somerset D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglu Gnl[gs, Eq., M.I.M.C. Clubroomand Library and Musewn : ST. ERMIN’S HOTEL, CAXTONST., S.W.1 Magzcal Theatre : KlNQ QEORBE’S HALL, W.C. Partaculars from Hon. Sec.: Franczs White, 39 Alverstone AV.,Wimbledon Park,S.W.rc)
S
THE CORNISH PIXIE from your dealer or :
John’s
Wolverhampton,
Square, England
AMERICA :Two dollars for a y 4 numbers
“Put the Milk Baxck” A smashing finish to your Evaporated Milk routine. Put the milk back into the same lug in anamusing and mysterious manner. ChrisVan Bern, Jackle Dair, Chris Charlton and others say it is excellent. Full instructions and suggestionsforpatter 816 from . . . KEN BURROWS, WOODFORDRD.,HUCKNALL,NOTTS.
I INSTITUTEof MAGICIANS I Founded 1334 President : A. Zomah. Hon Sec . Oscar Oswald 102 Elmstrrb AveWembley Par; Middx. H.Q. and L*,a(;: NO. 2 H a d court (Victory Club), High Holborn,W.C. MEETINQ EVERY THURSDAY 7-11 p.m. VlsltmgMagmansalways welcome. Your membership cordiallyinvited-drop aline to theHon. Sec. forliterature.
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
7
PENTAGRAM An independentmonthlybulletin
Vol.
I
No. z
N!iwemh, 1946
Magic Welding has in my humble opinion never been correctly solved. First came the Mirror tumbler are dropped into this and then the tray . . . as all the apparatus in this connection has been sold by now I feel I am doing no harm by describing method a which I have found to be far superior.
Effect. Assistant and operator meet centre stage-assistant holding doubled Eve‘ning Stand or any small newspaper . . operator has a glass dish containing the links of a chain. With patter in or silence the operator drops the links one by one into the double newspaper . . . this haying been done the assntant pours the links back into the glass dish . . operator tosses the “ links ” into the air and down comes a chain . paper is tornup.
.
.
..
Working. Fig. A will show you that a pocket is pasted to one side of thefront page. The assistant holds the paper doubled and when centre stage, faces the audience. When the Magi prepares to drop the links one by one intothe paper the assistant turns and faces him . at the same time pulling
..
for all who want good magic Price One Shilling
the flap open with his right thumb, Fig. B. compartment.
All the links
When the assistant poursthe “ links ” into the paper thev actuallv stav behind. and a chain. which is hidden in between’ the dcentre sheets of the paper, poursinto the dish. The links now become a chain . . after catching and showing . it, the operator drops the chain in tothe paper and theassistant begins to exit . . as an afterthought the performer calls him back, takes the doubIe paper with one hand and gives the glass dish the to assistant.
.
.
Now the Magi from pours the other end (which 1s automatic) (Fig. C) and both lmks and chains come out together. The assistant walks off casually lifting one . end of )he chain anddroppiting back into the dish . the performer with an “ Oswald Williams ” smile tears the paper up
.
.
...
Try this now I
8
With the advent of Scalbert: Mystery. of the SeventhCard, there has beena greater interest shown in two person card discoveries with the medium atthe end of atelephone or outside the room where the action takes place. During myArmy career I made use mainly of two metho$, both of which are described in Patterns for Psychics.” Atalater stage I used Geoffrey Scalbert’s effect, and on one occasion finding that I wanted something similar in effect but entirely different in method, I devised the following which I have found extremely effective and have used ever since. “
the
After shuftiing a deck of cards the operator asks for the assistance of two of his audience, whom we shall call “A” and “B.” A is cut asked to deck into two heaps, choose one, and pick it up. T h e remaining heap is handed to B, who is now requested to deal seven cards face down intoa heap onthe table. A is now asked to spreadhis cards also face down on the table andthe totouch one card and push it out from the rest. He is handed an envelope and told to place the card inside without he or the audience glimpsing it. This envelope is now placed onthe table and the operator picks upthe heap of seven cards. Talking of ocoultism andthe mysteries of the seven stars, he places the seven cards in a circle around the envelope. After a moment or two of deliberation, coupled with more accent on the seven motq, the seven cardsare picked up again and handed to B, who is asked to either ’phone or take the cards to the medium. the If ’phone is used the medium simply asks him to name the cards he is holding. He does so and she names a card. Returning tothe table he states the card shehas named. The envelope is opened by A, and the card named is found the be one to selected I T h e requirements for the effect are simply a deck of cards and an envelope. The deck is stacked in the order bestsuited tothe operator, the following cards being abstracted from the stack :The Joker, Jack of Hearts,King of Diamonds, Ace of Clubs, Two of Spades, Four of Hearts and Eight of Spades. The method of coding is very simple but subtle.
It is easily realised that the value of any card can be transmitted by the ace, two, four and eight in combination or by themselves, i.e., An Ace represented by the Ace. 2. A Deuce do. A Three do. Ace 4. A Four do. 4 A Five do. A Six do. 4 4 A Seven do. 8. An Eight do. 8 A Nine do. 8 A Ten do. 8 A Jack do. 8 QueenA do. 8 A King do.
+ 2.
+ Ace. + 2. + 2 + Ace. + Ace. + 2. + 2 + Ace. + 4. + 4 + Ace.
That is the codin@ for value. We must now deal withwhat I call the stopper card-the Joker. The functioncard of thiscard is to show the completion of the value, i.e.,an Eight andan Ace, followed by the Joker would indicate a Nine . a Four and a TWOfollowed by the Joker
.
would indicate a Six, and so on. Now for the method of suit coding, and it shmld be mentioned thatthe suit is indicated before the value. If the first card before the value is the King of Diamonds lastcard of the seven is andthe not theJack of Hearts, the suit is Clubs. The Heart’s suit is indicated by the first card being the Jack of Hearts, the King of Diamonds also being anywhere but last. For Spades, the first card is the King, followedby the Jack, whilst for Diamonds, the Jack is followed by the King. Now supposing that the operator wishes to code the Queen of Diamonds, the seven cards would be in this order (showing end of value). Jack of Hearts, King of Diamonds, Four,Eight, Joker followed by remaining two cards. At this point I should like to emphasise that suit with the of clubs and hearts if the unwanted card court is placed attheend, and over the ’phone thesender reads cards face up instead of face down, the receiver might get the wrong card. With Clubs or Hearts,the unwanted court card can go anywhere among the value or other cards and is simply ignored by the medium. This seems ratheralengthy explanation, but with cards in hand, the reader will find the whole thing very simple indeed. T h e seven cards in the first-named orderare placed on top of the stacked deck. This is placed in a handy pocket, the envelope to be used being placed in another. Thus set the operator is ready for the .
. .
Presentation. After already having performed a psychic effect, the operator removes the deck from his pocket and gives it a very casual shuffle, which, needless to say, is false. Even if the operator only keeps cutting the cards (provided he makes sure that at completion the seven cards are at thetop) there is no occasion for suspicion in the audience’s mind that the operator is using an arranged deck. If the eflect is presentedinthe correct way playing cards are simply symbols and not the mainstay of conjurors. The deck is now placedtheon table and A is invited to cut it into two heaps then choosing one. It is almost a hundred to one that he will choose the heap not containing the seven key cards. If he should, however, and not B, he is asked to deal the seven top cards on to the table, the remaining cards being handed the toother helper who is asked to spread the cards face down in a row, touch and then push out one card. The envelope is removed from the pocket and the chooser of the card asked to place the face down card inside. This envelope is now placed on the table. The operator turns to the chooser of the card, and at the same time turns the cards on the table face up, remarking l ‘ You see, you had a pretty good range of choice.” This allows the operator to see the cards above or below the chosen card and because of the arrangement knows its value. The seven cards are picked up and very deliberately criss-crossing this way and that and with appropriate occult patter the cards are arranged in the order which will give the name of the selected card. (The operator having placed these cards in a circle must, of course, remember the starting point.) A slight pause precedes the picking pp of the cards and then handing them to the spectator with the request that he ’phones the medium. The order of the cards give her the name of the in the envelope. She tells the caller thisand the assistant returnstothe table ;the envelope is opened and the medium proved correct. T o my mind the fact that the card is not known gives suspense to the effect.
9
In this issue, myfriend Douglas Francis describes false an excellent version of “ Do as I DO.” Initthe lift is involved, and because this sleight so often becomes a major operation with many conjurers, I am describing my own false lift which gives anaturaldouble,treble or quadruple lift with the minimum of effort and preparation. From the audience’s point of view, acard is taken from adealing position. The illustrations will assist the reader in making everything quite clear, providing that he has a deck of cards inhis hands. First of all the left hand holds the cards, as in A. The deck should be pressed well into the ball of the thumbandthe little finger applies enough pressure to nearly, butnotquite, buckle the cards. With good quality cards the positioning is instantaneous. The right hand approaches and as seen m B, the right thumb meets thetop of the deck nearly twothirds of the. way down, tip the of right first finger pressing against, but not downwards on the corner of the top card. This position IS difficult to describe, but the corner of the top card should be
in such a position to be lifted by the tip of the first finger. Actually the first finger tip starts to lift the corner, and when only about one eighth of an inch from the deck, pressure is applied to the next card and both cornersare lifted. At the same moment, the right hand thumb slides up the card to meetthe first finger. The two cards are now pulled forward tothe position shown inC, and turned over to be held by the thumb and first finger of the left hand as shown in D. The cards are now taken by the right and hand turned face down the on deck. The not top card is taken off by right hand the more in usual way (because to my own way of thinking there IS no rational reason for turning card a over on top of a deck with the right hand, leaving it there thenand removing it with the same hand), but is pushed off face downthe toon table with the right thumb. For triplicate or quadruple, lift the operator in )h” process of liftthe ing first and second cards will have no more difficulty in feeling PW. for the corners of the suceeding cards.
PerhapsI am asking fortrouble by inflicting yet another effect of thistype uponthe magical fraternity. Undoubtedlythey seem almost as plentiful as versions of theFour Ace Trick these days. However, in view of the fact that I consider this to be a little different from the usual run of such effects, in addition to being direct and clean-cut in action I trustthat you, dear reader, will forgive me.
to do likewise with the performer’s spread. Both lots of cards are now squared up. Spectator turns over the top card, that is the one you removed and placed there, and it is, say, the Six of Hearts. The operator turns over the top card of his pile and it is the Six of Diamonds ! Truly a strange coincidence, but more is to follow. Operator picks up spectator’s pile and fans it face up for a momentbrief to show that the cards really are all different. He then closes it and has spectator spread it again upon the table face down. Now he shuffles his own pile and places it face down on the table, after which he picks two cards at random from the face down spread. They are, say, the Eight of Hearts and the Jack of Clubs. Operator remarks “ You notice thatone of the cards is anEight value and the other is of theClub suit. Would itnot be a remarkable coincidence if thetop card of my pile was the Eight of Clubs ? ’’ The top card, is turned and it is !
In the first place, unlike the usual coincidence effect, only one pack is used. The effect uponthe onlookers is as follows :The operator s h d e s the pack, cuts it in half, retains one half and hands the other half to the spectator who has volunteered to assist. Each now thoroughly shuffles his respective half, after which theyare ribbon-spread face down across the table. The operator now reaches over and removes a card at random from the spectator’s spread and places it ontop. The spectator is now requested
...
continued on page
11
10
My oldfriend, Peter Warlock, having asked me to write something for his new paper, I agreed provided he suggesteda topic. T h e responsibility forthe following rests,therefore,entirelywith theEditor ! " Is Magic an Art ? " The question has been asked before and answered in different ways. As Joad would say, " it depends upon what you mean by Magic." Dear old Charles Larson, who used to collect magical apparatus as others, myself included, collect postage stamps, would look lovingly at a good piece of magical equipment and say " That's a fine piece of magic ! " Definitions are usually unsatisfactory and inadequate but-" Magic is the performance of the incredible "-may be wide enough to embraceall forms of magical presentation. T h e point is that magic is not themaking of apparatus, the invention of tricks, the devising of presentations, or the planning of acts, but theactual performance of apparent impossibilities, of the incredible.
Having decided ?!ut we mean by Magic we can return to our question, Is Magic an Art ? " and, again as Joad would say, " it depends upon what you mean by Art." There aremany people whoappear to think that all forms of representation, and particularly pictorial representation, are Art, so that for them Art is all- embracing and covers every kind of drawing, painting, carving, and poker work, notto mention art-needlework and art-photography. If we acceptany such catholic interpretation of the meaning of Art there is no need to carry our discussion a single step further ; for then, of course, magic is an art, like golf, billiards, forgery, juggling and tiddli-winks. But Art is something more than that. If I were rash enough to attempt to define the meaning of Art I should say that it is any form of representation that stimulates the intellect and the emotions, that makes one both think and feel. Now, if Magic is the performance of the incredible it is obvious that it is a kind of acting, and, if acting is anArt,then so is Magic. It hasbeen maintained that, since the essence of art is that it is creative and the actor creates nothingbutan impression, acting cannot be an Art. Butdoes the painter orthe architectcreatemore than an impression ? We know that the picture orthe
On every occasion when I have performed this effect and conjurers have been presentthere has been general commentonthe beauty of this effect. Some have even credited me with its origination ; I cannot recall the name of the originator but believe it appeared in the " Seven Circles " Magazine.
Effect. Into an examined tumbler the operator places a mauve coloured silk, on top of the latter he places an orange silk, and thenover the mouth of the glass he puts a green silk ; this being kept in place with an elastic band which has the effect of making a drumhead. Holding the glass at the finger tips of the left hand, the right hand is placed underneath and the mauve silk is apparently drawn throughthe bottom of the tumbler. Elastic band and green silk are removed showing only the orange silk left in the tumbler ! Requirements. One tumbler and three silks, mauve, orange, andgreen, respectively. T o one of the corners of the mauve silk a piece of thin, but strong black thread about four inches long, is attached. Two or three knots are tied at the free end, and a little conjurers' wax is
building actually exists in space but it exists in our minds only throughthe impressions conveyedby our senses. T o a blind man the art of painting has no existence except as a subject for intellectual speculation. If the actor can portrayhispart so as to stimulate our intellect orour emotions he can claim to be an artist. If the magician can portray his part in the same way he also can claim to be an artist. The difficulty with magic is that it possesses very little intellectual stimulation and that it leaves the higher emotions quite unaffected. For this reason magic can never take a very high place amongst the Arts. (It IS interesting to reflect that for the same reason, its lackof emotional appeal, magic fails to rank amongst the most commercially successful forms of theatrical presentation.) But if a magician can, by his acting, convey a real impression of the performance of the incredible he can claim to be an artist, not a great artist perhaps, but at least a minor artist. Magicians of this calibre are not very common. There hasbeen, unfortunately, for years, an agitation for making magic entertaining. It would be betterto agitate for making magic magical. Ido not think David Devant ever worried about making magic entertaining. He put all his fine talentsinto the job of making his magic real. Cardini putshis whole mind into the business of portraying the character he actsthe slightly fuddled dude who is under a magic spell, and has no need totryto be entertaining. These two have been the' greatest artistic successes in the magic of this century, and I understand Cardini has not done so badlyfinancially also. Les Levante once told me that as a young man he used " humorous patter " in the customary way of '' making magic entertaining," and that it got him nowhere. When he came to years of discretion he dropped the wisecracks and concentrated onpresenting magic simply as magic. The Levante show toured Britain with consistent success for three years, and Levante now plays golf in his native Sidney, enjoying the leisure earned by magic presented as magic. "
often
Is Magic an Art ?
'' ! !
"
I answer
"
Yes, butnot
wrapped around the knots (this is the only thing I have added to the original, but it makes forbetter working). With an elastic band, the tumbler, and 'three silks beside it the operator is ready for the . . .
Presentation. Ask aspectator to have a look at the glass. Taking it back with the left hand the operator, with his right hand, picks up the mauve silk so that the threaded corner is held whilst the remainder of this silk is poked into the glass. The thread will remain outside, and as the operator calls attention to the position of the mauve silk he also presses the wax ball against the side of the glass so that the thread is anchored. The orange silk is now placed on top, and thenthe green silk is placed over themouthand secured by the elastic band. The green silk is lifted to show the relative positions of the silks, and then taking the tumbler with the tips of the left fingers, the right hand comes under the green silk, frees the waxed end of the thread, and with a quick action pulls the thread. This has the effect of pulling the mauve silk up the inside of the tumbler and then down between the green silk and elastic band. T o the audience the silkhas been pulled through the bottom of the tumbler !
11
First of all I should like to express myappreciation to all those well-wishers and critics whohave written to me aboutthe first copyof the “ Pentagram.”Many of the suggestionshave been noted and a few incorporated in this issue. T o those who have spoken or written to me regarding the question of the odd page when binding copies, may I say that to a binder the odd sheet makes little difference, as those whohave had copies of Hugard’s Monthlyor the “ Jinx ” bound know. I hope that in a few months’ time that the addition.oftwo more pages will enable me to use a larger type. At the present, paperis still‘a difficultyboth in quantity and quality. One point I should like to raise is that of answering letters. Believe me,I wouldlike to answerevery letter at the same time that I receive it, but it is a physical impossibility, and I can only attack theminrotation. To
***
*****
those whoask whetherI havebooks or magazines for disposal, I am afraid my answer is that I have not, as I am a collector in a small way. In this issue it gives me greatpleasure to publish effectsby RobertHarbinand Douglas Francis,whilst from the pen of Wilfrid Jonson comes a timely article on much a debated subject. The December issue will contain contributions from Robert Harbin, Stanley Collins, Charles Harrison,Wilfred Tyler and Geoffrey Buckingham. The latter’s contribution will be the first of two instalments describinghisremarkableversion of that great classic, ‘‘ The Aria1 Treasury.” Lastly to those whohaveasked forthemeaning of Pentagram,” I give the Oxford Dictionary definition :“‘A five-pointed star formed by producing the sides of a pentagon until they intersect ; formerlyusedas a mystic symbol.” Occultists know its earlier name was Pentalpha. “
** *** ****
PENTAGRAMGRADING : (Fivestars)-Outstanding. (Fourstars)-VeryGood. (Threestars)-OfPracticalValue. ( T w o stars)--n/oReason for Publication. (Three Star) Grading. A l l the Books under review this month came under a SIMPLY WIZARD by Goodliffe (Publisher Goodliffe, THUMBS UP ! by John Kenyon (published by Goodliffe price 14/- ) price 5 / 6 ) This is a very readable book written by the well-known Goodliffe sets a good standard for printing and Editor of ‘‘ Abracadabra.” Within its hundred-odd pages, illustrating and this is no exception. Within the forty-odd he sets out to describe several effects which not only are pages, John Kenyon sets a device in search of some tricks. all stage tested but have audience appeal.An author That he is successful to a degree there is no doubt, even if who is a practical magician should know his own audience, it is the magic of the single stick rather than the rapier. but whether asin one effectwhen a denture is used we Few conjurers I think would adopt his method described just wonderwhetherthis wouldhave general audience forthe handkerchief andsoupplate, forcingthemselves appeal. As no complicated mechanisms are involvedin to use a silk, one wouldsay, about sixinchessquare. any of the effects one can see that the mechanics are foolAt the price asked, however, it is a good buy. proof. The inclusion of his ‘ Leg Chopper ’ effect (which * * X we do hope will end all choppers) is to those whomake their own apparatus, a good return for the moneyasked REPRINTS. for the book. We 1iked‘;the production box attributed to The following have been rec$ved :Don Calvin, and also Goodnight.” Gerry Findler’s “ Watch m e Closely,” and Be Deceived,” both article on the voice might bewell taken to heart by a number by thelateLouisLam,andpublished by Davenports of conjurors. ‘‘ The Impressionable Joker,” by Fred at 3/-. Both are good value, especially for an experienced Payne (apsychic butnot mental effectplease) is good. conjurer. It is apitythatalittleediting was notdone Twenty-one pages aretaken up by adescription of the and that terms like double-shift €or “ double lift ” were late Brunel White’s Dove Act. This is exceptionally adjusted. well routined and to a would be variety aspirant a chance From George Johnson come “ Modern Sleights ’’ t o be different. The book is capitally illustrated by and “ SlowSleights,” by Brian McCarthy. A desire ‘ Dennis,’ well printedandboundina serviceable linen for afurtheredition, plus thereputation cjf theauthor binding. There is, thank goodness, spine a title. is sufficient recommendation. They are priced at 3 / - each.
DUO COINCIDO-continuedfrompage
g
Method. The effect isfar in excessof themethod used, which is of theutmost simplicity. It can be performedwithany borrowedpack atamoment’s notice ; it only being necessary to get two cards of a kind, say the two red Sixes, one on the top and the other on the bottom of the pack. T o perform, give the pack a vigorousfalseshuffle, retainingthetopandbottomcardsin position. Cut the pack and give the bottom half to the assisting spectator, crimping the lower lefthandcorner of thebottomcard as you do so. You each shuffle your cards, the spectator’s shuffle beinggenuine, but your’sbeing false, inasmuch as you keep the top card in position. Bothhalves arenowribbon-spread facedown on the table.Youreachover andapparently select acard at random, but really you quickly locate the crimped card whichyouremove and place ontop of thespread. The spectator now does likewise with your spread, taking any card he fancies and placing it on top of the spread. Both heaps of cards andnowsquaredup. You doublelift
the two top cards of your pile and reveal, say, the Six of Hearts. Heturns overhis top card and reveals the six ofDiamonds.Could anything be simplerand yet so immensely effective, as a trial will show. The second part of the effect is equally simple. When the spectator removed the card from your spread you took ample opportunity to note what it was, say it was the Queen of Spades. In fanninghiscards ostensibly to show that they are all different, you look for a Queen and any Spade andnotetheir respectivepositions.Youwillfind that this can be done in a second after a little practice. Close the fan then place the cards in a face down pile in front of him and ask him to spread them once more. Hitherto, the card you revealed in the first part of the effect, really two cards, has been replaced on top of your pile, the top card being the Queen of Spades. Falseshuffle your pile, keeping this card in the same position, and then place it facedown onthe table infront of you.All that now remains is toremove the two cards, positions of which you noted,apparentlyatrandom,fromthe spectator’s spread, patter along the lines given in the effect and turn over the top card of your own pile for the climax.
12 THE MAOlC WAND and MABICAL REVIEW Next issue published December 1st. Forty-eight pages crammed with outstandiq kiddies’ effects.Also six entries in the Mental Magic Competibon. Profusely illustratedwithphotographsand drayings. Make sure of yodr copy by ordering now. Per i s s w 318 postpaid ; Annual Subscription 1410 post paid
I
MAGICAL BOOKS & MSS., Etc.
1.
Available on Loan. 3d. Stamp for Lists F. ROBINSON, Magician, STATHERN, MELTON MOWBRAY, LEICS.
QEORQE ARMSTRONB, THE MAQlO WANDPUBLISHINQ CO., 11 MONASTERY BARDENS, ENFIELD, MIDDLESEX
Mrs. LAUBA WILBEY
Conjuring Books for Sale
would like it known that she is still carrying on her late husband’s business at the same address “ DORCHESTER,” Turner Road, NEW MALDEN, Surrey
OLDANDNEW. LISTFREEFOR
Let me knowyourwants STAMPED ENVELOPE No Callers GEORGE JENNESS 47 Inverness Avenue, Enfield, Middlesex
JAMES GRAYSON Maker of High-Class Magical Effects, Stage Illusions, etc. PhoneorTelegram MORLEY 899 -~
Address
I
ADVANCE NOTICE ! !
F
orthediscerning magician. Magic bv craftsmen. Our lists arefree, and detail many kiddies’ and adult effects.
I
:
...
:-
23 GREENFIELD AVENUE,
MAGIKRAFT
GILDERSOME, Nr. LEEDS
32 VERNONSTREET
Nearly 30 years inthe
hsiqess
NORTHAMPTON
HENRI MMC.,
ATTRACTIVE DISPLAYED LISTS BOOKLETS MANUSCRIPTS Ltt u s know your requirements
-
-
-
FIELD 42 Alderson Road,Sheffield 2 C .
SSMC
invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his studlo :l CLARENCE ROAD Harbome, Birminghamli
ZAHAREE,” Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept.
IBM.,
T k Friendly,Magician
my list of exclusive effectsthat also contains useful hints and tips for magicians. Send M. in &m@ to : “
DE’SEEVAH
EMS.,
ALL THE ABOVE ADVERTISERS’ OFFERS ARE ENDORSED B Y THE “ P E N T A G R A M ” WHICH SHOULD BE QUOTED WHENREPLYING
1/1 per copy, post free
::
( B E F O R EX M A S )
full details next issue
PAUL CLIVE & Co. Ltd. Back 68 Cocker Street Blackpool :: Lancs.
THE MAGIC CIRCLE President :His Grace the Duke of Somerset D.S.O., O.B.E., I.P.,D.L.,M.I.M.C. Vice-President : Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and Museum : ST. ERMIN’S HOTEL,GAXTON ST., S.W.l Magical Theatre : KlNQ QEORQE’S HALL, W.C. Particulars from Hon. Sec.: Francis White, 39 Alverstone AV.,Wimbledon Park,S.W.~g
INSTITUTE of MAGICIANS
Founded 1334 President : A.Zomah. Hon Sec Oscar Oswald 102 Elmstead Avo * Wembley Pari Middx. H.Q. and ~ i b r a ; ; ) : NO. 2 ~.n court i (Victory Club) Hi hHolborn W C MEETING EVE+? TP~URSDAY i-1yd.m. Vwtmg Magmansalways welcome. Your membership cordially invited-drop a line tothe Hon.Sec. for literature.
-
lI/M per year, post free, from :
“CREENBANKS,” BRAMCOTE, NOTTS., or ~~
Card Tricks without skill A NEW BOOK ReadyNextMonth
from your dealer
~~~
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
13
PENTAGRAM
An independent monthly bulletin for all who want good magic
Editor’sForeword.-Thewar wasagreatmisfortune toRobertHarbin, as for jive and ahalfyearshehad to sacYiJce that periodwhichmighthave seen the conhe had in mind. Not summation oF the Magical act that of thelateOswaldWilliams has there since thedays been a British inventor Magician with such potentialities. His creative pozcers are of that order that having got an idea he getsintohisworkshopand presto-the effect is of the effects thatBabhas in being. Althoughmost published have been apparatus effects, he is catholic in his conceptions, and his Telephone, Whittaker’s Almanac and and Dictionary Book test, is without parallel in the jield of mental magic. Those who have recently had the opportunity oF seeing him perform will know that none of the old charm is lacking and that it is only a matterof time, and a short time at that, when we shall see Robert Harbin presenting the big show he has in mind.
*
X
U
This is my latest version of the Vanishing Lamp. On the operator’s table stands a solid-looking table lamp. It is picked up and around it is placed a sheet of newspaper. The operator walks forward holding it in one hand . . . his free hand is lifted andbrought down on top of the paper which collapses. The paper is crumpledintoa ball and may be thrown into the audience. It is all in the !amp. This is made to collapse absolutely flat, the total thickness measuring not more than a quarter of an inch. Fig. A shows the general appearance of the lamp as it is seen by the audience. Fig. B shows the
shape when flattened. Now let us consider its construction. First of all the shade. This is made of six sections of a shape similar to that in Fig. C. The size of these pieces is approximately seven inches in length, three and a half inches at the base and two at the apex. A pattern is cut out and a backing of silvery (not silver) paper glued at the back of each section. These now being joinedat the edges with tape, and for additional strength stapled with an ordinary office-type stapler. You now have a shade which will collapse intoa flat state. In Fig. D you see the part which forms the base of the lamp. This consists of two pieces of thin fibre board, measuring four inches by six and a half inches. These pieces too are hinged along theshort sides with tape. Again staples are applied for strengthening. Now open this partout so that it is circular and cut two circular pieces of fibre board which will forma fairly tight fit (thistightness is essential). These circular pieces are now cut diametrically and also hinged (see Figs. E and F). Now the operator will require three pieces of fibre board, two measure ten anda half inches by one, whilst the third measures twelve inches by two. The two smaller pieces are hinged to F atthe pointsshown, i.e., an inch anda half from the hinge, whilst the larger piece is hinged on the hinge. Three slots in all are cut in part E. Two of these correspond with the positions taken up by the smaller pieces on F, whilst the thirdslot runs through the hinge itself. The three pieces of card are pushed through the slots, and E and F are now placed in D and hinged with tape and staples at pointsninety degrees tothe hinges. At four
continued on page 19
Ia;
P.W.
14
wtfen Peter Warlock wrote his book “ Designs for Magic I received my copy on the very first day of publication. I was immediately struck with his “ Silvertown Express ” children’s item. I made upthe cards and other itemsrequired, and, with the aid of two friend’s children, rehearsed the routine. Whilst going through it I saw the immense possibilities of comedy and childish reaction to simple movement. I decided to get away from the stereotypedkind of trick and base the effect around a game. Entertainment was what I was after, and using the effect with comedy actions, use of children to the utmost, and not even pretending that the audience were to witness a magical effect, I evolved a glorious piece of children’s entertainment. I have used this in my programme ever since that book came out in 1940, and many are the times that I have been requested to repeat the item at subsequent shows. The routine so far as the effect is concerned hardly varies from the original. It is difficult to try and pass on the complete plot in approved “ script fashion,” so I will now try and write the entire act in a descriptive manner. From thisyou should be able to visualize the whole ‘ game.’ Coming forward to the frontof the stage I say “ Boys and Girls, as a complete change from magic, I am going to introduce my magical game, and for this I shall want two children to play this with me. F 1 1 any who would like tojoin in putup theirhands ? The childrendo this andthen I choose a boy and a girl whom I thinkare suitable. If possible you should get a boy about 5/7 years of age and the same with the girl. T o try and tell you of the type to select is impossible, but I have an uncanny way of selecting just the right type from experience, and all I can say is after presenting it several times you too will soon be able to recognise at sight the righttype ! The children selected come up on stage, and, after the usualintroductions,you place the boy on yourleft and the girl on yourright (on stage extremes).
I am usually standing back a little but in the centre, and stepping briskly *wn to the front of the stage I say “ Now‘poys and girls (with great enthusiasm and excitement) we are going to play the game of Magical Puffer Trains-won’t that be fine ? ” T o boy : “ Now if we are to play the game of Magical Puffer Trains we must have a couple of stations.” Turning to the boy, “ Do you mind being astation ? ” “’No,” says the boy. “ That’s fine,” I say. To the girl : “ Doyoz miftd 2eing th; other station,” to which she answers No. Grand,,, says I, “ then I will find you your stations name boards. Going to table at rear I pick up cards (‘ Silvertown ’ on top). Going down to boy I take card, show audience, and say “ Silvertown ! That’s a nice name isn’t it ? We’ll put that round your neck ! ” Do so and :urn boy facing audience. Walk over tothe girl and say Here is a funny name, isn’t one for you. ‘ Pennygroes ’-that’s it ? ” Put it round her neck and place her same as boy on her side of stage. Walk to centre of stage and with right or left foot back a little and left or right foot forward-just as if you were getting stance for a quick get-off in a run and with hands clenched excitably extended slightly at side, say “ No: we are all ready for the game of Magical Puffer Trains with emphasis onthe words ‘‘ Mugicul Pufler Trains.” Then suddenly draw left foot back and drop hands to side and pause for a second as if hit with a last minute idea. “ Wait a minute,” you say. “ If we are to play Magical Puffer Trains we must have a station master, musn’t we ? ” Turningto boy say “ D:, y : ~ mind being the station master ? ” He says “ No. Grand,” you say, and go back to table and pick up whistle, go to boy and drape it
round his neck, saying, “ There, you are now you’re alright.” Takeup stance in centre as before andin exactly same manner say “ We’re all ready for the game of ‘ Magical Puffer Trains.’ ” Once again pause slightly and again drawing back left foot and dropping hands, come out with the new idea that has just struck you. “ Wait aminute.” “ If we are to play Magical ,puffer Trains then we must have a guard,mustn’t we ? (Note-you will find by this time that the kiddies in th$‘audience are full of fun and will unconsciously answer yes ’’ each time you make these indirect questions.) Turningtothe girl sa;, “ D o you mind being the guard ? ” again she answers No. You then go to table at rear again and pick up green flag and going down to girl, hand it to her asking her to hold it in righthand. Get back tocentre of stage and once again take up stance as before, saying same pronouncement : “ We are ;ow ready for the game of Magical Puger Train-s-s-s (here slur the ‘ S ’ as if again having another idea) and once again relax as before, pause, and say “ Wait a minute. Now look here, ifwe are to play the game d magical puffer trains, we must have something to carry in the train, mustn’t we ? I know, we’ll have a couple of mail bags.” Go to rear and pick up the two cloth bags. (Mine are six inches square aEd one is red and the other IS ye,l,low.). Going to boy, say You have this little ‘ Wed ’ one (saying ‘ Wed ’ instead of red always raises a laugh). it inside out and back again, and screw Put hand in, top up and say I’ve got a little ‘ Lellow ’ one for you,” again turningit inside out and back again. The girl holds her’s in similar manner to boy only in left hand.
t u : :
Take up stance again and repeat the announcement of game as before, only this time slurring the ‘ n ’ at end of train-not quite saying “ train.” Draw back, k k at the childrenand then announce your new idea : Ifwe are to play the game of Magical Puffer Trains we must have something to go into the bags, mustn’t we ? ” (saying this to the two helpers);, They say “ yes.” “ I know,” ” we’ll have two coins. Pick up small tray (mine is eight inches by five inches and has a simple raised edge aroundit three-sixteenths high). As youpick up tray also finger-palm penny in righ: hand holding tray in right hand, come forward saying Now I want one of the Mummy’s or Daddie’s (or teachers, if school) to loan me a pennyandanothera half-crown-eachofyou take a note of the date.” Go down to audience and have coins placed on tray. As you are stepping up on to stage again, memorise date on penny loaned, and switching it, retaining real loaned penny in finger palm hold dupe penny in fingers of same hand supposedly reading the date on it (read it aloud to audience), but actually stating the date on real loaned penny. Lay penny down on tray and pick up 2/6, peering at date on this and reading date out for all to hear. Go to boy, in same movement asking him to hold out bag, you take this from him (having laid down tray temporarily) and with bag in left hand clearly show that you insert the 2/6 in bag, but as your hand lowers below edge of bag, switch and leave loaned penny, fingerpalming the 2/6. Screw bag up and hand tor>oy asking him to hold it. Stand back a little and say There we have the silver coin in the Silvertown station.” Go to girl and, taking penny off tray, clearly show that you put in in the bag, but again switching once below edge of bag and really leaving the 2/6 behind, finger-palming the dupe penny. (The trick is now done so you can concentrate agam on the presentation.) Againsay “ There we are, and the penny in the Pennygroes station.” Screw bag up give it to girl to hold again and re-run to centre of stage and take up stance as before, after laying tray down on table. “ Now, boys and girls, we are really ready to play the game of ‘ Magical Trai . Againyou draw back, pausing, and turning to boy and girl, say “ Wait a minute,
. .”
15
I think it would be as well if we put a medal on each of you so that we really shan’t forget where the coins are. You don’t mind, do you ? ’’ Go to table, pick up two large discs (mine are four and a half. inches m diameter) one with 2/6 on it and the other with Id. on it. On the back of each are display ticket pins so that they can be hooked on to clothing of children. Put the 2/6 one on boy, going to girl and hooking the Id. one on her. Take up stance again and say “ All aboard for thegame of Magical Puffer T . . Wait aminute.” Repeat as before, this time standing back and surveying the boy say “ You don’t look very old for a station master, do you ? ” He will say “ No.” You :,ay “ You don’t mind if I make you a little older, do you ? Go to table and pick uyfalse beard (mine is a ginger one) put it on him and say, Ah, that’s better, now we’re ready,” Takeup stance but casually glancing towards the girl don’t say anything but draw back and say, “ Come to think of it you don’t look much like a guard, do you ? You don’t mind if I make you more like one, do you ? ” Go to table and bring down comedy railway guard’s hat (I mademine by cutting a straw hat-boater-all around the crown, leaving a section of the brim for the peak. Black enamelled and with a red enamelled bandarounditmade it look fine !). Set,,this onthe girl’s head andthen again take up stance. Off we go for the game of Magical . . . . Wait a minute ” draw back. (I meant to have said earlier that as you draw back each time you say “ W a i t a minute,’’ with an emphasis onthe wait. This always produces roars). “ If we are to play the game of Magic;! Puffer Trains we myst have a puffer train, mustn’t we ? pause . . . then, I know, I’ll be the puffe; train shall I ? ” ; Stand back as if all set and then say Wait a minute, this is really a game for little boys ;Ird girls and I’m hardly a little boy am ,f ? ” pause . . . I know, I’ll be a little boy just for tonight . then pull up trousers over knees for short trousers, and put boy’s school cap on your head at rakish angle and take up position by the side of the boy on left of stage, standing pin-toed. (By the time the laughter has subsided you are ready to at last explain the game to assistants.) Now you say “ What I want you to do is ” (to boy “ when you are ready for the train to go to the other station, blow your whistle ; ” (to girl) “ and if it’s alright for the train to come into your station you willwave the flag. Have you got that clear ? ” Then say, “ Iforgot,I must
.
.
.
“
‘ TRY
N O T T H EPASS,’ THE OLD MAN SAID.”(Longfellow).
The late Arthur Ainslie (Wellesley Pain) was wont to submit to us a few of his unsolved problems in conjuringsome very good and some not worth worrying about. Here is one of my unsolved problems. Why do amateurs and alas (!) professionals also, some of whom should know better, still talk and write glibly about controlling a selected card by means of the old-fashioned and out-moded doublehanded pass ? The Pass, as a means of card control is like the gearbox on amotor engine-a barbarous device working reasonably well used in very expert hands. The reader of these lines may ask what then do you suggest as a procedure better than the one you condemn ? Well, in a quaint little eighty-four page book, written over a century ago, entitled : THE JUGGLER’S ORACLE ” ...or... “ The whole art of Legerdemain laid open ” . . .by . The Sieur H. Boaz, Thirty years professor of the Art, I find the following :“
..
collect the parcel we are to take,” (pretend t o extract the 2/6 fry? the outside of the red bag, holding up an,rnaginary 2/6). There we are kiddies, can you see it ? “ No,” they will shout, so pretend to hold it out further in front of you. Mindthat you have dropped itandthen get down on all fours and make an imaginary search for it, lifting up boy’s foot and pretending to have found it. Once again take up position byboy at his side (close), right hand held aloft with imaginary coin in it and left hand at right angles to left side like small boys do when playing trains. (Whisper in boy’s ear that he is to blow as hard as he can.) You make the accepted noise ‘ofa train getting up steam and say, “ I’m ready,” and the boy blows very loud. You throw decorum entirely tothe wind, lose you balance, pull boy down on top of you and the two of you are in a heap on the stage. He then rises, leaving you sitting on stage dishevelled and looking blackly at him, saying “ I didn’t tell you to blow as hard as all that.” Rise, take up position again and get him to blow once more. You then shuffle across stage imitating a train as children do, pretending to drop the coin in the yellow bag as you reach that side. Then, pretend to take outthe penny as before, take up position, announce that this time you will take the penny across in similar manner and shuffle across again as before. Stand to centre and say “ Now, ifwe have done this correctly, instead of having the 2/6 indicatjflg the 2/6 badge, in this bag we should have the penny. Ask boy to take out coin and deposit it on the tray. It is the penny ! Go to girl and say, “ Instead of the penny,’’ indicating the Id. badge, “ we should have the 2/6.” Girl takes out coin and places it also on tray. Give tray to girl and ask her to take the coins back to the owners. Remove all the impedimenta from them and say “ And that was the game of Magical Puffer Trains.” Well there it is. Ipresented itat the I.B.M. Convention at Hereford and following so many requests to use the routine I have decided to let it go and have pleasure in sending it to “ Pentagram,” so that you may all have the chance of using it if you want to. It’s exhausting I admit, but well worth the trouble, and believe me when I say I always look forward to that part of the programme when it comes along, as I enjoy it as much as the children, and, after all, isn’t that the secret of winning the hearts of the little ones in entertaining them ?
“
In showing feats of juggling with cards, the principa point consists inthe shuffling them nimbly, and always keeping onecardeither at the bottom or in some known place in the pack, four or five cards from it ; hereby you will seem to work wonders, for it will beeasy for you to see one card, which, though you be perceived to do it, will not be suspected if you shuffle them well afterwards ; and this caution I must give you, that,. in reserving the bottom card, you must always, whilst you shuffle, keep it a little before or a little behind all the cards lying underneath it, bestowing it either a little beyond its fellows before, right over the forefinger, or else behind the rest, so as the little finger of the lefthand may meet with it, which is the easier, readier, and better way. In the beginning of your shuffling, shuffle as thick as you can, and, in the end, throw upon the pack the nether card, with so many more, at theleast, as you wouldhave preserved for any purpose, a little before or a little behind the rest, provided always that your forefinger (if the pack lie behind) creep up to meet with the bottom card, and, when you feel it, you may then hold it until
continued on page I g
16
T h e following routine as performed by Geoffrey bekingham during the past two years, offers one or two novelties on this well-known effect in that all coins are Seen to be droppedintothe containersandfulluseis made of the back-palm production. I thinkthat most magicians in this country have seen Geoffrey perform this routine and without quibble acclaimed it as a masterpiece in presentation.
Effect. The operator enters (preferably centre stage) in full evening dress, wearing opera hat, cloak and gloves. Reaching centre stage he wmmences to remove his gloves, startingwiththelefthand. This glove is held in the left hand in the usual manner, while divesting the right glove. Upon commencing to remove this glove, turns slightlywithright however, theoperatorpauses, side to audience, reaches out with the still gloved right hand and catches a silver coin in the tips of the fingers. This coinistransferred to lefthand which stillholds the loose lefthand glove. While displayingthiscoin in the tipsof the finger of left hand, the right hand reaches a secondcoin. These two winsare out andcatches dropped one after the other into a small glass bowl which standson atable atthe operator's left. Severalmore coins are then caught with the right hand and dropped intothe bowl oneaftertheother. The loose glove is then changedfrom the lefthand to the righthandand four coins caught with the left hand and dropped in bowl. T h e glove once more changes hands and the right hand catches eight or nine more coins, which are dropped into bowl one at n time. Again the glove is passed back tothe righthand, and the lefthandreaches up andcntches another coin. T h e operator then removes his opera hat and right hand and drops thecoin into it. T h e w i n is seen, and is distinctly heard to dmp into then caught with the left hand and dropped into thehat in the Same way. They are all Seen and heard to dropin and one or two are actually spun into the air and caught in the hat in that fashion. T h e opera hat is then passed to the left hand, followed by the loose glove which is held on top of the brim with the a number of left thumb. The righthandagaincatches coins (about twelve) which are dropped in quick succession into the hat;at the end of which the hat is passed back to the right hand, which pours the coins from the hat into the glass bowl, and the hat placed back on the operator's head,leaving the loose glove intheleft hand. Thisto the audience appears to be the conclusion of the sequence, and the operator'sattitudeshould give that impression. Suddenly, however, he looks down,changes glove into right hand and produces another coin with left hand from
the hat. About a dozencoinsare
behindleft knee. This is dropped into glass bowl. The glove changes hands once more, and after two or three catching movements inthe air theright band with a stream of silver coins isdropped into thebowl with the right hand. The glass bowl is then picked up and all the coins poured into the opera hat, which is once more removed from the headfor that purpose. T h e hat isthen placed onthe top of a coin ladder and the bowl at the bottom of the ladder, and upon a signal from the operator the coins are seen to descend the ladderfrom the opera hat and are caught in theglass bowl placed at thebottom toreceive them Requirements. Apartfromtheclothesmentioned atthe commencement,therequisitesareasmalltable witha glass bowl, placed on the leftof the performer, type and on the righta good sizedcoin-ladder of ,$W '*Nelson Downs'-Artof Magic witha describedin magazine loaded with about twenty-five coins. For production about forty-five Nelson Downs' palming coins are required, and about eightor ninepalming coins slightly larger than the N.D. coins. If these cannot be procured, real half crowns will serve, but are rather heavy for some manipulators. FifteenDowns' coins are staded in the left hand tail pocket and nine in the right hand tail pocket. There is no need for special holders for these stacks if the bottom of the pockets are sloped slightly downwards towards the back in the usual way the coins will keep together. One coin is placed in a small slot in the braid of the left trouser leg, just above the level of the knee so that half the coin is protruding and can be withdrawn quickly. N.D. T h e remainder of the wins. i.e.. about iwentv .~~., . . coin* and the eight or nine slighily &er ones, are held in the gloved righthand at the time of making the entrance, the whole stack being pressed against the palm with the two middlefingers, the largercoins being nearest the two hands are fingers. Whenenteringthestage,the together, the back of therighthand being towards the audience, the performer being in the act of removing the left glove. Thusthe concealment of the large stack of coins is effected in B most natural manner. ~
~
~~~
~
Modus Operandi. It will greatly assist invisualizing this routine if it is remembered that the whole of the production is made with the right hand side of the operator towards the audience, either in the half left turn position or full left turn. One or two stepssideways or backwards and forwards may be made for variation of position but this should not beoverdone. Thusthe whole productionis principally made up of twomoves: (a) the front palmproduction
17 made with the right hand with a glove on and the back of the handtowards the audience ; ( b ) the back palm production madewith the bare lefthandwith the palm of the handtowards the audience. The gloves shouldbe preferably of the yellow cotton variety, as the coins will slide over the cotton fabric betterthan over chamois leather. It will be seenlater that the loose left hand glove plays a very important part in the routine as it is changed from hand to hand. The whole sequence is carried out as follows :The operator proceeds to remove the left hand glove with the right forefinger and thumb, while walking nonchalantlytowardscentre stage, the timing being such thatthe glove is completely removed by the time this position is reached. T h e loose glove is then held in the crook of the left thumb, and the movement made as if to remove the right glove. This glove is not removed but at that instant the operator makes the half turn to the left and looks at a spot about three feet from the ground immediately making the front hand production with the right hand, thus the hand reaches out to the spot where the performer is looking, at the same time allowing the stack of coins to spread towards the tips of the fingers. T h e little finger is brought forward slightly to forma kind of ledge to support the coins as in Fig. A. The hand slightly tilted to assist in retaining the coins in thisposition. Almost simultaneously with this movement, thethumb pushes the top coin forward so that it can be held between the tip of the forefinger andthumb,thus effecting the production of the first coin. As the coin is pushed into this position the two middle fingers close up the stack of coins and hold it against the palm as at the commencement of the sleight. This assists in allowing thethumbto pushthe first coin as far forward as possible, and this position is illustrated by Fig. B.
The whole of thefront handproductionconsists of alternate spreading and re-stacking the coins as each one is produced by pushing forward thetop coin with thethumb. With practice this becomes one smooth, continQous sleight, and each coin will appear to be caught in the air. The audience will never suspect that so many coins can be held in a gloved hand, whilst in actual fact the glove gives extra cover. The first coin is transferred to the left hand and after a short pause to display it, a second coin, caught so that a coin is held in the tips of the fingers of each hand. Drop these into the glass bowl, righthand followed by left hand. Almost simultaneously with dropping the left-hand coin, a third is produced with right hand, followed by one or two more, each thrown separately into the bowl. The loose glove held in theleft hand is now transferred to the right hand under cover of which the remainder of the larger sized coins are gripped by the fingers of the left hand in the back palm position. These can be picked off the main stack held in the right hand by virtue of their larger size. The operator now looks at a position farther to the left and about head high, as if seeing a coin at that spot, simultaneously reaching up with the left hand and producing a coin by the back palm production. This production needs no explanation, being the well-known sleight described by T. Nelson Downs andother writers. The remaining three coins are produced in the same way and dropped into the bowl one at a time.
To beconcludednextmonth
effect (the outside of the coat facing the audience) and two spectators asked to hold the respective ends. They are asked to pull the rope taut. The operator now takes an examined ring, places it behind the coat foramoment or two, and then raising the rope and sticks above the level of the coat collar it is seen that thering is now threaded on to the rope between the two sticks. Rope, rings and sticks are withdrawn from the coat and everything can be examined. In Mr. Harrison’s hand this is truly a remarkable effect.
Charles Harrison evolved this effect the root idea that itshould be a follow-on tothe Ropes and Rings.” Inthelatterthe operatorhasmade use of a wand, twolengths or rope and acouple of rings. It is pointedouttothe audience that quite obviously if a magician is able to remove a solid ring from a length of rope he should be able to reverse the process. In order that monotony shall be avoided, the operator tells his audience that this time‘ he will use two wands and one piece of rope, as he is about to reverse the magical process. Two small wands or pieces of stick are now introduced, and each tied separately near the centre of the rope (see A). There should be a space of about nine inches between the wands. The ends of the rope are now threaded through the sleeves of the coat which has been used in the previous
R
t
Q
The requirements are quite simple, just a length of rope, two small wands or sticks, about eight inches long, a solid metal ring and a coat.
L
R
L
R
R
18 coat, the operator places the ring over the lower end of the righthand stick ithe operatyr’s Eight hand. In the sketches the letters R ” and L , of course, mean right and left.) and carries it in an upward direction (as represented by the arrows in B) over the top of this stick. The result will be as shown in C. This is amatter of moments, andthen grasping the sticks, one with each hand, and at the same time clipping the looped rope with the right, the sticks, rope and ring are raised to that level which makes it appear that the ring is threaded on the cord (illustration D). If the reader is thinking thata slackening of the rope might show the rope running through the bottom part of the ring, he need not worry, as he will find in trying this move, that despite what he is doing he can also grip the coat thus preventing a possible catastrophe. The left hand assistant is now asked, t o pull the cord through the sleeve, the right hand assistant, of course, slackening and then releasing his end so that this can be done. At this point the operator’s thumb engages in the loop shown in E, which, as the rope is gradually withdrawn, has the effect of automatically threading the ring between the two sticks. Needless to say that whilst the rope is being withdrawn the coat must be held by the operator so that thercpe is in a more or less horizontal plane.
(Beforedetailingthepesentation,itshould be noted that the basic principle for threading the ring on the rope was given in the “ Jinx ” by Stewart James, in his eflect ‘‘ SefaIaGia,” and due acknowle&ment is paid to that source.) With a spectator on either side of him, the operator passes the ring to the right hand assistant for examination, whilst the left hand assistant is requested to watch the operator whilst he ties the little sticks in position. On receiving the assent of the right hand assistant that the ring is whatit is claimed to be, he is asked to retain it whilst the operator threads the ends of the rope through the armholes and sleeves of the coat. The endsof the rope are now respectively held by each assistant,andwhen pulled taut all that should be seen by the audience is the back of the coat, and the ends of the rope coming from the sleeves to the hands of the assistant. The ring is now taken from the right hand assistant and held by the finger tips. At this point the operator impresses upon his audience theapparent impossibility of his task. The assistants areeach told that on no account must they release the ends of the rope. The ring is now placed behind the coat out of sight of the audience. Under cover of the
aWd
&t
****-‘ ***
%
d
b
#
***** c
c
c
****
**
PENTAGRAMGRADING : (Five stars)-Outstanding. (Fourstars)-VeryGood. (Threestars)-OfPractzcalValue. (Twostars)-No Reason for Publication. ‘ B U T N O T T OPLAY ” b.y Wilfrid Jonson on parade of dexterity. Only three actual effects are described, but in their description no point is evaded or PublisherGeorgeJohnson, price 21 I-). The author describes this book as a primer of card omitted.With these effects theauthor should convince the reader as well as the audience that this is “ Convincing magic. That is rather an understatement,for within its Coin Magic.” The book is well printedon fine quality hundred-odd pages the reader is carried from the novice paperand carries some fifty-odd photographs and diatothe expert stage. Credit has been fairly given to all grams. Whilst the binding is better thanthe Johnson sourcesfrom whence material has been drawn, andin publication it still leaves quite a lot to be desired. There describing the various sleights and moves, Mr. Jonson, is no spine title. This, we believe, is Mr. Armstrong’s with good journalistic experience, reduces his instructions first publication anda very noteworthy one,augurmg to a minimum,with the result that greater clarity is obtained. well for the future. Unreservedly recommended. Some examples are easily evident if one first reads Erdnase # # #, andthenMr. Jonson. There is plenty of worthwhile “ INTUITIONALSIGHT ” by EddieJoseph advice to both the novice and experienced performer, and the only flies in the ointment are the poor quality of the (Published by the Vampire Press, price 716). binding and the publisher’s (one of his pet weaknesses) This is an English edition of aroutine which was economy of blocks. Although thereare over a hundred published by Abbott’s some years back. It deals very illustrations, which by themselves are completely adequate, thoroughly with an act similar in effect to that which is theyaregroupedinto masses of anything up to sixteen associated withKuda Bux. The reader is taken stepby drawings. The result to the learner of continual reference step through every point affecting thepresentation, and through this method is wearying to say the least. Since whilst this is not everyone’s maglc, there is little doubt the days of Hoffman this is the best book of card magic to be of its ultimate effectiveness. Clearly printed and covering written by an Englishman. After the recent craz7‘of b o o k nearly thirty pages it is protected with a semi-stiff stapled binding. Recommended. dealing with faked cards, supposedly for the expert, # # # it is a welcome relief to read a book in which skill plays a chief part, and where with an attainment of such skill, the “ HOW T O PICK POCKETS ” by Eddie reader with diligent practice may become an expert. Joseph(Publishedby the VampirePress, price 5 / - ) . Unreservedly recommended. The reader who has been impressed with the per# # * formances of various entertaining pick-pockets, will find “ CONVINCING COIN MAGIC ” by Victor a great deal of instructionand advice to enable him to price 17/6). Farelli (Publisher George Armstrong, formulate an act of his own. Whilst pick-pocketing may We are somewhat surprisedthat the author did not seem entertaining, it is not Magic in any sense and is only makc thistitle completelx allietrative and use the word suitable for those who have pachydermic skins and fear no “ conjuring ” instead of magic.” This is a specialist reproof from a member of the audience who may object volume for those interested in coin work, and whilst some to being mauled. The incident of a lady’s garter may be may grumble at the lackof novelty in the effects and passable in variety, but very low taste anywhere else. sleights, he should feel more than compensated by Mr. Joseph, however, seems to know his subject, and the fact that the author in his usual manner, has analysed writes in his usual clear and logicalway. This too is so thoroughly and aimed at perfection in the technical clearly printedon good quality paper and again is propresentation. There is some good advice, especially that tected by a semi-stiff stapled wrapper.
***
***
****
Bramcote.December,1946.
PETER WARLOCK.
19
Sad indeed was the news of the passingof Wilfred Leyland ; news Ifoundhard to believe, for less than a fortnight before he, Dick Ritson, Tom Boot and myself had been lunching togetherat the“ Imperial,” Birmingham. Wilfred was in high spirits, already making plans for the next meeting of N.A.M.S. at Colwyn Bay in March, 1947. H e was the kindliest of men, and never did I hear him talk adversely of any fellow-being. Withthe laying down of his wand Magic in this Country has lost a lovable personality. One point I should like to bring to the notice of my readers is that anytrick which appears in the“ Pentagram ” involvingapparatushas been seen, examined andtested by myself. Whilstit is not myintention to introducea lot of effects which make use of involved apparatus, certain items, either because of their novelty or magical valueor both, will bedescribedfromtime to time.Items whichareapparatusforapparatus’ sake, and which so often grace-or should itbe disgrace (!)-sundry periodicals will find no place here.Nextmonthafulldescription (withphotographsand line-drawings)ofW. F. Bruce’s “ Calendar ” effectwill appear. Old members of the MagicCircle willhaverecollections of the late Bruce Hurling performingthis effect at Anderton’s Hotel. A new periodical is promised from Goodliffe. If it agenuineattempt to educatethe “ man inthestreet magically (and I am assured by the publisher that it is !) I believe that good may come from this venture. The lack of a good mentor regarding magic in one’s youth, means
2
to the enthusiast time and opportunities wasted at a most
absorbing age. This magazine may be that mentor. I am, however, interestedintheattitude of conjurers generally towards this idea, for to most the idea of magic on bookstalls is anathema. No real criticism can be given until the first copy is seen. After many years’lapse into oblivion, the Floating Piano is to be revived. Willane tells me that he is causing a piano to float in hisnew act. It was in 1909 atthe WinterGarden, Berlin, thatthe floatingpianowas first performed.Afterwards,I believe,Kellarused itinthe States. We shallcertainlylookforward to seeing this new act. The National Days of Magichavecome and gone. It would seem that apart from the financial return to the charity involved thatgreaterinterest inmagichas been created. Ithinkthatthismight have been greater still hadthe variousSocieties inthiscountry shown more enterprisein staging their shows. In the majority of cases a number of acts were strung together witha compere as a repeated link. Withthemonths offore-knowledge of the event, more than this might have been attempted by the largerSocieties inanattemptto make the general public magicconscious. The showswesaw, withone exceptionwere all good. The exceptionwas one where the organiser saw fit to flounder through forty-six minutes of what he himself would have described as a Louis LamAnnemann-Hull routine. God rest their souls !
LAMPS - continued from page 13 points on D, small pieces of thin brass are fixed to prevent the part E rising toohigh. The operator will now find that by pushing up the base part F the bottom of the stand is formedand looks a solid affair. A slightpush, however, on F:, at the point shown in A causes a complete collapse. A hexagonal shape is taken G, and this fits about half-way u p the shade. This is cut into two halves andthesetoo .are hinged. A slot is made through the hinge and this is (dropped onto the three strips so that thelarger goesthrough the slot, the smaller ones being hinged. The shade is now .dropped on top of this hexagonal shape and the two discs parallel with the hingearefastened tothe respective sides of the shade. Fig. I shows the action of the closing and opening in
A
’PLAINT
simple section. A sleeve of linen isfastened round the upright of the stand and the lamp has only to be painted to the operator’schoice. T o present the effect, the lamp is first fixed in a scblid position. On one of the operator’s tables is a tray with a flap and on top of the flap a sheet of newspaper. The operator picks upthe lampwith his right hand and walks over to the table. He picks up the newspaper and at the same time lifts the flap on the tray. The lamp is placed behind the newspaper and flap, a press of the thumb the lamp collapses and it is dropped ontothe tray.Immediatelythe same hand comes up behind the paper, and, taking the flap, lowers it on to the lamp. A simulation of wrapping is carried out, the operator walks forward,thepaper is crushed and another lamp has gone into the unknown !
...
- continued .from page 15
you have shuffled over the cards again, whilst leaving your kept card below. Being perfect herein, you may do almost whatyou like with cards by this means ; what pack so ever you use, though it consist of eight, .twelve, ortwenty cards,youmay keep themstill together unsevered, next to the card, and yetshuffle them often,to satisfy theadmiring beholders.”
fram
“
Nothing can bebetter :F clearer than that andto addanything to it would beanact of supererogation ” asmy old friend Dr. ByrdPageused to be so fondof saying. Even so, in all humilityI would suggest an additionaltouch.Extendandseparate all the fingersof the right hand, press the tip of the thumb hard against the proboscis and so, inthe beautifulliquid Italian of Soho, cocka da snooka ! !
GREENBALNKS,” BRAMCOTE, NOTTS, or from your dealer
Magical Books & Mss., Etc.
CONJURING BOOKS FORSALE
Available on Loan 3d. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
GEORGE JENNESS 47 Inverness AV., Enfield Middlesex
OLD AND NEW. Let me know your Wants LIST FREE FOR STAMPED ENVELOPE No Callers
B
THE MAOlC WAND December issue now on sale. 48 pages of outstanding kiddies’ effects and six entries for the Mental Magic Competition. Make sure of your copy by ordering now. Also contains details of The Magic Wand Year Book. Per m u e 318 post paid Annual Subscription 1416 post paid George Armstrong, The Magic Wand PublishingCompany, 11 MonasteryGardens, Enfield,Mlddlesex
20 I
“CARD MAGIC WITHOUT SKILL
VICTOR FARELLI’S LATEST AND GREATEST WORK
CONVINCING COIN MAGIC
”
everyeffect and Farelli routining.
A N E W BOOK (readybefore
Xmas)on effects with cards, embracing practically every non-sleightof-handprincipleyst evolved.Look atthis list of contributors :-Geo. Braund,Herbert Collings, Douglas Craggs, Lionel King, Jack Kinson, Victor Peacock, StanleyStevenson,EdwardVictor,Peter Warlock - and that’s not all ! !
“
move ” a masterpiece of subtle The greatest workyet published on...
... CONVINCING COIN MAGIC
Close-up,
P‘atform and Stage effects with a CompleteCoinAct Illustratedwith 33 photographsand 24 drawings
Fromthe
Publishers :
Price 17/6 post 46. I have seen the proofs, and must say I know of no greater value for money.- PeterWarlock
THE MAGIC WAND YEAR BOOK The most valuable reference book yet published for the magicalfraternity
Stupendous Value : over 200 pages ; 90,000 words ; 150 illustrationsandphotographs ; boundin thick cloth-bound cover ; nearly 120 magical effects (real magic) ; and much valuable information, formulas, magical etc. ; Price 516 (5/10 post paid) from any dealer, including the publishers :
a.
PAUL CLIVE back 6 8 Cocker Street, Blackpool
All about everything. Tricks of theTrade Workshop, Wrinkles Radio Publicity for Magic, Magic Circle Entirprises Ltd., N.A.M.S.: Magical Conventions, Society Reports, Trade Section, Cartoons and Illustrations. List of Dealers and Magical Publications, Classified List of Magical Societies, etc., etc.
Price 2/6 post 4d. The Magic WandPublishingCompany
Ltd.
1 1 MonasteryGardens,Enfield,Middlesex
J A M E s GRAYSON Maker of High-Class Magical Effects, Stage Illusicms, etc.
Phone or Telegram : MORLEY 899
-~
Confidence ! You take no rkks with M A G I K R A F T asconfidence in our gcods makes us give a money-back guarantee with all apparatus. Write for lists now.
Address :23 GREENFIELD AVENUE, GILDERSOME, Nr. LEEDS
P E T E RW A R L O C K ’ SI N D I C E S (see Pentagram No. I) will be available early i n the New Year
Xearly 30 yearsinthe
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
66
business
IT 9,
HENRl MMC.,
my list of exclusive effects that also contains useful hints and tips for magicians. S d n d 4d. in stamps to : “
ZAHAREE,”Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept. ATTRACTIVE DISPLAYED LISTS BOOKLETS - MANUSCRIPTS - Lct us know your requirements -
CF . IELD
DE’SEEVAH
BMS.,
IBH.,
SSMC
The Friendly Magician invites all Bona Fide Mayicians to send for his list of new and used apparatus and books, or call a t his Studio :l CLARENCE ROAD Harborne, Birminghaml #
B U T NOT
TO
PLAY
by Wilfrid Jonso1: (21/3)
‘‘ That card work of cscellence CEORGE JOHNSON 23 Buckingham StreM London W.C.2
”
Over 60% of the available cofies were sold i n the first six months afterpublication so hurry if you have not already got your own copy of Edward Victor’s latest Book: “
FURTHER MAGIC OF THE HANDS ”
Brilliant, practical material from the repertoire of the world’s greatest living exponent of sleight-of-hand. Boards 101- ; Cloth,autographed 151From your Dealer or direct, post free from the Author,
c/o. BAYARDGRIMSHAW TheBungalow Castleton House, Rochdale
THE MAGIC CIRCLE President :His Grace the D& of Somuset D.S.O., O.B.E., Z.P., D.L.,M.I.M.C. V*ce-Preszdent : Douglas Craggs, Eq., M.I.M.C. Clubroomand Library andMuseum : ST. ERMIN’S HOTEL, CAXTONST.,S.W.l Magacal Theatre : KING GEORGE’SHALL, W.C. Partzculars from Hon Sec.: Franczs White 39 Alverstone Au., Wimbledon Park.S.W.1;
INSTITUTE of MAGICIANS Founded 1934 President : A. Zomah. Hon Sec . OscarOswald 102 Elmstead Ave.; Wembley Pad, Middx. H.Q. andLibrary : NO. 2 Hand Court WG (VictoryClub)HighHolborn MEETING E V E ~ Y THURSDAY ?-I{ ;m .. V~sltmgMagiclans always welcome. Your membership cordially invited-drop Hon. Sec. for literature. a line tothe
Printed in England for PETER W.4RLOCK by GEORGE SEARSON, Blue Bdl Hill, Nottingham.
21
PENTAGRAM
An independentmonthly
bulletin for all who want good ,magic
Editor's Foreword.-Those visiting or residing in London will have an excellent opportun{:y of seeing Robert Harbin intheJasperMaskelyneshowHeyPresto.? I t is good to see both these namestogetherinawest-endtheatre. Let us hope that this may be a forerunner of a permanent LondonMagicalShow.InthisitemRobertHarbinin attacking the subject of magical coin-catching treats it in entirelydifferent way from GeoflreyBuckingham, whose routineisconcludedin'thisissue.Whilstthismethod requires practicetoperform,itismore of aready-made to those who have method and should prove a valuable salve nor digitalaptitudetomaster slezghtneitherthetime of -hand. #
#
#
The effect is that the operator picks up a small metal cup (one used for the cups andballs is admirable) and then reaching this way andthat way produces an indefinite number of coins, each one as it is produced being quite definitely droppedinto the cup. The routine can be finished in one of two ways, either by the evanishment of the coins, or their being poured out of the container. The requisites are shown in A.-A cup, a coin with a hole through which is threaded a piece of black cotton. The free end of the latter (the length of which will have to be determined by the individual magi) is fastened to the too of the trousers. With the coin in a get-at-able Position a i d thecupon table,theoperator is r$dy for the' . . .
Presentation.-Possession of the coin is obtained in the right hand, where it is thumb-clipped. Left hand picks upthecup holding as shown in B. Right hand reaches out and produces the coin at the finger-tips. It is then thrown into the cup, theleft hand bringing the cup forward so that the cotton is over the left thumb. A turn is made to the right and the right hand takes the cup (as in C) whilst the left hand comes away from the cup, the tension of the cotton causing the coin to take up theposition shown in D. The lefthand reaches out and apparently producesa coin atthe finger tips. Withanalternating change of handsthis process is continued. " Wealth," says the operator, " what does it mean . .just nothing," and with that he turns the cup upside down (taking care, of course, that the coin on thread is under control in one of the hands) . . it is empty.
.
.
If the operator wishes to finish with a display- of the money he has caught, he starts in a different way. The cuplis loaded with say a dozen coins. Picking upthe cup inhis left hand, the operator commences the production as before, he is careful, however, until he has apparently caught three coins to prevent any noise (other than the dropping of the coins) coming from the coins in the cup. After he has caught three, it doesn't matter and as he goes on still more freedom in handling the cup can be obtained. At the end of this routine the coin can be snapped from the thread and droppedinto thecup, thecontents of the latter being tippedontoa plate or-table.
22
Editor’s Foreword.-Few readers will be umqwrinted withtheeffect k n m astheBnrce-HurlingBowls,a version of the ChineseRiceBowls,whichwasmarketed War. J. F. Bmce W the inbejwethefirstWorld ventor of thateffectand many others o j like ingem’ty. Perhaps his finest effect ir the one to about be described. Whilst I nmer saw the inventor present the effect hzmselj, I did, in the early twenties, see two or three performances o j it by the late Bmce Hurling, with whom in the presentation of all his effects, Mr. Bruce was intimtely connected. Mr. Bruce has now retired f r o mthe actiwe list of magic, a keen interest,butalsuplans butstillnotonlyretains in advance of manymodernideas. effectswhicharestill He is a first-class mechamk and general c r a j t m n . I feel sure that my readno as well m mysev, owe him a debt of gratitude fur releasing this effect exclurively to the “ Pentaof his effects will gram.” In later numbers,stillmore be desrribed.
*
*
. I
The Effect.-The operator requests the assistance ofa spectator who, whenforthcoming, is handedabirthday book with a request that he autographs it nn his birthday page. A blank card is now taken and dropped inside an envelope, which the spectator is asked to seal and retain in his possession. The operatornowdrawshisaudience’s attention to adeskcalendar, and if thoughtnecessary, hands for it examination. After this, the operator takes it back and sets it to the current day’s date. This done the calendar is placed back towards audience (ur. if the operator is surrounded by his audience, covered w ~ t h B silk). The operator now takes envelope from spectator, and opening it withdraws’ the card, on it being written the b i r t h h y q d t o t i o n which is found on the page o j the birthday book where the spectator has written his name. The climax Comes when theoperatorturnsroundthe calendar revealingthe day and date o j the spectator’s birthday. That is the broad outline of the effect, which gives scope to every kind of presentation. On the occasions this effect in his polished when I saw Bruce Hurling present and convincing manner, the audience, consisting of both magicians and lay public, were astounded. Beforegoing into details let us analyse the effect. T w o resultshavetobeaccomplished. The first is the writing on the card, the second the change of the date on a the calendar. The first calls for little intricacy,as double envelope is used for the change of a blank card for oneon whichthere is writing. The Zeadermaywell The answer is ask, “ but how the particular quotation l simple. The birthday book used by theoperatorcarries one quotation on each page (which may carry mure than
one day). The book when bought should have no quotations hutthe services of a good printerareengaged to overprint seven quotations consecutively through the book. Thus theoperator is only concerned with seven quotations. (I wouldsuggest that for easy referencethefirstword shouldbe ’’ I ” or “ A ” (one letter), thesecond, two letters, etc. This makes for speed as well.) Inside an envelopeboxontheoperator’stableare placed in order seven double envelopes each carrying in the double part of the envelope, a card which carries the appropriate quotation. (This is, of course,optional,theenvelopes can easily be placed in order in a pocket.) Having dealt with the modus o p e m d i of the message, we come to the question of the calendar. The onelent to mehy Mr. Bruce (there are only two in existence) is beautifully made and can be handed without any qualms, for examination. The internal mechanism consists of a spring blind which to represent the date carries pieces of thincardmade when the effect is performed and which, when in position, conceals the normal date. This blind is controlled by the spindle at the top, i.e., the one which alters the day of the week. The photographshowsthespindle being turned and the blind coming up (the front of the calendar being removed forthispurpose). That is aroughdescription. Let us go intothe matterin detail. The case forthe calendar is first made. (The maker’s bestmethodis, perhaps, to buy B desk calendar and use the rollers and numbers,theneitheradaptingthe case or making the -e to fit.) Underneaththerollerwhichcarriesthe months, B spring roller is placed on which is fued a blind. This blind is made of thin oilskin, and is bound by tape at the edges, stitching being made across the oilskin so that pockets are formed for holding the day, number and month cards. This blind can be quite easily seen in the photograph and in more detail in E. Two hooks are connected to the ends of the tape (see E). One thing which should come first is that the front of the calendar, together with the piece of glass which backs it, should slide in from the base, the mere replacement of the base keeping them in place. (In Mr. Bruce’s model,the basehas aspecial locking device.) The top roller, representing the days, is encased in a metal cylinder, the latter having an opening towards thefront (see C ) . Before this happens two things must be done to the roller. These two things are shown in A andB. A slot is cut in the roller and a wooden slide made which carries the wood spindle. In this slide a smallhole is bored. D shows B diagram of the roller inside the cylinder (in actual fact theend on themetal cylinder is shout one-eighth in thickness). A hole is made far the spindle (the other end for the moment being left open) and aroundthis hole are fixed seven strong metal pins at equidistant intervals. The roller is nowdropped
continued on paae 23
23
3!kzte& W &%
a I wonder how many conjurers realise that it is possible, by only using a slate withone flap, to have that slate marked on one side and yet get five different messages on the other. It sounds a tall order, and yet it is so simple. The basis is to be found in the “ Satchel ” (Jinx Summer Special, 1939, and “ Annemann’s Practical Mental Effects ”) and under another title (“ The Best Tricks with Slates). In thisroutineI only wentfor two messages. With the same principle as I say, five messages can be obtained. Actually I would at the most use four as, unlessthere is astrong reason forrepetitionthis is enough. The method is a combination of slate manoeuvre and so-called chemical chalk. First of all a few words about the chalk. On the otherside of the Atlantic it ispossible to get Burling Hull’s outfit, but since, in his book on Slates, he gave a formula by Lonergen,I have used thisfor some time. The formula is this. Mix an equal quantity of methylated spirit and Steven’s gum in a small glass. Take a piece of white chalk and dip it into the resultant mixture. Capillary action will cause the chalk to soak up some of the mixture. Now take the chalk and start writing on the slate (a bakelite type of bed, like Wandman’s slate, is more effective than slate proper). In a matter of seconds almost the writing will appear hard and white. (In fact it is really fixed in the manner that a pastel worker causes pastel to stay put with fixatif.) If a wash of Carbontetrachloride is now given to the chalk, the writing will (whilst the surface of the slate is wet) disappear. As evaporation takes place (and because of the high volatility of carbon tetrachloride this is very rapid) the writing comes back again. Now let us get toour routine of getting four messages. On the slate proper write the words “ very easy ” in one line, but in writing them, the letter “ y ” in “ very ” and the letters “ e ” and “ S ” are written in chemical chalk. The other lettersarewritten with ordinary chalk. Supposing that you are forcing a word. Write this word onone side of the flap in ordinary chalk, then place the flap in position in the slate so that it is blank on both sides. Now on the flap side of the slate, write in chemical chalk the name of thespirit you intendto conjure up. The only other requirements besides the impedimentia for forcing, are a small dish to hold the carbon tetrachloride (with a lid) and some non-abrasive material for applying the carbon tetrachloride. The ideal thingI have found is a wadof cotton wool covered with a small piece of silk. A newspaper of the smaller size is the only other requisite, and from the centre of the bottom edge a semi-circular wedge of paper is torn. The dish of carbon tetrachloride should be concealed and it should beeasy for the operator to
THE
GENII
IN T H E
CALENDAR - continued from page
into the cylinder and it should now be obvious that a pull on the spindle will cause it to engage with one of the pins, and, consequently, a turn of the spindle will turn roller and cylinder. The other end of the cylinder, with a hole to accommodate the otherspindle, is now soldered on. Tapes are now fastened around the cylinder at each end, care being made that they are secure all the way round. A small piece of tape is left free and to this a metal eye is sewn which is necessary to engage with the tape around thespring roller. For a continual performance of this effecttheoperator will require a complcte set of days, datesandmonthson card for insertion intothe blind. With the current date set, the envelopes in the box and the birthday book at hand, the operator is ready for the . . . Presentation.-The assistance of :I spectator being forthcoming, the operatorhandshimthebirthday book with therequestthat he autographsit. The book is opened atthe page andthewriting donc. The operator notices thc quotation and going tothe box on his tablr, takes the appropriate envelope, and then showing a blank
knock the lid off. If there is no lid it easily is possible for the liquid to evaporate. Now for the method. The newspaper is folded around the slate (message side down). The operator invites a member of the audience to assist him. This spectator chooses a name or some article ; two very good forces here being the glass force or pin force in “ Patterns for Psychics.” The paper is now removed from the slate, the latter being held message side down, the former being replaced on the table. The slate is washed first onthe non-flap side andthen on the flap (name) side. When completely wet,this side is turned round (and don’t forget to give it a good soaking). The slate is turnedround again, andon the side now showing the spectator’s initials are written with a piece of chalk which the operator takes from his pocket. The slate is now laid onthe newspaper and half of the latter folded over it “just to act as a Seance Room,” says the operator . Slate and flap are then removed and the name of the spirit shown. The slate is not cleaned this time but simply placed back inside the folded paper flap side down. The operator asks the spirit whether conditions are difficult or easy. The slate is now removed from the paper leaving the fl:p behind. On the slate are seen the words “ Very Easy. The slate is now wiped with carbon tetrachloride which has the ejfect o[ erasing the ordinary chalk and just leaving the letters Yes.” The slate is placed back inside the paper andthe ghost asked whether he will assist. The slate is now removed showing the answer “ Yes.” This time the slate is not cleaned, but a manoeuvre is adopted in replacing it in the paper. The slate message side up is held in the left hand,the table and paper are on the operator’s right. The operator approaches the table and instead of just lifting the tophalf of the paper, lifts the flap as well (remember the underside of the flap had the name of the ghost, but the uppermost side bears the final message), the semi-circular cut-out making this easy, the left hand comes across with the slate, holds the paper for a moment, the right hand leaving go and taking the slate which is placed inside the paper. The right hand now lowers theupperpart of thepaperand the flap on to the slate. For the finale the operator has now only to take paper and slate, remove slate and flap, show final message and drop paper on to the floor. Needless to say, during this routine, attention is called to the fact that the initials are on the slate all the time.
. .
T o get an extra message means a combination of ordinary and chemical chalk on the other straight message.
22
card drops it inside. The envelope is sealed and handed to the spectator to hold. The calendar is next introduced and, under the pretenceof setting at the current days’ date, theoperator sets it at the chosen dayandmonth. When it comes to the point of apparently setting the day, this is done quickly and the spindle pulled out, the result as we know causing the roller to engage with the spindle and raise the blind. (The great point about this locking device is, that when the blind is released the roller comcs back to exactly where it started.) The hand retains sufficient pressure on the spindle to prevent it’srelease and turns the calendar round so thatthe spectators can see it. It is then either turnedround and placed on a table or covered with a silk. In either case directly the calendar’s face is out of sight of the audience the pressure is removed from the spindle andthe blind allowxl to rewind. The operator first opens the envelope, showing thatthespirits have been at work writing on thecard, the birthday quotation . . and then as a climax, the in the C:alendnris shown . . . the. work of theGenii assistant’s birthday has superseded the current day’s date.
24
continuedfront page 17 T h e next tw moves are repetitions of the foregoingas far as the sleights are concerned.exceptwithagreater number of coins. T h e associatedactions, howeven, are left withthe stack of varied thus-the operatorisnow the loose glove in twenty T.N.D. coins,togetherwith the righthand. Transferthe loose glove to lefthand. Produce eight coins with the right hand, i.e., front-palm production. Change glove back to right hand under cover of which remainder of coins (twelve) are picked up by fingers of left hand in back-palm pmsition. It will assist in carrying out this move if the fingers of the right hand press the coins into position and slightly spread them as the left hand moves away from the right hand. The left hand now reaches up to produce the first of the twelve coins. Simultaneously, the right hand with the loose glove drops naturally to theside of the body so that the edge of the cloak drapes round the whole a m . I n this position the hand goes into the tail pocket and grips the stack of nine coins between the first finger and thumb. These are withdrawn from the pocket with the minimum amount of movement, the completestealbeingcarried out under cover of the edge of the cloak, while the left hand is producing the first coin by the back-palm pmductIon. The righthand now reaches up and removes the o p e n hat. Tothe audiencethishandapparentlyonly contains the loose glove, but the nine coins just withdrawn from the tail pocket arealsocontainedtherein,andthc loose glove helps to conceal them and also givc thc hand a natural position. If this move is carried out properly, it will be found that the hat can be held quite easily by the brim, and the coins can be allowed to drop farther into the pulm of the right hand as the hat is turned mouth upwards to receive the twelve coins about to be produced by the left hand back-palm production. These twelve coins are now produced and dropped, one at a time, into the upnuncd after producing opera hat, oneor two being spun into the air and caught in the hat. A stout piece of cardboard should be fitted into the bottom of the hat in order that thc coins will make more noise in falling. A s .the reader will know,considerablc prncticc is requiredto back-palm andproduce twelve coinsina single load. A great deal depends on obtaining the correct position at the commencement, and this is greatly facilitated by the use of the loose glove as a subterfuge to cover the pick-up, as it is changed from one hand to another. T h e correct position for the back-palmed coins is shown in C, as close as possibleto thetips of the fingers with the first coin
After the production of the twelve back-palmed coins
by the left hand the hat is passed fmm right hand to left hand by the loose glove which is held against the brim with the left thumb.
The right hand is now free to produce by the frontpalmproduction the nine coins recentlyextracted from the right hand tail pocket. Each of these is thrown, one at atime,intothe hat and the productionincreasedin speedtowards the end as if leadingtoa climax. When the last coin has been produced, change the hat over to the righthandagain,leaving the loose glove in the left hand and stepping close to the table, pour the whole of the coins from the hat into the glass bowl. As this is being done by the left hand it is obvious that the crown of the hat is towards the audience. The hat should, therefore, be held well above the glass bowl in order that the coins can be seen to fall into the bowl. When emptythe hatis immediatelyplaced back on the head. Under cover of thisaction,theleft hand goes into the tail pocket and withdrawsthestack of fifteen coins previously placed there. It will be remembered that this handstillholdsthe loose glove. This should be held well into the crook of the forefinger and thumb, leaving the tips of the finger and thumb free to grip the coins. As the coins are withdrawn from the pocket, the palm and fingers of the glove are allowed to drape over the coins to conceal them from the audience, as in D. This lefthandstealshouldbecompletedandthe ann in repose at the side of the body, by the time the hat is replaced onthe head. This is important.bemuse as the hat is replaced, the operator makes a half right turn so that he almostfaces the auditorium, towards the audience giving the impression that the routine is complete. This actionbringstheleft arminto view, butthe loose glove effectively hides the stack of coins held between the left forefinger andthumb.After a pause to receive any appreciations from the audience which may be forthcoming, the magician glances down at his left knee and changes the loose glove from left hand to right hand. This move serves a double purpose. Firstly it covers the transfer of the stack of coins from left forefinger and thumb to the palm of the right hand. These are pushed into the palm of the right hand as the glove changes hands. Secondly, it appears to the audience a necessary change simply to leave the lefthandfree, which immediately extracts the coin which has been secreted in the braid of the left trouser-leg. This coin is produced and dropped into the glass bowl. Following this the loose glove is passed back to the left hand and the right hand makes several catchingmovementsintheair, making louder and louder clinking sounds with the stack of coins palmed therein, and finally dropping the whole stack in the form of a shower into the glass bowl. The routine can now be bmught to a close by the use of a coin ladder, as described at the commencement of this article, or by any other means which may occur to the individual operator.
25
*****
***
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
****
“CARD TRICKS WITHOUT SKILL” (Edited and published by Paul Clive, price 516).
Of recent ,magical publications, I must say I know of no greater value for money than this book of card effects. Stiff cover, well printed and copiously illustrated (I think by Wilfrid Jonson) it covers two hundred odd pages and well over a hundred effects. The non-skilful aspirant should not be discouraged by the glossary of card artifice which covers the first thirtypages. Whilst a number of these (and remarkably simple ones) are necessary for the accomplishment of some,there is a spate of self-working card effects. Many sources have been tappedto provide this feast, and the editor has given credit where known. In all thereareeightchapters comprising Beginners’ Tricks, ImpromptuMysteries, Miscellaneous Mysteries, Treated andPreparedCards (particularly inthis section did we like the editor’s own effect “ Stained Glass Window ”) Pre-arranged cards, The Identity Deck and Contemporary Effects. The eighth chapter is the glossary previously mentioned.Just some of the names which should focus attention are those of Stewart James, Zens, Dai Vernon, “ Gen.”Grant,GravattandTed Annemann. The last chapter has contributions by English conjurersand they have stuck to the letter of the law in really giving effects without skill.All are practical as I well know. The gem of these, however, to my own way of thinking, is Victor Peacock’s “ Magic byProxy.” I like the dedication page. Unreservedly recommended.
****
*
*
****
**
(Fivestars)-Outstanding. (Fourstars)-VeryGood. (Tzcostars)-NoReasonforPublication.
rwl
“ RINGS IN YOUR FINGERS ” by Dariel Fitxkee (published bySan Raphael house, price 5 dollars.
ThatMr. Fitzkee is an indefatigible analyst has been evidenced by his previous books. This is no exception for hereinthe space of eleyen chapters, covering one
Just as the “ Pentagram ” was going to press,I received the very sad news that Mr. J. F. Bruce had died. He had suffered a lotinthelatterpart of his life. T o his wife and son we extend, on behalf of the “ Pentagram ” and its readers, our deepest sJ-mpathy. In watching Dante attheNottinghamEmpire, our thoughtsturned back and wewere talking toRupert Howard just before he left for the States, where as Danton, he was going to take over the Dante Show. Looking at the feather bouquets filling the stage we wondered if when and there would ever be another Devant. T o thepresent generation he is a name,and one wishes’that talkies and technicolour might have been invented earlier so that the might of this one man might have been caught for all time. He zcas a magician ! Those who metand knew Rooklyn whilst he was here, just before the war, will be pleased to know that he is running a full stage show in thc Antipodes. “ Punch ” recently tried tooutshineone of our contemporaries and had a very interesting article entitled “ You too can be a carpenter.”
“ On the Beam ” seems to be attaining world-wide publicity, and the latest port of call seems to be Norway
hundredandtwenty pages, every phase of theLinking Rings seems to becovered. The titles of thechapters should give the reader some idea of the completeness of this work . . . The Effect, Methods of Counting,Substitutionsand Exchanges, Simulated LinkingandUnlinking, Methods of Linking, Secreting and Securing the Key Ritlg, The Figures,EndingtheRoutine,Routines (eighteen routines including the Odin), Routines without a Key Ring, andFinal Suggestions. Inits completeness this book shouldstand as reference and guidance for many years. T o the would-be linker of rings . . buy . . for youwillfind no better literary mentor. The chapter onFigures is the most complete wehave seen,but we agree with the author insofar that they add nothing to the effect andin certain circumstances detract. This book is not of the same standard of printing and finish as Mr. Fitzkee’s Trilogy, but all the same it is clearly printed and illustrated, although the illustrations are grouped. The binding is betterthan we are accustomed to over here, butthere is no spine title. Unreservedlyrecommended.
.
*
.
rw1
***
“ HOW TO DO JUGGLING ” by John J . Mills price l O / - ) (publishedbytheVampirePress,
Within the forty-odd pages qf this well-printed little booklet, Mr. Mills certainly shows the reader how, with the minimum of practice, he can put together an acceptable juggling routine. Ball andClub Juggling, Balancing and Spinning,are all dealt with. The author writes clearly, and with the necessary practice wesee no reason why a person of normal intelligence should not reach the stage ofproficikncy desired by the author, but the acquisition ofskillis something gained which is not easilylost. Recommended.
vide MagiensVerden. In this same magazinewe were greatly surprised to see an explanation of Scarne’s Triple Coincidence, by HubertLambert. Abbott’s are putting out an improved version of the Warlock “ Glass Penetration.” From the advertisement, the improvement seems tobethatit is painted intwo colours.-As a suggestion, why not a sympathetic effect using “ Soft Soap ” (Tommy Windsor method), Red Silk in one box, red card in front .. . . black silk in other, black card in front . . cards changed over and so have the silks.
.
With such poor bindings on so many recent publications, I was beginning to think that the art of bookbinding waslost. Mr. Field, of Sheffield, has convinced me that such is not the case, for some books sent to him recently for binding, have been returned in a state that would have delighted the past generation. I cannot say more than that.
If you still lack a particular book on your bookshelf, that well-known collector, George Jenness, has just published a new list of books that he has for sale. It runs to several pages and includes many books which arevery difficult to obtain. You will find his address onthe next page !
, ~
26
...... WITHOUT SKILL .. .. NOW READY .. .. .. Price5/6 Post paid 5/10(S1.35) from .. dealer, directfrom PAUL CLIVE CO., Ltd., .. back 68 Cocker St., Blackpool .. ..
._
“
CARD TRICKS
CONVlNClNB COIN MAGIC
.m
VictorFarelli’s latestandgreatest work Close-up, Platform and Stage Effects. Cloth bound, art paper, 33 photographs and 24 drawings Price 17/6 post 4d.
.m .a
”
.m .W
S.
m.
Contributors include :-Gm. Braund, Herbert Collings, Douglas Craggs, Lionel King, Jack Kinson, Victor Peacock, Edward Victor, Peter Warlock, etc. bound. Cloth 120 Effects.
your
or
:
New Price List, M. post free, now ready
m8 8.
ALL ABOUT EVERYTHING Eighty pages of Magical Iqformation. Make-up for the Tricks of theTrade, Stage, Workshop Wrinkles, Radio Publicity for Magic, Society Reports Trade Section, Cartoons, etc., etc., etc: Price 2/6, post 4d.
.m .m a
b a. .m drn .m m. .U
GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING CO, 11 MonasteryGardens,Enfield,Middlesex
?I
Magikraft
Patterns for Psychics by PeterWarlock
invites
Packed with Mentalist Effects thatare positively UNCANNY. Card prediction effects, billettestsandthought-rea&ng brought to thehighest pitch of perfection. Fully Illustrated Cloth bound 1947
of
by LewisGanson195 Plates Price l O / ARCAS LIMITED
Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
... of
Also to Complete my Files I Require th;, following Copies of ‘a TheGenii, Sept., 1943 ; Sept. and Nov., 1945 ; Aug., 1946.
Autographed copies of Patterns forPsychics may be obtained from me : 10/3 post freePETER WARLOCK
HENRl
‘‘ Greenbanks,”Bramcote, NOTTS.
DE’SEEVAH
BMS.,
InM.,
Magical Books & Mss., Etc.
SSMC,
The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his stud10 :l CLARENCE ROAD Harborne, Birminghaml;
my list of exclusive effects that also contains useful hints and tips for magicians. Send in stumps to :
4d.
ZAHAREE,”Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept.
Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
I INSTITUTE of MAGICIANS I
B U TN O TT OP L A Y by Wilfrid Jonson (21/3)\
‘‘ That card work of excellence ” G E O R G JEO H N S O N 24BuckinghamStreet London W .C .2
ATTRACTIVE DISPLAYED LISTS BOOKLETS MANUSCRIPTS Ltt us know your requirements -
-
C F. I E L D 42 Alderson Road, Sheffield 2 T H E MAGIC WAND and
MAQICAL REVIEW Few Copies of December issue left. Forty-eight pages of outstanding Magic. Kiddies’ effects, Mental and Manipulative Magic., etc Profusely illustrated with photographs andartistic drawings. Circulation doubled duringthelast year-a proof of success ! ! Published on the first of March,June, October and December Per Issue 318 post paid Annual Subscription 1416 post paid GEORGEARMSTRONG, THE MAGIC WAND CO., MIDDLESEX 11 MONASTERY GARDENS :: ENFIELD PUBLISHING
post free
Visiting Magicians always welcome. Your membership cordially invited-drop a line tothe Hon. Sec. for literature.
CONJURING
BOOKS
F O RS A L E
OLDANDNEW.Let meknowyourWants LIST FREE FOR STAMPED ENVELOPE No callers
..
1/24 percopy,
W.C.
Particulars from Hon.Secretary :
A Copy $ Scot’s Discovery Witchcraft (any edition)
you
MMC.,
-
Magical Theatre :
King George’s Hall,
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
404-408 SYDENHAM RD., CROYDON
“
St.Ermin’sHotel, Caxton Street, S.W.l.
I want to Purchase
to have yournameon our mailing list. Many new items in production and lists will be issued intermittantly. M A G I K R A F T is the name for . G O O D MAGI’C
Price l O / -
Expert Manipulation Playing Cards
postfree
20/- for both books
JUST OFF T H EP R E S S
R E A D YI NJ A N U A R Y ,
President :His Grace the Dukeof Somenet D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.I.M.C.
MAGIC WEEAR BOOK Clubroom and Library and Museum :
urn m.
am mm am e. me
&
THE MAGIC CIRCLE
47
::
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
l l / m per year, post free, from :
‘‘ GREENBANKS,” BRAMCOTE, NOTTS., ~~
or from your dealer
~
Printed in England for PETER WA4RLOCI
PENTAGRAM
An independentmonthlybulletin
for all who want good magic
& d k 'u m y ,1947
V&. I N . . 5
clxte SxaYing
Lakadme
1907
annemann
- -
1942
c
It was with much more than regret that I heard of the passing of T e d Annemann, for whilst we had never had that pleasu.reof meeting in person, we had correspondedquitealot,and in thatcorrespondence found that we had so much in common regarding our attitude to conjuringingeneral,andmentaland psychic magic in particular. T h e " Jinx,'' which. he founded and so faithfully personified as its editor, w~llremam a lasting monument to him. Towardstheend of my temporary Army career, when I started to plan this little bulletin, I decided that I would try and repay to a T a l l exLent the benefit that hadbeen received from th:; Jinx b?, each February publishinganissueof,*Pentagram with the conso here, as was tributors all ex-" Jinx writers. And announced in the first issue, is the first Annemann mmmemoration number. 1should like to express my gratitude to my fellow contributors in this number, and particularly to q y i l l e Meyer:,who, after the arduous task Of editing Annemann an parade October the for Linking Ring," so graciously came forward with an item for this issue. Many of you will soon put into effect Robert Tothill's idea. for theeffect on theaudience IS one ofthe superlatives. I n memory of, a great magical writer I wish you '' G w d reading I 1 PETERWARLOCK.
Editor's Note.-A
In this routine use is made of stock effects ;credit ia given wherever possibleto sleights and apparatus invented by other magicians.
i
resident in ConnuoN, Robert Tothill is not so well-known to magiciam nr hemight be. A
first-class technigue, coupled with well thought out presentotion of m e r y effect which he essays, his work i s (I jw to watch.Readers of the " Jinr '' will wellrememberhim for his cord rosrineon page 500, "Secrets for Sale."
"
Introduction.-In my " Spirit News Conference " effect there is considerable speculation as to how a facsimile of asekcted newspaperpicture can beproduced on a card so thatactualcomparison may bemade with'the original. My routine,.although evolved some time ago, I have had hasrecentlybeen brought up-to-dateand marked success with i t at smokers and intimate perforrnances, audience appeal being an outstanding feature.
Presentation.-The operatormentionsthat itis believed the spiritworld has newspapers, with a counterpart to our Fleet Street and often publishes news relating to the earth plane. " It is, therefore, highly probable that there are spirit beings who are interested in feminine fashions, and I am sure there must be some who even follow the latest escapades of Jane inthe Daily Minor. So let us have a News Conferencewiththespirit reporters."
T h e operator passes out for examination a blank piece of card. “ T h e card is placed in this window envelope. T h e purpose of the window is to enable the card to beseen the whole time and for the card to be initialled. We will take the Daily Mirror as asuitable paper for reflecting the earth’s happenings. I will number the main pictures throughout to-day’s paper, actually there are six. T o convince you there is no conscious, or unconscious co-operation on anyone’s part,the choice shall be decided entirely by chance. If this die is shaken well in a matchbox by someone, and we take the number which is uppermost, the picture will be chosen by chance. Thank you for shaking, there is really no need for all that shaking, for I can assure you that the spirits will not be in any way frightening. The‘number uppermost, I see, is four, will you confirm that, sir ? One, two, three,four . . . I see you have chosen quiteasuitable subject. ‘ l Now thatthe picture has been decided upon, a word will be selected by what is known as a selector-plate. As you see, it is an oblong piece of metal with a small portion cut out of the centre. I will move it up anddown the columns of newsprint until you say ‘ Stop,’ and the word showing throughthe opening in the centre will be the word chosen for the News Conference. Should there be two words we will carry on again ’until you say ‘ Stop.’ Will you p1ea;edec,ide the page to be used ? This one ? Now say Stop whever you like. Stop ? Well, here is the word. It is . “ Common to all News Conferences we can imagine the reporters dashing off to ’phone the City desk. Soon the presses are turning out the editions, the distribution organisation gets going and finally the news boys put their initials onthe papers which have been ordered-the newsprint shortage being not only world-wide but universal. Your initials, sir, are on this card and I see on the other side is a spirit reproduction of the Dairy Mirror heading with to-day’s date, giving the selected word andthe chosen picture, proving our News Conference a success.” Method.-In the routine a certain amount of preparation is necessary. Areproduction of apredetermined picture and word has to be made on a card. The medium employed in transferring the picture from the newspaper tothe card is paraffin wax. I have found that candle grease and toilet soap can also be used, but does not give such good results. T h e following is my method of transfer. Wax a piece of thin good quality paper on one side. Lay this paper wax side up, and on face it downwards place the newspaper with the selected picture. Over the newspaper place another piece of thin paper and with a blunt pencil, using a fair amount of pressure, the whole of the picture area is shaded over. This transferssome of the ink from the newsprint to the waxed surface of the paper underneath. When the whole area has been covered in &is way you will find a reproduction of the picture on the waxed paper. But it will be noticed that the positions and printingare reversed. I call thisa negative as this impression has to be transferred tothe card, thenthe picture and printing becomes the correct way round. T h e card is waxed on one side, the negative placed over it face downwards. The pencil operation again carried out onthe back of the negative. The pictureon the card will now be a positive. Similar treatment is used for the forced word, employing an unused part of the negative. I also use the Dairy Mirror heading on page one, which gives the dateand is printed in red. Best results are obtained in the morning before the printing ink has had time to harden. The prepared card is now placed in position in the switching envelope. As willbe realised, the card examined is exchanged for one upon which is the reproduction of the picture and word. I use the clever device for switching described in “ Message from Confucius,’’ by Eric C. Lewis, in Abracadabra. It is Mr. Gripper’s adaptation of Mr. Len J. Sewell’s device for switching envelopes. (See footnote to “ SpiritNews. Conference.) However, any of the standard methods of envelope switching using window envelopes could be employed. For forcing the picture a die shaken in a match box is used. A small die is glued towards the end of a drawer of any emptymatch box, with the fourspot upwards.
..
Another die is also placed inthe box. On order to do away with cards and numbers as far as possible the effect “ Wordo,” which can be purchased from any dealer, is used for forcing the word. If anyone does not possess this effect, it is money well spent to purchase one-the method is direct and easy to perform. The match box is placed in thecoat pocket, the selector-plates in the waistcoat pocket, a Daily Mirror and the switching envelope put in a convenient place. The preparation is now complete. T o present the effect, the card is examined. When using Gripper’s switching envelope, I take this card from the envelope where it has been placed in front of the fake, as it enhances the illusion of the switching for the prepared card when it is replaced. After the card has been examined and placed in the envelope, the back of the prepared card which now shows, is initialled through the window. Number any six pictures in the paper by ringing them with a red crayon and place the number in a conspicuous position. Care, of course, should be taken that four, the number uppermost inthe match box is thenumber of the picture which is to be forced. The loose die is taken from the box and shown, is then replaced and the box shaken. Remembering which end of the box the dice has been glued, it is tilted so that the loose dice slides to the opposite end. The drawer is opened enough for the fixed dice to be seen with the number four uppermost, the loose dice, of course, is hidden. The drawer is closed andthe box pocketed. The chosen picture is shown. The t w o selector-plates are taken from the pocket, the faked plate palmed, the ordinary plate is shown to demonstrate how the word will be selected. Whilst the page is being chosen, the plates are exchanged, the ordinary one returned to the pocket. The effect is worked according t o the instructions supplied with the plates, and after the word has been seen by the spectator, the plate is immediately placed inthe pocket. The situation is then built up to a strong finish by taking the card from the envelope and showing the spiritpicture is indeed a replica of the original. The reaction is one of astonishment when the two are held side by side for comparison. For those who prefer the prediction type of effect here is an alternative presentation. Effect.-Operator states that a week ago he predicted a certain newspaper picture andword, not even then printed, would be freely chosen here to-night. That prediction was enclosed in an envelope and posted to himself at this address. T o bear outthe statement the envelope is handed out for inspection, with the request that special notice be taken of the date-stamp of the post office franking and the fact that the envelope has not been opened. A picture and word is then chosen from a newspaper in the manner previously described, and a startling effect is producedwhen the envelope is dramatically opened, revealing inside a sheet of paper bearing a reproduction of the chosen word and picture. Method.-The reproduction of the picture and word on thepiece of paper and theway the force is accomplished have already been given. What may not be so clear is how it is possible for a letter posted a week ago to contain such a piece of paper. The “ Jinx ” issue number eixtyfive published November, 1939, on pages 455 and 456, gave Sid Lorrain’s version of rubberised envelopes under the heading of “ Prediction.” An ordinary envelope is coated with latex on the gummed part of the flap andthatpart of the envelope where the flap folds down. When dry the envelope is sealed by pressing the rubberised parts together. The envelope is addressed and posted a week before the date of the performance. Upon arrival at the place of entertainment, the letter is asked for.Take it somewhere free from observation and open the envelope. It will be found that this is quite easily done. Traces of latex are removed from the envelope by a rolling action. The reproduction already prepared on a piece of paper is inserted in the envelope and sealed by moistening the gum which has not been impaired. The envelope is then given to someone in the audience to hold until required in the routine. Rope cement, or Wunda Cut fluid used for ‘ I Clippo ” may be substituted for latex.
29
Editor’s Note.-FeelingthatBobTothill’seflectwould not be completewithoutadescription of thechanging enveloperecommendedbyhim, I approached myfriend Goodlifle,who,withouthesitation,gave his permission forit’sreproduction.It comes fromEric C. Lewis’s “ Magic toEntertain,”seriallypublishedin ‘‘ Abracadabra,” and which will soonbe available in book form. E
*
E
In essence, what takes place is this : a large envelope aboutten inches long by seven inches wide (the exact size does not matter) is shown to have an oblong window cutfromthe centre. A piece of blank cardboard of a size to slip easily into the envelope is examined, and then slid into the envelope, the card plainly going inside, and its journey made visible by means of the “ window.” The card is initialled or otherwise marked through the “ window.” Later, when the card it; removed, the front of the card still bears the marking, but the back now bears a message boldly written upon it. It will thus be seen that this apparatus will have a host of uses, and is well wortl: making up. ‘ The illustrations explain themselves to certain a degree, but to make doubly certain, the necessary ‘ faking ’ will be explained in detail. The envelope should be of fairly stout material and is unprepared except for the “ window ” cut in the centre of the address side. A sample envelope is shown in fig. A, the shadedportion indicating the interior of the envelope seen through the window, and the dottedlines the shape of the envelope on the side opposite to the address side.
A special fake is necessary to fit inside the envelope and this is clearly illustrated in fig. B. T h e construction isas follows : cutthe non-addressside neatly froma spare envelope and trim this to the shape shown in fig. B. This should be made to fill the envelope completely. Now fix aband of very stiff paperaround the narrow portion of the feke, this band being a fraction greater in width thanthe window inthe envelope. Now cut another portion of paper from the waste envelope and fix this asshown to the centre of the banc!, this portion matchingthe interior of the envelope. Turnthe whole fake over, and securely glue two small squares of very thick cardboard onthe extremecorners of the band. These areshown by the black squares inthe diagram,under-
standing, of course, that they are actually on the rear of the feke ;they are also indicated clearly on the end “ view ” also illustrated. This prepared band should now be able to slide easily and smoothly up and down the narrow portion of the feke as shown by the arrows. The cards used in the effect should measure about three-quarters of an inch less in all directions than this feke.
T o prepare, write your message on one card. Reverse thisand slide itunder the band as shown by the large arrow in fig. B. Have the band to the left of the narrow part as in the diagram. Insert the fake (with card under band) into the envelope and the result wil! be similar to that shown in fig. C . If the fake has been carefully made, it willlie flat inside the envelope, and the envelope will look unprepared. T o use the fake, introduce first the card and the envelope, calling attention to the window in the latter. Have the blank card examined and place it slowly intothe envelope, making sure that it goes into the opposite compartment from the one which already contains a card. It will enter almost as far as the opening, when it will meet-the thick cardboard squares on the band. Continue slowly pushing the card down, and the whole band will be pushed down with it in the direction of the arrows in fig. C, gradually uncovering the blank side of the card already contained in the envelope. When the band comes to the end of its run, lift the card slightly away so that it slides over the cardboardsquares, and push it right home. Fromthefront andthrough the window the illusion of the card being slowly pushed visibly into the envelope is perfect. Initial the portion of the card showing, and when later the card is removed, it is the front one only that is drawn away, the envelope appearing empty again owing tothe fake covering the original card and appearing as the back of the envelope. #
#
#
TheManufacturingandSellingRights of allapparatus described in ‘‘ Magic to Entertain ” areretained by the Author and the . M a g i h a f t Studios.” Items may, of course, be madeup by readers for theirown use.
30
A spectator notes a card in the deck which is squared and placed on a “ Readers’Digest,’’which is still in its postalwrapper. The magazine serves as atray.
The late H. S. Paine sold this at leasttwenty-five yearsago as the “ RemarkableProphecy.” A short card duplicate of the Ace of Hearts is a little more than half way down in the deck.
The spectatormay give the deckany number of single cuts, finally dividing the cards in two face-down piles. He now places the previously removed Joker face-uponone pile and replaces theother pile on top. The deck is retained by him for the moment. The magician removes the wrapper andplaces the magazine beneath the foot of aspectator.Without looking attheir faces the spectator removes the card above and below the Jokerand places them inhis pocket. The deck is taken by the magician, given a quick shuffle and ribbon-spread face-up on the floor or a wide fan is made to reveal to the spectator that the card be noted, and the name of which he has told to no one,has vanished. If he is at all doubtful he may take the deck inhis own handsand examine it thoroughly without causing the performer any uneasiness. Attention is nowdirected tothe fact thatthespectator hastwocards in his pocket. The magician states that, without actuallylooking atthecards,thevolunteer will be unable to hand him the selected card the first time he removesone. He triesand fails. The chosen card could not be taken out first, explains the magician, because the oneremainingisn’t it either. The spectatornameshis card, takes the one from his pocket and discloses that it is quitedifferent. Thenumber of spotsonthetwo cards that were inhis pocket areadded.Whateverthe total, heturnstothat page inthe magazine. There is his selected card.
Presentation.-Hold deckface-down in left hand. Riffle corner of deck with left thumb until told to stop by spectator.Atthemomenthe givesyou thecommand, allow all the cards to the short card to slip by. Lift off the upper halfof the deck to and including the short card. Your right hand thumb is at the inner end of the packet and the second and third fingers curled around the outer edge.Allow spectatorto see the Ace of Hearts,butthe manner in which you are holding the cards is convincing proof that you do not see it. Replace the packeton the deck, but as you do so the second andthird fingers of right hand twist the Ace of Hearts to the right and away from face of packet. The lower half of deck enters between the upper packet and short card so that this, the selected one, becomes the face card of the deck. Thislis a beautiful sleightand has numberless use?.Soldas The Master Move ” by the late JoeOvette, he stilldidn’t recognise it when he saw me use it.When youhave squaredthe deck, retain itin righthand. Pick upthe magazine in left hand byonelongside. Fingers are underneathand thumbontop. Repeat theMaster Moveasyouplace the deckon the magazine. The shortcard goesbeneath the magazine and isretainedby left fingers. This move willbefamiliar to “ Card Through Magazine ” users.
Secret Preparation.-Insertthe Ace of Hearts inthe “ Readers’ Digest ” betweenpages fourteenand fifteen. The postal wrapper is replaced. One other ace is discarded and the fifty remaining cards set up by values only so that any two cards together from any spot will total either fourteen or fifteen. (seven-eight, six-nine, five-ten, four-jack, three-queen, two-king, ace-king, two-queen-three, etc.) This makes an endlesschain so the deckmay becut.
The spectator places the Joker in the deck as described. Remove the magazine, place it beneath his foot and discard the postal wrapper with theshortcard still concealed beneath it. I sometimes fold and place in side coat pocket. Part will projectfrom pocket. Atthe conclusion of the trickIwithdrawitand replaceonmagazine-but the card remains in the pocket. The two cards that spectator removes besides the Joker must total fourteen or fifteen. Ofcourse,eithertotal will do . . .
In Annemann’s “ CompleteOneManMentaland Psychic Routine ’’ is given his version of an older effect, which he called “ The New Nile Divination.” Many readers and do-ers of this effect must have soon realised that the principleinvolved need not be confined to numbers alone, but could beadaptedtootherthings aswell, including playing cards.
The holder of the slate is nowasked to shorvhis written thought to every one by turning the slate around. The second person is asked to remove the card from the envelope. They are the same ! This isreally a strong effect from the audience viewpoint. It is, of course, N o gimequally S: simpleas the Nile stuntmentioned. micks art: necessary ; the articlesusedare ordinary.
As intheAnnemann effect, theperformerstates he will attempt a strange test of coincidence with the audience itself, and in which he will have no part except for the direction. An assistant is secured, and giving him a slate and chalk, the performer leaveshim at a far side of the room. The spectator istold tothink ofany card in the deck, and keep it in mind.
First secure your assistantfromaudience, and pick someone who has a pleasant look and has been evidently enjoyingthe performance throughout.One canalways be found, and this type of person is right in the spirit of things and onlytooglad to help. Ask him to stand at a far side of the room, and you take him to this spot, and a; you are at a distance for a few secondsyou tell the spectator, Think of any cardinthe pack.Which one wouldyoulike toconcentrateupon ? ” He givesyou thename of a card. You say, Just keep thinking of it from nowon until I tell youtowrite it down.”
that
l‘
Taking a deck of cards, the performer now has some one in the audience select a card at random but the card is not looked at. Without knowing its identity, the secondassistant seals thecardinanyordinary envelope and holds itinsight of all. As this isbeing donethe performer asks the person in the corner to write the name of his thought of card on the slate.
Youactuallyask himto pick his own card,buthe tells youbefore he realises or knowswhat is to happen. This is muchbetterthantryingto get him towrite a
31 certain card,or having writteninstructions onthe slate ahead of time, etc. And don’t think this is too brazen to work, because if you go over the above carefully you will see that everything is above board as far as he is concerned. Turning back after giving him the slate and chalk to hold,you return to front, taking a deckof cardsfrom pocket, andthenturning, call back tothe spcctator, “ Stand where you are and kecp one card in your mind constantly. You have a card in mind now, haven’t you ? ” T h e answerisalways “ yes.” T o the audience youhave put a man in the corner with a slate and had him think of a card.
Now state you will remove the Joker, which gives you an opportunity to locate the needed card, and then follow with a falseshuffle or two. Needless to say thiscard is taken by the second spectatorthrough the use of your best card force, and if you haven’t one, you should buy a copy of Annemann’s “ 202 Methods of Forcing.” Thusthe workingis made clear. The spectator is told to write the cardhe has been thinking of. The person in audiencestandsand removes the chosen card from the sealed envelope and calls outits name. The slate is turnedaroundand they coincide. And as it stands it i s a clean cut number thatmakes talk.
The following variation of this popular item you will find to be an acceptable offering with any audience. While the principles arenot new itsrequirementsaresimple and readily obtained.
of that essential procedure, the recording of the serial number-thisis read aloud from the match-packet held against bill, andmatch-packet is then disposed of.
A bill, the serial number of which youhave on a packet of flap-matches, is folded into a half-inch squareand placed in a piece offlash paper about two-inches square. Atop this, upon table, is a picceof paper of similar size and color. Now insert a slip of paper with “ I.O.U. one dollar ’’ written on it, into a hole in a medium sized kitchenmatches potato, replacing the “ plug.” Afew in your right coat pocket, and a knife at hand.
‘ spud ’ is cut open to find the I.O.U., andtheensuing
Bill is vanished-by
The potato,which may be produced magically if desired, is placed in sight, perhaps on an inverted tumbler. Bill is borrowed, and a flap-match is lighted as though t o ighite the bill---when the performer recalls the omission
This effect, to the best of my kqowledge, introduces a new themeintoslate magic. After a member of the audience has been inveigled into assisting the magician he is handed a slate, and then from a box of coloursd chalks is asked to select any one h e wishes. With this pieceof coloured chalk he isasked to draw a patternonthe slate. Whilsthe is doingthis the operator picks up a slate and on it draws with white chalk the figure of a pentagram. Each slate is now marked on the sideopposite to the drawing, the assistant’s with his initials the operator’s with his own. The assistant’s slate is now placed drawing side down on the floor, and he is requested to keep his foot in place on the frame of the slate. Now the operator recapitulates in this way . . . “ Yourrepresentative, ladies andgentlemen,hasdrawn a design selected from several, a triangle in green chalk on a slate which bears his initials and is now wedged between his foot and the floor. On the slate, n-hich I am holding, I drew the design of the pentagram . . . Watch a strange feat of magic, the two drawings are going to change places. If, ladies and gentlemen, I were a n-iere conjurer, I should cwerthe slates possibly with tubesor handkerchiefs. Being a magician, I do nothing of the kind . . . iust watch ! ” The operator at this point holds his slate about three feet above the spectator’s,andthen slowly turns it round. Onit is seen the spectator’s drawing. “ Will you now ” (thistothe spectator) “ please lift up your slate and show it to the audience ? ” The spectator does
reparteewithowner
your favourite method-and
the
of bill suggests goodcomedy.
Finally, the packet containing bill, andthe extra paper covering it. are picked uptogzther, the I.O.U. is folded withinthepaper, the two small packets held up and shown as one-that containing the bill being against thethumb. Now place both packets upon left palm, thumb underneath,and steal off the I.O.U. packet in a fingerpalm.Show bill packet uponpalm, go into pocket for match, leaving I.O.U. packet. 1,ight flash paper . . . Finale to suit.
so. On it is seen the operator’s drawing of tlzr pcntagrcutr ! Believe me,when the spectatordoes show the audience his slate there is a gasp, for the freedom of handling makes the effect so convincingly magical.
The requirements are very simple and the effect can beset up in a coupl: of milutzs.These are the things that the reader requires :-two slates of similar size and with a flap common toboth. I am using twoIVandman non-locking slates, the machinefinish plus thcstrong bakelite beds making these ideai for this effect ; half-a-dozen pieces of different coloured chalk in a small box ; a piece of white chalk. A piece of cardboard, size fourtec-n inches bytwelve inchcs completes therequirements. side of the The preparation is as follows :--One piece of cardboard isdik-ided into six equal parts and in each part is drawn a simple design (see A). On the other side is drawn a large pentagram (B). Readers \vi11 realise that once this is done it is good for all succecding presentations. We will suppose that one slate is A and the other B. On slate -4 theoperator dra\vs a pentagram, nearly filling the slate. On one side of the flap he draws a similar sized pentagram. This flap is no\\- fitted into A, so that the two pentagrams ‘ kiss ’ one anothtr, and to all tffect, the operatorhas nowtwo slates blank on both sides. A, flap side uppermost, is now laid on top of R , and both placed onthe table. Box of chalks is nearbyand the piece of white chalk in operator’s pocket ; the card lvith
32 the six designs showing is displayed upright against chair back. T h e stage is now set for the . . .
Presentation.-The spectator is invited to assist, and is seated on the operator’s left. The topmost slate, A (with the flap), is handed tohim, Some readers may think that this is risky, but the mere action of handing the slate to aspectator allays all suspicion. Duringthe last couple of months I have used this effect some couple of dozen times with both children and adult audiences, and never once have I known a spectator do more than casually look at the slate.) He is then asked to choose one of the coloured chalks. This done, the operator either points to, or picks up, thecardboard showing the designs and requests the spectator to reproduce one of these as largely as possible on his slate. Whilst this is being don% the operator removes the white chalk from his pocket apd‘pn the slate B, drawsapentagram. T h e spoken line is, and whilst you are drawing your design, I will draw something more complicated with white chalk.” The operator allows the writing side of his slate to be exposed to the audience so that they can see his drawing. I t is held in the left hand drawing side up. Taking the assistant’s slate the operator holds it up so that the audience can see the design drawn by theirrepresentative.(Care must be taken thatthe flap is retained in position.) Then, “ So that there can be no m;llstake I shall mark both slates. Whatareyour initials ? The assistant tells the operator his initials, the operator turns the assistant’s slate over on to his own, and squaring the two and allows the flap to drop on to his own slate: Now the spectator’s initials are placed on the slate it is removed, placed onthe floor (care is, of course, taken that the audience do not see the underside of the slate) and the assistantrequested to put his foot upon the frame. (Because the flap carrying the spectator’s drawing had on its reverse a duplicate of the operator’s drawing the slate left in the operator’shandlooksunchanged.) This latter is now turned ove’r andthe operatorwriteshis own initials on the blank side. During or immediately afterthiswriting (this is a matter for the individual) the flap is allowed to drop slightly andit is moved into a position where it
In publishing “ Porous Glass ”-in our secopd issuewe mademention that this effectwas published in an American magazine. We have now traced the source and find that credit should go to Tan Hock Chuan. . T o him we will pass on the many thanks of readers for the republication of this splendid impromptu penetration effect.
It would se:m that‘the publication of the two effectsOnthe Beam and Triple Coincidence ”-in Magiens Y e d e n , . were the result of amisunderstanding. Mr. Hubert Lambert, who had sent these effects to the Editor to use personally, was himself amazed when he saw them in print. “
projects about an eighth-of-an-inch over one side of the frame (see C). T h e operator now turns over his slate, holding it by the right hand, and picking upthe card bearing the designs uses the words given in the description “ Your representative, etc.”, and at the same time points with the slate (see C) towards the chosen design. (Note thatthe card is held atthe edge between the first and second fingers.) The slate is passed from the right hand so that it is gripped by the first fing;; and thumb of the left hand.. As the operator remarks Idrewthe design of the pentagram,” the left hand turns card and slate round so that picture of the pentagram faces audience. T o this the operator gestures with his right hand. Under cover of the cardboard the left hand thumb, with a sliding mcvement,brings the flap across the frame of the slate (see D). The right hand now goes behind the cardboard, takes the slate and leaves the flap behind gripped by the thumb and first finger ot the left hand (E). The great point here is to avoid t!;is being done noisily. Firm but relaxed handling is essentia!. The operator shows the slate once more . . . his initials on one side and, of course, the original pentagram on theothel. At thepoint “ were I n conjurer, etc.” the 0peratc.r with 2 synchronised movement brings the slate partly behind the cardboard and turns the card over so that as th-e cdrd is finally turned the slate covers the flap (this is an easv and natural move which jusc needs timing). l’he fingers of the light hand hold the flap and the thumb and first finger of the left harid releases their hold. The left hand now gestures with the card towards the assistant, and at the same time the right hand aligns the flap into its recess. Because of the manoeuvre outlined, the flap has been turned over and the operator now has the spcctator’s design on his slate. This !atter is now held above the spectator’s slate . . . it is turned round, and the design of the spectator shown to the audience . . . the assistant picks up his slate , . . and believe it or notthere is the operator’s drawing. Before deciding on the method employed forturning over the flap Itried many methods . . . under silks, paper, in paper bags. All were practical, and, in a couple of cases, easier, but in the end because of the fact that right up to the last minute the audience see the design on the operator’s slate, I decided to use this for myself.
From all sides andfromour own experience this must have been one of the busiest of all Xmas seasons, reminiscent in some ways of the immediate period after the first World War, plus an added factor that fees have been much higher. The Magic Wand Year Book has just come to hakd, and we congratulate the publisher on this pioneer venture. Within its eighty pages there is contained a wonderful assortment of valuable information. In the section “ Tricks of the Trade,” the reader will find all that infonnation which at one time or another he meant to make a note of and then forgot. Mr. Armstrong has put it here for you-all in alphabetical order !
33
I remember meeting Annemann when he first came t o New York Cityaround 1927--seeing hisshowthen when he wore a turban and a long black cloak. It was Al. Bakerwhoprevailed upon him to drop that and wear a next Tuxedo suit.
In fact it would seem that Ted must have been born under an unlucky star as life was just one break after another for him, and it seems that the ,jinx which he created just hung on his trail until it finally caught up with him. In 1931 he wrote his first book--“ The Book without a Name,” which I took over, and this started a seriesof books from then on and all successful. remember I one of the boysJlere fixing up for a two night’s show with Ted, doingtwo hours of magic, includingthebulletcatching effect, and ticketsbeingsold out inadvance. The first showwas to havebeenon January 2hth, 1942. On January12th I remembertryingto get Ted onthe ’phone-no answer-Mrs. Holden finally called the ’phone operator, for she had a feeling that something was wrong and sure enough at2 8.m. the next morning we were called on the ’phone and told ?hzt Ted had passed on the previous day.
Ted’sfather was an -4rmenian and yed, who had inheriteda paleface andlong black hair,hada lookof mysteryabouthim.Hisactthen consisted of amental routinewhichafterwardshe sold as the “ FourthDimensionalTelepathy.” He wenthomeforthesummer and came back to New York with his wife, Greta, renting asmallapartmentwheretheykeptopenhousefor all magicians. Lateraparting of the ways withhis wife, that left Ted hezrtbroken,andthen 1934,when Ted decided to get out a monthly magazine and the “ Jinx ” madeitsappearance. “ Jinx ” went so well thatTed decided to put out the effects cf Charles Jordan, but, alas, only sixissuescame out.Aboutthistime Ted hadmet anothergirlwhohelpedwiththeartwork,andthey subsequentlymarried.Happinessthough was notthere.
***
*****
***
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
“ HOW TO DO THE CUPS AND BALLS by Eddie Joseph (published by the Vampire Prers, l O / - ) .
**
****
X
****
(Ficestars)-Outstanding. (Four stars)-Vvery (Two stars)-NoReasonforPublication. ”
This is a verywell printedlittle booklet of some sixty-odd pages, with stiff board covers. It-consists of two parts (previously publishedseparately byAbbott’s). The first part is more of a primer and is entitled “ How to do the Cups and Balls,” the second is entitled “ Advanced Lessons intheCupsand Balls.” In the first part,Mr. Josephcarriesthereaderthroughthe variousstages of secret introduction and secret extraction completing with a full routine and suggesting four different finales. Among these moves, a very individualisticone, but oneworth acquiring is the Jo-JoIntroduction.Whilstthere may be something to be said for the use of a full palm insofar that the fingers are open, the speed at which most cup and ball routinesare worked hardly calls for moveswhich actuallydouble the work. In thesecondsection, hlr. Josephcarries the readerfurther along detailingmany littlesubtletiesand ideas. The,,ideas of the “ Rain of Balls ” andthe “ FlamingCupsare exceptionallygood and novel, one only wondering in the latter whether the necessary preparation to the cups would upsetanormal routine. T o thosewhowantsomeworth-whileand out of the way information on the Cups’and Balls, this book is unreservedlyrecommended. #
A sadday for all magiuans, a s . I think every one mournedforonewho was great.
Good.
*** ‘‘
T.N.T.” (editedbyFabian,publishedbyGoodliffe, price6/-).
Here is a little booklet of some dozen typically British tricks. Fromthe noveltyangle perhapsthemostoutstanding beingJack Shephard’s “ AllezOop.” What is, however, worth far more than the price of the book; is the splendidand practical articlewritten by Ron Bishop. Well printedand with a semi-stiffcover. Reconmmeded.
#
X
#
***
“ ABRACADABRA XMAS SPECIAL lished by Goodliffe, price316).
”
(pub-
Whilstthepaper is notup to the normal Goodliffe standard, the material in this booklet is decidedly worthwhile.Children’s entertainers should on no account miss John Kenyon’s “ The Fortieth Thief,” which a splendid example of building up standard effects into story form. The biggest mysteryto uswastoreadone contributor writingthe “ Legendry CharlesJordan.” After three weeks we still don’tunderstandit ! Recowmended.
X
#
N E 0 MAGIC ” by S. H . Shurpe(published 1416). byGeorgeJohnson,price
#
#
“
In theMarch issue we propose to give a detailed criticism of Mr. Sharpe’s book, for it is not a book to be ‘dismissedina few lines. Let usonly say herethatit is well printed, errors there are and at the moment we are awaiting an “ errata ” list) andboundincloth. It is a book for the magician who sees more to magic than the performance of a few tricks. Whilst this may seem heresy to so many, wedisagree withtheauthor’sreiteration of someprevious fallacies. Enoughfor now. This book is unreservedlyrecommended.
‘‘ GOODLIFFE’SMAGICMONTHLY,”
. No.
1.
The first number of this much discussed venture is now to hand. Whilst we should have liked to see something morealluring, we feel thatto criticise suchapioneer ventureonsuchgrounds is trifling. Our ownfeelings towardssuchapublicationare as stated before, thatit can do a great deal towards making good conjurers. The publication of secrets is, however, a bogey to some members of societies. Such is the worst of mere puzzledom. We look,forward tothe secondissue.
34
Wandman Specials FLAP SLATES Locking and O r d i m r y - t k finest obtainable
CONVINCING COIN MAGIC
Victor Farelli’s latest u d greatest work Close-up Platform and Stage Effects. Cloth b&nd, art paper, 33 photographs and 24 drawings Price 17/S post
4d.
TABLE STANDS (Patt. appliedf o r No. 18210146) Chrome Hexagon Pillar, Three Black Moulded Legs, One Screw fixing. For rigidity and artistic appearance they stand supreme
Price E2-2-0 List sent on request
WalterWandrnan
MAGIC W A N D E A R BOOK
ALL ABOUT .EVERYTHING Eighty pages of Magical Information. Tricks of theTrade, Make-up forthe Stage, Workshop Wrinkles, Radio Publicity for Magic, Society Reports Trade Section, Cartoons, etc., etc., etc: Price 2/6, post 4d.
2 0 / - for both books
ELECTRA WORKS, REDDING’O LANE, TYSELEY :: BIRMINGHAM 11
Patterns for Psychics by Peter Warlock
Packed with Mentalist Effects thatare positively UNCANNY. Card prediction effects, billettestsandthought-reading brought to thehighest pitch of perfection. Fully Illustrated Cloth bound
post free
GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING CO, 11 Monastery Gardens, Enfield,Mlddlesex
you
Expert h‘Inmipulation of Playing Cards This is, without doubt, the best book on mental effects since Anneman left US."^ by LewisGanson 195 Plates PricelO/ARCAS L I M I T E D
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
‘I
ABRACADABRA
404-408 SYDENHAM RD.,
66
CROYDON
IT
HENRI DEIEEVAH MMC.9
‘‘ Z,PPHAREE,”
Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept. ATTRACTIVE DISPLAYED LISTS BOOKLETS MANUSCRIPTS Lct us know your requtrements
-
-
-
CF . IELD 42 Alderson Road, Sheffield 2
EMS-,
IEM.,
SSMC
The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or :call a t his s t u d ~ o l CLARENCE ROAD, Harborne, Birmingham 17
my list of exclusive effectsthat also contains useful hints and tips for magicians. Smd 4d. i n stamps to :
JAMES
GRAYSON
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephune or Telegram : MORLEY 899 . Address :23 GREENFIELD AVENUE GILDERSOME, ,Nr. LEEDS Nearly 30 years zn thebusmess
THE MAGIC WAND and MAQICAL REVIEW March issue containsthelasttenentries for the Mental Magic Competition. Also details ofnew Competition for the besteffect for entertaining Children. LIO In prizes. Much more good magic by Victor Farelli, E. Brian Maccarthy, P. C. Sorcar (the famous Indian Magician) etcetc Sample Copy 3/8 test phid iiur selection) Annual SUbsCriptiOn 14/6 +ost +azd Publishedon the first of March,June,-Octdber and December THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
Clubroom and Library and Museum :
St.Ermin’sHotel, Caxton Street, S.W.l. Magical Theatre :
King George’s Hall, Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
AN ORIGINAL ROUTINE FOR BURNT AND RESTORED NOTE. Price 718 post free Latestunsolicited Testimonialfrom Will Tedder, of London :I didthis at U MasonicDinnerand got two return bookings, stipulating I must do fhe LI note trick. It’s smashing . . . ” ! ! Direct from :
CECIL V. TEBBETT 4b ALBERT PROMENADE LOUGHBOROUGH, LEICS. or:
HENRIDESEEVAH 136 HARVINGTON ROAD WEOLEYCASTLE :: BIRMINGHAM 29
Magical Books Br Mss., Etc. Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics. INSTITUTE of MAGICIANS
Founded 1734 President : A.Zomah. Hon Sec Oscar Oswald 102 Elmstead Ave * Wembley P a r i Middx. H.Q. and L i b r a j : NO. 2 H a d Court (Victory Club) High Holborn W.C. MEETINGEVE$Y THURSDAY i-11pm. Vlsltmng Magclans always welcome. Your membership cordially invited-drop a line tothe Hon. Sec. for literature.
C O N J U R I N GB O O K SF O RS A L E OLD AND NEW. Let me know your Want8 LIST FREE FOR STAMPED ENVELOPE No callers
47
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
‘‘ CARD TRICKS WITHOUT
PETER WARLOCK’S
W.C.
Particulars from Hon. Secretary :
“UP THE GARDEN PATH”
to have your n a x e on our mailing list. Many new items in production and lists will be issued intermittnntlp. M A G I K K A F T is the name for . G 0 0 D AI A I C
Price l O / -
President :His Grace the Duke of Somerset D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.I.M.C.
TEBBETT’S
Magikraft invites
THE MAGIC CIRCLE
SKILL ”
A New Book already famous The quintessence of Eard magic without a t a price thatis a fraction of its value (h+S. Histed). One of the best I’ve seen this side of the Atlantlc on Card Magic ” (Herbert CoZlilgs). 117 Effects - 150 Illustrations - Over200pages - Cloth-bound 5/11 post free New Price List 6d. post free :-li
PE NTXGRXM Published on the 15th o? each month 1 /i single copy, post free 11/- per year, post free from
“
...
GREENBANKS,”BRAMCOTE,NOTTS. or from yourdealer
PAUL CLIVE & CO., LTD. Back 68 COCKER STREET, BLACKPOOL
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
35
PENTAGRAM
An independent monthly bulletin for all who want good magic
V!& l J K ! 6~
M , 1947
This isadescription of an excellentdevice whereby in effect the handkerchief in the magician’s breastpocketrepeatedlychangescolour. Its uses aremultiple, andsuchausemight beinstanced when the Coloured Plumes effect is being performed . . the magician places the coloured plume in the to the fact paper tube . . . attentionbeingdrawn thattheplume matches his handkerchief . . . whisst . . . the handkerchief changes colour and the plume iswithdrawnsimilarlycoloured. The fake to accomplish this has to be hand-tailored to fit the breast pocket and the accompanying drawings made from the actualapparatusshouldmakeeverything quite plain.Illustration A shows the back-bone of the fake and consists of a piece of very thin ply, bordered by two uprights measuring half aninch square. Each of these uprights is recessed to accommodate the plywood and to make this plain, A shows only one upright in place, the other being shownseparately so thatthe recesscanbeseen. It should be noted that the plywood is shorter than the uprights by half an inch. This is shown in B. The latterillustrationshowssomeadditionswhen the uprights havebeengluedinto place. Through the uprights at the lower end, a piece of thin metal rod (about the thickness of a bicycle spoke) is run, and at the topof the two uprights arefixed two small right-angledbracketsmadefrombrass. Through these brackets another thin metal rod is run, and it is a matter of importance that each end should be screw-threaded and befittedwithsmallnuts. A
.
oh43 S-
piece of black satinis now made into an endless band so that it fits tightly around the fake and the metalrods. T o achieve this tightness, unscrew the top metalrod,adjust thesatin band to the more than necessary degree of tightness, then replace the rod. A piece of wireis now takenandshapedas andsewninto in D. This is placed onthesatin the positionshownin C. Fivedifferentcolouredpieces of silk are now taken,shaped,andsewn at regularintervalson to the endlessband. The mainillustration gives you the correctlayout. To the bottom of the fake is now fixed a piece of metal shaped as in E, and over the hole inthe projectingtriangleisattacheda length of brakecablesheathing. A piece of brake wire is now run through the tubing and attached to the wire sewn across the satin. D shows the means of attachment.Withthe cableinserted, it will be ,found that a short tug brings the succeeding pieces of silkintoposition in a positive manner. T o use the fake, the rectangular part isinsertedinto the breastpocket,asmallhole being-cut through the lining so that the cablecanbecarriedround the back of the operator. Tails arebestfor its use. A safety pin is attached to be cable as in the illustrationandkeeps the cable in position. As it has been stated before, just a tug moving the roller an inch or so, and up pops the next coloured silk. It is veryconvincing,andthosevisiting the of CotswoldConventionwillhaveanopportunity seeing the originalpiece of apparatus.
36
As usually handled, the artifice we know as the Double-liftwouldnotdeceiveablindschool. In most instances where it is employedatop-change would be much the betterprocedure. I can conceive of nothingincardconjuring less likely to deceive than the taking of a card from the top of a pack and then returning to the top for no other reason than to lift it off again. Yet I have seen this done some scores of times, and notalways by the inexperienced. My object in this short article is toshow how a double-lift may, with perfectly natural moves, serve a two-fold purpose :-(l) to change the second card into the top one with one hand only ; (2) to reverse a card in the pack automatically. For the explanation to have something more than a dry academic interest I shall embody it is an unpretentious little trick. Imagine then that two cards have been selected by different spectators, the first card drawn being, say, the Ace of Clubs and the second the TWOof Hearts.Havingcontrolledthesetwocardstothe top of the pack by one of the many known methods and byrepeatedshufflingconvinced the onlookers that the twocardsmust belost in the pack, the conjurer offers to makethe first of the selected cards appear on the top of the pack. At this point comes the double-lift. The two cards, dealt off as one, are turned face up on pack but allowed to overlap by
COTSWOLD MAGICAL SOCIETY COMPETITIONASSEMBLY CHELTENHAM, MAY lst, 2nd, 3rd & 4th All visitors must register.Application forms now ready. Apply: Eric Williams, 203 The Homend, Ledbury. Ask the Secretary of your Local Magical Society for details of Open Competitions-he has them. OOTSWOLD CUP CONTESTrSoi5eties Entry Forms now ready. Apply: Tom Waterman, I Lansdown, Stroud, Glos.
CONJURING
BOOKS
F O RS A L E
OLDANDNEW.Let mr know your wants LIST FREE FOR STAMPEDENVELOPE No callers
47
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
half their width only as shown in Fig. 1. From this position the Ace of Clubs is apparentlydealtface down on the table in a perfectly natural and convincingmanner. As the hand turns over tobring the knuckles uppermost, the thumb draws the Ace ofClubsflushwith the rest of the pack and the fingers push the second card, the Two of Hearts, on to the table. This sleight,which is nothingmore than an adaptation of a very familiar card change has the advantage of notonlybeingindetectible, but also so easy that itcan be mastered in a few minutes. The important thing is have to the tipsof the fingers projecting just above the edge of the pack so that instead of the over-lapping cards lying flat on the top, the floating edges are liftedto an angle of about twentydegrees (see Fig. 2). Reviewing what has been done, we find that the first card drawn, the Ace of Clubs-is reversed on top of pack, the face-down card on table being the other spectator’s selection,viz., the Twoof Hearts. Turningtothe secondhelper, theconjurer enquires “ Is this by any chance your selection, Sir ? ” at the same time cutting off a top packet to shcw its bottom card and indicating its face with left index finger. The object of this move istobringthe reversed Two of Hearts to approximately the, centre by means of the familiar Slip. The card on bottom of packet being, of course, disavowed, the conjurer continues “ I didn’t think for one moment that it was your card. Be patient and 1’11 show you something rather extraordinary.” He then proposes tomake the Ace of Clubs on table not only change places with a card in the pack, but also to reverse itself on arrival. A spread of the cards reveals the reversed Aceof Clubsaboutthecentre of the pack. The cardon table is turned over and shown to be the second of the selected cards-the Two of Hearts. In the third paragraph of this article I have purposelyitalicised the word “ dealt.” Readers sufficientlyinterested inthe refinements of this sleight may find some helpful suggestions in mynew book “ A ConjuringMelange,” just published by the Fleming Book Company, of America. M A G I C I A N S ’P A L M I N GC O I N S If you have any coins made for or by magicians for use as palming I wantthem. I do not want fake or gimmzcked coins. SEND LIST ANDPRICES
coins or advertisingtokens,
JOHN MULHOLLAND 130WEST44ndSTREET,
NEW YORK18,
NEW YORK,U.S.A
THE. MAGIC .WAND a+ MAGICAL REKW MarchIssue containsthelasttenentrlesfortheMental Magc Competition. Also details of new Competitioafor thebesteffect for entertainingchildren. &roin prizes. 48 pages of goodmagic. Published on the first of March, Jum, October and December Per Copy 318 post paid. Annual Subscription 1418 post paid CONVlNClNBCOIN MAQIC by VICTOR FARELLI 17/10 postpaid THE MAGIC WAND YEAR BOOK184617 EDITdN, 219 postpaid THE MAGIC WAND PUBLISHINQ COMPANY MONASTERY 11 GARDENS :: ENFIELD :: MIDDLESEX
37
Here is a snappy and pretty little thimble routine that is entirely impromptu. It encompassesseveral colourchanges andthe finalproduction of four thimbles, all different colours. No holders or fakes are required, all you need are four thimbles each of a distinctly different colour. For the sakeof clearness we will assume that the four thimbles areBlue, Red, Yellow andGreen respectively. The red, yellow andgreen thimbles lie in one corner of yourleft jacketpocket,stackedtogetherin thatorderfrom bottom totop. The bluethimblelies separate in the other corner. T o perform,reachintoyourpocket withleft handand finger-palm the stack of threethimbles in the bend of the second, third and little fingers. They should lie with the bottom of the stack towards thelittle finger side of the hand. Withthelast three fingers closed into the palm over the thimbles, bring the hand out of yourpocket with the blue thimble in full view on the tip of the fotefinger. The right hand is shown empty, the left fcrefingerisbroughtover and laid onthe palm, the righthand fingersclosingapparentlyover it,and the thimble,immediately. What reallyhappens, of course, is that just before the left forefinger reaches the right palm, the thimble isquickly thumb-palmed andtherighthand closesover the leftforefinger minus thimble. The closed right hand isnow drawn off the leftforefinger to all intentsandpurposes taking thethimblewithit.Thethimbleis now reproducedon tip of left forefinger.Right hand is now opened and disclosed empty. Now comes a move, simple enough in execution, but rather difficult to explaininprint. As the onlookerssee it, you close your right hand and turn it back outwards as the left hand comes up and points towards it. What happens, however, is that as the right hand starts to close, the left hand comesup and past it and literally throws the stack of threethimblesintotheright hand. If donecorrectly, they land with bottom of
ARCANA-continued
stack towards the thumb. The hand closes over the stackimmediatelyand thenturns back outwards almost simultaneously, as the left forefinger bearing the blue thimble points towards it. At the time of the throw the handsareonlyaboutthreeinches apart. Once you get the knack, you willfind it is quite indiscernible. The left forefinger,still bearing the blue thimble, is now insertedinto theright fist. Just before it enters the first, the blue thimble is neatly thumb palmed, the forefinger enters the fist and then comes out with thered thimble on its tip. The thimble has apparently changed colour. Left hand now reaches out and the bluethimbleappearsonthesecond finger. Left forefingerbearing the redthimble, now enters closed right hand as before, same move isrepeated,and it comes out bearing the yellow thimble.Rightforefingerandthumb now transfer yellow thimble to third finger of left hand, and red thimble is reproduced on left forefinger. Of course, if you can do it, you can reproduce the red thimble onthird fingerasIusually do. Withabit of practice it is not over difficult to reproduce a thimble onthethirdahdlittle fingersfrom thethumbpalmedposition.However,assuming that you are going to do it theeasiest way, left forefinger bearing redthimble onceagainenters right hand,same move is executedand it comes out bearing the greenthimble. The greenthimbleistransferred to left little finger and the red thimble is reproduced on left forefinger. Both hands are now freely displayed,left hand finger-tipsbeingcapped with fourthimbles,each of adifferentcolour. This little routine is not at all difficult and its greatest virtueisthat, providedyou always carry the thimblesinyourpocket, it canbeperformed anywhere on the spur of the moment. This routine of Douglas Francis’s has also been recentlypublished in the B.A.T.
from page 38
When the pad has been passed to the medium, shewill writethreeseparate predictions onthree sheets of the pad and fold them. The forceword previously obtained is now noted from the key and written on a fourthsheet.
A book (the book, of course) is borrowed from the bookcase and one of the assistants asked to total the values of the three chosen cards. (Jack, Queen and King countingeleven, twelve and thirteen). The book is opened to this page and the assistant counts to theword denoted bythe value of the highest card. It is best to stipulate that the heading of the page, oftenthe book title,shouldbeignored. The prediction, of course, correctly statesthe chosen word.’
The medium returns and the three card predictions opened and proved correct. The fourth is placed,folded, inprominent a position.Everything is now ready forthe final effect.
The excellent Annemann effect referred to can be adapted in this manner to give a startling prethe dictionwhichwilllongberememberedby audience.
on three separate business cards, the opportunity is taken to make the three secret marks on the pad to correspond.
38
The principle of Arcana isone of general utilityforatwo-personmindreadingact,andis capable of adaptation for a number or effects. Three of theseare given insomedetailand throughouttheworkingis clean withtheadded virtue that lengthy coding is not required. The performer will require a numberof printed businesscards,designedinsucha way thatthe matter is spaced around the borders, with sufficient letteringordesignuponthetopandrighthand margins. This will leave a spacefor thewritten messagein the centre of the card. An unprepared padandasharppencilcompletetheequipment. Effect 1.-The mediumisseated away from the audience, or preferably in another roomwhen house-partiesareentertained.Amember of the audienceisinvitedto shuffle a pack of cards and chooseone,which is made known. Squaringone of the printed cards with the bottom left hand corner of the pad, themagician writes the nameof the card boldly in the centre of his card, at the same time making a minute pencil mark on the pad opposite to the border lettering. This is in accordance with a key card whichis in thepossession of the medium, where each letter or part of the design represents Ace to King. The suit is coded by, say, a small dot for Clubs, a tiny vertical stroke for Hearts, horizontal for Spades, and a sloping one for Diamonds. The wholeishandedto themember of the audience. He pockets your business card, thus enabling you to enjoy alittlefreeadvertisement,and takes the pad and pencil to the medium. When alone, themedium, who possesses a similar sized cardas a key, spaces it accurately on the pad and thus rapidly learns the selected card. The pad is returned with the name of the card correctly written on its face. The key card should have the actualvaluesspaced around the margin for speed and accuracy. The effect canbeenhancedbyrepetition. T h e deck should have been pocketed after the first selection and matching a one now withdrawn, stackedin a knownorder, i.e., theSiStebbid System. A second assistant cuts the deck, takes the top card of the cut but does not announce his choice. T h e mentalist casuallytakes up the two halves of the pack and notes the card beneaththecut. Announcing a double foreoast, he writes the name of the chosen card as before and again codes this on
the pad. Retaining his business card until the pad is returned from the medium a double denouement can be made. Effect 2.-A line chosen from any book can be transmittedtothemedium by the same means. This time itis necessary to presume the top lettering of the card to represent 0 to 9 for the page number and the right hand margin in a similar manner for the line. As the numbers decided upon will be in any order, differently shaped marks on the pad are made to show the first, second and third number, so that the medium may obtain them in the right sequence. A number chosen is by a memberof the audience, to indicate the page. Again, a small numberis given to indicate the line,which is read out. Whilst the operator writes out the chosen line on one of his cards, he marks in a suitable manner the numbers, denoting the chosen page and line. Pad, pencil and book are conveyed to the medium, who returns the padwiththe chosen linewrittenthereon.Where more than one mark is made on the pad, as in this effect, it isas well forthemediumtowriteher message over the marks so that everything will defy detection afterwards. Thesheetthus becomes a souvenir for the assistant who is making the choice. Effect 3.-An excellent combination can be made with the foregoingin those instanceswhere access can be had for a few minutes to your host’s bookcase beforehand, and opportunities of this nature should not beoverlooked. Utiliseastacked deck, wherethe cardsare arranged in the Si Stebbins order. Now wherever three cards are taken together from the deck, there are only thirteen different totals possible, with one high card in the three. Liberty is taken in adopting this idea from Annemann’s “ SH-H-H-- ! IT’S A SECRET ” (A ThoughtisFathomed)and every acknowledgment should be given in this respect. The medium’s key card should befilled in thus: Bottom Card Page Word Word 10 21 Ace 24 11 Two 27 12 Three 30 13 Four 20 11 Five 12 23 Six Seven 26 13 16 11 Eight Nine 12 19 Ten 22 13 12 7 Jack 15 8 Queen 18 9 King The last column is completed of course from the glimpse of the book which is tobe used. The deck is cut and the three topcards exposed are taken by three membersof the audience. Now in gathering up the two halves of the pack, the operator glancesat the bottom card of the cut and is thus acquainted with the threecards. In predicting these continued on page 37
39
3Ae Uat tu After reading Mr. Jonson’s article on “ Is Magic an Art ? ” inthe November Pentagram, I find I have made seven ? marks in the margin ; I should like therefore to cross swords with him on the points concerned. Because it may be thoughtthat I am trying to be provocative,let me begin by assuring him, and anyone else sufficiently interested to read the following, that it is chiefly written in order to clearmy ownmind,andispublished(withthe Editor’s consent) in the hope that it may stimulate othersto consider thematter from different a approach. As members of The Magic Circle know, there has been for some months a discussion going on in the pages of The Magic Circular on thissame subject, during the course of which I suggested that A r t was work that evoked feeling ; and that therefore conjuring was art because it evoked the feeling of Wonder. Mr. Jonson-who haslongbeen of theopinionthat conjuring is not an art-rather grudgingly admitted that magicmay be an artafter all ; and now, in Pentagram he states definitely that it is . . “ but not often ! ! ” My first ? is against Mr. Jonson’sdefinition : “ Magic is the presentation of the incredible.’’ To beginwith, the wordmagic must surelyinclude Natural Magic as well as Imitation Magic or Conjuring ; and as natural magic is not a performance, the definitionwillobviouslynotdo. Also “ incredible ” is hardly the happiestchoice of word because many incrediblethings are not magical. Surely magic of any kind does not exist apart from the mind that experiences it ; and so it should be definedas the mentalimpression of supernormal activity, or something similar. Remember that magic isnotconjuringbutincludes conjuring. I take it that Mr. Jonson means : “ Is Conjuring an Art ? ” and so conjuring could be defined as Imitation Magic ; and a conjurer as an artist in illusion, or an imitator of magic. Mr. Jonson attempts to define Art by saying i t is any form of representation that makes one both think and feel ; but byadding “ feeling ” tomy longer definition he has, inmy view, madeitno define. When I said that artevoked feeling, I wished to convey an idea which distinguished the mental activity of artfromthegroup of non-artmental activities that are, broadly speaking, covered by the word “ thinking ” ; and which include of course : reasoning, planning, remembering, and so on, which are intellectual activities. Art, on the other hand, is surely not intellectual, but emotional, and imaginative.Music,ballet,paintings,magic and so on, in so f a r as theyare art, stimulatenotthought, but imaginationandfeeling. It is becauseadraftsman does not set out toevoke feeling (his aim being to be accurate) that he is a technician, but not an artist. So an artist is one who intentionally evokes feeling and imagination.
.
The next point is rather involved, the questiod bv artists of the creation of mentalimpressions being to some extent confusedAwith their <material media, or vehicles of expression. Is notapainting used by a painter in the same way that actors are used by a dramatist ? Surely the actors themselves are secondaryartistsbecause,thoughtheyarecircumscribed by the dramatist’srequirements, each must interpret his part according to hisown imagination and feeling, unless he imitates some other actor who has played the same part. It is the same with acomposerand the musical virtuosi who play his creations. The painter and the sculptor make their mentalimpressiondirect, each throughhis own medium. An orzginal conjurer, however, creates his impression direct by presenting his own illusions ; so that, so far as this matter of creative imaginationgoes, he is better entitled to the name of artist than an actor in somebody else’s play, so long as heewokes feelingand imagination by hisperformance. The mere demonstrator is a technician like the draftsman. Unhappily,many of the conjurerswho do act at present seem to havemisreadRobertHoudin’s dictum as “ A conjurer is an actor playingthe part of a drunkard.” When Mr. Jonson opines that conjuring offers little intellectualstimulationheisgetting off the point of his thesis, and so ,I will not go further into that questionhere, save to ask him, “ Whatarts combinemoreintellectualstimulationwith their evocation of feeling than conjuring ? ” I n saying that magic’s lack of emotional appeal causes it to fail to rank among the most commercially successful formsof theatrical presentations, he must have made Houdini’s shade squirm ; though in many respects lack of commercial emotional appeal is something tobe thankful for. As for magic leaving the higher emotions quite unaffected, so that aconjurercanhardlyclaim to be more than a minor artist, this notion was maybe due to Mr.Jonson having for too longlooked on the small change of conjuring, resulting in his forgetting that golden guineas ever existedor could again exist. If the highest, and at the same time the most profound feelings are those which transport humanityfromthis materialplane of existenceinto the SeventhHeaven,andwhichhave been referred to variously as Cosmic Consciousness, Yoga, and Union with God, then it seems to me that, so far from magic being incapable of evoking such feeling, and visions, it must have within itself the supreme power so to evoke, over any other art. Indeed, how couldany otherart evoke the authenticmystical experiencewithgreaterforcethanmysteryitself, when rightly employed by an inspired magic-artist ? Perhaps the whirligigoftime will throw up some new genius who will show US that those feelings which are too transcendental for words to convey, are not too transcendentalto be conveyed by Magic.
40
*****
*;k*
PENTAGRAMGRADING : (Threestars)-OfPracticalValue. ‘ L
P A T T E R N S FOR PSYCHICS.”
****
**
(Fivestars)-Outstanding. ( T w o stars)-NoReason
(Fourstnrs)-Very for Publication.
Good.
By PeterWarlock.
Publishedby Arcas,price 10:-. Reviewed by Jack Morrison.
In hislatest book “ Patterns for Psychics,” Peter Warlock has given to“the Mentalist ” and all who are interested in this type of Magic, anumber of thoroughly practical routines,effects and ideaswhich arewell worthy of close study. They are obviously not “ pipe dreams ” and all have stood the acid test of repeated presentation under varying conditions. The author is not only a first-class performer of many typesof Magic but he also is a keen student with avery considerable theoretical knowledge, and his published effects always give one the impression that he is for ever striving after athreefold objective-simplicity of method, perfection of result and maximum audience reaction. “ Patterns for Psychics ” is divided into six sections covering a total of seventy-six pages. The first Section comprises two routines based on apparent coincidence, in the second of which is described a very good idea for the forcing, changing, etc. of billets. Section Two is headed Patterns for Predictions and comprises seven prediction effects for use under.varying conditions and circumstances. The item called a “ Warlock Prediction ” will probablystart afew people alteringtheir ideas. Section Three includes a method of switching billets, a dead name test, very a good book test and two ideas on the telephone test. Section Four contains one slate routine strong in novelty and humour andSection Five, three routines under the Heading Extra Sensory Perception. The last of these, called a Stab in the Dark, is very a good lesson in how to present and build up this type of effect. The Last Section, No. 6, gives amethod used by the Author for the Rising Cards, but no apology need have been inferred in the Preface for its inclusion in the book. “ Patterns for Psychics” has been well illustratedwith drawings by George Hill, the printing is clear and pleasant to read and we give this book our unqualified recommendation.
****
“
THE FIRST BOOK OF WILLIAM ”
by Billy McComb (Publisher : Goodliffe, 6 / - ) .
There are few writers on conjuring who bring a touch of freshness, and by that term, Ido not mean originality to it. Waller is such a one,Billy McComb is another. On reading Billy McComb’s book, I had much the same feeling as I had when reading the MS. of Harbin’s “ Demon Magic ” . . . the feeling thatthewriterhad no limitsin discovering new magical angles. In this, his first book, Mr. McComb treats his effects as matters of variety entertainment, but unlike so many in this field, who strive for gags at the expense of magic, he gets his humour without any deprecation of the mystery angle. For the seeker of novelty there ‘is a simply marvellous effect with such an uncommon article as a bicycle tyre, and, a delightfulopening effect for the stageperformer where a pair of gloves change . . . not into a dove but into a silken parachute which flutters down into the performer’shands. The Floating Ball routine
“
PETER WARLOCK’S
P E N T X G R X M Publishedon
the15th
of each month
1/ l single copy, post .free 11 /- per year, post free from
“
GREENBANKS,”
which he describes is in the true Waller tradition of perversemagic,andwhilst we remember ourlate friend Will Blyth performing the “ Invisible Paint ” effect, Mr. McComb adds some very subtle touches. Probably the best item in an original manner for a stage performer is entitled “ William turns Gravity Upside down.” The man with a big show, whatever his style of presentation has here an effect costing a negligible amount to build which those who see will always remember. T o thosewhodonotdobig shows and who do not like comedy magic, the Poker Hand effect and “ Amid the Fakirs ” will more than repay them for the extremely small outlay. Besides the effects I have mentioned there are many more, all showing the enthusiasm of a practical magician, with the result that“ The Second Book of William ” is eagerlyawaited.For‘thosewholikedetails this volume runs to fifty-one pages, is well printed on good paper. The illustrations by theauthorbear the mark of his originality.Unreservedlyrecommended.
. ..
RRAMCOTE, NOTTS.
or from yowr halm
CARD TRICKS WITHOUT
SKILL ”
A New Book already famous :-“ Card book splendiS1; Send another. Postal Order enclosed ” ( C k i s Vun Bern). Stands out as something every conjurer, amateur or professional, should possess ’’ (Lionel King). 117 Effects - 150 Illustrations Over 200 pages - Cloth-bound 5/11 post free New Price List 6d. f i s t free
-
PAUL CLIVE & CO., LTD. Back 68 COCKER STREET, BLACKPOOL
41
Since the “ Pentagram’” commencedpublication there havebeen few adversecriticisms of its format. One thing however that has troubled some of our readers has been the smallness of type used. Papereconomy was the chief reason. Withthis issue we areable toadd anextra two pagesand slightlyincrease the size of type,making it easier for reading. The eight page issuenaturally make an easier job for the bookbinder, although the odd page which has only been issued with three issues will prove little trouble to a good craftsman, which leads me to the point that elsewhere in these pages such a craftsman, Mr. Field, is advertising a binder case in which copiesof the “ Pentagram ” can be kept clean, tidy and ready for reference ; I have received one and it is very nicely finished with snap fastener and gold letterpress. The first number of the “ Pentagram ” went out of print very quickly and I have had to turn aside requests for somewhere in the nature of two hundred and fifty copies, I am considering a second edition providingthatthedemandis sufficient to cover the cost. I should therefore like those readers who wish to have a copy of Number One, to just send a postcard, requesting a reservation. My friend George Armstrong not content with the editing of the “ Magic Wand,” has decided to I revive “ The Wizard ” asamonthlymagazine. feel sure that all my readers join with me in wishing him a successful launching of the first number an the 10th April, followed by a “ calm sea and prosperous voyage.” The shade of Herrman (if he invented the Hermann pass) must be greatly amused by the way this sleighthasbeenglamourisedsinceFredBraue published the “ Invisible Pass.” The greatpoint in all the discussionseems to havebeenmissed. namely, that a first-rate card man and a first-class publisher tried to place a price not only on a move, but on a quality publication. Particulars have now been received from Monsieur M. Sardina anent the Congres Magique Internationalwhichis tobeheldinParisonthe Z t h , 26th, 27thand28thSeptember, 1947. The organisation of this big festival of magic has been undertaken by AssociationFrancaisedesArtistes Prestidigitateurs, of whom, that great figure in the literary world of magic, Dr.Dhotel, M.D., is President. The programme is veryattractive,includingamongotherthingstwo galapublicper-
formances to be givenin thefamous SallePleyel (that very name brings thoughts of Spring, Chopin and Georges Sand !). There is aBanquet,presumably the all-night sessions, without which no convention is complete, dealers exhibits and moat importantinterpreters ! There will be an official meeting of representatives of Societiesattending the Congres and items that come up for discussion include the possibility of forming an International Federation of Magicians. Those readersinterested in combining magic with anopportunity of visitingPariscan obtain all particulars from :Monsieur M. Sardina, 14, Rue de Rivoli, PARIS, France. The republication of some of Frank Chapman’s splendid effect in the BAT was abrilliantidea of LloydJones. “ The Watch intheLoaf” (when shall we be able to use loaves for magic ?)has never been more finely routined. Membership of the B.A.T. isbringing some very good things,and mentalists would find more than well worth while, C . L. Boarde’s “ The Borrowed Brain, which was a bonusissue. “ The Phoenix ” No. 118, carrieda lovely idea with book matches. Like we always first read “ Editrivia ” in the“ Jinx,” so do we read “ The Back Room ” before looking at theeffects.. This is an angle which might make a change in prediction effects . . . instead of predicting what the spectator is going to do, or say, the magacian says he willget the spectator to readhis(the magician’s) mind . . . prediction in reverse ! In certain cases of predictionmodusoperandi the effect, I think would be more telling on the spectators. Whilst on the subject, of predictionswhichcouldbe thus adapted, next monthI shall publish such aneffect. It is “ PREVHUE ” by L. A. Belcher. StewartJameshasdone it again. In his new effect, “ Remembering theFuture,”he hasproduced another effect in the “ Miraskill ” class. .It is an effect which demands only good presentation . the better the presentation the greater the miracle as from the audience’s point of view the spectator does all the work. At the price offered no card worker can afford to miss this outstanding effect. I feel that I do not have to apologise for the lateness of the “ Pentagram.” The Fuel crisis with its effect upon the printing industry is of course the reason. I t is hoped that in a couple of months the “ Pentagram ” will be back on its scheduled publication date.
STEWART JAMES’ Exclusive Effects No. 1 :
..
REMEMBERING THE FUTURE
“ ” A Card Effect where one spectator freely predicts the number that will be arrived at by another spectator cutting and counting the cqds. ANY DECK OF CARDS USED., NO SLEIGHT OF HAND OR INTRICATE MO?ES. The effect is a winner and will completely deceive the best informed of magmans. Read tL folbwzngunsolzcztedtestzmonzal from a well-kmn magzctan and znventor :‘‘ The very best magic depends on uncanny principles such as you apply in your ‘ Further Than That ’ and recent ‘ REMEMBERING THE FUTURE ’ effect. Makes fine Radio material too. I can feature every such effect you can devise thouph how you do it I cannot understand. These principles that will I apply to more than card tricks are both rare and welcome. Publish lots more. Gratefully-Winston H . Freer.”
PRICE 51- postfreefrom :-FRANCIS
HAXTON, ST. ANTHONY’S, NONSUCH
WALK, CHEAM, SURREY
42
THE SPHINX
THE WIZARD Founded 1905
by P . T . Selbit
Resumed1947 by George Armstrong
AN INDEPENDENT MAGAZINE OF MAGIC
John Mulholland Editor
IN RESPONSE to the requests by hundreds of readers of THE MAGIC WAND for something on similar lines a t more frequent intervals we have decided to resume publication of the monthly WIZARD
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
First issue to be published on 10thApril, 1947' Sixteen pages of glossy super-calendered paper. Two-Colour Printing. Photographic Cover. Views. Outstanding andNews Magic. Profusely Illustrated. FREESUBSCRIPTION
OFFER
For a limited period we make a special free subscription offer, but becau:e this magzzine is intended only for the bona-fide magician and magical enthusiast, and not for the general public or casual reader, the offer is designed to restrict circulation to the class of reader desired. Send a Postal Order for TEN SHILLINGS to qualify for twelve issues of THE WIZARD. Bound in the first issue will be three vouchers each worth 218. These vouchers may beused atany time toGards the purchas- of books listed in our advertisements. (f/6 cash and 4 6 voucher will purchase books to the value of IO/-). THE EFFECT therefore, is that the reader will purchase a t some time during thk year, books to the value of 301- (most Aagicians spend more than this on books during a year) and he will have received twelve !sues of T E E WIZARD for a/6-the cost of postage. THIS IS A GENUINE OFFER and will be withdrawn as soon as the first issue is sold out. Thereafter the price will be 1/1 per copy post paid, or 1216 per year for twelve issues post paid.
SubscriptionPriceinEngland 5 dollars a year :: 55 cents.
:
a copy
Arrangements have been made for subscriptions to be accepted and money .. England deposited in .. .. .. WRITEFORDETAILS
REGISTER NOW
THE SPHINX
Receipt will not be sent unless stamped addressed envelopeis enclosed GEORQEARMSTRONG, THE MAGIC WANDPUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD MIDDLESEX
130WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
..
JustPublished EXPERTMANIPULATION OF PLAYING CARDS byLewisGanson Every phase of card manipulation clearly and fully described from the continuous front and backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals and complete cardroutines illustrated by 195 photographic reproductions. Price 101- postage 4 d . ARCAS LIMITED 406408 SYDENHAM RD., CROYDON
66
IT 9 9
THE MAGIC CERCLE
inwites
President :His Grace the Dukeo?Somerset D.S.O., O.B.E., I.P., D.L., M.I.M.C. Crag& Esq. Vice-President : Douglas M.I.M.C.
you
to have your name on our
mailing list. Many new items in production and lists will be issued intermittantly. M A G I K R A F T is the name for . G O O D M A G I ' C
Magical Theatre :
King George's Hall,
W.C.
VrancisWhite 39 Alverstone Avenue, Wimbledon Park, S.W.19
INSTITUTE of MAGICIANS
DEIEEVAH IBM.,
F ~ d 1934 d President : A.Zomah.
SSMC
Thc Frimdly Magician invites all Bona Fide Magicians to send for hls
Hon Sec. : Oscar Oswald
102 Elmrte& AveWembley P a r i Middx. H.Q. a d Libra;: NO. 2 H A court
list of new and used apparatus and books, or
MAGICIANS' BOOKBINDING SERVICE
Magical Books & Mss., Etc.
Keep your " P E N T A G R A M " copies safe and clean in our speczal " Pentagram cases PRICE 4/- post ?res
Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
CF . IELD 2 42 Alderson Road, Sheffield
St.Ermin'sHotel, Caxton Street, S.W.l.
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRI
ZAHAREE," Magician, 16 & 18 Watts'Place CHATHAM KENT,
Clubroom and Library and Museum :
Particulars fromHon. Secretary :
M M C . r BMS.1
m y list of exclusive effects that also contains useful hints and tifis for magicians. Send U. in stamps to : "
Magikraft
(Victory Club) Hi h Holborn W.C. M E E T I ~EVER)YT ~ U R S D A Y+-11 p.m. V1sltmng Magmans always welcome. Your membership cordially invited-p a linetothe Hon. Sec. for literature.
I
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
-
Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, .Nr. LEEDS NearJy 30 years m the busmess
Telephone
01
Printed in England for PETER W.4RLOCK by GEORGE SEARSON, Blue Bell Hill; Nottingham.
43
PENTAGRAM
An independent monthly bulletin for all who want good magic ~
-_
vue.I A ~7.
U p ! ,1947
(Dedicate8 to theCotswoldMagical T o whom we are indebted for the original idea of this effect I do not know, but I think that most conjurersarefamiliarwiththeoldversion of the RobbersandSheep,usingseven lumps of sugar and two hats. I canwell remember how myold friendthelate WillBlythliked thislittle conceit. Shaman in a copy of the “ Phoenix ” took the effect severalstages further,but because there always
_
_
_
_
_ ~-
9%CeO N S A W
Society)
of seems(amongstchildren)adefinitesuspicion any trick employing cubes, I decided that the sheep must be sheep and the robbers, robbers. The effect is asof old.-The robbers go one into each barn (represented by hats), followed alternatively by the sheep. Thefarmer comes along and out come the sheep. The farmer counts them. He goes away and back go the sheep. The farmer
_
44
returns again,expecting to find the sheepstolen, but,tohis, disappointment, the two robbersare found in one barn whilst the five sheep are found in its opposite number. The . effect as I havenow madeitispartly mechanical, but at the same time it hascolourful display which more than compensates for what, in some conjurers’ minds, can be considered a strong defect. Requirements. Fivepieces of wood (Balsa wood is recommended for lightness) rectangular in shape,having the followingmeasurements : 3hin. by 2kin. by fin. (playingcard size). This sizeis arbitary-thereisnothing to stop the effect being made in a giant sizeprovidingalternativecover is used, i.e., a small screen, wastepaper basket, etc.These pieces are sandpapered, and on each a picture of asheepisdrawnandpainted(theillustration gives the readeraroughdesign). The opposite can now be either painted black or can be designed to represent the rear of the sheep (the edges should be dead black). The mechanicalrequirementsare thetwo robbers. T o makethese,four pieces of woodsize 3&in. by2$in.by#in. arerequired. These must be absolutely true. From two of these piecesasegment iscutoutto accommodate an Eclipse magnet. Because of the shape of the magnet it will be realised that once its lateral movement is stopped, the cut-outholds it securely. Thisis achieved by taking pieces of card similarly sized to the pieces of wood and glueing them front and back to the wood. Before this takesplace,however, the two pieces of wood are hinged with tape (or, better still, finelinen). The illustrationsshowthisin effect. Also astrip of metalis fixed onthenonmagnet piece of wood to act as akeeper. (A strzpl of metal is essential, don’t imagine that a couple of nails will do the job.) The purpose of the magnet is to keep the robber-figure in one tense piece, but at the same time to allow immediate folding. This methodisbetterthanspringor elastichingeing, for if the job is done properly the long figure can behandled asthough it wereonesolidpiece of wood. Cover whatisto be thefrontwith thin material, cut out the head and shoulders, shape and paint on the features (theydon’t have to be twins !). On the lower rear side paint a duplicate sheep, and according to whether you have blackened or painted the rear portion of the unprepared sheep, do likewise with the top half of the robber. T o finish off, paint the edges of the robber deadblack, and over the magnet-keeperandadjacent wood gluesome thin linen and paint black. When dry and the robber is folded in half, it should be the ‘ dead spit ’ of one of the unpreparedsheep.Onepointwhichmust
CONJURING
BOOKS
FOR
OLD AND NEW.Let meknow your wants LIST FREE FOR STAMPED ENVELOPE No callers
47
GEORGE JENNESS Inverness Avenue, Enfield, Middlesex
SALE
be emphasised : when making the robbers be quite surethatthey willfoldflat. Toolittleattention in hingeingwillstopthetwohalvesclosingcompletely. Prior to presentation the operatorhas the sheep and robbers standing on his table-the robbers should, of course,havesomekind of background against which they can rest. Presentation. The operator borrows two hats which he says will represent two barns in the storyheisaboutto tell. Theyare respectively placed on chairs at oppositesides of the stage. They arenot set squarelyon their crowns, but tilted so that theopenings areaway from the audience. The operator goes on with his story, and picking up one robber places him in the right hand hat. (The robber should be held by the top half, the second fingerand thumbgrippingthe sides.Directly the shape is covered by the hat the third finger pushes against the bottom half, breaking the magnetic connection,andtherobber folds up andbecomes a sheep.) The secondrobber is Similarly treated i n being placed intheleft handhat. Now the sheep go in-one to the right, one to the left, one t o the right, one to the left, and, finally, one to the right. The position isthatthere arethreesheep. .and a robber in the right hand hat and two sheep and arobberintheleft handhat. The operator continues his story of how the farmer came along and calledhissheep.Going totheleft hand hat, the operator takes out thefolded robber, showing it, ,of course,asasheep,and places it on the table. The folded robber is removed from the right hand hat and sihilarly placed down. Now asheepfrom the left, one from the rightand another from theleft. The position now being that there are two sheep in therighthand hat. The operatorcontinuesand tells how thefarmer went away therobbers madeafunnywhistlingnoise,and back went the sheep. Intotherighthandhat goes an ’ordinary sheep ; into the left hand hat goes a folded robber ; into the right hand hat an ordinary sheep ; the to left hand hat the other folded robber, whilst, finally, intotheright hand hat goes the lastsheep. Now the operator has all the sheep in the right hand hat and the foldedrobbers in the left handhat. Back .comes the farmer once more. He is still suspicious, and so he goes into the barnoverhere,andwhat doeshefind . . just fivesheep(theoperator removesthem, shows thehatto be empty . . . whilst in the other barn, as quiet as two mice, are . . . the tworobbers. In removing thelatter,the operator liftsthem by the topso that as they straighten theyautomatically become erect. World manufacturing and selling Rkhts are held by JackHughes.
...
.
THE MAGIC WAND and MAGICAL REVIEW March issue contains thelasttenentries for the Mental Magic Competition. Also details of new Competition for the best ef/ect for entertainingchildren. LIO in prizes. 48 pages of goodmagic. Published on the first of March,June, October and December Per Copy 3/8 post paid. Annual Subscription 14/6 post paid CONVINCINOCOIN MAGIC by VICTOR FARELLI 17/10postpaid THE MAGIC WAND YEAR BOOK 1B46/7 EDITldN, 2/9 post paid THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
45
In 1944 I contributedanitemto the British edition of “ The Linking Ring ” magazine with the abovetitle.Sincethenoneortwobigimprovements have occurred to me, especially with regard to the final vanish of the glass.
Effect. Performerremovesapockethandkerchief fromhisinside breastpocket,shakes it out, displays it back and front, thenimmediately produces from its foldsa tot of whisky, which he hands to one of the spectators.After the lucky recipient has ‘ downed ’ the drink and testified to its goodness, the performer takes back the empty glass, pushes it downinto his closed right hand, then drapes ‘the handkerchief over all. The left fore-finger now pushes the centre of the handkerchief down into the right fist, then left hand reaches beneath, grasps the centre and pulls the handkerchief right through the fist,whichsimultaneouslyopens to reveal that the glass has vanished completely. Both hands are empty exceptfor the handkerchief. Method. Takea small whisky glass of the barrel type, half fill with whisky and then fit arubber ball into mouth ; a rubber (productiontype) golf ball isideal.Place the glass uprightintheright vest pocket. Have the handkerchief in your inner breast pocket.Incidentally you cancarry the glassabout like this allday without anyworryand you are, therefore, prepared to present it at any time. To present, reach into the inside pocket for the handkerchief. As soon asthe left hand is outof sight inside your jacket,it removes the ball from the glass, carries on to the inside pocketandbrings out the handkerchief, leaving the ball behind. With a little practice this canbedone inonesmooth, unhesitating movement.
The handkerchief is now shaken out and gripped at the two top corners by right and left hands respectively, first fingers in front,thumbs and remaining fingersbehind. Hands are now crossedover,right over left, thus displaying rear side of handkerchief. At this momentleft thumbenters glass, fingers outside, and removesglassfromrightvestpocket. Hands are now brought hack to first position, which brings glass concealed =behind left top corner of handkerchief. The right hand now releases its corner, allowing handkerchief to hangdownfrom left hand, glass remaining hidden in the folds at top. Right handthen reaches in,grips glass, travels down and brings it into view at the bottom of handkerchief. The glass is then handed to the spectator for consumptionof the contents, andthe handkerchief is draped over the right fore-arm. Taking back the empty glass with his left hand, the performer now pushes it downinto his closed right hand. As it goes down out of sight,second and third fingers of lefthand go inside glass and lever it out at rear of closed right hand and clip it againstleftpalm. Left hand now moves away, fore-finger points at right hand for a moment, the latterremaining closed exactly asthough ‘itstill contained glass. The lefthand now moves over to grasp the corner of the handkerchief that hangs at the rear of right fore-arm, and as it does so, it will be found that it is in a perfect position to drop the glass unseen, intotheright jacketpocket. Left hand now comes away with the handkerchiefand proceeds to spread it over the closed right hand. Left fore-finger pokes the centre down into fist, then left hand reaches beneath and takes the centre now protruding below fist, pulls the handkerchiefclear through, then flicks the closed right hand with it, whichimmediatelysnapsopen to reveal the completedisappearance of the glass.
~~
STEWART JAMES’ Exclusive Effects
No. 1 :
REMEMBERING THE FUTURE
“ ” A Card Effect where one spectator freely predicts the number that will be arrived a t by another spectator cutting and counting the cards. ANY DECK OF CARDS USED. NO SLEIGHT OF HAND OR INTRIC.4TE MOVES. The effect is awinner and will completely deceive the best informed of magicians. Read the following unsolicitedtestimonial from a well-known magician and inventor :-
PETER WARLOCK :-“ StewartJames’sideais
veryclever.” I can recommend it as a very good trick utilising a new and interesting principle.” PRICE 5 j - postfreefrom :-FRANCIS HAXTON, ST. ANTHONY’S, NONSUCH WALK, CHEAM, SURREY
FRED B R A U E
:-b
NOW I ST H ET I M E
TO BOOK YOUR RESERVATION
LYNWOOD HOTEL, 118 Clarendon Road, SOUTHSEA, Hants. This PRIVATE HOTEL occupies one of the finest positions in :: Hot and cold running water in all bedroom Southsea Under the personal supervision of the Proprietors :
Mr.andMrs.HowardD.Denovan A special welcome awaits all lovers of the art of magic
46
E d i t o r ’ s Foreword.This ais nice angle in prediction and one that,as Mr. Belcher says, can be appliedto coloured other . . as objects a ne x a m p l e , coloured cubes could be stacked or coloured b i l l i a r d balls a dropped into glass tube. Thzs little show of colour in a mental tends to item i m p r e s ts h e on the effect spectator.--P. W.
.
x
x
x
The magician tells his audience of how is he sometimes grante,d a brief vision of things to come. H e proposes to give them an example providing he canget the necessaryreactions.Takingaslip of pape’r, he writes something on it, foldsit and drops it into hat. aThree respectively coloured Red, Whiteand Bluesilkhandkerchiefsare now taken and handed to a spectator with a request that he ties them together in any order he wishes. The operator emphasises that when the silks are knottedtheir order can be read two ways, thus red, white, blue or blue, white,red,and so on. Forthis reasonwhen the silks aretiedthespectatoris asked to say aloud which sequence he desires. The operator then goes to the hat,takes out the billet (and without comment shows the hat to be empty), hands it to the spectator whoopens it and reads out the correctprediction of the order of the colours.
Method. A pocketindexcontainingsixslips loaded as shown :l. Red, Blue, White. 2. Red, White, Blue. 3. White, Blue, Red. 4. White, Red, Blue. 5. Blue, Red, White. 6 . Blue, White, Red. A brief study of this set-up willshow how easily it is memorised. The first column (1, 3 and 5) gives the colour at the top of the chain. There are now twoalternativesaccording to the order of the two remaining silks. Of thesetwo,onecolourwill be of strengthis strongerthantheother(theorder Blue, Red, White). The first column not only gives the silk at the top, but also the correct order if the strong colouris in the centre. The second column (2, 4 and 6) gives the correctorder if the weak colour is in the middle. Here are twoexamples :l. White, Blue, Red-White at top-first Of the two columngiveswhite atNumberthree. remainingcolours,BlueandRed, Blue isinthe middleandisstrongerthanRed,thereforethe correct slip is in the first column’ at number three.
2. Blue White Red.-Blue is at t h et o pa n d column one gives this number at five. Of the two remaining colours, White andRed, White in the middle,is the weaker colour and, thcrefore,the correctslip is in t hs ee c o n d column-at number. six. Prediction,-T h eo r i g i n a l billet-a dummy, of course, though properly written is actually dropped into hat but very a simple, easily made fake, The sweat-band conceals it. I useasilk-linedhat. isseparatedfrom theside of thehatforabout four and a half inches, and a piece of whalebone’ or spring is sewn to it, which is sufficient to return the bandagainst the side of the hat if it isseparated from it. This secretcompartmentisproppedopen by means of a matchstick. The slip is dropped in, and a touch of the finger releases the match which fallsinside the lining--the compartmentimmediatelyclosingup.When the spectatorcompletes his chain, the correct slip from the index is palmed in and the hat handed to another spectator, all in one movement. Presentation.-The only detail requiring any mentionis the lead-in to the effect. The spectator is asked a series of questions by the operator, who requests him toanswerimmediatelywiththefirst word that comes into his head. He makes a note of these replies-explaining that by this means he gets an insight into the spectator’s mind and can have ashotatpredictinghispossiblereactionsunder certain conditions. This is all ‘build-up,’ of course, but if the ‘ prediction ’ is now writtenthisearly part of the effect is dominant inthe spectators’ minds. Notes.-l, Make the index of talc or celluloid which can besewn ; it can be wornallday quite comfortablyandnevercrumples or takesonan awkward shapeatthe criticalmoment. The slips are foldedoverasshownandare easy to locate ; 2, the ‘ dummy ’ billet can be palmed out and the hat fake dispensed with (see “ Jinx ”) ; 3, if using the hat fake, the match may be left in position until the spectator has completed his chain: if you happen to have predicted the choice correctly, simply turn the hat over, tipping the billet out, and release the match as the hat is righted.
47
. E d i t o r ’ sF o r e w o r d . - A l l those present a t theHereford Convention last year will remember this effect of Francis Haxton’s, which, as a contemporary described “ paralysed severalmagicians.” I t isadelightful lesson inmagical eflect and the clean cut outline plus the simple mechanics, bring it within the reach of all magicians zcho are willing to accord it theproperpresentation.Themainand comparativelysimple sleight that has to be used isone, that considering its general utility, has been very much late Douglas neglected. I can zuell remember the Dexter making use of it zcith telling e f i c t . - P . W . x
x
x
I like this effect because the magician can imposetestconditionsonhimselfduringtheperformance as there is nothing to hold out or add. Although the ejfect is mine, the basic move is developedfromasleightdescribed in one of Ellis. Stanyon’searlySerials. Before I describe the effect I think it would be better togive details of the move as I have developed it. Wewillimagine thattheoperatoris desirous of causingacardsituatedon top of the deck to appear at any number called out by a member of the audience. Aspectatorcallsout, say, “ eight.” I thumb-count the two top cards of the deck, which lays face-down in my left hand, with my left thumb and push off as one card. This card is taken between my right thumb and finger and held at about chin level,squarelyfacing the audience. The deck is held in left hand face down at waist level and to the left of the exposed card. Now as I count “ two ” my left thumb openly pushes off the card from the top of the deck and approaches the right hand, placing the cardinfront of the first card, In receiving this secondcard therightthumband firstfinger move further down the cards, and the right middle finger joins the first to get more control of the cards. This count continues u p to seven and as this card is placed infront of cards intherighthand,the right thumb pushes off the top card which is drawn .on tothe back of the deck withtheleftthumb. This move must synchronise withthe placing of the countercardon the face of the packet in the right hand so that the left hand is drawn back to its position with the deck face down at waist level. The eighth cardis now pushed off andshownto bethe selected card. This count is absolutely indetectable and the magician should make it clear, by performance, that the card is actually counted off
I
I
PETER WARLOCK’S
I
1/ l s i n g l e c o p y ,post free 111- p e r y e a r ,post free
P Published E N onTthe15th P G R F M of each month from . . . ‘‘ G R E E N B A N K S , ”R R A M C O T E ,
or from your dealer
NOTTS.
I
I
I
the deck before it reaches his right hand, which, by the way, isheldstationary. There are-two little aids which‘ are helpful with this. The cardsin theright handarenot boxed together each time,but heldslightly ragged. In practice this will helpthe magician to get the chosen c u d partially pushed off before the chosen number isarrivedat, the unevenness of the cards masking this subterfuge.Secondly, if the operatorwould prefertodispensewiththedouble-lift (which I only use as a refinement) he can start counting the cards face down,graduallyraisinghishandsto have the cardsfacing the audience.Afterhehas counted the second card he has the necessary cover. Effect.---Here the following arerequired :A slate ; A piece of chalk ; A pack of cards containing a short cardsay, eight of Diamonds, The operator invites a spectator to thoroughly shuffle the deck of cards, while he writes aprediction on the slate. The deck is handed back to the operator, who has the spectatorhold the slate,writing side down.Operator now asks anyoneto call out any number betweenoneandfifty-two,suggesting it should not be too large so as to unduly prolong the effect.Operator now points outthatthe deck has been thoroughlyshuffledanda number freely called. On counting down to that number, however, it is found that thecard at that position was successfullypredicted by theoperator. Method.Thereislittleto add to whathas already been described. When the operator receives the shu’ed deck back he riffles to the shortand either indetectably transposes the packets, or idly shuffles off the cardsabove theshort whilst he casually pattersaboutthespectator beingsatisfied thathe (theoperator) couldnotpossibly know theorder of the cards. This brings the short card to the top, and it is subsequently produced at the chosen number by means of the move described above. Of course theoperator hadwrittenthe name of the short card,eight of Diamonds,ontheslate. I hope you will find the above of interest and canmakesomething of it.The countisareal utility move and capable of many uses. B L A C K P O O L ! !
if you come this zcay, do look us up on North Pier (by
A big variety of thelatest magic alwaysinstock. P A U L C L I V E & C O . , L T D . for “ Witchcraft ” M a g i c TalbotSquare).
48
*****
***
P E N T A G R A MG R A D I N G : (Threestars)-OfPracticalValue.
**
Both books coming under review thismonth dealwithphases of cardmanipulation. x
****
“
x
x
CARD FAN-TASIES
”
by Edward G.
Love (price 15/-).
The fact that this book hasreachedasecond editionisindicative of its quality. The author, whosepracticaldemonstrationsare well-known in this country, calls it a practical guide to the expert execution of card fans, cuts and shuffles. The book of fiftypagesisdividedinto five chapters. The firstdealing withthe care of hands,cards to use andtheirtreatment. The second part deals with the varioustypes of fans,i.e.,two-handed,blank fan, giant fan, etc. In every case the text is accompanied by the finestclose-upphotographs that we have seen in any magical publication, and, what is moretothepoint,the readershouldnotice the beautifulevenness of the fans. Thispartis concluded with the flash fan,an effect which,as Mr. Love remarksis truly magical. Partthree deals with fancy cutsstartingwiththe single cutsand proceeding through multiple cuts to the triple one handcut.Partfour dealswith thespringing of cards,the waterfallshuffleand the weave shuffle, whilst in chapter five the switching of a colour fan deck is discussed. In the last part Mr. Lovegives a complete routine, employing most of the items he has described. The book throughout is wonderfully illustrated and forms a complete guide to the would-be aspirant to this branch of conjuring. Billy O’Connor contributes Preface. a The book is serviceably boundandprintedonart paper. Tothe author, photographerandpublisher we extend our congratulations. Unreservedly recommended. x
x
****
(Five stars)-Outstanding. ( T w o stars)-NoReason
x
Editor’s Foreword.-It wasafterwatching a murderous Transpo )’ that performance of Anneman’s “ Insto K e n Burrows showed methe versionto be described. The performanceinquestionhad been simplyawful, no the crude double-lifting of thedemonstratorleaving doubt in the minds of the audience that something more of the topcard of thedeck was thantheturningover takingplace. Itwas, therefore, something of a relief to see this very clean version,which,whilst not hnuing the advantage of an unprepared deck of the Annemann version, is a sure gift to those who wish to duplicate the effect without any chance of mishandling. Actually K e n had been inspired(nothaving seenthe Annemann ky reading R. M . Jamieson’seflect versioninprint) ‘‘ InvisibleFlightin the 2LTovember, 1 9 4 g , number of Hugard’s MonthlJ*.--P .W.
****
(Fourstars)-VeryGood. f o r Publication.
“ EXPERT MANIPULATION O F PLAYING CARDS ” by Lewis Ganson (published byArcas,price lO/-). Our regretis thatthe samepaper used for “ Card Fan-tasies ” was not available for this volume. Mr. Ganson has produced a praiseworthy book clear indescriptionandcarryingoveronehundred and fifty photographic illustrations. Unfortunately these photographs are not reproduced (owing to the paper used) to their best advantage. There are four sections to the book. The first deals with the back and front palm, including gloved manipulation and split-fanproduction. This isthe besttreatise we have seen on this subject, but we think we can add to the author’s knowledge by saying that it was the late A. C.P.Medrington who introduced the silk move withthe back palm.Glovedmanipulation is effectively dealtwith,including the removal of the gloves whilst thereisretention of the cards. Section two dealswithcardfanning,andcovers roughly the sameground as “ CardFan-tasies.” Whilst it is not quite clear from the text here, under the title of the “ Visible Changing Fan,” seems to appear the “ Flash Fan ” described by Mr. Love. As this is a fairly recent developmentof card fanning one is surprised that there isno record of the source. Part three deals with flourishes in a very thorough manner. The lastsectiondealswithsuggestions forroutines,andhereMr.Gansonputsforward manyexcellentideas. We liked the “ Ace ” dimwill inishingcards,butreaders of the ‘‘ Jinx alreadybefamiliarwithasimilaridea that was contributed in No. 90, under the title of “ Assorted Cards-AudleyWalsh.” The book is well printed, runstoeighty odd pages, andserviceablybound. It isapleasantthoughtfor the publisher toadd spine a title. For the would-be manipulator of cards this book carriesour unreserved recommendation, and Mr. Ganson deserves the thanks of conjurers for covering so muchgroundinsuch a thoroughmanner. ))
Effect. The sameas Insto Transpo. A card is selected by a spectator who initials it on the face andmarks it with a crosson the back. This card is then placed into an envelope and left in the spectator’s care. The operator now selectsa card from the deck andshowing it to the audienceinitials it on the face and also marks it, as the spectator did, with a crosson the back. This card he places in his pocket. On the word of command the two cards change places, thespectator finding the operator’s card in the envelope he is holding, whilst from his own pocket the operatorwithdraws the spectator’s initialled card !
49
Requirements. Nu-Idea Forcing Deck, an extra forcecard theback of whichhas been treated with r0ughin.g fluid, a soft pencil and an envelope. Preparation. With the soft pencil (the reason for using a soft pencil is that the initials written by the spectator can be easily erased without affecting the surface of the cards), theoperatorwriteshis initials on all of the force cards with the exception of the oneroughened on the back. The latter is then placed on top of the deck. With a pencil and envelopeathandtheoperatoris readyfor the . . . Presentation. Shuffle the deck (keeping the pairs together) faces towards the audience, the extra forcecardbeingretainedat the top of the deck. This shuffle is not essential,the operator can casually showthecards,but I havefoundthatthe casual handling of the cardswhilstshufflingis effective. Nowfan the cardsand haveaspectatortouch one. The operator takes this card and its roughened neighbour, and places the twocardsfaceupwards ontop of the deck. The twocards are placed so thattheyprotrudeabout half aninchfrom the deck (this allows foreasierhandling). Now have the spectatorinitialthe face of the card. When this is done, turn both cards over and square up the deck. The spectator who is still holding the pencil is now asked to place a cross onthe back of the card.
This being done, the envelope is now offered to the spectatorand the operatorslides off the top card and places it face down in theenvelope, the spectator being asked to seal it down. The position now is that the spectator’soriginalcard is on top of the deck with the rough-backed extra force card beneath it.Withthe remark thathe willselectacard at random, the operator either takes the two top cards as one (or, better still, makes a convincing false cut which will leave the top stack intact, then taking up the top card(s).-P. W.) shows the face of the force card to the audience and places the card(s) face up on top of deck. The face of the card showing is now initialled. (If the.audience are close up, see that the position of the initials correspond with those on the other duplicates.) Now turn the card(s)facedown and mark on the back with a cross in a similar spot tothat used by the spectator. Now take thetop card,andwithoutshowingits face, place it back outwardsinthebreastpocket FO thata corner protrudes. All that remains now isthe maximum build up, the spectator then being asked to undo his envelopeand reveal the operator’scard. The real climax arrives when, very slowly, the operator withdraws the card from his breast pocket, turns it slowly over, and reveals the card selectedby spectator.
In “ Robbers and Sheep ” we havesuggested the use of Balsa wood as a medium. To our shame we have only just discovered this wood-a substance whichhasmanypotentialitiesinconjuring. As an example,apiece of Balsawood measuring three feet by three inches by three-eighths of aninch, weighs just a shade under two ounces. In an effect such as “ Gravity Upside Down,” by Billy McComb, this is the ideal medium, for despite its lightness it looks(asallmodelmakers know) like wood and when struck against a solid object sounds like wood. With proper doping and varnishingit can be painted and polished. Fora longwhile we havewondered why no cardmanipulator hasthought of doing thesplit fanproductionwiththe backs of the cardsfacing the audience. It wouldatleastmakeachange. George McKenzie has sent us a copy of “ Compere’s Corner ” produced in book form. At the moderate price of five shillings there is a wealth of practical materialfor the M.C. or would-beM.C. By the time this is in print the Cotswold Competition Assembly at Cheltenham will bejust around the corner. Those readers who have been interested in the late J. F. Bruce’s CalendarTrick will have the opportunity of seeing the originalapparatus madefor BruceHurling. I t will be onshow at Stand No. 6, where we shall look forward to meeting friends old and new. The CotswoldSociety,under the ableleadership of its President, WilfridTyler, has certainly put a lot of planning into the organisation of this meetingandwhich looks likebeing the MagicFeast of the year. The British Ring’s Convention is to be at Southport again at the beginning of July.We know that we are voicing the
thoughts of many of our readers when we suggest that the date of this Convention should be available earlier, and that it might be part of the duty of the retiring Committee to fix the date and the venue. This is thecommon practice with American Societies. Visitorsleavingone year’s Convention know not only the date but the venue of the one to be held in the succeeding year. More andmoreconjurersarerealising that greater effect canbeobtained by good musical accompaniment : my friendCharlesHarrison’sact is anexcellentexample. Musicwithits emotional stress can oftendouble the climax of an effect. For this purpose the modern electrical reproducer, with its portability is ideal, for the conjurer is not at the mercy of a band of hired assassins or a tenthrate pianist. Mr. S. H. Sharpe in “ Great Magic ” listed a number of compositions of varying musical degreesuitableforconjurers’acts,and we should like to add to these from time to time.The following will be found of exceptional merit wherereal mystery is involved :-“ The Swan of Tuonela ” (Sibelius), Philadelphia Symphony Orchestra (H.M.V.) ; “ Scene ” from “ The Swan Lake ” (Tschaikowski), London Philharmonic Orchestra (Columbia) ; “ Introduction ” to “ The Fire Bird ” (Stravinsky), PhiladelphiaOrchestra (H.M.V.). JimThompson ” in Phoenix No. 119, with “ HoimantheSpirick shows what dressing can do to a trick. In the same number Stuart Cramer puts overareal ‘ creepy ’ with “ Mortmain.”We,too,thinkheisright aboutHoudin’s “ Automaton.” The nextissue of the “ Pentagram ” will contain magic by the Rev. G. E. Arrowsmith, hlay. Tom Sellers, Jack Morrison, and Leslie
50
WIZARD
T H E SPHINX
PRANG!!
The circulation of The Wizard is now almost equal This is proof of the tothat of The Magic Wand. outstanding success of our new monthlymagazine. REGISTER NOW
A N INDEPENDENT MAGAZINE OF MAGIC JohnMulholland
THEWIZARD is a 1 6 page nlonthly magazine. Issue No. I published on 10th April. The subscription is 10;-per year, and 7 6 is returned in the form of vouchers which may be used towards the purchase of books. This spe-.ial offer will soon be withdrawn, after which the subscriptioll will be 12/6. Twelve issues of a!6 page two-colour magazine at 23d. !:ch. What See Pentagram No. 6 for more could Wlzard a ask for ? full details.
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widelyreadmagicpublication inthe world. Each issue contains new, practical tricks and authoritativeaiticleswritten by the best mindsin magic in all parts of the world.Since 1902, T H E SPHINX has bcen the outstanding magazine of magic.
GEORGEARMSTRONG, THE MAGIC WANDPUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
No. 6 Stand
...
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
. . . Cheltenham
Arrangements have been made f o r subscriptions to be accepted and money .. Englanddeposited in .. ....
PETER
WARLOCK hopes to meet friends old and new
MAY
la
JustPublished EXPERTMANIPULATION OF PLAYING CARDS byLewisGanson Every phase of card manipulation clearly and fully described from thecontinuousfrontand backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals andcomplete cardroutinesillustrated by 195 photographic reproductions. Price 101- postage 4 d . ARCAS LIMITED 404-408 SVDENHAM RD., CROYDON
If you like good comedy magicJ’OU zuill like “ MilkShrink ”the shrinking glass of milk2216 postfree
1
ZAHAREE (Geoff.R. Hursell) 16 & 18 Watts’Place CHATHAM, KENT
WRITEFORDETAILS
THE SPH.INX 130 WEST42ndSTREET,NEW YORK 18, NEW YORK, U.S.A.
4th
THE MAGIC CIRCLE President :His Grace theDuke of Somerset D.S.O., O.B.E., I.P., D.L., M.Z.M.C. Vice-President : Douglas Craggs, Esq. M.Z.M.C. Clubroom and Library and Museum :
Magical Theatre :
MAGIKRAFT STUDIOS
Francis White 39 Alverstone Avenue, S.W.19 Wimbledon Park,
HENRl “C.,
IBM.8
INSTITUTE of MAGICIANS Founded 1334 Presidelzt : A.Zomah. Hon Sec * OscarOswald 102 Elmstead Ave.; Wembley Park) Middx. H.Q. and Library : No. 2 H a d Court (Victor Club) HighHolbornWC MEETINDEVE+ THURSDAY 5 - r i ;m .. Vlsltlng Maglclansalwayswelcome. YOUY membership cordially invited-drop a line tothe Hon.Sec. for literature.
SSMC
The Friendly Magicialz invites all Bona Fide Mauicians to send for his list’ of new and used apparatus and books, or call a t his studlo :l CLARENCE ROAD, Harborne, Birmingham 17
Available on Loan 3d. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
W.C.
Particulars from Hon. Secretary :
DE’SEEVAH
BM5.3
Keep your ‘‘ P E N T A G R A M ” copifs safe and clean i n our special ‘‘ Penhgram cases PRICE 4,’- postfree
FIELD
King George’s Hall,
32 Vernon St., Northampton
Magical Books & Mss Etc.
C.
St.Ermin’sHotel, Caxton Street, S.W.l.
A printed magazinegiving detailsof our latest releases in exclusivemagical effects. Issued free. If you are not on our mailing list, writenow.
MAGICIANS’ BOOKBINDING SERVICE
42 Alderson Road, Sheffield2
Editor
JAMES
GRAYSON
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
II
Telebhone or Telegram : MORLEV 899 Address :23 GREENFIELD AVENUE GILDERSOME. Nr. LEEDS Nearly 30 years-in the business
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
51
PENTAGRAM
An independent ‘monthly bulletin for all who want good magic
This trick is well suited for an intimate audience (&e that can gather around a card table and watch adaDted for i t close quartirs),but it canalsobe as it was recently perstage presentation, and such formed the Magic Author at Circle ” Entertainment in the Portland Hall.
,“z
The effect is as follows : Two packs of cardsare shuffled by aspectatorandshe,and she alone, handles the cards from start to finish, so ruling out any sleight-ofhandanticson the part of the performer. I say ‘ she ’ advisedly,for it is always better to have lady a volunteershe will add a touch ofglamour tothe proceedings !
freeselection, for the pack never leaves the lady’s own fair fingers.Somewhere inthe spread-eagled Dack there is a duplicate of this card, and because ;wins are always i n rapport theywili be drawn together by “ sym;; patheticattraction. The lady is told to hold her card between firmly finger and thumb, and to pass it to and fro over the concealed pack, the performerholding her wrist while she does so. Suddenly she feelsanirresistible impulse tolower the cardoveracertain spot, the magician asks her to place her forefinger firmly on the paper at this point. He tears away the “ Punch ” cover and the card beneath on which her finger is now resting is found to be the duplicate of the one sheselected.
One pack isspread face-downward on a smalltable so that its surface is completely covered with As anexample the cards. Two “ Sympathetic of copies of “ Punch ” Magic ” this will are takentheir covers take a lot of beating. are torn off and Actually, however, The above Cover Design is reproduced by ??mission handedtothe lady of tL Proprietors of “ P U N C H the onlysympathy with the requestto employed is a Symputthem over the face-down caldsand so hidethempathetic understanding of human gullibility ! from view. She then takes the second pack, shuffles it and cuts it for the selection ofcard. a This card, Although YOU impress upon the lady fie as the performer is careful to pointout, is an absolutely “ obviousfact ” that she is havinga free choice of
52
card, in reality it isforced-sadly wehave to confess it IOf the two packs used, oneis ordinary and unprepared, and this is first handed to the lady to shuffle and spread on the table ; but the other is a “ Rough and Smooth Pack.” The principle employed by this forcing pack is wellknown and need not be entered into here.
9
One of the “ Punch ” covers is ordinary but the theunother is faked. First takeanycardfrom prepared pack and gum on to its faceapiece cut from the front cover of a spare copy of “ Punch.” Now take another cover and place this card, faked sideoutward,insuch aposition that it is superimposed on that partof the cover design that figures onthe card. Keepitin placebysticking two narrowstrips of transparentgummedpaper(the kind used for repairing sheets of music) one at each end in sucha way that the card is held loosely inside as if it were in a frame. (N.B.-the gummed paper must not be fastened to the card but only to the cover.) Before fastening the card in place, the duplicate of the one to be forced is put beneath it faceoutward. The coverwillappear to be quite unprepared,and if keptslightlymovingcanbe shewnat veryclose quarterswithoutfear of the faked part beingdetected. The illustrationshows prepared card. Black lines show position of
transparent tape. The “ modus operandi ” will now be obvious. The performer takes off the covers, shows them on bothsidesandhands first the unpreparedone to the assistant,who puts it over half of the spread pack and then thefaked cover, and he must see to it that she puts this one with the design side in contact withthe cards.All thatremainsisforhimto supply the “ urge ” that impels the lady’s card to come down on to the paper at the exact spot where he knows the faked part to be. She marks the point withher finger : a sharppull by the performer tears away the paper andforces out thetwo concealed cards-the oneimmediately underthe assistant’s finger will be the duplicate, and the one beneath it will be the faked card, but as it is now back up on the table the “ Punch ” side is invisible and there is nothing to give the show away.
SLATES
OF HECATE-continued
Note 1.-As the “ Punch ” cover is made of good qualitypaper it isnottoo easy to tear. To get over this difficulty make a smallslit in thepaper behind the cards-this will serve to mark the place and also greatlyassist the finaltearing process. A “ Punch ” cover is used for the trick because its design lends itself so admirably for camouflage, but forstage purposesasheet of newspaper can be substituted. I n this case the faked card will have a piece of the samenewspaper (a picturepartfor preference) pasted on to its face, but otherwise the preparation of the sheetwillbe the sameas that for Punch.” Note 2.-Care
must be taken as to lighting :
if there is a strong light behind the paper when it is shown back andfront,itssilhouette will be clearly visible to the audience !
Suggested Patter.-“ Trickswith cardsare very often rather insipid-they have no punch about them-well, you will not be able to say that about the card trick I am now going to show you, for if it is lacking in every other quality it certainly has a “ punch ” in it as you will see in a minute. It is anexperiment in ‘ sympathy.’Sympathy,as you know, is that instinct or influence, that tends to drawthose who are like-mindedtogether,and so we have the well-known saying ‘ Birds of a feather flock together.’But this proverbappliesnotonly t o birds and humans but also to playingcards,as I will now try and show you with these two packs. There are fifty-twocardsineach,and, of course, every card has its duplicate, or opposite number, in the other pack. Because theseduplicatesaretwins they are insympathy with one another and they will tend to gravitate together even though one of them is hiddenfrom view. Let meshow you. Madam, will you please shuffle this pack andthenspread the cards face down on the table ? Please do it so that theyoverlapas little as possible. I promised you that there would be a ‘ punch ’ in this trick. As a matter of fact there are going be two to ‘ Punches ’ for I want you tohidethe cardswhich you have spreadon the table, under,these two covers of ‘ Punch ’ which I will tear off and give to you . . .”
from page 55
performer draws his chalk through the number and then repeats the procedure with the threeremaining personswhoselectednumbers.Having thus convinced everybody of the apparent fairness of everything, the twospectatorswith the slatesare asked to hold them up, showing the two totals to be the same and the prediction, therefore, correct. Observations.-The above routine can be mademore foolproof by usinglocking-type flap slates,as this allows the spectatorstowritetheir own numbers on the slate.Ifa loose flap slate is used, the performer must ask for numbers and write them himself, and a person quick at adding figures can cause a disaster. This can be avoided by having the numbers whispered, or by standing so close to
the spectator that he need only give his number in a low voice. I t is also wise to have somespace between the fourspectatorsselecting numbers so as to avoid a check up amongst themselves. If a locking-type flap is used, it will be found an advantage to have three permanent white lines on one side of the flap and also on one side of slate number Two, so that the slate and flap will be divided into four equalparts. This will lead the spectators to write their numbers, one in each division, and it will be foundhelpfulinkeeping the spectators’ numbers and those of the performer similar in general appearance. The above description may appear involved, but five minutes’ study with the slates in hand will, we trust, make everything clear.
53
Methods for finding out which day of the week a given date will fall date back into the distant past. Themethodto be describedwhilsthavingthe standard basis isdesignedtohelp,notnecessarily those with poor a memory, but those whose memories during a presentation of conjuring do not function at their best. Presentation.-Theoperator takes fromhis pocket twelve visiting cards-each one has typed on its back of each one month of the year.-The cards arespreadonthetable(monthsideup)andthe spectator asked to think of and then state a certain day-month and year.-The operator picks up the apprcpriate month card, and holding it to his ear as though it would whisper to him, then states the day of the week on which the chosen day falls. Preparation.-The immediate aid which allows the slowest thinking conjurer to arrive at this result inaperiodnot exceeding tensecondsliesin the typing on the back of the cards, and can be seen intheheadingtothis effect. The letterorfull stop which is slightly out of alignment is the key. Forthispurposecountingisfrom back tofront. The following is the lay-out :January. February. March.
= l so full-stopout of alignment. = 4 so “a”out of alignment. = 4 so “ r ” out of alignment.
April. May. June. July August. September. Oc‘tober. November. December.
0 = 2 = 5 = 0 = 3 = 6 = 1
-
=
nothingout of alignment. so “ y ” out of alignment. so “ J ” out of alignment.
so nothing out of alignment. so “ S ” out of alignment. so second “ e ” out of alignment. so full-stopout of alignment. = 4 SO “ b ” out of alignment. = 5 so “ m ” out of alignment.
The typing should be done on a well-aligned machine and the difference in alignment should be very slight, much less than that shown in heading.
...
That isthepreparation.Thisisthe
Method.-Theoperator keeps inmindthe basic number 23. Takingthe 12 cardsfromhis pocket, they are spread on the table, month sideup. When the spectator has stated the date, all but the appropriate month card are swept up and dropped in the pocket. Supposing that the date chosen is 4th October, 1947. With the basis number 23 inhismindthe operatornoticesthewrongalignment of thefull stop which,of course, means 1 :-23 plus 1 equals 24. T o this latter number the operator adds the date, i.e., 4, making atotal of 28. This is divided by 7-the resultbeing 0, which,according to the following table is Saturday :-
...
...
Sunday Monday Tuesday Wednesday Thursday Friday Saturday
... ... ... ... ... ...
...
...
... ... ... ...
1 2 3 4 5 6
7
Just to conclude, here is another example :23rd June, 1947. Basic figure, 23 ; June Card shows fifthletterout of alignment ; therefore 23 plus 5 equals 28 ; date is 23 ; therefore 23 plus 28 equals 51 ; 51 divide by 7 equals7and 2 over. Second day of week is Monday.
PETER WARLOCK’S
PE NTXGRRW PuUishod ontba 16th ol r r b month 1/l single copy, post free 111- per year, post free from
‘‘ GREENBANKS,” 01
...
BRAMCOTE,
from y o w dcalcr
NOTTS.
54
In each of thethree secretcompartments of the envelopeis placed awhitecardendorsedas follows :FirstCompartment : Card bearing on one side thejirst word of page 28 of book to be used ; on reverse the last word of page 28. Second compartment : Card bears on face jirst word of page 29 ; on reverse last word of page 29. Third Compartment : Card bears on face, jirst word of page 30 ; on reverse, last word of page 30.
In order to give credit for all artifices utilized in the following effect, I should call it “ The ANNEMANN - VOSBURGH -- WARLOCK - May ” Book Test, with the “ May ” in very small letters in comparison, for my contribution to it being only “ re-appropriation.” Effect.-On operator’stable standsa normal sizedsealed letter envelope (a largedab of red sealing wax looks very efficient in an effect of this nature) ; this envelope he marks with initials called out by any spectator, inorderto prevent the possibility of exchange. This envelope left is isolated in full view. Pattering anent the powers of prediction, he requests the assistance of twospectators,who I willdesignate A andBrespectively. B is requested to choose one of three novels present on the table and to stand holding the volume selected. Operatornextproducesa pack of cards,and after carelessly mixing (not shuffling-this is a mental item) them, he requests A to cut the deck into two portions and then to remove the top and bottom cards of eachportioninordertomake picking as mixed as possible. With these four cardsinhand,Aisrequestedtoaddtheirvalues together and announce the resulting total. SpectatorBisthen requested toturntothe equivalentnumberedpage of the chosen book, look at and remember either the jirst or last word on that page,whichever he prefers, thento close book and placedown. Operatorthen recapitulates briefly whathas takenplaceandemphasises the apparentimpossibility of predicting the chosenword,inview of the thousands of possible alternatives (?) Spectator B is then asked to clearly announce the word arrived at.Operatorthen reachesforenvelope,opens it, and produces a white card, across which in bloodcoloured letters is writtenina bold, butrather shakyghostlyfashion the sameword ! Method.-As previouslystated, I claimnb originalityforthis,exceptfor the final “ puttogether,” and the only excuse I offer for this yet another book test, is the apparent freedom of choice present throughout the .effect. T h e envelope shown is constructed as detailed in “ ’Jinx ” No. 15, and also in “ Annemann’s Practical MentalEffects,” pages 155-6, andPeter Warlock’s “ Patternsfor Psychics,”pages 29-30.
The order of cardsandwordsismemorized by operator.Three books areontable,one of which contains the wordson the cards. The deck is set up in the well-known (to conjurors only, I hope !) 14-15 arrangement. Presentation.-Envelope is shewn and marked by operatorwithselectedinitials (Note : do not let spectatorpersonally mark envelopeashe may detect unusualthickness).Envelope is then placed in full view-a stand is suitable for this. The services of twospectatorsareobtained. The attention of spectator B is invited to the three books ; these are spread on the table, the ‘ force ’ book being in the centre, and he is asked to select one. The centreoneisforced as described by Annemannin page 70 of his “ PracticalMental Effects.” He is then requested to stand with book. Spectator A is then invited to stand, and operator after false shuffiing in a casualmanner-a series of shortcutswith cardsinhandsis sufficient-gives deck to A and requests him to cut it into two heaps and then taketopandbottomcards cf each heap, add their values together and announce the result. Owing to the arrangement of deck result can only be one of three numbers : 28, 29, or 30. (Credit to this is due to Jack Vosburgh, of U.S.A., videhis excellent effect “ Monk’sMystery.” Spectator B is then requested to turn to page of the book held by him, bearing the number called for by A, and to look at and memorize either first or lastwordon that page, as his fancydictates,then to close book. Operator,emphasisingfairnessand freeness of selection of (Q) boob, ( b ) cards, (c) page, and ( d ) word, asks B to announcefor the information of all present the word finally arrived at. Operator repeats word for sake of effect and to impress it onaudiencz, then takesscissorsfrom pocket,picks up envelopeandremembering the position, snips the appropriate side, the envelope is tilted and the cardshowing theappropriate word “ side ” is allowed to slide into his hand ; this is then placed against envelope and exhibited (to preventwordonreversebeingseen) or placed on the stand which originally supported the envelope. The credit for the prepared envelope is due to the late Theo. Annemann, and the additional subtlety of a double-faced card in each compartment wasoriginated by Peter Warlock anddisclosed in his “ Small, Medium and Large ” effect contained in “ Patterns for Psychics.”
55
Sometime ago I was greatlyintrigued by a Slate Prediction effect which was being fcatured by severalAmericanperformers,including, I believe, Dunninger. Briefly the effect is that four spectators eachthink of anumber of fourdigits. The performer takes a slate and writes a number which he states is the total of the four numbers as yet only in theminds of thefour spectators. This slateis given into the custody of a spectator and need not be touched again by the performer. A second slate is takenand each of thefourspectators asked in turn for their mentally selected number-the numbers being written on the slate in the form of an addition sumand verified by the spectators. The sumis added by yetanotherspectator,and t h e totalisfoundtoagreewith the performers’ predictionwrittenonthefirstslate. This apparentmiracle was accomplished by the aid of a special slate with a hinged flap. Slates of this type not beingobtainable in England,and wishing to perform the effect as outlined, the following routine was worked out. It has been performed many times, is very practicable,andhasa good audience effect. Requirements.-Three slates are required which for ease of description we will call numbers One, Two, and Three. A flap also is required, and this flap must fit both sides of slates numbers Two and Three. At the commencement of the routine, the three slates are in a stack, number One on the top and number Three on the bottom. Slates numbersOneandThree areunprepared,buton thetop side of slate numberTwoiswritten an addition sum composed of four lines of four digits each, and the total of this sum must be memorised by the performer. These figuresarecovered by the previouslymentioned flap. Working.-Four spectators sitting on the left hand side of the room are asked to stand up and to think of anumber of fourdigits. The performer looks at eachspectator in turn, concentratesfora moment,and, takingslate number One,stateshe will write a number on it, and that this number will be the total of the four mentally selected numbers. T h e number actually written is the one previously memorised by the performer, i.e., thetotal of his own numbers hidden by the flap on slate number Two, and he then places his initials openly on the reverse side of the slate which is given to a spectator on the leftside of the audience to hold, number side downwards. The performer now takes slates numbers Two and Three, the flap side of number Two still being uppermost, and going to thefirst of the fourspectators asks himtonamehis mentallyselectednumber. This is written on the flap,aDd the spectator asked
to verify that his numberhas been written correctly. This procedureisrepeatedwith theotherthree spectators, thefournumbers being placed inthe form of anadditionsum.Turning slate number Two overon top of slatenumberThree,a fifth spectator is asked for his initials, which are placed on the now top side of slate number Two “just to identify the slate.” The result of thisprocedure isthatthe flap hasdroppedontoslatenumber Three, hiding the spectator’s numbers, and walking across to the right hand side of the room, the performer lifts off slate number Two ; the spectator’s initials still being on one side whilst the performer’s own figures originally placed on the slate are visible on theother side.Choosingaspectatoron the right hand side of the room, he is given slatenumber Two and asked to add the four numbers which he believes are the numbers given by the original four spectators. The performerstillholdsslate number Three andthisslateisturnedoverwhilsttalkmg, so that the flapis underneath and held in place by the fingers of the lefthand. The person making the addition is asked to call out the total of each columnas he adds them and the total iswritten figure by figure by the performer on the top side of slate number Three. When the addition is complted the performerholdsslate number Three in his left hand and takes slate number Two in his right hand and says to the spectator “ You are sure that the total I have written is the correct total of the fournumbers on this slate ? ” The spectator agrees and slate number Two, numbered side uppermostis placed underslate numberThree ; the flap allowed to drop on to slate number two as the performer asks “ Andwhatareyourinitials, Sir ? ’’ Thetop slate, numberThree,isthen openlyturnedoverandthe.initials placed on the blank side of the slate which is immediately handed intothe custody of the spectatorwhohasmade the addition. The position now is that slate number One, containing the performer’sprediction,isheld by a person on the left of the performer, slate number Three, containing the spectator’s,addition ’is held by this spectator onthe rightof the performer, m hilst slate number two is held by the performer himself ; the flap being on top with the original four numbers chosen by the four members of the audience, now visible. The performer now pausesandstates that before proving his predictionto be correct, hewishes to convinceeverybody that the numbers originally chosen have notbeenalteredin any way, and, walking across to the first person who thought of a number, he asks, Is that the number you selected the mentally ? ” Receivingaconfirmatoryreply, “
continued on page 52
56
***
*****
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
*****
**
(Five stars)-Outstanding. ( T w o starsj-No
“ A CONJURING MELANGE ” by Stanley Collins (published by the Fleming Book Co., BerkelzyHeights,price 4 dollars).
A Flemingpublicationisanevent,andthis book is no exception. Dealing withthe book’s physicalaspectfirst, it canbesaid that it consists of 256 pages well printed inlarge type ongood paper. It carries nearly a hundred and fifty line drawings and the binding is blue linen finish with gold stamped titling. The book starts off with averyinteresting ; inthisthereare some prefacebyPaulFleming biographicalnotesanent the author.Mr. Collins adds aforewordand we getdown to averylong Part I., which deals with cardtricks.Altogether therearetwenty seven effects plusavery good version of the double-lift. Mr. Collinsechoesall our own thoughts on the maltreatment and abuse of this sleight. It can safely be said that in this section all tastes are catered for. T h e advanced card-worker willfindyetanotherbrilliantCollins’s Four Ace routine, under the title of “ The Forthright Aces.” At first we thought this was a reprint of “ Those Aces,”contributedbyMr.Collinsto the pm (page 697). It was good to see “ The Spider ” once more, for the plot of this effect is so different and i t hasastory which is generallylacking with most cardtricks. “ The Anti-GravityCards ” is a beautifulimpromptu, whilstforthosewholike spelling-bee tricks there are two splendid examples : “ The Comedy of Errors ” is Mr. Collins’s version of the classic “ Everywhere and Nowhere.” The two effects which we plumpfor, however, inthis large section are “ Sympathetic Coincidence ” and “ The Mystery from Domdaniel.” This latter requires only the skill of presentation to produce a diracle card effect in the minds of this audience. Inthis section thereare sometypicalCollins’s remarks such as “ there are, of course,exceptions tothis rule,which the bornconjurerwill know instinctively-the others will do the wrong thing in any case ! ” The second part deals with pocket tricks and takes in its stride a penetration effect (a matchstickispushedthrough aborrowedcoin),animprovedcricketbateffect, thejumping bands,a removable thumb ideaandnoteson the coin roll. The third part dealswithtricksforchildren, and there is no doubt about the entertainment value for that section of the community.
In thefourthpart handkerchiefs are covered and there is a twentieth-century effect using a glass tube. Whilst we have seldom seen this effect performed, it is exceptionallyeffectiveiWe always thought that this was an idea of the late Bretma’s, but knowing that so many of Mr. Collins’sideas (including “ Sawing through a Woman ”) have been
****
(Four stars)-Very Reason for Publicatiov.
Good.
attributed to other sources, we now know the true originator. This section would not have been corn-. plete without “ Knee Plus Ultra ” silk effect which is now very clearly described. Part V. describesthreemental effects-a very ingeniousmethodof the “ QuickandDead,”an effect called “ Whisper Word,” whichcontainsa little usedprinciple. (We have only encountered i t twice--once inan effect by Jack Vosburghand secondly in a recent “ Phoenix.”) “ Chiffrenon ” i S. an improvementonan A1 Bakereffect. Part VI. covers miscellaneous tricks anddevices. -there is a very good description of the “ Flying Die,” the “ Hindu Bead,” andseveralothersmall andlarge effects. Part VII. deals exclusively with Electrique ”-a stage effect. Author,publishersandartist(Alba) be to congratulated which aon outstandingmerit. #
#
“
Le Mystere areall
has such
#
****
“ MANUAL OF JUGGLING ” by Max Holden(published by Max Holden, New York, price One dollar Fifty cents.).
In this well printed and well illustrated book, therearecontributions by CharlesCarrer, Larry Weeks, Leo Rullman, Roger Montadon, Harry Ferrier, H. M. Lorette, and Max Holden. Of these Army ” fame,is Larry Weeks of “ Thisisthe perhapsthe onlyone whose work is known to modern English magicians, Each of thesecontributors takes a particular branch of juggling, and describes not onlythe basic actions, but also suggests a routine. Juggling is not for the lazy man, for skill is essential,andskillmeanshoursanddays of practice.Fakedjuggling effects arequite rightly ignored. Hoop juggling is a thing which seems to have gone out of favour in recent years, but in this book there is a chapter devoted to this very pleasing branch of the art. (I wonderhowmany “ Pentagram ” readers can remember Eddie Gray doing his mirrored club and hoop act at St. George’s Hall !) The chapter on plate-spinning is the best we have seen on this subject. The “ DevilSticks,”which always formaneffectiveinterludeare also well described. Besides the headingsmentioned, Ball, Club, Hat and novelty juggling are effectively all dealt with. A lovely little item by Herman Hanson, suitable for inclusion in aconjuringact,concludes thisinformative book. The illustrationsare by NelsonHahne. To those who have a desire to juggle this book is unreservedly recommended.
57
I was deeply grieved to hear of the passing of Dr. E. G. Ervin. It was such a little while since I had heardfromhim. To his friends and relatives we &tend both on our own behalf and that of our readers, the deepestsympathy. The first number of the new “ Wizard ” is to hand. Printed in two colours and with an attractive cover it should find a steady market. In this issue there are two magical effects, a. book test by the Editor and a tube production ideaby K. J. Bays. Articles fill up the rest of the twelve pages.
Nos. The articlesbyDuvallandRobertEdmansonseem to be the thing to try and equal in other departments, for if you aretrying to teachboysasubjectlike conjuring give them the basic knowledge first. It doesseemallwrong,and we weremore than surprised, to see aneffect which requires confederacy for a person at an impressive age can so easily abuse this unethical aid, bringing ultimate disaster. Rather late in
the daywehavereceived
2, 3 and 4 of Goodliffe’s MagicMonthly.
Congratulations to friendHolden onthe write-up and photographs in the April issue of the “ American.” Mentalists and those making use of reflectors note that there is.now on saleat ladies’ beauty shops a very small mirror complete with clip togo on lipstick case. It is called ‘ Immaculip.’ The clip can beeasily adjusted to slipon the finger, the price is a modest 1/ 6 . We notice that N.A.M.S. have started a new book reviewingpolicy . . . anattempt possibly inspired by the famousFleming reviews. To the reviewer in questionthe use of an adequate dictionary is recommended. We haveoftenwanted to see the seconddeal and bottomdealperformedinaperfectmanner. Theother daythat pleasure was ours when we were with Fred Robinson. We asked him how long it took to acquire thesecond deal (the strike method of Scott). The answer was threehours practice a day for nine months ! ! ! The Cotswold Convention is over. Onthe whole it wasanexcellentpiece of organisation. Our chief criticism relates to the lateness in starting shows. Nothing can be worse for the temperament of competitorsthanto faceadelayedappearance because of the late appearance of the Judges. The other criticism,and thisisnominor one,isthe running of a licensed bar in the rear part of the hall during .the big show. I t is hopedforthesake of those who wish to see the show, and for the artists as well, that this so-called feature will be eliminated on future occasions.
Telephone tests still seem to take up alot of printed space in our contemporaries. In this sphere of mentalism you will like Victor Peacock’s “ Western 1248,” whichwillappear inJuly issue. T o those who use conjuring as a peg on which to hang a little dreary comedy, the ditty “ Open the Door, Richard,” will, no doubt, inspire a version of the “ SevenKeys to Baldpate,”usingaminiature door and the ghost of the muchoverworked Richard. Coming on top of our note in the Aprilissue of the “ Pentagram,” regardingJim Thompson’s routine “ Hoiman the Spirick,” is the welcome news that the effect in questioncan now be obtained in England. Very interesting has been the response to Fred Braue’s requect to readers of Hugard’s Monthly for their opinions of the five best effects with playing cards. In this response most writers have taken the short view andconsidered their own programmes instead of a more general view of card magic. Most . naturally,fromAmericans. of the repliesare, Irrespective of performance on the part of individuals we should very much like to have the opinions of our readersonwhattheyconsider the tenbest effects in conjuring. If you are interested, please list them on a postcard and sent it along. The deadline date will be 23rd June, 1947. Of particular interest to English readers was an article in “ Magic is Fun ” anent Richard Cardini, and one wondershow long it will be before this great conjurer can beseenagainin this country. Well can I remember in those days before he performed the act for which he is so famous, his presenting the handkerchief and inkbottle. To’ the aud.ience there was ink everywhere and it seemed a miracle when the handkerchiefwhichhadbeenborrowed was returnedtoits lenderinpristinecondition ! 9eaders of the “ Pentagram ” whovisited Cheltenham will, no doubt, be pleased to know that Harold Poole’s excellent and most entertaining Slateroutine will appearinafutureissue. Halry Vernon and Reg. Gayton also passed on some very niceeffects.Westill can’t understand the change of Bill Larsen’sopinionfrom page 119, volume 7, of the “ Genii ” to that in. the April, 1947, issue. Forourpart we have always liked the Genii,” we still like it, and with our own belief that there is room for everybody, only hope that this wild hitting at all and sundry is not the first notecf the “ Genii’s ” swan song ! ((
Those whowantasomewhatdifferententertainingroutinewilllikeJohn Brearley’s can’tbeWrong ” innextmonth’s issue.
“
You
58
WANTED.-Good price offered : clean copies of Pmtagram N o s . I and 2 . Also Collins’ ‘‘ Holiday in MorocL-o ” FOR SALE -A few sets of my 4 AceLovelies” club or lodge effect now otherwise unobtainab€e,12./6 BAYARD GRIMSHAW The Bungalow, Castleton House,
TH’E SPHI-NX AN’INDEPENDENT’MAGAZINE OF,MAGIC
John Mulholland Editor
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts- of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
THE W I Z A R D A modern monthly magic magazine. Annual subscription 1216. 716 is returned in the form of, vouchers which may be used towards the purchase of books. THE M.AG1.C W A N D A quartely book of mag~c. Published on first of March, June, October’ and December. Per copy 3/8 post paid. Annual subscription 14/6. GEORGEARMSTRONG, THE MAGIC WANDPUBLISHINQ CO., 11 MONASTERY GARDENS ENFIELD MIDDLESEX
..
.
Rodhdale
..
C O N J U R I N GB O O K SF O RS A L E OLD AND NEW. me know your Wanb
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
LIST FREE FOR ’STAMPED ENVELOPE No callers
ATangements have been made for suband money scrzphons to be accepted .. Englanddehosited in ....
G E O R G EJ E N N E S S 47 Inverness Avenue, Enfield, Middlesex
..
WRITEFORDETAILS
BLACKPOOL! ! if you come this way, do look us up on North Pier (by A big variety of thelatestmagic TalbotSquare). alwaysinstock. P A U L C L I V E & * C O . , L T D . f o r ‘‘ Witchcraft ” Magic
Published EXPERTMANIPULATION OF PLAYING CARDS by Lewis Ganson Every phase of card manipulation clearly and fully described from the continuous front and backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals and complete cardroutines illustrated by 195 photographic reproductions. Price 101- postage 4d. A R , C AL SI M I T E D
THE SPHINX 130 WEST42ndSTREET,NEW YORK 18, NEW YORK, U.S.A.
THE MAGIC CIRCLE
,3;st
406408 SYDENHAM RD., CROYDON
If you like good comedy magicyou willlike “ MilkShrink ”the shrinking glass of milk2216 postfree ZAHAREE (Geoff.R. Hursell) 16 & 18 Watts’Place CHATHAM, KENT
1
MAGICIANS’ BOOKBINDING SERVICE KeePyour P E N T A G R A M ” cqPies safe and cleani n our special‘‘ Pentagram ” cases ’ PRICE 4/- pdst free
CF . IELD 42 Aldersoh Road, Sheffield 2
President :His Grace the Dukeof Somert D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.I.M.C. Clubroom and Library and Museum :
St.Ermin’sHotel, Caxton Street, S.W.l.
Aprinted magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are not on our mailing list, write now.
Magical Theutre :
King George’s Hall, Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRI
INSTITUTE of MAGICIANS
DE’SEEVAH
M M C . 1 BMS.,
IBM.8
SSMC
The Friendly Magician invites all Bona Fide Magicians to send for his list new of and used apparatus and books, or call a t his studio :1 CLARENCE ROAD Harborne, Birminghaml i
I Magical Books & Mss
l
Etc.
Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
Printed in England for PETER WARLOCK by
W.C.
Particulars from Hun. Secretary :
1
I
Founded 133.4 President : A.Zomah. Hon Sec O m r Oowald 102 Elmstead AV; * Wembley Park) Middx. H.Q. and Libra;;: No. 2 Hani Court (Victory.Club), High Holborn, W.C. MEETING EVERY THURSDAY 7-11 pm. Vlsltmg Maglclans always welcome. You*membership cordially invited-drop a line tothe Hon. Sec. for literature.
JAMES
GRAYSON
MAKER OF HIQH-CLASS MABICAL EFFECTS, STABE ILLUSIONS, ETC. W Telegram: MORLEY 899 Aaiiress :GREENFIELD AVENUE BILDERSOME, .Nr. LEEDS Nearly 30 years tn the buswess
Tdephme p3
GEORGE SEARSON, Blue Bell Hill, Nottingham.
59
PENTAGRAM
An independent monthly bulletin for all who want good magic
y@uh
’ t
Cogitation as to the nature of this contribution revealed that I could adopt one of three courses, that is :I-Describe an entirely new effect ; 2-Disclose a new method of working an old effect ; 3-Detail a novel presentation for an old effect. Item one naturally would be the most satisfactory, but these new effects materialise themselves only at odd andrareintervals. I n my opinion classification two is merely futile, which bringsus tothe consideration of “ a novel presentation for an oldeffect.”
I am slowly coming tothe conclusion that conjurers attach far too much importance to tricks. The mereperformance of tricks will get you no place, which is poor English but hard fact. If, on theotherhand, conjuringismade of secondary importance inour endeavours to entertain, there is fargreateropportunity of touching the highspots. I t will betime well spent if we consider the tactics adopted by a few top-liners in variety, such as Vic Oliver,Stanelli, Ted Ray, MaxWalland MaxMiller. They areessentiallyraconteurswith excellentmaterial. Thatin itself, however, isnot
enough. The members of the audience say to themselves,erroneously, of course, “ I could do that. He onlytellsa few stories,probablywritten for him by script a writer.’’ So our top-liner concludes his turn by doing something which the audience knows perfectly well they could not do : play the violin, guitar, uke or piano, sing, dance,yes, why not,-conjure. In practicallyevery case the digitalskillisdisplayed as anafterthought. It is a tail-piece with a sting.
I commendthisprocedure to conjurersfor two reasons. - First, I feel it iswhatpresent-day audiences require and secondly, assuming my theory to be wrong, if one can attain a certain measure of successwiththismethod, it will proveasplendid training should one ultimately decide that the performance of tricks is to be the dominating feature. The sequence of effects I am about to describe iseminentlysuitablefor the method of approach above suggested or can be interpolated in any programme, other than one designed for very youngchildren. The following patter also outlines the effect : “ You all remember the ‘ Radio EIOORed Cross Competition,’ in whichyou had achoice of A, B or C. I am going to hold a similar competition, but with the ‘ rub ’ removed. In otherwords you can’t be wrong ! These three slates are marked, as you see, A, B and C, but on the reverse side of one is written a message. Whichistheslatewiththe messageA, B or C ? You can’t bewrong ! C ? Correct. It has the writing, whilst A and B are blank. “ Three packs of cards also marked A, B and C. The backs of two of these packs are red, whilst the third are blue. Which is theblue-backed packA, B or C ? Again you can’t bewrong ! B ? Yes. As you see, the back of every card is coloured blue. Packs C and A have backs which are red.
continued on page 6 0
60 U
YOU ,CAN'T BE WRONG "-continued
from page 5 9
" Three books,distinguishableby the first three letters of the alphabet, showing on the covers. One of thesebookscontainspicturesonly,whilst the othertwoarewithoutillustrations.Which is the book with the picture-A, B or C ? C ? Right again. Books A and B have not a single illustration, whilst the chosen book has the pictures. " On this stand are three envelopes. One contains a pound note and the other two are void. Now, A, Bor C forthepound note ? You can't go wrong ! A ? Yes,sir. B and C areworthless (removetheseandtearinsmallpieces).Envelope A has the money. You can't be wrong ! ! "
No gags or wisecracks you notice, because these have been handed over in the non-conjuring part of your act. The four effects must be worked snappily with the minimum amount of word accompaniment, otherwise the novelty of the presentation will be diminished. No doubtthe readercanthink of otherand possiblybetter effects whichcould be utilised. So muchthe better. It wouldstandrepetitionwith differenttricks ata re-engagement, just as the ariginal radio contest was repeated week after week. The working will be obvious, but for the sake of completeness details are as follows :Slates.-Ordinaryslatescanbeused, but for consideration of lightnessmake I my ownwith black cardandplasterers'laths,suitablyplaned. Incidently,if you cansecureabundle of these laths, it issurprisingthenumber of purposes to which they can be put. Identical messages are painted in white on each slate. I use the wording " EIOORed Cross Contest." One'snamecould be used orthe caption " You can't go wrong." Actually it is a matter of indifference. The slatesaremarkedon the reverseside with A, B and C. A flap will be required for each slate. The one for slate A will have the letter B painted on. This flap will cover the message on slate A, the B facing towards the message. The appearance of theslate will now be blank on one side and letter A on the other.SlateBisfittedwitha flap marked C, and likewise slate C with flap marked A. The slates are held in a fan and shown to be marked A, B and C respectively, care being exercised to keep the backs well hidden.Whicheverletterischosen, the slate so markedis cut to the top and squaredwith the slate beneath it. The chosen slate is then removed, leaving behind the flap on top of the next or middle slate. Message is displayed to the audience and the two remainingslatesarereversedandnaturally appear blank.
The Cards.-Three packs of red-backed cards arerequired,onthetop of each beingonebluebackedcard. Ontop of the bluecardsarewhite
cards, the size of a playing card, on which are printed the letters A, B and C respectively. Rubberbands hold the packsintact.
As soon as a letter is called, pick up the pack so markedand remove the rubber band. Hold the pack face down in the right hand, with thumb on one side ; second, third and fourth fingers on the other sideandfirst finger atend. Remove lettercard and reveal blue backed card. Witha sweeping motion bring the pack over, across the body, to the lefthand,whichslidesafewcards off the bottom withtheleft finger andthumb. The righthand sweeps back and again shows the blue-backed card. This is repeated until only the blue card remains in the righthand.Givethisaslight flick andadd it to the bottom of the pack. The other two packs are shown to be red-backed by the same sort of action. When removing the white card in these two instances, the blue card is removed with it.
The Books.-These are made up on the long and short principle, using magazines of the Lilliput, London Opinion and Digest variety. They should be covered with a bright stiff paper and lettered on both the front and back. It speeds things up somewhat if the books are shown in a fan, thechosen one removed and placed under the arm. The remainingtwoare flicked through as one,to show no pictures. The one under the arm is then taken, which movement naturally reverses it and shown to have naught but ' picker-tures.' The Envelopes.-Asmallstand is required with three divisions-each division being the exact size of a pay envelope. The stand is painted black. Three pay envelopes are paintedblack on the address sideandpoundnotes placed therein.Theseare placedon thestand, openingenddownand black side facing the audience. The standshould now have the appearance of beingempty. Three empty envelopes are placed on the stand, that is on top of the blackened envelopes. As soon as aletter is called, the non-chosen envelopes are slid off the stand and torn in pieces. The selected envelope remains on the stand. This, together with the envelopebehind,are removed asonewith the right hand and placed in the left hand, reversing the two in so doing. They are taken in the left hand in the manner a pack of cards would be held for dealing. Fromthetop envelope, thepound note is slowly removed,opened out andputontop of thetwo envelopes. Added Suggestions.-I appenda few alternativesuggestions. These I have nottriedout, but the " how " should be within the knowledge of all readers :Three match boxes, one only containing matches. Three tubes, one of which covers a glass of milk. Three billiard balls wrappedintissuepaper, one ball is red, the other two white. Three paper cones or sugar bags, one contains confettior rose petals.
61
E d i t o r ’ sF o r e w o r d . - T a nH o c k Chuan needs of this or any littleintroductiontoreaders othermagicalmagazine.DuringtheWorld W a r No. 2 he unfortunately lost all his big propsandcostumes, but was,in some way, books. The slant on fortunateinsavinghis the ‘‘ Torn and Restored Newspaper ” which be he describes, includes a touchwhichwill ecelcomed by allreaders.Especiallywillit be welcomed by the silent performer. I t would make a still more effective finish to the p s e n t a t i o n which Billy McComb detailed in of William.” TheFirstBook
Effect.-On
the operator’s table stands short lengths of coloured paper. The operator takes newspaper a which he tearsinto many pieces. Holding the pieces aloft withhis left handthe pieces of coloured paperareremoved fromthe glass with the right hand and tucked into the newspaper. Restoration of the newspapertakes place. It is shown onthe outside and then opened to reveal on the inside page, the colouredslipsspelling the word “ Welcome.” a glass in whichareinsertedsome
The method of restoring the newspaper is theor famous A1 Baker, the coloured slips simply taking their place with thetorn pieces atthe conclusion
of the effect. The word is, of course, pasted on the duplicate paper beforehand. The reader will realise that it is not necessary to use the word given. On those occasions when the performer is performing before a special group Society, the coloured slips could form greeting a to that particular group.
on the cigarette and then pushes it into his left fist. Smoke is blown on to the fist and it is slowly opened to reveal a small packet of silver paper. The packet is opened to reveal a red rose, which is thrown to a member of the audience. The fact that the rose is still damp makes this effect remembered by whoever catches the rose.
This is quite a good little semi-opening effect, suitable for amanipulator.Round about 1938 I used it quite a lot. After doing a couple of sleights with a lighted cigarette (the reason for this is that the hands shall be seen to be otherwise empty) operator takes a draw
The fake for accomplishing this is very simple. First of all take two pieces of thin fibreboard each measuringtwoinches square (fibreboard is mentioned because it has anatural resilience which is necessary). Join these pieces ontwo opposite sides with tape (see illustration). On one piece of board glue a piece of silver foil two inches square, whilst on theother a piece six inches square.Shown casually on both sides it would appear that you are holding a six inch square of foil. That is the fake. All that is necessary is to have a clip on the left hand side of the body to hold it. Preparation.-About five minutes before you are dueto appear take the rose you are going to use, trim the stalk so that the overall length is about two inches. Place the rose (it shouldbe needless continued on page 6 2
62
Whilst containing little new, this routine will be foundtobe easy, thesurprise climaxmaking it extremely effective. The magicianborrowsa IO/noteandasks the owner to note the number and wrap it (the note) in piece a of paper which is handed to him by the magician. The latter now produces a pack of numbered cards and requests the spectator to select one. This done,thepapercontainingthe IO/- note, is placed in a wine glass ; the spectator holdsthelatter*inhislefthandandin his right hand theselected card, all in full view of the audience. The magician now borrows a cigarette which is then lit, but instead of production of the ultimate note ,from the latter as most of the audience expects, he asks the spectator holding the articles to name the number on his card. Supposing the answer is four. T o this the magician retorts that he is going to burn as manyholes inthenote as thatnumber. He touchesthepaperthree times, butonthefourth touch the paper disappears in a flash, and on turning the glass upsidedownoutdrop four half-crowns into the spectator's hand ! Requirements and Preparation.-Pack of cards printed with numerals (afew extra with the number four will be found useful to those who find the fan force difficult), a box of matches, two pieces of flash paper about 4" by 4" and folded to make a squareabout I:'' andthenopenedout flat again, and four half-crowns. Wrap the.four half-crowns in one of the pieces of flash paper making a neat packet and gum the ends down. (This precautionis necessary owing to the weight of the coins and prevents any unfolding during the switch that takes place.) Place the matches on the table and also the cards. These shouldbeface upandwiththe longside parallel to the audience. On top of the cards place the packet containing the coins near the end of the short side (the gummed side of the packetshould beface up). A silk handkerchief is bunched up ClG.
and placed in front of the cards, whilst in front of this is placedawineglasswith the duplicatesheet of flash paper resting on top. Presentation .-Borrow aten shilling note, and let the lender note the number (this is merely misdirection, but should on no account be omitted). Taking the note the operatorfolds it into a squareof approximately one inch and handing it back to the spectator asks him to makeaparcel of the note. Whilst this is being done the operator's right hand picks up the cards from the table, the thumbpressing on the coin packet. With a little sweep place cards and packet in the left hand at the same time turning them over ; this move is easy and has the purpose of placing the packet in a left hand finger-palm position. The faces of thecards are casually shownbefore asking the spectatortomake his " choice." The cardwith " four " onitbeingforced. Ask your ' victim ' to look atand' hold,whilstwith the righthand you temporarily relieve of him of the notepacket.Place the cardsheld in the left hand intherighthand, over the packet, the left hand coming away with the coin packet. The cards with the notepacketunderneathareplacedon the silk, whilst the left hand places the ' coin ' packet in the wineglasswhich is picked up andhandedto the assistant. The cigarette isnow borrowedand lit. The first three times the operator appears to touch the flash paper, thefourthtimethe glowing end goes right into the paper. There is a flash and the four coins are left in the glass ! Two pointsto note.-A wineglass is used for the simple reason that it has little depth and there is no risk of noisewhen coin packet is deposited. Tell the spectator to hold the glass fairly high up. In this wayhe has no opportunity of noticing any difference in the packets.
F L O W E R - c o n t i ~ u e d from page 6 1
for me to state that this should not be full blown) diagonally across the centre of the six inch square of foil; and then fold the foil over the rose, making as compactaparcel as possible. The reader will now find that by squeezing slightly on the edges of the parcel the fibreboards will open slightly forming a tube large enough to accommodate a cigarette. A release of the pressure and the cigarette is held fast. The parcel is now placed in the clip, the operator making sure that he knows which side of the parcel is which. Presentation.-Operator performs a couple of sleights withlighted cigarette, thenstandingright side to audienceapparentlywith his righthand throws cigarette into the air, actually thumb-clipping
He follows the direction of thethrow with his eyes, whilst his left hand obtains secretly the packet, His gaze comes down andthe cigarette is reproduced just aboveknee level. The lefthand comes up back to audience, the packetheld by thethumb. Left hand closes into a fist and pressure is applied to sides of the packet. Operator takes a draw on the cigarette and then pushes the latter in the left hand (actually into the opening of the packet). Left hand remains still whilst smoke is blown in that direction. Hand is turned round and opened, revealing packet which is thenopenedrevealing the rose. The rose isheld aloft withtherighthand whilst left hand takesopportunity of pinching the packet flat and making surethatthereisno smouldering of the cigarette. it.
9rn! The pass is then repeated with the other two packs onthe table, when all the kings will beat the bottom. The split-fan passes can even be reduced to two by passing the cards in the last packet one by one into the fingers of the left hand, reversing their orderin so doing. It is then fairly placed onthe cards in the left hand, when the last king will be on top. By making a cut all the kings will be brought togetherin the middle. Of course, with this procedure the packet in the left hand must be held so that the face card is hidden as the fanned cards are reversed, or the bottom king would be seen.
It is withsome temerity that oneclaims originality for a sleight as there are so many variations being developed and published nowadays that one cannot keeptrack of them all, let along rememberevery modification and who first claimed to have done it !
For the above simple illustrative effect you can tell a storyof four friends with the same keen interest in a certain subject (namedaccording to the audience -conjuring, of course, if the spectators are conjurers) who always foregathered when opportunity permitted, despitetravel difficulties.
Nevertheless, I really think the utility pass to be described hereunder is new. The purpose of what I have termed The Split-Fan Pass is to bring a card to the bottom of the stack held in the left hand, in the action of replacing a fan of cards held in the right,the procedure being as follows . .
This pass may have other uses.
I am reminded of the vanity of claiming originality by the fact that quite recently I thought of what seemed to be an improved way of doing the Glide. This consisted of pushing the bottom card back with the tips of the right middlefinger a the hand approached the cards, the second card being slipped out with the forefinger. This enabled the pack to be held at the tips of the left fingers andthumb instead of having the fingers curled under the pack so that the third finger could execute the Glide.
.
Assume four packets of cards to have been dealt face down on to the table, each consisting of a king withthree indifferent cards above it. The first packet is taken up in therighthand, fanned face towards the spectators, and then placed face down in the left hand accomplished without the need of any suspicious or rapid gestures. It will be found that once the fan has beensplit by the packet of cards, it can be slowly closed in a perfectly natural way within a few feet of the spectator’s eyes without the ruse being noticeable.
Imagine my surprise, when glancing through Robert Hondin’s Secrets, to find my “ new ” method described there ! Yet it seems to have been entirely overlooked for nearly a hundred years !
COPIES OF NO. 1 “PENTAGRAM” HAVE XOW BEEN RE-PRINTED AND AREAVAILABLE. WILL DEALERS AND READERSPLEASE CONTACT hlE AS SOON ASPOSSIBLE I have a number of exclusive pieces of ApparatusandsomeAmericanBooksforSale. A list will be . ent on receipt of a stampedandaddressedenvelope. For the first sixty copies of No. 3 ‘‘ Pentagram ” sent in clean conditiott I will p a y the sum of 113 mch PETER WARLOCK
::
“
GREENBANKS ”
THE W I Z A R D A modern monthly magicmagazine.Annualsubscription 1216. 7/6 is returned in the form of vouchers which may be used towards the purchase of books. THE M A G I CW A N D Aquartelybook of magic.Published on first of March, June, October and December. Per copy 318 post paid. Annual subscription 1416. QEORBEARMSTRONG, THE MFGlC WAND PUBLISHINQ CO., 11 MONASTERY GARDENS ENfIELD MIDDLESEX
..
..
::
BRAMCOTE
NOTTS
::
::
ENGLAND
PETER WARLOCK’S
PE IVTRG RXM Published on the15th of each month 1/ l single copy, post free l 1 1- per year, post free from
b b
...
GREENBANKS,”BRAMCOTE,NOTTS. 01
from your dealer
64
***
*****
PENTAGRAM GRADING : (Threestars)-OfPractzcalValue.
**
****
(Five stars)-Outstanding. (Two stars)-NoReason
***** “MAGIC WITHOUT APPARATUS” LLD.,
byCamilleGautier, translated from the French by Jean Hugard (published by the Fleming Book Co., Berkeley Heights, New Jersey, US.A., price Seven dollars Fifty cents.
The physical make-up first. This is standard Fleming production. There are 526 pages, the illustrations being by Donna Allen. This book in its original form has long been considered a classic. Last year, whilst with Stanley Collins andDr. Jeral, we had theopportunity of comparing the original with the translation and then regretted that in some cases the photographs which appeared in the original were not used in the newer version. The hand can be abeautiful thing,and whilst Miss Allen certainly clarifies the various sleights, the hands in some of the drawings are far from being things of beauty. After a Preface by Paul Fleming and a pen note on Gautier by Caroly, we have along introduction dealing respectively with magic and magicians in France, the Literature of Magic and GeneralObservationson theTechniqueand Presentation of Magic. T o the serious student the first two parts of this long chapter are well worth the price asked for the book. Part one follows and deals with Cards. There arefourchapters covering Basic Card Sleights, Card Flourishes, the Back andFront Palm(and resultant manipulations) and finally Tricks with Cards. As this book initsoriginalform was published in 1914,it naturally follows that most of the material in this section is now well publicised. The student will find little new, but because this goes back to an earlier part of the century hecan get more information regarding the origin of certain sleights. There are many methods for revealing a chosen card. The Cards up Sleeve is dealtwith inthe classic and not pocket manner. Everywhere and Nowhere, the Ladies’ Looking Glass (in our opinion a beautiful but so neglected card effect), The Ambitious
(Four stars)-Very for Publication.
Good.
Card and the Cards through Handkerchief. Readers of Hugard’smost excellent Monthly have already been given a number of possibilities for using the back and front palm as a means to end and inSection four Gaultier also touches in a less advanced manner on such feats. One effect by Max Cadet has always appealed to us. We had always attributeditto Douglas Dexter (old members of the Magic Circle may remember his performance of this at aCircle Meetingin 1918). He also published underthe title “ A Means to an End ” in Naldrett’s “ More Collected Magic.” (By one of those strange coincidences thiseffect is preceded by a hut loading device of M m Cadet’s.) This chapter finishes with a description of the Three Card Trick including a remarkably good routine by M. Nordach. The second section deals with coins, and after covering a vast number of sleights gives several fine effects culminating in the greatest of coin tricks, “ The Miser’s Dream.” Section three deals with billiard ball manipulation. Production, vanish, colour changes and steals are dealt with in a thorough manner and this section forms an able complement to Burling Hull’sfamous treatise. Apartfrom the production and vanish of a number of balls only two other tricks are. described. The book concludes with a treatise on thimble sleights and tricks, asubject which at the time of original publication was much neglected. Amongst the sleights there aresome moves which still have the touch of novelty, partly because of their unorthodox nature. The book is agreat achievement andto conclude, we feel that more than a word of praise is dueto Jean Hugard. He has notmadealiteral translation, but being a born magician he has given a practical one. Looking back through the last fourteen years we find it hard to easily express the good that this grand writer has done for the modern conjurer. Long may his work continue. Unreservedlyrecommended.
M A G I C - G O - R O U N D - c o n t i n u e d from page 65
many more) which at one time or another you have meanttojot down andthen forgotten. Herethey are all, stunts, tricks and novelties, gatheredtogether with a plethora of line drawings and photographs, in one volume of sixty-four pages. Douglas Francis’s book consists of some three dozen pages and contains ten really first-class close quarter work items.They are all thoroughly practical, all have thattouch of novelty which makes the audience rememberthe effect longafteritsperformance. The price of this little booklet is S/- and it is published by Unique Magic Studio. Whilst we realise that conjuring effects make inevitable cyclic reappearances, we cannot under-
stand contemporary a publishing as a “ new ” effectthe rapping drum,forit was performed by RobertHoudini a hundred years ago (Secrets of StageConjuring, page 249 ; Modern Magic, page 492). Whilst Charles Waller in the “ Magic Wand ” of March, 1921, gave the same dressing, i.e., “ Drake’s Drum,”tothe effect described inthe case under discussion. Max Holden writes that Okito made an appearance at S.A.M. Chicago Covnention. He performedhisfamous silk routine. This is a thingone sees and never forgets theempty hands come together andthen atongue of silk is only one Okito, shoots out . . . butthenthere a magician true to hisart.
...
65
Our first duty is to amend the mistake. made in the printing of Tom Sellers’s “ 365 ” last month. The key numberforDecember (as manyreaders have written and pointed out) should be “ 6 ” and not “ 5.” A glance atthe illustration will show thatto be correct-the “ e ” andnotthe “ m ” being out of alignment.
ReaderswillnoticethatCopies ” are now available.
‘‘ Pentagram
of No. 1
Now thatthingsare in better perspective we thought we would pass on our opinions of some of the dealers’ .items that were on show at Cheltenham. Whilst Burtini’s version of “ Quart into a Pint Pot ” was noton sale, there is no doubtthatthis is an effect which the audience will always remember. It is good news to know that the production of this effect will be limited to fifty copies, and that buyers’ names will be published. This is a step in the right direction. Only one other comment we would make(one that we have already made to Burtini) and that is that for additional fairness to purchasers, the effect shouldbe zoned. Eric Lewis’s “ FantasticFrame,” whilst obviously being a piece of apparatus should form an acquisition to the showy type of act. The working is one hundred per cent. reliable and the effect to the spectators very pleasing. Highonthe list we would place “ Electrovan ” (the effect of which is now well known) and Cash Cups ” put out by Zaharee. This latter item relies upon a most subtle principle and is a ‘ must ’ for the mentalist who wants something different for his act. Also in the psychic field was Dr. Taylor’s “ Spirit Buzzer,” put out in this country by Max Andrews. Again thenumbertobe sold is limited to fifty. Unique Studio had a good display of their famous products, but the effects which took our fancy were Norman’s “ Myster-Bell ” andHerbert Milton’s version of the “ Crazy Compass.” We stillcannot understand why this effect took so long in becoming popularinthis country. On Davenport’s stand we espied their version of Abbott’s “ Water-loo ” which is first-rate a hydrostatic effect. Herbert Sutcliffe’s stand, next to our own, attracted quite a lot of attentionwith “ The Monkey’s Paw.” The simplicity of the mechanism plus the possibilities of the effectshould make this a best seller. George Mackenzie, unfortunately, did not have his “ Sten Gun ” effect with him, but he had a novelty in the shape of a miniature golfer, who, witha likewise miniature niblick knocked a chosen card fromthe deck. StanleyMarelle’s “ MiracleMirage ” should prove a decided acquisition to any magical compere. We liked this very much. Tubby Allison had some very nice work, the Hathaway Card Riser and Pent-aBlock looking very good. O ~ e rall there was a tendency towards better workmanship. I amsure that among dealers to-day there is a genuine desire to give quality.Onlytoounfortunately difficulty in getting certain materials more than trebles their difficulties. ((
Our good friend; Vic. Maxwell, informs us that the Lincolnshire Magic Circle is re-starting its activities. Mr. J. Crooks has been elected Chairman. A medal for the AnnualCompetition has been donated by Vic. Maxwell. Monthly meetings will be held. Those interested may obtain further information from the Hon. Secretary, Mr. R. Cook, 28 Freestone Street, Cleethorpes. The I.B.M. (British Ring) Convention at Buxton is now just around the corner. Commencing on July 10th with a civic reception, there will be a practically non-stop magic programme until Sunday evening. The big show includes Milton Woodward and Company, Peter Waring, Douglas Francis, Arthur Dowler, Fritz Oloi, Lenz, “ Scotty ” Lang, Raoul, W’alter Wandman, and a possible “ mystery ” act. The Children’sMatinee will be underthe aegis of Wilfred Tyler.Judge Wethered will be giving alecture on the ‘(Rough and Smooth ” principle. Cabaret and other shows will take up the rest of the time. Onthe Sundaya lunch will be held followed by stillmore magic.Bill Stickland, aided by his able Committee men, is respmsible forthisgreat feast. Please don’t forget about theten best tricks we mentioned last month. We want as many replies as possible to make this representative of our large circle of readers. N.A.M.S. andthe I.B.M. have adoptedSt. Dunstan’s Institute for the Blind as the charity for this year’s day of Magic. We arenotatonewith paragraph eight of the Circular composed by a joint committee and sent to us by the Publicity Officer of N.A.M.S. This reads as follows :-“ Societies will appreciate thatapart from their big show, if the members not on that programme are encouraged to run other shows in the district, the total raised will be very considerable, and the boost for Magic greater ” (the italics and heavy typeare. ours) and it is this part of the paragraph that makes us wonder whether the Committee have ever seen that phrase which appears in sundry Society Rules “ to elevate the Art of Magic.” De Vega’s Formula X is to hand. Its purpose isto visibly producea design or somewriting in redon the flesh. On test it has proved completely satisfactory. Mr. De Vega supplies with the chemical a ms. giving a number of different routines. We venture to suggest that the chemical has a great number of possibilities apart from those suggested. Too late for review proper we received copies of Willane’s Wizardry ” and Douglas Francis’s “ Right under your Nose.” The first of these is most modestly priced at 2/6, and is a “ must ” for everyone of you, for it contains all those items (and “
66 T H E MAGICAL E V E N T
~
THE SPHINX
OF THE YEAR
THE BRITISH RING’S (I. B . M.)
AN INDEPENDENT MAGAZINE OF MAGIC
CONVENTION
John Mulholland Editor
will be held a t BUXTON,DERBYSHIRE,On JULY 10-13 All theoldandmany new attractions Details from the Hon Secretary : WM. G. STICKLAND “ The Wand,” Ferndown, Dorset SEE YOU AT BUXTON
THESPHINX is the professional magazine of magic. . Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
C O N J U R I N GB O O K SF O RS A L E OLD AND NEW. La me knowyourwants UST FREE FOR STAMPED ENVELOPE No callers
47
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
Arrangements have been made for subscriptions to be accepted and money .. England deposited in ..
....
~~~~
WRITE FOR DETAILS
BLACKPOOL! ! if you come this way, do look us up on North Pier ( b y TalbotSquare). A big variety of thelatestmagic alwaysinstock. P A U L C L I V E & C O . , L T D . for “ Witchcraft ” Magic
WILLABE’S
WIZARDRY
You all know the author’s vaudeville act. This book contains all the publicity and stunt items he does outside his act. If you are a conjurer looking for advanced magic you can take itorlewe it. When Douglas Craggs saw it, he said :“ It’s the best collection of wheezes awd tricky ideas I have ever seenworth manytimesitsprice to any professicnal performer.”
Price 216 ARCAS
THE SPHINX 130 WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
Postage3d. L I M I T E D
40416 SYDENHAM ROAD, CROYDON
If you likegood comedy magic you “ Milk Shrink ”willlike the shrinking glass of milk2216 postfree ZAHAREE (Geoff.R. Hursell) 16 & 1s Watts’ PXsce CNATHAM, KENT
MAGICIANS’ BOOKBINDING SERVICE Send stamp for booklet giving full details of our :: binding service :: c. FIELD 42 Alderson Road, Sheffield 2 PrintedinEnzland
THE MAGIC CIRCLE President :His Grace the Duke of Somerset U.S.O., O.B.E., I.P.; D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.Z.M.C.
MASQUE
Clubroom and Library and Musewn :
St. Errnin’s Hotel, Caxton Street, S.W.I.
A printed magazine giving details of our latest releases in
Magical Theatre :
exclusive magical effects. Issued free. If you are not on our mailing list, write now. .
King George’s Hall,
Francis White Alverstone Avecue, Wimbledon Park, S.W.19
MAGIKRAFT STUDIOS
39
32 Vernon St., Northampton
INSTITUTE of MAGICIANS
HENRI DEIEEVAH ”C.,
BME.,
IBM.,
W.C.
Particulars from Hon. Secretary :
Founded I o z i
SSMC
The Friendlv Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his studlu :l CLARENCE ROAD Harborne, Birminghaml#
MAGICAL BOOKS, ETC. Available on Loan Comprehensive Lists for 3d. stamp. Also new and secondhand books for salz. F. ROBINSON, Magician, Stathern, Melton hIonbray, Leics.
~
Visiting Magicians always welcome. Yoztr membership cordially invited-drop a line tothe Hon. Sec. for literature.
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY 888 Address :23 GREENFIELD AVENUE GILDERSOME,. Nr. LEEDS Nearly 30 years m thebuszncss
for PETER WARLOCK by GEORGE SE-iRSON, Blue Bell Hill, Nottingham.
67
PENTAGRAM
Anindependentmonthlybulletin
The 1-2-4-8 Principle.-In one of the earliest numbers of the Pentagram, its indefatigable editorpublishedan effect whichhe called " The Thread in the Maze." Briefly, it was amethod of giving information as to the name of a selected card over the telephone, by calling outthe names of seven other'cards in a' certainorder. A Joker was used as a " stop " card to indicate the break between the cards giving information as to value, and those giving information as to suit. "
The basis of the method was what I know as the 1-2-4-8 Principle " by means of which anynumber
by combinationsof from I to 13 canbeindicated three or less of these four numbers. Two thingsoccurred to me at the time ; first the information can be given with much fewer than seven cards, and secondly I did not like the idea of a " stop " card.Additionally usingtheJokeras I couldsee thatthe necessityforcalling outthe cards in any particular order could be avoided.
for all who want good magic
As the Pentagram is essentially a magazine for students, some readers may be interested in a closer examination of the subject. The number of cards necessary would be diminished at once if only one card is used to indicate the suit. Thus, if an Ace, Two,Four, andEight are used in combination to indicate value, any one of threecards higher thanEight canbeused to indicate the suit. (In the " Thread in the Maze '' twocardswereused to indicate the suit but they had to beinacertainorder.) Let us assume that 10 aDiamond,any any 9 representsaSpade,any i.e., JackaClub,andwhennosuitcardisgiven, when cards of value 8 or lower only are used, we will know it to be a Heart. Wecan now find thatthenumber of cards required to give indication of any card in the pack isas follows. In every case it will be one less if thesuit isHearts. continued on page 68
68
WESTERN
I 2 4 &continued
from page 67
g, 10,or Jack is all that is needed. If itshouldbethe Ace of Hearts, no card at all is required and the assistant can ask quite freely over the’phoneandgetthe right reply. 2 cards for a a-The 2 and the suit card. 3 cards for a 3-The 2, Ace and the suit card. 2 cards for a 4-The 4 and the suit card. 3 cards for a 5-The 4, Ace and the suit card. 3 cards for a &The 4, 2 and the suit card. 4 cards for a 7-The 4, 2, Ace and the suit card. 2 cards for an 8-The 8 and the suit card. 3 cards for a 9-The 8, Ace and the suit card. 3 cards for a Io-The 8, 2 and the suit card. 4 cards for a Jack-The 8, 2, Ace and the suit card. 3 cards for a Queen-The 8, 4 and the suit card. 4 cards for a King-The 8, 4, Ace and the suit card. I card for an Ace-The
From this we get the following :-
o cards of 7 requiredtorepresent I cards of 7 required to represent 2 cards of 7 requiredtorepresent 3 cards of 7 requiredtorepresent 4 cards of 7 requiredtorepresent
... ... ... ... ...
I card. 6 cards. 15 21
,, ,,
9
9,
52
2,
-
It will, therefore, be seen that although 7 cards are necessary from which to make the selection of the particular cards which will code the information, in the great bulk of cases, the selected card can be indicated by 3 cards or less, and never more than 4. Moreover these cards can be mixed up and called
CLIMAX PREDICTION
- continued from bage
out in any order, as the card representing the suit is outsidetherange of thecards which give the value total. Applyingthis
we can proceed asfollows
:-
Commence as in “ The Thread in the Maze ” versionwithapre-arranged pack fromwhicha card is selected and consequently known. The seven cards in a known order can be in the pocket. Afterthecard has beenselected, the packcan be given back forthoroughshuffling, while theperformertalksabouthis psychic friendattheother end of thetelephone. Select the rightcardsfrom the pocket andpalmthem.Getthespectatorto cuttheshuffled pack, pick upthebottom half adding the palmed cards, and deal off as though they come from the bottom half. Say “ I don’t want to seethesecardsatwhich youcut-but take them and call them out in any order my to psychic friend ” -or words to that effect. And the answer will be easy attheotherend. There is onepointatwhich, however, some disguise is necessary. An Ace representsan Ace, and a 2 represents a 2, and so on, although it is not so obviouswhen several cardsaretotalled.There aremany ways inwhichthis can be overcome. The whole thingcouldbereversed,for example, so that ~JI Ace is represented by a King, a 2 by a Queen, a 3 a Jack, and so on. Another way would be to subtract 3 pips from the card and code three pips lower accordingly, going to King, Queen and Jack for 3, 2 and Ace. The adjustment could easily bemadeattheotherend : but perhaps
the simplest of all would be to take the first sevencardsof your pre-arranged pack and l , 2, 4, 8, letthemrepresentrespectively Spade, Diamond and Club.
70
a stage further, he now takes the pack and quickly runsthroughit,showingthatthe selectedcardis no longer there. He then asks the spectator to turn over the card that was used to cover the paper, and which has been lying in full view the whole time. ! This turns out to be the missing selected card All you need to know :-If you have not got it already, the secret is simplicity itself. All you require is a duplicate of a card to be forced, and the ability to palm a cardoff under the easiest conditions possible.Commencewith thetwoduplicateson top of the pack. Give the cards a shuffle,keeping thesein place. A riffle is the easiest. Nowmake your prediction, and cover with the top card-one of the duplicates-leaving theotheron top, ina good.positionforcontrollingforalmostanyforce you may favour, as long as it is convincing. Having hadthecard ‘ selected,’ letitbereturnedtothe centre of the pack andholdthe break. Do not
make the pass yet. All eyes areonthecardsand you will have a much better opportunity when you ask thespectatortoreadthe prediction.Having done that, once again do not be impatient, but leave the card on top, and remarkingthat the card should be somewhere near the centre, turn them face up and rapidly run them through, keeping the chosen one covered. Now,when you requestthehelperto turn over the card on thetable, you can palm off the duplicate, having all the coveryou could wish for. Casually drop thepack on thetable (in case they wish I have never had to look forduplicates,although thishappenexceptwith magicians). Yourhand goes naturally to your pocket at the completion of the trick,andyour pack is complete tocarryon withanother effect if necessary. Nothing very clever I’m afraid, but it is easier than itmay sound, and quite effective I can assure you.
69
Presentation .-Operator picks upthe two glasses and shews them to be just two glasses. The colouredsilkisthen placed insideone,care being taken that the silk comes just above the rim of the glass (the reasonforthis will beexplained later). The opaquehandkerchiefis now picked up andplacedover themouth of this glass (the lid actuallygoingover the top of the glass) with the result that a small amount of the coloured silk should overlap the side. Holding the opaque handkerchieftightagainst the sides of the glass withthelefthand,theright picks up the elastic band and places it over the handkerchief and apparentlysecures the latter to the glass. Actually it encircles the opaque handkerchief and encirclesthe lid ! The glass isstillretained inthe left hand whilst theright hand turnsthe remaining glass mouth down, thebleft hand then loweringthe covered glass so that its base rests on top of the upturned glass (illustration A shows the position at this stage). Remarking that completeisolationis necessary for the success of the effect, the operator places his left hand on top of the opaque handkerchief, whilst the right hand goes underneath to hold the glasses. I n thispositionheapparently places both glasses in the samerelativepositionsontheplate,which, as you may remember, was on hisright.Actually in the course of moving across to the plate, the right hand, gripping both glasses where they meet reverses their position so that the e m p t y glass becomes the top glass and vice-versa. There isnoneed torushthis move, as it is more than covered by the handkerchief. The empty glass, of course, comes to restinsidelid. There is no chance of the silk falling from the glass inthe move as asimpletrial will tell. The operator has now finished the effect, but there isonepointwhichtells heavily withanaudience. The operator now announces what he proposesto do. The elastic band is then removed from the handkerchief, which is turn is lifted to show the top glass empty. The latter is picked up with the left hand as the righthand places the opaquehandkerchief down ; the right hand comes up and flicks the glass withthe secondfingercausing itto ring. The audience can see that the silk is in the bottom glass, butthe operatorholds the applause.Remember that the silk slightly overlapped the rim of the glass. The result of this is that a portion of the silk should be protruding outside the glass andlyingalmost flat on that part of the plate’s surface that is adjacent. The empty glass is placed down and the right hand picks up theplate so that the thumb comes down andgripstheprojecting piece of silk. The left hand now removes the glass in a forward and upward motion. The resultbeing thatthe silk islefton theplate. The effect tothe audienceis thatthe operator has lifted a glass and the handkerchief has fallen out of it. It isasmallpoint,but, as 1 said before, it not only tells, but it gives the mag’oian a curtain to the effect.
...
Effect.-Two whiskey glasses areshown to be empty, and in one is placed a twelve or eighteen inch silk. This glass is then covered with an opaque handkerchief which is kept in place over the mouth of the glass withthe aid of an elastic band, makingatightdrumhead. The remaining glass is thenturned downand onits baseisplaced the covered glass, both glasses then beingstoodona chinaplate.On the word of command the silk in thetop glass penetrates the bases of bothglasses and arrives in the bottom glass ! That is the broad effect which is accomplished by the most simple means, plus a couple of subtleties. Requirements.-Two whiskey glasses (this size or type of glass is not essential but makes for extremely clean working) of similar -size, one bright coloured twelve oreighteeninch silk square,an eighteeninchopaquehandkerchief(nylonwould answer the purpose well, but I havebeenusing cambric), a china plate, an elastic band and a metal or plastic lid which will comfortably fit the top of either glass. (A search through the larder or a visit to one’s grocer will soon see this article forthcoming). Preparation.-In the metal or plastic lid are punched two diametrically opposite sets of small holes. Through theseholes the lidisstitched to the centre of the opaquehandkerchief. The inside part of the lid is now lined with material similar to the handkerchief to which itisattached. Thisis partly to prevent talking. Prior to presentation the two glasses shouldbeontheoperator’stable togetherwith the colouredsilk,rubber bandand so opaque handkerchief. The latter should be arranged thatit can be picked up withoutthere being the slightest suspicion that the lid is attached to it. The china plate is placed on a chair or another table on the operator’s right.
70
i?
Many yearsago I publishedadescription of this flourish in The Magician Monthly underthe title “ OriginalColourChange,” but as the illustrations which then accompanied the text did moreto mislead thanto aidcomprehension,andas the youngergeneration of conjurers may neverhave heard of, or seen, this particular method of performinga colour-change, it maycomeasanovelty to the majority of readers of the Pentagram.
In most of the colour-changes the action of stealingacard fromthe back of the pack has a certain degree of unnaturalness, no matter how well it is handled. I n thismethod, the withdrawal of the rear card is covered by a perfectly natural and logical action.
As the title suggests, this is a prediction effect with a definite climax (apart from the truth of the prophecy). I suppose .I mustaddthe inevitable rider that I hardly dare claim this for my own, but I have never seen it in print, and did think it out whiIstplayingaboutwithsomething else. It is easy to follow and simple in operation. What the spectator sees :-The operator takes apack of cards,shufflesthem, andthen writes something on a piece of paper. The latter is folded
Instead of the usual plan of rubbing the palm of the hand over the face card of the pack to make the change, the Joker (or any other card) is used as the coveringmedium. Holdthe pack inthe left hand face up exactly as if’about tomake the Charlier Pass, but have the little finger at the side instead of atthe bottom edge. Overlap thetop end of the pack with the face-down Joker as shown in Fig. I . Two movements have now to be made,onewith left fore-finger and the other with right thumb and fingers ; actuallytheyblendintoonecontinuous action, With index finger of lefthandpush the Joker down flush with rest of pack and straightway carry it away withright thumb and fingers. No change of the bottom card is seen but unknown to the onlookers the rear cardof the pack is drawn away behind the Joker as shown in Fig. 2, which gives a side view of theimportantpart of thesleight. Actually it amounts tonomore,thanthe regular colour-changestealoperatedunder the cover of a face-downcard. Now comes the part that is really troublesome to describe. As all eyes, includingtheconjurer’s, follow the elevated pack, the twocardsinright hand arepressedhardinto thumb crotchand the first and little fingers grip the sides as if about to back-palm. This grip,which keeps thecards in perfectregister,ismaintainedas the right hand comes up andreturnsthesupposedsingleJoker again to the position shown in Fig. I . The colourchange can now be made by pushing down the two cards(presumed to beoneonly)withleftindex finger and withdrawing the faced Jokertogether with the rearcard of pack in preparationfor the nextchange. The dropping of the right arm for the hand to square the twocardsandthesimultaneousraising of the lefthand,aretheessentials of the sleight which I suggestshouldbeperformeda few times withsmooth, even action.Finally,theJokeris turned to show that it has not been changed.
and placed on the table, being immediately covered withacardtakenfromthe top of the pack. Next the spectatoris asked to selectacard. He istold to remember it and return it to the pack. Pointing out that he wrotesomethingon the paperbefore the card was selected, the operator asks his helper to push. the card covering it to one side, and read that which was written, thus verifying the truth of the prediction. Saying that he will carry the effect continued on page 68
71
sa!
irt
m
m 181 Oxford Dictionary.-Psychometry :Faculty of divining from physical contact or proximity the qualities of an object or of persons, etc.,thathave been in contact with it. On page 36 of the Jinx Annemanndescribed Pseudo-Psychometry. As described it must have been worked by many mentalists. In working with a very small group I have considerably altered the working. The mainreasonforthisalteration was thatwithsayonly half adozenspectators, it couldbeconstrued thatthe articlesplacedin the envelopesmightbeapparentbeforecommencing the effect and simplymemorised.Onlytoooften I have foundspectatorsdroppingrings or evena wrist watch into an envelope. Here then is the . . . Effect.-The operator talks of psychometry of how even the mental make-up of anindividual canbe assessed bysomethingtheyhavehandled. Whilst speaking, envelopes with small adhesive seals aredistributedtomembers of the audience. The mentalist asks eachholder of anenvelope to take somesmallobject that is in his orher possession anddropitintothe envelope, the envelopes then being sealed by means of the adhesive wafers they havebeengiven.Whilstthisisbeingdone the operatorturnsround,and, takingahandkerchief from his pocket, blindfolds himself, remarking that the exclusion of one sense tends to arouse that senSe commonlycalledsixthsense.Asking if all the envelopes are dealt with then he prevails upon one of the company to collect them (I provide a small waste-paperbasketfor this purpose). This being done the operator asks that one envelope be handed to him. He half turnsand takes the proffered envelopebehindhisback, then goingon to say “
...
how he gets (say) a male impression, etc. ; finally he walks up to oneof the members of his small audience askinghim to verify the contents of the envelope. The recipient opens the envelope and confirms that thecontents belonghim. This procedureiscontinued with the other envelopes the mentalist, always being right. One point I must add, and that isanimportantone. It isnotenoughto say this article belongs to a male with blonde hair and pink eyes. The operator must assess hisvictims beforehand and give some character pointing, i.e., artistry, love of outdoor life, academic, etc. This method is not offered as animprovement but asalternative forcertainconditions. Method.-This simply boils down toidentification of the envelopes. These arepreparedin a simple way. Obtain eighteen good quality business envelopes, a few old razor blades, a pair of scissors, and some rubber cement or librarypaste.Now cut away the frontsof nine of the envelopes, trimming theiredgesand making them readyforinsertion intotheother envelopes(theconventionaldouble envelope). The razor blades are now cut into approximatehalf-inchsquaresandone placed in each envelope at a position shown in the illustration. Rubber cement(orpaste)isappliedaroundthe part of the envelope adjacent, more rubber c-,merit being applied to the insert which is then pushed into place, the two flaps being sealed. The envelopes are allowed todryunder pressure. Whendry, the operator will find that by lightlyrunninghis thumband secondfingeracross the envelopehe canfeel the position of the metalinside. (If his finger tips are so insensitive that he cannot, a small alnicomagnetpalmed will soon find it forhim !) With the envelopesarrangedinasetorderanda handkerchief in hisbreastppcketandsomepaper seals on the table, the operator is ready for the . . . Presentation.-The envelopes are handed out togetherwith the seals. Instructionsarethen givenregarding the placingofsomesmallobject such as acoin,button, etc., inside, the envelopes thento besealed. The operator turns away. As he does so he removes the silk from his pocket and rolls the twodiagonallyoppositecornersinto the centre, so that when he places it over his eyes there is ,the merest fraction of an inch of single thickness silkoverhis eyes whilst the severalthicknesses of silk come above and below. He thus has full vision directly in front. He now gives instructions for the collection of the envelopes, and at this point, if he cannot trust his sense of touch he obtains possession of the magnetfromhis pocket. The firstenvelope is now handed to himandhelocates the piece of metalbetween the layers of envelope. He looks at its corresponding number in the audience, gives his analysis, walks unhesitatingly uptothe spectator and hands him the envelope. This is repeated with the remaining envelopes. The use of adhesivesealsmeans thatthe prepared envelopes can be used over and over again.
a
72
W d atr;.aut BUd b!! ***** *** c
PENTAGRAM GRADING : (Threestars)-OfPractzcalValue.
*****
m
“ OUR MAGIC ” by Nevil Maskelyne andDavidDevant. Secondeditionpublished by The Fleming Book Company, Berkeley Heights, New Jersey, U.S.A., price jive dollars.
Mr.Flemingin hisPreface tothis edition remarks that it is difficult to understand why this work was allowed to remain out of print so long. The answer is very simple : The golden days have gone and a great number of present-day conjurers think only of entertaining the lowest level of intelligence thatisto befoundinapublicaudience. Such persons only see in magic a few tricks which with commonplace patter and presentation will enable them to makeatemporaryreputation. The consequence is that the demand forany work dealing with magic as an Art is naturally in small demand. In our own simple way we think that Magic is not only an Art, but a fine Art, and, therefore, a second edition of this workwithattendantpublicityis more than timely. The book isinthreeparts. Part One deals with the Art in Magic. It is a section that can provoke much debate, and we think that the Authorwould have welcomed more stringent and analyticalcriticism of thispart of the book. Here the dictum laid down by Robert Houdin that “ A conjurer is an actor playing the part of a magician ’’ is altered to “ A great conjurer is an actor,” etc. Withthisstatement we disagree, if Magic is to stand as an Art by itself. This definition simply makes magic a phase of the Actor’s Art. Is it said, regarding music,that Toscaniniis an actor playing the part of a conductor ? I t certainly is not. We simply say the Toscanini is agreatmusician. Thus if the authorwantstobeconsistent,aMagicianisa magician. The difference between the magician and onewhosimplydemonstratessomepuzzlesis a matter of mind, just as much as the instrumentalist who,havinggreatdigitaldexteritycanfind no compositiontoo difficult to play, but,having the mind of a pig fails to be a musician ; such difference, please note,isunnoticed by the public(who will loudly applaud) but only by the cognoscenti. Chapter six deals with “ Surprise and Repetition,” and here againthereisnotonly food for thought but again for debate, for surely an effect which achieves its result purelybysurprise allows norepetitionbefore the same group. Part One covers in all some 104 pages and bearsreadingandre-reading. PartTwo dealswith theTheory of Magic. Being believers in simplicity, the opening paragraph strikes a concurrent note, for it says : “ The study of magic is too often conducted upon lines that demand TH,E W I Z A R D A modern monthly magic magazine. 20 pages of first-class magic. News andview on magical events. Per copy I/I post paid. Annual subscription 1216. THE M A G I C WAND A quartely book of magic. 48 pages of maglc by world-famous contributors. Profusely illustratsd. Per copy 3/8 post paid. Annual sckxiption 1416. GEORGEARMSTRONG, THE MAGIC WAND PUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
**
****
(Five stars)-Outstanding. (Two stars)-NoReason
(Four stars)-- Very Good. for Publication.
amaximum of energyinobtainingaminimum of resultant benefit.’’(A greatcomplementarywork that should be read in conjunction with this section is Fitzkee’s “.Trick Brain.”) There are ten chapters relating tothe following : Terminology,General Analysis, Misdirection, Stylesof Magic, Manipulative principles, Principles of Mental Magic, Mechanical Principles, Optical Principles, Accoustical Principles, Electrical Principles, Chemical Principles and Magical Inventions. PartThree dealswith the Practice of Magic and contains twelve effects from the programme of theMaster, DavidDevant. The effects are :The Triangle, The Production of Billiard Balls, SimpleAddition (a slateandrisingcard effect), The ForgottenGuest(aninterludewith a borrowed watch), A Lesson in Magic (this is without doubtthefinestroutine based onthe “ Sunand Moon ” effect), The Homing Bells (olderreaders may remember Oswald Williams brilliant presentation of this effect), The National Colours (an effect with flags), The ThreeVases (a general posteffect utilising liquids and a flag), The Silver Ball (a trick with a silverball,arabbitand two hats), The Educated Fish(aversion of the risingcards), The Point of View (a transposition effect usingdovesandrats), The Phoenix (a trick using a target and a canary). All these effects are explained in the fullest of detail andthe originalpatteris given. HadtheMaster been alive we think othereffects would have taken the place of “ Educated Fish,” “ The Point of View,” (this was unsatisfactory owing to the fact that movement of the livestock in such a light container causedmovement)andthe “ Phoenix.” Theyare notinthetrue Devanttradition. T o our way of thinking out of all these the “ Lessonin Magic ” stands head and shoulders above the other effects, and is alastingmemorial to the greatest magician of all time. Whilst forming part of the original edition, we feelthat the “ Bibliography of CardTricks ” (wrongfully headed as “ The Triangle ”) now very much dated might have been omitted. The book is well printedandboundin the standard Fleming manner. The original photographs have been replaced by anumber of line drawings (in these certain small details seem to have escaped the notice of the artist,JeanneMcLavy) whichareadequate. There are 318 pages against 487 of the original. To those unacquainted with the original this edition is more than recommended, andthethanks of all seriousstudents of Magic should be morethangratefulforitspublication in modernform. PETER WARLOCK’S
PE DITSG RXM Published on the15th of eachmonth 1/1 single copy, post free 11/- per year, post free from
“
01
-
...
GREENBANKS,” BRAMCOTE, NOTTS. _I_I_L_
-__I_
from your dealer
73
On behalf of our readers we extend the deepest sympathy to Fred. Walker (Hon. Secretary B.M.S.) and W. H. Williams (Hon. Librarian of the Magic Circle) on the occasion of the loss of their life partners.
issue of 180 pages) bouquest must be presented to Edward Heyl, who in “ Seven Up ! ” writes what is undoubtedly the last word in single-man telephone cardtransmission.
When we published Robert Harbin’s“ Symsilk,” we didn’t think it would be long before the root idea of this effect became a dealer’s item. Our thoughts were justified and we see that Thayer’s announce a preview of the “ Hopping Handkerchief.” The handkerchief, instead of changing colour, keeps appearingand disappearing.
Somepeoplearebornambassadors of magic, and it is a source of pleasure, when receiving foreign magazines, to*see mention of their names. John Charlesworthisonewhosprings to mind.Only the other day we received a copy of Illusionismo from Spaininwhichappearedaphotograph of this magician with his wife Tina.
Isthis coincidence ? It was in 1939 that we last saw Maurice Fogel. Twice during the war we ,missed seeinghis show. Onthe 25th June we wrote and posted a letter at 9 a.m. . . at I o a.m., onehourlater,a long-distance call came through fromLondon askingforus . . . it was Maurice Fogel ! ! Fogel’s place inmagicisunique,forhis is to thebest of our knowledge the first real one-man mental act to play in Variety in this country. Incidentally, we thinkthatthere arevery few acts at number one Music Halls that would give an individual act twenty-three minutes. Members of the Cotswold mayremember that someeighteen months ago, when we lectured on Mentalism, Psychic Research andthe Magician, we gave greatprominence to Fogel and his bottle prediction (the effect, but not the method,that can beattributed to the fertile mind of CharlesWaller). This effect, because of the broken glass resulting, has hadto be cut from variety shows.
.
Somewhile back ‘we wroteanent the use of music(by way of anelectricamplifier). Those readers who might be interested will find two reasonablypricedamplifers now on sale. Oneis the Collaro “ Microgram,”whichsells at Ezo, the other is called the “ Porto-gram,”andsells at approximately k z ~ . Bothamplifiersarereasonably “ portable.” Any readers essaying recently a published pinchbeck version of “ Electrovan,” in which a self-lighting bulb is attached to a piece of elastic, will find the accompaniment of eithermusic or noisenecessitous to drown the swish of the pull. This shoddyexample of puzzledomonly goes to show that itis better topurchase an effect that works. The response toour requestfor the “ Ten Best Tricks ” has been interestingif not illuminating, and we shall publish the result (based on majority figures)nextmonth. We cannot let this issue pass without praising the “ Thompson Parade ” in the June Linking Ring. The ultra-wave deck is just one of the effects describedwhichcouldhavebecomeadealer’sitem. In the Mayissue of the samemagazine(ajubilee
We have recently been working with Reg. Gayton onan angle incoincidental magic. I t is rather out of the run of usual effects, and a drawingroomversion will be publishedin the September issue. The stageversion,which involves theuse of a slate, will appear in our new slate book. Next month JamesDouglassubmitsaveryclean effect with a magazine (not a mental or psychic eflect) and in the same issue Harry Vernon gives an example of chemical magic, the chemicalpart being usedasa means to an end, and not as is so apparent in many chemicaltricks, as the end itself. We were sorry to hearthatourfriendJames Grayson has been on the sick list(incidentally we don’t know a better celluloid worker in this country). Another invalid is Aimee Swaine (one of the few lady conjurers in this Country) who did someexcellent work with Ensa duringthe war. We hope that by the time this is in print that both will be on the road to good-health. To those who have madeenquiries, we shall be publishing as aseparateitem,afour-pagesheetwhich will carry,title page, indexanderrata to Volume I. of the ‘‘ Pentagram.” George Jenness has just sent us a new list of books, both new and second-hand. The list is classified and has something of everything. Our friendFrancis White tellsus thatthe MagicCircleisnearingitsthousandthmember mark. This madeus look atour firstvolume of the MagicCircular. On pageeight of theOctober number we found just overa hundred names. I t was tragic to read the names of those who have gone . . Devant, Nikola, Hoffman, J.N.and Nevil Maskelyne, Oswald Williams, Leipzig, Sachs, and Malini. What a chorus of talent that the present generation has missed !
.
RonaldCrabtree has sentus “ SixthSense ” for review. It is very a well designed psychic routine that will stand any mentalist in good stead. Using our own presentation we have trieditout underthe conditionsinstanced by Mr.Crabtree and we founditleftlittletobedesired. The routine comes completewithasmallcrystal ball, andeverything you requireforthesum of 10/6 from 12 Beechwood Avenue, Pontefract.
74
THE SPHINX
COPIES OF No. 1 “ PENTAGRAM ” nowobtainable from dealersormyself,price 111 post free.
,
AN INDEPENDENT MAGAZINE OF MAGIC
John Mulholland Editor
The following two books are for sale :Buckley’s “ Card Control,” price E2 12s. 6 d . “ Sleight of Hand,” by Sachs (secondedition) E1 15s. Od.
“
PETER GREENBANKS,”
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
WARLOC’K BRAMCOTE, NOTTS.
C O N J U R I N GB O O K SF O RS A L E ’ OLD AND NEW. kt me know p u r WmC
SubscriptionPrice in England : 5 dollars a year :: 55 cents. a copy
LIST FREE FOR STAMPED ENVELOPE No callers
47
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
Arrangements have been made f o r subsm‘ptions to be accepted and money deposited in England .. .. ..
..
WRITEFORDETAILS
BLACKPOOL! ! if you come this way, do look us up on North Pier ( b y TalbotSquare). A big variety of thelatestmagic always stock. in . P A , U LC L I V E 81 C O . , L T D . f o r ‘‘ Witchcraft ” Magic
THE SPHINX 130WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
WILLAIE’S VIZARDRY You all know the author’s vaudeville act. This book contains all the publicity and stunt items he does outside his act. If you are a conjurer looking for advanced magic you can take itor leave it. Whe:
Douglas Craggs saw it, he said :It’s the best collection of wheezes and tricky ideas I have ever seenworth manytimesits @ice to any professional performer.”
Price Postage 2/63d.
THE MAGIC CIRCLE President :His Orace the Duke of Someisat D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas C r y pE , q. M.I.M.C.
Clubrootn and Library and Museum :
Aprinted magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are notonour mailing list, write now.
MAGIKRAFT STUDIOS
ARCAS LIMITED 4M/6 SYDENHAM ROAD, CROYDON
If you likegood comedy magicyou “ MilkShrink ”willlike the shrinking glass of milk2216 postfree
ZAHAREE (Geoff. R. Hursell) 16 & 18 Watts’Place CHATHAM, KENT
MAGICIANS’ BOOKBINDING SERVICE Send stamp f o r booklet giving full details of OUT :: binding service :: CF . IELD 42’Alderson Road, Sheffield 2 PrintedinEngland
32 Vernon St., Northampton
HENRl
DE’SEEVAH
MMC.3 SMS.,
IBM.,
SSMC.
Thc Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his studlt, :l CLARENCE ROAD, HaCborne, Birmingham 17
MAGICAL BOOKS, ETC. Available on Loan Comprehensive Lists for 3d. stamp. Also new and secondhand books for sale. F. ROBINSON, Magician, Stathern,Melton Mowbray, Leics.
St.Ermin’sHotel, CaxtonStreet, S .W. 1. Magical Theatre :
King George’s Hall,
W.C.
Particulars from Hon. Secretury :
Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
INSTITUTE of MAGICIANS Founded 133+ President : A. Zomah. Hon Sec Oscar Oswald 102 ElmsterrbAvoWembleyPark)Middx. H.Q. and Libra;; : No. 2 H a d Court (Victory Club) High Holborn W C MEETING EVER’Y THURSDAY i-1ib.m. Visiting Magicians always welcome. Your membership cordially invited-drop a line tothe Hon. Sec. for literature.
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAQICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY899 Address 23 GREENFIELD AVENUE GILDERSOME, .Nr. LEEDS Nearly 30 years zn the bustness
for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
1 -
PENTAGRAM This is an outlaw of coincidence. cards are Three members of the audience are each invited to draw card a from a red-backed deck. T h e operatorturnshis backwhile thecardsare looked atand remembered. The cardsarethen replaced in the deck which is left with 3 member of the audience. Taking a deck of blue-backed cards from his pocket theyarehanded to the holder of the red cards with a request he that shufflesbothdecks together. This being done, thecards are taken back, and cuttingthisdoublesized deck in two, theoperator places one half in each side pocket. Turningto thedrawer of the first card he requests a small numher, say not more than ten. Supposingthatthe numher “ five ’’ is given, theoperator s h o w both his handsto be empty and places oneinto eachpocket and he remo<es one at a time four cards from each pocket, throwingthem on to the table. He then removes the fifth card from each pocket, commenting: You see what strangetrickscoincidencecan play . one blue-backed cardfrom this pocket , . one red-backed from card t’other.” These two ‘I
.
. .
rested backs towards audience against a glass on the operator’s table. The drawer of the second card is asked to givesmall a number and the same ritual is observed . . Again a red and a blue-backed cardareproducedand are rested against asecond glass. Lastlythethirddrawer is asked for a number and again that number of cards are withdrawn, from each pocket culminating in ared-backed and a blue-backed card being placed against a third glass. Turning to the first drawer, the operator says: “You must admit that already n e have seen a case ofcoincidence . . stillmore so if the red-backed card that you looked at was atthenumber you named !...What was thename of your card ?...‘The King of Hearts ? ’ ” While talking, the operator has picked upthe first two cards taken from his pocket. “ As yousee . a still stranger coin-
.
.
. .
cidence.” rlnwlv . .-. ... . . (He X---
turnsthe red-backed card face tothe audience, showing it to be the one chosen !) “ T h e sympathy of yourcard has, however,exercised itsinfluence ox-er its twin in the blue-backed deck.” The conrimwd
nn p q u
76
TWINS O F
TRIGON
- contimed from
b q e 75
operatorturnstheblue cardroundshowingthat it also is a King of Hearts ! Needless to say that inthe caseof the second and third selected cards the operator shows that he has removed these from hispocketwiththeirappropriate “ twins.” The readermaythinkthattherepetition of discovery may not be climatic. The presentation should, however, go to show theever-increasing odds against the magician.
.
The requirements are few . . one blue-backed deck of cards,onered-backed deck of cards,three glasses, and (say) five red-backedKings of Hearts, Fours of Clubs and Tens of Diamonds. Preparation.-Remove fifteen cardsfrom the red-backed deck andthenfromboththe red and blue-backeddecksremove theKings of Hearts, Fours of Clubsand Tens of Diamonds. Fromthe top of the red deck count five cards and then insert five duplicate Kings of Hearts . . . five more cards and then five Fours of Clubs . . . five morecards andthen five Tens of Diamonds. T o help the cautious a lightpencil dot on the oppasite corners of the first andlastcardsin the sets of duplicates may behelpful. The threered-backed andthree blue-backedcards that were originally removedare setup like this. The blue-backed King of Hearts is placedfacedown. Ontop is placed theredbacked Four of Clubs, and on top of this the bluebacked ‘Ten of Diamonds. ‘I’his set of cards is placed in the operator’s right hand pocket, the King being nearest the body. The remaining three cards are arrangedin a similar order and placed in the left hand pocket. The reader may well say “ Whynotput all of the red-backedinone pocket and all the blue-backedin theother ? ” The reason is merely that of attention to detail and what is noticedby ten per cent. of the onlookers. It looks betterthat way. If theoperator hasnot used it in a preceding effect, the remainder of the blue-backed deck is placed in a vertical position in the righthandpocket,thered-backed deck being placed at hand. Withthethree glasses in a line on the table the operator is ready for the .
..
This is an apparent impromptu that has to be performed at the right time and place. In effect the operator wraps a half-crown (or foreign equivalent) in a piece of foil (tobacco or cigarette wrapping) and after asking a spectator to make sure that the coin is there by sense of touch rests it on the palm of their righthand. Slowly the hand isclosed and when opened the parcel is seen to have diminished in size. It is then handed to a spectator who on opening it findsthat the half-cr0n.n has changedinto a sixpenny piece.
Presentation.--& he mentions that he Ivishes to show the audience an “ outlaw ” of coincidence, the operator picks up the red-backed deck of cards, casually showing the front twenty cards of the deck nhile talking. Approaching a spectator and fanning the cards face down the operator asks him to touch and withdraw a card. A second and third spectator is likewise approached ; in fact thethreecards shouldbe selected ontherun . . . the fii-e cards between each force card should give the right timing. (The expert who can force on the run will not need the duplicates . . . such experts are so rare that I can only call to mind one in this country.) If the reader who doubts his ability to get home with three sets of j i z e cards, his alternative is to step up the number of ‘ force ’ cards, for this effect does not allow for a mistake. It is not the type of effect where, if you miss on a ‘ force ’ youcomeback and have another go. The cards having been drawn,the operator turns away while the cards are sighted and remembered. -Approaching the drawers, he asks them to replace their cards in the deck, finally leaving the deck in the hands of thethirdspectator. The blue-backed deck is taken from the pocket, attention called toit,and it is then given tothe holder of the red-backed deck with the request that he shuffles both decks together. This being donetheoperator takes the double deck and cutting it places the halves in the right and left pockets respectively. The two packets should go behindthethreecardsin each pocket (the three force cards shmld be nearest the body !). ‘The first selector isnowasked to name a smallnumber. JVhen given, the operator starts removing cardsoneat a timefrom the tops of each deck and throws them on to the table. \\‘hen he reaches thenumbernamed by thespectator he removes from each pocket the first of the force cards. The coincidence of one heing redand theother blue is commentedupon,and the two cardsare placed backs towards the audience against the first glass. This procedure is twice repeated, the second andthirdgroups of force cards being withdrawn and placed againsttheir respective glasses. The effect from the operator’s point of view is finished. The finish from the spectator’spoint of L-iew has already been outlined in the description of the effect.
..
. a folding halfThe requirementsare few crown(George Alackenzie,of Glasgow, makes a lovely job of these), two similar piecesofleadfoil, and a sixpence. All thepreparation necessary is to place a sixpence on one piece of foil and wrap the latter round it until you have a little bundle which in length is equal to the diameter of a half-crolvn and in width tothe diameter of the sixpence. This bundle is placedin the left handtrousers pocket.
77
The Torn and RestoredPaper Trick in all its various guises has never appealed to me very much. IVhy, I cannot say. Perhapsit is that I cannotget the same out of it as otherperformers.Anyhow, the following routine was mysubstituteand I can assure you that it has audience appeal and the power to raise thatenthusiasm to applausewhich we magicians are always striving to obtain. ‘
Briefly the effect is that the performer, taking a large magazine, suchasthe Illustrated, “ rips ” the cover fromitsfoundationsand rolls the cover into a ballwhich is finally wrappedin a sheet of tissuepaper. The latter is placed infull vien- of the audience on a small metal tray and the ‘ naked ’ magazineis then rolled into a tube-like parcel with a sheet of newspaper. A lightedcigarette is then touched to thc ‘ ball ’ on the tray. A flashof flame is seen andthe tray is left completelyempty : a fact which the magician emphasises by turning the trayandshowingboth sides. The newspaper is thenunrolledand the magazine cover is shown to beback on the magazine initsrightful place. The method is simple and the small amount of preparation necessary Jvorth \vhile. Procure t\\-o magazines of the same issue, preferaiiy \\it11 a brightly-coloured cover. The weeklJ- Illustrated will be found an ideal ‘ model ’ and size. Carefully remoj-e the col-er from one of the copies b\- prising upthe staples.Open uptheother magazine at thecentreand layflat on a tableandprise up its staples at right angles, removing one complete sheet (i.e., two pages -,\.hich areunitedasone). Place the duplicate cover face up (i.e., frontside) over the pins and replace the latter in their former positions by carefully bending back. Close the magazine andpress flat.Younowhave a complete magazine withduplicate cover atcentre (as if you didn’t know !). Younon- require a sheet of tissue paper and a sheet of flash paperthe same size. Takingthe sheet of the flash paper, roll it into a hollou- ball or parcel, the size of which you determine as follows : Take the page which youremoved from the centre ofmagazine-which is, of course, the same size as the magazinecover-androll it into a small ball or parcel. This will give you an idea of the size you have to make your ‘ flash ’ parcel. Having rolled the latter toyour satisfaction, gumtheendsto preventunrolling and place a spot of seccotine on one of its ‘ sides.’ This parcel is now stuckto a smallmetaltrayaboutnineinchesindiameter. You can obtain one of these at the Sixpenny Stores, and it is simply a round,shallow, bakiug tit1 (for tarts, etc.). Caremustbe taken not tocrushthe hollo\v flash parcel on the tray which is now inverted, that is nith the parcel downwards, on an open opera
hat. The parcel is now,of course, invisible to the audience, who see a tray resting on the hat upside down. Have a sheet of newspaper and a lighted cigarette handy and you are all ready. T o perform pick up the magazine and riffle a fewpages, being careful not to disclose the cover. Get fingers into centre of magazine and finally let the magazine hangdown open by grippingatthetop of the longside with Frontand rear page ofcover is now righthand. exposed to audienceand the duplicate cover is at rear. Il’ith the left fingers and thumb at top of the front cover, tear off the whole page with a downward move. Layiton a chair, pick upthe sheet of newspaperwith left hand and lay the ‘ naked ’ magazine with the duplicate cover against the newspaper,and,using the lower part of the bodyas a support, roll the two together into a tubeandtuck in the ends. The duplicate cover is thus rolled to the front in full view of the audience but unseen on-ing to the newspaper. (I do not know the originator of this move but have been acquainted with it for the past seven years.) Takethe cover and roll it into a ball as near to the flash parcel as it in the tissue possible inappearance,andwrap paper, keeping theshapeand size to resemble the flash parcel as near as possible. Takeitinthe right hand and turning right to the table, raise the backof the tin tray with the left hand by gripping it at the edge farthest from audience and immediately bring the right hand uith the tissue parcel behind it anddrop it in the hat. \Vithout pause turnthe tray up, tile righthand “ following through ” smoothly to touch the flash ball as the tray becomes horizontal. It appears tothe audience as if you raised the tray and laid the tissue on it at the same moment.Either lay the tray onthe hat again in in upright position or carry forward to the front of the platform.After the “ usual business ” chatter, produce the lighted cigarette magically or otherwise, and touch the parcel, giving the audience plenty of time to appreciate the emptiness of the trayafter the flash has come and gone. Lay down the tray and pick up newspaper tube. Loosenendsand unroll a little. Get fingers into foldsandgrip the cover attopwiththe left hand standing right side tothe audience. Strip off the nelvspaper with one sweep withrighthand in a downward movement. The cover comes to view vith fine effect. Close magazine, show it each side, and take your bow. Postcript.-A slothereandthere,madewith scissors, in the hollow flash parcel considerably speeds upthe “ flash ’’ when it is touchedwith the cigarette.
Editor’s Foreword.-This is a good applicationof chemical -4s magic which is not ratricted to plaling cards. alternative suggestions, oce of thP thrpe colours could be chosen, and a word, number or picture could appcarthis would open up possibilities .for its inclusion in pro.,vramnzes f o r >*ounger audiences. X
X
1
Operator picks up atrayon which restthree coloured counters-one brown,oneblueandone yellow. The tray is takenamongst the audience andthree of itsmembersinvitedto choose one countereach,thetraythenbeing replaced onthe table. A pack of cards is now introduced and shuffled, the spectators holding the coloured counters each drawing a card. (To make this easier to follow we willcall the spectators A, B, and C, and that A has chosen the browncounterandtheThree of Hearts, B the blue counter and the Four of Spades, and C yellow and the Jack of Clubs.) A few blank visiting cards are now introduced, one given to each assistant to besigned;theyarethen taken backon the tray. A is now asked whatcolourandwhatcardhe chose. He repliesas above ( i . e . , brown andthe Three of Hearts)andthewhitecardbearing his signature is handed to him and there, on the opposite side is the name of the cardwrittenin brown ink. This is repeated with theother assistailts, except that the colours and cards are, of course, different.
How it’s done.-Thecolouredcountersare quiteunpreparedandtheassistants have afree choice. Operator forces the Three of heartson the assistant who chooses brown ; the Four of Spades on the chooser of the blue ; and the Jack of Clubs ontheonewho chooses yellow. The whitecards areprepared as follows : On one is written the “ Three of Hearts ” withsolutionAmmonium Thiocyaniate, on the next, the Four of Spades, with CRUMPLE
COIN
- continued from page
PotassiumFerrocyanate,andon the lastis Ivritten Jack of Clubs ” with Lead Nitrate-this writing, needless to say, is invisible whendry. These are offered for signature on the unprepared side and laid down on a special tray, whichis constructed as follows :“
\Vhilst it is madeto look thesameoneither side,oneside of the tray is specially prepared. -At the commencement of the effect the coloured counters areofferedon the unpreparedside of the tray andduringthe process of the trick it is turned over bring tonumber two side into play. The covering onboth sides is athin black cloth, but under this cloth the on prepared side threepads of cotton wool are let into the tray. The first is soakedin FerricChloride, the second in Ferric Chloride, and the third in potassium Iodide. (This can, of course, be applied without removing the covering cloth.) The rest is simple. \I.’hen thecards havebeen signed,numberone card isplacedon numberone pad, and the same process is followed with the other two cards-numbertlvoonpad two, andnumber three onpad three. A s each assistant declares the colour and card he chose the appropriate card is pressed against the pad as it is drawn off the tray, and the re-agents immediately bring out the writing.
Editov’s Note.--\Ve would suggest that the cards have the writing on both sides and that at the commencement of the effect theappropriatecard lies under each counter,thespectator being asked to choose counterandcard. The cardsarethen initialled and taken back, andthe playing cards introduced.
76
Forthebest presentation theother piece offoil should be performing its proper function and encase anounce of tobacco. The folding coin withsome coppers is in therighthandtrousers pocket. With the effect timed to co-ordinate with the removal of the tobacco packet here is the . . . Presentation.-Operator reaches into hispocket and takespacket of tobacco,removing tobacco (or cigaretteswhicharealternatively placed in case), undoes the foil and leaves it on table whilst tobacco is placedinpouch.Handful of change is then removed from pocket, operator mentioning that he will show an interestingexperimentwith alloy. The half-crown is separatedand placed onthe table whilst the copper coins remaining are replaced in the pocket. \Vith his hands obviously empty, the half-crown is placed on the foil and the latter is folded aroundit, makingasquare (but nottoo
tight) packet. The packet israppedagainstthe table and a spectator asked to feel that the coinis there. The packet is rested onthe palm of the right hand whilst the left goes in a natural manner to the left pocket to obtain possession of the packet containing the sixpence. Slowly the right hand closes, the coin being folded atthesame time. (It is best to know the run of the folds in relation to the outside of the packet.) As the right hand slowly opensthe left hand removes the duplicate packet from pocket. The opening of the hand shows that the packet has diminished insize. Turning half left the operator apparently passes the packet to his left hand. Actually he performsa switch which is more often used with billets, namely the right hand packet is retained and that in the left hand pushed forward and shown. This is then handed to a spectator on the left who is asked to open it.
Editor’s Foreword.-Possibly
o?tw 01 rrriw n ?cor TU? n-puhlirh (with f u l l prrnrirrion of author andmor pahlirhrr) nn effect rrhidt for IOUI(’ rmron or nnothrr IICVCI s ~ m sto korr r m p d the rtwnrd rrhirli i f s m dorthtl.d merit d e w r w s 1i.r had i n t r a d 4 to start rrillr thr lntr Losir ,Vikolds ’’ Intpudmt Iw!po,orition.” but t l m G.O.M. of Mngir, Yrnn Htrgord. hrnt 11s to it in n r m w t ropy of his Monthly. Tlw uffd to hr desrribrd may, Irmunrr. hr wmrc n t l m r f i r e nr it Qvfs mmy fron, plnyinf m r i . A;. hnrc only wen t k r &i,rt prrfor~wd trcirc.. once by rlrr originntor nnd w t ~ n d l yby Mnjor Elr;(,,, Mrfortlzy. I t , their 1rnnd.v it wm n brnt
rho:/
*
*
Performers who are on the look-out for effects with the minimum of apparatus,and who donot mind spendinga little timein acquiring the necessary digitaldexterity, \vill, I amsure,appreciate the following. The writergratefully acknowledges thatthe idea of performing the “ Glass through the Hat ” by means of sleight-of-hand, was derived from M r . Eric Wilson’s Tested Magic. The eflect differs from Mr. \\’ikon’s inasmuch as a borrowed handkerchief is used to identify the tumbler, and only one tumbler is seen by the audiencethroughout. The method, except for the sinking effect, differs entirely. The effect, briefly, is as follo\vs :-A borrowed handkerchief is placed into a small tumbler which is then covered with a silk handkerchief. Whilst the tumbler is held in the hand, an empty hat is placed crown dovnwards on top of it, and the glass apparently passes through the hat and handkerchief into the interior of the hat, from which it is then taken andthe borrowed handkerchief returned. There are no fakes whatever, the effect depending entirely onsleight-of-hand, and also it is necessary to admitaduplicatetumbler. That is the only thing required other than those seen by the audience, i.e., atumbler,a coloured silk handkerchief, and an opera or b o d e r hat. The duplicate tumbler is laid on a chair or table,
on its side, mouth away from the audienceand is covered with the silk handkerchief in sucha \\-ay that in picking up the handkerchief with acorner in each hand the glass is picked up as well and hidden behind the left hand corner, by inserting the left thumb into the mouth of the glass and gripping the handkerchief and glass together. One corner of the silk, therefore, must lay over the tumbler, and the corner to be picked up by the right hand must also be easily accessible ; the remaining portion is carelessly bunched upto hide the presence of the glass. The effect is commenced by showing thetumbler and persuading a lady to place her handkerchief inside it. The glass is now held in the righthandand the silk picked up and shown. In picking upthe silk it is necessary to hold the risible tumbler between the first and second fingers of the right hand so that the corner of the silk can be grasped by the first finger and thumb. The left handbrings upthe duplicate tumbler behind the left corner of the silk. The silk is now s h o w by holding it in front of the body. The next move is to release the hold by the right finger and thumb and moving the right hand up to the left, the right thumb is inserted into the duplicate tumbler. The left hand now pulls the silk upwards and the right slides the two tumblers downwards, one on cither side of the llawilierchief until the centre is reached. This position is shown in the first photograph. The left handthen releases the handkerchief and takes the visible tumbler and places it under the silk. As soon as it is out of sight, however, the mouth oi the tumbler is turned towards the body. The glass should now be held by the second, third and fourth fingers pressing it against thepalm; this leaves the first finger and thumb in a position to grasp the bottom of the duplicate glass. The two glasses are thus held at right angles one to theotherthe empty one is upright and the original one mouth towards the conjurer. The silk is now arranged over the tumbler, care being taken that the mouth of the original one is allowed to protrude.Care is also necessary in order toprevent the silk accidentally falling tothe floor oaingto its slippery texture. The position is shown in the second photograph. All this sounds very complicated but it blends into one movement as the handkerchief covers the tumbler, and, what is more, apart from the prerent experiment, the reader will find it a very useful s\\-itch for a tumbler. The hat is now picked up, thumb on the inside and fingers in the curl of the brim. In showing the hat it is held fairly close tothe left hand. The inside is shown first, and in turning half left to she\\. the outside the thumb is inserted into the mouth of the protrudingtumbler, \vhich is gripped betwen the thumband the brim and so loaded into the hat. rontinrrrd on pwr 81
*****
***
PENTAGRAM GRADING : (Three stars)-Of Practical Value. “
**
(Fire stars)--Outstanding. (Tzcostars)-No
ABRACADABRA ” SUMMER SPECIAL. (Published byGoodliffe,price 3/6).
This month weleave theHeights ofBerkeley and descend onthe CityofBirmingham. In a recent advertisement a claim was made for a preceding “Abracadabra ” Special, that it was akin to a “ Jinx ” Special. Such a claim is imprudent to say the least. Let it rather be said that the “Abracadabra ” Special issues are to “ Abracadabra ” what the “ Jinx ” Special issues were to the “ Jinx,” forwhilst theformer paper is completely national inoutlook, the “ Jinx ” was international. This issue carries some fifty-two pages (some, of course, carryingadvertisingmatter), is clearly printedand illustrated in the typical Dennis manner. The issue under review opens n-ith a four page Editorialwhich,amongotherthings, deals n-ith conjurers’domesticity, the twentieth-century silks, “ \Vu Ling ” cabinet, Massey’s “ RibbonFantastique,” IVilfred Tyler andEric Le\,,-is’s forthcoming book on Children’s Magic, Abboti’s “ PhantomClock,” the letter I ” and Goodliffe. This is succeeded by the following contributions :“
L. A. Belcher “ The Three Sisters.** A children’s effect using dummyrabbits a la three card trick. Our own opinion(from rendirq a l ~ d not performing the effect) is that the climax kills the original part of the effect. PeterWarlock’s “ Ribbonflash.” An austerity version of his effect nhich appeared in the “ Jins ’’ under the title of the “ Jest of Gratoulet.” If you saw Francis IVatts (when he was n-ith the XlaskelyneHarbinshow) using the original, youwill possibly like the present version. Louis S. Histed “ The Trials of a Magical Inventor.” An exceedingly interestingarticle by one of our most fertile inventors. It is, unfortunately all too short. As (one might almost say unnecessary) make-weight Mr. Histed gives an excellent suggestion in table construction, and concludes with an unsolved but very intriguingproblem.
P. A. McDonaZd “E 1,000,000 Trunk Mystery.’* Mr.McDonald in his prefatory remarks says : “ This is justan honestattemptto re-capture,in a formsuitable for drawing room work, the undoubted thrill of the stage illusion \vhere the magician changes place withan assistant who has been securely locked and double-locked in a
****
(Fourstars)-VerJ-
Good.
Rerzson f o r Publication.
trunk.” We can only say that Mr. McDonald: seems to have taken a lot of trouble to getthis. attemptedthrill. Len J. Sewell “ Crossed in Transit From the fertilebrain of that well-known Colonist here, is an effect withgiant cards. The basic idea is. excellent because of its simplicity. Someoneseems, to have ‘ slipped ’ on page 25 line 10. Goodlifle “ Chord On.” This short article from Goodliffe andotherscontains some advice, regardingstagetechnique.
.”
John Kenyan “ The Flying Princess .”’ There is a nice touchaboutthisroutine. It is designed foryoungerchildrenand has thetrue fairy touch. As most of the necessary apparatus is. to be found in the conjurers’ stock cupboard we can imagine this going into a number of programmes. Eric C. Lezcis “ Animation.” This routine brings back L-erp poignant memories of the late Ken Lancaster, for it \vas at an I.B.M. lunch during the u-ar that we san- him perform the main part of the effect ; it was, 1l.e believe, marked by Abbott’s with a slightly different gimmick.31r.Leivishas built up a verynice routine which we think has greater possibilities as a children’s effect.
L. A. Belcher “ Compere’s Birthday.” Alr. Belcher most is ingenious, and whilst the presentation does not appeal to us,the mechanics and effect areescellent. Briefly it is a cake-making scena. George S~*I.z-estre‘‘ The Sacred Cups.” A routineusing stock apparatus,but having a good descripti\-estory. George Sylwstre “ A Useful Ashtray.” A piece of apparatusforsvitching a cigarette or similar object. This is one of the’“ plums ” of the book, for the reader \vho cares to make this up, has a fine utility “ prop.” Jimmy Floecers “ The Wishing Well.” Another children’s routine making use of stock apparatus, this time the “ Say \Vhen ” glass.Besides all this material there is a storyette-“ His act \\-as Murder ”-by Archie Elray andDorothy, and innumerable drawings of our pet aversion “ Marvo.”
\I’e are not grading this publication because of Varying as it does from three four tostar, it carries our unreserved recornmendation. lack of balance in quality.
PETER WARLOCK’S
P E N T R G R X M Published on the15th
1
frovt
“
of each month
single copy, post free 11;-per year, post free
...
GREEhTBhNKS,” RRAMCOTE, NOTTS. or f r o m j’our draler
The I.B.11. Convention at Buston is past. It \vas here that \\-e received John Gambling’s gift of whatmustbe the first locking flap slate. It \\-as designed by andmade for himaboutthe year 1887 and is abeautiful piece of work. Its mechanism is perfectand, \\-hat is more,it looks like a real school slate. \Ye cannot thank you enough, John, for singling us out like this. Oncemore the orchestra played havoc with the big show. ,4t first \\-e thought that the Hereford Horrors hadbeen trying to improve their standard, but a glance attheprogramme proved ustobe \\-rang. Perhaps we arebeinghardon the players, n-homightput up a fair performance playing teatime music. The accompanimenttoa number of conjuringactsneedsnot only an orchestra used to theatre work but an experienced corrductor. Regarding the ten best tricks, wehad nearly seventy replies. -4s we expected, half a dozen classics\\-erein almost every list, the remaining four effects varying. Despite \\-hat n-e said in the first place, many n-riters specified an effect performed by acertainconjurer. This is the list according to the Ivriters :Cups and Balls The Linking Rings The Aerial Treasury The Egg Bag The Four Ace Trick ‘l‘hz DiminishmgCards The Floating Bafl S\-mpathetic-Silks Lesson in Magic The Thumb Tie. It is a list that is very thought-provoking, as
among theten effects, only two belong tothis century. The inclusion of Devant’s “ Lesson in Magic ” promptsustoincludeaworth-whiletip to English conjurers. Many, no doubt, would work, cut andlor burnt handkerchief effectswere it not for the coupon difficulty. Excellent linen for such effects can be obtainedby getting some draughtsman’slinen, soaking itin warm water andthen allowing it to dry. The other day we received fromHenride Seevah his latest lists. Quite frankly we were amazed atthe (literally) thousands of bargainsin tricks, fakes and books thathe has to offer. The pre-war fakeyouhavebeen tryingto get . . . the -4merican manuscript . . . that out of print book ; theyare all there. “ Twins of Trigon ” has, of course, as its root, the idea that Annemann mooted in the “ Red and Blue Back Mix-up ”’in the “ Book IVithout a Yame.” \Yehave foundthatthe selection of cardsplus the concurrent withdrawal of the cardsmore telling. Just as n-e go topress (very early because of theprinter’s holidays) weha1.e receivedBill Stickland’sandEric TI’ilson’s “ Jointhe Party.” \\‘hilst we cannot review itwithin the confines of this column we can mention that it is (so far as we know) a pioneer effort insofar that the whole of the book is in conversation form. Among the newcomers to the world of Magical Dealers in Konald Crabtree. He is not oniy manufacturing quality apparatus, but putting out routines as well. Reportsregarding his Floating Electric Light Bulb ” are good and as regular readers know we mentionedthat wehad successfully tried out his “ SixthSense ” routine.His catalogue carries many,many, items. “
*‘ PENETRATING TUMBLER ” - continued front pogc 71)
The hat is now placed on the covered glass, cro\\-n down. The tumblershould now beheld at the bottom which rests on the two middle fingers ; the first and little fingers now grip the sides and the IWO middlejingers curl in tozcavds the p a l m (as in back-palming a penny) leaving the way clear for the tumbler to sink. The left thumb should beoutside the handkerchief, the edge of n-hich should be held in the crotch of the thumb. The first andlittle fingers no\\-loosen their griponthetumblerandit is allowed to gradually sink down untilthe hattouches the twomiddle fingers. The steadyingtouch of the righthand will probably be found necessary during this movement ;as soon as it is complete, the right hand removes the hat, letting the audience see the tumbler in the interior. At the sametime the left hand is lon-eretf and the two middle fingers straightened ; it will now befoundthat the glass canbe held by its edge between the first and second fingers and the handkerchief, still heldin the crotch of thethumb, hangs naturally in front of it. The righthandbrings the hat up to the left, the thumb of which grips thebrim, and the right
hand removes the glass. The glass is placed on the chair whilst the hat is again taken in the right handandshownundamaged. The hat is held by the second,third andfourth fingers in the curl of the brim, leaving the index finger and thumb free. The hat having been shown, the right hand. is brought over to the left, the first finger and thumb seize the silk, which is releasedby the left thumb, and at the same time the tumbler is loaded into the hat and the hat taken by the left hand. The hat isplacedon a chair, the handkerchief shown and dropped into the hat, and all that remains to be done is toreturnthe borroived handkerchief to its rightful owner. I t will be seen thatthe experiment resolves itself intofour sxtions :(I) The change. (2) The load. (3) The sinking movement. (4) The disposal of the duplicate. \\’ith thesefourthingsinmind,try it over carefully and you \\-ill find it much easier to perform than it has been for me to explain it.
Thereare No.
I
T H E SPHINX
s t i l l a few copies of
'' PENTAGRAM " AVAILABLE price I / l post free ~-
AN INDEPENDENT MAGAZINE OF MAGIC JohnMulholland
For those who were unfortunate enough to miss N o . 2 , I have the good news that copies of this are now being re-printed -PETER
T H E SPHISX is theprofesional magazine of magic. Year after year, it continues to be the most widelyreadmagic publicationinthe world. Each issue contains new, practical tricks and authoritative a.ticles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
WARLOCK
'' GREENRANKS," BRAMCOTE, NOTTS. C O N J U R I N GB O O K S
FOR
SALE
--
OLD AND NEW. Letmeknowyourwants LIST FREE FOR STAMPED ENVELOPE N o callers
47
Editor
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
Arrangements have been .made f o r subscriptions to be accepted and mone3t .. deposited in England ....
[TRITE FOR DETAILS
BLACKPOOL! ! if~poucome this way, do look us up on Nor'h Pier (by A big variet3. of the 1n:est ntagic TalbotSquare). alzoa3.s instock. P A U L C L I V E & C O . , L T D . f o r ' ' Witchcraft * * Magic
THE SPHINX 130 WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
THE MAGIC CIRCLE Prrsidrrrf :His Grace the Dukeof Somerset U.S.O., O.ll.li.,I.P., D.L., M.1.AI.C. L~icr-Prestli~rrt : Douglas Craggs, Esq. dI.I.Jl.C. Clrrhroow ntrrl Lihrur~parzd Mtrscrcrrt :
A printed magazinegiving details of our latestreleasesin exclusivemagicaleffects. Issued free. If you are not on our mailing list,write now.
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRl
If 3 . o ~like good corned>* magic >~otr zcill like " MilkShrink "the shrinking glass of milk2216 post frec
IBU.,
SSMC
The l~rirrtrily Jlagicinrt invites all Bona Iide Maqicians to send for his list of new and used apparatus and book, or r a i l a t hi:, studllj :l CLARENCE ROAD, Harborne, Birmingham17
ZAHAREE (Geoff. R. Hursell) 16 & 1s Watts' Place CHATHAM , KENT
MAGICIANS' BOOKBINDING SERVICE Srnd stamp .for book1:t giriqg full d:>tailsof our :: binding s:vwice :: C. FIELD 42 Alderson Road, Sheffield 2
DE'SEEVAH
M V C . , EVE.,
BOOKS, ETC. Available on Loan Comprehensive 1,ists for 3d. stamp. Also new and secondhand books for sale. F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics. MAGICAL
S t . @:rmin's Hotel, C ~ : x t:n Street, S.W.1. Magicul 'I'ireutrr :
King Ccorge's EM!, W.C. Purlirrrlurs frorn Hort. Srrretcwy :
Prancis White Alverstone Avenue, S.W.19 Wimbledon Park, 39
INSTITUTE of MAGICIANS Founded 1334 President : A. Zomah. €fort. sec . OscarOswald 102 ElmsteadAve ' Wembley Park) Middx H.O. und LiDrur; : No. 2 H a d CO"; (VictoryClub)HighHolbornWC MEETING EVE$Y THURSDAY +-1ii.m. \'isltmgMaglclansalwayswelcome. Your membership cordially invited-drop a line to the Hon. Sec. for literature.
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
lelephone or Telegram : MORLEY 099 Address :23 QREENFIELD AVENUE GILDERSOME, .Nr. LEEDS Nearly 30 years m thebuszness
S3
9?e% wa’5,
PENTAGRAM
An independentmonthly
V ! .1 Nit. 12
bulletin for all who want good magic
Sq.&,
‘The i\nti-Grdvit!- glasses al\vays seems to have been effective, but I have never understood why the magician should have to bandage a book or a piece of wood with a handkerchief for its accomplishment. The method to he described can he adapted in many wsys, hut herv is a typical effect : Supposing tliot the mngician has just finished a performance of ‘‘ Welcome I ’ (see “ Pentagram ” S o . 9). The newspaper is folded until its measurements are one-eighth of its normal page size. It is momentarily placed down whilst a glass is picked up from the table. Intothe former is pusheda nine-inch white silk. The newspaper is now picked up and the glass placed against the side (see photograph I ) where it adheres. The handkerchief is remo\-ed from the glass whilst it is in this condition and placed o\-erthemouth of the glass (and, of course, partlyover the paper). T h e glass is then taken away fromthe paper, the latter now being placed over the mouth of the glass, and, of course, the handkerchief. The hand is now removed and the glass and handkerchief are seen suspended from the paper (similar to photograph 2, but here the silk is inside the glass). The paper is now turned so that the bottom of the tumbler points towards the
1947
93lh @m is&t?&g
audience. The free hand no\\- takes a corner of the silk, gently pulls it upward (see photograph 3) still leaving the glass in situ. The paper is then turned so that the glass is once more in 2 vertical position. It is lowered on to the free hand and the paper taken away. The silk is no\\- placed inside the glass, the paper held over the mouth nf the glass, and once more the glass adheres(as i n photograph 2). The f x c hand now takcs ho!d cif tl-,c 9; silk p,,truding from the glass and pulls it away from and out of the glass. Once more t h paperand glass are lowered ontothe free hand andthe paper removed. That is one series of moves. All this being visual, it will be found to be effective with nearly any type of audience.
I will runthroughthe method first before worrying about any other methods of presentation. Many, many, years ago a firm of celluloid manufacturers put on the market an unbreakable glass for picnics. It was some time before conjurers realised that such an article could be put to conjuring uses. Whenthey did, they nearly all thought in one way that of crushing the glass for a vanish. It is one of these glasses that is essential for the effect, and it is only by the way in which this glass is
...
confinupd on page 84
ADHESIVE
GLASS - continued from page 83
strengthenedatthemouththatthe effect is easily possible. Ifyou look at one you will find that the periphoryis rolled (see enlarged view in drawing). Now take a piece of piano wire (I cannot give gauge, but thepiece I used came fromthe G below middle C) measuringinlengthapproximatelythreetimesthe diameter of the glass, and slideitintothissmall tunnel which encircles themouth of the glass. (Don’tstraightenthewirebeforetryingthis,for the naturaltendencytocurl makes thisparticular job easy.) Whenthewire is inside youwill find that at a distance of a few feet it is quite invisible. You nowhave a “glass ”, the rim of which canbe attracted by a magnet. T o complete the preparation for the newspaper and glass routine described, you cardboard will want small a fake. A piece of slightlywider thanthediameter of the glass and shaped as in illustrationis first required.Onthis place two “ Eclipse ” magnetsatsuchadistance apartthatwhentherim of the glass is placedon the poles themaximum pull is exerted. When positioned,fastendownwithwideadhesivetape, seeing that the poles ends are clear. The fake thus prepared,it is placed in the righthandpocket (or someequallyaccessible place). Withthe glass on table, a small white silk in the breast pocket and a newspaper at hand, the operator is ready for the . . .
Presentation.- Possession of the fake must, of course, be obtained before folding the paper (incidentaiiy if the operator is simply using the newspaper for this particular eflect only, there is noreason why the fake cannot be an irttegral part of the paper by sewing i t in a fakepocket). Ifthe “ Torn and Restored Newspaper ” effect has preceded it and the performeris of thenonchalent talkative variety, the question of getting from the pocket is easy. For the silent performer a direct load from a clip would be better.Withthefake in therighthand palm, the operator commences to fold the paper, and it should so be folded thatnotmorethanone thickness of papershallbe between the magnet polesandthe rim of the glass (illustrationshows the relative position of themagnets ; the lie is importantin the final phase). With the fake inside thepaper is momentarily placed down, the silk is removed from the pocket and placed inside the glass. The latter is now picked up by the right hand and placed on the palm of the left. The right hand nowpicks up the newspaper at the non-magnet end, and bringing the oppositeendagainst the glass, positionsit so thatthe necessary pull is felt. The left hand is nowtaken awayleaving the glass suspended as in illustration I . The silk is now removed by the lefthandanddrapedover the mouth of the glass, the latter being removed and the paper being placed over the silk and glass. The paper is thenturned so that the glass assumes a horizontal position with the bottom of it facing the audience. The operator is at this point standing left side to the spectators. H e passes the paper from his right hand to the left, andwiththerighthand takes the silk andgently pulls it upward, leaving the glass still in a horizontal
position (photograph 3). (Justonepointhere : it is advisable to have one side on the silk unhemmed ; this sideshould be so arrangedthatitis the side which has to pass across the mouth of the tumbler. -4 test will show that the undulations caused by the hemmingcansometimes loosen the glass, causing it to fall.) The paper is now turned, the glass being restored to a vertical position, the paper is changed to the right hand, the glass being lowered on to the left. slight pressure on the glass, plus a see-saw motion with the paper, will free the magnets and leave the glass on the hand. T o the audience you have simply placed the glass on the hand. The silk is now placed within the glass and one corner allowed todrape over the edge. The paper isnowpicked up, but the manner of holding it should be such that a convex surface is presented to the mouth of the glass (see illustration)and also thattheprotruding end of the silk does not lie between the rim of the glass and magnet poles. If the paper is now moved so that the glass assumesa horizontalposition this convexity cannot be seen. It is in this position that the silk is pulled clear from the glass ; the space between the paper and the rim of the glass gives no ,obstruction whatsoever. There is just oneother importantpoint. It will be foundthat the two magnets are comparatively heavy. Therefore to stop the paper from becomingfloppy and bending, theoperatormust so arrange his gripthatthis is avoided. Handling of the paper itself is the best experience. If the operatoradopts the fakednewspapermethod he can, of course, stiffen the paper, making the job one hundred per cent. easier. Here are two othersuggestions : ( I ) The magnets can be inatwenty cigarette-packet. The operator removes a cigarette and closes the packet, lights the cigaretteand puffs some smoke intothetumbler. T h e latter is now placed mouth towards the cigarette packet where it performs its anti-gravity effect. AA1lthe other effects can be tried using the packet as amagnetcarrier. (2) The magnets couldbe built intoa stack of playing cards. This stackcould so be made that by pivotingatonecorner, the stack in conjunctionwith the rest of the deck,couldbe fannedand the routine carried through.
85
aame6. B !
S
4
v
U
m
yt
P
t
a
v
t
i
R
yt
T o those who have worked the “ Sympathetic Silks ” to ‘ death,’ and are in need of something different, the following routine with three silks u 3 l pro\-idearefreshing change. The effect is as follows : The performer shows three silks about eighteen-inches squareand of contrastingcolours,andtiesasingleknot atthe centre of each one. He drops them singly into an operahat, leaving theends in full view. He asks aspectator to choose a colour (that is one of the silks). He removes the spectator’s choice and hands the knotted silk to him. Patteringaboutthe sympathy existing between the silks, hethen asks the spectator to untie the knot in the silk he is holding. This done the performer slowly removes each silk by the ends from the hat with forefinger and thumb, and shows thattheknots in them have vanished in sympathy. Therequirements are three silks of different colours at least eighteen-inchessquare,andahat, preferably an operaone. Show thehatempty after springingit open, and show the silks back andfront separately. We will assume the coloursare Red, Blue and Green. Take the blue silk, and twisting it in the usual manner to form a rope, tie a false knot in the centre. This knot is the one which dissolves witha slight pull on the ends. Show the silk by holding itat the top end with the left fingers and thumb. Cover the knot with the right hand as if to tighten it, at the same time doubling the silk in half and secretly unloosening the knot.’ Still holding the silk with the right hand place the silk in the hatwith the centre
v and (as the spectators suppose) the ‘ knot ’ just out of sight. Thus most of the silk is in full view with the ends hanging over the side ofhat. Taking the red silk, simulate the moves in tying the knot, but this time make a real knot. Grasp the centre in a similar manner and place in the hat with the ends in view as before. Takingthe green silk, tie the dissolving knot as in the case of the blue silk and place in hat, to the right of the red one. Thusthethree silks arein the full view of the spectators with the red one in the centre. Ask one of the audience to choose one. The red or centre one is invariably chosen. If so, pick upthe hat showing clearly that you donot touch the silks in any way and allow him to remove it by pulling gently on the ends. Hold the hat high while this is done to avoid any viewof the inside. ilsk him to untie the knot slowly and then show that the remaining silks have untied themselves in sympathy. If any one of the other silks are chosen (say the green), simply pass to another spectator. Ask for a colour and then say to another “ Will you please have the remaining one ? ’’ Pattering about what has been done, turn to the spectator who has the red silk “ choice,” and ask him, “ Now what was the colour of your silk ? ” This question should be put in such a way as if you had forgotten and as if it didn’t matter what colour he had chosen. When the answer is given, proceed as indicated before, the only difference in proceedure being that the other two spectators are allowed to remove their choice themselves. I have found thatthe paradds ticipation of the threespectatorssometimes to theeffect, but eithermethod will be foundpleasing to the audience.
I
I
l
PETER WARLOCK’S
111 single copy, port free l l i - per
“GREENBANKS,” 01
year, port free
... BRAMCOTE,
fm
from your hie
NOTTS.
S6
On the magician’s table rest three “ Penguin ” novels andoneclothbound book (this latter would well be a volume of short stories). The “ Penguins ” areoffered to a spectatorwith a request thathe chooses one. The remainingtwoare replaced on the table and the operator picks up the clothbound book. Another spectator is requested to help. H e is seatedright-ofthe Operato; and is handed-a small scratch pad and a pencil. Two numbers are now requested between I and 10. Supposing seventh that they are seven and five respectively, the spectatorwiththe book is requestedto turnto page seventy-five, count down to line seven and look at the fifth wordinthat line. “ Justputyour finger ‘onthe word and show ittoyour nextdoor neighbour.” . . . “ You would credit hardly but last week a word was similarly and, chosen, believe it or not, the on same page and line his in volume of short word stories, a similar remarks occurred,” one the the Whilst operator. .speaking he has the been thumbing corners of the pages . . . “ Page seventy-five was it, Sir ? Line 7 ? ” . .eleven . I’ll contents the read out of this perhaps line, and as a will check you on write it the holding pad you are ” the (this to spectator the on right). “ had Perhaps you print better large capitals.” . . . The operator slowly the reads out line the from book he is holding, the taking spectator it down. Vi’hen he has finished, the operator the looks at spectator with the book. “ Are we lucky this word repeated in the line from might read week ? . . . Is your this book ? ” The spectator replies in the negative and the magician appears slightly crestfallen. “ In that case there is only one thing for me to try, the that is,” (operator turns to spectator with pad) Some “ providing you are willing to co-operate . . . You \vi11 ? . . . Thank you very much.” The operator and are not goes onto say Are youby anychance psychic ? ” A negative answer is bound to given (an affirmative is only likely to be given by a would-be humourist). “ In that case, Sir, would you mind letting me help thatdormantthe sixth sense by blindfolding you ? . . . You don’t mind ? . . . Excellent.” Herethe operator takes a silk handkerchief and blindfolds the spectator. The latter is then handed back the pencil, whilst the operator refreshes the audience’s mind with his book. T h e scratch appeared in the that line “
“
padis handed tothe blindfolded spectator \v110 is asked to concentrateandthendraw an ellipse on the pad. \Vhen he has donethisthe pencil and padaretakenfromhimand placed momentarily onthe table, the blindfold then being remoj-ed. The pad is picked up and handed back to the spectator who is asked to read outthe letters he has ringed around.He reads out (say) c.0.n.t.e.n.t. . . . “ And now, Sir, what was the fifth word on the line of page seventy-five ? ” The ansum-, as the reader will guess, is “ Content.” The effect may seem involved, but used as intended with small audiences, the action is quicker inactualfactthan it wouldseem fromthe reading. T o the reader who does not wish totooindulge in one preparation, much Pengllin ” novel is recommended. The use of between limit ten and choice of words in the book to eighty-two (this even includes one itself being given. The first be number nil1 and all multiples of are ten This out). is an apparently free choice of and page letter line, and members of the B.3I.S. willit remember in connection with the “ Whispering Joker.” These words are noted and on the corresponding page of the clothbound book the operator pencil writes in a line that contains the same \l-ord broken up. As an example, taking the word “ content ” . . . the line : “ cried ‘ Garcon.’ Ten tired men mozqed their heads as one.” The circling on the “ con ” in “ Garcon,” the word “ ten ” and “ t ” in “ tired ” provide the u-ord. words are difficult, especially should there be only a matter of two or three letters capable of being accommodated in a largerword.Anexample of this is Mrs.”and a suggestion for this to get the word “ misses ” with such words : “ in Islam is sessional, but neeertheless, etc.” The ringing of the “ m ” is “ Islam,” word “ is ” and “ ses ” of “ sessional ” giving the required word. With the clothbound book pencilled (if the reader decides on using three books, two courses are open to him : the first is to pencil three lines to genuinely cover the three books, or, alternatively, to have three similar books with “
“
continued on pn
S7
Here is a cardmystery n-ithanunprepared pack, suitable for afterdinner 01’ “ at the card fairly shuffled, table ’’ purposes. The cardsare and a spectator is asked to choose onementallyas theyarerunthrough in front of his eyes. The pack is now dividedintothree packets, .and the spectator is asked to guess I\-hich one contains hiscard.One of the unchosen packets is then discarded,and the process is repeated again and again untilonecard only remains. The spectator turns over this card, and itis the one that heoriginally chose mentally. Method. After having had thecards fairly shuffled and cut, hold them so that the bottom card faces the audience,and the rest are flush with the pack. Run through them slon-ly in front of a -spectator, asking him to choose one of the cards that he sees, andto tell you when he hasseenenough from which to make hismental selection. It is as well to add that he must not tell you to stop at the .selected card, as this wouldmake thingstoo easy for you. \Yhen this is done, secretly mark the place wherehe told you tostop w-ith yourlittle finger. Place the cards behind your back “ to avoid any suspicion.” Call attention tothe fact that at no time willyou see the faces of the cards. ,Make up a small packet of about ten cards with one of those viewed fourthfromthetop.Givethisto the spectator, and ask himto tellyou whether his card is init.Whilsthe is looking throughthis packet,prepareanotherin case hiscard is notin the first, and continue until he finds his card. Then place this packet onthetop of the pack, andput thetop twocards in the middle. This leaves the mentally chosen cardsecondfrom the top. The packcannow bebroughtfrombehindyour back, and given a thorough false shuffle.Hold upthe top cardand ask \\-hether this is the chosen card. Then show thebottomcard.On beingassured that neither is his card, say that it must therefore be mixed up in the pack well and truly. This falsehood is astonishingly convincing,forsome reason not known to me. Now divide the pack intothrec approximatelyequal packets, and place themon a
table. Ask him to guess which one contains his card. Take away one of the unchosen ones, takingcare thatit doesnot contain the chosen card.Spread the cardsinthis packet face uponthe tableand ask himwhether his card is there. (It won’t be !) Continue again and again, taking carenotto put the top, or key packet, in the same place every time you lay down the three packets-to avoid any suspicion-until only half a dozen or so cards remain. Now place the chosen card all by itself as the centre packet. It is my experience that more oftenthannot this card is chosen,in whichcase your trick is finished so far asyou are concerned. If it is notchosen,continueas before until there are three cards only left. If the chosen card is not guessed correctly, so well and good. If not, do not despair. Continue again and you will be left with two cards. It is now a fifty-fifty chance that he will guess correctly. If he does not,then you want to cancel any fortuitous undertakings that you may have embarked upon that day ! However,thingsarenot so bad really, for you must quickly throw away the card he has chosen, and loudly ask thename of his card. The climax that follows completely detracts from this slight failure. And now for the climax.You have got him to guess his cardthat he has previously mentally chosen. Say that asall the cardsexceptthis last remainingone have been turned over, and have notappeared,thenthis last onemustbe his card. Appear unwilling to turn it over toproveyour words. The audience always leap to the conclusion that you have managed to get rid of his card by “ sleight of hand,’’ which is the key-word for black equals white with most people. N o w get the spectatortoannounce the name of his card. This brings the rest of thepartyintothe trick. So far they have notparticipated very much,and it has been rather a two-man shon-. Again, gettinghim to announce his card avoids that awful anti-climax \\.hen a spectator says he cannot remember his card, but thinks you areright. SOW ask himto turn over the card himself for all and sundry to see, and try notto look too pleased withyourself!
This is a very pri\xte party to \vhich the reader is invited to play the role of a listener,for it is jvritten in dialogue. The \+*riterstouch on many phases of conjuring and conjurers.Anumber of tricks areintroducedanddescribed. All sound practical, butthe prize must go to a close-up effectwhich Mr. Stickland says\vasLvorkedby a German-JeLvish conjurer,Frankoni.Some of the ideas and advice put forwardare good andtheresultof long experience, but we are certainly not in agreement \vith Mr. Stickland’s opinion that the magician Lvhose act does not produce laughs should try his hand at making a living by other means. There is also anexampleof loose-thinking offered by Mr. Wilson on Mental llagic. After com-
menting on the fact that mental eflccts \vi11 never take the place of p z t w and siwlpllj conj14~in~q (the italics are ours’) he attempts to prove his point by stiying hoxv an audience aged from 14-16 failed to appreciate a mental effect. In point of fact it \vas a pseudo-spiritualistic trick. Apart from these points the book has much to commend it, and \vhilst thc sleight of handexpert \vi11 not find any exercises for dexterity there is something for most The authorsareto be congratulated on a pioneer venture. Mr. Victor Farelli writes a most interesting Preface (\ye thought ho\v apposite was his quotationof Holmes). For the originality of conception \ve think this merits four stars and it carries our recommendation.
*****
***
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
(Five
*****“SLEIGHT OF HAND ‘I Ednein T. Sarhr (fourth edition) published b. the Flemmg Book Co., Bwkrley Heights, New Jersey, U.S.A. price five dollars). We must first of all comment on the physical aspect of this work. It is much easier on the eye than first, second or third editions. T h e binding is good and has a heavy linen finish. it carries four hundred pages. There are B total of over one hundred and thirty linedrawings. Aftera reproduction of Edwin Sachs’s Preface tothe is a Preface to thirdeditionthere this edition by the Editor, Mr. Paul Fleming. In hisshortcontribution Mr. Fleming introduces some interEdrrin T.Sarhr estingpoints,among them being the scarcity of Dictulres of Sachq. There are i w o parts to the hook, the first dealing with Drawing Room Magic and the second with Stage Magic. Dealing with that pan devoted to Drawing Room Magic, it is an interesting thing for the student to make comparisons with Hoffman’s Modern Magic ’’ ( for whilst both authors deal with similar effects,their approach is different, an approach making one believe that Sachs had more experience as a performer). Altogether in this section Sachs covers effects with coins, common objects (here are included the flying pieces of paper on knife, the animated penknife, and the Cut and Restored Thread. (Whilst there is an editorial we footnote suggesting thatstring is betterthanthread, know of one performer who presents a miracle uring the original method), the Cups and Balls, Handkerchief tricks, Chinese tricks (this section contains the Chinese mart.!e trick, a version of uhich some of our readers may hare seen Mr. Max Andrews perform, and the Buttertly trick. Why this latter effecthas fallen into disuse we cannotthink. Old nlrmhers of the Magic Circle may remember William Dawker making afeature of it some years ago), tricks at the table and tricks with cards. Prcfacing the part dealing with Stage Magic, there are some remarks, which though made by one who never followed the stage as a profession, shows a deep understanding of what should constitute a stage act. Speaking of styles in magic the following is worthy of quotation : “ The worst possible style to adopt is that which impresses the audience with the idea that conjuring is nothing hut a mere cheatB svindle from beginning to end.” Stage magic corers (If is a large field and all the classics arerepresented. interesting to note that to-day five such effects with detatled routining easily form a book of some hundred odd qages.) Some effects have gained little inthe course of time. The Sto+ Egg trick with its American onomatopoeic name of Kling Klang ” is an example. The last two chapters but one of this sectjon are devoted to c‘ Sham Mesmerism and Clairvoyance and “Some up-to-date tricks.” The former gives the original version of the Flap Slate(it is of interestthatthroughout Hoffman’s works, tricks with slates are entirelyabsent), and the Animated Skull. Inthe “ Trick ” chapter the back and front palm (which at the time of publication of the third edition was some thing of a novelty) i6 one of the sleights described. T h e author completes his work with “ Final Instructions.” W e could well recommend to some modem performers the beginning of the last sentence but one. It reads : ” Do not perform longer than fortyfive or fifty minutes at a stretch 3’0 conjurer who respects his art should be without this book. Unresewedls recommended.
*
.
The Foreword is by Mr. S. H.Sharpe and in this hetackles, among other things, the misuse ofthe word ’’ trick.” We are fully in agreement with him on this point. This is followed by a short address to the reader by Mr. Hall. The Book is then divided into two main parts. The first deals with Card and Mental Magic, and the following effects appear (unless otherwise stated they are by Mr. Hall himself): ‘‘ Mind Poreer by Proxy ‘ I by Capt. Leslie May. This is a good tion of a pseudo mind-reading effect. I t is entirely’ self-working. ” S t a g e Trl”phonrTelepafh?.” This i t a fair book test. At the conclusion Mr. Hall writes: I have tried many clahorate book tests. but I always come back to this. one.” We do not know whether the author means elaborate in preparation or in presentation,hut we think that his method of forcing the use of so many pages both something nearer to the elaborate and. 10 the snmator, -r--.conjurerthan the mentalist. A Simultaneotm Coinridmce ” by Thomas M. Harris. A card coincidence effect that is excellent. ‘’ Thp Thror? of Relafiwify.” This is a good presentation based on a mathematical principle. Inromprehmsible Prediction ” !,““is by Histcd. An effect based on one of Arthur Buckley S. Mr. Histed adds a very cunning twist. ‘‘ Location.TranspositionandTransformation.” This. is re-printed from Abracadabra Summer Special 1946.” ‘’ TheTornandRestored C a r d ” by Judge E.H.C. Wethered. An outstandin(. contrihution to the literature of this particular effect. It singles itself out because of its. logical conclusion. ‘*Two Intpossiblr Card Dircovrries.” These are re-printedfrom the Abracadabra Xmas Special, 1946.” ‘‘ I n the Middle.” A sood card effect, but we wonder whether the introduction of single-hand flourishes will enhance the effect. A display of digital dexterity tends to discount a later display of subtlety. Part Two is concerned with presentation and patter and concerns itself with aroutine comprising Hulls’ ’’ D.T. ” cards, the Chinese sticks and a cut and restored rope routine. Whilst Mr. Hall makes no claims for originalityof eitherpatteroreffect we think that creditmight have been given to Reilly, whose ‘‘ Chow Coon ” patter and rope routine obviously inspired the ‘‘ Chow King ” story. It is asoundroutine and the magician is able to commence and finish his act without the setting or removal of any more apparation than the Chinese sticks. With a few alternative suggestions for this routine the book comes to final cadence. A readable book with all tested effects it is unreservedly rwommmd?d. ~
~
~~
.
~~
il
12/6).
. . . . . . . . . . . .
. . .” t
****“READING IS BELIEVING ’’ b. T r m . ~ H . Hall(published by Goodliffe,price 12/6). This book of just over one hundred pages is printed on fair quality paper, the binding is adequate and carries a spine title.
~~
llilliam G . Stkklnnd
t
This is written to the sound of waves lapping the shore ; it makes us think what a terrific effect King Knut might have obtained had he had a tide timetable ! This number brings us to the end of our first volume, andour first thought is tothankboth subscribersandcontributors.Normust we forget our Printer, who has had to cope with many difficulties .during the past twelve months. The index for Volume \One will be available inOctober. To those who have madeenquiriesregarding the Siamese cat on the cover of our last issue, we wouldanswerthathe is “ Jinx ” ; his father is registered as “ Trigon ” and his mother as “ Queen Bamboozle ” (a very suitabletie-upfor a magical cat !). Those who have visited “ Greenbanks ” know all about him and his magic chain.
Maurice Fogel continues to steal the show wherever he goes. Evenwithpresentdaypaper shortage the local newspapers are splashing headlines on him. His act is a real show-stopper. Hisspot is to close the first half. Duringand after the interval the audience are still wondering and talking aboutthisoutstanding act. Those interested in quality apparatus would be well advised toget a copy of Burtini’s catalogue. There aresome very attractive items. The student of thefuture is going to have a somewhat difficult job tracing the cource of certain effects. Asanexample : ten years ago we read of a very nice idea for getting a message on a piece of WORD
SENSE
- continued from
markedcardboard. Now we find the sameidea published in a recent issue of the Genii. In a recent issue we reviewed Ronald Crabtree’s “ Sixth Sense.” Later we foundthat this was copied almost in toto from a manuscript of TeralGarratt.We wrote Mr.Crabtreeand found that the ms. had been supplied to himandhe had been misled by a third party. Card workers shouldonnoaccount miss Dai Vernon’s “ 1-2-3 ” in Phoenix No. 130. Despite the rumours that have been circulating we do not think Dunninger will behere this year. If he is coming we shall be the first to hear it, even if (throughour being a monthlypublication) we are not the first to publish it. Someone has mooted the idea of forming a smallorchestracomposed of musical members of the British Ring. The idea is thattheyshould playfor the big show at the SouthseaConvention. T h e proposal is pointless as ( I ) the said orchestra cannot get ,the band partsin advance ; (2) the person whomattersmost is a conductor used to variety work. An amateurseldom knowshow muchthe “ eleven o’clock band-call ” means to the professional performer. Immediate future effects for publication include “ IYho’ll Bell the Cat ” (this will be in the October number) ; “ Wide Boy’sAces ” ; *‘ MoneyGoes like Water ” ; and “ Enchanted Petals 11.”
a children’s effect,
pagc (36
different covers) a nail writer, a pencil that will write, a pencil with a dummy tip, a scratch pad and a silk handkerchief, the operator is ready for the . . . Presentation. The “ Penguin ” book is selected andthenumber of page chosen. IVhilst this is beingdonetheoperatorobtains possession of the nail writer and gets it in position on the left thumb. T h e second helper comes forward, is seated on the chair,andhandedthepadandordinary pencil. T h e spectator with the book finds his word, and the operator looks at the similarly numbered page in his book and reads out thepencilled line to thespectator, who takes it down. Oneimportant pointwhich must not be overlooked is that the wordsfrom which theresultantwordis assembledmustcome near the beginning, otherwise there may be a splitting of lines. ‘The spectatorwith the “ Penguin ” book is asked -whetherhiswordappearsin thewritten line. On receiving a negative, the operator takes the pad and pencilfrom the writingspectator and rests them on the table, then picking up the silk and addressing his remarks regarding the spectator’s willingness to
continue. On receiving assent, the spectator is blindfolded. The pad is picked upand also the dummy pencil. Holdingthe pad withbothhands the operatorreads out oncemore Ivhat has been lvritten. As he does so his left handthumb-rings in an ellipse the letters necessary to form the word. There is no need for hurry. The pad is then placed inthe blindfoldedspectator’s left hand,the pencil being placed in the right. The hands of the spectator shouldbe raised by the operator so thatbothart out of sight of a possible accidental downward glimpse. The spectator is nowasked to draw the elongated circle and \Then hehas finish drawing just nothing the operator says “ Thank you ” and takes the pad and pencil. The former is placed on the table whilst the latter is retained in the hands as the operator removes the blindfold. Both handkerchief and pencil arethen placed ontable behindthe pad. The pad is handed back and the spectator asked to read outthe lettersthatare ringed . . . the spectator with the “ Penguin ” book is asked to give the word he chose. Both words agree!
PENDING
AMERICA I
ARRIVAL FROM URGENTLY
REQUIRE SIX NELSOIV'S U . P . CLIP BOARDS.
_II'RITE, 'P€10A\7E O H Ti-IRE
"
P E T E 1R1 ' A R L O C K GREENBANKS," BRAMCOTE, Beeston 5 5 7 4 1
CONJC:RING
BOOKS
FOR
XSOTTS.
SALE
OLD AND NEW. Letmeknowyourwants LIST FREE FOR STAMPED ENVELOPE .Yo cdlers-----
GEORGE JENNESS Inverness Avenue, Enfield, Illitidlesex
47
YIIILLBNE'S
YIIIZARDHY
T o u all kno\\- the author's yaudevi!le act. This book contains all the publicit>- and stunt items he does outsile his act. If you arc: a conjure1 iookinr! for you can take advanced magic it or lenve it. \\'hell lhuglah C'raggs saw it, hesaid :-It's the best collectioil of whrezes und tricky ideas I htrcc ecer seenworth mnny finres its ,price lo f u r y professiontll prrformer. ( S
Price 21'6 ARCAS
Postage 3d. LIMITED
404/6 SYDENHAM ROAD, CROYDON
If you like good comedy magicJ'OU
MilkShrink "t h shrinking glass of milk2216 postfree
w i l l like
"
ZAHAREE (Geoff.R . Hursell) 16 & 18 M'atts' P l x e CHATHAM, KENT
MAGICIANS' BOOKBINDING SERVICE Send stamp for booklet giving full details of our :: binding service :: C. FIELD 42 Alderson Road, Sheffield 2
THE MAGIC CIRCLE
MASQUE A printed magazine giving details of our latest releasesin exclusivemagicaleffects. Issued free. If you are not on our mailing list, write now.
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRl MMC.,
DE'SEEVAH
EMS.,
IBhr.,
SSMC
The FriendI.v Magician invites all Bona Iide Mayicians to send for his list of new and used apparatus and books, or call a t his studl,?:l CLARENCE ROAD, Harborne, Birmingham 17
MAGICAL BOOKS, ETC. Available on Loan Comprehensive Lists for 3d. stamp. Also new and secondhand books for sale. F. ROBINSON, Magician, Stathern, Meltnn Mowbray, Leics.
I'rt.sLC.rrf : His Grace the Dukeof Somerset 1)..5.0.,O.Il.b;.,IJ'., D.I-., kI.I..4,I.C. l . t c t - P r t s z h r / : Douglas Craggs, Esq. JI.I.Al.C. C'[rrbr.oo~nurrd Lihrary and Mltsctrrn :
St.Ermin'sHotel, Caxton Street, S.W.1. .IIagiztrl 'I'heutre:
King George's Hall,
W.C.
Pitrticrrlitrs from Hon. Secretary :
Francis White Alverstone Avenue, Wimbledon Park, S.W.19 39
INSTITUTE of MAGICIANS Founded 1934 President : A. Zomah. Hon Sec . OscarOswald 102 ElmsteadAveWembley P a r i Middx H . Q . and Librur;): No. 2 H a dC o u i (Victory Club) High Holborn W C THURSDAY i-11'd.m. MEETING EVE$Y VlsltmgMaglclansalwayswelcome. l'ortv membership cordially invited-drop Hon. Sec. for literature. a line tothe
JAMES
GRAYSON
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. T e l t f h n e or Telegram : MORLEYl899 Address :23 GREENFIELD AVENUE GILDERSOME Nr. LEEDS LYrarl!. 30 years'in the business
CARDS
. ..
..
Super Speller .. Thread in the N a z e (telephone test) Prelude to Coincido (double lift) Duo Coincido.. .. Mark of the Reader . . .. Double I. ift Plus .. .. Nonsuch Card Prediction .. Invisible Flight .. .. Trick with a Punch .. .. Split Fan Pass .. Western 1-2-4-8 (telephone test) Paint Brush ColourChange .. Climax Prediction .. .. Twins of Trigon .. .. Magical Suggestion . . ..
CIGARETTES Cig-Repeat . . Cig-Flower . .
..
.. .. .. .. ..
.. ..
..
..
..
4
..
61
COINS .
..
..
.. ..
. . 16 24
..
..
.. ..
.. ....
Aerial Treasury .. Money Melted Currency Crumple Coin
21 62 76
CHEMICAL. So you Don’t like Chemicals !
tlml
..
..
78
Cords).
Your Fate in a Teacup .... Genii in Calendar the .. .. News Spirit Conference Footnote toSpirit N a y s Conference .. The Mystery of Ga-Oh Arcana .. .. .. .. .. .. Prevhue
1 . . 365 22 .. 27 29 .. 30 .. 38 .. 46 ..
..
Arrowsmith. T h e Rev . G . E . Belcher. 1, . A. .. Blake. George .. Brearley. John .. Brown. Edward G . . . Bruce. J . F. (the late) Buckingham. Geoffrcy Burrows. Ken .. . . .. Collier. Claude Collins. Stanley .. Douglas. James .. Ervin. Dr . 13. G . (the late) Francis. Douglas .. Gayton. Iieg ... .. .. Harbin. Iiobert .. Harrison. Charles .. Francis Haxton.
. .
.. .. ..
.. .. ..
.. ..
..
.. ..
.. .24 . 16
..
..
..
15 62
..
. . 36
.. ..
..
45 9
..
..
..
..
..
.. ..
..
..
54 55 71 86
Porous Glass (silk penetiation) . . Symsilk .. .. .. Silk Filter (silk penetration) .. L’ntying Sympathy .. ..
.. .. .. ..
10 35 69 85
..
37
..
45
.. ..
23 31
S
..
.
SILKS
*.
.
THIMBLES . Chameleon Thimbles
..
..
LIQUIDS .
..
!
..
SLATES. Four-a-Side . . Insto Transpo Slates
..
PAPER AND Tissue Paper Monte “ \Velcome ’’ Re-covery .. ..
..
..
.. ..
MAGAZINES
..
..
..
.
..
5 61
.. ..
-I
//
MISCELLANEOUS .
MENTAL AND PSYCHIC. (Othr
..
Scotch aHave
.
..
..
8 9 9 30 36 47 48 51 63 67 70 70 75 87
..
”
I‘
3
.. .. .. .. ..
..
And yet another Book ‘rest Slates of Mecate .. Dark the Sense in .. \l’ord Sense . .
7
1.335
..
..
51 46 3 59 79 22
48 38 70 77 85 31 37 70 86 21 17 47
Chains (linking effect) .. LamDs .. . .. .. Silvehown Express (children’s effect) Travel Ring . . .. .. Dill and the I. emon . . .. Robbers and Sheep (children’s effect) ” (calendar efiect) .. You Can’t \Vrong be ! .. T h e Penetrating Tumbler .. Adhesive Glass .. Editorial .. . . 1 i i 19 Magic-Go-Round . . 49 57 65
Holden. Max . . James. Stewart Jonson. \Vilfrid Kenyon. John. . Ixwis.Eric . . May. Capt., Leslie Meyer. Orville Morrison. Jack Peacock. Victor Sellers. Tom Sharpe. S. I4 . Tan Hock. Chuan Tebbett. Cecil Tyler. \Vilfred Vernon. Harry \\’arlock. Peter
.. .. ..
.. .. ..
..
.. ..
.. .... ..
.. ..
1’‘8 61
..
.. .. .. ..
..
.. .. ..
..
7 13 14 17 31
..
43
..
53 59 79
.. .. 41 31 73 89 81
.. ..
33 30
..
87 29
..
..
..
.. .. .. ..
.. ..
..
9 1 0 14 69 76 75 71
54
..
.. ..
..
10
..
..
..
X3
is
..
5 39 10
2; 31X3
30 31 67 5 3 63 61 4 14 78 43 86
ZeuieCcr& Three / Four Star :
Five Star :
..
A Conjuring Melange without hlagic Apparatus Our Magic .. Sleight Mand of ..
.. ..
..
56 64 72 88
..
..
..
Abracadabra Summer Special, 1947
Three Star
Four Star : But Not to Play . . .. .. Card Fan-Tasics . . .. .. Card Tricks without Skill . . .. Convincing Coin nIagic .. .. Expert hlanipulation of Playing Cards First Book l\’ilIiam of .. .. Party the Join .. .. .. Rlanual of Juggling .. .. Neo Rlagic .. .. .. Reading Believing is .. .. RingsYour in Fingers .. ..
..
80
.. .. .. ..
33 11 33 25 18 18
:
Abracadabra Xmas Special, 1946 Be Deceived .. .. I Io\v t o do the cups allcl Balls .. I low to do Juggling .. Ilo\v to Pick Pockets Intuitional Sight .. .. Modern Sleights .. .. Simply \Vizarc1 . . .. Slow Sleights .. .. .. ‘I‘humbs Up .. ‘li. N. T. .. .. \\‘atcl1 me Closely ! ..
l8
413 25 18
48 40 813 56 33 88 25
..
.. ..
..
11 11 11
.. *.
33 11
..
..
11
Page
7
11
1
read “
“
Standard ”
otherthe fan is split(see illustration) the bottom card of the second packet now becoming thebottomcard of both packets. ‘l’his can be . . .”
for
stand.” left ” for
right.”
9
33
2
read
39
13
2
from bottom read for “ feeling.”
53
4
1
frombottom “ 5.”
63
17
1
betzueetr “ hand ” and “ accomplished ” read “ T h e next p?cket is picked up, fanned and in the action of placing this packet ontop of the
“
“
“
read
thought
“
”
63
3
2
from bottom rend for “ Hondin.”
64
12
2
from bottom (irr s o m copies o r ~ h )r e d “ I-Ioudin ” for “ Moudini.”
79
Y
1
read
6 ” for
“
I-Ioudin ”
’
“
the ” for
“
thr.”
I
PENTAGRAM
An
independent monthly bulletin
vue.2 [email protected]
Odd&,
This effect, designed for children, is based “ T h e Mice in Counsel.’’ on a fable ofAesop’s, T h e effectwill be given briefly, followed by the modus operandi. T h e presentation will then give a story outline with the accompanying actions. There is plenty of scope for individualpresentation. The Effect. It is the story of a magic mouse who undertakes to tie around a cat’s neck a piece of ribbon to which is attach4 a bell ; the latter is to give the mice warning of the cat’s approach. T h e cat is representedby a plywood cut-out,and the mouse (wooden too !) is takenfromhis house, the door of which is closed. Against the cat a pieceof cardboard is rested. Mouse,ribbonand bell then vanish. T h e ribbonand bell arefound fastenedaround the cat’s neck, whilst the mouse is discovered back in his house. Requirements. A wooden mouse modelled in themanner of a Bonus Genius. I t should have can standupright. a fairly good base so thatit (One of Burtini’s “ Wandering Willie’s ” suitably altered is ideal.) A duplicate of thismouse, but made of thinner wood. The usual Bonus Genius cloak, but embroideredto looklike a conventional magician’s cloak. Three silver bells, onethat will ring and tlvo that will not ; two lengths of wide silk ribbon,an eclipse magnet, a small piece of tinto act as a ‘ keeper,’ a house for the mouse, a plywood cut-out of a cat, a silk handkerchief, a small box, and some cardboard. will The mouse’s house is illdstrated,andit be seen that it consists very simply of a sentry box jvithout back or top ; the door slides within grooves and can be lifted to reveal the mouse standing there. It n-ill be seen that if the two mice arestoodone in front of the other, one can be lifted zcith and b e h i d the slide, revealing the other. In the cut-out of the cat a pcrtion is cut away at the neck (see illustration) and the eclipse magnet wedged in position. The back andfront of the cut-outare now covered with blackvelvet or fine felt, suitable touches being made to give an appearance of a cat’s face (don’t forget the whiskers !)
for all who want good magic
1947
9 ?one S W 4
One pieceof ribbon isnow tied into a large bow, one of the dummy bells attached, and to one side is sewn the small plate of tin (see illustration). T h e reader having got so far, will now see how the ribbonappearstobe tied round the cat’s neck, for he has only to take this bow and hold it about a quarter of an inch away from the magnet,and presto ! . . . itappearstobesecurely tied. One other thing is needed, and that is a square of cardboard. It should be large enough to cover the cat-all but hisears. Atthemiddle of oneside is hinged a small pieceof card (see ilhstration) and to the latter is fixed a long needle (the best way to do this is to solder the needle to a piece of metal and fasten the latter to the card by means of small rivets or paper fasteners), thesharpenedend protruding. If this needle is pushed through the barrel of the knot in the silkbow, the latter lvill with stay put, at the same time it canberemoved slight pressure. The needle should be so placed that nhen the flap to which it is attached is folded bo\v attached (as in against the board andthe illustration) the metal plate on the bowis opposite the magnet.
2
WHO’LL BELL T H E CAT ?
- continued from page
I
Preparation. The cat drapedwitha silk, is placed onone table, whilst the mouse’s house is placed on another ; this is set as mentioned before. I n front of the house lies the cloak, and nearby is the small box (the bottom of this should be padded with a folded silk) in which is placed the bell that rings, the other dummy bell and the piece of ribbon neatly folded. The piece of card with the folded flap should be near the cat and it can be placed in table morethan one way. If the performerhasa drape of sufficient length the card can be flat on the table, with the hinged flap at right angles at the back of the table. Alternatively it can rest in an upright position against a chair back. The reader will determinewhat is, tohim,the best way. Set like this the conjurer is ready for the . . . Presentation. “ Once upon atime there was a big family of mice who were being constantly worried by a cat . . . This is the cat ” (silk removed from cat cut-out). “ You can see how fierce he looks ! Things got so bad that one day an old mouse called them together and told them how they could never be surprised by the cat . . . ‘ I t is easy,’ he said. ‘ All that we need do is to tie this little bell ’ (real bell is picked upfrom box and rattled) ‘ toour enemy’s neck.’ The mice all applauded and were just going to sing ‘ For he’s a jolly good fellow,’ when one little mouse spoke up and said ‘ but who is going to undertake this perilous task ? ’ There was a silence, and then . . . ‘ what about Mickini ! ’ Now Mickini was a magician. ! ” (Performer raises the door of the Hereheis housewithhis left hand, taking up with the slide the duplicate mouse. The right hand removes the Bonus Genius mouse, the slide is lowered and the duplicatemouse left in place ready forthe finish.) “ So all the mice said ‘ Good old Mickini,’ andthenthey gave him three cheers, the bell ” (bell is picked up andrattled again) “ andthe length of ribbon ” (bell is replaced andribbon picked upand shown). “ They all went away and Mickini was left feeling very glum. Well, he thought,andhethought,and he thought,and he ‘ Eureka ’ . . . the magic cloak.” thought.Then (The cloak is picked up and shown.) “ Now this is whathappened. First of allwe’ll imagine thatit is midnight and for a few moments the cat is asleep.”
(Square of card is picked up and placed in front of cat, care being taken that the bow falls against the neck part.) “ Very, very, quietly Mickini put on his cloak ” (mouse is placed inside cloak) “ then he asked another mouse to hand him as quickly as possible the bell ” (hereperformer palms out of the body of the mouse as he reaches into the box for the dummy bell ; the former is left in the box and thebell carried up to the cloak, placed underneath and finger-palmed) “ and the ribbon ” (the hand comes out with the bell, drops it into the box and picks upthe ribbon. The emphasis on speed by the mouse makes perfect misdirection for the sequence of these movements.) “ But before he took the ribbon he asked him to fold it.” (Conjurer with ribbon in his hand, makes it into a small parcel, which is put under the cloak and into the pocket.) “ Then he asked all the mice to chant with him the magic spell. Now we can’t have all the mice here tonight, so ” (tothe children) “ willyou pretend to be mice ? Now listen carefully, this is the spell they chanted : ‘ Hocus pocus, cat’s away, Hocus pocus, mice at play. Wave a wand and chant this rhyme, The midnight hour is just the time.’ “ Then suddenly, like this, Mickini disappeared, and his cloak was lying on the ground . . . empty ! ” (Conjurer shows cloak inside and out.) “ The mice started chattering and then stopped, for in the distancethey could hear the tinkling of a bell ! They looked round a corner and there was the cat, now awake, with the bell andribbonaround his neck.” (Conjurer slowly lifts cardboard, the needle leaving the bow and coming away. If the reader has any qualms that the pull of the needle may be stronger than the magnet, the free hand can easily go behind the card, the fingers steadying the bow.) “ AS they looked they thought but where is Mickini ? Buttheir thoughts turnedto a loud ‘ hip,hip, hooray,’ when they saw the door of Mickini’s house open and the magician was back safely once more ! ” (Conjurer lifts door showing the duplicate mouse). All manufacturing and selling rights reserved byPeterWarlock. Picture of cat on page I reproduced by permission of “ Tibs.”
The discovery of a chosen card from a borrowed packby amediumsituated inanother room is a popular mental effect to judge by the spate of tricks thatthe idea has called into being. First came ” (a Scalbert’s “ Mystery of the SeventhCard masterpiece of easy, foolproof deception), followed by Hamlyn’s “ Mystery of the Sixth Card,” promptly capped by Scalbert again ina further “ Mystery of the’Fifth Card.” Then Billy McComb shows to the magicians at Cheltenham his spoof “ Mystery of the Second Card,’’ and so it goes on !
pective colours : the red go into the coat pocket on the left hand side, the grey into the trouser pocket (left), the blue intotrouser pocket (right), and the yellow into coat pocket (right). Red for Clubs, grey for Hearts, blue for Spades,and yellow for Diamonds. Hence one glance at the colour of the elastic band that holds the cardstogether will reveal to the medium the suit of the selected card.
But why should the mentalist confine himself to an arbitary number of cards ? Would itnot be much more convincing as an example of telepathy if he could say to his assistant, ‘(Takeyour own pack and shuffle it : now remove any number of cards you like and spread them face down on the table ; turn over any one of them, this will be your chosen card. The mediumin the adjoining room will tell you what it is, although I do notgo anywhere nearher or have contactwithherin any way.’’ If he then allowed his volunteer assistant to gather up the face-down cards and stack them in any order before conveying them to the medium would it not be less suspicious than the stacking of the cards by the performer in what is obviously anarranged ? Certaidy, and in a order ? Canthisbedone way that is very uncomplicated and easy to master.
Ace denoted by narrow bandaroundcardsfrom side to side (Le,, encircling their width). z denoted by broad band encircling width. 3 denoted by long band encircling width. 4 denoted by narrow band aroundcardsfrom to end (i.e., encircling theirlength). 5 denoted by broad band encircling length. 6 denoted by long band encircling length.
Obviously the performerhas to convey the information to the medium by some sort of code, and the system now to be described is so natural in operation that no suspicions are likely to be aroused even in the mind of the most sceptical. T h e “ dirty work ” is done entirely by an innocent elastic band ! When the obliging assistant has gathered up his cards (and, incidentally, in this wayof presenting the mystery it is more effective to leave the chosen cardamong the others-its position in the packet being immaterial) it is quite natural to hand him an elastic band with the request, ‘( Please square up the cards and then fasten them together with this band,” before he takes themto the medium, who is, of course, in another room. The colour of this elastic band will reveal the suit of the selected cardand itspositionaroundthecards willtellitsdenomination-those are the basic principles employed. Now for the requirements. You mustprovide yourself with twelve elastic bands : four of them are narrow and are coloured respectively red, grey, blue and yellow ; four broad ones coloured in the same way ; and four that are double the length of the narrowones but also coloured red, grey, blue and yellow. They aresorted outintotheir res-
Next as to its value. The following table must be memorized by the performerandmedium,
end
For the next series of cards, seven to King, the elastic bands are repeated as above, only in this case the assistant is asked to reverse the bottomcard of his packet “ so that the medium will not be able to see the face of any card when they are handed to h e r ” ! ! And so :-
7 denoted by narrow band encircling width (bottom card reversed). 8 denoted by broad band encircling width (bottom card reversed). 9 denoted by long band encircling width (bottom card reversed). 10 denoted by narrow band encircling length (bottom card reversed). Knavedenoted by broad band encircling length (bottom card reversed). Queen denoted by long band encircling length (bottom card reversed). King denoted by two bands onearound the ends (lengthway) and one encircling the width. There still remains the Joker to be considered (and if the assistant employs his own pack he may want to puzzle the medium by using it). Forthe Joker noelasticband is used. And so when the cardsarehanded in a squared-up condition to the medium and she sees they are loose, she knows in a flash thatthe Joker has been selected. ’Iliith the above code committed to memory (and owing to its simplicity that shouldnot take long) the working of the “ Mystery of any Card ” is almost automaticand foolproof. The performer shouldstress at the beginning that throughout the
.
. . a slight pause and his sightbehindthechair hand continues along the other side qf the rope xith the stick . . . izz his hand ! Everything can be examinedonce more. I
I
(I
The Requirements. Two sticks as mentioned inthe description. T o go over theend of each stick is a small cap-a red one to go over the greenended stick, and a green cap to go over the end of the red-ended stick. These caps should fit snugly so thatthey will not,whenadded easily, slip of?. ,1 pieceof cord about ten feet long. If a screen is going to be used it must not be too fragile, otherwise there is the danger of it falling forward. The stage should be set with two chairs about eight feet apart (these for the assistants) andwiththetable with screen onit(or chair) slightly tothe rear of and betweenthesetwo chairs. Preparation. The two unprepared sticks are placed on the table together with the length of cord. The two fake ends repose in the inside coat pocket togetherwith a pencil.
Editor’s Note,-This effecthasas itsforebearan effect of the lateEdzcardBagshawe’s.The basic principle is thesame, but M . Giraud hasincreasedthe mystery ten-fold,forwhilstwith the original,abrighf-minded spectatormightplayaroundwithafew rings anda piece of cordandultimatelysolve the mystery, the use of differentcoloured articlesthrows such aspectator o f f the scent.
*
#
*
The Effect. T h e conjurer shows his audience tworound sticks, measuringapproximatelyeight inches long by one inch in diameter (the sticks used by M. Giraud when he demonstrated the effect to me in 1938 had been specially turned from boxwood. Two office rulers cutdowntothe correctlength would serve admirable, but in these days of plastics, lengths of perspex or lucite would bethe idealEditor). A hole half an inchindiameter is drilled through the centre of each rod, and one end of each is coloured tothedepth of an inchwith a distinctive colour (say oneredandonegreen) as in the illustration. T h e sticks are offered forexamination,one is chosenandthreaded on a length of cord,the rope then beingknotted. T h e stick and knot are now draped over a little screen (an opaque chair-back would answer the purpose just aswell) andtheends of the rope held bytwo spectators. T h e remaining stick is now taken and, temporarily relieving one of the spectators of his end of the rope, this stick is threaded on the cord. T h e end of the cord is now handed back tothe spectator. T h e conjurer now explains that he is going to attempt the impossible, namely thathe will take the stick justthreadedand pass itthroughtheobstruction and knot and stick in the centre of the cord. Slowly he moves the stick along the rope and then out of
Presentation, The conjurer first of allasks for the assistance of two spectators. They are seated in the two chairs and then he introduces the two sticks, and hands them to two members of his audiencefor examination. In doing so he places the non-colouredendintotheirhand, suggesting thatthey maylike toautographthem. He reaches into his pocket with his left hand, obtains possession of the two caps and the pencil. He passes the pencil to the right hand and gives to one spectator. \I’hilst the stick is being marked his hands drop to the side, and as he stands looking on his hands meet at the back (this is as a natural position) and the right hand gains possessionof one of the caps, so that he now has one in each hand. As the first spectator finishes, the right hand comes up to take the pencil, and in its journey the colour of the cap is noticed. T h e pencil is handed to the holder of the second stick and the first stick is taken back with the hand thatholds the opposite coloured cap. IYhilst the other spectator is signing his name on the stick it is the easiest thing in the world to adjust the cap over the end of the stick. Whenthe second spectatorhas finished writing, the pencil is taken back and replaced in a pocket. The stick is then taken by its coloured end with the free hand and the cap adjusted. T h e righthand now takes the stick from the left hand, care being taken that during this transfer the coloured end is not seen. Onceboth sticks arein one handit doesn’t matter,for up tillnow youhave given theaudienceno ideaof what you propose to do. T h e two sticks aremomentarily placed on the table and the piece of cord picked up.
5 THE MYSTERY OF ANYCARD
- coutit1uedfronl page
,demonstrationhe will nothandle or even touch any of the cards or be in contact Ivith the medium any (who is under obseryation in another room) in way whatsoever, for this reason the assistant must use his own pack and shuffle it himself, etc. will be readily The routine to be followed grasped if we take oneor tu-o examples :T h e assistant decides to remove tencardsfor theexperiment. He is instructedto lay them face down onthe tableandthen turn overanyone of them, suppose it is the eight of Spades. “ That is your chosen card,” says the performer, “ and the medium will name it to you in a moment by a weird mental process. But first of all I want you to so that even shuffle it amongst the other nine cards you do not know whereit is amongstthem. Then reverse the bottom card, s3 that when you take them to hershe will notbeabletosee the faceof any card,andput this elastic band ” (the performer takes the broadblueonefrom his righttrouser pocket and hands it to him) “ around the cards so ‘holding them tightlytogether. Now take themto the medium and ask her to concentrate and tell v011 whatyourcard is.” On receiving the cards the medium notes first of all the colour of the band : this is blue and tells
“
STICKS THAT PASS IN THE BIGHT
”
3
herthatthe card is aSpade. Sext she looks to see if the bottom card is reversed-it is, this means that its denomination is above six. As the band is around the cards from side to side it must be either the seven, eight, or nine. And because it is a broad banditmustbe the eight. And so themedium announces,aftera little time of mentalstressand strain, “ T h e card you selected was the eight of Spades.”And, of course,she is right ! Suppose thechosen card was the six of Diamonds. The long yellow band would be taken from the right coat pocket, handed to the assistant, who is told to put it round the ends of the cards so holding them firmly together “ in such a way thatthemedium will not be able topeep at any of them.” I n this case (beingin theone to six group)thatbottom card is n:)t reversed. Take one other example.-The cards are handed to the medium andshe sees that there are two elastic bands around them (endways and lengthas the ways) this tells herthat it isaKing,and so she concolour is red this denotesaClub,and fidently asserts “ Your card was the Icing of Clubs.” “ All very simplewhen youknow how,” but that’s just it-your audience won’t know “ how ” : tryitand see for yourself !
- continued from page 4
T h e assistant on the left is asked which colour he would like. According to hisreplythatcoloured stick is picked up from the table and threaded on the cord,aknotthenbeingtied and a reasonable sizebightbeing left (see illustration). T h e loop and stick are now drapedova-the screen or chair (in doing this M. Giraud actually removed the stick from the l o ~ pby px;ina it a l m s th; cord (s3e illustration) as in Bagshawe’s method. This speeded upthe ultimatestage of the effect, but it is not essential at this s t a g ) and the false tip removed and retained in the hand. T h e ends of the rope are now handedtothe respective helpxs.The remaining stick is now picked up, and, whilst telling his audience what he is about to do, the cap in the hand is dropped into a side pocket. T h e remaining stick is now threaded on the cord,carried along,
andasit reaches cover the cap is removed. T h e original stick is carried along the cord,and out of the loop the second stick then being similarly threaded in the loop. Of course if the conjurer will practice getting the first stick out of the loop as he places it behind cover, this part of the presentation is rendered much smoother. T h e original stick is now carried along the ropeandhanded tothe spectator for examination ; the ropewith loop and stick being lifted into full view. Whilst all this has taken rather a while to tell it is all very straight forward. It is an effect that with appropriate dressing will prove suitable to any type of audience. Manufacturing and selling rights m e w e df o r Jules Giraudby Peter Warlock.
6 N E W P E N T A G R A M GRADING.-A maximumaward of Ten (A)-Physical, Make-tip (B)-Quality of M a t e n d (E)-Illustmttonr (FFReadabrlrty (G)-Sincnity . . “ H U G A R D ’ SM A G I CM O N T H L Y W Volumes 1 a n d 2 , Special Book Edition (published b the Fleming Book Company, BerkelqvHeights, NW J ~ l s e ~U’ ,. S . A . , price 5 dollars. This, in common with all other Fleming Publications, m a y be obtainedwithEnglish money €y applicationto Mr. J. Robertson Keene, at 301 N o r m o d Rood,Southall,Middlesex. Hugard’s Monthly has now reached its fifth year of publication. ThroughoutthewholeperiodMr. Hugard has rigidly kept to the objectstated“inhis firsteditorial. He wrote: My object in publishingthissheet is tosetforth fully, clearly and conscientiously the bestthingsin r.?.gic, so that if my readers absorb the instructions and carry them out in practice they will acquire repertoire a Jean H q a r d of good magic that will last a lifetime.” In the two volumes under review there are approximately two hundred effects, sleights, routines and essays. T h e majority of the effects are, as one might well expect, withplayingcards.Whilstsomeitemsareindividual routines of standard effects, there are manynewangles. Outstmdinc in the card catemrvwe should like to mention the followi& :Orville Meyer’s “ World’s Gmztcrt Four Ace Trick.” R.M.Jamiesqy’s “ U p theSleeve.” Fred B y e ’ s S e n d Addition.” Cadet’s Magic Bell.” ‘‘ Double as I do ” (this is attributed to Gerald Kaufgo toMartinGlrdner,who mann,butcreditshould publishedthis effect some six or seven years ago). CoinTrickstoooccupy a prominent place. Apart from the valuable article on“ Sleeving ” by George Starke, we should like to call attention to the following effects :‘‘ TheMeltingCoin ’’ (this is a sdendid routine of B great classic). George Starke’s “ Ghost Coins ’* (a very subtle vanish o f a number of coins). Paul Morris’s “ Clothes Pin (Peg) Magic ” (a novelty anglewith a folding c?”. Harry Bernstein’s Transmutation of M e t a l ” (a routine n i t h a sumrise finish it should aooeal to all lovers .~~~~~~ ofsleightof h & ~ i . h o &ant B close-& cointrick that is different). The restof the volumecoversgeneraleffectsand the Editor and his contributors have given of their best. Here aEain we should like to single out those effects which have appealed to us , : : Ccorge Starke’s Hornszcoggled” (this being an effectwith Americanbillsofvariousvalues, cannotbe duplicatedintheCountry). R. M. Jamieson’s ‘:,The Oracle Steaks ’’ (a slate effect). R. M. Tamieson’s Sbot Sticks (a strikingvariation of the old paddle ” tysk). Ahril Lamarqu:: Rabbit Vanish.” Jean Hugard’s Butterjim.” JeanHugard’s “ Spertorular Flmh Opening.” T h e conjurer who thinks that the future of conjuring lies in theinventionof nmv effectswillalterhis idens after reading this volume. for whilst them are a plethora of new ideas and effects, thosz gwzt tricks that have stayed thelonecoursetake on a new lease asdescribedhere by Mr..’Hugard. It is refreshing to find throughout these two volumes thatmodestyanddignityprevail.Mr. Hu-rd doesnot (as is hecoming so common to-day) tell his reader in every issuehowgood is hismaKaeinr. Quiterightlyheknows that if his readers are coniurers. thev know that it is eood. There is also no attempcto claim prestige at some other journal’sexpense. Award : 67 points. Indirpmmnbk. ~~
~
~
~~
’‘
~~~
~
~~
~
_
I
P o i n t s inthefollmcingcategories(whenapp!icabC) :(C)-Value to Magic (D)-Clarits T O T A L 70 P O I N T S a ‘ O P E NS E S A M E ’’ 62. Eric C . Lsneir andWilfwd Tybr (published by Goodliflr of Birmingham, price 3Oj-).
After a Preface by the publisher, and an Introduction by Mr. Lewis, W find the latter in Chapter one calling the reader’s nttention to the paucity of books anrnt ‘ I ConjuringforitoChildren.”Fromthis, Mr. Lewis goes on to deal with the many aspects of children’s entertainment, all of which is clear and unbiassed. The subjects actually dealt with in this chapter are : The Basic Principle, Factors intheEntertainment of Children,ComrdySituation, Suspense, Repetition, Audience Participation, Dressing-up, Action, Story, Colour, and Education. Although he does not give it a heading, Mystery is also included. Chapter two deals with what the authors call Magigags,” and all the bits of business described are practical. even if notsuited to all performers. Chapter three start: the actual trick part with what authors the entitle Characterised Magic.” Under this heading four very novel and original effects are described, respectively entitled ‘‘ What a Life-houy,” “ ChuffChuff,” ‘‘ Opium,”and “ Big ChiefMoneyHa Ha.” Chapter four deals with Glove Puppets, and should appenl to all those who want a maximum of effect with a minimum of apparatus. There are three routines : ‘‘ A Slate, a Silk, and a Rabbit,” ‘‘ Monkeying with the Monkey,and *‘SpellingPuppetRoutine.” In Chapter five the authors have taken three standard effects and routined them. They are, respectively, “ The Recipe (witha Dove Pan), “ The Children’s Penelease(SilkandCords),and “Linking Rings for Children.” Chapter six is entitled “ Story Magic,” and contains “ Little Bo-Peep,” ‘‘ TheTemperamentalClown,”and “ Schoolor Picnic.” Foryoungerchildrentheseshould makea very strongappeal. In Chapterseven wecometnsevenmoreeffects and routines under the heading of *‘Various Effects and Routines.”Fromthese seven items we would pick out for rnecial mention “ Aladdin’s Pdace.” and the - -r------rnlrndid r - ~ ~ adeption of B standard toy in “ Alf‘s Button.” The Book concludes with aChaptercalled “The Games’ Master.” ThisChapter is very valuable,containing something which many conjurers have never thoughtabout.We arc glad to know that a small hook may soon be puhlisheddevoted exclusively to this angle of entertainment. We ha,renotsingledout M r . Tylrr’seffectsfrom those of Mr. Lewis. Both of these well-known children’s enterteiccrs hrre, with enthusiasm and good hearts, Riven inthis book ideas,tricksandpresentationsthat hare proved successful. There has heenno stinting with the rcrult that this bccomcs nn outstanding book dealing with thisbranch of entertainment, All thedescriptions are enhanced bp the work of Dcnnio. Bindingandpaperarequiteadequate.Thereare two illustrations in two colours about which the publisher makesmuch ado. We should like tocorrecthisremark abouttheintroduction of colour-platesin magical books as a new departure.Weknow a t leastfourGerman books having colour-plates. The words ‘‘ OpenSesame I’ willforyou, as they did for AliBnba, open a door revealing a treasure hoard. Atcard : 65 points. Unrrsrrwdlyreconrmmded, ‘I
~
~~~~
~
.
7
T h e growing population of would-be conjurers has naturally meant a larger market for dealers and manufacturers of apparatus. Despite the limitations and restrictionsaremarkably good showhas been made.Whilst we cannotequalthe metalwork of Kling’l of Vienna, orthe woodn-ork of Thayer of California, the quality of apparatusputout by reputablemanufacturers is betterto-daythanit was ten yearsago. Unfortunately this improvement has been counter-balanced by the mushroom growth of backroom workshop boys, who just see the possibility of a new racket for divorcing good money No dealeru-ithareputation from the born sucker. would accept such goods for sale, but, unfortunately, there is a wayof bringing effects to the eye of the would-be buyer other than through a dealer’s counter. That method is throughanadvertisement sectioninaconjuring magazine. The buyerwho buys something that has been misrepresented should considerwhether all his spleen should be vented on the racketeer. The magazine must bear a share. Whilst we quiterightlyconsider that a magazine may accept anadvertisementfromanunknown source,itshould,onceit knows thatthereis misrepresentation, dropthat advertiser. This is only fair from the point of view of bona-fide advertisers ; foranewcomerto magicmay rightly say, inthe terms of Alice’s dormouse, after being caught once, ‘‘ They are all much of amuchness.” W e willsay nowthateveryadvertiserin our ownbulletinhas his wares endorsed by us. W e will(andwenow have) turndown any oger of advertisementin which theproduct does not liveuptothe speci$cation. Furthermore we shall,in theinterest of magicin general, give the fullest publicity to any case of purposeful misrepresentation. We dislike having to labouranything like thisjust as we dislike the idea of selling the Pentagram toitsownreaders, but it does mean that we are doing what no other independent conjuring paperis doing in this country. We were sorrytohearthatChris. VanBern was in hospital, and on behalf of our readers wish him a rapid return to good health. Our congratulations to M. Sardinaandhis colleagues on the marvellous publicity they achieved fortheInternationalCongress in Paris. Foran EnglishSundaypaperto take thismeeting as a basis fora political cartoonindicates the size of the event. Our greatregret is that we couldnot make the journey. CONJURING
BOOKS
F OS R ALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE s o Cnllers -~
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
We feel thatin BookReviewswehave not done full justice to the fine printing andgood binding and coversof the Fleming BookCompany’s productions. Books that are needed for constant reference need suchbinding. Just as we go to press we have received the first volume of the translated versionof Dr. Dhotel’s “ Magicwith Small Apparatus.’’ We shall give ita full reviewnext month, but right now we shall say that it more than lives up to the Fleming standard. There is a FloatingCandleroutinethat, for the stage performer, is worththe cost of the complete w7ork. Full particulars of this and all other Fleming books (and many modern American books) can be obtained 301 fromour good friend, J. RobertsonKeeneat Norwood Road, Southall, Middlesex. In this, the first number of the second volume, we should like to announce the Pentagram Trophy Award. This prize, whichwilltake theform of a speciallydesigned Plaque, is to be competed for annually. I t will be awarded to the best contribution of trick,routine,presentationor essay, appearing in the Pentagram. The judges will consist of two professionals and two amateurs, the Editor having a casting vote. The main pointer for the award is something that practically or theoretically will add to the stockofmagic. Would- b e contributors please note that the first twelve months for eligibility of award will be from December, 1947, to November, 1948. Besides the actualtrophy the winner willreceive avoucherforto be spenton either books or apparatus. There will also be prizes forrunners-up. From our good friend Zaharee we have received the “ Eyes of the East.” This is a very cute mental effect that only requires effective presentation. From Vanestro, at the Magic Box, comes the Devano DictionaryFeat. I n effect the mentalisthasmemorised the contents of afair sized dictionary. Some of youmayhaveseenWilfred Tyler’s “ Abdul and his Egg ” and know that it is superb comedy conjuring for either adults or children. When Wilfredshowed usthis effect at “ Greenbanks,” we thought (but didn’tsay)it wouldlook and readwell inthe Pentagram. We were more than pleasurablysurprisedwhen, just as hewas preparingtodepart,Wilfred said that wecould we proudlypresent publish it. So, nextmonth, “ Abdul and his Egg ” ! ! As we go to press we hear that the date of the I.B.M. Convention hasbeenfixed forSeptember 3oth, 1948.
T O COMPLETE YOUR FIRST VOLUME OF THE
You want Cover and Binding by Mr. C. Field (see page 8 ) and Index from Peter Warlock or your favourite dealer, price6d.
8
.
YOU CAN NOW BUY with Englislt .Woneonql
THE DEVANO DICTIONARY FEAT
. . .
EFFECT is of the memorising c f
2 camplctc dictionary. Pcrfqmer listswordsonany page called,dctailinp their pcrltmn. As a climax he detrils the position in the dictionary of ANY word called Limited numbrronlywill besold No forces or nrromplim Manuscript, L2 2s. Od. from
A CON J U R I N G M E L A N G E ** 6'
*
bySfanlq\.Collinr
V A N E S T R TOH M , EA G BI C OX, 36 LEE HIGH ROAD
cloth, 256 pages, 146 illusttrationr, 5 2 f i n e .fears by this well-knmm magman . .
.
. . . and . . . ANY
..
S. E. 13
After Drvano drnronstratc.fhis &cl bvforc the Society of MagicalEntertainrrs, he ?car r?q'psestrd if possible to make his method available for mle.--\'mestro.
221..
TEN OF OTHER FINELY-PR0DUCF.D AMERICAN BOOKS ONMAGIC
NEW MAGICAB LOOKS 1% W.
-_
m. W. oa.
(01.
131. 6a. 201. W. 151. W. 12,. 51. W. 61. Od. 1M. Od. 2%. 6d.
Our English Represenfafivt-Mr. Robertson Keene, 301 Norwood. Road, Southall, Middlesex, rcill rznd .full Particulars on h.nv f o purchasrthesebooks ~ p o nreceipt of postalenquiry. You should be acquainted with T h e FlemingMagicClasslc Series-thc Irandsomtsf and most valunhlebooksinmogical bookdovr
ed.
-
F L E MBICONOOGM KP A N Y BERKELEY HEIGHTS, NEW JERSEY,
WILLANE'S
WIZARDRY
5AHAREE (Geoff. R . Hursell) 16 & 18 Watts' Place CHATHAW :: KENT
1
U.S.A.
I
...
F R E D ROBINSON,MAGICIAN, S T A T H E R N :: MELTONMOWBRAY :: LEICS.
I The
Magic Circle
9
PENTAGRAM
An
independent monthly bulletin for all who want good magic
I0
ABDUL AND HIS
EGG - continued frompage 9
On his way he is again stopped by the City guard, and, likewise on his return home, he is chided by his wife and told to return. He leaves the second egg on the chair. And so, for the third time, Abdul went in his Constantinoplean way tothe market. He stopped at the stall ; he looked at the trinkets (conjurer picks up various items ; more can be done here by facial expression and mime than by speaking), but always his eye came back to the egg (the egg is picked up and quickly placed down in the manner of one forcefully overcoming agreat temptation). He looked at the silks from Hispahan ! (Here comes the vital move : at this stage the fez is held by the fingers and thumb of the left hand, mouth upwards). Because of the stiffness of the material used the fez keeps its shape. The righthand, thumb on top and fingers underneath,apparently feels the texture of the silk. The hand moves up and down the silk, finally coming to rest atapoint opposite the opening of the egg. The second finger of the right hand enters the hole in the ostrich egg whilst the first finger and thumb feel the surface of the silk at this point. The righthand picks upthe silk whose draping completely conceals the Ostrich e g g . The silk is now brought across the left arm, and in mime, as though emphasising its beauty, the conjurer draws it across that part between the wrist and the extremity, so that for a few moments the opening of the fez is covered. Duringthis brief space, the Ostrich egg is allowed to sink into the fez. And so Abdul decided that he would take the silks back to his Constantinoplean wife (the silk he is holding is pushed inside the fez down the side of the Ostrich egg, the other silk now being he picked upand placed on top of this).When arrived home (the conjurer walks towards the prompt side) his wife asked for the third time what he had bought from the market, and this time, Abdul was able to say in his best Constantinopleanmanner, " I have boughtfor you the most beautiful silk from the land of Hispahan " (the silks are slowly removed and displayed). " And for yourself ? " said his wife, " Ah, well, I still had to bring myself an egg ! " (at this point fez is turned upside down on to the left hand, the right hand gently pulls on the tassell, allowing the Ostrich egg to be seen restingon the righthand).
have you in your fez ? " and Abdul, in his urbane Constantinoplean manner, replied, " Nothing at all, nothing at all " (here the fez is turned inside out and shown to be empty). Abdul then proceeded home(conjurer takes another couple of stepsand stops). His wife met himatthe doorand said, " Well, Abdul, what have you bought indeed from the Constantinopleanmarket ? " and Abdul,with Constantinoplean wistfulness, said, " Well, my dear, I looked all the way round but finally fancied this egg for myself ! " (the fez is turned mouth upwards andthe egg is removed and shown. Abdul's wife then said, " Have you.not broughtanything for me ? " Abdul, in Constantinoplean a manner, shookhis head. His wife screamed " Then go back thou lazy dog " (the conjurer places the egg on a table or chair). So off Abdul went once more. T h e whole of the preceding is repeated ; Abdul first looking at the egg on the chair, picking it up, putting it down andthen taking it again and returning.
ANNOUNCING A NEWSERIES
OF E X C L U S I V E M E N T A L E F F E C T S
MODES
FOR
MENTALISTS
No. 1-' ' THINK AS I THINK "-This is an effect, where, instead of the performer receiving the spectators' thoughts, they receive his thoughts. Every detail has been attended to so that this makes for a perfect presentation. VOLTAIRE, after seeing it demonstrated wrote as follows :-" I would like you to accept my admiration of the effect . . . in which members of the audience appear to read your mind. In my view it is one of the most brilliant of mental effects that I have seen . . ." COMPLETE INSTRUCTIONS RUNNING TO APPROXIMATELY 2,000 WORDS, PRICE 7/6 POST FREE . . from . . . PETER WARLOCK .. " GREENBANKS " .. BRAMCOTE .. NOTTS or from your " Pentagram " Dealer RE-PRINTED COPIES OF NO. 2 P E N T A G R A M ARE NOW AVAILABLE, PRICE 1 / 1 POST FREE
..
.
..
..
I1
E d i t o r ’ s F o r e w o r d .-In hispreviouscontributions, Mr. Douglas has shown that he has the pleasant ‘ knack ’ 0; making pleasing routines . . .‘i Melted Currency, Restored ” and “ UntyingSympathy,”asweknow .from readers’ letters, have gone into many programmes. In the effect to be described theslatetrickis presented &thadifferentangle. “
#
#
#
Effect.-The conjurer shows a slate. One side is blankand thisis initialled. T h e otherside is then shown and seen to have chalked on its surface the dial of a clock. Besides thehours there are the usual two hands, but instead of being drawn like thehourswith chalk, theyareproved by theconjurerto betwopieces of card, which of adhesive are made toadhereto withacoating the slate. Thesehandsare removedandplaced on the table. Taking a piece of chalk, a spectator’s initials arewrittenontheblankside of the slate. The latter is now stood upright with an opera hat acting as support. Taking handkerchief a from his pocket, theconjurer folds itintoa bag and picking upthe “ hands ” dropsthem inside. T h e “ bag ” is then handed to a willing spectator with therequestthatheholdsit for a few moments. Twelvecards,numberedfromonetotwelveare now shown,theyare shuffledandthespectator holding the “ bag ” requested to touchanyone, then remove itand show ittothe audience. We .the will supposethatit is the “ nine.”Aloud conjurer cries “ nine o’clock ! ” The handkerchief is disengaged from the spectator’s hand and shown onbothsides . . . the hands havegone. The slate is turnedaroundandtherethehands are seen to have returned to the slate registering nine o’clock !
“ roughed and smoothed ” The cards are (although, personally, I prefer diachylon) so that the cards can be shown all different, yet “ force ” card whenfanned and- one touched, the must be selected. Onthe slate proper is drawn in white chalk the face of the clock and the thin setof handsare fixed(say thetonine o’clock position). Coveritwith flap whichhasa similar “ clock ” on it and fix thick hands at six o’clock. Instead of chalk, artists’ waterwhitepaint will befoundto be more permanent.
Show the slate and flap together,removing hands ” and initial blank side as described in effect. Lay on table for a second while you pick up hatandspringopen.Lift up slate, leaving flap behindandleanagainst hat, initialled side facing audience, of course. The hat is laid on flap. Show “double hank” each side, fold in the usual way and drop in the “ hands.” Force the nine o’clock card. Flip hank and vanish hands. Then show the correcthouron clock.
“
Various methods of working will suggest themselves to the reader. I triedvariousstands to lean the slate against but always found that a certain amount of suspiciousfumbling was necessary in orderto leave the flap behind. T o pick upthe hat and spring open, it is natural to lay slate down, and the hatserves to coverflap when slate is removed for the climax. The slate at finish may be handed tospectatorbeforeturningitaround,butthis is up to the performer. #
Requirements.-The requirements are a flap slate with the inner sideof flap covered with material (or newspaper) to match top of table. An opera hat, numeral cards one to twelve and twelve force cards (say, number nine), adoublehank,and.twosets side of eachhasa of cardboard “ hands,”one smallpiece of adhesive plaster glued to it, so that adhesive side is out.Thehands whicharestuck to the slate and are shownto the audienceshould be constructed from fairly stout cardboard. (If the reader is in apositiontoobtainsomewhite sheet plastic this would be better still.) The handsthataretoindicatethe “ chosen time ” shouldbe of thinnercardboard. The reason for this is thatminimumthickness is tobe desired. I t will be realised that the first-mentioned “ hands ” can be easily stuck on the slate to indicate a desired time.Onepointsoccurs to me here, andthat is that should the double handkerchief that you propose to usebewhite, it might be advisable- to usecolouredhandsand chalk for contrast.
#
#
Editor’s Footnote.-We should like to make three suggestions. The first is that the flap should be added to the slate, f o r to hand the slate out a t the finish savours of anticlimax. By doing thisthe spectator cantakethe slate in hisownhandsandinitial.Thosewhohaveheard us talk on slates know that we have always laid accent on this angle,. The second point is thatinstead of just anhour being selected, a four-figure number might be forced (i.e., sum method). With such a total as 12.45,9.35,8.50,7.10,etc., it is aneasy matter for the hands toregister such numbers. Thirdly,Readers of the ‘‘ Jinx ” may remember avery nice paperroutinebyKeithClark,wherethe performerapparently tore a clock face with the h n d s indicating the time at the moment he opened the paper. W e haveavivid recollection of Francis Wattsperformingthisatthe Magicians’ Clubin 1939. M r . Douglas’s routinemightendthesameway . . the performermarkstheslate, etc.,indicating that - this is hisfinaleffect.Whenthehandshavevanished, slate amember of the audience is asked the time. The isturnedroundand there it is. Knowingthelengtlf. of his programme, it is the easiest thing to set the clock irnmediatt.13- beforegoing on the stage.
.
I2
Effect of card .-Name selected theSupposing distant psychic telephone ” hisfriend and ‘ number commencing. before given are A complete pack of fifty-two cards is given thorough shuffling. for A spectator is then asked the spread to the table, packthe ribbon-wise on face down, then and is he asked without towards card, him card toone draw it. at looking isThere end complete other freedom of choice. This cardisnot changed touched not and again until the spectator himself turnsit over at the climax of the effect. The spectator is then asked to push shuffling any four or more cards towards the performer in code card asimilar way, fromanypart of the pack. Again there iscompletefreedom of choice as to whatcardsout. and how many. The balance of are so pushed, the pack is now no longer needed and is squared upthe and put to one side by the spectator. action to “
The cardspushedtowards the performerare now gathered up by him. Theyare shownone by one, while the spectatorwritestheirnameson a slip of paper. The assistant now rings up thenumberand calls outthe cardsover the ’phone. .He doesnot get far, however (in fact any time after theJirst three cards are called out) when the voice at the other end says “ Stop. I feel sure I know the selectedcard. Somehow I feel convinced that it is the -of Please letme know if I’mright. I’ll hangon ! ” The card is now turned over and it is !
-.
Method.-The method is based on the simple principlethatanyonecard can indicate the name of any other card, but the method of obtaining the card involves an entirely new use of the card index. Butletus start at the beginning. As only one card is going to give the information, That is it will be necessary to disguisethefact. why four or more cards are pushed out, and why at least three cards are called out before the information is given thatthe cardisknown. The cardwhich gives the vitalinformationisadded to thosethat’ are pushed out. 1
T o discover the card under the conditions set forth in the above description, it will be necessary to usemarkedcards ! Take any pack of cards of thesamepattern asareto be usedfor the experiment,and shuffle them thoroughly. Write down these cards and letthem represent Ace toKing sequences.Now put them in the card indexes as though they were the cardstheyrepresent.
was the five of Clubs. I would go to my and index card card take theout that normally would be the five of Clubs. I would have no idea what card would actually be. It may King be the of Hearts. I would know, however, that whatever the it would be the translated at as of the five Clubs.
Sosequence this theis : The selected card is known (a prearranged pack could be used if the by the spectator is dispensed with). The is obtained from the index. I t is added totheotherswhentheyaregatheredupto be called The performer looks firstto see whetherthe card which came from the index duplicated is in remainder he holds. If so he takes suitable see that the second one is not shown, The codecardis called out first. The idea of getting the cardswrittendownisthatwhereascar& may be mixed up or called out in different orders when taken tothe’phone,it is unlikely thatthey would be called out in any other than the order in which they were written. If seven or eight cards have been pushedtowardstheperformer,theadditionalcard is not likely to be noticed, but with fewer cards it will be necessary to palm one away, or throw down two as onewhen calling themout. The use of the indexinthis wayis trouble free,anditisthesimplestthingforthefriend to referto the conversionchartatthe .other end to see whattheselectedcardmust be.
CONJURING
BOOKS
FOR
SALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE
No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
THE W I Z A R D A modernmonthlymagazine. 2 0 pages of lirst-class magic. h-ews and views on magical events. Per copy I/I post paid, Annual sbuscription 12/6 THE M A G I C ’ W A N D A quarterly book of magic. 48 pages of magic by world-famous contributors. 3/8 postpaid,Annualsubscription 1416 Profuselyillustrated.Percopy QEORGEARMSTRONQ, THE MAGIC WANDPUBLlSHlNQ COMPANY 11 MONASTERY GARDENS :: ENFIELD . :: MIDDLESEX
There is little doubt that Paul Curry, in devising his effect “ Out of this World ! ” gave card magic one of the masterpieces that is easily recognisable in its owngeneration.Many have been the false shuffles offered for this effect, but most of them have of normal false shuffles where been variations complete retention of stacked a deck has been desirable. For performance a of the effect in question this is not necessary. As we never publicly usea riffle shuffle, deeming the normaloverhand shuffle more natural (we are quite aware that nearly everycardplayerusesa riffle shuffle !) the false shuffle for this effect just walked in. theWith stacked deck the for effect heldand in the right hand ready for overhand shuffling, the left thumb moves off about five or six cards. This is repeated three times so that the conjurer may have run off fifteeneighteen to cards. The next eleven
Q* A.
QA.
QA.
A.
Q. A.
Are you in favour of exposing Magic ? As Joad might say, it all depends on what you If you mean the elucidmeanbyexposing. ation of thefundamentalprinciples of conjuring and magic, I most heartily approve of it. Butalthoughseveralabortiveattempts have been made, no one as yet has been successful, even in part,inco-ordinating the essentials of the two arts. What is an illusion ? The popular ‘belief thata a magician.
mereconjurer
cards are thenrun off singly, andthe rest of the deck run off in small packets. The deck hasbeen subjected to a genuine overhand shugle but is ready for a performance of the effect.
Try this over with the cards in hand, and we thinkthat youwilllike it. Incidentally the finest leads in to “ Out of this World ” are Stewart James’s “ Miraskill ” whichappeared in an early Jinx, and Walter B. Gibson’s “ Pay o f f ” in the first issue of the Phoenix. In both of these effects the demonstrator of colour sense is in a position to carry right onwith the ultimate effect. b
Somecard tricks I findvery easy, but some as are very difficult. Whatdoyousuggest a help ? You just take the rough with the smooth. Should I useaMagicWand ? Certainly ! But be sure that you also wear a
#
Footnote.-Since the above was written, Walter P. Gibson has described similar a shuffle in “ Conjurer’s Magazine.”
sugar-loafhat and aflowingrobeadorned with cabalistic characters. , And it wouldbe as well to have a draped table with a hidden assistant under it.
Q.
Should I openmyaddresswiththewords “ Ladies and Gentlemen ” ?
A.
No ! Leave that nonsense tothe fair-ground barkers, racecourse tipsters, flash auctioneers, political touts,parliamentarycandidatesand other cheap jacks. Remember that David Devant never opened his entertainment with “ Ladies and Gentlemen.”
Q. A.
How is arabbitproducedfromahat ? Notby its ears, i hope ! How would you like to be lifted from Mother Earth by your ears ?
Q.
Shouldconjurer a
A.
He cancallhimself whathe likes : it is what the public calls him that matters. The really greatmenamongus have neverused that adjective : itsemployment is asure sign of mediocrity.
is
Should I title myself Professor ? No ! Although no one is likely to challenge the imposture, thereare better ways of getting a laugh.
9
call himself
GREAT ?
‘4
NEW P E N T A G R A MG R A D I N G . - A (A)-Physical Make-up (B)-Quality (E)-Illustrations (F)-Readabzlzty (G)-Sincerity
maximumaward
‘‘ M A G I C
of TenPoints inthefollozcingcategories(whenapp?icable) of Material (C)- Value Magic to (D)-Clarity T O T A L 70 P O I N T S
WITH S M A L L A P P A R A T U S ” Volume l by Jules Dhotel, M . D . (translatedbyPaulFleming). (Publishedbythe Fleming Book Compdny of Berkeley Heights, New Jersey, U.S.A., price 5 dollars, English price 28 /-). This is the first translated instalment of M. Dhotel’s monumental work “ LesPrestidigitationSansBagages.” Its format and binding are that of theFlemingClassic series. In thewhole of the series some nearly two thouand items (all cannot be classed as conjuring effects, for puzzles andsimilardiversionsareincluded). T h e book commences with a translation of the author’s Preface,thisbeingfollowedbyaspecialPrefaceto the American edition by the translator, Mr. Fleming. I n this the reader is given some interesting information regarding the work. WhilstDr.Dhotelsetsoutinthis work todetail effects that only involve small apparatus, it does not mean thatthesuch effectsareonlysuitable forclose-upperformance. T h e first volumecoverstricks,puzzles and diversions with the following :-matches and match-boxes, animals,rings,wands,candles, fire, flames andshooting, balls,corks, and muscades. The border of Chapters has been retained from the French edition which is alphabetical (i.e., (1) Allumetes (matches) etc.). Much of Dr. Dhotel’s newer material is from French sources. This is somethingthathasanadvantageforto those, who through the language difficulty or lack of access to Frenchworks, will be ableto read a number,of effects for the first time. In the first section . . . Matches and MatchBoxes, the author has given the reader some sixty pages of interesting material. (At this point we agree to disagree with Mr. John Mulholland who, on the dust jacket, states thatthe workisencyclopaedic, forDr.Dhotel would require something nearer to six hundred pages to tackle evenmatchtricks,etc.,inacompletemanner.) The next section, dealing with animals, we found disappointing for whilst the “ Magical Thaumotrope ” makesaflying startandthenoteontheVanishing BirdCageagood finish,thetrickswith flieswe foundmost nauseating. The section dealing with rings covers some thirty pages. T h e brevity of this Chapter makes one realise how little attentionhasbeen givenbyoriginators tothis article. Wewere surprisedthatthere were no version of ring releases (from string or wand). T h e next section, however, makesfull atonement,forin dealingwithtricks with wands,theauthor givesnearly fifty pages of verysolid material. This is followed by yet another excellent Chapter dealing with candles, fire, flames, etc. Outstanding here (as mentioned in last month’s “ Magic-GoRound ” is theDiavol-HedoltFloatingCandleroutine. This isaone-manstagepresentationwhichleaveslittle to bedesired. T h e last section,dealingwithballsand corks, over eighty pages are devoted to variouskinds of trickswithbilliardballs, golf balls, etc. T h e book is well illustrated and the explanations are concise. It is undoubtedlypart of agreatworkandits valueasawork of referencewillbeundisputed. The gratitude of English-speaking magicians toMr. Paul Flemingforhis excellenttranslation is somethingthat cannot beeasilyexpressed. “ Pentagram ” Grading : 67 points. Unreservedly recommznded. P
“
P
*
M A G I C AT Y O U R F I N G E R T I P S ” byMilbourne Christopher and “ Hen ” Fetoch. (Published by Maryland MagicStudios, price 2 dollars).
:-
This is a well-printed and illustrated booklet of some forty-odd pages by two well-known magicians. There are in all thirty-three effects.Wethink thattheconclusion shouldhaveformedpart of the Preface, forherethe author’s write : “ We hope you haven’t read through this book withouttryingthevarioustricksandideas.” It is an all to important fact that the reader cannot always visualisethe full effect from the printedillustrations. The ‘prst Chapter deals wit!, “ Clo;+upMagic.” He;: the Climax Cup and Bat! and Dollar in Orange effectsaretwo “ naturals fortheclose-upperformer “ Impromptu Changing Bag ” 1s whohaspersonality. splendid a idea. Besides these there are items with thimbles, cigarettes, matches and a drinking cup. “ Mental Magic.” After ChapterTwo dealswith startingwitha lovelyangle ona psychometrytest,two versions of Karson’s “ Seven Rings to Baldpate ” follow. We know the first is good because we have been using a 1938. The second is aclever stunt similarversionsince reversing theprocedure,forinstead of thementalist finding the key that fits a lock he finds which of sexen locks hasbeenopened. This Chapterconcludeswith Mental Projection.” In the hands of one used to mentalistic presentationthiscouldbeamiracle. Chapter Three contains some novel ideas with cards, from which we should like to single out for mention “ Tear theCards ”- alovelyidea andthe “ Etho Vanishing Cardcase.” Chapter Four is entitled “ Silk Mag;?.” “ Lightning Production.” “ The“Go BetweenSilkwithanaccompanyingroutineandSilkThrough Body ” are all good. “ Variety Magic ” is the finaf‘chapter, and for speck! mentionareDeanLongfellowsRypeThrough Neck Vanish.” and “ X04 RopeTrick ” andtheDixieCup Altogetherasplendidtwodollarsworthwithnearly all the apparatus at hand. “ Pentagram ” Grading (points lost on binding) : 57 points. Unreservedly recommended. P
#
P
M A S T E R E D A M A Z E M E N T ” by A1 Koranand Jack Lamonte. (Published by George Armstrong (“ Magic Wand ”) price l O / - ) . Here is another book of reallypracticableeffects requiringlittleornoapparatus.Notes,coins,cigarettes, thimblesandcardsarealldealt with.Combinedwith thosetwomarvellouspieces of naturalapparatus-the hands-the authors have introduced some nice subtleties. In the first sectiondealing ‘yith money, we should like to single outformention The Last,,WordNote Routine.” “ T h e MasterClose-upVanishisexcellent if you dress the right way (or wrong way in our opinion). I n “ CigaretteSorcery,”the perfey: “ Cig-Switch ” is just that. The “ ChapeauCigarettes is anovel effect withasomethingextra. “ Thimble Amazement ” is ashortChapter which should open up a newline of thought. “ Pasteboard Parade ” contains some very good things for the card worker.Alothasalready k e n said and written regarding theexcellence ofA1 Koran’s Miracle CardStab.” Wecanonly addourendorsement.This effecthasasitsbaseaverycleverlocationideawhich appeared some years back in the “ Genii.” For a close-up effectwithaborrowed clfck it is hardto beat.Equally good, inouropinion, 1s CorrespondingColours.” The false cut, whichJackLamontere-describes, is alsovery useful. This is a book in wbich the sincerity and enthusiasm is apparent all the way. T h e book consists of some sixty-six pages, is profusely illustrated and clearly printed. “ Pentagram ” Grading : 57 points (points lost on binding). Unreservedly recommended. “
Cqntrasts and Viewpoints.-Whilst we were staying in Birmingham for Goodliffe’s Jam session, we witnessed at an after-the-show get together what was, to us, the most repulsive presentation of fire,eating. We were glad we didn’t walk out for this same conjurer gave a performance of “ Snowstorm inChina ” that was superb.We felt that in this alone our visit hadbeenrepaid. Next to us was a very stylish performer of at least three effects. T o him we commented on the beauty of the effect. “ But what’s the good of it, you can’t do itin cabaret,” he replied. So there you are ! Some littletime ago we commented on the amazing card technique of Fred Robinson, the magician-bookseller. We had the opportunity of a day’s session with Fred ; a session that convinced us beyond all doubt that thereis no card-table worker to equal him in this country. Readers will be interested to know that just for practice this expert .will deal secondsfrom the middle and bottom, new alternatively, at speed. This brings ustothe book “ Basic CardTechnique.”Theother day we had theopportunity of seeing the “ galleys ” of this book and were favourably impressed, for it covers very completely the field of card technique. Its primarypurpose is to teach the best way of performing a known sleight, thisthe diligent newcomer to card work can, by the simplest process of turningto page -, find the best way suited to himself for achieving a desired result.Whilstwith Max Andrews, we were shown the Scalbert Brothers’ “ Master Mystery.” This two-person routine, nicely printed andwith the necessary accessories, sells at I S / - . As in the “ Mystery of the Seventh Card ” the means of coding certain objects has been mechanised. T o the conjurerwho does not wish to devote a lot of time to practice, here is a method of thought-transferencewhich,properlypresented, v should reputation. aearn him At UniqueStudiosthe same day we had the
On Hallowe’en, 1947, the Magic Circle held its “ National Day of Magic ” Show. Onthis gala occasion, Edward G. Brown gave the most brilliant stage performance of his career ; after the show he returnedto hishome atNewEltham, sat down, and quietly slipped away from this world. “ E.G.” abanker by profession and agreat conjurer bynature, was beloved by all who knew him. Here was indeed a magical giant forever devising new subtleties and sleights which culminatedin such magnificent displays of “ Magic for Magicians.” He was ever ready to help the genuine studentinthe attainment of perfection ; of apparatusfor apparatus’s sake hehadno use, and if the brain and thatwonderful piece of apparatus, ’
opportunity of seeing the new lighted bulb effect. Voltaire, whose energy seems inexhaustible is responsible for the ‘ something ’ that makes this impossible for the back-room copyist to market. For the first time a magically lit bulb gives a light comprehensible to its size. Laterthe same day, after a lecture at the L.S.M., several of us, including Louis Histed,adjourned to Geoff. Robinson’s flat. A very enjoyable session followed in which we were treated to a presentation of the “ Jiffy ” slate and Louis Histed’s “ Rising Cards.” It seems amazing that despite the fact that this latter effect was published some years back in the “ Magic Circular,” few people seem to have constructedit. This was Fridayand we were greatly impressed by the enthusiasm of Geoffrey Robinson, who, receiving last month’s “ Pentagram ” on the Tuesday, had nearly finished constructing “ Who’ll Bell the Cat ? ” We and our contemporary, “ Abracadabra,” were premature in announcing the date of the next I.B.M. Convention. Apparentlya last minute snag upset what seemed to be perfect arrangement. From Watson’s Publications comes a copy of a book entitled “ Money from Entertaining,” by Bruce Grove. The selling price is 6/- with stiff cover or 316 limp covers. Theauthor who has had a deal of erperience as a conjurer in the concert world, gives some sound advice. On many phases of entertainingin the concert world. The business side, a thing which is very important and which so many have to learn by hard experience, is efficiently dealtwith. Our only comment is that we should have liked to have seen an advocation for higher fees. At the end of the book, which runs to approximately ninety pages, particulars of V.A.F., C.A.A., and British Equity are given. A very handy book. Hamley’s have just issued a new catalogue, the largest for many years. Inthe one hundredand fifty pages all types of effects are covered.
the hands, were capable of producing an effect wherea lesser mind would use a fake or piece of apparatus, the brain in conjunction with the hands would achieve the desired end. Being a purist in magic, it was only natural that in ‘the course of his many lectures to Magical Societies, he tried to imbue his audiencewith similar ideals. Hepublished very little : the main reason that his effects were tailored for himself anda general diffusion of the methods involved would have been accomplished by general man-handling. His passing has left us poorer, and to his wife and Olive, his daughter, I should like toaddto my own expression of deepsympathy that of the Warlock. manyreaders of this paper.-Peter
HERE ARE GREAT BOOKS
~
~
.
A s Britain’s outstanding makers and sellers of fine apparatus i t is only right that our advertisementshouldappear in the only British Magical Magazine which is prepared to guarantee theproducts of itsadvertisers
Y o u can now purchase, with English money, any or all of the following books, by remitting the prices inditatedto our EnglishRepresentative, Mr.RobertsonKeene , 30 1 Norwood Road, Southall, Middlesex. Your order will(cme 10 us ciaciirwail,ard Kill be shipped toyou immediatdy,postpaid MagicwithSmallApparatus(Vol. 1) (Dhotel) 281-
Sendstamp for details of thenewexclusive ‘‘ Elektrick. ’’ THE GEN. October issue ready. As usual, 28pp. full of PRACTICAL magic-andnews of still more NEW items. S/- year(twelveissues)
STUDIO OF UNIQUE MAGIC
First in a great 8-volume series, this book explains 177 tricks and routines with matches, nngs, wands, candles, balls. I n the format,cloth, 320 large pages, superb FlemingMagicClassic 183 illustrations.
(JACK--HARRY--ARTHUR)
.. 221Fifty-two original feats by this celebrated conjurer, cloth,z j h pages, 147 illustrations. .. .. Sleight-of-Hand (Sachs) .. .. 2s 1A Conjuring Melange
(Collins)
The great classic in a handsome edition. 1 3 1 illustrations.
::
Magic Without Apparatus (Gaultier)
::
Our Magic (Maskelyne-Devant
S
Magic Monthly
Contains Volumes illustrations.
TheExpertatthe
I
and
281-
(book edition)
4 1 /-
Cloth, 128 extra large pages,
2.
Card Table (Erdnase)
::
NEW M A G I C AB LO O K S
Cloth,
::
12s.6d. MASTERPIECES IN MAGIC OF’ PLAYING EXPERT MANIPULATION CARDS . 10s. od. FARZA.\TWELVE NEW TRICKS . . 6s. Od. . . 13s. 6d. GOODLZFFE SIMPLY WIZARD . . 20s. Od. TESTAMENT OF R. W. HULL HALL .. . . 15s. Od. NOTHING I S IMPOSSIBLE HALL READIYG I S BEl.!EVING . . . 12s. 6d. HALL . . 30s. Od. L E W Z S & TE’Z,E R OPEN SESAME Ai‘ACKER’ZIE COMPERE’S CORNER‘.‘. .‘.’ . . 5s. Od. McCOMB . . 6s. Od. FIRST BOOKOF WlLLlAM . PATTERNS FOR PSYCHICS .. . . 10s. Od. WARLOCK WILLANE’S WIZARDRY .. . . 6d. 2s. CRAGGS GA.VS0.V
2S/221
.
.
A n order totallzng 28/-entitles the buyer to Volume I . or II. of The Paul Fleming Book Reviews (each 128 pages), butonly one cop39 Gf each to acustomer : or add 5 ! - per volume and zce will send the deluxe (cloth bound) edition of the Reviews F L E MBC ION OOG M KP A N Y BERKELEY HEIGHTS, NEW JERSEY, U.S.A.
A NEW ARCAS BOOK by YOHN BREARLEY A balanced programme, including patter
A printed maga*zinegiving deteils Of our latest releases in effects. Issued free. If you are nct onour mailinglist,writenow.
T o those %,ho fhlnk thev haze ,lot the flair for entel;tainingchildren, &e say get ConJC‘.vZORing a d get it quickly f o r notonly will yozt L
benefit, but so also will the children.” -peter Warlock
Fully illustrated, cloth bound, price 101postage 6d. Academy of Recorded Crafts, Arts andSciencesLtd. 40418 Sydenham Road, Croydon
am^..^
THE MAGIKRAFT STUDIOS 32 Vernon
PENTAGRAM ” VOLUME 1. Binding Prices :CLOTH516, REXINE 6/6, MOROCCO FINISH 716
FIEC LD . 42 4238 Alderson Road, Sheffield Ric
2
Northampton H E N RDI E ’ S E E V A H MMC., BMS., IBM., SSMC. THEFRIENDLYMAGICIAN invites allbona-fide Magicians to send for his list of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
ZAHAREE (Geoff. R . Hursell) 16 & 18 Watts’ Place :: KENT CHATHAM
“
The, Magic Circle President : His Grace the Duke of Somerset, D.S.O., O.B.E., Z.P., D.L.,M.Z.M.C. M.Z.M.C. Vice-President : DouglasCraggs,Esq.,
--
ClubroomandLibraryandMuseum
:
St. Ermin’sHotel, CaxtonStreet, S.W.l. MagicalTheatre
:
KingGeorge’sHall,
W.C.
l.....
ABDUL’S FEZ Increased cost of materialshas forced me to increasethe price of this effect to 1216. I feel confident, however, that it is still a bargainto anyone who hasever worked the Egg Bag. Thanks to all those who have sent kind words about thistrick
MAGICIANS’ BOOKBINDING SERVICE
brings
FREDROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
MASQUE
of superiati /e corju! i ?g for children by the ilventor o f thss:: classic tricks, Magic Ass mbly and the Postage StampAlbum
II
Please add posta,qe on o r d m under E 1. 3d.stamp * list of books available on loan
S&&&&
Con JUNIOR ing
.
::
1 1 1-
Includes critical comments by Professor Hoffntann. Cloth, 218 pages, IOI illustrations. .Ilso available are :-HugaId-Rraue’s EXPERT CARD TECHNIQUF (cloth 448 pages 318 illustrations 28’-.THE ‘‘ MIRACLE METHODS SERIES (1 bookl&s, 1 2 0 pages) 28:- ; ‘aAd THE INVISIBLE PASS (cloth, 3-3 huge pages, 28 illustrations) 171- ; and Down’s THE ART OFMAGIC (cloth, 354 pages, 68 illilstration:) 281-
1
Street
Cloth, 336 large pages, R7 illustrations.
The greatest work on pure sleight-of-hand ever published. 544 l a y pages, 2 2 6 illustrations.
Hugard
THIR FLOOR (IT’S NICE AND PRIVATE) 0pe)n daily 10-6 includingSATURDAYS Corner Wardour Street and Brezeter Street. Entrance Brerer Telephone : Gerrard 5409 THEYALLMEETATTHE UNIQUE
Cloth, 416 large pages,
.. ..
Another famous classic.
87 WARDOUR ST., PICCADILLY, LONDON,W.1
l
II
OLD AND NEW MAGIC Latest Think a Magician A pocket Mind Reading Effect onlv 2;6 Orrin’s fam‘dus Spider’s Web, Card Trick . 36,1COIK WANDS t(J produce a real coin l6j6 A few Sliding Glue Packs of Cards 819 S e n d stamp f o r printedlists o j old andnew Munac Sydney de 363 SANDYCOMBE ROAD, SURREY
Hempsew KEW GARDENS
Every Advertiser’s goods are fully endorsed
Particulars from Hon. Secretary :
Francis White, 3 9 AlverstoneAvenue, WimbledonPark, S.W.19 INSTITUTE
OF
MAGICIANS
Founded 1934 President : A. Zomah. Hon.Sec: Oscar Oswald 102 ElmsteadAvenueWembleyParkMiddlesex H.Q. and Lzbrary :No.’2 Hand Court(Vihory Club), HighHolborn,W.C. MEETING .EVERY THURSDAY, 7-11 pm. VISITING MAGICI.4N.SALWAYSWELCOME Your membership cordlallv invited-drop a line to the Honorary Secretary for literature
JAM GERSA Y S O N MAKER OF HIGH-CLASSMAGICALEFFECTS, STAGE ILLUSIONS, ETC.. Teltzphone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME,.NearLEEDS Searly 30 yenvs ! n the business
by this Bulletin
PENTAGRAM
An independent monthly bulletin
for all who want good magic
V!& 2 N&&3
1947
Remarks.-The
B&,
effect may be divided into
continued on $cage 18
18 ENCHANTED PETALS
2.-continued from page 17
red and green silks are separated by other colours. Whilst the ring protrudes directly, the glass is placed on a solid surface, it lies f l a t . The reader will now see that if the ring-pull is attachedto the ring stitched to the coloured silks, a release of the pull will carry the red and green silks through the central tube and up the conjurer’s sleeve. It is a novel and’effective visual vanish.
(2) Appearance.-The firstrequirement is a photograph-frame of the type previously mentioned. In theoneillustrated the pieces of glass measure 9” by 10”. For a description of theveryelementary faking the reader will obtain additional help by studying the illustrations. Let me first explain silken flowersdo not appearbetween the thatthe glasses but at the back of them. The means of accomplishment are ones of extreme simplicity. A piece of strongcardboard, size 6” by 9” is stainedadarkcolour(thistoconformwiththe size of the frame I use). and on it is glued a strip of wood (A) measuring 2” by 5” (illustration C). T o one end of this is hinged apiece of fibreboard (B) measuring 2” by 54’‘ (the piece used came froma suitcase), so thatan uneven see-saw is formed. It will be .realised that if end C ispusheddown, end D will rise until it assumes a vertical position. This is the principle, but in order to get this strip flush against the glass one thing must be done, and that is to cut a segment from the base of the frame. This segment, rectangular in shape, should be one inch longer than the widthof B, i.e., 3”, and in depth of the rear should come to within one-eighth inch piece of glass. The flower to be produced(the readerisnotforced, as intheoldermethod,to useonlyoneflower,forhecan make up various flowers) is obtained by first of all making an envelope of stiff paper (the sides‘ are best stitched) that will fitover the B. On to this is nowglued the cardboardcut-out of the flower andtheappropriate pieces of coloured silk are lightly stuck and sewn on. When finished, this is slipped over B. T o complete the preparation, place the flower cardsina box. This latter is then placed on the table in the position illustrated. The distancebetween box and “ X ” is sufficient to allow the base of the frame to come between hitting thelibreboard B and bringing it intoaverticalposition.Aneighteen-inch silk is placedoverthe flower andfake,folded in such a way that it can be picked up two corners and immediately opened. The frame, with glasses inside, is now placed in front of the box containing the cards. The Okito glass is placed on another table and the ring-pull is attached the conjurer, to the pull itself comingdown theright sleeve.
Presentation in bare-bone form :I. Frameis shownandreplaced on tablein same position ; 2. Silk at rear is lifted, opened out at rear of frameoverwhichitisdraped,carebeingtaken that the front is completely covered ;
3. Frame is liftedand placed behind card box, the latter then being picked up. (This action, of course,brings B intoaverticalpositionbehind frameand silk.) 4. Cards removed anddesiredand forced ; 5. Cardsreplacedontable with lefthand, possession of ring-pull being obtained in right hand ; 6. Lefthand picks up Okito glass near base, masking any possibility of a glimpse of ring ; 7. Righthandtakes glass andslips swivel ontoring.Leftandrighthands both hold glass momentarilywhilstthisisdone. The tensionon onthepull is increased,freeingthespring,but pull is maintained by pressure of therighthand against glass ; 8. Pullisreleased,taking silks up sleeve ; 9. Remaining silks are removed singly and glass shown to be empty ; 10. Silk removed is from, and dropped behind, frame, card revealing silks apparently betweenthe glasses. Note.-If thereader has neitherOkito glass nor ring-pull, any other vanish can be substituted. I like theidea of a visual vanish. The simplest vanish might be to use a paper cone with the usual pocket,the silks not be be vanished being leftin the cone proper.-P. W. World manufacturingand reserved.
selling rightsstrictly
I
CONJURING
BOOKS
F OS R ALE
OLD AND NEW Let me know our wants LIST FREE FO’R STAMPED ZH’NVELOPE No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
'9 9
k
i
m
c
i
b
/
3 t a a t a 9 &
This is a revision, both of effect and method, of " ANewNumberForce,"which anitementitled appeared in that excellentlittle book " Walker's Card Mysteries,':' published in 1933. I wasusing this method when Stewart James suggested an alternative stackingarrangementwhichwasmuch better, and I have further altered it to bring out the best effect fromapresentationpoint ofview-I think. It is direct and has audience appeal. I should mention that an effect, " Name your Number,' byBob Allerton,appeared in Hugard's IMonthZy, August, 1945, whichusesthemethodgivenin Roy Walker's book. Mymethodandpresentation is quite different. Forwant of abettername I havecalled it " SpectatorSelection." Effect.-Themagician shuffles the deckand cutsit in two.Aspectator isasked to takeone of the packets. The other half is fanned face down and a second spectator asked to touch the back of any card, lift the cardandnoteits value. The packet is then deliberately closed, shuffled and handed tothis spectator. The first spectator is now asked to commencedealing thecards face down on to the performer's hand on tray, depending how you like to work. Whilst he is doing this (or, rather, before he begins) the magician invites anybody in the audience to call " Stop ! " to spectator number one.Whatevercardheisstoppedathe turns over. Assuming, for example, there were is asked seven ' pips ' on it, spectator number two to count down to that number in his packet where he finds his chosen card. Method.-In devising this method and presentation, several aids which will beappreciatedby the experienced performer have been included, and I will commentonthem. T h e onlyrequirements are a deck of cards containing a " short." Remove fromthisdeck thefoureightsandfournines ; these are placed on top of the pack, the four nines first and four eights next. On top of all is placed theshort card. (Ifpreferred thetop eight can be the short card.) The magician now picks up the deck, undercuts half the cards and casually and deliberately shuffles them off. This is the 'first aid foralthough you donotannouncewhat you are doing, you will have dispelled any doubts that may subsequently have beenentertainedthatthe pack wasnot freely mixed. Now shuffle totheshort, andcutatthis point. It doesnotmatterwhich packetspectatornumberone chooses-he either becomes theonethat choosesacard ortheone THE W I Z A R D A modern monthly magazine. 20 pages of first-class magic.News views on magicalevents. Per copy x/x post paid, Annualsbuscription
and 1z/6
THE MAGIC W A N D A quarterly book of magic. 49 pages of magic by world-famous contributors. Profuselyillustrated.Percopy 318 postpaid,Annualsubscription 14/6 QEORQE ARMSTRONQ, THE MAQICWANDPUBLlSHlNQ COMPANY 11 MONASTERY QARDENS :: ENFIELD :: MIDDLESEX
that deals. Assume he chooses the stacked portion : magiciangoes tospectatornumbertwoand, after ashort shuffle, commences to runthe cards in a fan, requesting the spectatortotouchoneand at the same time counting the cards. Contrive to have the spectator touch the ninth card, then- you can, after the card has been ' peeked ' at, close the fan deliberately and hand the packet to thespectator. Should a card further in the fan-say the eleventhbe touched you close it as before and then run two cards, drop balance of pack underneathandhand the packet over. Shouldacard be touchedsooner than youwanted-say sixth card-you still close the fan, genuinely after the card is noted, but you undercut about half the packet, run three cards on topand dropthe packetunderneath again. These moves will be accepted as genuinelight shuffles and will not be suspect, as your volunteer does not know what you are going to do at this stage. Now we return to spectator number one who has the stackedpacket. You announce that you want someone in the audienceto call " Stop '' to the dealer at any time they wish. There is a reason for asking the audiencetostop the dealer, rather than the dealer stopping himself, andis a further aid. Somepeopleareslower thanothersinstopping whendealingcardsand youmaybe unfortunate in your choice of volunteer, for you must have him stopped before the eights andnine's have all been in your choice of volunteer, for you must have him stopped before the eights and nine's haveall been dealt. By having anybody in the audience call " Stop '' you greatly improve your position, as you have people of mixed characteristics and, I think, you are safe. If, however, youfeel anxious after about five cards have been dealt (I should have mentioned that youask the spectator to deal deliberately) you can introduce another aid used by experienced performers, that of looking up suddenly,andenquiringly at your audience, and you will get the call. I have never had it happen, but since we must guardagainst all eventualities, if the eightcards hadbeen dealt withoutbeingstopped, I would immediatelytaketheremainder of the pack from the spectator, add the dealt cards back on top, and, addressing the audience, say that I hadapparently not made myself clear as to what I wanted them to do, andstart again. Of course if spectator one turns over an eight, spectator two counts off eight cards and turns up the next.
I
" I only Pick the Winners " ! ! 7/10 Breakaway Mixing 'poon Troublewit .. .. 1216 ManJ* otlwrsSend Stamp for List J. K E M P T H O R N E l7 Sandy Lane Petersham - Surrey
..
-
.. ..
I
20
Illustration 11. shows another adaption for even speedier location. The readers of this paper will be familiar with the use and construction of Indexes, but justa few more notes for the sake of completeness. Each Index holds twenty-six cards. Indexes are used in pairs, one in the left and one in the right handtrousers pocket. The cards are loaded into the pockets of the Index as required for the trick, say in numerically ascending sequence, commencing with the Ace of Clubs and the Ace of Diamonds in thefront pocket of the Index. The Index isface (i.e., steps ”) outwards in the trousers pocket and the pairs of cards are also fac.e outwards in the separate pockets of the Index. T o produce the required card the index-finger locates the ridge formed by the matchstick and presses the flap of the Index back. The index-finger and thumb then push down into the opening thus made in the Index and contact either side of the two cards in the pocket of the Index. Either the front card or the back card is then withdrawn as required. ( ,‘
I have amongst my aids to card magic a couple of card indexes. They arepre-war Depot articles, beautifully and neatly made. I have used them fromtimeto time and have always succeeded in producing the right card, but never with that careless abandon which any effect in which an index is secretly pressed into service seems to demand. I have witnessed other magicians who specialize in tricksusinganindex and I have marvelled at their accuracy and speed, and concluded that they had progressed in the field of index design and were, quite rightly, preserving their own secrets for personal use. Recently, however, I had occasion to turn my thoughts to Indexes and without any violent cerebration produced the Indexes now described. They are not necessarily the last word, and I should be glad to hear from anyone who has progressed further.They are, however, speedy and accurate, and the required card can be located automatically by sense of touch without running the index finger over the ‘ flaps ’ of the Index. Little need be said. A reference to the diagram will tell most of the story. The cardsare on their sides (instead of upright) so the Index is wider than the commercial article. Extra width is an advantage, asthe widerindex fits moresnugly and securely into the bottom of the trousers pocket. Illustration I. shows the tongue of each pocket extends beyond the flap in front of it about two-fifths of aninch. This is considerably widerthanthe Depot article and is therefore less ‘ finicky ’ in I have made these operation. I n myownIndexes “ steps ” half an inch wide, but I now think twofifths is enough. Match sticks are glued on (as illustrated) and with very little practice these enable the finger tipto locate the required spotwithout any counting at all.
One further constructional point. Mine is made out of board about the thickness of a playing card. The pieces can be cut out four at a time for the twoIndexes and seccotined togetheratthe base with spacers consisting of three thicknesses of board half an inchwide glued together. The front and back flaps are rectangular (the two Kings repose in the back pocket). The other flaps are like the letter ‘‘ L ”, the base of the ‘(L ” being the rectangular coincident with thefront of the Indexandthe rightand left stem increasing in length by about half an inch for each flap. Transparent celluloid would probably be an ideal material for the job as it is tough and flexible.
Pack Switch.-The safest and easiest way to switch a pack of cards is in the course of a trick. This switch is intended to be used in conjunction with the Index described above, but it can be used as a trick without the Index. A reference to the diagram will reveal a “ Bulldog ” clip in which the jaws are kept slightly apart by a string loop through the ‘ handle.’ This piece of string, about six inches long, terminates in another loop. The object of the free loop is to anchor the gimmick by threading thefront brace through it. T w o clips are used either side of the trousers. The clip then hangs down freely at trousers pocket level between the inside of the trousers and the pants. A half a pack of cards, dulystacked, is thrust into the very top of the left hand trousers pocket and continued on page
21
21
This apparent impromptu item is too good to be overlooked, and we wish we could give the name .of the originator. It was published sometime before the war, andwhilst we have used it ourselves we have never seen it worked by anyonc else. In effect the conjurer places a metal ashtray on top of a tumbler. A borrowed coin is wrappedin a pieceof tissue and placed on the tray.Applying a lighted matchtothe tissuethere is a flash-a momentary pause and the coin apparently penetrates the tray, falling visibly and audibly into the tumbler. T h e requirements are simple and straight forward. Apieceofflash paper, measuring approximatelyfourinchesbyfourinches, a spot of conjurer’s wax, a smallmetalashtray(preferablyone that is concave on the underside), a coinof similar value to the one that is to be borrowed, a glass, and a box of matches. Preparation.-With a dab of the conjurer’s wax, stick the coin totheunderside of thetray and leave the latter on the table ; the glass and the flash paperarenearby and the box of matchesin the righthandtrousers pocket. T o present, first of all place ashtray on top of glass and then borrow a coin of similar value tothe duplicate.See that the lendermarksit. This coin is nowwrapped in the flashpaper, using the standard coinfold. IVhen wrapped it is held intherighthandand tapped against the table, accompanied by such A N N O U N C I N G A NEW SERIES
a remark : ‘‘ Amazing-the paper doesn’t seem to dull the noise.” (Don’t for goodness’ sake say ‘‘ You can tell by the noise that the coin is still here.” Such a statement is as good as saying that the coin is going to leave the paperpronto !). Withthe packet held at the right hand finger tips it is passed tothe left hand,the coin being allowed to slide into a righthand finger palm position. T h e left hand now places empty packet firmly, but gently, on the ash tray, the right hand (with coin) p i n g to trousers pocket for matches. The matchbox is withdrawn, coin being retained i n finger-palm arid at this point the co?zJjurer states his irrltedon of passing coin through tray. IYhilst he is speaking, a match is struck. Ontheword ‘‘ Watch ! ” the a flash light is applied to the flashpaper---thereis which, accompanied by generation of heat plus conductivity of the metaltray, causes the wax to melt, releasing the coin which is seen and heard to fall intothe glass. Lefthand picks up tray,shon-s it to beemptyand replaces it on table.Lefthand picks up glass whilstrighthanddropsmatchbox, the glass is tiltedand the coin allowed to fall into the palm of the right hand (the position of the right handshouldbeknucklestowardsaudience). The right hand now turns over above tray the borrowed coin being released from finger palm whilst the top of the right thumb pressesagainstduplicate coin. is This change because there is littlemovement perfectly deceptive. T h e right hand falls whilst the left picks up thetray and brings the coin forward for identification.
OF EXCLUSIVE MENTAL EFFECTS
MODES
FOR
MENTALISTS
No. 1--“ THINK AS I THINK ”-This is an effect, where, instead of the performer receiving the spectators’ thoughts, they receive his thoughts. Every detail has been attended to so that this makes for a perfect presentation. VOLTAIRE, after seeing it demonstrated wrote as follows :-“ I would like you to accept my admiratioa of the effect . . . in which members of the audience appear to read your mind. In my vie%?it is one of the most brilliant of mental ejfects that I have seen . . .” COMPLETE INSTRUCTIONS RUNNING TO APPROXIMATELY 2,000 WORDS, PRICE 7 / 6 POST FREE . . .from . . . .. .. .. “ GREENBANKS ” BRAMCOTE .. NOTTS PETER WARLOCK or from your ‘‘ Pentagram ” Dealer RE-PRINTED COPIES OF No. 2 P E N T A G R A M ARE NOW AVAILABLE, PRICE 1/1 POST FREE THE FASTEST INDICES
IN THE WORLD - rontinucdfvom page
slipped inthat positionfrominside the trousers. T h e right hand pocket is similarly loaded with the other half of the stack. I n operation twocards are freely selected from the pack and freely returned and shuffled. T h e pack is dividedinto twoparts and deposited intherightand left handtrousers pocket. T h e selected cardsarenamedandfound “ by the sense of touch ” (fromthe Index). T h e stacked halves arewithdrawnfromthepocket as the original pack. Alternatively, in the absence of the Index, two
-30
cards are chosen and controlled to the top and the bottom of the pack respectively so thatwhenthe pack isdividedinto the pockets the selected cards can be readily located andproduced. T h e original pack is left behindin the pockets and the stacked halves producesinits place. The stringbinding the jaws of the clip open.Withoutitthejaws of a the “ Bulldog ’’ clip wouldsnaptogetherwith resounding ‘ whack ’ as the half packs of cards is withdrawn from each pocket.
aWd
&t
B&,
...
22
NEW PENTAGRAM GRAVING.-A
masimwn nnoard of T e nP o i n t s in thefollorcingcategories (wlten appJicable):(A)-Physical Make-np (B)-Quality of Mare*ial (C)-Value to Magic (D)-Clarity (G)-Sincerity T O T A L 70 P O I N T S (E)-Illustrations (F)-Readability
I‘
T H EF I T Z K E ET R I L O G Y . ” This compriws the following books rrritten by Darield Fitskpe :Showmanship forMagiciars,TheTrick Bram and Magic by Misdirection. Allarepublished by Saint Raphnel House, San Rafael, Colifornin, U . S . A . P r i c e 5 dollars.
Book No. I “ S h o w m a n s h i pf o rM a g i c i a n s . ” It is not possible within the compass of this review to mmpletely analyse Mr. Fitzkee’s *‘ Trilogy.” “ Showmanshipfor Magicians” is the mostcomto date on the plete treatise grooming and selling of a Conjuring act. I t not only sets out to analyse the ever present faults of the aspirant to conjuring honours,but seeks to give also B synthesis successful for presentatlon. fully are We inagreementwiththeauthor that conjurers devote too much ; theneed is forpresentation of suchan timetotricks effect so that it becomes a vehicle of entertainment. This latter word in the jargon of many contemporary conjurers is onlysynonymouswithcomedy.Mr.Fiztkee,whilst realising the fact that humour and comedy have their place in the magical act, does not overlook the more serioustype of presentation.Quitealotoftheadvice that the author gives has been drawn from his own experience with the ‘‘ International Magicians in Action ” Show : that was a unique professional enterprise, for it not only gave the author the opportunity of seeing his ideas formodernmagicexpressed,hut allowed him to watch modernaudiencereaction. Therearein all twenty-five Chapterscovering 187 pages, and one in particular that we should like to see writ in letters large in every magical society club room is number eleven. It deals with groomingandpersonalbehaviour.Anactotherwisegoodcan beruined by thefaultsthat are mentionedhere.We should like to haveseen onethingmentioned,thatis that (we believe) the conjurer who seeks the top in any or al! branches of his art must perform the effects that he believes in and in which there is something of his own ego. It is the lack of this that makes so many acts just B series of tricks. This is a book to be bought, shldied, and used as a yardstick, for we feel certain that there are few who can say ‘’ That doesn’t mean a thingtome.”Forthe new-cornerwhowantstobecome a magicianand not a purveyor of puzzles it is essential for here with sincerity and great enthusiasm Mr. Fitzkee has tried to lift conjuring a little higher up the ladder of entertainment. 68 Points. Book No.. 2 ‘ T h e T r i c k B r a i n ; ’ p r i c e10 dollars. At the end of hisintroduction, Mr. Fitzkervrites. I like to think that this is one of the first books to attack magic methods from B scientific standpoint.” Whilst this is notthe first attempttodissecteffectsinto basic methods(Devant at thebeginning of thecentury in a small way--” A4agic Made Easy ”--and a little later Nevil Maskelyne in B muchbigger wag-“ Our Magic”attempted a similar thing) itis far and away an achievement that it can in our o n n time be considered a clsssic. First of all the author presents to his reader nineteen andinsucceeding (againstDevant’sseven)basiceffects chapters gives examples of such effects, together nith the known ways of producing such effects. (1ncidentslly.in B laterchapter all thesemethods are precisrd for easy reference.) The groundworkcovered is immenseto say the least. Fromthispoint,asoutlined at thebeginning of the hook, Mr. Fitzkee s h o w h o a t h e reader can devise new tricks. The principleis almost mathematical. T h e reader first of all looks at his list of nineteen hasic effects and chooses one. We will suppose that the effect is one of envanishment. From here he chooses an article and one of the basic methodsandanewvanishingeffect is born.
The reader of course must use B little imagination as well.. The great point about this work is its pozcer of stimulation and w e think even thehestreadconjurers will findon reading that they will he reminded of many things they h a w forgotten. The conclusion of Chapterthirty-three greatlyappealedto us. It is as follows :I thinkthemind of theperformer,utilising theseelements(thethings we use when operating the mechanism of magic) intelligently and discriminately,influencing,andguidingtheminds of the spectatorsexpertlyandskillfully,containsthe real secrets of magic, secrets beyond the abilitiesof anyone to reveal hurtfully . . . The secrets of the mind, the real secrets, cannot be exposed.” How right Mr. Fitzkee is ! The last chapter gives a useful glossary of Definitions. Superlatives are being outworn by the magical press to-day. There is, however, pinnacle a on which we place things that are great. “ The Trick Brain ” is one ofthese few. 69 Points. Book No. 3, “ Magic by Misdirection.’’ price 7 dollars 50 cents;< WhereasintheTrick Brain,” Mr.Fitzkeeanalysed the meansofaccomplishingmagicaleffects,herehe analyses the types of misdirection necessary in the presentation of effects; after the analysis he shows how the variousknownmeans of misdirectioncan be used with standard effccts. On pages twenty-threeandtwenty-fourtheauthor writesofthe classics, pointingoutthatananalysis of theirplotsshowsthattheir greatness doesnot lie there but can only be achieved by great performances ; further that B trick becomes B classic because it fits the average style and average abilities. Our own opinion is that a classic becomes such because of its outstanding and universal audience appeal provided that it is adepuately presented. One must remember too that despite the improvements as regardsmethods, the effect of the Linking Rings, Egg Bag and the Cups and Balls to a lay audience is muchthesamewhateverroutine or method be employed.Continuinghiswork,theauthor gives notonlyexamples of themisdirectionemployed bySome contemporaryAmericanconjurers,but also as previously stated how certain effects can he improved by attentiontodetails of misdirection.Weonlywishthat he had not included the Die Box, which has only obtained and retained its popularity among juvenile audiences because of the “ sucker ” finish. The sheer artificiality of theapparatus involved preventsthiseffectfromever becoming B classic. We should like to take two quotes which summarise the aims of this book :In true deception, skill is not the skill of the hands. It is the skill of themind.” “ It would be far better for magic and magicians if we couldlock-up or banishthoseblunderinggoofs w,ho spend from ten cents to ten thousand dollars for apparatus and immediately tell the world they are magicians. They are no more ma&ians than the man whose sole claim to musicianship is theprice of a violin. Unfortunatelythe unskilled possessor of magical apparatus can buy a ‘ rabbit in the hat ’ pin, which is, in fact, more nearly the badge of thetyrothanit isof theskilledperformer.Moretyros thanexpertswearthem. Hc may buyhis pinandtell theworldheis B magician. He mayevenget outhis junkandfumblethrough a performance,but does the spectator as readilydetect B hadmagician as he does a poormusician ? Ofcoursenot ! When B fiddlesounds terribleeventheoperator of the fiddleknows i t ; the audience does not blame music, the blame the performer. But in the case of manic. if the performer is poor, the poor unfortunate is the dope of his own ignorance.” Thinkonthesethings l ! ! 68 Points. All of thetrilogy are uniforminbinding. All are Essential to the intelligent conjurer’s library. I‘
when we were with H.M. Forces, and immediately developed a false shuffle that could be used. That was the one that wepublished. More Magical Societies continue to appear ; the latest underthe aegis of our friend, Stanley Thomas, atWatford. We often wonderwhether specialist societies will ever come into being. For ourselves we would rather welcome a Society for those interested in mentalism. We realise that such a society would have to be one linked through correspondence with possibly one or two central meetings in the course of a year. Sucha society might, howeter, do more to improve methods of technique and performance thanthe home-based general society. We should very much like to hear our readers’ views onthismatter. Children’s entertainerscannotgrumbleat the lack of new material available for this season’s shows. “ Open Sesame ” has something for everpbody, and in “ Join theParty ” there are some excellent ideas. For the very young we very much like the “ HumptyDumpty ” effect, putout by Unique Magic Studios. The effect, worked intimately, has all that appeals tothe unspoilt child. “ The Crown Jewel ” and Wilfrid Tyler’s “ Fireworks ” from the same firm, are two moderately priced items with terrific entertainment value. JohnKempthorne,who tells us he is due for the Army, has a beadtiful gag for cake-making effects . . . a “ Breakaway ” spoon. Jim Merlini, who has a very big work on card magic nearly due for publication, contributes a very nice card effect to the January “ Pentagram.”
The Magic of Christmas survives austerity. ‘Thiswonderful spirit of Christmas transcends all earthly things coming each year with its sweetness, bringing its messageof Goodwill to us all. It is withpleasure that wetakethis ,opportunity to wish all Magic Lovers, whereevertheymaybe,a Happy Christmas. From Percy Bee andNorman Cliffe we have received the “ Soccko WatchRoutine.” It is an ,excellent twelve minutes of comedy conjuring utilising stock apparatus thatpacks into a small space. Before presentinga headline prediction of a daily newspaper we werestruck by thethought thatthe mentalist can do muchto cook his own goose. Imagine thethoughts of an audience if, ‘on the day when the prediction is opened, the acat.headline reportssometerriblecatastrophe,
astrophe which might have been averted if the mentalist realZy could see the -future. Better let the prediction give thewordsinthe heading free of anyorder. This idea of line content has more a genuine ring with a newspaper office, and recently, in presenting such aprophecy (which even in these days of newspaper austerity gave uswrite-up extending over three days) while making no claim to psychic powers we said we would try and get the words in the headline. We pointed out to the editor that if it were possible to get the actual order we could make a pile of money by just sitting back and picking out winners from the races or on football pools. In the “ Help Yourself ” Annual, our friend Max Andrews has a very interesting article on “ Magic as aHobby.” The price of this annual is 2/6,and all proceeds from the sales help to swell the hospital and charity funds sponsored by the London Stock Exchange. In the November issue of the “ Pentagram ” we published a shuffle for Paul Curry’s miracle effect “ Out of this World.” As several contributors and one contemporary have toldus, this shuffle was included with alater version of the routine. For this weare sorry to have inflicted on them something already known. “ Out of this World ” came to us
-
WANTED!!
SILKS, preferably 24” squares-all -
colours
:,
Pleasewrite,statingpriceto HADLEY
-
..
159 Rolleston Drive
Nottingham
INDEED !!
PlZAIS-E
L
~~
From‘Britain’sleading,writer on magic, VICTOR FARELLI : I am delighted wlth this book, and can recommend it wlth every confidence to all enthusiasts who may be. on the look-out for new and good material.” From‘one of Britain’sleadingmagicalinventors, TOM SELLERS : It’s a pleasure to come arrnss a book containinp wme real conjuring. The younger generation of magicians are lucky indeed to have the benefit of the brain:of such authnrs. A book that will be appreciated by all true conjurers ! ” From one of Britain’sleadingexponents of sleight-of-hand,E. BRIAN MacCARTHY : *‘ -4wonderful book.” FromtheMagical Press : ‘‘ ‘MasteredAmazement’-1 say without hesitation-is the best book on general sleight-of-handwhich, is aku original, born since Edward Victor’s triplets.”-Vermll Wass i n “ The Demon Telegraph.” “ Here is . . . a book of reallv practical effects requiring little orno apparatus . . . This is a book in which sincerit5and enthusiasm is appareit all the way . . . Unreservedly recommended.”-Peter Warlock in “ The Pentagram.” 000
PRACTICAL EFFECTSWlTH C-ARDS, COINS, THIMBLES,AND CIGARETTES.Well illustrated in a 72-pagr book, bound In soft-board covers.
printed aridsuperbly
PRICE l O / - (postage 4d.)
--------ooo--------
Y
GEORGE ARMSTRONG, ,THE 11 MONASTERY GARDENS
MAGIC WAND PUBLISHING COMPANY .. ENFIELD .. MIDDLESEX
..
..
VALUE FOR MONEY THE GEN Number 12 (noa ready) completes yet anothw year in its successful career. During the post year, mbsm'bm have receiued 12 issues containing 248 pages, full of good stuff essential to the modern and up-to-date Magician. Contributors have included:-Robt. Harbin, Jack le
Dab. LewisGanson.DouglasFrancis, Peter Warlock, Wilf Hutchinson.
Voltalre.
STUDIO OF UNIQUE MAGIC (JACK--HARRY--ARTHUR) WARDOUR ST PICCADILLY LONDON,
87
w.1
THIRD F L O O ~[IT'S ~ NICE AND'PRIVATEI Own daily l 0 4 in~Iulim&SATURDAVS Wardour Slrcrl and B r m b Slrcll. E ~ r a n c r Brew" Slred TIle@honc : Grrrotd 51og THEYALLMEET A 1T H E UNIQUE
CO-
00 fDagiciatte eoerpwbere 1 wieb
El 'lbappp grnas anb a "l1 information about nngement : Collinr'r IT OF H.4ND. zRr. ; XAGIC WITHOUT (Volumer. 1. and 11.) :ARD TECHNIQUE,
d -
h I ad<. order, or both :ned looks. Fleming Fine bookmaking a t y as to reach English
That book you want to read can be bought :from : FRED ROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: 'LEICS.
CANV 1. U.S.A.
A NEW
ARCAS BOOK
me...
Con JUNIOR ing
The Magic .Circle
b YOHN BREARLEK A balanced programme, including patter of superlativeconjuri-g for children hy the inventor of t11:s:classic tricks, Magic Asszmbly a-d the Postage' Stamn Altum A printedmagazinegivingdetails of " Tolhosc who Ihlnt I h q hare no1 111 p a i r fm our latest releases in exclusive magical +!a
MASQUE ......
l
I
THE MAGIKRAFT STUDIOS
fhirtrick
ZAHAREE (Geoff. Hursell) R. 16 & IS Watts' Place CHATHAM :: KENT
H-ml.
OLD
"?I!NTABRAM " VOLUME 1. B i d i n g Prices ;CLOTH S/% REXINE 6;8.?MOROCCO flNISH l / I
CF. I E L D Road, Sheffield
42 Alderson
0
D.S.O.. O.B.Z., I.P., D.L.,M.I.M.C. ViU-Pr&: DeWIU CE-.. M.I.M.C.
-
Clubrmm a d Library end Murrum:
St. Ermin's Hotel, CaxtonStreet, S.W.I. Magical Thllalrz :
-
KingGeorge'sHall,
-
W.C.
P,a?linrlarr *om Hon. swcfaw:
Francis White, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
H E N RDl E ' S E E V A H YMC.,BMS., IBM.,SSMC. THE FRIENDLYMABICIAN i n v i t e all bona-fide Magicians to send for his list of new and Used apparatus and books, or call a t his studio :1 CLARENCE ROAD.
MAGICIANS' BOOKBINDING SERVICE
I
Prrrr(Cn1: Hh a r m tk. Dub .1 & m m .
AND
Birmmlhm
NEW
l1
MAGIC
J A MGERSA Y S O N MAKER OF HlBH-OLAlg MABICALEffEOT(I. ETABE ILLUSIONS, ETC.
2
Every Advertiser's goods are
fully endorsed by this Bulletin
Printed in England for PETER WARLOCK b y GEORGE SEIRSOS. 40 Blue Bell Hill Rmd, Nottingham (Telephone 14652)
PENTAGRAM
An independent monthly bulletin
The Effect.-Two packs of cards, one red backed and one blue backed are offered for shuffling. Taking back the packs, the conjurer asks for a choice of either colour. The unwanted pack is placed on the table, whilst from the other,twocardsare selected,noted and returned. This pack is now placed onthe table, theother pack being picked upand placed in the performer’s pocket. Asking the selectors of the cards to think of the cards they drew, the conjurer reaches into his pocket and withdraws two cards, backs towards audience. Asking the names of the two thought of cards, the cards in handare slowly turned round and shown to bethose selected. Before describing the method, the reader should consider that both packs are genuinely shuffled, there is no force, and, above all, until the two cards are withdrawn from his pocket the conjurer does notevenknowtheir names ! Two packs are required-red and blue backsof the same manufacture, such as Woolworth’s sell at present . . . the idea is to get two packs the same size, otherwise the moves become very tricky. Haveboth packs thoroughly shuffled by two spectators and receive them back face down on the palm of eitherhand. The left hand contrives to turn its pack face uppermost by pressing onthe top left cornerwith the thumb of the same hand. The pack in the right hand is now placed face down on the finger tips of the left so that the two packs are held together, but open like a book. The performer now asks which pack is preferred. Whichever coloured back is chosen the performer makes the following sleight :-Assuming thatthe red backed pack is the one lying face down on the performer’s finger tipsandthat this is the pack chosen, the conjurer takes off all thesecardswith the exception of the bottomcard which is easily retained with the left fingers, and lays them on the
for all who want good magic
table in such a way that the narrow edge is towards the spectators and that the pack is face down. A t thesame time the leftthumb JEicks over the pack standing on its edge in the lefthand so that it falls face down on top ofthesingle red backed card and conceals it. In effect the performer has simply executed .the familiar “ slip ” described in “ Modern Magic,” but with two packs instead of one, and has merely transferred a red backed card from one pack to the bottom of the blue backed pack. The choice is an equivoque, and whichever pack is chosen the blue backed pack would be retained. The red pack is placed face down on thetable. As both packs are used, the spectator has no grounds for suspicion.
The blue backed pack is now fanned, taking care not to expose the “ outlander,” and a card is freely selected, noted andreturned into the fan. T h e right fingers underneath the fan locate the card as it is returnedand press lightly onthe face of itin orderto maintain the location. Without closing the fan the conjurer offers the pack to a second spectator for selection, and as soon as a card is drawn the previous chosen card is slipped tothe bottom of the back below the red backed card in the act of closing the fan. This move has long been a favourite of mine, and is performed asfollows :-The right fingers press fromunderneath the fan onthe face of the chosen card whilst the left thumb above pulls the card immediately above it a little tothe left in order to conceal it. Now the fingers of the right hand pull the chosen card to the right, underneath thefan,untilthe card becomes disengaged from the rest of the cards. The action of closing the fan places the chosen card on the bottom of the pack. The second card is now returned and the ruse repeated, the position now is thatthe two chosen cards are on the bottom of the deck below the red continued on page 26
~~~
~~
~~
Effect.-Performer shows an empty glass then placesan empty cover ortube overit. Ontop of this he places a block of wood aboutfourinches square ; on this is thenplaced a square of sheet glass. The performer now fills up another glass with milk. This is placed on top of the glass and block of wood ; now, visibly, the milk in the top glass is seen to get lessandlessuntil it is empty ; the block and top glass are now removed. When the cover is removed from the lower glass it isseen to be full of milk, and it is the samemilk which was in the upper glass. Requirements.-Two glasses, one has a quarter-inch hole drilled just above the bottom whilst the other glass is unprepared ; a tube must be made to fit over the latter-this tube being the sameheightas the glass. Yournextrequirement isa piece of sheetglassoneanda half inchesby
THE TWO
threeanda half inches. Youwillnow have to make a block of wood as theshapeshown (see illustration). This is a piece ofwood fourinches square, but rounded on two sides, illustration shows an end view of the block. Across the centre of the block andrightroundit, youwillhave tocuta groove one-quarterinch wide by one-eighthinch deep. After you do this the block should be painted redandthe groove black : also two black rings should be paintedroundthe block near theends, to match the groove in the centre. Whilst the block of wood may not be comprehensible to an everyday article it will, priorato presentation, stand the most rigid inspection. Method. Show the unprepared glass and then cover itwiththetube. Show the block of on wood and place thisontop of thetube,and top of this place the small piece of sheet glass. Now pick up the other glass and keep your finger pressed against the hole while you fill itup withmilk. Place this on the piece of glass, placing it so that the hole will be to the rear ; stand away from the glass andthe milk will be seen to get lower and lower tillthe glass isempty. The trickdependspartly on a natural law. As soon as the milkflows on to thegroove it clings tothe block andpours off at the centre and runs into the lower glass. If the hole in the glass is too small the pressure will cause the milk tosquirt beyond the block. Myfirstexperiment with this was with a grooved three inch wooden ball, but I think the block is better and more natural.
THOUGHTS - continued from page 25
backedcard. The performershows thatthetop card is not one of the chosen ones and places this card below the pack and then shows the next card and replaces it. With the right thumb at the inner end, the conjurerthumb-countsfourcards by the riffle andinserts the leftlittlefinger atthe break (i.e., above the red backed card). The righthand covers the pack, fingers in front, thumb at the rear, and takes it fromthe lefthand,therightthumb holdingthebreak. The righthand is now twisted a half-turn clockwise to expose the faceof the bottom card tothe audience. This manouvre effectively hides the break. Now comes averydeceptivebit of business : Both hands approach the blue backed pack on the table together, under cover of the left hand it will be found easy to drop all the cards below the break inthe righthandon top of thoseon the table. The third finger of the right hand gives the pack on the table a little push forward from the rear edge towardstheaudienceinorder to facilitatepicking
themup with the lefthand,andthendropsthe blue backed pack fromtherighthandonto the place previously occupied by the red backed pack. This adding of stock is very illusive, not only is the move quiteinvisible, but the feature of usingtwo different coloured backs and having different a backed card above the stock to be added makes the trickappearquiteimpossible. The idea now, of course, is to producethe twochosencardsin the red backed pack. This pack is put into a shown empty pocket and the three top cardspulled out togetherandheldflushwith back in the backs to the audience ; that is the red frontandthe two blue backs behind. The cardsarenamed,thecardsturnedover, and the top card removed to show the second card. Care must betaken, of course, in order that the " walk." third card does not The Two Thoughts
are revealed ! !
There have been many routines published using the well-known card silks, but the following (because of its lackof extraneousproperties) will befound very effective if presented in the manner suggested. Briefly the effect is thatthe conjurerdisplaysa blank silk which he asserts possesses “ photographic absorption ” propertiesandwhichhetucksintoa “ dark room,” namely, his otherwise empty trouser’s pocket (righthand).Producinga pack of cards, -he shuffles them and requests a spectator to select one which is shown to the audience. Placing it on top of the pack the conjurer invites another member to initial the back of it, once more showing the card, which wewill imagine is the Nine of Spades, front andrearside.Remindingthespectators of the silk in his pocket, the conjurer makes a short speech on the latest development in photographic science, under namely of the properties of silk, which, certain conditions, absorbs andeven enlarges pictures from other objects. The chosen card with the initialled back hestates will serveasanexample, andheremoves itandrubsits face to the cloth, against his right hand trousers pocket. Slowly turningthe initialledcardaround it is now seen to be denuded of pips.Slowlywithdrawing the silk from his pocket, it is now seen to bear a picture of theNine of Spades !
match ; softpencil(ininsidepocket,rightside). Tuck the picture silk, say the Nine of Spades, into thetop of trouser’spocketintheusualmanner. Placethe blank cardontop of the pack with the Nine of Spades on top of all.
To Perform.-Displaythe blank silk each side and turn out the right hand trouser’s pocket to blank show pocket “ empty,”thentuckinginthe silk, making the exchange of silks intheorthodox manner, so thatthe picture silk isatbottom of pocket and blank at. top. Make the pass and force the Nine of Spades, then cutting the blank to top of pack. Palmtheblankintherighthand while spectator shows the Nine of Spades ; allow him to place on deck inlefthand. Takethe pack in the righthand,addingthe blank totopand over the Nine of Spades, while left handgoes to inside pocket forpencil.Show theNine of Spades again by making the doublelift,andplace on packwhile spectator initials. Point to pocket with right hand, while left hand holds deck. This is an excuse for releasing righthandtemporarilyfrom deck. Then carefullyremoving the initialledcard(really blank) and, not showing its face, rub the latter for a few secondsagainst the outside of pocket and turnitaround slowly andshow it blank. Slowly remove the silk, turning out pocket at same time, to show empty . . . and display picture.
R e q u i r e m e n t s are simple :-One picture silk andone “ blank ” ; pack of cardswithblank to
PRIZE
WINNING
MAGIC
FROM THEI.B.M.(St.Louis,U.S.A.)CONVENTION PerformanceTestedby a ProfessionalMagician Triple Ring-Silk Penetration Impossible Floating Master Through Silk Ropes Devil’s Own Multi Cut PaperStrip
Handkerchief Knife-Cut Ribbon (Clippooutdone)
These are the five ORIGINAL routines with which Professional Magician Henry Bohlen won the Ring One Trophy and Conjuror’s Magazine Award a t the I.B.M. Convention in St. Louis, U.S.A., in June, 1946. Here are effects that you willlike and do. Real magical“ IMPOSSIBILITIES ” which caused head-shakings at St. Louis-and will cause wonder i n your audience. NO APPARATUS TO MAKE OK BUY with the exception of one small“ gimmick ” (used in one effect)which you probably have already. No sleight-of-hand ability is required, for they are easy to do when you follow the clear, well-printed directions which are illustrated wlth more than thirty drawings bv Lamonte. AW E L LP R I N T E DB O O K L E TW I T H SOFT BOARDCOVERS
BOHLENO’SMYSTERIESby Henry Bohlen PRICE l O / - (postage3d.) GEORGE ARMSTRONG, THE 11 MONASTERYGARDENS
MAGIC WAND PUBLISHING COMPANY .. ENFIELD .. MIDDLESEX
..
..
28
9&
W ” & ! consists of a frame withtwo pieces of glass (a picture frame can easily be converted). One piece of glass is taken, and all over itssurfacearespread some playing cards, faces towards ‘glass. The arrangement must be haphazard as possible, but the whole surfaceshould be covered (see illustration). Over the backs of the cards is now spread a thin layer of liquid glue and over this is placed a piece of green baize equal in size to the glass. (I say green baize, but as this is simply to form a background masking to the table top or what, is on it, the baize can be substituted by using velvet, silk or newspaper. Baize is found on most card tables and is, therefore, of greater utility.) The remaining piece of glass is now placed ontop and the whole fitted into the frame, extra strips of wood being used to keep the glasses in place. If this tray is now placed on table, a from the top it should appear to benothingmore than a glass traywitha wooden beading (actually a plastic beading would give a better finish). T o put this article into use, the conjurer picks up a one-way forcing deck that has an ‘ outlander ’ on its face. Assuming thatthe conjurer has aspectatoron the stage, hespreads so thatthe surface is fully the deck onthetray spectator, the covered ; then handing ittothe latter is requested to go to a member of the audience. As this spectator .leaves the stage, those whose vision allows them a view of the underside of the tray, can apparently see an ordinary deck of cards spread in haphazard order on a glass surface (actually they of course see the cards sandwiched between the glasses). T h e member of the audience whom the tray-holder approaches is now asked to touch any card and withdraw it from the rest. Thus is another card forced.
There are occasions when the performermay wish to force a card with the deck outside his control, and whilst I should have, and have had, no hesitation in handinga straight forcingwitha facing ‘ outlander ’ to aspectator, thereare manywho have a procedure. The following qualms about such method makes everythingnot only very easy, but safe from any angle. Despite the fact that a piece of extraneous apparatus is brought into play, it can once the force has been accomplished, be used in a normal manner. The means for accomplishing this is contained in what purportstobe a glass tray. Thistray ~
ANNOUNCINGTHESECOND
~~~~
~
~
~
OF A SERIES OF EXCLUSIVEMENTAL
MODES
EFFECTS
MENTALISTS
FOR
is the effect :-After a pack of cards has been shuffled, a spytator is asked The mentalist who turns awaywhiIstthisis done, remarks,Choosewhich heap you like and I will take the one remaining.” The spectator is asked to pick up his heap and look:t the bottom card and Now, Sir, I a m going impress it on his mind. The mentalist now writes something on a card which he drops into a glass. to look at the bottom card of my heap, think of it, and I want you to try and get my thought ; there’s a pencil and a card spectator beside you.” Mentalistpicksup his cardandspectatorwrites,droppinghiscardintoanotherglass.Another removes both cards, reads whatis written, and believe it or not in each case the thoughts are correctly“ caught.” Please remember that there are no stooges, no carbon or other impressions, no one ahead method,no switches and not one suspicious move. Can even be performed with a borrowed pack. “
CAUGHT THOUGHTS.” This
to cut several times, finally leaving two heaps.
COMPLETE INSTRUCTIONS RUNNING TO APPROXIMATELY 2,000 WORDS, PRICE 7/6 POST FREE
. . . from . . .
PETER WARLOCK
..
“
GREENBANKS
”
..
BRAMCOTE
..
NOTTS
or from your Pentagram ” Dealer RE-PRINTED COPIES OF No. 2 PENTAGRAM ARE NOW AVAILABLE,PRICE 1/1 POST FREE I‘
Editor’s Note.-From
out of the past zce once more bring an effect thatistoogood to be lost.Althoughwesaw HerbertMiltongive thepremiere of this effect inthe earlytwenties,wecannotremember seeing anyother performer present this cleaer and startling effect.-P. W. #
#
1
Magicians .possessing the familiar “ Ghost Drumhead Tube ” will find, I think, in the following effect, a novel use for this piece of apparatus. Effect.-A tube is shown entirely empty, and a temporary bottom is made to it by clamping apiece of tissuepaper over one end witha metal ring. A number of cards, each bearing a letter of the alphabet, are then dropped into the tube a few at a time. A piece of black ribbon, about four feet in length, is then taken, the two ends being held, one in each is gently lowered into hand ; the centreportion thetube. Special attention is drawn tothe fact that’ the two ends are always keptin view. A few seconds later the ribbon is pulled out again and stretched horizontally, and attached to it is found a number of the letteredcards,forming the words, “ Good Evening.” Requirements.-A large sized “ Ghost Tube,” this as most readers will be aware, consists of a tube lined withanother but slightly tapering tube so that when held with the largest diameter tothe audience the internal taper is not discernible owing to the optical effect. In the space between the tubes, flags and soft goods are usually concealed for subsequent production. Two metal clamping rings complete the apparatus, but only onering and a piece of tissue are required in this effect. A number of cards, size one and a half inches by two inches, each bearing a different letter of the alphabet in bold print. In order to obtain the best effect the whole of the alphabetshouldbe represented,togetherwitha few extracards purportingto be duplicates. A piece of black ribbon, four feet in length and three quartersof an inch wide. T o each end may beattachedaneat rosette of a contrasting colour, thus making them conspicuous. At points six inches from each end, thelower portions of two black press-studs are sewn. A piece of strong black thread a yard in length. O n this are threaded in their correct order, eleven lettered cards forming the words “ Good Evening.” T o each end of thethread is fastened theupper portion of a press-stud corresponding to those on the ribbon. I t is at this point that great care must be exercised in arranging thethreadjustthe correct length. It shouldbeattached tothe ribbon by means of the press-studs and the ribbonstretched out to its fullest extent, keeping a thumb and forefinger on each press-stud. The cardsshould now appearto beattached tothe ribbon itself. If the thread sags in the centre, slightly shorten by tying one or two knots in it.
The length of the thread having been adjusted, the whole string of cards is now laid in a row face down and collected up one on top of the other from either end-the length of thread between each card being of just sufficient length to enable this to be done. The stack is now pushed into the hidden compartment of the Ghosthead Tube, the faces of the cards inwards, and the threaded edges of the cards at the top. Owing tothe peculiar shape of the compartmentit will be found thatthe stack will become tightly wedged between the outer and inner tubes, enabling the tube to be safely turned upside downa very convincing move when presenting. The two portions of press-studsattached to the thread,are fixedby means of a little wax to the inside of the outer tube, right at the top. Presentation.-Introducetube and show it empty in the usual way. Seal up oneend of the tube by means of the tissue paper and ring, leaving the fake end open. I t is then stooduprighton the table, the hiddencompartment being tothe rear. The lettered cards are now shown, one at a time, and drbpped a few at a time into the tube proper. The ribbon is then taken and the ends held, one in each hand, the thumb and forefinger gripping the pressstudsat each end.Care must be taken thatthe ribbon is not twisted. The centre of the ribbon is now allowed to drop into the tube proper,on top of the loose cards. An up and down movement is now made with the right hand while the thumb and forefinger of left hand come to rest on top of the tube, and the forefinger presses home its portion of the press-stud on to the correspondingportion on the inside of the tube and at the same time frees the stud from the wax which holds it. The right hand then does exactly the same with the otherend of the ribbon. Now comes the critical move. The ribbon is pulled outand stretched to itsfullestextent, the thumband forefinger of each handgripping the press-studs, and if done with the correct speed it will appear as though the cards themselves are actually attached to the ribbon. The move must not be made too quickly or the string of cards will become entangled with the ribbon. A few trials will soon show how quickly the ribbonshould be withdrawn. It will be seen that the above effect is specially adapted for a closing item, but the principle underlying it could’ very easily be adopted in any effect necessitating the revealing of a chosen word, or even a number. 1
Editor’s Footnote.-Mr.
1
1
Milton,who is, withoutdoubt, one of England’soutstandingmagicians,introducedthe effect,, by an “ A .B.C.” rhymewhichfinishedthus : W’s the Welcome accorded, X is the Exit, don’t go just yet, Y y o u will see in a minute, Z is the last, m y story i s told. Watch me fish for the wish that is in it.”
NEW PENTAGRAM GRADING.-A maximumaward of Ten Points in the following categories (whenapplicable) (A)-Physical. Make-up (B)-Quality of Material (C)- Value Magic to (D)-Clarity (E)-Illzutratzons (F)-Readabzlzty (G)-Sincerity TOTAL 70 POINTS THE MAGIC OF LOUIS S . HISTED (edited by Fabian, published byGoodlifle, price 30/-) T h e name of Louis Histed is one greatly honoured, and the pity is that the magical public at large have had to wait so long for a book containing a number of his effects. Such waiting has its own reward for this book of nearly one hundred and sixty pages contains over fifty ideas and effectsallmainlyoriginalwiththeauthor. Chapter One covers “ Magic with Cards.” The authorhere pays tributetothe lateHorace(Howard) Spencerandhiscard work,givingsomeexamples. The shades and manipulations of the late Arthur Carlton are also conjured up. The outstmding Zffects in this chapter are, toour way of thinking Brass(a prediction effect) and “ T h e Miracle Divination ” (the author’s version of -A1Baker’s “ Vocalepathy ”). Chapter Two is entitled “ Magic for ‘ One Case ’ ” and includes an easily made rope gimmick, two practical “ ring ” moves of Osmond Dellis, a version of the “ Rod and Beads,” a very effective production of a silk in a glass tube,an excellentclimax to “ Simplified Golf”and a first-ratenotetransposition. Besides theseitemsthere isaverygood effect entitled “ Humpty Dumpty ” and the “ ChameleonReels.” Inthe latteran oldprinciple isusedin amostingeniousmanner. “ Camouflage,” which completes the Chapter, is aningeniousversion of “ Everywhere and Nowhere,” usingtoysoldiers. Chapter Three c,ytains t,yo effects of Oscar Paulson : “ Just the Reverse and Who’ll bid Five Bob ?” Bothareexcellent andentailno specialapparatus. ChapterFour is “ InspirationsandBrainstorms.” I t commences’ with a lever loading idea, followed by a hint for one hundred per cent. working of the Demuth milk bottle. Under the title of “ Wot ! No Beer,” an ingenious adaption of the evaporated Milk Jug is described (actually for the effect in question we can see no reasonwhy an ordinaryevaporatedmilk jug shouldn’tbeused). The Erystal Cylinder,’,’ is another adaption of the author’s own SquareCircleprinciple.There is also a veryuseful ideaforobtainingabigload. A . veryfulldescription ofthe Bunder Boat ” isdescribed,andtheChapter concludes with two clever ideas : “ Topsy Turvy Topsy ” and “ T h e Ladx’sUpset.” Illusions is the title of Chapter Five and describes somethree stage effects. T h e first, “ ThePaint Box Illusion ” haseverything,colour,bewilderment,surprise The EaselIllusion ” that followsis andingenuity. really the second half of this effect, and adds a very fine piece of concealment artistry to the armoury of the stage worker. “ Materialisation ” is very a good idea for production of a human-being using the means of nature. We should like to correct the printer’s error of “ angle ” for “ angel.” ChapterSix “ Magic withLiquids,” isstartlingly outstanding,foritstrikesentirely new ground.Commencingwithsomenotesonthesyphonprinciple,Mr. Histed goes onto givedetails of the crystalcruxiform and the bevel ” conduit(principles of masking). With these three principles as a main basis, Some eleven effects involvingpenetrations,transpositions,changes,vanishes, and productions of liquids. The author describesall the methodsin amostlucidfashion,andwhilstherefrains from giving more than a straight presentation, the reader who thinks will realise the various presentations possible withsuchmiraculouseffects.Forespecialmentionit wouldbehardtosingleoutanyparticulareffect.From an audiences’ pointof view, however, we thinkthat Niagara ” would prove the greatest applause-getter. T h e book is clearly printed and well illustrated, and ouronly wishis thatdespitethe publisher’s “ blurb ” (regarding the fact that no expense had been spared, etc.), thatthebindinghad beenbetter. T o Fabianmust go a word of praise, for he has edited the material in a Sure manner. The illustrations of Dennis are clear and concise. ‘ I
‘ I
l‘
l‘
l‘
l‘
:-
Our greatwishin unreservedlyrecommending thisoutstanding book is that those who purchase it will make the fullestuse of theingenuities describedtherein,forhere is magic that is not only new but having strong audience appeal. 67 points. X
X
X
CON-JUNIOR-ING ” b3- John BrearleJ1 (published by ArcasLtd., price The sub-titling is A Balanced Programme of Magical Effects forChildren.”When we had the pleasure of reading the manuscript of the book, several months ago, we weregreatlyimpressed by thesoundcommon-sense of the writer regarding the entertainment of children of all ages. Inthe openingChapter, “ ThisandThat,” theauthor deals in averyforthrightfashionwiththe The advice is concise routining of achildren’sshow. andgood. The opening of theact isnowdealtwith, Mr. Brearleybringing out qualities o[,effects which makethemost appeal. The FlashSlateintroduces a nice angle oninstanteous message production.Under gives the heading of “ A Dirty Trick,” the author now what is really hisintroductorychapter.Again,coupled, with brevity, the reader is given more interesting advice on the lay-out of an act. From this point the author goes on to describe some eighteen tested effects or routines, most of them original. They all have the advantage of requiring very little in the way ofspecialapparatus. What is needed in most cases can quite easily be made up by the average person. From these effectswe would“ pick outfor specialmention ‘‘ NationalCostumes,”SchoolReport ” (a tornand restored effect withastory )“ ToffeePapers ” an effect with an excellent story and an amazing climax, the “ Fairy Tale Book,” an effect which not only involves theproduction of ‘‘ story ” silks but in the description gives the designs. A novelty about this effect is that it contains a special songforthechildrentosing (a Mr.Frederick Jukes is responsible for thiz). T h e ‘ l MagicCrayons ” is also very good and so is the Tests oflthe Magic Square.” Inthislatter several “ do as I do(butthe assistant doesn’t !) effects are lined up to form a very entertaining routine. There isaveryfineversion of the Mutilated Sunshade,”inwhichtheauthor gives fullcredit to the late Montagu Leslie. I n borrowed this a handkerchiefisused. There isamethodforthepursetrick, madefamous by the lateCharlesMorritt.Mr. Brearley contributesaveryfineproduction effect whichis tobe recommended on account of its simplicity. This book of over ninety pages, concludes with various items of advice, including the all-important matter of fees andwritinglettersto prospectiveclients. The book is well printed and illustrated, and whilbt the binding could have been improved, we are glad to see that the publisher had accepted the more normal format. We shallconclude by saying that thosewho think they have not the flair forentertainingchildren, wesay get ConJunioring and get it quickly,” for not only will y o u benefit, but so alsowill thechildren. 66 points. Unreserv ?dlJ* recommended. b b
‘,p/-)
‘!e,
‘ I
‘l
X
(‘WILLANE’S
X
S
WIZARDRY
”
(published by Arcas L t d . ,
price 2 / 6 ) The fact that this publication has been produced for bookstall publication will, no doubt, bring forth a strong chorus of protest from the “ T i n Pan Alley ” conjurers, whoseexistence dependsonthe acquisition of secrets coupledwith no ideas of presentation. We ourselves can seenodangerinsuchapublication. Actually all of the ideas inthis miscellanyare not tricks,forpuzzles and “ wheezes ” serve to make up the measure. continued on page 3 1
First of all a word of thanks for the cascade of Xmas Cards. Particularly were we impressed by the distinct individuality of some. Sid Lorraine ‘as usual hadsomethingrightout of theordinary,whilst StanleyCollinsnotonlysentusgreetings but includedthreecharmingpuzzles.GeorgeBraund’s weight does not seemaffected by austerity, and he can still rightly callhimself the “ Biggest Thing in Magic.” ,And nowapologies. Lastmonth, owing to a nightmarishrush we overlooked some errors in FrancisHaxton’s “ SpectatorSelection.” The first was that of “ Bob for “ Bert ” Allerton ; secondly, .on the fourth line from the bottom in the first column of page 19, it should read “ riffle to short : thirdly, on line eleven,columntwo of page 19, instead of “ drop balance of pack underneath ” read “ drop balance of pack on top.” Our referenceregarding “ HotMoney ” soon brought replies as to its origin. The first came from our good friend Tom Sellers, who informed us that he published the basis of it in “ Quik Tricks.” So for a good effect, Tom Sellers, we say “ Thank you very much ! ” Burtini has published his “ Linking Ring Routine ” in book form. The text is by Fabian. We think that most readers at some time or anothermust have seen Burtini put over this very fast presentation of this great classic. In consequence they will know that they are gettingsomething really worthwhile. Whilstthere is nothing revolutionary in itBurtini has managed to get some very individual twists that greatly help in disguising the use of a key ring. At the price of316 it is an exceptionallygoodbuy. Even if you have every other Linking Ring routine we still unreservedly recommend it. Our “ feeler ” about a Society of Mentalists has brought quite a number of replies from those interested. We hope that by the time this issue is in the post, we shall have managed to answereachpersonally. If not,please take thisas atemporaryacknowledgment. More regarding this next month. Billet Switchers can get a lively angle on billet “ Billet reading in PHOENIX 139. It iscalled Catching,” and apart from the novel angle detailed by ”
”
EdwardClinkscale and. EugeneTaylor,there general purpose tip worth a dozen issues.
is a
“ Caught Thoughts,” thesecond of “ Modes for Mentalists,”toucheswhat we believe to be anew angle. The Third in this series will not, owing to rather heavy commitments,be available untilJuly or August.
We have just read the latest formula for success. The writer tells us “ Get through your act as though you had a train to catch.” The gist of this article is that one should do as many tricks as possible in the shortestpossibletime.Whydon’tthepeople who write like this realise thatthere is noformula for success. Those who have been great in the world of magic achieved success through varying means. Surelythe secret of successfroma lay audience’s point of view is yourentertainment value. The audience must not be bored, and if the train catching tregetourthinksthatquantityplusspeed is the antidote to boredom, he has a very big think coming. Regarding Tom Sellers’ mostingenious milk trick, may we suggest that if a gold band half an inch deep is painted around the rimof the drilled tumbler, the conjurer will, with a filled glass, be able to isolate himself before the miracleworks. Too late for review, we have received Hugard’sMonthly,” Vols. 3and 4, published in bookformby the Fleming Book Co.Wequite frankly do not know how they have managed to turn out such a fine job at such a low price ( 5 dollars). Next month we shall review this together with Brian McCarthy’s “ Sleights Supreme ” and “ Abracadabra Xmas Special.” In this last there is one routine dealing with a cow, that helps to bring conjuring right off thebottom rung of the ladder into the gutter. “
Our friendWillGoldston,who now seems completely recovered from his serious illness had a nice write-upin the “ Leader,” dated 27th December. It is entitled “ The Magical Man of Leicester Square,” and in it,Will Goldstonshows how his early interest in magic was aroused and fostered by ProfessorAlexander(JackCripps).Nineexcellent photographs help to make up this two-page story.
A WORD ABOUT BOOKS - continued from page 30 Among thetricksarethe “ Chinese Cornpas:,” (in itsmostelementaryform),the “ RopesandRings(asa penetration effect), the “ ’Bus TicketandWalnut ” (in this effect we should have liked to have seen some credit to Nelson Meredith), a version of “ Just Chance,” some knot effects, the “ SafetyPinthroughHandkerchief,” andthepenetration of handkerchief by awalking stick. All of these are lucidly explained and illustrated with either line drawings or photographs. Among those things which cannot be strictly classedastricksare the “ Calendar at your Fingertips ” (we have already heard moans regarding the publication of this, but would remind readers that in
nearly every book dealing with mnemonics a version of this willbe found).There is averycompletedescription of “ Trente et Un.” Altogether thereare someeighty-odd ideas all of which are of sufficient merit as to be acquired by those who wish to have some item ready when there is a moment or two flagging. As they have already been mentioned, it seems unnecessary to mention that some of the effects are capable of great effect with studied presentation.Printingandillustrationsareexcellentandout of allproportiontothemoderatepriceasked.Havingonly stiff papercovers it loses points, but is unreservedy WCommended with 58 points.
JUST OUT
!!
Re-printed
HUGARD’S MAGIC MONTHLY BOOK EDITION No. 2 (Volumes 111. and IV.)
_-
No. 3 is now out of print and will not be re-printed 0
P E T EW R ARLOCK “ Greenbanks ” :: Bramcote
MAGIC WITH SMALL APPARATUS : Vol. l Dr. Dhotel’sgreat work is the fastest seller we haveyet published,probabfi because of itssolid merit, which is perfectly apparent to anyone whoexamines this book of 177 tricks and routines with matches,rings, wands, candles, and balls. “A rich mine of magical information ; I await future volumes in joyous anticipation,” says William produced in the Fleming Larsen (Genii). Beautifully Magic Classic format, 320 pages, 28s.
IA
1
I
CONJUNIORING MASTERPIECES IN MAGIC . ’ EXPERT MANIPULATION O F PLAYING CARDS . . THE-MAGIC OF LOUIS HISTED .. HISI‘ED TWELVE NEW TRICKS .. FA BIAS TESTAMENT OF R. W. HULL.. HALL HALL NOTHING I S IMPOSSIBLE H .4 LL READING IS BELIEVING .. K 0R A N MASTERED AMAZEMENT .. KRNTON THUMBS -- - - - ..- - - UP -M A C X ~ ~ Z I E COMPERES CORNERFIRST BOOK OF WlLLlAM . . .’llcCOMB L E W I S c7 T Y L E R OPEN SESAME PATTERNS FOR PSYCHICS WARLOCh‘ WILLANE WIZARDRY .. WILLAA-E .. A?ORhfA-V BASIC CARD TECHNIQUE .. 3d. Stampfor list of Books on Loan
10s. Od. 12s. 6d. 10s. Od. 30s. O d. 6s.Od.
20s. Od. 15s. Od. 12s. Od. 10s. Od. 6s. Od. 5s. OB,
..
~~
0 0 0 -
BOOK
COMPANY N. J.,
8s. Od, 1
30s. Od, 10s Od 2s: 6d:
46s. Od,
FREDROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
U. S. A .
-
NEW ARCAS BOOK
The Magic Circle
Con JUNIOR ing
by JOHN BREARLEY
A balanced programme, including patter of superlativeconjuringforchildren by the inventor of those classic tricks, 1Magic Assembly. and the Postage StampAlbum I‘
Notts.
NEW MAGICAL BOOKS
-- -00o--
BERKELEY HEIGHTS
::
BREAKLEIC RAGGS GANS0.V
Pleaseremit.Englishmoney toour Representative, M r . Robertson Keene, 3 0 I Norzcood Road, Southall, Middlesex, anil receive the books direct from the United States
FLEMING
U
Price 1/ l post free
000-
_ I -
”
stillavailable
No. r , 28s.
--
No. 1 and No. 2
PENTAGRAM
“
We believe that everymagicianwhoowns Book Edition N o . I (Vols. I. and 11.) will insist upon having Book Edition No. 2 ( v l s . 111. aftd TV.), which we regard as the biggest “ money S worth In current magical publications. Though it contains 208 large pages (as against 128 pages in No. l), and though printing costs have risen 5 3 per cent., we have managed to hold fast to the old price of 28s., by enormouslyincrtasingthe size 06 theprintingandthus Book Edition holding down the unit costs. Uniform u-ith
~
Copies of
3‘0those whothlnk they haze not the Pair for entertaining children, we say get ‘ ConJUIVIORi n g ” und get it quickly for ?lot only will J’OU benefit, but so also twill the childten.” --Peter\T.arlock
Fully illustrated, cloth bound, price 10,’postage 6 d . Academy of Recorded Crafts, Arts andSciencesLtd. 404/8 Sydenham Road, Croydon
MASQUE Aprintedmagazinegivingdetails of our latest releases in exclusive magical effects. Issued free. If you are not onour mailinglist,writenow.
President: His Grace the Duke of Somerset, D.S.O., O.R.E.,I.P., D.L., M.I.M.C. Vice-Presidetlt : Douglas Craggs,Esq., M.I.M.C. ClubroomandLibraryandMuseunt
:
St.Ermin’sHotel, CaxtonStreet,S.W.l. MagicalTheatre
:
King George’sHall,
W.C.
mm.... a
m
~
~
m
.
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
Particulars frowHon.
Secretary :
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19 ~
ABDUL’S FEZ Increased cost of materialshas forced me to increase the price of this effect to 12!6. I feel confident, however. that it is still a bargain to anyone who hasever worked the Egg Bag. Thanks to all those who huve sent kind.a,ords ab61lt t h i s trick
ZAHAREE (Geoff. R . &Hursell) 16 & Watts’ 18 Place CHATHAM :: KENT
H E N RDl E ’ S E E V A H MMC., BMS., IBM., SSMC. THEFRIENDLYMAGICIAN invites allbona-fide Magicians toseud for hislist of new and used apparatus and books, or calla t his studio :l CLARENCE ROAD Harborne, Birmingham 17
INSTITUTE OF
MAGICIANS
Founded 1934 President : A.Zomah. Hon. Sec: OscarOswald 102 ElmsteadAvenueWembleyParkMiddlesex H . @ . a d Ltbrary : NO.'^ Hand Court(Vihory Club), HighHolborn, W.C. pm. MEETING EVERY THURSDAY, 7-41 VISITING MAG1CIAN.S ALWAYS WELCOME Your membership cordially invited-drop a line to the Honorary Secretary for literature
~
MAGICIANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME I. IliudilL Prices :CLOTH 516, REXINE 6,6, MOROCCO FINISH 7!6
C. FIELD 42 Alderson Road, Sheffield Ric
Every Advertiser’s
2
OLD AND’ NEW MAGIC J A MGERSA Y S O N LatestThink a Magician A pocket hlind MAKER OF HIGH-CLASSMAGICALEFFECTS, Reading Lflect 07113: 2,6 STAGE ILLUSIONS, ETC. Orvirl’s faulous Spider’s \Veb, Card Trick 30!COIX M’ANIX to produce a real coin 1616 I‘rltphone. or Telegram : MORLEY 899 .1.few Sliding Glue- Packs of Cards 8,’9 S o d stump for pritlted lists qf old a d ne?&’M ~ ~ g r c Address :23 GREENFIELD AVENUE S y d n e y de Hempsoy GILDERSOME, Near LEEDS 363 SANDYCOMBF ROAD, KEW GARDENS -Yearly 30 yews in the business 4238 SURREY
goods are fully endorsed by this Bulletin
__
33
PENTAC
An independent monthly bulletin
for all who want good
magic
'h fDetrtoriam
p
exponent d
Mental Telepathy Bepinning in Le
li"IRE ROOM
*
ANNEMANN, world-famed Mental Telepathist," come6 the Palmer House direct from all-sweeping seven-year series personal appearancessponsored the socially, financially,and litically great of both Europe i America. i performances in the Empire >mwill be his first in Chicago well as his first on a cafe floor. willappearonlyin the ten lock show. Monday, Oct. lSth d o r e Annemann is reputed to the foremcst exponent of mental telcq x t h y intheworld. His mind . readingachievementshavecaused him tc be called the "human OuijiBoard," Heis tfie author of "The Book Wlthout A Name" describing his work. ,I
I n his book " TwentyMagical Nowelties," the lateEdward Bagshawe introducedacuriouslittle card trick under the title of The Message that can't be read. As outlined by Bagshawe, the trickhad perforce to be a mere intimate one entirely unsuitable entertainer. Now, for the needs of the public althoughadmittedlybased upon and suggestedby
-
1907 1942 Oncemorethe " Pentagram " pays a modest tribute to the memory of Ted Annemann. In thisissuethereare three items contributed by those who atsometimeor " Jinx." anothercontributedtothe
I can add little to what has already been saidregardingthisoutstandingfigurein the world of mental magic ; thatlittleis : that with the passing of every year, . I realise more than ever the great contribution that the " Jinx " - and really by thatI mean its progentitor - gave to present-day conjuring. The torch-bearers of the name of Annemannare legion ; those .* torches will burn forever. PeterWarlock.
Edward Bagshawe's idea, the trick I amabout to describe introduces a more or less coherent business cableinstead of ameaninglessjumble of letters ; ; it canbemade upto servepublicperformance it calls for the useof but one mask and, most important of all,it has anentirelyunexpected finish continued on page .34
34 CRYPTOGRAMAGIC - continued from page 33
Fig. I purports to show cable a calling for shipment of sundry lots of .cereals to specified customers ; and Fig. 2 illustrates the three - slotted mask has which to accompany the cable card. The proportions of the cablecard andthe mask are arbitrary matters depending entirely upon the size of the hall or theatre in which the effect has to be in exhibited ; but anyevent I suggest thatthe cablecard shouldnot be smaller than 15” X 10”. The plotissimpleandstraightforward. From four selectedcards, the name of one,chosenwith entire freedom, has to be revealed through the slots when the mask isplacedoverthemystic cable. Much to the discomfort of the conjurer,however, no card name is suggested whenthe mask is in place, and the trick in consequence appears to have gone wrongsomehow.Suddenlybrightening,theconjurer turns the cablecard and mask upsidedown when,sure enough, the name of thechosencard seems to be magically transformed from the letters and figures seen a moment before. Fig. z illustrates thefour possiblerevelations. The figures and words that call forreversal on the cable card must be very carefully designed, particularly the figures 574034 and the words “ Esq.m.p ” inthe firstlineand the somewhat strained “ Ogpu Oeuoip ” inthe second line. The chief difficulties are with the figure “ o ” which in two places has to appear as an “ a ” when reversed, and the figure “ 7 ” which has to do duty as “ t.” T h e necessaryblemishesindesignshouldappear accidental:and as unobtrusiveasis possible. The non-symmetrical arrangement of the slots in the mask, which is the key to the conceit, makes
possible the revelation of four different combinations of words. Call one side of ‘the mask A and the other sideB. As each side can be superimposed two in positions on the cable card, it follows that any one of four different combinations can be made to appear through the slots by simply knowing in which position the mask has to be laid, arranging and it accordingly. Side A uppermostaccounts for Ace of Clubsinone position- andfor Ten of Diamonds in the other position ; Side B uppermost accounts for Six of Hearts in one position and for Eight of Spadesintheother position. Although unrestricted choice of’one of them is permitted,fourcards have to be forced.Whilst this will notdisconcerttheexpertcardhandler, it can admittedly prove stumbling-block a tothe ‘ ham-handed.’Here,then,arethreesuggested procedures which call for neither address nor dexterity :-(I) A forcing pack made up of thirteen will sets of the same regularly arranged four cards notonlypermitrepeatedcuttingbutensuresthat any removed bunch of four cards will comprise the desired set ;(2)An impudent nursery plan that might serve for an unsophisticated audience is to instruct a spectator to select with perfect freedom any four cardsfroma well-shuffled pack. As, however, the cards that fall to his choice mustnot be known even to the drawerof them, he is ordered to drop the four cards into a flap card-box and to close the lid. The four cards removed from box a few moments later are, of course, the hidden four which have to servethepurpose of theconjurer ; (3) The best following. I t necessitates the plan, I think,isthe continued on page 38
35
The operator, after having demonstrated successfully, various experiments in Telepathy, Telethesia, etc. (without the aid of phying cards), announces that the success of the recentlyconductedexperiments was largely due to the extreme sensitiveness of the mentalprocesses of the assistingspectators, and. remarking uponthe particularlyacutefaculties of onesuchvolunteer,enquires if he was aware that he was the possessor of such powers and, whatever the reply,requests himto personallyconduct an experiment in telepathyand mind control ; the operator, although participating, to merely act as an assistantandadviseras tothe procedure to be adopted in order to secure the most effective results. It being taken that the spectator has expressed his willingness, we will now, for the sake of clarity, designatehim as theoperator, the actualmagician as P (performer), and other volunteers (see below), asspectatorsoneand two respectively. Performersuggestsoperatorstandandfocus hismind upon adiagram or picture,and further suggests that in order to ensure that itis a commonplace and easily recognised symbol, it be the designation of a playing card-anyone of the fifty-two ; that he thinks intently of one such card, visualising its appearance in his mind as a picture, then for the sake of subsequent proof of either success or failure of the experiment, that hewrite the name of the selected card on a piece of paper, and place it in his pocket until it is required for verification purposes. He is next advised to select two gentlemen, or call for two volunteers, and having obtained them, requestthemtostand,transmithis will tothem and project the “ thought ” of the card-picture into theirsubconsciousminds. Performer then takes a pack of cards from its case, displays same, and requests operator to instruct spectator number one toannounceanynumber betweenone and fifty-two thatenters hismind. P. countsdowntothat As soonasthisisdone, number, not disturbing order of cards, and without showing face of card arrived at, writes its name on a small billet, which is folded and placed in full view or into the custody of some other member of the audience.P.,idlymixing pack, then recommends operatortoinstructspectatornumbertwotostep forwardandselectbychanceone of the fifty-two diagrams or cards, explaining that in order to prevent anybpossibility of the faces being perceived, he will hold pack behindhis back withonehandwhile spectatornumber tworeachesround,cuts pack and removes card cut at, placing same in his pocket without glimpsing or allowing anyoneelse to glimpse its face. P. then briefly summarizes what has gone before, emphasising that the whole experiment has been conducted by the volunteer operator, that there has been no personal conduct between him (voluntary operator)andthethree volunteers-so describing
himself as one-and that, if the desired results have beenobtained,theyareobviously entirely. due to the remarkablydevelopedmentalpowers of the presiding operator. Calling for a previously neutral member of the audience, he requests him to take the billet bearing the name of the thought-ofpicture(card)which hasreposedinoperator’spocketduringtheentire proceedingsand to announce the namethereon ; secondly, to open and read aloud the name of the cardwritten by the performer, but arrived at by spectator number one’s chance number-it is the same, and, finally, to display the-card selected apparently freely, but actually under volunteer operator’smental control-it is identical with the name of the card appearing uponthe two slips of paper ! All that remains is to thank all assistants, congratulate the volunteer operator upon the development of these obviously latent mentalpowers, announce that he has successfully conducted a perfect example of “ Thoughts in Action ” and then congratulate yourself silently upon having introduced the audience to a somewhat unusual effect. Remarks.-Please note the concluding line of the foregoing description ; as far as the audience are concerned, you have introduced a decidedly unusual experimentwhichhappilysucceeded ! That’s all that matters, for no originality is claimed by me for the qeanswhereby the effect is obtained, unlessit be “ brass-necked ” action,which foroneabsolute will beobserved below. Requirements.-Ashort,hp-d pencil ; two small pieces of writing paper ; a pack of cards in a case, fitted with Annemann’s “ Mental Masterpiece ” or ‘‘ PerfectedMentalMasterpiece ” (R. W. Read’s improvement) ; a considerableamount of ‘ cool cheek.’ Method .-Explanations will be brief-it being assumed that all “ Pentagram ” readersare wellversed magicians, and not merely“ curiously minded customers.” ( I ) Volunteer operator is asked to stand and to write down name of thought-of card for subsequent “ advising ” him. to identification purposes. Whilst playing cardsas a use “ one of thesefifty-two picture,”P.idly picks up case containingcards, indicating same, then placing piece of paper on case, he gives it together with pencil to operator’to write name, fold same, and place in pocket without disclosing name of cardmentally chosen. (2) P. takes card case and pencil, places pencir inpocket,openscard case andtakes out cards, thereby ascertaining name of “ thought card ” by means of the “ Mental Masterpiece ” (users of t b appliance will realise why a short,hardpencil was specified inthelist of requirementsenumerated above). Then, casually showing faces of cards, heglimpsesposition of thought-ofcardandidly cuts it to the bottom. ,
continued on page 37
Whilst this i:; a mental item more akin to the conjurerthanthetruementalist,itwill. be found A factor extremely,effectivewithsmallaudiences, is that a number of people take part and that there seems no possibilityof collusion and/or forced choice. The conjurer commences : “ Ladies and gentlemen . the future is a thing hidden fromthe present bya heavy curtain.Sometimesthereisagapin thatcurtain, andsome, like myself, arepermitted a view through that gap.” At this point the conjurer with casual comment picks up an envelope and rests it againsta glass. Turningthen toamember of the audiencewhom wewill designate A, . h e asks thisperson to relax andthink of acolour(don’t “ red ”), and choose a female as they generally say then tell the audience that colour. This being given, the conjurerpicksaslateandon it writes “ One ;. . (say) Orange.” A deck of cards is now B ; heis picked up, handed toanotherspectator asked to look ata cardandnameit. This is also noted onthe slate. T o athird spectator(C)is given a pad and pencil, and he is requested to write downfourlines of threefigures (if timepermits these can be given by other members of the audience. If the conjurer wishes to hurry he can just ask the holder of the pad to write down four figures), add them up and announce the total. This being given it is written on the slate. Now taking the envelope, theconjurerripsit openandfrom it withdraws another.envelope.Ripping the end of this, the conjurerpausesandaddressingthefirstspectator of a remarks : “ Yop, sir,quitefreelythought colour . that colour was “ orange ” . . . Don’t you think it strange that two hours ago I placed inside orange backedplayingCard ?” thisenvelopean Slowly the conjurerwithdrawsanorange.backed card,the envelopebeingcrumpledanddropped. To the second spectator he says : ‘.‘You, sir, quite
..
. .
freely chose acard,” (say) the Ten of Diamonds “ don’t you think that it is somethingmore thana coincidence that, this orange backed playing card should be the Ten of Diamonds ? ” Slowly the orange card is turned round to show the face, which, of course, is the Ten of Diamonds. Those near the card can see that there is somewriting across the face. T o thethirdspectator,theconjurer turns and says : “ You, sir, wrote on a paper twelve digits . . . these digits were freely chosen . . they were addedto make asum,andthetotal of thatsum was (say) 5724. Will you please read whatiswrittenonthe face of thiscard ? ” The spectatorishandedthe card and reads out “ I (name of performer) predict that the sum arrived at by the third spectator will be 5724 ” ! ! Requirements .-A Telematic Deck forcing (say) Ten of Diamonds ; one nail writer ; twelve “ Tens of Diamonds ” each having adifferent coloured back. The colours covered arered,pink, mauve,blue,orange, yellow, green,brown, black, white,silverand gold. (To anintelligentaudience the last four are not ,colours, but it is best to cater for every one.) The colours can be obtainedin many ways-either by painting or sticking coloured paper on the backs. Card collectors no doubt would possibly have a back tosuitevery case. Twelve envelopes thatwill just contain a playing card. One envelope of normalletter size ; oneslate and piece of chalk ; one pad and pencil. Preparation.-Onthe face of each of the “ I (name of perplayingcardswritethewords former) predict that the sum arrived at by the third spectator will be . . .” (for position of this see illustthatpart ration). A windowtocorrespondwith wherethe number will come is now cut away in each envelope and the cards placed inside. A small L
.
continued on page 37
37 “
AUSTERITY AUGURY
”
- continued from
page 36
indication should be pencilled on each envelope so that there is no doubt which envelope contains the appropriate colour. Memorising theorder, these envelopes are placed in the left hand trousers pocket, window and, of course, face of cardfarthestfrom body. The ordinary envelope is sealed and can be slipped intoan inside pocket. The slate and chalk are near at hand. The telematic deck encircled with an elastic band is also in the performer’s pocket. Pad and pencil lie near the slate and chalk. The nail writer can be in position on the conjurer’s nail. Presentation.-As the effect has been well .detailed this is given in bare-bone ’ form :I . Envelope is taken from pocket and rei’ted against glass on table left of conjurer. 2. First spectator names colour ; slate and chalk are picked up with right hand. Slate is passed to left hand and is held by thumb andfingers (see illustration) the colour being noted and written down. 3. Slate and chalk are placed aside on table -right of performer. 4. Telematic deck is removed from pocket, band removed, faces of cards shown(without comment) band replaced and deck handed to second spectator, who is asked to peek at one card and name it. Slate and chalk are again picked up as before and name of card noted.Slate and chalk again replaced. Deck L
M O D E S . FOR
is taken back from spectator. 5. Padand pencil handed tothird spectator, who is ,requested to writedown sum. This is the moment when the conjurer casually places ,his hand inhis left hand pocket and locates envelope with the card coloured according to first spectator’s choice. It is palmed but thehand is not removed from pocket. 6. Spectatornamestotal, right. hand picks up slate and chalk as before. Left hand with envelope palmed comes out of pocket to take slate as before, the position of the slate completely hiding envelope. 7. Total writtenon slate. Conjurer recapitulates and picks up sealed envelope from table with right hand, passes it toright hand (see illustration) the left hand removing slate and, of course, leaving the window envelope underthe sealed envelope. 8. End of sealed envelope is torn and window envelope is apparently removed from inside. The opened envelope is crumpled and dropped. Window now faces conjurer.Holding this .up, and as he turnsto address first spectator,conjurer writes in window space on the card the number of the third spectatorwith the nail writer. 9. Window envelope is ripped open, card withdrawn and envelope crumpled and droppedon to floor. Fromthe conjurer’s viewpoint the effect is finished. The rest is build up.
MENTALISTS
NO. 1-‘ L THINK AS I THINK ,”-This is an effect, where, instead of the performer receiving the spectators’ thoughts, they receive his thoughts. Eyery detail has been attended to so that this makes for a perfect presentation. Voltaire, after seeing it demonstrated, wrote as follows :-“ I would like you to accept my admiration of the eflect . . . in which members of the audience appear to read your mind. In my view it is one of the most brilliant of mental effects that I have seen . . . .” Complete Instructions running to approximately 2,000 words, price 7/6 post free. No. 2--“ CAUGHT THOUGHTS ”-This is thc effect :-After a pack of cards has been shufIl2d, a spectator is asked to cut several times, finally 1eaving.two heaps. T h e mentalist who turns away whilst this is done, remarks, “ Choose which . heap you like and I win take the one remaining.” T h e spectator is asked to pick up his heap and look atL;lx bottom card and impress it on his mind. T h e mentalist now writes something on a card whi& he drops into a glass. NOW, Sir,I a n going to look at the bottom card of my heap, think of it, and I want you to try-and g2t my thought ; there’s a pencil and a card beside you.” Mentalist picks up his card and spectator writes, dropping his card into alother glass:‘ Another spectator removes both cards, reads what is written, and believe it or not in each cas: the thoughts are correctly caught.” Please remember that there areno stooges, no carbon or other impressions,no one ahead method,no switches and notonesuspiciousmove. Can evenbeperformedwithaborrowedpack. . Complete Instructions running up to approximately 2,000 words, price 7/6 post free. . . . from . . . PETER WARLOCK .. “ GREENBANKS ” BRAMCOTE * NOTTS or fromyourPentagram ” Dealer
..
..
THE SPECTATOR. DIRECTS
..
- continued from page 35
(3) Requesting number between one and fiftytwo from spectator number one, P. counts down to that number, looks at face of cardarrived at,and apparently writes its name on second piece of paper. Actually he writes name of card chosen by volunteer operator, which now lies at bottom of pack (now the reference to brass-neck ” will be understood). Note : If possible work away fromtable, and use pack as backing for paper whilst writing (care being taken face of bbttom card is not seen by audience), this action is’ similar to that of volunteeroperator when writing name, and is a strong point. (4) Idly mixing pack, P. reverses bottom card secretly, and holding pack behind back, force bottom card on second spectator by means of
standingly deceptive manoeuvre is described in Annemann’s ‘‘ Par-opticVision ” on page 250 of “ Practical Mental Eflects ” and is particularly suitable for inclusion in the effect I am describing. The exact wording andminute details of the presentation are best left to the individual performer, to enablehim to arrange themtosuit his own personality and style. The great thing to remember is that it must be impressed on all present that the volunteer operator is the sole director of the effect and that the success is dueto his efforts alone. The actual performer merely acting as an assistant in an advisory capacity, suggesting the best procedure to beadopted in order to demonstrate that ‘‘ genuine mind control ’’ is in force.
a
W d ahut B&0.
U
c
NEW P E N T A G R A M G R A D I N G . - A maximum a w a r d . of TenPoints in thefollowingcategories(whenapplicable) (A)-Physical Make-up (BFQuality of Material (C)-Value Magic to (D)-Clarity (E)-Illustrations (F)-Readability (G)--Sincm*ty TOTAL 70 P O I N T S H U G A R D ’ SM A G I CM O N T H L Y ” (Volumes 3 and 4) published i n book form by theFleming Book Company, price 28 I-. Our first thoughton receiving this volume was “ How on earth can the puklishers produce such a fine volumeatsucha low price ? Exceptionallywell bound, it accords in every way to the high standard set by the Fleming Book Company. cards T h e size is full quarto and contains some 200 pages. We should like to emphasise .that this is not just a binding of loose copies but a special printing in book form. Illustrationsareprofuse,quiteanumber beingphotographic reproductions.volumes two these throughout T h e material is of a high standard-card effects and sleightsaccountingforaboutone-third of thecontents. OftheseweshouldparticularlyliketomentionJohnnie Scarne’s “ Challenge $;and SlamandLittk‘Slam,” “ Telephonic Telepathy byAbrilLamarque, Onthe Beam ” by Walter Gibson;‘‘‘ Can You deal a g9pd Poker Hand ? ’I by Hugard. the Infallible Indicator by Dai There Vernon, and “ Name your Number,” attributed to Allerton mention but actually Roy Walker’s. These are first-rate material Tissue andto makeex)ragoodmeasure thereis “ CardMagic ” by Hugard, running serially through the two volumes. VictorFarellicontributessomegoodsleights,andthere is anexcellentdescription of the one-hand-riffle-shuffle (this, incidentally, is superbly illustrated with photographs). “
T h e coin enthusiast also well is provided index. the for effects taking our fancy being the “ One dollar, eighty-five cents ” by R. M. Jamieson, “ Who’1l“give meOneFifty ? ” by Oscar Paulson and the Coins through the table.” There are a number of effects utilising rope. Under the title of “ Snapping a Knot,’’ Harvey Graham gives clear a and simple wayperforming of single thehand
Reviews of
“
Sleights Supreme ” and
CRYPTOGRAMAGIC
- continued from
“
:-
knot.Underthetitle of “ ARopecuttingTie-up,” FrancesJ. Rigneygives our ownropeandring effect ; scissorsbeingutilisedinstead of the ring.Besidesthese there are many other knotting effectsplusvariations on the cut and restored rope. Mentalists will not find a great deal of material, but what is there is good. We have already mentioned under “ Telephonic TYFpathy “On ” and $e Beam ” which haveamentalbias.Guessing is Fun,by Engel, is a goodpresentationforclose qu,:rter work, and we also by Corning. “ Glimpsl i g d “ Subcons$ousPrediction 1ng theFuture, by Pavloff, is nice a idea of prediction. issues I n most Milbourne Christopher contributes a page. In these there is awealth of ideas and materialtoonumerous to specify, butthey radiate thebrilliantpersonality of the writer. It is enough to say that every conjurer, whatever his speciality, will gain something from reading this particularsection. are some excellent routines by Jean Hugard ; of which must be the “ Tor:‘ and Restored ” (an excellent platform effect), The Flight of Time ” andHugard’s “ Billiard Ball Finale.” In the later issues Fred Braue contributes under the title of “ Roundabout ” an excellent contemporary cornmentaryonconjurersandconjuring. At the end of the volume there is a verycomplete We have in the course of this short review, only been able to skim the excellentcontents.JeanHugard has maintained the high standard with which he commenced and the bulletin, publication monthly outstanding of this we cannotrecommendittoo highly. It is onthecrest of superlatives . . . superb ! 67 Points.
Abracadabra Xmas Special ’) unavoidably held over until next month
page 34
arrangement of thetop twenty-onecards of the pack in this order :Ace of Clubs, any Queen, any Jack, any Ten spot, any Nine spot, any Eight spot, any Seven spot, any Six spot, any Five spot, any Four spot, any Three spot, any Two spot, Six of Hearts, any Three spot, any card, Eight of Spades, any Five Ten spot,anycard,anycard,anycard,anycard, of Diamonds. Someoneis called upon tosayany number betweenoneand twelve. Let us suppose that five is, the sameno is the response,thoughtheresult matterwhatnumberis called. With pack inleft hand, the cards are counted one by one into right hand, each as it is taken going under its predecessor. At the count of “ four,” the left thumb slides back the top card (the Ace of Clubs) on to the top of the pack, so that the first of thedesiredcardsfalls at the fifth position. This is, of course, nothing more than the well-known false count familiar’to all card handlers. If, as the second card is dealt, the .right thumb slides the first one slightly to the left so that it overlaps the second by abouthalf-an-inch, the
steal of notmorethanonecard is madecertain. TheJirst of our four cards, the Ace of Clubs, is thus accountedfor. Now it makes no difference what number is first called for ; the arrangement of the top stockensures that the nextcardon pack will indicate by the number of pips on it, the position of the secondof the desired cards,viz., Six of Hearts. With “ five ” as the original call, the next card in pack will be a Nine spot, and a count down to the ninth cardbringstheSix of Hearts.Whenthis Six‘ of Heartsisremoved,the following card, a Three spot, gives the position of our third card, the Eight of Spades. TheTen of Diamondsis then found at the fifth position indicated by the Five spot which follows the removal of the Eight of Spades. A convincing false-shuffle given td the cards before these counts are made will serve to add conviction in theminds of the onlookers that the results obtained areentirelyfortuitous. To preventthepossibility of the mask falling out of register-a veryimportant considerationit is advisable to have the cable card framed.
39
It is always a blow to us whenwe hear of activeminded conjurersbeingcompelled to undertakea forcedrestthrough illness. RobertO’Connorand Les. Vincent have been onthe sick listforsome while, and another addition is the London Correspondent of the Sphinx (Wilfrid Jonson). On behalf of our readers we take this opportunity of wishing them-and any others similarly indisposed-a rapid recovery. Atthe‘WindmillTheatreonFebruary 2nd; Harold Taylor started season a at thefamous (we never closed) Windmill Theatre. I t is the 210th edition of Revudeville. If you haven’tseenHaroldTaylor, takethisopportunity of seeinghim,forhe is one who has natural charm. I t is (as most readers of the Budget know) now official that the I.B.M. Convention is to take place .at Bournemouth on September 30th to October 3rd. T h e headquarters hotel will be the “ Burlington ” at Boscombe. A thing that annoysusmostishavingto pay for an effect which we have already described. Last it was year we “ fell ” for a book test, only to find that .a version of “ Lend me your Book ” (“ Patterns for Psychics ”). We know thatthere was no case of plagiarism on the part of the vendor. It was simply that he hadn’t read our previously published version. Wedid, however,takeexception to “ Saturday ,EveningGhost,”copyrighted by Thayersin 1943. ‘This is simply a straight steal of “ The Whispering ” published 1941). Joker ” (“ DesignsforMagic .Knowing that Thayar’s handled and sold this book .and that the Editor recommended it, we should like Mr. Larsen not necessarily to “ face this fact,” but j u s t to take a side glance and give us his opinion on ;thisblatant case of plagiarism. Fromour good friend Conny Steffensen, of #Copenhagen,we have received a copy of Thorkild Our Anderson’s “ Thirteen EffectswithPaper.” ,chief regret is that we cannot read Danish, but with
the aid of the illustrations we can see that it contains some novel ideasofwhich “ Kluk-Kluk ” isan outstandingexample of camouflage fortheGhost Tube. The book is well illustrated by the author. On anotherpage will be found a displayed notice regardingtheformation of amentalists’Society. We have alreadyhadthe offer of aclubroom(in Birmingham) and Library. It is up to those interested in mentalism to inaugurate a pioneer effort in magical societies. Quite frankly we are surprised. that specialist societies haven’t started before. The nextissue of the “ Pentagram ” will be devotedto “ ring ” magic. JackEddlestonedescribeshis lovely string and ring release, and there is a new angle on the “ flying ring ” by Jules Giraud. Regarding the former effect, we can remember Jack HughesatHerefordin 1946 saying, “ Peter, come and see a miracle ” . . . well, we went along and saw Jack put over this particular effect which we know you will all like. The April issue will contain a nice idea of Louis Histed’s and also the last wordin AntiGravity Glasses. The latter is by SirToon,a Scandinavian. We do try, as far as possible, to keep away from any form of apparatus used purely as apparatus, and for those who like such effects, and are perhaps newcomers, we should like to recommend to them three otherbulletinswithasimilaroutlook. They are “ Hugard’s Monthly,”the “ Phoenix ” andthe “ B.A.T.”Regardingthefirst,thefirstfour volumes can be obtainedin book form. The “ Phoenix ” (publishedfortnightly) now edite‘d by Bruce Elliott, 1s anatural follow ontothe ‘‘ Jinx.” An Annemann issue is scheduled ; with theteam of ex-“ Jinx ” writers that are normal contotreasure. tributors, CG should be anumber The “ B.A.T.” is editedby Lloyd Jones,of California, The lastissue we received dealingwith “ doating year’s subsilk ” routines was worthmorethana scription.
.
CHARLES HARRISON (Junior) On Friday, January Igth, we heard that’charles had skidded on his motor cycle and had been.taken to hospitalinanunconsciouscondition. The nextday,withoutregainingconsciousness,he passed from this life. One of the finest craftsmen we have had the pleasure to know (he was a teacher of wood and metalwork) hewas also a fine conjurer, preferringto use the apparatusof nature rather than the products of a bench. His criticism was worth while and we have to thank him for more than one suggestion that has helped to give emphasis to our own presentation. We never heard him say an unkind word about any other conjurer and hewas always willing to pass on his knowledge to those needing it. We feel proud to have known him, and to his parents. and Betsy (his Wife) we should like to add to our own sincere expression of sympathy to that of all the readers of this bulletin.
I
T H E W I Z A R D Amodernmonthly magazme. 24 pages of first-class magic. News and AnnualSubscription views on magical events. Percopy I / I postpaid. Vol. I., 12/6 THE M A G I CW A N D A quarterly book of magic. 70 pages of magic by world-famous contributors, book lists,advertisements,etc. Profusely illustrated.Percopy 3/8 post paid. AnnualSubscription 14/6.
c 0N J U R I N G
B 0 0K S
F 0R
OLD AND NEW. La me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
GEORGE JENNESS
S ALE
FOUR FINE AMERICAN MAGIC BOOKS ! !
MENTALISTS Further to the announcements made in the " Pentagram"itisproposedtohold an Inaugural Meeting (possibly at Birmingham) sometime in April. Will all those interested sends.a.e.forleafletwhichgivesfurther particulars regarding some of the proposed objects of the Society, etc.
Any or all of thz following important works on conjuring maybehadby sendingtheamountsindicatedtoour English representative, M r . Robertson Keene, 301 Norwood Road, Southall, Middlesex. He will forward your order to us via airmail,tobesentdirecttoyou by return mail.
4 The Royal Road to Card Magic "-A 'new book by Jean Hugard and Fred Braue, which every card. conjurer will prize. Just published. Highlyrecommended by Paul Fleming. Cloth, 310 pages. 121 illus., 22s. " Magic with Small Apparatus " (Vol. 1)-This first volume of the great Dhotel series is the very best work on tricks (not sIeights) with matches, rings, watches, candles, balls, corks, and cups and balls. You can't afford to miss any volume in the series. (Vol. 11, a 600-page volume on cardtricks, is nowbeingtranslated by PaulFleming.) Cloth, 320 pages, 183 illus., 28s. Hugard'sMagicMonthly : BookEdition MO. 2A brand new 'edition of Vols. 11. andIV,inthe same format as the much praised Book Edition No. 1 (Vols. I. and 11.) T h e greatest magic book value in many a year. Cloth, 208 pages, 84'' by ll", 28s. A Conjuring Melange-A collection of fifty-two original fiats of StanleyCollins's,whichhasimpressedeveryone who has,seenit.Practicable,effective,testedmagic ! Cloth, 256 pages, 147 illus., 22s. "
0 --
FLEMING
BOOK
BERKELEY HEIGHTSN.
COMPANY J.,
U. S. A.
PETER WARLOCK "
Creenbanks
Bramcote
NEW M A G I C AB LO O K S
by JOHN B R E A R L E Y
of superlativeconjuringforchildren by the inventor of those classic tricks, Magic Assembly and the Postage StampAlbum To those whothlnktheyhave
not the flair for entel;taining children, we say get L ConJUNIORing andget itquickly for not onlywillyou benefit, but so alsowill the children." . -Peter Warlock
Fully- illustrated, cloth bound, price 101postage 6 d . Academy of Recorded Crafts, Arts andSciencesLtd. 404/8 Sydenham Road,Croydon ABDUL'S FEZ Increasedcost of materialshasforced me t o increase the price of this effect to 12/8.BI feel confident, however, thatit is stillabargain to anyone who hasever worked theEgg Bag. Thanks to all those who have sent kindiwords about thistrick
ZAHAREE (Geoff. R. Hursell) 16 & 18 W-atts' Place :: KENT CHATHAM MAGICIANS' BOOKBINDING SERVICE
'' PENTAGRAM "
VOLUME 1. Bindin:Prices ,CLOTH 6/6, REXINE 8i6,~MOROCCOFINISH 718
0
'
.. ... . . .. .. .. .. ..
..
::. . ..
od.
10s. 128.6d.
od. od.
'
od. 60. od. 68. Od: ss. od
..
301 Od 101'od'
..
36s. Od.
%:&l:
FRED ROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
2
MASQUE A printed magazinegivingdetails of our latest releases in exclusive magical effects. Issued free. If you are not onourmailinglist, wricte now. .mm... s m m m m m
President : His Grace the Duke of Somerset, D.S.O., O.B.E.,I.P.,D.L.,M.I.M.C. Vice-President : DouglasCraggs,Esq., M.I.M.C. ClubroomaltdLibraryandMuseum
:
St.Ermin'sHotel, CaxtonStreet,S.W.l. MagicalTheatre
:
ParticularsfromHon.Secretary
32 Vernon St., Northampton
OLD AND NEW MAGIC LatestThinka Magician Apocket Mind only 218 Reading Effect Orrin's famousSpider'sWeb,CardTrick 301COIN WANDS to produce real a com 18/8 A few Sliding Glue Packs of Cards a/? Send stump for printed lists of old and new Magzc Sydne de H e m m s o 383 S A N D Y ~ B F ROAD, KEW SURREY . Ric 4238
:
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19
THE MAGIKRAFT STUDIOS H E N RDI E ' S E E V A H MMC., BMS., IBM., SSMC. THE FRIENDLYMAGICIAN invites allbona-fide Magicians tosendforhislist of new and used apparatus and books, or calla t his studio :1 CLARENCE ROAD 17 Harborne, Birmingham
W.C.
King George'sHall,
INSTITUTE
OF
MAGICIANS
Foz~nded 1934 President :A.Zomah. Hon.Sec: OscarOswald 102 ElmsteadAvenueWembley Park Middlasex H.Q. and Lzbrary :No.'2 Hand Court(Vihory Club),
High Holborn W C MEETING EVERY THURkDAY' 7-11 pm VISITING MAC~ICIANSALWA+S WELCOME' Yozcr membershlp cordially invlted-drop a line Secretary for literature to the Honorary
JAM G ERSA Y S O N MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
GAREENS
Telephone or Telegram : MORLEY S99 Address *B GREENFIELD AVENUE GILDERSOME, .Rear LEEDS Nearly 30 years tn the Eustness
Every Advertiser's goods are fully. endorsed by this Bulletin Printed in Englandfor
101. 30s. 8S.M. 201. M. 16s. Od. 128. Od. 10s.
The Magic Circle
A balanced programme, including patter
C. FIELD Alderson Road, Sheffield
..
CONJUNIORIN6 MASTERPIECES IN MAGIC ' ' EXPERT MANIPULATION O F PLAYINQ CARDS HISTEU THE MAGIG'OF Louis HISTED . FABIAN TWELVE NEW TRICKS .. p . . TESTAMENT OF R. W. HULL.. HALL . NOTHING I S IMPOSSIBLE HALL HALL READING I S BELIEVING .. KORAN MASTERED AMAZEMENT . . UPTHUMBS KENJON . MACKENZIE COMPERES CORN'ER' . . FIRST BOOK OF WlLLlAM . . .'McCOMB L E W I S G , T Y L E R OPEN SESAME WARLOCK PATTERNS PSYCHICS FOR WILLANE WILLANE WIZARDRY .. NORMAN BASIC CARD TECHNIQUE 3d. Stamp forlist of Books on Loan ~
Con JUNIOR ing
42
Notts
BREARLEY CRAGGS GANSON _._. --
A NEW ARCAS BOOK
'I
"
PETER WARLOCK by GEORGE SEARSON. 40 BlueBellHillRoad,Nottingham(Telephone
44652)
,
4’
PENTAGRAM
An independent monthly bulletin
V ! &2
6
for all who want
good magic
& a d , 1948
Effect.-On the conjurer’s table stands a cardboard postal tube.This is lifted, revealing a grass tumbler from which the conjurer takes a silk handkerchief, a small length of ribbon and a lady’s ring-box. These articles are laid aside and the tumbler re-covered with thetube. Awedding or dressring is now borrowed ,and placed inside the ring-box. Around the box is then placed an elastic band ; the box is next placed under the handkerchief which is held atthe fingertips of the left hand. Approachingaspectator, the latter is requested to place his hand underthe silk. “ When I count ‘ three ’,” says the conjurer, “ I am going to drop the box on to your hand . . . you will then open the box and find thatthe ring has vanished.” The conjurer counts, apparently drops the box, whipping the silkaway ; the only thing the spectator holds, however, is an elastic band ! The situationhere is for the individualconjurer. The handkerchief is then taken and tucked into his left hand, the piece of ribbon being poked in with it. A rubbing motion, and the left hand is shown to be empty. Going to the tube on the table it is lifted to show that the vanished silk has wrapped itself roundthe glass, the ends being tied with the silk ribbon. The spectator who loaned the ribbon is requested to untiethe ribbon ; thisdone, the silk falls away revealing the vanished ring-box safely inside the tumbler. The lender of the ring opens the ring-box and finds his ring safe and secure ! Requirements. - Aghost tube made to resemble a postal tube (please don’t use a nickelplated affair). The size of this tube will depend on the size of the glasses used. One bottomless tumbler (the moulded type made by Burtini cannot be equalled). Two eighteeninch silks of similar colour. Alength of cord elastic. Onering-box. A finger tube for vanishing a handkerchief. Two elastic bands (these should be reasonably stout and encompass the ring-box witha safe butnot too tight fit). A tumbler similarin appearance to the
bottomless tumbler. Two shortlengths of ribbon or tape. A length of fishing line or strongthread. Preparation.-One of the silks is taken, and from the centrea circular piece is cut. The size of the hole ,is dependent o n the size of the ring-box, for the latter must pass throughit comfortably. A hem is now made round the edge of this cut-out (this is a woman’s job, and it must be neatly done) and through the hem is threaded the piece of eiastic (whilst it is desirable thatthe when elastic is unstretched, the hole should be completely closed, it is sufficient if a small gap is left showing, see first illustration) theends of which are sewn together. If ‘this handkerchief is now placed with the centre over themouth of the glass and theends pulled down and around the sides so that theymeet at the bottom, the elastic will bestretched, leaving a hole at the mouthof the glass (see second illustration). The ends of the silk are now tightly tied with one piece of tape. Thethird illustration shows the set-up of the glasses in the tube, which is as follows : The bottomless tumbler is stoodupon the table ; into it is placed first the duplicate silk, thenthe ring-box and on top of this the piece of ribbon or tape. The ghost tube is now placed over the tumbler and the silk covered glass dropped mouth upwards in to thetube. One of the elastic bands is now fastened to one end of the thread (or fishline), this piece of thread being taken inside the coat on the left side and the free end being tied to a safety pin which is attached near the left handreartrousers buttons ; the length of thisthread must be determined by the length of the coat. Tails, of course, give a greater scope for length, the main point being that when the elastic band is allowed to fall it is out of sight but easily get-at-able. The elastic band that is anchored togetherwithitsfreetwin is placed in the left hand waistcoat pocket. Handkerchief tube is placed in right hand pocket. With these preparations made the conjurer is all set continued on page .I” for the . . ,
PRISONER IN THE
SILK - continued from page 41
Presentation.-Thetube isliftedfrom the table,carryingwith itthe silk covered glass, but leaving the bottomless table and its contents showing. Tube is placed on its side on the table so that the audiencecannot. see throughit.Contents of the bottomless tumbler are then removed and placed on the table. Finally the bottomless tumbler is picked up by the left hand, the right second finger snapping againstitandcausing itto ring. The righthand picks up the tube so that the thumb, first,second and third fingers encircle it at the silk covered glass end, whilst the fourth finger bends over the edge of the tube. Tube iscantedandbrought uptoa vertical position with the silk covered glass undermost (the fourth finger prevents dropping). it The left hand drops the bottomless tumbler mouth downwards into the tube ; the third finger coming ; with the visible roundtojointhelittlefinger dropping of the bottomless tumbler, these two fingers give aslight reflex action as thoughthey werestoppingtheglass.from falling throughthe tube.Righthandreplacesthetubeonthetable. (The actionfromtheaudience'spoint of view, providingtheperformer has carried out all these actionsinanaturalmanner, gives nogroundfor suspicion.) The ring-lender is asked for ; he is requested to place his ring inside the box which is handed to him. Taking back the box and momentarily placing it down, the right hand removes both elasticbandsfrom the lefthandpocket,theleft hand picking up ring-boxandthefingers of the right hand slipping round it the band is tied to the is heldagainst the side thread ; thesecondband of the box by the fingers of thelefthand. The righthandtakesthesilkanddrapes it over the ring-box,theduplicateelasticband being pinch'ed againsttheside of the box. The lefthandcomes out fromunderthe silk obviously empty. The conjurer, still holding the box and band under the silk, turns slightleftandapproachesaspectator, asking him to place his hand under the silk ; at this moment as he stoops slightly, the box is dropped ; by gripping it throughthe silk with thumband first finger the duplicate band is retained, and clipping the silk with the fingers, the shape of the
top of the box is simulated (it is such a small object that this calls for little effort). The spectator places his hand under the silk, the band is allowed todropintohishandandthe silk whisked away. The silk is passed to the left hand, and whikt the performer is asking the spectator what has happened to the box, his right handgoes to his trousers pocket, therebyobtaining possession of thehandkerchief tube. The hand comes out, andtakingthe silk from the left hand leaves in its place the handkerchief tube.Lefthand closes andthe silk is poked intothe tube withthe second finger of theright hand ; when about two-thirds have disappeared into thefist,the piece of ribbon is picked andpushed inside as well ; the conjurer goes on pushing until all silk and ribbon is in tube ; the right hand finger gives a final push,andthelefthand movesaway closed, the tube being left on the right hand second finger. The righthandpullsthe left hand, coat sleeve above the elbow, the handkerchief tube being deposited in the breast pocket. (A length of whalebone will helpto keep it open.) The left hand is to theside, shown to beemptyandthendrops locating the ring-box and quickly detaching it from the elastic band and finger-palming it. A turn is made to the right. The right hand raises the tube to show silk covered glass ; tube is shown empty and placed down. Righthand picks up silk covered glass by way thatthe itsears, so to speak, andinsucha mouth is canted away from the audience. The left hand comes up to take it on its palm, the result beingthatthe box goes through the hole andinto the theglass andthelefthandcompletelyhiding opening ; in this condition the spectator who loaned the ring is approached with a request that he shall disundotheribbon ; hedoesthis,theresulting appearance of thetensiononthe silk causing the elastictocontractandpractically close the hole in the silk so that as the silk falls the box appears to be resting on an out-stretched silk. As the spectator goes to lift the box, the conjurer allows the fingers of his hand to draw inwards, gripping the centre of the silk andcarry it away. The ring-boxisthen opened by the spectator and the contents checked.
43
Many of our readers will, no doubt, have seen Jack Eddlestone perform this version of a ring release and know how extremely effective it is. The effect is that a small brass ring is threaded on a length of string, the ends of which are held by spectators. The ring is further secured by the means of amatchstickwhich the conjurerplaces between the ringandstring.Suddenly the conjurer breaks the match and the ringfalls ofl the string ! The conjurerthenreversesthe effect, passing the ring back on to the string. Everything, as they say inthe adverts., can beexamined. R e q u i r e m e n t s for this superlative pocket trick are simple : a length of string (of sufficient length for twospectators to hold and still giveroom for the conjurer to work),twosmallbrassrings(small curtain rings are those used by Jack), and a matchstidk. Rings, string and matchstick are placed in left hand pocket. of stringandone Method.-Handthelength of the rings to a spectator, whois requested to thread the ring on to the string. One spectator now holds oneendwhilstanotherholds theother.(Quite obviouslythiscanbeworked for oneperson, the conjurer facing him as he works.) The conjurer now goes to his pocketostensibly for the matchstick. As hedoes so he Dositions the duDlicatering. and match, bringing tgem out as sho& in first"i1luspiece thumb and bending tration, i.e., t h e ring rest between the first joint of first finger. (The fact that the matchbeware stick is visible makes the holding of the ring natural.)
The right hand first finger and thumb now take the match from the left hand and at the same time the left hand turns over ; the action tothe audience nowis that the performeranchors the ring to the is string,andthemovement of bothhandsagain natural, for with the turn over of the left hand the duplicatering isplaced againstthestring tothe right of the original ring, the right hand coming in and insekting the matchstick between ring and string. Apparently the left hand has simply steadied theringwhile the match was pushedthrough. The second illustration shows the underside of the performer's left hand(thehand is shownopen to closed) make position clear ; actually itshouldbe which at the conclusion of the anchoring pushes the original ring further left. The left hand, in a closed position, moves slightly left andtherighthand breaks the stick, removing the ring. Again the presence of the steadying influence of the left hand is accounted for. The ring is heldbytheright hand fingers for a brief space,it is thenplaced as the left underthe left handandfinger-palmed hand comes away revealing the original ring ; as the left handmoves the ring is givena slight touch, sufficient to make it spin on the string. There are just two tips before signing off ; the first is that if the ring. is of thin metal. to whittle a off the match,"so that it will break without the ring ; the second, that in practising, of angles.
. . .
MFO W ITV NR HIG IN ETEG ERS
By R o b e r t Harbin
EFFECT :-Announcing that he has made a prediction, the performer shows a piece of paper, which he places in a prominent position. Names of six guests present are written on sheets from a note pad. Each name is checked by the nearest person, crumpled, and dropped into any convenient container. One of the crumpled names is freely chosen, the paper opened and the name read out. The piece of paper containing the prediction is opened up and the names are found to be the same . . . Now a further predictioa is made on a sheet from the note pad, and this, too, is crumpled and placed in a prominent position. Six names of people at- the otherside of the audience are collected, written down on sheets of the pad, andthese sheets are crumpled and placed in a container. Once again a free selection is made, and once again both papers are opened up and the names found to be identical . . . There is no possibility of your audience discovering the method, because each time a different subterfuge is employed. The time taken is four minutes or more, and something is happening all the time. The effect on your audience is dumbfounding. This is the first really practical prediction for dinner and private show workers--n reputation-maker. And the price is right.
Only a few left 5 / - (One Dollar). ROBERT HARBIN
::
Y o u receiveillustratedinstructionsonly.Justonesimplemove. study you can put it rightintotheShow. 401 FROBISHER :: DOLPHIN SQUARE
Afterten ::
minutes'
LONDON, S . W . l
hput
44
2 In the habyon days of 1937, I hit upon a couple of moves with a rope and ring. The effect was that after a fair sized loop had been made in a four foot length of rope, an eight inch metal ring was passed intothe loop. (This version,using scissors instead of aringhassincebeenpublished in “ Hugard’s Monthly ” and “ Tricks.”) In this first method, the ring was thrown at the loop ; in this the second method the rope is apparently rubbed through the ring. I published the first methodinthe “ Magic Wand.” The explanation given by me was not too easily understood,andinconsequencewhen my friend the late Will Goldston, asked permission to include it with ample illustration in “ Tricks of I alsogave him theMasters,” I readilyassented. the version about to be described. Something went wrong with the illustrations (a second set of drawings were made as the originals and blocks were destroyed duringthe blitz). Because I thinkthatthisquick penetration may be of use as apreludeto say, a GlassPenetration effect, or as part of alinking ringroutine, I amgiving furtherdescriptionwith adequateandcorrect illustrations. The only requirements are a four foot length of ro,pe (this shouldn’t be too soft) and an eight-inch metal ring. Taking the rope, the conjurer first ties a single knot ; this done, the rope is held by the left hand as in first illustration. Assuming that there are spectators seated right and left of the conjurer, the righthandspectator is handed thering for examination (if the first movehasbeen u3ed this is, of
Bevast,
Ulster. 29th‘ December, 1947. andPeter, Dear
Do you rememberthat article called “ Re” you a ran few months ago ? I’ve been
Cowry
course omittedas the ring has already been examined). The ring is taken back and held between the rope and fingers (second illustration), thesecondand third fingers supporting it. Turning left to . a spectator, the conjurer remarks, “ And now I would like to show you this is slow motion.” As he makes thisremark,the first andsecond fingers of the right hand takes hold of the lowest part of the loop, bringing it to theposition shown in third illustration. These fingers start to rub the rope against the ring at that point and at the same time the second, and third fingers (which are supportingthering)grip under the that part of end B, immediately ring. The left hand releases the rope it is holdingandgraspsthering(fourth illustration) whilst theright hand second and third fingers B through the ring. End being A pull end well grippedbythethumbandhand, so that the two ends apparently move together. These two movements jorm part of one bz‘g movement. This big movement is that of the right hand (which holds the ring) moving as far as it willgo tothe right, whilst the left hand with both ends (one now threaded through the ring) goes as far as it can go to the left. This actionhas the effect of makinga new loop (not look !,) with the point marked X becoming the lowest point. In the last illustration I have omitted the left hand in order that there shall be no confusion. It is a convincing but not a difficult move, and as I saidbefore,itcan make an effective preludetoa greater penetration effect, or alternatively a pleasant break in alinkingringroutine.
working it since gredt ever with success.just It ground. suits down the me to The magnetized glass thing I fiddledwithforabitanddiscovered that it works if you cut twosemi-circles in thepaper just it so that through shows the semi-circular holes, thetape picks upthe celluloid continued on page 35
45 RING
IN
AN
EMERGENCY - continuedfronzpage 4 4
-GhCkP/-
glass easily, and after that effect you can go into the T. and R. Newspaper,as the gimmicking of the paper for the glass effect does not interferewith the gimmicking for the T. and R. T h e following may be some use to you for the Pentagram.” It is an impromptu method of doing the “ Ring on Stick.” Cut a piece of sticking plaster tothe shapeshownand fold over thetab “
Stringinga plain finger ringona short piece of cord, a spectator secures it in the centre with a hard knot. You take the ring fromhiminyour right hand, allowing thestringendsto dangle. T h e left hand runs down the string, picks up one end of it and places it in spectator’s right hand as hestands facing you. Left hand now places other end of string inspectator’s other hand. You now let go of ring which hangs suspended in full view, tied inthe centre of the cord. Covering the ring with a handkerchief you proceed to release it without damage to either the ring or cord. This depends upon a subtle andutterly unlooked Seemingly this is an impossibility underthe conditions. In your left hand you have concealed a duplicate ring looped to the centre of a piece of string the same length as the other. The loop looks much like a hard knot and the, string lies curled in the left hand, it being about twelve inches long. Up the right sleeve is an ordinary fairly tight elastic pull with a hook at the lower end. for substitution of both the cord and ring.
so thatthe two sticky sides are together. This prevents it from sticking to anythingand gives a tabwhich, when pulled on, will drag off the rest of the plaster. T o the centre of the plaster press a cheap ring. Lay the whole on the palm of the left hand with sticky side up. Borrow white handkerchief in folded condition-it would bequite excuseable to lift it out of the pocket of an onlooker in close-up impromptu work. Place handkerchief on to left hand so that a corner presses against the fake. That sticks fake to corner of the handkerchief. in position where normally the ring would be sewn in working the effect with your own handkerchief. Working is, then, as per usual for the ring on stick. But the fake is stolen on the surprise of finding the ring on the stick. The tab facilitates its quick and smooth removal. It canbe pressed underthe left hand side of the jacket where it will remain till it is safe to remove itand dispose of it completely.
That is a very scrappy description, but it’s now 3 a.m. and I am nearly asleep ! I’m enclosing sample sticker in case you don’t quite get the idea. My best for the New Year,
A spectatorsecures the ring, and as hedoes this you secure the end of pull in right hand. As you take the ring from him with string endsdangling, getit intothe hook or clasp. Whenthe left hand apparently runs dou7n the strings very rapidly it leaves its ring betweenright thumb and fingers which at the same instant releases the ring it holds. The ring and string trailing from it vanish up right sleeve like a flash and at the same instant the left hand merely runs down and unwinds the string it held concealed in palm. The illusion is absolutely perfect at close range. Hand spectator the string endsand cover the ring with handkerchief, under which you easily undo the loop and all may be examined. The loop is best made by putting the two ends of cord through the ring and then through the bight of the cord, pulling the ends of cord which makes a solid appearing knot at ring. However, the ring is quickly removed while ends of cord are held by loosening the loop and passing it completely over the ringwhereupon itjust falls off.
WILL
GOLDSTON
In the early morning of the 24th February, at his Folkestone home, this international figure in Magic passed quietly away. There can be very few who had not heard his name, for he was surely one of the most prolific of all magical writers. We had known him over a period of twenty-nine years. Still vivid in our memory is our first visit to Aladdin House. Quietly we walked up the stairs, gently we pushed open a door bearing the name ‘ Will Goldston ’ ; there was the far away tinkle of a bell-and then we were inside our first Magic Shop ! Making our first purchase (the multiplying billiard balls !) we met Will Goldstonfor the first time. Will Goldston’s knowledge of the ‘ inside ’ of magic and magicians was amazing. . His friends in the newspaper world enabled him to always have a good “ press ” for any entertainmentwith which he was associated. The books and articles he wrote are legion innumber.(His last article to be published whilst he wasalive appeared in “ Readers’ Digest ” March issue.) All put together they would require at least a five foot shelf ! In describing a trick he never used two words where one would do, and he never stinted his illustrations. Look back at the Magicians’ Annuals and the early “ Magazines of Magic ” and you will not only find some of the best examples of his work, but some most excellent magic superblyillustrated by artists like H. M. Elcock and “ Alba.” The latter years of his life were dogged by bad health thoughapart from seeming a little thinner he still seemed the same Will Goldston. T o us he was always helpful in every way and on many occasions went out of his way to grant a favour. We, as all other magicians, shall miss him. T o Mrs. Goldston in her bereavement we should like to add to our own sincere expression of sympathy that of all readers of this bulletin.
A.
ZOMAH
With the loss of its President on February 19th~not only the Institute of Magicians, but the World of Magic has suffered a grievous loss, for with MadameZomah, theact he presented entitled ‘‘ The Unsolved Mystery,” was one which reached the peak of two-person vaudeville telepathic acts andtop-linedall over the globe. I n 1934, Zomah was responsible for the inception of the Institute of Magicians. He didnot believe thatan honest Magical Society shouldcountenancecheats, exposers and copyists, the result being such vandals were not tolerated in this new Society. He was a fine conjurer and his versions of the “ Rising Cards ” and the “ Television Frame ” were objects of envy by many conjurers who enjoyed the privilege of witnessing them. In 1947 he conceived the idea of teaching conjuring to the blinded ex-soldiers. The team of instructors for this ‘project included such well-known magicians as George Davenport, Jack Hughes, Oscar Oswald and John Brgdbury. That he was able to see some of the success of such a scheme must have been a great consolation duringthe last months of his life. It must have also given him pleasure to have seen the Society that he started,. reach in so short a time, a membership of some six hundred. He was a most approachable man, always willing to give the benefit of his knowledge to those in need of it. He was astaunch supporter of youthin magic. T o Madame Zomah in her great sorrow, and to all who walked so close beside him, we join with our readers in expressing the deepestsympathy.
NEW P E N T A G R A MG R A D I N G . - A maximumaward of Ten Points in the following categories (when app?icable) :(A)-Physical Make-up (B)-Quality of Material ( C ) - Value Magic to (D)-Clarity TOTAL 70 POINTS (E)-Illustrations (F)-Readability (G)-Sincerity “SLEIGHTSSUPREME” by E . Brinn MucCartlg. (published by George Jbhnson, price 1216). This isa book written by anoutstandingamateur. We use the word in its proper form, for there are many classingthemselves as amateur,whenthewordshould really beaspirated.Major lLfacCarthyloves conjuring, and this is not only evident in his introduction, but also in the way he approach.cs a technical difficulty in manipulation, first attacking and finally surmounting it in triumph. T h e firstsectionis one devoted tocoins,andthe f i k t effect isasingle-handedvanish of four coins (in conjunction with the Hughes’ coin tray). This is described in meticulous detail. “ FlyingCoins ” issomethingnew in handkerchief coin folds. A single coin vanish completes this section.
The second section deals with cards, and here, after giving his own an,!, on top changing, the author proceeds with fiveeffects, LeadingthemuptheGardenPath ” (theauthor remarksthisisaversion of anEricLewis effect, but we shouldhavecredited Art Lyle),aversion of “ Everybody’sCard,” “ All Change,” “ Vanishing Faces,” and a card and crystal effect. The third section, and, to our way of thinking, the best,dealswith one effectcalled the “ Colour-Sensitive Silk.” One can realise when reading that a lot of thinking and experimentation must have gone to its making. SectionFour dealswith billiardball manipulation. Two openingacquitmentsare given togetherwithsome colour changes of two and three balls. continued on page 47
47 A WORD ABOUT BOOKS
- continued frompage
46
T h e last section deals with some “ Cup and Balls ” moves, the best of which we consider the vanish of a ball. T h e bookisprofuselyillustratedwithdrawingsby the author, the text is clear and the contents cover nearly ninety pages. It is abook that deservesamorelasting binding. It is nota book forthemanwho is lazy nor for those who believe that an ability to crack a doubtful joke is the royalroad to conjuringstardom. It is Brian Maccarthy,and being thatitis excellent. 59 Points. X
*
X
ABRACADABRA CHRISTMAS SPECIAL ” (publishedbyGoodliffe, price 3 / 6 ) . Wedidthink of saying “ themixture asbefore,” but that would be unkind, not only to the conttibutors, but also to the publisher, who obviously does his best to please the multifarious tastes of his readers. Like the curate’s egg, there is a mixture of good and bad conjuring. Of the good we would pick out “ Rainbow Cards ” byLouisHisted.(This is aversion of aDai Vernon effect we had the pleasure of seeing performed by Stanley Collins last summer), and “ T h e Improved Cube of Confucius ” by Len J. Sewell ; whilstmost of our readers know, we are not partial to tricks where apparatus is used as apparatus, we class this fine idea as an exception. George Sylvestre gives his own angle on the dyeing handkerchiefsand Billy McCombcontributesashort five ringroutine.Len Belcherdescribesacouple of apparatus’ tricks that have merit, and Syd the Sorcerer gives a calendarideaprobablyinspiredbytheBruceCalendar trick. Gerry Findler gives the reader sandwich a of advice, the bread part being commonsense whilst the filling is spacious nonsense. There is paper a cutting effect re-described by Len Sewell, in yhich the performer can, with single a cut, produce a Pentagram.’ A comedy milk routine by one Jimmie Bates, touches (as we mentioned in “ Magic go Round last month), bottom so far as we are concerned. We contribute a novelty book test. Not really part Ef the tricksection we likedvery much W. S. Hartley’sCheckmate.” Written in narrative form and dealing with chess (but not ill such a way that it is necessary to be a chessplayer) it makesawelcome oasis in a sea of descriptive jargon. T h e booklet is well printedon goodquality.paper and capablyillustratedbyDennis.Attheverymodest price asked it is a very good buy. 55 Points. “
BOHLENO’SMYSTERIES ” by Henry Bohlen (publishedbyGeorgeArmstrong, price l O / - ) : In thislittle.booklet of sometwenty-oddpages, Mr. Bohlen describes five routines that made him a prizewinner a t the I.B.M. St. Louis Convention in, 1946. T h e first effect is one in which theconjurerpasses three wooden rings into a loop of silk. This is conjuring of the visible‘ order. It is straightforward,freefrom worry and has plenty of audienceappeal. T h e second effect is that of a floating handkerchief. The writer here, seems more concerned with the passing of ahooproundthe silk ratherthanthat of ahandkerchieffloatinginspace. It is conjuringforconjurers, but not magic for magicians. The nexteffect is acutandrestoredribbon.For effect we think it straightforwardness of methodand would be hard to beat. A cut and restored strip of paper follows. Again there is nothing tortuous either in method or effect. The last routine deals with silk-cum-rope penetration. Whilstthismethodpre-datestheSpaldingroutine,Mr. Bohlen has given a great deal of study and introduced a number of niceties that make thisanoutstandingcontribution.Here is somethingwhichcouldtakeitsplace in the largestshowwithgreat effect. During a period of convalescence we havetried all these effects and found them to be one hundred per cent. practical. With the exception of the floating handkerchief eacheffect orroutine is somethingthatwouldregister wellwithany type of audience. Inone effectonly is there any need for a special gimmick, and that should be found in any conjurer’s kit. All the effectsareclear in text,andLamontehas provided plethora a of illustrations. The booklet is clearly printedandisboundintoa semi-stiffattractive cover. 56 Points. “
$+
X
Q
MANUSCRIPT THE MOVINGFINGERWRITES ” by Robert Harbin(manuscript, price 5 / - ) . From one of the finest brains in British magic to-day comesaprediction effect. Primarily intended for dinner work, it is, however, just as suitable for any entertainment with an intimate audience. One prediction is proved to be correct ; then breaking the acceptedrule, thementalistsuccessfullyrepeatsthe effect. T h e subtlety used by Mr. Harbin would be cheap to any practising mentalist at treble the price. “
We must first apologise for the delay in delivery of the February issue of the “ Pentagram.” A diet of “ M. and B.s ” forced upon us by a well-meaning doctor laid us low at a busy time.
Good news comes from Hastings. Robert O’Conner, after along illness, wouldseemtobe well on the road to recovery ; he hopes to be back in theshowbusiness by May.
Coincident The hound of death is abroad. with the news of the deaths of Zomah and Goldston, came that of MauriceRaymond.Probablynone of the present generation of English conjurers ever saw the Great Raymond ; the last time we saw him was at Collin’s, Islington, and the thing thatsticks in our memory was his .presentation of atriple silk vanish andreproductioninthreetumblers.(Our memory is abithazybut webelieve this was his opening effect.) A fine Showman !
Our friend Stanley Collins’s “ Quesans ” have tickled the palate of some of our contemporaries. We are pleased to say that we have some more of these for future issues. The Annemann- issue of the “ Phoenix ” (No. 151) is n&so far off. We like the idea of the cats becomingmoreapparentwitheach successive issue.
C O N J U R I NBGO O K F SOS R ALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX T H E W l Z A R U A modern monthly magazine. 24 pages of first-classmagic. News and I/I postpaid.AnnualSubscription views on magicalevents.Percopy Vol. I., 12/6 THE M A G I CW A N D A quarterly book of magic. 70 pages of magic by world-famous contributors, booklists,advertisements,etc.Profuselyillustrated.Percopy 318 post paid. Annual Subscription 1416. , COMPANY GEORGEARMSTRONG, THE MAGIC WANDPUBLISHING :: ENFIELD :: MIDDLESEX 11 MONASTERY GARDENS
Quality Apparatus
THE ARDEN HOTEL, NEW STREET, BIRMINGHAM will be the venuef o r the Meetingof consideration and inauguration of the Society of Mentalists Evening Meeting, Saturday, April 24th, 1948 Morning Meeting, Sunday, April 25th, 1948 Chairman : Mr. GEORGE ARMSTRONG (Editor of the "k ?@ W a n d ) W e should liketo knox in advance if YOU zcill be present P E T EW RA R L O C K " GREENBANKS," BRAMCOTE, NOTTS. NkW MAGICAL BOOKS
The Moulded By:tomless Glass (recommended for Giraud's exzellent Prisoner in the Silk " and selling at the moderate price of S/-, post free) i s just one of the manypiecesofqualityapparatusmade by u s . Glass and Metalwork are our specialities Sendfor List ----
CONJUNIORING .. MASTERPIECES IN MAGIC ' ' EXPERT MANIPULATION O F PLAYING
BREARLEICRAGGS
10s. Od. 128.
6d.
.. . . Qd.30s. .. 6s.Od. . . 208. Od. .. .. 12s. 15s. Od. (Id--. ._I. W-.
THEMAGiC.0f LOUIS HISTE'D' TWELVE NEW TRICKS .. TESTAMENT OF W. R. HULL.. . NOTHING I S IMPOSSIBLE .. READING I S BELIEVING KORAN MASTERED AMAZEMENT. KE,\'JON THUMBS UP MACKENZIE COMPERESCORNER'. .ITcCOMR FIRST BOOK OF WlLLlAM L E W I S E + T Y L E K ' OPENSESAME WARLOCK PATTERNSPSYCHlCS FOR W 1 1 1 AAT&' WILLANE WIZARDRY BASIC CARD TECHNIQUE .V0RM A .l. 3d.Stamp for list of Books on Loan
HISTED FABIAX HALL
.
'
1Os. Od. 6s.Od. 5s. Od. 6s. Od. 30s.Od. 10s. Od.
'
I
'BEKTISI 70 WATERLOO ROAD - SMETHWICK (SME 0439)
I, 1 _ U 1 1
..
I , Y
Is.6d
.I
35s;
Od:
FREDROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
A WCAS Magical Publications
The Magic Circle
Mr. Smith's Guide to Sleight . .\V.Jonson of Hand A.B.C. of Ventriloquism . .D. Craggs Expert Manipulationof Playing Cards . . . .I.. Ganson Testament of R. W. Hull . .'I.H. Hall . .T. H.Hall Nothing is Impossible Masterpieces of Magic, Vol. 1 . . Patterns for Psychic3 . .Warlock . . Franklin Kamut .. Conjunioring . . Brearlev Willane's Wizardry .. .Willan<
President : His Grace the Duke of Somerset, D.S.O., O.B.E.,I.P.,D.L.,M.I.M.C. Vice-President : DouglasCraggs, Esq.! M . I . M . C .
'
.
1016 10;-
10120!15/-
lO/10131'6
lO/2%
MASQUE A printed magazine giving details of our latest releases in exclusive magical effects. Issued free. If youare not onour mailinglist, write now.
Clubroonk
aid
Lihmry and Museum :
St.Ermin'sHotel, S.W.l. CaxtonStreet, --
Magical lhentre :
KingGeorge'sHall,
W.C.
Particulars from H O M .Secretary : ObtainablefromallDealers
4041408 SYDENHAM ROAD Croydon ..
ordirect
..
from :-
THE MAGIKRAFT STUDIOS
Surrey
32 Vernon St., Northampton
ABDUL'S FEZ Increasedcost of materialshasforced me to increase the price of this effect to 1216. I feel confident,however, thatitisstilla bargairl to anyone whohaseverworked the Egg Bag. Thanks to all those who haze sent kind ze3ords about thistrick
H E N RDI E ' S E E V A H MMC., BMS., IBM., SSMC. THEFRIENDLY MAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or call a t his studio :1 CLARENCE ROAD Harborne. Birmingham 17
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts' Place :: KENT CHATHAM ~~
~~
"PENTAGRAM '' VOLUME 1. Bindin Prices :CLOTH 5/6, REXINE 6i6,IiMOROCCO FINISH 7!6
CF. I E L D 42 Alderson Road, Sheffield
0
2
Every Advertiser's PrintedinEngland
AN ND EW MAGIC Latest 'I'hink a Magician A pocket Mind oidy 216 Reading Effect Trick 30!Orrin's famousSpider'sWeb, Card l6/6 COIN WANDS to produce a real coin A fewSlidingGluePacks of Cards 819 Send stamp for printed lists of old and nezz Magzc Sydney de Hemlose 363 SANDYCOMBE ROAD, KEW G A R ~ E N S SURREY Ric 4238
goods are fully endorsed
for PETER WAKLOCI< byGEORGE
OF
INSTITUTE
'MAGICIANS
Founded 1934 President : A. Zomah. Hon. Sec: OscarOswald 102 ElmsteadAvenueWembley Park Middlesex H.Q. and Library : NO.'^ Hand Court (Vi'ctoryClub), C HighHolbornW 7-11 p.m. MEETING EVERY THURbDAY; VISITING MAGICIANSA1,WAYSWELCOME Your membershlpcordially ~ n v i t e d - d r o pa line to the Honorary Secretary for literature
.
OLD
MAGICIANS' BOOKBINDING SERVICE
FrancisWhite, 39AlverstoneAvenue, Wimbledon Park, S .W. 19
JAMES
'
GRAYSON
MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegrnm : MORLEY 899 ' Address :23 GREENFIELD AVENUE GILDERSOME,NearLEEDS Nearly 30 years in the business
by this Bulletin
SEARSON;. 40 BlueBellHillRoad,NottinghamTelephone
44652)
@
49
PENTAGRAM ( A NEW VERSION OF THE HANGINGGLASSES) Effect.-Aftershowinghishandsempty, the magician places anunpreparedsilkhandkerchief over and around an ordinary sheet of glass (a glass plateabout 6” X 9” insize) ; thenheshowstwo (ordinary)drinking glasses to be absolutelyempty, and places them on top of the glass plate with the silk, mouth down. The performer now turnsthe plate, with the glasses still on it, upside down and the audience is astonished to see the glasses remain attached to the silk as by supernatural force 1 Now for the new way to present the miracle :-
A moment later the performer removes the glass silk “ in a jiff,’’ withthe glasses stillonthe plate and the glasses still remain firmly to the plate, whilethemagicianstepsdowntotheaudience, letting everyone see the miracle in near view. Yes, he moves the plate with the glasses close before the eyes of the spectators . . . apparently there is nothing that holds the glasses but “ the supernatural force.” The performerthen by one,andimmediately
removes the glasses one gives everything out for
examination,atthesametimeshowinghishands empty with fingers wide apart. Requirements.-A double hook made of celluloid,inshapeandconstruction as shown in Fig. I (approximate size : length 23mm., the three hooks 9mm.inheight). The widthis gmm., the shorter piece with the hooked doubleendto the right (Fig. I ) makes a clip that fits the gimmick on top edge of one glass). Also two thitz drihking glssses, a glass plate .and a silkhandkerchiefin size to fit the plate but with seams on only three sides. Preparation.-Fasten the gimmick on top edge of one of the glasses, gimmick outside,of course. Placetheother glass inside the firstoneand have both glasses on yourtable so thatgimmickis out of view (see Fig. 2). The gimmick can’t be seen whenattachedto glass, however, thanksto the reflections in the glasses, even if looked at quite near. Onthe tablenear glasses have theplateand the silk (Fig. 2). continued on page 5 0
ULTRA
- ANTI - GRAVITY -continued from page 39
Presentation.-I. Showyourhands completely empty with fingers apart. 2. Takethe glasses in your left hand, move them to the right and take them apart ; left hand holds the unprepared glass while righthand takes hold of the gimmicked one by pressing thumb on top edge and directly above gimmick, and with first and second fingers atthe bottom. Left hand holdsits glass in a similar fashion. Turn hands as shown in Fig. 3 and let audience look into empty (!) glasses. During this the gimmick is covered by right hand thumb in an easy non-manipulative manner(Fig. 3). 3. Now let the gimmicked glass fit into the otherand place both back on table with gimmick out of view. Immediately pick upthe glass plate, show itto beunprepared and solid, and at same time, but without saying anythingaboutit, show yourhandsempty, while you transfer the plate from one hand to another. 4. Turntothe table, place the plate onthe glasses for a moment in full view, and pick up the silk. Show it very thoroughly, both sides, and let it slide between first and second fingers of one hand, or even through the hands of aspectator if you wish, thus showing thatthe silk has nothing concealed in it or is otherwise prepared. Once more show the silk from both sides with thumbsand first fingers at two corners, thus even showing your hands otherwise still empty.Hold silk in corners while you move back to the table. 5 . Withoutturning around,transfer silk to left handandgripitatthe side without a seam. Right hand picks up the glass plate in a clear and open manner,and with left hand drapethe silk over the plate withthe seamless part longwise at the rim, where you are holding the plate. Gripping plate inthe middlewith rightthumb(that also takes hold of the seamless part of handkerchief in draping same), on the upper side and fingers at rear, now put the free-hanging frontpart of silk beneath the platewhere the first, second and third fingers take it and thus even stretch the whole silk a little around the plate. 6. Showyourlefthand empty with fingers apart, reach out, pick upthe gimmicked glass, grip it between thumb and first finger at the bottom part (turn it alittle so that the gimmick does not show out sidewise, otherwise you canhandle the glass freely, thanks to the movement) and place it, not too slowly, mouth downon the plate. Don't putthumbintothe gimmick yet,bufbealittle careful in handling the plate at this moment. Once more show your left hand empty, at same time reach out and pick glass number two from table, placing it mouth down on plate and inside the free hook of gimmick. Arrange glasses with left handandat the same time place your right thumb between the two classes and pressdown glightly, thus shaking the platealittle. Let it beheard as if the glasses are (what they seem to be) quite loose and freely standing on the plate (see Fig. 4). .
7. In ending the shaking make a few " magic Then passes " over the glasses withlefthand. turnthe whole thing upsidedown, at sametime pressing yourright thumb harder down between the glasses. Move right arm in a half circle before you and then (aftera few seconds) turnthe plate right again, at same time lifting thumb and letting the glasses rattle against the plate. 8. With glasses still loose (?) let part of silk beneath plate fall down free, with left hand reaching under.the hanging part andsnap the silkaway quickly. Letthe glasses rattle, while you turnto the table in placing silk on same. 9. Nowstepalittle forward, and when about two or threeyards between you and the first spectator, stop walking and move the plate upwards in front of you, nottoo slowly. Be sure that youhave got your thumb into the right position between the glasses, then turn the plate upside down. With the front rim of plate in a lower position than the back rim,start moving plate and glasses, at same time walk a little in front of audience. Then you can change the position of the glass plate so that the back rim becomes the lower one infront of you, and move the plate over the heads of the spectators inthefmnt line. That is, you may not hold the your right thumb plate so that the front rim (and between the glasses) are directly in frontof 'spectators' .eyes, but if you have the plate in a diagonal position, you' can handle it without fear (Fig. 5 ). 10. With plate still upside down, stepa little backwards, turn plate and let the glasses rattle a moment or two, then remove the gimmicked glass .and repeat the trick with the remainder. I I. Without turning aroundstep back to the table, hold plate and glass still upside down, in front .of you for amoment, then turn plate and remove glass. (You may also turn plate alittle faster and a$ the same time toss the remaining glass in the air and catch itin your left hand. This is, however, a littlemoredifficult but also abetterending of the trick). 12. Instantly after you have removed the .glass, reach out and pick up the other glass with your left hand(that holds the last you used). I n the same movement you change the position of your first finger of the right hand, which holds the plate, from beneath same to a place directly above your thumb on the upper side, and in picking up the silk with the righthandpush gimmick fromthumb with first finger, thus gettingrid of same as it falls on the table. These two moves should be done in a snappy manner as if you only picked up the things on the table (without turning your back) the glasses in your left hand and the plate and the silk in your right. 13.. Immediately step down with the requirements In yourhands,andinletting the audience examine the things, show your hands empty. All rightsreserved byOlle OsonLiberg,Stockholm C , Sweden, includingthe rightsto manufacture thedescribed apparatus, except lfor private use.
Effect.-Taking two cigarettes, you place them on your wallet, then turning the wallet upside down, strangetosaythe cigarettes stay put. Cigarettes roll ontoyourhandandthen give them away, but the lucky ones will only get out of them a ‘ free ’ smoke ! ! Requirements.-A wallet ; an Eclipse Magnet; asmallmetal or cardboardcontainertotaketwo cigarettes. You willnow have to make uptwo cigarettes with a piece of nail inside each one. Fix
Despitethe fact thatthemethodisabsurdly simple, the effect onanaudience is astounding. I t can be done anywhere, at the tea-table, anevening party,inthe largest hall-nothing to rememberno code,for the method does not justify the statement It hasbeenafeature of a thatthere is acode. double-actbymy wife and myself for verymany years. T o thebest of myknowledgenothinghas ever been discovered, and the chief comment I have heard, and that very repeatedly, about “my medium ” assistant is “ She’s certainly Psychic ” ! I claim no great originality except, perhaps, for presentation. The basic principle is merely the “ one ahead ” principle given to me very many years ago bythe late Hugh Mackay. The properties needed are very simple-a genuine eye-bandage for the medium sitting upon the stage, and a packof forty-eight cards (deuces omitted from an ordinary full pack). Introduction.-“ We should like to show you a little. experiment in thought-reading. Some people say it is donebymesmerism,othersthink it is hypnotism and others often suggestspiritualism. It has even been suggested itis done by rheumatism ! As a matter of fact it is not done in any of. these ways. The brain is composed of hundreds of little cells-and this is just one of them . . .”
the magnet to the inside of the wallet at the centre, seeing that it is behindonesheet of the material only.Next fix the container tothe inside of the wallet with the opening just at the edge of the end (see Fig. 2). Fig. I shows thelittle containerwith the cigarettes, and Fig. 3 theprepared cigarettes. Method.-Place two cigarettes in the container and then put the wallet, containerenduppermost, intoyourinside pocket-this is usuallyon the right side. Place the two cigarettes intoapacket and place inyourpocket. T o work the effect remove the packet of cigarettes, take outthe two preparedonesand put one on eachearwithyour left hand,remove the wallet. Holditin yourleft handwiththumbontopand fingers underneath, now place the cigarettes on to the wallet above the magnet, turn the walletupsidedowna few times, then finish as you startedwiththethumbon top andthe fingers underneath.Withyour right hand griptheend of the wallet which is farthest away from you then hold itupright.Atthispointthe two cigarettes in the container will fall into the left hand.Throwthemoutto two spectators, and, as attention is onthis,withyour left hand place the walletback intoyourinsidepocket.
Procedure.-You go down into the audience “ Willyou withthe pack of cardsfaceupwards. just touchacardwith your finger, Madam ? Any card you like, don’t let me influence you. Are you sure you are satisfied ? You would not like to changeit ? Right.”Callstomedium : “ Ready.” Mediurti : It’sared card. Magician : No reply. Medium : It’s aDiamond, I think. Magician : Yes. Medium : I canseea Court card. Magician : No reply. Medium : I’msure it’s aCourt card. Magician : Yes. chose the Jack of Medium : I feel surethelady Diamonds. This procedure is repeated in various partsof the hall. We usually consider that three cards are sufficient. Closing Patter as magician returns to stage : “ And now, ladies and gentlemen, youwill underI think stand how jolly careful I have tobewhat about at home ! ” . Red or Black.-Ifyousay to chooser of card “ Are you satisfied, or would you like to change it,” then the medium knows it is red. If not, it is black. continued on page 5 3
Effect.-The broad effect is that a member of the audience merely thinks of card, a another member of the audience freely selects acardfrom the pack, andthe card thought of andthe card selected are identical. Simple enough as a plot and by no means new. But think of it as a problem. Think of the wayyou would accomplish the effect and you may then decide whether or not there is somethingnear ,perfection in the mechanics and misdirection of the featured routine that follows. Properties.-You will need a pack of double faced cards, twenty six cards covering, by virtue of their double faces, the range of .a full pack. But “ don’t be fright.” Forthe presentpurpose the pack is easily and quickly made. The cards are split by immersion in boiling. water, the backs are discarded and the faces are stuck in pairs, the Ace of Clubs backing the Ace of Diamonds, the Two of Clubs backing theTwo of Diamonds, etc. When the cards are reasonably dry a hot electric iron will complete the job, flatten them out and return sufficient polish ‘to the surface of the card for the present effect. (If you are a purist and have plenty of time, split the cards dry.) Pocket Index and Clip.-You will also need a pocket index as described in the December, 1947, Pentagram. The double faced cardsare sealed in twenty-six pay or seed envelopes. The bridge size cards fit into these .envelopes exactly. Obviously the back of the envelope can be told from the front by inspection of the sealed flap and equally obvious the double faced cards are inserted in the envelopes according to a plan. Shall we say that all the red cards face the flaps. Obviously also a pencilled initial indicating the contents is placed on the flap of each envelope for future guidance. The envelopes go in pairs inthe appropriatethirteen pockets of the index, the latter reposing in the righthand trousers pocket. You will also need half a dozen empty pay envelopes and these aresecuredin the top of the trousers pocket by a Bulldog Clip as described in the December Pentagram. In the bottom of the pocket, togetherwith the index, is a small pocket knife. The only visible items atthestart of the performance are a pack of cards, a small slate, and a piece of chalk (all unprepared). Routine (A C a r d is Thought of).-The performer states that he wishes to conduct an experiment in applied psychology and invites anyone particularly interested in that sort of thing to accompany himonthe platform. The volunteerhelper is invited to look through the faces of the abovementionedunprepared pack of cards andto think of any one card. He is to change his mind as often as he likes but finally to decide on one, and exclude theother cards from his mind. The performer then explains thatthe helper is conducting the experiment in conjunction with one other ‘member of the audience whom he is to choose, andthat
“ test ” conditions, the helper is to write the name of his card on the slate h r future reference. He is to ensure that no member of the audience gets a glimpse of what he is writing. The performkr shows the helper how to indicate a card by writing initials in large capitals on one side of the slate, and leave him to complete the job by writing the side of the siate. initials of his card ontheother Although the helper has been enjoined to conceal the writingfrom the audience, he has not been specially enjoined to conceal it from the gaze of the performer, who in point of fact is standingat the helper’s right shoulder and obtains a clear view of what is written. The helper is then requested to place the slate writing side down on the table. If he is one of those suspicious people who, without adequate reason insist in concealing everything they do even fromthe performer, he merely takes the slate himself and takes an unhurried look atthe writing as he puts it down. Provided the performer doesnot indicate that this knowledge is essential to him, no suspicion can attach to his actions, nor will they afford any clue to the modus opemzdi. T h e helper is thanked for his part in the experiment, requested to pick another member of the audience to complete the experiment, to take the packof cards to the second helper, andreturn to his seat. A C a r d is Selected.-When the second helper has wended his reluctant way on to the platform h e is requested to examine the cards, to shuffle them,and finally to remove any card face down and give it to the performer. The performer takes this cardin his left hand. In the meantime his righthand goes into his righttrdusers pocket, he secures theappropriate envelope from the Index, adds this to the bottom of the few envelopes in the clipat thetop of the pocket, and withdraws the packet from the pocket. The Index. employed and the Bulldog Clip makes this operation sure, quick and mechanically easy. Securing of the necessary card (in the envelope) under cover of removing the envelopes from the pocket is an essential and- unsuspicious action in the course of the trick. The double-faced card in the envelope is retained at the bottom of the packet. The card selected by the thetop envelope second helper is insertedinto which is then stuck down. The packet is held in the left hand and now notice the simple switch and the adequate cover and misdirection for it. The helper is standing on the performer’s left and he is stillholding the pack of cards. “ May I have the cards,” says the performer. As the cards are offered the performer’s right hand extends across his momentarily covere the body to take themand small packet of envelopes inhis left hand.This packet of envelopes is promptlyturned over, and the pack of .cards is placed down 011 the table on the performer’s right (together with the slate).
continued on page 53
53 WINGLESS VICTORY - continued f r o m page 5 2
Unhurriedlytheenvelope no117 atthetop of the packet containing the double-faced card is also placed ontop of slate. T h e packet of envelopes remain in the performer’s left hand, and the second helper is thanked for his services and asked to resume his seat. As he moves infront of him the performer palms the envelope containing the selected card, and removing the penknife, unhurriedly, from his trousers pocket, leaves the palmed envclope secretlytherein.
Denouement.--A strong point about the effect is thatthe essential moves are covered by natural requirements and that although tn-o people have acted as assistants, the performer is in sole possession of the stagefor thedenouement. He briefly recapitulates and builds up. Our friend Mr. Smith has merely thought of a card, any card, and written its name on a slate. Notone of the members of the audience knows thename of the card. I n fact theoddsare very great thatthe name of the card could not even be guessed. Indeed, a member of the audience is invited to guess. If the longshot comes off andhenames the card chalked on the slate, the most is made of the miracle andthe “ influences ” at work thatnight. Rut sincehewon’tguess, several othermembersare invited to “ have a go,” and before theconjurer
TWO
IN
HARMONY - continued f r o m page
An occasional slip-up, such as naming the Seven of Diamonds for the Eight, helps to enhance the effect. “ Please concentrate a little more, Madam, you’ve given me the pip ” ! !
Medium : Magician : Medium : Magician : Medium : Magician : Medium :
of Hearts :
It’s a Heart..
I thinkit is a pip card. Notmany pips., I’mcertaintherearenotmany.
”
51
Suit.-If ‘CluborDiamond you keep silent ; if Heart or Spade you say “ yes.” Court or Plain.Always silent for the lower (i.e., plain, pip) ; silent if Queen or Jack ; “ Yes ” if King or Ace. “ Yes, I’m sure it is a Court card : silent if Jack or King ; “ Yes ” if Queen or Ace. Pip Cards.-three, four, ten,high ; then five, six, low ; seven,eight,nine, three and four low, five and six high, seven and eight low, nine and .ten high. “ Yes, I’m sure there are a lot(orfew)pips on it,” and again you’resilent for the lower one. General remarksandexamples.You’llnotice that only one “ Yes ” reply (at the start) is needed for the t ~ 7 o“ Threes ” Hearts and Spades. No reply at all for the others.
Example.-Four
displays what has been written on the slate, he asks “ Mr. Smith ” whether anyone has guessed his card. T h e fact that the conjurer has. to appeal to ‘’ Rlr. Smith ” to ascertain the name of the card confirms inthecorporatemind of the audiencethe fact (supposedly) that he is in no better shape than they are. He doesn’t know. He has had no opportunity of knowingthanthey have had. “ Mr.Smith ” then names his card and his statement is confirmed by what is found written on the slate. But we must retrace our stepstoanother small item calculatcd to produce a state of insensibility amongst those “ in the knox.” While the “ guessing ” ccmpetition is going on the cofijurer quietly tears up the four or five empty envelopes in his hand and lets them f:llP tothe floor. He thenpoints outthat everythiilg has been in the hands of “ Mr. Smith ” and “ M1.. Robinsm,” that it w a d d be a miracle if “ Mr. Rohinson ” had picked outthe very card of which “ Mr. Smith had merely thought. He ~ S S U K S the audience thatif such a circumstance has happened it would be a miracle indeed. And then assures them. “ IVatch, you a.re about to witness a miracle.” T h e performer can say this with due assurance and no risk of a ‘ flop.’ T h e tell-tale pencilled initids onthe envelope confirms all he needs to knov;. He slits the envelopes and withdraws the card . . . the appropriate face to the audience, of course I !
AWagician: Yes. -Medium : T h e gentleman chose the Four Hearts. Ace of Medium : Magician : Medium : kfagician : Medium : ,Wagician : Medium : Magician :
of
Spades : It’s a Spade. Yes. And a Courtcard. Yes. A nice card to have inyourhand. Yes. I can see the Ace of ‘Spades. Quitecorrect.
Steps .High (requiring “ yes ”) HeartorSpade Card Court King or Ace 7, 8, 9, 1 0 9 or 10: 5 or 6 10, 6, 8, 4
Steps
Low (110
anszw)
. ..
I
... DiamondorClub
...
2
...
... ... ... ... ’.
3
...
4
... ... ...
5
CardPip Jack or Queen 3, 4, 5 , 6 7 or 8, 3 or 4
99 5 , 7: 3
No answers required at all for Three of Clubs and Diamonds. “ Yes ” only required for Step Ifor Three of Hear@ andSpades.
54
There are, I think, only six reasons, given below, forbuyinga book on magic, and only the last is a sensible one :-
I. The poor wretch is a collector of magic books ; 2. The half-wit likes reading magic books ; 3. The insane optimist is looking for new tricks ; 4. The confirmed pessimist is afraid that, if he. does not buy it, he might miss ‘ something. worthwhile ’ ; 5. The unfortunate magician knows the author. personally and has to send for an auto-graphed copy ; 6. The luckless wight is unable to borrow the book. Now, whichever reason is yours, I suggest. you are not particularly interested in coloured plates, art paper, profuse illustrations, and all the other trimmings the publishers advertise to justify charging thirty shillings for a “ ten-bob ” book. All of us would welcome cheaper books. Authors, I speak with some authority,are very vain men, but even theyshould welcome the larger sale and increased influence which cheaper book production would provide. There is a way by which we could have cheaper books, and that is by adopting the Frenchsystem of issuing them unbound. . It seems to me a most sensible system-thebooksyouwish to keep you have bound in your own style and the rest you throw away. Most of them youwill throw away.
Q*
Q*
One has only to consider some of the publications of recent years, such as “ Mr.Smith’sGuideto Sleight-of-Hand,” at 10/6 ; “ Nothing is Impossible,’’ Play,” at 2 1 /- ; “ Open at I S / - : “ But Notto Sesame,” at 30/- ; and “ Basic CardTechnique,’’ at 35/-,to realise that, if this continues, we magicians will have to eat less if we are to read as much. “ Card Tricks without Skill ” at 5 /6 was undoubtedly an isolated phenomenon having no bearing upon the general trend. There is evidence that Colonnade Passage and Monastery Gardens have atendency toenter into competitionwith each other in book production, so that if one uses “ art paper ” theother will another retaliate with “ coloured plates ”-adding five shillings tothe price, with the poor reader paying for their amusements. The reader curses the “ art paper ” because it shines, hurts his eyes, and hasadisgustingodour, while the “ coloured plates ” prove to be black and whiteillustrations printedin coloured ink.
And, if anyone mentionsthat oneabout it being worth the price if you get one trick you can work, I shall shoot ! ,
Shouldname Iletters my after add ? A. Certainly ! So long as they are the appropriate three. When doing the Cards upthe Sleeve, is it correct to pass the cards into the trouser pocket ? A. It is definitely wrong, and no true artist in conjuring would commit such an absurdity. It is illogical, inartistic and on occasions indelicate. The sleeve of the coat runs from the is, therefore, from the wrist to the armpit and it vest. opening that the cards should be produced. It may be argued that a conjurer has a perfect right to pass cardsfromhishand to wherever he chooses. Of course he has : he may pass the cards inside his socks if he so wishes, but that would not be the Cards upthe Sleeve. Refer to Robert Houdin’s “ Secrets of Conjuring and Magic ” ; Stanyon’s “ Conjuring with Cards ” and Gaultier’s “ Magic Without Apparatus.” Q* Should a conjurer roll ‘up his sleeves ? A. No ! Acrobatic performances areout of place in aconjuringentertainment.
Q.
Shouldconjurers be called operators ? Have we not .telephone operators, cinematograph operators, donkeyengine operatcrs, pneumatic-drill operators, etc. ? Why exclude operators of toys and puzzles from conjuring‘shops ? One day I shall hear “ For my next operation . . . ” I am waiting for it ! Q. Who do you think is the greatest magician that youhave seen ? A. Sorry ! I have never seen a magician. 0. All the amateur text books instruct that a trick should never be repeated before the same audience. Do you agree ? A. No sane man would think of immediately repeatingatrick. But that does not mean that after it has been once witnessed a trick must never be repeated before the same onlookers. If a trick is so weak in principle that its repetition would make detection probable or certain, it is not worth five minutes’ serious consideration by the professional conjurer, who often has to appear before the same audience as many as a dozen timesin a week.
A. Of course they should.
hl
55
Q W d akkwt B&, NEW P E N T A G R A M GRAUING.-A maximum award of Ten Points in thefollowzngcategories(whenapp?icable) (A)--Ph3-‘sical. Make-up (B)-Quality of Material (C)-Value to Magic (D)-Clarzty TOTAL 70 POINTS (E)--lllustratzons (F)-Readability (G)--Sincer&y THE CARD EXPERT ENTERTAINS ” by Fitzkee(publishedbySaint Raphael House, price3 dollars 50 cents). In this volume of some 128 pages, Mr. Fitzkee commences with an analysis of card moves. Despite the almostinimitablenumber of cardsleights,theauthor bringstheirfunctionswithina basic scope of sixteen. T h e position of thecardexpert is also considered. The first six chapterscoverthisandmuchmore.Fewwill have cause to quarrel with Mr. Fitzkee in his condemnation of complicated puzzle tricks, for they interest a very fenand bore so many. Mr. Fitzkee’srootidea in this book is to present effects that will please an audience and which at the same time give an impression that they are watching a cardexpert. T o supporthis thesis, thirty of Arthur Buckley’s effects (previously published in abbreviated form) are taken and described in detail (so much so that eventhe necessarysleights to accomplish the effects are given). We feel that in the taking of these thirty effects, Mr. Fitzkeehasgivenhimself an unnecessaryhandicap, for not only could some of the efleects be obtained by less skilfulmeans, but also the effects themselvesare not thebest illustrations of theirtype, as, forinstance,the passing of cards from one set to the other. Also in a book o n expert card work the “ card in cigarette ” is not, In our opinion, card magic. Of the effects themselves we think that the prediction effect, that Arthur,Buckley marketed under the title of “ Knock’emDead ! is thebestitem. The bookis well writtenand profuselyillustrated. M r . Fitzkee in some cases gives patter plots that are not only well written but interesting. I t is definitely a worthwhile book in every respect. T h e effects are well defined and varied. We want it to be borne in mind we do not criticise thequality of the effects. Points63. “
S
’
#
#
8
ANNEMANN’S MIRACLES OF CARD MAGIC ” (published by Max Holden) dollars. price 2 JohnJ.Crimmin’s,junior,hasdone a goo! job $ work in collecting the sixty effects from the Jmx but little understood, “
N.A.M.S.-On March 13th/1qth, the tenth Meeting of the Committeeof Management took place at the Bell Hotel, Leicester. Leicester Magic Circle were the hosts, and as such they lived up to their reputation. At the meeting, among other things, it was reported that the “ Days of Magic ” had raised for St.Dunstan’snearlytwothousand pounds (about a hundred pounds up on the ‘previous year). This is notanawe-inspiring total whenit is realised that two local Societies (Nottingham and Leicester) were responsible for a quarter of the amount. One of the difficulties that local societies have tocontendwith is publicity. This is needed in force to bring a contribution up to the five figure mark,and we feel surethat in their election of Wilfred Tyler as Press Publicity Officer, N.A.M.S. have madea wisechoice. The question of reviews took up a great dealof time at the meeting, and again we feel that in giving the present Editor, Charles Harrison, a free hand, the Committee have shown wisdom. There are many who grumble about the slow progress made by N.A.M.S., in fact manyquerywhetherthere is progress at all. We
;-
files and publishing them in booklet form. T h e selection of effectshasbeen done with an experienced hand, and we think that there are few whocould not find at least one effect to theirliking. Our ownHerbert Millonhas “ The Sympathetic Clubs ” on page 75. (This effect has been very much overlooked and yet apart from the brilliant presentation of theinventor it was agreatfavourit2 of Leipzig.) For agooddiscovery of twocards thereader would have to go a long way to better Dr. Daley’s Two Cards in Fear ”-a good title to a fine effect. Horowitz’s “ During Pasteboard ” andWalter Gibson’s “ Twenty CardTrick ” also standout.FromGibson also comes DoubleReverse,”which,from our ownexperience,is one of the simplest andmost effective of all reversed card tricks. Jamison’s “ Here or There” is a nice effect toe. There could be no. finer tribute to the late Editor of the “ Jinx ” thanihe tworoutines “ The Omega Card Act ” andFiveFindo.”Bothanswer the’question of those in search of a complete card act of short duration. The booklet runs to 108 pages, is clearly printed and exceptionally well illustrated by Nelson Halne. Points 62.. l‘
l‘
# *
#
#
ENCYCLOPAEDIA OF SLEEVING ” by Jack Chanin(publishedbyChanin,distributedin thiscountry by Goodlifle, 6 Colonnade Passage, Birmingham 2) price 10/6 post free. This booklet is thepublished ‘correspondencefrom Chaninto A1 Baker. T o datethere hasbeenpublished verylittle onthe technique of sleeving. Mr.Chanin warns his reader not to abuse theprinciples detailed, but to use them sparingly. After giving hints about sleeves themselves, theenvanishment of smallobjectsisdealt with ; later in dealing with the sleeving of cards a novel version of the twenty card trick and “ Six Card Reprat ” Sleeving givenare cigarettes of cigars, coins, thimbles. and arealldealtwith ; inmany cases the sleeve is used as a means of accommodation and becoming anup-to-date pochette. T h e writing blunt straightforward. and is I t shouldkindleinmany an interestinamuchtalkedabout, subject. Points 60. “
wouldreply ,that thingsdesigned for permanence and also the benefit of man, can never be achieved quickly ; our own opinion is that N.A.M.S. is going slowly along the right road. The big show inthe evening was asplendid bi.tof organisation, both in front of and back stage. Thank you very much, Leicester ! CRUELTY.-Plenty of conjurers are cruel to their audiences. The latter, hoyever: have a remedy, namely that they can walk out. Such conjurers harm only conjuring. We hope, however,that a special Hell awaits thosewho produce doves from a changing bag. We are morethansurprised at onepublisher who seems to take pride in the fact that such an effect appeared. in one of his publicatians. C U R R E N T EFFECT.-We should like to express our thanks to Mr. C. Steffensen (the wellknown Danish writer and dealer) for permission to include “ Ultra- Anti-Gravity ” in this issue. Those interested in obtaining the necessary fake, should contact Mr. Steffensen. His address is Ludtoftegade I 18, Copenhagen, Denmark.
C O N J U R I NBGO O K F SOS R ALE l
i
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
JENNESS
.GEORGE 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX THE WBZARD A modern monthly magazine. 24 pages of first-class magic.News and Per copy I/X postpaid.AnnualSubscription views on magicalevents. Vol. I., 12j6 THE MAGIC WAND A quarterlybook of magic. 70 pag-s of magic by world-famous contributors, 3!8 post booklists,advertisements,etc.Profuselyillustrated.Percopy paid.AnnualSubscription 1416. GEORGEARMSTRONG, THE MAGIC WANDPUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
NEW MAGICAL
Peter .Warlock‘s
BREdRLEI’ CRAGGS GAKSOAV
PENTAGRAlW .
1/l single copy, 1 1 /S per year .post free
si?&
ARCAS MagicalPublications Mr.Smith’sGuide to Sleight o? Hand . .W. Jonson A.B.C. d Vsntriloquiim . .P. Craggs Lx p r t Manipulation o? Playing cards .. . .L. Gansoll Testament o? W. R. Hull . .T.H.Hall Nothing is Impossible .T. H. Hall Muterpieew o? Magic, Vo!. 1 . .. Patterns tor Psychtcs . .Warlock Kamut. . .Franklin Con unlorini . . .Brearley Willane’r Wizardry Willane
.
..
c
1016 10110120116/101101310 lO/?,/S
-Obtainablefromall
..
:-
Surrey
A6DUL’S FEZ Increasedcost of materials hasforcedme to increase the price of this effect to 12!6.9-. Ifeel confident,however, thatitisstilla bar&in to anyone whohaseverworked the EggBag. Thanks to all those.who have sent kind,words about this trick
.
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place :: KENT CHATHAM MAGICPANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME 1. Bindin Prices :CLOTH 5/0, REXINE 6/0,1MOROCCO FINISH 7,’6 “
CF. l E L D 42 Alderson Road, Sheffield
0
Every Advertiser’s PrintedinEngland
10s. W. 12s. 0d.
. .. .. .. .. .. .. *. .. .. ..
10s. 308. Od. Od. 20s. W. 15s. Od. 128. Od. 10s. Od. 6s. W. W. Od. 301. Od. . 101. W.
..
36s. Od,
od.
8s.
W. SS.
.. ..
. ..
It.0d.
FREDROBINSON, MAGICIAN, STATHERN :: MELTON. MOWBRAY :: LEICS.
The Magic Circle *
c‘
,MASQUE A printed magazinegivingdetails
of our latest releases in exclusive magical effects. Issued free. If you arenot onour mailinglist, write now.
President: His Grace the Duke o? Somerset, D.S.O., O.B.E.,I.P., D.L., M.I.M.C. Vice-President : Douglas Crag@, Esq., M.I.M.C. Clttbroovn and Library nnd Museum :
St.Ermin’sHotel, CaxtonStreet,S.W.l. -Magical Thentre :
q n g George’sHall,
W.C.
Pnrficulavs froat Hon. Secretary :
Dealers ordirectfrom
404/408 SYDENHAM ROAD Croydon
c
.
:
. . . BRAMCOTE, NOTTS
from your dealer or from
“GREENBANKS,”
BOOKS
. CONJUNIORING MASTERPIECES IN MAGIC ‘ * EXPERT MANIPULATION O F PLAYING CARDS.. .. .
~ I S T E ~ FABIAAHALL HALL HALL KORAS K E NJON THUMBS UP MACKEhrZZE COMPERES CORNER” .IbcCOM B FIRST BOOK OF WlLLlAM . . LEWZS c7 T Y L E R OPENSESAME WARLOCK PATTERNSPSYCHICS FOR U‘ILLANE WILLANE WIZARDRY . h’ORAZAN BASIC CARD TECHNIQUE 3d.Stamp tor list o? Books on Loan
Published on the 25th of each month
.
THE ARDEN HOTEL, N E K STREET, BIKisllINGHAX tcill be the vrnuefor tr’7e-Tfeting of cmsideration and inauguraiion cf t!zs SorietJy of ?dentalists EveningMeeting, 7.45 Saturday,April,24th, 1948 LMorning Meeting, 10.15 Sunday, April25th, 1943 C1:nirwzan : hIr. GEORGE ARMSTRONG (Editor of the “ Magic M7a?2d) W e sl10ulc! iikc to k n o x i n adcancr ;f Y O U x i 1 1 be present P E T EW RA R L O C K “ GREENBANKS,” BRAMCO’I‘E, NOTTS.
2
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton H E N R DI E ’ S E E V A H M M C . , BMS., ZBM., S S M C . THE FRIENDLY MAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17 OLD AND NEW MAGIC LatestThinka Magician A pocket Mind Reading Effect o d y 210 Orrin’s famousSpider’sWeb,CardTrick 30/COIN WANDS to produce a real coin 1016 A fewSlidingGluePacks of Cards 819 Send stamp for Printed lists of old and me. Magrc Sydney de H e m p s e w 303 SANDYCOMBF ROAD, KEW GARDENS SURREY Ric 4235
FrancisWhite, 39 AlverstoneAvenue, WimbledonPark,S.W.19 INSTITUTE OF
MAGICIANS
Fottnded 1934 President :A. Zomah. Hon. Sec: Oscar OswUd 102 Elmdead AvenueWembley Park Middlesex H.Q. and Ltbrary :No.’2 Hand Court (Vhtory Club), H i hHolborn W C MEETING THUR’SDA’V] 7-11 p.m. VISITING MAGICIANSALWAYS WELCOME Your membershp cordially Invlted-drop a line to the Honorary Secretary for literature
EVERY
J A MGERSA Y S O N MAKER OF HIGH-CLASS MAGICAL STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME,NearLEEDS Nearly 30 years in the business
goods are fuHy endorsed by this Bulletin
for PETER WARLOCK byGEORGESEARSON.
EFFECTS,
40 Blue BellHillRoad,NottinghamTelephone
44652)
PENTAGRAM
An independent monthly bulletin
for all who want
good magic
Mav, 1948
V ! .2 N&. 8
Editor’s N o t e . - I n “ Patterns for Psychics ” I contributed method an effect called ‘‘ ThePsychicCard.”The made us of afakeddeck. M y goodfriend Francis Haxton,after readingthe effect, almostimmediately sent me his o z n version which is capable of performance .Frith a borrowed deck. The working is not only straightforward but makes verylittledemand on skill. I t should, therefore, be welcomed by those who, zchilst likingtheoriginal,weredeterred f r o m using it because gf themeansem$doyed.--P.W.
Effect.-A card is freely chosen from the deck by spectator. a After replacement in and squaring of deck, the latter isplaced in the conjurer’s pocket. As demonstration a of sixth sense the conjurer then places his hand in the samepocket, andwithlittlehesitationbringsforth the selected cardwhichishanded to the chooser. The card is then shuffled into the deck, the latter being cut into threeheaps. This timetheconjurer remarks that he wants the spectator to find his own card ; to this endthespectatorfirstchoosesaheap,andwith the conjurer’s estimation of, say, seventeen cards in that heap he is asked to give a number between one andseventeen.Needless to say the chosencard is found at that number. The spectator is asked to assistagain. The chosencardisagainreturned to thedeck,thelatterbeingshuffled. Thistimethe spectatoris asked tonameany number between one and fifty-two. On counting down to that number the card is found ! Requirements.-A deck of cardscontaining a short card. (The newcomer to conjuring who may querytheeditor’sremarkanentaborroweddeck, can improvise an impromptu short card b# bending the corner of one of thecards so that the surface isbroken.) Preparation.-The shortcardis placed as tenth cardfrom the‘ face of the deck. Thus set the conjurer isready for the
...
Presentation .-After obtaining the assistance of a spectator, the conjurer sIowly riffles the cards infront of him,requesting him to say “ stop ” whenhewishes(onepoint to noteisthat in the commencement of the riffle startjust below the short, for it is essential that the .word “ stop ” should not be given before the short card passes the conjurer’s fingers). The spectatorgiving the signal, the deck is’broken and cut at that point, the upper half being held up so that the spectator can see the card. (As he makes this move, the conjurer turns hishead away): The assistant,havingnoted the card, the conjurer apparently replaces the cards he hasheld up,ontop of those intheotherhand. “ Master Actually however, heexecutesOvette’s by StewartJames in Move ” (thisisdescribed “ The Mark of theReader,” Pentagram forFebruary, 1947) which inthe mostindetectable way brings the card tothe bottom of the deck. The deck issquared, Careof coursebeingtaken that the bottomcardisnotseen,andleftmomentarily onthe table. (This pauseshouldservetodivorce any ideaof manipulation from the audience’s minds.) Makinga few remarksaboutExtraSensoryPerception, the conjurer. drops the deck in his pocket ; a few more remarks and the hand goes to the pocket to remove the chosencard.Show it andhand it tothespectator,who acknowledges thatit i s the of the card that he looked at. That istheend firstphase of the effect. The deck is now taken from the pocket. The conjurer has alternatives here. The first is that ‘the spectator places his card on top of the deck and gives the latter a straight cutwhichhasthe effect of bringingthe chosen cardeleventh below theshort. The deck isthen cut by theconjurerattheshortcard. The second isthat aftertakingthe deck fromhispocket,he commences a Hindu shuffle asking for the replacement of the card at any spot ; this done the card is broughttothetop of thedeck. The deck isthen continued on page 6 3
As you have no doubt guessed, this is another glass penetration. The visibleapparatusconsists ,of ( I ) atraytowhicharefastenedtwoupright pillars : these support between them a sheetof glass ; (2) four cubes ; (3) two screens just large enough to cover the cubeswhenstacked. The performer first displays the cubes and the sheet of glass, demonstrates their solidity and stacks thefour cubesbehindthepane. T h e cubesare coveredwithoneof the screens(Fig. I ) andthe second screen is placed in front of the glass. When the screensareremoved,one of the blocksstands of thepane,havingapparentlypassed infront throughit.This isrepeated until allfourcubes stand in front of the pane. This may sound rather dull but the effect is clean-cut and easy to follow, while the apparatus is sufficiently imposing to commandattention.Forordinaryconcert work I suggest three-and-a-half-inch cubes, a tray thirteen inches square and a pane of glass'fifteen inches high by eleveninches in width. The maindeceptionlies in twocollapsible cubes, one on either side of the glass, and about an inch away from it. They can be folded up concertina fashion,flushwiththetop of thetray,but are normallyhelderectbyspiralspringswithin. The sides are madeof coloured cloth, and the solid cubes, of which there are three, are covered with the same so kind of material. The collapsible cubes are arrangedthat whenone is expanded theotheris flat, and vice-versa. This is shown in Fig. 2, which is a side section of the tray. The tray is made from twolayers of plywood. I n theupper layersquare holesare cutto accommodate thedummy cubes, butthe lower sheetisuntouchedexceptfortwo holes just largeenough to enablestoutthreads to passfreely throughthem.Thesethreads connect the tops of the cubes with the lever which controls
I
I
0
of them. As this lever is screwed to the underside the tray it is necessary to raise the floor of the latter from the table (Fig. 2). Fig. 3 is a view of the underside of the tray and shows the lever and the mechanism for locking it. Whenthe leveris inthe positionindicatedthe right-hand cube is expanded and the left-hand cube contracted. T o reverse this state of affairs catch B is moved aside, thus releasingtheend of the lever. The oppositeend, A, isthenpulledinthe direction of the arrow until it is locked by catch C. Pegs attached to the catches and the lever and projecting through slots in the top of the tray enable the performer to operate the mechanism from above. T indicatethethreadswhich The linesmarked I hope I have madethis connectleverandcubes. sort of see-saw dear. Broadly speaking itisa arrangement. The cubes are attached to a common lever, so that when one is up the other is down. The screens which are used to cover the cubes have threesides. The centre panel isfourinches wide and the two side panels six inches wide. They are set at an obtuse angle and are held in this position by fastening them together at one end with a piece of card or playwood, shaped as in Fig. 4. Fig. 5 showsapartially collapsed cube,one side having been omitted for clarity. Now let me explain, if I can, how the apparatus is used to produce the illusion of passing four solid cubes throughthe glass pane.Atthecommencement the tray rests on the table, and on it are four cubes. Three aresolid but the fourth is the rearmost dummy cubeexpanded. The screensstand on the floor and the pane of glass rests against the
BRICKS
THROUGH THE
WINDOW - continued from page 58
table leg. The traymechanismison the left hand side and the performer commences operations standing to the left of the table. He picks up two solid cubes, knocks them together and lets one fall back on to the tray. The third solid cube is picked upand knockedagainst the first, andboth cubes aredropped back ontothe tray. The three solid cubes are stacked on the dummy cube, the pane of glass is provedsolidandfitted’into thepillars attachedto the tray. The cubes, which are now behind the glass, are covered with one of the screens (Fig. I ) and the other screen is placed in front of the glass. The mechanism is operated and the screensareremoved. The spectators see onecube in front of the glass and three behind, but in order to give them a clearerview of the latter, the performer turns the tray right round. This. brings the three cubes to the front, and, as they are all solid, opportunity is taken to lift them one by one from .thetrayand drop them backagain. One result of the reversal is that we now again have an expanded cube at the rear of the glass and a contracted one infront. T o passthesecondcubethrough the panetheperformer leaves onesolidcube in front and places twoon thedummycubebehind. The in position,theleveroperated screensareplaced (this time from the right hand side) and when the
screens are removed there are two blocks on either side of the glass. Oncemore thetrayisturned round to show the two cubes behind it, and these A areidlypicked up andreturnedtothetray. third operation of the lever increases the front pile to three and reduces the rear pile to one. The tray is turned round as before and two cubes are taken from what is now the rear stack and placed.on the one solid block in front. The final operation of the leverincreases thestack fromthreetofour. The three solid cubes are lifted from the stack and dropped on to the tray. The reversal of the tray is des-igned to make the bestuse of the see-saw arrangement. Althoughtheperformerappearsto be passing the cubesthroughtheglassone by one, he is really passing one cube (and a dummy one at that) backwardsandforwards.But the reason for turning so very plausible that no further the tray round is excuse. is necessary. It may be found that even with a strong spring the creases in the dummy cube may tend to show. This is easily camouflaged by paintingapattern onthelinento conformwiththe creases. This pattern is naturallyduplicatedonthesolidcubes. Manufacturing and selling rights reserved by M r . J. F: Orrin..
Whetherthismethod of usingtheStanley Collin’s book has been thought of or used by someone else, I do not know. Its use in the form outlined makes this routine one of the most convincing in the yholegamut of such effects. Thereisnothingto hide, no subterfuges, the performer asks for something to be done, and the result is certain and trouble free. The added element of confidence which invests the performermakinguse of thismethod shouldenable himto emphasisepresentationwith correspondingsatisfactoryfinality. Effect.-Three books are handed to three members of the audience,whoareeachasked to select a word, write it on a card, seal the card in an envelope and return these to the performer, who, in hisown way, correctlynames each written word before opening the envelopes ! Method.--Thisdependsonthe use of the StanleyCollin’sbook,and the olddevice of one
thick card ; the books are handed out, or the performer may suggest that if anymember of the book can be audience has a book withhim,this used, as long as the fake book is used by one participantthe effect cannot go wrong. The three cardsaregiven,oneeach, tothe book holders : to the holder of the “ Love Poems ” is given the thick card, the performer now requests each of his helpers to choose a word, and although it does not matter in what way the word be chosen in the case of the honest books, it is best to ask that the same form of choiceshallapply to each volume. When choice has beenmadeandselectionsare sealed in the envelopes, the envelopes are. handled by the performer by theusualoneaheadmethod,with whichform of disclosure all readers of Pentagram will be familiar. It is hardly necessary to add that the envelopecontainingthethickcardis the last one to beopened.
T H E WIZARD A lnodern monthly magazine. 24 pages of fist-class magic. News and views on rdagicalevents. Per copy I/I postpaid. Annual Subscription Vol. I., 12/6 THE. M A G I C WAND -4quarterly book of magic. 70 pages of magic by world-famous contributors, 3/8 post booklists,advertisements,etc.Profuselyillustrated.Percopy paid. Annual Subscription 14/6.
C O N J URING
B 00K S
F 0R
S A LE
OLD AND NEW. Let me know your Wants LIST FREE FOR STAMPED ENVELOPE - N o Callers
GEORGE
JENNESS
47 INVERNESS AVENUE, ENFIELD, MIDDLESEX f ~ o $ ~ ~ A & ! ~ \ T ~ ~ MAGiC f ~ & ~~E~ ~ ~ L D L D P U B L I ~ H I N ~ ~ ~ ~ ~ ~ E N :
60
I n hisbook,mygood friendLouisHisted, describesan effect inwhichmilkpouredfroma jug changes into beer. For this the author describes a special jug. When reading the effect it struck me that such a jug was unnecessary, but sheer laziness stopped me from trying the idea that I had in mind. It was the visit of, and a discussion with, Charles Harrison that forced me to actually try the method which, as you can find for yourselves, works like a charm. The effect issimilar.Takinga jug (or glass) of milk the conjurer pours the contents into another glass or beaker, but instead of milk appearing inthe secondreceptacle Guinness appears. This canbehanded out for drinking.The receptacle fromwhichthemilk is pouredisseen(andit is) definitely empty ! Forthis effect (which doesn’t appeal to me) theapparatusneeded
inthe least is simplyan
Effect .-This runs on familiar lines. Spectator has free choice.of a single card from a well shuffled, unpreparedpack.Performerrings up his assistant or “ medium ” onthe telephone,which hethen hands to the spectator whohearsthename of his previouslychosencardannouncedby thedistant partyoverthewire.Apartfromsaying ‘‘ Is that Central 6786 ? ” or whatever the number happens to be, in order to make sure hehasgottheright number,performerspeaksnofurtherwordsover the telephone. Method.-Thename of the chosencardis coded to the distant party when youconfirm that youhavegot theright (?) number. The following code must be mtmorised (which is quite easy) and a copy of it supplied to your“ medium ” in’advance : Ace Two Three Four Five Six
or 02
03 04
05 06
Seven Eight Nine Ten Jack Queen King
07 08
Clubs
5
09
Hearts
6
Spades
7
10 11
12
13
Diamonds 8
It will be seenthat the suit follow the well-known CHaSeD formula. T h e name and first digit of the No matterwhatisthe numberareimmaterial.
evaporatedmilk jugor similarlyfakedtumbler. T o prepare remove the fake and in the jug or glass pour that amount of milk that will be necessary .to make thejug(or glass) appear full of milkwhen the fake is inserted. Now adjust the fake, and into pour a quantity of Guinness so that the level in the fakeis about half-an-inch below thelevel of milk surroundingthe fake. Fromthe audience’spoint of view you now have ajug (or glass) of milk. When presenting, pick up this evaporated milk jug, tilting it so that the Guiness runs out over the tip. Keep on pourin and the milk comes out aswell, mixing with the Euiness . Empty the whole of the contents of the jug so that all the milkgoes in with the Guiness. There is so little of the former that it will not discolour the Guiness.Placing itonthe table hand the receptacle containing the Guiness out for sampling. Because of the nature of this drink the small addition of milk will make no difference to the taste.
number of thedistant “ medium ” you did her correctnumber,andwhenshe replies, yo’u say “ Is that Central 6 - - - ? ” conveying to her in the final threedigits,thesuitandvalue of the card. T h e second and third digits code the value of the cardandthe last digit conveys itssuit, according to the above tables. For example, if thespectator has chosen the Ace of Spades, you would say “ Is that Central 6017 ? ” If hechose the Queen of 6125 ? ” Clubs, you would say “ IsthatCentral and so on.Anyone of thefiftytwocardsinthe pack canbecodedby thismethod. Of course the suits need not necessarily be numbered 5 , 6, 7 and 8 respectively. They could just as easily be numbered I , 2, 3 and 4, as long as your “ medium ”. knows the orderof the suits and the corresponding numbers. I have found it useful to choose four ndmbers which approximate closely to thelast digit of your assistant’s i.e., if hernumberis actualtelephonenumber, Central 6772, then use thenumbers I, 2, 3 and 4 to code the suit. On the other hand, if her number is Central 6778, then use the numbers 6, 7, 8 and 9 to code the suit. This will help to avoid an astute spectator from spotting the fact that you dialled a number with low a last digit and then, in confirmation mentionedanumberwithahigh last digit, or vice-versa. Normallyyouraudiencehasnocause to suspect that you dialled any other number than theone theyheardyouconfirm.
There can be only one reason why the Editor published Wilfrid Jonson’s views on magical books andtheircurrent prices, andthat reason is that they were Jonson’s views expressed in Jonson’s inimitable way and, therefore, amusingto read. Comingfromthe manwhowrote recently that I published my own misguided opinions in my own magazine, the article was a rich specimen of gross inaccuracies strung together in a plausible fashion. Mr. Jonson should really get to work on propaganda for apolitical party, where thissort of thing is “ just what the doctor ordered ” ! Dissecting the article, one detects first, without difficulty, that the listof books includes publications by ARCAS,George Johnson,Max Andrews, and myself. Thereis no reference to any book put out by ourfriend George Armstrong, who has, as far as my knowledge goes, published nothing over 17/6 and has indeed gone to the other extreme i n issuing as Year Book at a “ give-away ” price. H e is, nevertheless, pilloried as an offender ! Neither isthere any mention-it would be inconvenientof .‘‘Willane’s Wizardry,” at 2/6, or for that matter of our first “ Summer Special,”which was issued at the same price. I n fairness, let us try to get at the facts. Magical publishers, like any other section of the community, have their failings, and I ventureto suggest that they view with as much dismay as anyone else, and morethan some, the steadily mounting prices at which their books have to be sold to show a return o n their money. There canbe only one reason for highprices, andthat is absolute necessity ; there canbeonlyone reason for going to great expense intheshape of the cloth bindings,art paper, coloured pictures, andthe like, andthatis reader-demand. Mr. Jonson’s themeisthat increased sales wouldaccrue from less costly books, butthisis demonstrably false. Sales of any magic book not offered on the bookstalls are small, and even those quite ignorant of the subject, like Mr. Jonson, know that what makes certain books cheap is quantity production. This doorbeing closed to the magical publisher, he has either to produce a shoddy product or charge ahigh price. Since any dealer will tell you that paper-backed booklets are most difficult to sell, a cloth binding becomes necessary, and with this costly adjunctit would beabsurdtotryto savea few shillingsonacheappaper and inferior printing. Hence 90 per cent. of magic books issued to-dayarewell-produced and priced accordingly. Nobody but a madman would offer a book. at 30/-if a fair price were IO/-, and similarly a book would not be produced to sell at 30/- unless there were a demand. My publication “ Open Seseame ” was mentioned, so it may perhaps be used without impropriety as an example. May I -say first that before the war it was considered that a magic book had donefairly well if it sold 400 copies inthis country. Times have changed, and a reasonable expectation to-day is upwards of 1,000 copies.
There have been books which have sold more than this, but it would be imprudent to rely on an excess and so, the publisher may reasonably budgetwith that figure in mind. Now back to “ Open Sesame.” The actual cost of production : authors’ royalty, drawings, blocks, printing, binding,advertising (a “ overheads ”-office work, big item, this),and postages, etc.-worked aut at very nearly EI,OOO. Since the reader will be aware that the bulk of an edition is sold through dealers who receive (and earn) adiscount, 1,000 copies would be expected to produceapproximately E I ,000, therebygiving the publisherhis money back without any profit whatever. I n other words, he would have been working, and laying out his money, fornothing. It is obvious, then, that he has to gamble on selling more than 1,000copies in order to live, and since price is a very definiteconsideration he will keep the figure down to the lowest possible. That was done with “ OpenSesame,”and thanks largely toits success abroad-due inno small measure to my good friend Bill Larsensome 1,500 copies- have been disposed of to date andthe sales continue steadily. Hence I have, and I am pleased to admit it, made a good profit on the publication.But don’t you think. I deserved it ? I took the chance of losing a very large sum, and had my judgment been at fault, I should have done so. One must remember that every book one publishes does not “ r h g the bell,” anda heavy loss on one needs aterrific success onanother to balance the budget. OnMr. Jonson’s argument, it would have been therightthingtoturnoutthis book in as cheap a way as’ possible in order to ensure a wide sale. I venture to suggest that however cheap it had been, it would not have sold more copies than has in fact been the case . . . which proves my case, that the publisher, trying to ensure a “ square deal ” for the buyer, knows what the public demands and tries to supply it. This -is as true in magical publishing as in anything else, and bringsone to a concluding reflection. It has been suggested to me more than once, by fellows “ inthe know,” that magic books are in fact too cheap, the average cost being little more thanthat of an average novel to-day. When one considers that the novel may sell 20,000 copies of a first edition, and then run into several editions equally large, the price of the magic books does not seem excessive after all. One important point is that many of the keenest magicians are poor ; they cannot afford to pay 301for magic a book however desirable. Theyare catered for by the library, run either by their magical society or by one of several commercial concerns who loan out these works for afraction of their cost, thereby ensuring that nobody need remain in ignorance of the contents of any book, however expensive. Summing up, I think that, after all, the magical publisher may not be such a rogue as Mr. Jonson would have us believe !
62
NEW P E N T A G R A M GRADING.-A maximumaward of TenPoints inthefollowtngcategories(whenapplicable) (A)-Physzcal Make-up (B)-Quality of Material (C)-Value Magic to (D)-Clarity (E)-Illustrations (F)-Readabzlity (G)--Sinc?rity TOTAL 70 POINTS
:-
“FIFTYTRICKS WITH A THUMBTIP ” by LWilbourne Christopher (published by D . Robbins and Co., price One Dollar) Any writing of Milbourne Christopher’s wants little recommendation. As HenFetschtruly remarks in his introductionto thisbooklet, “ Milbourne Christopher writes straight to the point.” T h e fifty ideascoveralarge field, andtheauthor prefaces their description by giving a few historical notes regarding the thumb tip. (Although this is not mentioned, but because we recently heard someonemake the misguidedstatementthattheyinventedthe nail-writer, we would notethatthe nail-writer was in use before the thumb-tip.) Fromthis variedfare we should like tonotethose effects or aids to effects that aqpeal to us most. These are “ Burning Handkerchief,’”‘ a Making Money (this is production of banknotes),ConjuringupCandy ” (this is by Hen Fetsch and is a lovely impromptu for intimate work : this is thekind of magic we can envisageusing when working in a children’s hospital ward). “ Living or Dead ” (this is a most practical method of marking envelopes for tactual recognition), “ Thumb Tie with Rubber
Bands,” “ Dollar in Banana,” “ Reimer’s Ribbon Cut ” (a cut and restored ribbon effect, which, as Mr. Christopher points out, can be done just as effectively with a piece of string), “ Spotsthat Pass ” (again,although the author does not make mention of it, we think that this would make a very nice children’s item, the old ‘ Peter! :a Paul ’ story coming into play). Underthe title of theAnnemann Move ” is given a good billet switch (this is not new, and we feel sure that Ted Annemann attributed it to Al. Baker). Jarrow’s “ Full size Cigarette Vanish ” is the thingtobringtothe magic club-room or confound the man who bought a thumb tip at a chain store. Wereitnrate we have mentionedthose ideas that particularlyappeal’ to us. As there is a full measure of fifty, there should be something for everybody. Some of the material is admittedly far from new, but together with the lesser known and new material it makes a worth-while booklet. T o the conjurer pessimist who is already thinking of donning battledress for the next war, we would suggest that a copy of this booklet and a thumb-tip should form part of his equipment, for both take up little space and both will help to provide a great amount of entertainment. Unreservedlyrecommended. Points, 56.
Every magician whohasspecialized to any extent in card work will bG familiar with the name of Charles T. Jordan, to whom we are indebted for many fine effects, the principles of which have been used in some of the later card creations. There works attributedto Charles is no doubtthatthe T. Jordan stand high in the opinionof every student of card magic. There is mystery, a however, surrounding this man, for he kept well in the backgroundanddidnotattend magicians’ meetings. Nobodyin fact seems to know muchabouthim. T h e following story which I told at a closed meeting of the London Society of Magicians will, no doubt, be of great interestto many readers. Therefore withthe permission of my friend StewartJames, I will tell it to you. Steele, the In a long conversationwithRufus u-ell-known authoron card effects, Stewart James learned that onone occasion during his travels Rufus Steele arrived in Penngrove. He learned here, fromthe local postmaster that Charles T. Jordan lived about three miles out of town with his sister. Rufus Steele decided to pay Jordan a visit and on arrival he discovered anunpainted shack. Part of the barn had fallen down and no attempt had been made to repair it. Unwashed dishes could be seen onatable in acorner room. Windows were open in this room on two sides and chickens flew in and out at theirpleasure and stroIled across the table. There was amost unkempt manin the front yard and RufusSteele asked him if Jordan was around. The man replied that he was Jordan. Steele was more than a little surprised but took out a deck of cards and proceeded to do some of his
best tricks. Hethen handed the deck to Jordan and asked himto do one. Jordan replied thathe did not do tricks. Jordan admittedthathe was the man who put the effects on the market but added that he had never inventedatrick in his life. It seems that he placed the effects on the market for a man in New York, who did not want hisname associated with magic. Jordan told Steele he would not know the man but would show him the latest batch of material that had been sent him. He produced a large unopened envelope which hadarrived from New York a few days before. When it was opened it disgorged a sheaf of typeyellow paper. written instructions for - tricks,on The name was Arthur Finley. This name, as my readers will know, is notentirelyunknownfor he is mentioned in “ Greater Magic.” StewartJames asked Sid Lorraine if he could add anything to this Ovette had told Sid story. It seemed that Joe Lorraine of meeting Jordan, but that he could not persuade himto doa trick. Ovette’s description of the house to Sid was the same as Steele’s, even tothebarnand chickens. Confirmation is added to this story by a letter Stewart received from George Reading of Ohio, an assistant to Kellar. It seems that Nelson Downs wrote him (GeorgeReading) that Finley was the originator of theJordan material. Steele claims that Finley is still alive and runs a haberdashery in New York. Reproduced by courtesy of the Author and Editor, from ‘‘ The Magical Gazette,” oflicial organ of the L.S.M.
First of allwe that our address is
should like all readerstonote now :-65 Manor Road, Wallington, Surrey (Tel. Wallington 1424).
This business of moving has caused an accumulation of correspondence withresultantdelays in replying. T o those who have had to wait for 'either lettersor copies of the Pentagram we apologise. At this point we should like to tender our thanks to those conjurers in Nottingham who made our stay. theresuch a pleasant interlude. We shall miss verymuch the exuberance of Tom Boot, theenlightening criticisms of Charles Harrison and, most of all, the weekly visit of Bryan Hadley. The Inaugural Meeting of the Society of Mentalists resulted in an establishment of a Society as yet withouta name. I t also resulted, much against our own publicly expressed wish,in our being elected the first President. Altogether aninteresting week-end atBirmingham. A committeehas beenformed to draw up Rules.Donald Crombie very kindly took notes afid also agreed to carry on as ,Secretary for theinterim period. There will be
little more to announce until the Committee makes its full reportin July. T o Goodliffe,whovery kindly made the arrangements at Birmingham, and also in lieu of George Armstrong actedas Chairman, we say " Thank you very much " !
Last yearStewartJames, whose reachesinto subtle mathematical principles have never been equalled,marketed " Remembering the Future," a card prediction effect that was extremely off trail. My vefy good friend Francis Haxton who put the effect out in Britain for Stewart, has added a very effective stage version of the effect, which, as readers will note, is available to all thosewhobought the original effect. We have in mind a Douglas Dexter commemoration issue. T o our own wayof thinking, Dexter was one of the outstanding magiciansof this century. Inthis connection we shouldverymuch like to contact his son, Kenneth Dexter, and also be pleased tohearfromanywhomight have somerelevant memorabila.
PSYCHIC CARD 2 - continued from page 57
openly cut atthe shortcard and the ten cards beneath releasedanddroppedon top of the chosencard so that as inthealternativeit lies eleventhfrom thetop.The deck is now cutintothree heaps andtheonecontainingthe chosencardforced equivocally.Pick this packet up andspreadthem, observing that there are possibly sixteen or seventeen cards in the packet, and therefore will the spectator stateanumbernot exceeding seventeen. If he should say eleven you are all set, but should a lesser number, as for instance, eight, be given, insert the little finger of thelefthandundertherequisite number of cards from the top (in this case of eight If number a greater than it would be three). eleven is given then the requisite number of cards must beseparatedfromthebottom. Inthe act of the closing thefanthe passisexecuted (the
Stowartihnnes's
spreading of the cards when estimating the number greatly facilitates this transfer when necessqry). The cardisthenproduced atthe givennumber. This is the end of the second phase. For the final phase the card is returned to the deck and brought to the top by the sleight that is best with the reader. After a false shuffle which leaves the top stock intact, the deck is againplaceddownandtheconjurer states that this time he is going to ask the selector of the card to attempt a still harder feat, namely, to tryandgivetheposition of his cardamongst the fifty-two. Onthenumber beinggiven, the conjurer starts to slowly count off the cards using the utility false count I described in the April number of the Pentagram for 1947 (see " The Nonsuch Card Prediction "). At the number desired by the spectator the selected card appears.
RemenrberingtheE"dure
''
" A WINNER OF THE " LINKINGRING " AWARD OF MERIT, 1947 Recommendedandendorsed by J . G. Thompson (Junior), Peter Warlock, Fred Braue, etc. Effect.-A spectator predicts the number that will be arrived at by another spectator cutting and counting the cards. The effect is outstanding because :-Spectators have completely free choice in the number predicted and cards cut, which maybedifferenteverytime.
*
N O TROUBLE CARD PREDICTION ROUTINE IN YEARS
THE FINEST NON-SLEIGHT,
Price g/= [post free]
A varied presentation by Francis Haxton, suitable for platform presentation
*
will be included free with every order. This. alternative presentation will be sent to any previous purchaser of this effect on receipt of stamped addressed envelope Order from :
FRANCIS HAXTON,
"
St. Anthony's,''Nonsuch
Walk,
Cheam, Surrey
THE LATEST
PETER
!
AMERICAN MAGIC BOOKS
W e can accept a reasonable number of orders f o r the follozoing .-books, most of whichwerepublished very recently : ’
of eachmonth
000--
PLEASE NOTE NEW ADDRESS:
Please remit amounts indicated to our English iepresentative Mr. Robertson Keene, 30 1 Norwaod Road, Southall, Middlesex. He will forward your order via airmail, and wewill send itdirecttoyoubyreturnmail
::
publishedonthe15th -__ 000--
1/ 1 single copy, 1 1 /6 per yearpost free ---
Fittkee’s THE CARD EXPERT ENTERTAINS, boards, 171pages, ill., an elaborated editron of earlier Buckley booklet, just out, 17/6. Hugard’sMAGIC MONTHLY :,BOOK EDITION N.0.2 (Vols. 111. and W.), cloth, 208 pages (84 by X I Inches), crammed with latest and best magic, superbly produce.1, unequalled value, 28/-. Hugard’s MAGIC MONTHLY :BOOK EDITION No. 1 (Vols. 1. and 11.)’ ?S/-, Hugard’s MODERN MAGIC MANUAL, cloth, 345 paces, 270 ill., one of the b v e r y bestgeneraltreatises onconjuring, 17/6.O Hugard-Braue’s THE ROYAL ROAD TO CARDMAGIC cloth 310 panes, 121 ill.,excellentworkfor both amateurs and prdfessioials, 22/-:, Rice’sENCYCLOPEDIAOF SILK MAGIC cloth 520 pages over I 800 ill. 350 effectsby 75 experts, first huieboik‘on handiterchie; magic: just out, SO,/-.
F L E MBI O NCO GOKM. P A N Y BERKELEY HEIGHTS :: N . J .
PENTAGRALW
-
Annamann’s MIRACLE OF CARDMAGIC boards 109 pages ill. 60 great card tricks selected from The J i n x , :emarka’ble value, iO/-: Chanin’s ENCYCLOPEDIA OF SLEEVING, boards, 8 0 pages, ill., only substantial work on this rrnportant subject, just out, lO/-. Dhotel’sMAGIC WITHSMALL APPARATUS : VOL. I 177 tricks (not h sleights), with matches, ‘rings, wands, candles, balls,’~orks,etc., cloth, 320 pages, 183 ill.,ourbestseller ” to date, 28,‘-. Elliott’s MAGIC AS A HORBY cloth 220 pagesmanyillus., a goodbook of up-to-date tricks with little iquipment, ’just out, 1716.
WARLOCK’S
Telephone : Wallington 1424
BOOKS
NEW MAGICAL
10s.Od. 12s.
CONJUNIORING MASTERPIECES IN MAGIC ’ * EXPERT MANIPULATION O F PLAYINQ CARDS_... HISTED THE-MAGIC OF LOUIS HlSTED TWELVE NEW TRICKS FABIAN TESTAMENT OFR. W. HULL.. HALL HALL NOTHINQ I S IMPOSSIBLE . READING I S BELIEVING .. HALL MASTEREDAMAZEMENT . KORAN , KENJON UP THUMBS MACKENZIE COMPERES CORNER‘‘ FIRST BOOK OF WlLLlAM . JIcCOMB L E W Z S G T Y L E R OPENSESAME WARLOCK PATTERNSPSYCHICS FOR .. WILLANE WILLANE WIZARDRY . NORMAN BASIC CARD TECHNIQUE . 3d.Stamp for list of Books on Loan
BREARLEY CRAGGS GA,XSON
.. . .
64. od.
10s. 30s.Od.
6s. od. od.
20s. 15s.Od. 12s. Od. 10s.Od.
. .. .. .. .. ..
.
:
. .
6s. W. ss. W.
6s. Od. 30s. Od. 10s. Od.
b. M.
36s. W.
FRED ROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
U.S.A.
ARCAS Magical Publications
The Magic Circle
Mr.Smith’sGuide to Sleight .W. Jonson o? Hand A.B.C. ot Ventriloquism . .D. Craggs Expert Manlpulatrano? Playing Cards . .L. Gansoll Testamento? R. W. Hull . .T. H.Hall Nothing is Impossible .T. H. Hall Masterpieces ot Magic, Vol. 1 . . Patterns ?or Psychics . .Warlock . .Franklin Kamut Brearley Conjunioring * Willane’s Wizardry . W i llane
President : His Grace the Duke o? Somerset, D.S.O., O.B.E., Z.P.,D.L.,M.I.M.C. Vice-President : Douglas Craggs,Esp., M.I.M.C.
.
1016
.
10120115/101-
..
. .. ..
.
101-
101-
316 101216
--
‘MASQ-UE
Clubroomand
Library and Museum :
St.Ermin’sHotel, CaxtonStreet,S.W.l.
A printed magazinegivingdetails
of our latest releases in exclusive magical effects. Issuedfree. If you arenot . onourmailing list, writenow. ,
MagicalTheatre
:
KingGeorge’s-Hall,
W.C.
Pmticulnrs from Hon. Secretary : ObtainablefromallDealers
ordirectfrom
:-
SYDENHAM ROAD
404/408
Croydon
..
Surrey
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
ABDUL’S FEZ Increasedcost of materialshasforcedme to increase the priceofthis effect to 1216. I feel conhdent, however, thatit isstillabargainto anyone whohaseverworked the Egg Bag. Thanks to all those who haae sent kind words about thistrick
~~
-
PENTAGRAM ” VOLUME 1. BimZirzg Prices :CLOTH 516, REXINE 6/6,MOROCCO FINISH 7,’6
OLD AND NEW MAGIC LatestThinka Magician A pocket Mind Reading Effect only 216 Orrin’s famousSpider’s \V&, CardTrick 301COIN WANDS to. produce a real coin 1616 A fewSlidingGluePacks of Cards 819 Send stamp for printed lists of old and n w Magw
CF. l E L D 42 Alderson Road, Sheffield
363 SANDYCOMB€ SURREY
‘I
,
Every Advertiser’s PrintedinEngland
Sydney
2
INSTITUTE
HENRIDE’SEEVAH MMC., BMS., ZBM.,SSMC. THEFRIENDLY MAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place CHATHAM :: KENT MAGICIANS’ BOOKBINDING SERVICE
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19 MAGICIANS
OF
BranchesinLondon,Wakefield,Brighton, and Detroit, U S A . The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute i’ictoria Station) Particulars from Oscar Oswald, 102 Elmstead Avenue, W‘embley Park, 1Middlesex ~
~~
J A MGERSA Y S O N
-
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
de Hernosey ROAD, KEW GARDENS Ric 4238
Telefihone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME.NearLEEDS Nearly 30 ye& i t &the business
goods are fully endorsed
by this Bulletin
for PETER WARLOCK by GEORGE SEARSON, 40 BlueBellHillRoad,NottinghamTelephone
44652)
,
-
PENTAGRAM An independent monthly bulletin
This is a silk routine which I am sure you will like. It has the advantage that it canbefittedinto any part of an act and requires no preparation. Displaying five silkswhich, we will assume, consist of twogreen,twored, andone yellow, the performerdeliheratelydrops the greensilksone at a time into a previously shown empty opera hat. Taking the redsilks he slowly ties the yellow one around the latter and displays the knot by holding the yellow in his right hand and allowing the two redsilks tohang down. T h e threesilksarethen slowly rested in a bunch on the front brim of the operahatwhichcontainsthetwosinglegreens. Recounting what has transpired, the performer then makes a statement something like this : “ Seeing is not always believing, and although you may believe that I tied the yellow silk to the two red ones, I am going to prove that youarewrong.”Sayingthese words he advances to the hat and suddenly plunges his hand among the silks and suddenly throws three silks intheair.The spectators now seethatthe yellow silk istiedtothe green ones. T h e performershowsthesituationbyholdingthetwo greens with the yellow in the middle by holding a greenin each handand allowing thecontrasting silk tohang down.Placing the “ string ” inhis left hand the redsilks are then picked up andare showntobe singleandseparate. T h e hat is then showntobeentirelyemptyoncemore.Thereare noduplicates or switches,infactnothing butthe silks,a hat,and ? ? ? Butread on !
Requirements are five silksabouteighteen inches square (these can be of any colour, but one should be of a distinct contrast to the other four). This “ contrasting ” silk is the one that is mysterAn iously transferred fromonepairtotheother. opera hat is needed and is preferable to any other
for all who want
good magic
on account of its depth and style. T h e last requirementisa few small rubber bands.(Onlyone is necessary intheroutine,but a few othersshould a precautionary measure.) behandyas
To Perform.-One of therubber bandsis placed onthe second finger of theright hand. If preferred the bands may bepiaceci in the trousers right hand pocket and one obtained when required, but that is up to the reader. T h e five silksare at hand over a chair back and the folded opera hat is onthe table. Springopenthehat, showing it tobeemptyand place on table. Show the silks, each inturn back andfront,and take one of the usual mannerand greenones, “ twirl ” itinthe a allow oneendtodropintothehat,andwith zig-zag forward and backward, allow the silk to sink into the hat, but the end in the right hand is left hanging about three inches over the rear brim of the hat,which,by the way, isbroadside to the audience. Repeat withthe second green, theend of the lattercoincidingwith its mate. Place the tu-o reds in the left hand and tie the yellow to the latter. This is the usual fake knot made by twisting the yellow corner around the two red corners held together and then tieing a single knot on top. The yellow silk is held intherighthandandthe red ones are allowed to hang down, giving the audience plenty of time to see the “ state of affairs.” Grasp the two reds about three inches below the “ fake ” knot with the left hand. Raise the left hand above the level of the right, which is lowered slightly at the same time to avoid “ discomfort.” This action approach makes the yellow sag and the two hands each other to bunch the silks as they are about to be placed onthefrontbrim of the hat. It will be found an easy matter to slightly twist the right continued on page 6 6
66 BELIEVE
IT
OR
NOT - continued f y o ? page ~ 65
hand under cover of the left with its bundle. This thethree upsetsthe fake knot “ halfway.”As silks are placed on the brim, the reds to the front, the yellow dipsslightlyintothehatbuttheright handdoes not release itsend. The latterisdrawn backwardsover the greens untilit coincides with their ends. I t must be understood that the placing of the three on the brim takes but a second or two, and the secret placing of the yellow in position for the finale synchronises withthe movement.Plenty of cover is provided by the red bunch at the front andthe move shouldprovidenodifficulty. The performer now patters about “ seeing is not always believing,” and while so doing slips his index finger into the band which we will assume is now on the second finger. Thusthe two fingers areencircled.
“ FreeRing ” isacolourful release problem suitableforthe cl.ose quarter workerandutilising simple objects, namely ring, a ribbonandsilk. T h e performer displays a length of ribbon or coloured tape,andaspectatorisrequestedtothreadatwo inchdiametercurtainringonit. The performer now holds the ring and allows the tape to hangdown. A smallsilk is now handed the spectator assisting, and hzis asLecl tu 1111-cad the silk throughtheupper part of theringandtotieaknotthereon. This donetheoperatorgraspstheringatits “ top ” and allows the silk to hang down the ends of which partlydrapethetape. Two spectatorsnowgrasp anend each of thelatter,thetape now takinga horizontalpositionand the performerlowering his handholding thering as this positionis reached. Giving a slight jerk the ring and silk are lifted free of the tape and everything may be examined.
Requirements .-Two curtainrings(approx. two inches diameter), a length of ribbon or coloured tape(abouttwoanda half tothreefeet of threequarter inch). All these can be had at the Sixpenny Stores. A smallcolouredsilkandasmallportion
Advancing toward the hat the thumb is now slipped into the band and as the right hand is thrust towards the hat the bandisstretched. The handgrasps the three corners of the silks hanging to rear of hat about three inches from the end andfrom above, and as his hand grips the three, the band is allowed to slip off the fingers and thumb on to the silks, thus. fastening them together. LVithout hesitation the lotarethrown intheair,the yellow onecoming away easily fromtheredsonaccount of its upset knot. The three silks are caught and displayed by holding the greens in one each hand, the yellow hangingdown. The lotare then placed in the left hand while righthand picks up reds singly. Finally the hat is shown to be empty.
of conjurers’ wax. The latter is stuck to the outside edge of one (see B) of the rings which is placed in therighthandtrousers pocket. The silk is placed inthe lefttrousers pocketnear thetopforquick removal ; the other ring (see A) and tape are placed ontable.
To Perform.-Handoutthering which n-e will call A, and request a spectator to pass the tape through it and bring the two ends together, so that an equal length hangs on each (‘side ” of the ring. 15’hile this is beingdone palm the duplicatering with the wax side or edge at the little finger position. The ring is palmedbetween the first andlittle fingers. Takethe threadedringwiththe left hand graspingthepartwherethetape passesover itat its loweredge. The left thumbjust rests lightly on the latter and the largest area of the ring remains visibleto the audienceandduringthe following move apparently never leaves theirsight.Bring up the right hand as if to grasp the visible ring A and immediately the left hand is covered, press with continued on page 7 1
This isacard effect forfairlyintimate work. T h e climax is all that can be desired ; the drawback to some conjurers will be that it entails (as the deck is torn up) a newdeck for each performance.
The Effect. - A card aft-r being freely selected andautographedisreturnedtothe deck. The latteris now distributed betweenabout five members of the audience who are asked to tear the cards into quarters. These quarters are then dropped into an examinedcloth bag whichisheld spectator. by a This spectator gives the bag a good shake to mix the pieces. Showing his hand to be empty,theconjurer places it inside the bag. His hand comes out with a quarter of card, which he does not show, but placesface down on a piece of perspex. T h e movementisrepeatedthreemore times. The piece of perspex (which has been treatedwithathincoating of vaseline) isthen turned over to show the four quarters forming the spectator’sautographedcard !
The R e q u i r e m e n t s are simple.-Adeckof cards ; a cloth bag measuring ten inches bytwelve inches ; a paper clip ; a piece of perspex (or glass) measuringsixinches by sixinches. Preparation.-Slipthepaperclipon to the left hand shirt cuff. Smear a thin layer of vaseline on one side of the perspex then placing the latter vaseline side upwards on the table. The cloth bag is placed nearby. Presentation.-Let me emphasise that smoothness and naturalness in presentation are essentialthe mostimportantpart of the chicanerybeing concealedby natural play onthepart of theperformer. The conjurer,holdingthe deck of cards, approachesamember of the audience. “ Would youmind,Sir,thinking of justone cardandone card only ? When you have madeyourdecision I should like to remove it from this pack and write your name across its face. Please don’t let me see the face of this card ! ” The spectatortakes the deck, removes the thought of card, and, as he takes a pencil to write, the conjurerretrieves the
deck. The conjurerthen turns away as the cardis autographed. When the spectator signifies that he has written his name across the face the conjurer has the card returned to the deck. From this point he must move it to thetop of the deck,using to himself. the most deceptive method suited method Quite a number will use the “ pass.’’(A suitedtothe less skilful wouldbe to have a short cardat face of the deck atthe beginning. Ifthe spectator’s choice should fall on this particular card it is always within the conjurer’s control by the simple process of cuttingthe deck. Ifanyothercardis taken, have the spectator replace itontop of the deck and request him to cut the deck, bringing his cardto the centre. A simplecut below theshort will thenbringthe chosen card back tothe top. (This cut, I may say, canbe madewhen the performerisdistributingthecards.) The cardsare then placeddown whilst the conjurer picks up the cloth bag and hands it to a spectator on his right : “ Would you mind having a look atthis bag ? ” T h e deck is now takenandcutintofoursmall heaps. From oneheap the conjurercutsthree or four cards, the topmost one of this group being the chosencard. These few cards heleaves onthe table. Taking the four almost equal heaps between his fingers, he addresses the audience : “ This is an effectwhere ‘ four ’ predominates.Wouldyou, Sir, take this packetof cards ? ” (oneportionis handedto one spectator). The remaining three : heapsaredistributedtothreeotherspectators “ Now, may I suggest that you take about half the number of cards you are holding and do as I do ? ” The conjurer picks up the few cards he has left on the table faces towards the audience, and, naturally, the selected cardbeing atthe rear. The conjurer then bends the cards he is holding crosswise (this is the standard move for the torn and restored paper andtornand restoredcard). Hethen apparently straightens them out again (see illustration) but actuallyleaveschosen card folded at the back, simplystraightening out the remaining cards. T h e conjurerthentearsthesecardsinto halves, the spectators following suit. The move isrepeated withtheobject of tearing the cards into quarters. T h e finalresultbeing thatthe conjurerhas the of chosen card folded into quarters with a number quartered pieces of card infront. As the conjurer looks over thefourspectatorswith the cards,he apparently places all the pieces he is holding on to the table. Actually he slides back the folded chosen card,retaining it in a finger palmposition(either hand will do). “ Do you get the idea, gentlemen ? ” he remarks to the tearers. “ Now would you mind carrying on with the other cards ? ” As he watches themhestands handsbehind back, legs slightly “ easy ” apart (more or less army an position). And in this position tears the card continued on page 6 9
68
t
‘E AT THE CROSS
PACK OF CARDS FACE DOWN ON SLATE. FACE INSIDEREBATiCCF FUKE
CARDS
This is asimple,straightforward and easily followed effect which will raise a few laughs as well asbeingaprofound mystery. It necessitates the making of a special sized slate, but I feel sure you will more than find it worth while. I t can be done surrounded or on a stage. It is just as suitable for small as for giant cards if you only want to do it at family gatherings. However, by using giants you introduce both novelty and extravisibility. Effect.-You namethe bottom hidden card of a freely shuffled pack of cards. You write this name invisibly in the air and itappears on a business card. You thendoit again, only thistime you writeanother card’s name on aslate ortray held by a member of the audience. Requirements.-One pack of giant cards (or ordinary ones) ; one slate of such a size that a giant card just goes in the rebate at each side (44’’ X 7’’ inside frame) and fits exactly ; two cards alike (say two Kings of Hearts). These are backed to match the slate and acts as flaps ; a piece of chalk ; a pencil ; about a dozen business or blank cards of approximately playing card size. Set-Up.-Onone side of the slatewrite or print a figure Eight crossed out (as in figure 3a) and the name of card on the side of flap (Kine of Hearts) in figures. Write the name of anycard of pack (say Eight of Clubs) on the plain side of one of the businesscards in pencil. Putthis business card message side up on blank side of slate. Then place the named card-Eight ofClubs-face down on topof it. Now place one of the ‘(King of Hearts ”
flaps ontop. Putthe otherflap-picture to chalk writingon other side of slate (see Fig. 2). The giant cards are placed in a box if you have one, and the slate placed on back corner of itto hold the single flap in place underneath (see Fig. I). If you don’t use a box just place it over one of the back corners of table or on some object to allow you to get your fingers under easily and hold flaps in place. The pencil, chalk and business cards are laid on slate. You are now ready for the . . . Presentation.--“ Some time ago I had a dream-a strangeand vivid one it was. I dreamt that my astral self left my body and floated away into space. Whilstit wasaway I watched itperform several little tasks that I had been unable to get around to but had intended doing for weeks. Then it came back . . . and I awoke. When I got up I found these jobs had really been done, so, having been trained by ‘ Mr. Pelman,’ T decided to utilise this astral self and make it really useful. Now my astral eye and hands can helpmea lot. Letme demonstrate.” (Pick up giant cards and begin to shuRle them, be careful not to disturb slate flaps, etc.) “ Here are some playing cards. Oh, yes, they were specially made for a short-sighted old aunt of mine who used to play Patience with them on the lawn, but she got so out of patience playing Patience that she gave them to me.” (Hand them to gentleman on left and ask him to shuffle them.) “ Enjoying yourself, Sir ? ” (Now walk over to table and pick up the slate as a tray and let some lady on your right remove the business cards and examine them. Ask her to choose one ; note its blank expression ! and return the others to you on the tray. You now put the pencil, chalk and remainder of cards on table, return to lady and have her place the card printed side down on the ‘ tray ’ you are holding. You now go over to the gentleman who is shuffling the cards and ask him to hold them well down so that neither he nor you, or anyone else, knows the top, bottom, or position of anycard of the pack Theseare placed on ‘ tray,’ see Ill.). “ Now, Sir, you have shuffled this pack really thoroughly and in a really expert fashion, and you feel sure that I don’t know where a single card is ? Now I am going to let you look under the tray and I want you to tell me the name of the bottomcard. You can’t ? Dear me ! You see you have not got an astral eye like mine.” (Look under, lettingaudience see there is nothing to see.) “ Now, according to my astral eye the bottom card is the Eight of Clubs. Is that correct ? You don’t know ? Well, will you take my word for it ? I may be wrong you know, so I am going to give myself another chance. I am going to write ‘ Eight of Clubs ’ on the business card this lady placed underthe pack. There is nothingon it continued on page 6 9
* ‘ M Y ASTRAL
EYE
” -continuedfrompage
68
now is there, lady ? No ? Thank you ! ” (Write ‘ Eight of Clubs ’ in the air with the pencil.) “ Now Sir, if my astral has seen the bottomcard and I have named it correctly, it is very clever, isn’t it ?And, madam, if I have managed to write its name on the card you just placed there, even if it’s the wrong one, it is good is it not ? ” (pause) “ But if I have done both correctly it will be almost, if not, “ Now we will a miracle ! ” (W‘ait forlaugh.) look and see-what-we-shall-see.” (Empty cards off the slate on to left hand and put slate remaining flapside up ontable.Hold the business cardon pack with right first finger and tip the cards up to let the audience see the bottom card-Eight of Clubs. Walk over and let the shuffler of the cards verify it aloud then go over to the lady on right and let her remove the cardshe placed there(?)and read it aloud, too. Bow as if the ef€ect is over) then . . . “ I’m glad you liked it, folks, because it was shown to a friend the other night and he didn’t seem at all pleased withit.What would have happenedhad thecard not been theEight of Clubs,’he asked. NOWI ask you, isn’t that a silly question ? He asked what would have happened had it been, say, ‘ The King of Hearts ? ’ ” (As you say this remove the Eight of Clubs, wave it around to casually show bothsides, andthrowit down ontable or chair. Point to King of Hearts as if you didn’t know what the next card would be, but you’ll use it as an example) ‘‘ ‘ Well,’ says I, ‘ I would have had the cardson the traylike this ’ ” (put cardsontray exactly as before on top of flap) “ looked under and told you
4 6
THANKS TO
MARLO
”
- continued from
it was the King of Hearts and written Kingof Hearts instead of Eight of Clubs.But, ifyou don’tlike that we’ll try something else.” (Empty cards off again letting audience see the front card is just the same, walk over to lady on right again and get her to stand facing stage and grip the slate. Here you hold it just as high as she can reach-message facing yourself-and you will find she cannot see anything and neither can the audience. Pick up chalk.) “ I am going to let my astral hand write with chalk this time-are you ready ?-I will now write ‘ Eight . . . ’ ” (stop) “ Oh, 1% am sorry, it isn’t ‘ Eight ’ any more-it’s a King, so we’ll cross itout ” (do so). “ Now, ‘ K-i-n-g 0-f H-e-a-r-t-s.’ Did you feel anything, madam ? No ? Well look at the gentleman over there.” (Point backwards towards rear of audience and the lady will turn round, and so will slate. Just watch the lady pull slatedown and look atit.) “ So you see, ladies andgentlmen,my astral eye and handsareequal to all emergencies and it makes no difference which card is chosen ! ”
Notes.-(I) Don’t drawany attentiontothe crossed out ‘ eight ’ ; the audience will see it andtalk. (2) If surrounded the lady holds the slate well down between her palms message side down-or you can just place the slate, message side down, on to table and let someone pick it up later. (3) Do not refer to slate as a slate but as a ‘ tray.’ I n fact I have seriously been thinking of making atray in wood to replace it.
page 67
into four pieces, slips the paper clip off his shirt cuff and slips it over the four pieces of pasteboard. The four pieces thus clipped are then finger-palmed in the left hand. Seeing that the fourmembers of the audience have torn up all their cards, he moves ,overto the spectator holding the cloth bag. “ Everything alright ? ” he says tohim and receives an affirmative reply. Hethen takes the bag withhis right hand and moves to the nearest member of the audience with the torn pieces. “ Would you mind dropping all your pieces into this bag, Sir ? ” As he says this the left hand comes up to aid inopening the mouth of the bag. The bag is then held under the spectator’s hand andthe pieces held by this spectator allowed to fall inside (the pieces torn by the conjurer and held by the clip are still retained in the finger-palm position). The second, third and fourth holders of pieces arethen approached and their pieces dropped inside. The conjurer then turnstoanother spectator and asks himto hold the bag. As he does this he allows the clipped pieces to drop inside. “ I might aswell drop these pieces in as well,” says the conjurer as he picks up from his table the few torn pieces that he used to illustrate the method of tearing. Getting the
spectator with the bag to open the mouth the odd pieces are thendropped by the conjurer. “ Will you please give the bag a good shake, so that the pieces are well mixed ? ” (the spectator can shake the bag as much as he wishes, but the pieces will not be dislodged fromthe paperclip). Holding his right hand up and letting the. audience see that it is definitely empty, the conjurer places it inside the bag, feels for the paperclip, and then, having found it, slides out onequarter. This he removes and places face down with slightpressure on the piece of perspex. The spectator is then asked to give the bag another good shake, and once more showing his hand to be emptyit is placed inside the bag and another quarter withdrawn and placed onthe perspex. This procedure is repeated twice more so that the conjurer has the four quarters in correctposition onthe perspex. As he takes the last quarter he takes the clip as well, slides it off the last quarter and finger-palms it. The spectator is now asked to name the card he thought of and autographed.Picking up the piece of perspex, the conjurer turnsit over to reveal the selected card. Everything, if you are that way inclined, can now be examined.
aW d
c&ut
&&!
U
U
c
NEW PENTAGRAM GRADING.-A maximumaward of Ten Points in the foZlowzng categories(whenapp!icable) (A)-PhysicaZ. Make-up (B)-Quality of Material (C)- Value Magic to (D)-Clarity (E)-IZZustratzons (F)-ReadabzZzty (G)-Sincm’ty T O T A L 70 P O I N T S
’‘ B A S I C C A R D T E C H N I Q U E
” by Anthony Norman (published by M a x A n d r e w s ) price 351-. Rather late in the day this much vaunted book has arrivedforour review. When,many,many,months agowe hadaquick glance at the ‘ galley ’ proofs, we thought that the contents of this volume might provide a handy work for reference. Now that we have had an opportunity of reading through carefullywecanonlyexpress ourgreatdisappointment. If the book is for the card student (as Mr. Norman would designateit)thedata is insufficient. Theauthor has taken from many sources various methods of performing certain sleights, and hasgiven in brizf form t h i r mechanics. The following arethe basic sleightsdealtwith :T h e Pass,Locations,Palming,Forcing,FalseCutting, False Shuffling, False Counting, Double Lifting, rop andBottomChanging, T h e Glide,Glimpsing,Reversing of Cards, Back and Front Palming,FaEning and Flourishes. Under the title of “ Card Subtleties arranged packs and a fewideasaredealtwith. A chapter dealswith the variousways of treatingcards, i.e., roughing,etc.Nine pagesaccountforsuchitems as forcingpacks.Twentyeightpagesgivesomecardclimaxes, none of which fly very high, and there is a concluding chapter on what the author calls “ Presentation.” I n all thesechaptersthe authorappearstoshowthathehasnotthe necessary experience to write in an authoritive way on card work. Statements like “ Onecannot overestimate the pass. It is the integral part of about seventy five-per cent. really goodcardtricks ” (the italicsareours)and It seems to be the common desire of practically every card magician to attainthe .heights of suchperfection inmanipulative skill ” (the back and front palm is referred to here by the author) show too well that Mr. Norman’s outlook on card magic is not t:lat of a he would-l;? card expert. Hofzinser and Erdnase, so far as we can judge from thisvolume,seemtohave given nothingthat couldbe considered ‘ l basic ” andthe suggestions thattheperformershould wear his magical society medalandhave his monogram on his table cover have rather a mildewed touch. Howina book dealingwith basic cardwork,the classic force,culling,secondandbottomdealing, Dai Vernon’smethod of thetwo-handed palm andCurry’s turnover change (one of the finest of modern day sleights) have been omitted is beyond us. For the author’s information, conjurer the responsible the for single-
:-
handpalm, was, as we havementionedmanytimes, the late John Elrick. The book isillustrated by Dennis,andthere is an excellent Preface by Francis Haxton, who truthfully concludes by saying “ This book is particularly recommended to the beginner.” Weconsiderthat 351- isfartoohighapricefora book that is, for the most part, a re-hash and also fails to cover the field defined by its title. For thebook collector, it is well printed and reasonably bound. I t hasamostattractive dust cover. 42 Points. X
1
X
“STUNTW S ITH STAGE MONEY” Jack by Lamonte(publishedbyGeorgeArmstrong) p r i c e 51-. This is an unpretentious little booklet of some thirty pages in which Mr.Lamonte detailstwenty gags, ideas andeffects, making useof “ stage ” money. The two best effects are “ Tear-ablyGood,”atornandrestored “ Impromptu Note in Cigarette.” not: routine, and For the comedian who likes to think that he is a magician there are several worth-while commercial ideas. T h e booklet is lavish inillustration,butwhytheillustrator shouldnot be contentwith drawingwhatis necessary, instead of attaching heads and shoulders, that are neither caricaturesnor likenesses we don’t know. This form of illustration s2en-s to bespreading in certainpublications and periodicals and we can only presume there are some peoplewho like it. 49 Points. X
1
X
T H EM A G I CW A N DY E A R BOOK, 1947-48 ” (published by GeorgeArmstrong) price 316. It is a great pity that the publisher was so late getting this publication out. A pity not only for himseli, but also some of hisadvertisers. It follows, inthemain,the 1916-47 model.Quitefrankly we would say thatthisis an essential purchase for the enthusiastic conjurer as the informationthatMr.Armstronghas collected regarding Dealers and Societies is all embracing. There are nearly onehundred pages, and besides the informationalready mentionedtherearesometwenty pages dealing with ‘‘ Tricks of theTrade ” and “ WorkshopWrinkles.” T h e Cotswold Assembly, the Ring Convention at Buxton andtheInternational Congress in Parisare all covered and accompanied by photographs.Anexcellentbuvat the small price. Unieserve;l‘l3; recommended. “
! Peter Warlock% “MODES FOR MENTALWTS ” N E WE X C L U S I V EM E N T A 4 LM Y S T E R I E S N u m b e r 1-“ T H I N K A SI THINK.”-In this effect the Spectators receive the Mey!alists thoughts in a most definite way. N u m b e r 2-“ CAUGHT THOUGHTS.”-The second item in Peter Warlock’s Modes for Mentalists ” series is up to the same high standard as the first release. Caught Thoughts is a practical mental routine in which the mentalist not only catches the spectator’s thoughts, but the assistant catches those of the performer as well. A double thought reading effect. T h e routine is logical and the method is practical. Most important, it is entertaining if properly presented. This duplicated 4-page manuscript is neatly produced and mental magic enthusiasts who use the effect will consider their money well spent.-“ i’llagic Wand.” I regret to s a y that I have no copies of this in stock. There m a y , h o w e v e r , be a few available from Dealers. N u m b e r 3 ( f o r release on July 22nd)-“ M I N D O U T OF TIME.”-This is,,the ultimate in card prediction. A full description of this effect will appear in the July number of the ‘‘ Pentagran. PETER WARLOCK ::: 65 M A N O R O A D ::: WALLINGTON ::: S U R R E Y I
’
LEARN HYPNOTISM.-ANYONE canlearntoHYPNOTISE provided andare willing todevotealittle time to practice. they know how Practical lessons in THEWIZARD everv monthwritten especiallyfor the ENTERTAINER, by S. E. (Dexterous! Dexte;,V.A.F I.B.M., ALSO MUCH GOOD MAGIC, for Mentalists,Children’s EntertGnersand Clrtb Performers.Specialsectionfor Vent.;. 36 fully illustrafed pages per issue Subscription : 6 months,12!6 ; Year, 24/-
C 0N J U R I N G
B 00K S
F 0R
OLD AND NEW. Letmeknow your wants LIST FREE FOR STAMPED ENVELOPE -No Callers
G E O R G EJ E N N E S S
SALE
7’
It was with great regret that we heard of the death of Colin Tooke. A serious minded magician with a preference for mental magic, he will be missed by the many who knew him. LVe are grateful for the fates which led himto Buxton lastyear, and where, in company with John Brearley, we had the opportunityfor mutual discussion, little guessing thzt he was going to Burma for the last time. In our issue for April that great veteran H. C. Mole gave the details of a simple coding system for playing cards. We regret thatinthis description a mistake occurred.On page 5 1 the card denoted should have been the Queen and ?lot the Jack of Diamonds. T o Mr. Mole andto those whomay have been misled by this error we ofFer our sincere apologies. We understand that Percy Bee is working this particular method with success in his professional act. From America we hear thatour good friend PaulFleming will be visitingthiscountryinJuly and August. We feel that he will be accorded a great welcome by magicians on thisside of the Atlantic. Incidentally we should like to call our readers’ attention to the remarkably good exchange dollar rate which Messrs. Flemings are .advertising. New York rate for When oneconsidersthatthe sterling is less than three dollars, it can be realised what a good bargain the English buyer is getting. After a recent MagicCircle show we had the pleasure of Ineetmg A1 Korall for the first L n e . Later we managed togettogether. A1 is a natural conjurerusingthemost unconventional technique. H e showed me his effect ‘(Everywhere and Somewhere,” which, briefly, isthe transfer of three selected cards to the performer’s pocket. T h e differenceliesinthefactthatthe cards produced fromthe pocket are the actual cards selected, and that there is no palming of fancy s l e i g h by theperformer. At the remarkably low price of FREE
seven and sixpence itis must ” buy, for the (‘littlesomething ’’ could be utilised for things other than playing cards. If you are interested the address to write to is 66 Ponsonby House, Bishops’ Way, London, E.2. There is still a cry for silks for those who use or wish to use them. T o those who are in difficulty Co., we suggest that you writetotheStarMagic Box 7, Brinkworth, S. Australia. Mr.Everitt, who runs this store, has quite a number of thirteen inch and twenty-four inch coloured silks at the price of I /3 and S/- respectively. It is very difficult to sometimes find a principle that has not been used before. We were, therefore, pleased when some littletime backwe ran into a new idea for card prediction coincidence. This will appear as No. 3 of ModesforMentalists ” underthetitle of Mindout of Time.” Whilst on the subject of mentalism we are reminded of the numerous occasions on which we hear the Pentagram described as catering only for Mentalists. Those who are regular readers know too well that this is not so. T o those in doubt we just ask them to run through all the published numbers to date and note the low percentage of mental effects. After that it hardly seems apposite tomention that in the next issue we are running an effect (which canbcused either as a straight card effect or a coincidence effect) S. H . S h a p e hasalsocome by JulesGiraud.Mr. along with a visible coiour changinz sand idea. This piece of visual magic he had put aside, but was reminded of it when reading our own Put down an Empty Glass ” in the May issue. The Annemann issue of the (‘Phoenix ” (a very authenticnumber)is now tohand. It is excellent, and those who may have been using the Rev. G. E. Arrowsmith’s effect (‘ The Mystery of any Card ” (page 3, Vol. 2) will find an idea by J. G. Thompson (Junior) that willnicely tie in. ((
,
((
((
((
RING - continuedfrompage 6 6
the left thumb on the edge it is touching of ring A and the ringwill swivel towards you and downwards. T h e ribbon tape which was at the lower edge of the circumferenceis now atthetop. The right hand synchronising kvith the above n:ovement places palmed ring B in the position between left thumb and forefinger with its waxed edge down and without pause grasps the double edge of the tape at the top of the now invkible ring A and draws ring B with the tape (i.e., at double centre) to the right and in a T o thespectatorsit should horizontaldirection. appear as if you grasped the ring and drew it and the tape away from left hand. The action, of course, draws the tape free from ring A which is left in the left hand. T h e right hand holds the ring and tape as firmly as possible and gives one or two tugs as the rest of the tape is drawn through the left hand. This appearsas if you aretrying to demonstrate thesecuremannerin which thetapeis “ fixed ” tothe ring. The righthand continuessmoothly
throughuntil all thetapeisfree of the left hand whichimmediately goes to left pocket, dropsthe palmed ring and removes the silk. Thc silk is handed to spectator who is asked to twirl it in rope fashion. Meantime your right fingers have been busy pushing a small portion of the double centre of tapethroughringand ontothe wax thereon. The silk is now tied on as described in the effect, end the spectators take an end each, the performer previously allowing the silk to drape the (‘dirty work ” and holding top of ring. T h e wax will hold the tape in place until the finale provided due care is taken that the spectators assisting do not pull the ends prematurely. As the assistants take their respective endsthe performershould lower the ring and tape silk as the tape assumes the horizontal position. A sharptug will release ringand silk, and as you untie silk from ring scrape off wax with the thumb nail EO that all may be examined.
PETER WARLOCK’S
PENTAGRAM Effective immediately and continuing indefinitely, we are establishing a uniform world price on all books published by the Fleming Book company. British equivalents of .%mericau money are, at present : I , - equals 20 cents ; S / - equals One Dollar. Hence, n e will deliver to British magicians any bf our eight publications, post paid, a t the enact British equizalenfs of the Arnericart prices, as noted below :Collhs’s Conjuring A Melange (4 dollars) .. ,. 20s. Od. Ilhotel’s Magic with Small Apparatus (5 dollars) .. 25s. Od. Erdnase’s The Expert at the CardTable ( 2 dollars) . . 10s. Od. Gaulfier’s Magic Without Apparatus (7.50 dollars) . 37s. 6d. Hugarci’s Book Ed.No. 1 (Vols. 1 and 2) (5dollars) .. 25s. Od. Hugard’s Book Ed.No. 2 (Vols. 3 and 4) (5 dollars) . . 25s. Od. Maskelyne-Devant’s Our Magic (5 dollars) . . . . 25s. Od. Sachs’s Sleight-of-Hand (5 dollars) . . 25s. Od.
publishedonthe15th ---O O G -
of eachmonth
1 /l single copy, 1 1 /S per year post free _-300----
PLEASENOTE
NEWADDRESS
:
.
Also effective immediately and c o n l i w i n g through J u n e , J u l y a d August, 1948,we will deliver any Americarz magic book on the basis outlined above. A few of the hundreds of books available under this arrangement are :Elliott’s Magic as a Hobb (3 5 0 dollars) . . 17% 6d. Fitakee’s TheCard ExpeREntertains (3.50 &liars) . . 17s. 6d. Halliard’s Greater Magic ( K Odollars) . . 50s. Od. 20s. Od. Hugard-Uraue’s Royal Road to Card Magic dollars) Rice’s Encyclopedia of Silk Magic ( 1 0 dollars) . . 50s. Od. Tarbell’s Course i n Magic, Vol. I, 25s. Od. ; Vol. z . . 32s. 6d. Tarbell’s Course in Magic, Vol. 3 , 32s. 6d. ; Vol. . . 37s. 6d.
(1
.+
Please remittheexactBritishequivalent of the price of any currently obtainable American work on magic, to our representative, Mr. Robertson Keene, 301 Norwood Road, Southall, Middlesex. Yourorderwill come to us via airmail, and willbe shipped to you a t once, post paid.
FLEM B IONOGK BERKELEY HEIGHTS
~
COMPANY :: U.S.A.
:: N . J .
Telephone : Wallington1424
NEW MAGICAB LOOKS
.
::
.
-Obtainablefromall
404/408 SYDENHAM ROAD Croydon
..
:-
Surrey
ASDUL’S FEZ Increased cost of materialshas forced me t o increase the price of this effect t o 1216. I feel confident, however, thatitisstill a bargain to anyone who hasever worked theEgg Bag. Thanks to all those who have seglt kind words about thistrick
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place :: KENT CHATHAM MAGICIANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME 1. Bilzdilog Prices :CLOTH 5/6, REXINE 616,MOROCCO FINISH 7,’6
CF. I E L D 42 Alderson Road, Sheffield
0
MASQUE
Clubroom and LibraryandMuseum
Every Advertiser’s
2
MagicalTheaire
:
KingGeorge’sHall,
W.C.
Porticulars from Hon. Secretary :
Francis White, 39 AlverstoneAvenue, WimbledonPark, S.W.19
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
INSTITUTE
HENRlDE’SEEVAH “C., BMS., IBM., SSMC. THE FRIENDLYMAGICIAN invites allbona-fide Magicians to send for his list of new and used apparatus and books, or calla t his studio :1 CLARENCE ROAD Harborne, Birmingham 17
goods are fully endorsed
:
St.Ermin’sHotel, CaxtonStreet,S.W.l.
A printed magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are not now. onour mailinglist,write
OLD AND NEW LatestThink a Magician A pocket blind only 216 Reading Effect Orrin’s famous Spider’s Web, CardTrick 301COIN WANDS to produce a real coin l616 A few Sliding Glue Packs of Cards 819 Send stamp for printed lists of old and nm Magic Sydney de U e m m s e y 363 SANDYCOMBE ROAD, KEW GARDENS SURREY Ric 4238
Magic Circle
President : His Grace the Duke of Somerset, D.S.O., O.B.I.:., I.P., D.L., M.I.M.C. Vim-President : Douglas Craggs,Esq., M.I.M.C.
mm.8.. a m m m m m
Dealers ordirectfrom
6s. Od. 20s. Od. 15s. Cd. 12s. 06. 10s. Od. 6s. Od. 5s. Od. Ss. Od. 30s. Od. 10s. Od. 2s. 6d. 35s. Od.
FREDROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
1 The
1o.l20!15110110’316 101216
10s. Od. 308. od.
. . .. . .
.
ARCAS MagicalPublications 1016 101-
10s. Od. 12s. M.
.. .
. ..
l
Mr.Smith’sGuide to Sleight of Hand . .M-.Jonson A.B.C. ot Ventriloquism . .P. ~ r a g g s Expert Manipulation of Playing .L. Gansorl Cards . . Testament of R. W. Hull . .T.H.Hall Nothing is Impossible . .T. H. Hall Masterpieces of Magic, Vol. 1 . . Patterns for Psychic3 . .Warlock Kamut . .Franklin ConJunioring ’ . .Brearley Willane’s Wizardry . . ..M’illane
.
. CONJUNIORING MASTERPIECES IN MAGIC * * EXPERT MANIPULATION O F PLAYING CARDS . . .. HISTED THE MAGIC OF L o u i s HISTED . . FABIAN TWELVE NEW TRICKS . R. HULL.. . TESTAMENT OF W. HALL ., HALL NOTHING I S IMPOSSIBLE . . .. READING I S BELIEVING HALL .. KORAhT MASTERED AMAZEMENT .. . THUMBS UP KENJON . MACKENZIE COMPERES CORNER* FIRST BOOK Ob: WlLLlAM . MCCOMB . L E W I S 6. T Y L E R OPENSESAME .. WARLOCK PATTERNS FOR PSYCHICS . WILLANE WILLANE WIZARDRY .. NORMAN BASIC CARD TECHNIQUE . ... 3d. Stamp for list of Books on Loan BREARLEY CRAGGS GAh;SON
OF
MAGICIANS
Branches in London, M‘akefie;d, Brighton, and Detroit, U.S.A. The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Dellison Houw, 2%; Vauxhall Bridge, Victoria, S.LV.1.(one minute Victoria Station) Particulars from Oscar Oswaid, 102 Elmstead Avenue, Wembley Park, Middlesex
I
l
I
JA GM RE A SY S O N
~~
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 893 Address :23 GREENFIELD AVENUE GILDERSOME, ,Near LEEDS h’early 30 years zn the busaness
by this Bulletin
Printed in England for PETER WARLOCK by GEORGE SEARSON, 40 Blue Bell Hill Road,Nottingham
Telephone 44652)
73
PENTAGRAM
i Editor’s Note.- You can call this prediction, coincidence, or straight card work. The main thing is that the eflect is exceptionally clean cut and is suitable for performance either in a room or a hall.-Peter Warlock. W
#
#
Effect.-Theconjurer offers to onespectator a pack of cards for shuffling. Whilst to another he hands a sealed envelope. Receiving the cards back, hecutsthe pack intothree almostequal heaps. Turning to one spectator whom we-will consider as “A” he asks him the name of the month in which he was born. Supposing the spectator says ‘ March ’ the conjurer picks up one of the small heaps of cards, at.the same time remarking : “ March,thethird month of the year,” and then from this heap deals down to the third card which he places, without the audience seeing its face, in a glass that stands on the table. This procedure is continued withtheother two heaps, two other spectators being designated “ B ” and “ C ” and the months of their birthdays beingrequested. These cards, intheirturn,are placed behind the first card in the glass, so that the conjurer has now three cards back towards the the audience, in a glass. The spectatorholding
c
J
envelope is now requested to open it and remove the contents. He takes out a slip of card on which there is somewriting. “ Will you please read out what is written on the card ? ” says the conjurer. The spectator now reads “ ‘A’s’ birthdaycard is the five of diamonds.’’ As he says this, the conjurer turns the glass round, showing that the first card is the five of diamonds. “ ‘ B’s ’ birthday card is the ace of clubs.” The five of diamonds is now withdrawn, showing the ace of clubsbehind it,”and lastly, “ ‘ C’s ’ birthday card is the queen of hearts.” The ace of clubs is withdrawn showing the queen of hearts remaining in the glass ! The Requirements are very simpleand are as follows :-One glass, brandyshape, into which, say, ten cards will fit without any lateral play. A pack of cards. An envelope and piece of card. Three cards, say the five of diamonds, the ace of clubs and queen of hearts’are removed fromthe pack and placed on one side. Some roughing solution (the two best preparations we know are CharIes Harrison’s secret formula and that described continued on page 7 3
BIRTHDAY HONOURS
”
- continued from page
73
by Trevor Hall in “ NothingisImpossible ”). Two clips for holding cards (the usual type of clip usedbymanipulators for holdingcards priorto ‘ stealing.’ A couple of wirepaperclips of the larger variety if properly anchored will answer admirably).
Preparation. - The threeextracardsmentioned are treated with roughing fluid in this manner : the face of the queen of hearts is half roughened, theface and back of the ace of clubs is half roughened, whilst thebackof the fiveof diamonds ishalf roughened. Whendrythe roughenedportionsare placedtogetherin thisorder : Onthe face down five of diamonds place the ace of clubs, and on top of this the queen of hearts. The reader will know ifhehandles the roughenedendshaveapparently one card the fiveof diamonds. If i t is handled by the non-roughenedendshe can fan three cards. Thesethree cardsare now placed inone of the clips which should be situated under the conjurer’s coat on the right side. I n this spot they are in an easy positionforstealing(for our own part we should prefer to use the right hand trouserspocketEd.). Another odd cardtakenfrom the pack is, placed in a clip which can either be by the side of the three clipped cards or on the other side of the body. The reader will have to judge from his own experience the best place. Onthe pieces of card a message as follows is written :-“ A’s birthday card is the five of diamonds ” ; “ B’s birthday card is the ace of clubs ” ; whilst “ C’s birthday card is the Queenofhearts.” This cardis now placed in the envelope, the flap of the latter being stuckdown. The pack of cards, the glass and the envelope are placed on the conjurer’s table. Thus set the reader isreadyfor the
...
Presentation.-With onehand theconjurer hands the pack of cards to one spectator for shuffling whilst with the other he gives to another member of his audience the envelope with the request that he keeps in safecustody. The conjurermovesback, and with his right hand gets possession of the three roughened cards and retainsthem in apalm position. (It should have been previously mentioned that the cards when removed fromthis position into the palm should have the roughened ends towards the heel of the palm.)Seeing thatthe spectatorhasfinished shuffling the conjurer steps forward, taking them with his lefthand.Holding them up hesays, “ Ladies and Gentlemen . . . one of your audience has been good enough to shuffle these cards. If anyone doubtsthat theyare well mixed would hesay so now ? ” No answerbeingforthcoming,theconI call jurer goes onto say “ This pieceofmagic ‘ Birthday Honours ’ . . . the honours are for three of your number, and, therefore, I will cut the cards intothree heaps.’’ As he suits thesewords tohis actionshe passes the pack totheright hand. Rememberthat this handcontainspalmedthethree roughened cards. The right hand, holding the pack, now cuts it into three approximately equal heaps on the table, and with the cutting of the last heap drops
thethree palmedcardsontop. (All these movements, i.e., the passing of the cards from one hand toanother,andthecuttingshould have an easy action and follow through. The whole sequence has been designed to help those who are awkward inthehandling of cards especially when palming cards.) The conjurer now designatesthreespectators, A, B and C respectively, and as he does so he stands in such a position that he can, if necessary, obtainthesingleordinarycardthatis palmed. This .necessity only arises if the first spectator tells theconjurer that hisbirthdayis in February. The spectator Ais asked to namehisbirthday month.Ifhe says “ January,”theconjurerisset for the most natural piece of chicanery that has ever come his way, for all he has to do is to take up the heapwiththethreeroughenedcards on topand dealing them off as one card from his left hand to his right, place them also backs towards the audience as one card in the glass (the reason for perfect fitment now becomesapparent).Ifthespectatorshould say “ February,” the extra card is stolen and added to the topof the roughened card pileas the cards are picked. The conjurer always hasplenty of time, because each time before he deals the cards off, he repeats themonth, also mentioningitsnumber. If it is February, the first card is dealt off, the three roughenedcardsas one, beingdealt as thesecond card and placed inthe glass. If, however, the monthis Marchorlater,theconjurer uses the utility false count (see “ Pentagram,’’ page,, 47, volume I , “ The NonsuchCardPrediction, by FrancisHaxton). In doingthe false countfor this effect, start with the cards low so that the faceof thefirst card (?) cannot be seen. The threecards are removed at the appropriate number and placed in the glass. The second and third heaps are treatedgenuinely,andthecards .at thedesired month numbers are removed and placed behind the three cardsalreadythere. Withthe three (five) cardsinsidethe glass theconjurer now remarks, “ And now, LadiesandGentlemen,letus seewhether I nave been successful in forecasting your ‘ Birthday Honours ’ . . . Would you mind,Sir, undoingthe envelope andremovingacard that youwill find inside ? . . And now will you read ? ’’ The spectator out whatiswrittenonthecard reads out the name of the first card and as he does so the conjurer slowly turns round theglass, showing that the firstcardiscorrect. The second choice is readout,andwhilst totheaudiencetheconjurer simplyslides the face cardout,actuallyhisforefinger pushes the first card away from the second, so thatthe roughenedsurfaces are separatedandthe face card assumes concavity towards the second card. In this manner, with the aidof the thumband fingertip, it is withdrawn from the glass showing the face of the secondcard. The naming of the third card is followed by a similarremoval of the second,leaving in the glass, from the audience’s point of view, the third andlastcard.Thesecards, unless the conjurer intends to perform another card effect, should be leftinthe glass.
.
75
This effect is really for stage use, but it can be worked at reasonably close quarters. I worked it several times during the war years, and intended to put an improved version in “ Patterns for Psychics.” The improvement I experimented with did not work satisfactorily. This was possible due to the fact that I amanimpatientworker,andtheapparatusstill standswaitingattention.
The Effect .--The conjurer exhibits glass a lamp chimney three pieces of newspaper (two five inches and one twelve inches square) and two metal rings (wide elastic bands can take the place of these’ latter so easilyhandled). All these articles butarenot articles are handed to a member (or members) of the audience (in working I had two persons seated well downstagewhilstthetableonwhichthe glass chimney was ultimately placed waswell up stage). A requestismadethat the twelve inchsquare of paper be rolledintoa tight ball and also that one end of the chimney be capped by means .of the five inchsquare of paperandthering. The ball of paperisdroppedintothe glass chimneyand the other end capped. All this is done by the spectators. The ball is shaken inside the tube and thus audible commentconvincinglyshownwithoutthat it is unattached, after which the tube is placed down on the table. Fromthispoint onwardsthe ball of paper inside the glass tube is under the magician’s spell and it can fall or rise at his commands. The ball finally falls to the bottom of the tube, and one of the spectator’s is requested to step forward, pick up thetube,inspectanddissembleit.Thereis nothingtogiveanypossibleclue as .to how the levitation has been effected. The Requirements are few. They are as follows :-One straight-sidedlampchimney(the size of the one that I used is 8&inches by 18 inches). Three pieces of newspaper (two measure five inches square, the third twelve inches square). Two metal or cardboard bands that will slip comfortably over
FIXING HOLES. D.. .FLANGE
thechimney. A fake aboutto be described. In some ways it isakintothetime-honouredpiston beloved by some of ourforefathers. It isattached toatray. In describing it I thinkthatthereader will follow more closely by studyingthedrawing. The firstdrawing shows anelevation view of this piece of high-tensile strength piston. A ais wire(pianowire comes intothis class). At the point where it protrudes from theflange it is tapered off to a needle point. . This piece of wire is now given a coat of dull black paint. The lower end is sunk into a piece of steel or lead. B, the casing, is It measures part of a 8 inchtubularcurtainrod. seven inches in length. The lower end of this tube is, of course, closed by sweating on a piece of metal. C is a small ring attached to the weight and through thisisruna piece of fishingline. D isa flange and has a central hole drilled that will allow the wire to move easily. The underside of the flange has a small piece of tube attached through which another hole is drilled, allowing the fishing lineto emerge (see enlarged illustration). The flange which is made to fit tightly into the,tube is now fitted to the underside of the tray and as seen in the illustration the wire point should now protrude about one-eighth of an inch. Notice in the illustration that the fixing of the flange is at one side of the tray. The reason for this will soon be clear. A slit measuring inch by eight inches is now cut near the front of the conjurer’stable, allowing thetubeto go throughand the tray to rest naturally on the table top (see illustration). Whilst, no doubt, many would have a drape to conceal the presence of the tube, my own method of concealmentisillustrated. I had two silks between the tray and the table top ; they hung down in front concealing the tube. After performing this effect and wishing to use the silks, I picked up the tray at the side farthest from the audience with (see the right hand, bringing it into a vertical position illustration). rel="nofollow">The’lefthand took the silks and the continued on page 7 6
SMh!
c
c
Mr. Warlock's description of a method by means of which milk can be changed to beer as it is poured Pentagram, out of ajug,explained intheMay reminded me of an idea in one of my " Brainwave " notebooks of years ago. The identicalprincipleis used in connection with a tumbler full of sand.
The Preparation consists of filling a tumbler with waterandemptying it,andthenpouringin some dark-coloured sand. When this is emptied out a thin layer will remain adhering to the sides of the tumbler,heldon by the film of water.Again the tumbler is filled with sand of a contrasting colour, " shell." Ontopis this goinginsidethesand sprinkled a little more of the first coloured sand so that the main contents a r e completelyhidden. By placing this preparedtumbleron the oven-topfor a short time the moisture will be evaporated, leaving thesand absolutelydry.Supposing the " shell "
X
..
WM.?
c
of sand to beblueandthemaincontents yellow, this tumbler is placed in a boxof blue sand. Presentation.-A duplicatetumbleris taken andsome of the bluesand scooped up in it and allowed to trickle back intothe box. In theact of filling it by the same method it is switched for the preparedtumbler inthefamiliar way, andstood on the table. The Coloured Sands and Water effect can now be presented ; after which the tumbler of (apparently)bluesandistaken,andthesand poured on to a large plate from some distance above so that the thin layer of blue sand is.lost among the stream of yellow. The illusion of blue sand changing to yellow in full view is created. The necessity for evaporating all the moisture that held the blue sand to the inside of the glass will be realised, since any bluesandadhering to the side of the glass would give a clue to the trick.
THE UNKNOWN - continued from page 75
tray was rested against the back of a chair, a book previously placed there preventing the former from sliding farward. Preparation.-The only preparation, apart from placing the various articles on the table, is that a long length of fish line is run through the attachment on the weight in the manner of-threading a needle and thus doubled through the hole at the side of the tube, through two small screw eyes fixed to the table one onthe underside andone at the bottom of the leg andthence off-stage. T o obtainthe best effect an off-stageassistant is necessary. The conjurer,however, by anchoring the fish lineto some stationary object could get the necessary pull and slack needed by pressingagainstit.Ifthe conjurer decided to work single handed the removal of theline becomes adifficulttask, The off-stage assistant has two eqds of fish line in his hand. The purpose of this is that at the end of the effect one end isreleased and thewhole of the fish line drawn in and off-stage thus leavingthetrayfreefromany attachment.
Presentation and Working.-This should be fairlyobvious. One end of the glass chimneyis sealed inthemanner of thedrumheadtube. The LEARN HYPNOTISM.-ANYONE can learn to HYPNOTISEprovided they knowhowandare willing to devote a little time to practice. Practicallessons in THE WIZARD every month, written especially for the ENTERTAINER by S E (Dexterous) Dexter V A.F I B M ALSO MUCHGOODMAGiC, f& Mkntalists,Children's'Edtert&&' a i d Club Performers.Special section for Vents. 36 fully illustrated pages per i s s u e Subscription : 6 months, 12/6 ; Year,241QEORaE ARMSTRONQ THE MAGIC WANDPUBLISHINQ COMPANY 11 MONASTERY G A R ~ E N S :: ENFIELD :: MIDDLESEX
It must be so rolled that it will drop into the tube easily andnotcling tothesides. The spectator caps the other end of the tube, the ball is shown to move easily and the conjurer then sets either end on so thatthe latter thetray overtheneedlepoint puncturesthepaperalmostdeadcentre. If this cannot be done instinctively it is better to mark the tray in some way so that there is no hesitation in placingdownthechimney. The assistant now by a slight pull on the fish line causes the wire to rise, bringingthe ball ontop of it. The factthatthe wire is dull black and that the glass chimney reflects a great deal of light, makes the wire. invisible at a few feet. The ball finally sinks, the spectator then being asked to pick up the tube and dismantle for capping the it. Because newspaper is used ends, the discovery of the puncture mark requires exceptionally close scrutiny. In nine cases out of ten the actual hole will penetrate a letter, thus giving onehundredpercent.concealment. Those interestedinthis effect will have the opportunity of seeing it performed ina demonstration lecture that I shall be giving for the I.B.M. at Bournemouth.4'. W . Manufacturing and
c0
RI
G
B
selling rights retained
K
F
R
A LE
OLD AND NEW. Let meknowyour wanb LISTFREE FOR STAMPED ENVELOPE
No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
by
77
B
!
, 2Tkml.&:4 6-6-
3-
th 9 h ”
(v2
. . , ANDINTRODUCING Perfect and indetectible palming-off of a card from the pack is an ability that continues to elude the average purveyor of card magic. Why this should be so is a vexed question, and to deal with it in full is quite beyond the scope of the space availablehere. Suffice to say that in this writer’s opinion the main fault lies intheutterdisregard of anyattemptto coincide the action with even the simplest form of misdirection.Fartoomanyindulgeinwhatmay be called a ‘‘ sliding off ’*movement that looks more like a swimming instructor endeavouring to illustrate the intricacies of theside stroke. Blandly these offenderscarry on, firmlyconvinced in their own minds that they are somewhat “ bad hands ” with a packof cards, butsucceedingonly infooling themselvesandnobody else. However, let us leave these mundane thoughts and carry on to the main purpose of this literary outburst which is to describe a slight evolution of thepalmwhich I have devisedandwhich may prove of use to all card exponents, especially those who find this sleightadifficult one. Personally, I have always used the palm described in C. Langneil’s “ T h e Modem Conjuxer,” accredited to CharlesBertram,andconsider.thatit is quite impossible to improve upon it. However, one likes to ring the changes occasionally and I find the palm about to be described, provided the necessary practiceisgivenit,tobe clean-cut, indetectible and natural. Assuming that the inevitable selected card has been replaced in the pack, then, controlled to the top, we proceed. The operator takes the pack so that it liesface up on theleft hand, while he calls attention to the face and queries card as to whether
A NEW ONE
it is the selected one. The end of the pack nearest operator is pressed firmly into the baseof thumb and rear of palm by pressure of the second, third and fourth fingers at the front end of pack. First finger remains free but rests lightly on bottom front lefthandcorner of pack. Thumb takes nopart in theproceedings as yet. Righthand, held palm up, nowcomes towithinaboutafoot of theleft hand but slightly lower. Lefthandnowreadies itself to toss the pack into the right hand facedown. Fore-finger of left handpressesonthefrontleft hand corner of the top card of the pack and pulls slightly inwards which action buckles or curves the card in towards the palm (see Fig. I). Immediately the left hand turns almost completely over tossing the pack face down intorighthand (see Fig. 2). If you have done this anywhere like correctly you will find the top card of the pack is retained in the leftpalm (see Fig. 3). Withoutanyhesitationand in one continuous movement, the left hand follows u p and takes the card now lying on top of the pack betwixtthumband fore-finger to display the fact that it also is not the chosen card (see Figs. 4, 5, 6). From there on it’s up to you. T o sum up, I have triedto.describestepbystepclearly.as possible, a palm that is achieved cleanly under cover of the perfectandnaturalmisdirectionprovided by the action of displaying the both top and bottom’cards of the pack asnotbeingthe chosen one. Devote a little time to it and I feel sure you will find this a worthy addition to your’ store of secret sleights. Iwouldadd that this palm is a most useful asset in. any of thenumerousambitiouscardroutines, but, perhaps, you have already realised that ! Good Palming ! !
1 Peter Warlock’s “MODES FOR MENTALISTS ” Number Three - “MINDOUT TIME . . . From a blue-backed pack of cards three are taken and placed back towards audience, one in each of three glasss that stand OF
3 ,
on the table. A pack of red-backed cards is now taken and with their facer towards the audience the mentalist deals offone On the command “ stop ! the card that card at a time asking that a member of the audience stops him when he wishes. Two more cards are selected in this the mentalist is holding is placed in the nearest glass in front of the blue-backed card. manner and placed respectively in front of the othertwoblue-backedcards.Nowcomestheseemingly impossible climax. the blue-backed card placed there by the mentalist matches Each glassis turned roundto show thatin every case that the card selected from the face-up packby the varying spectators in each case. Please bearinmind the following :there is no force, no confederate, no rough or smooth principle, no sleight of hand, and finally, that the cards selected are from a face-uppack. The price of the Routine with patter andnotes on presentation is moderately price atSeven Shillingsand Sixpence from : dealer PETER WARLOCK, 65 .MANOR ROAD, WALLINGTON, SURREY or any reliable
U W d dht
%U&
c
c
m
‘‘ YOUR
DECK, YOUR CARD” by Kardyro (published byConjurers’Library; U.S.A.) price One dollar. This unpretentious but well printed booklet contains someten effects and ideas. T h e reader is expected to have not only theknowledge of, but also ability in, handling a deck of cards in a competent manner. T h e main thing that strikes the reader is that the effects are straightforward and have entertainment value. We particularly liked ‘ l Wetcome Stranger ” wherein the author has not only struck a novel and useful improvement on a time old force, but has provided an effect that ‘in the hands of agood magician can becomeamiracle. Strange, very Strange ” has an excellentmystery’angle and requires little in the way of sleight of hand. Smoothness in presentationwill make this an effect .that should impress the most sceptical audience. T h e author gives yetanother variation o n “ Follow theLeader,” avariation that is gJod because whilst thehandling of thecards is straightforward and four changes are carried out with ten cards in each heap, allthe chicanery is accomplishedbefore theoperator startsthe trick proper.Thesethreementioned effects struckus asbeing the best. T h e reader,however, who cares to purchasewillfind that every effect ispractical and all have especial meritwhen close-quarter work is desired. T h e booklet is tastefullyproduced and at the very modest price of five shillings (if obtained from T h e Fleming Book Co., via Mr. Robertson Keene) is agood bargain. 52 Points. #
X
#
THESTEWARTJAMES’CREATIONS (obtainable “ St. Anthony’s,” Nonsuch from Mr. FrancisHaxton, Walk,Cheam,Surrey). Mr. Stewart James is making available a number of exclusive roktinesand effezttu. Thesearein duplicated manuscriptform. T h e description and explanations are straight to the point. X
X
#
TEN NIGHTS IN A CARD ROOM *’ price 15/-. This isacompletecard act,the plotbeing that a famous cardexperthas explained tothe performer the various subtle bits of chicanery which he detected on ten different nights in the card room of afamousgambling casino. He proposes to show hisassembledaudiencea demonstration of the unbelievable control that is possible in games that apparently depend on chance. T h e routine is then commenced and consists of ten effects all of which are varied in nature. It is not necessary for the performer to use all the effects, but as they stand they form a perfect sequence both from a point of demonstration and, also for handling. I t is sufficient to say thatthe effectsare not “
only of a very high standard but, what is more, are also practically self-working, thus giving the performer abundant scope in his presentation. As the requirements are those which aretohand,the reader who wishes topresenta trouble-free card act that is definitely differentandentertaining has the opportunity of acquiring this one at the extremelysmallprice of fifteen shillings. Recommended withoutanyreserve. #
X
#
‘‘ POKERICULUM ”
price 5 / - . We cannot think of any poker deal effect that could be more stunning in its effect. The cards are dealt as for poker, each player receiving four cards. Atthispoint the dealing is stopped,the performer remarking that should theother players thinkthatthe position of the cards might have been controlled in any way, theperof the former will chacgehishand with anyotherone players before dealing the fifth card. Even.with the dealing of the fifth card thosetaking part are given theoption of changing this card for any otherinthe deck. This effect carries our full quota of marks. X
#
X
.‘‘ T H E
JAMESWAYPOKERDEAL ” price 5/-. This is an exceptionally good and convincing method of card control for close-up demonstration, and though a certain amount of practice is required foranadequate performance, the reader will be well repaid by having a most useful weapon added to his card armoury. A supplement is issued so that in all, five effects are detailed. They are “ Everybody T,l$n!‘ ! ” ; l ‘ One Feathered Bird ’’ ; “ Up the Ladder Deal ; T h e Five Ace Deal ; and l ‘ Dealing anyHand Named.” Again we give thisfull marks. #
#
X
“ T H E NEWLOOK” In this we get away from the card room, and although the effect is one with cards it has a novel angle. One card in the pack is anchored to a silk ribbon. T w o spectators look at this card. Before the ribbon is pulled by a third member of the audience the two spectators are asked tonamethe cardthey looked at. Each names a different card, whilst when this third spectator pulls the card clear it doesn’t agree with the verdict of either of the first twospectators.Now just remember there is n o sleight of hand or any underhand moves by the performer, there are no faked cards and the pack can be examined. I t is completely self-working and an effect that is just as much off-trail as Stewart’s brilliant “ Miraskill.” ~~
REVIEWERS-continued from page
79
entally, I did not buy because of the rave reviews), Victor Farelli writes : “ T h e only reviews, or reports, that have any real value in this respect are those that neither the authornor his publisherareever likely to see : they are written in private letters from one magician to another. Such reviews, when favourable, do .increase sales. Naturally, when the reports are !) they have the unfavourable(andtheyoftenare opposite effect. “ In the past, magical critics have usually treated my little books withmore leniency than perhapstheydeserve,andwhile I am gratifiedby the praise,andgratefulto the reviewers, I donot thinkthattheirreports havehelped my sales in anymarked degree.” Bothreviewers andpublishers would do well to paste Mr. Farelli’s words above their typewriters. my contention thattheinformed, I t isnot conscientious reviewer doesnotperforma service.
Quitethecontrary, his counsel is vitally needed. But he is faroutnumbered by literarydegenerates who have nothing to offer in theway of constructive criticism. I think it was the late Ted Annemann who first suggested in an issue of his unique journal “ T h e Jinx,” that before an effect or book be recommended It s’houlci pass the approval of aboard of (was it seven ?) qualifiedreviewers. Sucha plan as that outlinedby Mr. Annemann, whilenotfool-proof, wouldbe the magician’sbest guaranteethat he is getting goodvalue for his money. But I mustget back to my library. A new volume, “ The Universal Supreme Encyclopedia of Tricksand IllusionswithanOldShoe,” has just come in and the reviewers say it is “ great, stupendous,terrific, marvell~us,indescribable, remarkable, gigantic,wonderful, fascinating, astonishing, overwhelming, stunning, dazzling . . .”
79
The history of conjuring and conjurers is one of the most fascinating aspects of the Art, and it is a great pity that more writers are not interested in the researchthatsuch work needs. Through blind adherence to mistakes madeby apparently authoritive writers, these mistakes are perpetuated and accepted as fact by the lesser interested. Quite recently in a series of articles by a Mr.Stapleton ina contemporary magazine, we noticed a reference that was obviously inspired by RobertHoudin. . It referred to the De Grisy-Torrini-Pinettistoryandtheultimate death of Pinetti in poverty. Those who have gone deeper into the matterknow that there is no evidence ofPinettidyinginpovertyand also thereisno supporting evidence that a conjurer named De Grisy existed. De Grisy, Torrini-call him what you will, as far asone can judge, was aproduct of Robert Houdin’sfertileimagination. I t isto be consideredagreatpitythat somh magicalsocietiesinarrangingprogrammesare so little concerned with the balance of that programme. Last year, at Buxton, we saw the first two performers producehandkerchiefsfrom boxes. Quite recently at a show held by the I.B.M. in London, not only was the balance bad, but there were also too many acts in the bill ; attending a show that commences at 7.30 in these days people who may have travelled many miles expect a showto finish reasonably early; they do notexpectto be appealedtostaythelast two acts. In this we feel extremelysorryforboth EdwardVictorand Geoffrey Robinson who were the last to appear on this bill. This over-length of
programme has happened with the last two I.B.M. shows.held. A good feast of magic is not evolved from quantity of itsingredients, but quality, and as we said before, balance. The bigplateful can givetheaudiencerather bad magical indigestion. whose totalrunning Seven or eightvariedacts timeamounts to twohours or so will give more lastingpleasure. On page 879 of the “ Jinx ” was published an effect by Bruce Elliott and Annemann entitled “ Not fortheMeek.” I t made use of packets of sweets called “ LifeSavers.”Englishreaders that remember the miracle nature of this effect will be glad to know that there is now on sale in our own shops, a similar type of sweet made by Rowntree’s and called “ Polo.” Having said this we shall now expect at least one version of the Okito “ Life Saver ” effect to appear in the home market. In the “ Magic .Circular ” for February, Mr. J. F. Orrin described a Book Test in which an offstageassistant was used.Wedeprecatedthe offstageassistantremarkingthattheconnivance of a second person was unnecessary. In the June number of the same periodical Mr. Orrin took us to taskandinsistedthat the effect could not be performed single-handed. Actually we had two methods in mind. By one of those strange laws that we call coincidence, Mr. Will Dexter sent us along a couple of effects, one of which, “ Kismet,” is a well-worked andpracticalanswer toMr. Orrin’s challenge. I t willappeartogetherwithMilbourneChristopher’s “ Silk Away ” in the August number of the Pentagram
May I addasomewhattardyaside tothe articleson books written by Messrs.Jonsonand Goodliffe (Pentagrams forAprilandMay).While my views may not be suitable for publication, they may suggest a thought for a rainy day editorial. Bywayof introduction, it should be explained that I fall into book-buyer classifications I and 2 as outlined by Mr. Jonson : ( I ) “ The poor wretch is a collector of magic books,” and, (2) “ The half-wit likes readingmagic books.” Mr. Jonsonmight well have emphasizedthe of word “ poor.” The follower of thefriends to buy all themagic ‘books, Merlinwhoattempts pamphlets,manuscriptspublishedto-daysoon will find himself apubliccharitycharge.Fortunately, the writer is not burdenedby the expense-consuming tastes of the ordinary human being, i.e., food, clothing,shelter,andis,therefore,able to keep abreast of current magical literature. But my argument is not with the publisher of magic books or the outrageous prices he charges for his product. I wouldlike to take to task the “ reviewer ” or “ critic ” of magic books.
The titles “ reviewer ” and “ critic ” are,in most instances, misnomers. By what literary license theseself-appointed “ experts ” have theunmitigatedgaul to pose as professionalanalysts qualified to pass on the merits of any publication is beyond my ken. There are, of course,,afewcompetents inthisover-crowded field. Butforthemostpart you will find thema slovenly lot,unequipped for their calling and given to vague platitudes in their alleged “ reviews.” I t has always been my suspicion that the average “ reviewer ” limits his use of the thesaurus to the laudatoryadjectivesectionwiththethinly-veiled hope of havinghis name quotedinthedealers’ advertisements. The magician, poor dupe,isled to believe that because Robert Reviewer says a book is “ must readipg,tremendous,invaluable, the volume of the century,” the book is necessarily good. Poppycock ! ! In hisprefacetoWilliamG.Stickland’and Eric P. Wilson’s. “ Join the Party,” (which, incidcontinued on page 78
80
AMERICAN
BOOKS ON MAGIC
PETER
Our long-established policy of a uniform price throughout the zmrld for magic books brings to the magi of England any +American book, old or new, at the exact British equioalent of the American price, counting the shilling at 20 cents. The priceis inclusive of postage. At SO/-, Rice’s Encyclopedia of Silk Magic ; Hilliard’s Greater Magic ; Buckley’s Card Control ; and Buckley’s PrinciplesandDeceptions .(justout), on coin, ball and. card magic, uniform with Card Control, 223 pages. At 37/6, Gaultier’s Magic Without Apparatus ; Thompson’s My Best ; Tarbell’s Course in Magic, Vol.111. orIV. At 25/-, Dhotel’s Magic with Small Apparatus,Vol. 1 ; Sachs’ Sleight-of-Hand ; Maskelyne-Devant’s Our (Book Edition), Magic ; Hugard’sMagicMonthly (Book Vols. I andI1 ; Hugard’sMagicMonthly Edition), Vols. 111 and IV ; Tarbell’s Course in Magic, Vol. I ; Downs’ The Art of Magic. At 2 O j - , Collins’ A Conjuring Melange ;Hugard-Braue’s The Royal Road to Card Magic. At17 16, Elliott’s Magic as a Hobby ; Fitzkee’s The ; Gibson’s Professional Card ExpertEntertains Magic for Amateurs. At l O / - , Erdnase’s TheExbertatthe Card Table ; Annemann’s Miracles ofCard Magic (justout) ; Chanin’s Encyclopedia of^ Sleeving. These prices are merely illustrative of our world-wide price policy, which applies to all books on magic. Please remit toMr.RobertsonKeene, 301 NorwoodRoad,Southall, Middltsex, acdreccive the books ordered (by the promptest mail) direct from :FLEMING B O O K COMPANY ’BERKELEY HEIGHTS :: N. J . :: U.S.A.
WARLOCK’S
PEXTAGRAM publishedonthe15th ---900--
of eachmonth
1 / 1 singlecopy, 1 1 /S peryear post free ---ooa---
PLEASENOTE
NEW ADDRESS :
3Iamor Boltd Walllimgt~om :: Surrep G5
Telephone : Wallington 6236 NEW
M A G I C AB LO O K S
CONJUNIORING MASTERPIECES IN MAGIC ‘ * EXPERT MANIPULATION O F ’LAYING CARDS THE MAGIC’OF Louis H181’E D HISTED TWELVE NEW TRICKS FABIAN TESTAMENT OF R. W. HUL, L . . HALL NOTHING IS IMPOSSIBLE HALL READING I S BELIEVING HALL MASTERED AMAZEMENT KORAN THUMBS UP KENJON COMPERES CORNER* MACKlLVZIE FIRST BOOK OF WlLLlAM .IfcCOMB L E W I S G T Y L E R OPEN SESAME PATTERNS FOR PSYCHIC5 WARLOCK WILLANE WIZARDRY WZLLAA-E BASIC CARD TECHNIQUE NORMAN 3d.Stamp ?or list o? Books on Loan
10s. Od. 1%. 6d.
BREARLEY C RAGGS GANSOX
10s. Od.
Od. 6s.Od.
30s.
20s. Od. 15s. Od. 12s. Od. 10s. Od.
..
6s. od.
5s. Od. Ss. Od. 30s.Od. 10s. Od.
Is.6d..
35s. Od
FREDROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
ARCAS MagicalPublications
The Magir; Circle
Mr. Smith’s buide to Sleight ..W. Jonson O? H8nd A.B.C. of Ventriloquism . .D. Craggs Expert Manipulationo? Playing Cards .L. Gansorl Testament of ’R. W. Hull .T. H.Hall Nothing is Impossible . .T. H. Hall Masterpiecesof M8gic, Vol. 1 Patterns ?or Psychics ..Warlock . Franklin K8mut . Brearley Oonjuniorin .Willane Willane’s d r a r d r y
President : His Grace the Duke o? kmenOt, D.S.O.,O.B.E.,I.P.,, D.L.,M.Z.M.C. Vice-President : DouglasCraggs,’Esq., M.Z.M.C.
. . .. . .. .
.
:
1016 101101201-
161101101316 1Oi218
MASQUE A printed magazinegivingdetails
of our latest releases in exclusive magical effects. Issuedfree.If you arenot onour mailinglist,writenow.
ClubroomandLibraryandMuseum
:
St.Ermin’sHotel, CaxtonStreet,S.W.l. Theatre Magical : e King George’s Hall, W .C. -Particulars f r o m Hon. Secretary :
Obtainable from all Dealers ordirectfrom
:-
SYDENHAM ROAD
404/408
Croydon
..
Surrey
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
ABDUL’S FEZ Increased cost of materials has forced me t o increase the price of thiseffect to 12/6. I feel confident,however, that it is stillabargain to anyone who has everworked the EggBag. Tltanks to all those w h have ~ sent kind words about this trick
HENRIDE’SEEVAH MMC., BMS., ZBM., SSMC. THE FRIENDLYMAGICIAN invites all bona-fide Magicians of new tosend forhislist and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
ZAHAREE (Geoff. Hursell) R. 16 & 18 Whtts’ Place CHATHAM :: KENT MAGICIANS’ BOOKBINDING SERVICE “PENTAGRAM ’’ VOLUME 1. BindingPrices :CLOTH 5/6, REXINE 616, MOROCCO FINISH 716
42
CF. I E L D Alderson Road, Sheffield
EveryAdvertiser’s PrintedinEngland
2
OLD AND NEW MfiGIC LatestThinka Magician A pocket Mind Reading Effect . only 216 Orrin’s famousSpider’sWeb,CardTrick 301COIN WANDS to produce a real coin 16/6 A few Sliding Glue Packs of Cards 819 Send stamp for printed lists of old and new Magzc Sydney de Hempsoy 363 SANDYCOMBF ROAD, KEW GARDENS SURREY Ric 4238
-
FrancisWhite, 39 AlverstoneAvenue, WimbledonPark,S.W.19 INSTITUTE
OF
MAGICIANS
Branches in London, Wakefield,Brighton, and Detroit, U.S.4. The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Denison House,‘796 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station) Particulars from Oscar Oswald, 102 Elmstead .%venue, Wembley Park, Middlesex
JAM GERSA Y S O N MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
lelzphone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME. Near LEEDS Fearly 30 years in the business
goods are fully endorsed by this Bulletin
for PETER WARLOCK byCEORGE
SE.\RSUS, 40 Blue Bell Hill Read, Xottingham‘Telephone
.4+652
81
PENTAGRAM An independent monthly bulletin
for all who want good magic
E AlthoughaSwami gimmick anda bunch of visiting cardsstill seem to me to offer one of the simplest and most convincing means of secretly producing writing, I have never felt assured that I could match up my thumb-writing with script made with a pencil.. So after much trial and error and many quires of torn paper, I turnedoutthe following effect.
I have a feeling that it may correspond in some ways with Richard Himber’s “ Voodoo ” envelopes, but not having been able to learn much about these? apart from reading American advertisements, it may be that we have gone about things in different ways to reach the same end. This is best used as a prediction, and I get an effect on these lines : In full view on yourtable, on an easel, or hanging from the ceiling on a bit of elastic, if you prefer it that way, is a sealed envelope. Before drawing attention to it, set about getting your needed information-the answer to the sum, winner of the competition, freely chosen m-ord, name of the chairman’s favourite blonde, or what have you.
T
You then, as convincingly as you know how, point outthatthe envelope is there and has notbeen touched since the rise of the curtain (curtains, too ! How. do you ‘get these well-appointed bookings ?). Picking up the envelope, you show it both sides anddrawattention tothe imposing looking seals on the flap. The envelope is now in your left hand, and with your right you take from your jacket pocket (all right, then, there are no jacket pockets in your suit : don’t quibble !) the pair of scissors you’ve not used since yoursupply of Clippo cement ran out. You deftly snip off one end of the envelope, tip it up (the envelope ; not the end), and out falls yet another envelope, also sealed with that distinctive sealing wax your wife got for Christmas. Again you snip off the end, andas quickly as you can, without falling over the footlights (aren’t you lucky ?-footlightsaswell !) you handthis second envelope to some lucky spectator in the expensive seats. He probesaboutinside, and withdraws one of your visiting cards. continued on page 82
82 KISMET - continued from page 81
And there,onthe back (unless you’re one of those four-flushers who have printing on both sides !) -there on the back, I say, is your prediction. It’s a longish one, and in the middle of it come the words or number just ten seconds ago revealed by the audience. What’s more, it’s written in red pencil, and if you want to make it extra convincing, when you first picked up theenvelope, you have taken out aredpencilfromyour pocket andwritten on the outer envelope : “ This envelope was sealed at o’clock.” I n fact you’d better do this, to get the audience used to seeing red ! Because red they certainly will see. If they saw black writingthey’d recognise it as acarbon impression. And there y o have ~ it-red carbon paper in the outer envelope is responsible for the whole thing.Nowreadon. The outer envelope (and to be original 1’11 call it envelope number one !) is prepared by having a slip of red carbon paper pasted by one edge to the back of its face. The carbon faces inwards (and if Peter Warlock makes you a nice drawing of it you need read no further), and is inserted into envelope number two via a slitinthe correspondingend. Beneath the carbon is yourvisitingcard,with the body of the prediction already written through red carbon, and aspacelargeenough for thenumber or wordspredicted. Both envelopes should be dissected by having the flaps carefully opened beforehand, and the whole thing will then fit together easily. Having assembled the envelopes, gum down the flaps again and applyyour sealing wax. When you pick up the sealed envelope, which is faintly pencilled on the face over the part where the blank on yourcard comes, you write,witha sharpened thumb-nail, the numberor word supplied
by the audience. Take your time over it and do it neatly-it’s much easier than witha Swami. Then comes the end-snippingpart. Snip off the end of envelope number one at the opposite end to the carbon paper. Withdraw envelope number two, by dropping it into the otherhand. It will carry with it the visiting card and leave behind the carbon (remember ? You gummed it down, you crafty beast !). So that envelope number: two, which you hand out, after you’ve snipped off the bit with the slit in it, carries with it that cachet of the careful conjurer-you canhand it out to be examined. And if Warlock can say the same about some of his props, then I’llpromise to mention the Pentagram when answering advertisements ! ! While the multitude is baiting its breath ready to cheer you to the proverbial echo, and, incidentally, while they are watching the man in the front row dig out your card, and listening to him read the contents, you yourself put in a little shady work screwing up envelope number one into a ball and stuffing it into your pocket out of discovery’s way. But if you take my tip, you’ll switch it for another envelope identical in every way-except for the carbonand drop it in the lap of the most suspicious-looking (you know what I mean !) member of the audience within reach. But do please remember to have yourduplicate envelope with a snipped-off end as well. And lastly-andseriously-make this upand rehearse it carefully, and you’ve really got something. What’s more, you’ve got it for the price of this magazine only because I couldn’t spare the time to make up a few hundred sets of envelopes to sell.
All manufacturing and selling rights reserved by Will Dexter. .
CARBON PAPER. THE SHADED AND DASHED PART RFPHESENTS THE PROPHECY CARD
LEARN HYPNOTISM.-ANYONE canlearnto HYPNOTISE provided they know how andare willing todevotealittletimeto practice. Practical lessons in THE WIZARD every month,written especially for the ENTERTAINER, by S. E. (Dexterous) Dexter, V.A.F., I.B.M., ALSO MUCH GOOD MAGIC, for Mentalists,Children’s Entertainers and Club Performers.SpecialsectionforVents. 36 fully illustrated pages per issue subscription : 6 months, 12/6 ; Year, !U/QEORQE ARMSTRONG, THE M!Glc WAND PUBL!fHINQCOMPANY 11 MONASTERY GARDENS ENFIELD MIDDLESEX
..
..
CON JURIN G
BOOKS
F 0R
SALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers ,
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
The magic I like best to do is that which requiresno special apparatus. I enjoytrickswhich may be doneanywhere at anytime.Howsad to spend years developing a sleight which is only good on stages, then spend most of your time performing while surrounded by spectators. This little feat,once acquired, may be used under almostanyset of circumstances. You can doit in the parlour,in the centre of a night club or while conjuring on a stage. It is best when performed as an introductory trick-before one of thestandard
rope and silk penetrations, for instance. But enough prologue, let’s get on with the performance. Effect.-The wizard drapesa silk over the centre of a length of rope and ties it in place with a single knot. He holds the rope vertically, one end in each hand and calls attention to the tied silk. Hocus pocus ! He blows on the silk. The knot fades away andthe silk falls free. eighteenRequirements.-A Silk( I usean inch square) ; a five feet length of rope, and enough practice to make the presentation perfect. Presentation.-The performer drapes the silk over the centre of his rope and holds the rope as shown in Figure I . He seems to tie the silk in place with an everhand knot, but this is what really happens.-As the two hands come together the right thumb slides underthestrand marked Ain Figure 2 , and pulls thestrand through the loop. The right thumb holds this strand as the left band tugs to the left to draw the “ knot ” tight. As soon as the “ knot ” holds, the right thumb is withdrawn and the right hand is moved to the right along the rope until it reaches the end. It is vitally important that you practice this move untilit appears that you are tyinga simple knot fromthe front.Hold the rope vertically between your two hands, show the tied silk to the left, then to the right.(If the trick is done too quickly there is no efect !) Sitddenly blow on the silk. At the same time tug the rope taut between your hands. The knot will vanish and, as promised earlier, the silk will flutter off and away. Release the lower end of the rope with your right hand and catch the silk before it reaches the floor. Acknowledge the applause-orwereyou performing in front of a mirror ?
(ztith apologies toOmarKhayyam)
With all the learning by the Wise possess’d, There’s yet one branch of Knowledge little guess’d, -The Art of Magic ; let me say it now : They wonder still, for all they laugh and jest.
Why, all the Ones who loved this Magic Art Had each his Dream, that yet may prove a part Of some Eternal Magic, still unknown. Ah ! Keep this Dreamtight-locked within your heart
But there’s no time for quarrels here below, Within our Magic Circles, Men must know, That we are of a Clan, and strive to help Each other, as we did, once, long ago.
So when at last the setting Sun retires, T o leave the world in darkness, slumbering Fires, Shall wake within the Conjurer, and anon, His practised Art will soothe his vain Desires.
Ah ! that the Mantle of Houdini fell, Upon my shoulders for a little spell, How soon I’d open wide the Magic Door, To learn its Secrets, and its Wonders tell !
And when Thyself, with memories of Fame, -That pass’d me by-perhaps recall my name ; Remember with a smile,-I cannot die, But must live on, while Magic does the same.
stack to match. Cover this right hand stack with the lefthand cover. (You will remember thatthe right hand cover contains the blue shell.) Now, moving round to the left hand side of your table (your left hand), point out the order of the colours of the left hand stack (red, white and blue, reading from the top) and mention that this order of colours matches that of the right hand stack. Mention in passing that some may think it is your intention to vanish the cubes from the right hand stack. T o prove this is not the case, standon the left hand side of your table and pick up the covered right hand stack, left hand at bottom and right hand at top, holding cubes in cover. Take care that you do not alter the exact position of the cubes (do not turnthem). Carry the stack slightly forward and tilting stack slightly towards audience, show top cube is still there, and then, turning right towards yourtable, show that bottom cube is in position. This move turns the stack round and in this position the stack is replaced on the table in front of its righthand cover. Now alter the position of the left hand cubes so that they read red at the bottom and blue at the top. Moving round tothe right of your table remove the cover from the right hand stack and the cubes will be seen to match the left hand stack. In removing this right hand cover carry away also the red shell therein, by gripping the cover rather tightly, and place this cover containing the red shell behind thelefthand stack (the blue shell is in the righthand cover). Offer to show the effect again and reverse the order of your right hand stack so that the blue cube is at the bottom and the red at the top. Cover this stack with the cover behind it (this cover contains the blue shell). Similarly place the left hand cover containing the red shell over the left hand stack. Both covers are now removed and the stacks show red, white, red and blue, white blue, a second change. Both stacks are casually turned round showing all sides. Make up a small set with children’s bricks and try out themoves. You will find them quite straightforward, and you will have a fine effect. Manufacturing and selling rightsreserved.
Two stacks of cubes change the order of their colours in “ sympathy.” This methodpermits the cubes to be shown all round both before and after the changes. Requirements .-Six wooden cubes of, say, three inches square. Two of the usual square tubular covers of chimneys to fit neatly over the cubes when theyarein stacks of three. All cubes are painted black on topand bottom. The sides of two of the cubes are blue, two white,andone red, and the sixth cube has two sides blue and two red. Also requiredaretwo shells (hollow cubes of cardboard with a top but no bottom) to fit neatly over the solid cubes. One is coloured red and one blue. Effect.-Stand behindyour table. On your right-on the table-place a blue cubeand cover it with the red shell. Ontop of this place the white cube and on top of the white cube place the redfblue cube with blue part towards the audience. Cover this top cubewith the blue shell. On your ieft place the other three cubes ; red, ,then white, then blue. It is understood that all cubes are placed edgeways to audience. Cover each stack of cubes witha chimney or square cover which fits over the stack neatly and is the same height as the stack. (As a facility place a white mark on the top of the blue/red cube at the angle of the blue section and place asimilar mark on the blue shell. The position of the cubes is then certain, and there will be no mistakes.) To proceed ! Remove both covers, casually showing them to be empty and place them behind their respective stacks. (“ Behind ” means nearest you.) Both stacks can then be turnedright round showing back andfront. Finishwithcubes in the original position and while pattering, casually replace and remove the covers to confirm that they “ fit.” I n removing the cover fromtheright hand stack (your right hand) remove the blue shell in the cover. Replace the covers behind their respective stacks again. No difference in the order of the stacks can be noticed (top cube has blue section to audience). Now alter the order of your right hand stack so that the “ red ” cube is at the top and the “ blue ” cube is at the bottom.Alter the order of the left hand
I No.
3 - “ MIND OUT OF TIME ”
We could fill a whole page with the very complimentary reports on this effect. Sufficient for the day are the following DENMARK-C. Steffenson---“ I think it is excellent, the best of the three.” HOLLA2L’D-J. H . Vermeyden“ A tremendoa success.” Fl?PNCE-M.Sardina-‘( People willspeak andthinkabout it.” ENGLAND-percy RobertHarbin-“ It is excellent and so simple.” GeorgeArmstrong---“ Really Naldrett-“ Highly ingenious. must congratulate you . . . it’s the best of the lot.” Charles Harrison-“ -4s near to a miracle as it is possible to get.”
. . .
000----------
FOR FULL DESCRIPTION OF EFFECT SEE JULY PETER
WARLOCK,
“
PENTAGRAM”
65 MANOR ROAD, WALLINGTON, SURREY
OY
any
PRICE : 7/6 from : reliable dealer
Editor’s Note.--,-111 readers of the “ Pentagram ” evil1 b; familiar zcith Charles T. Jordaii’s ‘‘ Unknozm Leaper. X o d m b t if thej, hare performed the Cflect they are also mcare 9f itsidlerent zceakness, i.e.,thetaking of the spectator’scards beforethe $?la1 turn-up of the chosen card. In thispresent zlersion M r . Francis Haxtonhas elimiratedthis zceakness dlilstkcepizgto the direct effect of theoriginal, as the reader will jind.With a methodusing only onebasic sl+ht he hasproduced an effect zhich to the zlnitiated hrooks no -feasible eaplanation.
The Effect.-A spectator is requested to think of a small number, say, between oneand twelve. Holding the pack in his left hand the conjurer removes acard at a time from thetop, showing their faces to the spectator who is told to note the card standing at the number he thought of. The spectator at the same time is asked not to give the conjurer any clue by audibly assenting when he sees his card. After twelve cards have been shown, thespectator is asked whether his chosen number has been passed. On receiving an affirmative, the pack is proffered to the spectatorwith the request that he cuts off thetop portion of the pack that containshiscard. The conjurer is left holding the other half. For the first time the conjurer asks the spectator the number he thought of. We will suppose that it is “ eight.” Both the conjurer and time from their thespectator deal off a cardata respective heaps until seven have heen dealt. There deal off is a pause and the spectatorandconjurer theeighth card of their respective heaps. Strange to relate, however, the spectator’s card is the card ,dealt fromthe conjurer’s heap ! Requirements.-A deck of cards which includes a shortor similar locator. If the deck is borrowed, break the corner of one card and use this. Preparation.-The locator card is brought to thetop of the deck and the performer is ready forthe . . . Presentation (the conjurer’s lines are in italics).-would you mind assisting me a mometzt, Sir ? (as spectator who has been addressed $stepsforward, conjurer picks up the deck of cards from the table). I want you to think of asmallnumber, say, not less than one, and possibly not more than twelve. Will you do that ? Now, Sir, as I pass these cards one at a time in front of your eyes I want you to note the card occupying the position at the number you have in your mind. (Withthe deck held in his left hand the cardsare removed by the rightoneata time and shown tothe spectator, the same order being re-
tained, i.e., the second card goes underneath the first, the second under the third, and so on. As he does this the conjurer half turns his head so that the spectator is aware that he is not trying to get any psychological reaction. Whenabouta dozen cards have been shown in this manner the conjurer turns and faces the spectator. Atthe same time he replaces the cards he is holding in the righthand on top of the rest of the deck that is in the left hand, thetip of the little finger holding a break. The pack at this moment is horizontal with the ground.) You have, no doubt, by now noted the card in question. (As the conjurer says this he looks straight at the spectator, lets his hands drop slightly and makes the regular two-handed pass. As the spectator was purposely asked to make his number not more than twelve his answer must be in the affirmative.) You have, Sir ? In that case I should like you to cut off a portion of the pack that is bound to contain your card. I n order not to give me any clue to its position, take about hulf. (The let’s say you cut the pack and spectatorcuts the pack which has in the interim been placed on the table, and the conjurer picks up the remaining half. Remember that the twelve that were at the top of the deck are now in the same order at the bottom, the twelfth card from the bottombeing the locator. The conjurer picks up the remaining bottom half with his right hand, and as he places it in the left hand, locates the key card and holds a break so that he is ready to execute another two handed pass. Again the cards arein a horizontal position with the ground.) Now,Sir, for the jirst time I want you to tell the audience the number you had in mind. (At this point the conjurer repeats his previous manoeuvre, i.e., as he addresses the spectatorhe looks straightathim,drops the cards slightly in making the pass. This has the effect of bringing the spectator’s chosen card into the original position, but this time it is in the performer’s heap.) Eight, Sir ? Thankyouvery much. What I want you to donowis to count very slowly downyourpacketuntil you gettotheeighthcard. I will also do the same with my packet. (Seven cards are dealt off, the conjurer halting the spectator before the eighthcard is dealt.) I am going to attempt something very dtficult :I am going to make the card, which, mind you, Sir, you only thought of, leap from your own packet to the one I am holding. What was the card you remembered? The Six of Clubs ? IVatch . . . did you see it go ? I t has though. Just t w n over your eighth card. (The spectator turns over the next card revealing an entirely different one fromthat which he had chosen. Slowly and deliberately the conjurer turns over his eighth card, showing itto be thg spectator’s card.) And there you are, Sir, the six of Clubs . . . a champion kaper !
86
NEW P E N T A G R A M GRADING.-A maximum award of Ten Points in the follorring categories (??hen applicable) :(A)-PhJ’sical Make-up (B)_Quality of Maferial ( C ) - Value Magic to (D)-ClaritJ* (E)-Illustrations (F)-Rendzbzlztnq (G)-Szncerzty TOTAL 70 POINTS THE ROYAL ROAD TO CARD MAGIC ” by ’Jean HugardandFredBraue (publzshed blv HarperBros. of Nezc York). PriceFour dq!lars. This book belongs totheHarperHobby Series.” T h e aim of this series is that of teaching something worthwhileusing step by stepmethods. T o a wide awake publisherthe choice of thepresent collaborators must have been an automatic one, their previous writings having proved nct only an excellent teaching ability but also most extensiveknowlcdge of cardwork.PaulFlemingwrites a preface intrcducirg the writers in his usual well-informed manner. The mcthod of teaching in this book is that similar to the m-ay adopted by our own Wilfrid Jonson in “ But Not to Play,” namely a sleight or subterfuge is first explained, followedby an effect ornumber of effects usingthis particular piece of artifice. Theauthors are.extremely clever for with the first chapter, which explains the false shuffleina way that itcanhe quicklymastered by the reader, several good effects follow as corollaries. T h e beginner with thisenc0uragin.g start will be inclinedto tackle \\-ith gusto the succeeding sleights that involve kreater skill, and, as he can so casily see fromthe off-shooteffects. greatermiracles ! The sleightscoveredinclude all those that should form part of the apprenticeshipof any would-be card magician, and though such sleights are far from the expertfield, \ve feelthatthelearner, makinga complete mastery of all these .cleights and effects would not find his lvork despised by thoseacknowledged as experts. The followingare the sleights or artifices dealtwith : Riffle Shuffle, palm, double lift, glimpse, pass, backslip, reverses, force, topandbottom changes. Thereare also chapters dealingwith “ key ” cardsand a pre-arranged pack. Accompanyingthesearenearlyseventy effects and also large r,:!mbcr vf card flcurishes. The magical purist may take apoor view of thetreatment of certaincard classics, but it is quite obvious that the classicitself had aprevioushistory. The book hassomethreehundred pages, is well printed on heavy paper. Drawings which are profuse, are by Frank Rigney (with whom readers of Hugard’s Monthly will befamiliar). The bindingisindarkbluecloth,and unlike most English bindings to-day should be read near afirewithoutthe coverscurling. Whilst this book is primarily intended for the beginner, we feelsurethatthereareaminoritywho couldfind nothingnewwithinits covers. Forthe teacher of conjuringitoffersan admirabletextbookforhisstudents. Unreservedly recommended. 59 points. “
;l
8
r
e
MAGIC AS A HOBBY ” by Bruce Elliott (published byHarper Bros.,“ N e wY o r k ) price 3.20 dollars. This is also a Ha:per Hobby Series publication. andhasasub-title of New TricksforAmateurPerformers.” Orson Welles writes foreword, a parts of which we should like to seewritinilluminatedletters, framed and hung on the walls of every magic clubroom in thiscountry. We’ll justquote twosentences : “ There are some fineentertainers zcho usemagic props inthe sole service of comedy, but theyare no moremagiciansthanthe clown with the break-away fiddle is a violinist ” . . . and . . . “ Remocing from magic theelement of zconder is no less disastrousthan music withouttheelement of pitch.” Those words,dearreader,werewritten not by an armchair theorist, but by one who is an outstanding actor of internationalreputation.BruceElliottwhoneedsnointroduction, has, within the two hundred and thirty pages of this excellentbook, given the element of truemystery to, thenumerousfeats which he describes.Many, in fact mostaretakenfromhisownoutstandingbroadsheet “ T h e Phoenix,” which by itself not only tells of mystery but also quality. Elliott is without doubt a man who loves magic, and in painting a picture of his love he makes it LL
intelligible and appreciable to all but the veriest ‘yloron. Thereare in all some ten chapters. They are : Swzet Simplicity ” in whichsubtlety is thestrong keynote. This chapter gave us a bit of a shock as it would sYem that WalterGibsonhas yet a3cther alias. Thecut string effect by Joe Barnett is outstanding and there is a very fine close-uppresentation of the ‘ losttime ’ theme. The next two chapters deal with cards and Shaman’s “ Spectacles of Cagliostro ” is included. The fourthchapter, called “ Slick Quick Tricks ” is well named, for here are seemingly a score of apparently impromptu miracles. Chapter five deals withcoins. The nextchapter, called “ Elliott’s Enigmas ” ccntains several originations of the author. We realise that it is our loss that we never struck “ Sorcerer’s Serpent ” before, for it is a marvellous piece of visual magic accomFlished by mostsimplemeans. A chapter on ‘‘ Telepathy ” follows andthiscontains a number of first-rate mental mysteries. “ Slate of Mind ” deals withanumber of slate effects,all of whichhave merit of originality. The concluding chapter is on presentation. Two appendices are added ; the first dealing with the ‘ Hindu Shuffle ’ and the ‘ French Drop,’ whilst the other lists the names of the magic stores in the U.S.A. A fine book that is unreservedly recommended. (It has the additional merit tkat if the reader has not kept in touch with the “ Phoenix he can find within its covers a plethora of new and worthwhile material.) The biding is of a similar high quality to that of “ The i3.3yal Road to Card Magic.” The drawings, and they are excellent ones,are by L. VosburghLyons. 65 points. Both of the above books can be obtained through the Fleming Book Companyattheprices of 20/- and 17/6 respectively-see page 88. d
r
8
‘‘ DARLING’S
MENTAJAE MYSTERIER ’’ bl* Aagt Darling(published b31 C . Steflensen,Lundtoftegade 118 , Copenhagan,Denmark). This bookletis inDanish,buta precisedEnglish translationcanbeobtained.Printed byoffsetprocess, there are some forty-two pages dealing with some fifteen mentaland psychic feats. They are asfollows :-“ Instanto Book Test,” “ Vibrato ” (a cardstabbingeffect), “ Tele-Hypnosis ” (a novel effect which the ‘indefatigable Bruce Elliot;, hasalreadypublishedin the Phoenix ”), “ A Thr,i,ller (a book test using a detective novel), “ ?:lephotrix (mental card effect), “ Pin-up Girl Test (a mental effect with pictures suitable for stage presentation), “ Suprema ” (a pseudo-psychometry tes:), “ Symbol Test‘:’ (an E.S.P. e p c t ) , “ Suprediction (this effect Death’sName we thinkthe best inthe booklet), ‘%igura ” ( a two-person test using pictures), “ Numero ” (a coincidence card effect which should be most effective), “ A Test of the Spirits ” (a form of living and Test with a novel presentation), “ The Death’s Name ” (an excellent andLivingandDeadTest),Thought Echo ” (aneffect in the Annemann vein), “ ?‘he Marked Card ” (making use of a known subterfuge the writer has built up an excellent effect). The drawings are by Thorkild Anderson and ClementdeLioncontributesa preface. All the material in the booklet seems to be practicable, and whilst there is nothing sensationally new in method, the effects have that touch of difference that makes them attractive. For Scandinavian readers particularly, and all mentalists generally, we recommend the acquisition of this book. 57 points. 8
8
1(;
ROUTINES “ HOW RIGHT YOU ARE ! ”-the last word on the Svengali Deck-by Lezois Ganson (published by Gen Publications). Price 5 / - . Having recently had the pleasure of seeing Mr. GansGn performthisroutine,our task of reviewing is ‘mademuch easier. Therearethree phases,all of card discovery, andan optional climax. The author,knowing
Theend of Septemberandthebeginning of October will see the foregathering of many magicians. Fromthe 30thSeptemberuntilthe4thOctober, the British Ring Convention will take place at Bournemouth.Wehopethatbythetimethenext issue of the “ Pentagram ” is going to press that the names of the conjurers in the Saturday afternoon show will be available. Fromthe5thtothe 10th October, the Magic Circle is attempting the biggest ventureyetundertaken by anymagicalsociety in thiscountry.At the Scala Theatre onthesedays the following acts will appear : Chris.Charlton, Arthur Dowler, Billy O’Connor,Raoul,Willane, “ DaisyMay,”Niberco. VernonLee,Saveenwith ,(Those who visited Paris last year will welcome theopportunity of seeingthisphenomenalmanipulator again. Thosethatdidnot seehim have a treat in store) and modern a seance presented bycertainmembers of the MagicCircleOccult Committee. (Without betraying any secrets we can anticipatethatthislatteritem will beone of theoutstandingmagical “ spots.”) As thereader can see there should be something for everybody . . . illusions, colourful magic, magic of the hands, psychicmagic,ventriloquism,andcomedy. I t is
A
WORD
ABOUT
BOOKS - continued frompage 86
his magic and the averageaudience,hasmadesurethat .each succeeding discovery ismoreinexplicable. Besides this,inanintroduction,hehasnotonlyinitiatedthe beginner into the secret of the Svengali deck but also the correct way to handle it so that not the slightest suspicion shouldariseinthespectator’smindthatanythingother than a regular deck is being used. As it is impossible for the greatestcardexpert to attainthe same results by manipulation we unreservedlyrecommend this routine. n
a show that is not only designed to please conjurers butto offer a well balancedprogrammeto the generalpublicwho are cordially invited. Tickets are obtainablefrom Mr. E. G. Brittian, 57 ChatsS.E.27. worthWay,WestNorwood,London, OurfriendHenride Seevahinforms usthat he is nowin a position to supply one, two or three-way forcing packs withanordinary pack tomatch at the moderateprice of 6/9. Those readerswho are after some item hard to get in these days of austerity would do well to advise Mr.de Seevah. The letters, should the item not be immediatelvavailable, are filed andwhen suchitem comes to handan advice note is sent. We know from personal experience how useful this service can be. I t hasbeenverynice to meet Mr.andMrs. PaulFlemingduring their stay in England. T o speak to one who saw the Great Kellar in his prime is an experience, andwe only wishthat our conjuring of timeformulascouldbetranslatedintoterms reality so that we too might turn back the clock and see the “ greats ” of the past. Too late for review we have received Mr. C. L. Boarde’s “ MainlyMental.” It is of exceptional merit.
n
is now passed to the spectatorwhoreadssomething to the effef,t that “ I, . . . predict that . . . will think of the . . of . . . As readers willrealise, thetheme is notnew and many, as Mr. Hall points out, have been the devices brought into use to obtain a similar effect . . . nail writers, pocket indices, and so on. Mr. Hall’s version is very clean and simple in action. Besides the description of the means forobtainingthe effect come all the necessariesnicely -boxed. Recommended.
.
n
PINKLADIES ” byStewartJames(obtainablefrom Francis Haxton,St.Anthony’s,”NonsuchWalk,Cheam, Surrey). Price 5 / - . Whilst StewartJamcshasproduced amost baffling sequence, a sequence too which can be performed whilst the conjurerisgenuinelyblindfoldedorevensheltered behind a screen, we find it extremely difficult to see how the effect can be built into a normal presentation. Ingenuity there is in plenty, but presentation must be considered. T o those who have not seen a description of the effect it consists of theperformer, whilst genuinelyblindfolded, first of all bringing two cards next to one another and then locatinga third selectedcard. A borrowed deck maybe used andthereareno fakedcards. All StewartJames’s fans will wish to add this to their collection.
*
#
n
“
n
n
(‘ULTIMATEIMPOSSIBILITY
9
” by Trevor Hall (marketed by E . SutclifSe, of 2 Sackville Street, Bradford). Price 30 I - . The effect is one where thementalist writes something o n asmallcardwhich is placed,writingsidedown, on the table. A spectator? is then requested to think of one cardfrom abunch of nearlythirty. T h e prophecycard
MIND OUT OF TIME ” devisedandpublished by PeterWarlock. Price 716. A full description of the effect appeared in the Pentagram for July. Mr. Victor Farelli writes as follows :-‘‘. Neatly producedintypescriptform,thismanuscript ishighly recommended to all magicians, and principally to those who specialize inmental effects. The effectof theroutineis direct, the working is clean and there is nothing to confuse the spectators. It ought to be possible to run through the whole trick, without undue haste, in four or five minutes. Each and every ‘ move ’ is clearly described by the author, who has never produced a better piece of magical writing. (Apparently he has taken more pains than he often does whendescribingatrick !) The principleemployed is new,atanyrate tothe present reviewer whohasread practically every book on card magic publishe? in Englis; ’and, French. Magicians who donot like prediction effeckcouldchangethepresentationandperformthe trick as, say, ‘ The Power of Mind over Mind,’ namely, suggesting(mentally) to each of thethree spectators at which card hemust stop. Unreservedly recommended.” “
88 BOOKS
AT
PETER
PRlCES ! ! ! !
SENSIBLE
We have always sold book on magic, and delivered them postpaid throughoutthe world to anyone who could pay us in dollars. At present u7e are receiving and filling ordersfrom English conjurers,and taking payment in pounds and shillings atthe exact English equivalent of the American price. For example, Sachs’s Sleight of Hand, Maskehne and Dcvant’s Our Magic, Dhotel’s Magic with Small Apparatus, Hugard’s Magic Monthly (Book Edition No. r or No. 2 ) , Tarbell’s Course in Magic, Vol. I, and any other five dollar American magic book is yours for 251postpaid. Translate any American price intoits English equivalent,send thatamounttoour English ReKeene, 301 Norwood presentative (Mr. Robertson Road,Southall,Middlesex), andtheorder willbe filled promptlyfrom theUnited States,with the books packed so as to arrivein perfect condition.
PENTAGRAX published on the15th
1 / l singlecopy,--1 l / 6 peryear
Mr. Smith’sGuidetoSleight .W. Jonson of Hand A.B.C. of Ventriloquism .D. Craggs Expert Manipulatlonof Playing .L. Gansou Cards Testament of R. W. Hull .T.H.Hall Nothing is Impossible .T. H. Hall Masterpieces of Magic, Vol. 1 . Patterns for Psychic8 . .Warlock Franklin Kamut Gonjunioring. . .Brearley Willane’s Wizardry . . .Willane
. . . . . . .. .
..
1016 101-
101201151101101-
316 101216
post free
000--
PLEASENOTE
NEW ADDRESS :
Telephone : Wallington 6236 ~
NEW M A G I C AB LO O K S
HISTED FABIAN HALL HALL HALL KORAN KENJON MACKENZIE .!!cCOMB L E W I S 6. T Y L E R WARLOCK WILLANE NORMAN 3d.
.
. CONJUNIORING MASTERPIECES IN MAGIC * ‘ EXPERT MANIPULATION O F PLAYINQ CARDS THE MAGIC’OF Louis HISTED .. TRICKS .. TWELVE NEW
BREARLEY C RAGGS GANSOR’
New Permanent Address : FLEMING BOOK COMPANY YORK :: PENNSYLVANIA :: U.S.A.
She
of eachmonth
---000-
Any magicbooksnowinprint,whetherthe fine Fleming editions or the publications of others, whetheroldornew,areavailableto you under this policy.
ARCAS MagicalPublications
WARLOCK’S
THUMBS UP COMPERES CORNER FIRST BOOK OF WlLLlAM . OPEN SESAME PATTERNS FOR PSYCHIC8 WILLANE WIZARDRY BASIC CARD TECHNIQUE Stamp for list of Books on Loan
.
10s. Od. 12s.
.. .. .. .. .. ...... .. ..
8s. od.
Ss. Od. Ss. Od.
30s. Od. 109.. Od. 2s. 6d. 36s. Od.
..
.. ..
6d.
108. Od. 308. Od. Od. 6s. 208. Od. 15s. Od. 12s. Od. 10s. Od.
..
..
FREl31 ROBINSON, MAGICIA.N, STATHERN :: MELTON MOWBRAY :: LEICS.
The Magic Circle
c
MASQUE A printed magazinegivingdetailsof our latest releases in exclusive magical effects. Issued free. If you are not onour mailing list, writenow.
President : His Grace the Duke of Somerset, D.S.O., O.B.E.,I.P.,D.L.,M.I.M.C. Vice-President : DouglasCraggs, Esq.,“’M.I.M.C. Clubroom and Library and Museum :
St.Ermin’sHotel, CaxtonStreet, S.W.l. -MagicalTheatre
:
KingGeorge’sHall,
W.C.
Particulars from Hon. Secretary : Obtainable fromallDealers
ordirectfrom
:-
SYDENHAM ROAD
404/408
Croydon
..
..
Surrey
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19
~~~
~
’ ~
~
ABDUL’S FEZ Increasedcost of materials hasforcedme to 12!6. I feel increase the price of thiseffectto confident,however, that it is still a bargain to anyone whohaseverworked the EggBag. Thanks to all those who have sent kind words about thistrick
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place CHATHAM :: KENT , l
MAGICIANS’ BOOKBINDING SERVICE “PENTAGRAM ” VOLUME 1. BindingPrices :CLOTH 516, REXfNE 616,MOROCCO FINISH 716
42
0
C. FlELD Alderson Road, Sheffield
Every Advertiser’s
2
HENRlDE’SEEVAH
MMC., B M S . , I B M . , S S M C . THE FRIENDLYMAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or calla t his studio :l CLARENCE ROAD Harborne, Birmingham 17 OLD AND NEW MAGIC LatestThinka Magician A pocket Mind Reading Effect only 216 Orrin’s famousSpider’sWeb,CardTrick 301COIN WANDS to produce a real coin lSj6 A few SlidingGluePacks of Cards 819 Send stamp for printed lists of old and new Magzc Sydney de Hempse 363 SANDYCOMBF ROAD, KEW 8URREY 4238 Ric
GARBENS
INSTITUTE
OF
MAGICIANS
Branches in London,Wakefield,Brighton, and Detroit, U.S.A. The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station) Particulars from Oscar Oswald, 102 Etmstead Avenue,Wembley Park, Middlesex
JAM GERSA Y S O N MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY 889 Address :23 GREENFIELD AVENUE GILDERSOME. Near LEEDS Nearly 30 year; i n the business
goods are fully endorsed by this Bulletin ~~
PrintedinEngland
for PETER WARLOCK byGEORGESEARSON
I
o Blue Bell HillRoad,Kottingham‘Telephone
44652
0
PENTAGRAM An independent monthly bulletin
Editor’s Note.-Here is an eflect that can. he used iu manyways.It can reveal a name, a set of uumbers or n message. Rudi uses this @ect in his Harltquk act asa second item, the C O nventional “ Good Evening ” messagebeing produced. The running time with him is two minutes.-P.W.
E f f e c t.-A strip of cellophane measuring approximately one yard by six inches is shown and thenrolled into a tube which is held by the left hand. The handpicks up acone that contains confetti. The cone is tilted and the confetti allowed to trickle into the cellophane tube. Strange to say itstaysinside thetube. T h e conjurergoeson pouring the confettiuntil the tube overflows, then gentle blowing a little surplus off the top, the cone is replaced on thc table. The tube of cellophane is now unrolledand the words “,Good Evening ” are seen to have formed themselves out of confetti.
for all who want good magic
R e q u i r e m e n t s .-Two lengths of cqllophane A specially measuring 36” by 6”. Someconfetti. constructed cone. A small standto hold the cone. (Ifoneis working withan assistant the stand is unnecessary.) P r e p a r a t i o n aad Construction.-~ithough the effect from the audience’s poikt of view appears to be free from the usual type of conjurer’s apparatus, there is quite a lot of hidden chicanery. Fortunately oncemade up,there is practically nothing to set for eachsuccessiveperformance. Let usdeal with the cellophane first. On one piece the conjurer, afterdeciding the message that hewishes reproduced,cutsoutthe necessary lettersfromwhite tissue and sticks them to one of the pieces of cellophane.Careshouldbetakenthatthe first letter is at least sixinchesfrom the narrowedge (see illustration). With a brush and some red: blue and continued on page
90
THE CONFETTI
CHARMER
- continued from page 129
greenwatercolourpaint,spotsare placed on the tissue, so thattheultimate effect is of pieces of confetti. This, incidentally, is farquickerajob than onewouldimagine, as, of course, one colour is dealt with at a time. When this task is finished and the paint is dry, the reader will realise why the odd six inches is left, for he will see that where the paperisstuck tothe cellophane the latter will crinkle. The six inches gives complete coverage when this piece of cellophane is rolled into a tube. T h e second piece of cellophaneistreatedin this manner :-Roll one end around an office ruler, or, betterstill, roll back andapplyalittleglue, to the edge, then roll forward perspex cement again so that the cement contacts the sheet and a tube measuringapproximatelyoneandaquarter inchesindiameter is formed.When completely dry, one endof this tube is pressed flat and a piece of cellophane(scotch)tapefastened over it (see illustration).This, of course,is thetubeinto which the confetti is poured. T h e piece of cellophane is now rolled into a tube and kept like this until needed. T h e cone has next to be constructed. The former for this is made from thin cardboard (the one that Rudi Jader sent mewas made from part of an office folder) measuring 104;” by 9”. T h e cardboard is rolled into conicalform so that the diameterat the periphory measuresapproximately 4$”. Atthebottomit is not hroughtto apoint. A piece is now cutfrom the larger side of the cone (see illustration) measuring six and a half inches in length. A piece of similar cardboard is then’ gluedinto position so thatin effect aniche is formed (see illustration). Yewspaper or coloured paper is now pasted over the cone and some is also pasted inside. Newspaper is preferable as the type helps to hide the irregularity of the interior caused by the ‘ niche ’ construction. T h e stand to hold the cone is in effect like a retort holderconsistingsimply of aringattached to a andthering stand. It must have a heavybase shouldmeasure(on the inside)threeinchesin diameter. T o prepare, the piece of cellophane is givena very slightsprinkling of confettion the message side,afterwhich it is rolled fairly tightly so that a roll measuring about one and a half inches indiameter is formed. (This rolling is donefrom the end of the message, so that the unadulterated end completelycovers anysign of crinkling). Of course from a point of view of symmetry the message should also finish about six inchesfrom the edge. This roll of cellophane is now placed in the ‘ niche ’ of the cone,care beingtaken that the free end of the cellophane isfarthestfromthe cone. Cone andcellophaneare nowplaced inside the holder andthe cone filled withconfetti. (The weight of the conepreventsanymovement of the roll of cellophane.) With the holder in its position on the table, which should be onthe conjurer’s left (the roll of cellophane is, of course,farthestfromthe audience), the rolled length of cellophane on a chair on his right, the conjurer is ready for the . . . Presentation.-Theright handpicks upthe roll of cellophane fromthe chair, moves upwards and across the body, then releasing all but theunfaked
end,The cellophanefalls andthe faked end i s caught by the left hand. Becauseof the fact that the cellophane at all times is kept rolled, the tube at thelower end (should any one notice it) is naturally taken for the normal curl that one finds with many materials that havebeen rolled. (Wallerhasused asimilar idea withpaper.) The left handcomes up and the right hand drops the end it was holding. Using both hands the cellophane is now rolled into a tube. This rolling should be done with the fingers at each end. By this means a reasonably tight tube is achieved. Atthispointtheconjurer is n.ithin hand’s reach of his table, and care being taken that the open end of the cellophane tube is ceiling side up, .the body is moved slightly left and the right hand reachesacross and down to pick upthe cone. In picking up the cone, second, third and fourth fingers ,go round the front, whilst the thumb is at the rear. T h e first finger for a fraction of a moment lies in a vertical position (see illustration),but as the cone is carriedupwards, it goesbetween the concealed cellophaneand the cone. T o those whomay think that angles are likely to be a cause of danger, let me disillusionthem. At an angle of 35 degrees from the stage there is no chance of the load being seen. T h e cone is carried upwards and the body .is turned so that the conjurer once moreis facing his audience. T h e cone is now held about four orfive inches above the cellophane tube and tilted so thattheconfetti begins to fall. T o get the best effect theconjurer \vi11 have to shake the cone. When the tube is filled to overflowing, the right hand restores the cone PO a vertical position then movesaway ; at thispoint with the right arm in an elbow position, the cone is about five inches tothe right of the performer. T h e left hand brings the opening of the cellophane tube of the body just in front of his mouth and then gently blows thesurplus away.Everyaction that has gonebefore hasled up to the most important move that is now about to take place, i.e., the switch of the filled tube for the “ message ” tube. The left handholdingthe. filled tube is lower andtaken slightlyleft. In other words, theconjurerafter blowingaway thesurplus, lowers thetube in a natural fashion.Both hands move inwards and the right hand apparently takes the tube whilst the left takes the cone. Actually when the left hand is under cover of the cone the right hand (remember that the cellophane roll has been held throughout by the first finger and thumb) moves away, the left hand leaving the filled tube in the ‘ niche ’ and then holding the cone with the fingers and thumb. The coneis nowplaced once more inside the holder which, of course,retains the filled tubein a safe position (this is in effect theKarlGermain switch for his confetti and dove trick. The articles used make the handling exceptionally clean). The effect is now almost complete. The “ message ” roll is tapped, and then holding it in a vertical position, the conjurer commences to unroll it and reveal the message, the sprinkling of confetti placed inside at the start falls totheground,thus giving a finishing touch to a very pretty effect.
with thetitle of “ T h e HydrostaticCone.” The advent of “ Evaporated Milk ” made the effect much easier, and during the years 1941-42I worked ou‘ a presentation which I used as an opening effect in a general magic show for some four years. I t is a presentation which brings back many Army memories, of Eddie Carroll, the Blue Rockets, andonone occasion the inimitableChris. King working the off-stage voice. Those who may remember the original effect may recall that a special cone had to beconstructedfor each performance. Mr. Graysonmade a fake formethat helped to make this a very easy task. I t will help if the fell. properties are first described and then the presentation complete \\-ith “ lines ” is given.
Requisites.-A celluloid fake as shown in illustration. It will beseenfrom the second illustration tha.t if a piece of newspaper is rolled around this inconical form a cone with a celluloid top is achiel-ed. A coating of adhesive is first applied to the sides of the fake and the edge of the paper is trimmed. T h e surface of the celluloid is smeared a thin covering of vaseline. As I said before, the fake n-as made by James Grayson who, no doubt if fou like the effect, will make one for you at the cost of a few shillings. T h e samemanufacturer also suppliedme \\-it11 an evaporated milk tumbler, and this is the second article required. Intothis is placed the necessary amount of milk so that \\-hen the fake is inserted the glass appears to be filled \\-it11 milk. A piece of newspaper,some fi\-e inches syuarc isalso needed,and this is placed onthe conjurer’stable. These are +.hecompleteproperties as seen by the audience. FM the presentation,as I nearly ahvays used it,an 08-stagemicrophone attached to an amplifier is also required as well as a
lady assistant. These are not always available, and the performer will find that if the off-stage lines are spoken by himself and the glass even has to be taken from the table he still has a startling effect. Table, carrying the piece of papershouldbeto the conjurer’s immediate right. There is a backgroundof musicthroughout, played quietlyand veryslowly. Originally I used the tune “ I feel so Tired that I could Sleep,” but later changed tothe lovely Jerome Kern melody “ Long Ago and Far Away.” T h e effect runs about two and a half to three minutes. Presentation.-Long ago and far away I had a dream (this is spoken to the open bars of the theme music). I imagined I held a cone of paper just like this . . . (the cone is carried on by the conjurer who holds it atits periphory ; no attempt is made to show the inside, and no such move is necessary). Suddenly I heard a noise and I looked round to see the door of my room opening (performer turns his head rightand assistant very slowly glides onto the stage, carrying in her right hand the glass of milk) and saw a &we carrying a glass of milk. She came towards me and handed me the glass (Assistant hands performer the glasswhich he takes with his right hand, she passes behind him, looks back, and walks off the stage).. I was certain that I was dreaming, for she walked away and out of mylqe-forever. Performer looks after the figure). And theninthe dream I heard a voice and it said (here the now off-stagc assistant speaks into the microphone and says in a sepulchral voice) “ Pour the milk into the cone.” I obeyed (the conjurer commences to pour (?) from the glass ; when the action is complete he lifts the glass about a couple of inches and allows some of the milk to fall ontothe cone. Becauseof the celluloid surface it simply runs off, and to the audiencethere is prima .facie evidence thatthe cone is filled). Then once more I heard the voice and this time it said (from the loudspeaker comes) L L Put down the glass and place a piece of paper over the mouth of the cone.” Again I obeyed (conjurer placesdown the glass and picks upthe piece of paperfrom the table. This he places over the mouth of the cone, pressing as he does so, the paper, thus becoming attached to the celluloid because of the adhesive). Again I heard the voice, and thistime it said L L Turn the cone upside down.” Tremblingly I obeyed, and strange to relate not a drop of milk left the cone (at this point the conjurer carefully, but not gingerly, reverses the cone, holding the tip with his left hand fingers), and then-for the last time I heard the voice, which said, sardonically, L L I’ve seen something like this before ! ” and I , in my waking moments said triumphautly . . . yes . . . but you’ve never seen this ! ! ! (As he says this the con-jurer brings his right hand under the covered mouth of the cone, smashing the latter and throwing the crumpled paper into the wings.
2: * W
WHERE COVERING PAPER IS GUMTKKD
-SHADED PORTION SHOWS POSITION
v
OF FOLDED PAPER BIACKEXED PART AREA THAT IS GUMMED
My friend John Brearley will never let meforget this effect of my teen-age. The original effect was first presented at the London Polytechnic and later “ Collected described in one of PercyNaldrett’s Magic ” series. As, however, it has never been published in complete form, and, realising that it is an opener that could be used with or without patter, hereit is. E f f e c t.-The conjurer, after showing two willow patterned plates, places them down and takes twosheets of paper, one white and one blue. T o the accompaniment of music he tears them into pieces ; the pieces are screwed into a ball. Holding this ball at his fingertips, he picks up with his other hand one of the willow pattern plates. On this he drops theball of paper, and thenlifting the remaining willow pattern plate, places it on top of the plal-e he is alreadyholding, so that the ball of paper is imprisonedbetween the two. Holding the plates withboth hands, he moves them gently over the flame of a candle. One willow pattern plate is is seen to have vanished. lifted andthepattern Taking the ball of paper he untwists it revealing the fact the pieces have been restored to form one large piece of blue tissuewitha circular whitecentre whichcarries the willow pattern. ’
The effect is clean cut,itis (horribleword) pretty,and, best of all, the vanish of thepattern fromthe plate is accomplished insuch asimple manner . . . no shells, wires, etc. R e q u i r e m e n t s .-Two willow pattern plates of, say, nine inches diameter. One of these is painted over withwhite porcelain paint.If the pattern goes righttothe edge abouta half-inch margin is left unpainted.Someblue and white tissue paper, a decorative candlestick (what wouldn’t I give forthe counterpart of the one shown ina
recentphotograph of Dunninger !) and a candle. From the white tissue cut two pieces of similar or slightly larger size to the willow pattern plate. These pieces are gummed at their edges and then when dry again gummed round the edge and placed of blue tissue. The inthe centre of afullsheet reason that two pieces are used is that a pure white background results. One piece of white placed over blue looks dingy. Onthis circular piece of tissue is now painted quite roughly the pattern of the plate (with water colour). If you are no artist yourself it will not be hard to find someone who can perform this task. Unless it is intendedfor very close quarter work, it should not be carried out with too much regard for detail. This large blue sheet is, when dry, folded into the smallest possible compass and adapted to the torn and restored tissue effect used by the performer. If he is a newcomer and if he has no method we will detail a well-known .and sure method. A half-sheet of blue paper is taken and at a point “A” a dab of gum (mucilage, and so on, to my friend Bruce Elliott !). On this gum is placed the fplded sheet, and around and on top is further placed a smaller sheet which is gummed alongthe edge (see illustration). The dark nature of the paper completely hides any sign of adhesive. Intearing, tearround the pocket, so that a piece is leftadhering to the packet. All the pieces formedasaresult of the tearing are screwed up into this one piece, which, of course, adhere to the main piece. When unfolding care must, of course, be taken that these pieces are kept rearwards all the time. A half-sheet of white tissue is also needed. With thesepreparations made the stage should be set as follows :-Candlestick and pieces of paper on table to conjurer’s left,achair being placed to his right. On the seat of this chair the blank plate is first placed paintsideup. On top is placed the patterned plate, patterned side up. With these preparations made the conjurer is ready : (during the whole of the presentation the background music is Cyril Scott’s “ Lotusland ”) P r e s e n t a t i o n . - M y Jirst effect I call the Mystery of the Willow Pattern Plate ” or a ‘‘ Tale of Old China.” Needless to say . . . this is the ‘ Old China ’ (conjurer at this point picks up the plates from the chair with his right hand which approaches his left hand.The platesaremomentarily held with the patterned one facing the audience. Without showing the concealed and blank plate, the conjuret casually turnsboth over, each hand taking one plate and clinking one against the other. If handled properly this is a most convincing move. Although I used this move some twenty-seven years ago it has since been described for slates. The blank faced one, incidentally, is taken by the right hand. At this point I used to turn right,whichhad the L‘
continued on page 93
WILLOW
PATTERN PLUS
- continued frompage
92
natural effect of allowing thelefthandpatterned plate to be turned pattern side to the audience, the right hand still keeping the back of the plate towards threw the left hand the audience. I then plate into the air catching it on its downward flight. A similarprocedure was adoptedwiththeright hand plate. T h e left handplate was then placed patternside down on the backof the blank plate andboth replaced onthe chairin a face down now picked up from condition. T h e papersare the table, the conjurerremarking :) Two sheets of paper, one whiteandblue,and therest is a story (Conjurer now starts . tearingand withoutwords. finally adjusting the paper so that the bigsheet is readyfor the restoration and unfolding. This wad of paper is held by the fingertips of the left hand whilst theright reaches for thetopmost plate.
This is picked up and casually shown, the wadof paperbeingdroppedon to it. T h e conjurer turns slightly right and holding the plate with the paper on it in the left hand,hisrighthandpicks up the blank plate, and making sure that the underside is not glimpsed, places it on top of the plate held by the left ha.nd. T h e effect from the conjurer’s point ofviewis finished. He turns left and walks to the ca.ndle. Gentlythe plates aretilted backwards and forwards over the candle flame. Thetop plate is removed,shown tobe blank,then placed on the table. T h e righthand now takes thepaperatthe finger tips holding it high, whilst the left hand drops from thewrist showingthe pattern on the other plate. T h e wad of paper is now unrolledshowing the pattern.
113[0DES WOE MENTALISTS
Peter Warlock’s
“ ” EXTREMES MEET WHEN IT COMES TO “MIND OUT OF TIME ” Bill Stickland writes :-‘< Having proved during the pastyear that a good mental effect admirably‘fits into a varied magical programme,Iammoreinterestedthan I shouldhavebeeninPeter Warlock’s new effect MindOut of Time.” This produces an incredible effect on the audience with minimum effort and skill. The manuscript fully describes the moves,etc.,andincludesasample of the “ gimmick ’’ which can easily be made up. I wouldunhesitatingly recommend this to magicians requiring an effect which will make their audiences think. C. L. Boarde writes :-“ As I read on I found myself chuckling at the points where I found clever handling. I think the most honest thing I can say is ‘ This is the sort of thing Annemann would have enjoyed.’ I t is, thank God, direct ; as a platform effect there is no apparent point of weakness, and knowing the bumbling abilities of niost of those who call themselves conjurers, I was most heartily pleased to find it well nigh fool-proof.” 000 The price of the Routine with patter and notes on presentation is moderately priced at Seven Shillings and Sixpence from : PETER WARLOCK, 76 MANOR ROAD, WALLINGTON, SURREY, or any reliabledealer
‘Rotice
C O N J U R I NBGO O K F SOS R ALE OLD AND NEW. La me know your wants LISTFREE FOR STAMPEDENVELOPE
N o Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX LEARNHYPNOTISM.-ANYONE can learn to HYPNOTISE provided they knowhowandare wllhng to devote a little tlme to practice. Practicallessons in THE WIZARD every month, writtenespeciallyfor the ENTERTAINER, by S. E. (Dexterous).Dexter, V.A.F.,, I.B.M., ALSO MUCH GOOD MAGIC, forMentahsts,Chlldren’sEntertamersandClub Performers.Special section for Vents. 36 fully illustrated pages per issue Subscription : 6 months, 1216 ; Year, 241GEORGEARMSTRONG, THE MAGIC WAND PUBL!fHING COMPANY 11 MONASTERY GARDENS ENFIELD MIDDLESEX
..
A
WORD ABOUTBOOKS
..
is hereby given that the partnership heretofore subsisting between Jack Francis Hughes Arthur Dowler and Harry Stanley carrying on business as manufacturers of magical apparatus at 44 and 46 Market Parade, Peckham, London, S.E.15, 85 ShaftesburyAvenue, W.C., and 87 W:fdour Street, W.1., underthestyk,or firm mmes of Jack Hughes and ,Harry Stanley and also The Unique Magic Studio has been dissolvedas from the 6th day of May, 1948. All debts due andowing by the said firm will be respectively receivedby the said. Arthur Edward Dowler andHarry Stanleywho will in futurecarryonthe said business underthe styleandname of “ Unique Magic Studio.” T h e said Jack FrancisHughes will carryon business in his own name at 2 Evelyn Avenue, Colindale, N.W.9. of August, 1948. DATEDthis11thday
- continued from page g 4
ROUTINE STUTHARD’S SVENGALI SUBTLETIES, written and published by J. Stuthard. Price 316. This,an enlargedEnglishedition,showsthatthe firsteditionwaspublishedinCanada,September, 1938. At that timelittle had been written about theSvengali deck, especially withregard to handling.Firstandforemost inthismanuscript,Mr.Sutthardteachesthereaderthe verynecessaryactions and moves for using this deck in
such a manner that no suspicion can arrive inthe spectator’s mind that any other than a straight deck is in use. Running the cards, double lift, riffle-shuffle andglideare all dealt with, and the text is accompanied by a number of clear illustrations. Possibly the best piece of chicanery thatis described is the method of dropping the cards so that the audience can see in the fairest possible way that they are all different. A convincing routine follows the descriptions of these moves, whilst for make-weight the author throws Insomeseven variatlons. W L recom?nenc€ed. ~
94
N E W P E N T A G R A M G R A D I N G . - A maximum award of Ten Points in the following categories (Ychen applicable) :( A)-Physical Make-up (B)-.Quality of Material (C)- Value Magic to (D)--ClaritJ* (E)-Illustrations (F)-Rendzbzltty (G)--Sinceritj. T O T A L 70 P O I N T S
‘‘ M A I N L YM E N T A L , ”
(Volume One : “ Billet Reading ”) by C . L. Boarde(publishedbytheauthor) pricetendollars. This book, of some one hundredclosely printed pages, is, todate,themostcomprehensive treatise onthisparticularphase of the mentalists’art. Inhis introduction Mr. Boardeemphasisestwopoints : the first is thathe doesnot claimcompleteoriginalityforthecontents ; the second thatthe materialdescribedhasbeen,and is, of extremepracticaluse. T h e book isdivided into five sections. The first deals with the “ Steal ” of the billet and in all more than twentymethodsarecoveredwherebythementalistis enabled to obtain knowledge of what has been written bv aspectatorona billet. All of thesemethodsarebillet steals inthe realsense. There is no confusionin this section, i.e., the author does not introduce ‘ impression ’ technique. T h e explanations are well deAailed and illustrated with numerous drawings. The Improved Torn Centre ” describedhere is exceptionallygood. Sectiontwoiscalledthe “ Read ” andherethe author is at pains to impress certain points upon the reader. T h e first is that the mentalist, having obtained possession of a spectator’s billet, must avoid all noise in opening the said billetshould he desire to read the contents surreptitiously. This aspecthas not beenstressedveryoften, but, as Mr. Boarde points out, it is most important when close quarter workisinvolved. T h e secondpoint is that thereadingshouldconformtothesituation, whilst the third ismisdirectionduringreading ; his caseof Bert Keese and his cigar heing a perfect example. Thethird sectionisentitled the “ Spiel,”andthe author gives some very definite advice on first of all analysing the spectator and then the spectator’s question. Next the matter of delivery is taken and a number of psychological pointsarediscussed. The remainder of this section is taken up withsuggestedanswers to questions. Inthefourthsection,Mr. Boardedealswith subsiduarytechniques.These twenty-fivepagescarrvsolne ofthemostinterestingandinformativematerialin the wholebook. Forthefirsttime(tothis revieweratanv rate) the matter of nail writing is given a certain amount 0-f studied thought, and the reader is shown the right way to getcertainandnon-spideryresultswithanailwriter. This issomethingthatmost of uslearnthehard way. Another often talked about, but litt!e written about, subject is also analysed : that is pencil reading. Mr. Boardemakesnopretence thatonecan becomeagood pencil reader in five minutes, but his charts andsuggestions should help the conscientious student to achieve success in the shortest possible amount of time. The fifthand last sectiondealswitheffects, all of whichare based onthetechniques explained.Altogether the tl,\.enty-eightvariationsare giten onthe follou.ing “ LivingandDead,” themes : “ QuestionandAnswer,” OneAhead,” “ Dead NameDuplication,” “ Psychometry,” “ TelephoneTests,” “ Projection,”and ‘‘ Predictions.” This book islimited to 275 copies. It is bound\\-ith stiff cardboard co\.ers and has an erinoid binding that makes for a flat readingsurface.It is anoutstanding\rork in the mentalistic field kvritten Lvith great sincerity and knowledge. We anticipatetheundoubted pleasure that will be ours in reading “ Volume Two.” Withthiseditioncomesaseparatelvprintedsupplenlellt that adds certainsubt!eticsandeffects to the main \York. T h e book cannc,t be obtainedthroughdealers,hut those readers of the “ Pentu,pm?rt Ivishing to a\.aij themsel\.es of this book, should contact hlr. C. I,. Hoardc. at 1012, 190thStreet,Jamaica,Ne\\York, I_‘.S.X. 66 points. U t w s c r z w I l ~rc*ronn?rrndccd. ‘ “
”
“THENCYCLOPAEDIA OF S I L M K AGIC’’ (Volume l ) bj* Harold R. Rice(published b3- Silk King Studios,Ardnzore, Pa., U . S . A . ) pricetendollars. This is the first volume of four dealingwith silk conjuring. It comprises ten chapters which deal respectively w5th :-(l) The RomanticStory of Silk, 14 pages ; (2) Dyeing your own Silks, 18 pages ; (3) Methods of Folding Silks, 24 pages ; (1)Non-apparatus methods of Producing a Single Silk, 33 pages ; (5) Apparatus methods of producing a Single Silk, 59 pages ; ( 6 ) Non-apparatus quantityproductions, 36 pages ; (7) Apparatusquantity productions, 108 pages ; (8) Vanishes, 72 pages.: (9) Changes, 38 pages ; and, lastly, (10) Transposltions, 121 pages. Whenthereader is toldthat every effectis in bare-bone but extremely lucid form he canrealise the quantity of material exceptionallywell illustratedthat is by the containedinthisone volume ; we areassured compiler,and n-e certainlyhaveno reason fordoubt, that there are over 350 effects and some 1,800 illustrations ! The first chapter of the book, dealing with the Romance of Silk, is of singularinterest,forMr. Ride gives quite a lot of information that, so far as we know, hasneverbeenpublishedwithina magical text book. Texture and weight ofsilk arediscussed,andwhilstin this land of delightful austerity such things can mean very much to the Englishmagician at the moment, no doubt thosewhotreadin oursteps will find theinformation exceedinglyhelpfulwhenitcomes tothe choosing and buying of silks. Lookingthrough all thechaptersthere seemslittle, if anything, that has escaped Mr. Rice’ssilk-mindedeye. The titles of the chapters speaking for themselves, the most we could do would be to find fault with some of the methods; to take thetaresfromthe wheat,however, wouldspoil theobject of the book.Nevertheless we marvelat the ingenuity of themindthat willseek to make themost complicated contraption to produce the most compressible productiongoods in the realm of conjuring,andwonder whysuchpeoplewastetheirtimeon magic instead of using it in the proper sphere of pure puzzle-making. The make-up of the book is of singularinterest. Mr. Francis B. Martineau who has previously been associated with Mr. Rice has not only drawn the many hundreds of first-rateillustrations, but hehashandprinted c w ~ r ~ ~ word of text, the whole of thesedrawingsthenbeing reproduced by off-set process.Another novelty is the method of quick location of a section or item. It is based ontheoldcine book method.Inthis case thetopleft of those respectivepages carrya andrighthandcorners black and white titling extending to the edge of the page. I findit effective. Nodoubt many of themore conservative minds will find it equally distractive and irritating. Throughoutthe book Mr. Rice has been carefulto gi\.e credit where it is due, and we know from our contact with him the trouble he has gone to in keeping faith with those \\-h0havecontributed in any form. He pays aparticular tributetoour own Eric C. 1.eLvis. The book is strongly bound in a blue fabric covering, stampedwith heavysilver lettering. We consider that from the point of information on the silk effects specified it is outstanding.
95
On Thursday, the2nd September, Mrs. Douglas Craggs, after a long and painful illness, was called to rest. On behalfof ourselves andour readers we should like to take this opportunity of extending to Douglas the deepest expression of sympathy in this hismosttroubledhour. JVe must first of all apologise for the lateness of the JulyandAugust issues. Our printerran into a spot of bother with staff illness and machine trouble. We sincerelyhope thatthispresent issue will reach you on the due publication date. In this, the last number of Volume 2 , we have giventhree effects suitableforopening. All have been well tested. Eawh has quite a lot to show despitethe fact thatthere is noapparatus in the acceptedsense of the word. Most of the Bill for the British Ring Showis now to hand and includes HoraceKing andBetty, Deveen, MariusandMariette,Sylvestre, Raoul, Ren. Clark and George Smallwood. Subscriptions for Volume 3 are now due, and we take pleasure in the fact that we shall, through a very generous gesture of Mr. C. L. Boarde, be able tooffer a very generous bonus tothefirsthundredsubscriptions received. This bonus takes the form of Mr. Boarde’s Borrowed most excellent routine “ The Brain,’’aroutinethat is printedandillustrated and selling currently for ten shillings. We feel sure that those readers who receive a copywilllike tothankMr.Boardedirect. .Hisaddressis 8012, 190thStreet,Jamaica, New York, U.S.A. I willquotefromhis letter : “ They come to you a s a gift without \obligation in any form or manner. There is but one qualification, which is that they may not be sold but mustgiven be away in a manner you think best foryou and the ‘ Pentagram.’ ” Sometimeback,readersmayremember, we mademention of thisroutine,which is ,exceptionalforclose-quarterwork. We certainly prize our own copy. Thosequalifying for this very nice gift, will receive it with the firstnumber of thethirdvolume. May we add that for fairness’ sake that if any reader has a renewal subscription due later than the first number, i.e his renewal falls due at number Three, etc., he will be eligible providinghesendsthenecessaryremittance. Our good friend Goodliffe tries hard. Not contentwithattemptingtore-mapthe world ot conjuring, we nolice that he has now created a new ... LondonsuburbintheNorthWestdistrict “ Cullindale.” Congratulations are the order of the day for the EnglishcompetitorsattheInternational Congress. T h e Grand Prix to Willane, Pauline Baird second in the manipulation class, andBurtiniwinningthe first prize in the invention class.
.,
On another page will be found an announcement regarding the dissolution of partnership of Hughes, Dowlerand Stanley. This is quiteanamicable dissolution, Arthur Dowlerbeing busy withprofessional work, Jack Hughes back in his old workshop and Harry Stanleyassuming sole responsibility for the new Unique. Needless to say, Jack Hughes’s effects will still be available at the studio. I
Scandinwian readers may be interested to know that the “ Modes for hlentalists ” Series are now being published in Danish by my friend, Mr. Steffensen. T h e title of this series is “ Mentale Metoder,” and the first is entitled (‘Taenk som jeg taenker.” It is a six-page publication with a semi-stiff cover. \lie are pleased to welcome A1 Korantoour list of contributors. A very nice effect of his will appear in our October issue. Many have been the enquiries that we have had regarding the Society for Mentalists. As we mentionedin a previousnumber a Rules Committee was appointedattheinauguralmeeting,andit was hoped that when they met at a later date rules would be drawn up for consideration by the Cornmitf.ee. ‘l’here were, however, difficulties arising out of a very important point regarding theeligibility of membership, and as that could not be immediately settled the matter is being held over until the end of September. Withthe publication of ourfriend Francis Haxton’s article on Charles T. Jordan, weseem to have fanned a dyingsparkinto a small flame. Browsing through volume 2 1 of the Sphinx (on page 257 to be exact) we found a group photograph T. that includedDorny,RibertStullandCharles Jordan.Anarticleaccompaniedthepictureand we read asfollows : Then came Stull, Dornfield, Mueller and Jordan each performing their pet tricks.” This party,incidentally, n-as not so far fromPenn Grove. ((
As this is the end of another volume we should like to give publicthanks to all those who have helpedinany way. T o contributorsparticularly, €or their’s is the life-blood which makes this broadsheet possible ; thentothe dealers, advertisers, readers and reviewers. Lastly, ourPrinter, who has, often times under great handicaps, done a very good job of work. Finally, looking back through an even older previously mentioned, copy of the Sphinx than the one we should like toquote GeorgeShulte : “ Somewhere i t is written in a book that magicians.are born and not made. But the rate isn’t one a mihyte ! ”
MAClC BOOKS AT FAIR PRICES
COLOURED
“
TROUBLE-WIT
”
Our poliq- of one pricethroughoutthe zcorld ” bringsto English magicians, post paid, all American ecorhs on conjuring a t theexartEnglishequir*alents of the .4merican prices (5shillingsequalsonepoundsterling).
TreweyModelCartridgePaperStanyonCorners Beatuifull??Colouredin fast Rainbozc,,Colours Stage Size, used by Trewey, Stanyon, etc., 12 when closed PRICE22/6 Plain White Paper, if desired . . . 15/6 ImportantHints on opening and closing thefoldsincluded TroubleWit Booklet ; 80 illustrations . .. 2/9
This means that you can have any magic books delivered to you at the standard American prices, as for example : Hilliard’s Greater Magic ; Rice’s Encyclopaedia of Silk Magic ; Buckley’s Principles and Deceptions ; McGill’sEncyclopaedia of StageHypnotism ; at SO/- each. G a u l t i e r ’ sM a g i cw i t h o u A t pparatus ; Tarbell’s Course, Vol. IV. ; Thompson’s My Best ; at 3716 each. Dhotel’s Magic with Small Apparatus ; Hugard’sBookEditionNo. 1 o r No. 2 ; Sachs’s Sleight-of-Hand ; Maskelyne and Devant’s Our Magic ; at 25/- each. Collins’s A Conjuring Melange; H u g a r d & Braue’s The.Roya1 Road to Card Magic ; at20/-each.
DiminishingCardstoMatchbox. Highgradecards diminish to half size (a sample card is extracted) then changes to afull sizebox of matches, price 7/6 Find the Lady. Aperfectedform of thiseverpopular trick. Set of three trick cardswithprintedinstructions, price l O / Self-ReversingCards.Ten Cards arrangedalternately back and face up. A flick of the fingers and cards are foundto havere-arrangedthemselves.Repeatedas often as desired.Aperfect pocket trick, price 3/6 The Burglar’s Escape. comedy A pocket trick, ’ andaburglar ’ price 3/6 implicating3policemen
((
---
___
B 0 0 K S----B 0 0 K S---------B 00KS It is our policy to keep every book on conjuring and allied arts i n s t o c k . Write for free lists. Most U.S. books and all Englishpublications i n s t o c k . FiveShillingsequalsonedollar-wepaypostage Foreign and Colonial customers please write direct. We hove W O R L D since 1890 supplied M A G I C tothe
Please remit to Mr. Robertson Keene, 301 Norwood Road, Southall,Middlesex, zcho 7cillsend>*our order to us via airmail for immediate shipment.
--
ELLISTANYON AND COMPANY 76 Solent Road, West Hampstead, London, Telephone : HAMpstead 0940
F L E M I NBGO OCKO M P A N Y ( N e w , permanentaddress) YORK, PA., U.S.A.
ARCAS Magical Publications
i
Mr.Smith’sGuidetoSleight .W. Jonson ot Hand A.B.C. ot Ventriloquism . .D. Craggs Expert Manipulationot Playing Cards . . . .L. Gansorl Testamento?R. W. Hull . .T.H.Hall Nothing is Impossible . .T. H. Hall Masterpieces ot Magic, Vol. 1 . PatternsPsychics Tor .Warlock Franklin Kamut Brearley ~onjuoioring. Willane’s Wizardry .. . .Willane
.
404/408 Croydon
PLEASENOTENEWADDRESS
:-
Surrey
ABDUL’S FEZ Increasedcost of materialshas forced me t o increase the price of this effect to 12!6. l feel confident, however, that it isstill a bargain t o anyonewhohasever worked theEgg Bag. Tlrarrks to all those who hare sent kind words nbout this trick
,
of e a c h m o n t h
1/I single copy 1 1 /S per year post free
SYDENHAM ROAD
..
PENTAGRAM published on 15th
. . .. ..
Obtainable from all Dealers or directfrom
PETER WARLOCK’S
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place CHATHAM :: KENT
6%IvIalaor R0tta.I Wadlington Surrey Telephone : Wallington 6236 H E N R ID E ’ S E E V A H MMC., BMS., ZBM.,S S M C . THEFRIENDLY MAGICIAN invites allbona-fide Magicians t o send for hislist of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
N .W .6
The Magic CIrcle Presidetzt : His Grace the Duke of Somerset, D.S.O., O.B.E.,Z.P.,D.L., M.Z.M.C. Vice-President : DouglasCraggs,Esq., M.Z.M.C.
Musewn :
ClubroomandLibraryand
St.Ermin’sHotel, CaxtonStreet,S.W.l. MagicalTheatre
:
KingGeorge’sHall,
W.C.
--
Purticulnrs from Hon. Secretary :
FrancisWhite, 39 AlverstoneAvenue, WimbledonPark, S.W.19 INSTITUTE
OF
MAGICIANS
Branches in London, \Vakefield, Brighton, and Detroit, I J S A . The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H Q . Deaison House, Vauxhall Bridge, Victoria, S.jV.1. (one ~ninuteVictoria Station) Particulars from Oscar O s ~ a l d . 102 Elmsteatl Avenue,\Vernbley Park, Middlesex
- ,
MAGICIANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME 1. Bindirgg Prices :CLOTH 5/6, REXINE 6/6,MOROCCO FINISH 7!6 “
42
C . FIELD Alderson Road, Sheffield
3
OLD AND NEW MAGIC LatestThink a Magician A pocket Mind Reading Effect 091ly 2/6 Ovrin’s famous Spider’s Web,CardTrick 30.’COIK K.-\NDS to produce a real coin 16,6 A few Sliding Glue Packs of Cards 8:9 Send stamp for pvinted lists of old and n e z blclgc Sydney d e Hamossy 363 SANDYCOMB€ ROAD, KEW GAPDENS SURREY RIC 4238
J A MGERSA Y S O N MAKER OFHIGH-CLASSMAGICALEFFECTS, STAGE ILLUSIONS, ETC. .1 cltiress :-
23 GREENFIELD AVENUE GILDERSOME.NearLEEDS
Every Advertiser’s goods are fully endorsed by this Bulletin Printed in England for PETER \VARLOCIi by GEORGE SE.AKSON
40 Hlue Bell Hill Read,Kottingham
Telephone 4&z
0
CQntmb ANTI-GRAVITYEFFECTS
... ... ...
Anti-Gravity Ultra Anti-Gravity Cigarettes X-The Unknown
ARTICLES Magic Books ... ... Books ... ... ... Mystery of CharlesT . Jordon Reviewers ... ...
... ...
... ...
C A R D EFFECTS Mystery anyof card ... Card Discovery by telephone Spectator Selection ... The FastestIndicesin theWorld Thoughts Two The ... For the Meek (method of forcing) Cryptogramagic ... ... Wingless Victory ... ... Psychic Card 2 ... ... Wot ! AnotherTelephoneTrick Thanks Marlo to ... ... Birthday Honours . . . ... Thoughtsthe on Palm ... A Legacy from Jordan ......
... ... ... ... ... ...
... ...
... ... ...
... ...
CHILDRENS’EFFECTS Who’ll Bell Cat the ? ... ... Abdulhisand Egg ... ... CLOSl NG EFFECT
Good Evening !
...
...
...
CO1N EFFECT
Money Hot
...
MISCELLANEOUS
Page ... QUESANS 49 ... 51 ... 75
...
M E N T A L EFFECTS The Spectator Directs ... Austerity Augury ... ... Two Harmony in ... ... Acme Book Test ... ... Kismet ... ... ...
... ...
... ... ...
2; !;
Page ... 13. 54 Magic-go-round 7. 15. 23. 31. 39. 47 55.63. 71. 79.87. 95 A Word about Books (see following page) M I S C E L L A N E O U SE F F E C T S Turn down Empty an Glass ... 60 Sands-Which ? ... ... ... 76 Super Sympathetic Cubes ... ... 84
...
... ...
E . G . Brown
OBITUARY
...
...
...
Charles Harrison. junior ... ... 3 Will ... ... ... 12 Goldston A . Zomah ... ... 19 20 O P E N I N G EFFECTS 25 Confetti The Charmer ... ... 28 Willow Pattern Plus ... ... 33 Long Ago and Away Far ... ... 52 57 P E N E T R A T I O N EFFECTS 6o “ Sticks that pass in the Bight ” ... Different Penetration Milk ... ... Bricks Window through the 77 85 R I N G EFFECTS Prisoner in the Silk ... ... ... ... Match-Ring ... ... ... 1 Ringo 2 . . . ... 9 “ Ring anin Emergency ” . . Ring Acme Release ... ... Ring Free ... ... ... 29 EFFECTS SILK Enchanted Petals 2 ... .. Photographic Absorption ... Believe 21 not it or ! ... ... Silk Away ... ... ...
!;
35 36
51 59 81
SLATEEFFECTS Case of the Curious Chronometer M y Astral Eye ... ... VERSE The Rubaiyat of a Conjurer
15 39 46 46 89
92
91
4 26 58 47 43 44 44 45 66
17 27 65 83
...
11 68
...
83
...
45 79 79 44 83 35 25 29 51 58 12 26 76 9
ecwt-tm Arrowsmith. The Rev . G . E . Christopher. Milbourne ... ... Coilins.. Stanley ... ... ... Demaline. J . ... ... Dexter. Will ... ... Douglas. James ... .. Drake. Leslie ... ... Eddleston. Jack ... ... Esler. James ... Francis. Douglas ... ... ... Giraud. Jules ... ... Goodliffe ... ... Haxton. Francis ... ... Histed. Louis ... ... Jader. Rudi ... ... Jonson. Wilfrid
...
3 83 13. 33. 54 ... 68 81 111.27. 65. 66 ... 84 ... 43 ... 59 ... 77 4. 41. 73 61 l9.*.S7.62. 85 ... 20. 52 ...
...
...
89 54
Jordan. Charles T. Liberg. 0 . 0. ... Lund. Robert ... McComb. Billy ... Maskell. Don ... May. Leslie ... Merlini. Jim ... Milton. Herbert ... Mole. H.C. ... Orrin. J . F . ... Peacock. Victor .. Sellers. Tom ... Sharpe. S. H . Tyler. Wilfred H . Warlock. Peter ...
... ...
...
... ...
...
...
-
...
...
... ..
... ... ... ...
. I .
... ...
...
...
...
...
... ... 17. 1. 4436. 75. 60. 67. 91. 92 ...
28.
UUMVLd&tB& Books Hugards Magic Monthly, Volumes “ Open Sesame ” ... ... Magic with Small Apparatus Fingertips your Magic at ... Mastered Amazement ... Showmanship Magicians for The Trick Brain ... ... Misdirection by Magic .. Magic The of Louis Histed Con-Junior-ing ... ... Willane’s Wizardry ... Hugard’s Magic Monthly, Volumes Supreme Sleights ... Abracadabra Xmas Special, 1947 Bohleno’s Mysteries ... Expert Card Entertains The Encyclopaedia Sleeving of .. . Thumb-tip Tricks Fifty awith Technique Card Basic ... Stunts Stage Money with ...
Page
6 6 14
1&2
... ... ...Hobby a Magic as 14
Magic Wand Yearbook 1947/48 Your Deck, Your Card ! The Royal Card Road Magic to
... Darling’s Mentale Mysterier 14
... ...
22
22 22 30 30
...
... ...
...
Mainly Mental, Vol. 1 Encyclopaedia Silk Magic, ofVol. Routines
30 38 46 47
Writes Moving Finger Ten Nights Card ainRoom Pokericulum ... Jamesway Poker Deal 47 LookNew ... 55 are Right you How ! 55 Ladies Pink ... 62 Ultimate Impossibility 70 outMindTime of 70 Stuthard’s Svengali Subtleties
3 & 4.
... ... ... ...
... ... ...
...
...
...
... ...
... ...
e..
... ... 1
94
...
...
...
...
...
... ...
... .. .
...
...
..
Page
70 78 86 86 86 94
... ...
... ...
47 78 78 78 78 86 87 87 87 93
For at the moment space only allows us to give our readers six suggested programmes suitable for various occasions, each needing the minimum of preparation and apparatus. As time goes by we shall add to this number. Programme No. 1
Programme No. 4
Platform Miscellaneous
Intimate show with c a d s
Runningtimea-pproximatcly 14 minutesand Runningtimeapproximately 17 minutesand effects pack into attache case. everything packs into brief case. Vol. Page Vol. Page ... 2 92 Coincido Plus Pattern Willow .... 1 9 Duo Enchanted Petals 2 ... 2 17 Wingless Victory ... ... 2 52 Recovery ... ... 1 77 A Legacy from Jordan ... 2 85 Evening Good ! ... ... 2 29 Nonsuch Card Prediction ... l 47 Marlo Thanks to ! ... 2 67 Programme No. 5
Programme No. 2
Intimate Mental and Psychic
Platform Miscellaneous
Running time approximately 30 minutes. Everything packs into brief case. Runningtimeapproximately 14 minutesand effects pack into attache case. ... 1 Conference News Spirit Dark the in Sense ... 1 Long Ago and Far Away ! ... 2 91 3 The Directs ... 2 ... 65 Spectator Believe it o r N o t ! Acme Test Book The ... 2 Glass Porous ... ... 10 1 ... 2 Kismet ... ... Transpo Slates Insto ... 1 31 “ You Can’t Wrong be ! ” .. 1 5‘1, Programme No. 6
27 71 35 59
81
Children
Programme No. 3 Platform Miscellaneous
Runningtimeapproximately 20 minutesand effects pack into brief case. Welcome ! Cryptogramagic Believe it or N o t Twins Trigon of Slates of Hecate
...
...
... ... ...
...
...
...
...
...
61
1 2 2 1
33
1
55
65 75
Running time approximately 40 minutes. Everything packs into medium sized suitcase. ... The Confetti Charmer 2 89 Abdul his and egg ... 2 9 1 14 Silvertown Exmess ... Who’ll Bell the Cat ? ... 2 1 Ring Travel ... ... 1 17 SuperSympatheticCubes ... 2 84 Robbers Sheep and ... 1 43 Good Evening ... ... 2 29
1
PENTAGRAM An independant monthly bulletin for all who want good magic
V ! *3 N!kP
Clktdh, 1946:
As the title impli,es, thissubsection isdevotedtoa study ,of ?he art of ascertaining whatiswrittenonaslip of paper,notbyany direct,orindirectreading of theslip, butby watching andanalysingthemovements of the writinginstrument.The,history of the technique is very vague, but in all probability it was developed by amedium wh,o wasconfrontedby test conditions b o strong f'or his conjurhg ability. Perhaps the Policewere too prone to grab dummies at inappropriat,e mom'ents and the technique developedtomeetthedemand 'of apr,ocedure that wouldleave no evidence.Exposure iswell nigh impossible, for the worst that can happen are restrictions of conditions necessary f,or its operation and the resultant blank dem,onstration. The technique is rarely used and seen, however, due to the extreme difficulty encountered in mastering its many ramifications.Once'learned,though,it is one ofif not the strongest techniques available. The processcannotbeacquiredbya mere study ,of the basic fundamentals.Thepsychic who hasdevelopedthe,ability,hasd,one so by adding hours of drudgery devoted to brute application (hours shared by a friend to play the part of theclient),tohisunderstanding of theprinciples involved. To beexact,thefundamentals are not very much more than inexact guides which serveto(indicatewhatshouldbeexpected. In effect, they are means of shortening the time that mustbedevotedtosheerpractice.Learningto PencilReadcan easily be likened to neara sighted manlearningtoreadthefamiliarsemaphoreflag wig-wags. Inasmuchasthetop of the pencil is being watched, the size of that instrumentis of great import. I t must be large, so that when it is held inthenormalmanner(betweenthethumb, first and second fingers and resting in the crotch of the thumb), that portion of the pencil measured from the crotch of thethumbtotheeraser is at least one-half thetotallength of theinstrument, if 'nottwo-thirds or more.Thereason is obvious ;
the crotch of the thumb acts as a fulcrum to the pencil,whichtakes thepartof a lever.Any actionimpartedtothes'hort ann of the lever is greatly magnified bythelongarm.Thusthe greater the length of the long arm, the greater fhe motion imparted to the eraser, and, of course, the easier lit is toreadthewritingproduced. . The spectator is directed to print slowly in large characters(toimpressthe thmought strongeranddeeper in his mind), a factor which also helps t.0 make thereadingeasier.The size of the slip onwhich he writes is not too iinportant,althoughasmall piece of paper will restrict the number of characters that can be written in so limited a space. Th,e performerhas less letterswithwhich t,o juggle, making his task easier. When the psychic is unable to decipher a character, ,he does not puzzle over it, but tries to catch the next, keeping in mind thatthere is ablank atthatpoint.Whenthe spectator is finihed,the psychicexaminesthose he does have, ,and finds that they generally help in puzzling out what the missingletters areand thus fill in the blanks. Therearethree different approachestothe process. Each could very well be called a system in itself. Onealonemay beused, any two in combination, or allthreejointly. The first isa strict ,analysis of the motions involved as seen by the psychic seated across the table from the spectator. See Figure One. This entails a breakd,own of thestrokesrequiredtodrawthe character. N,ot only the strokes actua,lly involved in the writing, but those motions required to bring the pencil to the starting positi,on for each stroke, are taken int,o account. The nature of the strokes are three in number : vertical,represented in the 1, horizontalrepresented by -, and tableby circular,which,since it very often is seen as a shorthorizontal followed by alongervertical, is represented by J . These, in turn,arebroken down t'o short and lmong strokes. To these symbols are added arrowheads to indicate direction. Several continued on page 2
ON PENCIL READING-continuedfromgage
2 1
characters may be drawn in two ways, and the less commonis listed asalternate.Thereareseveral characters, which in eithergeneral oralternate state are drawn in one conbinuous motion. These are starred (*) . These fine points aid in differentiatingsimilarbutdifferentlyconstructedcharacters.When seen frombehindthespectator,the direct,ions in the tab,leare, of course,reversed. I n attempting to analyse any character or symbol not listed, it must be kept in mind that the moti,on of the eraser is the reverse of the pencil point. I t remainsforthepsychic usingthis procedure to learn it thoroughly in all its ramifications, and then applytheorytopractice.Thistechnique is best forthose who areunableto visualise fromthe motions of the pencil what letters or numbers are beingdrawn. For thosewhoareableto visualise well, a table of thelettersandnumbers as theyappear upside down is often sufficient. See Figure Two. Here attention is paid only to the strokes actually made in the drawing of the character.Thisprocedure,therefore,dependsupon the ability to commit each stroke to memory as it isdrawn,and, when thecharacter is completed, mentally reassemble the components so that they arereadily recognised astheletter,ornumber, drawnupsidedown. To this, we Figure addThree, an analysis of letters and numbers as to the number of drawing strokes required to complete the standard characters and the alternate variations. The m m b e r of strokesrequiredisdeterminedbythe requisitechanges of directions. Thus, S is primarily a two-stroke character. Draw it with chalk on a slate and twostrokes will beheard.In its alternate stage it is a one-stroke character because it canbedrawnontheslate so slowly that only one stroke can be heard. (This table is thebasis of " SoundReading " usedwith slate and c'halk in which short words or number groups are
divined.) Of the three procedures it is the weakest, being used in conjunction with one of the others, but never alone. Tshe readerhasmost likely noticed thatthe tablesarerestrictedtoprintedcharactersonly. PencilReading is difficult enough in that stage, due to the disparities in methods used by various spectators, and when applied to script the technique becomesa life-time process to acquire.However, by the time the psychic has mastered the printed phase, he has acquired enough ability to decipher simple diagrams. The use of the upside-down table is excellent training for reading any reversedprinted matter which is largeenough. The psychicmay beconfrontedwith false strokes. In timehe is practicallyabletorecognise themsubconsciously. A truestrokerequires theapplication of the pencilpoint tothepaper. A false strokemust be made off thepaper.The differenceshows in theheight of thepencilfrom the paper, it being raised slightly higher than usual forthe false stroke.Inaddition,thetruestroke requires pressure to place the mark on the paper. This produces sound, which, although low, is audible if listened for. The false stroke makes no sound. I t would hardly be proper for the psychic to directlyobservethemovements of thepencil. Even the most obtuse spectator will become justifiably suspicisus. The observation must be doaked in some manner. One method of indirect observation lis the use of the well-known slotted newspaper.Whilethespectator is busy writirig, the performer picks up the newspaper on the pretence of passing the time unti.1 the client is finished. In actuality, th,e pencil is observed through a slit, about three inches in length, set vertically in the centre of thesheet. All that is needed to open the slit is a very slight horizontal tug in opposite directions by the two hands holding the newspaper Continued on Page 4
3
Dear Peter, Here at last is the article I promised you for the Pentagram.” As youknow, I havemyownideason Mentalism; mostly they are based on presentati,on. I believe that Mentalism is alive, real, and above all a fact.Thatiswhat I b,elieve the mentalist shouldconveytohisaudience. Most of theperformers of mental effects convey the reverse, namely, that ,Mentalism is dead. “
When I startedroutiningmyact I searched books and magazines for ab,out 18 months for five cleancut effects. Andbelieve mewhat a job I had. Of all the thousands of effects read, I found four from whic’h t.0 ch’oose from. These had Direct presentation,speedandcleancut effects which to me are the first three essentials of Mentalism. I saw a perf,ormer recently put over a triple PreI timedhim. I t was73 minutes dictionEffect. beforehegottohis first reaction.That’swhy Mentalism 1s called dead and slow entertainment, if it is called the latter, which I sometimes doubt. Another error performers make is to flog.a good principletodeath.Annemann’s4th,dimensional is to my opinion the finest closing effect possible. Kothing could be a bigger and better pay off, yet I’ve seen a Mentalist using the method of reading oneaheadandinreverseforfour effects in the programme. Programme building is very hard but it must begiven a lot ofthmought. Never use thesame principle twice. Remember you are not deceiving the eyes but the minds. Therefore you must lead the mind ,of the spectator through the maze, twisting and turning the thinking power until it is lost. There must be nosolutiron except Mentalism and Mind-reading. But we must above all keep Logic. That the foundation is of the all mystery. Logic is staringthem in theeyes and they cannot escape. The opening in stage a mental act is probably the hardest effect tso find. I t mustbepowerfulandconvincing,becausethe whole act that follows depends on it. I n the first contact with his audience the Mentalist must immediately c o n v i n c e them of his power. Here then follows my own ,opening effect. I have used thisunderallconditionsandIcan’t find a better one. brief, and I Performer enters and gives very mean brief, pseudo talk and introduction. Then hetakesa walletfrom his pocketand gives it to a person to place in his inside pocket. Performer withpencil andpad walksover to somebody else andasksthemtosearchtheir pocketsforsomething witha numberon.Anyticket, anything thing, %l note, licence, bus with a number on. They call out the number and performeropenly writes itonthepad.Hethen walks to the oth,er side of stage and asks someone to namethe first colour that comesintotheir
mind.Thisnamed,he writes itdown.Going to the third person he states that the wo,rld is a big place,but also sometimesverysmall. Imagine the world spinningroundinfront of your eyes, suddenly it stops, you are looking at one country. Now namethe first cityyourmind’s eye sees. Thankyou.”Thisiswrittendown.Theperftormer now handsthe list toaspectatorfor checking. The gentlemanmindingthewalletisasked to take it out of his pocket, stressing the fact that ithasneverlefthis possession.Slowly theperiormer,opensit, andfromaninsidepocket of wallet takes out a sealed envelope; this is handed to spectator to verify that it is sealed and signed across the flap. I t is openedand inside isthe signed statement. I, Koran,predictonthisday17thJuly, 1948, at 9 p.m. at so and so place three people will makethe fol1,owing statements :Number : C,olour : City : Signed,theday, at 10-30 a.m. A1 Koran.” Now allthatactionincludingtheopening speech and gettingthreepeopleontostagetakes threeminutes. I know,because it’s timed tothe second.And,believeme, it knocksthemvery hard. “
“
Routine & Properties. ( 1) A wallet, any leather one will do. Take a razor blade and split it down the outside, right through. Make a neat slit that will alllow a small pay envelope ,to pass through easily. (2) Asmallboardabout 34 by 2 inches, witha clip ontop.Some Red or Green carbon (not blue or black). Try to getoilboundcarbon as it d,oesn’t smudge. Nowwrite your prediction leavingaspaceforthethreeanswers to go in. Use a fairlylarge full-size sheet of paper.Try and leaveyourblankspaces in themiddle of paper. Nowfoldthisup to the size of envelope andrememberto fold so thatycurblankspace is outside.Once you experimentwiththisyou wil,lsee what I mean. Now cut a piece of carbon to fit envelope and insertpredictionandcarb,on insideenvelope and sealit.Sign it rightacross flap. Place this right side out and correct way up under clip on board and over it place a piece of paper.Place bsoard anda hard pencil inoutsidejacketpocket.Wallet is carried in inside pocket. Now follows Routine. First of all hand wallet out. Go up to first spectatorfornumber.Then take b,oard from pocket and let him see vou write itclearly.Repeat with colsour and city. Nmow tear off paperatsame timereleasingprediction continued on page 7
Spectatornotesacardanddeck is immediatelybanded with three elastics-one lengthwise and twoarounditswidth. From sevcra:magazines, spectat,orhands you one. It is placedon the table with the deck on top. After striking the decka sharp blow, youstepaway.Spectator lifts the magazine and finds his card beneath. He .may examine everything. Method : Holdthe deck faceup in theleft hand. Slmowly riffle the outer left corner withleft thumb until told to stop by spectator. Cut off all the cards above the break, with the right thumb a!t innerendandthe first and second fingers at outside, and turn the right hand over so that these cards .are face down. Havehim look atand rememberthetop card of thisgroup.Squareupthe deck but, in replacing the cards from your right hand, execute the Master M,ove as !explainedin T H E MARK OFTHEREADER,February, 1947, PENTAGRAM.Althoug,h I havenotheard of anyone else doingthismove with the c.ards face up, I consider It muchmore effective that way. Holdthedeckface up intherighthand. Agaiu d,o MasterMove as Back of .handisup. you snap the band on the deck lengthwise. Square the selected cardevenwith the rest of the cards as youplace the deckface up on palm of left hand. Band is now around all of the cards except the selected one. Change the position .of left hand so that it is backupbut deck isstill face up. Do theglide as you pick up the second band from fable. The firslt band does not interfere as much as one might expect.Snapsecondbandaroundsuterend of deck andagainsquare selected cardevenwith the rest. Reverse d,eck end f,or end,againmake glide as you pickupthird b.and(glideisveryeasy now),snaponband,square selected cardand place deck face up on table. I t is cleaner to take it in the right hand, fingers below and thumb on top, ,then to put it down directly fr,orn thelefthand.The loose card is keptsquaredmuchmoreeasily. As the right hand puts the cards down, the left hand picks up three or four magazines, about LinkingRing size. Thespectator choosesone, it is placed on the table and the rest are discarded. W,hatactuallyhappens is that the deck is lifted selected away as themagazine is dropped.The card is 1,eft on the table and remains concealed by the magazine at all times. There but remains tro tap the deck, step away andpermitthespectat,or to find hiscardunder the book. ApplicationNumberTwo : CARD IN HAT.
Cardbrought to topas beforeorbyusual pass. Only ,one band used and it is actually placed lengthwise around the entire deck. A ,hat is picked upinthelefthandand hewn empty. At same time the right h.and is executing the Master Move which pulls card out of the band. Deck is passed across the hat as you place it on the table and the selected card is allowed to drop in the hat. Hold the hat high above the deck and command t,he selected card to pass fr,om thedeck, invisiblythroughtheairandintothehat. You will even b,e able to name it as no difficulty will be encounteredinglimpsingthecardwhich will fall face up in the hat. ApplicationNumberThree : CARDFROM POCKET. Lengthwise band misses topcardas in the first trick. Two bands around width of deck actually encircle all cards. Cards dro,pped in spectator's pocket-or yourown. You canreach in and remove the selected card in a flash. variation A which eliminates the Master Move. Cardbrought to top by regular pass. Glide i,s worked as tw,o bands apparently encircle width of deck.Lengthwisebandgoesaroundall the cards. I n this case you draw card away from the side instead of the end as in the first: method.
ON PENCIL READING-continued from page 2
in theaccustomedmanner.Another methmod is tocoverthe face and eyeswith bothhandsand turnthe faceaway. If theface is held atthe see sidewaysbetween the properangle,onecan hand and the bridge of the nose and observe the pencil. Stillanothermethod is to covertheeyes with one hand. An extremely slight separation of the fingers covering the eye is sufficient to produce the requisite peephole. Some people have fingers thatdonotexactly meetwhenpressedtogether, producingnatural peep-holes. The psychic who has gone tothetrouble of learningPencilReadof ing, has usually gone to the additional trouble acquiringagoodmethodofindirectobservation. This section is reproduced from " Mainly Mental kind permission of the author
"
Vol. 1. by
LEARN HYPNOTISM.-ANYONE can learn to HYPNOTISE provided they know how and are willing to devote a little time to practice. Practical lessons in THE WIZARD every month, written especially for the ENTERTAINER, by S. E. (Dexterous!) Dexter, V.A.F., I.B.M., ALSO MUCH GOODMAGIC. for Mentalists, Children's Entertainers and Club Performers. Special section for Vents, 36 fully illustrated pages per issue. Subscripticns : 6 months, 1216 ; year, 241GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
a
W d lil!ht
PRINCIPLES AND DECEPTIONS ” 11.11 ;Irthur / I u c k k y (yuDZixh~dD y t h e A u t h o r ) . Price 10 dollars. Inthis well printedandproduced book of some two hundred odd pages, Mr. Buckley divides his matter intofourmainsections;theyare as follows : the first dealingwith theauthor’stheoriesregardingthemakeupand successful presentation of magic; the second dealing with coin conjuring ; third the with fourth the and cards billiard balls. with Regarding the chapter first we could argue a gr.eat deal, but space (especially this month) is precious. Thechapteron coinmagic containsseveral items,manyold,but possildy not widelyknown.A completecoinroutine is givenwhichshould be attractive. The second chapter dealing with cards gives mainlyvariations on thestandard effects, and we feel as w e felt when reading the Card Expert Entertains that Mr. Buckleymakesworkforhimself, and that in many cases there is a redundancy of sleights t o bring about a straightforward effect.After all,theshortest distancebetweentwopoints is a straight line. ‘CVe likedbest of all thechapteronbilliard ball work, which is possibly the most informative since Hull’s work. Altogether the student and practical worker will findmuch meat.There is a plethora of photographicillustrations,andthetext is quiteclear regarding the necessarymoves. Thebinding is in the manner of “ Card Control.” Recommended without reservation t o sleight of hand workers. “
“
”
MAGIC FEATS ” b!J il1ajikan.y (puhlixhrd b y (:oodiiffo) In thls lltcle booklet of some thirty-seven pages, there are sixteen items for varying tastes. In the we thought “ TissueTear the pocker tricksection hestwith “ Thimbles ad lib good a second. The secondsectiontouchingodd devicesoffers a good idea under“EscapeInterlude.” ‘‘ StripperFan sounds handy, but the man who hasn’t the time to learn such a simple thingas a weaveshuffle shouldn’ttrycard fanning.Inthelast sectionthere is an excellentitem called “ Ninepins The examinedSpiritlamp seems a cumbersomeidea t o produce such a simpleeffect. At the price i t is a “ must buyandshouldprove of practicalvalue. “
e“.:/-.
”
”
”
”
”
‘‘ JAME!WSOPHY ,” edition,George
hy
S o wurt
Jam Q..$
A 4 r n ~ . * t r t ) n.! ~ )Price 5 f - .
(En!qli.?A
Onthe cover is notedthe fact that.thisbooklet consists of three “ Self workingcardmiracles.”We feel certainthatontheoriginaleditionthisdidnot appear, and we feel equally certain that Stewart James would not have added this caption. Of the three effects describedone is inthetrueStewartJamestradition, andthat is “ The All Clear Card Transposition.” “ Swastricka and ” Memo-graphia ” sufferinsofar that the first is notstrongandthe second thatthere istoomuchcounting. As the All Clear ” effect is easily worth a dollar we give this our recommendation. ‘I
“
R O U T I N E S ‘ S P W CASH,” by Stewart Ja.wLe,s (price five shillings). This is a n exceedinglypuzzling routine inwhich two cards selectedfromblue and redbackeddecks are found t o coincideinnumericalvalue.Recommended. “
THE SO FAIRPOKER DEAL,” hy Stewart /urrrrs (price five shillings). When we received ‘‘ Pokericulum we thought thatthis was thelast wordinpokerdeals. Thispresent routine makes us pause and consider for here Stewart has devised a form of deal that is stunning in its effect oncardplayers.Unreservedlyrecommended. “
”
THE GOBAK CARD MYSTERY,” by Stewart Jurnme.s (price five shillings) This is a lovely littlemysteryin which a selected cardfirstdisappearsfromseveralothers,and is then finallyfoundby thespectatorspellingout his name, the chosencard turninguponthelastletter.Those present at the BritishRingConvention will remember at an impromptu Francis Haxton performing this session. Unreservedly recommended. ALL THETHREEROUTINES OF STEWART JAMESmaybe obtainedfromFrancisHaxton, “ St. Anthony’s,’’NonsuchWalk, C,heam, Surrey. “
.
“ CUPS AND BALLS ROUTINE,” h y Kon IlrooX-v (Publishedby the a u t h ~ r ) . Price 3/6. Manyvisitors t o Bournemouth will haveseenKen perform thisroutine which is delightfullyoff-trailin thisline of country.It has theadvantage of being straightforwardandnot difficult to learnUnreservedly recommended.
SCALA THEATRE, Oct. 4th-9th. The fact that ‘this, the biggest theatrical venture of any MagicalSociety,hasbeensucha success, both magically and financially means that at least a week of magic will be forthcoming each year. The bill was good and v.aried, the main criticism being that a big act, big that is from the point of display, should have been the closing act and that the running time could have been cut by half anhour.Onepointcommon to boththis show and that ,of the I.B.M. show at Bournemouth w,as ‘that in eachcasetheperformershadthe backing of an efficient orchestra.Inthe case of the Circle show it was under the able direction of Stanley Kilburn. The show ,opened with a fine prologue, devised and produced by John Young. His company werefollowed by Raoul, whoselovely act was such a feature of the Bournemouth shmow.
Will.ane, fresh from his win at Lausanne, followed, both amazing and amusing ,the audience with the so many good novelties that he has. Vern,on Lee, accompanied by his daughter and piano, a broughtamoment of respitefrommagic.Chris. Charlton, wh,o has done so much for magic, assisted by Betty, then gave half an hour of that delightful magic that is ever fresh. After an intervaloftenminutes, Dr. Dingwall took,the stagetointroduceademonstration by the Magic CircleOccult Committee.First of all we gave two examples of telekinesis (one being .an adaptaX-the unknown which appeared tion of inarecent Pentagram.”) T’his was foll~owed Sudo ’* givingexamples of clairvoyance. by The dem,onstration c1,osed with Jack Salvin presenting the last word in Telepathy, At least that is whathecalledit ! This was “
”
“
“
“
”
continued on Page 6
6 MAGIC CIRCLE FESTIVAL OF MAGIC-continued from page 5
followed by th,einimitableBillyO’Connor,who only s e e m tobeinoneform,nam,ely,thebest. Another break from magic came after this, namely Saveenand ‘‘ DaisyMay.” This is beautiful ventri1,oquial presentation ‘that puts this perf,ormer in the front rank of present day ventriloquists. The one and ,only Arthar Dowler f’ol1,owed. Is th,ere any need t’o say any more? He
lefttheaudienceasking f’or more. To close the showcameVoltaire. Hi,s lighting of aonethousand watt lamp in bare hands is surely one of the greatest marvels of modern magic. The show was admirablycomperedbyDavldNixon.Freddy Shuter was an admirable Stage Manager, wielding the iron hand in the velvet glove. A very enjoyable week.
3.3. Jl4. The general opini,on, in whi’ch we join, is that this was the best ever. To Bill Stickland and his ConventionCommitteemennopraise canbetoo high for the work that w,as undertaken and successfullycarried,out. The onlything at fault wastheweather.Nothingis worse thantobe compelled to stay indoors whilst the sea and sun are outside. Thursday opened with an official welcome in the afternoon ; this was f,oll,owedby a Reception and Ball atthe Towrl Hallintheevening. A short ,cabaret was arranged, and in this were Fritz Oloi(Symph,onyinSilk),Stanley Ncorman and Enid Scott (ventril,oquism),andJummyGreen. Thelatter’shumantimetablewas t,o us theoutstanding item of the whole Conventimon. Paul Graham, whowascompering,showeda 1,ovely rope effect that no doubt will soon be pirated. On the Friday morning at ,a .deadly hour the competitiontookplace.GeoffreyRobinsoninimitably presenting some .Jack Hughes effects had almost a walk,over,theotheractsbeingpedestrian in the extreme. Intheafternoonthere was aladies’ shmow that was only enlivened b y ,a presentation of, ChapeaugraphybyYolando.Thisacthasto us possibilities, and was the one bright moment in a very dull Ixour. Following this His Honour Judge Wethered, aided and abetted ,by Francis Haxtlon, gave a most interesting and informative lecture ,on card deights ; we followed with a talk on Invention.” I n the evening Jack Potter gave a demonstration of ‘ fluorescent magic,andthis was fol1,owed byanInternationalCabaret. After seeing J. SI. Bhownagary, of B,ombay,the stifle and heat of the Ballroom caused us ,to join a card session. Later we returnedto witness a young ventriloquist,FredAtkins, whlo isdestinedfor Star-dom.Afterthis Dexberous Dexter with a hypnotic demonstration. Whilst we have no time flor exhibitions ‘of hypnotismasstageentertainment we must give full marks to this performerfaor the way in which he gave his lecture and demonstration. It held therapt audienceforamatter of two hours. It was an excellent and gentlemanly .presentation. “
”
On the Saturday morning came the children’s show.Unfortunately we werenotpresent, but reports wereenthusiastic. The bigshow at tine Hippod.romewasexcellentfortworeasons : The first that it only ran a shade over two hours, and that the second half was strong both in magic and novelty. Outstanding were Vcoltaire, Roaul, HoraceKingand Bill Stickland.Thelatterin his new act hac some marvellous material, and we prophesythat when therough edges havebeen smoothed, plus a little pruning, it will beone of the outstanding novelty magical acts of this country. Saturday eveningsawtheBanquetwith f.ar too manyandtoolengthy speeches, and i,t was goingon For elevenwhen we hadourheadline predictionopenedand, of course, foundcorrect. After this we sat down to enjoy ourselves at the show which followed. We were particularly tickled by Will Ayling’s mlouse gag. Cecil Tebbett and Fred Castle were also in great form. Then camethetit-bit of theConvention.This was the new Rmobinson store tu,cked away in the basement. We’ve just remembered that we didn’t enquire the price of his newspaper prediction method. All thedealershadsomething new.Some effects were good,othersobviously destined for thenextSociety sale of apparatus.Things we noted were Ja,ck Hughes’s “Tantalising Tassels,’’ ‘ c Dippy Duck andthe cleverprinciple of “ Fly-way ” birds,Ken.Brooke’s “ Return tlo Karnak ( a very nice effect forchildren),and Cadh Cups,” the LeedsMagic Co.’s “ Korrector ” (this brought back memories of an effect of in ‘ Designs for ours, “ The A.B.mC. cards Magic ’ ”), Max Andrew’s new Jumbo cards, and Unique Studimo’s Ali Baba.’ ’ Sundaymorning brought the Annual Gen’eral Meeting. Finally we should like to commentonthe Bill Penn’sexcellentdhplay of playing card faces.Amostinterestingandfascinatingexhibition. ”
”
“
“
Those fortunateenough to be in the first hundredsubscribers will receive acopy of Mr. C. L. Boarde’s Borrowed Brain withthis issue. -4s n-e write the Magic Circle showat the Scala is just finishing itsweek’s run. The fact that the theatre has played to capacity since the first night is a recompensefor th.ose whocarriedoutthe crganisation of this event. There is littleneedforme to note thatthis cumber of the Pentagram is a Mainly Mental one. We feel that some of those readers who are not mentalists will find among the effects clescribed somethingtheycan use. The articleby C. L. Boarde ‘reproduced by his permissionfrom his recent book is something not only outstanding but also of great value to the student. We must regret ,the brevity accorded to book reviews thismonth,but were we to writefully and analytically we should be at least three months behind the entry of the book into circulation. Just to hand is a new publication, The Fine Art of Magic.” This will be reviewed in the N,ovember number.Fleming’sarethepublishers and George Kaplantheauth.or.A brief glanw showsit to be an excellentjob,andobviously destined as abest seller ; italsobringsback the memory that Paul Fleming showed us some of the “
“
”
”
“
”
“
galleys whenhewas in London.Bournemouthbrought us int,o touchwitholdand new friends.Wewereparticularlypleased to meet Hugh Scott(whosedealing of seconds is inthe true Erdnase manner), and also Ken. Brooke, of Bradford ; thelatter is the liveliest demonstrator that we have encountered for some time. Our headline prediction went ,off very well at Bournemouth, and scooped approximately half of thepublicity.Wewere,however,puttosome veryhardthinking on theSaturdayeveningas, owing to Mayor’sn,aturaldisability we didnot wanttodraghimontotheplatform. Atfiv,e o’clock we tried.out,withFrancis Haxtonasa spectator, an alternativemethod.Thefactthat notonlywas thiss successful, butthatthe local presswantedonthefollowingdaytoknowmy cwn psychicreacti,onsbeforemakingtheprediction, is in itself indicative of ‘the ultimate effect on thepublic. I n thisprediction we wanted tso get somethingth.atstoodawayfromachest effect. We can think of nothing more silly than after all theballyhoo,a chestlargeenough to h.old sixty packs of cards, is ‘opened to revealasmallcapsule, inside of which is a tiny billet. Nextmonth’s issue will containavery nice routine by Robertson Keene, which is doubly attractive, as it can be most entertaining to either adults or children. ‘*
”
A LETTER FROM AL KORAN-contmued fro111 page 3
erwelope from clip. Hand paper to spectator who gavethenumber.Theboard is heldwith the envelope facing performer’s body, figures t,owards audience, left thumbholdingenvelopetightto b,oard. Ask thegentlem,anonyourrighttotake the wallet from his pocket.Takeit with the right hand. Get this position right. You are facing front. Left hand hold envelope and board. Right hand holds wallet, fingers in front, thumb at rear. No\\- don’t rush thisnext mo17e. Don’t lvorry aboutit,Don’teven think aboutit. Relieve me itseasy. Ask the personwith the\\,rittenpaper to stand and read the statement. Non. is the time. Ail eyes, and that means yours too, are on him as he reads. Now both hands come together and the rightthum,bsteals,theenvelopefromthe board Gnto the back of the wallet. Take your time. Put theboardintooutside left pocket. Ask him if thosestatementsare writtencorrectly.Holding wallet atarms’lengthforward with bothhands \\-ill bring em7elope openwalletright out.This hiddenbetweenfolds.
Now youcan showwallet all round,but don’t stress this. Hold wallet in rig’ht hand. Now reach in with left fingers andpullenvelope half :jut. Ofterenvelope to gentleman on right, who pullsitoutof wallet. Refoldwallet andreplace in inside pocket. Ask him if the envelope is sealed and signed across flap. Ask him to openit. Justas he is going to, take it from him, open it quickly yourself andextractprediction,partlyopeningsame. Just put envelope in your pocket. He then re#ads loud out your triple prediction which is correct. Well, Peter,thzt’sit.Its beenmyfavourite c p n e r for a long time and has never let me down yet.Butthemain line is speed of presentation. You mustknockthem andkeep onknocking. I will next sendyoumy blindf,old routine, which I call my high spot. Yours, A1 K,oran.
Peter Warlock’s MODES FOR MENTALISTS
” MIND OUT OF TIME ” C. L. Boarde writes :-“ As I read on I found myself chuckling at the pointswhere I found clever handling. I thinkthe mosthonestthing T can say is ‘This is thesort of thingAnnemann \\-ould have enjoyed.’ It is,thank God, direct; as a platform effect there is noapparentpoint of weakness, and knowing the 1)umlAing alilities of most of those \vho callthemselvescmjul-ers, I \vas mostheartily pleasetl to fin(! i t \\-ell nigh fool-proof.” The price of theRoutine \vith patter ant1 notes on presentation is mocleratelypricetl at Seven Shillings and Sixpence from : PETER WARLOCK, 65, MANOR ROAD, WA LLINGTON, SURREY, (It/:(/ t ~ ~ : / i ~ I / ) /d/ t, , r / l f , / . “
“
Coloured
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners Rotrrrtifrrfl!/ (‘oiourod i r t jtr.*t h’uit!how ( f o l o u r . ~ Stage Size, used l ) y Trewey,Stanyon,etc., 12’’ \\,hen closed PRICE 22/6 Plain IVhite Paper, if desired ... 15/6 ~ r r ~ p ~ r t u n t H ion t i t os p r r i n f y rrnd r.ln.*.itr!lt h c fold<eittclrrtr’crl Trouble iVitBooklet ; 80 illustrations . . . 2/9
This means that you can have any magic books delivered t o you. at the standard American prices, as for example : Hilliard’s Greater Magic ; Rice’s Encyclopaedia of Silk Magjc ; Buckley’s Principles and Deception ; McGill’s Encyclopaedia of Stage Hypnotism ; at .SO/- each. Gaultier’s Magic without Apparatus ; Tarbdl’s Course, Vol. IV. ; Thompson’s My Best ! a t 37/6 each.Dhotel’s Magic withSmallApparatus ; Hugard’s Book Edition No. 1 or No. 2 ; Sach’s Sleight-of-Hand ; Maskeiyne and Devant’s Our Magic ; a t 25 / - ea.ch.Collins’sAConjuringMelange ; Hugard & Braue’s TheRoyalRoad to Card Magic ; at 201- each.
Diminishing Cards to Matchbox. High grade cards diminish t o halfsize ( a samplecard is extracted) then changes to a full size 1)ox of matches, price 7/6 FindtheLady.A perfectedform of thiseverpopular trick. Set of three trick cards \vith printed instructions, price 10/Self-Reversing Cards. Ten cards arranged alternately back and faceup.A flick of the fingers and cartls are found t o have re-arranged themselves. Repcatcd as often as desired. A perfect pocket trick, price 3/6 The Burglar’s Escape. comedy A pocket trick, implicating 8 ‘policemen’ and ‘a burglar’ price 3/6
BOOKS----------BOOKS---------BOOKS It is our policy t o keepevery book onconjuringand allied artsin stock.iVritefor free lists. Most U.S.
Pleuse, r e m i t to Mr. RobertsonKeene, 801, Nor\vootI Road, Southall, Middlesex, who will w n d ;rp(rr order to
books and allEnglishpublicationsinstock. Five Shillings equals one dollar-we pay postage F o r o i ~ pc r n d C’olonial cu.qtomern pleu.*p w r i f r d i r p r f . 11-p Jtrrt*r .qlrpplictl 11f9GZC to t i r v TI-OIt’Ln .c.i,tct, 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. Y’rlepltone : HAMpstead 0940
W* vicl airwrri7 for i nrrrredi~te qQhipu?errt.
F L E M I NBGO OCKO M P A N Y ( *Vew,perntnnPnt udc1rP.w) YORK, PA., U.S.A.
ARCAS Magical Publications Mr. Smith’sGuide to Sleight of Hand .. .. . .W. Jonson A.B.C. Ventriloquism of D. Craggs ExpertManipulation of Play.. L Ganson ing C a d Testamentof R. W. H& . .T.‘ H. Hall Nothing is Im possible , .T.H. Hall Masterpieces ,of Magic, Vol. 1 Patterns for Psvchics .. . .Warlock Kamut .. .. .. . .Franklin Conjunioring .. .. . .Brearley Willane’s Wizardry .. ..Willane
PETER
published on 24th
1016
1 / 1 single copy
101-
1 1 /6 per year post free
201151 101316
65
101-
216
HENRI DE’SEEVAH MM(’.. BMS., IBM.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magiof cians to sendforhislist new and used apparatus and books, or call at his studio :1, CLARENCEROAD Harborne, Binningham 17
NEW. Let me know your wants STAMPED ENVELOPE I
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX NEW AND I OLD
I
PENTAGRAM ” VOLUME 1.
Binding Prices :CLOTH 516, REXINE ‘616, MOROCCO FINISH 716
* 42
MANOR ROAD
WALLINGTON
:-
CONJURING BOOKS FOR SALE
MAGICIANS’ BOOKBINDING SERVICE
C. F I E L D Alderson Road, Sheffield
2
II
PETER WARLOCK
MAGIC
LatestThinka Magician Apocket ’Mind Readi,:g Effect . .only 216 “ Orrin’s famous Spideks Web, Card Trick . . 301COINWANDS to produce a real‘coin 1616 A few Sliding Glue Packs of Cards 819 Sendprinted stamp lists for of oldnew and Magic. SYDNEY deHEMPSEY 363 SANDYCOMBEROAD,KEWGARDENS SURREY .. Ric 4230
EveryAdvertiser‘sgoods
Printed in England for
M.1.FI.C‘.
Museum :
St. Ermin’sHotel, Caxton Street, S. W. 1.
SURREY
No Callers
Vice-President: DouglasCraggs,Esq.,
Magical Theatre :
7’elephonc : Wallington6236
FOR
Prrsident : His Grace theDuke of Somerset, D.S.O.. O.B.E., I.P., D.L., M.I.M.C.
ClubroomandLibraryand
PLEASE NOTE NEW ADDRESS
101-
Croydon
“
of each month
101-
SYDENHAM 404/408 ROAD
LIST FREE
The Magic Circle
PENTAGRAM
ObtainablefromallDealersordirectfrom
OLD AND
WARLOCK’S
..
King George’s Hall, W.C. ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenue, WimbledonPark, S.W.l-9 INSTITUTE
OF
MAGICIANS
Branches in London, Wakefield, Brighton, PortsmouthandDetroit.U.S.A.Thefriendliest of magicalsocieties.Noentrancefee,printed club magazine, splendid library. London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station). Oswald, 102 Elmstcad Particulars from Oscar Avenlle Wembley Park, Middlesex.
J A MG ERSA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 yearsinthebusiness
are fully endorsed by this Bulletin
*
by HERBERT WALKER & SON (Printers) LTD., Well Croft Works, Well Croft,Shiplev, Yorks.
9
PENTAGRAM An independant monthly bulletin for all who want good magic
J
V d . 3 &U. 2
Man!- years ago-so many that I am frighteriedto t.\’en think of thenumber; before the world \vent kvar-mad, anyway--I contributed to my Xetv Lamps for Old the follo\\ing little t>ifect Lvhich I hadalmostforgottenentirely until I \vas reminded of it by friend PeterWarlock, who had seen it,andanother re-dressed effect ot mine,presentedrecentlyat a Circle shoiv by Mr. L%’. -4. Greenland, cf Dorchester. Mr. \I:arlock \vas sufficiently taken \vith the little stunt t o request me to unearththebodyand dress it up forthePentagram.It is a verylongtime since I actuall~7presented it i n a shot\-or since I havethoughtabout it atall, for that matterbut I gi\*c it here\\.ithsuchimprovements as I tla1.t. madc sinctb ittvas tirst publi~hed. “
”
“
”
K 1948 ~
%ice 0h.e S-
any o f his audienceshould find themselr-es with any moneyafterthe lastbatch of official forms had beeen filled, andthe lastpocket had been cmptied. The routine is asfcllo\vs,”saystheper tormer. “You take your surplus cash to the bank and hand it to a very efficient gentleman called a cashier, kvho thenenterstheamount in a book called a Ledger . . . . nottobeconfused with another of thesamename where yourmoney ir; also entered,butvery seldoncomes outagain! (To my friends outside the British Isles-the Leger ’’ is one of the classic horse races held i n England.-Ed.) Here your money remains safel!. . . . \\ehope! . . . until a portion of it is required to assist y o t ~to pay for a new neck-tit., iyhell t h c ltdger comesinto use againandyour \vithdrnual is entered upon the other side and the l x ~ h n c tItJft ~ is shon.11 i n plain . . . all too piairk “
“
contirwzd on p a g e 10
10 A LESSON I N BANKING-continued from page 9
sometimes . . . figures. Yourcash is thenhanded toyou in a nicelittleshovel;everypenny of It, including the odd halfpenny, and you take it home in your little bag, debating with yourself whether you will keep it for shove ha’penny at the local, or buy the canary some bird seed, Picking up a small paper bag and a number of coins (in view of the times, Mr. Greenland used nice, brighthalfpennies),theperformersays : ‘This littlebagshallrepresentthebankand these 20 (or what have you) coins the cash to be banked.”He picks upalargepaperbag from whichhe takesaslateanda piece of chalk . . . this we willuse as theledger (he writes the words ‘ Deposit ’ 8z Withdraw ’ (or ‘ Credit,’ ‘ Debit ’) the at top of the slate which he divided has chalk with a line into two parts illustrated) (as Naturally your particular page must have a number, or various the accounts would soon be i n amuddle . . . Will someonebegoodenoughto suggestanumber ? . . . 3? Thankyou. Now it only remains to settle upon which bank we shali favour with our colossal patronage. Willsomeone suggest a bank which I can conveniently print upontheback of the ledger ? . . . I have to.be particularly careful about this as whenever I have backedanythingon t,he Ledgerithasusually arrived about twenty-four hours late, having stayedthenight with afriend.Martins ? Thank you.” He writes the name of the suggested bank ontheback of theslate. Strictlyspeaking, of course,theledgershouldhavea c,over, but, for moment, the we will make envelope the serve . . . you will note that there is a window provided, but they have left the glass out to make it easier for the window-cleaner. I n orderthattheamount to bewithdraum shall be a matter of pure chance I will first deposit the cash in the bank and I want you to note that I do this coin by coin so that if you ,hear any base ”
I‘
”
l‘
‘ l
coin go in, I hopethat someonta \vi11 takethe treble . . er . . the trouble . . to draw my attention to it.” The bag is placed upright in the palm of the left hand and the 20 coins are separately dropped, or,rather,thrownintoit.The performer now gathers up the .mouth of the bag and hands it to a member of theaudience,atthesametime takingarubberband f,rom his waistcoatpocket. He offers both with a request that t.he band shall be twistedseveraltimes aroundthe neck of the bag until it is completely closed up. Now,” saystheperformer, in orderto make it amatter of chanceas to ho\v much we cxtract from the bank, I am going to thoroughly shuffle this .pack of cards whilst someone examines,equallythoroughly, this clothbag.” he says this he picks up a cloth bag whic,h he turns inside out and back again and then, having inserted his empty hand, he holds it, pointing upwards,and twirls it around vigorouslyuponthe tips of his fingers, the bag being, of course, upside down.Finally hejerks it off his handintothe lap of ‘someone in theaudience. Halve a good look at ityourself,madam, you know farmore of this sort of thing than I do . . . the last time I didacrotchetd’oyley,atthe finish, I looked far more like the pattern than the d’oyley did. I was full of holes ! Whilst I am shuffling these cards will someonecall ‘ Stop ! ’ asthecardsslowlydropfrom hand to hand . . . thank you, sir, I will put that cardaside (this is repeateduntilseveralcards are selected andput,face d,own,upon asmall tray). I don’tknowany of thecards selected and,naturally,neitherdoyou . . . that is 011 account of the law of physics which says that \ve never see a thing properly unless we look at it . . . and eventhen we sometimes seetwo of them ! Would several people each take one of the cards ? . . . Whathave you, sir ? _ k t : ? ,And continued on page 13 “
“
‘ l
“
”
“
11
Card effects which incorporate an opportunity forhumourarecomparativelyrare.The following effectis highlyamusing,but is notforthe ilovice, and itis presumedthatthereader is an experienced card handler. Summarised,the effect andmethodareas f ollo\vs :l . Secretlycullfoursimilar ~ ~ a l ucards e to the top of the pack. (Suppose these to be the four queens.) 2. Force one of these queens.(This is a simple force and the most suspicious assistant shouldneversuspectthattheir choice ha,s been influenced. ) 3. Whilsttheassistantdisplaysthechosen cardcutthepacktobringthethreeremaining queens to the top. 4. Undercut half thepackand shuffle off, injoggingthe first card.Undercutthree-quarters holding break at injog; throw to break and extend these for chosen card to be replaced on top. Completethe shuffle byrunningthenextthree cards - theotherthreequeens - singly,injog nextcard and shuffle off. Cutcards below .injog to top. All queens are now on top of pack, the chosen queen being the fourth card. 5 . Spring the cards from hand to hand. This bends the cards mith the faces concave.
6 . Riffle theupperthird of thepack.This bends the cards of the upper portion of the pack with the faces convex. 7 . Undercut half and shuffle off. This results in a bridge at the centre of the pack with the four queens below the bridge. 8. CharlierCut whichbringsthefour queens to the top. 9. Slide off thetopqueen with thethumb and let it fall face up on the table, asking :“ Is this your card? ” 1 0 . Or1 receipt of a.negative xepiy ap’pear disconcerted.Leavequeenontable. 1 l . Repeatmoves 5 . 6, 7 .and 8. 12. Repeatmove 9 and askanxiously :“ Is this your card? ” 13. Leave second queen on table and appeac as though you can believeneither your eyesnor yourears.Repeat moves 5 , 6, 7 and 8. 14. Repeatmove 9 andsay :“ This time it must be your card.” 15. Leavethirdqueenontableon receipr of a further negative reply and say :“ I give it up,” flinging thepackonthetable in agesture of frustration, when the chosen card gives itself up by landing face up. This is accomplished by the well-knownmove of pushingthecardoverthe side of the pack to cause the air pressure to reverse it during flight.
The effect is,thattheperformer shows both hands empty, then one hand is closedinto a fist, the other hand drops a number of matches into it. Now both hands are closed, held wide apart-and, 10 and behold, the hand which contained the matches is sh0n.n to bc empty, whiletheother F35IPTY hand POC‘RS OUT THE VANISHED MATCHES from the fist. This is ;? good close-up nifty.” impromptu The gimmick is merely an ordinary glass tube vial, about three inches long and one-half or fi\.e-eighths inch in diameter : at any rate, it should !,e wide enough so that you can iwert your second finger. Ha\le the glass tube on your rig-ht hand second finger, and you canshcwbothhandsemptybt. wing the 1vell-kno1vt1 mo\’tls, s~!ch as ustd 1viti:-
thimbles,etc. A favourite of mine is this-bend second right finger so tube lies in palm, and point to left hand with right first finger. The first finger points as left handturnsbackandfront. Now finger shou1.d rest at lower part of left palm, and righthand now turnscompletelyaround, so therightpalmfacesaudience.ATSAME TIME right second finger, with tube on it, comes up and behind Ieft hand.Inother words, you are sholvins both hands empty. Now-left handturns off the o\’er downrvards, and grabs the tube from finger of right hand,andrighthand is at once mo\Ted away. No\v you place number a of matches in left hand, they, of course, go intothe tube.Onthe last match,as you drop it i n , the right second finger enterscpen end of tu&, an6 c..;rrit.s it np and a~va!. frcm out of theleft fist.
“
“
”
“
”
continued on page 14
12
\]'e mustapologise to X r . C . L. Boardefor r:cently makingamistake in his address; it is 8012, 190th Street,Jamaica 3 , New York.InciCcntally,themostrecentcopy of thePhoenix f o handcarrieda \'er37 nicebook test bythis .zuthor.
It is hoped to hold a meeting of the Societ), c;i Mentalists in London towards the end of January. More particulars \vi11 appear i n thc Decemberissue. George Braund, one of magic's real personalities. managed to get a full page photograph in a recentnumber of the Tatler." Thiq is publicity of the best and most remunerati1.e typt'. Georgehasthe mannerthatcantake him to thy hest places and mix with the best peopk. During his recent engagement at the Bagatelle he hac1 his \'cry sophisticatedaudienceeatingout of hi:, hand. "
"
"
A LESSON IN BANKING-continued from pugs I U you, sir ? A six. And you,madam ? An eight. - 7
sir ? Three of clubs.Thenthehighest is the eight, so n.e are to draweightpounds from our bank, which the gentemen here will, perhaps, be so good as to hold. You, madam, are completely satisfied wit.h the emptiness of the bag.? Good ! I will askyouto tie the bag up with this ribbonand I will thensuspendit in full vien. fromthislittle stand. We are to withdrawfrom the bank account of 20 poundsthesum of eight pounds . . . heregoes ! " Motions are now made of transferringthe right coins, one at a time,fromthe ' bank ' to the cloth bag, whilst the large bag, in which is the slate with the name of the bank clearly showing i n theopen ' window,' rests uprightupontheperformer'stable,oragainsttheback of achair, as may be most convenient. " Now, saystheperformer, " I will ask the keeper of the bank to slip off the elastic band and to count t,he contents . . . S l Z , sir ? . . . that that seems quitecorrect.Andperhapsthelady will be so good as to representthe bank's client and see thatshehasthecorrect sum of S8 . . . Correct,madam ? Manythanks ! It now only remainstoenterthetransaction up in theledger (taking up the large paper bag and removing the slate and chalk), but I see that one of the bank's ytaff has beenbeforemeandhassavedme thv trouble,for here is theentryalreadymadeout of twentypounds showingthatfromourdeposit \\e ha\,e drawn out exactly eight pounds, leaving a balance of t ~ pounds l in~the bank." YOU,
"
Thb clatc. of ntsxt ),ear's British Ring tion is definite131fixed for Scptembclr 22nd-Sep. tembcr25th, the \*enue being that t1ccidt.d at tht. _l.G.I1I., Southport. The British Ring rc'ationai Day..; of Magic tvill be Feb. 14 and Fcb . 15. Tht. hall \vi11 be.C'onn'ayHall,and t h e sho\\.s \vi11 ha\,c some names ne\v to London.There \\.il;, o f course,bcthelast-minutechance of getting L)ile or t\vo really star acts that may be plaJ7ing i n Tonm.Thisfixturehas a little moreorganisatioi1 behind it thanthepre\*ious t+fort b). tht. I . R . M . at the Scala. There \\,ill be \ \ , ~ ~ il nl :id\yailce publicitJr. and only the necessary number of acts in\litcd to fill a normal size bill.Geoff. Robi~~son h+ undertakenthe secretarial u m k f o r theLondoll Committee. o n thisoccasion. The date for the Magic Circle Annual Banquet hasbeenfixedfor Friday, March25th,1949, at theParkLaneHotel. Prices of tickets !vi11 tw 21 1 Is. 6d. Furtherparticulars will be found 111 theNagicCircular,Decembernumber. ( y o n \ . c s ~ ~ -
The Requirements. ( a ) A smallpaperbag(minewas a small bag such as sweets areusually sold in), measurmg about three and a-half to four inches square). There is no preparation at all. ( b ) A cloth bag, plain or ornamental, as preferred,madesack-fashion,but otherwisequite ordinary in everyrespect. (c) A slatewith loose flapwith an upper corner neatly cut out and with the rear side coveredtoexactlymatchthe inside of thepaper bag in which the slate is put. ( d ) A paperbag to justaccommodate t,he date so that it may be easily slid in and out. The baghasa ' window ' cut in thefrontthrough Ivhich the name written upon the back of the slate can be plainly seen. (e) A pile of eight coins, tied cross-wise with a nottwo strongthread.Twenty similar coins loose. Preparation.
The loose coins are in a pile standing on the smallpaperbag.The pile of eightcoins is in the centre of the ribbon, which is coiled around it. Theslate is prepared with the words and figures as shownintheillustration. It is then co\Tered withtheflap and inse,rted in the large paperbag, with theflaptothe front, facingthe rut-out window. .A pack of cards is arranged by having severa1 rards on tht. top, the highest being an eight. continued on page 13
!3 A LESSON IN
BANKING--co!lti,lttcd~ from page 1 J In thc performer's left \Test pocket is an india!-:lbbcr band of a sizes to go, fair137 tightly, tivo or t h r w times round the ' neck ' of the small paper ' ~ a g . Uponthetable isthticoil of ribbonhiding iilc. coirx.
Working. Tht. small paper bag is held [vith mouth nide ,penupon the lcft palm,supported in that position the slightly cur\ved fingers, the hand being heid so iilat the knuckles are, more or less, toivard t i l t . audience. Thy first threeorfourcoinsare thrown therebut bag, fairly the into ~ f t e rabout e \ - ~ r yother coin is thrown behind the 3ag but upon thecoinsalready Ivithin it.This, !f done cori-ectly. soundsexactly as if e\rery coin zocs fairlj. i ~ t or h e bag. It also lealres the right :oilis in just the right position for the finger-palm, ,tnd, whtw ail arc' thrown in . . . oraresupposed to be . . . the neck of the bag is screwed up with the right fingers ivhich then remo\'e the bag whilst left finger.;, go to the \Test pocket for the rubber hand . . . and also deposit the coins in the pocket nt the same time. With the band in the left fingers, andjinglingthebag full of coins in the yight, the performer approaches a member of the iiudience and leaves both with him. Theslate is takenfromthebagandthe Jividillg line andthe wording is dulychalked apon it and a small bracket is added, which is, of course, made round the edge of the cut-out corner, : ~ n din this space (actually upon the surface of the slate, of course)the ' page number ' suggestedis put. Turning the slate around, the suggested ;lame of the bank iswritten,boldly, in the exact .;pace which thecut-out window inthebag will frame. ,Any forcecanbe used forthenumber of coinstobe ' withdrawn ' fromthebank,andin my originalpublished version I used the some.,\.hat ancient wheeze of thesumwrittenbythe . pcrfornwr. Audicncc . . . and ' planted ' b ~ the 1 prefer the fo!lon.ing method, since it seems quite straightforward. The pack, with the several arranged cards on top, is fairly shuffled in the overhand shuffle style, exceptthat,asthe first movement is made of rlrawing off cardsuponthe few inthe left hand (theactualtopcards),thissection,maskedby thosebeing dropped from the right, is picked up behindtherighthandpackandretainedthere m t i l all the cards are shuffled off; it is then throivn an top as though it were ,the last of those taken up 3y therighthandatthestart.Thismanoeuvre leaves the pack unaltered as far as the performer's requirementsareconcerned.Theforce is simply of thissameprocedure, a repetition,eachtime, mcept that the stolen packet is dropped invisibly, upon the cards in the left as soon as the ' stop ! ' is c a l k l , theadditionbeingentirelymaskedby the cards in and the action of the right hand. In >.dwr ivords, the top section deliberately is bJ7
t
h
t
h
' planted ' each time so thata definite card is remo\.ed instead of, as theaudience imagine. a purcbl>. haphazardone.Four or five cards arc. silfficient. Each time the ' stop ! ' is calledthe ' selected ' card is pushed off b ~ 7the left thumb, facc do\vn\vard,uponthetray. Thedoublefact of the ' s:op ' choice and the apparentl?. haphazard ' highest number ' choice seems t o 1eaL.e no loophole for trickery. As has been stated,the ribbonfor thebag is coiled around the little pile of coins and, as the ribbon is wider than the depth of the coin pile, It sen'es to conceal itin a verynaturalmanner. Whenthe performer says . . . I n i l 1 askyou to tie the bag up with thisribbon . . ." hepicks up the coil of ribbon,and with it the'coins.and dram,.; the ribbon outatfulllength between his hands, an action ivhich sen'es to conceal the coins now in his right hand and gives asimple reason forthe slight curving of the fingers in order to hold them securely. With a polite Allow me ! he throwsthe ribbon, now hanging from his righthand, over his left armand,asthe two palmsare crossing each other, he quietlydropsthecoinsfromthe rightpalmintotheleft,theright.hand moving straight on to take the bag which he passes to the left hand, whilst he takes the ribbon from the left armandhands it tothelady. H e then proceeds to gatherupthe neck of thebag with theright hand, fairly low down,the left hand h,olding the bag with the coins just within the mouth and, as soon astherighthand commencesto gatherup the bag, the coins are allowed to slide gently down until the pile of coins is actually grasped, through the cloth, by the encircling right hand whilst the left similarlygathersuptheactualmouth of the bag.Thusthere isabsout an inch anda-half to two ,inches of materialgatheredup between the two hands,and presentedto theladyfor . the ribbon to be tied around it. The coins are actually just below this, and shielded bytherighthand entirely.Shouldthelady, overcome by curiosity, essay to feel the bag portion she wil! find nothing unusual about it. This action of gathering up the bag and presenting it for the lady to tieis quite consistentandexplains itself, since it seems only courteousto assist heras,otherwise, it would prove a somewhat awkward business. The exc>hanging of the ribbon forthebag is thus accountedfor,and arouses no suspicion. Before actuallyhangingupthebag upona standthe performer indulges in much the same treatment of it as is generally meted out to the ' egg-bag,' since the coins, being in a solid pile, can be shifted from pointto point, like theegg,andthebagtreated ivith apparent carelessness just as in the case of the ' ewn-bag,' bb with perfect safety. At thelast,thecoins beingsafely in one corner,theyare given a firm squeeze andthe Thread brokenand,treatingthebag now with a "
"
"
continued on page 14
14 A LESSON I N
BANKING-coniinuedfrom
page 14
certain amount of curcumspection, it can be hung up upon the little stand. This may be any simple arrangement that performer the m,ay find convenient. The slate is withdrawnfromthelargepaper bag and, of course, the flap left behind, it appearing to betheinsidethebag, as seen through the cut out space. For thisreasonthe bag should be ofa fairly stiff paper, not liable to fold up of its own accord. Inthe ab.ove I have given an improved version. Intheoriginalversion which appeared in the Magician (M.ay:1917), I used the small brass cup with an inner, removable cylinder, with ahook by whichitcould be drawn out attached to the clothing, for the removal of th.e unwanted coins, and the coins ‘ transferred ’ tjo the bag were actually there from the start, sewn, with .a drawthread, in arow atthebottom of thebaguntil released bythewithdrawal of thethreadatthe lastmoment. Mr. Greenland, like myself, substitutes a simply prepared paper bag for the brass cylinder, the bag having a second bag, of less than half the depth of the visible one,fastenedwithadhesive just within the mouth of the bag proper, and it is intothis that the ‘ vanished ’ coinsactually go. Also, like myself,heusesalarge bagforthe slate, having a cut out window to show the writing upontheslate. I n his version,however,hepreferstosecurethecoins inside thebagin a pile in onecorner,securedbyamuchshorterdrawthread. This is certaidy. much simpler, and more easilyhandled,thanthe versionoriginallypublished,.andforchildren(f,orwhom,withasuitable line of patter,this effect is verysuitable) his presentationwouldbemostsuitable, but, for versiongiven in thisarticle adults, I thinkthe is better. As a rule I am not in favour of giving outthingsforexamination, it beingunnecessarq’ andtedious, andveryoftendangerous,,as well astending to holduptheaction;butthereare exceptionswhere it is desirable,and I thinkthat this is one. Mr. Greenland’s presentation of this little trifle is very effective, and his oneortwoalterations in theoriginalversionarecertainlyby \vay of impro\Ting it. R . K. PASSE PASSE MATCHES-continuedfromp.
The right fingers then curl around tube, into a Bothhandsare heldwideapart-andyou PASS,” etc., finally showing the left hand “
11
fist. say
empty-andthen pouring the matches out of the right fist. This gimmick may also beused forvarious other effects on thesame lines astheabove. For instance, I personally use it f,or a couple of other vanishes, in additiontotheabove,atvarious times . A lighted cigarette may becaused to vanisb, same way as the matches. The vanish and re-production of a silk. Here I know you will like. is a nice littleitemwhich Have asmall12-inch silk in the glass tube,and have one corner out a little bit, so that the second finger slips intotheopenend,and you can nip thecornerbetweenthis finger andthumb.Have theloadedtube on second finger of righthand. Show both hands empty, as outlined above. Now lefthandturnsoverandgraspstube in the left fist, atthesame time thumb of right!handnips thecorner of silk,andrighthandpullsthe silk downwards,out of left h.and.Thismakesa nice little quickie production of asilkfromthe barehands.The glass tubecan begot rid of under cover of hank when you place hand over it, in left hand,etc. “
”
~
~~
EFFECTS FOR REVIEW. THE “DEVANO” RISING CARDS (from the inventor, see advert.onthispage, price 30/-). Themethods of performing the rising card effect are legion; this present self-contained method originatetl by l)e\.nno is in ;L class of its ou.11. Just imagine-a pack of cards is freely fanned,andany number of cardsselected.The No\\- \\-ith performer shuffles them trick intothepack. thepack heldin eithertheperformer’sor a spectator’s hancl the chosen cards canrise. Thepackcanalterrnatively I)e placed in a glass or replaced in its case. and the cardsstillrise. IVe recentlyhadthe pleasure c ) f presentingthis effect at ;t party where n .number of \\,ell-kno\\.n conjurers were present and they agreed that it \\‘asthe twst e\.er . . . not only that,they\\roteto l)e\.ano ant1 tmught the effect! It is so simple that !-ou can do it in f i \ ~minutes after reading the instructions : a s you are a reader of the “Pentagram,” you won’t be so foolish; \vi11 weigh u p the points of presentation a 1 l t 1 irl time \\ill ha\re a remarkable and mystifying effect.Afterall that i t seems almost unnecessary t c m sa!- that i t is unreservedlyrecommended. THE “ZINGAREE”BLINDFOLD (Veroni I louse o f JIagic, price 12/6). Here,too, is a trouble freedevice that hasmore uses than \\’c ha.1.e space tolist.The a c l \ ~ ~ n t a g\\.ith e thisparticu1:~rmethod is that the 1x.rformer has f u l l vision using an examinctl piece o f opaquematerial ant1 t\vo \w-y solidpatls to co\.er the eves. F o r such things as I)lintlfoltl drives o r use in n t \ \ o person \isnal code a c t i t is ideal for the items usei! are tldirlitely unfaked. Accompanying the blintlfoltl there is a suggestetl routine, but \\-c feel sure t h a t reatlers of this little 1)ulletin coultl think o f manv \\-a>-s to apply thisaid. IJnreser\wlly recommended.
15
THEFINEART OF MAGIC,” 09 G e o r y e C‘. A’u&rl (publishecl l)!- the I-leming Book Co., York, P.A., IJ .S..\.),Price 37/6. -1 I)ook consisting of o \ w threehundredandfifty pages of newly described efiects is something of a n e\.ent. -Icld tothisfactthattheauthor is one whose contributionstocontenlporary magazines haveearned highpraisefromthe coglloscenti ami you have a book that \\-ill notonly gi\.e enjoyment 1)ut addtoone’s kno\vledge. rlltogether the 1)ook containssomeeightycompIete effects pluso\-er a score of methods and principles. i’;trtl \York ancl menta.1effects take up the largepercentage of the effects, and the only criticism we can make is t h a t sometimes the effect (from the audience’s point o f \.ie\v) is not as straightforward as onemight\vish; forexample,the effect “Twentyonecards.”We pirticularlyappreciatedthespacegiventothe use of +_he “short card” for whilst many effects have appeared liuring thiscenturymaking use of thislocator,the wl)ject has not been so well tackled. Mr. Kaplan’s clcscription of proceduresincardcontrolshould make :L strongappealtothenaturaltype of conjurer,for herewith the minimum of digitalefiortsomemiracle location of effect of “peeked at” cards are made simple through sul,tIety. Among the card effects are eight suitableforstagepresentation,thebestfromour way o f thinking 1)eing “Giant Trio Flight.” The card stahl)ing effect described here is rather suggestive of thelate Douglas Dexter, but the method lacks his sul)tlety.In hisnlintl Readingsection, \vhich is very, very good, Mr. Kaplan confuses a s so manyconjurers t l o , physicalwithmentalphenomena,i.e.,slatewriting r t o t p r r t O / or nn!/thin!f t o I / O with rraclttul rrrngic. I n thissection \\.e liked particularlytheCapitalproblem, and cannot think why the author didn’t suggest the use of aflap\vith the possible alternatename.Thereare sixfirst rateitems in thecoinsection,althoughthe Iiaplan coinswitchhere described has been in cornmoll wage hereformore yearsthan I care t o remember. The author’s \Tersion of the “Sympathetic Coins” i s very,veryniceindeed. There is a chapter giving some eleven selected items, \vhichincludesa good utilityswitching device a nice routinewith “Thetrap-doorHandkerchief”and ;L ThayerHandkerchiefCaddy. In thepenultimatechapter of the 1,ook are descril)e(lsome half dozeneffectssuital)leforplatform use, l)ut making use of apparatus and technique that would :)e u11~letectal)leat the closest r a q y . I t is in this chapter that momentarily (for us) Mr. Kaplan falls fromgrace. \%’e justcannot see why so olwiously ;! fastidiousperformerhas t o descend tothe“panties” effect t o olltain a laugh. All the effects are described \\.it11 meticulous detail, the presentation and method o f the “Rill in theLemon”andthe“Thread”trick ~tantling out as highlights.Thelastchapter is entitle11 “Conclucling Observations.” Here theauthornot only Ki\.es certain\*ien,pointsregarding the place of magic, {Jut also gi\.es some practical advice regarding the routining out o f an-4ct. The I)ook is 1~eautifull~printecl and i ) o u n t l i n the Fleming Classic Series style.Theillustrationsare 1 ) ~ Francis J . Rigney.Jean I-Iugartl (lid theediting. \\‘it11 t h e month of Deceml)er so near can think o f fenfiner things a t so smallacost that a wife coultl 1 ) u > her huslmnd as a Xmas present. Congratulations to a11 concerned. Vnreservedlyrecommended. “
PROFESSIONAL MAGIC FOR AMATEURS,”
/I!/
I l - d t r r B . G i l ~ w n (published by NicholasKave T,ttl., 1 , TreheckStreet, T-ondon, W . I . ) , Price 8/6. I t is eas1- to recognise the work of a n experience(1 journalist and in this we11 producetl 1,ooli o f some b1.o
hundred odd pages, Mr. Gibsonshows the mature ha11d that in the past has given magic so many good things. His method in this bookis to take the readerthrough a course of easymagic.Altogethernearlyfifty effects All, withtheexception of the Illusion aredescribed. section,require the simplest of accessories, andinall cases the effects obtainedaregood.Thattheyshould be goes withoutsayingfor Gibson is one of themost knowledgable magical writers. The book lavish is lvithillustrationsandtakesone Iacktothedays of \\W Goldston, who knew so well that t\\:o gooddrawings could teach more than two hundred words of letterpress! It isrecommended to beginner andexperiencedperformeralike,for the former wll learn quite ;L lotwhilstthelatter willbe remindedofseveralthings that he has forgotten. The illusion section expose shoukln’tworryanyonefor who to-dayisgoing to \vork the ‘ ‘Vanishing Automobile’ ’ or ‘ ‘Walking Through a \\’all” (Fancy waiting ior modern bricklayers to make a wall!)\Vhilst considerablecomment has I)een causedregarding the publication of the socalledGoldinversion of “Sawingthrough a Woman,” i t should be remembered thatthere is always more than one w a y ofkilling a cat than bychoking it with cream. I only know thathsd I. been a professional illusionist working the two person version, I would have immediately switched over to the Stanley Collins (better butincorrectlyknownas theSelbit) version theday thatthe“DailyExpress” published a n explanation of thetwo personeffect. Atthe priceasked an excellent buy. “ JOHN RAMSAY’S ROUTINE WITH CUPS AND BALLS,” b y T’ictor P’UreZli (published by George Xrmstrong), Price 2 5 / - . It seems fittingthat coincidentwiththis pulllication,that mostlovable of present-dayconjurers,John Ramsay, should have received the high honour .of being electedPresident of the BritishRing. Mr. Farelli has in this book carried out a l’ery fine piece of work; we personallyrateitas hisbest.After n preface by John Ramsay, the author gives a comprehensi\re history of the cups and balls which carriesthe reader o.\.er sometwenty-sevenpages.Theroutine is then attacked and no single detail of working is omitted. Xltogether nearly fifty pages are used and photographic illustrationsareprofuse.Tenpagesarethen gi\Ten t o ;I l-)il)liograph.y of the trick in question. Mr. Farelli assures us, and \ve havelittle reason to doubt, that it is the mostcomprehensiveinexistence. On the same daythat \\.e received acopy of the book a t Bour-nemouth \ve had the pleasure of seeing John Ramsay work the routine, lvhich is a real masterpiece of natural we magic. It is of interest, too, to notethatalthough hat1 in a brief breakhurriedlyscanned the final stages of theroutine,Johnny had 11s completelybeatenwith t \ v o of his loatls. This is a 1)ook notonly for the p r ; ~ t i c a lworker 1)ut forthecollector. It \vi11 he treasi t is unreser\.edly ured l)y Iwth.Excellentlyproduced, wcommencled.
16 WEAREPROUD
I
TO PUBLISH
FLEMING BOOK CO., YORK, P.A.,U.S.A.
ARCAS MagicalPublications Mr. Smith’s Guide toSleight of Hand .. .. . . U’. Jonson 10/6 A.B.C. of Ventriloquism D. Craggs 10/Expect Manipulation of Play-
. . L . Ganson
..
in& Cards
PLEASE NOTE
lO/lO/-
:-
or directfrom
Surrey
I
. .
--.
FOR
. -
-
No
-___--
-
Vice-President: Douglas Craggs, Esq., hI.1.RI.C‘. (’lllbroom
and Library and
MllsrIlnl :
St. Ermin’s Hotel, Caxton Street, S.W. 1.
NEW ADDRESS
King George’s Hall,W.C. I’artirulars from Hon. Secretar!. :
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
HENRI DE’SEEVAH
INSTITUTE
AIM(’., IEhLS., I R M . . SShlC’.
--
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
OF
MAGICIANS
I ’ o ~ t ? ; m r ~ t ~\\‘akdicld. tl~. Ilriall:r~n antl I)t.troit. L.S.A. l h e fric.ndlic,.;t o t magic.al socirti!.s. K O c*ntrancc*f ( ~ . . printc.cl clllb magazinc.. splendid librar:.. h l d o n H.Q. Ihsnison Honsv, 296 \ ~ a ~ ~ s h a l l Rridgr. \’ictoria. S.W.I. (one Ininlltc. Yictnria Station). I’artictilars trom Oscar Oswald. 102 F:lmstt.ad \ \ . I I I I ! ~ \\’( IIII>Ic,\ l’al-i<, hlidtllcw S . 131-ancht5
THE FRIENDLY MAGICIAN invites all bona-fide Mapirians to sendforhis list o f new and used apparatlls and books, or call at his
STAMPED ENVELOPE Caller5
D.S.0.. O.R.E.. T.F.. D.L.. M.I.M.C.
of each month
f ’ t l l c l h o t t p : R xilington 6236
NEW. Let me know your wants
LIST FREE
I ’ I ~ .:ti(.rlt : His Grace the Duke of Somerset,
65 MANOR ROAD WALLINGTON SURREY
CONJURING BOOKS FOR SALE OLD AND
Circle
Magical Theatre :
316 216
TheMagic
1 / 1 single copy 1 1 /6per year post free
151
404/408 SYDENHAM ROAD Croydon
published on 24th
20/-
10/-
WARLOCK’S
PENTAGRAM
10/-
Testament of R. W. Hull . .T. H. Hall Nothing i s Im possible . .T. H. Hall Masterpieces of Magic, Vol. 1 Patterns for Psychics .. . .Warlock Karnut .. .. . . .Franklin ConJunioring , Rrearley Willane’s Wizardry .. , Willanc ObtainablefromallDealers
I
PETER
ill
I~rrltlon,
I
I
MAGICIANS‘ BOOKBINDING SERVICE “
PENTAGRAM
”
NEW AND OLD
VOLUME I .
”
Rintlinr Pricrs :CLOTH 5/6, REXINE 6/6, MOROCCO FINISH 7/6
42
*
-~
C. Alderson
F I E L D Road, Sheffield
2
MAGIC
Latcst Think Magician a A pocket Mind Keading Effect .. .. . .onl! 216 Orrin’s famow Spidrr’?; \\’tb. (‘aid Trick . 30’COIX \i‘ANDS to Droducc a real (.()in 16.6 .A - f e w Sliding Cllk Parks of Cards 8,/9 Send stamp for printed. lists of old and new Maglc. SYDNEY de HEMPSEY 363 SANDYCOMBE ROAD, KEW GARDENS SURREY .. Ric 4238 ”
I
I
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Tt.l(,phonc. or Trlrpram : MORLEY 899
..
.A(ldrc.+ : GREENFIELD AVENUE GILDERSOME, Near LEEDS Iirarl) . U 1 >x’ar- in thc. l>llsint,+ 23
Every Advertiser’s goods are fully endorsed-by this PrinCtd
i I l E11cllt1ld
for P E T E R
W 4 R L O c ‘ t i R Y HERBBRT\\‘ALKER
&.
S O N (PRINTERS)LTD.,\YELLCROFT\YDRKS.H’ELL
Bulletin
c’ROFT, S H I P L E I . YOHK?iHIHF:
*
17
PENTAGRAM An independant monthly bulletinfor all who want good magic
V ? .3 J K .i3
B
! 1948
W
In mylastbook I described an effect of the Ringing the Rod type wherein a serviette ring, selected fromamongfourimpaledonaknitting needle in aframe, wasmagicallytransferredto another needle threaded through perforated a box. The effect proved quite popular, and I useditforseveral years, but it is not everyone’s meat.The b,ox used forthereproduction of the ring is ratherbulky,and it hasoccurred to me thatthe effect mightmakeawiderappeal if I could substitute for the box something which wouldpack flat in thebag.Inthepresentversion,therefore,ascreentakesthe.place of the box. I have also discarded the frame, using insteada loop of ribbon. In its simplifiedform the effectis as follows :The performerexhibits four ,plasticserviette rings, each one being of a different colour. These arethreadedontoalength of ribbon,theends of which are tied together so that. the rings cannot beremovedwithoutuntyingtheribbon. Onthetablestandsa screenwith a knitting rlcedkthreadedthrough holes in its sides. I t is shown back and front and replaced on the table. Theperformernextintroduces a square of velvetwithahole in thecentre.This isused to coverthefourrings, by passingtheloop of ribbon through the hole and letting the velvet fall around the rings. A spectator,invited on the stage, is askedtoholdtheribbon. He is also asked to select one of the rings., Whenthishas been done, theperformerexplainsthathe n.ill remove the chosen ring from the ribbon, but that i n order to do so hemust first make it invisible. He places his handunderthevelvetsquareand brings it away,empty,but with thethumb ancl fcxefinger separatedas if they held an invisible ring.Hemakessurethatthespectators realise places that his hand is, in fact,empty,andthen it behindthescreen,withtheavowedintention “
”
of passingthe invisible ring on to the needle threaded through the screen. So f.ar theperformerhasapparentlydone nothing but fool ab,out, and so the sudden denouement is doubly effective. Th,evelvetsquare is removed from the ribbon, and the helper is amazed to find that thechosenringhasdisappeared. The remaining three rings are still threaded on the ribbon, and no amount of examination gives anyhint of theclue to the mystery.The screen i.s thenturnedround,and there, threaded on the needle, is the chosen ring. Screen, needle and ring are handed to the helper, who thus holds the whole of the apparatus used -except thevelvetsquare,andwhyshouldhe worryabout a littlething like that ? This is quite a pretty pr,oblem, and the comparative ease with which the rather stringent conditionsare compliedwith will, I hope,commend it to some of my readers. We have to consider1. The removal of the ring from the ribbon. 2. its evanishment. 3. Itsreproductionontheknittingneedle. The choice of colour is, of course, forced, and the ring of the colour decided upon is cut through at cne point of its circumference with a very fine saw. To one side of thevelvetsquare issewn a pocket justlargeenough to accommodatethe ring.Therings,bytheway,shouldnotbe too wide ; ringsabout half an inch wide arefairly common,and these arejustthethingsfor cur purpose. The screen,which I have drawn, is made of thick cardboard, suitably decorated. At the point A is a slit about half an inch deep. A duplicatering of thecolour to be selected is suspended in a lcop of blackthread.The twoends of theloop arejammed in the slit andadjusted so thatthe ringhangsmidwaybetweenthetop “
”
continued on page 18
18 R I N G I N G THE NEEDLE-continued from page 17 andbottom of the screen. Thesurplusthread, which will behangingdowninfront of thescreen, left handdoesnot is thencutaway with theexception of one-eighth cess, andhandsitto be noticed the by examination. He takes back itand threads it of an inch. This will not spectators, but is it sufficient prevent to thethreadbeing dislodged prematurely.
We can now considerthelayout.The screen,withthering suspended inside it, standsonatableto the performer’s left. The knitting need.le is position, i.e., in threadedthroughthe holes the inscreen (a ‘11d, incidentally, through the suspended ring).Thesplitring, together with the remaining three solid ones, is on atableto theright of theperform,er. On thistable are also the velvet square and a length of ribbon.
T heperformer commences by displaying the four rings, threading them the ribbon, on and tying together the ends of the latter. The velvet square is passed over the ribbon so that it envelopes the rings, and a spectatorisasked to come on to thestage and assist. H e is requested tohold the ribbon. Attention is now directedtothescreen. The right-hand fold is gripped with the left hand, the thumb being to the front and the suspended ring beingscooped up into the palm with thefingers. At thesametimetheneedle is wit‘hdr,awn with therighthand.Thelefthand now turnsthe screenupsidedown, thus bringing the inside into view. The right hand grips the edge of the screen, while theleft, still concealing thering, slides to thecentre of thetop(temporarilythebottom). In this position the screen can be opened out to permitthespectatorstogetaclear view ,of the interior. The needle is then threaded through the holes again, the screen is turned right-side-up and replacedonthetable,theringbeinggently released so that itdoesnot click againstthe needle as the left hand leaves the screen. As hecommences to walk awayfromthe table,theperformer remembers thathehas of theneedle. H e withnotprovedthesolidity draws it with his right hand, taking care that his “
”
go nearthescreenintheprohi? temporaryassistant
for
through the screen, oncemoreusing only his right hand. If you have followed the r o u t i ne you will appreciate that when the needle is withdrawnthesuspended ringresumesitsnormal position, which is such that when the needle is replaced it goes through the ring (see diagram).
The next move is torequestthespectator to select aring. The choice of the split ring is forced, and the performer places his hand under the velvet covering. I t is a simple matter to open the ring sufficiently to detach from it the ribbon,afterwhichit is slipped into the pocket of thevelvet is brought away, the square. hand The t6umb and forefinger being held ;bout two’ inches apart as if they heid a ring. Walking over to the screen the performer places his empty hand behindit. As soon as it is hidden it graspsthe thread and pulls it out of the slit and away from the ring, so that it drops on to the table. Now comestheclimax. Thevelvetsquare is removedfromtheribbonanddiscarded. The assistant is left with a loop of ribboncontaining three rings which are unmistakably solid, any one of whichhemighthavechosen (so he thinks). To complete his bewildermenthe is handedthe screen and needle on which isnow threadedthe fourth solid ring. EFFECT FOR REVIEW. JoeStuthard’s“Trilby”Deck(price 21/-, from X . L\’. (;amage, Ltd.,Holborn, E.C.2. ) In the past couple of years that delightful Canuck, JoeStuthard,putthe Svengalideck on themap of England.Thedeckthat hedescribes as “Trill>y” has all the advantages of the“svengali” plus a number of features that the buyer j\.iil discover. Besides the actualcardssupplied(letit he mentioned thatthe faking of the various cards has been carried out in a firstclass manner), there is a booklet of some twenty pages photographically illustrated that covers t h e handling of the deck plus some t\venty-t\\,o effects. Excellentvalue.
19
Note.-For some months I havekept this effect to myself, believing it to be similar to Joe Berg’s UltraMentalDeck. Now that I understandBerg’sdeck it quite different from mine, I offer my own version here with the assurance that while others may have used asimilaridea, my working is original. If you include card ,tricks in your programme, To mixitwith double PLEASEleavethisout. lifts, invisible passes, injogand shuffle off four, is toleavewiththeaudiencetheimpression that it’sjustacardtrick.Whereas, if youincludeit astheonecard effect in amentalprogramme, usedsimplybecauseapack of cards seemed a handy thin,g to experimeent with, you’ll give them somethingtotalkabout. And make it as simple as you know how, with nofancy flourishes, fans or shuffles, for the 1,ove of Pete. Here is what happens : After explaining that thoughttransference is afacultymanypeople possess to some extent without knowing of it, you invitethewholeaudienceto ‘‘ .havea go.”You look aroundyourstage,and seize onapackof cards in its case which happens to be there. It seems easier toprovethis with cardsthan with abstractthoughts,”youexplain,disarmingly. In my case, I tellthem that if they imagine themselves ,as standing behind me and looking .over my shoulder for the next thirty secondsor so, they aremorelikelyto get amentalpicture of what goes on.Suityourself,butthat’sproveda good line of pattertome. will Havingdonethis,youexplainthatyou look through the cards, which you take from case and show back and front. You will then take lout one cardandreplaceit wrongway round in the pack. And you may safely bet that one, at least, in theaudiencehasbeenable to get amental glimpse of that card, whichyou prove by taking cards from case again and showing that one card isreversed-justtheone cardthat is namedby the audience. Of course, it’s a Brainwave Deck in disguise. The disguise consists of the fact that you can sho1T.r the fronts of the cards and (as far as the people in frontknow)thebacksas well. First of all,theset-up.Takea new pack of cards, and forget about that grubby old pack you first thought you‘d try this out on. Apply roughing fluid to all the backs, except those of the joker and the blank. Then set upthepack so that theoddreds and even blacks face one wa37, with the elyen reds and odd blacks the other. Clubs and Hearts back so doSpadesandDiamonds. eachotherup,and so that the comAnd it’s advisable to stack them Author’s
“
binedpips on each pairtotal 14-K.S. backs A D . ; 8C backs 6H, and so on-whichis exactly thesameset-up .as the commercial Brainwave Deck,exceptthatthisfacesoutw.ardsinstead of inwards. Place the Joker and the blank (or two Jokers if you prefer it) back outwards at one end of the pack, and put the whole set-up back in the case, remembering which side is which. Now when you take it out of the case, you do SQ with the “back” (thebacks of the two Jokers) tow.ards theaudience, and slightly fan these two cards so that they gettheimpression of seeing cardbacks.Believe me, this never fails to impress on t,hem that they’ve seen the whole pack thoroughly, back and front,because you thenturnthecards over and run through the fronts, giving them a goodview of that side,card by card. Two tips at thisstage : don’tmakeapretty fan-remember you’re not a sleight-,of-hand expert this time, just a chap who happens to be able to readminds.Anddon’tdo a snappy shuffle, for the samereason. Shuffle, youshould,but be a little clumsy over it, while leaving them quite sure thatyou’ve shuffled honestly-which you have, except that you’ve retained the two Jokers on the back(whatErdnaselaughinglycalls “ retaining the top-stock,” just in case you’re an M.1.M.C). Now shovethepackbackintoits case, and herecomes theartfulbit. You, the mentalist, are going to take out one card, look at it: and replace it wrong way round. (Don’tsay Replace t.he cardreversed,”that You pick u.p the onlyconfuses thecustomers). case, tipcardshalf-wayout,and hold up with +he ‘‘ backs toaudience.Aftera bit of browknitting, you takeoutthe second Joker.” The back of thetopJoker will conceal thc faces of the other cards, and leave the audience convinced thatthey’veagain seen thebacks of thecards. Holdingthiscardfacing you, backtoaudience, you turn the cards and case round, and slip theJoker you hold in front of thecards in the case. So thatthepack now st.andsJoker(back outnvard),pack,Joker(back outward). Nou- lay down cards and case on table. Ask if you anyone g0.t aclear impression of thecard lookedat,andyou’ll get several offers. Take one only and askwhatcardtheladysaw(it’s a lady 99 times in a 100). Whenshe tells you t,he name of her card, ask if anyone else saw the same card. Andhere you’llget ashock, in all seriousness, because you’ll find that several others “saw” :he same card. PeterWarlock will bearmeout that this surprisingthingdoeshappen,andoften at that. “
”
continued on page 21
20
If onecanbelievethespoken andprinted word,thelateTheo.Annemann was the richest man inmagic. The noun is used as it appliesto friendships, material not wealth. Wherever magicians congregate, conventions, at society meetings ,or in the back rooms of the magic shops, theconversationbearstestimonytoAnnemann’s talent. Magic magazines periodically publish specialAnnemann sections, Annemannanecdotes and reprints and variations of Annemann effects. Weird Wire, Jr., is nothing more than the latter, a variation of an effect entitled Annemann’s Weird Wire which appearedin Jinx No. 89 someeight years back. The original effect made use of a set of the now famous Rhine symbols-a circle, cross, wavy lines,squareanda star-a deckof cards and a magazine.Theperformeraskedthesubjectto call a select one of the five symbolsandthen previously given teleph.one number. The performer’s associate ontheotherend of the wire questionedthesubject and revealedtheselected symbol.Annemanncautioned,however,thatthe effect was not fool proof. He had devised a book test using thecardsandmagazineasanalternate when the first effect failed. Annemann objected to the use of foreign articlesinperformingmagic. H e believed that use of such articles excite suspicion in the subject’s mind. An analysis of that belief andtheforegoing effectwill provethemcontradictory.Use of one of theobjects in WeirdWire,automatically should cancel out use of the remaining two. Whiletheyarenot foreignarticles ” in themselves, none of the items are in any way related. Weird Wire, Jr., eliminates the possibility of failure.Further,theperformer’s associateneed notquestionthesubject.Anditmakes use of only a single item-cigarettes. (As regular a reader of the British press, thewriter is aware that mere mention of MyLady Nicotine will cause a number of Pentagram readers to turn the page. But wait!) “
Effect : A number of different br,ands of cigarettesare collected fromtheon-lookers. The performerexplains that he has a friend who has developed an animal-like sense of smell. He hands the mostszepticalmember of his audience a slip of paperon which is writtenatelephone number. Freely select acigarette,’’theperformer commands. doubting The Thomas choosesacigarette, dialsthetelephoneandthe performer’sassociate on the other endofthe weird wire tells the subject the name of his cigarette. The effect makes use of Anneman’s Weird Wire “
code. (American brands of cigarettes are here listed. Pentagram readers will, of course,want to revise the code to list the most popular makes of British cigarettes). The code folloLvs, ..vith codewordsunderlined : What brand am l smoking? lit Lucky Strike What brand am I smoking? unlit Cheste,rfield What cigarette am I smoking? lit Camel What cigarette am I smoking? unlit Old Gold \Vhat brand of cigarette am I smoking? lit Philip Morris What brand of cigarette am I smoking? unlit Pall Mall What am I smoking? lit KO01 What am I smoking? unlit Wings Working : If the subject selects, say, an Old Gold, the performer instructs him to dial the telephonenumberandask, (‘ What cigarette am I smoking ? By casually emphasizing the word cigarette, theperformerinvariably will fcrcethe subjectto use the codeword.Whentheperformer’sassociateanswers thetelephone, he tells (he does not ask) the subject to blow a thin stream of smokeintothetelephpnereceiver. As - the subjectmustpauseamomentto light thecigarette,theperformer’sassociateknows it to bean Old Gold. If the subject selects a Lucky Strike, the performerinstructshim to light thecigarettebefore What brand am dialling the telephone and asks, I smoking ? Again,theperformer’sassociate tells the subject to blowsmokeintothereceiver. If thesubjectdoes so immediat,ely, the ,associate knows thecigarette is alreadylit,and is, therefore, a Lucky Strike. Use of thisparticular code is limitless. By enlarging th,e list of code words, the performer can includeakeywordforeverybrand of cigarette made.Thesamecode easily ‘can beapplied to books,magazines,wearingapparel, coins, cards and an endless variety of articles. A few pointers in performingtheforegoing effect : If the performer does not have the of thesubject, it iswell to undividedattention repeat the code sentence immediately after he, the subject,dialsthe te1,ephone number.Forcefully impress upon him by the tone of your voice what he is to ask. ”
“
”
continated.on page 23
Here is a pretty little opening effect that does notwantspoilingwithunsuitable patter.It is basedontheuseof Cremation or Red Ashes paper.Whilst, so faras I know,there is no dealer marketing this effect in England, fine Japanese tissue of the kind used in the making of model’aeroplanesshouldprovean efficient substitute.Fromasheet pieces arecuttoa size of six inches byfour. As thereadermay be aware, this type of paper will, after being ignited, rise in theair.(Cortinimadeaspeciality of this in his burnt and restored paper effect.) The onlyotherrequirementsarea twelve-inch silk of similarcolour to the tissue, awax taper,candlestick andcandle,andanashtray. First of all,the silk is laid flatonthetable and two opposite diagonal corners rolled in towardsthecentreuntilyouhave a longroll of silk aboutoneand a-halfinches in width.Turn up twoanda-halfinches at oneend of the silk at right angles, and, rolling from this end, a little bundle is made,theright-angledendprotruding as in theillustration.Withtheaid of ashort length of blackcottonthebundle is fastenedto thetaper(seeillustration).This piece of cotton actually forms a loop, and were it not for the fact that the wax taper so easily breaks under pressure I would say use an elastic band(thismethod of fastening a silk for easy release is, of course, similar to that of attaching a silk to a wand for ultimateproduction.Thisbeingdone,thearticles iheperformer is using arearrangedon‘thetable as shownintheillustration. It will be noticed that the small silk bundle is completely concealed bythethickness of thetable.With,thesmall piece of tissue at hand and the candle lighted, the conjurer is ready for the Presentation. The piece of tissue is taken and held bybothhandsattheextremeopposite corners ; theaudiencemust begiven theopportunity to see that there is nothing concealed either in thehandsorbehindthepaper.The tissue is now creasedwidthwise and openedout so that the folds are at right angles to one another. In this condition the tissue is placed like an openbookontheashtray.Therighthand now takes the taper-, care, of course,beingtaken that (1) the fingers shield thebundle ; (2) the : (3) bundle is nearer to the palm than the ,taper the tip of silk protruding from the bundle is positioned near the first finger. The right hand moves the taper across to the candle flame, and when the former is alightappliesthisflametothetwo corners and the top part of the fold of the tissue. As the tissue burns down therighthandquite naturally passes the taper to the left hand, which in turn replaces the former on the table, the silk bundlebeingleft in therighthand.In these moments the flame should have reached the lower “
”
“
”
Thread t i e d round taper and folded
Taper with s i l k attached
silk
edgeof the tissue, andtheash is readyto rise. When this happens the conjurer times the movement of his right arm so that as the ash reaches shoulderheighttherighthandmeetsit.Atthe moment of contact the right thumb presses against the protruding tip of silk, the fingers of the right hand releasingtheirhold onthebundle so that the silk falls. The effect totheaudience is one of instantaneouschangefrom%ashto silk. There should be no attempt to shake the silk as the hand reachestheash : justletitfall.Whilst a bigger silk may beused,thegreaterlength of fall will make the change less magical. ~~
~~
TURN OF A CARD-continued
from page 19
Pickupcase,andbearinmind which card must haveitsback t.0 theaudience.Extractthe cards right side forward, leaving behind the Joker which happens to be at the. “ front ” of the pack. to flashily-and Fanoutthe cards--again,not when you see the named card facing you, separate it with left thumbnail W thatthebackjust shows to theaudience.Runthroughthemagain, cut the pack there, and you ,have another “ back outwards card on the back of the pack, which you can once more show casu.ally as you lay pack down. Ask again for the name of the card, and on receiving ilt. turn it sl.owly ‘over at arm’slength so that its face appears for the first time. And if my experience is anything to go by, you’llhearagasp of surprise.But, of course, you must watch the angles, you Macchiavelli, you. If you’ve.had ‘no luck with formulae for roughingfluids, you may care t.0 trythisone : 202. CanadaBalsam dissolved in &oz. Thawpit (both obtainable from Boot’s). Apply with a soft cloth,becausethefluid dries so quicklythat use of a brush will leave streaky brush marks. ”
-
22
(SEE PENTAGRAM No. 10, Vol. 2.)
ever. Because of the Thiscould go on for lack of remuneration for the job, the magic book reviewercannotbeafull-timeexpert at the job. w’hich magicians Because of thesmall worldin revolve,the author and ,publisher of most books areknownpersonallytothereviewer.If,then, the latter is a friend of either of the former, and wishes to remain so, he can hardly slam the book reviewed. Hence the vague platitudes, which shouldbe,totheseasoned hok-buyer, .a danger signal.If,onthelotherhand,the reviewer has some quarrel with the author ,or publisher, he feels, in most cases, that fair play demands that he shali not allow this to bias his opinion of the value of thebook. H e thereforefallsbackagainonthe vagueplatitud,es. So you got themanyway! I doubt if this is necessarily a bad thing. The only way to get really unbiassed reviews is to find a reviewer. who ,has nothing m,hatever to do with
magic or magicians and who cases, in consequence, nothing for their feelings. But such a man would be totally unqualified to pass judgment on a m a g c book, so his opinionswouldbeworth less than those of the menwho do thejobnow. Of Bob Lund’s criticism of thesepoor fellows, conscientiously trying to fall between tw.0 stools in a neat fashion, I cansayonlyth.at hemisjudgesmost. The majority have certainly not less than a quarter of a century of experience of magic behind them, and you do learn something in that time-even if it’s only that a book critic’s job is pretty thankless. Perh.aps I may put a period to this discussion bycongratulatingthe ‘‘ Pentagram ” onhaving securedtheattention of RobertLund, who is-a rarity amongst magical writers-a professi,onal journalist and adelightfulcompanion,as I discovered in Detroit earlier this year. His weakness is a Idisconcerting.habit of quoting Chinese maxims . . . which maybetaken twoways
JMPROMPTU ” by B r i m M c C ~ r t h y (publishedby George Johnson) Price 7 / 6 . This is a new edition of a veryworthwhilebook. In thefour sectionswhichcovercoins,cards,cigarettes and matches, the author offers some twenty-three effects and ideas all of which, as the title of the book indicates, can be performed impromptu. Whilst the author is notedforhisskillthereare few of these effects that callfor anything more thanaverageability. Allied t o the magicaleffectivenessis theadditionalvirtuethat most of the effects have a story plot attached-. thing which so often lifts the small item into the well rememberedmiracle. The effectswhich appealed t o us most were “TheDisappearingHole” (a coin trickwith a novel angle), “The Torn and RestoredCigarette,”and the“RepeatingPenetration. ‘The bookconsists of some ninetlyoddpagesandcontainsover a hundred illustrations. Tothose wholike t o havethe oddtrick always on hand we unreservedlyrecommend it.
moveusedhere is indetectable we think it for the few ratherthanthemany.The secondeffect is described as a “mental” effect;whilst we can excuse the author thismistake, we cannotunderstand GeorgeArmstrong also committingthesamedescriptivefaultin hisforeword, and canonlyassumet.hathi$interestinhypnotism is undermininghismagicaljudgment. Because a thou!///t o/ card passesfromoneheap to another such a trick is not a mental feat. The ultimate in this effect \\’as reached 1)y thelateEdward G . Brown andnith thatstandard \ve judgeallothersand find in Mr. .~ Parelli’seffectlessnaturalmoves.Despitetheauthor’s meticulousobservation of bibliographicaldetails we are surprised that hemissed the false count,sscrilxdto RrianMcCarthy, in theStanyonserials. IT‘e feel fairly Yertain toothatthe CharlesHarrisonfalsecount \vi11 also be found in a similar spot. The book is nicely produced and well illustrated withphotographicillustrations. As theEdward Brownmethodhasnot been published we canrecommendthelatter effect as being thenextbestmethod published to date.
“
”
“
”
CARDTRICKSTHAT WORK ” by ?”on2 Sellers (publishedby George Johnson) . Price 3/-. This again is a new edition of a previously published booklet. Altogether there are some twenty-three effects, of which we think“Repeatcard t o pocket” is the best. It is not a card worker’s book in the accepted sense, huttothose who want number a of simple \\.orking effects thathave a flavour of novelty we recommend it. “
‘‘ THANKS TO LEIPZIG
” by I-ictor 2;’areUi (yuhlishecl Price 10/-. In thisbooklet of some fiftyoddpages, M r . Farelli gives two lrersions of “Mene Tekel.” In the first, cards selected by members of the audience pass from one heap to anotherwithoutanyunnaturalaids. W’hilstwe are prepared t o acceptthewriter’s word thatthe hasic
t ) y George Armstrong).
“ LESLIE’SHYPNOTICHANDKERCHIEF.”(Price 7/6,The LeedsMagicalSupplies, 276, KirkstallRoad, Leeds 4). This is similar to a routine described by Martin Gardnerin‘‘AftertheDessert. -4s the writerseems to think that it is originaln-ithhim,Iremustpresume that this is a case of coincidentalthinking. ”
6 4 THE PINKLADIES,” h y Stewrtrt J U I I I P . , ~Readers . may \vel1 remember that we criticised the needfor ;I suggested presentation \vith this \rery ingenious mystery. Ste\\-arthas no\r run off in story formsomething that covers allthepoints we hadinmind. To thosewho h u g h t copies of “PinkLadies”thepresentation mill !,e suppliedgratis. continued on Page 23
23
Those who, like myself, will have been charmed by Dr. Jaks’s lovely little mystery Pendle (PhoenixAnnemannissue) will find thatthe use of one of the littleplastic skul1.s (put out with the effect Skull-ocation ”) instead of a locket adds a nice touch. To get the pendulum swing we have removed the short length of chain and substituted a piece of thin silk ribbon. Incidentally, we hear-and we hope thatourinformantis wrong-that this effect is due to be pirated on our side of the Atlantic. BobbyVoltaire,whoafter his season atthe Windmill, is abandoningVariety, is getting well booked for private work. A special Electrick show with the aid of his new assistant Gwen, plus theonly electric canine Martha,” is anovelty in the way of children’s entertainment, and somethingthatthey will talkabout. TheAnnual MagicCirclesale of apparatus and booksthisyearbroughtalongthe press. Whi,lst there was not a lot of scope for reporting, it did manage a news item based on the story of thesale of some of thelateEdwardG.Brown’s props.Theseitems of his intheMagicCircle salewere,however, mainlyoddments. Since ourreturn to. London, we had wondered wh,at hadhappenedto some of the accessories that: heused, in particularthe device that playedapart in his aerialmint. It wasonly this week that we f o m d out where they were, and have had the pleasure of seeing them and handlingthemagain.Chris.Charltonprobably hadthebestbuyoftheafternoon.It wasinterestingwhenbooksandmagazinescameupfor sale to see the prices theyfetched. I t was also hterestingtonotethat whilst glossies were in abundance,there wasnotone lot thatincluded Jinxes, Phoenixes, Hugards, Bats Pentaor grams.We feel thatsomewherethere is amoral to be drawn. HenrideSeevah showed us some very nice featherdartstheotherday, bloom six inches in width, and stemstwelveincheslong,price 4 6 each-not our line of country,but we feel sure that many of our readers could make use of these colourful accessories. MauryFogelgettingtwentyminutes on the LightProgrammeonDecember6th is something of a record for magic in thiscountry. I t wasa iirst-rate presentation. Onthose few occasionswhen we havelittle 10 do we play in fascinated a way with the Devano Rising cards. If youare using this effect, tryholdingthecard in acuppedmanner, and allow thefrontcardto rise. It looksreally spooky. George Blake sent us this many, many is no reason for it, months ago, and though there ”
‘ l
l‘
“
“
”
”
italwaysseemstowork.Takeadeck of cards and thoroughly shuffle it ; now dealoutfour hands of cards, but misdealon one heap so that oue heap will have twelve,onefourteen and two thirteencards. Now reassemble theheapsand dealagainwithout any misdeal. You will find whenyou turntheheapsoverthatone set will containa singleton, i.e.,there will in one heap beeither one club,heart,spadeordiamond. Our .apologies to a1.l concernedfornotmentioning that Wilfrid Jonson’s effect that appeared in the last issue was translated and reproduced by permission from Le Journal de la Prestidigitation. Congratulations to Mr. and Mrs. Francis V’hite onthe additimon to thefamily of Master Martin Whi.te. D.V., there will beameeting of the Society of Mentalists in LondononSaturday,February 12th.This in view of thefactthatthere is a possibility of an I.B.M. lunchonthe fol1,owing day should fit in well with country members’ arrangements, and allow them to makea full weekend followed by the I.B.M. show on the M.onday. W E I R P W I RE-continued from page 20 If an off brandcigarette is collected, spreadthecigarettes carelessly onatablewith the strange brand on the end ,of.the row. If more than one uncoded ’’ brand is collected, tell your audience that to prove that there is no collusionbetweenyourself andthesubject,thatall of the cigarettes will be placed on the table with thebrandnamesturnedfacedown.Placethe uncoded cigarettes at the ends. Past practice has provedthatthesubjectalmostalways will select a cigarettefromthemiddle of therow. “
”
”
BOOKS and ROUTINES-continued from page 22 T H E DEVIL’S WHISPER 8 ITS DEVELOPMENT, h!/ 110 l-p!/n (pu1)lishetl l)y the author, 316, Alorningside Ytreet, 1Iigh Carntyne, (;lasgo\v, price 3 / 3 postfree). The modern generation of colljurers \vi11 kno\v little about the “Devil’sWhisper,”hut we can\\ell renlemher in3ur young dayslmyingsmallphials fromEllis Stanyon and mixing the necessary ingredients th:tt u.ouldallow us to snap my fingers and produce a flash o f flame.Onehad t o 1 ) ~carefulwiththe chemicals, and many a gootl magician has sufferedserious danlage through carelessnessin either mixingorhandling. The author of thismonograph,pointsoutsuchdangers in his introduction,then proceeding to give the safe \\ay of carrying, mixing and hantlling the chemicalsused. After thistheauthor clertls \vith a numher of varying types o f flashes that c a n 1)e produced, including a “Chameleon” flash (\\.herethere is a colourchange!) ant1 an“Echo” flash. De Vega not onlyn-ritesknow1etlgai)ly 1)ut his criting is lmcketl \vith practical experience that can 1ea:e thereader rendv totryout the itemsmentioned. E c l n x t l Victor \\ill be onlvtoo rcwly to testify as to the quality of the effects produced ior he was supplied 1)y thelvrittr \vith the necessary flashes when he was playing the pantomime role o f “~\I)anazar” (luring a long season a t Glasgon. Pavilion. \-cry \vorth\\.hile ant1 unreser\xvllv recolnmendetl.
24
THE EXPERTS ARE ENTHUSED
Coloured
over
THE FINE ART OF MAGIC Ed.byJean
By George G.Kaplan. Hugard.Illus.byFrancisRigney.
will get :(FredBraue); Thebook of the I'll wagcr, many year athereafter" (John Braun); year-and A modern Sachs. . . . Amodemclassic (Milbourne Christ0 A work of outstanding merit. . . . I amdelightedwith pher); (Stank?. Collins); ' ' Superb it, and give the it highest praise magic-magic as itshouldbedone (John J. Crimmins, J r . ) ; This is the Vernon kind of magic-and we mean it ! . . . Pure and (Brnce Elliott) : " .4 delightful magic, exqnisitely thought olrt major addition to genuinely useful magical literature (Dariel Fitzkec); An absorbing book. with many gems in the different something for everyone, and much ior fields. . . . Certainly most (Goodliffe); Hereisatookthat willIive (JeanHugard); T h e most original book of magic I have read in years " RobertsonKecne); Certainl\. very a fine book, and nndottbtrdl\. a Fleming best seller (Pttc:. IVarlock). destined as B Cloth, 352 largepages.bearltifull~~printedandhandsomel).bound. postpaid ($7.50) 37 '6. '' book A that's entitled to the superlatives it
' Recommendednncqoivocally
"
"
"
"
"
"
"
"
"
'l
"
"
"
--
"
"
BOOKS ANNOUNCED FOR EARLYPUBLICATION. TARBELL COURSE : VOL 5, cIoth, 418 pages ($10) jO'-. CYC'LOPEDIA OF MAGIC (Ha),), cloth, 500 pages ($7.50) 3i.'6. RemittheseEnglishprices t o Mr. RobertsonKeenc, 301 Norwood Road,Southall,Middlesex.andshipment will be mad?immediately direct from America. FLEMING BOOK COMPANY, 728 Madison A V . . York, h . , U.S.A.
ARCAS Magical Publications
I
Mr. Smith'r Guide toSleight .. . .W. Jonson of Hand A.B.C. of Ventriioquism D. Craggs Expert Manipulation of Play..L.Canson ing Cards Testament of R. W. Hull . .T.H. Hall Nothing Im is Dossible . .T.H. Hall MhsteGieces of 'Magic, Vol. 1 .. . .Warlock Patterns for Psychics Kamut .. .. .. . .Franklin Conjunioring .. .. . .Brearley .. . .Willane Willane's Wizardry
or directfrom
ObtainablefromallDealers
10/6
I
PETER
10/-
WARLOCK'S
published on 24th
The Magic Circle I'rc*sidrrlt : His Grace the Duke of Somerset, D.S.O., O.B.E., LP., D.L., M.I.M.C.
of each month
Vice-President: Douglas Craggs, Esq., M.I.M.C.
1 / 1 single copy 1 1 /6per year post free
10/-
20/15/ 10)-
O OBKOSO K S BOOKS It is our policy t o keep every hook :)11 conjuringand allied arts in stock. \\'rite for free lists. Most LT.S. t-moks and all Englishpuhlications instock. Five Shillings equals one dollar-we pay postage I''oyc'l'!/n o r t d ~ ' t h n i u c l t l . ~ t o u r e r z ~ I P ( I . * c sur/'fcp c i i r . c l c / . If-(' X n r c supplied iVA4GIC'to tlrv lI'OIZLT,.D. v ' i r r . c p 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. Telephone : EIXAIpstead 0 9 ~
PENTAGRAM
10/-
St.Emin'sHotel, CaxtonStreet,S.W.1. Magical Theatre :
65 MANOR ROAD
KingGeorge's
WALLZNGTON
:-
SYDENHAM 404/408
ROAD
SURREY
Croydon
Surrey
I'depitrrnc : Wallington6236
Museum :
ClubroomandLibraryand
PLEASE NOTE NEW ADDRESS
3/6 10/2/6
Trouble-Wit
FindtheLady. A perfected form of this ever popular trick. Set of three trick cards \vith printecl instructions, price 10/Self-Reversing Cards. Ten cards arranged alternately back and face u p . A flick o f the fingers and cards are found to have re-arranged themsel\.es. Repeated as often as desired. A perfect pocket trick, price 3/6
"
"
"
Trewey Model Cartridge Paper Stanyon Corners Betrutifuily C'olowred i r r fmt K u i ~ ~ h o u *P V ~ O I I Y . ~ Stage Size, used by Trelvey, Stanyon,etc., 12" when closed PRICE 22/6 PlainWhitePaper, if desired ... 15/6 I/tlportant Hint8 on openi?tcl and d o z i n y t h e f o l ~ i irrclrrded s Trouble FVit Booklet ; 80 illustrations . .. 2/9 LimitDiminishing Cards (a StanyonExclusive). Backs of cards shown a at n y time and sample ,card extracted and. displayed after each diminution. is nowincluded \vith instructions. Packtomatch Price 25/-. DisplayStand, 5/-.
Hall, W.C.
ParticularsfromHon.Secretar).
:
FrancisWhite, 39 Alverstone Avenue, WimbledonPark, S.W.19 -
CONJURING BOOKS OLDANDNEW. LIST
HENRI DE'SEEVAH M M ' . . RMS.. IRM.. SSMC.. THE FRIENDLY MAGICIAN invites all bona-fide Magicianstosendfnihis list of new and used apparatus or call at his and books. studio :l, CLARENCE ROAD Harborne, Birmingham 17
FOR SALE
Let me know your wants
FREE FOR No
STAMPED ENVELOPE Cailtrs
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
l
MAGICIANS' BOOKBINDING SERVICE "
PENTAGRAM
"
NEW AND OLD
VOLUME I.
"
~
Binding Prices :CLOTH 5/6, REXINE 6/6, MOROCCO FINISH 7/6
C. 42
*
Alderson
F I E L D Road, Sheffield
MAGIC
Latest Think a Magician A pocket Mind . .onl!. 2/6 Effect ReadiEg Orrin's famous Spider's iccb, Card . . 30/Trick COINWANDS to produce a reai.coin 1616 A few Sliding Glue Packs of Cards 8/9 Send stamp for printed lists of old and new Magic. HEMPSEY SYDNEY de 363 SANDYCOMBE ROAD, KEW GARDENS SURREY Ric 4238
2
..
Every Advertiser's goods arefullyendorsed Printed in England for
PETER WARLOCK BY H e R a e R T WALKER
& SON
INSTITUTE
OF
MAGICIANS
Hranchcss in Lcndon, I-'ortsmouth, IYakefield, Brighton and Detroit, V.S..4. The friendliest of magical societies. KO entrancefee,printed club magazine, splendid library. London H.Q. Denison House, 296 Yamhall S.W.1. (one minute Victoria Bridge, Victoria, Station). 102 Elmstead Particulars from Oscar Oswald. 4vc nllc. \Vi.mbl(.\ Park blidd'tv S .
JAM GE R SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephonc cm Telegram : MORLEY 899 Address :-23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Near]:. 30 >'ears in thebusiness
by this Bulletin
( P R I N T E R S ) LTD. W E L L CROFT WORKS, WELL CROFT, S H I P L E Y , YORKSHIRE
*
25
PENTAGRAM An independent monthly bulletin for all who want good magic
The routine is outlined under $three headings : (1) Presentation (as seen bytheaudience) , (2) Requirements, and (3) Working. (1) Presentation. Thepatter givenhere is on1~- meant as a guide to the plot whichfollows. lnditidual performers will change it to suittheir styles. Ladiesandgentlemen, it is believedby many people that the human mind is composed of t \ \ o parts-the conscio:ls andthe subconsci,ous. The conscious mind contains the thoughts and impressionswhich are in being at themoment and which can be conveyed to the external world b>speaking, writing, gestures--and telepathy. T h e subconscious, however, contains a vast collection of thoughts and impressions which are totallJr hidden from our conscious minds, and we have no knowledge of their existerlcc. But they are there. ~ n d what’s , more:many of them will materialize intoourconsciousminds in thefuture,and ~ve :.l.ill then be acvare of their existence. I t is possible to read the conscious mind directly, by telepathy. We will see in Lvhat follows.But I contendthat it is possible toread the subconscious mind directly, with more a p\\-erful form of telepathy.Whateveryour own \.ie\vs are, let us sec what happens.” This preamble is very necessary, and the performershouldmakethemost of it, preferablli n his okvn way.Thespectators’mindsmust.be :jttulIt.d to xvhatFollows. Fourspectators(designated A, R, C and D ) are no“ chosen by the I?c.rformer (at random) . You sir (indicating Spec. A ) aregoing to act as a subconscious mind, whilst you, sir, you a!:d you (indicatingSpecs. € 3 , C and D ) will act ;is conscious minds. My jobistopenetrate your mi:lds (gesture tokvards Specs. B, C and D)-and J-nurs (to Spec. A ) .” Performertakesup a pack of cards,fans [ h t m \\ iclely, and a d \ ~ m c e . ;011 Spec. A . Holding “
“
“
”
”
I ‘
the fan out to this spectator, faces down, the performerexplainsthatthese (thecards)represent unknown thoughts and t‘hat he, ‘the spectator,,must chooseone of themandwithoutlookingatthe card to place it deep down in one of his pockets. The pocket symbolises a hidden recess in the subconscious mind. You have now ;X thoughthiddenaway in yourmind,andnobody,least of allyourself, knows what it is.” Performer non goes to Spectator B, asks him to think of a card, and as the spectator does this heremoves a card f r o 3 thepack.This is not shown, but placed face down on the table (or back out 011 astand).Thespectator is now askedto name his thought card.Hedoesthis,and pcrformer removes this card from the pack, shows it,and places it with thecardhejustremoved. These two cards n e will call a pair (performer's card and spectator’s card). This is repeated with spectators C and D, but the “pairs” nrc kept separate from each other on the table. Ncw, the performer turns to A, gazes intently a t him,removes a cardfromthepackandlays this on the table. For the first time, Spectator A is asked to take his card from his pocket and divuige its name.This hedoes, andthecard is laid with the performer’s one. At thisstagethere will be 4 pairs of cards lying in a row on the table. Ql;ite openly, the performer lifts up the first pair (Spectator B’s) and lays it face d,own on his pa!m. Hethen picks up the second pair(Spec. C’s) andlaysthisface down ontop of thefirst. D’s) is lai,d onthis, and, Thenestpair(Spec. finally,the last (Spec. A’s) is laid on this. Thc cards are now dealt off from the bottom of thepacketfaceuponthetable in pairs. The first pair of cardsare seen to coincide u i t h each other i n value and colour (e.g., “
“
”
“
”
continued on page 26
26 PETER MOFFA,T’S LEGERDEBRAI~-cotatinut?df~o,n page 25 cards. 7 hearts--5 diamonds). Finally go to Spectator ,4. Pretend to fathom Similarly,theotherpairsarefoundto coinhis subcalxious. Remove a cardcorresponding cide in this way, as they are dealt off .on the table. to D’s card in \due.and colour, and place on The last pair of cards [Spec. A’s) are not shown table as before. immediately, but the performer gives a brief ,4 non.removes his cardfrom hispocket, recapitulation and,turnsthemover.They,too, sho\vs it,and you place it facedown on top of coiacide. The subconscious thought has been thecardycuremoved.Thereare now 4 heaps read! of 2 cards each. ( 2 ) Requirements. Pack of cards arranged in Lift up the pair ot cards first laid down, place the Si Stebbins system (or any other). thenext pair on them, thenext on them,and Table or stand. finally A’s heap on them. The Glide.” Packet is heldfacedo\vn in left hand. Draw (3) Working. Deliver introductor37 remark;. off bottomcard 2ndshow. It is E’s ( ‘ thought Packmaybefalse shufffed if desired. I t is card. La17 it face up ontable. fznned to Spec. A, who‘ choosesa card. At this Glide thenextcard,anddraw off theone point,variousmethodsforsightingthekeycard nexttoit. It \vi11 coincide with the one on the tolearnthechosencardmaybeused. I doas table. . follows :-Hold abreakatthepointwherecard Maintainthe glide, and deal off the next t\vo was removedfrom,andsquareuppack. Cut off cards(the first is C’s thoughtcard,thenest portionabovebreakandhold in right hand. yours).They coincide. Lower half is inleft hand.Thesetwohalvesare Repeat ~ i t hthenext twocards, maintaining of riffle shuffled together, Iettjng the bottom card the glide all the time. righthand packet fall first. It then becomes Youare now left withtwo cards (the glided bottom card of pack. Don’t glimpse it yet. one and Spwtator A’s subconscious choice). Spectator P, is approached and asked to think of Pause for a second to recapitulate, then turn both acard. As hedoes so, fanthepacktoyourself, these cardsoversimultaneously,spreadingthem. note bottom card, calculate Spectator A’s card and They coincide. remove a card from the pack corresponding to A’s The onlysnag is if by chanceonespectator card in value and colour. This card is apparent117 thinks of the card which you have already withchosen by interpreting Spectator B’s thought. dralvn a s acorresponding one(e.g., B thinks B divulgeshis Thiscard is laidfacedown. of 4 heartsand C thinks of 4 diamonds). As an card. this is removed from pack and slid face down out it is probably wisest to ask C to think of underthefirstcard. a card differing as mucn as possible from B, or Keeping R’s card in mind, go to Spectator C. eise tell C that the card he has just said (4 diaRepeat the same as with B, but remo1.e the card monds) \vas not the first card he thought of, and corresponding to R’s card,andlaythisonthe that he hadbetterha\,eanothertry. table.When C divulgeshiscard,removethis frompackbutplace it face down on top of your card. [Editor’s note : Way back in the summer, Captalr, This is repeated with D, removingacard LedieMay showed methis presentation of correspnding to C’s card in valueandcolour. Peter Moffat’s ; thecombination of effectil-cThe actual card thotlght of by D is remo\Ted from ness plus simplicity of \vorking made 8n pack and again placed on top of your card. Keep instantappeal,and I feel surethatreacers in mind D’s card. m 4 1 u.elcome it asaworthof thisbulletin Yc:: k?:,.~ 3 bmps. each contaiging 2 v.hilt addition to their repertoire.-P.W. 1 “
”
I 1
”
( 1
”
:;f,x:
A trick \\hicl] is ineffect similartothiswas published i n tile Pnaeriix by Dai Vernon. In Verno:1’s t,ffect n card was selected2ndreturned t o the pack. -411ace, two andthree, of anysuit, the \\.ere tilen sho\vn and placecl facedownon tabic. A spectatorwasthenaskedtonameeither ace, t\vo or three, and the one he names is found tohavechanged to the selected card.TheonlJdra\vbacktothistrick was thata different procedure had to bc adopted for \\-hichever card nras chosen. “
”
Inthe methodIevolvedthefour aces are used instead of anace,twoandthree. It can safely be repeated i t so desired, without an!chance of detection, as the procedure is the same whichever ace is choserl. Thefour aces are first placedface up i n 3 fanonthetable. At thispointtheorder of thc first three aces from the face card of the fan must bc noted. A card is then selected from the rea1nainder o f thepack,andafterbeingreturned, contintred on page 28
27
Effect. A piece of paper ivith a slit in the centre is held upforinspection. A half-crown is pushed
throughtheslit.Thepaper is turnedroundand the coin is seen to have vanished. A second halfcrown is pushed through the slit, the coin disappears,thepaperandthehandholding it being shown entirelyempty.The magician thencalls for iz coin to reappear, and one slon.ly comes back into view through the slit. The second then reappears in-1’’IKe manner. Requirements. A piece of paper,abouteight inches square, with a clean slit two inches long in thy centre. A1so t\\o half-crowns. Method. Theperformerstandsfacingleft, bclliild his table,and holds tile paperup in the left hand. The first coin is takenfrom the table b ~ ltherighthand,and SlO\Vlj~pushedupwards throughthe slit in thepaper, see Fig 1, which shows thespectators’ view from thefront.Fig 2 slmws the back view at this moment. As the coin c’omes through the slit, it is grasped by the second and third finger-tips of the left hand, which eventuallypullthe coincompletely throughtheslit
left, as in Fig. 5 , nhich shows thespectators’ The coin intheright fingers (Number 2) is held underneaththepaper.The left hand is removedand shown empty.Itthenre-takesthe paper from the right, as shown in Fig. 6 (omitting the hand shown dotted), at ,the same time taking Number 2 beneaththegaper.Therighthand is removed for a moment and then grasps the paper while the left hand is moved alongthe line of arrows(seediagram)totheposition shown in dotted iines, taking coin Number 2 with it beneath thepaper.Thepaper is heldverticallyas in Fig. 1 (omitting the right hand). To cause the coin toappear,the left fingers maniplllate the coin slowly through the slit, \\here it drops into the right hand and is placed on the table. Coin Number 1 palmed in the right hand is now alloned to drop on to the fingers, and the came hand takes the paper from the left, and shows i t on bothsides. I n doingthis,theperformersuingsroundtofaceright. Coin Number I palmed in the right hand is now allowed to drop on tothefingers,andthesamehandtakesthe paper from theleft,and showsiton both sides. I n doing this, the performer swings round to face right. Coin Number 1 is now helsd againstthe back of thepaper with theright fingers. Still facing right, the left hand comes up and takes the paper from theright. I n doing so, the coinis droped from the right LO the left hand behind the paper, see Fig. 7, Lvhich shows thespectators’ view.Swinging round to face left againthiscoin is causedto appearthroughthe slitin thesame \\-a\’ as \\-ith the previous coin. Patter Suggestion. I n.ould like toshow \-ox a remarkable invention of mine (shoning pzper). I call it the disappearing hole (shon. slit). I doll’t mean that the hole itself disappears; I mean that x:~.thingpushcdthroughthe holc disappears.That is (pickingupcoin), if I push this coin through fromthisside, it nel’er comes c,ut on theother si,de (pushing coin through). You see it’sdisappeared en route (showingback of paper) . Once more I mill push a coin through--and it also neverccmes outtheother side. So, y o u sec, i t meritsitsname of ‘ The DisappearingHole.’(Showing left handempty). If 37011 want the coins back again, all you ha\re to sa>‘ is ‘ gilly gilly coin come ’ and one coin comes back (cne coin appears). I shall now call for the other. You \\:ill notice ,that although it is actuailJjust bctlind the slit (showing back of paper), yet 1;ou still cannot sec‘ it. I haveonly to call ‘ gill!. gill\. coin come ’ and it makesits appearance (coin appears) . [Reproduced from Impromptu,”by kind permission of the plhlisher, Georgc Johnson.; view.
“
scc Fig. 3. The right hand, having pushed the coin through, drops to pick upthe second coin from thetable.In doing so, the wrist turns, and as the hand passes do\s.nwards,the coin is dropped by !the left hand a r ~ dfalisintotherightfingers, see Fig. 4. Fig 3 shows theposition of thchand; at one moment, ancl Fig 4 thc position at the next instant, as the right hand is dropping. The right hand continuessmoothlydown\vard>,and picks up the second coin. In so doing, Number 1 is palmedin the palm prcper. Before inserting the second coin. the paper is turned round to show that there is nothiasatthe back. Coin Number 2 is non. pushed through the slit, and dropped back on to thc right fingers by repetition of the above moves. The next thing to do is to show the paper and tlleleft handempty. ’To dothis.therighthand comes up andtakesthe piecc of paperfromthe
‘~ilcl hold it behindthepaper,
”
“
28
Readers whorecallmy predioti,on effect entitledPrevhue,andpublished in “ Pentagram,” Vol. 1 , No. 7, may be interested in this variation onthesametheme.Letme first briefly recapitulatetheoriginal effect. Theperformer,afterafewquestionstoa volunteerassistant,writes a predictionwhich is droppedintoahat.Theassistantishandeda red,a white and abluesilk,andaskedto tie them together in a chain, ir? any order, and then to hold the chain up by either end he wishes. The prediction,readingfromtoptobottom, corresponds with the order of thesilks in the chain.
missing, andthe set on tophasbluemissing. The mnemonicineachcasecorresponds to theoriginalone. ,411 thattheperformer needs to remember is that he mustsubstituteyellowin the mnemonic for the colour that has been omittedfromtheset,except, of course,forthe set whichcontainsnoyellow. If the reader is familiar with Prevhue, he will rapidlyappreciatethattheextramental effort is very small, while the added effect fully justifies it. The diagram shows the actual lay-out of the billets. ~
~~~
~
AN ACE CHANCE-continued from page 26 Y Y brought to the top by any method you prefer. The W B pack is heldfacedown in thelefthand,anda B W break heldunderthe sclected cardbythelittle . finger. W W Thefan of aces is thenpicked upfromthe Y B table and placed face up on,thepack. The right B - Y hand then takes them off together with the B B selected card.The aces arethentransferredone W Y at time a from thetop of thepacket to the Y W bottom,atthesame time theyareturned face down.Readingfromthetop of thepacketyou -m will now have,the selected card,thethree aces R R in the order you know, and at the bottom the last Y ace. The packet is now replaced on the pack, and W thefourtopcardsdealt in a line from left to right.Thespectators imagine these to be the W Y four aces, but in actualfactthe first is the Y R selected card, and following this are the aces whose R B order,readingfromlefttoright, is known.On Y Y B top of thepackyouhavethefourthace. Next W R R Y ask the spectator to name any ace R W R Y If one of the three you noted is named, then all you have to do is to sco,op iton to thepack -W -B and turn it face up by means of thedouble lift, Thevariationsuggested here consists merely followed by the other two aces without the double of adding a fourth silk, say a yell.ow. Before tying lift.This leaves the select,ed card facedown on the silks in a chain the assistant is asked to take the table. Of course, if you are fortunate enough any oneandlay it aside.Whentheprediction to have thespectatornamethe ace that is not Is read it is in two parts.Theperformer has on thetableatall, just carryonasbefore,but lrritten,forexample, “ You will layasidethe without the lift. bluesilk,”and Theorder of thecolours will Pleasegivethisatrialwithpack in hand, be, red, yellow, white.” and I am sure you will like it. Boththesestatementsare correc,t. The modus operandi is as bef,ore, except that two billet holdersareused,oneineachtrouser SOCIETY OF MENTALISTS pocket.Eachholderhas six divisions, and each division holds two billets, as shown in the diagram. The perforrner thus has four sets of billets easily There will be a MEETING at 3 p.m. available,andeach set is identified mentallyby on SATURDAY, 12th FEBRUARY, 1949 thefactthat it hasonecolourout of thefour in missing.Forinstance, ir, theright-handpocket ST. ERMIN’S HOTEL, CAXTON STREET the set nearest the body has no yellow in it, and WESTMINSTER, S.W. 1. is therefore identical with the set required for the All interested Magicians will be welcomed. originalPrevhue-themnemonicbeing thesame A postcard advising us that you will be present too. ’The second set inthispocket,on tmop of will be appreciated. the other, has the colour red missing. In the lefthandpocketthesetnearestthebodyhas white
1; l
~~
“
29
My son, who is a C.aptaininthe Indian Army, \vas recentlyhomeonleave,andhesuddenly conceived theideathatareputationasa sleight-of-hand manipulator with cards might enhance his reputation in the Officers' Mess. Would I teachhimoneortwotricks that would appear skilful and yet require little or no practice to putover effectively ?---not altogetheraneasy proposition ! However, here is one od the sleightof-hand ( ? ) deceptions that I suggested. First,the effect. A borrowed packis used (this should be stressed, for it rules out any future questioning as to marked or pre-arranged cards). It is freelyshuffled (a gtnuineone,andnothing false about it), and then it is explained that the court cards, being royal, are superior to the nonpictureones,and so theyalways trytoseparate themselvesfromthecommonpip-cardswhenever they find themselves in their neighbourhood. For instance," says the demonstrator, somewhere in this pack which you have shuffled, and which up to this point has never left your own hands, there are four kings, four queens, and four royalknaves. I cannot tell wheretheyare,but if I give them half a chance they will very quickly revealthemselves.Letmeexperimentwiththe kings first of all. My trouserpocket, as you see, is empty,and I placethepackinside.Immediately the kings take advantage of the darkness to separacethemselvesfromthecommoners that surround them, and here they are-one, two, three andfour. We will shuffle thembackintothe pack,and now we will experiment with thefour jacks. Being knaves, they are never happy unless theydothingsbehindotherpeople'sbacks. So this time I will holdthepackbehind my own back, but before doing so will you give the cards another shuffle? Thank you. I place them behindme. I n avery few momentstheknaves force themselves to the front, and here they areone,twa,three, andfour.Onlythequeensare ieft-four ladies, bless their 16ttle hearts ; my own heart goes out to them, and so let me place them here in thisbreastpccket,andasnearto my heartasclothing will permit.First of all, will you, sir, feel inthepocketandsatisfy yourself that is as empty as you would expect the pocket of an impoverished pelson like myself to be. It's allright ? Good. Now in goesthe pack, and here in a royal procession the lovely queens literally force themselves into mmy questing hand-one, two, three,andfour." Theentertainermakes his bow andretires amidst anoutburst of well-merited applause (we hope!). Well, that is the effect. Skilful ? Notabit of it-elementary, my dear MTatson ! '
"
"
But first notice these points, which should be emphasisedwhenperformingthefeat : ( 1 ) A borrowed pack is used. (2) It has not been previously seen or handled by the conjuror. (3) I t is genuinelyshuffledeachtimebefore the court cards are produced. How then is it done ? 0, so simple ! Four kings ( f r o m another pack are placed face oetwards inthetrouserpocket, thefourknavesfromthe same number two pack are suspended face inwards by a paper clip attached to a safety pin under the coat the the back (not too high up, but just high enough to be hidden),andthefourduplicate queens are placed face outward in the upper waistcoatpocket (the onewhere thefountainpen is usually clipped) on a level with the inside breast pocket of thecoat.These concealed cards need not have the same patterned backs as' th.ose that are to be borrowed, for the simple 'reason that their backs will never be shown. The astute reader probably needs no further explanation, but for the benefit of those who are less enlightenedthisiswhathappens. For the production of the kings. The pack is shuffled by a spectator, the trouser pocket is shown empty by the well-known method .of wedging the cards in thetop inside cornerbeforepullingthe liningout.Theborrowedcardsareplaced face outwards in the pocket, then .after a certain a.mount of fumbling and feeling the four duplicate kings are produced one at a time, care being taken nottoturnthemaround so that their backs become visible. Havingshownthem,thehand, still holding these cards, returns to the pocket to retrieve the pack, and, in withdrawing it, the four duplicatekingsarequietlyleftbehind,thepack at once is given an overhand shuffle, the inference beingthatthekingsarebeingagain lost in the pack . It is advisable at this poin't to hand the cards to a spectator with the request that he gives them an additional mix-up--this can be safely done, fsor now thereare no duplicates withalienbacks to give the show aw-ay. Fortheknavestheprocedure is muchthe same, only the place of discovery being different. When hel'd behindthebackit is very easy to secure the four duplicates from the clip under the coat,and to showthemone by one-never, of course, allowing the backs to be seen. The knaves are placed on the bottom of the pack (i.e., faces to the audience), which is then turned round and false shuffled, still leavingthemonthebottom. The right hand palms them off, and then goes to the breast pocket to empty if of its contents, e.g., continued on page 3 1
TheExeter meeting of N.A.M.S.hascome main point whichseemsto have andgone.The arisen is that an increase of 1/ - per capita (bringingthetotalto 1/6 percapita) is necessary to put the Associationintoasolventpositi,on. Such acontributioninthecase of a largeSocietylike the Magic Circle will mean contribution a of approximately S90 perannum. Add tothisthe cost of delegates attending long-’distance meetings, and we shall be surprised if the amount shown in the Magic Circle’s Income and Expenditure Account for 1948/49 is no less than 2150. We mentionthisforthe benefit ofthosemembersof the British Ring who have been in favour of joining N.A.M.S., for with a total membership of 800 (the present figure) the present Ring subscriptionwouldnot cover the cost of joining. Manyreaders kvho aremembers of magical societies in the Association may wonder where the money goes. Part of it, of course, is absorbed in printing the book reviews. Now just a \vord about these book reviews. The present Editor is one of the bestofmagicians we know, but he seems to be hampered in many ways. First of all books for review b y N.A.M.S. seem to arrive about ten months later than reach the magazines, and secondly some of the henchmen are not acquainted with thematterunder review. When \ve read : For the experienced card worker the book contains nothing .outstanding. The only t\\’o amongst the ‘ new ’ sleights which have any appeal to this reviewer are the and the A.N. TopChange,” we feel that we would like to donate a copy of Roterberg’s New EraCard Tricks to the Review Panel. An idea that seems to ha1.e arisen is that the reviews, to justify themselves,shouldbelengthy.Furtherexpense is involved 0u.in.g tothefactthaltthe business meetinghasto be rushedthrough so thatthe dinner,eveningshow,andSundaymorning session are left sacred and untuuchei ; thus it is necessary to have sub-committtee meetings at \.arioustimes of theyear,the officers resident in thecountryandattendingthesemeetings, which areheld in London.quiterightlydrawingtheir cbxpenses from the N.A.M.S. funds. A large amount of thisexpenditure couldbeobviated by morecarefulplanningoftheagenda at the half~ ~ c ‘ a rmeetings. ly ‘ I
”
“
~
I ‘
in Societies has now definitely fixed itsvenue Hollandforthe 1949 proceedings, and we note friend Henk Itithpleasurethatour Lerygood Vermeyden will bePresident. The children’s show at the SIagic Circle was far from a success. Held on the worst day of the war,Januarylst, was it savedfrom magical ignominyby Gil Lemeyandthe clowns. Tony Branson, billed as the Children’s Television Favourite,” makes us realise that television is in a less ad\-ancedstagethan n e thought.Weknow that the Entertainments Committee have for many years tried to have this event in the early spring. Nextyear we areglad to knowthatthis will be 50. \$‘e have alsoproposed that in view of the factthatthis is animportantevent(from thc members’point of vie.!y) that a sub-committee be formed to deal with the question of making this ; i realchildren’sparty.This pro’posalmet kcith approval,andarrangementshavealready been put in handto find a \enue wherecatering as cvell asentertainment is apracticalpossibility. “
Spirit Wehave reviewed JackHughes’s Bell onanotherpage.When we worked this for Jack at the Magic Circle we made use of an auxiliary bell so that the ball could function when the box \vas placed on 2 table.Jack, kve understand,cansupplythe necessarybells,which are well matchedfortone of ring. If we hearfrom Jack that he has had many requests \\e will publish thefull device that we madeup, for there is a bit more to the eft’ect thal: just a battery switch and wire. “
”
”
’The Societiesiricorporated in N.A.M.S. have i n the last few years raised a sum of over ;E2,000 >.early for charity. We feel that a similarsum might easily be raised for Magic. It might make easier the path of promisir?g magic i x ~ ~ its ,could send worth while representatives to o\-crscas Con\-entions. It coulddoahundred and on(’ thingsthatmakeforbettermagic. Thcb
International Federation
of
hIagical
M’orkinglvith Joe Stuthard the other evening had, 111 ccmpany with somelaymen, a pre\.iew of Bi-Co-Trilby. We canthink of no finer tributetoaremarkable series of effects than the foihwing- remark passed by one of the spectators : be raisedfor thc benefit of magic and magicians. You can’t possibly be using a trick pack, becausc. I’1.e been handlingthecards.” Yes,it’sjust like that. \ye
‘ l
Just to hand are some of the names of those appearing in theBritishRing’s Days of Magic shoLv at Conway Hall o n February 14th and 15th. Tht. names are : Billy McComb, Jeff. Atkins, Fred Lovelle, Frank Boynett, Stanley Thomas, Goodliffe, Tom Harris, Paul Ducaine, George S!yvt:stre, Jimmy Kogers, JackLamonte,Jimm)? Green, Robert Harbin and Peter Warlock. Will thosereadersn-hoareinterestedkindly note that in accordanceniththe displayed notice 011 Page 28, a meeting of the Society of Menrtalists \{ill be held on Saturday, February 12th, at 3 p.m. is St. Ermin’s Hotel, sharp. The venue I%’cstmint;ter.
31
handkerchief, ;L slight lifting of the handkerchief pro\i(lingthe m0tiL.e. The resourceful conjurer could for \\-ith \ w y littleeffort ha\re the whole thingset remote control. Exceptionall\\vel1 made 1))- one of ouroldestestaldished and relialjle tlealers, \\-e unreser\.ctll~-recommend it. From the same firm \ve ha\,t: received a S\-engali pack. \Vith the prominence thathas 1)een gi\.en tothe use of thispack \yefeel sure thatthe \\.ouid-be Sven’gali user c m do no better thal; purchaseone o f these. Precision cut,the cards make for exceptionaily smooth hantlling and areo1)tainal)le a t t h e moderate price o f 7/6. ;L
ELLISSTANYON’S “ CARD CASTLE ” (Natleantl marketed 1)y E/iis S t ( / / p y o r / tk ( ’ I ) . , price 50/-. To the cartl \\-orker looking for a stagy finish to his act \\-e can think of few mort’ appealing things than the item under revie\\..Rising as i t does to ;L height of six tiers,antl rising in such a \\.ay that at the fiilish, there is no possildity of collapse, i t is a most impressi\.e sight. Normal\\-orking \\-odd I)e for thecardsto rise untler
JACK HUGHES’S“SPIRITBELL” (Xlacle antl marketettl l)? b r r c - X a Hu!yho.*, price 50/-). 011 this same p3ge \vi11 I)e founcl all technicaldetails of this effect \‘e hadthe pri\.ilege of tryingoutone of the first models ant1 can fully endorse all the ad\-ertiser’s claims. The apparatus is typical J . H . \\orkmat;lshil) ant1 1)arrinp 1);LtterJ- replacementthereisnothmg t o go \vrong or for the performer to worryabout.Inthis class o f effect i t is I,etter thananything \ye have seen forthe Iwll can I)e caused to ring lvhilst the box is -heldin any position;despite thefactthatthe mechanics are tixtremely simple the apparatus 1\41 stand rigid examination. It is attractively finished incream and black. The fact that \ve :)re using this(seenote inMagic G o R0~11ltl) oursel\.es gi\-es theeffectourunreservedrecommentlation.
UNSKILFUL SKILL-continued from page 29 handkerchief, some letters, etc. These are placed on the table and act as excellent cover for thepalmedcards, which are left onthetable beneaththem.Thepack is handedoutforan additional shuffle, for once again it is freefrom anytaint of deception,andthemore it is examined themorepleased u d l be theperformer ! As thebreastpocket rea.lly is empty,hecan safely allow his dupe to feel In it tohisheart’scontent before himself putting the cardswithin.Turning that side ton.ards the audience, he apparently puts
his right hand into the pocket, and draws out the queens one at a time, but actually he takes them from the kvaistcoatpocket-the illusion being perfect. The same hand that holds the queens retul-ns to the breast pocket to retrieve the pack, the duplicate queens are left behind, and the pack is shuffled and then handed out for examination. Nothing could be.simpler, and yet I am confident’thatthisnon-sleight-of-handroutine will gainformyarmy son out in Indiaa repumtation for skilflll manipulation with cardsthathe certainly Iyill notdeserve !
a
Learn Hypnotism.-Anyone call learn t o Hypnotise pro\.itlc.d the\- ‘lcno\\. ho\v’antl are \\,illing t o tle\wte a little time to pxctice. Practical 1t.ssonsin ‘TheWizard’ e\wy month, ivrittenespecial1~- for the Entertainer, l)?. S . E . (1)exterous)Dexter, V . A . F . , T . H . h l . , Also Much GoodMagic, for Alentalists, Children’s Entertainers ant1 Club Performers. Special section for Vents. 36 full\-illustrntetl pages per issuc.. Subscription : 6 months, 12/6; Year, 24/-. George Armstrong, The Magic Wand PublishingCoy., 11 Monastery Gardens :: Enfield :: Middlesex
“
HubertLambert’s VOICEOF THELEPRECHAUN.”
.-\ ft’at
A
“
rncmtalism in \vhich a spcciall>. rc*cortl(.tl gralnophnnc tlihr plnys the chief part.
of
Cotnplete with Instructions, Price 30/-, or Personal Disc Addressing Y o u by Name, Price Post Free, from
35:-.
HUBERT LAMBERT, B e h e , ” Vemon Park, Clontarf, Dublin, Ireland.
JackHughes Goes Psychic ! ! ! THE J. H. SPIRIT BELL
32 THE BEST BOOK ON MAGIC I’VE EVER READ. IT’STERRIFIC ! ”
Coloured
is the verdict of the \vorltl-famous JOHN SCARNE bvith respect to George C;. Kaplan’s
THEFINE
“
Trouble-Wit ’’
Trewey Model Cartridge Paper Stanyon Corners Beautifully (‘olorrrcti i t r fn.5.t ICttit!botc* (’crlolrrs StageSize, used L!- Tre\\.ey,Stanyon,etc., 12” \\.hen closecl Rainbow coloured, 22/6. Plain White, 15/6. l t t t p o ~ t m Hitcts t on operring trnd doxirrg tkc f o l d s irrclrrdcd Trouble \Vit Booklet ; 80 illustrations ... 2/9
ART OF MAGIC.
A few of the scores of other glowing tributesfrom peoplewhoknow : . “It excellentcontentsstaggered me” (Sid. Lorraine) ; ‘‘ ‘The Fine Art of Magic’-Sta~ld CARD TRICKS BY STANYON Card Castle. Base l!, X 103 inches; 6 tiers of cards; 22 u p and cheer (Dr. A. L. Baldwin,Sec’y. I.B.M.); incheshigh; beautifully made\vith t1oul)le cards, “Magic a s i t should be done” (John J . Crimmins, Jr.); 50/-. “These are no idle dreams, but practical effects” ( J . G. Card Castlefrom Hat. 6 tiers; high grademiniature, Thompson, Jr. ) ; “Recommended unequivocally” (Fred Braue) . 30/-. ‘Limit’Diminishing Cards. \Vith pack tomatch, 22/6. Eightycompletetricksandroutinesthat \vi11 baffle: ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. you can do them! C:l,oth, 352 pages, the experts-and (New Bond Cards)\Pizard, 6 / - ; Svengali, TrickPacks. 316 magnificentillustrations, superlAy produced, 37/6. 7/6; Quick Cut and Calculating, 7/6;Colour Change OtherNe\\, AmericanBooks! and Free Choicc Forcing, 7/6; Limit Arranged TARBELL COURSE : VOL. 5 , 418 pages, 5 0 / - ; Hay’s Pack, 7/6. (’YC1,OPEDIA OF MAGIC, 500 pages, 37/6; Wiersbe’s Cartls cut to !.our mv11 specitication. TANTAT,ILIN(; TIIII1IRLES, 1 0 pages, justout, ?O/-; -Rice’sENCYCLOPEDIA OF SILK MAGIC, 520 pages, B O OBKOSO K S B,OOKS \S),’-; Ilhotel’s MAGIC \VITHSMALL APPARATUS, I t is our policy to keep every I)ook OII con~uringant1 320 pages, 25/-; (hultier’s MAGIC WITHOUT APPARstock. \\’rite for free lists. Nost l1.S. allied arts in ATUS, 344 pages, 37/6. PleaseremitEnglish price to books and all Englishpublications instock. our Representative, Mr. Robertson Keeile, 301, Nor\vood Five Shillings equals one dollar-we pay postage Road,Southall, Middlesex, \\rho will ‘ ‘airmail’’ the J’oreY!/m cctctl (‘oloniul c l r . ~ t r ) m c ~ l .px I ~ ( ~ . xlcrvifc’ e t l i t ~ c ~ c * t . 11. I , or-tler to us. and we \vi11 foru-ard the books immediately I t ( 1 r p supplicrl .!5!-46!1P to t l ~ r II‘OIZLIT, .*irrr.c> 1890 from E L L I SS T A N Y O NA N DC O M P A N Y FLEMING BOOK COMPANY, 76 Solent Road, West Hampstead, London, N.W.6. 728, Madison Avenxe, York, Pa.,U.S.A. Y’elephorje : HhAIpstead ”
ARCAS Magical Publications Mr. Smith’sGuide toSleight of Hand .. , .W. Jonson D. Craggs A.B.C. of VentrilaquGA Expert Manipulation of Playing Cards . . ..L.Ganson Testament of R. W. Hull . .T. H.Hall Nothing is Im possible . .T.H. Hall Masterpieces of Magic, Vol. 1 Patterns for Psychics .. . .Warlock Kamut .. .. ., , .Franklin Conjunioring .. .. . .Brearley Willane’s Wizardry .. . .Willanr
Croydon
’
CONJURING BOOKS
101201151 101101316 101216
1 / l single copy
WALLINGTON
ROAD
SURREY
Surrey
Y’elephorre : Wallington 6236 HENRI DE’SEEVAH MMC.. T3”S.. I R M . . SSM(‘. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for hislist of new and used apparatus and books, or call at his studio :l, CLARENCE ROAD Harborne, Birmingham 17
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
PENTAGRAM
”
NEW AND I OLD
VOLUME I.
Binding Prices :CLOTH 516, REXINE 616, MOROCCO FINISH 716
42
*
C. F I E L D Alderson Road, Sheffield
2
MAGIC
Latest Think a Magician A pocket Mind .(Jnl! 2/15 Readi!g Effect “ Orrin’s famous Spider’s Web, . (‘art1 Trick . . 301COINWANDS to moduce a rcal‘coin 16/6 A-fcw Sliding Glue Packs of Cards 819 Send stamp for printedlists of old and new Magic. HEMPSEY SYDNEY de 363 SANDYCOMRE ROAD, KEW GARDENS SURREY Ric 4238
..
Every Advertiser’s goodsare Printed in England for
PETERM‘ARLOCK
BY H E R B E R T W A L K E R
&
the Duke of Somerset,
I.F., D.L.. M.I.M.C.
Vice-President: Dougtas Craggs, Esq., M.T.M.C. Mnseam :
St. Ermin’s Hotel, Caxton Street, S.W. 1. Magical Theatre :
65 MANOR ROAD
No Callers
“
D.S.O., O.B.E.,
ClubroomandLibraryand
PLEASE NOTE NEW ADDRESS
FOR SALE
I“4GICIANS’ BOOKBINDING SERVICE
Prc-itlent : HisGrace
1 1 /6 per year post free
OLD ANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE
l
The Magic Circle
published on 24th of each month
:-
SYDENHAM
WARLOCK’S
PENTAGRAM
1016 101-
ObtainablefromallDealersordirectfrom
404/408
PETER
KingGeorge’s ParticularsfromHon.
Hall, W.C. Secretar!. :
FrancisWhite, 39 Alverstone Avenuz, WimbledonPark, S.W.19
--
INsrIrurE-:
OF
MAGICIANS
I3ranchc,s in London, I’ortmcmth. \\.akeficld. Rrighton a n d Iktroit. U.S ..l. The friendliest o f magical socictirs. No entrance fee, printed club magazine, splendid library. London H.Q. Denison House, 296 Vauxhall S.W.1. (one minrttr Victoria Bridge. Victoria, Station 1. Particulars from Oscar Oswald, 102 Elrnstead \I. ‘ n ~ t t . \i‘. ~nl11c\. I k r k Blitltl’r,v S .
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telrphonc or Telegram : MORLEY 899 Addrcs, :-GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearl!- 30 years in the b u s h e s 23
fully endorsed by this Bulletin SON
( PRINTERS) LTD. WELL CROFT
W O R K S , \\’ELL
CROFT. S H I P L E Y , Y O R K S H I R E
*
33
PENTAGRAM A n independent monthly bulletin for all who want good magic Zeta
W,L.VL~~C&%
-Although thc psychicworker might liketo this,it is quiteacceptable in an ordinar!. magic programme. It is direct and easy to tc~lio\\. Three p ~ c k sof cards ill their cases are intrcduced. Two areremoved,andafterbeinggenuinely shuffled are placed respectively in two stemmedglasses,faces awayfromaudience.The thirdpack is left in itscaseon thetable. Two spectatorsareinvitedto assist, and theirtask is simple,foralltheyhaveto do is tocutafe\\ cards from ihe face of each pack and count them. \&‘c will supposethatthe first cuts twelve cards andthesecond seL7enteen. That’sfunny,” rem d s thecoajuwer, twelve from seventeen lcal-cs five. Do you realise thatwithout knou.ing either of you gentlemen,knew I thatthe difference in your selectior? lvould be ii1.e ! Here is the proof (as he makes this remark the third pack of cards is removed frcirn its case and a third spectator is approached) . On one of these c x d s urote I somethingtothe effect thatthe difference Ivould bc fi1-t. cards. Theconjurer fails tht. pack faces towards the spectaior. Wiii !’ou pleaseremove thatparticularcard ? (The spectator does so.) And now, sir, will you pleaseread whatIhave written ? The spectatorreadsout : I ha\Te apremcnitionthat five \\ill be the difference of numbers cut.” (The \\.riting fills, thecard.) ‘‘ Coincidence,youmaJrightly say,” goeson theconjurer. 111 a way J-OII are right, but just notice that I ha\.(%Lvritten this prophecy on the two of spades.Don’t yc!u ihink it something mGre than coincidence that these gentlemen should have both cul the shuffleu packs atthe identical card ? The conjurer turns both gla~ssesround,andtheaudience see that thc facecard of eachpack is the tcvo of spa des. Thebeautyofthis effectlies in the unsuspected \by theaudiencc) pa!--off: namely, the rc.I.mling of thesimilarcards. LW
“
“
”
“
”
“
”
“
”
“
“
”
consist of Tilerequirementsaresimple,and a rough and smooth forcing pack, two unprepared packs, two stemmed glasses (theseshould allow
the pack when placedinside to protrude at least an inch anda-half), two small pieces of tin cut totheshapeshown in thetopleft-handcorner of theillustration,somecellophanetape, and a soft pencil. Preparation.--We will first of all assume that the force card in the rough and smooth pack is the two of spades. Taking the first two of spades,theconjurer writesinlarge lettersuiththe pencil : I haveapremonition tha’t you will each cut the same number of cards.” On the second : I have a premonition that one will bethe difference of numberscut,”onthe third : Tw’o will bethe difference,” and so OF throughoutth(, twenty-six cards.Thechance of a differerice of more than twenty-six is too remote to beconsidered. I n practice,nine will generally be themaximum.The indifferentrough-backed cards are now placed on top of the force cards, 50 that t\s.clntr\T-.ixpaira lie in frontofvou.Turn eachpairover:andiightly, with a pencil, mark ontnecorner of theback of each force card thenumberindicztedon its face.Takingthe pair that includes the two of spades showing that thetwo cuts will beequal assemble thepack in this order :Difference of 25, 23,21, 19, 17, 15, 1 3 , 11, 9, 7 . 5 , 3, 1. NTOdifference. Difference of 2, 4, 6 . 8, 1 0 , 12, 14, 16, 18, 20, 22, 24, 26. This pack is now placed in its card case. From the other two packs remove the two of spadcs and two indjfferent cards.Placethe little angle brackct OI? the back of each t\vo of spades, secure by means of cellophanetape,andthen giving each indifferent card a coating of glue on its faceglue it to theback of each two of spades. you will then ha1.e t \ i o Dryunderpressure,and two of spades each Lvith a tongue of metal continued on page 34 “
“
“
“
”
STRANGE HARMONY-continued from page 33
protrudingatrightangles(thetongue, incidentally, is totheback of thecard).Each tit70 of spades is now trimmedasshown in second illustration. These faked cards are now plactcl secondfromface of eachpack,andthelatter placed in the respective card cases. The t\\o glasses areplaced respectivelyright and left of theconjurer’stable. Presentation.-The pack of rough and smootil cards is taken and placed in a prominent position, after which one of the packs containing the faked card is removedfromitscase,fanned,andgiven a shume which is genuine, the faked card is left neartheface of the pack. The pack is then droppedfaceawayfromtheaudienceintothe glass which ison theleft-handside of the conjurer’stable.Theotherpack is removedfrom its case, similarly treated, and placed in the glass on the right-hand side. ‘Two spectators art. invited to assist. They areplacedeach side of and just in front of the table. I want you each tocutasmallnumber of cards from the face of eachpack,just like this.”Heretheperformer illustrates by sliding up anumber of cardsfrom the glass.Because thetwo of spades is safely anchored, and because of the cut-away part at the sides,this card is-left on the face (this was describedfor use .as force a in one of Hugard’s Annuals, and seems to have been completely o\w-looked). Turning to the assistant on the other side he ciemonstratesforhim too, and inci“
dentally on each occas:on thecardscut b\. the coajurerarereturnedto tiw front of the glass. Tile position I ~ O I V is thatalthough thy audience and thv assistants areunawzre of this fact, the face card of each pack is no\\. the t\vo of spades. ’The conjurer no\\. positions the spectators saying : Now, I \\ant neither of you to know ho\v man!. cardstheothercuts, so justplaceyour hands round r o m d the cards.” Standing betijeen them. the conjurer places their hands sa that their fingers touchthe sides of thepack. All\mu havetodo is t o just cut a few fromthe face of [hepack as I did. Don’t look at the cards yourself, and pIozse don’t look at eachother, as I want you toactindependently.”Thespectators are so carefuilyplacedthattheycannot see thc facecard, in other words,theirright and left arms respectivel\- are held back at a slight angle. Each cuts the cardsi n an upward motion, and the!, areaskedtocountthe packet theyareholding. Whate\lerthe ans1ver (althoughthe bestone is when theyznnouncethesamenumber)theconjurer picks up the card case on the table, remol’es the rough and srnaol-h pack, and going to another spectator slowly fansthecards in front of him. Withthe pencil mark on theback of thecards, theroughfacedcardbearingthe correctprediction is pushed to one side 2s its position is reached in thefan.The correctness of the prediction being acknowledged, the conjurer goes on to by turning securehissecondandgreatereffect round the giasses and showing the similar cards. “
“
35
pleasure of Icriting downmyexcluChuan’s Wine and Water,” for the Pentagram. Two tumblersnestedtogether,with the top one half filied with water. are seen on the table.Themagician separa,tes them,andholds one in each hand. The water is poured back and forth to sho\v that it is just the usual wet fluid used for the bath.” -4t a commandfromthe magi ( “ magi is short for magician,” and so is correct, in myhumbleopinion,and not the pluralformfortheLatin magus the fluid turns to nine, \Ihich is pouredbackandforth freely ! At anotherbehestthe\\ineturns magical!>- back into \vater, the liquid that turn.s black after ust‘ ! The modus operandi is subtlety plus the use of thetime-honoured dope of phenolphthalein, sodium carbonate tartaric andacid. The phenolphthalein (good for the Spelling Bee) is in the half tumblerful of water. The two latter reagentsmustbe in the crystal form. A teerly
bit of each is fastenedtothetumblersomen.here nearthe top edgewith a bit of transparenttape Scotch.’’ I believe, why I don’tknowyet). The modern tumblers Lvith flower designs on them are the very thing to use for this effect. Be careful to remember which tumbler has the sod. carbonate and which the tartaric, else the experiment \vi11 ilGt work the Pentagram is for magis jshcrtfor magicians and so isright again !) like meandother deep in thedye fellows. more words are not necessary. The adlyantages of thismethodaretooobviousto be stressed. Wonder :vhether J’OU have heard of the magi who had another member of a concert party help himself to drink a framthemagi’s wine and uater set, :S the pitcher and glasses were all laid cut. Gladtosaythatthisstoryhad a happy eEding, as thedope ~ ~ was r d of the “ nonpoisonous type !
Effect. -A number of pecple,say five, are invited to throwdice, cut cards, cr perform some similar charm operation. The two lowest scorers arc inL7iied to ha1.e their luck improved by transfer fromthe ,WO highestscorers.After a suitable ritualforthetransfer of goodluck,bytheperformerasconductor,bytalisman,orbycontact \\.ith the\\inners,thetwo losers tryagain.Their combined scGre hasimproved. Method.-None. Tt is unlikely that the same people \vi11 get the least scores twice running. Put differently, theperformerhasdeliberatelypicked out the tivo people who have had less than average scores. Ontheirnextattempttheyaretherefore more likely than not to score more than they did the first time. Inthe sasmeway,the scores of the winners would most likely be less, if wewere so foolish asto ;et themtry. The experiment !S a demonstration of one of the four classic errors in interpretingstatistics. The others are covered by the following anecdotes: ( a ) The man who was told that twenty less people had been killed 011 the roads this month than last, and tvanted toknowwhothey were ; (b) The nonagcnarian u.ho wasdelightedtoreadinthe offkialstatistics thatvery fewpeoplediewhen the!* areoverninety ; (c) Consternationarose when it n.as learntthat 50 percent. of the teetotLtller:,in theIndianArmyhadbeendevoured b!. tisers, and the other 50 per cent. had died of
fever.This was quitt true, but there were only two teetotaliers in the Indian Army, both of whom had beenunfortunate. The faliacy we are making use of is extremely widespread, and can be seen in action every day in newspapsrs, speeches, and particularly in claimsfor treatments ’’ whoseeffects at best are assessed by means very iiable to error. Presentation. - This is everything. The belief in transfer of luck, etc., by contact is midespreadanddeeprooted.Anyperformer who is tolerably acquainted nith folklore and the history of magiccanmake agoodshow of it.Theonly peoplelikely to r n ’ u f ? it are thosewedded tothe belief thatentertainment begins andends with broadfarce.Readers of Pentagramdonothave to be instructed as to how to devise a ritual suited to themselves and their audiences. To makethe most of the probabilities, itis besttu havethethirteenvalues of a suit(one only ,of each) shuffied and, drawnbythirteen. spectators.Thisnumberhasconvenientmystical connotations..ThedrawersoftheA. 2, 3, then go throughtheappropriateritual to drawthe luck fromtheholders of the J. Q. K. anddraw onecardeachfromthe reassembled and shuffled thirteen. The chances 9.re 1715 to l thatat least one person has drau-r, a higher card than before ; 547 to E5 thatat leasttwopeople have dralvn
I
ha1.c
4r.c effect,
“
“
”
“
“
’ l ) ,
“
”
“
L
k
“
”
“
”
7 ,
“
continued on page 39
&die
36
a -
There is little that is original in the follokving routine, so the best thingtodo is togivecredits on the styk of a film, so here goes :MethodsbyAnnemann,Orville Meyer and Rill Larsen. The coincidence effect by unknown (first shown to me by Jimmie Findlajr). Title from the film Night has 2 Thousand Eyes.” Effect.-The performerstatesthathe isin p s s c ; 4- o n of poivers enabling him to discern what hashappened in thepast, is happeningatthe present, and toforetellwhat will happen in the future. To prove his statementhemust necessarily coniine himself to the actions made known to his assembledaudience, andto assist him in these respects he prod:lced pack a of cards. These cardsarenotto be used as playingcardsbut as a se: of familiar and easily remembered designs. of ascertainFirst tu demonstratethepower ing pastactions,he(theperformer)aftermixing the cardsasksaspectatortostepforward.The performerplaving,thesecardsbehind his back, requeststhisspectatortocutthem and complete the cut lealing the cards in the performer’s hand. Thespectatorthenremovesthe top cardsand places in hispocketwithoutlooking atthe face or permittinganyoneekes to do so. Thisbeing done, the performer, still holding the pack behind him,states t!lat althoughtheaction of the spectator \vas a fen, seconds previous, nevertheless that action is in the PAST. A card is now in the spect.ator’s possessi311, itsfacedesign urlknown to anyone.Theperformer, tc; provethathe possesses thepon’er of unlocking the secrets of thepast, This,” brings from behind his back two cards. hesays,indicatingone, will indicatethevalue o f thecardthat YOU tsokand secreted in your pocket, Vtvhilst this (here he indicates the second card) Ivil! reveal its suit.”Heturnsthecards face up. the first being,say,the seven of clubs, Jvhilst the second is the four of diamonds. That shouldprove thatthecard is theseven of diamonds.”Thespectatorremovesthecardfrom his pocket, and it is seen tobetheseven of “
”
“
“
“
”
“
“
diamonds.
The performer now turns to a second spectator,saying : If I asked you to select a card and immediatelytold you its name,that would againbe ‘ tellingthepast.’ If I told youthat you will select acertain mrd and you proceeded to do so, that would be foretelling the .future, as I s!lould be telling youwhatyou were goingto do. I therefore hadto evolveamethod so that an action of mine is performedsimultaneously n*ith a n action of your own.” The performer now introducesanotherpack of cards tvith abackpatterncontrastingtothe “
already used. The twopacksare p1act.d side by side, the: spectatx beingaskedto choosethe packhe [vishes. The performertakestheremaining p ~ c k . Theperformer now emphasises tnat the spectatol’s actions must be similar and simultaileous Ivith the performer’s. The folloning ac:icJns arc g ~ n ethrough :I . Both shui‘lle thvir respectivepacks. 2. Eachcuts tilt> packheholds. 3. Each places his deck into his right trousers pocket. 4 . Each nojv placeshisright hand intothc pocket and IvithdraLvs a card, keeping it face cl 0n.1-l. 5 . Cards, are exchangedandplacedback i2to the pocket andintothecentreofthe pack in that pocket. 6. Packsaretakenfrom pocket and’ spread facedou,Iiontablc. 7 . Each remoi-esthe stranger cardfrom the spread-they are the same ! The spectator is thanked, and third a requested, \h.ith whom thepack of cards will be used to demonstrate the power of rending the 1-31 that obscures the future. LVith thztend in\.ien. the performertakes one of packs, the and on the face of something rites card one with a pencil. The audience permitted not are to see what he has written. The cards are now ribbonspreadfacedownonthetabie,the spectator being- askedtostand in front of them holding his haild with index finger extended ab3k.c the spread. ’The performer shows him csactly ;\hat kcs means. Now, sir, please mo\’e your finger b;c!r\h.arG al?d forwardsaiongthe spreadanddrop it whe!l you wish on anycard thatyoufancy.”Thespectator doesthis, and is asked tori-’rno\re the card and look at its face. Or] it iswrittc:;1 : This is thc card that 370u \vi11 choose. Thc1s tne performer has prolyed his ability to foreLe11 the fcture.Thespectator is thanked, and ,tile performer gathers up the cards, casually displayingthem to show thatthey a r e normal and freefrom any writing. Remarks.-Three actual effects areinvolved, none, as I ha\:c stated before, beingoriginal u.ith myself. The b1endi:lg of these effects into one routine has Increased their effectiveness. The 7.vhole effezt makes atest of mentalism thatfor a n intimateaudience is direct,appealing,and is well remembered. Requirements.--l. Two decks of cards with contrasting-backs (say:redandblue).The first oneto be used is stacked in SiStebbinsorder. TWOduplicates, Lvith backstomatcheach pack (say,king of clubs). 2. A pencil. “
”
“
“
”
continued on page 37
37 3 . -Another pack \\.ith backs match to either of the previous mentioned pack. This p c k . Ivith theexception of threecards,hasthe \\.ords This is the card you will choose," \vritten i l l thetopleft-handcorner of the face o f each c a d . Of the three excepted cards, one is pencil dottedontheright-hand left upperand lou.ercornersontheback,and is thenplaced in the middle o f the pack. The two remaining cards ::re pi2ct.d rcspectively a t thetopandbottom of thepack. Preparation.--The arranged pack is placed in ;eft jacket pocket. Pencil in left jacket pocket. The Iiritten on pack in right jacket pocket, faces tolvards thebody. The t1i.o duplicateare plzcedback outwards in right-hand trousers pocket. Redbackedfirst, tilt. blue on top. Methods.falseshuffle. T h e Past.---Pick up packand Cards pl2'cedbe!lind b x . k ancl cut b3' spectator, n.ho rcmo;.cs topcard,placing it in hispocket. 14,'ith thecards still behind his back,theperformer counts to the tivelfth and thirteenth cards fromthetop.Thetwelfthcard will showsuit, \f*hilst thethirteenth will give thevalue of the chosencard.Please note.-Do notremovethe twocardstogether,butrather give theaudience the idea that you are searching through the pack for correct indicators. T h e Present.-The second pack is non' brought from the pocket a1;d the spectator offered choice of eitherpack.Thesearethe twocourses of action open according to the pack decided upon by the spectator :l .-If the spectator takes Red deck :Performertekesblue axd places it in righthandtrouserspocket.PutredKing of Clubs in ce:ltre of bluepack.Theblue-backedKing of Clubs is broughtoutandhandedtospectator.
Take his card, place it inpocketandleave it there when pack is withdrakvn. 2.-Ehould spectatortaketheBluepack :Performer takes red pack and places it in his pocket. The blue-backed King of Clubs is pushed intocentre of thispack,thered-backedKing of Clubs beingremoved andhandedtospectator. Hisbiue-backedcard is thentaken,placed in pocket,and left thereaspack is withdrawn. In eachcase when cardsareribbonspread, the stranger cards are of course the same. The Future.-After finishing the previous part of the effect, pick up with therighthand deck that matches the Written on one in the right-hand pocket. Place both hands into left and right hand jacket pockets simultaneously and almostinstantaneouslywithdraw, left hand holding pencil, and right hand holding written on " pack, the previously used pack being left behind. C,oniidently andsmoothlydone,this switch is indetectible. Casuallyfanthecards,,the writi,ng in the cornerbeingconcealedbythefacecard. Now turn the faces of the cards towards you and pretend to urite something on the face of a card near themiddleofthepack,atthesame timestating the fact that you will try and foretell the future, Now give the cards an overhand shuffle and in so doingreverse the position of the top and bottom cards. Againcasuallydisplay and ribbonspread cards the face down on table. theIn demonstratingwhatspectator is requiredtodo, let J'cJur finger drop on the pencil markedcard, pull it out of spread and place one on side. The spectator now moves hand his spread, acrcss the finally allowing his finger to drop on one card which is removed and shown to beartheprediction. The Future has no secrets fromyou.Slo~vly pick up packwriting side doiv11 and casually fan the pack, and so that nith no comment and in an indirect fashion pro\-h g that there is no writing on any other card.
Much interest has been aroused recently concerning this well-known illusion. and following the t'xpose in "alter Gibson's book which \vas recentlypublished in this country. It would 1 1 o w appearthatthePressand Public will not be satisfied until illusionists saw a I understand that \\Oman in half lengthmise. efforts arebeingmadeto seekasolutiontothis aew way. If your knotvledge is thesame as mine,you will probablybeunderthe impression that this really is a new departure for this illusion. I havecorrespondedonthematter kvith my \7ery good friend,StewartJames, of Ontario,Canada. Stewart, whose knowledgeonmattersmagical is
I'ery great, has nrittenand sent meinformation on this subject which I thought would be of interest to readers of this b1111etm. appears It that the American magazine Science and 1i:rYeiltion held a competition back iil September, 1929 (20 yearsago,mark you ! j and offered 250 dcllarsinprizesforthe bestsolutions. It is mostinteresting toreadthat in response there were more than 10,000 entrants, and the first prize ivzs awarded to a Mr. Illich. Likeali il!usions, the solution dependson theconditionsattached. In thisparticularcase, the lady \vas completc1~~ enclosed in a casket Ivith
"
"
"
"
"
"
"
"
continued on page 39
38
February l , 1949. D e a r Goodliffe!
attemDt This is not,asyoumaysuspect,an word. It is submitted for yair Magic Mail column,providingyouthink it warrants publlcation on its own merit, not because of personal friendship. Goodliffe’s remarks anent my criticism of book reviewers in theDecember issue of Pentagram, just at hand on this side, were, .as always., concisely accurate.But his charmingfrankness only seIved to emphasize another shortcoming of the clan. Specifically, must one’s interest in magic supersede the tenets of fundamental honesty ? to havethelast
”
I ‘
HARBIN’S UNCANNY MATCHES, Price 4/-, post free from fto//r,rtHorhitt, 95, Marsh Lane, Nil1 Hill, Lorldorl, X.IV.7.
TJncanny is the right wordforthis ei-fect in Ivhich the performer takes a number of borrowed matches and 1)alaIlces them on the edge of a table or match box. The performer right away and yet without any contact the matches tip and fall off. We feel sure that those readers \v120 like to present something illustrative of mind over over. Quite honestly the matter will not pass this effect is a gift at the price. It can, of course,be used a s ;l detector of a chosen card, say six cards being used a 1x1 onechosen.Thecardsare placed alongtheedge o f thetableand six matchesareborrowed,onebeing card; thematchthat now tipsup Inlancedoneach designates the chosen card.There is nothing t o go \\-rang, andeverythingcan be examined. TVhen writing just mention the Pentagram.” Like Dippy Magnet,”this effect \vi11 earn you a 1)igger reputatmn thanvoudeserve.
For instance, 1 rtcently submitted a series of articles t o four nlagiciarl friends with a request constructive for criticism. ’Three redies ecstatically (proclaimed mJeffusions asthe greatest thing since theKingJames translation of the Bible.’ Fhioney i FredBraue,Hugard columnistcoilaborator, was the wle exception. Prefacing has remarks with aqualifyingevasion,Braue said, in effect, Seil your typewriter.” bVe conti1;uc 10 bc good friends. Honesty is an essential luxury even amongst maFicians. And that, intense as i t may sound, am t no Chinese rr1ax11n. Sincereiy J‘ours, Uob (Robcrt Lnnd) . ’
“
.
straight stipper deck a r e phrnomenai. The sample of cards sentto us, islike the S\.engali deck that \\e had uncle:re\.ierv lastmonth, typical of the house o f StaIlyon, a 1 1 excellent product being precision cut. II’ith the tleck comes a printedfoldergivingtheparticulars of some forty effects possil)le lvith thispack. An excellent1)uy. Messrs. Stanyonha\-e also just released a ne\\. list of Englishand American Imoks. If you are in sea:ch of that hard t o get edition,\\,rite for a cop!-. “
”
. ~ ‘ t v t t v ~ ~r tU
“ MAGIC OF THE FAMOUS,” l)!/ S t r t c < / r t J ( 1 t t / P . * , price five shillings (ohtainablefromFrancisHaxton, St.Anthony’s,”Nonsuch Walk, Cheam,Surrey). In this manuscript, Ste\vart presents three proI)lems, that ha1.e as theirkeynote Edgal- Allen Poe, Le\\.isCarroll andtheSaint.The first effect is a cartl rffect in \\.hich the names of selected cards are revealed i n a piece of \.erse. The second is a cunning \.emion of a magic square,\\-hilstthethird,and in ouropinion. thebest o f the bunchculminates i n a prediction that should 1 )e mnem bered.
ELLISSTANYON’S “ STRIPPER ” PACK, price 6/-, from Ellis Stanyon & Co., 7 6 , Solent Road, West I lampstead, N.W.6 Thestripperdeck,despitetheexcellentnorkon it l ) \ - Hugard ancl Braue in the hliracle card series. s&ms t o hd\,elostcaste with preseat-clay conjurers. It is certainl!. not because they disdain faked cards hut ratherthe case of the sheeplike attitudethat is so pre\-alent. The effects t h a t can 1)e o1)tainetl with a
Effects in\vhich elastic 1)antls encircle a pack of cards arcnottoonumerous.This effect is as follo\vs : A card is wlected,returnetl to the pack which is freel!cut I)y a spectator. After 1)eing encircled \vith a numher o f elastic l)ands, the performer places it 1)ehinclhisback momentaril!-. Bringing i t forn-ard almost instantly, the performer sho\\.s thatthe cardselectedhas La.ltr.11 the place of the c a d that \ \ a s previouslvon the face. The effect emlxaces a couple o f princip1t.s that \\-ill l w ne\v tomost.The \\.rite:- gi\.es t\voother 1-ersions ant1 also a method \\here the selectedcardescapesfrom the packlvhilstIxmded. The effects arefull\practicn1)lt~ ant1 call for little more than good sho\\mianship to extractthemaximum of m!-ster!.. In a nt‘atl!- printf.tl a n t 1 illustrated I)ook, together \\.ith a specimen gimmick. this represent5 a useful addition to the Tvorker \\.l20 \\-ants a some\vhntdifferent t 1 - p o f card effect.
“
THE
“
TRIPLE THREAT POKER DEAL,” h!/ N I P S , price fiveshillings. This is ohtainable from FrancisHaxton. Inthelast tn.el\re months,Steuarthasadded a greatdeal tothe science o f the magicalpoker deal. Eachtime we think that he hasreachedtheultimate, ; t u 1 eachsuccessive time we are forced toamendour clecision. The present routine enables the performer toobtainthehandthat he predicts,despitethefact thatthespectatorcan designate thestart of the deal for each round. Fair enough, you mav say, hut listen . . . the effect is .repeated ! The method is straightfor\vardand \’er).simple, ant1 is stonglv ;ecommcntletl. “
“
”
“
39 S A W I N G A W O M A N IN HALVES-continued the exception o f her feet and it will be enlightening to many ma;,icians tolearnthatshe was cntitled to \\’earapair of jackboots. -4rising out of this re\ived interest,Stewart has sentme a solution i n which the boxfalls apart beforethesawing is completedandthis, I think, adds very greatly to tht. effect. It uxs, d s o of furtherinterest to learnthat the ivell-knomm American magical genius, Winston Freer, also originated a method in which ;L spectator \ j x s 3s;ed. Afterthe operation,he is restored to normality\\iihtheexception of the saw cutrtmEining \.isible downthecentre of his face.E\,entunily rhis disfigurement is caused to disappear. I sincerely h o p thatreaders of thisarticle
frott~page 37
-4gai1-1ive dedicate t h i c aFebruary issue to Ted.,\nncnxnn. -4notheryearhaspassed(for 11s all too quickly)and it is onlytooplainthat in the passing of this year, the name of Annemann hasreachedout still farther. To readback in t!le oid files ot the Sphinx ”, some of the ideas he contributed when butayouth is to realise that hehadexceptional gifts when only a boy. To us, his Test of theTiber standsoutas one of his finest conceptions and it is amusing andillustrative of the ignorance of so many that theeditor of oneSociety j o u r ~ ~ athe l , Magi, onl3the other month, regarded this as new. We s!lould have liked Terl. to have x e n Maurice Fogel, for he more than anyone dse we know has taken some of Annemann’s ideas to a height that they naci neverbeforereached in this country. Ourremarks in our pre\.ious issue regarding N.A.M.S.havebroughtforwardremarks f;om certain.quartersthat ute areanti-N.A.M.5. ‘iVe will counter that with the reply that we are proMagic. All \ye ask is thatthedelegatesrepre5enting the many Societies that make up N.A.M.S.erect a solid edifice that will benefit in everywayrnagicandmzgicians. One reader told us that we had overlooked the pablicity that emanated from the Exeter meeting regarding Sa\\ing through a Woman.’’ It is txue that despite the efforts of thePublicity Officer, N .-4.M.S. bc.c,lme front-pagereading in one of the Sundzy newspapers, but what publicity! I t came from a joking remark without a basis of fzci, the repercussions of which cost Bob Harbin a bigpresssplash for’ his new challenge lrersion of SawingthroughWoman.” a If N.A.M.S. Is stuck for food for thought the followingpointsdeserves its, attention :( l ) The introduction of legislation preventing exposure of magician’s secrets to thelaypublic (thereturntoParliamentaryprocedure of Memb e n introducing Private Rills is timely for this) ; “
“
”
“
, ‘ I
uill h a w iound dlis information of interest. Science andInvenP.S.--’l’hc. cor,test in tion was run by Dunninger. “
”
~~
~~~~
~
~
~~
CONTAGIOUS LUCK-continuedfiomgage 35 a higher cardthan before : 250 to 179 that all threehave dra1I.n higher cards than before. Sinceeveryonebelievesthathehadbuilt-in bad luck and is extremeiyproud of thefact,’’ thosewho do notimproveunder this treatment Iyill be dellgiltc-d if theperformercomm,entson the srubbormess of their ill-fortune, and will almost aiMays agree if he asks them if they happen to be persistentiy ~ ~ n l u c k y . RORERT FAIRTHORNE.
( 2 ) An enquiry into the recent attitude of certain conjurers in di\-ulging to the press certain secrets andattemptingto discredit professional conjurers(the Helliwell and Wennellcases and thematter of a certainManchesterconjurerare t.he ones we ha\le in mind) ; ( 3 ) To attempt to elevatemagic(wehave icft out “Art of by the encouragement of promising performers in worthwhile competition. Somethi:lg iike t h e Drama League Festival is \\hat we have in mind ; ( 4 j To adclpt aIi idea of our gnomelike friendGoodlifie of payingthe full expenses of \vorth\vhile repiesentat;\ es who visit other countries. to elevate It is amazing how thatphrase the Art of Magic appears in so many books of Societies’ Rules. Often we thinkthat someone has pressed the wro:lp button of the elevator and ,4rt has take11 ado\vnwardplungepast ‘the ground floor. T h c meeting of the Society of Mentalisis (now named the Fellowship of Mentalists)duly met on Saturday, February 12th. After the sabotage by the RulesCommitteeappointed last year it was decided to start afresh. The new secretary isWill Dexter. As soon astheRulesare re247 a further statement wili be issued. Tickets for the Magic Circle Banquet are going \.cry quickly. The arrallgt1ments are in c.xpc.rI hands, and an excellent show can be cxpectcd. We arepreparingforpublication in another journalanarticle on Magicians in Pantomime. IVe should be verygratefulfor any information regarding this topic for theperiod 1900-1915. M;e should ilhe to call burreaders’attenti.on to the announcement in Messrs. Fleming’s advertisementregarding.the increase in cost o f theTarbell course’.
”>
“
”
‘ I
”
40
F L E M I NB GO OC KO M P A N Y , 728 MADISON AVE., YORK. P.A.,U.S.A.
ARCAS Magical Publications Mr. Smith's Guide toSleight .. . . W . Jonson of Hand D. Craggs A.B.C. of Ventriioquism Expert Manipulation of Play. . L . Ganson .. ing Cards . .T. H. Hall Testament of R. W. Hull Nothing is Im possible . T. H. Hall Masterpieces of Magic, Vol. 1 . .Warlock Patterns for Psychics .. , .Franklin Kamut .. .. . Conjunioring .. .. . .Brearley Willane's Wizardry .. . .Willane
PETER
1016 10/-
CONJURING LIST FREE
20.'-
-
:--
STAMPED ENVELOPE Callers ____- -
--
G E O R GJ EE N N E S S 47 INVERNESS AVENUE. ENFIELD,MIDDLESEX
MAGICIANS'
NEW AND OLD
BOOKBINDING SERVICE "
PENTAGRAM
"
VOLUME I.
*
C. Alderson
F I E L D Road, Sheffield
2
I
MAGIC
..
Every Advertiser's goods are fully endorsed PrinCedIn England for
PETER W A R L O C K BY H E R B e R T W A L K E R
&
SON
( P R I ~ T E R SLTD. ) \\\'ELL
:
FrancisWhite, 39 Alverstone Avenur, Wimbledon Park, S.W.19
Latest Think a Magician .\ pocket Mind . .. ..onI) 1/6 Readi;g Effect Orrin's famous Spidrr': Web, ('art1 . . 301'Trick to product a rval ' c n h 16/6 COINWANDS A f e w Sliding Glue Packs of Cards 8./9 Send stamp for printed lists of old and new Magic. SYDNEY dc HEMPSEY 363 SANDYCOMRE ROAD, KEW GARDENS SURREY Ric 4238 "
Binding Prices :CLOTH 5/6, REXINE 6/6, MOROCCO FINISH 7/6
42
King George's Hall, W.C. Particulars from Hon.Secretar].
HENRI DE'SEEVAH hIhI( .. ms., Ii
BOOKS FOR S41!1
No
:
Magical Theatrc :
65 MANOR ROAD WALLINGTON SURREY
-
10, 2,'6
or directfrom
and Library and hllw~~lm
St. Ermin'sHotel, CaxtonStreet. 5.W.I.
PLEASE NOTE NEW ADDRESS
31'6
l
FOR
Vice-President: Douglas Craggs, Esq., M . 1 . M . C . ('Inbroom
15;'
10, 10 ,'-
NEW. Let me know your wants
. .-
l + q'clc,nt : His Gracc the DIAe o r Somerset, D.S.O.. O.R.E.. I.F., D.L.. M.I.M.C.
of each month
1 1 singlecopy 1 1 /6per year post free
10:-
404/408. SYDENHAM ROAD
OLD AND
The Magic Circle
PENTAGRAM published on 24th
'
ObtainablefromallDealers
WARLOCK'S
INSI'ITUTE
OF
MAGICIANS
I:ranc!l. \ i n 1.c.nclon. I.'orts~nouth. \2'akcfioId, Z r i : < h [ o n and I k t r o i t , lJ.S..4. The, fric.ndlic5: c ~ t~nagic'al~oc'it~tirs. No ctntrance Ice. prinicd club magazine. splcndid library. London H.Q. Iknison H O I I S ~296 . Va~rxhall Rridgr. Vivtnria. S.W.I. (one minrlte Vic.toria Statinn) . Particulars from Oscar Oswald. 102 Elmslvad 1 ~. ,,,,,, \I' . I-'. . ' 1 : !.;'+.:I. >i L ! -
\;
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Tcl(~phonvnr Telegram : MORLEY 899 Addrcss : -
23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Xear1:- 30 Jx-ars in the businc.5
by this Bulletin CROFT \VORKS,WELL
<"ROFTI SHII'LEY, Y O R K d H I H t
*
4.1
PENTAGRAM Editor’s Note.
It was way back in December that Joe told
us version of the burnt note trick, and we
about this had his promise that we could publish it. Actually as the reader w i l l find out for himself Joe has decribed three versions, one o f which shouldbe suitable to yourself. In the company of several knowledgable magicians we saw its first performance, and ule know that it had them wonderingwhilst the l a y audience were dumbfounded (P. W.) Effect.---The performer takes from his pocket three envelopes that are respectively numbered in largefigures 1, 2 and 3. A member ,of theaudience now is requested to choose one of the envelopes, and supposing that 2 is chosen, this is placed in full view on the table. Quite c:.b\*iouslywe shan’twant No. 1,” remarksthe conjurer(ashe says this he tearsitintopieces, throlvingthemonthe floor). Neithershall W \\.antthis,”andenvelope No. 3 is alsotorninto pieces and discarded. A ten shillingnote is asked for,and onbeing handed to theperformerthe !ender is asked to notc the number. Taking another erl\.elope from his pocket,the note is placed inside without being folded. The audience is asked to remember the number ivhich is repeated,andtheconjurer goes on to say : I Ivonder n.hether you know that owing to the losses that have occurred through bank notes being burnt the Bank of England have recently used a special chcmical process to render notes non-inflammable. Let me s h o ~ v3 7 0 ~ 1 . ” At thispointtheconjurer removes ;I lighter from his pocket, snaps the \\heel :incl setslighttoone corner of the envelope that heis holding.The enlrelopc startstoburn,and when it reaches the corner held bytheconjurtr there is a f:ash. iVell, sir,”saystheconjnrer, addressing the lenclcr of tht. I:ote, it seems that the?. put the wrong chemical i n your note ! Tht. ~ n g l eof accide:?t is built up until finally the conenr7elope that has been resting jL1rt.r picks up 011 his table. Hal!diug it to ;I mtlmber of the audi“
“
“
“
“
”
t h t h
ence asks him tu open it.Thespectator does so, f i d s inside a note which onacheck of number prcyec; to be the one borrowed by theconjurer. Thelattertakesit,andadvancing to the lender remarks : And this, sir, I believe is the note that J ~ O Ugave me. Is thatcorrect ? Thespectator ansv ers intheaffirmative. Method No. 1.-In thismethod the,re are many n h o 110 doubt xi11 regret that the lender of the note is a stooge.” This, howl-er, is the method used bythewriter,and which to him offers the best effect. The two remaining methods to be describedmake the performance a one-man set-up nithout losing anythirlg ineffect. Presentation for Method l.-Three envelopes are nrst t&en and on the front of each the figures 1 , 2 and 3 respectivelyarcdran-norpainted as large a:; possible. Three ten-shilling notes are taken, their numbers being noted, and after being folded to one-eighth of their normal size are placed one in either of the lolver corners i n each tm:elope. Thelatterarethensealed. The perfonner must make certain which note goes in each envelupe. Threeother en\x4opes aretaken,and, treating these as l a , 2a and 3a, along the bottom c f each are ivrittcn in soft pencil thenumbers of he noteslodged in envelopes l , 2 ar;d 3, so that 10 make thingsquiteclearenvelope l a has pencilled 011 it the numbcr o f the ten-shilling note i n cn\-elopc l , and so o n . In one of the lou.rr corners ol each of these emptj- envelopes is now ~);.tct‘cl a small pieccx oi foldtd flash paper,after T,\.hich the en\.t.lopes are placed in the performer’s iilsidc breast pocket.Thesealedenl-elopesare piaccd c11 the table, the stooge is given an imitntio:1 nc,tc (stage nmne!.). With a lighterin ont: hi.: right-ham1pockets theconjurer is read!?or tile Presentation.----The three numbered en\’elopelm: first picked up, s h o w , and one se’kcted ; the scl(rtccl one is plncccl so that it can be seen all tht. “
”
“
rjf
conti~lurdon pugr 42
42 F1RE ALARM-continrted
from page 4 1
time by the audience.Theother two en\lelopes a r t torn first into tn’o andthcn if you like into fonr, the folded notes, b y reason of their position in the envelopes, offering no obstruction during thetearing.The pieces arethendroppedeither
to the table or floor (doll’t forget to pick them up at the end ; they are worth a pound to you!) This tearing of the envelopes is the thing that is remvmbcrcd by the audience when you have finished the effect. The note is then asked for. bringingoutthe and tiw ‘‘ stcogc’ obliges phoney note, and at the same time the conjurer’s lcf: hand goes inside his pocket, locates the ell\-elope corresponding to the one selected and brings i t out. Taking the phoney n,ote, and without folding it,theconjurer places it inside the en\-elope. At this pointhe asks the lender to note thenumber.Forthispurposethe envelope is handed to him,andpullingthe noteslightly out of the cn\Telope, he actually reads the number written on thebottom of the enldope. Someone elsc- is asked to note this, the note is pushed back intothe emyelope, the flap turnedover,sealed, andtheperformerreturnstothestage.Holding :hr. envelope by thecorner,theperformerstarts his patterregardingthein\,ulnerabiIity of neunotes to fire, and at the same time takes with ,his righi hand a lighter from his pocket.The lighter Is lit andthe flame appliedtothe envelope that the conjurer is holding (it should beunnecessary to add that the corner held by the conjurer contains the Aash paper).The envelope with its ?honey note inside is allowed toburnrightout, the resultant flash from the flashpaper gets a big laugh when the conjurer brings in the line, ‘‘ They must ha\,t: used the wrong chemical!” All that (311
”
b
~
*
rclmains n o ~ vis for the chosen enlvelope to be opcl;led, the gcl:luine note taken out and the number checkcd.
Method 2.-Three emdopes are prepared by piacixg notes inside as in Method 1. About a dozen similar sizcd emelopes are taken and stackcd w i t h the flaps protruding (see illustration). The top OIIC of the stack now has the flap folded lmck (aotted lillcs she\\. this), ivhilst the three en\~eIopesimmediate:?; llnderneath aretreatedas l a , 2a and 3a, with a slight addition ; that is to 5337, a m a l l piece o i flash paper is placed in each,thenumh,$rs cf the notes in envelopes l , 2 a x l 3 are pencilled on thebottom of each.The addition is that n piece of tissue p a p a or a phoney note is placed in each en\,clope. Thealteration in the Ivorking is thatafterha\.ingan en\yelope chosen and the other tivo being torn up, the stack of envelopes is picked up.Aspectator is asked for the loan of a note, and taking it the conjurer places it in the top envelope. The stack is tipped towardshim, flaps attopand accordingto the originalenvelopechosen, the conjurer takes hold of thecorresponding flapwithdraws it from thy stack,thelatter being placed on the table. (This ib the old envelope move applied to three tbnvelopes instead of the usual one). At this stage theconjurer remembers thatthe lender hasn’t noted the number, so partly withdrawing the fake cote from theenvelope,thenumber written in pencil on the envelope i s read aloud and noted by the spectat,or. From that Foini the effect proceeds as in Method 1.
Editor’s Note.-We \\.ould make a suggestion that would avoid using three envelopes,namely that the three numbers be written on the top ( f l a p folded back) envelope, and that as the performer takesthe note and goes to place it inside, he pausesandreadsouttherequirednumber from the top envelope. Method 3.-Thisis for use when playing a good date.The set ‘ u p is a s in Method 1. The ten shillingnote is borrowed afterthe requisite envelope is removed from the inside pocket. The rlumber is read out as the note is in the process ot beingplacedinside. The note is sealed in the t:nvelope andthe wh.ole lot really burned. This rrlakes it a fairly expensive effect over here, but in Canada and the States where dollar notes are i n use one wouldn’t worry so much. Incidentally, when I go to give back the note I remark ,“ and this is the note that the gentleman gave me. Is that correct, Sir ! This is, of course, acknowledged. You heard wh.at the gentleman said. . . . . this is the note that he gave me. . . . thank you verymuch,Sir.”The note is taken back by me and is placed in my pocket. This gets quite a good laugh, after which the note is of course handed back to the lender. ”
“
This cffect is based 011 Hicidt.11SI!-stery by Herb Kunyie thatappearedin the Jins. The contribution was spoken ot highlyby -4:memann attracted my attention as a direct aild enterxining myster!.. InHerbRungie’sversion, howr\.er, the inclusion of duplicate and stranger cards -$“as necessar!.. V’hilst appreciati1,g the use to hich duplicatescan be put 1 am personall\: Allergic tothem. I ha1.e accordinglydevised the ioliol\ingroutine\\.herell>-thecffect can beperformed impromptu. ‘
Effect.-The
I
”
performergenuinelyshufflesa
p a c k o f cards or if prefc-md tile shuffling may be
:loilC by a spectator. The pack is now handed to a volunteer assisiant after the performer has removed from it the joker.Theassistant is asked to dealthecards ,111 to the table in a face d o ~ packet n and to stop $1-henel-erhe pleases. If necessary the performer’s Sackmaybeturned \:.bile this is beingdone. \\’hen the assistant stops dealing he is instructed to look at the last card he dealt, drop it back on the packet, then drop on the balance of the pack, a t and complete the cut, thus losing completel~~ the position of his card. The pack is then handed t v a second spectator \vho selects a cardin a similar manner burying it by cutting the pack. The performer now takes the pack in. his left hand and picking up the joker with his right hand Announces that he lvill, behind his back, :.ndtla\,our to thrustthejoker face up intothe pack at the position occupied by one of the chosen cards. This he does and on bringing the pack to thefront,spreadsthecardsandhasspectator X o . 2 removethejokerandthecardfacingand immediatelyaboveit.Onturningthe two cards ()\-er he: discovers thzt the joker is facing the card he selected. Theperformer now takesthepackasain in hislefthandandtakingthejokerfromthe spectator he places both the pack and joker behind his back and oncemore thrusts the joker faceupintothepack. U’henitis broughtonce more to the front the pack is spread again and the nrst spectator invited to remove the face-up joker 2nd the card above it. He also finds the joker is face to face with his card. Requirements.--A pack of cards containing a ‘’
corner short.”
Method.-Thc cornershortcard is shuffled to thebottomofthepack. If ~7ouprefer to have a spectatorshuffle,which I donot c o n d v r necessary, J’OU will ‘have to cut theshort carcl tothe
bottom of thepackbeforehandingit volunteer No. 1 .
to your
Instruct him to deal a number of cards in a face down packet on the table, look at the top one is and replace The it. number deals he immaterial.Hethenplacesthebalance of the “ short ” card deckon top,thusplacingthe directly on his selected card. The cards may now be cut any number of times without disturbing the relationshipbetweentheselectedcard and the short card.Finally,theshortcardislocated by the performer and the pack cut one card below it, thus bringing the chosen card to the bottom. The pack is now handed to volunteer No. 2. He also dealsand selects acard in asimilar manner to No. 1 volunteer.‘When he dropsthe of his card and cuts balance of the pack on top Lile pack you now havetheshortcard withthe two selected cardsunderneath.Thepackmay be cut any number of times, but finally the performertakesthepack, riffles to the short card * andcuts twobelow anddropsthepack on the twoselected cardsat table. Now youhavethe thebottom.Pickingupthepackandthejoker YOU place both behind your back, place the joker on top, face up,andcutthepack.Thisbrings the joker face to face with volmteer No. 2’s card. No. 2 \$,‘hen the cards are fanned and volunteer removesthejokerandfacingcard,separatethe pack here and in re-assembling place the top half underneath.Thisbrings \.olunteer No. l’s card to the bottom. in the Theprocedure of thrustingthejoker pack is gone throughas withvolunteer No. 2’s card. Thus when heremovesthejokerandfacills card he has but to turn them over to discover his card.
* This riffle should not be obvious. In factit neednot be a complete riffle. If theyerformer squares the pack it is possible ‘to sight the cornershort.Knowing its position and holding the packfilmly in thelefthand place theright thumb at the inside end of the pack and the first finger overthetop of thepack,just below the By slightlypullingbackthecards shortcard. Ivith the forefinger and releasingthem as ina To the riffle the pack will cut at the short ‘card. spectatortherehasbeen no riffle and this is a decided advantage in the presentation.
44
This‘billet switch is based on Blackstone’s “Pick-up,” and can be used for billets of varying sizes. I find2in. to 23in.square is a convenient size. The billet should be folded in half eaclh way and then again in half one way, making an oblong packet.Thedummybillet is foldedtothesame size and is clipped by one cornerbetween first and second fingers of right hand, nearer to the second jointthanthe first joint.(Seeillustration (1) ) .
First and second fingers arc cuppccl round it, and billet is inclined tc;\,\arcls base of thumb. Thirdandfourth fingers project a little. Hand is heldpalm down. Ha1.e theother billet ivritten and folded as above.Takeit from theuriter between thumb and tlziv‘l finger of right hand. Littlefinger then encircles it anddraws it intopalm, while the thumb releasesit, and coming upunderdummy billet, raises it into I-iew above edge of first finger (illustration (2) ) . Dummy is then gripped between first finger an,d thumb, which slides ny to take a grip on the corner quite naturallJ-. In this position. right hand (still palm dotvn,! can safel!. beextended to athirdparty, offering him the dum,mybillet, or betterstill, it can be droppedintoa wine glassforhim‘to hold,or placed in 2 pair of tweezers.Genuinebillet is perfectlyconcealedinright palm. Xow for the glimpse. Under cover of a turn genuine biilet is openedagainst and raise left i\ri.;t thepalm.Turnfrontagain, to look at wrist watch. Genuine bi,llet is operi now, and is cupped betLYeeu first three fingers ot right hand, heldbetween first and second fingers along top edge.Rightlittlefinger is vstended, a!ld with it you draw up left sleeve an inch to be able to see your n.atch. Look at your \vatch and J ~ O U ha1.e rhebilletright under yonr e>le at t h e same time. to therightthe
You will have ample time to read the longest message if you remark‘: “If I d,on’t get an im. . pression n.ith ten seconds, I shallhavefailed . . . . .” meann.hilelooking for tenseconds nt Ifour billet. R u t don’t forget : keeplooking at vow natch--wu ( I Y C cowtlfitlg S ~ C O ~ rZt m , tmber. not taking a peep at something you have hidden i n J’om- hand.
Keep the left \\rist \vel1 in to\vr\rds the body as it is raised,thusdroppingthe CJ-Y; more to TOU’ spectators read the billet. This prc\.ents front noticing the verJ’ slight movement of the eye f r o x \\.ztch facc to billet held i n hand.
Although this glimpse is fairly safe as regards o u beat off spectators u h o take angles, ~ ~ should up their stand immediatelJ- behind you or within a yard of your left shoulder. The others don’t matter ;I ShinLvell’scuss-theywill see nothin;: o f your artful mm-e.
45
Editor’s Note. It is strange hokv certain tricks bring to mind ccruineI-ents.Formc, withthislittle effect of the late Jules Giraud, I shall always remember a ridc back to Parame fromMont St. Michel. 11.l’t. \\ere both travelling in an open car and a strong \\,ind n a s nrhipping upthefine.sandfrom the beach belour theshoreroadandturningthose little particles into lil1,iputian arrows which struck ourcheekswithoutcessation. I t \vas theevening o f that day \\.llcn GiraLirl after shelving me his amazing, ancl as yet undexribed, spiritcabinet, hter he shon.ed mc ;I routise ofTvhich the effect :c) h c iicwribcd is a part.--F’.IY. Effect.-Itis a version of the mutilated card trick.Afteracardhasbeenchosen,it is torn into eightalmostequalparts,one of thesebeing retained by spectator. a A reel of thread, a ileedle and ;I cotton ha ncikerchiefarc‘ then introduced.Thefourcorners of thehandkerchiefare taken and held together so that a kind of bag is fcrrned.First of all thepieces of cardaretaken and theyaredroppedintotheextemporebag. The pieces are followed by the reel of cotton and t h e needie. . . . ashortpausefor effect andthe handkerchief is placedon the table.Thecorners arethendrawnback to show th,e reel of thread plusthecardduly sewntogether (see illustration).Thecorner held bythespectator,need!ess to say, fits the empty space. Whatstruck mewhen I sari. the effect was that here was a fine basisfor a childrenk effect, cardsotherthanplayingonesbeingused. The Idea of n n in\-isiblc mzgic seamstress or leprechaun stitching away \\.odd appeal to children. R e q u i s i t e s . 4 n e pack of cards ; a duplicate o f one,say nine of spades. A reel of thread, fromthecentre of this reel thecorehasbeen removedleavingashell.(Anyone u . h o has the reels for Jordan’s Spectral Seamstress has the \yrything.) Tivo needles. A Devil’shandkerchief. This is a stock prop, but in case there are readers unaware of it, it is a double handkerchief, \\ith an opening half-cvay along one edge. Preparation.JThc duplicate card is first torn into eight pieces, and sei’eI1 of thesepiecesart. sensenm together (see illustration).Whenthe ing is complete, a length of thread is attached at the top and bottom of the card. The top piece is then fastened to the remaining thread i n the reel \\.hilstthelowerlength is threadedthroughthe needle.Onepointmustbeattended to in sewing a n d th2-t is thattheremustbefreedom of play \ye IIOIV lxbt\veen ;he separate pieces card,for ccme to the point Lvhere the w ~ v ncards must be folded. The method of folding is this : first of all :l
“
”
the sen.11card is folded lengthwise; this done. the foursegmentsshoningare folded \l- shape nrld tcgether nith threaded needle and lcjose rhreadsto\ved atva?. inside the shell reel. The reelis no\\. pIaced on thetable with thecpen;rlg to therear. \?‘it11 the devil’s handkerchief i n thebreastpocket,theoddcorner from the “
“
”
”
sewn card in his right-handpocket, and needle and pack of cards on table the conjurer is ready for the Presenation.-The pack of cards is picked up andtheduplicatenine of spadesforced upcn ;I spectator. ( I t is not bad a thing to use the underthehandkerchief ” forcewhichbrings thefakedhandkerchiefinto play.) Placingthe cards in his right-hand pocket, the conjurer gets possession of the odd c,orner n.hilst the spectator nith the card is asked t,o double it over and tear it. Then place thtx piecestogetheragain. etc ,. until he has torn it into eight pieces. The conjurer’ rakes thepieces i n his right hand.Pausing a moment .he .remarks, Oh, perhaps y o ~had ~ better retail: 011c corrler,” a t tho same time handing the spectator the piece that fits the senn card.The pieces are mon;entaril\.placedon the table whi!st theconjurertakesthe h,andkerchief from his pocket ; it is taken by its four corners in the left hand.Therighthand insmoothi11g out oneside of thebagformed,opensthe secret pocket in the handkerchief. The pieces then being picked up from the table one at a time and droppedintothe secret pocket.Next,theneedle is taken and this too goes with the pieces of card. Liftingthereel,care of coursebeingtakenthat showtheopening is not exposed,andcarefully ing that othern.ise his handsareempty, this is Dlaced not inside the pocket, but in theactual bag. Immediately the reel is out of sight the contents art. allowed to drop from their place of con“
”
‘ l
“
“
”
continued on page 47
ecommended
46
EX LIBRIS
WARLOCK \I‘hc.thcr !,ou are a collector or not, the additlon o f a persona.1 bookplatetothe \-olunles yoa possess just addsthat littlesomething. To tilost. who ha\-e considered the matter of gettingsomething a little different, but either through personal inabilitJ- to produce a drawing-,design, etc.,that wouid sc‘rl’e their purpose. or lack of contact with one who could carry out their idea ha\-e ’iempora d > - abandoned the project, may we suggest the follo\~ingx-ery easymethod of making a bookplatesimilartotheoneillustrated. It \vi11 be seen that the bulk of this bookplate is picture (a reproduction of an engraving, which as no doubt many of our readers will recollect has been one of the very many fine specimens to adorn the Magic \I’orld’s longtbst running magazine, the
“Sphinx”).Taking such a picturt, it is first ;Iffixed toalarge piece of non-absorbentwhite card (or better stlll, Bristol Board). Some lndian Ink and a couple oi lettering nibs with holder are i1c>\v required; the lat4er can be obtained from any :cod stationers, in fact, at the present time there i5 being sold at the low price of‘ 13’3 a card containingsonwdozen a-arying widthnibs. Taking the \\;de nib anddipping it into theIndianInk the words “Ex Libris” and the owner’s name are Iyritten respectilrely top and bottom of the picture. I+ is needlessto say,advisable to pencil in the lchtters beforehand so that the letters are properly .paced. Lt’hen the lettering cc,mplctc take the !’arrow nib and dra\z. one thin line around picture and lettering. The \vide nib is then refitted to the holder and dra\,I.n around the thin line. The drawing is no\$; readyiorthe bicjck maker. At this point I can hear some reader remarking that their penmanship wouldnot allon. tinem to reach n professional standard inlettering. To this snag there is a n easy w a ~ ’of mw-coming the difficult>-; let such a reader get a couple of books of specimenlettering (the VereFoster series is one of many). Two courses are now opento him, the first of which is to cut out and stick on the necessary letters from the type he finds most suitabk, \\.hilst the second Ivith is a piece of tracing paper and pencil trace to the letters ontcj he card, after \vhich they are inkedin.There is anotheralternativeand that is to ask a local printer to run off the wording on twopieces of paper.These pieces of paper arethenpastedtothecard.Having gottothe point \\.‘here yourdrawing iscomplete, you will \\.ant a b.lock (or if you are an American, a ‘cut’) made.The c9st of the one illustrated is 1913, ;ind was made by Messrs. F. Hewitt & Son (1937) Ltd., 25, Albion Street, Leicester, who are willing to carry out any such work for our readers. The block made, it is only necessaryto approach a localprinterand gethimto run off thenumlber o f plates you require. We suggest that you have them with gummedbacks, an additionthat \vi11 saveyoumuchtimeandpasteatalaterstage. Theaverage cost per 500 would beabout 10,/-, m that the total cost should not be more than 30 -.
Now Ready !
NOI&iW,iN’S XIRACULOUS FIRE SCREEN This hnlltlsonlc. tirescreen \vi11 not 0 1 1 1 ~I)e a Ivorthv addition toyourdrawingroom, but i t also produces ;L \-isil)lt. illusion. A t \‘our comrnnn(1. the plant \\-hich decorates the xreen starts to flower until it is a riot of colour ! The 1)een s o simplifietl that a child can work it. Having ironed outallthesnags,I find that I nlechanicalactionhas canput out thissmooth-workingillusion at a lower pricethan that previouslyadvertised. “ Marvellous!”-RusselI Swann. Now Carriage paid. GQODLIFFE. by THE CHINESEBAT. -4 pocketnifty, first time acl\-ertised, 2/6, post free. Detailsappear in my Jlarch 1,etter. tlispatchetl o n receipt o f one penny ..tamp.
. . . . .
Ja&
S8 10/=
Hughes
2, EVELYN AVENUE, COLLINDALE, LONDON, N.W.9.
(COL
4452).
4i
moderatelypriced. \Ye feel that this in thereadingmatter
is a “must” for thoseinterested of magic.
ROBERTHARBIN’S FIRE BOWL ( t o bepurchased from Robert Harbin, 95, Marsh Lane, Mill Hill, N.T.V.7., price 3 5 / - ) .
There must be many conjurers who ha\rewished to inclutlc in their programme, the production from a silk harltllterchief, of a bowl of fire. A t the same time their enthusiasm has Iwrn dampened by the somewhat chancy nature o f the effect coupled\vith the attendant risks caused by possible prematureignition.Withthe firel)o\\.l under review not only- isignition a matter of certnintl- hut there is no risk of p ‘ r ~ m t c w e ignition. The l)o\vl could be carried in any position in the performer’s pocket, for as long as hewished,withoutinany way prvj udicing the possibility of ultimate production. The l ) o w l itself is made from spun lmss and when the contentsareignitedmakes a Ijraveshon-.Unreservedly recommended.
First of all, let us congratulate N.A.M.S. on theappointment of FranclsWhiteasChairm.an during the coming Jvear. The other day whilst visiting us, Billy McComb shelved us avery nicecigaretteswitch that he uses for the card in cigarette and with his permission ~ ~ ’ pass 1 1 iton.Theonlythingthat you’ll need apartfromthe 1,oaded cigarette is a faked matc hbos of the type used for “imaginary” cigarette effect. Thismatchbox is loaded with thecigarettecontainingtheduplicatecard.With the matchbox in )Tour pocket or on the table you areset.cigarette is first borrowedandplaced bet\vecn the l i p . Thematchbox is thentaken, dran.er opened, match remo\.ed and struck. When alight,boxand lightedmatch aretakentothe mouthandundercover of handsfakedcigarette is left between lips whilsttheborrowedone is stolen b~7 the left hand as box is taken away from face andplaced in pocket.It is a most natural series of actionsandthebeauty liesin thefact that the auclience see you straight away place the borrowedcigarettebetweenyour lips. On the 13th March, all the tickets had been soldfor theXagic Circle Banquet.Wecan well sympathise withthoselvho ha1.e leftthings too late, but the publicity for this outstanding event ff’as good and many months’ noticewasgiven. Those cvho, unljkeourselves,havesaid that the laughs are the necessary thing for the modern magician,musthavehad a shock iithey were present atthe Magic C,ircle onMonday,March 7th, when one of the leading Variety agents, Mr. CyrilBerlin remarkedthattheconjurers with a piece of rope and a few gags had reached saturation point in thevariety field andthatthisparticulartype of acthadlittle or no appealto a modernaudience. H e answeredmanyquestions put from his audience and the plain fact emerged
that magic presented as mystery (having, ,of course,audienceappeal) wasmorelikely to get to thetop of the bill thantheconjurercum comedian. One’sconceit is always tickled by a presentation of one’s own effects at the M.agic Circle in February and we were very pleased with the way Will Dexter,puttingover one of the nicest acts o f the evening, handled out “Taped Slates.” We feel sure that he will not mind us passing on the tip that instead of usingadhesivetape .as in the original, he made use of three large metal slides. Fraser Smyth recently sent us some cuttings from Ireland,pointingouttheamount of publicityhe hadreceivedusing ourbottle(Nottingham)prediction (sec‘’ Linking Ring Annemann Parade, October, 1948). Thepaper concerned was the Irish Times.” Inournext issue we havea nice off trail idea by Robert (Secrets for Sale) Tothill, entitled “The Shadow.” In the same number will be the “Mentalist’s Dream, ” by,, Charles Wicks of A\ustralia,and ( ‘ Chopitup,by J . F. Orrin. “
”
l‘
“A STITCH IN TIME”-continued
frorn page 45
cealment.The effectisnow finished, for all that theconjurerhasto d.0is to place thehandkerchief onthetable,spreaditoutand expose the card sewntogetherandthethreadedneedle. Pre\:iously Jordan’s SpectralSeamstress \\‘as mentioned. As those who havethis effect havethree shell reels, eachshellbearinga differentcolourthread,it is possible tohavethree cards s e n m together wi’th different coloured thread,onebeingplaced in eachreel. A choice of colour could then be allowed. “
”
1
HOW T O SAVE
MONEY ! 1 3 ~ - I)ul-ing A Conjuring JIc.lange,” l)>- Stanley Collins (cloth, 256 pages. 147 illns., 5 2 original tricks,heretofore 2 0 / - ) , a t the special price,until furthernotice, of 10;- ! l y e areslashing tht. price ( a ) to help in theI)attleagainstinflation, ancl ( h ) to get the \\.idest possi1)le rending for ;L trult. fine “
1 )OOl<.
FLEMING BOOK COMPANY, 728 MADISON AVE ., YORK. P.A., U.S.A.
E L L I SS T A 76 Solent R y d l P1
I
~~~
ARCAS Magical Pub1ications Mr. Smith’sGuide to Sleight . . . .\V. Jorxon Hand of A.B.C. of Ventriloquism r). Crams ExpertManipulation of Playing Cards .. . . L . Gan>on Testament of R. W. Hull . T. H. Hall Nothing is Im possible .T. 11. Hall Masterpieces of Magic,Vol. 1 Patte-rns for Psychics .. . .1Varlock Kamut .. .. . . .Franklin .Brear:e> Conjunioring Willane’s Wizardry .. . .Willan(. Ohtainablc f r o m all Dealers or c1irrc.t
PETER
PENTAGRAM published on 24th
of
flom
10: -
1 / 1 single copy 1 1 I 6 per year post free
10120,’15, 101
-
-
lO,, 3/6
PLEASE NOTE NEW ADDRESS
65 M A N O R R O A D WALLINGTON SURREY
10:-
21 6
:-
-
: Wallington 6236
Y’depJlottc
Croydon
~~
CONJURING BOOKS FOR SALE OLD ANDNEW. LIST FREE
No
wants
----
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
MAGICIANS’ SERVICE
BOOKBINDING “
PENTAGRAM ” VOLUME I.
Binding Prices :CLOTH 5/6, REXINE6/6, MOROCCO FINISH 7/6
C. 42
*
Alderson
F I E L D Road, ShefTi2ld
DE’SEEVAH
.?. I ( . .. ivlrs.. T I N . . SS>I(’
1, CLARENCEROAD Harborne, Birmingham
NEW AND OLD
17
MAGIC
Latest Think a Magician A pocket Jlintl Effect . . .. . . c d \ 216 Readi;g Orrin’s famous Spider's ~ V ( . ! J . (‘art1 Trick 30 ’ COIN WANDS to produce a I ( ~ a I ’ c ~ ~ i1616 n’’ .4 few Sliding Glue Packs of Catds 1),9 Send stampforprintedlists of old and new Magic. de HEY PSEY SYDNEY 363 SANDYCOMREROAD, KEW GARDENS SURREY .. Ric 1238 ‘ I
..
Every Advertiser’s goodsare Printed in England for
HENRI
THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for his list ol IICW and usetl apltaratuand books. nr call a t h i s
STAMPED ENVELOPE Callers
~~
)I
Let me know your
FOR
each month
10,’6
SYDENHAM ROAD
404/408
WARLOCK‘S
PETER \VARLOCK BY HERBBRT WALKER
6r sox
fully endorsed by this Bulletin ( P R I S T E H S ) LTD. \ Y E L L
L-ROFT
W O R K S , \YELL c R n m . ~ H I P L E Y Y, O R K S H I R E
*
49
PENTAGRA.M An independent monthly bulletin for all who want good magic 1949 Wd.3 &a. 7
-4rather effectilve cardexperimentinwhich tile performertellsthespectatorsthe effect is producedbytheextraordinary powers of light and itscounterpartshadow. A pack of cards, whichcan beborrowed, is taken and sllufiled ar!d :l card ch:.stm. The selected card is laidfacedownwardsonapiece of paper, andtheshadow of theindexcorneristraced around in pencil,after which thecardis well shuffled into the pack. Theperformerfoldsthepaperintotwo, it is handedtothespectator, whoplacesitinto thepack below the selected card. It is expl,ai!xd that the card and paper have been in contactinthelight,and now theyare in contact in the shadow of the pack. The out the folded piece of spectator is asked to take Faper and the selected card. The paper is opened byhim,andtheshadowedcorner is now found to h.a.leamistyindex on it.Thecardisshown andtheindexrevealedbythepowers of light and shadow on the paper proves to be the same. The effect is very thought-provoking, straightforwardanddirect,andthereappearstobe no possibility of any preparedness, as the experiment 1s intended to be,notacardtrick,but anexhibition of thepeculiar effect of shadow. The effect cameintobeingthroughnoticing the copyingproperties of somepencils andink. It was noticed that the Parker leads, red and blue, have copying qualities, as also the Parker WashableBlue Ink. On a piece of paper draw with the red pencil of the Turna ” pencil an index of, say, the five of diamonds, moisten the second finger of the left hand, and pressfirmlyovertheindexyouhave drawn.Providingthere is nottoomuchgrease onthefinger,theimpression will take.It will be reversed, of course. If you wish to use a black card,thendrawtheindex in blue, or use the “
P x k e r Washable Blue Ink.. The Parker refill leads are obtainable at Woolworth’s. Have a piece of fairly absorbent paper, and you are ready to commence your effect. A pack m.ay be borrowed, or your own pack used. First locate the card whose index you have taken.Thiscard is forcedon to thespectator. If you have a favourite forcethenuseit. If not, thenturntotheHinduForce as explainedon Page 399 in the May Kumber of the Jinx No. 36. This appears to be ,a straightforward selection, and awayfromtheusual takeacard.”Thecard is then laid on the piece of paper which you use, andshouldmeasureabout 6 inches by 4 inches, and the corner traced around. The card is immediatelytaken bythespectator,returned to the pack and shuffled. The following procedure should now be taken i n order to transfer the impression on to the paper i n a natural way. Take the pencil used for drawingtheoutline of theindexcorner,.and incidentally do notuse themodernmulti-coloured ,ones, justaplain woodenpencil,drawajagged line fromtheends of the two lines tracedfromthe sides so that it resembles a cornertornfromthe card.The secondfinger of therighthandhas been moistened by the tong, and after the jagged line hasbeencompletedwipethismoisture on to the p,aper where theindexshouldbe.Drop the pencil, and withtheright hand pick upthe top edge of the paper, commence to fold towards yourself. To steadythepaper,putthe second finger cf thelefthand,on which the impression has beer1 taken,andput it-0.n tothe moistened part of the paper, just where the index sh,ould be. Continuefolding withthe righthand,creasethe paper in hali, and take out the second left finger. As far as you are concerned the effect is over. The paper is placed in the pack by the spectator directlyunderneath his card.The two arethen “
continued on page 52
At one of the shows of the 1948 Internati’onal Congress of Magicians atLausanne, I saw my friend R,en Clark presen! an excellentPrediction Card effect. The searchforperfection is always with us, and almcst at once I realised that a variation would result in the best Thought Anticipated problemtodate. Since my returntoAustralia I have used the item on :I number of occasions, and aiwaysmostsuccessfully.Combining ,a degree of visible effect withcompletely a straightforward procedure, I consideritmorestrikingandmore sensational than theBrainWaveDeck. Effect. From a BLUE backedpacktheperformer removes two cards and st.ands them backs outwardonaslotted wood strip.Thispackis thenplacedaside.Nowheasksaspectator to think -of acard,andthis personreallyhas an uninfluenced chmoice, and this is emphasised before askingthatthecardbenamed.Thiscard is removed fr,om a RED backed pack and placed in the slotted strip, face outwards. Again he requests anyone to think of a card, ,and, as before, the freely thought of card is removed and placed i n theslottedstrip.Stressingthatthespectators had a perfatly freemental choice,whichindeed wasthecase, and mustbeagreedwith,theperformerturns the stripround,and shows th,athe successfully anticipatedthetwocardsthat were thought of ! Required : Pack of bluebackedcards, in case. Twodouble-backedcards,blue/red. Pack of double-faced cardsincluding the joker, in case (same card front and back). Joker withred back. Standtoholdcards.Thisisastrip of ~voodabout 16in. long on which are two lengths of qu-arter round moulding piacedto make anarrowchannelor slot. Preparatm. The tv;o d.b.cards,bluebacks upperrnost,areplacedontop of thebluebacked pack.Thejoker with theredbackisplaced ton top of the pack of d.f. cards. I am sure that the working will becompletelyobvious to mrost, but I \vi11 mention a few points which help to enhance thc effect. Working. Of course, it is the d.b. cards which are placed in the stand at the outset. These 1na37 b e takenout,apparentlyatrandom,but I bc!ie\re it is mmoreefiiective to shuffle thecards so thatthe two d.b.cardsaresepar,ated,and to spread the cards faces to you. After little a deep thought the two d.b. cards are removed andplaced in thestandinthe first andthird positions.Afterthe nrsk cardhas been thought “
”
of, remove the red pack from its ca:e. The cards mustbe spread faces to theaudience whilstthe named card is found and removed, and naturally caremustbetakennot to disclose thefact that thecard is double-faced.This is placed in the stand in the secondposition,that is, between the t w d.b. cards. Againsomeone is asked to think of acard,andthiscardisplaced in thefourth positionin the‘stand. Nowa few words to build up the effect, but as the cards chosen by, the spec?tators wereobviously free mental choices, nota great demalof this is required. I usuallywind up the feat by addressing in turn the two people who thought ot cards. Madam, will you certify that youwerenotinfluencedin your choice of a card ? Yes ! And you,sir,didyouhave an entirelyfreemental ,choice ? Yes ? And,sir, was your card the ____ .of -- ? and yours, m d a m , the -of ? Yes ? the In beginning,beforeeither of youevenknewyou would be asked to think of a card, I placed those tu.obluebackedcardsinyourfullview.The thought-of cards are the -. of , and thr --- of -- . Let us look at my blue backed cards and see whether I correctly anticipated your thoughts.” Here, the stand is turned round, showingthat yet? were correct. To avoid complicating ,the description I have 11ot hithertgstatedthat bef,ore askingthesecond persontothink of 2 card, I point outthat I do notinfluence the choice inanyway. As if to illustrate how this might be done, I hold the cards, “
apparently faces up, in the right hand, in the position for the Hindu Shuffle. Now, a series of undercuts showsa different face card ea,ch time, and I say, Pleasenotice that I d.0n,ot ask you to think of one of these cards.”Thus, I direct attentiontothe face cardsbut incidentalcly between cuts, allow the red b,acked card underneath the pack to be seen. This isawell-known move. In doing this, itwould be unwise, to saythe least of it,tomentiontheredbacks,thecorrect misdirection lies in drawing attention to the visible faces. In conclusion, may I say that the only originality in theforegoing lies in the use of the principles involved for the particulareffectas “
continued on page 52
Magicalrestoratiofisarelegion,butmagical mutilationsarecomparativelyrare. I remember reading, years ago, about an apple which divided itself intwowhenitsshadowwasslashedwith a knife, but the apparatus was rather too cumbersomeforsuchashort-lived effect. Allwe require for Chopitup is apackofcards,apairof scidscrs, a preparedenvelopeandperhapsatry. Csnscientiousreaders of Pentagram mustby this time have. quite a collection of curious cm-elopes, and I .am sure they will be glad t.0 add anothvr to the series. I d
”
”
The effectis bestpresentedwhileahelper is thestage.To him theperformerhandsthe trax’, which contains the cards, scissors and ell\-elope. The pack of cards is then removed by the performer, who requests the helper to select a card. This card is openly placed in the en\-elope, and the latter sealed and dropped on to thetray.Thehelper is requestedtotakethe scissors and go through the motions of cutting an imaginarycardintofour pieces. Theperformer thenslits,opentheenvelope and tipsontothe traytour pieces of card whichwhenfittedtocether make up the card originally chosen. h a l l y , theenvelopeisvery slowly and deliberately tornintoseveral pieces. There is notrace of theoriginalcard. 0:)
Most performers will followwithamagical restoration of the mutilated card, and this is desirzble, if only to give the rest of thespectatorsa greater measure of participation, but I do not think I needdiscuss the ways andmeansforthispart of theroutine. Apart from rheforcing of the card, the only deception lies intheenvelope,theconstruction of which I willnow undertake. Fig. 1 shows the envelope before it is folded The portion of the lowerflaprepresented by theshadedtriangle ( A ) is paintedor decorated to match the backs of the cards used. When thisisfolded up andthe sides are follded over of one (Fig. 3) theenvelopehasthe,appearance containing playing a card. To complete the envelope,atriangularpiece of papershapedas irl Fig. 2 is g u m m d in the positionindicated by thedotted line In Fig. 3, andtheupperflap (B) is liberally trealted with gum(see shading), s o that whenit is foldeddownthegumcompletelycovers A. The lower side of triangle C is not gumrneci. 1117.
Toprepareforthe effect aduplicate of the card to be forced is cut into four pieces, and these arepiaced in the envelope.Afterthe‘cardhas
been forced, the performer retains the pack in his left hand. He picks up the envelope, places it on thepack,andapparentlyputsthe chosen card inside it.Inactualfact,he slips it betweenflap A and the front of the envelope, whence it passes back .on to the top of the pack, being ,gripped and retainedbytheleftthumb.Immediatelyafterwards the envelope is picked up in the right hand and turned so that the helper (who is on the performer’s right-hand side) can see the inside. He sees the faked portion of Flap A and takes it f,or the card which he has just chosen. The envelope is thensealed,andthrownonthetray while the assistant goes through the pantomime of cutting an imaginary card. At this point it might be borne in mind that somehelpersmight feel a jittle sheep.ish whenaskedto go throughthis farce.Theirdiscomfortcanbeameliorated by using suitablepatter,e.g., I hrope youdon’t mind. I know T’m crackers,butpeople in my conditionhave to be humoured. “
After this theenvelopeis slit open,thefour pieces of card are tipped son to the tray, and the helper is allowed to have a clear view of the insi.de. Finally, it is torn into several pieces and dropped on tothetray.Thehelperisaskedto piecetogetherthefour pie,ces of cardtosatisfy himself that they correspond with the card which he chose.
52
The evening of March25thsawasteady stream of magiciansmakingitswaytowardsthe Ballroom of the Park Lane Hotel, for it was here thatthe 1949 Banquet of the MagicCirclewas held. After thereception of guests by theirGraces theDukeandDuchess of Somerset,more than fourhundredsatdowntoadinnerthat mom,entarilytookawaythoughts of austerity.Afterthe Loyal Toast by the President, the big ceremony of the evening .t,ookplace. This was a Presentation to Mr.andMrs.Herbert J. Collings. ToHerberta gold dress watch and chain, and to his wife Hilda Dresden a Dinner Service. The President, in makingthepresentation,recalled some of the verymanythingsthatHerbert J. had d.one for the Magic Circle during his association kvith it from itsinception. I t wasagreatmomentfora wellbelovedartist, andforthe first timeone of the wittiest of entertainers was ata loss forwords. In proposing the toast of the Magic Circle .and N.A.M.S. the Duke of Somerset spoke of and outlined the achievements of the Magic Circle during the preceding twelve months. Thanks were accordedtothosewhohadmadeallthesethings possible, and a special mentionwasmadeofthe hardandvery efficient workcarriedout bythe Secretary, Mr. Francis White. The responsetothistoastwasmade by the Vice-President,DouglasCraggs.Douglasstarted of1 withapromise of wit. The promise was not kept,however,andafter(quiterightly)giving some advice regarding the use of rough and smooth cards,he(quite.wrongly) gibed at any need for
specialist societies. The remainderofthe speech \\.as tothe effect that magic is quiteallright so long as itis patronised by the Magic Circleand N.*\.M.S. ,4fter a presentation of some inscribed wands to Messrs.Donister,Forsyth,Shuter,Swaineand Turpin,guestsandtables were clearedfromthe tlwr in preparationforthedancingthat was to foliow . An hour of danckg and cabaret the began. Our main criticisms regardingthis is that it \vas too iong and toosameish. In alltheproerammetook oue h o w ; threeperformersused d k s , whilsttwoperformedthetorn and restored paper. T h k criticism in no way reflects uponthe the Individual performances, for Jeff Atkins brought colour (and the nicest presentation of the coins in glass that we have seen), Billy O’Connor made .a deck of cards do everythingbuttalk, whilst Paula Baird’s brilliant handwork with billiardballs was somethingtobeseen to bebelieved.HildaBertram(Mrs.Herbert J. Collings) opened the programme with a very neat performance of Chopin a Waltz, and Francis White compered. ‘ on with the Dance ” until From that point Midnight. We cannot conclude without a word of thanks to Stanley Kilburn and his orchestra, who played throughout the evening. I t was in all an excellentevening, and one that doesgreatcreditto all thoseresponsible for its organisation.Weshalllookforward t.0 1950 !
A Sonnet. H,estooduponthe well-lit stagealone, And listened tothecheeringand,applause ; The knowledge tha.t hisArt had been it’s cause, Filled him with pride, such as he’d never known. At last-his skill in magic hadoutgrown The efforts of all others--natural laws H e clearly disobeyed ; and, without pause,
Changed black to white, andmetalintostone. The law of gravity(submittedtohiscare) H e held toscorn ; and at his least command Tables would rise, unaided,intheair ; ,And thisbut at thelifting of hiswand ! The cheeringfades, ana witha stifled scream, Theyoung magicianwakens fromhisdream. . . -Don Maskell.
CHARLES W I C K S ’ S M E N T A L I S T S DREAM-continued from page 50 described. The creditfortheoriginalprediction effect belongs,to PaulCurry,although it was of that effect whichRen MauryKain’sversion Clarkpresented.The use of pair a of cards, a diouble-backed anddouble-facedrespectivelyis TheodoreDeLandidea.Bytheway, I cannot recall another example of double-faced cards with thesamecardonboth sides.
ROBERT T O T H I L L ’ S SHADOWcontinued from page 49
withdrawn,and with as muchshowmanship ,as possible that light hasmadetheappearance of theindex on theshadow oi thecarddrawnby the spectator. As a proof of this the selected card which shouldbelaying facedown duringthe opening of thepaper, is turned faceupwards. The index of both are identical. The impression on the finger will .last many hours, provided the finger does not become damp or used too much so that the impression wears off.
Efiect. A spectator receives an absolutely freechoice of acardfromapack of Jumbo cards.She.(we will supposeitisalady)tears the card into eight pieces, which are dropped into B handkerchief, held by its corners to form a temporarybag.Theladyretainsoneportion of the card. A card of wool orsilk,such asit sold forrepairingstockings, is also droppedintothe handkerchief,together with a needle. Whenthehandkerchief is shakenoutthecard is discovered to be sewn together, and is att,ached to the card of silk, while the needle hangs threaded fr:m theotherside. Method. Only tventy-six Jumbo cards are displayed,theseconsisting of oddreds and even blacks. Twenty-six duplicates are also used. Each of this is tornintoeight pieces, and then sewn together, leavirlg onepiece out.Thecards are folded tomakeacompactparcel,andeach packed is attached 10 a card of silk, a needle also beingthreadedon. ‘ Tl-1.e parcel is tuckedunder therows c;f si!k at m e end of thecard, so that it projectsabouthalf-ac-inch,andthe needle is pushed alongside. in Finally, the matching corner of the Jumbo card is tucked in along with thepacket. There wiii be twenty-six of these set-ups, and theyareaccommodated in apocketindex, similar to a cardindex,butlargeenoughtocontain the unaccustomed lcad.Thearrangement is one t3 thirteen of Clubs a i ~ dHearts on one side, and one to thirteell of SpadesandDiamonds ,on the other.Inthesamepocket is placedaDevil’s handkerchief.
Theroutine is quitesimple.Whenthelady has made her choice, she is instructed to fold the cardandtearit.Duringthis-’processtheperformerhas ampletimetolocatethe necessary card of silk,which is broughtoutundercover of the handkerchief andlaid on thefable,packet side down. If theaudiencecatchsight of itatthis juncture no harm is done. Thehandkerchief is held u,p bythe f,our corners,andthe pieces of cardaredroppedinto thedoubleside, f,ollowed bythe needle. Next the card of silk is placed in, i.e., into the open ’’ side of the handkerchief. It may be shown Casuallyboth sides, as the fingers hidetheprojecting portion of thepacket. Undercover of bringingoutapiece fo,r the ladytoretainas a check,thepacketand needle arepulled free of the siik onthecard,andthe iooae piece, previously inserted, is brought out and h.mded to thelady. Theworking is now over. The stitchedcard opened out as it is withdrawn from the handkerchief, bringingthe silk cardand needlewith it. Ali these maybe felt with thae lady,and if suitablepublicitymatterhasbeenstamped ‘on the silk cardthe cost of replacingit will beamply repaid. There is a certain amount of expense attached to thisitem, of course,andsomehardwork,but the effect it produceson an audience will by far outweighthese drawbacks.”
MODES FOR MENTALISTSNo. 4-THE GAP IN THE CURTAIN, published by Peter Warlock. (Price 7 / 6 ) . I am happy to review PeterWarlock’slatestaddition to his “A,Iodes for Mentalists” seriesbecause,once again, he has puhlished a first-rate mental routine, \\,e!l u p tothestandard of theotherthree of thi. series. I believe readers want reviews on the lines; description of effect, whether or notit is practical, if practical is i t reasonablyeasyto perform andlastly, how produced. In thiscase,thementalist writes threepredictions on a slate, each prediction beingcovered with a strip of cardboarduntilit is revealed as correct.One spectatornames a six-figure number,a second selects 3 colour, whilst thethirdandlast selects a patterna11 under \rery fairconditions.Thethreepredictions, each writteninadifferent coloured chalkjust before theselection,arethen shown t o be correct. It is a clever routine,forthe use of coloured chalk will even getconjurersguessing,andit uses,in thehandling of the slate, an entirely new principle. in Thepurchaser will need a few propsdetailed the Mss., hut i t is mostunlikelythathe will have
to purchase anything, as alltheitems,slate, glasses, chalk,cards, envelopes, etc., will probably be in his possession already. The preparation will takeabout a 1 1 hour, b u t oncemade upit willbe always read to \\ol-k and such a n effectis well worththislittletime. Themethod is directtothepointand involves no sleight of hand.Thereare several extremelysubtle pointsthat I would dearly like to mention, but to do so may gi1.e the secret away. The use of coloured chalk and thehandling of theslate is clever and con\.incing. This is not one of thosethings t h a t you can perform withoutalittlepractice.Theroutine will have t:) \)estudiedandthe sequence of moves mastered, I)ut as there are no involved manipulations this is quitean easy proposition.One evening tryingitout should have you ready for performance. The plot and outline of patterareincluded,andthe wholeis described in .a neatly produced seven page mlmeogmphetlmanuscript, \vithillustrations. Ifyoulikeconvincingmental effects performed untler apparently impossible conditions, this for is VOU. It has my wholehearted recommendation. GEORGE ARMSTRONG.
“
“
54 A WORD ABOUT BOOKS A N D ROUTINES-continued CONTROLLED MIRACLES, by Bill Simon (publi.hec1 by theBackRoomPress(Phoenix) 284 West 70 Street, New York 23, New York, U . S . A . , price $1). Thisexcellentcollection of someeighteensleights ~ n d effects is editedbyBruceElliottand is oneofa series; thisaloneshouldrecommend i tt o allreaders of thispaper. There is a n interesting foreword on to which is tacked some advice of S. LesHorowitz that is the recipeforperfectmagic. Thesleightsandstratagemsinclude“CutControl” the “Chinese Cut,” “Simon False Table Cut,” the “Jack Miller Card Change,” the “Grippo Grab,” “Elliott’s Card Change,”and a beautifulforcecalled the ‘‘Stah Force. ” Of these sleights we were veqimpressed \vith bothcardchanges.Inthetrick sectionthethings we likedbestwere‘‘DualDiscovery” (anitemthat could well have been putoutseparately). “Ten Fingers and a Silk,’’ “The Scarne Puzzle,” and the “Card in Hat.” “Smoke Screen” will find favourwith close quarter Ivorkers andfor those wholikecoinwork there is a verynice routine \\-ithfourcoins. Anexcellentfiveshillingsworth that \\-ill undoubtedly add a t leastone neweffect toyour repertoirewhetheryouarecardman,mentalistorJoe Soak,conjurer.Unreservedlyrecommended. TWENTY-SIX LIVING AND DEAD TESTS, by Teral Garrett (published by George Armstrong, F:nfield, price 5 / - ) . This is a well printedEnglishedition of amanuscript published in America in 1942. It is divided iutot\vosections.Thefirstdealswith someseventeen effects,deals\vith thattype of living and deadjest \!.hereby the mentalist discovers a dead name slip, i.e., re identifies a piece of card,envelopeorpaper,whilst the secondcoverssome nineideaswhereby the mentalistnotonlydiscovers a certainslip,etc.,butalso tlivines thedeadname.Inall cases theauthor,for reasons no doubt satisfactory t o himself, gives no creditforsource of origin.Whilst we are willing to agreethatcertain of thesetestshavetheir origin lost in the mists of timetherearecertainitems \\-hich can definitely be attributed t o certain authors or performers, as for instance “Dead Name Telepathy,” Il-hich is Annemamn’s “DeadNameDuplication.”In the first section,despitethesimplicity of many of the methodsdetailed,therearesome goodeffects. The secondsectionhasmorevalue as i t gives the ultimaterequiredby thespectator. Among the best methodsdetailed we wouldgivepride of place to the “Diacvlon” effect and “Dead Name Telepathy,” thoughthelatter is not really a “living anddead” test. We are surprised that the author has omitted one of the finesttests of all,andone so old thatitcan I)e found on page 223 of “Behindthe Scenes with the hlediulns. ” A verygoodpurchaseforthose m-ishing to acquireseveralworthwhilemethods of thisparticular type of effect. THE MAGIC WAND YEAR BOOK, 1948/49 (compiled and published hy George Armstrong, Enfield, price 5 / - 1 . Thiseditionconsists of some 9% pages of printetl r a t t e r , ant1\\-ithin the covers, as in thetwoprevious issues, thereare t o befoundallthosevarying pieces o f information that one so oftenwants,and on so many occasions has such a difficultyin getting. Names a n d addresses of dealers,publishers,magicalsocieties areallhere. Besides this dzta, there is ;t magical short story 1 9 7 Mr. W . S. Hartley, a new stvle of card index, ;I \duablechapteron adhesivesandcementsby Rill Rishop, se1.era.l comedy stuntsand gags andthirteen pagesof “Tricks of Trade. ” Some of thelatterare thingsthatshouldnot he missed.Altogetheravery good piece of work that is spoilt ( t o our way of thinking) bythepublication of long reports of out of date e\-ents.We refer t ot h e eightpagewrite-up of the 13ournemouthConventionwhich took placesomeseven
from page 53 months hack, and four pages to the CotsIvoId Assembly whichgoesI)acktlvelve months.Whilst suchwrite-ups may re\4ve enjoyable memories, the sul)ject matter has a 1 ready appeared. We feel that thisverv well printedandillustrated Ixwltlet will find a place-in many magicalhomes and we give it our fullrecommendation. THE MAGIC OF REZVANI (“La hIagie du Sorcier” ljy Maurice Sardina) . Atranslation by Dariel Fitzkee (pu1)lishedby SaintRaphaelHouse, San Rafael, California, U . S . A . , price $3.75). This Imok divulges to the reader the methods used by Medjid Kan Rezvani. It isdividedintotwo parts,thefirst of someforty-fivepagesdealingwith cards, \vhilst the second part of similar length is tlcvoteti to miscellaneousmagic. In the first part the author covers first of all, card sleights,many of whichhave that veryslightdiffer( 11ce lvhich makes.them peculiar to an individual. Of particular interest is the method of second dealing t1escril)ed; i t wouldseem that thisparticularmethod \ \ o d d enable the student to achieve a worthwhile second deal with far less effort than is generally needed.Somesixteeneffectsfollowthesleights,and though some willbe far from new t o Englishspeaking magicians, thefactthat Rezvani happened on such methods and effects without prompting makes his ideas all the more noteworthy.Weparticularly likedin this section the“thoughtcard fortndin pocket”andthe “cardinwallet.” Atthebeginning of the second part of the book, the“TomatoTrick” is described. I t is by this effect thatRezvani is best known and actually his more usual appellation is the“King of Tomatoes.” Some fourteen pages go towardsdescribingthis effect ,;vhich is based onthetheme of the“cupsandballs,and in the reading the figure of Rezvanicomes to life and onecan almost seehimperformingaroutinewhich couldnever be forgotten by layman or conjurer.Outstandingfromour own point of view in thissection of Buddha” in whichsomesmallsticks are the “sticks come to life and a chapteronmental effectsin which averyfinebook test is verycarefullydetailed. Mr. Fitzkeehasdone a remarkably good joh of \\.ark inmaking thecontents of this bookavailable tothemajority of magicians;hehas translated freely hut in thetranslation he has described the effects so thattheirworking is quiteplain. We recommend this book wholeheartedly for in thesedays of specialisation, thebreadth of its contents 1)lows like a coolbreezeacross m a.ritl desert of magical sterility. SELECT SECRETS by Dai Vernon (pu1)lishetl by 3Iax Holden, New York, price $1.50). This is actuallythethirdedition of a \vork that originally was produced mimeographed in form. It is a booklet that although containing only twelve items is of superlari\Fe calillre. Outstanding among theitems descrihed is the item“ToppingtheDeck,” i n \\-hichVernonlike the meticulousartistthat heis, describeshow a cardshouldbepalmedfromthedeck. Many in the searchforeffects will passover this very fine piece of technical advice much to theirfuture tli~advantage. There is an excellent table routine of l‘I~ollowmy Leader” and two finecard routinesunder the title of “Royal Marriages” and “Automatic Gambler.” Coins and silks are not forgotten, there I)eing a nicecopper and silversequence andan idea oi Downs using a special fake.The 1)ook finisheswith ;? description of “SnowstorminChina,”delightfulin conception and routining. The book has beeneditedby J . J . Crimmins, jun., and hehasadded a couple of items tothe previous ctlitions.The priceasked is ridiculously low and in gil-ing our unreservedrecommendation we hope that those who likegoodmagic willsee that a copy is soon in their hands. continued on page 55
55
Outside work is making heavier calls upon OLW time, and therefore, starting with this issue, all work regarding publication of the “ Pentagram ” will carried be out by my friend George “ Magic Wand,” of 11, Armstrong,, of the Monastery Gardens, Enfield, Middlesex. The style and policy of the “ Pentagram ” will remain unchanged, and I shall be glad if contributorsandpublisherswill note that all copy and items for review should still be sent to 65, Manor Road, Wallington. I am morethan grateful to George for taking on this churish task when he already has so very much to do regarding his own publications. The Magic Circle Social on March 26th (evening following theBanquet) wasone of the best we have seen. Every act was enjoyable, and new effects by Jimmy Orrin and Gil Leaney were much appreciated.Brim PulcCarthy’s actwasnot onlyoutstandingtechnically,but\\asa lesson in magic. He received andfullydeservedthegreat ovationth,at n a s accorded to him.Sucha show must have been a great comfort to that hardworking and seldom appreciated body, the Magic Circle Entertain.ments Committee. Magicians with gramophones may like ‘to get a recent PhilHarrisrecord ,called Deck of Cards (H.M.V. No. BD 1231). I t is the old story of theSoldier’sPrayerBook,and if you aren’taPhilHarris fan ” you will like this. If y o ~areaPhilHarris €an ” you will like the other side too. “
”
“
“
BOOKS A N D ROUTINES-continued
from p . 54
ROUGH AND SMOOTH POSSIBILITIES by Tan Hock Chum (publishedbyArcas, price 5 / - ) . Thislittle booklet commences withanintroduction l)!- IT’ilfrid Jonson, who after introducing the \\.riter wmarks that the use of rough and smooth cards should be used as a meanstoanendratherthanthe end.This of course is quitetrue,justasit is true of a n y other means used to obtain a magicaleffect. Theauthor isin little need of thisadvicefor in the ele\.eneffects described,the use of roughingfluid is a n invisible aidadaptedtoplayingandothercards so thatthemaximum effect can I)e obtained. Here ;ire a numl)er o f effects that could be obtained hy othermethods,butthe use of roughingmakes them far lessdifficult of attainment. Of particular mention are the adaptation to “Optica”(this has already been done b y a t least one magician ~t-eknob\.) n “livinganddead”test ant1 a
Peter Warlock’s
“
@
On the question of music, Oriental performers will appreciatetherecording of Dance of the Young Maidens from the young Rumanian composer Khachaturian’s Gayanah ” ballet. I n thissameballetcomesthe well known Sabre Dance.”This is realOrientai music in alively tempo,andshouldbea welcome changetothe hackneyed and puerile pseudo Oriental natterings of Tin Pan Alleycomposers. Ctonjurors hasstarteda new andvery worthwhile feature by Walter Gibson. It is a form of Annemania, and is entitled Gabbatha.” Walter in usingthiswordwhich TedAnnemann waswont to conclude his Editriviaregretsthat he is unaware of itsmeaning. Gabbath.a is abiblicaiword, andmeans pavement.’’ Anothermagazinemakesitsappearancein thiscountry. I t isthe “ Mete.or ” (wewonder whether the Editor found out the meaning of this word before he chose it !) Elliott, ,of Rotherham, is the Editor, and offers it as something different, insofar that it deals more with news of magicians ratherthandescriptions of tricks. Wetakethis opportunity of wishinghim the best of luckwith his venture. An anotherpage will befounda review of OUI‘ new effect Gap in the Curtain.” The theme of this is our own “ T8aped Slates,” but the method is different, and undoubtedly b,etter, as no fakedslate is used. Nextmonth we haveavery niceeffect byJohnHowiemaking use of the Jardine Ellis ring. “
”
“
“
“
”
“
“
”
“
“
pokereffectinwhich used. Theauthor, who to magical magazines, There are no snags recommended.
the principle of half roughing is through his manycontributions writes in a n easy manner. in the effects. Unreservedly
SIMPLICITY PREDICTION byRobertHarbin(published by the author, price 7/6).95, Marsh Lane, N.lY.7 After a sealedbox has been handed to a. spectator to hold, one of three newspapers is chosen. From this newspaper a headline is selected. The person holding the sealedboxisrequested to open it . . . youknowthe rest . . . inside is a piece of paper ; m which thementalist has correctly predicted the chosenheadline. This is a n effect that can be made or killed by presentation.Actually we thinkthatthe performer inhis recap. iswrong in stressing item four. Nevertheless, for the performerwho wantsan easy to \York, nothingto remember prediction effect, we think that he n,iIl like this one.
MODES F O R lVlEN‘l’ALISCTS”
No. 4 ??TheG a p in the Curtain” In 1948/9, the “Modesfor Nentalists” series\$‘erelisted a m o I 1 1 ; thesixteenoutstandingitems of the \-ear by JOHN MULHOLLAND,\vhilst“Mind out of Time,” No. 3 of the series won a “LinkingRing” ;\\.ard. No\\-comes “GapintheCurtain,’’ a triplepredictioneffectthat hrings two nen-principles intoplay. Capt. LeslieMay,who saw anadvancecopy, \\-rites to :-ay that it is the best of thefour.
Coloured
It’s all very well tobul. th:. latestbooksonmagic.butdon’tforget thatnotallthegoodbookswsrepublished in thepastyear.Here area few worthwhile work5 that vou shouldn’toverlook :.\nnt.mann’s PRACTICAL MENTAL EFFECTS, cloth f $6.50) 32/6 Eooth’s FORGING AHEAD IN MAGIC, cloth ($3.00) . . 15/Booth’s MARVELS OF MYSTERY, cloth ($2.50) . . . 12/6 R11~klt.y’~ CARD CONTROL, cloth ($10.00) . . . . 50/Downs’ THE ART OF MAGIC, cloth ($5.00) . . .. . . 25/Fitzkee’s SHOWM.\NSHIP FOR MAGICIANS, cloth ($5.00) 25/Gallltier’s MAGIC WITHOUT APPARATUS, cloth (37.50) , . 3716 Hilliard’s GREATER MAGIC, cloth ($10.00) . .. . 50/Holmes’s THE MAGIC ART, cloth ( ~ 2 . 0 0 ) .. , . . . 10/Hngard-Braue’s EXPERT CARD TECHNIQUE, cloth fa5.00) 25/Maskelyne-Devant’s OUR MAGIC, cloth ($5.00) ., . . 25!Rice’s ENCYCLOPEDIA OF SILK MAGIC, cloth ($10.00) . . 50/Sarhs’s SLEIGHT OF HAND, cloth ($5.00) .. .. . . 25/ANDHERE ARE THE LATESTONES ! Kaplan’s THEFINE ART OF MAGIC, cloth ($7.50) . , . 37/6 Tarhell’s VOLUME V, cloth ($10.00) .. .. . . . M/Sardina’s THE MAGIC OF REZVANI ($3.50) .. .. . . 17/6 \.’ernon’q SELECT SECRETS f $1 S O ) .. .. .. .. 716 Pleaseremitto Mr. Robert-onKecne, 301 NorwoodRoad,Southall, J ‘,llr ordcr to 11s andit will start on 3Iiddlc sex. He will “ airmail it.; wa!. imn~ediately.
.
”
FLEMING BOOK COMPANY, 728MADISON
“
AVE.,YORK.P.A.,
ROUGH AND SMOOH POSSIBILITIES ” By Tun Hock Chum
U.S.A.
PETER
The Magic Circle
WARLOCK’S
PENTAGRAM
A booklet dealing with the methods and publishdd on 24th of each month application of the modern principle,by one of the leading experts on the sub1 / 1 single copy ject. I t is recommended for advanced 1 116 per year post free magicians. Price S/-
Postags 3d.
Editorial Address: 65, Manor Road, Wallington, Surrey. Published by Geurge Armstrong,11, Monastery Gardens, Enfield, Mddx.
ARCAS Publications SYDENHAM 404/408 Croydon CONJURING BOOKS OLD AND LIST FREE
ROAD Surrey
HENRI DE’SEEVAH MMC.. HMS., TH.vi.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magifor his list of cianstosend used apparatus new and call at his and books, or studio :1, CLARENCE ROAD Hatbome, Birmlngham 17
FOR SALE
NEW. Let me know your wants FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX L.EARN HYPNOTISM.-ANYON,E can learn to HYNOTISE provided they know how” and ar: willing todevotealittletimetoprarTire. Practical lessons in THE WIZARD even. especially for the ENTERmonth, written TAINER, by S. E. (Dexterous) Dexter, V.A.F., I.B.M., ALSO MUCH GOOD MAGIC for Mentslists, Children’s Entertainers and Vents. Clnb Performers. Special section for 36 fully illustrated pages per issue. Subscriptions : 6 months, 1216; year, 241GEORGE ARMSTRONG, The MAGIC WAND PUBLISHING COMPANY, 11 MONASTERY GARDENS, ENFIELD, MIDDLESEX
*
Pnxsidrnt : His Grace the Duke of Somerset, D.S.O., O.B.E., I.P., D.L., M.T.M.C. Vice-President: Douglas Craggs, Esq., M.T.M.C. Museum :
ClubroomandLibraryand
St. Ermin’s Hotel, CaxtonStreet,S.W.1. Magical Theatre :
KingGeorge’s
Hall, W.C.
ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenue, Wimb!don Park, S.W.19 INSTITUTE
OF
MAGICIANS
13ranches in h n d o n , I’ortsmonth. IVakefield, Brighton and Detroit, U.S.4. The friendliest of magicalsocieties. No entrancefce,printctl club magazine, splendid lihrav. House, 296 Vauxhall London H.Q. Denison S.W.I. (one minute Victoria Bridge, Victoria, Station). Particulars from Oscar Oswald, 102 Elmstead .4venue Wembley Park, Middlesex.
m
OLD
NEW AND
MAGIC
LatestThinkMagician a A pocket Mind .. . .only 216 Readitg Effect “ Orrin’s famous Spide;’s Web, Card . . 301Trick COIN WANDS to produce a real‘coin 16/6 A few Sliding Glue Packs of Cards 8/9 Sendstamp for printed. lists of oldand new Magtc. SYDNEY de HEMPSEY 363 SANDYCOMBE ROAD, KEW GARDENS Ric 4238 SURREY
..
Every Advertiser’s goodsare Printed in England for
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners Becmtifully ( ‘ I ) ~ o I I ! . o ~ I ‘ i l l just I ~ I I ~ I I ~f ‘ )o lIo /)/ FY .? Stage Size, used by Treu-ey, etc.. 12 ins. \\hen c ! o ~ e d . Rainbow coloured, 22/6. PlainWhite,15/6. I m p o r t m t Hillts o n opening und d o : i j / q t ! l e f o l d s i ~ t J u d c n ‘ Trouhle \Yit13ooklet ; 80 illustrations . .. 2 / 9 CARD TRICKS BY STANYON Card Castle. Base 12 X l O & inchcs; G tiers of car(Is; 2 2 incheshigh: l,er?utifully nlatle, dou1)le cards, SO/-. Card Castlefrom Hat. 6 tiers;highgrade; 30/-. ‘Limit’ Diminishing Cards. \Vith :lack to match a n c l blackElxmised Stand, 30/-;(\vithoutStand, 25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. Giant Car3 Penetration. Genuine J u m h o (‘ards. 70/-. Giant Gard h Lamp Glass Penetration. ditto. 70/-. TrickPacks. Wizard (40 T k s ) , 6/-; Svengali 40 Tks) , 7/6; Quick Cut and Calculating, 7/6; Colour Change and Free Choice Forcing, 7/6. of MAGIC (Stanyon), 1900-1920,withtheDictionary Magic.3samplecopies,postfree. 3/3. Stanyon’s Famous Serials. Coins; Memory; Miscell. : Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls: Explan. Progs.; Chem.; Each 3/-. B O O K L B O O K S B O O K S It is o u r policy to keep every 1 ) o o l c !)11 conjurillg a n t l allied arts in stock. IVrite for free lists. Alost [ : . S . books ant1 allEnglishpul~lications in stock. Five Shillings equals one dollar-we pay postaf:c F’orci!p nnd P o l o n i d (au.qt(;n/ers p l r ~ u l s . w ~ ~ i dirvc/. t ~ 11.1 ~ ( J I Y ? supplied 3 1 A C I f ? t o t h p IT’O?iLJ) .*.ilrct, 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. I’ebepirouP : HAMpstead 0940
HERE ARE EXCELLENT BOOKS
PETER WARLOCK BY HERBERT WALKER
& SON
JAM GE R SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. TelephoneorTelegram : MORLEY 899 Address :-23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 years in thebusiness
fully endorsed by this Bulletin (PRINTERS) L m . w e w CROFT WORKS, WELL C R O F T , SHIPLEY. YOPKSHIRE
*
57
PENTAGRAM An independent monthly bulletin for all who wmt good magic
The Jardine Ellis ring trick, properly handled, is a gem of close up magic. The version about to be described is merely a variation, the main differencefrom other versions being that no assistance is required from the spectators. This version could, of course, be used as a repeat or extension of anyotherEllisringroutine. Requirements:-The ring with its attendant shell. A piece of tapeorribb,onaboutthirty incheslonghaving c? smallpellet ,of waxpressed on exactly at the centre on one side. If the tape is red,the wax wili never be noticed and you might e\.en getsomeideas forpatter! Presentation:-Standdirectlyfacing theaudience and holdtheringandshellatthetips of theleft fingers and thumb. Take the tape in the right hand and hold it aloft as you draw attention to it. Slmultaneous!ytilt the left hand backwards somewhat and allowthe solid ring to slide down the thumb, then return the left hand to its original position {see Fig. 1 ) .
Thread the tape slowly and clearly through the ring (actually the shell) making sure that the waxed side is outermost,i.e., n,ot in contact with the shell. Gather the ends of the tape in the right handandholdtherighthandabovetheleft hand. Allow the shell to sinkinto the left fist and let the solid ringmoveintotheshellagain. Pressthe solid ringfirmlyintotheshell and lift ringandshellawayfrom left handbyraising therighthand.(Figs. 2 and 3 show theactual arrangement). Bothhandsareobviouslyempty andthere seems tcbe no roomfordeception. “
”
Placethelefthandaroundringand shell and let bothendsofthetape fall towardstheaudience (Fig. 4). As youdothispullslightlyon thetape to free the solid ringfromtheshell. Withrightforefinger andthumb nip thecentre of thetapeatthe waxed portion,pullslightly back and up, then press the waxed portion to that part of thetapeimmediatelyabovethering (see X in Fig. 3 ) . If-ithoutapausemovetheright
58 hand, holdingthe solidring,downwardsleaving the shell hiddenin the left hand.Whenonly a little tapeshows abo1.e the left fist, stopand remove the right hand. Apparently you have merelytrazsferredthetapeandringtothe left hand (Fig. 5 ) . Hold the right hand below the ring. then raise
:tnd 101vc.r the left handuith a moderatejerk. The ring, being held by the wax alone (see Fig. 6 ) \\illdropfreeinto [he righthand. Thus aclear c u t penetratid11 has becr: effected. Thetapecan be takenbytherighthandandbothtapeand ring tossed to the audience if you so desire, leaving :he left hand to dispose of the shell.
Sitting by the fire reading,mytwoboysare A few coins are playing at guessing a game. l / - , etc.,andan used; 3d. piece, Id.,id.,6d., emptymatch-box.One of the coins is hidden in the box, by Alex,-that’s the elder boy, Richard it is. Richardcould tries to guess whichcoin nex’er guessccrrect ; Alex wasalwayscorrect; that’s what pclzzled me, as I watched from out of thecorner df my PIT. I knew that Alex wasa clever trickster I
;-he ends Ivith finger andthumb,and told us to \\.atclr, that he didn‘t open the ends to peep in.
Cine night, Alex carriedthisthing astagefura handful of iher.He took from his pocket coins and sorted o u i a ad., .id., Id., 3d., 6d., l / - , 2 -, 216, turning them all headup. Hesaid, Watchthis,”andemptiedthematchesout of rhe box, givirg it tc me, saying, Put any coin \*ou \\.ish intothebox, ivhen I turnaway.” I did so, ’iller1 he took the box in his hand, holding “
I ‘
Introduction. \i O:i AnotherPass ? Yes, that’s all but it really is in1,isible. I t was JeanHugardwho said in Xumber 4 of VolumeTwo (Sept., 1944) of his excellent / f z1;rclrd’s -ilil,yic A \ l o ~ z t h i ~that ~ it is easy to understand how anyone desirous of learning card magic, after prolonged a and \vain stmggle nith the intricacies of the pass, and firmly bclie\.ing ;IS he \\’as tolcl that success nithout it \\xsimpossible. ~vouldfillally decide that conjuring to stamp \vith cards \\‘as not for him andturn collecting orsomeother easier hobby.” He later produced with FredHraue his admir.able version o f ’ ‘ Thc Invisible Pass.” But the. factremains :hat his originalcontention was probabl37 right. “
M;ell,h.e managed to tell us-Richard and Ithevalue oft!le coin,and, also,the dateonit.
i looked at rhc dates on the other coins, think:ng that they mightbeallthesame,butthey
1va-e difierent. He sn;i!ecl, doing it over and over again for us. Then he: disc1osc.d the secret. In thecentre of tile match-box cov’:r hehadburned a hole,the size of a shilling,usingared-hotpokerfor that jc)b. Xext, l-le had C U I fromanotherboxthetop partto !it o\’er aildhide the hole. ,4lso, four jlin-head p a n t s of a x held the top cover in place, r e d y to be palmed off, allowing him to see which And, of course, he hadmemorcoin wasin3icie. ised the dates onthe different coins. 11.
A i l the so-called invisible passes be can only achiei.ed aftcr con.;iderable practice and el’en then their all-round invisibility is open to doubt. No\\. here is apassthat reaily isinlrisible yet c a n be pcAriormctl by the ham-fisted chaps ivho h:;\.e 1::arnt tile rudiments c,f the pass at some time
theircartersbuthave since given it up in fa\.our of c ) n e o f the many excellentsubstitutes (01’ pt~ssii,l~~ stanlpcollecting!). The onlyperson \\.l10 might set‘ this p ~ s sis onelying on the floor lo;)!;ing uy\\a-ds-aalld he ivould only infer it from t h p change o f b o m m cards. As dead drunks are ;lot norinally capable of making such inferences it m~safely be claimed that this pass is 1 0 0 ° { , in\*is;iblc. (Gce ! This is goingto he good ! ) . ill
59 Efiect.
The irlel-itable cardha\.ingbeenchosenand returned it 1s very soon available to the conjurer on the cop of the pack for him to produce in one of theman\’dranlatic 1vaJ-s o f Ivhich he is no doubt master. Requirements.
( a ) apack of cards. ( b ) ability to perform a pretty indifferent pass. (c) sL:ffic;ient enthusiasmtoread on. Presentation.
The cara has ixen chosen and while it is being shown around you natura!ly interest yourself elsewhere. Wander away glancing newspaper at headings 01; thetable,lookingatthecustomers’ ph9tographsonthe walls, pickingyourteethin the mirror . . . in other words adopting a casual air. Whilst thus preoccupied begin to play with the pack as follows: The pack is facedown in theleft hand, first finger at therightouter corner of thepack ( ” outer”meaningtheend awayfromthebody),second,thirdandlittle fingers along the right side, and the thumb resting alongthe left handside.This is in factthenormal starting positionfor thestandard pass and no doubtindi\-idualperformersvaryregarding theexactdetails.The left hand is waist high. The right hal;d approachesfrom aboxve, cuts oh about half the pack and rises again to about nine inchesabovethe left hand.Therighthandthen slaps its cards back on top of the left hand packet. This is repeated several times and is lyaried once or twice by dropping the cards from the right hand in small packets instead of throwing them in one. Thiscasualplaying with thecards(which is all it is) I call the siaphapp!. procedure. “
”
You are casually playing Ivith the cards in this waywhileequall-casuallyinterestingyourselt in ather things in theroom. ;%‘hen allha\-e seer. thecard,approachthechooser still playing with thecardsasdescribedandinvitethere,turn of the card i n this fashion, .And now will you pleasereturnyourcardanywhere you like.’’ Contrix-e tc; have the card returned when roughly half the pack is ineach hand. The card is, of course,placedontop of thebottomhalt (i.e.,the half in the left hand). TT’iflzouf (1tz.v chnrzge i r l t e m p o (this is theessence of the whole business)theslaphappyprocedure is continued two or threetimes. As you finish you remark, Well, your card might be anywhere now, in fact it i, mightn’tit:’’Indeeditmight,but nestling quietl5- CII top of the pack ! “
All that has happened is this. The moment the card was returned you inserted (yes, I’m sorry !) yourlittle finger to hold the usual break. At the same moment your right hand descended and rose againbutinstead of carryingawaythesame packet it took awaythebottompacket.Then without anychange of tempo (I mustemphasise this) the right hand slapped its packet back and ther!straightaway descended. to pick up half the packtocontinuetheslaphappyprocedureuntil you choose to finish. Thechange ,of holdwhen yoatakeawaythe bottom packet needs further a word. The momen,t the upper (right hand) packet strikes the bottompackettherightthumb goes totheleft inner(i.e.,near ‘the body)corner of thebottom pa’cket and the right second finger goes to the left outer(i.e.,awayfromthebody)corner of the bottompacket.Thebottompacketthen comes awayupwards(held by thethumbandsecond finger only) passingbetweenthe left thumband theold toppacket.Theremainingrighthand finger takehold of it at the top of the rise and the packet is promptly slapped back ,on the near bottom one to continue the slaphappy procedure. Further explanatory p i n t s .
This is nothing more than anordinary standard pass. Theinvisibility arises from thefact thatthepass is doneduringthe casualseparating2ndbringingtogether of thehands ar_d cards(theslaphappyprocedure). 1 am ashamed to say it is a case of the quickness of the hand deceiving the eve I You will find that this slaphappy procedure makes a bit of ,noise. V7ith a little practice you will find that you rather enjoy slapping thecardstogether.Thiscertainlyadds to the coverbutyoumustreducethe difference in noise between when the little finger is inserted and n.hen it is not. Practice will show you Lvhat I mean by this. of thispass is that it One of thejoys doesn’t mattw if you d,on’t get a clear hold of tile bottom packet the first time. If you fail just carry on slapping away until you do get a goodhold andthentakeaway thebottompacket. Again theimportant thing is not to alter the tempo. Conclusion. ,Although long,.n-inded in description there is nothing difficult aboutthisstall. Anyone who haseverplayedaboutwiththepasscanmaster this invisible one in no time.Andit is invisible. I use it.Why not ycui
60
(An Alternative Method.) Introduction.
It is suggested thatthe followingmethod of performing The Two Thoughts hasadvantages over that given in the PetrtLLgruwz for January, 1918. The effect is exactly as previously described-namely the performer removes from a spectator-shuffled pack now in his pocket the duplicates of two cards freely chosen from another spectator-shuffled pack ‘ l
”
Method.
Conclusion. The method appears to havethefollowing ad\-antages o\Ter that given i n the January, 1948, P c ~ ~ l i t r < ~ u ;lllli
Bothpacksare shuffled byspectatorsand replaced on thetable. A spectator is theninvited to pick up a pack,removeacardandpassthe pack to a second spectator whoalsoremovesa card.Theperformer collects thepackfromthe second speciatorandthe two volunteers concentrate on thcir cards and show them to other members of the audience. The cards are returned to the pack and brought (I use mySlaphappypass).The to the top secondpack is thentaken by any spectator who confirms that the duplicates of both chosen cards arepresentNethen gives thepackathorough shuffling so that even does he know not where On thetwo-duplicatesare. H e then places thepack in thc perfxmer’s right trouser pocket.
Dear Peter,
of a ( a ) there is notransferenceatthestart cardfromonepack to theother. regarding P ) there is no conjurer’s choice which pack the cards are to be chosen from. !c) there is no transfcrence back of four cards fromthe first pack tothesecond. of abreak ( 4 thethumbcountandholding are eliminated. is (e) the efiect (as opposed to themethod) slightly improved in that the performer does nct handle the second pack at all after both packs have been produced at the beginning. thedebit side the only sleight which vou have to performand\vhichnotiequiredin-the ,m-iginal \w-sion is thepalming of two cards.
using a stooge previously arranged to give a certainnumber.To do this he produces a die and rolls it on to thetable; he thenremoves a matchbox from hls pocket,emptiesthematches out on to the table dnd places the die in the box. The box is now passed to several people to shake and is finally placed in thecentre of thetable. \Vith the finger andthumbonlytheoperator (rememberedthistime)opensthe b,ox trayand thepredictednumber(ornumber to be used) is seen to betheuppermostnumber on thedie. “
Tho’ I’m only a child in arms in the realms o f Mentalism,ithasolienstruckmethatmentalists sometimes go thru’ a hellulla lot of troubleand complications to get anumberselected. If you havealoaded die you (ran get anumber in ;t reasonablefashion;but so many people in England DROP a die instead of ROLLING it,that it makesitratherchancy.Theother night I evolvedthefolloningideaandthought it might be sortieuse to youandtheothermembers of your cult Performer (sorry . . . operator) states he wishes to have a number selected purely by chancc ;lnd Ivithout giving anyone suspicion that he is “
In themeantime,withplenty of time and all thecover in theworld,theperformerquietly palms in his righthandthe two topcardsfrom the first pack and rqlaces the pack on the table. The performer puts his righthand in his trouser pocket, contri\Tes to get anycard from thepack that’s there over the twopalmedcardsandthen producesand displaJrs thecardsas described in the original efiwt.
”
”
ot theboxdoes is partitioned across :heHow. centre.The1tra~7 he partition notreachquite c.
up to the h i 1 helght of the tray to allo~va row of matches to be placedabove it.In one side of
61 thepartitionedtraya die is glued . . . NOT in the exacr centre please. . . . The number vou require is uppermost on the glued die. Withmatchlayerinpiacethebox is removed from the pocket and opened MOUTH OF TRAY DOWNWARDS,asthetray is withdrawnfrom t h e , b m , the matches will fall out on to the table givingthe illusion thatthey werecontained in the bottom of the match tray in the normal ,
fashion.Thetray is replaced in thebox STILL MOUTH DOWNWARDS and pushed in till it is slightlymorethanhalfwayin. You canmakea smallmarkonthebase of thetraytoeliminate guesswork. The idea of this is so that the assembly won’t notice the partiti,on when the box is turnedtraymouthupwards.The die is placed intothetray . . . forGawd sakemakesure you ?utitintheemptycompartment.Passthe box around to be shaken. Then take it from the shaker before theyhave a chance to openit at the wrongsidc(lest theyshake you too).Place theboxon rhe tableandopeniypushouttray exposingtheglued die and the number required. Bettermarkthetop of thebox on thefaked up sick. Well there it is, Peter. Seems natural,normal, ancl free from trickery to a layman, yet easy and beyond hazard to -the operator. I doubt if a trick of any variety demands any more attributes than that. Oh, bytheway, I’m thinking of a card . . . I’ll corlcentrate on it hard to-morrow morning beand ele\,en o’clock andperhaps you tweenten ivill phone me and tell mewhatit is? Semper,
\YM.
Very often,”says the magician, ~ v eclaim that if we had our time over again we should act differently in givencircumstances.Ontheother hand we might be inclined to the opinion that no matter what we do our destiny is already fixed.” \.cry smallsection of our Let us takejusta lives,introducean element of chance,and let us see \\.hat u e \vi11 see. Could I have the assistance of two gentlemen, please, each of whom will pursuea line of actiondecidedbypurechance? Here is a die with the usual six faces, and spots, one to six. Will you make a few trial rolls, please, to assureyourselves thatthe die is quite normal?Here also are six cards, onwhich are written sets of simple instructions. U’ill you examine the cards, and note that the instructions I will ask a disinterestedperson arealldifferent? on to mixthemthoroughly,and set themout this stand so that the fazes are hidden. Now you,sir, I \\.ant you to roll thedie,note thenumberonthetop,andcountalong to that card; you may decide for yourself which end JTOU will count from. Or, better still, we \vi11 ask som,eone in the audience to spin a coin. If it falls heads,’’ you mustcountfromtheleft-hand side, if tails,” count from the right. “
“
“
“
1-ou !1a\7e your card, sir? Heads?Thank J-OU. Cl’ill you please keep the instructions hidden while ourfriend rolls the die and chooses his card. You, sir, must also count from the left, an,d should vou arrive . - at- the same number, will 370u please roll again?It is essential thatyou each havea different set of instructions. You haveyourcardnow?Good.Toreturn to the first chooser.Pleasereadoutthe first instruction on your card. Look at the exact time on your watch, and add together all the figures.’’ Will you do that? For instance, if thetimehappenedtobe 7-24, thenyourtotal would be 13. Don’t tell us the number, just make a note of it. And your first instruction,sir? Countthe loose coins in yam- pocket.”Keep th,e total to Open vourself.Yoursecondinstruction,sir? a book at any page. note the number and add it tothe first numberyouhave.”Pleasedothat. Your secondinstruction,sir? Add your age to the first number you have.” Thank you. You have onemoreinstruction,sir? Add the number of your house to the total you already have.” -And your final instruction,sir? Thinkof a “
“
“
“
“
“
62 t\vo figurenumber,andaddit to >-our total.” Each ofmyhelpershasarrivedatanumber, purelybychance. M‘ill each of you reduce his number t.0 one figure, by adding the digits together. Here are ‘two packs of cards, the left hand one we will call heads,” and the right hand tails.” You have first choice,sir, and if our friend in the audience. will be so kind as to spin coin a again perhaps you will call? Heads? Thank you. Pleasecutthispack,cutitagain if you wish.And you, sir,pleasecutthis packas many times as you please. Will you stand, one on either side of the stage. I will askthisgentleman first towhisper his number to me, and then Z will count down to the card at that spot, without letting my other volunteerknowwhat the number is. This is th,e number, sir? Please take that card, and keep its face hidden. Now your number, sir? Is that the card: Pleasetakeit, and keepithidden. You are both satisfied that everything you have done, was arrivedat by chance? You areconvinced that if ~70uhad your time over again you
n.ould probably choose different instructions,and different figures? Then let us see \\hat \\re have arri\.ed at. Your card,sir, is3 TheTen of Clubs? And your’s, sir?TheTen of Clubs? Perhaps there is something in ,this Destiny business afterall? TG magician a this effect: probably explains itself. All that is requiredare six largish cards, each of which bears three simple instructions similar to those quoted above, all the cards being different, of course, a die (preferably a large one) and two rough and smooth forcing packs, each of n-hich forces the same card. If one pack has red backs and one blue, so much the better. The routine is a rest-cure for theperformer: it makes no difference tvhat numberstheassistants arrive at, he simply counts down in each pack to the number given, and he is on a force card. Theperformercould, of course,makesome kind of a prediction as to the card, but this would weakenthe effect: the fact that the names of the cards are usedmerely to illustratetheprocess of inevitability lends versimilitude to-but it isn’t 50 unconvincingasallthat.
A CATALOGUE OF BOOKS ON MAGIC ( i s s ~ e d!J?
CUPID’S CARDS. X card effect by StewartJames. (ObtainablefromFrancisHaxton,St. ,Anthony’s, NonsuchIYalk,Cheam, Surrey, price 5 / - ) . The working of Stewart’smind is ascunning as Jordan’s lvhen it comes tothe working out of some piece of intricate chicanery with cards. This effect is noesception,andalthoughbroadlyit is a spelling effect, i t is such a n effect with a difference,for despitemuchmixing of thecards,cardaftercard is speltoutin a straightforwardmanner. Before \vee\.er read through a n y of Stewart’s routines our goocl friend Francis I-Iaxton runsthroughthe effect; thereading t h a t follon-s increasesstilimore ouradmiration plus the feeling that magic on-esa greatdeal t o such a n originator. This is primarily for close quarter work andit getsandfully desenresourunreservedrecommendation. “ THE UNBELIEVABLE ROUTINE,” by Dr.J. E. Kemp (putjlished by Kemp Magic House, 2 0 2 , N . Western Avenue, Whittier, California, TT.S.A., price
l‘
theFleming Book CO., York,Pa., V.S..i, ) This beautifull5-produced catalogue,is, as reat.it.r..\\-ill notefromtheFleming Book Company’s ad\-ertisrmenton page 61 freeupon request. After a table of contents,there follo\vs a n esccilentessay APleafor Magical Literature, i 5 ~Mr. ~ Paul Fleming.Inthisessay, the author gi\-esall those reasons,with\\-hich an\-sound mindedmagician wilj agree,thatthereading *of hooks on magic is not 0111snecessary, but also profitable. Particuiar!!. does htstressthe need for a grounding i n the classics. It ia11 verysound,theonly flan. heing thefactthat 31:. Flemingattributesthe Annals of Conjuring IV M r . 5. H. Sharpeinstead o f S. \Z’rangel Clarke. Pagesse\’en to thirt\.--one in cl us\-^, list ( a t a rouyi: guess) some three huntlrGd and fiftl- receilt allcl standarc! \vorks onmagic.Againstthe t i t l c of each hook or pamphlet is appended a brief description of its contents,and in certain cases brief ‘‘ quotes of contemporary reviewers, -1fter this section, the reader finds somefour pages de\-otecl to a classified guide tc current Magical literature. From here until pa!y fifty-fi\.e the Fleming publications are described ii! detail \vith accompanving review. To conclude the .\rcas publications. f6r which the Fleming Cornpan!xresoleAmerican clist;il)utors, are ,gLri\.en a h \ . ( , p y r spread. TheFleming R u o k Companl-ha\-e sincetheir c o ~ n mencement sho\\.n that the!- are superlati\.e ~ J O O L rnakers in every sense o t the \ \ . o I c I . This tine cataloxuc iwautifullvprintet!on a r t paper anti ha\.ing nunlerog? illustrations, isin a trxtiition unsharcvl l)?. othei-+. feelsurethatthose, n-ho in thepastha\.enot Leen muchaffected to reading, \<-illon looking through thi. tine piece of \\-ark ha their imayination.; fired anl! trV ancl matle good a pre\.iouc 1 0 s ~ . Plr:cs:e ( t o 11’): fail to qbtain a copy. ”
I ‘
”
I ‘
”
2
“
”
$2.00).
This is a triplepredictionefiect based upon \vel1 triedmethods.The accessories are ferr- andel-erything depends upon the performer’s shorvmansllip. A weli detailetl presentation is given, lmt it is based on scriptum1references. \Ytilst we consider the t l k g up of theDivinitywithconjuringmay serve \vel1 those \\rho call themselves JIagiministers (ivhich, praise be, therearenone to our knowledge in this country), dispensingtn-erltieth century magicfrom a sacred pulpit. as a general 1)ackgrountl i t seems a matter of \-er\‘ 1 )at1 taste. In theacl\-ertisement for this effect. it is statetl that the.effect includes a gimmick.” Now a gimmick l)!- any other name is still a gimmick ant1 when the reader of a n ad\.ertisement describing a miracle effect sendshisnlonevand recei\-es in addition totheroutine, a spiral spring pad, \\-e thinkthat he is going to Ire disappointed to sal. the leastof i t . “
”
“
l ‘
”
63
For thelateness of theprevious issue, oursincere apologies. *A breakdown of linotype a machine atourprintersplustheinterventionof the Cotswold Assembly (which carried George -Armstrongatvay fromLondon) were thecauses. OnSaturday,May7th,RobertHarbin got a nice spot of publicity by means of radio.Inthe In TownTo-night feature hepresented his \.ersion of ‘ ‘ Sawing through a Woman,” f,ollowed by an impro\,edversion of theAbbottmethod. The Sunday Dispa,tch gave him a nice write”p on the following cla).. Rob was all booked for somepublicity like thissometime back,buta statement given to the Press at N.A.M.S. Exeter meeting regardingthe pole to polemethodinterfered. In this number will be found a letter from Billy XcComb. Before readers start telling us that there is little llew in this force of a die, we would like them to readthroughandnotethereally natural method of handling matchbox and die. IntheJanuarynumber of the “ Pen,tagram (published on the 20th of that month) we brought up a number of points regarding N.A.PI.1.S. Some three weeks laterAbracadabra followedthis up with certain criticisms. Now the oldest of British publications, the Magic Wand hasjoinedthe queue.Themaingrumble seems to be moneJ1, and it is comforting to know thatthematter of future financial policy vas considered at the Manchester meeting. For all this members of the Xagic Circle may weli ask when the Annual General Meeting arrives, what N.A.M.S. has done for magic as a whole for their own Society in particular.Theexpenses of thisparticularSociety caused through N.A.1I.S. are very high, possibl). nearly a couple of hulldredpounds. In return forthis one twentytwo line report of the Exeter meetingappeared in theDecember, 1948, Magic Circular, whilst in the current number a page and a halfis de\.oted to the Manchester meeting. This is allthatthemembersget. E\.en the bookre\iews, Ivhich couldbe \duable,are notsent to e\yery member. If they a-c required members “
”
“
”
”
“
”
must write to the Hon. Secretary. We have made the suggestion that a N.A.M.S. notice board should be placed in the Circle clubroom. On this memberscan be posted regndingthe latestinformationregardingN.A.31 .S. The suggestion has been adopted and we lookforward to seeing theideataketzngibleshape. We have had some nice reports regarding RobertTothill’s Shadow,”thatappearedin iast month’s issue. We feel sure that when Bruce Elliott reads the effect, he will think that the idea \\.as inspired by Nightmare Alley Gresham”s effect Nightmare Allez.” Such is not the case. -Actually Bob Tothill sent the effect across to Ted. -4nnemannforthe Jinx in the early days of thewar;enemysubmarineactivity wasbusyin the Atlantic at the time, and the original of “ The Shadow becamefoodfor fishes. We had a very nice tripto Cardiff at the end of -April, and appreciated the audience that on a Saturday evening turned up to hear a talk on that of illiterateconjurers-mentalism. favouritebutt \Ye were particularlygratefultobothJimmy Douglas and Tudor Brock who actedashoststo us. Pentagram ” Xvxt month, we hope that the \vi11 be aDouglasDexter issue. At themoment \ W arewaitingforoneveryimportanteffectto complete it. This wiil be an unpublished effect of DouglasDexter’s,contributedby his son,Kenneth Dexter. Besidesthisthere will beacontribution by S. H . Sharpeand a lovely cardpresentation byJohn Young called the Ghostof Curse.” This latter is one of the best “ story card effects that we ha\Te eller seen.Dexterwas a great artist, and to-day we know of no magician comparabletohim. It seemsanamazing thing, considering holy muchhedidandachievedfor I!IC MagicCircle., that in its clubroom there is not e\’t.!1 a photograph on t h c ivall. The next meeting of N.A.M.S. is to be held at Birmingham. It is scheduledfor a noted day in ICI~. EnglishHistory f h c . F-iTrl~ o/ . Y O P L ~ I I ~ /Perhaps this augurssomething ! “
“
“
”
”
“
“
”
t54
Coloured
Trewey Model
FLEMING BOOKS are “BEST BUYS”
Ilefllltitd/!/
:
SOME VERY RECENT ITEMS ! Tarbcll’j VOLUME V., 418 pages .. .. Ha>.’s CYCLOPEDIA OF MAGIC, 500 pages.rrpiintedmaterial Sardina-Fitzkec’s T h E MAGIC OF REZVANI, 96 pages .. Turnvr’s THE CARD WIZARD, 194 pagvs . . .. Vvrnnn’s SELECTSECRETS, 40 pagcs,rcvistd cd. . ..
501-
37/15 17/6
12/6 7/6
Ollr new 64-pagt. hook
c‘atalvgue i> free upon request (Address postal reqllc-st to York, Fa., as hclnu). Remittances shouldbe for\vard:d to Mr. Rnbertson Kecne at his new address: “ c’oRiverTslt. of Wight.” Your order will side..” Victoria Road, farrmuth, h? v,nt 115 h\airmail. anti t i l l 4 immcdiatel>.. post paid.
FLEMING BOOK COMPANY, 728 MADISON AVE., YORK. P.A.,U.S.A.
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians. Price S i -
Postage 3d.
ARCAS Publications SYDENHAM 404/408 ROAD Croydon GEORGE ARMSTRONG’S PREMONITION
PETER
”
(‘o:oll! l
.?
Ill
clo.;rt’.
The Magic Circle
WARLOCK’S
ih p(1blishvd onthe 24th of eachmonthand can he obtaineddirect from thepublishers for 1 ’ 1 per:ingk cop?.. .4nnualSubscription 12 post free.
BY: Magic Wand Publishing
Prc.
r).s.I)..o.R.E..
Co.,
11, Monastery Gardens, Enfield,
Middlesex. Manllscript-,forpublicationand book.; for r t view shonld be sent tothe: EDITORI.4L ADDRESS:
Peter Warlock, Rd.,Wallington,Surrey. HENRI DE’SEEVAH MM(’.. I ” , IBM..SSMC. THE FRIENDLY MAGICIAN invites all bona-fidr Magirianstosend for h i s list nt new and used apcmrattland books, or call at his 5trldio :l , CLARENCE ROAD Harborne, Birmingham 17
CONJURING BOOKS FOR SALE OLD AND NEW, Let m e know your wants LIST FREE FOR STAMPED ENVELOPE No Caller\ _ _ _ _ - -
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Duke of Somerset,
JP,
?I.I.?II.(’.
Vice-President: Douglas Craggr, Esq., b[.l.1\I.C. :
Clubroom and Librar). and Muwnm
St.Ermin’sHotel. CaxtonStreet, S.W.1.
PUBLISHED
65,Manor
\\-I)Fil
Hitct.9 o t l o p e t / i n ! / cItrtZ r-lo.qitl!l tic( ~ t d d . $~ t t c l c l f i c , / Troul,le \Yit E3ooklet : 80 i11ust:atioIls .. . 2 , 3 CARD TRICKS BY STANYON CardCastle. 13ase l:! S lO$ inchrs; ti tiers o f cards; ‘12 inches high; heautifull!- made, t1out)le car(!s, 50/-. CardCastlefromHat. 6 tiers;highgrade: 30/-. ‘Limit’DiminishingCards. \Yith !)acl< to nlatch a n d 1)lack El)onisetl Stantl, 3 0 / - ; (\\.ithout Stan(!, 25/-) ‘Find the Lady’; Giant size. 40/-; Ordinar\- Cards. 10/-. GiantCardPenetration.(;enuine J u m l ) o (’nrtls, 70/-. GiantGard & Lamp Glass Penetration. ditto. 70/-. TrickPacks. Wizard ( 4 0 Tks) , 6/-; Svengali 40 Tks) , 7/6; Quick Cut and Calculating, 7/6; C.olour Change and Free Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920, withtheDictionary of Magic. 3 samplecopies,postfree, 3/3. Stanyon’s Famous Serials. Coins; hlemory; Pvliscell. : Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls; Explan. Progs.;Chem.; Each 3/-. B O O K . LB BO OO OK KS S It is our policJ- t o keep everylwok : ) l 1 cc:ojuring a n t 1 allied a r t s in stock. \\*ritt# for free lists. >lost (-.S. books anti all Englishpublications in stock. Five Shillings equals one dollar-we pay postage r’or~i!lrt r r j ~ r l ( ‘ O ~ I I ~ I( ~ , u I. sIt Io t t t ( r s ~ / I I * ( I . * o w y i t t * d i t . v r t . II’v I I ( I I * C ,qII/j/tIieO AII--i(:I(‘t o thr II-ONLI, . ~ ~ / I I ~1890 c * COMPANY E L L I S S T A N Y O NA N D London, N.W.6. Road, West Hampstead, 76Solent ~ ‘ P I P / ) J I O I : P : H.L\JIpstead
PENTAGRAM
The
Corners
1 : ~ t ; t I i ~ ~ l ~ Ir l : / o l t r . ~
/CiSf
Ittlpoytutdt
tmnestll. belicvc. that thcre arc. no magic publications which giw. bo much for thc monrgac thc
ROUGHANDSMOOHPOSSIBILITIES By Tun Hock Chum
Trouble-Wit
Stage Size, t~setll)>. T:r\\.t.>,. t t c . , l 2 ills. Rainbowcoloured,22/6.PlainWhite,15/6.
\\‘c,
“
“
Cartridge Paper Stanyon
Magical Thratre :
King George’s Hall, W.C. Particular
Sccrctar:, :
FrancisWhite, 39 Alverston;! Avenu?, WimbledonPayk. S.W.19 INSTITUTE
OF
MAGICIANS
in 1.ondon. 1 ~ ’ n r t ~ n ~U.akefield. ~~~~th. Hrigllton and Detroit. C.S..\. The friendliest nf magical >ocietirbs. N o t.ntranct- [ c c . printed club mag.lzinc.. spletndid lihrary. London H.Q. Denison Housr. 296 Vauxllall Bridge. Vlctoria, S.W.I. cone nlintlte Victoria Station 1 . Particulars from Oscar Osuald. 102 Elm5teari 4 \ . ~ , n I ~ t ~\i’c.~nhlr,> P a r k Rlidcllcw,s. Hranchc.
JAM G ER SA Y S O N , MAKER OF HIGH-CLASS MAGICAL EFFECTS, gTAGE ILLUSIONS, ETC. Tt.lzphnne nt Trlegrat!~: MORLEY 199 .Acldrc..\ :
-
GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 year5 i n ttw 1lltsinc.s 23
requestedtoreturntothestage. He is hmdea first a white silk hancikerchiel andthen a length o i black felt v,ith tapedends and isrequestedtoblindfoldtheperformer with :hese t\vo pieces of materizl. This completed, The samespectator is a;l;ed to havethe selected cards returned to the pack, shuffle the latter and spread the cards face down on the table (the performer i1lcidental:y has taken up his stand behind thetableprior to orduringthe process of the blindfolding). The performer asks that the daggersbetakenfrom theircase andhandedto him.Holding them in his left hand,hequickly takes tht‘m one at a tinre with the right and stabs certaincardsonthetable.The first personis askedtorevealtothezudienccthename of his card . . . hedoes so and theperformerlifts ne daggershowingthatcardimpaled on its point ; this is successfullyrepeated with the remaining tv:o cards. Requirements. ( 1 ) Two new packs of cards.Thenrappers
of these were first care!ully remo\,ed b y steaming and piacedaside.Although apparently identical in back design, Douglas Dexter used at least four methods of distinguishing one pack from the other.Onemethod was toexposethe backs of onetothesun, so that a slightly yellow tinge \vas apparenttotheperformer.The secondwas to buy say a gross of packs: and choose one pack thathad a lighterprinting on theback(certain types of American cardshave this fault).The third was to use similartypes of cardshaving cliff erentfinishes, i.e., Air Cushionin onepack and ILTory fi&hin another ; (the late .Ralph Hull made use of this princi,ple forlocation purposes),indication o f difference in thiscasecould be noted by light reflectiox. Thefourthmethod wasaquestion of astandardmarkthroughout thepack.Theotherpzck was treated 50 thatit becamea reader deckwithsignals that were The preparing of this x-kible up to five feet. deck apartfrom gentlenessinhandling ( S O that ”
”
“
the pack
subtle. o f the
,4t “
”
looked ~ l e w ) did not ha1.e to be t o o this point it \\-ill he s e ~ nthat if o 1 1 ( 1
reader cards
”
is shuffled into the other
p;t~-k,it \\.ill sho\\. upfirst, not o n its r m d , ~ uwrkillg b u t o n ac‘cwunt o f its gcj~lcrnl back
differentiation.
y
The reader will find that whilst to the person I z I ? o ~ , I ~ ~ thespectator assisting \vi11 notnotice it. (2) One white silk handkerchief. ( 3 ) ,4 black (velvet or felt) bandage Ivith tapes. (4) -4 set of threedaggers(the case is of course optional but makes for general effec51-eness). ( 5 ) A dellice for switchin,c thepacks ‘7f cards. thisdifference is great such a difference exists,
67 The beauty about Dexter's switch was its cleanness-there \.vas 113 hesitancy-nosuspicion. Again let it be repeated this was only one methoci that he used (inour OR n opinion it is the best for thereaderbecause it canalwaysbe acco~nplished Ivithout detection \I hilst the performer is surrounded). To accomplish the switch which n a s performed in the action of removing the handkerchief from the inside pocket, Dexter made use of special a pocket. The illustration will servethereaderbetterasaguide than a long description. This pocket (really two pockets) consists of onewhich acts as a receptacle for the unwanted reader pack ; andtakesaform similar to the pocket that can be found in certain types of letter files. Thefrontandbackthough made of material si,milar to acoat lining arereinforced by cardbcard. The second pocket, tvhich holdsthe ncn-reader " pack,thehandkerchief and the felt bandage, is nothing more or less than a normalpocketactingasanappendage.Thedepth of thispocketshouldbeslightly greaterthanthclength of apack of cards,but less than thedepth of the receiving pocket.The pointaboutthisparticulararrangement is that whilst the coat is in a normalposition the receptaclepocket remains closctl. Directly, hen-ever. theperformer-makes a mo1.e tocvards thepocket (in such a manner the coat comes away from the b o d y ) , thispocket, h e c ~ ~ u sofc t h e weight of tlzc ( r v t i c l e s i r l tile rlppeldtcgc., autonlatically opens hccomingreadyforthereception of theunwanted pack. Whilstnormallyone clces nothaveapocket inthe !eft part of ajacketorcoat,Dexter hacl his pocketon this side,usingtheright handfor theswitch. "
"
"
Preparation. The " reader pack is first takenand resealed inside one of thewrapperspreviouslyremoved ; it is thenplaced on thetable(which shouldbecentre stage). Adjacent to it is then placedthe casecontainingthedaggers (or just thedaggers).Theblackbandage with tapes is then rolled and placedatthebottom of the pocketproper(seeillustration),thenon-reader packfacestowards theperformer'sbodybeing placed on top. The white handkerchief, also fclded, is placedbetween the pack and the outer part of the pocket (the position of all three articles is shown in theillustration).Thehandkerchiefshouldbe EO foldedthat two endsprotrude.
pointout its merits,replacesit in the case and places the case, lid open, on a table or chair right of thetablefromwhichhepickedupthesealed pack. By this time the cards \vi11 have been taken and the performer asks theassistantto return to thestage.Hecasuallytakestheremaining cards from the assistant pointing out that he (the assistant) has opened a new ,p.ack and aFproachedthreemembers of theaudiencewith a requestthattheyeachtake a card.Theperformeraddressesthethree selectors asking that they now l o o k at t h e cards theyhave taken ; he thenturns to theassistant .on theplatformsaying : '.' I would like you to blindfoldmeinno uncertainmanner." At this pointthe righlt hand gces to the left pocket, the actdon of entering the coat a1lon.s a full expansion of the extra pocket, andthereadercardsaredroppedintothis as the non-reader pack and the handkerchief are removedasone. The speed of thisswitchbecause of thatextra pocket is such thatit would afiteruards be said (should the question arise) that the cards never left the audience's sight. Wlith a normalpocketswitch,there is a l w a pa n impedance caused by the normai compression of the
"
Presentation. A spectator is first asked to assist. With his assent,theperformertakesthesealedpack frcn the tab!e, askshimtobreakthe seal and thel: allow any three members of the audience to take onecardeach.Whilstthis is being done the performer picks up thc casc containing the daggers.opensthelid,picksuponedagger to
SFIOVING TXE EE'E'EC T OF THE COAT AVAY FROM THE BODY. THIS ALLOWS SPACE 3'02 "REDER" CAlWS pocketmaterial.Thiscan'thappenhere. " This one first,"saystheperformer,as he hands tile handkerchief to theassistant. '43 hedoes so the performer, whoshould be justbehindthecentre table,turns half left ; theassistanttakesthe handkerchief and commences toblindfoldhim. The performer in an endeavour to help the speccontinued on page 71
68
I n ’f’lze Jlrcgic
I,T7urlLl
for I)ecemI)er, 1928, 1
described an effect called The Sharpe ScissxsProblem, whichsoon caughton,several variations being described in magazines and books, and also oe%g put on sale. The procedure was simpleandstraightforward : ,4n envelope takenfromthepockethadtheends slit open, aftertheflaphad beensealed,thusmaking a pa,pertube.This\\asslippedoverahandkerchief.Whiletheends of thehandkerchiefwere being held, the tube was cut through with a pair of scissors, butthehandkerchiefremainedundamaged. A verysimple trick sufficed to producethis pocketversion of SawingThroughaWoman. One side of the envelope had previously been cut across thecentre(Fig. l ) , this side beingkept underneath.Round nosed scissors wereused,to preventthemcatchingthehandkerchiefasthey cut through the upper side of the envelope only, the under blade being guided over the top of the handkerchief. A perfect illusion was created, and there was nothing left t’o find out. In one of the \rariations a length of cotton was threadedthroughacigarette with alongneedle. The cigarette was cutin twowithoutdamaging thecotton.The secret herewas to use apair of fairlyblunt scissors that were a trifle 1,oose at therivet.Thiscausedthemto press thecotton between thebladeswithoutcut.tingit,though theyseveredthecigarette. DouglasDextertookafancy to theoriginal effect, and wanted to include it in his‘ programme at Maskelyne’s. H e decidedtodo it inaway that would beclear m t o spectatorsinahall,the followkg being his procedure as describedinhis ownwords in aletterto me : “ I pick up a long manuscript envelope in one hand and a very long pair of scissors, just under a foot long to be exact, in the other. l then snip off the closedend of the emrelope, and lower intoita piece of satinribbonabout 2 feet long andnearlyasbroad as theenvelope,shcwing both sides of the envelope, so that it may be seen “
”
As readers \\-ill havenoticed i n last nlonth’s issue, \ve mentioned that this issue \\.oultl contain John Young’s “A >latter o f hlassacre” ( a card trick \\-ith one of thebestplots \\-e ha\.e seen ) . Even h!- c u t t i n g o u t hook reviews, the three Dcster items took all a\-ailable space. \A’e a r e t h e r t ~ f o wcompelled to hold JohnYoung’s item ()\.er until t h e July issue. I n this \vi11 appear
:hat the ribboil reall!. goes rightthrough.Then, holding the enlvelope in 2 horizontal position with theribbonprotruding a t eitherend, I cut it in hal\-es \\-it11 o f 1 r ’ slo\\-,deliberate a l t , the point c)f the back leg of the scissors showing below the lonw edge of the ernrelope all thetime.The t1t.o hallyes of theenlfelopeare thendrawn off 3rd the silk shonm uncut.” OR1 GINRL
VERSION
SLIT AT MCR OP ENVELOPE
DEXTER‘S VERSION The underleg of scissors
o e 8 between he r i b b o n and t o p side of t h e envelope
This is how it appearstotheaudience. Actuin the action of placing the envelope between the legs of the scissors. the underleg is slipped o f the en\dope andthe Setween thetoppart tlpper side of the ribbon. I do not think that Dexter’s 1-ersion has nppeared in printbefore. ;1!1~7
mouth, which blows out theflame.Thecandle is then placed back on to the right hand, which forthwithhands itto a spectatortoremovean,d examine. The performer then returns to the table, picks up theglasstubeinthe left hand, and, advancing to thespectator,takesthecandlefrom him anddrops it tothebottom of thetube, which is
taller t l x t n the rantlle by about 2$ins. He then, holding the tube by the foot in the left hand and making mysterious passes with theright,stands about the centre thestage. Slow music is playedandthecandle rises slo\vly in thetube till it is about half-way out, and then sinks down again. Once more, to the accompaniment of w i t a b k passes throughout,it rises. Thistime, when about an inch of it is above the top of the tube,theperformertakesamatchin his right handfromtheboxonthetable,andmakesa striking " movement in the air with it, whereuponitlights. H e thenlightsthecandleagain, blows out the match and throws it down-if passiblenearone of theaudience,who, if he examines it, will find it an ordinary match. Continuing the passes, the .performer causes the lightedcandle to rise untilit is more than threequarters of itslengthoutofthetube. H e then, takingthecandlt. in hisrighthand, removesit completely from t,he tube, blows it out, and, adI-ancing to the audience, immediately hands both tube andcandleforexaminatior,. CIf
"
continued on page 70
"
Making a Candle Light "-continued
70 from page 69
The following preparationsarenecessary.One end of a fine piece of blackglacecotton,sixteen incheslong,is tied to asmallblacksafetypin. T,o theother is tied ablackwoodenbeadabout half the size of apea.Thisbeadisimpaledby means of a hole through It, on a black pin which is inserted point upwards iln the edge of the waistcoat,just below the bmottom buttonontheleft side. Thesafetypin is fastenedbehindtheflap of the flies, about half-way down. Anotherblackpin, n,ot toolong, is pushedup to its head into a minute round piece of cork. The point of t,he pin is held for a moment with a pair of pliers,inagasjet,untilfairlywarm ; it is then pushed half-way into the side of the candle, just above centre its of gravity. As the wax cools it grips the pin. The candle is then stood in the candlestick, pin attheback.Totherear of thecandlestands the)hydrometertube. My tube is justover S incheshighoverall,and 13/ 16in. internaldiameter.Thecandle is 59in. 1,ong and13/16in. in diameter.Ithad to beveryslightlyparedaway atthebase,asthetube is slightlynarrowerinside atthebottom,owingtotheextrathickness of the glass there. I t is important that the candle shouldbeabletoslidefreelyupanddownthe tube,withoutbeinggripped atthebottom when droppedin. The si& of a b,ox of safetymatches is bent round into a little \tube like a cigar-band, and the edges glued together securely, striking surf.ace outermost.Thisisstooduprightonthe(table behind t,he box of matches. To perform : having l'it the cande, make a fen pzsses ,over it with the right hand, which is then lowered behicnd andtouchingthecandle.The fingers arethen closed so thatthe cork head of thepin is grippedbetweenthesecondandth,ird fingers. Thecandle is then raised out of the stick .andshownsuspendedtothehand. I t is thentransferredtothe left hand with a semirevolution similar ,to the changeover-palm witmh a billiardball, so thatthepin is broughtbetween theleftsecondandthird fingers whichgripIt, andtherighthandisthenremovedandwaved slowly in $he air,itsemptiness being apparent. The lefthandagaintransfersthecandletothe right, during which it is blown out, but this time itlaysalmost flat ontheright-hand fingers, and t h e left refaills i t s grip o 1 z t h e pi" arid wifhdrcLurs it. Without g i v i n g t h e spectatorstime to i-ealisc thatthecandle is not now suspendedasbefore.
the performer advances to them and requests someone to takethecandlestraightfrom his fingers. LAs soon asthis is clone, theperformer returns to the table, and picks up the tube in the lefthand, which dropsthe pinonthetable in theact of doing so. Meanwhile,theright hand finds theblackbeadandwithdraws it fromthe pin, holding it between the first and second fingers. These fingers arethenbroughtoverthe openend of thetube, which is thus heldfor 2 moment in a horizo.nta1 position, the left hand holdingthebottomend. Now, returnthetube to aperpendicular position,bring it close tothebodyand release the bead, which slides down to thebottom whmilethe performeradvances to theaudienceandtakes back the candle from the spectator. He immediatelyalloNsthecandle to slide down to the bottom of thetube. Owing to thesmailspace between the side of thecandleaqdthe inside of thetube,thebead is unable to passbetween them, so that,bygraduallymovingthetube away from the b,ody with the left hand the bead is pulledupandliftsthecandlewithit.A reverse movement naiturally lowers it. Whenthe candlleis out of thetubeaboutan inch on the second occasio,n, the right hand takes amatchfrcm ithe box, whichshould#havebeen left openandlyingjust in frontofthematchhos hand ; simultaneouslythe third finger tip ispusheddowninto$theband which is then broughta\\-ay ontheend ,of it.The first finger andthumbholdthematch so thatitshead is pressedagainst theband,andthe second finger is doubledbehindit.Byextendingthe secoincl finger sharplythematch is rub,bedagainst the bandandstrikes. T.his is covered bya " striking " movementmade in theair.Thecandle is then lit and raised asfaras possible. Theright handthenliftsthecandleclear of thetube, it is blown outandbotharmsareextended while advancing towards the audience. This movement draws the bead completely out of the tube, and it falls agains,t the trousers, where it is quite invisible. If, #however,there is any fear of it showing, the third and fourth fingers of the right handmayclipthethreadjustabove t,he bead whenliftingthecandleout of thetube,and retain it while the lefit hand gives first the tube and then the candle for examination. Slow, soft music, during the suspension of the candle to the fingers. and ,the subsequent levitation is more effective than patter.
It waswithdeepregret that we heard of the deaths of t\vo whowere weli known in Magic. The first was that of GordonPoweli.Although activelyretiredfrom li,agic andthecompany of magicians, up to the time of his death he took a
1-ery keeninterest in the affairs of the Magic Circle. He was thesixth member to j,oin that Society,and was a member of the first Committee. The other, who by his writings, was well knolvn to conjurers all overthisisland,was Bob
71 Edmanson, \\l10 died so011 after his arriva; in 5Li.itzerland. Both of thesemen \\.ere personalities, and those who knew them wiil be the poorer Tor theirpassing. We feel sure that our readers will like this issue ~ n dourthanks go to 211 thosewhowereable X help 11s onse\,eralsmallpoints. I n particular .\{.e should like to mention *the names of Dr. Nicholls Harvey,JimmyFindlay,HerbertNil:on, -4rthurI\-e\:andDr.Bowen,all of whom n.ere able to confirm certain essential details reqardingthe TripleStab effect. I t is a difficultmatter, ( a s has 11-elI lxenpro\-ed)unless notes are taken ar the time o f pel-formanc.e, f o r the ;bser\.cr (excepting the fact that he has a photographic: mind) to relate, i n propt!r seqzcelrcr, \\*hat he saw at that time : and so it came about, hadwitnessed the effect rhat eight of ThoseLvho an morethanoneoccasion,satround a table tryingto focus the point a t \\-hid1 Dexter /ir..st .O~owrllthe tluggers. Onl\.-by checkandcrosscheckdid we get thecorrectresult. From a N.A.M.S. review of Tan Hock Chuan’sbook,one of the reviewers (evidentlya pupil o f Colonnade College) finds that the d w t ~ c~ffec-t.sall oz/tstctr~dilrg,hut considers the price of‘ .-)l- i o o high! Our good friend,Norman Clifte, \\-ritesas fol:ows : Oneideayou may like topassonto \Tour readers.The ‘ Biro ’ minorhas come into zommon use, and costs a iittle under five shillings. I: comes iil fourdistinctcolours.Bypurchasing one each of red, greerl and blue, and exchanging the refills so that the redgoes in thegreen case. the green in theblue,andtheblue in the red, I have an ultra modern method of .using the {)ne aheadmethodforatripleprediction. The pens are displajred, in the appropriate order, with someprominence on thetableby using astand “
”
”
“
l ~
?
I‘
“Three White-Handled Daggers ‘’-continued
from page 67
;atorwiththisprocess:i.e.,holdingthebandage xhilsttheendsaretied,carriesout t1j.o opera:ions ; the first is to dropthepackontothe rable,andthesecond is toensurethata good :lo\\mward glimpse can be obtained under the bandagedhandkerchief. And now this one,” and with his righthandhe goes to the pocket again bringing out the black bandage. The 3znda;;ing finished, the performer t r m s front r,nce more and requests the assistant to take back thepackintotheaudienceandhavcthecards r.eturned : he is. told to shutflt. t h e cartls,bring thrm back ; t n t l spread them face do\\-n ()\‘er the :;thle 5.0 that a l l thebacks a r e exposed. The \\.henhe h:\?; xssistant is to tell theperformer t.wmpletedall thesetasks. \\‘hen he does s o the ?tbrformer r e q u e s t s thatthedaggers be hantletl t o Ilim ; h ? takesthem \\-it11 therighthandand passesthemtotheleft. (The assistant s h o u l d .;till be standing on the performer’s right.) Quicklytheperformer,withado\vn\vardglancr ander the I~Iindfold, notes t h e lllrrr stl*crll,
cc~mprisinga block of \\.ood \vith three holes boredtherein to holdthepens upright.” MauriceFogel rang us theothereveningand told us that he \vi11 soon have a publication marketedinwhichthere wi1.l be somesidelights on of more the Helliweil matter.Thisshouldbe thanpassinginterest. We hope that none of our readers missed Bruce Elliott’s effect ‘‘ Fate in ‘‘ Phoenix.” Even thoug-hthey ma!. notfancythe effectoutlined, they lvill, lye feel sure, be more than grateful for the remarkably fine force that he has originated. As we go to Press weha1.e news of the Magic Circle Festival of Magic ” bill attheScalain October.CertaintiesareDouglasFrancis,Jack le Dair, Claud Chandler, Tommy Cooper, George ;rimmond and .4li Bey. Possibles, Dominique and -4. N. Other. David Nixon will compere andJohnYoung wiH asusualsupplytheprologue. We have just received Devano’s Jumbo Rising Cards,and whi,lst we consider that whenthese packsare used acard effect ceases to beacard effect in the true sense of the word, we feel that we mustcongratulateourfriend on theproduction of a remarkably simmple but efficient piece of mechanism.Whilsttheprinciple is that used in the original Devanopack,theextraspacethat thecraftsmanhas to ‘play withhasresulted in a precisionpiece of work that was hardly possible \\it11 the original. Our only criticism (and De\,anDiswell av’are of thisj , is thequality of the Jumbo car& that he has been forced to use. Tt’hilst thesebear a bicycle ” back,they are certainlynotaproduct of the American Playing Card Company. Tht. Dayid De\-ant number lvhich \\-e mentioned some time back 11.ilI probably take shape i n Septelnht~r. “
He stands back slightl). from the table, us q1/ickly ~ t r l d drclnzuticdZy as possible, the right hand takes one dagg-er at a time and brings each point down on the selected cards.
The first person is askedto te,ll the audience the cardthat hechose. Thename beinggiven, the performernotesfromthemarkings,itsposition amongthethreestabbedcards.Repeatingaloud thename of the card, he quickly lifts the appropriate dagger shon7ing the first selector’s card impaled on its point.Thisprocedure is repeated u.ith thesecond andthirdcards. Inmany of his performances,certainlyatthe :\lagic Circle and magical societies, Dexter would, ask (remember the after taking the applause, blindfoldhadnotbeen remo\Ted) theassistant to pick up a number of cards from the table, square them, and hapd them to him (Dexter) face down. J<eeping- the cartls t h u s , ant1 \\-ithout [ I I ? J , possih i l i f y ( I / (111y siglzfiilg o y J Z ( I I Z ~Illivror rzttclclzmc.t1t, 11t‘ \\-ouldthen read the c - a r d s I’rom tlzc b o t t o n z , removingeachcard 2 s it \\.as named. This effect \vi11 be the subject of a future article.
Coloured
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners Rertutifully ( ’ o / o u r ~ ~ fI / ( /fist /,‘//il!lt~~:t* (‘olouvs StageSize, used I)y Tre\\ey, e t c . , 12 ins.\\he11 clowl. Rainbow coloured, 22/6.PlainWhite,15/6. /~,rportr~rct Hi1rt.s o n opel,iny ( m d clo*in!l tltP t ( d d . * i l t c l u d c ~ i Troutde Ii’it Uooltlet 80 illustrations .. . 2 j 9 CARD TRICKS BY STANYON Card Castle. Base 12 X 104- inchcs; 6 tiers of cards; 22 incheshigh; 1,eautifully made, cloul)le cards, 50/-. CardCastle from Hat. 6 tiers; high grade; 30/-. ‘Limit’Diminishing Cards. \5’ith pack to nlatchand 1)lack EbonisedStand, 30/-;(l\-ithout Stand, 25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards. 10/-. Giant Card Penetration. GenuineJunllmCartls, 70/-. 70/-. Giant Gard h Lamp Glass Penetration. ditto. Trick Packs. LVizard (40 Tks) , 6/-; Svengali 40 Tks) , 7/6; Quick (‘ut and Calculating. 7/6: Colour Change and Free Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920,withtheDictionary of Magic. 3 samplecopies,postfree, 3/3. Stanyon’s Famous Serials. Coins; Jlemory; Miscell. : Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Halls; Esplan. Progs.;Chem.; Each 3/-.
Audience-Tested Tricks and Routines ! XfJ nLrdto worr? about\vhrtht.r ih:, tricks in tt,ese booksarc workahlt, f o i ths vut!lors explain only feat$ whichtheythemselves have performed wirh success. Kaplan’.; THE FINE ART OF MAGIC. $0 o\ltst?nding trick3 androutines. matchltss a 5crit.s of Irssons,. 352 page5 . . 37,’6 Kaker’s MAGICAL WAYSAND MEANS, 64 featsthathelped t o makr AI Baker tamoll.;. 14T pages . . 1716 (.lark’s NITE CLUB ACT, thisnoted prrformrr’s blralltiftlll!. rolltinod Celebrated (‘igarettes. Ropt, Ko\.alca. Silks .. . .. S,uprenle 1716 Hooth’s MARVELS OF MYSTERY, excellentiternsfromJlr. 156 pages 1216 Rnoth’s polished night-club programme. (‘ollins’s A CONJURINGMELANGE, 52 originalfeat.- b!. thih well-known British conjurer. 256 pagci, amazing bargain 10/hlask~l!.nc-I)rvant’s OURMAGIC, inclllding 12 greatDevant anexcelled, tricks, 336 pages . . .. . 251-
THE VERY LATEST BOOKS ! MAGIC IN THE MODERN MANNER ( Y e g . e r ) . cl!)th, i5 ill.^ 36 tricks and rolltinvs h!. clever originator, last orlt , . 20/MAGIC (Ho-Yam). cloth, 200 tine ill., 39 workable tricks (man?. Chintsv ” 1 rnostl? with apparatrls. jllst ollt . 32/6 THE MAGIC OF REZVANI (S,arclina-Fitzkf,r). 96 pagt’s. clever n1atc:rial h?, a n outstanding Erlropean magician . 17/6 IT MUST BE MINDREADING ( A n d e r m ~ ) ,57 pagcs, excelup-to-daty lent treatlse 0 1 1 mental walk .. 10/Pleaseremitto Mr. Rnbc*rtson K t w w (new.pcrrnancntaddress). c o Riversidc. Victoria Road, Yarmol1th. Isle of Wight,and your order will tw fil1f.d prornpll!. froln thr Unitc,,l States, post paid. cop!. ot O I I ~ ncn’ 6 4 - p a g ~lmok cata\Vrite LIb direct for > - O I I ~ I o g ~ ~ c just . . <Jut. Postal rcqut.>t w i l l do. “
BOOKS-------~BOOKS--------BOOKS
It is our policy to keep every I)ook 011 conjuring and allied arts in stock. \%‘rite for free lists. Nest 1T.S. Imolts ancl allEnglishpulAications in stock. Five Shillings equals one dollar-we pay postage f ’ r , r c i ! p( o r 0 ( q ~ d ~c )r t .~v t o~w (i~ ~ r . q~ prwl.sf> ? w y i t c d i r t 1.1. li’r Jtuvo strpp?ierl M A G I ( ’ to t h r H-Oi~LiIt q i i l w 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. TP?ephot!P : 13AMpstcad 0940
frtsc,
FLEMING BOOK COMPANY, 728 MADISON AVE.,YORK.P.A.,U.S.A.
L
“
ROUGH AND SMOOH POSSIBILITIES ” By Tan Hock Chuan
A booklet dealing with themethods and application of the modern principle, by one of the leading experts o n the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM ROAD
404/408
Croydon
PETER
PENTAGR A M
*
lO/-;
Clubroorn
King George’s Hall, W.C.
POSTAGE 3d.
The Magic WandPublishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
HENRI DE’SEEVAH BIM(‘.. EMS.,IBA[., SSNC. THE FRIENDLY MAGICIAN invites all bona-fide Magicianstosend for his list of new and used apparatus or call at his and books, studio :1, CLARENCEROAD Harborne, Birmingham 17
INSTITUTE MAGICIANS OF Hranchrs 1-nndon. in I.’ort~n1outh. M‘akt+eld. Brighton and U(.troit. I..S.A. The friendliest of magicalsocietivs. X,, cntran(e f r ~ .printcd club magtzlnr. splrnclid library. London H.Q. Denison Honie. 296 Vauxhall S.W.1. (one rninlltr Victoris Bridge, Victoria, Station 1. Particulars from Oscar Oswald. 102 Elrnstead A Y ~ . ~ I I I . \i’clnl)lt,! f’clrl< B!i(ldi<~sr,s.
JAM GE R SA Y S O N OF HIGH-CLASS MAGICAL.
CONJURING BOOKS FOR SALE
i
MAKER
EFFECTS, STAGE ILLUSIONS, -
GEORGE ” JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser’s goodsare
:
Particulars from Hon.Secretar).
Surrey.
NEW. Let me know your wants FOR STAMPED ENVELOPE N o Callers ~ - - -
hlrwum :
Magical Theatre :
Manuscripts for publicationand books for rtvicwshonldbe s m t ot h e : EDITOR1:AL ADDRESS:
OLD AND LIST FREE
and Library and
St. Ermin’s Hotel, CaxtonStreet,S.W.1.
BY: The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
65, Manor Rd.,Wallington,
D L I ~ oF1. Somerser. .].P. Y . T . M . ( ‘ .
Vice-President: Douglas Craggs, Esq., hf.1.M.C.
PUBLISHED
CARD ROUTINE
A sprctatornanws a card. Hc is asked to take apack of cards from thetable,remove thrmfrom case andcountthem.faceup,on to the table. Ht: counts only 51 cards. The t v r y cardheisthinking of is not in the pack. IVithollt thrslightrsthesitationtheperformer removrs tht. missing card from his pocket. Surc-fire; No chancc of failure; blagician does nottouch cards atan\.time; No fake cards; Nn forct.; An>- cardcan be n a m t d ; No skill; Y O I Ican perform this tivr minlltesafter rc.ading thenratl).printrdinstructions.Booklet ot instructions-no card>. I I S ~ your own.
PRICE
r1.s.o.. o.B.E..
Peter Warlock, Surrey
AMAZING MENTAL
l’[-rsidc,nt : His Grace the
is publishedonthe24th of eachmonthand from thepublishers for canbeobtaineddirect l i l per singlecopy.AnnualSubscription 12 post free.
GEORGE ARMSTRONG’S PREMONITION AN
The Magic Circle
WARLOCK’S
ETC. Telephone or Telegram : MORLEY 899 i \ d d r t ~: ~ -~ GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 year5 i n thr h o h c . w 21
fully endorsed by this Bulletin
Published hy t!l. p r q r i c t o c P The Magic WandPublishing Company. 1 1 . h1onaStc.r). Gardens.Enfield. \Talker andSon (Printers:! Ltd.. \\.ell Croft. Shlple? Y3rkshit-t.
MidJlc-rs. andprinttd
by Herbrrt
*
73
PENTAGRAM An independent monthly bulletin for all who want good magic Julg 1949 V ! ,3 N&. IU
EDI‘lOK’S N O T E . - A f treerc e i v i n g his copy o j v l l r Douglas Dexter issue, George li3rautui rullg- us l o ojjerhiscongratulations on nrl outstur~dir~g mltrther. He meutioned Mr. S . H . Slztrrpe’seffectandhowwuyback i t 1 the a versiolt that allowed twerliieshehadworked thespectutortocutthroughtheenvelope. We w k e d the “ h o w ” ur1d o z e r thephonehedescyihed Itis versioll. B y the v z c r t morning’spost art’ lttrd ( L snntple elnfelopewhichsolved sonic o/ thc difflcztllies thatseemedapptrrerlf i r l the o‘r:rl Ltt’scriptiorl. T C ’feel ~ szlre t l w t wit11 tile choice o{ M r . Shrrrpe’soriginalversion, Douglas Ile.rtrr’.s improzretnerlt, the method to be descrihed urrd M r . L o g m l ’ s versiorl n muchneglect e d pj{eL-t will g o illto mall!! progrummes.-
P. W .
The Effect.---Taking an envelopethemagiciancutsawayeachend so that he has ineffect a flattenedtube. A three or fourfootlength of wide silk ribbon is thendropped inside thetube so thatanequalamountprotrudesateachend. Foldingtheenvelopeatthecentre,the magician then takesa pair of scissors, and, offeringthem to a spectator, asks him to cut through the folded centre of theenvelope. Thespectator doesthis, and the magician shows, by pulling back the cut edges, that the ribbon is severed. The magician’s hand now approaches the cut edges of the ribbon and pulls them upward, thus removing :he pieces from thecutenvelope,and shows the ribbon restored to one piece. The Requirements and Preparation.-One foolscsp envelope, preferably made from cartridge paper.Taking a sharprazcrblade,themagician makestwoslits x r o s s oneside of the envelope ; theseslitsareparaliel, andIllustration 1 shows
thcirrelativeposition.Alength of silk ribbon, not less than twoinchesinwidth, is taken,and fromit is cuta piecemeasuringinlengththe distancebetweenthetwoslits. A spot of seccotine is smeared across each end of this small piece of ribbon,thelatterthenbeingcarefullyplaced inside the envelope so that it adheres to the small portion of the envelope between the two slits. The illustration will makethisquiteplain.Priorto presentationthelength of ribbonisfoldedand placed inside theenvelope,theflap of thelatter being turnedin.Theenvelopeisthenplaced slit side downwards on a table. A pair of scissors should be beside the envelope or in the magician’s pocket. Presentation.-With the left hand the slit side envelope is picked up fromthetable, away from audience; first lifting the flap with his right hand fingers the magician then reaches inside and withdraws the length of ribbon. After placing this on the table the pair of scissors is taken and eachend of theenvelope is snipped off so that in effect the magicians has rz flattened paper tube. Holdingtheenvelope with his left hand in a verticalposition sufficient pressure is applied so that the paper bellies out and forms tube a (See llluslration 2 ) . The pcsition of the left hand is suchthatthe left thumbcan pressagainst so that pcrtion of theenvelopebetweentheslits, Ihe magician really has, though the audience areunaware of thefact two tubessep.arated by agap.Therighthandtakesoneend of ribbon and lifts it fromthetable. 1t is carried over and above the envelope and the lowerend is allowed ultimately to enterthe top end of the“tube emerging at the lower end. When an equal amount of ribbon is showinga,boveandbelow theenvelope,theuppermostend of theribbon ”
74 is released. The envelope is then folded over so thattheslitportionsareinside(SeeIllustration 3 ) . Taking the scissors, the magician approachesaspectator;thelatter is given the scissors coupled with request a that he cuts through the centre of the envelope and, of course, throughtheribbon. As hetalks to thespectator, the magician casually grasps the two ends of the ribbonsandpullsonthem.Thishasthe effect of makingcertainthatthecentre of theribbon proper forms a small bridge about an inch below thepartthatthespectator will cut(Illustration 3 ) . Thespectator now cutsthroughthecentre of the envelope and, of course, through the centre of theextra piece of ribbon.Whenthecut is completed, the magician moves the envelope away from the scissors held by the spectator. With the left hand holdingthetwoparts of theenvelope pressedtogethertherighthand fingers separate the pieces at the cut, sh,owing the pieces of severed ribbon. Reiaxing the grip of the left hand on the envelope, the right hand fingers go t.0 the envelope and in apparently taking the ends of the cut ribbon actually take hold of the centre of the original piece of ribbon; with slow a upward motion of thehandthis is removedfromthe pieces of envelope, these being crumpled and tossed aside (out of the audience’s reach, of course).Thelength of ribbon is thendisplayed completelyunharmed.
I
P.W . I am interested in this effect, because I originated asimilaronesomeyears ago. In my own version an ordinary sized letter envelope is used;after .the flaphasbeenclosed (but not stuck down), I cut with a sharp razor blade where indicated bydotted lines in theaccompanying illustration. These cuts, following the lines of theenvelope,are well nighinvisible,especially when theenvelope is closed. I first of all seal theflapdown,showitfreelyonboth sides and of scissors, trimeachend so then,takingapair that I haveaflattenedtube. Now witha very thinwand (I actually use a “Downs ’’ coin producingwand)thathasadab of wax attheend ”
I lift fromthetable a twelveinch silk, I push it into the open end of the envelope, out through the first flap, then under the second flap and thence through the other end of the envelope. With silk showing parttowardstheperformer,the scissors are now takenandtheenvelopecut as in the Dexterversion.Theadvantage of thismethod lies in the fact that the razor cuts cannot be seen.
75
E D I 7 ‘ 0 R ’ S iVOTE.-We had the occasion t o see Mr. Young perform this at the Dinner given bythe Magic Circleto M r . Hcrbert J . Collings. Tt‘itlz the generally paucity o f plot in card tricks, was one of the best it strzlck 11s that here story ” effectswe had seen. W i t ht h e object of includingthepresentationinthis number w e lost no time in approachingtheoriginator,who willinglyaccededto our request.It is astory for chillynights,whenthewindhowlsoutside and when glaring lights do not dissipate the full m y s f e r y of n glowing fire.Onedoesnot lreed t o be art expertcard-man t o achievetheeffect, though the technique employed must he faultless. I t isthetelling of the story that counts. Do you ever wonder why certain playing cardsareknownbycuriousnames ? TheFour q f Clubs, forinstance, is calledthe “ Devil’s Bedposts ” though the reason for this is obscure. The Nine of Diamonds is known as the Curse of Scotlacd,” but In this case there is good cause for its being so called. After the Battle of CullcdenMoor,theDuke of Cumberland-nicknamed the Butcher ”-Commander of the English forces, was resting near the battlefield in a house whic.h had beenused as an Officers’ Mess. H e was asked by one of his Officers forhisorders concerningthefugitivesfromthebattle, and he gave the order that they ,should all be killed without mercy.The Officer saidthathecouldnot carry out this order unless it weregiven in writing. TheDuke,‘however,had no parchment on which to write,but, finding aplayingcard half concealed bytheedge ,of thecarpet, wrote the fatalorderuponthecard.Thatcardhappened to betheNine of Diamonds-nowonder that it hasbeenknownever since asthe Curse of Scotland.” Wil! you find that card in the pack and make quite sure at the same time that there is only one Nine of Diamonds ? Thank you x7er-y much ! Thecuriousthing is thatever since theday of thebattletheNine of D,iamonds-whenseen by an Englishman-al~vays appears to be stained with blood. Indeed, the clean card you have just given me has now 2 large red stain upon it ! Has the card’s original positionundertheedge of the carpet any peculiar significance ? We dton’t knocy-but the odd thing is that the card always seems to fly Sack to that .positi,on. That’svery curious ! I suppose thatthatcardunderthe edge of the car,pet couldn’t be the Nine of Diamonds ? So it is-and theidenticalonewith thebloodstain I washoldinga few moments ago ! . . . thenthiscardin‘myhand ? The Eight Qf Clubs-for don’t forget you assured me that there was only one Nine o i Diamonds in the “
pack.Supposethat I cover the centre of t,his stainedcard with theEight of Clubs, you will agree that neither you-nor you, sir, can see the bloodstainuponthecard. That is notbecause thestain is covered by theEight of Clubs, but simplybecausethereis GO bloodstainthere at all ! However, whether the bloodstain onthe cardispureimaginationornot,the Nine of Diamonds will alwaysremainthe Curse of Scotland ! I‘
”
Well,there’s thestory.Themethodcanbe varied to accordwith your manipulaltiveability. In addition to the normal pack you will1 need two additional Nines of Diamonds each decorated with an identical blcoodstain in red ink. The stain shculd cccugy the centre of the cards and be of such a size that it is easily concealed by the first, second m d third fingers held across the centre of thecard.
‘ I
“
Secreteonestainedcardunder the edge of the carpet beforehand-no: as difficult a matter as it sounds if one chooses ,the ,ri,ght moment in a room crowdedwithpeople.Theotherstainedcard is placed in therighthandcoatortrouserpocket. While the assistant looks for the Nine in the pack, theadditionalcard is palmedreadyandadded tothe t0.p of the pack .as itishandedbackattenti,onbeingfocussed on the unprepared Nine held bytheassktantat this point.Whenthe unprepared Nine is handed to theperformerit is topchanged for thestainedcard,andsubsequentlythestainedcard is bottomchangedfor Gn indifferent card durir,g the misdirection afforded by the clixo\wy of theduplicateunder the carpet. The indifferent card-after being shown--is immediatelytopchangedfortheunpreparedNine sf Diamonds,and i,tis this latter cardthat is used to c<;verthestained Nhe. In showing the covered card first to a person on the !eft of theperfcrmer a11d then to one on the right, the two cards are ‘turned over in the hand -no apparentchangehavingtakenplace.The top-face down-stained card is now removed (and, if preferred, immediately top changed againforthe indifferent card)andtheunprepared Nine of Diamonds left forexamination. T h e indifferent card may be casually thrown face dcwnwards on to the )table beside the unprepared Nine in case anyone wishes t o examineit, and themisdirectiongives ample timefor theperformertoremovethetopandbottom(stained) cardsand,leavethepackforexaminationalso. In working,it will be found that the progress of the story gives ample cover for the Fxrious moves, and the unusual nature of the story leaves theaudiencewith 3 TricktoRemember.” “
76
I.IDl’TOR’S NOTE.--?’lzis is a “wunt-ad” our good f r i e l d Jinlmy Eslerhas test,which workedover U number of years. If wewereto W J Y ~ this ozlrs:.lale.s P O ~tl,i!;;l< tlrclt ilzsted o f ud7lertisements w e should tttrtz it illto (1 “Lizlirzg al1d Dead ’ ’ test using ctlttiltgs f r o m the “BiYths” a d “Deuths”coluntl~. 7‘lze effect irz eitllcvcuse is iufetlded for irltivlatepresentation. -P. 1l’. Effect.-A column of advertisements is shown, arid with apair of scissors theindividual advertisements are divided up. As they are separated they are dropped into a tray, the latter being handed to a spectator with the request that he allows those around him to first of all scrutinise theadvertisementsandthen roll themintolittle balls of paper. Taking a matchbox from his pocket,themagicianpushesforwardthedrawer and allows the matches to tumble out. The spectatorsare now askedtodroptheircrumpled ads. into the drawer of the matchbox. This done, the matchbox is given a shake to mix the pieces of paper. The drawer of the box is pushed open, andthemagicianremovesone of thecrumpled ads.Holding it between his finger andthumb heconcentrates and giveshisimpression of the contents.Thecrumpledball of paperisthen handedtoaspectator, who confirms thatthe magician is correct. This is repeated with another ad.andthenfinallythemagician,aftertaking anothercrumpledbail of paper, gives thefull detailsthatappear in theadvertisement. Prepare an ordinary matchbox by shortening the container by about half-an-inch.
The smallholes crumpling process.
Very few of us need to be told thatacard dropped horizontally will not turn over in its fall tothe floor. To get a facedown cardtoland face up is almost as easy, when you getthe knack,and it requires K O string of adjectives by eitherreader orwriter. To mymind,therecan be no certaintyina casualflutterdown if thecardturnsand twists at random, and I have found the single turn-over the easiest to controi. The directionsareforaright-handedperformer, with the pack in the left hand in the usual dealingposition. FurthestandingpositionI will assume that thecard is held at w.aist height,sayforty inches fromthe floor. Otherheightsmay needslight
angle adjustments. Take the unindexed carner of thecard betweenright first finger andthumb (thumb on top)and allow the oppositediagonai corner(furthestfromthebody) to dip to an angle of say 35 to 40 degrees. Then release the hold by both digits simultaneously. The direction of drop at the timc of release is shown in Figure 1 , andthecard glides down as in Figure 2. The actiondepictedshowsthatiheangle cjf drophas the effect cf forcing theleadingedge of thecard up ; ~ n doveras it nearsthe floor, enablingthe face down card to land faceup. It’s as simple asthat. Of course,thetechnicalexplanation (as if I knew) might make it sound much more cornplicated. It can also be done in d sitting position, bbt theaction is rather different. The hold is ihe
To theendattachthreesmallheadeddrawingpins,thiscanbedonequite effectively with gummed tape. The matches in the box at the time the effect is carried out will becorrespondinglyshortened. Three small Avts. from cut are the DailyTelegraph, one of which is committed to memory,theothertwoarejustnotedasregards class: Printer,Tailor,Insurance,Etc.Theseare rolled up intosmallballsandimpaledonthe points of thedrawingpins,rememberingtheir order. When in action, a strip of ten or twelve ads. are cut from the newspaper being used, these are dividedupandone eachpassed toanumber of spectators,theyareasked to check theads.for verification later. The matchbox is now tzken from the pocket, and it can quite safe!y be pushed forward and the matches extra.cted. Helpers are asked to roll their slips of paper into small balls and drop them into theopenedbox,whichyouholdforwardforthis purpose. C.lose box,shake,nip ; i duplicatefromthe box-end between the fingers, open box, and appear to withdraw one from the box; immediately hand to someone andsuitably d i d o s e what the naturp of tne advertisemerlt actually is. The last oneremoved is describedincompletedetail. in the slips are lost in the
77 same as before;thumbontopandcardparaliel with floor, but, say, twenty inches above the floor Hold the finger, which is under the card, perfectly still, and / u s f Ziff f h e t h z l u l h . The finger acts as thefulcrum,andtheturn-over commences ever; before thecard is released, and is completed ill the remainder of the fall to the floor (Figure 3 j . I 1
I
havefoundtheturnovercardfromthesitting position the simplerproposition to master. How to use the turn-over drop? The usualcard is chosen, returned and controlled to the top (run and jog shuffle will do) ; astraightforwarddealon to the floor and the chosen cardaloneturnsfaceup.There is no need to know the card. I n reverse;aforceorpeek,andhaveevery cardturnface up, exceptthe ,one selected. This gives alittlescope for suspense and climax. Rcttom or second dealers u7ill be able to deal any number face up. Mentalists may like to predictthat, “ The card you choose, the blank of darts, will f.all face up whilstall others will fall face down.” Or “ Phychic influence will causeyour card,” etc., etc. Four AceTrick-All acesface up,orface down. A face-upper can be dealt down and lost.” Theshycard,aqueen, hidesherface. A jokerwon’tface up tothings. Two packs-but why continue? You can find uses as well, if not better, than I can. Three comments:Dealing on to table, a even from twenty inchesabove, is notnearly so effective. There is little need to worry about the difference of angle-35 degrees and horizontalas all eyes should be directed to the cards falling onthe floor. A fairly new pack gives better results. ”
I
“
/ /I
‘.
\
The pcsition of the finger is rather imFortar!!, snd is illustrated in Figure 4. A trial will ;cbi: find b.ow quicklythethumbmustbelifted. I
STRICTLY MAGIC,” by Eddie Joseph (published by George Armstrong, 1 1 , AIonastery Gardens,Enfield, Middlesex, price 5 / - ) . Inthislittlet~ooklct of some twentypages,Eddie Joseph describes four obviously tested effects. The first, the Call of the a s t , is patterned on the lines of a Living and DeadTest,” 1)ut the dressinggives it more life (nopunintended).The methoddescribed by theauthor is excellentand Mr.Josephquotesthe opinion o f thelate ‘red Annemanregarding it. The secontleffect The Lliandering Bottle is the author’s version of the passepasse bottleand glass. Presentation and methodareboth good, and \v\ilst in princip!e we are against effects with a sccker finish, present the trick is a n exceptic:l. The RepeatSix CardTrick effect that follon-S isone of the best versions that w z have seen in print. IVith verylittlepractice,the magician has a reallyuwrthwhile cardeffect t o add t o his repertoire,for in this version,sixcardsaregenuinelycounted off, (if necessaryfrom a borrowed pack),by a spectator ; nevertheless the performerprovestimeandtimeagain that he takes three cards away still leaving six. The book!et concludeswith a version of the burnt and restored handkerchief. By way of a change a “
“
”
“
“
”
“
“
”
”
volunteerassistantholdsthe handkerchief whilst the burning and restoring process is going on. Illu~tra~ tionsarecontributed by Lamonte.Withone exception ( “ Controlled hliracles ” ) we think that this is one of the bestfiveshillingsworth of material t h a t we have comeacrossinrecentdays. All the effects described are not only practical, but to the experienced they spell entertainment as well. Every article required the reader. will have a t hand.Recommendedwithoutany reservation.
BI-CO ” (a supplement of Stuthard’s Trilby Deck. Putout by JoeStuthard, price 7 / 6 ) . As the Bi-Co part is an addition to the ‘‘ Trilby deck i t is necessaryfor the performer to have possession of this whichcan be obtainedcompletewith a printed and illustratedhooklet a t a cost of 21 / - (see rc\riewin Pentagram No. 3 Vol. 3 ) . Theaddition of the Bi-Co supplementmakesit possiblefor the holder of a Trilby deck to accomplish a series of card-backcolourchangesunder the spectators’ noses. Weknowthisnotfromreadingthe routineandhandlingthecards,but because we have had the pleasure of seeing Joe perform the effects with spectatorsallroundhim.The closing effect with the “
“
”
”
“
”
I‘
”
78 additionalcardsmakes i t possiblefor the back of the selected card to change colour and then for the backs of the whole deck t o change colour after which it can be left in the audience’s hands. From this point the performerisleftwith a stripperdeck. The necessary cardscometogetherwith a printed instructionsheet.The possession of a Trilby deck (basedontheSvengaliprinciple)plusthe Bi-Co supplement, will give tothose limitedinskillthe necessary backlground for many varied card acts. Unreservedlyrecommended. I ‘
”
. . .
THE GEN Nos. 1 and 2, Volume 5 (edited and publishedby HarryStanley, 87, WardourStreet, W.l, l / - per copy). It is notour usualpractice t o reviewmagazines, but this case makes for an exception. With a complete change in format and an enlargement of pagesize, HarryStanleyhasaddedanother glossy ” tothemany. Altogether theproduction runsto 32 pages,includingcovers,and of thisthere aresometwentypagesdevoted t o editorial,news and tricks.Therearemanysections,eacheditedby different magicians ; Theseincludeinthe firstissue,Lewis Ganson (manipulation), Douglas Francis (Chatter), Len Belcher (apparatus), A1 Koran (cards), Geoff. Robinson(laughs) , Wilfred Tyler(children’seffects), a n d WillDexter(Mentalism).In his editorialHarry Stanleyoutlines hispolicynoting that he will not encourage controversy. This we think regrettable for where progress is t o be maintained differences of opinion must arise. The whole magazlne is well printed on good quality paper ; besides a number of line drawings, photographs of the variouseditorsappear.Wehave onlyone criticism t o offer andthat is regardinp the illustrationsfor which the “ Art ” EditorTedElliott isresponsible.Whydoesthisillustratorwant t oa d d horrible looking men t o his illustrations. This is a commonfault of many to-lay, and in this country can be found in the drawings of Dennis and Lamonte. Theseillustratorsarecapable of givingwhat is wanted in a restrainedmanner,yettheyhavetointroduce these manikin abortions to accompany a sketch. Laurie is theonlyillustrator(inthiscountry)who seems t o add human beings in an appropriate manner. For perfectioninillustrationit is a pleasure t o lookback a t those old Magazines of Magic ” when thelate H. M. Elcock contributed. For later workTarbell and Hahneareoutstanding.Attentiontothisdetail would make the whole thingwhatthe publisherlikes t o call a class ” magazine. Allin all,it is excellentvalue formoney andtheeditors,contributorsandpublisher havedone goodwork on thesefirsttwoisues.Our congratulations go totheprinter as well, forhehas produced a layoutandtypethat is veryeasvonthe eye. “
“
“
GEORGEARMSTRONG’SPREMONITION ” (Pulllishetl 1 ) George ~ Armstrong, 1 1 , llonasteryGardens, Enfield,hIiddlesex, price l()/-). Some months ago, Etldie Joseph placed on the marketan effect entitletl Prc.monition.”Few effects (exceptthe “ De\xtlo RisingCxrtls) hrt\.c. gi\Ten rise to greater controvers!which has not been lessened l)>- ;L number of versions t h a t havesince been puhlished. George Armstrong’s method produces a similareffect, and as it was used I ) y him \m?; l m l c in the enrlv “ forties he haseveryright toputfor\\ ard this \wsion. The effect for thc IJenefit o f thoseunacquaintetl n.ith theatlvertiscments is as follows : A spectator is asl<ecl to name ;L carcl. Ilaving clone so thesame spectator is requested to pick u p a pack o f cards t h a t h;LS I)eenin sight ; hcis tocountthemantlstop \vhen he comes to his card. HE‘doesthishut finds thatthere areonlyfiftv-onecardsandthatthecard he thought of ismissing. The performertells thespectatorthat “
“
”
”
he had a premonition that he would think of that particular card, and so, before the performance he removed i ta n d placed itin hispocket.Accordinglytheperformer reaches into his pocket and withdraws the thought of card. The effect v.hich is brilliantis \vel1 describedin aI)ooklet of some eightprinted pages.Unreservedly recommended. A NEW THUMB TIE,” by Tom Sellers(published theauthor, 3Sa, DublinStreet,Edinburgh, price 2/6). For ingenious ideas \ve know of few that can equalTomSellers.Notonlyare his ideasingenious, but\\hat is more,theywork. Here Mr. Sellers has taken a classic effect and supplied the answer in a verysimpleantlsubtlemanner.In effect the magician has his thumbs tiedtogetherwitha piece of shoe lace, andyet despitethefactthatnothing is added or taken away, the performer can accomplish xvith ease the necessarywithdrawal of thethumb a t the appropriatemoment.Themethod would seem to be indetectable and foolproof antl we give i t our full recommendation. “
1)’
‘‘ THESPIRITSINTHE
HOUSE ,” b y T . H. (-hislett (published by the Goodliffe Press, 6, Colonnade Passage,Birmingham 2,price 2 0 / In suchavaluable contrihtiontotheletters of niagic we feel thatour oldfriend T. H. Chisletthas l~een1)acIly served hy his presentpublisher. Taking the dust jacket of this book first and forgetting the typographical errors, we read the publisher’sblurb that not onlyhasthe Joseffy Talking Skull ” been addedtothe repertoire of Mr. Chislett. but that it isdescribedwithin the pages of the book; With the memory of a recent article in Abracadalxa onthe origin of the BilliardBallTrick, we put such a statement clown t o similar ignorance rather than thinkthat i t is one of misrepresentation. It isignorance. however, that is dangerous, for the student aware of the hrilliance of Joseffy’seffect, may well buythis Imok on thestrength of such a false statement. \Vithin thehundredodd pages thatmakeupthe lmok Mr.Chislett tlescri1)es the wonderful show that heantl Mrs. Chisletthavebuilt up withintheir o\vn house.IVhilstsome may be critical thatmany oftl:e efkcts clescribetl are not possible unless conditions sirnilartothat given by Mr. Chislettareavailable, \ve \vould like to mention that \\.it11 theexception of a description 1)y Jean fiugartl, noIxtter tlescription of the “ Floating Hall routine hasappeared in print. In this routine, \vhich is Okito’s antl occupies thirteen pages, the puhlisher has not adtled c)ne tlraning to help t.lucitlate the letterpress. Mr. Chislettthroughoutthe \mlume is extremely nloc!est, antl pays f u l l trilmte to the sources from \\-hence hc ohtainetlhismaterial.Such effects as the SpiritPaintings,TalkingKettle, Tallting Vase, Talking Skull,arc tlescrilml\vith\.ariousatlditions by the author. IIe dsc; gives a numlwr o € effects o f a pseudo Ix!-chical nature. As a slightcorrection \ve \ v o u l t l like to :nention that Arthur 3lonroc. \vas responsilJe for .‘ \Too(looant1StanleS- Nortonforthe suspension o f ;L \vineglass froma silk ri1)I~on. ; i methotl of the rising cartls kno\vn as the “ Violet is ;LIS(> descril)etl, I m t thc tlra\.n.in;; of the “ release mechanism \vi11 prove of no use to those \\-ho \\-ish t o make u p this apparatus. We feel sure that many readingthis book \vi11 feel that they too \ \ w u l t l like to I,uiltl up a similar type o f she\\,, and \ve tlo not think that anything would please Mr. ; t n d Mrs. Chislettmore than to know this, It is in a11 a most readahle and \\orthwhile book, and we recommen.1 i t to 311 \vho are true students of magic.
.
“
I ‘
”
”
”
”
79 JOHN RAMSAY’S CYLINDER AND COINS,” described inminutestdetailbyVictorFarelli(pubprice 7/6. Distribution by lished by John Ramsay, Walter \landman, Electra Works, Reddings Lane, Tyseley,Birmingham). This is a papercoveredbooklet of some thirtythree pages, twenty-eight of these pages being concerned with the effect proper, Of theroutine itself wewill say straight away that this is a “ masterpiece o f magic formagicians.”JohnRamsayhastaken a classiceffect, The Cap andPence,”andbyadding \-cry. certain and subtle touches brought ittothe miracle class. \Vhereas in thepast most magicians have been content to make an object change place\vith the coins,oralternativelytosimplymake t h e coins vanish and then appear elsewhere, John has brought into being a variation that the reader must discover by buying the book.
Mr. Farelli,indescribingthe effect, hasnot been so meticulous a s ishisnormalwont.Ramsay’smoves are extremely individual and in a number of cases, a s Farelli mentions, they can be replaced by better known and easier alternatives.The beginnerreading the book (and it is n o t t o be supposed that beginners will not read it) mayexpectthealternativesto beplaced beforehim or at theveryleast t h a t mention of their published source be stated. This workwould have well stood a bibliographical section, for the “ cap and pence is a very very old trick. \Ve hope that \\.ith t h e puhlication of Ramsay’s ‘ ‘ Cup and Balls and the ‘‘ Cylinder and Coins we shallsoonbetreatedtowhat we think i s his greatest effect,his mutilatedandrestoredpaper. \Ye give our unreserved recommendation t oa n outstandingcontribution.
The inclusion of a George Braund effect in this month’s issue brings to mind that he is one of the hardest worked and hardest working conjurers today. Georgeis, in the finest sense, theonly Society magicianinthiscountry.Regularly playingnightclubs Iike theBagatelle and Lansdowne he has adopted a style and technique that puts him abovethenormalentertainer class. His is a case of personalityplusstraightmagic, an interesting point to note for those who think that buffoonery is the password to magical ( ? ) success. Next week we give atalkona five foot shelf of magic books.” Readers of the Jiv2.r will remember how TedAnnemannraisedthismatter inanearlycopy of his paper. Since thenthe output of booksonspecialised subjects has made it far easier lor the student to compose a working library which is of comparitivelysmallmaterial proportions. One bookthat we haveonlyjust a received, Scnrne o n Ttzrds is a mustforsuch collection. We feel this way because nearly every in conjurermakes use of playingcardsandyet the majority of cases he is completely ignorant of the rules and expressicns relating to card games. After the many routines that have been pubiished on Poker deals, we are more than grateful to read a complete expositicjn not only of the conventions of thegame, but alsothetechnicalexpressions used by players. Our hope as we write this is that a big drop is going to occur by Sunday, inthetemperature Table 17th July. ThisdatemarkstheRound LuRcheon Conventionto which we havebeen invited as a lecturer. The ide.2 of a Summer School of Magic is anexcellentone, the only fly in the ointment being that this year we are experiencing summer weather. A recent letter from Len. Mason, of Australia, gives the news that some films hetookatlast year’s I.B.M. Conventionnavebeendespatched to Jeff AtkinsforshowingatSouthport.Len
reporc; that they are very good, and we shall look forward to seeing them. Foranact of twopersonstoobtain a half hour’sfeature in aB.B.C.programmeforeight weeks in succession is somethingextraordinary. Sydneyand Lesley Piddington,however,have (mainly because of theirsensationaltriumphs in Australia) achieved this. I t is a matter of more than interestthat noclaimsforgenuinepsychic powers aremade. We wish that we hadmorespaceavailable for reviews. Lack of space has crowded out another tu-0 thismonth,namely, HeZZo Szlcker! byJackChanin(an excellent andauthoritive treatise onthethreeshellgame)and Maurice Sardina’s Rezwni-llrlngie. This latter is outstanding in continentalmagicalwitings. Francis Haxton has sent us along a very nice non-fakedcardversionof“Mindout of Time.” I t wili appearnextmonth. Additional acts i n the Alagic Circle Festival S h o n , are “D’Albert” and t h e ‘‘Harbins.” T h e B o s Office Manager tells us that tickets are g-oing
“
“
“
”
”
I‘
”
”
\.er!
”
\\.ell intlec-d.
M. Sardina (\\-hosenew hook ~ v have e referred to abo\-e) is undoubtedly the leading French l\.riter o n hfsgic to-day. Weare glad to henr t h a t ac:companit:d by Madamt. Sardina he \vi11 be \.isiting this country duringJuly.
Talking o f hooks reminds u s thzit our friend IVilfricl Jonson h a s just completed a translation o f a very fine French treatise on Mnemonics. Just as \\.e g o to Press \\-e havereceived t r a g i c news that o u r friend YIax Holden
the has We
pasred a\\-ay ilfter a long period of illness. knon. that all readers o f the‘‘Pentagram” will j o i n with u s in o u r espression of deep sympathy for Slrs. Holden andherfamily at this most troubled time.--P.\XT.
Coloured
AMERICAN BOOKS FOR BRITISH MAGI ! !
FLEMING
BOOK COMPANY, ., YORK. P.A., U.S.A.
728 MADISONAVE
‘‘ROUGH AND
SMOOH POSSIBILITIES ”
By Tan Hock Chum
Price S/- Postage 3d.
ARCAS Publications SYDENHAM
404/408
ROAD Surrey
EDDIE JOSEPH’S S T R I C TML A YG I C Follrotltstandingtricks of ENTERTAINMENT VAT.GE PLUS. Ikscribrd in nt:atl!. prodrlccd booklet, with twrlvr illrlstrations. Prke 51- ; postage 3d. GEOKGE ARMSTRONG’S PREMONITION On(* pllr, hasvr writes : “ Pleas’ --nd mt. 1:REMOKiTION. I have. secan it performed and t1;ink :hatit is REALLYWONriERFUL.” To st’e it is to bl!y it ! Pricc 10/- ; postage 3d. 26 I,IVIKiC & DEAD TESTS.. I n.. Trral (iaratt .. 5 3 DA1d.S. by JOHS KAMS/\Y”S C-U’I’S Victor Farelli 2516 THAKKS TO LEIPZ16. by’ Victor. Far& 10/3
*
WARLOCK’S
PENTAGRAM
A booklet dealing with themethods and application of the modern. principle,by one of the leading experts on the subject. It is recommendedforadvanced magicians.
Croydon
PETER
THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield Middlesex.
is publishedonthe 24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1 / l persinglecopy.AnnualSubscription 12/post free.
PUBLISHED
BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscriptsforpublicationand rcview should be sent to the: EDITORIAL ADDRESS:
6 5 , Manor
books for
Peter Warlock, Rd., Wallington,Surrey. HENRI DE’SEEVAH MMC.. B”I r m . . SSRK:. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for hislist of new and used apparatus and books, or call at his studio :1, CLARENCE ROAD 17 Harborne, Birmingham
CONJURING BOOKS
FOR SALE
The Magic Circle President : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Museum :
ClubroomandLibraryand
St. Ermin’s Hotel, CaxtonStreet, S.W.l. Magical Theatre :
KingGeorge’s
Hall, W.C.
ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenu,?, WimbledonPark, S.W.19 INSTITUTE
OF
MAGICIANS
13ranchcs in Lnndon, Portsmouth, Wakefield. Brighton and Detroit. U.S.A. The friendliest of magicalsocicties. No entrancefee,printcd club mag,lzine, splendid library. London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station). Particulars from Oscar Oswald, 102 Elmstead Avcnlrc Wembley Park, Middlesex.
JAM G ERSA Y S O N
MAKER OF HIGH-CLASS MAGICAL OLD ANDNEW. Let me know your wants EFFECTS, STAGE ILLUSIONS, ETC. LIST FREE FOR STAMPED ENVELOPE Telephone or Telegram : MORLEY 899 N o Callers -__
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser’s goods arefullyendorsed Publishrd by theproprietorsThe
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners B e u u t i f u l l y Coloured it1 just Ziuil!/)ow (,’oIour.s Stage Size,usedby Trewey, etc., l 2 ins. when closed. Rainbow coloured, 22/6. PlainWhite,15/6. Importunt Hirrts on opetring und d o s i n g the jolda included Trouble \Vit Booklet . 80 illustrations .. . 2/9 CARD TRICKS BY STANYON Card Castle. Base 12 X 104 inches; 6 tiers of cards; 22 inches high;beautifullymade,doublecards, 50/-. Card Castlefrom Hat. 6 tiers; high grade; 30/-. ‘Limit’Diminishing Cards. Withpack tomatchand blackEbonisedStand, 30/-;(withoutStand, 25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. Giant Card Penetration. GenuineJumboCards, 70/-. Giant Gard & Lamp Glass Penetration. ditto. 70/-. Trick Packs. Wizard (40 Tks), 6/-; Svengali 40 Tks), 7/6; Quick Cut and Calculating, 7/6; Colour Change and Free Choice Forcing, 7/6. MAGIC (Stanyon),1900-1920,with theDictionary of Magic. 3 samplecopies,postfree, 3/3. Stanyon’s Famous Serials. Coins; Memory; Miscell.; Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs;Balls;Explan.Progs.;Chem.;Each 3/-. BB OO OO KK US B O O K S It is our policy to keep evezy 1)ook 0 1 1 conjuringand allied arts instock. IVriI-e for free lists. Most U.S. books and allEnglishpublications instock. Five Shillings equals one dollar-we pay postage k’oreifyn rind Colonialcustovlers ~ I E U S P w r i f c dirvcf. 1 l . p h u v c supplied N A G I f to the II’OIiTlD st’rrce 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. Telephone : HAMpstead 0940
MAGIC,” byHoYam(WilliamNoyah).A new book of 39 brilliant,showyfeats, ‘chiefly of the Orientaltypeand using apparatus ; audience-tested.Cloth, 137 pages, 200 handsomephotoillustrations ... 32/6 “ MAGIC IN THE MODERN MANNER,” by Orville Mejrer. Thirty-six tricks and routines by this ingenious originator a n d performer. including Linking Rings (49 pages), Cups and Balls (16 pages),BulletCatching (14 pages), Card Tricks, Mental Mysteries, Novel Magic, etc. Cloth, 181 pages, 75 illustrations, ... .. . ... .. . .. . 20/just published “THE MAGICOF REZVANI,” by Sardina-Fitzkee. Sleight-of-handandapparatustricks \vjth Ivhich Rezvani has puzzled the best-informed conjurers. Soft l)oards, 89 pages, 49 illustrations, new ... ... 17/6 “ IT MUST BE MINDREADING,” by George Anderson. More than a score of effective, *,vorkable feats, plus information 011 ho\v to ans\ver dificult questions. Soft boards. 57 pages, 7 illustrations, excellent .. . .. . ... ... . .. ... . . . 10/“ OVER THE COFFEECUPS,” by MartinGardner.After-dinnertricks,withmanykinds of objects. 34 pages, 100 illustrations .. . ... 5 / Soft hoards, Pleaseremitforthese and any other magicbooks t o Mr. RobertsonKeene, ‘‘ Riverside,”VictoriaRoad, Yarmouth,Isle of \Vight, and yourorder will he filled promptlyfromtheUnitedStates,postpaid.Write us diwct for your free copy of our new 64-page catalogue, justout. A postalrequest \vi11 do. “
Magic WandPublishingCompany, Walker and Son (Printers)Ltd.,
Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 years in thebusiness
by this Bulletin
11, MonasteryGardens,Enfield,Middlesex,andprintedbyHerbert Well Croft, Shipley,Yorkshire.
*
81
PENTAGRAM An independent monthly bulletin for all who want good magic V ! .3 &&I.1
augudLt 1949
Anti-Gravity effects alLLays intrigueme.Some timestheytouchrealmagicaswitnesstheuncovered levitation, Maskelyne, Aga, Kellar call it whatyou will. Onelovelylittlemiracleinthis class is the adhesion of cards to the hand. Those \\.h() h a v e by them a copy of Roterherg’s N e w Ern CurJ Tricks \v:ll find within its pages an early method ofachievingthis effect. Weknowone performerintheMidlandswhomakes a miracle of thisalmostparlourtrick,infacthepresents it so well that the first time we saw his presentation wewere almostfoxed. I n almosteveryversion of the effect afakedkeycardisnecessary, one of the most effective being the one described by BurlingHull in SealedMysteries. The Gffect has,however,beenmuchneglected and the only comparativelymodern versions areHerbert Milton’s Personal Magnetism in Volume Eight of Naldrett’s Csollected Series, andEdwardVictor’s MagnetisedCards ” in More Magic of the I f n n d s . Regardingthelatter, my old friendthr. late Edward Brown had an excellent unfaked card method which has not been published. The merit of the effect to be described lies more in the presentation than the method. It was designed formydaughter,thisbeingsomething that gave me the advantage of seeing it performed ratherthanperformingit myself and visualising its effect from within. The Effect. Takingapack of cards,the conjurer deals some sixteen seventeen or haphazardlyontoatrayortable.Showing both his hands to beemptyandplacingthempalms to the audience side by side and thumb to thumb he gently lowers them on to the backs of the cards. A slight pause and then both hands cowle u p together with the whole stack of curds adheriltg to them. When they reach the point \\-here the faces are parallel to the audience the performer pauses for asecond or two andthenthe two hands separateandmove left andrightrespectively, half of thecardsadheringtoeachhand.The “
“
”
left hand is turned palm upwards whilst the right is first turnedpalmdownandthenback tfo the origin,al position. The cards in the right hand are now allowed to drop one at a time on to the peris then called tothe former’stable.Attention left hand. It is shown thatthecardsadhere whilst thehandisheld in any positison. Finally it is brought so that the cards face the audience and taking one card at a time from the adhering masseach is scaled on totheperformer’stable untilfinallyonecardisleft.This is takenand afterbeing flicked with a snap of thefingers is dropped on to the table. The Preparation. Twofakedcardsare necessary and these are made in a similar manner to the one described by Herbert Milton in the effect to which we previouslyreferred,i.e.,eachcard has affixed to its back a small black pin bent a t right angles. Thearrangement is suchthatthe pincanberaised or lie flush with thecard.In Herbert’s version the card was backed with material sirnilar tothat used onthetop of the performer’stable. A similarproceduremaybe adoptedhere,butasitis necessary in using two cards that these cards shall not be disturbed I founditbettertomakeupa simple tray in whichtworecessed parts of thesurfaceheldthe requiredfakedcards(seeillustration).
The whole of thetrayandcards werethen coveredwiththesamematerial, ( a thinvelour clothwas used),andwithout,anylinemasking the position of the cards it was completely camouflaged. The reader should note the angle at which the cards are positioned. (To those readers cvho haveabentforcraftsmanshipinageneral sense many different schemes of colouring or coverillg will suggestthemselves.)Prior to presentationthecardsareplacedface down inthe recesses with the pins flush with the surface. With a pack of cards at h m d the performer is ready for the : Presentation. Theconjurertakesthepack of cards mentioning at the same time that he wishes to showhow easily a magician can overcome the laws of gravity. Forthis,” he says, I will useone,two,three, f o x , ” and so onuntilhe has counted, apparently haphazardly sixteen cardsontothetray. Actu.allythemethod of placingthecardsdownisimportant. In the first placesuchplacingmustbedonewithfirmness. In consequence as the performer says .‘‘ One,” he dealsthe first cardon to thetray so that it lies left of the left hand cacd’s pin, the next card goes to theright of thispin,thethird to theleft of therighth.andcard’spinandthefourth tlo the right of the same pin (see illustration). “
“
Thenextfourcardsaredealtagainfromleft to right, but this time each is laidinadiagonal position(see illustration),andinsuch a manner
thatcards 2 and 4 slipunderthebentpinand raise itintoaverticalposition. Thethirdgroup of four cards are dealt in a diagonal manner (see illustration) whilst the last four (this number
82
couldbeIncreased so that the total comes Up to seventeen,eighteenornineteen)inatrulyhaphazardmanner,theonlyqualification being that t11t.y should be equally distributed. With the cards spread on, the tray the performer is all set. His two hands are raised to shoulderheightand carefullyshownbackandfront.Withpalmsto the audience and the tip of each thumb touching theother,thehandsarecarefully loweredon to thecards.The pins are now engagedbetween thetips of the first and second fingers of each hand, and at the same time the rest of the hands pressdownon to thebacks o f thecards.There is a slight pauseandthenbothhandsareraised together,thecardsclinging to them.(With,out making up the effect in its entirety just attach two bentpins to acouple of cardsandtrythisout in front of mirror. a You will appreciatethe effect).Theyare held fora momentfacingthe audience and thenthe hantls separate. (If the ctrrtls l ~ c heell ~ ~ e IItid out LLS directed there i s ; 1 o po.ssiljilit:,l of any cards fallil1g m tlze harlds mote f r o m errch o t h e r ) . The conjurer’s gaze
([7xI(Ly
follows the movement of the left hand and when each arm is almostfullyextended,thelefthand turns palm upwards, the cards apparently resting on it.Theconjurerthenturnshisheadtothe riSht. The righthandthenshows thatthecards clingin any position.Whilstheisshowingthis theperformermust so position himself thatat theconclusion of thisdemonstrationtheright hand is directly above the table he is using. The cardsare heldwiththeirfaces to theaudience oncemore andbyslightly releasing thehand pressurethecardsareallowed to drop.Practice will provethattheycan bereleasedone at 2 time.This will leavethefakedcard still gripped by the first and second fingers. This card is dealt with in the following manner: the right hand thumb comes across and presses on its face whilst at the same time the two fingers gripping the pin release theirgrip,the first finger thenfolding backthepinintoaflushposition.Thecard is thendroppedfaceupward on to thetable.The whole affair is seemingly unsuspicious and takes a fractionofasecond to accomplish. The performer steps forward so thai he isnow slightlyin front of and to the right of his table. H e showsthatthecards in thelefthand will adhere whilst the hand is in any position. Then, with thecardsfacingtheaudienceheremoves with his righthand a cardat .a time fromthe mass adheringtotheleft.Theyare scaled face upon to thetable.This is doneuntilonlytwo cardsareleft ; theyarethepincardandone other.Thepincardisthentakenandtheleft handthumb comesacrossslightly,holding the unfakedcardin position. The righthand,as it takes thefakedcard,knocksthepinflushand in a similarmannerthattheothercardswere scaled sends it face upward on to the table. The right hand now approaches the left, takes the unfakedcard, gives ita flickwith the first finger ofthelefthand, showsitback andfrontand drops it on to the table.
83
EDI‘I‘OK’S N O T E . - l t is a pleasure t o introduce intothe“Pentugram” a n effect b y one w h o is so wellknowtl t o all who visit tlze Magic Circle Clzchroom,every M o n d a y evenitzg ( w e believehe retuYi1.s f r o m holiday t o f d f i l thisengugement), wlzcre this contributoractsthepart of H o s t . N e w members are welcomed and made to feel at home.Guestsfromoverseasareintroducedand w r a l l t t o become menlhers O H the spot. It is iwteresiitzg t o thil1k hack and wonder how W C munaged before the e m of Sin Emons.-P.T.TT.
This is an effect in which the method adopted is intendedprimarily’forimpromptu work ; because of thearticles used andthelackofany externalsthosewho witness it will talkaboutit for many moons to come. The conjurer, when pressed to perform a minor miracle in the house of someoneheisvisiting, requests the loan of a small needle and some reels of colouredcotton(therearevery fewhouses wherethese will notbeforthcoming !). From off alength of eachreel,theperformerbreaks cotton measuring approximately nine inches. One of the present company is requested to choose one of thelengths.Takingthe piece of cottondesignated with his left handandatthesame time showing,thatnothing is concealed,thecottonis lifted fromthetable.Therighthand nowpicks upthe needle, greatcareagainbeingt.akento show the audience that nothing is concealed within the hand. Both hands are now lifted quickly and momentarily placed behind the performer’s neck. Thehandsarewithdrawnandtherighthand holds t h e needle KO\\. thre,adedwiththeselected coloured cottort. The left hand is of course empty. Themethod is extremelysimple.Priortothe intended performance the conjurer takes six small needles and threads them with six lengths of differentcolouredcotton. I suggest that the colours be :--White, black (I know that strictly speaking these arenotcolours, but they will befoundin any lady’s workbox), yellow, red, blue and green.Thecotton,afterbeingthreadedthrough the eye, is slightly balled up and the six needles in anorderknowntotheconjurerareinserted under the performer’s coat collar (see illustration). That is ail the preparation. The presentation is onewhich asithasbeen mentionedbefore is forafamilygroup.When called upon, the conjurer in his most gracious way asks if he may borrow a few items from a sewing basket. The request will possibly be answered by someone thrusting into his hands a box in which cottons, silk skeins, darning wool ,and needles are entwinedtogetherinonegloriousmixture.From
thecontents,theperformer selects aneedleof similar size to the duplicates that he ha,s threaded. Then as many reels of colouredcotton that will match his duplicatesareremoved.The pieces of cott,on are broken off and laid in a line on the tabie.One is chosen andtaken,atthecentre with the left hand.Therighthandtakesthe needle.Both handsare nowraised andasthey passbehindtheperformer’shead,theleft hand fingers roll the piece of cottonintoaball(this process canactuallybestartedonthebeginning of theupwardmovement)whilsttheright hand adoptsone of twocourses. If there is acarpet at the back of the performer, the needle is allowed floor. If to dropbehind his backandontothe there is no carpet, it is jabbed into the coat. The righthand now locates the necessaryneedle and with a quick upward and downward freeing movementit is removed. As thecoatcollarcomes backintoplacetheball of cottonisleftunderneath it. The right hand now comes forward with thethreaded needle.
The needle, if dropped, is picked up surreptitiously at a later stage. Concluding note : The wholeprocessisalmost (from the audience’s point of view) instantaneous. I t is essential, in view of the fact that many quick needle threadersareonsale,tolettheaudience see that the hands are really free from any fakes. Olderreaders will rememberthatwaybackin the twenties, Harold Comden placed on the market an effect in whichaneedlewasinstantaneously threaded. I t is doubtfulwhetherthe piece of apparatussuppliedcouldhaveduplicated Mr. Emons’ effect.-P. W.
84
szu#a&..3Eact01216 EDI’I‘OR’S NOTE.-.hlal1y readers will have see,! Frmlcis present this very clear cut effect f o r he performed it utthe zrery slcccessful. “ R o u ~ t l Tab12 O n e Il(1.y Comferitioll m l i l also 011 the occtrsioll of the cllisit of MonsiezlvandMadame Snrdi,lcL to the Mugic Circle.-P. W . The idea for this effect germinated from a very fineroutinemarketedbyPeterWarlockentitled Mind out of Time.” I liked Mind out of Time very much, but the use of thegimmuck ’’ did not appealtome. WithMentalPersuasionthere is no preparation, ana allycardsmaybeused. Requirements : Two unprepared glass tumblers, twounpreparedpacksofcards. Effect : The two glasses standontheperformer’s t.able, about twelve inches apart. Behind them are two packs of cards. The performer picks up one of thepacksandfansthroughthe cards, faces towards him. H e then takes two cards from the pack and drops one in each of the tumblers, with backs oi thecardstowardsthe audience.Thebalance of thepackhereplaces on the table. Picking up the second pack he advances towards a Spectator. He,theperformer,statesthatheis aware of theorder of thecardsinthis second pack and that he will endeavour to have the spectatorthink of acertainnumber. I n .otherwords he will use mental persuasion. Gazingstraightintotheeyes of thespectator the performer asks him to state a number, requesting that the number be not too high for it would prolong the effect unduly. Whatever number is stated the performer counts downto thatnumberinthepack,holdingthe faces towards the spectator and taking the card at that number, drops face it out, in the first tumbler and in front of the back out card. Thisprocedureisgonethrough withasecond spectator, but here you can introduce an effective ”
“
”
impression,which is used by PeterWarlock in his Thinkas I Think.”Whenspectatornumber two states his number the performer exclaims No, sir ! That is not thenumber I haveendeavoured to persuade you to think of. Will YOU please try again ? Whatever number he gives the second time, the performersays.Right,”*and proceeds tocount to that number in similar a manner to that adopted for spectator No. 1. The card being dropped face out in tumbler No. 2. The performer can now take the respective pairs of cardsfromthetumblers,turnthemoverand show that he impressed the spectators to give him thenumberat which theduplicates lie in the second pack. Method : All you need to know is the two cardsatthe top of packNo. 2. Theseareremoved fromPack No. 1 and placedface out in the two tumblers. “hen theperformerpicksupthesecondpack and advances to Spectator No. 1 he thumb counts off thetop of thepackthreecards.Duringthe counting these are pushed off as one and counted as such. Thefaces of thecardsareuprightandfacing thespectator.Whentheperformer comes t.0 the numberone less thanthatstatedhedragsback thetopcard of thecountedcards with his left thumb and thus it turns up at the selected number. This move is more fully explained in my NonsuchCardPrediction ’’ which appeared - in an earlier number of The pentagram. Afterthecardhasbeen placed in the first tumbler the counted cards are returned to the t,op of the pack. Thus when the performer approaches spectator number two he thumb counts two cards. Theabove move is repeated, attherightpoint, thecard is removedandthepairsare shown to match. “
”
“
f l a x BoIben 1884=1949 On July 3rd, after a long period of (to illness, William Holden Maxwell give Max Holden his baptismal name) Boston, died. Born in Mass., he started his professional career an at early age. H e was expert an hand shadowist, and older readers will remember his act with Tess, his Wife. Whilst we never had the opportunity of seeing him since helefttheseshores, we hadcorrespondedagreatdeal. I n 1942 he published
our littlebookon Slates,” and when the Pentagvunz was started noonecouldhave been more helpful in trying to boost its sales. Despite his illness, which overshadowed the of his life, his letterswere lastfewyears always ch.eerful and full of interest. A great name, a great man. To Tess, his wife, who was a monument of help and inspiration to him, to Bill his son and his family, we extendourdeepestsympathy. l‘
85
c&we.a! thisideawhenfoolingaroundin I hitupon anattempttoeliminatearathergbviousslitenvelopefromamental effect. I don'tsuppose foroneminute that it is new, and probably it is mentioned somewhere in the "Tales of Hoffmann" (or in oneoftheJinxeswhich I haven'tgot), h u t j u s t i n case it is ne\\--here it is. The performer writes his predictions on a blank card of visiting-card size. One side of the card is, therefore, seen to be covered with his writing and theothel side is thengiventoaspectatorto initial. The performer can, in fact, write on this cardA will choose " _ _ B will choose " C will choose (say)thethree of clubs, and if handledcarelesslyit will appear as if the card is f d l y made out. The spectator should not be giventime to study this writipg in detail, but merely shown it quickly before the card is turned over for him to initial. The spectutor then places thispredictioncard (initialledsidetowardshim)in an envelope (he can provide the envelope himself, or, if you like, theprediction-card itself canbeproppedup in full viewallthe time). The performerthenproceedstonotedown, onanotherblankcard(handed to him bythe spectatorfroma pile of cardsonthetable)the numbers,ortowns, m- what-have-you, called out by theaudience. I use three " prophesies " in this effect :--a town, a four-figure number, both freely cal1,ed out, and the third prophesy is of playing a card " forced " by a " rough and smooth " pack. After noting down the genuinely called-out town andnumberonthe " Check " card,theperformer completes this card by adding the third (and forced) prophesy. He does this before getting the card " chosen "-a simple enough thing to do under guise of a recap " of the first two choices. So far there has been nofunny-business.From the spectator's point of view, a " prophesy " card hasbeenmadeoutinfull view-initialled, and put on one side in thecare of amember of the audience.A " check " cardhas also beenmade outfor two of the prophesies-and theaudience know that this card is above board, because their representative himself pickeditoffthetable and handedittotheperformer.Theonlythingthe audiencedon'tknow,atthisstage, is thatthe third prophesy has also been entered on the check-card. The performer now picks up the R and S pack, .and,in so doing,obtains possessionofasecond check-card, which he fits over the now completed first one, so that th,ey appear as one card. (Peter 9 ,
9 ,
~
"
Warlock has a clever way of doing this in " Think as I Think," but it can also be done by palming the. second cardout of apocketwhilegettinga pencil. ) This secondcheck-card is already made out as fully as is possible, i.e., it (like the prophesy card) bears the writing : A will choose " - " B will choose " C will choose thethreeofclubs. Theperfa-merthenproceedsto get his card . ' chosen," and appears to enter this on the checkcard.Infact,hemerely fills upthe two blanks opposite A " and B "-with the result that he now has two fully made up check-cards in his lefthand.Theaudience knows of the existence of oniy one. Now comes the only real " move " of the effect. The performer turns both these check-cards over as one, on his left palm ; initials the back of the one uppermost, and hands it out to another spectator-retaining the second check-card in his hand, writing-sidedownwards.With thiscardpalmed in his left hand,theperformer now asks for his prophesycard.This is extractedfromits en9 ,
"
\,elope h y t h c ]
"
.$p+c f u t o r , \\-h(> vprifies his initials
andhandsit to theperformer-whotakes it in his right hand and puts it, writing side downwards, into his left handand o;ler thepalmed card-so that both cards are a s one. The trick now is done. With the spectator standing at his right shoulder the performer calls attention, yet again, to the initials on th,e back of theprophesycard,andhethenturnsthiscard slxvly and deliberately over to reveal the prophesy on the other side. In fact, he turns over both th,e cards as a " double-lift,"andwhatthespectator reads is the- writing on the second check card. Theperformerasksthespectator to readout theprophesies aloud, one byone,and these are checked bytheholder of the first check-card, which has already been handed out to the audience. One practice run through with this method .will show that it is virtually foolproof, but if you want to make it a hundred per cent safe, I suggest th? " roughed and thevisitingcardsusedcanbe stick together. smoothed " tomakethem If youhaveanyfearsthatthe first spectator will takeapreliminarypeek atthe unfilled-in " prophesies," youcancoverthem(orrather theirblankspaces)over withgummedstrips of paper,andhavesimilargummedstripstomatch on the secondcheck-card.Thesegummedstrips shouldbestuckdown at oneend only, SO that theycanbeflickedopenbythethumb in order to write the " prophesies " underthem.
86
To thoseinterested in the offerings of magical magazines the following bunch of words may be of passing interest. Regardless of howwonderfullyotherspraisea magicmagazine,naturallymy *affecti,onfor said periodical is tempered by the amount of material published that I c m and will use. Thereare moreabsorbingarticleswritteninother fields if I only desire to read for amusement or escape. Tricks .that I read that I decide I can use, whole or in part, go on file. Thissystematicrecording has a value which I do not remember ever having seen expressed. By comparing the number of tricks listed fromallthemagazines receivedlast year, I can instantly tell which one was the most 'valuable. By checking the number of tricks filed from that magazine last year with the number filed the year previously tells me if that magazine is improving ornot. Dariel Fitzkee gave the Pentugram nice mention in theJuly Genii. Of the 6 trickshespokeof, 4 werewith cards. The statement wasalsomade that the Perzt~1grnnz has a strong leaning towards mental effects. Thatsounds like ratherrestricted material, and is misleading tc onenotper3onally acquainted with the contents of Pentugram. Variety is mostwelcome in a magicmagazine, anda test of thatcanbemade withthis filing system. I t mustexist if I canarrangearoutine using tricks exclusively from the magazine tested. A Pentllgrum routine might be : 1 . UntyingSympathy - Douglas - Sept. '47, p. 85. 2, Prisoner In Silk-Giraud-March '48, p. 41. 3. MeltedCurrency-Douglas-June '47, p. 62. 4. Lesson In Banking-Keene-Nov. '48, p. 9.
5 . Turn Down anEmpty Glass-Warlock-May '48, p. 60. 6. Thanks To Marlo-Warlock-June '48, p 65. 7. Word Sense-Gayton and Warlock-Sept. '47, p 86. 8. Re-covery-Douglas-Aug. '47, p. 75. 9. Welcome-Chuan-June '47, p. 61. This routine ties together nicely in several respects. The silk so freely ( ? ) selected and untied by a volunteer in 1 is the silk that isused in 2. The coins thatappear in 3 areadded to more to work 4. Thenumber forced bymeans of acard in 3 is still usedin 4. Thedeckused at 3 is thedeckused at 6. The bag usedin 4 isused again in 6. After 2, the glass is placed aside, and it is apparentlythesamepneyou use at 5 asrefreshment for the volunteer. You pour yourself a glass and drink so that he knows it is alright and Coca Cola in place of Guinness. Havingdestroyedthe deck in 6 youare at a dead end, so the break is necessary to go to something else-books in 7. A magazine is prepared for both 7 and 8. Magazine is wrapped in a piece of the newspaper in 8 that is used in 9. Message onnewspaperreadsGoodnightor That's all, folks. If onewishedabitmoretime anddidnot adhere strictly t'o the Pentugrunt, one might start with Silks from Newspaper as described on Page 219 of Rice's Ewyclopediu of Silk Magic. Follow with Baker's Dyeing Silks. Continue with the routine to 3, at the conclusion of which you work the Miser's Dream to procure the necessaryadditionalcoins.
Criticism.--We are well aware of many of our faults and failings, but we took great exception to Goodliffe's remarksinAbra.,No. 185, in which we wereaccused of partisanshiptoone publishinghouse. Goodliffeconsidered that we didnotshowenoughenthusiasmabout his latest publication, Spirits in the. H o u s e . As readers will know, we commiseratedwiththe writer, our friend Mr.Chislett, on his choice of a publisher, and instanced the misleading statement regarding the " Joseffy Skull " on the dust cover. Nothing couldbetterproveour case thanthe following letter which we received from Mr. Chislett immediately f,ollowing publication July the of P e n t u g r w l :-
Birley Croft, Curbar, Derbyshire. 5 Aug., 1949. Dear Peter, I should be glad if you could find room in next one or two comments month's Pentugrmz for regarding your review of " Spirits in the House, " intheJuly Penlugrunz. First I entirely agree with all you say about the mistakemade in claimingthat Joseffy'sskull is exphined in thebook. As soon as I received my first copyandreadthat onthedustjacket, I immediately wrote to the publishers and said that shouldnothave been on. I said that Joseffy's
method was entirely different to Abbott’s, and that I hadneverwrittento Joseffy in my life. If I had seen beforehandwhat was tobewrittenon thedustjacket,that would havebeenomitted. Regarding the absence of illustrations to the FloatingBall,” I wanttobefairto thepublishers. Had I published myself, it as I had intended doing so at first, there would have been no illustrations ; and I never suggested to the publishers that it could be illustrated, as the description is given in such detail that it should be quite easytofollowwithoutthem. Also regardingthe Violet risingcard, I sentthepublishersthe only diagram I had of the “ release ” mechanism, which was suppliedtome by Mr. Violetwhen I purchased the effect from him. But I believe that anyone who is capable of makingupthe outfit would be able to understand how the release works fromthetextandthediagram.But if anyone who hasboughtthebook,and is in any difficulty about any item in it, will write direct to me I will bepleased tohelphim in any way I can. wishes, Best sincerely, Yours “
“
”
“
”
T. H. CHISLETT. I t is certainlynot.our business, but we think that the publication in Abra ” of the letter Mr. Chislettmentionswouldhavedonemuch good and certainly have saved us certain criticisms and, what is far more important,alargeamount of space. “
The Piddingtons.-It would seem that the greatest sin that the Yiddingtons have committed is thattheyhavebeen successful. To theirvast public,throughthemedium of the,Radio,they have steadfastly reiterated the fact that they make no claim to have,supernormalorsupernatural powers. They present the act as a thoughtprovokingentertainment,and sign off with the phrase, You are the Judge.” Such welldeserved success’ hasnaturallystirredtheminds of thosewhocannotbearthethought of anyone else attaining success. And so we haveaPress exposure by those who do not wish to givetheir propernames.MadameZomahwantstoseethe Piddingtons work, so that shecantell thenl how ! And now Helliwell, with his theydotheiract Aide deCampDavidMarlo,istryingto do a ” Fogel on them.We like to thinkthatthe Piddingtons’success is part of thesmallrepay,merit fortheghastlythreeanda-halfyears that Sydney spent in Changi Camp. “
”
The Genii-Orben Poll.-Article 11. on this matter appears in the July issue of the G e n i i . If it proves nothing else, itshows that the majority of conjurersareasbumble-headedastheyare bumble-fingered.Sizeofbook, like size of act, would seem to be the indication of top of the poll list ofthe voting, (2reuter Mugic headingthe thirty-seven greatest books in magical history,
whilst HowardThurstonheadsthe list of the forty-one greatest magicians in history. Stanyon’s .\lagqic and “ Serials ”, whichwithout any argumentwhatsoevercontain a wealth of information that cannot ‘be so easily found elsewhere, are not in the list, whilst Hay’s comic Cyclopediu of <\Iugic comes up to twenty-eighthplace.Among thegreatestmagicians,Kellar,who,according to all reliable contemporary reports, was the greatest magicianAmerica hasproduced, polls 451 votes to Thurston’s 841. DavidDevant, whowithout any doubt has never had an equal, polls 59 votes, whilst rvIiss Dell O’Dell just tops one of the great performers of this century, Karl Germaine. Chung Ling So0 just gets in the bottom of the list with 5 votes, whilst Willard the Wizard arrives in place 26. FrancesIrdand has \fell said, “‘ Magicians don’t have to be Crazy ! Visitors.--No two more charming visitors have come to our.shores than M’sieur andMadame Sardina.Duringtheirstay in Londonit was a great pleasure to meet them and talk of magic and otherthings. On July 25th (one of thehottest days of theyear)both visited the Magic Circle clubroomtowitness a special Mondayevening showorganised bytheMondayEveningHost, Sid Emons. After the show the visitors witnessed 2 demonstration of the Japanese Mirrors. Contributions.--This month’s effect, Shape of Things to Come,’’ is contributedbythat wellkl?own B.B.C. Air Ccrrespondentand commentator,CharlesGardner. Weregrettedthatthe effect didnot make se of acrystal, so that we could have appropriately entitled it Scryemaster. ”
“
“
”
The first number of the new volume will bring acompletedescription of LouisHisted’sfamous Jiffy Slate,” Tho’se ~ 7 h o have witnessed D’Albert’sact (he holdsthe Music Hallrights) M-ill remember it well. Withfair goingthenext number wilI bededicated to DavidDevant.The receptionaccorded to our Dougl?sDexter issue has beenaccompaniedwithrequestsforsimilar numbers. We have therefore decided that we will, during the course of the next twelve months or EO, deal with some lesser-known conjurers. Two that we have in mindare Medrington(wehope that Mr. Molewill help us here), whosework we only had the pleasure of seeingononeoccasion,andHowardSpencer(here we shallneed the help of Mr. .Goodship, who we kncw was one of his pupils). The Magic Circle.-On 31stAugust aprogramme of magic will begivenonTelevision by Herbert J. C,ollings, Brian McCarthy, Billy O’Connor and ,Chris. Charlton (we have put them in order of appearance). Douglas Craggs will irltroduce theacts.Thisprogramme, we understand, was a quick fill in for the Piddingtons, who on that day will be appearing in variety at Swansea. “
88 AMERICAN MAGIC MAGAZINES! Do you need back numbers(complete files, single volumes, or odd issues) of The Sphinx, Conjurers’ Magazine, Linking Ring, Genii, Hugard’s Magic If so, let us tell you what Monthly, Jinx, or Phoenlx? we can supply from our enormous stock of used magic journals, and a t what prices. BOOKS YOUR LIBRARY MAY LACK! Annemann, Practical Mental Effects, cloth, 319 pp. Bobo, Watch This One, cloth: 124 p ~ ... . ... Booth, Forging Ahead in Magic, cloth, 134 pp. ... Buckley, Card Control, cloth, 219 p.m. ... ... Collins, A Conjuring Melange, cloth, 256 p.p. great bargain Downs, The Art of Magic, cloth, 334 pp. ... Fitzkee, Showmanship for Magicians, cloth, 187 pp. Hilliard,Greater Magic, cloth,1,006pp. ... Holmes, The Magic Art,cloth: 235 pp. ... Hugard, ModernMagicManual, cloth, 345 pp. ... Hull, ModernBilliardBallManipulation, complete,boards Kaplan. The Fine Art of Magic, cloth, 352 pp. ... Rice, Encyclopedia of Silk Magic, cloth, 520 pp. ... Tarbell, Volume V. cloth, 418 pp. ... ...
32/6 15/15/50/10/-
25/25/50/10/-
17/6 20/37/6 50/50/-
Please remit for theseor anyother magicbooks to Mr. Rohertson Keene, c j o Riverside, Victoria Road, Yarmouth, Isle of \Vight, andyourorder will be filled promptly from the United States, post paid. Write us directapostalrequestforyour freecopy of our 64-page catalogue.
FLEMING
BOOK COMPANY,
725,rMADISONAVE.,YORK.
“
P.A.,U.S.A.
ROUGH AND SMOOH POSSIBILITIES ” By Tan Hock C h u m
PETER
Coloured
B O O K L BB OO OO KK SS I t is our policy to keepevery I)ooit on conjuriny and allied arts in stock.List of 1,000 items,7d. Five Shillings equals one dollar. F’orci!yn c o l c l Pohniul cu.5to7t1ers plea.^ wrilt. d i r e c t . 11‘~ 11u1.e s,upplied ML4C=I(’ to t h e II’OJtTCTlIl .~itrc.t. 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, 7 ’ r l e p h o ~ e: HAMpstead 0940 WARLOCK’S
PENTAGRAM
Manuscriptsforpublicationand reviewshouldbesenttothe: EDITORI.4L ADDRESS:
SYDENHAM 404/408 ROAD Croydon
I l
HENRl DE’SEEVAH MMC.. BMS., IRM., SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magiof cians to send for his list new and used apparatus and books, or call athis studio :l, CLARENCEROAD Harborne, Birminghlm 17
A
complete non-technical treatise enabling anyonetogiveaconvincingentertainment genuineHypnotism. Ready about 1st week September. Price 10/- ; postage 3d.
STOOGING AROUND By Joe Stuthard A controversialbookexplainingthecomplete of thismost actandmanymoreideas cessful Music Hallartiste,withtheaccenton ENTERTAINMENT and COMEDY. Ready middle of September. Price 5/- ; postage 3d. Fromthepublishers : THE MAGIC WAND PUBLISHING 11, Monastery Gardens, Enfield, Middlesex.
*
books for
Peter Warlock, 65,ManorRd., Wallington,Surrey.
ENTERTAINING WITH HYPNOTISM By S. EdwardDexter. of
CONJURING BOOKS FOR SALE SIIC-
OLD AND LIST FREE
CO.,
Trouble-Wit ’’
CARD TRICKS BY STANYON CardCastle.Base12 X l O & inches;6tiers of cards; 22 inches high;beautifullymade,doublecards, 50/-. CardCastle from Hat. 6 tiers; high grade; 3 0 / - . ‘Limit’DiminishingCards.Withpack to match and black EbonisedStand,30/-;(withoutStand,25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. Trick Packs. Wizard Pack and 40 Tricks, 4/9; Svengali’ Pack and 40 Tricks,6/6. Colour Change Quick C u t andCalculating,7/6; and Free Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920, withtheDictionary of Magic. 2samplecopies,postfree,2/2. Stanyon’sFamous Serials. Coins; Memory; Miscell. ; Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls; Explan : Progs; Chem; Each 3/-.
A booklet dealing withthe methods and is publishedonthe 24th of eachmonthand canbeobtained direct from thepublishers for application of the modern principle,by 1/1 persinglecopy.AnnualSubscription 12/postfree. one of the leading experts on the subject. It is recommended for ,advanced PUBLISHED BY: The Magw Wand Publishing Co., magicians. 11, Monastery Gardens, Enfield, Middlesex. Price S/- Postage 3d.
ARCAS Publications
“
Trewey Model Cartridge Paper Stanyon Corners Beautifully Oolouretl iu ftrst Z C n i l how (11olours Stage Size,used by Trewey,etc., 12 ins.whenclosed. Rainbowcoloured,22/6.PlainWhite,15/6. Importcmt Hints on operling and clo.sirrg the folds included TroubleWit Booklet ; 80 illustrations ... 2/9
NEW. Let me know your wants FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
N.W.6.
The Magic Circle Pxesidmt : His Grace theDuke
of Somerset, D.S.O., O.R.E., J.P., M.I.M.C.
Vice-President: Douglas Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Errnin’s Hotel, CaxtonStreet,S.W.l. Magical Theatre :
King George’s Hall, W.C. :
ParticularsfromHon.Secretary
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
-
BOOKS - BOOKS BOOKS George Armstrong’s Premonition pp. 10/3 Eddic Joseph’s Strictly Magic pp. 5/3 TeralGarrett’s 26 Living K Dead Tests S/3 John Ramsay’s Cups & Balls. Cloth . 2516 Victor Farelli’s Thanks to Leipzig! . . 10/3 Koran & Lamonte’s Mastered Amazemznt 10/3 Tricks of the Trade 2/7 George Armstrong’s Bohleno’s Mysteries. Prize winners . . 10/3 TH3 MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. TelephoneorTelegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 yearsinthebusiness
Every Advertiser’s goods are fully endorsed by this Bulletin Publishedbytheproprietors
The Magic WandPublishing Company, 11, MonasteryGardens,Enfield,Middlesex,andprintedbyHerbert Walkex and Son(Printers)Ltd., Well Croft,Shipley,Yorkshire.
*
90
Most readers of this bulletin are familiar uith StanleyNorton’s effect whereina wineghssis suspended from a silk ribbon. A beautiful effect and favourite a of the late Douglas Dexter. Dexter, when presenting magic at a Society show, would often introduce a seri,es of anti-gravity effects andafterperformingtheStanleyNorton suspensionwouldfollowupwiththis,whichwas his version of a Percy Naldrett effect. Effect. On the conjurer’s table rest a table knife and wineglass. a Taking the latter with his left hand, the right hand picks up the knife, the blade of which is restedagainsttheside of the glass. The lefthandleaves go of theglassandthe latter is seen tlo beclingingtotheknife. The position of thehandholdingtheknifedoesnot have to be static for the conjurer moves it about ineverydirection. The lefthandis now outstretched, palm uppermost, and the right extends over to it d,epositing the glass on the palm. The knife is taken away and all can be examined. Requirements. A length of very fine butstrong silk (the type now being put out by Ken. Brooke is ideal providing the glass used is not too heavy), a lead weight,withastaplecountersunk, the heaviness of which will havetobefoundbyexperiment, therulingfactorbeingthe weight of the wineglass. One wineglass as light weight in as possible. A tableknife.Oneotherthingwhich makesforbetterperformancebutatthesame time is notstrictlynecessary is atubeofsoft materialforthe weight tomovein. Thistube, closed a t the lower end, is fixed inside the performer’strousers and runs downtheleftleg. Preparation. The lead weight is first fastened to one end of thethread(we will assumefor the moment that the conjurer has a length of, say, four feet which is far more than his requirements) and the weight is then dropped into the tube, the free end of the
threadthenbeingtakenthroughthefabric of theperformer’strousers by means of a needle. Thisfreeend is now lied to the(top fly button. If this has been carried out properly there should, with thenormalperson, be aboutfour inches of thread outside the performer’s trousers at the top (seeillustration 1 ) . Thisisinsucha posikion that it is an easy matter for the first finger to be inserted.Withthewineglassandknife on the table the conjurer is ready for the Presentation. Immediately after finishing his previous effecttheconjurerinserts his first finger inside the thread; he pulls it awayfromhisbody (the weight, of course,keeping at tension)and when it is amatter of acouple of inches, thethumb goes inside as well (see illustration) . The lefthandcontinuestotravelforwardand comes overthemouth ,of the wineglass. The glass is lifted in this manner whilst the right hand takes the knife and rests the blade under the thread and againstthatside of the glass that is nearestto theconjurer.Theknife is so held that it is p u s h e d against the glass. an In opposite direction,theweightis pulling. The left hand now l’eaves the glass and this is the only part of theeffectthatcallsforcare.Thethreadmust be allowed togently slide awayfromthe finger and thumb and settle round the glass. Once this is donethe glass canbemovedforwardor backward(according to whethertheperformer eases thepushingmovement of theknife)and also laterally. To finish the effect thelefthand is he!d outstretched. The right hand now deposits the glass on the palm, the fingers of the left hand closinground thebase of the glass andholding ittightly.Theknife now travelsupwardstaking thethread with it. So thattheknife doesnot have to do all the work in freeing the thread, the lefthand movesdown atthesametime. Once the thread is free, the weight carries it back to its originalhidingplace.
The tube, of course,prevents any likelihood of the weightfallingtothegroundshouldthe threadbreak. As ameasure of protectionshould the perfsormer decide not to use the tube a length of strong fishing line slightly lessin lengththan is thethread,isattached to a safetypinwhich fastened to thetop of the left hand side of the conjurer’s trousers, the free end then being attachedtothe weight.Should thethread just afterthepoint of release decide to break,the fishing line will preventthe weightfallingon to the ground.
91
Here is passage a in Sir Walter
Sc~tt’s
introduction to Guy Mannering which might be
taken as a prophecy of how David Devant would end his daysaboutahundredyearslater.The actualconjurerreferredtobyScottisnotmentioned by name ; and The At1nals of Conjuring provide noclueto his identity,despiteClarke’s carefulresearch and attention to detail. According to Scott a widely-known conjurer, who died in all probability during the first 29 years of thenineteenthcentury, was struck down with paralysis two yearsbeforepassing away.WasScottrelatingpastfacts,ordid his imagination penetrate the future ? I t is true thatDevant’s affliction developedgradually and that he was not stricken in a flash during a public performance like the conjurer mentioned by Scott. But broadly speaking the ending of these two lives tally. This is whatScottwrote :‘ One of themostremarkable believers in thatforgottenand despisedscience (astrology) wasalateeminentprofessor of the art of legerdemain.One wouid havethoughtthataperson of thisdescriptionought,fromhisknowledge of the thousand ways in which human eyes could be deceived,tohavebeen less thanotherssubject to the fantasies of superstition. Perhaps the habitual use of thoseabstrusecalculations,by which, in manner a surprising to the artist himself, many tricks upon cards, etc., are performed,inducedthisgentlemantostudythe combination of thestarsandplanets, with the expectation of obtaining prophetic communications. He constructed a scheme of his own nativity, calculatedaccordingtosuchrulesofart as he could collect fromthebestastrologicalauthors. The result of the past he found agreeable to what hadhithertobefallenhim,butintheimportant prospect of the future singular a difficulty occurred. There were two years, during the course of which he could by n.0 means obtain any l
I t must be as long ago as 1922, when, at his house at Belsize Park, we first went through this effect in frontoftheMaster somehalf-dozen times. Strangelyenough we couldnot(inthose days)adaptourselves to the slowerpresentation that Devant preferred and the result was that the effect wasshelved until 1938 when for a matter of some two years it became a favourite effect in
exact knowledge, whether the subject of the schemewouldbedeador dive. Anxiousconcerning so remarkable a circumstance, he gave the schemetoabrotherastrologer, whowas also baffled inthesamemanner. Atoneperiodhe found the nature, or subject, wascertainlyalive; at another, that he was unquestionably dead; but a space of two years extended between these two terms,duringwhichhecould find no certainty as to his death or existence. The astrologer marked remarkable the circumstance in .his diary, and continued his exhi,bitions invariousparts of theEmpireuntil the period was about to expire, during which his existence hadbeenwarrantedoractually ascertained. At least,whilehewasexhibitingtoa numerous audience his usual trick of legerdemain, the hands, whose activity had so often baffled the closest observer,suddenly lost theirpower, the cardsdroppedfromthem,andhesankdowna disabled paralytic. I t this state the artist languished for two years, when he was at length removed bydeath.It issaidthattheDiary of thismodernastrologer will soonbegiven tothe public. Thefact, if trulyreported, is one of those singularcoincidenceswhichoccasionally appear, differing so widely from ordinary calculation, yet without which irregularities human life would not present to mortals, laooking into futurity, the abyss of impenetrabledarkness,which it isthe pleasure of theCreatoritshould offer them. Were everything to happen in the ordinary train of events, the future would be subject to the rules of arithmetic, like thechances of gaming.But extraordinary events, and wonderful runs of luck, defy the calculations of mankind, and throw impenetrabledarkness on future contingencies.” The foregoing was written in January, 1829. Yet there seems to benorecord of any conjurer of the period dying under the circumstances related. Perhaps some other reader of Pentagram can provide a clue.
Jinx, ” our miscellaneous programme.Inthe underthetitle of the Jest of Gratoulet,” we described one version, a version that from certain points of view has advantages over the method to described. be However, from experience in workingbothmethods we prefertheone to be described. l‘
l‘
The Effect Three silks of contrastingcoloursaretaken one at atime by the conjurer and tied together. Supposing that the colours are sepia, orange and tan,theorange silk shouldbe tied between the othertwo.Thesilksarethenrolledintoaball, care being takenthattheaudience see thatthe handsareotherwiseempty. An elastic band is nowplacedaroundtheballandthelatteris dropped into a brandy glass; in order that nothing cantouchthe silks from below or above a small table mat is rested on the rim of the glass, whilst another is placed under the foot. A long strip of black paper is taken; it is shown on both sides and thenfolded widthwise andthen lengthwise. It: is momentarilyplacedinsideaglass whilst the conjurer takes a box of matches and with his right hand fingers removes one match which he strikes. The box is placed on the table by the left hand which thentakesthe tissue bythefoldedend. Thematch is appliedtothe,otherend,after which it is extinguishedanddropped.Suddenly there is a fiash and instead of a piece of burning paper the conjurer is seen to be holding an orange silk.Draping th-is latteronhistablehe goes to the glasscontainingtherolled bund1,e. The topmost mat is removed and then the silks. Removing the elastic band and at the same time takingcarethattheaudiencecan see that his hands are otherwise empty, the bundle is unrolled torevealtheorange silk missingwhilst inits place,completelyrestored,is the piece of tissue paper ! Requirements Six 1Sin. silks, saytwo.sepia,twoorange, two tan. A box of safety matches. A little preparationisinvolvedhere (som,e maythinkit
r/ 4 ,511~
rR//Ed
th+ way
4 9-r
unnecessary but I found that it helped considerably in smoothing what I considered a rough spot). The drawer is removed and it is shortened totwo-thirds ,of itslength.Thematches which arethen to be used for thepurpose of filling it are also shortened. !Some black flash paper. Some black tissue paper. One brandy, or large-bellied wineglass. One tumbler. Two elastic bands. Two round wooden table mats. A cigarette box used for holding 100 cigarettes. A chairservante.Theonethat I used was simply made of silk on a wire frame. Its onlypurpose is toactas a bag and its presenceiseasilycovered byhavinga silk hanging ,over the back of the chair.
P,reparation. The tissue paperis first takenandcut SO that. the conjurer has some pieces measuring 30in. bysin. At about twoinchesfromeachenda round holeqin. indiameter is cut.Theends of the paper are now rolled inwards until the nearest edge of the hole is reached.One end of the sepia silk is pushed through the h,ole and a knot tied. In a similar manner the tan silk is attached totheotherend af the tissue. Starting withthe tansilk, silks and tissues are rolled intoaball carebeingtakenthat no portion of the tissue is exposed. When the rolling is completed an elastic band isplacedroundtheball. A piece of black flashpaper is now cut, size Sin. by 3in., andtoeachend of this,withtheaid of alittle seccotine orrubbercement, is attachedalength of tissue measuring llin:by 3in. Theconjurer thus hasacomposite stripmeasuring 301in. One of theorange silks now comes infora littlepreparation;to onecorner is sewnasmall bead.The silk isnow placed flat onthetable, beadcorner to the left of conjurer.Thecorner nearesttotheconjureranditsdiagonalopposite are now rolled in tvowards thecentre of the silk until rope a of silk about liin. in width is: obtained (to stop the silk moving about it is best to have some heavy object handy).The bead end is now takenabout 2in. inwardsandthen upwards(seeillustration)andthelength of silk rolled into ball. a The ultimate effect behg thattheend t.0 which thebead is attached will protrude.Theballed silk is now wedgedinto that part of the matchbox left vacant because of the shortened length of the drawer. Whenallthesepreparationsaremade,the conjurer placesthecigarette box on the table so thatthehingepart of the lid lies paralleland nearer totheaudience.Insidethebox is first placed thematchbox completewithwedgedsilk. The box should be in such a position that the end containing silk is furthestfromaudience.The piece of tissue-cum-flashpaperisthenfoldedand placed on top of the matchbox and the lid of the cigarettebox closed. Theball 'of silk is placed behind the cigarette box and the two mats placed on top in such a position that in picking them up the silk bundle can easily be clipped against and lifted with them.Thechair withthe servante is left of thetabIeandonits se.at is placed the
93 brandy glass. Onthetable beside thecigarette box is placedtheotherglassand someelastic bands,Thethree silks areplacedoverthechair back.Thus set theconjurerisreadyforthe Presentation. The silks are taken from the chair one at a time and knotted together b y their corners. Carefullytheyarerolledintoaball. At this pointtheconjurershouldbestandingmidway betweenthe tableandchair.Whentherolling procedure is complete, the bundle is held by the lefthand whilst theright goes tothetableand removes an elastic band which is adjusted around theball of silk.Takingthelatter with his left han,d theconjurerturnsquarterright,theright handtakingthemats-thumbontop, fingers underneath, the second and third clipping the silk bundle. I n liftingthematscare is takenthat they hang from the fingers so that the bundle has plenty of cover. The conjurer changes his position naturallyfromquarterrightto half left (he is goingtoplacethe silk bundlein his left hand in the glass on the chair seat, don’t forget !) As hereaches,oralmostreachesthehalf-left position thelefthandapproachesthemats. It apparently passes the silk bundle that is holding under the mats and into the right hand and at the same time takes the mats. n’hat actually happens is that the right hand releases its hold ‘on the mats and leavestheduplicatebundleof silks exposed whilst the left hand take:< the mats stillretainirng theoriginal bnll o f silksunderneath. The whole thing is most naturalandthe follow through takestherighthanddowntowardsthe glass whilst thelefthand rests in a most naturalway on (as the silks are dropped by the right hand) theback of thechair.The silk bundleatthis stage is released and it findsitsrestingplace in theservante.Therighthand comes upandthe left hand movesslightlyforward.Onemat is takenandplacedontop of thegiass.Theright hand now iifts the glass by the stem and the left hand places the mat has been it holding underneath. The conjurer now goes to the table and lifting the lid of thecigarettebox,heleavesthe formererect and removesthelength of black
E D I T O R ’ S NOTE.-Mr. Francis W h i t e will ,teed 110 introductiontotherenders of this or any other magiccrl publication. .4 performer w i t h a style of preseutatioltthattakeshim among ths front rajlk of pzthlic entertnilrershe REAL s o m e h o w( a n dw et h i n kt h a t h i si s tnagic) carriesouttheduties of Secretary of
tissue. This is carefullyshownandfoldedfirst inhalf widthwise andtheninhalf lengthwise. After which it is stood inside the glass beside the box. Therighthand now goesinto theboxfor the matches and in taking the latter by the rolled silk end twists theball of silk fromthe,opening so thatbythetimethematchbox is in view of theaudiencetheball of silk can beheld by the pressure of .thethirdandfourthfingersagainst the palm, the matchbox being held at the cavity end by the tips of the second finger and thumb. The wholebusinessisalmostinstantaneousand is far superior t.0 the ordinary method of using a matchboxfor a silk production.Thematchbox is now taken by the left hand and the first finger of therighthandpushesthedraweroutand removes match. a (Care: of course, must be taken regarding angles for at this stage a sight of the concealed silk intherighthand would be fatal).Thematch is struckandthe left hand places the box down and removes the tissue from the glass. It is held attheflashpaperend,the ‘open end, i.e., non-folded end, being ignited with the flaming match in theright.Thisdonethe match is extinguished with a nail snap and droppedontothetable.Thepaperburningthe conjurer moves cearer to his audience and indicating the silks in the glass passes the burning paper to his right hand so that his left can befree. (If the tissue iswell folded and it is held in a vertical position the burning shculd be comparitivelyslow. If theperformer finds that his movements have to be unduly hurried in order to effect the change-over from one hand to another, I suggest that the paper be folded l e ) ~ g - f h ~ again). i . ~ c The f a m e reachesthe flashpaper . . there is ccmpletedisintegrationand at the s’zme tIme holdingthebead in thecmner of the orange silk betueen thumb and second finger the remainder of the silk is allowed to drop. The effect to the audience is that of aninstantaneous change. The effect is nearly finished. The orange silk is draped onthetableand it only remainsfortheconjurertoremovethetopmat, takethebundle of silk out of the glass, remove the elastic band and show that the tissue, like the proverbialPhoenix,hasarisenoncemore !
94
The Effect.-The conjurer invites the assistance of asmallboy .. who is sh,own a small velveteen bag ; this is turned inside and out to prove both its innocence and emptiness. From the inside of thisbagtwo eggs are successively produced,eachbeingplacedinasmallbasketthat lies ontheconjurer’stable.Thebagisagain sh,own to be empty,andinafoldedcondition placedontheassistant’shand.Theboy,after certain by-play, is invited to look inside the bag and remove what he finds ; he does so, and mucli tohissurpriseremovesanotheregg.Takingthe bagbackfromtheboy,theconjurerproduces some seven or eight eggs, which he places with the others in thebreadbasket. At thispointthe conjurertakesone of the eggs and placingitin the bag causes it to vanish. After certain a amount of by-play, the egg is found on the boy’s back,from whence itisremovedandplacedin thebasket.
jurer so thathestands left of theformer whilst thetrick is inprogress. Theboy is asked if he has ever seenamagickitchen, andupon receivinganegativereply,theconjurerpicksupthe eggbag with his left hand,takingcarethat no disl’odgment of the three eggs takes place. This ismymagickitchen,and I can, by wishing,get anything that one usually finds in a kitchen. For instance,to-day I would iike to find an egg ! Firs: of all,however, I must showyou thatthe kitchen is e m p t y . ” The conjurer then, in the approved manner, shows the bag inside and out. When this has been accomplished the bag is left in the left hand and the conjurer says : “ Now, allyouhavetodo is to wish.”And,turning to theboy, Andyou’llhave to wish,too ! At this point the conjurer can introduce the by-play that is appropriateto his presentation,the ultimate result being that after showing his right hand to be empty, he reaches into the bag ; at the same timethe left handholdingthebagand eggs releases one of the eggs, which is takenbythe right hand, removed from the bag, and shown to theaudience.“It’sall so simple,” hecontinues. If we want another egg, we onlyhave to wish again.’’ More by-play,andanother egg is removedfromthebag. To theboytheconjurer remarks, ‘‘ Do you think that you could do this on your own ? Whatever the answer, theconjurer carefuily shows the bag by turning it inside out,andthenfoldsit first oneway andthen the other so that it becomes quite a small affair. At this point the usual business of placing the bag on the palm of the hand and allowing the part of thebag which is ‘occupiedbythe egg to slip between the fingers of the hand, which are opened forthispurpose. The boycan now beasked to place his hand on top of thebag,andbythis means assure himself and the audience thst nothing solid is contained in thebag ! Theboy is then asked to stand with his left hand placed chest high ; on this the conjurer places the apparNow, this is whereyouhave ently empty bag. to wish, and wish very hard.” At thispointthe conjurer casually places his hands in his trousers pocketswhilsthewatchestheboy.Hereagain there is excellent opportunityforby-play, especially if thehelperlooks at thisstage as though he is takingpartinatelepathycontest. “ Now, we have to see if your wish has come true. Is thereanything in thebag ? ” The helper may touchtheoutsideandfeeltheshape of the egg, and. of course, give affirmation. Whether he does so or not, the conjurer adds : Well,open thebag,very,verycarefully,and see what is inside.”Theboy doesthis,andwhilstallthe eyes of -the audience are cn the boy as he removes theeggfromthebag,theconjurer removes his handfromhisright-handpocket. In his hand he hasthe bund!e of rubber eggs still secured bythe eiastic band.Thelefthandthentakes the bag by its corner frcm the boy, the right hacd coming across and g-oing straight ilz!o tile hag.; “
”
‘ l
‘ l
TheRequirements--Oneeggbag. Three solid ( ? ) eggs ; thesecan, of course, be made of celluloid or wood. Seven (this number is arbitrary) rubber eggs. These articles, which during the war and immediately after were dificult to obtain, are now in good supply.Incidentally,themodernlatex productionsaremorenaturalincolour. One solid egg from which protrudes a small, sharp spike. One small oval bread basket. An elastic band. The Preparation.-The egg with the protruding point is placed in the left-hand jacket pocket. Should the performer be wearing tails this can go either in the left-hand trousers pocket or be slipped intoaclipthat is safelyout of sight.Themain point is that the conjurer should be in a position toobtain possession of itwith theminimum of trouble. The three solid eggs are placed in the secret compartment of the egg bag so that they will lie near the mouth of tile bag as the performer at a laterstagepicksit up. The rubber eggs are tightly packed together and secured by means of the elastic band.This spa11 bundle is newplacedin therighthand trouserspocket.The egg bag,foldedinsucha mannerthat it can bepicked upwithouthesitation, is placed in thebreadbasket, which stands to the front of the conjurer’s table. Presentation.-The conjurer asks for the services of a small male member of his audience, ; the is introvolunteer being easily forthcoming,he ducedtotheaudienceandplacedbythecon-
”
“
“
95 (See illustration.) The bag is left like this whilst the conjurer takes with his left hand the egg from theboy,atthesametimesaying : “ Well, you
allone’seggs intoonebasket. ” Therubber eggs all having made their appearance (they make abraveshowing in thebasket),theconjurer takes one of the solid eggs and with the aid of the bagintroduces anabbreviatedegg-bagroutine (actually length the of such routine is a individual matter for attention). At point the where conjurer the returns to the point having an egg bag and in a his hands, he tells the audlence that he wdl teach his assistanthowtoperformasimilarfeat of magic. The egg is placed in thebag w.ith the righthand.It is actuallyplaced in the secret compartment,thelefthand visibly grippingthe egg, the shape of which can be seen by the audience. Thebag is thenfoldedandplacedonthe boy’shand, whichshouldbeheldchesthigh. The conjllrer adjusts the bag with his right hand, and indoing so standsslightlybehindtheboy. I n thispositionhe is able withcompletecover, to secretly obtain the spike egg from the left-hand pocketandattach it totheback of theboy’s jacket. Now bevery careful-think that you wanttheegg to vanish-don’tmove about too much, otherwise you spoil thespell.”Thisinstructionprevents anyprematuredislodgment of the egg.Aftera few moments’by-play,theconjurer removes the bag from the assistant’s hand, opensit,and shows that the egg hasvanished. In looking for it the conjurer, holding the boy’s arm,turns him round so thattheaudiencecan see the egg. This, of course, brings forth an oralindication of ;ts presence. The conjurer and the boy walk right round so that once more they bothfacetheaudience.Thesituation is played out, and the egg finally removed from the boy’s back. ‘ I
see, that iswhatastrong wish cando ! The left hand nowplacestheeggbesidesthetwo ofhersinthebasket.Whilsttherighthandhas beeninsidethe bag, the thumb of this hand has slipped off therubberbandfromthebundle of eggs. Now the left hand comes a,cross, and, takmg the bag at the mouth, the conjurer informs his audience that they will try and get some more eggs. Theproduction of therubber eggs now takes place, and as the conjurer reaches the third he remarks : ‘‘ This is what is known as putting ”
First of all, at the conclusion of this the third volume of the Pentagram,” we would like to taketheopportunity of thankingcontributors, readers,anddealersfortheirsupportduringthe last twelve months. On the 21st of thismonth we move,and should like readers note to our address. It will be :24, WordsworthRoad,Wallington,Surrey. Readersmayrememberthat in theindexto Volume Two we gave several programmes of effects culled from previous numbers of the Pentagram.”Ourpublisher,Mr. GeorgeArmstrong,tells me that he is willing toawarda prize of cne guineasworth of books (of the winner’sselection)tothereadersending in the best programme ofA. Mental effects. R. Miscellaneous Magic. “
I‘
in which the effects have zppeared in the Pentagram.’’ Bobby Voltaire, playing again in Variety, got a nice write-up in theChannelIsles.Apparently he lit a GO-watt lamp in a ’plane flying at 2,000 feet ! Nextmonth,as we mentionedbefore, we Jiffy slate. shall publish Louis Histed’s Before that,you’llhavethechance of seeing D’Albert use it at the Magic CircIe Festival. Also in the same number is a very nice Colour Changing Thimblerouthe by PeterSutton. Eric Williams, uritingfromLedbury,sends us a nice local write-upregardingamentalact that he put on. He adds : Thanks to the Pentagrarn ’ forsome of the tests ’ referred of to-isn’t thisbetterthanthrowingbrickbats jealousyatthePiddingtons Weagreequite definitely. “
“
”
”
,
~
, ~
~
'
i ~
~
Coloured
SOME LOW-P,RICED AMERICAN BOOKS ! TheFleming policy of " one price throughoutthe world " brings you Americanmagic books at the exact Britishequivalents of theU.S.A.- prices($1.00 equals 5 shillings),postpaid. Please remitto Mr. Robertson Keene, c / o Riverside, Victoria Road, Isle of Wight, and thebooks will reach you promptlyfromtheUnited States.(Write us apostalrequestdirectfor free copy of our 64-page catalogue, a t t h e address given below). Hereare some worthwhile, low-priced books,bound in soft boards :Anderson, It Must Be Mindreading, 57 pp. new book ... . . . . . . . . . . . . 10/Annemann, Full Deck of Impromptu Card Tricks, 78 pp. . . . . . . . . . . . . . . . 9/Annemann, Miracles of Card Magic, 109 pp. ... 10/Christopher-Fetsch, Magic a t YourFingertips, 46 pp. . . . . . . . . . . . . . . . . . . 101Clever, Thoughts Wings Onward, 121 pp ... 10/Douglas, Patter in Rhyme, 26 pp. . . . . . . 31Gardner, Over the Coffee Cups, 34 pp., just out 5/Hugard-Braue. Sho,w Stoppers with Cards, 16 pp. ... . . . . . . . . . . . . . . 5/101Lorraine, P a t t x , 64 pp. . . . . . . . . . . . . Maly, The Celestial Agent, 30 pp. . . . . . . 10/ Marlo, Mar10 inSpades, 51 pp. . . . . . . . . . 10/10/Merlin,Anda Pack of Cards, 93 pp. ....... Rice,ThrutheDyeTube, 48 pp. . . . . . . 51Vernon,SelectSecrets, 40 pp. . . . . . . . . . 7/6
CARD TRICKS BY STANYON CardCastle.Base 12 X 104 inches; 6tiers of cards; 22 inches high;beautifullymade,doublecards, 50/-. CardCastlefromHat. 6 tiers; high grade; 30/-. 'Limit'DiminishingCards.Withpack tomatchand black Ebonised Stand, 30/-; (without Stand, 25/-) 'Find the Lady'; Giant size, 40/-; Ordinary Cards, 10/-. Trick Packs. Wizard Pack and 40 Tricks, 4/9; Svengali Packand 40 Tricks,6/6. Quick CutandCalculating, 7/6; Colour Change and Frec Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920, withtheDictionary of Magic. 2samplecopies,postfree,2/2. Stanyon's Famous Serials. Coins; Memory; Miscell.; Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls; Explan : Progs; Chem; Each 3/-.
B O O K S B O OBKOSO K S I t is O L i r policy to keepevery 1)ooIc o n colljuring and allied arts instock.List of 1,000 items,7d. Five Shillings equals one dollar. I.'oyri!!n (1t111 ('donid curqtower.s p l c a s p Yrritc ( l i l , c c . t . 1 I . p I I ~ ~sripplietl IY~ h'AC:I(' to t l l c II'OA'LD c v ' l l w 1890
ELLISTANYON AND CO!VI'ANY 76 Solent R y d , West Hampstead, L.ondon, N.W.6. I elephol!e : I-iARiIpstead0940
FLEMING BOOK COMPANY, 728MADISONAVE.,YORK.P.A.,U.S
"
ROUGH ANDSMOOH
POSSIBILITIES "
By Tun Hock C h u m
.A. PETER
PENTAGRAM
review should be sent to the: EDITORIAL ADDRESS:
Croydon
STOOGING AROUND By JoeStuthard A controversialbookexplainingthecomplete actandmanymoreideas of this most cessful Mnsic Hallartiste.withtheaccenton ENTERTAINMEKT and COMEDY. Price 51- ; postage 3d.
Clubroom and Library and
of
Magical Theatre :
King George's Hall, W.C. Particulars from Hon. Secretary :
CONJURING BOOKS FOR SALE SIIC-
OLD ANDNEW.Let LIST FREE FOR
No
me know your wants STAMPED ENVELOPE Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser's goods are fullyendorsed Publishedby
thc proprietors The Magic WandPublishingCompany, WalkerandSon(Printers)Ltd.,Well
Museum :
St.Ermin'sHotel, Caxton Street, S.W.1.
MM('.,
From thepublishvrs : THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
*
Vice-President: Douglas Craggs, Esq., M.I.M.C.
HENRl DE'SEEVAH R'LIS., IBM.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for his list of new and used apparatus or call athis and books, studio :1, CLARENCE ROAD Harborne, Birmingham 17
TWO OUTSTANDINGBOOKS. ENTERTAINING WITH HYPNOTISM By S . Edward Dexter. A complete non-technical treatise cnabling anyonetogiveaconvinciugentertainment genuine Hypnotism. Price lO/- ; postage 3d.
President : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C.
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
SYDENHAM ROAD
404/408
The Magic Circle
WARLOCK'S
24th of eachmonthand A booklet dealing with the methods and is publishedonthe canbeobtaineddirectfromthepublishersfor application of the modern principle,by l / l persinglecopy.AnnualSubscription 12/post free. one of the leading experts on the subPUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, magicians. Middlesex. Price 51- Postage 3d. Manuscripts for publicationandbooksfor
ARCAS Publications
Trouble-Wit
" " Trewey Model Cartridge Paper Stanyon Corners Beautifulljy C!oloured i l r fnst Kuirlbow ('ulours Stage Size, used by Trewey,etc., 12 ins. when closed. Rainbowcoloured,22/6.PlainWhite,15/6. Importunt. Hints on opeuing and cloxitrg t h e folds ilrclrtded Trouble \Kt Booklet ; 80 illustrations ... 2j9
FrancisWhite, 39 Alverstone Avenu?, WimbledonPark, S.W.19 TheDiscriminatingConjurer will send a stamp for
J. New
B. FINDLAY'S List of Bound Books.
FirbankHotel, Crescent Road, Shanklin, I.W. JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 899 Address :GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 yearsinthebusiness 23
by this Bulletin
11, MonasteryGardens,Enfield,Middlesex,andprintedbyHerbert Croft, Shipley,Yorkshire.
*
.
ANTI GRAVITY EFFECTS .... Making a Candle Light .... .... A Matter of Som.e Gravity .... ARTICLES .... GoodlifTe Replies to Robert Lund .... Sawing a Woman in Halves .... .... RobertLund t.o Goodliffe .... .... A Bookplate for your Books .... .... Magical Magazines .... .... CARD EFFECTS .... EleventeenStoreyLeaper ..... .... I GiveUIpt ! .... .... .... An Ace Change .... .... .... Unskilful Skill ... .... .... Strange Harmony .... .... .... Thrustfully Yours ! .... .... .... Time Stitch in .... .... .... Shadow ! .... .... .... .... C hopitup .... .... .... .... Clwer Darn ... .... .... Slaphappy Pass .... .... Two Thcughts (secondversion) .... .... Three White Handles Daggers .... A Matter of Mas->acre .... Floored ! .... ..... .... .... Meutal Persuasion .... .... .... CHILDREN’S EFFECTS Lesson in Banking .... .... .... COIN EFFECTS The Disappearing Hole .... .... LIQUlD EFFECTS Watered Wine .... .... .... MATCH EFFECTS Passe Passe Matches .... ... .... MENTAL EFFECTS .On PencilReading .... .... .... A Letter from A1 Koran .... ....
.
.
.
.
. . .
61 81 22 37 38 46 86 4
11 26 29 33 43 45 49 51 53 58 60 66 75
76 a4 9 27 35 11 l
3
Turn of a Card (with playing cards) .... 19 20 Weird Junior Wire .... .... .... 25 Legerdebrain (with playing c&ds) .... Prevhue Plus .... .... .... 28 Contagious Luck .... .... .... 35 Man on Top of the Train (with playing cards) 36 Time Will Teli .... .... .... 44 Mentalist’s Dream(withplayingcards) 50 Guessing Game .... .... .... 58 Destiny .... .... .... .... 61 Material to a Matchbox .... .... 76 85 Shape of Things to Come .... ... MISCELLANEOUS William Selects a Number .... .... 60 Magic Circle Festival .... .... 3 I .B.M. Convention .... .... .... 6 Magic Circle Banquet .... .... 52 Magic Go Round .... 7 12 23 30 39 47 55 63 71 79 .86 NEEDLES. Over My Shoulder ! .... .... 83 NOTE EFFECT Fire Alarm .... .... .... 41 OBITUARY Xax Holden .... .... .... 84 PENETRATION EFFECTS Ringing the Needle .... .... .... 17 Thanks Ellis to ! .... .... .... 57 Sharpe Scissors .... .... .... 68 Super Sharpe Scissors. .... .... 73 Sharpe Extra Scissors~ .... .... 74 SILK EFFECTS ,4 b m i c Silk .... .... .... 21 Cream ofJest the .... .... .... VERSE The Magician Master .... .... 89 52
.
.
.
.
.
.
e a n h h , Armour. R .... .... Arrowsmith. G . E . . . . . Belcher. Len . .... Bill Bishop. .... Eoarde. . C . L . .... Eraund. George .... Dexter. Douglas .... Dexter. Will .... D m o v a n . .... .... Emons. S. . . . . .... Esler. James .... Fa1rthor.e. Robert .... Gardner. Charles .... .Giraud. Julcs .... Goodliffe .... .... Haxton. Francis ..... Howie. John A . M . . . . . James. Stewart .... Jonson. Wilfrid .... Keene. j . Robertson .... K x m . A I .... ....
.... .... .... ....
.... .... ....
.... .... .... .... .... .... ....
.... ....
.... .... .... .... ....
.... Lambie. Allan 58
29 Logan. C . E . 28 53 61 Lund. Robert .... 76 McComb. William .... 1 McCarthy. Brian .... 73 Jlaskell. Dcn .... 69 66 May. Leslie .... .... 19 44 Milton-Warlock .... S9 Xoffat. Peter .... Naldrett-Dexter 83 .... 76 Orrin. J . F ..... .... 35 Sharpe. S. H . .... 8.5 Stuthard. Jge .... 45. Sution. Peter .... 22 ’T s:: Hock (:huan 844337 Tothill. Robert .... 5. 7 \hJa!ton. Rq7 .... 1 86 Warhck. ‘Peter .... 11 FraiJcis White. .... 9 Wicks. C.harles .... 3 Young. Juhn
....
....
....
....
....
.... ....
.... .... 20
.... .... .... ....
....
....
....
.... .... .... .... .... .... ....
....
....
....
....
....
.... .... .... ....
.... .... ....
.... .... .... ....
.... .... .... .... .... ....
1-1 74 38 60 27 52 36 81 25
....
....
.... 17 51 .... 68 .... 4-1 .... 58 60 .... 35
.... ....
.... ....
....
21 .... .... ....
....
.... . .
49 26 33 46 50 75
awiam!! BOOKS. Principles and Desceptions
....
Mystery Gobak Card
....
....
5
Cups and
....
5
’s Routine
5
....
15
....
22 22
38
....
.... .... ....
....
....
38
....
....
53
....
55
....
....
62
....
.... .... ....
62
14 14
....
Balls-Ken Bro.oke.
Magic Feats
....
....
....
5
Loopknocker
Jamesophy ....
.... ....
....
5
Les Lie’s Hypnotic Handkerchief
Professional Magic for Amateurs
.... .... ....
15
Magic of Famous the
John Ramsay’s Cups and Balls
....
15
Band-it
....
....
22
TripleThreat.PokerDeal
....
....
22
Gap the in Curtain
....
....
22
Harbin’sSimplicityPrediction
23 47
Cupid’s Cards
54
GeorgeArmstrong’sPremonition
54
Tom Sellers’ New Thumb Tie
54
EFFECTS.
Fine Art of Magic
....
Impromptu Card Tricks Work that
! ....
Thanksi. .Leipzig to
....
15 Ladies Pink
....
....
.... .... .... .... .... ....
....
....
....
54
P.ossibilities
....
55
Catalogue of Books on Magic (Fleming)
62
Devil’s Whisper and its Development Collector’s First Annual .... Controlled Miracles Twenty-sixLiving
....
andDeadTests
Magic Wand Year Book Magic of Rezvani Secrets SeIect Rough and Smooth
....
....
54
....
....
....
77
Spirits in the H.Ouse ...
....
....
78
....
79
Strictly Magic
John Ramsay’s Cylinderand C.oins ROUTINES. Cash Spot So Fair Poker Deal
....
....
....
....
....
....
....
....
....
.... ....
The‘Unbelievable R.outine
38
78 78
Zingaree Blindfold
....
....
.... ....
Trilby
....
....
....
18
Harbin’s Dippy Magnet
....
....
31
Stanyon’s Card Castle
....
31
....
31
Harbin’sUncannyMatches
.... .... ....
....
38
Stanyon’s Stripper Pack
....
....
38
....
....
....
47
....
....
....
77
Devano Rising Cards ....
Jack Hughes’ Spirit Bell
....
.....
....
5
Harbin’s Firebowl
....
....
....
5
Bi-Co
....
....
1
PENTAGRAM An independent monthly bulletin for all who want good magic
Ckta0a 1949
V ? .4 NCr, I
Claude Chandler would have us believe that the good old fashioned slate now is an anachronism;whatever, an anachronism maybe in its own rights? My own feeling is t,hat the slate is too valuable a prop in magic lightly to discard and thatithasverymany years of honourable and useful service in front of it. When it bec,omes reaIly out of date itmay still be usefulto the magiciars of the new era who want to show what those quaint magicians did back in 1949, and to reproducethe effects and atmosphere of the fake seances of the 19th and early 20th century. No, my only quarrel with the slate as a conjuring prop. is :(a)The message cannot beseen too well whenused on the platfcrm owingto thespidery attenuation of the chalked writing; (b) It is usually necessarywhile the message develops to cover the slate or to put it aside. In real magic the message would - just appear. I have tried to remedy these defects with the Jiffy Slate, and, in doing so, quite naturally introduced a few defects of its very own. You will be able to judge. The Ji.ffy Slate, without cover, produces a message on both sides, or, if that statementis equivocal, with the sole cover ” afforded by turning the slate away from the audience fora second and back again. The Jiffy Slate looks like a slate. It is a slate. Its principal disadvantage is that itcannotbe it ctrn be viewed handled by theaudience.But from threefeet. Its second disadvantageis that itproducesbeautiful whiteblock capitalsofa spirits.” perfection far beyond thedreamsof You can read them at the back of the hall, but if vou think that a scrawly caligraphy is something that the spirits favour, well there is nothing to stop you. I really don’tthink that the spirits are so particular. In short, this is a slate for stage use “
“
and quick effect. It does not replace slates with flaps,locked or otherwise,used inintimate perf ormance. D’Albert who has held the Music Hall rights in this country since1945uses a gigantic Jiffy Slate in his Bookmaker Magical Act.” From a blank slate he magically produces the starters and the prices and gets the shock of his life when his Fips come cff. He gets extra deep letters by increasing the depth of the top and bottom margins of his slate and adequately covers this ruse by usingtheincreased space to advertise thename of the old firm.” You can look atthe drawings now, if you haven’t done so already. I ama man of magical ideas. Almost a genius. I freely confess it. But takes it a D’Albert to introduce design and finish into an idea like this and bring it to life. My first experiments wsre with ground glass and frames made of brown paper. D’Albert designed and made in wood theframe you see illustrated. The dimecsions are not vital of course, but a relative proportion has to be achieved between the overall size of the slate, its thickness, and the width of the wooden frame, so that the slate lookslike a slate used for chalking up or writing down.” And 110 french polish. I am afraid cce will have to look at the drawings again. The central insert has the Ace of Spades (say) on one side and the Three of Clubs (say) on the reverse, written on black paperin whiteblock capitals. White waterproof inkis thestuff. Thepaper cut-outs, two of them, are stuck to the s z ~ o o t hsurfaces of each of the two ground glass slides. A smear of seccotine along the extreme long edge of each glassis all that must be used. The completed masks siide up and down over the insert so that the writingis exposed or concealed at will. “
“
“
2 The ground glass surfaces form the outside of the slate. They can bewritten on as anordinary slate. If the surface appears too white the slightest trace of non-drying oil rubbed over will bring them to a beautiful state of blackness and the white letters will stand ,out boldly. There are two holes at the top of the frame to take fixing pins so that the frame can be dismantled when required to cha.nge the insert. Now a word about the paper. The paper used €orthecutout should be reasonablythin, but since the degree of blackness of insert and cut-out need tobe the same, the same paper should be used forboth purposes. Paper black on both sides can be bought. I did mine thehard way and used Indian ink on white paper, with the added burden of smoothing the paper after cockling. In operation the slide ,of the slate away from the audience is pushedalong with the thumb. It slides quite easily. Just a touch. I n my original version the same message appeared on both sides, The " Ace of Spades " - " Concentrate, sir, the spirits willwrite the name of yourcard on the slate.'' The slate was turned round and backagain and the message revealed. '' Sorry, sir, you really expected the message on the mother side, didn't you ? " Turningtheslateroundand revealing the duplicate message. A fullroutine wili appear in a laterpaper, but t,o conclude this article there is the question of Perspexto consider. Ground glass is perfect,
- - - -*: - - - __ I \
-
-
~
but liable to breakzge. Better have perspex while I gather,is sold in you are aboutit.Perspex, sheets which are reputedtobe 1-16in., gin., and $.in. thick. The dealers will cut you two pieces to size and you can frost one side of each piece by rubbing it down with fine sandpaper. Finally a word of warning. Buy your perspex first and make the frameto fit. I ordered gin. thickness and this turnedout to be 1-6in.,which with the double thickness and the insert was too thick for my frame. I had to start again and ordered 1-16in. I imagine that this thicknetss might have turned out to be a trifle thin and not solid enough to keep flat up against the insert. However, on delivery it was found to be as near to &in. as dammit.Verp sap.
--
LOUIS S . HISTED'S COMEDY ROUTINE WITH THE JIFFY SLATE. The props you wiil reqnire are :(1) A Jiffy Slate rcading the Ace of Spades (say) ,on one side and the Three of Clubs on the other. (2) A Roterburgcardchangingbox,to change an Ace of Spades put in it to a Three of Clubs withwhich it is loaded. If you want to exercise your virtuosity use a plain envelope and sleight of hand for this change. But for the lay audience giveme a changing box every time. There is nothing to do. (3) -4Forcing pack of 52 Aces of Spades. Let us start bv stating that all " jokes " are something held cut to the audience, and that the something " is snatched away just when the audience think it is within their grasp. Frustrated expectations. The " something " maybereal; a coin jerked away by a thread,oritmay be a picture in the mmd, as in the joke story, or it may be merely a play of words. This forms the basis of all magical " sucker " effects. If the joke is to roll the audience inthe aisles, something must be substituted for what was snatched away, something if possitile of universal interest. The ( I
3 something may be “ beer or sex ” if you want to be really low. The routine that follows is based on this idea of thejoke.Thefunny lines which will turn it into a riot you must supply for yourself. The performer shuffleshis pack of aces of spades and has a card selected to ensure that the selector has a perfectly fair choice of the card he wishes to draw.This isidentified w i h u t letting the performer into the secret and placed face down in the little brass box, whichis retained by the member of the audience. The performer then displays the slate back and front and spiels according to his ability and inclination Ion the subject of spirit writing. ( h e a t e r Alugic has a. nice piece about a French gypsy who caused a furore in Paris by automatic writing. You can lift that piece bodilv. In short,the spirits are going to reveal the name of the selected card. The slate is reversed m d backagain,and sureenoughthe moment is propitious. The spirits havedone their stuff, Three of ? ? ? ? Clubs The helper disclaims the aforesaid Three of ”
I‘
“
”
As a follow-on effect for Sid Emon’s Over My Shoulder or as an alternative for use under similar conditions, the old, but little known effed of completely filling the eye of a small sewing ileedlewith cotton,is useful. It is best to commence by getting your victim to thread the needle once in theordinary way, using about a yard of cotton. The correct length will be found by experience as this is dependent on the size of the needle eye and the number of pieces of the cotton it will take to fill the eye completely-if too short, YGU will run out of cotton before the eye is entirely full, which ruins the effect. The perf,ormer takes the threaded needle from the victim, commenting on the time he or she took to thread it once, turns his back for about thirty seconds then hands back the needle threaded a sufficient number of times to fill the eye so completely that it is difficult to move the bunch of cott,ons within the eye. The method is as follows :Slide the threaded needle to a position about eight inches from one end of the cotton. At a point about four inches from the needle lay both the long and the short ends of the cotton over the left firstfinger nail, keeping the cotton I. taut with the second finger andthumb.pig. Take the needle in the right hand and pierce both strands of cotton lving ‘over the finger nail, using
Clubs and informs the performer that the card he is holding in the box is the Ace of a es. “Le (of Sp.ades, says the performer. “ O.K! you wanted the Ace of Spades, ” and he turns the slate round revealing the Ace of Spades. “ But the spirits wrote the Three of Clubs, and the spirits are never wrong. ” The slide. has been operated and when the slate is reversed it is blank ! ! ‘’ But you say the Ace of Spades ? ” Operate the slide and show the reverseside isnow biank. Both sides are now blank ! I am getting confused. Whatisthecard in thebox. The Aceof Spades? Will you check that. The Three of Clubs? Are you pulling my ieg. So the spirits were right?” Do you mind if I check this with the pack;” Leaf through the cards face to you asthough you are looking for a particular card. You are quiteright,sir.Yourcard was the Ace of Spades. It must have been.” Leaf through the cards face to the audience and reveal a pack with nothing but Acesof Spades. ”
l t
“
l‘
”
the surface of .the nail as a guide for the needle. Next hold the aoint of the needle in the left hand, grasp the two points of impalement-“A” continued on page 7
4
In these days when our country seems to be either under-valued or devalued,itis a pleasant thought to know that the Mzgic Circle is the only Magical Society in the world. staging a successful week’s magical show inthe’ W’est End of -the Capital. Punctually at 7-15 after a spirited introduction by StanleyKilburn and his orchestra,John Young garbed most effectively as Mephistoplheles, rose from the depths of the stage and spoke his piece. Douglas Francisthen appeared with his well-known androutined act. The audience were in a fine mood and D,ouglas had a great reception. D’Albert followed and with his racecourse act brought a touch of novelty to the proceedings. His vanish of a small vent. figure in a flash of flame was something tobe seen ratherthan written about. Again a big response fromthe audience. GeoffreyBuckingham, fresh from his triumph at Amsterdam, then repeated t’he actthat won the prize for him over in Holland. Terrific applause. After this Jack Ledair (possibly our greatest veteran conjurer still working and working hard) put over an act that was 2.11object lesson in timing. He concluded with his well-known presentation of Lcuis Histed’s ‘’ Sugar and Sand.” Again an ovation and then George Grimmond took the stage.Neat, smooth and debonair, George presented the ring and nest of boxes and closed with an escape from a padlocked and boltedmetal boiler. This concluded the firsthalf of the programme, whichwith the excellent compering of David Nixon had gone with a great swing. After theintervaiDavid Nix,on announced D-omenique, and the curtains went back to introduce this young lad whose natural exuberance and amazing personality took the audience by storm. Domeniqueshould become an outstanding figure in the world of entertainment, butitis doubtful if he will retain that zest that is part of youth, a thing that brings to mind whatRichardStrauss remarked to Mahler, namely that the spontaneity of youth is worth ali the rest. Dmomenique’s highspot was his dagger effect and it was with regret that later in the week we found that because some moron fainted on the Tuesday evening, the Watch Committee aof the MagicCircle decided thztthe effect should be watered down. Domenique retired to the biggest hand of the evening. Whilst it was no easy task to follow an act that had been mainly a comedy one, it says muchforTommy Cooper that he not only did successfully follow, but that he too hadto respond with an encore. Tommy Cooper’s zaniisms left us gasping for breath. The act that followed (withall due respect) stood head and shoulders high above the acts that appeared in this programme. It was Claude ’
Chandler in tw.0 ventriloquial novelties. Here was the artist, perfect in technique and presentation and having thatright quality of restraint. We make the suggestion here and we shall make it in Council that Claude’a$houldappear next year presenting magic, for in recent yearsthere have been too few opportunities ,of seeing this immaculate artist at magical functions. Despite the applause there w,as no encore. To the strains of “ Scheherezade ” the curtains parted to reveal “ Swift as Lightning ” Ali Bey’s stage set. The audience sat back and enjoyed with gusto the production of silks from a jap box, the smooth sliding of the mirrors into position, the bangs and the flashes from the flash boxes. All, in fact, was happy as a marriage bell until-AliHey sat down on a settee whilst poor David Nixon had :o direct a long-winded mental routine. A quarter of an hour whilst people wrote down numbers, looked at ready reckoners (they looked at their watches as well for the hour was late!), switches of envelopes, Ali Bey (with a trueDunninger touch)putting on hisglasses to read the information passed to. him in a duster. We are told that itwaseffcct-ive. That may be, bnt one of the. objects of the Society is the ” Elevatior, of the Art of Magic.’’ On the whole an enjoyable showdespite the fact that the acts were Got assembled in the best order for a good balance. Magically we do not think that it reached the standard of the 1947 and 1948 Festival. The Stage Management was very good and the Festival Committee must be crongratulated on the production.
Flashback ! A
stands for Anderson
5
Effect. A few sleights with a white thimble are performed. The white thimble then changes in succession to Blue, Yellow and Red.The Redthimblevanishes andthe hands are apparently empty. The four thimbles are then produced instantaneously on the four fingers of the right hand. 2. Requirements. Four coloured thimblesWhite, Blue, Yellow and Red. These thimbles must nest firmly and yet be easily detachable. The brighter the colours the better. 3. Preparation. The ,Red, Yellow and Blue thimbles should be nested in that orderfrom top to bottom and then placed in the right coat or trousers pocket. The Whitethimbleshouldbe thumbpalmed in the right hand. 4. Method. (a) Preliminary Moves. The production (of the White thimble and the opening sleights with this thimble alone I leave toyou. My openingis simply to remark, “ What strznge things you keep in the air here at - - - - ,’’ and then reach high left and produce the white thimble on the Right first finger. Now perform a few sleights, as varied as possible, and I suggest you end with a handkerchief penetration. You maythen remark, “ Of course the thimble will just as easily penetrate the cloth of my pocket.” Saying this, either visibly vanish the thimble by a quick thumb-palm on the face of the pocket (that is what I do) or apparently place it in the left hand(actually thumb-palmingit in the rightj and rub the left hand against the face of the pocket. Show the thimble ’has vanished and insert the-righthandintpthe, pocket to collect it. (b) The Routine Itself. When theright hand is in the pocket get the nest of thimbles on to the secondfinger and hold it into the palm. Get the thumbpalmed white thimble back on to th? index finger and display the result of the penetration of the pocket. Two more sleights with the white thimble alone, and an acquitment, are now performed. This is essential to kill the suspicions of any whlo may suspect thatyou ,obtained anything from the pocket. The two sleights are :1.
(i) Facing left, rightindexextended with white thimble on it, remaining fingers palm, to in apparently place t h e thimble in the left hand, actuallythumbpalming it in the right. Show it gone from the left hand and reproduce it from the air or asyou please. (ii)Turnfrom left tlo right. As the hands cross the right second finger extends and leaves the nest ,of thimbles across the base of the second andthird fingers of the left hand, themouth of the nest being upwards. Point with the left i,ndex finger a t the righthand which still hasthe white thimble on the index finger. With the back of right hand the to audience vanish the thimble with a thumb-palm under cover of a throw. ,Recover the thimble and show both sides of the right ‘hand. You have now performed two sleights with the white thimble and the hands have been freely shown. The presence of the nest should not be suspected. Put in more sleights if you wish. For instance, immediatelythe nest is transferred from right to left you could apparently swallow the thimble and produce it from yourtummy orthereabouts.Then go on tothe sleight facing right. To continue. You are facing right with white thimble on therightindexandthe nest finger-palmed in the left hand.Turn back tothe left. As the hands cross,pick up the nest with the right second finger and keep it-back into the palm. Show theleft handempty. Nowfollows a standardand simple move which is rather hard to describe. Face left: left hand above, and palm to audience. Right hand bellow and back to audience. Righi hand approaches left hand and, when covering it momentarily, deposits the nest in finger-palm position previously described in left hand. Under cover of the right hand the left hand closes into a fist, turns back to audience and rises away from right hand. Right hand, still with white thimble on index, turnspalm to audience. You have againshown bothhands empty, barringthe white thimble, but in
6 the process have transferred the nest back tothelefthand. Nowwe are off onthe colour changes at last ! The first colour change. Apparently insert the white thimbleinto theleft fist from below actuallythumb-palming itin the right,Inserttherightindexintothe blue thimble, withdraw anddisplay.Hold this because you should get quite a bit of audience reaction here. The white thimble mustbe secretly transferredto thelittle finger. This is done bythethird finger picking it up fromthethumbpalm and momentarilypalmingitin the mainpalm of thehand.It is at once picked upby the little finger which remainsbentin to the palm. This transference must be made during the display of the blue thimble and under cover of a slight wave of the hand. The second colour change. This is on exactly similar linesto the first.Apparently insert thebluethimble intto the left fist, actuallythumb-palmingit, and bring out the yellow thimble fordisplay. I n the meantime the blue thimble is secretly picked up and retained by the third finger. The third colour change. This is again on similar lines t’o the first except that the yellow thimbleis collected and held in to the palm by the second finger. The concluding moves. Display the red thimble with the right index finger resting against the palm of the left hand. The left hand is wide open. The remaining thimbles are now concealed ton theother fingers of the right hand.Turntheright hand palm to the audience at the same time straightening outthe fingers so that the thimbles are concealed at theback of the
REZVANIMAGIE, by Maurice Sardina (publishedby Maurice Sardina, Paris) . This well printed and illustrated book of some 240 ‘pges comprises another series of effects, sleights and ideas by theIranian magician, M. K . Rezvani.The book commences wth a foreword byMaitre Maurice GarCon, who is a distinguished member of theFrench Academy. This is followed by a chapter of nearly seventy pages dealing withcardsleights andsubterfuges.Nearly all of these show thattouch of originality that not onlymakes them interesting but is sure is a very nice proof that they have been used.There index described for the Any cardfrompockets (readers who have “Conjurers will have already seen a translated version of this in the July issue). Chapter two of the book dealswithanumber of card effects and the Rising Card ideas and crystal reading device will make anappealtomany.This completes Part I. of the book and from then onwards it is devotedto miscellaneous effects, a large number of which fall intothe pseudo psychic field. There is a whole chapter on “Slates,”in which Rezvani offers some twists onexisting ideas and “ Radar Mental ” is a fine example of how with the simplest basic methods a resultant miracle can be formulated. Those who “
”
”
I
left hand. Both hands are apparently emptybutdo not hold this position too long. Turnthe right back t,o its previous position, i.e., with its back to the audience and the fingers curled into the palm. Close the leftfinger3 round the red thimble. Then withdraw the right hand sharplyat the same time thumb-palming the red thimble and keeping the left hand closed. Pointtothe left hand with the right index and then open the left hand to show the thimble gone. Without a pause reach up highleft and, picking up the red thimble from thethumbpalm,extend all four fingerst,o display all four thimbles. Thissudden production makes a strong finish. 5 . An AlternativePresentation. The routine as described above is exactly as I perform it. However you might iike to avoid the collection of the nest from the pocket and start with the nest already in pourhands. You will then needsome sleights in which the audience see only the white thimble but which can be done with the nest concealed in y m r hands. I leave you tothink these up ! But there are three ideas included above. Another idea would be Geoffrey Buckingham’s thimble jumping from finger to finger under cover of a handkerchief. 6. Concluding Remarks. This description is extremely long-winded but only because every detail has been explained. In practise the routine is shlort, snappyand effective. It is excellent not only for close-up impromptu use but also, with good lighting, f,or quite large audiences.
have a n enthusiasmfortelephonetricks will not be disappointed, for thereare some five methods given by which the perforker can work a telephone miracle, the mostpractical (inour opinion) being “ LaCarte au Telephone.” I t is an angle which we noted and communicated toJackPotter some eighteen months ago. “Le Grand Mystkre du Te16phone” reads very well, butthe iciea whilst not possibly published is not new and in practice unfortunately sometimes unsatisfactory owing to the technicalities of the telephone system. We know that when we were living in the Midlands Marice Fogel and ourselves tried this over Trunk lines satisfactorily, though over a short distance i t has been found impractical. Rezvani in realising the shortcoming does give a means for boosting the necessary signal. There is a nice mechanical “ spirit rapping device ’ ’ described. All inall a very fineand intelligent collection of ideas and effects. It is to be hoped thatan Engiish translation will not be too long in arriving so that all thoseunable to read the original but who enjoyed the freshness of ideas in The M@gic of Bezvani may continue their reading and education. Unreservedly recommended,
7
J%i!w@take part,and supporting him
Thishas been a busy month,and our difficulties have been increased bvthefactthat we have moved to a new house. Thingsare fortunatelystraightening outand we are catching up with some of our outstanding correspondence. The Magic Circle Festival is over and the next big Circle function will betheEdward Victor Complimentary Show at the Duke of York’s Theatre on Sunday, November 27th. We have been instrumental in persuading Maurice Fogel to
will be Lionel King,Sirdani,Arthur Dowler, Georne Braund and GeaFge Robey . A firstclass-sh.owushould result. On page eight will be f,ound an advertisement by Mr. Esler, who is now preparedtobindnot only volumes of the “ Pentagram ” but also any otherjournals that you may wish to keep. His workmanship is of the first quality,andinthe past he has been responsible for those very serviceable bindings of MagicCircle books.
ERIC DE LA MARE O N THREADING A NEEDLE-continued from
puge 3
inFig. 2-between therightthumband first finger the needleonce more, until the eye is fille& and slide them right lover the needle eye and along completely and the cotton within the eyebecomes the cotton, reducing the size of the loop “X” in too tight to move further without risk of breakage. Fig. 3 until it finally passes out. Complete the effect by severing the loop with scissors or burning with a cigarette end preferably Actually the positionnow, if studied closely, at point “A” in Fig. 4, which removes any clue will be found to bc as Fig. 4, which provides an as to the method and results in a needle threaded, endless loop without a knot. as shown in Fig. 5 , in about half-a-minute with Hold the needle in the right hand and pull the at least three more threads than can possiblybe cotton at point “K” (Fig. 4 ) in the direction inserted by any other method. shown and immediately point“A”hastraversed After showing, the ends of the cotton should theeye,the x e d l e isthreadedthree times. (If, be knotted to prevent accidental unthreading by at this point, the triple thread does not go through the recipient. If desired, the cotton can be passed the eye but slides down the .cotton, it is necessary through the performer’s card before knotting and to pull through the needle from the opposite leftas a publicity souvenir which isinvariably direction.) Continue to pullthe endless loop roundandretained. round through the eye, eadn revolution threading BOOKS AND ROUTINES-continued from previous puge MAGIC OF THE ANCIENTS, a George Johnsonpublication (George Tohnson, 24, Buckingham Street, Strand, W.C.Z., price 2 / 9 ) . Thisbooklet of some twenty-fourpagesisalltoo short.One feels that even ‘the most blase conjurer will findsomethingworthwhilewithinitsbounds,even if it is only the fact that the psychology of magichas progressed little during the last hundred and fifty years. A foretaste of the blooming bush can be fount, in The MagicalNqsegay ” circa1802, whilstin the Conjurer Unmasked ( 1790) we seem to have the basis of an E.S.P. effect. Most interesting of all is Pinetti’s description of the FlyingRing, ’’ a description which shows how the means of magic has hecome cyclic. One day a conjurer who;besides- being a publisher will also be a philanthropistmaypublish a bedside anthology. We hope that it will contain some of the magic describedin thislittle book and also that it will contain some illustrationssimllar tothat whi’ch bedecks the cover. More than all we want to see other “ pleasant‘ ” tricks like the “ Catching of the Woodcock.” Unreservedlyrecommended. ‘‘ GENIALIMPROBABILITIES,”byKendeCourcy (published by Goodliffe, price 6/-). Thisbooklet of some sixty-twopages is divide! Magic withCards intothreeparts.Thefirstpart contains somefiveeffects of which “ Ri-Ki-Ki-Poker is the bestinplotand effect. Part two is wrongfully entitled “ Magic of the Mind.”There arefour effects is a here andthe onlyone thathas a mentalangle re-vamped version of one of the many methods of Seven Keys to Baldpate.” The other three effects are The certainly psefdo pyschic and we particulars liked Devil’sKey wherein onepadlockisin sympathywith another. The third part “ Magic withAnything ” contains among its ten items a first class children’s effect “
“
’
“
”
“
“
“ Fiddled Furniture,” an unusual item “ Which Witch,” and an effective coin routine. Thewritercouldhavedone himself morejustice hadheomitted some of the patter that heapparently uses. Hisdescription of a production boxin a “ Silken CardDiscovery ” shows that he has overlooked John hlulholland’s “ Triangular Room on page 73, Volume 42 of the “ Sphinx.” Thebooklet is full of ideas, andany one of tks iteEs that we havementioned is worth more than the price asked by the publisher. ”
MILBOURNE CHRISTOPHER’S MAGAZINE TEST (releasedby Milbourne Christopher, price One Dollar). Milbourne Christopheris a natural magician and the effect under‘review is as natural a piece of magic as you will find. It is a book test freefromtiresome asking of numbers, throwing of dice or writing down of digits.Thestraightforwardness of itsplot is equalled by Mr. Christopher’s streamlining of an outmoded device. It is all so easy and what is more it is one of thosethings that is of real use. Excellentand recommended. NAPOLOGY,” “ HYPNOTISM ” & ‘ QUARTET ” (the two first are priced at 2/6 whilst the last costs 3 / 6 . Originated and publishedby Jack Yates, of 8 , Ripon Road, West End, Oswaldtwistle, Lancs.). All the cffects are card effects.Napology is a very simple and effective method of turning up quite a number of winning Naphands. . Hypnotism ” involves the vanish of a thought of cardunderthespectator’s nose so to speak, and its ultimate recoveryin a sealed is a eleightless method of dealenvelope. “ Quartet ing respectively winning hands of Pontoon, Brag, PokerandWhist.Thereare no shattering principles involvedin any of the effects, butallarepracticable, and in the hands of a showman could be very effective. We give themour blessing and recommendation. “
“
”
8
ENTERTAINING WITH HYPNOTISM TWO IMPORTANT FLEMING ANNOUNCEMENTS ! 1. “ We sharethe loss ! In general, we shall have to charge our British customers the exact British equivalents of American prices for the books they buy, onthe basis thatthe shilling is equal t o 14 cents. However,onFlemingBookCompanypublications, we are charging substantially less thanthedevaluation of thepound indicates.Our $7.50 books (Magic without Apparatus,andTheFineArt of Magic) will costyou 45 / - (not 53/6) ; our $5 .OO items (Our Magic, Sleightof Hand, Magic with Small Apparatus,andHugard Book Editions Nos. 1, 2, and 3) will cost 30/- (not 35/6) ; andourtwo $2.00 books (TheExpert at the Card Tableand A Conjuring Melange) will be 12/(not 1 4 / - ) . ”
2. Hugard Book Edition No. 3 (Vols. V. and VI.) is now ready for distribution. Superblyproduced (uniform withNos.1 and 2 ) , 232 pages, 218 sleights andtricks, 485 illus., 30/- postpaid. Please remitto Mr. Robertson Keene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight. Write us direct a postal requestfor your freecopy of our 64-page book catalogue.
FLEMING BOOK COMPANY, 728 MADISON AVENUE,
‘‘ROUGH AND
York, Pa., U.S.A.
SMOOTH POSSIBILITIES ”
By Tun Hock C h u m
1
Price 51-
Postage 3d.
~
ARCAS Publications SYDENHAM
404/408
Croydon
i
1 , l
THE MAGIC WAND PUBLISHING COMPANY 11, MonasteryGardens,Enfield,Middlesex WARLOCK’S
PENTAGR A
A booklet dealing with themethods and application of the modern principle, by one of the leading experts on the subject. It is recommendedfor advanced magicians.
l
PETER
by S. EDWARD DEXTER Whetheryou be professional oramateur,theoutlay of only TEN SHILLINGS will provideyouwith a sensational reputation making act, AND THERE IS NOTHING ELSE TO BUY. You can do it anywhere, any time. requireANYONE CAN HYNOTISE . Theonly ments are a knowledge of the technique and confidence. This book will give you both, for its clear, nontechnicallanguage takes you through everystage of this amazing science, teachingyou step by step how to apply the technique and how to stage an entertaining act. CONTENTS : IntroductiontoHypnotism. Waking Stage Experiments (ten amazing tests that are easy t o do) . Induction of Hypnotic Sleep (six methods) . Testingfor Hypnotic Sleep (and how to dealwith the Smart Alec). Awakening the Subject. Degrees of Hypnosis. Hypnotic Experiments (four amusing experiments for the platform worker). Post Hypnotic Expzriments (Post Hypnotic Cures and Experiments for, Stage Purposes). Giving aPublic Show (Full instructions on dressing the stage, suitable music, comedy situations, openinglecture, getting volunteers, etc.). Do’s andDon’s(animportantchapter). Questions and Answers (thetype you are likely t o be asked, withdetailed answers). Some Dangers of Hypnosis (thetype of things toavoid). A Short Bibliography (for those who wish to study the subject further). Price 10/- Postage 3d.
ROAD Surrey
A NEW BOOKBINDING SERVICE. Your “ Pentagram ” bound efficiently and neatly in good quality fabric. Titled linen appropriately gold. in
Returned to you, safely packe,d for 5 / 6 per Volume. OTHERBINDING BY ARRANGEMENT.
J . A. E S L E R, 99, DEVQN CLOSE, GREENFORTH, MIDDX.
is published on the 24thof each month and can be obtained direct from the publishem for 1 / 1 per single copy. Annual Subscription 12/post free. PUBLISHED BY:
The Magic Circle President : His Grace the Duke of Somerset, D.S.O.. O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and Museum :
St. Ermin’s Hotel, Caxton Street, S.W. 1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRESS:
Particulars from Hon. Secretary :
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey. HENRl DE’SEEVAH MMC.. BMS., IBM., SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for his list of new and used apparatus and books, or call at his studio :l, CLARENCE ROAD Harborne, Birmingham l7
CONJURING BOOKS FOR SALE OLD ANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
King George’s Hall, W.C. Francis White, 39 AIverstone Avenue,
Wimbledon Park, S.W.19 The Discriminating Conjurer will send a stamp for
B. FINDLAY’S List of Bound Books.
J. New
Firbank Hotel, Crescent Road,Shanklin,
LW.
JAM G ERSA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 years in the business
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietors The MagicWand Publishing Company 11 MonasteryGardens Enfield, Middlesex, and printed by Herbert Walker and Son (Printers) Ltd.,’ wkll Croft, Shipley, $orkshire.
*
9
PENTAGRAM An independent monthly bulletin for all who want good magic
E l ~ I ‘ l ’ O R * FOREI.I.ORD. S Gil isone of the most modest chaps 1 haveever m e t ; full of tiniivillgenergy, h e uotonly turns out some of the fi,le.st workmallshipthut is to be found i l l this or [ L I ~ Jo~t h e r country, Init lit1ds tiwle t o help ill f i l e nlosi pructicul wuys the Magic Circle. 111 hetweelltim:.s he performsdelightfdshows(in whichRernuvtl n111i Frankie Love11 ussisthim) utiu‘ l ‘ t l . i 1 c , t i A h C J I ) l C worlilwiliic: efiecis. The efject to h e described i s olle thntheperjormed at U speciuI S ~ Z O ’ L E ~ i,l hol1our of a fan2.021~visitor, nom’ cttllclr t l l t r ~ lM r . P m 1 Flemillg. That was way back i l l t h e sltnlmzv of 1918. By dillt of persisteut ~ ~ u g g i ~ (lil ~ g finally g m e me (atldthat, of course, menus t h e “I’entagmm”)permissionto p 11 h1i s h t 11c effect. P. W . ”
‘ I
There are many ways of performing the “ Rising Card ” effect, each originator of some particular angle relating to this effectseeing such origination asan improvement. Actually froma point cf view of effect it is dcubtful,uith perhaps the exception of the Hooker version, that any improvement hastaken place ; for afterall cards are selected, and if the performer is lucky they risz out of the pack. With the neat version ofthe Rising Cards introduced by Devano, conjurers have become exceptionally Rising Card conscious, and the effect is enjoyinga vogueunparalleled in its history. Nevertheless new methods or angles will arise. The method to be described is delightfully simple and disarmingly effective. Here isthe effect as seen byan audience. “
“
“
”
The conjurer introduces a pack of Jumbo Cards, a houlette to contain them, and two pieces of perspex whichfit the aforesaid houlette. All items are freely shown, after which
audience for a selection of one, two, three or as many cards as you wish torise ; these cards are returned to the p.ack, and thelatter is placed in the h d e t t e with one piece of perspex at the face, whilst the other is at the rear of the cards. Holding the houlette with the fingers of his hand, the performer commands the cards to rise. This they do as slowly or quickly as the performer wills. The requirements for the effect are :-
One pack ,of Jumbo cards. One houlett’e the icside measurement of which is enough to take the thickness of the pack plusthe thickness of the twopieces of perspex. Two piece; of perspex (Lucite in U.S.A.) of sufficient size to fit the h,oulette. One is unprep.ared .(apart from somelines being marked in pattern f,orm on its face), whilst the other has a rectangular portion cut away (see illustration). This cut-out portion is masked by lines similar in pattern to theunprepared piece. The articles are placed on the performer’s piece of perspex table so that theunprepared rests on top of the prepared piece. Thecards and houlctte lieon,oneside. Thusset, the performer is ready for the Presentation. - The two pieces of perspex are picked up by the right hand as one. Remarkleft ing twopieces cf transparent plastic,” the handtakesthe rear (.prepared) piece of perspex and tiltsit over so that the pieces are as shown in second illustration. At this point theyare slightly separated, the rear (prepared) piece being tapped against the front (unprep.ared) piece. Togethertheyare #replacedon the table, prepared piece underneath. The houlette is to shown, replaced, and the pack is handed “
10 spectat,or number one for the selection of a card. Supposingthree cards are chosen and looked at bythespectators. After this theperformer has the card returned to the centre of the pack ; from there either by means of a series 'of cuts or else a false shuffle the cardsare left atthe top of the pack. With the cards held face down, the pieces of perspex are picked upand placed on the back
of the cards ; the unprepared piece, which should be uppermost, is slipped away from the prepared piece and at the same time the hand holding the cards cantsthem back tow.ards thebody ; the other .hand is meanwhile placing t.he unprepared piece of perspex ,in front. In this state the cards and pieces of plastic are dropped into the houlette. " Cmomplete isolation," remarksthe performer, as with a coin he taps the plastic at the front and rear. Slipping his fingers into the small clips atthe base of the h,oulette, his thumb contacts therearcard of the pack throughtheopen rectangle. Fromthat polint thecards rise asthe performer wills. E D I T O R ' S FOOTNOTE. hlanufacturing and selling rights are held by Mr. Leaney; those who wish toperforvn the effect, but at the same time arezmable t o maketheir own apparatus,would d o well tocontact M r . Leaney,whocandothe job for them;hisaddressis: 21, Kenton Park Parade,Kellton,Middlesex.
Flashback !
11
Jufuz S -'& The trick which I beg to submit foryour consideration brings to memory two names which will ever be columns standing in the Fsorum of MagicalHistory-Douglas Dexter andHoward Spencer.
A recent issue of thePentagram was dedicatedto D,ouglas Dexter ; his manyattributes will therefore be fresh in. your memories. Whenever his name is mentioned I instantly recall his show atthe " Hall " in 1922 ; themannerin which he adapted a few simple effects so that theyappeared .asstage illusi,ons. Wiith the exception of thedyeing silks in a bowl,which I thought the weakest of thebunch, the entire act could be carried in a suit case.
Then DouglasDexter gave a lecture atthe Circle, andby one clever .amendment ,obviated allthe objecti,ons. Instead of a handkerchief he used a sheet ofstiff paper, so allowing the performer to hold the paper in one handand with theother cakh the egg as it rolled out, then placing it in the hat. For those whmose ,selfdimposed course of study has not included this classic, may I explain it consists in having, asstated, a piece of paper approximately 14 inches square. From the centre of one edge is suspended by thin thread a blown egg, thethread being of such a length thatthe egg hangs about one inch ab,ove the loweredge of thepaper.
When thecurtain roseonesaw a standard lamp, from whichwas drapedright across the stage a length ,of ,orange muslin, a similar piece being used for his turban effect. I n this he made three cuts, andthe material appearedto occupy the whole stage. Whopreviouslyhad thbought of using the colours j.ade, orange and .heliotrope for the SympatheticSilks ? Thenthere was the rising card, using sheet music-colourful in itself-and a green h,oulette supported by a wide green ribbon. Ymou may well guess there was a complete absence of pillar-box red.
If I mayinterpolate,itmay interest thmose who are sensitive to colour to know that W. H. Smith ,and Sons market a useful colour dial which should prove invaluable to the magician desiring to be one ahead of the (others. Proud possessors of Lang Neil's Modern Conjurer will remember the ingenious description for producing eggs from a handkerchief. I have not a copy, butas a boy I borrowed itfrom the PublicLib,rary.Evenat such an immature right up my alley, age, I felt the illusionwas for it was simple to construct and easy toperform. Came the great day when I tried iton the family. It was one of the few occasions on which I saw my fatherlaugh.He wanted to know why the egg didn't break when it fell into thehat.To appeasethis unconstructive criticism, I placed a handkerchief in the hat to lessen the suddenness of the egg stopping in its downward flight.Butas successive eggs were produced, he enquiredin a kindly m.mner how I preventedthe eggs hitting each other. So a gem was discarded from my programme,although I felt father might have chilled my enthusiasm to prevent my using his silk hat.
A hat is on your table or held by the charming assistant incrinoline or state of semi-nudity. Thepaperis held at the points marked X by bothhands. I n reversing the sheet toshow the other side, the top edge moves down toLtards the performer, thus lowerirg the egg into the hat. The paper is ,again turned by reversing the process, bringing the egg again behind the paper, which is ther, bent double by bringing together held the twoedges marked X, thesethen'being bythe left hand. If the paper. 1s brought to a horizontal position, the egg can be rolled out and
12 caught by the right hand, which places it in the hat.The moves arethen repeated ad lib, and if needs be,the conjurer relates how he went into an Oxford Street shop, etc., etc. Allwill agree, I think,that thims lis improvement, and characteristic of methods.
a titanic Dexter’s
Howard Spencer came from a different mould. Possibly he was at his best in a saloon bar,andyet, ,on the otherhand, agents had given him their best society bookings. His name was mentironed more often to me by laymen than that of any other magician. Furthermore, he did the type of trick th’at was talked about, because it was simple in design and miraculous in effect. No one could possibly forget a performer who merely said, Think of a card,”as he stood twelve feet away and fanned a pack ,of cards. The card being named, it was instantly produced from a glass of beer or seenon the roof of a dlistant outhouse. “
One of his much favoured items was to introduce half a dozen eggs, reposing in egg cups. One was chrosen forthe note or card in egg routine. The others were placed in a paper bag. After the requisite build up, the bag w.as crushed between the hands, the eggs havingvanished. HowardSpencermade the eggs by inflating t,oy balloons, white in colour, to a suitable size, The neck was then twisted and partially knotted. To describe this process defeats my literary ability, but if you are interested, experiment will no. doubt reveal the method. The egg cup, h,owever, greatly assists in preventing a precipitated denouement or prematureburst.On placing the eggs in the bag, the neckwas unravelled and the egg deflated. Smart Alecs will have correctly surmised that one egg was real and gowd ’elp the bloke in the audience whodid not select this for the card nonsense. By combiningtheideasrelated, we have a mystery ideal in almost every respect ; simple in ,plot, ,of thenon-apparatusorder, suitable for stage or drawing-room, children oradults,but perhaps a little difficult to work at a circus. By that I meanit would be inadvisable to havethe a.udience behind you, although side angles can be covered. Furthermore, it weighs no more than two ounces, .and occupies negligible space in the bag. Now that dealers are supplying excellent rubber eggs, thereis ‘no need to use balloons, and I h,ope the purveyors concerned will suitably reward me for the increase of business which will undoubtedly follow this article.
I commence by casually showing the hat and
then loading therein half a dozen lactic eggs, held together by a rubberband. Eggs are produced from the paper as previ,ously described. The producti,on over, they are transferred t,o a paperbag which is finally crushed to a small compass, thus proving the eggs to have vanished. If you favour refinements, the bundle can be switched for an emptycrushedbag, which is tossed to the lions. My plot for an audience of children isin the nature ‘of a ghost story. Would they like a ghost story ? Perhaps I’d better not, it’s rather late-oh,well, if you insist, but don’t tell mum, or I’ll beblamedfor you ,notsleeping to-night.
I once had a hen called Hettie. One day, for a joke, someone put a brass door knob in her nest. The silly girl thought she had laid a golden egg, and diedwith excitement. Now,whenever we cluck three times, she returns as a ghost and laysan egg. You’d liketo try her out ? Right. Wemust have a nest. This piece of paper will do beautifully. Fold in it two-ghosts must havedark. Are you p o d cluckers ? Come on then, Cluck, cluck, cluck. Well, what do you know ? Shall we make her lay another ? (As you open paper and reverse, do it ostensibly to show Hettie sitting ,on the nest, adding, I’m afraid it’s too light tosee a ghost,” or Look, she’s still on the nest ” ) . “
“
After producing the six, look at them in the hatand hesitate. You will undoubtedly receive an urgent request to show the eggs,which you do, placing fivein the bag. You will soon be reminded that Hettie laid six.Debatethe point for a bit, then look in the hat and find the sixth, place in bag and screw up the neck. In awed tones explain that as the eggswere laid by a ghost, they only remain visible for three minutes, andthey too then become ghosts.Green spot, clock strikes twelve, and hollow laugh heard off. The combination can be used for adults, although in this category I have only triedit on the type one refers to as Women’s meeting, when similar plotcanbe used. “
”
For sophisticated bods you must devise your own verbal accompaniment, but I break new ground by telling you what notto say :-Eggshellant, eggsactly, eggsasperating, hen-fruit, a profitable lay,bad-minded globulewith a sense of humour, yoke of an egg u y e white, this is not a peacock’s egg. On the other ,hand, it might be excusable to make subtle reference to egg powder and wingless chickens.
From a packet of post cards one is selected, and on the address side it is signed by the conjurer’s obliging collaborator as proof that it is not laterchangedforanother.
And he can’t message appeared, concluding, have changed it for another, for see, here is my signatureon thefrontandmy handwriting on theback.’’ All of which is good publicity.
Theperformer borrows a halfpenny stamp andfastens it in the correct place onthe card by moistening the four corners (i.e.,the cerltre of thestamp is not stuck down, the reason for this willbeseen later).
Needless tosay,the c.ard is forced. Any method may be used, but I prefer the .Rough-andSmooth Pack, for this can,be shuffledbythe spectator and handled entirely by him-it is the most indetectable non-sleight-of-hand “ force on the market, and is ideal for thisparticular trick.
Thecard is now turned over, andonthe reverse side a messageis written to any familiar spirit that the conjurer likes to claim as his own. The performer dictates the wording and the assistant writes it down, something like this : Dear Mr. Spirit, please tellme the name of the card I am now aboutto choose fromthe pack.”The post cardis then placed, address side down, onthetable.
“
”
Next a pack ,of cards is shuffledby the assistant, who is told to cut it wherever he likes, and then to note the card at which he cuts-this to be the card of his choice and the one that thespirit will laterreveal. Suppose itis the Queen of Diamonds. After an impressive pause to give the denizen of the other world time to “ do hisstuff,’’the post card is turnedover, but,alas, something has gonewrong-the signature isstillthere, but no message has appeared. The magician looks embarrassed ; must he register a failure ? Indeed no ! An idea germinates in his fertile brain, itdevelops-itbuds-itblossoms ! His face brightens, gone is the gloom. Why, of course, spirits will only manifest their presence i n t h e durk, and where is the dark place on a post card ? Surelyunder the stamp ! With a pocket-knife thestamp iscarefully levered up (being fastened only by the ccxners makesthis an easy job), and therebeneath it, plain for all to see, ‘is pencilled the words “ Queen of Diamonds. ’ ’
NOWfor the post card.Buy a threepenny packet and remove one of them, write thename of the forcecardin pencil, orink, 0.n the space that is provided forthestamp.Then cover it with a halfpennystampby moistening the four corners. Next cut one ,of the remaining post cards in half and retain only the right hand portion (i.e.,thaton which thestamped is fixed). Reassemble the packet of post cards, putting the prepared and stamped one at the top (stamp side uppermost), and covering thestamped part with the half card. Mask thecut edge of this by snapping an elastic bandaround the middle of the packet in such a way that it covers the edge of the half card.The packet will appear t,obe quite ordinary and unprepared, and can be handedtothe assistant for his signature without anyfear of the faked half being revealed. The signing is, of course, done on the left-hand side of the elastic band,and so goes on theactual stamped card. A halfpenny stamp is then openly affixed to what appears to b e the same card, but in reality is the faked half. The packet is turned over, and apparently this card just openly stamped is withdrawn, but actuallyit is the one beneath.The half cardis palmed off, andthe packet is thrown carelessly on the table (if any inquisitive person now examines them in the hope of discovering something incriminating he will be disappointed).
You can keepthecard as a souvenir, saysthe magician, and youmay be surethe proud ownerthereof will show itto his friends and give them a vivid account of how the spirit
Nothing remains to be done except to build u,p the sensational discovery of the spirit’s prediction under the stamp j,n as impressive a manner as possible.
”
“
”
Apparatus. 1.
A pack of cards from which the tens,
jacks,queensand kings have been removed, leaving 36 cards. 2. A circularcardstand with slotsfor six cards round .the circumference, each slot bears a coloured indicator in t,he clockwise orderBlack, Dark Red, Green, White, Yellow and Pale Blue. 3. A large die withsix sides bearing the numbers 2, 5, 6, 7, 8, and 1 1 . 4. A blafckboard. Effect (Without the Mum+- Jumbo). a. Performer goes into a trance and inserts six cardsinto the stand, whichis given t.0 a member of the audience to hold. The cards are back exposed andthe faces cannotbe read. b. Anothermember of the audiencemakes a “ free ’’ choice ,of a card by cutting the pack under a silk held by the performer, the member retains the topcard of thebottom half ,of the cut. c. Four other mem,bers of the audience select and retain cards in a similar manner. d.The performerreturnsto the stage and ask,s the five members inturn ,to call out the value of the,ir cards, which he writes on the blackboard thus :-76923. e. The die is presented to another member of theaudience, who is asked afterexaminingit to turn it over and ,over in his hands whereno one can see it until the performer, who has gone into a tranceagain, calls stolp.The figure on top of the die isthen called to the performer, whowritesit; say, 6, ,on the blacklboard, and multiplies the ,other num’ber by it, thus :76923 6
46 1538 f . The performer rubs out the first two lines so that the audience can c,oncentrate on the answer. Hethen asks the member holdi,ng the stand to read out the value of the cards is told tostartat the yellow inthe‘stand.He slot and proceed clockwise. To the amazement of the audience he calls cut 461538, the.number appearing on the blackboard. g. Everythingcanbe examined, and the fact,that only 36 cards usedverified. Method. The effect isself working except for forcing 76923 ‘on the five card selectors inthe manner indicated or some other way. I n a . the performer inserts cards (in the slots as follows :-Black-Ace, Red-Five, GreenThree, White-Eight,Yellow-Four,Blue-Six.
In f . the holder ,of ‘the stand is told to start at a differentco1,our slot for each possible value called in e., thus :2 called from the die then start at Black. 5 called from the die then start at Green (5 letters) . 6 called from the ,die then start at Yellow (6 letters). 7 called from the die then start at (Dark) Red (7 letters) . 8 called from the die then start at (Pale Blue (8 letters) . 1 1 called from the die then start at White. The mathematical basis of the effectis the cyclic nature of theproducts of 76923 thus :76923 X 2 is 153846,76923 X 5 is 384615. 76923 X 6 is 46 1538,76923 X 7 is 538461, 76923 X S is 615384,76923 X 1 1 is 846153.
U W h d &t Boa&, m d Zautine6, HUGARD’S MAGIC MONTHLY ; Book Edition No. 3 (Volumes 5 and 6 j . Publishedby the Fleming Book C h . , 728, Madison Avenue, York, PA., U.S.A., price 3 0 / byremi-ttance to Mr. RobertsonKeene, c/o Riverside, Victoria Road,Yarmouth, isle of Wight. Thispresent volume runs to some 232 pages,contains over twohundred effects and at aroughestimation five hundreddrawings. Thecontents represent magic at its bestandone is notconstantly remindedby a number ofmagical illiterates thatitsthe laughsyouwant.JeanHugard contribntes 5Onle sixteen routines and effects covering a largecanvas. On such a canvas i t is easy to visualise thisgreatveteran’s desire for perfection.Other contributorsinternationally known include Paul Currey, Dr. Jacob Daley, Dr. Jaks, George Kaplan, George Starke, MartinGardnerand ClaytonRawson, the last namecl being responsible for a dozen entertaining effects in which the lines show the mark of the novelist. It is extremely difficult fromsuch a large collection of worthwhile effect:’ t o pick outthose whichwe favour most. In re-reading through these volumes ztfter laying them aside for a while one gets a different persycctiveregarding an effect. Things thattookour fancy were ET. FlanklynTaylor’s “ Hallucination,” Clayt.Rawsnn’s “ Little Wonder ThoughtProjector,” Jean Hugard’s Watch Challenge,” Arnold Belais’s “ Test of the Fibre,” a veritable gem of visiblemagic, Abril Lamarque’s Santa Claus Returns,”the articles on stackeddice, “ Ball rYIagic,” by JeanHugard,and Dr.JacobDaley’s SaltTrick ” Eventhoughcards occupy a third of the volume, chere is something worthwhile l’or everyone Besides thetricks, sleights and dodges,there is a most interesting page in eachissue edited by Milbourne Christopher.Monthaftermonth he brings in a most refreshingmannerseveral new angles or ideas.Another mostinteresting page i s Fred 13raue’s “ Roundabout.” Here is a wealth of gossip, tips,opinionsallwittily writtenaildadding much to each issue. A new feature was addedneartheend of Volume 5 and that was a monthly review of books under the aegis of that well knawn magician John J . Crimmins; “
“
“
15 junior.These reviews show magical maturityandare a pleasure t o read. JeanHugardinfounding his monthlystartednot only with an id=, but an ideal. Never for one moment does he, in his offerings of good magic, fail t o keep his initialpromise. Therearetoo few like him and withGut irreverence one can add to one’s litany ‘‘ God bless Jean Hugard. If leanHugaIdhas done his work well so has his i]lust&tor Fraicis Rigney . Alargemeasure of praise must go t o the publishersfor theyhave produced a volume beautihlto 1-ead and handle. The binding is heavy and needs be for this is a book that will be taken fromand replaced on the magician’s bookshelf time and time again. ”
.
“ HELLOSUCKER ” by Jack Chanin(publishedby Chanin, of Philadelphia, Pa., U.S.A., Distribution by Goodliffe, 6 , Colonnade Passage, Birmingham, 2, price 10/-). This book of eighty pages represents whatthe author calls a n “ encyclopaedia of the three shell game.”This is nounderstatement for we feel after reading throughthatthere can be few, if any,points that the author has not covered. The three shell game in which aftertheoperatorhas placed a small p& under one of three shells and his audience are requested t o betonthe position of the pea is a more modem version of “ thimble-rig ” which had its pride of place at old time fairs. Mr. Chanin commences byinforming the reader of therequirements for the effect, i.e.,the composition of the pea t o be used, the type of shell, working sur-
Most interesting magical event ,of December will bethe television broadc.ast fromthe Magic Circle Clubroom. Actually it will become a piece of magical history. The acts, ten in all, have been well chosen, and it is h,oped tocatch the spirit of an actual clubroom session. One of the most enjoyable magical sessions we havehad was atHarryFletcher’s house onthe occasion of a party t,o that King of Svengali cards Joe Stuthard. A1 Koran was in greatform, BillyMcComb did his act whilst.the audfience supplied the patter, and Francis Haxton showed a devil of a card prediction. By the time t.his appears Joe will be in Montreal and working in his inimlitable way. We sha,llmiss him a lot and only hope that he willsoon bepayingthis country a return visit. After quotingthe Performer G.ood1iffe ’We in a recent number of hisweeklywrites: . . . . have always tried to give fairreports of shows based ontheir appeal from the layman’s viewpoint.” Surely if a magazine caters for magicians ,it should .baseits criticisms on the appeal to the magician. We should fail to renew our subscription tothe “ Gramophone ” if their critics treaked the reviiewing .of records in the Abra. manner.The 1.ay press can’well caterfor laymen’s views. Therehas been far too little outspoken criticism‘inmagic and with the exception ,oftwo efforts by an old friend of ours: one Motley plus the outstanding criticisms in the Jinx (Fifth Row, Centre Aisle) we canthink of “
”
“
“
”
face, etc. From herc he goes through the fundamental moves which fallintothe question of stealing and holding. Various subtleties arethendealt with includingamethod whereby the position of the pea is changed without using thehands. Among the suggested routines is one in character, the performer dressing for the part. Aswe have said before, Mr. Chanin seems to have covered his ground in a most thorough manner, and in hisexplanations he has added drawings in quantity so that the meaning shall be quite clear. This, whether the reader wishes to perform the “ shell game ” or not, is a book that he should have by him. TV,e only pity seems that the author used the title Hello Sucker ” for we can think of so many publications, which, after reading, the buyer would havethought such a title more appropriate. Unreservedly recommended. “ ENTERTAINING WITH HYPNOTISM,” by S. Edward Dexter (published by George #Armstrong, price lO/ ) Withinthe pages of thisforty odd page booklet theauthor, who is well known to English magicians, gives in very simple and concise language the methods whereby a state of hypnosis can be induced.He goes on t o show how, once the performer hasacquired the ability, hypnotismmay be used as aform of entertainment. It should be stressed thatthroughoutthe treatise, Mr. Dexter advises the reader who would essay these feats,to presentthem in agentlemanly manner.A short bj.bliography completes the book. All in. all a very intefesting and informative book and well worth the very modest price asked.
-.
few - examples. Next m.on,thwe are describing a method of slate writing with an ex,amined slate. Our hope is th.at it doesn’t clash with the “Diabolo” slate currently advertised in the States. Those who were present at our lectures in London, Birmingham, Nottingham and Leicester in 1947 will possibly recall the effect for we showed itthen. A demand for this partlicular type of effect made us decide ,to publish it. One of themanystrip cartoon favourites must be Flook of the Daily Mail.” This delightful 1,ittle creation can now be bought in two sizes. We can think of several ways in whichthese could be introduced into tricksth,at could be attractive to children and to their parents. The prices o f these toys are 5s. and Sl. Also for next mcnth’s issue me have a nice predict’ioneffect by Douglas. Francis making use of a child’s nurseryrhyme book. As the books maybe difficult to obtain Duggie has kindly passed ,along 30 of them as a gift to those readers whowish to use the effect. So just waituntil the December issue and$write. We should liketo draw readers attention to the factthat the Fleming Book Company are helping to bridge the magical dollar gap by giving a far better s t e r h g ratethanthat officially quoted. With the official.figure of 2.80 dollars tothe English pound and a lower rate in the open American markettheyare giving English readers a rate of 3.33. “
”
“
l
MAGIC’S GREATEST BOOK VALUE !
ROYAL ROAD TO CARD MAGIC ” By Jean Hugard & FrederickBraue
“THE
We honestly believe that nowhere will you find greater money’sworth per shilling of expense than in
HUGARD’S MAGIC MONTHLY BOOK EDITION No. 3 (Volumes V. and VI.)
:
Here is a book that EVERY magician should have. I t describes dozens and dozens of first-rate cardtricks a d gives explicit instructicns for every sleight needed to perform them. Chapters on, and tricks with, The Overhand Shuffle, The Riffle Shuffle, Flourishes, The Glide, The Glimpse: The Key Card, The Palm, The Backslip, False Shuffles and Cuts, The Double Lift and Turnover, The Pass, Miscellaneous Flourishes, Reverses, Hindu Shuffle, itlld other Controls, The Classic Force, Top and Bottom Changes, Stacked Packs, Complete Routines, Platform Tricks and a comprehensiveindex.
Here are 215 deights, tricks, and routines by such experts as Daley, Curry, ,A1 Baker, Kaplan, Meyer, and a host of others.Uniform with Book Editions Nos. 1 and 2, butlarger, 232 large(magazinesize)pages, 485 Rigney d1,awings superblyproduced. The price should be 3.516 (Americanprice, $5.00), butonour “ share the loss basis, we areasking only 30/-. On this same basis, our $7.50 Flemingpublications cost you 4 5 / - (not 53/6) ; our $5.000 publicationscost you 30/- (not 35/6) : our $2.00 publications are 121(not 1 4 / - ) . Oi course, we must charge for other American publishers’ books on the basis of one shilling equals 14 Jents. Please remit to Mr. Robertson Keene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight, for books wanted. Write us at address below for free copy of our 64-page book rAtalogue. ”
302 pages packed into a cloth bound book, with 121 :ilustrations bv Francis Rigney. Don’t delay, order &OW I !American price $4.00-28/6) Sent t o you carefully packed for 12/6 (Postage6d.) from
THE MAGIC WAND PUBLISHING COMPANY 11, Mo,nasteryGardens,Enfield,Middlesex
FLEMING BOOK COMPANY, 728 MADISON AVENUE, York, Pa., U.S.A.
I 1
“ROUGH AND SMOOTH POSSlBlLlTlES ” by Tun Hock Chum
A booklet dealing with the methods and application of the modern principle, by I one of the leading experts on the subject. It is recommended for advanced magicians. ~
Price 51-
Postage 3d.
ARCAS Publications SYDENHAM 404/408 Croydon
ROAD Surrey
PETER
’
TheMagic
WARLOCK’S
PENT A GRA is published on the 24th of eachmonthand can be obtaineddirectfromthepublishersfor 1 / 1 per single copy.AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscripts forpublicationandbooksfor review shouldbesenttothe: EDLTORI.4L ADDRESS:
Circle
Presidrnt : His G r w e rhe Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. KagicalTheatre
:
King George’s Hail, W.C. ParticularsfromHon.Secretary
:
Francis White, 39 Alverstonc Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
~~~
HENRl
DE’SEEVAH IQhlS., T13M.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to sendforhis list of new and used apparatus and books, or call athi5 studio :1, CLARENCE ROAD Harborne, Birmingham 17 MM(’..
A NEW BOOKBINDING SERVICE. Your ‘‘ Pentagram efficiently and neatly quality linen fabric. Titled appropriately in gold.
”
Returned
to
you,
safely
bound in good
packed
for 5 / 6 per Volume.
CONJURING BOOKS FOR SALE
OTHER HINDTNG B Y ARRANGEMENT.
J . A.
E S L E R,
99, DEVON
CLOSE, GREENFORD, MIDDX.
*
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goodsare PublishedbytheproprietorsThe
“
STOOGING AROUND By Joe Stuthard
”
In this attractively prodrlccd booklet the authordescribes his complete music hallact that have ENTERand many more ideas is theact TAIUML‘NT asthekeynote.This that has kcpt music hall audiences laughing llr) and tlowa : hc country.It is unusual. I t is cczlain!!: ENTERTAINMENT. Is it ethical? To dt-cide that you must read it for yourself. Intllz words of Geoffrey Robinson y h o edited thc hook ar.d wrote the foreword, You will !earn lot a that is new. . . If you are a magiral student and what magician is not, this book should bein your hands-youwill add much to your store of knowledge.” Those who have seen the author perform his act will know thevalue of thematerial, no more thanthat. and we cansay
Price 5 / - (Postage 3d.) THE 11,
From the publishers
MAGIC
h1onas:ery
WAND PUBLISHING CO. Gardens, Enfield, Middlesex.
fully endorsed by this Bulletin
Magic WandPublishingCompany, 11, Monastery Gardens, Enfield,Middlesex, WalkerandSon(Printers) Ltd..Well Croft,Shipley,Yorkshire.
andprintedbyHerbert
*
17
PENTAGRAM An independent monthly bulletin for all who want good magic
Slate wdting‘ has always fascinated me, and to-day Istill consider that the finest methodfor. obtaining writing onanexamined (if necessarily bo*rrowed !) slate initialled 0.n both sides is that of Woodhouse Pitman’s (see “S,lates-A Learner’s Cours?,”Page 53, or The BestTricks with Sl,ates,” Page 5 1) . To those unfamiliarwith eitherbookthemethod, &ne that waspresented atthe Magic Circle GrandSeance in1921, consisted of apaper ,or light cardboardcut-out of th4e m.ssage beingpicked up on,m t o the slate by means of an adhesive.
I !‘eel sure ‘have been a fairly good seller. Again Abrxadalbra Jamboree,” I threw away at’the the main working principle of “ Gap in the Curkin,” and y e t agaiil nobodyssemed to worry to work it In anv way until I sold it as a routine. “
“
The presentmethod was ‘first used bythe writer at Garendon Hall in Leicestershire ,in 1944. It was not included in the lecture that I gave at Werd‘ord ,to the British Ring in 1946, as at that time I wantedtokeep it. tomyself.In’the issue of ‘‘ Abracadabra dated22ndFebruary, 1947, Jimmy Flowers, in describing an exoellenteffect, “ The Radar Card,” almost duplicated the. method, with the result that It w s demonstrated in my lecture Slates for Experts ” at the Magi6 Circle. in thespring of 1947 (see report Magic Circular,July,1947),and also at the AbracadabraJamboree in the autumn of the same My reasan for this preamble is that in year. describing the effect and method I feel certain that I may be givi:lg the method of a much-publicised effect that h,as hit theAmericanmagicalmarket In these last months, the ‘‘ Diabolo Slate,’’ and I da not wish anyone to think that the Garendon Slate was inspired by that descripti,on. ”
,
“
‘ I
”
There is ,o.neother pointfrom which one, I think, can draw moral. a This method was given away to possibly a.11 audience of at least two hundred and fifty conjurers. I haveneverheard of anyoneusingit.Had I m.arketedit,itwould
The Effect.--A slate is lexaminedand initialled on both sides. It is then either rested against some prominent object, hung fmm ribbons, or wrapped in a‘sheet of tissue paper.Ultimatelya message appears wittea across .either or both sid&’ of the slate. Description of Apparatus.-The- method is based on theWoodhouse Yitman method previously mentioned. Ail the present method achieves is to remove the messiness of the adhesive. Instead of a paper or light cardboard cutout, the name or words to appearontheslatearecut I used from verythin sheet iinplate(thecutout camefrom a wartime dried milk container ; this was veryeasy to cut indeed. If oneuses thicker metaf it is a .devil of .a .job to cut out the smaller pieces). The accompanying illustration shows what I mean.When thecutoutorcutoutsare .complete they are given a coat of dull black paint on each side, a.nd when dry, chalk is rubbed over one surface. Theslate consists of anormal date frame with two (piecesof blackened cardboard to formthe writhg surface. On the inner side of one of these pieces, two Eclipse magnets were fixed into position by means of adhesive tape. These magnets are not very thick aad only a very slight bulge resulted, giving a certain amount .of convexityto th.e surface.The illustration shows the position of the magnets. To-day one could obtain alnico magnets thinner than the “Eclipse,” with the result that by putting cardboard around the magnets, thus formingasandwich,the sides could be perfectly flat. “
”
18 In presentingthe effect thecutoutwould normally lie on the table, and, of course, the mere placing of the slate over it means that the cutout would cclme up against'the surface of-theslate and be retained therebythe magneticforce in that area.Thisunfortunately (un,less the performer likes to cover the noncbalkecl side of the cutout with felt or velvet) causesaslight " clang, " and I themefore used to have a sheet of tissue paper lying on the table one part of lit overlapping the cutout.The slate after examination was placed down on the tissue which was wrapped around it. Thecutoutcame up against theslate,but in b+ween it ana the surface was the tissue paper.
inthe following manner. On .the performer's table rests a sheet of newspaper, of sucha size that two siates could .be placed on it side by side. Equidistant from each are placed two cutouts, the unchalked surface being covered by newspaper so that it blends into thenewspaperbackground. After the slate is examined it is placed over one of the cutouts so that this comes up ,and adheres t.0 theunder surface of the slate. Thepart of the paper under the slate and the slate itself are now turned Over (thepaperbeing f,olded.in the process), the result beingthattheothercutout comes up to the/other surface. Slate with paper surrounding is now placed ,on ,top of, say, a tumbler while the spirits getto work, the paper is removed and thee messages sh,ownon both sides.
Flashback ! The -bundle w.as rested (cutout t.0 rear) against a table lamp. "hen the performer wished to show the message, the bundle was pick.ed up, and the tissue papergentlypulledaway, theslatethen being turned and the message displayed. This was made .possible (1) because of the softness of the paper which easily comes from un,der the cutout ; (2) the strength of the magnets, which easily kept the cutout in place.
C
stands for Cornus
I have mentioned the matter of two messages, one on each side of the slate. This is accomplished
From the
I. B.
Findlay Collection
EDITOR’SNOTE.Thelittlebooks’necessary joy this hffect are published by Messrs. Raphael Tuck P& Sons, Ltd.Generallytheycan be obtained in Woolworth’s Stores. T o save some readers the trouble, Mr. Douglas Francis made us a present of some fifty of the booklets. and these mill be available to the first fifty who send me a stamped and addressed envelope.
Effect.-The performer takes a pack of cards and a small book of Mother Goose Rhymes. Looking at a member of theaudience he hands him the booklet and takes from his pocket a pad and apencil. H e writessomething on thetop sheet of the pad, tears off the sheet, folds it, and hand it to the person holding the book. H e then approachesa member of the audienceandasks him to take a card, show it to the person with the book, and ask him to turn to the page represented by the number of pips (court cards counting as ten). Anothermember of theaudience is approached, and he is asked to take a card, show it to the person with ?he book,; this time he is to count to the word in the rhyme indicated by spots ‘on thecard.Whentheholder of the book indic a t s that he has found the word he is asked to handthepredictionslipstoanother member of the audiencc with the request that he unfolds, it. The holder of the book is now requested to name the word arrived a t by selection of the card. He does so. “ And now, sir, will youread aut the word I wrote on thepaper ? ” He does so, and of course theyagree The performer, if he sa wishes, is in a positiontorepeattheeffect, six more times ! Preparation.-This amounts toverylittle. the The littlebooklet is unnumbered, therefore
reader
will have to number eachpage, treating the This has the effect
.inside of the cover as Page 1.
of giving the reader ten pages that have rhymes and pictures on them. The pack of cards is then stacked so that the tens and court cards lie respectively a t the top and bottom, whilst. the twos, fours,sevens and nines are in thecentre.The pack can be casually fanned whilst like this. The key card, topcard should be a shortcard,or that will enable the performer to cutittothe t o p with the minimum.of effort. Supposing that the foursform the topmost part of themiddlestack, the uppermostfour should have a light pencil dot at each end on its when back so that bymeans of aquickglance, thecardsare fanned the performer knows the run of-the cards and where that run starts. With the pack t b s set, the performer is in a position to easily cause a spectator to take a ten spot (or itsequivalent), a two, afour,seven or nine ; because we think that a repetition of tens,being selected, looks rather bad we have. departed slightly from Mr. Francis’s original oral description. For thisending the performer will require another pack of cards which consists only of tens and court cards, a joker card being.placed on the face of thispack.Prior to. performancethis is placed in the performer’s )eft-&and jacket pocket. Presentation.-The performer takes the scratch padand writes on the topmost sheetthe word “ the ” ; this sheet is then tom off, folded, and handed .to spectator, who at the same time is given the book. The pack of cards is thencut, bringingthetens and court cards to thecentre, another spectator being approached with a request continued on page 23
20
Ea2 3 k l M 4 x ' a The methodsemployed to achieve the effect which follows are old and bold, but none the less effective. Thevariousangles of routineandpresentation have been taken care $of,and the result isaneat,straightforward platfmonn item, with maximum visibility. Twelve large cards and twelve large envelopes are h,anded into the audience. The ca,rds are either Jumbo playing cards, or design cards. Members of theaudienceareasked to seal the cards in thle envelopes, and to make sure that The the latter' b,ear no disttingu,ishing marks. enve1,opes are tlo be well mixed. One spectator next thinks of a number f'mm one to twelve, counts down to the envelopeat that number in the pile; and .places it on the top. The perfofmer takes the pile ,of envelopes back, but is carefulnot to disturb the order. At this stage he displays one. side of a slate, stating that h e has made a prediction ,on the other si,de. A spectator's initials are written, onthe blank side, and the same initials are written on the envelope, which is handed to a member of the audience, while t h e slate remains in full view. After a brief recapitulation, and checking of the initials, the envelope is opened, and' the card displayed. Whenthe slate is turned roun,d the prediction is found to becorrect. The explanation is as simple as the routine : The performer .has a duplicate of one of the cards akeady sealed in an envelope. Thisparticular design, orcardvalue, is entered on one side of the slate, and covered with the envelope, address side down. Now the whole set-up is reversed, and placed on a. table overa piece of chalk, which presses the envelope against the slate surface, and makesiteasyto pick up slate and envelope together.
After the cards have b e n mixed and sealed in the envelopes, the stack is taken back with the chosen one on top. One side of the shte is shown, and then the slate is laid on the stack of envelopes so that the righthandmay pick up the chalk and write the initials. The slate is immed,iately place,d aside, and t.he initials duplicated inpencil on the envelo,pe (i.e., the duplicate one which has beep left behind). All is 'now set for the finale. Shoulmd the envlelope be the wrong way up on the stack when this is 'handedback,it is a simple matter to show it and reverse it to match the 'one under the slate. Some performers may prefer to have the slate and enveltope projecting over the back of the table for easyhandling. A ,purist might object thatthe prediction is introduced rather late in the effect, but the patter for that, running somewh.at as angle allows follows :-" Had I t d d you, sir (to the chooser) prediction as, towhat aard that I hadmadea you would choose, youmighthavebeen influenced,subconsciouslyperhaps, in that choice ; I therefore, etc., etc." Such patter angles and their possibilities are of untoldvalue to the mentalist. There is, of course, n.0 limit to ,the number of cards used. Should the conjurer wish to use this item he couldhavea flap (]backed with an envelope) covering theduplicateenvelopeand prediction. He couldthenshowboth sides of the slate and causethemagicalappearance of the message, leavingtheflap and duplicate envelope on top of thestack.Theenvelopeglued to theback 0.f the flap would be perfectcover for its disposal. Ih this case a set of envelopes is made to match the size of the slate used.
T h e writer has always felt very strongly that mental effects should be accomplished without the aid of apparatus of any kind, and that theyshould be presented in a very direct and simple manner. n I other words, the performer should act in exactly the sameway as a genuinemind-reader wouid. The following effect, I believe, meets with these qualifications s o . far as ilt is humanly possible. Effect - Theperfonner explains that with demonstrations o f mind-reading, one of the greatest dificu ties is to eliminate the possibility of members of the audience being confederates, and
for this reason it is essential that everything should be left entirely to chance. He points out that the most obviousmethod toadopt in regardto a demonstration .of mind-readir,g, w,ould be to ask someone to think of aparticularthingandthen to divine what is in the person's mind. However, if this procedure were adopted the audience would quite justifiably believe that the whole thing .had been pre-arranged, and therefore this straightforward method cannot be adopted. The perf'o'rmer then borrows from the host or members of theaudience anydaily or evening
'
21 'newspapers, and wirh the owners' permisiion cuts from each newspaper the columns relative to advertisements. These columns are then further cut into individualads. so that .the performer is left with perhaps fifty or sixty different ads. relating to various things, such as articles f,or sale, cars, houses, births, deaths, etc. There is, of course, no limit to the nuriTber of ads. which may
P
A A C
D
........ .. .....
FLAP .BACK EDGE OF FLAP GLUED TO IKlm BOTTOM EDGE OF ENVELOFB . F R O N T TOP =E OF FLAP GLUED To TOP I=EDGE OF &CK OF ENVELOPE WHEN RE-ASSEMBGED
BowOM
be cut up, and theperformer, if preferred,may cut up several hundred beforehand which may be passed out f,or examination. T,o c,ontinue, the ads.areall well mixed upbymembers of the audience, and a volunteer is asked for, who is handed ten small envelopes, into each of which he is requested to place one advert. To eliminate the possibility ,of the volunteer being a confederate, he is either blindfolded while making his selections, oralladverts.areturned face down. This procedure makes it impossible for any specially marked or special ads. to be selected. The envelopes arethen sealed bythe volunteer an,d passed directly tothe audience for a thorough mlxing up. The perf,ormer is nowhere near the volunteer when the ads. are selected and sealed, and, in fact, does not know the subject matter of any one of them.. After mixing, the audience retains one envelope and the remainder are cut open and the ads. distri:buted amongst the 'audience, andare f,ound to beail different. The*e!ected envelope isnow opened by a spectator, who removes the enclosed advert.and who concentrates on the subject matter.The performer, wh,o meanwhile has ;be!en at the ,opposite side ,of the room, immediately divines what is dn theadvert. word by wrd----or just the general context.. This is left to the individual performer. Method.-Theeffectis accomplished without any sleight 'of hand, switching, palming, adding or subtracting,andthe. method is extremely simple
and cleari cut.It is produced by'means of a special fake envelope, which can behanded out for audience examination if considerednecessary. The envelopes, as will be seen from th,e dlustrati,on, have a secret compartment into which is inserted, prior ir, the performance duplicate. adverts, cut from ten issues of the same edition of any newspaper. To prepare thte envelopes obtain ten small wage packet type enve!o,pes and steam open all sections where gummed. Ten envelopes of a similar type are n,ow required from which flaps should be cut asper illustration. The flaps should nowbe glued to thebottom of the steamed-open envelopes, and the envelopes restored to their original condition by. re-glueing the seams. A duplicate advert. should nowbe inserted intothefrontcompartment of each envclope and the top f'ront edge of the flap should nowbe glued t,o itsmateon the envelope. These directions will bequite clear on referring to illustrations. The .normal way to insert anything into these envelopes is. to h,old the envelope with the addressside towards the floor, or possibly inclined upwards a little, and it impossible is for anyone ts see suspect the existence of the secret: flap. Theextra thickness also cannot be felt if th,e thin type envelopes ape used. The routine is exactly as stateduptothe point where the nine envelopes are opened, and at this stage the performr, always ready to save the audience any trouble, takes each envelope and with a pair of scissors cuts off the t o p edge. This procedure will allow the Adverts. placed inside by the volunteer to be removed or shaken ,out. The duplicate adverts. will remain sealed in their secret compartments. Next, taking the one particular envelope which has been selected, the performercuts off the bottom e d g e , and hands the envelope to a member of the audience,. The performer then retires to the other side of the room and the spectat,or is requested to nemove theadvert. from the envelope and concentrateupon its contents. Needlessto say,the perf!ormer should unobtrusively obtain this envelope at the earliest possible opportunity. Opcn~ngthle envelopes at the. bottom edgeswill only open the,secret compartments, and thus the spectator cam only remove one 'of theduplicate adverts. I do urge you tomake upan envelope as described, and you will be extremely surprised how difficult it is- to detect the secnet compartment. The beauty of the effectis, of course, that it is completely self-working. Note.--I have entitled tbe effect " Death from a Newspaper " because I havefound it to be very effective if the ten duplicate notices refer to death. ' T h e Daily Telegraph" andother newspapers carry notices .of this type.
22
" STOOGING AROUND " byJoeStuthard,(publishedby the Magic WandPress, price 5 / - ) .
In this booklet'' of nearly forty pages, our Canadianfriend,JoeStuthard, covers thematter of dealing with stooges. There is a n introduction by : " Forthe magician Geoffrey Robinson;hewrites who places 'entertainment'firstand keeps an eye on the box office, there is no doubtthat stoogescan be of the greatestassistance. " Thisviewpoint is posed to those who consider (as Mr. Robinson himself does) thatthe use of stooges bya magician is tantamount to cheating. His statement is truethat Box Office takeslittlenotice of ethicalbehaviour,for the eating of thispuddingaffords a proof.Wehaveseen Joe worknearlyallthematerialinthis book duringthe years that hehasbeenhere, and during that time he hasworkedsolidly.A thingthat can be said for few of his contemporaries. In reviewing this book, as we too do not like stooges, we prefer that the contents should beranked asentertainmentand divorcedfrom normal magical procedure.Therefore t o those who wish and havethe natural ability to present a comedy act making use of stooges, we wouldrecommend the purchase of this slimvolume, forinits pages thereis,in condensed form,awealth of experience,suchexperiencecoming from one who apart from putting over this type of act, is a first rate conjurer. '
Joe in the first chapters covers the matter of gettingandhandling stooges. Fromthere hetouches upon some eight routines, all of which play for laughs and at the same time give the audiencesomething t o look at. Finallyintheultimatechapter he details some five effectspossiblewithpre-arrangedorgently intimidatedstooges. " THOSE ENTERTAINING YEARS " by H. C. Mole (publishedbytheauthor a t 2/6. All proceeds from the sale of this book go t o the BritishRing Benevolent Fund or the Magic Circle Benevolent Fund).
Thefirstchapter of the booktakesus tothe North of Englandand we arebrought backmemories of the Argyle Theatre at Birkenhead.Later we have anecdotesregarding thegreats of thosedays,Devant De Bier, of Carlton, the " Human Hairpin," Van Hoven,andmany more* We read of Medrinton and Hammond, both of whom, with the writer, were responsibleforone of the bestbooks on conjuring, " The Magic of Tomorrow " (publishedin 1919, there are many items in this book that could well be revived). We read of showsgivenduring theFirst World War, in hospitals,inships.The authorthen switches back to the nineties and there is more reminiscence. Particularly interesting did we find thewriter's references to the time when as a Bank Manager he was quartered Hinckley, in. Leicestershire. Barwell, Burbage, and Earl Shelton were familiarnamesfor we spenttheearlypart of ourArmytraininginthese places. (We feel thatBankMpagers in thispart of Englandmusthave a special talentforentertaining, as we know of another a t Nuneaton,somefour miles away whowas the organiser of a well-known Midlands concert party). Twosets of verses conclude this most interestinglittlebook. " TWENTY TRICKS IN A MATCHBOX " by EdwardVictor, price 10/-. little A booklet with all the items required suppliedinamatchbox will give. the buyer a number of improm-ptu items of merit for close up performance. Mr. Victordoes not claimoriginalityforthe effects, but deserves greatcreditforhisingenuityinputting them before magicians in this manner. Every item is thoroughly practical and in company with Sid EmonsandMacWilson, I had the pleasure of seeing Teddyrunthroughthe whole twenty effects. It is a n excellentbuy and can be obtainedfromyourusual dealer or fromEdwardVictordirect a t 129, Clapham, Road,S.W. 9.
"
Mr. Mole is a veteran of magic, and when a veteran starts to write of .his experiences over a period of some seventyyears,theyoung magicianshouldbeprepared to sit back and listenforhe will hearaman talking wholivedin the goldenage of magic.
MAGIC
WITH
DICE
''
byEdward
Victor, price
5/-.
Mr. Mole is amodest man, and hiswriting Qhows that he is sincere.One feels that hereisaman not onlygrateful that magic can givehimpleasure, but also that in! his hands that pleasure can be conveyed t o others.
Hereagain Mr. Victorhasproducedaseries of some eight effects which can be accomplished with dice. Besides the routines, which quite frankly we feel might havebeenprintedinlarger type (we appreciate the author's desire for novelty), three dice are supplied. Againeverything is thoroughlypracticalandfuthermore little skill is required'inthe accomplishment of the effects. Thistoocanbeobtainedfrom a reliable dealer or from Mr. Victor direct.
The most interesting magical event in December will undoubtedlybethe televising of the Magic. Circle clubroom with ten performers going through their pet effects. This is a unique honour for .the Society. and one hopes that it will help in puttingmagic on the television map. With the opening of theSutton C,oldfield,stationonthe -17th December the field for visual entertainment is very much enlarged.
Phoenixnumber 191 carries avery clever subterfuge (the joint product of Paul Curry and Bill Woodfield) for obtaining possession of a mentally chosen card. Reading so much in certain conjuring magazines regarding the piugging 'of comedy in presenting magical effects to such an extent that serious presentationshouldbeavoided,reminds us of th,ose who are so insistent that the B.B.C.
'
23 ThirdProgrammeis ,of little use. The following words of Compton Mackenzie answering the latter group form a good reply to thosein the former .FOW
:-
have by initiatiye andhard work ? The same op:prtunities were there for all the other doubble acts of a mentalistic nature. 1.n any case,we believe thatthe Piddingtonshave increased the desire for thepublic to seementalists, and that many are getting work that they otherwise would not have had.
“We recognise that, thepeople must have their eomic pap, and no intelligent man or woman wants to deprive them of it, but when unscrupulops hacks of the popular press encourage the peofle ,to suppose that they are being injured by the existence of a programme designed for intelligent listeners these agents provoctrteurs of the Philistines shpuld be gagged, the ,editors who engage thesri muzzled, andthe newspaper proprietors who pay them branked. ’’
Wilfrid Johnsonhas a new booklet duefor publication. In fact, /we had hoped tohave a copy for review by the time these sheets went off to Press.
We still hear moans about the success oi the Piddingtons, abouttheir technique, and so on. Why don’t these people who dothe moaning realise that the Piddingtons have got where they
We will close by wishing our readers the very best of wishes for a peaceful and prosperous New Year :
Next mont-h we have a very nicechi,ldren’s routine ,by Jules Giraud, as well as a nice little item by our Singapore friend, Tan H.ock Chuan.
MOTHER GOOSE PREDICT10 N-continued from page 19
that he selects a card. With that great bunch of ten and court cards he cannot select anyother than one indicating a ten. This isshown t.0 the book-holder, who turns to that page. The pack is then cut again and fanned. This time a two, four, seven or nine spot hasto be taken. This, too, is shown tothe book-holder, who finds the word atthatnumber.The prediction isthen opened, the word in the book t,old to the audience, and of course the prediction checks. The two cards used inthe first place are not replaced in the pack, but if, in the case the number chosen of the first prediction., was (say) two, the performer decides that with the second prediction he will force the number four. Now the tenth word on Page 4 is Dellh” so this is written on another piece of paper, and again placed in safe keeping. As the performerapproaches the spectator for a @election of a card, he noticed the penci.1 mark on the topmost four, and makes sure than !one of the four groups is selected (if the reader has any qualms about his ability to have one of the four cards selected,. he can, of COL&%, use as an alternative a safer force, such as ’ an under-thehandkerchief force).This card is shown tothe ‘ l
book-holder, the pack cut,and one ofthetens or courtcards fokced: This willgive the desired word. At this stage theperformer says he will essay the effectonce mcre.Heturnsto another spectator,hands him the book and shows him Just place the what he requires tobe done. pack of cards in your pocket like this ”-the performer (with thanks td A1 Baker)suitsthe action to the words and ,places the pack in his lefthand pocket-“ and take any card you like from thepack.Don’t let anyone elsesee it,but 1,ook at it yourself, turn to the page represented by its number of spots in the book, and then count to the word represented by that number of spot-uite clear ? ’’ The performer now removes the other pack from his pocket and gives it to thespectator, who is directed to one corner of the room. The performer now writes on the scratch pad the word Cheese,” which is the tenth wmd ,on the tenth page. The spectator does as he is told and announces the word ; the prediction isunfolded, and for the third time the performer is right, “
“
The reproduction of the book cover of Mother Goose Nursery Rhymes ” is reproduced by kind perm‘ssi,on of Messrs. Raphael Tuck and Sons, Ltd. “
Can you tell fortunes? By VICTOR
FARELLI
Haveyouever been askedthe abo1.e question ? If you have,thisentertainingandconvinci,ng &rdtrick will provideyouwith the perfectanswer. The routin’eisdescribed complete with suggested patterand is embellishedIvith hints on Fortune Telling. Neatlyprinted in aneight pagebooklet,and a t a price that no-one can afford t o miss.
Per copy 216 ; postage 2d.; ,from
THE MAGIC WAND PUBLISHING 11, Monastery Gardens
....
COMPANY
Enfield, Middlesex
A
HOW TO STRETCH.YOUR
“THE ROYAL ROAD TO CARD
SHILLINGS !
MAGIC ” By Jean Hugard & Frederick Braue
“Youcan make a 14-cent shilling do l7 cents’ worth of servicebyinvestingin any orall of the tenfine magic books published by theFlemingBook-Company. Our “ .share the loss ” policy brings you our $7.50 boi>ks, (Magicwithout.Apparatus, and’TheFine A r t of Magic) a t 45s. (not 53/6) each ; our $5.00. books (Sleight-of-Hand,Our Magic,Magic withSmall Apparatus, and the Hugard Book Editions Nos. 1, 2, and 3)
Here is a book that EVERY magician should have. It describes dozensand dozens of first-ratecardtricks pad gives explicitinstructicnsforeverysleight needed toperformthem.
a t 30s. (not 35/6) each ; and our $2,00 books(The Expert at the CardTable,and A ConjuringMelange) For the books of other a t 12s. (not 14s.) each. Americanpublishers, we mustchargeyouon the basis of oneshillingequals 14 cents. The very latest Atnerican books are : Hugard’s 232 Book Edition No. 3 (Volumes V. and VI.), cloth, pages (84 by 11 inches), 485 illus., ($5.00),30/- ; The Card Magic of Le Paul, clgth, 220 pages, 313 illus.., ($8.50),S O / - ; Steele’s 50 Amazing Card Tricks, b d r d s , 64 pages, ($ZOO), 14/-. (The famousPAULFLEMING BOOK REVIEWSarefree t o ourcustomers. How toget these finely printedbooks. is explainedin our catalogue (pp. 54, 55) which will be sent free upon postal.request to our U.S.A. address). Pleaseremit to Mr. RobertsonKeene, c / o -Riverside,,VictoriaRoad,Yarmouth, Isle of Iwjght, . and books will beshippedpromptly from thisaddress : ’
’
FLEMING BOOK COMPANY+ 728 MADISON AVENUE, York,
“ ~
1
1
ROUGH AND SMOOTH POSSIBILITIES ” By Tan Hock Chuan
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on .the subject. It i s recommended for advanced magicians.
l
Price S/- Postage 3d.
ARCAS Publications SYDENHAM
404/408
Surrey
1
ROAD
Chapters on, and tricks with, The Overhand Shpffle, The Riffle Shuffle, Flourjshes,TheGlide,The Glimpse: The Key Card, The Palm; The Backslip, False Shuffles and Cuts, The Double Lift and Turnover, The Pass, Miscellaneous Flourishes, Hcverses, Hindu Shuffle, and other Controls, The Classic Force, Top and Bottom Changes, StackedPacks,CompleteRoutines,Platform Tricks and a comprehensive index.
302 pages packed into a cloth bound book, with 121 :.jlustrations by Francis Rigney. Don’t delay, order NOW ! (American’ price $4.00-28 / 6 ) Sent to you carefully packedfor 12/6(Postage 6d.)
from
THE MAGIC W A N D PUBLISHING COMPANY 11, Monastery Gardens, Enfield, Middlesex
Pa., U.S.A. PbTER
The Magic Circle
WARLOCK’S
PENTAGRAM ispublishedonthe24th of eachmonthand can be obtained Cect fromthepublishers for 1/1 per Lingle copy. Annual Subscription 121post free. PUBLBHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscriptsforpublicationandbooksfor to the: reviewshouldbesent EDITORIAL ADDRESS: .
President : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Dough8 Craggat h q . , M.I.M.C. Clubroom and Library and Museum.:
St. Ermin’sHotel, CaxtonStreet,S.W.1. MagicalTheatre
Particulars from’Hon.
W.C.
Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park,S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington,
surrey.
Croydon
:
King George’s Hall,
~~
A NEW BOOKBINDING
SERVICE. Your “ Pentagram efficimtly and neatly in quality linen fabric. Titled appropriatelyingold.
”
bound good
Returned to you, safely packed for 5/6 per Volume.
OTHER BINDII~G BY ARRANGEMENT.
J. A. E S L ER, 99, DEVON
CLOSE, GREWFORD, MIDDX.
*
--
HENR1 DE’SEEVAH “C.. BMS., IBM., SSMC. THE FRFNDLY MAGICIAN invites all bonadde Magicians to send for his list of new and used apparatue and books, or call at his studio :l, CLARENCE ROAD Huborne, Birmingham 17
CONJURING BOOKS FOR SALE OLD AND NEW. Ltt me know your wants LIST FREE FOR STAMPED ENVELOPE No C.Ilen
GEORGE
“
ENFIELD,MIDDLESEX
”
In this attractively produced booklet the authordescribes hiscompletemusichallact more ideas that have ENTERand many TAINMENTasthekey-note.Thisistheact thathaskeptmusichallaudienceslaughing upanddownthecountry.It isunusual. It is ce:tainly EKTERTAINMENT.Isitethical? To decidethatyou must readitfor yourself. Inthewords of GeoffreyRobinsonwhoedited thebookandwrotetheforeword,You will learn alotthatisnew. . . . If youare a magical student. and what magician is not, thisbookshouldbeinyour hands-yqy will addmuchtoyour store of knowledge. Those who have seen the author perform his act will knbwthevalue of the material, and. we cansaynomorethanthat.
Price 5 / - (Postage 3d.I
JENNESS
47 INVERNESS AVENUE,
STOOGING AROUND By Jok Stuthard
THE
From the publishem MAGIC WAND PUBLISHING
Every Ad-vertiser’s goods are fully endorsed by this Bulletin Publishedbythe
CO.
11, Monastery Gatdcns,~ Enfield, Middlqex.
proprietm The Magic Wand Publishing Company, 11, MonasteryGardens,Enfield,Middlesex,,andprinted Son (Printern) Ltd.,WellCroft. Shipby, Yorkshire. Walkerand
by Herbert
*
25
PENTAGRAM An independent monthly bulletin for all who want good magic
V&. 4
JVk.4
1950
Tucked awa.y in the MoneyMentalism ” section of Annemann’s “Practical Mental Effects” is JackVosburgh’s Pay Day.” Like many of the items in this section,it is quite impossible to perform in terms of English money, as it stands at present. As deals it in decimal coinagedollarsand cents-it looks as though it couldn’t be made toworkwithshillings and pence, and that’s probably the reason his sparklin,g effect 1s so neglected in England.Butafter a little .calculation I found that it c a n be translated into terms of our coinage, and after trying it out a few times I find it to be one of the few mental effects that lend themselves tz~humorous treatment. The description of the effect,whichf,ollows, is from Vosburgh’s text. This is a mental coineffect based on a mathematical system. On the t,able are three small coin envelopes, labelled respectively : Office Boy, Janitor, President. Also there are five differentcoins : A penny(Cent), nickel, dime, quarter, and half dollar. Three spectators are asked t,o participate, and each isgiven a small typewritten sheet or Card called a Salary Schedule.” While the performer’s back is turned, one of the three men picks up the three employee envelopes, mixes them well,selects aRy one for himself, and passes the c,ther two on to a second man. This person mixes the tu7.o remaining envelopes, selects either one, and hands the third envelope to the third spectator. “ Each man reads the 1,abel on his envelope and sees what employee he is tobe.Then he reads his salary schedule and sees which coin that employee is :G receive. Each of the three -men put,s into his envelope the coin designated in the schedule. The envelopes are pocketed orheld out of sight, and the performer turns around and faces thespectators. “
“
“
“
“
He takes from his pocket a fourth envelope labelled Income Tax, and into it he puts the two remaining coins. Pocketing this envelope, he looks at each of the three men and tells what job each holds and how much money is in his pay envelope. ’ ’ From here, let us discuss the effect as it would be presented with English money. First of all, the coins themselves. Theseshould b,e a penny, threepenny piece, sixpenny piece, shilling, and florin. Don’tmake the mistake of using a halfcrown if no florin is forthcoming, .or a h.alfpenny in place of a penny. On my set-up, only the coins I have named will work. Now the three W a r y Schedules.” They are all different, and are as follows :No. 2. No. 1. No. 3. President .. 6d. President . Is. President .. 2s. Office Boy6d. Office Boy 3d. Office Boy 3d. Janitor ..... Id. Janitor .... Id. Janitor ...... 2s. These are passed out, writing d e s down, so that no man knows what the cards of his neighbours say. The performer must remernber to which man each of the three schedules goes. Because of themathematical system involved, the twocoins left on :he table, after the other three coins have been put into the envelopes, tell the story. And therest of the trick is a table written upon the back of the ‘‘ Income Tax ” envelope held by the performer. Thistable is secretly referred to while placing the two remaining coins into the Tax ” envelope. Here is the table :NO. I . NO. 2. N.o. 3. 4d. .................... Boy . 6d.Pres. 1s. Jan. . 2s. 1s. Id. .............. Pres..6d. Boy. 3d.Jan. . 2s. Is, 3d. ............. Boy . 6d.Jan.Id.Pres. . 2s. Is. 6d. ............. Jan. . l d . Boy. 3d. Pres. . 2s. 2s. 6d. ............. J.an. . 1d. Pres. 1s. Boy . 3d. 3s. ............. :....... Pres.. 6d. Jan.Id. Boy . 3d. To read the table, add the value of the two “
“
”
“
“
26
Being one of those lazy people just about able todo a two-handed pass if accompanied by a widesweep of the arms (a.nd shouts of “ Fire from a Stooge in the audience, to act as misdirection) you maytake my word foritthatthis is no more and no less than the easiest card trick inthe worid. Butit’s not bad,for all that. Its beauty liesin the fact that the spectator does it all,andthe climax comeswhile he stillholds the pack. It differs fromthe Take-a-card ” type of effect in that you invite your victim to think of a card-novel, isn’t it ? Let’s get on.Haveyour spectator shufflehisown pack until he’s satisfied thatit’s mixed up.Then explain thathe is to deal the cards face up, holding the pack face up, until h.e comes to his card, which heis to gaze at whilehe ceunts five, then drop the rest of the pack on top.Then he is tocut the pack: To get these instructions clear in his mind,he runs through them while you direct him in a trial run. After he hasdealt a few cards youmight care to say : ‘‘ Imagine that the next card is the one you are thinking of. . . . You must look .at it, count five yourself, anddropthe pack on top. Now cut the pack so that your card is lost.” Twice, I’ve had the reply : “ But that W U S the card I’ve thought of ! so you see it’s worth while putting that bit in. Having made everything ciear, you now turn your back while the spectator goes through this routine.. If you think it’s rude to turn your back y0.u can go into another room, or have them cover you with the carpet-anything so long asit is obvimous that you can’t see the card theman gazes at. ”
“
”
JACK VOSBURGH’S
- WILL DEXTER’S PAY DAY-
coins left and readfromthistotal in the first column.Reading across fromthistotal you find the offices and the salaries held by the holders of schedules 1, 2, and 3. To Anglicise the effect further, I think a necessary step is to substitute ,other jobs for those of President and Janitor.” I n my own case, I make the three jobs fit the audience I am playing to. When performing to, say, news papermen, 1 would make president, office boy, and janitor,inthatorder,read edit,or-in-chief, copyboy, sweeper-up. Or at a British Legion show they could be translated into Service equivalentssay, Field Marshal, Sergeant Major, .and sanitary wallah. There is nolimit tothe changes you couldring on the three titles, so long asyou “
”
“
Whenall is done, turnround, invite the spectator to pick up the pack, hold it face up, and deal thecards slowly,face up, on toyour hand orthetable. As each card is dealt, you look at it, then look into hiseyes andshake your head, until at last you look at hiseyes and stop him. ‘‘ That is the card you have been thinking of ! ” you may safely tell him, and it will be. the card that follows Why ? Because its your locator. And what is your locator ? The card that was on the bottom of the pack when he finished his shuffling before the trick started. In other words, when he’s shuffled the cards, as the books say, to his satisfaction,” you must glimpse the bottom card, which isn’t too difficult, even for me, as the man is holding the pack, face.up, and you are looking at the bott,om card. “
The spectator goes Now what happens ? through a trial run, deals bottom cardtotable, others ,011 top of it, thus bringing your locator to top of the pack when he picks them up at the end of the trial run.Trialrunended, locator is stilI on top. YOU turn your back, spectator deals from face of pack until he seeshis thought-card, looks at it, drops balance of pack on it, THUS BRINGING YOUR LOCATOR IMMEDIATELY IN FRONT OF IT. And the eye-gazing routine ? That, of course, is because everything we look at leaves a briefimpression on the retina of the eye, and the card your spectator gazed at for five seconds has, of course, left a more visible imagine on his retina than those he gazed at merely in passing. Mind you,it’s a good jcb you have a locator card as well, because that makes it much easier.
-continuedfrom preeous page
remember tnem as No. 1, No. 2, and No. 3. My copy’ of Practical Mental Effects ” has copious marginal notes therein, and the one ,opposite to ‘‘ PayDay reads : “ Could do with If yours is similarly .marked, Eng . m m . ? ? you can cross outthe marginal query now and go ahead and do it. T.he novel thing about Pay Day” is that the applause isn’t overwhelming, but when the effect has sunk in, and the audience realise that you couldn’t possi’bly know which envelope, or wh.at sum of money, went to each man, yo~l’ll find that they’ll talkaboutitand trytodo it themselves. And if you’ve been casua’l about the c,oins, without stressing the value of each, they’ll have a real puzzler on their hands. ‘ I
”
”
“
EDI'I'OR'S N O T E . T h i s effect of iL1. Giraud's ' Z P I ~ L S desiglled f o r children's shows. Itgives scope f o r excellentcomedywithol{t arzy detratioll fro111 the magictll elenzellt.Properlypresellted tlzc col+rer 7 z a s L L I ~ item tlrttt willplay [or tenmilltltes, ntrtkinguse 01 articlesthat t u k r 11p ( I milzimunt of packing space.
Effect. The conjulrer remarks that he wishes totry a most difficult magical experiment ; for this he 11ii1 rcquire the services of four children and the loan of a lady's ring. All these being f,orthcoming, the ring' is placed for safekeeping in the folds of a handkerchief, whichis then handed to one of the temporary assistants whom we shall designate A . To ,the second assistant, B, an emptymatchbox is given, with therequest that they see that it is no more thanthe conjurer claims it to be. For the third assistant, C, a piece of paper is rolled into a cone and into this is dropped a shcrt length of coloured silkribb,on ; the top of the cone is folded over b.efore it is placedin the assistant's hands. The fourth child, D, is handed ;L toy pistol and placed on the right (performer's) near the edge of the platform. The remaining- children are then lined up so that they stretch across the platform thus :D (with pistol), C (with cone), B (withmatchbox), A (with handkerchief containing ring). The conjurer now takes a tumbler and covers itwith a handkerchicf, and positionshimselfon the left of the child holding thering. He then tellshis audience what hewill trytodo, which is this : D, on command, will press the trigger of the pistol, the resultant shot causing the piece of silk to fly into the empty matchbox and the ring to fly into the glass under the handkerchief. The child holding 'the handkerchief co,ntaining the ring is asked to hold one- corner with her free hand, and when she hears the shot to let go of that part containing thering. All being understood, the conjurer gets ail theparticipants, including himself, into linewith (the holder of .the pistol. On word of commandthe pistol is fired, the result being a mild explosion (it is a toy pistal of the cap variety), the ring vanishes, the glass vanishes, and whenthe cone is opened it isseen that the ribbonhasvanished. The opening the matchbox shows that no sirgle article has found its way inside. All the participants take part in a fruitless search forthering. Thenthe conjurerhas an inspiration ; he will make use of his emergency ring finder. Thus saying, he dismisses allthe children with the exception of the one who held (or, as the performer putsit, the one wh.0 lost) the ring. A parcel is removed from the table. Near the topit istiedwith ribbon or tape,and the child
is asked to undo this. This being done, the doth covering the parcel falis down, to reveal another similar parcel tied with another ribbon.This, too, is undone, and the procedure continues ad lib. or ad nauseum. Finally, the contents of the several nested parcels are revealed ; they are a glass (the missing one) and containing a small sprig of flowers. The child is asked to remove the latter, whenthg audience see that tied round the flowers is the missing ribbon, whilst tied on to this isthe missing ring.The assistant is asked to present the flowers, ribbon and ring to the lender. The Requirements. Two pieces of coloured silk ribbon twelve inches in length. One bottomless tumbler. Oneunfakedtumbler to match. Onedouble sheet of paper to make up the cone. One emptymatchbox. One cambric handkerchief with a ring sewn into one corner. One toy pistolwithnecessary caps. One handkerchief with a shape sewn into the centreto simulate the presence of the tumbler. A small bunch of violets. Several pieces of coloured h e n each measuring about eighteen inches square. Several lengths of tapeor ribbon. Preparation. First of all, the pieces of linen are taken and stacked into a pile. In the centre of the top piece a circle equal in size to the base of the bottot1lZe.s.~tumbler is marked with chalk and the pi,eces of linen are stitched together (see illustration 1 ) . In the centre of the circle a slit measuring
I)f
twoinchesin length is made in all the pieces of linen. Next, one length of ribbon is tied around the stalks ,of the flowers so that a loop is left that will hang down some two and a half inches belclw the lowermost parts of the stalks. The bottomless tumbler is now stood on the centre of the pieces of linen so that the slimt comes immediately beneath it ; the flowers are nowplacedinside the tumbler a!Id the l m p of r i b h g ?~lsl!r.dthr2ugh tht. slits SQ
28 thatitprotrudes the full distance allowed (see illustration 2 ) . The edges of the topmost piece of the linen are now brought up and around the tumbler and tied by means of one of the pieces of tape. All the other pieces of linen are similarly
placed around the glass (see illustration 3 ) . When complete, the wholeaffair canbe stmd upon a table ; the fact thatthere is a slight resilience where the tumbler is bottomless allows for complete masking of ribbon without any kind of wobble. The remainder of the preparation simply co,nsists in the laying out of the articles that are required on the table.
Presentation.
The children are first enveigled on tothe platform and the ring borrowed an,d taken with the right hand; this is placed under the handkerchief, at the same time the corner containing the dummy ring being carried to the centre, where it is retained and gripped between the folds by the free left hanmd, and then handed to one of the assistants ; the hand containing the ring is meanwhile withdrawn with the borrowed ring finger-palmed. " The next thing we require is a matchbox," says the perfor-
rncl-. Hisleft hand goes to his pocket f,or this i~ithoutresult, and so the right hand goes -to the pocket, leaves theringthere, and brings ,out the emptymatchbox.This is handedtotheboy for inspection. The piece of double paper is made into a cone, the ribbon dropped inside, the top folded over and handed to C (alternativelythe perforrner could use the method of envanishment described by Mr. Noakes in " Magical Originalities ' ' andHugard's Magic Monthly, NO. V., 1945). The glass is now covered with the handkerchief containing the fake, and here for the envanishment of the glass the performer has at leasttwo alternatives. M. Giraud uses a black art well for getting rid of the glass, but I feel certain that many perFornlers would prefer a direct steal from the shape into a pocket. +
The conjurer now standsin linewith the others, and gives the assistant with the pist'ol the orderto fire. The result is known, theconjurer, should heuse the double sheet of paper for the cone, having, of course, to takethis from the assistant and open itout.The situation of the lost ring is played out b.y the performer, and when he apparently remembers his emergency ring finder, he dismisses allbutthe one child. Whilst he is doing this his right hand goes to the pocket in which the borrowed ring was dropped, and it is held in a finger-palm position, the hand at the most convenient moment being withdrawn. He turns to the table, and with the left hand h,olding the top of the bandle, the right goes underneath andit is lifted. This hasthe effect ,of not only hiding the hanging piece of silk, but also of bringing the ring against it. The left hand releases its hold on the t,op of the parcel, the assistant being asked to und'o the ribbon which keeps the ends in place.Thisbeingdone,the ,outermost piece of linen falls down and around the performer's right hand, which it should be remembered is still underneath the bundle. The importance of sewing the pieces together ?illnow be apparent, for instea.d of what was the outermost piece of linen draping aroundthe performer'shand, andthus impeding- or showing anymovement he might make with thathand, he now has a solid (,or almost solid) surface the sarne size as the base of the tumbler apparently over his right hand. The left hand now steadies the parcel, as the assistant is requested toundothe second tape. Actually the parcel is tightly gripped,for at this moment the vital piece of work is done under cover of the draped cloth, the right hand pushing (the silk lo80p throughthe ring and thence engages the Former around th'e latter, giving the semblance of the ring being tied on silk ribbon (see illustration 4). The assistant goes on untying the tapes until he reaches the penultimate piece, andat this stage,under cover of the draped cloths, the performer pushes the ring and ribbon through the slit and thus into the glass. The und,oing o f the last piece of ribbon leaves the effect finished.
29
auwtic My reading has been very scrappy for years past, .and my memory is not so good now. I am NOT a performer for the past 20 years. H,owever, at odd times I d.0 mess around with odd items f,or my own amusement. Recently I was trying out a Triple Prediction-an ‘ ‘ oldie ”--and after a little thought the following seems to me to be not so bad.” There is a very weak point, in that repetition would have to be verycarefully chosen. The performer offers a choice of four or more NEW PACKS O F CARDS with seals unbrokenNO FORCE.Heurites a prediction on a small piece ,of paper and folds same-asks volunteer to call out a number between TEN and TWENTY. This number is written on the prediction ” and same immediately handed to thevolunteer with a request to retain but not open until instructed. Same procedure followed with tw,o further volunteers-these volunteers, IF THOUGHT NECESSARY, couid be chosen by audience. NOW7the chosen pack 1s removed from case BY ‘VOUNTEEKNo. 1. He is asked (to statehis chosen number-say, 15. Now count off, face down, fromthetop ,of the pack 15 cards (on to table), and place remainder aside-performer remarks To make things a little more difficuh (or any remark to account for the action). Instead ,of using 15 we will add together the digits 1 and 5, which makes 6. The volunteer is now asked t,o deal off fromthetop of the 15 cards, l , 2, 3, 4, 5 , and place the6th card aside. And now open the prediction,” whichwill state,
Yourcard will bethe King of Hearts.’’ The cards remaining in hand from the dealing should be placed ON TOP of the 5 d-ealt on to table, and all placed on top of the remainder of pack. The same procedure repeated with No. 2 Volunteer, whose prediction rea&, “ Ten of Hearts, and No. 3 reads Ten of Clubs. ” Procedure can, ‘of course, be varied to suit individual performer, but in this “ build up the emphasis is on NEW UNOPENED PACK, and AT NO TIME NEED THE PERFORMER TOUCH T H E PACK. All he need do is write the predictions, and DlRECT the VOLUNTEERS to dotherest. Remembering totakethevolunteers’ revelations in the same order they are given out. Weli, that’s the effect-the weak part is, of course, that it cannot (safely) be repeated to the same audience. but it iswell worth a trialas a publicilty stunt, etc. Thereis DEFINITELY NO CLAIM FORORIGINALITY. It is, of course, SELF WORKING,asall English packs are, I think (with the possible exception of those advertising proprietory goo,ds), originally stacked in .the same rotation, and from :he topthe 10th is King of Hearts, 1 lth 10 of Hearts, and 12th 10 of Clubs. You -will, of course, be conversant with the fact, also the “ ,oldie,” where the “ PREDICTIONIST (Shades of Wi1fri.d Johnson) has previous knowledge of the loth, 1Ith,and 12th cards from top.
EDIT‘OR’S hiOl’E. The followir1g verse, reproduced b y permissiotl of its Editor, appeared it1 the C‘hristmtrs Ilzlmbev of Ulster Magic ( f h e oficinl jot1rlull of t?Le [TlsterSocietlr of Magicions). It struck 11s immediatelyasthe best preselttntioll of the IZohhers l ~ j z d Sheep ” that w e had erzcowltered. T o those readers itlterested ill methodsother thutz theonedescribed, we would conlmetld them to “Phoetlix” Xo. ‘7 O Y ‘* Penfngrnm ” V o l . 1, N o . 7. P . W. All that can be desired ,of any magical effect is that it should entertain and perplex, and if this result can be obtained with a minimum of .effort, so muchthebetter forthe magician. Forthis purpose, the “ Case of the Baffling Burglars ” is ideal, for all that is required are two empty hats, seven small balls o f Eewspaper (or seven ping-
pong balls),andthe ability t.0 memorise the followinglines of rhyming patter :This is thetale of Farmer Bmwn, (A)Who lived not farfrom -town. (R) Two barns hehad-both emptystill, But soon he hoped them bothto fill With produce from his little farm, Where safe ’twould be from any harm. ( C ) His sheep, which numbered .only five, Werewhite and fat, and. seemedto thrive Upon the grass, so fresh and green, Which grew abundantly between The little barns-and every night They grazed and grazed till morning light. But one fine night, when all was still, ( D ) Two burglarsblack, ,named J’ock and Bill, W h o , looking fcr some place to hide,
“
“
“
”
”
“
“
“
“
”
”
“
”
”
30 Each ,spied a barn and crept inside. Then, wanting muiton on the cheap, Each softly whistled to thesheep, Who foolishly obeyed the call Andsoonwere captured, one and all. But Jock and Bill, theyhearda soun’ suspiciously like Farmer Brown ; And quick asthought, upon the green TheFarmer’s sheepagain were seen. A false alarm,and that was allSo once again the whistled call, And once again the foolishflock IVere gathered in by Bill and Jock. Another noise-too lateto fleeFor Jock and Bill could plainly see Tnatthey,alas,had come acropper,’’ ForFarmer Brown, complete with copper, Was coming fast across the green Where five fat sheep had lately been. ,4nd there they were, poor Bill and Jock, Each i s a barn \ \ i t h stoien flcck. Then Bill had quite an inspirationWhy not try prestidigitation ? He waved his hand, said magic word, And then astrangeevent occurred ; When Farmer Brown threw wide the door, H e saw there, stretched upon the floor, Just Jock and Bill, both sound asleep, But not a sign of st,olen sheep. The other door he opened wide, And quicklysearched around inside, But all he found-and all asleepWere five contended happy sheep. Localise, by naming any nearbycountry town. Show both hats empty, and place on table about 12in. apart. Place five balls in line between the two hats. Show two more balls, and place one in each hat. Commencing withright hand, lift one ball and place in hat to right, then with left hand place orie hall in hatto left, and continue “
Our first duty is to apologiseto our readers issues. for the lateness 9 f thisandourprevious A combination of circumstances has led to, this unhappystate of affairs. We sincerely hope that the February issuewill b e available by the 28th of that m.onth, while the March issuewill set up a record by being out before the due date of publication. Abracadabra has reached its fifth year of publication,a thing which quite rightly calls for congratulation from others besides its Editor, who ir, Issue Nc. 208, besides whacking the drum and blowing a fanfare or two, gives a strong sales talk to his own readers. Headds,after mentioning ‘ I
”
insimilar manner Ivitheach handalternating until a11 bdls are in hats (i.e.,4 in right and 3 in li.ft). continued on opposite page
Flashback ! D stands for D e Vere -.-.
...W
WODERN M A R V J ~ 9)~ H AT THN OPERETTA-1IOUBE.
-
U d e r tha title of “ Mo8ern MArvelR” IL very clever bnd en’oyable sntert;,lnurent waa given last night at the dperetta-Howu by M. de Vere, a conbow to an juror of no mean order, who made his Edinburghaudience for tbe fimt time.Possessed of great skill a8 a humorist, M, de Vere coatrived to give his redly perfect performances a mare than ordinaryinterest,and,duliny the wholeevening, sustained the athation of a largeaudience. The programme‘wasdivided into three arts, clenominatedmagical,myetical, and optic8 respectively. Under the f h t Lead M. de Vere showedsome of the most novel and astounding tricks;in a few seconds representation of a produced an artistic serpent bythe aid of two silk handkcrchiefs; dragi;“ed the stock in trade of B baby’s underclothing esta lishment from IL gent!emm’s hat, w!li4;hwas afterwards made t o yield a perfect garden of Howers and B series of Chinese lanterns fully trmmed. But of all the “marvels” the “cave and canary” feat ca.rriedoff the palm. Comin:; to ihefootliyh t3 with a live canary enclosed in a srnall ca?e and psrfectly freelfrom aids of any kind, Al. de Vere asiures his audicnce that hewillmakebothcageandbird injtantl dieappear, and cveu while he 3paWa the b i r l a18.d cagevanish intu space,le.+\ing the seame scene, which audience in bewildermext. forms part second, assumes t;, he hp exposure of 90called Apiritual seance,and ~;ndl~ubtedly i a 3, wonderfulspecjmn of experimentalphenomena.Miss IJily.adith ie an able assistantiQ this case, a d Miss Anmg JAonsd& as pianistefills up the intervafs withsome excellest Music.. The entertainment, which is (ndicatedof a very SUperibr Order, conclll:jes with a sedes Rf optical ictures, entitled the “ i’hantom Statues.
‘l’&
/877.
From the J. R. Findlay Collection
this bulletin, that his paper is not getting the competition it deserves. We should like to makeit quite plain that since we started the “Pentagram” we have never thought of competing with any paper which goes out of its way to cater not only for magicians, bur allrhose yho, by being members of societies c r purchasers of puzzles, CCLZZ fhenzselzfes magicinus.
In theJIa,rch issue of the Pentagram ” we shall startin serial form a publicati*on of Geoffrey Buckingham’s Billiard Ball routine which formed part of hisprizewinning act at Amsterdam last year. This should be of particular interest to those readers in America, who will have “
CONJURING WITH CHRISTOPHER,” lq- hfilImurne Christopher (published by Holden’s Magic Shops, New York, U.S.A., price two dollars fifty cents.) Jean Hugartl in his preface to this book truly book, us i n his p e r f o m u n c e s , U t , . writes : In this ( ’ h i s t o p h e r uses only wagic that i s entertainin!/. He ftns no tiltLe nor space f o r the technicalperfections so d e w to t h e heurt 01 t h e expert ’ but so borillg t o urdiences. H e r e he gives u s only g e m s of delightful of mayicians ttLa!/ic designedtobriyhtentheprogratnmes w h o adoptthem.” This (though webeg to differ with Mr. Hugard on the mat*of technical perfection being boring to an audiencej is well said, for inside the covers of this seventy odd page book, thelre are some sisty featsthat should have an appeal toanyconjurerwhatever his type of work. Mr.Christopher does not suggest thatthe effects call be performed with perfection five minutes afteir leading the instructiom (a. fact that nlay deter a number of our magical iliiterates from reading further). I n fact his prelude chapter 011 Practice ” summarises this nlatt.er with brevity by writing “ Each trick in this book could well bear a label ‘ Practice well before perfornling.’ ” The book proper is divided into seven parts;the fiwt is “ Intinlate Trickery ” in which a number ofclose our ownwayof thinking, up items aredealtwith.To the gem of this section is the ‘‘ Magic Mirror,” in which a small markedmirror vanishes andre-appears rlllder impossible corlditions. To the trick itself, the ;.uthor has added a sane background of dory telling. The next section is ‘( MoneyMagic ” and herein appear a. number of effects with notes and coins. ‘‘ The Two Rill Trick,” the “ Midas Touch ” and “ Bill on String ” are all charming pieces of cllicanery. Section Three deals with “ Rope Wizardry ” and besides actualtricks involvi,ngrope and in some cases rings alltlropes, the author passesonsome escellent puzzles. “ Conjuring with Cards ” comprises section four. ’‘ Card Call ” and th,e “ Card Revealed ” are two escellent !ittle mysteries inthis section. ‘‘ Ifental Magic ” comes next aud all these effects described show the merit of real performance. It may interestreaders to know in this respect that when talkingto our friend Rlaurice Fogel regarding a curlrent bookon mentalism, RIaurice sndd,enly said . . . ‘‘ Have you read Christopher’s book ? ” Wesaid “ Yes,” and without waiting for “
“
Maurice tc sayany mare, we added You mean the Action Test ’ 1 ” This effect stands out a mile not for its method (a thing whichafteT all is of slnall moment), andis worth not the price, but three times theprice of the book. Its directness combined with its visual appeal will take itinto many many programmes. The Best Seller Book Test ” and “ Card Reflected ” (a tariaticin of a JardineEllis theme) are also excelleat items. The last section dealing with tricks is “ Stage Magic.” The author in his first paragraph so truly says ‘‘ X trick does not have to be large to beeffective 011 the stage.”‘ If only some of our wonder workers with their monstrous boxescouldrealise this. F o r colour and effect we think thatthe “ Pop Through Promduction Flame ” take,s pride of place with ‘’ ,4 Hair Raising Illusion ” comingsecond. Theauthor concludes his book with a chapter on routining,andfromthe effects described in the book gives somefive programmeswhich bearouthis obserl-atiorls. This is a bookwe should have hated to have missed for its conciseness in descriptio,n carries with it the personalcharm of thewriter. Some of theeffectsare not necessarilynew, and a few have appeared in magazines, but that must not stop you buying a nlmt delightfuland worthwhile book. “
“
,
“ POKERISM,” by Jack Yates (published by the author a t 8 , Ripon Road,WestEnd,Oswaldt\tistle, Lancs., price 2/6). Whilst there is a touch of Stewart James about this routine, there iscertainly nosuggestion of plagiarism. T h s dealer deals fivepoker hands and the conjurer has th,e winning hand. One player drops from the game and fourhands art3 dealt. Again the conju.rer wins. With onemore droppingout of the game andwith a dealing of three hands, the conjur,er wins again. Finally,two players arel’eft (andin accordance with thestory,the player secretly changes his hand with the conjurer), who despite this manages to come throughwith a winning hand. Theroutine requires no skilland is free from any snags; however, thebettercard worker that you are, t,he better will be the effect that you can obtain. Recommended.
MAGIC G O R 0 UND-continued from opposite page
anopportunity of seeingGeoffrey in action at Chicago in May. In the February issue we have a nice little item by Dr. Jaks, who apart from many Phoenix ” choice items in the “ Jinx ” and the was responsible for the ‘‘ Supersonic Card Trick.” London will have twomagic Festivalsthis year. Besides the usual Magic Circle one in October, Harry Stanley is sponsoring anInternational week of magic at the Scala in May. Probably theoutstandingact will be Willane, whoin thelatter half of the programme will present a novelty that hill have to be seen to be believed. It is good to know that PercyNaldretthas made good progress and is back on his feet again. Steeped in thetradition of the goodold days, Percy isno diehard in suggesting that things are not what they were. Nobody has served the
Magic Circle better than he over the p.ast score of years both in the capacities of printer and Editor of the “Magic Circle.” He is now taking a well deserved rest, and to John Young (remember his ‘‘ Matter of a Massacre ”) we extend best wishes in his task as Editor of the Magic Circle’s official publicaticn. ~
BAFFLING BURGLARS-continued from previouspage
(F) Commencing; with left hand, remove one ball from hat to left and place on table, then with right hand removeone ball from hat to right, and continue with each hand alternating until five balls are again on the table. (G) Catnmencingwith right hand, lift one ball and place in hat to right,then withleft hand place one ball in hat to left, and continue witheach handalternating until all bails are again in the hats (i.e., 5 in right and 2 in left).
32
HOW TO STRETCH YOUR SHILLINGS ! You ’ a n make a 14-cent shilling do 17‘cents’ \\-o;th of service by investing in any or all of the ten fine magic books published bythe Fleming Book Company. Our “ share the loss policy brings you our $7.50 books (Magic withoutApparatus,andTheFineArt 01 Ivlagk) at 45s. (not 53/6) each ; our $5.00 books (Sleight-of-Hand,Our Magic, MagicLvith Small Apparatus, and the Hugard Book Editions Nos. l’, 2, and 3) a t 30s. (not 3 5 / 6 ) each ; and our $2,00 books (The Expert a t the Card Table,and A Conjuring Melange) a t 12s. (not 14s.) each. For the books of other American publishers, we mustcharge you on the I)asis of one shillingequals 14 cents. The very latest American books are. : l-fugard’s Book Edition No. 3 (Volumes V. and VI. ) , cloth, 23‘2 pages (84 by .l 1 inches), 485 illus., ($5.00), 30f- ; The’Card Magic of Le Paul, cloth, 220 pages, 313 illus., ($8.50), S O / - ; Stcele’s 50 Amazing Card Tricks, boards, 84 pages, ($2.00),14/-.(The famous PAUL FLERIING BOOK REVIEWS are free to our customers. How t o get these finely printed books is explained inour catalogue (pp. 54, 5 5 ) which will be sent freeupon postalrequest toour U.S.A. address). Please remitto Mr. RobertsonKeene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight, and books will beshipped promptly from this address : ”
FLEMING BOOK COMPANY, 728 MADISON AVENUE, Ywk, Pa., U.S.A. “
1
PETER
ROUGH AND SMOOTH POSSIBILITIES ” By Tan Hock Chuan
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM
404/408
Croydon
ART
ROAD Surrey
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., LONDON, N18
Telephone : TOT7742
Chapters 03. ar:d tricks with, The Overhand Shuffle, The Riffle Shuffle, Flourishes, The Glide, The Glimpse: The Key Card, The Palm, The Backslip, False Shuffles and Cuts, The Double Liftand Turnover, The Pass, :\liscellanems Flourishes, Reverses, Hindu Shuffle, ;Ind other Controls, The Classic Force, Top and Bottom Changes, Stacked Packs, C,nnpiete Routines,Platform Tricks and a comprehensive index. 302 pages packed into a cloth bound book, with 121 .jlustratlons by Francis Rigney. Don’t delay, order sow 1 (American price $4.00-28/6) Sentto you carehlly packed for 12/6 (Postage6d.l
from
THE MAGIC WAND PUBLISHING COMPANY 11, MonasteryGardens,Enfield,Middlesex
TheMagic
WARLOCK’S
PENTAGRAM
of Somerset, D.S.O., O . B E . . JP.. M.I.M.C.
ispublished on the 24th of eachmonthand canbeobtaineddirect from thepublishers for 1/1 per single copy.AnnualSubscription 12/post free. PUBLISHED. BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscriptsforpublicationandbooks review shouldbesent to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES 2,
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND LIST FREE
NEW. Let me know your wants FOR STAMPED ENVELOPE N o Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Circle
l ’ I n ~ - ! ~ l , , n t: His Grace:heDuke
will be glrased to send y o t ~ details of his verylatest effects and all. his old favonritrs in return for a stamped addressed envelop? (foolscap or octavo size please). WRITE NOW, TO
By a MAGICIAN who knows your requirements
0
Here is a book that EVERY magician should have. I t describes dozens and dozens or’ first-rate cardtricks and gi\-esexplicitinatructicnsfor every sleight needed to perform them.
JACK HUGHES
WORK
0
“THE ROYAL ROAD TO CARD MAGlZC ” By Jean Hugard SI Frederick Braue
Vice-President: Douglas Craggs,Esq., ClubroomandLibraryand
M.I.M.C.
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The Magic v Wand, Quarterly. E‘er copy 318 p.p. .4nnual subscription 14j6. The Wizard, 36 pages monthly. Per copy 211 p.p. 6 month, 1216, Year 24j-. John Ramsay’s Cups & Balls (Farclli) 25/6 Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran--& Lamonte) , 1013 Bohleno’s Mysterizs (Rohlen) l0/3 Thanks To Letpz!p (Farelli) 1013 George Armstronq’s Premonition 1013 Entertaining With Hypnotism (Dexter) 1013 Strictly Magic !Eddie Joseph) .. 5/3 Stooging Around (Stuthard) . . .. 513 26 Living & Dead Tests (Garrctt) . . 513 lamesosophy (Stcwart Jamrs) ., .. 513 Year Book 48/49 (few only1 . . . 5/3 Stunts With Stage Money (Lamontc) . 513 Tricks of the Trade (Armstrong) . 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fullyendorsed by this Bulletin Published by thepropnetcmThe
Magic WandPublishingCompany 1 1 M o n a s t e q Gardens Enfield,Middlesex, Son (Printers) Ltd..’We‘ll Croft. Shioley. Y’orkshire. Walkerand
andprinted
by Herbert
*
33
PENTAGRAM An independent monthly bulletin for all who want good magic
V ? .4 &A 5
9kth.mg 195u
9!0?1907-1942.
The clock ticks on, the years roll by, and yet strangely enough this man who gave in so short a time, so much to magic, looms larger than ever over the world of magic. The Jinx, which was far more than a magazine, will always stay as a permanent monument to him.Hiscriticisms, his witticisms and his effects all carry the mark of a man who is not just different, but unique. When, in 1948, I had the privilege of being asked to contribute the “ Annemann Parade ” to that year’s October issue of the “Linking Ring,” I did so with great trepidation, for I wanted to. be good, and it is not always possible to think and write to order. The fact that it received a Caryl Fleming award justified it as a tribute to one whose work I had so long admired. In the introduction to that contribution, I wrote tothe effect thatthe re-publication of Editrivia in book form would be one of the finest comments ever made on contemporary magic. TotheEditrivia I wouldadd .‘ Fifth Row, Center Aisle ” the most honest criticisms ever to appear in any magical journal. we make this This time, for the fourth year, an Annemann number.-P.W.
E D I T O R ’ S - ’ N O T E . Magicians to-day owe a deep debt of gratitude t o Dr. Iaks fov the very manyexcellenteffectsthat he has given to thematvarioustimes.Lastyear his “Superbofh iv sonicPrediction” was a bestseller America and here. All his ideasarecharacterised b y their subtlety. ;h. Iaksspecialises ill close-upandtable work.He has recentlyreturned from a trifi t o South America and in his owl?whrds “e1z:oyed doingmentalism on the ocearz !” P. W .
The effect is as follows :-After a card is selected from a pack, the drawer is.. after looking at it, requested :o write on a small tablet which themagician hands to him or her,the words, “ Whatismycard ? ” Atumbler filled with water is then brought forward and the drawer is requested to dropthe inscribedtabletintoit. Thousands of bubblesobscure the transparency of the contents. The glass is lowered to that the selector of thecardcan seeinside the bubblff diminisbinintensityandfinallydisap-
. . .
34 pear sg thatthe spectator sees written (apparentlyinthewater)the name .of thecardthat he or she chOse ! Themethod is charmingly simple, and is based on an idea of mine that appeared in Jinx, Page 404, entitled " Crystal-Vivo. " The reader will requiresome Alka Seltzer tablets, a small cellu1,oid disc nearly as large as the bottom of thetumbler,andapack of cards. On the celluloid is written in eitherink or penci,l the name of, say, the Ace of Hearts.The .disc is then placed in t,he right-hand pocket or in some placewhere it is easily and i,nstantly accessible. The Alka Seltzer tablet,together with.a pencil, is placed in a right-handpocket.The Ace of Hearts is placed ontop of thepack.Withthe tumbler of water at hand the magician is ready to commence. First of all, the Ace of Hearts is forced on the assisting spectator.Thetype of force used mustbe left to the discretion and ability of the performer. The mostimportant thi,ng, a s at all times when a card is forced, is that the spectator, who has heard of such th,ings, must be convinced thathehashadthe choice of 'any cardinthe pack.Theassistant, whilst theperformerturns aside, is requested to look atthecardtaken, remember it,andthen place itout of sight. Whilst, as.he is half turned to the audience, the magician is giving these directions, ,he obtains possession of the celluloid disc with his right hand. The necessary ch,ores having been carried out- by the. spectator, the magician turns round, and with his right hand (the celluloid disc will not interfere
with this)takesthetabletand pencil from his pocket and requests the spectat,or to write on the tabletthe sentence, " What is mycard " At this point the .left hand-picks up the glass of water and rests it on the right hand. It is held in such a way and at such a heigh,t that the assistant cannot look d,own into it. Thedropping of the tablet is requested. Immediately it enters the water it bubbles away like mad i,n a rather spooky kind of way.Finally,the whole tablet disintegrateiandthe water is clear. ,Whilstthe effervescence is going on the magician graduallylowers his ,hand until, when the effervescence stops, the spectator can lookrightdowntothebottom of the glass andreadthename of his card.The performer finally palms off the celluloid disc and placesdown thetumbler.Theoddsarevery much in favour of someone a t this point picking up the glass and.minutely examining it. Sometimes I varythe presentation. Instead of havingacard selected, I invi,te someone to this write downa questio,n on the tablet. Whilst is being dcone, I am.blindfolded. The spectator is requested to place the tablet on the table, and as he does so I-glimpse %he question. At this point I 'obtain possession of.P white-yellow celluloid disg (against the hand this 'looks flesh colour), and by means of a nail writer, either behind my back or underthetable(accordingtothecircumstances of the performance) I write a very, very brief answer to their question.. From that point onwards the procedure is as with the plaging card version.
I t was in 1940 thatTed Annemannseemed to like a routine of very old card effects routined in .such a way that it appeared t.0 exposethe secrets of card location, andprinted it in the Jinx page 500 as " Secrets for Sale." How often hasaconjurer been asked " Teach me a trick that I can do." .Theroutine was designed t.0 apparently show how " it was d,one." When t,he spectator began to think about it later he would realise that he hadn't a clue, though a t the time the 1,ocations'had seemed so logical. How often, too,haveyouhearditsaidthatitmusttake a considerable amount of time to attain the degree of efficiency in technique to bring about the card miracle. The f,ollowing routine od old tricks is designed to show the skill of the conjurer in controllingcards. An unpreparedpack is used.and therefore the routine can&e performed impromptu. Effect. A card is ch,osen, placed in the pack by the spectator, and shuffled. The pack being returned,
the c,onjurer, with excellent technical skill, locates thecardandbringsittothetopwithout.any appreciable movement of hands or cards. Taking this card and the three othersof similar denomination in the ,other suits, the pack is cut four times bythespectator,andthecards replaced. This time, all f,our cardsare brought t,o the top. The conjurer asks that a few cards be cut from thepack,andheexplainsthatbythe sight of the packet he is able to tell thenumber. He announces the number of the cards cut, and when counted he is acknowledged to be correct. It is now explained that palming (the most corlmon technical termknown tothelayman) must be perfect tobe effective. He takes the bsottom c a d , and palmsit in sucha way that thehandappears t,o beempty whenshown on both sides. The card is replaced on the bottom of the pack and finally shown. To illustrate how thismaneuvrecan beemp1,oyedhe apparently transfers a card into his trouser pocket,
35 Finally,toillustrateall these various techniques, he puts the pack aside and uses 'his transparentpack (invisible pack).Thisis shuffled in mime and an imaginery card is chosen from the imaginery fanned pack. I t is explained that as the card is transparenthecan see what it is, and names it astheThree of Hearts.Thecard is replaced, andthe spectatorentersinto the byplay by pretending to shuffle the imaginery pack. The performerpretend,sto takethe pack and locatesthe 18th card fromthe top. Withsuperb skill he brings it to the top of the imaginery pack and turns it over, mentioning it to be the Three of Hearts. He says he willnow palmit,and showing both sides of the hand, apparently palms and places it int,o histrouser pocket. To prove this, he takes ,out the transparent card and shows it,andthen replacesitin the pocket. A doubt is instilled inthe mind of thespectator, so the perf,ormer emphasises the fact it is thechosen card in the pocket, and t,o proveit he asks the speetator t,o remove it. Incredulously he does so, and t,o his astonishment he finds a real card,andit is the Three of Hearts. Method and Presentation. An unprepared pack is taken and shuffled, a card being removed and noted by the spectat,or. I t is explained that the card is to be replaced' by cuttingthe pack. In d,oing so, with theright hand, separatethebottomcard ,of the cut off portison at the 'thumb end. The easiest way is to cut the pack at the thumb end and lobtain a break, and then with thethumbtip pick uponeextra card from the lower part of the pack and keep a break between this card and the packet cut from thepack.The object 'of d,oing this is thatthis card can be easily and quickly dropped from this portion. It is thenfurther explained thatit is usual to replace the chosen card on the 1,ower half, which he is asked do, tothe right hand immediately comes over this lower half and the card held by the right thumb is dropped on to the ch'osen card. At the same time explaining that the card would be 'lost by completing the cut. Thc right hand, however, immediately moves am-ay. This m,ovement of explainingthe completing of the cut, when the card is dropped fromthetopportion,andthe movement aw.ay is performed instantaneously. The left thumb deals the dropped card ,on t.0 the table, and the performer asks the spectator to take the cards from his right hand and place the card on the table anywhere and shuffle the packet, but on nto account is he to show the face of the selected card. When these cards are returned, the bottom half is placed on top, so that *the position is now thatthe selected card is thetopcardofthe assembled pack.Thecardsare held by the two hands as if to make a pass, ;but the pack must be in full view, the topcard inparticular. A riffle ismade at the corner of the pack and a small movement made. It is explained thatthecard
has been located and brought to the t,op. The top card is revealed as the selected card. Let us assume that the t,op and chosen card is Seven of Spades. After it is shown it is replaced ,on thetop.The conjurer suggests that perhaps the control of more than eone card would like tobe witnessed. Turningthe pack faceupwards, four cards are slipped t,o thetop and the pack fanned with the right hand. The four sevens are raised halfway out of the fan. The last sev,en (Seven of Spades),thetopcard, has of course fourcards behind it. Raising these four cardsupwards with the left hand, behind the Seven cf Spades the five cards are squared, and immediately the remaining sevens are plucked from the fan on to the Seven of Spades, and the whole packet placed on top of the pack. It appears that the four sevens have Becn culled from their positions in the fan and placed on top of the pack which is now turnedlaces d.ownwards. Actually the frour sevens have four cards above them, and itis thesefourcards whi,ch are now dealt on to the table, and the pack placed to ,one side of them. Ask a spectator to cut thepackfour times, and to return one of the four cards each time, so that '
continued on page 38
Flashback Z
Em
E stands for Evanion 1
E N C O ~ E . June 22, 1905.1 '
+ * * The funeral of Henry E. Evanion, the old-time conjurer, who died at, Lambeth Infirmary on Sqturday, the 17th, takes place to-day(Thursday), starting from 12, Methley StreeP;, Kennington Park R%ad, at 10.30 a.m. Those.conjurers showing inLondon, . who can bethere, are cordially .invited to attend. - *They will be paying the last mark ' of respect to. one who. was- contemporary with Anderson, and is, perbaps,thefinal link with those working with the original Hermann. We know of severa$ $h0 will be at the funera1,Land. Houdini, who has all along taken. a great iriterkst in the deceased, intimates his intention . to 'be present. Evanion was c? big man. id his-day, and appeared before Royalty 0.n several occasions; yet he didn't-make the splorge'of it some of those who attend .at Windsor to-day m-ake, but?then. he. was only an Englishman and didn't understand the art of advertising. * ** ?: ! From the 1. B. Findlay Collection
36
This is an item with which A1 has had a great d,eal .of fun. 1 ’know that at Cheltenham last year the ,effect hit the audience so hard that one dealer, completely icoled byit, asked whether it could be marketed. This is rhe effect. The Oonjurer invitesthree members of his audienceto assist him, and they are designated -4.B andC.Onto a nearby table a penny, a half-crown and a ten shilling note are placed, after which the conjureris genuinely blindfolded. The conjurer acidresses A, saying, I want you to walk up to the table and pick up either the penny, the half-crowvnor the ten shilling note and place itinyourpocket.’’ B is instructed to choose either of the rernaini.13 pieces :i mmey and pccket it: whilst C hastotake what is left.The conjurer then proceeds to tell the audience u h o has taken the respective pieces of money. The effect is then successfully repeated twice more. Before detailing the method, I wouldlike tlo pause a while and point out to the reader that the effect deserves allthe presentation itcanget. If the performer treats the.effect in a cold manner and simply,announces that A has so and so, B, etc., the thing bemmes nothing more than a piece of parlourtrickery.Supposingthat in the pick up A has the half-crown, B the ten shilling note and C thepenny,the performer treatsthe pick up in a phych.ologica1 manner, thus :-“ You, sir (to A) deliberatelyavoided the largest amount of money-in fact, y o u thoughtthat m y immlediate reaction wouldshow this,but also that in that reaction my attitude would be that you had gone tothe extrem: andthat you wouldpick upthe penny.But you were wrong-you did not pick u p the penny, you picked up the half-crown and placedit in your pocket ! With B performer works in a similar manner, and C, of course, has no alternative. The method is delightfully simple, and spoiled ( ? ) only because the spectatmor A has to be a stooge. His part is delightfully easy,for all he has to do isto (providingtheeffect is being
performed three times) pick up his pieces of money in the foilrowing order :1st time-ten shilling note. 2nd time-penny. 3rd time-ten shilling note. The stage having been set and the perfcrmer blindfolded, A (inthe first case) when requested steps forLvard and takingthe ten shillingnote pockets it. B then comes forward and takes either the half-crownor penny, whilst C takes the remaining coin. Theperfsrmerthen commenceshis reading, and finishes (in speaking to A) and you placed the ten shilling note in your pocket--is that correct ? ’’ Now if I5 took the coin representing the larger amount, he replies, “ Quite right ! If E tcsk the smaller, he just says That’s right.” This, of cLur2e, aut3rnatically tells the performer which coins B and C hold. When the effect is repeated, the same cccling applies, so’that in the second attempt, if B takes the ten shilling note, A’s wordswill be “ Quite right,’’ whilst if hetook the pennyit wouldbe “ That’srighi.”Thethird rendering is simply a repetition of the first version. l here it is, something which despite the means is an effectivepiece of chicanery. Particularly so if it can be worked with other genuine blindfolded effects (such as ‘‘ In theBag ”), where the performer is a lone wolf and achieving hismiracles by individual efiort. Foremost in this class is a series of card lfocations that A1 has been workng, and with them fooling both lay and conjurer audiences. One final comment : When placing the pieces of money on the table see that the ten shilling note is folded, otherwise a rustle will bebound to result when it Is handled and placed in a pocket. As analternative to folding the note yourself (wh,en you are blindfolded)request one of the three spectators to step forward and fold the note, at the same time telling your audience why you are takingthis precaution.
This is my method of performing this classic, andthe direct effect appeals to a lay audience. Through essentially a close-up item, it is also admirablysuitedfor platform presentation in a reasonably small hall. The follmowing description applies to close-up conditions exactly as the audience sees the effect. Th,e performer borrows a finger ring and puts
it on the openpalm of hisleft hand. This is covered with a handkerchief, and the ring is picked Up throughthefabric and givento somebody to hold. A small tumbler is bonowed, and the spectator holding the ring drops it into the glass, keeping it covered with. the hanky.The performer now wraps a second handkerchief around the centre of a borrowed pencil, which is held at the
“
“
”
“
- 3
37 tends by two otherspectators. Assistant holding glass rattles it-ring is still there. Magician whips awaybothhankies simultan,eously-the ringis seen spinning on thepencil and the glass is empty ! Note that the spectator h,olding the glass himself drops the ring, and it may be heard t,o rattle right up to the second it is seen on the pencil. Actually the method is in many respects similartothestandard mann,er of performing the effect, and I lay no claim to originality atall. I do know, hcowever, that it is reallystartlingand thoroughly practical, because I’ve used it on hundreds of occasions. The presentation should appear to be impromptu, hut some preparation is necesssry. Attach to the centre of a handkerchief a sixinch length of strong chread, to the end of which istied acheap signet ring, and you are ready to perform. Borrow a ring, and have it put on left palm, Cover with hanky, secretly placing duplicate ring beside the borrowed one.Pick up duplicate ring through thefabricand give it to somebody to hold, the left handhaving meanwhile closedon the borrowed ring and dropped casually to the side. The ciupiicatc ring is now drcpped by
spectator into the borrowed glass, which he holds covered bythe handkerchief. Borrow a pencil and place it in the left hand, secretly threadingitthrough the ring. A b.orrowed handkerchief isnow wrapped aroundthe pencil, which is then held by a spectator at each end, and you are ready for the denouement. With assistant holding pencil o’n your left, and assistant holding giass on yaurright, smartly whip away the handkerchiefs and the trick is done. One ortwo tips-if a wedding type ring is offered, let the spectator hold the narrow part of your fake ring through the handkerchief. Make sure that thedepth of the glass is less than the length of thread.Instructyour assistants to hold everything tightly, and, during the surprise at the transposition, replace your handkerchief inyour pocket. Return individually the borrowed articles to their owners, and afterwards your audience will !-lot remember that rrevythirlg. was not bcrrowed. Weli, there it is, and I hope you’ll like itat least, it does work, I’ve proved it !
A few more weeks and the Piddingtons’ book (to be pubhhed by Stanley Paul) shouldbe on the bookstalls. Selling at 8/6, it tells the Piddingtonstory, including their experiences over here. I t particularises certain instances of conjurers doing their worstto get publicity by exposing magical secrets. I t was good to know that in one instance of such exposure, the magical society to which the exposer belonged, shot him out neck and crop. After their reccni broadcasts, the Piddingtons are off to the provinces, and will go across the borderintoScotland.Their first Londcn x;ariety date will be W,ood Green Empire, in April. W e are sincerely hcping that in confcrmity with our statement in the January number, this copy will reach you at a date nearer to the official publication date. Our publisher has suffered from a series of sr.t-backs which have thrown the whole of his prcductionout of gear. As we have mentioned before, the March number willgive the first instalment of Geoffrey Buckingham’s Billiard Ball routine. In the same number we have been most fortunate enough ’to obtain Gustave Southall’s impromptu BridgeWhist deal. Mr.Southall’snameis one that is of conjuring. known ail to th’e cognoscenti Whether he is working with cards or coins, his work and his ideas are superb. Also in the March
isme we have a rather different coin routine by a magician whosewritings are not seen so much as they used to be ; I refer to Harry Latour. Aprilwill be the month that we shall devote to A . C. P . Medrington. Lye hope that this may represent a modern trilogy, and include effects by his cne-time collaborators, H. C. Mole and Ernest Hammond. C3njurers are peculiar peoplein their assessment of . the worth of an effect. Your good conjurer is unmoved by its price. He knows thatthe secret of real conjuring lieswith the coI1jL!.rer, and that success cannot be obtained by extrrtneousdevices. On the other hand, the bad conjilrer assesses the worth of m effect purely on its cost, so that the half-crown effect must be used as a throwaway, whilst ,the five pound ab,ortion that 10,oks like d piecesawn off a pin table takes pride of place whatever its magical pretensions. It was with great regret that we heard of the passing of our old friend Chris van Bern. A brilliant mind that hadproduceda brilliant act, he had a liking for things that smacked of re.al magic and was agreat stud,ent of the occult. He will be missed by all who had the privilege of knowing him.
Tl’e s h o u l l l like to recorti o u r t h t l k s t o t h e ccutho,v 111ltl c t l s o tlle Editor o j “Ulster Mngic” for
prvnlissioll t o ueprillt thc]
clboTlc>
effect.
38
30/ 12/49 Dear Friend Peter, Hereis a 'cute effect fortheFentagram. Pointing to a n ivory statuette 'of Mi-10-fu, a Buddhist Saint, the magician saysthat " Mi-lofu, ,pronounced Mee-loh-foo) is the wisest of men. Havi,ng attained Buddahood, he sees all and knows all. T,o those who believe in him, he gives some secret knowledge and guidance in life. Now that 1 havetold you briefly of Mi-10-fu's wisdom, llet us put him to some practical we." The magi then gets a card selected freely from a shuffled deck. Any other spectatorthen comes forwardto .assist himtodemonstrate Mi-10-fu's power. The helper is madetosay, " I firmly believe in Mi-10-fu. Om hlani Padme Hum-0 Mi Lo fu-0Mi Lo fu." The magi now tells him that he must gaze a t Mi-10-fu, and must not say anything more except the name of the chosen card which Mi-10-fu wil,l reveal to him. The statuette is then put on his palm, and he is able to name the ,card chosen by the first spectator. T E C H NIQ UE F 0R SALE-continued
The pack is a rough and smooth fJorcingpack, for forcing one card, say, the Four of Diamonds. The ivorystatuettehasthe index of a card, the Four of Diamonds in this case, stuck on its bottom with transparent tape. When placed on a spectator's palm,thisindex will face him. Sh,ould any of your read,ers desire to get such a statuette just send me a ten shilling postal order and I will be pleased to send one to him by registered post. Just let me know at 51, Emerald Hill Road, Singapore, S. S. The latest copy of Pentagram to reach me is theDavid Devant number, which isvery good indeed. I am still waiting to read Peter Sutton's Thimble Routine in the next Pentagram. He performed thisat the meeting ,of the Malayan Magic Circle with great success. Withallthe bestwishes for thecontinued success of the Pentagram, Yours sincerely, TAN.
from page 35
the four sevens may be equally distributed the through,cut the pack. When this is done, pack taken is and the preceding movement made f,or the location of a card and the bringing it to thetop. Mention that the cards have been located andbrought to the t,op. Thetop four cards are placed face down on the table andsomeone is asked toturn themover.Th8ey are the four sevens. While th,ese fourcardsare being revealed, quicklycount eleven cards and bridge the 11th card [concave lengthways by squeezing the two long sides bythe fingers on one side and the thumb on th,e ,other.Whenthefour sevens are placed ,on the packthe bridged 'card is the 15th card down. It isstatedthat one must also develop the technique of assessing the number of cards cut. Holding the pack in the left hand fingers on one side, the thumb on the other, ask someone t.0 cut a few cards. I n mostcases the bridge will decide the number cut, whichwill be 15.H,ow,ever, feel f,or the bridge, and if less cardsarecut slightly spread that one andthe cardsaboveit, and quickly count them, usually a very small number. Deduct this number from 15 will give the number in the spectator's hand. It is suggested that palming has to be executed very expertly 'to be effective. During these remarks the bottom card of the pack is palmed, face to the palm, in the right .hand. Attention is n,ow drawn to the card at the blott80mof the pack whichi,s face upwards.Place therighthandon
thiscard, leaving the palmed card on it, immediately removing the right hand as if a card had been palmed from the bottom of the pack. Turn thepack face downwards. Now give an exhibition of the perfect front and back palm with the emptyrighthand.Don't overdo it,andfinally appear to replace the card on the bott,om of the pack. Ask if the card could b,eseen when it was palmed intherighthand. During'this, theleft little finger drawsback the bottom lcard in preparation for a glide. Therighthand now takes the second card fromthe bottom,the card supposed to have been previously palmed, and throws it face lipwards on the table. While the attention isdrawn to the card on the table, the packisturned face upwards, and. a break is obtainedunder the second card from the bottominpreparationfor a triple lift. Also the present bottom card is memorised,let us say it is the Three of Hearts. Take the face up card from the table and place it face upwards on the pack. I t is 'now proposed to explain how this manoeuvre canbe used toapparentlytransfer a card tlo the trouserpocket.Triplelift the three cards from the face of the pack, still keeping them face outwards, insert them half way into the trouser pocket. Then,turnthem, whilststillhalf way out of th'e pocket, face inwards towards the b,ody. The two cards n.ow towards thebody are allmowed to fall right int,o the pocket, and the outside one, which is still held by the left hand, is removed and placed .on top of the pack which has been turned face downwards. Simulate the palm-
39
HOW TO PERFORM MENTAL MAGIC ” by A1 Baker (published by Car1 W. ones, U S A . price $4.50) We always feel that A1 Baker should have started wrltingt Eooks a t an earlier age, for there are few of his like who, having the ability to design and prasent magic, can so describe it that the readercan well imagine the writerexplainingandteachingit. The present book sets out. to teach the reader the cor.rect manner of presenti’ng mental effects. It does not start byexpecting a pre-possession of knowledge; rather 011 the contrary,he goes to great pains to even describe certain terms thatare generally accepted. The book, therefore, becomes a shortbut complete course on this particular phase of conjuring. Inhis foreword, Mr. Baker offers advice that is excellentbothfrom a point of view of mentalism or straightforwardconjuring. H e writes : ‘‘ Any departure fromanapparently simple, direct, andstraightforward handlingis fatal.” Chapter one is concerned with Mr. Baker’s billet (or bill) switch andan effect making use of such switch. Switches are individual things, and most mentalists generally evolve a technique based on the more accepted methods. The writer’s switch is a very nataral one, and what is more there is no hand or fingermovement to be detected. Whilst the description does. not make the series of moves quite plain,. there are some excellent drawings that leave the reader in no,doubt as to the vaxious moves. The effect Bill-epathy which follows is excellent,but unfortunatelycan only be effective with U.S. bills. Chapter two concerns thecentretear.The method is good and dsceptive, butin our own view suffers from the fact that too much handling is carried out by the performer. W e know that with the normal centre tear,thereare sometimessome murderousexhibitions. This present method is a good variant; butis not a substitute.Thesubterfugeis followedby an effecq in which it is used. This effect “ Co-incidentally ” 1s slmllar in theme and method to a.prediction effect by Parrish. Chapter three details three methods whereby an assistant a t one end of the telephone successfully names a card or cards selected or thought of by a spectator. Onemethod may notbe usable inthis country (this.
CAN YOU TELL FORTUNES,” by Victor Farelli (published by Maison Franco Anglaise, obtainable from George Armstrong, Enfield, Middlesex, price 2 / 6 ) . There has not been a great deal of writingabout fortune telling-cum-conjuring. Howard Allbright is o t e of the few that has visualised its commercial possfbilities to the conjurer. I n thia printed booklet of some eight pages, Mr. Farelli takes a siff;lple card trick that appeared h ‘‘ Passez Mulscede (we feel certain that it has appeared elsewhere folr we used it ourselves in the fortune telling settingduring the War years)and gives it a dressing. The author describes the effect in his umal mannerand seems not only to cover all the weak points but also adds many observations regarding opportunities that may arise for enhancing the effect. As many are asked at varioustimeswhetherthey can tellfwtunesthis presentation may prove helpful.
TECHNIQUE FOP SALE-continued from opposite page ing of t’he top card, the front and back palm, and end by stroking the pocket entrance with the hand. Turn over the t’op card of the pack to show that the card has gone, place your right hand into the trouser pocket, and remove thecard nearest the body and throwit on the table. The appearance is that you have shown how to palm a card to the pocket. The card remaining in the pocket is the Three of Hearts. Offer to show how all these various forms of technique canbe appliedin one effect. Fan the pack and ask that a card may be select,&. As the card is about to be removed, throw the pack on thetableand mention you willuse yourtransparentcards so thathe willsee throughitall. Simulate thetaking of a packfrom the coat pocket, fanning them, ask him m t o take a card. He will enter into the idea, and pretend to take one. You state as the card is transparent you can see thatit is the Three ,of Hearts, the cardthat is actually in your trouser pocket. He will, of course, agree with you. Ask him to replace the card and shuffle the transparent pack. Taking the
packyou simulate the riffling of ,the pack and “ No statethecard is the 18th from the top. doubt, you can see it is so.” Y,ou remark : “ The pack is transparent.”Simulate the technique of bringing the card .to the top, turning it over, and apparently showing it t.0 be the Three of Hearts. Proceed with the apparent pa:lming of the card in the right hand, with thefrontand backpalm movements, ending with t,he stroking ,of the trouser pocket opening. Ask the spectator to name the card,he will mention theThree ,of Hearts. Put your hand in the trouser pocket and simulate taking out a card and show,ing it. The Three of Hearts,” you remark,and replace the supposed card in the pocket. Pretend you read from the expression on ‘hisface that the card he chose is not in your pocket. Ask him to nameit again, and request himto remove thecardfrom the pocket himself. He will incredulously place his hand in the pocket, ,expecting to find nothingthere. He will be surprised toreally find a card,andthe double punch comeswhen he findsit is actually the Threc of Hearts.
“
because of the telephone system). Theyareallcarefully designed andfree from the very many pitfalls that are a. usual accompaniment. to such effects. In Chapter four the author deals with a rather clever method of utilising mnemonics to obtain an excellent mentd effect. This is followed by a Bakerised version of Scalbert’s “ Seventh Card,” and a natural effect in which pencil readingand a nail writmareprettily linked together. Altogether in this chapter there are some twentyOf particularinterestarethe one feats or subtleties. envelope switch (so natural and easy that the ham-handed will ruin it in kicking it around), Pellet.reading (a finely routined three person “ read ”), the “ Dead Mm’s name ” (a livinganddead testj, “ Pulse of the People (a mental effect using cards),and “ Unconscious Clairvoyanceb” This latter has a true m a s k touch, and should be killing in effect. Though notstrictlyinthe “ mental ” section, the autho,r includes Jack Trepel’s version of the “ Mulholland ” bell. It is mostr ingenious. The book closes with an appendix in which Adrim Plate’r Mnemonic system(from Hatton & Plate’s “ Magicians’ Tricks ”) isre-printedwith acknowledgment. The book is well printed, easily readable, and runs to someone hundredandtwenty-six pages. Thereare nearly ninetyillustrations.An excellent book. “
“
40
I
I
THE LAST WORD ON BOOK TESTS ! All you’ll ever need PO know about BOOK TESTS, magazine tests,and similarfeats is explainedin great detail in . MainlyMental : Volume 11. by C. L. Boarde, whichhas just beenpublished.Here are dozens of amazingmethodswhichmostmagicians have never even dreamt of! All sorts of ways to force a book, a page, a line, and a word,or (if you prefer) to have a word or passage freely chosen and then discover what it is! Softboards,spiralbinding, well printedby offsetongood paper, 133pages l06 drawings, ($7.50), 53/-.
Qther Wqrthwhile American Books ! “ The CardMagicofLe Paul,” cloth, 220 pp., 313 illustrations, available in England only through us, ($8.50) m/“ Hugard’sBookEdition No. 3, ’V&. and VI,” cloth, 232 big pages, 485 illustrations,magic’s greatest book bargain . . . . . . . . . . . . 30/“ ,Conjuring with Christopher,” boards, 71 pp. 88 illustrations .cloth, . . . .256 . . .pages, . 181(I A ConjuringMelange,” 147 illustrations . . . . . . . . . . . . 12/‘‘ Magic with Small Apparatus,” cloth, 320 pp. 183 illustrations . . . . . . . . . . . . 30/“ Magic without Apparatus,” cloth, 544 pp. 226 illustrations . . . . . . . . . . . . 45/Pleaseremit to Mr. RobertsonKeene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight. V
~
1
l
*
CAN YOU TELLFORTUNES? By VICTOR FARELLI Have you ever been asked theabovequestion? If youhave,thisentertainingandconvincingcardtrick will provideyouwith tbe perfectanswer.Theroutine is describedcompletewithsuggested patter and isembellished withhints on Fortune Telling. Neatlyprintedin an eightpagebooklet, price that no-one can afford to miss.
Per Copy
11, Monastery Gardens, Middlesex
728, Madison Avenue, York, Pa.,U.S.A. “ROUGH AND SMOOTH POSSlBlLlTlES
PETER
”
By Tun Hock C h u m
~
l
Price 51-
Postage 3d.
ARCAS Publications SYDENHAM 404/408 Croydon
ROAD
WORK
ART
By a MAGICIAN who knowsyourrequirements 0
0 0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks madeup. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., LONDON, NI8 Telephone : TOT7742
*
Enfield,
The Magic Circle
WARLOCK’S
PENTAGRAM
A booklet dealing withthe methods and application of the modern principle, by one of the leading experts on the subject. It isrecommended for advanced magicians.
2 / 6 ; postage 2d., from
THE MAGIC WAND PUBLISHING COlMPANY
FLEMING BOOK COMPANY
1
is published on the 24thof each month and can be obtained direct from the publishem for 1/15. per-gngle c o ~ y .Annual Subscription 12/post free. PUBLISHED BY:
President : His Grace the Duke of Somerset, D.S.O.,O.B.E.. J.P., M.I.M.C. Vice-President: Douglas Cnggs, Esq., M.I.M.C. Clubroom and Library
and Museum :
St. Ermin’s Hotel, CaxtonStreet,S.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRmS:
Particulars from Hon. Secretary :
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to send. you details of his very latest effects and all his old favourites in return for a stamped addressed envelope (fnolscap or octavo size please). WRITE NOW, TO
JACK 2,
and a t a
HUGHES
EVSLYN AVENUE, COLINDALE, LONDON, N.W.9.
King George’s Hall, W.C. Francis White, 39 Alverstone Avenue,
Wimbledon Park,S.W.19
Magic Wand Publications The Mygic Wand, Quarterly. Fer copy 318 p.p. Annual ‘ Subscription 14/6. The Wizard, 36 pages monthly. Per kopy 211 P.P. 6 month, 12/6. Year 24/-. John Ramsay’s Cups & Balls(Farelli) 2516 . . 17/10 Convincing Coin Magic (Farelli) Mastered Amazement (Koran & Lamonte) . . 10/3 Bohlen;r’s Mysteries (Bohlen) . . 10/3 Thanks T 6 . -Leipzig(Farelli) . . 10/3 G e q e Armstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 10/3 Strictly Magic (Eddie Joseph) . . 513 Stooging Around (Stuthard) 5/3 26 Living & Dead Tests (GaGett) ..’. Jamesosophy (Stewart James) . . . . Year Book 48/49 (few only) . . . 513 Stunts With Stage Money (Lamonte) . . 5/3 Tricks of the Trade (Armstrong) . . 217 . )
CONJURING BOOKS FOR
SALE
OLD ANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers -
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
:{:
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Mocastery Gardens, Enfield; Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietm The MagicWand Publishing Company, 11, Monastery Gardens, Enfield, Middlesex, and printed by Herbert Walker and Son (Printers) Ltd., Well Croft, Shioky, Yorkshire.
*
41
PENTAGRAM An independent monthly bulletin for all who want good magic
om s
e
V ! .4 J!k6.
195U
As you may be aware, dear card enthusiast, the literature of magic abounds with P,oker deals, a game, alas, not so popularinEngland. On the other hand, the games of S,olo-Whist and Bridge are played extensively. So now would you like to seat yourself at a cardtable,take a borrowed (repeat, borrowed)pack of cardsand proceed to deal some marvellous hands at these games ? But first readthe general effect.
Another 'excellent way is to openly count the cards face up on thetableand jog the clubs slightly to one side, then sweep up the cards and strip ,ant thecards to thetop (see Wilfrid Jon$on's " But no,t to play,'' page 114).
The magician, say after a card game, 'brings the conversation round t.0 card sharpers and their skill in controlling certain cards. After makingsure the borrowed packis complete, he extractsIthe 4 aces to demonstrate his remarks. The Aces are shuffled intothe -pack andfour hands at S.oEo are dealt ; the performer gets the 4 Aces. He follows this by dealing an opponent a Whist hand which does n,ot contain a single trump.Finally he deals himself a Bridge hand containing all the t,rumps. A routine with .enough action to satisfy anycardplayer,or fellow magician.
Say a few words on various card games and mention the odds of getting more thanone ace in a deal and offerto show how.easy it is f,or a sharperto get allthe 4 aces.
Preliminaries. Seat yourself atthe cardtableand any pack of cards offered.
accept
It will be necessary, fust of all, to cull all thy cards of cne particu'lar suit,say clubs, and You may bringthem to the top of the pack. own method of doing this. I t is have your easily doneunder the pretext 'of c,ounting the pack to check if it is complete. One way is to injog the clubs slightly as you run .the cards from hand to hand. Then 'strip out the projecting cardsat the finish and depcs't of the pack. (See " The Lindake themontop Lend me your pack method "-Farelli's pages 15/16). "
"
So let us assume you have,the 13 clubs on t,op of the pack, .and you are ready to commence the routine.
1 . Fan thepack in the left handandtakeout any 3 cards together and plac,e them ion the 1.eft handside of thefan(top).Then remove any club (preferably a spot card) from theleft(top) of pack and place it on the bottom of the pack. Dbo thiscasually as you talk. 2. Openly remove the 4 aces by picking them
out of thle fanned pack and place them face up on the table. Close the pack butmark off and keep a finger break to separatethe f,our bottom cards from the rest of the pack. 3. Arrange Ithle 4 aces meticulously on the table using theright fingers.At the same time dropthe left han'd over yourlap momem tarily and deposit the 4 bottom cards (which contain a club and 3 indifferent cards) on yourlap. (These 4 cards are not needed in the routine which follows).
andstatethat owing to the particular method of dealing it is very easy in this game for a. cheat to get several diesired cards by using a s!mp!e
4 . Mention the game (of Solo
42 shuffle. Youdemonstrate by placing the 4 aces, face up, on ‘the bottom of the pack. Holdthepack i,n theoverhand shuffle position, with ,the left thumband fingers press onthetopand -bottom cardsand lift the rest of ‘the pack. Thumb two cards from the top of the pack on to these two cards and drop the rest of the pack on to the 4 cards. This action ‘takes but a couple of seconds. Lay the pack o,n the table and make one or two false cuts. 5. Demonstrate how cards are dealt a,t,,Solo ; in threes. Deal 4 handsas follows : Deal 3 cards singly, one on top of the ,other, to your 3 left, ,then 3 moreopposite toyou,then more to the right and 3 to self.
Replacethe cutand false shuffle and false cut the cards. D%ealout 4 hands as in Whist, the first hand to fall to th,e spectator on your left. (Be sure not to disturb or disarrangethecards). TaJk about ‘the ,odds against sucha deal, thenpick upthe spectator’s hand. Turn the cards over singly as you deal them‘hapazardly on the tableand show the hand does not contain a single club. 8. Sw.eep thehand
aside. Ask the spectator if heplays Bridge.Whatever the answer say “ Let me show you how tto get a grand slam with the suit we have just selecited.”
9. Assemble the 3 face down hands (any order,
but without disturbing the individual sequence). False shuffle and cut fairly and allow continued on page 47
Commenceanotherroundbutthistime you pretend to deal 3 cardson eachhand This is but onlyleave 2 cards each time. covered by spreading the cards in hand slightly and sliding off two cards instead of three. After this, deal anotherroundbutdrop 3 cards on each hand this time. Repeat with an,oth,er round of 3 cards eachhand.This timeit will be ‘seen that three o f ;the four face up acesfalltothe dealer. You now have 4 cards left in your hand. Deal !these one card to lea,ch handandthe remaining ace will also arrive in the dcealer’s hand. 6. Allow this sharpers’ trick to register. Adjust the dealer’s handbyturningthe aces face d,own but slip the A c e of Clubs to the bottom of the packet to join two more clubs already there.Dropthepacket in the ,left hand, and pick upany one of tbe lother hands 3 clubs at the face-check (whichallhave if youlike).Dropthepacketonthe 12 cards in the left hand. Now crimp ‘these 24 cards upwards. GatherupthIe oth,er two hands(anyorder)anddropthemonthe cards in hand. There will be a strong bridge inthe centre of the assemblled pack.Lay the pack i,n the centre of the table.
7. Mentionthegame ‘of Whist.Statethat the next best thing to having a gosod hand oneself, is to give your opponent a bad one. Say Let me show you what I mean.” Nod to a spectator on your 1,eft and ask him to imagine he is playing a game of Whist Say Suppose be first decide on trumps.” Reachover and apparc.ntly cut thecards ;:t random,actually at the bridge, when aciub \vi11 show. Call clubs trumpsandstate you will deal him a hand without a single trump. ‘ l
Flashback ! F stands for Field
JMEATRE k JVIACIC, NearCENTRAL
ROYAL
STAGE,
AQUARIUM.
.AAAAAAAAAAAAAAAAAAAAAAAAAAA4AAAAAAAAAA-AAAAA~
PROFESSOR FIELD’S +@GtRANDBP
Magical Entertainment. GREAT NOVELTIES c
A N D
STARTLING WONDERS, INCLUDING
PROFESSOR FIELD’S LATEST INVENTION, .I(TXE#b
“
GA I NT CARD FRAME.”
PERFORMANCES 3 TIMES DAILY, Admission - O N E SHILLINaBack Sealts
-
SIXPENCE-
GEAMIW~R’SPrinting Works, 24, Qate Street, High Holborn.
From
the
J. h’. Findluv Colle:ti
!
43
Eddie Joseph’s Let’s go for a Vacation,’’ ( “Linki,ng Ring”, October, ’49) is the best variation of the ‘ Dead Name Test ! that I kn,ow of, h,owever, herek an effort of my ownwhich I’ve found goes d,own very well. “
The requirements are : 1 Autograph Book. 1 short, hard pencil, sharpened to a point. (“ Mainly Mental ”). Theautograph book is handedtothe most prominentmember of the audience (Presiden’t of Society, Mayor, etc.).He is asked to imagine that heis some famous and well-known person, i.e., sportsman,artist, actcr, politician, etc., who is being asked {to sign an aut,ograph book; he is asked to turn to any blank page and to write his chosen ,name anywhere ,on that page andanyhow he likes, i.e., not necessarily horizontally, but diagonally,etc., if hewantsto. This done, youpatteron :to the effect that everybody has seen an autograph b.ook, ,the pages filled, higglety pigglety, with signatures;the V.I.P. is asked to add some more famous names on the same page as his chosen one, until the page is filled up with names, written in all directions.
Y,ou now take the book, “Let’s see whlo we’ve got with us t,o-night!” “ There’s .................... , ................., and .........:...... , etc. Well, we’re in good company!” etc. You now ask the V.I.P. to concentrateonvariousaspects ofIthe chosen name and build up, a la D’ead Name Test, ,to the final denouement of the full name. The spectator can, of course, show the other spectators (the chmosen name b.efore the other
EFFECT,-The hands are shown empty and a coil1 isproduced between the first and second fingers of the right hand and placed between the first finger and thumb of the left hand, edge on. Four coins are produced in this way and placed betnectn {thefingers of the left hand. The right hand is shown empty and the coin between the first finger and thumb is taken hold of by the tip ‘of the first finger and thumb of the “ split in two, making five in righthandand alll. The fifthcoin held between theright first finger andthumb multiply to four coins being run up on edge between the fingers of theright hand making eight coins in all. ”
names are ad,ded, and thus otherspectators can participateinthe revealing of different aspects of that name. Now, the be.auty of the above effect is this. After the successful conclusion of the test YQU get the V.I.P. to autograph and d.ate that page. As time goes on you arethe possessor of a unique “ ,objet-mentale,” ,each page being signed by some well-known citypersonality andthe ‘names ’ that he chose. You’ll find that spectators show a great interest in this, and pass the book around, flipping through thepagesand commenting on the signatures therein. The method, of course, is,the old idea of a fine-pointed pencil leaving a fineline at the beginning of the first name written. However, I always do a bit of ‘pencil-reading’ as the chosen name is written; justto makesure! I have, on occassions,used an idea of my ,own, it is this : during a previous test I obtain a sample of the V.I.P.’s handwriting(question on billet, etc.), the salient characteristics {of his writing are noticed and remembered. In theautographtestthe V.T.P. signs the fam,ons name and other spectators fill in the remaining names. A study of the handwriting reveals the chosennamle; this needs practice, ’however, and is only used occa$i,onally. The broken-pointed pencil gag can be used, of course, and .also Eddie Joseph’sidea, using boot-black ,or mascara on thetip of the pencil, but this ‘entails rubbing the page andis not wholly satisfactory as far as smoothness of routine is concerned.
The coins inthe left hand .are droppedinto a dish or bowl on the table followed by the four coins between the fingers of the right hand. The two handsare placed together palm to palm and a shower of coins run through thehands into lthe bowl. To accomplish this effect requires considerable. practice and the following sleights are necessary. The ability to hold .and produce coins, one at a time, from thecrutch atthe base of the first finger andthumb .of the righthand, also to be able to run four coins up between the fingers of the right hand edge o,n. contTnti4e.d ‘ori page
47
44
It will be *obvious tothe reader, thatthe principle difficulties in arr.anging the sequence for an ,eight Billiard B.all producti,on are :
A few prelimin.ary remarks regarding ithe properties used (i.e., the billiard balls and the h,olders) will not be out 'of place at .this stage.
(a) That as billiard balls must necessarily be a time, considerable produced one at ingenuityisrequired to evolve suitable moves for (completing the production, because there comes a period about halfway through the sequence, when one hand is fully ,occupied incontaining the balls already produced.
The best type of ball to use is undoubtedly that made of a fairly hard wood, provided a good enamel finish can be obtained. On the other hand, from the point of view 'of appearancethe ivorine or 'even real solid billiard ballsarethe best, although the former suffer from thefact that they do not make a very gomodsound when kn,ocked against each,other, whilst thelatterare ra'ther too heavy for some performers.
(b)That (theproblem described under (a) is intensified when the production of the lastballisreached,and a difficultonehanded production of some kind becomes necessary, if a graceful finish is tobe attained.
Fsor these reasons, therefore, many wouldbe perftormers of a n eight Billiard Ball production have " gat stuck " when .about half-way through the arrangement of the sequence, and have either given up in despair or else been satisfiedwith a final result that leaves much to be desired. At the end of this article I describe in detail my aown sequence $or the productimtof eight billiard balls which I have performed for nearly seventeen years ; it has, of course, been designed to suit my own style and to include my own particular sleights buteachindividud perf.or.merwill be able t.0 introduce the necessary alteratimons to me& his own requirements. Themainpurpose of describing my moves is, theref,ore, to provide helpful sug,gestions t~ enable myreaders to ,ov,ercome the difficulties described in the foregoing, when developing their own .act. The chief aim En designi,ng an eight billiard ball productimon sh,08uldbethe adoption, tothe fullest possible extent, of the " lone ball ahead '' principle.
F,or the benefit ofthlose who have not previously heardthis term, it simply means that as far .as possible, the performer has ,obtained possession of one more ballthan th:e one which is about t'o be produced. T,o put itanother way,itmeans thatthe performer is in the position of being 'able to produce two balls without (obtaining a further load. I t is within thle realms #of possibility tobe tw,o balfls ahead, or to be in the position of being able to produce three balls without recourse to a further load.
The mistake should not be made of attempting 'to 'use a ba,llwhichistoo large for the performer's hand, having in mind that the fingers arefully stretched when hmolding ftour billiard balls between them. The balls I use are only 2iin. diameter, but they are so in proportimon to the size of my hand that they appear to the audience tobemuch larger.
In my own sequence, I make full use of .the shell, and here a good fit lover the ball is essential.Ivorineisthe best material forthis most a fit useful piece ,of " apparatus," withwhich can be obtainled, such that the ball and shell can be turned wrong side to th,e audience without fear of deteclti,on. There is a tendency amsong magicians t,o-day to despise the use lof the shell, but in my (opinion no would-be billiard ball manipulatorcan afford to d,o this, because with the skilful useof the .shell many entertaining effects can be ,obtained such as are not possible by any other means.
It will be lobserved from the description of my own eight ball sequence that the h e l l is used to its fullest extent for the first half of the prois discarded ab,out half way duction, butit through, when it is no longer possible to use it effectively. The productilon, therefore, finishes with what can obviously be demonstrated as eight solid billiard balls, andto the uninitiated there should be no suspicion ,of a shell ball having been used. The best type .of Billiard Ball holder for allpractical purposes, is that described by Burling Hull in his treatise on Billiard Ball manipulation.This consists of a /tubemade lof some silken fabrichaving a diameter somewhat larger thanthebilliard balls, a.nd a length to suit the one number of balls tto be contained inany 'holder.My town holders are made of black si'lk george'ttewhich is of the righ't texture and very strong and durable. One end of thetube must have an elastic band sewn in, somewhat smaller
in diameter than the balls. For those performers wh,o wear a .dinner jacket,the holders situated under the edge .of the coat can bebacked by a strip ,of stiffcelluloid'or similar ma,terial, so that itonly requires a pressure ton theball in the holder, with the inside of the wrist,to cause the ball to be squeezed through the elastic band and dr'op intothe fingers, which should be curled under the ledge,of the coat to receive it. I n this way a ball can be taken out of the holder without the necessity of 'turning that side o f the body away from the audience.
In my ,owncase I always wear a tail c,oat andthusmy loads are obtained bythehand which isawayfrom ithe audience and consequently I dispensewith the 'celluloid strip. In the descriptimon of my own sequence whichfollows, it is assumed that the readeris familiar with the common terms referring to standard sleigh,ts, and, of cmrse, the usual abbreviations are used for right hand (R.H.) and left hand (L.H.).
Requirementsm. 8 solid billiard balls. 1 Half shell to fitclosely over any of the 8 balls. 4 Billiard ballholders as described above, one to hold 3 ballsand 3 to hold one ball each.
Sooaer or 1,ater it seems ;to fall t8o the lot of alleditors of magical publicatimons to apologise f,or their ignorance or carelessness in publishing witbout acknowledgment an effect already described or marketed. Ours is the plea of ignorance,and when we published in ourJanuary number an anglicised version of '' Pay Day " we were unaware thatour friend B.ayard Grimshaw hadthroughHarryde Seevahmarketed a similar version in 1946. ?Ve knowforcertain that Will Dexter was also un.awa.re of the f,act. In maki,ng ithis apology we ,h'ope that th,ose who intend tfo wlork the effect will take advantage of the fact that printed envelopes and tickets ready for the ,effe.ct c,anstill be supplied byHarryde S,eevah at the most moderate price of 3/6. Bythe time this issue appearsinprintthe Magic Circle Banquet will have taken place and $hatthe nextbigevent will bethe Festival of Magic that 'will be held in the customary first week 'of October. Plansare alreadyon foot to make this the one magical show of the year that cannot be missed.
Disposition. Thelarge holder sh,ould be pinned. so th+ it hangs dcown under the L.H. side of the jacket or coat tail (as the case may be) so that the bottom 'of the holder with the elastic band sewn in is levelwith the fingers when natural posi'tion. the arm is hanginginthe This 'h,older contains 3 balls, the middle one of which is fittedwith the shell.
One of ;the small holders containing one ball shcould occupy a similar position on the R.H. side. Theather two holders each containing one ball should be pinnedunder Ithe waistcoat so that the ballisas low towards the edge of the waistcoat as practicable. The remaining two b a l s are placed in the ,R.H. trousers pccket. Sequence of Production. Each move inthe following bears an i,ndex number for convenient reference.
The performer',s act should be so arranged thatjust pri'or to commencing the Billiard Ball produdion his right side isturnedto th,e audience,possiblyto lay something ,d,ownwhich has been used for the previous effect. This gives the opportunity of gaining possession of the first ball from theleft h,older and palmingit in the left hand. [ T o b e continued3
Duringthc February meeting of the Committee of Man.agement of NAMS, perhaps lone of the most interesting contributions was the display of posters and programmes fpom the Magic Circle museum. BothArthur IveyandFrank Fewings worked hard 'on *he ,Sunday rnorning so that the late getters up could feast their eyes on the relics of a past age. Particularly interesting were the posters of Cazaneuve and hisniece, a Robed-Houdin poster that was modern inconception and a programme of the Royal Command latter was a properformance in 1911. This gramme of " greats." Thefactthat it included Devant makes it a magical collector's piece. After the most interesting article on Evanion in a recent " ,Sphinx " it was plea'sant to find some more Evanilon memorabilia and also twomembers who had recollections of one of his last performances. Our belief 'thatthe Torrini-DeGrisy story was nothing more than a myth was recently shaken bythe 'sight of a cutting regarding the Comte DeGrisy.
MAGIC G O ROUND-continued from page 45
The greatestjinx of a trick is goi,ng tobe worked again, this time by Maurice Fogel.We refer of course to the Bullet Catch. I t is d’oubtf u l if anyone could sell it better, but one wonders how suchan effect tiesup with mentalism. In 4he modern version it is a risky business. Stanley Collins has sent us along a very nice “ transcendental contribution touching on his book test ” and it will appear in the May issue t,ogether with a typical Francis Haxtmon effect, “ Restless Choice.” Our friend Leslie May tells a ,nice story about a mentalist whmo rang his local exchange. ‘ Number,please,” replied to operator, to which the Oh, any number between,one mentalist added and ten.’’ “
Finally, here is a quite effective feat that we sawourdaughter use the other evening. The requirements are ‘one ordinary pack of cards and one pack ofJumb4o cards prepared as described by us ,on pages 20/21 Patterns for Psychics.” (This, as some will know, enables the magician to fan the pack $showingboth sides, and yet one of twelve cardscan be f,ound reversed).The twelve cards corresponding with the twelve reversal ” cardsinthe jumbo are now separated from the remaining cards in the small pack “
and placed on t’op!of this pack. With fhe Jumbo pack in its case ,or encirded with an elastic band the magician is ready. He mentions h,ow certain people and even .articles have a bond #ofsympathy c c Here is such an instance.’’ between them. The large pack is picked up first and fanned and. then placed back )in its case. The smaller pack is picked up, false shuffled, and approaching a spectator a bunch ,of cards (ac,tually the twelve!) is taken from the top of the pack and fanned in front %ofa spectator, who is asked to think of one card. The bunch of cards is now handed to him. The remaining cardsaretakenand dropped on the table, theJumbo p,ack being picked up. The spectator is .asked to rem,ove his th,ought of cardfrom thebunchand sandwich it between the other cards, face uppermost. As ,hedoes this thecard is noted by the magician. The Jumbo. cards are now removed from their case and fanned faces t,o the audience, the Jumb,o corresponding to the,thought ,of card being separated inthe prccess. The latter will of course haveits back t.0 theaudience. The spectator is asked to name the card he thought ,of (the thought mo’tif you willnotice is plugged all the time). When thi,s is done the fan is slowly turned round showing the card reversed.
“
‘‘ MAINLY MENTAL,” Volume 2 (published bythe author, Mr. C. L. Boarde, of 8012, l90 Street, Jamaica, New York City, U.S:A., price $7.50, obtainable through the Fleming Book Co.). Theenthusiasm combinedwith expert knowledge of the subject made the first volume of “ Mainly Mental,” a n essentialforthose whoviewmagic in a n intelligent manner. The painstaking thoroughness with which AIr. Hoardehad written his thesis not only brought forth eulogies from the magical Press, but cne’s magical appetite was whetted with the knowledge that there was more to come. Volume two dealswith Imok testsandhadthis particular phase of mentalism been under revie\v a year ago, \ye should have caxpressed our doubts as to whether this presentation of direct mind reading merited such ;L niche. The way, however, thatthe public in our own country has accepted \vith such great credulity the various book tests undertaken by the PiddiI@xm team causes us to revise our ea.rlier opinion. 1 3 0 0 1 ~tests, houmm, are merely a novel presentation o f telepathy, but iu that novelty are to be found some subtletiesnotto be applied t o more straightforward prcsenbtjuns,i.e., a billet test. ilk. Boarde does not set out to present an encyclopaedia of lmok tests, forwith a true understanding of what is R good mentnlistic platform he avoidsthose, so many,tests smell of conjuringand andthereare sometimes bad conjuring at that.Let us quotethe author’s o\vnwords : The reader Lvho hasmastered be able a n understanding of theinformationmaynot
t o claim complete and exact knowledge of book tests. However, he would be justified in believing that there isvery little indeed onthesubjectwith which he is not familiar orcapable of analysing to a satisfactory solution.” Section oneafter disc,ussing the book test generally covers a wide ground regarding thematter of forcingbook,page and line followed by a short .discussion onthematter of references. Section two deals \r.ith thestrict force,meaning thatthe method of apparent selection resolves itself intoone word (or line) in one particular book. Mr Boardefirst of all dealswith 1)ooks that have been specially prepared, after \vhich under the title of “ Aristeas Redivivus ” he tackles a t length many paxt is subterfuges in whi,ch markers are used.This a n excellentmonograph,fornotonly is thenatural handling of markprscovered, but also thetrick book, for specially aligningmarkers comes under consideration. Spinelxeaking (of lmoks) is covered, andthere is a beautifulmethod of switchingexplained. I n this sectionappears our own application of a card stab principle as a means of selection.Theprepared section concludeswith certain observationsregarding specially nade books. The unprepared part goes into methods. of forcing, using borrowedbooks as well as one’s own. The tying up of billets with books is also covered. The latter part of the section deals in a most comprehensive waywithfakedmarkers,andotherextraneousmeans whereby the force is brought to the hook.
“
Section three is entitled
“
TheRangingForce,”
47
'' I M P R O M P T U
S O L O - W H I S T - B R I D G E I D E A L "-continued
fiom page 42
a couple of straight cuts by spectator, but be sure there is a club on the face at the finish. Quickly re-deal the 3 hands, th.e third handto yourself. Thisaccomplished,sweep aside the first two hands and pick up-$he last hand. Turn over the cards singly and scatterthem face up. It is a full hand of clubs.
At the first opportunity quietly replace thefourcardsfromyourlap with the rest of the cards on the table and walk away.
CREDITS : To Fred Robinson, for the Solo D.eal. To Jake Stafford, fm the use of 48 Cards. To Wilfrid Jonson and VictorFarelli for t4heCutting.
H A R R Y L A T O U R ' S COIN MAGIC-continued from page 43
Thesatup of this routine isas followssmall hole Twenty-fivepalming coins havea drilledhroughthecentre. Florists' wire isrun throughthestackandbent or twisted so that the coins ,can be retained and at the other end a loop is formed so that the thumb of the left hand can be slipped in toit.Thisstack, with the Imp uppermost, is placed' in the coat pocket just behindthehandkerchief.
If this effect is ,used asan opening, eight .coins can be palmed in the right hand and transferred ,to the crutch between the base of the right first finger andthumb.The second finger goes underthe stack and draws 'the bottomcoinand slides it betweenthe first and second fingers. F,our coins are produced and placed edge on between the fingers of the left hand.The right hand adjuslts the coinsand 1,oads theotherfour from the right hand o'n top ,of the coin held between the first finger and thumb of t,he left hand. The first finger and thumb of the right hand takes h.old ,of Ifhe four coins that have been loaded on to 'the 'original coin held and opened rather like a book and without any hesitation the f,our coins
heldbetweenthe first finger andthumb of the right hand, shown as one, are run up between the fingers, edge on, making four coins in each hand. The coins in the left hand are dropped slowly into a bowl and then as the right hand starts to drop the coins, the left hand is placed on the lapel of the coat andthethumb goes through the wire h o p holdingthe stack andliftsit upwards and the stack rests in t,he palm ,of the left hand.Theright 'hand, n,ow empty,and the left hand with stack in palm are placed together over the bowl, a pull on the 1,oop and a slight rubbing movement,the coins will come 10,ose andare allmowed to fall into the bowl.
I should like to makea few statements re this routine. In holdingthe eight coins to start with, it is usual for me to tilt them down towards the palm which gives better cover than the usual meth.od. I make no claim for originality in (the methods used, but it is the application #ofknown methods thatmakes this routine different. By painting the 'top coin of the eight flesh col,our on one side will stop any flash."
B O O K S and R 0 UTI NES-continued from opposite page
i.e.,method whereby the mentalist knows into which group a certain word falls but either by means of trial anderroror some subterfuge that will helphim in estimating the position of the word. Part " A " of this sectionthereforecoversmeans .of marking books so that the mentalist is aided in his estimation of page. In thispart means of " keying " arealso discussed. Section " I3 deals with unprepared books, and besides actualmethods some excellent auxiliav subtletiesare provided. 'I
Section four, " PostFactum," is dividedinto two parts A and B, and dealsrespectively jvith methods applied to prepared and unprepared 1)uoks that do not fall underthe previousheadings. Mr. Bosrde hasagainproduced a. book that will nwrk on book tests ; i t sholvs becomo thestandard intelligence, a love of good magic andgreat knowledge. If magic survive. (and if mentalism falls it will not)this book \vi11 read as good in n hundred years'time as i t does to-day. 1TnI.eservedly recommencled.
FOR
SALE
Principals only Bred apply. 1
ONLY
NELSON PREDICTION L'sed. but
Cost $lW.(lO.
pills
In
( ' X C I I!(.nt
CHEST condition.
20q0 Import I)ut).. and 33:% Purchase Tax
1 ONLY
NELSON SECRET INVENTION t: .ting. !t'* perfor,nan(.c is h: t t u t h a n thc. ;dvertiscrl claims. XIo,, lmy),krt Duty, .:m1 33:,':, Purchas: T:s 0 S I . Y cqlr;p-ncmt cb-pccinliy dwignrd for tll:, ;!?intl~,~z.drr.
N: W . r:?(ratcd cnlv ior ('nst
i407.00. pltls
T h i s i<
it::.
Mered forsalebecausebusinessand otherreasons preventthe owner from raking advantag- of an offer to tourthe No. 1 Music Halls. The purchaserwillbe put in touch with the Agellt, if he wishes. Send off .rs to
'BOX N . l , c / o THE PENTAGRAM
THE LAST WORD ON BOOK TESTS ! All you’ll ever need t o know about BOOK TESTS, magazine tests,and simliar feats is explahedingreat detail in
Mainly Mental : Volume 11. by C. L. Boarde, just published.Here are dozens of amazing methods which most magicians have never dreamt of! All sorts of ways to force abook, a page, a line, and a word, or (if you prefer) t o have a word or passage freely chosen andthen discover whatit is! Available inEngland only through us. Soft boards, spiralbinding, well printed by offset on good paper, 133 pages, 106 drawings, ( $ 7 . 5 0 ) , a t ourauthorized “ the share loss price ... 451”
Other Worthwhile ‘Amet&an &ks
!
The Card Magic of Le Paul, available in England only from us, 220 pages, 313 ill., ($8.50) ... 601Hugard’s Book Edition No. 3, magic’s greatest bargain, 232 big pages, 485 ill. ($5.00), “ share the loss ” price . . . . . . . . . . . . . . . 30/Conjuring with Christopher, boards, 71 pages, 88 illustrations . . . . . . . . . . . . . . . 181Magic without Apparatus, unparalleled, 544 pages, 226 ill. ($7.50), share the loss ” price ... 45/Encyclopedia of Silk Magic (Rice), 500 pages, 1800 ill., ( $ l O . O O ) , at our authorized ‘‘ share the price . . . . . . . . . . . . . . . m/loss Please remit to Mr. Robertson Keene, c / o Riverside, Victoria Road,Yarmouth, Isle of Wight.
..
..
FLEMING BOOK COMPANY 728, Madison Avenue, York, Pa.,U.S.A.
CAN YOU TELL FORTUNES? By VICTOR FARELLI Have you ever been asked the above question? If you have,thisentertainingand convincing card trick will provide you with the perfect answer. The routine is described completewith suggested patter and is embellished with hints on Fortune Telling. Neatly printed in an eight page booklet, and a t a price that no-one can afford to miss.
Per Copy 2/6 ; postage 2d., from
THE MAGIC WAND PUBLISHING COMPANY 11, Monastery Gardens, Enfield, Middlesex
r
“
ROUGH AND SMOOTH POSSlBlllTlES ’’ Ey ‘Tan Hock Chuan
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subjeer. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications 404/408 Croydon
SYDENHAM
ROAD Surrey
PETER
The Magic Circle
WARLOCK’S
PENTAGRAM is publishedonthe 24th of eachmonthand can be obtaineddirectfromthepublishersfor 1/1 per Lingle copy.AnnualSubscription 12/post free. PUBLISHED BY:
President : His GracetheDuke
of Somerset,
D.S.O..O.B.E., J.P., M.I.M.C.
Vice-President: Douglas Cragps, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscriptsfor publicationandbooksfor the: review should besentto EDITORIAL ADDRESS:
ParticularsfromHon.Secretary
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
I
ART
WORK
By a MAGICIAN who knows your requirements
0
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings,
JACK LAMONTE 28, WARWICK RD., LONDON, N18
Tc!ephone : TOT7742 ’
JACK
HUGHES
will be pleased to send you details o f his verylatest effects and all his old favourites in retnrn for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK 2,
HUGHES
EVEI.YN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW.Letme know yourwants LIST FREE FOR STAMPED ENVELOPE ~No Callers
Magic Wand Publications v
The Magic Wand,Quarterly.Fercopy 3/8 p.p. Annual suhscription 14/6. TheWizard, 36 pages monthly.Percopy 2/1 p.p. 6 month, 12/6, Year 24/-. John Ramsay’s Cups b Balls (Farelli) 25/6 Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & T,amonte) . . 1013 . . 1013 Bohleno’s Mysteries (Rohlen) Thanks To Leipz:g (Fal-elli) . . 10/3 George Armstrong’s Premonition 10/3 Entertaining With Hypno:ism (Drxter) 10/3 Strictly Magic (Eddie .Tosclph) . . 513 . . . . 5/3 Stooging Around Wnthardi 26 Living & Dead Tests (Garrctt) . . 5/3 Jamesosophy (Strwart Jarnvs) . . 5 0 Year Book 48/43 ifcw only) , 513 StuntsWith Staqc Money fT.amnnt?) . 513 Tricks of the Trade (Arnxtrnngj .. 2/7 ,
p -
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDD1,ESEX
From the publishers T H E MAGIC WAND PIiRLISHING CO., 11. Monastery Garden., Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin
Publishrdbythe
proprietc-o The Magic WandPublishingCompany, Walker and Son (Printers) Ltd.,
11, hIonnstery Gardens,Enfield,
Well (‘roft. Shipley, Yorkshire.
Middlesex, andprintedbyHerbert
*
49
PENTAGRAM An independent monthly bulletin for all who want good magic -.
V ! .4 &a. 7
9?&ecm sAit?&q
Up& 19.50
>ledrington, the son of 1,iverpol's chiet phutogmpher. was born in the year 1898. Hedied in 19.94. His likingfor magic began at an earlv age, and when onlyseventeen he had a book, " Magical Novelties," t o hiscredit.He was anamateur in ever?sense of the word ancl his predilection was fornon-mechanical magic. Nearlv every card manipulator to-day must rwe MedringtAn a dkbt for the prettv sleight he originated. whereby a silk is drawn1,nrktiards and forwards through t.he fingers whilst cardsare back or front palmed.He became a mamber of the Magic Circle in 1916 the headquarters then heing a t Anderton's Hotel, in FleetStreet.Henot onlyperformed at a numher nf Socials held there but also appeared at St. George's Hall in the Grand Seance held there in 1921. H P was a distinguishedperformer and in hismanner therc was to he found a kinship withDexter.
Hammond hledrington. H. C. llole, Ernest Jack le Dair were mainstays oi the old Northern Magical Society. and in companv with the two first named he produced a book,' " T h e Tomorrow," that \vas the first English Magic of nlaglcal puhlication t o beorderedinbulk by cableErame. This was way back in 1919. Although the searcher through a bibliographv will find a number of items against t h e name n f -Aietlrington. his best solo puhlication "S a " Dozen of Magic." His book on " Stagecraft (written withallhumility as a looker c m 1 contains excellent. advice whilst his hook on Datter r~~~~~~ is forgotten. He- was "11 most friendlytermswith Augelo Lewis. During theFirst World War he served as a Captain and the photograph here was a k e n at that period, He was a most superstitious individual and if the day were a Friday or i t was the 13th of the month he would not leave his house (his position as an agent on a very large estate allnwed him such latitude). It was therefore a strangething that awakeningonemorninghe toldhiswife that he didnot feel well. He alsoasked her whatdayit was. Her reply was " Fridaythe 13th.'' She left him to fetch a stimulent. On her return she found that during herabsencehehaddied. Inthis. issue,! have included three of hi:, owu published ideas. The Bones of Contention." Your All are good, though Choice," and " All Smoke." merthirty years old, the last named being found to-dayinthe programme nf one music hallworker. which I3esides this is an item of ErnestHammond's is of greatinterest as he and Nedrington used it war Dexter's luck in the twenties. I havealsoincluded BurntNoteeffect, as I knowMedrington v a s oneof those who had permission t o use it whilstDexter X\ SI alive. To conclude, aninstalment of GeoffreyBuckham'sBilliard Ball routine, which I am sure would have given great de!ight tn this lover of natural magic,
This a a s one of Dixter'sfavourite effects when performing for a small group. It dates from 1914. It vas an effect that provoked much correspondence in the Magic Circular. after a membcr of the Maqic Circle hadnot only liftcd the effect piecemeal, but atso had impudentlyper-
fcrmed it in front of an audience when Dcxter \vas present.Dexter'smain claim for originality regarding the effectwas the use of tweezer? f o r handling the note. The stxpe is set with two side tables, on the left h m d (from the audience's point of viclv) one
:jnd
best
~~~
~~
~
~~
~~~
50
A candle and candlestick, the two together being of suchaheight that when the candle is alight and th.e candlestick is rested on the table the flame wil be about level with the base of the clip a t the top of the stand. A pair of tweezers. A pair of scissors (these are placed in.a lefthand pocket). A box of matches. The preparation consists only of making a slit along the address side of one of the envelopes, thus :-
I
rests a metal stand having a small clip at the top (Fee illustration), a number of envelopes, a candle in, candlestick and a pair of tweezers. Theright hand table simply carries a standsimilar to the one onthe left handtable. The magicianasks for the loan of a tenshilling or one pound note; whilst this is forthconiing and the lender is makinganote of th? number, the magician picks up the envelopes and approaching a member of the audience, asks him to take two of them, and inspect them. After examinationthe spectator affirms thattheyare just what they are meant to be. Both envelopes, are then marked. One is sealed and without any possibility of exch.ange, placed against the'stand ontheperformer'sright.The sealed envelope is thentakenandplaced in the left-hand stand. The lender of the note is asked to fold it first in halves, th,en quarters, and just once more for luck. One envelope is taken from the table and taking the tweezers in his other hand, the magician uses them to take the note from the lender. The note is thenplaced ipside the envelopeand the flap sealed down, and placed in the clip in the righthandstand. Proof of thepresence of the note in the right-hand envelope by the magician lighting the candle and showing the silhouette of the note in theenvel~pe.He is, however, careless and whilst talking allowsthe flame to catch the envelope. Too late he realises his mistake. The envelope burns itself out, but all is well, for going to the left-hand envelope and cutting a part away, he reaches inside with the tweezers and brings out the note quite undamaged. The requisites for the effect are :Ab,out one dozen business-sized envelopes (the paper from which they are made should be quite thin). Two stands(asillustrated).
A piece of tissue paper(not flash paper) of similar size to a bank noteis folded SQ that it is one eighth of itsnormal size and placed inside this envelope. When the envebpes are placed on the table they are all facing inone dirction, and the flap side lies uppermost. Theslit envelope is placed at the bottom ,of the stack. Apsartfrom the positioning of the vari.ous items th,at is all the preparation. Before detailing the meth,od, I would like to mention that Dexter, just as he did with the card stabbing effect, would vary his methods, and that thepresentone is the one most often used. His othermethodsvaried in small details and were mainly concerned with the switching of the envelope. The present switch shouldbe all the more welcome for (so far as my limited knowledge goes) it has not been published.
G stands for (De) Grisy
c
To Managers of Theatre@ andMusic Halls.
WMTE DE GRlSY'S Unrivalled Entertainment
d Yaglc and \his Beautiful ENTRANCED QIRL as performed by bim with ;reat arrco~llsthroughEngland,Ireland, 'Scotland Wabr. Now Dieengaged. Addreas, 31, Qllbert-street,Oxford-ntreef London./$&d
From thc I. B. Findluy Collection
51 The magiciancommences by asking forthe lof a bank note. Thenote being proffered, the lender is asked to make a note of the number forfuture reference. Pickingupthe stack of envelopes with his right-hand fingers underneath,
thumb on top. the magician approaches a member of theaudience with therequestthathe will two top inspect two of them.Thussayingthe envelopes arethumbed d f an,d handedout. At thispointtheenvelopesarepassedtothe lefthand, this time the thumb goingagainstaddress side of the undermost envelope, i.e., the slit envelope. The left-hand now drops to the side. Incidentally, all this takes only a moment or two to carry out. The envelopes, being given a clean sheet, he takes them back with his right hand and requests.thatthe examiner initials them.The left thumb,inthe meantime, has surreptitously moved the slit envelope so that it projects about half an inch ov.er the rest of the envelopes. " This one first,' ' says the magician, as he brings up his left hand, whilst simultaneouslyhisright hand places one of the enve1,opes he is holding, address side up on top of the slit envelope; it is placed so that it is inalignment with all but the slit envelope (see illustration).Thespectator now initials the envelope. Theother envelope, also address side up, is nowplaced on top of it, so thatit is in alignment with the slit envelope, and initials added to that. " And now the other sides, please." At this point the right-hand thumb and fingers, with a slightoutward pull, take the two projecting envelopes at the point where they overiaptheothers (see illustration)andturnthem over together. The move is completely deceptive and a quick trial will convince you. Thus the topmost envelope, flap side uppermosts, and which is, of course, the slit envelope, is initialled o'n the flap side, and so also is the other envelope, which after initialling, thespectafor is asked to seal down. Takingthetwo envelopes a t hisrighthand finger tips, theyareseparatedfromthe remainder, and heldaloft.Themagicianreturns to his stage and droppirng the main batch of envelopes on a chair, he places the two initialled ones
against the right-handstand.The sealed one is now placed in the clip in the left-hand stand. The note is now asked for, the lender being asked to fold it into asmaller size. As he does this, the tweezers are taken with the right-,hand. Approaching the spectator, the magician takes the note with the tweezers, thenpicking upthe slit envelope with ,his left-hand, he takes it in such a way that it canbeheldflapdown.The Rap will not, of course, fall down because of the natural springiness of the paper, and so the magician moves the flap downwards with the note heid in the tweezers. The note is now inserted intotheenvelope,but is engaged in the slit and pushed through into the hand of the magician. The right-handpockets the tweezersin either the breast pocket or righthandpocket, whilst theleft-handbringsupthe envelope, m,oistening the flap, and then with h i s right hand pressing it dxown. The right hand tak.es theenvelopefrom the Jeft, a t thesame time, turningitround so thatthe flap side f&es the audience and slips it into theclip on the right-hand stand.This leaves the note in a finger palm position in theleft-hand.This lat,ter now' picks up the matchbox lying on the table, and with the aid of the right-hand, a match is extracted, ignited and the candle lit. The matchbox is then dropped into left-hand pocket, together with the note. The silhouette of the ,note i,n the envelope is now shmown (this is where the needfor a thinpaper envelope comes in), by lifting the'candlestick and h,olding it so that the flame is behind the envelope. He talks, andashe does this, and without looking a t what he is doing, places the candlestick insuchamanner,thatthe flame comes immediately beneath the edge of the envelope. He still talksand gestures tothe left-hand stand. FiEally, the audience make him realise what has happened, butfar too late, the envelaope is now abiazing inferno. (To the reader of the present day, I should like to say, that Dexter, who was a performer of dignity, did not as may be expected, treat this as broad farce. I n fact, so fine was his presentation technique, that on manyoccasions the actualhappening was takenasbeingunintentional!).The flames die outandthe magician, with his left-hand removes the scissors fromhis pocket. At the sametime he finger-palms the folded note out, but the audience don't see that. The scissors are passed to the right hand as the magician moves across to the left-hand stand, his left-hand 3 (fingws to the front) then remo,ving the envelope. The- folded note thus rests against the fiap side of the envelope. The envelope is turned over and helddownwards, theright-handthen right-hand cutting ,off a slice of wvelope.The drops the scissors into the same pocket fromwhich the magician now- takes the tweezers. Apparently he inserts these intothe envelope.Actuallyone point goes inside whilst the other goes outside und oaer the nole. The tweezers are now squeezed, Continued on page 53
52
Effect. Standing ontableare a silk hat, (a tray, a round tin of Three Castles ” or “ Gaold Flake ” cigare,ttes an,d an empty cardboard tube of a size t’o take the cigarette ,tin, andrather more than twice is length. Performer draws attention to the articles, and shows them one by one. He emptiesthe cigarettes from the tin onto the tray and pours them from !the latter into the hat, covering the hat with the tray. The ernfly tin is placed on the trayand colwed with the tube. A change now takesplace;tubeis rem,oved from “ empty tinand casually sh,own empty, but the tin is now full of cigarettes. Tray is taken from hat, and the hat shown quite empty. “
”
Requisites. Twotins,bothfull ,of cigarettes. One tin is placed in full view on table.This tin has its bottom blackened with lampblack,unknown to audience Under the tray-so that it can be picked up with it and secretly held underneath-is an oval fake exactly representing the inside of the crown of the hat. This should fit tightly into hat about 16 inches from .the crown. It can easily be made from a piece of tin cut to size and covered with whitesilk on one side with an imitation maker’s name in centre similar t9 that in hat, and theother side blackened to match b,ortom of tray. The ‘one used by ,the writer is simply cut from a cardb,oard box and covered with white glazed paper. The tube is prepared in the following manner. -4t the cenxre of lecgth, several black threads are stretched across to form an invisible division. The inside ,of the tube is also blackened.
Effect. Performerbrings ,ontwo packs ,of cards, a large bone paper-knife, a very small ditto ,and an elastic band, also a hatthough thismay be borrowed cor dispensed with. Pack No. 1 is shuffled andthe elasticb.and passed roundits c,entre. A spectator is invited to insert the smaller paper-knife into any part of this pack leaving about an inch projecting, when it is dropped into the h,at.
The second rin of cigarettes is placed behind the hat so that it is out of sight. To perform.
Show the tubeempty with the right hand, allowing the audience to see through it-the threads willnr,t 5e noticed. Place it behind hat over fake, at the same time the left hand removes hat to show it empty. Show visible cigarette ,tin (‘not exposing blackened botton~)and empty cigarettes from it on to the tray, which is first casually shown, black side of fake under being unnoticed by audience. Empty cigarettes from tray into h,at, and cov,er hat with tray, allowing fake to drop inside ; white side up, of course. Tube is now placed on tray, withsecond (full) tin ,of cigarettes secretly held through the sides at lower end, and left standing on tray.Empty tin is now tak’enand apparently slid throughtube a0.n totray.The noise it makes striking t,op of concealed tin through thread division exactly imitates $he sound it would make if it reached the tray in reality. Th,e tray isnow removed from hat, an’d performer pretends tobe palming cigarettes out 0.f same. This gives him a chance to fit the fake firmly into position, and ‘hands and hat can then be shown empty, or in “ stirring up the contents of hat with the magicwand ‘the fake can be pushed home. Now to finish trick, raise ,the tube by top edge and display the full tin on tray. First tinis held by thethread division, ,anad thetubemaybe casually shewn if top end isclose to perfm-mer’s coat,asthe black bottom of theemptytin will lomok like the cloth showing through the end of the tube. The tubemaythen be stood on thetable, as there is no fear of. anyth’ing falling or talking.” The visible tin is then opened and shown full of cigarettes once more. ”
“
Pack No. 2 is shuffled and a spectaltor invited t.0 push the larger knife into it. The pack is separa.ted at the point of insertion, and the two cards ab,ove and below this point ,are noted. Someone is requested to look at the pack in the hat, when the smaller knife is found t.0 be between two similar cards in this pack. All may be examined. Explanation.
Two packs are arranged inorder-preferably Thurstou’s arrangement, in which you add three
53 and changethesuitfornext card,e.g., if the order of suits is Clubs, Spades, Hearts, Diamonds, thethree cf clubs will be followed by the six of spades, the nine of hearts, the queen of diamonds, and again the two of clubs, etc. One pack should, however, becut so astomake thebottomcard differ in each pack. The first pack is falsely shuffled, an,d genuinely cut as often asdesired; therubberband placed round, the small knife freely inscrted and the packdropped in the hat or left with spectator. The performer, however, mustget a glimpse of the index pip of card at point of separation, e.g. the four of hearts. He knows from thi.s that the knife separatesthe four of hearts and the seven of diamonds, which follows it as per arrangement. Takingthe second pack, he can tell fairly accurately the whereab,outs of thme two cards fromthe bottom card-theywill, of course, be rogether-and by shuffling has n’o difficulty in bringing them to the b,ottom of the pack.The rest of the pack is thoroughly mixed, so that shouldthespectatcrscompare the order of the cards in the two packsthey willfind nothing suspicious. The two together are nowpassed to a point about twenty cards from the top and separated by
the libtlefinger. The spectat’or with thelarger knife is now asked to insert its point in the pack wherever he likes, the performer holding the pack in the left-hand (as though for “ the pass ”) and riffling the ends with the right hand. A slight overlap on the point of division will enable: the performer to “.force the position of insertion on thespectalor.This method, which was for sometirrieused by the writer, h.as,however, been irnproved upon by a suggesti.onmade by Dr. A . Lindsay Smith, in The Magic Wand ” forJanu.ary, 1917, fcr f,orcing a cut, which perfects the trick. In case readers have not seen this really excellent fcrce, it may be described as under :Proceed with riffling as above, and take care that kn,ife is inserted below the point desired. Simpiy caimly slide your t,op packetalongthe knife towards the person ‘holding it, and take the knife from him in thathand. At the same time drawing your .bower packer towards you.The effect is indetectible, .and 1,ooks exactly as if you had simply divided the pack at the point at which the knife was inserted,i.e., between,the four of hearts and the seven of diamonds. Q.E.D.” These two cards are now found to be separated in the first pack alone.
Effect.
Requirements. 1 pack of cards.
A pack of cards isgivento an .onlooker, to shuffle thoroughly, andthen to divide into two approx.equalparts. The onlooker is then invited t.0 place one half in each of performer’s inside breast pockets, first shown to be empty. The onlooker is then asked to call a number, njot exceeding (say) twenty. Number called is (say) fourteen ; perform.er then intimates that he will draw 14 cardsfrom either rightorleft-hand pocket, according to Ithe wish of the onlooker. This being made known, the perfcormer does as stated, but puts the fourteer,th card to one side, face downwards. The other 13 cards are replaced in the pocket and another person is invited to call a number and suggest the pocket from which that number of cards should be taken. This is done as before, the last card being put on t q of the one already lying on the table also face down. The Onlooker is then asked toringup a certain number and to ask for (Mr. Arthur Medrington) who instantly tells him the names of the two cards. (Although Medrington’s n.ame was Arthur, it was not the one he was known by .and this gave him a d u e to the reason for the call, and as he had beell primed f,or the occasion it never failed).
”
“
“
2 additiorLa1 cards (say S of Clubs and Jack of Hearts). Two inside brea.st pockets in c o d and two. in waistcoat. Preparation. Two cards corresponding with the duplicates are taken from the pack. One pair, 5 of Clubs and Jack of Hearts, are put into tile leht walstcoat pocket, 5 of Clubs nearer ,to the body. The second pair are put into right walstco,at pocket, this time the Jack is nearer to the body. Whenthe firstlot of cardsare being taken from the pocket, 13 really are removed from the coat pocket, but the 14th istakenfromthe corresponding waistcoat pocket and put to one side. The movement is k’ery simple if you slip the t.humb between the imer card and the body. The same procedure is gone through for the second and it doesn’t matter which pocket is asked for, as the required card is there for the taking. Burnt and Restored N o t e Effect-continuedfiorn page 51
this pressure, as they are withdrawn, bringing the notewith them (the intervening layer of paper dcesnet affect this). The note is then identified and the ernrelopechecked for initials.
continued f r o m p ! / ( < 44
( 1) Turn L. side to audience show R.H . empty. (2) Execute cross over palm while returning to original position R. side to audience, and show L.H.empty. (3) I n this position, and with L.H. almost at sh.oulder level, produce ball from behind L.H. (4) Turnfront to audience at sametime air followed by the " roll " throw ball into the between the two first fingers. (5) Place ball on closed .R. fist and ostensibly take it away with the L.H. but under cover of the L.H. let the ball sink into the R.H. where it is palmed.Nowmakea half turn t,o theleft, SO thatR.H.side is to the audience,hsoldhgthe closed L.H. up as. if the ball is contained therein. 44t the sametimethe R.H. with ballpalmed is allowed to drop naturally to the side. Make a squeezing movement an,d then gradually open the L.H. to show empty. (6) Produce ball from behind R. knee, at the same time gain possession of second ball and shell from L. holder and palm in L.H. (7) Throw the first ,ballintotheair for a short distance with the R.H. then trapsfer to the fingers of theL.H.at thesametimemakea smooth full turn of &heb,ody so that the L.H. side faces ,audience. Showthe R.H.empty. Tra'nsfer ball back to the fingers of R.H . at the same time make another full turn of the body so the R. H. side faces audience. Under cover of this move,executecross-overpalm with second ball an,dl shell. Show L.H. empty. T.he series of moves ,described under this number .are made ostensibly to show the palm of each hand empty, and the fact of having a second ball and shell palmed, is concealed by performing the cross over palm under coverof transferring the first ball from the fingers ,of one 'hand to those qf the other. ( 8 ) You are now R.H. side to audience with the' first ball held in tips of fir& finger and thumb of R.H. and second ball and shell palmed in R.H. The L.H. is held up ataboutshoulder level to as indicated in Section (7). showpalamempty Now transfer first ball to fingers ,of L.H. at same time glance. down at L. ellbow as if seeing something there. Produce second ball an,d shell from L. elbow, with first finger and thumb of R.H. As theR.H . ho1,ding theballand shell between first finger and 'thumb moves away from the ,elbow, place the first ball between third and fourth fingers of R.H. and immediately drop the L.H. to the side of the body. (9) Now with an up and down movement of
the R.H. roli the balloutfrombehind the shell with the second finger in the accepted manner. At the same time gainpossession of the third ball from the holder under the left side of the coat with the
L.H. During the wh'ole of the moves describedin Sections (8) and (9) the R.H. is held at ,approximately the same level as the L. elbow. This is important in view of what follows. ( 10) Acompleteturn of the body is now made, t'o bring the L. side toface the audience. I n ! executing this t,urn, theR.H. containing the half shell and two balls, must, of course, be kept back towards the audience, and this can be gracefully done by swinging the hand slightly downwards in a shallow arc across the body. At the finish of this move the R.H. will be held at approximately the same level asit was beforethe body turn was made, butthethumb will be towards the ,ground instead of uppermost. Care must be taken to keep the L.H. at the correct angle all through this body turn, in order to avoid exposing the palmed ball. ( 1 1) Raise the L.H. and point to the shell and two b4allsheld by the R.H. one after the other as if counting them. N,ow, with the finger an,d thumb of the L.H. takeawaythebaI1 held between the first and second fingers of the R.H., and atthe sa'me moment $the ball which was palmed in the L.H. should be ,allowed t.o roll toward the fingers, and pressed into the shell. The movement is continued, and with a slight turn of the body to the le& in order ta face the audience, the ball which has just been taken away from theR.H. is placedbetween thelips,and pressed right into the mouth with the palm 0.f the hand. Make a swallowing mot5on and then draw out the ball from the holder under the L. side of the vest. The effect of this laut series of moves is simply that a ball has been taken from the R.H., placed in the mouth, swallowed, and is reproduced from undet the vest. Actually, however, the performer now has another ball behind theshell and an extraone held in the mouth. This latter ball must be held in the mouth for about a minute, until the time comesfor its production, andthe balls m,us;t be of sucha size as to enable this to be done. In my ,own act, which is performed to music, this move is quite unsuspected, because I possess the faculty of being able to smile naturally with the ball in my mouth. For those who are unable to achieve this. however, an alternative suggestion is given at the end of this article. (Tobe continued)
55
Effect. Conjurerhasprotrudingfrom left sleebe a fancy silk handkerchief practically transparent, and left hand contains a pack of cards. Members of audience are asked to name their favouritecards. At each choice the handkerchief is drawn over the pack and the chooser asked to note bottom card through the silk and to hold one corner of the latter. As he does so the card is seen to change tothecard he ,announced as his favourite. He is asked to withdrawthehandkerchief by the corner held and see that the change has really taken place.
Soonafterthis issue comesout the second broadcastfromthe Magic Circle clubroom will take place. I$ willinclude_ the Magic Circle team andPaula -Baird primor to their departure for America,where afteran ‘opening show in New York, they will maketheirway to theS.A.M.I.B.M.Convention. TO addtotheInternational flavouring, Robent Harbin, who recently has had such a marvellous time in the States, will take part giving in all some eight minutes’ magic out of the total half hour’s broadcast. It is interesting to note that there is no menor, indeed, any part of the tion of France Continent. In our next issue we are fortunate in having a contribution from our friend C. L. Boarde called ‘‘ Mental Matchk. 1.t is an excellent plot quite off the beaten track, and in using it we have been mostpleasedwith the results. In the same issue from the pen of our friend Francis Haxton, comes ”
The evening of March 24th saw a steady stream of guests arriving for the Magic Circle Banquet. Prevailing conditions showed their effect .on this function for numbers were seventy below those of the previous year. I n theChair was thePastPresident, Mr. Herbert J. Collings, andhe, together with Mrs. Collings (Hilda Rertram), received the guests as they were announced. An excellent dinner followed andafterthe Loyal toast the Chairman, in one of those witty speeches thatare associated wi.th him,gave the t,oast ,of theNagic Circle and N.A.M.S. coupled with the name of HisHon,ourJudgeWethered. The latter, in replying, emphasised the solidarity of British magicians and of their working for one end.
Explanation. A pre-arranged pack resting on palm of left hand as for Charlier pass. When card is named, handkerchief is drawn from left sleeve which covers a stealthy riffling of index corner of cards with left thumb and the marking of the gap at the selected card. ’The Charlier pass does the rest. With practice anycardmay beveryquickly located by noticing the bottom card which gives a clue to the neighbourhood-of ,the card called for.
one of those excellent card effects for which he is I t is called ‘‘ Restless Choice.” For a later issue, we have a most interesting idea called “ Underground Journey ” from our friend Bob ‘Tothill. Wewere most impressed with the quality of the c,ontents of “ Routine, ” a hqouse magazine published by Ken. Brooke. In his editorial in the second number, Ken regrets that after publication of the sixth number (this to keep faith with those who havesubscribed)there will benomore. A great pity for either issue with its excellent rnagic is worth the 5s. charged for the six copies. Rather late in the day, but very welcome all the same, we have received copies of Oscar Oswald’s “ Magical Digest.”These are lighthearted publications but all ‘the same most entertaining.Conjurers, ventriloquists and puppeteers are all catered for.
so well known.
It fell to the lot of Mr. Francis W’hite, that beau ideal of Secretaries to proposemost wittily the toast of the visitors. I n reply Mrs. Eric Cuddon proved herself most a attractive after dinner speaker. Dancing followed, excellent music being provided bv Stanley Kilburn, and an excellent cabaret consisting of Spence and Davies, in a clowns’ act,JimmyRogerswithhisD,oves and Gil Leaney, assisted by Frankie and Bernard in a Human Pincushion.” The version of the cabaret was compered as only he cancompere, by Tommy Cooper. A most enjoyable evening excellently arranged. “
56
More “Share the Loss”
CAN YOU TELL FORTUNES?
We are ha‘ppy to be able to offer Britishconjurers five important3agicbaoks(in,,additiontothetenFlemingpublkations) on our Share the loss basis, which helps to lighten the burden 01 devaluation. MAINLY MENTAL : VOL. 11. (Boarde), a greattreatise on .book 133 p.p., 106 d I . , avadablc. and magazine tests. Soft boards, only from us ($7.50). not 53,’6, bat onl,. . . 45 /. M Y BEST (Thompson). a grand collertron of va1r;able ‘material. No. 102. Cloth, 384 p.p.. ill., availablt, see Fleming Review but 451 on1 from us ($7.50) not 53’6only ENCY8LOPEDIA OF SILK MAGIC [Rice), the world’s’ biggest book on thlssublect, see FlemlngRevlew KO. 136. Cloth ($10). not 70/-, bnt only THELIFEANDMYsTEiiIEs‘OF+~-IE~ELEBRATEDDG. 6‘ work mental on and (Alexander). 2nd ed. of well-known spiritualisticfeats,seeFlemingReview KO. I l l . Cloth. 165 P.D., ill availableonly fpom 11s ([email protected]), not 43, -, butonly .. 35/ENCYkLOPEDIA OF MENTALISM (Nelson) on work of theDunninger tvpe. Cloth, 108 _ p.9 only from 11s ($5.00), - . . available’ 301 not- %/g.- but only AI-L FLEMING PUBLICATIONS: Thh Fine Art of Ma.& (Kaplan) & Magic wlthontApparatus(Gaultltr), (3i.50). not 53,%, bnt 451:. Sleight-of-Hand (Sachs), Our Magic [Maskelyne-Devant), Mawc Nos. 1. HugardRookEditions with SmallApparatus(Dhotel). 4 Conjuring Melangc. 2 and 3 ($5 0 0 ) not 35/6 but 301(Collinsl and ‘Thh E x ~ e r t ’ a ; t h e Card’Tahlc.(Erdnase-Hoffmann), ($2.00),’ not 14/-, bui 12/-. Clre are sole authorized British distributors rrt THE CARD MAGIC OF LE PAUL, cloth, 220, pp., 313 fine ill. ($8.50) 601Please send orders to Mr. Robertson Keene, c,!o k’iversldc... Victoria Road,Yarmonth, Isle of Wight,and receive bookspromptlv trorn the U.S.’A.
By VICTOR FARELLI Have you ever been asked the above question? If youhave, thisentertaining znd convincing card trick \vi11 provide you with the perfect answer. The routine is described completewith suggested patter and is emhellished with hints on Fortune Telling.
-
Neatlyprinted in an eight page booklet. and at a price that no-one can afford to miss.
Per Copy 2 / 6 ; postage 2d., from
THE MAGIC WAND PUBLISHING COMPANY 11, Monastery Gardens, Enfield, Middlesex
FLEMING BOOK COMPANY 728, Madison Avenue, York, Pa.,U.S.A.
I
-
‘‘ROUGH ANDSMOOTH
POSSIBILITIES ’’
PETER
By Tan Hock Chuan
The Magic Circle
WARLOCK’S
PENTAGRAM
1’rt.siclc.nt : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C.
A booklet dealing with the methods and ispublished on the 24th of eachmonthand for can be obtaineddirectfromthepublishers application of the modernprinciple, by 1 / I per single copy.AnnualSubscription 12/postfree. one of the leading experts on the subPUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11,
magicians. Price 51-
Postage 3d.
SYDENHAM
Clrtbroom andLibraryand
Enfield,
Magical Theatre :
King George’s Hall, W.C. ParticularsfromHon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
ROAD
Croydon
Museum :
St. Ermin’s Hotel, CaxtonStreet, S.W.1.
Manuscripts for publicationandbooksfor review should be senttothe: EDITORIAL ADDRESS:
ARCAS Publications 404/408
Monastery Gardens, Middlesex.
Vice-President: Douglas Craggs, Esq., M.I.M.C.
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
-
ART
JACK HUGHES
WORK
By a MAGICIAN who knowsyour requirements 0
0
0
BROCHURES, LETTERPRINTED HEAPS and PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
t
JACK
HUGHES
EVELYN AkENUE, COLINDALE. LONDON, N.W.9. ~
CONJURING BOOKS FOR
~~~
SALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
JACK LAMONTE
G E O R GJ E ENNESS 47 INVERNESS AVENUE. ENFIELD,MIDDLESEX
Telephone : TOT7742 I
Every Advertiser’s goodsare Published bythe
The M z i c Wand, Quarterll.. I cr copy 3/13 p.p. Annual subscription 14j6. The Wizard, 36 pages nlonthl~..Percopy 211 p p 6 month 1216 Year 241John’Ramsay’s C& 8’ Balls fFareilij Convincing Coin Magic iFawlliI . . 17/10 Mastered Amazement (Koran 8; Lan1nntc.r . . 10/3 Bohleno’s Mysteries (Bohlen) 1013 Thanks To Leipzig (Farelli, l013 George Armstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 10/3 513 Strictly Magic (EddieJoseph I Stooging Around (Shthardj 5/3 26 Living & Dead Tests (Garrhtt) ’.’ 5/3 513 Jamesosophy (Stewart Jan1c.s) Year Book 48/49 ( f c w 0nIS-J . . 5/3 Sttlnts With Stage Money ( I ~ a m o n t c ~ . .~ 5/3 Tricks of the Trade (ArmstronKI .. 2/7
in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO 2,
28, WARWICK RD., LONDON, N18
)t
Magic Wand Pu blicati,ons
w i l l h pleased to send you details of his w r y latest eff-ctsandallhis old favcltlrites
proprietc-s The Magic WandPublishingComnany, Walkerand Son (Printerr)Ltd.,
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. I
fullyen,dorsed by this Bulletin 11, MonastewGardens, EnfieldMiddlesex, Well Croft. Shipley. Yorkshire.
and printed byHerbert
*
57
PENTAGRAM An independent monthly bulletin for all who want good magic
The literature of Mentalism is replete with effects in which the performer reads the spectator’s mind or viceversa. Comparatively rare is the effect in which one spectator influences the thoughtsand actions of another. In the few such quite often the heavy hand of the performer is apparent. Here is an effect in which theperfotmer’s machinationsare, at least in the writer’s opinion, not so obvious. From the audience’sviewpointthe effect is as follows. The performer introduces two groaps of triangular shaped cards. One is white-backed and the otherblack-backed. It is shown that one white-backed and oneblackbacked card, when placed side by side, completed a diagram on the other side. Thus,the fifty white and black jigsaw puzzle pieces formed fifty different diagrams. Tile separate white and blacktriangularpacksaremixedand one of eachdrawnandmatchedtoshow the low possibility of completing a full design. This may be done several timestobringthepoint across. Then two assistants are called up. One is asked to draw a black segment which is placed aside, contents unknown. Then the other spectator draws one of the whitesegments,.contents also unknown, which is placed face down alongsidc of theblack. Now the performerpicks up a slate anddraws something cn it. It too is placed aside,
its contentsunknown. Now the performer calls theaudience’sattention that the probabilities of the spectators drawing matching segments is one out of fifty. However,theyhavesubconsciously so affected each other’s action that they have accomplished the deed. The pieces areshownandproved to havecompleteda design. Then,the performer calls the attention of the audience to the fact that he,beclairvoyantly aware of the completed design is one of twenty-five hundred.Then his slate 1s turned around.It is the same as the designcompletedby the two spectators ! Sixty pieces of blank cardboard, blankonboth sides, of the size. of 2 playing card,areobtained. On ten >f these full diagrams are drawn on one side. When completed they A diagonal are placed to one side. line is drawn each on of the remaining fifty. On one side of the diagonal line portion a of one diagram is drawn. On the other LL portion of a totally different diagram is drawn. This procedure is followed with all fifty.(By drawing different gortions of diagrams on each segmenr Lf. a particularcard we eliminate the possibility of a chance match when lec turingonthelongodds of twoseg wentsmatching). Now eachcard is cut inhalf along the diagonal line, exchhalf going into aseparate pile.
58 W-hen completed, the backsof one pile are coloured black while. the other-pile is left untouched. Now thecardsbearingfulldesignsaresimilarlycut and the backstreated in thesamemanner.Two completedesigns are to be ased.The remaining fulidesignelementsarestoredaway,tobe used when theperformer wishes tochangethese elements in another'pelformance to avoid the use of thesamedesignagain andagain. One of the designs,bothblackandwhite pieces areplaced under the flap of a card box or in one section of a changingdevice.Theblackportion of theremaining full design is placed on top of the black stack and the white segment on top of the white stack. These preparations completed the performer is ready for demonstration. The suitable introductory lecture is made. Then theblackandwhitepacks are introduced. Takingthe topcard of each,theperformershows howthese, in themanner of a jig-saw puzzle, makeacornplete de'sign. Theyareplacedaside. The black and white packs are individually mixed. Drawingacardfromeach at random,theperformer shows how difficult it is to get puzzle pieces that formacompletediagram.Thismayberepeatedseveraltimes to forcethepointacross. Then the call is made for the assistants. The first is. directed to draw a ca.rd from the black pack. Without looking at it he is to place it in the card box. Incidentally, this has been on the table, open and ready. Now the black pack is put aside and the whiteonetaken up.The remainingspectator is to draw one and place it unseen in the card box. The box is then closed and handed to one of the spectators for safe-keeping. The performer now picks up hisslate and draws a diagram. Naturally, this is the sketch whose elements were placed in the force section of the box. It is placed onthetable,orpreierablyhandedtotheother spectator with the instructions to hold the drawingagainsthisbody. Now theperformer completes therest of his explanatorylecture.Then thespectatorwiththebox is directedtoopenit and removetheblack and whitesegments. I t is shown that the parts form a complete design. The spectators have unconsciously affected each other's actions. Then the spectator with the slate isdirectedto turn it around. The performer has clairvoyantlvperceivedthe selected design !
Effect.
A deck of cards is giventoaspectator to shuffleandonreceivingthecardsbacktheperformer ribbon spreads them face up on the tablc. A volunteer is invitedtoplace his forefinger on any cardanddrawit clear of theothercards.
Foranother performance,theportions on top of theblack and white stacksare replaced from thereserve of complete design segmentsasare theforcesegments in thecardbox. The card box, by the way, should be one that locks after changingitscompartments. Commercial Manufacturing Rights Reserved.
H stands fer Henry
From the J . B. Findlay Collection
The gathers performer the up balance of the deck and has another card selected and returned to the pack. Thecard onthetable is turnedface down and a pocketknife,fountainpenor some small articlelaidontop.Theperformer now takes an
59 indifferentcardfromthedeck, shows it,and thrusts it into the side of the deck, allowing it to project. He now announces that he will cause the card on the table to appear as the card thrust in the deck. On removing the latter it is seen to be the card that was turned face down on the table. Whenthecardonthetable is turnedoverit ;S seen to be the second card chosen.
Method. Let us assume that the card drawn out of the face up spread is the Aceof Hearts.Thecards afterbeinggatheredtogetherare riffled anda volunteeraskedtocallstop atany time. The cardfacingthevolunteer is remembered.When replacing this top half, the performer executes the ‘‘ Master Move (seeStewartJames’ Mark of theReader,Pentagram, Feb., 1947). Thisdepositsthesecondchosencard, which we will assume is the Two of Clubs, on the bottom of the deck. The performer now shuflles the deck bringing the Two of Clubs to the top. The cards are now heldfacedowninthelefthand and the fingers engaged under the top card in readiness for executing the Paul Curry Turnover Change (See Hugard’s More Card f ~ ~ a r l i p u l u f i o l zNso, . 2 ) . With his right hand the performer removes a penknife, or fountain pen, from his pocket. With his left hand holding the deck, he turns over the ”
One of the words automatically forced by my .4 utlzology of Lonfe Poems which I published more
years ago than I care to remember under the title TRANSCENDENTAL BOOK MYSTERY, is the noun-adjective-pronoun ONE. If this word is to makeitsmysteriousappearanceona slate-and this seems to be one of the most popular presentations-an excellent plan is to make what appears to be an excusable mistake by writing the homophonous word WON and then correcting the error before the writing is exhibited. On being notified that the spellingshould be 0 N E, theconjurer replies : I am sorry that I have made a phonetic error ; youreallyshouldhave spelled the word for me. The mistake is easlly rectified, however. I haveonlyto cross outthe word justwritten and writethecorrectoneunderneath.”Suiting the action to the word, the conjurer with chalk in hishandtraces in the air a pretence of striking out the word he has just written and proceeds to writethecorrect word ONEunderneath.The slate at the conclusion shows the two words as in Fig. 1. Simple as it is, thislittleaddition en‘ I
face up Ace of Hearts lying on the table, and in doing so executes the Paul Curry change, which deposits the Two of Clubs face down on the table and places the Ace of Hearts on top of the deck. Thepenknife is dropped on top of thecard on thetable,ostensiblytosecurethecard,thereal purpose,however,beingtoprovidea reason for turning over the’card with the left hand while still holding the deck. A double lift is now made and the top two cards shown as one. In turning the cards face down on top of the deck and in one continuous movement the face card just shown is left on top of the deck and the Ace of Hearts drawn off the deck. Thiscard isnow thrustpartlyintothe side of the deck which is placed on the table. Performer now states he will cause the card on the table, the Ace of Hearts, to take the place of the indifferent card you have protruding front thedeck.Theprotrudingcard is removed- i~ show the transformatlon has taken place. The performer now states that as no card can be in two places at once, thecard on thetable mustalsobetransformed.Thespectator who selected the second card is now asked to name the card,whereuponthecard on thetable isflicked over to reveal that it is his chosen card-the Two of Clubs.
hances the general effect and for some reason or other, ensures a laugh. The sameideacanbe further elaborated. Have about 50 cardseachshowing a letter of our alphabet, vowels andcertain consonants being in triplicate. These cards, unlike the familiar Lexicons, mustbe perfectlysquareandhave thelettersinscriptinstead of in capitals. My intention in this paper is not to offer any suggestions for routine,-+ matter which every conjurer must determine for himself,-but merely to suggest an unexpected finish toa trick. Fromthispack of squarelettercards,the cmjurer offers to plck out, one by one, the letters of the chosen ( ? ) word. The cards as produced a little easel to show the arelodgedagainst wronglyinterpreted word as in Fig. 2. On being
60 apprised that the word, though sounding right is not the selected one, the conjurer, after a frown, appears to receive an inspiration and with a smile tilts the “ W ” card to make it stand for the Greek Epsilon and transfers it to the other end of the row as in Fig. 3. Here again a laugh is certainto follow.
The other of the forced words, viz., DEAR, permitseven more fancifulvariations. As, however, I want to add a few paragraphs on the subject of the book itself, I shall leave the reader to thinkround the pointers I havealready given and evolve for himself themanyamusing combinations that arc:possible with the word DEAR spelled with script square letters. No book which MIGHT possibly have a trick purposeshouldevcr be used by itself. In company with, say, two other books which should be well-known ones, the trick book is not likely to iall under suspicion. This, of course, raises the question, howis the use of the trick book to be forced ? Thereare several excellent and well known dodges, the bcst being that particular one
Continued from Page 5 4
Theballtakenfromunderthe L. side of the vest is held between the firstfinger and thumb of the L.H. and is now replaced between the 1st ana 2nd fingers of the R.H ., at the same time the ball behind the shell is taken away with the lower fingers of the L.H. and then palmed in that hand, as the arm falls naturallyto the side of the body. (13) Again raise theL.H. with this ball palmed and point to the 2 balls and shell in the R.H. as if counting them.Pause,andthen with a stroking movement, draw the L.H. across the empty space between the 2nd and 3rd fingers of the R.H. leaving the palmed ball behind in this space, as the L.H. is drawn across. (12)
which suits the whim of the individual conjurer. As a change, some of my readers may care to try a ruse which I have found to be entirely satisfactory for lorcing the selection of one of three books. To this end, I used three small gummed stickers each measuring lain.by 2in. and numbered respectively 1 , 2 and 3. These stickers which can be purchased from any good stationer,are stuck c m the inside of the front covers of the books, the trick one carryingNo. 2. The three books were displaye:l in a row against an easel, the trick book with No. 2 sticker inside it being the first from the left as aadien.ceviewed it.Standing behind the easel I asked someone like Caesar’s wife tosay which book should be used, number 1, number 2 or number 3. There was noambiguity about a request couched in these terms. Now if number 1 was suggested, I interpreted the meaning to be the first as a-tudiencesaw it. If, however, number 3 was the choice, I counted from m y left, a perfectly logical and straight-fonvard proceeding to be followed by anyone standing behind the books. The most favourable call, and happilythe most likely one, is for number 2. When this was given me I stacked the three books and after explaining that each had a numbered sticker on the inside cover, I handedthe threeto someone with the request that he turn to the inside cover of each and retain the chosen book, the one with,No. 2 sticker on it. As an example of intelligent and artistic employment of my TRANSCENDENTAL in a trick, I know of nothingbetter than TrevorHall’s ROUTINE excleverly conceived A SLATE plained on page 27 of the first and only edition of Masterpieces of Magic edited by Douglas Craggs and published by Arcas in 1945.
to the side of the body once DroptheL.arm more. (14)TheL.H. nowostensibly takes away theball which is held between the 1st and 2nd is fingers of theR.H.but actually the ball allowed todrop down behind the shell. Hold closed L.H. out towards the audience to give the impression that it contains the ball, then go through the movement of pressing the ball through the top of the head. Conclude this movement with a smart tap ontop of the head and simulta.neously al!ow the ball, which until now has been held in the mouth, to be pushed out between the lips. ( 15) Takethcballfrom between the lips with the L.H. taking pains to show it to be a com-
61 plete ball,andplaceitbetweenthe 1st and 2nd fingers of the R.H. As the ball is placed inposition, palm off the shell which covers the bottom ball,immediatelyallowingthe L.armtodrop naturally to the side of the body. The timing of this last move is very important, because a half turn of the body is now made to bring the R.H. side towards the audience. Immediately the L. arm is out of sight of the audience,dropthe shell into theprofunde. If the performer is wearing a dinner jacket, the shell can be dropped into the side jacket pocket as the L. arm is raised for the next move. ( 16) You now have four solid balls between the fingers of' theR. H. andthe .R.H. side is towardstheaudience.These balls must now be transferred to the fingers Qf the L.H. and it is very effective if this can be done in one movement by interlacing the fingers of the two hands and changing the balls fromone hand to theother in the process. Thismove is almostimpossible to describe,and difficult toaccomplish,and it is best for each individual performer to experiment. Personally, I haveneverbeenabletomakea satisfactory job of it,andhave to transfer the balls, one by one, but I have known some manipulators perform the feat with comparative ease, and with gratifying results. (17) The R.H. side is still towards the audience, andthe L.H. containing the balls- is held thumb uppermost,i.e.,palmtowardstheaudience. With the R.H. takethe ball from the 1st finger and thumb of L.H. and throw it up several times in theair, eachtime slightly higherthan thelast,the3rdtimethe ball is palmed asthe hand makes the throwing movement, and, of course, the eyes follow the course which the ball wouldhavetaken if thrown. The R.H. with the ball palmed, then takes the ball held between the, 3rd and 4th fingers of L.H. and puts it into the space between finger and thumb. As soon as this ball isin position but before the R.H. moves away from the L.H. make a half turn of the body to bring L.H. side towards the audience.Thisenablesthe cross overpalmto be executed so that at the finish of the body turn, the R.H. canbe held out showing the palm empty. While this turn of thebody is beingmade,the fingers of the .R.H. shouldbekeptcurledround thefront of the fingers of the L.H. in order to give the maximum amount of cover for the cross over palm. (IS) Withthe L.H. side of thebody still towards the audiencetake the ball fromthe 1st finger andthumband place it between the 3rd and 4th fingers. Pause,andthentheballwhich is palmed in the L.H. is rolled out into the space betweenthe 1st finger andthumb,bypressing the palmed ball against the top of the lapel of the coat,anddrawingthehand downwards. The move is performed with the body so placed .that the L.H. side lapel of the coat faces the audience,
i.e.,about 45 degrees to the audience.Under cover of this move, the R.H. which hasbeen droppednaturally to the side of thebody, now xemoves and palms the ball from the holder under the R.H. side of the coat. (19) Make a turn of the body so that R.H. side is towardsaudience.With R.H. (now palmmg 5th ball) take ball held between 1st fingerand thumb of L.H. and tap it against the other three, and then return it to its original position, placing it as low as possible in the crook of the finger and ;humb.Undercover of replacing the ball bring the palms of the two hands together in order to transfer the 5th ball from the palm of the R.H. to the palm of the L.H. Now turn the L.H. over so that it is back towards the audience and drop the R.H. naturally to the side of body. (20) Your L.H. is now backtowardsaudience, and thumb downwards, with 4 balls between the fingers and the 5th ball palmed.Withthe R.H. take awaythe ball held between the third and fourth fingers (i.e., the uppermostball) and ostensibly throw it through into the R.H. trousers pocket, but really palm itundercover of the throwingmovement. Put the hand into the pocket to take out the ball which youhaveapparentlythrown into it, but really takeoutone of the balls previously loaded there, and place it back between the third and fourth fingers of L.H., the other ball is kept palmed the whole time. You are now in a position to make two productions without resource to a further load, because, quite unsuspected by the audience, (if the foregoing moves have been executed correctly) you havea ball palmed in each hand. (21) Thenext two productions must of necessity be made with the R. H. and can be carried out in a variety of ways. They can be ostensibly caught in mid-air by rolling the ball from the palm to the tips of the fingers under cover of a catchingmovement.This move requires considerable skill to carIy out effectively, and if preferred, these two balls canbeproducedfrom behind the R. knee or L. elbow. Assuming the latter method is used, proceed as follows : The ball palmed in the R.H. is producedfrombehind the R. knee,andplaced between the thumb and forefinger of the L.H. next totheonealready in that position. As the ball 1s placed there, the L.H. is turnedoverunder cover of the R. H. and the ballpalmed in the L&. is transferred to the palm of the R.H. Drop the R.H. naturally to the side of the body. Thismovemustbe carefully carried out to create the proper illusion andtheeyesmustbe kept on the L.H. the whole time. The ball now palmed in the R.H. is produced from behind the L.elbow. (22) This ball is tossed up into the air several times and palmed under cover of the last throw. The eyes which have followed the final
62 false Lhrow should now look down towardsthe R.H. trouserspocket.Point tothepocketwith R. forefinger to indicate that the ball is in there, and then put the hand into the pocket, withdrawingtheremainingballpreviouslyloadedthere, keepingtheotherballpalmed. The ball which is openly withdrawn from -the pocket is placed on the L.H. at the base of the little finger, the hand being slightly tilted in order to retain it. (23) Youmust now producetheball which is palmed in the L. H. Undoubtedly the best move at this point is to roll the ball to the tips of the fingers, the hand being held at approximately hip level. To actasmisdirectionthe .R.H. is raised as high as possible, immediatelyfollowingthe placing of the sixth ball into it, as if to display the 6 balls in position. Your own eyes. should follow the movement of theR.H.asthe L.H. makestheproduction, following which you can look down at the L.H. as if surprised yourself that the seventh ball has arrived. If you are unable to performthefinger rollproduction,thenthenextbestmethod is to produce the seventh ball from behind the R. knee. (24) Toss theseventhballintotheairwith the L.H. turning slightly to the right at the same time, in order to bring the body more front face to the audience. Thenplacetheballbetweenthelips and ostensiblypress it intothemouthwiththepalm
of the L.H. but actually palm it. Make a swallowingactionandproducetheball which hasbeen previously loaded under theR.H. end of the waistcoat, keeping the original ball palmed. In producingthevestedball, squeeze it out of its hoider with the thumb and allow it to drop down between the third and fourth fingers, where it is held against the body. (25) TheL.H. now picks upthe two extra balls from the R.H., the first ball with the second andthird fingers andthe second ballwith the first and second fingers. (26) You are now R.H. sidetowards the audience with the L.H. palmtowardsaudience holding four balls between the fingers. R. H. backtowardsaudience with threeballs between the fingers and one ball palmed. Make a full turn to the right to bring L.H. side facing audience. In doing so the .R.H. must remain back to the audience and to do this gracefully must move in a shallow arc down and up. The L.H. can, of course, turn with the body and finish back towards audience. The production of the last ball is effected by allowingittodrop by its own weight and roll between thethumband forefinger, conclude by facing audience holding the arms outstretched to display the balls. (Th.e E n d )
In publishing the ‘ ‘ de Grisy ” cutting in the April issue, we presumed (a closer examination showing that we were wrong) in c o m p a q with some others that the date on the cutting was 1813, 6 date incidentallv that would have tied up very nicely with theRobert-Houdinstory. Thedate, however, is 1873, which gives us an entirely new ComtcdeGrisy. We feelsurethereader will be interested in the following letter from Mr. Victor Farelli :-
One otherpoint : was the berm “ Music Hall ” used its long ago as 1813? I think not. However, this also could be ascertained. As you are aware. Mons. Jean Chavigny, author of “ Robert-Houdin, Renovateur de la Magie Blanche,” has stated that Torrini (Comte de Grisy) was a figment of Robert-Houdin’s fertile imagination!For particulars aboutthis book, see my “ Paris Notes ” in the June (1947) issue of T h e Sph.inx (page125). Kind regards, Yours sincerely, V l C T O K FARELLI.. P.S.-According to the ” Memoirs,” Comte Edmond de Grisy hadtravelledextensively inEurope,butthe magician who advertised inthe Englishpaper claimed t o be knownonly inthe British Isles. The difference in spelling-a capita! “ D ” instead of a small one is r,ot without significance-V. F
London, 20th April, 1950. Pear Mr. Warlock. of 18th instantand Many thanksforyourletter enclosure. Thedateappearsto be 1873: not 1813. In that case, the advertiser cannot have been the original Comte de Grisy (Torrini) as acco;ding t o Robert-Houdinhe died some time before his (RobertHoudin’s)theatre was opened in 1845. See “ Memoirs of Robert-Houdin,” pages 157, 158 and 212. London (1942) edition. As the “Memoirs of Robert-Houdin” first appeared (inEnglish)in 1859, i t seems obvious that the advertiser was a conjurer who had read the book and who had decided to take the name of de Grisy. The approximate date of thecutting could be ascertained byanexpertexamination of the paper on which it is printed. If you thinkit worth while, perhaps you will get this done.
One of the treats of the month has been that of watchingEdelingperformthepaperbutterfly trick. Very old and very much neglected, so neglected that we only know of one magician, William Dawkes, who made a feature of it. Now of course that its beauty in the hand of a Master has been witnessed by every magical illiterate who cannot think for himself, we shall see a plague of paper butterflies. dangling on the ends of threads. We havejust remembered something,however. This effect requires quiteadeal of practice ; it
63
LES PRINCIPES BRILLANTS de la MANIPULby Er. Jacques GCry. 144 pages ATIONdesCARTES measuring nine and a half by six and a quarter inches. 86 photographs and diagrams. The technical term, “ principes brillants,” was coinedbyRobert-Houdin (circa 1878) and it was translated by Professor Hoffman as OrnamentalSleights. ” Hence, if I hadtobring out an English version of this remarkable work, I would probably call it Ornamental Sleights with Cards.” Anyther suitable title would be “ Juggling \I:ith Cards which adequately describes the contents of the volume in which only one card trick is explained. The Preface is by Jean Valton, the wonderful youngcardjuggler, now afull-timeprofessionalperformer, who won several prizes a t different International Cpngresses of Magicians held in Europe. The ‘Introduction by the author, an amateur magiclan, is mostrefreshing.Dr. G6ry franklyadmits that his book has not been written “ in order t o fill a lcngfeltwant,”andremarks : “ . . . . this monograph has no excu.se f o r its existence other than the >leasure 1 had i l b writing .it ! ” %hevolume is dividedintofourpartsandseveral sections.Considerations of space will not allow me to follow Dr. GCry’s excellentplaninmeticulousdetail, but the following paragraphs will give the reader a good idea of thecontents of the bookunder review. Four pages aredevotedtosuchsubjectsas How to Dress,” The Care of the Hands,” and Practice.” Various Two-handedFancy Shuffles aredealtwithin the following eight pages, and illustrated by ten photographsanddiagrams. Single-handed methods of cutting and shuffling come next.Eleven pages andnineteenphotographs. Part Two. Springing the cards from hand to hand -by bending them the in old way-nd allied flourishes. Six pages andsevenillustrations. The “ Cascade.” Various appiications of the John N. principle first made public by the late Hilliardin “ TheArt of Magic. ” (Se: Fig. 6 in that book, and Fig. 21 Gaultier’s in Magic without Apparatus ”) ._ Four pages andanumber of illustrations are required to explain them fully. Spreading the Cardson the Arm andCatching pages and themin the Air. No fewer thanthirteen the samenumber of illustrationsaredevoted to these ornimental sleights. PartThree. JugglingwithPackets of Cardsand SingleCards.Withoutadoubt,this is the mostnovel part of Dr. GQy’s book. and, to the best of my knowledge,nothing like i t haseverbeenattemptedin any language,eveninEnglish.Theauthorcommencesby explainingvariousmethods of tossingpackets of cards into the air and catching them in different ways. Two pages withoutillustrations. CatchingThreePackets.This was introducedby Jean Valton atthe first International Congress of Magicians, held inAmsterdam,in 1946, andcreateda sensation.Thisbrilliantjuggle isperformedmore or less as follows. Holdingthe left hand, palmupwards, lay about a third of the deck-lengthwiseacross the palm.Place the secondportion of thecardsonthe forearm, not far from the opening. of the sleeve Finally, lay the remainder of the deck on the forearm, abouttwo inches fromthe elbow joint. Toss the three packets (together) into the air, and catch them, one by one. with the right hand, commencingwith theportionnearesttothebody.Theright hand is held withitsbackUPWARDS,andit comes Dr. GCry down andcatcheseachpacketfromabove. emphasizes that the thumb is notused.(Bytheway, ‘I
‘ l
l‘
‘ I
this manipulation should not be confused yitp the: old one in which three coins are placed on’ the nght foreI attended the arm and caught with thathand). International Congress inParisin 1947, and I saw Valtoncatchthethreepacketsasabovedescribed. He was awarded the first prize for manipulation. The 1948 Congress took place in Lausanne, Switzerland, and .there, I amtold, he caughtfourpackets.Lastyear ( 1949), atthe second Amsterdam Congress, he used five packets,andDr. GCry statesthat Valton is now able tocatch six packets (!), butonly performs that marvellousfeatonvery special occasions. Thetwo following sectionsdealwithanother of JeanValton’sspecialitiesand d s e r e n t ways of balancingcards.Two pages andonephotograph. A fourth section. of three pages, illustrated by two photographs, deals with the BoomerangCard (or Cards)andseveral ways of catching them. Part Four. A lengthy treatise on Card Fanning. It ‘contains twenty-three pages and is illustrated by tweny-sixphotographsandseveralsmalldiagrams. It is probably the mostcompleteyetpublished, atany rate in French. Dr. G6ry’s Concluding.Section,consisting bf four pages, is of greatinterest.Inithe describes ‘a very novelroutine, devised byhimself,andexplains how certainorniinentalsleights,fansand flourishes maybe turned to practical account by the card magician. Unfortunately,inorder t o dojustice totheauthor, it would be necessary t o translate his text in full-about twothousand words-and I fear thatthe editor of thismagazinemightobject!
*
*
*
Thephotographs(withoneobviousexception)are reallybeautiful : hadthey beenprinted on art paper, they would havebeenmagnificent.Whilethesmaller photographs have certainly been taken to illustrate the book, i t seems t o me thatthe larger. ones-showing JeanValtnnin action-are reproductions of “ lobby cards ” used to advertise his public perfwman‘ces. Unreservedly recommended to all would-be card jugglers, especially if they can read French. Even withouta knowledge of that language, useful information is to beobtainedbyacarefulstudy of the photographs. As the edition is limited t o 620 copies.thisbook will soonbe acollector’sitem.Printedin 1949 by PaulEven, Metz, France. Price : One thousand and Sixty (1,060) French Francs by registered book post. Copies maybeobtainedfrom A. Mayette, 8, Rue des Carmm, Paris. -VICTOR FAREL~I. Magic GO Round-continued from opposite page
can’t be performed five minutes after reading the instructions and memorisinga fewlines of dirt from one of Orben’s books. So, optimistically we hope it will remain a classic. TheCarl JonesDinneron April 1lth at Claridges was a great occasion. I n his all too short speech Carl Jones brought the ghost of John Collins Northern Hilliard @to theroom.Stanley travelled up to . Tdwn on this occasion and had Paula thepleasure of seeing his onetimepupil, Baird, put over a charming and intelligent show. The Magic Circle “ E v ~of Departure to America-” show should be most interesting, and though we should like to have been present it just couldn’t be,
64
NOT 71/1 ($10) B U T 20/- ($2080)! Motivated in large part by the desire to offer our Britishfriendsamost extraordinary magicbook bargain, we have purchasedfrom Arthur Buckle?, author-publisher,the completestock of his major \vorks, CARD CONTROL and PRINCIPLES AND DECEPTIONS, which Lve are prepared to deliver, postpaid, a t 2 0 / - each, a mere 28 per cent. of the $10 (71I-) price a t which they have been selling ever since their publication. Both books, size 64- by 94 inches, are well printed on extra heavycoatedpaper,illustrated \vith a. greatabundance of exceptionally fine photographic halftcnes,andstoutlyand handsomely bound in black (simulatedleather; fabrikoidstificovers, Lvith gold-stamping on bothfrontand spine.Together,these books constitutean exceedingly thorough course in modern manipulation with cards, coins, and balls.
CARD CONTROL, pub. 1947, 219 pages, 297 photographic illus., card sleights and tricks by Allerton, Buckley,Cardinl,JudsonCole,andmanyothers. “ Superb ’’ (?!ulhoiland), ‘‘ Excel(Armstrong), Tops (Fitzkee) Most Authoritative lent ” (Thompson) , Outstanding (Goodliffe),and so on.Reducedfrom 711- ($10) to 2 0 / - . “
”
“
”
”
PRINCIPLESANDDECEPTIONS, pub. 1948,224 pages, 358 photographic illus., the only extensivetreatiserecentlypublished on coin andbilliard ball work (plus some extra fine card tricks) . “ Truly agreat book (Okito) , Magic it is ! (Armstrong), A wealth of material (Thompson), Most informative ” (Warlock), ‘‘ Good . . . good . . . good . . . good (Lorraine), “ Excellent (Mulholland) . Reduced from 7 l /- ($10) to 20/ ”
“
”
“
”
-.
“
”
”
(In addition, we have eighteen important books on the Fleming “ share the loss ” list. $7.50 books a t 431-, $5.00 books a t 301-, $2.00 books a t 12/-,and son o n ) . NOTE : Please remitto Mr. RobertsdnKeene,Riverside, Victoria Road, Yarmouth, Isle of \Tight ; books will be mailed direct from the U.S. Mr. Paul Fleming will be a t Cumberland Hotel, Marble Arch, London, W . l (where he may be addressed), from about July 15th t o August loth, prepared to purchase large or small colllections of secondhand, cloth-bound magic books.
FLEMING BOOK COMPANY, 728 Madison Ave., York, PA., U.S.A. “
PETER
ROUGH AND SMOOTH POSSIBILITIES ” By Tan Hock Chuan
PENTAGRAM
A booklet dealing with the methods and application of the modernprinciple, by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Pbstage 3d.
ARCAS Publications SYDENHAM
404/408
..
Croydon
ROAD Surrey
0
BROCHURES, LETTERHEADS and PRINTED PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copydrawings. writingLine
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manusoripts for publication and books for rev?<w should be sent to the: EDITORIAL ADDRESS:
Particulars from Hon. Secretary :
King George’s Hall, W.C.
Peter Warlock,
Francis White,
24, Wordsworth Rd., Wallington,
39 Alverstone Avenue, Wimbledon Park, S.W.19
JACK HUGHES
JACK 2,
U
The MagicWand, Quarterly. Fer copy 318 p.p. Annual sub.xription 14/6. The Wizard 36 pages monthlv Per copy 211 p.p. 6 konth, 1216, Year’ 241-. & Balls (Farelli) 25/6 John Ramsay’s Cups Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Larnonte) . . 1013 . . 1013 Bohleno’s Mysteries (Bohlen) Thanks To Leipzig (Farelli) . . 10/3 George Armstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 10/3 Strictly Magic (Eddie Joseph) . . 5/3 Stooging Around (Stnthard) . . 513 26 Living & Dead Tests (Garrett) Jamesosophy (Stewart James) . . Year Book 48/49 (few only) . . . 513 Ct*!n+s With Stage Money (Lamontc) , , 513 Tncks of the Trade (Armstrong) .. 2/7
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE
JACK LAMONTE
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Telephone : TOT7742 I
I
Manic Wand Publications
:‘ 2$;
OLD AND NEW. Let me know your wants FOR STAMPED ENVELOPE LIST FREE No Callers
28, WARWICK RD., LONDON, N18
and Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1.
will be pleased to send you details of his very latest effects and all his old favourites in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
’
*
Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroorn and Library
Surrey.
By a MAGICIAN who knows your requirements
0
His Gracethe Dake of Somerset, D.S.O., O.BE.. J.P., M.1.hI.C.
I’rc4lml :
is published on the 24th of each month and canbe obtained direct from the publishers for 1 / 1 per h g l e copy. Annual Subscription 12/post free. PUBLISHED BY:
I-
A RW TO R K
The Magic Circle
WARLOCK’S
.
I
From the publishzrs THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietcq The Magic Wand Publishing Company, 11, Monastery Gardens, Enfield. Middlesex, and printed by Ilcrbert Walker and Son (Printem) Ltd., Well Croft. Shibley. Yorkshire.
*
I
65
PENTAGRAM An independent monthly bulletin for all w h o w a n t good magic Juae
Didyoueverland up at a party wherethe hostess pins slips of paper, bearing famous people’snames,on the guests’ backs ? The idea being that the guests circulate in the company and by asking questions, i.e., sex, nationality, occupation, etc., have to guess whose name is on their backs. O.K., if you ever get mixed up in a “do” of that sort, you’re all set After the initial preliminaries you turnthe talk to E.S.P..” etc., and remark that of course you toparticipate in these it’s hardlyfairfor sort of things, because you can get ” the names bytelepathy,etc.Toproveit,anyspectator writes a famous name on a slip of paper (3in. X 2in. !) folds once each way, then lays it on table. .You suddenly realise thatperhapsthe slip is rathersmall, so youask the spectator to print thenameona larger piece of paper. You tear upthe smalier, folded dip, just in case you think I look atit, or anything like that,etc.,’’ andas yoa stroll away to let spectator re-write name you readthe torn centre that you stole. Right,larger na.me is pinnedonyourback, and you now go fromonepersontoanother, letting them see name on your back, getting each one in turn to concentrateon one particular aspect of that name-sex, nationality, occupation, etc. You are thus able to reveal each aspect in turn, graduallybuilding np tothe correct name. By the time that you’ve got six or seven spectators to concentrateon different aspects youshouldhave circulated round a good bit, so that nearly everyone present comes to see the name, and the final revelation of the complete name is appreciated by t5e entire audience. The second effect mes the torn-centre in the envelope ; it’s a fortune-telling stunt. Deck, set up in Si-Stebbinsorder ; 2 or 3 slips 4in. X 4 k . , folded Oilce each way. The pelformer indulges in a piece of numero“
“
“
195U
logical mumbo jumbo which is written around the paper,andthe resultant Fadicnumber ’’ is drawn attention to. Spectator writes any question on the blank centre of sheet, and this is folded and placed on the table. You now false shufile thecards,andplace these also on table. You have, at this stage, to get possession of the written information, so youmake any excuse to allow specrator to re-write information ; perhaps you forgot to le11 him to sign the paper, or L;) add his place of birth,etc.Anyway,youhand him a fresh slip t(J re-write information, tearing up firstpiece as in previous description. As he writes you walk away and read stolen torn-centre question (andanyotheradditional information that you asked him to add-mother’s first name, etc.).The second slip is tabled or placed in spectator’s pocket, etc. Yag can now give the cardsanother false shuffle if youwant,then place deck on table and ask spectator to cut three times r i t h left hand (!) (completing the cut each time). He isnow asked to cut of[ about a quarter of the cards(fromtop of pack),and to place them, face down, to his right. Then another small packet, frcjm rernainder of pack, beside the first packetcut off, and finally anothersmall pazket beside these two ; the remaining cards are placed to one side. You explain to him that the first packet represents the Past,” second packet represents the Present,” and third packet represents the Future.” He is askedto turn the topcard of each packetface-upon its packet. You now givea reading for the Past ” from the face-up card on Present fromthe first packet ; one in ihe face-up card in the Present ” packet ; and one for the “ Future from the face-up card on the (a-la Forbidden Wisdom ” ; third packet. “
“
“
“
“
“
”
“
”
66 Mainly Mental ; 20th Century Mind Reading Act,’’ etc.,andany previous information you’ve been able to garner.) You now ask him to concentrate on the question that he wrote. He is to place the three faceup cards. to one side andtotakethe new top c a r h ofCach packet (one from each) and to hold them in front of him in a fan,notlettingyou see whattheyare.But, of cou.rse, you do know what they are, because the face-up cards that you did the previous rea.dings ’’ from tell you what they are :“
”
“
“
the process (say it’s the 2 D’s.). Now, let’s suppose that the spectator’s lucky number is 8 ; you ask him to count down to the 8th ,card in the remainder of pack (the packet that wasplaced aside before the reacljngwas begun (see diagram on p. S ) , and to remove this card without letting you see it. Hut you know what this card is because sighted bottom. card of heap 3 is you key card, therefore 8thcard in remainderpacket is I< D . You nowproceed asbefore :-“ Court cardsare luckier than spot cards, therefore, if you’ve got a court card you’re assured of everythingturningoutas you hopedtheywould. (Vivc-versa if luckycardhappenstobea spotcar;!) . You were bornunder the sign of Scorpio, therefore, your luckiest suit is diuI ? 2 0 1 1 7 d S , but if you’ve got a lteurt it’snearlyas lucky. You go on like this, never saying, “You’ve got the K D’s.” but working it so that YOU finally tell him that his luckiest card is the K D’s. and if by any chance ( ? ) that was the one that was at his lucky number, he’s assured of a very happy existence a d will succeed in life, etc.! rhis leaves them bubbling over with joy!! “
”
ACE OF CLUBSISO EIGHT OF DIAMONDS&UEm OF HEARTS SO TOP CARD OB PACKRT SO TOP CAHD OF TOP C A R D OF PACKET IS FOUR OB HEARTS PACKET IS JACK OF IS TWO OF SPADES CLUBS
You explainthatthethreecardsheholas will answer the question he has in mind, because th.? way he’s acted in the past, the way he’s acting I ~ O W , and the way he will act in the future will combineto reveal the answertothequestion. Now, he drew a card from each pile; “ Past, Present, Future and you know what these are; you also know what question is; you don’t nunle these cards,you work like this :-say thatthe question is, Will I beableto go tomy son’s wedding?” (!) and youknow, thanksto Si-Stef, that he ho1d.s the 4 H., -7C . , and 2 S. O.K., you patter :-“ If you have 3 red cards your question probably deals with health; if you have 2 red and 1 black card its probably something about politics; if you have 2 hlack and 1 red it’ssomething to do with truuel.” Get it? Youcarryon in this manner,graduallyrevealingthatthecards (?) have revealed his ‘ thought-of ’ question and also that these cards hold the answer to that questim. There are endless combinations,courtcards and spot cards, suits, numerical values, and combinations of certain cards. You build-up in thisway till you come to a direct answer to the question. You never reveal that you know the exact question,you just makesurethatthe ‘cards’ givea good, direct and sympathetic answer to the question You now statethat the spectator’s ‘ Fadic Number ’ is a positive omen of good or bad luck, both in answer to thequestionand to himself generally. (Rememberthat youworked out his Fadic number at beginning of effect), You gather up the 3 heaps, sighting bottom card of heap 3 in ”
“
I stands for INGLEBY
--
From the l . B. Findluy Collection
Here is a contj-ibution you might use for the ‘ ‘ Pentagram. ’ ’ It is my arrangement of a wellknownefiect-the magicalarrangement of three coloured silks in a called-out order.Themagi displays a parcel in which, he says, are three silks -red, white, and blue-tiedin a certain order. There arc six possible arrangements-R, W, B.-W, B, R-B, R, W, W-R, B, W-B, W. R.W,R,B. Then he displays a stand and three cards of thecoloursred,white andblue.Onthishe arranges the cards in a required order. He thentakesupthe parcel and waves it overthe stand to develop a sympathy between silks and cards.”When the silks aretakenouttheyare “
seen to be tied in a chain with the colours in the order shown by the cards ! The three silks have their endsfastenedby tiny rubber bands in a continuous chain, and the first diagram shows a close-up of the same. Then these silks are wrapped up in a parcel withthe paired ends disposed as shown ; the order must be memorisc?. After the preliminaries of the effect have been gone through. up tothe displaying of thethree cardsonthestand,youhaveonly to notice the firs; and third coloursbeforeyoucoulddisplay the chain in the required order.Saythe colours are R, B, W-the end colours are then R and W. So you have to open the parcel where these ends areandjust pull upthetip of the redend,as red is the first colour. Thismerepullupsetsthe tied end, and the three silks will come out in the order required. From here the magician could go into Blends or any other effect wherein three coloured silks are required. Have been indisposed for about eight months, andfoundthe Pentagram ” very welcome. Thanksagain. Withall the best, Yours sincerely, TAN HmOCK CHUAN. “
”
“
was verypleased to see you Dear Peter,-I had published my two contributions. I had almostforgottenaboutthem.Theonly cornrnent I have had on my “ slaphappy pass ’ ’ is unfavourable ! So muchthebetter ! Do youremember how Annemann used to publish occasionally a page of Improvements ” ? I notice you don’t do this-maybe because most of youritems are so good alreadythat there is 110 room for ilrlprovement ! However, there are acouple of ideas that I consider well worth while, and am using. Hark back to the Pentagram of Auglst, 1947, Page 77, JamesDouglas’s Recovery.” Now my little improvement is this. Before beginning, fold tke mac,az:newit-? the duplicate Pover that you have fixed in the centre so that this cover appears to bz the norm21 autside cover. The xsgazinecanthen be displayed casually atthe start without anything untowardappearing. It is thenthe duplicLtte <.over that is tornaway. And atthe end the magazineyoudisplay is a ‘‘ Illustrated,”or nomal andquiteunprepared whateveryou use. It canthenbepresented to a member of the audience, and is bound to be the object of later discussions-(you know, “ but here i s the verymagazineheused,” etc. !). And as adra.wing-room trick it causesa great deal of comment, I assure you. “
“
”
“
Well, great credit gctes to James Douglas for this delightful trick. I wonder how manyhave passed it by ? And nbw Idea No. 2. Reference Sharpc Scissors on Page 68 of the June, 1949, Pentagram. The length of the slit need onlybea little greatex than the w i d t h of the ribbon you are cutting. Then when you are past the ribbon, the scissors can be shown above and below the envelope actually and deliberately cutting it. This verymuchenhancesthe illusion that youhave justcutthroughthe ribbon. Spectators notice this particular point, because I have heard it commented on afterwards. Incidentally, I use a spectator’s tic:!-a procedure of which you probablydon’t appTove ! I alsa use an envelope of ;1 letter thathas beenthrough the post in the normal W-ay, and I remove the letter at the beginning of the trick. It all makes things look normal, and incidentally the writing on the envelope helps to camouflage the slit (good old Army training!). However, this idea comes froin Annemann’s The Jinx 11. Card Unharmed Many and sincere congratulations on the Pentagram-you are producing a magnificent c811 keep it up ! I am magazine. I hopeyou the proud possessor of a complete file ! “
”
“
”
“
”
Yours sincerely,
PETER SUTTON.
68
MISE EN SCENE.” The Mysticologist andhis ‘ wife ’ are in thedrawing-rocm of their home, entertaininga gathering of friends,andasmay be expected, they are discussing magic, or maybe the weather -for achange. In a somewhat off-handed manner the hostess asks her knight-of-magic : Have you shown our yet ? ” guests that funny trick ’ of yours Whatfunny trick ? ” asks herhubby. “ The one you showed to Mr. and Mrs. Hocus the other night.Don’tyou remember ? Oh ! that stunt ! ” The trickster,(pretending to shake-off his wife) explains to the guests : Oh ! it’s nothing much,justa little idea the wife and I tried out for a bit of fun.” By this time the hook iswell baited,and everyone in theasylum insists on seeing that “ funny little idea.” And that’s just exactly what the performer so cunningly engineered. Somewhat reluctantly, but happy ,within, the ‘ host ’ condescends to show it, to please the gathering. Then, from a aear-by shelf or handy drawer, etc.,etc.(afterasearch ? ? ? ) hebringsfortha pack of. cards, in their case. The cards are removed and placed onthetable,theyare held together with an elastic band. “
“
“
”
“
“
Performerdoesnottouch.thecardsagain.
Next,heexplains that his wifewill assist him andthat she will retire toanother room, then, while he turns his bask, or leaves theroom,for that matter, any vohnteer !’S to takc: the pack and shuffle thecards.Then Fe is to select any one card, look at its face, memorise it,andthento shuffle itbackintothepackand replace the rubberbandaroundit.The performer, his wife, and no one else is to know which card is selected. Thus said anddone,performerturnsround facingagainandinvitesanyothervolunteerto take the pack to his wife in the other room. H e must not speak n word t o her or answer c : : y qztestions. This is done,and almost imrnediatelythevolunteerreturns with thepack of cards, still secured with therubberband,and places it on the table, according to instructions. Performer now recapitulates the proceedings, thusfar,and asksanvone to ta.ke upthe pack. He explains that he and the audience, joimly, will now count the cards aloud, and during this operation the spectator who selected the card must stop the person who is to deal the cardsas soon as the selected card shows .itself.
Tht. cards are then dealt-off, faces up, one by one, on to the ta.ble, and everyone joins in and counts aloud. Strangely enough, there are only 51 cards in thecoun-t,andthe selected card is notamong them. The performer enquires : Isn’tyourcard tilere ? The person who selected the card says, No.” Theperformer continues : In orderthat there should be no loophole for dispute about the identity of the selected card, later, will the spectator himself please name the card he selected, for all to hear. Someone is then requested to recall the good ladyfromher room, and she walks in with the selected card in hand. The trick may be repeated with similar success, but why ? “
”
“
“
REQUIREMENTS. Fourpacksof’cards with back-designs to match, also thr-ee small rubberbands to snap around three of t h e packs. These must look alike, for safety’s sake.
PREPARATION. Pack No. 1 . Arrange the cards in suit order, aces to kings. PackNo. 2. A well shuffled pack with a rubber band around it, but without the case. Pack No. 3 andPack No. 4. These two packs are sorted out and re-assembled to make up MISSING LINK PACKS.’’ two These packs consist of 51 cardseach,made up in amanner that any one card of the 52 in a regular pack, is found to be missing, from either the one or theother of these two packs, when thecardsare checked through. To make up these packs proceed as follows : Pack No. 3 zonsists of [he undermentioned cards from both packs, namely : The ace, 2, 3, 4, 5, 6 of clubs andspades. The 7, 8, 9, 10, jack, qucen, king of hearts, and diamonds, repeated. Pack No. 4 is made up of the remaining cards from bothpacks, namely : The ace, 2, 3, 4, 5 , 6 of heartsanddiamonds.The 7, S, 9, 10, jack, qucen, king of c:ubs, and spades, repeated. From .Pack No. 3, discard one ace of spades, aod from Pack No. 4 discard one ace of hearts. Shuffle these two packs thoroughly,and place a rubber band around each, to hold the cards securely. “
69 Next, take Pack No. 1, and No. 4, and leave them in the room to which your assistant will retire out of sight whenthetimearrives.Ona smalltable in that room, Pack No. 1 is spread out sc that your assistant can quickly get at any wanted card,withoutdelay.Pack No. 4, with itsrubberband in place, is left in a handy and get-at-able point, somewhere near the doorway. Pack No. 2 goes into one of the performer's favourite side pockets, secured with a rubber band. Pack No. 3 (witharubberbandaround It) is in its case and is left in a handy dreawer on the book-cse: etc., etc., in the roam \\here the company is congregated.
WORKING. When the right moment arrives, the performer introduces Pack No. 3, while his assistant retires toher room.Thispack is handedtoa volunteer to shuffle and to select a card mentally, then to replacethecardand re-shuffle the pack and to snap the rubberbandarounditagain. "
"
A secondvolunteertakesthepacktoyour assistant, who receives it through a small opening of the doorway.Your assistant stalls fora few seconds, andthenhandsthevolunteerthepack backagain, u c t z d l y Pack hlo. 4, hut that i s ~ i o ~ ' ~ ~ j affair. l i ~ ~ ' . ~
(' THE CARD MAGIC OF LEPAUL," byPaul le Paul (publishedby theAuthor, price inthiscountry & 3 andobtainable from the Flerning Book Co. See Ad. page 72) . Here is that rarity, a book on card work by a. professional cardman. Abook, too,that is a book in thefullest sense of the word. Stoutlyclothbound, it contains some t n o hundredodd pages of text accompanied by some three hundred and fifteen photographs. Thefirsttwenty-four pages of the book include acknowledgments, an introduction bv John Rlulholland, and a Preface by the Author. It is- terse, but it shows the mind of amagician, thus :" Skill is the primerequisitefor conjuring with cards-sooner or later anyone who hopes to gain recognition as an expert must master the technique of card manipulation ' ' , and " Mediocrity is outmoded. If Magic to hold its place . . . it must be expertly (lone . The book proper is divided into tmo parts, the first part being devoted t o sleights and flourishes, whilst the second is made up of card effects. does not describe LePaulin hissleightsection anythingrevolutionary,infact most of the methods given areadaptationsor improvements on standard sleights. This is almost as it should be, €or the groundwork of card magic has been well explored during the last generation. What, however, theAuthor does do is to convince the reader of the practicabililty of the sleights in question. In this range of sleights, the Pass, SideSteal,Palming Double Lift, Changes,False Dealing, Controls andFalse Shuffles arealldealtwith.
fs
The volunteer .returns and places the pack on the table. Once agaia, the performer recaps. The cards are dealt-off andcounted, andthe selected card is said tobe missing. The selector is thenasked to name the card he selected, to avoid arguments, for a11 to hear, etc., etc. MEANWHILE, your assistant sneaks close up, unobserved, of course, and listens in to hear the name of the missing card,after which she hurries back to her lair and takes the card named fromthespread-out of Pack No. 1 . (THINGS MUST MOVE XAPIDLY TO PREVENT SUSPICION). Someone is then asked to re-call your assistant, and she re-enters the drawing-room carrying a card, face down, which she deposits on the table. Once more,performerrecaps (during which timehegathers the packfromthe table and casually snaps the rubber band around it. Then, when all eyes and attention is concentrated on the missing card as it Is turned face up, the sly performer politely pockets that pack and switches it for the one in his side pocket, i.e., Pack No. 2. The extra card on the table must be disposed of as best asthe prevailing circumstances will permit,just in case somewiseacre asks ta look through the pack. (This 1s the only little difficul t y which may at:ise. ) '
Particularly did we like his bvttorn palm, diagonal left palm,left hand centre card steal, snap overdouble lift and genuine onehand fancy deal. The second deal described, though without doubt effective, is not a second " deal Withall these sleights the excellent grouping of thephotographs atthe side of thetext makereading and learninga simple process. The trick section commences with the excellent adviceregarding thefactthattheplot of anycard trick should be simple. This point is borne in mind in all of the effects that follow. The first three effects, " How close can you watch ? " " Deceptive Perception " and " Mistaken Identity ", in which red backed and blue backed cards are used, alltieup nicely together and further more add a little more to this phase of conjuring. " Quadruplicate Mystery '1, " Colour Segregation " and " ImpromptuTorn Card Effect areall excellentitemsfor close up work. Thereare a number of effects on the four ace theme, the handling in every case being free from involved methods. An excellent book which carriesarecommendation to all who love good card work. l ' .
' I ,
" CONJURING," by Wilfrid Jonson (published by Foyles of Charing Cross Road, W .C.2., price 2 / 6 ) . Here is a book of some ninety-six pages published by a lamous firm of booksellers for the consumption by those members of the public \vho wish to become conj urers. First of all we must congratulateour old friend, the Author, on his choice of sucha.simple but at the same timc allembracing title,and secondly onthe masterly way in which in sucha few words he has covered so largea field.
70 In the Preface, theAuthor gives the reader some excellentadvice, one piece of which is t o remember that you cease t o be a conjurer when you have finished your performance, for as he rightly says “ Nothing can bemore irritating to really intelljgent people than the conjurer who poses as a ‘ magician ’ andpretendsto be a man of mystery ccfter he has finished his act.” The book is divided into two-main parts, part one dealingwith “ Impromptu ” magx, whilst the second is given thetitle of “ Studied Mysteries.” Inpart one are some fourteen items, all effective yet employing near t o hand properties, whilst some twenty three items of amore elaboratenaturetakeupthe second part. There are no card items included for the simple reason that Mr. Jonson has a book entitled simply “ Card Tricks that will make a later appearance inthe Foyles Handbooks series. For the beginner this is an excellentbook,being both readable and informative. It teaches, magic which is thegreatthing. An excellent “ buy ”
“
”
‘‘ THEPIDDINGTONS,” by Russell Braddon(published by Werner Laurie, price 8 / 6 ) . This, a contemporary success story, is a neatly produced blending of fact with fiction. Russell Braddon, its author. writes graphically and well, andinthe beginning we are taken back to the war days when the Jap was taking all before him in the Malay Peninsula. We read of the meeting between Sydney Piddingtonand the author, of their separation and their later re-union in Changi P.O.W. Camp, and how a t this stage a telepathyact was born. (As this is primarilya book for the public a t large we arenot given the sources of inspirationthat helped totaketheact from Rhine symbols to the book teststage,infactthe credulous reader will have every right to assume that the phenomena writtenabout was genuine phenomena). Withthe success of the act, the first part of the book is ended, and the second begins with the capitulation of the Japanese and the return of Sydney Fiddingtonto ,Australia. It tells of his period of rehabilitation and of his meetingwith Lesley Pope (who later was to becpme Mrs. Piddington). It tells of their teaming up and successful debut on Australian Radio. Thethirdand final stage is thestory known t o most, of how this young couplecame t o England and with their series of radiobroadcasts caused notonly controversy,but how suchbroadcastsserved assteppingstones to stardom in variety. The book runsto over twohundred pages and is well produced and illustrated. We feel thatcertain criticisms of both conjurers and personalities could have been omitted,andthough Mr. Braddon seems to find our ways peculiar,such national peculiarities can be unwisely stressed, asinstancethe case of Parkin when he was once being barrackedduring a Test Match in Australia. We also thinkthat shouid have been a credit note (and such a credit did not need the revealment of thePiddingtonmethods)to those like Annemann andothers who have helped in the modus operandi of .this act.
‘‘ LELIVRE D’OR ” (compiled and published by Robelly: 13. Ruedu Grand-Marche, Tours,France. A limited edition of 312 copies) .
The compiler in his Foreword nut only gives his reasons forthe publication of this book butatthe same time tells his readers that there are omissions. As in the case of certain British and European magicians, the author would no doubt be advised by his contemporaries, we mustnot place the blame on him for some of theamazing oversights, the greatest of which is that of David Devant. Others of noteare Annemann, Douglas Dexter, Louis Nikola, Martin Chapender, Jardine, Ellis, Fasola, Hilliard and Sachs. Despitethese omissions, M. Robellyhas produced a most valuable work and one that will give more than a great deal of pleasure tothe serious student of Magic. Inthemajority of cases not only is a brief pen sketch of the personage included, but actual birth and death dates are added. Though we have not counted them there must be a t least some one hundred and fiftyreproductions of sketches,photographs and playbills, all of which add greatervalue to the work. Harking back to the matter of omissions, it would seem an excellent idea if,for the sake of comprehensiveness and more general representation, that asupplementbe issued. We consider ourselves most fortunatetohave acopy of this work and give it an unreserved recommendation.
JOHN RAMSAY’S TRIPLE RESTORATION, described in the minutestdetail by Victor Farelli (published by John Ramsay, price 6/-). Thisroutine is in printed forrlandrunsto some twenty-one pages. There are fourteen photographic illustrations. IVhen John Ramsay’s “ Cylinder and Coins routine was reviewed by us some little while back we expressed the hope thatthisparticularroutine would follow. Our wish has nowbeen granted. Let us say straightalraythat Mr. Farelli has performed an excellent job of work and has chosen the photographs well so that there is nothing that cannot be understood. ”
To thoseunacquainted with the effect, i t consists cl a trip!e restoration of torn paper, every action being carried out in a most deliberate way. Unreservedly rccommended. “ ALL CLEAR ” ENCHANTED -VASE (marketed by the originator, Billie Jones 8 , Clarence Street, Pembroke Dock, price 7/6). The effect that Mr. Joneshas gone out for is that of the “ Rope and Vase. ” This version is very much different insofar thatthe vase (or in the items supplied,a medicine bottle) is transparent. The idea is very c-ever andcertainly practical, andalthough,as we mentioned before, the secret device comes with a medicine bottle,it can be adaptedto almost anytype of bottleor glass vase. It ca.nbe performed a t very close quarters,andastest we quite safely handed the battle out for inspection by a friend of ours. If you !ike the description of the effect you should not fail to purchase it.
DOUGLAS HOQD’S “ CARD IN CIGARETTE ” (published by the originator and retailed by Ken Brooke a t Veroni House of Magic, Eradford, price 6/- 1. Mr. Hood in devising this special device for disp x i n g of the torn pieces of card, will tend to make the “ Card in Cigarette amostpopularitem this coming year. Our own advice wouldbe for the owner of this “ gimmick t o forget the cigarette part, and find some other means for producing a torn card. The device is easy to handle and is an excellent buy. The originator,anxiousto give the buyer everythinghas, in theprinted instructions supplied included .an excellent method (Jack le Dair’s) for switchitp the cigarette. ”
”
M. Robelly in this book of nearly one hundred and fifty pages has,with alove of magic and magicians, paid homage t o those magicians of thepast.In his task. he has been assisted by some sixty fellow Who magicians. LeLivre D’Or is really a magical was who ? ” “
71
First of all we start withapologies tothree friends, namely, C. L. Boarde,Francis Haxton, andStanley Collins. The first forthe omission of a letter in his name on last month’s cover, the second mistake for a in his excellent item Restless Choice.” If thereader will turn to Page 59, in thethirdparagraph in the left-hand columnhe willfind that. The performer now shuffles the deck bringing the two of clubs to the top.”This shouldread “ theperformer shuffles the cards leaving the two of clubs at the hottot)?.” Whilst we feel sure that those readers conversantwiththe Curry change were not foxedbythis, we would not like to let it pass without correction. The illustration accompanyingMr. Collins’s article showedcapital letters , these letters should have, of course, been in script. “
“
“
”
is TheChicagoS.A.M.-I.B.M.Convention now a thing of the past.Impartialandauthoritive correspondents on the other side of the Atlantic givetheinformation that Willane was the outstanding act in the International Nite show,
In earlier numbers of thePentagram,under the respective titles of “ The Thread in the Maze ” and IWestern 1248,” its worthy Editor and Mr. VictorPeacockdescribedmethodsas to giving information as to the name of a selected card over the telephoneby calling outthenames of a number of other cards. In presentingthe following,however, it shouldbe distinctly understood thatit is notpresented asan improvementon either of the foregoing, but simply asanalternative method which may be preferred by some, as it works automatically, and there is no chance of amistake occurring. “
Commence as in both of the methods with a pre-arrangedpack,but in additionthemedium mustbeprovidedwitha scribbling padupon which the names of the cards are already written down in their correct order. The pack 1s fannedforaspectator to make a free choice of card, and as soon as he has done so the cards are cut at a position two cards above the place from which the selected card was removed. Prior to being placed in the spectator’s Docket the chosen card is shown to the remainder
Dr. Stanley Jaks, the cream of the close-up ses sions, whilst our ownGeoffrey Buckingham stole the honours at the Educational lectures. Ourfriend,MauriceFogel, is now settliug down in New York and has spent some little time assimulating the American angleon professional mentalism. The pace wouldseem tobefaster, a factthat is not so easily apparentfromthe writings of American mentalists. Elizabeth Warlock has had many requests to publishher effect “ Linklater. In consequence this will appear in the July number, together with a coin andnote routine that we feel surethat you will like. It wouldseem that Charles Wicks’ Mentalist’s Dream ” has been one of the most workedeffects that we havepublished.From all over the world we havehad nice things said about it. ”
“
Just too late for review Scarne’s “ Quartet ” hasarrived. An excellent basic idea capable of many variations; get a copy as soon as you can.
of thecompany,and while this is donethe performerturns his back.This gives himample off thetopfour cover andopportunitytopalm cards of the pack. The remainder of the pack is then shuffled by anothermember of the audience andcutby a third.The magicianthen picks up the bottom half,andremarking, You maynot believe it, but your card has impressed itself on these others,” -deals the top four cards-which he has just palmed on, face down upon the table. Yes,” he continues, namethemto my wife in anyorderyou like, andshe will beable to psychically discover the name of the card in your pocket. ’ ’ “
“
“
As thecardsarenamed to her the medium takes a pencil and crosses them off the list before the her. As an experiment will show,assoonas fourth erasure ha.sbeen made,four successive names will be foand to have been scored out with agap betweenthe seqond andthird crossings, and the name of the card which occupies this position will correspohdwith the card which the sDectator Dlaced in his pocket.
ALMOSTUNBELIEVABLE BUTTRUE! Arthur Buckley’s CARD CONTROL and PRINCIPLES AND DECEPTIONS (described in last month’s Pentagram and Wizard) areunquestionablymagic’smostsensationalbookbargains.Finelyprinted, iavishly illustrated, and handsomelybound,these 71 / - ($10) booksare now available,from us only, at 20 / ($2.80) each ! FLERIING “ SHARE THE LOSS ” BARGAINS : A t 60 / - (not 71 / -) , Rice’s “ Encyclopedia of Silk Magic ”: a t 45/- each (not 5 3 / 6 ) , Gaultier’s “ Magic WithoutApparatus,”Kaplan’sTheFine A r t of Magic,”Thompson’s My Best,”Boarde’s “ Mainly Mental : Vol. 11. ”: a t 40/- (not 4 6 / 6 ) , Mayoh’s ‘‘ Magic by Ho-Yam ” ; a t 35 / - (not 43/-) , Alexander’s‘‘ Life and Mysteries of the Celebrated k.Q ” ; a t 30/- (not 3 5 / 6 ) : , F h s ’ s “ Sleight of Hand.” Maskelyne-Devant’s “ OurMagic,”Dhotel’s Magic nith Small Apparatus,Hugard’s Magic Monthly ” (BookEditions Nos. 1. 2 or 3 ) , Nelson’s “ Encyclopedia of Mentalism ”; at 12/- each (not 1 4 / - ) , Hoffmann’s “ More Magic,”Erdnase-Hoffmann’s “ The Expert at the Card Table,” Collins’s “ AConjuringMelange.” TWOAMERICANBOOKS : “ TheAmateurMagician’sHandbook,”byHenryHay, an excellent introduction to conjuring of allkinds,cloth, 319 pages, 219 illus. ($4.95), 35/- ; “ TheGreatHoudini,”by Williams andEpstein,a new biography of the famous “ escape artist,”cloth, 182 pages ($2.75), 20/-. WE BUY MAGIC LIBRARIES ! Paul Fleming will be a t Cumberland Hotel, Marble Arch,London. W . l (wherehemay beaddressed)fromaboutJuly’5th.to August loth, prepared to purchaselargeor smallcollections of second-hand,cloth-boundmagicbooks. NOTE.-Please remit to Mr. RobertsonKeene, c / o “ Riverside,”VictoriaRoad,Yarmouth, Isle of Wight, and receivebooks, postpaid,direct from the UnitedStates. “
“
mEM[ING BOOK COMPANY, 728 Madison Ave., York, PA., U.S.A. “ROUGH AND SMOOTHPOSSIBILITIES
”
By Tan Hock Chuan
I
PETER
WARLOCK’S
PENTAGRAM
24th of eachmonthand A booklet dealing withthe methods and ispublishedonthe canbeobtaineddirectfromthepublishers for application of the modern principle,by 1/1 per singlecopy. AnnualSubscription 12/post free. one of the leading experts on the subPUBJdWED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11. Monasterv Gardens. Enfield. magicians. Middlesex. ‘ Price 51- Postage 3d. Mannscriptsforpublicationand books for
ARCAS Publications SYDENHAM
404/408
Croydon
ROAD Surrey
~
0
WRITE
BROCHURES, .LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks made up. Advertising Copyideas, writing, Line drawings.
LAMONTE JACK 28, WARWICK RD., LONDON, N18 Telephone : TOT7742
HUGHES
will be nlcas-d to w n d you d-tails o f h’s very latest effects and all his old favourites in return for a stamped addresscd envelop: (fnolscap or octavo size please).
By a MAGICIAN who knowsyour requirements
~
to the:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK
A RW T ORK
0
reviewshouldbesent EDITORIAL ADDRESS:
JACK 2,
NOW,
TO
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD ANU NEW. Le: m? know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle Prrsident : HisGracethe Duke of Somerset. D.S.O.. O B E . . JP., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. Magical Theatre :
King George’s Hall, W.C. ParticularsfromHon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
I Magic Wand Publications Magic Wand, Quarterly. Fer copy I The Annual subscription 14i6.
proprietmThe
2/1 25/6 17/10 10/3 10/3 10/3
10/3 5/3 5/3 5/3 5/3 5/3 5/3
2/7
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Publishedbythe
3/8 p.p.
The Wizard, 36 pagesmonthly.Percopy p p 6 month 1216 Year 241John’ Ramsay’s CAPS &’ Balls (Fareili) Convincing Coin Magic (Farelli) .. Mastered Amazement (Koran--& Lamonte) .. Bohleno’s Mysteries (Bohlen) .. Thanks To Leipzig (Farelli) .. Geolge Armstrong’s Premonition Entertaining With Hypnotism (Dexter) Strictly Magic (Eddie Joseph) , . Stooging Around (Stuthard) 26 Living & Dead Tests (GaGett) ’.‘. Jamesosophy (Stewart James) .. .. Year Book 48/49 (few only) . . . Stunts With Stage Money (Lamonte) . . Tricks of the Trade (Amstrong) ..
Magic Wand PublishingCompany 11 MonasteryGardens Enfield.Middlesex,andprintedbyHerbert Walker m d Son (Printers) Ltd.. ’WLll Croft, Shioky. Y’orkshire.
*
73
PENTAGRAM An independent monthly bulletin for all who want good magic
E D I T O R ’ S N O T E . Thiseffect,astheinformed is basedontheprinciple readerwillrealise, described by Mr. Paul Curry in the “Phoenix” and “ Magic us a Hobby.” The present version hastheadvantagethatthe effectcan bc performed without the need for any gyrations by theperformer. A number of conjurersseeing theeffecthaverequestedfurtherparticulars. Because of thut, it is now being published. P. W . On the conjurer’s table, to the left, stands a little board in a stand. This board has four slots cutoutabout half wayfromthe topand each one andaquarter inches apart. Two pieces of cord, of different shades, arethreadedthrough these slots so that there are two loops one sideandfour ends the other. The performer shows the cords, and after placing them down he introducesthelittleboard. He pointsoutto the audience that both sides are equal in size and shape and then places it back in the stand. The cordsarethenthreadedthroughagain, but this time with the loops at the back of the board and the ends in front, nearer the audience. Again he picks up the board and shows the audience that there are two loops on one side and four ends the other side. With the two loops towards him, the conjurertakesthemand ashe pullsthem up towards thetop of theboard, be shows that one loop of cord has passed through the loop of the other.
length, twelve inches in width, and a quarter of an inch inthickness.This is fortheboardand musthave four slots cutout of it.Theseholes are one andaquarterinches in length, half an inch in width, and one inch apart. The measurements for the position of the slots will be best seen in Illustration 1, rather than explained by words. 3. A smallprojection to fit at theback of the as they are board Qn which to catchtheloops broughtup.This is fixed to one side of the board approximately two-and-a-half inches above the holes and between the second and third slots (See Illustrations 1 and 2 ) .
0
Requirements. 1. Two lengths of differentcoloured
silk cord (the colours I use and which show up well on a stage arered,and grey), each piece measuring about one and a half yards. These cords should, to prevent them from unravelling, have their ends whipped. 2. A piece of wood measuring eleven inchesin
Having dealt with the board, let usnow take itsholder.This is madefroma piece of wood twelve inchesby five andthree-quarter inches andhavingthe same. thicknessas that used for the board. To this base are attached two thicker 4.
74 pieces of wood. These are five and three-quarter inches in length, two inches in height, and about an inch in width, and are fixed at approximately two inchesfromeachend of thebase. Inthe centre of these pieces of wood are cut two slots, justlargeenough to holdtheboard. The board and its holder are now painted. I use cream for the board and the base of the stand, and red for the slotted uprights.
0 Preparation. There is very little to do really in the way of preparation,exceptto fix theboardon to its standandputthe cordsthroughtheirslots, making sure that the projection side of the board doesnotfacetheaudience. In writing outthe presentation I will be using the table to my left as I am left-handed. If you arenot,right-hand shouldbesubstitutedwhere I havewrittenleft.
detriment to either, but that you, as a magician, will trytodisprove that theory.The silk cords are then displayed, and having shown them you caneitherplacethem on a table,or as I do, drape them loosely around your neck. The next thing for introduction is the board which is picked up with theleft hand, the thumb facing the auclicnce andallthe fingers at theback, so thatas youturntheboardround to show the other side theprojection is between the second and thirdfingersandcannotbe seen bythe audience.Both sides are shownquitecasually and the board is then replaced in its holder in the
same position as b2fore. Thegrey cord is now taken and threaded through the two slots nearestthemagician with theloop at the buck of theboard. Similarly,the red cord is taken and threaded through the other two slots. Again the board is picked up with the thumb in continued on page79
Flashback ! J stands for JONAS
Presentation. The magician begins the effect by saying that scientistssay that itis impossible to pass one solid object through another solid object without
From the J .
B. Findluy Collection
75
Heavyprediction effects that dependupon locked boxes seem alittleunwieldy as regards purity of effect. The following principleenables exactly the same results to be obtained with the use of acouple of envelopes only-and thepredictionitself, of course.There are no fakesand no gimmicks. The effectis thenormalpredictionroutine : .a sealed envelope is deposited with a member of the audience before the show, or is placed in full view of theaudience before theeventpredicted takesplace. It neverleavesthesight of the audience; there are no switches of envelope, inner envelope, or contents of the inner envelope, no stooges, no thumb-writing, no carbon, and no surreptitiousskulduggery of anydescription. Thesecrethinges on a method of loadinga folded paper, card, or small envelope into another envelope imperceptibly. First of all,theenvelopes. Two are needed -outer and inner. Both are of heavy paper and are quite opaque. The outer should measure about 6 inches by 4 inches; inner envelope measures about 3 or 54 inches by 3& inches. Sizes a little larger or ver-y little smaller may be used, so long as the inner envelope fits easily intothe outer. The innerenvelope is sealed up-empty-in rather a special way. Thetop edges of the gummed part are moistened, but the lower edge, in theshape of aleter V, is left dry. On the inside tip of the V adab of rubbercement is placed,andthisedge is foldedback.Wherethe blob of rubber cement would register on the body of the envelope another dab of rubber cement is placed, so that when thetip of the V is folded downintoitsusualflatposition, the two blobs stick together. This should leave the inner envelope with a clear passage up beneath the flap. I t is into this passage that the prediction is inserted. I recommend that this inner envelope should be one of those on which theflap comes nearly down tothebottomedge of theenvelope,thus allowing much more cover for the folded prediction when it goes under the flap. Having preparedthesmallerenvelopethus, and having folded back the rubber cemented tip of the flap to stop itadhering,yet,tothebody of the envelope,placethesmallerenvelopeinto thelarger,whichisthensealedassecurelyas you wish. You may now part with the package to the member of the audience, or you may stick it on the ceilingoranywhere else where it will be prominently displayed and out of your reach.
After the event you are predicting has taken place, write your prediction, aud fold it very flat toaboutthe size of 2$ inches by 2 inches.Use thin, tough paper which will not readily crumple. If you use the wrong sort you are going to find yourself holding an envelopewithaballed-up wad of paper stuck half-way. To present : thepredictionmustbepalmed inthelefthand.The two envelopes are called for and handed to you. With a sharp knife, open the outer envelope and, after extracting the smallerenvelope, layit down.Taketheinner envelope in right hand, face of envelope to audience, and transfer itto left hand, in front of palmedpredictionslip. The slip is thenin a positionjust below thetip of theflap,andis pushed slowly under the flap with the left thumb. If youhave used an envelopewith a large flap covering most of the back, the prediction slip will be out of sight under the flap and you may show theenvelopecasuallyon both sides. If the slip is not quite out of sight, no matter, but don’t let the back be seen. Now take the paper knife again and slit along the top of your inner envelope, hold it out to a member of the audience, and request him to take out the slip inside. As he draws it out, your left thumb turns down the folded-back tip of the flap, and presses itdown, so thatit adheres to the rubber cement beneath it. So much for the working. You will find that the slip pushes up beneath the flap to such a position that it definitely appears to come from within the envelope when it is withdrawn. Pick the right shape of envelope and you
7
If youhave a thermometer handy, go and look steadily a t it for a minute or SO, andyou will see that the temperaturehas risen one - o r two degreeswhileyou have beenwatching it. One condition-you musttake anexact’note of the temperaturewhenyoustart,.andkeepyoureye on the gradations until the mercury, or the pointer, has moved up noticeably. Psychic stuff? Not in the least-the explanation is theobviousone : thatthetemperature really hus risen. At anyrate,ithas risen in the immediate neighbourhood of the thermometer if you have followed the one condition. To get close enough to a thermometer to read it accurately, the eye must be about a foot away. The temperature of the head at this proximity is enoughtosendthemercuryup several degrees, according to the existing room temperature. It follows, of course, that the colder the room,
the more will be the increase in temperature, andthe final reading, which.may beafterasmuch as two minutes or-evenmore of concentrated staring, will be a few degrees less than blood heat, which is 98.4 degrees Fahrenheit. The room temperature as I wr~tethis, is 71 degrees, so you can see that there is room for quite a rise there. I have found that those little round dial-type thermometersused in refrigerators-trademark Thermette ”-work the best for this little stunt. Mercurythermometers will work, but are slower to show the increase in temperature. One other point : you will probably be accused of breathingonthethermometer.To make this impossible, bend your head forward so thatthebreath is directed downwards. This, of course, will bringtheforeheadcorrespondingly closer to the thermometer, but your audience will, oddly enough, not attach importance to that.
On reading Francis Haxton’s delightful effect,
is a most useful change, and bears a family resemblance totheDown’schange.(“Art of Magic,” p. 7 3 ) . As the left hand turns over, and move S downwardsto dropthecard,the face card is drawn back bythethumb, while the second card is pushed out by the fingers, and dropped on to the table, chair, or floor, from a height of six inches or so. Personally, I find it much easier to hold the pack well down in the hand,andgripthe doublecardbetweenthe tips of thethumband second finger, so that only its left edgetouches the top of the pack. By straightening the fingers, and drawingbackthethumb,the two cardsare easily separated, and the face card brought snugly on to the pack. The latter is now casually cut to bring the reversed card to the centre. The performer states that he will transfer the card on the table invisibly to the pack, and asks whether the chooser wouldlike it to appear face up,or face down. The answer is nearlyalways face up.” If not,simply turnthe pack face up ! Spreadthepackand show thecard. Now requestthename of theotherchosencard,and show this to be the card on the table. Francis Haxton’s idea of removing a pencil, orother object, toplaceonthe face downcard may well be used here. This gives an excuse to place the doublecardon to the pack, while the righthandtakesthe article out of apocket. Littletouches like this helptomakeasmooth and effective presentation.
I was reminded of the following, which has been a favourite of mine for some time. It is basedon Louis F. Christianer’s My Favourite Trick,” described in his little booklet, N e w Alugical Conceptions, published byThayer in 1919. I have simplified the yvorking, and altered somewhat the effect, which is, that of a card transposition. Two cardsi are chosen, the magician requesting that one be red and the other black, so that they cannot be i mistaken for one another. These are returned to the pack and controlled to the top. The performer :places the pack behind his back, andasksthespectatorstothink of theircards, which he will try to find. He states that he can find one, butnottheother,andbringsthe two chosen cards to the front in his right hand, held as onecard,andfacingtowards himself. The pack is held in the left hand, face down, in dealing position. The magicianlooks at thecardfacing him,and if it is redasks who chose the red card,or vice versa. He then requests thename of the card, and places it (the double card) face up ontheface downpack,butoverlappingthe half its width, right edge of thepackbyabout and held on to it by the left thumb. It is shown to the audience in this position. The card is now apparently dropped on to the floor or table, face down, but actually it is changedforthe secondcard bythe following sleight, claimedas original byChristianer.This ‘ ‘ Restless Choice,” in the March Pentagram,
77
$ErLecl w a ’The Effect. The operator is blindfolded by two assistants from the audience and then ten or twelve design cards are chosen by members of the audience .and sealedinenvelopes.Three of these are chosen andnumbered by the two assistantsandthen as oneassistantconcentratesoneachcardin turn the operator draws the chosen design on an examined slate, under the close supervision of the other assistant. Properties. A set of designcards..Duplicatesof,say, ten of thesedesigncards. A packet of wage envelopes. A slate andchalk. A blindfold. set-up. (a) Threeduplicates of the design cards, sealed inenvelopesandinaknownorder,are placed in a stack under the slate which is at the back edge of the table. (b)The designcards,envelopes,blindfold andchalkareinposition on thetable so that they may be easily picked up. Presentation. I . Enlist the help of two assistants and place them on each side of you, facing the audience. 2. Demonstratethe efficiency of theblindfold and let the left-hand assistant tie it on you. 3. Pick up ‘theenvelopes and let the righthandassistantexaminethemand handout ten or twelve io the audience. 4. Pick upthecardsand passthemfrom hand to hand as you show them to the audience. Give them to the left-hand assistant, and tell him to hold the cards face down and spread them in a fan, so thatthe spectatorswithenvelopescan takeonecardeach. As he does this,take back thebalance of theenvelopesfromright-hanu assistant, and put them in your pocket. 5. Ask thespectatorsselectingcards toput themintheenvelopes which theyhold,without looking at the cards, and to seal the flaps. Impress on them that they must not look at the cards, as at the moment no-one must know which cards are chosen, so that there is no possibility of
anyonesignallingtoyouorlettingyou know which ones have been taken. Take back the balance of thecardsand placetheminyour pocket. 6 . Lettheright-handassistant collect the sealedenvelopesandaskhimtomixthem well and to choose any threeandplacethem on top of the others. 7. Takethe packet of sealed envelopesin your right hand, transfer them to the left, and ask if the chosen envelopes are on top. Ask the lefthandassistant if he has a pencil,and whilst he is getting one pick up the slate and stacked envelopes under it with the right hand, and put them over the stack of envelopes in the left hand, thus loadingyourthreeknowncards on top of the freely chosen ones.Coverthisbyaskingthe right-hand assistant where the chalk is, and when he gives it to you, return it to him together with the slate, to examine. 8 . Ask the left-hand assistant to number the three chosen envelopes, 1, 2, and 3, and then take them to the centre of the hall and stand with his back to the platform. As you make this request, hand him the three top envelopes. 9. Now briefly recapitulatewhathas been done,to impress theaudience with thefairness of selection. 10. Ask the right-hand assistant to turn you round, with your back to the audience and to then give youtheslateand chalk,’ first satisfying himself that you are notsecretinganythingin your hands. (There is no need to say what might be there). 1 1 . Holdtheslateaboveyourhead and directtheassistantwiththeenvelopestoopen Envelope No. 1, and to concentrate on the diagram on the enclosed card. With suitable hesitation, draw that diagram on the slate. Repeat with Nos. 2 and 3, havingtheassistant at your side clean the slate before you proceed with No. 3. 12. Remove the blindfold and turn to acknowledge the applause.
WILL D E X T E R ’ S K I S M E T Il-continued from page 75
can hand it to the audience to open and take out the slip for themselves. I would advise making the prediction a good solid one-don’t be content to predict the name of aplayingcard. Typeyour prediction, for preference; those members of the audience who know about thumb-writers and carbon paper will admit that you can’t type with a Swami gimmick.
News headlines, election of officers, prize winners names, results of raffles, number of tickets sold at the door-all thesemakebetter,more convincing predictions than “ The number chosen will be 82, and the cardwill be the aceof spades.” And please ! Don’t follow this up with the Die Box orthe Egg Bag,ortheaudience will think you are just a conjurer.
78
This is veryhandyforclose-up looks entirely impromptu.
work and
Theconjurer commences byrequesting the loan of a hat, a ten shilling note, a penny and a half crown. The hat is placed, crown uppermost, on the table, whilst the two coins are wrapped inside the note.Fearsomeoathsaremutteredandthenote is opened to show that the half crown has vanished.Thepenny is re-wrappedin thenote . . . . anothermagicspell . . . . thenote is unWdedandthepennyhas gone.Finally,the note is folded, placedunderahandkerchiefand handed spectator. to a The final pass, the handkerchief is pulled away to show that the note has vanished ! One of the company is requested to look inside the hat. He does so, and removes a foldednote,inside of which arefoundthe original penny and half crown. The requirements are simple, consisting of a ten shilling note, a penny and a handkerchief , in onecorner of which issewn a piece of folded paperequallingin size that of thenote when folded. This handkerchief is tucked into the conjurer’sbreastpocket.Thenote is thenfolded round the penny in a particular manner. The coin is first placed at the position shown in the diagram, and edge B is brought u p and the notecreasedalong thedottedline X X. This should mean that the coin is not visible. The note is now folded back at the points indicated by dotted lines Y Y and 2 2 (in fact, just like theusualcoinfold) . If thepacket were now tilted, the coin could slide out. To prevent this, theoverlappingpart is foldedover. A foldin the opposite direction converts the “ safe ” packageinto an “ escape ” package.Withthe note folded round the coin and the package in an is set for easilyget-atableplace,theconjurer the presentation. The loan of a hat (trilby preferably) , a ten shilling note, a half crown and a penny are called for. The lenders of1 the last three named articles arerequestedtomarkthem insuchafashion that they will know them. (The hat is taken and placed on the conjurer’s left, whilst this is being done) . Either immediately before, (for it makes no Werencetothehandling of thehat) , or immediatelyafter, possession of thepackage is It is held fingerobtained from its hiding place. palmed in the left hand. The note is now taken from the spectator by the right hand, and placed in the left hand over the package. The two coins are restedon thenote,thelatterthenbeing
wrapped around them in such a manner that this package is similar in appearance to the one containing the conjurer’s own penny. The two packets are held as one by the finger tips of the lefthand so thattheyappearas one(billet switchers will befamiliar with this subterfuge). The idea,” says the conjurer, isto pass this littlepacketfrom my fingersintothe hat which haveborrowed.’ ’ To accompanythe words, the packet held by the left hand is apparently placed intherighthand.Actually,thetopmostpacket is slid back, the right hand taking between thumb and second finger theunderpacket,i.e.theone containing the penny only. The packet comprising theborrowednoteand coins is fingerpalmed by the left hand. This which is the work of a couple of seconds, is not all for as an accompaniment to thelastpart of theconjurer’sstatement,the righthandknocksthepackageagainsta solid object to prove the presence of the coin ( S ) , whilst the left hand raises the hat a few inches from the table. The hat is replaced, the fingerpalmed packetbeing allowed toslide down inside. The real work is now finished. First of all, the packet intherighthand is openedto show thatthe half crown hasvanished. In re-wrapping,the note is folded in such a way that the penny will slide outandcanbepalmedaway.Thenote is againopenedto show that the penny has gone. Finally, the note in a folded state is placed under thehandkerchief,andthenfingerpalmedaway the corner containing the folded paper, simulating itspresence. Thespectator is askedtoholdthe handkerchief and the note ( ? ) . Theconjurer is readyforhisfinale. Note vanished and spectator is asked to go to the hat. He does so and, of course,findsthe borrowed noteand coins. “
“
Y
A
Z
Y
B
Z
I
79
We were most grieved to hear of the passing
of our oldfriendWoodhouse Pitman.He was a mostexcellent.conjurer and contributed some fine effects both tothe “Magician’ ’ and PercyNaldrett’s Collected ” Series. He was a close friend of theMaster,DavidDevant, and acted as his Manager (by a coincidence, the June number of the Sphinx ” carries a reproduction of a David Devant programme cover, dated 1913 givingthisinformation).Laterhe was totake out theDevant show ontour,and alsopresent “ What did he do with the Body?” at the Magic CircleGrandSeancein 1923. We havealways beenmostappreciative of thetips that he gave us inour youngerdays. Magic has lost a good conjurer and a Gentleman. It was a greatpleasure,duringa series of lecturettes, to hear Victor Peacock talk on ’‘ Children’s Magic.” Hisdemonstration of one effect was reminder a that conjuring as conjuring is still alive. As we read or scan, asthe case demands, the variousSocietymagazines, we feel thatthe “Magi” is one that beplaced at the top of the tree.OscarPaulsonnotonlydoesagreatjob as Editor, but he seems to set a standard that is ‘ l
l‘
aZUCVLd&SU&and% SCARNB’S “ QUARTET ” (publishedby t h e , Back RoomPress, New York,U.S.A., price one dollar. This is, of course, obtainable through the Fleming Book Co., see back page). Making use of averysubtlemathematicalprinciple, John Scarne has devised four self working effects. As the description comes to the reader he will without thesiightestbotherbeable to producethese effects within a short while after absorbing the details. “ Do as I Do ”, “ A Card The effects area Climax ”, atelephone effect and a prediction effect. Anyoneacquaintedwith the moreambitiouskind .of card work will be able to put the principle to greater .advantage. We have, ‘since receiving the routines from BruceElliott, used the “ Do. as I PO” inaslightly differentform,aform that will interestthepurchaser withoutany waydisclosing the principleinvolved. It is as follows :The conjurer has two packs of similar backed cards. Ontop of pack A is (say’) thetwo of clubs’and immediately underneath i t is the two of clubs taken from the other pack. The spectator is asked “ I would likeyou, Sir, to choose one of thesepacksfor me (notethe carefulphrasing !). If hetouches the pack withthetwoduplicatesontop,theconjurertakesit remarking “ Thank you, this is the pack you wishme to have ”. If thespectatortouchestheother,he is . . just pick told, ‘ That is the one that youlike it up Thisagainleaves the conjurerwith‘thepack .contain& the two duplicates.Spectator a.nd conjurer both shuffle theirpacks, the conjureractually false shuffling and retaining the duplicates at the top oi the gives thespectator a pack. A t thispointtheconjurer numberandtheyexchangepacks. A t thepointwhere therighthand comesforward,thetopmosttwo of clubs is palmed(singlehandmethodpreferably)and handed tothespectator,thespectator’scards when ”
lived uptobythe othercontributors.Talking of thegreatjob that of magazinesremindsus Jack Potter has, and still is doing in the “ Budget.’’ His contribution, “ PottersBar, ” is of greatvalue and would seem to merit a greater build-up than it usually gets. The ‘‘ Flying Sorcerers ” are gradually becoming acclimatised, and it was most interesting the other evening to hear Francis White and Geoffrey Buckivgham give social and magical data of theirstayin America. It was an experience, said Francis, after flying through what seemed interminabledarkness, to touch down at New York airfield to be greeted by Cardini, Bruce Elliott, Blackstone, Vernon and Paula Baird. The English party were very impressed with the close-up work that they saw in both New York and in Chicago. Next month we have the pleasure of detailingHerbert Milton’s “ Predicto.”This effectis the last word in card prediction, and one, which because of its straightforward effect and handling, will find a place in many programmes. In the same number we are giving a version of the cards across, that for simplicity (although skill is required), will be hard to beat. received have the palmed card added to the top. From thatpointtheroutine proceeds as detailedwith Mr. Scarne, with the exception that his method of counting is not adhered to, a two-handed pass being used a t a Iaterstage. in Mr. Scarnehas puta veryworthwhilenotion printandone(which at the verysmallpriceasked) should be in the hands of every reader of this bulletin. ELIZABETH WARLOCK’S LINKLATERcontinued from page 74
front and all the fingers at the back so that the audience will not see theprojection, andthe andience is shown that there are two loops at the backandfourendsinthefront.Instead of the bo,ard being placed back in the stand, the magician now holds it with his right hand straight in front of him,theloopsfacinghim.With his left hand he pullsthe loops down tothe lower edge of theboard(seeIllustration 3 ) , the grey cord being pulled by the thumb, and the red cord by the second finger. Still holding on to the red cord with the second finger,the first finger andthumbpullthegreycordoverthe red (see Illustrations 4 and 5. The hand has been omitted for thesake of clarity). This is achieved with first finger andthumb in thematter of split scconds and the cords are now lifted so that the p o k t marked as X is engaged on the projection. A’. this point, the hand slides and grips the grey cords and pulls the cords upwards, the final effect being that shown in Illustration 7.
HERE ARE BOOK BARGAINS ! Buckley’sCARDCONTROL,cloth, 71/- ($10), only but
219 pages, 297 ill.,not . . . . . . . . . . . .
hckley’s PRINCIPLES AND DECEPTIONS, cloth, pages, 358 ill., not 71/- ($10). but only
20/-
.
..
20/-
HUGARD’S MAGIC. MONTHLY,: B F K EDITIONS,, 1, 2 service publlcabons, Fleming and 3. These are prosoldat of publisher’s p f i t ,a n d duced without acent very a modest pailer’s profit. Universally recognised as extraordinary, money’s wortk.” Not 35/6 ($5). but only (on our share the loss basis), each . . . .
30/-
LATEST AMERICAN
,
.,
PUBLICATIONS
Hay‘s T H E AMATEUR MAGICIAN’S HANDBOOK, cloth, 319 pages. 219 ill., ($495) . . . . . . . . . .
351-
WilliamsEpstein’s biography, cloth,
.
201-
Berlaed’s BOOK OFROUTINES,softboards, 31 pages, 151 ill. (faJJo), just out . . . . . . . . . . . . . .
14/-
THE GREAT HOUDINI, new colourful 182 pages ($2.75) . . .
McAthy’sSMARTCOMEDY ($2.00), just out .
WAS HOUDINI WRONG
224
!Book 4).softboards, . . . . . . . .
.
.
.
40 pages . . . .!
.
14/-
c/oRiverside, Kcene, NOTE : Please remit to Mr. Robeitson booksdirect and receive VictoriaRoad,Yarmouth, h i e of Wight, from United States. Paul Fleming (Cumberland Hotel, Marble Arch,London, W.I., fromJuly 14th t o August10th) will consider purchase of used, cloth-bound magic books, y d will display al! Fbming putllications and other books on share the 1program.
0
FLEMING BOOK CO., YORK, PA., U.S.A.
728, MADISON AVE.,
‘‘ROUGH AND SMOOTH POSSIBILITIES
PETER
”
By Tun Hock Chuun
The Magic Circle
WARLOCK’S
PENTAGRAM
President : His GracetheDuke of Somerset, ’D.S.O., O.B.E.. J.P., M.I.M.C.
A booklet dealing with the methods and iS publishedon the 24th of eachmonthand lcan beobtaineddirectfromthepublishemfor application of the modern principle, by 1/1 per singlecopy. AnnualSubscription 12/post free. one of the leading experts on the sub1PUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, magicians. Middlesex. Price 51- Postage 3d. Manuscriptsforpublicationandbooks for
ARCAS Publications 404/408
Croydon
SYDENHAM ROAD
..
Surrey
0
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., LONDON, N18 Telephone : TOT7742
Magical Theatre :
King George’s Hall, W.C.
reviewshouldbesenttothe: EDITORIAL ADDRESS:
Particularsfrom
Magic Wand Publications ’
I
CONJURING BOOKS FOR SALE
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Wand,Quarterly.Fercopy 318 p.p. Annualsubscription 14/6. The Wizard, 36 pagesmonthly.Percopy 211 p p 6 month 1216 Year 241L’ Balls (Fareili) 2516 John * Ramsay’sC& Convincing Coin Magic (Farelli) . 17/10 Mastmd Amazement . . 1013 (Koran & Lamonte) Bohleno’r Mystenes (Bohlen) . . 1013 . . 1013 Thanks To Leipzig (Farelli) Geoge Actnstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 1013 Challenge Instan: Hyp-otism & Mass Hypnotism . . . . . . 211Strictly Magic (Eddie Joseph) .. 513 . . 513 Stooging Around (Stuthard) 26 Living & Dead Tests (GaGett) . . 513 Jamesosophy (Stewart Jarnes) . . . . 513 Book Year 48/49 only) (few 513 StuntsWithStage Money (Larnonte) ’. . 513 Tricks of the Trade (Armstrong) . . 217 Fromthepublishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
.
JACK HUGHES EVELYN AVIGNUE. COLINDALE, LONDON, N.W.9.
OLDAND NEW. Letmeknowyourwants LIST FREE FOR STAMPED ENVELOPE No G l l e r s
Hon. Secretary :
Francis White, 39 Alverstone Avenue, ‘Wimbledon Park,S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
2,
Library and Museum :
St. Ermin’sHotel, Caxton Street, S.W.l.
will be pleased to send you details of his verylatesteffectsandall hisold favourites in return for stamped a addressed envelope size please). (foolscap or octavo WRITE NOW, TO
By a MAGICIAN who knows yourrequirements 0
Clubroomand
JACK HUGHES
WORK
ART
Vice-President: Douglu Craggs, Esq.. M.I.M.C.
Every Advertiser!’S goods are fully endorsed by this Bulletin PublishedbytheDroDrietmThe
Magic ’Wand PublishingCompany 11 MonasteryGardens Enfield.Middlesex,andprintedbyHerbert ’ and Son (Printers) Ltd., Weli Croft, Shipky. Yirkshire.
81
PENTAGRAM An independent monthly bulletin for all who want. good magic
V?& 4 N&. 11
EDITOR’S NOTE. It was wayback in 1921, that we firstsawHerbert Miltorz give a perforvnuI1ce of an origittcttiotl that was t o become farwlrrite w i t h card w o r k e r s irz generaland Leipzig i n particlrlur. The effect was, of “ Sympalhetic Clubs ”. All of course, the Herbert Miltolz’s work bears the mark of good :llillkitLg alld he has .all aptness for straightforward ~ 7 0 1 . .”. T+’e considerou.rselves most forilllmtein beillg uhle topresevtourreaders with this mirtxle card predictiotl effect.-P. 11,’. (I
1Xrtte
‘ l
The following close quarter prediction effect has been a pet of mine for some considerable time and is as straightforward and effective as the most fastidious performer could wish for.
EFFECT. A folded billet containinga prediction is placed in full view on the table. A pack of cards is introduced, openly shuffled and fanned towards aspectatorwitharequest to think of any one card. This card is openly removed from the pack and is kept face down in such a way that the performer is unaware of its identity.The billet is now taken by the spectator, opened, and the contentsreadaloudbyhimas follows :-“ YOU WILL THINK OF THE-of”, the card named being the identical card freely thought of. Note the following points :l . The pack can be freely shown back and front and openly shuffled. 2. Any card of the pack lnay be thought of-no forcing . 3.Performer need notactuallybeaware of the name of the card until the spectator reads the billet aloud. REQUIREMENTS. A special trick pack is employed enabling the performer to make very a subtle and simple
exchange of billets. If made up with care, it can be han;l.d quite frzely at very close quarters. The pack itselfis made up of 26 double cards. From the centre of the top card of each double card a rectangular portion is removed and the top card is pasted to the bottom card on three sides, leaving thefourthlong side open to formapocket in which a folded billet canjustbeconcealed. See diagram. To mask the cut-out portion most effectively chooseabluepatternbackwitha bold inner rectangular design. Thislatter,when cutout, should .leave amargin at both sides of the card of approximately inch. My own pack which is the usual English size-3iin. X 2iin. has a centre rectangular pattern 2in. X gin. This being removed leaves a margin at both sides of the card of pin., and when it is pasted by three of its sides to the back of an ordinary card, masks the cutout portion perfectly, and the card may be brought to as close as 12 inches from a spectator’s face without any fear of the faking being detected. The size of each of the billets is determined bythewidth of the margin.Each of my billets ZQin. is X liin. This,whenfolded into four, makes the size lain. X $in., and in this condition itcan be inserted and completelyhidden in the pocket. A word here as to the method of folding billet. See diagram.The first fold is along the line U b and the second fold along line c d . This leaves a knife-like edge to the billet and it is this edge which should be inserted first into the pocketfrom the cut-out side. Onthe billet is written the name of the face card inwhich it is concealed. Thus each double card contains a hidden billet on which is written its own particular prediction. The paper from which the billets are made should be of good quality and obviously not too thick. I use a good qualitypaperaboutthe same thickness as the paper usedin the production of this Pentagram ”, and when the whole “
82 pack is made up, there is no appreciable difference in the thickness of the pack and an ordinary one. The pack is assembledwithone half of the billets on the left side.of the pack and one half on theright side, thecardsbeingarranged roughly alternately. This ensures the thickness of the pack being kept even, no matter how much the pack is shuffled overhand.Asmall secret inkmark on theback of each card denotes tothe performer which side the billet is hidden.Adummyblank billet is now made up similar in appearance 'to the hidden ones. Thismustbekept in a flat folded condition and a good plan is to keep it in the case holding the -pack of cards.
PRESENTATION. Removepack anddummy billet from case. Show billet and leave it in full view on table. Run through pack showing both backs and faces and openly shuffle in an overhand manner. In showing at very close quarters,careshouldbe exercised here in not exposing too freely the side edges of thecards.Approachaspectatorandfanning the cards upright, face towards him, request him tothink of anyonecard.Takeyour timeover this, requesting the spectator to really concentrate hard on his card. The fact that only one half of a pack is being used is never suspected. Thento
enablethe rest of the audience to know which card he is thinking of, ask him to place his forefinger on the index. As soonas this is done, break the pack at this point and openlyremove the card,keeping its face awayfromyouand placing the remainder of the pack boxed up and face downonthe table. The removedcard is then I held face down by its left side, between thumb and first and second fingers of left hand, the thumb being on top. The side of the card contain '"g tce hidden billet is to the right. Reference to the accompanying sketch should make all clear. At this point remark " Well, there is the card thought of ", emphasising this with a slight 'wave of the left hand, " Here is the prediction ", picking up the dummy billet in the right hand. " It is obvious you have had your own free choice of any one of these cards ". Whilstsaying this, place the dummy billet on top of the card in left hand, partlyunderthe left thumb,foldededge to the right, and just alongside the hidden billet, leaving the righthand 'free to turnthe boxed up pack face up on the table and at the same time slightly spreadingthecards.Continue Now, I'll hold the card and you take the billet, open it and read aloud its contents ". At this point the right hand goes to slide the billet off the card, thumb on top of cardand first finger underneath. Left hand raises card to a vertical position face to audience, andunder this coverthe left thumbpushesthe billet partly into thepocket.Thisautomatically forces out the hidden billet at the side of the card, where it is gripped between right thumb and first finger and immediatelyhandedtothespectator. Thismove is the crux of the whole trick and shouldbe practised a few times in front of a I'
Continued on page 87
Flashback ! K
stands for KORNMAN
M=* XINO'S,
DAY AND .EVENING SCHOOL
centre. B - Dummy B f l l e t . - Hidden area of portion
LEATEER LANE.
Cut-out
A
Billet. Shaded denotes card pastea together.
PRO~ESSOBXOINHAN,
C
.\ I I
a
.
l I l
NATURAL MAGIC At the above Sohool, TEURSDAP; FEBE Sth, 1871. at 6 and 8 o'clock. ?he Experiments will consist of Wonderful Sdenhanical ehmges, 'Pranemutations, Subleties, Laughable Illusions On
1 l l l l l
l I
I F
a
Will give his Entertainment of
Uouble
I
b
TtlL uKE.AT.
Chinese I'r-action Trick, &c*, &c. Children Id. Adult8 At 6 and 8 o'olock .--..__
%i.
on Thursday, Feby, 9th, 1872.
__. - _. 'L m 1 . p r L @ a P r l o u r . 4 l, oor-vl
mbo.
Frorn the J. H. Findlay Collection
SEE YOU A T THE FESTIVAL OF MAGIC!
83
E1)Il’OR’S AVO‘rE. i.ast nzotlth i l l Magic ( h Rolrrtd w ew r o t e of thelate R. W o o d h o u s e Pitmatz.His is LL llumelittleknowllto preserltdny col)jlrrer.s, but throtrghout the of the ‘‘ Magiciat1 ancl mrlier volzrmes ,Vuldrett’s “ Collected ” serieswillbefound mnt1y colltriblrtiolls utlder his llctrne. -111 show ouigillctl toltclzes 1 1 1 1 ~ 1g o o d plot, the trick tu be 1 1 0 exceptiorl. W e were fordescribed beitzg tlct?afe e11ough t o se:: it worked by its originator ut the securld social of the Magic Circle we uftelztled.--P. FT’. “
”
”
In this effect the pxformer mysteriously reieaslsa solid metal ring which hasbeen tied on alrngtil of cord,while the ends of thecord are held by two spectators. The release is effectedwhile the ring andknotarewithin an examined bag, through. wnich the cord passes by means of holes in the sides. The ring is solid and about six inches in diaa mekr. One of the single rings of a set of C.hinese LinkingRings answersthepurpose admirably. ’The cord is of the soft silken kind, about one quarter of an inch ,thick. Though the details of the experiment take considerable space to describe, the secret maybegiveninavery feu7 words.Twocords areused;theaudience, however, is aware of the existence of one onlya piecefive feet inlength,-the second (and secretly employed) cord being half that length. The cords are,naturally, of the samematerial,each being supplied with metal tags at each end, similar to bootlace tags. For experimentalpurposesapaperbag can be used, but for. actualperformancethe writer considers a cloth bag preferable. His own consists of anouterbag twelveinchessquare, of blacksatin,andan inner bagor lining of red satin. The bag is kept stiff by means of an interlining of buckram, inserted in themaking. In order to conceal themanipulationa stiff-sided bag is necessary. The bag is quite simple in construction;as it is not intended to be turned “
”
Secref cord, bdled. metal ta$ tucked in
I
inside outthe lining is kept light in colour SO that the interior maybe inspected easily. In the centre of each side of the baga smallhole is made to permit the cord being passed from side to side. The holes are only just large enough to allowthe cord to bepassedthrough, the metal tags making this easier. Topreventfraying, the eclges of the holes are button-hole stitched. The performer carries in his right-hand trouser pocket a rather large papier mach6 key, or a large button-hookwith which to eventually withdraw the released ring, as will b.: seen later. The shorter cord is wound loosely into a ball, the outer tag end b2ing tucked into a convenient looptoprevent the cordfrom becoming prematurely unballed. The ball of cord so formed is piaced ,just inside themouth of the bag which lies onthe table, themouthbeingremote from spectators. Thelongercord is carelessly looped and laid on the bag with the metal ring on top, so that by inserting the fingers of right hand inside mouth ’of bag, with thumb on top, the whole of :he articles maybe picked up together. Thepresentation is as follows, themovernr-nts being explained as the “ stoq7 ” proceeds. ‘ ‘ If you are interested in the solution of poblems you will find this quite a knotty one. ’ ’ (Here performer picks up all the articles as above arranged,securing the balled cord against inside of mouth of bag, with the fingers). ‘ I use ametal ring (transfersit to left handand gives it tospectator),.‘ba length of (offers it similarly), “ and this cloth cord bag (bag is retained while cor? is examined). Please make sure ths! th? cord does not undo in the middle-it is a single cord, it has not been spliced at all-thank you.” (Receives it from spectator,passes it to right handandremoves bagfromright hand, retaining baZZed cord. The closing of the fingers naturally nxessary to hold longcord,makestheconcealment of the balled secret cord perfectly easy. Bag is offered with left hand to another spectator). The bag, at first glance, looks rather weird, doesit not?It doesnot turn inside out but you will be able, to examine it thoroughly in The inside is red? Yes, it spite of that. blushestothinkwhatsometimeshappens inside it.The outside “ looksblack ” becauseitcannot. Do .you find any holes in thebag? (Spectatorusually says, ‘*Yes,two! ” indicating the “ There arethree small holes in thesides). really, if youcountthislargeone.”’(Performer isreceivedin indicates mouth of bag.Thebag left hand, and as right hand comes over mouth of bag,the balled cord is secretly dropped into ”
”
”
“
“
84 it,thetucked-in tag end having previously been disengaged from the loop),. “ These holes in the,, sides of the bag enable me topassthecordright throughthebag. I place this end through here, into the bag. (Here performer passes end of longer cord through one side of bag-via the hole-and, placing hand inside, draws it half-w r y into bag, dropping the tag end in such a way that he can at once find it again, then, picking up end of b d e d cord withdraws it frommouth of bag. At thispointthe bag is held by left hand, fingers outside, thumb inside, theshortercordbeingslowlydrawnup between the side
of the bag and the left thumb,
thus unballing thecord.Whenallbutthelast six incheshavebeendrawn out,the cord is securely nipped against bag with the left. thumb toprevent entire withdrawal-which actwould, of course, ruin everything. V
Youwill notmind, ladies andgentlemen, if I just go overwhat has’ actually occured. As this is supposed to be a deep mystery we cannot be too clear on what is being done. A cord has been passed in here, andout here; a ring has been tied on the cord which re-enters the bag and the end,asyou see, passesouthere.Nothing could be simpler, as you have seen and examined everything. Now for the first time the ring leaves your sight because I drop it into the bag. (This is done, the visible part of shortcordgoing in also). Most of you will agree thatit is out of the question for me to remove the ring from the bagwithoutyourknowledge.(Thisremark is made by way of misdirectionastheperformer d.oes notintendto tryto do so). Butto make it quite certain. I will askyou,sir,toholdone end of thecord,andyou,sir, the other.(Two spectators seated close together). I will askyou to regard this cord as a sort of communication cord. If you pull the cordwithout just cause, I shall fine you 3%. And you, sir, if you pull your cord, you will stop the ’bus. You have all E.eard it said that one shouldnot let one’s left hand know whatone’s right handdoeth.That is why I now place my righthand in thebag. (Performersupportsbagall this timewith left hand,the stiffness of sides of bags, and its size prevents any view of interior on part of the assistants. Whilecontinuingthe story the performer without looking at the bag, cooly undoes with his righthandthe single knotandgathers into his handthe whole of theshorter cordquite an easy matter in actual performance-when all is collected thesupport of bag is takenby right hand,shortercordconcealedby fingers against inside of mouth of bag). You have heard of Jack Sheppard, have you not? He was the desparado who flourished about the same time grandfather, sir. He was the as your great champion jail-breaker of the world-I am referto your great ring to JackSheppard,sir,not “
End. nipped a8a1nst Inside ot bag by thum
The end of short cord, outside bag, is dropped,thdappearanceto audiencebeing that a long cord has been passed into bag and partly drawnoutatthemouth).Turningtospectator holding the ring the performer proceeds :“ You are still looking for holes in the ring,. sir, are you? Do you find any? No? That’s queer, there was a large one in the middle when I gave it you!” After the incident of the “mouth of bag,” some spectators are wise enough to say the ring has a hole in it, inwhich case the performercongratulates his assistant on beingvery Will you be good enough to tie the observant! ringontothecordwitha single knot? Tie it close up to the bag.” (Ring is thus tied on to the “
shortcord,closetooue elzdof securelyheld h y l e f t t h u m b ) .
it,i.e.,theend
I shall now pass the cordback into the bag, and push it out .of this exit on the other side.” (Performer puts end of short cord back into bag and picks up tag end of long cord that was left inside bag, and passes it through hole on opposite side of bag. The cord is carefully drawnout,care beingtakennot to pull so muchout that wouldcause the opposite endtomove;enough has to be left withing the bag to account for the twelveinches of cordon “
85 grandfather!Well,heboastedthatno jail could holdhim. At onetimethey tied him up in a cell justas we have tied this ring.Thiscord is the chainthey tied round his neck andthey passed out through holes in the1walls of the cell. The bag is the cell-itis a fearful “ sell!” Wardersheld the ends of thechain;youareone warder, andyouaretheother. (A nicesmile is given to each assistant). Yet, in spite of all these precautions, Jack gotaway.How?Oh,I’ll show youhow.The authoritiesoverlooked assistance fromtheoutside. I’m outside-outside the cell at any ratebut I’ve inside knowledge. A key was passed into the cell from outside. (Here, performerdrops bagor transfers support of it to left hand, and, without anyhurry,putsrighthandand concealedbunched-upcord into right-hand trouser pocket and withdraws key, leavingcordbehind, in pocket). They w e r e surprised when Jack came out! (Ring, nowloose in bag, is lifted outonward of key and heldout for one of the assistants to take). Of coursetherewasahue andcry.The wardersrushed to the cell, butthere wasno “
“
K o s t card players at sometimeorother have heard the Nine of Diamonds referred to as the “ curse of Scotland ”, but the reason why this veryordinarycardshouldbechosenfromthe pack of 52 and saddled with such an undignified pseudonym is not so well known. Authorities on thehistory of playingcards hold various theories on the subject and since all are equally interesting, some feasible opinions true or otherwise are givenbelow forthe benefit of those who may be interested. 1. According toDr.JamesHoustoninhis ‘‘ Memoirs of his Life Time ”, London, 1747, theJacobiteLadies of Scotland are stated to have nicknamed the Nine of Diamonds ‘‘ The Justice-clerk ” afterthe rebellion of 17 15 in allusion to Lord JusticeClerkOrmistonewho forhisseverityin suppressing the rebellion was called the Curse of Scotland .”. 2. Legend has it that the Duke of Cumberland after the Battle of Culloden (1746) used the back of the Nine of Diamonds to write out hisbloodthirstyorderfor the’ slaughter of the wounded rebels. 3. Some say the name refers to Sir John Dalrymple, first Earl of Stair, who was among those responsible for the massacre of “
prisoner; onlythechainswere left. Willyou please draw the cordrightclear? Andwillyou,’ sir, please examine the cell-and if you discever how Jack got away, you won’t tell anyone, will you! Thank you very much for your assistance.” -Yote.-The object of entirely withdrawing the cord is : first, to show thecord still intac$ second,ithasnoknot in it; third, that the bag is quite empty, and if thz idea of a duplicate ring has occured to anyone-peopleget these ideas nowadays-it will be proved groundless on examination of bagandwithoutpxformersaying anything about such an idea to the unthinking. This problem, the author hopes, will be found to be one of those self-contained items capable of beingworkedanywhere with theminimum of preparation,the essential points being the employment of subtlety and mis-direction rather than difficult sleight-of-hand operations. Footnote.-This effect was originally published in Percy Naldrett’s “ More Collected Magic ” and is reproduced here by permission of that publisher.
Glencoe in 1692. The reason being that the Dalrymple coat of arms contains nine lozenges or diamonds. 4. It is suggested that Colonel Packer who was in command of theParliamentarmy at diamonds or Dunbar, ( 1650) had some lozenges on his coat of arms, and he also is alleged to have been a curse of Scotland. 3. According to the “ Oracle or Resolver of Questions ” (1770) theCrown of Scotland had but nine diamonds and the Scots were never able to get more. Other theories crop up from time to time, but it is hoped that those’given will show how difficult it is to find a true reason why Scotland should be cursed by such an insignificant card as the Nine of Diamonds. Acknowledgment for the information in this article is given by the writer to the Authors of the following books :The History of Playing Cards ”, Rev. Ed. S. Taylor, B.A. 1865. Playing Card-History of thePack ”, W. Gurney Benham, F.S.A., F.R.Hist.S. 1931. “ The Story of the Playing Card ”, George M. Mackensie. “
“
86
Just overeightyyears ago, Robert-Houdin described, under the title of Mene, Tekel, Upharsin an effect in which a number of cards vanished from one heap and appeared in another. This effect was to alter very little during the thirty years that followed. There were admittedly variations in the method of abstracting and adding the necessarycards, buttothe audiencethe effect remained very much the same. The early part of the present century saw Nate Leipzig introducing a variant and a little later David Devant took the featand madeitintoastage illusion underthe title of the “ Triangle ”. Here note the difference for selected cards were made to leave one heap and appear in another. The accent in this version had been removed from the counting of a number of cards. Mr. Robertson Keene later was to publish a version of the “ Triangle covering every phase. Almost at the same time (perhaps inspired bya description of the “ Triangle ”) Zenswas workingon his ownwell knownversion of the cards across. For the last twenty years the accent seems to have been on the passing of cho.qeil cards from one heap to another. Thepresentmethod was arrived at after an evening’s discussion onvariousmethods of the cards across ”. Leipzig’s, Adams’s, Dexter’s, allcameunder discussion. The present writer even instanced a method by H. St. Clair Elliott, too long has remainedprinted, unthatforfar worked and possibly unread(thisappeared in Goldston’s “ Magazine of Magic ” circa 1919). On the way home Francis Haxton and myself still talked about this particular effect. The present method was a later development ; it is simpleand is intended forfairlyintimate work. First of all a spectator is asked to count off two heaps of ten cardsontothetable.He is also handed an envelope with a further request to placeone set of ten cards inside it.Theother heap is ribbon-spread and two cards are taken by aspectatorlookedatand replaced. Thisheap of cards is now turned face up and the envelope containingtheother set of cardsplacedon top. At the magician’s command the two chosen cards vanishfrom the lower heap.The envelope is opened and twelvecards arefound. Needless to say, the missing two cards are among them. The preparation is very simple and the only sleight required is the “ Curry ” Turnover Change (see Paul Curry and Oscar Weigle’s “ Something Borrowed, Something New ! ” and also Hugard’s ‘’ CardManipulation series) . Two packs of cards will berequired and also abusiness sized envelope. Shuffle one of the packs anddeal off “
”
”
“
”
the ten topcards.From the otherpackremove a similar ten cards and place on top of their .duplicates.Theseareplaced on -top of the first pack and ten cardsareremovedfromthebottom SO that the reader will now have a pack of fifty-two car+, the top ten cardsbeing followed by a similar set of ten. Two. of the ten throwout cards are placed underneath the envelope in such a way that they can be easily picked up with the latter which should in turn ’be placed near to the rear of the table that the magicianintends to use. Thus set, the reader is ready for the presentation. Thepack is picked up andgivena casual false shuffle that will either leave the top twenty cardsundisturbed or bringthem back.intothe sameorder.Whilsthedoes this he requests the services of a spectator whois gentlyshepherded to the right side of the table and is handedthe cards and requested to deal on to the table a heap of ten cards.Whenhehasdone this ask him to deal another heap of ten. There is a reason for two distinct requests, for many people when asked to deal two heaps will deal as though they were dealing handsatcardsandthusthe chances of success of the effectwouldbe jeopardised at the outset.Thecards at this point will be intwo heaps, one to the front and one to the rear of the table (this is the normal expectation as the spectator is standing at the side of the table when he deals). Picking up the envelope and cards as one they are half thrown, half dropped on to the heap furthest from the magician with a request Would you mind looking inside the envelope, make quite sure that it is empty, and then place that heap of cards inside ”. The sheeraudacity of this move is its salient feature, and there should be no suspiciorrin the spectator’s mind that any alteration has t a k n place in the heap of cards dealt by him. At this stage the other packet of cards is moved to the leftandthen the remainder of thepack is takenin--a casualmanner. It is held in the left hand,faces of the cardstowardsthepalm. To the same spectator, he requests as the right hand spreads the remaining heap of cards across the table “ I wantyou, Sir, to remove any .two of the cards, look at them,rememberthemand replacethem ”. The magician,during this operation, thumbcounts eight cardsfrom the top of the pack.(This is an action that calls for little subtlety as the attention of the audience is upon the spectator and the heap of cards), a break at this pointbeingheld bythethird finger of the left hand(this is in preparationforthe Curry move). Thecardshaving been replaced, the spectator isdismissed andthe right handgathers the “
Continued on page 87
87
The last few weeks have been more than interesting magically. A short visit to Jimmy Findlay’s has allowedus theopportunity of seeing some more Evanion memorabilia as well as many otherchoice collectors’ items. Here is the real collector. Onthe24thJulythe Magic Circle entertainedMr.andMrs.PaulFleming atHeadquarters. Later we had the privilege and pleasure of a visit from these distinguished visitors and were ableto spendawholeeveninghearing about magic and magicians in America. Last week in the dressing room at the Concert Artistes’ Association, HerbertMiltonshowed us
a new version of the ring and cord that would have delighted the heart of the late Jardine Ellis. It was a perfect effect performed so slowly as to kill any chance of chicanery. Herbert was telling me of a telekinetic effectwhich again is a Milton miracle. Wewere interested to read that the London Society of Magicians recently hadadebate,the subject of which was Are Magicians Complacent ? Ratherthansaythey were complacent we would say that those purporting to be magicians are plumb lazy, a fact easily borne out by watchingthemanyperformances seen at the average magical society. “
”
LESCOUSSINETS delaPRINCESSE(“TheLittle Sardina’s b-ook T h e Magic ot Rezvani, andto pages 34 Cushions of thePrincess ”1. By &I. K.Rezvani, theand 35 in JohnRamsay’sRoutinewith Cups and Balla. well-knownPersianmagicianf9r many yearsresident The quality of thematerial..containedinthebook of Paris,France, is guaranteedbythe ,$ommittee of the “ Club. des The bookcontains 103 pagesmeasuring about six Magiciens Bibliophiles , whose official seal, or ‘‘v1Sa’’, byfourandthreequarter inches. A11 artisticallydeis affixed to eachcopyof the volume. The Preface is signed folder with eighty-eight ( 8 8 ) loose s h e e t s P a c h by Dr. J. Dhqtel, author of U u g i c w i t h Sm.& seven by five and a half inches-is supplied. These -Apparatus, who explains why Rezvani decided to exby plain thetrickin suchminutedetail.Heassuresthe consist of ( A ) seventysketches-beautifullydrawn theauthor’s son-some of themalmost life size, and reader thatit is possible to nlastertheroutine inques( B ) eighteen plates of diagrams, etc., made by the tion, complicated as it is, by careful a study of the authorhimself.Inall,thereareovertwohundredandtextandtheaccompanyingillustrations,andthe preand diagrams, and, consequently, sent reviewer agrees. sixty ( 2 6 0 ) sketches this is the mostelaboratelyillustratedworkeverpubNumerousinscriptions-inbeautiful1Persianscriptlished* in any languages On ’INGLE routine* (Not add a quaint oriental touch to the appearance of the excludi.ng Maccarthy’s The Chamezeon Cupa a’1d volume. Unreservedly reconllnended to all magicians or JohnRamsay’sRoutine with (:up a n d Balls. who read French and to everycollector who wishes to Thetrickis Kezvani’soriginalversion of aform ofinclude an extremellyoriginal and noveliteminhis the Cups and BallsperformedinPersia by some Chinese library. itinerantconjurersabout 1912. Inthis version,two M. K . Rezvani, 81, Rue Putoutbytheauthor, bowls and a number of little packets of y t t o n wop,l, Erlanger,Paris’ (XVI), France, atthe low price of 675 French francs. Edition limited tF,352 copies. Or Sponge rubber, covered With red cloth ( cushions are used. (For fuller details, the reader is referred Fitzkee’s translation of Dariel MaUriCe VICTOR FARELLI. Chapter 111. In
‘
l
I _ -
HERBERT MILTON’S
‘‘ P R E D I C T 0 ”--continued
from page 82
mirror.Don’thurrythemove,butdoit in as An addedimprovement is to haveoneotheruncasualamanner as possible, andyou will besur-preparedcard in thepackandthename of this prised how indetectable the exchange can be card written on the dummy billet. If this unmade.Thedummy billet is left partly inserted prepared is, byany chance,thought of,or if the in the pocket andafterthecontents of the billet performer is proficient enough to forcethe are read out, the card is casually droppedfaceupthought of it in any way,then a. real miracle has on top of the face up pack, and the whole collected been achieved, as no switch of billets is necessary. UP. A:O?’E.-n~a?l2lfl~ctllri,l~alld seUi?1g. rights O ’ y p To prepare again for the effect, it is only lzelr: l,?) Herhrrt Afiltoll. necessary of course to remove the dummy billet and re-insert the real billet in its pocket. PETER WARLOCK’S CARDS ACROSS-continued frompage 86
tencards into aheap. A shortrecap. of whatupexecutes the Currymove, (a move which is hashappened,and ,We’ll just turn these cards ju.sf as simple to executewith ten cardsas it is wltn one).The left handmovesawayand the faceupand placetheenvelopeon top ”. AS this is said therighthand stretches for theenvelope,envelopecontainingthetwelvecards is placedon whilst the lefthand goes to the pileof tencardstop.Theeffect,fromthemagician’spoint of view, is finished. and in theapparent action of turningthem face “
88 NOT 45/- ($6.50) BUT 35/- ($5.00) \Ye areauthorisedby Englishcustomers
the publisher to offer our
MAGIC BY YO-HAM
WAS HOUDINI WRONG
ByWilliamMoyah at the special price of 3 3 / - (instead of 45/-, the British equivalent of the American price of $6.50). This is the book of original ‘ ‘ Chinese ” feats devised bytheauthor,andillustratedby him (a professional photographer)with sometwo hundred fine pictures. Cloth, 137 large pages 35/-
NOT €7 ($20) BUT QNLY €2 ($5.60) Englishmen and Americans alike are taking advan’S,,“ Card tage of thisremarkablebargain.Buckley Ccntrol ” and ‘ ‘ Principles and Deceptions never sold€or less than $10 eachuntil we purchased the entire stock and slashed the price to $3.00 for- prompt clearance. Here is an unparalleledbargain. Either book E 1 ; both books (which belong in every magrc library), E2. We cansupplyany worthwhileconjuringbookin the Englishlanguage.Pleaseremit to Mr.Robertson Keene, c / o Riverside,Victoria Road,Yarmouth, Isle of Wight,andgetthe booksfrom the U.S. Write t o the address below for free copy of our 64-page catalogue.
0
FLEMING BOOK CO., 728, MADISON AVE., YORK, PA., U.S.A.
“
ROUGH AND SMOOTH POSSIBILITIES ” By Tun Hock Chuan
I
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
The Magic Circle
WARLOCK’S
PENTAGRAM ispublished on the 24thof eachmonth and can be obtained direct from the publishers for 1/1 per Lingle copy. Annudl Subscription 121postfree. PUBLISHED BY:
The
Magic Wand Publishing
11 , Monastery Gardens,Enfield,
President : His Grace the Duke of Somerset, D.S.O., O.R.E.. J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and
Middlesex.
Magical Theatre :
King George’s Hall, W.C. Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock,
ROAD
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.l.
Co.,
hlanuscripts for publication and books for review should be senttothe: EDITORIAL ADDRESS:
ARCAS Publications SYDENHAM 404/408 Croydon
PETER
24, Wordsworth Rd., Wallington,
Surrey.
I
ART
JACK HUGHES
WORK
By a MAGICIAN who knowsyourrequirements 0
0
0
BROCHURES, HEADS and PRINTED PUBLICITY desE:dTE:i please ! SpecialJumboCardTricks made up. Advertising ideas, writing, Line drawings.
JACK LAMONTE 28. WARWICK RD., LONDON,N18 Telephone : TOT7742
c
1
I
I I
SAe &@C &de
will be pleased to send you details of his very latest effects and all his old favourites in return for a stamped addressed envelop? (foolscap or octavo size please). WRITE NOW, TO
JACK 2,
presents THE
FESTIVAL OF MAGIC
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE Nn Callers .
at the Scala Theatre, Tottenham CourtRd. Oct. 2nd-7th7 at 7-15 Matinee Saturday 2-30 Tickets obtainable from the Scala Theatre, Museum andPrincipalAgents
G E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
5731,
Everv Advertiser’s goods are fully endorsed by this Bulletin I
Publishedby
the proprietmThe
MagicWand Publishing Company 1 1 Monastery Gardens, Ehfield, Middlesex, and printed by Herbert Walker and Son (Printers)Ltd., ’ Weil Croft. S h i ~ l e ~ Y,CIrk!
89
PENTAGRAM An independent monthly bulletin for all who want good magic
Hereisthe effect : Onthemagician’stable rests stand a holdingthreered-backedcards. (Illustration No. 1 gives some idea of this). A pack of blue-backed cards is introduced and droppedoutermosttothe audihce intoa glass face.Withtherequesttoaspectator, whom we shall call Mr. A, that he stopstheaction of the magician when he wishes, the cards are removed one at a time fromtheface to the bxck of the pack. On being stopped, the card designated is placed, still facing the audience, in front of the first red-backedcardinthestand. The procedure is %repeatedwith two more spectators, whom we shallcall Mr. B, and Mt. C, andthecards of their choice are placed respectively in front of thered-backedcardsnumbers two andthree. A spectator is asked to stepforwardandremove the first pair of cards. He takesthem,separates tbem, and shows that the red-backed card, placedtherebythemagician,matchesthecard chosenbythespectator.Similarly,the second and third pairs of cards are shown to match. This deception was the prototype of “ Mind Out of Time”, and to some it would seem to have an advantage over that effect in so far as a spectator can actnally remove the cards at the ultimate stage.
elastic band snapped round the car;.&, the. rnagician would seem to have a blue-backed pack. The next thing to come in for attention is the Now look at illusstand which holdsthecards. tration 1 and you willsee that when thecards are dropped into the slots one-third protudes. At the same time it will be noticed that the centre of
blue (3). p S C . 9
slot ( v e l v e t lined) for elotted oardr
REQUIREMENTS. Onepack of cardsmadeupas
follows :Twenty-six cards fromablue-backedpack and twenty-six duplicates of these from a red-backed pack have half their backs treated with roughing fluid. When, dry, the red-backed cards are placedbackagainsttheirduplicateblue-backed cards so thatthe roughenedendscoincide.The pairs arethen assembled to formaset of fiftytwo cards,care being takenthatthe roughened halfsare allsimilarlypositioned.Whenthis is done, an odd blue-backed card is now placed facedownonthe exposed red-backed card; with an
Part o f red backed card o u t away t o synchronise with s l o t in stand
90 the card can be seen because of the qpenings. Let us studythe construction qt thestand; itisa simple affair, 102 inches in* length, and the height of the holderforthecard is 29 inches, the cutouts measuring 2in. X gin. Figure 2 shows. a section of thestand as seen from,thetop,and is bestmade bytakingthree pieces of verythin plywood, 102in. X !@in., cutting out three pieces in each Zin. X gin., $0 that they synchronise when placed on top of the-other. To assemble tp form a stand, eight interleaving pieces of cardboard or wood are glued as shown in Illustration 3. Before completing this however, the facings of the wood, which form the narrowslot, are coveredwith black chiffon velvet.When tlie pieces are glued together the effect should be such that if a playingcard is pushedintothisslot, it will " stay put " because of the velvet, but at the same time it can be pushed into the stand with the minimum of effort. Theuprightpart oftkie standis now fastened to the base; the method of fastening will depend upon your ability as a craftsman. PLEASE DO MOT FINISH THE STAND OFF IN PILLAR-BOA RED. Three red-backed cards are required and oneinch is cut fromoneend.Afterthis,take thethree cardsand place one ineach of the velvet-linedslots,pushingthemdown so that the top of the ca-d is level withthe top of the stand. With a pehcil draw on the card the position of the cpt-outinthe stand. Whenthis has beendonewith-thethreecards,takethem out andcutaway arectangularportion which will synchronise with the cut-outs in the stand. With some Indian inkblackenalltheexposededges of these cards, an'd with some matt black paint, A straight-sided paint the top of the stand. stemmed glass completes the requirements. (Incidentally illustratian 3 gives a false idea of the cut out card owing to the fact that the white border has been eliminated in reproduction.)
PREPARATION. Stand is placedonthetable p d initare placedthethreefaked red cards,one-thirdprotuding at the top and thus appearing to be just threeordinarycards.Thestemmedglasscontaining the blue-backed cards ( ? ) should be placed on a -tab@ to the right of. @e table' holding the stand. With thesethingsdone',themagician is now ready for hisPRESENTATION. Attention is called to thethreecardsinthe stand, the magician stating that the cards placed there are in some way associated with his appearancethereto-night.Threepersons are tied up with the cards and they are represented by those B, and C. As he oldmathematicalsymbolsA, looksacross at aspectator;themagiciantakes the supposedly blue-backed pack from the glass. " I would like you, if you are willing, sir, to be shown Mr. A ". The packafterbeingcasually is placed into the glass, roughened ends uppermost
andfaces(i.e.,blue-backedfaces)towards the audience. " From thisblue-backedpack I am going to take a card from the face and place it at the rear of the pack; I am going to continue doing this and I wantyoutostop me just when you like " Thecards, seemingly one at atime, but inreality,inpairs,are removed fromtheface of thepack by the second finger andthumb of the right hand, and placed at the rear of the pack (the v e q slightest of 'pressure of the second finger on the face card is sufficient to bring the two cardsup in .suchperfectalignment thatthey appear as one). On being stopped by Mr. A, the Continued on page 92
Flashback ! L
-
stands for LYNN TUESDAY, NOVEMBER a+, Y
,
BR LYNAPS ENTBRTAINMBNT. -
.-
Tbc mysterious doings of Dr. Lynn were nrommmc&
lnst evening, this geotlemanhafin&'' during his rho4
perioEl--of closing, stmgthuncd .his:'programme. W& several new .features, amongqt which- may be noted . h f ~
imitations of the tricks- of - spiritiabts,. by. sewing a m.an ta $c iron rings of ,a at'ool with bands of sopper wue, qfter wbich, in the ..presence of: a '.Cornmittce, &g8 m passed ."on:the !alon(s . hands and taken o f ft .his- coat i!, mmootd, and thcq replaced.; .;and this without theaid of ariy cabinet, a'c?oth beiirg held before the opera&-- for a fm minufes only. These tying featsare. being ppformed ud n a u s e q , but Dr. Lyon's is certainly amongst the clev.&crt Tbc Doctor's box trick, tw; .goes beyond those of his &m. prtitsrs, for we have three boxes,'& -made to fit within the other; those a d corded and Ibcked, and a m n is tied up in a couple 'of .rackr, but, an ttic bame, scrcohed . view,.he In 4 fen m0mmnt.q on being' contrives to peaetrate . the three shells, out of wbi& hc is takcn after tho necessary amount Ot tlncordillg and 'uniwking has .taken glace. Yet .Dr. Llnn'r mea pttracticn i s a .mystarbus cabinw, which is UimrcEd stailding in the centre af the stakp Into this an attendint w~llis,dnd the curtalnS being d r a q , the man is standing f a c i v l h e audicnce,'wben (he Doctor p r w d s .to cut-off one arm, -which ik carcfsllpearried oul and laid down ; then one' le is.ampu+ed,.and artled out to be laid on aghkir. .'Jot cimtont-witb this, the man's head is cut qff, and cirried bv the opZiPtor &tintothe hall, but onjp it :tO,disappkr out d the black &h in whkh it is-h&, m a d wgM npla on the W y , Wtnvcd . by the arm '8nd ,leg, which the man walb out- whole. T b illusion s i most compkte, and though. there. mag, h. a r~puldvc sound &bout tht dssciiption, the whole L go Qewrly .&njed' @utthat there is riothlng.offc~sivd.in it whatever, aarl:the curtain falls amidst abuddantopplruw, During the inte-vak, Dr. Lym%Italian band, consisting of 'tbree artists, who play upon the pleasant cornbiultion d in5trliraerits tfSc viblin, manddin, $nd guitar; pcttatrh souse cxccIfOnt &eratic music. ,
'
fe
+.
oiE+ft.
'
#"SINGULAR CHARGE OF ROBBERYp __e__
TO
en@
tctla. From the l. B. Findlay Collection
t n t t o n or
91
To DouglasFrancisbelongsthecredit for originating a very clever idea on the lines of the " BrainWave " effect, butwithoutthe useof doctored cards. The presentation, however, requireda rather bold manoeuvrenotsuitable for manyperformers. In thefollowingpresenmove which tation, I havetriedtoobviatethe has altered the general effect slightly. The impression giventotheaudience is that a pack of cards is borrowed and shuffled by a spectator who alsonames any cardinthepack. He is asked by the performer to take that card out of the pack and reverse it somewhere in the. centre of the pack. The magician now reaches into his own pocket andbringsoutacard casecontaining anotherpack of cards.Thecase is openedand thecardsremoved.Simultaneously,themagicianandspectatorspreadtheirpacks,andit .is found that the card freely named appears reversed in each pack. To show heactuallyanticipatedthespectator's choice, the magician turns over the card in hisown packand shows it hasastrangeback, provingthatheactuallyplaceditinthepack before the performance.
REQUIREMENTS. Theperformer'spack is enclosed inapreparedcardcase.Thiscasehashadthe bottom removed and two slips of strong paper gummed, one at each side. A pack. of cards is inserted in the case and the two slips pushed down into the centre of the cards to act as a slide or guide to receive a single playing card. The case, with the cards, is placed, with the cards facing outwakds, upside down in the right-hand vest pocket. In the left-hand coat pocket is another pack ot cards,facesinward,,setup inanindexto enable the performer to locate any card at will. If desired,thesemaybeCanadianStagcards which area trifle narrowandmakethetricka littleeasier.
To theranks of second, third, fifth and seventhcard effects comes amethod in. which six cards areused-the naming of the five unselec'ted ones giving the necessary information to the medium,. which possesses the advantage that m y six cards may be selected, the balance of the pack being placed aside. Since therequiredinformation is codedby means of the order in which the cards are named,
TO WORK.
Borrow a pack of cards and have the ow,ner any spectator shuffle them. At .the same time, ask him to name the. first card which comes. to hismind.Theninstruct him to takethatcard out of the pack and reverse it in the cpntre,of the pack. Meanwhile, there is ample time tosecure its ;duplicate from the index and palm it, back. to palm,' in the left hand. Ask him to lay h i s pack face down on the table. As hedoesthis,reachinto the rightvest pocket for the other pack. In doing so, slide the palmedcardintotheguidecreated by the two slips of paper. As the case is produced, press the card flush, whicli forces it into the centre of the cards. Slowly openthetop flap of case. You' may now eithertakeout'thepack yourself or allow thespectatorto do so; whilst you retain yourholdonthecase, of course.Thecase. is then slipped in the pocket. Have him hold pack for a moment as you, in turn, pick up his pack. You instruct him to spread 'your pack across the table face down, as you with his pack, duplicate hisactions. 'The two face-upcardsagree. It remainstoprovethespectator's choice was anticipated by the magician, and the card in the magician's pack .is reversed to show a strange back. The cards may be left lying around should someone care to inspect them. OF
Two
s l i p s o f paper
@mmed t o bottom of
Mottom of cdse removed.
cuse.
I
'
Side view showing section or ce8e. Cards are not shown.
itwill be a good plan if thereader follows the text with apack of cardsinhand.Thecards are first of all mentally divided into groups, thus : Ace CLUBS Two Group 1 Three Four HEARTS Group Five 2 Six
92 Seven
3
Group Eight SPADES Nine Ten DIAMONDS Group Jack
4
Queen The King receives specialtreatment,tobe describedlater. For thesake of clarity, we willproceed with six cards dealt from a pack before me as I write. SelectedCard : 3s. 9H, 7S, KH, KS, J H . The two lowest cards are first picked up and placed fuce up in the left hand, this leaves : 9H 7s in Hand KH, KS, JH on Table. The position of the selected card in its own particular group has now tobeconsidered. In this case it is third, therefore, the lowest card is again picked up and placed on top of the face Cards up cardsinthelefthand. Similarly, a two would be placed in the centre and an Ace at the bottom, the position is now : In Hand, 933, 7S, JH. OnTable, KH, KS. The lowest card, remembering thatHearts arehigherthanSpades, is againpicked up and placedin the position which corresponds tothe group position on thechart,in this case the bottomorextremeleft of the. face up fan, the position is now : In Hand, KS, 9H, 7S, JH. On Table, KH. Finallytheremainingcard is placedin the suit position, in this case third, thus : KS, 9H, KH, 7S, JH and the medium is ready to be telephoned. The cards,incidentally, are namedstrictly in. order after the packet has been turned face down. The medium is- equipped with a -small scribbling pad, ruledinto five sections thus, on which she enters the cards as named :
.
CLUBS
Afterthe five cardshave beennamedthe entries should read as under :
KS
HEARTS
DIAMONDS
7s
Correct
Remaining
Stack 10s
3C JC 9C 4C QH
6D 3H 7C 9H 8H
6H JD 9D QC 2s
6D 10H 6C 6H iOS 3H 5C J D 8D 3C JC 2H 9D 7C *4D
10H 5C 2H KH 3H
QC Q S 9C KH 9H 5H 2s QH 8H 4C
Having worked out the preceding examples, both the performer and medium should be ready for %he final stage, namely, when a King is selected. This is very simple. The highest curd is placedinthecorrectsuit position andthe second highest card isplaced at the bottom or extreme right of the face up fan. Having worked out the suit, thesecond highest card as it occupies thefifthspaceon medium’s padautomatically gives the value. Chosen Card KS AH
Remaining Cards 5D JS 8s 4s
Correct
Stack
JS 4s 8s Although the foregoing may seem rather lengthy and involved, if the reader will spend an odd hour with cards, pencil and paper, working out a few combinations for himself and decoding them afterwards, he will, I am sure, find just how easy it really is.
AE
5D
~~
continued from page 90
DIAMONDS
SPADES
Chosen Card JH 6C 8s 8D 3C AD -4D QS
~
SPADES
9H
.
PETER WARLOCK’S TRIGON 7
HEARTS
CLUBS
She now decodes the message as follows : the position of the, highest - card (KH) gives her the suit, therefore she scores through and writes SPADES. Theposition of thenexthighestcard (KS) which is first amongtheremainder,gives. thecorrespondinggroup,thereforeshewrites : SPADES Ace Two Three theposition of thehighestcardamongthe remainingthree is .third, so she crosses through the first and second names, leaving : SPADES AA.-. T I vvw Three In order thatthe readermaythoroughly graspthemethod, itis suggested thathe stack the fo,llowing examplesand check theresult, while bothpartiesshouldpractisethedecoding process.
KH 7s
JH
two cardsheldbythe ‘right-hand fingerand thumbaretaken at thenon-roughenedends by the left-hand second finger and, thumb and placed in the first slot of the stand. As the cards reach the, half-waymark,i.e.,thecut-out now shows part of the blue-backed face card, the left hand thumb now comes into play and pushqs ,down the fakedred-backedcard.Similarprocedures are repeated with the second and third cards. The stand now, to all intents and purposes, containsthreepairs of cards. Added to this is the fact that because the uppermost parts of the cards are not roughened, they can be withdrawn by a specator without any suggestion of adhesion. This is, of course, what happens and the pseudomiracle reaches its final cadence. ’
93
Some monthsagoIoverheard some small boystryingtopuzzleeachotherwith.various questions.One of thelatterinterested me very much, and the following little effect was evolved. The performer invites one of the children in his audience to helphiminamagicalspelling trick, and he hands his willing helper a slate with a piece of chalk. He asks the audience to name an animal with three letters (seeMagical Mentalia, " A Psychological Trick). The answer is invariably " C A T " . The helper is asked to write or print the word " Cat " without anyone seeing it. The performer then displays a lazge packof letter cards,' and invites another volunteer to mix them thoroughly. He then covers the cards with a large handkerchief, and explains that by magic he will make the assistant choose three cards to make the The volunteer cuts the cards word C A T. through the handkerchief and the next three cards aretaken.Theperformertakesthe first card " C-that's corand, looking at theslate,says rect,buthecarelessly shows ittotheaudience. It is actuallyan " h1 '' . He repeatsthesame performance with the second card, whichis an ' ' 0 ' ' and not an '' A ' ' , and finally with the .last card,a " Q," placingthecardsbackout on a stand. By this timetheaudience will beyelling its head off, andthereshould be plenty of byplay. In conclusion,thecards are turned rouhd, andtheaudience is " made " to see thatthe cards do actually form a '' Cat. ''
tration, that ,the letter, " M " should be so drawn that it makes two reasonable " ears ", and that the " 0 " should be much smaller than the,"" 0 " which forms part of the " Q '' . Thislast named should, as shown, completely fill the card.
TO PERF0R.M. Have the vital cards face upon the table and coverthem with thehandkerchief.When the remaining cards have been mixed, place them on top of the three and at the same time pick up the handkerchiefandshow.Placethepack of cards underthehandkerchief forthe reversein 'the thus usualmannerastheboycutsthepack, forcing MOQ. In placingthecards one at a time into the clips, see that the middle card, '' 0 ' ' , is placed as in the illustration (i.e., the M and Q cards overlap it). Thus, when the stand is turnedrounda good representation of acat is found. Build up' the effect with the usual showmanship; la the a Die Box, and disclose your rrs.sistant's success in the proper manner. "
"
"
"
REQUIREMENTS. These are simple. An ordinaryslate with chalk; and stand a as shown. This consists simply of an upright fixed to a square of wood. On ,the uprightare screwed threebulldogclips at equal intervals as shown in the illustration. A pack of Lexicon cards or preferably some larger cards wAh the three bearing the letters M, 0 and Q emphasised asshown.Lastly, a lgrgehandkerchief. It is necessary, as will be seen inthe illus-
This numberbringsto a close thefourth volume, and,again we shouldliketotakethe OpportuIiity of thanking all those who have contributed in any way whatsoever.Onceagain we have tried, and because of the excellent work of. ourcontributors, we have succeeded inplacing before our'readers a greatnumber of effects, in which apparatus, as apparatus, hasbeen conspicuous by its absence. Our friend Geoffrey Bucking-
U
ham, who scored such a triumph in America, made use of his Coin routine (see Pentagram Volumel ) , his Billiards Ball routine (inthis present volume), andthethreedartcardstab(seePentagram satisfying. At Volume 3). All this is very Harrogate during the 1.B .M. Convention, readers of seeing some present had the opportunity more " Pentagram " magic. Francis Haxton presented some of his excellent card effects, whilst
94 GustaveSouthallperformed his ‘ Impromptu Whist-Bridge Deal ” In the coming volume we have been promised a Leslie May-Ron (Tearing them Up !) . Baillie number, which%should be a,must for any mentalist. The Magic Circle Festival of Magic has proved a great success both artistically and financially. A full report will appear in next month’s issue. ~ythetimethisappearsthe Magic Circle Festival will be in session, and to’ the advertised list of performers will beaddedthename of Mystica,who, as we wnte, is appearing at Barcelona at the International Congress,whereit is expected that he will win the Grand Prix. In thispresent issue will befoundArthur Carter’s Mystery of the Sixth Card. ” In reading, the method. may seem involved. We therefore beg, if you find it. so, to re-read, for this method of signalling a chosencard.is devilishly clever. The placing of thecards in a natural manner is far better if the cards are dealt higgledy piggledy on the table rather than in a row. I n a Iuture copy of the “ Wand.” the same contributor ‘hasa slant on the presentation ,of the “ thirty card trick that is terrific. It is entitled Mass Hypnotism,” and we only wish we had it in the ‘ ‘ Pentagram. ’ ’ We are starting a collection of programmes, playbills (includingthose of magicalsocieties), and, like memorabilia, relating totwentieth century magicians. If any of our readers have such unwanted trifles lying around we shallbe most “
“
’
”
“
“ WHERE HOUDINI WAS WRONG,’’ by hlaurice Sardina (transla;t,ed from the original “ LesErreursde Harry Houdini Victor by Farelli. Published by George Amstrong, Price 2 0 / - ) . It was about two years ago that we hadthe pleasure and privilege of readinginmanuscriptform Mr. Farelli’s excellent translation of M . Sardina’s book, At the time we notonly expressed ourdelight at the contentmatterbut also atthe excellent translation. On the reception of the published copy our delight was increased because such an important work had received atthehands of the publisher andprinterthetreatment it merited. Dealing with the physical make-up, the book runs and tweoty pages into a matter of someonehundred ofwell printed art paper ; there are over thirty illustrations, a number of which are half tones.The book is a goldletteredblueclothcover. stronglyboundin All thosewhohaveread(andtherecan be few genuinely interested in magic who have not) the Unmasking of Robert-Houdin will welcome this book byafamousFrenchauthor. M. Sardinain .his introduction seeks not so much t o defend the Master of ModernConjuring(forasheremarkshisname; higher than ever,needs no defence) but rather to put right the “ un ”vitting ” mistakes of Harry Houdini. The bookcommenceswith a resume of Houdini’s rebuff byMadame W. E. Robert-Houdin,(something that Houdinicouldneverunderstand), of hisdealings with Evanion and of his growng venom against “
grateful to receive- them,and at the sametime pay any postage incurred. Linklater, whicLl appeared in ourJuly number, has had some nice comments, and it will also appear in the “Phoenix”. For an impromptu presentation, our friend Jack Avis has sent along the following, whichwe’ll call “ Linklater 11.” for index purposes. (We suggest that it will help if you have the original “ Linklater routine by you when reading. ) The two cords are placed side by side on the table ; theyform two letter U’s, thefourends point towards spectators. You takeapockethandkerchiefandcover thebottom of the two loops, leavingthefour ends in fullview. Under cover of t4ehandkerchief link thecords,‘pull linked section from hnder, and drop on top of handkerchief, the twist in the cords reinains concealed by handkerchief. Look at spectators, and remarkontheimpossibility of what they have just seen, etc. Now grasp the linked section of the cords between first finger andthumb of each hand,and grip the handkerchief at itslower left andrightcorners between third and fourth fingers, raise both hands from the table, a n i you will find the handkercief hangs like a curtain in front of the cords, the action of raising the cords will also take the concealed twist out of the cords. When this happens allow handkerchief to drop back to table, leaving the two linked cords in your hands. The lateness of this issueis due to circumstances outside ourcontrol, the corrected proofs going astray on their way to the printers. “
”
”
Robert-Houdin. Fzom this point we are taken throughthe “ Unmasking ” and wilder statements of Houdini,statements of opinion ratherthanfact,are torn apart and disproved. For his particular references the following effects (orautomata)aretaken; each forming, as they did in Houdini’s work, a ‘chapter The Writing and on its own : TheOrangeTreeTrick, Drawing Fi ure, The Pastry Cook oi the Palais Royal, the Cabalisjic Clock, the Trapeze Automaton, the Inexhaustible Bottle, Second Sight, the Suspension Trick, and the Disappearing Handkerchief. Besides thistherearetwochhpters ‘,‘ Events. in the Life of Robert-I-Ioudin ” andthe, “ Narrowness of RobertHoudin’s Memoirs ”. Theauthor showsonly too well that if the evidencepresected bv Houdini would not fit the bill indefamingRoQert-Houdin,suchevidence must be adjusted or faked to.prove that Houdini could pot bewrong. Mr. Farelli,astranslator,inhisusualthorough andpainstakingmannerhasleftnostoneunturnedin order thatthe readershallhaveacompletepicture bookproperasupplement has been and so, tothe added. No student of magic will bewithoutthisbook, for it is undoubtedlyone of the bestcontributions to the post-warmagical literature. It is hoped that those who look upon magic. purely as a technical accomplishment, will see fit for once to look back into the past. To all magicianseverywhere we recommend this mostinterestingwork.
SECOND COLLECXORS' ANNUAL, 1950 (published by James B. Findlay, Firbank " Private Hotel, Crescent Road, Shanklin, Isle of Wight. Price 5/3 postfree). I '
Unlike the first annual published in duplicated forin by Mr. Findlay, present the publication is printed. It consists of twenty-fourpagesand is boundinacardboardcover. It is a booklet that no magically-mindedpersonshouldmiss. After the briefest of prefaces, our old friend " Ptinos " " More Magazine History andin his g%e:?%icle deals with " The Boy Magician, " " Tp" American Magician " and the " Seven Circles. Next,under the heading of " Association Items," J.B.F. instances a most interesting bypath of magical CEllecting. This is fellowed by " A Chat on Ex Libris by that greatest of collectors, Stanley Collins. Inthismonograph'theauthornot onlytouches on design and peculiarities of book-plates but gives the would-be book-prater some excellent adviceinregard to its make-up. Did You Know?" Under this title Jimmy Findlay details some fourteen items of lesser-known facts regarding conjuring literature and follows it with an article ' The Chapbook . inConjuringLiterature."(Chapbookscovereda wide variety of subjects. They were usually made up of some twenty-four Pages )
THE 'KEN. BROOKE MARKED CARD N I ' BALLOON " (publishedbyKen.Brooke, of Veronl House of Magic, 160, Westgate, Bradford, Yorksf: price 5 / - complete with cards.. If, the " Yimka apparatus is purchased, the routine is supplied m t i s ) . Ken.Brooke quotesthatthe " Trilby " routine (reviewed above) in conjunction with the present, effect constituteshiscard act. Thisroutine ;S duplicated and runs, to about one thousand words. As in the " Trilby routine, the .author teaches thereadereverypointthat will help to make the effect remembered ,, byan audience. Althoughthe " Card in Balloon is no favourite of ours, we know full well that with the average audience it is a most effective 'item, and the particular presentation and handling in t h i s version is very goodindeed. Snagproof, it is unreservedlyrecommended.
SCALBERT'S MUSICAL MYSTERY the ScalbertBrothers, price lO/-).
(published by
"
A mosthandy glossary of book terms is followed byan articleon " Rarities,"by ChrisCharlton, the threerarest m'agazines being quoted. The Annual cbncludes with an excellent article on " Variety in Collecting," by J.B.F. Here worthwhile advice is offered to the would-becollector,advice that comes from one whose experience carries the worth and u w d of authority. Withthecertain knowledge that readers of this bulletinhave a love of magicoutsidetheacquisition and performance of tricks, we hope thatthey will, without fail, obtain a copy of this most excellent work. We feel equallycertaln that a readingand re-reading will setthemlookingthrough books,magazines and programmes with a thought that perhaps there is somehting in this " collecting " idea after all.
Thesetwomostingeniousmagicalbrothershave got togetherindevisingamethodforpresenting a musical thought transmission act.Twentycards, each of whichbears the name of adifferentcomposltioll printedonarepassed out to the audience. .A number of thesearechosenandthecards placedin front of the performer. His assistant: who id seated a t a piauo, thenplays,oneaftertheother,theselected mklgdies. Wewillnow quote from the . routine : " At no time does the performer speak or signal in, any way, except to readout. the nam? of thetune on the card after has it been played . That statement is perfectly true.The designers of thismysteryhavedeviseda mechanic41 method of signalling the chosen cornposition. Not content with one method, two others equally good aregiven. Needless tosay,thepartner atthe receivingendhas littletolearn.Let us alsc remark to those who havenopartner'able to play thepiand,thatthe name of the composition cah be announced, whistled or sung. Though the rauge of twenty to an experienced two person mental act seems small, a method to cover an extra twelve compositions will be supplied upon request. (Actually we can't think why it was included).The whole thingis diabolically clever initssimplicity,and is a veryworthwhilebuy for anyone wishing to present this type of effect tr,iih the minimum uf trouble.
THE " KEN. BRQOKG TRILBY ROUTINE (published by Ken.Brooke,VeroniHouse of Magic, 160, Westgate, Bradford, Yorks. Price 5 / -. No charge if " Trilby pack is purchased.Thechargeforthe '' Trilby " pack with the original instructionss is 21/-\. Thisparticularroutine is induplicatedformand runs to some fourteen pages. It is written in a sincere manner that leaves no doubt in the reader's mind that it' id efle~tivecard 'mdgic and it will dork one hundred per cent. The author is not content with a mere recital of thedescriptionand working of the effects in theroutinebutin a carefuland effective. manner makes theroutine a true letwon ip curd 7nap:r. Theroutine consists of three good effects. They are of suchcalibre that they will bringthe performer credit ,for being a clever,cardworker. Atthe end of theroutinethe performeris leftwith a n unprepared pack, an obvious advantagefor close quarter work.
If youpurchased a " Trilby " pack andhave for the moment put i t ononeside, you will, dearreader, bedoing yourself a disfavourinpassingbythisparticularroutine. We know full well that were Ken. Brooke to. denwn8trat.e the effects, youwouldbeprepared to pay a much higher price than that a t preseht demanded.
PETER
WARLOCK'S
PENTAGRAM is publishedon the 24th of eachmonth and can be obtaineddirect from thepublishers for 1/1 persingle copy. AnnualSubscription 121post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADD-:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
96 t
SENSATIONAL DISCLOSURES
Where Houdini Was Wrong by MAURICE SARDINA (Transluted by VICTOR F A R E L L I r Thisgreat work isundoubtedlythemost im portantcontributionto magicalliterature in the last half-century. It i s one that no magician should miss. Houdini,thegreat showman, the idol of magicians throughoutthe world, is condemnedin the mostdamningindictment that couldeverbepublished, It 'is not hisshowmanship that is condemned,for that is withoutquestion, but his integrity. We can do no better than to quote the author's own words : " There is the piece vehement,bombasticandmoralistic. I t is worthy of Houdini, who, havingaccumulatedanumber of unfoundedaccusationsagainstRobert-Houdin,twistedthe sense of documentsandtextstosuit his own needs,pretendedthatRobert-Houdinhadmadecertain claims that he had torefutethese alleged claims), made use of a falsified document-assuming that he not ( i n ordereasily hadnotactually falsified it himself-insults the Master forthelasttime,and covers him withunspeakable abuse ! And,inwhat a ' tone ! Hethendonsthecloak of amoralist,professesthepurity of hisintentions, to have givencredit where it belongs,distributes his blessings, and distributesblameandpraise,proclaims lays the results of hisresearchesbefore the only true jury, the great reading public, whom hehasdeceived, misled and mocked ina book of overthreehundredpages !" Why did Houdini first proclaim Robert-Houdin as his idol-even to the extent of purloining his name S Why didhe later attack the Masterwithsuchvenom ? Who falsified the document to " prove " hiscase ? Whobroughtthe art of conjuringout of thegutterandfair ground and made it aform of entertainment ? patronised by the most elite in the land Hereyou will find the whole fascinatingdtoryunfoldedinabeautifullywrittenbook that is so absorbing that, once started, you will beunable toput downuntil you havefinished. The book itself containsover 120 pages of artpaper,manyreproductions of oldposters,engravings in gold, and proand photographs and is bound in heavyblueclothcovers,stampedonfrontandspine tectedwithanarrestingdustjacket. I
. . .
i
l
Postage 6d.
Price 201-
from the publishers
THE 'MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. I
I NOT 43/- ($6.00) BUT 2O/- ($2.80) By buyingthe
"
complete stock of theJohn Cook-Arthur Buckley
Brown
The Magic Circle President : His Grace the Duke of Somerset, D.S.O.. O.B.E.. J.P.,M.I.M.C. Vice-President: Douglas Craggs, Esq., Y.I.M.C. ClubroomandLibraryand Museum :
St.Ermin'sHotel, Caxton Street, S.W.1.
GEMS OF MENTAL MAGIC"
Magical Theatre :
we are able t o offer this book (heretofore sold only at the published price of $6.00) a t t h e bargain price of E l ($2.80). Here are 32 up-to-date mental feats of various two experts, 132 beautifullyprintedpages, typesby handsomelybound in gold-stampedfabrikoid.Unfortunately, this " remainder " is not large, and we thereforesuggestpromptpurchase.
'' THE
FINE
ART
OF
MAGIC
:
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
JACK
"
George Kaplan's matchlessbook of uy-to-the-minute routine,should beinyour library,andthefeatsin yourprogramme.Superblyproduced in theFleming Magic Classic format, 352 large pages, 316 Frank Rigney illustrations, a t our ' ' sharethe loss " price of (not $7.50, 3 3 / - ) only 45/-. Please remit to Mr. Robertson Keene, c ,'o Riverside, ,VictoriaRoad,Yarmouth, Isle of Wight,and receive the books direct from the U .S.
HUGHES
will be pleased to send yorr details of his very latest effectsand allhis old favourites in pturn for stamped a addressed envelope 7foolscap or octavo size please). WRITE NOW, TO
JACIf $,
HUGHES
EVELYN AVI?NUE. COLINDALE, LONDOY. N.W.9.
CONJURING BOOKS FOR SALE L e t ' me know your wants OLD ANDNEW. LIST FREE FOR STAMPED ENVELOPE Eio Callers
--
FLEMING BOOK COMPANY, 728, MADISON AVENUE,YORK,PENNA.,
King George's Hall, W.C.
Particulars from Hon.Secretary
U.S.A.
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,> MIDDLESEX
Every Advertiser's goods are fullyendorsed by this Bulletin Published by the proprietoi. The Magic *a Walker
d P u b l i h h g Company 11
14% Saa (Piinten) L&..
'
onasteryGardens,Enfield.Middlesex,andprinted
kreh%oft. Shi~ky.YorkshihizI.
by Herbert
*
MENTAL EFFECTS
BILLIARD BALLS GeoffreyBuckingham’sBilliardBall Routine 60 54.44.
...
...
...
CARD EFFECTS (Impromptu)
...
A Christainer Conception
Automatic Prediction ... Imagethe on Retina ... ... Impromptu SolocWhisteBridge Deal Restless Choice ... Technique Sale for ... The Mystery of the Sixth Card
...
...
... ... ... ...
... ...
...
76 29 26 4l 58 34 91
CARD EFECTS (Prepared or Stacked) Bones of Contention ... ... 52 Bubble, Bubble ! ... ... ... 33 Across Cards ... ... 86 2 Comedy Routine with the Jiffy Slate ... Do as I Do-Brainwave ... .... 91 Hypnotic Multiplication ... ... 14 Missing Pack Link ... ... ... 68 Name Your Choice ... ... ... 55. Predicto ... ... ... ... 81 Psychic Post Card ... ... ... 13 Seeing by Phone ... ... ... 53 Tan Hock Chuan Sends Letter a ... 38 Tearing Them Up ... ... ... 65 The Gap the in Line ... ... ... 71 Trigon 7 ... ... ... ... 89 U p Cards. at and ’Em ... ... 9 I..
...
Autograph Hunter ... Automatic Prediction Death from Newspaper a ... Do as I Do-Brainwave ... Image‘ onzthe Retina ... ... Kismet 2 ... ... ... Mental Matchcic ... ... Missing Link Pack ... Mother Goose Prediction ... Pay Day ... ... ... Prediction Plus One ... ... Predicto ... ... Seeing Phone by .... ... Slately Telepathic ... Take it. o r Leave it ! ... ... Tearing Them U p ... ... The Book of OneWord ... The Gap in the Line ... ... The Mystery of the Sixth Card
...
...
...
... ...
...
...
...
..
...
...
...
11 27 93
CIGARETTE EFFECTS AlI Smoke
...
...
...
...
C O I N A N D NOTE EFFECTS Note A and Two Coins ... ... Douglas Dexter’s Burnt and Restored ... ... Note Effect ... Harry Latour’s Coin Routine ... ... Take orit leave it ! ... ... ...
AStory Ghost Tearing Them
...
...
FORTUNETELLING Up ... ...
...
...
...
... ... ... ... ... ...
... ... ... ... ... ... ...
43 29 20 91 26
75 57 68 19 25 20 81 ’53
77 36 65 59
71 91 67 73 94 3 29
POCKET TRICKS Ring o n Pencil ... ...
...
36
...
83
RING EFFECTS ’ ... ... Riddle of the Ring ... ... Ring on Pencil ... ...
‘ Jack Sheppard
... . 2 7 ...
36
...
67
... ...
17 1
... ...
13 76
...
5
SILK EFFECTS
...
Line of Silks
78
...
SLATE EFFECTS Garendon Slate Jiffy Slate
...
... ...
... ...
...
11
PSYCHIC EFFECTS Psychic Post Card ... ... Thermometer .... ...
...
65
THIMBLE TRICKS ChameleonThimblesAgain ...
EGG TRICKS
-er
...
52
49 43 36
..
MISCELLANEOUS EFFECTS ... ALetterfromPeterSutton ... Linklater ... *.. ... Linklater I1 ... ... ... ... O n Threading Needle a ... ... ... The Case of the Baffling Burglars
CHILDREN’S EFFECTS Story Ghost ... Riddle of the Ring Curiosity TheCat
...
Entertaining with Hypnotism ... ... Stooging Around ... ... ... Those Entertaining Years ... ... 49 4 20 Tricks Matchbox ain ... ... Magic with ... ... ... 85 Dice 55 Conjuring with Christopher ... ... How Perform to Mental Magic ... MAGIC G O R O U N D Can You Tell Fortunes ? ... ... 7 15 22 30 37 45 Mainly Mental. V01 2 ... ... 55 62 71 79 87 93 Les Principes Brilliantsde la Manipulation Card Magic of Le Paul ... ... FLASHBACK Conjuring ... ... ... ... 2 10 18 30 35 42 The ... ... ... 50 58 66 74 82 90 Piddingtons Le Livre D’Or ... ... ... A WORD ABOUT BOOKS & R O U T I N E S John Ramsay’s Triple Restoration . . . . Rezvanimagie ... ... ... 6 Clear All Enchanted Vase ... ... Magic of Ancients the ... ... 7 Douglas Hood’s Card in Cigarette . . . . Genial Improbalities ... ... ... 7 Scarne’s Quartet ” ... ... ... Milbourne Christopher’s Magazine Test 7 l e s Coussinetsde la Princesse ... ... Napology ... ... ... ... 7 Where Houdini was Wrong ... ... Hypnotism ... ... ... ... 7 Second Collectors Annual ... ... Quartet ... ... ... ... 7 Ken . Brooke’s ‘ Trilby ’ Routine ... Hugard’s Magic Monthly V01 5 and 6 ... 14 Ken . Brooke’s ‘ Marked Card in Balloon ’ Sucker Hello. ! ... ... ... 15 Scalbert’s Musical Mystery ... ...
MISCELLANEOUS ARTICLES Annemann. 1907-1942 ... ... InMemory of A C P Medrington ... Orchestra Stall. Row D. Seat 4 ... Curse The of Scotland ... ... Top Table.Ballroom.ParkLaneHotel ...
. . .
33
.
.
.. .
.
.
Arrowsmith. G E . . . . Avis. J . . . . ... Raillie. Ron . ... Belcher. Len . ... Boarde. C . L . ... Boughen. H .... ... Brearley. John ... ... Buckingham. Geoffrey Arthur Carter. ... ... Stanley Collins. ... De la Mare. Eric ... Dexter. Douglas. The late Dexter. Will ... Dickson. A A . ... Douglas. James ... Farel’li. Victor ... Douglas Francis. ... Jules Giraud. ... Hammond. E . ... Nicholls Harley. ... ... Francis Haxton. ...
.
... ... ...
...
...
...
...
...
... 43
...
...
... S . .
44 54 71
... ...
... ... ...
... ... ...
... ...
75’
26
... ... 63
... ... ...
... ...
...
...
...
...
Hiddleston. Samuel ... Louis Histed. ... 65 Stanley Jaks. I. ... 20 Percy James. ... 57 Koran. A1 ... ... Latour. ... 36 Harry 11 Leaney. Gil ... ... 60 Maxwell. Victor ... 91 Medrington. A C P . 59 Michaelson. R . H . . . . 3 Herbert Milton. ... 49 Southall. Gustave ... ... 76 PeterSutton. 29 Hock Chuan Tan ... 93 Tapsell. A .... ... Robert Tothill. ... 87 19 Vosburgh-Dexter ... 27 Warlock. Elizabeth ... 53 Warlock. Peter 76 Woodhouse-Pitman. R 13
94
.
... .
58
... ...
... ...
....
...
...
... ... ... ...
15 22 22 22
22 31 39 39
46 63 69 69 70 70 70 70 70
79 87 94 95 95 95
95
85 1
33 68 ... 36 ... 43 ... 9 ... ... 29 ... 52 55 ... ... 14 ... ... 81 ... 41 91 ... 5 67 ... . 38 67 ... ... 20 ... ... 34 ... ... 25 ... ... 73 17 78 86 89 ... ... 83
1
PENTAGRAM An independent monthly bulletin for all who want good magic
O k t d h 1950
Constant reader certainly must have noticed fromthe tricks which find theirwayinto these pages, that we arenothotforanycard effect which involves a lot of dealing orcuttinginto many piles. Therefor,thefactthatthis effect of FrankTaylor’s is seeingprinthere is proof positive that we think it is a good trick. The effect is a knock out as a trial will show you and it is quite efficient since with a modicum of fumbling around you are able to find two freely chosencards, identify one of them and so place both of them that when two packets are dealt out the chosen cards appear simultaneously. The method uses one of the most primitive devicesknowntomagic,namely andto wit, a red-blackseparation of the deck. 26 blacksand 26 reds. Havingseparatedthecards this wayyounextmakeyour set up which is certainlynotcomplicated. It is, 20 reds ontop of the deck-26 blacks andthentheother six red cardsonthebottom.That’sall.The rest is in the handling. We will‘ assumeyouhaveadeckarranged like this. Placeitonthetable.Have spectator A cut off asmallpacket of about eight or ten cardsfromthetop of the deck. He is then of tocut off a similar packetfromthebottom the deck. He retains his hold onthe center packet of cards which is left. Youpointout that after these cuts there is no earthly way that you can know the identity of the top or bottom cardinthepacketheholds.(This is true.) He is tolook at thetopcard of thepacket in his hand and to remember it. Next he is allowed to cut his packet as often as he wants to and to hold on to it for the nonce. You turn to spectator B and ask him to pick up the packet that was cut off the bottom of the whole pack. He is to cut this packet as often as he wishes and then to remember the top card of
this packet. He is nottocut this packet now, (you don’t say this) but is to pick up packets off the group which was cut off the top of the deck anddrop themonthepacket in his hand.He canmakemany little packets of this groupand finally dropthe remainingcardsontop of his packet. You then point out that you have not touched his cards at any time whichis true and that you will not touch them at any time, which is also true and is one of the most baffling parts of the effect to an astute observer. You turn to spectator A andaskhimto think of his card. You take the packet from him and fan it in front of you asking for his mental aid as youdo so. Here comes theonlydirty work. Fanthepacket in front of you and find the first red card in the fan from the right hand side, (from the face of the deck) cut it to the face of the packet. Now countthenumber of red cards and remember the last red card in the group and its number.It is thechosencard, but continue your count on into the black cards till you count to twenty and cut there finishing cut. You remember two things. The identity of the chosen red cardand its number.Subtract its number in the fan fromtwenty andyour work is over. Let’s say the last red card, the ten of diamonds, was the eighthcard.Subtract this fromtwenty andremember twelve. That’snothard is it? Hand the pack back to spectator A and ask both spectators to deal cards simultaneously, one at a time, face down. Theydo so. Youcount withthemwhilethey deal and in ourexample yo11 stop them when they have dealt twelve cards. At twelveyou saystop so that their cards arethenextonesonthe packets. continued on
puge 7
2
Without any possible doubt, Stewart James’ Miraskill is one of the greatest self-working card effects to have appeared in print. Apart from its own value, it is the ideal prelude to “ Out of this World ”. I would hesitate to say this present version is an improvement on the original, but rather point out that from the point of view of a mentalist using the effect as one of pre-cognition, thespectatorsaregivenconcrete evidence of the wonder-worker’s ability. The original effect will be found on page 147 of the “ Jinx,”andas I intendtogivethe amended routine in entirety,thereaderunacquainted with the effect will not need the original reference. Fromthe pack that is to be used, four black cards have been abstracted and are placed in theperformer’sright-hand jacket or trousers pocket. A stiff postcard,a pencil anda nailwriter or its equivalentare also required.The postcard is placed in an inside pocket, the pencil in thebreastpocket, whilst the nail-writer is already adjusted or easily available for fixing. The mentalist commencesbyrequestingthe help of two spectators;theyareseated respectively left and right of the table that he is using. One is asked which colour he would like--‘ red ’ or ‘ black ’. Wewill presume that the answer is ‘ black ’. (Please don’t write and tell me what I alreadyknow,that ‘ black ’ is nota colour!). The other spectator is asked to shuffle the pack. The postcard ispicked up and the mentalist commences to write; as he does so he looks at theotherspectatorsaying “ I am writing something connected with the future. For the sake of reference I am calling you ‘ A ’, and (as he turns towardsthespectatorwith the pack) yousir, ‘ B ’ ”. The writingonthe postcard isnow completed and reads “ A will have is then fourcards less than B ”. Thecard placedwriting side down at theedge of the table.Takingthe shuffled pack,the mentalist tells the audience that he intends to deal face of thc two cards at time a from the pack. If two blackcards aretogethertheyare given to ‘ A ’, if two reds to ‘ B ’ and if a black and a red, they will beplacedaside. Thecards are then dealt face up in this manner and the two spectatorsarerequestedtocountthenumber each holds in his hand. Whilst this is being done the mentalist’s hand goes to his pocket and obtains possession of the four black cards which hepalms,facestowardsthepalm of thehand. to state Thecounting completed he asksthem c A ’ howmanycardsthey respectively hold. probably replies ‘ sixteen ’ whilst ‘ B ’ says “
”
‘twenty’ (whatever the actual numbers there will be,because of thefour missing black cards, a difference of four between the two hands). The numbersarerepeatedaloudby the mentalist. Andnow, sir (this to one of the assistants) will you please read what I have written on the card?”The spectator picks up the cardand reads aloud the prediction. “ That pieceof fore“
Flashback ! M stands for M a c k e n z i e M u n r o INTRODUCING
CHARACTER SKETCHES (Studimd from &oturl LW&-
IMPERSONATfNG THE
WIT AND HUMOUR OF TnE
Scottisb Highlander Delineattons of the Pawky Humour of the Celtio MounWneoro, ‘ a n c l Chlvacterlstic Stories told In the Vernacular a t the exprnw d’the Children of the Mist, dovetailing experlmente In
ScottishSorceryand
Sleight-of-Hand,
Highland Second-Sight, &c. &c. PRACTICALLV EXPOUNDING
The Munro DOCTORING of Humbug.
MAGICALSEANCES
ARRANGED.
Sleight-of-Hand and Mechanical Spectacular Effects, suitable for Platform or Drawing-Room. From 15 Minutes to TwoHours’ Duration. Performances in Morningor Evening Dress ; or lh full Dress Highland Costume, as preferred. Magical Entertainments for Chiidren a Speciality. Distributions of Magical Confectionery;orPrlzes,Presents, Bon-Bons,&C., produced In a Magical manner for Distribution,provided by arrangement.
Ma- Conscience! ISN’T IT UNCANNY I ? From the J.
B. Findlay Collection
3 casting,’’remarksthementalist, “ some of you mayattributeto luck. I shouldjustlike to try it once more.’’ As he finishes thissentencehis right-hand comes away from the pocket with the cards and gathering up the mixed heap from the table, the palmed cards are added. “Just shuffle the cards again, please.” The assistant takes the cards and shuffles them. ‘‘ Mix them well, sir.” The postcard is picked up and on the blank side the mentalist writes :-
This time A and B will hold an equal number of cards. I feelcertainthat they will have cards each.
The card is folded, writing side inwards, and rested on the edge of thetable. Thecardsare taken from the. spectator (or if the mentalist feels that there is no chance of any error, the spectatorcanbe allowedtodo thedealing)andthe
Dear Peter Warlock, I wasveryinterestedinHerbert Milton’s “ Predict0 ” in the August “ Pentagram ”, and thought you might like to hear of an attempt of mine to produce roughly the same effect, but with different handling. In 1948 I was struck,. bythe “ Face Up Prediction ” of James. I did not know the working (nor do I now!), but the idea of spreading a pack face up for the choice of two cards appealed to me and so I set to, to work a method. I t took me exactly a week to prepare a pack of cardsforthe effect. Ea& cardhasasmall pocketontheback,into which is slid afolded billetbearingthecard’sname.However,this pocket is made from the card itself,no extra pieces being added. I will explain how I did this later. Each of the billets had roughing fluid smearedonitsoutsidesurface, as showninthe illustration. The cards can be shuffled and fanned without showingthebillets. Needless tosay,the top card of the pack is an unprepared one. Now for the working :
cardsaredealtintothevariousheapsagain. As there are nocards missing, each will havethe nu,mber will not be same number, but this knownuntilallthecardsaredealt. The mentalistdoesn’tconcern himself withthecounting of thered or blackpairs, but only with the discardheap, so that if at theend of thedeal, there areamatter of fourteen mixed cards,he knows that both ‘ A ’ and ‘ B ’ haveamatter of 19 cards each. At this point, if it is necessary forhimtoobtain possessionof thenail-writer, he recaps, pointing out the fairness of the conditions. He picks up thefoldedcard and opening it looks a t it as thoughcheckingwhathe has written. He asksthespectatorstocounttheir cards, and as they commence, he walks across to a spectator adding in the blank and appropriate spacethe figures ‘ 19 ’. “ Justhold that a moment, sir. ” When the spectators have finished countingtheircards,thespectatorwith‘ thecard is askedtoreadaloudwhathas been eachspectator written. He does so, andthen holdingcards is requested to name how many cards he holds. Climax! Theaddition of theactualnumbermeans more than it would seem, and afterwards (because of a numberbeingmentioned in the firstprediction)the impression is that ineach case, thementalisthasaccuratelypredictedthe actual number of cards held by the spectators.
The pack is spread face up on the table. The performer writes predictions on two blank billets. Two spectatorseachslide outa card
4 fromthespread,andthepedonner lifts each ,card and places it on top of the respective billet, so that the edge of the card nearest the performer is flush with the edge of the billet. The illustrationshowsa side view of this position. (By theway,thereshouldbea cloth on the table). Afterrecountingwhat has beendonethe performer reaches over to the first card, grips the edge nearest himbetweentheright thumband first finger which grips the billet as well. The second finger presses firmly on the centre of the cardandthecard is drawnalongthetable towardshim(theperformer). Thus, the billet in the pocket, by virtue of the roughing fluid and pressure of thesecond finger, remainson the tableasthecard is slid away.Theother billet is taken away under cover of the card. Thus the switch is made. Of course, the billet now onthetable is opened and checkedwith face upcard,and is correct.The sameprocedure is repeatedwith the other card. As to my method for making a pocket in each card, it is as follows :
Half split a card.Thenmakea transverse slit in the centre of, the card-through the upper ‘‘ peeled ” portion only. Now glue the “peeled‘’ portion of the card back again, leaving the ‘‘ pocket portionunglued. It soundsa long job,buttheprocess becomes quite speedy with practice. All the best, Peter Moff at. ”
(3.ar8 face up k
With this novel pack performer amuses himself as well asthespectators,and,the wiseacres also enjoy themselves at their own expense.
REQUIREMENTS. An ordinary pack of cards, four Jokers, and fourextracards, 60 cards in all,withbackdesigns to match. PREPARATION. The face of each joker is prepared to resemble one of the suits, one card for each suit. The four odd cards may be blanks, ordinary pip-cards, or, for extra fun, they may be blanks suitably illustrated in colours. In thelay-outbelow,thefourJokersare denoted bythe letters joh., jos., jod.,joc.,and the four odd cards by the letters B, C , D, and E. THE LAY-OUT. 10h 10s 10d 1Oc
B 3d 7s Jh joh 4d Ac 8s Qh 5d 2c C 3c 7d Js jos 4c Ah 8d Qs 5c 2h D 3h 7c Jd jod 4h As 8c Qd 5h 2s E 3s 7h Jc joc 4s Ad 8h QC 5s 2d.
9 s 6d Kh 9d 6c Ks 9c 6h Kd
9h 6s KC
The four extra ” cards are trimmed narrower.Thosecards indicated byheavytype are trimmed at the corners as shown in the explanatory diagram below. ( N O T E - T h e trimming should be done with tlrr “
L . ( L Y ~ S ’faces
down).
Now, gather the cardsfrom left to right (faces up) starting with the 10-of-hearts, top row, and finish withthe king-of-clubs, bottomrow. When stacked the 10-of-hearts is the top card if pack is held faces down. The ‘‘ very ” low-down for the fourextra cards is as follows. No gathering is withoutits troublesome elements, the wise-men, and they are subdued as will be outlined further on. The pack of cards is introduced,then, after executing one of those convincingfalse shuffles andgivingthepack several genuinecuts, so as not to disturb the arrangement, he fans the cards, far faces to onlookers, to prove thattheyare from set-up, notwithstanding the horrible doubts circulating in the wise-acres’ hat supports.
5 The performer explains, in twisted terms, thatthepack is acomplete one, but, unlike other packs, it is dividedinto foursuitsand made up of 53 cards,just like otherpacks, except that there is no real difference, etc., etc. (By this timethehook is well baitedforthe " average " wise-aleck whonever fails to introduce himself at the right moment). Thespectatorsare invited toname any one of the 53 cards,andsureenough, up goes the expected bunch-of-bananas, because our pal wants the Joker. Theperformer is ready,and asks, " What suit, Sir?" (you call him sir, to respect his mother). Somewhat surprised, but undaunted, the imbecile calls forHeartsand looks a bit silly when the performer cheerfully spells it out in the conventional manner, and everyone is happy. A t this corner trim the fourtens.These control the spelling of the four jokers, of the samesuitasthe relative ten.
Secondly,hemay spell A-C-E-C-L-U-B-S, then T-H-R-E-E-C-L-U-B-S, then F-O-U-R, then F-I-V-E, then S-I-X, then E-I-G-H-TC-L-U-B-S, then N-I-N-E, then T-E-N, then J-A-C-K andlastly,K-I-N-G-C-L-U-B-S.* (Note : The cards marked with * are turned up ufter the last letter of the) word clubs). When spelling out cards after this fashionin mixedorder-impress on spectators thatany card may be spelled-out in any manner. Theotherthree suits are spelled-out in the sameway, forthevaluesonly;when spelling them in mixed order then proceed thusly : HEARTS. -a-c-e-h-e-a-r-t-s-,-t-w-o-.* -f-o-u-r-h-e-a-r-t-s-, -f-i-v-e-,-s-i-x-. -s-e-v-e-n-,-e-i-g-h-t-. -j-a-c-k-h-e-a-r-t-s-, -q-u-e-e-n-, -k-i-n-g-.*
PACK FACE DOWN
Atthiscorner,trim the four jokers. These govern the spelling of thevalues only.
Top Card 10-of-hearts
A t this corner trim. 10h to spell Clubs Hearts K h ,, ,, Ks ,, ,, Spades 9c ,, ,, Diamonds
Next,aLadyor Gentleman, is askedto name either of thefour suits, whereupon the performer proceeds to spell out, in proper sequence,the 13 cards of the suit concerned, from ace to king, values only. Once again, another peace-loving onlooker is askedtonameasuit, and this time, performer, with one eye on his friend, puzzles him further, by spelling-out some cards by values only, while othersare spelled-out values andsuits,inprogressive number order, but not in proper number sequence, for example : Suposing ' ' clubs " is thesuit called for. The performer may do either of two things : Firstly,hemay spell A-C-E, then T-W-0,* then T-H-R-E-E,* and so on to the king.
This corner is without trimming and serves to keep you on the right path.
SPADES. (Same asfor hearts):. DIAMONDS. -a-c-e-d-i-a-m-o-n-d-s-, -t-w-o-,* -t-h-r-e+-.* -s-i-x-d-i-a-m-o-n-d-s-, -s-e-v-e-n-. -t-e-n-d-i-a-m-o-n-d-s-. -j-a-c-k-, -q-u-e-e-n-,k-i-n-g-.* In between each spell, approach some " troublesome ' ' person and ask him to ' ' cut ' ' the pack and look at his favourite card. Holdthepacklengthwise across thehand, your fingers and thumb guarding the ends of the pack, while the cut is made;this forces himto cutaboveone of theunroyalfamily cards. He must then take the top card, of the lower portion, Continued on page 7
6
Thisyear’sFestival of Magic wasnotonly an artistic success, but drew larger audiences than any of itspredecessors.Towardstheend of the week, business had to be turned away. Promptly at 7-15 theOrchestraplayed a shortintroduction,after which thecurtain rose ontheProloguedevised and presented by John Young. In this he was assisted by Leslye Nelson and Gordon Pearce. represented John the Joker and the close of his lines announced the first act, Frank Fewings and Barbara, who in the space of eight minutes presented a lovely routining of Silks Supreme, Coloured Plumes and Silks and Liquids. Away toa fine round of applause, VictorPeacockcamenextwith “ La T&e Mysterieuse ; thoughquite well presented,this version of Pepper’s “ Sphinx ”, neverachieved the eeriness that onehopedfor. The one and onlyArthur Dowler followed andbroughtthe firstwave of laughter.Excellentfooling as all magiciansknow. A changeintempo andPaula Bairdwitha most artisticpresentation of silks, cardsandbilliardballs.To finish thefirst half of theprogrammecameCingaleewithhisfastmovingact.Thiswasasplendidcapper.After an interval, the curtains went up on the Stavordale Puppets, an outstanding act that drew great applause.LenGazekawithhis Magic Carpet, brought a style all his own into the presentation of old favourites such as the card in balloon and magiccakemaking.Thisprovedapopularact and it was followed by Mystica,freshfromhis
recenttriump at theInternational Congress at Barcelona.Here was anact splendidinconception and presentation. Producing walking sticksthroughouttheact, Mystica started some cigarette and silk magic and finished with some card juggling B Valton. la His demeanour throughout was that of the happy conjurer and he charmedboththeconjurersandthelaypublic. A really great act, and not an easy one to follow. It was as well, therefore, that it fell to the lot of one of ourfinerartists,noneother than Claude Chandler, who presented his well-known act, “On the Bust ”. To finish the show came Reg. Salmon with his well-known illusion act . His final production, culminating in fluorescent effects, brought forth a great response from a well-satisfied audience. The whole show ranverysmoothly, and unlike the previous Festival, the running order of the acts remained constant throughout the week. Gil Leaney’sstagemanagement was thorough, as we who assisted well know,andthetenacts (two running some seventeen minutes) ran (apart fromtheopening night) inside two and ahalfhours. We mustnotforgettomention the work of DianeFoster,who,aidedbythe vocal efforts of Francis White and Peter Newcomhe, displayedthenumber of theacts, normust we omitthe well-merited presentation of a Magic CircleWand toPaulaBaird on the closingnight.
From our Singapore friend, Tan Hock Chuan, comesamost useful angleon George Blake’s ‘ 9ngleton ’ idea that appeared in ‘ Magic Go Round ’, December, 1948. (For the benefit of readers not having that particular issue,this is whathappens,anddespiteeverything, happens it every time! The pack is genuinely shuffled and dealt into four heaps;in thecourse of thisdealing,there is amisdeal so that one heap contains twelve cards,whilst that next to it contains fourteen. The heaps are then gathered upandfourhandsdealtagain,this time,however,withoutamisdeal. The result, as the reader will find is that one hand contains a ‘ singleton ’ card!). To return to our ‘muttons’! Tan HockChuan goes on tosaythathehas made use of theidea asa basis of afortune telling effect. Instead of anapparentor intentional misdeal, the cards are dealt to four :imaginaryplayers,thus
A X B C Duringthedealonecard is dealtinto the middle at point “ X ”. Thecardsaregathered up and dealt again. At the finish of the deal the fortune tellermentions that inoneheapthere will be a ‘ singleton ’ card with an interpretation for the person having his fortune told. For this interpretation the reader is referred to any book dealingwiththe meaning of cards and Albright’s Forbidden
”
D
Wisdom.
After we publishedStanley Collin’s “ Book of One Word” we received a letter from Stewart James, reminding us that the ideas given by Mr. Collins could also be applied to T. Page Wright’s ‘‘ The SupremeTest ” . The use of this book would give the words, “.Rows,” “Roes”
7 and Rose ” instead of.“One”and“Won,”and wouldcertainlybe helpful toaperformer wishingtoperformthe effecttwice beforethesame audience. Lookingthrough an oldcatalogue of De Vere’stheother day, we were struckby one effect that was prettyinthe extreme. It was called The MysteriousCardHouse ” and was described as follows :A H o m e i s built with seven playing cards o n “
t h e left side of thetableandapapercover placedoverit. A secondpapercoverisshown on the right side of the table, empty and placed Atcommand,thecardhousechanges from left side to t he m p tcyo v eor tnhrei g h tV. e r y effectiveand qztite incomprehensibleconsidering how very fragile the construction is. lOl6, Post Pricecompletewithinstructions frek 11I 10. As the cost of postage was a matter of 1/4,
would it seem that the purchaser certainly received quite a deal for his money. In the reviewing of our friend, Wilfrid Johnson’s Card Conjuring, weekly a contemporary,has producedthefollowing ‘ gem ’ : ‘‘ If he is akeenflaw-hunter he will regret the mis-spelling of dear old Hoffman’sname ”. We are certainly not flaw-hunters, but being interested in the classics of conjuringliterature, we regret the mis-spelling of Hoffmann. We canonlyassumethatthe editorial staff have a rather muddledbackgroundandareconfusing Professor Hoffmann with Charlie (Think a Drink)Hoffman.
Franklin V. Taylor’t Double Stop-cont.
from puge 1
Youdon’tknowthename of spectatorB’s card but you gloss over this and point out that there is no way that you could have known how far down his card was. Have himnameitand ask him to turn over the card after the twelfth. ‘ ‘ Hola,” you say, “ the ace of hearts!” Andnow you turntospectator A. I have readyourmind!Yourcard is theten of diamonds!” He turns it over and there is his card. Handled this way, you will find that people forgetthat you didn’t name bothcardsbefore they were turned over, so that the effect is completely impossiblewhen theytrytoback-track. The fact that you know where to stop spectator A makes it seem as if you must know the identity of his .card too. It wouldbe finicking we think,toseparate the deck into black odds and red evens and red oddsandblackevensalthough we suppose a scrupulous worker might do so in order to make the effect that much harder to reconstruct. InDr. Taylor’shandlingyou will realize
We should like totake this opportunity of calling attention to, the “ Sphinx ” Jubilee Book whichwill be issued in 1951. This is in addition to theAnniversary issue. We aresurethatthe majority of our readers have in their possession, the issue that marked forty years; it was a production thathas neverbeenequalled byany magazine, the photographs alone being well worth four or five times the amount of the magazine. Those who are not regular subscribers will find the name of the London Agent on page 8 . The Magic Circle will soon be moving to new quarters. It is an amazing thing, but during the various moves, larger accommodation has always been found,andyet,therealwaysseemstobe less room for the photographs and museum pieces. Wehaveheardfrom Leslie May thanRon Baillie (whoasaguest of theFrenchGovernment, is now painting merrily away in Morocco): has finished hispart of the Leslie May-Ron Baillie issue. We shall lookforwardto seeing this, forhere is asplendidpartnership of two fine mentalists. When Peter Moffat gets togetherwiththem,youhaveone of the finest psychic coteries in this country. We were sorry tosay good-bye (orrather au revoir ’) to Ralph Read and Elmer Eckam at the ScalaTheatreonThursdaylast.We feel certain thattheyandthe rest of the American party really did enjoy themselves during their too short visit.
when you have finished the trick, a few cuts will set up the deck for ‘‘ Out of This World ” . . . as good an effect as any on which to end a card routine since we know of none that can follow it without its being anti-climax. THE ABOVE PHOENIX BY
EFFECT REPRODUCED IS KIND PERMISSION OF PUBLISHER. BRUCE ELLIOTT.
FROM ITS EDITOR
Percy James’ Hocus Pocus Pack-cont.
THE AND
from page 5
and show it to his lady companion. ‘ This cures Aleck of his terrible malady, and, who cured him? PercyJames, Greylingstad, South Africa. +;-
*
*
The pack is ‘ riffled at the relative corner in order to bring the controlling card to the top, ”
by a single cut. The controlling cards are shown illustration.
in the
I
8 I
THE MAGIC EVENT OF 1951 !
NOT
The March 1951 issue of The Sphinx will be its Anniversary issue-commemorating 50 years of service to magic and magicians. Suitabl t o mark thisgreatevent,TheSphinxispublishing a Golden fubilee bookin addition t o agreatAnniversary issue. Thebook will retail f o r $5.00, but will beavailable t o subscribers(onourbooks December 31, 1950) a t a special price of only $1.00. Make certain we receive yoursubscription prior totheend of 1950 so youcantakeadvantage of thisgreat anniversary offer. Subscription 36 shillingsperyear
Bybuying
ENGLAND
A New Idea In MentalismChandu’s PSYCHOANALYSIS
II
Postage 3d. MAGIC WAND PUBLISHING CO.,
MONASTERY GARDENS,
11,
E N F E L D , MIDDLESEX
“ROUGH AND SMOOTHPOSSIBILITIES By Tan Hock Chuan
i
“
Price 1O/-
I THE
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the sub-
ject. It is recommended for advanced magicians. Price S/- Postage 3d.
ARCAS Publications SYDENHAM 404/408 Croydon
ROAD
.
PETER
”
the completestock of the John Brown Cook-Arthur Buckley
‘‘ GEMS
An entirely new idea in the presentation of Mental Magic, andanidea,,that is W fasciEating t o an audiencethattheyall want t o be Psychoanalysed Spectators think of objec& (positively n o force), and the performer psychoanalyses them and so discovers and names the objects being thoughtof. comes The routine, which is logical and convincing, t o you in neat a printed Ibooklet, complete with introductory lectune, description of the effect, complete instructions on how andwhat questions to ask and how to analysethem so that the word picture of the objectbeing thought of is built uptotheastonishing climax. Also instructions onhow t o preparethe few simplepropsrequired, andanimprompturoutine. SUITABLE FOR STAGE, PLATFORM OR INTIMATE SHOWS. CAN BE ONE EFFECT IN A ROUTINE-OR A COMPLETE ACT
WORK
By a MAGICIAN who knows yourrequirements
0
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks madeup. Advertising ideas, Copywriting, Line drawings.
GeorgeKaplan’smatchlessbook of up-to-the-minute routineshould be inyourlibrary,andthefeatsin yourprogramme.SuperblyproducedintheFleming Magic Classic format, :52 large pages, 316 Frank Rigney illustrations, a t ourshare the loss ” price of (not $7.50, 53/-) only 451-. Please remit to Mr. Robertson Keene, c / o Riverside, ,VictoriaRoad,Yarmouth, Isle of Wight,and receive the booksdirectfromtheU.S.
II I
FLEMING BOOK COMPANY, 728, MADISON AVENUE, YORK, PENNA.,
WARLOCK’S
PENTAGR.A ispublished on the 24th of erchmonthand can be obtaineddirect from thepublishersfor 1 / 1 per singlecopy. AnnualSubscription I t / post free. PUBLISHED BY:
The Magic Wand Publishing Co.,. 11, Monastery Gardens, Enfield, Middlesex. Manuscripts for publication md books for review should be sent t o the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, surrey.
JACK LAMONTE 28, WARWICK RD., IDNDON, N18 Telephone : TOT7742
JACK HUGHES will be pleased to send you details of his very latesteffects andallhis old favourites in return for stamped a addressed envelope (faolscap or octavo size please). WRITE NOW, TO
JACK HUGHES 2,
OF MENTAL MAGIC”
THE FINE ART OF MAGIC ”
I
ART
($6.00) BUT 2O/- ($2.80)
we are able t o offer this book (heretofore sold only a t the published price of $6.00) a t the bargain price of 21 ($2.80). Here are 32 up-to-date mental feats of various typesbytwoexperts, 132 beautifullyprintedpages, handsomelyboundingold-stampedfabrikoid.Unfortunately, this “ remainder ” is not large, and we thereforesuggestpromptpurchase.
THE SPHINX c/o WILFRID JONSON, London Agent, 45, K I N G S m A D RD.,TULSE HILL,LONDON,S.W.2,
43/-
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wmta LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
U.S.A.
The Magic Circle President : His Grace theDuke of Somemet, D.S.O.. O.B.E.,J.P., M.I.M.C. Vice-President: D o u g h Craggs, Esq., M.I.M.C. Clubroom andLibrary
and Museum :
St. Ermin’sHotel, CaxtonStreet, S.W.l. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon. Secretary :
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
Magic Wand Publications The M& Wand Quarterly Fer copy 3/ 8 P.P. AnnualsubsEription 14/:6. TheWizard, 36 pagesmonthly. Per cor)Y 211 p P 6 month 12/6 Year 24jJohn ‘ Ramsay’s Cips &* Balls (Fafeili) 2216 Where HoudiniWas Wrong (Sardna) W 6 Convincing Coin Magic (Yarelli) . . 17/10 Mastered Amazement (Koran & Lamonte) . . 10/3 Bohleno’s Mysteries (Bohlen) 1013 Thanks To Leipzig (Farelli) 1013 George Armstrong’s Premonition 1013 EntertainingWithHypnotism(Dexter) 10/3 & Mass Challenge Instant Hypnotism .. .. . . 211Hypnotism Strictly Magic (Eddik Joseph) . . 513 Stooging Around (guthard) 5/3 26 Living & Dead Tests (Gakdtt) ’.‘. 513 Jamesosophy (Stewart James) .. . . 513 YearBook 48/49 (few only) 513 StuntsWithStage Money (Lamonte) * . . 513 Tricks of the Trade (Amstrong) . . 217 From the publishus THE MAGIC WAND PUBLISHING CO., 1, Monastery Gardens. Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Publishedbythe
pmprietcu The Magic Wand Publishing Company, 11, Monastery Cudens, Enfield,Middlesex, Walker 8nd SW (Printam) Ltd.. WellCroft. Shipley, Yorkshire.
and p d t d by H-bert
PENTAGRAM An independent monthly bulletin for all who want good magic
V ? .5 N&. 2
N
This is an effect that will be found to be most effective when performing before young children, and though there is plenty for the audience to see,’ there is little for the conjurer to carry. Effect The conjurer commences byremovingfrom whit appears to be a large windowed envelope, a slateanda piece of whitechalk;hetellshis audience that it is not ordinary white chalk, but it has a special magic allowing it to write any colour that hechooses.Takingtheslateheaskshis audience to nametheirfavouritecolours and as these are named,hewritesthemontheslate. When four have been written he turns the slatearound to show that hehaswrittenthe names of thecolours, buttheyareall in white chalk. His audience not being satisfied, he accordinglycausesthenames of thecolours to appear in theirappropriatecolours.Theslate is placed down and he takes from a table a sketching portfolio. Unfastening the tapes, he opens the portfolio out and removes a sheet of black paper which after being shown on both sides is replaced in theportfolio,amember of theaudiencethen beingasked to re-tiethetapesandtakecare of theportfolio. The slatewiththecolourednames is replaced inside theenvelope,andapacket of largecardsbearingpictures of flowersis shown and in afairmanner one card is selected.After a suitable story has been expounded regarding the magic powers of the chalk, the slate is removed andit is seen that some of thewordshave vanished; the envelope is also shown to be empty. The little girl holding the portfolio is told to open so and finds itand remove thepaper.Shedoes thatthe chalkshave re-assembled no.t in word form, but in such a way that the selected flower pattern is represented.
.
d 1950
The Requirements. 1. One slate with two perfect fitting flaps. 2. Oneenvelopetoholdtheslate;this is manufactured out of white paper and should look like an envelope with a window, i.e., the type of commercial envelope in which the contents carry theaddress.Instead of havingaflapthatfolds over, as in the case of a normalenvelope, the shape of this flap is simulated by appropriate lines drawn in Indian ink. On the front of the envelope is painted large a stamp for alternatively an ordinarystampcanbestuck on),an imitation postmarkthenbeingdrawnoverit. The final effect should be that when it comes to displaying theenvelope,itappears thatthe envelopehas been sent by post. The top edge of the envelope should not be as though they were cut, but rather as though the envelope has been torn open. 3. Some fifteen cards, each carrying the picture of a flower. This need notentail any in drawing on the reader’s .part, for the packets which seeds and bulbs are sold and which invariably carry a coloured picture of a flower may be cut out and stuck one on each card. The size of the cards should be the same as the slate flap. 4. A piece of white chalk. 5. The Portfolio. This needs special construction and requirements and I will come to all these in a moment. 6. Two pieces of black pastel paper slightly smaller in size than the portfolio. 7. A largeopaquehandkerchief. Preparation. One flap is taken and on one side is affixed a piece of paper corresponding to the paper used for theconstruction of theenvelope. Theother flap has one side covered with paper corresponding to the backs of the picture cards.
10 The .portfolio as I already mentioned requires special construction. It is responsible for the change of one piece of black paper for the other, and in such a way that the portfolio can be left with a member of the audience. The illustrations should help the reader. First of allthereader will require some sheets of thick cardboard. As this is for a trick, I don’t think that there is any need to make the portfolioverymuchlarger than tenby twelve inches (this, of course, is not in any way comparable with a normal sketching portfolio, but should the reader wish there is nothing to stop him making it larger). In consequence, supposing that this size is chosen, four sheets of the cardboard cut to this size will be needed. Join two of the pieces on thelongside by means of alinenhinge.This hinge, unlike normal a portfolio allows for practically no spacingbetweenthecovers when theyare closed. The coversthenhaveanother sheet of cardboard glued to each. Now at points A. B. C and D with the aid of a sharp knife make a cutout that will accommodate an eclipse magnet.
for the trick we have finished, and the reader is ready to pr5pare for actual performance. First of all suppose we decide that the flower to be used is a daffodil. A replica of the picture on the card is drawn on one of the sheets of black paper; the maincoloursare of course green and yellow. On theslateare now writtenthe following words,oneunderneaththeother in theirappropriatecolours(olderreaders will recognise this part of the effect as Sigmund Krumgold’s “Colour Blindness,” JINX, page 167), red,blue, yellow, green, andthe flap which is backedwithpaper similar to thebacks of the “ flower ” cards is placed over it so that the slate appears blank. On the other flap the words red and blue are written in their appropriate colours, spaces being left for yellow and green so that when the flap is shown at later stage it would appear that these colours continued on page 1 1
Flashback ! N
stands for Newrnann
Thc Evcnt oflhc Year! ME ONE. ONLY M D ORldlllAL
\ If the reader is careful in cutting he will find that the magnets, when placed in the cut-out, will be held tightly. After affixing a piece of black tape to the edge of each cover the outside and inside of thecovers are coveredwithpaper. Thepaper chosen for the inside should be patterned, whilst that ontheoutsideshouldbeplain. A piece of thin but not top pliable cardboard, measuring ten by twelve, is takenandit is placedinsidethe portfolio. At thepoints,which, when theportfolio is closed A, B, C and D would be opposite, four safetyrazorbladesareplaced andkeptin position by means of cellotape(Scotch tape). I suggest razor blades as they are always handy ; four pieces of thin tinned iron better. far are This piece of card is now covered on each side with similar a paper to that used on the inside of the portfolio. If, whenfinished,this piece of card is placed inside the portfolio, it will adhere to that part of the cover which holds the magnets. If the pattern of the paper has been chosen, it will not, without a very close examination be possible to notice that two hinged theportfolio is anythingmorethan covers. As far as the necessary mechanism needed
IMPORTANT NOTICE-PROF. NEWMANN WHAT LfADING WESTERN PAPERS SAY
ha3 been THEMINNEAPOLIS JOURNAL m d othcigreatdailiesstyle him “THE DEAK OF MENTALISTS.” Critics acclaim his performance as tllc most wonderful of the kigd ever seen anywhere. 5lanagers of rity theaters hail him as the gE.r.test Mentalist the world has ever known. After a long absence as a headline attrnction in dt? tbeaters, at the.largest salary ever paid a similar attraction, Big City Fcaturer he is returning tofamiliarterritory.His nre all included in the present performance, mnkrng this thc most Varied, Sensational, and truly Entertaining show of his 10% career. In presenting THE GREAT NEWYANN SHOW the local manager feels that he i. o f f e r i q you u n u s u ~ l l yhiplt class, educational amusement-a Quality Attraction th;:t deserves liberal patronage by alL lovers of clean-cut,up-todate, worth-while entertainment in this community. before the publicsince 1898.
AR Attraction for tbc EntiM Familv A Wormancc You Cannot Affordto Miss An Entwtalnmnt You Will NW Foor4E1
b o n d Al Oucstioa
America's GHaWt Woada Show NEW X E U E S 4 E W COMEDIES--.HEW FEATURES I
Chan&of P W r a m Niahtlv AN ATTRACTION O F QUALITY
TONIGI TI
(SEE THE OTHER SIDE)
From the J. B. Findluy Collection
I
have vanished, leaving the unwanted ones behind. This flap, paper-covered side showing through the window, isnow placed inside the envelope. Also into the envelope is slipped, in front of the flap, the slate and flap, the latter nearest the window side. After dropping the piece of chalk inside the envelope, window side up, is placed on the table. The picture cards with thedaffodil at seventh position are placed on a chair. The portfolio is opened, thethinflapwithdrawnandthe sheet of paper carryingthe picture placeddrawing side upon thecovernothavingthemagnets. The sheet of thincardboard is placedon top,andonthis is placed the blank sheet; it is placed so that it overlaps the edge of the cover. The magnet ” cover is foldedover andthetapes tied loosely into a bow. The portfolio is placed on a chair or another table.Theopaque handkerchief can be in the performer’s pocket. “
Presentation. The envelope is introduced and witha suitable story, the slate is withdrawn, and placed flap side up on the table; the chalkis also removed and the envelope without any comment placed against theback of thechaironwhichthe flower ” cards rest. Taking the slate and keeping the flap side towards himself, the conjurer asks for colours and commences to write--“ red, blue, yellow and green ”-in response to his request to the audience. The slate is turnedroundshowingthe colours written in whitechalk. As his audience seem to think little of his magic chalk, the slate is placed momentarily, flap side down, on top of the “ flower ” cards, whilst the conjurer picks up the envelope. The slate is lifted, leavingthe flap on top of the cards, and replaced inside the envelope. Laterit is withdrawn,showing the colours in ‘‘ colour. Attention 1s now drawn to the portfolio; if it has rested on a chair it is taken over, to thetableandthetapesuntied.Becapse of the slight overlap of the blank paper it is easy to lift the *‘magnet ” cover without attracting the flap. ‘ l
”
Effect. The Operator asks for the assistance of two spectators in order to undertake a mental journey the Underground on Railway of London. Spectator“A”beingseatedtothe left of the operator is asked to think of any place in London that has an Underground Station and any place of interest nearit.He is askedto write itona piece of paper which will eventually be passed to spectator B. ” While this is being carried out, B, seated to the right of the operator, is shown a glass full of pieces of paper on which are typed thename of oneundergroundstationoneach. “
”
To achieve this the fingers slide in between the paper and the cover. The sheet once removed is handed to a little girl who is asked to assist; she is requested to look a t both sides and place it back in the portfolio, close the cover and tie the tapes. Once the cover is closed the flap will be attracted and concealtheblank sheet, leavingthe picture sheet free. The pack of cards is picked up and the conjurer leafs through them showing the pictures totheaudience; in doing this he takes care of two things. The first is that he does not show the face of the flap ontop,and two, thatashe approaches the seventh card, he keeps theposition with his little finger, and cuts thepack atthat point thus bringingthe daffodil picture to the top.Holdingthepacketheremovestheopaque handkerchieffrom his pocket and in placing it overthe cards, turnsthelatterover(this is the usual “ under the handkerchief ” force) . A member of the audience is asked,to cut the cards, and in removingthecards he holdsfromunderthe handkerchief, they are again reversed, so that the daffodil card is on top. A member of the audience is asked to remove it, look at it and think of .the colours on it. The remaining cards and the handkerchief are taken back. The final stage is nearly reached.Taking the slate, theconjurer replaces it in theenvelopeoncemore written side away from window. A few words of Hocus Pocus, and the slate is removed together with the flap. The writing side is not yet exposed, and, in fact, the flap may want positioning. The envelope is accidentally ( ? ) dropped on the floor to prove its emptiness. Thespectator withthecard is asked tonamethe flower. Daffodil, ” remarks the conjurer, that would be mainly green and yellow. Heturnsthe slate round. You see what has (happened, the green and yellow chalk have disappeared.” The slate is placed down’and the little girl is askedtoopenthe portfolio. She does so and finds the sheet now has a drawing of the selected flower. “
”
“
These are checkedas such, byahandful being opened and read out. One of these is chosen from the glass, and is used as the departure station. The method of chance isusedin order to dispel any idea of collusion betweenthe spectators andthe operator. So that both spectators areaware of the departure station and arrival station and the place of interest to which they are going to visit, the two pieces of paper are exchanged and read. Theoperator shows a large scale map of the a Underground Railway system and taking window ” departure sign asks the spectators to think of‘ thedeparturestation.Theirthoughts
12 direct him to place it on the correct station. Then taking an arrival “window ” sign he asks them to think of theirjourneywithchanges, andthe operator is so controlled that he traces the journey
window sign over the and places the arrival correct arrival station. They are then both asked tothink why theywentto that Stationandthe operator reads their thoughts and explains the reason for the journey. “
”
Method. The method is simple. The departure station is forced, and the information of ,the arrival station andthepurpose of thejourney is obtained by means of a clip board. The forcing of the name is achieved by the changing glass principle explained in Peter Warlock’s (‘ Patterns for*Psychics.” The clipboard I use is ahome-madeone,
which is quite simple to make.Takea piece of thick cardboard 6in. by 4in. and lin. from the top cut out a rectangle of 3in. by 2in. and hinge this at the lower long side by a piece of paper. On the front, that is opposite to the hinge, paste by the edges a piece of good carbon paper, carbon side down.Overthispastea piece of artificial wood paper, place in press theand allow to dry. Trim the edges . On back, the similar paste a piece of artiiicial wood paper, press and allow to dry. When dry trim the edges, and with a razor blade neatly cut around the three sic!esof the hinged rectangle. The board will take a piece of paper 3Qin. by 2Qin. if a small bulldog clip is placed on the top edge and will also hold the trap door at the back. To obtainacarboncopy of thearrivalstationand place being visited, place a piece of paper on the trap door and close with the aid of the clip. When theboard is returned,the clip needs only to be moved near the top edge and the trap door will open and the piece of paper can be palmed. The presentation is the main thing. Also required is alarge scale map of the centre of the Underground ,Railway system and I use one enlargedfour times fromthemaps that are issued for the pocket.
E. U. BeM4X’d .
Effect The performerobtainsavolunteerfromthe audience and explains that he would like to attempt a demonstration of how it is possible for a person to directanotherperson’ssubconscious mind. He shows two identicalsets of cards,six in eachset and eachhavinga different design drawn on it.The volunteer is given oneset, while the performer retains the other and proceeds to askhimashort series of questions,such as might be used by a psychologist. Whenthesehave been answeredtheperformer takes one of his own set of cards, keeping the design hidden and wraps it in a piece of paper, which is actually an envelope which has been opened out to make a folder. Now tne volunteer mixes his cards and lays them out face down so that he does not know the order of the designs. He isgiven an absolutelyfreechoice of any one of the cards, and is asked to hold it against his body. At thesametime the performeropens outthe folder and removes the card from it. When compared they are identical. Required.
( 1 ) . Threeidenticalsets of cards.One of a filing these is prepared like the index cards in cabinet with small tabs projecting. The performer knows thesexards according to a numerical order
andthetabson Nos. 3 and 4 have a piece of match-stick glued onthebacktoidentifythem by touch. On No. 3 the stick is vertical, on No. 4 it is horizontal.Thespectator’scards are discreetly marked on the back so that the design on each is known.
(2). TheFolder.This is made of strong brown paper, and is similar to a business envelope opened out. A referencetodiagram will savea greatdeal of involvedexplanation. Briefly the folder is in five parts, back, two sides (each the same size as the back), two flaps, top and bottom. One side piece is double to receive and conceal the card inserted by the performer. The back is also doubleandcontainstheindexcardsintheprearranged order.
13 Routine. This is essentially thesameasgiven in the effect. The build up and questionsasked a t the beginning are all intended to create the impression that the performer is, as it were, ‘summing-up the spectator’smind,andpreparing to influence it. The folder is closed up with the top and bottom flaps outside, andthecard selected bythe performer is inserted in the double section of one of the side flaps. This double flap should be folded outside the single one. The folder is laid aside while thespectatormakes his choice. The performer knows immediately which design has been chosen. He opens thetop flap of thefolder, reachesinto the double section a t theback, and aided by the identifications on Nos. 3 and 4 withdrawsthe correct design. His finger andthumb hide the tab of course.
From a shuffled packthetopcard is taken and two small squares of stamp paper are fixed to its backone at each end.On one of these an obliging spectator writes his initials as a safeguardagainstanysubsequent substitution : the other piece of paper is left blank and unsullied. The initialled card is put into an examined envelope and sealed. It is placed insome prominent position, or given to aspectator to hold. A card isnow freely ( ? ) selected by the insertion of a knife in thepack,orbyanyother force ” method, and on withdrawing the initialled card from the envelope the name of the chosenone is found written in letters of blood (redink !) onthesquare of gummed paper which was formerly blank. So much for the effect, now for the preparation. The only requirements are two narrow elastic bands,threesmallsquares of gummed paper,anda pack of fifty-two cardsplusthe Joker.Cut this latter inhalf and retain one of the pieces (the other half can be thrown away). Take any other card and on its buck at one end on it write in red fastenthestamppaper,and ink thename of thecardthatyoulaterintend to force. Thispreparedcard is placedontop of the packwith the half Jokerover it so as tocover the writing. The packcan now easily be false-shuffled, retaining thecardandfakeat thetop.Havingdone this the performersays he will place two elastic bands around the pack asa proof thatthey will notbetamperedwith after the shuffle. The bands are adjusted in such a way that one of them just covers the cut edge of the half card,andtheother is puta little further up so holding it firmly againstthe to be pack : so arrangedthetopcardappears .quite inno.cent forthe redink label is covered “
Notes. There is no need to identify all the cards as Nos. 3 and 4 enable the others to be located. The excusefor the folder is thatit prevents the spectator from being consciously influenced by the performer’s choice. On thematter of construction : many ideas were tried outbeforethesimple construction of the folder was arrived at. One of these was the idea of havingthe third set of cards in a kind of card-from-pocket index inside the folder, but it proved too bulky, and necessitated a deep dive into the folder to producethebottom one. The reader of coursemay hit upon an improvement-but do not force the spectator’s choice. A force shouldneverbeemployed if there is anotherwayout. ”
‘ I
and out of sight. The pack can be safely handed to an obliging member of the audience with the request that he affixes the two stamp paper labels one at eachend of thetopcard (N.B.-Take care that he fastens the upper one in the same relative position as the red ink label which is underneath). Having done so he initials thelower label, leaving the other(which is on the half Joker)blank.Attentionshould now be drawn -to the fact that there is absolutely no other writing on ;he card apart from the spectator’s initials. The pack is turned over and the initialled cardpulledawayfrom the elastic bands leaving the fake half behind. Thisundoubtedly is yourcard ? ” enquires theperformershowing it5 back to the person whosigned it : he sees his initials and is satisfied, but he little realises that there is any writing at the other end for this is hidden by the conjurer’s cunning fingers. The card is placed in the envelope and given to the assistant to hold. In the meanwhilethe left hand which has retained the pack,still encircled bythe elastic, has palmed off the half cardandthepack is thrown carelessly onthe table, and the left hand goes to a pocket on that side in search df a knife leaving !he fake behind. All that remains is to force the necessary card by means of the knife and later find its name printed on the initialled card in the in ‘ psychic ink envelope. The knife force referred to iswell known, butforthesake of completenesshadbetterbe described. Runthroughthepack, faces towardsthe audience: ostensibly to show thatthecardsare all differentbut really to spot the force card : in squaring up the little finger is kept above the ‘ I
”
14 latter and it can then be brought to the top by the pass orbymerelycuttingthecards. The pack is again cut (or the “pass ” made) leaving the force cardabout sixteen fromthe top.The little finger of the left hand is kept upon it, and the knife is handedoutwiththerequestto insertitanywhere in themiddle of the pack the card beneath it to be the chosen one. This done the knife is gripped between the first and middle
fingers of the right hand and it will then be found easy to draw off only the packet of cards that is above the left hand little finger. The sleight is indetectable and, from the audience point of view, the pack has been quite fairly separated at the pointwhere the knife entered, whereas, in reality,ithasbeen slipped to the card thathas to be forced.
Effects which do not call for a high degree of manipulative skill arefrequentlypassedoveras unworthy of consideration bythepundits.This item belongs to the class in which the final result is entirely surprise, and the means of attaining it is easily possible under every circumstance. : your sister, wife, or Arrangewithanyone aunt for that matter, that they will always remember one card if called upon to do so, suppose we saythatthecardpermanentlyto be so remembered is the six of diamonds, their task will be : To pick out of any pack handed to them the card immediatelyabovethe six of diamonds.There are no other preparations. The success of the trick depends almost entirelyonthemethod of putting it over. This is how: At any time when handling the pack, contrivetomanoeuvrethe six of diamondstothe top. Ask someone to think of a card, quite freely; the chances of their thinking of the diamond card is remote, if they do, you can work a miracle, so there is no need to worry. Having thought of the card, you proceed: “I
am going to fan the pack in front of you, will you please pick out the card you have committed to memory, and gaze at it intently for ten seconds. Nowwill you please replace yourcard in the pack.” It is here that the only piece of manipulation takes place, and this is very easy indeed. I t is The Clean Slip ’’ described in Part Two of Farreli’s Card Magic ” used quite often as a force, but in this instance you use it to bring the six of diamonds on top of the lower half, which youmove slightly forward forthe reception of the “ thought of card. The top half is replaced, and the pack handed to theperson assisting in the effect, with the request thatthey will cut a number of times. When satisfied you ask them to pass the pack to your colleague, who up to this stage may not ’even know that you are doing a card trick, she may actually be in another room, but onbeingaskedto pick out the thought of card,cando so at once, remembering thatthe card thought of must be that which rests immediately above the SIX OF DIAMONDS.
Thelast issue saw two bad pieces of proof misreading ; they were to befoundinthe spelling of thenames of ourfriendsStanley Collins and Wilfrid Jonson. Congratulationsto Billy and June McComb on the occasion of the birth, of McComb junior. At a closed meeting of the Magic Circle on November 5th, KenBrooke entertained and inof the largest audiences that we structedone have seen for some time. Ken is undoubtedly the most dynamic of all demonstrators. His ” deck, a routine that handling of theTrilby was reviewed some time back, is something to be seen and remembered.Wehope that he will be back again ere long. On the following evening we had the pleasure of entertaining Charles Wicks, who
showed us one of the loveliest variations of Curry’s Out of thisWorld ’’ that we haveyet seen. Hishandling of this particular effect is also original. He also showedusZebrasilk ’’ a dazzling effect in more senses than one, for we found,(withthe silk supplied bytheGolden Gate ,Co.) that the closeness of the lines onthe silk helpedthe effect tobetrulymagical. He returns to Australia by air with a hope of meeting Tan Hock Chuan and some of the Malayan Magic Circle en route. Readers of this bulletin will hear with regret of the death of Harry Usher. . ‘It is many years since theUshersappeared in this country,but thenovelty and speed of their act is something not easily forgotten.
”
‘ l
”
15 Leo Tree, who has been working in Australia for some time, opens this month with a single person. mental act.Therecanbenobodybetter informed in mentalism than Leo Tree,andan outstanding mental act should be the result. The Piddingtons will be back in Australia and workin January.Fogelhas settled down nicely in the States, and when last heard from was workin Ohio. The November issue of " BandWaggon " had a very nice write-up of. Tommy Cooper, who is shortly to go into a new show at the London Hippodrome. We are looking forward to the receipt of the new edition of " Expert Card Technique " which has extra chapters by Dai Vernon and Dr. Jacob Daley . In December the Magic Circle moves to muchlargerpremises in EustonRoad.Forthe first time in its history, the Curator of the Museum,Mr.Arthur Ivey, will haveaseparate
" ROUTINBD MANIPULATION, PART 1," by Lewis Ganson.(PublishedbyHarryStanley,Unique Magic Studio, 87, WardourStreet, W.1. Price 15/-). This is astiff cover.edwell printed book of some hundredandtwentypages.Thepaper used is excellent and shows off well the photographs and drawings whichare used in profusion t o illustrate the writings. As was only to be expected,MajorGanson,after its hisexcellenttreatiseoncardmanipulationinall phaseshas inthispresent volume underthetitles of " Crazy Fans, " "Card Production Supreme,," and " Fan Finale " added postcrip,ts to the Expert Manipulation of PlayingCards . Theremainingnineteenitems of thebooks, however, aremostvariedin character ,fnd in the card group we have " How Right You Are ( a routinepreviouslypublishedinseparate form), A1 Kora?:s " Solo Aces ", the Author's " Gambler's,,Luck , " Readapack ";c " My NameYour-Name and Fred Rqpinson's Invisible Riffle Pass " and " Bottom Deal . Whilstthelastnamed item would requireagreatdeal of practice,theother carditemsare well withinthereach of aworthwhile conjurer. All areextremelyeffective. Descripfin of A1 Koran's I' TornandRestored Newspaper , a method which is simple in the extreme, andyet,atthe sametime allows the performer greatesteffect,andKen.Brooke's "'Cup andBall routinearetwostrongitems. T w o othercontributed items,HaroldBeaumont,'? ' ' Dice Routine ' ' and Harold G. Beaumont's Thought Prescient " are excellentineffect. " Matchic " and " The Smoking Clay Pipes " are two effects withaGerman MagicCircle background. " Production of Lighted Cigarettes " , ' ' The Multiplying Lighted Candles , The Walnut Shells an! Pea ", the " Eqg on Fan " and the " Chine?, Rings makeupthe re& of thebook.The " Ring routine is notable straight-forwardness for its and easy handling. Many of the effectswill be recognisedby readers of the " Gen ". Theauthor,in hispreface
roominwhich some of the very many valuable exhibits can be displayed to better advantage. This is our fiftieth number, and our thoughts travel back to those dayswhen we were still in the Army and we thought of starting the " Pentagram "; of the many letters we sent out and of the great help we received. . Wethink. of the firstissue with its six pages and its small pointtype, and of how,with the mounting of production costs, our hopes of increasing the size of the bulletin, decreased. There are lots of things that we would like to do.One was suggested by BillyMcComb, and it, will start soon. I t is thepublication of acompleteimpromptuprogramme. We meanimpromptu in the strictest sense. A programme of worthwhile magic (without cards) than can be assembled with ordinary objects. Theother is -the idea of Will Dexter and we will go into that at a later date. In conclusion we will take this opportunity of wishingall of 'our readersavery happy Christmas and Peaceful New Year. g
however, takecount of this,mentioningthefactthat quiteanumber of itemshaveappearedinprint,but that in each case they have been re-written and revised. Personallyin view of the low price of the book and the high standard of the material, we think the reader is mostfortunatetohavealltheseexcellentitems collectedtogether in one handy volume. If youlike good conjuringwiththe minimu?, of aqFaratus this new book by Major Ganson is amust " CARD CONJURING," by Wilfrid Jonson (published by Messrs. Foyles, of Charing Cross Road, price 2/6).
This well printed booklet, like its companion book, Conjuring," by the same' author, is excellentvalue. It runs to some 92 pages, is bound with board covers and carries an attractive dust jacket, on which appears the hand of Reg. Salmon holding a fan of cards. There arethirteennecessaryillustrations. "
The publisher has printed on the dust jacket, " If you can shuffle a pack of cards you can do card tricks, and this book will teach you how to do them properly. Theauthor gives you a collection of modem cardtricksfromwhich,with the abilitycomingfrom longexperience,hehasremovedall the d33iculties so as to make them easy for you to do ". These remarks are well borne out by the contents. Theauthorhasdivided his book into two parts, each partcontainingovertwentyitems.There is no attempt to take the reader into the intricacies of manipulation, but it is of interest to note howMr. Jonson hasendeavoured,withhisexplanations, to makethe reader a natural conjurer and such artifices as the crimp. glide,palmingand falseshuffling arenotonly given their full value, but have as corollaries effects that are worthwhile.Theconjurer who hasnotstudied card work in a specialisedway would indeed be foolish to overlqok valuable this little book. Thoroughly recommended.
16 WHERE HOUDINT WASWRONG By MauriceSardina
TEE LATEST
What morecan you askfor butapipe,a fire and a good book. Wecan supplythe book that will give you several hours of fascinating reading. The inside story on the Houdini-Houdinsensation. Read whattheysay : COLIN DONISTER,Librarian to The Magic Circle : “I consider it to be the bestbook of theyear.” WILFRID HUGGINS : . . . what a splendid piece of work ! In myopinion no English speakingconjurer canclaim ko be a worthy member of the profession unless he possesses a copy of thisinspiring bo2k.” PAUL FLEMING : . . . important an and necessary addition magical to literature. exceptionally well done.”
American Magic Books !
”
l
1 l
Price 20/Postage 6d. THE MAGIC WAND PUBLISHING CO. 11,
MONASTERY GARDENS,
ENFIELD, . MIDDLESEX.
A New Idea In MentalismChandu’s PSYCHOANALYSIS An entirely new idea in the presentation of Mental Magic. andanidea,,that is so fascinating toan audience thattheyall want to be Psychoanalysed ”. Spectators think of objects (positively no force), and the performer psychoanalyses them and so discovers and names the objects being thought of. comes is logical and convincing, t o you The routine, which in a neat printed booklet, complete with introductory lectum, description of the effect, complete instructions on how andwhat questionsto ask and howto analyse t h e m so thatthe word picture of the objectbeing thought of is builtuptotheastonishing climax. Also instructions on how t o preparethe fewsimple propsrequired, and animprompturoutine SUITABLE FOR STAGE ’ PLATFORM OR INTIMATE SHOWS CAN BE ONE EFFECT I’N A POUTINE-OR A COMPLETE ACT -~ ~~
11, MONASTERY GARDENS,
ROUGH
FLEMING BOOK COMPANY,
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the subject. It is recommended for advanced magicians. Postage M.
ARCAS Publications SYDENHAM
404/408
Croydon
ART
ROAD Surrey
0
BROCHURES, LETTERHEADS and PRINTED to PUBLICITY designed please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., U)NDON, N18 Telephone : TOT7742
WARLOCK’S
PENTA G RA M is published on the 24th of archmonth and can be obtained direct from the publishem for 1/1 per single copy. Annual Subscription 12/post free. PUBLISHED BY:
PA., U.S.A.
The Magic Circle President : His Grace theDuke
of Somenet,
D.S.O.. O.B.E..JP.. M.I.M.C.
Vice-President: Dowlu Craggr, Esq., Y.I.Y.C.
Clubroom and Library and Museum :
St. Ermin’s Hotel, CaxtonStreet, S.W.l.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manusoripts for publication and books far review should be senttothe: EDITORIAL ADDRESS:
Particulan from Hon. Secretuy :
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
will be pleased to send .you details of his verylatesteffectsand allhisold favourites in return for stamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
By a MAGICIAN who knows your requirements
0
PETER
JACK HUGHES
WORK
0
728, MADISONAVE.,YORK,
ENFIELD, MIDDLESEX
AND SMOOTH POSSIBILITIES ” By Tun Hock Chum
Price 51-
!
On theFtemingBargainCounter
CARD CONTROL and PRINCIPLESANDDECEPTIONS. $7 value for (bothbooks) €2, GEMS OF MENTAL MAGIC f 2 / 3 / - valuefor €1 ACONJURING MELANGE ’(Collins), f1/8/- for 12/MAGIC BY HO-YAM (Mayoh), f2/5/- valnefor €1/15/Please remit to Mr. Robertson Keene, c!o Riverside Victoria Road, Yarmouth, Isle of Wight, and receive the books promptly from the UnitedStates.
~
Price 1O/- Postage 3d. THE MAGIC WAND PUBLISHING CO.,
“
SCARNE ON CARD TRICKS, a non-sleight-of-hand treatise by a great card expert,not to be confusedwithSCARNE ON CARDS games). Cloth, 320 pages, profusely (whichdeals chieflywithcard illus. ($3.00), 21/of variaMAGICALGEMS ( P a d Rosini), 50 tricksconsistingmostly tions and dodges used byRosini,butincludingsomefeats of Marlo, 67 pages Bamberg,Blackstone,Buckley, and others.Softboards, (%2.00),14/- : cloth ($3.50), 25/MATHMIRACLES (WallaceLee), along the lines of thelongoutof-print MATHKMAGIC b). Royal Heath. Cloth, 96 pages ($3.00), 21/SIXTY YEARS OF PSYCHICAL RESEARCH (Joseph F. Rinn), astounding exposures of fake mediums, mentalists, etc., by this veteran investigator. Cloth, 618 pages, ill. (05.00). 3 5 / EXPERTCARDTECHNIQUE (Hugard-Braue),agreat workinits third,enlargededition,with new chapters byVernon and Daley. Xmas, ($6.00), 4 3 / Cloth, 500 pages,illus.,promisedfor
JACK HUGkES 2, EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLDAND NEW. Let me know your rant. LIST FRE6 FOR STAMPED ENVELOPE No Gllers
G E O R GJ EE N N E S S 47 INVERNESS ASVENUE, ENFIELD, MIDDLESEX
King Geurge’s Hall, W.C. Francis White, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
Magic Wand Publications The MTgic Wand Quarterly€er copy 318 p.p. Annual subsdription 14;s. The Wizard, 36 pagesmonthly.Percopy 211 p.p. 6 month, 1216. Year 241JohnRamsay’s Cups & Balls (Farilli) 25/6 Where Houdmi Was Wrong (Sardina) 2016 . . 17/1@ Convincing Coin Magic (Farelli) Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 1013 Thanks To Leipzig (Farelli) . . 1013 George Armstrong’s Premonition 1013 Entertaining With H pnotism(Dexter) 1013 Challenge Instant d p n o t i s m & Mass . . 211Hypnotism Strictly Magic (Eddie Joseph) ’ ’ . . 513 Stooging Around ( a u t h a r d l 26 Living & DeadTests (GaAett) ‘;. 513513 Jamesosophy (Stewart James) . . .. 5/3 Year Book 48/49 (few only) . 5J3 StuntsWithStage Money (Lamonte) . . 5 / 3 Tricks of the Trade (Armstrong) .. 2/7 Fromthe publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Publirhedby
the proprietorsThe
Magic Wand Publishing Company 11 Monastery Gardens Enfield.bfiddlescx, Walker m d Son (Printers) Ltd.. ’Will Croft. Shipky. Ykhhin.
and prlnted by Herbert
*
PENTAGRAM An independent monthly bulletin for all who want good magic
In the following, Ron Baillie has designed the stage *” and Leslie May has placed the ‘ ‘ play ’ ’ thereon. “
Part 1. by Ron Baillie. There have been many effects published where the mentalist, is enabled to obtain infonnation by means of abook or magazineprepared with a sheet of carboncopying paper under the cover. As a result of experimentation, I have designedabook thathas one or two points to recommend its use in place of most others. The book that I use is one of the “Penguin” series; it has 122 pagesplusa few containing advertisements. I cutoutablockmeasuring 3) X 5 inches from the first 64 pages and fastened the cutoutportionbymeans of Cellotape(Scotch Tape) to a corresponding position on page 65, i.e. the right hand side of the book. Let me mention
,,._..-. -...., -..
. . . a -
-.
sheet of plain white of the block I placeda paper; this was also 3& X 5 and was also kept in position with cellotape. Because of the fastening it can easily’be exchanged,, Inside the front cover of the book I fastened a piece of writing carbonpaper,carbon side down, i.e. thecarbon side will rest against the sheet of paper on the block ” . The “ frame ” of the 64 pagessurroundingtheblock is now fastened, also by means of cellotape. to the front cover. “
The bookcan now be closed andhandled naturally,but when used asasupportforthe writing of a message ona billet, a copy of the writing will be made on the blank piece of paper fastened to the block ”. Don’tforgetthat a short hard pencil should be used for such writing. Finally the long edge of pages 65/66 is cut short so that when the book is riffled from left to right, the thumb starts at the short page and those pages from sixty-six onwards pass the thumb and appear to the audiencetobequiteordinary.Needless to say, no oral attention should be drawn to this state of affairs. If, however, the book is riffled from right to left by the left thumb it will end at the page holding a copy of the writing enabling the performer to glimpse same before closing the book and casually throwing it on to the table. “
Part 2. Leslie M a y now speaks :-
The following is the effect that I have evolved around Ron’s excellent fake book :-
that the holding of the pages in place with celloasthe tape is preferable toglueingorpasting block of paper is not stiffened as it would be by usingsuch adhesives. Whencomplete the book can behandledas an unprepared book. On top
Have the fake book on the table at the bottom of a pile of four. Use the top three and have oneselected for a book test. The unwantkdtwo are replaced on the table in front of fake book. At the conclusion of the book test throw down the book actually used on to the table, then casually reassemble the pile leaving the fakebook on top.
18 Then keeponthetopic of books and state that practically everyone at sometime or another it has secretly wishes to be an author, and that is possible, providing you can only assemble your thoughtsandreproduce themin thebuilt-up form of a story or novel, etc. Ask if anyonepresenthasever had such a desire; if somebodysays “ yes ” all well and good, if not, select either the person who helped you in the book test, or some ,other member of the audience. Ask and remember the name of the person whois to assist you. Ask thispersonto stand up and try and mentally form the outline of the form that their book will take. Say, “First of all, is ittobe astory of adventure,acrime story,anhistoricalromance, or what?”then, You had better jot down your thoughts in case some point is overlooked or forgotten ”. “
Hand the spectator a piece of paper that has either been on the table or in a pocket together with a pencil (see ante), and casually, and apparently as an afterthought, pick up the book and hand it to him as a support for the paper. “ NOW, sir, ” continue, “ inwhatcountry is theaction . . . inSunnySpain, ofthestorytotakeplace thefrozen wastes of Alaska,thequietcountry lanes of England, the hills of Scotland or the bustWhat lingside-walks of New York? ” Next, period, the present day, a hundred years ago . . . prehistoric days?’ ’
book, is suddenly taken with the fine quality of thewriting. Look downand quicklyassimilate the carbon copy of the notes made by the spectator.Then,without,hesitation,thumb with the rightthumb towardsback of thebookagain, carrying on with the oral digression on how the potential purchaser would act. The book is gradually lowered so thatthe audiencecan see the ordinarypages. It is then closed andplaced down. Now using theknowledge thathas been obtained from the carbon copy, plus the name of the spectator that was obtained in the beginning, build up a ‘ blurb ’ about that magnificent (say) historical novel by Elsie Drever entitled “Swords Continued on page 20
Flashback Z
L
0 stands for 0 0 1 ~
“
In eachcasegetthespectator to makea note of what he determines, and at the same time warn him not to disclose what has been decided and noted. Next, askwhattitle would be selected; this is also noted. The spectator is then told that having these facts noted, plus hisor her talent, it should not be difficult for agood story to be built up from these points. Get thespectatortofoldthepaperand point out that the basic points are known only to him or her alone and they must be kept a dark secretuntilthebookreachespublication.The book is casuallyretrievedandreplaced on the pile on the table. Invitingthespectatorto be reseated,talk aboutthe time when the manuscript will be finished; build up the picture of its submission to of awaitinghis apublisher,theanxiousperiod decision, the delight of hearing of its acceptance, etc.; of itsappearance on bookstalls; its slow sales because of an unknown author, but as peopleof discernmentdiscover its merit-( at this point pick up thefake book toillustrateyour words). First riffle through from the rear of the book allowing the audience to see the pages, then graduallyraisingthe book until,thepagesare abovethe eye level of thespectators,leavethe book open at the short page. Talk all the time of how the brocwser ”, when glancing through the ‘ I
1
FAKIR OF OOLUJ
Or, the Modern Frankenstein. HIII’LBTK
\VlTH
E
l 1,
MusicalIllusionaryIllustrations, ILLUSTRATING BEAUTIFUL HISTORIC PICTURES, Fro?):tlw J. R. F i t d l a y Collection
l
in .-l?ly pianist plays the correct tune, one of six, is being thought of. Tune seven or eight, which titles suggested by audience and a free selection made. -Yo stooges. (The most surprisedperson is the pianist .!) .
Method. Platformsetup
:-
Slips of paper, 2 in. X 3 in., folded once one way, twice the other; eight of these each have a number on them,thenumbers 1 to 8; these arc: foldedandplacedinasmallbilletindexwhich reposes in mentalist’s right trouser pocket (therefore you can get hold of a slip bearing any number from 1 to 8 inclusive) . 10 or 12 blank slips and pencil on table. Request the,assistance of any person who can play-.the piano.Seat.him at piano. Statethat you’re going to attempt an experimentin thoughtcontrol. Numbertheblackboard, 1-8, down the lefthand side (6 or 7 will do if there’s not room for 8 titles).
Ask theaudiencetogiveyouthenames
of
pop zda I tunes and explain that the pianist must know these tunes, so you ask pianist to play a bar or two of eachtune as it’scalled out; thisalso lets anyone in audience, who doesn’t know tune, a d , therealreason, itlets hearwhatit’slike, you know in cade you’re’not sure of the melody ! As each tpne is called out and played, you write : 1st title down on blackboard opposite a number tune goes opposite fig. 1; 2nd opposite fig. 2, etc., till you’ve got a list of 6 , 7, or 8 tunes on board. You now explain that you want one of these tuneschosen, that you will concentrateon the melody of that tune and attempt to transmit that “ However,’’ you add, melody tothepianist; if I were to ask someone topoint or whisper one of these tunes they would probably select the most popular one of the bunch or one which they prefer for their own personal reasons Now, I want the selection to be perfectly fair and free from any personal or popular prejudice, I want it to depend on chance alone.’’ You now show the blank slips and proceed to openly number them from 1 to 8, and tofoldthem;explaining as. you do so that these are 8 slips, numbered 1 to 8, that these will bemixed,onechosen, andthe numberon that slip will indicate which tune you will attempt to transmittothepianist.(Analternativeprocedure is to have the 8 slips numbered already and to givethese out for examination.) The slips Scre shown folded, and dropped into a hat, bowl “
c
or onto a table for a member of audience to mis. a You now eithertakehat toaudience,getting spectator to pick out one, or you ask a spectatorto come forward. and to choose one. You hold this slip, still folded in left hand. You face audience, A number has been selected,: ’ turn to spectator who selected slip and say, “ Would you like to change your mind, sir, or are you quite satisfied withyourchoice?” If hewantsto,hecan make another selection, the first-chsen slip being replaced beside others first of alland slips rehixed by spectator. You continue, “ I will open this slip, read the number on it, and then concentrate on the chosen tune indicated by that numTurn to pianist and say, “ I want you, sir, ber. to just relax, just let your eyes wander over the tunes written on the board in front of. you, then a blank. I relax;justtrytomakeyourmind will concentrate on the chosen tune and attempt to infiltratemythoughtsintoyourmind.Just rest your hands lightly on the keyboard and relax, close your eyes if you wish, just set your mind at rest.Variousnotes willcome intoyourmind,. don’t resist, just - let your fingers obeyyour thoughts and start playing, anything that comes into your thoughts; melody a will gradually develop, one of these 8 tunes; suddenly you will get the whole thing, one of these 8 tunes will to imbueyour whole mind,playit,don’ttry think aboutanything else, Justplaywhichever one of these 8 tunes comes into your head. O.K.?” Just give me time to read the chosen numthen ber and toconcentrate on that tuneand carry on. You now walk forward,openpaperslip, look at glance at it, as thoughreadingnumber, blackboard as though you were looking at tune written opposite that number, refold slip. Stand to one side of blackboard, half facing it, half facingaudience.Holdslipinleft hand, aboutchestheight, at fingertips. Casuallyput You now ‘ conrighthand in trouserpocket. staring at blackboard as centrate ’ on tune, though you were looking at one tune only. One, of these tunes is going to come into the pianist’s ! Pianist starts playhead, anyone, it’s bound to ing. As soon as you recognise the tune he’s playing (and as they’reall populur tunes,you’ll get it withinthe first 2 or 3 bars) you note which number is written before it on blackboard and righthandintrouserpocketwithdrawscorrect numberedslipfromindex.Thisslipis fingerpalmed in right fingers. Let pianist play tune for a fewmore seconds so that everyone recognises it, then, raising left hand and billet, say, “ Thank you, that’s enough ”. Yourright hand and palmed slip has come out of pocket by this time and is held in a natural position. “
”
“
”
20 Younow askspectator who selected slip, (whoyou usheredtbachairbesideblackboard after he selected slip), to take “ chosen ” slip, to open it, and to draw a large chalk circle round chosen tune to show audience that pianist was correct. However,as you go tohimyoudo a two-handed switch and hand him correctly numbered slip that you stole fromindex.Lefthand and .palmedslip dropstopocket- where slip is clumped. Spectator, of course, opens slip, reads nurn.ber, and rings correct tune on blackboard. Instead of spectatorringingtuneonblackboard, you can switch slips as you hand slip to a spectator in front row for him to open it, and to shoutout title of tuneopposite thatnumber on blackboard; this is, of course, thetune pianist played. You can now repeat effect, but don’t do it more than twice. 2ndPresentation (taking pianist intoyourconfidence). In this method you take the pianist into your confidence, but you don’t need to tell him much and his instructlons are very simple. You say to him beforehand, “ I’ll ask you to play two tunes, play the 3rd tune first, then the 7th the 2nd time. Don’t play them right away, muck about on the keyboardfora bit thengraduallystartplaying 7. Just the correct tune. Remember, 3 then listen to my patter, that will let you know how to go about it.” You don’thavean index this time, just 2 extra folded slips, one has a 3 printed on it, the other a 7. The one with the 7 is folded squint or hasthe cornersdog-eared or anyother method wherebyyou can distinguish it fromtheother. These two slips are in your right trouser pocket or at anyother concealed gat-atable place. Introductory patter as before. 8 slips shown marked 1 to 8. Folded,and mixedbya spectator as before. Two slips selected by audience or any spectator is called up to do this. These held together, in view, at left fingertips. Right fingers palm the two force ones and the slips in left hand are switched for the force ones. (You can switch 2 slips at atimequiteeasily, try it, just do an ordinarytwo-handed switch, but using two slips 2 slips now contogether instead of one.)The cealed in left hand are disposed of and the 2 force ones tossed onto tabke. A spectator is asked up [or you use the spectator who you got up before) and this spectator is asked to select one of the 2 tabled slips. If he takes, the dog-eared (No. “7” ) one you ask him to put it in his pocket or wallet. 3 oneyouask him to It he takes the No. put the remaining one in his pocket ! You patter as before, also giving same patter to pianist, but this time you state that the audience themselves cannot direct their thoughts to the pianist, their thoughts will weak too be scattered. and What you’regoingto do, you state, isto attemptto pick up their, thoughts and to direct them to the pianist. You’ll act as a radio relay station, picking up their thoughts and pushing them out much morepowerfully and only in onedirection, the I ‘
”
“
”
pianist’s. YOU now allow yourself to be genuinely blindfolded andstandup,front facing audience. Spectatorwith slip is asked to readnumberon it and to circle with chalk or point to that tune on blackboard, taking care that pianist and youris chosen.(Pianist self doesn’t see whatone canbeblindfolded or takenout of room, etc. You, too !). Youasktheaudiencetoconcentrate on chosen tune and to keep as silent as possible. The pianist, of course, does his stuff and the correct tune is played. The 2nd slip (No. 7 ) is dealtwith in same way o r you can patter to the effect that the first time let you get ‘ onto the beam ’ with the pianist, now that you’re on you’ll attempt a more difficult feat, doingitwithoneman’sthoughts. The spectator who has pocketed slip is asked to open it and to concentrateonappropriatetune, without letting audience know what it is this time. Tune played, etc. and you then ask spectator to ring with chalk the tune he was concentrating on; this, of course, is the correct one.Again, this, 2nd slip can be handed by spectator, to anyone in audience for them to concentrate on, this person acknowledging correctness at end of tune. It will be realised that, in this 2nd presentation, the pianist canglance at tunesonboard to memorise 3rd and 7th one. You can use a window-display stand to clip table in full billet in if youwant:itstandson view. You look at number, refold billet, clip it in stand and concentrate. When tune is played you get correct slip finger palmed and you get a perfect switch asyou removeslipfromstand for spectator to check. By not opening billet to concentrate number on you can make the testone of ‘ cltrirzwyunce ’, “
”
continued from page 18
of Sorrow’’, a breathtaking pulsating saga of the court life of Charles I, inwhich vivid descriptions of political intrigues and love affairs of the highest in the land and how, through the tireless efforts of ahumbleretainer, the enemiesof the Crown were unmasked. The effective build up should be quite simple to an efficient and experience mentalist. It is no more difficult than building up a sensational answer toa sealed question. And don’tforgetyou have been given this information to help you :The Author’s name. Title of Book. The type of Book. The period in which the story takes place. The country in which the story takes place. Added to this is the fact that because of the impromptu nature of the test, the spectator has no more idea ofhow he or she would develop thestoryand will readily accept the description you build up as being exactly what they intended to write about.
21
To my mindthe effect nearest togenuine mind reading possible with cards is the late Ted. Annemann’s One Thousand Dollar Test Card Location ” described by him in his book, Sh-h-h ! Jt’s .a Secret (English edition published by Messrs. L. Davenport & Co., the world known magical dealers) . “
”
There, would only seem to be one drawback and that is that there is only an S00,/, possibility of success. ‘ In Annemann’sownwords, “ Now I can’t guarantee this as. a 100yoeffect. When it does fail with me I immediately repeat it and so far I haven’t failed on the second trial ’’. The secret consists in the shuffling of a stacked deck by a spectator, that shuffling being so controlled by the performer’swords that the final result is a number of bunches of stacked cards throughout thedeck.Afterthepackhasreceivedits restricted shuffle the top card is removea, and in the retrieving of thedeckasighting of thebottom cardshould,bycountingahead in thestacking system iised, give the name of the abstracted card. Using this overamatter of years, I have achieved about the same percentage of success as that quoted by Annemann, but have always wanted some good form of excuse for the initial failure when it occurs. Now, in reading Royal V. Heath’s Retrospecs (see Phoenix ” No. 209) I have found what I consider to be the perfect cover-up. The main part of Mr. Heath’s effect is mathematical, but his most novel disclosure of the selected card(forthe discription of of Mr. Heath this, I humbly beg the indulgence and Mr. - Bruce Elliott, the Editor of the Phoenix for this lifting of material,but I consider it the most novel idea in years and ideal ”
l‘
l ‘
”
Ever seen a stage hypnotist? Remember how hepicked his subjects?He carried outa preliminary hand-clasping test or some such similar test with the entire audience, the people who couldn’t unclasp their hands weregood hypnotic subjects, therefore heused these people for his further demonstrations. It’squite logical toapplythe same sort of thing to mentalism,youhaveapreliminary test of the telepathic powers of the audience and use the people who did well in this for your further tests; here’s how You’ll need to get a batch of cards printed, or you can typewrite them ’if you want; I advise
for the conclusion of the effect under discussion) is as follows :Performerturns his backto the audiense and dons a pair of reading glasses hackwurds, i.e. l e m e s nt the btrck of the heud. As he does this he patters about the pineal gland in his head, which according to some way of thinking has been originally a third eye. The chosen card is now shown to the back of the head and peering through the third eye, the performer tells the audience its suit and value.’ ’ Now for the adaptation of Mr. Heath’s effect tothat of the lateTed.Annemann’s.Firstly, afterthe spectator has removed the top card, retrieve the deck and in reaching for the pocket, inwhich the spectacles have been placed, there is ampleopportunity for glimpsing the bottom card in the act of removing these same spectacles. The spectacles are withdrawn and the deck placed aside with faces of the cards down. At this point we come to the real reason for the combination of the twoeffects. The performer, after adjusting the spectacles over his “third eye” has the spectator place the selected card at the back of the performer’s head. The performer then names the card following the bottom card in the stack. It he is right so well and good, but if not, the spectator is requested to cut the deck and take another card. The cards are again retrieved and the new bottom card noted as the performer reaches into his pocket for a handkerchief. ‘ l
He removes the spectacles cmd calmly cleulrs themwiththehctldkerchief n u n replacesthem sclyillg. a t t h e stcme t i m e , I am afraid thatthey were n bit misty . . . visiotl was tlot too good ”. Thespectutor holds ~ r pthecard, nnd this t l a m i ’ is correctly disclosed.
you to get them printed, however,as they are kept by the spectatorsandmakean ideal publicity throwaway,becauseyournameandaddress is printed on reverse side. playing card size, or if Card is about you’re doing concert parties, etc., you’ll find that the promoter or agent will be only too pleasedto have the cards printed at his own expense if he gets a blurp on the back :These cards are in foyer of theatre and a card saying, Pleasetakeone ”, etc., or are handed outtopatronsastheyenter. If you’redoing a club,dinner or party show you handthemout yourself just before you staft or after your initial ‘ l
22 spiel about telepathy, .etc. Large slate and chalk is handy. Youmakeyourinitial spiel about mindreading, etc., then continue : . “ I n order to find out those of you here to-night who have the most keenlydeveloped telepathic abilities, andfrom whom I could get the most successful results in my later experiments, I would like youallto assist me inthe following test. As you came in the door to-night you were handed a small card bearing the title “ Telepathy Test ; would you all produce these and a pencil or pen to write with.” (If you’re doing a small show you just hand out the cards, and pencils if you can. ) ”
If any of you did not get a card would you find, just use any oldscrap of paperyoucan the back of an envelope, or else your programme. Ready?Right. I am goingto think of a number, I’ll make it simple, a single figure number: thatis,anumber between 1 and 10. I’ll write thisnumberonthisslate;” showslate,turnit towards you and draw a “ 7 ” on it, not letting spectators see it urd not letting it be obvious that you’redrawinga ‘ L 7 ”. Holdslate, writing towardsyou or place it,backout,onastand. Continue, I’m goingtoconcentrateonthat numberandattempttoproject my thoughts,to you. Now,on yourcards, in theblankspace NUMBER ”. I wantyou oppositetheword all to write any number between 1 and l0 which comesinto yourheads, ~ z tthis moment. Have you all finished? Right, I wasconcentratingon the number “ 7 ” , here it is on the slate;’ ’ turn ‘‘ 7 ”. Howmany of you slate, showing received and wrotedown thatnumber? Would those of you who did please stand up for moment? That’sright,yousir,andyou,etc., etc. Would you remainstanding for a few momentslonger please: my thoughts are being received very clearly to-night. Now, wouldthose of youwho arestanding please remain on your feet for a little longer andattemptto receive mynext thought. Any others who didn’t succeed the first time can also attemptthenexttest.This time I’m going to think of a colour, any colour, and again 1’11 write it down on the slate;” clean slate, turn it towards you, and write ‘ RED ”, againnotmakingitobviousthat “ RED ” is being printed. Now, while I concentrate on this colourwouldyou write downoppositethe word ‘ COLOUR ’ on your card, u n y colour that comesinto yourheads, now. All right?Here’s the colour I projected, ‘ RED ’ ”: show slate; How many of those standing received it? You, sir?andyou,sir,etc.,very good, we’re doing well. Wouldthose of you whodidn’t get the thankyou for colour ‘ RED ’ pleasesitdown, concentrating so well onthenumber (!) Would the successful ‘‘ receivers please remain standing for the last test. Now, for the final ‘ thoughtprojection ’ I am going to think of a geometrical 1’11 diagram,justa simplegeometricalfigure. draw it on the slate;” Clean slate, draw triangle, ‘ I
“
“
‘ I
“
”
holddiagramconcealedas before. I’m now concentrating and projecting mythoughtagain, will youpleasedraw, in the last space, the one oppositetheword ‘‘ DIAGRAM ”, any simple geometrical figure that comes into your thoughts. Done that? Here’s what I projected, a triangle’ ’ ; show slate; “ Which of you got it? You, sir? and you? Congratulations, you received all three of my projected thoughts quite clearly, you show quite a well developed telepathic sense ! Would you care to’come up here and assist me with my nexttest? I thinkthat we may be assured of exceptional results if you .do.” As you see, it’s just the old thought-projection effect, doneover.The extra. space a t bottom of card is for an additional test in case you get too many people with all three previous tests correct, I assure you that this is quite a commonoccurrence ! Additional tests are : a flower, ROSE; wild animal,LION.However, thjew’s ~o need t o rt.se t h e ps~vhologicnl forces, especit111y if ~ O I I ’ Yworkitzg ~ t o ti. large cLudit.m:r : jusL putdown u q f number, urty colour, etc.One or two people are boundto get all three- correct ! Doing it like this, you can do repeat shows using different numbers, etc. Slips of paper, cut to size, will do instead of cards if you’re going to do an impromptu show and haven’t got any printed cards, but it’s much better to use them due to the publicity tie“
UP.
You cando the effect i l l Y ~ P V Y S: ~ Spectators each write a number, you ‘ receive ’ a number, writing it on slate then showing. Repeat with colour anddiagram,thusprovingthatyouarc receiving the thoughts ’ of certain spectators more easily than others. Now, another thing, carry one or two cards with youalways, they’re perfect to usein conjunction with a nail-writer, one-ahead you know. I’ll leave youto work outyour owneffects c m this principle. I also work aone-ahead effect with these cards, using pencil-reading, it’s not difficult, try it. The spectator keeps one of the cards at conclusion of the one-ahead effect, preferably yours, which you’ve signed for him.
-AND
SO TO BED !
To all those overworked Mentalists who in consequence suffer frominsomnia and find the counting of sheep an inadequate cure, try something you are acquainted with and mentally construct a Si Stebbins set-up. Start with, say, the Aceof Clubs, go on visualising the four of hearts, seven of spades, ten of diamonds, etc., and you willfind that youhavedropped off into sleep, notonthe floor, longbeforethe final Jack o f diamonds. LESLIE MAY.
23
I was particularly intrigued with Peter Warlock’s Mind out of Time whenhepublished that fine and original routine and also by the clever adaption by Francis Haxton (see ‘ Mental Persuasion ” , No. l l , Volume 3 of the Pentagram ”) . Like Mr. Haxton, 3 wished todispensewith any kind of gimmick and also to ensure its suitability for inclusion in a strictly mental programme and eliminate any vestige of sleight-of-hand whatso ever.The following method resulted. The effectis similar to that described by Mr. Haxton with the exception that instead of one card being dropped into each of the glasses, a number designated by a member of the audience are used. The requirements are simple : they resolve themselves into four glasses capable of holding a pack of.cards, Stemmed glasses naturallylook better, but, fair sized tumblers will prove satisfactory, Twopacks of cardsare also required. Two of the glasses are placed about a foot apartandtheother two are placed about six inches in front. Picking up one pack of cards the performer leafsthroughthemandafteralittleapparent concentration selects two cards from different parts of the pack and drops them, back towards the audience, one into each of the front glasses. Taking the second pack, the performer requests a spectator to give him a small number s,ay between five and fifteen. Withthenumber @en, the perforrrier immediately counts that number of cards from the pack and drops them into one glass behind that in which the first card was placed,backoutward. A secondspectator is requestedto give anumberandthisnumber of cards is counted off from the pack and placed back outward, in the glass behind that in which the second card was placed. Placing aside the balance of thedeck,the performer asks the spectators in question to stand for a moment, and he draws the attention ,-,f allpresenttothe position of the two helpers And himself. If hehas selected themcarefully :hey should represent three corners of a triangle : Performer ”
l‘
*
”
*
*
*
Spectator 1 Spectator 2 He then goes on to point out that as a result )f this formation, parallel thoughtshave passed along the lines from the apex to the base, thereby influencing the selections of the spectators in a mannerunknowntothemselveswith the result :hat they have subconsciously arrived at a choice I f the very same cards as previously selected by 1
1
the performer. As proof, all the glasses are turned round so thatthe faces of thecardsare visible to the spectators and it is seen that the cards in the two front glasses matchthoseimmediately behind. Preparation. Take onedeck and divideitapproximately at the centre and place the two halves face to face. Remember the top card of each half. Presentation. The glasses are placed in position andthe unpreparedpack is picked up.The performer fansit faces towardshim and selects two cards which areduplicates of those twonoted inthe “ boxed deck.Donotrush this part,but appearto make an effort in determiningwhich two shallbewithdrawn.Dropthe two cards, back out, one into each of the rear glasses. The balance of the deck is placed aside. Pick up the ‘ boxed ’ deck (taking care that the audience are not aware that the cards face in two directioris) andrequest the assistance of a spectator,makingsurethathe is in a position (either to your right or left) to be noted as a triangle point later on, and also that he is on the side adjacent to the glass that will hold the duplicate of the card now held on top of thedeck. Requestasmallnumber and on its beinggiven count the number o f f ,face down You count aloud and when finished drop the small packet (which now has the previoustopmostcardon its face), backoutwards into the respective front glass. Whilstdroppingthepacketintothe glass the handholding the balance of the cards drops to the side and reverses thedeckunder perfect cover. A similar procedure is now adoptedwith the second spectator, and when the small packet is placed inside the glass, the balance of the deck is placed aside. All is now ready for disclosure of the matching cards. The performershould,whendrawingattention tothe triangle formation,lightlytouch on the subject of its use by the Greeks in the alphabetical letter DELTA.Althoughit is entirely irrelevant, it sounds good ! Finally,anotetothose readers who think that the card force is not practicable, I would like to draw their attention to the commencement of page 15 of the original issue of 202 Methods of Forcing , in which the late Ted. Annemann states how he was completely fooled by it when first he witnessed it. Credit for its origination is givento the late R. W. Hull, of Crooksville. I would like to saythatithas beenone of my favouriteand mostsuccessfuleffects of thepast years,and at no time has the method been questioned. ”
l‘
”
WHEREHOUD’INIWASWRONG By MauriceSardina What morecan yon ask forbutapipe,a fire anda goodbook. We can supply the book that willgive you several hours of fascinating reading. The inside story on the Houdini-Houdirisensation. Read whattheysay : COLINDONISTER,Librarian to The Magic Circle : “I consider it to be the best mbook,,of the year.” WILFRID HUGGINS : . what a splendid piece of work ! . In my opinion noEnglish speakingconjurercan claim to be a worthy member of the profeision unless he possesses a copy of thisinspiringbo2k.” .PAUL FLEMING.: . . . an important and necessary addition magical to Ilterature, exceptionally well done.’’
Price 2 0 / Postage 6d. THE MAGIC WAND PUBLISHING CO. MONASTERY GARDENS,
11,
The Very Latest Books EXPERT CARD TECHNIQUE ( Htlgard-Rrane), 3ro cdition, iust w t . incll~dine two additional chaDters bx- IlaiVrrnonand ‘Dr. . .. 431Daley,cloth,‘. 500 pages. 352 ill. ($6.00)‘ SCARNE ON CARD TRICKS, great book on non-sleifiht-of-hand cardmagic,cloth, 308 pages, 82 ill., 155 tricks ($3.00) 211PSYCHICAL RESEARCH (Rinn), cloth, SIXTYYEARSOF . .. .. , . , . .. .. 35J618 pages ..
ENFIELD, MIDDLESEX.
Some Noteworthy Fleming Bargains
A New Idea
In MentalismChandu’s PSYCHOANALYSIS
An entirelv new idea in the presentation of Mental Magic andanidea,)hatis so fasciftatingto an audience thattheyali want t o be Psychoanalysed Spectators think of objects (positively no force), and the so discovers and names the performer psychoanalyses them and objects being thought of. The routine, which is logical and convincing, collies t o YOU in a neat printed booklet, complete with infroducfory lectune, description of the effect, complete instructions on how and what questionsto ask and how toanalysethem so thatthe word picture of theobjectbeingthought of is built uptotheastonishing climax. Also instructions onhow to preparethe few simplepropsrequired, andanimprompturoutine. SUITABLE FOR STAGE, PLATFORM OR INTIMATE SHOWS. CAN BEONEEFFECTINAROUTINE-ORACOMPLETE ACT
.
Price lO/- Postage 3d. THE MAGIC WAND PUBLISHING CO., 11, MONASTERY GARDENS,
“
American Books for English Magicians
CARDCONTROL(Buckle!,),cloth, 219 pages, was 31/-, now PRINCIPLES AND DECEPTIONS(Rnckleg-), 224 pages. was il,‘-, now .. GEMS OF MENTAL MAGIC i h u c k l e ~ * );loth. , ‘l32 pages. was 43/-, now .. .. .. A CONJURING MELANGE ((‘ollins), c.l;,th, 256 pages. was X ) - , now .. . . . . .. .. .. t
PETER
By Tun Hock Chuun
-
11
Postage 3d.
ARCAS Publications ROAD
Croydon
A R TW , ORK By a MAGICIAN who lcnows yourrequirements 0
0
0
BROCHURES, LETTERHEADS and PRINTED PUBLICITY designed to please ! SpecialJumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., UHVDON,N18 Telephone : TOT7742
IPleascremit
to Mr. Hobertson Keene, c:o Riverside.Victoria Road, Yarmouth, Isle of Wight).
30;-
FLEMING BOOK COMPANY, 728, MADIWN AVE., YORK, PA.,U.S.A.
WARLOCK’S
Monasterv Gardens. Middlesex.
.
Enfield,
Manuqiptsforpublicationsndbooks revlew should be sentto the: EDITORIAL ADDRESS:
JACK HUGHES will be pleased to send you details of his very latesteffects andallhisoldfavourites in return for stamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK
HUGHES
EVELYN AVENUE, COLMDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NBW. Let me h o w your rants LIST FRB6 FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
theDuke
of Somereet,
D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglu Cnpy, Eaq., M.I.M.C. C,lubroom andLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. Magical Theatre :
for
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
2,
The Magic Circle President : HisGrace
King George’s Hall, W.C. Particularsfrom
Hon. Secretuy :
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
Magic
Wand Publications
The M& Wand Quarterly Fer copy 31‘8 P.P. Annual subsiription 14j6. The Wizard, 36 pages monthly.Per col,Y 2/1 P.P. 6 month, 1216, Year 241-. John Ramsay’sCups L Balls (Farelli) 2516 WhereHoudini Was Wrong (Sardma) 2016 Convincing Coin Magic (Farelli) . 17/10 Mastered Amazement . . 1013 (Koran & Lamonte) Bohleno’s Mysteries (Bohlen) 1013 Thanks T o Leipzig (Farelli) 1013 George Armstrong’s Premonition 10/3 Chandu’sPsychoanalysis 10/3 EntertainingWithHypnotbv ‘(Dexter)’ 1013 8c Mass Chailenge Instant Hypnotum Hypnotism 21,;Strictly Magic (Eddik Joskph) ’ ’ 513 Stooging Around (guthard) 513 26 Living 8c Dead Tests(CaAett) ’ .‘. 513 . . 513 lamesosophy (Stewart James) . . Year Book 48/49 (few only) 513 StuntsWithStage Money (Lamonte) ’ . . 513 Tncks of the Trade (Armstrong) .. 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
.
’.l
Every Advertiser’s goods are fully endorsed by this Bulletin Publirhedby
12:.
THE FINE ART OF MAGIC (Kaplan), cloth, 352 pagw . 451,.. .. 301SLEIGHT OF HAND (Sarhs), cloth, 416 pages ., OUR MAGIC (Maskelynr-Devant),cloth, 336 pages 301MAGIC WITH SMALL APPARATUS (Dhotel),cloth, 320 pages
PENTAGRAM
magicians.
SYDENHAM
20J-
Not-to-be-Missed Books
A booklet dealing utith the methods and ispublished on the 24th of eachmonth m d can be obtained direct from the publiiers for application of the modern principle,by 1/1 per single copy. ‘Annli.1 Subrcliptian It/post free. one of the leading experts on the subPUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing CO.,
404/408
201.
ENFIELD, MIDDLESEX
ROUGH AND SMOOTH POSSIBILITIES”
Price 51-
20/-
the propriotm The Magic Wand PublishingComprny, 11, Monastery Gardens, Enfield.Middlesex, Welker aad Soa (Printan) Ltd., Well Croft. Shipby. Yorkshire.
m d prlnted by Hubart
25
PENTAGRAM An independent monthly bulletin for all who want good magic
This fine effect was invented by Ralph W. Hull and in its original andrathercrudeform, is described in the “ Encyclopzdia of Card Tricks , page 294. - Later Cap€ain Trevor Hall introducedtheRough and Smooth ’ principle into the effect and published his vzrsion in his 7’estcL?rtellt o f K . PV. Hull, pages 67/69. I have revised the routine so as to overcome I considered ’I‘revor Hall’s onepoint inwhich version was capable of im rovement. Tzree in One ” because Hull called it the the effect contained three distinct factors : a prediction, thevanish of a selected cardfrom one half of the pack and its discovery in the other half. ‘I‘ltl> efjffect i l l its fitlal form is as follows :Two assistants are invited to helpandstand on the right and left of the performer.Between them is a small table, preferably with a cloth on it. The performer writes a prediction on, a small card, places itin an envelope, seals it and hands it to athirdmember of theaudience. A pack of cards is shuffled andthe assistant onthe performer’s left is asked to deal twenty-six cards on to the table.Theperformerexplainsthatas the Jokerhasbeenremovedthepackcontains fifty-two cards. The twenty-six cards having beendealt,the assistant is asked tosquare the packet upand place itonthetable.The performertakestheremainingcards and, remarks thatas the pack contained 52 cardsand 26 have been dealt from it, there should be 26 left, but to makesure thatthe pack is completehe will count them. He does so and there are is placedon found to be 26 cards.Thispacket the table in front of the second assistant. The first assistant (onthe performer’s left) is asked to think of any number from 1 to 26, and the performer takes the first packet of cards and commencestocountthem,askingthe assistant to stop him when the thought-of number is reached. The assistant, in due course, says, ”
“
Stop!” andtheperformer stops counting the cards, replacing the packet the on table. Supposing that the selected number is ‘ Eleven ’, the performer writes 11 ’ on small a card, This is the ‘ 11 ’ packet ”. Thiscar$ saying, is either laid onthetableor placed in asmall clip behind the cards. Theperformer now turnstothe assistant on the right and requests him to think of a number to count the from 1 to 26 andthenproceeds second packet in the same way. When the assistant calls “ Stop!” the performer stops counting and places the packet on the table and writes the number selected on a second card, this :n turnbeingplacedbehindthesecondpacket. ‘We will assume that in this case the selected number is ‘ 9 ’. Taking the left packet, the performer remarks, This is the ‘ 1 1 ’ packet, please note the name off eleven, and suit of the 1 lth card. He counts cards and asks the first assistant to note this card; this is done in such a way as to make it clear that the performer does not see either the face or the back of thecard.Thecard beingnoted,the packet is squaredupand shuffled and replaced onthetable.Theperformerthenasksthe first assistant whathewouldthink of Magicif the performerremoved the selected cardfromthe packet without touching it and then transferred it to the packet on the performer’s right and placed it nine from the top of that packet? The answer will probably be that that would indeed be magic! The performermakesapassover the cards but does not touch either packet and remarks that the miracle has been accomplished. He picks u p the first packet,remarking that if hehas been successful there should now be 25 cards only and the card selected shouldbe missing, “ I will therefore runthroughthecards, face up, and count them; if you see -yourcard, please stop face up me ”. Theperformerturnsthepacket 25 only and andcounts the cards.Thereare “
“
“
26 the chosenone is foundtobe missing. The second assistant is asked to take the second packet and count them over aloud and when he comes to the 9th card to deal it face down on the table, then to. cany on and complete the count. He .does this ,and finds that he has twenty-seven cards.The first ’assistant is now asked to name the selected card and then the 9th card is turned face up and found to correspond. The third and spectator is then asked to open the envelope read the prediction. He readsoutthename of the selected card. In. the above there are no suspicious moves and it is quite clear that nocardsarepalmed.The audienceresponse is invariablyeverythingthat a Magician could wish for. The Explanation. Two duplicate cards ‘are require?!, say, queen of clubs. One is roughened on thc face. One indifferent card is also rougherd on the face and two others are roughened on their backs; it is as, well that these last-mentionedcardsshouldhave relative values so that the performercan recognise themwith 10 of ipades. One of these ease, saythe9and car‘dsis placedonthe treated Qoeen of Clubs. Theother is placedonthe indifferent cardthat is ‘roughened on its face. The unroughened sides or of thefour Cards are polishedwithSimoniz some similar car polish, to accord with the usual rough and smooth ’ principle. The pack is then assembled as follows :The indifferent cardcoveringthe roighened queen of clubs is placed in the25th . position from the top, whilst the roughened queen is placed 26th. It shouldbenoted that in this position the ‘‘ slicked surfaces ‘are together, so that if the pack is dealt the cards move freely, but if their relative positions ,are reuersed, they will adhere and be dealt as one card. The 27th and 28thcardsare indifferent, the Processed pair being placed at 29th position, the Femaining cards in any order, save the duplicate queen of clubs which is placed at the 52nd position. Temporarily the top card. is transferred to the bottom so as to conceal the presence of the queen of clubs. The performer commences by writing his prediction Queen of Clubs ” on the card which is then sealed inside an envelope. The pack is now false shuffled so as to leave the set-up undisturbed with theexception that the bottomcard is restored to its proper position ontop of the pack.The first assistant is asked to deal 26 cardsHe does so andthe result of the deal is to reverse the order of the cards dealt so that the 25th and 26thcardsare left ontopwith their roughened surfaces in contact. Th.ey can therefore becounted as onewhenthepacket is later counted bytheperformer.Theperformertakes the remaining cards and in the pretext of checking the number,countsthemoutaloud.The first and secondcards are thumbed off into the the processed pair are right hand. and next thumbd of€ withpressure and placed undev the ’
two already held; the remainder of the cards are countedontop of those in the right hand. Misdirection is obtainedherebycounting the first three beforethe assistant onthe,performer’s right, and then turning to the left, p the fourth card is counted; the remaining cards’ arethen countedbeforethe assistant onthe left. The third card (really two) is fact that the pIaced below the first two cards in the right hand gives neither assistant the possible chance of seeIf the ing that there ismore than one card. processed pair wereusedin the 27thposition there is always that possibility. With the count cogcluded, the performer w h e n closing the packet reverse6 the position of the two bottomcards so thatthe “ slick surfaces are in contact and they will deal as two cardswhen the packet is nextcounted.The result of this count also leaves the duplicate unprocessed queen of clubs on top of the packet. This packet is placed down. and the firstpicked “
”
.
”
Flashback ! P stands for Pepper
EGYPTIAN H A L L , ‘L
The New -
”
and
“
The Wonderful.”
- - - .-~
__
”
‘ I
U B 1’
PROFESSOR PEPPER AND
T. W. T O B I N . Admission. FAUTEUILS,s/- STALLS,3/BALCONY, I/FAMILY SOFAS, 3 Seats:
AREA,2/-
ix
I/-
SE.ITS may be bon!xd a t 3I;tchell’s. Old I30r.d Street: Austin’s Ticket Office, S t . Jnn1e-i’ Hall ; br at the Box Oifice, Egyptian Hall, from 1 1 to 5.
N O C H A R G E FOR BOOKING.
From the J.B. Findlay Collection
27 up,the assistant beingaskedto select mentally any numberbetween 1 and 26 andtostopthe the cards. The performer, counts he as performer proceeds to count the packet out loud, the- top cards being, the processed pair come off as one : theremainingcardscounted are placed on top of these cards, so that when the performer is told to ' stop ', the processed queen of clubs willnow occupy'the selected position fromthe top. The packet is replacedron the table and the number selected written on a piece of card. .A similar process is repeatedwith the second packet andassistant. He stopstheperformer at ' 9 ' (say) and the cards counted off .are replaced on the remainder and the result of this count is toplace the duplicate queen of clubs atthe requirednumberfromthe top.Thispacket is not touched again by the performer. The second number -is now written ona piece of card. The performer piCks up the first packet and counting down to the selected number, w i t h o dr e v e r s i n g the order of the cards, asks the assistant to note the valueandsuit of thecard at that position. Whenthe selected. number is reachedthe two processed cardsareseparatedbytheperformer and thus it is the queen of clubs which is noted. The oards counted off are replaced and, as their order has n9t been disturbed, the processed queen of clubs is replacedonits partner's roughened back.Thispacketcan now be shuffled if care is tak.en toensure sofficient pressure so that the processed cardsarekepttogether. Thispacket isnow replacedonthetable and the business follows toperform the miracle of the transposition of the selected card. The packet is taken acnd turned face upwards,the cardsbeingcounted bytheperfonner;'ashe knowsthevalue of the card (see ante) which covers the queen of clubs, be applies the necessaryamount of pressurewhenthis card is reached and the pair come off as one. There are, of course, twenty-five cardsonlyandthequeen of clubs has disappeared! The second assistant isnow asked to count the cards in the second packet. The duplicate queen of clubs is ready in theninth (or other requiredposition)and is dealt face downonto the table,and,asthe processed pairhavebeen transposed andhave " slick " surfacestogether, theycountastwo.This assistant therefore finds isnow that he has 27 cards.Theninthcard turned up and found to be the selected card. The prediction is read and found to ,be coqrect. I have includedthe prediction of thecard to be chosenbecause both ,Hull andTrevorHall attached importance to this feature of the effect. For myself .I neverinclude this featurebecause it seems thatan intelligent observer will say " As hepredicted thecard,its selection must havebeenforced in someway ". I thinkthat the effect is improved by leaving this feature out, for the routine as described seems to preclude any possibility of a force. Butthat is onlya personal opinion. Many, I know, willdiffer from '
meon this point. As a point of' interest, Ralph Hull. did not use the ' rough and smooth ' principle in this effect. He moistened the duplicate force card on its face withsaliva,thuscausingthecard below it to adhere. TrevorHallcountedthewhole,packet at the commencement and his versiondoesnotinclude a count of the second packet of twenty-six. This I thinkwasaweakness. In this versionboth packets are counted andthelong business of counting the whole pack is avoided. This effect wasa brilliant conceptiop and,in cards my opinion, one of the finesteffects, W for close-up work that I know.. Believe .Ae, the effect on an audience is staggering. Editor's Note. It was my great friend Francis Haxton who,afterwitnessing this effect in His Honour's hands at Harrogate, told me how excellent it was. Since receiving the details of the effect I have used it a number of times but - placing of the haveadoptedanalternative duplicate card and its mate. . This placing automaticallybrings into playthe 27th 'card inthe second heap. The set-up of the cards. is as follows :Twenty-four cards Twenty-fifth card roughened on the back Twenty-sixth c a d is the force card and this is roughened on the face Twenty-fivecards Fifty-second card is a duplicate of the force card and is roughened on its face Fifty-third card is roughened on, the back The pack is false shuffled and the first twentysix cards dealt off as in the previous version, in fact in the handling of this first heap there is no deviation from the first method. With the remaining cards the procedure differs, and at the point where the performer mentions. that he has twenty-sixcardsremaininghe turns these cards face up and. starts counting them.one at atime fromonehand to theother. As the fifty-second and fifty-third cards are processed, these are dealt witha slight thumb pressure asonecard, theothercardsfollowing until the audience see that twenty-six cards have been deliberately counted.The hea.p is then.placed face down upon fhe table.Whenthe choice of anumber falls on this heap,the processed cards in being countedfrom thetopareseparated,thuswhen the count is completed and the cards replaced, the polished surfaces instead of the roughened surfaces will be together, and so whenthe final stage of the effect takes place, the spectator can pick up this pile and, count twenty-seven cards. WhenHis Honourand myselfwere together ht the recent MagicCircleTelevision broadcast, he assured me that this was an improvement. It is not putforward as such,butratherasan alternative more suited to certain types of presentation. Whichever way you do it, you have a really excellent and most mydfying, effect.-P. W.
28
I believe an honestshowmanisone of the greatest works of God. H e devotes his life towardsmakingothers happy.It seems to me that to lie down in the final sleep, knowing that he has done n o one ill, robbed no one,ground down no poor, nor taken bread from the mouths of babies, but through all his life has made men, women and childrenlaugh and forget sorrow, has lived .the best and fairest life wLLic3a person can live I think when 1 am sitting in h e evening of life laststand :’, an:!t:-e grim, relentless -at t i “ Old Man ” stands beckoning to me to make the lastshort jump-to takethe last bow and final
I have curtain call-and the world hearsthat passed on-that millions will remember me for tne help and pleasure I gave them, for the sunshine I brougni lnio their lives; forthe pleasant 1.ours the;.^ s p a - a.:;sy flea t ~ great e pain of Lheir, lives-grim struggle. --i o be rememberea lor havingbroughtforth smiles, instead of tears; joy instead of pain; it seems to me a goodly lifewell spent.The joys I gave will surely remain clear and memory would fondly bind in their golden charm.
“
waB ! ! ’ & Thisangle to the old Living andDead test was promptedbythecoriespondence in Bruce Elliott’s ‘ * Phoenix ”, on different methods of locating .a glass of waterfromamong half a dozen other glasses of water.‘ Requirements are : Two memo. pads, a packet of envelopes (I use wage env$opes),ablack pencil anda red pencil, two members of the audience, and that’s all-oh! you’ll need at least half a dozen people in the audience. Having got a member of the audience seated on each side of the stage, this is my patter :Would youimagine, please (tomanon that you’re giving a party,andthat right), you’re providing drinks for half a dozen guests? And would you, to show you really mean it-by D 0 really meanit,don’t you?” theway,you (He’llsay Yes if you’re serious enough aboutit) would you write with this black (Give pencil on half a dozen slips from this pad him one pad) . the name of thedrinks you propose to provide? One drink to each slip. if you Make itallthesamedrinkthroughout, like, or make it a selection of the most exp3ns:vP drinksyou can thinkof. It’s not costing you (Whilehe’swriting, with the black much ”. And would you, pencil, turn to man on left.) (red Mr. Left,takethis padand this pencil and write on one sheet $he word pencil) ‘ POISON ’ ? ” (There will bea little delay while Mr. Right thinks of and writes the name of his drinks. Mr. Left will have written his one wo,rd fairly quickly, so attention must centre on h’m while the otker rnan is writing his six slips.) Xr. Left has written his one word‘ POISON ’-in red pencil on his slip. Now, Mr.: “
”
“
“
”
“
”
“
“
”
‘ l
,
“
Left, if you want to be really bloodthirsiy,and a bit hammy, you could draw a skull and cross(This gives Mr. bones on your slip, as well ”. Right time to get his slips written. Turn to Mr. Rightand give ‘himabouta dozen envelopes; anyway, more than enough for his requirements.) i‘ Mr. Right, will you please put each slip. in an envelope and seal itup well?” (Turn to man on left. ) ‘‘ And will youputyour slip in an envelope, too?” (He’ll say he hasn’t an envelope to put it in, so hand him the rest of the envelopes-all of them-that you’re holding. ) Now, Mr. Right, will you take’ M:. Left’s envelope and mix it up with the ones you put your drinks into? Now you’ve got seven envelopes, haven’t you? Each containing a drink,althoughone of them’s got poison init? O.K., then mix them up again,anddistribute them to seven people in the audience . (Now address audience.) The position is that Mr. Right here has invited six friends to have a drink, and a seventh person to take a cup of cold poison. Don’t openyour envelopes yet -think of the shock if you’,ue got the poisoned one! Now I’m coming down there to ieewhat we candoabout it. Wedon’twanta poisoned corpse lying about the place; so I’ll take on any symptomstheremay be myself ”. (Go down to audience andfeelthe pulse of each person who has an envelope. When coming upon the r ( poison envelope, feel the holder’s pulse and continue :) D’you feel allright? You do? Good! I’ll be back in a minute ”. (Goroundall envelope holders before coming back to him,then continue :) YO~Jmay think you feel allright,but you don’t feel so good to me. Here, you fie1 VI^ “
”
“
”
“
“
29
F klight
pulse; I seem to have taken on your symptoms ” . (.He feels performer’s pulse, which slows down andthenstops.) You see?Yououghtto be dead. Now I’m dead, instead. Fine thing to do, kill the magician! Wish I’d neverstarted this ”. (Make thiS man announce that your pulse really hasstopped.) I thinkyou’ve got the poison there-better open your envelope and make sure . (He opens theenvelope, which containsthe POISON slip, sure enough. Performer makes him announceit,andreturns to stage.) So that’s what comes of serving up poison, you see. The moral seems to be that you. should havea magician there to protect you-and, by (Taking out diary.) (‘ I have a the way case any of youare number of vacantdates,in thinking of havingaparty . . . . Well, it was worth telling you, anyway ”. (Lay hand on shoulder of man who wrote the ‘ ‘ drinks slips, and continue :) ‘‘ And asfor Mr. Right,here, who so kindly invited six of you to have a drink-an expensive drink-with him, he wants me to tell you that he’ll be wajting for you six gentlemen by the bar afterwards, to redeem his I.O.U. slips andbuy you a drink ”. (Cross to Mr. Left.) While Mr. Left, anxioustomake upfor his vain bid to bump somebody off, will no doubtstanddrinksall round . That’s all. The envelopes? Half of them are identifiable by having the flap cut rounded or pointed, or by
pencil markinonecorner. It doesn’t matter who gets which envelopes. Both men must have different styles of envelope, and there is no suspicion that one identifiable envelope is forced. It will be remembered afterwards that each man had a bundle of envelopes from which to pick. The pulse-stopping is well-known among magicians, of course, but l would like to pass on beautifully a simple method which Graham Adams showed to me years ago. While the writing is being done on the slips, the performer takes his handkerchief from an inside breast pocket, mops his brow or blows his nose, rolls handkerchief into a balland stuffs it under his arm-pit instead of returning it to inside pocket. Then when the time comes tostopthe pulse, a gentle pressure of that particular arm to the side willslow and stop the circulation. Rave the pulse felt with a finger, not a thumb. There is a pulse in the thumb itself which cannot be distinguished from the patient’s wrist pulse. Finally : this may seem a simple, silly thing, butit’sfunny if the helpers are well-known characters, and it gets plenty of laughs throughout. Laughs are too few in the average mentalist’s repertoire, so give it a try. I’m finding itgoes down well; you may find the same. P.S.-I can well imagine William McC. making this into a riot comparable with his cod X-ray item.
In the December issue of the Pentagrum I read with great interest and enjoyment Ron Baillie’s Minds in Harmony and it broughtback to me the following musical item which I have worked for at least fifteen years. On a blackboard you have numbers down the left-handside,.from l to S. You also require a bowler hatand eight small cards.On each of the cards you write popular tunes called out by As each card is members of the audience. written upon you put it into a hat. When all tke cards arethusdeposited,aspectator is asked to hol-l the hat high up andshake it in order to You then dipin, taking one shuffle thecards. card at atime,andas each card is takenthe name of thetune is written on theblackboard from top to bottom. Thehat is laid aside and the assistant is now asked to sit down on a chair on the stage. A set of cards, post .card size, is thenshown. These are numbered from l to 8 , and the figures are as largeas possible. There is also anumber
marked in the index corner of each card. These cards are now fanned and a spectator peeks at a corner only. Noting the number, he concentrates on thetune corresponding to that number on tile board, When he feels he has concmtrated c n m $ he simply says, (‘ Right!” andat-that, t.1-e pianist x h o has been sitting blindfolded a: the piano, begins to play the selected tune. Rkhod. Any pianist is suitable, so long as he canstruma few bars of any popular songjazz number-Scot’s song-or one of type a applicable to your audience. If he is known to rhe audience, and not to you, all the better. You reqxest him to play the tune agreed upon when he hearsthevolunteer assistant saythe Right!” As the pianist is blindfolded, word and you do not ‘speak after the assistant has peeked at the post cards, the mystery is there. What really happens is that you n ~ u s have t fhe tune selected either by genuine choice or inference. In thelater instance you-appear to hear it called outand you repeat ( ? ) it,as for
“
“
”
“
”
“
”
”
“
”
“
”
l‘
“
”
30 example, “ Killarney?’ ’ . In sayingthenam? pf thetune, youlooktowardsone side of the Thank you auJience, and then simply add, and .write .itonacard.The deed is done. In manyperformancesonlyon about half-a-dozen occasions have I had to “prompt” any audience. is dropped The-rest is easy. Eachsmallcard into the hat exceptthe special one, whichgoes intothesweatband.The postcardsarefaked inasmuch as each inddx number is the same. By cnly peekingthevolunteerdoesn’t see the rest Of cf the cardwiththe large numberon it. course, shouldhe select the onecard on which the index nzrnber and the other number are the same,then you can allowhim to pullthecard away from the fan and retain it.
Thehat beingheldhighup, there is ample opportunity for picking out‘the right tune at -the right time. Supposeyourfakecardnumber is 4, then all you have to do is to bring your tune oct so that it is written ,against number 4 on the blackboard. When -t:?e pianist has successfully read the thoughts of the assistant andplayedovera few bars of the selecte‘d tune,youaskthevolunteer if it is correct. As hemust reply in the affirmaThank you!”and at the tive, you thensay same tirnz wh’p the blindfold off the pianist and take his (of her)hand so that he can-stand up in ‘front of the*audience.Then bow andthank ’the piahist, who walks off with no idea of how i i happened.
“ THEKEN BROOKEMETHOD FOR PERFORMING ‘ KUDOS ’ OR AS IT IS BASICALLY KNOWN ‘ T H E ’ PROBLEM OF THE THREE POKER (PublishedbyKen Brooke, 160, WestCHIPS ’ gate,Bradford,Yorks. Price 5 / - alone ; if .supplied with “ Kudos ’” 816 the two). All ’ of our readers will be acquainted,with.the principle of this fine effect t h a t is to be foundin magical literatureinmany disguises, andas is always the case, with a good effect, there is-always some little it slantorangle coming t o lightthatcanstrengthen withcertaintypes of presentation and turn it into an ibsoluble miracle. A slight drawback to the effect has always been the fact that the number of cardsor what have you remaining should be visible. This drawback, Mr. Broohe,inamostsubtlemannerhas eliminated,and,the keenestobserver after seeinga performance of the effect as describedwouldbe willing t o swear thatthe performe’r has no opportunity of counting, or even seeing the cards left over. The effect is presented as one of psychometry, and every detail of presentation has been covered in a manuscript that runs (.at a guess) to approximatefour thousand words. Certain angles for publicising the performer arebroughtinandcredittoothers is fully givenwhere i t is due. Needless t o say,,aswithother effects described by Mr. Brooke, this is complete a lesson inmagic.. Thosereaders who take myadvice and get . a copy of this low priced effectwill not only have nocause t o regret the expenditure, but they will also addamost baffling effect t o theirrepertoire.
(andquiterightlytoo !) to expose and unmaskthose who under the guise of mediums,mindreaders and soothsayers tradedonthecredulity of the everready to believe public. Thefactthat Mr. Rinnstarted hisivork a ta n earlyagebrought him- intouchwithmany whose names are almost legendry, the Fox sisters, Lulu HurstandStuartCumberland. In his many investigations and. subsequent exposures theauthor was assisted by hisgreatfriendthelate Harry Houdini, and-the book has,asub-titling of Houdini and I among the Spiritualists ”. Two salientpointsareb’roughthome tothe reader as he travelsthroughthe book.The first is thatthe‘presentation of the marvellous(from the point of view of. phenomenaalleged t o bepsychic) wouldseem to be greaterin.pastyears thanatthe present.This to a large extent is amatter of cause and effect, forwith the exposure andpublication of means forpresenting pseudopsychical’phenomena,those who traffic in it havebeenforced to abandonthe more physical side and suchitems as clairvoyance. Theotherpoint,and a point that is universal is that no amount of exposure A fraudulent will stem the belief of the credulous. mediumcaneven receive aterm of imprisonment ( i t hashappenedin thiscountry,and upon release, start uponhisorhertricks. I t isimDossible inthe spaceallotted t o give an adequate review of this mostinterestingandinformative bookwhichcontains many highlights of interest t o magicians, and especiallythose who areinterested inpsuedopsychics. Call for specialmentiondoescbme whenwe read of the muscle reading feats of WashingtonIrvingBishop, ofhissensationalcarriagedrive (a piece of publicity that wouldmakeheadlines to-day) and of histragicdeath. Rinn’sdescription of Paladino’sseances are also of greatinterest. Mr. Rinnwould seem t o beuniqueinhisfervour for tracking down and exposing the ,fraudulent,and one cannotthink of any counterDartin thiscountry. To all our readersinterestedinthepseudooccult we recommend thereading of thisillustratedand well bound volume of some 618 pages.
“
”
’
”.
“ PSYCHOANALYSIS ” by Chaaclu (published by George Armstrong, price lO/-). Inthisbooklet,Chandu,aDutchmentalist, detjils apresentationinwhichtheperformer,apparently by means of phychoanalysis is able t o read the mind of thespectator. The techniqueforacquiring the information within the spectator’s mind is not new, ‘ b u t the dressing and angle of presentation make it a worthwhile effort. Although in detailing the effect, t h a mentalist restricts the choice of the- spectator such a restriction could be removed and the range of choice increased. Forthose wholookforasomewhat different type of presentation we recommend this, effect. “ SIXTY YEARS OF PSYCHICAL RESEARCH ’’ by Joseph F. Rinn (publishedbyTruth SeekerCo., New York, price 35/-) . Sixtyyears of PsychicalResearch .is hardlythe correcttitle of this book ; abettertitlemfghthave been “ Sixty Years of PsychicalDebunking ’ for Mr. Rinnwithagoodknowledge of conjuringhassetout
“
“
,
SCARNEI ON -CARD TRICKS ” by John S a m e (published by Crown Publishers, New York; price 21/-) I n this stiff coveredbook of some 307 pages. Mr Scarne has detailed a matter of some one hundred and fifty-five card effects. As i t has beenwrittenforthe laymanrather thanthe magician skill has’ been removed and every effect. is self working. Whether maqicims in Americawill be grateful for such a wholesalegift of card magic tothe public a t large is a “
31
In our last issue, the combined efforts of our friendsRon Rajllie and Leslie Mayallowed us no roomto add our thanks for the fine number theyproduced. In fact,Jack of spaceforced us to holdoverone .ofLeslie’s contributions. This will appearin-theFebruarynumber.Thanks again,Ronand Leslie. The official opening of the newMagic Circle headquarterstookplace anJanuary2nd,and was publicised well in the press and also a television inwhich we, inselect *company of Trevor Hall, Gus Davenport, His Honour Erneit Wethered and Edward Victor appeared. The splendid work of FrancisWhite in welding the show together,plusthe work of Barrie Edgar as producer, is something that we shall not forget. In this new abode it would seem that the ‘ Circle ’ forthe first time has accommodation that enables its clubroom activities to be carried onwithout in any wayencroachingpponthe LibraryandtheMuseum. In the next number we are reviewing among other things three effects of Dr. Daley’s Stars of .which havebeenpublished in the Magic series. In the sterling equivalent of Americancurrency these routines would seem to be quite costly, and we know of many who will What, pay thirty-five shillings for a say, routine!” The samepersons will payneverthelesstwice orthreetimesthatamountfor some trick or the other that has been knocked up from plywood and paintedtolook like nothingon earth; a passingnovelty that will appear in due time at the annual sale of the society, guild or wtateverit is to which theybelong.C3ming back to the routines in questioa, and taking one Cards up Sleeve ”, wefind in particular,the a n effect, technically withinthe capabilities of those who are willing to give the necessary practice. Aneffect that, oncemastered,can be performed anywhere with any cards, and an effect that, well performed, will makeareputation for its perforiner. Talking of such effects as the Cardsup Cards to Pocket bringsto Sleeve and the our mind that the. passing of the final card in a truly mugicul way has never received the attention it deserves. Inourthirty oddyears of magic we have seen manysplendid versions of the effects mentioned, but this final card, though the quality- of its vanish may have been good,hasnot lived up to the standard of that part of the trick that preceded it. We are glad to welcomein this issue an effect of our friend Jimmy Findlay. from the pen Though his contributions as a bibliophile are well known,onedoesnot find enough of his Music, Maestro!” writiflgs in other directions. appearing in this issueis a nicepiece of Findlay magic thataddsto the stock of mental-cum’
“
”
“
musical effects. Wehavea promise from A1 Koran of a lovely ring an;d coinroQtine‘for a future issue. A1 is one of the greatest enthusiasts we know, an enthusiast whose enthusiasm is contagious, as those whowere present at his Magic Circle lecture on Card Technique .will know. It was a demonstration that will long be remembered. From our friend Eric de la Mare we hope toreceive shortl~7 hisfinely routined cone and ball cSectand also his capandpence routine. Will Dexter, who has now settled down in (we believe) his native City of ‘Nottingham, tells us tkat heis busy working on a novel. Wefeel all on the more grateful that withsuchabigjob hand he can have time to sit down and send us along an effect. The MagicCircle Festival of Magicwill take placea little later this year,the second instead of tk-efirstweekof October. The Festival Committee, with Lewis. Messent as Secretary,have already made a start with their preparations, and we shall look forwardtoa really great feast of ma (sic. FDr the third year there will bea Festival of M a g i in Sutton, and .for the third year, Francis VWte ’ will actascompere.The show includes Lionel King, TommyCooper,Raoul,Stavordale Puppets, Stanley Watson, Elizabeth, Warlock an3 ourselves. Tbe January -,Tiugi, which arrived this morning, still seems to us to .be the tops in Society magazines. The presentissue ha$ a cms-word puzzlefeature which shoyld prove popular with members. “
”
“
“
”
“
”
“
UZUaYd-Bdand-& continued from page 30
point outside this teview, nevertheless we felt a twinge when we saw effects like Stewart James’s “ MiraskiH ” so routined that even the normally necessary palming of cards is unnecessary. It is impossible t o detail the effects in question, butitcan be truthfully said thatthe cream of nonsleight of hand cat-d effects are within its covers, including a version of ‘‘ Out of this World ”. Effects however that deserve special mention are “ Quadruple Coincidence ” , “ The Spirit Card Trick ” “ The Great Poker .&monstration ” Power of Thought ” and “ Dead Man’s Hand ” (now named Wild Bill Hickock’s Hand). This last named effect is an exceptionally good party piece and during the War when working in a Mess,we used toget aterrific and ear shattering climax bygetting’ a fellow officer t o .fire a .45 blank a t t h e right moment. To the newcomer to magic here is a book that will be the Open Sesame t o subtle card magic, lvhilst to the more knowledgable a reminder 01 m a n y things noted andfoigotten. The book is profusely but unnecessarily illustrated, but we presume thatwith abookstallpublication the addition of something to the printed matter has a sales value. Well recommended. “
“
”
32 I
LOOK AT ‘THIS! An unsolicitedtestimonial
from KENDE
COURCY
“ PSYCHOANALYSIS ” is superb; I havealready worked .it and it has baffled everyone. Altogether, the effect is unusually good and, du2 to thc openin,g lecture (given in the book) the audience d o n.ot look upon it as ‘ just another trick To the practical mentalist, or eventothe magician who is looking for a second actfordinnerengagements,itshouldprovea God-send. And I’m personallygrateful that it issomethingright away from the ‘ pushbutton ’ class. In’other words, it won’t,be “ flogged to death ”. I.
See previous advertisements for description of the effect, or sendstampedenvelope for leaflet. Better still, BUY A COPY NOW.
10/- ;
YOU CAN’T AFFORD TO MISS! EXPERT CARD TECHNIQUE (Hugard-Braue), new edition, 431500 PP SCARNE ON CARD TRlCKS,great non-sleightfeats, 308 pp:‘ 21160 YEARSOF PSYCHICAL RESEARCH(Rinn), exposures, 618 pp. 351PRACTICALMENTAL EFFECTS(knnemann) ”319 pp. 451KEITH CLARK’S NITECLUB ACTfinerouti‘nes 64 pp. . . 251THEcEXPERT AT THE CARD T A B i E (Erdnase) ’ 218. pp. . . 121SHOWMANSHIP FOR MAGICIANS (Fitzkee), 1i7 pp. . . 351THE MAGIC ART (Holmes) great value 235 pp. . . .. 141ENCYCLOPEDIA OF CARD’ TRICKS (HLgard), 402 pp. . . 351MODERN MAGICMANUAL (Hugard) excellent 345 pp. . 251THE CARD MAGIC OF LE PAUL, 22b pp., 313’ill. . . .. 601MY BEST (Thompson) remarkable collection, 384 pp. . . 451MAGICBY HOLYAM (Mayoh),orientaleffects, 137 pp., 200 351-
::
.
GEMS OF MENTAL MAGIC (Buckley), 132 pp., was 431-,201-201(The abovebooks are all cloth-bound, except as noted) Please rkmit to Mr Robertson Keene c10 Riverside, Victoria the dooks promptly from the h a d , Isle of Wight, &d receive UnitedStatcs.
Postage 3d.
from thepublishers
FLEMING BOOK COMPANY, AVE., YORK, PA.,U.S.A.
THE MAGIC WAND PUB’LISHING CO.,
l
11, MONASTERY GARDENS, ENFIELD,
MIDDX.
“ROUGH AND SMOOTHPOSSIBILITIES By Tun Hock Chum
PETER
”
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM
404/408
Croydon
ROAD Surrey
BROCHURES, LETTERPRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks made up. Advertising ideas, Copywriting, Line drawings.
HEADS
0
JACK LAMONTE Telephone : TOT7742
+’
is publishedon the 24th of eachmonthand can be obtained direct from the publishers for 1/1 per single copy. Annual Subscription It/post free. PUBLISHED BY:
The Magic Circle President : HisGrace theDuke of Somerset, D.S.O.. O.B.E., J.P., M.I.M.C. Vice-President:Douglas Craggs,Ewq., M.I.M.C. Clubroom and Library and Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1.
The Magic Wand Publishing Co., 6 11, Monastery Gardens, Enfield, Middlesex.
ndagical Theatre :
Manusoripts for publication and books for review should be sent to the: EDITORIAL ADDRBSS:
Particulars from Hon. Secretary :
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
KingGeorge’sHall,
W.C.
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic WandPublications
The MGic Wand, Quarterly. Fer copy 318 p.p. Annualsubscription 14/6. The Wizard, 36 pagesmonthly. Percopy 211 P.P. 6 month, 1216, Year 241John Romsay’s Cups h Balls (Fareh1 15/6 WhereHoudtnl Was Wrong (Sardina) 2016 Convincing Coin Magic (Farelli) . . 17/10 JACK HUGHES Mastered Amazement 2, EVELYN AVENUE, COLINDALE, . 10/3 (Koran & Lamonte) LONDON. N.W.9. . . 1013 Bohleno’s Mysteries (Bohlen) Thanks To Leipzig (Farelli) . . l013 G e q e Amstrong’s Premonition Psychoanalysis Chandu’s .. 1013 1013 Entertaining With Hypnotism (lbexter) 1013 Chailsnge .Instant Hypnotism & Mass CONJURING BOOKS FOR SALE Hypnotism .. . 211-513 Strictly Magic (Eddik Joskph) . ’ OLD A N D NEW. Let m e know your wants Stooging Around (guthard) LIST FREE FOR STAMPED ENVELOPE 26 Living & Dead Tests(Garrett) 5/3 513 No Callers Jamesosophy (Stewart James) .. . . 5/3 Year Book 48/49 (few only) . . ,513 G E O R GJ EE N N E S S Stunts With Stage Money (Lamonte) . 5/3 47 INVERNESS AVENUE, Tricks of the Trade (Armstrong) . . 2/7 From the publishers ENFIELD, MIDDLESEX THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield. Middlesex.
.
.:.
.
28, WARWICK RD., LONDON, NlS I
PENTAGRAM
will be pleased to send you details of his verylatesteffectsandallhisoldfavourites in returnforstamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
By a MAGICIAN who knows your requiremento
0
WARLOCK’S
JACK HUGHES
WORK
ART
728, MADISON
Every Advertiser’s goods are fu1,ly endorsed b y this Bulletin Published bytheproprietmThe
Magic WandPublishing ComDany. 11. Manastern Garden!. Enfield..Middlesex, Shioky. Yorkshire W d k a md Son (Priiterr) Ltd.: .WellCroft.
and printed byHerbert
*’
33
PENTAGRAM An independent monthly bulletin for all who want good magic
v!!.5 NB. 5 A few weeks ago, after a long illness, Arthur Sherwoodpassedaway. The moderngeneration must very much regret the fact that they had no chance of seeing his faultless’ and original work. Underthepseudonym of ArthurJames,he joinedthe Magic Circle in 1921, but it wasnot until-l924 that he appeared as a performer before the members. The occasion, “ FirstAppearance Night ”, was a closed meeting; strangely enough we gave a pianoforte selection as an overture for the threememberswho were toappear.Arthur Sherwood’sabilitycoupled with his originality earnedhimanovationfrom those present,and that night he joined the ‘ Greats ’ of Magic. He wasamodestand retiring soul, and his presentation had a delightful spontaneity.He was at his best in thedrawing room or concert hall.He disdained apparatusasapparatus,and in this particular respect his beautiful silk Simple ’ was his sequence ‘ Magic Pureand masterpiece. The effect which we are describing
formed part of a lecture thathegavetothe Magic Circle in1930. Init, the reader willsee how ‘Sherwoodwasalways two orthreemoves ahead of his audience. Apart from the cardboard tube which figures in the effect, and, which obviously is free from any chicanery (note, how always the silks are dropped into the tube) there is nothing to suggest apparatus as apparatus. We are greatly indebted to the Cquncil of the Magic Circle for permission to re-publish this very fine effect: Despite his many inventions Sherwood wrote very little, in fact this is the only effect of his to be described in exact detail. His ‘ Chocolate Box ’ effect that can be found in Greater Magic is an incorrect explanation of his original workirig. We had always suspected as much and a few days before we joined the Forces way back a full day with Arthur in 1942 we spent Sherwood and on this occasion he confirmed this fact. We greatlymournhis passing.
I have divided the effect into numbered paragraphs and in corresponding numbered paragraph have detailed asminutelyas possible the necessary moves and sleights.
FAKING AND CONSTRUCTION. Tube. This is acardboardtube 13in. high and 6in. in diameter. It is decorated on the outside with rings of coloured paper, three of which colours must coincide with thered,greenand purple silks used. Stretchedmidway across the inside of the tube are strands of thin black cotton mesh should forming a l&in.square mesh.This be fairly loose. Disc. This is made of a circular piece of three-ply wood 12in. in diameter.There is a hole in the centre to take a handle which projects of the discis a reel, at the back.Ontheback of cordwitha round which is woundalength ring at aneendtoenable it tobe pulled, thus revolving the disc. The handle contains a device for realising aload of two silks* Thefront of
REQUIREMENTS. A tube. (described later.) A revolving disc. ,> A flower vase Stand. Red,green andpurple artificial flowers. Large glass tumbler. Sixwhite silks, Min.square. red Three green Three purple Three Wand. 1,
1 9
2,
P,
l ,
34 thedisc is coveredwithsegments of coloured paper.Whenthe disc isrevolvedthesecolours a disc of white. shouldblendtogethermaking The apparatus is so constructed that the handle can be removed. Flower Vase. This is reversible andhas a diagonaldivision mid-way down so that either end will hold water. Stand. A standwith two armsprojecting, on whichthe silks are displaed. A flat disc about 7in. in diameter is fixe to the top to form a platform upon which the flower vase rests.
green silk on rodis knotted in the same manner and the knot concealed in the folds. On body. In right waistcoat pocketa green anda red silk folded inside a white silk.This ioad is hereafter called Load No. 3.
Flashback t
B
Q stands for Quigley
Stanley R. Quigley, M.M.C.
PREPARATION. On table.
Tube, tumbler and disc. Tothe portion of the handle nearest to the back of the disc is attachedaload of awhite and apurple silk.,Thisload(hereafter called Load 1) is of course concealed from view. On stand.Flowervasecontainingartificial of vase flowersinwater. In theundersection are concealed a red silk knottedby two of its corners in theform of aring;throughthis red aslipknot, silk is agreen silk, knottedwith thus forming a chain of two rings. The remaining two corners of this green silk are also knotted with a genuine knot. This knot is hidden in the It will now red silk which is loopedthroughit. be seen that the greensilk has two knots in it, one a genuine knot and the other a slip knot. Of course the'slip knot is made with two opposite corners and 'the genuine knot with the remaining two corners. A purplesilkknottedintheform the vase. The of a ringcompletestheloadin silks are placed in the vase in the following order: red and green(looped together), purple.This load is hereafter called Load 2. On onerod four whitesilks. On tlie other rod a green and red silk. One of the white silks on rod is knotted by opposite corners in the form a t therearand conof a ring,theknotbeing cealed by thefolds of the silk. This knotmust The not, of course,heprematurely,exposed.
* KO
SOClETY ENTERTAINER LIVINGMARIONETTES CONJURING VENTRILOQUISM CHAPEAUGRAPHK PAPER MANIPULATION
Was greatly enioyed"-Hackney 8 Kingsland Cjazette "An excellent progrimme "-Tunetham Herald "A first-clssa entertainment ''--CO-OP Wheatsheaf "The Lion ofthe show"-Club Life
"
From he J.
B. Findlay Collection
printedexplanation of the release mechanismappeared. but forthe sak? of completeness we s i l l describe it with the aid of the accompanying drawings (page 35,. Inside the handle a hole was bored for a : e n g h of some four inches. Nextan openinghalf an inchlong was madein the side of thestick in su-h a manner that it met the fourinchlong opening. h piece ofiron wire was now inserted into the hole at the end of thestick, pushed along until it came to theslit in the side where it was taken and bent into L shaped form. The end piece of wire, by reason of the half inch slot, could now by moving the vertical part of the L eitherbe Rush with the e,nd of thestickorprotrude half aninch.The mxnnerof release should now heeasily understood.The silks were rolled into a snlallbundleand placed under the stick as in D. A piece of black cotton made into a loop of such size that i t went round the handle,between the vertical part of the L and the endof thestick, whilst theotherpart of the loop went over the projecting piece of wire.Themovement of the wire towards the disc meant that the projection was withdrawn, the loop slippedandthe bundlefell. There are somewhoin readingthismay query the need for such a device and suggest that the handle couldrest on top of the bundle. both handle and bundlebeing picked up together and later, the bundle relased. The point one must not overlookis thr fact that at oneend of the handle you have a twelve inchdisc which might accidentally b+ moved and cause the handle to move, thus upsetting such a set-up.-P.W.
35 &JETHOD, A hatand alarge laid ona chair.
handkerchief are borro\\,ed and
MOVES
A N D SLEIGHTS.
1. ’This
handkerchief is hereafter called ‘‘the borrowed handkerchief. Come forward with purple silk palmed in righthand,andwand, also in right hand. In placing hat and borrowed handkerchief on chair,the bulk of handkerchief is left behind thehatand one corner allowed tohang just inside far side of hat. The reason for this will be seen in No. 8 . 2. KO moves or sleights. The tube may be safely shown, as thecotton mesh is invisible a t a distance of a few feet. 3. No moves or sleights. ”
Tumbler and cardboard tubeareexhibited.
‘The tube is placed over the glass, a white silk taken from rod onstandand dropped into tube. This silk is pushed into the glass (which is covered with tube) with the wand.The tube is removed and casually shown t o be empty.White silk is seen in glass, thus proving no obstruction in tube. The cover is replaced over glass. Thepurplering on outside of tube is tapped in order to transfer the colour tothe whitesilk. The white silk is pushed once againintothe glass with the wand andthe cover again removed. Thewhite silk is found tohave become dyed purple,and is placed on the rod with red and green silks. ’
The purple, green and red silks aretaken from rod, rolled up and placed in glass. The disc is picked up from tableand revolved, demonstratingthe blending of the colours.
The handle is removed from the disc, which is now used as a tray.Thetube is placed on the dise. The silks in the glass are emptied intothetube. The empty glass is placed onthetableandthe disc and tube placed on top of the glass.
Theremaining three white silks on rod aretaken and rolled into a ball and placed into the borrowed handkerchief. It is explained to the audience that thesewhite silks are about to be dyed the colours of the flowers, red, green and purple.
A
4. Remove tube with left
3.
hand and transfer t o right, which is still palming purple silk. Load purple silk intotube. Cover glass with tube,tap purple ring on exterior of tube withwand.Placewhite silk intotubeandpretendto push it into glass. Actuallypush loaded purple silk through mesh, leaving white silk suspended. Remove cover, showing whitedyedpurple. Place purple silk onrod. No moves or sleights.
6 . Pick up disc and in doing so allow handle t o pass
over the top of the tube, and at same time operate the release inthe handle, which allows the load (No. 1) t o fall intotube.The size of the disc prevents this move beingseen. Pull oncord at rear of disc, which revolves. 7. Take handlefrom disc and place it on table. Pick up tube a t t o p with finger and thumb of left hand and transfer to right hand, the right hand taking it a t opposite end. Pick up disc withlefthand an 1 place tube thereon, reversing the .tube in doing so thus allowing silks t o fallinvisibly on to disc. Care must be takento see that the silks arenot prematurely exposed. Pick upthetumbler containing purple, green and red silks, and pour into tube. Place empty glass on tableand rest disc andtubeontop. 8 . Call attention by pointing withwand, to the fact thatthe disc andtubeare isolated by reason of theemptytumbler.This provides asuitable attitude for obtaining load No. 3 from, the right waistcoat pocket wih left handand palming it. Plck up the three white silks from rod and make into a compactparcel.Thebestmethod of doing this is to place one silk over the left fist which conceals theload, place the second white silk (whichcontainsthe secret knot) on top,andthelast white silk on top of this.They can.now be folded over andmade.into a parcel similar tothat palmed. They are now ready for production a t a later period. LVhile rolling the silks up, exchange for the palmed silks (load No. 3) ivhich are now exhibited inleft hand. The three white silks are palmed inthe righthand. Pick up borrowed handkerchief from hat with right hand, and in doing so drop bundle of three white silks (palmed)intohat. Placeload No. 3 into borrowed handkerchief and twist ends, thus makinga sort of bag. I t is interesting t o note here the strategy of allowing a portion of the borrowed handkerchief to hang just. inside the hat (see No. 1 ) andthe loading of the silks intothe hat, which arenot required againtill move No.
36 METHOD, MOVES
EFFECT.
AND
SLEIGHTS.
34. The corner of the borrowed handkerchief being just inside the hat, allows of it being picked up naturallyand atthe sametime gives perfect coverfordropping the silks intothehat. rings on thetubeare tappedwiththewand,andthebag of (presumably) white silks is dippedintomouth of tube three times,once foreachcolour.
9. No moves orslelghts.
10. The flowers with the exception of the purple ones, aretouchedwith the borrowedhandkerchief. The ocassion t o touchthepurple flowers mustappear accidental. It can beexplained tothe audience that touching the flowersfixes the colours.
10. No moves orsleights.
borrowed handkerchief is opened, revealing 1 1 . The silks dyedgreen and red, the white silk being uncoloured. The silks are replacedonrod andthe borrowed handkerchief shown empty. This is casuallythrown on to the edge of thetube.
1 1 . No moves orsleights.The
9. Thered,greenandpurple
is lifted from the disc, revealingtwo 12. Thetube white and one purple silks. Thetubeand disc are placed on table. silks are replaced on thethree coloured
13. Thetwowhiteandpurple the rodwhichformerlyheld silks.
14. The flowers are removedfrom
factthatonlytwo of the silks are colouredbears outtheexplanation that the flowers must be touched t o fix the colours.
12. No moves orsleights.
13. No movesorsleights.
14. No moves or sleights.
the vase.
15. The water from the vase is poured into the tumbler on platformonstand. andtumblerstood
15, No moves orsleights.
16. Thepurple silk is takenfromrodandmadeinto aball.The silk is heldover the glass of water for a moment for the purpose of squeezing the dye intothewater.Theperforger changeshismind however and places the silk intothe borrowed 'handkerchief.This,presumably, is t o prevent the dyefrom staining hisfingers.
16. Rolluppurple silk and holdovertumbler.Change your mind and pretend t o place silk into left hand but palm it in right. Reach aver to tube, pick up borrowedhandkerchiefwith righthand a t same timesecretly droppurple silk intotube.Simulate holdingpurple silk inlefthandandpretend to wrap itinto borrowedhandkerchief. What really happens is,undercover of the borrowedhandkerchief takeupa corner of the handkerchief and push this into the centre, thus causing audience t o believe it is really thepurple silk. In effect it containsnothingbutthe bunchedupcorner.
17. The glass of water on thestand is now covered with thetubeandthe borrowedhandkerchief is heldover thetubeand squeezed.
17. No moves or sleights. The squeezing is supposed to transfer the dye into the water. When silk is insufficientlysmallcompass to be easily concealed in the palm, continue dipping movement andatthe same time takeoutthe purple silk which was previouslyloaded (No. 16) . Thepurple silk gives amplecoverfor the palmed whitesilk.
18. The white silk is now taken and dipped into tube and is extracted dyedpurple.
18. Withtherighthandtake
19. Thepurple
19. No movesorsleights.
silk isnow green and red silks.
white silk off rod that holdsgreen and red silks. Prepare t o swallow up white silk into palm of right hand by a gathering movement of the fingers and thumb under cover of dipping hand into top of tube.
hung on the 'rodholding
20. The borrowedhandkerchief
the previouslycolouredpurple white.
is now unscrewed and silk is shown t o be
21. No moves.or
21. The white silk is placed on rodcontainingother white silks. 22. Thered,
green andpurple silks areplacedin empty flower vase on tableinthatorder.
20. Therighthandcontaining palmedwhite silk is placedunder the borrowedhandkerchief andthe silk is then produced as if it were the purple silk turned white. Place the borrowed handkerchief on hat readyformovein No. 34.
the
sleights.
22. No moves orsleights.
METHOD, M O V E S
EFFECT. 23. The disc is now picked up,the
andbothare
placedon
vaseplaced top of thetube.
on it
AND
SLEIGHTS.
23. Raise front of disc with right hand, keeping bottom portion of disc on table. This move acts as a screen andmomentarilycoversthe flower vasewhich is standing on the table immediately behind the disc. Undercover of the disc the vase is reversed.The reversal of the vase is accomplishedimmediately the discassumesaverticalposition.Thevase is reversedby the followingmovementwhichmakes the operation p.erfectly natural and is indetectable. The left handapproachesthe vasewith the palm uppermost,thethumb being atthe rear of the vase.Thefingers and thumb grasp the vase about thecentre. It will be foundan easy matterto reverse the vase,leavingthehandina perfectly natural position to place the vasevisibly onto the disc. The reversal of the vasemustbedone close up behind the disc, otherwise angles will tell. The vase is now placed on the disc and both placed on top of thetube.
NOTE FOR PATTER. Intimateto audience that all the silks have now changedplaces, I.e., the coloured silks are now white and silks which were white are coloured. Explain t h a t inconsequence of thischangethere is astrongbond of sympathy betweenthem and that you now proposed t o provethis. 24. A
white silk now is taken from r.od and two oppositecornerstiedintoaknot,formingaring.
25. Thepurple
knotted in
silk is takenout of the flower vase, a ring t o match the white silk.
24. No moves or sleights,
is theone
whichwas
I t is presumed that this silk originallypurple.
25. No moves or sleights.
white silks onthe row is 26. One of theremaining knottedina similarmanner andtheother white silk is placed throughitandtiedinaknot,thus makingtworings,onewithintheother.
26. No secretmoves or’ sleights. It is presumed that thesewhite silks arethose whichwere originally red and green.
27. The red and green silks knottedtogetherareproduced from flower vase.
27. No secret moves or sleights.
28. Thegreen thevase.
vase, untie fake 28. \Vhile replacing silks in (slipknot) ingreensilk,leavingone tied but concealedinfolds of silk.
and red knotted silks are replacedin
29. The two white silks areseparatedandonere-tied, makingtwoseparaterings.
29. No moves orsleights.
3 0 . The green and red silks areseparatelyremoved
30. No movesorsleights.
fromvase,showingboth--tiedintoseparate
knot knot still
rings.
3 1. Thewaterand
3 1 . In picking up
red andpurple 32. The white silk is tiedthroughthe silks, forming a chain of red,white, andpurple.
32. No moves orsleights.
remainingtwo 33. Thegreen silk is tiedthroughthe whitesilks,,formingachain of white,greenand white.
3 3 . No moves orsleights.
3 4 . Thechain
9 4 . Roll silks so that greenis
flowers are replacedinvase and vaseplacedonplatformon stand.Thetubeand discareplacedon table.
of silks, white,green, rolled upand placedin hat.Hat silks inside.
Vase can now be
shown empty.
andwhite,are is shownwith
the tube .and disc repeat move as in No. 7. Reversing the tube allows the originalred, green (with secret knot)and purple silks (poured intotube fromglassinmove No. 7) to fall on t o disc. Theymust of coursebekeptconcealed fromview.
concealed and hold between thumband fingers of righthand.Turnto hatand pick upborrowedhandkerchiefwith left hand. Simulateplacingbundle of silks intohat, actually palming same, and immediately take b o d w e d handkerchief intorighthand to cover cot.cealed silks. Pickup hat with left hand, sho\ving silks insideThis is.possible because of move No. 8 .
38
l
EFFECT.
METHOD,
MOVES
The chain of silks, red, \vhite and purple are placed in tube, leaving red and purple knots exposed and hanging over side of tube.
8 3 . No moves or sleights.
The knot in the red silk is untied and one white silk is taken from hat, proving once again the bond of sympathy between them.The move is repeated with the purplesilk. The red andqurple silks are removed from thetube, shojving centre white silk still knotted in aring.
36. No moves or sleights.
The reJ. purple and \\.bite silks are placed comp!etely intothetubeandthe green band on the outside of thetube is tapped with thewand.The tube is lifted, revealing the red and purple silks untied and a ’green silk tied in‘aring. Go to the hatand produce last white silk tied in aring in sympathy with the green silk.
37. No moves or sleights.
‘‘ EXPERTCARD TECHNIQUE ’’ byJean Hugard and Freci Braue (Third edition published by George Starke,hewYork, price 42/-). This presentedition hasadded t o i t t\vo chapters by Dai Vernon andDr.Jacob Daley respectively dealing with Card Handling andthe ‘‘ Side Steal ”. In the former chapter the classic c2rd changes are dealt \vith together withamethod of card control and a changeoverpalm.Thesleights question are followed by The Periginating Pips and “ All Backs , a routine that readers of I-Iugard’s Monthly have already put to good use. Dr. Jacob Daley in his chapter dealswith the finer , points of the side steal, andthe technique whilst differing very little from the standard description does havethat verymarked difference which is a greataid in deception. Right hand steal,left handsteal and stealing with bothhandsare capably dealt with.Dr. Ddey witha final reference tothe sleight wisely completes his chapter with the \\+,darn of great experience,:‘please do not overdo i t ” . There is no alteration of textinthe rest of the book, neither is there alteration of illustrations. In value tothecard worker this work stands cheek to cheek with that never ageing classic the Expertat the Card Table andtoanyone professing aworth\\.bile knowledge or‘ \\hat Iiofzinser called the poetry of mzgic, it is anecessity. “ STARS QF MAGXC ” Series No. 7, by Dr. Jacob Da!ey (pub!ished b!. Stars of 3Iagic Inc., Nelv York). Thecard worker is extremely fortunate in having theopportunityto acquire three items from the repertoire of America’s great card Ivorker, Th. Daley. In every case the descriptions are clear and close-up photographs give thestudent a clear picture of Lvhat is going on.Theyare real lessons in magic. No. 1 ‘‘ THE CARDS UP THE SLEEVE .” (price 35/-) I t is a greattreatto come axvay from the more popular version of this effect andreturntothe older and classical version. In his version, Dr., Daley takes Ace toten of a suitand after. shuffling them intoan haphazardarrangement causes them t o leave his hand andtravel on,e a t a time up his sleeve in numerical sequence. From inside thejacketand a t thetop of the performer’s sleeve theyare removed (they do not as a contemporary revie\\- pointed out travel intothe “
”
,!>
”
I ‘
“
”
AND
SLEIGHTS.
performer’s pocket !). Inthe routineDr. Daley combines subtlety with good sleight of hand,andthough the moves are not acquired in amomept or two they are not beyond the capability of those who are willing toput in anumber of hours’practice. For a long \\ hlle we have wished t o add this effect t o our repertoire and have sought aroutine. Now inthis version we have found the very thing. Unreservedly recommended.
No. 2 “ THE ITINERANT PASTEBOAHDS ” price 2 1 / - ) . This routine ir a study based on the author’s method of making a false lift. ( I n some ways i t is rather like amethod of our own described in a very early number of thg ‘‘ Pentagram The point \\hichDr. Ilaley makes, and which we also made, is that with the method described there is no get-ready, and adouble,triple or quadruplelift can be easily made. The effect making use of the sleight is good, but a t one point conjures for conjurers. No. 3 “ THE CAVORTINGACES ” (price 21/-). .This is abeautiful effect making use of the Hermann pass. Dr. Daley makes certain thatthe reader in executing the sleight does so without noise, neither does he give the audience an indication that the parts of the pack are being moved.The ef€ect itself has for its background the Leipzig Ace effect, butthere is a smoothness in the handling that in our opinion makes the effect amystery ratherthan a clever feat o L legerdemain. Thehandling of thecards in the final st-.l.gesis delightful a.nd one completes the reading with t’x desire toaddthiseffecttotheir repertoire. Unrxervecl!y r x ~ m m c n d e t l “ KARD KUT,” by ‘ Hen ’ Fetsch. (An effect marketed hv theoriginator,and available from the chief American dealers, priceOne Dollar. This is a very nice close-up effect and no doubt, in thosecountries where table work is aspeciality, it \{-illform a useful addition tothe repertoire.Froma sheet of paper showing the designs of sixteen playin!’; cards. one is chosen. The paper is folded this ‘way andthat,andthe magician takes a pair of scissors : one snip. the paper is opened outandit is seen that the c,ut hasseparated the reds from the blacks, and l ’ ) .
39 supposing that the selected card was red, that thes red cards +re joined in a strange pattern whilst among the loose black cards, the chosen red cardis a stranger. This effect is easytodothough practice in folding is essential . Twenty sheets are supplied and more can be obtained a t a low price. An excellent ‘ buy ’. Tom Waterman’s “ SUCKER COLOUR CHANGING SILK ” (marketed by the Ken Brooke Magic Shop, 160, \Vestgate, bradford. Price 25f - post free. Those, and there can be few who havenot, seen Jack le Dair’s acthave seen this effect. I t involves the colour changing of a silk but hasa true ~rruyicul ‘ sucker ’ finish. Everythingthat is necessary comes to the buyer, and the description of the effect in which both George Hake and Ken Brooke participate is again a lesson inthe ‘ way you can’t go wrong ’. To be able to buy at so low a price an effect that is worthy of repeatedperformancebya magician like Jack le Ilair, is something that the general practitioner of magic cannot afford t o miss. Very,verygood.
George Blake’s “ SUPER PASSE COIN ” TRICK. (harketed by KenBrooke, Magic Shop, price 27/6). All mag~ciansworth their salt know of the quality of George blake’s magic. Whatever he touches becomes good andsubtle. Thispresent effect is mostdirect. Two metal cups are shown t o be empty, six coins being dropped into one. Hocus Pocus ! and one coin travels across totheemptycup. The magician keeps on repeating thefeatuntil ali of the coins have leftone cup and arrived inthe‘other. The apparatus, which is excellently made, is mainly responsible for the passing : there is no &all.for real dexterity on thepart of the performer. Those who havea Hair for coin manipulation may enhance the eKe-t with a few simple sleights. \\‘e feel, ho\\.ever,thatanyattemptat showy manipulation would minimise thefeat of coins passing. An excellent effect andan excellent secret that is well worthguarding. Again let us say that you cannot go lvr’ong in purchasing.
EachFebruary issue of the Pentagram has been dedicated to the memory of Annemann. This issue is no exception and we feel that in filling this number with the Arthur Sherwood effect we could find no better tribute. Thepast few weeks have seen two very pleasant functions. The first was the dinner given byTrevorHalland RolandWinder in honour of and on the occasion of a visit to this country of TomHarris, of Arlington, Mass. It wasa delightful evening and tookplace at the Olde Cock Tavern in FleetStreet, a Dickensian haunt. After the Dinner,therewasmagic is abundance contributed by Herbert Collings, Jack Salvin, Geoffrey Buckingham, Tom Hams, Frank Fewings,VictorPeacock, Dr. Bowen and ourselves. The second occasion wasthe British Ring Dinner at St. Ermins Hotel. Here again time was all too short.Theentertainment,thoughonthe long side, was verygood,and we were much impressed by the trueafter-dinnermagicand entertainment offered by Oliver Mackenzie. We have recently received from Messrs. De la Rue,thefamouscardmanufacturers,some samples of the plastic cards which they are manufacturing.Theyareratherhigh priced, costing $22 10s. for two packs. The experiencedcard handler willfind that a change of technique will be called for in certain sleights. Thecardsare extremely pliable and resilient; they can be rolled up underpressure and yet when the grip is relaxed, they will open out quite flat. The corners will notbreak easily aswithapasteboardcard and a corner crimp will stay put under preskure and act as a locator much in the same manner as a brokencorner willon apasteboard card.The cards are in short supply at the moment, though most of the larger stationers have a few in stock. In the short time that we have had at our dispozal to test thecards, we havenotfoundthatthey have any advantage over a good pasteboard. We are told that Helmut Schrieber put on some marvellousmagic in therevue that he
presented. We know that this will be of interest to Dr. Fries in America as well as all those members of the Magic Club of Vienna. Incidentally, Schreiber is working under the stage name of Kalanag, which translated meansthe ‘ Black Snake ’ ! Increased costs of production are hitting magic magazinesvery hard.Hugard’s goes up to 40 cents. Whirligig inwhichGeoffrey Robinson appears each fortnight goes into its second edition. Geoffrey, as you know, showshowone free effect is worked andthenperformsanother fromexplanation.The effects he explains are takenfromanationalexposeandareseldom tricks in the real sense of theword.However, it shows whqh canbe missed. Theother week heperformedthe effect of balancinga glass on aplayingcard.Notonly were the studio staff all agog but Geoff.received anumber of letters from magicianssaying thathe shouldnothave exposed such a goodeffect! In the latest number of the London Society of Magicians Gazette, our friend Francis Haxton under the title of “ Magical Topics writes only too truly anent magical societies in general Alreadythere is amovementon the saying : part of experienced and thiqkingmagicians to collect together outside magical societies, to discuss and profit byan exchange of magical ideas, because such opportunities are- not provided by societies . We know that Ron. Baillie’s Mindsin Harmony registered very strongly with our readers. Next month we have very a fine .mystery from this artist-magician entitled the ‘‘ Finger of Fate Incidentally,Ron., who has been painting throughout- the winter in Morocco, hasfounda newuse €or a ‘finger nail writer. ’ men are plentiful around ‘ThreeCardTrick Fez. Onthe first throw of thecardswhere the ‘ Sucker ’ wins, Ron. points to the Queen and at the same time makes a small pencil mark on the back of the card. He’s making money this way !
“
”
“
”
”
“
”
“
”
l’.
40
I
LOOK AT1 THIS! from KENDE
An unsolicitedtestimonial
COURCY
PSYCHOANALYSIS is superb; I have already worked it and it has baffled evewone. Altogether, the effect is UnuSudlY good and, due to thopening lecture (given in the book) the audience do not look upon it as ' just another trick '. To the practical mentalist,oreventothe magician who is looking for a second actfordinner engagements, it shouldprovea God-send. And I'm personallygrateful that it issomethingright away from the ' pushbutton ' class. In other words, it won't be " flogged to death "
I
English Books U
in Fine American Editions SLEIGHT-OF-HAND, bv Sachs.With the Hoffman books unhappily is nnquestionably the bestgeneral w y k on out. of,print,this con~unng, using bwth sleight-of-hand and apparatus. We'll neverhaveenoughwordsto shout th: praise of thisexcellent production of Sachs's Sleight-of-Hand (Sid Lorraine). Cloth, 416 pages .. .. .. .. ., .. .. .. 30/OUR MAGIC, by Maskelvne & Devant.Theart,theory,and practice of magic, bp,,twoexperts. "Themost valuable bookonmagic ever written (Mulholland). Uniform with Sleight-of-Hand in format. Cloth. 336 pages .. .. .. .. .. 30/-
THE LATEST AMERICAN BOOKS ! HOBBY MAGIC (Young). New cdlector's book, cloth, 207 pages 21 illustrations 251FABULOUS DESTINATIONS b o o t h ) . Travels:cloth, 239 pages, 17 illustrations 251EXPERT CARD TECM'IQUE (Hnpard-Braue); Clmoth, S00 pages, 352 lllustratlons 431SCARNE ON CARD TRICKS. 'Non-sleight 'feats;' cloth: 308'page:- .
".
'
See previous advertisements for description of the effect, or, sendstampedenvelope for leaflet. Better still, BUY A COPY NOW.
10/-;
Two Great
'
A/-
illus., bds., 77 pages 111CARD CHEATS (Moss). Sleights finely NOTE : Please remit to Mr. Robertson Keene, c/o Riverside, Victoria Road, Yarmouth, M e o f Wight, and receive the beaks promptly from the UnitedStates.
Postage 3d.
from thepublishers
THE MAGIC WAND PUBLISHING CO.,
SMOOTH POSSIBILITIES "
728, Madison Avenue, York, PA., U.S.A.
PETER
By Tan Hock Chuan A booklet dealing withthe methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM
404/408
ispublished on the 24th of eachmonthand can be obtained direct from thepublishersfor 1/1 per bingle copy. AnnualSubscription 121postfree. PUBLISHED BY:
0
Vice-President:Douglas Clubroom andLibraryand
Magical Theatre : Particulars from Hon. Secretary :
King George's Hall, W.C. Francis White, 39 Alverstone Avenue,
Peter Warlock,
Telephone : TOT7742
JACK HUGHES
will be pleased to send
BROCHURES, LETTERHEADS and PRINTED PUBLICITY designed to please ! Special Jumbo CardTricks made UR. Advertising ideas., Copywriting, Line drawings.
you details of his verylatcsteffects and allhisold favourites in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK HUGHES I
I
I [
Museum :
St. Ermin's Hotel, Caxton Street, S.W.1.
24, Wordsworth Rd., Wallington,
+
Cmgga, Esq., Y.I.M.C.
Manuscripts for publication andbooksfor review should be sent to the: EDITORIAL ADDRESS:
lI
WORK
the Duke of Somerset,
D.S.O., O.B.E.,J.P., M.I.M.C.
Wimbledon Park, S.W.19
Surrey.
JACK LAMONTE 28, WARWICK RD., LONDON,N18 I
The Magic Circle President : HisGrace
The Magic Wand Publishing Co., , * l l , Monastery Gardens, Enfield, Middlesex.
ROAD
By a MAGICIAN who knows your requirements
0
WARLOCK'S
PENTAGRAM
Croyddn
ART
FLEMING BOOK COMPANY,
,
11, MONASTERY GARDENS, ENFIELD, MIDDX.
''ROUGH AND
'
'
2,
EVELYN AVENUE. COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your r a n t s LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Magic Wand Publications The Mzgic Wand, Quarterly. Fer copy 318 p.p. Annual subscription 14/6. The Wizard, 36 pagesmonthly. Per copy 211 pp 6 month 12/6 Year 24i.. John ' Ramsay's Chps &' Balls(Farelli) 25/6 WhereHoudini Was Wrong (Sardina) 20/6 Convincing Coin Magic (Earelli) . . 17/10 Mastered Amazemcdt ~ ~ ~ ~ ~ . . . _ , . 1013 (Koran & Lamonte) Bohleno's Mysteries (Bohlen) . . l013 . . 1013 Thanks To Leipzig (Farelli) George Armstrong's- Premonition 10/3 Chandu's Psychoanalysis .. . . 10/3 Entertaining With H pnotism (Dexter) 1013 Challenge Instant &pnotism g: Mass .. .. .. 21fHypnoti-m Strictly Magic (Eddik Joseph) . . 513 Around Stooging (Stuthard) 513 26 Living & Dead Tests (Gariett) '.'. 513 . . 5/3 Jamesosophy (Stewart Jam,es) . , . SI3 Year Book 48/49 (few only) StuntsWithStaae Money (Lamonte) . . 513 Tricks of thTrade (Arnlctronp) .. 2/7 From the puhlkhers THE MAGIC WAND PUBLISHING CO., 1, Monastery Gardens, Enfield, Middlesex. ~~
~
Every Advertiser's goods are fully endorsed by this Bulletin ..- -.
2
n
Walker a d Son (Printers) Ltd..WellCroft.
2
d p i z d - byHerber:
Shiokv. Yorkshira.
41
PENTAGRAM An independent monthly bulletin for all who want good magic
M ,1951
V ? .5 NB. 6
I
Fes-Batha, Maroc. December.
Dear Peter, -4nothernoteto let you know what’sdoing. I’m in Fesnow, an enchanting city, straight out o f the “ Arabian Nights . My studio is in the garden of theSultan’s palace, a lovely room with arched windows and mosaics onthe floors and walls; a river runs ~ r l l r l e u thestudio!Frommyopendoor I look out on to a tiled and roofed hioorish verandah, huge scarlet and blue creepers climboverthe verandah and droop down into the water below; beyond lie palm trees, cactus plants, orange trees and pomegranates. The trees arefull of singing birds, butterflies and whitedoves flutter about;trulya dream-like existence, this! In the evenings I sit outside a Moorish cafe sipping mint-tea, a willow tree trails in the river nearby, Arab musicfills theairand wisps of hashish smoke come drifting past; from where I sit I can see the House of the Magician in the Street o f the Clock ; more about this place when I visit you in England. ”
“
”
“
”
”.
Finger of Fate The mentalist squats on the floor, in front of him is a circular brass tray, a Moorish one, resting on tiny legs. Thespectatorsquats opposite the mentalist, on theother side of tray. Mentalist poursastream of silvery sandontothetray, thensmooths it downwith his flat hand till the tray is covered with a flat surface of sand about -;in. deep. Mentalist now is blindfolded and retires to acorner of room,standingwith his of a backtowardsspectator.Spectatorthinks design or Arab symbol and is then asked to trace this design in thesandwith forefinger of his right hand. He is to concentrateon this design for 10 seconds or so, thento smoothoverthe sandagainwith the palm of his hand, erasing the design, leavingthesandoncemoresmooth “
and unbroken. Mentalist now returns, squats cross-legged behind the tray once more, and concentrates. Slowly his righthandapproaches the tray, forefinger rigid;asudden dart downwards and his finger stabs into the sand;it moves slowly, then quicker; jerkily, then smoothly,grinding the sandfromunderneathit, until the exact (or nearly exact!) duplicate of the thought-of design lies there,traced in the sand bythewonder-worker’s finger! (Whew!) Well, that’s how I’d like to work it, selfcontained;only the trayandsand,butperhaps some hidden apparatusor gimmick; any ideas? What I did, of course, was to prepare a stack of blank visiting cards, about 20 of them,withan Arabsymboloneach. (Designs, etc. couldbe used instead. ) Theseare “ set-up in aknown order. Charlier false shuffle and cut, etc. Spread on ground and spec. slides one out. You pick upat placefromwherecardwaswithdrawn from (& la Annemann) , and peek at keycard as you lay cards aside. The effect is good, I think,andcapable of manyvariations,but I wzez4Zd like a self-contained methoddoingaway with the cards. I presented the effect with all possible accessories; incense smokingaway in acontainer on either side of the tray-table, flickering oillamps casting shadowsover the room,bags of incantations and mumbo-jumbo, untl my forefinger, the one that traces the design, commences to gZow in the semi-darkness!This, of course, is the old gag, usingthe deposit that remains if you burnthe striking-surface of amatchboxon a glass or metal surface. I carry somewithme all the time, keeping it on a small metal lid, off an ink bottle; this lid is wedged into a matchbox whichisin right trousers pocket. You justopen the box in pocket and dab forefinger into the oily motion with liquid on lid. A slight rubbing forefinger and thumb starts the glowing business. Indaylight, of course, youproduce srrzoke this way, as the glow isn’t seen in the light. “
”
”
42
An age-old effect, but witha twist tomake it appear different, plusastoryandpresentation which has provided me with a popular item in my repertoire for some long time, is my offering to you. rviay I first of all tell the story as I do to my eager-facedchildrenamongst my audience. " Children, in my travels I have visited many lands,and some timeago I was enjoying the colourful beauties of that ancient City of Baghdad. Whilst wandering around one of their quaintEasternbazaars I came across a wizenedold man thrilling agroup of dark-faced youngstersrecountinga story and holding their interest witha delightful model of anEastern temple. I have the verymodelhere, which you see fills one withexpectancyastowhat it will reveal. This old manremoved the minaret toppiece, as I am doing, and, taking the- column of glass, poured out its contents, which you see are lovely colouredbeads, into his darkand sinewy hands. There they were, all those brilliantly coloured beads, lit only by the rays of the strong sun. After allowingone or two of the little ones tohandlesome of them,hepouredthemback into the glass column. Pulling a strand of silken thread from his mantle, he wound this round his finger andputit in amongst the beads. He replacedthe topand set thecolumnintoits rightful place. Turningto those onlookers, he asked them to be very, very quiet and still . . . . you will follow their example,won'tyou? . . . . Next he removed a leather pouch from his cloak and with a crude piece of paper rolled himself a cigarette with the dried tobacco leaves which it contained.Theyfollowed his everymovement, but as I haven't a pouch I am going to use this ordinary cigarette with which we are more familiaroverhere.Placingthe cigarette into a beautifully carved holder, he placed it to his lips, lit the end and alternately puffed at it and cried to the skies toshower forth flakes of snow. For theretobe snow amongstall this heatwas in itself a miracle, but,strange as itmightseem, down came the snow. It fell all around that little temple and when the last flakes had fallen he laid aside his holder and cigarette andonceagain removed the glass column from its base, and after taking the minaret away, poured the beads again just as you see into his hands, onlytoreveal, here, a necklace made from the beads and silken cord." The temple is simplicity initself and is made from the largest sizeAlka Seltzer tube.Thecap is dispensed with and a minaret is shaped from a piece of balsa wood and used as a stopper.
Down the centre of the tube is fashioned a length of polished tin or mirror if you like. Thus we havevirtuallyamirrortube in miniature. On one side of thetube is thecompleted necklace, whilst ontheotherarethe loose beads. The length of silken cord is a piece of embroidery silk which is hangingthroughyourbuttonhole in your lapel. A cigarette-holder, which must be Oriental in appearance, is easily camouflaged if youtakea modern one and apply covering a of sticky paper, suitably puckering it as you apply it, and thendecoratewithposterpaints.The cigarette has been doctored by inserting one of those " Snow Storm " pellets obtainablefromjoke stores. There is a base to take the tube and a cardboard background designed accordingly. The beads (continued on page 44)
Flashback ! R stands for Redrnan
~ a o f e m ~ aRe.d,metn, i~ COMEDIAN, ILLUSIONIST, JUGGLER, COMICAL CONJURER. PLATE BASIN SPINNER & MANIPULATOR, ROCITER & VOCALIST.
Han, the Royal Aquariultl, etc., etc. '' The British Flag," graciollsljr accepted and ackuowledged by
I.ron, St. Ceorg 'S Hall, St. James's .+uthoc of our New National Paenl
HIS
MA~ES Tnr T YKING, H.R.H. Tnr PRINCSOF WALES, A N D OTHER
MIILMBLRS
O F THE R O Y A L F A M I L Y .
germs.
. .. .. .. .. .. .. ..
.. .. ..
..
E
S.
d.
~ o r t y - f i v eMinutes I I o Hour One 1 7 0 Ditto with Special Novelties I 12 G -One Hour and a Half 2 2 o Two Hours 312 6 These terms include most of the above kinds of Entertanmen'
..
....
PLATE
.. ..
.. .. .. - . .
..
& BASIN S P I N N I N G . ETC., BY
ARRANGEMCXT.
BAZAARS, C O N C E R T S , SOIREES, ETC.,ATTE?:~)!? o.
Fog &&S
Speci.1 Terms on behalf of Charities. and further particulars, hddress-
82, DUClIt STRBBf,
FERNDALE ROAD, CLAPHAM, S.VI.
From the J .
B. Findlay Collection
43
Here is acard effect of mine that maybe suitable for your readers. Hand a pack of cards to be well shuffled and tell the spectator to deal outa pile of cards, first dealingone face down, then the next face up,thenext face down, and so on.Afterhehasdealt ten cards, tell him to stop at any time he likes. Let us say that he stops afterdealingthelastcard face down. Tell him to take this face-down card and note what it is. Thenhe is to insert itanywhere in the pile he has made and hand all the cards to. you. (Should he stopata face-up card, tell him to take any card from the pack, note it and insert it anywhere in the pile dealtout.)Holdthecards under the table or behind your back and execute the following moves. Take the top card in the right hand, reverse it and push the nextcard below it.Reverse the two cardsandputthenextcard below them.
Reverse the three beforeplacing thenextone below them (this is just going through the moves for theSlop Shuffle .B la Sid Lorraine, butjust takingonecard at a time).Carry on until one card is left, whichgoesbelow the packet.Take out the cards, whichwill be seen tobea facedown packet.Thensaythatyou willshowhis chosen card., Fan off the few face-downcardsfromtop of pile and a: face-upcard will show. If this is the selected card, the effect ends there. If it is not, place the fan of cards below the pile andsay that youhavefailed. Now fan off theface-up cardsandplacethem below the pile. Palm off the first face-down card and ask for the name of the selected card. Then produce it from the pocket, remarking that it has beenin the pocket all the while.
Readers who areonthe look out foranovel and dramatic method of revealing a selected card suitable for stage presentation may like to try the following effect, whichallows the performer to put to good use any acting ability which he may possess. A card having been selected and shuffled back into thepack byaspectator, hi; attention is drawn to a small figure of Buddha which is standing in the middle of acardtable. “ Bythe aid of this image,” remarks the performer,. I shall endeavour to discover the card which you selected a few moments ago, whether or not I al;n ontherighttrack will beconveyedto me by whispersuttered bythe idol, ’to which myears I can are specially attuned, Before, however, make use of this sixth sense, I must sacrifice one of theother five-would youthereforebe good enoughto blindfold me, and place the figure in my hands. The performer-who during this diatribe,has been standing behind and at some distance from thetable,beingdulyblindfolded-requeststhe syxtator to cut the pack into three heaps. Now ”, heremarks while standingwith the lips of the figure against his ear, please be good enoughto pick up one of thepackets of cards. Ah! I distinctly heardthewordsPasHaki ’, which is Tibetan for ‘ put down ’, therefore your so would you be good card cannotbethere, enough to put the heap you hold aside and pick
upanother.That’sbetter. I heardthewords ‘ KasShaga ’, which means ‘ it’s here ’, so would you retain that heap and put the remaining one aside ”. The helper is then requested to take the chosen heapandspread the cards it contains backs up over the, table, and guide the still sightless magician to the rear of same. After further whispers the performer, afterdueshowmanship, places the buddha upon one card, which is found to be the actual one selected by the spectator. As the expsrience.d reader will havedoubtless realised by now, the effect is nothing more or less than the old stabbed card effect, described ModemConjurer ”, originally in Lang Neil’s with an up-to-date dressing, and without the need of sacrificing card a each time. The requirements are few and simple. 1. A small buddha, which may be purchased cheaply at a curio shop. 2. A pack of cardscontaininga short whichis marked insome distinctive manneron the back. 3. A large white handkerchief for blindfolding. The actual working may be dismised in a few words, as it is the showmanship which counts.
l‘
“
“
“
”
“
“
(continued
OTL page
”
44
44
SA! The following is not really amental effect, but it can be effectively introduced as an example of the “ Power of Thought ” I have always been fascinated by the depot SwingingRisingCards ” but effect called the thought it a pity that only one of the two ribbons attached to the card houlette could be held by a neutral spectator, the other ribbon being, through necessity, held by the performer or stage assistant. By using the following presentation a plausible reason is given for the performer holding the ribbon, also the plot is one that is unusual and will be remembered. The secret of the “Swinging Card Houlette” is not mine fo disclose, but it should be well known to readers of this bulletin. If thereaderhasn’t one in his pqssession itcanbeobtained at a I would like to nominal price fromadealer. make a note that if the reader uses this presentation, he will be well advised to repaint the houlette in quietershadesthan those associated withthe article as it is usually supplied. This is the effect : The performer requests the help of a gentleman assistant with a strongly developed will-power, and remarks that he would like to indulge in a friendly battle of will-power of plain cards of with him.Producing,apacket playing card size, he has the spectator select any one and write his full name across it in as large handwriting as possible. The signed card is then replaced in thepacket ofb!anks andthe whole lot shuffled. The houlette is now introduced and -thecards placedtherein.Theperformer now “
The handling of the apparatus is obvious and you will find thatby holdingtube a t topthe thumbcan cover the side of thepartitioned openihg that is required so that only the contents of one side will fall out. The hand lies along the tube so that it covers the contents hidden in case Angles ” ! of “
emphasises the extreme isolation of the pack, but remarks that he wants both the spectator and himself to keep in physical as well as mental contact with the cards and in particular the one that has been signed. Therefore, each will take one of the ribbons attached to the houlette. This being done the houlette is slowlyswung to demonstratethe complete freedom and isolation of the cards. The performer says that he will now indulge in a battle of wills and by power of mind over matter will compel the signed card to separate itself from the remainingcards, whilst the spectator is to exert all his ownwill-power to prevent such a thing happening. A signal isgiven bytheperformer and both bring their full power of will on to the unoffending card. But despite all thespectator’s efforts, the will-power of the performer is in the ascendent for slowly and deliberately the card rises from the pack. Thus demonstrating the ever compelling will of the performer and the fact that inanimate objects are subject to the power of thought.
To conclude,theperformer,afterremoving the card from the houlette, adds his own signature to it and asks the spectator to accept it as a souvenir of the occasion, remarking that although hehasconducted thatparticularexperimenton numerous occasions, to-night was the severest and closest battle of will-power hehadyet ,encountered.
If theperformer’s visiting cards are playing card size andprintedonone side onlythey are ideal for this particular purpose.
table, in suchamanner thatafckvard glimpse As thecards allowshim to view thetabletop. arecut,he quietly notes the position of the original top portion of the pack, on top of which rests the selected card;thus making it easyfor whisper ” asto whetherthe the buddha to correct heap is picked up, while the marked back of thesamemakes location eauallveasv when “
45
a-w % w e TheThree in OneCard When I first read Trick ” in Trevor Hall’s Testament of Ralph W. Hull, I formedtheopinion that it was the best Transposition Trick I had come across. My notes at the end of the trick read as follows :“ The factthata Prediction isused at all offers a solution-to the layman with an analyticalmind.Spectatorcansaythat “ he knewallthetimewhat the cardwould be! ” thus belittling theother effect of Transposition. Leave out the prediction and it will appear that m y card at any number can be transposed, NOT JUSTONE CARD’ PRE-DETERMlNED BY T H E PERFORMER.’’ ReadingJudgeWethered’s“RevisedVersion” in the January Pentagrant, I lookedeagerly for the revision as mentioned in my notes, but no! the prediction is still there! Hardly can one pick up a book on mentalism (of which predictions forma large proportion) withoutreadingexhortationstothe mentalist to shun conjuring tricks the as plague. Even further, to shun the use of playing cards. Not that I hold with the latter view, for some fine predictions andthought-reading effects can be carried out with the aid of cards, defining the
cards which will betaken or which havebeen taken, as the case mav be, but I do contend that any semblance of coijuring should be’ kept from mental effects and vice versa. I may, of course, bewrong,quitewrong, for who am I toassume that I may criticise such great constructors of magical effects asR. W. Hull, who has, through Trevor Hall, passed along so many masterpieces. Even so, and assuming that under certain circumstances it ,may be permissible to mix predictions with conjuring tricks, I further contend that the .prediction in this case is definite anti-climax. Onehas to show thatthe chosen card at a specified number, has disappeared from its position in the half pack in which there is one card less, and that it now rests in the other half pack at the very number freely chosen previously.
Our most pleasant surprise during this month was after hearing a knock and opening the door, to see noneotherthan Ran. Baillie. Wespen a verypleasanteveninghearing about magic in Morocco in gcneral and Baillie’s magic in particular.Weheard of the Casablanca threecard trickster whouses his feet instead of his handstothrowandmanipulatethecards.In this issue we .publish one of Ron’s effects that he sent us a month or two back, an effect with a plot that is ideal foraHallowe’en party. We also gotaslant on ( ‘ Double Stop ”~,aslantthat @vestheperformerthe identity of both cards, a slant that will appear in another issue. The Magic Circle Occult Committee have been busyduringthe last month.First of all, in one of the Demonstration Theatres at Guy’s Hospital, JimmyEsler,VictorPeacock,JackSalvinand ourselves presentedanumber of psychic effects that were accordedavery fine reception. Later in themonth, Lt.-ColonelHurtnellshowed to members of the Committee a filminwhichsome native magic (the egg bag, rods and beads and a ball production) was followed by a version of the
IndianRopeTrick.Thesameevening we ,had the opportunity of meeting the very much publicised Dutchpsychometrist,.PeterHurkus. He is a charming fellow and we .wished that his stayin,Englandhad been longer in order that we couldhdvespentmoretime with him. We are more than pleascd to publish the ‘ ( Magic of Colour in the last month’s issue. In the February issue of the Sphinx Wilfrid .Jonson pays a very nice tributeandmentionsa point that we overlooked.Thepoint in question was that Arthur Sherwood did not read books on eonj.uring. He set out for a desiredgoal and atia’ned . It without resorting to the laws laid down, even though unconsciously he obeyed those laws that make good magic.There are parallels to this in many walks of life, and one that most comes to mind is in respect of that veteran horticulturist, George Russell, creator of the Russell Lupins.Wequotefrom the “Observer” of Junelsth, 1950 : “ Some growers work to scientific principles. If Russell did so, heseems to have been unaware of it. He once had a copy
“
<
That in itself, so cleanly executed, ismagic indeed, and the effect couldvery well endhere, one knew all butto go further,andprovethat the timewhat the card would be, does, to my mind, detract from the splendid effect gained and is, indeed-anti-climax. I wonder if I am correct?
”
“
”
(continued on page 46
“ KENTARE ”, originated by KenBowell. (Marketed by KenBrooke, Magic Shop, 160, Westgate,Bradford, price 61- post free. Therehave been verymany versions of thetorn and restorednewspaper, andnodoubtthere will be very many more. Nevertheless it refreshing is to find inthispresent v.ersion a differentapproach and indeed a new method.Withappropriatepatter,(an excellent story is provided), the magician folds a newspaper and slashes throughthe edges with paper a knife.Thepaper is folded once more andagainthe paper is cut. Again i t isfolded andagain it is cut. Onecorner is now taken,thepaper is given a shake and it is- completelyrestbred. This couldfind a place in most miscellaneous actsand is idealforamagical compere. A t the price it isa gift !
THE RAMSAY, FARELLI TRILOGY.-There are two standards by which all booksonconjuring mustbe judged; the firstis to determinewhattheauthorhas set out t o do and the second is t o assess the measure of his success in the treatment of his subject. Although notdirectlyavowed,it is implicitin the writing of thesethree books thatJohnRamsayhas designedhis tricksmore to showhow conjurerscanbe“led up the gardenpath”thantoministertothe needs of, those with less guile. And right well does he achieve his purpose. In the ROUTINE WITH THE CUPS AND BALLS, a well-producedbook of IOI pagesprofuselyillustrated with actual photos of John Hamsay in action, the moves and subtleties ,of the inimitable John have been explainedbyVictorFarelliwith his usualpainstaking clarity. The routine might, I think, have borne a more apttitle, for it differs radicallyfrom the timehonoured classicin that it demands the employment of two cups only. Readers are told to start the’ routine with four small balls concealed in the right hand, but are not instructed how t o secure them in position. Such a minor omission meansnothing a t all toan experienced manipulator, but mightgiveaheadache to a resourceless amateur \vith no desire to commence hisperformancewith this verycleverroutine. My ownopinionis that the sixth chapter by giving an out-of-the-picture cofimonplaceness ta a brilliant series of moves, detracts from rather than adds to the l-alue of the routine by making a very doubtful climax. The verythoroughHistory of the Cups and Balls trick ( 2 5 pages)written by VictorFarellicallsforunstinted praise. I t shouldmakea special appeal tothe conjurer whosees in his a 6 something more than mere finger-flinging andthetreating of playingcards to a dressing of Zinc-steadate. There is also a Bibliography ( I I pages) which should !)e of more than passinginterest to an earnest student of conjuring. CYLINDER AND COINS.-In this 33-page pamphlet our author revealshis Conjuring for Conjurersmotifin no uncertainmanner.Right a tt h e co’mmencement of the book we rezd : “Theobject of which is to throw theexpertconjurer completely off thescent.”Further on : “This i s a feint to make the . . . . conjurers think that somethinghasbeenslippedunderthelid.” JohnRamszy in thisroutine with the familiar“pile o f mags” ancl a small piece of cork has evolved a. most
puzzling series of moves which ilicludes almost a treatiseon coin manipulation.Thetitlepage of this bookletinforms the reader that the manipulations are “described inthe minutestdetail by VictorFarelli .” Indeed theyare;andfurthermorethereare no felver than 47 actualphotographstoaccompanythetest, surely a record if the ample size of theillustratjons is takenintoaccount. The trick calls for expert handling; but, as the authorexplicitly suggests, many “sleights with which the reader is already fanliliar” can be, substituted for thosr Yea! Rut there is no substitute under explanation. for JohnRamsay’s gift of misdirection. THE TRIPLE RESTORATION.-The title more or less tells thestory. .A sheet of tissuepaper torninto four pieces, atter suffering further mutilations, becomes completelyrestored.There arethree differentrestorations involved ,inthetrick, all performed with that subtle touch that we associate with the work of John Ramsay. Ourauthor in thisparticular booklet wishes to assurr us that “as there is not a single ‘feint’employedfrom startto finish, itcannot beclassed as ‘conjuringfor conjjjjurers”.” I amsorrythat I cannot agreewith him here. I opine that this very subtle series of restorations is eminentlyabit of conjuringforconjurers, since it lacks the directness that must be the sine qua non oC allconjuringforthetiredmaninthestreet. The fact of TheTripleRestorationhaving no “feints” does notenterintotheargument forconjuring for conjurersrarelycallsfor“herringsacrossthescent.” I amnotdamningthis mostdeceptiveroutinewith faint praise; the planand working outare excellent and would, I am sure, rny.+tify th:? most r;ftentive conjurers’.” I am sorry that I cannot agree with ( ? ) club-room. It should be nOted that on page 16 the y x d “right” onthepenultimate lineshouldread“left.
STANLEY COLLINS.
MAGIC G O R 0 UND-continued
from page 45
ofMendel’s principles, but neverread it. . . . A rqgmber of theR.H. S. FloralCommitteeonce said, ‘ I ’do notknow which other lupirrspecies Kussellusedin his work, but from the range of colours I suspectlupinus lexiflorus, 1. lepidus, etc., have all played some part. To such analyses, Mr. Russell reacts with a look of gratification touched with mild surprise ’ .” It is with regret that we notice that Oscar Paulson has had to resign the post of editorship Magi ”, for his editorials have not only of the been entertaining but also have carried some very good moralsregardingconjuring. Wewish his successor the best of luck. “
Also with regret, a regret that mustbeshared bymany, is the news that “ BAT is to be discontinued. Lloyd Jones has done a marvellous in giving magicians worth-while job of work magic free from apparatus. ”
47
Somewhere in Volume 29 of the Linking Ring, in a Parade by Eddie Joseph, he outlines a transmission effect wherein one of threearticles is successfully discovered, after a selection has been made while the medium is out of the room. The article is merely pointed to,and is not touched in any way. The ,effect is excellent, but has the serious drawback of requiring the cornmitt-a1 to memory of thealphabet linked up with the initial letter of the articles with which the transmission is carried out.
I considered the item much too good tobe passed over lightly, and after some cogitation have worked it successfully many times by the use of a much simpler method. It occurred to me that Pentagramreadersmightbe interested in my method. First let me optline the possibilities : three common articles, of the type carried in the pocket, are taken by the performerand laid on a table, the medium need not see these untilshe comes into the room to discover which has been pointed to. Actually she need not come intotheroom,a member of the audience may take the articles to her, wherever she may be, yet she will unfailingly indicate the article chosen. The method is simple : and I have related it tothe length of thevarious items, in fact using this method, the number of items might be extended,but I havefound that the effect with three is in certain cases bewildering.
Let us suppose that the three items offered are: A wallet, cigarette lighter, season ticket case. In order of length these will be LONG wallet; MEDIUM season ticket case; SHsORT cigarette lighter. The medium only considers the length of the article, the article itselfis of no interest to her. Each performer will use his own method as to how these thingsareindicated, if I describe my way of doingthis, modifications suitableto each individual will be easily found.
If I ask someone to call the medium into the room, she knows that LONG is indicated. If I suggest that thk articles be taken to her, she knows that MEDIUM is coded here. If the SHORT one is selected I ask someone to ‘take the articles in hand, place them behind their back and wait for the medium to enter, as she does not see them at once, she knows that the answer is SHORT. No word is spoken by the performer after telling someone what is to be done. If the articles are chosen after the medium has left the room and she does not see them until asked to discover the selected one, the effectis verystartling,particularly if the medium has some acting ability.
I said at the beginning thatthe articles are freely offered and accepted, one must make small reservation here, naturally the performer will tactfully exclude those who do not differ distinctly in length. I havedone this many times, and no onehas ever suggested thatany restriction was placed on freedom of choice of selected articles,
MAGIC AS A HOBBY by BRUCE ELLIOTT
~
Bruce Elliott’s great compilation of tricksfrom T h e Phoenix, together with some new effects, at last printed in an Englishedition. 240 pages,clothbound. Price 12/6; postage 6d. from THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
4C8
I
THE SPHINX
i
I
l
1
~
i
SPEND S3 ANDSAVE S6/5s.
GOLDEN JUBILEE BOOK OF MAGIC \Vith the March issue, The Sphinx celebrates its Golden Jubilee. Suitably to commemorate this auspicious event, we are publishing the Golden Jubilee Book of Magic, 75 of the besttricksprinted inThe Sphinx during its lifetime . . . Tricks t o perform on the stage, platform, parlor or close-up . . . Tricks with every conceivable object . . . Tricks bysuch famous magicians of the past and present as : -41 Baker, Birch,Hlackstone, C,hristopher, Keith Clark, Dante, I.)evant, Downs, Uunninger, F u Nanchu, Goldin, (;\vynne, Harbin, Haskell, Leon Herrmann, Houdini, Hugard, Jarroiv, Kellar, Laurant, Leipzig, LePaul, Levante, Long Tack Sam, Mora, Reno, Tarbell, Tenkai, Vernon,Victor.
You can still takeadvantage of those amazing Buckley bargains, made possible because we bought the publisher's entire stock of these three fine books and are givingyou the benefit of our " luckybuy." CARD CONTROL, cloth. 219 pp., 297 ill.. was 71/-, now . . 20/PRINCIPLES AND DECEPTIONS, cloth, 224 pp., 258 ill., was 71:.. .. , . .. .. , , .. .. .. 201GEMS OF MENTAL MAGIC, cloth, 132 pp., was 43/-, now . . 201-
.. .
BOOKS !
SOME LATE AMERICAN
EXPERT CARD TECHNIQUE (Hugard-B'raue), great the card text .. .. . , , .. , , .. .. . . . ,431SCARNE ON CARD TRICKS, fine non-sleight feats .. . . 21/CARD CHEATS (Moss), finely illas. sleights, bds. . .. . . 111HOBBY MAGIC (Young), ncw collector's book . . . . 25:60 YEARS OF PSYCHICAL RESEARCH (Rinn), exciting expose 35/IRELAND'S 1950 YEARBOOK, 35 new tricks,bds. .. .. . . 13/,
Publication ORDER
THE
Date
YOUR
March
First
Note : Please remit to Mr. Robertson Keene, c10 Riverside, Victoria Road,Yarmouth, Isle of Wight,and receive the books promptly from the United States.
COPY NOW
SPHINX
c/o WILFRID JONSON, 45, Kingsmead Road, Tulse Hill:London,
FLEMING BOOK COMPANY, Yoik, PA., U.S.A.
728, MadisonAvenue,
S.W.2.
~~
PETER
WARLOCK'S
PENTAGRAM ispublished on the 24th of each monthand can be obtaineddirectfrom the publishers for 1 / 1 per single copy. AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts forpublication review shouldbesent EDITORIAL ADDRESS:
and booksfor to the:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
A GREAT NEW
BOOK
I
JACK HUGHES will be pleased to send you details of his verylatest effects andall his old favorlritcs in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK 2,
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE DLD ANDNEW. Le? me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
~~
~
~
~
~
~
~
~
_
~~
_
_
_
_
_
The Magic Circle i'r-csidt.nt: His Grace
Duke of Somerset, M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. thr
D.S.O., O.B.E.,J.P.,
ClubroomandLibraryand
Museum :
St. Ermin's Hotel, Caxton Street, S.W.l. Magical Theatre :
King George's Hall, W.C. ParticularsfromHon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The Magic Wand, Quarterly. Fer copy 3/8 p.p. Annual subscription 14/6. The Wizard, 36 pages monthly.Percopy 2/1 p p. 6 month 1216 Year 241John. Ramsay's Chps &' Balls (Farehi) 2516 Where Houdini Was Wrong (Sardina) 20/6 . . 17/10 Convincing Coin Magic (Farelli) Mastered Amazement (Koran & Larnonte) . . 10/3 . . 1013 Bohleno's Mysteries (Bohlen) Thanks To Leipzig (Farelli) . . 10/3 George Armstrong's Premonition 10/3 Chandu's Psychodnalysis .. . . 10/3 Entertaining With Hypnotism (Dexter) 1013 & Mass Cha!lenge Instant Hypnotism .. Hypnoti-m . . 211Joseph) ' , . 513 Strictly Magic (Eddie Stooging Around (Stnthard) 513 26 Living & Dead Tests (Garrett) 513 .Jamesosophy (Stewart Jarnes) . . .. 5;3 Year Book 48/49 (frw only) . . , 5/3 Stunts With Sraqc Money (Larnonte) . . 513 . . 2/7 Tricks of the Trade (Ammqtrons) From the publishers THE MAGIC WAND PIJBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. '
':.
49
PENTAGRAM An independent monthly bulletin for all who w a n t good magic
V ! .5 &JK7!h.
Up& 1951
Theeffectabout to bedescribedbringsinto playapack of cards inwhich there exists a certain arrangement. Therefore, to secure the best effect it is better to precede it withanother card effectinwhich at theconclusion orduring its performance the pack canbe switched in a naturalway.When presentingit ourselves we precede it with an effect in which a card has been forced (thiscard beinga duplicate of thetop card of the pack to beintroduced later), it is is shuffled backintothepackandthepack placed vertically in apocket which contains the other pack (this pack lies horizontally). The topcard is takenfromthe horizontal packand affirmed as the chosen card. The remaining part of the horizontal pack is taken from the pocket, the chosencardaddedtothe top, and the pack false shuffled. ?‘he readermust forgive theabovepreamble, but we wished to emphasise that the switch must be natural. Letus get downtothe effect itself, whichis baseduponavery old mathematical principle, and my friend A1 Koranmade good ust’ of it in an effect which won first prize in The Jlugic ll’and competition for the best mental effect some years back. The present effect, devised for small audiences, obviates certain features which I thought undesirable. First of all, thirty-six envelopes will be needed and so also will be thirty-six pieces of card. Such card may be the magician’s calling card. Taking twelve of the envelopes,thereader will haveto of a month on eachone so that printthename the twelve months of the year are covered. is to get someold Better than printing by hand calendars and cut the names of the months awayand stick themon to theenvelopes. The remaining twenty-four envelopes are similarly treated, so that when finished ,there will be three sets of envelopesdesignatingthemonths of the year. Next, twelve of the cards are taken
and on each is written “ Your Birthday Card is the Ace of Hearts . Thesecards are placed one in each of the first set of envelopes, the flaps being tucked inside, not stuck down, thus allowing the magician to use them for an Twelve more cards indefinite period of time. YourBirthdayCard is have written onthem the Nine of Diamonds and these are placed in The remaining the second set of envelopes. twelve cardshave “ YourBirthdayCard is the King of Diamonds written on them, and these go in the third set of envelopes. Make sure that the sets arekeptseparate.Think of the sets as 1 , 2 and 3. The pack of cards isnow arranged so that the topcard is acorner short,and this in my OWR case is a duplicate of acardforcedfrom a similar lookingpack. Thetenthcardfromthe top is the “ ace of hearts , the eighteenth card fromthe top is marked in arecognisable form near the edge. Withawhitemarginedpacka is small pencil dot will do. The marking repeated on the opposite side. The twentyseventh card is the nine of diamonds, the thirtysixth card is marked near the two opposite edges and finally the king of diamonds is placed in the forty-fifth position. With pack the thus arrangedit is placed in theright-handjacket pocket so that it lies on its long side. Aftertheshortcard has beenproduced as a chosen card, the pack is removed, placed on the table, the short cards being placed on top. Three members are invited to assist. Takingthe stack of envelopescontaining the “ birthday cards, themagicianapproaches the first and asks him his birthday month. Supposing that it is May , the magicianabstracts the May envelopefromthe first set and hands it to him, at the same time requesting him to place it inside his pocket for the time being. The second assistant is asked his birthday month and is ”
“
”
”
”
”
“
”
“
”
50 handed the envelope bearing the appropriate m0nl.h from the second set. Lastly the third assistant after naming his birthday month is given its namesakefromthethirdset. The eavelopes skor;ld be handled quite casually, and if the magician is fortunate enough to s’rike three peoplewhose birthday falls in thesamemonth he i 3 s an additional aid to his patter. The envelopes are placed down and the pack taken. It is given an overhand falsz shuffle that will notdisturbtheorder of thepack. (In this respxt 1 don’t think that there is anything better to use than either the shuffle given by De Manche in the Moderrz Conjzrrer or the old optical shuffle.) A cpec‘aior is askFd to cut the pack, and receiving it back the pack isgiven a few casual cuts, and finally th:. shortcard is cut to thetop so that the pack once more is in theoriginalorder. I am gohg to divide the pack into approximatelythree p a r k Here’sathirdforyou,sir. (The first as:’s:ant is given a bunch of cards from thetop of thepack.Althoughhandedoutcasuoff allythemagicianhas in theroughpush divided the pack at the first marked card, and the seventeencardsaboveit arehanded out.) And a third for you, sir. (The second assistant receives the eighteen cards above the second marked cards.) And perhapsyou will takethe remainder. ’ ’ (The remaining seventeen cards are given tothisassistant.) The position now is that each assistant has a heap of cardsin which thetenthcardisthat written onthecardintheenvelope that he has in his pocket. “ I wantyoueachtothink of a two-figure number,but it shouldn’tbegreaterthanthe nu.mber of cardsthat youhold. A third of a thatin pack is approximately seventeen-keep mind.Have youthought of yournumber, sir ? (This to the first assistant.) Keep it well in your mind andcountthatnumberontomyhand. This is done, and we will suppose that the number is fourteen.)Justtakethecardsand giveme those thatare leftover.”(Theunwantedcards aredroppedintoapocket.Themagicianmoves to the second andthirdassistantsin turn,and a similar processgoes on.) “You, sir (this to the first assistant), thought of thenumberfourteen . . . we are dealingin five . . . numerology . . . one andfourmake justcounttothe fifth cardandplaceitaside. I’lltaketheremainingcards. (This is done.) of Because of the counting of the cards, the ace hearts will b e the card placed aside. The second andthirdassistants are similarlyinstructed, and each assistant should now have placed on one side ;he card represented by the message on the card To in theenvelope thathehas in his pocket. conclude,eachassistant isasked toremove the cnvelopefrom his pocket,readout the contents, and turn over the card in front of him. It sounds as though the effect is rather drawnout,butthis is farfromthe case. It “
.
hasn’ttheadvantage of being impromptulike A1 Korna’s effect, but it hastheaddedadvantage of not stressing that anumber between ten andtwentymust be selected. All the assistant isasked for is a two-figure numbernotgreater . thanthenumber of cardshe holds.
Smeet S 2 m p 2~ ~ In i \ J ? r f j e s f and Putterrls f o r P.sychic.s, T descr bed a method of the Rising Cards thar had IIIXIY advantages. The nature of the set-up lookcd bit a complicated and rather Heath Robinsonkh, but the m2thocl was thoroughly practicalandactuallyveryeas’ly set up.The following version, however, bringsabouta similar serics of c f t ~ t sin a fartasier mamer and isbased upona method that I must have used some t:-.irty-two years ago. In those days I fittec! a piece of celluloid across the mouth of a straight sided glass. A small holewas made in this strip, .and through this a piece of cotton was taken and tied. The cotton was thentaken over the back of the glass andanchoredto an adjacentobject (seeillustration). It followed that if acard was continued on opposite page
Flashback ! S stands for Scoticanus By
Pt*W@~VI.
FOR SIX NIGHTS ONLY. f 7 Q ’ J * A T the b U N C i L ’ R O O M , Irswrcri, qn M O N P A Y t h e 12th of March. and ebery Evening during the W e e k ,T h eU N D E C E I V I N G EXI-IIRI’l ION, or D l S S E R T A T 1 O N . S on DECEPTION ; dikovering the
modcs of deceiving p+tifed by Jugglers, SJiglit-of-!undmen,Fortune-Tellers,andNaturalMagiGians, as difplayed in the exllibitiom of BrtRaw, Jonas, Kntterfelto, &c. a dibtavery never made to the world bekore ! wherein’ the feveral T r i c k s are tiril h e w n , and then laid open to the public, therebjpreventingtheir being Dupes to Sharpersand Gambkrs, by Cards or Dice, A moR RIOrioue thought I and golden opportutljty I Alfo, detetling the Frauds of Mounrcbanks,- Qack Dobors, and Lecturecs on pdyulation. T o conclude with a choice and ..vaff numerdus,Collc&tionof the ~ ~ ~ ~ M I R A DIS~ W L O U S covLnJ e a anCards, Money, noxes, &c, in‘ fuch a man. ncr, that every perfon in rile room w i l l be capable of doing them immediately by themfelwes. SCOTICANUS declares he wiiidi&e& moreDeccptions to his audience for tlw f ~ n d ladmittance money, than any performer would do for One Hundwd Guincalr. to atay angle pcrfon. ADMITTANCE T W O SHILLINGS each Perfon. T h e above performance has been acknowledged by thou. lands t o be che molt hunrit, ufeful, humorous, and entertaining piece of rcal novelty, that ever was prefented in p u b l i ~j acd w h a t thoufands mzf? live in total darknefs, i f they are able to fee and w i l l not fee that wrtricll has amazed ! e n l i y h t c ~ e d! edified ! and, givcti Tuch capital fatisfaAio:! aild inl‘truflions to every behc!der I 0 Tickets t o be bad a t the princi a1 Inns, Doors to be opened a t SixG‘Thc L c d r e o to begin a t Seven, and the Deceptions, with theirDifcoveries,at Eigllt. M. B, ‘I‘he room w i l l be genteetffitted u p for the r’eception of 2 falhionahleaudience, comfort;bly fcated roundwith covered.benche5, and fires kept duFing thc
exhibition,
From the I. B. Findlay Collection
51 brought to the top of the pack, and in the action of placing the cards inside the glass and in front of the celluloid strip, the top card was separated and allowedto go behind andfall so thatthe cotton was carried downtothebottom of the glass, a pull on the cotton would cause the card to rise.
the rear sectin. If the glass ispicked upand tension obtained on the cotton the three cards will them with the free rise as o ? : c , Approaching hand’ the sides of the face card are lightly gripped, the tension on the cotton being lessened so thatthe two cardsbehindfallback into the glass. Themove is repeated, and finally the last card comes up. If theperformer likes to havean off-stage as thougha lot assistant (and thoughitsounds of practice might be required to get the necessary synchronisation, I cansayfromexperiencethat provided the assistant can see what the magician is doing, and such an assistant has a little savvy,” only a few minutes rehearsal is needed), the last card can be made to jump from the glass into the performer’s hand, a simple jerk on the. cotton making this possible. “
Inthatmethod, of course, the glass being fakedhad to behandled carefully,and though on principle I am against havingthingsexamined, in the rising cards ” T alwaysthink that the container should not in any way be suspect. ’ ’ The present method allows for use of a borrowedpack and borrowed glass ; thelatter, however, must be either straight sided or bulbous like brandy a glass. Such glasses allow the cards to rise without any tendencyto fall sideways. Thefake used bythemagician is simply madefromalady’shairpin. It is shaped as in the above illustration, wkich shows it also clipped on to a glass. The cotton that is attached goes off at right angles once it is fixed. Incidentally,thoughsuch line is finer, don’t US? nylon,for this has not the limpnes; of cotton. In workin;, tke fake l i s underapack of cardsnearoneend.The glass is shown,tapped with the f i c g r s and placeddown. “ As you can see,’’says the magician, it wi!l just accomrnodatea pack of cards.”Thecards and fakeare picked up a; one and placed inside the glass, and at the same time the wire fake is slippxl over the sides and engaged. The length of the wirc sh.ould be less than the diameter of the glas:, and it shouldtake up its position in the rear halfof the glass. ’The cards are withdrawn, and the company allowed to take, say, three cards. Thes;t are placndin the pack and controlle-l to thy top. A little finger break is securedunder the three top cards, and in the action of placing the cards in front of the wire fake, the three cards drop :nt*> “
I 1
“
Everything in this effect depends upon natural handling. First of all, take a pack of blue-backed cards From the redand discard dozen a cards. backedpacktake their equivalents and trim the opposite corners of one so that you have a corner short. Now turn the red-backed cards face down, and see that the short card is at the bottom of the heap. Underneath these twelve rcd-backed cards place the balance of the blue-backed pack. The only other items that you will require are two stemmed glasses capable of taking the playing cards. These are placed on the table about a foot apart. Picking up the pack from the table the magician gives a cusuul spreadto the topdozen cards, rcmarking t k at whilst it is a common practice to havecards selected whilst the cardsare face down, this mystery is an exception. The pack now held in the left hand is turned face up, and whilst two members of the audience agree to assist, the right handapproachesthepack. The pack at this pointshould lie across the palm of the left band so that the topleft-handcorner is Pear the thumb whilst the bottom right-hand corner is near the basr of the little finger. The r‘ghthand comes over and grips thepack;the thumb feels for the short, and the left-hand li tlc fnger hclds a break. The right hand now prepares ;3 makc n number of running strip cuts. The left1- and t! I-& and second finger grip thecards a ’ h u t a ?uari.:-r wa37 down from the top, and tht. rig’?t-han-i thumb and firstfinger draw th2 cards underneath >wsv. thc break prt?zliou.sly held h!* 6-l
”
t h e left-hu?z(lli!tle filzgcr hcitzg trtkcn o71er h y t l w rig-ht-hglld thumh and third finger. A number oE strip cuts are made.thecards being turned so
tk-at the red back of thebottomcardshows, as the magicianaddressesthe two assistants-to-be, andwhenhe g:% to thebreak, i.e., whenhe continued on page 55
London, 9 April, 1951. Dear Mr. Warlock, I haveread your interesting article onthe late Arthur J. Sherwood which appeared in the March ( 1951 ) issue of The 31agic Circular, and I expectyou will be, surprised tolearnthat Sherwood’s success asa magicianwasdue,to a certain extent,toDavidDevant, whose pupil he was. Over twenty years ago, the Master him‘‘ rehearsed ” him in self told me thathehad some of his routines, including, I think, the Chocolate Box. Devant also informed me that,in spite of statements to the contrary, he had had very few pupils, althoughsomeunscrupulous individuals hadclaimedtohavetakenprivate lessons from him. Apart from Claude Chandler, R. Woodhouse Pitmanand the lateVincentDalbin (who all took out, at different times, the Devant show, or part of it), I know of only one, namely, Dr. 0. H. Bowen. Of course, thereareothers,and I amone of the few. Readers’of The O d i n Rings, published in London in 1931, may recall having seen an intimation to that effect on the title page of thebook in question. Beforestartingmycourse of lessons, I had alreadybeena full-time professional performer forthree years. Devantdidnotteach me any he newtricks-he said that I had plenty-but showedmehow topresentsome of those that I knew, or thought I knew. His fee was a guinea a lesson, and I consider that the twenty-five guineas that I paid was one of thesoundestinvestments that I evermade.
While on the subject of magicians and their pupils, I wish to take this opportunity of stating that there is no truth in the often repeated asserwlzo gave D m i d tion that ‘‘ I t w aLs e R o y De:tarlt his first lessous i l t magic.” (See Goldston’s Who’sWho,”pages 27 and 60). David Devant was born in 1868, and assuming that the late Eugene Powell was right, Servais. Leroy was younger than his supposedteacher, not having seen the light of day until 1875. See The S p h i u , July 1928, page 223). Devant said : 1,eKoy alrd I studied conj.uring me to together, but I was not his p u p i l . ” When associated with the Maskelynes, Devantgavemuchsoundadviceand practical help to the young men appearing at the Hall, ” including myold friend, the late Owen Clark.
In describing the following routine, full credit mustbegivento the two brilliantpredeGrant’s Slates and Aces and cessors, ‘ Supersonic.’’ I was greatly intrigued by both these grand effects, but both lacked what I consider the cssential forpresentingthem as serious mental tests. It was with this thought in mind that I devisedthefollowing routine. Briefly, theeffectfollowsonthe Same lines as Grant’s Slates and Aces, but instead of using 1 mountedablackboard cardsonasmallslate, on a stand and substituted large colour cards for theplayingcards.
A glance at thediagram willgive an idea of the set-up of the stand. Also, by using a little sxbterfuge it is possible to show the whole of the selected cards, which greatly enhances the effect. What the audience seeis a blackboard with the backs of six cardsshowing,thecardsbeing held in placebyastrip of white elastic. After an introductory line of patterbythe performer, he draws attention to the six cards on thc stand, by giving a number to each card, from one to six. He thenasksamember of theaudience to Concentrate on one of these numbers, but not to call it out. After due Concentration the
“
”
“
“
‘ l
Kindest regards, Yoursvery
sincerely,
V. FARELLI. P.S.-According to Will Goldston’s Who’s Who ’ ’ (page 59), Servais LeRoywasborn about 1860, andit ispossible that Powell made a mistake in his article, or, more likely, thatthe compositor was to blame.UnforWho’sWho is full of errors, tunately, andcannotbe rFlied upon.For instance, it is stated(onpage 77) that Ramases died of fact, I stopped in 1896, but,asamatter in the same hotel with him, for over a month, in Cairo,EgyptJ in 1920. And I methim here in Londonon more than oneoccasion in 1927.-V.F. ‘l
“
”
continued on opposite page
53 performer steps behind the board and writes the colour forced on the board. In this case, as illustrated, green.) Addressingtheaudienceonceagain heasks a spectator to name the number which he freely selected. Thenumberhaving been called, the c a d and performer removes the appropriate places it in position at the top of thestand. (The illustration shows No. 6 asthe selected card.) Careshouldbetakennottoshowthe face of thecardasit is removed. OJaanye ha/+ be-
n
,+/oa’greEhpodc+ Green-
The following effect canbeworkedalmost [underany conditions. Naturally, slightly differePtmethods of presentation will berequired to suit the conditions, butthemethodand basic principle of the effect remainthesame. Assuming that you are performing an intimate type of show, explain to your audience that your partner is going to attempt a demonstration of impulse writing. This \vi11 necessitate the borrowing of a pad< of playingcardsandthevoluntary assistance of amember of theaudience.Emphasisethefact thatthecardsare borrowed andthatyouhave neverhandledthem before. Then askyourvolunteer to mix the cards. Whilstthis is beingdone,a request is made for someone to escort your partner out of the roomout of hearing. This having been done, you explain that you wish to haveacard selected in the fairest possible manner. Ask your volunteertodealthe cards slowly down on to the table, and when any member of the audience shouts ‘‘ Stop the card he is dealingmustbeplacedonone side. ”
Whenthecard is in position thestand is difturned round showing that all cards have a ferent colour, and that the performer has successfully predicted the colour which was at the number so freely selected. A glance at the illustration shouldexplain the construction of the board and stand. The board illustrated shows six cards held in place,backs facing the audience.Each of these cards is coloured in two colours, one half being the force colour, in this case green, and the other half a different colour. At the back of the stand, fastened to a strip of elastic, and between the elastic and the board, is a half greencard.This is justa fraction wider than the other cards. It will be seen that it forms a kind of mask pocket, behind whichis placed the different colour of the selected card, the join being masked by the elastic band so that when the stand is turned round the whole of the greencard is shown. The illustration shows the bac:c of the stand, card No. G having bcen removed and placed in position at the top, the orange half going behindthe half card so that the whole card appears to be green. One last word, this is a grand mental effect, so please use it as such, and do not use it in an ordinary magic programme, when it becomes a ,mere trick.
Picking up the selected card, hold it in front of yourvolunteer,askinghim to get a clear mental picture of the card,after whichhe can place the card in his pocket. Thenaskhim if he willlend youasmall piece of paper,a visiting card, cigarette packet oranything which hasbeen in his possessionanything that he does not mind being written on. Having obtained the paper or what have you, give a brief summary of what hastaken place. Then explain that you require a panel of judges, one to escort you out of the room and the others to watch the demonstrationfrom the stage or platform, to make certain that no communication can possibly be made when your partner returns. Also invite yourjudges to interrogate the person who escorted your partner out of the room as to whether or not anything had happened that would indicate what had taken placz whilst they wcre out of the room. Induecourseyou leave the room, escorted bJ- oneof the judges, and in yourabsenceyour partner is recalled. contintted on pagc 55
A busymagicalmonth. Yortsnlouth onthe 14thforthePortsmouth and District Magical Society’s Annual Dinner, Hoffmann Memorial Lectureonthe24th, at the Magic Circle, and another lecture at Bristol on the 29th. The Portsmouth and District Magical Society’s Dinner was quite an occasion for us, for seldom have we in thespace of tenminutes shakenhandswith a pupil of CharlesBertram, a Daughter of BuatiLr de Kolta, a Stage Manager for Car1 Hertz,and a Cousin of thelateLouis N‘kola. Almost unbelievable, and during the dinner,withtheorchestraplaying some of the wal’zes of Joyce, wewereswept away witnnostalgic thoughts. A nice magical bill followed of thedinner.Theacts were Raoul,withone the nicest timedversions of thegiantfour aces (in this case fourjacks) we have seen, Francis Ha.xton with some faultless card work, Ossie Rae, and ourselves. Theafterpartybrokeup in theearlyhours withnomagic but a lot of reminiscing. To be televised or not to be televised. It of teleseems strangethat in theearlydays I mean the ’thirties, vision, and by that magiciansthought that here was their golden opportunitytobethe idols of theair. In a recent copy of the Genii, Bill Larsen,who is more far sighted than most, offers the opinion tk.at magicians’ chanceson television willcome whencoloured TV takestheplace of the more usualblack and whiteprojection. For ourselves. we can’t see it. Effective visual tricks are pretty few.Once atrick is done it cannotbe repeated for some time, and in this case, must paradoxically, it is thebettertrickthat go intostorage. The LinkingRings,Cupsand Balls, and theirlike,stand out in the memory and in a repeat performance the viewers’ eyes are on thetrickexamining it for a possible solution. Two-dimensional conjurerscannotprojectpersonality as in the case of their three-dimensional or movements that brothers. Little actions afford adequate misdirection in normal a performance fail toachievealltheirobject on the TV screen. It would secm that close-up work is most effective, providing that’t is good. work, but it needs some effort on tEe part of theB.B.C. ,4t
the moment, in most cases, the performer is compelled to adapt his effects to the need of the producer,for magicis one of the Cinderellas of entertainment.Camera workseems tobe most unimaginative, and little seems to have been learned from successful film technique. How we progress. The otherevening four of 11s were gathered round the fire and the talk was about coin magic.One of our number showed a n‘ce Horowitz effect andanother showed a similar trick almost as good. It came from Moderlz Mugic ! This started dive a for the bookin question and then a looking at the card effects. Just have a look at some of them yourselves, in case yourmemoryhas faded. Talking of M o d e m Magic brings to mind that a new copy of late^ Mugic ispromised forthis year.It is an American edition published by Puttons. Heartycongratulationsto the Sphinx onthe occasion of its Golden Anniversary. Though thc M-arch nutnbercommemorating the occasion is not such a fine souvenir as that which anniversary, it contains celebrated, the Ruby some excellent magic(notablybyOkito,Bob plus somevery HarbinandTanHockChuan) line articles byWalter Gibson, JimmyFindlay, Milbourne Christopherand David Bamberg. Costs of printing and also of paper are still rising and when we look at such a magazine as the Sphinx we realise what an expensive job it. ~ n u s tbetoproduce. In the Marchissue there Are nearlyseventyillustration blocks used, some t!wm being fullpage in size. Cardboa.rd is upandthe magician can expect further r s e s i n the prices of playingcards. An official c f aplayingcardcompany to whom we spoke ?;:e other day told 11s thatnot only hadthe material they were using reached a new level, but tkere was also thematter of increasing scarcity. \$:e advise you to buy thaw cards now. Talking of cards reminds us that so far we haven’t seen any effects touching on ( ‘ Canasta ”. And that also reminds us that De La Rue‘h Jre se!!ing ” Canasta ” sets which contain i-he finest English back pattern for readcr marking that we have seen. Quickest cement for a pt’rmancnt rope join . . . . Ka!sa woodccmen t.
A.B..C. TRIPLEDIVINATION,
particularroutine he hastakenthatgreat classic of mental magic, “The Problem of the Three Coins,” and haseliminated the one pointthathas always proved a weakness,namely, the means of picking up cards, r--li-ckes or whathave you in an endeavour tolocate t’l~ three articles.Quite frankly, when our friend Ken. I?:oolie camealongwith hisown version we thought
bv George Blake (a duplicatedmanuscript published - bJ- the Author of 9, St. Alban Rd., Leeds 9, a t a price of 5/-‘t. Readers of thisbulletin n,:lll dread>- beacquainted with the excellence of George Blake’s magic and \IT consider ourselves fortunate to have published hi5 lovely ‘speller’ effect in our very first issue. Inthis
“
”
55 8 0 0 K S and R 0 UTINES-continued from previous page that perfectionhad been reached, and in that routine, in n-hich playing cards were used it had, for Ken. too has found a way oi eliminating the weak feature. That particularmethod, however, meantthat playingcards I1ad to be used, whilst in this method they are eliminated (we seem t o be using that word quite a deal).The effect wasalways good inits basic form. GeorgeBlakehas now turneditinto a miracle. FLASH PAPER TIPS, byStuartRobsonandRalph \l‘. Reatl (published by Louis Tannen, 120 West 321~1Street, New York, U.S.,4., priceone dollar). This \vel1 printed booklet of some fiftyoddpages is a mine of information tothe magicianregarding that excellentaccessory, flash paper. Of particularinterestarethe generalcomments 0x1 the article in question. The reader is warned (and quiterightly) of the danger in being careless with something that is capable of greatdanger.Thereis
no exaggercttion in t5is advice as anyone may (and we have) been badlyburned eitherthrough carelessness or misfortune. Keeping in mind the advice given the reader is then takenthrough a number of chapters in which flash paperis utilised or used as a n aside in effects with cigarettes, cigars, flames, matches,money,cards, silks, in fact the whole paraphernalia of the modern magician. Of theitems given we liked particularly, “Melted Money,”“Goddess of Flame,” the “Flash Card Stab,” the “Fireproof Ghost,” “Rainbow Billiard Ball Production” (this is terrific in effect if you can get coloured flash paper)and“FlowerFlash.” These are just a few fancies of ourown.Thereis, however, no tloul~taboutthe magical effect of a flash during a magica! act, and IWfeel certain that at the low price aske:l felvreader: \vi11 abstain fromaddingthis bookle: totheirlibrary. -~~~ ~
SWEET SIMPLICITY 3-continued
from page 51
has only twelve cards left, hestrips o f f the topmost red-backed card (the corner short) and drop.; the remaining eleven cards on top,but retains a break with his left-hand little finger. A final cut at this break is given, leaving the short still on topand the eleven red-backed cards at the rear of thepack.Therighthand takes the pack, thumb on the faces of the cards and fingers against the backs. Again thehand is turned so that the colour of the backs is flashed to the audiI am going to remove one card at a ence. time like this (the face card, face to the audience, is removed by the left handand droppedinto the nearest glass),and I want you, sir (thisto first assistant)tostop me whenever you wish. Thecard at which you stop we shall consider to be ? ’ 0 1 4 ~ card-quite clear ? The mag:cian removes a card at a time and places each face outwards in front of the first card in the glass, until heis stopped, and this card is then placed face outward into the other glass. The procedure is similar with the second assistant, and th;: positionis such that there are twoblue-backed “
”
IMPULSE WRITING-continued
“
”
from page 53
Aft:r sitting atthetable she builds upthe atmosphere by asking the person toconcentrate, and slowly, as the message of the value of the card comes through, she writes onthe slip of paper the name of the selected card. Method.--I need not explain that the success o f this effect dependsuponshowmanship and comDlete fairness of thecondit‘ons. 1h e secret is quite simple, and depends upon the subtle method of silent coding. This is done by having on your pzrson thirteen pencils. I use four sets of three pencils, one large size, one half size, and oncl quarter size. Th.; :hree pencils of each set have differentcolours,2112se! red, yellow, blue and green. These sets are depositcd upon theperson, three red in the lcft trauserspocket,three yellow in the right ;rGvScr; pocket, three blue in the right coat: pocket and three green in the left coat pocket. These twelvepencils represent ace to queen. A-.
cards in one glasswhilst in the other glass there are a number of bluebacked cards backed with one red-backed card. The magician says to his audience, I think you will agree that the selection of thecards could not have been fairer, not taken from a facedown pack. (Here once more the remaining cards are turned face down in therighthand, and the top cards spread so that the whole packet wouldseem tobe red-backed cards,The small packet of cards in the other glass is takenand turned round so that the red-backed card shows and is placed on top of thecards in the right hand.) Thxefore don’t you thinkitstrange that I hold consists o f despite thefactthatthepack red-backed cards,thevery two cards that your choices fell upon were tze,o hlzle-bucked curds that 1 placed in thepack at the beginning ! ( A t ihis point the pack in the right !-)and Is placed down and the two blue-backed cards are removed andshown.) Trythis over carefully once or tw:ce, and I feel sure youwilllike it. As they are of different sizes thcy act as
an index and the pencil representing thevalue iseasily distinguished fromthe rest. The king pencil 1s 3 solitary black one, and this is placedin the breast pocket. The suit of the chosen cards is coded by the Ei;..rnber of judges asked on to the stage, one for cA:.bs, two for hearts,threefordiamondsand 1..,lr for spades. All your partner has to do when she returns is to note thcnumber of judges an6 the colour aild size of the pencilplaced on the table beside :he piece of .borrowed paper. The rest is showmanship ! As I have mentioned, this method is suitable for adaptation to any circumstanccs. I have used s , : y cards in place of playingcards, butas I 1 ke to borrow everything so that the effectis ptrformedunder test cond’tions I prefer to us(: playing cards.
7
- 7
56 '' THISIS
A GEORGE BLAKEROUTINE
I
"WONDERFUL," says ROBERT HARBIN !
"
The "A=B=C Triple Divination "
(It'saseasyasthat!)
He madethisstatementafterpurchasing BOOK EDITI'ONS NOS. l , 2 and 3 of Hugard's Magic Monthly, and continued: A delight to read,andgrand books to add t o one's library."
THEOLD EFFECT OF THE " PROBLEM OF THE THREE COINS " BROUGHT BANG UP-TO-DATE
If England's foremost magician feelsthis way aboutthisgreat series,maybeyou'dbettergetacquainted with itbygetting a copy of
Three Spectators freely take any three coins or articles, yet the performer can correctly divine all three choices! Anyone having Knowledge of the old methods will certainly " sit up and take notice " on witnessing this routine, where apparently NO CLUES REMAIN TOGUIDETHE PERFORMER: " df Hilliardhad ,,known aboutthis he would haveincludeditin Greater Magic-Ken de Courcy. The eff:c t in its basic form hasalways been gocdand I thought the limit had been reached when you c:me alongwiththisangle. Using thisroutine you have a miracle -Peter lVarlock. Undonbtedlythebest version I haveever seen "-Gus Southall. The A R C ' Triple Divination hasonefault.It'stoocheapat S/-. I will get far morecreditforthis effect thanforsome I have paid poundsfor "-"YOGI" (The0Speaker). LearningtheGreater Magic Version ' fair wore me out ', but I learnedyourrolltint, in notime "-Ron Spencer.
just published, with its l l i sleights,tricks, and routines with balls, cards, coins cigarettes, eggs. handkerchiefs, rope, thimbles and miscellaneous objects,including 17 fine mentalfeats. They are the brain children of Allerton, Christopher, Daley, Devant, Farelli, Gardner, Hugard. Kaplan, Ranson, Vernon. and other well-known professionals ar?d amateurs.
HUGARD BOOK EDITION No. 4 (Vol. VII.)
"
"
"
"
~
Puzzles Conjurers and Laymen Alike
5/1;
Handsomely produced (uniform with BOOK EDITIONS. XOS. I , 2, 3), with Bancroftbuckram cover, 128 big pages (84 by 11 inches) 18; which aretheequivalent of abollt,olOO pages of ordinarysize, drawings Francis by Rigney, a Fleming Service Publication (prodllccd without a penny of pltblisher's profit), American pric: $5.00, sent postpaid and duty free at the Fleming Share the Loss price of , . .. .. .. .. .. .. .. .. 30/"
ROOK EDTTIONS NOS. 1, 2, and 3 arestillavailable,though not in unlimited stock, andare still (as they were widely, pronounced when first published) thcyear's biggest book bargains , each 30/"
NOTE: Please remit for these orother books on magic to Mr. Robertson Keene, c/o Riverside," Victoria Road, Yarmouth, Isle of Wight, and receive the books promptly from the United States.
Good For Platform Dinner, Close-up Shows
"
Post Free
FLEMING BOOK COMPANY
George Blake 9 ST. ALBAN ROAD, LEEDS 9 PETER
728, MADISON AVENUE, YORK, PA.,U.S.A.
WARLOCK'S
PENTAGRAM is published on the 24th of e8chmonthand canbeobtaineddirectfrom the publishers for I!I per single copy. AnnualSubscription 12/postfree.
PUBLISHED
BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts forpublication review shouldbesent EDITORIAL ADDRESS:
The Magic Circle I'rr.sidcnt : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggr, Esq., M.I.M.C. Clubroorn andLibraryand
Magical Theatre :
King George's Hall, W.C.
and books for t o the:
Particulars from Hon.Secretary
BOOK
THI'S, book does not teach the y d e r how to , a subject speak without moving his lips that has been dealt with in all other books on break new the subject. I t does, however, ground thathasneverbeforebeencovered in a book on ventriloquism. Herethereader will find the result of years as a profesof hardandpracticalexperience sionalperformer ; whenand how to use the comedymovementsforthegreatest effect, how to write your own dialogue, a mass of ideas for newacts with script outlines, invaluableinformation on the psychology of children,entertainingchildren,etc., etc And to cap it there is the complete script for an outstanding new Maurice Hu.rling act-not duplicated and sold for lO/- but just one chapter in a great new book. Price 10/- ; postage 3d. from the publishers THE MAGIC WAND PUBLISHING CO. 11, Monastery Gardens, Enfield, Middlesex.
JACK
HUGHES
will be pleased to send you details o f his verylatest effects and all his old favorlrites in return for a stamped addressed envrlnpe size please). (foolscap or octavo WRITE NOW. TO
TACK 2,
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS F O R SALE OLDAND NBW. Lut me know pour wants LIST FRBB. FOR STAMPENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
A GREAT NEW
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
Magic Wand Publications The Magic Wand Quarterly.Fercopy 318 ~ . p . A n n ~ ~ asrlb5c)ription l 14i6. The Wizard, 36 pages monthl>.. Per copy 211 p p. 6 month 12'6 Year 24;-. lohn' Ramsay's CLps h' BalJs (Fafellii 25/6 Where Houdini Was Wrong (Sardlna) 20/6 Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno's Mysteries (Rohlen) . . 1013 Thanks To Leipz'g (Farelli) . . 1013 George Armstrong's Premonition 10/3 Chandu's Psychoanalysis .. . . 10/3 Entertaining -With Hypnotism (Dexter) IOi3 Challenge Instant Hypnotism & Mass Hypnotism .. .. . . 211Strlctly Magic (Eddie Joseph) . 513 Stooging Avound (Stuthard) .. 513 26 Living 8( Dead Tests (Garrett) . . 5J3 lamesosophy (Stewart James) . . . 5/3 Year Book 48/49 (few only) . , . 513 Stunts With Stage Money (Lamonte) . . 5/3 Tricks of t h - Trade (Arnlqtronr) . 2i7 From the pttblishers THE MAGIC WAND PT'BLISHING CO.. 11, Monastery Gardens. Enfield, Middlesex.
Every Advertiser's goodsare fully endorsed by this Bulletin Publishrdby
the proprietcrs The Magic WandPublishingCompmy. 11. Monastery Gardens,Enfield, Son (Printers) Ltd.. Well Croft. Shioky, Yorkshire. Walkerand
Middlesex, and printed byHerbert
*
57
PENTAGRAM An independent monthly bulletin for all who want good magic
I use this a-la Just Chance ’’ tray, to switch envelopes, cards, etc. In a previous effect an unprepared duplicate of the magazine has been - - e audience handled,andat the conclusion of the effect the magazine is put by and apparentlypicked up later, in a subsequent effect, and held out traywise forthe collection of a sealed envelope. In actual fact itis the switcher magazine that is picked up and held out for the collection of the envelope, the envelope being switched in due course. (I use it chiefly for a version of The in Fabian’s T.N.T.”.) GrandNational “
2,
‘ I
”
‘ I
TYPE OF MAGAZINE. Find a magazine which has advertising matter on the back cover, preferably with a printed line running across the middle. This line disguises the slit made in the back cover, through which the card or envelope tobe switched falls. I use the ‘ Scots Magazine ”, whichis eight and a half by live and a halfinches in size. It contains 44 leaves (88 pages) and is about a quarter of an inch thick. This is the ideal size of magazine to
l
--
J
PREPARATION. Cut a slit with a razor blade through the back cover of the magazine at the middle, using the lineof printto disguise theslit. The slit should be about four and a half inches long. Now, with the magazine face downwards on the table in front of you, open the back cover to the right. Paste a thin but stiffishpiece of pasteboard to the inside of the back cover, the top edge being flush with the slit. Cut a piece of thin celluloid, slightly narrower than the pasteboard, and about two inches longer. Spread paste on the upper half of the inside cover, down to the slit (uot on tothe pasteboard), and laythe celluloid over this so that the extra two inches projects down over the pasteboard. Pastethe celluloid down on to the insideof the back covt’~,but leave the overlapping two icches frcc.
58 Now, spread paste over all this celluloid, the paper margin round the celluloid and in a quarter inch margin at the edges of the bottom half of the inner cover, but not over the .entire pasteboard. Paste the shaded portionin the accompanying drawing but not over the entire pasteboard: only about oneeighthinchround its edge, and don't putpasteunderthe projecting two inches of celluloid, but on top of it.
3
celluloid (and entire toppart of themagazine) will bend downwards in themiddle and, owing to the tension created, the cardboard part below the slit will buckle upwards in themiddle, thus opening the mouth of the pocket. Relax the pressure and the slit will close again.
USING. The envelope or card to be switched for the other one, is just put inside the magazine, between the faked cover an3 the page facing it : itis resting inside themagazine at thebottom end.Themagazine iie; face downwards on the table. The magazine ispicked up in the h j t hand, atthecardboard(orbotrom)end,and is held horizontally (backcoveruppermost of course), forthespectator to drop the envelope, etc., on to. The envelopeshould rest on theouter half of the magazine. The magazine is now transferred to the right hand, which takes it at the opposite end, and, as the magazine is tilted downwards, apparently letting the envelope slide down off the cover into thewaiting left hand, the rightthumb presses continued on page 63
Assuming that the inside of the back cover is page No. 88, fold the page on the left, page 87, over it, or just close the magazine and put it under pressure to dry. See what you've got? The pasteboard portion has formed a pocket with the unglued portion of the previous page, and the celluloid forms a slide into the slit which forms the mouth of this pocket. If you hold the magazine at the top end, back cover upwards, in the right hand, with the right thumb on top and the fingers spread underneath, and thcn press downwards with your thumb, the
THUHfl /'LE$Er
MA
c
From rile J. B. Findlay Collection
59
The wine glasses, like lone sentinels, standone at each. frontcorner of thetable.Thethree sheets of paperare placed together, folded and stood upright in one of the wineglasses.
A long while back in the ]inx I published an Papers.” ,effect under the title of ‘‘ Pagan l‘hough I know of anumber ofAmerican conjurers who have used this effect, it seems to have been passedbyoverhere. Perhaps the useof flash paper in the effect added to thedifficulty. Anyhow, here is the effect as I first visualised it, and when you have read it I think you will agree that withtheminimum of apparatus you have colour, action andmystery. The magician shows three sheets of tissue paper, one red, onewhite and oneblue.Qnthe table rest twowine glasses. The piece of blue paper is crushed into a ball, and the piece of white paper rolled around it, the whole lot being dropped into glass the on right hand side of the table. The sheet of red tissue paper is now crushed into a ball anddropped into the glass on the left. A tap ontheright hand glass with a muttered “ Hocus pocus,” the whitebundlethenbeingremovedandthe tissue unrolled to show that the blue paper has vpished.The whitepaper is thenmade into a ball againandreplaced in the right hand glass, which in turn is covered with a silk. More Hocuspocus.”The silkis removedfromthe right hand glass, showing thatthe white paper hasvanished.Theball of redpaper is now removed from the left hand glass and unwrapped to show the white paper, which in turn is unwrappedto show the missing bluepaper. The requirements are few, and consist of four sheets oftissue paperapproximately ten inches square. Two of the pieces arewhite,one is red and one is blue. Two wine glasses and an opaque eighteen-inch square silk handkerchief will also be needed. Toprepareforthepresentationone of the sheets of white paper is rolled into a ball and is placedbehindthe silk handkerchief, which is lcosely bunched upneartherear of thetable.
The pieces of paper are removed and shown separately, after which they are placed in a line across the table. The two glasses are then picked up,clinked together, and replaced. “ And this silk handkerchief. ’’ As hesays this lastthe right hand takes hold of the silk and ball of paper, raises themtogetheramatter of a few inches, and then releases his hold of the silk but retains the ball of paper in afinger-palm position. The sheet of bluepaper isnow picked up, crushed into a ball and then held by the left hand finger tips. Therighthandwith the white ball still finger-palmed takes the sheet of white paper. The ball of blue paper is now placed against the white, whichis rolled aroundit.This is accomplished with both hands, and in the action of giving the of papera final crumple,thefinger-palmedball white paper is pressed against the white and blue. Both are held at the fingertips as one. In the action of dropping the white and blue papers into the glass, the two balls are disengaged, the ball of white being dropped and the blue and white ball being retained and held in a fingerpalm position. The right handtakesthe sheet of red paper and in rolling this into a ball introducesthefinger-palmedball of blue and white paper.Thissurreptitiousintroduction calls for no skill, as the reader will find. The red ball isnow dropped into the left hand glass. The first part of the effect is now complete, and only requires theperformer’s individual presentation, To effect the final envanishment of the white paper, this is accomplished by the time-honoured convention of reversing the wineglassunderthe cover of the silk handkerchief.
Whilstonerather hesitates toplacebefore readersyetanotherversion of the rising cards, I feel thatthereare certain points about this variationthatare worthplacingon record. The effect very briefly is thata mentally chosen card rises from a pack that is isolated in a glass placedonaplate and coveredwitha bell jar. The means are possibly the oldest known in this effect, being none other than a length of hair and a dab of wax.
The requirements are as follows :A stemmed glass capable of accommodating a full pack of cardsand at the sametime allowingthem to tilt at a slight angle. 2. A pack of cards. 3. A small dab of conjurer’s wax. 4. A six-foot length of hair. (This is, of course, made up by knotting several smaller lengths together. Tying pieces of hair together is not too easy a matter owing to the natural resilienceof the hair.The way to.
“
PRESENTATION.
l.
*
60 be described will help to make it easier for the inexperienced. Taking the two hairs fix asmall that you wish toknottogether dab of wax to one of the ends and then take oneend of theother piece and press this againstthewax, so that the two ends lying side by side are now heldtogetherbythe wax.Withmatterthus,it will befounda compara.tively easy matter to make a knot. ) 5. A Bell Jar. 6. Some cellotape anda matchstick. 7 A patternedchinaplate,the recessed part being capable of accommodating the base of the bell jar. Thepreparation is straightforward.First of all the matchstick, or part of it, is placed on the plateatthe pointshown in theaccompanying of illustration,and it is kept in placebymeans
WATU
two small pieces of cellotape, one piece going lengthways over the match whilst the other goes across the width. The plate I use is of the willow patterntype,andthematchandcellotape seem todisappearintothegeneralpatternwhenthe plate is handled in a casual manner. It willnow be found’ that whenthe bell jar is placed upon the plate the matchstick raises the edge touching it about one-eighth of an inch. Oneend of the hair isnow fastenedby mpans of a- dab of wax to a rolled piece of paper, and then the ha.ir is wound round it two or three times. The piece of rolled paper is now attached to the underside of a chair by means of a couple of drawingpins (see illustration),the length of
\ \
PAfEA hairbeingtaken up andthrough the back ( I am assuming an open-backed chair).The free dab of wax end of the hair now has asmall piece of wax isnow stuck fastened to it.This to the base of the stemmed glass (see illustration)and this in turn is placeduponthe seat of the chair.
During the effect, the magician willwork on the left of his table,andconsequentlythe plate with the matchstick part to the rear is placed on the .left .hand side of the table, whilst the bell jar of is placedon the right handside.Thepack cards is placed upon the plate.
PRESENTATION. The pack of cards is picked up and the magician remarks that he wishes to try and showhls audiencea piece of magic inwhich themind First of all,” h’e says, overcomes matter. addressinganearbyspectator, I wish youta think of anycard in anormalpack of playing cards.” The spectator signifies that he has Now, sir,goinga stage thought of acard. further I want you to remove that card from the pack-don’tlet me see it, and then autograph it onthe face-here is a pencil.” Thespectator is now handed a pencil and also the pack of cards. After the spectator hastaken his card, the performer retrieves theremainder of the pack,and waits, headaverted,as the spectator writes his name across the face of the mentally selected card. After this cardhas been autographed, the performer has it returned to the pack, and in the way best suited to his own technique and presentation it is controlled tothetop. At this point the audience is reminded thatperhaps it mightbeas well to have the cardsthoroughly shuffled. For this purpose the cardsarehanded to another spectator, and at the same time the top of my card is palmed off (personally,asmany readers know, I use nothing but the single hand palm,a sleight which enables the card to b e taken as the pack is actually handed to the spectator. Such a sleight needs no stalling, and allows for speedier presentation), and the remaining .part of the packhandedtoanearby spectator. When the pack has beenshuffled it is taken back,thepalmedcardbeing added.The pack is held face down in the left hand,and moving across to the table and chair, take up the stemmed glass by the stem, tilt it showing that it is obviously empty, clink it against the side of the bell foot goes on jar andthen place it so thatthe ‘ I
I‘
‘ I
covtinued on page 63
61
1. Impromptu Changing Bag. The intirnate performer may use his innocent appearing pocket handkerchief with as much effect as the stage performer uses his ornate changing bag. It’s all in the folding. Beforeyou put the handkerchief in your breast pocket,openitout flat. Foldit in half, then in quarters. If youholdthehandkerchief byits tips, you willfind itreadyforuseasa changingmedium. ‘‘ bag ” by holding For example, open the three ends h your right hand, one in your left. A pocket is formedautomatically into which a small object maybedropped.Oncemorehold all the ends in one hand, then openthe bag by holdingthethreeends in your left hand, the fourth in your right. Another pocket is now available. Withyourhandkerchieffolded as described and with the four corners uppermost, put it into your breast pocket. Supposeyouwantto force a name,card, number,etc.Have five tiny slips of paper in one “ pocket ” of thehandkerchief.Takethe handkerchiefout bythe‘upper ends. Openthe in slips other “ pocket.”Havespectatorsdrop on which theyhavewrittennames.Bringyour “ pocket ” for selechandstogether.Openthe tion, only this time it’s the section with the prepared slips. Have a folded bill (you have memorized its serial number) in theconcealed section. Take out the handkerchief and have several borrowed bills folded anddroppedintheother section. ,4110~ a spectator to reachin quickly and pull out
a bill. Hecan onlytake the oneyouwant because you haveswitched sections. Reveal the serial number, via mentalimpressions for the climax. When returningthe bills remember to hold one back.
I read with very great interest Franklin Taylor’s Double Stop ’ ’ , g.ivenin the October I’entugruttr, and wonder if readers would be interested in the inevitable improvement. This consists of workingthe effect witha .straight-forward red andblackseparation;the twenty-six reds followed by twenty-six blacks. Thishas the importantadvantagethat now the set-up can be obtained by a genuine riffle-shuffle froma red-black, red-blackstack. The effect is worked just the same as before, except thatto set thepack to reveal the first spectator’s chosen card, the red cards left in the packaresubtractedfromtwenty-six instead of from twenty. A further point is that the operator need not watch the cardsashe shuffles, for provided he cuts the pack dead half-way in the usual fashion,
it doesn’tmatter if one or two red and black cardsare mixedin the centre after shuffling. Whenyou come to the dirty work andfanthe cards in front of you,cutto the first red card fromthe face of thepack as before, and when counting back to find the card chosen by the first spectator, ignore completely any black cards passed on the way. I’m afraid these notes must be read in conjunction with the effect described in the October the working issue, but I didnotwanttorepeat of the whole effect, as it would take too long. I havepreviouslyworked the similar effect wherethe twentieth cardfromthetop isfirst noted, obtaining the informationfromaprecedingeffect, but now I consider DoubleStop, beginning with a genuine shuffle, as near perfect asa trick can be.
“
2. Tear the Cards. Ratherthan discover the selected cardimmediately, .the magician hasthedecktorn in pieces and tossed in 8 felt hat. After, the pieces have been mixed, the wizard reaches in and part by part withdraws the proper pastboard. All you need for this later day miracle is a pack of cards and a felt hat. Previous to your performance, remove a card -anycard-tear it in quarters and put the four sections in one of the two inside creases of a felt hat. Have a card selected and replaced. Bringit to the top by the Invisible Pass (take a bow, Mr. Braue) or anyothermethod. Give the pack to a pleasant looking person. ‘ I want you to take the cards and tear them in four pieces and drop the pieces into this hat.” You demonstrate by taking off the top card (its back to the audience for it is the selected card yourember)and tearing it in four pieces and dropping it into the second crease of the felt hat. “ By the way, ” you add, picking up the hat, “ this wasn’t yourcard,wasit ? ” ..Youtake out the four pieces placed in the hat at the beginning. A denial, and you drop themback. Youholdthe crease containingthe selected card pinched between your fingers from the bottom, so that all the pieces dropped in by the spectator must go into theother section,
“
”
THE CONCERT VENTRILUQUIST and
Children’s the Entertainer, by Rlaurice Hurling (published by Magic Wand Publishing Co., price lO/-). Though there aluays seems to be a spate of books, pamphletsand manuscripts on magical effects, the ventriloquist seems less prone to the tvrittenword. Therefore this book is all the more welcome, fornot only does i t fill a want,but there must be many conjurers who addthis form of vocal misdirection t o their normal magical entertainment. TheAuthor is well known and experienced and this is shown in the way in which he gives details of routines that he has tried and found t o be practicable. Humour predominates which is of course as it should be, and whilst t h e w i t e r assumes a working knowledge of thetechnique, he is careful topointoutthat a successful ventriloquistmusthavea good technique. Tipsonwritingdialogue,pneumatic control of the dummy, noveltyangles are all dealt within the first part of the book, whilst the second part tackles the matter of the children’s ventriloquist. Age groups, child psychology andothermattersaredealt with. The book concludes with a0 complete act called ‘ The Doctor ’. Altogetherthere are some fifty pages \\.ell printed and anumber of (many of which we thought were unnecessary) illustrations. I t is bound \vith semi-stiff covers.
OurFrenchfriends should be grateful to M . Sardina for thistranslation, a translation of an excellent work long overdue. Thoroughly recommended.
AVEC UN JEU EMPRUNTE (Translation of Victor Farelli’s “Lend me .your Pack”) by Maurice Sardina. Author’spublication, price notknown. The or,iginal of the present translation is, in our own opinion, one of Mr. Farelli’s best books and though in comparison withthe technique described in many subsequent textbooksoncardwork,the methods described may seem more pedestrian to an advanced cardworker;they have much t o recornmencl them to those who have a limited time in which t o perfect a worthwhile and workable technique. Of such subterfuges we shouldlike to emphasise thepracticabilitv oi the method of “culiiI1g” attributed to Lindahl. Suchitems as the Pencil force are more thanworthwhile. The book, asmany readers will know, is divided into twomain parts,the first part beingdevoted to tricks that can be performed when standing whilst the second dealswith effects thatcan be performed when seated a t a cardtable.Thetricksareall effective and since the publication of the original book one is in position tostatethattheyhave stood thetest of time. M. Sardina’s translation keeps faithfully to the original text. Whilst thelast edition of this work in English ran t o some forty-eight pages, the French edition us- larger type and goes intomatter of some one hundred andtwenty pages.Linedrawingsreplace thephotographs used in the original.
HUGARD’S MAGIC MONTHLY. Volume 7 (published by the Fleming Book Co., price 30/-) . To say t o readers of this paper that the contents of this volume are superlative is not only unnecessary but rather like preaching t o the converted. Nevertheless as there may be a reader here and there that is unacquainted with Mr. Hugard’s most excellent journal, wewill repeat ‘ superlative ’. TheFleming Book Co., who in the past haveproduced thisparticular magazine in bound form incorporating twenty-four copies, have this time produced a volume containing twelve copies. The binding is excellent and unlike most English commercial bindings will stand up t o fireside ( a consideration in this climate) reading without buckling. Now a word or tworegarding actual tricks. Inthecard section, two efiects, t o our own \\ay of thinkingstandout aboveallothers. These are Dai Vernon’s ‘ ,411 Backs ’ routine and ClaytonRawson’s ‘ Blankety Blank Deck ’ (those who had the opportunity of seeing Mr. Clayton Rawson perform this in conjunction with ‘ Optical Illusion ’ deck a t the Magic Circlewill know how good this effect looked). Besides these two particularcard illusions therearetwenty more all fine in quality. Among the miscellaneous items we find a gem, (and a gem noted a t the time n-e first read it in theordinaryissue). This is the means for passing a borrowed ring on to alength of rope or string. 3lr. Hugard describes this on page 603 and gives credit to Ken de Courcey for the original inspiration. Some day (just as Gorge Blake did with his own ringon rope effect a t the recentUnique One Day Convention) a magician will perform this effect andthemultitude will remember where they saw it described and ,passed it by. We also like the ‘ Atomic Transposition . Hereagain is an effect that will not only be liked by thelay audience but also conjurers. Hand in hand with the tricks as tricks arethe regular monthly features that include Milbourne Christopher’scolumn (in which, in the manner of the rich scattering largesse, he gives the reader worth\vhile idea after idea), Book Reviews by John J . Crimmins junior,and ‘ Backstage Notes ’ by Frank Joglar. One hundred and twenty pages make up this present volume and though we have not countedthem w e arequitecertainthattheremust be a couple of hundred excellent illustrations to help outthetext. If you have not purchased Hugard’s Monthly in its more usual form, please get this copy to place (but You n-ill never not to leave) on your bookshelf. regret the purchase and you will addquite adeal t o your magical knowledge. Recommended without any seservation whatsoever.
We spent a very pleasant Sunday at Bristol recently, andafterourtalk we had the opportunity for quite a long chat with Judge Wethered. During this conversation we were shown two very in lovely ideas, one of whichwe hopetoprint the near future. It takes the form of a revised version of Paul le Paul’s ‘‘ Aces in Envelope.” On the way back we thought of the number of effects that lack climax in the accepted sense. Production effects usually fallinto such a category, and though much time, thought and labour
is given to improving such productions, the effect becomes cumulative andat times almost monotonous. Takefor example the production of a After the performer number of billiard balls. has produced two and stillgoes on wigglinghis fingers they expect him to produce another, and so on. With this particular effect Conradi Horster designed quite a stagey finish which seems tohave been overlooked. Onthe stage was 3. metal stand, which in effect consisted of two lines of metal that formed a miniature railway. At
63 MAGIC G 0 R OU ND-continued from previous page
+he finish of the production a ball at a time was placed at one end of the railway, and they rolled down an incline, described circles, . a d finally ,dropped into a top hat at the lower end. The hat Lvas lifted, and it was shown that the balls had disappeared and small bouquets of flowers (these were thrown outintotheaudience)hadtaken their place. Cuttingoutthe railway, we think that quite an effectivefinish mightbeobtained by droppingtheballs into a hatand changing them intobuttonholes of flowers.. Onmany an occasion we have commented on the fact that all too often the buyer of a trick places its measure of importanceon the price, sometimes even uponits size ! Only theother evening, whilst speaking at theWomen’sPress Club, the truth of our own findings was brought home verymuch.We were talking about telekinesis as a branch of psychical phenomena, and as an illustration we used Bob Harbin’s Uncanny Match effect. When you borrow a box of matches from a person seated nearyou and the impossible happens, such a thing is never forgotten. We werewith part of thegangtheother evening, and we were shown the new newspaper to flowers fake, which incidentally is a very clean job. We thought the effect of a newspaper changing into a bunch of paper flowers completely illogical, and suggested that sheets of coloured paper (or coloured tissue) would look much better. Ron Baillie, when submitting for your approval his Finger of Fate,’’ mentioned that he would like a good mechanical method for performing this effect, andthus eliminating the need for anything extraneous. Two of our readers came along with very similar ideas,and we shall print them in next month’s issue. Magic as a One of the best things in Hobby was Orson Welles’ masterly introduction. In view of his international repuiation we are still wondering why the English publishers cut this out. Paper prices (and printing prices) are still rising, andthough since the inception of this bulletin we have never raised the price byas much as a penny, itseems that increasedcost to buyer will have to come. If it does,and good notice will be given, we shall endeavour to enlargethe bulletin atthe same time, so that \t,ith extra price there will be extra contents. ”
I ‘
“
l ‘
”
BACK TO METHUSELAH-continued
f o p of
from page 60 f l z e c : I r d s h ~ l d; ! L t h e right iruld. The
arcornpanying illustration nowshows the position,and it should benoted,though the glass \~-ouldhav; to be turned to be otherwise, tha! F e blob of wax is in a position furthest from the rests on the ;...:?dience. Tht. right handthumb fo.3t of the glass, keeping it against thz barks of ::-.c cards. Thc left han3, relicved of its burden,
now takes the bell jar by the knob at the top, lifts replaces it. The it casually from thetable,and right hand noit. passes cards and glass to the left of the hand, both being- taken so thattheball left thumb comes on top of the waxblob, and in the passing action this isrolled off on to the back of the topmost card, i.e., the selected card, tke extreme tip of the thumb stillpressing down on the foot of the glass. Therighthand, free, picks up the plate, shows the front casually, and then turnsitover showing the underside. The so thatthe matchportion is plate isreplaced furthest fromthe audience. Therighthand now takes the glass from the left handand places it in a central position on theplate.Thepack of cards, wax bottommost, is placed in the glass, and in doing so it istilted towards the back. At thispoint the length of hair should berunning in an almost straight line fromthe chairto the in the best lighting conditions, glass ; it is, completely invisible. The bell jar isnow taken and placed over the glass, and allowed to rest ontheplate, and, of course, on the match. Therefore there is no pressure upon the hair. The magician steps behind thetableand moves across until such time that there is tension on thehair,i.e.,an inchmore and thehair would actually pull the rearmost selected card up. This action is now taken and the card rises. When it reaches the highest point that it will go the pressure against the hair is relaxed. Now because of the tilt of the cards towards the back of the glass, the card will not slip back but will remain in position, thus allowing the magician to move slightly left and at the same time addressthe chooser of the card, asking whether that is the card hethought of. After agreement, the bell jar islifted and thecards are removed by the right hand. In the action of placing them ‘n the left hand, the right-hand thumb nail scrapes -off the wax, allowing itto drop.The card is brought forward and handed out to the chooser, whoconfirms his signature across the face. The main point tobe brought home tothe ,cpxtators is the fact that the card is thotLghf of. M A G A Z I N E SWITCHER-continued from page 58
c?o;vn, opening the mouth of the pocket into which t’:e envelope slides.At the same time the duplic a f e envelopeslides out of the magazine into the left hand. NOTE. The Scots Magazine has glazedpages (art paper), thus the hidden envelop? slides out easily. For a magazine with rough pages, p s t ? s c x e smooth paper inside, and coat with it imizing p a p x , to allow the envelope to slip out freely. The magazine can bc chucked down after s;\yitching, back uppermost if you wish, for thc slit is never seen. “
”
h4c
THE SPHINX
TWO NEW AMERICAN BOOKS!
BOOK OF MAGIC \Vith the March issue, TheSphinx celebrates its Golden Jubilee. Suitably t o commemorate this auspicious event, we arepublishing the GoldenJubilee Book of Magic, 75 of thebesttricksprintedinThe Sphinxduringits lifetime . . . Tricks t o perform on the stage, platform, parlor or close-up . . . Tricks with every conceivable object . . . Tricks by such famous magicians of the past and present as : h 1 Baker,Birch,Blackstone,Christopher,KeithClark, Dante, Devant, Downs, Dunninger, F u Manchu, Goldin, Gwynne, Harbin, Haskell, Leon Herrmann, Houdini, Hugard, Jarrow, Kellar, Laurant, Leipzig, LePaul,Levante,LongTackSam, Mora,Reno, Tarbell, Tenkai,Vernon,Victor.
BOOK EDITION (Vol. No. 4VII) of HUGARD’S ,,MAGIC MONTHLY. This handsomely p d u c e d Fleming %Me Publication,” in a series that has received unstinted praise, contains 117 sleights,tricks, and routinesby the up-to-the-minute professionals andamateurs, such as Allerton,Christopher,Collins, Dale)., Kaplan, Vernon, and others. Bonnd in Eancroftbuckram, gold-stamped on frontand spine, 128 bigphges (84 by 11 inches) which areequivalent t o about 400 pages of usual ,$,e, 189 drawi:gs byRigney,Amyccanprice 55.00. sold on our money back guarantee a t our share the loss ” price of ., 301THE SPHINX GOLDEN JUBILEE BOOK ‘OF MAGIC.‘ A collection of 75 tricks and illusionsselected frompast issuesof The Sphinx. Feats by Devant, Kellar, Goldin, Leipzig, Houdini, Blackstone, Dante, Victor, Dunninger, Harbin, and other celebrities. Gold $5.00 351stampedcloth, 128 ,pages,manyillus.,Americanprice
Current
Some
Publication ORDER
Date
YOUR
NOW
THE SPHINX c/o
WILFRID JONSON, Tulse Hill,London,
FLEMING
45, KingsmeadRoad,
S.W.2.
PETER
WARLOCK’S
PENTAGRAM
~
A
GAGIC WAND-
PUBLICATION
I ’ $1
A GREAT NEW BOOK T H S ‘ b o o k does not teach the reader how t o spe& without moving his lips ”, subject a that has been dealt with in all other books on the subject. does, It however, break new groundthathasnever beforebeencoveredin a bookon ventriloquism. Here thereader willfind the result of years of hardandpracticalexperience as a professional performer ; when and how to use the comedymovements for the greatest effect,how to write your own dialogue, a mass of ideas for new acts withscriptoutlines,invaluableinformation on the psychology of children,entertainingchildren,etc.,etc And t o cap it there is the complete script for anoutstanding newMaurice Hurling act-not duplicated and sold for 10/- but justone chapter in agreat new book. Price 10/- ; postage3d. from the publishers THE MAGIC WAND PUBLISHING CO. 11, Monastery Gardens, Enfield, Middlesex.
Sellers
” ! . . . . . . . . .
. . . . . . . . .
211351-
. . . . . . . . .
201-
. . . . . . . . . . . . . . . . . . .
.
.
.
.
.
.
111-
m/-
.
Old Favorites !
BOOK
COMPANY,
The Magic Circle President : His Grace the Duke of Somerset, D.S.O., O.B.E.,JP., M.I.M.C. Vice-President: D o u g h Crapgr, Esq., M.I.M.C. Clubroom andLibraryand
Magical Theatre :
Manuscripts for publication and books for review should be rent to the: EDITORIAL ADDRBSS:
Particulars fromHon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to send you details of his very latesteffectsandallhis old favourites in returnfor stamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLDANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
2,
.
431-
728, MADISON AVENUE, YORK, P.A.,U.S.A.
ispublishedon the 24th of eachmonthand publishers for canbe obtaineddirectfromthe 1 / 1 per single copy. Annual Subscription It/postfree. PUBLISHED BY:
l
Best
Expert at the Card Table . . . . . . . . . . . . 12/Sleight of Hand (Saohs) . . . . . . . . . . . 301Encyclopedia of Silk Magic . . . . . . . . . . . . 601My Best (Thompson) . . . . . . . . . . . . . . 451Magic Without Apparatus . . . . . . . . . . . . . 451A Conjuring Melange (Collins) . . . . 121NOTE :-Please remit to Mr. RobertsonKeene (New Address) : Shalfleet House, Shalfleet,nr.Newport,Isle of Wight, and receive the hooks,postpaid anddutyfree,directfromthe UnitedStates.
March First COPY
“
Scarne on Card Tricks . . . . . . 60 Years of Psychical Research . Expert Card Technique (Hugard) Card Cheats (soft boards) . . Card Control (Buckley), was $10 Principles & Deceptions, was $10 .
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The M z i c Wand QnarterlyFer copy 3/8 p.p. Annual subsc)ription 14;s. The Wizard, 36 pages month]\. Per copy 211 p+. 6 month, 1216. Year’ 241-. Convmctng Cotn Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 10/3 The Concert Ventriloquist (Hurling) 1013 George Armstrong’s Premonition 1013 Chandu’s Psychoanalysis . . . . 10/3 Entertaining With Hypnotism (Dexter) JOf3 Challenge Instant Hypnotism & Mass Hypnotism . . . . . . 211Strictly Magic (Eddie Joseph) .. 5/3 Stooging Around Ktnthardj . . . . 513 26 Living & Dead Tests (Garrett) . . 5/3 Jamesosophy (Stewart James) ., . 513 Year Book 48/49 (frw only) . . . 5/3 Stunts With Stage Money (Lamonte) . 5/3 , , 217 Tricks of the Trade (Armstrong) From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. ,
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsedbythis Publirhed by the proprietccz The Magic Wand Publishing Company, 11. Monastery Gardens, Enfield.Middlesex, Walkerand Son (Printem) Ltd.. WellCroft. Shinkv. Yorkshire
Bulletin and printedby
Herbert
*
65
PENTAGRAM An independent monthly bulletin for all who want good magic
u,d.5 L a . 9
June 1951
Outline of Method : Three paper-covered novels are used, each one having about 130 pages.One of these, the one to be forced,, should have a more highly-coloured cover than theothers. One of theothers is faked as described in ThePlot Thickens,” described in the December, 1950, I’entugrurll, and also contains information regarding the contents of the book to be forced. “
number between 1 and 130 is written down digits of this number are addedtogether and the resulting total gives the line to be counted to on the chosen page. 12
t o represent a page.The
You gain information of the pagenumber by ljse of the impression book ”, and this book l‘
also containsthe 128 possiblechoices of lines; therefore, knowing the chosen number you can instantly refer to the chosen line.
Preparation : Imagine that the gimmicked impression book hasthe impression block stuck to page 65. Pages 66, 67 and 68 have thin sheets of paper stucktothem.Written on these pages are the lines from the book to blank be forced, e. g., page 26 in force book gives line 8 onpage 26, etc.Write about 40 lines on each blank page : on page 66 write lines 24 to 64 from the force book, with the appropriate page numberprinted opposite eacb line. Onpage 67 writelines 65 to 105, and on page 68 writelines 2 to 23 and 106 to 129. The reason for this is that when a pagenumber between 1 and 130 is chosen, a number between 24 and 105 ismost likely. to be named. “
”
“
”
&ice O ? e S e g :
thebook, look at the impression of the written number and then refer to the line written opposite that number on the appropriate reference page. Working : Placethethree books on a table, first the unprepared one, on top of that the book tobe forced and on top of allthe impression book”. A slip of paperand a pencil stub lie nearby. A blackboard and chalk are at one side of the platform. l‘
A spectator is asked to assist : Would you giveme a book?” you askhim, pointing to the books onthetable.Nine times out of tenhe will give you the top one or the middle one. If he gives you the middle one, give it back to him and ask him to have a look at the contents. If he gives ~70uthe top one, take it and then ask for anotherone. If he picks upthe force one,askhimto look through it. l‘
If he picks up the unprepared one, take it from him and then place the two books you hold ‘aside. You chose that one?” you say, pointing to the All right, will you please one left on the table. look through the contents? How many pages has it?-About 130? All right.” Pick upthe slip of paper and pencil, start down to the audience, hesitate, look at the books left on the table, go back, pick up the impression book and lay the slip on it as you go towards the audience Wewant a page chosen in the book. again. Any page between 1 and 130. Would someone care to write down a number between 1 and 130 to represent the page?’’ A consenting spectator is handed the book and paper and pencil, and you turn your back as he writes. “ Would you sign Then fold your name as well?” you askhim. the paperup two or three times.” Thisdone, takethe pencil and pocket it, then the book in ‘ l
l‘
“
l‘
Now number resting book ”,
you see that if someone writes any between 1 and 130 on a slip of paper on thefront cover of the impression youjusthavetoturntothe middle of l‘
continued on page 71
66
wiee B&'& light-weight balls and the usual type of article which can be lifted by the stock levitators. Usedin place of magician's waxitwill mos. effectively cause cardsto adhcr: together or to anyothersurface, whether horizontal, vertical. or upside down. In conjunction with thin celluloid tumblers you can doan anti-gravit;; cffect by smearing a little round themouth of each tumbler. If you use a book test where page; must be stuck together temporarily and indetect-. you. ably, then this paste will do the jobfor Using a note book with the edge of the pag:, smeared with this stuff, you can do the sum trs: in my version where the spectator's sum isstuck to the cover of the book when closed. Smear zome on the finger an 1 thumb (a fairl",generous amountforthis)andrun a piece of string between the finger and thumb. The string w.11 stand up rigid for about six inches according toits thickness.
This is not a trick, not a routine, not a complicated gimmick, but just an idea that may be useful to you. It's certainly been useful to me. Wouldyou feellike spending two shillings if you read an advertisement something like this? : .-l 1,ONG-GI'A R D E D SE('RE'i' O F T H E E A S T N O 11,' IiE T.'EA IaED FOR T H E FIRST TIME !
Glrslrndn Jlngic Sl{pplitls w e prorfd to presell? t o mngicicl1l.s the crlrefrlll?'-g-lf,llrdel~ secret colloidrrl prepurrltioll ~ r s c db y tlze " c ~ l o ~ l d . : r wwrkers oj the E(t.st fret?? time in?nzenlovicll. '/'hisliiile-kl~owrl conlpolrrlti possesses rel?ltcvklthle p o w c r s , t111L.1 is preptlv:ld j r o m r(lrc E(rsterr1 herbs u11d mirlerr1l.s. Presclli-drly rt1ngicicLrl.s w h o ure prizlileg-etl to use ii C U I I r l o w duplicate the /Cuts of t h e Oriellidmystics, such as the itzstallt 1eTlitcltion 01' U I I ~small object .laid 011 the open fillgers, theperJorma11ct~ 01 !he Indian Rope Trick in rilillicctlrre, whereirl L L I ; esarnitzed piece of strirlg is ctrrrsed t o stalltl straight ~ r p011 comnlcrlld, clnc! t h e ger1rrillc. tlwetrdirrg of (I rreedlc whileOlilrdfolded. Urrt thisis riot ctll ! Grtsundu's 12ew tlisc o w r y cl111 also h c u s e d t o nzcrke a11y h o v v o w ~ e ~ l puck of m r d s illto 1 1 rough cllld snlootll p c k , ( 1 1 1 irnpronlptu book test call be performed with c L w y borrowedbook,the sum test C O I L be p e r fornwtl using U borrowed rlote hook, (1 pack o / cards h i d b y U spectator uguillst his owl1 forchead will, when renzoved, leave the clzosell cardutlheringthere, a11d munyother ntctrT1el.s c m beperformedwiththe aid of G U S ~ ~ I ~ L I I I ' S rniruculorts prepnratiotl, now nude u w ~ i l ~ l ~ l ~ ~ t o all nztcg-iciarls L I I I ~soldby (111 chemists, Ilclivdressers t11ld sulldriestnerl, u t tlle ?ric.e 0 1 Y'If'O .sHlr'l.Ix(;.s F O R * i (;E.*\-ERol-.Y S - P P L I .. o
~
r
/ !
continued on opposite page '1
Flashback ! U
stands for Underhill
l
It would beworth two bob if it would do all that, wouldn't it? All right, forget abeut Guzunda Magical Supplies and off with you to your barber's, where you may buyfor 2s. a decent-sized tube of PomadeHongroise,better known as Moustache Fixative. Buy the white kind, whichis labelled, " Blanc ", and which issemioddlyenough, transparent. Thismoustache paste, you will find, will take the place of Collodion-resin or otherLevitators, magician's wax, daub, and (in some cases) roughing fluid. It is quite transparent when spread in a thin film, and when rubbed on the fingers isinvisible and indetectable tothetouch. Yet it will levitate playing cards, pencils, wands,
1
From the J . B. Findlay Collection
67
While this little card trick is quite worth do& who stays withme .for itself, thepatientreader until the endwillsee that it also has a hidden purpose. A cardhaving been selected andreplaced, the performer shuffles the packand sprea-ls it in a fan with the faces of the cards towards himself. With anair of great concentration he p:cks out eightcards, one by one, wh:ch he PUIS, faces down,on thetable in two heaps of four. He closes the fannedpack and asksthe ckooser if the selected card was a red or a black one. Whatever the reply he picks up one of t t e keaps o f four cards and replaces it on the pack, saying, Weshall not want these then.’’The other four cards hetakes in his hands.Heturns one over, saying, ‘‘ That is not your card!” He does the samething with a second,and a third. He asks the name of the selected card and turns ovcr the fourth . . . . itis the chosen one. “
Thespectators, ob-serving thatthe fourcards were all of the same colour, ‘assum2 that the four discarded ones were of the opposite colour . . . but in that they are wrong. The four other cards were the four aces, which nowlie on the top o E the pack in readiness for your favourite card trick. Themajority of Pentugvunz readers will noi need to be told how todo it. The following paragraphs, then, are for the benefit of the
CLEVER DEVILS, T H O S E HUNGARIANS-continued
Use a very small quantity on the end of a piece ,of threadand you canthread a needle behind your back. Likewise, roll a littleroundtheend of your C. and R . rope to stop it fraying. Put a dab or two on the back of seveTal Treasury notes and do the Multiplying Note trick. Rub a finger on which youhave smeared a little paste on the back of a card and you leave theveryfaintest smear whichwill rub off with :another finger. Put a dab the size of a pinhead on a card and the next card will stick to it firmly until you slide them apart. Smear a thin film over the back of -a card and it serves as roughing fluid-but it has the advantage of rubbing off easilywith a handkerchief.
minority, to whom I will explain how I go about it personally.
I sight the bottom card, remember it,and shuffle it to the centre of the pack (zlill the top) with an injogged cardaboveit. I amprepared, then, for the classic force and, since I do not care a tinker’s curse ’’ if I force the card or not, I generally succeed. (Which, incidentally, is the secret of the classic force.) I do not care because, if I miss the force, I use the forcecard ” as a key card and have the selected one replaced beneath it, using for this purpose the sleight But Not To Play under which I described in the egotisticaltitle of the Jonson Undercut.” (All authorsare egoists but few admit it.) So, when I look through the pack I can pick out the selected card either because it was forced or because I know the cardabove it. I also pick out three other cards of the same colour, to complete one heap,and the four aces to make the other. ‘ I
“
“
”
I‘
Perhaps I should mention, forthe benefit of any .4hrncc1duhrcr subscribers who may have borrowed this issue, that the trick could also be used to put the four kings on the top of the pack, or even to put five cards there for a Nap Hand or Poker trick. [ T h e r i g h t s of tuzIr.sllitiorz arid rcproductiotl of this (wficlt-‘cIrc .sivicil>~t : ~ . s e r ~ t c d ]
from previous page
If you do a billiard ballroutine, a tiny dab on one ba1.l will enable you to balance anothci ball onit. If you use threads in any effect, ;I dab of paste willstick them lightly to the tabl: a chair-back, the scenery or even the celing until you wantto release them.For thc rising cards a pin-hea.d dab will pull the card upvertically, but won’t pull it far if the pull is at right-angles. A small dab will hold the fake coin inside your shell penny, and will hold coins together lightly. A bigger dab will hold the spare piece in the torn and restored tissue. Add a little applied with the finger and thumb willgive you a spiked moustache assharpas Charles Harrison’s. What other magical commodity will do that for you? Clever devils, thos: Hungarians!
68
The following effectwas evolved aboutthree yearsagoonaneveningwhen I was showinga few cardeffectsand wished to vary the type of effect. No preparation is necessary, it canbe performed quite impromptu but the effecton the audience far outweighs the simple means required to bring it about. Effect.-Two packs of cards are required, both of which may be thoroughly shuffled before comis nopreparationrequired. A mencingasthere volunteerchooses any pack and sights a card in it. Two further volunteers also maks selection; andthepack isshuffledonce more. Theperformer now hands vol. no. 1 the second pack with the request that he (or she) concentrateon the name of their cardand leaf throughthepack, faces towards them, remove his card and withouc showing it place it face down on the table. Whilsthe is doing this the performerstates that he will endeavour to read the volunteer’s thoughts and, leafing through the pack he holds, also removes a card, placing it face down on the table next to the volunteer’s card. This procedure is followed with the other two helpers. The performer now turns up eachpair in turn, showing thatthe pairs match in suit andvalue, t h u s proving that the volunteers’ minds have been correctly read. Explanation.-Itdoesnotmatter which pack is chosen, since there is no preparation.The
Prompted by
our Editor’s remarks (April no effect had touched on Canasta ”, I heresubmitacard trick which could prove an ideal overtureto game a of Canasta. Let us sit at thecardtablewithourpartner and two other players. The two packs we shall use are lying side by side, and there are the four jokers requiredfor the game. Weoffer to display a little-known fact regarding the game, so we handone of the packsout to be shuffled. On receiving it back we glimpse the bottom card and remember it. Now a player cutsthepackand we laythebottomportion across the cut, in readiness for the well-known Cut Force. Taking the other pack we quickly run through it and bring the duplicate of the force card to the Pentugvunz) that “
performer approaches the first volunteer and slowly riffling the cards invites his helper to stop him at any point he wishes. When he is stopped theperformerbreaksthepackand lifts thetop half towards thevol.,asking him to rememberthe card at the break. In replacing the top half, whichis held in his righthand,thumb at the bottom, fingers at the top, the middle finger presses on the face of the card and, twisting it to the right, causes the card to break at the lower end. Thus as the top packet is replaced, the bottomcard goes to the bottom of the pack. After the selections have been made you will have the three selected cards a t the bottom of the pack.This moveis knownas the Master Move by Joe Ovette and is more completelydescribed by StewartJames in the Mark of the Reader (Pemtugram Vol. 1, No, 5 ) . Performer now shuffles the pack, retaining the three chosencards at the bottom, then, noting the bottom card, gives the pack a complete cut. All that now remains is to build up the effect. As each volunteer removes his card from the pack and lays it face down on the table, the performer does likewise, commencing with the first and sighted card. The reader is advised to try this out. It is most effective on an audience.
top. Wetell our friend that Canasta beginswith the letter C, so we lay on the table a king. Next the letter A is represented byan ace. For the N we laydownaninespot.Wecontinue until the word Canasta is represented by a row of faceup cards, thus :King. Ace. Nine. Ace. Seven. Ten. Ace. We pointout thatthe letter S can also bea six spot, so we put a six below the seven. Also, T can be a two spot or a three, so we place these cardson the tableundertheten.However, we make sure that the three is a black three. The set-up now looks like this :King. Ace.
Nine.
Ace.
4 jokers. Seven. Ten. Ace. Six. Two. Black Three. Pack. (Cut and crossed)
69 Ferformer.
\Ve now announcetheremarkablefactthat if we total the values of all the cards on the table (counting the king as thirteen), we arrive at the number 53, which is also the number of cards in acompletepack, with ajoker. While this statement sinks in, we aregatheringthecards and placingthemon top of the pack, makingsure thatthe two spotandblack three are the ninth and tenth cards from the top. It isnow up to us to make a false shuffle and a few false cuts which do notdisturb the top stock. The pack, reading from the top is, eight cards, thena two spot,thenablack three, andthena duplicate of the force card in the other pack. Taking the four jokers, we make some remark regarding the powers held by the jokers over the other cards. For instance, as the joker is a ‘‘ wild card in Canasta, it can control the position of other wild cards, these being the deuces. Wenow wave the jokers overthepack and requestone of our friends to spell outWILD ”
It has been quite interesting in recent months to readthevarious articles thathaveappeared referring to the fee aconjurershouldcharge. The initiative was takenby Goodliffe, and in a very, sensible article headvocated fixing afair price and sticking to it.He also added lots of other things that made very good common sense. We think that in the main such advice was chiefly addressed to those living outside the Metropolis, where the local Merlin appears at many functions in the same vicinity, and where also bookers are in a position tocompare notes. Our Birmingham friend also added that he thought a presentdaystandardfora show was four guineas. We agree that sucha figure wouldbe a presentable standardforthebread-and-butterconjurer,but unfortunatelythereareonly too many whowill takea show outconsiderably below this figure. Here in Londonthere areverymany full-time and part-time professionals working masonic and otherdinnerfunctionsforthree guineas. It’sa sad state of affairs, but fellow artists who sing andplayinstruments at such affairs go out at thesame price. Fortunately,at the otherend of the scale there are those who know what the market will bear,and get themaximum figure. Suchperformers, who unfortunatelyare all too few, neverwork in the cheap class. Thereare some bookers who wouldneverlook at a low priced act, and the following story, which is quite true, illustrates this.
DEUCE from the top of the pack, removing one card for each letter. He does so and on the last letter turns up a t v o spot. We replace the spelt cards on top of the pack and false shuffle. Now let us try for another card usedinCanasta-yes, wewill spell out BLACK THREE. There is morefanningthepack with the four jokers, andthecard is spelt out by the spectatoras before. On the last letter, there is the black three. We replace the cards as before. Now, can our jokers find that coveted card, the red three? We’ll try. We spell from the top, T H E RED THREE, and on the last letter we turn the card over. No? Nota red three?Have our jokers failed? Wait,what is the card?It is (say)thefour of diamonds.Let us see whatcardyou cut to in this other pack. Well, well. The four of diamonds. CLIMAX. Shall now we enjoy a quiet game of CANASTA?
A fr’end of ourshada call, and was asked if he could put on a short cabaret act at a place quite near his home. On replying in the affinnative he was askedwhat his fee would be. He replied thatit wouldbe eight guineas. The line was not too clear, and the reply was interpreted (very fortunately for our friend !) as “ eighty andthe voice at the otherendsaid, “ Well, I don’t know whether we can go to that figure, we hadsomething like thirty-five guineas in mind.” I Ourfriend, quickontheuptake,answered, said ‘ eighteen,’ not ‘eighty.’ ’’ Many andmany a time bookers judge by the price they pay. ”
“
From the Be1iev.e it or Not ! Department comes the following quote from a dealer’s advertisement :“
”
‘‘ For many years magicians have striven to achieve the perfect prediction, that is, one where prediction is the BILLET or cardonwhichthe written is similar insize to the CONTAINER.’’ Now andagain we get very enthusiastic over some of the items that we publish, and when, in August, 1950, we published Herbert Milton’s ‘ Predict0 ’ we thought that such an outstanding effect would be widely used. For a single prediction of amentallychosencard it has no equal every and on occasion we have demonstrated the effect, theonlooker has been more than surprised when we have told him that
70 ithas been published. It is an effectwell up to the standard of Herbert Milton’s classic effect, the Sympathetic Clubs ’, and if you did overlook it at the time oralternatively shirked the chore of makingit up we hope you willlook back again to the issue in question. Looking back through the MagicCircle season of concerts, it has been pleasurable to note PcIl;fLcg:Yaul effects that not only have been worked but have been well received. Our friend Victor Farellihas forwarded the foilowing note regardingRobert-Houdin :-
THE ORANGE TREE On page 38 in “Where Houdini Was Wrong”, M. Sardina points outthat : “Robert-Hodin I I ~ Z V V stated Ih’ H I S HOOK thut I I ilr:*erlt.-d ~ the Orung-e Tree.” The book in question is the ‘ Confidences ’ ’ . Now if one requires some additional proof that the Master was careful notto layany claim to havinginventedevery piece of apparatus exhibited by him, all one has to do is to refer to the Comment On Devient French edition of where the following words aretobe Sorcier found : “
”
“AII moi.3 d~ juitIet do I’nnttCo 1845, s’ortrrit (111 Z’dai.3-Royd rtn thPa^tre xorts 10 n o t l r d e ‘ S o i r & o s Fa)rta.rtic/uPs.’ LP fondatour pr6svntu diwrses v x p ; r i ~ v t w . y. . . f”t?taicwt : l a xrrorrrl(* r u e . . . l’orunger t)wrroillPux . . . etc.” [Page 12 in t h e Paris 1882
edition).
Robert-Houdin continues : ‘‘ 1r.i j v tw’awitc?
Pt
t t j o . ~~ W ~ I ~ out-racqes P S
no puis
. . .
”
(VI, diro d’urnrrta~lc~ .$ut (Samepage).
A correct literal translation of sentence is :-
Peter Warlock’s
‘‘ TECHNICOLOUR
the above
FOLLOW THELEADER ” (Publishedby theoriginator, price 7/6.) This is an ingenious version of a,classical effect, beloved by card manipulators, p!us some surprising additions.Fornotonly do groups of red and black faced cards repeatedlychange places butthe backs of thecards confirm thetranspositions, a startlingfeat not possible in any other published version of the trick. In all sevenchanges take place. In addition, the Lvhole rout:ne has bezn made stage\\orthy Ivith the aid of wine-glasses to elevate the cards. Forthe performer of miscellaneous magic particularly, \vho desires to add a card item free from the customary take-a-card imploration,this t r k k will satisfy his requirements. Every move is carefully planned and patter suggestions are includedfor each stage of the trick. There is but one sleight and therefore little actual skill required, but the routine of course, as Lvith most good things, requires some rehearsal for smoothness of handling. It is trick a one may imagine Leipzig \\-ould have liked to do. GUSTAVESOUTHALL. I ‘
”
H e r e I stop w o r k s ”.
‘* ow11
cllltl L-(I)I
stly
more
110
(Lho1lt my
As the sentence does not sound well in English, Professor Hoffmann (whom, by the way, I know very well) translated it thus :‘‘ H e r e , h o w w e r , I u ~ l ~ . sp(1u.se, i urld mllst not he tempted t o oxptlt.’(1’c { t t toogreat lellg.ti1 uporl m y ~ U I illwlltiolls. I (Page 27 in the London, 1878, edition of ‘The Secrets o f Conjuring and Magic ”). ”
“
It will b e noticed that Robert-Houdin used the word OUVKAGES ”-mtaningWORKS-and not INVENTIONS. ( V. Farelli. ) “
If you have one of thos2 ‘ PeaCan ’ things here is an idea to tie up with the modern economic conditions. Have thecan filledwith waterin the usual way andthefakeadjusted. Borrow a ten shiiling or pound note, fold it and insert it in the can. Make the necessary steal and “ It’san kand the canto a spectatortohold. amazing t i ing ”, y ~ rcma:k, u but money gces I;k? water these days ” . . . . Just see for yourself!” The spectator turns down the can and, of course, the water runs out. Next month WC are featuring Ron Baillie’s Double Stoppered ”, a presentation based on Taylor’s Double Stop ”. It is very, very good indeed, for not only has Ron brought in the matter of knowing the second chosen card, but he h.as devised a plausible set of lines tocover variou; preliminaries. This magical enthusiast Daily Mail bad a very nice write-up in the the other day. His Lined Up in this present issue illustrates wellhisdirect attitude in mental effects. “
“
‘ I
“
“
”
”
STARS OF ,MAGICINC. SERIES No. 9 ‘ ROSS BERTRAMON COINS ’ (price eight dollars) In a brief note DaiVernon introduces thecontrilmtor t o this present series and in view of the fact that such an authority brackets his name with those of Sha\v and Do\vns makes one realise the stature of this Buffalo magician. In all there are some five ite-s, none of which req:-!ire exceptionalm?nipa!ative ability. The first is cal1e:l ‘ Rl!bdown ’ in \vhich a co:n first vanishes to ayyear u?!dc.: the other hand. Later another c,oin loses value under cover of a rubbing movement, the otherhandthen being l-fted t o sho\vhow the lossin value is represented b.\. three coins that ha\Te magically Zppeared. ‘ Double-Cross ’ i y the t:tle of the second effect and here after a transposition of coins held in the hands, one coin vanishes to joiu the other. Thethird item is called ‘ Passing the Half-bucks ’ and to our ownway of thinkingthis is the best effect amongthe five. Hereagain is a coin transposition but i t has an O’Henrv finish that makes it very refreshing.
71 B O O K S AND ROUTINES-continued
would count down to the eleventh line.” As you illustrate this with your book you let the impression block page flop over to your left and quickly memorise the line written opposite the number you got onyour impression device. There is no kwry really; there is plenty of time to get a good look at the chosen line as you illustrate what the spcctator isto do. Is thatquiteclear,sir?” you ask. ‘ All right. Will you open the slip and call out the name written there, just as a check.” ? l i s c‘one, you sayto the spectator who wro’e the number, That is your name, sir?” He acknowledges. “ Well, will you turn to the chosen page in your book,sir, add together the digits and count down tothat line ”, you tell the spectator with the book. When he getshis line, ask him to write it on the blackboard, but bcfore this is done you allox yourselfto be blindfolded and stand with your back to the board, or you can be escoltezl from t k e room. Tell the spectator to erase the writing after everyone has had a good look at the chosm line, and before you are brought back. Whichever presentation you use, now ask the audience to concentrate onthe line and slowly, besitatingly and as impressively as poss’ble proceed to reveal the line. The slip can, of course, be kept by the spectator. Addendum : If thespectator hands you the impression book first, wait to seewhich one hcchooscs when he is asked to take a second one. If he then picks up the force book, immediately pick up the slip of paper and lay it on your book, asking him to glance at the contents of his book.
from previous page
PorousPaw ’ in which a coinis rubbedthrough the hand, follows and finally we are treated to a rather unconventionalhandling of ‘ CoinAssembly ’. These routines, like the Slydiniones, are extremely individual for as we mentioned a t the beginning no great amount of manipulative skill is needed. Slow easy handling plus timing are quite obviouslyhIr.Bertram’s greatassets.He is obviouslyaman who lovesmagic and likes t o makeeveryitemmagical.Even if you have not such characteristics yourself, we feel that such individualinterpretaton is worthy of recording in \.our library. The treatise is very well produced in the usual style of this series. Some twenty-eight photographs by George Tiarger make clear any point mentioned in the text. As usual, (;eorge Starke does a capable job of the editing.
“
“
~~
R O N BAILLIE’S L I N E D UP-cor1tinuc.d from page 65
your left hand, and then, very openly an.i S ~ O W ~ Jtake ~ , the folded slip fromhim in your to the right fingers, holding it up. Walkback platform, keeping the slip in full view all the time, thenhandittothe spxtator ontheplatI wantyou to read the number on that form. slip and turn to that page in your book ”, you le11 him. We want a line chosen on that page, so we might as well just add together the digits of the pagenumberand comt down to the line Ivhich occupies that position. For instance,” you continue, if page 65 was chosen,you would 65 ”, here you open your open the book to page book tothe impressionblock and glance atthe pumber on it. A split second is all that you need. so that no-one gets a glimpse Hold the book up of the gimmickinside the book. You would then add together the 6 and S, giving 11, and you “
“
“
“
WRITING OF
THE CONCERT VENTRILOQUIST and
CHILDREN’SENTERTAINER By MauriceHurling
PETER BROUGH says : “ I would very much like to tell you how I enjoyed reading ytmr book. You haveshed’ a ’ n*bw light on the field ofventriloquism -the practised Ventriloquist will find a greatdeal to help him, but you also supply an excellent guide for the beginner.” This shows a shrewd appreciation of the contents of the book, for that is exactly its intention ; to provide the practised Vent. with a mass of new comedy material, ideas. outlines tor acts and even a complete word for word script of an outstanding new act, and at the same time to guide the beginner in the construction of Vent. scripts, when to use the comedy movements to the greatest effect, how best to open the routine for childretl, how to build up the confidence of a young audience or howto approach an adult audience. It is all here,packedin a neatlyprintedbookofover 50 pages, withnumerous illustrations. See Advertisement o n Back Cover
!
ENCYCLOPEDIA OF CIGARETTE TRICKS ”
“
By KeithClark This most complete of‘ all treatises on cigarette manipulation. which hastlnfortunately Deen out of print for s a n e )-ears, is now available in a new, enlarged edition. Compl-.tely revised, with two on up-to-date sleights. Cloth, 318 pages, more additional chapters than 300 photographic illustrations of theanthor’shandsexecuting .. .. .. .. 53/nearly 200 sleights, moves, flourishes
‘‘HUGARD
BOOK EDITION No. 4 (Vol. VII) ”
Superblyprodwxd . . . :!Itstanding material . . . would be a bargain at ten dollarsor more (Fitzkee);,, “ Wonderful ” ( I a r b i n ) ; “ A whale of a bargain ” (Crimmins); Worth many times the and so on. Cloth, 128 cost to any practical magician ” (Farelli); big pages (84 X 1 1 inches) tqnivalent to about 400 cjf ordinary size, I I i sleights, tricks, and routines .. .. . , , 30/(Werxommend buyingallfour “ book editions ”, which include Vols. I to VI1 of Hugard’sMagic Monthly.Comletesets will not long be available, since the stock of two of thefourbooks is running low. All fourbooks, S6,) ATTENTION. CARD WORKERS! You arr missing some good do own Hugard-Braue’s EXPERT CARD things if ~ O I I not TECHNlQUE (43/-), SCARNE ON CARD TRICKS (21/-) Buckley’s 71/-, now B/-), andTHE CARD MAGIC CARD CONTROL (was OF LE P.4UL (eo!-), allpublished within thepastfewyearsand all up-to-date. Please remit to Mr. Robertson Keene, Shalfleet Honse,Shalfleet, nearNewport,Isle of Wight.
PETER WARLOCK’S
I
Follow My Leader
+ Here is an effect ideal for close-up or platform
“
+
,
+
woJk. It is being currently used by Elizabeth Warlock, who willbepleased todemonstrate it if she is in your locality. Ratherthan praise our own wares, we will quote that outstandingcard worker, Gustave Southall, who says :“ It is a trick one may imagine Leipzigwould have liked to do.” PRICE 716
PETER WARLOCK 24,
FLEMING BOOK CO., P.A., U.S.A.
WORDSWORTHROAD,WALLINGTON, SURREY
728, MadisonAvenue,York,
PETER
O r Your
WARLOCK’S
PENTAGRAM ispublished on the 24th of eachmonthand canbeobtaineddirectfrom the publishera for 1/1 per single copy.AnnualSubscription 121post free. PUBLISHED BY:
A GREAT NEW BOOK T H E , book does not teach the reader how to ”, a subject speakwithoutmovinghislips that $a5 been dealt with in all other books on the =ubject. It does, however, break new groundthathasneverbeforebeencovered in a bookonventriloquism. Here the reader will find the result of years of hardandpracticalexperience as a professionalperformer ; whenand how to use the comedy movements for the gxeatest effect, how t o write your own dialogue, a mass of ideas for new actswithscript outlines, invaluableinformationon the psychology of children,entertainingchildren,etc., etc And to cap it there is the complete script for an outstandingnew Maurice Hurling act-not duplicated and sold for 10/- but just one chapter in a greatnewbook. Price 10/- ; postage 3d. from the publishers THE MAGIC WAND PUBLISHING CO. 11,MonasteryGardens, Enfield,Middlesex.
1
The Magic Circle HisGracetheDuke of Somerset, D.S.O., O.BE.. J.P.. M.I.M.C. Vice-President: Douglas Cragga, Erq., Y.I.M.C. I’rc,sidt*llt:
ClubroomandLibraryand
Magical Theatre :
Manllscripts for publicationand books for review shouldbesent to the: EDITORIAL A D D R S S :
ParticularsfromHon.Secretary
JACK HUGHES will be pleased to send you fulldetails of
THE DE LUXE “SU-TABLE” together with all his other effects inreturnfor a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE Let me know your rants OLDANDNEW. LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
I
Dealer
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The Magic Wand, Quarterly. r e r copy 3/8 p.p. .4nnnal subscription 14/6. The Wizard, 36 pages monthly.Percopy 211 P.P. 6 month, 1216, Yrar 241-. (Farelli) , . 17/10 Convincing Coin Magic Mastered Amazement (Koran & Lamonte) . . 10/3 Bohleno’s Mysteries (Bohlen) . . 10/3 The Concert Ventriloquist (Hurling) 10/3 Georgc Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis l013 Entertaining With H pnotism (bexter) 1013 Chdenge Instant d p n o t i s m 8~ Mass Hypnotism .. , . 211Strictly Magic (Eddie Joskph) .. 513 Stooging Around (Stuthard) . . 513 Tests (Gakett) . . 513 26 Living & Dead James) .. . . 513 lrmesosophy (Stewart . SI3 Year Book 48/49 (few only) . . StuntsWithStage Money (Lamonte) . . 513 . . 2/7 Tricks of the Trade (Armstrong) From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Published bytheproprietmThe
Magic WandPublishingCompany, 11, Monastery Gardens, Enfield, Middlesex, andpfinted Walker and SW ( P r i n t e d Ltd.. Well Croft, Shipky, Yorkshire.
by Nerbert
*’
73
PENTAGRAM An independent monthly bulletin for all who want good magic
One day in the summer of last year this writer was challenged bya columnist in the Irish Times to prove that the Telephone Card Trick was not done by having an accomplice at the farwith a list of four end of thetelephonearmed surnames for the suits and 13 names for the value of the card that happened to be chosen. It seemed that, as the result of a paragraph in the Irishman’sDiary ” , acertainauthor, J. B. O’Sullivan, had written to the diarist chiding him for swallowing such an old and easily explained the working, trick , atthe sametimegiving which, we were told, was to appear the next day. Up in armsto defend our art, we accepted the challenge, andat oncecontactedafriend,Jack Kinvan, professional magician-comic in histhird year as “ resident ” in Dublin’s Capitol Theatre. Tt was decided by us that the person who revealed the cardoverthe’phoneought to get the lion’s share of any resultant column, so Jack was given this part. That night we two gottogether in my lairin Clontarf and,after discussing theproandcon o f various methods, made up our minds to “ risk all and tell Quidnunc ” notonlywhat card !{.as chosen, but two others, word a from a magazine, and also the colour of a crayon pencil! Twodayslaterthe entire “ Diary was given over to the matter and it pleased us more Than somewhat to tell its befuddled scribe : That offer of $2,500to any charity if the items used inthe test were foundtobeotherthan ordinary still holds good, and a like amount shall be given to any reader who can give an explanation.Printthat!” So, if you, or you, would like to capture some free publicity, you know thatthe routine that follows has been tested’to that encl. “
”
“
“
”
”
“
”
“
We would get all confused if this wasgiven any verbosity, so here goes with some staccato moves ” : The deck is arranged so that only four words from the magazine may be arrived at. That is, the deck is given to the person to be foggilised, after a casual false shuffling as you prattle, and he is instructed to deal the cards on to thetableandstopwhenever he feels like it, and then to place the next three cards in a row beforehim, face up. If a court cardshows up, court cardsare theyarebrushedaside,as confusing ”. A new deal is made in these circumstances, and ;hree other spot cards are arrived at. The value of the arrangement go : 4, 6 , 3, Queen, 5, S, 9, King, 1. (Ace), 7 , 3, 10, Jack, whdethe suits are in thewell-knownCHaSeD sequence. It will be seen that with this arrangement the -tJords arrived at would be the 3rd word on page 46 (4, 6, 3 ) , ?-he9th word on page 58 (3, S, S), the 3rd wordon page 17 ( 1. 7 , 31, and the 10th word on page 73 (7, 3, 10 ) . Two of these pages are left-hand ones (46 and 38 j and two are right-hand ones ( 17 and 7 3 ) . Withthatmadeclear,lel’shave the complete routine,other aspects being deal; rvith as they cropup. First ihevictim of the hoax is given a postcardwith the ’phonenumberand namc of the party to be called later. ,A sealed envelope, suitably addressed, is also presented. after all is over thi.; is oFentd and is found to be an offer to pay 2,SOO to any charity if the itemsused arefound to be other than ordinary. (This is a readymade peg for a paragraph. ) “
74 As soon as the three cards are in a row before the selector, face-up, the third one is turned face down, wirh the instruction : " You've stopped on a 4 and a 6, so open the magazine at page 46. " The, third card is a 3, so count along the top line on that page to the third word ", you say, briefly showing the card and then placing it down, back-up. " Which of these two coloured pencils do you prefer ", he is asked,asyou offer hima choice of ared andblue pencil. He makes a choice , and is told to encircle the word with it, while the other is placed aside. You have noted that his word is one of those on a Zeft-hand page and that he has chosen the red pencil. He now rings your friend and opens the conversation any way he pleases; in other words, it is " left " to him (maybe I'm lazy, but I like to make things easy to remember). If it had beenaright-handpage,you'dhave told himtoask yourfriend " whatword I'm thinking of " . This opening gives the right-hand lead. A chart is in front of your friend tvith the words onit,as well aswhethertheyarcrightorleft be one of a words, so he now knowsitmust certain pair. But beforc proceeding, he says that he is failing to get any impressions and asks that the wordbe written down. If timeis taken to write it down, your friend knows that the pencil selected for the encircling of thc word in the magazine and now being usedto write the word is the red one. If the blue pencil had been chosen, you would have made sure the word was written down ( ' as an aid to concentration " ) before the 'phone had beentouched. Now, with the word beingproperlyconcentratedupon, things get clearer,andyour friend '' gets an impression of the first letter of the word.Thisproves, let us say, correct,and the whole word is disclosed, letter by letter. If that first impression is not correct, the other word of the pair must be' the one in the victim's mind. On the chart propped before your friend under each word is the four combinations o f three cards that will arrive at that word. "
"
Like this : 4 4 4 4
Clubs Spades Hearts Diamonds
PREVENT Hearts Diamonds Spades Clubs
6 6 6 6
3 Spades 3 Clubs
3 Diamonds 3 Hearts
While they run across in Chased '' order, the two combinations starting with black cards are at the top, for ease of location at a timewhenthe mind must work clearly. As soonas the wordhasbeendivulged,your friend listens carefully, and if thesuggestion is made to him by the victim that he. should try to tell the three cards, he knows that the first card of the three on the table is a black one. This is brought about by the operator (Hiya, Pete) placing a cardbefore thechaponthe'phone reading, " Ask him to namethecards. " If this first card is not brought forth, it means that the card is a red one, so your friend offers voluntarily to. try to tell what the cards are! Well, healreadyknows its valueandcolour, so they are given in two spasms. A guess is made at the exact suit, and here it's a 50-50 chance on being correct. "
continued on page 79
Flashback ! V
stands for Verbeck
MDLLE. DE M A R G U E R I T .
75
a
?’he pack is separatedinto oddsand evens instead of reds and blacks, the red kings are 1.4 cards of counted as eTreT1 cards.Thebottom thepack are stacked, the bottom 6 being e v e n cards in a known order andthe next 8 being odd cards in a known order. The deck is arrangedas follows :-Top 20 cards are e v e n , then 18 odd cards, then AC, 3H, S S , 7D, 9C, JH, KS, AS, ZC, 4H, 6S, SD, lOC, OH; the QH being the bottomcard of pack. You’ll notice that the suits rotate C, H, S,D, and that the AS is out of sequence in the odd stacked portion;it serves as a marker, separating the odd stacked cards fromthe even stacked cards onthebottom. Crimpthebottomcard ( Q H ). Two spectators are invifed up. Charliershuffle the pack as you explain that no two people thinkalike, some think of thing; in anartistic manner, colours, designs, etc., while othersthink in a more mundanemanner, figures, letters,etc. Studythe two assistants; whenever you get two thanthe people,one willlook more. ‘‘ arty arty type that you get the other.Tellthe impression thathe will be abletoconcentrate morestrongly on designs and tell the other that you think he’ll be able to concentrate on numbers ’,’, type more easily than designs. The we’ll designate A andtheother Cut the pack once or twice,finally cutting the crimpedcard to thebottom.Laypackontable. Ask A to cut off a small packet of about 8 o r 10 cards fromthe top of pack andthen a similarpacketfrombottom of pack.Pointout that you couldn’t know top or bottom cards of packet he holds (centre packet). Ask him to look at top card of his packet and to remember it, then to cut his packet as often as he wants to and to keep it just now. B ,” isnow told that youcouldn’t possibly knowtopcard of packet that was cut from bottom of thepack, heis asked to look atand to remember this card and then topick up packets off the group which was cut off from top of pack anddrop themon the packet in hishand,and then todropthe remaining cards on top of his tofan his packet.This done, you ask “ B packetinfront of him andto remember the numberthathiscard lies from thetop of his packet. (The easiest way for him todothis is to have him fan thepacket, faces to him; when he comes to his card he is to count it as one ”, thentokeepon fanning towards thetop of his two ”, three ”, etc., until packet,counting he gets to the top card of his packet.) ”
”
‘ l
“
s-t;
”
“
”
“
”
‘ l
“
“
You now explain that 4 , is toconcentrate on his card and ‘ B ’ ’ is to concentrate on the number his card is from top of his packet. Take A’s packet from him and explain that you’re thoughts going toattemptto pick up “ A’s andare going to remove hiscard, thenyou’re going to try to pick up “ B’s ” thoughts and are A’s card at the number B ’’ going to put 1s thinking of. Ask ‘ ‘ A to concentrate deeply on his card, fan the packet in your hand, find the first even card from the right-hand side (from face of deck), cutit to the face of the packet. Counr the number of even cards and remember th? las even card in the groupand its number. This is A’s card. Subtractitsnumber in the fah; from 20, add 1 , and the resulting number i: tht;. number ‘‘ B’s card liesin hispacket. Pull up A’s card and as you do so glance at the car2 that lies to its left (lowards the top of the f a n ) . this is the key card for B’s ” card; i.e., if it is, the 7D you know ‘‘ B’s ” card is the 9C. Teli .“ A that you think that you’ve got his 2nd turn to ‘‘ B ”, asking him to concentrate c m his number. Pull A ’ s card out of the f a c j and insert it at appropriatenumberfrom top cot your fan, i.e., if “ B’s ” number is ‘‘ 11 insert A’s card at the 11th position from top of your fan, therefore underthe 10th card from Do all this nice and slowly, top of yourfan. giving yourself plenty of time to do a check 03 the key card for (‘B’s” card, etc. Yor: remember (1) *4’s card, (2) B’s ” number, (3) “ B’s ” card. Hand the packet back to “ A and ask bo;l, Spectators to deal cards simultaneously, one at a time, face down.They do so. You count with them as they deal and when they’ve dealt carcis tothe chosen number (i.e., “ 11 ” ) you shout “ Stop!”. Turnto “ B ” and say, “ You, sir, thought of the number ‘ 11 ’, is that correct? ‘ “ B ’’ acknowledges this. You now turn t c ~ ‘ *A andsay, “ And you, sir, thought‘ of the Queen of Spades (i.e.), is that correct?” “ A acknowledges this. Well .then ”, YOU continue, “ will you please turn up your 11th carcand see for yourself that I placed it in the correcf position? This is done. Now, you turn t C . ‘ B andsay, (‘ I was ableto get ’ you: number much more easily than I expected,sir. I think that perhaps I might be able to cany the to name your experiment furtherandattempt card if you’ll concentrate well. Would YOI: “
“
”
”
”
“
”
“
”
”
”
“
”
“
”
”
I
“
.
,
”
‘ I
”
l‘
”
”
”
”
”
continued on page 79
Way back in the dark days of 1943, whilst we were at a pre-OCTUcamp, we glimpsed and were very much impressed by Walter Gibson's 91 Cent Miracle " that appeared in Phoenix No. 44. The fact that it needed a little memory work plus the need for converting U.S.A. currencyintoEnglishcurrencymay haveput a number of English magicians off learning a remarkably fineeffect. Wehavecertainlynever seenanyonepresent it.Here we haveadded somethingtothe Gibson version (as the wellinformed reader will see), and have also produced a n easy mnemonic for cutting out any intensive memory work. Because of the tables that appear at the end, we implore you not to pass this over withoutreading thoroughly. Only too often we have regretted laziness in reading when at a later date someone has shown us a dilly of an effect that was just as easily available to ourselves. As themain principle of the effectis unaltered, let us quote Walter Gibson's own preamble to " 91 Cent Miracle " :" Here is a feat of mental wizardry that probably has remote antecedents but was developed intosomething a dozen years agoby Jack Miller, thefamous GiantCardKing.Only recently our brain department heard of the Miller mystery and began working along similar lines. " Continuing, we will let Gibson describe the effect as he wrote it at the time :' ' Since three people are used and given wewill personal instructions by theperformer, Tom ", Dick and " Harry " to call ;hem kccp the participants straight. " You have three envelopes, each of a different colour, red, white andblue. These are laid on thetable withfive coins of different denominations, a penny, a nickel threepenny piece, a sixpence, a shilling and a half-crown (these are the English equivalents of the American coins mentioned).Withyour back turned,you tell each person to take an envelope at random or by agreementamong themselves, and then thefun begins. Speaking to Tom, the first man, you tell him that if he took the red envelope he is to put the penny in it. If he took the white, he is to put in the3d. piece. I f ' h e tooktheblue, he is toput in the sixpence. The envelope then goes intohis pocket. " With your back still turned,as it remains until the very end of the trick, you give Dick, the second man,certain choices asto coins accordThese are ing to the C O ~ O U I - of his envelope. "
"
"
"
"
namc.3in the accompanying chart (see post) and ;he fact that Dick has options begins to make the :rick intriguing. You go alongto Harry, thethirdman,and givechoices too, a pair for each envelope, as rtated in the chart. 'I hen for a pay off, you toss an extra choice to Tom,the second man. You say, ' Bythe way,Tom, if you picked up the sixpence, you can put it back and take the halfcrown instead, provided the half-crownisstill t'- ere. But you cankeepthe sixpence if you want, that is up to you ' . With all the envelopes in the pockets of the participants, and a coin in every envelope, you turnaroundforthe firs: remaining on the time, pick up the twocoins table and, after due concentration, you name the colour held by each man, and the particular coin illat his envelope contains." "
From that point Gibsongoes into the esplanation, a thing we shall come to in a moment or two. However, there wasone thing that from our own point of view slightly weakened this very fine effect, and that was that there was a physical connection between the performer and the two coins left over! With this idea in mind we devised a presentation overcome to this weakness. In commencing the effect, the magician emphasises the connection of colour and metal, of how there is an unconscious link between the two and how a person wth supernormal attributes can see theconnecton.Thethree envelopes and the coins arethen placed on thetable, and the assistance of three members of the audience requested. At thispoint, the magician mentions that in order to help his sixth sense, hewill deprive himself of one of his normal senses, the sense of sight. As he says this he removes a handkerchief from his pocket, folds it and has it tied roundhishead to form a blindfold. He then turns his back on the three persons and from that point carries on giving instructions as in the Gibson description. When the transactions have been completed, however, h e requests ~ 1 1 ~ o t 1 ~ ; ~ v member of the uutlierrct. f o pick lip fit,. tPtIo vemtrinitlg- coirls and take them as far as possible
from the table. " I do not ", says the magician, want them to interfere with the experiment ". Turning round, the magician asks unjr 0171' of the holders of the envelopes to step up, to placeone hand on the envelope in his pocket and one hand on the magician's hand,He is then told the colour of the envelope heholds and also the the envelope denomination of the coininside "
77 This is repeated with the remaining two assistants, afterwhich the blindfold is removed. I think the reader will agree that this presentation makes the effect very strong indeed. First of alltherequirements;theyare simple, consisting of three colouredenvelopes,apenny, a nickel threepenny piece, a sixpence, a shilling anda half-crown.Ahandkerchieffor blindfolding will also be required. Let us now go through the presentation bit by of the audience are bit. The three members invited to assist, and with his table in front of him,themagician lines themupon his right. The envelopes andthe coins are now placed in a row on the table. Whilsthe is doing this and the appearance of the his head is bentdown, shoes of the two nearest assistants (they willbe No. 1. and 2) areparticularlynoted.Look also at thethirdman's shoes, and shouldtherebe strong similarity with the other. two notesome distinguishing featurethatcan be notedbya downwardglimpsewhenapparentlyblindfolded. You mention the affinity between colour and metals and nominate your helpers respectively 1, 2 and 3. The handkerchief is thentaken(and please do not say this is being used in order that vou will not be able to see! Directly such a statement is made it puts an audience on its guard) , folded, and you are apparently blindfolded. Assuringyowself of a good downward glimpse, ayardaway movebackwarddiagonallyabout fromthetableand turnyourbacktothe assistants and the audience. Address No. 1 first, askinghimto choose any one of theenvelopesonthetable,or if the assistants wish, let them arrange the three envelopesamongthemselves.Whatever is done, themagician gives No. 1 the following instruction, and1 atthe sametimewarnshim andthe other assistants to carry out the instructions (which incidentally will have to bememorised) as noiselessly as possible :If youhavetheRED envelope,place inside it the penny. If youhavethe WHITE envelope, place inside it the 3d. piece. If you have the BLUE envelope, place inside it the sixpence. This assistant is thenrequestedtoplace his envelope in his pocket and the second assistant is asked to take his envelopeand choose a coinin this manner :-If you have the RED envelope, take the sixpence or 2/6. If you have the WHTTE envelope, take the coin of the lowest value. If you have the BLUE envelope, take the penny or the sixpence. ~
He,too, is requested to place his envelope in his pocket, and No. 3 is invited to step forward. His instructions are :If youhave the RED envelope, choose the3d. or the half-crown. If you have the WHITE envelope, choose the 6d. or the shilling. If you have the BLUE envelope, choose the 3d. or shilling. When he has pocketed his envelope, the second man is asked whether he would like another choice. He is told that if he picked up the sixpence he can, if he wishes, put it back and takethehalf-crowninstead,providing that coin is still there. (Ed. Note.-Actually, we think this can be omitted, for if the coins are changed, suchachangecannot be performedinaudibly andthus the audiencemaythink that sucha proceduremight afford a clue tothemagician. 'The onlytimeit would pay,to ourway of thinking,mightbewhenafterbeing given this choicesome smart Alec preteozds to change the coins. At the end of the effect hewould receive quite a surprise. ) At this point the participants are requested to sit down. The magician still has his backtothe " Perhaps another audience, but with the words, up the member of the audience would pick remaining coins and remove them, etc. " he makes a half turn, a slight gesture with his hand. Slight as this movementis,he is so placed that withoutactually facing thetable hectm see the vemuining t w o coi71.s 011 t h e t a b l e t o p . I t is these t w o coins thut tell him which nssistarlt has which e m e l o p e and also w 1 z i C - h coil].
The following list makes this quite plain :Gibson suggests that bysheer willpower one learns this list. Quite frankly, our memory needs some jogging and therefore we devised the following easy mnemonic. Instead of thinking of the coins as coins, theyareaddedtogether, the total number of pence in each case linking up the holders ofcoins and envelopes. Thus were the 3d. piece andthehalf-crown left on the :able, the total number of pence represented would be 33, and so theperformerwouldthink of the representative mnemonicfor this number, ' Mummy ' , and link it up with thewords following and whichin themselves give the key. So ' Mummy R (for red) e P (for penny) roves B (for blue) er T (for sixpence). 'S W (for white) i S (for shilling) ecracking ' . The coins are picked up and when this is ascertained by the performer he turns around, still blindfolded, to face his audience. He asks any one of the assistants tostepup, place one hand on the envelope In his pocket, and give the performer the other.Glimpsing down the blindfold, the shoes, etc., of the assistant are noted.
78 I€ itis
assistant No. 2, the magician knows that in the blue envelope. He is told this and dismissed. The second assistant is similarly dealt with. Coming tothethird assistant, the magician remarks, " Obviously you . . . . . envelope, equally it is have the obvious that I cannot with anycertainty know the coin itcontains.Place yourhandinyour pocket, let the coin slip out of the envelope and throw thelatter on one side. This time let me he hasthe6d.
iry and find the nature of this coin without think of it, please, etc." contact . . . just Finally and without any hesitation the coin is named. 1'0 solne, the idea of iden'.ification under the biindfold may not appeal. All right, just ask ille assistants tostepupin their original order. Finally, we sinccrcly hope that you willgive the effect a thorough i.ria1, far we feel certainthat you will be morc' ihan pleasedwith the rcsults.
Facts revealed by the knowledge of remaining coins Penny and 3d. .... Penny and 6d. .... Pennyand shilling .... Penny and 2/6 .... 3d.and6d. .... .... 3d. and shilling .... and 3d. 2/6 .... Sixpence and shilling Sixpence and 2/6 .... Shilling and 2/6 ....
( 1)
6d. in blue 3d. in white 3d. in white 3d. inwhite Id. in red 6d.in blue (1)Id. in red ( 1 ) 3d. inwhite ( l ) Id. in rcd ( 1 ) 6d. in blue
(1) (1) ( 1) ( l.) ( 1)
(2) 2/6 in red (2j 2/6 ipI red ( 2 ) 6d. in.blue (2) &l. in red , (7 - I ': 2/6 in blue ( 2 ) I d . in white ( 2 ) 6d. in blue ( 2 ) Id. in blue ( 2 ) 3d. in white (2)id. in white I
(3) (3) (3) (3) (3) ( 3) (3) (3) (3) (3)
l/- in white l / - in blue 2/6 inred l/- in blue l/- in white
2/6 in red l/- in whitc 2/6 inred l/- in blue 3d. in red
N for Nickel 3d. piece, -1 for Sixpence, S for shilling and M. for half-cron.n K represents red envelope, W thewhite envelope and B the blue envelope
P StandsforPenny,
-Sl:mber . of
'pence m a x o u n t left nn
table 4
Mnemonic far such nnmber
The First M a n
The Second M a n
= ARROY
It was with the deepest regret that we heard of the passing of Frank Chaplin at the age of only 37. We first met him during the War years, and found him not only a good conjurer but also one \vith anattractiveandcharming manner. We know that not only his fellow members of the Leicester Magic Circle, but all those who had the good fortuneto know him, willmiss him more To hiswidow and his family we than much. extend our own deepest sympathyand also that d . readers of this bulletin. Sad news also comes in regarding Herbert J . Collings, who at the time of writing is awaiting 2 major operation. His spirits arethe same as m e r and the latest postcard fromhimcontains some witty remark concerning his present state. We hope that he will soon be past the worst and well on to the road to recovery.
In this issue it is very pleasing tohave a contribution from Hubert Lambert. Hubert n.rites in a very nice strain. In a recent letter he mentioned that he thought the Pentugram a bit too " English in its presentation.Ah, well, well, Hubert,we'll always welcome a breath of Old Ireland. We nearlyadded '' Begorra to that, but on the best authority we have been told that such an expression is not used outside comic strips and music hall performers. It Is always a pleasure whenwe hearthat f ; c ~ ~ f ~ ~effects g m ~ are r t being used, and though to say so is rather like preaching to the converted n-e would, in case some new reader catches these words, like to emphasise that the effects we print are not only practicable,but need littlein the way of apparatus. The collection of such worthwhile material is not too easy; we hope regular "
"
79 readers will excuse this touch of immodesty when we mention that to date, seven Warlock or I ’ c ~ ~ t t ~effects ~ g r have ~ ~ ~ been ~ ~ televised andthat during the past MagicCircle season ten Warlock or Pentagram effects have been seen in the conccrts and banquet. It is alwaysamatter of interest to see a new sleight evolved. ’The otherevening the talk (and action) got around the to Curry Turnover Change. Harry Hickson, who was present, mentioned that he had never been able to p:.rform the sleight ashewanted it.To get a perfect effect he had evolved move, a which whilst givingthesame resalt was far simpler in action.Harry was good enoughtodemonstrate it quiteanumber of times and also agreed that we could publish the method. If you have never a used theCurryTurnoverChange youhave sleight coming to you that you will find of inestimablevalue.Curry’sownsleight, as those of who use it know, is wonderful a method changing a card in a natural way. AI Koran and FrancisHaxton use itto perfection, thelatter addingjusta little twist that makes the sleight evenbetter. Fewseem to know that in ‘ Some:hing borrowed, something new!’ there is a brilliant routine making use of this particular move. Difficulties regarding seating accommodation for Magic Circle concerts nextyearshould be
ironed by a suggestion we made which has since been adopted. It is that there shouldbetwo shows perevening,oneearlyandone at(say j eight-thirty. This, using King George’s Hall, will give accommodation for some thousand people. Recently we were talking to Eric de la Mare regarding coin magic. Eric’s knowledge combined with practical demonstration in this field is terrific. Talking to a coin expert recently we remarked cn the manner inwhich card effectswerelegion whilstnew coin tricks were rarities. Our friend laconically replied that the reason was very plain, for up to the present there were no self-working coin tricks. From the c o p o . v c t ‘ ? t t i come reports thatDr. Daley’s Cards up Sleeve isone of the finest buys of post-war years. Wedid ,hope to include in this issue a review of Willane’s new publication, the translated copy of Treborix’s book on Dice Stacking, but it has been delayed in the post. Those who saw his work atthe MagicCircle recently marvelled a t the control he showed over such pieces. We hope that the Englishcopy retains the oiiginal illustrations.
H U B E R T (“ L E P R E C H A U N ”) LAMBERT’S AFTER A N N E M A N N-continued from page 74
mentalist is ableto tell what it is b~7 Clairvoyance!”. To cap all, the desembodied voice asks : ‘‘ Why did you choose the red pencil?” Now thatit’s all written down, we are afralr! that it may scare some off as being too involve.? If so, it’s your loss, butthe few who do use it \vi11 savourthatnectar of performing a ~ i that satisfies every fibre of that supreme qoist,. the amateur mentalist. “
’The secondandthirdcards are now known from the chart. The first of these is given, piecemeal, in approved fashion. But, remember thatthirdcard wasreplaced face-down. No especial attention was given to its identity, just the value used to locate the word. So, the victim is askeddoes heknow what the last card is. He may say No . Toldto place his hand flaton thefac+down card, the ‘ l
R O N BAILLIE’S
“
”
DOUBLE-STOPPERED”-
continued frottt page 75
please remove your card and think really hard of its value?” You now slowlyname his card. Or perhapsyoumay like to doit this way : Suppose “ B’s card is the 9D. Patter to B as above, askinghim to concentrate first on the value of his card. Slowly reveal this. Then of the colour, redor black; ask him tothink a bit of a sweat, then mutter about, working up say that you can’t get it; try the suits; you can’t ‘‘ I’m get that either. Finally you give up. sorry , you say, “ Numbers are evidently your strong point, colours or designs I can’t get. Let’s try it this way,yourcard is a ‘ 9 ’, now it’s ”
”
”
I‘
‘ l
”
either red or black; if it’s red think o f rhe number 1 ’, if it’s blackthink of thcnumber ‘ 2 ’Right!” He concentrates. That’s much you’rethinking of ‘ 1 ’, better ”, you say, therefore your card is red. Correct?” He acknowledgesthis. ‘‘ It’s either a heart or a diamond ”, you continue. If .it’s a heart think of ‘ 1 ’, if it’s a diamond think of . 2 ’ . 0 .K. 3’ ’ He Concentrates. Two!‘’ you shout. “ A diamond,thenine of diamonds. Correct?” He acknowledges and you wipe the sweat frpm your brow. Idoa preliminarycard test Irith a duplicate deck and switch for the set-up ‘ ’ Double-Stop ’‘ deck at the close of this preliminary effect. ‘ I
“
“
l ‘
~
80 I
1
PUBLICITY
PETER WARLOCK’S
+ GLOSSY PHOTO REPROS
(Theatrical Standardloin. X Sin.) 12 for &l - 1 - 0 50 for $33 - 15 - 0. One Quality-TheFinestOnePrice-TheLowest LATEST PROFESSIONAL DISPLAY These beautifully finished PICTURES. your photographs are ENLARGED from original, FRAMED, LIGHT TO CARRY and have UNBREAKABLE MICA FRONTS with French or Plain Moulding.
Follow My Leader
+
+ +
U1ar.k & W h i t e
Hnnd coloured
Fl~Qlll rti
+ Here is an effect ideal for
€2 2 0 €l 10 0 16in. X 20in. €2 10 0 €3 3 0 20in. X 30in. ADVERTISING NOVELTIES. Special Ideas designed. ARTWORK. Letterheads.PrintedPublicity. Throwaways.
+
+
YOUR specific requirements \vi11 receive personal attention
close-up or platform wo;k. It is being currently used by Elizabeth Warlock, who will be pleased todemonstrate it if she is in your locality. Ratherthanpraiseour own wares, wewill quote that outstandingcardworker,Gustave Southall, who says :“ It is a trick one may imagine Leipzig would
have liked to do.” PRICE 7/6
PETER WARLOCK
JACK LAMONTE
24, WORDSWORTHROAD,WALLINGTON,
(Illustrator of Magic Wand Publications) 28, WARWICK ROAD, LONDON N.18 TOT 7742
1
PETER
SURREY O r Y o u r Dealer
WARLOCK’S
PENTAGRAM is publishedon the 24th of each monthand the publishersfor canbeobtaineddirectfrom t / t per bingle copy. Anaud Subscription 121post free. PUBLISHED BY:
The Magic Circle 1’1t~~idt~nt : His Grace
Vice-President: Douglas Craggo, Esq., Y.I.M.C. ClubroomandLibraryand
t
l
A GREAT NEW BOOK THI2,book does not teach the rf,ader how to speak without moving his lips , a subject that $as been dealt with in all other books on the =ubject. does, It however, break new ground thathas neverbefore been covered in a book on ventriloquism. Herethereader willfind the result of years of hardandpracticalexperience as a professionalperformer ; whenand how to use the comedy movements for the greatest effect, how to write your own dialogue, a mass of ideas for new acts with scriptoutlines,invaluable information on the psychology of children,entertainingchildren,etc.,etc is thecomplete s c r i p t lor And t o caitthcre anoutstaniing new Maurice Hurling act-not duplicated and sold for 10/- but juston(: r-haptcr in a great new book.
Price 10/-
;
postage 3d.
from the publishers THE MAGIC WAND PUBLISHING CO. 11,MonasteryGardens, Enfield,Middlesex.
1
Magical Theatre :
Manuscripts for publication and books for review shouldbesent to the: EDKTORI.9L ADDRESS:
ParticularsfromHon.Secretary
JACK HUGHES will he pleased t o send full detail5 fJf
I ~ I I
THE DE LUXE “SU-TABLE” together with a l l hi
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE OLDANUNEW. Le! m.: know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
King George‘s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
I
the Duke of Somerset,
D.S.O..O.BE.. J.P., M.I.M.C.
Magic Wand Publications The M z i c Wand, (2ua;ierlJr. 1.er copy 3/8 p.p. .4nnr1al srlbsctiption 14j6. The Wizard, 36 pages Inonthly. Per copy 2/1 [>.p. 6 month. 1116, Year- 21/-. . . 17/10 Convincing Coin Magic (Farrlli) Mastered Amazenlent (Koran ?L Larnontr) . . 10/3 Bohleno’s Mysteries f Rolllm . . 1013 The Concert Ventriloquist fHurIing’; 10/3 Georgr Armstrong’s Premonition Chandu’s Psychoanalysis .. . Wypnotism :D:xter) Entertaining With Chailenqe [nsta:?. Hvprotisnl J: Mass Hypnoti-m Str!ctly Magic fFdrli.a Joscph) .. Stotying Around C’oltlrard) 26 Living Sr Dead Trsts (Garrrtt) . Jamesosophy (St,,w1;.t .Jamcs) ?r’t-ar R?ok 18/49 ( f e w nnlyl Stnnts With Staqt? Money fT-:tmontrI
’
Ttickc of th* Trade (!\rlvstrony)
From thc publishers THE MAGIC WAND ?l.BLISHING Molaqtery Gdrdens. Enfield, Middlesex.
11.
l
-
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietrw The Magic WandPublishingCompany, I I , Monastery Gardens.Enfield. Walker and Son (Printers) Ltd.. Well Croft. S b d e v . Yorkshire
Middlesex. andpilntedby
Herbert
CO.,
PENTAGRAM An independent monthly bulletin for all who want good magic
V ! .5 NB. 11
+t
CardTricks which are dependentupon some mathematical principle are seldom suitable for the larger audience, but they are usually found very entertaining to a more intimate circle or to a few friendsgatheredaroundthecardtable.This is particularly the case where the mathematical principle is so well concealed as to present such an exceedingly baffling problem as in the following effect with a borrowed pack. Effect.-An assistant shuffles a borrowed pack ofcards, cuts it (LS rnan?r times as desired, and deals off 6 cards one at a time into a face down packet on the table. He peeps at ahd remembers the top card of the remaining packet, i.e., the 27th card, and loses it by cuttirzg that packef as ofteil ns he wishes. He thenreturnsthe 26 dealt off cards to the top of the bottom packet. The performer picks up the pack, divides it into four packets which he lays face down on the table, and then re-assembles the pack. Finally,theassistantagaindeals off26 cards from the pack and, after naming the card originally chosen, turns up the next, or 27th, card. Needless to say, this proves to be the selected card. Challenge.-At thisstage I invite mathematically minded readers to thmk out the problem for themselves. I shall merely add that it is necessary to work with a pack of exactly 52 cards and that, after the cards have been shuffled but before they have been cut, the performer counts the cards to satisfy himself on this score. He does this rapidly with the faces towards him and returns the pack to the table for immediate cutting without necessarily disturbingtheorder of thecards. No sleight of hand is involved, nor is any complicated memorization required. Others may proceed direct to the which is as follows :--
solution,
1951
Secret and Working.-Itis merely necessary, when counting the cards, to note and remember as key cardsthebottomcard of the pack and the c u d which is 26th fromthetop.Even if the spectators should suspect that one or more cards have been noted, the fact that the pack is immediately offered for cutting, and that later the selected card is apparently hopelessly lost by further cutting, goes far to dispel any such suspicion. When the performer picks up the pack for the second time, he does so with the face of the bottom card towards him. He leafs throughthe cardsfromthebottomupwardsandmentally counts them until he comes to one of his key cards. Let us also assume that thekeycards were the Queen of Clubs and the Three of Diamonds. Let us also assume that he hasmentally counted 18 cards from the bottom of the pack before he comes to one or other of these keys (say the Three of Diamonds), as the 19th card from the bottom. He lays these 18 cards face down on thetable (Packet A) and continues his count from 19 (the key card),up to 26. These 8 ,cards, of which the key is the bottom, he lays face down (Packet B) to the left of Packet A. No furthercounting is required, but he continues to leaf through the remaining cards until he comes to the other key (in this case the Queen of Clubs) and lays down this packet(Packet C ) , which includes the key as its topcard,totheright of Packet A. The final remaining cards(Packet D)are then laid down to the left of Packet B. The pack is immediately re-assembled by placing Packet C on Packet A, this combined packet on Packet B, and the whole of this on top of Packet D. The chosen card is now again 27th from the top. Further Subtleties. ( 1 ) The pack may be counted by the performer with the backs towards him. In this event,and assuming that the cards are counted by thumbing
82 them off one a t a time into the right hand, thereby reversing theirorder,theoportunity is takento in-jog, byabout an inch,the27thcard.This described as sleight of operation canhardlybe hand. It consists only of passing this particular card into the right hand so that it protrudes about an inch from the end of the pack nearer the body. By reason of the fact that the order of the cards is reversed during the count,the 27th card becomes the 26th car3 from the top after completion of the count. The pack isnow squared up and dropped face down on the table, the jogged card and the bottomcardbeingglimpsedduringthe process. (2) It also adds to the effect if the pack is again offered for cutting after the 26 dealt off cards have been replaced the on top. The performer commences to pick up the pack and, apparently as anafterthought,remarks : Perhapsyou would like to cut the pack again ". Of course, as he lifts the pack and then drops it back on the table,he has glimpsed the new bottom card. In this case, when he subsequentlyseparates thepackinto packets, he first searches for the card which was at the bottom prior to the final cut and treats this asthebottomcard of thepack.He shifts the cards below such card to the top of the pack at convenience during the operation of laying down the various packets.
Mathematicians who are interested -willhave little difficuityin arriving at " the why and the wherefore We shall not, therefore, waste further bpace in explaining this to those who are not interested.
".
Inclusion in Routine.-I personally preface this effect withonesuggested byTrevorHalland originated, I believe, by the late Edward Brown,' in which an assistant deals the pack into two piles, discards one and continues similarly until only onecardremains. By picking up the firsf twc discarded piles for the apparent purpdsa 'of assuring himself that neither contains a chosen card, the performer is enabled to sight the bottom card of each packet and ultimately to re-assemble the pack in such a manner that he already knows the cards situated 26th and bottom.
"
Presentation.-Assuming that the performer counts the cards with the backs towards him and in-jogs the card which becomes 26th from the top, the pack should be deliberately turned face up at the conclusion of the count with some such You might think that my knowledge remark as of what happens to be the bottom card is of some help to me. Please, therefore, cut the pack ". As the performer points to the bottom card with his right forefinger, his right thumb pushes home the already sighted in-joggedcard andhe a t once drops the pack face down on the table for cutting.
At the conclusion, it is a very simple matter to glimpse or crimp the bottom card of the top 26, and so be set with another key card for a subsequent effect of similar character. *Note byEditor : For-this purposethechosen card should be 22 from top of pack-see Secrets for Sale ", by Robert Tothill, in Jinx ", Page 500. "
Flashback Z W stands for Wingard
"
A suggested line of patter is to discourse upon the magic properties of the number 27, which is 3 X 3 X 3, and the fact that any card situated at such number in the first instance will sooner or later find its way back to the same position.
Stress shouldbe laid onthefact ( ? ) thatthe performer does not touch the cards, and it might be thought desirable that he turn his back during the process of dealing, noting the 27th card, etc., according to his instructions. He might also turn his back when cutting the pack into packets and re-assemblingit,although it is tobedoubted whether this actually improves the effect. Principle Involved.-The germ of theeffect is to be found under the heading of Superstitious Mentalism in Mental Cases with Cards ": by Warren Wiersbe. although the methods of working have been so adaptedand simplified as to create something entirely novel. "
"
"
From the 1. B. Findlay Collection
I
83
El)I'I'OiZ'.S NOTE ; I t ILUS oftelr becl1srlid tlwt the hest W C I t~o p r c s e w e the exc1usiT~e)le.s.s o f CI. trick i s topublishit. Li'hilst this i s r l ' l trlrr,it does seen1 thrct time t c ~ t dupLil1 peteffects~llld slrbtl:?tie.s are p~11)lished( ~ n dfew, seethe rerll ntrcgic it1 them.Sometwellty-six y e u r s (1x0, our frielld b'ictorPcclcockpuhllslzed itr " *l h i 1 ; \ l l ~ g iJl'(~11d ~~ whut w e still rotlsidcr to he the fillest arlti m o s t rlrctlrrld method for ntclkirrg- LI f d s e kllot. E Y E IzcLTle see11 w r y f e w use this nrethotl (ill ptcssillg, w e would m.elrtio11 thut the lute Edward Hrowll i t w ~ r i ( ~ b ltrsetl y i t ) rllld thoughtthnt it w u st i m e i! w c s re-published. buck w ew e r e slzowijlg. t h e Somelittlewhile ,methodto 11 small cornplllr?! of well-il1formetl mug-icimls. T h e y hcd ozlerlooked themethod hut ttfter sceillg the most tIatw(L1 w u y i l r which the mugicirLt1 npp(crel1fly tied (1 klrot, they w f e d it the hest method (1s yet. "
The effect is just that a knot is tied in a handkerchief;theknotdisappears when the hanclkerchief is shaken. There are several such knots, that are generally known, but to the knowledge of the writer, none exist that are at all natural. It never seems to be convincing that a simple and ordinary knothas been tied. In tryingto get this effect, the writer has discovered the method which is now described and which fulfils this condition. It has proved a difficult task to describe, especially as it does not lend itself readily to illustration.Consequently, I have resorted to the expedient of showing the various positions the handkerchief takes,by simple lines, and without showing the position of the hands. I rely on the context to do that. The description isnecessarily tedious as nothing has been omitted that will help in making it clear. It will be found well worth while to follow the description with a silkin the hand. When the moves are mastered, practise by tying a genuine knot,and the false knot described, alternately, getting the two as alike as possible. Method.-Use a fairly long silk handkerchief, and roll as is usual, for easy working. Allow the handkerchief to lay over both hands, the two ends hanging down from the hands (Fig. I.), the hands being about two inches apart and knuckles downwards. The handkerchief should rest on the forks
of the fingers rather than tbe palms, and the two thumbs should grip the handkerchief, by pressing on top of the handkerchief against the first fingers. The left hand hanging portion of the handkerchiefis thrown over therighthand, the hands turning inwards and slightly downwards, the third and fourth fingers of each hand pressing upon the centre portion of the handkerchief as though endeavouring to pull each side of the centre. The first finger of the left hand is extended at the same time and is curled round (from above) the portion of the original righthandhanging portion of handkerchief, at thepoint nearest the fingers of (If the fingers of the the righthand(Fig.11.). right hand are extended, this hooking process will be simplified. ) i t will be observed that this left finger makes a bight in the original righthand portion of the handkerchief.The object is to tie a false knot round thebight.The right hand is taken awdy from its position and the original left hand end of the handkerchief is pulled round the bight completely, and ~ l pthrough the loop that isstill held by the left hand.The left hand grips a portion of the original right hand end of the handkerchief, thelittle fingerpressing itagainst the hand. Pull the left forefinger which should still be hooked round a portion of the handkerchief, drawing the bight into the knotthat will be formed.Whenthe knot is tightening, withdraw the leftforefinger and theknot willbe formed (Figs. 3, 4, 5 and 6 ) . A pull at each end will cause the knot to disappear.
In Hugard’s “More Card Manipuiations No. 12’’ appeared an excellent description of Paul Curry’s TurnoverChange ” In good hands it is one of the finest moves possible forchangingacard in the process of turning it either face up or face down.Quiteanumber ofgood card workers in this country make excellent use of it though there are anumber of conjurers who cannot get that necessary smoothnesstomakethissleightone hundred per cent. To that number the method to bedescribedshould be an idealsubstitute. The principle behind the sleight is similar to the Curry Turn-over and consists in the changing of the bottom or top card of the pack for one lying on is made in theaction of thetable.Thechange turning sur h c ald face up or face down. At the conclusion of thesleightthecardpreviously on the table becomes the bottom (or top) card of the pack (according to the manner in which the pack was held). Mr. Hickson’smethod haswhat in some cases may be anadvantagebut onsome occasions will be a disadvantage, namely that the card previously on the table when retrieved by the hand holding the pack faces in an opposite direction to the remainder of the cards. Here now is the way it is done. On the table a card has been placed face down and the left hand holds the remainder of the pack thus : The faces of the cards are towards the palm and thetopmostjoint of thethird finger is inserted betwen thetopmostcardandtheremainder of thepack,the topmostjoints of the second and fourth fingers pressing against the ends of the top cards (this is of course similar to the hold in the ‘ Curry ’ sleight). By extendingthesecond, thirdandfourth fingers, thetopcard would of course be turned over. (Figure 1) The card to be changed lies face down on the table and the left hand approaches from the rear thus : (Figure 2) Now when the left hand is over the top of the lace down card the left hand thumb goes under the rearedge of thefacedowncard whilst the left hand second finger touches the front edge of the cardandprevents it sliding forward.Theleit of thecardbut hand simulatestheturningover what actually happens is that as the left hand rises slightly the left hand thumb pulls it up against the pack and at the same time the card held in position by the second, third and fourth fingers is released and allowed to fall face up on the table. The left hand moves backandthecardpreviously face down onthe table is now face up on top of the pack. Naturally, the pack is held at such an angle that this is not apparent to any onlooker. (Fig. 3) -4s with the ‘ Curry ’ changethe use of the hand not holding the pack should beengaged in (say) turning over another card. “
The bulk purchase of an odd lot of second-hand magical items at a society sale resulted in the evolution of the following children’s effect. A few cards belongingto that well-known trick The Baffling Bunnies ” werein the joblot ” and they have given me lots of fun with the youngsters when I presentedthetrick as a newitem in my programme. Readers who make it up will find it an excellent experiment in arepeat showwhere the children are familiar with the climax of sucker tricksandtheconjurer is greetedwith yells of ‘‘ We’ve seen this before ” . The routine is similartothe Baffling Bunnies withwhich the, reader is undoubtedlyalready aware. Four bunny cards are each covered in turn with three hatcards but onebundle is freely chosen. This packet is wrapped in a silk handkersat upon by ayouthfulassistant. chief and The performer then causes the rabbit to disappear from each of theremainingpackets in theusual manner,droppingthefour hat cardsintoa previouslyemptyopera hat. The usual climaxis anticipatedbytheyoungstersbutwhenthe silk parcel is unwrapped by the assistant the four cards G.O.N.E.”. The performer bearthe letters expresses surprise as heplacesthecards onthe stand but then he appears to have a bright idea. He picks up the opera hat, utters the magic spell and the four rabbits rise gracefully from the hat, bringing the effect to (let us hope) an unexpected conclusion. Requirements : Usual set of the Baffling Bunny ,Rabbitfrom Hat packet Cards with the removed and asimilarfourtotheotherthree packets substituted. Prepare four spare hat cards by covering hat ” with white paper and printingin largeletters G.O.N.E., oneletter on each card.Place these fourcardsbehindstand which “
“
“
”
“
”
“
“
”
“
Many years ago, Ireland’s “ Black and White mystery was a favourite with me but it possessed some disadvantages as far as my ownshowwas concerned so I “ dressed it ” up as follows. The performer relates a story something like this :A friend of mine and his good lady had the good fortune to win the first prizes for ladies and gentlemen at a whist driveveryrecently. When they went forward to collect their prizes, the husband was handed (a blackand white silk is displayed ineach hand) these. He looked rathersurprised “I thoughtthe first prize wassome andsaid, That’sright, whisky ”. Thechairmansaid, Black and White ”. My friend was very disgusted and got into a twist (Silks twisted together), and
”
“
is used fordisplaying trick and coverwith silk. Four cut out Rabbits are required and a fake painted black is made to hold these. This is a tin case of sufficient size totakethe cutouts comfortably but without too much side slip. The box is attached about an inch from the top broad side of the opera hat by means of a band of black clothstitchedtothetinthrougha fewholes punchedneartheedge. The caseis thus hinged to the edge of hat so that when hat is closed the fake lies flat but when hat is opened it folds back to lie inside thehat, hiddenfrom view. The folded hat can thus be shown quickly both sides and opened without suspicion. A thread isnow attachedtothe side of tinnearest hat,andthe rabbits are threaded in the usual rising card manner to rise as one. Suficient thread is carried over the side of hat with end tied to a small ring. “
”
“
”
Proceed in the usual manner, dealing three hats on to each bunny. Onebundle is freely chosen, and in the process of showing silk with both hands, isswitched forlettercardsbehindstand. The substituted packet (care being taken not to show the fronts) is wrapped up in hank and sat on by one of the juveniles. The rabbits are disappeared one by one in the usual manner, the “ hat cards being dropped in the previouslyshown “empty” opera hat.Careshouldbetakennot to interfere with threading.Takepacketfrom assistant or allowhim to unwrap same and show surprise at contents.Pickup hatand get finger in ring. Pronouncethe magic formula,pullthreadand cause rabbits to rise, take in left hand and separate to show the four arrivals. ”
The reader may prefer to make the rabbits rise I prefer the one by one, but this is up tohim. way mentioned.
*e pushedtheminto
his trouserspocket(Pocket shown empty), his wife having been therethe night before. The chairman then handed the lady her prize. She thought it was something nice and sweet like chocolates, but it was only a stick of rock. (Stick of rock shown, tapped,etc., to show solidity.) Very hard, as you can hear. Taking it, she wrapped it up in the tissue paper like this (Rock wrapped in paperandendstwisted),andthen placed it in her trousers pocket (Parcel placed in left trousers pocket and immediately removed). Oh! I beg your pardon, in her handbag I should have said (Parcel nowplaced in glass on table). This glass will do forthe handbag, and off they
86 James Douglas’s IT’S A GAME (continued)
went Home. V;hen my friendsarrived home the husband said, I nal.-e an idea ”. He was a conjurer of course and called out the magic words Rouge etNoire , and when he removed the silk handkerchiefs his wife got a shock (Display of check silk). His wiferecovered and broke the rock parcel saying It’s a game . (Draughtsmen released from tissue into glass). Requirements are : Black silk, white silk, draughtboard silk, two small sheets of tissue paper, a cylindrical piece of wood about six inches long (a piece of a brokenbroomhandle will do nicely) and about 1% to 14 assorted draughtsmen. A glass. Paint the piece of wood a light pink andthe ends white with the usual wavy linesin black to resemble a piece of child’s rock. A real piece of rock can be used if desired but it may become sticky in use due to handling, and the fake made wellwilllook the genuine article. Use enough draughtsmentomake a stack equal in length to the stick of rock and roll tightly in the sheet of tissue, twisting the ends to make a tight parcel. Place the latter in the left trousers pocket and the
draught silk in the top of right trousers pocket, after twisting it (the silk) into a spiral. T o P.~xform: Show the black and white silk.5, twist together and in placing in right pocket, make the usual exchange after showing pocket “empty”. M-rap the rock in the other sheet of tissue, tw~stlng the ends as in the duplicate parcel. Place in trousers (left)(Important, see Patter), exchange for duplicate and withdraw immediately realising your mistake ( ? ) . Place inglass. In conclusion board silk (pocket shown empty in show process) and break men parcel into glass. Further notes : If you are unable to furnish the necessary silks, black and white tissue would serve at a pinch.Prepare a white sheet withblack squares toresemble the board . The exchange could then be varied as per Sun and moon via mzkh box. The breast pocket can be used for the exchange of rock parcel, apparently leaving i t in full view, sticking out from pocket after switch. The reader willfind that the above routine can be performed under almost any conditions, surrounded if the occasion arises, and you never know.
About ten years ago a very eminent children’s entertainer told the writer that thesympathetic silks was unsuitable for presentation to“a juvenile audience. An attack of “magical cussedness ’ coupled with the belief that m ? ’ effect givm wrong presentation could be described assuch, resulted in the following, which has been used asan opener for about five years or so with great success. The silks, duly prepared, are placed in a gaily coloured box tied with ribbon,together with a postcardupon which is typedtherhyme which follows, the box being then zntrusted to a reliable member of the audience, who duly interrupts the performer’s opening remarks as follows : Mr. Carter!There’s a man outside askmg for you.” “ Well! How do you know he wants me? There’s plenty of other Mr. Carters.” “But he said he wanted Mr. Carter the nzug-iciml -so it t ? l l l . Y t be you.” ‘‘ Hmm! Looks like it, doesn’t it. IVhat did he look like?” Well. He had two ears, two eyes, a nose and a mouth!” (This line is always good for a laugh. ) “That doesn’t seemlike anybody I know. Did he leave any message? ’ No! He simply put this box into my hands and vanished. ’ ’ This novel method of introducing an opentrick is due to Mr. Wilfred Tyier. ing Incidentally,forthe assistance of the stooge
the dialogue is tfped on a label attached tothe ribbon round the box. After a bit of business about the rudeness of opening presents in public, and asking the Mr. X ” (the Vicar, children if theythink Superintendent or whathave you) wouldmind very much; the box is opened and the silks shown. Thisoperation, if handledrightly, will create a suspense whichwillsilence the noisiest audience, as the writer has proved on several occasions. 1 say,” remarks the performer, who c m have a moment, though-there’s a sent them?Just card in the box-with a rhyme on it. Shall I read it out? Very well. Here goes.” The effectis then performed to accompaniment of therhyme, which should,think, I beselfexplanatory. Hankies, Orange, Green and BlueWith pleasure now I send to you Use them for your magictricksCount them, and you’l! find there’s six. If tke count is fair and squarePut one of each upon a chair. With a knot, both firm and true-Tie an orange to a blue. In the way that you’ve just seenTie an orange to the green. If you say a magic spellYou’ll find the others tied as well. If another spell you sayYou’ll find the knots will fly away. At the conclusion of the routine; the performer remarks : Well, there’s only one explanation of fhclf-it’s MAGIC!”
“
“
”
”
“
”
l (
”
“
”
“
“
“
”
“
“
”
“
”
“
”
“
“
”
”
“
”
“
“
”
”
“
”
“
“
87
THE RECURRING CARD ” by George Blake (Marketed by the originator, 9, St. Xlban Road, Leeds, 9, price 5 / - post free). This is a very fine card effect afterthemanner of the ‘ Homing Card ’. The conjurer tells his audience that he wishes t o show them a trick \vithanumber uf blankcards. Howevera black cardpops up,and thoughit is takenaway,it persists in returning. X s :-? climax theconjurer is leftwithoneblackcard and t h e n picks uv the discarded cardsto show thatthey are also h l r c r k cards. IVith the instructions, \vhich inc.dentallv teach as well asinstruct, George Blake sendsyou the extra cards that vou will need. We conclude by saying that if you are amagician on, the lookoutforaclosingitem entailing nothing more than apack of cards,ordinary skill and effective presentation, here is the effect you want a t a tithe of its value. ‘ A TRICK FOR EDDIE CLEVER ’ by George Xnderson (sold in this country by Ken Rrooke a t 109, ThorntonRoad, I3radford. The proceeds of sales go t o Eddie Clever and for this reason purchasers are asked to pay \\.hat they can afford, but not less than 7 / 6 ) . GeorgeAnderson has become better known to the magical fraternityby reason of his book ‘ It must be Those who have read this valuable mindreading ! ’ contribution t o mental magicwill understand his angle of presentation which is tocutoutany ‘ move ’ or unnecessary piece of business. ‘ A Trick for Eddie C lever ’ is avery fine featin\\hichthree members think of cardandthementalist shows that he can read their thoughts. It is a straightfor\vard effect, there is noasking of questions and no sleight of hand
irivo1ved.- To get theutmostout of the effectgood presentationonly is askedfor.Apartfrom thetrick itself the introductory patter is alone worth more than the cost of the effect. Eddie Clever, who through illness, is incapacitated, has done and is stilldoingatremendousjob of magic uith his ‘ Hocus Pocus Parade ’ in the ‘ Linking Ring These magical supplements give moremagic each monththanany magicalmonthly andentail a great deal of work on the part of their editors. Please thereforeadd t o yourrepertoire and helpavery good scout a t t h e same time. ‘ A LETTER FOR THE CONJURER ’ byRertram of (‘lacton (Marketed by Ken Brooke, 109, Thornton Road,Bradford, price 5 / - ) . Uertram of Clacton is a professional entertainer of children,a workerwhosesqrvices areindemand year alter yr3r. In consequence: one realises that the tvealth oi cxyerience that makes ‘for success inthis field is bai’t. up on somethingmorethanthetrick itself. ‘ A i.-tter for the Conjurer ’ shows that experience and c’):lxrnsthe perambu1at:on o f a borrowed coin which ;IS a climax is found inside a nest of envelopes. The conjuring is of the very strxightforward type (and de:eFti\.e at that) and it is accompanied by some very ent”rt3ining business and lines. The properties are rt?most l i l and will addnothing to yourluggage,a shezt or tn.o of paper and some envelopes. In good handsthere is some ten or moreminutes of entertainment in thispresentation,and ‘ Time ’, as IVilfred Tyler rightly remarks anent children’s sholvs, ‘ 1s lioney ‘. very good ‘ buy ’.
Thismonth we have been having some very Tweiltygood fun with C . DudleyWhitnall’s Seventh Card ”, described in this issue. We think that this is one of the finestself-workingeffects that we have every struck. An apologyto ‘ Hen ’ Fetsch. In a previous number we published with his permissiontwo Magic atthe Fingereffects that appeared in tips ”. As we have had verymanyfavourable comments regarding these effects, we would mention that in the book in question,there are some thirty other effects, all of sterling merit. Major Leslie May has come across with a very nice idea called Double Deletion ” . It will appear in the next issue. In a letter he outlines a cute idea that mightbe called “ Mortmain 2 ”. The conjurer would have to have something comparableto a Thayer Rapping Hand, the very necessary board and his own assistant or stooge. the stooge is placed on the right of the magician and handedtheboard;thehand,after being examined, is placed on it. ,4 spectator is asked to or sits tothe left of the assist andhestands magician. He is handed a square of paper, asked to write down the name of some dead person, and when this is donehe is to fold thepaper.The magician takes this from him and switches the billet, substituting a dummy( in themanner of
the Dead Name Duplication), which is handed to anotherspcctator. Going to his pocket with the hand holding the palmed billet, it comes out a e i n with it. The billet is then unfolded, writing being keptawayfrom the audience and then placed underthe fingertips of thehand ontheboard. Over the wholelot a light silkis placed. The hand now starts moving as the assistant brings the mechanism intoplay.The movement stops and the magician moves across to the spectator holding thedummy billet. Taking this from him, he unfolds it and reads out the name he glimpsed on the paper placed under
.“
“
“
“
I .
George Blake wrote us a very nice note regarding Colour Sense of the Coins ”. Like ourselves, he realised the fineeffect that could be obtained and, using his own presentation, worked the 91 Cent Miracle a great deal duringthe Vi-ar years. His main point was that with the difficulty of obtaining different coloured envelopes, match boxes covered with different coloured papers Banks (the things some andreferredto as people deposit money in!) can be used. “
“
”
“
”
I
88
I
PUBLICITY + GLOSSY
PETER WARLOCK’S
Technicolour Follow My Leader
PHOTO REPROS (Theatrical Standardlain. X 8in.) 12 for $21 - 1 - 0 50 for g3 - 15 - 0. One Quality-TheFinest One Price-The Lowest LATEST PROFESSIONAL DISPLAY PICTURES. These beautifully finished from your photographs are ENLARGED original, FRAMED, LIGHT TO CARRY and have UNBREAKABLE MICA FRONTS with French or Plain Moulding.
+
Frumed Hand
+ +
coloured
+ Here is an effect ideal for close-up or platform
Black & W h i t e
+
16in. X 20in. €2 2 0 €1 10 0 20in. X 30in. €3 3 0 €2 10 0 ADVERTISINGNOVELTIES. SpecialIdeasdesigned. ARTWORK. Letterheads.PrintedPublicity. Throwaways.
+
YOUR specific requirements will receive personal attention
woTk. I t is being currently used by Elizabeth Warlock, whowill be pleased to demonstrate it if she is in your locality. Ratherthanpraiseour own wares, we will quotethatoutstandingcardworker,Gustave Southall, who says :U It is a trickonemayimagineLeipzigwould haveliked to do.” PRICE 716
PETER WARLOCK
JACK LAMONTE
24, WORDSWORTHROAD,WALLINGTON,
(Illustrator of Magic Wand Publications) 28, WARWICK ROAD, LONDON N.18 TOT 7742
PETER
SURREY Or Your Dealer
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand canbeobtaineddirectfrom the publishers for 1 / 1 per single copy.AnnualSubscription 12/post free. PUBLISHED BY:
A ’MAGIC
WIND‘ PUBLICATION
The Magic Circle President : His GracetheDuke
ClubroomandLibraryand
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.I.
The Magic Wand Publishing Co., 1 1 , Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publication and books for review should be rentto the: EDITORIAL ADDRBSS:
ParticularsfromHon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
of Somerset,
D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglm Craggs, Esq., M.I.M.C.
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, S.W.19 WimbledonPark,
A.-
I
*
A GREAT NEW
BOOK
THI2,book does not teach the reader how to ”, a subject speakwithoutmovinghislips that has been dealt with in all other books on the =ubject. I t does, however, break new groundthathas neverbeforebeencoveredin a bookonventriloquism. Here the reader will find the result of years of hardandpracticalexperience as a professionalperformer ; whenandhow t o use the comedymovementsforthegreatest effect, how to write your own dialogue, a mass of ideas for new actswithscript outlines, invaluable informationonthepsychology of children,entertainingchildren,etc., etc And to cap it there is the complete script for an outstanding new Maurice Hurling act-not 10/- but just one chapduplicated and sold for ter in a great new book. Price 10/-; postage 3d. fromthepublishers THE MAGIC WAND PUBLISHING CO. 11, Monastery Gardens, Enfield, Middlesex.
1
Magic Wand Publications I
JACK HUGHES will bepleased t o send you fulldetails of
THE DE LUXE “SU-TABLE” together with all his other effectsin returnfor a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR OLD AND NEW. Let
LIST FREE
SALE
yourwants FOR STAMPED ENVELOPE No Callers me know
GEORGE JENNESS 47 INVERNESS AVENUE, ENFlELD,MIDDLESEX
The Magic Wand,Quarterly.Fercopy 3/8 p.p. Annual subscription 14/6. The Wizard, 36 pages monthly. Pcr copy 211 p.p. 6 month, 1216. Year 241-. Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Larnonte) 1013 Bohleno’s Mysteries (Rohlen) 1013 The Concert Ventriloquist (Hurling) 10/3 Georgt Amstrong’s Premonition 1013 Chandu’s Psychoanalysis 10/3 Entertaining-With H pnotism (Dexter) 1013 ChaJenge 1ns:ant Apnotism & Mass Hypn0ti.m 211..‘. 513 Strictly Magic (Eddie Joskph) ‘ ’ Stooging Around (Stuthard) 513 26 Living & Dead Tests (Car;&) ’:. 513 5 ‘3 Jnmesosophy (Stewart .Tames) . . . Year Book 48/49 ( f e w only) . . . 513 StuntsWith Sragc Money (Lamonte) . . 5f 3 Tricks of the Trade (Armstrong) . . 217 Fromthe publishers T H E MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this B2,lletin Pnblished bythc
plopric.rr-
The Magic WandPublishingCompany, 11. Monastery Gardens. Enfield. Middlesex. and printed byHerbcrt Croft. Sh;nlev. Yorkshire Walker and Son (Printem) Ltd..Well
*
PENTAGRAM An independent monthly bulletin for all who want good magic
S k p . . 1951 ~
M-ay back at the beginning of theyear AL clcscribed this routine and promised that we should have it for .the Pentagram.” We would h a w \\.illingly waited a great deal longer for we think and we know our readers will agree that A1 has routined threelittlemethods that could not 11.eli. stand alone, into an effect in Lvhich every idea that may en‘.er the spectator’s minc! as to thtx ho\\. is dissipated .as the effect progresses. l h t . requisites, from thv audience’s point view, arc ahandkerchief,a ring anda borro\vtci half crou-n. ?’h(. coin is placcd in the. ccntrc of thc hanikcrchicf and the ring, after being examined, is d i c t over thc ends of the handkerchief so that the coir; is imprisoned in the ccntrt.. 7’n.o spectators are invited to assist. Each takes tivo corners of the handkerchief CO that apart from the small bag formcd by the ring and thc coin wl!ichis uppermost, it is stretched out parallel tothe ground. Placing one hand under :hc hafidkerchief, the coin is apparently drawn through tht. ring. -I-he coin, which of course has been borron-e? is handtd to one of the spectators, Lvhich gives hin: a chance to examine it. Again the coin is placedin the centre of thc handkerchief and again the ring is slipped over the ends which are in turn held by the spectators. Once nwre does the coinpass throughthering. The spectarors are requested toexamine every article minutely. For thethird time the coin is placed in the centre of the handkerchief and the ring is sli?pe?. over the folds. For the third and last time the. coin passes through the handkerchief and you can leave The articles \vith the spectators for microscopic examination. ’The requirements for the effect are few. First of all a folding halfcron-n is required. Besides this tu.(-)rings arc.nccessar!-. These rings art’ the “
“
’ *
c.df
7 -
“
9 h O ? eS-
Lype that can be bought at stationers for us? in loose. leaf books. Theyare slightly smaller than a half crown and are hinged to open. One of these rings is taken and at the po’nt where thehalves meet solder is applied so that a solid r h g is formed. Better than solder is to have a smith weld the two %.nds. Thus you have tworingswhichlook alike though one can, at a moment’s notice, be opened. The disposition of these articles will be pcculiar to..he individual performer, but we suggest that the . ~ c ~ l i ring t l be in the waistcoat pocket, ~ c din the k f l : hand jacket pocket, and the / z i ~ ~ ~
“
”
90 tion,thelefthandobtains, in acasualmanner, the hinged ring from the left hand pocket. This is finger-palmed. The position now is that the conjurer has the hinged ring finger-palmed in the left hand and the folding coin finger-palmed in the right hand. Because of the size of these articles the hands can be very relaxed and no impediment is offered during thenext part of the effect. The right-hand goes under the handkerchief whilst the left goes on top. The coin is folded by the lefthand pushed through the ring and taken by the right hand which, under cover of the handkerchief, changes it once more for the borrowed coin. . This latter is tossed on to :hetable.Afterthe coin is released thering is left lying on the outstretched handkerchief. the ring and withthe The lefthandtakes remark Perhaps you'd like to have a look at the coin,"therighthandtakesthehandkerchief leaving the spectatorsfree. The handkerchief is tucked into the breast pocket as the conjuror steps up the coin andremarks up tothetablepicks perhaps y o d d like me to dq it again. Actually he has dropped the folding coin into his pocket and at thesame time, on a most beautifuloff-beat, switchedthehingedringforthe solid ring. The handkerchief is takenandlaidflat on thetable oncemore,theborrowed coin is placedin the centre the ends drawn up and the hinged ring slid over them and down to the centre. This time the spectators take the handkerchief by the corners so thatthe bag " part lies nearest to the floor. Placing his left hand underneath (this don't forget contains the solid ringfinger-palmed), he opens :he ring (the outstretched handkerchief covers all this operation) and in bringing it up and forward switches it for the solid ring. The coin now lies on top of the outstretched handkerchief. Solid through solid once more. " Give boththeringandthecoinanother examinationplease,"says theconjurer,andhe passes the solid ringto the right hand, handing this to one assistant whilst with his left hand (this containsthehingedring) he takes the coin and hands it to the other assistant. The handkerchief is taken away, this time with the left hand, and is tucked into the left jacket pocket, the hinged ring falling inside. What." says the conjurer, '' you want me to do it again." . . . And so taking all examined articles he performs a miraclefor the third and last time. The methodyou will allknow, or if you don't just turnup " Modem Magic." The performer make use of the coin fold. He does it in this way. . . . '' Look, sir . . . an ordinary handkerchief. Now let me havethe coin . . . thank . . . Looksir you.That goes in thecentre. (thistotheotherassistant) right in thecentre. At this point of course the handkerchief has been turnedbackpriortothefoldbeingmade. The handkerchief is now rolled and the spectator with spectators the ring is asked to slide it over. The
areasked to hold theends with the bag underneath. Placing his hand underneath, the conjurer removes the coin fromthe fold and allows ring and coin to'drop into his hand. These are brought out fromunderneathand once more handed for esamination.
Flashback ! X stands for X La Rue
"
"
"
..
91
The medium having been escorted to another room (as usual), the impossibility of ccmmmication with her (or him) excepi: by telepathic means is stressed. The Operator, who for the sake of brevity we A , ” introduces two will subsequently designate similar pieces of writing paper (these can of course be borrowed). Emphasising the freedom of selection he asks fora subject matter,i.e.,Place,number, adjectives, historical dates, names of things, etc. When a choice has been decided by the company present, the two pieces of paper are given together with a pencil one to each of two volunteers. “ A ” then requests that six of theitemsdecideduponbe called out, and as they are announced the volunteers are to write them down upon their respective pieces of paper. When this is completed A requests :hat either of the papers be placed in front of him and also that one of the six written items be selected andannounced.Hethen takes an india rubber and erases the item selected. Nex, he requests one of the spectators to take thesecond paper to themedium. He handsthe rubber over also. As soon as the medium receives the paper and rubbershe/he erases a line onit.Onbeing returned to the company it is found that the line erased corresponds to that erased on the original held by A.” Please note that there is no confederacy, the paper sent to the medium is not touched by “ A,” neither is it necessary to send a particular person or have the paper folded in any way. The secret method of codingthenecessary of the line is in therubber, which shouldbe cheaperkindandbearatradename.With the rubberplaced thus :“
“
“
”
The medium and “ A think of the upper left hand corner as No. 1, the upper right hand corner as No. 2,. the lower right hand corner asNo. 3 and :he lower left hand corner as No. 4. The position of the trade name decidespositioning. The only preparation consists of erasing Something prior to theperformancewithcorner No. 1 . Thisnotonlymakes the rubber look a more natural and innocent object but is also an the important part of the method of coding selected line. The rubber, prior to presentation is in “ A’s (say) waistcoatpocket, and is casually brought out and laid on the table before -the final selection of the word or line to be erased is made. If the first line is selected A ” merely uses the No. 1 corner to erase the word or y;ords. If the second line, corner No. 2 is used for the erasure. If the third line, corner No. 3 is used for the erasure. If the fourth line, corner No. 4. is used for the erasure. If the fifth, any other corner on the opposife side of the rubber. To do this in anatural mannerhe starts erasing with corner No. 1, lifts therubberas ;hough the job is complete, apparently notes that thejob is incomplete insome respect andthen uses another corner on the opposite side. If the sixth line is chosenhepocketsthe rubberand requests thatthe secondpaper be taken to the medium who then, for the purposes of the eflect, produces one of her own. The effect can be performed anywhere and a t any lime and .Lhefreedom of selection coupled with’he straightforward action that follows is most impressive and from the operator’s point of view a most inexpensive item as the only outlay is at the most two or three pennies. Needless to say the number of lines could be increased. Byusing all cornersontheopposite sideof the rubber, the number of items could be nine. By the introduction of otherrubbers,each bearing some little distinctive mark, it would b? possible to cover tens of items. The original rubber representing 1 to 9 would beplaced on the table, the operator sitting or standing with his hands resting in his pockets. If the necessary selection involves the use of one in his pocket, this could be withdrawn, finger-palmed. In the action of picking up the original rubber for the purpose of erasure, it would be child’s play to switch the rubbers, thenhandingout the duplicate for use by the medium. ”
”
“
92
On Page 46, of Hugard’s More Card Manipulations,” No. 3 , is described an excellent card trick,entitled, The Score Card Scores.” In Bulletin of Latest Sleights and BurlingHull’s Tricks,” Page 12, is described, so far as I know for the first time, the principle of the sliding key or force card. Further descriptions of this will be Sixteen Master found in Walter B. Gilson’s Card Mysteries,” p. 5 , and The Royal Road to Card Magic,” p. 93. Combining these we have a most effective routine. The presentation and W o r k i n g areas follows :The performer looks through the pack to find his favourite card, the Queen of Hearts.’’ l h e Queen is removed and stood up facing the audience, so that she may observe what is happening.” Twospectators are asked tochoose a card each, and to note who has the higher valuc card of the two. Commencing a Hindu shuffle the cards are returned when half the pack is shuff ed off, the lower value card first, and the higher card ontop of this.The two cardsare returned together, and not separated,in the pack. Continuing the Hindu shuffle the cards are brought to the top of the pack in theusualmanner, or thc performer may use whichever method of con rol he prefers. The magician now explains that he will cut the pack a number of times, which will lose the position of the cards, but will not separate them. A series of cuts are made finishing with the chosen cards again on top. The performerexplains that the Queen of Hearts has been following all this, even if we and knows just where the cards are, donot.’’The Queen isnow handed to each of the two spectators, who are asked to whisper the so as to help names of theircardsintoherear, I take it,” remarks the magician, “ that her. that is the first time you have ever whispered to a A third spectator now takes the Queen Queen! and is asked tothrust it face upwardsintothe pack, while the performer fans out the cards. While talking, and approaching the spectator, the top card is slid over to the right, clear of the other cards, which are then fanned out above it. When the spectator thrusts the Queen into the fan thecardsare separatedslightly,and the sliding ~ Queen. card underneath is insinuated L L ~ O Vthe The latter is only inserted half way into the pack, uhich isnow closed, with the Queen projecting face up. ’ The performer explains that, if successful, the Queen will have placed herselfbetween the two chosen cards. He requests the name of the card of higher value, andopening thc) pack bookwise “
“
“
“
“
“
“
“
“
”
with the right hand, shows very clearly that this card is, in fact, abovethe Queen. Facing right [he upper half of the pack is removed, and the top card (the second chosen card) is slipped on to the top of the lower packet, over the Queen. The h i t firstfinger points at the exposed card for a second or two, then the right first and second fingers clip the Queen and draw it away while the performer turns round to theleft.The name of :he second chosen card isnow requested, and the ~ o card p of the left hand packet is pushed forward ivith the thumb, and turned over with the first and second fingers, in the usual turn over flourish. he right hand now turns its packet face to audience again, and the two cards are shown around. A FOLLOW-UP As a follow up to this effect, a further item on somewhat similar lines may be performed. The his magician looks through the pack tofind other favourite card, the Queen of Diamonds, also TheQD isplaced a veryremarkable woman.. down beside the QH, so that both may see what is happening.” A single card is chosen, returned, apparently lost in the shuffled pack, but controlled to the top. Theperformer explains that it needs the two Queens to follow thecard when the pack is shuffled, and not merely cut! Thepackisthen held face down in the left hand, and the Queens placed face upwardsontop,fanned outtothe right. The spectator who chose the card is asked to take one of the Queens, and whisper the name of his card toher. While he is doing so the other Queen is allowed to go flush on top of the pack, and is then lifted off with the chosen card underneath (double lift). The first Queen is taken from the spectator and placed partly under the double card,both Queens being face up. “ Perhaps,” remarksthe magician, you hadbetter whisper Vour cardto the second Queen as well”-the cards are held out for him to do so. The spectator is now asked to take the pack and riffle it, while the performer thrusts the cards he holds into the centre, with the Queens face up. The cards are pushed inflush and the pack then fanned out,orspread, face down.The face of Queens show, with a card in between; this is removed and shown as the chosen card. “
”
“
“
NOTES In the first effect,and others of the type where TWO cards are located by thrusting a third card, or a knife, between them, I believe the cards should be returned to the pack together and the pack cut continued on page
95
93
In the November, 1950, Pentagram, Mr. J . A. Esler described an excellent two person card effect under the title of Semper Paratus ”: which is so good that one is almost certain to be invited to do it again,” and it was with this fact in view that the following was devised as a repeat. Assuming that the medium has left the room for the second time, thepack is ribbon-spread somewhat irregularly, face up upon the table and a card is freely selected. The performer then gathers up the remaining fifty-one cards a few at a time, placing them face down in his left hand as he does so, after which the selector freely shuffles his card back intothepack. Despite these rigid conditions, however, the medium successfully finds the card on her return. The secretis as simple as it is subtle. While the cards arebeing picked up afterthe selection has been made the performer searches for a ‘ ‘ key ’ ’ 1 . e . , a card of similar value and colour. thus if the chosen card were the Ten of Clubs, the Ten of Spades would be looked for: the Three of Heartsthe Three of Diamonds, and so on. As soon as the key is spotted itispicked up separately between the thumband secondfinger of theright
hand, this will cause the nail of the first finger to rest againsttheend of thecard. Drawing the nail back the fraction of an inch scrapes a fresh surface ontheedge of the pasteboard, readily visible to an eye that is looking for it-especially if thepackhas been used toanyextent.The spectator is thus at liberty to return his card and shuffle until domesday without destroying the evidence necessary for the medium to discover his card when she returnstothe room. All she has nicked card, note its todo isto locate the value and suit and proceed accordingly.
Effect. A packis freely shuffled by a spectator who is then invited to select a card.This card is returned to the centre of the pack and a handkerchief is placed over it. The spectator is asked to cut the pack at any point he chooses. H e does so andthetop card .of the lower half is turned over. Whatevernumber of spots are indicated by this card the number is counted down to and the .chosen card is discovered. Method. The pack is freely shuffled as stated :above. The performerspreadsthe cards face up to show how well mixed they are. In doing so he ,countsthecardsfromtheface until he notes a card whose value is the same asthenumber of ,cards counted. He remembers this number. Turning the cards face down the performer riffles the pack inviting a spectator to stop him at anypoint.The Master Move (reference Stewart .James’s Mark of the Reader,” Pentagram Vol. 1 , No. 5 ) is executed, bringing the chosen card to the bottom of the pack. The performer fansthecards face down statingthat the oddsare against the spectator being able to pick out his card even with sevcral chances.
The reason for this spread is to enable the performer to secretly count the number of cards he has remembered from the face of the pack and inclosing it, insert the left little finger to hold a break. As the handkerchief is placed over the pack thebreakistransferred to the left thumb.The spectator is now asked to cut the pack under the handkerchief, following which the performer makes the All Fair Force.” Thetop cardis now turned over andthat number of cards is counted downto reveal the selected card. Addendum. Whenspreadingthe cards face up at the beginning of the effect and counting, it is possible that the number counted wiil not coincide with the value of the card, even though you count through to 13. The odds can be reduced however by noting a card whose value is either a spot below or above the actualnumbercounted.Then when the card is turned over you can either include the turned up card in your count, or aftermaking your count turn over the next card, according to whether the card noted was abovc or below the actual number.
“
“
“
”
“
“
”
Inthe original version, Mr. Esler used the Six of Diamonds as a “ key,” and stated that the probabilities of its being thought of were remote. Ry using the Ace of Diamonds however, and makingthe selector a lady, the probabilities are greatly increased-in fact the reader will be surprised at thenumber of times it “ comes off.’’ ‘This is a pet psychological force of the writer’s which he has used for years. In this lucky event the cards are not touched by the performer at all, and he requests that the cards be replaced in their case, which supplies the medium with the necessary clue.
“
94
This is an underhank.forcebutithasa greater naturalness in the moves to commend it. The card to be forced is on the face of the pack. The performertakesthepack in his left hand between I he second, third, and fourth fingers on one side, the first finger at the outer end to steady the pack and the thumb on the other side. In placing the pack in the left hand the left thumb pulls down the bottom card slightly, formingabreak. A handkerchief isnow placed
overthecardsanda spectator is asked to cut them atany placehemaychoose. As he takes the toppacketaway the performermakes the Charlier pass thus bringing the force card to the top of ;he lower packet, whichis subsequently noted by the spectator. With this movethe whole procedure is as thoughagenuinecuthad been madeas indeed it has.
It’s funny howbig trees from little acorns grow.OnDecember 6th, 1940, we wrotea letter that waspublished in the ‘ Magic Circular.” In it we advocated (because of prevailing conditions) regional meetings of conjurers.Theletterbore fruit and soon starting at the home of Mr. & Mrs. Bridger Lewis, :-he ‘ Magical Wanderers began their existence. From these meetings there c2me into being the London Society of Magicians. We were reminded of this when reading the programme matter of the L.S.M. Festival and wondered, had our letter not been written, whether or not there would have been a London Society. Paul Curry’s Linked ” which first appeared andlatertook its place in in the “ Pheonix Bruce Elliott’s “ Magic as a Hobby was a lovely effect. Withtheidea of making it into amore stagey idea Elizabe’th . Warlockmade use of a board and stand and called it “ Linklater.” (You willfind this in abacknumber of the Pentagram and also inthe Pheonix ”). Inthe Genii ” aMr.Nyle A4ugustnumber of the Rothenbach describes a trick whichwouldnever have come into being without the two effects mentioned, and yet there is nota word of acknowledgment.Because it is so near to the “ Linklater effectin construction we notice that there is acharmingfootnote reserving all marketing rights for Mr. Rothenbach. Recently there has been quite a deal of talk about the trouble conjurers take regarding the set up for a desired effect. We feel certain that the prize must go to the lateHoraceSpencer.His brother incidentally is the Royal Academician whose pictures arouse so much .controversy. Horace would go to any length for the sake of an effect. On one occasion he was giving daily shows on Thames craft. As the boat neared the mooring stageor possibly alock,Horace would forcea card onaspectator. It wasaverycleanforce for the cards were fanned in front of the spectator was andhe was askedto f 12 ink of a card. He
then handed the pack and the card was found to havevanished. At this pointHorace wouldcall the attention of a boy sitting on the bank with a fishing rod. At this momentthe lad would start winding in his reel and there on the end of the line andhook was a fish. Horace would throw the boya shilling in exchangeforthe fish. The latter was taken sliced open and there was the missing card. Needless to say the boy was planted there each day with a special prepared fish containing the card that Horace intended to force. MauryFogel, Billy O’Connorandoursdves sattogether the otherevening talking about the Greats of the past.Though retrospective thipking can be dangerous as ;he memory is likely to play false, the fact that emerged from this conversation was that Percy Selbit had undoubtedly invented,adaptedorproducedmoreworthwhile stage illusions thananyone elsewecould name. Just think back and realise how much he did. . . . The Elastic Lady,” Sawing through a Woman,” The Man without a Middle,” (‘ The Human Pincushion.” “ Walking through a Wall,” The Masked Medium,” The Stick Rack,” The Spirit Paintings,” and so on. We know that many of thebases of these effectswere not the origination of Selbit, but he saw their possibilities andmadethem intriguing to the public. As a splendid example look how he took the principle tnat Jeans adapted and used in the Silver Hat andlateramediumistic effect. Selbit madefrom ,histhe Million DollarMystery.” All these were almostchallenge effects, effects which were not only well outside the scope of explanation by a lay man, but in many cases by those who read explanations of conjuring tricks. It is nearly thirteen years since Selbit died and so far nobody in this countryoranyotherthat we know has. taken stage illusionment one step further or producedevenonemysteryas intriguing and commercial as those that we have named.
J ’
“
”
”
“
”
“
“
”
“
”
“
“
“
“
“
“
“
“
”
95
‘‘ Tricks of a Trouper,” hy Jack le Dajr (published by ,r;oodlifie, price 7/6). Some readersmay think that it is rather late in the day to review a book published in 1946, but truth t o confess the publisher never sent along a copy a t t h e time. “ Tricks of aTroupe? ” is almost unique insofar that it details the actual effects successfully used by a \.ariety performer over a period of more years than we care to remember. Bound in semi stiff covers the book runs t o some sixty nine pages and contains some twenty odd effects or ideas. Eachand every effect isnotonly practical andentertainingbutthe results of so manv vears of actual working has streamlined each effect so that provided such an effect fits the reader he has a new and worthwhile item for his repertoire.Thefirsteffect to be described is Cigarette Making ” we have seen it as you have on many occasions. If i t were sold as a tlealer’s item vou n.ould pay more than t\\-ice the price “
tty
that is asked for the book. Thiswith “ Card and Cigarette,”the “ Miser’s Dream,” the S t o 9 Egg ant] Hmdkerchief ” andthe “ Giant Matches areall line stage effects. There are also others, like the Topical Torn and Restored Trick.” Mr. le Dair has madehis explanations very clear indeed, and where necessary illustrations have been added. We must not forget to mention thatTrevor H. Hall has written amostinteresting introduction from w k h we should like toquote :-“The secrets of Lvriting a readable magic book have much in common with the secrets of showmanship . . . . Ponsin,RobertHoudin, Hoffmann, Sachs, Devant, Gaultier and Nilliardallinfused their writings withthe endearing element of human interest, this almostboyishenthusiasm for conjuring, which put them into the most exclusive of all magical libraries, the books that a conjurer has by his bedside.” That is where my copy of “Trick S of a Trouper” will be kept. Need we add anything further. ‘ I .
NICHOLLS HARLEY’S M Y FAVOURITE CARD-continued from page 92
only. In some versions, thecardsareplaced in different parts of the pack, and then brought to.gether,withthe knife, or cardbetween.This in a sense is too impossible,’’ andthe spectators will assume merely that the cards are manipulated to the required position. In thetype of trick as described they wonder how on earth the card was placed in the right position, and no sleight of hand appears likely to help. In other words they have 1 1 0 explanation at all, for it is very unlikely that theywouldtumbletothe fact of thecards first being separated, and then brought together again! “
In the second, trick, I think, psychologically, to thrust the cards into the pack himself, rather than hand them to the spectator to do so, as the very impossibility of the latter might cause him to think of the cogect solution; whereas with the performer inserting the cards, he maywell get the credit for actually doing what he ptofesses-and that would be something very clever indeed! All this may sound far fetched and theoretical, but I am sure it is only by studying one’s tricks in this way, that the most can be got out of them. it is better for the performer
MAGIC GO R O U ND-continued from opposite page
This number brings us to the end of our fifth volume.Sixtynumbers . . . this means that we musthavetypedout about half a million words and drawn several hundreds of illustrations. None of this would have been possible however without the help of ourfriendswhohavesuppliedthe material, material which we know is being used to goodeffect. We must also thank our printers for their work and also a word of praise toJimmy Flashback items. We also Findlay for his thank him for putting our own feet on the collector’s path. To-day our collection of programmes, playbills and memorabilia relating to twentieth ,century magicians comes to oversevenhundred items. All this in a year! We still welcome those unwanteditems that you have cluttering up the home. “
”
It was with deep regret that we heard of the passing of Ellis Stanyon at the age of eighty one. We first met him in our schooldays on an occasion when we cycled to Solent Road (Dexter too lived in this road). It must have been somewhere about 1916 or 1917. A few years later he was to be one of our sponsors for enrolment in the Magic Circle. A most knowledgeableconjurer,and onewhose name will live through the medium of ‘‘ Magic, those fifteen volumes of marvellous information. Congratulation to Geoffrey Buckinghamon his winning of the Grand Prix in Paris. No conjurer could be a betterambassadorformagic from this country than Geoff. ”
96
A Great New Act ! KEN DE COURCY’S ZODIAC TELEPATHY HERE IS at\\-oper-on1IentalTelepathyactthatcanrankwith the hest in the fieltl. I t follon-s thetraditionalline,the medium being I)liI~tlfoltleclantiseated 011 thestage, while the performer passes among theaudience. Any objects handed to him from pockets orhand-bags areinstantly named by the metliura. But in the sensationalclimax it departs from thetratlitional, for the medium suddenlvstarts t o tell a l i t i y , \\.hose object has just Ileen described, events in her past and future life, ant1 as tha fascinating Horoscope Reading is unfolded the medium cc‘rrectly names the dateandmonth of thelady’sbirthday. Thefascination o f “HoroscopeReading” and “Fortune Telling” is \vell-kno\\-n, especially for the fair sex, and the. a c t make3 full use of this human \\.eakness for entertainment purposes. And it i y Entertaining, \\ ith a large E. 0
ANYONE canmasterthisactinoneevening,
pro\.itlr.tl, o f course. that they h n \ - e some itlca
of ho\\- to perform hefore thepublic.
Thereis NO COMPLICATED CODE TO LE.1RN;. andaltllough a code is usetl, it Is so cle\.er, and so simple, thatthe feu- \\-ords required canbemasteredin less than half-an-hour. 0 Thereare NO LISTS OF OBJECTS TO T,EXRN, yetalmost any ot!ject thatmight I)e hantletl or a lady’s hanclbag can T9STA1NTTAY })e named h y the medium. upfrom a man’spocket 0 The Mediun~ need ha\-e N O IINO\\’LED(;E 014- HOROSCOPES, !*et she can instantly give a con\-incing reading, correctl!- name the birth-(fate for an!- spectator, and clrau. their Zodiac Sign. .\l1 t h r . \vork is (lone I n , a \w-y simple “Prop”that is tull!- tlescribed aIltI illustratecl i n this \vel1 printetl I ) o o l ; ! t ~ . This “Proy“ can 1)e obtained from an!’ Stationer’.; shop ant1 easily atlnptetl, and it iy literall!. i n the “An!-one canmake i t ” class. 0
- PERFORM IT FORCHRISTMAS Price 12/6. Postage 3d. FromthePublishers. PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
BUY IT NOW THE MAGIC WAND
PETER
Peter Warlock‘s
0
Here is a11 eIfec.t itlrni lor close-ul) platform or nwrk. I t is being currently use;l l)!. Elizabeth Warlock, \ \ . h 0 will l ~ cpleased to demonstrate i: i t she is i n !-our localit!. .
Rather than praise our own wares, we \vi!l quote that outstandiIlg card \\wrl;er, ( ;uyta\-e 5outhall. who says :-
It is a trick one may imagine Leipzig would have liked to do.” PRICE 7 6
0 “
Peter Warloek 24 WORDSWORTH
ROAD, WALLINGTON, SURREY Or Your Iknler
*
I
The Magic Circle
PENTAGRAM
Technieolour Follow Rly Leader 0
WARLOCK’S
is published on the 24th of eachmonthand
canbcobtaineddirectfromthepublishers I / I per single copy.AnnualSubscription post free. PUBLISHED BY:
for
l’l:~~itl:~tlt : His Grace the h k e o f Somerset, D.S.O.. 0 . B E.. J.P., M.I.M.C. Vice-President: Douglas Craggo, Esq.. M . I . M . C .
12/-
ClubroomandLibraryand
The Magw Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publicationand books for review sllould besent to the: EDITOR14L ADDRESS:
Particulars from Hon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will bt. plrawd trt ;end fllll detail3 rpt
!.nLl
THE DE LUXE ‘W-TABLE” together with ail hi. other effect.; in rrturn trlr a stamp. \\.rite
IICI\V
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, CONJURING
N.W.9.
BOOKS FOR SA4LE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Gllers
G E O R GJ E N N E S S 47 INVERNESS AVENUE. ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road. London, N.W.l. King George’s Hall, W.C. ;
Francis White, 3 9 Alverstons Avenue, Wimbledon Park, S.W.19
Magic WandPublications The Mrgic Wand, Quartt.:l\,. Fer copy 318 p.p. .\nnrlal subscriptiotl 14j6. The Wizard, 36 pages Inonthly. Per copy 2/1 p.p. 6 tnonth. l l i 6 , \’ear 24/-. Conv~ncing Coin Magic cFarelli) . . 17/10 Mastered Amazentent (I
Every Advertiser’s goods are fully endors d by this Bulletin Publishedbythe
proprietmThe
Magic Wand Publishing Compuly, 11. Monastery Gardens,En: field, Middlesex, and prlnted byHerbert Walker and Son (Printers) Ltd.. Well Croft. Wnlev. Yorkshire
*’
CARD EFFECTS ... ... .... ... ... ...
Double Stop Miracle Miraskill
...
A Letter from Peter Moffat
Hocus Pocus Pack
...
Psychic Writing
....
...... ...
...
Euclid's Enigma
...
1
Colour Sense of The Coins
...
2
Ring. Coin and Handkerchief
...
3
...
4
... ...
13
...
...
14
...
...
...
21
...
...
...
23
Semper Paratus Discovery Occipital Occultism
COIN EFFECTS
of Ralph Hull's In One" ... ... Kiss Me Kate ... ... Whisper ofIdol an ... Arise Sir! ... ... ... RevisedVersion
Letter A from George Blake
"
... ... ... ... ...
Three 25
... ...
43 43
...
45
...
45
Sweet Simplicity I
...
...
...
49
Sweet Simplicity I1
... ... ... ... ...
...
...
50
...
51
...
...
59
... ...
... ...
61
Sweet Simplicity 111 Back Methusalah to
...
Cards the Tear
...
Double Stop
I..
...
76
...
89
MENTAL AND PSYCHIC EFFECTS Minds Two
...
The Plot Thickens
...
...
17
...
...
...
19
...
...
21
...
... ... ...
... ...
...
29
...
41
47
...
...
... ...
Finger of Fate
...
...
...
Music Maestro
12
...
Minds in Harmony Telepathy Test
...
... ...
...
Underground Journey
Supper with Borgias the
...
... ...
... .. *
Inter Nos. ThoughtTransmission
...
Supreme Colour Prediction
...
Impulse Writing Lined Up!
...
Double Deletion
11
23
...
...
...
... ... ...
...
...
...
...
53 65
...
...
...
...
91
...
...
59
...
52
PAPER EFFECTS ...
Pagen Papers Embryo in
PATTER
61
...
86
...
67 68
A
...
...
68
The Magic of Colour. A Complete Silk Act
33
...
...
...
73
The Knot that
...
... ...
The Card 27th
... ...
...
...
81
Magazine Switcher
Turnover Change
...
...
... ...
...
84
...
...
92
Impromptu Changing Bag ... " Clever Devils. those Hungarians
93 94
withPurpose a Paired Thoughts ... Canastrics ... ...
...
...
...
... ...
...
Anneman After
...
Double Stoppered
Trick A
......
My Favourite Card Your Cut
Number
...
...
...
All Fair Force
...
...
...
...
f
.
.
93
EnchantedChalkandMagicPortfolio Beads of Bagdad ... ... ...
...
9
...
42
Bewildering Bunnies
...
85
...
SILK EFFECTS is Not
...
UTILITY ...
... ... ...
..
I..
...
83
...
57 Cit 66
...
.
REPORTS. ETC ... Magic Circle Festival ... ... Flowers for the Living ...
...
6
...
23
...
...
52
AnentArthur
CHILDREN'SEFFECTS
...
Sympathetic " Rhyme
75
... ...
...
Semper Paratus Plus
"
Sherwood
...
FLASHBACK 2 10 18 26 32 48 56 64 72 80
MAGIC-GO-ROUND 6 14 39 31 45 54 62 69 78 87 94 BOOK REVIEWS. ETC (See under names)
.
15 30 46 38
54
62 70 87
95
...
...
...
...
...
38
Sucker Colour Changing
Silk
...
...
39 39
...
... ...
Kut Kard
George Blake’s Passe Passe Coins
...
Kentare
Cylinder and Coins
...
Triple Restoration
...
...
36
... ...
... ...
...
54
...
55
30
Concert Ventriloquist
...
...
...
30
Avec un Jeu Emprunte
...
. . . . . ....
62 62
30
Hugard’s Magic Monthly. Vol. 7
38
Technicolor Follow the Leaders ...
...
30
Flashpaper Tips
... ... ... ...
...
Expert Card Technique
... ... ...
Stars of Magic :l Cards Up Sleeve ... 2. Itinerant Pasteboards 3 Cavorting Aces ...
.
.
Arrowsmith. G . E. . . .
...
...
.
17 19 21 41
...
Douglas. J . . . .
... ... ... ... ... ...
Esler. J. A . . . .
...
Farelli. V .
Findlay. J . B .
... ... ...
Fisher. R . J .
Baillie. Ron Belcher. L.
Blake. G . . . . Carter. A .
... Dell O’Dell ... Dexter. W . . . .
...
... ...
... ... ... ...
... ...
... ... ... ...
... ... ...
15
A Trickfor
...
38 38
A Letter for theConjurer
...
...
13
57 65 75 ... 12 45
43 86 93
...
28 28 66
83 85 14 47 52
... ...
61
...
... ...
... ... ...
Gibson. W . . . .
...
...
...
...
Giraud. J .
...
... ...
Hickson. H
... ...
... ... 93 ... 68 94 ... ...
... Maxton. F. . . .
.
...
...
...
38
...
.
...
...
...
Fetsch. Hen
A-B-C Triple Divination
Recurring Card
...
...
46
... ...
Routine with Cups and Balls
15
Sixty Years of Psychic Research Scarne Card onTricks ...
...
Ramsay-Farelli Trilogy :-
DETAILS OF ITEMS REVIEWED ... Routine d Manipulations. Part I ... ... Conjuring Card ... ... ... Kudos (Ken Brooke’s Presentation) Psychoanalysis ... ... ...
...
29
67 76 9 84
Eddie Clever
Tricks of a Trouper
...
James Stewart Jonson. W . . . . Koran. A1. . . . Lambert. H. May. Leslie
... ...
Moffat. P .
...
...
... ...
... ... Raymond of Leeds ... Nicholls. Harley
Peacock. V. . . .
.
Sherwood. A ... TanHockChuan ... Taylor. F. V . ... Tothill. R . B . ... Tyler. W. . . . ... Warlock. Peter ... Wethered. E. ... Whitnall. C . Dudley Yates. J . . . . ...
46
46
... ...
62 87
87
70
...
...
...
... ...
... ... ...
...
...
95
2
92
... ...
...
...
... ...
... ...
... ...
... ... ... ...
... ... ... ...
... ...
... .*.
87
67 89 73 17 21 23 45 91 ... ... ... 3
...
... ... ...
...
... ... ...
83
52 53
... ... ... ...
33 43
1 ... 11 ... ... 42 2 49 50 51 59 76
...
... ...
... ... ...
... ... ...
25
81 68
1
PENTAG An independent monthly bulletin for all who want good magic C ? ? &
It has been said that Only the great tricks live.” The fact that the Cap and Pence has survivedvirtuallyunchangedsincethe 1635 edition of Hocus Pocus Junior justifies its place amongst the great small tricks of to-day. One very strong pointinitsfavour is that, whenworkedwitha match box drawer as a cover for the coins, it is one of the few effects which can rationally be worked anywhereasanapparently genuineimpromptu item. Like most other old effects the Cap and Pence has received its full share of attention in the spate of modernmagicalliterature andat leasteight recently published routines come to mind; my only reason for complyingwith the requestto add to these and write up my routine is that I found the effect *on a lay audience so clear cut and strong. Thenormal routine was too brief and failedto exploit the full possibilities. The routine which follows has been developed and thoroughly tested over a number of years and incorporatesseveralfeaturesnotfound in other publishedroutines. The use of atumblerasa display stand servestofocusattention andto increasethevisibility of this rather small effect. The use of adieorotherextraneousobject was eliminated as I was never able to find any logical patter to explain the inclusion of this in an otherwise straightforward coin effect. “
Requirements. Ten coins-pennies or halfcrowns-disposed five in each trouser pocket. A stack-in left trouser pocket-consisting of fivecoinssolderedorwaxedtogether.There is no need for these to pivot or for the stack to be hollowed out. A Brymay matchbox-in right trouser pocket --containinga few matches.
1951
A pocket handkerchief ; white if pennies are used,blue if halfcrowns. A tumbler with aflatishbase,height about 4in., mouth diameter about 2iin. A table with a cloth, or failing this, a folded newspaper. Effect. The routine comprises six phases as under :1 . The coins vanish from the hand and are found under the matchbox drawer on top of the inverted tumbler. 2. The above is immediately repeated. 3. The coinspassdownwardsfrombeneaththe drawerthroughthetumblerandtable. 4. The coins pass upwards through the table and tumblertobeneaththedrawer. 5 . The coins vanish from the matchbox slide and are found under the drawer. 6. The coinsvanishfromthedrawer andare found beneath the tumbler. It is not essential to work the complete routine and a shortened version, eliminating the tumbler, can start at 2 and finish at 5 . Routine. The five coins are taken from the left pocket, or, if desired, may be produced and dropped into the tumbler using Victor’s “Silver Collection’’ or a similarproduction. The coinsareplacedonthe table whilst the tumbler is wrapped in the handkerchief,thecornersbeingtucked.tightlyinside. The five coins arethentakenupandplaced on the base of theinvertedwrappedtumbler. The matchbox is removed from the pocket, the matches are tipped into the right hand, and the drawer and slide are tossed on to the table. The matches are replaced in the right trouser pocket and the five coinstherein arebroughtoutedge-palmed. Attention is now called to the components of themystery ; I usuallymention that “ thecoins
2 look like halfcrowns, they feel like halfcrowns and theySOUND like halfcrowns butthe audience have to accept my word for this as passing them ’’ for examination proved too expensive. - At the word SOUND ” the first move takes place. The right hxxl with its five edge-palmed coins grasps the tumbler low down near the table and spills the five coins fromthebase of thetumblerintothe left hand placed on the table to receive them.Simultaneously,therighthanddropsits five palmed coins on to the table under the tilted tumblerwhich is movedslightlybacktocover them. This will be recognised as a standard Cup and Ball loading move, which due to noise would normally be impossible with coins, but as in this case, the noise of the coinsfallingintothe left hand coincides with the coins from the right palm falling on to the table cloth or folded newspaper, nosuspicion is aroused.Repeatedperformances before “ knowall childrenhaveconfirmedthe efficacy of this aural illusion which the mirror cannot check. Note.-If the coins donotall go underthe tumblerduringpractice,checkthatthehandkerchief is tucked well up intothetumblerto leave adequate space for them. The left hand replaces the coins on the base of thetumbler.Therighthandpicks upthe drawer and shows how it just fits over the coins and replaces it on the table, meanwhile the stack is secured and held finger palmed in the left hand. The right hand takes the five coins from the tumbler and places them on the stack in the left fingers and also adds the drawer-opening downwards-between the left first finger andthumb. These are held thus whilst the right hand slightly moves thetumblerandplacesthe slide of the matchbox to the left of the table. The right hand then comes about six inches below the left hand andthe loose coins are allowed to slide off the stackintotherighthand. It will nowbefound thatbymovingthe left thumbdownwardsthe drawer automatically covers the stack. The hands are then shown palms up, the left containing the drawerwiththestackbelowandtherightwith the five coins. Phase I. The left hand places the loaded drawer on the base of the inverted tumbler and the right apparently replaces the coins in the left hand using the Downs Clink pass followed by the edge palm. The coins arevanishedfromthe left handandthe drawer lifted by the right hand to show the stack, the drawer being thrown on to the table to land open side up. The right hand, still with its edge palmed coins, picks up the stack and apparently throws it back into the left hand but it is the loose coins from the right palm which travel to the left hand,thestacktakingtheir place in theright palm. “
”
This switch, which is not difficult, is effected as follows. Thestack is lifted fromthetumbler by the right hand second finger in front and the thumbbehind,The first andthird fingers then replacethesecond finger whichbends ontop of thestack,Straighteningthesecond finger causes the stack to tip from the horizontal to the vertical plane and become firmly held on the back of the second finger bythe undersides of the first and and third fingers. Closing the fingers to the palm transfers the stack to the edge palm as the other coins leave the palm en route to the left hand. **The right hand picks up the inverted drawer,allowsthestacktodrop to the finger palm,and in replacingthedraweronthetable loads in the stack. The left hand places the coins onthetable. Phase 2. Explainthatasthe miraclethey havejust witnessed was rather sudden you will repeat it and will againpassthe coins underthematchbox, which therighthand lifts and placesonthe tumbler.(Actually I perform the load as paragraph **’ at this point, i.e., pick up and invert the box, load it and put it down on the tumbler). This repetition requires a very strong vanish forthe coins andthefollowing original sleight providesthis. The coinsarepicked up in the right hand between the second finger and thumb ; therighthandthenapproachesthe left hand, whilst thebodyturns slightly totheleft.The above is exactly similar to theTourniquet,but under cover of the left hand the same moves detailed for the Switch takes place, i.e., the 1st and 3rd fingers replace the 2nd which bends on top of the coins and the coins are again firmly held vertically between the back of the second finger and the undersides of the first andthird.The result is thatthe closed left hand, fingers towardsthe audience, apparently holds the coins and the right hand is visibly empty with the second finger rubbing the centre of the back of the left hand-the factthatthe coins are held attheback of the right second finger by the first and third fingers is completely hidden by the left hand.
Flashback ! Y M R . E. YOUXG
stands for Young
ASSEMBLY-ROOPILS, 8 Theobdd’s-road, Bloomcbury.
th’e unrivalled Illusronist and Monsieur KUJTACHE (pmnouncrd by the rogno;centl of all Europe the &(ut woridrrful Polyphonist lh the WorId) flrding, on their omit to London a!I the Theatres re.occupied beg leave tu invite the at! rentionof the tnrel1ect:lal Fuolic to :her perkctfulr, original dqwrirnenta in the Science o!Ventnloguism and Fen’s nf Bnchanuncnt, x t the trbore Rooms. on the Erenings of Wedmfsdny T h a i a y rnd Fridxy Ycbruary 14 1 > a:..d 14 19.39 D& (0 be o p h at half.p& 7, U) comzience at @ &cui,. &served SOPU. 18. ;Back &.‘and Gallery bJ N.B. Pnoate’Farnilier attended. Address, post paid, to Mr.P.Young, 6, WaterImroad uea: the Coya1 Yrctoriz Theatre. a
.t%d
/l,183.7.
From the J. B. Findlay Collection
3 The left fingers commencetowork andthe right hand turns back to the audience and drops to the side, palming the coins on the way. The coins are shown to have vanished from the left hand and therighthandliftsthedrawerandrevealsthe stack. Phase 3. The right hand apparently removes one coin from the stack-actually one is produced from the palm. This coin is passed to the left hand and the coin roll executed.Here is a use forthe old gag about Some people think money is made flat to pile up, others think it is made round to go round ; this is the only way I’ve found to make my money go round these days The left hand replaces the coin on the stack picks upboth coin andstack.Therighthand takesthese which automatically reverses them so that when placed down m the tumbler the single coin is beneath the stack. You now count one, two, three and press on the drawer to pass the coins through the table. The right hand goesbelow the table, jingles the coins,comes up and spills the coins on the table counting them as four. Apologise for your carelessness in notpressing hardenough, lift the drawer and the stack with the right hand, remove the singlecoinlefton thetumblerwiththeleft handand replace thedrawerandstack. The singlecoinintheleft hand is displayed. in the Tourniquet position ; the right hand adds the other four coins to it. Phase 4. Execute the Tourniquet apparently taking- the coins in therighthand.Placetherighthand below the.tableandapparently pass the coins upwards.Liftthedrawerwiththerighthandto show the coins havearrivedonthetumbler and placethedrawerintheleft handoverthefive loose coins. Theseare lined up by the left hand so that the drawer can be pinched to lift the loose coins in the same way as the stack is lifted. Phase 5. Explain that in order to eliminate any possibility of trickery, the coins will be vanished from the slide. Therighthandtakesthedrawerfrom
the left hand with the coins below-pinching tightly to prevent trouble with the bottom coinandthe left picks up the slide and holdsit adjacent to the stack. The right hand then pushes the stack into the slide with the drawer, depositing thedrawer uith the loosecoinsbelow onthe tumbler: the stack is blamed for any slight “talk”. The slide and stack in the left hand are shown to a member of the audience who is asked to confirm that the coins are really there and to wrap his handkerchief around your hand. The slide is held between the first finger at one end and the thumb at the other. I t will be found that the first finger will enterthe slide and support it and allow the thumb to bemoved,which,undercover of the handkerchief,permitsthestacktofallintothe right hand. This will be recognised as the normal vanish of aball or finger ringfrombeneath a handkerchief.Withthestackintheright finger palm,the handkerchief is pulled awayandthe coins shown to havevanishedfromthe slide. A spectator is asked to ascertain if they have arrived and on lifting the drawer finds the five loose coins. Phase 6. I explain that that is normally the end of the effect but to convince several people who appeared verysceptical when youcounted ‘‘ one, two, three and passed the coins throughthetable, you would like to dothatpartagainfortheir benefit but this time you will only count “ two ” and onlypass the coinshalf way. Takeupthe coins with the right hand and throw them together with the stack into the left finger palm. Pick up the slide with the right hand and place in thepocket.Therighthandthentakesbackthe stackfromthe left handand placesiton the tumbler, the left hand goes to the pocket and unloadsthe loosecoins and remainsinthepocket. The right hand covers the stack with the drawer. Count one, two ’’ lift drawerand stack with right hand, allow stack to drop tofinger palm position whilst throwing drawer on table, and immediatelylifttumblertorevealthe five loosecoins loaded at thecommencement of theroutine,the tumbler effectively concealing the stack held in the hand.
I t cannotbedeniedthat byfarthegreater number of thosewhoimaginethemselves tobe conjurers-I amongst them-have little confidence intheirability to forcea cardby thosesimple means first describedinprint by ReginaldScot. This must always be the case because the sleight cannot be practised in private as can other much more difficult feats of sleight of hand ; andthe
opportunityforconstantpublicperformance is available only to the very few. Furthermore, the average amateur or semi-professional labours under the disadvantage of being required to give many of his performances to a restricted circle of friends and acquaintances, most of whom are very much on the alert to take a card which shall really be their own choice.
“
”
“
”
”
“
4 For this reason, no apologies are offered for another contribution to the very large number of alternativemethods of forcingacard,none of which is wholly satisfactory. It is not entirely original since it is based on theSure-FireForce describeci in R . W; Hull’s “ More Eye-openers,” with which it is necessary to befamiliar in ordertoappreciatetheone major and one miner improvements effected in this new version. Effect. The pack is taken in the left hand in the usual position fordealing.Thecardsare pushed off thetopslowlyandone at atimeintotheright hand, eachcardgoingunderneaththecard or cardsalreadypushed off. Theyare held so that the audience has a full view of the backs ; and a member of the audience is invited to indicate any At card he wishes to select as it is pushedover. this stage the pack is separated into two packets. The left hand holdsallthecards below theone selected, whilst the right hand holds those already pushedover and formingtheupperpacketplus theselected card.Thiscard is about tobecome the bottom card of the upper packet, but still projectsfromit byabout half its own width. It is then taken by thefree thumb and first finger of the left hand and given to the person who selected it.
’
The Original Hull Version. The general effect wasmuch as indicated above except that, after the desired card had been indicated,itwasimmediatelypushedovercompletely under and flush with the right hand packet, this packet being then turned face upwards to disclose (apparently) the selected card as the bottom card of such packet. In fact, the card to be forced was originally thetopcard of thepack.Inthumbing thisfirst card over into the right hand, it was pushed clear of the second card and the latter was then pushed over on top of it. The third and subsequent cards were pushed over underneath the second card but into a gap formed between it and the original top card. It follows that the card ultimatelyselected also went into this gap and that, when the upper packet was turned over, the face up bottom card of this packet was actually the force card. The New Version. In this new and improved version, the somewhat awkward slipping of one card under another atthe commencement is eliminated,whilstthe selected card is actually changed for the bottom, or force,card of theupperpacketintheact of handing it out. We commence, therefore, with the card to be forced as the second card from the top of the pack. Theperformerfacestheperson who is tobeinvited to chooseacard and holdsthepackin a horizontalposition,i.e.,withitsbottomorface
card in all respects parallel to the ground surface. He slides the top card away to the right with his right thumb but does not allow it to clear the right hand long edge of the second card. He proceeds, with his left thumb, to push the second card over to the right and, as he does this, his right thumb slides back to the left carrying with it the top card until the latter overlaps the left hand long edge of thesecondcard. In theserelativepositions,the two cards together are again carried by the right thumb and fingers sufficientiy far to the right asto causethesecond, but notthefirst,cardjustto clear the right hand long edge of the third card. The third and subsequentcardsarethenpushed one at atime by theleftthumbintothegap betweenthe first and second cards : as the third card is pushed over, the right thumb draws the top card a little further to the right in order to cover the deception which is now in progress. So soon,however,astheabovedescribed movement commences to take place, the performer alters his position and also the general position of thecardsas seen bythe audience. Heturns slightly to the left and brings the whole pack into a position in which the person who is to choose a card has a full view of the backs of the cards. He is thus pushing the cards downwards into the right hand instead of from left to right. The moment now arrives when the spectator desires him to stop and to choose a particular card which is in process of beingpushedunderthe upperpacket.Heretheperformerseparatesthe packets by withdrawinghislefthand,andthe lower packet, to the rear and points with his left thumbtothecard which is apparentlyaboutto become the bottom card of the upper packet but stillprojects by at least half itswidthfrom that packet.He invitesthespectator to saywhether that is the card he wishes to choose and informs him that he may have the next or any subsequent card if he so prefers. In such case, of course, he merely brings the packets together again and continuesthemovement. Assuming, however, that the spectator is satisfied, the performer takes (apparently) the selected card between his left thumb and forefinger and hands it to the spectator. What actually happens is that the side of his forefingerengagesagainsttheedge of theprojecting card and pushes it home into the gap. As this card becomes flush with the remainder of the righthandpacket,thetip of hisforefingerthen engages against the face of the bottom, or force, cardand,assistedbyhisleftthumb,carriesthe forcecardclear. No attemptshouldbemadeto achievespeed of execution.Theperformer is naturallystanding in apositionfacinghalf left, andtheaction of takingandofferingthecard causeshim,againquitenaturally,toturnintoa half right facing position whilst advancing the left footand extendinggtheleft hand.Theright hand remains close to the body and does not move at all in relation to it.
5
As an earlyadmirerof Peter Warlock’s ‘ Mind Out of Time,” I was interested in the two versions using unprepared packs by Francis Haxton MentalPersuasion,”Vol. 3, No. 1 1 ) and Leslie May (“ Euclid’s Enigma,’’ Vol. 5, No. 3 ) . Not being a mentalist (or only very incidentally so), I felt that the effect would be more convincing fortheaverageaudience if theyhad first shuffled thecardsthemselves, andhad a choice ” of packs. The modification which I have evolved follows very closely on Leslie May’s with these additions. I assume that all readers will have the issue of the Pentagram ” with Leslie May’s article, so need not do more than describe the moves which I have added. The two packs of cards are lying on the tops of two of the glasses on the table. Taking up one of them (say a blue-backed pack), the performer turns to the audience, and, after the introductory patter, hands the pack to someone with the request that it bethoroughlyshuffled.Takingitback with the left hand, he remarks, Will you shuffle also this red-backed pack. He makes a left turn to the table, stretching out his right hand to take the red-backed pack. His left hand is holding the blue pack in the position for theCharlierone-handedpass.Immediately his left hand is hidden by his body, his thumb lets about half the pack fall back, and his first finger pushes it up so that the two halves are facing each other. Immediatelyturningtotheaudienceagain (and taking care tohold the blue pack so that only the one top card is visible), he hands the red pack to another member of the audience to shuffle. The position of the blue pack should still be as if one was going to make the Charlier pass, except that the fingers should come round to press against
it on the side towards the audience, and the thumb should press on the back card. As the right hand passes the red pack to the spectator, the left fingers andthumb slide thetopandbottomcards(the latter, it will be remembered, reversed) up about a quarter of an inch. This will enabletheindex corner of each to be glimpsed in a flash, the performer being careful to remember which is the top and which the bottom card. A well-smoothed pack is, of course,essential so that the cards slide up with the minimum pressure. This glimpsing can be done quite comfortably while the red cards are being shuffled, and takes only a second or two. If bothcardsare slid up simuitaneously, the narrow strip of face of the back card is hidden by the front one, or the pack can be tilted slightlybackwards,andthe two cards glimpsed consecutively. The blue pack is now allowed to relapse on to the palm of the hand, and held so that only the top is visible. The red pack is taken back in the right hand, and held in similarfashion.Holding them both forward, the performer invites a member of the audience to choose one. This is, of course, an equivocal choice, but as the audience does not know what the performer’s immediate intentions are, it is not apparent. Shouldthebluepackbechosen,theperformer says Very well. That is ~70urpack,and(suiting the action to the word) I shall place it on the tableforthemoment while I shall select two cardsfromtheother,” etc. If the red pack is chosen, he says, Good, I shallplacetheother which dotl;n for the moment, and from the pack you h-ave indicated-I shall select two cards,” etc. The perform2rthen proceeds exactly as in Leslie May’s version, using the boxedbluepack to force the appropriate cards on two members of the audience.
The unexpected, particularly if one is showing something to a fellow conjurer, often surprises to a greater degree than the effect itself. I have had ample proof .of this in the very simple item I am about to describe. Hunting through some odds and ends, I came across miniature a playing card : Jack of Diamonds.Justwhere it camefrom, or whatit was ’intended for I can only guess, but somehow having brought it to light, I felt I must try and
put it to use. I believe there is a volume devoted to effects with miniature cards. I have had several of these through my hands for binding, but have nevertroubledtoread any of the effects therein described. trust, I therefore, that this which follows has not been already set out in some form. The items required are few : a piece of newspapershin. X 43in.,.apack of cards,andthe miniature. Mine is as stated : Jack of Diamonds, your’s can be what you will.
( ‘ I
‘ l
“
“
”
“
“
6
Sharp on the clock hands reaching 7-15 , we gave the signal to Mr. Langman, and the curtain Francis W?,ite who acted as rose to introduce Master of Ceremonies for this annual week of magic. Francis made a magical appearance through the agency of a very simple but effective illusion designed and built by Gil Leaney. Away into the first act we had Jimmy Rogers, an ideal opener,workingexceedingly fastand presenting most colourful magic. Jack le Dair was next introduced and presented a nKmber of effects of his own that he published in ‘ Tricks of a Trouper ’. Most effectivewas his openingvanish of a violin bow and its subsequentrecovery.Thenextact was magic of a different source and we left Tarbell exercises for Bar-bell exercises. Joan Rhodes, the mightymannequin,witha most delightful and femininepresentation showedmost easilyhow it was possible tobreaknails, bencl strips of steel andtearup telephonedirectories. To close the first half cameRobert Harbin who duringthe weekwas neverinbetterform.After commenting with the cut and restored rope to end all cut and restoredropes hegave someitems that included ‘ Sawing a member of the audience ’ and Levitating a member of the audience ’. After short a interval, Paul Freeman, a veteran whose strongpresentation showed how evenasimple card effect could look miraculous opened the bill. His handling of assistants was a delighttowatch.Straightfromhiswinning of the Grand Prix at the Paris Congress came Geoffrey Buckingham. Commencing with his coin production he followed with his productionof fourteen billiard balls and then closed with his ‘ DancingThimbles ’. We nowwent intothe J. A. Esler’s Diluted Discovery-cont.
colourful act of Gus Davenport’s. He was assisted by his sister Wynne, and the act combinedsome of the highspots of Sylvestre’s Sunshade act and a lovely item of the late Cyril Yettman’s thatculminated in aproduction of lightedlanterns.This drew spontaneous applause on every occasion. As a breakfrom magic HarryWorth, a delightful ventriloquial act appeared. On each and every night he received an ovation, and as Francis Whiteappositelyremarked, ‘ It takesavent. to stopa magicshow ! ’ The Voltaires were the penultimateactand weremostimpressivewith themany electronic items that most readers will have witnessed. Particularly effective was the lighting of bulbs held by members of the audience. To close the show came Chris. Charlton assisted by Betty. ‘ A Lesson in Magic ’ showed onlytoo well thatlaughtercanjustas easily be engendered by situation as it can be by gags. Chris closedwith his vanishingBathingBeauty which as anyone who has seen it knows itreally looks sensational. A word of praise must go to Frankie, who in theabsence of DorothyHarbinsteppedintothe breach of assistant to Bob Harbin at literally a few minutesnotice. The show ranverysmoothly which is a tribute to Gil Leaney who stage managed. Francis White not only added little items of interest in his in-between act visits but he also built up the acts in themanner of areal Master of Ceremonies. Stanley Kilburn with his Orchestra were in splendidform.Altogetheritwasone of the finest magical shows we have witnessed, for it had somethingforeveryone.
from page 5
Fold the piece of newspapkr in the customary way when you intend to vanish a coin therefrom. I thinkthemethod is describedin Lang Neil’s book ; anyhow most whopractisemagic will be familiar with it. If you like you can dispense with the orthodox fold and make a slit at the lower fold, this passes unnoticed by reason of the print, however, as you like. Now, using another piece of newsprint, use some adhesive, not too hydroscopic, and affix the small card thereon leaving a flap of half an inch at top, trim the projecting paper all round,except for the flap at top, use this to attach the small card to the folded paper. The position forattachment will befound easily, if I tell you that when folded up it should match the newspaper, and when unfolded it should show the little card apparently lying on the opened piece of newsprint. This movement of concealment and disclosure should be covered by the folded short side of the paper.
This is whathappens : youexplain you are going to show a new way to vanish a coin, You borrow one ; when you introduce your little scrap of newsprintyou will quiteprobably see afaint smile of boredresignationonthelips of your watcher, but go ahead. With the printed back of the small card exposed you insert the coin, fold, and after tapping to prove its presence, allow it to slide into the palm. The packet is placed in some visible position andthehand containingthe coingoes intothe pocket to withdraw a pack of cards with a Jack of Diamondsontop.This is forced. Asking your watcher to retain his card for a moment, you open the packet ; in doing so the thumb quite naturally entersthepacketundertheattachedcardand turnsitover.You show this,asking : Would this by any chance be the card you choose ? ”as if it wouldn’t.That’sall. Theproduction of the coinwhich youvery conveniently dropped into the card pocket, I leave to you. “
7
OPUS THIRTEEN ”,. byEric C . Lewis(published by Goodliffe the Magician, 6, Colonnade Passage, Hirmingham, 2. Price 18/6. Thebook is dividedinto fivemain chapters.The hrst, ‘ ‘ MagicalMixture , consists of some eight varyingeffectsrangingfromasleight of handroutine \vith paper balls and a hat to the vanish of an electric fire. Of the eight items we particularly liked the paperballroutine,atrickwith a crystal and an item called “ Have a Go!”. Thislast is based on the idea of “ You Can’t Be\Vrong.”(See I’cIrttryrmL Vol. 1, KO. 9 ) but Mr.Lewishas brought i t up to the minute and has also given the reader a most excellentmethod forloadingafairsizedobjectintoaperspexjar.This item alone has a great value outside the use i t has been puttointhisparticular case. The second chapter entitled “ Cartomancy ” Jetailsthree effectsmaking use of playingcards.The is amethod of causingagiant rirst “ Harbinesque card t o rise, themeansbeingtheoutcome of one of RobertHarbin’sideas.The secondcalled ‘‘ -4 Card is aspectaculareffect that bearsasimilarity Fan-gle to aRobertson-Keeneidea, both methodand effect, but in the presentversion theauthorhasavoidedthe anti-climax that was presentintheoriginal.Thethird item, the “ Miracle PassingCards, is another version of thecardsacross,making use of differentcoloured backson the cards.Bythe use of onesmallitem and good routiningthereader is givenaversion that has a climax. Chapterthree is entitled ‘‘ Gadgets andevery itemdetailedamongthe six soundscompletelypractical. The thimble holderdescribed is about the simplest
inconstructiononecould wish forandyetit would seem to have every advantage. Chapterfour theauthor calls Magic Macabre ” andafterashort ir.h-oductiondescribestwo effects. Thefirst of these, ‘ . AfterAlan ”, is something that thelate Oslvald Williamswouldhaverevelled in.The presentation is one that could be carried out on a larger scale and would bringuptodate such an illusion as the “ Haunted \Yindo\v The second effect is a version of the floating skull, making use of the Zonlbie principle. To conclude, Mr. Lewis, under the title of Laugh, Children, Laugh!”, writessomenotes on the entertainmpnt of children, follolved bythreeoriginal effects. Not only is novelty struck in ef-lect but also in method. Hindu Slveets andthe GreatJamFallacy ” shouldprove firm favouriteswithanyaudience, whilst the concluding item, “ Destination Moon ” is an extravaganzathatmusthaveanappealtoallthose \\ horevelin strip cartoons and ’ ’ Superman ” comics. For the greater number of those who h2ve an interestinmagicthere is somethinginthisbookfor all of them. Sleight of handhas beenleftalongwith oneexception.Butafterthespate of booksdealing with this branch of magic, i t is rather a relief to turn overpages that sholv intentto deceive withoutthe need for someone to think of or take a card. The book and ten pages, iswell illusruns to someonehundred tratedandboundina servicablebinding. Havea ;o ! ’ ’ , ‘ ‘ Hindu Sweets ” and the ‘ ‘ Jam Tart Fallacy ” are worth far more than 181’6 each to the entertaining getting the magician, and it follows that you are remainder of the contents as a throwaway ”.
Congratulations to Frank Boynett for his winning of the BritishRingShield at Bourneto see a mouth. I t is quite a pleasantchange one hundred per cent. r)ltLg:ical act achieving this honour. This lastmonthhasbeenonefull of magic one of the most pleasant recollections beinga session with TrevorHallandRolandWinder. Let it be recorded that in a period of three hours not a pack of cards appeared on the table.
We have often wondered what qualities go to makea ‘ nark ’. Totheunitiatedthis is the person who whilst helping a performer tries either to kill or stealthe act.Duringthe Magic Circle Festival week we witnessed this odd behaviour on two occasions. The first being with Joan Rhodes. One of her assistants when offered a six inch nail and knowingthe trick bentit.Withsuch an accomplished show-woman, it mattered very little. On another evening, a person wearing a magical society badge tried some funny business with Paul Freeman. &Againexperience and showmanship got him out of dlfficulty. Weknow thereareplenty of malevolentmindedpeople aboutbut why do they do this?Itinvariably gives theaudience’s sympathyto th.e performer and in anumber of cases theymake fools of themselves. Another occasion and far worse than those mentioned was a Music Hall where an amateur magician got up and tried to spoil Gali Gali’s act. Magical Societies should not tolerate ,people like this.
”
”
”
”
”
In this issue we are more than pleased to publishEric de laMare’sbeautiful coin routine. We have been worrying, and we mean worrying, himforthisever since heshowedit to us some manymonthsback.Thosewho were at Bournemouthhadtheopportunity of witnessing iton more than oneoccasion. It needswork but the sensible magician knows too well that few things worthwhile are obtained without this requisite. In the Magic Circle Festivalshow,the new suspension effect of BobHarbin’s was theoutstandingnoveltyandhadmanyguessingand talking.Thepresentation wasathing of great enjoyment and we canthink of veryfewconjurersthat we have seen whocouldhandle the subject like Bob.
“
’ I .
”
“
“
”
“
“
“
Two big acts are heading westwards from the Xntipocles. Theyare.JohnCalvertand Maurice Rooklyn. Jlany readers will remember the latter’s astonishing virtuosity with billiard balls when he was over here in the late thirties.
K e n D e Courcy’s
PETER’ WARLOCK’S
ZODIAC TELEPATHY MANY, RIANY purchasers say, “ I bought this routine on ‘ spec ’, thinkingthatit 11-ould probably take tdo much study for us to i e a r n . Butnon-,with nothing more thanan evening’s practice, we h a w an act that we can perform anyn-here, at any time!” ANYONE can master this outstandingt\\-o-personMentalTelepathy Act in an evening, and they \\-ill be able to transmit almost any object handed up with NO OBJECT LISTS TO LEARN, ONLY NINE CODE \fORD.S, AND ALL THE IVORK DONEBYACLEVERBUTSIMPLE PROP. THAT CAN RE BOUGHT FROM 4NY STATIONERYSTORE ANDEASILYADAPTED. ,4nd besides describing objects, the Jledlum correctly names birth-dates and gives CONVINCING HOROSCOPE READINGS although she need have NO Once again, all KNO\\‘LEDGE OF HOROSCOPES. the work is done by the same simple prop. Don’t miss this. If youhave a wife ora girl friend you will beable t o perform thisactNEXT WEEK if you buy i t NOW. PRICE 12/6;postage 3d. Fromthepublishers
THE MAGIC WANDPUBLISHING 11,MONASTERY
GARDENS,ENFIELD,
* STAR * ISSUE September will bring the first big quarterly issue of THE SPHINX. To trick the section, the ten stars of the “ Stars of Magic ” contribute outstanding effects. If bought separately, these tricksalone would cost more than $25. You get this stellar bargain along with many other excellent tricks, superb a story Fred by Keating, and many other special featuresandarticles in the Septemberissue of THESPHINX. Subscripe to-dayto to get this issue.
be certain
THE SPHINX Subscription 36/- per year.
WILFRID JONSON 45, KINGSMEADROAD, TULSEHILL, LONDON, S.W.2.
CO., Middlesex.
MIRACLE SLATE For a long \\-bile magicianshavetried to find a method of performing the \\-ell-kn0n.n digitslateeffect uithout the need for switches and the like. This methodachieves that. TheEffect. Nagiciantakesaslate and writesa prediction,whichcoversoneside of the slate. He next takes an oblong of cardboardand placing this across the c e n t r e of the slate clips it into position. The audiencecan no\\- see the words “ TheTotal . . . . the piece of card,andbeneaththisthe performer’s initials.Theslate is turnedroundand on theblank side are recorded four sets of numbers given by members of theaudience. Thesenumbersin full view o f t h e spectuto.r.3 tt)tdIPd t r r r d ( q r p c c i . Supposing that the total is “ 271 1 ”, the slate is turned round and thecardboard removed.The full prediction . . “ The total will be 271 1 followed by the performer’s ixitials, is revealed. RobertHarbinwrites of it asfollows :“ Yocl really are a mostingeniousfellow.Fora longtimeIhavetried to deviseapredictionwithout previdusknowledge,withoutswitches,withoutimpressions,infactwithoutanytroublewhatever.Although Iwouldlike tohavethought of thismyself,allowme to give you full marks for the best and ,MOST PRACTICAL SELF-WORKING SLATE PREDICTIONYET.” A limited number will be supplied and they can be 24, WordsworthRoad, obtainedfromPeterIVarlock, lyallington,Surrey, price SO/-, postfree.(Cashwith order. ) ”
’ I ,
PETER WARLOCK’S
PENTAGRAM ispublished on the 24th of eachmonthand from thepublishersfor can beobtaineddirect 1/1 per singlecopy. Annual Subscription 12/postfree. PUBLlSHED BY:
The Magic Wand Publishing 11. Monasterv Gardens. Enfield, Middlesex. ‘
Co.,
Manuscripts forpublicationand books for review should be sent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for astamp. Write nowto
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9. CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle President : His Grace the Duke of Somerset, D.S.O..O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and Museum :
Hearts ofOak Buildings, Euston Road, London, N.W.l. Magical Theatre :
KingGeorge’s
Hall, W.C.
Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S. W. 19
Mani c Wand Publicatio.ns v
The Magic Wand, Quarterly. Fer copy 318 p.p. Annual srtbscription 14j6. The Wizard, 36 pagesmonthly. Per copy 211 p.p. 6 movth, 1216. Year 241-. Convincing Com Maglc (Farelli) . . 17/10 Mastered Amazenlerkt . . 1013 [Koran & Lamonte) 1013 Bohleno’s Mysteries (Bohlen) 10/3 The Concert Ventriloquist (Hurling) 1013 George Armstrong’s P-remonition .. .. 10/3 Chandu’s Psychoanalysis 1013 Entertaining With Hypnotism (Dexter) Challenge Instant Hypnotism S( Mass 211Hypnotism Strictly Magic (Eddie .Tos;:ph) ’ . 513 Stooging Around (Stnthardi .. . . 513 26 Living & Dead Tests (Garrett) . . 513 513 Jamesosophy (Stewart .Tarns) . . .. Year Book 48[49 (fern only) . . . 513 Stnnts With Stage Money Ilamonte) . . 513 Tricks of the Trade (Armstrong) . . 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
::
9
PENTAGRAM An independent monthly bulletin for all who want good magic
V!.6 NB. 2
The magician remarks that he has often been asked to explain the method by which the results in certain tricks are achieved, and he has decided, on this auspicious occasion, to demonstrate a lesson in magic. He invitestwogentlemento come forward, oneto act as hisassistant,andtheotherashis pupil. The assistant standson hisright, while thepupilstandsonhisleft.Twoenvelopesare handed to the assistant, who is asked to hand one of them to the pupil. Under the performer’s instruction, they remove thecontents of theirenvelopes,each of which is revealed to contain a length of coloured ribbon. The gentlemen place their envelopes undertheirleftarmpits, anddisplaytheribbons byholdingthem upby oneend.Thenthey double the ribbons in the centre and hold them at this point, with the two ends hanging. The performer produces a pair of scissors and cutstheassistant’sribbon atthe centre.The gentleman opens his envelope, and the cut ribbon is placed therein so that he can seal down the flap. The scissors arehandedtothepupil who repeatswhathehasseen.Thecutribbon is similarlysealedinhisenvelope and left withhim. The assistant is now asked to open his envelope and removethecontents. He findsone wholepiece of ribbon ; it is completelyrestored. The pupil’senvelope is opened,andhe is surprised to find that he also has been successful, for hisribbon is restored. He is complimented, with the assistant, on a fine show, and although, iike theaudience,theyarenonethe wiser, they will certainly remember their first lesson in magic. If the routine is performed as described here, the twoassistants andtheaudience willbelieve thatthe whole operationwascarriedoutonly under the performer’s direction, and that he himself took no part init.
The requirements are few : A roll of silk ribbon,aboutoneinchwide,obtainablefrom Woolworth’s. Cut three pieces, each about a yard long, off the roll, and one piece five to six inches long. Next take a one inch length ofSelo Tape, or sticking plaster, and lay it on the table sticky side up. . Attachoneend of theshort piece of ribbontothe tape,andthen double the ribbon over and attach the other end to the tape, leaving a sticky portion between the two ends. Turn the loop inside out so that the sticky portion is on the outside, and press it down into a thumb-tip, pressing the sticky portion on to the inside of the ball of the tip. The loop of ribbon will protrude from the tip, so pleat it concertina fashion and pack it down into the tip. This method of loading the tip makesfor easier preparation, and supersedes the old stitching and glueingmethod. Two envelopes are then required, one of which is faked with a double compartment. Long typeenvelopes arepreferable,astheribboncan be dropped in cleanly.Loadthe secret compartmentwith one of thelengths of ribbon and wet thetiponly of theflap and sealitdown to the back of the other flap.Thisfacilitates the opening when the two flaps are stuck down. Place one . of the other pieces of ribbon in the other compartment, and the final piece of ribbon in the unpreparedenvelope. Load the tip in the trousers pocket, with the scissors alongside. Place the genuine envelope on top of the fake one, and you are ready. Give the two envelopestotheright-hand gentleman, whom younameyourassistant.Insxuct him to take one (see that he takes the top unprepared one) and to give the other one to the pupil. The pugil is instrwted to place his envelope under his armpit and watch what is done. Instruct the assistant to open his envelope and remove the ribbon. This should convince the continued on p : g e 15
10
A longneglectedcardclassic,notdeserving such a fate is the Ladies' Looking Glass. True, four pairsof cards must be selected, but there is ample movement, no wasted time and no countingtocreatetedium. It gives the impression of exceptional card control especially to magicians unacquainted with the feat. There are a few ! Possibly the fact that with the Modern JMagic version it is necessary to perform the pass some eight or nine times may have resulted in its fall from favour. In Jean Hugard's More Card Alanipulations. Volume 1, an attempt was made to limit thenumber of passes ; but I felt the manoeuvre did not satisfactorily supplant the pass. My version completely elimmates the pass by making use of two original utility sleights, whose use is not restricted to this feat. They are :The Slip-out Location and The Over C I L ~ . The Slip-urlt Locatiorl is a method of bringing a selected card or cards to the bottom of the pack without changing the position of any other card. It wasfirst ' hit on ' nearlytwentyyears ago whilst practising a method of reversing a card in thepackfromRoyWalker's Card Mysteries. A description of itappeared in the then Plymouth Multum in Parvo " in Magicians' Club's organ 1934 or 35. A very similar sleight was described by Jim Merlin in a copy of the Budget a few years ago. The pack is loosely fanned with both hands for the return of the card(s). As it enters the fan it is gripped between the firstand second fingers of the right hand and withdrawn sideways until it is clear of thefan ; amatter of $ inchonly. The fan is then closed and the card will almost automatically find it's way to the bottom of the pack. A word regardingangles. If theaudience eye level is above the cards [i.e., when standing) the move can be made without any movement of the hands or body. But if the eye level is a: the same height or below the cards (i.e., when seated) then it must be covered by a slight swing of the bo3ytotherightandbyraisingtherighthand higher thanthe left.Unevenness of thefanned cards will do much to mask the movement of the card ( S ) . The Over Cut transfers a card or cards from the bottom of the pack to the top without disturbing the order of the rest of the pack. It is merely the reverse of the Dai Vernon Under Cut, hence the name. It also differs from the Vernon Under Cut in the way the cards are held. The pack is held in the left hand by the sides, betweenthe thumband the second andthird fingers,theforefingerrestinglightly a t thetop
edge ; the little finger should be free. This position is verysimilar to that adopted at the commencement of the Charlier pass and Hindu Shuffle. The right approaches and grasps the pack also betweenthe thumb and second and third fingers lower down the sides of the pack ; this also closely resembles the position adopted in the Hindu Shuffle. Therightthumbseparates one (or more) card(s) at the bottom of the pack and holds the break. This can be facilitated by the little finger of thelefthandspreadingthe half dozen or so bottom cards very slightly. continued on
page 14
Flashback Z 2 stands for Zeiss
.., ...,.. "
."
.-
"
l
F-
the 1. B. Findby Collection .
I
11
There is a rather unusual subtletyin this effect that I think will appeal particularly to students of forces, but first to the routine : Effect. From a newspaper the performer takes a double page of small advertisements. Many evening newspapers of the smaller page type carry such a set up. The double page is handed to amember of the audience, and he is requested to tear it in two, producing two separatepages,and to discard whichever of them he pleases. The performer illustrates this process by folding an odd piece of paper and tearing it in two. Againthespectator folds his single sheet in half, tears it and discards half. The process is repeated until the assistant is left withapiece of newspaperwhich is one sixteenth -the size of the single page. At this stage he is asked to read through the advertisements on this piece of paper. He is then to put the paper aside, face down. Theperformerexplainsthathe is carrying out an experimenton the volume of advertisements andpublicity in general.Histheory is that one of these advertisements will have been retained by thesubconsciousmind mo1e than the others. An attempt will bemade to recall it. Meanwhilethe spectator is to relax. Slowly the performer catches phrases from the advertisement until he eventually produces thegib t of the full announcement. Method. The method employed is rather cute, but itis the angle of approach that mainly concerns us. I feel that it is rather new, and will bear further investigation.
For the preparation, take the double page of newspaper andhavingmentallysubdividedeach pageinto sixteen, makeanote of some clearly worded advertisement, pretty well in the middle of each sub-division. Nexttakeasheet of notepaper, fold it in half, and subdivide each half into sixteen spaces. In the middle of each space, write in pencil theappropriate advertisementfrom the divisions of the newspaper. The working should now be obvims.In demonstratingthefolding,theperformermerely retains the part of his notepaper which corresponds to the part of the newspaper retained by the spectator, so that eventually he has the advertisement he is going to reveal. He glances at this and then discards it alongwiththe rest, so thatforthe finale he is ‘ ‘ clean ’’ . The patter about subconscious retention is, of course, a neat force which bears no resemblance to aforce at all. As thespectator had a perfectly free choiceall the waythrough,the audience is left with the impression that he actually chose one particular advertisement. Of course, a single sheet of newspaper could beused, andtherearealternativemethods of obtaining the information. For instance : the performer could keep a check on the tearing and get his required slip from a pocket index. That is up to each individual performer ; the method I have suggested is good and natural. The important thing to note is that people d o believe that they retain subconscious impressions, and therefore the routine is plausible. I believe it is a new angle, and a new ‘ force ’. At anyrate,bothare useful andcapable of development.
This is basedonavery excellent card trick publishedin m e of the lateEdwardBagshawe’s books. The original hadthedisadvantage of requiring confederate, a but the single handed magician will find the new routine an effect with a climax ’’ which will puzzle the most intelligent audience. A pack of cards each bearing the name of a well known film star is runthroughrapidlyand shown to be all different. The cards are cut and three cards are selected, and shuffled into the pack in turn by the choosers. The performer relates that this particular effect was purchased by him the day previously and although he had unfortunately left
the insiructions behind at the shophe had the urge to showitimmediately. He askstheirkind indulgence and hopes nothing will go wrong. The cards, which lie on a small tray from the commencement of the selections, arereturned to the performer and he states that hewill endeavour to extractthe selected cards. He appears toget confused andaftera few shuffles heboldlyannounces he will show another trick. At this moment an envelope marked URGENT is handed u p to him and excusing himself heopens it andextractsaletter which he
“
“
”
continued m page 13
12
In company,usually at sometime or other, the conversation turns to thesubject offootball pools andthe price of tobacco. The following routine, presenting nothing new,is ideal for such an occasion and should appeal to those who like ahundredpercent. effect withninety-nineper cent. self working easily prepared items. The performer, choosing the opportune moment,removes from hispocketapostalorder complete with counterfoil and an empty cigarette packet. A cigarette is borrowed,thecounterfoil is removed from the P.O. and the latter folded in quarters.The cigarette andthe folded P.O. are placed in the empty packet and when the packet is opened later the Y . O . has vanished and is e17c-ntually discovered in the cigarette. Requirements. Purchase two P. 0.S numbers followingeach other, and alter the last figure of one with Indian ink to correspond with the other. The altered P.O. is detached from its counterfoil which is discarded. The counterfoil from the other P.O. is attached to the altered P.O. by gumming the edges of theperforations. The unfaked order is rolled into a small tube and inserted in a cigarette from which a sufficient quantity of tobaccohas been removed. Obtain two empty cigarette packets of a popularbrand. Remove thetraysandcutaway the front of one leaving a little extra margin and glue this by the bottom and t w o sides to the inside and front of theotherpacket.This formsa secret pocket ( a la Windsor Dye Box) which with a little pressure on the sides will open as required. Replace tray and place the faked cigarette within. Working : At theopportunemomen; when the conversation is as described, remove the packet. Open slowly, gripping the cigarette through packet at bottom, and shake gently, remarking that you haverunout of cigarettes.Withtherighthand remove P.O.andlayonthetable,then borrow a cigarette. If you watch carefully before the trick
you should have no difficulty in selecting a gentleman with thesamebrand asyour own. As the cigarette is being sought casually turn the packet in your left hand over and push in the tray which you will remember is partly sticking out. Push it in far enough to make it protrude at the other end. This willailow the fake cigarette to roll into the curled up fingers of the left hand which holds this position while the right takes the borrowed cigarette. Carry therighthandunderthe packet and immediately it is out of sight produce the fake and place in left ear. ,4t thesame time drop the packet and borrowed cigarette into the right jacket pocket. Draw attention to P.O. and allow removal of counterfoil.Foldorder in quartersandleave on table while youremovethepacketagain from jacketpocket.Remove trayand casuallyshow, replace and holding the front side of packet facing you, place the folded order in the pocket, squeezing the sides to facilitate entry. The flap of packet (which I should have said has been slightly trimmed) shields this action. The cigarette is removed from behind the ear and dropped in the packet and the flap is closed (going into the pocket). The performer remarks that the only way hc can get areturnon his pool investments is by keeping his postal orders at home and making them appear in the.borrowedcigarettes.Suitingthe words thecigarette is broken and ?he contents proved ( ? ) to be the original P.O. The reader will find that a preparation called NOSO, whichis awhiterubbercement, is ideal for faking the P.0, A very little on the perforations willbe indetectable and any surplus can be removed by gentlyrubbing with thefinger after thefakedjoinhasdried.Incidentallyit is ideal also for ropefaking.Thetrimming of the flap makesthe closure of thelatterslightly easier to execute.
The passing of A1 Baker has left magic, real magic, very much the poorer. Like so many who havedevotedthoughtandtime in theperfecting and originating of magical effects, A1 Baker did not financially benefit in the way he should have done.Thelastgesture of American magicians in trying to amendthiscamealittle too late. A great pity that in thewaningyears of his life so many thingsstopped an enjoyment of old age. A1 Baker by his public and private writings will neverbeforgotten,and whilst in his books,
that marvelloushumour that was so deiightfully his own does not come into his own, his Letters to Harold ”, (all toofew of them) that appeared in the ‘ Sphinx ’ show the real A1 Baker. He was unique and it is doubtful ifwe have or have had his oppositenumber in this country. Aneminent member of the Magic Circle oncewrote that the late Edward Brown was the English A1 Baker, a statement that made one wonder whether he had read the works of the latier or really studied the former’s’work.Bothmen,outstandingintheir “
13 own work, both men unique in their understanding in their appreciation, knowledge and gifts to Magic. It was’one ofA1 Baker’s concepts that every trickhowevergood, had at leastonevulnerable spot. In hislastlettertoushe discussed avery goodcontemporary effect andnot only put his finger onitsvulnerabilitybutalso showed by using a subtlety how this weakness could be overcome.
A1 Baker lived tohelpothers.When Annemann as a youth commenced his life of city magic it was the Dean of Magic who made an early success possible. He will still help us in all his works that he has left behind. Mr. C. Dudiey Whitnall has already given us two very fine contribu‘rions dealingwithplaying cxrdmagic. In future issues of thisvolume we have some ‘ ring ’ moves that should please those of our readers who are interested in thisgreatest of all classics. We have also persuaded Mr. Whitnall to give a talk on the ‘ Linking Rings ’ at the Magic Circle on March ZGth, 1952. This should be an outstanding talk and demonstration. The talk still goes on as to whether the public want to laugh, whether they want to be mystified or whether they want to be mystified and laugh. There can be no fixed law. Only the great personalities (and this invariably means a known name) can **.vorkin thegrandstyle.Theyarefew.The trick of conjurershaveaconversationalmanner. The real funny men are very few and to our own
glancesihrough. He statesthatit is a message from the dealer from whom he purchased the trick he has just attempted, and begs permission to read it aloud as follows : Dear Magician, With reference tothecard trickwhichyou bought yesterday, I find you unfortunately left the directionstoworkthiscorrectlybehindonthe counter. I had an idea that you might show this at your performance to-night so I have taken the liberty of enclosing thethreecards which have been chosen this evening and trust everything will end satisfactorily. Your sincerely, A. D. Siever. Theperformerretorts, Isn’tthat nice of him,” and inserting his hand in the envelope removes threecards which areadmitted bythe selectors to be the chosen ones. The working of thetrick is simplicity itself and involves nothing more than the force of three cards,butthe letter and climaxliftsthe effect aboveallordinarycardtricks.Ordinaryplaying “
way of thinkingtheycould increase their own commercial valuebynotonlymaking people laugh but by usingefiects that were outstanding for whilst thegrandmannercanornamentthe trivial effect so that it ranks as agreatmystery, the ;rick alone with the comic conjurer has to be ouktanding. To-day we think the act that has the greater commercial value is one that is fast moving, has plenty of colour and can be worked if necessarily with the audience on all sides. The succession of surprises idea which goes very much against thegrain of- apurist, is comingintoits own in those places where a performer has :o obtain attention from people who have gone out with the main idea of eating and drinking or over drinking. Certain tricks of t-he messy sort are definitely out, for floors mustnot be spoilt.We were surprisedin reading an article the other day on the routining of a magicshow that thewritersuggestedamong other tricks, the Chinese Rice Bowls. Heaven help the performer who in a floor show spilt grains of rice or something similar all over the place. At Southampton on Saturday, the 10th November, and ‘the Unique One Day Get-together on the 1 lth, we spent an enjoyable time. Dealers offering at Southampton were quite good and we were impressed by Gil Leaney’s Square Circle productioncastle ( a giveaway at 50/-) and hiscard stab which is being sold far too cheaply at 5/-. Unique had a very fine clock dial in plastic and chrome, the setting device being just the last word. We were just a bit too late to see one or two of the stands, but two of the Carlos items are reviewed in this issue.
cards may be used but the use of names was to get awayfromtheideathatthetrick was a card experiment. Requirements. Pack of cardswith film star names and several -duplicates. Most of these are for repeat shows when variation of the force names is necessary. A small tray. Envelope with three cards,duplicates of thethree topcards of pack, and a letter worded similarly to that described. A friend is asked to bring in the envelope and contents attheappropriate moment,preferably from outside the room or hall where the showis taking place. Show cards all different, false shuffle keeping thethreeforcecardsontop,placeon trayand allow cut. Mark cut by placing lower half across the top portion. This is the usual strategem. Tell story of purchase and then allow three cards to be removed at “ Cut by removingtop part, thus forcingthethreecardsdesired.Don’tattemptto touch the cards unless absolutely necessary. Allow a shuffle by each assistant in turn. Make a pretence of being confused andthen build the effect to a successful conclusion when the envelope is handed to you and the contents are disclosed. ”
14 T H E LADIES LOOKING GLASS S A N S PASS-continued from page 10
The forefinger tip of the left hand now pushes the bottom half (3)of the pack towards the right hand as in the Hindu Shuffle, and the right hand removes that portion (B) andbrings it overand on top of the top half ( A ) . The cards separated by therightthumb are now allowed to drop on top of ( A ) while the thumbs and fingers change their grip to the other half of thepack,i.e.,lefthand now grips (B) while the right hand holds ( A ) and without pausingcutsthepack again, bringing ( A ) (withthe cards from the bottom of (B) ) once again on top of ( B ) . The Ladies' Lookillg C l u s s .
The actual effectis very similar to the Hoffmann version. Fourpairs of cardsarechosen and returnedbyfourmembers of theaudience. Theyreappear one of eachpair at the topand bottom of the pack. Workillg. 1 . 1st spectator is requested to select a card,
the pack isnow spread faces up towards him so that he may removeasecondcard of thesame value as his first choice,tohelphimremember. Performer, of course turns his head away at this stage.(Hugard. ) 2. Pack isfanned loosely forthereturn of the cards and by means of the Slip-out Location these cards and the card immediately below them are passed to the bottom of the pack. False shuffle to retain bottom stock. Position : Thebottomcard is an indifferent card, next two are the two chosen cards. 3. Repeat 1. and 2 for eachpair of cards chosen. been conPosition : Afterfourthpairhas trolled. Bottom card indifferent, next two are the last pair chosen, next, indifferent card followed by thethirdpair.Indifferentcard, second pair, indifferent card, first pair, remainder of pack. 4. Placesquared-uppack on the left hand or on the table, allowing audience to see that no breaks are held, without, of course, mentioning the
'' A n y Number Can Play
" ( A Carlos Exclusive. Marketetl h y tht. Carlos Studms, 68, NorthRoad, Brighton, price 'L1I - ) . T!?is is a mentaltelepathy \v!h cards which h+ as its prototype " Thoughtwaves . Two very nice Fubtleties come intothepresentversion. In effect, a number of cardsare handed outto any nurn1)er o f spectatorsup t o six. Eachthanks of a card. A number o f boards to whichplayingcards are atfixet1 arethenintroduced,the whole pack being representet!. Thesr are mixed, and through their
fact ; and state that the eight cards are hopelessly lost in the pack ; bat you will try by touch to cut the pack at each selected card. 5. Show bottom card to the person who selected the fourLh pair asking him if either of his cards is at the bottom. Show the top card repeating the question. 6 . ExecutetheOverCutbringingthetwo bottom cardstothetop of thepack.(One indifferent card and one of the selected pair). The selected pair willnow be at thetopandbottom of the pack. Now do one of these things :(a) Withoutrernovkg thesecardsaskthe next assistant (third) if his cards are at the top or bottom of thepack. You willnowneed to Over Cut three cards, or ( b ) Remove the selected cards and push them into the pack, or (c) Remove the selected cards and leave them on the table in pairs. See below. 7 . Repeat 6 for each pair selected. It is effective, as in the Hoffmann version, to apparentlyforgetthepair selected bythe first assistant. These can eventually be produced either by bringing them as usual one top and bottom, and gripping the pack firmly, throw it sharply upwards retaining the top and bottom cards, then moving thehandsmartly to rneet thepackapparently catch the two cards as the pack scatters ; or, and thisobviatescollectingthescatteredcards,Over Cut to remove the indifferent card, and place the pack in a Jumping Card Box (see Modern hlagic) causing the last pair to fly into the air. Regarding 6 (c) above. I eventuallyretain thecards in pairs at thebottom of thepack in readiness to perform the Triple Coincidence effect using the PaulCurryTurnover Change. I first saw thisperformed by Alex Elmsley. Of course oneor two other effectswillbe worked between these two, otherwise the fact that the same cards are usedwillbe tooobvious.
meriium the spectator indicates whether he sees his card. The name of the card is then given by the performer.Theroutinebringswithitthe necessaqhoards ancl instructions. Inthe notes on presentation we arerathersurprisedthattheauthorshaveomitted thegreater effect that could be obtained by the performeradopting a blindfold.The would-be purchaser \\.it11 this in mind will find that such a procedure will a d d totheeffectwithout any means for hardwork. A very good effect fordrawing room orplatform. For largerstage the performer could havesimilarboards nac!e u p \vith JumboCards.
15 Twin Minds,’’ by Garry (published by Carlos Studios, 6 8 , NorthRoad,Brighton, price 7 / 6 for manuscriptor uith the necessary twenty-onepatterned cards measuring 6 X 4, k l ) . The effect of this is t h a t kvhilst the mediumis a\vayfrom theroom, onedesign amidsttwenty-one is thought of 1)y member a of a committee.The performeris either escortedfrom thestageor placed in some position decided uponbythe Committee. Despite thisprocedure,the medium has immediate knowledge of the card. IVith the knowledge of how a mentaltelepathy teamrecently scored high marksfromthe public with asimilareffect, we don’t have to tell you that worked in theright way andmanner, such an effect asthis will creditthe performer and medium with genuine powers of telepathy. The method is very simple indeed,and one cannot see any real snag that might arise. I t is very good indeed,and for a husbandand Ivife, boy and girlfriendhereis a something that will give them a very straightforwardfeat of pseudotelepathy. Unreservedly recommended. “
UncannyHankies,’ by George Blake.(Marketed by George Blake 9, St. Alban Road, Leeds 9. Complete with all the necessary apparatus for L4 10s.). George Blake has done i t again, and we feel certain that this lovely effect will find its way into very many programmes this season. The effect is thatafterfour colouredsilks have ljeen tiedonto a length of tapeby a member of the audience,theydetachandthenre-attach themselves. The climax comes when holding the tape aloft the conjurerrequests the audience t o nameone of the silks. This done,the selected silk unties itself andfallsto the floor. Thisisrepeated withtheremaininghandkerchiefs. It is undoubtedlythislastpartthat gives “
~~
~
thetrickitsname, for it iscertainly uncanny tosee the silkscome away from the tape. Farbetterthanjust reading theinstructionsand handling the apparatus, which incidentally isvery well designed and incapable of goingwrong, we hadthe pleasure of seeing theinventor’ perform theeffect. It is a hundred per cent. visible and deceptivemagic, and we suggest that thoseinterested shouldmake an effort to getthere firstwith it. Unreservedly recommended.
ZodiacTelepathy,” by Ken de Courcv (published by (;eorge Xrmstrong, 11, MonasteryGardens,Enfield, price 1 2 / 6 ) . \I‘ithin a very nicely printed and illustrated booklet of some 19 pages, Mr. de Courcy details the method of achieving a novel type of two-person mental telepathy act. Besides the more usual effect of the medium gi\.ing the names of various articles handed to the transmitter,theact is concluded b various members of the audience giving their hjrtgday after which the metlium details this, together lvith a relevant horoscope. The reader would imagine that such apresentation would entail a great deal of memorisation on the part of both the medium andthe presenter. This, hon-e\-er, is not so. The whole routine could be learnt, ready for rehearsal,in a n evening by reason of the fact that the originator has added a subtlety that kills the normal hard work of such anact.This makes it o f great \value to those who are not full-time magicians, and have littletime to give to practice. Whilst the scope of such a routine quite naturally is limited, we feel certain that its merits inthehands of a sincere sho\vman could make i t a talked-of feature. To those \\-h0 in the normal course of show business ~ 1 horoscopes, 1 it is a. very natural lead in. The simplicity of the method is commendable, and the \\hole routine is unreservedly recommended. ”
~
JAMES DOUGLAS’S TWIN RIBBONS-continued
from 9
audience thateverything is fairand genuine. Meantimeget thetip withribbon ontheright thumb, and at the same time remove the scissors from the pocket. Instruct the assistanttodouble his ribbon exactly at the centre and then take it fromhim in thisstate.Handthe scissors tothe assistant, and place theribboninthelefthand with theloop concealed in thehand, with the thumb-tipalongside it. In thesamemove,bring up the loop from the tip, so that it projects above thehand. Ask the assistant tocutthe ribbon whereit is folded (i.e.,theloop)andthentuck theendsbackintothe fist, atthesame time removing the tip. Casually roll the ribbon round the left hand, as you instruct the assistant to open the envelopeto drop the cut ( ?) ribboninto it. Takethe scissors fromhimtoenablehimtodo
this, and place them in the right trousers pocket, leavingthe tiptheretoo.Droptheribboninto theenvelope and asktheassistanttosealdown the flap. Cross over to the pupil and hold his envelope while he removes the ribbon. Hand the scissors to him so that he can cut it in the centre, roll it up as shown, and drop it into the envelope. Seal the flap and return the envelope to his care. Instruct the assistant (with the unfaked envelope) to open it and show the restored ribbon. Turn to the pupil and casually take the envelope, open it (i.e., the secret compartment) and tip out theribbon,remarking, I see you followed my instructionscorrectly,sir. A l l I wish fromyou and your friend now is your word that you won’t tell anyone how we did it. Thank you.” “
READYDECEMBER -TON1 KOYNINI’S C A R D MIHiIC‘LES A NEIV AUTHOR - A NEW ROOK - .l NE\V APPRO=\E‘Il CAN’T SEE A comp!ete cardact, in thereputation makingclass, incorporating six Star Effects: e ACES HIGH o NOW THESUITS 0 PICTURE SENSE 0 ANY CARD ! 0 OUT OF THIS WORLD 0 REDSAND BLACKS Seven More Card Miracles GAMBLERS DELI(;HT :: A.B.C. DEALER .. KOYTNCII3ENCE :: T H E LAST CARD :: ANY NUJIBER :: Ek’ENS :: ONE PC)l7IK1I REVELATION And SVITCH IT - a fool-proof methodfors\vitchingpacks.
Price 7 / 6 ; Postage3d. THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens,
Enfield,
Middx.
16 ~~~
Ken D e Courcy’s
The Warlock pCMIRACLE”SLATE
ZODIAC TELEPATHY XIANY, MANY purchasers say, ‘‘ I bought this routine on ‘ spec ’, thinkingthatit would probably take too much study for us to learn. But now,with nothing more thanan evening’s practice, we have an act that we can perform anywhere, aat n y time!”. ANYONE can master this outstanding two-personMentalTelepathy Act in an evening, and they will be able to transmit almost any object handed up with NO OBJECT LISTS TO LEARN, ONLY NINE CODE WORDS, AND ALL THE WORKDONEBY .A CLEVERBUTSIMPLE PROP. THAT CAN B E BOUGHT FROM ANY STATIONERYSTORE .AND EASILYADAPTED. ,4nd besides descrlblng objects, the RiIedlum correctly names birth-dates and gives CONVINCING IiOROSCOPE READINGS although she need have NO KNO\VLEDGE OF HOROSCOPES. Once again, all ;he tvork is done by the same simpleprop. wife ora girl Don’t miss this. If youhavea friend you will beable t o perform thisactNEXT WEEK if you buy it NOW. PRICE12/6;postage 3d. From the publishers
THE MAGIC WANDPUBLISHING 11,MONASTERY
GARDENS,ENFIELD,
‘UNCANNY HANKIES’ They Untie When They’re Told! A featurc trick in any programme. Fonr handkerchiefs. tied upon tape, a - .. silk ~~
but
ThePerformeroffers to show the audiencewhathappenedandholds thetape in full view. Audiencecall outany choice of hanky (they may change their minds if they wish) and that handkerchief is seen tounknot itselffromthetapeandfall to the ground. This is repeated until all four silks have unknotted themselves inafreelychosen order. George Hake is still using the same apparatusafter 23 years continuous sho\ving. Uncanny Hankies ” is still a feature trick in his programme andcan beinyours. Silks,tapeandeverything necessary including six-page booklet of clear instructions and illustrations. 5 4 10 0 . (Only a limitednumber of sets will be sold). “
-
Sales are limited, andin conformitywith our policy and our undertaking to purchasers, no more will be sold in the following places for 18 months: Manchester, Southampton,Portsmouth, Derby and Bournemouth
A COMPLETEDESCRIPTIONAPPEARED I NT H E OCTOBER ISSUE Price 5 0 / - direct from
PETER WARLOCK 24, WORDSWORTH ROAD, WALLINGTON
CO.,
SURREY
Middlesex.
PETER WARLOCK’S
After many,manyrequests, (ieorgeBlakeReleases
remove themselves and then return to the tape. So far-more less orordinary maglc, READ ON.
Among those who now have this effect are ROBERT HARBIN, AL KORAN, FRANCIS WHITE, BILL McCOMB, JACKMORRISON, TOM HARRIS, JEFF ATKINS,BILLSTICKLAND GEORGEGRIMMOND
-
GEORGE BLAKE, 9, St. AlbanRoad,Leeds, 9. (Another (;eorge Slake Special. “ If it won’t Entertain, I won’t Entertain It.”)
PENTAGRAM is publishedonthe 24th of eachmonthand from thepublishersfor canbeobtaineddirect 111 per bingle copy.AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing 11 Monasterv Gardens. Enfield, Middlesex. ‘
Co.,
Museum :
Clubroom andLibraryand
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
books for to the:
Manuscriptsforpublicationand review should be sent BDITORI.4L ADDRESS:
The Magic Circle Prcsidcnt : HisGracetheDuke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President:DouglasCraggs, Esq., M.I.M.C.
KingGeorge’s Particularsfrom
Hall, W.C.
Hon. Secretary :
FrancisWhite,
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
JACK HUGHES will bepleasedtosend fulldetails of
you
39 Alverstone Avenue,
WimbledonPark,
S.W.19
Magic Wand Publications T h e Magic Wand, Quarterly. Fer copy 14/6. Annualsubscrintion
318 p.p.
THE DE LUXE “SU-TABLE” togetherwithallhisother effectsin returnfor Writenowto
a stamp.
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALB OLDANDNEW.Let LIST FREE FOR
m e know yourwants STAMPED ENVELOPE
N o Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Mastered Amazement . . 10/3 (Koran & Lamontc) Bohleno’s Mysteries (Bohlenl . . I013 The Concert Ventriloquist (Hurlinn) 10/3 -. George Armstrong’s PremoniGon lob Chandu’s Psychoanalysis .. . 1013 EntertainingWithH pnotiFrn (Dexter) 10/3 Challenge Instant &pnotwn & Mass Hypnotism .. ., . . 211Strictly Magic (Eddie Joseph) . . 513 Stooging Around (Stuthard) .. 513 Tests (Car;&) . . 513 26 Living 8c Dead Jamesosophy (Stewart Jamcsl .. .. 5/3 Year Book 48/49 (few only) .. . 5/3 Stunts With Stage Money (Lamontc) . 513 Tricks of the Trade (Armstrong) .. 2’7 From the publishers T H E MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
_Every Advertiser%-goods are fully endorsedby this Bulletin
p--
Poblishrd b\l t h c piopric.1r-% Thc \laRic WandPublishingCompany, Walker andSon(Printers)Ltd..
1 1 , MonasteryGardens,Enfield.Middlesex.andpdntedbyHerbert Well Croft. Shinlev. Yorkshire
.
17
PENTAGRAM An independent monthly bulletin for all who want good magic
V ! .6 &a. 3
Here is asomewhatdifierentcardprediction effect, suitable for either stage or intimate shows. Tencardsare displayed in a line uponastand (the writer’s is simply alength of woodwith a slot cut downthecentre,enablingthecardsto stand upright) the cards being placed alternately The reason forthis,” faceup and facedown. the performer remarks, will become apparent in a few moments.’’ A prediction is then written and handed to amember of theaudience forsafe keeping. Here,” remarks the performer, we have tencards whose valuesvaryfromacetoten, so in order that we maydecide whichwe shall use to-night, perhaps someone willgiveme a number between one and ten. Seven ? Thank you.” Theseventhcard Is thencountedtoo, and the remainder of the face-up cards reversed, showing that nine of the cards have blue backs. The prediction is thenunfoldedandfoundtobearthe words “You willchoose theonly red card.” On being reversed the selected card”is found to have a red back. The working dcpends on two subtleties, namelv : l . Ambiguity of Prediction 2. Alternative Counting although itis of course perfectly obvious that no switch of prediction can take place. First the cards, which i r e arrangcd from left to right as follows : Black Ace (Face Up) Black Four (Face Down’j Elack Seven (Face Up) Black Ten (Face Down) BlackThree (Face Up) Red Nine (Face Down) Red-Backed Eight (Face Up) I3lack Two (Face Down) Black Five (Face Up) Black Six (Face Down) “
“
“
“
A brief study of the arrangement will, I think, maketheworkinglargelyapparent.Theprediction having been written, the performer asks for a number IJetzeeerl oneandten ; after whichhe proceeds as follows : Sezlctt. This is the most likely selection, in which case count from the left to the right, which is shownto be theonlyred-backed card on the stand. Four. Exactlythesame,onlycountfromthe right instead. S i s . Countfromtheleft,thusarrivingatthe red nine. Exactly the same, but count from right. Eight. Here a further subtlety comes into use. Statethat as eighthasbeenchosen, the eight-spol shall be used. .\.irte. Exactlvthesame, using thenine-spot. 7’11 YL’LJ. In the rare event of such a low number’ being chosen, count from the right retjlozlitzg the first three cards and using fourth. Il’7vo. During continuous usage for many years of the one and ten force, I have never known anyone select the number two. Were thistooccur,should I simplyremark : Two from ten leaves eight ”, and use the eight. Rather feeble I admit, but up to the momentIhavebeenunable to devise a better solution. Perhaps other readers have ideas upon the subject ? In readingthroughtheabove, I see that 1. have omitted one small but important point, namelv that whenever the nine is the selected card, the remainder of the cards are turned f 1 1 c c u p the ninebeing afterwards shown to bch theonlyred cardpresent. E’i,zlc>.
“
“
”
18
I wanttodescribethreedressings for effects suitable for children’s shows. They are more particularly suited to the younger type of child havingplenty of colour.The first I call :The Magic Flower Maker The effect is very simple and easy to follow. Theconjurertakesacardboardtube whichis showntobeemptyandplacesasheet of tissue paper over one end, keeping it in drumhead position by means of an elastic band. Now a number inside, of pieces of coloured paperaredropped some lengths of thin wood or wire and some pieces of wicker wood. Theopenend is now capped with tissue paper in a similar manner to the other.
/ /
Now the magicwords
arespoken,thcconit. From out of thetubehetakesasmall wicker basket.This is placed on the table. His hand gocs inside the tubt. againandthis time hc withdran.s an artificial flower made from paper and wire. This isplaced in the wicker basket.Sevcral mort’flowers are produced which are also placed in the basket, making a very colourful little show. Though there is nothing out of the ordinary in the plot of this trick, it lends itself to a good story for the very young. We’ll run through the main points. First of all you require a ‘ Ghost Tube ’ made fromcardboard.This follows thestyle of thc original of Ernest E. Noakes (sec ‘ Magical Originalities ’ ) in so far that the inner cone at the narrow endis equidistantfromthe sides of the tube.There is of course noreason at all \vhy it shouldn’t be made up in metal, but this is a harder medium for some people to work in. A wicker basket round in shape is nest purchased (actually l am putting the cart before the horse, for it is essential to know the size of the basket before making up the tube) and the bottom cut away so that it can nest around the narrow end of theinnercone(see illustration). If thereader doesn’t wish to go to the trouble and/or expense of a wicker basket, a small bottomless flower pot could be made from cardboard and then painted. Nextanumber of paper artificial flowers art’ bought or made. If the reader can make these up so much the better as he can tailor them to exactl!. fit into the space provided. This space is of course that open part of the tube (the illustration shows this easily). One other thing is needed to complete the trick proper and that is a piece of wood six by six byoneinch.Aboutthecentreanumber of small holes are drilled. Into these holes the stalks ( ?) of the flowerswill beinserted. The block can be painted dead black or coveredwith black felt. The other accessories are some pieces of coloured tissue, pieces of wicker,some lengths of wire and two elastic bands. Prior to presentationthetube isloaded and placed loadenduppermostonthetable. The block of wood lies by its side. The pieces of tissuc are folded and placed in the tube so that they conceal the ghost tube formation. The pieces of wire, wicker and elastic bands are at hand. The pieces of paper are removed as the tube is picked upand shown to be empty.The load end is then covered with a piece of tissue which-is heldin place by means of an elastic band.The tube is againshownempty. ‘ Not even afairy jurer tapsthepaperandbreaks
19 inside ’ remarks the conjurcr. The pieces of tissue, \\.ire and wicker arethendroppedintothetube, or if the occasion permits a helper from the audience can perform this part of the ceremony. The open end is now cappedandthe magic spell recited. Breaking the paper with the fingers at the load end, the wicker basket (or flouw pot)is withclra\\-n and placed onthe block of ~ o o dso that the holes are central at the basc.. The flowers are no\\.withdrawn,eachstalkbeing inserted into a hole as it goes inside the basket. The second effect I call
The Magic Television Set. This is aproductionnumberanditsonly limitation is the size of the apparatus. The imaginative conjurer could get a great deal of fun from this dressing and rcw-mdelling of a standard piece of apparatus. On the conjurer’s table stands an object that to all intents and purposes looks very much like a Television SFt. It appears to have a screen and a couple of operatingknobs.Theconjurerinlro‘ So different ducesthis as his magic TV set. from the type oi set you may have ’, for this uses no electricity, neither does it have valves. ‘ These arethe works ’, and with thathe removesthe inside of the set which consists of a white rectangular tube, the cabinet being left an empty shell. The ‘ works ’ are shown and then this part is dropped back inside thecabinet. ‘ Eventhis part is free fromanyfunnygadgets ’. The cabinet is now lifted over the ‘ works ’ and also shown to be quite empty. After this it is replaced over the ‘ works ’ so that it appearsas it did atthebeginning. ’ Now ’, saystheconjurer(howoftentheysay that ! ) , ‘ Lvhcn I \rant to see my favourite television programmeitsvery easy . . . look,let meshow you ’. A number of pieces of card bearing the names of .procrrammes are introduced ‘ Justtake onefor me saystheconjurertoa child. ?’h0 latter does so and the conjurer takes it from him and sh0u.sit to theaudience. ‘ There, its Andy Pandy, this is how it works ’. The card is slipped intotheframc which outlinesthescreen. Puttmg his hand inside theworks,theconjurer Ivithdraws a model of ‘ -4ndy Pandy ’. ‘ Let’s’ try anoiher one shall W C ’, and so another card is taken which replaces the first card, and an appropriate production made. Finally, the card bearing ‘ Muffin the i\:lulc ’ is placed in front and to completetheproductionthc most famous of all TV pcmonalities is prodllceci. To the conjurer Lrith a little imagination this can prove a most popular item. According to the age and nature of the children so can little topicalities be introduced. U‘hilstsome of the load items may beexpc>nsivr. thc whole effect will be found ivorthwhile. The principle of thr. production is a form of square circle or in this case squared ‘ rectangle ’ and the accwnpanying drawing gives the ‘ how ’
’,
?’he actual load chamber whilst filling the works ’ part in length does not do so in depth, a factor that helps for a much better illusion as the front of the ‘ set is completely open.The load chamber should becovered with black felt or black ‘ flock ’ paper. ‘ Kettles ’ of New OxfordStreet can supply this. I have not givendimensions beEach causethey are onlyrelativelyimportant. will decide how big or small the ‘ set ’ shall be. Round the front of the ‘ set ’ a small frame to take the cards must be made. The cards should be made from a stiff card and the printing well done, so that when they are in place they give credit to the idea of a TV screen. Incidentally, the knobs on the front of the set should be movable and this can give the performer the excuse of bringing the set to life. The third effect deals again with flowers and 1 shall call it
The Flowermaker’s Scissors. The magician tells a story of the poor paper flowermaker who was imprisoned in Giant’s a Castle. Of how at all hours of the day and night he had to make paper flowers for the Giant. One day he pleaded for his freedom. The Giant, whose name was Magog, said that the flower cutter could have his freedom if he succeeded in a certain test. ‘ ‘ You have boasted of your great skill in making thcseflowers ’. (Actuallythepoor old man was not given to boasting but he didn’t like to upset the Giant). ‘ Now, my poor little man, let us see how clever you are. In this box-(and here the Giant took up a box like this)-I’m going to place some paper. First of all I must tip all this stuff out ’. (Somearticles are removedfromthe box). The Giant suited his actions to the words, and taking some beautiful coloured paper like this he placed it inside the box like this. (‘The pieces of coloured continued on page 20
20
Effect The performer states that he is going to show how a psychic operation is ca.rried out. The subject for experiment is representedbyacard which is signed at one end by a spectator and at the other end by the performer.Thiscard is placed in an examined box (representing the material shell) in aspectator’scare,andthebox is closed. An ordinary envelope is shownto be empty, sealed and placed in full view.Thisrepresentsa waste receptacle. The surgeon now makes cutting motions overthebox.Thespectatoropens theboxand find that the experiment has been successful. Only half of the card is in the box, still bearing theperformer’ssignature.Theperformertakes the envelope andcuts off thetop, withdrawing from within the other half of the card, bearing the spectator’s signature. The two halves tit to make onecomplete card. Requirements One pack of cards with, for instance, the two of clubsonthebottom of the pack. A duplicate two of clubs andarubberband&in. wide to go round the pack. A card box, envelope and a spot of wax. Preparation The duplicate card is cut into two pieces and one half is signed by the performer and placed in the hidden part of the card box. The other half of the card is placed on the bottom of the pack and rubber a band placed around the pack. The bottom of the pack now represents the appearance of a two of clubs. A small dab of magician’s wax is placed on an accessible button. “
”
PETER WARLOCK’S ‘TEENY
Performance Theperformer signs the complete card,and the spectator signing at the other end signs on the half card. The complete card is slipped fromthe bottom of the pack and by covering the end where the spectator’s signature should be. it can be clisplayed. It isplaced in thccard box.The half card is easily finger palmed off the bottom of the pack and the smallpiece of was is transferred to it’sface.Afterthe envelopehas beenexamined and sealeditis takenbackandthecard pressed onthcback of theenvelope kvhichis placedin full view. All is now ready for the operation kvhich is of course successful. When the top is clipped off the envelope, the fingers go into the envelope and thc thumb to the rear, and thehalf card seems to come from xvithin theenvclopc. The \vas is removed with ihe finger nail. Notes 1 . A doubleenvelopemay bc used instead of a card box. 2. The magician’scardmay be used instead oi playingcardsandmaybeprinted, oneend being marked Dead and theother end Alive . I do not knowwho originatedthe movewith a half card and a rubber band* butI first read it in Audley Walsh’s Open Minds in Practical Mental Effects reprinted from the Jinx ”. “
“
”
”
3 ,
“
“
”
”
“
* Margaret Illackay,
about 1920 (Ed.)
WEENIES’-continued from page 19
paper are placed inside the box). ‘ Now7, my good fellow, I shall place this box undermy pillow when I go tobed. If youcan, with your cleverness, make some flowers from the paper in the box, you shall be set free. If you fail you will be compelled to look at the Television for a whole week ’. Thepoor oldflower cutter trembled in his shoes at the thought of such a punishment. Then he thought of the magic thimble that he had seen upontheGiant’sdesk. Of courseyou can’t see it, becauseitsamagicthimble,just like this. At leastyoucan’t see it at themoment.Whenyou knowthe magicword itsa different matter, it appears just like this. (The children say the magic word anda thimble appears). Now fortunately the flowermaker too knew the magic word, and so, when the Giant was in bed, he crept along to the Giant’s study and found the thimble, after saying the magic word. Then to the thimble he chanted the following lines :Thimble,thimble, tell me quick, The secret of the Magic Trick. To which the thimble replied :-
Take some chalkandquicklydraw A Pentagram upon the floor, Touch each point and nod your head, Rub out the star and go to bed. NextmorningtheGiantawoke.First of all he blinked, for the sunlight shone in his eyes. Then heremembered theboxunder his pillow. Ever so slowly he picked it up, ever so slowly he opened the drawer. Great was his rage when he saw that the pieces of paper weregone and in their place were these beautiful paper flowers, so lovely that his ragepassed,andsendingforthepoor old flower-cutter he praised him for his skill and sent him on his way to freedom. This story poor, though it is, is for the very youngand requires little except adrawer box, some spring flowers, athimble and some tissue paper. About twenty spring flowers are placed in between the shell and the box proper and then a number of articles are placed in the box proper. (The choice of these is left to the individual). With the action of the story followed there is little more to say as the trick works itself.
21
The following effect, although requiring a little careful preparation beforehand, is eminently suitable for close quarterwork,and makes an excellent and an apparently impromptu item when performing to a few friends.
Effect A cigarette paper is eitherborrowed orproduced, rolled intoa small ball andhandedto a spectator to place on the centre of the toe-cap of theperformer’srightboot orshoe.Twoother spectatorsarethenrequestedtoapproachand kneel down, oneoneach side of performer,and to placethe fingers of onchand on eachside of the toe-cap, with strict instructions to note that the muscles of the conjurer’s right foot do not move duringthe effect. Someone is thenrequested to say Go ! whenever he pleases, and as soon as the command is made, the ball of paper is seen to shoot right off the toe-cap on to the floor, to the distance of a foot or more. The effect under such test conditions is truly uncanny. “
”
Preparation The effect depends upon the use of a very old piece of apparatus-the “plate-lifter,” but used in a peculiarmanner.Obtainone of afairly good length and Y P ) ) I O ~ ’ Pthe smaller bulb, leaving a long length of tubing, open at one end and a press bulb at the other. This, and a little careful preparatipn beforehand is all that is necessary. The right-hand boot or shoe is removed. The bulb end of the tube is thenplacedintherighthand trousers pocket and the tubing carried from the pocket, up over the top of the trousers and the pants. The end of the tubing is then taken down inside the sock as far as the instep and then forced
‘Presentation, George Johnson. Adaption, George Joyce. Do this.Secretly shuffle acard(queen of hearts)to thebottom of pack. Deal three cards, faces down, in a row, A, B, C, left to right. Continue dealing until, finally, the queen is left on top of ‘ A ’ packet-on your left. Turn all packets faces upwards. Take the top card of packet ‘ A ’ and place it face up a littlein front of thatpacket. Do the same with thetopcards of ‘ B ’ and ‘ C ’. (Should a top card be a court card, do not use as
through the wool of the sock to the outside. The boot or shoe is now put on again, and in tightening the lace, the extreme end of thc tubing is fixed in a position right at the base of thetongue,in such amannerthat when thebulb is pressedin right hand trousers pocket, a currentof air is forced overthetoe-cap.Thebootorshoemust, of course, belaced up in such a manner as to completely hide the tubing fromview. The ideal type of boot or shoe to wear for thc trick is the Derby but even with the ‘‘ Oxford style and a little ingenuity,thesame result can bc achieved.When oncefixedinposition and thf. boot or shoe lar‘qd up fairlytightly,theapparatusmay be carrled about, all day without any inconvcnitnce, and will always be found ready for use. The working of the effectnowneedsvery little explanatior;. The cigarette paper is produced and rolled into a ball. It should not, however, be rolled too tightly ; the looser the ball the better. It is thenhanded to somebody to place onperformer’stoe-cap ; theconjurer at thesame time placing his right foot forward and adopting a position as natural as possible with both his hands in his trouserspockets,therighthandgraspingthe bulb.The two otherspectatorsthen place their fingers (of one hand) on each side of the toe-cap. The force of the air is not strong enough to be felt by the two spectators assisting, and their presence their greatly enhances the effect. Shouldtheperformer find it unnatural to stand with his hands in his pockets, the bulb could very easily be fixed in position just underneath the coat on the right-hand side, in such a manner that, when the right hand hangs naturally at the side the fingers can press the bulb against the palm of the hand without any suspicious movement. “
”
”
itcould only count as a two spot. Just exchange thecourtcardforanycard in thepacket. It is better if the cards vary in the numbering of their spots). Turn your packets ‘ A ’, ‘ H ’ and ‘ C ’ faces down.. Pickuppacket ‘ C ’ and place on ‘ B ’, then the two packets on ‘ A ’. To the three visible cards in front of you add, just below these cards, fromthetop of your pack,and faces down,as many cards as will in conjunction with thespots onthe visible cardsbringthenumbers up to eleven. continued overleaf
22 CEORGE J O H N S O N ’ S BY THREE-continued from page
Foresample . Supposethecardsappearas fol1on.s :*A
B
ti spots Add 5 cards
49Spots Add 7 cards
C spots Add 2 cards
c.
1 otalthenumber of spotsonthecards in view. ( Ignore those you have placed faces down) . Intheesamplethe Eumber is 19. Dealdownto the 19th cardfrom yourpack.This will bethe queen o f hearts.
Whatevernumber is indicated by thetotal number of spots,thequeen of hearts will be at thatnumber when thecards in yourhandsare dealt. A l l theforegoing may bedone by the ladyto m:hom youshowthe trick-see prescntation. (This with theexception of ‘ placing ’ the queen to begin with-of course). Presentation. This is a trick wherein a iady can discover how she is regarded by a boy friend. Here is a well mixed pack of cards-will you take thepackplease. Will you now dealintothree heaps. Turn over each heap and place the facing card by itself in front of each heap. Change any I Lvant you to co11rt cardforanotherplease,as “
There are many effects in which the borrowed coin or treasury note is found in an orange or a lemon. Here is an unsuspected use to one capable of keeping three articles in juggling formation. There is noneed 10 bc expert--only a few turnsare nc.cessa@.
21
countthe . Y # U J f . Y . y o u maychangeanycard you wish. Satisfied ? All right, we canproceed. Now dealjust below thosc cards you have set aside, sufficient cards to make totals of eleven, counting the pips of the visible cards and to these numbers adding sufficient cards from your pack. (See prior instructions). Eleven is an odd number and odd numbers are lucky. I see your first card is a six spot, please adcl five cardsjustunderneath.Thenext,fourspots. Please add sevencards.Thethird, nine spots, please add two cards.What is thetotal of the first three cards you laid down ? Nineteen ? Will you please takethe pack anddealtothe nineteenthcard.Thequeen of hearts ? Thenyour boyfriendmustregard you as his QUEEN OF HEARTS.” “
Theexample given is merely tomakethe description clear-one hopes. The trick works in any case, whatever cards are placed in a rokv, as pertheinstructions. Remember that when the lay-out is madeas described, these cardsareno longer required exceptingforthepurpose of the‘ addition.Thecardsare allgatheredtogether at the end of the trick.
hearingthisyou simply waittill thc loaded orange is in either hand and imlnediately raise this hand high in the air and at the same time allowingtheother two orangesto drop tothefloor. Simply say We willuse this orange which was in my hand when our friend called ‘ Stop ’. Nothing could be fairer ” . “
“
The fact that thc chosen orange was not necessarily in your hand at the critical moment is neither here nor there,” as your audience had no notion what was about to happen. This is a smut force bringing a little lightness and variety into the effect. “
Suppcm the tray containing the fruit is brought on AFTER the loading has been done offstage-performer picks up three of the oranges and asks a person, sayin the front row, to say“STOP” ashe,the performerjugglesthe fruit.Opportunity for amusement comes here if the volunteer is too slowin calling out. Simplystop yourself and say Lookhere, old man,you’renot cooperating. I cametoconjure not to throwfruit intospact. as jugglers do.”That lets youout should you drop thefruit.Startagainand you will soon get thcb cease throwing call. On “
“
”
”
”
“
This force canbe used if youare working single-handed : theorange is preparedreadyto receive the coin or note. As you make your selection of the three oranges you have ample time to load up especially if the tray is piled up with say about nine oranges.
23
As it is unlikely that this issue will reach you beforeXmas,may we takethisopportunity of wishing our readers,contributors,publishersand printers a very prosperous New Year. This has been a most hectic month, and we’re beginning to hatethe look of aslatefor the ‘ Miracle ’ slate has kept us more than busy. Talking of slatesmakes us think of mentalism which which Harry brings us to the Himber Book Test Stanley is stocking at a price (we believe) of thirty shillings. All you who arementallyminded,and those who may not be so but want a good mental item intheirprogramme,pleasedon’toverlook thisbooktest. The moreyou know about book tests, the better you can build up this super effect. It must certainly have been a most expensive item to produce. Ken.Brooke, whois makingup an idea of ours called ‘ TrigonTwin ’ sent us alongthe finished article. We can not only congratulate him we very finely aon finished quite but job don’t know how he has achieved part of the effect. When we sentalongdetailsand a rough (and believe us it was rocgh !) model of the rhing we offered a suggestion or two for the make-up of the vital part.Ken.has gone about ten better,and
“
SCARNE’S MAGIC TRICKS,” by John Scarne by (’ro\\m Publishers, Inc., Ne\\. York. Price
( published
$2.95).
Some time h c l \ thesameauthor apt1 thesame publisher protlucecl “ ScarneonCardTricks,” which containetl 11 couple of hundred self \\,orking cartl tricks. I t \\’as a t)ookstallpu!)lication\\.ith a price that appareutly accorded \\ith the ethics of S.X.AL. and the .imericarl Societies.Thepresent hook is not concerned \\-it11 cards, a n c l a s a subtitle uses the \vords The 200 I)est tricks an\rone c a n (10.” There’s another c!ifference too. I n the card book, Scarne did give credit i n a limitetl \\.ay to the originators or performers of thetricksdescril)ed. The present book cuts outallthat kintl (11 onse sense, and not onecent. of recognition gi\ren is to the originators of many of the- effects tlescribetl. This is Scarne on Scarne ” \).it11 a vengeance. \\’hilst many of the,,effects are tlefinitely oldies , the files of the “ Jinx and other contemyoran- prrhlications ha\.e been raided and ra\ragetl so thattheman in thestreetcanhavethe zoo Ilest tricks thatanyone can do ” ! Anyho\\., we ~houldn’t I)e cynical, for the pu1)lisher in his note remarks that Scarne lives and breathes magic and \\.antsto spreatl the gospel. One has t o believe this, for after all to a man\\.ho, ;ts hispubli.;her also says, gvts upto a thousand 1)ucks for a n appearanceand a couple o f huntlred 1)ucks for a single lesson would look o n the ro\.alties of a Imok like this as mere chicken feed. “
“
“
”
“
Heing serious W C sav \mu \vi11 hxve t o havethis book,for in one volume .is collatessome really fine i’e?ts of \vorth\vhile ma ic. Some of it is much too good €or general pubfication. as, for example, the CentreTear BurntNote in En\-elope ” . ver“
’ I ,
“
we are waiting to know just how he achieved this
piece of work. The effect, so Ken. tells me,has proved a very good seller, and he is awaiting some more little plastic stands nrhich go with the effect. If you want, and we say this with all modesty, a prediction or coincidence effect with playing cards that will really stun an audience just write to Ken. for particulars. His address, as though you don’t know it, is :-log, Thornton Road, Bradford, Y orks. Our friend Leslie Mayis working on a complete issue for our February (Annemann) number. We have no need to say anything more for those who have been constant readersof this bulletin and the J i r l s know that Leslie has one of those fine and subtle minds. We are looking forward to hearing and seeing Trevor Hall give his Hoffmann Lecture onDecember14th. A fine magical mind and undoubtedly a fine magical treat.
To Bruce Elliott. We have the answer to the Orson Welles introduction to c as Hobby ,. be writing to you. News of the I.B.M. (British Ring) Dinner in February. A good date shouldmake for a good attendance.
sions o f Sefalaljia and so on. One thing x\ e do \\.ish is that inthe compilation some sort of order hat1 been :tchie\red, ; ~ n dt h a t coin tricks could have occupietl OIW section, and so on. ”
‘l
\Ireshouldimagine that this book mightrate a n Englishedition a t some later(late, \\.hicl1 is another reason why !wu shoultl buyit no\\.. You undoubtedly at some time or theotherperform \,emions oi some of the effects detailed, xnd nothing could be \verse than after snch a performanceto have it described l ) ? a lay purchaser of this l ~ o o k . The lwok is estremc.1~-\vel1 produced, ancl j t s generalappearanceand also thebinding, look to u s far 1)etter than those o f Scarne 011 Cards and Scarneon Card Tricks.” On n o x c o u n t fail to get hold of this inexpensive comp,?ntlium o f impromptu trickerv. ”
l ‘
“
“ THE NULLIFACTOR,” L: 3erivs of’ Card Effect5 based upon a single principle, b>+Ste\vartJames (published byFrancisI-Iaxton, ‘ ‘ St.r\nthon\-’s,” Nonsuch \\’alk, Cheam, Surrey. Price 5 / - ) .
A long \val- back Henr\. Christ clescribecl what ;blnemann caled the 203rtl Force. Idater Paul Curr!. cut out the necessary fake cartl, and no\\-Stewart James has come along \\,it11 another\.ariation. Mrit!1 thisvariatioll he has producetl some seven mysteriey all of \\.hicl] shoultl pro\.e effectix-e. Of these \ y e particularly like Ace Assembly ”, and Coincidence upon Coincitlence ” . Those who ha1.e follon-et1 Ste\\rart’s contributions from earliest times onward\\.ill certainly acquirti thislittle booklet. Those who are newcomers to magic \\-oultl c10 \\.ell tobuv thi. and so o1)tain an introduction t o one of t h e outstantling men of magic. “
“
I
TON1 KOWNINI’S
CARD MIRACLES TON1 KOYNINI, a ne\\. autherinthe magical Jieltl, 1)rings to ~ C I Usome fine card magic with a new approach. o f six star CAN’T S E F is a compl(~tecardact effects that is performed genuinely blindfoldetl. A spectator shuffles the pack, and the performer (I) tleals out all thecourtcartls, ( 2 ) separatesthesecourt cartls into suits, ( 3 ) runs through pack and places thecorrect ace on each])ile, ( 4 ) dealsthepackhaphazardlyintotuw piles, awl turnsthemover t o show one pile all redant1 theotherallblack, ( 5 ) instantly cuts to ;tnv cart1calletl for, ant1repeat:, as required, ( 6 ) conclu(des \ v i t h Paul Curry’s famous Out of This \I‘orl(l routine. I n atltlitioll to tlli.; sensationall~linclfoltlcard act, there are seven more fine effects, Gambler’sDelight, A.H.C. I h t l e r , Koyincitlence, The Last Card, Any Numl)er, Evens, and One P?und Revelation. And finall\,,there is Snjtch I t , twovery fine effects that st;trt off \\,ith a n ordinary pack, baffle the autlience, anti leave the performer with a stacked pack, f o r \\.hate\.er is t o f o I l o \ v . ”
“
HERE IS A BOOK YOU MUST HAVE Price 7 / 6 ; postage 3d.
No
MIRACLE SLATE MORI-
IS
Finland Bristol Manchester Loughborough Cambridge Bournemouth Southampton Derby Plymouth Haltimore Nottingham Scarborough Swindon Torquay UNTIL1953 What They Say A HC‘MDINGER ”-Jeff. Atkins. ‘‘ IT’S BRILLIANT, THANKS A MILLION -A1 Koran. A REAL MIRACLE ”--Billy McComb. Price 50/ - from PETER WARLOCK 24, Wordsworth Road, Wallington, Surrey ‘ l
”
“
FromthePublishers.
T H E MAGIC WAND PUBLISHING 11, Monastery Gardens, Enfield, Middx.
CO.
-
I
I
READ
PETER
THIS EFFECT
.-I spectator shuffles ;L pack of cartls ant1 cutsthepack any\vhere he likes. The cards ?.ither sick of the card freel\cut to are sulxwquentlv remo\red’ ant1 fount1 t o I1e thecards that the performulmd pre\-iously predicted. 11~.
This is 011e o f a series of card etfects lnsetl 0 1 1 a single move not pre\iously pul~lishetl, and in
THE NULLIFACTOR By
WARLOCK’S
PENTAGRAM is publishedonthe 24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1 / 1 persingle copy. AnnualSubscription 121post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publicationand reviewshouldbesenttothe: EDITORI.4L ADDRESS:
books for
The Magic Circle I’resident : His Grace the I h k c o f Sornersct, D.S.O., 0 . B E., J.P., M.[.M.C. Vice-President: D o u g h Craggs, Esq.. M.I.M.C. h
ClubroomandLibraryand
Magical Theatre :
King George’s Hall, W.C. Particularsfrom
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
Hon. Sccretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
STEWART JAMES Price 5 / - post free
JACK HUGHES w i l l bepleasedtosend fall details of
from
FRANCIS HAXTON “St. Anthonys’,” Nonsuch Walk, CheamRoad,Cheam,Surrey TfHEJ’ S.iY : (;EC)R(;E H I A K E : c,iplciscertailll!gootl
I ‘
>011
THE DE LUXE “SU-TABLE” his othcr together with all effects in retnm for a stamp. Writennwto
JackHughes, 2, Evelyn Ave., Colindale, London, N.W.9.
‘The Prin-
’ I .
~ - ~ I ~ R . ~ ( ’ X l ) X l J R.X . . :L CONJURING BOOKS FOR SALE OLD ANU NEW.Let me know your wants series o f effects all goc1tl and some LIST FREE FOR STAMPED ENVELOPE extremeli- so ” . N o Callers (:EORC;E .ARMSTRON(; : T just I)een tr>.ing this o u t , a m i i t i5 a \\.inner ” . “
Ila\.c*
GEORGE
JENNESS
47 INVERNESS AVENUE,
ENFIELD,MIDDLESEX
Magic Wand Publications T h i Magic WandQuarterly.Fer copy 318 p . p . .4nnual subsctription 14/6. TheWizard, 36 pages monthly. l’cr copy 2/1 p.p. 6 month 12/6 Year 24i.. Convincing Coin ’Magi: (Farelli) . . 17/10 Mastered Amazement .. (Koran & I.nmonte) . . 10/3 Bohleno’s Mysteries (Dohlen) . . 10/3 The Concert Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 10/3 Chandu’sPsychoanalysis .. . . 10/3 Entertaining With Hypnotism (Dzxter) 10/3 Challenge Instant Hypnotism & Mass Hypnotism .. .. . . 211Strictly Magic (Eddie Toseph) .. 5/3 Stooging Around (Stuthard) 26 Living & DeadTests(Garrett) 5513 /3
.:
Jamesosophy Jameslonly) . . Book (Stewart 48/49 (few 513 Year Stunts With Stase Money (Larnontr) ’ . . 5/3 Tricks of the Trade (Armstrong) From thePublishers THE MAGIC WAND PUBLISHING 11. Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin P11blisht.d bytheproprietmThe
Magic WandPublishingCompany, 11. MonasteryGardens,Enfield.Middlesex,andprlntedbyHerbert S h i ~ l e ~Yorluhiro. . Walker urd Son (Printers)Ltd.,WellCroft.
.
.
2/7
CO.,
25
PENTAGRAM An independent monthly bulletin for all who want good magic
1952
Harry Hicksonhas now goneto place a called Harwich,andhe will bemissed bythat select coterie of Surreymagicians. His work is alwaysstudded by alove of detail that makes Express for smooth and faultless working. Delivery (I hopethathe will like the title.for use in therope Ed .) is an ingeniousaid stretchingeffect.Withthis device themagician 1s free fromanychance of the rope becoming entangled. An additionalfeature is that the rope canbepreparedpriortotheconjurer’sleaving for the show. “
”
The illustration marked l shows the holder, the length of rope protruding being sufficient: aftertheholderhasbeeninsertedinto t h e right insidepocket,to go down the inside of the right sleeve to the cuff. I ‘
”
The second illustrationshows the fake when It consists of a shallow box openat one end.This is made from either stiff cardboard or verythin(sayonemillimetre) plywoodwhichmeasures five inchesbyseven. The surround which goes onthree sides is made bycuttingthree pieces of quarter inch square stripwood and then glueing them into the necessary positions. At intervals of one and three-quarter inches (this is assuming thatthe dimensions shown are kept to) some small notches aremade.Thesecanbe clearly seen in theillustration.Another piece of card or ply, five inches byseven, is takenandthis is hinged by means of linen tape to the box where shown. R’hen dry it isfoldedover and notches arecut to correspond with those in the sides of the box. You will alsorequire a piece nf thincard(or betterstill,celluloid)measuringfive and a-half by seveninches,and four elastic bands.
To prepareforthe effect, the box is first opened and placed on a table. Taking the twelve-foot length of rope, sufficient is allowed to go from the pocket top, down the arm to the wrist. Be liberalinthismatter, for it is better tohave a few inchestoomuch ratherthan not: enough.Thelatter course will meanstartingall overagain.Withthislength allowed for, the rope is folded backwards and forwards inside the box. I thinkthat this is quiteclear in theillust.ration. Whenthe box is full,the loose piece of card or celluloid is placedover the open part of
k
it is opened out.
The fake made to the size shown willallow the conjurer to stretch a rope to twelve feet.
the box and rope. Half an inchwill protrudeatthe side. The lid is now foldedoverand, keep-
iilg it downwithaslightpressure, loose card is withdrawn andthen e!astic bandsareplacedroundthefake cach engages in a set of notches.
the piece of three of the so that
Taking of? his coat,theconjurerdropsthe fake into the inside coatpocket, with the procontinued on page ,? i
26
Thisarithmeticalcuriositymightbeintroducedtoafamilygathering in somesuchterms as the following :" Theother evening,forwant of somethingbettertodo, I waswatchingmyyoung son as he did his homework. Among the arithmetical exercises setforhimwasthis. He hadto find thecost of 264 dozenarticles at $ / 9 per dozen. This is the way he set downhissum andarrivedatthe answer." (Fig. 1 . ) S. d. 7 9 264
48 47 158
Thinkingthatthisparticularcombination was amerefluke, I set myself amore complicatedsum,one to includethepounds. \T'hat would be the cost of 6 4 i dozen articles at C: 12 2s. Id. perdozenApplyingtheformula ,of my son tothisproblem, I gotthisresult, .whichis againcorrect (Fig. 2 ) :"
S
S.
12 2
d. 1
64& 48 448 732 6
Fig. 2
Fig. 1
" I worked out the sum in my own lengthywayand,to my amazement,found thatthelad's answerwascorrect.Thinking that he must have cribbed. the answer, I asked him how he had workedit out. He explained that he had simply multiplied the digits first by 6 andthenby 2. The & he explained by saying that 8 times nothing is &.
" The multipliers 60*,61&,624 and 63i could be used equally well. " There, my friends, you have a short cut to multiplicationsums; butdon't blame me if the results you obtain are not always what they shouldbe." Pairs of numbers of thiskindcanbeeasily found if one is mathematicallyminded. As a guide, I will add that the number of pence in the multiplicandmustalwaysbe 1, 5 or 9 andan even number of pounds must be carried from the shillings column to the pounds column.
that of Foreword.-The theme of this effectis my own " Taped Slates ", which I described Patternsfor Psychics ". Themethod, in however, is entirely different, and undoubtedlybetter,forthemechanicalslate is eliminated. Effect in Brief. The mentalistwritesthreepredictionsona slate. As eachpredictioniswrittenit is covered witha piece of cardboardthat is keptinplace by means of two clips. All these predictions concernnumbers,coloursandpatternsdecided uponbythreemembers of theaudience. The climax of the effect comes when the pieces of card are removed by a spectator and it is seen that the mentalist has been correct with all his prognostications.
Requirements. All thesethementalist will haveon hand; they are as follows :One slate (the larger the better). Three pieces of cardboard;theymeasurein lengththewidth of the slateandtheir width is approximately two inches. One stick of white chalk. One parti-coloured stick of chalk; this is madebytakingashortlength of red chalkandjoiningittoasimilarlength of greenchalkbymeans of adhesive tape. Six similar sized Bull-dog or similar clips. Twelve business size envelopes. Six pieces of white cardboard similar in size to a playing card.
"
20)205
44
S10 5
44
A visiting card. A pencil. A pack of cards consisting repeated forty times, together with twelveindifferentcards. A littleconjurer’swax. Six glasses.
of one card
Preparation. The six pieces of white card are.first painted on one side with red paint (poster paint is best). When dry hulj of the opposite side is also painted red; theremainingunpainted partsarepainted green,blue, yellow (ororange),brown, black and pinkrespectively.Needlesstosay,as an alternativetopainting,the pieces of cardcould be completed by glueing or pasting on the necessary coloured papers. The twelveenvelopeshave now tocomein for some attention.Theyaretakenand witha pencil the gummed edges are eased apart so that the envelopes can be opened out flat, thus :The ADD.RESS sides of theenvelopes are now pastedtogether, bu! pleasenotice thatthe flaps are opposite in direction (as in illustration).
(’/
‘\
The giasses are placed in line a across the mentalist’stable and againsteachone is rested oneoftheenvelopes;they are placed so that in each case if theflap were opened and thecard drawnoutthefullredsidewouldbeexposed. Just behindthe glasses is placedthedeck of cards(thetwelveassortedcardsbeingonthe face), and toitsleftthevisitingcardon which the figures 1 to 9 have been boldly written. This card is so placed that if the mentalist is working left of the tablethefigures will appear upside 1~owv1,
The pieces of chalkare now placedinthe right hand pocket (the mere binding of the tape preventsanyquestion of confusionwhenremovingfromthepocket), whilstthestrips of card and bulldog clips are placed on an adjacent chair. In amomenttheslate will beplacedupon the chair,too,butbefore.carryingoutthisaction, the men-i-alist writeslightly in pencilacross the toppart of theslate “ 1 = ” andthenacross the middle of the slate (the letters should be less in height than the width of the covering strip of card) 2 = Red ”. Underneath this, again usingthepencil,hewrites “ 3 = 8 of Spades (or wb.ichever card is repeated forty times in the decklyingonthe table). This preparation completed, the slate is placed on the chair, the mentalist being aware which end is which. “
”
The Stage Is Set. The mentalist,whilstwriting on theslate, works so thatthetable is tohisright andthe chair on which sundry items are placed, is on his immediate left. To the(mentalist’s).right of the table is another chair.
Presentation. The linesspoken italics.
When the paste is dry a slit in length the width of thepaintedcards is made acrossthecentre with arazorblade;thisjobdone,theenvelopes are, withtheaid of alittlemorepaste, made to look likeenvelopes again. Youshould now have sixenvelopes that can beopened on eitherside. Now insertone of theparti-coloured pieces of cardboard into the slit and it will be seen that if theflapononeside is opened 2 (say) blue card willbe showing,whilst if theenvelope is turned round and the other flap is opened a red card is showing. Havingmade these six envelopes,take theparti-coloured pieces of cardand placeone insideeach. To makequite sure whichside of theenvelopeshowsred,it is mostadvisable to place a small pencil mark somewhere on that side of the envelope. In all cases a very small dab of conjurer’swax is placedundereachflap so that it stays put and will not spring or fall open. “
”
by thementalist
are id
LadiesandGentlemen . . . throughoutthe ages man has forever tried to pierce that cwtain whichseparatestheunknownfromtheknown. Lifefromdeath,thefuturefromthepresent. Sometimes in the last phase his experiments are successfulandhefindsagap in thatcurtain. To-night, I too, wish to t r y w c h an experiment, and for this I shall require the assistance of three called for members of m y audience; they will be thispurpose “ Mr.Scarlett ”, “ Mr. W h i t e ”, and “ M r . Green ”. First of all, ‘‘ M r . Scurlett ” . . . would youmindactingthatpurt?
(Thistoa member of the audience . . . ashe says this the mentalist lifts up the slate from the chair with his left hand, whilst his right goes to his pocket and removes the parti-coloured chalk, keeping his hand closed overit. The slateis broughtup tochestlevel, the pencilled writing appearing UPSIDE DOWN to the mentalist and the right hand moving across into a writing position. At the moment that the right hand is covered by the slate, the right hand opens and taking the piece of chalk with his fingers so that onlythe
28 piece of RED chalk shows, it movesoutsidethe cover of the slate so that those near can see that the mentalist has a piece of red chalk held in his hand). I'oll ( L y e willi,rg to co-opeunte ? Y'll[ltlk yolc
TlcrJr mrrch.
(LPProPriute to goirlg t o 011 this s l r r t e .
dim
Il'itlL your prese write a
tl1i.s tat .;ix
piece of c l d k pswdo11ym, I figure tzumber
(Bringinkthechalk backtothe slate and keeping the latter at an angle of sixty degreestothefloor,thementalistsimply reverses the piece of chalk and in green writes in the normal way, i.e., FROM LEFT TO RIGHT, the letters and figures that the proper way up will appear as 3 = S of Spades. The fact that this has already been pencilled makes the accomplishment straightforward. The right hand now drops the parti-coloured piece of chalk into the right hand pocket, the slate being transferred to the right hand whilst the left hand takes a piece of card and one bulldog clip from the chair. After fixing the card in place with one clip at one side of the slate, the other is picked up and slippedover atthe oppositeside. As he does this the mentalist remarks) . . . .-l s i x figure Ilumher, sir, which irz u matter of seconds I thinkyouwillverhallyrepeat.Now,sir,just relax-let your p r e s e n t t h o u g h t s v a n i s h v e l a x and then telltheaztdiencethefirstsixnumbers thatellteryourmind . . . " 761057 " . . . pleaserememberthatrmmber, or betterstill,jot it. & m 1 1 . . . you aredoingthut ? . . . Thank y)lr. (It is importantthatthementalistMUST a forremember this number. This doesn't sound
midableproposition, but I know thatthereare many who cannot easily do this. The alternative, therefore, is for the mentalist to have another slate o r blackboard on the stage, and without asking the spectatortojot downthefigures,hetakesthe white chalk from his pocket and does the job himself so thattheentire audience will havethe numbers in front of them. ) N o w for a second helper . . . you,sir, tlzankyou . . I shall call you " M r . W h i t e ". Keeping your pseudonym in mind too, I shall use this chalk for you. (As he says this the mentalist, still holding the slate, swings it round so that the ,audience can see thatthe first (?) section is covered. This is done casually with the left hand
whilst the right hand goes to the pocket bringing .out the piece of white chalk. As he goes on talking to ( ' Mr. White ", the slate is swung back into writing position whilst thepiece of chalk is casually tossed a few inches into the air and caught again.) For ?IOU sir, I a m not at the moment giving you .nnv clueastowhat I am writing . . . youwill in n fewmomentstime. (The understandwhy
mentalist now writes from LEFT TO RIGHTwith white chalk over the pencilled lines which fill the centre of the slate, i.e., 2= RED ; the white chalk is droppedintotherighthandpocketandthe second piece of cardboard is now taken and with
the aid of two more bulldog clips is fastened to the slate so that itcoversthemiddlesection.The slate in this condition is then placed on the chair SO thatit restsagainsttheback.Theaudience can now see the first and second predictions 0 1 1 t h i s table there covered.) N o w illr. Il,'lrite (Lye sixetmelopes . . . I I Z I ~ O W tllclt y o l r I l u n l c . 110 itjell whut Lheyco.rstaitr . . . to yolr they 1111 w i l l trppear similar, I watz.t yot1 t o choose o11e elt"~'~>loPc?, "
l ' ,
hlrt ,tot w i t h U " snap " tlecisiolt. Cllulzg-e p u r rrtirld as much LIS you like brrt trltirncltely let y w r c/l;icefall 011 otte. I s tlrat quite clear ? (The
mentalistlooks at thespectator whilst hemakes H w e yozc )row decided ? J u s t up his mind-then) stop me as I tozrclz ymrr erwelope. (The mentalist starting from his left hand side, touches each envelopeuntil he is stoppedbythespectator.The selected envelope is then picked up and placecl on top of the glass against which it previously rested.) 1-011 ( w e quite satisfied with the freedonz of clloic-t.? Thank you! Now Ladies u n d Gelltlenlr~z-tlLe final testthis time with r' Mr. Green ". Y o u will play tlrut part ? T h a n k y o u , sir. (This to spectator picked
out by mentalist who affirms his wish to play this part). Thistimeuguillsomething-different . . . Mr. Scarlett " thozrgltt of some particular U set of I L ~ r m b w Y s . . . he w a s thing,namely asked t o dothis . . . " M . r . TT/ILite '' clzosr rrn emelope. E v e n nowhedoesnotknowitscontents, thus his decisiort was uastly different from " 1Ur. Scarleft's ". " Mr. Green '' will help me withsomethingfarremoved fr0.m either of the two previous experiments. At this point the slate "
is picked up by the left hand whilst the right hand goesoncemore to thepocketand closes again roundtheparti-colouredchalk. As in the first case it is withdrawn in the closed hand until the cover of theslateallowsthementalistto know which end is which. The green end is brought up overtheslate and, withoutcomment of course, showntotheaudience.Thementalistremarks) For " M r . Gree1.r " (reversingtheends of the chalk under cover of the slate he starts writing the numberchosen by the FIRST SPECTATOR, which thementalist has remembered.This of coursemustbewritten UPSIDE DOWN and in reverse and this is where the visiting card on the table comes in useful,aswithoutthinkingabout writing a number upside down, you have only to notewhatthenumbers LOOK LIKE UPSIDE DOWN & THEN COPY THEM. The = sign and the 1 arealready pencilled in, which makes for speed. The third piece of card is now picked up and placed in position by means of the two remainingclips. In thisstatetheslate is shown and placed flat on the seat of the chair, the long side paralleltotheaudience.) N o w " :\fr. GreeIl I a m g o i n g to ask y o u to choose o P A T T E R N . T h e ,lJ
find in easiest recognisahle patterns that one can p n n t i t y are playing- cards (the pack is picked up from the tablewith the right hand). If I asked L ~ l o u f o merely think of one of these (as he says this, the
bythelefthand,the righthandcrumplingthe envelope and allowing it to drop on the floor. The left hand now passes the red card to right hand turning it at the same time but so taking it that the othercolouring is notseen,i.e.,therighthand takes it so that the red half shows above the hand. It is thenplacedonthetable red side up.This, as a trial will prove, constitutes a natural sequence of movements). You see, sir,without hl107ili1~g it
mentalist deals from the face of the deck some ten of the twelve assorted cards) you might possibly he led to believe that in some psvchological Way yolr could he compelled to fix mind 011 one particzrlar pattern. The test I u m going touse of all I wantyoutoseat obviatesthat.First vowself liere (mentalist indicates chair by the side ?lour
of table. If the hall is fairly large where mentalist is working, the spectator is invited up IMMEDIATELY AFTER the slate is placed on the chair.)
”. If yoII had chosen this el~velope (here mentalist picks up nearest en~ o r chose r the colour ‘‘ ,recl
N o w sir, I am goiug to spread thecards face down
(don’tforgetthatthe audience has beenshown several different cards and there should never be any suspicion in their minds that forty of the cards aresimilar. The cards are ribbonspread in such a manner that the twelve bottom cards of the deck are coveredbytheremainder. The line of cards shouldbe at leasteighteeninches in length.) r r Mr. Greet1 ”, I want you t o place your right
r ~ h o ~ ’the l e cards . . . handaboutthrecinches that’s right . . . just there. X o w please let your hand move backwards a.nd forwards without To thisgelltleman. in the anyconsciouseffort. alrdiellce I u m g o k g t o tltrlld the slntc. (The slate is picked up and handed tosomeone in front. It is placed in his hands so that the top strip of card
coversthenumberprediction. The time that has elapsed between placing the slate on the chair and its removal makes this natural reverse indetectable) wrd I wunt him to say ‘‘ Stop ! ” whenever h e wishes. W h e n he says this I warlt you to let y o u r first finger fall on the card immediately below it . . . t h t is w d e r s t o o d ? Now,justkcepthe I ~ t r f l t lmoving . . . cc11d y o u , sir, s u y the word wlzell yozr wish ! (The spectator holding the slate
says stop and the spectator lets his finger fall on to a card). Just p u l l that card away frorjL the rest (the spectator does so, thementalistpicking up the remainder of the cards and dropping them into his pocket.) “
”
X o w T.cldies andGentlemen,letmequickly recap. . . . On theslatewhichyouhold,sir, T made a note of three things whichI saw through CL Gap in the Curtain of Time. The first thiflg that I wrote was a wlmber (md it was written for ozrr friend “ M r . Scarlett ” it1 ,red! . . . will y o z r please card-(Thespectatorwiththe removethefirst slatedoes so). N o w “ M r . Scarlef-t ”, will y o u please repent that six figrfre number thut y o u saw i n y o w mind . . . ‘‘ 761057 ” . . , andyou w h a t I wrote 0 1 1 the sir, will you. please read out thespectator ; the slate (“ 761057 ” readsout mentalist repeats this in a loud voice). I was right with your number. N o w sir, pleaseremovethe second card . . . M r . W h i t e ” choseanenvelope . . . inthisenvelopewas a piece o f col0 w e d card (as he says this the mentalist picks “
up the envelope from the top of the glass in such a way that when the flap is lifted the red card will show. Again with the lapse of time in placing the card on the glass and removing it, the position of the original flap is forgotten by the audience . . the flap is lifted and the red faced card withdrawn
.
velope,opensflap and slightlywithdrawscard, pushing it back into the envelope and then laying the latter on the table) you would. l l ~ 1 v aI z c d blue, i n thisone ornrlge and so o 1 1 (this ashevery quickly picks up and opens the envelopes one at a time and thttn placing them in a heap on the table. Theslightpullout of thecardshouldappeara natural gesture, and of course not more than half a card must show). Againsir, I say,without. knowledge of what you were Irltinzlctely choosillg y o u chose “ red ” . . . wJwt did I write on the slate for “ Mr. W h i t e .’’ ? (the spectator reads out ‘‘ Red and this repeated in a louder voice by the mentalist.) T h e secolzd ~ie7e1tlzrozrgh the gap was ”
correct ! Lastly our frielld here “ Mr. (;reell ’’ became f o r thzmoment an. automaton . . . his handplayingthepart of a. pelzdtllzltn tll(Lt wcls stoppedhythe gerltlemarl llolding theslate. Thr lastthing I sawthroughthetimegap was t h e putterlz of a playing card. Will yozr please remove the 1.ast strip of card and retcd what I ha-ze uyittcr,? (thespectator does so and reads 3 = 8 of “
Spades ”. Again the mentalist repeats Eight of Spades ”. N o w (to Mr. Green ”) will ! l o l l “
“
p l e r ~ . ~lift e ZLP the card o n whicll T o w fillger its n u n ~ c? . . . rl’]ze .stopped U I I ~ say aloud Eight of Spudes ! T h e thirdvision svas correct. Thank you very much, sir. (This to the spectator
on the stage.) Footnote.-The readermay well wonder why I havetakenthetrouble to make useof the slit envelope,whenadoubleenvelope andadditional pieces of cardwouldsuffice. Theobjections to thiscourse were ( 1 ) the envelopecouldnot,afterwithdrawingthe coloured card, beeasilycrumpled (having another card inside) and (2) the fact that on so many occasions there is unavoidable light at theback of theperformer,which,in the case in point, would silhouettethehidden card.Those were two of my reasons for originatingthepresentforce. To thosewho, at sometime or theothermight wish to use alternative forces, may I suggest that the Stanley Collins’s Poem Book offers an excellent choice fora chosen word or words whilst an indetectable method for forcing a colour, name or city, can be found in my own tumbler ” force in “ Pattern for Psychics ”. “
”
“
30
This is byway of being anaddendum to ArthurCarter’s One Red Card ”. It is an effect that Mr. Clarke has been working for some time.* It is certainly a most effective problem of coincidence. P .V ’. “
The Effect. A blue-backed pack of cards is shown to the audience.&Ared-backedcardwithoutitsface being shown is openly inserted into the blue pack which is thenshuffled. The top tencards at the face of the pack are then dealt face outwards on to a stand. Alternatively,theaudienceindicate which cardscan beplaced on thestandas the performer deals the cards face upwards on to the table.Thepack is slowly fannedandnoredbacked card is seen. Asking forany number from1to 10, andthis beinggiventheconjurer, aclip is placedonthe card. The remainingnine is seen that they cardsareturnedroundandit areallbluebacked.Thechosencardcarrying theclip is turnedroundand itis seen to bethe red card! The Requirements. 1 . A card stand as shown
in illustration.
cards which havebeen of thesame split and faced withcard
2. Tenred-backed
The twenty-first of December was aday of magical tragedy.Thatday saw the death of Harry Kaye and of Jimmy Findlay’s wife, Jean. We first met Harry Kaye at the Magic Circle way back in 1930. I n all the years we knew him be never changed. Always ready to help a fellowmagician,neverpushing himself forward, hewasamountain of strengthtotheBritish Ring, where after many years of tireless organisinghebecame,a few monthsbeforehis end, President. I t is difficult imagine to a BritishRingmeeting of any kindwithouthis presence,and we know that thiskindly-hearted NorthCountryman will bedeeply missed by all who knewhim. Whilst Jean Findlay was great not a attender of magicalfunctions,shewasknownto many of those who came in contact with Jimmy .
material as that covering the stand. (Actually,themost effective covering is to obtain some imitation wood-grained paperand use this. It is light,easyto apply,and thestandwhen finished does notlooklikeastage prop.)The backs of cards the roughened, faces the polished. These cards are placed face side out on the stand. 3. One red-backed card polished on the face, roughened on the back. 4 . Oneblue-backedcardroughenedonthe face and polished on the back, 5 . Theremainingcards in theblue-backed pack are polished. The Procedure (in brief). The red-backed card is taken and inserted in the pack next to the face of the roughened bluebacked card. The pack is then shuffled, care
being taken that the processed pair is left outside thetentopcards.Theselatterarethendealt outintothedivisionsonthe stand. Whenthe audiencehaveindicatedthecardtheywish,a small bulldog clip is placed over the card (actuallyoverthered-backedcardonthestand andtheblue-backedcard in front. Because of theside pieces of wood, the two cards will be perfectly aligned). The blue-backed pack of cards isnow taken,and with thebacksfacing theaudiencethecards are leafedthrough showing that there is no red-backed card in the pack. All the cards excepting that marked with the clip areremovedfromthestandandshownto have blue backs. Finally the clip is lifted, turned round,andit is seen that thechosencard is the red-backedone.
Shewasahelpmate who cannever be replaced. On behalf of allourreaders, we extendour deepest sympathy to Mrs. Kaye and Jimmy Findlay in this most sorrowful time. The foremostaim of the Magic Circle is ‘‘ The Elevation of the Art of Magic . All too seldom are we given enlightenment on this touching phrase, the general tendency seeming to be that of obtainingmoreandmore members irrespective of whether such members are interested in magic or whether they are likely to bemagicians. It was thereforesomething in the nature of arealtreat to attendTrevorHall’s winningHoffman Memorial Lecture u n December14th.Here was the finest magicallecture it has been our privilege to attend during our thirty yearsassociationwiththe Magic Circle. It was a splendid piece of scholarship attended with ”
impeccabledemonstration. Whydo performersunnecessarily handicap themselveswhenperforming? A couple of fairly recent instances are those involving genuine blindfoldfeats of card magic. A blindfold, so far as the general public is concerned, is a blindfold. The addition of extraneous articles in covering the eyes more is likely arouse to suspicion in theirmindsthatall is not as it should be, with the result that the genuine
blindfold merchant is possibly more suspect than a common Those who use nothingmorethan handkerchief. This is, of course, purely a psychologicalhandicap. The worst of the matter IS that, as the performer cannot see, he is definitely at the mercy of any assistant who may not play the game. January 24th sees the revival of a club-room wpper.Fromour knowledge of the arrangements,it will become anannualevent.
TONY KOYNINI’S CARD MIRACLES (Editedand published by George Armstrong, 11, Monastery Gardens, Enfield, Middlesex, price 7/6). This is a well produced little booklet of nearly thirty pages andcontainsamatter of thirteen effects. All of theseeffectsneed little more than apackorpacks of cardsand some areextremelygood. Of theirpracticability there is no doubt. ‘ ‘ Switch it, the first effect in the book, is a most effectiveitemwith anadditionalfeaturethatthe performer is left \vith a stacked pack that can be used for iater effects. For close quarter xvork it is an excellent item. “ Gambler’sDelight is oneofthoseroutines \\-here the performer deals o u t successively a number of \\inning hands foI variouskinds of card games.This is followed by “ A.B.C. Dealer ” lvhich makes a very nice cardtableitem. Can’t see! is acompletecard act inwhich the performer is genuinelyblindfolded. (As we havenoted e!swhere, \vefeel that in striving to make magic under harder conditions than are necessary, much effect could be obtained, \\ere limited sight available, is lost). Koyincidence, ” is a coincidence ,etFect Irhichhas as its basis of locationthe 26 cardlocation.Wedo feel that here the method of having a card selected and ultimately obtaining its value, is unnecessarily longwinded. The discovery of the card couldbefoundwith a muchsimpler and moredirectformula. The La: Card,” is in effect a version of Farelli’s “ Mystic Seven, but in thisversion, the performermatches any card drawnbythespectator, even though he is unaware of the value of thatcard.The following item, “ ,4ny Number,” is one of the bestin the book,andthough rather slow inaction,it is an effect to beperformed and remembered where the audience is small. “ Evens,” \rhich follows is also very good, and so too is the One PoundRevelation U hichconcludes the book. This last effect is out of the run of the other items for i t introducesaphysicalside of magic. All inallexcellentvalueformoney anda book \\,hich nofollo\t-er of card work shou!d pass by.
’‘ METHODS FOR MIRACLES ”
”
”
I ‘
”
“
“
”
“
“
”
Nos. 1 / 4 (Published by ii’illane, 408, Sydenham Road, Croydon, Surrey, price 3/6 each). No. 1 TheN’gaiDogRace. ” This is an excellentparlourroutine inwhich the performershowshis ability control to the minds of members of his audience.The basictheme is that of racingand in theeight pagesdevoted tothe effect, everypoint is punchedhome. No skill is neededfor its performance, but goodshowmanship is essential. No. 2 Edward Victor’s “ Ring Release from Cord and -4 SuperCardTransposition.” \\-hen we first heardaboutthisring release w.e thought that it followed the pattern of that described in Niller’s FiveRingRoutine.” It differsverymuch in methodand is avery finepiece of natural magic. 1i-e have proved its effectiveness on quite a number of occasions and it is an efi3ct that nomagicianshould pass up. Thesupercardtransposition is verynice, though i t follon-s conventional lines, and ifwe remember righly i.; similar to a Cardini effect. Xo. 3 . The iate E . G. Brown’s IVandering Card.”This is an effect that shouldbesold a t afar higherpricefor it is one of the finestmethodsdevised for the Cards.Icross.”Theeffect is that acard Thought of inabunch of sixtravelsacross toanother h n c h of six. Trevor Hall gave a very fine performance o f this effect during hisrecentlecture. It will become ne of the classics of magic. 50. 1. The late E. G. Brown’s “ Diminishing, Cards.”This,intherighthands,and we repeatin the righthands, is amostbeautifulmethod of accomplis!$ng this classic effect. \Yi:h indifierent handling andsubsequent~uutilation,it couldfailvery badly. For ingenuity and freedom from unnecessary steals i t appraaches perfection, and \re still remember Edward s.l~~s~:ixgthiseffect to us \\.hen he first conceived it. If J-ou callnothandlecards s t t t o ~ , t h l ! y , please leave this alone. “
”
’ I
“
“
“
H A R R Y HICKSON’S EXPRESS DELIVERY-continued from page 25
truding ropenearesttothe sleeve opening,and then runs the excess length down the sleeve. The fourth elastic band is now placedover theright handand slid just abovethe wrist. Thecoat is thenput on andtheend of the rope is tucked under the elastic band. The conjurer is now set for a performance of the trick with no misgivings. One final point.Theelasticbandroundthe arm szrvestwopurposes. I t keepstheend of
t h e rope in position until it is required and sCc:mdly, aftcr therope has been pulled and the end comes through the elastic band the performer is @en tactual warning that he has reached that point whcx-e he must use care. If you have used the Rope Stretching cffect and you havestrucksnags in the past, please make u p this little gimmick and note how 5 1 2 i ~ w f ~ 2 hthe 7 ropc C ~ ~ Paway. S “
”
PETER WARLOCK’S
TON1 KOYNINI’S
CARD MIRACLES
NO
TON1 KOYNINI, a nelv autherinthe magical fine cardmagicwith a new field, brings t o yousome approach. CAN’T SEF is a completecard act of six star effects that is performed genuinely blindfolded. A spectator shuffles the pack, and the performer (I) dealsout all thecourtcards, ( 2 ) separatesthese court cards into suits, ( 3 ) runs through pack and places (4) deals the packhapthecorrect ace on eachpile, hazardlvintotwo piles, andturnsthemover t o show one pile allred andtheotherallblack, (5) instant1 cutsto an!- cardcalled for,andrepeatsas require$ ( 6 ) conclutleswith Paul Curry’sfamous “ Out of This \l‘orld ” routine. 111 additiontothissensational Mindfoldcard act, thereare Seven more fine effects, Gambler’s Delight, x.R.C. Dealer, Koyincidence, The Last Card, Any SumlJer, Evens, and One P y n d Revelation. And finally, there is “ Switch It , two very fineeffects with an ordinary pack, baffle the that start off audience, and lea\-e the performer with stacked a pack, for \\-hatever is t o follom.
HERE IS
From the Publishers.
IN
WARLOCK’S
PENTAGRAM
of
-. spectator l shufflesapack
cards andcutsthe he likes.
Co.
PETER
READ THIS EFFECT
MORE
Finland Bristol .Brussels Manchester Loughborough Cambridge Bournemouth Southampton Derby Plymouth Baltimore Nottingham Scarborough Swindon Torquay UNTIL1953 WhatThey Say “ A HUMDINGER ”-Jeff. Atkins. (‘IT’S BRILLIANT, THANKS A MILLION ” -A1 Koran. “ . A REAL MIRACLE ”--BillyMcComh. Price 501- from PETER WARLOCK 24, Wordsworth Road, Wallington, Surrey
A BOOK YOU MUST HAVE Price 716 ; postage 3d.
THE MAGIC WAND PUBLISHING 11, Monastery Gardens, Enfield, Middx.
MIRACLE SLATE
packanywhere
ispublishedonthe24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1/1 per bingle copy.AnnualSubscription 121postfree. PUBLISHED BY:
The cards either side of the card he freely Cut to are subsequently remo\-ed-andfoundto he thecards thatthe perfnrmer had previously predicted.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscriptsforpublicationand reviewshouldbesent B D I T O R I AALD D R a S :
This is one of a series of card effects I)asetl on a singlemove not pre\riously pul~lished, and in
books for
Duke o f Somenet,
D.S.O., O.B.E.. J.P.. M.I.M.C.
Vice-President: D o u g h Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
.,to the:
Particularsfrom
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
THE NULLIFACTOR
The Magic Circle I’rrsidrnt : HisGracethe
Hon. Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
By STEWART JAMES JACK HUGHES
Price 5 I - post free
will bepleased to send or^ full details of
from
FRANCIS HAXTON “St. Anthogys’,” Nonsuch Walk, CheamRoad,Cheam,Surrey THEY S A Y : (;EORGE BT,AI<E ciple is certainly good
;,
“
Jack Hughes, 2, Evelyn Ave.,
N.W.9.
The Prin-
.
(.;EOR(;E ARAISTRONG : ha\-ejustI)eer~tryingthisout,and
c --
together with all hisother effectsin return for a stamp. Writenow to
Colindale, London,
AHRACAUA13RA : . . . a 5eries o f effects all good aridsome extremely C O ”.
it is a \vinner
THE DE LUXE “SU-TABLE”
”.
“
T
1
Mani c Wand Publications v
The Magic Wand, Quarterly. Fer copy 316 p.p. Annual subscription 14/6. 211 TheWizard, 36 pagesmonthly.Percopy [).p. 6 month. 12/6. Year 24i-. Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & 1.arnonte) . . 10/3 Bohleno’s Mysteries (Dohlen) . . 10/3 10/3 The Concert Ventriloquist (Hurling) George Armstrong’s Premoni:ion 10/3 Chandu’sPsychoanalysis . . . . 10/3 Entertaining With Hypnotism (Dcster) 10/3 Challenge Instant I-Typnotistn & Mass Hypnotism .. . . 21!.. 5/3 Strictly Magic (Eddie Joskph) Stooging Around (Stnthald) ., , , 5/3 26 Living & Dead Tests (Carrett) . . 5/3 .Jarnesosophy fStrwart .Tames) , , . 5!’3 Year Book 48/49 (few only) .. . 5/3 Stunts With Stage Money (Larnonte) . 5/3 Tricks of the Trade (Armstrong) . . 2/7 From the publishers CO’., T H E MAGIC WAND PUBLISHING 11, Monastery Gardens. Enfield. Middlesex. 2
CONJURING BOOKS FOR SALE OLD AND NEW. Let m e know yourwants L I SFTR E E FOR STAMPED ENVELOPE N o Callers
G E O R G E JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Everv Advertiser’s goods are fully endorse l by this Bulletin Published by the propnet-The
Magic WandPublishingCompany, 11. MonasteryGardens, IIn6ield.Middlesex. Walkerand Son (Printerrl Ltd., Well Croft. Shipley. Yoriohii r e
andprhted
by Herbs?
33
PENTAGRAM An independent monthly bulletin for ail who want good magic
U,&.6 &a. 5 To be confronted with all that Ted Xnnemann achievedinhis shortspan of life is tobeconfrontedwithsomethingthat seems impossibie. I t is to see unparalleledmaturityin a youth.It is to see the writings of a magician who was ahead of his time.Often I wonderabout th:. things he neverwrote, the ideas that must have seethed withinhismind and which hetookaway with him. With the up and coming conjurer of to-dayhisnamealreadybelongsto a legend. It is a name inmagicalwritings that must be betterknownthananyother.It is anamethat conjures up goodmagic and goodmagicians. EveryFebruary in company of ourcontributors we have made our little offering as a slight token of the debt that we ourselves owe to Ted -4nnemann. This month in oursixthvolumeour great friend Leslie May has come along with some magic asdelightfulasthat whichhewrote for thegreatest of allpublications,the JINX.
4
*
R. ANNEMANN, worldhned
Theodore ANNEMANN -en1
d
L’ --
.:e t performances
in the Empire >m will be his first in Chicago well as his first on a cafe floor. will appear only in the ten
Mental Telepathy 8.Plnnlnq in Le
EMPIRE ROOM
“Mental Telepathist,” comes Ihe Palmer House direct from all-sweeping seven-year series personal appearances sponsored the socially, financially, and litlcally great of both Europe i America.
Monday, Oct. 15th
lock show. d o r e Annemann is reputed to W the foremcst ex+nent of mental telt?pa:hy in the world. His mind read~ngachievements have caused hlm tc be called the “human OuijiBoard.’’ HB‘Is t f i e author of “The Bock Wlthout A Name“ describing his work.
L
Effect.
The performer says he would like to hold an election, and producesthreelittlefolders,each containingahumoroussketch of an imaginary parliamentary candidate. These three, after beingshown,areplacedaside. A spectator is asked to act as voter, and he is given a voting paper, bearing the three names, and asked to put a pencil cross against the candidate he favours, showing to two it other spectatorswhorepresentthetwoclerks atthe polling booth.Then,tokeepthe whole matter secret; he is to place a similar cross against each ,Qf the tworemainingnames. A further spectator is asked to step forward and pick up one of thethreefoldersreferredto above.
Whenthishasbeendone,the performer reads the mind of the first spectator and announces thename of thecandidatehevotedfor.This is confirmed as correct by the two clerks ” . Thespectatorholdingthefolder is askedto opensame, and it is foundthathehas selected the one bearing the picture of thecapdidate selected by the first spectator. Theperformerstatesthatthismayappear to be coincidence, but actually it is controlled and fore-ordained, and is so often the case with certainforeign elections, andtoprovethishe drawsattention to an envelope which has been eitherhung up or otherwiseexposedto view duringthe whole proceedings : openingthis he extracts a second envelope. and from th’ IS one a :hid, small enveltyx, whichwhen opened gives “
34 forth a cardstatingthatthe dicted thatthecandidate . on . . . (date).
performerhasprewill be elected
. .
Remarks. Althoughamentalitem,thiscan be presentedin a fairly lightvein, thus providinga littlelight reliefin a mentalprogramme. Requirements. ( 1) A votingpayer,bearingthenames of thethreecandidates,withaspaceaftereachfor insertion of a X ”, and a very fine pointedsoftpencil,or a pencil so sharpened that the lead will break at the tip when first used to write with. (2) Three folders,eachsimilar in appearanceontheoutside, withblankcovers.Inside, eachcontainsacartoon of an imaginaryparliamentary candidate with a caption giving his name Mr. HYAhl A . andpartyhe represents, i.e., MUG, “ The FREE FOR ALL CANDIDATE ; Mr. I. LOAFALOT-Vote for the man who will abolishwork ;’ andMr. T. POT,The Ladies’ Champion,The Man who will put a luxurytax on Bachelors. I n each case the cartoons are held inside the folders by means of staples. Each folder is secured by three staples-one at eachend and oneinthecentre ; theones at the ends are in exactly corresponding positions in all three folders. Thereis,however, aslight difference in the positioning of thecentrestaples.Ononefolder it is in theexactcentre, in thenext one it is slightly above ctntre, and in the third one, slightly below. ;Thisis not apparent to the audience, but when‘ the three folders are placedone on top of each other,slightlyoverlapping, so that the stapled backs of all three are visible, the performer can by a glance note which is which. (3) A nest of envelopes. Actually five envelopes are used.One large, two medium and twosmall. Of the two small sized envelopes one is made with a double compartment, so that two seperate predictions can be contained therein. This is placed in one medium-sized envelope and sealed. Oneprediction is placed in theunfaked small envelope, sealed, and placed in medium-sized one. Bothmediumones arethenput in large-sized envelope,which is wax sealed (foreffect) . Performer.mustrememberorder of envelopes and predictions, or One nest of only three envelopes can used, beinnermost, the smallest envelope beingconstructedasin Jinx ’ ’ No. 15, and also in “ Annemann’s Practical Mental Effects ” , Pages 155-6, and Peter Warlock’s ‘‘ Patterns for Psychics ”, Pages 29-30. Eachcompartmentholds prediction for a different candidate. “
”
“
Personally,inthisinstance I preferthe first mentionedarrangement of theenvelopes, as, in theevent of the correctprediction beingin the unfakedsmallenvelope,thiscanbe opened b>a spec tator. Working. Firsiiy,thethreefoldersare freely shown. thenplacedaside,slightlyoverlapping, so that position of staplesis easily noted. A spectator is thenaskedtoact as avoter, and is invited tostepinto an imaginary polling booth. He is given a boardon which rests the He votingpaper ; apencil is tied totheboard. makes his secret ‘ ‘ X ”, then shows it to the two polling clerks, and finally inserts an X ” against each of the other two names. Theperformertakesit,andby means of either the fine line left, or pencil breakmark ‘(accordingto which type of pencil wasused) immediatelydiscerns which namewas selected, and without hesitation hands it to one of the two ‘‘ clerks ”, saying, “ You had better take charge of this for a moment ” . The services of a furtherspectatorare now obtained,and youaskhim to pick up two of thefolders. You know by means of the pencil mark which candidate’s folder you want selected, and you know by means of the centre staple clue whichis the folder in question, so you force this bythe method used bythe lateTedAnnemann in THE YOGI BOOK TEST Page 67 of his “ PRACTICAL MENTAL EFFECTS ”, whichisas follows :-The spectatorpicks up two folders ; if heleavestheright one behind merely tell him to lay aside the ones he has picked If he up as they won’t be needed again. includestherightoneamongthetwo,ask him to h a d you one. If you arehandedthewrong onc,thankhim, pick up thebook first left and laythemaside. If hehands you therightone, just say Thank you ”, place itunder your arm, and tell him to lay the other one aside also. Now turn to the Clerk ” holding the voting paper, ask him to hold it aloft. (By this time the audienceshould have overlooked thefact you evcrhandled it afterbeingwritten on.)Concentrate,announcename of selected candidate. (If you like,ask for a round of applause in honour of the selected Candidate.)Next, disclose that the correct folder had been selected by theotherassistingspectator,andadoptingthe patter theme given above under heading “Effect”, open nest of envelopes. Unsealing largest envelope,reach in. and take out correctone of the second size. If it is theonecontaining small envelope withon.e prediction,give to aspectator to open and announce. If not, open correct compartment of other small envelope, take out correct predictionand give to a spectator toread. In theevent of the threecompartment envelope ” being used, open correct one and give prediction tospectatortoreadaloud. “
“
”
“
“
‘ I
35
There is nothing whatever new in the following effect except the combination of various ideas which appeared in Annemannpublications,enabling them to be incorporated in a “two-person” mental act. I also beg to think that the repetition of the effect as described below by differentmethods will assist in puttingany wily spectators off the scent, and alsobuild up in dramaticvalue.
Effect. The performerintroducesthemedium,who is escorted from the room by two witnesses, who remainwiththemedium. Theperformer produces a deck of cards, which is freelyshuffled andcut. A spectator selects a card, and then indicates any other spectator.The secondonetakesthedeckwiththe selected card shuffled back into it to the medium who, in thepresence of the witnesses, glances throughthedeck,selectsacard,and, accompaniedbythe witnesses, holdingthecardback gut, returns to the room where the performance is takingplace,walksstraighttotheoriginal selector of thecard,andsays, Youhavejust selecteda card, pleasenameit ”. He does so. She/heturnsthe card in her!his handround, and it is theselectedone ! The performerthensayshe will repeat the A voluneffect, underevenstricterconditions. teer is requested, who takesthedeck, turnshis back, shuffles it,cutsit; selects acard,then places it in his pocket without looking, at its face or allowinganyone else to do so. Prior to this, the medium and witnesses have againretiredtoanotherroom. The performerthenpointsout that in the first part of the effect, themedium had picked upthe consciousthoughts of thespectatorand so ascertained the card he had selecte3 and noted, but in thisinstancetheselectorwas not aware .of the identity of the card he had in his pocket, so he is requested to assist by saying to himself, The card is in my pocket ; it is close to me ; it i s nearto me ; I havehandledit ” , etc.anything on that theme, and this will enable the mediumtopenetratehissubconsciousmind. To assist,theperformertakes ho1.d of the spectator’s wrist, themedium andthe witnesses are recalled, and before their arrival the spectator is requested to ask her, when she enters, “ What card have I removed from the pack ? ” The mediumreturns,walkstoa few feet from where the performer and spectator are standing, gazes at them, and then, slowly, first colour, thensuit,andnextvalue,sheannounces + the “
“
name of the selected card this from his pocket, and to be correct.
; the spectator removes
the revelation is found
Requirements. An intelligentassistant. Two matchingpacks of cards. Preparation. (1) One of the packs is arranged in SiStebbins system and placed in right coat pocket. (2) Theremainingpack is madea FACE REVEXSE PACK as described by Annemann in “ IT GOES THIS WAY ”, publishedin the Summer (1933) Number of THE JINX ”, and is as follows :‘‘ -4 needleorpin is theonlytool, and at one end the suit indicator is scratched slightly. Spades andClubsare separated from their standard.The centredip of thehearts is lengthened,andthebottompoint of thediamondis cut off atrifle. When you fanthroughsuch a deck,have upwardtheuntouchedends. The tampered-with end, shows up muchquickerwhenamongthose left alone ”. Thispack,withtamperedendsallpointing one way, is placed in case andputeitheron a table or in pocketready for use. (3) Prior to theperformance,theperformer and assistant agree on ’ a means of identifying the person who selects the first card : elg., a certain positionmaybeagreed on, the performermay decidetostandbetweenthe fourthand fifth persons on theright of theselector,oralternativelytheper.formermay fix ononeperson and eventually apparently request this person to assist. ( 4 ) Theperformerandassistantlearnthe codedescribed in THEEYES HAVE IT ”, by 3. G. Thomson, Jnr., originallypublished in ’ ‘ TheJinx ’’ . andsubseqaentlyincluded in ’‘ Annemann’sPractical Ment8’1 Effects ” (Page 322). Thls code enables the performer to communicatesilentlywithhispartner by signallingwith hiseyes.Thecode is notcomplicated,andmay be learned in a few minutes’ time. It is rather too long in descriptiontoreproduce here, but I am sure nearly all readers of the Pentagram will have access totheabove.named volumz. “
“
“
I’
36 has it over-hand shuffled and cut. The spectator then removes a card ; he is requested to note it, andthen holdit close tohisbody in orderto prevent the performer glimpsing it. Actually, thisprocedurepreventshimreversingtheends. He is thenaskedtoindicate any other spectator who is to act as bearer of the pack to the medium. As soon as one steps forward, the performer hands himthepack,andasksthefirstspectatorto replacethecardin thepack.Theact of handing the pack to the second spectator reverses the pack, so that when the selectedcard is returned thetamperedend will bereversed, and the card iseasilydistinguishable by thoseinthesecret. The secondspectator is askedtoover-hand shuffle the pack and then take it straight to the medium. As soon as she receives itshelooks through the faces until she notes the reversed card. Eventhoughthe witnesses watchintentlythey will notdiscoverthesecret.Shethenbringsthe cardin, holdingit up,backto audience,looks round hesitantly at first, places the person decided upon bythe performeraccordingtotheprearranged plan, faceshim,askshimtonamethe card he selected, and then turns it round to show she has brought the right one. While this has been going on, the performer has had ample opportunity to switch the reverse face pack for the Si-Stebbins set up one, and no one shouldevernotice that the cards have been out of his hands for a second. Givingashortspielon the exactingconditionsheintendstoenforce forthe second selection, he obtains the services of a second volunteer. Idly shufflingthepack(actuallygivinga succession of quick cuts) he states that he wants thespectatortotakethepack,turnhisback, shuffle it, cut. it, remove the'top card and place same in his(spectator's)pocket; The procedure used here is that: described by DOLLAR Annemann in " THETHOUSAND TEST ,CARD LOCATION ",, andpublished by him in " Sh-h-h-h ! It's a Secret ". (The
Englishrights of which are heldby Messrs. L. Davenport and Co., the well-known Magical Dealers.) What actually happens is that the performer handsoverthepacksaying, " Mix them up ; give them a shuffle " . The moment the spectator starts shuffling, the performer says, When you havethemmlxed,squarethem upon yourleft hand. Are youready ? ' ' 'I hisisa most innocentway of hurryingthespectator.Whenthe reply " Ready " is given, you askthespectator tocutthepack,andplacethetopcard in his pocketwithoutlooking at it or lettinganyone else do so. Although the audience imagine that the pack has received a thorough mixing, all the pack has actually received is a few hacks anda rough shuffle. The complete chain has been broken up, but there are now a number of bunches of stacked cards throughout. The shuffle never separates thepackcardforcard.Then comes thecut. In astackedpackthebottomcardthenreveals the top card by counting one ahead in the system. And that is what the performer does as he casually takes the pack from the spectator and lays it aside. He then gives his little spiel about conscious and subconsciousminds.Instructsthespectator the howto " concentrate ", turnshimtoface audience,andtakinghold of his wrist stands besidehim. The medium,accompaniedby witnesses, returns and stands facing the spectator and performer. The spectator asks her what card he removed from the pack, and this question gives the signal for the performer to signal with his eyes the value of the selected card. The medium stands, apparently staring at the spectator in anendeavour topenetratethesubconscious.Actually, by reason of theirjuxtaposition, she is able to read the message the performer is signalling to her, and slowly and of the dramatically she announces the name hidden card.
This effect is based on the recently published THE NULLIFACTOR ", by StewartJames, who, like myself, is one of the original Jinx contributors.
be published for some considerable time(NOTE.-I do NOT receive commission for this ! ! !) Effect. The performer places a pack of cards on the table,thentakesfromhispocketahandful of coinsandlaysthemonthetablealso,arranging them in a row. Aftershufflingthepack,heinvitesanyone to cut the pack and turn the top half face up on the bottom half.
"
"
"
I makenoapologies for so doing,as it is presumed " The Pentagram " is read by knowledgeable magicians, and if there are any readers who havenotyetgotacopy of " The Nullifactor " I advisethem to procureonewithout furtherdelay,andaddtotheir knowledge, as I consider this one of the most worth-while ideas to
"
’ihevalue of the cardthus disclosed will indicatewhichcoin is to beremovedfromthe row and retained, i.e., if an 8 hearts was disclosed the eighth coin in the rowwill be used. Whenthis has beendone,thecardsare separatedatthepointat which they were cut, i.e.,wherethey areback to backandthefour top cards of the lower half removed and laid in a row, face down, on the table. A spectator is asked to read out the date on the selected coin ; we will imagineit is 1948. The four cards are turned over, and they are found to be an Ace, a Nine, a Four and an Eight, thuscoincidingwiththedateonthecoin.
Remarks. A similar plot was used by Edward Bagshawe in his CARD AND COINDIVINATION ”, published in Secrets of my Magic ’ 1 , by David Devant, but I think it lends itself very well to the NullifactorSystem. The utilising of the top face card when the pack has been cut, giving a good reason for the reversal, and thus helping to conceal the method used. ‘ I
all of thesame date ; these do not take long to collect. Whendecidingwhich coin is to be used, it simplifies matters by sayingthatacourtcard, if exposed, will countas ten. I t would look rather obvious if one produced exactly ten coins from the pocket,, so either have less, say eightornine,, and if thecardturned up is over that value just start at the beginning of the row again,orput downmore thanten coins, then spiel about thevalues of thecards and remove any coins over ten from the table. When one coin has been arrived at by means of the card value,this is separated, andthe remaining coins are casually replaced in the pocket, out of the way of any curious customers. As regardstherevelation of thefourcards bearing the date figures, these are placed in order on thetop of thepackwhich is false shuffled. When the time comes, the Nullifactor shift is made (vide instructions in THE NULLIFACTOR ”) and all is ready for the denouement. When the date cards are being removed and placed face down, one can put down three, hesitate,andtheysay, Yes, of course,all coins mustbearafour-figuredatenowadays ! ”-a smallpoint, but one thattends tomakeit look less “ pre-arranged ” ! ! I‘
‘ I
Working. The forcing of the coin is accomplishedby of variouscoins in thepocket havinganumber
Effect
.
A deck of cards is shown, shuffled and cut ; a spectator selects a card, looks at and remembers it. Theperformerthenfansapacket of envelopes, has one selected, places the card in it, letting the spectators have a final look at the card before it is finally pushed all the way in to ensure it has notbeenchanged.Theenvelope is sealed and handed to the spectator to hold. A book of some description is giventothe spectator, who is requested to give the suit of the cardhe selected,itsbridgevalue(i.e.,one for clubs, two for diamonds, three for hearts and four for spades) and toarrive at a page of the book by multiplying the value of the card by its bridge value(i.e., if the selected cardwas 7 spades,it would be seven times four, thus arriving at page 28). Page 28 is therefore turned to and the word on the page indicated by the value of the chosen cardnoted.In thisinstance theseventhword on the 28th page. The spectator is requested to noteandconcentrateon theword,andtomarkthepage for reference by inserting the sealed envelope between thepages at which thebook is opened(inthis case,pages 28 and 29), thento close the book,
and hold it to his forehead, strongly concentrating and endeavouring to impress the word upon the performer’s mental receiving apparatus. Theperformerhas difficulty in getting the thought,andeventually gives up, andasksthe spectator to announce the word aloud. The performer thanks the spectator, and says perhaps he -would like to keep the card as a souvenir of theoccasion. Theenvelope is opened,thecardextracted, and it is then seen thatthe selected wordis writtenacross it in green, apparently written by somespiritwavering hand,andtheperformer advances the theory that the spectator impressed successfully, but on the card instead of his mind. The spectator^ is given the card as a souvenir to retain, and, we hope, the performer receives applause, of which he says the spectator is entitledto amajorportion.
Remarks. This effect is based on an excellent force by Annemann and included in his 202 Methods of Forcing . This will be found on Page 15 of theoriginal Max Holdeneditionand on Page 21 of the English Edition (L. Davenport & C o . ) , andreads as follows :‘ l
”
38 ‘‘ Haveabout six letterenvelopes at hand, and card to be forced face down underneath.Spreadshuffleddeckfacedown andhaveany oneselected but notlooked at. Holdfacedowninright hand between first and second fingers. Have stack of envelopeswith card inleft. Fan envelopes, usingbothhands, andhave oneselected. C a r d , in righthand goes underfanfora second and is changed. Remaining envelopes andcard go intopocket. Card, still facedown, is placedinenvelopeuntiltime for disclosure. Cuteandsubtle.”. Preparation. Firstdecideon the pageandwordto be forced, andthen selectacard that will arrive at sameasdescribedabove ; in ourexample, it is 7 of spades.Suppose the wordtobeforced was MENACING (a word of threesyllables is best), writethiswordwithgreenink in as ghostly a handas possibleacrosstheface of thecard,commencing about half an inchfrom the lower left-hand corner and extending diagonally toabout un inch below theupperrighthand corner. Turn card over and make an easily distinguishable (to theperformer)mark onthereversesidecorrespondingwiththe finish of thewritingon the face. Placethiscardunderasmallpile of endopeningenvelopesontable. Have book handy, “
”
The performer introduces the subject of CLAIRVOYANCE, explaining that it an is abnormalfaculty of seeingwhat is out of sight, duetohighly developedmentalpower of deep insight, and that in the course of his career as a metaphysicist he has noted that, on an average, ab.out one person in ten has a latent clairvoyant power, whichonlyneedsdeveloping to become pronounced ; further, that whilst conducting previous experiments that evening ( ? ) he has found evidence of suchpowerexisting amongcertain members of the audience who have assisted him, andnominating onepersoninparticularasks him tobe so kindastoparticipatein a test. We will callthisperson A ” . At the same timehe, the performer, offers togiveademonstration of hisclairvoyantpowers,andobtains the services of twovolunteerswhoagreetoact as subjects ”. These we will designate as B and C Forthe purpose of the testheproducesa pack of playingcards,beingset a of easily rwognizable symbols, and packet a of endopeningenvelopes, of the size totakeaplaying card comfortably. The Performer mixes thecards,asks B” and C ” to cut the pack, then instructs A ’’ I I
,P
l 6
‘ I
“
‘ l
alsoapack of singleforcecards,i.e., 7 spades, or an ordinarydeckwithduplicate 7 of spades, ill position forforcing. (It shouldbeneedless toaddthatbackdesignsmustmatchthecard under envelopes. ) Working. Thisshouldbeeasilyfollowed. The 7 of spades is forceduponspectator. Everyoneisgivenopportunitytonotethecard. (Performershouldnot look at it or give any intimation that he knows what it is.) The selected card is held face down in the right hand as describedin Remarks ”, and is exchanged fortheduplicatefacedown 7 of spadesunder cover of the fanned envelopes. An envelope having been selected, the performer takes it, bendsbacktheflapandinsertsthecardface down therein. When it is inserted sufficiently so thatmark onback of card is alignedwith top of envelope,heraisesenvelope,andwithout drawingtoomuchattentiontothefact,allows allto see that it is stillthesame 7 of spades within. The card is then pushed all the way in, the envelope is sealedandhandedtoaspectator. Thenall is readyforthecarryingout of the effect as described at the commencement of this article. l‘
to take the pack, cut it, complete the cut, and to dealthreecards,onetotheperformer,one to B !’, and oneto ,C ”, UZZ facedown. He is then to place the remainder of the deck out .of reach. (Note.-Performer does not handle or peek ’ ’ at pack at all.) ,Removing an envelope from thepacket,the performer demonstrates how card a is tobe placedtherein,usingthe card dealttohim, so thatit is not seen byanyone,inviting B” and C ” to take an envelope each, insert their respectivecards,sealenvelopes, and placesame intheirpocket,theperformerillustrating step by step what is to be done; He then proves his claim abnormal to powers of penetration by reading the contents of the sealed and hidden envelopes correctly. (Pause for applause ! ! !) Turningto A ’’, theperformerreminds him that he, the performer, has similar a envelope inhispocket,andaskshimtoendeavour to identify the contents without use of any of the recognised senses. A has expressed his Whenspectator inability to do so, theperformersays that he issurprised,ashe was certain c ‘ A ’ ’ had a latentfacultyforthe visualization of hidden objects, butperhapsthatas people so often do l‘
“
‘ I
I‘
‘ l
‘ I
”
39
This eftect is the outcome of a chat between RonBaillie and myself of the possibilities of those two favouritesubtleties of Annemann,the stackeddeck andthe window envelope, and we dare tothinkourcombination of the two is original. Requirements. And Preparation. (1) Apacket of end-openingenvelopesone of which is made intoa window envelope. (For adescription of this see Page 149, ‘‘ Annemann’sPracticalMentalEffects ”) (2) A deck of cards, stacked in the SiStebbinssystem.Onecardtobemadeintoa “ short card ”. Priortotheperformanceonecard is removedfromthestackeddeck,sealed in one of the. envelopes and placed in the performer’s pocket. Wewill imaginethistobethe QUEEN OF HEARTS. So we look at thestackeddeck and find thattheQUEEN OF CLUBS is followed bytheTWO OF HEARTS. These will be ourindicators,andthe TWO OF HEARTS IS THEREFORE MADE INTO A SHORT CA.RD. The window envelope(fakesidedown of course) is placedonthe top of the packet of envelopes, the prepared deck is placed in its case, andall is ready. Working. Afterthethreespectators are selected, the performertakesthepack out of itscase,false
shuffles same(series of cuts), asks B ” to cut,takespack,handsitto C ”, who cuts also, and completes. Again taking pack, the A ”, and whilstaddressing performer turns to him CUTS SHORT 2H to top. A ” now cuts and Completes cut,2Hand$Care now about centre of pack, so when A dealsthethree cardsfromtopthere is nodanger of the two indicatorsbeingremoved. The performertakeshiscard, face down, and demonstrates how cardsaretobeplaced in the envelopes and sealed, USING THE WINDGW ENVELOPE FOR THIS PURPOSE. M;hen sealing,he is ableto see, through thewindow,theidentity of thecardwithin, so by countingahead in theSi-Stebbinssystem,he knows what cards are held by “ B and C ’ ’ , withouthavingtoresorttothepack for this information. In calculating ahead, he must remember that the QUEEN OF HEARTS was previously removed. After A hasfailed in hisattempt at clairvoyance, the performer reaches for pack and idlycutsthe 2H backtotopagain.Thisbrings QC tobottom.Spectator “ A ” thencuts,but before he can complete it the performer tells him to markthe cutby crossingit. At thesame time hedraws theORIGINAL, SEALEDENVELOPECONTAINING QH fromhispocket, which everyone takes to be th? one they saw him put in it.(Thisaction,properlytimed,takes attention away from what actually happens when the cut is crossed ”.) Thecardsatthecut are then shown and found to be the QC indicating a QUEEN, and the 2H, indicating a HEART, thesecoincidingwiththevalue of the cardproduced by performer. In theunlikelyevent of spectator ‘ c A ” havinga wild guess andnamingthe Queen of Clubs,theperformeropenstheenvelopeto see if he is correct, and then congratulates the spectator, calls for applause for him, and then draws attention to the proof of his own ability to discerntheabnormalmentalpowers of another person
! ” to issue. It is all Loroughly practicable magic with some very cleverslants. T!:os~ who missed seeing Rezvani atthe Harry Stanley Get-together ” in January rn‘csed seeing themostpoetical piece of magic that we have seen sinceOkitoperformed the FioatingBall ”. Wordscannotdescribe in full t k beauty of costume, the delicate handling of the tomatoes ”, theair of lovelyhumility ti,.atmadeatrickintoadream.Thesemonthly shows are withoutdoubtone of the few signs of magical initiative at the present day.The March functionbrings an amazing actfromthe Continent.
We hear that another magazine, and a glossy atthat, is duefor publicationverysoon.Running to thirty-twopages,withacover design in the Goids:on RIagaz’ne of Magic ” style, it will be calleratherimaginatively,the Magic Magazine ! Wbere the big Societies fail, the smaller coteriesflourishandproduce good magic. We have in mindseveral of these in Englandand Scotland.TheScotchcontingent of Leslie May, Ron. Baillie andPeter Moffat musthave some wonderful sessions in mentalism. Incidentally, .Ran. has sent us along one of the best ideas ever that we have seen for getting information in the impression manner. You’ll have it next month.
automaticallycarryoul+nactionwithoutbeing actually aware of doing so, so perhaps the power of crytesthesia, lying dormant the subin conscious, may beawakened and expressedby theaid of aphysicalaction. To thismeans,hetakesthepackandasks thespectatortocutthepack, at thesametime bringingallhisthoughtsto bear upontheconcealed envelope. Producing the latter, isit opened, and(say)thecard withinis the six ofhearts ; so thespectatorisfoundtohavecut thedeck ata six and aheart,theequivalent value and suit of the one dealt to the performer. Remarks.
“
..F.’rst of allaverybig
i..r,.si!c May for this excellent Y
“
“
I‘
”
‘‘ Thankyou
I‘
“
“
‘ l
“
”
”
“
“
”
“
“
”
“
”
40
HOUDINI
WHERE
WRONG
WAS
by Maurice Sardina (Translated by Victor Farelli)
‘
SPECIAL CHEAPEDITION
ECAUSE webelievethateverymagicianshouldreadthisgreat
book, we haveproducedaspecialcheapedition.Itisstill beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which instead of being heavy cloth covers is now soft boards. The saving is thus passed on to all thosewho, as yet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for ’‘ the latest tricks” you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot d o better than study this monumental work. Here you wiil find unfolded, step by step, the truth about Robert-Houdin’s great inventions, his “ Orange Trq$ Trick,” the “Writing and DrawingFigures,” “ The Pastrycook of the Palais Royal,” ‘ I The Obedient Cards “ The Cabalistic Clock::’ “ The Trapeze Automaton,” “ The Inexhaustible Bottle,” SecondSightAct,” *‘The Suspension Trick, and “ The Disappearing Handkerchief.” The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood.cuts and play-bilis etc., and in its 120 pages there are many hours fascinating reading. l‘
Price
716 Postage 6d.
(U.S.A. ~1.00)From the Publishers
THE MAGIC WAND PUBLISHING CO., 11 Monastery Gardens, Enfield, Middlesex ( T h e cloth-bound first edition is s t i l l available at 20/6 p.p.)
Peter Warlock’s
MIRACLE SLATE NO
MORE IN
Finland Bristol Brussels Manchester Loughborough Cambridge Bournemouth Southampton Derby Plymouth Baltimore Nottingham Scarborough Swindon Torquay UNTIL1953
What They Say “
“
A HUMDINGER ”-Jeff. Atkins
PETER
WARLOCK‘S
PENTAGRAM is pxblislled on the 24th of eachmonthand can be obtalneddirect from thepublishersfor 1 / 1 persinglecopy.AnnualSubscrlpiion 12/post free. PUBLISHED BY:
The Magic Circle President : His Grace the Dukc o f Sorncrsrt, D.S.O.. O.B.E., J.P., M.I.M.C. Vice-President: Douglar Cnpgr, Esq., M.I.M.C. ClubroomandLibraryand
The Magic Wand Publishing Co., 11, Monastery Gardcns, Enfield, Middlesex.
Magical Theatre :
Manuscriptsforpublicationandbooksfor review should be sent to the: EDITOR1 4L ADDRESS:
Particularsfrom
King George’s Hall, W.C.
JACK HUGHES THE DE LUXE
Hon. Secretary :
Francis White, 39 .4lverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
w i l l bepleased to send you full details of
Museum :
Hearts of Oak Buiidings, Euston Road, London, N.W.l.
Magic
Wand Publications
“SU-TABLE”
togetherwith a!l hisother effects inreturnfor a stamp. Writenow to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
(Koran & Laxonte) . . 10/3 Bohleno’s Mysteries (Rohlen~ . . 101‘3 The Concert Ventriloquist (Hurling) 10/3
IT’S BRILLIANT - THANKS A
MILLION ”-AI Koran “A REAL MIRACLE”--BillyMcComb CONJURING BOOKS FOR SALE
-
OLD ANL, NEW. Le: me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers -
Price 50 / from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
t
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser’s’goods are fully endorsed by PublishedbytheproprietorsThe
this Bulletin
Magic WandPublishingCompany, 11, MonasteryGardens, Enfield. Middlesex,andpilntedbyHerbeit Walker and Son (Printers) Ltd.. Well Croft. Shipley. Yorkshire.
*
PENTAGRAM An independent monthly bulletin for all who want good magic
9b-n B
a 9 6
‘‘C~atiagm Effect :
A spectator draws a diagram or writes a name etc., on a slip of paper. He passes to several other spectators, letting them see what he’s written, then he folds it and seals it in an envelope. Taking the envelope and asking the spectators to concentrate on the contents, you slowly reveal what has been written. Theenvelope is handedbackforopening andconfirmation.You don’t need totouch theenvelope;thespectatorcanholdit himself in his pocket; you can still revealthe orputit contents. Basic Method :
A carbon impression is used, but the beauty of thismethodliesinthefactthat, even if a member of theaudienceknowsaboutcarbon impressions,etc., you never, apparently, have an opportunity to refer to any “impressions.” A small pad is used, on which a carbon imression of the spectators writing is obtained. The pad is dropped into your pocket but it is dropped inside a hollow stack of envelopes. The envelopes are brought out of your pocket and one is given to the spectator tosealhisslipin,Whilethis is donethecarbonimpression isreadthrough a small “ window ” in the hollow stack of envelopes.
THE ENVELOPE “ SHELL ” Pay envelopes, end opening, about2$in. X 4in. Cuta“window” RIGHT THROUGH three of these, the “ window ” being same size as pad r
+2”7
Preparation : THE PAD. A pad of about 30 sheets of thinnishpaper is used, I make these myself. The sheets are 3in. X 2in. pounced, with apouncing wheel or sewingmachine,about bin. from one end. 30 sheets,thusprepared, are glued togetheralong the top narrow strip above the per€orations. The block of papers is then glued to a cardboard back. A sheet of carbon is firmly fixed to underside of third sheet from the top and a couple of dabs of wax fix the third sheet to the fourth.
2
L
I
34
If‘
Put one of these, address side down, on table, smear glue all over it then put another on top and press them together. Glue a thin sheet of acetate, s?ightly smaller than 23n. X 4in., on top of these. Glue a third “window” envelope on top of this :-
Finallyinserta‘piece of cardboardinto an ordinaryenvelopeandgluethisontop of the “ U ” shell thus completing the “ shell,” into which the pad can be dropped. Put two or threeunfaked envelopes on top. also flap sides U and put a band of paper round the stack. This and apparently encircles the envelopes, but it really doesn’t gorightroundthe stack; the ends being glued on either side of the “ window:”
%
Cut “windows” through some moreenvelopes, but cut them slightly wider than 2in. across and start cutting from the bottom of the envelopes :--
uhich
This faked stackis in your right jacket pocket. window!”next to body, ,‘‘mouth ” ,upwards. Pad is in right trouser pocket; short, hardish pencil in breast pocket. Working : Pad and pencil handed to spectator and he’s asked to write or draw something on it, to tear off his written-on sheet (the top one of course)and to fold it. Take the pad from himwhen this is done and drop it into your right trouser pocket. Take yourhandout of yourpocket. Ask spectator to pass his paper to several other spectators in turn. askingthemtonotethecontents.Whilethis is done,stand with yourhandsIntrouser pockets and, with the right hand tear off the top two sheets of the pad; this includes, of course, the one with the carbon fixed to it. (the perforations make the tearing-off a n easymatter).This leaves the carbonimpressionontopsheet of pad.Palm the pad,cardboard-back n e x t to palm. glued ends towardsfinger-tips. When several people have noted the contenls o f the paper ask the spectator w h o wrote it to take it againand to refold it. I t.vant you to seal it i n one o f these e~~velopes.” J G U tell him. and. s:i!.ing this. the right h a ! d aild the palmed pad COIIIS?~ o u t o f trouser pocket and goes t o jacket pocker. Drop the pad i n t o ;he i‘;tked stack a j J d bring th;‘‘ er;velopt.\ ‘’ o u t . holding theln up, il:rp sides “
4? .’
I
!
Glue these, ong at a time, address side down. on to the “acetate window” ones, until the depth is slightly deeper than the depth of pad :-
“
43 spectators. The carbon impression plainly is visible through the “acetate window” and a glance gives you all the “ dope.” (The pad is held inside the “ shell ’’ by squeezing the envelopes slightly). Pull one of the unfaked envelopesfrom underneath the paper band, pocket thestack, or toss on it the kble, and hand the envelope to the spectator. Reveal the contents of the sealed slip in your favourite manner. Alternative Method : Make a “ shell.:’ notepad instead of a stack -of “ shell ’’ envelopes.Size about 33in. X 43in. \This hasacardboard backbutnofront. The “acetate window” is in the cardboard back. There are five or six sheets of ordinary notepaper on the top of the pad and a sheet of white cardboard is incorporated under these so that you have a solid surface to write on Working : “ Shell ’’ pad in jacket pocket. Spectator seals his slip in an envelope that you give him. Proceed as in previous method but palmed pad is dropped into “ shell ” pad as you bring it out to record your “ impression ’’ onit. Scribbleanythingon top sheet of pad, hold it up, letting spectator see what you’ve drawn or written and asking him if thisconveysanything to him.You “ read ’’ the carbon impression through the “acetate window” as you’re holding the pad up. Tear off wrong “impression” and do a correct one on next sheet. A piece of razor-blade can be inserted into the cardboard backing of the small pad. A small flat magnet is fixed inside the top end of the recess in the “ shell ’’ envelope stack or in the “ shell ” notepad.Thus, when the small pad isdroppedinto the “ shell,” it is held firmly in place by the magnet. Lastly, here’s oneforthe “ wise-ones;”no carbon paper, an UNPREPARED pad is used for getting an impression!
Makethe small pads of thinpaper. Use a hard pencil. When the top sheet is written on an indentedimpressionisleft on thenextsheet.In yourtrouserpocket is a thumb-tip whichhasa small, hard pad of silk fixed to it (on the non-nail tip of thethumb); thispad iswell rubbed with graphite or plumbago. When spectator has written and torn off his sheet, takethe pad andputit in yourtrouser pocket. DON’T LOOK AT THE PAD AT ALL AS YOU TAKE ITFROM HIM AND POCKET IT.Takeyourhandout of yourpocketagain. Later, when the paper is being passed around or folded and sealed in the envelop, stand with yourhandintrouser pockets.Slipthumbinto thumb-tip, Hold padinright fingers, cardboard back to palm,andrub thethumb-tipbackand forwardsoverthesurface of the top sheet. The graphite blackens the surface of the top sheet but leaves theindentedimpressionwhite.Ditchthe thumb-tip and palm the pad. Proceed as before, dropping the pad into the “ shell.” A white impression of the spectators drawing or printing will be visible through the ‘’ acetate window.” Experiment with different typesof paper until you find the kind that takes the clearest “ indented impressions”Believe me, done thisway, you really will “ create an impression!”
The followinglittleideawill, I think,be of valuetocigarettemanipulators. I t enables the performer,whenextractinga cigarettefrom packet, a to obtain secretly a secondcigarettetoassisthim in hismanipulations.
UP with and fingers onright,pushthedrawer the left hand,. when the concealed cigarette automatisally comes into the ‘‘ finger palm “ position in theright hand. Afterpushinginthedrawer, the performer naturally opens top of packet with lefthand and extracts a fag infull view of the audience,thebending up of the top flap of the packet effectively concealing the duplicatecigarette in right hand. To theaudience,he has merelyopened a packetandextractedacigarette in the normal manner. A few minutes’practicewith a packet in the hands will soon convince anyone of the practicability of the idea. Whenplacing loaded packetontable beforetheshow,rest theupper portion ona match, this will prevent the cigarette rolling out andbecomingexposed.
Secret.
Take a twenty packet of cigarettes, the usual standard type, i.e., Pia-ers. Capstan, Craven A ”, etc.,and holdingtbepacketwiththe letteringthecorrectway up, pushthedrawer DOWN for aboutjust overa quarter of an inch, and in this space-L.4Y ’4 CIGL4.RETTE. It will befoundthat the performer can, aftershowinghis hands em.pty,tnkeheld of the packet, and by picking it up with the right hand -nearest the concealed fa: (too muchtroubleto write cigarette ” everytime !), thumb on left, “
“
NOTE : Youcanmakea very good and sensitive carbon ’’ paper yourself by rubbing all over a sheet of paper with a 4 or 5B pencil. When the paper is covered, rub the graphite smooth with a soft cloth. Prepare, in this manner, a large sheet of the paper that you make your pads with, then cut it X 3in. When you makeyour intoleaves2in pads, simply incorporate one of these “impression” sheets third from top, pencil side down of course, “
“
”
44
Recently I showed Peter Moffat my version of his very nice card effect, “ LEGERDEBRAIN,” whichappeared in Pentngrnm sometimeago. Peter liked it, so here it is, with his permission. Properties : Pack of cards, set up in Si-Stebbins order. 5 blankbusinesscards. A stout, opaque envelope. Pen or pencil.
EfEect and Method : Explain that you are going to attempt a most difficult test, that of reaching into the subsconcious mind of a spectator. “ This can’t be done suddenly,”youcontinue, “ I mustfirst work throughpreliminarytest of con.scious thought vibrations, each test being more complex than the last until complete conscious harmony is apparent.Thenandonlythen,can we attempt to probe the subconscious.” Pick up the pack and Charlier-shuffle it, saying, “ A pack of playing-cards is the ideal medium for tests of thisnature;it offers aselection of colours,numbers,designs andcombinations of these;thus we candeal with simpleorcomplex images.’’ As youpatter,illustrateyourremarks by fanning the cards to the spectators and showing red or black cards, four different designs (the suits), thirteendifferentnumbers, andcombinations of these(names of cards). Don’t makeperfectfans just spread the cards between your hands, cuttin; off portionstoillustratethedifferentsuits,etc. The spectators will neversuspectaset-uppack, afterall you’re showingthem that thecards are mixed! Lay the pack aside, pick up one of the blank business cards, explaining that you’ll start with the simplesttest,askingsomeonetothink of either red or black and that you’ll record your impressionsonthisblankcard.Printthe word COLOUR at the top of this card :]--COLOUR
I
and write DESIGN on it, then lay it, writing side up, on the tabled one. A choice of thirteen differentnumbers will be offered next, you continue, writing NUMBER onathirdblankcardand laying it on the previous two cards. If successful withthese you’ll beable, you thinktotrya combination of all these, namely the exact design and number on one card. Write EXACT CARD on the fourth. blank card and lay it, face up, on the other three. ‘‘ When I’ve reached the point of being able to read the exact card thought-of,” you continue, m I should be able to reach the subconscious mind of the person helping me. This card will be used to record the subcon.scious thoughts of this person.” Here you print the word SUB. CONSCIOUS on theremainingblankcardthen lay it, writing side up, on the others.
Ask someone to assist you; pick up the pack, Charlier-shuffle it once more, cut it, completing the cut,place it on thetable,askingtheamisting spectatortocut and tocompletethecut. This done,spreadthecardsface-down, in anoverlapping row on the table, from right to left. Ask the assisting spectator to slide one card out and, without him looking at it or letting trnyone see what card it is, to slide it, face-dofwnwards of course,intotheenvelope which you give him. Thisdone, ask him to sealtheenvelope then to putit in one of his pockets. As he doesthis, pick up all the cards that lie to the right of the placehetookhiscardfrom,then pick up the remainder placing these on top of the first lot and hand the pack to him asking him to mix them again (?!X As you do this, g!impse thebottom card, and.this, thanks toSi-Stebbins, tellsyou wh3t card issealed in theenvelopz.Memorisethe name of the envelope-sealed card. Ask the spectator to lay the pack, face-down on thetable.Pick up the five business cards again,holdingthemface-down in the left hand. “ Remember now,’’you say, “ First I’ll try to ‘get ’ a ~uluur,” picking up thetopbusiness card (the colour ” card) and holding it up in your righthand. “ Then a design,’’ you continue, ’taking the next business card under the COLOUR card then showing them both together. Then a nzmber,” addingthe next cardand showing. “ Then an e x n c t card,” adding the next and showing. “ Andfinally,theprevious tests being successful, I hope to record on the last cardsomething which exists in your subconcious mind.” As you say this,holdupand show the card in yourlefthand(the SUBCONSCIOUS card) then add it to the face of the others and, as YQU takethemface-down, in theleft hxnd and “
“
then tossit,writingsideup, on tothetable. if successfulwith thecolour, you continue, you’ll go ontoaslightlymoredifficulttest,that of recording one of four designs, i.e. Clubs, Hearts, SpadesorDiamonds.Takeanotherblankcard
45 square then1 up with the right you insert your lefr little finger betweenthebottomcard(SUBCONSCIOUS) and the others. “ First of all,thecolour,” you say,looking .directly at the assisting spectator, and making the “pass,” thus bringing the SUBCONSCIOUS card on tothetop.Withoutpausing,therighthand dropsthe five cards ontothetable thentakes the top card (apparently the COLOUR card but really the SUBCONSCIOUS card), and place it i n your left hand, holding it so that no one can see what word is written on it. The right hand t:l;tes the pen or pencil. The spectator is asked to think of either “red” .or “black” and to concentrate. Concectrating yourself, you apparently write your impression of the colour but really write, under the word SUBCONSCIOUS, the name of the envelopesealed card. ( W r z t g the name in full, don‘t printthenumeral).Placeyourcard,face-down. on the table, to the left. near yourself. The spectatoris now askedtoremovea card, of his thought-ofcolour,from the pack and to place it face-uponhisside of thetable,opposite your card. You explain that this is done for two reasons : 1. So thata check can be made at the conclusion of the tests, and , 2. To see if the tests are progressing favourably. Good,” you say as soon as you see what card he’s putoppositeyours, “ now we’ll trya design.” Taking the next face-down business card(apparentlytheDESIGNone,reallythe COLOUR one), you ask the spectator to think of eitherClubs,Hearts,SpadesorDiamonds.Pretending to write his “ design ” you write on your card the colour of the card that he placed face up o n the table previously. Don? just write RED (if it’s aredcard),write “ A bright red colour.” underliningtheword “ red.” Placethis card, face down, to the right of the first one on your side of the table. Ask the spectator to place any card, of his thought-of design, face-up opposite the one you’ve justputdown. “ Fine,” you say when you seeit, “ now fora number.” Ask him to think of anumber that canbeindicated by a playing-card (1-13), pick upthenextbusiness card(apparentlytheNUMBERcard,reallythe DESIGN card). Write your impresshn.” redly writingthe suit of thesecondcard he took. Do it likethis :- (Imaginehechosea Heartcard previously). Apparently find the “ number difficult. “ You think in anartisticmanner;the colour and design were fairly easy to “ get ” but numbersare moredifficult.Would you concentrate on whether your number is odd or even you ask him. “ That’s better,” you say and write on your card “ A very definite . . .” Stop writing. then ask him to concentrate on the number again. Muchbetter,” you say andwrite “. . . heart shapeddesign.”Placeyourcardface-downto 4
“
“
”
,”
“
theright of yourothertwoonthetable. Ask thespectatortoplaceacard of histhought-of denomination,faceup,oppositeyours. “ Perfect so far,” you say when he’s done this, ‘‘ now forthefinaltest at thisstage.” Ask him to think of a card and to concentrate on it. Pick up the next business card (apparently the EXACT CARD card, really the NUMBER card) and write on it the number of the card he placed face up a moment ago. Like this :- (Imagine he chose an eight). “ An even number. The number eight.”. Placethiscard,facedown, to theright of your other three. Ask the spectator to take his thoughtof cardfromthepackandtoplaceit,€ace-up. oppositeyours. “ Couldn’tbebetter,” you say, “ I think we’ll have no difficulty in getting a subconsciousthoughtnow.” The .spectator is asked to take the renaaicder of thepack andtodeal themquickly,one at a time into a face up pile on the table and to look at the cards as he deals. Turn your back as this is done.When he’s dealtthroughallthecards, turn round and continue. “ I n an envelope in your pocket is a card which you selected at the beginning. N o - o n c knows whzt this card is, not corzsciously anyway. But know you that there are 52 differentcards in thepack; you’ve been workingwiththecards andhave subconsciously noted that one ofthese 52 cards is missing. You weren’t consciousCy aware of this, but the name of thiscard is lockedaway in your subcon.ccioz~s. I want you please just to think about what we’ve done so farand while you’re doingthis 1’11 attempttoreachintoyour subconscious and will trytorecordthename of the missing card, the one that’s sealed in the envelope,onthiscard.”Here you pick up, apparentlytheSUBCONSCIOUS card, reallythe EXACT CARD card, and concentrate. On it write the name of the fourth card he’s laid on the table, then place your card on the table, face down, to theright of yourothers. Ask thespectatorto bringtheenvelopefromhispocket andto put it opposite the card you’ve just put down. Pick up the business card on the extreme left of the row (apparently the COLOUR card, really the SUBCONSCIOUS card), keeping it face down and saying, “ Remember now, first acolour,” pointing to the card in your hand. Drop it on the next business card then pick them both up, saying, then a design.” Drop these two on the next, pick upallthree,saying, “ Then anumber.” Drop these three on the next, pick up all four, saying, “Then the exact card,” and, dropping these four on the fifth andpicking up all five, conclude,“And finally,theSUBCONSCIOUScard.”Hold these five cards in your left hand, face-down, and square them up with yourright hand, secretlyinserting theleftlittle finger underthe top card. “
Ask the spectator to put his first card on the second, these on the third, then these on the fourth
46 and finally to drop all four on to the envelope. As he does this, make the “ pass ” thus bringing your five business cards into correct sequence, i.e., .lop bottom, to face-down, COLOUR, DESIGN. NUMBER, EXACT CARD and SUBCONSCIOUS. Drop your five cards on the table. Askthespectator totake the topcard of his face up pile and to place it in the middle of the table. Draw attention to the colour of it thzn ask the spectator totakethetopcard of you7 pile and to read aloud whal you wrote on it, thm to drop this card, face up, on his, so that ever,yone can see what you wrote. This is repeated with the next three cards; in every case you have written correct details of his thoughts! This done, patter as follows : “ Now, for the
first timelet ussee whatcard
Our last issue <wentto press early; ioo ear.y to record any expressionof an event that shattered the nation-the death of ourgracious sovereign King George VI. Our readers will join with us i n ourexpression of sympathytotheQueen,the Queen Mother and the remaining members of the Royal Family. God Save and bless the Queen! The late .King, when he was younger, was a lover of magic.Interestedbibliophiles will find thatSpitaridedicatedone of his “ Wizard’s Annuals ” to H.R.H.PrinceAlbert(as he then was). The CecilLyle HatTrick was specially originated by CecilLyle foraperformanceat which Prince Alb.ert was the honoured guest. From our friend Harry Hickson a note regarding his “ Express Delivery ” in the January P ~ n t a g r a m;
Refer to the second line in the second column,whereitsays, ‘ Take thetwelve-foot length of rope,’ etc. This. is a bit misleading, and I would suggest that it now read like this : ‘ Take the twelve foot rope and wrtrp it round the spare piece of cardboard or celluloid. It will then look like sketch below. The last bit is not wrapped, but left outfor use in the sleeve of the M3si.s jacket.’ ”
lies sealed in the envelope, the card which was locked away in your subconciousmind!”Thespectator is asked to tear open the envelope, to read out the name of the card therein, then to place it, face up, OP the table. “ Now!” you say, as dramatically as possible, “ wouldyou please readout,and let everyone see, what I wrote on the remaining card, theoneon which T recorded your subconscious thoughts!” Note ,: If working impromptu, using aborrow4 pack, sight and force a cardfor the ‘hbconscious” selection. Abehind-the-backforce is the most convincing. The forced card is envelope-sealed as before.
“
“ The whole is no,w placed in the open box and held there while the ‘ lid ’ is folded over; the lid thenholdstherope in place in the box and while it is in that position the loose piece of card or celluloidiswithdrawn. Because it is slightly wider than the box, the extra width of this loose piece provides a grip with which to withdraw it. The elastic bands can now be put around the whole box and they will hold it secure. The loose piece of celluloid may nowbe slipped under the bands on the outside.This serves only thepurposeof retaining it (where you want it) for the next time.”
.Ron Baillie’s excellent idea for obtaining an impression will nodoubt find itsplaceina number of routines where knowledge has to be secretly obtained. W e have two routines from Ron,bothexcellent,makinguseofgimmick. The first is a version of “ Fourth Dimensional Telepathy,” and the second a very lighthearted living anddeadtest. This latter effect should appeal to mentalist and straight magician.
A recent session at Francis Haxton’s with the Host, ‘GusSouthall,Ericde la Mareand HansTrixerbroughttolightsomedelightful Magic. A particularly near follow up of Hahns Trixer to Hahne’s “ Ring of Thoth” will appear in a future issue.
47
The following seems to me to be one of the mostobvious uses to whichanailwriter maybe put, and yet I havenotreadorheard of anyonedoing so. I meanusingitas proof thatno exchange has taken place when one has actually occurred. For a simpleexample, we will imagine that an emptyenvelopeplaced in acardbox is to beexchangedforonecontainingtheduplicate of avanished card.
in the When theemptyenvelopeisplaced box, the performerasks an assistingspectator for his initials, and writes same on envelope face. Apparentlythesameenvelope,stillbearing theinitials, is takenfromthe box later and foundtocontainthecard,theinitialshaving secretlybeenaddedto the face of the second envelope by means of the nailwriter.
The Third Collectors’ Annual ”, 1951. (Published by J. B. Findlay, Firbank Private Hotel, Crescent Road, Shanklin, Isle of Wight.) A mostinterestingaspect of theannuals which Jimmy produces, and undoubtedly will go on producing, is the fact that each one gets bigger in size without any deterioration of quality. This copy, which runs to some thirty-odd pages is verynicely printedonheavy art paper, the page sizebeing approximately 74in. X Ioin. The first article is by our old friend “ Ptinos ”, who gives some more magazme history, the magazines covered beiing “ TheAkarshani ”, the “ Impromptu Trixter ” . “ A ChatonLittle-knownEditions ” is a most informativebutalltooshortarticlefromthepen of Stanley Collins.GeorgeJenness,who asmany know specialises in Maskelyne memorabilia, gives a list of the many items hepossesses in his collection. Edgar Heyl, who readersmayrememberhadavery nice article on Medals andTokensinthe “ Sphinx ”, gives some informativenotesonConjurer’sMedals and TokFPs. “ Xndersonianain the CoIIection of AllanJamieson IS a list of items that makes one’s mouth water. Fromthepen of JimmyFindlay comesa short articleontheYorkshireconjurt;ThomasDenton,and also underthetitle of “ Variasomenotesregarding book jackets and many other items. To bringthisdelightfulcompilation to a close, George Johnson adds some random notes. Excellent reading whether you are a collector or not.
delightfully impromptu. The next guest, Cecil Keech contributes “ Ropan Silk ” which is one of the plums of thebook. The reason being that in the finale of this effect the originator has the mostlogicaland most deceptiveversion of the “ rope stretching ” effect that youwill ever find. An effective Dice routine with a good story is contributed by Dr. Geimer, and A1 Koran taking asthe basic effect, “ Hen ” Fetsch’s “ I n the Mind,” has added Lyons’s “ Mental Rescue and three other effects to make up a complete genuinelyblindfoldedcardroutine.Despitethe handicap that is imposed upon the performer, the effects, beingcumulative in effect, make foran amazingperformance.Thisroutinecould well have sold by itself at a price higher than the cost of the book. HaroldG.Beaumont (We’re notsure which one this is!) contributes a nice “ Quartet ” of effects and WillAylingstreamlinesanoldieunderthe title of “ Fashion Parade.” The guests depart and we turn to the author. His contributions cover routines with pocket knives, cards, coins, silks, a remarkably fine trick with an egg and a bag and billiard balls. To the last,hehasdevotedsomethirty pages and a matter of seventy photographs. Not since the monumental work of BurlingHull, has theenthusiast for thisform of manipulation been so well cateredfor.Everyneed,care ar,d t y p of manipulationistouched u p o n andhere again is something that quite easily might .h:\ve been sol2 as a separate publication. Lewis Ganson has well lived up to the reputation in this his third book. I t will make h i m many more friends for there is lit er all^^ somcthin~ for every type of magician. The book runs t o someone hudrecl ;IIICJ thirty pages. is printed 0 1 : art paper a t d curries :I w:.!ttt‘r o f w u p l e o f hundred iliu:;:r,>Lcions, m a i n l y phorographs. I f the price cha1yed were tilve pounds it would still he cheap. A t .l 8 , - it is ;l .\,w-J generous gift. E ~ c e l i m !
“
Routined Manipulation, Part 2 by Lewis Ganmn (Published by Harry Stanley, price 18/-). After “ Routined Manipulation Part 1 one expectssomething good to follow. The second part is more than a worthyfollower. I n fact we think it better than Part 1 . In thisbook, we don’tjust find acolicction oftricksbutratheraseries of clearly exp!sincd lessons. Although Lewis 6snson has been responsible for the main part of the book thcrd e e are a number of items collected from fellow magi-:1ans all of which reach a high standard. Let us take theseguestsfirst. Wilfred Baderconrributes a well devised thimbleroutine.Thedescription is excellentcovering some Mezn pages ;!*?cl b ~ i n ? accompanied by ;I matter o f s:)n:e t-vs;:;; photographs. . . A Chtlpier goes t o :<et?.Brooke ;1no 1 : ne gilxs hisversiol! o f tile C a p ar?d Penc;. L(>:<e:hciw.ith ;L cleanpretiiction ef!’cct. and eil’ect \\;l:ich is ”
:;:lv’:~?
I
.
”
48
\\TBERE
HO1JI)INI
WAS
WRONG
by Maurice Sardina (Translated by Victm Farelli)
SPECIAL CHEAP EDITION ECAUSE we believethateverymagicianshouldreadthisgreat book, we haveproducedaspecialcheapedition.It is still beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on, the binding, which instead of being heavy cloth covers is now soft boards. The saving is thus passed o n t o all thosewho, as yet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for ” the latest tricks” you would like to acquire some background knowledge of our great art, o r if you are already interested in the history of magic, then you cannot do better than study this monumental work. Here you will find unfolded, step by step, the truth about Robert-Houdin’s great inventions, his “ Orange Tree ObedientCards ” Trick,”the“Writingand DrawingFigures,” “ The Faf;ryFpok ofthe Palais Royal.” e!? “ T h e Cabalistic Clock::’ The Trapeze Automaton, The Inexhaustible Bottle,” Second Sight .Act,” ” The Suspension Trick, and The Disappearing Handkerchief.” The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading.
7/6
Postage6d. (U.S.A. $1.00) FromthePublishers THE MAGIC WAND PUBLISHING CO., 1 l Monastery Gardeus, Enfield, Middlesex Price
(The cloth-bound first edition i s still available ut 20/6 P.P.)
PETER
WARLOCK’S
PENTAGRAM
MIRACLE SLATE Although limited in output,has now travelled to Ireland, Finland, Belgium, France,Africa,Australiaand,United States. The following is part of a letter received from a purchaser.
(‘I feel inclined t o make the same r e m a r k s a b o u t your ‘ Miracle Slate ’ :as were made by the late Will Goldston concerning Brunel White’s Master Hat,’ i e. the best, the very best! Better method impossible.” (
PRICE
-
ispublishedonthe 24th of eachmonthand canbeobtaineddirect from thepublishers for 1/1 persinglecopy.AnnualSubscription 121post free. PUBLISHED BY:
The
Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publicationandbooks reviewshould be sent to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will bepleasedtosend fulldetails of
you
THE DE LUXE “SU-TABLE” together with all his other effccts in returnfor
a stamp.
Writenowto
Jack Hughes, 2, Evelyn Ave.,
N.W.9.
Colindale, London,
E2 10s. Od.
Post Free, from
PETER WARLOCK Wordsworth Road, Wallington, Surrey
24,
Publiuhedbytheproprietc-The
FOR SALE
CONJURING BOOKS OLD ANDNEW.Let
m-
know your wants
LIST FREE FOR STAMPED ENVELOPE N o Callers
--
G E O R G E JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle President : His GracetheDuke
of So:ncraet.
D.S.O.. O.B.E., J.P., M.I.M.C.
Vice-President: Douglar Cnpgr, Erq., Clubroom and Library and
M.I .hl.C.
Museum :
Hearts of OakBuildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon.Sccretary
:
FrancisWhite, 39 Alverstone Avenue, Wimbledon P x k , S.W.19
Magic Wand Publications The M&c Wand, Quarterly. Fer copy 318 p.p. h n o a l subscription 1416. TheWizard, 36 pages monthly. Per copy 211 p,p.. 6 month, l2/6. Year 24j-. Convtncrng Coin Magic (Farelli) , . 17/10 Mastered Amazement . . 10/3 (Koran & 1.amonte) Bohleno’s Mysteries (Bolllen\ . . 1013 T h e Conce-rt Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 1013 Chandu’s Psychoanalysis . . . . 10/3 Entertaining With Hypnotism (Dexter) 1013 Challenge Instant Hypnotism 5( Mass . . 21/Strictly Magic (Eddie Toseph, . . .. 5/3 Stooging Around (Strlthard) .. , . 5/3 Tests (Garrcttl . . 5/3 26 Livinz 8 Dead Jamesosophy (Stewart Janlcs) . ’ . 5j3 Year Book 48/49 (few only) .. . 513 StuntsWithStage Money (Lamonte) . . 5/3 Tricks of the Trade (Armstrong) .. 217 From thepublishers T H E MAGIC WAND PUBLISHING CO., 11. Monastery Gardens, Enfield. Middlesex.
Magic WandPublishingCompany I 1 MonasteryGardensEnfield.Middlesex.andprintedbyHerbcrt Walkerand Son iPrinters) Ltd.. ’Weil Croft. Shiplev. Ykkshire.
49
PENTA An independent monthly bulletin for all who want good magic
Editor’s Note Recently ( r s nztlny of yozc kno:il, t h t r i exct?lLent close-up per f o r m e r ctrnze o z w f r o m Holitrnd f o r a f e w d1ry.c. Orz the ezlcning o f his trrrizwl he came trlong t o our frierzd Fruncis Htrxton’s house, crnd z n c o n z p t ~ ~ zwith y FrtrncLs, (i2i.s Southall and Eric de h 7 P h e , LY sperzi nztrny hours zuutchiug Flans go through rl number o f routines.Ofthe effects thtrt he performedthateuening t w o sttrnd out in m y mind.Thefirst is /herersion o f theHirldn Thrend trick thot hc performed,whilst thp second is the e f f e c t io A E described. I t is deliqhff u l l y naturul mzd zmpromptu mtrgic that need.$ n o gimnicks; 0nl.y nssuredpresentntion. Fronr no~clo n we’ll Let H a m take over. The effect of this trick is not new and as most readers of the Pentagrnm will know it is well described under the title of the “ Ring of Thoth,” by Nelson Hahne in“M.yBest.” Though’ I used his method for many years I wasdissstis5ed becauseinborrowing a ring at random, I could not be certain that it would matchtheduplicste that I should use. I therefore set out. with the idea of obtaining the effecl and at the same time using no duplicate. The idea was consummated and the effect T POW use and which I am describinz for the first time here is the result. This is the effect as the audience see it. The magicianborrowsaring and also if possible a silk handkerchief. If thelstter is not forthcomingtheperformer uses one of his own handkerchiefs. The silk is pulled throughtheleft hand so that iis two ends hang rope fashion downwardsfromthe fist. The ring. is now placed between the first andssrond fingers rlear the knuckles and is visib!y puqhed intothe fist. The left,hand is nov opened and it. is seen that the ring haspenetratedthe silk and encircles it in the centre. Now T want vou to follow me with ;Irin2 and silk in your hands.
First of all the ring is placed on a table and and pulled the silk is taken by therighthand through the left hand once or twice. Finally it. is left in the left fist with the endshangingdown.
The back of the left hand should now be par-dlel withthe ceiling. The ring is now taken by the right hand and placed between the first and second. fingers of the left handneartheknuckles. You now explain that youwillpush the ring into the fist and it will pass through the silk and bec:,:m threaded upon it. As you say thi-,the ring is actually pushed into the.fist. Seemingly as an afterthought you remark, “ Well, perhaps it will be as well to see if the ring is not too small to pass over
50 the handkerchief.”You now openthe left hand and the ring is seen to be lying on top of the silk. You now takethe ringwiththeright hand againand visibly threaditontothe silk. You pull it down to the centre and appzar to be satisfied for there is no doubt that the ring can encompass the thickest part of the handkerchief. At this moment the left hand turns downward so that the thumb and first finger seize the silk about an inch abovethe ring (see illustration). Thespectators are given the chance of seeing that nothing is CORcealedinthe left hand.Theperformer, who at thispointhasbeenfacingleft, now a p p m n , l y takes the ring with his right hand fingers and pulls it downwards off the silk. At the p3me time he turnsright.Actuallyheonly sirndatesthe removing o? the ring, the turn o€ th: body allowing the left handfingers to screen the ring which remaim on thesilk. The right h:lnd moves away asthough itisholdingthering. This action must be practised so thclzi it really looks as thouzh the ring were being removed. The right hand now appxently places the ring between the first and secondfin,p,ers of ‘the left. hand, but actually under cover of the risht h:lnd. the left h:,nd thumb pushes the ring up so that it appears betweenthesetwo fingers. The illusion is perfect and without
Editor’s Note 112 t h c last wjouth’.s “ M‘trgic go Knzd~zd” Ii[ftrpoiogised f o r ( h e f t r l - t thtrt lack of .spnce did ]rot alloaf ZLS t o p1dblish in thnt p ‘ t r ~ t i c ~ lissur. m e f f e c t s b~ R o n . Baillie mnking use of the c’xcelleni i~npression pad ginzmirk ,+h:!/hr des!.ribed in that nu?rzbrr, under t htei t l e of / a 1 0
Cretrting ctn Impre.s.siozz.” 1‘17cp r o m i s e d t h e m f o r this issue and herc, t h e y ‘trre. T h e f i r s t , a s t h e trbo7ls title tells y o u , is c‘trllcd !T’”;A#?:l Thinkin T ” and is n (‘Living (2nd Dend” T e s t ifz <7 li,qhthetrrted m‘trn/zer. B e s i d e s the ftrkcd t’1z7relope .stark and cnrhon ptrd dgtnilrd i?? * ‘ Crentin(: arz lTmpression ” y o u will rer/z/ire ( I duplicnte zuzpreptrred pnd and pencil. “
There are 5 or 6 envelopes on top of the faked stack. One of these can be distinguished from the others.Agoodmethod of doingthis is to pick, fromabunch of envelopes, one whichhasa natural mark on either side; then pick out four or
five others which have no natural marks on them, or which allhavenaturalmarks, in a different position fromtheonethat you picked out first. These are on top of faked stack, the marked. or dif€erently marked,one on top. Set-up : Envelope stack in right jacket pocket. Pads and pencil in right trouser pocket. Working : “ We all have apet aversion to some person or other,” you patter, “ perhaps merely an acquaintance, orperhaps some well-known personality.” ‘‘ You sir,”youcontinue,turning to a nearby spectator, “ I’m sure that there’s someone that you can’t stand, someone who annoysyou considerably, someone you’d like to see dead!’’ “ Wouldyou care to print the name of this hateful person, or his or her profession, on a slip of paper?” you say to him,handing him thecarbon-padand pencil.
51
“Just print it quite slowly, putting all your hatred intoeachodiousletteras you print it!” Turn awayashedoes this.Askhim to tear of€ his written-on slip; to fold it. This done, ask him to show thename to nearbyspectators.Takethe pad from him and put itinyourtrouser pocket Proceed as in “Creating an Impression.” When several people have seen the name you’ve written,” you say, “ Will you take your slip again, refold it. then seal it in one of these envelopes.’- Take the envelope-shell from, jacket pocket and hold it up. thusglimpsingandmemorisingnamethrough “ window.” Drop the stack, “window” side down.. on your table. When spectator is refolding billei remove the top (marked) envelope from stack and give it to him to seal his billet in. There are some people however,” you continue “ Upon whomwewishno ill-will. Someone known only to ourselves, or known throughout the world, for whom we personally have a great admiration, orperhaps affection of abaserkind!“ Turntoanotherspectator, “ Yousir, I’m sure. have the greatest admiration, respect and worship for someone known to yourself or others. Would you care to print the name of this person, or his or her profession, on a slip of pziper?” Hand him the unprepared pad and pencil. “ Concenirate on this name,puttingallyourlovingkindnessinto each letter as you print it! Then tear it off . . . etc. . . . and seal it in an envelope.” Give him an envelope. Repeat with three or four others, getting them to write names of people they like. Ask another specistor tc collect the envelop~s andto mix them You c m , if you wish, after pocketingtheenvelope-stack,allow yourself to be “ see-down-nose ” blindfolded. Ask spectator to hand you an envelope, note if it is the marked one or not as this is done.Holditup,askingthe
spectators who wrote to concentrate on the names. Assume that the one handed to you is a “ nice name. “ What an aura of beautiful thoughts surround the name in thisenvelope!” you say, “ Surely no one could wish any harm on this person. This can’t possibly be the one that is hated!” Go on likethisforalittlelongerthenhandittoa spectator, asking him to open the envelcpe and toreadout thename. Rita Hayworth.” you repeat whenhe’s readitout, “ I harbour a few loving thoughts her for myself!’‘ Have this confirmed by person who wrote it as a a nice ” name. Continue, in this manner, with the others. W-hen you’re handedthe -‘hated ” name. (markedenvelope), take it,gasp, drop itonthe floor like a hot brick. What an aurs of horribk hatred surrounds this person!” You say, I wouldn’t be in their shoes for anything! Who said thatthoughtscouldn’tkill!” Go onlikethis, making it obvious that this is the hated ” name. Hand it to the person who wrote it( with a pair of tongs, if you wish!), askinghim to open it and confirm, NOT, however, telling you the name. I know it wouldbe a bit of an effort,” you sly to him, “ But do you think you could bear to concentrateonthisnamefor a little longer‘? Just think of each letter in turn.”
This routine is based on Annemann’s Fourth Dimensional Telepathy.” Properties : Faked stack of envelopes and carbon-pad. (See “ Creating an Impression ’ 7 . An unfaked duplicate pad. 2 large slates and chalk. A display stand, about gin. high (as used io displayprice-tickets, etc., i n shopwindows). A nail-writer or small stub of pencil. Preparation : Tear off the first sheet of the unprepared pld. Fold it once one way, twice the other, then open it out again. With a tiny dab of wax fix this opened billet to the middle of one of the slates. If anail-writer is used, have it in somegetatable place(youmaylike to waxit to theslate
or onto a stick of chalk). Or, if you don’t have a nail-writer, fix a tiny stub of pencil to one end of S stick of chalk then colour it to mach the chalk. Set-Up : Faked stack in right jacket pocket. The two pads, and a pencil, in right trouser pocket. On a table lie the two slates, the one with the billet on it lies “ face ” down, thus concealing billet. Chalk. includingfaked piece, is i n a box on table. T h t display-stand is ontable or i n some prominent position. You need one piece of information, the name of someone i n the audience. Working : Go to a p m o n in thc front row (well design-it? thisperson, “ A ”), hand him thecarbon pad and pencil. Askhim to writeanythree or four
“
“
“
“
“
“
“
“
You now slowly reveal the name or write it on a slate. Or you can get spectatorto write it on anotherslateandduplicatethenameon yours. If the name is a well-known one you’ve got plentr to build up on, or if its a profession, e.g. “Income Tax Inspector,” “ Bank Manager,” etc., you’ve got plenty to build-up on too. You don’t need to make this a humourous test if you’renot that W A Y inclined.
52 digit numbers on the pld and to concentrate on each digit as he writes 11. Proceed with the moves detailed in ‘‘ Creating an Impression.” ‘‘ When several people have seen the number, would you refold your slip of paper and seal it in one of these envelopes,” you say, holding up the faked stack of envelopes and thus glimpsing the impressionthrough the “window”; memorise this number.Hand him one of theunpreparedenvelopes from the topof the stack. Go to another spectator; take the unfaked pad from your trouser pocket and hand it to him, along with another unfaked envelope. Ask him to print any name on the pad and to concentrate on each letter as he prints it. He is then to tear off, to fold, to show several other people the name he wrote, to refold and thentosealit in hisenvelope.(This person will be “ B ”). Taking the pad from him, go to the spectator whose name youknow, handhimthepadand another unfaked envelope, asking him to draw a picture or diagram on the pad, to tear off, etc., etc. (This person will be C ’7. As he does tbis, go to “ A,” takehis sealedenvelopefrom him,askhimwhst his name is, and appx-en:-iy writehisname on his envelope. What you re2lly write is thename of C.” Go to B,” ask him hisname,pretend 10 writethisname on his envelope, but write “ A’s name instead. Go to C,” ask his name, pretend to wri’teit on his envelope, but really write “ B’.”’ Ask anyotherspectatorto assist you, give him the three envelopes (This spectator we’ll designate, “ Umpire.”) Stand beside the table, -‘Umpire nearyou.Explain that you’re going to ask the spectators to concentrate and will record your impressions of their thoughts on a slate. “Now who was the first person, the one who’s thinking of a number?” you ask. “ Yousir?”youcontinue. A acknowledges. ‘‘ What is your name again please?” When he gives his name. ask Umpire to give y m ‘‘ A’s ” envelope. (It’s got ‘‘ A’s nameonitbut,contains ‘‘ B’s”’ slip with aword on it). Hold ittoyourheadfora moment, then clip this envelope, name side towards spec’ators, onto the display-stand. ‘‘ Pleaseconcentrateonyournumber,” you ask ‘‘ A,” “ Centre your thoughits on your envelope;think hard.”Takethe shte with billet attached, keeping that side towards you, thus concealing billet (the “Umpire” should be some little distancefrom you). Tak:: thefakedhit of chalk o r pet the nail-writcron\/ourrightthumb. Stsrt writing your “irn?res4ons” on the slate, not letting anyone x e what you’re writing, of course.With thenail-writer or fake?.chalk,write ‘‘ A’s ” number on the billet attached to slate; you’re perfectly covered by the slatfc-. This done, still under cover of writingonslate,fold the billet.Pretend to be having some difficulty with “ A’s ” thoughts. scrabble about with the ch4k on the slate, rubbing ,>ut occasionally. Ask him to concentrateharder. “
”
”
9’
*‘
”
”
“
Write correct number with chalk on slate. Detach billet from wax and finger palm it in whichever hand you use for whichever billet switch you use. ‘‘ That’s it, I think,” you say, drawing a chalk line round or under the figures. Ditchthenailwriter if you’reusing one. Propthe slate up againstsomethingontable or justlayitdown, blank side to spectators. ‘‘ Now let us see if I’m correct,’’ you say, and, going to the display stand, you remove the envelope. Tear it opm, remove billet, drop envelope,namesidedown,ontable.Open billei, read it, memorise the narne on it, smile and nod, refold it and switch it for the finger-palmed one as you hand it to ‘‘ Umpire.” Ask Umpire to read out the number on it. Have ‘‘ A” acknowledge it. Turn your slate round and show that youwrote the same number. Rub out the number on yourslate. Ask the second person, “ B,” whathisname is again. ‘‘ Umpire” hands you envelope with “ B’s nameonit(it cont>i!ls “ C’s ” drawing) Hold it to your head for a second,then clip it onto disp!*;ystand.Asking B toconcentrate, prini name on slate. Repeat a y before, tearing opsn envelope. apparently confirrnifig your “ impressions,” really reading and memorising ,he drawing then switchir..? this billet for the one you’ve had finger-palmed all the time.Umpire wrdsout nameon ‘‘ B’s ’‘ billet and you show your slate. There are two alternative endings with C’s drawing (the envelope with ‘‘ C’s ” name on it really con:ains ‘‘ A’s total). I . Proceedasbefore,putting ‘‘ C’s ( ? ) envelope on display-stand, duplicating his drawing on yourslatethen switching billets, etc. 2. Tellthespectatorsthat“Umpire” would find it rather hard to exactlydescribeadrawing orally when he conlirrns your slate “ impressions,“ O Y , tell spectators that a drawing is much harder toconcentrateonthan iigures or letters. Ask ‘‘ Umpire totear up ‘‘ C’s ” ( ? ) envelope. then askhim to take the other slate and a piece of chalk, to Five it to “ C *’ then to resume his swt in theaudience. Ask ‘‘ C ” to drawthe picture he‘s thinking of ontheslatehewas given. YOLI duplicate it on your slzLe either before or after he draws on his. You can allow yourself to be blindfolded cr escorted o u t of the room for the duplic,.ttion business. all depending on theconditions you’re working U V C ! ~ . If you can’t find out the name of someone in the audience beforehand, ’;:)U can cut out the signir?g of the envelopes. U:.= 3 marked envelopes (mil-nicked, etc.). T r l this case, youproceed as before,but simply c!~oosethe envelopesyourself when you clip them. one at a time, onto the display stand. You’ll leavethe envelopewhich contains ‘‘ A’s ” totaltillthelast, of course.Havethe envelopes marked anyway, whichever method you use. then you’re all set to work it either way. “
”
”
”
”
“
”
”
”
”
53
A more suitable title for this card effect misht be PredictedCoincidence.” Itcanhardlybe claimed as original except inso far as the combinztion of a number of known devices, etc.. is used to bringabout a surprisingresultunderappsrent strict test conditions. “
Effect : The Performer writes 3 prediction on ;I pk:,; of paperandhandsthisto a memberof ill:: audience for safe keeping. An assistant examines and shuffles a pack o f caids. He is then instructed to take 1-he pack behind his back, to cut it a t random and to msrk the cut by turning over the upper packet and replacing it face upwards on the lower packet. In this condition.he dropsthe pack on thetable. Another pack. with an entirely difFer:n? coloured or designed back. is handed to him to h s examined and shuffled in similar fashiDn i:, th.3 first. He handsthis back to thePerformer, who immediately and in full view cuts this pack, turns over the upper packet to mark the cut and drops the pack on the table. The assistant, is now instructed to remove the facing packet from Pack No. 1 . and to reved the facedown top card of thelowerpacket. Ltt UF assume that this proves to bz the Four of Diamonds. He proceeds to revealsimilsrlv t k card at which Pack No. 2. has been cut and tI2T.i also proves to be the Four of Diamonds. Finally,thePerformerreminds hit; audience that he handed out a prediction before either p?c’c was shuffled bv his assistant and asks that it s)lr,~ll now be discloqed. The person to whom the wedi-tion was handed reads- “ Both p ~ k will s be cut at the Four of Di,anlonds.” Positively PO dunlicates, cards added. double backpd or faced csrds, threads, wax or girnmnichand the prediction is actually made before touchineither shuffled psck. Secret and Workhp : I almost blush to record th:lt this censxtional anddazzling (?, effect is produced bv c~mewh.,tf shadymeans, toyit. littlemore or less th:ln ‘! couple of m2rked pscks. The r-trds i n P.ck No. 1 . ;ire marked on their b ~ c k sand those in P,,lrk No. 2. on their edZes. I am guilty of some deception i n lesdins -:2.b’ readers to believe thatthe prediction is actu.111) passed outbeforePack No. 1 . is h3ndedto th: assistant. That is not quite the case; nor will the Performer be strictly truthfulin telling his au.dim% that it was made before either pack was shuflkd. Still. that should not cause him muck loss of sleep.
In the first place, Pack No. l. is handed to the assistant with the request that he counts the csrds with the faces towards him,thereby satisfying himself that it contains the correct number and denornination of cards. and then shuffles it as much as he likes, meawhile, says the Performer, he will make a prediction. Taking a pencil andpsper, hewritPs sloxly Both packs will be cutatthe The assistant should now have completed his shu3le and m.ty quite possibly have dropped the pack face,dowg on the table. If not, he receives a whispered instruction to do so. The Performer is apparently intent upon the completion of his prediction, but a casual downwards glance at the marking on the back of the top card informs him that it issay the Four of Diamonds. He completes his prediction accordingly, folds the paper and hands it out. “
”
Addressing himselfnow totheassistant. he picks up the pack and explains what he wishes h i m to do; viz., to face the audience, to put his hands behind his back, and so on; before actually placing thepack in the assistant’shands. In the a ~ of t so doing, and under cover of the assistant‘s body. asimplemovement of thethumbturns the top card over into a face up position. The subsequent cut and reversal by the assistant causes this card to become the top card of those facing downwards. Pack No. 2. is next introduced and handed to the assistant with the request that he counts the cards with the faces towards him and shuffles them as much as desired, i.e., just as he did in the case of the other pack. All that remains is for the Performer to take this pack and to cut off and reverse all cards above that which is shown by the edge marking to be the Four of Diamonds.
Notes Re Bask No. 1. I personallymakeure of a pack of L7.S. Playin? Card Co. Rider Back Cards which T h.lve marked according to the method described onpage 17 of R. W. Hull’s “ Eye-openers,” hut it i s not difficult to devise some system of markins for almost a n y design of back which can quickly be interpreted hy the Performer but which. is not t o o obvious t:) :tn:ym e else. Notes Re Pack No. 2.
My system ofedge marking------amodification of Robertson Keene’s Demon System was explained and illustrated i n the .llu!~i/1T‘n:zd Vol. XXIX. page 31 : but our Editor would no doubt be willing to reproduce. should there be any demand.
54 Additional Notes : The assistantisnot, of course,invited i n so many words to examine the cards closely; but the fact that he counts both packs with the faces towards him and then shuffles freely inevitably produces the impression that there can be no possible preparation.
It is not easy to ensure that. any desired movement shall be carried out exactly according to p!m when thehandsare held behindtheback. For this rcazon, care should be taken t.hat the assistant is properly instructed, and he should be watchedto seethathecarriesout hisinstructions without. mistake. In any other events some contretemps is almost certain to occur.
METHODS FOR MIRACLES. (Published by Willane, price 3/6 each). No. 6. EdwardVictor’s “ ElevenCardTrick )’ Here for the first time is a favourite eRec. of Edward Victor’sdescribed by Willane. Though T havenever seen it worked by Edward Victor I have seen Miss PaulaBaird use it onmanyoccasions with excellentresults. The effect is that the spectator is asked to hand the conjuror some eleven cards which he does. The conjuror counts therr. 2nd finds a differentnumber. Cards are addedandtakenawayandnever doesthe conjuror seem to have eleven cards. An excellent effect thatrequiresnotagreatdeal of skill. A trickthatonceaddedtothereperioire of the entertaining magician will stay in. No. 7. Peter Warlock’s ‘‘ A Matter of Design ” and ‘‘ Stickertime ” (reviewed by George Armstrong). Few readers will not be aware of the incredible effect of Dr. Jaks’ “ Supersonic Card Prediction.” Peter Warlock has gone not one, but half-a-dozen better in evolving this method using design cards, similar to E.S.P. cards. Ten cardsarebackout on asmallpivotedstand. Theperformerdrawssomethingon a slate, drops it into a bag and hands it to a spectator. Then a volunteer calls a number and the carda t thispositioninthestand is removed.The stand is swung round so that all the cards now face the audience, and the selected card is replaced,backoutinthestand.Thespectator with the slate holds it up so that all may see the performer’sprediction.Theselector of the card removes it from the stand, and it is the verydesignpredicted.Thespecialpointsto note are that the prediction is handed out before thecardisselectedandthespectatorhimself removes the card, for there are no fake cards,
The weakestpoint in the whole effect, and that requiring most care, is in the cutting by the Performer of Pack No. 2. It, is perhaps best to note,andobtain alittle finger breakabove,the desiredcardbeforeannouncinganyintention of cuttingthispack.Thisshould be done whilst turned half left, and engaged in pattering to the assistant. A halfturn is then madetowards the audience for the purposeof explaining what is nob intended, ailer which the pack is cut and the upper packet turned over without any hesitation. The force of the top card of Pack No. I . is. it? mostreaders well know,Henry Christ’s 203r:; Force as adapted by Paul Curry.
the full face of every card can be seen, and each onebearsadifferent design. This is an effect that no magician can possibly afford t o miss. For good measure there is “ Stickertime ” which is a clever double card prediction using packs of cardsthatmostreaders willhave aroundthehousealready,orcan veryeasily prepare. (P.S.-We fancy this should have been called “ Stickertape”). No. 8. EdwardVictor’s and ‘‘Card in the Aces.”
“
Sympathetic Reverse ’?
Two lovely effects of Edward Victor’s these. the first being one in which after two halves of the pack are faced they all go the same way . . .much more than that really but that is the main effect. The second effect “ Card in the Aces ” is a miraculous piece of card magicinvolving skill it is true, but not making any greater demand than a true apprentice should be able to comply with. The effect is as follows :The four aces are banded with an elastic bsnd and held by a spectator who has previously selected a cardfromapack.Thiscard vanishes and is found sandwiched in the middle of the aces.
‘‘ Blueprint for Bill-ze-Bub ” lb7 WJIP Dexter (Published by Holden:, New York, puic: one dollar twen!y-five cents (say 9/-), Some little while back, the wily Bill Nord put out a gimmicked piece of appsratus called Bill-zcBub. As itcameitwasagreatassetbut Will Dexter realised that it had a multitude of uses and hence the present mimeographedpublication of some nine quarto pages. Readers will obtain some idea of the COIItents if we quote the follobing :(Continued on Page SS)
From Hen *’ Fetsch we have received a charmingletterpraisingthe “ Miracle slate. Further than that he has passed on the routine that he is using and which he calls “
”
MENTAL EPIC ” The effect is this : Any person, with any book, magazine or newspaper,selectsa word and then concentrateson that word. The medium receives his thought waves and writes a word on a slate which is covered. The word isrevealed and when the cover isremoved theexactwordappearsonthe slate.-Youwill think of the word. . . . . signed, “ Hen Fetsch. This is how the audience remembers theeffect. Hereiswhathappens.Have themturn to any page and underscore, with a pencil, any five words withseven letters or under. This is explained by pointing out the fact that larger words arequite difficult to receive from persons transmitting them for the first time plus the fact they wouldbe too long to writeontheslate. After the words have been underscored, have the person think of the words one at a time. On about the third wordsay, “ That one is coming through with a definite signal.” Tnstruct the person to circle this word and concentrate on it only. You get the word, letter by letter, write it on the slate ? ‘? ? and cover it with board and clip. Havethe personcall out the four words he underscored and write them on the slate allowing “
”
(Continued f r o n page 54) l . Another Key to Baldpate. 2. Heacii;r?e Prediction. 3. Billet Switch. 4. The Pocket Mind 5. Living or Dead Test. 6. Another Reader. Living andDead Test. 7. BookTest. 8. Pick up in One Ahead. 9. To Stop a Watch. i0. C o u n : i n z by Clairvoyance. 1 I . Simple CardVanish. 12. Premonition. 13. Brainwave Deck Idea. 14. Poker Hand Deal. The writerconcludeswith a note onthe natural handling of thegimmick.Excellentvalue if you are interested in mentalism.
b‘ Prepossessed ’ by Ron. \Baillie (Marlkelted by Unique Magic Studios, price15/-). For the personwanting a most natural prediction effect, we advise him not to pass this by. Ron has taken hold of a weakness i n on5 aid to chicanery and used it as a means to an end i n a way that compels great admiration from those who think that magic is something more than a bundle of sticks. The routine comes complete with everything ready to work all nicely fitted into an attractive pocket carrying case at a low price of l S / - .
theaudienceto see the writing.Thenhavethe person call out theword he circles and transmitted to you. This you write on the slate. At this point go intoyourbuild-upand finally revealyour covered word for the climax. If this isn’t a perfect mental effect I will eat my hat.Everymove is logical andthe complete effect is direct.Giveit a try and let. me know your opinion. Thanks a lot, “ Hen ” and we know that those of our readers who have invested in our “ brainchild” will appreciate and use this very fine presentation. Back to the States goes that stalwart of magic, Tommy Vanderschmidt, who has promiszd a fine sleight of handroutine for a future number. Tommy sent us along a verynice write-up of the “Pentacle”club show at Cambridge.but by the time we couldget it into print it wouldbepast history. From all reports that we have heard, this unique society did put on anentertaining show thatbrought a variety of first class magic toa Universitypublic. Wearelookingforwardto rexdinz Wilfred which Tyler’s new book “ Playing with‘Magic we hope will see the light of day in time for the British Ring Convention at Hastings. Withrecent memories of Wilfred putting on an hour’s show for a party that we managed, we know that those who like to entertain “ Those horrors the Teeny Weenies” will have a mine of information of this (to them) all absorbing subject. ”
Methods For Miracles T H EN ’ G A I DOG RACE EdwardVictor’s R I N G RELEASEand SUPER CARD TRANSPOSITION N o . 3 E. G. Brown’s W A N D E R I N G C A R D N o . 4 E. G . Brown’s D l M l N l S H N I G C A R D S N o . 5 Peter Warlock’s GLIMPSE INTO T H E F U T U R E and TELESLATE No. 6 EdwardVictor’s ELEVEN CARD TRICK N o . 7 Peter Warlock’s MATTER of D E S I G N and S T I C K E R T I M E N o . 8 EdwardVictor’sSYMPATHETIC REVERSE and C A R D IN T H E ACES No. I No. 2
Postage 3d.
3/6 Each. From
THE MAGIC WAND PUBLISHING CO. I I MONASTERY GARDENS, ENFIELD MIDDLESEX
56
WHERE
HOIMDINT
WAS
\VRONG
by Maurice Sardina (Translated by Victor Farelli)
SPECIAL CHEAP EDITlON ECAUSE webelievethateverymagicianshouldreadthisgreat book, we haveproducedaspecialcheapedition.It is still beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which insteadof being heavy cloth covers is now soft boards. The saving is thus passed on to all those who, a s yet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for ” the latest tricks” you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot d o better than study this monumental work. Here you wiil find unfolded, step by step, the truth about Robert-Houdin’s great inventions, his Orange Tree Trick,”the“Writingand DrawingFigures,” The l?a:x-yFpok of the Palais Royal,” “ TheObedientCards ” TheCabalistic Clock::’ The Trapeze Automaton, The Inexhaustible Bottle,’’ ‘ I Second Sight Act,” “ The Suspension Trick, and I ‘ The Disappearing Handkerchief.” The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood.cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading. l‘
l’
‘ l
Price 1/6 Postage 6d. (U.S.A. $1.00) From the Publishers THE MAGIC WAND PUBLISHING CO., 1 l Monastery Gardens, Enfield,Middlesex ( T h e cloth-bound first edition is
PETER
The WARLOCK
available ut 20/6 p.p.)
WARLOCK’S
The Magic Circle
PENTAGRAM
MIRACLE SLATE
I
still
Although limited in output, has now travelled to Ireland, Finland, Belgium, France,Africa,Australia andUnited States.
ispublishedonthe 24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1/1persinglecopy.AnnualSubscription post free. PUBLISHED BY:
I’residcnt : His Grace
And nolw from
“
Hen
”
Fetsch . .
Have been using your ‘Miracle Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem 1 have worked upon for years.” . . .
1j.Il.r
h:!
Sowcrwt.
Vice-President: Douglas
G a g g s , Esq.,
M.I .hl . C .
121-
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publicationand books for reviewshouldbesent to the: EDITORIAL ADDRESS:
Peter Warlock, ,
.!IC
D.S.0.. O.B.E.. J.P.. M1.hl.C.
24, Wordswotth Rd., Wallington,
Surrey.
C.lubroom and Library and Must.u~n
:
Hearts of O a k Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George‘s H;t:l, W.C Particulars from Hon. Scecretary . Francis W i : . t c ,
.39 Alverstonc Avent:-, Wimbledon Pn:k, S.W. I9
“
PRICE
-
E2 10s. Od.
JACK HUGHES will be pleasedtosend full details of
~‘ou
THE DE LUXE “SU-TABLE” togetherwithallhisother effectsinreturnforastamp. Writenowto
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
Post Free, from
PETER WARLOCK 24,
Wordsworth Road,
Wallington, Surrey
Everv Advertiser’ Published bythrpropnetcmThe
CONJURING BOOKS FOR
SALE
OLDANUNEW.Letme know yourwants FOR STAMPED ENVELOPE L I SFTR E E N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Magic Wand Publications The Magic WandQualterly Fer copy 3/8 p . p Annual subsc)riptioll l j i 6 . The Wizard, 36 pages m o n t l ~ l \ .I’cr copy2/1 p.p. 6 month, 12/6. Y r a i 24j-. Convincing Coin Magic (Fatelli) . . 17/10 Mastered Amazement (Koran & I-anlonte) . . 10/3 Bohleno’s Mysteries (Bohlen) . 10:3 The Concert Ventriloquist (Hurling) ’ 10/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis .. . . 1013 Entertaining With Hypno:isrn (Dexter) 10/3 Challenge Instant Hypnotism 8: Mass Hypnotism .. .. . . 211Strictly Magic (Eddie Joscph) . 5/3 Stooging Around (Stnthardi .. . 5/3 26 Living L Dead Tests (Garrett) . 5/3 Jamesosophy (Stewart Jarncs) 513 YearBook 48/49 (few only) . 513 Stunts With Stage Money (Lamonte) 5/3 Tricks; of the Trade (Armstrong) . 217 From the publishers T H E MAGIC WAND PIJBLISHING CO., 11, Monastery Garden-. Enfield. Htddlrqrr.
57
PENTAGRAM An independent monthly bulletin for all who want good magic
U,&.6 &a. 8
Editor’s Note :This is Q very nice idetl thtrl /iulmy DougIus h m come dolzg zuith, nice bl7cnut7 ;;othing cozlld bc w o r e nrrtzlrnl f o r plncing insidr’ / r book than cr book- nark. I l ‘ c think that it z L w s Eddie ] a s e p h , m a ~ z ymoons (rgo published t y book-nztrrk idetI:in the jIN17C. l’his i s trio~zq 2 1 ~ 7difft’rtvzt ~ l i m s trnd d o z t ; ~ the . ~ f o r c e of at (enst t w o st2t.s of words or pari of Z L I : I T ~ S . Anyhow I,ot’.c hftrr 7c4nt its originntor har t o say trbozlt it.
1952
sidesmakingtwopredictionspossible. The ribbons are now stitched to form a tube with ihe fake inside acd threads protruding either end. Attach a
‘ ~ t l t 4 0
The followingideaoccurred to me whilst reading a book that contained R book msrk msdz from silk ribbon.Thisbook-markhad a telr near the centre and so when placed upon a page a word o r twobecamevisible t.hrougl1 thisunintentionalopening.Thus,with a bit of thought, T had the means for a word prediction on th:: linFs of “ Wordo,” but, making use of a more nstunl “ prop.” Realisivgits possibilifies 1 s,et to and made up my faked book-marker which I now propose todescribe. Taking two pieces of coloured ribbonapproximatelynine inches long and one and a half inches wide, a small slot measuring a quar’er of an inch by half an inch is cut from t,he centre of each ribbon. As it is essential that these slotsshallcorrespondexactly when one piece of ribbon is placed upon the other it is best to plare one ribbon on the other and cut both slots at thy same time wifh a sharp razor blade. A small piece of tin is cut about 1;. inches by 3 inchwide andthreadsareattached at its broad side with lenq’hs which are determined as follows. Place the tin piecewhich has to s!ide U? and down betwsen the two ribbons (later stirched round :o form t: tube) over the slot in ribbon and the threads ~ r : :cut +c) length to reach each end of the ribbon :.it :!c, oppnsite pole;, but with the top ~ n . 3S!Jeast $- inch longer. A piece of printed matter,later 10 be predicted, is cut f r n w :: h?’; and p s t e ? (?P the tin. This can be done bo:h
I‘
/ l \
I
’ \
;L+ I
I
‘& \
I
I
I
’L
‘e I
58 smallbead to the top end of thread and a small tassel to the bottom thread. A little pull on the bead will slide the fake from sight while a pull on the tassel end should bring the fake into the slot and if placed on reading matter in a book it will appear to be part of the type. The ribbonmarkershould be shaped at the end as shown in diagram. Borrowsomebooks select one with printing similartothat of fakeand allowaspectatorto
placethemarker at any page he wishes. Take the book and hand to another member of the audience at thesametime secretly pulling the tassel. The assistant reads the word or words in slot and yourprediction proves correct. A littie wrinkle may beincluded here. You can allowchoice of thepagesright or left of markertheribbon is aLtomatically turned over which ever side is used. The effect can be repeated using the other side of the fake with another book if desired.
On page 34 of his most excellent“Linking Ring Routine,” published by Louis Tannen, Jack. (Holdout King) Miller describes ;I method for removing a solid ring from a knotted loop of rope. Whether this is Miller’s own conception l am not sure for a few pages back a ring on rope routine of our own is given without any acknowledgment. The samebasicprinciple isinvolved i n the effect now underdescription but we venture to think that the natural method for the placing of the ring on the rope, plus certain additions a t the end of the effect, will make for greater deception. The ef-Xect from the spectators’ point ofview i s that, a large metal ring is slid;. ‘ p to a length of rope. the two ends of which are rtlen tied together. Without untying the ends the ring is removed from { h e loop.Atthispoint I would liketo mention that my fr’zndEdwardVictorhas recently published a s:milar effect i n the ‘‘ Mrijzods f o r MzroL-/t>.s*’ series, but the means for obtaining the final result are entirely different. so different in fact that I would recommend the purchase of Edward Vic’or’s routine so that the, alternative methods can be used in conjunction with one another. The reader will have at hand the requirements for this ef’ect. namely a six or eight inch linking ring and a piece of rope measuring about five feet i n length. The l c : t hand holds the ring so that it is paralIel w i t h the ground whilst the right hand holds t h e ropr: beiween the second and third fingers
about eightinchesfrom one end. the rest of the rope trailing on the ground. Both hands approach one another until the positionisreached that can be seen in illustration. At thispoint the ring is apparently placed over the right hand but what actually happens is thatthe righa hand thumb conies down inside thering and underneaththeshort piece of rope thathangsdownthus :-
Thethumb presses lightly againstthe tirst finger in order to stop any slip of the rope and the ring is swivelled over the right hand thus :-
8”
59 At the same time the right h:lnd turns so that ithas its back towardstheaudience. The left hand now picks up the lower end 02 the rope and thetwoends are tied together. From thepsrformer's view this is what he sees.
Now comes a most convincing move. The left hand drc-tps the knot and takes the rope at a point immediately above the ring thus :the right hand releasing its hold of the ring.
The righthand moves alongtherope to a l ! ~ : this (this is the performer's view.) The ring is no,\, turned so that it is side on to the audience whilst the right hand (not seen in illustration) holds the rope outstretched in this position.
The left hand thumb is at point X whilst the second finger is at. point Y. The righthand noM takeshold of the lower portion of the ring and gives it a quick tug, which if the left hand fingers and thumb stayed put would bring it to this point and at which the ring would stay. Immediately the pressure is felt, however, the left hand second finger slips out of its loopandwith a carrythrough attic)!? +h ring is apparently pulled ott' the ropz. Tr! thisoutand 1 feelcertain t h a t !.ou will ,like it. it needs practice but none o f the I ~ O V require any skill o u t of the ordinar!.
~ >
60
Editor’s Note :Thosewho were regular visitors at [lie Unique Sunday Shows,will regret the returni~ig of Tomlny t o the States. A smooth worker of the modern schoo2, we nre more than pleased to publish, with the very kind permission of Bruce Elliott, thisvery neat coin transposition that czppeared in P H O E N I X 2.7,:. IVe look forward to seeing him when he returns to this country. Here’s a trick which uses a n old move but has a fine effect. It canbe used as a drawingroom or table trick. The idea is that. inverted glasses covered wl h a blue and red silk respectively are exhibited. On the top of the glass on the lert 1s the re,d silk and a silvercoin(Halfcrown) whilst on top of th.2 glass on the right is the blue silk and a coppzr c 3 ; ~ (A penny).
placed over the left hand and of course over ihe coppercoin finger palmedthere. The silver coin is placed in the cenire of the handkerchief so thlt the arrangement is silver coin centre of silk, copper coinunderneath. Now the righthand come; Xrossand the first finger gripsthe c a p p x w i n ihrough the handkerchief, whilst the thymb of the samehandcomesdownonthe silver coin. The whole caboodle is now picked up and given LL little shakeasthough you hadimprisonedthe silver coin inside the silk. Actually the silver coinis on the outside facing you and hidden from !he a s 5 ence whilst the copper coin is safe inside! This is now placed in the left hand, the bottom of the “ bag ” being laid in the fingerpalm position and the corners of the silk hanging between the first finger and thumb of the left hand.
Each coin is wrapped up in a silk, and tnen put into theglasses that t.hey were sitting on. Withone o r two mumbledwordsthecoins change places. The copper coin is now in the red silk on the left, whilst the silver coin is in th.= blue silk on the right.
The corners are now taken by the right hqnd twisted a couple of times and then the “ bag ” is lifted off the hand leaving the silver coin fingerpalmed (this cannot be seen because you turn your hand inwards as you lift the silk “ bag ” away). The left hand takes the left-hand glass and turns itover(beingcarefulnottoexposethefingerpalmedcoin) and thesilk,apparentlycontaining the silver coin, is dropped inside.
All that. one needs for the ef’fect are a red silk andblue silk, two glasses, twopennies (one 0‘’ which is displayed whilslt the other isfinger-pslmzd in the left hand)and of coursethe silver coin which is displayed on the left hand glass.
The same move isrepeated with thecopper coin so that you are now left with a copper coin palmedinthe lefthand. To ditch this you take a pencil from your pocket leaving the coin behind. The pencil is used as an impromptu wand.
Attentionisdrawn to the silver coin on the left which is picked up along with the red silk by grippingthe coinby itsedge between the first finger and thumb of the right hand, a piece of ’hp silkbeing caught up bytheedge. The silk is
Hocus Pocus! Place the pencil down and pd!l the corner of the red silk, the weight, of the coin inside holding it down. The coin is left inside the glass and displayed. A similarprocedureisgone through wiFh the blue silk.
Certain types of audiences are very sensitive sucker effects and consequently do not react as one wouldexpect “ Here it is,” although falling into the catch your audience ” category, will be found to be agreeable and entertaining to any spectator who hates being led up the garden path. The plot is simple as it is old, but the routine is awinner nevertheless. The performer displayingasmall silk, tucks it into his left hand and CIUSZS it to vanishand produces it later from his previously shown empty
righthandtrouserpocket.He offers to explain how it is done and so as to make it easy for everyone to follow, he stateshe (will show thestages through which the silk travels before it reaches his pocket. He again tucks it into his left fistand again it vanishes to be produced from under the armpit, theperformersaying “ Hereit is.” He rept!=sts his previous actions and says he will send the silk a stagefurtherandproduces it, thistime from under the armpit bkneatlz the jacket. He vanisher; it again and this time ~ h o w sit has arrived behind
to
“
”
‘*
the collar of his coat at his neck. He repeats the vanish and thistimeshowing bothhands empty produces the silk slowly from his trousers pocket, and the audience are none the wiser. The requirementsforthis effect arethree smallsilksall of asimilarcolourandabout 6 to 9 inchessquare.One is secreted in thetop of the right hand trouserspocket in the usual mdnner. The secondistuckedbeneaththecollar oi’ the coat at t,he back of the neck. The third silk i; placed in the right trousers pocket at the bottom with one, of two short tubes made of cardboxd, celluloid or metal, just large enough to take one of the silks comfortably, and with an opening large enoughtoaccommodatethe finger-tip of the second finger. Thetubesare theusualones for vanishing a silk but as fingers difler in size it is as well to make one to fit your own digit. They may be flesh coloured if you wish but if the sleight is carriedout properlythetube is invisible. The second tube is placed in the top left hand waistcoat pocket in an upright position. The working of theroutine is as follows. Place the right hand in trousers pocket andslip the tip of second finger into open end of tube and bend the second finger into palm while forefinger and thumb remove the silk from pocket and display it hangingdownwards. .Show theleft hmd, slowlyturningitover, fingers wide apart,and then as the right hand approaches it to place the silk in between the left forefinger and thumb, the second finger of the right hand (with tube) bends towards the left palm and deposits the tube there. The left fingers curl around the tube, aria the silk between forefinger and thumb hangs just over the knuckles of the left fingers exactly as it did in the righthand. The righthand carelessly flourishes, and slowly turns out the righttrousers, pocket, then returns it but s.till leaves the silk at top of pocket. The silk in the left hand is now tucked into the tube until a small portion of one of its corners isstillslightly visible. The forefinger and thumb alternately assist in the insertion, the second finger finally stealing the tube and silk by quickly bending into the palm while the forefinger gives a few extra pokes. Kneadthe fingers and showvanish from left hand and say “ Here it is.” With these wordsplacetherighthand in trouserspocket straightening fingers as handreachesbottorn of pocketand a t the same timeplacethe left hand over the pocket, (i.e. outside) and press on the tube while the right fingers and thumb remove the silk whichis passed to theleft hand. The right hand thenentersthe pocket. again, gets thetube on second finger, ber,ds it to the palmand r e m o w the pocketagain to %howitemptyand 1 ~ t ~ l o .ifs sticking a u t .
Take the silk againfrom left hand inthe same position as in the beginning of routine, show the left hand again as before, pass the silk to left and load tubeinto left hand at, the sametime. Returntrouserspocket,bringingdown concealed silk, casually showing right hind as before. Tuck in the silk, into tube again, vanish by stealing on second finger and as you opzn left hand to show empty, quickly place right hand under left arm pit outside t:he coat and grip it there by prezsing lefc arm on it. Withoutpausewithdraw the silk betweensecond finger andthumb, lezving thetube behind,and thenplace the silk in the left h?nd saying “ Here it is again.”
As YOU place in left hand,put righi hand underlett armpit insert secondringer andsteal tube by bending finger as before. Plenty or cover byback of righthandandtheleftarm, makzs thisindectable a t three feet. Immediately raise left arm and point, to armpit where tube previously was,with the forefinger of righthand saying, “ Observethe1NVISIBLE HOLE.” Againtake silk in righ’: hand between forefinger ar,d thumb, show leftas before,place silk in IcEt,, and load tube. Repeat the vanish again as befJ,r.i=butthis time raise the coat on left side wit,h the IIOW empty lefthandandproducethe silk from t-ht arm-pit next to shir$. Repeat steal of tubs as before “ invisible hole.” R e again drawing attention to peat moves alreadyexplained to vanish silk and then as left hand is shown empty, call out “ Here it is,” tzmzizzg buck t o nztu‘icnce. Left hand commences to withdraw silk fram back of neck position WHILE righthand with tubedepasitsthe latter in the left. top waistcoat pocket and quickly removesthe second empty tubeon the second finger as before. The rightshouldremainclose to body after vanish and the turning of body, so that movement of the elbow is not perceptible. The righthand keeps dase to body after remmal of second tube as per:ormer faces front again. Plenty of misdirection is prov:ded by all eyes being drawn to the slow withdrawal of silk from collar position. Left hand shakes silk places in right hand again, and exac!ly thesame moves are carriedoutto vanish silk and then as left hand isshown empty this is emphasized by the fore-finger of right hand touching left palm. A right turn is now made and as thehands crosseach otherthe second finger ofright,handbendsintoleft palm and deposits tube there. Trnmediately the left hand fore-fnger indicates right p,Ahn EMPTY. Performer now quickly turns left. left hand with tube close to side. Right hand slowly withdraws the: silk previously in right pocket WHILE left hand 24nSPfW to the audience drops its loaded tube into left jacket pocket. The explanation of this effect hasbeen l02g and tedious butoncethe ideahas been grasped rtsardin? first and s e c o ~ t !\!anisha and productions the re9.t is automatic.
62
In both Franklin V. Taylor's original version of DoubleStop (" Phoenix '' No. 197, page 756 and " Pentagram," Vol. 5 , No. 1. October, 1950, page 1) and in Ron. Baillie's improvement ( ' b Pentagram," Vol. S , No. 8, May, 1951 page 61 ). it wasnecessary, when looking through spectator A's packet, to cut,at thefirst red card from theface of thepacket,thencountfromtheface of the packet and cut at. the 20th card, remembering the number of red cards and the identity of the last one in the group while so doing. One of these two cuts may be eliminated as follows :-
(a) If there is a small group of red cards on theTace of the packet. count these, remembering the last red c'ard in the group (the chosen card'). run through the black cards ignoring their number and continuecounting from the first of the next group of red cards at the back of the blacks until thelastcard is reached.Mentallysubtractthis number from 26. Suppose the remainder is 8. Run through the cards again but this time start to count on the first of the black cards until you come to 8. and openly cut the packet at this point. (b) If there is a packet of black cards at the face of the packet, r u n through-,ttiese, ignoring them, and start to count on the first r,ed card you come to. Memorise the last red card(the chosen one) but continue to count on into' the group of black cards at the rear of the red group until 26 is reached and cut at this point. If you reach the last card of the packet before 26 is reached. carry on with yourcountfromtheface of thepacket until 26 is reached. and cut at that point.
I n eithercase,all t.he red cards are brougilt together with the chosen redcardattherear or top of the red group. and in the correct. position for the final dual count down.
These notes should, of course, be read in COI-.junction with the efTect described i n the issues c?! " Pentagram mentioned above. "
The effect of this trick (and an!, other, i n volving a red black separat.ion) is greatly enhancec'. if the pack is first given a preliminary shuffle. The following false shuifles will prove useful :" Blue Ribbon Card Tricks," Samuel Berlanu. page 27; " Arthur Buckley's Red and Black Shuffle."
Card Control." Arthur Buckle),.. page 24; .' Buckley's Out of this World False Shuffle ancCut" and page 83, " A False Shuffle par Excel lance." "
" Card Magic of Le Paul. The," Paul Le Paul. page 169: Color Segregation." "
Hugard'sMagicMonthly," Vol. 8. No. 1, June, 1950, page 674; "Red-Black Riffle Shuffles." Vol. 8, No. 2, July. 1950. page679. " More RedBlack Riffle Shuffles," Vol. 8, No, 3, August 1950, page hF9, More Red-Black Riffle Shuffles," and " Marlo's Red-Black Shuffles," Vol. 8. No. 4. SepBlack Riffle tember. 1950. page 699. " Red Shuffles." "
'I
"
" Jinx, The." 1937/38 Winter Extra. page 274. Cardminded." Martin Gardner.
"Pentagram. The," Vol. 2, No. 2. Novembcr, 1947, page 13, "The Perfect False Shuffle for Out of this World." Peter Warlock. '' Seven Circles. The," Vol. 1, N o . 6. Septztnber, 193 I . page 10. '' Red and Black."
Sphinx.The."Vol. 46. N o . 1 . March. 1947. page 1 1. A False Shutfle." JerryMcDermott.
63
The location of a freely chosencardunder extreme test conditions has given many card workersmuchfood for thought. I n his remarkable treatise l ' h i r / y Curd M ~ ~ s / ~ r i Jordan, r.s in trackingthedovetail shuffle to its lair.produced someamazingexamples.andKaplan i n recent years making use of daub provides another worthwhile example. It remained however for that famouscardexpert Billy O'Connor to providea solution to the following problem :A spectator is handeda pack of cards with the request that he goes out of the room. shuffles the pack. takes any one card. looks at it and memxises it,replacesitwherehe likes i n the pack. shuff'les againand comesbacktotheroom. The cardsare thentaken by theperformerwho with due presentation unfailingly locatesthe chosen Zard. There is noexaggeration,andfurthermore greater acquaintance with the effect may allow the performer to locate the card even though the pack were behindhisback. Thereare no one way patterns, strippers or long or short cards and the pack contains fifty two different cards. That is a miracle and we owe Billy :L very great depth of gratitude for allowing us to publish this world beater i n our Junenumber. We shall call it " Discovery X." From our friend JohnJ.Crinmins,junior, comes the news that. Holden's are putting out the Jardine Ellis ring effect with a number of routines. Johnwasrathersurprisedwhen, i n a letter, we mentioned that the original Ellis set-up had never beenpublished.Ellis used not merely aringand d shell hzr/ C T ~ S O (I: split ring. At the beginning of theroutine theshellwasoverthesplitring. Tn view of thefactthat suchathingseems to be known to only a few of the cn~q:no.ccrnfiwe think that in the near future we'll publish the real Jardine Ellis " Ring on Stick " routine. Althoughnot so very unexpected it was a shock to hear that our friend Ralph W. Read had passed away.Whilsthereon his last visithe had Seen severely handicapped by thestate of his health,butqfew of us. when we wishedhim bon t-o?ccge thought that was the lasttime we should see him alive. Calvert's handling of his cigarette production and the old DancingHandkerchief (the latter we Imagineinspired by Blackstone) were real lessons i'n magic when we recently watched h i m at Kingston. Tt all goes to show that to be a good magician you should be an actor tirst. His '' Eyeless Vision '' will prove a baft'ler for magicians who go to see the show. We admired above all things his very humantouch in askingthesmall boy up to aid in the 1evitat.ion. In connection with the -effectcalled " Haley's Comet '' it was very nice to hear admiring mention of Howard Thurston.
Just in from Dr. Jaks, a very nice mental We alsohope number, which you'll see soon. that Bobby Bernardhasn'tforgottenthe nice slant on the coin change he promised. A fortnight away we have a most hectic sixteen hours at Bideford. A NewsBulletinprediction,a show. and a lecture. Wearrivetoolatefordinnerandshall leavethe next dayjustbeforelunch.Frances Irelandhas well said " You don'thave t o be Crazy!" us thatour old News fromAustraliatells friend Les. Levante is coming across this Autumn. JayPalmer wrote us tooto say that he will be playingaten week U.S.O. tour. We know th:lt ;I warm welcome will await both of these magiclans. Plansseem to be taking on a good shape for the forthcoming British Ring Convention at Hastings in September. One great change (and one most needed) in thenormalrun of the of the Annual programme will be the holding GeneralMeeting on the Fridayinstead of the usual Sunday. Sunday was a very bad day for such an important item. Many were trying to make up forlost hours of sleep whilst a number of othersweremakingpreparationsforthe homeward trek. From a Northern correspondentwe received a very nice souvenir menu card of the British RingDinnerrecentlyheldinEdinburgh.It is a most arty piece of work. According to this same friend, Leslie May and Lou Histed were the acts that brought a. spark of freshness into what was otherwise a rather jejune magical programme. To complete the files of a very good friend of ours, we U r g e n t l y require the following numbers of the " Pentagram " which are now out of print :c
Vol. 1 No. 3 (we could do withmore than one copy of this). \;ol. 2. No. 8 \:ol. 3 No. 7, 8, 9 and 12
If a n y reader has these copies for disposal \\.e shall be grateful if he \vi11 drop us a line. The ' Smoking Sailc,r ' gag has hecome s o popular t h a t our friends, Da\.enyorts are non. puttillg out the cigarettes ready f o r use at a vt.r-y moderate price. Leslie May reportshaving some good results \\..it11 Hans Trixer's ' Epitaph to Thoth.' If you haven't tried this out, get a ring and a silk and do so. Incidentally H a n s is off to South Africa this month and w e knony that all readers of the '' Pentagram " w i l l join with us i n \j.ishing h i m bon t q a g e to his ne\\- home.
64
HO1JlDIR’I \\-AS
WHERE
\‘‘HONG
by Maurice Sardina (Translated by Victor Farelli)
SPECIAL CHEAP EDITION T-
ECAUSE we believethateverymagicianshouldreadthisgreat
book, we haveproducedspecial a cheapedition.It is still beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which insteadof being heavy cloth covers is now soft boards. The saving is thus passed on to all those who, asyet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for the latest tricks ” you would like to acquire some background knowledge of our great art, orif you are already interested in the history of magic, then you cannot d o better than study this monumental work. Here you will find unfolded, step by step, the truth about Robert-Houdin’sgreat inventions, his ‘‘ Orange Tree Trick,’’ the “Writing and Drawing Figures,” “ The Fastrycookofthe PalaisRoyal,” ’‘ The Obedient Cards ’’ “ The Cabalistic Clock::’ The TrapezeAutomaton,” “ The Inexhaustible Bottle,’’ “ Second Sight Act,’’ The Suspension Trick, and “ The Disappearing Handkerchief.” The book is profusely illustrated n,ith photographic reproductions of rare old prints, photographs, \vood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading. ”
l‘
“
7/6
Postage 6d. (U.S.A. $1.00) From the Publishers THE MAGIC WAND PUBLISHING CO., 1 1 Monastery Gardeus, Enfield,Middlesex Price
(The cloth-bottnd first editim is still auailablr at 2016 / ) . D . )
PETER
The WARLOCK
WARLOCK’S
PENTAGRAM
MIRACLE SLATE Although limited in output, has now travelled t o Ireland, Finland, Belgium, France,Africa,Australia andUnited States and Sweden.
I
of eachmonthand canbe obtatned direct from the publishers for 1 / I per Lingle copy. Annual Subscription 12/post free. PUt3I.ISHED BY:
is I~,lbiished on the 24th
“
Hen
”
PRICE
-
22 10s. Od.
Post Free, from
PETER WARLOCK 24,
Wordsworth Road.
Wallington, Surrey
I*
Every Advertiser’s ”t~hlisht~lhy
the
MIIS~WIII
Particulars from Hon. Scuetary :
bc pleased to send
King
Gcorgr‘s
H‘t11, W.C
Francis W11:te, 39 Alverstone Avclme,
Wimbledon Park, S.W. 19
Magic Wand Publications
JACK HUGHES \t,i!l
:
Hearts of Oak Buildings, Emton Road, London, N . W . I . Magical Theatre :
for
Surrey.
“ Have been using y m r ‘Miracle Slate’ for over a month now ancl. I must say it’s wonderful . . . . the impossible made possible. It‘s the answer 10 a mental problem I have worked L!pon for years.“ . . .
(‘1nbroo:n and Library and
llanllscripts for publication andbooks lcvi(aw shollld be .sent to thr: EDITORi \ l , ADDRESS:
?4, Wordsworth Rd., Wallington,
Fetsch . .
: His Grace chc l h k e o f Sotnerbrr, I).S.O, O.RE., J.P., M.I.M.C. Vice-President:DouglasCraggs, Esq., M.I.W.C.
The Magic Wand Publishing Co., 11, IMonastery Gardens, Enfield, Middlesex.
Peter Warlock,
And now from
The Magic Circle l ’ r t ~ . i ~ l t ~ ~ ~ ~
J 01;
f l c l l details of
THE DE LUXE “SU-TABLE” together with all his other vtfvcts in return for a stamp. \$’rite n o w to
1l
Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Jack
CONJURING
BOOKS
FOR
S.AI,E
OLD AN‘U N E R . Let me know your wants LIST FREE . -.
FOR ?in
STAMPED ENVELOPE Callers ____- --
G E O R G E JES‘NESS -17 INVERNESS A V E N U E . ENFIELD, IL1IDDL.ESE:X
l goodsare
fully endorsed by this Bulletin
propric.tc-6 The Magic Wand PublishingCompany, 1 1 , Monastery Gardens, Enfield, Middlesex. and printed hy Herhert Walker and Son (Printers) Ltd.. Well Croft. Shinlev. Yorkshire
9
PENTAGRAM An independent monthly bulletin for all who want good magic
EDITOR’S NOTE :-I t is with n great deal o f pleasure that we present this ultinzate card discovery of Billy O’Connor. I t is an unfortunnte fact that he hcrs zurittem all too little (2nd we are fairly certain that this i s hisfirstpublished article in a magical nzagn.zine f o r sonze twenty years. H m . ing one o f the finest mtrgical brains, plus outstanding ability ns an entertainer, he has carried the same crct successfully f o r well over thirty years. H e isthe man who firstmade use of the short card ns a loctrtor, he produced o n e o f the lo.zrc?lie.stcut and restored ribbon effects. I n nm o l d AlA GIG ?VA4N D he described n delightf u l method f o r changilzg the colours of liquids. I f you don’[ nuant to look it up you’ll find it in t h e late , l 2 Baker’s “P& Secrets ” with -am ndded presentation. His “ lnstnnto ” pack trnd hiis “ IVallet ” trick are iust two perfect pieces of chicanery thnt he marketed, trnd i f y o u h d lived in the teedight of the Golden Ageo f mngic y o u would have seen n lot more. A good f r i w d , a good f ishermnn and (172 outstnndinq m ? Ticiqn. Once ngnn, Billy, mnny thnnks ! The effect to be described has been attempted by many conjurers. Of all the methods published untilnow,perhapsthebesthas been Charles Jordan’s Premo ’ in Thirty Cnrd Mysteries. Two things however were needed for the accomplishment of this feat, the first beingaseriesof dovetailshuffles and secondly a dealout of the cards to dixover which1 onehad been tracked down to itsDove-taillair. The method to be describeddoesnot suffer from sucha weaknes;. We are going on apsce however, for the newcomer to magic without a copy of Jordan’s book at hand, will notknowwhat we are writingabout.Here therefore is the effect. Theconjurer removesafull pack of cwds from its case, and handing it to a member of the
audience requests him to shuffle it, take it into the next room (or to the end of the hall), take a card from the pack, place it back wherever he likes and thenshuffle the packagain.Whenthisisdone, the pack is returned to the magicianwhounerringly findsthe selected card. The requirements are very simple indeed. The reader will require a pack of cards which first of all is assembled in like pairs, i.e. hearts with diamonds,clubswithspades.Theback of one card of thepairistreated with roughingfluid whilst the face of its mate is similarly treated. The pairs are then assembled rough side to rough side, to form a complete pack. As most packs OF cards are now produced to cater for Canasta fiends and two jokers are thus included, these cards too. can be mated.May I pausehereforamomentand offer a word of advice to those who havenot dabbled with the rough and smoothprinciple. There is, in the preparation of such a pack as this, agreat need forattentiontodetail if thebest result is to be obtained. It is not enough to take someroughingsolution,smear it overthecards andhopeforthe best.(Though it is notwithin thescope of thisdescription to give adetailed description of preparing roughened cards, we do recommend to our readers abook which undoubtedly gives the finest instruction in thismatter of preparingsuchcards.Thatrecommendation is Trevor H. Hall’s Nothing is Znzpo.ssible, published by Willane. However, if the reader does not wish to undertake such a task himself, Ken Brooke, of BradfordsuppliesthebestNu-ideaforcing pack that we have seen, and in this case, no doubt would be pleased to make up the specisl p ~ c kreqmsteri. He charges, I believe, a matter of 12/6). With the pack so prepared it can be szfely handed to a spectator for overhand shuffling without any fear of the pairs being divided. This is the presentation of the e k t .
66 The conjurer removes the prepared pack from its caSe andtakingittoaspectatorremarks “ Now, sir I want you to take this pack and shuffle it. (As he makes this remark he overhand shuffles thecards himself. Care is of coursetaken in choosing this assistant, for though a riffle shuffle wouldnot necessarily causeaseparation of the pairs, the mixing of what would amount to twentysix thick cards would call the shuffler’s.attention to the fact that the cards were not all they intended to be. Actually of course the mere placing of the cards into a pxson’s hands is enough to allay suspicion. The use of cards in a previous effect plus the co-operation of the same assistant would tell the performer whether an overhand or riffle shuffle would be intended). The spectator commences to shuffle the cards. “ Take the cards into the next room, carry on with the shuffling and then place the pack on a table or chair and lift up the topmost card of the p x k , look at it and renzember it.Then, sir, plqce the curd back in the f a c k wherever you like. shuffle thp, pack oncemoreand bring the cardsbackto me. Is thatquiteclear? Shuffle, look at a card, replace it where you will, shuffle again and brins !h? cards back, O K ? ”
The magician shows two slates. On o x si
The spectator carries out his task and the conjurer takes back the cards. He looks at the spectatorand then fansthecards faces towards himself. He leafsthrough, finding two separated cards of a pair, say the four of hearts and the four of diamonds. He immediately knows that one of these cards is the chosen card. “ Now, sir (to the spectator) will you please think of the colour of the card you looked at? Yes, I’m certain that it was a red card . . . correct?Thank you . . . Now sir, a little harder this time . . . the suit . . . I think that it is diamonds. . . .” (heretheperformer must anticipatethespectator saying no, should this guess be wrong. Invariably this anticipation is easy as the spectator’s expression is ahead of his speech. If theconjurer is wrong, he immediately corrects himself by saying, “ No, sir, it’s clear now. The suit is ‘ hearts!’ ”) Once having got the suit the reader is on the home base and he rerngves which card is correct and places itface down u p m thetable with the remark, “ I’m quite certain about your card now, sir, and have placed it upon the table. I want you to pick it up but before you do s3, will you please name it aloud.’’ The spxtztor do:s so, andthen picksup the card to show thzt thzconjurerhas been successful.
the drawing on one side of Slate A, that they i r e otherwise blank on all sidej. Slate A is now plazed. on top of B, the drawing rubbed out and A placed under B, the flap on B slate being allowed to fall. The slates are then held in a nearly verticd position and uponthename Charlie being shouted the rearmost slate is witharawn with the flap showing that the cpmk IISS rexrneci. “
b\L,
-
.
,
S’
I
l , (.’
c
-.
1 ~
?’
_ _
67 This slate A, is now rested once more upon slate B (which onits under sidehas now achalk “ spook ”) andthe picture is rubbedout.This time A is not placed behind B, but the slates are again lifted nearly to a vertical position, and slate B is then reversed, the cry of “ Clharlie ” made and thenthepicture on slate B is shown, care being taken of the flap on the underside. The picture is erased and slate A placed behind B, the second flap being allowed to fall. The spook is shown and rubbed out. The remaining picture on slate B, is produced similarly tothethird, i.e., thisslateisreversed behind slate A.
Effect : The performer hands a n envelope-sealed prediction to a spectator, asking him to pocket it. A pack of cards is shufled and the performer demonstrateswhat is to bedone. “ Holdingthe pack, face-upwards, behind your back, I want you to pull any card out of it, to turn that card facedownwards, to thrust this reversed card back into the middle of the pack, then to square up the cards neatly andto bringthecardstothefrontonce more,layingthem onthetable, stillface-up.” This you demonstrate, not putting the cards behind your back however. Righting thecard,that you reversedduring yourde,monstration, you handthe pack to the spectator todoas youaskedhim.After he’s reversed a card, as above, and has placed the pack face-up on the table, you ribbon the cards across the table, the face-down card showing up plainly in themiddle of thespread.The spectatoris asked to slidethiscard out, stillface-down. He is then asked to open the envelope that you gave him and to read out your prediction. “ You will reverse the six of hearts,”hereads. He is asked to turn face-up the face-do‘wn card on the table. It is the six of hearts. set-up : A double-facedpack is required,thecards being the same on both sides, i.e., a double-faced ace of spades, a double-faced two of spades, etc.. 49 such cards are required, eachonedifferent of course. Threeordinarycardsare alsorequired. thethreeneededtomake LID a full deckof 52 cards when addedtothe 49 double-facedones. One of the “ ordinary ” cards is a “ short.” Put one of the ordinary cards face-up on the table. On top of, it, face-down, put another ordinary card, this is the card which you name in your prediction. On top of these put the 49 double-facedcards.Lastly.thrustthe “ short ”
EDITOR’S FOOTNOTE-
This is n rJery easily handled routine. W e zuonder whether, instend of producing the final picture, it zuould n o t be more effective f o r the spook t o l e m e some message thatzuould indicnte that no further appearance could be ?node. Such a message could vary with the?nnnner nnd style of the performer from1 the mildly humerous t o the risque dirt of Orben, who CLUE understand was responsible f o r the “Bra” in “Abrncndnbra.” This mntter o f finality would stop the stnnrt (TZPC type from mnkinq Chnrlie ’’ tnnnifest himself crfter t h e f i f t h tinze.
ordinary card, face-upwards, into the middleof the pack. Turn the assembled pack over and place it in its case. Working : Remove packfromcase and layit “ facedownwards ” on the table. (The back of the top ordinary card making it appear to be a face-down pack). Handout yourprediction.Pickupthe pack and hold it in the left hand as for an overhand shuffle,but .with the “ faces” towardsthe spectators.Overhand shuffle thecards, faces ” to spectators, by pulling out a packet of about 26 or 30 cards from the middle of the pack, with the right hand, and shufflingthese off onto theface card of the pack. Repeat this shuffle several times, beingcarefulnot todisturbthetwocardsthat are nexttheleft fingers. (Thereversedordinary card and the “ top ” ordinary card). An alternative method of shuffling is to hold the pack “ face-up ” in the left hand and to Hindu-shuffle the cards by pulling out a packet from the middle and stripping these off onto the face of the pack. When you’ve shuffled the cards, square them up, still “ face-up,” and in so doing, riffle to the short card and hold a break, above it with the left little finger at inner end of pack. Tell the spectator what he’s to do (see “ effect ”), and demonstrate, without putting the cards behind your back, however. Like this : You pull a card out of the pack, apparently at random, but the card you pull out is the “ short ” ordinarycard;thelittle finger break making the matter easy. Reverse this card and thrust it, back-up, into the middle of the “faceup ” pack. Square the cards and then place them, “ face-up,” on the table. “ Thus we’ve reversed a card, selectedbychance, in themiddle of the pack,” you say, “ Is that quite clear?” As you say this, pick up the pack and run through it until you come to the card you’ve just reversed. Run through a few more so that everyone can see this reverse card in the middle of all the “ face-up ” “
6% ones. Becarefulthoughnottorevealthe ‘’ prediction-card ” that is reversed second from what is now the bottom of the pack. Turn the card, that you’ve just reversed, faceup in the middle of the pack again and, as you square-upthecards, insertyourleftlittle finger underit.Transferthepackto you righthand, taking-upand holdingthebreakwiththeright thumb at inner end. Drop the cards on the table and, as you do so, cut the cards by lifting off all thecardsabovethebreak an.d(droppingthese onto the table, then completing the cut by droppingthereston top of these.Thisaction brings the reversed “ prediction-card ” intothe middle of the pack and puts the “ short ” ordinary card onto the “ bottom ” of the “ face-up ” pack. Square-up the cards and hand them to the SPECtator. When heputsthembehind his backand “ reverses ” acardthecard won’t bereversed because they’re double-faced (silly isn’t it?!) When he puts the pack on the table, “ face-up,” you simply ribbon the cards so that the reversed card shows up in the middle of the spread. Push outthis face-down cardandthensquare-up the packagain,turn it “ face-down ” (theback of the short card shotwing on “ top ” of thepack) and place it to one side. Conclude as in “effect.” Get rid of, or switch, the pack at the first opportune moment. There’s just a chance, a very remote one, that the spectator will select and reverse the “ prediction-card ” behind his back. If thishappens, proceed as follows ; When you ribbonthecards
on the table and no reversed card shows up, pick upthecards saying, “ Are you quitesure you reversed one?” Under-cover of this, and squaringup the cards, riffle-off the bottom card (the “ short ”) at inner end of pack and secretly reverse all the other cards on top of it. When spectator says that he’s sure hedidas you asked,remark that you must have missed his card and proceed to deal off the “ face-up ” cards., one by one, into a pile on the table. When a reversed card shows up (it won’t be the “ prediction-card ” but the o k r ordinarycard,the “ prediction csrd is underneathit). You say, “ Ah, here it is, let us see which one you chose.”Double-liftthetop two cards, turn them face-up and replace them on top of thecardsheld in yourlefthand.The“prediction-card ” is now dealt off to one side and you fan through the rest showing them all “ face-up.’’ Pick upthetabledcards,drop them onto the others,turnthepackover,asbeforeandlayit aside.Youmaylike to trythis on yourbrother magicians, by reversing a duplicate of the “ prediction-card ” in anotherdeckandplacingthis deck in its case on the table instead of making a prediction. When the “ chosen ” “ brothermagicianreversed ” cardisturnedoverand named, remove the “prediction-deck” from its case, fanthroughitand show that you reversed a duplicate of the “ chosen ” card in this deck. Leave this deck on the table and watch them pounce on “ Brainwave ” deck! (Their what they think is a pouncingaffordsplenty of coverto switch your “ double-faced ” deck for an ordinary one, which is minus the forced card).
This isa card Predictioneffectalongslightly differentlines. Thefactthatthe magicianseems
inter.se here
”
itonthe
edgeof the table.(Incidentallyletme with a re,mark, thatthis is not in-
to have n’ Over the cards makes a most tended asanythingbuta drawingroom effect, and effectivepiece of deception. So far we havecomethough conceivably it mightbe made into a stage acrossnoconjurerwhohas given us acorrect trick, the necessary displaying of the cards would explanation of the means. Originally we intended call for the use of a stand or something similar.) to use it as a single prediction, but when showing A pack of cards is thenhanded to a spectator, it way back last October to Wilfrid Jonson in the with the request that he gives it a complete shuffle. Green Room at the Theatre’ a remark to Afterthis has been donethecardsaretaken back theeffect,that if it could be repeated itanddealtinto two heaps of twentymsix each. One come into the ‘lass, straight ’lade heap is given to the spectator withrequest a to do us repeat it and have kept it that ,way since. exactlywhat the magiciandoes, i.e. toribbon the isHere effect. twenty-six spread his cards the table, across the two spreads being parallel. “ Now, sir,” remarks TakingtheJokerora piece of paper,the the magician, “ I want you to push any one card magicianwritessomething onitandtheneither out of your line of cards. hands it into the keeping of a spectator, or places
69
are being dealt, the performer counts them as they
“Just turn it over and let’s see what it is.” The “ The ten of clubs.” The spectatordoesthis. magician now counts along his line of cards touching one card for each letter of the word in the card pushed out by the spectator. On arriving a t the last letter, he takes the card at that point in the spread and pushes it out of the line (still face down). “ Will you please read what I wrote on the piece of paper.” The paper is picked up and the spectator reads out, say, “ The King of Diamonds ” . . . . . “ Just turn over that card ” pointing tothecard pushed out fromthemagiEO andit is cian’sspread). Thespectatordoes seen to be the “ King of Diamonds.” The e,Ffect is now repeated if themagicianthinks that it is necessary. The requisites are simple. The reader will require a full pack of fifty-two cards (the Joker if it is included can be used for recordingtheprediction. Use a BB pencil and thc writingiseasilyerasedfor the secondand subsequentperformances). Two of the cards, say the king of diamonds and three of clubshavea small distinguishing mark that can be easily seen by the performer. Cards in use generally develop individual markings which can be utilised in this way. Knowing which mark represents which card the magician is set. Presentation. The pack of cards is removed from its case, the joker taken and the words “king of diamonds” written across its face. The prediction writing side downwards is theneitherplaced at theedge of the table or slipped into a spectator’s pocket. Accenting the fact that what he has written will have some bearing on some future occurrence, the pack .of cards is handed to a spectator with a request that he gives it a goqd shuffling. When the spectatorissatisfied, thecardsaretaken backand’ withoutamoveofanykindthecardsaredealt into two heaps of twenty six cards each. As they
fall,looksforthe card which he knows is the “king of diamonds.” He notes at what position it comes and in which heap, for this heap will be theone he takes.Suppose that the “ king of diamonds ” falls at anumber between ten and sixteen, i.e. itcanbetheeleventh,twelfth,.thirteenth,fourteenth o r fifteenthcard. If it does thisno further actionisnecesssryontheperformer’s part and straightaway with an instruction to the assisting spectator to do in a similar msnner, hesquaresuptheheapandribbon spreads it across the table. Let us suppose that the card actually lies in eleventh position. This means that counting from one end of the spread it will be the eleventh card, whilst from the other end it will be the sixteenth card.Now most readers will beaware thatthe spelling of each and every card in the p x k v x i e s between ten letters and fifteen letters. To be exact : 4 cardsspeltwith 10 letters 13 cardsspelt with 11 letters 14cardsspeltwith 12 letters 12 cardsspeltwith 13 letters 14 letters 5cardsspeltwith 4 cardsspelt with 15 letters A littlethought will show that if thecard selected from his spread by the spectator is in the ten card group. the cards are counted along from the eleven end, and after the final letter has been reached, the next card, the “ king of diamonds ” is turned over. If it falls in the eleven card group, a straight count will bring the “ king of diamonds ” out on the final letter. The question of a twelve card iseasily met, the performercountingfromthesixteenend,adding the prefix T-H-E to the name of the card and turning up the next card. A thirteen letter card is dealt with from the sameend, the prefix “ The ” beingaddedagain and the final letter revealing the predicted card. T o cover a fourteen letter word, and actually this should have come first, the performer, as the spectator pushes his card out of the spread, takes the end card on the sixteen side, and with it flips over the spectator’s card (To make everything fair it should be turned face un so that any idea of fast switchingcan be eliminated.) If the card pushed forward by the spectator falls within the fourteen lettergroup,thecard used by theperformeris either passed to the other hand and casually laid at the opposite end of the row, or it can be used as a pointer. If it falls in the 10, 11, 12, 13, or 15 group it is replaced quite obviously as the “ king of diamonds ” has now had its position changed from sixteenth to fifteenth position it can be easily counted. The fifteen letter card is again a straight count from the sixteen end, the next card being turned UP.
Nowthatthe
mainprinciplehas
been ex-
70 plained, the reader will see that if the card is at 12th and 15th position all spellings are covered by useof asimilarsubterfuge. In thesepositions,a pointer card is lifted from the twelve end and retained or placed attheother end if thecard contains ten or eleven letters or replaced, at the same end if it is a twelve letter word. Dzfnitely, but of course, casually placed at the fifteen end if the card contains thirteen letters, these cards being spelt with the prefix “ The.” If the “ king of diamonds ” falls into thirteenth or fourteenth position a pointer card is taken from thethirteenend, and replaced if the cardfalls in theten,eleven,twelve,thirteenor fourteengroup. If it is a fiftzen letter card, the pointercardisplacedatthefourteenend.This means for a ten letter card, a prefix and spelling from either end, the king of diamonds thus being the card falling at the last letter or the one following, eleven letters means spelling from the fourteen endwiththe prefix “ The.” A twelve lettercard means a straight spell from the thirteen end and the turning up of the nextcard. A thirteenletter or fourteen letter card can been spelt from either end, whilstthe fifteen lettercardhasalreadybetn looked after. This has been written with the original thought that the card naturally fell at this position in the deal and believe me time and time again it does. But if it does not, the performer, in picking up hisheap,eitherthumbcountsrequisite a number of cards that will bring the card to thirteen and fourteenposition.(Thisisthebestspelling position), and in the action of placing the cards on the table for the spread makes tho pass. Or what is very much simpler and what I do myself, makes a simple estimate of the number of cards that will
bring the “ force ’’ card to the centre of the packet, making a break at that point and ingoing down on to the table to make the spread, makes the pass at the same time. Now in spreading the cards the position of the “ force ” card is noted. Althoughthismay seem a very involved description, you will find that if you analyseit, most of itcomesdown to commonsense. The barebones might be summarised as follows :l . Havecardsshuffledaftermakingprediction. 2. Noteposition of “ Force ” card when dealing into two heaps. 3. Take heap with “ Force ” card. 4. See that “ Force ” card occupies l lth to 16th position either naturally or by passing a number of cards. 5 . If l lth and 16th position use pointer card from 16 end. If 12th and 14th position use pointer card from 12th end. If 13th and 14th position use pointer card from 13th end. Please don‘t read through this and say, there is too much to remember. If you cancount the number of letters in thename of aplayingcard the remainder of the effect falls into line in a most natural manner. The repeat of the effect, simply means exactly similar a procedure, the other marked card coming into play. Many readers will possibly think that it may be an advantage to have tactual recognition of the “ force ” cards. Ideal for thispurpose would be two corner shorts, opposite corners being used and thus after the cards have been shuffled, the necessarycardcould be locatedandbrought to the approximate centre of the full pack. Quite obviously in the deal that followed the necessary carcl would be in one of the positions ready for the performer.
The other day we sat back and thought of the wealth of ideasand effects that everyday were being offered to magicians by way of the magical magazines.Anotherthing that occurred to us, was the fact, so it seemed to us, that whereas some forty, thirty and even twenty years ago, one looked for the main and big magical advances in publishedbooks on magic,theinitiativewould now seem to have gone to the magazines. Do youremember the oldtype of note-case (used very much when this country first produced currencynotesduring the firstWorld War) the typebasedontheoldJacob’sLadderprinciple, with one ribbon one side and two the other. Old, you may say, but how old? Among the paintings of Leonardo da Vinci recently exhibited at BurlingtonHouse,thereis a pictureofaboy hol.ding such a novelty pocket book and tucked in one side is a small feather! To-day there is no doubt that membership of the MagicCircleoffersgreatervalue than any other Society in the world.With one of the finest
librariesconstantlykept uptodate,aseperate referencelibrary of untoldworth to the magical students,aclubroom giving facilities previously unknown, plus entertainments and lectures for the asking. Regarding the latter we have never understood why it is, that if the subject matter of a lecture veers a little way away from the discuss: or exhibition of tricks proper, the attendance is immediately thinned. This was brought home to us recently when we were present at a most excellent talkanddemonstration of theatricalmake-up. A merebandofenthusiastsisnot sufficient recompense to a member who has gone to a great des! of trouble and pain to instruct in something which every magician who aspires to platform performance (and how many don’t?) with a show that is all that it should be. The matter of make-up is an allimportantone.Twicewithlnthelastyear we haveheardaprofessionalperformerremark that they didn’t use make-up as they had a ruddy skin. Ye Gods! That a man could go through life constantly on the stage with the mere thought in
71 his mind that t i c sole purpose of make-up was to give just added colour. Magic seems to have been getting a fair share of TV thesedays. We still thinkthatit (TV) is a poor medium for magic. In the recent performance of “ The Gamblers,” the hands of our friend Francis Watts came over well, but surely the producer didn’tthink that adisplay of conjuring would give a card player the idea that theywere watching the shake-down sleights of a gambler. a mostenjoyBidefordGet-togetherproved able affair and it was nice to meet old friends like Stan Simpson, T o m Harris and Edwin, the latter proving himself tobeanexcellenthost. At his homeduringathree to five a.m. session heran through a delightfulchildren’s effect, whichwe wouldlike to havepublished, butunfortunately our own publisher beat us to it. I t is based on the +‘ Pussy in the Well ” theme and takes its place in a “ Devon Magic Circle ” edition in the “ Wizard.” Though he didn’t know it, for he had not had the pleasure of seeing him, Ed,win’s manner in presentingchildren’smagic is much akintoourfriend Wilfred Tylcr. Incidentally Wilfred’s new book on Children’s magic should, vis the Armstrong Press, just about make the Hastings Convention. The B.B.C. News Headline prediction that we did at Bideford, pulled in a great deal of publicity forthesponsoring Society. Inthatpart of a County where men are men and the chief topic of reported news concerns agriculture, it is apparently
noteasy to get a great deal of spaceforsuch a trumpery thing as magic. Nevertheless out of forty inche,s of columnspacespreadoverthree weeks, we managed to get thirty one inchesof it, including twophotographs. So muchforthoseconjurers whohavelittletimeformentalism.Asapoint of interest we maybepublishingthisparticular routine, which has some interesting points, which are as follows : 1 . The prediction is written in chalk on a double crown sheet of black paper. 2. It is something that can beseenbyeveryone. 3. The dignitary identifies his signatureonthe sheet as it is unfolded. 4. The prediction is seen, forthe first time, we believe, in the history of predictions,before the thing predicted comes into being. If you are interested drop us a line, and according to that interest shown shall we decide to place it in resiric-ted published form. We hope that nobody passed up Hans Trixer’s “ Epitaph toThoth.”Mr.Holland, we know demonstratedthis at Gamages. It leftthose who saw wanting to buy the effect, which he promptly sold in the form of April Pentagram. We are now making plans for the new volume of the Pe~zitrgrnm,a volume in which we hope to bringinto actual being ideas of expression that have been dormant since way back in 1946 when the bulletin was conceived.
“The Challenge Memory Ted ” by Will Dexter (Published by Unique Magic Studio, 1O / Thisis atestdesignedmainly for publicity use. To eachperson with whom hecomes in contact,the magicianallotsanumber which in everycaseis different. Thenumbersare long sometimescarrying as many asthirtyor forty digits, nevertheless a t any time in the future when the performer meets the numbered pcrsm, h:: csn without hesitation or reference repeat the number originally given. There is nothing difficult to be encountercd i n themethod given and a good evening’s work should put the would-be memory challe..,”oer at e9-x. In addition to tht: method for arriving attF.2 n e e s sary resuk Wi’l gives a m:ttter of 3ver a C ~ - J F Iof~ hundred “ name ” memory tags that will move of exceptional use. The routine concludes wish instructions as to the properpresentation of the .effect. Bill Nord’s ‘‘Bill-ze-Bub ” (Marketedby Holden’s Magic Shop, price 2 dollars 50 cents. In reviewing this we are putting the cartbefore the horse, for in the AprilP e n t a g r a m , we reviewed Will Dexter’s “ Blue-print forBill-ze-Bub.”a manuscript that gave a number of routines which showed how easily the gimmick supplied for this trick could be putto uses other than in the original routine.
The actual effect, “ Bill-ze-Bub,” is one where a number of bank bills (or notes if you are in this country)areborrowed,the lenders first of all foldingthenotes so that the numberscannot be seen. In thisstatetheyaredroppedintoahat, mixed around, each then being taken one at a time by a spectator, who is instructed to open the bill outandconcentrateonthenumber.The pxformer despite the fact that he is far removed from the bill in question is able to divine thes.pectstor’s thoughts. This is repeated with the remaining bills. The article that is gimmicked to do the actual dirty work is very nicely made, and nstural handlingcannotfailinproducinga very strong effect. If you get this effect don’tfail to set the Dextermanuscript.Withboth you h2ve a splendid means for producing some excellent effects in a most natural way. Bill Nord’s ‘‘ Private Eye ” (Marketed by Holden’s Magic Shops, price two dollars). An ingeniousfellow,thismanNordandit is more than a pity, that as it comes, this particular means for getting possession or rather knowledge of what a spectator has written on a slip of psper is not a practicalpropositioninthiscountry. In nearly every othercountry(thatshouldtantalise you!) this effect can be used with excellent effect. The mentalistwhoisinterested in collecting a completearmoury of theweapons of his trade must certainly get hold of it.
72
WHERE
HOUIDINI
WAS
WRONG
by Maurice Sardina (Translated by Victor Farelli)
SPECIAL CHEAP EDITION 7
ECAUSE we believe that every magician should read this great
book, we haveproducedaspecialcheapedition.It isstill beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which insteadof being heavy cloth covers is now soft boards. The saving is thus passed on to all thosewho, asyet,have notreadthis greatanswer toHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for “ the latest tricks ” you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot do better than study this monumental work. Here you will find unfolded, step by step, the truth about Robert-Houdin’s great inze:;ions, his “ Orange Tre: Trick,”the“Writingand DrawingFigures,” “ The Fastry:pok ofthe Palais Royal, TpeObedientCards “ The CabalisticClock,” . “ The Trapeze Automaton,” Th: Inexhaustible Bottle,” Second Sight Act,” “ The Suspension Trick,” and The Disappearing Handkerchief. The book is profusely illustratedwith photographic reproductions of rare old prints, photographs, wood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading.
Price 7/6 Postage 6d. (U.S.A. $1.00) Fromthe Publishers THE MAGIC WAND PUBLISHING CO., 11 Monastery Gardens, Enfield, Middlesex (The cloth-boundfirst edition is still available at 20/6 0.0.)
PETER
The WARLOCK
MIRACLE SLATE Although limited in output, has now travelled to Ireland, Finland, Belgium, France, Africa,AustraliaandUnited States and Sweden.
And now from “ Hen ” Fetsch . . “ Have been using your ‘Miraclz Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
PRICE
-
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand for canbeobtaineddirectfromthepublishers 1 / 1 persinglecopy.AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing 11, Monastery Gardens, Enfield, Middlesex. Manuscriptsforpublicationand review should be sent EDITORIAL ADDRESS:
The Magic Circle President : HisGracetheDuke
of Somerset,
D.S.O.. O.B.E., JP., M.I.M.C. Esq., M.I.M.C.
Vice-President:DouglasCrapgs, ClubroomandLibraryand
Museum :
Hearts of OakBuildings, Euston Road., London, N.W.l.
Co.,
Magical Theatre :
King Grorge’s Hall, W.C.
books for to the:
Particulars from Hon.Secretary
:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
JACK HUGHES
Magic Wand Publications
willbe
pleasedtosend fulldetails of
you
The Magic Wand,Quarterly.Fercopy 318 p.p. Annual srlbscription 14j6. 36 pagesmonthly. Per copy 2/1 THE DE LUXE “SU-TABLE” TheWizard, P.P. 6 nlonth. 12/6. Year N j - . together with all his other Convincing Coin Magic (Farelli) . . 17/10 effects in returnforastamp. Mastered Amazement Write now t o [Koran & Larnonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 1013 Jack Hughes, 2, Evelyn Ave., (Hurling) 10/3 The Concert Ventriloquist George Armstrong’s Premonition 1013 Colindale, London, Psychoanalysis Chandu’s 1013 10/3 EntertainingWithHypnotism(bexter) Challenge Instant Hypnotism 8 Mass Hypnotism .. .. . . 211Strictly Magic (Eddie Joscplr) ., 513 CONJURING BOOKS FOR SALE Stooging Around (Stuthardi .. 513 OLD ANUNEW.Le? me know your wants 26 Living Sr Dead Tests (Carrett) . . 5/3 LIST FREE FOR STAMPED ENVELOPE Jamesosophy (Stewart Jarnes) .. .. 513 Eio Callers 48/49 ( f w only) .. . 5/3 Year Book StuntsWithStase Money (Lamonte) . . 513 Trade (Armstrong) . . 217 Tricks of the G E O R GJ E N N E S S From thepublishers 47 INVERNESS AVENUE, T H E MAGIC WAND PUBLISHING CO.. ENFIELD,MIDDLESEX 11, Monastery Gardens. Enfield, Middlesex.
N.W.9.
g2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
Everv Advertiser’s goods are fully endorsed by this Bulletin Publishedbvthe
Dromietcrrr . The Mamc Uland Publishing Company. I I , Monastery .Cardent, Enfield. Middlesex. printed and Wilker and Son (Printers) Ltd.. Well Croft. Shro!cy. Yorkshire
by Herbert
9t
73
PENTAGRAM An independent monthly bulletin for all who w a n t good magic
V ! ! .6
&U.
IU
aupY 1952
This effect which we know that you are going tolike is basedonthesameprincipleasPaul Curry’s lovely effect “ Linked ’’ which appeared first in thePha?nix and then inMagic as a H o b b y . Readersmay,rememberthat way back in July, 1950 Elizabeth Warlock described the version of a similar effect, whichsheentitled “ Linklater.” This effect touchedup slightly justover a year laterwas to appear (withmanufact$,uringrights reserved)in the Genii. Underthetitle ‘. United we Stand ” it had a patriotic motif that I should think made any real lover of his country, puke. Jack has been using this version fora long while and the only other requirement besides two differentcolouredlengths of corkls isapocket handkerchief. The cords incidentally should measure between four and five feet in length. First of all the two cords are placed upon a table top. Each is folded round to form a “U” as illustratedhere
O ? eS-g
Now thepockethandkerchief is takenand placedoverthecords so thattheendscan be plainly seen. Illustration two which shows a more advanced stage gives an idea of how the set up should be at this moment. Now under the cover of the handkerchief the twp loops are twisted. This illustration shows just how.
This twisting is onlypart of theaction for with a carry through the linked section is brought out from under the handkerchief as in this illustration :
74
The twist in the cords is of course, conccaled bv the handkerchief.Stop at thispoint and em~ a s i s ethe sheer impossibilty of what has taken place’grasp the linked section Of ;he cords between the first finger and thumb of each hand andatthe sametime grip thehandkerchief withther.-mair;:c - fingers.The handkerchief andcords are lifted as inthisillustrationand thehandkerchiefdown in front of t h e will cordslike a screen.Thetwistinthecords disappear for the weight Of the cords a s they hang bringsthem into the position shown in this illustration.
Last month you may remember we published our own effect which for want of a more ima9ineative title we called “ Precogspeller.” When Hans was over here we showed him the effect and also explained it to him. Now Hans,unlikeourself, is technical a purist.Providedsimplicity a of technique is kept, we don’t care a hoot what means we use to getadesired end. Hans,as, we said before does, and he jibbed at +h? ides of msrked, even though they might be nz‘ursl!y marked, cards. Anyhow, Hans liked the effect and when hereturned to Holland, he sent us his version, a variation that he had evolved during the air trip back to Amsterdam.Hereit is. The magician takes a pack of cards, writes a prediction on the face of a Jolter and hands the remainder of the pack to a spectator for shuffling. The packistakenbackandcutintotwo halveq andhe offers thespectatorthe choice of either half. “ As it is a matter of importance that both of us should have exactly twenty-six cards, perhaps we hadbettercount them,”saysthemazician. This is then done, the two packets of cards then beingribbonspreadonthetable.Thespectator now pushes out one card from his spread and Sup-
At this moment the handkerchief is allowed to fall,the fingers andthumbs of the hands keeping
their grip
On
the cord-
Penultimately, don’t
use a silk handkerchief,
for such things are not opaque enough. Ultimately, if you haven’t two pieces of cord at hand get a couple of lengthsofcottonropeandtryitoutright now.
posing that it is the Queen of hearts, the name 1s spelt along the magician’s spread, one card being used for eachletter. Wewill supposethatthe card indicated by thelastletteristhe Ace of diamonds. TheJoker isturned up to show that the magician correctly predicted this cardThe requisites for the effect is simply a pack of cards that contains a joker. Presenhtion and Method : The magician takes the pack face up and leafs through to find the Joker. As soon as he sights it he cutsit to theface of thepack.Atthe szme time he glimpses the card that follows the J o k r . i.e. the card which lies behind it. Using the pack as a writing pad, he writes on the face of the Joker the card that he has glimpsed and which €or ths sake of completeness wewill assume is the thre:: of diamonds. Now adoubleliftis executed an? the Joker with the predicted card behind is lifted with the right hand off the pack as one card, the left hand offering the spectator the remainder of , h e pack forshuffling. The ?WO cards thnt vere double lifted are turned face down. After this 117q b t m done the cards are tsken bsck with the P”t hand.TheJoker with thecardunderit should
75 now be held fingers underneath thumb on top and the pack in the left hand in a dealing position. The magician now raises the two cards in the right hand .giving a flash of the Joker and remarking, “ On this card I have written something CO;?cerning thefuture.” To accompanytheremark, the left hand first finger stretches out and the left hand moves across to point out to the Joker. For a moment the Joker is hidden and at this moment the card behind the Joker (the three of diamonds) is pushed on top of the pack, much in the manner that one accomplishes the push back false count. Immediately, without giving the spectator a chmce to read what is written on the Joker, but at the Same time allowing him to see that it is t?w JoRe7, this card is placed face down upon the table. The pack is now cut into two approximately equalhalves, the lower half being given 1-0 a spectator.Shouldyou wish however to give the helper a free choice of either heap, the following subterfuge fits the bill. Cut the pack in halves in the hand in a bookwise fashion. Ask the spectator which half .he prefers for himself. If he says the bottom. portion, fair enough, just let him take it. Should lie plumpfortheupperpart which of
No doubt many of youreadreports in the national press regarding my lecture the “Credulity of Man.” I n this lecture it was my object to show how most people b’elievewhat they want to believe and my emphasis was on how easily they could, in pursuance >“af.their-. belief, so .’. easily be deceived. The accent w a s on pseudo.psychical phenomena and my penultimate contribution took the form of a mock spiritual ‘seance. I was securely tiedto a chair and whilstso tied (a screenbeingplaced in front of me), various phenomenatookplace.Most of it was theusual kind of stuff like bells ringing, but there were a few novelties. one of which I now propose,to describe for I feel certain that it could be of use to a performer who at sometime ortheother m?y be calledupon to give apsuedo psychic demonstratio.?. incidentallythetrick tie .I usedwasthe Joseffy one that is very well described in “ The Art of Maeic.” Ceztaih preliminaries took p h - s before I was tiedup,and I intimated to the audiencewhat 1 intended doing. In this case 1 took a tumbler, and a. thiswas semi teststuff,had it examined. A bottle of milk was then opened and the contents poured into the tumbler to withim half a inch of the lip. A piece of cellophane with the aid of two piece of adhesive tape wasthenstuckoverthe mouth of the glass and fitiallp anotherlength of
course contains the three of diamonds., slip the top card on to the lower portion in the act of handing himtheparthe wishes. Quitefranklythereis little need to offer a choice, for after all thz czrds havebeenfreelyshuffledandplainlycut.Explaining that it is necessary that each should have twenty six cards, the spectator is asked to count the cards he has, the magician doing likewise. As themagiciancounts he remembersthatthe first card laid down is the three of diamonds that he has predicted. For the purpose of the effect, and as he has no mark to guide him he wants it in the best position, i.e. thirteenth.Therefore, when he reaches in hiscounting,thenumberthirteen,the card that follows is slightly jogged and the remainder of the cards countedonto it. Should the magicianhavemorethan twenty six, the number above. this is removed and added to the spectator’sheap. The reversetakesplaceshould thespectatorhaveagreaternumber.In picking up the cards the heapis casually cut at the jog thus bringing the three of diamonds into the thirteenth position. Thecardsare ribbonspread,the spectator pushesone cardoutand accordingto the value, the magician in themannerdescribed in “ Precogspeller ” counts along the row of cards.
adhesive tape was f;laced around the glass so that the overlappingends ‘held down the cellophane. The whole thing now looked like this :
The spectatorassisting in theoperationis finallyasked to initial the adhesivetape at all points where there are joinings. The glass is then left in full view until the seance is under way. In my own c ~ s at e this stage when it was required my daughter d$ew aside the screen that was shielding me from the audience and placed it on a table that was beside me and on which a bell and tambourine hadbeen,placed.The screen was now replaced and iq less that a minute it was again moved and though I was still bound the contents of the glass
76 had vanished, the idea being that the pseudo spirits had managed to penetrate the cellophane and drink the contents. The glasswasthenpassedforexamination and the checking of the sealing.
The requirementsare simple and few. They are :l
A half pintstraightsidedtumbler.
2 A sheet of cellophane measuring six inches by six inches.
3 Abottle
of milk.
4
A reel of adhesive (medical) tape, half-an-inch in width.
5
A Biropenfor
marking the tape.
6 A drinkingstraw. 7 A jar of vaseline. Although the preparation, which is done prior to performance,is ot asimpleorder every hing must be done most carefully. First of all lay the of? piece of cellophane flat upon a table top. Just centre a holeapproximately 3/16 of an inch is carefully cutout with sharp pointed scissors. If your womenfolk are interested in embroidery work borrow the special style of scissors that they use in applique work for they ara idsal for a job such as this. Now two strips of adhcsive are cut each measuring abouttento eleven inchesinlength across the cen re of ths cellophanc, place one adhesive side down thus-
Now cut the remaining peice Into two equal parts. One length adhesive side down is placed on the cellophane at right angles to the long strip on the side opposite to the hole. The remsining peice of tapehasa littlevaseline srnesre? over labout three inches of its adhesive surface and it is then plsced adhesive side down on the cellophane thus :
(The shaded portion in Fig. 3 is the part uuselined).
Fold the ends so that adhesive side is against adhesivesideand ;he cellophane is ready for packing. When the time comes for the performance the tapes are unfoldedandthe whole affairplaced cellophane uppermost on the tsble top near to the glass and milk. When thecellophane is shown to the spectator the small hole is invisible and it looks as though :WO pieces of tape have been Isid across thetop 07fe over the ot4.r. The glass is now filled with mi!k. The cellophane andtapes are takenand placed on top of thetumbler,the overlapping pieces of ta.pe beino pressed against the sides of the glsss. Another piece of tape is cut from the spool andl this wound round the glass SO thatitoverlapstheendsandthewholeaffair presents an appearance like that in the firct illustration.The spectatoris then handedthe biro pen and is required to initial the tapes at the part wheretheyjoin or overlaD. Thesmctator has donehisshareand takeshisseat. The tumb!er of milk is left in view of the audience. When the time comes, the aysistant places the glass on the table. In your inside pocket or on the table you haveplacedthedrinkingstraw. Immediately the screen conceals the ?Isss and yourself, free yourself and very carefully ease and fold back that portion. of theadhesivetape that has been vaselined. Take the drinking s'raw and push it through the hole in the cellophane, place your mouth to the free end oc the straw and drin'c the milk as quickly as posqible. When the?lassis empty,withdraw the strawandreplace it in i f s oricinxlposifioncarefullll fold theadhesivetape back intoits originalpo-ition.Reset yourself with the tie and allow the screen ' 0 he withdrawn. The glass can now be,taken and checked by the spxtator.
77
Ef€ect :-A half crown and a penny we taken hand is covered the first and second finger of the from a purse,each is shown and wrapped in a righthandbring the half crownintothethumb corn handkerchief of contrastingcolours.The palmposition, andthenthethumb brings Ithe are now shown to have changed places. penny into the position just occupied by Ihe half Both hands are shown empty after the efEect crown i.e. between the first finger and thumb. thus dispelling any idea the audience may have had Now grasp the penny through the hankerchief as to how the effect was obtained. with the left hand. Now allow the half crown to Preparation.-The itemsneeded are, a small faU back on to the fingers and from there drop it of contrasting coinpurse,twohandkerchiefs into the right sleeve. The left hand now wraps the colours,ahalf-crownandtwopennies(yes handkerchief round the penny and places it on the therearetwoafter all). Thepenniesshould tableto performer’sright. The performer now match as closely as possible, gestures with his right hand thus showing that it The set up is as follows. The half crown and is empty without mentioning the fact. one of the pennies are placed in the purse and this The penny on thetable isnow picked up is placed intheoutsidelefthandjacketpocket. and spun into the air with the performers left hand. The twohandkerchiefs and theremainingpenny Whilethisishappening the righthand isslowly are placed in the right hand trouser pocket. lowered and the half crownfallsintothe fin2er You are now all set to perform a little miracle. palm position. The move is now repe2ted with the Routine.-The performerremovesthepurse pennybeingheld in peeormer’brighthandand from hispocket and places the two coins fromit on half crownexchangedforitunderthehandkerthe table. At the same time he removes the two chief. hanks from his righthandtrouserpocket, finger The rolled uphanksare now on thetable palmingthepennywhile thehandisstill in the while theperformerrecapitulatesandallows the pocket, and places the two hanks onthztable audience to see that there is nothing in either hand. keeping the penny finger palmed. The left hand now takes the handkerchiefs one at a time, shakes them and zllows the audience to see The half crown is picked up between ths firs thatthe half crownand penny havechanged finger and thumb of the right hand and shown to places. While showing the half crown and penny, the spectators. (While showing coins always keep the righthand is broughtdown and the sleeved the back of the hand towards the spectator so that penny retained in the hand, picks up the two handno flash of the palmedcoin is given). Th? right kerchiefsandreplacesthemtogether with the hand is now brought up vertically in front of the pennv into the right hand trouser pocket. body, with the hand level with the face, thus the The other penny and!he half crown are repalmed coin faces the performer and the back of p l x e d in the muse and this is placed in the outside the hand the audience. The lefthand now takes lefthandjacketpocket. Thusautomstically rehold of a handkerchief and covers the right hand set’ting: for the next performance. withit. Now comes the crucial move and this ehmld I think the litfle time and trouble given to the learning of this effect will be well rewarded. be performed slowly and deliberately.Whilethe
STARS OF MAGIC SERIES VERNON ON MALINI Price €3-10-0 To the many interested in magic to-day, thr name of Malini is the name of a magical legend, yet all in all it seems only yesterday that we saw Max Malini performing his card stab at thn Magicians’Club. In a brief biographical sketch D 2 Vernon brings to the reader some interesting pieces of fact and fiction regarding this outstanding personality, and follows it with the description of threseffectsthatMslini performed. The firstis the “ Blindfold Card Stab.” Technically li?tle skill is required, and the knowledgeabl: resder a n d ’ x worker could put his finger on far better and- far moreconvincingmethods (toimtance ius! two. the Anneman Five Card Stab and the D x t e r Stx5),
for in this version thecardsarechained to the performer throughout the effect. The effect is tied up with personality and until we come to the time whTq outstsnding magical personalities are known to a wider public and +hemagical mimic c m corn2 into his own, magic that for its ideal accorn9li.hment is a matter of a single personality or its true ccpv though having historicalimportance mav havelittlebearingonthefuture of magic in general. The seeond etfect isacolourchange that is extremelvdeceptive whilst thefinal effect tobe dew-ibed. takes the form ‘ 0 9 coin vmish that dem2qds presentationratherthan&ill, Thereare eightpages of textandsome twenty onephotographs.
78
VERNON ON LEIPZIG Price €3 010-0
has been done by Bruce Elliott and George Kargcr.
In the nine pages devoted to Leipzig, Vernon after anotherbiographical sketchdescribessome four unpublished effects of the late Nate Leipzig. In this theconjuringascendsthe scale. Inthe
the latter alsobeingresponsible
first effect entitled “ Leipzig’s Opener ” the reader is introduced to a pleasant sequence that calls for smoothhandling. The description of thedouble lift used by Leipzig is of more than historic interest and we had our introduction to it when watching Cy Endfield work. Whilst few will agree that such a method l”s- not natural (and how manydouble lift movesare?)thegreatpointinitsfavouris that not only is there no “ get ready,” but there is no possibility of missing in the take away. The second effect “Leipzig’sAcrobats” is a beautiful transposition of two cards, so clean and so free from unnatural moves, an effect which i‘l a borrowed pack is used is the essence of real card magic. This effect is followed by Leipzig’s version of the “ Cap and Pence,” which in this form makes for table magic at its best. To conclude there is a most detailed description 6f the torn’ and restored cigarette paper that one feels certain cannot be bettered. In both of these supplements Dai Vernonposes for the photographs .ahd we can well imagine’ this greatesl o f ’a11 tbclihiciansperformingthe effects with thatfaultless.styl&’.that is his. The editing
for thephotographs which as usual leave nothing to be desired. We havementionedalittle way back aSout publishing personality magic. In this series which is now closing, we think of the Slydini Bertram and Malini sets as being personality magic i.e. if you have a similar form of physical expression to these artistes then their tricks (providing you also have the technicalability) are alsoyourtricks. The remaining sets are tricks forall those whc, with the aptitude will give the necessary practice and rehearsal. For thisreason we thinkthe price of the Malini very highindeed, for theknowledgeable. technician will add just zero to his stock of knowledge, In the biographical note, the description of theproduction of ablock of ice (a trick which Malini did on many occasions whilst he was here. and not always deceptively at that) will assuredly whet the reader’s appetite and he may ask why it was not included. Malini’s lovely vanish of a coin at a bar is another little item that would have mzde €or better value. Perhaps there are some, who when they resd what we have written will think that we are tryin2 to “ rib ” a grand effort in magic; such is far from being the case. We do feel however, that there are certain standards of cost for effects, that’s all.
The, last few,;weeks has seen the passing of two goodfriends of magic,BettramEvansand Jack le Dair. Bertram Evans was not only a pleasant perolder school but nc was the former of the mechanicalpowerb&ind ,the greatwatchand clock act of Gus Fowler. He had sqffered over a period of several months .and with the knowledge that his illness was incurable the final sleep must havecome as amercifulrelease. . When one realises that,>Jackle Dair had been working up to a few weeks ago, theuhews of his collapse came”as..a ,grpat shock.. Although in the early seventies; no member of an audience watching his act would have.placed him as an old m m for his actions,manner and performance were those of aman in his lateprime. Hehad an original streak that wa,s ever present in everything thathehandled,originalitythat was frei: From freakishness.Whenever in the future we think of thisgreattrouper we shallrememberthe vFry happy week WC spent with him last October during the Magic Circle Festival, of his easy entrance and his lovely opening effect with the violin bow. We shall think of his widow in the wings, helpins with the chocolate box trick, we shall think of the freshnessthat he brought to eachtrickhepresented. Aboveall we shallrememberhismodesty. In ‘‘ Tricks of a Trouper,” (published by GoodcliRe),
he gave magicians at large a number of the tricks. androutinesthathad stoodhim in goodstead throughhislongcareer(hestarted in 1902 in variety). To the,relatives of these two gentlemen of magic ,we extend the deepest sympathy. Coming back from Scotland recently and awaitingaconnecting trainat Stirling, we saw a notice that we have never in our lifetime seen exhibited on a station platform. It was not jur;t a printed bill, but an enamelled plate, very very old. and on it there was a warning to travellers regarding card-sharpers ! Recentreportssaythat Sydney and Lesky Piddington are packing up show business and settlingdown.Certainlythese young folkhsve goneplaces in thelastthreeyears,andhave in that time created more controversy regarding the means for achieving their results than any act since the time of the Zancigs. Newspaper comment was to the effect that they had been offered a matter of ten thousand pounds for the secret of the act, an amount which onlyproves the undoubtedvalue of some of Annemann’s contribution S to magic. Therearealot of people who consistentlv talk of the Art of Magic, and with the next breath put forward opinions that kill any idea that maoic is‘ an art. For ourselvesthough, we think that a magician may become an artist in his presentation of a conjuring trick, we can never see how a mere’
.
79 become a work of art.Theparticular reason for mentioning this is the fact that during the last few months there has been much t a l i of magic and magicalexposing on TV. So’me of this talk has come from people who would like to appear before the biggest audience in the woi-ld at any price, whilst quite a lot has been said by those who genuinely feel that TV can harm magic. Our ownmainobjections to TV as amedium for magic and many kindred acts is that two dimentionalprojectiondoesnotallowtheperformer to use his personality as hecould with a live audience and also that misdirection as it is: usually acceptedhasno place. Comingback to theArt question. One writer has commentedon the matter of exposure,deliberate or otherwisethrough the medium of the television set. If the exposure of a trick is enough to kill magic, then magic csn in no way be considered an art, fox: the means of 211 rxl arts can be shown, discussed and debated without the weakening of apublicopinion. In f ~ c tit is ratherthe reverse, for a discusion onthe means used by real artists is something to awaken reypect and admiration in the mind of one who ! S ml;fTvsre of the trials and tribulations of the true artist. irl Possibly the most amazinp percon&y magic to-day is Bill Larsen. Since his d ~ v oof collaboration with the late Page Wrioht he has shown himself tobeone of the world’s grelt -moicq1 enthusiasts. Way back in the thirties he founded the Genii which hasdone amwnificent iob of work. Since the close of the last war. he has d+Prnated his enthusiasm with a certain diw-untleness. We have however always believed in his sincerity.
Today when we see that every new Genii subc scriberbecomes a Fellow of theAcademy of Magical Arts andSciences, we justwonder whether the sincerity is there or whether Bill has his tongue in his cheek whilst the gobslops of magic wadeinwiththeirsubscriptionsin order to write F. A. M. A. and Sciences after theirname.Can’tyou visualise the small time egotist showing his parent the duckiest trick with a sawn off piece of pin-table,that he h,; just bought, and when thesaidparentafter the exhibition,remarks “ that’s one bloody awEul exhibition of conjuring, junior,’’ the youthreplies, “ Pop, that’s impossible, I’m a Fellow of the Academy of Magical Arts andSciexes.”Come off it, BiIl and face the facts ! For future issues two lovely routines Erom N l s HonourJudge Wethered,a lovely coinidez of Tan Hock Chuan’s (we’re using this in the O-‘-ober number), a very nice Poker Deal of Roy Walton’s, the “Ring ” moves ofDud!ey Whitnzll, a2 eFFe7‘ of Dr. Jaks that we have mentioned before ?:id a by Peter couple of first rate ideas for mentalism Moffatt. O n Aug. &h, 9th and 10th the Dutch Magical Union representing all the Dutch magical societiOs is holding a congress in the lovely city of Breda. As this is all part of a celebration held by Breda folk to mark the seven hundredth anniversary, the show of national costume and all that goes with it. shouldmake for awonderful aqair. The cost of obadmissionis 25/- and fullparticular.canbe tainedonrequest from : NederlandseMagische Unie, Meizersgrach? 484, Amsterdsm.
Effect :-One spectator thinks of number a between fifteen andthirtyandwritesthisdown. The performer shuffles a pack of cards and passas themone by one in front of another spnctztor. counting aloud. This spectator is asked to fix on a card in the first fifteen and remember the card and thenumber it isat. The pertcormer placr-S t h ? cards behind his back and state< rfi?.t he wi? c-deavour to read the spectator’s mind and trsn7fcr the chosen card to the number chosen by the first spectator. .’ The packisbroughtback to the front and the performer counts slowly down the pact. having the spectator who chose the card stop him at his number. This card is turned over to show that thy card has moved. With no fast moves of a n y kind. theperformercontinuesthecountand the first spectatorstopshim at hisnumber. The car.? is turned over and proves to be the selected one. Secret:-When the first spectator writes down his number, watch the end of his pencil and y m wi!l
invariably be able to te!l wha! number he writes. (Thisschemeis I believe dueto AI Baker and is very good).
lrickcan
When the pack is later placed behind the back, simply reverse thecardstoone less thanthis number by counting off from the top in the usual manner and then replace. Now cut the csrds and facethebottom half-finally turningthewhole packover.Commence to dealcards(from what was originally the bottom half of tht: pack) until stopped. Turn over the card a? which stopped a d simultaneously drop the hand to the side holding the pack and turn thepack over. The trick now completes itself. Notek-Some will want to obtain the firs? numSer by‘‘more certain ” methods, hut. a litt!e practice will convincethem that pencil readins isalmost fool proof. In the unlikely event ofbeing unable to read the pencil, the trick is still a ~ o o done if the spectator is asked to state his number.
TON1 KOYNINI’S
“DERBY”
HERE
I S a new approacht o card magic, a light-hearted entertaining routine-it might will keep the audience entertained, amused and almost becalled agame-that amazed for as long as you like to play it. IN EFFECT the performer chalks on the bar or floor, or marks out a “ race course ” with match-sticks or what you will. Having done that he lays the four aces-representing the horses a t the starting gate. Three spectators are invited to “ back their fancy,” and each chooses his “ horse ” and places his bet-suggested as a penny-on it. The performer is left with the remaining horse, and he places a half-crown on this, stating that the winner will take all. The spectators now shuffle the remainder of the pack, and the cards are handed to a fourth spectator who deals them face up on the table, one at a time. The three punters move their horses forward one move at a time as appropriate cards turn up, and the race runs its exciting course, sometimes one being in front, sometimes another. The performer, who might even be last up to the last moment suddenly finds his horse in front and past the winning post first. The race can be immediately repeated-as many times a s you like-AND THE PERFORMER WINS EVERY TIME, no matter what horse is left for him to back. NOTE THESE POINTS : Nothing more than an ordinary pack of cards is needed, apart from a piece of chalk or a f e n match-sticks t o always takes the last mark the “ course.” N O SKILL IS REQUIRED. There is no false shuffling or snitching of cards. The performer ace left, and never influences the spectators’ choice. The cards are shuffled by the spectators. A spectator does the dealing. In fact, the to an exciting “commentary#* on the race. performer has practically nothing to do and can devote his whole attention giving
ANOUTSTANDINGCLOSE-QUARTERCARDROUTINEDescribed PRICE
5/= POSTAGE 3d.
(U.S.A.
in a neatly printed booklet
75 cents)
From the Publishers
THE MAGIC WAND PUBLISHING CO., I I MonasteryGardens,
I‘
I The WARLOCK ‘I
1 .
WARLOCK’S
The Magic Circle
PENTAGRAM
.
l M,IRACLE.SLATE I Although limited in output, has now travelled t o Ireland, Finland, Belgium, France,Africa,AustraliaandUnited States and Sweden. ,
PETER
is published on the 24th of epchmonthand canbeobtaineddirect from thepublishers for 1 / 1 per bingle copy. AnnualSubscription 12/post free. PUBLISHED 13Y:
The Magic Wand
Publishing Co., Gardens, Enfield, Middlesex.
11, .Monastery
hlantlscripls for publicationandbooks review slloddbesent to the: EDITORI4L. ADDRESS:
-
for
Peter Warlock,
And now from
“
Hen
”
Fetsch
24, Wordsworth Rd., Wallington,
..
Surrey.
Have been using your ‘Mirxlz Slate’ for over a month now and I mustsay it’s wonderful . . . . the impossible made possible. It‘s the answer to a mental problem I have worked upon for years.” . ,
Enfield, Middlesex
President : HisGrace the I>lllir o r .C;onwrset, D.S.O.. O.BE.. J.P.. M.I.M.C. Vice-President:Douglas Crnggr, Esq., M.I.M.C. Museum :
Clubroom and Library and
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
KingGeorge’s
Hall, W.C.
ParticularsfromHon.Secretary
Francis White, 39Alverstone Avenue, Wimbledon Park,S.W.19
“
JACK HUGHES will be pleased to send l’ou f u l l details of
THE DE LUXE “SU-TAB-LE” together with all his other effects in return for a stamp. Write now to
,
PRICE
-
e2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
1-
1
!I ]I
l*
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Magic
WandPublications
The M g i c WandQllarterly. Fer copy 3/8 p.p. .4nnual s,uhsEriptioll 14/6. The Wizard, 36 pagesrnonlhly. Per .cop\! 2/1 p . p . 6 rnonlki I 2 / 6 Yrar 24;-. Convincing Coin Magi; (Falelli) . , 17/10 Mastered Atnazerrlcnt . . 10/3 fKoran & Lamonte) Rohle?o’s Myverizs fnohlrnr . . 10/3 The Conceit Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis . . . . 10/3 Entertaining WithHypnotist11 (Dcx-err) 10/3 Gha:lenge Instan! Hypnotism S; Mass Hvpnotism .. . , . 211Strictly Magic (Edrlic J o a e p h ) 513 StooSing ictlltllard) Around 513 26 Living & 73rad”Trsts (Garrett) . . 5/3 larnesoaophy (Cf-wart lames) 513 Year Rook 48‘1) f f r w nnly) . . . 5/3 Stage Money (Lamonte) . 513 Ctunts With Trade IAmmstrona) . 2/7 Tricks of the Front the publishers WAND PI’BLISHING C O , THE: MAGIC 11. Monactery Gar4enz. Enfield. M:ddlesex. ,
CONJURING
BOOKS
FOR S.4I-E
OLD ANL‘ NEW:. Le: m- know your want* LIST FREE FOR STAMPED ENVELOPE __ h0 Callers
GEORGL‘. J E N N F S S .I7 I N V E R N E S S AVENUE.
ENF!EI-II, X!DDI_ESEX
Every Advertiser’s goods are fully endorsed by this Bulletin published by thepropnetclThe
Magic Wand Publishing Company 11 MonasteryGardens,Enfield.Middlesex,andprlnted Walker and Son (Printers) Ltd.: Will Croft. SVoIev. Yorkshirc
by Herbert
*
81
PENTAGRAM An independent monthly bulletin for all who w a n t good magic
V&, 6 L a , 11
Uugud 1952
Pre1,iminary: Some fifteen or more years ago, whilst playing around withaset of LinkingRings which hzppened to include an additional singleringlarger in diameter than the oihers, I was lucky enough tohitupon som,e novel uses forthat ring, and incidentallyuponamostdeceptivemethod of apparently linking and unlinking the chains of two andthree permanentlylinkedrings. Atalater stage, in March, 1939, t o be precise, I contributed to an issue of “ The Magic Wand ” what I must now regard as a somewhft inadequate explanation in view of the fact that, to the best of my knowledgenootherpersonhas ever yetworkedthe moves. Havingregard totheconsiderable lapse of time, I have been persuaded that republication mightnotbeunwelcome ; and I am taking the opportunity to rewrite the whole material in what I hope will prove to be more intelligible language and also toadd somefurther moves withlarge sizerings as yet unpublished.
The Large Ring: The exactsize of any large ring, in relation tothe size of the ringsformingtheregular set with which it is used, is naturally of some importance. It is,however, sufficient to say tha:t it; diameter should be as srnsll as possible consistent with ability to slip easily over one of the regular single rings without pressure. I use a set of rings of the so called 10-inch s k e and, if I lay my large ringflat onthetable with one of thestandard single rings inside it so that the rings are in contact atone point of theircircumference, the space betweenoutside of the standard ring and inside of the large ring at the opposite point of their circumference measures of an inch. It is advisable to use afairlylarge size 7c.t of ringsbecause the smallertheirdiameter the larger will be the Large Ring in relation to them and consequently the greater the risk of detec:ion.
+
%ice U ? eS-9
Terms Used : Careful note should be taken of the meaning of certain descriptive terms andabbreviations used, as follows :“ Chainof two ”-Two ringspzrmanently linked together. “ Chain of Three”-Three rings permanently linked together in the form of a chain. “ LinkedPosition ”-That in which two or more linked rings are extended to the maximum possibleextentandclearlyappear to view as linked rings. “ClosedPosition”-That in which two o r more linked rings appear to the audience as separate and single rings. Roman Numerals-e.g. VI, refer to points o n the circumference of a ’ring as though they were hours on a clock face as seen from the audience. “Clock Twisted”-Assume that you are looking downwardsuponthechain of two, which hangs from your fingers in a linked position, the lowerringis“clocktwisted” when ithas b e m turned horizontally so far as it will go in a clockwise direction. “Anti-Clock Twisted”-The reverse of the above ; thelowerringbeingturned in i n anticlockwisedirection. Apparent Linking Q€ the Chain Q€ TWO : Standfacing half left.Yourleftforearm is almostparallel to theground,andyourhandis held palm upwards with the fingers pointing towards the audience. From thesehangwhat appearto bea few singlerings,butthetwo nearestyour finger tips, and alsonearest the audicnce, are actuallytheChain of Two in a closed position. The LargeRing is at thisstage incourse of examinakion by amember of the audience;and this you takefrom him between the first and second fingers of your right hand.
82 The move which you are now about to executeand which I havetermed)theTwistover Link, isalittledifficulttodescribe in words despite the fact that it isreally very simple,but the explanation may prove easier to follow if first I givearoughoutline of the effect and of the workingprinciples. Tomake everything as clear as possible theillustrationsonly show the chsin of two and the large ring. The latter is the twisted ring. The letters A and B representtheposition of the left and right hands respectively. So far as the audience is concerned, the effect is that, without ever relinquishing your right hand grip of an examined single ring, you link it to the outermost ring in your left hand and immediately hand out the two linked rings for examination. What actually happens is that, in ;he course of a twirling movement presently to be described, t h e LargeRing is passed clear? overthe rings forming the Chain of Two to take up a poTi'-ion third from you finger tips. Your first and second finger grip of t e Large Ring is at the same time switched for a thumb and first finger grip of 'one of the chain rings which latter is then pulled down intoa linkedposition andthe twolinkedrings handed out. Let us now resume at thepointwhere you had taken the Large Ring in your right hand. Carrythistowardsyour left hsnd which graspsitbetweenthumbandtwomiddle fingers a t apoint on itscircumferencediametrically opposite to the point where ic is held by your right so that the ring hand and lower your right hand is almost fiat against the other rings. In this position your left thumb and fingers hold it at XII and yourrightfirst iwo fingers at VI, second.finger being to the front, and first finger to the rear. (Fig. 1 .).
'h
of yourleft thumb preventsany con!;inuance of thismovement; and itthenchangestoafolding movement from left to right (view point of audience),uponahingeformed by thegrip of your left thumb and third finger. (Fig. 3).
As theringturnsover,your its grip to permit a passage but originalposition.(Fig. 4.).
tkuiil3 i-eieases then resums its
Your right hand, which throughout describes asmoothclockwisemovement,carries t h e nng over and behind the chain rings at V, this bcins assisted by pressure of your It,. +humb (Fig. 5 ) . Continuing the clockwise movement, your right hand reaches VI andat about this point, exchangesitsfirst and second finger grip of the LargeRingforathumband first finger grip of the nearer chain ring, which ring is at that. moment by relaxation of your left thumb and fingers, allowed to fall.(Fig. 6).
A
Carry this ring smoothly down into a linked position and hand out the chain for examination. 0
Nowimagine for a moment that, instead of being supported by your left fingers, all the rings are pierced at that pointfromfronttorear by a pin on which they can swing freely in (from the point of view of the audience), a clockwise or anticlockwisedirection.Considerthegrip of your left thumb and fingers to take theplace of such imaginary axis and commence torevolve the Large Ring round it in a clockwise direction (Fig. 2). Very soon, although allowed to slip off your leftfirsttwofingers, the position and resistance
The various stages set out above actually form one continuous movement which occupies about a second, but speed of execution is far from essential. A slow anddeliberate movementis much to be preferred and, if anything, looks more convincing.
Apparent Unlinking of the Chain of Two. Anybody sufficiently interested to master the linkingmovejustdescribed, willvery soon appreciate that something in the nature of a revers11 of the process can be utilised to give the effect of an apparent unlinking of two permanently linked rings.
83 Yourstance is the same as before,butth2 Large Ring is nearest to the finger tips of several ringshanging from yourlefthand. TheChain .of Two is .in possession of amember of the audience.Withyourrighthand,collectthisand transfer it to your left hand so that it hangs there from in a linked position. Once again I shall first give a rough oudine of the movement which follows, viz., a sliding and twisting motion of the lower chain ring in relation to its fellow, during the course of which thz cinin is closed and slipped through the Large Ring, :he latter being at once handed out for examination. To resume, you mustfirst make s u e t h l t thelowerchainringhas been anti-clock twkted, and then grasp it at Vi1 between you; right hr:t finger, on top, and thumb, underneath. Your left thumb presses firmly at XII on t.he LargeRing 7). and the upper chain ring. (Fig. A
.A
a
A
T Continuethiscombinedmovementuntil at XII the linking point reaches your left thumb and is pressed through the Large Ring to the rear. Your left thumb relaxes slightly to prrmit this pmsge andthen pressesforwardoniheLargeRing in general support ofthemovement. At thisstzge the two chain rings are almost in aclosed position. (Fig. 10). Actual movement of the original lower chain ring has now ceased but your right thumb a i d first finger continue the clockwise motion byesliding in contact with the motionlessringuntil at I11 you find that the Large Ring can be engaged between your right first and second fingers (Fig. 11). A
T
With your right hand, cxnmence to slide the lowerring roundtheupper ring in a ciockw;sl= direction (Fig. 8). As the linking point of the two ring3 reachys IX of.theupperring, you also start to fold the lowerringover on to its fellow; and whenthe linking point reaches XI the lowcr ring is approximately edge on to the audience-if indeed a ring can be said to possess an edge. (Fig., 9).
From
"
Relax your contact wit,h thechainringbut griptheLargeRing firmly and revolve this to about VI where it comes easily clear of the o t h x s and can be handed out. As in the case of the linking move, there i s 110 necessity forspeed. A smoothunhurried dockwise rnover~znt of therighthand iq the m?in requisite to produce convincing a i!lusiorl of unlinking one ring from the other. (To be continued).
THE PSYCHOLOGY O F CONJURING " ROBERT EDMUND BERNHARD
Jr., 1936
Then too, another popular misconception is that there is some particular benefit to be derived from being close to the performer while he is at work. A little thought would make it clear how wrong this notion is It stands to reason that the man who has the performer inview from head t o f o o tis far more dangerous than one who is too close to makea comprehensi\Te inspection. Yet people will still crowd close to the performer.
Of lesser importance, but still 1-ateworthy,is such a factor as timidity of the average audience. Timidity i s used by magicians frequently. It may seem unsporting. buthere is a typical example : the performer wishes to " force " a card. The easiest course would be'for him to go to a young l a d y and surreptitiously push the card into her hands. Then he asks her if she made a free choice. She timidly nods in the affirmative even if she realises that she has been duped. Why? Well, can you imagine a well brought up young lady attracting a lot of attention to herself by raising her voice and making a strenuous objection ? Of course qot !
84
Here is a delightful handling of th-, " Ellis .' RingthatJack showed us theotherevening. In effect it is rather reminiscent of " Ring of Thoth." The method entirely using the Ellis ring and shell makes for an insoluble mystery.
As the main mystery concerns the passing of the ring ontoa length of rope we will concern ourselves purely with the procedure and the particularly subtle move that is brought into play.
between his thumb and fingers. Actually however as he makes the slight turn to left, the left hand thumb pushestheringbetween the secondand third fingers so that as the hand is brought up and back of it is kept to the audience the position of the ring will be thus.
The requisites are as follaws :
1. The 2.
"
Ellis " Ring and shell.
A length of softcottonrope feet in length.
aboutfour
The shell and ring are taken from the pocket, the ring being passed for examination and theshell retained. On being taken back, the shell is slipped over the ring, or maybe if you work that way, the ring isslippedunder the shell. At thispointthe ring withshellabove it shouldbeplacedonthe of the left hand, so thatit lies upturnedpalm across theroots of thethirdandfourth fingers. The length of rope is now takenandone end threadedthroughthering.There is aright and wrong way to do this, andthe wrong waywill afi-ect a later move. The right way is to take the end of the rope, pass it under the ring and shell at the side nearest to your body, and then bring the rope up and over the shell and ring furthest from the body.Performerremarksthattheaudience have seen one way of threading the ring upon the rope.. He wouldlike to show them another. The ring IS apparently taken of€ the rope with the right hand. Actually, the right hand thumb and second finger take the shell at the side nearest the body, and withatiltingmovement it is ina fairly slow manner taken off the rope. At the same time the left hand is rotated towards the body so that the genuine ring still threaded onto the rope, cannot be glimpsed. A contraction of thethirdand fourth finger keep it easily in position. The right hand holdingtheshellthrowsthe latter into the air catching it on its return. There's nothing difficult in this and it adds to the illusion that the ringisgenuine in every respect. At the same time the left hand drops to the side. A slight turn is made left, the right hand holding the shell ring at the fingertips. The left hand now comes up to shoulder height and apparently the performer is simply holding'a length of rope
The shellring isnow takenandslipped between the. thumb and the rope, so.
in
The left hand closes into fist and as the left hand is turned the audience imagine that the left thumb pushes the ring that theyhavejust seen placedin the hand, into a positionactually held bythesolidring,andthus when thehandhas made a complete rotation that is the ring they see. The left hand is now brought in front of the body and the right slowly pulls the rinq and the ribbon away from the hand, leaving the shell fingerpalmed in the left hand. Ring and ribbon can immediately be passed for examination. Since seeing Jackperformthisandtrying itoverourselves, we havethought thata little touch that canbeadded is that when t'he le& hand is holding the ring at the back and from the audience's point of view the rope is draped over the hand, that a slight pull at one end' of the rope in apparentlyadjustingits 1engt.h gives added effect.
85
Theremustbemanymanymagicianswho have had the pleasure of seeing Bertram Millidge’s handling of the Jardine EllisRing.Starting with a modest routine way back in the thirties he has graduslly added and built up a sequence that is a thing of beauty anda joy to behold.In ‘the Autumn of this year Holdens of New York will be publishing the complete routine as used by Beriramto-day. Theprototype of the effect appeared way back in a copy of the “ Magic Wand ” ‘dated October 1938. Because we feelcertainthat manyhaveno access to that copy,plus the fact thata numbermusthavesimplyscanneditand passed it over, we are in view of the present reviving interest in thisclassicre-publishingit. It goes like this. The other day I found what I consider to be a novel way of using the Jardine Ellisring. Instead of a stick use a ribbon about three quarters of aninchwide and one yard long : my ringis twoinches in diameter. Place ?he ring and shell together on the middlefingers of thelefthand andthreadthe ribbonthrough to eitherside of thehand.The fingers of the hand are towards the audience the ribbon hangingdownhalfway.Pull theribbon backwards and forwards several times through the ringthenlever the shellwiththe thumb; the tip of the thumb pushes on the edge of the shell and so raises it to a nearly vertical position towards the fingertips.
At the same time turn the palm towards you and take the shell off the ribbon withtheright hand. Call attention to the fact that the ring is off theribbon,thenplacetheshelloverthering, which move will, of course, also cover the ribbon in the left hand.
Holdtheringandshellasone,lightlysupported by the fingers, thencontinuedrawing the ribbonbackwardsandforwards.Theimpression thus created is that the ribbon is under the ring while really it is running between the shell and the ring. Turnthe palmover andhavetheends of the ribbon held by assistants. Run the left hand back andforth acrosstheribbon,palm off the shell and leave the ring threaded. Leave the ring of theassistantsfor andribbon in thehands examination. It will be fairlyobvious thatthe effect can be repeated by reversing the movements and apparentlytaking the ring off theribbon. If the shell and ring are raised vertically on the palm the ribbon still between it greatly adds to the impression that the ring and ribbon are separate.
PLAYING CARDS WANTED, early period, curiousand unusual.Sendparticulars, priceCollectorHiddleston, 77, Ruskin Road, Carshalton, Sarrey.
The PencilTells!” (Originated by Harold Rouse and marketed by Harry Stanley, price lO/-). At quite frankly a ridiculously modest price, here is a delightful little mystery that can be used for close up or platformwork. A pack of cards togetherwithacolouredpencilishanded (0 a spectator with the request that ha marks one card behindhisback. Hehands theperformer who writes down on a piece of paper, the name of the card marked. There is no switch of pzcsor pencil and it is something that will when witnessed upset any preconceived theories as to the “How.” Excellent.
“No Egg? No Bag!” (Originated by George Blake and marketed by him at 9, St. Alban Road, Leeds, 9. Price 35/-). We first saw Cieorge perform this effect at a Unique show in May. We had our own ideas at the time, but after seeing the outfit and reading theinstructions we realise too well that George fooled us completely and what we thought was a clue,didn’tmean a thing.The effect briefly is thatthe performer hasa smallbag which after beingshownempty has four eggstakenfromit one at a time and these are placed in the trousers pocket. The eggs are placedback in thebag, whichisnotonlyshown tobe empty, but is dissected andthrownintothe audience for examination.Animpenetrablemysterywithfirst class entertainment value, it is for the discerning conjurer a remarkably cheap “buy.” “Mohammed‘Bey’s Routines for the Jardine Ellis Ringon Stick and Ring on Rope and two additional routines.” (Published by Holden’s Magic Shops, New York, price two dollars, 14/-). Enqlishequivalent The booklet consists of some eight pages (1 1 X 83) of text. plus some eight illuztrations. The firstroutinedescribes ’the passing of a ring onto a pzncil or wand. The hmdling isexceptionallyclean and clear cut an2 makes for a beautifulclose-uppresentation. The second routine makes for a more showy presentation and is as suitable for platform work as for a small room. The effect to the audience is that the ring is passed onto a loop of knotted rope. This rou‘ine ha.; the grester appeal for us, maybe because it gives a newer s!ant. The artful dispossl o f the shell at the end of the effect is a delightful and most natural piece of subtlety. Thethird item hasalreadyappzared in the Pentngraln being John Howie’s reless: of a solid ring from length a of silk ribbon. ‘A most effectivepiece of magic thatour rqsdeli; have alreadydiscovered. T o conclude we have an idea of Bill Nord’s making use of the Bill-ze-Bub gilnmisk to mz’ce a
steal of t.he ring and allow its natural introduction later in the routine. The Ellis Ring supplied at a small extra price by ourAmericanfriends is smaller in diameter than that which Davenports put out in thls country. We unreservedly recommend this very worth-. while contribution.
Nate Leipzig’s Card Stab ” by Victor Farelli ,(Published by the aathor. Obtainable fromDavenports,price 51-). Onceagain,ourfriend,Vic:orFarellihas taken much a discussed t,rick and with the thoroughness for which he is famed has presented a lesson to the student, a lesson in which no point is overlooked. The effect’as most of youwillknowis that wherein two cards are selected from a pack, noted andreturned.The pack is shuffled andwrapped knife in asmall piece of papzr.Takingasmall or dagger, theconjurorstabs the pack through the paper. The latter is torn aside and it is shown that the performer has been instrumental in plach; the knife blade between the two chosen cards. Althoughthebasicprinciples of theactuai stabis known,thecompleteroutineaddssomething to the literature dealing with this particular effect. For the student and practitioner alike it is a “ must ” at a ridiculously low price. Tony Koynini’s ‘‘ Derby ” (Pulflished by thc Armstrong Press, Price 5 / - ) Here in booklet form, is a very novel routine withcardsthat is idealforclose-upordrawing roomwork. The plot is based on theperlormer andhisassistantstakingpart in a hor,c e race, certaincardslaiddownrepresentingthe horses.. Needless to sly, the performer always wins. A very worthwhile “ buy ” at 1 very low price. Davenports Fromour good Criexis, Messrs. Davcnpr S we have receivcd a number of lists giving detail; ofmanycomparatively new items, as wc.ii as a number that have, for some time not been easily obtainable.Amongthethingsthatappealto us arethe Gen. Grant Coin Stitch (an item which incidentally we made m e of in our lecture,the “Credulity of Man”) and the new idea Evaporated Milk Jugs and tumblers. Alko to handfromthesamefirm is a ventriloquial script, entitled, “ Reprimanded.” If is a naval scena anda cornbinstion of old and new gags and lines should make this 2 most enter’aining item for those who engage in this form of voca! misdirection. The.price is 2/6. Reviews held overuntil next, month :Dr. Jak’s “ Multiball ” routine. BillSimon’s card book.
87
The passing of Frank Staff was a saddening thing.A grand comedian and agoodconjurer the loss of his sight was one of the many burdens that he had to carry near the endof his life. T h x e who were members of iheMagicCircleduring the years 1914 to 1940 will rememberihegreat amount of work that he did on so very many occmions. When in 1939 we were Entertainments Srcretsryandforthe first and only time staged for whai was. then the Grand Seance, a monster children’s show in the afternoon and the usual type of show in the evening, Frankdid a lovely skit with a performinghorse in theafternoonand a sketchintheevening. A wonderful.sense of timing with a wealth of acting experience made him a great entertainer. Fast on this piece of sad news came another, namely the death of Bill Bishop of the “Stage,” a journalist who had always been friend a of magicians.
It looks as though the Ellis ring trick is going have a new lease of life, what with
to theMohamed Bey routineand those which accompany it plusthepromised comp1et.e Millidge routine. As we mentioned a little while back, the real Ellis routine has never been published. Duncan Lorne Campbell togive Ellis his res1 nsme wasastrangeman.Originallydestinedforthe Army and awarded a D.S.O. in the S,outh,African War, he gravitated into entertainingasa professionbringing to it some very originalideas. The ringon stick trickwaspart of his regularprogramme as far back as 1910, when at times he worked in variety. He invariablyconcludedthe effect by passing onto the stick a number of larger rings. We must try and get thisfullroutine into the next volume for apart from the technical cona brilliant effect should be siderations such recorded in full. Another effect that seems to have been lost for posterity is the stud effect that Leipzig would occasionallyperform. As no doubt many of our readers do not know it, the effect was this : Leipzig would take a small stud and place it i n thebutton hole in his leftjacketlapel.With arms outstretched he would slowly turnround O R S ~ when it was seen that in some completely unaccountable manner the stud had jumped over thebutton hole in the right hand lapel, from whence it was then removed and offered for examination. It was a lovely piece of work t.hat Leipzig, so far as oneknows, never put onto paper. It definitely beat most of thosewho saw it,and quite frankly we were surprised that nomention of it. crept into the recent monograph on Leipzig b y Vernon.
G . W. Hunter must have taken a number of ideaswithhim.Incidentally we remember him giving a very goodrapidcalculationidea at the MagicCircle onone occasion, onethat is not too well known. It is a metlZlod foralmostinstantaneously knowing amultiple of 365i.e. the number of days in a normal year. Supposing that you are entitled to 1/2d. per day and you wish to know what this would amount to in a year. Just think of theamount in pence, add half that number to it and think of it as pounds. To this multiply the original amount by 5 and you have the answer thus :1/2d. equals 14 pence. Add
7 21 and think of this as pounds
Add
5 10
1/2 X 5 21
5 10
Some very nice reporis about Bobo’s work on coins that is going to be published by Car1 Jones are comingalong. It’s a book fo; workers of course. Next month we are publishing a card location that we have been tryingout. In bareboneform it’s just a card location for card location’s sake but we think we have evolved a dressing that makes it notonlyusablebutalso extremely baffling before a lay group. Starting in the October number and with the copy comingfrom the JimmyFindlay collection we are running a series of reproduced brochures, billheads and other memorabilia concerning “Ladies in Magic.” The first one will be Madame Von Etta, who when appearing at the Hippodrome in London gave the pioneer performance of the vanishing trunk andgirl, which hadjust been designed by Zelkaand Noakes. It was really a shop window stunt, many magicians being invited to witness the illusion which was going to be soldinlimitedquantities to anumber of top liners. Theapparatus was then placed on show and possible buyers were invited to look it over. Amongthoseattendingwas an illustrious name famous for his unusual originality, Quickly runningaruleover the apparatus used, he told the would be sellers that he didn’t think he would buy. About afortnightlaterthe effect duly appeared in his act! We hardly have to tell you that we shall not be publishing the “ Smoking Sailor ” effect.
88
I
I
TONY KOYNINI’S
DERBY ” A LIGHT-HEARTED, entertaining oard routine that will keep the audience entertained, amused and amazed for as long as you like to play it. The performermarksout a “ racecourse ” and places four horses (the aces) a t the starting gate. Three spectators bac! their,,fancy,andtheperformer takes theremaininghorse. Spectators shuffle the rest of the pack and one deals the cards in a face-up heap. The four punters move their horses up on the course as indicated by the cards dealt. The performer may even be last, right up to the last moment, but suddenly he is in front and wins the race. The routine can immediately be repeated-as many times asyou like-and theperformer winsevery time. The only requirements - a pack of oards and something to mark the course with (pencil and paper, chalk or even match-sticks). N o special cards, n o false shuf€lin$ (the spectators shuffle). N o skill required.
CompIeteinstructionsinneatlyprinted booklet. Price 5 / Postage 3d. (U.S.A. 75 cents.) from the publishers THE MAGIC WAND PUBLISHING CO., 11, MonastryGardens,Enfiel,d,Middlesex.
-
PETER
The WARLOCK
MIRACLE SLATE Although limited in output, has now travelled to Ireland, Finland, Belgium, France, Africa, Australia and United States and Sweden.
And now from
“
Hen
”
Fetsch . .
“ Have been using your ‘Mirack Slate’ for over month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
a
PRICE
-
g2 1 0 s . Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Every Advertiser’s Published by the proprietr-
A limited number only will be offered,
WARLOCK’S
The Magic Circle
PENTAGRAM
I
is published on the 24th of eachmonth and can be obtained direct from thepublishers for 1 / 1 per single copy. Annual Subscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscripts for publicationand books for ‘ review should besent to the: EDITOR1 41, ADDRESS:
f’rvsitlcnt : HIS Cr.lcc the Dukc o f Somcrscr, D.S.O.. O.BE.. J.P., M.I.M.C. Vice-President: Douglar Craggs, Esq., M.I.M.C. C‘lubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C Particulars from Hon. Secretary :
Francis White,
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
39 Alvcrstonc Avenue,
Wimbledon Park, S.W.19
Magic WandPublications
JACK HUGHES will be pleased to send 1 . 0 ~ 1 full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for a stamp. Write now t o
JackHughes, 2, EvelynAve., N.W.9. Colindale, London,
The Magic Wand, Qualirll). Fer copy 318 p . p . Annllal s\lh,c.l i:l:iou 1.1,’6. The Wizard, 36 pagesmonthly. Per copy 2/1 p;p.. 6 mori!ll 12,’6. Year 24j-. Convlncmg Coin Magic (Farelli) , . 17/10 Mastered Amazcnwnt fI
.
CONJURING BOOKS FOR SALE OLD AND NEW. Let m e know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
goods are fully endorsed
The Magic Wand PublishingCompany, Walker and Son (Printers)Ltd..
.. .
at the price o f . 35/GEORGE BLAKE, 9, St. Alban Road, Leeds, 9.
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Wallington, Surrey
It
NO EGG?-NO BAG!
Stillanother entertaining intwlude by George Blake. A N ENTIRELY NEW EFFECT WITH ABAG A N D EGGS.WITHACLIMAXWHICH JUST COMPELS AN AUDIENCE TO SITUP AND TAKE NOTICEA N D TO APPLAUD AT THE FINISH. The performer repeatedly takes an egg from a shown empty Bag and places same in his pocket. The hand is repeatedlyshown emptythroughoutthe effect, until the audience has seen four eggs taken from the bagand placed inthe pocket, one byone. The procedure is reversed, the eggs being taken from the pocket and placed ir. the bag, and repeatedly the hands are shownempty during thesetransferences. YET, FOR KNOCKOUT A CLIMAX, THE PERFORMER NOT ONLY PROVES THAT THERE ARE NO EGGS AT ALL, BUT CALMLY SETSABOUTPROVINGTHATTHEREISN’T EVENABAG.ANDTHERE ISN’T, BELIEVE US! You’ll like this, and you’ll work it in every show. Can be used as an opener or at any stage of the act, or as an ideal Compere item. Comes toyou complete in every detail. Less than a minute to prepare, three minutes to present, ridiculously easy to perform, so that you can devote all your attention to presentation, in factone of those effects which is always included in my own act, and which confirms my aim in Magic, viz :“ If it won’t entertair. - I won’t entertain it. ”
by this Bulletin
11, Monastery Gardens, Enfield. Middlesex. and prtnted by Herbcrt Wrll C r o f t . Shi-l-v.
Ynrkshir-
*
89
PENTAGRAM An independent monthly bulletin for all who want good magic
Septem0a 1952
The effect is that theconjurerdiscovers h e name of a chosen card under seemingly impossible conditions.Itgoeslikethis : The pack of cards isoffered to a spectator with a request that he cutsitinto .three seperate heaps. The heap which constituted the czntre portion is indicated and the spectator is requested to look at the top card whilst the performer turns his backWhen it has been noted,the spxtator is further requested to shuflle it into the heap from which it was taken.The twooutsideheap; ar;: also shuffled by the helper and one is placed face upwards on.the face down centre heap whilst ihe remainingheap is placed facedownunderthe others. Finally the spectator is requested to shuffle cl11 the c;lrds together in any way he likes, place the pack behind his back, turn it over several times and hand it back totheperformer.During the whole time the spectator ha; bcen helping the performer fix had his bsck turned.The p;Iformcr turns round and ribbon spreads the cards on s withou; the table and i n one of two w ~ y discovers any questioving the name of the selected card. We have been ushg thisquiteadeal just lately and by emphasisingtheutterfairness of eachactionduring the effect, theridiculous way in which the performer proceeds is unnoticed, and to both lay public and magiciansalike the effect is seemingly unfathomable.Theinformedreader willbeonly too well awlre thatthebackground plot of the effect is to be found in theWikiki loc2ticn, ;1 description of w;~!ch willbc‘ounrl in Gibson’s Professional Mapic for Amateurs.” ‘The maFici:ln kpowing this effect however is completely put out. Df countenance when :The card takenfrom the centreheap i s shuffled into it. That when the ct-ntre heap is sandwiched any form of shuffle may be used. That at the penultimate stage, the spectator, beforetheperformerturns round. turns the pack over and o v e r before hlnding i t tothe pcrforasr. anc! then ‘-IS iht: “
cardsare taken they are strdightaway ribbon spread on the table. Having analysed the strong points, let us get down to themethod which is simplicity itszlf. Prior to performance or by means of a previous trick, one suit known to the performer is stacked in order. Supposing that the suit is spades. From Ace to King they should be brought to the top o f the pack, the Ace being the top card. The pack is given a false shuffle of any kind that willleave the top stock of thirteen cards intact after which about ten cards (no more!) :,Ire cutfromthebottomtothetop.The pack is placed upon the table and the spectator is requested to cut about a third of the cards from the top of the pack and place it to the right. He is then told to take :.he remaining heap and cut a rough!y similx amount from the bottom, placing this to the left, the centre heap being placed in its correct placebetween the topandbottomheaps. It is pointed cat that it is an absolute irnpossibllity for the conjuror to know the topmost c u d of the ctntre heap, a point on which even the most sceptical helperwillbe bound to agree. The iopmost card is looked atand then shut-iled bsckintoits heap. Now because of thefact that the upper part of the pack consistd c? the spade group a n d approximately ten other cards, it must follow that in cutting off the top packet the helper must have cut into the spa& stock, and of the spade cards top of the centre pxket, the lowest spade of those in thatheap mustbe thecard looked at.The remainingheaps are shuffled and placed respectively face u p over and under the centre heap. A further $hufflinn of the v ~ ! P va4. , in any manner willnoteffect the main fact that t h e !owzst snrlde card in the centre heap is tha selected card. whikt if the whole pltcket is turned over. ihe qmde a r d ope pip hiphcr than the highest value spade thst c9n b:: zeen i s also the selected card. so ,th!lt if the chosen card w:n the five of spades,the c1rd orioinally a t the bottom of the first heap was i-hz four of spldes.
90 If therefore the packis handed back after shuffling andthespreadonthetable reveals a group of spades that includes the latter part of_-the spade group, the performer knows that the spectator’s card is in this face up group and only looXs for the lowest card. Asking the spectator to hold his wrist his hand moves over the cards backwards and forwards finally droppinga finger ontothe ,chosen card. If however the cards show the lower portion of the spades group and with it a majority of face up cards, the performer asks the spectator to hold his wrist. ‘ Just think of the suit first please,’ says the con-iuror as he moves his hand backwards and forwards.(Atthesame time he has no:ed the
highest spadecardand knows thatthe selected card is onespothigher). The performer’s finger comes down on aspade card andpushes it forward. The spectator agrees that it iscorrect. ‘Now for the value.’ Again the performer’s hand moves and thistimethe finger fallsonacarddenotingthe d u e of the chosen card. Thereader willfind this trick very effective and also if he leaves out the turning over of ihe pack at the penultimate stage, an excellent means of breaking up a stacked pack, especially should he use theNikola system, where in looking at the small group of face up cards he has only ro (lotice that card whichisin the normal stack is nearest to the top of the pack.
E d i t o r ’ sN o t e . I t goesalithoutquestion [hot .some o f the f i n e s t close-up m a g i c i s t o be fou~zdwhen the little coterzes meet. R o y , w h o is a most ntrtura~ ztrorker, belongs t o such cr group w h i c h f o r the m o m e n t w e ’ l l d e s i g m t c b y rhe letters ‘ D.G.’ T h e e f f e c t w h i c h he i s d~.s~ * r i b i n g i st o nppecrr in tr book w h i c h the gro:tp i s publishing in t h e nectr f u t u r e ulzder the title C o m e A LittleCloser,’ t r book zd1hiL-h in the light of this prcr~iezoof ptrrt of i f s contents ~ L ’ E feel certtria you’ll eui.sh t o trcc/uire.-P. IT’. Effect 1 . Both sides of two knives are shown to be white. The audience is asked to choose one knii‘e and whichever is chosen is taken at the iinger tips of the right hand. This chosen knife is rubbed on the back of the open left hand and ihe ,colour changes to yellow. 2. The lefthandholdingthe white knife is then closed into a fist and the yellow knife pushed intoit.Thehand is thenturnedover,opened and the yellow knife shown to have changed red; the other knife is still white. 3. The redknife is thentaken i n theright handandbothsidesshown.The left hand with the white knife goes to the pocket while the right hand closes intoa fist overtheredknife. The white knifenow travels fromthe leftpocket to the right hand. The right hand is opened and the knifeshown to bewhite. The audience presumes the knife in the left hand to bered butthis is shown not to be the case because the knives have again changed places and the white knife is shown to .have returned to the left hand and the red knife to the right hand. 4. Both handsareagain closed over ;he knives and the transposition is repeated. The right hand is opened to reveal the white knife and the audience is asked what colour knife is i n the left hand. O n receiving the reply “ RED ” the hand is opened and the knife shown to be Green.
5. The vanish 0;‘ theRed knife is explained by stating that i; slipped into the pocket and both hands go to the pockets with che knives. The left hand comes out empty and the right hand brings out both the red and white knives. 6. The white knife is taken in thelefthand and thehand closed into a fist. The redknife is then pushed into the lower side of the fist and the white knife is pulled o u t from the upper side, this isshownwhite onboth sides and placed in -the pocket.The left hand is thenopenedandthe remainingknifealso shown to be white;this is rolled on the table or given for examination. Requirements In right trouser pocketOne unfaked knife, both sides white; One faked knife, one side white; one side yellow. I n left trouser pocketOne faked knife, one side white; one side green. One faked knife, one side white; one side red,. The rightand left handsbothgotothe trouser.pockets and bring out a faked knife which is shown to be white on both sides by one ol’ ihe familiar paddle moves. The white side of each faked knife can be roughened or nicked to make i t distinguishable by touch, or, the hands can be brought outof the pockets closed, heldupwith backs to the audience and opened slightly with the knives in the thumb palm position to allow the performer to check that the white sides are to ihe front, or if necessary to make ihe necessary reverse whilst lowering the hands. Routine 1 . Having shown the two knives to be white. ask the audience which shall beused and whichever knife is chosenis taken at finger tips of the right hand and rubbed on the back of the left hand still heldpalm up with its knife exposed. When the right hand knife is hidden by the back of the left hand it is turned over and brought out to show the colour has changed to yellow.
91
3. The redknife is taken at the ri ht iinrgertips and shown red on both sides; whi st this ;S being dorle the left hand goes tothe left pocket and exchanges the white knife for the knife already i n thepocket, the hand remainingin the pocket. Performer now states he will maketheknife .in the pocket change places with the knife in the right hand. The righthand is turnedoverand opmzd to reveal the white knife: the hand is then closed
a p i n , reversing the knife in the process. The closed left hand is brought out of the pocket and aftercheckingthecolour, as ,d.etaiIed earlier, 10 ensure the knlfo will show white when the hand is opened-the spectatorisaskedwhat colour the knifeis in thehand.On receiving theanswer “Red” the performer explains that theknives have againchanged places andthe knifein theleft hand is s h o m to be white and that the red knife is bsck i n {he right hand. 4. Statethat youwill repeatiheiransposition and close both hands reversing both knives. The right hsnd is openedto show a white knife andthespectatoraskedwhatcolour knife .is -in the left hand. On receiving the reply “Red” ’ihs knife is shown to be green. 5. Whilst explaining that thevanish of the red knife was accomplished by slipping it secretly intc the pocket, both hands go to the packets. The le€: hand leaves its knife in the pocket and comes outt:npiy, therighthand reverses its knife and also picks up the unfaked knife 2ndis withdrawn from the pocket showing a white and a red knifeThe audience believing the red knife has jus: been removedfromthe pocketwhen actually it is the white knife which was removed. 6. The unfakcd knife is taken in the left hand, the hand i5 closed to a fist and turned over. The red knife is shownredonboth sides m d is pushed intothelowerside of the left fist. The red knife is reversed in the hand, pulled out from the upper side and shown as white on both sides and placed in thepocket. To theaudiencethe effect is that the red knife has been exchanged for the white which was already in the left hand, but the left hand is’ now opened to sh.ow that the white knifeis still there and this knife can berol!ed on the tahle for examination.
APPARENT LINKING OF THE CHAIN OF THREE : If you have succeeded in iollowing ‘ihe explanation of theLargeRingTwistoverMoves for thepurpose of bringing aboutanapparent iinking and unlinking of the Chain of Two, you shouldexperiencelittle difficulty in applyingthe same principk t o the Chain of rhree. T h e state of affairs immediately prior to linking is that the closed Chain hdngs from your left fingers whilst the LargeRing is in possession of the audience. When taking the Chain rings intoyour left hand it is most important that they be arranged i n :in anti-clock twisted position. To do this, first hang the centre ring from your fingers. Turn the two end rings so far as theywill go .in an anticlockwise direction and then lift them together to
hangfrom your fingers. It is immaterialwhether or not youhave other rings in your hand but, .if so, the chain rings must obviously be nearer your finger tips. With your right hand, recover the Large Ring and proceed to execute .the Twistover Move almost exactly as described for the purpose of linking the Chain of Two. The only variation is that. in this case. theLargeRing is carriedover and behind three rings, whilst the ring which is pulled down into a linked position is the nearer ‘2nd :(in% of the chain. To all appearances, you have linked an examined ring to the nearer of a number of other single rings and, to emphasise this, you turn squarz on to theaudienceandextendthese two linked rings horizontallyacrossyourbody. I n caseyou
2. Whilst showingtheknife to beyellow on bothsides,close the left handat tliz smle ilillc reversing the knife. The yellow knife ispushed into the !eft hand behind the knife already there. The right forefinger rubs the back of the left hand which is then turned over and opened to show that the yellow knife has changed to red.
S
92 Jre unfamiliar with this piece of bluff, it must be explained that you have siezed the lower ring at VI with your right hand and that the actual upper ring of the Chain of Three (together with any other ringsbehindit) has been allowed to fallback against yourleftforearm. Of course, you maintain a firm left hand grasp at the linking point of middle and upper rings so as not to disclose this link. The next move-that of linking,apparently, two linked rings to the next ring behind them-is a n even more barefaced piece of bluff. First, release your right hand grip, allow the two visibly linkedrings todrop back inloiheir former position andagainturn half left. Next, with right thumb and first finger, take the upper of these rings a t VI-just a little nearerto you than the linking point-and execute a twirl vLry simwr to theTwistoverMove upon the fulcrum lormed by the grip of your left thumb and fingers at the linking point of centre and upper rings. You iinish this by pulling the ring down into a linked position In relation to the actual upperring of the chain, so as to exhibit ;L chain of three linked rings hanging from your left hand. Conclude by extending the chain horizontally before handing out for examination.
APPARENT UNLINKING OF THE CHAIN OF THREE : The initial position is similar to that for apparr;nt un!inking of the Chlin of Two except that, i n thiscase,theChain of Three hangs by an end ring from your left fingers immediately in rront of the Large Ring. The first step is to unlink (apparently) h e centre ring from the one above it, for which purpose you sieze the centre ring at VI1 between ;ight first finger, ontop,andthumb,underneath,and carry both rings through the Large Ring by means of a twirl identical to that explained in the case of theChainofTwoUnlink. As soon as your righthand grip is exchangedfor agrip of the L x g e Ring, pull it smartlydown and over the lower hanging ring. The positionnow, as seen by Ihe :lu:!icnc;, is ths: a chain of two linked rings hangs irom your left hand in front of oneormore single rings. You have apparently unlinked from the upper ring of such chain another ring which you are now :siving for examination. I n reality, the ringimmediatelybehindthe upper ring of the chain of two is linked to it, but has beenclosed andswitched for a single (the Large Ring) by the move just described. The next, and final, step is to u n l i n k (apparently) the remaining two visibly linked rings; and for this purpose the Large Ring must be brought back to itsoriginalposition.Transfer.therefore, all rings to your right hand whilst the Large Ring is being examined, and eventually take it back In yourlefthand.Then pass theother ringsback
intoyour lefthand i n ,Cront d€ the Large Ring. Should youbeworking-onlywith theChain of Three and the Large Ring, the latter is now in Its original position; but, should there havebeen other rings also in your left hand, it is a simple matter 10 rase the Lsrge Aing over themwith yourleft thumb and so be ready to use it again. The final unlinking move is, to all intents and purposes, a repetition of unlinkingtheChain of Two. Thesame twirl carriesthe lower ring :And the two upper rings through the Large Ring, and thelatter is carriedsmoothlydown .:And clearof thechain to be handed outa second iin~ealthoughtheaudience isnot to knowthis--for examination. Should you happen to possess two large iings, \ou can conmtnce with these i n position immediately behind the Chain of Three and avoid using the same ring twice. The exect ;S not enhancedandyouronlyconsiderationshould be whether or not it is dcsirable to make use o f iwo large rings i n your general routine.
LINKING TWO EXAMINED RINGS : Hanging from your left fingers are a number of rings. Theirorderandcomposition are of no importance save that the ring nearest your finger Lips muKt b~ the L-arse Ring with ihe KeyRing immediatelybehind. With q n u r r1gi-i; hand, fake theLarge Ring and hind it out i o i cxaminJtion. Whilst this Is i n progress, takethe Key in your righthand so that it hangs from the tips of your fingers which point towx-ds the audience. The slot, or opening, in the Key rests upon the fleshy part of your second finger Pip, which curls u p JUS[ sufficiently io Iconceal it irom view. Extend your righthand to iake: back the exanlined Large Ring. This is quite naturd because your left hand is fully engaged,but you must now pass theexamined ring intoyourleft hand so as to offer the other for similar examination. The rings in your left handare,therefore, tossed back into the crook of your elbow so : ! S ;a leave the hand free and one of the right hand rings is transferred to its finger tips.Thisshould logic3lly be thering whichwasnearestyour right finger tips. i.e., the examined ring; but, in the act of transfer your right fingers curl up to close upon the two rings 3:1d t h m re-extend. The .=ffectof ;his is to p2ss the Lalrge Ring over and behind the key; and it i: the latter which is ac;usl! transferred to your left hand, leaving the Large Ring in your right hand to bcpsssed .out .cor examination as though it were the other. Recover this from the audience and then proceed to link the two rings in any manner desired. EXAWIIIVATION OF 'TWO UNLINKED RINGS : At some stage in your routine you are about to unlink two rings, one of these being the Key and the other an ordinary single ring. All other
93 fi-oili ihe crook of (say) your left ClboN. m u these must -includeaLargeRing which ior plekrencealtnough not nccessarily, should be neaiest your hand. PrxLed wlcn y o u r unlinklngandextcnd .
rlligs hang
"
( 5 ) Again Lrmsfsr the otherLargeRing, making tive rings IIT jaw- rignt n m u ; (6) Apparantlytranstcr a sixthring .:irnilarly ; although, in i-act. you lakeihe Cnain of Twothroughthenearer of the Large Rings and leave this in your left hand (see below); (7) Againtransfer a LargeRing,making seven rings in your right hand ; (8) Transferthelastring. Inorder to work the switch of TwoLarge Rings for the Chain of Three as smoothly as possible, first make a break between the Chain and the rings immediatelybehind by insertingyourleft forefinger so that the rear three rings hang iron1 all four fingers and the Chain from your second, your thirdand fourth tingers only.Alsospiead fingers sc as to make a narrow V opening between second and third fingers. As you bring your hands together,theLarge Wings are heldbetween you; right thumb, on top. and first finger, beneath, and your right first and second tingers go into the V opening. This enables the Large Rings to be iaken between your left thumband first finger at the sametime as your right first and second iingers engageandcarryawaythe Chain Rings. Thelater switch of oneLargeRingforthe Chain of Two is workedsimilarly. It ismerely r;ecessary to ensure that theLargeRing is first held cleanly,andawayfromother rings in your right hand. between thumb and finger. When transferring the first ring, it should be carried away with a sweep of your right hand ~o the maximumextent possible : and thissweep should be repeated before bringing the hands together for each successive transfer.
94
‘Trilogy’ by JohnDerris(Marketed by Val Andrew, price 1 O/-). Here is a very nice.little zffect that will catch the mentalist’s eye and also see him playing ior hours with thegimmick that accompaniesthe trick. Briefly the performer writes aprediction and hands it to a spectator. A card is then chosen in fairmanner whilst anotherspectator is asked to merely think of acard.The climax comes when theprediction is notonlyright,butthe card thought of by the spectiltor is the same.
Hummer’s ‘ Mind Reader’s Dream ’ (available from Uniglue Studios. 87, Wardour Street. W . 1 . price 1 O/-).
Too often thesedays we haveto start this column on a note of tragedy. Once again it is our sad lot to record the passing of our friend H. C. Mole, whose name must be known toallour readers. An enthusiastic magician, and in his earlierdaysquiteacontributor totheliterature of magic, his ideas were both practical and worthwhile. To his relatives we extend the sympathy of our readers.
used at theFestival and, in consequence, ihose taking part are just making life a little harder for themselves.
Another sad piece of news was to hear of the serious and sudden illness of our friendArthur Dowler. It was ChrisCharltonthat passed this on to us for he and Arthur were both playing in Liverpool at thesametime. We will add to our own wishes for as speedy a recovery as possible those of our readers. Arthur is a tonic and in these days we want tonics. After a meeting of the Committee examining the Rules of the Magic Circle, we were privileged tohavetheopportunity of makingathorough inspection of theprops to be used in the “ Will, the Witch and the Watchman ” sketch in the forthcoming Magic CircleFestival of Magic. Made in an era in which laminated wood was restricted in use we cannotthinkthat we have ever looked upon better made apparatus. Just think of a large cabinet about sixby seven feet made of polished mahogany. The sketch shouldmakefora good piece of publicity. As actors and not conjurors are playing the various parts in the sketch, the result shouldalso be good from an audience’s point of view. Onethingremainsto be seen andthat is whetherthe effect can be extendedoutside jts period, or will it be a museum piece brought to artificial revival. The angle of committee a examiningthe apparatus,and then the sketch taking place, could provide a very good angle for a modern dramatist and we’d rather like to see the possibilities of such an effort. After looking at the apparatus we feel certain thatthe method used iu mtrin by J.N.M. is not the onethat will be
This quite frankly is an incredible effect, for a spectator merely thinks of a card and yet without any questioning by the performer the1 name of the card is divined.HowBobHummergot on the track of the idea we don’t know, but we have quitefrankly never hit such a clever idea in ;h: matter of retrljy locatingathought of card.
Afterour few words on TV and the Art of Magic we were not surprised when a few interested parties wrote to us pointing out the errors of our ways. Ourattention was called to ‘ Our Magic andtheoutpourings of Nevil Maskelyne on the matter of ‘ Art in Magic.’ Let’s break off here for a moment and say that we consider that well performed magic is justabranch of acting and that instead of simply bringing about an illusion with his voice and change of personality, the actor brings into being certainactions with hishands or pieces of seen or unseen apparatus which togethercreate an illusion. It is seldom that ne plays upon theemotions of an audienceto ;ihs extent of anactor in a well-written play. The reason for this is quite simple, namely that to date no really successful dramatisthas written the lines fora trick. Nevertheless the art ofthe magician is in the very essence the art of the actor. Now let us turn to ‘ Our Magic,’ a volume of great importance, but a volume (perhaps because it was in the main a pioneer work)that contains some of the most pretentious nonsense ever written. In partly replying toourfriends we’ll just quote one shocking piece of advice which if followed by a serious amateur might deprive the magical field of some beautiful work :-
~ ’ L P~ u r nzulzo is z ~ n f i t t ~fdo r oriqinml w o r k (trnd the context IPar*Ps thp retrder i z ;z I doubt thtrt b y this, originu! e f f e c t ufzd ; l o t g g
origintrl prese.vtntinn is intendrd) is unfitcud f o r prtrctising t h e A y t , trnd sko~/!ctx ~ ? ‘rc 711ort; ~~ upproprintr ctrl2ing.’’
The man who practices magic, if he is lucky.. may be an inventor. He may be a good inventor, but the chances of his being a good magician and a g o a d inventor are very high indeed.On the basis of the Maskelyne dictum the best actors are
95 those who write their own plays ; the best instrumentaliststhosewhocomposetheirownmusic ; theprimaballerinashould be her own choreographer,and so on. We could go o n for a long while tackling other points and we should be told that wewere ribbingagreatnameand a great book. We’re notdoingeither, for we certainly consider ‘ Our Magic ’ one of the greatest contriutions to themagicalbookshelf.Wehave never been prepared to accept a statement without doing a little thinking and we feel that when the matter of Art in Magicarises,there are too many who will acceptcertaindictawithoutdebatingthe matter.
PAUL FLEMING The Magician andHisCompanyin
An Evening of Magic “Ye shallhovemiracles;
aye, sound oner, too.”-Thomar
+
More.
MR. PAUL FLEMING MRS. PAUL FLEMING MR. WALKER FLEMING
+
Program Part I. HANDKERCHIEFS. 2 . IMAGINARY COLORS. 3. RAPIDTRANSIT. 4. T H EF L I G H TO FT I M E . 5. EASTINDIANMAGIC. kindThir beautifulandbewildering illusion is presentedthroughthe near of theinventor,Mr. Karl Germain, a graceful and b r i h m conjurer, with whom Mr.Fleming was arroeiated for manyyeare prior. to Mr. Germain’sretirementfromtheplatform. Thirriribleandgradualgrowth of the rose bush is one of the truly great achievements of modern magic 1. THEPHANTOM
Part XI. understoodthathir demonstrationsin (NOTE: Mr. Flemingwishesit wholly unrelated to “rpirits” or to Spiritualirm and Mind-Readingare super-normalmentalpower.Quiteapartfromthe possibility of theeriatence of genuineMindReadingandSpiritualism,thefactremainsth8t much that is fraudulent is being exhibited today under the guise of psychical phenomena. Mr. Flemingreproduces someof the best of thesemanifertations,presentingthemafterthefashion of the so-called mind-readerand spirit-medium but acknowledgingfranklythat they are accomplished by perfectlynaturalmeans.) 6 . TESTS I N MIND-READING. Mr. and Mrs. Fleming will exhibit severalstartlingfeatr in thoughttransference.
SPIRITCALISTIC MANIFESTATIONS. A Talk withtheLateMadame Blavatsky. b. AMessagefromtheSpiritLand. c. The SpiritCabinet. A reproduction of the famous dark seance of Madame Eusapia Paladino, the notorious Italianspirit medium. 7.
a.
Part 111. A FEATINMESMERISM. 9 . T H E DANCE O F T H E CARDS. 10. MONEY,MONEYEVERYWHERE. 11. MAGICAL COOKERY. 12. T H E HIND00 GONG. S.
An illusion which recalls theweirdandunbelievabletalesthat come possibility of human beings passing inviaibly out of India,suggestingthe through space. The audienceis asked to pay particularattentiontothe results brougkabout by the seventh stroke of theHindooGong.
Tnis brings us to the close of volume six, and onceagain we thank allthose who havemade possible ‘another twelve issues of thisbulletin. Looking back we feel that the standard of effects inthelastyear has been highenough to satisfy all of our readers. We know that everything that goes in these eight pages every month is practical, for in most cases we have seen the effect performed and worried and badgered the originator to release it. With volume seven we start with a bigger batch of worthwhilematerial than we have ever had before. Already lined up for the February (Annemann) issue number we have effects from Dr. Jaks, Will Dexter, Arthur Carter, Ron Baillie and Leslie May. From M. Treborix of France we haveone of the loveliest children’s effects of all time, the ‘ Three Ducks.’ In the October number there will be front-paged the ‘ Astral Coin ’ by Tan (Porous Glass) Hock Chuan. In the fileswe have items from Peter Moffat, Roy Walton, His Honour JudgeWethered, Robert(MethodsforMiracles) Tothill, A. Koran, the late Bruce Hurling, Francis Haxton,HansTrixer, Rev. G. E. Arrowsmith, J. A. Esler,LenBelcher,FreddyClarke. Tom Sellers and many, many others. Our good friend Paul Fleming sends us across the programme of his full evening show, together with hispublicitymatter. Theprogramme we thought you would like to see. We have had many reports of the loveliness of this evening’s entertainment, the best, perhaps. because it was across the dinner table, came from our friendTomHarris (of Massachusetts) when he was overhererecently.It is arepresentative programme as you can see, of magic in the grand manner.Some may say thatitis a programme alignedwith the old school. If it is, that is the reason for its success, for the men of a past generation hadthe way of presentingamagedy that combinedhumourwithdignity and skillwith deception.Amazementwithout effort. PUBLISHER’S ANNOUNCEMENT
W E regret to announce that rising costs of production and distribution force us toraise the price ofPentagram t o 1/6 (20 cents) per copy as from the next issue. The combination of the rise in the cost of printing, blocks forillustrations,envelopes(alone loo?;, morethan when we firstpublished Pentagram), postage (up by 50%) and general incidential expenses has long since made the publication of this magazine require a monthly subsidy. This cannot continue indefinately, so, much to our regret, we have to pass the increases o n t o you, ourreaders. However,with thenew, heavier paper that will commence the new volume, with new attractive layout,andwiththegreatamountof very fine material that Peter Warlock. has lined up for publication, we feel sure that readers will not regard the price of 6d. or even less (at three or four effects per issue) too much t o pay for a really first-rate routine.
96
NO EGG?-NO BAG!
TONY KOYNINI’S
Stillanother entertaininginterlude by GeorgeBlake. AN ENTIRELY NEW EFFECT WITH A BAG AND EGGS, WITH A CLIMAX WHICH JUST COMPELS AN AUDIENCE TO SIT UP AND TAKE NOTICEAND TO A P X A U D AT THE FINISH. The performer repeatedly takes anegg from a shown empty Bag and places same in his pocket. The hand isrepeatedlyshownemptythroughouttheeffect, until the audience has seen four eggs taken from the bag and placedinthepocket,one by one.The procedure is reversed, the eggs being taken from the pocketandplacedir,the bag, andrepeatedlythe hands are shown emptyduringthesetransferences. YET, FOR KNOCKOUT A CLIMAX, THE PERFORMER NOT ONLY PROVES THAT THERE ARE NO EGGS AT ALL, BUT CALMLY SETSABOUTPROVINGTHATTHERE ISN’T EVENABAG.ANDTHERE ISN’T,BELIEVE US! You’ll like this, and you’ll work it in every show. Can be used as an opener or at any stage o€ the act, or as an ideal Compere item. Comesto you completein every detail. Less thana minute to prepare, three minutes to present, ridiculously easy to perform, so that you can devote all your attention topresentation, in factone of those effects whichis always included in myown act, and which confirms my aim in Magic, viz :“ If it won’t entertain - I won’t entertain it. ”
A LIGHT-HEARTED, entertaining card routine thatwill keep the audience entertained, amused and amazed for as long as you like to play it. Theperformermarksouta “ race course ” and places four horses (the aces) a t the starting gate. Three spectators bac$ theirfancy,andtheperformertakes theremaininghorse.”Spectators shuffletherest of the pack and one deals the cards in a face-up heap. The four punters move their horses up on the course RS indicated by the cards dealt. The performer may even be last, right up to the last moment, but suddenly he is in front and wins the race. The routine can immediately be repeated-as many limes as you like-and the performer wins every time. The only requirements - a pack of cards and something to mark the course with (pencil and paper, chalk or even match-sticks). N o special cards, no false shuffling (the spectators shuffle). No skill required.
Completeinstructionsinneatlyprinted booklet. Price 5 / Postage 3d. (U.S.A. 75 cents.) from the publishers THE MAGIC WAND PUBLISHING CO., 11, Monasky Gardens,‘Enfield, Middlesex.
-
PETER
The WARLOCK Although limited in output, has now travelled to Ireland, Finland, Belgium, France,Africa,AustraliaandUnited States and Sweden.
“
Hen
”
.. .
WARLOCK’S
T
PENTAGRAM
MIRACLE SLATE
And now from
A limited number only will be offered, at the price o f . 35/GEORGE BLAKE, 9, St. Alban Road, Leeds, 9.
Fetsch
..
“ Have been using your ‘Miracle Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I h2ve worked upon for years.” . . .
I
Vice-President:Douglas Clubroom and Library
- E2 10s. Od.
King George’s Hall,W.C. Particularsfrom
Post Free, from
PETER WARLOCK
you
THE DE LUXE “SU-TABLE” together with all his other effects inreturn for astamp. Write now to
24, Wordsworth Road,
Wallington, Surrey
+
-
N.W.9.
CONJURING BOOKS FOR SALE Let me know your wants
FOR STAMPED ENVELOPE No
Callers
C E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX I
Every Advertiser’zi goodsarefullyendorsed
hblishwi by the
proprietr-
.
Magic Wand Publications
JACK HUGHES
OLDANDNEW. LIST FREE
Hon. Scrretary
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
Colindale, London,
and Museum :
Magical Theatre :
and books for the:
Jack Hughes, 2, Evelyn Ave.,
PRICE
Craggs, Esq., Y.I.M.C.
Hearts of Oak Buildings, Euston Road, London, N.W.l.
The . Magtc Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
will be pleased tosend full details of
Duke of Somerset.
D.S.O.,O.B.E.,J.P., M.I.M.C.
is published onthe 24th of eachmonthand can be obtaineddirect from the publishers for 111 persingle copy. AnnualSubacription It/port free. PUBLISHED BY:
Manuscriptsforpublication review should be sent to EDITORIAL ADDRESS:
The Magic Circle President : His Gracethe
The Magic Wand.Quarterl).. Ter ropy 318 p.p. .4nnr1al subwxiption 1-1/6. TheWizard, 36 pages monthly. Per copy 2/1 13.1). G InolJth 12,‘6. \;<.a1 24i-. Convincing Corn i\.!agx (FareIli) , . 17/10 Mastered An-lzente:lt (Koran & Larnonte) . . 1013 Bohleno’s Mysteries (Bohlcnl . . 10/3 The Concem Ventriloquist (Hurling) 10/3 George Armsttong’s Premonition 1on Chandu’sPsychoanalysis . . . . 10/3 Entertaining With Hypno:ism (Dexter) 1013 Cha.lenge Iwtant Hyp:lotlsm & Mass Hypnoti m .. .. .. . . 21/Strictly Mag’c (Eddie Josclph) 513 Stooging Around fSrvthardi .. 513 26 Living & Dead Tests (Garrdlt) . . 5/3 Iamesosophy (StfAwarl .Tav--q) . 5/!3 Year Book 48/49 ( ( , * v only) . . :’ . 513 Stunts With Stage Money (Lamonte) . 5/3 Trick. of the Trade (Armstrong) . . . 217 From the publishers THE MAGIC WAND PIJBLISHING CO., 11. Monastery Gardens. Enfield, Middlesex.
by this Bulletin
The Magic W’8nd Publishing Company. 11, Monastery Gardens,Enfield.Middlesex,and Walker and Son (Printem.)Ltd.. Well Croft. Sbiplav. Yorkshire
printed by Herhcrt
+
MENTAL AND PSYCHIC
CARDS Improved Sure Fire Force Mindout of TimeAgain
...
Diluted Discovery Ladies’ Looking Glass
...
Just Time in
...
One Red Card
...
By Three
...
A Strange Coincidence
...
Two by Two
...
...
It’s Date a
... I Do as You Do as I Do! Prestimentalation
...
Double Stop Discovery X
1..
Face Down Forethought
... ... ...
... ... ... ...
... ... ... ... ...
... ... ...
...
...
Cardthought
...
Sandwich Spread
...
... ... ...
Precogspeller Precogspeller. Trixer
...
...
... ... ...
5
Operation Psychio
S
Uncanny Force
...
... ... ... ... ...
...
... ... ... ... ... ... ... ... ... ...
... ... ...
...
The Magic T.V. Set
The Flowermaker’s Scissors
... ... ...
Gap Curtain the in
11
Election Selection
...
...
...
...
...
...
Deed
...
Impression
... ...
... ... ...
...
... ...
17
...
Within Word
21
By Thought and
30
Creating an
35
WishTul Thinking
36
Fourth Dimensional Thoughts
... ...
44
Let’s Chouse a Word
53
Persistent Ghost
...
62
Make Mine
...
65
... ...
67 74
...
74
...
79
...
89
... ... ...
18
Ring Ropan
19
Ellis Ring
... ... ...
... Milk
Coinjuration
... ...
20
... ...
21 26 33 37 37
... ...
41
...
51 57
...
... ...
...
...
75
...
...
9
...
... ...
49 81
... ...
... ... ... ...
...
...
25 73
...
613
50
67
...
RINGS Epilogue Thoth to
...
Out of the Loop
...
... ...
...
... ...
Linking Manipulation Ring
... Routine
...
... ...
58 91 04
85
ROPE Express Delivery
...
...
Loops Entwined
...
... ... ...
...
itHere
is!
......
...
...
...
...
...
12
... ...
...
...
...
60
2 1 0
...
...
77
...
...
26
MAGIC GO ROUND 7 12 23 30 39 46 55 63 70 78 87 94
...
...
90
...
Mystic Multiplication
1
FLASHBACK
KNIVES
...
... ... ... ...
SILKS
FIGURES
Knifed
...
Twin Ribbons
19
43
11
... ...
Pence
A Quick Return Cupro
...
...
... ...
...
...
RIBBON
COINS AND MONEY The Cap and
...
Linking Manipulation Ring
...
... ...
10
CIGARETIES A TipforCigaretteWorkers
Subconscious Publicity
... ... ... ... ... ... ...
CHILDREN’S MAGIC
The Magic Flower Maker
...
...
3
...
...
REPORTS Magic Circle Festival
...
...
...
6
Methods for Miracles-
REVIEWS
No. 6
7 14 23 31 47 54 71 77 86
...
Opus 13 “
...
...
Can Play!”
Any Number
... ... ...
Minds Twin Uncanny Hankies Zodiac Telepathy Scarne’s Magic
Tricks
...
Nullifactor The
... ... ... ... ...
No. 2 No . 3 No.4
... ... ... ......
Third Collector’s Annual
...
14
ChallengeMemory
Test
... ...
...
15
Bill-Ze-Bub
...
...
...
...
15
Eye Private
...
...
...
... ... ...
15
Stars of Magic :
23
Vernon Leipzig on
23
Vernon on Malini
... ...
... ... ... ...
...
7
... ...
...
... ...
...
...
... ...
... ...
...
... ... ... ...
31 31 31 31
Koynini’s
47
Trilogy
...
... ...
47
Mindreader’s Dream
...
6
Hickson. H.
73 84
Johnson. G.
......
... ...
...
...
... ...
...
41
Belcher. Len
... ...
...
Bernard.Bobby
...
... ...
Carter. Arthur
... ... ... ... ... ... ... ...
... ...
Arturo Avis. Jack Baillie. Ron .
Clarke. Freddy Collins.Stanley De La Mare. Eric Donovan. T . B . Douglas. James Esler. J. A .
...
Findlay. J . B.
...
... ... ...
...
...
...
...
... ... ... ...
...
...
...
...
...
...
Prepossessed
...
The Pencil Tells
Routined Manipulations. Part I1
... ...
Blue Print for Bill-Ze-Bub
Methods for Miracles-
No. 1
No.? No. 8
94
DETAILS OF ITEMS REVIEWED
... ... ...
50 51 67
“
No Egg! No Bag!’’
Leipzig’s Card Stab “
Derby
”
...
...
... 0 . .
May. Leslie
...
11
Millidge. B .
...
77
Milton. H .
...
17
...
... ...
30 26 1
...
5
... ...
5 22
... ...
54
...
54
... ... ... ... ...
... ... ... ...
54
...
71
...
77
...
77
... ... ...
...
Mohammed Bey’s Ellis Ring Routines
... ...
9 57 60
... ... ...
.
.
54
55
71 71
86
I
86
..L
...
85
... ... ... ...
...
...
86
... ... ...
...
86
...
94
...
94
... ...
...
... 25 31 ... ... 33 35 36 37 43 85 A
...
... 0’ Connor. Billy ... Potter. J . . . . ... Rasmussen. B. E. . . . Trixer. Hans Vanderschmidt.
... T. . . .
I
21 I-
P
...
... ...
... ...
...
...
. 1
62
20 79 49 74
60
...
...
Walton. Roy
...
Warlock. Peter
18 19 26 58 68 ... 3 53 81 9!
Whitnall. C . Dudley
...
93 75 3 9
PETER WARLOCK’S
PENTAGRAM ASTRAL COIN BY T A N HOCK CHUAN EFFECT : O N AN outspreadhandkerchiefaborrowed
shilling is placed near one corner, and two cards are placed on it so that it is covered from view. A jade bangle o r ring, about two inches in diameter, is then placed on top of the cards. The upper card is then taken by one corner and of thehandmoved to theoppositecorner kerchief,the ring being keptin place by the unoccupiedhand.Pattering tothe effect that the bangle hasthepower of withdrawingthe astral form of the coin, the ring is taken up and placed onthecardjustmoved away. Saying that this results in the disintegration of the coin, the card apparently covering the coin is removed andthecoin is no longer there.Whenthe othercard is lifted up,thecoinisseento Ee underit, havingbeen drawnthere by the magical power of the ring somehow !
METHOD : One of the two cards used is faked with a tongue” cut from a duplicate card, glued at the edge, and with a blob of wax as shown in thediagram.Theothercard is placedbelow the prepared card so that the ‘ l tongue ” is o n its face. Have cards face down.Witharing of some sort and a handkerchief you are ready to perform. (1
Borrow a small coin which could be marked, and place it near one corner of the spread-out handerchief.Thecardscould beshownquite freely if the thumb is kept over the ‘ l tongue ” of the prepared one. (Cards may even be scpc arated and replaced). Place cards over coin so thatthe waxed tip of tongue ” goes directly over it, and secretly press on the coin so that it sticks to the ‘ l tongue.’’ Introducethering with appropriate patter and put it on the two cards. With the right hand, just catch hold of the top card by the tip of the lower right corner
and, keeping the ring in place with a finger of the left hand, move the card to the opposite corner of thehandkerchief,thus moving the borrowedcoinsecretly away. Nowtaking u p the ring a few inches up and replacing it, re0 peating this a few times, make the remarks that the ring is drawing out the astral form of the coin. Then remove the ring and place it on the of other card. Patter further that the removal the astral form has resulted in the disintegration of the coin and turn over the card to show that the coin is no more under it. Now point to the other card with the ring and, saying that the (Continued on page 5 )
2
NOTA By J. A. ESLER
5
in 1919 I hit upon an idea for vanishing a coin from an envelope by having a perpendicular slit in the fold at the right hand bottom corner; as the flap is licked preparatory to sealing it down, a slight tilt permits a coin placed in the envelope to roll into thelinger palm. George Johnsonthought wellof the idea and illustrated it in The Magic Wand of that period. I have used it on and off ever since and can recommend it as a perfect vanish. I had always wanted to elaborate on the idea,and succeeded in making a trick fromit quite a number of years ago. Just recently at a gathering of conjurers I happened to show it. As I had to make some contribution to the magical :stock-pile, I did so with considerable diffidence, as up to that moment I had been quite bewildered by a multitude of seemingly impossible problems, most of which left me without a clue. I was even more bewildered to find that this simple little trick was at once acclaimed as being really worth while. Now if you are still interested, read on. Misdirection is a strong point here. I may mention that experience has taught me that it is better to have the slit in the envelope horizontal at the corner of the bottom fold. The items requiredare : an orange, with a suitableslit to easily take a half-crown, a ten shilling note, a tumbler, and of course, the faked envelope. Theorange can be anywhere; I keep mine in the hip pocket. I find this pocket grips the fruit betterand keeps the slit in a fixed position. You ask for the loan of the coin, having a duplicate finger palmed in the righthand. Ask the lender to note the date. Hold the coin visibly in the fingers and ask for the loan of a ten shilling note, while this is being sought, pick upthe tumbler in the left hand and apparently drop the coin into it. Even if you are not too good at this switch. the business of waiting for the note will distract from any suspicion of the exchange. The position at this stage will be : duplicate coin in tumbler, borrowed coin in finger palm. The note willbynow be forthcoming. the number duly noted; this is pushed into the tumbler on top of the coin. The right hand nowgoes quite openly to the hippocket, pushes the palmed coin into the slit, brings forth the orange which is impaled on atable knife and given to someone to hold. The note and coin are withdrawn from the tumbler, the coin wrapped in the note using the coin fold (Modern Coniu7er) tapped against the tumbler to prove its continuedpresence there. The wrapped coin is now placed in the envelope, with theslit corresponding tothe open end of the folded note. I t is hardly necessary to detail what follows. The flap of the envelope is licked. what I OMETIME
time the envelope is slightly tilted, the coin rolls freely like a charm into the lingers, the sealing is comoleted. enve1oDc in a position of - daced visidlity. I think I can stop here, the work of the performer is comolete. the actor now takes control and makes thddisclosure as he deems hest. Just one little point, there is a peculiar niceness growing up among conjurers which appears to cause them to be afraid to lick the flap of an envelope, this is just silly, there is no mechanical device in commonuse forthis purpose, and its perfectly correct to use your tongue. ~~~
~
"THE FEMALE OF THESPECIES No.1-VONETTA
. .
*S
From the James B. Findlay Collection
3
FULL STOP, DOUBLE STOP! By HUGH A. CARROLL N YOUR May, 1952 issueyou printed Jack Potter’s improvements and comments about Dr. IFrank Taylor’s effect titled Double Stop.” “
Possiblyyoumay wish to addfurther confusion to this effectby printing my simplified(?) version. Begin with an ace to king stack of diamonds, or of any other suit on top of the pack. The ace is top card and the king is thirteen down, of course. Casually undercut the pack, run five cards, injog and shuffle off. Undercut again holding a break, run cards and throw balance to break and place remainder of cards on top of pack. This is the regular Endrase top stock retaining shuffle. Five cardshave been addedontop of 13stacked diamonds. Repeatthe procedure acS youhave ten indifferent cards on top of the stack. If you do not care for all thiswork, begin with the pack stacked as stated. Place the pack on table and ask a spectator to cut about one.-third of the cards from top and place this packet about eight or ten inches to the right of the rest of pack. Ask the spectator to cut another third from theoriginal pack and place it between the two already on the table. Have spectator “ A ” look at the top card of the middle packet, remember itand shuffle the packet. Replace on table.
Have spectator “ B ” shuffle the packet on the lefthand end. This willbe the base portion of pack. Then havehim note thetopcardofthis packet and remember it. Havehimshuffle the packet on right hand end and place it on packet at left of middle packet. Two packets are now on the table. Pick up the “middle ” packet. which contains spectator “ A’s ” card. Fan the cards face to yourself and appear t o study them carefully. Actually look for the lowest diamond. Whatever its value add ten t.0 it. Let usassume a six spot is the lowestdiamond. Mentally count sixteen cards, beginning with the sixitself, tothe left and casually make a slight separation at that point. The left thumb is placed on the face of card at left of separation breakState: “ I think I have it,” or some similar remark as you look up at the spectator and at the same time casually make a cut at that point. The trick is completed in the usual way. If in counting t~ the left of the six spot there are notsufficient cards, continue counting from the right hand end to left until total is reached. T o insure havingsufficient cards in the packet, you should make certain that the middle packet is a t least as thick as the packet at the right of it. That is the reason for placing this packet next to the first packet cut off the deck.
SANDS O F GOB1 BY TAN HOCK CHUAN IS the humble opinion of the writer that this effective feat, commonly known as ItheTwonderfully Indian or HinduSand Trick,” is of “
”
“
Chinese origin. At thislate stage of magical knowledge it is passing strange to think that no correct explanation of the effect has appeared in print. This statement mayseem impudent and far-fetched in the light of the present age of magical enlightenment. Let me ask the reader to be patient and to readthe following explanation of the same effect as has been done by Chinese magicians for many, many years, before he forms any opinion. I believe that this is the first time the Chinese method has been revealed in print. The effect has been written up by a few magical writers like Goldston, Carrington, Ainslie so it is quite well-known to andHilliard,and magicians. Let me urgethe readertoturn to Hilliard’s Greater Mngic for the best account of
the methods usedwhichthougheffective are not the same as the Chinese method. A list of references is given at the end of thisarticle for interested readers and magical students. Now follows the Chinesemethod.Very fine sand is required forthis effect. The sand must imbewashed to be f r e e fromsaltandother purities. Separate it intothree lots andcolour them with dyes (say red, green and yellow). Dry them thoroughly and sift to free from coarse: particles and bits of wood, stone, etc. Put a pint of sand intoapanandheat up.When it is heated sufficiently, putinalump of hardwax about thesize of a walnut (a piece of tallow candle 13 inches long will do) and keep stirring the sand over and over so that every grain is coated with wax. Then allow the sand to cool and, if the preparation has been carried out correctly it is quite imperceptible to sight, touch and smell.
4 Sand prepared this way will not ball up even if it is squeezed fightly in the hand, yet when a fistful is placed in water, it will remain in the form of a ball, being kept in shape by aqueous p-I essure just as a soap bubbleis kept round by atmosphezic pressure. This simple and scientific stratagem renders unnecessary such clever devices as waterproof bags, waxed packages, glass balls, eggshells, gelatine capsules, etc. To perform, place the coloured sands in three smallcups or bowls. Have three white plates ready to catch the drysandsandshowup their colour. A metal basin, a pitcher of water and a small towel CL mpletes the set-up. This is an ezect which will be enhanced by allowing the audience to examine the props used thoroughly. Pour the water into the basin and, taking up a bowl, allow the sand to trickle in a stream into the palm of one hand.Just before placing the sand into the water close the hand into a fist and turning the fist over knuckles up, open up the hand in water and deposit the sand on the bottom of the basin. As mentioned before this handful of sand remains in a lump. Swirl the hand around to get rid of any grams of sand that stick. Take out the ha2d and dry it with the towel. Repeatthe process with the tworemaining colours, placing each ina different spot. The waterremains clear and these lumpsarequite visible to youwho alone have a direct view into the basin. You can stir the water around with the magic wand, takingcare to keep it to the side. The lumps of sand-keep their shipe, ready to be produced when required. Just place the hand over the required lump and scoop it up in the fist which is shaken to get rid of axcess moisture. Holding the hand with the back up or toward the audience, allow the drysand to run on to one plate which is held below it. Put thehandintothe basin again, swirl it around to get rid of the sand particles sticking to it and pick up another lump of sand for a repeat. I n the same way pick up the last lump. After the last colour has been produced, wash the hand in the basin, or you may scoop out the small amount of wet sand to display on a plate on a bowl. The water in the basin can nowbepouredback into the pitcher. It is quiteclearasthepreparation not only keeps the sand dry but also the dyes from running into thewater.
l. 2. 3. 4. 5.
References to the Hindu Sand Trick :Will Goldston’s “ The Young Conjuror,” Part 11, 1st Ed. Hereward Carrington’s “ Hindu Magic ” and “ Boys Book of Magic.” Arthur Ainslie’s “ Water Wizardry.” Major H. L. Branson’s “ Indian Conjuring.” J. C. Cannel’s “ Modern Conjuring for Amateurs.”
6. Okito’s articles on Indian Magic in the Sphinx for 1925-1926. 7. Joseph Dunninger’s “ Popular Magic,” Vol. 3. K J. N. Hilliard’s “ Greater Magic.” 9. WilliamMayoh’s “ Magic of Hoyam.” 10. Norman Hunter’s “ SuccessfulConjuring for Amateurs.” Note-The above references are not given as complete but are what I have been able to trace.
FROM OUT OF THE PAST A new and effective dress for magicians is being set byMr. Francis White,M.I.M.C.who is appearing at all entertainments this seasonin novel attire. The dress takes the form of a shirt insilver and scarlet buttoned tight to the neck andfitted with an elastic waistbandwhichisuseful for holding loads or fakes. Black dress trousers with dress shoes are worn, and the whole proves to be a smart combination of colour, suitable for performances at either adult or children’s parties. The new dress is especially useful for semiprofessional conjurers, whohaveonly a small margin of time to complete a change of clothing, and it also overcomes the worry of discovering whether or not aconjurer shouldwearevening clothes for afternoon shows. -The Magician, January, 1934.
AS KEN DE COURCY SEES THE MENTALISTS !
Didn’t expect ME did you !
5
FQUR CARDS = FOUR ENVELOPES BY EDMUNO ROWLAND ROM YOUR wallet or your pocket you F remove four plain wage envelopes. From each envelope you takea coloured card.Eachcard is a different colour : blue, green, red, or yellow. The cards are returned to their envelopes which are carelessly shuffled and thrown on to the table. They are not sealed. A spectator is asked to think of one of the four colours. As he does this, you deliberately pick up one of the envelopes. The spectator is then asked to think of a second colour, and you pick up a secondenvelope. (To avoid any possiblemlsunderstanding, you explain, the two which remain on the table arepicked up in your other hand and placed well out of thd way in your pocket). The spectator is then asked to name for the first time the coloursof which he was thinking. As each colour is named you slowly remove the corresponding card from one of the envelopes in your hand and throw it back on to the table. To conclude the experiment the empty envelopes in one hand, and the other two envelopes from your pocket in theother,are thrownon top of thecards on the table where anyone whowishes to examine themmay do so without any comment or attention from you. Now I find that this experirpentwillusually start an argument for somebody is bound to point out straight away that the result is not at all unusual or clever because you had even chances of picking the correct two coloursout of four by guesswork. But @is is not the case; it is easy to see that the spectator could have thought of any one of sixpossible pairs of colours (thereare : blueand green, blue andred,blueand yellow, green andred, green and yellow or red and yellow). Thechances of your picking outthe correct two colours by mere guess work, therefore, isonein six. In other words, theadds against it are greater than those against your picking only one colour correctly out of four! No doubt youwill be asked torepeatthe #experiment. Instead of doing this, persuade somebody else to try it.. It will often be a surprisingly long time before he accidentally picks out both the colours which are being thought of. The method of working this littlc experiment is simple, but subtle. To begin with, both the second envelope andthefourth envelopereally
contain twodifferently coloured cards instead of one.When thecardsarereturnedtotheir envelopes, therefore, the blue card goes intoone empty envelope,the green card goes into one which alreadycontainsaduplicatebluecard,the red card goes intoanother emptyenvelope, andthe yellow card goes into one which already contains a duplicate red card. The envelopes which are picked up from the table as the spectator is thinking of the colours are those which contain two cards. The other two envelopes aredroppedinto your pocket where you already have two empty envelopes. As the chosen colours are named the corresponding cardsaretaken from theappropriate envelopes in yourhand and thrown on to thetable. YOUarethen left holding two envel‘opes, each containing onecard. These are thrown on to the table with the two empty envelopes from your pocket.Anybody examining themnowwillnot know which was which, and will merely find that there are- four cards and four envelopes. There is one little snag, however,What are you to do if the spectator says that he has thought of blueand green, or red and yellow? In both cases t$e corresponding cards will be in the same envelope, and although there are possible waysof making it seem as though you are taking them out of different envelopes, none of themleaves the envelopes ready foracasual examination as in every other case above. What I usually do is this. Suppose that the spectator names the colours blue and green. I remove the blue card from theenvelope containing both the blue card and the green card, and the red card from the envelope containing both the red andthe yellow. I apologise for getting only one of the colours correct., and offer to try again. I take the envelopes containing the green card and the yellow card from my pocket (instead of the empty ones), and now I am ready to start again at the beginning. If the spectator then proceeds to think of the other two colours (red and yellow) I am forced to apologise again and offer totry a third time. Fortunately this has seldom happened to me, but at a third attempt you are almost certain to be right; only a very awkward person would think of either blue and green or red and yellow again. I
6
BOOKS T h e Yock (published by ValAndrews at 374, KingsRoad, .S.W.3., price 113 percopy.
Copies to be issued at irregular intervals). A ‘ yock ’ is apparently a show term for. a belly-laugh and the main intention of this broadsheet istotake over from where FrankLane finished with his ‘ Funny Talk.’ Catering for the M.C., compere, ventriloquist, conjurer, and in fact, all those who find it necessary to bring laughter ’0 their audience, it should find a ready sale.
EBective Card Magic (By Bill Simon. Edited by JeanHugardand published by Lon Tannen, New York, pricesix dollars, fifty cents. Co. or Available through the Fleming Book Unique Studios, London at an equivalent sterling amount. Let us start by saying straightaway that this is undoubtedly the finest and largest collection of card effects to be published in book form since the cessation of the war. We say this bearing in mind that one veryfine text book on card conjuring, “ Card Control,” by Buckley is in the main devoted to sleights. The book at presentunderreview, whilst bringing into action a number of new moves is primarily a book of card tricks for the intelligent card conjuror. There are six main chapters to the book, and to precede these there is a brief note of introduction by Martin Gardner, followed by a veryfine chapter on “ Observation,” by the author ; it not only awakens a number of worthwhile thoughts in the reader’s mind,but answers a lot of those questions which travel the rounds at one time or another. It is an impossible task in the given space to take the book chapter by chapter and describe each trick therein. We will mention first the sleights and their descriptions and then take what we consider to be the outstanding effects. First of all there is a method of card control that for simplicity and efficiencyis outstanding because it allows for delayed action. Then we come to a sleightwhichin the modernmanner of card conjuring is a mostworthwhile asset. It is a method of controlling two “ peeked at ” cards. There is also a very nice steal from a fan and the authorhas put thebuckle ’ count to some unorthodox uses and at the same time extended the armoury of the card man.Shuffles and cuts are also very practicably dealt with. Perhaps of the greatest importance is the chapter on the dealing of seconds. In it the strike method is detailed as it has neverbeen detailed before, and though we believe that itwill take the reader more than a few hours to have a complete command of the mechanics, the instructions should, if followed, prevent the learner from practisingin a faulty manner.
Coming to the tricks and leading in from the last mentioned sleight, we consider that ‘ Call 10, the Colours ’ is easily the outstanding novelty in the book.Unlikesomereviewers we like to run through card effects as we read them, and, where the need may arise, get a far better worker to run through a particular effect. In thecase of this particular effect we got young Tony Blitz who packs a lovelysecond deal, to giveus a performance. Quite frankly just to add this particular effect to one’s repertoire is worth all thetrouble of learning the sleight. Also in the second deal chapter is a slightlydifferentversion of Miller’s ‘ Danbry Delusion.’ The reader need not think that all the effects described need card conjuring of ‘ second deal ’ standard, forthereareanumber of fine feats baseduponverysimplemovesindeed, and in somecases no moves at all. In this class w e would call attention to ‘ Co-incidence ,’ a double card coincidenceeffectwith no clue totheonlooker. Other effects that we think veryvery good indeed are :Elevator Cards, Business Card Prophecy, Instant Reverse, ATouchingExperiment, Telepathy, Predict Switch, the Finger Stab, Trick with. a new Twist, Strange Card and Four Deep. In all there are some fifty effects, and wedo, regret that the publisher has not given a complete index. We feel certain that this is one of the books that will have a second and more editions and when this happens, we hope an index will be added. Dr. Jaks supplies the necessary illustrations that make for perfectunderstanding of the text. The book is very nicely bound in stiff covers an& in all carries some 181 pages. A real ‘must’ book. for all readers.
Dr. J a b Multiball (described byBruce Elliott, price three dollars from Holdens MagicShopz,. New York). This is a version of the sponge ball routine.. Those fortunate enough to be in America and hav-. ing seen Dr. Jaks use the effect in his lecture will need no worda of encouragement from me to urge, them to buy an effect, which we understand in Dr.. Jaks’ hands, is a miracle. In this effect small coloured cubes of sponge of latex are used. (So far as weknowthekind used for these cubes is oot easily obtainable in this. ccuntry). The main beauty of the effectcomes. at the climaxwhen a spectator opens his hand, whichso far as heknows contains merely five small balls and a cascade of some thirty or forty. little cubes hit the table. The effect comescompletewith full instructions and the necessary coloured balls. A closeup trick that willfind great favour with table: workers.
First. of allan apology toour readers and Ken de Courcy for the lack of acknowledgment and caption for the cartoon that appeared in the September issue. The heading above the cartoon, which we hope you’ll turn back to should be ‘‘ Ken de Courcy looks at the Mentalists,” whilst the caption underneath should read “ Is this where l get my billet changed?” And now for two recent major events, the British Ring Convention andthe Magic Circle Festival of Magic. Hastings proved an ideal venue for the 1952 convention and there can be few who went away dissatisfied. For ourselves, owing to rather heavy commitments we saw little of the events. In fact the only shows we saw were theCabaret at the Civic reception, the after Banquet Show and the Gala Show. Regarding the first, for a hall the size of the White Rock Pavilion, more spectacle was necessary and we apologise to our daughter for foisting upon her for performance a prediction effect which experience has now taught us is completely unsatisfactory for such an occasion. We hope that three new effects that we are passing on to her will afford complete atonement. Theafter Banquet Show though well conceived went on far too long. This was no fault of the producer, who was led into the belief that each person on the stage would give a one or two minute visual effect. With some of them making one trick last between eight and twelve minutes it’s no wonder that many in the gallery dozed right off. The spook showwhich our friend Maury Fogel presented was not suitable for the occasion. The Gala Show was not only slickly presented butit contained something for everyone. In a magical show it is not always wise to start with a comedy act, but the choice of Ken Brooke in this spot got the show away to a magnificent start. Lew Ganson followed with a delightful silent act to be succeeded by Frank Boynett pdasenting theact which won for the Shieldin 1951. Suzy Wandas with some impeccable back palming and superb showmanship received a great ovation at the end of her act which came next. Another continental act,JeanPaperman presented some delightful novelties in magic and ventriloquism. Fogel closed the first half with a mindreading act presented with that superb showmanship that is his.
The second half brought that lovely Dutch act, Albinio and Tiny, their final production of an immense pipe bringing not only surprise but a well timed finish to a beautifully routined act. Harold Taylor right at the top of his form presented his well known musical hall act. An extra act was included at this spot. It. was that of June McComb with her Magic Book. The Marelles closed the show with their Marionettes presented in a boisterous manner. Again we’have had to see the Magic Circle Festival from the wings. Opening with the Kinsons presenting some miscellaneous items that all seem to connect, Ming Chow with his oriental pickpocket act follows. This is one of the laughter items of the show. A break here and from the front of the house comes Michael Bailey to present a three minute rope routine. His fine appearance and manner will take him a long way. Lionel King with his famous card act brings down the house. To close the first half is the Maskelyne sketch, “ Will, the Witch and ther Watchman,” well presented by competent actors and introduced by John Brearley. Lasting half an hour it is too long by modern standards, and after ten minutes of the Witch and the Monkey going in andout of the cabinet, most of the audience couldn’t care less where the monkey is or where he should be. An interesting periodpiece nevertheless. The secondhalf of the programme opened with Horace King and Bettypresenting their crinoline act. Bobby Kimber with his well-known dummy “Augustus Peabody” then gave some beautiful ventriloquism. After a loud speaker introduction Pat Levyassisted by Diane gave a presentation of Zombie. Then came the magic act of the evening Fred Kaps (Mystica) to most of you. Since his last appearance in this country his presentation has improvedbeyond all measure and with Cardini and Viggo Jahn takes his place among the great manipulator entertainers of this decade. From the sublime to Donald Stuart who succeeded in making his audience rock with laughter. To close came Gil Leaney assisted by Frankie and Bernard. Something old of hisplus something new including a delightful toy train version of the Golliwog Ball. The show was ably compared by Peter Newcombe and the orchestra was under the expert direction ofSydney Jerome.
A SEUSATlONAL ACT AT LOW COST
BY RON BAILLIE PREPOSSESSED: That’s what. you’ll be with Ron Baillie’s prediction miracle. ENTIRELY ONE-MAN. NO STOOGES. NO CARBONS OR IMPRESSIONDEVICES OF ANY KIND. NO SECRET WRITING OF ANY KIND. NO GIMMICKS. JUST ENVELOPES AND CARDS USED. A word is formed, letter by letter, by the The audience. There i s no force of anykind. letters are suggested by the audiencethemselves and a word slowly comes into being; you do not influence their choice in any way and no-one knows what the word will be until the last letter is called. BUT THAT WORD IS THE WORD YOU HAVE PREDICTED ON THE SIGNED AND SEALED CARD. THERE IS NO CHANCE OF FAILURE.
ENTERTAINING WITH CONTACT MIND READING By S. Edward Dexter
THENEAREST THING TO GENUINE MIND READING C O N T A C T MIND R E A D I N G is a sixth sense, highly developed. that enables the performer to read other people’s minds without recourse to trickery o r any of t h e usual trappings of the mentalist.
You need only a clear understanding of the principles involved, n o assistants, stooges, properties or other apparatus.Youalonearereadyat any time to presentthis most baffling form of entertainment known. Suitable for public or privare shows, intimate o r stage, newspaper offices, scientific investigations, social gatherings - ANYWHERE I
Price 7/6 Postage 3d.
Price 81- Postage 3d.
(51.00)
T H E M A G I CW A N DP U B L I S H I N G
CO
11 MONASTERY GABDENS, ENFIELD, MIDDLESEX PETBR
The WARLOCK
I MIRACLE SLATE I Although limited in output, has now travelled t o Ireland, Finland, Belgium, France,Africa,AustraliaandUnited States rnd Sweden.
And now from
1
“
Hen ” Fetsch . .
“ Have beenusing your ‘Miracle Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
WARLOCK’S
PENTAGRAM is published on the 24th of each month and canbe obtained direct from the publishem for 1 / 1 per binglecopy. Annual SubKription I t / post free. PUBLISHED, BY;
-
€2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
Clubroorn and Library and
Magical Theatre :
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRHSS:
Particulan from Hon
Warlock, 24, Wordsworth Rd., Wallington, Surrey. Peter
JACK HUGHES willbepleased
to sendyou
full details of
THE DE LUXE “SU-TABLE” togetherwith all his other effects in return for a stamp. Write now to
Colindate, London,
N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. L a me know your wants LET FRBB FOR STAMPED ENVELOP6 No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
The Maglc Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Jack Hughes, 2, Evelyn Ave.,
PRICE
The Magic Circle I’tcridunt : His Gracr she Dlske o f Sonxrsct, D.S.O.. O . B E . , J.P.. M.I.M.C. Vice-President: Douglas Crs~gs,Esq., Y.I.M.C.
King Georgc’s Halt,W.C. Secretary
;
F rancis White, 39 Alverstonir Avenue,
Wimbledon Park, S.W.19
Magic Wand Publications The Magic WandQuarterly.Fer copy 3/8 p.p. Annual subsfription 1416. The Wizard, 36 pages monthly. Per copy Z/1 p m 6 month, 1216, Year 24/-. Convincing Coin Magic (Farelli) ,, 17/10 Mastered Amrzcmenr . . 10/3 (Koran & Lamonte) Bohleno’s Mysteries (Bohlen) .. l013 l0/3 The Concert Ventriloquist (Hurling) Geolge Armstrong’s Premonition lOl3 Chandu’s Psychoanalysis . . l0/3 Entertaining With H pnotism (Dexter) 10/3 Challenge Instant tfYypnotism & Mass Hypnotism .. .. .. 21/Strictly Magic (Eddie Joseph) . . 513 Stooging Around (Stuthard) . . 513 26 Living & Dead Tests (Ganett) . . 5/3 Jamesosophy (Stewart James) . . . , S/!3 Y e a r Book 48/49 (few only) . _ . Sf3 Stunts With Stage Money (Lamonte) 513 Tricks of the Trade (Armstrong) .. 217 From thepublishers THE MAGIC WAND PUBLISHING CO., 11. Monastery Gardens, Enfield. Middlesex.
__
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the propristr-
The Magic Wand Publishing Company, 11. Monastcry Gardens, Enfield.Middlesex.and Walker .ad Son [Printen) Ltd..Well Cmft. Sh;dev. Yorkshir
minted by Herbert
PETER WARLOCK’S
PENTAGRAM THE PERFECT WINDOW ENVELOPE PETER WARLOCK
T HE USE of a window envelope as a means of
ascertaining the writing of a spectator upon a card is a subterfuge which has never been completely explored. Whilst both Bill Wagner and Jim Thompson have added their own particular quota to a first rate utility device, until we started using the method about to be described we have never been completely happy about the handling. It was in January of this year that we hit this particular idea and its christening (in conjunction with a slate effect) was in our “ Credulity of Man ” lecture. Briefly the effect from the audience’s point of view is that a perso.n writes something, unknown to the performer, upon a visiting card. This card is placed inside an envelopewhich is left in the same spectator’s possession. The knowledge of what has been written is immediately available to the performer. Those who have made use of window envelopes in thepast willknow full well thatone of the most necessary things has been that the card used should exactly f i t the envelope in which it is placed. In thismethodthereis nonecessity for this, and in fact whilst the size of the envelope is 4in. by 29in. the size of the card is that of the normal small visiting card, i.e. 3in. by lain.
Let’s get down to brass tacks. First of all YOU will require a packet of envelopes of a size similar to that just mentioned. From one of these, out of what one might considerthe address side, a window is cut. The measurements should be 3ain. by 2in. A piece of cellophane the size of the envelope is nowtaken. Withtheaid of a strong adhesive it is now stuck to that portion of the envelope surrounding the cut-out. The next step is to clip off, with a pair of scissors, the small flap of the treated envelope. Now take one of the remaining envelopes, and place it address side down on the table and bend back the flap; in it insert a blank visiting card similar to that onwhich the spectator will be asked to write something such as a name, etc. Place the faked envelope cellophane sidp down on top andthen place both envelopes on top of thorn remaining and then fold down the flap of the secondenvelope. If this is being done some time before the show is taking place,place an elastic band round the stack of envelopes. This is removed, however, immediately prior to performance. With a visiting card at hand you are ready for that partof the trick that demandsyour knowledge of the idormation written by the spectator. Pick up the envelopes with the left hand and thecard with the right. Go to a spectatorand ask him or her to write down a name, etc., on the card. As they take the card take from your pocket a pencil andhandthisto themalso. Tell them not to let anyone see what they are writing, but You to let you know whentheyhavefinished. now half turn away as they start to write. When they signal that they have completed the chore, turn round, take back the pencil and drop it back into the pocket then taking the card, writing side down, flip back the flap of the envelope containing the card and slide it into the faked envelope. Let them see that it goes right inside, and in doing this handle the card in such a manner that they also see that there is no funny business going on. At this stage the left hand will be holding the envelopes almost horizontally. Immediately thecard is inside, raise the left hand and as the envelopes reach an almost vertical position, the right hand takes the flap of the second envelope which contains the blank card and pdls it clear of the stack.
The performer folds this envelopeinhalf and hands it to the spectator asking him to keep hold of it until such time as the performer directs. Moving back to his table, the stack of envelopes is apparently casually placed down, actually the packet is turned over and the fingers of the hand push forward the faked envelopes so that it takes up a position at the rear of the stack shown in Figure 2. P
The writing on the card is, of course, visible. through the cellopha.ne and the performer can note it immediately.
We have mentioned the -placing of the envelopes on the table because at thispoint we pick up a couple of slates, and such an action is therefore justified. It is, of course, just. as easy to turn the packet over whilst holding it, the envelopecontaining the informationbeingsighted say in the course of passing the packetintothe other hand. As.a further point-of interest-,. the slate -effect that we carry on with is one1 described by ourselves in Best Tricks With Slates and S l a t e s , n Lenrner’s Course under the title of “ Cohesive Colours.” It is a version of Annemann’s very fine “ Club Slafe effect ” which appeared in Ssssh, It’s n Secret! One point we have added to the original method outlined (mainly because most of the effects in this lecture are supposedlytestcondition)is that the .corner .of each slate surface is. initialled in pencil, by aspectator. Quite anumberofpeoplethese days have heard about flaps and this nullifies. such thoughts when the effect is concluded. The reason for usingpencilbecomesobvious as .thetrick proceeds. If we are working the effect at close quarters, we prefer to use the method that we disclosed under the title of“‘ Pieces of Slate ” in the Phoenix.
ALL AT SEA WILL DEXTER RY THIS nautical variation of the Chinese Compass. Take two ten packets of Player’s Cigarettes and from each cut the lifebouy bearing the words “Player’s Navy Cut” which contains the portrait of the sailor. Stick the two discs back to back so that the letter “P” in “ Player’s ” on the back disc registers with the “P” on the front disc. Now you have, in effect, a version of the old Chinese compass.
one lends itself to a further effect.Inthis,when the disc is handed to the victim to try it for himself, he succeeds in sinking the sailor on the rear disc! This can be achieved by using a 20 packet as well. From it, cut enough sea and sky (you’ll have to join the bits up carefully as youwon’t cut enough out in one piece) to fill in the lifebouy on atenpacket. Cutoutthe portrait of the sailor, and fill in the gap with sea and sky. Now glue an unprepared disc behind this one, as above. From a third 10 packet cut the centre part of the lifebuoy, and stick it lightly over the faked disc with wax. Now,when the disc is handed to the victim, the sailor’s portrait isslid off between thumb and forefinger, so that when he turns the disc, the back pictureshowsnothing but sea and sky. Hehas sunk the unfortunate sailor, together with the two ships in the picture!
Hold the double-faced disc by the edges between thumb and forefinger of the left hand, with the forefingeroverthd in “ Player’s ” and the thumb against the “U” in “ Cut.” By turning the disc in this position the sailor’s head on each side is upright. Change hands, taking the disc again by the edges, but with the right thumb over the “R’’ in ‘‘ Player’s ” and the forefingerover the “A” in ‘‘ Navy.” Now, when the disc is turned the sailor at the back is standing) on his head when the disc is turned. By changing the hold, he can be made to appear lying face down or face up.
This effect might be done with the larger discs from 20 packets,’ if you can get hold of one of the old 50 packets, which used to show enough seaand sky to fill in the larger lifebuoy.
A larger version can be made, of course, by using the discs from two 20 packets, but the smaller
Anyway, it makes a change from the Chinese patter, doesn’t it?
11
A N IMPROMPTU TORN NEWSPAPERTEST EDMUND ROWLAND
T HIS IS an impromptu mental effect which
can beperformedanywhere at any timewithout any preparation or apparatus at all. All that you require are a borrowed sheet of newspaper (or a page from any fairly large periodical) and an interested spectator. You begin by tearing the paper into two, then both pieces together to four, again into eight, then into sixteen, and finally into thirty-two pieces. At the sametime,youask for some-one to call out any numberless than thirty-two. The bundle of torn piecesisimmediately hacded to this person who is asked to count down to the piece which is at that given number. When he has found this freely chosen piece of paper, he isasked to concentrate on whatisprinted on either side of it. As he is doing this, you slowly describe it to him in detail! The explanation is that the " freely chosen " piece of newspaperisforced. This ishowit is done in a very clean and natural manner. Imagine that the sheet of newspaper,before you begin to tear it,is divided into thirty-two equal rectangles.Any one of these can nowbemade to appear at nny given number after tearing if you use the followingmethod of tearing. This method depends entirely upon your keeping the chosen rectangle amongst the pieces which are held in your right hand after each tear whilst the pieces from the left hand are placed under or on top of them according to this table. It must, of course, be understood that it is only necessary to place the chosen rectangle in one of sixteen possible positions counting from the top, because the other positions, from seventeen to thirty-two c m easily be found by turning over the bundle of pieces and counting from what was the bottom).
c _
Required positionof thechosen piece of paper : from from the the top bottom
1 2 3 4 5 6 7 8 9 10 l1 12 13 14 15 16
32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17
When the Left- In otherwords, place hand holds these thepiecesintheLefthand on top ofthose Nos. of pieces, Right-hand thein place them on top of thosein after thethe Right-hand. In every other case,place them underneath.
0 1 2 1+ 2 4
1+4 2+4 1+2+4 8 1+8 2+8 1+2+8 4+8 1+4+8 2+4+8 1e2+4+8
You must therefore decide which piece is to be forced before you begin to tear the paper. Any of the rectangles could be used, but from the point of view of learning to do the tearingeasily and naturally the best one to force every time is that which is shaded in Figures 1and 2. This is the pieceof paper whichiseasiest to control, for it is automatically kept amongst the pieceswhich are retained in the right hand if these are given a quarter turn clockwise after each tear. This movement is shownby the directions and the sequence of the arrows in Figure 1.
a
3rd t e a r 2nd t e a r
Q
+ 1st t e a r
1st tear 2nd tear 1st & 2nd tears 3rd tear 1st & 3rd tears 2nd & 3rd tears lst, 2nd & 3rd tears 4th tear 1st & 4th tears 2nd & 4th tears lst, 2nd & 4th tears 3rd & 4th tears lst, 3rd & 4th tears 2nd, 3rd & 4th tears lst, 2nd, 3rd& 4thtears
1st tear
Each arrow shows the d i r e c t i o n of the tear from top to bottom withthepiecesheld a s i n 3 so thatthe chosen piece i s always amongst t h o s e h e l d i n therlGhthand.
12 Usingthis particular rectangiewillmean that(a) the contents of the chosenpiecewill not a l w ~ j s be something, such as part of a headline or a photograph, which is easily memorised by you and quickly identified by the spectator. This ir; a disadvantage which cannot be avoided, but you ought to be able to get some idea of the c m t e r l t s before youbegin thetear(as you are holding up the borrowed newspaper and showing it on both sides to the audience) or even as you are making the first tear. The given number will also have to beknown(d) before youfinish the first tear. But as this first tear, with the full sheet of newspaper, will naturally be difficult to do quickly and smoothly, the number need not even be asked for until the tearing is started. It will then be given to you after the paper is torn (once). Anyone trying to remember exactly what you did will tend to remember that the number wasgiven after the paper was torn (completely). To illustrate the method of tearing more clearly, Figure 2 (a) to (f) show what you would do if the given number was 12 or 21.
(b)
(c)
(e)
(0
After tearing,placetheoneleft-handpiece on top of the right-hand piece. The chosen piece is now 2nd from the top. or 1st from the bottom. After tearing, place the two left-hand pieces on top of the right-hand pieces. The chosenpieceis now 4thfrom the top, but still1st from the bottom.Aftertearing, place the four left-hand pieces underneath the right-hand pieces. The chosenpiece is still4thfromthe top, but is now 5th from the bottom. After tearins place the eight left-hand pieces on top of the right-hand pieces. The chosenpieceis now 12th from the top, but still 5th from the bottom.Aftertearing, place the sixteen left-hand pieces underneath the right-hand pieces. The chosenpieceisstill12thfromthe top. but is now 21st from the bottom.
Don't forget to givetheright-handpieces quarter turn clockwise after each tear.
a
T H E T H U M B TIE EFFECT WITH A BIBLIOGRAPHY OF THUMB TIE METHODS
0N
CHARLES HARRISON
MANY occasions,whenmagicians are discussing the MagicalClassics, such as the C u p and Balls, the Linking Rings, the Egg-Bag, Rising Cardsand similar effects one hears the ThumbTie also included. It maybe debatable whether or not this effectshouldbeincluded amongst the classics; but there is little room for argument that, compared with the effects named performers have above, not nearly so many featured the thumb tiein their programmes. nor has nearly so much been written about it as about the others. It isgenerallybelieved 'that rhe TenIchi troupe of performers introduced the effect into this country. It would be interesting to know how many' present-day magicians saw them perform it. Unfortunately the writer did not. Horace Goldin stated that he had performed it in his early days, having learned the method from Ten Ichi and then altered it to suit himself; but I have never met a magician who saw Goldin perform it in England. It was certainly one of the strongest effects in the repertoire of thelate Arnold de Biere; and earned for him greater kudos than manyof the larger spectacular illusions which he performed. Other well-known performers who have featured the effect are Robert Harbin, Howard de Courcy, The Great Levante, Voltaire andYettmah. Billy OConnor has a very wide knowledge of thumb tie methods although, in his stage act he uses only cards.
One may wonder why the Thumb Tie, which when well presented never fails to obtain from the audience a mostenthusiasticreception, has not been exploited by many more performers than is actually 'the case.Trying to find a reason one comes t,o the conclusion that theremaybe two main causes. The first is because, unlike the rest of the classics the real secrets of the best, and most successfulmethodsofperforming the feat have fully d e s c r i b e d in m a g i c a l neverbeen l i t e r a t u r eS. t a pr e r f o r m e r hs a v e kept their secrets to themselves, and the methods described in print are written by people who have never made a real success of theeffect. The use of fakes,thumb-screws, straps, tape, etc.,instead of cord or string asinthe originalTen Ichi method, and in the method of all those performers who have made this a star effect, seems somehow to detract from the appreciation of the audience. One may suppose that they are suspicious of the real restricting properties of these methods. Let us consider for a moment the basic effect. Like the Linking Rings it is actually an effectof Matter through Matter. Therefore unless the audience are convinced that the thumbs are so securely fastened that they cannot, by trickery, as distinct from somewonderfulskill,beseparated, and also that the hoops used are solid, then maximum effect is not obt.ained. This brings us to the second reason for lack of performers.
13 If one is to allow the thumbs to be tied so tightly that anyone, given a perfectly free opportunity of examining the tie will agree that the strings cannot be removed from the thumbs, one needs first of all to know the secret,. and then a considerable amount of practice, toacquirethe necessary skill together with genuine showmanship in order to “ sell ” the ,effect to maximum appreciation. How many -present-day magicians are prepared to put in the amount of hard worknecessary tothe proper -presentation of this effect when there are so many other wonderful magical effects which can be performed with far less effort and exertion. In the writer’s opinion, by far the best method of having the thumbs tied is to allow those tying them to do so so tightly that it is obvious that no slack is held in the string. Thento allow a thorough examination of the tied thumbs, with the ,offer that if any member of the audience can pull -the strings off the thumbs then they will have to b e tied more tightly. After that, when examined hoops pass on the arms the spectators are completely nonplussed. To the best of the writer’s knowledge this method is very lit,tle known and has never been described in print. Someday it may be published; but, until it is, those wishing t o gain more knowledge of thumbtie methods than they have at. present might like to consult some, or all of the sources of information given in thefollowing bibliography. A BIBLIOGRAPHY OF T H U M B TIE
METHODS ANDREWS, Max.-Sixteen Thumb Tie Gems. As farascan be ascertained this is the only book ever published dealing exclusively with Thumb Tie Methods. Asthe title indicates, sixteen tricks are explained but the author does not claim that his list is complete. 52 p.p. (7$ X 4 3 , 20 sketches, stiff boards, London, no date.
ANONYMOUS.-TAe Art of Modern Conjuring. Page 199, 1 photo. (page 203). Describes a method where the performer has his thumbs well greased with vaseline! London 1909. CANNELL, J. C.-The Secrets of Houdini. Page 169 et seq. Describes three methods with string. Five sketches. London 1931. DECRAMPS, Henri.-Supplkment h la Magie Blanche Dkvoilee. This is the first record of the trick we have been able to trace. Describes two methods. (a) With cord or string. (b) With faked ribbons. 35 pp. (Octavo) Paris 1785. GOLDSTON, Will.-More Exclusive MngiSecrets. This is one of thefamous locked book series. Four sketches and three pages explain the Yettmah method. “ Another method ” is also described and illustrated. 490pp. (93 X 76). Cloth bound. London n.d.(circ.1922). ca2
HOUDINI, Harry.-Magical Rope Ties and Escapes. Describes two methods illustrated by five sketches. 78 p.p. (7 X 4$). London. No date. 40.
HYLER.-The Sphinx. April 1945. Page “ Hyler’s Thumb Strap.” New York
SELBIT,. P. T.-The Sphinx. December 1938. Page 252. Inan article by Nate Leipzig, regarding Selbit, it is stated that, the latter used to perform theThumb Tie. No details are given. New York. STANYON, Ellis. - Magic, October, 1909. Page 7. London. No explanation of how to perform the effect, butan advertisement of “ a genuine and thoroughly practical professional method.” (Price 2/61. WALKER, A. H., & H. E. L - U p to Date Colzjuring. Page 132 et seq. London. No date. Two pages are devoted to describing two methods. (a) With metal fake. (Twosketches). (b) With prepared string.
OUT OF THE PAST Pauline, the French-American hypnotistnot a woman, but an affable, agreeable man with glittering eyeswhich pierce you through and through-is at present appearing in London Halls with a remarkable entelitainment. Young men invited to step up from the audience are sent into the cataleptic state, and perform all manner of strange tricks at the will of the mesmerist, who is careful to reject those who are not susceptible to
his influence. It is screamingly funny to see thirty or forty of them running about the stage chasing imaginary mice, and to watch one whobelieved himself to be the mother of a year-and-a-half old baby, nursing and smacking the “infant,” a robust youngster of some twenty years, who squalled in the shrillest of child tones with all the power of his strong lungs. The Magic Wand, June 191 3.
14
BOOKS MODERN COW MAGIC by J. B. Bob0 (Published by Car1 W. Jones of Minneapolis, price 45/-). Onecan wellremember the dayswhenone frequent complaint against American publications, was that books were a rarity, whilst manuscripts weremany. How much since those days in the twenties, has the pendulum swung, and how very manyfinebookshavebeenproducedby that country during the last fifteen years. The present book under review is no exception and the reader is presented with what on the title page is described as “A modern treatise of ways of concealing, producing, altering and multiplying coins fromthe empty hands, being the first complete explanation for so doing published since Down’simmortal classic offifty two years ago.” That statement is in the main true for J. B. Bob0 who quite obviously is a magician who loves magic has taken considerable time andtrouble in compiling a work which will certainly become the standard work on this particular form of conjuring for a number of decades to come. One thing comes home to one reading through such a tome and that is, that work is the only way to success with coin magic for the self working coin tricks are few. For that matter so are the plots of coin magic. As well as a multiplicity of methods for producing the effectsmentioned onthe title page, many, many routines and tricks are dealt with, and those whowish to take up this most fascinating branch ofmagic. have the wherewithal for a lifetime’s work. The history of coin magic has not been neglected andas well as acontribution by Bobo himself, Stanley Collins hasaddedachapterin which he describes the work of outstanding coin conjurers whoseworkhe has witnessed.Apropos of this there is a bad cross reference on page 322, where the nameofOswaldWilliamsisconfused withOwen Clark. Let’shope that the second edition will see this righted.
A big word of praise must go to Milton Kort, who has been responsible for a big section of the book. We have heardfrom our friendFrancis Haxton about this magician’s fine work, and we look forward to watching him ourselves one day.
Credit has been given as fully as possible to originators, but as two people wiIl invariably hit upon a similar idea, certain items bearing a comparatively latedatehaveearlier antecedents, as
for example, the Bob0 Switch on page 10 and the Bobo Coin Vanish page 27. Whilst the first seems to have common property on this side of the Atlantic for as many years as we can remember, the latter we certainly saw performed by that great artist, Allan Shaw, way back in the early twenties.
The book runs to some 353 pages, there are 116 coin sleights and 236 coin tricks illustrated withover 500, theEditor is JohnBraunand
Nelson Hahne has supplied the illustrations. It is bound in one of the most attractive ways we haveseen. A book for usebyeveryone who has a love for magic. Unreservedly recommended. ENTERTAINING WITH CONTACT MIND READING, by S. EdwardDexter. (Published by George Armstrong, price 7/6).
On the title page, added to the title are the words, ‘ A complete non-technical treatise on the Science of Contact Mind Reading enabling anyone to present a convincing telepathic Act.’ In the simplest possiblelanguage our friend Eddie Dexter has placed within the reader’s hands the complete means of producing an effect which isthe nearest approach to genuinementalism, Contact MindReading is far frombeingnew. Nevertheless it has alwaysbeenone of the most impressive forms of mental demonstrations. The late Alfred Capper made this the most talked-of feature in his act, and quite rightly so, for there is not the slightest evidence of trickery to be discovered. To those of you, whicheverbranch of conjuring you may be interested in, we earnestly ask you to read this booklet and to absorb itscontents. With a little practice youhavesomethingwnich on many occasions will prove a marvellous means of publicity.
FOUR LITTLE BEANS, by John Ramsay. (Published by the author, price 5/-). Those who had the privilege and pleasure of seeing Johnny perform this effect onthe closed circuit TV at Hastings will need no recommendation of ours to purchase the routine which is described inmeticulous detail by theauthor, and edited by Victor Farelli. Based upon the old marble trick that students will find in Sachs classic, Johnny, in the style that is all his own, has produced a version puzzling to both layman and conjurer alike. Straightforward in effect, direct but subtle in method, the close-up magician hasto consider this mostreasonably priced booklet a must.
15
0 NE OF the perennial controversies in magic,
is that surrounding the matter of covjaring for conjurers, or let’s lift the phrase a bit and call it magic for magicians. Ourfriend Bruce Elliott has just been carrying a torch for that type of magic. In the Phoenix, No. 266 he so rightly says, “ Magicwould be so incredablydull as not t o warrant an imbecile being i~terested in it i f there were only one kind of magic. Magic f o r magicians happens to be a narrow segment o f our art from which we personally happen t o get a lot o f pleasure. And why not? The main reason that most o f us got interested in tricks in the first place is becausewewere fooled at some point in our lizfes by a magician. A s onebecomesmore sophisticated and knowledgeable the tricks that can fool one become fewer and fewer. I f some bright- souls get plensure oui o f toncocting magic that mny very we22be boring t o a layman, but is baffling t o a sophzsticated magician we say more power t o those people. The only legitimate criticism that we think the hater o f magic f o r magicianshas a ri4ht t o -level, is i f , or when, n performer is foolish enough t o employ a trick that is designedt o fool magicians in front oflaity.” Although Bruce, according to the next paragraph, has said his last word on the subject for Some time, we would like to go a little further. Whilstwe are not of that school which thinks that Magic per se is one of the fine arts, we think as a branch of acting it can be brought to the status of anart.Onehas only to witness the work of Cardini for example to be assured of this. Though for instance Cardini has -an act that will register with the laity, the polished nature of his act, whilst not deceiving a knowledgeable magician, enjoys the respect of such a magician and at the same time gives him the satisfaction of knowing that he is witnessing the work of a great artist. The would-be magical artist is less fortunate in his choice of expressionism than many other wooers of Thespis. Ballet in this country to-day has achieved quite a following because it has produced a form of entertainment easily assimilated by a laity, which after an initiation has gone home to read about ballet and later gone to see more ballet with a greater understanding of what is taking place. Magic is on a different plane, for
magicians as a whole do not want the public to know the methods that they employwith the result that! an infinitessimal portion of the average public audience watching a magical show has any understanding of the fineness or otherwise of the work they are watching. We feel that it is not merely the matter of fooling (though there is a deal of satisfaction in this aspect) a fellow magician that matters most in the production of good magic, but rather, the matter of propounding and exploitation of an effect that is as direct as possible which will not only be acceptable! in every way to the laity and magici’ans alike, but at the sametime will earn the respect of the latter group and place the performer in the role of an artist. Casting aboutfor referencesrecently and wading through manymagazines, we havebeen struck by the terrible photographs that appear from time to time in which a group of conjurers is pictured. One willbe performing the Linking Rings, another holding up a piece of rabbit skin, whilst trying to get into the picture with a photo finish will be several other deadbeats with versions of rising cards, serpent silk and what haveyou. Nothing can degrade magic more in .the public eyes than such a pitiful pictorial composition, -and we often wonder what a magician would. think .if he saw a photograph of a group of musicians like Boult, Sargent, Beecham and Delmar posing for a picture each holding respectively a triangle, a tamboreen and a sidedrum! BOOKS Continued from page 14
ONE MAN MENTAL MAGIC, by Milbourne Christopher. (Published by Lou Tannen, price not known). In this well-produced and illustrated booklet, that delightful magician Milbourne Christopher presents the reader with five mental effects which are! linked up to form an act. The effects are called ‘ Guided Thoughts ’ where the performer wills the spectator todoa certain thing, ‘ Pin Pointed Image ’ a mind reading effect with a sheet of paper, ‘Out of Town,’ a new version of the ‘ Living and Dead ’ test, ‘ The Mentalist Solves a Murder,’ a nice stagy item and finally ‘ Super Psychometry,’ a title whkh tells you all. With a few properties that can be easily carried in a brief case, the reader has a most impressive and entertaining routine for drawing room or concert work.
PREPOSSESSED
A S E N S A T I O N A L ACT A T LOW COST
BY RON BAILLIE PREPOSSESSED: That’s what you’ll be with Ron Baillie’s prediction miracle. ENTIRELY ONE-MAN. NO STOOGES. NO CARBONS OR IMPRESSIONDEVICES OF ANY NO SECRET WRITING OF ANY NO GIMMICKS. JUST ENVELOPES AND CARDS USED. A word is formed, letter by letter, by the audience. There is no force of anykind. The letters are suggestedby the audiencethemselves and a word slowly comes into being; you do not influence their choicein any way and no-one knows what the word will be until the last letter is called. BUT THAT WORD IS THE WORD YOU HAVE PREDICTED ON THE SIGNED AND SEALED CARD. THERE IS NO CHANCE OF FA;ILURE.
ENTERTAINING WITH CONTACT MIND READING By S. Edward Dexter
KIND.KIND.
+ THENEAREST THING TO GENUINE MIND READING C O N T A C T MIND R E A D I N G is a sixth sense, highly developed, that enables the performer to read other people’s minds without recourse to trickery or any of the usual trappings of the mentalist.
You need only a clear understanding of the principles involved, n o assistants, stooges, properties or otherapparatus. You alone areready at any time to presentthis m o ~ baffling t form of entertainment known. Suitable for public or private shows, intimate
or stage, newspaper offices, scientific investigations, social gatherings - ANYWHERE i
Price 7/6 Postage 3d.
Price 8/- Postage 3d.
($1 .OO)
TEE MAGIC WAND PUBLISHING CO l1 MONASTERY GARDENS, ENFIELD, MIDDLESEX PETER
The WARLOCK
PENTAGRAM
MIRACLE SLATE Although limited in output, has now travelled to Ireland, Finland, Belgium, France, Africa, Australia and United States and Sweden.
And now from
“
Hen ” Fetsch
..
“ Have been using your ‘Miracle Slate’ for over a month now and I mustsayit’swonderful . ... the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
PRICE
- E2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Every Advertiser’s publishedby
the propnetam The
ispublished on the 24th of eachmonthand can be obtaineddirect from thepublishemfor 117 per ringle copy. Annual Sukription 181. post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscripts forpublication review shouldberent EDITORIAL ADDRBSS:
and books for
Clubroom and Library
and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. Particularsfrom
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
THE DE LUXE “SU-TABLE” togetherwithallhisother effects inreturn for a stamp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9. SALE
OLD ANU NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No C.llen
Hon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic
JACK HUGHES will be pleased to sendyou of fulldetails
CONJURING BOOKS FOR
The Magic Circle I’rcsident : His Grace theD~rke ofSomerscc, D.S.O., O.B.E., J P . , M.I.M.C. Vice-Preaidcnt: Douglaa Cngga, Eaq., Y.I.Y.C.
to the:
G E O R GJ E BNNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Wallington, Surrey
c
WARLOCK’S
Wand Publications
The M& Wand, Quarterly. Z“er copy 318 p.p. Annual subscription 1416. The Wizard, 36 pagesmonthly. Per copy 2 / 1 p..p., 6 movth. IZ(6, Year 241.. Convmcmg Corn Magx (Farelli) . 17/10 Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) 1013 The Concert Ventriloquirt (Hurling) LO/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalyria 1013 Entertaining With H pnotism (&e;)’ 1013 Challenge Instant &pnotism & Mass Hypnotism 21/Strictly Magic (Eddie Joseph) ’. 513 Stooging Around (Stuthard) 513 26 Living & Dead Teats (GaGett) ’1. 513 Jamesosophy (Stewart James) . . . . 5 P3 Year Book 48/49 (few only) . . . 513 Stunts With Stage Money (Lamonte) . . 513 Tricks of the Trade (Armstrong) .. 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield, Middlerex.
.
::
goods are fully endorsed by this Bulletin
Made Wand Publishing COZIIPUIY 11 Monutery Gardens Enfield, Middlesex. andprlntedby walker and son (Rinters) Ltd.,’ Whl Croft. Shioley. Yorkshire.
Herbert
4
PETER WARLOCK’S
PENTAGRAM THE BINDING RING DOUGLAS FRANCIS
Two sheets of black tissue of similar size. A metal bangle about three inches diameter. in A ktke made as follows : To a safety pin a small sauare of tin is soldered and on to this isaRii.utd.‘also by means of solder, a needle. It should look like this.
Thi 8 shows
I
needle are ~oaitioned on safety
The Set-up prior to presentation. One sheet of whitetissue andone
VOLUME SEVEN
=
shezt of
The relationship of bundle. o f tissue t o bottom edge of jacket The ball of black paper is placed in the right hand trouserspocket and the banglein the right hand jacket pcket. ( If the perfo&er is working in full evening dress, the fake holding the ball of white paper will have to be attached to the trousers and be concealed by the tail of the coat and the bangle will have to go into the right hand trousers pocket). The remainingtwosheets of tissue are now folded until they each measure approximately two and a half inches by three and three quarter inches. The sheet of white paper can either be placed upon a table or in the insidepocket of thejacket the performer is wearing. Presentation To the accompaniment of hisintroductory linestheperformerremoves the sheet of white tissue from his pocket, unfolds it. and allows the audience to see that he has zo/jring bzrf that sheet of pnper, in his hands. The patter used by Douglas is of the inconsequential tj’pe and allows time to turn the paper end for end as it is held by the finger tips at the extremecorners. From this
NUMBER THREE
=
I/6.
0
(20 CENTS)
DECEMBER 1952
18 point the action isbest denoted in stages :l. The performer tearsthe sheet down the centre. He turns half right and holding both pieces with the left hand he . . 2. allows his right hand to drop to his side and speaks to a member of the audience saying “Would you like me to tear thepieces again?” At this moment the right hand . 3. steals the ball of tissue impaled upon the needle, the actual take away being most natural 4. Whatever the answer fromthe spectator, the performer faces front again and the right hand comes up to the two pieces of paper and with the concealed ball of white tissue held against them they are tom again. 5. The performermoves to the prompt side of the stage and this time he turns half left and without letting go of the papers with either hand addresses a member of the audience near him this time saying “Would you likethe pieces torn again?” With the affirmative answer, the performer tears again remarking, “ I hope you don’t want confetti.” 6. The performernowmoves centre stage and crumples the torn pieces into a ban. The left hand moves away empty. 7. The ball of torn pieces isapparently placed by the right hand between the finger andthumb of the left hand. Actually theball containing the torn pieces is switched for the ball stolenfromunderthe jacket. (Some may prefer to make the switch earlier when the torn pieces are being crumpled into a ball). 8. “ All I want now,” says the conjurer, “ Is the Binding Ring,” and with these words his right hand goes to the pocketholding the bangle, releases his hold of the tom pieces and brings out the “ Binding Ring.” 9. The“BindingRing” is broughtinto contact with the ball of paper heldby the left hand and then hung upon the little finger of the left hand thus :
.. . .. .
.
. .
over littie fmger.
10. The ball of paperis then removedby the right hand and using both hands the ball is unrolled to show thatthe paper is completely restored. 11. The sheet of paper is crumpled into a ball again as the conjurer offers to show his audience. exactly how the feat is accomplished. 12. The ball of white paperisplaced in a finger palm position in the left hand. Incidentally Duggiepurposely did not use the wordpalm in connectionwiththis. His patter went on to say, I‘ The ball of white paper is held in the left hand like this.” 13. To make the explanation quite plain. the conjurer suggests that it is better to use a contrasting coloured paper andashe says thishis right handgoes inside his trousers pocket. takes hold of the ball of crumpled paper which is then finger-palmed, and then takes the folded sheet of black paper which is openly brought out of the pocket and then unfolded. 14. The black sheet is tom into a number of pieces which are then crumpled into a ball.
DEADLIER THAN THE MALE
...
No. 1. EMlLlE D’ALTON (Mrs. Car1 H e m )
A
From the J . R . Findlay Collccrion
19 15. As with the white ball the pieces are switched forthe untorn sheet thelatter being placed between the thumb and firstfingerof the left hand, so that the audience now see the ball of black paper, the apparently concealed ball of white paper and the “ Binding Ring ” hanging from the little finger. 16. To show how the featis apparently achieved, the two balls of paper are held together. 17. “ At this point,” remarks the conjurer, “ you take the Binding Ring.” With these words he appears to overlook the fact that the ring is still suspended from his finger and his right hand goes to the right hand pocket the torn piecesbeing dropped. The hand does not need to fully enter the pocket to achieve this. The ring catches his eye and it is taken with the right hand and the ball of white paper, touched. The ring is replaced upon the little finger. 18. The ball of white paper is unfolded and holding it by its corners the performer, facing risht. holds the sheet in front of his face and gives a little blow which carries the piece forward and downward in a gentle manner as the fingers release
their grip of the corners. Tht audience can see that the paper is free from preparation and that nothing is concealed in the hands. 19. The performer tells his audience of the difficulty of being left with the torn pieces and so once more he takes the “ Binding Ring ” from the little finger and touches the ball of black paper. This too is unfolded and this time facing left the sheet is held and disposed of in a manner similar to that of the white.
Final N o t e Talking this over with Duggie on the evening of the Magic Circle Supper, I made the suggesiion that instead of making the false move to k’.ch the Binding Ring,” the. pieces of black p::per should be retained whilst the sheet of white tismz is unfolded. The ball of black paper is th -n touched with the Binding Ring and as the latter hasnow served its purpose it is dropped back into the right hand pocket together with the ball of tom black pieces.Duggie rather liked it and suggested that it should certainly be added, and that he would like to try out this variant himself. “
“
”
THE ENCHANTED BASKET The Story Translated by Wilfrid Jonson Requirements Five cards with pockets as Figure 1. One card with pocket as Figure 2. Sixteen thin cards without preparation but slightly shorter and thinner than the above. Preparation Place flat down on the table, the card with Figure 2 pocket, containing three thin cards. On this, three Figure 1 pockets each containing three thin cards, one pocket containing one thin card and lastly the remaining pocket containing three thin cards. It is very important that thethincards do not fit tightly intothe pockets, and slide easily (fanning powder can be used to advantage). Manipulation There are evidently several ways of sho-ving the cards one by one to the audience when counting. Two different ways are used and are indicated by (A) and (B) in the text. (A) Show in the left hand with faces of cards towargs the audience and lightly form a fan of the six pocket cards.” (The nearest card to the spectators will be at the right of the fan). With the right hand take the pocket nearest the audience and count one.” Take one by one the next fourand count “two, three, four, five.” Keep them all in the right hand without disturbing the original order but make thefana big one. And moving the sixth card remaining in the left hand you count “
“
“six in passing it to the front of the fan which you now close. So only the last pocket has ”
changed its place.
(B) Show in the left hand, with faces towards the audience and make a small fan (the nearest card to the audience at the right of the fan) of the six pocket cards. With the right hand take the pocket nearest to the audience and count “ one.” Take one by one the next four, counting “two, three, four, five.” Keep them in the right hand in forming a large fan, but reversing the order in doing so; that is to sav the second card goes in front of the first, the third in front of the second, etc. And moving the sixth card remaining in the left hand, put it in front of the fan which you close. So all the cards are now
20 in the reverse order to what they were befoe counting. Cards which are discarded are always those at the back no matter whether they are thin cards or empty pocket cards.
Presentation Your packet of cards should be carried in a small basket. Monsieur Treborix has in mind a “ bourriche,” a type of basket that would be strange to most people in this country. The ideal article is a child’s gardening basket which can be obtained at most good quality toy shops or a large store. Once upon a time, farinthe country near Quackville, there lived a farmer who,they said, was bad, bad, bad (don’t they say that about all the men?) and his wife,who said she was good, good, good (as all wives say they are). And every week, on market day, the farmer went to town, taking a basketful of young poultry and bringing back the household supplies. One day then, when it was market at Quackville, the farmerset off, early in the morning, carrying six pretty little twin ducks to sell, all quacking one against the other. (A) And a poor old woman by the roadside called out : “ My good man, your ducks look very tender. It would be very charitable if you gave me one for my Sunday dinner.” The old woman looked so poor and so thin that you would think she had never eaten a duck in her life. The farmerhad pity and, in spite of the thought that his wife would give him a fine talking to that night, when she checked his accounts, he smiled kindly at the poor old thing and gave her one of his birds, saying, “ Here you are mother, and good appetite.” His good deed was at once repaid : “ I can do nothing for myself,” said the old woman, “ but I have the power to cast a spell for the benefit of whoever should willingly help me, as you have done. Go to marketand sell three ducks, but three only, and every week you will be rewarded as you will be to-day.” Without thought for a promise to which he attached little importance the good man pressed on and, arrived at the marketopened his basket. What a surprise : Although he had given a duck t,o the poor old woman he still had one, two, three, four, five, six to sell : (A). They were good and not too dear. He quickly sold one, two, three . . . but he remembered the old
woman‘s words, ‘‘ Three ducks only.” He stopped his sale, made his purchases, and set oft‘ for home. He had not gone far when the unusual weight of his basket made him open it. He realised then thatthe old woman had not deceived him in talking about a reward : hestill had one. two, three, four, five, six ducks as in the beginnins (.A). Needless to tell you that he was badIy received that evening, for his wifewould not listen to his queer story, and rolling pin in hand she gave him what for! Next week thefarmer went again, with the. same load.He soldone,two, three ducks and came back, bringing, besideshis purchases, as many ducks as he had taken (A). His wife, who had seen him off in the morning and counted his ducks, was so surprised that she forgot to scold him, but she resolved to w a t d closernexttime. And that is why, a week later, Lileging an urgent errand, she went with her husband to Quackville. As soon as they arrived he sold one, two,three ducks and went off to make some purchases, leaving the basket in her care. And of course, as soon as his back was turned, she hastened to open the lid, and observed with joy that the magic spell had done its work : again there were one, two, three, four, five,six (B). “ This isfirst rate,” she said, “ Why not profitby it. Since the basket always refills there is no need for so much fuss. I will sell three more, which will at once be replaced. My stupid husband willknow nothing aboutit and I shall buy a few things for myself.” No sooner thought of than done . . . at once she sold one, two, three ducks. But, vexation and botheration, in vain she opened the basket, looked again and again, there were no more,definitely, than the last three little ducks (A). “ Your trick is worthless,” she grumbled to her husband. “ That witch lied to you. She’s a thief.” He tried hard to make her see that it was proper to sell only th7ee ducks each week, she would listen to nothing, and the poor man, under the bantering eye of the gossips, returned sadly to the farm.
But a week later he set out again, alone, for, said his wife, “ I shall not go with you again. You disgracedme enough last time!” Enchanted by this agreeable decision he made his little trade with faithfulness and,asin allthe remaining weeks which God allowed him, he took that day six ducks (B), sold only three, and brought home six. And instead of many children, soon he had around him a great multitude of pretty little Quack-quacks.
21
THE ACI,D. TEST LESLIE MAY
E €?FECI':-The
performer obtains the services of a volunteer and hands him a small knife which heis to insert intoa previouslyshuffled pack of cards held by the performer.
Presentation :--Obtain the services of a volunteer and hand him the knifewhichhewill hold by the handle in the normal manner.
The volunteer notes a card below the point where the knife was inserted and is requested to remember same.
Remove cards from case, casually fan them towards audience, concealingthosenear top and bottom. Riffleshuffleleaving the twotwo of hearts in their originalpositions.
The pack is again shuffled and the performer offers to give a lesson in detection : fanning the pack with faces towards himself in one hand, he, with theotherhand, picks up the knifeby the blade, and peering at the handle states thathe can just discern the finger prints of the spectator, then gazing at the cards he removes one, which, he says, bears similar prints. This is shown and proves to be the noted card. Noting some apparent misbeliefamongst the onloqkers he then proceeds to prove the existence of the prints; taking a small dredger of powder from his pocket, he sprinkles same on faceof card; blowing it gently off, four outstanding finger prints are now visible. Remarks : Before proceeding further, I would like to say that the final finger print idea appeared a few years ago in a copy of the " Demon Telegraph," but I am sure that Messrs. Gus and George Davenport will forgive me for reviving it and in.corporating it in this routine.
Requirements :One pack of playing cards. One small knife or dagger. Oneduplicatecard with matching back to pack, this is prepared by having four FINGER :PRINTS " made on its face. I prepared mine by pressing my fingers on a violet-inked stamp pad, andthen pressing same on -to the playing card. One small dredger (a small salt cellerwill do) filled with a fine talcum powder. Preparation :Place dredger in right pocket; have knife in pocket or on table with pack. Wewill imagine our selected card is to be the two of hearts. The normal two of hearts is -placed on top of pack, and the marked duplicate near the bottom. Pack thenplaced in case and you are ready. "
Request the spectator to push the blade of the knife into pack. Separate at that point and request him to look at and remember thecard below the blade, stating thatthe oneabove is visible to you. He removes the knife and as you indicate the card at bottom of upper section, slip the top card (two of hearts) to top of bottom portion and this is the one he looks at, naturally holding it between his fingers and thumb in the act of looking at face. The card is replaced and you give it a genuine shuffle. Fan the pack faces to you and then hold it in your left hand. With the right hand pick up the knife by its blade and peer at the handle, then at the card, then at the knife handle and so on. Place knife down, take pack in both hands, faces still towards you, and still peering intently atthe cards, cut the normal two of hearts to top of pack. Still appear to be looking for matching prints, and finally remove the marked two of hearts, without showing face, and place it face downon top of pack. Give your little spiel about the identifying prints, ask the name of selected card, and then double Lift top two cards as one and show face of normal two of hearts to audience. Replace the two as one on top of pack, face down. Appear to seesomesigns of incredulity on the part of the audience and offer to prove your statement. Pick up top (marked) two of hearts with the right hand, keep back to audience, and place it in left hand, the fingers of which are bent upwards so that the face of the card is still concealed. Produce dredger from right pocket with right hand and sprinkle powderover the face .of card. Slowly straighten the fingers of the left hand, blowing off powder at sametime, bending the palm of left hand downwards so that the card becomes fully visible to the audience, with the finger prints distinctly developed thereon.
22
BOOKS ENCYCLOPAEDIA OF CIGARETTE TRICKS by Keith Chrk (Published by Louis Tannen, New York. Available from Fleming Book Co., at a price of 52/-. This is the second edition of an exhaustive treatise originally published some fifteen years ago. Well bound and with attractive stiff covers it contains some 304 pages. To this edition the author hasadded a feature that was missing from the first edition, namely the matter of the cigarette routine proper. One thinks quite rightly that Mr. Clark has takenthe firstfifteen pages of his work to deal with the cigarette itself (as regards history, etc.) and the growth of the cigarette act. This not only makes an excellent introduction to the book but it also adds to the would be student’s knowledge. The chapters in the book cover the following sleight phases :l . The principles of cigarette manipulation. 2. Throwing. 3. Vanishes. 4. Special vanishes and transformations. 5 . Sleeving. 6. Vanish flourishes. 7. Secret transfers. 8. Tonguing and mouth sleights. 9. Productions, reproductions and multiplications. 10. Loads. 11. Steals. 12. Production acts. 13. Presentations and routines. There is a great thoroughness in the description, a thoroughness which, hadtheauthor not made use of abbrevia+ions for many of the sleights would have added at a rough guess another hundred pages to the book. To the beginner thinking of introducing a cigarette routine into his act, this bookwillbe a teacher and father to him for every description in text is aided by a great number of photographs. The student of magic will have a gap missing on his bookshelf if he omits to obtain a copy whilst the practical worker has at a glance alternative methods in abundance. This all goes to show that the book is indispensable. Our friend Bruce Elliott has made a fine job of the editing, the only noticeable blurb being the note thatZirka appeared at the Casino de Paris in 1915. HUGARD’S MAGIC MONTHLY, Volume 8 (Published by the Fleming Book Co.), price 30/-. Sometimes I think that it is only when one picks up a bound volume of a worthwhile magazine “
”
that one realizes what a finebook has beenpresented over the course of the periodof that volume. This is a recurring thought when ever the Fleming Book Co. give us one of these very fine volumes. This, the eighth keeps step in quality with the preceding seven, quality not only of magic but of printing and binding. In the 132 pages we are given an incredible number of very fine feats and although as is usual with all contemporary publications there is a preponderance of card magic, tricks with handkerchiefs, coins, thimbles, matches, slates and the mind are all to be found. To attempt to pick out the best effect in such a compilation is not easily possible, but the two things that appealed to us were Marlo’s “ Grab it ’. and Scarne’s new top change. Throughout the volume Clayton Rawson and Milbourne Christopher are responsible for some: fine magicwith touches of novelty. In fact from the Christopher columns alone there is material forat least a couple of novel magical programmes. The maestro himself, Jean Hugard as usuaf takes a number of classical effects and adds just that little extra that makes for a great presentation, whilst Frank Joglar with no malice recitesthe tittle tattle of the magic world under the heading of “ Backstage.” Every so often Jean awards a Hu-gardenia for merit either in performance or service to magic and in this particular volume it is very pleasing to see that the first one goes to our compatriot Geoffrey Buckingham as a mark of esteem for the outstand-. ing lecture that he gave at the first combined SAMIBM Convention in 1950. We may be chided for not mentioning the names of more contributors but the standard. throughoutis so high .and ‘the ranking of thk contributors so good that this is hardly called for. If you have been foolish enough to have missed‘ taking this fine magazine in the past, start catching up by getting this fine volume at a bargain price..
THE PUPPET MASTER, The Journai of the British Puppet and Model Theatre GuiM, October 1952, price 3/-. The study of puppetry and the model theatre is a most fascinating one, and it is therefore only to be expected that a magazine of a society repre-senting these interests should be fascinating reading andit was certainly news to us that Papa. Haydn wrote five puppet operas. The magazine is finely produced, and Fred Barlow as editor has certainly performed a very good job of work.
23
The death of John Warren was not unexpected. To the present generation, he was little known apart from his work for the C.A.A. but in his time he had done many things. Before the First World War he was a regular performer at Maskelyne’s, in most cases presenting one of the manynovelties that were then being presented to the public. At one time he took out quite a large show on the road, but with the finish of World War 1, he ad.apted himself to the trend of that time and presented a smaller type of act. Calling himself the .‘ Silent Conjurer ” he kept up an incessant flow of patter during the whole of his act, which in the main consisted of a handkerchief production a la ,Stilwell followed by a version of the Dyeing Silks. As the white silks were pushed through a dye tube, the orchestra played the theme of a well known melody that linked up with colour. They emerged *dyedwith the colour indicated by the music. About a dozen silks were used all told. His other standby was the watch that vanished and appeared in a chosen tobacco box. He was a slow worker and whetherhe performed for children or adults he seldom varied his programme. We remember seeing him give a children’sshow on one occasion when with the addition of the tom and restored card in cigarette to the two previously mentioned ’items lasted forty five minutes, and believe it or not he held his audience aZZ the time. He added one little literary effort tothe bookshelf. It is called “ Where the Leather Comes from.” By courtesy of our friend, Victor Farelli, we reproduce the amusing label sketch that Marcel Laueau (“ Erik ”) has drawn.
From our good friend Hans Trixer we receive news that he is now well established in Southern Rhodesia. Clippings to hand tell us that he is well lined up for a prediction of the National Lottery Winners. The prediction is to be opefied on December 18th. The best of luck, Hans for a spectacular payoff! Congratulations to Will Dexter on winning tho annual award of Nottingham Guild of Magicians. With a fast moving act not usually associated
with one whose f o r t e is mentalism, he had a runaway win. From Jack Avis, who gave us that delightful version of the “ linked ropes,” we are promised a veryfine coin effect. AlexElmsleytellsus that he has not forgotten two brain busters with a 26th card location basis. The Magic Circle Telecasts are fixed for the1st and 2nd of January, 1953. The occasions will mark the opening of the new club-room extension. The line-up for the evening show as we write is Gus Davenport, Fred Castle, Brian McCarthy and ourself.There is a possibility of Jean -Poisson appearing as well. Last month we overlooked mention of the Magic Circle Occult Committee dinner which was held at the Escargot Bienvenu Restaurant. A most pleasant occasion and we give full marks to our hicnd Jack Salvinwho was responsible forthe arrangements. We take this opportunityof wishing readers, contributors, fellow editors, in fact every one a very, very Happy and Prosperous New Year.
24
I
MENTALISTS ! MAGICIANS!
I
This is what you hrvo beon looking for
THE UNIVERSAL MIND by R O N B A I L L I E A NEW AIPROACHTO MENTALISM, WITH A FASCINATING EXPLANATION OF “ HOW IT WORKS” “--- But how does mindreadingwork ? ” How many times have you beenasked this question by members of your audience o r by others who have heard of your capabilities ? Are you able t o give them a convincing answet, o r do you just stall themoff with a few hackneyed remarks about‘ thought waves ’ and ‘ concentration ’ and leave it at that? 4‘ THE UNIVERSAL MIND ” fills a long-felt want by giving you an extremely logical and convincing explanationas to how ‘mindreading ’ is possible, coupled with two effects to illustrate thetheory. And what effects! Firstly : a spectator writes down a letter of the alphabet, a diagram and a number. These you reveal, THEREARE N O FORCES, N O IMPRESSIONS, N O SWITCHES, NOWINDOW ENVELOPES OR SIMILAR DEVICES. Secondly : a spectator writes down anything hewishes o n a piece of paper. This can be a short sentence, a line of poetry, several place names-ANYTHING AT ALL ! He folds this paper, seals itwith a stamp-paper and signs it on the outside. This folded!sealed and initialled paper is placed IN FULL VIEW, in a prominent position. THERB ARE POSITIVELY N O SWITCHES, N O FORCES, N O IMPRESSIONS OR GIMMICKS O F ANY KIND. The folded paper is NEVER at any time out of the spectator’s sight. It can even be burned reveal what has been written ! Take if so desired. And yet, WITHOUT ASKING ANY QUESTIONS you our word for it, this is the most genuine andseemingly im ossible sealed message reading method to date. Only a sheet of paper and a pencil are needed for both &ch. There are no fakes or gimmicks. there is nothing more to make or buy. “ THE IJNIVERSAL MIND ” can be performed impromptu, under any conditions, to a small group of people, to a single person, o r to a larger audience. To anyone performing mentaleffects this is a MUST ! “ THE UNIVERSAL MIND ” comes to you in a neatly printed, fully illustrated booklet instiff board covers.
Price 12/6d. (postage 3d.) FROM T H E PUBLISHERS
THE M A G I C W A N D P U B L I S H I N G CO.
11 MONASTERY GARDENS, ENFIELD, MIDDLESEX
I The WARLOCK
PETER
PENTAGRAM
I MIRACLE SLATE I Although limited in output, has now ttavelled t o Ireland, Finland, Belgium, France, Africa,AustraliaandUnited States and Sweden.
And now from
“
WARLOCK’S
The Magic Wand Publishing 11, Monastery Gardens, Enfield, Middlesex.
Co.,
Manuscripta for publication and books for review should be sent to the: EDITORIAL ADDRESS:
..
I your ‘Miracle
Hen ” Fetsch
is published on the 24th of eachmonthand can be obtained directfrom the publishers for 117 per bingle copy. AnnualSubacriptian 18/port free. PUBLISHED BY:
“ Have been using Slate’ for over a month now and I must sayit’swonderful .... the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
24,
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all hisother effects in return for astamp. Write now t o
Jack Hughes, 2, Evelyn Ave.,
PRICE
Colindale, London,
- E2 10s. Od.
Post Free, from
I
PETER WARLOCK 24, Wordswotth Road, Wallington, Surrey
I
N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callerr
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle President : His GracetheDuke
of Somerset, D.S.O.. O.B.E.. J.P., M.I.M.C. Vice-President: Douglar C r ~ l ~ g sEsq., , Y.I.M.C.
Clubroom and Library and Museum :
Hearts of OakBuildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
Magic Wand Publications The MGic Wand, Quarterly. r e r copy 318 p.p. Annual subscription 1416. TheWizard, 36 pages monthly. Per copy 211 p.p. 6 month, 12,‘6, Year 241-. Convincing Coin Magic (Farelli) . . 17/10 Mastrred Amazenlent (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 10/f The Concm Ventriloquist (Hurling) 10/1 Ceorge Armstrong’s Premonition lO/f Chandu’s Psychoanalysis . . 10/3 EntertainingWith H pnotism (Dexter) 10/3 & Mass Challenge Instant I-&pnotism Hypnotism .. .. . . 211Strictly Magic (Eddie Joseph) , . 513 Stooging Around (Stuthard) .. 513 26 Living & Dead Tests (Carrett) . . S/f Jamesosophy (Stewart James) .. .. Sb Year Book 48/49 (few only) .. . 5/3 StuntsWith Stage Money (Lamonte) . . S/f Tncks of the Tnde (Armstrong) . . 2/7 From the publishers THE MAGIC WAND PUBLISHING CO.. 11. Monastery Gardens, Enfield, Middlrex.
Every AdVerti8er’a goods are fully endorsed by this Bulletin %bliahrd by the
The yrdc W u d h W i i g C0~1p-y 11 Monastery Gardens En6eld. Yiddleler. and pdated W a l k md k. ( h b t o d Ltd.. ’Will Croft. S h i p b . Y’u&hii.
by Herbort
PETER WARLOCK’S
NTAGRAM THE BORGIA AFFAIR JAMES ESLER HOSE OF US who have only a passing knowledge of Italian history will have read of the sinister reputation of Cesare and Lucrezia Borgia, brotherand sister, during the fifteenth century. It is a tribute to the inventiveness of conjurers that they use any peg, provided it is sufficiently attractive, on which to hang a magical effect. My own interest in the item we are considering began with reading int Bruce Elliott’s Phoenix suggestions put forward by several well-known literary magicians fora satisfactory solution to the problem, whichwould rule outthe employment of a confederate. What is the problem? The periormer introduces six or sevenglasses or tunlb’ers, into each of which he pours a little water, hwing completed this, he explains to his watchers what he hopes to accomplish; telling the story of the playful predilection of the Borgias to “ speed the parting guest.” At this stage the conjurer leaves the room, having asked someone to add a further measure of water-supposedly a lethal dose-to one of the glasses. during his absence. On his return, he surveys the scene, takes the glasses one by one sipping a little from each, and leaving the last glass, the doped one, untouched. This was the problem as posedby Bruce Elliott, and the solutions offeredwere many and varied, but the difficulty of presenting what is a really first class effect without assistance remained a stumbling block, the most ingenious of the methods suggested leaving much to be desired. Being intrigued with the novelty of the trick, and the dramatic qualities which it possesses for presentation I have pondered it at frequent intervalseversince, and now for those whomay be interested, offer my own solution. As every magical effect has one weak point, 1 am bound to admit that such is not entirely absent here. I do not think, however, thatit strongly militates against success : anyhow you shall judge for yourself.
VOLUMESEVEN,No.FOUR
-
In my method I have found that only flat bottomed tumblers can beused. The accessories of which the audience are unaware are circular discs of glass about the size of halfpennies, one in each tumbler before you begin. In the process of pouring the water into the tumblers the glass must be held tilted so that the disc contacts the side of the glass, and must be placed down carefully in this condition, so that all the tumblers, when the water has been added, each have a glass disc in contact with the side of the tumbler. I tilt them tothefront,but anyone interested enough to experiment with the method will doubtless have their own notions as to the best way of settling the discs. Each tumbler is handled in the same way and the final position before leaving the room should be that each tumbler has the disc in identical position to its fellows. Now if one of these receptacles is taken up by someone who is without knowledge of the tell tale disc, and replaced without the same precaution employed by the performer the result will be that the position of the disc willdiffer substantially from the other tumblers. And it is here that I admit the weak point, to which I referred earlier. In this version the conjurer asks that during his absence someone will pick up a tumbler and add a little water toit, setting it down again inthe same place. There is nothing more to tell, the conjurer might suspect, but my lay friends have not yet arrived at the answer.
FOOTNOTEA s a suggestion f o r making certain that the glass isdefinitely moved 1 suggest thatthe magician tells the helper that he wants him to imagine that just behind him on a shelf (here the position of the imaginary shelf is indicated with a gesture of the hand) is an imaginary jar o f poison. Near t o the base of the jar is a small tap, The helper is instructed t o take the glass, place it under the imaginary tap, turn Latter and alLow theimaginnry poison t o run into the glass. B y these means the helper must move the glass. P.W.
I/6. (20 Cents)
- JANUARY 1953
26
YRUTNECHTEITNEWT JAMES DOUGLAS EDITOR’S NOTE :
JamesDouglas in this reverse twist on the Twentieth Century silks has produced something which with little trouble will make a very effective Though he, in the piece of platform magic. version described takes a story angle, the reader will realise that there is sufficient visual effect to use the effect in mimed presentation. The children’s entertainer on the other hand hasa nice variation on the stolen princess theme, and those “picture ” silks that you may have can be put to a mosteffective use.-P.W. HE PERFORMER displaying two red silks, tellshis audience that they represent two notorious criminals who spent a good deal of their time kidnapping famous personalities and holding them to ransom. He proposes to show one of their infamous exploits in which featured a well-known figure (local personality). The latter is represented by a white silk which the performer removes from a paper cone which is opened out, shown empty and returned to its place on a table set on one side of the stage. The performer continues his storywhile doing this and states that one day the personality was forcibly removed from his house (the cone) and so that he could not escape he was securely handcuffed between thetwo badmen. Herethe performer ties the whitesilk between the two red ones and then ties the two red together stating that the kidnappers, wishing to make doubly sure, securely handcuffed their prisoner and themselves together, and off they went to their hide-out. Another cone on the opposite sideof the stage is opened out and displayed. The *‘ string ” of silks is placed within, with some of the red left showing. The performer then explains that the prisoner had learned some magic during his l i e and suddenlythought of the magic formulae,andHey Presto, he suddenly vanished from the prisoner’s grasp. The performer jerks out thered silks and the white has disappeared. The cone is shown empty. Crossing to the other conethe white silk is removedwith the performer’swords, “You can’t keep a good man away from home!” Requirements : Two paper cones with secret compartment in each a la Tarbell. Two red and two white silks. One of the latteris placed in one of the secret compartments of one of the cones and its duplicate in the compartment proper.
The red silks are displayed and the white is tied between them a la “ Sympathetic Silks.” The reds are tied together at their free ends and the bunch is placedover the secret compartment of the other cone after showing its front and other side and then folded into position. Care is taken to push the white in first, using wand if necessary, and thetied “ends” of the two reds are left sticking out in view.
To execute the vanish, grasp conefirmly around the place where the white silk is situated. Grasp the knot joining the two red silks and jerk out quickly. The white silk is left behind and the cone is opened out to show its emptiness. Picking up the other cone remove the white silk from the secret compartment and finish.
-
THE FEMALE OF THE SPECIES N o . 3.
...
ANNA EVA FAY
From the 1. B. Findlay Collection
COLLECTED THQUGHTS LEN BELCHER
R EADERS are probably aware that I am fond
of taking old mathematical principles and and playing about with them in a search for new effects. In almost all of them there is some particular step which because it is unnatural, or seems to the spectator to be unnecessary, breeds suspicion, and thus rules it out for the discriminating performer. It seems fairly obvious therefore that if this step (since it cannot be eliminated) can be made to appear plausible and perfectly natural, we are well on the way to a whole series of fresh ideas. May I illustrate what I mean by detailing to you such a process? You may judge from the result whether the effort has been worthwhile. Everyone, I suppose, is familiar with the principle underlying the old “ Age Cards.” A number of cards bearing various ages are handed to a spectator, and from these he selects the cards on which his own age appears.
I suggest that the above set of designs might be used. They requirepractically no memorisation work as the designs from 1 to 7 are made to equal the number in qu estion, i.e. 1 is indicated by an oblong which looks like 1, 2 is made to look like an angular 2, 3 is atriangle, and 4 a foursided figure and so on. The extranumbers arebased on the preceding seven numbers, additional lines or some ornament being added.-P.W.
1 1E 3 3E 5 5E 7 7E Plus Another No. 1 1
2 2 7 6 3
4
2E 7E 6E 3E
Plus A No. 2
4 7
5 6
4E 7E 5E 6E
EXTRA 1E 2E 3E 4E 5E 7E 6E
Plus A No. 4
Reference to this chart willshqw thatthe first set consists of eight different designs, plus a duplicate of No. 1; set No. 2 has eight different designs, plus a duplicate of No. 2, and so on. The extrn set has only seven designs. Beforegoing any further let us follow the simpleprocess of tracking down any particular design-for instance, 7E. It appearsonthe first set (mental total of l.); it appears on the second (mental total, 1 +2); it appears on the next (mental total, 1 + 2 + 4); it also appears on the last (mental total l + 2 + 4 = 7, and in this case 7E).
The cards all have a numerical significance to the performer; he adds the values of the cards handed to him and thus knows the spectator’s age. It is virtually automatic : it is also very wellknown, and would not deceive a babe in arms. The inherent weakness, of course, is the use of cards in any case, coupled with the peculiar method of handling them. We arethus faced with two problems; first we must have a plausible excuse for the cards, and secondly we must make the handling of them seem natural. Now follows my solution. I decided to get away from the idea of age, and turn the effect over to the divination of a design : instead of having large cards, each carrying n number of designs I decided t o keepthedesigns one t o a smnll card, and t o have these designs in sets. I detail these sets here, using numbers instead of designs, in order to save time.
Take one more, say No. 5. It appears on the first (1)-not on the second (mental total still 1); it is on the third (total 1 + 4 = 5)- but not on the extra set, so it is No. 5. So much for the mechanics. Now for the camouflage. The order of the designs in any particular set is of no importance, but the order of the sets themselves is. The performer asks for four spectators to assist him, explaining that he wishes to carry out an experiment in multiple concentration. While the volunteers are coming forward he casually mixes the stack of designs with the false shuffle used for Jumbo Cards. The result is that the order remains undisturbed. He has previously fanned and shown the designs, remarking that they are the type normally used in experiments in telepathy where the designs are duplicated in order toobtaindata on such matters as frequency of occurrence. The sets are then given out to the assistants (pencil dots on the backs will help here) no attention being drawn to the number of cards each one has. The performer merely says it willbe easier to handle the designs if all are helping. This incidental ekplanation isnever questioned : if the cards are of a respectable size it is so obviously true.
28 The assistants are mentallyclassed as l , 2, 4 andExtra,andeach receives theappropriate set. Turning to the first, the performer asks-him to select one of the designs, and then to collect up any duplicate from the other three. As this collection ismadethe performer merely has to make his mental totals, and knows immediately whatthe chosendesign is, but he says nothing as yet. He instructsthe first helper to lay outthe chosen designs face up on a table while he, the. performer turns his back. Now allfour assistants are to concentrate on the design, and then put the cards out of sight. From now on it is largely a question of dramaticability;for instance the performer can pretend to be confused-he lookstheassistants over, and asks one of them to glance again at the design. Thenitis revealed-as if the confusion had been removed.
An alternative presentation is to have each spectator in turn choose one of the designs in his set, and collect the duplicates of it from the others. Under cover of writing the helpers’names down the performer keeps track of the four menta1 totals, andcanthus reveal all four designs.-A t r u b satisfying climax to a mental programme. A final glance at the sets of designs will reveal duplicates in the first 3 sets : these are necessary to account for the. patter angle, and of course they must occur in the sets shown or the mathematical basis will be disturbed. The detailing of this effect has perhaps seemed rather long-winded, but I was anxious to bring out a line of approach in devising fresh effects, rather thanto give abare description of yet another routine. I hope I have succeeded in my purpose, and I hope, too, that the readerwill have gained something more than a fresh programme item.
THUMB FUN FRANKLIN V. TAYLOR E HAVE a sneaky idea that this handling Dr. Taylor’s is due tobe one of the most popular effects we have runin a longtime. Needed are the Jardine Ellis ring, with the fake half shell on it, a handkerchief and a spectator. Holding the fake and ring as one, make it clear that your hands are empty but for the ring. Place the ring and shell as one, on the spectator’s thumb as shown in the drawing. As you put the ring and shell in place on his thumb, which should be pointed at the ceiling as in drawing, press down on the metallic ring, as with the other hand you remove your pocket handkerchief and throw it over the spectator’s thumb and hand.
Don’t press too hard. Just press firmly.
Next lift the shell of the ring, as you place your hands under the cloth. Leave the cloth over the spectator’s thumb, and leave the real ring in place, as in drawing. The spectator, oddlywill feelyou takethe shell off his thumb, but if he obeys directions and keeps his hand perfectly still he will not feel thereal ring whichremains in statu on his thumb. Show thefake shell to the spectator and patter, then vanish the shell, by the French Drop, and the instant it has disappeared touch the real ring on his thumb, through the cloth. Only then, onlywhenyou touch it will he feel the ring. Remove the handkerchief from the spectator’s hand with the hand which you have the fake shell concealed in, stuff the handkerchief back in your breast pocket getting rid of the fake as you do so, and withyour other hand take the ring off the spectator’s thumb. This leavesyouclean and your audience baffled. The effect is that you make the ring vanish and reappear onhis thumb under the cloth. Frank‘s patter story has to do with the idea thatheis going to hypnotisethe spectator into seeing something that is not true. Once he places the shell and ring on the spectator’s thumb and covers it with the cloth, he says that he is going to force the spectator to think that he isreally removing the ring. (This is when you take the shell away). Holding tlie shell up he pretends that it is not real, but the figment of the spectator’s hypnotised brain. Then vanishing it, heproves that
29 the whole thing is an illusion when the spectator finds the right ring back where it was. Experiment with just what degree of pressure to push the ring against the person’s thumb. Once you have found this, you will be in possession of what we think is a real honey of a close-up effect. It’s a quickie and should be done in an offhand manner, and w?thout any great amount of talkie talk since the whole thing doesn’t take more than thirty seconds to do. Dai Vernon has an alternative which removes any need for the minimum amount of skill that was neededin the above description. In Dai’s handling, the ring with the shell is placed over the spectator’s thumbandboth pressed in place as before. Next, the handkerchief is thrlown over the spectator’s thumb, and the performer removes the atthis shellshowing it as the ring.However, point, Dai does not vanish the shell but instead, shows it to the spectator and says, “You probably think I have removed the ring from your thumb,” but as he says this he deposits the shell in his pocket. “ Nothing could be further,’ he says as he drops theshell ring in his pocket, “from the truth.” As he says this he tapsthe real ring on the person’s thumb through the cloth of the handkerchief. This allows them suddenly to feel the existence of the at all.” ring. “ You see, nothinghashappened The performer has the spectator remove the handkerchief and see for himself that the ring has never left his thumb. The effect is that the spectator’s senses have been befuddled, and that he has seensomething take place that really never has.
EDITOR’S NOTE : The above e f f e c t with Dai Vernon’s addition is reproduced f r o m N o s . 26,7and 268 of thePhoenixbythekind permission of its editor, Bruce Elliott. One fival note, we have been using this e f f e c t and have found that by Keeping the real ring in the waistcoatpocket where it absorbs body heat, while the shell is carried in an outside coat pocket until required, means thatthe shell feels colder against the spectator’s thumb; an addedsensory advantage. KEN DE COURCY’S CONJURTOON
LET’S G O OUT TONIGHT
OUT OF THE PAST 36, Hmley Street, W . June 20th, 1906. T o the Editor o f the “Magic Circular,” Dear Sir, Willyou pardon me i f I makea few lemarks and suggestions with regard t o Membership o f the Inner Circle. I do not think sufficientadvantageis being taken of the unique opportunitywe have f o r establishing, f or tke first time in history of magic,adefinite standard by whichaspirants f o r qecognition may be judged. Otherprofessionshavediplomas, granted after examinations, which being andprofessional tests of generaleducation capabilities, stamp the possessor not only as a person properly qualified in his pofession, but also asagentleman of education. I do not think the ability to perform a few tricks is &cient t o give any person the right to be called a mgi-
cian; and more tharn t4.e memorisii of a few pres criptbm, in addition tu a superilcial; knowl&ge of anatnmy, w d d constitute anyone a dodbon In the latter case the governing bodies require, first o f all, proof o f general education, t o a certain point; secondly, proof of specific studies,continued ouer a certain period;and lastly, proof of knowledge acquired, as shown by passing examinations in general and speciaJ professional subjects. So, in a lesser degree WE might by a somewhat similar plan, make admission t o the Inner Circle a proof of pofessional Knowledge, and o f general education; a coveted honour t o the neophyte; the blue ribbon o f the profession, and a hall-mark of ability. Yours f aithf ully,
GE‘ORGE H E R S C H E L MogicCircular, Iuly Ist, 1906.
30
BOOKS THE MAGICIAN’S DIARYANDYEAR BOOK Edited and compiled by J. C. Fraser Smyth (Published by Penshaw Press) price 616. For many years many magicians have clamouredfor a special Magician’s Diary. Now they ,are being catered for. m e Diary proper is printed by Charles Lettswhich is sufficient guarantee by itself. The overall size is 5 $ X 3+ inches which means that each daily entry has more than an inch of space. Some thirty four pages in the front purvey information pertinent tothe magician. Hints and tips, information regarding magical magazines, etc. are all here. The cover can at a moment’s notice be used as a clipboard (this feature alone is worth the price of the whole diary to a mentalist!) Our only adverse comment, and it is one that can be easily put right with a second printing, is that greater care be taken in proofing for there are a numbet of typographical and other errors that might well have been avoided. We sincerely h o p that this venture will prove a success. There is a definite need for such a diary and the price asked is very reasonable indeed. DAVENPORTS. Fromour friends at 25, New Oxford Street, WC have received a further bunch of leaflets giving details of many old and some newlines. Foremost among the latter are Histed’s Pull-thru,and Amadeo’s ring on a ribbon. There’s a practical children’s vent. script by Bertram which at 2/6 is very good value. ‘Don’t Talk Shop’ (a vent. script published by Davenports of 25, NW Oxford Street, W.C.1. Price 216). This month we have received another well tested ventriloquial dialogue from our friends. Those who do not want the trouble of writing or searching for material willfind that this will undoubtedly meet their requirements. “IT’S EASIER THAN YOU THINK.” by Geoffrey Buckingham (published by H. Clarke & Co. (London) Ltd., price 26/-). This is a book of books for it has the power to appeal to every type of conjurer fromthe neophyte to the connoiseur. Geoffrey whose work must now be known to magicians everywhere has, as the main part of the work, detailed thefull working of the billiards ball, thimble and coin routines that make up his Grand Prix winning act. If this fulfilled no other purpose than putting on record the supreme achievement of one magician, it would be enough, for with these routines alone theauthor has done more thanthat; with meticulous and absorbing detail he teaches the reader these routines and such is the sincerity with which
he writes that one can after reading, truly agree with the title of the book, that it is easier than you think! Don’t by this run away with the idea that onecan duplicate the various feats after a few hour’s practice. Work is called for, but the careful study’ and work that Geoffrey has put into the routining makes the overall task one that is within the grasp of a worthwhile conjurer. Wewill repeat thathad Geoffrey done no more than describe the working of these feats he would have rendered a great service to magic and magicians. He has, however done more than that for in the 191 pages that make up the book, other routines and sleights are described together with excellent articles on loading and stealing, holders for coins, balls and thimbles and flourisheswith billiard balls and coins. Besides the routines that Geoffrey uses in his present act, two billiard balls, one coin and one thimble routine are added to the quota. The book physically is a finepieceof work. With pages of art paper measuring 94 X 64, about two hundred photographic illustrations and a very heavy cover the possessor has a work that will give dignity as well as utility to his library. Elizabeth Chat is responsible for the photographs, Wilfrid Jonson writes an introduction and there are delightful cartoon drawings in a very modern style, A most attractive dust jacket. We advise you to get a copy of the first edition before it is exhausted. “ S U C C E S S F U L CONJURING FOR AMATEURS ” by Norman Hunter (Published by George Newnes Ltd.) price M/-. This is primarily a book of tricks by which we mean that whilst it will tell the reader how the tricks are done it will not teach him how to get the most out of it. Neverthelesssuch a bookis of value to a great number of working conjurers for within its 380 pages there must be detailed the working of nearly five hundred effectscovering every phase of conjuring from pocket tricks to stage illusions, and let it be added employing the simplest possible apparatus. There are a plethora of illustrations (the dust jacket says 500 and we well believe it!) and Mr. Hunter who is an experienced journalist has made his explanations in a clear and concise manner. Those who remember the author’s many “ Magic Wand ” and contributions to the “ Magician ” know of his ingenuity and delightful way of taking old effects and giving them a noveI twist. Quite a number of suchnovelties will be found within the pages of the book, together with some quite valuable and unconventional ideas on magical accessories. The book is attractively printed and well bound and at the reasonable price demanded is a most handy book to add to one’s reference library.
As the old year died away we heard of the passing of our very good friend Neil Weaver. Founder of the Magic Circle, intimate friend of Martin Chapender he leaves a place not easily filled. He was a man mostsincere and always spokeashe thought. We last saw him on the occasion of the Dinner of the Magic Circle Occult Committee,an occasion when he made his last .officialspeech. God rest him. With the striking of Midnight on New Year’s Eve, memories of 1952 crowd in upon us. Most *of all the recurring pleasure of finding that there is a growing school of younger magicians whose techniqueis definitely of a very high standard indeed. Wethink of the beautiful card work of Tony Blitz, the lovely originations of Alex. Elmsley, the enthusiasm of John Derris, Bobby Bernard and Tommy Vanderxhmidt, the understanding of the better side of magic by Roy Walton. Weenvy the lovely coin work of Jack Avis. Above all we give thanks to those meetings Mare, Dr. Nicholls Harley, with Eric dala FrancisHaxton,Harry Hickson and Jack Avis where magic takes on new phases. We take our crystal and glimpse Hans Trixer successfully BOOKS (from page 30)
“THE CLASSICSECRETS OF MAGIC” by Bruce Elliott (Published by Harper and Bros. New York, price $2.95. Obtainable through the Fleming Book Co.) In his previous book, “ Magic as a Hobby,” Mr. Elliott initiated his readers into the fantastic world of modern conjuring by presenting them .with a number of ingenious and puzzlingeffects, which in the main had been culled from his own .publication for connoisseurs, the Phoenix. In this present book, thereader is taken many stages -further in his magical education and is made to realise that there is an art in the best of magic. Twelve effects,which in the opinion of the ,author canrightly be described as classics of magic ‘are taken, each being given to the reader in the -form of a lesson for that particular effect. It is only the extreme purist who may quarrel .with the author’s choices which are :(l) Location and production of a selected card. (2) The Smoking Pipes. (3) Production of a glass of liquid and the Rice Bowls. (4) The Paddle Trick. (5) The Four Aces. ( 6 ) The Miser’s Dream. (7) The Egg Bag. (8) Passing of coins or cards from the corners of a handkerchief. (9) Billiard Ball production. (10) The Razor Blades.
bringing off his headlining publicity prediction. We thank him, too, forthe sight of his lovely presentation of the Hindu Thread Trick. We stand once more at the side of the Scala stage and relive that beautiful ten minutes of manipulative magic performed by Fred Kaps; then we look once again at the mostpolished magic that in all our thirty odd years association with the Magic Circle we have ever seen, presented by so young a performer, to wit, Michael Bailey. This young man’s disarming manner is a true gift of the fairies. . Next month the Pentagram goes to twelve pages for a special Anneman number. The contributions will come from Francis Haxton, Jack Avis,Alex‘Elmsley, ArthurCarter,Fred Kaps, Hans Trixer, Brian McCarthy and others. A great budget of fine effects for less than the price of ten cigarettes. From most accounts, the evening Magic Circle telecast onJanuary 2nd, came oververy well indeed. The effects were not hackneyed and the cameras came in very nicely for close-up work. Of course we have yet to hear the opinions of the real critics (?) (11) Ambitious Card. (12) Cups and Balls. The author makes no claim to cover all the classics of magic, butrather, as the reader will soon be aware, he has takenthose effects on which he can write with the full authority of experience. Each and every effect is dealt with in a masterly manner and more than one (in somecases five) and versions of the effect is dealt withineach everycase.Some versions are forthe advanced student as for instance the Cy Endfield version of the slow motion aces. For special mention we would like to pick out this last mentioned effect, the Wally Dean glass production and subsequent version of the Miser’s Dream (reminiscent of marvellous Tommy Martin) and the Berg and Benson version of the Cupsand Balls. The book is very well produced, easy to read and chock full of illustrations commendably drawn by our friend Dr. Jaks. A cover has been added thatis curl-proof and a dust jacket in modern design adds to the general attractiveness. Mr. Elliott, who to-dayis undoubtedly one of magic’s outstanding and most readable journalists has added to his laurels with the writing of this most excellent manual. We shall look forward hopefully to a further volume, “ More Classic Secrets of Magic”!
32 I
I
M E N T A L I S T S ! M A G I C I A N S ! T h i s i s what you have been looking for
THE UNIVERSAL MIND by R O N B A I L L I E
A NEWAPPROACHTOMENTALISM, WITH A FASCINATINGEXPLANATION OF “HOW IT WORKS” ‘I-But how does mindreadingwork ? ’’ How many times have you been asked this question by members of your audience or by others who have heard of your capabilities ? Are you able t o give them a Convincing answer, or do you just stall them off with a few hackneyed remarks about ‘ thought waves ’ and ‘ concentration ’ and leave it at that? “THE UNIVERSAL MIND” fills a long-felt want by.giving you an extremely logical and convincing explanationas to how ‘ mindreading’ is possible, coupled with two effects to illustrate the theory.
And what effects!
Firstly : a spectator writes down a letter of the alphabet, a diagram and a number. These you reveal. THEREARENOFORCES,NOIMPRESSIONS,NOSWITCHES,NOWINDOW ENVELOPES OR SIMILAR DEVICES. Secondly : a spectator writes down anything he wishes on a piece of paper. This can be a short sentence, a line of poetry, several place names-ANYTHING AT ALL ! He folds this paper, seals it with a stamp-paper and signs it on the outside. This folded.sealed and initialled paper is placed IN FULL VIEW, in a prominent position. THERE ARE POSITIVELY N O SWITCHES, N O FORCES, N O IMPRESSIONS OR GIMMICKS O F ANY KIND. The folded paper is NEVER at any time out of the spectator’s sight. It can even be burned if so desired. And yet, WITHOUT ASKING ANY QUESTIONS you reveal what has been written ! Take our word for it, this is the most genuine andseemingly impossible sealed message reading method to date. Only a sheet of paper and a pencil are needed for both effects. There are more to make or buy.
RO
fakes or gimmicks. There is nothing
“ THE UNIVERSAL MIND ” can be performed impromptu, under any conditions, to a small group of people, to a single person, or toa larger audience. T o anyone performing mental effects this is a MUST ! “ THE UNIVERSAL MIND ” comes to you ina neatly printed, fully illustrated booklet in stiff board covers.
Price 12/6d. (postage 3d.) FROM THE PUBLISHERS
T H E MAGIC W A N D P U B L I S H I N G CO. 11 MONASTERYGARDENS,ENWIELD,MIDIPLESEX PETER
The WARLOCK
PENTAGRAM
MIRACLE SLATE
II
Still Available
PRICE
WARLOCK’S
- E2 10s. Od. Post Free
I
I
is publishedon the 24th of eachmonthand canbeobtaineddirectfrom the publishers for 117 per single copy.AnnualSubacription IS/post free. PUBLISHED BY:
The Magic Wand Publishing 11, Monastery Gardens, Enfield, Middlesex.
Co.,
Manuscripts for publication and books for review shouldbesent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
BmB BmB
r
The Magic Circie President : HisGrace
the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Crngga, Esq., M.I.M.C. Clubroom and Library and Museum :
Hearts of OakBuildings, EustonRoad, London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
Forthcoming EventsFeb. 11 Concert. King George’s Hnll ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
A N D NOW
II
cc TRIGON
IS ’’
W R I T EF O R
FULL PARTICULARS
Il
JACK HUGHES will be pleased to send you fulldetails of
THE DE LUXE “SU-TABLE” togetherwith all his other effectsinreturnfor a stamp. Writenow to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
TO
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey I
CONJURING BOOKS FOR SALE OLDAND LIST FREE
NEW. Let me know your wants FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Manic Wand Publications U
The MagicWand, Quarterly.Fercopy 3/8 p.p. Annual subscriptlon 1416. The Wizard, 36 pages monthly. Per copy 2/1 p.p. 6 month, 12/6. Year 24/-. Convincing Coin Magtc (Farelhl . . 17/10 Mastered Anlazement (Koran & Larnonte) . . 10/3 Bohleno’s Mysteries (Bohlen) . . 10/3 The Concert Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis . .. 10/3 Entertaining With Hypnotism (Dexter) 10/3 Challenge Instant Hypr.otLsm & Mass Hypnotism . . 211Joseph) .. . . 5/3 Strictly Magic (Eddie Stooging Around (Stuthard) 513 26 Living & Dead Tests (Garrett) .:. 5/3 Jamesosophy (Stewart dames) .. . . 5/?3 Year Book 48/49 (few only) 513 Stunts With Stage Money (Larnonte) ’ . . 5/3 Tncks of the Trade (Armstrong) .. 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11. Monastery Gardens, Enfield, Mtddlerex. ~
.
Every Advertiser’s goods are fully endorsed by this Bulletin Publirhed by the proprietm The Magic WandPublishingCompany 1 1 Monastery Cudens, Enfield. Middlesex. andpdnted W* and Som (Rinten) Ltd..’Wdll Croft. Shipky. Yorhhim.
by Herbext
9
PETER WARLOCK’S
PENTAGRAM h THE December issue of the Sphins.
I
disagree with the words of Mulholland though he might have added that to hisgenius of devising tricks in written form, he alsoplaced on record through the medium of the j i n x , the finest contemporary criticism of magic and magicians that we know.
John Mulholland on page 172, W r i t e S, Annemann holds a unique place in magic. h i s name is known to more magicians to-day Since the inauguration of this publication W C than that of many of have,each year, devoted the February number to the most successful the memory of thisill fated magician. Last year, performers,yetalmostLeslie May, an early contributor to the J i n x , p Rone of thesemagicianseversawhimperform. pared a specialissuebyhimself, a noteworthy His fameinmagic isdue entirely to hisgenius achievement. This year we have spread ourseh:s in devisingclever ideas and to his ability to get and within the space of twelvepagesgiven you these on paper insuch a way that they had eighteffectswhich we think might well h:ivs universalappeal.” No fair mindedmagician will appeared in the jinx.
.’
TWO INTO ONE WILL G O ! BRIAN McCARTHY EDITBR’S NOTE :I.t‘t7 would say that practically every nzngicitrn in this cozlntry must have seen Major AfacCurthy work this effect either at a magical sncictp’ function 07 on T V . T o us it is one of the most original effects in natural magic that we have ever witnessed and despite the number o f times we have seen i t , full well knowing the working, so clean has been the handling that t h e illusion f o r us hcrs still been perfect. S o with t w o cnndles, n metal tube and sufficient rehearsnl ~ O Z hove L a miracle rxt vozu col?!?n~md.--P TA’ NNOUNCING that he intendstoholdup to ridicule the accepted postulates of mathzof matics, the magicianremindshisaudience the old formula. ” Two into one won’t go.” He then shows two candles and a tube, the tube being just large ecough to contsin one candle. He pushes one candle into the tube. Claiming that contrary to general belief “ Two into one wilt go,” ht? pushesthe sxond candle inside as well. He then pulls thetwo candles out of the tube, one after the other, and immediatzly gives the candles andtubeout for maminstion.The candles are h u n d to be ordinary whi!e the tube is of solid brass. and isnot expandable.
A
VOLUME SEVEN, No. FIVE
=
The reader will require twocandles of the eight to a pound size, a twolightcandlestick to hold the candles and a brass tube whose internal diameter is about one sixteenth of an inch greater thanthat of the candles to beused. Its length should be one and a halfincheslonger than the candle. The outside of the tube should be painted in a plain colour. As the type of candie mentioned is not always obtainable withplainends, rather than have a larger tube to accommodate the bulge, it is better to shave off the excess wax with the aid of a penknife so that in effect you will have straight sided candles. G‘enerd Remarks. Illustrations 1 to 13 sho ,v the views as seen by a spectator from thz front. 14, 15 and 16 show how the performer would set his hands, etc. The candles are labelled A and B for clarity. In the explanation which follows, the table used isassumed to be on the performer’s right, so that hefacesright during the presentation, most of the manipulstion b e i n g
I/6. (20 Cents)
- FEBRUARY 1953
34 accomplished with the left hand. Detailed Working. Thetube ispicked up with the right hand and dropped over a candle in the candlestick to demonstrate how closely it fits. It is lifted ofE with the right hand,and held as shown in Figure 1, with the tip of the index finger inside the end. The performer picks up candle A at the basewith the left hand, and slowlycommences to slide it into the tube. (See Figure 1). As it goes in, the right hand is gently raised a little. (See Figure 2). When the candle is nearly home, the right handdrops again as theleft hand is removed, the position at thismomentbeing as shown in Figure 3. The tip of the left first finger pushes the candle out of sightinside the tube. All the foregoing business of (See Figure 4). slanting the tube during the insertionmustbe done, so that when candle B is inserted, the slanting of the tube will not appear unnatural. Candle B isnow taken with the left hand, whichinserts itinto the end of the tube.(See Figure 5). It isnow apparently pushedslowly inside; actually, thetip of B is held against the bottom of A while the left hand slides along B as ifpushing it in.(See Figure 6 ) . (A cannot be pushed through as the right index finger stops it). During this movement, the tube is again tilted. (See Figure 6). W e n candle B is completely hidden by the left hand and forearm as in Figure 6, the right hand once more brings the tube horizontal. While it is doing so, however, the left hand commences to moveaway from the tube. (See Figure 7). Since the latter is tilted the withdrawal of the left hand allows candle A to slide down the tube (See Figure 7), and as the end of A slides back it protrudes, and is controlled by the left thumb and forefinger in such a way that when the tube is horizontal a portion is sticking out. At that point, the left hand leaves it, the exact effect at the moment being as in Figure 8. The end is then pushedhome.(See Figure 9). To sum up, Figures 5, 6 , 7, 8 and 9, show the entire operation with candle B. The object of all this is to make the insertion of B an exact copy of the insertion of A. When A was inserted a little piece was left protruding and finally pressed home; similarly when B is inserted, a little piece (presumably B but actually A) is left protruding and then pushed in. After pausing a moment and allowing the effect to be grasped the performer proceeds with the withdrawal of the candles. He first transfers the tubefromthe right hand tothe left,(See Figure lO), and slides the left hand slightly along the tube to bring the tip of candle B inside. At this moment, the left hand allows the rear end of the palmed candle, B, to rest against the stomach. (See Figure 14, which shows the performer's view from above). He then places the firstfinger and
k2 .-
35 thumb of the right hand at the other end of the tube ready to withdraw candle A. (See Figure 14). The left hand now moves in towards the stomach which later pushes the candle B insidethe tube, thus pushing candle A at the opposite end.(See Figure 15). The tip of candle A is seized by the right hand, which apparently withdrawsitfrom the tube.(See Figure 15, showing the performer’s view from above). Although A isreally t5ein.g forced out of the tube by pressure of B it should appear that the right hand is removing it without assistance. Candle A isplacedbackinthe cardlestick. It will be seen from Figure 11 that the above operation brings the left little finger on the end of candle B, and the tube at right angles to the left hand. As soon as candle A is clear, the left wrist is twisted to bring the tube vertical (see Figure 12), the bottom end of B being supported on the little finger. After placing A in the candlestick, candle B isremoved. To facilitate, the left little finger secretly lifts the end of candle B into the tube (See Figure 13). Candle B isremovedby the right hand and placed in the candlestick. h;otes on Mnnipulation.
1. The whole trick is performed while facing to the right, up to the point when candle A is removed from the tube. From a study of Figures 14 and 15itwillbeseenhowever, that the tube is turned towards the audiencewhileremoving A fromthe tube. This turning assists the introduction of candle B.
2. The moves arefar easier to perform if done slowly than if hurried and are just as deceptive. It is almostimpossible to get candle At.oslideback as indicated ir! Figure 7 ifperformed quickly. 3. The palm position of the candle is shown in Figure 16, the candle beingshownblack for clarity. It is held against the palm by the second and thlrd fingers and supported underneath by the little finger. 4. Considerable practice in front of n mirror isnecessary at first in order to get the angles right. The most difficuIt mistake to prevent is that of allowing the rear portion of candle B to droop down and show below the wriqt especially during the slidingpalm illustrated in F i g r e s 15 and 16.
It will be found that the support given b!. the little finger referred to above is a great help. Presentation and I’nfter (As used by the author). Thereis a certain well-Rnowr matlirmatical dogmn (tube placedoveronecandle to demonstrate close fit) that two into o m zsolz’t go. (Tube taken in right hand). This is offt73z quoted at us by our superiors (Candle A taken from Candlestick) with the most shameless a27 o f self-sntisfaction. (Candle A pushedinto tube). Let’s tnke themdown n p e g (candle B taken from candlestick), I s a y t h t tzoo into one .w/ill go!
(Candle B apparently pushed into tube. Dramatic pause). And what’s wzore, t w o (candle A pushed out and placed in candlestick) out o f one (candle B pulled out of tube and placedincandlestick) will come! And in case anyone thi~zksthtrt he is seeing double nlzd that fiiert? is r e c ~ i / y on111 one cnndle all the time (going down to the audience) will you, mndnm please re~~zoz’e fh!z,7m both and make sure they nre really t w o wholecandlesandnotjustone. (Givingcandles for examination. The tube is also given out for inspection). ALL right! (Receivingbackcandles) And the tube not expandable ? (Receiving back the tube). Thank yoz z’ery nzuch. Notes on Misdirection. 1. The articlesusedmustnotbeoffered for examination beforetheeffect.Theyshould b2 examined afterwards. The reason is that the “Wise guy”, if givennoleadbeforehand,willprobably think that the trick is accomplished by using one hollow candle into whichfitsthesecond or by using a tube whichissomeway expandable. By giving the articles out for examination afterwards? the performer proves conclusively that the “Wise guy”waswrong, and sincethemanipulationis completedby then, there remainsno thread on which to hang theories. If the articles were shown roundbeforepresentation of the effect, the possibility of the effectbeingaccomplishedby apparatus isprettywellruled out and thechances of theaudiencespotting the manipulation are enormously increased. 2. The touch that simply “ makes ” the trick is that of having the projecting end when pushinp in each candle. It isthe natural thing to do. Thc: effect ishardlyworthperforming if this detsil i; omitted.al-thoughitisbynomeans easy in accompIishment.
One of these starlit nights I’m going to get up in front of an assembled bunch of magical membership card bearing people and request that those willing to give up their business connections and all sources of income the profession of magic and allied arts and what it may bring them to stand. O n that night there will occur a sit-down strike likeof which has never been seen, that is in so far as adherence to the chairs is concerned. -JINX, page 348.
36
COLOURBLIND FRANCIS HAXTON
A LTHOUGH there are so many books
describing countless card tricks there are all too few of them 0 . ‘ use ior platform work ; it is for such work that I feel certain you will find the following effect to bemost suitable. Direct in its appeal and not requiring a lot of concentration on the part of the spectator, as is the wont of so msny card effects. Effect.
A pack of cards is removed from its case and fanned, backs to the audience, showingthem all red. Now turning the cards faces to the audience the performer counts off ten cards. He then asks a spectator for a number to be given between one and ten. On receiving the numberhecounts 04 the cards and shows the card at that number He then closes the packet anddropsit into a glass tumbler, with the backs of the cards to the audience. A card is selected by another spectator from a blue backed pack in a- similar manner and thiq packet is dropped into another tumbler.
The performer now states that no matter how the cards were mixed he would be able to find the card that was chosen, for, he goeson to s3y, at the same time taking the red backed packet from the tumbler and spreading the cards, “ You chose the onlybluebacked card in this redbacked packet.” This he shows by counting, and it is seen that the blue card is at the selected number. The sameroutine is gonethrough to show thatthe other spectator has similarly selected the only red backed card in the blue backed packet.
Method. Sin youhavenotexplainedwhat is going to happen,the suddenrevealment of a different colour backed card in each packet has an immediate response from the audience, a response that has pleased me so much that I have put this effect into my current programme.
You will require two glass tumblers, a pzck of red backed cards and a pack of blue backed cards. The preparation is very simple, all you need to do is to put a red backed card ninth down from the top of the blue backed pack and a blue backed card ninth down from the top of the red backed pack. The cardsare then replaced in their respective cases.
I
Prasenintion. First remove the redbackedpackfrom itscase and fan the cards face to the audience. This wili give y ~ the u opportunity of seeing whether the fanning has revealed any part of the back of the blue card; if .it has you just spread the cat& slightly to cover this and then turn the fanned backs to the audience. Now again turn the faces to the audience and say that you are going to count off ten cards. This you do and as you say “ ten ” you part your hands which are held about shoulder high and turn the backs of the cards half towards the audience. This should be done in an apparently casual manner. Its purpose is to give the audience an opportunity of seeing that you have red backed cards in eachhand. Now place the balance of the pack aside and ask for a numberbetween oneand ten. As you do this hold the cards in your right hand, fingers at the top, thumb at the bottom, the backs towards you. off one card, dropping the Now idly shuffle balance on top and at the same time spreading the cards faces towards the audiencesaying you are going tocount down tothe numbergiven. This gives you the opportunity of getting a break with the left fingersunder the top two cards as you close thefan, the topcard ofwhichis the blue backed one. At this point the cards should be at about chin height facing the audience. Say Numbersixisgiven.Push off the two top cards as one,from your left handinto your right, counting “ one.” Then the next card in front of these counting “ two.” As you takethe fifth card youpush thetopcard in your rizht hand back on to the left hand packetwithyour right thumb, where it. is retained with your left thumb. It is now in a position to be counted as number six ina perfectly natural manner. The spectator is asked to remember this card and you complete your count up to number ten and drop the p3cket backs outwards into one of the tumblers. A similar procedure is followed with the blue backed cardsand itonly now remains for the performer to show that in each case the spectators selected the only odd coloured backs in the packets. Note. After the first count, in my presentation, I count thecards again veryslowly to give the spectator an opportunity of confirming the position of his card. You can put everything into this part fortheodd colouredback is now at the freely selected position.
Stewart James gave a sweet reply to my request about “ What is a re-hash ? ” when it comes to writing tricks-“ A trick is NOT a re-hash if its entertainment value is improved, the method of working simplified, or the mystery deepened.”-JINX, page 345.
I
37
YOUR CHQICE JACK AVIS T H E EFFECT, whichismostdirect,goeslikz this : Two coins, a penny and a half crown are A spectator is wrapped in a handkerchief. asked which of the two coins he would prefer and according to his choice this is removed and shown by the magician who retains it, the handkerchief containing the remaining coin being left with the spectator. Hocus pocus and a transposition takes place; in the magician’s hand is seen the coin that was in the handkerchief. The latter is unwrapped and insideis found the coin of the spectatur’s choice! The requirements are few; they are two halfcrowns. a penny and a cambric pocket handkerchief. The sleights used are :l . Finger palmy Kaplan Coin Change, Fine A r t of Mngic.-or The De Manche Coin Change, ~ V o d e r ~ z Conjurer. 2. A coin steal to bedescribed later. The articles are disposed as follows :Handkerchief in outside breast pocket and the coins in the right trousers pocket. The working goes like this :Reach into the trousers pocket with the right hand finger-palming one of the half-crowns and bringing out the remaining two coins and placing them on the table. Takethe visiblehalf-crownwith the right hand and throw it into the left allowing it to slide into a finger-palmposition and follow up by throwing the penny on top of it. The left hand is nowextendedallowing the spectators to see that there quite definitely are two coins in the left hand. Brhg the left hand towards the right hand and apparently throw the twocoins into that hand. Actually the finger-palmed half-crown is retained, the penny only being thrown on top of the halfcrown finger-palmed in that hand. Again the spectators are allowed the sight of both coins. The left hand with its back to the audience is now closed into a fist and the half-crown held by the right hand pushed inside it, care beinq taken thst it does not chink against the other hzlf-crown. The pennv is then pushed ipto the left fist but in so doing the loweredgeisallowed to pass between the twomiddlefingers of the left hand which Prip it but allow it to protrude at the back of the hand.
I
~
~~~
~
~
~
.
-
-
~
The second, third and little fingers of the right hand are closed into the palm the fore-finger beingextended.Emphasising that the left hand contains a penny and a half-crown, tap the top of thele,tfistwith the extendedforefinger. At steal of the the same timeyouaccomplishthe protruding penny in this manner. As the forefinger taps theleft hand youwillfind that yourright middlefingers are in a perfect position to clip and remove the protruding coin. As soon as it is away move the right hand to the breast pocket to take the handkerchief. On the way getthe penny into a finger-palm position. Remove the handkerchief, shake it open and cover over the coins held in the left hand. As your left hand goes out of sight allow the two coins to chink thus fixing in the spectators’ mindsthat there really are two coins. The right hand fingers and thumb now grasp the coins through the handkerchief and theleft hand is brought out obviously empty. A spectator is then asked which coin he would prefer-in most cases he will say the “ half-crown.’’ Whateverhisanswer it is a matter of conjurer’s choice for the left hand now reachesunder the handkerchiefpretending to locatethehalf-crown by means of the milled edge. Your patter should support this 3ea. One of the half-crowns is now removed and placed on the table. Grasp the lowercorners of the handkerchiefwith the lefthand at thesame timeallowing the centreof the handkerchief to fall down forming a bag. Hand the handkerchief to a spectator to hold. The half -crown is taken by the r i g h t hand and thrown into the left hand a couple of times. The third time the magician goes to do this. switch the coins and close the left hand over the penny. Patter along the lines that the spectator wanted the half-crown but at the moment he has the penny. That matter however youwilladjust by means of a littlemagic, order the coins to change places-Hocus, pocus ! Your left hand is opened to revealthepennywhilst the spxtstor unwraps the handkerchief to find that he h25 the hslf-crown. Whilsthe is engagedon the latter taskyou dispose of the duplicate half-crownin vow ri7ht hsnd cost pocket. ~~
~~~~~~~~
~~~~~~
Magicians are like that, loyal to the last snap of a rubber band. They always can be depended upon to applaud, not when the trick is over, but when the pull goes. It is often difficult for the lay spectators to figure why the magus is getting a hand.-JINX, page 560.
I
38
POISON IN JEST PETER WARLOCK ROM that“delightfulpublication for theconnoisseur, the Phceniz” mergedan effect that has alreadybeensubjected to manyvariationsbothin I refer to thetrickinwhich,during plotandmethod. the magician’s absence, one of a number of glasses containing liquid has had added to it an imaginary shot of poison. The magicianreturns totheroomsnd is successful in locating the poisoned(?) liquid!
F
As I mentioned before there have been many va-.iations on this in the “ Phcelliz ” (Nos. 212, 215 and 267) andalsoour verygood friendJimmyEster. gave our readers an excellentversion in the previous number of the “ Pentagram.” In seeking OUT own solution we have been guided by two things : 1.
Theobviation of confederacy.
2. The directnessinthepresentation. Briefly the effect, which isintended for drawingroomwork, goes like this : On the magician’s table stands a OT shape is row of sixglasses(size immaterial). Intoeachaquantity of liquid is poured from a lug. The magician then introducesa : he mentions how Borgia motif Cesarewouldchoosethevictimand his sister Lucretia, administer the fatal dose. Two members of the audience are asked t o enact the main characters;themanis seated on the magician’s left, whilst the lady sits on hisright.Inkeepingwiththeplol, the magician picks up a small stone, and asks‘:he man to hold it in his left hand. The Borgias,” he mentions, “ were superstitious-theobject you hold, and which I don’twant you to release until I tell you, is an amulet.” To the lady is now given a small glass phial. It is quite empty, but the to imaginethatit recipientisasked contains a deadly poison. The magician now indicates that he is going to turn his back (if thought necessarv he can also be blindfolded) and he gives instructions that when it is impossible for is to fix his mind him to see what is going on, the man on one of the glasses and take it across to the lady. His task is then finished, and he can return to his seat in the audience. The lady is pour to some of the invisible poison into the glass from the phial, and then replacetheglassinitsoriginalpositiononthetable. So that the magician cannot be helped by noting the possible movement of one glass, allthe glasses aretobe shiftedforwardalittleand re-aligned.When thishas beencompleted,themagicianturnsround,andafter suitable dramatic play, locates the glass that has had the poison added.
I
The requirements are as follows : Six tumbler glasses (the type roughly illustrated can be ojtainedfrom Woolworth’s, and is ideal as it has anoctagonalbase). A roll of cellophane tape. An empty phial with a cork to fit. A small smooth stone (to represent the amulet). A large jug container t o hold s o n e water. Thepreparationis simple.Atthepointshown in theillustration,asmallsliver of cellophanetape is attached.Thisisbestachieved bv stickingonalarger piece and then cutting away and &en scraping off the unwanted pieces with the aid of a razor blade. Withthispreparationcomplete the set up for performance is simple. The sixglasses are lined up on thetablewiththeaddedcellophane at the rear, so that in effect you have six one-way pointers. The jug of water is to the rear of the table and the phialcorkedandtheamuletare inreach.
In presentation,theglasses are first filled withwater, the jugplaced aside,and thetwomembers of the audienceinvited to assist. Theman is seated left of the table and the lady on the right. The man is handed the amulet and asked toretainitinhishand, which means ‘that onlyonehand c u n be free to pick up the glass at
n laterstage.
The phial is picked up, uncorked, and handed to thelady, who will either takeitwiththerightor left hand the fact (emphasis must be laid upon that the phial is empty and confirmation should be forthcoming from the assistant). Again note that this
assistant o n l l ~ hasonehandfree.
Withthemagicianturningaway and his instructions being carried out as outlined in the effect it will be seen that the picking up, handing over and ultimate rep1acemen.t of the glass upon the table means thatthe g l a s mustbe givena complete turn SO that the cellophane indication on the selected glass must
be o t 1 theoppositesidetotheindicators on the f i v e r e m i n i n g g l a s s e s . That is the simple secret. The
fresh alignment of the glassesby the lady is notlikery to upsetthz pointersfor whilst eachpointermaybe shifted up to a matter of 30”, nonewill equal the full 180” whichtheselectedglasshassuffered. One last word.Don’t use stemmedglasses, for if taken by the stem, the slightest movement of the thumb and finger is sufficient to cause a turn of the glass.
And so we have friends of magic who are willing t o applaud lustily even at the drop of a gimmick, the wing-wise glance when a thread breaks o r an assistant isn’t on time. Likewise we.have would-be friends of any magician for himself alone, perhaps in thecase of professionals as asop to our amateur vanity.-JINX.
BURIED TREASURE Two Relative Key Locations ALEX ELMSLEY EDITOR’S NOTE.?Ye take this o p p o ~ t u n i t yof welcoming a Izew contributor t o our pages. In his description o f these two most excellent card locations, Alex. Eimsley, knowing that renders of this publication speak the same nzagical language, has confined himself t o bare descri$tion and instruction. A lovely close-up worker, Alex. is one of a youzger group o f nzagicinns who day by dny is taking advantage of the modern technique and with it producing something new in magic. j u s t recently he has been “ slaying ” mzgicians nnd laymen alike with a deliglztf ul vanish o f a cord from betweez two others. A description of this will be found in a forthcoming publication t o which we havealrendyreferred, “ Come a little closer ! ”-P. W . N RELATIVE key locations the position of two or more cards relative to each other is known, and it is upon the keys’ relative position thatthe location depends.Because of this, the -pack can be cut indefinitely by a spectator before the start of the effect. The idea of a relative key springs naturally from the idea of a buried key, in which the position of one card relative to the top of the pack is known. E f f e c t 1. The pack iscut several times, and then it is cut intotwo approximately equal packets. Two spectators look at the top cards of these two packets. Then each of the packets is cut, burying the two chosen cards. The magician looks through the packets, and cuts each of them.Now the spectators each dealfromtheir packet simultaneously, card for card, and each is told to say “stop” whenhe deals his own card. The two spectators stop at the same time. Method. Before starting, cote the bottom card, and the twenty-sixth card from the top of the pack. The ability to cut a pack into twenty-six and twentysix is a great help in peeking buried and relative keys. If you cannot do this, you must run through the pack as though to find the Joker and peek the key while doing so. Now the pack is cut indefinitely, and then it is divided into two packets, approximately halves. Thetop card of eachpacket is noted, andthe up eithsr of the packets arecut. Now pick packets, and run through it,looking for a key. and also counting the cards. Whichever key you find. cut it to the top of the packet. Now pick up the other packet, run through it and cut the other key to the top. If the number of cards you counted in the first packet is more than twenty-six, subtract twenty-six from the number counted, and cut the -resulting number of cards from the bottom of the
I:
second packet to the top. If the number counted is less than twenty-six, subtract it from twenty-six, and cut that number of cards from the top to the bottom. Now the two chosen cardsare at the same positions in the two packets, and the denouement is in your hands. It can happen that both keys are cut into the same packet. In this case, one of the chosen cards will be between the keys, and if two or three cards are between the keys, a little questioning will tell, youwhichis the chosea card. The other card is lost, but a suggested out is to take thepacket with the known card on top, and second deal in time with a spectator who is dealing fromtheother packet. The spectator stops when he comes to his card, and you produce the other chosen card on the same deal. E f f e c t 2. The pack is cut several times,then it is cut into three heaps, the top card of the centre heap is looked at. The original bottom heap is dropped on topof the centre heap, and the original top heap is dropped on top of both. The spectator deals the cards faceup on to atable, and magician stops him as he is about to deal the selected card. Method. Four keys are used for this effect,although two can be used with less freedom of preliminary cutting. Youmust note thebottomcard of the pack and every thirteenth card thereafter as you run through the pack “ to make sure that they are all there.’’ This is less difficult than it sounds, but a knowledge of theNikola system is a great help. The cards must be remembered in their order from the bottom of the pack. Nowworkthrough the effect until the point where the spectator is dealing the cards. Count the cards until one of the keys turns up, and then subtract the number at which it standsfrom thirteen. Nowlook outforthe nextkey in the order in whichyouremembered them. (Explanation : Suppose the keys, in order from the bottom of the pack, were the 1, 2 , 3 and 4 of hearts. When the spectator deals, the 3 of hearts isthe seventh card. Subtractibn from thirteen gives six, and youlook out for the 4 of hearts). Whenyousee this key, let the spectator deal as many more cards as the answer to your subtraction sum, and then call “stop.” The next card is the chosen card. (Explanation :.there are six cards between the 4 of hearts and the chosen card). You will find that you have plenty of time in which to do your calculations. If you do notwant to remember four key cards, note two cards thirteen apart at about the centre of the pack-. Now allow one cut of th? pa k before the start of the effect, asking whoever cuts to cut somewhere near the centre. Now carry on with the effect as before.
. . . the mutilated
Pigeon catching from mid-air, pigeon vanish from sucker box, duck production, and . parasol. At that point several persons of taste and intelligence walked out.-JINX, page 742.
I
FANTASY IN SILK FRED KAPS
N the performer’s table rests a small stand. On this stand (as seem intheillustration) rest three reels then break it off fromthe spool. The spoolisreplaced of coloured cotton. The colours represented are upon the stand and the magician allows the audience to see that he holdsnothingbutthe length of cotton. red, yellow and green. Now the length of cotton is placed over theleftarm, A member of the audienceisrequested to name and the right hand Picks UP the spool of green cotton two of the colours. Let us suppose that hesays, yellow and in the action from it the stand the and green. From the reel of yellow cotton a short length thumb slips inside the nylon loop. The spoolispassed of cotton is taken and then a similar lengthisremoved to the left harid (and, of course, at this stage of the effect from the green spoo]. Apart froin, the lengths of cotton your right side should be to the audience) and the ball thehandsare Seen toempty, neverthelesswhen the of silk is left hanging frorn the thumb of the right handpieces are rubbed together between the hands, instead of The right hand now Pulls Out a length Of cotton two pieces of tangled cotton: the magician has a yello:v from the green reelfrom did the that it red, and this is and green parti-coloured silk ! broken off. In this unrolling of thread with the second The production is basedupon an old PrinciPl?, bst reel, itisimportantthatthelefthand be held higher onlymakesa thanthe right, so thattheright hand comes down wit11 the use of two reels andtwocoloursno? new effect,butalsoaidstheperformer in actual handling. the Gotton. This allows n o possibility of a ‘ flash fronl Requirements are :ball the of silk hidden right theby hand. The is spool wooden Three hollow or now the replaced on stand. cardboard (see spools Now with one length of cotillustration). thumb the ton hanging from Three parti-coloured silks, hand right and5nger of the one red and yellow. one take the other length of cotred andone green, and ton by its end away from yellow and the green. Each point left thissleeve. (At small of these a silks has move comes a which is thread nylon sewn typically Fred Kaps). In to one corner. apparently taking the lengths, A small stand on which the of cotton higher with a spools are placed. fairly quick movement, the so that his artithe (Regarding coloured aresilks. There side left is towards the two ways of making these. audience. As he does this The first is of course, synchronising to have with the upquarters separatefour of the jerk ward hand. of the right .bundled colours sewn the together to is silk thrown right back of the hand. one form Possibly square. the to better the way is to obtain so that performer when the squares three of white silk can he position his finishes andthethen colour neceshand right the show palm the sary squares. to Information bundle audience, the on dyeing 2! silks will befound in Harold Rice’s firstof slik hanging atthe back.(This is a move thatrequires carefultimingandto those whomay feel. that theycanvo1un;e of Encyclopaedia of Silk Tricks.”Asimple means of both dyeing andpaintingon silkshasrecentlynot makeit with ease: the followingis suggested. Atthe been marketedby thefamous colourists, Messrs. Windsorpoint where the ’ength of cotton is taken fromthe left and Newton. Your local artshop will be able to give sleeve, both pieces are placed inthe left hand, which is youparticulars of tl1i.s orinformation may beobtained held palm to theaudienceallthe time.Actually, however, much in themanner of looped a billiard ball acquitdirect from Windsor and Newton, Ltd.-P.W.) To preparefor the effect each ofthesilks is so ment, astherighthand comes toand covers thelefthand, folded. using one of the standard fo!d;. so that it forms the bundle goes over the left hand, the left thumb coming a tight ball and the nylon loop projects. into the loop, as the lengths of cotton are taken from the -The yellow-green silk is now placed in the spool right* me right hand then moves away quiteempty. the i,eliow cotton,the red-yellow silk is placed From this. point the trick Continues much the same. P.W.) The !eft hand now comes up to the right under the i n the spool carrying the red cotton, whilst the remainlengths of cotton and then with a rubbing movement of placedinside thespoolcarrying ing red-greensilkis both hands the lengths Of cotton are At a green cotton. The spools are then set on the stand with POlIIt where a Small ball Of Cotton is held a slight movethe open ends to the back. The illustration gives you rolled ball of silk ment of the left handbringsthe a view of the stand with the s ~ o l in s position for performance. between the two palms.under The silk cover of both hands is slowly developed, and thus another silk and The magician asks his audience to name two of the another is born. coloursand we supposethat those given are red and In conclusion, we shouldlike to thank our friends green. hi’ith the knowledge thatthe red-green parti-Henk Vermeyden (EditorofthefamousDutch magazine, coloured silkisin thespoolcarryingthe green cotton, “ Triks ”) andFredKapsfor permission to translate an& pick up the spool of red Cotton and handling atthe publish this very nice piece of silk magic. fingertips pull out about a yard and a half of cotton and
0
Even the magicians don’t seem to be able to tell a good act from a bad one, or at least that is the impression given by their trade papers. The pages of a magical society’s house organ carries reviews of the shows put on by the variousmagical societies at their meetings throughout the country. According to these descriptions every act is a fine act. There is never a word of criticism expressed and these papers have the most hypocritical reviewers in print. It’s not that the reviewers don’t know better : they just don’t dare express anything that smacks of criticism. ,Anyone who dares to write an honest piece about the average magic show wouldn’t have a friend left the day after publication. Every act is “ a fine act.”-JINX, page 806.
41
JACOB’S ELEVATOR HANS T R I X E R HIS IS a lovely impromptu card routine that Tideas Hanshas evolved by bringingtogether the of Dr. Jacob Daley and Bill Simon, the former’s “ Jacob’s Ladder ” and the latter Elevator Cards.” Briefly after having shown and dealt the Ace, deuce, three and four of one suit on to the table, the conjurer makes each of three cards in turn show that it can pass from the top to the bottom of the pack and vice versa. The fourth card after beingplaceddeliberately into the pack,without any suspicious moves reverses itself. There are no difficult sleights in the trick, and though a second deal of one card is called for, it occurs at such an off-beatmoment that a most elementary dealwill not besuspect. This is the way it goes. Leaf through the pack finding the Ace, deuce, three, four and five of one suit and openly bring them out and place them on top of the pack. The only precaution to be taken is that the audience shouldnotbe aware that the number of card5 exceeds f o u r , as onlythisnumberfiguresin the trick as they see it; they should be in consecutive order with the Ace the top card of the pack. With this set-up and the cards held in the left hand the four top-most cards are thumbed ofF and turned over on top of the pack with the right hand. As thecards are shown the left hand thumb counts down two cards and a break is obtained and heldby the littlefinger. The face up cards cover this very nicely. The spread of cards is now closed and they are lifted off the packtogether with the two cards held above the littlefinger break.(The right hand incidentally takes the cards at the narrow sides much in the manner of the start of the “ Biddle ” count). The left hand approaches the cards and the thumb draws 03 the top card, whichis the four spot, on to the pack. It isof course still face up and it should overlap the edge of the pack. The wrist of the left hand now turns and the four spot is placed face. dnzevz under the cards held by the right hand. This very open method of showing the cards isrepeatedwith the three, deuce and Ace, the onlypoint to notice.being that as each subsequent card is added it is allowed to overlap the one before so that when the cards are turned face upwards the spectators can see the indices of four cards, the two extra cards being hidden behind the four spot. The risht hand turns themface upwards to show the indices and then still in a spread they are turned face down and placed on top of the pack. They are squared up and then the four top cardn +‘
are dealt, the petformer as he places them down saying, “ Four, three, deuce and Ace.” (By having the cards in a spread there seems a more legitimate reason for placing the cards on the pack, squaring To place a them upand subsequentlydealing. stock of squared up cards back on top of a pack and then dealing seems unreasonable). Actually, of course, the cards dealt are the five spot, and indifferent card, the four spot and the three spot, the deuce and Ace being left on top of the pack in that order. The pack is now dropped on top of the supposed Ace (actually the 3) ; lifting pack with Ace apparently at the bottom the performer taps the cards and then double lifts the two top cards showing that the Ace has apparently come from the bottom of the pack to the top. He turns the cards over on top of the pack and offers to repeat the feat. The top card (the deuce)isremoved and placed onthe table. The packis dropped upon the apparent Ace. Another tap with the finger and the top card is turned over to show that the Ace has travelled through the pack again. The Ace is now removed and placed face-up on thetable. The three spot is now second card from bottom. With the packstill on the table, the second card, apparently the deuce(really the four),is taken and placed on top of the pack. A tap with the finger and the right hand takes the cards in a position to make the “ glide,” turns the pack over and shows that the deuce has gone from the top to thebottom. The cards are turnedfacedown and the deuce apparently taken from the bottom (at this point the “ glide ” ismade and actually the three spot is taken) and placed on top of the pack. Another tap, and the pack is turned over to show that the deuce has found its way back again. The deuce is nowdiscarded and placed face-up next to the Ace. The indifferent card (from the spectator’s point of view, the “ three ”), is now taken and inserted into the middle of thepack. A tap with the finger and the conjurer shows that the three spot has travelled to the top. With a request to the spectator that he would like to see it repeated, second deal onecard (actually the four spot). keeping the three on top. Turn the pack face upwards and insert the dealt card facedown into the face up pack. “ This time,” says the conjurer, “ we’ll make it harder. Not onlywill it jump to the top of the pack but it will perform a somersault on the way.” The pack is turned face-down, flicked with a finger and the spectator is. shown that the three has travelled back to the top of the pack. faceup The three is now discardedandplaced next to the Ace and the deuce. The pack is held
THE PSYCHIC SEVEN ARTHUR CARTER OME TIME ago I set myself thefollowing problem. A member of the audience must bc asked to think of any card in the pack; a card would then be placed face down upon the table by the performer,whichwouldprove to be actual ! Impossible ! Yes, card mentally selected provided the spectators did not know in advance exactly what was being attempted. The fascination of certain cards waswellknown evenin the days of Robert-Houdin, and after due cogitation and consultation of statistics, the Seven of Diamonds wasdecidedupon as a suitable subject for the experimentinquestion. Indeed, one often gets it from anabsolutely “cold” start, but if the following presentation is used, it becomes almost a certainty. The pack is taken and ribbon-spread face upwards,allowing the Seven of Diamonds to show prominently, after which the spectator is addressed as follows :“ While my back is turned I should like ydu to think of one of the cards - which one is of course up to you. You may prefer a high cardsuch as a nine, ten, picture card or ace, on the other hand you may prefer a low card, such as a two, three, four or five. Then there is the question of colour-some people prefer black cards, others on the other hand do not; but, as I say, what you prefer is upto you. Take your time and when you have finally decided gather up the cards and shufflethem. Thank youverymuch.” It isnotsuggested that the above should ?X epeated word for word, but the gist MUST be (Idhered to, as the psychology is vitally important. The phraseology is such that the spectator’s mind IS discreetly steered off all cards other than the red sixes, sevens and eights, no3e of which-other than the seven of diamonds, are verylikely to be selected.
S
it.”--JINX,
On receiving back the shuffled pack, the performer states that he (will also think of a card, and after due cogitation, removes the seven of diamonds and places it face down upon the table. The helper is then handed the pack and asked to remove his card, and place it face down beside the other. One of twothingswillhappen. (a) He will fail to find it, in which case you have accomplished a miracle,(b) He will do as requestedand aithough they do not realise it-the audience have seen the end of one trick and the beginning of another. In the pages of Sh-h ! li’s n Secret the late The0 Annemann, describes a trickentitled : “ A Couple of Cards GetTogether ” and It is a variation of this experiment which is used as an “out.”Whileglancing through thepacktheperformer notes the bottom card which becoms a key. The spectatorisaskedtocutthepack into two piles and choose one of them. If he selects the one containing the key, he is asked to place his mentally selected card on it; if not the performer does the same with his, the helper using the other. Both packets are then cut separately, thus placing the key card above thespectator’s card. Both. heaps are then placed together. The performer now points out that they have each thought of a card, which cards are obviously widely separated in the pack. a f e w moments cog“ to get centration however, will cause them together to talk thingsover!“ Now for the first time the performernamesthe cwd cf which hs thought (i.e. the key card). The. helper now takes :he p x k sn;l deals the cards face upwards until the key card is reached. and upon turping over the r?ext 5nds it to be the very one he thought of! The principleemployed in theabovewas, T believe. originally due to Dai Vernon, but as h i r as I am aware this is the first instance of its being applied to a full pack.
I hope thatclassicremark of AI Baker’snever is lost. It came up theother day at lunch, when an advertiser wrote AI and told himhe shzuld have such and such, a greateffect,becausefivehundredother magicians had bought it. Baker replied,That’swhy I don’t want it. Becausefivehundred other magicians had bought pnge 246.
jACOiFS ELEVATOR--C&. from page 41 face down and the remaining card on the tzble (the five spot) taken and pushed into the pack nzsr the centre, care being taken not to riffle the ends inthe process and show the reversed ‘‘ four.” When the five spot is about two thirds of the way in, casuallyraise the pack and lettheSpectator
I
see the two pips so that the card would appear to be a “four.” The finger and thumb quite naturallv cover the index at this point. Push the card right home,placethepack face-up on table and then ribbon-spread the cards. One card willbe face down.Performthe normal spreadturnoverand there is the four spot reversed.
He took ten long steps t o the right,stealing his load on theoffside. turned right about face, made his production and next steal while taking ten more long steps in a westward direction, then right about face again, ten steps, steal, production, right about face, ten steps, etc. W e got the same sort of crick in the neck we get watching B tennis ball.-JINX, page 743.
E
HE PASSING of Arthur Dowler, was another piece of sadnews. One of the most likeable stage personalities we haveever met; a n n q who always had a goodword to say about every personheknew; a manwith anstural sense of fun both on and off the stage, he too was liked by everyone withwhom he came in contact. As an artist he had that superbsense of timing that many could envy.Wehavewatchedhim night after night prompt side, laughing as much at the end of the week as at the beginning. He will be greatly missed and to his widow and daughter we extend our deepest sympathy. With this issue, we hit our biggest numbertwelvepages - somethingwhich we should like to do every month, somethingwhich if every reader managed to get another reader we could do, It would allow the inclusion of W o r t h W h i 1 e material other than tricks. Therefore dear readers, if you can do a little crusading, both you and your friends will be the beneficiaries. A common and easilyunderstoodword to magicians, “Gimmick” the readers of “Advertiser’s Weekly” had a definition which opens up a n w sphere of thought. It is this :“ A gimmickis a scheme of merchandising and advertising and more particularly the special
theme or sales oiler to be advanced to the publia to impel purchase.” i n the January 3rd issue of Abrtz, that guardian of magicians’ morals (the man who took bothBruce Elliottand ourself to task for our printing of commonplace words), Goodliffe comes out with a trick involving a lady andher most intimate garment that almost sent a blush to our cheeks. It’s a trick that usedin the wrong place might easily bring the performer a clip on the jaw from an enraged fiance or husband. Practical Mechanics forFebruary gives a reply to the Institute of Magicians who have been protesting against the exposure of conjuring tricks in that magazine. It is a well worded answer and shouldgiveimpetuousminded individuals cause to think before making certain representations. It is well to remember that one writer to whom the magicalworld at large owes so muchwas the greatest exposer of all time. I refer of course to A r?gelo Lewis. Milton Kort,Dr.Jaksand Peter Moffat.There Nextmonth we shall have an e x t e n d e d Annemann issue withmagic by Milton Kort,Dr. Jaks,StewartJamesand Leslie May. There will also appear, “ Miracle Porous Glass ” which we think will appear in many programmes.
BOOKS FOURTH COLLECTORS ANNUAL, Edited and Published by J. B. Findlay. Once again our very good friend Jirnrny Findlayhas produced a mostworthwhilework. Running to amatter of thirty-two pages of art paper measuring 93 X 73 we feel that every collector(andforthatmatter everymagicianwho respects his art), will feel that his individual needs have been catered for. After a short preface, there appears an article by John Mulholland on the collecting of old apparatus which is followed by a continuation of GeorgeJenness’smonographon the Maskelyne family. In this article Mr. Jenness deals with books and book articles relating to the great Home of Mystery. A most interesting contribution comesfrom the pen of that able magical journalist Robert Lund.He takesforhis subject the writings of Dr. H. R. Evans. To colIectors of articles this is a most valuable contribution. Following this under the title of Varia,” the Editor gives some interesting tit-bits of information. “
All these precede the lengthy article written by Ptinos entitled, “ The Magic Circle; a short literary history.” In this most comprehensive piece of writing he takesthereader from 1996 until the present day through the many publications that the Magic Circle has undertaken. In the main course this deals with the A4tr .?;c Circular inits various phases. A most valuable article, which has been separately printed in a very limited edition. In a monograph on “ Specialised Books for Conjuring Bibiophiles,” Stanley Collins sets one’s mouthwateringwith the descriptions of some varieties in his own collection. The Annual is brought to a conclusion with a veryfine article by theEditoron “ Buatier de Kolta.” His mention of Mrs. Fairs (the daughter of de Kolta), brings to mind the fact that in one evening at Portsmouth we met this lady, a pupil of Bertram andarelation of Louis Nikola. It will be a long while before we hit so much historical magical association in the space of a few hours. We thoroughly recommend this well produced publicaton to all our readers.
44 M E N T A L I S T S ! M A G I C I A N S ! This i s what you have been looking for
THE UNIVERSAL MIND by R O N B A I L L I E A NEW APPROACHTOMENTALISM, WITH AFASCINATINGEXPLANATION OF “ HOW IT WORKS” ‘I--But how does mindreadingwork ? ” How many times have you been asked this question by members of your audience o r by others who have heard of your capabilities ? Are you able to give them a cotwincing
answer, or do you just stall them off with a few hackneyed remarks about thought waves ’ and ‘ concentration ’ and leave it at that? THE UNIVERSAL MIND ” fills a long-felt want by giving you an extremely logical and convincing explanationas to how ‘ mindreading’ is possible, coupled with two effects to illustrate the theory. And what effects!
Firstly : a spectator writes down a letter of the alphabet, a diagram and a number. These you reveal. THEREARENOFORCES, NO IMPRESSIONS, NO SWITCHES, N O WINDOW ENVELOPES OR SIMILAR DEVICES. Secondly : a spectator writes down anything he wishes on a piece of paper. This can be a short sentence, a line of poetry, several place names-ANYTHING AT ALL ! He folds this paper, seals it with a stamp-paper and signs it on the outside. This folded. sealed and initialled paper is placed IN FULL VIEW, in a prominent position. THERE ARE POSITIVELY NO SWITCHES, NO FORCES,N O IMPRESSIONS O R GIMMICKS O F ANY KIND. The folded paper is NEVER at any time out of the spectator’s sight. It can even be burned if so desired. And yet, WITHOUT ASKING ANY QUESTIONS you reveal what has been written ! Take qur word for it, thisis the most genuine and seemingly impossible sealed message reading method to date Only a sheet of paper and a pencil are needed for both effects. There are more to make or buy.
RO
fakes or gimmicks. rhere is nothing
“ THE IJNIVERSAL MIND ” can be performed impromptu, under any conditions, to a small group of people, to a single person, or to a larger audience. T o anyone performing mental effects this is a MUST ! ‘ l THE UNIVERSAL MIND ” comes to you in a neatly printed, fully illustrated bookletin stiff board covers.
Price 12/6d. (postage 3d.) FROM THE PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
11 MONASTERY GARDENS, ENFIELD, MIDDLESEX PETER
PENTAGRAM is published onthe 24thof rrch month and can be obtained direct from the publishers for 117 perLingle copy. AnnualSubrcription 181post free. PUBLISHED BY:
I MIRACLE SLATE
Publishing Co., 11, . Momwery Gardens, Enfield, Mlddlesex.
-
I’residcnt : His Grace the Duke of Somerset,
D.S.O.,O.B.E.. J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq.,Y.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. MagicalTheatre
dE2 10s. Od.
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRBSS:
Post Free
Peter Warlock,
Forthcoming EventsMar. 7-Concert %Mental Magic-Jack Morrison 27-Annual Banquet Particularsfrom
Surrey.
m.8
Hon. Secretary :
FrancisWhite, 39 Atverstone Avenue, WimbledonPark, S.W. 19
24, Wordsworth Rd., Wallington,
m.
:
King George’s Hall, W.C.
The Magic Wand
Still Available
PRICE
The Magic Circle
WARLOCK’S
A N D NOW
I
TRIGON l9 ’’ W R I T E FOR
FULL PARTICULARS
II
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with allhis other effects inreturn for a stamp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
TO
Hypnotizm
PETER WARLOCK 24,
Wordsworth Road,
Wallington,
I
Magic Wand Publications TheMGic Wand, Quarterl).. rer ropy 3/8 p.p. Annual sub,criptiorl 1416. The Wizard, 36 pages nlonthlJ.. 1’cr copy 2 / 1 p , p . , 6 rvonth II 6 . Y ~ a r 21:-. Convtncrnp Coin Mapk (Fare!li) . . 17/10 Mastered Anlazentetlt (Koran Sr I.atrlontc-) , , 10/3 Bohleno’s Mysteries ( Bohlen \ . . 1013 The Concen Ventriloquirt (Hurling) 10/3 Georgc Armstrong’s Prenlonition 10/3 Chmdu’s Psychoanalysis . . . . 10/3 Entertaining With Hypno:ism (Dexter) 111/3 ChaJengc Instant Hypzotistn & Mass
Surrey
CONJURING BOOKS FOR SALE OLD ANI) NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No
Gllers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
..
,
.
. . 211-
Strictly Magic (Fddie J o s r p h ) .. Stooging Around (Stllthardi .. 26 Living 3 Dead‘ Tests (Garrett) . . Jarnesosophy (Strwart .Jarnos) . . .. Year Book 48/43 ( f e w only) . . .
5/3
Tricks
513 2./7
Stunts With Stage Money U.arnontc) of the Trade (Armstrong)
. ..
5/3 513 5:3 51’3
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monmtey Gardens. Enfield. Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin
PETER WARLOCK’S
PE NTAGRAM FOREWORD Last year when l was in America with th? “Flying Sorcerers,’’ I had the pleasure of meeting nany ofthetop flight magicians specialising in close-up magic. Among them was my goodfriend Milton Kort,whonot onlydoessomeoutstandingwork,but also, as mostreaders of the “ Pentagram ” will know, wasresponsiblefor a verybig slice of the material in Bobo’s recentwork on coins. This efcct, “ Kortially Yours ” he showed Stewart jumes and myself whilst w e were at his house. I found itmostattractive, and it i s with Milton Kort’s Permission that X have written it up for Peter Warlock so that it m a y appear in the “ Pentagrum.” -FRANCIS HAXTON.
KORTIALLY YOURS MICTON KORT
THE EFFECT. A pack of cards (borrowed
if need be) ! is shuffled and a spectator invited to select a card, look at it and return it to the pack. The latter isshuffledagainafterwhich five cardsaredealt off for the spectator and another five for the magician. The spectator is now requested to pick up his five cards, hold this packet longitudinally between the thumb and the fingers, stack them into a small packet and then d o exactly what the magician doesThe magician takeshis five cards in a similar manner and carries out these actions : 1. Removes the top card, turns it face up and then places it underneath the packet. 2. Repeatstheseactionswiththesecond and third cards. 3. Turnsthe wholepacketoverholding the packet as before. 4. Removesthebottomcard(whichwill of course be face up), turns it over and replaces it underneath the cards. 5. Takes the top card and places it at the bottom of the packet. Thespectator having donelikewise,the on thetable magician nowspreadshiscards showingthattheyare all face down.The spectator on being requested to spread his cards in a similar manner, finds that four card areface down, whilst the middle card is face up. What is more, it is the card he has selected. The method is very simple indeed. After the card has been chosen and it has been returned
VOLUME SEVEN, No.
SIX
-
tothe pack,theperformer,inthe way best suited t o his own particular technique, brings it to the top of the pack. Five cards are dealt to the spectator (which means of course that the chosen card will be at the bottomof the packet when he picks up the cards), and thenfive more to the magician himself. Whilst the spectator is picking up his cards and the magician is explainingthathewants him t o carry out actions similar to those which he (the magician) will do, he secretly reverses the bottom card of his own packet. From that by lookingattheseries of point the reader, actions previously outlined, will find that the rest of the trick is automatic. When Milton demonstrated this effect, he had both Stewart and myself select cards. Sets of five cards were then dealt to the three of us and two chosen cards were then revealed. This latter version entails more work from the magicianand he will either be culling, shuffling or what have you, so arrange that the chosen cards are at numbers one and six at the top of the packet. Editorial footnote. It gives us a great deal of pleasure t o welcome another distinguished contributor to these pages. Thanks a lot Francis ! Cont. on page 50.
1/6. (20 Cents)
=
MARCH 1953
46
ANGLE ON MARLO PETER W A R L O C K A F T E R my very helpful friend,Francis Haxton ” trip returned from his “Flying Sorcerer a plot of a trick that he had last year, he detailed run into during asession with Ed. Marlo. It was an intriguing plot, but one which did not have afully satisfactory solution. Whilstplaying about I did find one method using an ordinary pack which brought a kind of solution. As a point of interest to the reader, though the effect is reallyamentalone, the approach was made from t h e card side and not the mental side. Strange to say the most satisfying solution which meets all the requirements,I achieved whilst approaching it fromamental angle. Thatparticular version I shall save for the nextissue. My main reason for writing up this particular~versionis thatduringhiscorrespondencewithStewart James, Francis mentioned the particular force I had made use of. Stewart, with that delightful attack that he has, added something else which made a completely new effect. It follows after this. In my effect, the magician writes something it and places it on the upon a slip of paper, folds table. A packofcards is takenand shuffled. Holding the cards in his dealing hand, the magician asks a spectator to think of a number.“As I deal these cards I want you to stop me at one before the number you have in your mind,” he continues.Veryslowlytheperformerdealsa card at a time face down into the other hand until heis stopped. When this happens the cards that have been dealt are turned face up, and the t o p card of the pack i.e. the card at the thought of number,dealt face down on top. The remainder of the pack is now turned face up and placed on top of the chosen card. The position is now that on the performer’s hand all the cards are face up with the exception of the chosen card.Thepack,withoutany move.is now turned over and placed on the table. Now of is reversed, allthe cards being course the position of the chosen card. face down with the exception T h e spectator is asked to open the slip of paper o n which theperformerwrote e’er rhetrick began. He does this and reads something to the effect that the chosen card will be the “ ten of hearts.” “ You thought of the number twelve” remarks the performer “is that correct.” thespectator agrees. Slowly the face down cards are dealtoff and at the same time counted. When eleven cards have been dealt a face up card stares up at the spectator. It is the “ ten of hearts ! ”
...
I
Theproceedure isverysimple.Prior to presentation. reverse the second card from the top of the pack at the same time noting its suit and value. Write the name on a small slip of paper, and after folding it in two. place it on the table. The pack is now taken and given a false shuffle that will, make certain that the top stock of two cards remain undisturbed. As you ask the spectator to think @fa number, thumb count the top three cards and get ready for what is really a false lift made under cover of a deal. What purports to be the first dealt cardis really (Continued on page 50.)
THE FEMALE O F
T H E SPECIES I S
.. .
HARRIET DREILINGER
HARRIET DREILINGER, U.S.A. American Academy of Dramatic Arts Graduate: appeared on Broadway in several plays. Appliesher acting knowledge and experience to her Magic. Past President of the Magigals Society. Wife of Sam Drcilinger and noted American collector. (From the James B. Findlay Collection).
Try to remember never t o borrow anything from the audience unless such be necessary to the working of a trick. For instance if you require B lead pencil ,sec to it that you have one. Don’t annoy those whom you should be entertaining. JINX,page 419.
I
ANGLE ON ANGLE ON MARLO STEWART IAMESI One thing leads to another.When I wasin the U.S.A. I had some meetings, all too few, with that eferyfine card worker, Ed. Marlo, whogave me U problemhe was working on. In addition to some solutions I have arrived at I also put the problem to a n exclusive gathering of magiciuns I havetheprivilege to attend. Arising out of this, Peter Warlock came up with a very nice force of a card at any given number. I passed this on to my wery good friend and master magical mind, Stewart Jarnes, u h o ironed out U point, added another prediction, here it is. FRANCIS HAXTON.
T H E MAGICIAN places two folded pieces of paper on the table pointing out that on each he has written a prediction. A pack of cards is takenand shuffled. A spectater is now requested to give a number, say between ten and twenty. Supposing that fifteen is given, the performer countsoff fourteen cards from the pack into hisfree hand, turns themface u p and then places the fifteenth card,face down ontop.Thereminder of the pack is turned qver and placed face up on topof the card at the chosen number: The whole pack is now turned over and placed down. The performers pauses and points out the fairness of everything . . the spectator merely named any number and so on. The cards are now dealt off until theface u p card is revealed. We’ll suppose that it is the ten of hearts“Thecard is theten of Hearts,the goes number.chosenfifteen.”Theperformer o n . . (‘Before I commenced I reversed two cards in the pack, one to denote the suit and the other the value of thechosencard.”Atthis pointtheperformerribbon-spreadsthecards showing the five of hearts (to denote the suit) andtenofdiamonds(todenotethevalue) . . will you reversed. “Onefurtherthing,sir please add up the values of the cards facing you togetherwiththenumberyouchose.”The spectator does so, making a total of forty. “I want you to read what I wrote upon those two pieces of paper ” . . The papers are unfolded and on one the spectator reads, ‘The total will be 40 ’ whilst on the other is seen, ‘The selected card will betheten of hearts.’ The pack of cards is now quite clean and ready for the next miracle. The effect is out of all proportion to the simple means and subterfuge employed. There
I
is asmallset up which is as follows. Second from the top the ten of hearts is reversed. The thirteenth to twenty first cards from the top are the nine to ace of hearts irlclusive, the nine spot occupying the thirteenth position. Reverse the ten of diamonds placing it about twentieth from the face of the pack. Thus set you are all ready for the word go ! Take two pieces of paper and on one write The totaI will be 40 ” and on the other “ The chosencard will be theten of hearts.”Fold the papers and place them on thetable. Pick up the pack giving ita casual false shuffle and then ask a spectator to give you a number between ten and twenty. We will suppose that, as mentioned under “ effect ” he gives you fifteen. Count off into the free hand four0 teen cards (actually you will have dealt sixteen a s one.)Turnthe as topmostthreearedealt packet over,deal off thefifteenth ? cardface down on top and then turn over the remainder of the pack, placing this on topof the face down card. The position a t the moment is that you have three cards reversed in the pack. The pack is now turned over and counted down, the performer reaches a face up card at the fifteenth position. It is of course the force of hearts.Removeitfromthe card,theten pack and replace the cards that have been dealt. Point out that you had control of the spectator’s mind, and hand him the paper on which the name of the predicted card apears. You go stillfurtherandribbon-spreadthecards,the two reversed cardsrepresentingthesuit and value being face up. Finally you ask him to add t o his original chosen number the values of the face up cards together with that of his chosen card. As any chosennumber between 12 and 21 will come to 40, you’re right again for you nowhandhimthesecondbillet which heis invited to open and read. You can, if you wish, cut the pack at the beginning and, by fanning, show that two cards are reversed, no more, no less. Thepackisnowcut so thattheten of hearts is second from the top of the pack. As a final note Stewart points out that the 5 prediction number canbealtered-between and 10 it will be 35, and between 12 and 24,42.
The printed stint makes exposing a minor factor in the life of any performer recalling to our mind the Wilsonian line from the Sphinx of January 1927, to wit : magic suffers more from lethargy and stagnation than from exposure. JINX, page 722.
I
THOUGHTS OUT O F PRINT DR. STANLEY JAKS T H E MENTALIST takes
a copy of the latest newspaper which he asks a member of the audience t o tear so that it is quartered. All the pieces are distributed to members of the audience,each being asked to concerltrate on the centreportion of thepapertheyhold.The mentalist then divines four of these thoughts, givings details of words, pictures,etc.The persons concerned are askedto remain silent for the moment. The reason is soon seen, for the mentalist, as a climax t o his experiment, locates As each one islocatedthe thefourpeople. truth of the mentalist’s statements is confirmed.
Once the information gleaned has been spoken aloud(and if thought necessary,written on a board) the finding of the four holders of the pieces in the most dramatic manner brings the effect to a climax. This canbe easily performed as an impromptu item with a borrowed newspaper. All that the performer need d o is to note the \rarying items thatoccuronthe page three of eachleading daily. Atthemostit meanslearning tn-enty items by means of memorising o r alternatively, for the lazy man, a scribbled key on a card could be made use of.
Themethodinvolves a principle which I don’tthinkhas beenusedbefore. W e will .assume that you have anEnglish newspaper consisting of five pages (theactualnumber is arbitory) which means thatif the paper is quartered there will be some twenty pieces. If as the ,quarters are torn they are placed one upon the other in sequence, the third, eighth, thirteenth and eighteenth pieces will all constitute part of the third page. Therefore, if inadvanceyou memorise those portions of the third page which of constitute, when torn, the centre portions the quarters, all that is necessary for a successful performance is t o know which members of the audience have thesepieces when the twenty pieces aredistributed.Thecareful fellowwill do the tearing and distribution himself, whilst the more successful one will see that the tearing and distribution is done by a spectator.
CONJURTOON KEN D E COURCY
The presentation is all showmanship, for the secret being simple makes little o r no demand upon the conjuring technique of the performer. 8
“WILL YOU DROP FIRST
I
\
1%
OR SHALL I ? ”
L
~
~~
~~
~~~~
~~
~~
~~~~~~~~
~~
The thing that hurtsmagic mostis the poor Magician.”Magiccan becomeone of the most amazingand interesting forms of entertainment o r i t can become one of the most boresome if not properly applied. How many times have I heard committees say, “We had a magicianandthat is enough. W e do not wantany more,” or, “We had a magician five years ago and are still trying to live it down.” The truth is, they never had a MAGICIAN, only someone who called himself a magician. JINX, page 638.
~
49
DO YOU REVERSE LESLIE MAY E D D I E CLEVER once produced an outstanding idea for the identificationof an envelope which he called “ The answer t o a Mentalist’s Dream,” and which was published in the Tarbell Course. This necessitated the purchaseof two types of envelopes,bothsimilarinappearance,but withdifferentover-lappingseams on reverse, which were easily recognisable to the performer. Difficulty occurred frequently in obtaining thetwosuitablekinds of envelopes,and I therefore sought a method in which borrowed, entirelyunpreparedenvelopescouldbeused, and in which crimped corners, nail marks and othersimilarsecretmeans of identification could be dispensed with. I Thiseluded me untilrecentlywhen re-readAnnemann’s Sh-h-h . . ! It’s a Secret ! and suddenly realised that the method, dependent upon the reverse back pattern of certain employed in his brands of playing cards, “ Eight-in-a-Row0Location ” could be adapted to borrowed envelopes. The best type to use is the ordinary square letter size envelope, and the simple secret is that the overlap of the gummed flap on the reverse acts the same as the markings on a oneeway deck ol’ cards, i.e. if one envelope is secretly turned upside down beforeplacing it into the remainder of the packet, the front or face appears quite normalbuttheperformercanimmediately distinguishitwhenhenotesthereverse side. It being .assumed that no writing of any kind is putontheaddressside,that beingblank in every case. The actual moves employed in the l ‘ Eightin-a-RowOLocation” are rather too blatant for close up work in this particular instance, although the principle remains the same. However,thosereaderswhocare to use this idea will find that the following methodsfor acardreversalcan,withalittlethought,be adapted for use with the envelopes.
“A NewKink for the Reversing of One Card.”-Annemann’s Sh-h-h ! It’s a Secret ! “The Genii” Cut-DeckLocation.”-Annemann’s Book Without a Name. My own method of reversing and presentation is as follows :O n table o r chair is a packet of ordinary envelopes, a packet of correspondence cards, or other plain cards-allthesamesire-that will comfortably fit into envelopes and a biro peno r pencil,in case spectatordoesnotpossessa
..
(PLEASE DON’T USE writing implement. BLANK PLAYING CARDS . THISIS A MENTAL EFFECT).
.. .
Exhibit the cards and the envelopes, if close t o a member of the audience near the front,; if on a platform obtain the services of two volunteers, one just to help seal the envelopes to ensure that you do not personally handle them, and for the other, ask for the services of a young man unmarried, but one either engaged o r hoping to be so in the near future, if such a one is not forthcoming, select someonewithaparticular lady fr‘end, thiscan be donedelicatelyyetinalightly amusingmanner.Havethispersonstand on your right, andask him if he would kindly write thename of theyoung lady of hischoice (the Christian Name is sufficient) on one of the cardsand place itinone of the envelopes. There is no need for him to conceal the name from you, in fact if you can’t glimpse it, just ask him what the Christian name of the young ladyis, as knowledgeofthis will add to the presentation later. up work, just hand them
Ask the other helper to stand on your Ieft, take a small number of the envelopes, say about ten or twelve, insert one of the blank cards in each, and seal them.Theact of licking or otherwise sealing the flaps allows you to note thattheseenvelopesare all the same way up ; when this is completed take the bunch of sealed envelopes between the thumb and forefinger of thelefthand, grasping them at the centre of the loweredge withtheaddresssides upDermost. Turn to the assistant on yourright, ask him to seal his envelope (this enables you to keep track of the overlapping flap end) and to insert it somewhere in the bunch you hold ; as you say this, you reverse your pile of envelopes by taking them between the forefinger and thumb of the right hand a t the toD edge and swingingyour right hand to the right so that he is now presented by what wasoriginallythebottomedge of the packet, consequently when he inserts his envelope, it will be reversed,i.e. the overlapping flap will be in a different direction to the remainder : If however,after sealing hisenvelope, he reversesitin any manner, do notreverse yours,buttakethem in theright hand, grasping or side and ofer them them by therightedge to him, this will cause him to insert his upside-down. (Continued on page 50).
DO Y O U REVERSE
When he has done this, take them from him, idly mix (Charlier shuffle). Flap side to yourself, noting that reversed envelope is not left o n o rtoo near top in order to prevent a too sudden revelation, and place pile o n table or chair, address side uppermost. Briefly recap what has happened, emphasise that no one knows which envelope contains the name of thelady of hischoice.(Don’t:draw attentiontothefactthatyou mixed them yourself). Then patter as follows:-“ I would like you to imaginethatyouare giving aparty,a big party, say your birthday party” (if you like you can ask the date of his birthday, and then give him a short astrological reading-any book of fortune telling, or some of the Sunday Newspapers will give youmaterialforthis).“You have a wide circle of friends, good true friends, but amongst them-one stands out-the Lady whosenameyouhavewritten on acardand of which is now somewhere in that pile envelopes.YouarementallypicturingthatGood. Now will you kindly help by imagining a little more, firstly that that pile contains all thereplies to yourinvitations,secondlythat each envelope contains a reply from a different person, and finally that each envelope is to you-by theperson addressed-addressed whose reply is enclosed therein.” (Get assistant to stand facing you, with his side to audience, you stand a few feet in front of him also with ~
I
-
yourside to audience. Give him the pile of envelopes t o hold-addressside up-in his left hand). “ Thepostmanhasjustdelivered these, eagerly you take them, there is but one thought in your mind, will that certain charming person be present at the party, pray her reply has not been delayed-so please take the envelopes oneatatimeinyourrighthand, gaze at the address side for a second, then place to the bottom of the pile.” (As he does this you watch for the reversedflap-immediately it appears, you say “ stop”-although you may not know it, your heart is beating faster-a feeling of joy, a thrill of pleasure flows through you, she has replied, there in your hand is the letter you longed for from (e.g.) E k e ! ” Take it from him (to prevent him noting the reverse) tear it down the edge, extract the card, and show it for all to see.
NOTES. (i) I havediscoveredthatinsomebrands of envelopes,whenabunchcontaining one reversed is riffled a t thetop edge, they wilI break ’* at thereversedone,inthesame mannerasapackcontainingashort” card. Readers may care to experiment regarding this. (ii) An alternative patter idea to ensure that each envelope is held well up by the assistant, enabling you to note the flaps without difficulty, is to say that he knows she is fond of a speciaI scented stationery, and he is to place each in turn to his nostrils in an endeavour to detect the perfume. ~~~~~
~
Dr. A. M. Wilson, he who published and edited the Sphinx for thirty years, once put into print a most biting remark, to wit : “ The shores of time are strewn with wrecks of failure in the magic game, the majority of whom had no adaptability or were wrecked on the rocks of sameness.” JINX, page 664.
ANGLE ON MARLO
three cards, two face down making a sandwich of the “ predicted ? ” card. Go on dealing o r to taking the cards with the free hand until told stop. Turn over the dealt cards, place the next card on top, turn over the balance of the pack placing this inturn upon theface down card and thenturnthewholepackover. The ultimute effect will be that the card you initially reversed will be at the thought of number whilst the curd dealt as
I
such will be two lower. Have the spectator read the prediction and then slowly count off the cards until you come to the “ predicted card.” The effect, apart from the fact that you have a reversed card in the pack is now complete. It was from this point that Stewartwent on and so with aslight break, and thanksto Stewart James and Francis Haxton,we’ll giveyou “Angle on Angle on Marlo.”
And ted. so, if you reader dear want make to your job a little Iess difficult, when it comes to When wereceived the details of the effect, the taking of the top card, turning it over and being bornextremely lazywe wonderedwhether placing itunderneath,simplydoubleliftand it was necessary to even reverse the card in the instead of one take two cards. If you’re superonthe second card, performer’spacket, or rather we wonderedstitious,youcandoublelift whether the turnover as such mightbeeliminathe effect will continue the same ! P.W. KORTIALLY Y O U R S
NOT
Amonthseemsto pass nowwithout The laziness ofmagicians to-day is shocking. magic sustaining an irreparable loss. Nothing could be worse than the present vogue Arthur Buckley is death‘slatestvictim andwithcertain conjyors who,‘whenpresenting his passing will be mourned by all those who that classic, the Twentieth Century” silks have a reallovefor magic. Whilst we never have snap fasteners sewn to the corners of the had the pleasure of meeting thisgreat manipulahandkerchiefs. Worse still, as we witnessed at tor our f r i e n d s, GeoffreyBuckinghamand a show last evening, when they have to fumble Francis Haxton have recounted on many occato snap the fasteners together. sions of the warm welcome that he extended to. t h e British parties when they visited the States. -Dan Vemon in “ Select Secrets” gives a to have escaped His books “ Card Control ” and ‘*Principles and delightful method which seems Deceotions” will remain the butchers. a s t w o o f t h e finest Alex. E m s l e y has exploratory fields f o r struckanotherversion manipulators.It was a of TanHockChuan’s coincidence that young ‘‘ AstralCoin ” effect, Tony Blitz, unaware of which you may rememBuckley’s death, showed ber,appeared i n our us on theMonday follow October issue. C o i n ing the receiptof the sad plotsare very hard to news, a delightfulverget and the o r i g i n a l sion of his “Separation” version and the one to effect. We hope that bedescribed should Tony willpublishthis merittheattention of for it contains oneof the close-up performers. most subtle switches we A delightfulevening have yet struck. a t home with Fred Kaps andhischarming wife The “Haunted House” we had a few days back. telecast brought extreme All being well he will be back in England in June. reaction. Like the Marx One of the g r e a t e s t Brothers, you liked the manipulators who can act oryouhatedit. There make m a n i p u l a t i o n was n o half way. All we effective on a stage, this k n o w w a s that Hall young man, who looks Place. Butley.pictured so good and who conjures so well, is destined c e n t r e page, was the for greatness. coldest spor in England o n t h e day in question, For the first time we are giving you an additional andourthanks g o to Annemann issue. In it are Elizabeth Warlock, who effects by four contribuAT HALL PLACE, BEXLEY so kindlystoodin for Reading from left to right :-Harry Taylor. Shan, Billy tors of the Jinx, plus a us at rehearsalsduring O’Connor. Peter Newcornbe, Francis White, Elizabeth delightfulcarditemby .the day. Warlock, Reg. Salmon. the Great Masoni, John Brearley. Milton Kort. (Reproduced b kind permission of Fox Photos Ltd.).
I
There seems to be a growing tendenq to decry the amateur among some of the professionals. This should not beone may learn something from everyone and anyone. In most sciences to-day, B great many of the most important discoveries are made by amateurs. JINX, page 119.
I
52
Uere it is-7he
World’s Gteutest Mu0 & Wife 7ele)uthy Act
Ken de Courcy’s AUTOMENTALISM l
THISISthegreatestManandWifeTelepathyAct devised to date. Therecomes a timeinalmost every magician’s life when his wife wishes to join him in his work. One day they see a Telepathy Act and they realize that this is just the thing. But when they come to study the complicated codes required to work the act they give up,forthey realize thatitrequiresmemory“plus.” A simple little gimmick, supplied complete with this printed book, cuts outall that hard work, and makes it reading the instructions. possible to work the act ten minutes after THE EFFECT. The medium is blindfolded and seated on the stage-covered with a sheet, surrounded b y screens, o r simply seated with her back to the audience to ensure that she cannotsee anything that goes on. Yet she is able instantly to name any card chosen from a pack (no force) and describe any object handed to the purformer. It is a slick and fast act. The act follows theclassical lines, yet remember, themedium has only to learn how to use the simple gimmick 8upplied-anyone can learn this inless than ten minutes. For this reason it even is possible to press an intelligent assistant into service at extremely short notice. There are N O LISTS O F OBJECTSfor performer or medium to learn. There is N O MEMORY WORK and the medium doesn’t have t o learn a single code word ! THE APPARATUS DOES IT ALL FOR YOU 1 There are NO ELECTRICAL OR SIMILARDEVICES, NO PUNCHED CARDS or other complicated gadgets, NO LIGHTS, THREADS or similarsignalling devices. It comes to you complete with a neatly. printed book of instructions and presentation, and that necessary “ something.”
Price 20/- (postage 3d.) FROM T H E PUBLISHERS
THE M A G I C W A N D P U B L I S H I N G CO. l1 MONASTERYGARDENS,
I The WARLOCK I
PETER
is published on the 24thof each month and can be obtained direct from the publishers for 117 perbingle copy. Annual Subacriptioo 181post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Still Available =
The Magic Circle
WARLOCK’S
PENTAGRAM
MIRACLE SLATE I PRICE
ENFIELD, MIDDLESEX
E2 10s. Od.
Manuscriptsfor publication andbooks review should be rent to the: EDITOR1 \L ADDRESS:
Post Free
for
Peter Warlock,
...
24, Wordsworth Rd., Wallington,
*e*
Surtey
.
DOUGLAS FRANCIS’S
TRIGON IS ” WRITEFOR FULL PARTICULARS
lI
‘STAB IN THE PACK’ An entirely new “ thought o f ” stabbing card discovery Complete with pack and accessories
1216 From DOUGLAS FRANCIS, 65 Norwich Ave. Southend-onsea, Essex
TO
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
t*
EveryAdvertiser’s
CONJURING BOOKS FOR SALE OLD ANU NEW. Let me know your wants LIST FREE FOR STAMPED ho Callers
the Duke of Somerset, D.S.O., O . B E . , J.P., M.I.M.C. Vice-President: Douplar Cragga, Erq., Y.I.M.C. (‘Illbroom and Library and Muspurn :
Hearts of OakBuildings, Euston Road, London, N.W.1. Magical Theatre :
King George*s Hall, W.C. Forthcoming EventsApl. 7-Concert 16-The Flying Cards Particulan from Hon. Secretary :
FrancisWhite, 39 .4lverstone Avenue,
Wimbledon Perk, S.W. 19
A N D NOW
II
1’residi:nt : HisGrace
ENVELOPE
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
goods arefullyendorsed
Manic Wand Publications The M% Wand,Qt!arterly.Fer copy 3/8 p.p. Annual subscriptlon 14/6. The Wizard, 36 pages monthly. Per copy 211 p p 6 month 1L/6 Year 24i-. Convincing Coin ‘Magi: (Farelli) . . 17/10 (Koran & Lamonte) . . 10/3 Bohleno’s Mysteries (Bohlen) 1013 TheConcm Ventriloquist (Hurling) ‘ ’ 10/3 George Amstrong’s Premonition l013 Chandu’s Psychoanalysis .. 10/3 Entertaining With Hypnotism (Dexter) 10/3 Chalenge Instant Hypnotism & Mass Hypnotism . . 211Strictly Magic (Eddie Joseph) .. .. 5/3 S:ooging Around (Stuthard) . . 513 26 Living L Dead Tests (Garrett) . . 513 .Jameso.ophy (Stewart Tames) . . . . 5/B Year Book 48/49 (few ‘only) . 513 Stunts With Stage Money (Lamonte) . . 513 Tricks of the Trade (Amstrong) . . 217 From the publishers THE MAGIC WAND PUBLISHING CO.. 11, Monastery Gardens. Enfield, Middlesex.
..
by this Bulletin
publirhed by the propridam The y u i c Waad Publirhig Compmy, I t , Monastery Gardens. Edeld. Middlere.. Walker and Som (Printem) Ltd.. Well Croft. Shipky. Yorkshire
and printed by Herbert
PETER WARLOCK’S
PENTAGRAM MIRACLE POROUS’ GLASS PETER WARLOCK HAT wonderfuleffect of Tan Hock Chuan’s Tmany Porous Glass must have been used by very of our readers. The version we are “
”
about to describe is not merely an atte,mpt to paint the lily but rather to get greater visual eflect. In this version the magician has at hand a straight sidedglass, a red silk and a yellowsilk (each eighteeninches square), a square of cellophane, some Scotch tape and an elastic band. First of all the red silkisplacedinside the glass and pushed down to the bottom. On top of it isplaced the yellowsilk and overthe top of the glass is placed the square of cellophane which is kept in place by means of two lengths of Scotch tape plus the elastic band. (Incidentally to facilitate the placing of the cellophane in position the pieces of Scotch tape are attached to the sheet of cellophane before the show commences).
The reader will require a straight sided glass (it is not essential that it should be straight sided, but the latter typemakes for easier and quicker handling), a red silk, a yellow silk, a strong elastic band, a square of cellophane which when placed over the mouth of the glass will give an overlap of an inch at the shortest point, a roll of Scotch tape, some strong black cotton, a needle and a spot of conjuror’s wax. Thread the needle with a length of cotton and pass the former through one corner of the red silk. Remove the needle and by tying the ends of the cotton ensure that you have a loop whichwhen drawn taut measures in length about three inches (see illustration). On the knot place a small amount of conjurer’s wax.
With the two silks tightly imprisoned the glass is shown on all sides. Holding the glass with the left hand the right hand touches the bottom of the glass and.with a quick motion pulls the red silk through the bottom of the glass. The glassstill containkg the yellowsilk is immediatelythrown out for examination. Let us say straight away t,hat the principle employed i n the original effectisusedhere. The only difference is in the dressing.
Across the square of cellophane fix two strips of Scotch tape at right angles, so that there will be about an inch and a half of taDe motruding at eachside.(Seeillustration). Tu& tie cellophhe over in order that the ends of the Scotch tape will the silks, the glass, notstick to the table.With cellophane and elastic band at hand you are all set. .
~~~~
~~
VOLUMESEVEN,No.SEVEN
-
I/6. (20 Cents)
-
~
APRIL 1953
54 Take the red silk by the corner which has the cotton threaded through it. It will be found that in picking up the silk the length of cotton can be easily crushed and concealed. The silk is pushed inside the glass in a zig-zag manner-this is most important-and at this stage the cotton is released and allowed to hang behind the glass. (The additional weight of the wax stops any chance of the cotton popping up and falling inside the glass). The glass is now taken with the left hand, the thumb of whichpres,ses the blob of wax against the side of the glass, whilst the right hand takes the yellow silk and slightly folding it pushes it into the glass on top of the red silk. The glass can be freely shown and it is then replaced on the table. The square of cellophane is taken, turned over and placed over the mouth of the glass. Its position should be such that when it is pressed down on to the sides of the glass the piece of cotton should be inthe centre of one side of the cellophane (see illustration), which means that only about an inch of cellophane covers the cotton at that point. The Scotch tape is pressed against the sides of the glass and finally the rubber band is taken and placed over the cellophane. The performer points out howwell the red silk is imprisoned, a piece of solid glass underneath it and another handkerchief and a sheet of cellophane above it. The left hand picks up the glass keeping thecottonand fingers to the rear. The first finger of the left hand disengages the wax fromthe glass so thatthe cotton hangs freely. The glass is then changed over to the right hand and during the process the right thumb and finger give the cotton a short pull, then grip it about an inch from the waxed knot. The left hand comes across, takes the glass at the side and then lifts it quickly. At the same time the right hand holding the cotton moves down bringing the red silk out of the glass down through the wedge of cellophane. The silk is then bunched concealing the cotton, whilst the glass, still sealed, is thrown or handed out for inspection and examination. One point if you thinkit worthwhile. Both silks can carry a cotton loop and it can be left to the audience which silk shall go into the bottom of the glass. The remaining silk, when it is picked up, hasthe cotton loop rolled inside it in the action of placing it into the glass. ( R I G H T S O F TELEVISION
THE FEMALEOF THE SPECIES S I MADAME PATRICE
MEMORIAM CARD
OF MADAME PATRICE WIFE OF C. LANG NEZL (From the James B. Findlay Collection)
PERFORMANCE RESERVED)
So far as the artistic end is concerned you don’t have to be a Michaelangelo either. All he got for his pains was his neck out of joint from painting the ceiling of the Sistine Chapel. Far from appreciating the really great things it seems that the show world delights in the mediocre. Most o f the stuff they feed them from the T.V.and movie screens is mediocre. Most artists are mediocre no matter how muchbuild up theygetfrom theirpress agents, There are few really outstanding artists in the world to-day and most of the big name artists are just fair to middling and that includes me.” David Bamberg (Fu Manchu) The Sphinx, page 23, vol. 52.
MENTALIST v. MARLO PETER WARLOCK THE previous issue of Pentngmm, two items, INMarlo Angle on Marlo and Angle on Angle on appeared. The inspiration of these “
”
“
”
effects was something told by Ed. Marlo to Francis Haxton on the occasion of the latter’s visit to the Unite,d States last year. Both of the effects deviated from the originalideawhich was as follows :The magicianwritessomething on a slip of paper which is then folded and placed on the table. A pack of cards is taken, shuffled and a spectator is asked to deal as many cards as he likes. As he deals he is to turn the cards face up keeping them in a pile. Finally whenhewishes he is to deal onecard face dozun on the upturned cards, the balance of the cards being placed also face up on tap of the designated card. The paper isunfolded; on it iswrittentheinitials or name of a card. Reference to the packshows that the card dealt face downbythespectator is. that named card. Now it is an interesting fact that the problem has so far been approached from the card man’s angle, and in attempting toobtain a solution, it has been necessary by means of a sleight or subterfuge, to exchange the card actually dealt bythe spectator for another card reversed in the pack by the performer. This of course has meant a subsequenthandling of the cards after the spectator has finished with them. To my own wayof thinking thatis a weak point. Marlo’sownversion made use of this method, as well as two methods that Francis himself thought up. A recentletter from Bob Parrish says that the solution of the problem has caused a good deal of lostsleep adding that when Paul le Paul was in town, they were up until 3 a.m. trying to achieve the perfect solution. He mentions a method of Rufus Steele’s that again means the transposition of two reversed cards and comes in with a similar method of his own. There is another weak point if the cards have to be transposed in separate portions of the pack, and that is that the spectator whendealing the cards f a c e up is almost bound to remember the card lyingnext to theface down card. At the climax of the effect, the card which takes its place will of courselienext to another mate. If, however, the effect can beperfectedwithavailable card technique (and here I am avoiding all use of faked packs) it can, despite the artificial manner of selection of the cards becomeperfectusing the technique of the mentalist. The requirements are :l . One pack of cards. 2. A small writing(scratch)pad. The size of the pieces of pap2r comprising it should measure (say) two and a half inches by two inches.
3. A pocketindex to holdeighteenfolded slips. It can be as simple as youlikeproviding the performer can locate the desiredslip. (In No. 1, Volume 1 af Pentagram I described an ideal billet index and this can easily be modified to meet the situation here). The preparation is straightforward. Shuffle the pack and deal off eighteen cards making sure that the five of clubs and nine of spades are not amongst them. NW on each of the eighteen slips of paper write the initials of the cards you have dealt (ringing them with pencil), making sure that the cards and the slips (which are now folded so that they measure approximately one and a quarter inches by half an inch) are retained in the same order. The five of clubs and nine of spsdzs are now placed in the stack of eighteen cards so that thefirstnamedistheseventh card and the katter the eighth. The stackis now placedface down under the remaining cards of the pack, the performerremembering the topmost card of the stack of twenty. The folded billets are now placed in the index all it being nece,ssary to knowbeing that their order follows the order of the stack. The index then goes into the right hand trouser or jacket pocket. A pencil and the pad should be at hand. To present the effect carry on as follows :The scratch pad is taken and on it theperformer writes “ 5 ” and “C.” Actually the writing should be done hurriedly and also the characters should be such that if the paper is turned the other way the result should be “ 9 ” and ‘‘ S.” A pencil ring is made round the result, the paper is folded to a size equivalent to those in the index, and in this state the billet is placed near the side and edge of table. Taking the pack it is given a false shuffle and asking a spectator to assist, it is shown that the cards are well mixed. As he turns the cards face up to show the spectator, the little finger of the left hand obtains a break above the remembered top card of the stack. The packis now closed and with the break held the cards are turned face down. “ I want you sir, in a moment or two, to take the pack and deal off some cards, like this.” Very sZoud?~(this slow dealing is most important for it makes certain that when the spectator is dealing him.self, the choice of his card is almost certain to fall within the firsttwelve cards) the performer deals off cards from the top of the pack. “ As you do this I want you suddenly to let your mind fix on on2 cord likethis and deal it face down,” (the performer deals one card face down on top of the face up cards), “ Then, sir, place the remainder of (Continued on page 56)
56 MENTALIST v. MARLO
the pack ontop so that yourchosen card is sandwiched.’’ (Again the performer illustrates what has to be done). At this p i n t the face down card used in the illustration is turnedface up, the cards on the table turned over and replaced on top of the pack which is then quite openly cut at the break and another false shuffle (if thought necessary)given. The cards are now handed to the spectator. The performer’s hands go to his pocket and the spectator starts dealing the cards. With his righthand in his pocket the performer keeps pace with the spectator going from billet to billet as eachcardis dealt. There is a fair chance that withslow dealing the spectator may stop ateither the seventh or eighth card. If he. does W,the trick is finished in this way :-
The performer withdraws his hands from his Picks pockets* His right hand up the billet opens it out and according to whether it is the seventh or eighth card holds it for a spectator to read theinzials hehas written. The spectatorwhodealtthecards is requested to turn over the pack and look at the c,ard hedealt face
down. It is, of course, that designated by the performer. If, however, the card is one of the others, the performer, at the moment the Spectator deals a face down card and places the remaining cards on top, has in his hand the necessary billet to denote that card. Hisrighthand onlywith the billet finger palmed is removed from his pocket and he reaches for the folded slip on the table. Heisready to switch the billet on a delightful off beat for remember that nobodyknows the name of the card. T h e billet taken from the table is slid back into the hand as it is brought upand the left handis removed from the pocket. “ I want to read what I wrote on this little slip of paper,” the performerremarks, and his left hand obviously empty comes to the right hand to apparently unfold the billet lying there; actually the billet from the pocket is opened so that it covers the billet takenfr0.m the table. The spectator is shown the writing, and the assisting spectator with cards the is invited to see which card he dealt face down,
If youdon’t like the idea of the initials working both ways, write the name of the seventh card and have a s,tack of nineteenbillets.
“Well, most of the “ mind-readers” I have ever encountered have been o f the music-hall variety, You know the Sort o f thing ; wo;Fing in pairs. The woman sits blindfolded, the man goes among the audience. “ What am 1 holding in my hand ? and so on. Then of course, there’s the fellow who works alone, makes you write questions on bits o f paper, and reads them from a sealed envelope : but he’s usually suchan obvious fake, that if you have an elementary knowledge of conjuring you can spot him,” Carter Dickson (John Dickson Carr) The Reader i s Warned, page 23.
KORTIALLY YOURS II JACK POTTER I have never met Milton Kort, we ALTHOUGH have corresponded for several years, and I know he will not mind if I attempt to “ improve ” his card trick which appeared on the front page of the March Pentagram. There were two features which rather worried me; the possibiliy of the spectator catching a glimpse of his chosen card during the moves, thus spoiling thegrand climax of the trick, andthe necessity for the performer to reverse the bottom card of his packet, not an easy thing to do when he is under close scrutiny. Both of these features havebeen eliminated inthe following version. In the original version, the chosen card was brought to the top of the pack, five cards counted off to the spectator, thus bringing his card to the face of the packet, and five cards counted off for the performer. In my version, it is necessary for the spectator’s cbosen card to be second card from the top of his packet which is easily accomplished.
After the two packets have been dealt as above, pick up the spectator’s packet under the pretence of checking the number and count them as follows. Saying “ One, two, three,” pass the top three cards one by one into the right hand.Spread the remaining cards in the left hand to show two cards left, saying, “ And two makes five,’’ and drop them ontop of thecardsinthe right hand. Repeat these moveswithyourownpacket offive cards to annul any suspicion that this is anything but a simplecheck onlthe num)bes of cards in eadh packet. The spectator’s cholsen card is now in position furthe following series of moveswhichwere publishedsome 20 years agobyPercy Abbott under the title of “ Do as I Do,” by Jay Dee. Full credit is due to“ Jay Dee,” whoever he may be. The spectator is asked to hold his packet of cards face down in his left hand, and to repeat the performer’s moves.
57 1. Removethe top card, turn it face up, and place it underneath the packet. You, however, using the excuse leave this card extended about that you are doing this to make things clearer for the spectators. The true reason will soon be apparent when you read further. Have the spectator keep his cards squared up. 2. Remove thetop card, butwithout turning it over, place it underneath the packet. You do this, but place the card under the main packet of cards, leaving the first card removed still extended.
v,
3. Remove the top card, turn it face up, and place it underneath the packet. You do this, but place the card extended beneath the first card that was moved. 4. Once more remove the top card, and without turning it over,place it underneath the packet.When doing this,you place this card directly beneath the two extended cards. 5 . Now comes the crucial move. If the instructions above have been carried out correctly, the position of the cards in your left hand should be as in the illustration. Youtellthe spectator this time to turn over the top card and replace it face up on top of his packet, but in your case, the left thum,b and first finger grip the three extended cards, C , D and E, by their edges, and the right hand holding the two cards Aand B, by their loweredges, withdraws them as one, turns them over, and drops them face up on the three cards in the lefthandimmediately squaring up the packet. 6. Finally, removethebottom card, turn it face up, and replace it at the bottom of the packet. You can now show your packet to be all face up cards. The spectator spreads his cards only to find that one of them is s,till face down. Ask him to name his chosen card, and then to turn over the face down card. Alternatively, you both turn over your packets, spread them, and the spectator finds a single card, his chosen card, face up among four face down cards, as in the original version.
“We’ve been asked from time to time why we don’t join magical societies. There are a variety of reasons, mostof whichwethink are cogent. But ofthose reasons, more anon. W e have before us as we write, a membership application to one of these societies. It’s no better or worse than any of the others. But there is one line that sticks in our craw. “ It asks, impertinently we think, what is the colour of the applicant. Tf that line and that qwstion belongs in an application for membershipin a magical brotherhood thenbrother the D.A.R. is right ! Bruce Elliott, The Phoenix, page 380.
...
MAGIC CIRCLE BANQUET PARK LANE HOTEL-MARCH NCE AGAIN thisoutstanding social evening in the British world of magic proved most 0cessful. With an attendance of four hundred SW-
members and friends the Ballroom at Park Lane Hotel was not too uncomfortably filled. The continent was represented by Fred Kaps and M. Loreau and the B.B.C. had twowell-known representatives inthe persons of Joan Gilbert and CharlesGardner. Owing tothe tragic death of Queen Mary it was not possible for the President, the Dukeof Somerset to be present and so at short notice the seat of theChairman was taken by Francis White. An excellent dinner was followed by four of the most entertaining speecheswehave had the pleasure of hearing at one sitting.MissEileen Murphy (one of the four women commentators at
27th, 1953
the forthcoming Coronation)very wittily proposed the toast of the Magic Circle, the response then being made by Francis White, who was never in better form. Later Charles Gardner, a magician as well as an AirCorrespondent proposed the toast of the “ Ladiesand Guests,”the res,pnse being made by Miss Joan Gilbert. Past President Herbert J. Collingsthen had of the pleasant duty of presentingsomebadges office and “Circle’’ w a n d s t o G e o f f r e y Buckingham andRoland Winder. Finally and verymuch to his surprise, Francis Whitewas presented with an inscribed silver cigarette case as a token of the appreciation of the very great service that he rendered the Society since his installation in office as Honorary Secretary. (Continued on page 38)
BANQUET A short break and the floor was cleared €or dancing. Stanley Kilburn with his orchestra was in excellent fettle and soon had magicians and theirhard tried wives and assistants forsaking magic for terpsichore. ThencametheCabaret which included items by Eddie Joseph, June McComb, Pat Levey,SidEmons, Francis Watts and the Colman Carnivalettes. From what was in the main, to those of taste, a welter of puzzledom
and butchery, there emerged delightful clowning by Sid Emons and some real magicby Francis Watts. The latter openedwith our own " Jest. of Gratoulat " and thenperformed a number of effects making use of borrowed articles. Back to dancing . . . the clock ticking on, Twelve o'clock and the end of a delightful evening with many thanks to those who were responsible, Dawson, King, to wit : Messrs. Mac Wilson, Leaney, Lovett, Newcombe and Smith.
~
BOOKS DICE DECERTIONS by Audley Walsh and Ed. Mishell (Published by Louis Tannen, New York, $2.00) : In the field of close-upmagic, effects withdicehavea placeoftheir own,as the present publication goes to show.In America particularly,andto a lesser extent on the Continent, dice and dicecups are commonplace things.Nevertheless, the accessories are knowneverywhere and theyhave theaddedadvantage of being SO very free from obvious trickery. The present book has five chapters, the first teaching thereadertherudiments of dicestackinginwhich rhythmic action plays such an important part. Chapter two goes on to teach some actual tricks, finishing with the change of four normal sized dice into one large dice, a nice finish to a routine. Chapter three gives a version of the Patriotic Billiard Balls, coloured dice and coloured dice cups being used. A version of Chink-a-chink which follows conforms to the usual formula.Thefourthchapter goes intothe moredexterousforms of dice control,andthe final chapter includes a colour Change of four dice that sounds excellent . The booklet which is very nicely produced, runs to thirty pages. Edited by Bruce Elliott,thereaderis assured thattheinstructions teach a s well as explain. The drawings made by Ed. Mishell, have the authenticity of the artist-conjurer for as Ed. Mishell explains in the preface,Audley Walsh insisted on hisbeing able t o accomplish the various moves befor: making the necessary drawings. A very good ' buy.
THE UNIVERSAL MIND by Ron Baillie (Published by Magic Wand Publishing Co., price 12/6) : Those interested in mentalism will need little encouragement from us to purchase this routine, devised by one of the finest magical mindsinthiscountry.Readers will remember his many contributions to this publication. In the ' Universal Mind ' Ron has produced an act which in) the hands of a capable mentalist will gain for him amost favourablereputation.The process ofthe methodemployed routine is directandtheprinciple quite new when i n action.Theaudience will, asthe author remarks, gather the impression that the performer is convincing them in a most logical manner how mind reading is possible.
Therehas been no attempt to produceahastily devised manuscript. Theroutine is nicely printedin a booklet which runs to some twenty-eight pages. Illustrations by the author cover every stage of the performance. This booklet carries our highest recommendation and it becomes animportantadditiontothemake-up of the mentalist. A STAB IN THE PACK by Douglas Francis (Marketed by the originator, price 12,6) : Duggie Francis has come up withadelightful idea for finding a thought of card by means of a knife stab. T h e effect is this : A pack of oards is shown all that it should be, namelyfifty-twodifferentcards, andalso a paper serviette of the kind used €or Bridge parties, i.e. one that carries the reproductions of many playing cards upon it, A spectator is asked to merely think of one card, after which the pack is wrapped inthe serviette. Theperfirst time former nowtakes a smallknife andforthe thespectatoris asked to revealthe card hehas inhis mind. Theperformer then stabsthroughthepaper, which is then torn away from the pack to show that the knife has successfully located the thought-of card. The effect comes complete with cards and serviettes, and 1s an excellent ' buy ' for the small amount asked. MESSAGE FROM HADES (A routine withall acces-. sories. A Jack Avis exclusive, price 7/6 fromall deaiers) : This isa most intriguing item which Jack spoke to us. about some months ago. A spectatorishandedasmall packet, and a pack of cards and four coloured counters. are placed onthe table.Witha f f l ~ c z - ~spread, ?~ the spectator is asked to take anyone of the coloured counters. and place it on any card he chooses. Suppose that it is the ?WO of clubs and the colour blue. The spectator is asked to undo the packet previously handed to him. He does s o and finds insidea small metal box. The ild of the latter being removed, a number of screwed-up pieces of paper are seen which are thenturned out on to the table. Touching each with the end of a lighted cigarette, end, all butone flash off. The one left unscathed i s opened and on it is found written in the chosen colour. the name of the chosen card.
Thereis little totroubleaboutfrom the point of' view of technique, and with the routine youreceive every-. thing you want, including a gimmick (an improved ver-. sion of the one first put out, Jack tells us) accessories. infact everything apartfrom some flash paperand a. pack of cards. A bargain at three times the price,
59
S OUR friend Wilfrid Jonson recently had cause to comment in T h e Sphinx, the parochial outlook of magicalsocietiesand/ortheir officialpublications is aninteresting, if notpeculiar,phase of magicallife (or existence) to-day.
A
This was brought home to us rather forcibly after l h e B u d g e t (official readingtheMarchnumberof organ of theBritishRing).Theeditor of thispublication in his allotted space weaves a theme on the virility of modern magic and goes on to cite instancesof society and other magical activities in support of his statement. It does seem to us rather a pity that two very important contributions of the past twelve months have been overlooked in this resume. The first is that of the successful revival by theMagicCircle of Maskelynne’s famous sketch, “ Will, the Witch and the Watchman ” on a grand scale and the second the series of shows at Victoria Hall, where month after month those interested in magic have theopportunities, QS well as the pleasure and privilege of seeing some of the most renowned International magicians.Theseeventsare of greatermagicalimportance than the noting of a performance of ‘ Evaporated Milk ’ in some rural retreat. We knowonlytoo well thattheediting of such a publicationisnosinecure:itisalabour of love, with a greatmanymorekicksthan ha’pence, andthat just as muchas he mustsatisfythe ego of mediocrityby printing for w b l i c reading the ln-lvate letters of mutual admirationfromJoeSnooksatJohnO’GroatstoJoe
It has been a very busy month. Of outstanding interest British magicians has been the visit (not yet concluded) of that great writer on magic, Dr. Harlan Tarbell.
40
At London Airport, it was rather ironic that the first person to spot this distinguished visitor was not a “Flying Sorcerer ’’ but Peter Newcombe. But, as Peter explained, hc hadduringtheprevious day attixed someseventy was photographs of Dr.Tarbelltomenucardsand possibly in the best position t o identify him. Atthe Magic Circlecomplimentarydinner tothis American guest, speeches were brief and witty, Goodliffe rising to full heightby means of a chair. O n the Monday following the dinner at Francis Haxton’s home, we and a few others wereable t o have a pleasant session with Dr. Tarbell. The Doctor’s version
Soak at Land’s End, so must he publish the reports of members of the society concerning their magical activities. His taskisunenviable.Nevertheless,comingback towhere we started, we thinkthatwhena survey of magicisbeingmade,amorecatholicattitudeshould beadopted,andthe real19 important magicalevents included. The sensitivity of professional magicians to criticism by other conjurers is amazing. After all we know that they are, each and every one, the world’s ‘ greatest.’ We well remember Dante before the war, after Stanley Nortonhadwrittenan excellentreview of his show, taking umbrage becausehis billiard ball work was not consideredbetterthanClementdeLion’s. The latest to takeoffenceisSorcar.Possiblythegreatest magial moneymaker in theworldto-day, thisyoungster from India (or is it Pakistan?) wants to be accepted by the Westernworld, andwiththatacceptancetobeequal to westernmagicians.Thatheis,withoutdoubt,the biggest magical act in his own country, is not enough, and we have a sneaking sympathy for one who by publicityandundoubtedly great a deal of hardwork, westernised to a certain extent his very large offering of mystery. Nextmonth we havefor :our delectation:AIex Elmsley’s delightfulversion of AstralCoin , andthe ultimate in that great classic, the ‘ Hindu Thread Trick by Hans Trixer.
of the “Rice Bowl ” effect is the finese we have ever encountered. It is a miracle to the audience. On the following Thursday, the M$c Circle had its annualclubroomsupperentitledthe Wizards’Meet.” A matey kind of “ d o ” where everyone let their hair down for the evening ; a good meal was followed by a brisk cabaret of five acts, the Great Lyle, Stanley Watson, Voltaite, Victor Peacock and ourself. On the 7thAprilthe I.B.M. dinner for Dr. Tarbell most unfortunately clashed with an Extraordinary General Meeting of the Magic Circle, a meeting for the adoption of new rules. A lot of work has gone into the production of a set of rules which are not only comprehensive in nature but set out toachieve a higher status for members of the society. If they are passed it can no longer besaid that anyone can become a member of the Magic Circle.
IMPORTANTANNOUNCEMENT Please Note Change of Address TEE MAGIC WAND PUBLISHING COMPANY 62 WELLINGTON ROAD, ENFIELD, HIDDLESEX
60
P L A Y I N G WITH MAGIC by WlLFRED TYLER SELECTINGthe right routine is importantbut it’s the PRESENTATION that counts ! You’ll find SPARKLING MATERIAL and all the SPECIAL ADVICE you need for SUCCESSin de1iF)ting ayoungaudience in,,Wilfred Tyler’slatest book,PLAYINGWITHMAGIC. Sincereley written by a SPECIALIST in the art, famous for his articles and books, lectures and shows on MAGIC FOR CHILDREN-Here’s a “ must ” handbook forpleasure and profit.
YOU’LLLEARN
MORE! PLAY MORE! EARNMORE !
THE OPENING of the act is dealt with in #reat detail, and countless readers will use the author’s theme of “The Land of Let’s Pretend,” in addition tooriginal opening effects and suggestions for adapting standard routines to this purpose. a complete lesson on how to build up entertaining PLOTS are covered in plots around youreffects, and somefine examples are given. PRESENTING “ STANDARD EFFECTS TO CHILDREN will save you countless pounds, for here,:he reader is shown how t o adapt what are normally considered “ adult effects to the entertainment of children. COMEDY. FUN AND LAUGHS are provided in profusion, as well as BY-PLAY with many standard and original props. THE FINALE is possibly the most Important part of the show. and included in this rection are the most complete instructions o n preparing “loads” ever written, together with spectacular routines for closing. DON’T MISS THIS BOOK A finely produced 112 page book packed with advice, ideas, tricks. buoiness bits and gags galore. Cloth bound with a gay dust jacket and illustrated with nearly ninety drawings and photographs.
Price 3010; Postage 6d.
THERE HAS NEVER BEEN ANYTHING LIKE IT ? THE N E W G I A N T S I Z E D
MAGIC‘ W A N D NOT a magazine butasuper giant-sized magic book, publishedin four quarterly parts, each part completein itself. NO news reports or similarmaterial that dates a ‘I magazine,” but CRAMMED FULL of worthwhile workable magic. Vol. 42 No. 237 issue contains 48 pages, 8 i by 11 inches in size, on super-quality cartridge paper, with stiff art-board covers, with contributions by : Jim Merlini, George Johnson, E. Brian Maccarthy, E. MalcolmDavison, Do$as Francis.HarryCarnegie, Graham Bailey, Roy Green, Hen ” Fetsch, Francis Haxton, Tom Sellers, Jack Lamonte, Melvano, Edmund Rowland, T. M. Irvine, Roy Cowl, W . C. Weber,Peter A. McDonald, Charly Eperny, George Pigott, Lawrenco, JamesB. Findlay, Tony Koynini, L. H. Slipper. The first Instalment of
T H E MERLIN1CARD SYSTEM (A new card system that will revolutionise card magic) NEARLYFIFTYFIRST-RATEMAGICALEFFECTS A COMPLETEMENTALACT . NUMEROUSNEWSLEIGHTS ARTICLESONSTAGECRAFT,COLLECTING,ETC.,ETC. Per copy 719 post paid. SUBSCRIPTION6 months l5/6 : One year 30/-
FROM THE PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, E N F I E L D , M I D D L E S E X Tricks of the Trade By GeorgeArmstrong 217 FromthePublishers THE MAGIC WAND PUBLISHING Co., 6 1 , WellingtonRoad,BushHillPark, Enfield,Middlesex. SENDSTAMPED ENVELOPE FOR GIANT BOOK LIST
“ MAGIC WAND ” PUBLICATIONS 719 TheMagicWand,quarterly,percopy p.p. Subscription: 6 months 15/6: year M/The Wizard, 36 pages monthly, per copy 2/1 p.p.Subscription: 6 months 1216; year 24/Playing with Magic (Cloth) By WilfredTyler 30/6 John Ramsag’s Cups and Balls (Cloth) By Victor Farelli 25/6 Where Houdini Was Wrong (Cloth) By MauriceSardina 2OlG WhereHoudini Was Wrong (Cheappaperedition) 7/9 Challenge Instant Hypnotism (Brochure) By GeorgeArmstrong !WAutomentalism I with apparatus) By KendeCourcy 20,’3 ZodiacTelepathy(completeAct) By KendeCourcy 12/9 The Universal Mind By RonBaillie 12/S Chandu’s Psychoanalysis By GeorgeArmstrong 10/3 Premonition By GeorgeArmstrong lord Bohleno’s Mysteries By HenryBohlen 10/3 Thank’s to Leipzig! By Victor Farelli 10!3 TheConcertVentriloquist By Maurice Hurling 1013 Mastered Amazement By Koran and Lamonte 10/3 EntertainingwithHypnotism By S. E. Dexter 10/3 Entertaining with Contact Mind Keading By S. E. Dexter 7 / 9 Toni KoIvnini’s CardMiracles By ToniKoynini 7 / 9 Derby By ToniKoynini 5,’s :?G Living nnd Dead Tests By T e r a l G a r r e t t 5/3 Jamesosophy By Stewart James 5/3 StrictlyMagic ByEddieJoseph 5/5 Stooging Around By JoeStuthard 5/3 StuntswithStageMoney By Jack Lamonte 5/3
*
The Magic Circle I’rasidc*rlt : His Grace the Duke of Somerset.
D.S.O.. O.B.E.. J.P.. M.I.M.C. Vice-President: Douglas Craggo, Esq., Y.I.M.C. Chbronrn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
King George’s Hall, W.C.
JACK HUGHES will be pleased tosend fulldetails of
you
THE DE LUXE “SU-TABLE” together with all his other effects in returnforastamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
Forthcoming EventsMay 16-Auction Sale 23-Concert Particulars from Hon. Secretary :
Francis White, 39 Alvtntone Avenue,
Wimbledon Park, S.W.19
N.W.9. DOUGLAS FRANCIS’S
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand
can bc obtained direct from thepublishersfor 117 perlingle copy. Annual Subscription 181post free. PUBI.ISHED BY:
The,Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manwcripts for publication and books for review should be rent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
‘STAB IN THE PACK’ An entirely new ‘ I thought of” stabbing card discovery Complete with pack and accessories
12/6 From DOUGLASFRANCIS, 65 Norwich Ave. Southend-on-Sea,Essex
CONJURING BOOKS FOR SALE OLD AND NEW. Le? me know your rantr LIST FREE FOR STAMPED ENVELOPE Nn
Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
I Every Advertiser’s goods are fully endorsed by this Bulletin m
PUBLISHED BY THEPROPRIETORS THE MAGIC W A N D PUBLISHINGCOMPANY. 62 WELLINOTONROAD,ENPIELD. MIDDLESEX AND PRINTED BY HERBERT WALKER SON (PRINTERS) LTD.. WVELL CROFT, SHIPLEY, YORKSHIRE
*
PETER WARLOCK’S
PENTA G R A M THE HINDU THREAD TRICK HANS T R I X E R OR the last few years I have performed the version of theHinduThread trick which 1 intend describing. Other descriptions of the trick can be found in Greater Magic, Sach’s Sleight of Hand, Elbiquet’s Textbook of Magic, AI Baker’s Pet Secrets and Kaplan’s Fine A r t of Magic. It was after reading the lask named book that I first became interested in the effect and my first. effortwasmostunsuccessful. Maybe at the time my knowledge of the English language did not enable me to fully comprehend the type of thread to be used; it was not until a little later that I realised thatthe correct texture of cotton is essential for a successful performance of the trick. As forthe first experiments I used a verynice machine cotton (which without any doubt contained a certain amount of glue) the trick could not work. With anatural disappointment I placed the Hugard’s Magic trick aside until onedayin Monthly I saw a note by the Great Jean himself thattheHinduThreadtrick(asdescnied by Kaplan) was a truly wonderful effect. I tried again. This time I had the right kind of cotton; the trick worked and after a weekof careful study (each evening I performed the trick a dozen times infront of a mirror). I gave a performance of it at the Round Tableof Magicians in Amsterdam. They were unacquainted with Kaplan’s book at thattimeandin consequence
F
hadn’t a clue as tothe meansemployed.Since that day I have never left the Hindu Thread trick out ofmy bag of tricks. After a couple of months of frequent performance I thought it a pity that the help of an assistant should be necessary. I always think that the introduction of a spectator into certain types of effects causes distraction from the centre of attention, the effect itself. Therefore I started playing around until I had formulated a routine of moves so that the effect could be worked without the help of anybody from the audience. Soon after this Al Baker’s Pet Secrets was published and I had another source of information regarding the trick. One thing in particular I did find was the superior method of winding the extra length of cotton. I therefore combined A1 Baker’s figure eight winding with Kaplan’s method of concealment. I left out the rolling of the broken pieces intoa small ball asKaplan describes. (I not only found this difficult at times but also dangerous). With a few more individual touches I finally got the effect I wanted and when in 1952, I came across to England, the Editor of this paper, Peter Warlock, showed how much he appreciated the trick. Later correspondence with Peter brought to light an idea of his which though so very simple makes the very first stage of the trick (the unrolling of the cotton) even cleaner. It is the ultimate product witb full credits given to everyone concerned that I now intend describing . . .
THE HINDU THREAD TRICK BAKER-KAPLAN-WARLOCK-TRIXER
VOLUME SEVEN, No. EIGHT
-
I/6. (20 Cents)
=
MAY 3953
62 Let it be first notcd that in order to get tho utmost out of this most deceptive c l o s ~ u ptrick. everything must be done veryslowly for every move ill completelycovered. The slightest suggestion of haste will ruin the ultimate effect. Let me add something else. The trick is most effective for children, only in this version it is advisable to have an assistant and use a greater length. say about three yards. The requirements, or rather requirement is a reel of tacking thread or cotton. Buy the cheapest you can find. It is thetype of cotton usedby dressmakers andtailorsfor tacking pieces of material together. The average cost in England is in the region of two shillings. As such a reel contains at least a thouend feet you are well set up for much practice and many performances. A very cheaptrick indeed! Please don’t try using any other type of cotton for experience has taught me that there is some kind of glue used in finished cotton that makes it springy and makes failure certain. The spool that youuse is approximately two inches high and about one inch in diameter. It seems redundant to add thatwhite cotton should be used for as Sach remarks in Sleight of Hand, “ Black is not very useful.” The preparation is the most important phase of the trick for providing that such preparation
THE FEMALEOF THE SPECIES ELIZABETH WARLOCK
...
is well done, nothing can possibly go wrong during performance. If there is lack of care in the preparation. youmayfinish the trick with a tangled ball of wtton, thus spoiling the effect. Firsttakethe spool in theright hand and bring it up in front of the face. Take the freeend of the cotton with the left hand and extend it so that about one yard of cotton is unwound from the spool. Release this length and again bring the left hand up to the spool. Take that part of the cotton and once more bringing the spool in front
of yourface,extend
theleftarm so thatinall you have measured off approximately two yards of cotton. (Theactual length depends of course on the length of your arm,but this means of measurement means that you always measure off thesame length every time). Don’treleaseyour hold upon the cotton with the left hand but wind itroundthe first and second fingers of the left hand intheform of a “figure eight.” As soon as you reach the reel carefully remove the “ figure eight” piece from the fingers, great care being taken that the loops are not mixed up. At point *‘ X ” fold the two short loops together, pleat the bundle carefully and fold inhalf again. Repeat thisand then wind thecotton comingfrom the reel three times around the bundle. The prepared bundle of cotton is naw pushed (after unrolling a little more cotton from the spool) into the hollow
part of the spool. You will find that you are now left with a yard of cotton coming from the centre part of the spool; this length is lightly wound upon the spool. You are now all set to give a performance.
63 Presentation :Remove the reel from the table
or pocket taking it withthe
thumband second finger of the right hand (see Fig. 5). In this manner
''7 the end of the spool containing the ball of cotton rests under the tip of the second finger. The reel should be held so that the audience can see that nothing is concealed in the palm or for that matter any other part of the hand. The left hand is also shown to be empty and the sleeves are pulled up slightly. This is alldone without comment, but the idea you are aiming at is to make sure that the spectators realise that youhavenothing concealed in the hands. Take the free end of the cotton with the tips of thethumband firstfinger of the left hand. Spread the other fingers and work only with these two digits. Similarly when the right hand is later broughtinto playuseonly the thumb and first finger for handling. While the left hand moves to the left in the action of unwinding the cotton, the right hand brings the spool about five inches beneath the chin. This allows you to obtain the correct measurement of the length to be broken off. . (Do not on any account bring the spool up to the mouth for though on occasions cotton is broken by biting, suspicion mi2ht be attached to such an action in this trick). A.s soon as vouhavemeasured off thecorrect length of cotton you prepare for the mostvital movein the trick.Perfecttimingmustensure the handling is natural. 1Jp till now the unwinding of the cotton has been that the palm of the right hand has been facing the audience, but at this point it now turns. At the same time the right thumb iy moved outwards and the reel is held between the tips of the first andthird fingers. It isonlyheldlikethis momentarily for the thumband secondfinger take over and the spool is then held by thesz digits. At thz same time the free end of thc cotton is dropped. (Fig. 6 gives an idea of this). You are nowready for the vital move which is in fact, the onlymove in the efTect. 'Ther= is r1o technicaldifficulty,it is the timing that makes or breaks it. Take the spool with the thurnl, and first finger of the l e f t h m d at ths same time the risht hand thumb relinquishes its hold. The right hand forefinger is bent inwards and that part of the cotton issuing from the centre of the spool is pinch-grippedin the fold of thisfinger. This grip must be quite tight for the left hand now moves away with the spool and the concealed ball
l6 iswithdrawn. If all theseinstructionshavebeen understood t h es m a l l b a l l o f cotton should a U t o m a t i c a 1 I y take up its position at the tip of the right hand first finger. The thumb comes down at this point, and the ball is held and at thesame time secreted. To Serve the purpose ofmisdirection your eyesmustfollow the movement of the spool, and therefore this part of the trick needs practice. Actuallyonly about four to sixinches of cotton are unwound as the left hand moves away, and at this point the cotton is broken and the spool placed on the table. The position is now that your left hand isemptywhilst from the right hand thumb and forefinger hangs a yard of cotton. The palm of the right hand is now turned towards the audience who can see that it isempty. It is then returned to its original position. The left hand now comes under the right hand and at a pointapproximately one inch from the fourth finger the cotton is gripped and broken. Bring the left hand away showing the long piece thenbring the left hand back tothe right and place this longpiecebeside the short piece. As the left hand comes up to the right, and the right hand thumb and firstfinger open out a little to receive the longpiece, the left hand thumb and finger give complete cover to the small ball which momentarily might be visible. The left hand now goesunderneathagain and breaks the cotton. These actions are repeated until the original length of cottan is broken into pieces measuring between three and four inches in length. They are held as in illustration 7. Remember at this point that one of the pieces has at its centre a small ball of cotton.
64 Move the hands together remarking that you will take one piece away. Bring the tips of the left hand thumb and first finger against the tips of the
right hand thumb andfirst finger, not tip to tipbut crosswise as in illustration 8, where for the sake of clarity the pieces of cotton have been omitted. Open the tips of all four digits slightly and pinch the ball of cotton between thethumband first finger of the left hand which is now moved away, the right handremaining stationary. Correctly performedtheaudience see you take one short lenygth of cotton from the right hand. The position now is that inyour left hand you have a length of cotton the centre of which has been rolled into a ball and in the right a number of short pieces. The left handis nowheld up palm outwards to the audience whilst the finger and thumb of the right hand commence to roll the short pieces into a ball. Remember please to use only the thumband forefinger for the rolling. When the process is complete you should have a small ball of cotton similar in size to that concealed in the left hand. Throw the little ball of cotton held by the right hand into the air a matter of a few inches catching onthe outstretched palm. Move it again into position between the thumb and first finger showing it very deliberately.
You now statethat youwill add the small pieces to the pieces you have left. To do this both so that once hands move towardsoneanother again they take up theposition shown in Fig. 8. As the right handthumband finger take the piece with the rolled up ball in the centre from the left hand, the ball of pieces is pulled backwards very slightly. The left hand is shownempty and the right hand turned so that the single piece and what appears to be the ball that was just added can be seen.
1
.
The left hand thumb and forefinger now take the lower end of the long piece and at the same time the right hand thumb and forefinger release their grip of the ball in the centre without letting go of the bundle of rolledpieces. The result is that the left long piece with the ball in the centre is now held by one end by the left hand. The right hand thumb and finger now take hold of the free end. Don’t pull the long piece taut but bring the hands into a horizontal plane so that anarc of cotton is formed with the small ball in the centre. Blow on the little ball in the centre of the cotton and move: the handsapart veryslowly. Haste at this part of the trick is unnecessary both from a poinf ofvi‘ew of effect and also that too sudden a pull on the cotton may prevent perfect unrolling of the ball. As you pull abwayslowly the little ball in the centre unravels and you are left with a yard of cotton stretchedbetweenthe hands, the latter beingheld palmstowardsthe audience, the little ball of loosepiecesperfectly concealed between the thumb and forefinger of the right hand. This is, in effect the end of the effect, though Kaplan gave a means for disposing of the tiny ball of broken pieces. My ending, however, is different. It goes like this :The right hand relinquishes its grip onthe end of the cotton that it holds and the whole length is allowed to hang from the left hand. Now with theright hand take hold of the short length of cotton above the left hand thumb andfinger and pull it downwards and over the left hand so that this end meets the lowerend. The right hand now moves towards the spool of cotton and in so doing the ball of pieces is rolled so that it is held by the tips of the first and second fingers.The spool is then taken as in Fig. 5, and in taking it the small ball of pieces is pushed home into the centre of the spool. The conjurer takes his bow with the spool held at the finger t i p of the right hand and the restored length of cotton in the left. I always like to hand the restored cotton to a lady as a lucky souvenir. I have taken a great deal of space to describe a version Qf an effectwhichtogetherwiththe three shell game and the Ellis ring has one of the finest plots for close-up magic.
. . that the very best audience a skilled magician can have is one composed entirely of magicians. The reason for this should be self evident. An audience of magical experts is bound to see theperformer’s feats in aproper light.Such an audiencewill very seldombeperplexed by what is exhibited, and will neverattach great importance to how itisdone.’Every member of such an audiencewill have hismindengrossed,almost exclusively, in noting the art with which the performer uses devices known or unknown, to produce an intended expert spectatorswillappreciatethe ’performance highly, no effect. If his performancebemeritorious,the matter howold,hownew,howingenious or howsimplemaybethetechnicaldevicesemployed.” Nevil Maskelyne I‘ O U T AIlagiC,” page VI.
THE ASTRAL COIN RIDES AGAIN ALEX ELMSLEY HE IDEA of this routine was given to me by Tan Hock Chuan’s effect the “ Astral Coin,” which appeared in the Penfagrat~ta few issues back. Effect. The magician is sitting at a table, two cards are shown and placed on the table. A sixpenny bitis vanished andappears beneath the cards. The cards are separated, and the sixpence travels from beneath one to the other. Finally the sixpence penetrates the table. Preparation. To a sixpence glue a short length of hair. The glue will grip the hair more firmly if you knot the end of the hair. Halfway down the side of one of the cards, make a small slit between the layers of the card. Into this slit put the other end of the hair, and glue it in, re-glueing the layers of the card at thesame time. The length of the hair between the card and the coin should be about half the width of the card. If you wish to try outthisroutine before going to the trouble of making up the fake property, you may make it up roughly with thread and Sellotape. Routine :At the start of the routine, the cards are held one in each hand, gripped by the tips of thumb and fingers at the middle of one of the long sides. The hands are palm upwards. The fake card is in the right hand and is being held by the side to which the hair is attached. In this position the sixpence hangs down behind the fingers, which are pointing upwards, and itis hidden by the fingers. The cards are twisted round by the fingers
T
to show them back and front. Then the card in the left hand is placed in front of the fake card, and the left hand carries both cards back onto the right palm, turning them so that the sixpence is beneath the cards and the fake card is above the other card. The cards are left on the right palm, while the left hand goes into a pocket for another sixpence and lays it on the table. The left hand then lifts thecards off the right palm, with the thumb above, and the fingers below, holding the faked sixpence. The cards are placed on the table, with, unbeknown tothe audience, thefake six-
pence beneath them. The side of the fake card to which the hair is attached should be towards your right. Now the visible sixpence is apparently placed in the left hand, using any vanishyoulike. The pinchvanish is very suitable. As the left hand crumbles the sixpence over the cards, the right hand comes back to the edge of the table, and laps the sixpence. The two cards are flipped over, on their right long edges, to reveal the faked sixpence. Next comes the second phase of the routine. The two cards are flipped over again to cover the sixpence. The left hand takes the two cards with the thumb at one end and the fingers at the other end and lifts them about a quarter of an inch off the table as yousay. “ Two cards and a coin.” Take the top card (the fake card) by the inner right corner with the right hand (Fig. 2.) ‘‘Suppose
---’ we only cover the coin .with one card.” As you say this the right hand, in a very casual manner, moves the card it holds about eight inches to the right and leaves it there. This card of course, takes the sixpence with it. Throughout this move, keep your gaze fixed upon the card in your left hand, acting as though the fake card was, for the moment of no importance to the trick. Slowly bring the card in the left hand down onto the table again, and rub it thereon, finally showing that the sixpence has vanished. Then use this card to flip over the fake card, from the left so that ii turns on its right edge and reveals the sixpence. The Now we enter upon the last phase. unfaked card is held in the left hand between the thumb above, and the fingers below. The sixpence is coveredwith this card, but you do not let go of the card. With the right hand you turnthe fake card over again, rotating upon its left edge, and as it comes down over theothercard, the other card is slid away to the left in such a manner as to convey that you are stealing the sixpence. “ Once more we separate the cards. Now, where do you think the sixpence is?” If you have acted your part alright, the spectators will plumb for the unfaked card. However you lift this card with the left hand to show that there is nothing beneath.
66 Oh no, I did that to see if you were watching. But you are quite right in thinking that the sixpence is not here.” As you say this a lot happens. You pass the unfaked card ‘into the right hand, which takes it betweenfinger andthumb at the inner right hand corner. It is then used to pick up the faked card. The left forefinger is placed on the left side of the faked card, to steady it, while the right hand slides the unfaked card beneath the faked card from the right.Because of the hair, this brings the sixpencebetween the cards. Continuing the action of sliding one card beneath the other, the right hand lifts both cards together by their inner right corners and turns them to bring their lower surfaces towards the audience, and their long edges into the horizontal. The sixpence is hanging between the cards and the edge of the faked card to which the hair is attached is upwards. In thisposition you pause a moment Fig. 3.1, “
Then, the left hand takes the cards by their lower left corners, and the right hand reachesbelow the table, picks up the lapped sixpence, taps it a couple of times against the underside of the table
in order to convey that it is at that moment being pulled through the table, and then brings it up and throws it on the table. Thecardsare dropped into your pocket as you bring out some change (the reason for the change 1s to distract attention from the fact that you are getting rid of the cards), you add the sixpence to thechange, and return it to your pocket-finis.
NOTES The handling is such that no suspicion is likzly to be attached to the cards. If however, someone wishes to look at the cards before you have got rid of them (and youshouldnot be in too great a hurry tq ditch the cards), justbreakthe hair. It takes only a couple of minutes to fix up another one. Playwith the fake. Thereare manymoves possible with it which I have not mentioned. For instance you can use the faked card to flipover the other card,and perform the Mexican turnover. You mayusethepresentation idea of the original Astral coin, i.e., you show a ring or other object, and wherever you put thering,thecoin follows. Throughout the routine, only one side of the faked coin is seenby the audience. At the start of the routine you may have the original sixpence marked, taking care that it is marked upon the sidewhich,with the faked coin,neverappears. At the end of the routine, the mark is re-identified. Don’t be frightened of the hair beingseen. I have performed this routine on a white table cloth, in front of magicians.Severalsaw the hair, but none connected it with the trick.
“The experienced conjurer knows that the secret of any good practical illusion is simple, and he admires itaccordingly. It is only the novice who scoffsatsimplicityandhankersaftercomplexities,becausehedoes not realise the amount of work that has to bc done to attain what he is apt to trcat with contempt, as being too siixple. Dearamateur,the bicycle is a simplemachine,asit is now. Butglanceback atthehistory of its evolution,andconsider! So it is with a goodillusion.” David Dcvant “ 0?0’AMagjc,”page 287.
BOOKS
‘‘ GRAND FINALE ” by Jack Chanin (Published by the author, price 3 dollars. Distributed in this country by George Armstrong). This book of some ninety-six pages deals with the silk act. The main aim is the production of silks,such productions beingheightened in the closingstagesby the introduction of items like the “ stack of fishbowls.” Mr. Chanin is concernedwiththepureside of magic and to bring about the necessary effects, the only apparatus that theaudienceshould see during theproduction of silks are the magician’s hands. In the main thz various routines described (and there are nine ir, all) commencewith the production of onesmallsilk from bare hands. The details regarding the handling of thisinitial
feat shouldwith a littlepracticegivethereader a miraculousproduction. From this smallbeginning the tendency is to produce larger and larger silks, until the performer finisheswith(say) a 12 foot square. Where thereare such extraneous production items as for instance the aforesaid stack of bowls very full details of handling are given, and I think the reader is left in n o doubt that heis reading the result of long experimentation and experience. For thosewhoessay a silkproduction and from our own point of view it is one of the most p!iaring things that a stage act can introduce, this book is most essential. Though the author makes no pretence about being a writer, he sets down in very simplelanguageeverything that thereader will wish to know.
Dr. Harlan Tarbell has now returned to the States leaving many pleasant memories behind. All of us, I think are more than grateful to Goodliffe for bringing to these shores such a wellknownfigure in the world of magic. We spent many hours with him finding him a kindred spirit in appreciation of natural magic. The photograph reproduced on thisPageshowshim in conversational moodwith Arthur Ivey a t the Complimentary Dinner given by the Magic Circle, on Sunday, April 19th. Servais
I
cepted as part and parcel of any magical function aud some excellent work is seen. The field of actual invention however, seems tobe much smaller despite what would appear a terrific o u t put of new effects that appear in so many magazines. The inventor on a large scale seems to be a thing of the past, and nobodyeither in this or anyothercountry has come forwardto replace such men as Oswald William, p. T. %&it and le Rov. Just think of effects such as the “Dizzy Limit,” “The Red Box and the Green Handkerchief,” “ Asrah,” “Sawing a Woman in Two ” (The Selbit version in our own mind is still the mosteffective and mystifying). “ The Elastic Lady,” “ The Man Without a Middle ” and so on. Most professional acts willtellyou that the big type of illusion is a thing of the past. If that is so, more’s the pity. The anonymous columnists and letter writers, those whothroughsomemisfortune have been denied a legitimate name seem to be getting under the skin of Bruce Elliott judging by his remarks in Phoenix No. 219. He goes on to say :‘‘ If the purpose of these columnar attacks of is to the poison penmail wehavebeengetting drive us out of magic, it can wellsucceed. The Phoenix was started because we thought it would be fun. It has been. It has continuedbecause enough people liked the kind of fun that we enjoy. But if this irresponsible kind of hatcheting continvears aeo ues we shall. what we would have a few ,~~ considered impossible, kill the Phoenix. We sincerely hope that this was a blue day for B.E. and that he didn’t mean that part about folding up the Phoenix, for in these days of so muchwordage anent those things that pass for magic, the Phonzi.r is a publication that does cater for the adult mind rather than the magical cretin. Leading on from Curry’s “Linked,”and the variations. that we have published, John A. M. Howie has come along with a nice routine with coloured laces that owes its origination to the first namedeffect. It will appear-in the nextissue. We have also persuaded Tony Blitz to write up his own version of the late Arthur Buckley’s “ Colour Separation ” e3ect. Those who have apenchant for really good card magic and at the same time possess a good technique will find this routine outstanding in dfect. ~
Talking of the Magic Circle brings us to the new set of rules. The Special General Meeting the a t which the draft rules wereplacedbefore members for their vote drew one of the largest crowds that we have yet seen at Headquarters. A rush from this meeting took us to the Cock Tavern in Fleet Street where the British Ring was staging a supper with Dr. Tarbell as Guest of Honour. A pleasant occasionwhichbroughtBarrie Edgar down from Birmingham to do a “spot” in the entertainment that followed the meal. Looking over the post war years, one notices more and more how variation of technique, is receivingmore than itsfairshare of attention whilst good magical effects take a lesser place. I n the field of micromagic, greater interest is undoubtedly being shown particularly by the cognoscenti.Close-upmagicsessions are now ac-
~
~~
L
PLAYING WITH MAGIC Iby WlLFRED TYLER SELECTING the right routine is important but it’s the PRESENTATION that counts ! You’ll find SPARKLING MATERIAL and all the SPECIAL ADVICE you need for SUCCESS in delighting a young audience. in ,,Wilfied Tyler’s latest book, “ PLAYING WITH MAGIC. Sincereley written by a SPECIALIST in the art, famous
I
~~~
~~
in size, on superquality c a r t r i d g e paper,withstiff a r t - b o a r d covers, with contributions by : Jim M e r l i n i , George Johnson, E. B r i a n Maccarthy, E. Malcolm Davison, DoyFlas Francis. Harry Camegie, Graham Bailey, Roy Green, Hen ” Fetsch, Francis Haxton, Tom Sellers, Jack Lamonte, Melvano, Edmund Rowland, T. M.Irvine, Roy Cowl, W. C. Weber, Peter A. M c D o n a l d , Charly Eperny, George Pigott, Lawrenco, James B. Findlay, Tony Koynini, L. H. Slipper. The first Instalment of
! PLAY MORE ! EARNMORE !
THE OPENING of the act is dealt with in sreat detail, and countless readers will use the author’s theme of “The Land of Let’s Pterend.” in addition to original opening efi‘ects and suggestions for adapting standard routines to this purpose. PLOTS are covcrcd ina complete lessonon how to build up entertaining given. plots around your effects. and some hne examples are PRESENTING “STANDARD EFFECTS TO CHILDREN will save you countless pounds, for here the reader is shown how t o adapt what are normally considered ”adulr ’’ effects to theentertainment of children. COMEDY. FUN AND LAUGHS arc Drovided in Drofusion. as well as .~~ BY-PLAY with many standard and original props. of rhe show. and THE PMALE Is possibly the most importanc part on preparing included in this secrion are the most complete instructions loada*lever writren, together with spectacular routines for closing. DON’T MISS THIS BOOK A finely produced 112 page book packed with advice. ideas.tricks. buarness bitsand gags gab%. Cloth bound with a gay dustjacketand Illustrated with nearly ninety drawings and photosraphs ~
~~
6‘
Price 301-; Postage 6d.
MAGIC WAND NOT a magazine but a super giant-sized magic book, published in four quarterly parts, each part complete in itself, NO news reports or similar material that dates a “ magazine,” but CRAMMED FULL of worthwhile workable magic. Vol. 42 No. 237 issue contains 48 pages, 84 by 11 inches
for his articles and books, l e c t u r e s and shows on MAGIC FOR CHILDREN-Here’s a “ must ” h a n d b o o k for pleasure and profit.
YOU’LLLEARNMORE
THERE HAS NEVER BEEN ANYTHING LIKE IT 1 T H E N E W GIANT S I Z E D
THE MERLIN1 CARD SYSTEM
I
(A new card system that will revolutionise card magic) NEARLYFIFTYFIRST-RATEMAGICALEFFECTS ACOMPLETEMENTALACT . NUMEROUS NEW SLEIGHTS ARTICLESONSTAGECRAFT,COLLECTING,ETC.,ETC. Per copy 7/9 post paid. SUBSCRIPTION6 months 15/6 : One year 30/-
I
t
F R O M T H E PUBLISHERS
THE MAGIC W A N D PUBLISHING CO. 62 WELLINGTON ROAD, ENP€ELD, MIDBLESEX I
___
~
MAGICWAND ’* PUELICATIONS TheMagicWand,quarterly.per COPY 7 / 9 p p . subscrlptlon: 6 months 1WG: year m/The Wizard, 36 pages monthly. per COPY 211 p.p. subscription: 6 months 1’318; year 241Playing with Magic (Cloth) By WIlfvv‘ ”wlrr W/8 John Ramsay’s Cups and 1 By Vlc Where Houdlni Was Wrong (010th) By MauriceSardina ZOiG Where Houdini Was Wrong (cheappapereditlon) 7/9 Challenge Instant Hypnotism (Brochure) By GeorgeArmstrong Zl/AutomentaYsm(withapparatus) By KendeCourcy 60/8 ZodiacTelepathy(completeAct) By KendeCourcy 1219 The Universal Mind By Ron Baillie 12/9 Chandu’s Poycho8naiysia BY GeorgeArmstrong 10/3 Premonitirm ByGeorgeArmstrong 10/:+ Bohleno’a Mysteries ByHenry Bohlen 10/3 Thank’s to Leipzig! By VictorFarelli 1013 The ConcertVentriloquist R V Mmlrlee Hurlinn 16/3
~~
~
__
l -
JACK HUGHES will be pleased tosend full details of
togetherwith a11 hi5 other effects in r e t t r r n for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
I Il*
_.
-I__-_-
l’lvsidcnt
;
Hi. Grac-c rhr I h k c nf Swnerscr,
V.S.O.. 0 . B E . . J.P.. M.I.M.C.
Vice-President:Douglas C r y l b Esq., M.I.M.C. Clubroom andLibraryand Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
I
KingGeorge’s Hull, W.C. Forthcoming E v e n t s May 16-Auction Sale 23-Concert
I
Particulars from Hon. Secretary :
you
THE DE LUXE “SU-TABLE”
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
N.W.9.
DOUGLAS FRANCIS’S PETER
WARLOCK’S
PENTAGRAM is published on the 24th
1. __, Entertaining with ConTict mind Rending By S, B. Dexter 719 Ton1Koynini’sCardMiracles BY Toni Koynini 719 Derby By Toni Koynini 26 Livinb and Dead Tests By T e r a l Q a r r e t t Jamesosophy By Stewart James StrictlyMagic BYEddieJoseDh Stooging Around .i/Y ByJoeStuthard StuntswithStage Money By JackLamonte 6/S
The Magic Circle
Tricks of t h e T r a d e Si7 By GeorgeArmstrong From the Publlshers THE MAGIC WAND PUBLISHING CO., 62. WellingtonRoad, Bush HillPark, Entleld, IUiddlesax. SENDSTAMPEDEXYELOPE FOP. GIANT BOOK LIST
‘1
I I
of eachmonthand
ran be obtaineddirect from the publishers for 117 perringlecopy.AnnualSubscription 181post free.
‘STAB IN THE PACK’ An entirely new
“
thought of”
s t a b b i n g card d i s c o v e r y
Complete with pack and accessories
1216
PUBLISHED
From DOUGLAS FRANCIS, 65 NorwichAV.. Southend-on-Sea, Essex
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDR6SS:
OLD &U NEW. Let m e know y a u t r a n t s LIST FREE FOR STAMPED ENVELOPE N n Callcm - -.....
BY: The Magic Wand PublishingCo. 42 Wellington Road, Enfield Middlesex
Peter Warlock, 24, Wordsworth Rd., Watlington, Surrey.
CONJURING
BOOKS FOR SALE
GEORG.E JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
1
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED B 1 T E E ?ROPIlETOIS MAGIC W A N D PLlBLlSHWG COMPANY, S’? WllLLlNOTON ROAD, INPIELD. A N D PRINTED BY HEnBERT WALKER (L SON (mIN%’@RS)LTD.. W E L L C R O R I SHlPLEYaYORKSHIRE
MIDDL88EX
S
PETER WARLOCK’S
NTAGRAM LACED U P JOHN A. M. HOWIE S TAE I-’hu:?zis No. 123, Paul Curry described an eBect of his called “ Linked.” This delightful
IeE‘ect has received further treatment at t h hands of Elizabeth Warlock and Jack Avis (Pentagrnnz Vol. 4, No. 10 and Vol. 6, No. 10 respectively). All of these versions, while good, are, in my opina ion,too brief. The routine whichfollowsis close-up version requiring no cover other than the hands and using shoe laces in place of ropes. The final phase isessentially the “ Ropes, Fanand Silks ” effect with a twist on the tail. EFFECT : Two looped shoe laces become magically linked. This is repeated with an addition - a small ring placed in th’e hand becomes linked between the looped laces. The laces are then tied around a pencil, a borrowed finger ring is thrzsded on the laces and tied in position and the ring used previously is also threaded on the laces. Covering the rings and knots withhisleft hand, the performer removes the pencil with his right hand and spectator. hasthe ends of the pencilheldbya Removing both hands the knots are shown to have gone, the performer’s ring only being threaded on the laces. The spectator’s ring is revealed threaded on the pencil. REQUIRED : A pzir of shoe laces, preferably brightly coloured, two duplicate metal rings approximately one inchin diameter and 3 pencilwhichshould be borrowed if possible. One ring is in a pocket on the rightside. The dupkate issleevedin the left sleevebefore starting the routine. If sleeving is inconvenient the duplics’e rinz should be held on the leftsidewherzit csn b.. stolen,e.g. from a d i p under the jacket edge. METHOD : The three phases follow one another naturalIy but will be described separately for convenience. Phase 1. Show thetwo laces and fold each inhalf. Plwe one, doub!ed lace over the !eft forefinger and the other over the left third finger so that the four ends hang towards.the bsck of the hand. Havino shown that the laces are quite unconnected,half ~~
~~~
VOLUME SEVEN, No.
NINE
-
close the left hand. With the right fingers draw the middle of each lace back o n to the left palm, place one loop over the other then pull one loop through the other as showninFig. l. Grip loop X in the right fingers (right hand palm down) at the interlinked portion simultaneously putting the four left fingers downwards into loop X. With the right hand take the linked portion upwards as in Fig. 2, turning to the right as you do so. Make a rubbing motionwith the right
fingers then movethem to showthelaceslinked as in Fig. 3. Keeping the fingerpositionssteady, move the right hand upwards till the laces are drawn free from the left hand. Thus, in thisversion, the secret unlinking is done by the left second finger. Finally, take one pair of ends in each hand and show tha; the laces are definitely linked. Phase 2.
Hold both laces by one end in the right hand. Meanwhilelower the left armand recover the sleevedring (or steal itfrom clip)thenpinch it between the left first arid second fingers so t h a t it is almost at rioht anelzs to the fingers. Hold the left hand with its back to the audience and, reaching for the lower ends of the laces, guide ~~~~
l/& (20 Cents)
-
~~
~~
JUNE 1953
70 Take the duplicate ring from the right pocket, show it and then push it under the left fingers so that it is gripped on the left palm. With the right hand grip thelinked ring and draw it and the laces back and upwards so that the position of Fig. 2
both lower ends through thehidden ring (the metal are tagsmake this easy). As soon asthetags through. lower the right hand and drape the laces over the left forefinger as shown in Fig. h s t e n sibly to locate the centres of the laces. Grip the ring and centres of the laces in the righs hand so that the ring is kept hidden. Hold the left hand palm up and place the laces in positioo as before - see Fig. 5. Lower the laces and and ring to the left hand and half close this hand fo keep the ring concealed.
fk,
G.
THEFEMALEOFTHESPECIES Mrs. B O D I E - W I F E O F
. ..
Dr. B O D I L
From the 1. B. Findlny collectwn
is reached except that this time there is a ring between the laces and hidden by the fingers. Turn to the right and work the palmed ring as far down the left hand as possible till it is just held by the tips of the left fingers. Rub the right fingers and thumb together, then move them to show the ring linked between the laces as in Fig. 6. As this position is reached release the palmed ring and allow it to fall into the left sleeve. Draw
single knot, then have another spectator hold the pairs of ends.Borrow the first spectator’s ring and thread it over the laces from one end. Take a single lace from each end, tie a single knot and return the laces to the opposite ends from which they came. Thread the plain metal ring on to the laces at the opposite end to the other ring as in Fig. 9. Place your left hand over both rings and pull the pencil free with your right hand. The spectator’s ring is now free of the laces but keep this fa‘ct hidden and manoeuvre this ring so that it is gripped between the tips of the left second and third fingers and is pointing backwards towards you as in Fig. 10. Use the pencil to p i n t to the
the laces free of the left hand and hold as in Fig. 7 with the palms obviously empty - but do not comment on this fact. Phase 3. Unlink the laces and ring. Lower the left arm and recover the sleevedring then take a pencil from your pocket with the left hand leaving the ring in the pocket. Use this pencil if necessary but, if possible, use instead a pencil borrowed from a spectator who is wearing a finger ring-in the latter case return your own pencil to your pocket. Lay both laces over the pencil as in Fig. 8. While apparantly tyinggenuinely, actually tieone lace roundtheother, i.e. tie AA round BB with a
n
A
Frq. g.
1 1
~
f M .
l0
a
left hand and, while tapping the left hand with it to emphasise that the rings are securelytied up, steal the ring to the right hand by extending the right second and third fingers, gripping the ring and folding these fingers back into the right palm. o h i s move is identical in principle to the coin or sponge ball sleightwhereby a steal is made from a closed fist). Swing the pencil round and work it through the right fist so thatit passes through the concealed ring. Ask the spectator whether he would A prefer tokeep his own ring or have yours. He 6 will naturally prefer his own. Have him gripthe ends of the pencil. Say, “ Excellent - so I shall yours.” keep keep my property you while Remove both your hands to reveal the knots gone and your ring on the laces while the spectator’s ring is seen to be spinning on the pencil.
“ It hasoften been put forward asan argument against the proposition that acting is an art, that the actorcreatesnothing, andthat therefore he is notan artist in thetrue sense of the word. Such a charge cannot belevelledagainstconjuring.Thegood conjurer creates the story thathe wishes to tell hisaudience, andthen invents the meansofillustrating that story.Therefore, if there is anything inthe theory that an artisthas no claim to the name if he does not create, the conjurer has a better right to be called an artist than. an actor.” -“ Magic Made Easy,’’ by David Devant.
DOUBLEUPDISCOVERY NORMAN MACLEOD HE SPECTATOR is handed a pack of cards to shuffle and whilst the performer’sback is turned deals the cards into face up and face down heaps respectively. He is asked to choose either heap, remember the topmost card, reassemble the two heapsand cut them as many times as he wishes. Despite all this, the performer
T
when he turns round is in a position to locate the chosen card with infallibility. When we were first shown this effect we were greatly taken with the means to achieve t.he end. Straight away we will tell you that it is based upon the twenty-sixth card location principle. This is the handling :-
72 The performer hands the packminusany Jokersto the spectator askinghim to shuffleit. This being done the pack is taken by the performer and he shows the spectator what he requires done whilst his back is turned, namely to deal the whole pack into two piles. In thisillustrationhe deals two cards face down and two face up, the dealing taking the normal course. He notes the two face up cards whichwewill SUPPOS~ are the ace of diamonds and the two of hearts. The face up cards are then placed back on top of the pack followed 6 y the twofacedown cards. A: this pain: the spectator isasked to cut the packandthe performerturns away. The spectator signifieswhen hehas completed the deal and atthst p3int is asked to choose either pile. “ If you have chosen the face up heap,” says the performer, “ just remember the topmost card. If the face down pile, turn over the tap card and look at it and replace it . . .” Whenthis has been done the spectator is asked to place the face up pile face downwards on the face down pile and then cut the cards once, twice or as many times as he wishes. At this point the performer turns roundl then picking up thepack from the table, he fans the cards beforehimand at the sametime resspitulates that the spectator has done all thecutting and FhuSFling. With th? cards before him the nearest of the noted key cards to the face of the pack is cuf to the face of the pack.Wewill suppose of diamonds. Leafingthrough thatit istheace the cards, the performerlocates the secondkey card, the two of hearts and removes the two keys and the cards between, remarking: “ Just to make things a little easier, I should like you to tellme whether the card you looked at is amongst these cards.” If the spectator says “ Yes,” the remaining cards are placedaside and turning the cards in his handface down, the performerasks one more question, “ Was your card in the face up or face down heap.” If the answer is “ face down ” the performercommences to removetwo cards at a time from those held,placingthemface up
on the table and at the same time remarking, “ It was notlikethis,faceup.” Let’s make the matter of removingthetwo cards a littleclearer.Actually one card istaken from the top of the heap and one from the bottom. Almost like a double deal, but instead of the bottom card beingconcealed the spect,atorsees it removed. It really amounts to the bottom and top cards beingsqueezed and slid off together. The performer goes on doing this until he is left with two or three cards in his hand. If hehas three, the top and bottom cards are removed and he is leftholding one card and this card is the card looked at b y the spectator. The performerremarks at this point, “ With all the cards face up I am left with one face down card . . . what was the name of the card you had in mind?” The card is named and the performer turns it over. If, however, two cards are left, the bottom card will be the chosen card and, of course, the top card is dealt face up leaving the other oneintheperformer’s hand. We have assumed that the chosen card lies in the heap having the key cards at its extremes. If the card is not there, the remaining cards are taken and using the same method of removing the cards and ending up with two or three cards the same result will be achieved. If, however, the card was selected from the face up pile, when the performer finishes with t h e e cards in his hand, the topmost card of these three will be the selected card and the two cards under it are keptfacedown and discarded (when the card is chosen from the face up pile, the performer in discarding cards places them f a c e down, remarking, “ It wasn’t face down ”), the remaining cards being turned face up when it is named by the spectator. If onlytwo cards remain in the hand when the card was selected from the face up pile, the topmost card will be that selected. Despite this somewhat lengthy description, the evect is most straightforward, and the method for revealing the located card quite impressive for informal work.
“ A Man may study every work on conjuring or magicwhichhasever beenpublished,hemaytake lessons, workhardand achieve acertainmanual dexterity, butat theend of it all he may stillbe ignorant of what magic is.His knowledge of secrets willnothelphim to discover thatsecret.” -“ Magic Made Easy,” by David Dzvant.
WRITTEN ON TIME JOHN DERRIS EXPECT there are quite a largenumber of magicians who are possessors of the handsome Magician’s Diary completewith a pencil and clipboard in the backcover. I expect a large percentage of those magicians do not use the clip board owing to the difficulty in removing and reading the information without causing suspicion. This
I
same problem faced me and here wasmy answer which has served me in good stead and I hope will beuseful to you. Instead of using a piece of thin card as backing for the carbon, cut a piece of 1/32” celluloid measuring 1%” by 43” and a piece of typewriter carbon to the same size. Stick this to the celluloid
at one end withasmallpiece of Sellotape. Next cut yourselfasupply of paper strips measuring approximately 13” by 53”, and insert one of these between the celluloid backing and the carbon and push the whole intothe slit inthe back of the diary, the hinged end going in first so that about one inch of the paper projects out through the slit. Fold this down, close the diary, place in your right. breast pocket and you are ready for a little miracle. You are sitting at a table and you hand the spectator oppositeyou the diary and apiece of paper appo,ximatelythe same size.With the pencil draw an oval shape inthe centre of the paper so that the carbon insert is enclosed within the oval. You ask the spectator to think of a cardandto record his thought byprinting the name of the card in the oval. When he has done this ask him t a fold the piece of paper into halves then quarters and to tear it into many pieces and place the pieces on an ashtray. Whilst he is doing this yourelieve him of the diary withyourleft hand and in the act of returning it to your breast pockei insert the secondfinger of your left hand between the cover and the last page of the diary, near the top so that your finger actually comes underneath the folded flap of paper projecting from the carbon insert. As the diary goes into the pocket you raise this finger so that now the piece of paper projects outside th’e diary. You grip this between the first and secondfingers and under “ But thecriticisms of amateurmagicians,generally, more destructive criticim from arl amateut rnac.ician, in is constructive. There is a usvchological re?-on for this. So it is best notto listen tothevolunteercritic and his advice valuable.’’
cover of sliding the diary intothe pocketyou extractthe piece of paper entirely and crush it into a ball which is concealedinyour left hand. The hand comes out of the pocket and goes naturally to your lap where the paper ballis dropped. You are now at liberty to place the hands onthetable ifyou wish.Youhavebeen doing this all the while the spectator has been tearing up his billet!. If youwishyoumaynow ask him to burn the pieces so that no evidence is leftexcepthisownthoughts. This hedoes and you remove a pack of cards from their case and of times.Tellhimyou are cutthemacouple poing to remove one card from the pack offifty three and place it downon the table in front of him,beforeanythingelseisdone.You take the pack down below table level into your lap and in theact of runningthrough the cardsyou open of paper, readthe carbon impression, theball screw it up again and getkid;of it either in your to pocket or under your waistcoat. All you have do now is remove this card from the pack and place it down in front of the spectator. Askhim to name for the firsttime the card of which he is thinking, and after he has spoken ask him to turn the card over and then watch his facel. This item is very practical for I have personally done it many times at the coffee table for which it is ideal, so go and dig out your diary and give it a try. are valueless. A s a matter of factthere i s invariab!\v discussinp almost any performance of magic. than the-e going back into the critic’s ego. unlecs onehas reason to knowthat hi5 taste is sound -“ Showmanship for Magicians,” by Fitzkee. Daricl
P A W R U S COIN BOBBY BERNARD Effect COIN isheldbetween the first,finger and thumb of the right hand and pushed into the closed left fist. The left fistis rubbed with the right forefinger, and both hands are shown ta be empty. The coin has completely disappeared. Routine Whether this has been published before I do not know, but my apologies to all and sundry if C . Lang Neil’s it has (anyway I soldmycopyof The M o d e r n Conjzuer long a time ago). I always useahalf-crown for this effect.because the disappearance ofsucha large coincausesa great deal of bewilderment to the layman, I say layman becausedoing an effect of this type tQ magicians is awasteoftime. The left hand is closed into afist and heldin front of thebody, back of the fist upwards at about waist level. The half-crown is taken from the right hand trouserpocket, and displayedbetweenthe first finger and thumb of the right hand. The coinis
A
now pushed into the left fist with a small part of the coinleftprotruding. The protrudingpart. of thecoin is now pushedcompletely intothe left fistwith the right thumb. The position atthe momentis as follows. The thumb of the right hand has just pushed the coin completely into the left fist thus bringing the fingers of the right hand below the left,fist ready for the nextmove. The left fist is opened very slightly and the coin allowed to drop into the finger palm position, i.e. onto the slightlycurledfingers of the right hand, these fingers are now closed around the coin and the right hand turned back upwards with the forefinger extended pointing to the closed left fist. (You willnowrecognisethis part as awellknowncigarettemove). The next part of the routine is very important for timing, so do practise this carefully. In appearance all you are doing is rubbing the back of the left hand, but you are reallysleeving the coin, this isaccomplished in the followingmanner. The coin is resting on
74
BOOKS PLAYING WITH MAGIC ’’ byWilfred Tyler (Published by George Armstrong, price 30/-). The writer of this bookinhis introduction writes :“ Following the large success that Open Sesame enjoyed I have been approached many t h e s to write a book entirely on my own on the same subject.Whilstlecturing up and down the country on ‘ Entertaining Children,’ the demand has increasedwithrequests that some of the popular features of thoselecturesshouldbeincorporated as a permanent record of useful information. Thus wit.h chosen features from those lectures as a nucleus I commenced to frame the contents of this book.” There, therefore, the reader has the basic theme, and whilst a number of effects are described, the main task of the writer is to deal with certain angles that are importantto a children’s actas a whole. In particular he dealswith the important task of opening and closing a typical children’sshow. Inthelatter, he assumes that a production should finish the show and we think all other things being equal that this is as it should be. One chapter deals particularly with the presentation of standard effects and we particularly liked his version of the rainbow plumes which he entitled “ Hussar.” Other chapters covercomedy plots and a by-play. The book coverssome hundred and seven pages, has nearly ninety illustrations many of them photographic. Itis wellbound and printed on art paper. There is a foreword byBillStickland the popular secretary of the British Ring. For those who perforcehave to presentfor children this book is a “ must ” and at the price is very good value.
“
l
For sheer value, this wellproducedbook of some 152 pages will be hard to beat. Containing (at a rough estimate) some two hundred tips and tricks there is something (as we havewrittenin the preface) for every kind of magician whether he be close-up worker, mentalist, general practitioner or would be T.V. performer. The most important thing is that the average reader willhave at hand most of thearticles, required and his thanks to Milbourne Christopher willbe for producing so many attractive themes in which these articles can be used, Inall there are someninechaptersdealing with the following angles :l. Mental Magic. 2. Close-up conjuring. 3. Rope Wizardry. 4. MoneyMagic. 5 . HandkerchiefHocusPocus. 6. MagicintheCards, 7. Stage and T.V. tricks. 8. Novelty Magic, 9. Behind the Curtain.
Quite frankly it is difficult to list tricks in any order of preference for with few exceptionswe find that everythingdescribed has a good audience attack. Thinking in terms of stage magic, however, we would like to say that in our own opinion, that “ Silk from Smoke ” and “ Red Ashes Climax ” alone are worthverymuch more than theprice charged for the book. To illustrate the tricks, our friend Ted Elliott must have made some hundred odd drawings so that everything is quite clear. As we havesaidbefore,outstandingvalue.
“ The show should have gone on. People don’t usually appreciate value unless they pay for it. They paid this night to learn that no one, not even the very greatest in his line can do without constant rehearsing and practice.”-Report Servaisbyof show page Jinx, le Ray. 604.
PAWRUS CO1N-continued
l
from page 73
the ledge made by the curled 2nd,3rd and little right fingers. This is atthe momentexactlyin linewith the right sleeve. The right forefinger is brought forward over the left fist in a rubbing motion and on bringing the hand back, the coin is allowed to fly backwards into the right sleeve.
1
VARIED DECEPTIONS ” by Milboume Cluistopher (Publishedby Harry Stanley, price 151.).
“
The rubbing isperformedtwicemore and the hands are shown to beempty, thus proving the coin to havevanished. (I know this reads rather badly but I think thaton rehearsalyouwillsee exactlywhat I mean).
“ T h e secret hoarder is NOT amagician. He neverwillbeamagician fromthestandpoint of being an interestingentertainer.Thesesecretsaren’t so damnedvaluable. Thereare few of themthatcan’tbereasoned out byaman of fairly logical analytical ability. thing that is important is its It must be repeated again. The secret is NOT imEortant. The only favourableimpressionuponthemajority of the spectators -‘I Showmanship for Magicians,” by Dariel Fitzkee.
75
N THE May number of the Linking Ring there is a Columbus ‘‘ Hocus Pocus ” Parade. Following a most sententious piece of magical slush by a Mr. William Mark Taylor, Eddie Clever rather surprisingly comes forth with these words :-
I
“I wonder what theAmerican Medical Society would think of a doctor who wrote a book FOR T H E LAYMAN describing in detail how to perform a number of operations? I doubt if the medical profession would greet the books with peans (we quote it as spelt) of praise or the author with a pat on the back . . . even if the book did sell for a dollar or more . . . a dollar, ha . . . what price treason? This is just another knock added to those of the bar sinister boys at Bruce Elliott and Wilfrid Jonson. Why can’t these people grow up and see magic through the eyes of an adult. Don’t they realise thattheir own magical education came from books that were for public sale. Do they Bklieve that Hoffman, Sachs, Maskelyne and Devant wrote books with the idea that they should never reach the public. We can never believe that any book on magic, intelligently written has ever harmed magic, but rather it has achieved one of two things. Firstly ithas possibly brought a worthwhile newcomer into magic or secondly it has madethe reader more appreciative of the magician’swork. Just remember that ‘‘ Modern Magic ” appeared serially in a boy’s paper in the latter half of the nineteenth century, that Downs exposed Iiis coin act in a national publication and so-on and won. As we said before we were surprised to see Eddie Clever, for whomwe have a very great regard, writing like this. Surely he must know that the ‘‘ Hocus Pocus ” Parades which contain some
excellent material are read by those who are n o t magicians in any sense, but just people who are trick conscious and members of a huge organisation of Which possibly ten per cent. (and we think we are rating this percentage high) can in any sense be called magicians. These trick conscious cretins invariably do far more harm with their numerous public ,exposes than any bookstall publication. (Just to make things a little clearer don’t let it be thought thatthe remaining ninetypercent. of I.B.M. members fallinto this latter class. Far from it. Our assessment of the word magician means something more than a good conjuror). We have never been able to use the Pentagram as a news sheet for the very simple reason that it is published monthly and unlike some magazines we don’t like reporting events that have takenplacethreemonthspreviously.Starting on the 11th June, however, we have a column inthe “ Stage ” dealingwithmagicians. We shall at all times appreciate any news items that readers might consider merit publication. Neil Foster was allthat we heard he was. Lovely work. With a smile or two more and cultivated charm he could reach outand enter the Cardini class. One often wonders how many magicians are really interested in the history of magic.We say this for on the occasion of the Magic Circle Coronation week-end, Arthur Ivey, the Curator of the Museum,assistedby his wife, spent many hours setting out an exhi,bition of posters, programmes and various memorabilia. In all, out of the thirteen hundred membership, some foay or s t y came along. The trick conscious class,however, came along on the Saturday evening to see the tricks at the Gala show.
f
I
I do not hold the opinion that any man who can get up and do a few tricks-even though he
may do them well enough to entertain his audience--is necessarily a conjurer, because it is quite possible he may be an exhibitor of tricks. To say that a man who knows a few tricks is a ,tonjurer is like say!Fg that the man who knows ‘The Merchant of Venice ’ by heart is an actor.”-David Devant- Magic Made Easy. “
7 6-
I
, l
i
I
PLAYING WITH MAGIC! i.by WlLFRED TYLER SELECTING the rightroutine is importantbut it’s the PRESENTATION that counts ! You’ll find SPARKLING MATERIAL and all the SPECIAL ADVICE you need for SUCCESSindelifhtinga youngaudience in,,Wilfred Tyler’slatest book, PLAYING WITH MAGIC. Sincereley written by a SPECIALIST in the art, famous for his articles and books, lectures and shows on MAGIC FOR CHILDREN-Here’s a “ must ” handbook forpleasure and profit. YOU’LLLEARN
MORE! PLAYMORE!EARN
MAGIC‘ WAND
MORE!
Price 30/-; Postage 6d. THE
FROM
The first Instalment of
THE MERLIN1CARD SYSTEM (A new card system that will revolutionise card magic) NEARLYFIFTYFIRST-RATEMAGICALEFFECTS A CGMPLETEMENTALACTNUMEROUSNEWSLEIGHTS ARTICLESONSTAGECRAFT,COLLECTING, ETC., ETC. Per copy 719 post paid. SUBSCRIPTION 6 months 15/6 : One year 30/-
PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTON ROAD,
I
NOT a magazine butasuper giant-sized magic book published in four quarterly parts, each part complete in itself. NO news reportsor similarmaterialthatdatesa magazine,” but CRAMMED FULL of worthwhile workable magic. Vol. 42 No. 237 issue contains 48 pages, 84 by 11 inches in size, on super-quality cartridge paper, withstiff art-board covers, with contributions by : Jim Merlini, George Johnson, E. Brian Maccarthy, E. MalcolmDavison, Doyflas Francis.HarryCarnegie, Graham Bailey, Roy Green, Hen ” Fetsch, Francis Haxton, Tom Sellers, Jack Lamonte, Melvano, Edmund Rowland, T. M. Irvine, Roy Cowl,W. C. Weber, PeterA. McDonald, Charly Eperny, George Pigott, Lawrenco, JamesB. Findlay, Tony Koynini, L. H. Slipper. l‘
THE OPENING of the act is dealt yfth in great detail. and countless readers will use the author’s theme of The Land of Let’s Pretend.” in addition to original opening effects and suggestions for adapting standard routines to this purpose. PLOTS are coveredin a complete lessonon how to build up entertaining plots around your effects, and some fine examples are given. PRESENTING “STANDARD EFFECTS TO CHILDREN will save you countless pounds, fo: here,!he reader is shown how t o adapt what are normally considered adult effects to the entertainment of children. COMEDY, FUN AND LAUGHS are provided in profusion, as well as BY-PLAY with many standard and original props. THE FINALE is possibly the most important part of the show. and included in this section are the most,.complete instructions on preparing “loads” ever written, together with spectacular routines for closing. DON’T MISS THIS BOOK A finelyproduced 112page book packed with advice, ideas, tricks, businessbitsand gags galore. Cloth bound with a gay dust jacket and illustrated with nearly ninety drawings and photographs.
I
THEREHASNEVERBEENANYTHINGLIKE IT ! T H E N E W G I A N T SIZED
“ MAGIC WAND ” ?UBLICATIONS quarterly,percopy 719 TheMagicWand, p.p. Subscription: 6 months 16/6: year WThe Wizard, 36 pages monthly, per copy 2/1 p.p. Subscription: 6 months 1216; year 241PlayingwithMagic (Cloth) ByWilfredTyler S0/6 JohnBamsay’s Cups andBalls (Cloth) 25/6 By Victor Farelli Where Houdini Was Wrong (010th) By MauriceSardina 2016 WhereHoudiniWasWrong 7/9 (Cheappaperedition) Challenge Instant Hypnotism (Brochure) By GeorgeArmstrong 21/Automentalism (with apparatus) BvKendeCourcv 20/3 Zodiac Telepathy (complete Act) By Kende COUrCY 1219 TheUniversalMind By RonBaillie 1219 Chandu’s Psychoanalysis 10/3 By GeorgeArmstrong Premonition By GeorgeArmstrong 10/3 Bohleno’s Mysteries By HenryBohlen 10/3 Thank’stoLeipzig! By Victor Farelli M / 3 TheConcertVentriloquist By Maurice Hurling 10/3 MasteredAmazement By Koran and Lamonte 10/3 EntertainingwithHypnotism Bv S. E. Dexter 10/3 Entertaining with Contact-Mind iteading . By S. B. Dexter 719 ToniKoynini’s CardMiracles By ToniKoynini 7 / 9 Derby By ToniKoynini 5/3 26 Livinrr and Dead Tests By Teral Garrett 5/3 Jamesosophy By Stewart James 513 Strictly Magic By EddieJoseph 5/S Stooging Around By Joe Stuthard 5/3 Stuntswith Starre Money L Bya mJ ao cnkt e 5/3
ENFIELD, MIDDLESEX The Magic Circle
Tricks of the Trade By GeorgeArmstrong 217 FromthePublishers THE MAGIC WAND PUBLISHING CO., 62, WellingtonRoad,BushHillPark, Enfield, Middlesex. SENDSTAMPED ENVELOPE FOR GIANT BOOK LIST
l ’ t ~ s ! d c n !:
His Grarc the Duke of
Somerset,
D.S.O.. O . B E . , J.P., M.I.M.C.
Vice-President: Douglas Craggo, Esq., Y.I.M.C. Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
Forthcoming EventsMay 16-Auction Sale 23-Concert
JACK HUGHES will be pleased tosend full details of
you
THE DE LUXB “SU-TABLE”
Particulars from Hon
together with allhisother effects in return for astamp. Write now to
Secretary :
Francis White,
39 Alverstone Avenue, Wimbledon Park, S.W.19
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9. DOUGLAS FRANCIS’S PETER
‘STAB IN THE PACK’
WARLOCK’S
PENTAGRAM
An entirely new l ‘ thought of” stabbing card discovery
published on the 24th of eachmonthand ran be obtamed direct from thepublishers for 117 per dngle copy. Annual Subscription 181post free. PUBLISHED BY: is
Complete with pack and accessories
1216 From DOUGLASFRANCIS, 65 Norwich Ave. Southend-on-Sea,Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books for review should be sent to the: EDITOR1 4 L ADDRESS:
OLD AND N E U . Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
GEORGE
Peter Warlock, 24, Wordsworth Rd., Wallington,
JENNESS
47 INVERNESS AVENUE,
ENFIELD, MIDDLESEX Surrey . 1 I Every Advertiser’s goods are fully endorsed by this Bulletin
.
PUBLISHED BY THE PROPHIETORS THE MAGIC W A N D PUBLISHINGCOMPANY, 61 WELLINGTON ROAD,ENPIHLD.MIDDLESEX & S O N (PRINTERS) LTD., WELL C R O m . SHIPLEY. Y O R K S H I R E A N DP R I N T E D BY HERBER? WALKER
PETER WARLOCK’S
PENTAGRAM THE RING BINDS AGAIN DOUGLAS FRANCIS HOSE who are regular readers willrecollect that in the December issue of the Pentagram there appeared an excellent presentation of the torn and restored paper effect under the title It was a presentation of the “ BindingRing.” that Douglas Francis had used in his professional patter act during the previousseason. Douglas has now come along with a sequel to the effect. He aptly titles it, “ The Ring Binds Again!”
T
At the finish of the routine described in the December Pentagram the magician retrieves the pieces of black and white paper; they are torn into pieces and rolled into a ball.A touch with the “ binding ring ” and the audience see that the torn pieces have changed into an egg! The hand holding the egg closes round it and the other hand takes the binding ring. A final tap on the closed hand from which a shower of black and white confetti is released. The hand is then fully opened showing that no trace of the egg remains. The method of achieving the effectis both simple and straightforward, and a trial willconvince the reader of the effectiveness of this addition to the routine already described. The requirements are as follows :-
l . Ablownegg that has beenfilledwith black and white confetti. The latter is best made by cutting black and whitetissue paper into quarter of an inch squares. The confetti is gently packed into the egg and the opening then sealed with a small piece of cellotape. The egg thus prepared is placed into the right hand trousers pocket, where it will in no way interfere with the working of the main effect. 2. Asmall saucer or dishwhichisplaced upon the table. That is all the additional preparation. Now let us deal with the working. At the conclusion of the “ Binding Ring,” the ringusedisplacedin the right hand trousers pocket. At the same timepossessionof the egg
VOLUME SEVEN,
No. TEN
=
is obtained with the right hand which palms it and then removes it from the pocket. The action must be carefully studied and it should be so timed that the hand emerges as the conjuror goes to retrieve the first sheet of paper. The taking of the papers gives additional cover. The pieces of paper are then tornand rolled into a ball. The left hand moves away leaving the paper ball at the fingertips of the right hand. The right hand apparently placestheball of paper in the left hand but actually the paper is retained and the egg is taken. instead. The right hand nowgoes tothe pocket for the “ binding ring ” and in taking the latter the ball of torn paper is left behind. The back of the left hand is touched twice with the “ binding ring ” and then opened to reveal the egg! The left hand closes around the egg and the right hand still holding the “ binding ring ” taps the latter against the closedleft hand. The ring is now dropped onto the table (or returned to the pocket) and the small saucer or dish is taken and held under the left hand which makes a squeezing motion (in actuality crushing the egg shell) and allows the black and white confetti to shower down onto the saucer. Thereare two additional suggestions. The first appertains when the effect is being used as a: closing item and conditions do notpreventyou from dropping confetti ontothe floor. This is the way it goes. As the closed hand holding the egg is tapped for the second time the ring is placed in the inside pocket and a small black and white fan taken and opened. The leftfist is fanned a s the confetti is allo,wed to escape. To heighten the effect, the performer makes his exit whilst a cloud of confetti is allowed to precede him. As an alternative to a fan proper, a nice touch would be to produce a fan of cards and fan the confetti with these. The second suggestion isfor the comedy magician. The presentation after the pieces of pamr have been picked follows the line of Cullpitt’s egg and silk trick. One of the special eggs now
I/6. (20 Cents)
=
JULY 1953
78 marketed is taken and instead of the usual contents it is filledwithblack and white confetti. Posobtainedandthe session of the holloweggis performer after tearing the pieces of paper works
“ The true skillof the magician is in the skill he exhibitsin influencing the spectator’s mind. This is not a thing ofmechanics. It is not a thing of digital dexterity. It is entirely a It is thing of psychologicalattack. completely a thing of controlling the spectator’s thinking. Control of the perceptive faculties has nothing whatever to do with it. Convincinginterpreting, tothespectator,what the sensesbring to him. insuch a way thatthe magician’s objectives are accomplished, is the true skill of the skilled magician.” Dariel Fitzkee ‘ Magic by Misdirection ’ page 33
them intothe egg. The trick proceeds on its usual lines but instead of the egg being broken to reveal the normal contents it is broken to shower forth confetti.
I
MARY MASKELYNE
From thc 1. B. FindLzy colleaim
HOLD A CANDLE PETER MOFFAT ERE is a twoperson telepathy stunt. The means for arriving at the ultimate effect are simple and so far asI know, new. The method hit upon quite by accident. Here is one presentation which is quite straight-forward. The telepathist sends his assistant out of the room escorted by a committee who keep her (or him)under observation throughout the test. Inside the room the telepathist hands out tothe spectators present a number of cards each of which carries a different design. One of these ischosen. A pad (which has beenborrowed if needsbe) isthen taken by one of the company to the assistant outside, and on this padshe duplicates the design chosen in the room. At this point let it be noted that :l . There is no elaborate code.
H
2. Assistant can learn her part five in minutes. 3. The padis totally unprepared (We’ve mentioned before that it could be borrowed).
4. Any spectator cantake the pad to the assistant. 5. The pad is handed to the spectator without any kind of move. 6. The assistant usesher own pen tomake the drawing. The requircmonts are simple :-. 1. Anunprepared writing pad.
2. A small piece of candle (preferably housed in a container). 3. A clean thumb! 4. Eight design cards or objects thatare easily identifiable. Morecan beused butthe effect gains little and at the sametime from the performer’s point of view becomes proportlonately more difficult. The preparation prior to presentation is for the piece of candle in its container to be placed in the right hand trousers pocket, the writing pad open at the first page on the table together with the design cards.
79 The assistant and performermust think of the designs by numbers. They must also visualise that certain positions on the padmean certain numbers. These numbers are as illustrated :Upper end
Is I 2 11
I
I
Open pad (the numbers indicate imaginary positions of Design Cards.
Lower end The presentation is very simple indeed. After the assistant has been escorted from the room, the telepathist picks up the stack of design cards and spreads them out on the table top. Whilst one of the spectators is deciding upon a given design his right hand goes to his trousers pocket and he gets a thin smear of candle grease on his right thumb. After the design has been decided upon, the pad is picked up by the thumb and finger (thumb on top of the pad) at the point which gives a number corresponding to the chosen design. He moves the
thumb very slightly at the same time pressing on the paper as he hands the pad to a spectator who is to take it to the assistant. Providing that the thumb is perfectly clean no mark is visible on the paper. When the assistant receives the pad she takes her pen (ink or biro) and draws a “ frame ” around the periphery of the pad. This is apparently to enclose the finished design that will draw next, but in reality she gets her information regarding the positioned number, for as the pen reaches the waxed part it will slip over the greased area. Directly she has the information she with due artistry draws the chosen design. At this point let it be said that too much grease will give the lady a deal of trouble for there will be no ink line at all, The pad is then takenback intothe room and everybody is happy. A final word or two. The most important “ move ” in the effect is the natural picking up of thepad. Therefore it ismost. importantthat no suspicion should attachto it. The best way to obviate such suspicion is for the performer to approachthe pad so thatthe desired point of contactonthe pad is in the required position. Therefore thetable usedshouldbe in such a position and of such a size that during the choosing of the design the performercaneasily move round it.
‘‘ There are some fine entertainers who use magic props in the sole service of comedy, but they are no more magicians than the clown with the breakaway fiddle is a violinist.” Orson Welles. Foreword to ‘ Magic as a Hobby.’
I
VARIATION ON CARD INCIDENCE PETER MOFFAT HIS IS a simplified version of “ CardIncidence ” that appeared in an early number of the Phoenix. The original method required :l. Sighting of the second card from the top of the pack. 2. Forcing of one pile of cards. 3. Running an evennumber ontotop of chosen card. The method to be described requires only the force of one heap and there is an even chance that the spectator handles the cards most of the time. The Effect. A spectator cutsthe pack into two heaps and magician and spectator each choose a card from their respective heaps. Both spectator and performer note their cards which are then re-
T
placed in the halves of the pack to which they belong. The pack is then re-assembled andcut any number of times. Spectator is then requested todealthe pack into two heaps. The pay-off comes when it is found that the two chosen cards occupy identical positions in each heap! The only preparation is to mark the back of one card with two small pencil dots. (One dot in the upper left corner and one in the lower right corner). Thesemarkscan be quite clear as the, handling of the cards prevents themshowingup.. The name of the card must be rememberedand for the purpose of description we shall assume that it is the seven of spades. The workingis as follows : The packis handed tothe spectator for shuffling. It isthetl. taken back and fanned so that the spectator can see the faces of t.he cards. This is accompanied
80 ’by the remark, “ I thinkyou can see that heap isnowplaced ontop of the performer’sheap. you havemixed them fairly well!” At the same The spectator then cuts the cards as manytimes as timethe performer notes the position of the hewishes. He then is asked to deal the cards face into two heaps, starting on his left and dealmarked card and if it is near the centre of the pack down he takes care when he has closed the fan of cards ing- into alternate piles,i.e. normal card dealing. to casually cut them so that the pencilled card will At this point all you have to watch is the pile be near to the bottom or top of pack. The pack is of cards on the spectator’s right, for your marked laid face down onthe table and the spectator card may or maynot appear in this heap. If it asked tocut the pack into twoheaps. The prodoes not appear the trick has worked itself and at cedurefrom now on is that the performermust the completion of thedealthetwo cards will have the heap containing the pencilled card and so occupy similar positions in each heap. perforce by “ force ” the spectator must have the other. If, however, it does appear in the right hand heap one card will have to be shifted from the top to the bottom of the heap. The simplest and most The performer explains that both he and the natural wayis to recap whathasgoneon.Ask spectator mustchoose a cardfrom theirrespecthe spectator to read out the name of the card you tive heaps, note its value and replace it on top of looked at, and also ask him to name the card he those same heaps. EGch picks up his cards. The chose. Tell him that he has handled the cards and performer locates the seven of spades and cuts it at this point you want him to deal the cards slowly to the bottom of the pack. Any other card is now wit.h you face up on to the table. As you say this removed, looked at and then its name apparently illustratetheactionby taking thetop card and noted on a slip of paper. Actually,however, the dropping it face up on to the table. Looking at him performer writes “ seven ofspades.’’ The card is to see that he has understood,the card isthen then placed on top of the heap which is rested on retrieved and casually placed at the bottom of the the table. The spectator inthe meanwhile has heap. also noted his card and replaced it. The spectator’s S “ It is your function. as a man who has both feet onthe ground, to develop ideas. This means you will take the little worthless brain-waves of others and add to each of them that important fillip that makes it workand that makes the idea Your Own. Of course once it belongs to you, you can make the most of it.’’ Pierrepont Finch, ‘ How to succeed in Business without really trying.’
t
~
ONE MORE CHANCE WILL D E X T E R HIS IS such a simple but convincing version of Just Chance ” that I have spent some hours going through all my books and magazines to make sure that it’s never been printed before. So far I’ve not been able to trace it to anyone else, which is surprisirig, because this seems to me to be the only logical way to offer this trick. The effect is the usual “ Just Chance ” (“Poor Man’sBank Nite ” in U.S.A.)routine. Three envelopes are shown; two are freelychosenby members of the audience,leaving the performer with one for himself, in which he fiinds a E 1 note, whiletthe other two are foundto contain “ So SoFry ” notes, or-as in my case-sixpenny postal orders. The requirements are : sixenvelopes, about 33 inches by 23 inches in size, a blue pencil about four inches long (not more), three sixpenny postal orders, a pound note (a well-wornone), a safety pin, and-a plastic thumb tip. That makes it obvious, doesn’t it? This is the set-up; the pound note is folded into a packet about one-and-a-quarter inches long
T
“
byhalf an inchwide. The end is folded over so t.hat it will fit into the thumb tip longways. Having folded the note and fitted it in the thumb tip, press it well in and slide it partly out and back again a fewtimes. This beds itto the curved shape of the thumb tip andensures it sliding out easily when required. Take the safety pin, and pin up the end of the cashpocketinsideyourrightjacketpocket, so that it holds the thumb tip upright nice and firmly. Make sure that the thumb tip can be withdrawn easily, but that it doesn’t wobble or fall sideways. Pop the thumb tip in this tightened pocket. Into the pocket proper (not cash pocket) drop the blue pencil. A long pencil might protrude, hence need for a short one. Sixenvelopes are used. Three havebeen sealed up (empty) and the sealed ends torn off and thrown away. On these three write the numbers 1, 2, and 3, with the blue pencil.Screw up each torn envelope and placethem so : No. 1 inleft trouser pocket, 2 in right trouser pocket, and 3 in leftjacketpocket. You willneedone of these
81 screwed up envelopes later, so remember which pocket each one is in. Fold the sixpenny postal orders to the shape of the folded pound note, and place one in each of the unprepared envelopes, which are now to be sealed up. This completes the set-up. Show the three sealedenvelopes and pass them, with the blue pencil, to a member of the .audience. Tell him to number each one with a 1, a 2 or a 3. He is then to get h c r other people to select an envelope each and return the odd one to you. At this stage the usual “ Change envelopes if you like,” patter can be used, of course. When you receive back the odd envelope, ask for the blue pencil back, and drop it into your right coat pocket. As thehand goes intothe pocket, the thumb slips into the thumb tip, which is withdrawn as the hand comes out. Have the victims open their envelopes firstafter assuring them that there’sbigmoney to be won in this-and show their sixpenny postal orders. Thentear off the end of your envelope, insert thumband forefinger, and withdraw the pound note from thumb tip, which is left inside the envelope. Screw up the envelope, with the thumb tip inside, and place it in the pocket containing -the correspondingly numbered balled-up envelope.
I
Takeout this envelope as an after-thought and throw it down.
I have the envelopes numbered for two reasons : (a) so that I can use a line of patter emphasising the psychological choice of a certain number, and (b) so that the screwed-up envelope taken from the pocket is “ proved ” if necessary to be the one I put there, and to be empty. It would be possible, I suppose, to tip the thumb-tip out of the envelope containing the postal order, but then the postal order would have to be tipped out as well, and I’m all for doing things the easiest way. As an extra method of performing the “ Just Chance ” effect, but without the thumb tip, I suggest that the method of using the table top as a cache, after the manner of the usual tray, could be used. I’ve done this once or twice, slipping the pound note under thestrut of acard table. I owe acknowledgement to the late Dr. Elliott, of ‘t Elliott’s Last Legacy ” fame, for that tip. His book advises it as a means of loading extra playing cards on to the bottom of a shuffled pack. There’s only one snag to “ Just Chance ” as a programme item : it calls for good patter and a logical explanation. It’s too good an effect to be thrown away on an audience as a mere gag.
“ You can only be a magician by putting on a magic show. You can only put on a magic show by getting an audience to come and see it. The bad news is that the dealers are selling more tricks whilst the theatres are selling less and less tickets. Orson Welles. Foreword t o ‘ Magic as a Hobby.’
INVULNERABLE PETER WARLOCK
A
LL of you know the stuntof covering a coin
As the handkerchief covers the disc slide the with a handkerchief and then pressing the crown forward and on to the cardboard. Then lightedbuttofacigarette againstit. As drapethehandkerchiefrounddiscandcoin. the metalactsasaconductor of heatnoharmThehandthatheldthedisc is nowremoved befalls thehandkerchief. We haveusedametal fromunderthehandkerchiefand, it takes the thumbtip to make this elementary physical fact handkerchief a t a point just below the disc and something like a trick, but recently we hit upon coin in such a way that the handkerchief is taut what we considerabetteridea.Allyouneedacrossthecoinwhichshouldbeuppermost. is a stiffish piece of cardboard cut to the size of Now take a lighted cigarette and press the butt a five shilling piece and also a five shilling piece against that part of the handkerchief which lies cambric and a handkerchief. above coin. the Repeat this and allow spectaa With the crown fingerpalmed in one hand, tor to do likewise. Uncover the disc and coin it and intheprocess fingerpalm thecoin.Hand offer thediscforinspection.Explainthat haspeculiarproperties.Takeitbackwiththethehandkerchiefbackand give a spectatorthe handthathasthecrown.Borrowthehand-disc as asouvenir. If youliketheidea,itisn’t kerchiefandcoverthecardboarddiscwithit.abadthought to have your name on the discs.
I
He (Jardinc? Ellis) said : ‘ If I wished t o write up some of my effects it would be impossible to infuse the air o f mystery that I create, or to explain my misdirection, and the reading would appear tame and absurd. You cannot profuce a violinist by correspondence, nor can you teach the art of presenting magic as a magician by that means. Letter from H. M. Renay to ‘ Magic Circular ’ page 72, Vol. 18
82
BOOKS “
Two Jardine Ellis Ring cm Ribbon Routines ” by BertramMillidge(publishedbyHoldens,Boston, price two dollars).
A longwhileagoourfriendBertramMillidge thought of the idea of utilising a length of ribbon with the usual Ellis ring. The basis of this idea was published more than ten years ago in The Magic Wand and later revived inthis publication. Time went onandthe routine wasextendedandtheresult of thisendeavour is explained in the booklet. The opening is strong indeed and with good handling thereadershouldstart off withamiracle. The three subsequent methods of ring passing through ribbon are nice arabesques and precede the introduction of split ring which gives the performer the advantage of bringing the whole routine to avery strong conclusion.
is oneupon The secondroutinestrangelyenough which the late Edward Brown was working a little while before his ultimate death. We feel certain that Jardine Ellis would have enjoyed this version. Itisinterestingtoknowthatthe use of thesplit ringhasnot died. As wehavementionedbeforein these pages, Ellis made use of the split ring, a fact that has brought forth sceptical comments from a number of British magicians who neither knew nor saw Ellis perform.Ratherstrangely, it also,andtimehas never permittedus totakeitup,broughtfromourfriend Dariel Fitzkee the assertion that a routine using the normal shell and a split ring had been described. As a final piece of information, the complete set of Ellis rings, i.e. normal ring, shell, split and the large rings with which he used t o finish his routine are in the possession of that great amateur of magic, Dr. 0. H. Bowen. We recommend this very fine series of effects t o our readers, for, with a minimum of work they will possess a series of baffling effects that will last them a1 lifetime. “
My Best Card Trick ” (compiled by Harry Baron, publishedbyRidgmountBooks,price 6/-).
Here in a very nicely printed little booklet of some thirty-two pages are some seven card tricks described by a number of well-knownmagicians. JackAvispresents under the title of the ‘ Lady Tells All ’ an effect which, in hishands, is a delightfulpiece of mystery. In ‘ Spectator’s Choice ’ Francis Haxton details a baffling prediction based on a Marlo plot. A1 Koran gives a typically A1 Koran effect ‘ Turnabout ’. The conjuror who is interested in less subtle mysteries will be rewarded by reading Joe Stuthard’s ‘ Card in Cigarette ’ routine. A master of the silent thumb count, it is only natural to find Gus Southall, under the title of ‘ Casting a Spell ’, giving the method making use of this subterfuge for an effect with which on so many occasions he has baffled fellow magiclans. The ‘ New Nudist Deck ’ by Edward Victor gives all the effect of themarketeditem,butleavestheperof cards. The former at the end with an ordinary pack final item in the book is ‘ Your Name-My Name ’ by Peter Warlock. Jack Potter gives an interesting glossary of the tricks of terms used in modern card work. Each described is worth the price of the book. “
Miracle Mix-up ” by Jack Yates (published by Jack Yates, 8, RiponRoad, West End, Oswaldtwistle, LziTCs., price S / - ) .
The main purpose of this card problem is for advertising. In theform of aletter,theconjurorgivesthe, recipient and would-be client certain instructions regarding the choosing of a card, and then after seemingly fair mixing in the pack, the recipient is able, by spelling the name of the sender, to locate the card. A mathematicar principlewhich is well disguised. Our own objection to the effect is not the means to the end, but the pcssi-bility that in the carrying out of the necessary instruc-. tions the recipient may make a slip and spoil the climax of thetrick. It is certainlyveryingeniousandone’ whicn calls to mind some of the clever pieces of 2alculation by Stewart James.
bb
100 Latest Tips on Tricks” by Milbourne Christopher (publishedbyLouTannen,NewYork,price two dollars).
Withinthespace of forty oddpages, Milbourne Christopherinthemost lucid mannerdetailssome hundred tips and ideas regarding tricks. Only too often it is the little piece of business that turns an ordinary actintoa successful and talked-of act. Onlytoooften some little gag can provide cover or misdirect during a move that otherwise would invite closer inspection. Whether you use cards, silks, billiard balls or any of’ the myriad things that form the make-up of the modern magician,youwillbecateredforbyourgoodfriend Milbourne Christopher.
‘6
Hugard’s Magic Monthly ” (bound volume 9, published bytheFlemingBook Co., 728, MadisonAvenue, York, Pa., U.S.A., price from Robertson Keene, The Cottage,ShalfleetHouse,Shalfleet,nearNewport, Isle of Wight, 30/-).
As we have said before it is only when one handles theboundcopies of amagazinethatonegetsatrue assessment of its value.All toooften(especially for busy people) the odd copy issometimes placed aside withoutthefullvalue of thecontentsbeingabsorbed. And so when we look through this bound volume of Hugard’s we realisethemagnificentvaluethat is offered tothe magician who likes his magic to be quality magic. Of the regular features we have Joglar (who by his style of writing and certain other idiosyncrasies we now think we havepinpointed to onewell-knownwriter), Milbourne Christopher, Farelli and Martin Gardner. These writers alone have contributed a bunch of material in turn newsy, novel, practical and encyclopaedic. There is aseries of articlesbythatace of coinworkers,Ross Bertram and a number of contributions by Jean Hugard himself. In the novelty class we give high marks to our own WillDexter forhis dressing of a ,spongeball routine entitled ‘ Big Chief and little Squaw. Paul Morris, AbriI Lamarque, Clayton Rawson and many others contribute some excellent magical ideas and effects.
is well catered for by John J.Crimmins The book reader junior, who regularly each month under the titleof ‘ Book Profiles ’ givesmostdetailedreviews of contemporary magicalliterature.
a3
MAGIC-GO-ROUND NE excellent piece of news is that our friend fact that such workers are more proficient than the Dr. Stanley Jaks will be visiting this country majority of those in this country who essay similar in August. Dr. Jaks is one of those very few type of magic. We feel more than proud, however, to have in this island one magician whose work in table performers who consider that the presentation of a trick is of equal importance to the that field is unique and uncopyable. We refer of c.)urse to Johnny Ramsay. Just recently we have technique of trickery employed. Some while back, Unique Studios put out in re-read several times this great magician’s ‘‘ Cups and Balls,” and “Coins and Cylinder,” and this country the Himber Book Test, which in the main was a clever and natural method of forcing “ Triple Restoration ” and witheachre-reading our admiration has grown. It is magic of a highly a certain word. Though the ideawas not new, individual order. As individual as themagic of for b0t.h Stanley Collins and T. Page Wright had Arthur Sherwood, Jardine Ellis or E. G . Brown. produced special books for forcing a given word, We sincerely hope that ere long Johnny will comthe delightful touch that Himber brought was the mit to paper the deiightful version of the torn and fact that one of the “ Ellery Queen ” magazines restoredeffect that we last had the pleasure of to it than was used. There was.however,more seeing as long back as 1947. that as thosewho have bought know. What was Coming-back tc> the representation of perlacking, however, a t the 61ne were companion formers in America (and magazines to go with the as we write this we are special copy. Americans thinking of Frances Ireland’s were not troubled about this, words in the current “Linkbut in this country the use of ing Ring”) this is a team a n American magazine, or a that would be new to magazine thathad an unAmerica : Brian McCarthy, familiar cover was not ideal. Billy OConnor, Edward However all those who like Victor, Voltalre Gus Southourselves are avid readers of all, A I Koran, Chan Canasta, crime fiction will know that Trevor Hall andKen Brooke. an Englishedition of the McCarthy’s unequalled Ball magazine started in Feband Silk work, Billy OConruary of this year. The first nor’s non-card act (seen four numbers were different unfortunately by too few in binding from the Amerimagicians), Victor with his can copy, but with publicath.imbles, Voltaires with their tion of the July number the sensational act, Gus Southall appearance of the magazine and AI Koran with close-up is almost identical withits Even the photographer got into the picture l effect, Chan Canasta’s American brother. “English Edition” also being omitted Left to right-Peter Warlock.Nelli Knps.Fred Ksps, psycho-magic, a lecturedeElizabeth Warlock, Ann Warlock. June Briggs. monstration by Trevor Hall from the cover. The magiwith Ken Brooke adding the comedy, would be for cian in this country is noiv in a position to use a American magicians t.he biggest thing since Pearl stack of magazineswhich are nowbecoming a Harbour Mrs. Ireland ! familiar sight to those who glance a t the bookstalls. Nextmonth through the efforts of our very The prophet, andfor that matter too, the goodfriendLeslieMay we bringyou a Scottish magician, seldom receives the fullest of honours in number. With the Edinburgh Convention just his own country. Too often the enthusiast in this around the corner this is appropriate. country is apt to accept the written word of others The line up for the Magic Circle Festival shows and to credit those in other countries with abi1it.y the biggest influx of continental magicians yet. It and technique w h i c h t h e y d o not possess. will be very nice to see Suzy Wandas working in We often think that P better i n t e r c h a n g e this country again. Finally, if youlike off trail of magicians between this country and the United mental items, and if you haven’t bought a copy of States would do much for the commoncause of the June Magic Wand, get it as soon as possible magic. From those who are knowledgeable and for Arthur Carter’s “Diaryof a Yogi” is worth every who have had the oppnrtunity of seeing some of penny of t.he 7/6 asked for the complete issue ! the American close quarter workers, we accept the
0
I
The line upfor the Magic Circle Festival in Oct. ahowa the blggest influx of Continental talent to date : SuzyWandas from Belgium, The Andreanosfrom France and the Nibereos and Compaens from Holland. David Nixon will return as compere. The English acts are Benson Dulay & Co., Terry Hall, Stanley Watson and Peter Warlock.
I
54
U
A NEW B O O K O N MENTAL MAGIC
I’LL READ YOIJR MIND BY A A G E D A R L I N G
THE LATEST book o f audience tested Mentalism by Denmark’sMasterMentalist is packed with material that
i s designed to entertain as well as
mystify an audience. Here are 56 pages of outstanding new material, fully illustrated, cloth bound and with an attractive jacket. The author believes in simplicity of method allied t o mystery and entertainmyt value, and here you will find comedy in such effects as Pin U p Girl Test ” and ‘‘ SpiritsTest,” Publicity with “ Telephotrix ” and other gems, and mystery and entertainment with all the I5 incredible routines. Contents :- lnstanto Book Test, Vibrato, Tele-Hypnosis, A Thriller, Telephotrix, Pin U p Girl Test, Suprema, Symbol Test, Suprediction, Figura, Numero, A Test of Spirits, Death’s Name, T h o U g h t Echo, The Marked Card.
Price 17/6; Postage 4d.
S E C O N D I S S U E OF T H E N E W G I A N T S I Z E D
-E MAGIC WAND OVER 50 BY 25 AUTHORS % .I
TRICKS
NEVER hasthe magical fraternity been offered such a bargain as the newgiant sized Magic Wand, packed with really worth-while material and every issue with several tricks that could have sold on their own for the cost of the whole lot. In the latest issue, No. 238, there is a wealth of material o n every aspect of magic from close-up material t o full stage acts. Contents:-Second part of the Merlini Card System, with 8 fine card tricks ; The Dream of Thimbles, a stage act by Charly Eperny ; The Diary of the Yogi, a mental card trick-without cards, by Arthur F. G.Carter; Triple Prediction, Cards and Cellophane Bag, and Transposing Silks by Tom Sellers ; Quads in Transit, a puzzle and a trick by Jack Lamonte ; The Talking Board, a ventriloquial noveltyby Frank E. Lindsey ; Professional MagicSomethingBorrowed,Card Fan Table,PocketHorticulture, byDouglasFrancis ; Miracle Pools Forecast, a stage mental effectby Raymond Maynard ; Stunts with Sticks to Silks by Roy Green giving 11 new tricks with this prop ;-but we haven’t space for more, for we could fill this page describing the contents
Buy a copy now and see for yourself how great is the value I Per copy 1/9d. post paid Subscription : 6 months15/6d. One year 30/FROM T H E P U B L I S H E R S
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, E N R I E L D ,M I D D L E S E X MAGIC WAND ” rUBLICAT1ONS TheMagicWand, quarterly,percopy 719 p.p. SUbSCriptiQn: 6 months 15/6: year m/The Wizard, 36 pages monthly, per copy 2/1 p.p. Subscription: 6 months l2/6; year 241PlayingwithMagic (Cloth) BY Wilfred Tyler 30/6 JohnRamsay’s Cups shd Balls (Cioth) BY victor Farelli 25/6 WhereHoudiniWas Wrong (Cloth) BYMauriceSardina20/6 WhereHoudiniWasWrong (Cheappaperedition) 7/9 I’ll Read Your Mind (cloth) By Aage Darling 17/10 Challenge Instant Hypnotism (Brochure) 21/ByGeorgeArmstrong Automentalism (with apparatus) ByKendeCourcy 20/3 ZodiacTelepathy (completeAct) By KendeCourcy12/9 TheUniversalMind By RonBaillie12/9 Chandu’s Psychoanalyria ByGeorgeArmstrong10/3 Premonition ByGeorgeArmstrong10/3 Bohleno’s Mysteries By HenryBohlen10/3 Thank’stoLeipzig! ByVictorFarelli lO/3 The Concert Ventriloquist By Maurice Hurling 10/3 MasteredAmazement By Koran and Lamonte 10/3 EntertainingwithHypnotism By S . E. Dexter10/3 Entertaining with Contact Mind Reading By S. E). Dexter 719 ToniKoynlni’sCardMiracles By ToniKoynini 7/9 Derby By Koynini 5/3 Toni 26 Living and Dead Tests By Teral Garrett 5/3 Jamesosopby By Stewart James 5/3 StrictlyMagic By FddieJoseph 5/23 StOOging Around By Joe Stuthard 6/3 StuntswithStage Money ByJackLamonte 5/3 “
EveryAdvertiser’s
Tricks of the Trade ByGeorgeArmstrong z/s FromthePublishers THEMAGICWAND PUBLISHING CO., 6 2 , WellingtonRoad,Bush H.11 Park, Enfield,Middlesex. SENDSTAMPED ENVELOPE FOR GIANT BOOK LIST
The Magic Circle President : His Grace the Duke of Someraet, D.S.O.. O.BE., J.P., M.I.M.C. Vice-President: D o u g h Craggs, Esq., Y.I.M.C. Clubroom and Librarvand Museum .: ~~
Hearts of Oak Buildings, EustonRoad, London, N.W.l. Magical Theatre :
JACK HUGHES will be pleased tosend full details of
you
THE DE LUXB “SU-TABLE” together with all his other effects in returnforastamp, Write now to
Jack Hughes, 2, Evelyn Ave.,
King George’s Hall, W.C. Forthcoming EventsOctober 5-10-Festival of Magic Scala Theatre Particulars from Hon. Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Colindale, London, N.W.9. DOUGLAS FRANCIS’S PETER
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand can be obtained direct from the publishem for 117 per Lingle copy. Annual subscription 181post free. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordeworth Rd., Wallington, Surrey.
‘STAB IN THEPACK’ An entirely new “ thought of” stabbing card discovery Complete with pack and accessories
1216 From DOUGLASFRANCIS, 65 Norwich Ave. Southend-on-Sea,Essex
CONJURING BOOKS FOR SALE OLD AND NEiW. Let me know your wants LIST FRE6 FOR STAMPED ENVELOPE No
Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
goods are fully endorsed by this Bulletin
PUBLISHED BY THE ?ROPRIETORS T H E MAOIC WANDPUBLlSHINGCOMPANY, 62 WELLINQTONROAD.ENFIELD. A N D PRINTED BY HERBERTWALKER & S O N (PRINTERS) LTD., WELL CROPT, SHIPLEY.YORKSHIRE
MIDDLESEX
*
PETER WARLOCK’S
NTA G R A M HIS issue of the Pentagram is a Scottish Number containing material collected by our very good friend and contributor, Leslie May. W,e did hope that items by Ron Baillie and Peter Moffat would help to swell this issue to mon:sterproportions, but pressure of work in both cases just made this impossible and we look forward tlo having these contributions in a future issue. Without wasting words we will bring YQU thle fust effect by Leslie May, which is one hundred per cent pure Scottish in its approach.
T
YE BONNY BANKS LESLIE MAY (CLAN MACDONALD) Preliminary Remarks : HILST Englandhas butone bankissuing bank notes, i.e. The Bank of England, Scotland possesses no less than seven different banks each with their own individual issue of one pound notes (they have also those of a higher denomination but they do not concern us in this instance). The names of these banksare givenbelow together with the distinctive colouring of thein respective one pound bank notes; the immediate recognition of these colours is necessary forthe success of the later portion of the following effect. Commercial Bank of Scotland ............... Purple National Bank of Scotland ...................... brown Bank of Scotland ................................. Fawn Union Bank of Scotland .............Blue and Fawn British Linen Bank ........................ Dark Blue Royal Bank of Scotland ...... Bhe andWhite Clyddale and North of Scotland Bank Ltd. Light Blue with Fawn Centre A few minutes practice with notes will enable you to associate colour with Bank of origin. N.B. No notes to the value of ten shillings are issued by any of these banks. The Effect The performer collects anumber of various Scottish E1 notes from members of his audi,ence giving in exchange “ clean ” notes of a similar value. The collected notes arethen screwed into small ballsand dropped intoahat.The performer then removesthem one at a time and without lookingat them,but bysense of touch alone discerns the Bank of origin.
W
~~~
~~
~~
VOLUME 7, No. I I
-
The notes are once again screwed into balls anddropped back intothe hat. A member of the audienceselects one which is handed to the performer who divines the number which he then, for purposes of verification, writes upon a slate. N.B. It iswell realized that this effect can only be performed in Scotland, but this is a Scottish number.-L.M. The requirements are as follows :-
l. A clipfor holding six different Scottish notes, each of which has been screwed up into a ball. The notes are arranged ina known order and the clip is fastened under the coat in an easily accessible positibn. 2. A convenient hip pocket.
3. A slate on one side of which is written lightly in pencil the serial numbersof the notes held in the clip. The Bank of origin is also shown. 4.
A piece of chalk.
5. A hat.
6. Six clean new E l notes to begiven in exchange. I suggest that these be Bank of England notes to avoid confusion. Method and Presentation. Have the six new E1 notes standing up in the hat. Askmembers of the audience to bring out Scottish treasury notes of E l value and hold them above their heads (this prevents them noting the numbers). In yourselectionmake sure thatthe spectators from whom you take notes are scattered, which prevents any check up at a later time.
1/6. (20 Cents)
-
AUGUST 1953
86 Lookaroundforas many different bank issues as possible (see above under “ colour details ”), and with hat in your left hand approach your selection and hand out one new note for the note they proffer. As you take each note with the right hand crumple it into a ball and drop it into the hat. Carry on like this until all six notes have been exchanged. Now return to the stage, shake the hat to ensure that the notes are thoroughly mixed and place it on a table on your right side. Patter about the abnormal sense of touch that you possess and to prove it reach into the hat with the right handand remove a note, holding it between the thumb and finger so that the colour is not visible tothe audience. As you do this turn your head to the left. Carry the right hand behind your back and drop it into the hippocket, At the same time the left hand obtains possession of the first note in the clip. The two hands apparently go behind the back to open outthe balled up note, and if needs be the performer can turn sideways on to the audience so that they can see him perform this action. The bank from which the first note has been issued is then named and to prove that he is right, the note is then held up, so that the audience can see it. Again the performer should keep his gaze averted. The note is then screwed up into a ball again and placed upon the table near to the hat. The process is repeated with the remaining notes, so that at the end you have six notes screwed up into little balls on the table. At this point you have two alternatives. Firstly you can dropthe notes back intothehat,or better still you can walk away and request a spectator todo this, Whichever course is adopted another spectator is requested to remove one of the notes. Taking it at your fingertips, all you do is to note the colour which of course givesyou the Bank of origin. Appear to concentrate and then pick up the slate and chalk. With the knowledge of the issuing bank you have only to look for its appropriate number and write it upon the slate. The rest is pure showmanship. The bill is opened outand the number on the slate naturally agrees. A good piece of extra misdirection can be introduced in this manner. Place ih the clip at position number five, a duplicate note to that at number two or three. Let’s suppose that it is one issued by the British Linen Bank (Shades of R. L. Stevenson ! - P.W.) Mark this note around the border with little ink drops so that when rolled up a mark or two will be visible to the performer.
I
When the fifth note is removed from the hat it is exchanged as quickly as possible behind the back with the remark. “ This is too easy-it’s the British Linen Bank. I’ve had one already.” Bring to the frontand re-roll so that distinguishing marks will still be visible.With the numbers of both marked and unmarked notes on slate, you have a more puzzling finish, should either of these notes be selected for number-reading.
.
THE FEMALE OF THE SPECIES S I ALICE MACLAY
Have
Your
Xmas
Party A t
ALICE MACLAY’S
o-For Children of all Ages-c) Delightful and OriginalEntertainment Jntrdducing: ‘“ALICE in CONJURELAND” and “BOODLES” the CAT in MAGICAL NURSERY R Y H M E S Etc. “BIM.BO” The M O N K E Y . “THE MAGIC RABBIT” A Play. ‘‘SAFETY iIRST”.Novelty Item Teaching Children
Road Sensd,
in Athenaeum Theatre, Bucbanan Street, on FRIDAY, 29th., SATURDAY 30th. DEC. 1950 and WEDNESDAY 3kd. JAN. 1951. Admission- Adults 41. W 21.. Children
- -
0
31-
5.
11-
Booking Opens 13th. November at PATERSON’S 152 Buchanan Street,
-
Postal Bookings Accepted 0
800K
-
a
Reductions for
*
Pasties
€ANY
XxXIXXxXXXxXx:xxxxxx~
Doors Open
2p.m.
Performance Commences 2-30p.m
“ An artistshouldwhittleaway all that is superfluous to hismainthemeoridea. Even as an athlete is trained to fine down every ounce of flesh that would impede the free play of his muscles, so must a work of art be‘strained’ till nothing is left butwhat is essential. Therefore stabbing one card is effective,stabbling cards is over elaboration, it nay is upholstery.” J. N. Hilliard-“ Greater Magic,” page 243.
87
BEYOND BELIEF ROY SCOTT (CLAN SCOTT) WO packswith contrasting coloured backs T are : shuffled andone each is given to two spectators. They place them behind their backs and simultaneously they reverse one card in the centre. The packs arebroughtforwardand on spreading the packsface-down onthe t.able it is seen that the face up cards areidentical. Theni as a surprise climax, the cards are turned over and it is found that in addition the cardshave changed packs. Preparation. Similar cards are removed fromboth packs and placed face-up in the pack of opposite colour, second from bottom. Working : Have two spectators come forward and have them stand one on either side of you, quite close: Pick up each of the packs inturn and false shuffle2 Pick up one pack in each hand and extending both arms have both spectators cut off half the pack; and replace the cut. This move places thq “force ” cards in the centre of the pack. Bring both hands in front of the body, but at no time
I
“ Ouridealsareframed. thoughts.’’ of our
must the packs be brought t ~ g ~ ~ t h ~ r . Extend the arms again, but this time behind the backs of the two helpers. Have them take the pack in their own hands as you remind them that as they have cut the packyou do not know the cards at the top ofthe pack. Whilstyouare; talking, you have reversed the top pack of both packs. Thisis aneasymoveaccomplished by pushing forward with the thumb, and then pushing up and overwit.h the fingers. Askthem to take the top card andturn it face up (due to your unknown manoeuvre they are now turning thetopcard face-down again) and insert it, still face-up (as they think) into the centre of the pack. Whilstyou are telling themwhat to do you have stepped forward so that you have no chance of seeing thecards they turn face-up. When theyhave finished take one of the packsand spread it face down on the table. Show the hands empty before taking theother packand doing likewise.Work up to the climax, and then the double climax.
not according to the measure of our performances,bataccording to themeasure A. J. Balfour-“ The Foundations of Belief”
I
I’VE GOT YOUR N U M B E R ! ROY SCOTT
(CLAN SCOTT) Effect : deck is shuffled, and a spectator is asked to cut off half. This half is ribbonedon the table and the spectator is asked to touch six cards and without looking at the faces to withdraw them fromthe spread. Thesesix cardsarethen laid in a straight line on the table and the volunteer isasked to name his telephonenumber. On turning over the cards they correspond.
A
Preparation : Findoutthe telephonenumber of someone who will be attending your show. If you can find out the name and address you may excuse yourself a few minutes to look at a telephone directory and find the number without anyone being any the wiser. It helps if the victim is a stranger. Having found the number, stack cards in correct sequence at the f o o t of the deck. Try to avoidnumbers with noughts, but if they are present you may bring
in blank cards, jokers, face cards or leave the card in that position face-down at the conclusion.
Working : The cards are stacked at the bottom and are undisturbed by the false shuffle. Thespectator cufs the pack and you ask him to lay his half face down on the table. Holdingyourhalfinyour left hand, spread his half in a ribbon on the table, “ Will you please touch six cards. Just touch themand drsw them a little out from the other cards. That’s it. Don’tworry about looking a t the faces, just put them in one small pile. May I have them please? Thank you.’’ Duri-c the actions above. which are being carried out by the spectator you have been busy. With the aid of the right handyouhave thumb+ counted six cards from the bottom of the half you still hold and inserted the left little fingerin the As you ask if youmayhave thesid break. selected cards you are already reaching forward
88 andare picking them up by the ends between the right thumb at tahe nearest end and the foun fingers at the further end. Bring the right hand to the left. Without hestitat.ion drop the sixcards! on top of the cards in left hand and immediately pick up all the cards above the break. Move the right hand away and drop the cards it now holds on the t.able at the far right. There must be no pause inthelast few actions. To the audience you have merely taken the selected cards put them in the left hand and put the cards which were in the left hand on the table. Carry on immediately by pushing cards which. are still spread on the table to the right also. Now lay the six cards in your left hand deliberately-on the table face-down. (Make sure you lay these,
I
down so that the first number is on the spectator’s left. Think a minute and youwillsee thatthis often depends on whether the audience is all in front8or whether they are allround you). Ask for the victim’s telephone number. Normally lie will’ rattle it off so quickly that it is difficult to pick up. This is convincing. Ask him to repeat it more slowly. As he does so, touchl one card at each number he names. Then repeat; ing it once more turn up one card at each numbed and you’ve got his number. The moveused above must be credited to Annemann who published it in an early’ number of the Jinx. If youlive in some parts of the British Isles, fourand not six cards willdesigd nate the telephone number.-Leslie May.
‘(The expert of to-day takes his stand on the grounds that his one great object is to entertain his audience by deceiving them, and that any means that enables him to do that to the highest degree of perfection is legitimate. Therefore he does not hesitate to use special cards to that end. The only drawback to this method of working is the fact that such cards must be imperceptibly introduced and later disEosed of, or that the whole deck must be switched.” Greater Magic,” page 429.
NAE BOTHER AT A’ OLIVER MACKENZIE
(CLAN MACENZIE) Effect : FOLDED piece of paper containing a prediction is dropped into a hat and two books are given out to members of the audience. A pack of cards is then taken and shuffled, then being taken by another spectator to deal and stop any‘ where; he turns face upwards the next four cards ( i fpicture cards turn up they are discarded and tXe spectator Eeeps turning up cards until four spot cards are in view). All spots are then added to indicate the page of the chosen book. The digits of page number when added indicate line to arrive at. When the slip of paper containing the prediction is removed from the hat by a spectator it is found that the performer ’has correctly predicted the line indicated. There is little preparation. The cards are set up as follows :K, 4, 10, 5, 9, K, 6, 8, 7, 7, Q, 8, 6, 9, Q, 5, 10, Q, 4, 10, K, 5, 9, 6, 8, J, 7, 7, K, 8, 6, J, J, 9, 5, 10, Q, 4, J, A, 3, 3, 4, 3, A, 2, A, 2, 2, A, 3, Joker.
A
The cards in their case are then placed in the right hand jacket pocket. It will be seen from this set-up that all spot cardswith the exception of the bottom stock will total to 28, 29, or 30. In the right hand trousers pocket youwill require two sets of folded slips, one set for each book. Each slip covers the necessary lines on the necessarypages. A slip of paper of similar sizd but unfolded, together with a pencil will be necesd sary. As an aftert,hought youwill also have to1 take the two books with you. Presentation : Take the slip of paper, write something on it then folding it and apparently drop it into the hat. Actually it isretained in a finger-palm position and retained there whilst the books are picked up and handed out. The hand goes to the pocket for tha cardsand ditches the folded paper at the same time. The cards are nowremoved from the case and given a convincing false shuffle. After this a member of the audience is asked to deal off a card at a time until he thinks “ stop.” At this p i n 8
89 he st,arts turning up the fourspot cards. The conjurer turns his head away so that he cannot knowwhatcards are arrived at. The spectator -picksup the cards, adds the numbers together and’ takes the total across to eithe7 of the spectators; holding the books.Whilst thisis done the per-. former is standingwith his hand in his right hand trousers pocket. He watches thespectator with -the book. If the right hand page is used then tha number is 29. If it is a left hand page it is eitheq 28 or 30, but if the spectator goeson counting down beyond line 3 then it is obviously page 28. Theslipis immediately obtained from the miniature index and finger-palmed. In the action
1
I
of picking up the hat and crossing to the spectator: so that he can remove the prediction the fingerpalmed slip is quietly dropped into the hat. The reader will find this effect very convincing, for the fact that the performer seemingly has noknowledge of the page numberwillconfuse those who might think that such knowledge was a possible clue. If youmust go completelymental and you can find the audience who like this type of magic you can have a decent set of indices and a good memory or pigwn holing system like the “ Wikola,” then to throw outa dozenbooks ia “ Nae bother at ‘A.”
“ It is notwise to makeatrickappeartooeasy,especially in mind-readingtricks. In these,inwritinga sentence, the subject should be made to write one word a t a time, look the performer in the eye, with the head keptperfectlyparallel with the performer’s to makethethought wavestravelincoincidental lines and so on.” J. N. Hilliard-“ Greater Magic,”page 881.
YOUR ASTRAL IN 3D GEORGE PIGOTT (CLAN COWAN)
I
HAD been explaining to Angus about his astral body. “ You see you actually have two bodies4 the one we normally see and which is governed by the customs andetiquette of the times wg live in andtheother,theastral body, which is released only during sleep. This body, of course; knows no limitations but can in seconds travel to any part of the world, assume any shape and do many ;thingswhich normally ouchumanbody would find impossible to accomplish.” “ You mean you must be sleeping before the astral body is released?” asked Angus. He never was what you could describe as the brilliant type. “ Let me show you,” I said, “ will you close your eyes while I, with what limited powers I have, try to release your astral from your body for a moment. Just imagine I am holding it here a few‘ inches from theback of your head and imagine you can see me holding it. You will have to sort of look backwards to see it, OK? Now as long as I hold it here and you keep watching it, you will find impossible to open youreyes; that iswhild your astral is separate from your body. Will you try?” He was unaware, of course, that as long as he kept looking upwardsandbackwardshe could not open his eyes. It’s a physical impossibility and an old hypnotic trick. After about twenty seconds I gavehim a firm pat on the back of the head and said,“ There you are, as long as your astral is away from your body your eyes must be closed as in sleep.”
He adjusted his kilt more tightly around his knees andafter a moment’ssilence said, “ Are you trying to tell me at this moment,providing someone is sleeping, that there are astral bodies floating about all over the place?” ‘ I Yes,” I replied, “ but of course to normal: eyes they are invisible. It’s like going to see a 3D. picture. You have to have special glasses to see the picture properly.However I do have a pair. of glasses similar to the 3D. ones, except that they have no coloured lens. Thisis because there no colour inthis dimension. After all YOM are aware you don’t dream 3n colour.”
Youhave to explain everything to Angus, he’s so fa7 behind.
90 While speaking I got outthe glasses, or spectacles I suppose you English call them. I had cut them from a postcard to look similar to t.he popular 3D issue, but instead of the coloured inset or lens had put in a piece of thin copy paper and stuck cellotape on both sides of this to give a glossy finish. “ You,” I said to Angus, “have a look through these. Like 3D. it may take a second Qr two to get youreyesin focus but then you’ll see black shapeless forms floating in front of your eyes4 some quickly darting away, some floating down+ wards into nothingness. These, my friend are the astral spirits of people in all partsof the world but because youyourself are not asleep they appear merely as shapeless masses.” In amazement he admitted he could actually see these forms, little realizing they were in point of fact an optical illusion. “ That’s terrific,” he said, pushing aside his untouched, haggis, but drinking the whisky. “And I assume what we used to call dreams are really the release of the ast,ral spirit?” “ Correct and of course,” I said, “ this spirit knows no bounds, so let’s try a final test. I will try to set free your astral body and I want you to merely think of what form you would like this body to take, what country you would like it to visit and what action you would like it to do. To, get the right atmosphere 1’11 scribble on this piece
I
“
of paper a few shapeless forms to represent your other astral companions and midst these perhaps you’ll jot down your thoughts of what form you wouldassume, your secret destination and what youwould like to do, and this will help youto concentrate on these.” Since I had taken t,he precaution of scribbling my “ shapeless forms ” around the edges of the paper he was forced to put his thoughts in the the centre in readiness for my centre tear. “ Will you fold it now into four and having established the correct atmosphere we can now destroy the paper. Please close your eyes and imagine your astral is now leaving your body t o go on its travels.” By using my specialspectaclesplus the fact that with Angus having his eyes shut I could now read the torn centre, I was able to tell him he had assumed the shape of a dog and was now climbing up a hillside in China. He left me suddenly, fully convinced he had indeed been in strange company. In turn I wag very pleased with the success of the presentation and it could easily be adapted for more than one person. In fact it’s just the thing for the act. Only I wonder if, perhaps, I shouldn’t read so many of these novels by Dennis Wheatley about the astral world, for I’m sure it was next Thursday Angus said he was coming to visit me.
Men are seldom loud in applauding others, unless they feel themselves flattered.” Kenelm Digby-“ The Broad Stone of Honout.”
1
BOOKS “4-C” (Foresee) by George Blake and Raymond Maynard. Complete and ready to work. 20/-from George Blake of 9, St. Alban Road, Leeds, 9. This is a form of prediction most direct both1 in approachand method. It is something that would have delighted the heart of the late Theo Annemann and he would have revelled in theingenuity of the method employed. Briefly the mentalist asks a spectator to sign his name on a card and on this card a prediction
is made and placed aside. Three members of the audience (it doesn’t have to be three) but inmagic that’s the way it always goes), are requested tu name three different types of articles, place or thing and these are jotted down. When the signed card is turned over it is found that the magician has been successful in predicting all three choices. The outfit is complete with the necessary gimmick and most explicit instructions. The value is excellent and the method natural.
“ T h e man who cannot wonder, who does not habitually wonder, were he President of the MCcanique Celeste and Hegel Philosophy, and the euitome of all laboratories and observatories, with their results, in his single head -is b>t 7 nf spectacles, behindwhichthere is no eye.Letthose who have eyes look thfpugh him, then he, r1ny 3’3 .l-efll’.‘ Carlvle- Sartor Resartus.
l
91
The lecture demonstrattion given byDr. Jaks ing of TV though, by the time you read this it will was quite an occasion, and those whomissed this already have appeared in Abra, is the information {literally) “unique ” event missed some very tine thatthePopular Television Association of 78, lessons in thepresentation of magical entertainBuckingham Gate, S.W.I.. are preparingalist ment. of conjurers and magicians (they evidently know Once again it was proved that personality and the difference!),who are willing to appear on TV. cliann are worth more than skill alone. All that If youhaven’tseen the notice before. and vou are we had readaboutthis interested^ i&&n them polished table worker and mentalist wascon’ firmed. Once again Harry Stanley has shown j received the Mss. of a himself a rnaeical benej booklet dealing with ring factor. these Although as tricks. The material is typically “ Trixer,” which notes are written, the means that it is very British RingConvention good indeed. Our hope is just over a month is that its publication away, we still haven’t the will not be delayed too complete bill for the Gala long. show which this year will take place in Edinburgh’s When FredKaps was visiting us some little largest concert hall. One while ago he mentioned hopes that a professional that he was using a new illusion act may be forthcard stabbing effect. the coming for it is certainly brain child of Bob necessary. We are not Driebeek of the Hague. greatly enthralled by the A card is selected and in thoughts that big ma7ked after which it public presentationthere will be twoillusion acts is shuffledback into the pack. A sheetofnewspresented by non-professionals. Theillusion type paper is torninto twopieces, the packbeing of act is the hardest of allacts to present, forspread face downon one sheet, whilst theother seemingly dead pieces of apparatus have tobe is placed above the cards. Akniie is now taken, brought to life. Those who are hasty of criticism the paper stabbed and when torn away shows that of illusionists should try andattempt this kind of the selected card is impaled on itspoints.We work. shall be publishing this in our nextissue.We also, andthis willshock so many, will be Johnny Ramsey tells us that anoteabouthim in our “ Stage ” column brought the pundits of the publishing the index of volume seven at the same TV show.And talktime. B.B.C. down dn himfora 1
this
r
,
‘‘ What I do isn’t aAt 1‘: he insisted when I wanted to convince him itwas. “You know damn well it isn’tI just did it as B stunt. It’s not a fake-it’s a trick” I said, “ andjust am good as a trick as a 8OD.t. by M o z a n “Don’t kid me, damn i t ” he answered. There’s always that silly little shell that you ia as good as a sonata. y get rid of it. slip the ball8 in and out of, and that,Fh:
92
A NEW B O O K O N MENTAL MAGIC
I’LL READ YOUR MIND BY A A G E DARLING
THE LATEST book of audience tested Mentalism
by Denmark’sMasterMentalist
is packed with is designed to entertain as well as mystify an audience.
material that
Hers are 56 pages of outstanding new material, fully illustrated, cloth bound and with an attractive jacket. The authorbelieves in simplicity of method allied to mystery and entertainment value, and here y z u will ,fnd comedy in such effects as,,“ Pin U p Gif!Test and Spirits Test,” Publicity with Telephotrix and other gems, and mystery and entertainment with all the 15 incredible routines. Contents :- lnstanto Book Test, Vibrato, Tele-Hypnosis, A Thriller, Telephotrix, Pin U p Girl Test, Suprema, Symbol Test, Suprediction, Figura, Numaro, A Test of Spirits, Death’s Name, T h o u g h t Echo, The Marked Card.
Price
I7/6;Postage 4d.
II -
S E C O N D I S S U E OF T H E N E W GIANT S I Z E D
MAGIC WAND OVER 50 TRICKS BY 25 AUTHORS
NEVER hasthe magical fraternity been offered such a bargain as the new giant sized Magic Wand, packed with really worth-while material and every issue with several tricks that could have sold on their own for the cost of the whole lot. In the latest issue, No. 238, there is a wealth of material o n every aspect of magic from close-up material to full stage acts. Contents:-Second part of the Merlini Card System, with 8 fine card tricks ; The Dream of Thimbles, a stage act by Chatly Eperny ; The Diary of the Yogi, a mental card trick-without cards, by Arthur F. G. Carter; Triple Prediction, Cards and Cellophane Bag, and Transposing Silks by Tom Sellers ; Quads in Transit, a puzzle and a trick by Jack Lamonte ; The Talking Board, a ventriloquial noveltyby Frank E. Lindsey ; Professional MagicSomethingBorrowed,Card Fan Table, Pocket Horticulture, byDouglasFrancis ; Miracle Pools Forecast, a stage mental effect by Raymond Maynard ; Stunts with Sticks to Silks by Roy Green giving 11 new tricks with this prop!;-but we haven’t space for more, for we could fill this page describing the contents Buy a copy now and see for yourself how great is the value I
Per copy 7/9d. post paid Subscription : 6 months15/6d. One year 30/FROM THE PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX
I
The Magic Circle
Here’s the Prediction to make ’em think By GEORGE B L A K E a n d R A Y M O N D M A Y N A R D
“
1
1
Presidmt : H i s Grace the D u k e of Somerset,
D.S.O., O.B.E.,J.P.. M.I.M.C. Vice-President: D o u g h Crapga. Baq., Y.I.M.C. C.lubroom and Library and Museum :
4=C” (FORESEE)
Hearts of OakBuildings, Euston Road, London, N.W.1.
A Spectator signs a small card, onwhich the performer then makes his prediction.Performerthen calls forspontaneouswords,numbers, dates, celebrities, or for that matter, any items the performer wishes to dealwith.Thesearejotted o n achecking cardandwhenthe Prediction is read, by the spectator, hefinds,underhissignature, a 100 per cent. correct prophesy. THEMOSTSIMPLE & DIRECTAPPROACHTOTHISTYPE OF MENTALISMYETDEVISED “ Undoubtedly the most straight-forward method, and I like particularly the lack of preparation. Will roclc‘ an all-male after dinner audience back on its heels.”-Ken deCourcy. A methodthatworks itself, quick to setand leaves theperformer ‘clean’ atthe finish. Onecouldaskfornobetter method.”-Malcolm Davison. COMPLETE and READY TO WORK 20/-
Magical Theatre :
King George’s Hall, W.C. Forthcoming EventsOctober 3-Opening Concert October 5-10-Festival of Magic Scala Theatre Particulars from Hon
-
From GEORGE BLAKE, 9 St. Alban Road,Leeds
JACK HUGHES will be pleased to send you full detailsof
THE DE LUXB “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
PETER
Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
9.
DOUGLAS FRANCIS’S
‘STAB IN THEPACK’
WARLOCK’S
PENTAGRAM
An entirely new “ thought of” stabbing card discovery
is published on the 24th of each month and can be obtained direct from the publishers for 117 per Lingle copy. Annual Subscription IS/post free. PUBLISHED BY:
Complete with pack and accessories
12/6 From DOUGLASFRANCIS, 65 Norwich Avc Southend-on-Sea, Essex
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publicatioo and books for review should be sent to the: EDITORIAL ADDRESS:
OLD ANL, NEW. Let me know your wanu LIST FREE FOR STAMPED ENVELOPE N o Gllers
24,
GEORGE
Peter Warlock, Wordeworth Rd., Wallington,
JENNESS
47 INVERNESS AVENUE,
Surrey.
ENFIELD, MIDDLESEX a
Every Advertiser’s goodsare fully endorsed by this Bulletin PUBLISHBD BY ‘IHE P R O ? R W O I B T H E MAOIC W A N D PUBLISHINGCOYPANY. 62 WPLLWOTONROAD, BNPIELD. AND PRINTED BY HaRBIIRT WALKER & S O N (PRINTIRS) LTD.,WELL CAO€TTI SHIPLEY, YORKSHIRE
MIDDlESEX
T
1
PETER WARLOCK'S
PENTAGRAM THEINCREDIBLESTAB BOB DRIEBEEK (AENIGMA) HEN our friend Fred Kaps wasover here during the summer or what passes as summer in this country of ours, he showedus a delishtful card stabbing effect. that was an origination of his fellow couniryman, Bcb Driebeek. We immediately wrote asking ifwe could publish and received an affirmativeanswer. Here therefore is a version of the card stab that packs a very powerful punch.
W
The conjurer has a card selected from a pack and the drawer isasked to outog~aph.it. The card is returned to the pack. A sheet of newspaptr is then taken and one half of it torn and placed upon the table. The pack is thenhandedto a spectator with a request that he shuffles the cards and thenspreads them haphazardly over the paper. The remaining halfof the paper is then taken and placedoverthe cards so that there is a sandwich of paper, cardsand paper. The performer takesaknife(and for extra effects he can be blindfolded) and brings the point down on the topmost sheet of paper. The paper is pulledaway and impaled upon the point of the knife is found the selected marked card. The preparation consists in doctoring the sheet of newspaper that is to be used. Take a full sized page and about f3ur and a half inches from the top (see il1us:rationI and two and a half inches from the left side pastz a pocket of paper mzasuring four by three and three quarter inches (this isalittle larger than a playing card). The ideal method of masking the pocket is to use a piece of paper €or it that carriesa dark picture. On the opposite of the sheet of paper place a pencil mark that shows the approximate position of the centre of ths pocket You wc.ill need asmall dage*er or knife: this should bein >'our inside pocket. The chair or prepared sheet of paper is placedona table. The presentation is as follows :The pack of cards is taken and a spectator selects a card which he initials or autographs. The card is returned to the pack and controlled to the -
VOLUME 7, No. I2
=
bottom. The cards are heldin the right hand so that the back of this hand is towards the audience and the faces of the cards towards the performer's body. The left hand now takes the sheet. of newspaperanditis then heldby both hands (see illustration) the secretpocketbeing on the side nearest to the performer.Bothsides of the sheet are shown and to do this the right hand momentariTy relaxes its grip on the corner and the left hand turns itroundand back again. Now comes the crucial move. The right hand moves in anarc
towards the bottom of the paper (see illustration). As the movement of the right hand is made and at that point where the right hand passes the left the right handthumb slips the selected card to the left and the left hand thumb at the same time slips it off the bottom of the pack. The right hand continues its journey and finally takes the corner of the paper (seeillustration). The chosen card is now clippedbetween the left thumbandthe paper and it is the easiestthingin the world to edge it into thesecretpocket. The performer looks over the front of the paper and as an afterthought remarks, I think this sheet is too large," then places the pack aside .for a moment and tears the sheet across the middle. Both pieces are then
1/60 (20 Cents)
"
-
SEPTEMBER 1953
94 shown on eachsidewithout comment. Just a point prior to the showing of the two pieces. If the card has not been pushed into the pocket so
that itjs completely covereddnd this can h a p p n -this IS the point where a complete coverage is made.
The prepared halt is then momentarily placed aside as though itnot. is needed and the unprepared piece placed on the table. Ask a spectator to help
One finalword.Don't make the pocket too small and increase your difficulties. W e have given the originator's own move It is a move for getting the card into the pocket. chat can be subjected by variation according to the ability of the performer. Well done (as we mentioned we saw Fred Kaps perform it), you have one of the most effective card effects suitable both for presentation on platform or in a room. Thanksa lot Boband congratulations onyour fine GrandPrixwinningactatthe Rotterdam Congress.
THE FEMALE OF THESPECIES IS
.. .
TALMA QUEEN O F COINS
.. LER i
*W;' ,.$
.
-. , *
you and hand him the pack with the request that he firstshuffles the cards and then spreads them haphazardly over the sheet of paper on the table. By this direction you force him to keep the cards within a small area. Take the dagger out of your pocket and then pause. for a minute. '' Look sir," you remark, " let's make it a little more difficult " and taking up the prepared sheet of paper you
place this pocket side down on top of the cards. The remainder of the trick is one of presentation for all you have to do is to stab the paper at the pencil mark and then rip the top sheet of paper away in a direction opposite to the secret pocket.
.
"~
kx-
...
From the J. B. Findluy Collection
l
95
ROUGE ET NOIR DR. DALEY poll taken at a number of British A RECENT Magical Societies on behalf of ourfriend GoodlifTe showed that too small a number of magicians were reading one of the few adult pubIications dealing with magic and magicians. We referto the Phoenix. Some while back its Editor, Ehuce Elliott gaveuspermission toreproduce materiaifromits pages, andthis,oncertain occasions we have done. The effect by Dr. Daley (which together with a similar effect of Dai Vernon’s we had the privilege of seeing some while back), is worth more than an annual subscription to any magazine and for that reason we are publishing itnowwith the hope that all our readers also tie uptheir allegiance tothe Phoenix and have at their disposal thealternative version by Dai Vernon. Dr. Daleyshuffles a pack of cards,fans through the pack, picks out and shows five black cards one of which is the Ace of Spades - and drops them onthetable. Next he fansthrough the pack, picks out and shows five red cards and drops them face down on the five face down black cards. A spectator is asked to mix the five red and five black cards, just by pushing the ten cards around until neither thespectatornorthe performer has any idea of the order of the cards. At this point the spectator isgiven a choice of red or black, and then pushes five cards at randomtothe estimable doctor.Dr. Daley then turns over the five cards the spectator has chosen for him and they prove to be all red, let us say, andthespectator whenhe turns his five cards over, finds to bis surprisethathehas selected nothing but black cards! And properly done this is the effect you will get from this subtle and lovely little nonsuch! Your only preparation is to have on top of the face down pack, from the top down, five indifferent low red cards and then the Ace of Spades. With thislittle blockon top of the pack -it is obvious that you can safelyshuffle the pack as long as you don’t hit the top six cards. Turnthe pack face upandfanthrough it saying you are going to select five, fairly low black cards. Bylow youmeantwos, threes, foursand fives. Run through the pack lifting up about halfway out of the pack, four indifferent low black cards as you come to them. Remember that you are going to use the Ace of Spades as yourfifth card, so use your judgment as to which black cards to jog upwards. Whenyouhavejogged the four, run to the Ace of Spades and in stripping out the four cards and the Ace. strip out the five red cards hidden behind the Ace.
These tencardsare casually shown as five, and the pack is turned over face down-and you drop all tencards as five, on top of the pack. False count, just! by pushing off the two top cards as one, then fairly counting two, three, four and five cards whichyoumiscall as five black cards. Square them up (nottoo neatly) andturn over the packet of six cards as five and flash the Ace of Spades on the bottom of the packet. Drop the cards back on top of the pack, again miscalling the cards as you deal off onto the table, five cards saying as you do so, “ One, two, three, four, five black cards.” Really these are five red cards. The block of black cards with the Ace on top of it is on top of the pack. Turn tlhe pack face up, fan through the pack as you did before, but this time jog upwards five low red cards. Rip them out of the pack and drop them face down on top of the face down pack, just as you didthe firstt,ime. Count them off fairly, square them up, just as you did the first time, drop them on top of the pack and deal them off on to the table. To the spectator youhaveshown five black cards and dropped them on to the table, and then fiver6d cardsanddealt withthese similarly. Actually thereareten red cards, face down on the table. Now have the spectator mess the cards around so that all track of tsheir supposed colour is lost.Give thespectatora choice of red or black. It isa magician’schoice for he has red Whilst he has been mixing the cards around you have had all the time in the world to count down five cards from the top of the pack and keep a break at that point with the little finger. The pack should be held in the left hand face down. Havethe spectator randomly choose five cards, and give them to you one atj a time, accepting them in the right hand face down. You have to make a switch at this pointbut everything up to this point is so seemingly fair, and since as far as the audience is concerned the trick is almost over at this point, you should have no trouble with it. The five red cards are held in your right hand with the fingers at the far end, the thumb at the near end. The pack is in your left hand, with tshe litfle fingerkeeping a break under the five top cards. At this point Dr. Daley uses a very Daleyesque bit of business.He rotafes his left hand a trifle so that the back of the hand is towards thespectator. The doctor bows a trifle
to the spectator and gestures with the packetin hisrighthand, saying, “ You havechosenfive cards whichyougaveme.These . . . . ” He gestures with t3e five cards and makes the switch in one continual motion as he brings the packet nearthe pack,bowsagain slightly and presses both hands against the chest, the back of his hand to the spectator, the face of the bottom card on the pack tothe spectator. Therighthand, after the switch, continues its motion upwards and with the back of thishand out’ward, the back of the little packetis towardsthe spectator. The cards held by the doctor are then turned over, the spectator following suit. If however,you are not born inthe Daleymould the alternative switchmay suit you betterandthis switchismade asthe spectatort>urns over his cards. This is the how of the switch. Just as the spectator begins to turn over his cardswe bring the right hand towards the left hand and weuse the left thumb to push the packet of cards to the right about half an inch. The packet in the right hand is dropped on top of this and as soon as the right fingers and thumb relax their hold they come down and pull out of the pack sideways the packet jogged to the right.
I
This allows us, as soon as the spectator has turned up his five red cards, to drop our five black cards on to the table and spread them. The function of the Ace of Spadesis an important one. The spectators seenothingbut a sort of indistinguishable mass of low red and black cards. Theone recognizable cardis the Ace of Spadeswhichserves asan unspoken guarantee that there has beennothingunderhand, like a switch of cards going on.
Editor‘s footnote : A thought occurred to us when playing with the effect regarding the switch at the conclusion of the effect which was to the effect that the Curry turnover change could be used to perfect advantage. As the spectator pushes out five cards fortheconjuror,thelatter with his right hand puches them into a neat stack. When the spectator is left withfive cards these too are stacked and the performer recaps. Withhis right, handhe turns over the spectator’s heap and with the left hand at the same time he turns over his own heap, the Curry change (which is no more difficult with five cards than it is withone!) is madeandyou have the perfect climax.-P.W.
“ A conjuror without an ideal is like a ship without a destination and as likely to reach p:rt.” S. H. Sharp - Neo-Magic.”
I
SPACE CONTROLLED ROY SCOTT ITHOUT doubt the most popular card effect WWorld.” in use to-day is Paul Curry’s Out of this Unfortunately it is often over“
worked, and is used by magicians who have little, if any skill, with cards. Beingunused toCard Magic they often useno misdirection and being slightly clumsy in handling leave the impression tthat the trick is not difficult and can be done by anyone. Ken de Courcy will bear me out when I saythat once, onboarda troopship, we were shown “ Out of this World ” bya layman. He had worked the method out after seeing it done once. So let’ssee ifwe can rectify matters. In an attempt to find a method of repeating the effect, I felt the weak spot was the stopping in the middle of the deal to switch colours. Most of the misdirection patter can be used once, but wears thin when used a second time. The method as is cheeky but effective. I donotthinkitis strong as the original, but is invaluable if ona return date you are asked to “ Do thatCard Trick again.’’ The stack is the same as “ Out of this World.”
Have a red and a black card on the table face-up. Handthe pack to the spectator and havehim deal face-down.Whenhe reaches about twenty, interrupt him and prevent him from dealing more than twenty-five. Takethe remaining cardsand holdthem intheleft hand.Askhim tosquare up thetwo piles he has dealt, but thismust be done in a definite order. One of the piles he has dealt will be correct but the other is not. It is this in, correct pile whichhe is asked to squarefirst. As he does so you estimate the number of cards he has dealt andwith the left little fingeryou pull down,by the corner, this number of cards from those you are holding, and hold a break. Do not try to be exact. Takethe incorrect cards from him as youaskhim to square the other packet. Drop these incorrect cards on top of those in the left hand.Immediately lift all cards (including those just added) above the break and put them onthetable with the right hand. By this time the spectator has finished squaring the other piIe he dealt. Have him lift these and ask him to deal his cards simultaneouslv withvour cards on to the indicators. Oncemgreyou&esuccessful.
“ By ‘ Good Effects,’ I mean those which are technically and artistically sound and by ‘ Poor Effects ’ the reverse. But the latterare frequentlypassedasgoodeffectspntoanunsophisticatedpublic, an! indeedmany writers on conjuringseem to encouragesuchcharlatanism.Theaudience,’saythese teachers,know nothing of magical devices, so why trouble to use methods designed to bewilder conjurors?’.” S. H. Sharp - “ Neo-Magic.”
97
RESULT OF THOUGHT ROY SCOTT Paul Curry’s Power of Thought W HEN was advertised, I, in common with half the card men in Britain began to think out “
”
methods. I got one which worked perfectly, and was disappointed when I learned from the original that my guess was wrong. Although the original is good I found my version had a few points which made it worth-while and I have used it continuously since then. Preparation. One pack is thoroughly shuffled. Another pack of contrasting colour is stacked in REVERSE order to the shuffled pack. i.e. the first card of the one pack is the last card of the other and viceversa. Working. Both packs are false shuffled and placed before the spectator whoisgiven a perfectly free choice of either pack. He is asked to deal these cards face down one by one on to the table and to stop whenever he wishes. (To speed up the climax and also to assist in the follow-up it is better if you keep talking whilst he is dealing, and tell him he may stop whenever he wishes AFTER about twenty cards are dealt). When he wishes to do so he stops dealing and turns face up the top card of those he has dealt on the table, remembers it, and then drops the cards remaining in his hand on top of those he hasdealt thus burying his card (still face-up) in the centre of the pack. He then picks up his pack and waits for your next instructions. You have another spectator come up, pick up the second pack and you ask them to deal cards in unison, each dealing cards face-up on to
I
their own pile, card for card. Make this deliberate, and slow, but notlslowenough to bore. Watch out for the face-up card in the first spectator’s pile. When it is near the top, slow down the dealing and when itappears on top of the pack call “ stop.” Remark how the cards which have been dealt are all different, and yet how remarkable it would be if thecard which the first spectator stopped at, was at the same position in the pack as its namesake in the other pack. Turn over the top ca,rdin spectator number two’s pack, and show this is the case. Everything is now ready for a repeat, although a little subtlety isneeded. Have both spectators remove the two cards which are faceup on top of the two packets they hold (the cards which have been dealt on thetable are also pushed aside meanwhile). This time the assistants reverse their respectiveroles. Hethat was last is now first. As before he deals cards on the table facedown and stops when he wishes, turns the card on top face-up and then drops the cards he holds on top of that. (Ifyouwere to attempt to finish t,he effect as in the first part you would meet with disaster. The reason forthis isbecause, due to the first deal having reversed the cards, the packets instead of being in reverse order asat the beginning are in identical order). Tell spectator that it,mightbe better if he could see what he was doing and have him turn his pile face-up. Once more the cards are dealt, this time A deals face-up and B face-down. This time when the face-up .cardis reached in B’s pile its twin is already facing spectator on top of A’s pile.
“The slogan, ‘ It is not thetrick,buttheman,’sounds conclusive, but it is not true;becausethough a beginner may fail with a good trick, an expert can never make a success of a poor one. The slogan should be, ‘ It is not the trick, orman, but the both.’.” S. H. Sharpe - “ Neo-Magic.”
I
A JOKER PREDICTION A W H U R F. G. CARTER time you are working with a Canasta NEXT pack-that is a pack containing two Jokers, try the following prediction. I think that you will be pleased with the result. At a convenient moment, locate the two Jokers and place one at the top and one at the bottom of the pack, then having provided yourself -witha pencil and scrap of paper on which to write the prediction, you are ready. Simply write upon the paper the words : “ THE JOKER,” not “ You will choose ” - the reasonfor this will become apparemt in a few moments. The paper is then folded and placed aside.
A spectator is then asked to cut the pack into three roughly equal heaps. This will result in one of the Jokers on top of one of the heaps, the second at the bottom of another, and a heap which contains no Jokers at all. This pilewe will call the null. The helper is then asked to freely choose any one of the heaps. If his choice lights on either of the “ Joker ” piles you are over the first fence; if however he picks on the “ null ” this is placed aside, and a second choice made from the two remaining piles,whichis also placed aside, the surviving packet being used.
90
The spectator is now asked to make a completely free choice of either the top card or the bottom card of the pilehe has chosen. It is of course an even chance that his selection will be the Joker,in which case you have accomplished a miracle, having predicted the card that would be chosen, without having touched the pack yourself once throughout the effect. If howeveryou are unlucky, the following “ out ” is used. The selector is asked to note the cardhehas chosen, and-leaving it in position, cutthe packet as many times as hedesires. “ Now,” the performer brightly remarks : “ Somewhere in bhe pack, I hope h that pile that you
I
have chosen, is a “ detective ” card, whose name I wrote upon that piece of paper you are holding, and that card has infallibly placeditselfnext to the card you chose. Will you please read out its name for all to hear.” Having read out “ the Joker ” the spectator deals through the packet he holds, and finds that what the performerprophesied has indeed taken place. ‘One small point; if the Joker was originally at the top, t,he packet is turned face up and the cardsdealt from the bottom. If the bottom, it is kept face down, each card turned face up as it is dealt,.
“ A thing to remember is that you cease to be a conjuror when you have finished your performance. Nothing can be more irritating to really intelligent people than the conjuror who poses as a ‘ magician ’ and pretends to beman a of mystery after he has finished his act. Wilfrid Jonson - “ Conjuring.”
I
BOOKS “I’ll READ YOUR MIND ” by Aage Darling (Translated by C. Steffensen and published by George Armstrong, price 17/6). Whilstmost books dealing with mentalistic magic are bent on giving new methods, the present book takes quite a number of well-known magical devices and clothes them with a presentation that makes for entertainment rather than boredom. The female angle is touched upon quite a lot, and there is no doubt that the use of lady assistants on a stage is of considerable value to the commercially minded magician. The use of pictures of women instead of such prosaic things as geometrical symbols must have a greater audience appeal when one considers the types and condition of audiences as a whole.
The well read mentalist will find nothing new regarding technique, but he will, I feel sure, find ideas concerning presentation that will justlfy his purchase of this interesting little book. Well bound in stiff covers the book runs to some fifty pages of text. The illustrations are by Jack Lamonte. DAVENPORTS.-From our good friends in New Oxford Street we have received a number of lists which in the main, feature effects which stand the test of time and in which in many cases have been off the market for sometimeowing to the lack of supplies of the necessaryrawmaterials. Q d t e a number of new items appearas well, including a very nice version of the Aqua Static Cone.
99
Our first afterthought regarding the recent British Ring Conventionat Edinburgh is that of the generous hospitality dispensed by both the Scottish magicians andthe civicauthorities. O u r second, is to thank Leslie May and Oliver Mackenzie for the most essential help that they of our B. B. C. gave usintheexecution prediction. Nothing we have attempted in this field before has brought such a wide response from the press both in this country and abroad. Again Leslie and Oliver, very many thanks ! In the “ Stage ” only a fortnight before the Convention we had commented on the number of women entrants for the Shield Competition andhadpredictedthatthedaywouldcome when a woman would win the Shield. We did not think, however, that it would take place “ Liz ” Warlock this year andthatourown would win the award, and that apiece of heavy luggage carried up to Edinburgh would have t o be brought back t o Wallington. At the Assembly Rooms the dealers’ seemed to have a rather raw deal regarding both accommodation and facilities for showing. Whilst we think they should have made firmer a stand and refused such accommodation it is a matter that the next Convention Committee must put right at next year’s venue, Brighton, for the dealers are a definite attraction and part of the backbone of a Convention. It will be a long while before the “ Ring ” sees such a colourful Civic Reception as that given at the Assembly Rooms by the Lord and Lady Provost, Sir David and Lady Miller. The robes of these two dignatories plus those worn by theEdinburghCouncillors leaves amost vivid impression in our memory of pageantry a t its best. On the dealers’ stands there was not a great deal of novelty to be founf; but itwas certainly pleasing to see ‘‘ Demonpicturesilksonce -more at the Davenports together with a number of other worthwhile items. Harry Stanley had a good seller in “ Hen ” Fetch’s l‘ Breaking the SoundBarrier,”andJackHugheshadsome inexpensive novelties that found favour. The public shows went on as usual, but it -was the close-up sessions and the “ Classics of Magic ” program,mewhichbroughtthebest
magic to the onlooker. Both the lectures given, one by Eddie Joseph and the other by Johnny Ramsay, were excellent and each drew a large audience. One conclusion must be drawn from both thisConventionandthatat Hastings in the previous year, is that a Headquarter Hotel is essential to achieve the real social atmosphert. Bclt we’ll forgetallthesethingsfor the moment and simply register the fact that for us the most important thing that happened to us at Edinburghwas the opportunity to meet again, Stewart James. It musthave been way back in the early forties, when we met Stewart at Birmingham.Hehadtravelledupwithourfriend Francis Haxton to a dinner given by the South Staffs. Society. We tal.ked into the early hours of themorningabout Freer and many other American magicians. When we met again we carried on the conversation from where we had left off and we are still doing it. The week following Edinburghwas for a few of us a continuation of a magifest. The Occult Dinner was a gastronomical and magical success. Though the first was assured as the choice of restaurant and meal was in the expert hands of Jack Salvin, we certainly did not anticipate seeing Jimmy Esler’s amazing book test ; this was a feat of mental magic thatquiteliterally knocked us for six. In the coming volume there is some very of Judge nicemateriallinedup,Twoitems Wethered’s we have had for some time and one of these, a version of Le Paul’s cards in envelopes will appear shortly. George Blake has promised a special numberinthenearfutureandthe other evening after watching Jack Avis work a delight+ful coin routinewe managed to get the promise of a special number from him. It seems impossible that another volume has been completed. Once again our very great thanks go to all those Who have helped to complete volume seven. One thing we would like t o call our readers’ attention to is the retractable pen that is now being marketed by the Biro Company.With of movement,the animperceptableamount actual ball point of the pen can be retracted os extended.Hereistheidealsubstitutefora non-writing pencil put out in an elegant form.
100 S E C O N D I S S U E O F T H E N E W GIANT SIZED
A N E W B O O K ON MENTAL MAGIC
I’LL REAID YOIJR MIND BY AAGE DARLING
THE LATEST book of audience tested Mentalis by Denmark’sMasterMentalist is packed wig material that i s designed t o e n t e r t a i n as well as mystify an audience. Here are 56 pages of outstanding new material, fully illustrated, cloth bound and with an attractive jacket. The author believes in simplicity of method allied to mystery and entertainment value, and here you willfindcomedy in such effects aslI“ Pin Up G’:! Test” and “ Spirits Test,” Publicity withTelephotrix and other gems,and mystery and entertainment with all the 15 incredible routines. Contents :- lnstanto Book Test, Vibrato, Tele-Hypnosis, A Thriller, Telephotrix, Pin Up Girl Test, Suprerna, Symbol Test, Suprediction, Figura, Numero, A Test of Spirits, Death’sName, T h o u g h t Echo, The Marked Card.
Price 1716; Postage 4d.
MAGIC WAND OVER 50 TRICKS BY 25 AUTHORS NEVER hasthe magical fraternity been offered sucha bargain as the new giant sized Magic Wand, packed with really worth-while material and every issue with several tricks that could have sold on their own for the cost of the whole lot. .In *latest issue, No. 238, there is a wealth of material o n e m y aspect of magic from close-up material to full stage acts.Contents:-Second part ot the Merlini Card System, with 8 fine card tricks ; The Dream of Thimbles, a stage act by Charly Eperny ; The Diary of the Yogi, a mental card trick-without cards, by Arthur F. G. Carter; Triple Prediction, Cards and Cellophane Bag, and Transposing Silks by Tom Sellers ; Quads in Transit, a puzzle and a trickby Jack Lamonte ; The Talking Board, a ventriloquial novelty by Frank E. Lindsey ; Prcfessional MagicSomethingBorrowed,Card Fan Table,PocketHorticulture, by DouglasFrancis;Miracle Pools Forecast, a stagemental effect byRaymondMaynard;Stuntswith Sticks t o Silks by Roy Green giving 1 1 new tricks with this prop!;-but we haven’t space for more, for we could fill this page describing the contents Buy a copy now and see for yourself how great is the value ! Per copy 7/9d. post paid Subscription : 6 months 15/6d. One year 30/-
FROM T H E PUBLISHERS
T H E MAGI’C W A N D P U B L I S H I N G C O . 62 WELLINGTON ROAD, ENWIELD, MIDDLESEX
The Magic Circle
Here’s the prediction to make ’ern think By GEORGE BLAKE and R A Y M O N D M A Y N A R D
4=C (FORESEE)
“ ” A Spectator signs a small catd, onwhich the performer thenmakes his predtction.Performerthencallsforspontaneouswords,numbers, dates, celebrities, or for that matter, any items the performer wishes to deal with.Thesearejottedonacheckingcardandwhenthe Prediction is read, by the spectator, he finds, under his signature, a 100 per cent. correct prophesy. THE MOST SIMPLE & DIRECT APPROACH TO THIS TYPE OF MENTALISM YET DEVISED “ Undoubtedly the most straight-forward method, andI like particularly the lack of preparation. Will rock an all-male after dinner audience back on its “ A methodthatworksitself,quick to setand heels.”--Ken deCourcy. leaves theperformer‘clean’atthefinish.Onecouldaskfor nobetter method.”-Malcolm Davison. COMPLETE and READY TO WORK 20/-
-
From GEORGEBLAKE,
JACK HUGHES will be pleased to send full details of
I’O~I
THE DE LUXB “SU-TABLE” together with all his other effectsinreturn for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
9 St. Alban Road, Leeds 9. PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and (-an be obtamed direct fromthepublishers for 117 perbingle copy. AnnualSubscription 181post free.
PURLISltED
Hearts of OakBuildings, N.W.l. EustonRoad,London, MagicalTheatre
:
King George’s Hall, W.C. Forthcoming EventsOctober 3-Opening Concert October S 10-Festival of Magic Scala Theatre a
Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue, Wimbtedon Park, S.W.19
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’ An entirely new ‘‘ thought o f ” stabbing card discovery Complete with pack and accessories
1216 From DOUGLAS FRANCIS, 65 Norwich Avc
Southend-on-Sea, Essex
BY:
The Magic Wand Publishing Co. 62 Weltington Road, Enfield Middlesex Manusrriptsforpublication and books Cor review should be sent to the: EDITORI4L ADDRESS:
24,
President : His Grace the Duke of Somerret, D.S.O..O.B.E., J.P., Y.I.M.C. Vice-President: D o u g h Craggs, Esq., Y.I.M.C. Clubroom and Library and Museum :
Peter Warlock, Wordsworth Rd., Waltington, Surrey.
CONJURING BOOKS FOR
SALE
OLD AND NEW. Le! me know your wants LIST FREE FOR STAMPED ENVELOPE Ein Callers
G E O R G E
JENNESS
47 INVERNESS AVENUE, E N F I E L D , F?IDDT.ESEX
AND PRINTED BY HBRBBRT WALKBR L SON (PRINTERS) LTD., WELL CROFT, SRIPLEY, YORKSHIRE
PAPER ... ... ...
CARDS
Full Stop, Double Stop ! ... Enchanted The Basket ... A C I D Test' ... ... ... .. ... Colourblind ... Buried Treasure ... ... Jacob's Elevator ... ... ...... The Psychic Seven Kortially Yours ! ... ... ... ... Angle on Marlo Angle on Angle on Marlo ... Kortially Yours (2) ... Double Up Discovery ... Variation on Card Incidence Beyond Belief ... ... I've got yournumber ! ... The Incredible Stab ... Rouge et Noir ... ... Space Controlled ... .. Result of Thought ... ... Joker Prediction .. ... *
...
... ... ... ... ...
... ... ... ... ...
... ... ...
...
... ... ... ... ...
... ... ... ...
... ... ...
...
...
...
3 19 21 36 39 41 42 45 46 47 56 71
79 87 87
93 95
. .
96 ...
...
. . I
91
The Binding Ring The Ring Binds Again Fun Thumb Laced Up
...
...
Yrutnec Hteitnewt Phantasy in Silk Miracle Porous Glass
IUNGS ...... ... ... ...
...
.
...
...
.'g 69
...
SILKS ... ... ... ...
...
...
...
...
16 40
...
...
- .
53
MISCELLANEOUS Sands of Gobi ... ... ... Perfect Window Envelope ... All at Sea ... ... ... TheThumbTie Effect .. Two Into One will Go . . .. The Hindu Thread Trick ... .. More Chance One ... ...
97
17i 78
.. . ,.
...
.., ...
...
MAGIC CIRCLE BANQUET
...
Report
...
...
...
...
57
MENTAL
Four Cards, Four Envelopes An Impromptu Newspaper Test The Borgia Affair ... ... Poison in Jest ... ... Thoughts out of Print ... Do you Reverse? ... ... Written on Time ... ... Hold Candle a ... ... Nae Bother at 'A ... ... Your Astral in 3-D ...
... ... ...
... ... ...
5 11 25 38
...
...
48 49
... ...
...
72
...
78 88
... ...
89
FEMALE OF THE SPECIES
... 1. Mdlle. Von Et,ta D'Alton Emilie ... 2. Eva ... 3. AnnaFay ... 4. Harriet Dreilinger ... 5. Madame Patrice Elizabeth Warlock ... 6. ... ... ... 7. Mrs. Bodie Mary ... 8. Maskelynne McClay Alice ... 9. ... ... 10. Talrna ..
MONEY Astral Coin ... Nota Bene ... Your Choice ...
... ... ...
... ...
...
2 18 26
...
...
...
46
...
.. ..
...
...
c-2 70
... ...
...
S4
...
...
... ...
78 36 94
OUT OF THE PAST ...
...
I
...
...
2
4
8
14 33 30
13 19
BOOKS 43 58 66 74 81 96 98
...
...
...
37
...
...
65
...
81
MAGIC GO ROUND 7' 15 23 31 43 51 59 67 75 83 90 99 CARTOONS
Invulnerable Pawrus Coin
...
...
... ...
...
...
...
...
73
Ye Bonnie Banks
...
...
...
...
85
Astral Coin Rides Again
... ...
...
4
29 48
.
BOOKS ETC REVIEWED Thz Yock ... ... Effective Card Magic Dr . Jaks’s “ Multiball ”
... ...
... ...
...
The Classic Secrets of Magic
... ...
6 6 6
...
... ... ... Entertaining with Contact Mind-Reading Four Little Beans ... ... ... ... One Man Mental Magic ... ... ... Encyclopaedia of Cigarette Tricks ... Hugard’s Magic Monthly. Volume 8 ... The Puppet Master ... ... ... The Magical Diary ... ... ... ... Davenport’s Lists ... ... ... 30 It’s Easier than you Think ! ... ... Successful Conjuring for Amateurs. ... Modern Coin Magic
.
... ... Avis. J ... ... ... Belcher. L . . . . ... ... Bernard. B . . . . Carroll. Hugh A . ... ... Carter.Arthur ... ... Daley. Dr . Jacob ... ... De Courcey. K . ... .. Derris. J . . . . ... ... Dexter. W . . . . ... ... ... ... Douglas J . . . . Driebeek. Bob ... ... Elmsley. A . . . . ... ... Francis. D. . . . ... ... Harrison. C. . . .... ... ... ... Haxton. Francis ... Howie. J . A . M . ... ... ... Jnks. Dr . S . . . .
...
58
...
... ...
58 66
Universal Mind Stab in the Pack
...
...
...
... ...
...
...
15
Message from Hades Grand Finale ... Playing with Magic ...
...
...
22 22
... ... Varied Deceptions ... ... Two Jardine Ellis Ring on Ribbon Routines
22
My Best Card Trick ... ... Miracle Mix-up ... ... 100 Latest Tips on Tricks ...
14
14 14
30
98 30 30
... L..
... Hugard’s Magic Monthly. V01. 9 . . . . I’ll Read your Mind ! ... ...
58
74
74
82
... ... ... ...
82 82 82
82 98
. I .
47
27
...
...
...
40
73
Kort. Milton ...
...
...
...
3
...
...
...
... ...
...
...
...
71
...
...
...
...
...
88 ... 21 49 85
... ...
...
...
10 80
McCarthy. Brian Macleod. N . . . . Mackenzie. 0. May. Leslie ... Moffatt. P . . . . Pigott. G . . . .
... ... ...
...
...
26
Potter. Jack ...
...
...
...
78 79 ... 89 ... 55
93
Rowland. E. Scott. R . ...
...
...
...
5 11
...
...
... 87 96 97
Tan Hock Chuan Taylor. F. V . Treborix ... Trixer. Hans Warlock. Peter
...
... ...
... ...
...
...
...
37
39
72
65
...
17 78 ... 12 ... 36
...
...
69
...
...
48
...
...
...
...
...
...
58
...
...
... ...
43
... ...
Dice Deceptions
42 97 ... 95 4 29 48
...
...
...
...
...
...
...
...
...
31
James. Stewart Kaps. Fred ...
... ...
...
... ... ... ...
.
... ... ...
...
Fourth Collectors’ Annual ...
...
...
45 33
1 ...
3 28
... ... ... ... 19 ... ... ... 41 61 ... 9 38 46 53 81
VARIATION ON LEPAUL’S CARDS IN THE SEALEDENVELOPE H I S H O N O U R EANEST WETHERED N Mr. Le Paul’s Card Magic there is contained a description of an effect called “Cards in the Sealed Envelope.” It will be found in Chapter 31. page 213. This was an original effectby Mr. Le Paul and I thought it a high light in his book. The version described by Mr. Le Paul was admirably suited for the use for which it was intended, as a close up or informal performance. There three factors in his description were,however, which I thought were capable of improvement if the effect was to be.used in thesort of show which I present. The d e c t in Mr. Le Paul’sversion is as follows :After performing four a acesroutine,a spectator is asked to mark each of the four aces. The four marked cards are inserted face up in the centre of the facedown pack which is then spread ribbon fashion across the table, faces up, so that the backs of the four cards inserted can be seen. The performer takes from his inside coat pocket a packet of letters and envelopes from whichhe extractsanenvelope which is stuck down and sealed. One end of the envelope is torn open by the performer and inside the envelope are found the four marked aces. The four reversed cards in the deck are found to be indifferent cards.The three points in this direction which I .desired to alter were :(l) Taking the sealed envelope fromthe packet of letters, etc., taken from the performer’s pocket. (2) The fact that only the performer handled the enveloue in which the four marked cards were found: a d (3) Finding the four reversed cards to be indifferentcards. This seemed to me tobe in the nature of an anti-climax. The lozical conclusion would be for the four aces sim$y to disappear from the pack. I therefore evolved a variation on this effect whicli I will nowdescribe. The -basic sleightused and the method adoptedto get the aces into the envelope are both as described by Mr. Le Paul in his book.
I
~~
~
~
>
VOLUME 8, No. I
-
Effeet-On the pexformer’s centre table stands a tumbler, a pack of cards and a packet of four business envelopes. These envelopes are made of stout brown paperandopen at one end. The envelopes used by me.are six inches long and four inches broad. Each of these envelopes is stuck down and sealed with red sealing wax and the whole packet surrounded by an elastic ban& Two assistants are required; one is seated on the right of the performer, with a smalltable near him, the other on the left of the performer. The performer takes up the pack of cards whichhe shuffles and asks the assistant upon his rightto call stop whenever he chooses He calls “ Stop.’” The performer team to shuffle and the two top cards at which the assistant stopp3 are removed from the pack and placed back upwards in the glass on the table. The same procedure is adopted with theassistant on the performer’s left. The four cards are then removed from the tumbler and it is found that th0 two assistants have chosen the four aces. The four aces are handed to the asdstant on the performer’s right, with a Biro pen or pencil, with the request to sign his name acrass the fa? of each card. The four cards so signed are then placed reversed in the pack, that is to say when the pack is fanned with the faces of the cards to theaudience, the four aces are seen in the packwith theirbacks outwards. This is done, as the performer explains. so that the presence of the four cards can be seen by everybody even at the back of theroom. The pack is closed and placed face outwards in the tumbler on the table. The performer thentakes up thepacket of envelopes and hands the packet to his assistant on his right. H e draws his assistanf‘s attention to the fact that each envelope is sealed. The elastic band is removed and the fourenvelopes are shown to be stuck down and sealed.The assistant chooses ono and the other three envelopes are discarded. The pack is taken from the tumbler and the reversed aces are seen still to be in position. The aces are then commanded to leave the Dack and to enter ~
~
~~~
I/6. (20 Cents)
-
OCTOBER 1953
2 the selected envelope. The pack is fanned and it is found that the aces have disappeared. The assistant is asked to examine the envelope and satisfy himself that there is no way of getting inside the envelope,not even for a postagestamp. He is then handed a pocket knife to enable him to cut the envelope open which does, and inside he finds thefour signed aces. These are displayed and the performer explains that, of course, signed cardscan no longer be used but that with the aid of magic he can get over this difficulty. The aces are touchedwith hiswandand it is then found that all four signatures have disappeared. M e t h o b T h e sleight for obtaining possession of thefour signed aces is as that described by Mr. Le Paulin Card Magic at page 61. Any similar method for obtaining the same result will prove suitable. It is an improvisedmethod of executing the Diagonal Shift. This leaves the four aces palmed in the performer's left hand. The pack is placed in the glass and the performer picks up the packet ofenvelopes. The method of preparingthe envelopes varies fromthat described by Mr. Le Paul insofar that the envelope in which the a m are subsequently found is not slit across the upper part of the back for the purpose of inserting the aces as described by Mr. Le Paul. An entirely different method is adopted. The envelope is placed in warm water so as to loosen the flap or turn-over at the base of the envelope which is then unstuck and opened out. The envelope is then dried, for whichpurpose it is placed between two pieces of blotting paper and ironed with a hot iron. The normal flap is then stuck down and sealed and the small flap, which has been unstuck at the other end. is then coated with rubber solution and a coat of rubber solutlon is applied to the envelope along that portion of the end on which the small flap will rest when turned back. Therubber solution will not stick to any untreated surface, butthe moment the treated surfaces are brought together wlth slight pressure they adhere and can only be opened with difficulty. In other words, the envelope is treated as if it were a self-sealing envelope. Two o!her envelopes in the packet are prepared as descnbed by Mr. Le Paul. That is to say. each has a piece of cardboard inside to stiffen it. They are stuck down and sealed, but on the address side of each of these envelopes a semi-circular flap is cut out as illustrated in Mr. Le Paul's book and lettered C and D. These two envelopes and the envelope with the adhesive end are assembled as described byMr. Le Paul but instead of theflap C of envelopeA, in Mr. Le Paul's description, goinp. into a .slit in the fake envelope, it goes over the treated portion of the small flap. Envelope B, is then placed on top of these two as described bv Mr. Le Paul. That is to say, t h e flap (marked D) on the address tide slips into the open end of the fake envelope. Placed in this position. the rubber solution will not adhere to the inserted flaps because they are not treated with solution. On top 'he
of these three envelopes is placed an envelope
which isnot prepared. A rubber band then encircles the packet. If the packet is then squeezed between the finger and thumb on its long side it will be found that thestiffened envelopes open out so as to form a sort of tube. leading into the intenor of the fake envelope, into which the four aces can be inserted. The four acw are palmed in the left hand and the packet of envelopesis lifted from the table by the right handwith the thumb underneath the lowerlongedge andthe Slight pressure is fingers on the upper edge. exerted to openthetubeandthe envelope is transferred to the performer's left hand. As the left hand takes it, the pressure of the left little finger on the palmed cards is released and its placeistaken by pressure with the third finger which keeps them in the palm. The 2nd. 3rd and 4th fingers are kept close together and are extended. If this is tried with cards in the hand it will be seen that the lower right hand corners of thecardsare now freefromthe fingers and as the packet of envelopesisplaced in the left hand, the rear portion of the tube, that is to say the lowerenvelope of the packet, p a w s under the cards which slide into the tube as the packet is taken between the thumb and fingers of ~~~
THEFEMALEOFTHESPECIES DELL O'DELL
~
~~~~~~
S I
...
From the J. B. Findlay Collection
3 the left hand,andthe
left thumb pushes them home. It is a matter of a split second only to insertthe cards. The envelopes are heldwith the unprepared envelope uppermost and it will be seen that the fake envelope projects about. 3 of an inch of the packet. This envelope is fromtheend partly drawn out to show that it is sealed. The effect of this movement is to clear the treated flap on the other end from the flaps on envelopes A. and B. The elastic band is then removed and the two envelopes at the rear are moved over and to the front of the'packet. This leaves the faked envelope on top of the packet as it faces the performer. The outermost envelope, the unfaked envelope, is handed to the assistant to-examine. As he does so the performer places his.thumb on the treated end of the fake envelope and...presses it down onthe treated surface below: One stroke of the thumb across this end seals it completely. This envelope is next placed on the table, attention being drawn tothefactthat it issealed. Envelopes A. and B., with the sealed sides uppermost, are then placed on the table ,with the other two, these are not examined, care being taken that the flaps on the backs of these envelopes in Mr. Le Paul's description marked C . and D. are not disclosed. The fake envelope is then forced on the assistant. I use a ,Straightbluff force. The other three envelopes are placed' aside. The pack of cards is take'n from the glass and fanned and it isseen that the four reversed cardsare still in place. The reverseside is shown and it isseen that they are in fact the four aces with the assistant's signature (apparenily). 'written across their faces. The pack is closed and the four aces ordered to vanish and trans€er themselves to the envelope. The pack is then re-fanned and the four reversed cards are found to have disappeared. This part of the effect is 'produced by the use of the rough and smooth principle. Four duplicate aces, with a signature of some sort written across the faces, are roushened on both sides with roughening fluid. Two indifferent cards are placed I
I
one on the face of the aces and one on the rear. One of these. is roughneed on the backwhich is placed onthe face of the aces and one is which is placed on the face of the aces and one is roughened on the face which is placed on the back of the aces. The other two surfaces of these two cards are polished. The four aces can be readily separated when the pack is fanned but when the pack is closed, and slight pressure is applied back and front, the six cards come of€ as .abunch-as one card. At the commencement of the effect this packet of roughened cards is on the top of the pack but after the diagonal shift has been executed and the four aces extracted, the pack is cut as it is placed in the glass which brings the roughened cards to the middle. After the aces are found to have vanished the pack is still retained in the performer's right hand as attention is drawn to the envelope. On his centre table is a pocketknife. As it is found difficult to open the envelope the performer turns to his right to reach for the pocket knife and in doing so;; changes the pack for another pack with four plain aces o n the top. This change can be effected, if-performing in evening dress, by the use of the pochette and profonde on .the right hand side, or, if performing in a morning suit, bv means of a topit vanisher fixed ins.ide of the performerk coat on his left side, the second pack being taken from the vest pocket on that side. The envelope is cut open and the signed aces'extracted and displayed. The performer shows them to the audience in his right hand, drawing attention to the signatures. He holds the pack in hims left hand. The four duplicate aces .on the top of this pack are pushedslightly to the side so as to overlap the pack by half an inch. Closing the fan formed by the four aces, h.e .-turnsto his assistant on the leftand places the pack on his centre table. I n doing so, he bottom changes the signedaces for the four duplicates without showing the faces of the cards to his assistant. He remarks on the difficulty of playing cards withsignedaces, touches them with his wand and the signatures are found to have disappeared.
" Magic is theapparent defiance of natural laws. Beforemagiccanbecomemagic,theaudience know that the thing the magician seems to be doing, is, in actuality, impossible." John Mulholland-"Quickerthanthe
must Eye."
I
DEAD RECKONING PETER WARLOCK EffectHE conjurer shows a slate on which are chalked four columns of ten figures, as shown in Diagram 1. A member of the audience is first asked to give the initials of someone whom he thinks to be psychic and these are written on the opposite side. the slate then being placed leaning against a boo; within viewof the audience. Four other members of the audience each volunteer a three-fisure
T
number, and these are wiitten on a second slate in the form of an addition sum. This slate and a piece of chalk are then handed to the volunteer who gave the first.number and he is requested to add the four sets together. The cllmax of the effect arrives when the first slate is turned round, foritis thenseen that all the numbers have been erased, with the exception of one digit ineach column. These digits agree with the total already given, the other figures hav-
4 ing been rubbed out by a ghost induced by the medium whose initials appear on the slate.
RequiremeChalk. Oneordinary slate. One non-locking flap slate. A fairly heavy book slightly larger than the flap of the slate.
m-As the ultimate number is
third of the way down thehalland asks for a second three figure number to be whispered to him as before. Suppose the second number to be “ 878,” this toois written onthe slate, the spectators again beinggiven the opportunity to seeit.Visiting g third person the magician asks for another number but thisis ignored and (in this example) the number ‘‘ 121 ” is written down, as ‘‘ 999 ” is required in every instance for the total of the second andthird numbers. The spectators donot see this last number being written as the slate is held out of their line of vision. -
forced, the magician writes down the figures ‘‘ 0 to “ 9 on the slate proper and then .rubsout all but, say, ‘‘ 2 ” in the first row, “ 0 ” in the second row, ‘‘ 7 ” in the third row and “ 6 ” in the fourth row. The flap i9 now placed over the figures and the four columns, “ 0 ” to “ 9 ” are chalked on the The number given by the fourth member simiand th* two vi&le sideThe book, the larly is ignored, theconjurer writing a number slates are arranged On the as in which, for the purpose of this total (2076), when the to added first give number will a total of 1077. Diagram 2. i.e.’ 952. ¶¶
¶¶
Y
The slate now bears the following figures :125, 878, 121, and 952. The firsttwo sets have beon given by spectators and the next two by the magic3anwhoensures that the desired total will be forced. Here comes the misdirection. The conjurer
now says, “ Four members of my audience have given me sets of three figures. I would Hke the first one, if he will, to add them for me.” He goes,
~
b
t
i
0
~
The rows of figures on the flap slateare shown tothe audience. Theinitialsare then obtained and, having been written on the blank side, the slate is momentarily placed, flap side down, on the table to the rear of the book. The latter is then picked up and opened to stand as a support for the slate, The flap isleft behind (completely screened by the book) when the slate is picked up to rest againstthe spine, with theinitials facing the audience. The conjurer goeswith the second slate to nme member of the audience in the front row, be md he asksfor a three-figure numberto Jvhispered to him. Suppose the given number to be ‘‘ 125,” this is written on the slate and the spectators aregiven an opportunity to see it. He then goes about one-
I
however, to the second volunteer but, apparently realising his error says - “ Oh, no, you are the gentleman whogave methe number 878.” He turns to the first spectator--“ You gave me 125.” This casually gives the impression that all the numbers are genuine. The first spectator now adds upthe figures and the performer makes the most of the climax.
“ Also try to eliminate, as much as possible, bringing people up on to the stage. It’s fine for once, but after three or four have come up it becomes boring to everyone.” David Bamberg-“Greater Magic.”
I
THE AEROPLANE CARD TRICK
A
CARD is selected and placed on top of the pack. The magician states that he will cause the card to fly to his pocket. A move is then made which apparently transfers the card to the bottom of the pack. Spectator sees this and callsthe performer’s attention to it. Thelatter however shows that the botom card is an indifferent card and for that matter so is the top card; after this the selected card is removed from the performer’s pocket. A card is selected by the spectator and placed on top of the pack without its face being seen and noted. Holdthe pack inthe left hand. Showing how he htends to make the chosen (but not noted) cardfly into his pocket, his right hand takes the top card and moves it towards his right hand trousers pocket with a flapping motion. Astbe right hand attracts attention a break is obtained under the two topmost cardsof the pack. The card held in the right hand is now replaced on top of thc pack and at this point he appears to remember that the spectator has not yet wen the card he selected. A triple lift (made easy by means of the b e a k already held) is made .and the face of the underneath card shown to the spectator. Because of the previous move where theperformer removed
only one card there should be no suspicion in the spectator’s mind regarding the fact that the performer now holds more than one card. The lift is done quickly and casually. The cards as one are now replaced on top of the pack in the left hand. With the right hand partially oovering the pack the left thumb.pushes the top cardover to the left finger tips and transfers it to the bottom of the pack. The right hand is intended to act as a mask At thls but the spectator sees the movemade. p i n t the performer says that ,the card has flown to his pocket. The spectator will not accept this statement and will say that the card is at the bottom of the pack. To disprove the assertion of the spectator the right hand picks up the pack and shows the face of the bottom card. The right a m lowers and the left hand now takes the top card and shows that this too is an indifEerent card.At this offbeat, the right hand perfoms a single hand. top palm whilst the left hand comes across and takes thepack away. The righthand now with the noted card concealed enters the right hand trousers pocket only to emerge with the previously palmed card at thefingertips.
Simulation is a form of pretence. In disguise, we have the principle of making one thing look like another and entirely different thing. In the misdirection of sense by means of simulation, we have the principle of giving apparent existence to things that do not exist, or presence to things that are absent.” Nevil Maskelyne-“ Our Magic.” ‘6
TWISTING THE TWISTER JAMES DOUGLAS
S
OME YEARS ago I ,was impressed by an effect, “ The Dishonest Customer ” which of those excellent books appearedinone written by Norman Hunter. Unfortunately I foundthefake described by theauthor difficult to make and also in practice the action was not so smooth as it should have been.With the same plot, which seems to have been comp1ete:y time to neglected, I applied a little thought and the present version which has proved a most successful and popular item in my own programme. This is theeffect: the performer borrows a hat from a member of the audience and suggests that it shaU represent a certain tobacconist’s shop. A packet of twenty cigarettes is then placedinside to representthe stock. A customer comes along and makes purchase a which results in the cigarettes being removed and covered with a nand-
kerchief. The performer continuing his story relatesthatthe tobacconist discovered that the coins he received for the. purchas were counterfeit apart from coppers amounting to fourpence. Thetobacconist, however,was a magician and when he discovered how he had been tricked he made p magical pass with the result that the handkerchief is whipped away to show that the customer was left witha box of “ Swan ” matches (gooC value for the fourpence!) whilst the stock was still in the shop. Here the performer reaches inside the hat and removes the packet of twenty cigarettes. The hat is then returned to its owner. The requirements are simple and are : Two packets of “ Twenty ” “ Piccadilly ” cigarettes (This sized packet is most suitable). A box of “ Swan ” matches.
6
One of the packets of cigarettes is emptied and faked as follows :--
That is the end of the preparation and to set up for performance, place the packet of Swan '* matches, the bird side facing the audience, on IZS long side on the table. A white cambrichandkerchief is now carelessly bunched in front of it. The packet of cigarettes with the shell over it is now placed in the right hand jacket pocket. To present,first of all borrow a hatand impress upon the audience that it is empty. The packet of cigarettes is nowremovedfrom the pocket, shown at the finger tips and placed inside the hat. In the telling of the story, take the shell from the hat leaving the real packet behind. Care must be taken that the bottom " of the packet must not be glimpsed. With the left hand pick up thehandkerchief and at the sametime drop the shell ouer the box of matches. The handkerchief is now shown on both sides and placed over the right arm. The left hand now takes. the " packet of cigarettes gripping it tightly so that the matches do not fall out. The packet is now covered with the handkerchief and the performer continues his story. At the point where he tells of the trickery of the customer the handkerthe fingersholding it chief is whippedaway, gripping the shellwhich is taken with it, leaving the box of matches in the hand, whilstwiththe attention of the audience on the matches the handkerchief-and shell are dropped onto the table or pushed into the performer's side pocket. All that remainsis for the performer to removethereal packet of cigarettes from the hat andhand the latter back to the lender. "
"
"
The tray isfirstremoved and set aside for the time being.Now take the cover and turn it over so thattherearpart facesyou. The seam where the cardboard isglued together isnow loosened by means of asharp knife. The main idea is to make a shell that will easily fit over the realpacketand the breaking of the join at this point allows it to be done easily. -New creases ar.2 now made and sufficient overlap will be found to re-glue at the rear of the shell which is now a nice sliding fit. The fakeiscompleted by glueing a flap to the top.
r-
'' In magic,speed in presentation is a most important point artistically speaking. There are someperformers who withhalf a dozen simple tricks can fill up a two hours entertainment. Others there are who can rattle off a score of tricks in as many minutes. Each class of performer, no doubt, thinks his ownmethod of presentation the best that can be devised. So it may be-for him." Nevil Maskelyne-" Our Magic
BOOKS MAGICIANS' DIARY & YEAR BOOK, 1954. Publishedby the Penshaw Press. Although through the course of more years than we care to remember, there has been an outcrq for a special magicians' diary, it was not until last year that the demand was met. The travail of its birth brought forth manyblemishes, typographical errors, wrong data, etc.We are therefore band, the publisher has produced with the aid of happy to see that this year with more time in Messrs. D e la Rue & Co., Ltd., an excellent product. The information in the front of the diary is most helpful. Of particular interest are the details regarding insurance of props and also variousrisks that may befall the wielder of the wand. There is a marginal index for each month and at the end of the diary part are a number of blank pages for jotting down ideas, patter and so on. All in a?l something that those interested in magic cannot afford to be without. MARTIN GARDNER'S MOTHE-R GOOSE MYSTERY. Published,.bylGeorgeArmstrong Price 7/6. Considering the fact that with this trick you get a book of Mother Goose Rhymes which is specially printed so as to allow for certain predictions,5"muchpafter'the style of the Stanley Collins's Book of Verses, the price of 7/6 is very reasonable indeed. The means for choosing the word and page are very clever indeed, one being based on a Stewart Jarnes theme. The effect is brief consists of t w o predictions and to these G o r g e Armstrong has added an extra
routine in which the book prominently
figures. Well recommended.
E ARE writing these few words after seeing Wand hearing thatgreat Wagnerian soprano Kirsten Flagstad. We have watched and heard a greatartisteand above all we hw: notedsomething thatapplies to all art whether it be aslowly as magic or as great as music. Thst something is restraint, or the ability of the artiste to _use art to conceal art. . the means for arriving at the desired result without any apparent exertion. Too often in magic one is all too aware of a performer’s cleverness for he makes no attempt to conceal it. Often in so doing he strainshis technique beyond its performinglimits and the result to say the least is manipulative c h a o S. Notice thefactthat we have written in italics, performing limzts. We knowonly too well that those whose interest in magic is pure, can, in practice sessions achieve far more than they ever will in public performance for the nervous factor evokedby thetrapand pings of theatre audience is something that is in most cases bound to havean effect on those who use manipulation as a means to an end. By the time these words appear in print the Magic Circle Festival of Magic will be a long way behind. It was a happy backstage and our prediction that the Compaens would prove the most novel act in theshow came true with the result.that they will open at the Dorchester this month for a four weeks’ engagement. A charming couple, we are pleased to reproduce a previously unpublinhed photograph on this page. Sometimeback OUT friend Goodliffe in his Abra editorial gave someexcellent reasons for the inception of sponsored TV. We were certain that it would bring more controversial arguments than it did. Actually we believe only Fabian, his part-
.
ner in crime, came up with any criticism. Our own feeling is that onlysponsored TV. will ever do any good for magicians, for however good the quality of the magicoffered, TV. producers as a whole never seem to be able to present it as it should be presented. Just before the Circle TV. ,show in October we .have memoriespf seeing a continental conjurer Cafe Continental . . bad background and bad camerawork killed the true illusionary nature of the entertainment forthe viewing public. The Circle TV.showwhich contained all the magical ingredients for a successful presentation was spoiled artistically because imagination was lacking. The novelty of TV is a novelty no more and if the highest standard a magical programme can reach is that in which no exposure takes place then there is no purpose to be achievedby T V presentation. Bad lighting predominatedthroughout and the background used could have been bettered in most Church huts.We are finding no fault with the magic or the magicians and we understand from well informed quarters that the O.B. Department of the B.B.C. considered it a great success. If they did we can only think that they have somespecial kind of monitor set with a rose coloured screen having special compensatory device for bad lighting, unimaginative camera work, breaks in sound transmission and uninspired production. TV.is not new, and its general background of instruction is the 2-dimensional cinema film. The camera man working for a film unit is a highly paid technician his pay reaching as high a figure as €150 per week. He doesn’t just sit behind a camera and press a button . he is responsible for lighting and other technical matters . . he is the he has imaginative producers right hand man a certain measure of artistry in him. His opposite number is required in TV.
..
..
.
...
NOW READY T H E T H I R D ISSUE OF T H E N E W G I A N T SIZaD
MARTIN GARDNER’S
MOTHER GOOSE MYSTERY
MAGIC WAND 47 TRICKSAND SlElGHTS BY 25 AUTHORS
An easy t o d o yet baffling book test. The perGoose former hands outabookletofMother Rhymes and a spectator selects a word and a page i n such afairmannerthatthe selection seems obviously t o be governed by chance, yet the performer can immediatelyname the word chosen (or he can predict it beforehand if preferred).
PLUS SEVERAL INTERESTING ARTICLES T H E M A G I C A L W O R L D i s raving about the now style Magic Wand, and if you havon’t alrordy seen a copy WO strongly adviseyou t o send for one now, boforo they go right out of print. Already the March issue i s fetching 12/6 or 151- a copy whom a copy can be found I The third (October) irsue contains so muchreally worth-while material that we cannotporriblylist it all here, but a lirt ofa few of the contributors will indicate the value of the contents: A. Brian Macarthy, Edwatd Victor, Jim Merlini, Ken de Courcy, the late Nelson Lyford Douglas Francis, Harry Latour, A. C. Newitt, Roy Green, W. C. Weber, Tom Sellerr, Charly Eperny, Jack Lamonte, Peter A. McDonald, Toni Koynini, etc. etc. DON’T DELAY-ORDER NOW I
This can immediately be repeated and a different word is chosen Added to the full prerentation of this baffling double effect is a triple prediction by George Armstrong, which rhows how the book of rhymescan be usedin other mental effects. Supplied complete with four page printed folder of instructions 8nd presentation, and the neatly printed book d Mother Goose Rhymes.
Per copy 7/9 post paid
Price 716 : Postage3d.
Subscription 36 months IS/&
One year 30/-
FROM T H E PUBLISHERS
T H E M A G I C WAN1 B ’ P U B L I S H I N G C O . 62 WELLINGTON ROAD
I
ENWIELD, MIDDLESEX
The Magic Circle
Here’s the Prediction to make ’em think
President : His Grace the Duke of Sotnerret,
By GEORGE BLAKE and R A Y M O N D M A Y N A R D
4 m C
D.S.O., O.B.E.. J.P., M.I.M.C. Vice-President: DouglasCngga, Esq., Y.I.M.C. Clubroom and Library and Museum :
(FORESEE)
“ ” A Spectator signs a small card,on which the performer then makes his prediction.Performer then calls forspontaneous words,numbers, dates, celebrities, or for that matter, any items the performer wishes to deal with.These arejotted on a checking cardand whtnthe Prediction is read, by the spectator, he finds, under his signature, a 100 per cent. correct prophesy. THE WOST SIMPLE & DIRECTAPPROACH TO THIS TYPE OF MENTALISM YET DEVISED “ Undoubtedly the most straight-forward method, andI like particularly the lack of preparation. Will rock an all-male after dinner audience back on its heels.”-Ken deCourcy. A methodthatworksitself,quick to setand leaves theperformer ‘clean’ atthe finish. One could ask fornobetter method.”-Malcolm Davison. COMPLETE and READY TO WORK 20/-
Hearts of Oak Buildings,. Euston Road, London, N.W.l. Magical Theatre :
King George’s Hall, W.C. Forthcoming EventsNovember 25-Supper December- Lecture : Majot Brian Maccarthy
Particulan from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
-
FromGEORGEBLAKE,
JACK HUGHBS will be pleased to sendyou fulldetails of
THE DE LUXB “SU-TABLE” together with all hisother effects inreturn for a stamp. Write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London, N.W.9.
9 St. Alban Road,Leeds PETER
9.
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’
WARLOCK’S
PENTAGRAM
An entirely new “ thought o f ” stabbing card discovery Complete with pack and accessories
is publishedon the 24th of each month m d can be obtained direct from thepublishen for 117 per unglecopy. AnnualSubscription 18 Iport free. PUBLISHED BY:
1216 FromDOUGLAS FRANCIS, 65 Norwich hve Southend-on-Sea, Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE OLD AND
Manuscripts for publicationand books for review should be sent to the: B D m m 1 . 4“LM U S S :
NEW.
Let me h o w your rant.
LIST FREE FOR STAMPED ENVELOPE No
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey. I
Callcn
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin PUBURI.0
BY Tlll ?RO?aIIIy)U THE L u O l C WAND ?UBUORMO COW?ANYe 62 WULXN-N ROAD,XNCIILD, AUD €WNTXD BY RXRBIRT W A L K U & SON (PRINTUM) LTD., WILL CROm’r S€lI?LXY, Y O R K l R l R 8
bilDDL88EX
EPITAPH FOR BROWN PETER WARLOCK FIRST MET the late Edward Brown in 1921; he was a shy soul then, but to the little group of which he was a member and which coneregated each Monday in the Magic Circle Club-room at Anderton’s Hotel his ability was recognised. As the years went by I was to realise that herewasone of the fewmen that I knew capable of making a conjuring trick into a feat of credible magic. Later we were to become members of a small cotcrie, the Society of Magical table with a few others, Research andacrossa a attempt to define the composition of true magical feat. We never succeeded but during the course of those meetings we did see some remarkable effects. Edward Brown died at the zenith of his magical career, and although not a lover of theatrical display, the eve of his passing saw him give the greatest public show of his life. It was afeast of natural .magic and one which those who were present at the Cripplegate Theatre will never forget. Edward Brown committed little of his work to paper. . . An item in one of Naldrett’s books, a thought reading effect in the ‘‘ Masterpieces of Magic ” series and “ The Three Guesses ” in the May number of the Sphinx, volume 42. That was the sum total of his literary output. The last named effect was based on Hofzinser’s “Everywhereand Nowhere.” It was great a favourite ofBrown’s butthe description in the Sphinx containedmistakes.anddidnotdofull justice to such a masterpiece of card magic. Brown as a magician like Ramsay and Sherwood was an individualist. . he adapted and originated moves tosuithis own personality and idiosyncrasies. Only a person endowed with similar physical characteristics and similar skill would be capable of achieving the same effect as Edward Brown who without any doubt was one of the six greatest magicians I have had the opportunity of seeing and knowing.
I
.
.
VOLUME 8, No. 2
-
The effcct to be described is based on “The Three Guesses” but because my own technique and stature in magic are that muchlesser than Edward Brown’s. it is more adaptableto performance invariedhands. I have found itto be most effective on all those occasions when I have performed it. On the performer’s table stand two stemmed glasses each capable of holding a pact ofcards. These glasses and a pack of cards are m fact the oniy properties thatare used. Takingthe pack the performer handsittoaspectator with the request that he s h m e s it well. It is then taken back and droppd back outward in the right hand glass. A lady is now asked to assist. . “ Madam ’* saysthe magician, “ I am going to remove one card at a time from the top of this pack. I want you’to stop mewhenyou wish.” The performer commences to remove a card at a timewithhis right hand then placing them face downwards on lis left hand.This is done untilthe lady says Stop!” ” Now, madam, only you and I shall see the card, andso I want everyone else. to close their eyes ” (this must be in the nature of a lighthearted request. With the modern run on Radio and TV games in whichsimilar requests are made,you willfind that actuallymost people will dothis for you). Thecard stopped at, is now turned round and both the lady and performer take note of it. Let us suppose it is the three of clubs. This card is then turned back towards the audience who are warned that they can now open their eyes.. The chosen card is .placedface downwards on those in the left handandthe remaining cards in the glass being taken out and placed on top, a little finger break being kept between these cards and the chosen card. At this pointthe magician remarks, “ I am going to lose the card you chose. madam, amongst the remaining cards of the pack ” and suiting the
I /a. (20 Cents)
-
NOVEMBER 1953
10 horizontal position), “and 1 wantyou tostopme me whenyou wish. . at that moment thecard I hold in my hand whenyousay ‘ Stop!’will represent your guess.’’ The performer continues to takecardsfromtheglass until he is stopped and the card held in his hand is placed back outwards in the l e f f handglass. Two other spectators are requested to similarly co-operate and their cards as they are chosen are placed to therear(that is nearest the performer) of the first card chosen. At thispointthe magicianpossiblyholdsanything from fifteen to twenty cards in his..left hand with thethree of clubs offset. The right hand now approaches the left .with the obvious intention of squaring the packet of :cards held there and as the cards above the three of clubs are grippedwith thethumb at the inner end with the remaining fingersgrouped around the outer end, the little finger of the right hand with thethumb crotch acting as a fulcrum levers the three of clubs into a full palm position, the cards on top being brought round so that they are held at right angles to the hand proper. The right hand moves away but beingmaintained.When all the cuts havebeen is kept at elbow height whilst the left hand containmadeandthe supply of cards exhausted, that ing thecards gestures towards thethree cards in left band glass. the maeician addine. “ So t,hew portion of the pack under the break is simply cut the to the top, thui making the chosen card thetopmost in the pack. To theaudience the action is a natural one of a series of cuts followed by one straight cut. The pack backs outwards is once dropped in the right handglass. “Now, madam,” says the magician, “ you chose a card, the name of which, we hope is known only to the two of us; that card has now been lost amidstthe others. However my purpose is to try and get three members of our audience tohazard a guess at which card amongst the fifty two is your card!” The magician indicating a gentleman in the audience asks for his do co-operation inhaving a first guess.“We’ll it this wav . . I shall remove a card at a time from the-glass,” (asthisissaidthe prfomer The righthand now comes across, tikes the cardsfromthe left handandthelatter removes the first card. which of courseis the three.exposed with the three of clubs palmed falls to the side. action to the words, either by means of a false. shuffle or series of running cuts, he sees that the chosen card is brought to the top of the pack.A note concerning this. As the bank of cards under the little fingerbreak is seldom likely to contain more than a dozen in number, my own procedure is tostripout with the right handallthecards above the break apart from say the top half dozen of the pack and then with this packet execute a series of running cuts, the fingerbreak position
..
..
of clubs and places it on the palm of his hand. It is roughly positioned so that the inner left hand
cornergoes into the thumb crotch. Another and another card is taken and these are placed on top of the three of clubs in such a manner that they takeupthe position shown in the first picture. The hand during this action is of course held in a
The unwanted cardsaredropped into the right hand glass with the remainder of the pack. The right hand at this stage now removes the three designated cards from the left hand glass and the left hand, care being takennotto expose the palmed card, comes up to receive them. The four cardsare squared as one and heldbacks to the audience. “ Threecards chosenhaphazardly ” remarksthe magician andas he says that he pushes off the two tomost cards one at a time with his left thumb the cards being taken in same order by the right hand thumb and second finger. The remaining two cards appear to the audience as one. The two cards are then replaced, a slight breakbeing held between these two cardsand those beneath. “Let us see whether the first gentleman was succe.ssful.”The two top cards are lifted as one and turned over to show the face of the under card (see illustration 3, which actually
11 shows the second card and not the 6rst that will be shown). It is the six of spades. “No sir, I am afraid that you were unlucky that is not the chosen card, it is madam?” The two cards are then turned over again andplaced behind the other cards. The magician now turns over the second card which is seen to be the ace of spades. Again the spectator is told that he has guessed wrongly. This cardis now turned over and placed behind the other cards but it is stepped to the extent of a matter of an inch or so. The next two cards are turned as one and apparentlyreveal the third guess as the King of Spades. The two cards as one are turned over and similarly placed behind the others. All the cards are now turned round and shown as in illustration four. The chosen card, the three of clubs, is immediately behind the King of spades. ‘‘Actually.” says the magician, “ all this is really an hallucination.” At this moment the cards are turned round backs to the audience andthen squared together. “The lady here thought that she selected the three of clubs, and 1can make you all think that too!” The left hand thumb pushes off the three topmost cards as one (illustration 51, turns them over and replaces them as in illustra-
...
hand thumb now pushes off the two top cards a s one as these are turned over and placedin an
overlapping position showing another three of clubs The two cards are taken as were the three and apparently turned over in the same way so that a position similar to that shown in illustration 7 is taken. Actually there is an important difference for as the cards arereaching the end of their turn the right hand thumb slides the under card, the three of clubs, forward and the topmost card takes up a position so thatit covers the. undnmost card. Pointing the card the magician says to the second gentleman. ‘‘ It Seems that you
The right hand now comes up to take the overlapping card away, but might have been lucky too!”
tion six. “ So really one of you gentlemen could just have easily guessedcorrectly!” The right hand fingers now take the outer end of the three cards andturn them longtitudinally over the remaining single card.As the cards cover this card,the topmost card is slid tothe position shown in illustration 7, and pointing tothis cardthe magician says to the first gentleman spectator, “We’ll consider you guessed correctly!” The card back outwardsis now taken with the right hand fingers and dropped into the left hand glass so that it tilts‘towardsthefront.Theleft
actually the right thumb knocks the top card. and the rearmost card of the sandwich into perfect alignment and coming back the two cards are removed as one leaving the single card, the three of clubs between the thumb and fingers of the left hand. These two cards as oneare now placed behind the first card that was dropped into the left hand glass. Finally the card in the left hand is turned round and the thiid guess is found to be the three of clubs. This card is dropped into the glass behind the others. The cards are now withdrawn and placed in the left hand the remainder of the. pack being taken from the right handglaw and placed on top of them. “ Actually as I said before it is realty a matter of hallucination for if I wish it they can all be threes of clubs.” At this point the magician makes a series of running cuts cutting from the topof the pack and showing each time the bottom card, which is the three of clubs. He continues this cutting to the point wherehe only has the one three of clubs left and this goes
12 on top of the pack. Just hallucination for once again you can see that they are all different.” The cards are fanned, the index of the three of clubs being hidden . . . “ In fact there isn’t, a three of clubsinthe wholepack.” Thefan isclosed. “ Perhaps you would like to look for yourself, sir!” As the cards are handed to the spectator, the top card, the three of clubs ispalmed in the right hand with a single handed palm.(If the reader hasn’t a mastery of this sleight may I suggest that he uses a two handed palm method before fanning the cards as he will find this a better moment than when he has to handthe cards over). ‘‘ In fact the only three of clubs belonging to that pack I placed in my pocket.” At this point the performer bends
I
forward slightly allowing his jacket to swing down. The right hand with the palmed card grasps the coat at elbow height and at the same time levers thecard inside thecoat (illustration 8). The left hand comes in totake the card from the insidepocket, but actually as you can seein illustration 9, the fingers of the right hand push the cardfurtherintothecoat whilst the left hand fingers dip to take the corner of the card. At this point the magician swings round and the left hand is shown a corner of the card being pushed into the pocket.With an upwardmotion thecardis apparently withdrawn and shown to be the three of clubs!
“ Tastes differ in magic as in other things; and I can scarcely hope that my views have always been palatable to all of my readers. After all, the most a reviewer has a right to ask is that his readers concede his honesty of purpose and absence pf bias. On this score I have been most fortunate : and I am grateful for the confidence my fellow-craftsmen have repeatedly expressed in the objectivity of my comments.” Paul Fleming-Preface to Volume 1 of the Paul Fleming Book Reviews.
THE “WANT AD.” TEST I LIKE PETER WARLOCK F ANY type, of test making the use of advertisements from newspapers entailsthe calm prospect of somebody having to cut out course of the those advertisements duringthe performance, it means a delightful waste of time without anyentertainment merit. Thislittle test which I have used for intimate performances over a period of a few years is direct and comparatively fast in action.
I
Several small envelopes of the ‘‘ pay ” type are distributed to members of the audience.Next a spectator is requested to take a plate containing a number of advertisements that have been cut from various newspapers, glance over them to see that they differ and then to ask each holder of an envelope to take one and place it in the envelope that he holds. The flaps of the envelopes are then to be stuck down. At his fingertips, but without calling attentionto the fact, in a direct way the magician collects the envelopes, asking the gentleman who so kindly distributed the advertisements to take one. He is also handed a slate and a piece of chalk. His next instruction is to tear open the envelope, remove the advertisement and look at it. In the meantime the remaining envelopes are handed to another member of the audience. The magician picks up a slate and asks the spectator
with the advertisement to concentrate his thoughts upon the largest word in the advertisement. “When you see a picture of it in your mind, sir, just say Right’!” With this affirmative given, the magician turns away from the spectator, picks up a slateand piece of chalk from the table, the spectator is asked to write on the slate the word he had in mind. As the spectator commences to write so does the magician. When both slates are turned round it isseen that the words are identical. Let’s try it again, sir.” The magician cleans his slate and places it on the table and then taking the slate held by the spectator he cleans that too, handing it together witli the chalk to another member of the audience. The spectator still holding the remaining envelopes is asked to select any one and give it to the gentlemanwith the slate. The magician takes his own .slate and chalk and asks the holder of the envelo,pe to open it. ‘‘Now sir, we’ll make it a little harder. I want you to look at the first and last words in your advertisement and fix yourmind on one . . . and please don’t change your mind when you have come t a decision.” The magician starts writing upon his slate and then having finished places it writing side down on his table. “ Now Rlease write onyour slate the word that you chose. The spectator does thisand shows itto theaudience. The climax
13 comes when the magician picks up his own slate and shows thathehas once again correctly duplicated a spectator’s thoughts! The requirements are few.They are :(l) An unprepared slate. (2) One .slate with a loose fitting flap. (3) Twenty small sized envelopes. (4) Two pieces of chalk. ( 5 ) Nine similar newspapers. (6) A plate. To prepare divide your envelopes into two heaps of eleven and nine respectively. Ten of the eleven need no further attention apart from being folded across their midriff and then straightened out.Intothe eleventh place an advertisement cut from one of the papers which has one word all the others. which in lengtheasilyexceeds Because of the pithiness of most advertisements there is little difficulty in finding a suitable one. This envelope now has a small pencil mark made at one corner and itis now sealed and also folded. Think of this as envelope A. The remaining nine envelopes are now folded across and straightened outandinto each is placed a similar advertisement, it being necessary for the magician to know the first and last word. The first word is now written on the s l a t e a n d c o v e r e d with t h e flap. I f t h e r ew o r d sc a nb e of similar length and if possible commence with the sameletter so much the better. Again there is seldom any difficulty in finding advertisements that fill this requirement. All these envelopes are sealed down. Lastly a large number of advertisements are. cut from one of the newspapers and placed on the plate. To actually prepare for the presentation of the effect the following isthe arrangement of the particular properties :The stack of nine envelopes together with both pieces of chalk are placed in the right hand jacket pocket. On the table is placed the flap slate, ff ap side up and on top of this the unprepared slate. By their side rest the pile of ten unprepared envelopes and the plate with the advertisements. In the performer’sleft hand trousers pocket envelope A is foldedover so thatits sizeis reduced to one half. The presentation is as follows : The magician picks up the packet often envelopes and distributes them; he calls attention to the plate containing the advertisements and has ’
a member of his audience look. them over and invites each holder of an envelope to take one, place it inside the envelope he holds and seal it
down. AS this is being done the magician stands with his left hand in his trousers pocket and obtains possession of the folded envelope which is finger palmed. Ail the envelopes being sealed, he comes forward taking the left hand from the pocket and with his right hand takes them passing them into his left hand so that they are right angles to that hand and comfortably cover the folded envelope. when all the envelopes have been collected,the righthandtakesthem back andintheact finger inside of doing SQ, inserts the second the fold of envelope A. In the actualtake away thisr finger runs up inside the fold, straightening the envelope out. It is a movement impossible to detect by the sharpest eye. The packet of envelopes is nowcasuallycut and the envelopes are fanned, the magiciannoting the position of the one withpencil dot, envelope A. Going to the gentlemen with the plate of papers he asks him totakeone envelope and forces envelope A on him. If any reader thinks that this may prove difficult the alternative is to take one and hand it to him or else give the envelopes a mixing that leaves envelope A on top, this envelope then being proffered. When hehas taken the envelopes, the magician remarks “ You will also want a piece of chalk and a slate.” As thesewords are said the right hand holding the stack of envelopes goes into the right hand pocket, ditches the envelopes that it holds and takes hold of the packet of nine and one of the pieces of chalk which are brought out.The piece of chalk is handed to the spectator, the envelopes then beiqg handed toanother on his immediate left. The spectator is relieved of his plate of advertisements which are placed upon the table, the unprepared slate then being picked up andhanded to him. The rest of this part is just build-up and showmanship and with the first piece of mindreading out of the way the rest ispurely automatic. The slates are The cleaned and one of the envelopes taken. magician writes the name of the last word on the flap of his slate and places it flap-side down on the table so that which ever word the spectator is chooses in his advertisement the magician covered by lifting either the flap with the slate or alternatively leaving the former on the table. Needless to say the remaining envelopes are retrieved.
“ Time and time again we have had o w u!cers inflamed by listening to soxe big, or not SO big-wig of magic complaining in just about these words . . . A h , if I had to do it all over again, I’d take any branch of the entertainment world rather than magic. Where does it get you? A lousy seven hundred and fifty a week if you’re lucky!’ Of course in most cases that problematical Seven hundred and fifty is gilding the lily a trifle, but let’sdisregard it for the nonce. It seems to us that this is the basest kind of ingratitude. These characters who moan about the fact that there’s no future in magic would in all probability have become coal heavers, salesmen, or piano players in houses of ill fame if they had not been fortunate enough to be born with a w:pd in their mouths!” Elliott-“ Bruce Phoenix The , page 420.
14
THANKS TO STEWART JAMES PETER WARLOCK
=
MAURICE SARDINA the right hand and the gimmick dropped inside in the action of movingback and placing it on the table near the cord. The cord and ring are then examined and taken back, the ringbeingplaced in sight on the table. Taking eachendwith the right and left hand respectively, the centre of the rope is lowered into the hat the ends being draped over the brim. At the fingertips the ringisnow takenand placedinside the hat.
HE IDEA of this little effect was inspired by the ring effect that Stewart’ used in Sefalaljia on page 471 of the Jinx. In the original version I made up, the gimmick responsible for the main part of the effect was static. My friend MauriceSardinamadea suggestion that made it more S U i t a b l e for impromtu
T
“
”
performances.
Though hidden from the audience it can be seen that the hands of the m a g i c i a n are tying a knot. Actually what done is is this ; the c e n t r e portion of the cord is pulled through the ring and part of it is engaged in the hook (illustration 2). The path of the loop continues upwards (illustration 3), and this loop is tied at point A in a single knot (illustration 3). “ Strange as it may seem to you, I have without movingthe ends of the cord tied the ring on to
The effectbriefly isthatan examinedring passes onto a length of examined cord or rope. The requirements are as follows :
A length of silk cord measuring four feet. One large curtain ring or bangle. A gimmickwhich follows :-
has to be madeup
as I
t
First of allobtain a small dresser hook or bend a stiff piece of wire to the shape of a hook. The straight part of the hook is then fixed in a small block of lead as in illustration 1
3t Actually the easiest way is to make a small mould, melt the lead and then holding the hook with a spanner pour the lead round it.
To present the effect have the length of cord and ring on your table. Possessionof the gimmick is obtained by the right hand. Youcommence by borrowing a gentleman’s hat. It is taken with
I
the cord so that the cord now passes through the ring!’9 remarks the magician. Taking the end of the rope marked X with his right hand and at the same time lifting the hat by the brim with the left hand he walks forward. The end X is now lifted above the ha! and at the same time the left hand moves down so that end Y runs through the ring and the hook. It is a disarming move for to the audience it simply appears that the rope has been taken from the hat. Placing the hat aside,the left handtakeshold of end Y and the rope is brought into a horizontal position. A little pull is given and the single knot disdves leaving the ring on the rope. Both ring and rope are then. handed out again for examination.
“ This type of over-enthusiasm seems tobespreadingthroughoutmagiclikeamiasma. Can’t a trick good or excellent; must it always be thebe-al!and end-all of existence? We predict orbook come out and be that if a book were to come out and be named ‘ Highly Mediocre Tricks , it would have as good a sale, if the material was good,as if it were called the most spectacularly, wonderfully, terrifically, gigantic hunk ofstug that ever came down the pike.” Bruce Elliott-“ The Phoenix ”, page 428.
HIS IS very much of a Peter Warlock number and.we hope that theitems described will appeal to our readers. Next month we are running a Jack Avis issue :which‘should have a very great appeal to those interested in close-up of thinking is magic. Jack to our own way possibly the smoothest all-rounder at close-up work in this country. Cards, dice and coins all seem to achieve little miracles when he handles them. The main items thathe is describing are three masterpieces of deception. We think we’ll give pride of place, however, to the card stab that he has included. It goes like this. Afte? a card has been taken by the spectator and then lost in the pack; the spectator cuts the pack as he wishes. Taking a knife the magician stabs the heap and brings up a number of cards impaled on the knife, the bottom one of which is the chosen card. Just let us add that there is no gimmick and it can be performed with a borrowed pack!
T
A great amount of credit must be given to Harry Stanley who with private enterprise has done so much to benefit the magical fraternity today. The shows that he has sponsored over the past few years at Victoria Hall have meant that many continental artistes have been seen by their fellow magicians over here. In particular we are more than grateful for theopportunity that it gave us to see such a fine artiste as Punx who in October gave a full eveningshow. He is one of the few conjurers that we have ever seen who for the period of his performance nearly persuaded us that he was a real magician. Again progress. On the 18th November the Unique Club took up residence at its new headquarters, the Shaftesbury Hotel. Looking ahead we have asked our friend Arthur Carter to assemble an Annemann number for 1954. Among the items thathe is going to publish is a card prediction that he showedus about two years ago. It’s a delightful item, and one with which he duly astonished Stewart James a few weeks back. Talking of Arthur Carter just look back at his “ OneRed Card.” Quite a number of magicians have mentioned that they have presented this using jumbo cards. The effect
wbether you use jumbos or normal sized cards makes luvely prediction. Davenports are putting’ out a fine utility gimmick that mentalists will like. It comes under the title of Bob Ostin’s Dice Trick and the outfit includes two dice, a metal pocket index as well as the natural looking object that does the main part of the work. The price is only 10/6 and when you get it you’ll thank us a lot. We hope that our’ good friend and publisher George Armstrong won’t Slip again and publish a trick with panties in the “ Magic Wand.” We have always looked at this old established magazine as being the citadel of dignity. Even if the tricks in question were good there would be little excuse. As it is they are of poor metal. Just recently we saw a query on the trick called the “ Mystic Thirteen ” an effect which is a copy cat of Herbert Milton’s “ Sympathetic Clubs.” Herbert never published or gave permission for publicatio,n of the effect.Actually when Leipzig was in England in the twenties, Herbert and Nate swapped ideas and effects, and as most Americans know, Leipzig used the “ Sympathetic Clubs ” in the States’. Somehow or another with due credit to Herbert Milton, a version somewhat like the original was described in the / i n x . Later a trick entitled “ The Emerald Mystery ” used the same plot. The “ Mystic Thirteen ” though keeping to the j i n x description seems to have evolved a cypher for Herbert Milton’s name that reads Adrian Smith and George Wetherald. Lewis Ganson’s latest “ Routined Manipulation ” work will be the largest to date. We understand that a limited number of copies willbe available by the end of the year. Stewart James will be missed by all those who had the chance of meeting him during his visit to this country. We shall always think of him giving his delightful performance of the “ Trick with the Tailor’s Dummy” in the manner of a verylazy conjurer. We shall always envy and admirethat mind of his which could produce such a remarkable idea as the “ Robot ” deck. a
.
16
MARTIN GARDNER’S
MOTHER GOOSE MYSTERY An easy to do yet baffling book test. The performer hands out a bookletofMother Goose Rhymes and a spectator selects a word and a page in such a fair manner thatthe selection seems obviously t o be governed by chance, yet the performer can immediately name theword chosen (or he can predict it beforehand if preferred). This can immediately be repeated and a dificrent word is chosen Added to the full presentation of this baffling double cfiect is a triple prediction by George Armstrong, which rhows how the book of rhymer can be used in other mental effectr. tuppliod complck with four page printed folder of instructions and prosontation, and thr neatly printed book d Mother Goose Rhymrr.
NOW READY T H E T H I R D ISSUE O F T H E N E W G I A N TSlZtD
MAGIC WAND 47 TRICKS AND SlElGHTS BY 25 AUTHORS PLUS SEVERAL INTERESTING ARTICLES
THE M A G I C A L W O R L D i s raving about the new sty10 Magic Wand, and if you haven’t already soon a copy WO strongly advise ou to send for one now, W o r e they go right outor print. Already the March isrum is fetching l2/6 or 151- a copy where a copy can .b found ! The third(Octobrr) iwue contains so much really worth-while ,material that we cannot porribly list it all here, but a lirt of a few of the contributori will indicate h ti value of the contents : E. h i a n MMCarthy, Edward Victor, Jim Merlini,Ken de Courcy, thelate Nelson Lyford Douglar Prancir, Harry Latour, A. C. Newitt, Roy Green, Charly Eperny, Jack Lamonte, W. C. Weber, Tom Scllerr, Peter A. McDonald, Toni Koynini, etc. etc. DON’T DELAY-ORDER NOW I
Per copy 7/9 post paid
Price 7/6 : Postage3d.
Subscription :6 months 1516. One year 30/F R O M T H E PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTONROAD, ~
BINWIELD, MIDDLESEX
~~
MAGICIAN’S DIARY &: YEAR BOOK 1954
Well bound, it compures favourably with any other pocket
. . . a ‘ must ’ for -ABRACADABRA everymugiciun.”
diary onthemurket
Over 200 pages. Complete l i s t s of Magical Societies, dealers,publications,booksellersandmagicalglossary. Thumb indexed diary, memo. and cash accounts and A to Z. Leatherette bound and gold address pages blocked HOW C A N Y O U GO WRONG
6,’6: Post 3d.
E’rom all dealers
The Magic Circle President : His Grace
the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.Y.C.
Vice-President: Douplu Crass, Esq., M.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. MagicalTheatre
:
King Georgc’s Hall, W.C. Forthcoming EventsDecember 7- Lecture : Brian Maccarthy M.I.M.C. December 18-Concert Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
or in cuse of difficulty from
PENSHAW PRESS, CRAYS HILL, BILLERICAY,ESSEX.
I
II I
JACK HUGHES will be pleased to send fulldetails of
you
THE DE LUXE “SU-TABLE” together with allhis other effects in returnfor a stunp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
I
l I l
PETER
WARLOCK’S
PENTAGRAM ispublished on the24th of each monthand canbe obtained direct from thepublishersfor 117 per singlecopy. AnnualSubscription 181post free. PUBLISHED BY:
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’ An entirely new “ thought of’’ stabbing card discovery Complete with pack and accessories
12/6 From DOUGLAS FRANCIS, 65 Norwich Ave Southend-on-Sea, Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlasex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books for review should be sent to the: EDITORIAL A D D R W :
OLD ANI, NEW. Let me know your wuntr LIST FREE FOR STAMPED ENVELOPE No Callers
Peter Warlock, 24, Wordrworth Rd., Wallington,
Surrey.
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P U D ~ ~ ~. BI I D‘LPI mommms m m L U ~ I CWAND PUSLUIINQCOYPANT, 61 WXLLINOTON ROAD, INIRLD. AND BY X R B ~ T WALK= dr WN (mtmns) LTD., WBLL CROIT, S B I ~ . ~TORKSRIRE ,
LIIDDLIMEX
17
T H E H O L E IN THE TABLE JACK AVlS N THIS delightful close quarter effect designed for use whilst the magician is seated at the table, Jackhas brought into plaq a when added number of subterfuges which, together, are capable of giving the competent conjurer a veritable miracle effect. This is the way it goes :On the table at which the performer is seated rests a glass tumblerand a sheet ofnewspaper. The newspaper is taken and fashioned around the glass to form a shell that will completely cover it. thetopmost part beingscrewed together to stop any tendency it mayhave to unroll. The glass with its cover is now placed to the performer’s left ef the table. The magician then takes from his pocket two&ins,apenny and ahalf-crown.(in America a dime and a penny)respectively and places them side by side nearthe centre of the table. The covered glass is then placed over them. “ My intention” remarks the magician, “ is to cause one of these coins, either the penny (at this point the left hand tilts the top of the glass forward whilst therighthandtakesthe penny. holds itupand then replaces it). or the halfcrown to pass through the table !” This coin is similarly taken and replaced after which the so thatbothcoinsare glassis tiltedback coveredagain.Bothhandsareshown to be quite empty and one of the coins. letus suppose the penny, is chosen by the spectator. The right hand goes beneath the table, taps twice againstthe underside and thencomes up holding the pennywhichhas apparently passed completely through the table. The left hand now lifts the covered glass to show that only the halfcrown remains on top of the table! Retaining the penny in the left-hand the halfcrown is covered, once more the magician adding that he will endeavour. to. makethelatter coin pass throughthetable as well! ,The rieht hand
I
VOLUME 8, No. 3
-
[/a.
goes onca more under the table taking the penny with it. There is a slight pause. and’then the performer adds, “ Remember, I am going to try and makethe half-crown jointhe penny.” As these words are uttered, the right hand comes up again oncemoreshowingonly the pennyin the right hand. Two tapsareheard against the underside of the table followedby the sound of two coins falling into a glassL The left hand at the same time crushes the paper over the glass on top of thetable with the remark, “And the glass has gonetoo.” The left handsweeps the crushed paper out of the way and the right handcomes from under the table holding a glass that contains the penny and half-crown. That is the effect described in detail so that with aIl the points before him the reader will be able. to. see whenreading the explanation that every point of misdirection has been covered. The requisites are. few; they are : 1. A half pint size tumbler. 2. A penny and ahalf-crown. 3. A sheet of newspaper. 4. A shell half-crown with a penny that will lock into position when the shell is placed on it. One side of the penny carries the side of a halfcrown.(Though thisis not commonly stocked by dealers in this country this type. of shell and fitment canbe obtained to order. We shall be pleased to give the name of a mechanic, upon the receipt of astampedaddressedenvelope). Supposing that the performer is seated at the table the disposition of the various ar.ticlesis as follows : In the performer’s right hand waistcoat pocket isthe shell half-crown. In his left hand waistcoat pocket the penny that nestsinit. The two ordinary coins are placed on the right hand leg, with the penny nearer to the knee. The
(20 Cents)
-
DECEMBER 1953
l8 glass and sheet of paper are on top of the table.
Incidentally the positioning of the two coinson thehorizontal part of the leg is the work of a moment as the performer draws in to thetable. The effect as regards presentation goes like
Lis :The sheet of paper is taken, folded diagonally andthenwrappedaround the glass, so that a reasonable EUing cone results. It should not fit too loosely nor too tightly round the glass but the glass should be able to slide out without any PS-
The left hand moves forward and places the empty wne over the half-crown and asthis is done, the remark is made that actually both coins can be madeto pass through the table. The penny, still held in the right hand, now goes beneath the table again, and thii is a very importantpoint; the penny is brought into a finger palm position and on its journey the glass being taken and placed between the knees of the performer, mouth uppermost. This too is the work of a moment and should in no way interfere with the journey of the hand beneath the table. The hand continues on its way. Two taps are given on the underside of the table and then, as though for emphasis, the right handcomes up oncemoreshowing the penny and adding, “ Now, this is where the halfcrown joinsthe penny.”Quickly the penny is broughtinto a finger-palm position and as the hand goes beneath the table once more the halfcrown is taken from theleg. “ Hocus Pocus,” says
THEFEMALE OF THESPECIES I S sible hindrance. Havingcovered the glass it is of the table andthenboth placed totheright hands go to the waistcoat pockets each withdrawing the coins placed therein. Care must of course be taken that the penny is brought out the right side up. The two coins are placed literally side by side and lifting the covered glass it is placed over the coins. At this point the performer remarks to one of those near him, “ I want you to choose one of the coins, the penny.” and as he says this the left hand cants the glass away from him w h i the right hand takes the penny from under the glass holds it up for a moment or two the and replaces it, “ or the half-crown.”Again glass is canted, the right hand reaching underneath and taking thehalf-crown which is held aloft inthe same manner. The half-crown isapparentlyreplaced in the sameposition but actually it is placed on top of the penny and pressed over it so that the latter rests withinit. The lefthanddrops the glass into its original position. At this stage particular attention is drawn to thefairness of everything and in particular the emptiness of the hands.Whatever the choice madeby the spectator, it is the pennywhich vanishes and so, as the right handgoes beneath the table, the penny is taken with it from the knee. A tap on top of the glass with the left hand and a metallic tap from the hand under the table as the penny held is knocked against its underside. The table penny is now broughtfrombeneaththe balanced on the first fingertip. The left hand lifts the glass to show that only the half-crown remains. In a natural way the left hand moves back to the edge of the table andas it reaches the edge the glass is dropped into the performer’s lap. As. at this moment. all attention is upon the coins, !he misdirection is perfect.
.. .
PAULA BAIRD
Mirs W d is appring currently in the Chriaenan Magic and Fun Show at the Formne T h e a m
From the J. B. FindIuy Collection
19 the performer and the coins are dropped one -at a time into the glass. Immediately the sound of the second coin is heard, the left hand crushes the paper cone and the right hand brings up the glass from between the knees. As the two coins are emptied from the glass on to the table, the crushed paper is moved back to make room for it. This action does more than this for with a carry through movement the s,hell
half-crown and its .nested .penny are allowed - .to fall on the lap whilst the crushed paper is thrown over the left shoulder. In Jack’s hands this is o‘ne of the finest close-up sequences that I have seen and even if you haven’t a locking shell, just try out the effect using a spot of conjurer’swax on the innersurface of an srdinary shell.
“ The Art of Pantomime demands not only that gesture be emphatic but also that all unnecessary movements be eliminated. The magician should always remember that movement catches the eye and the mind follows the eve. The performer creates a series of focal pointsfor the audience’sattention and everything he does must aid in directing that attention to thesefocalpoints.” Leith Loder, ‘ To Pant or Pantomime.’ ‘ Sphinx,’ Vol. 40.
I
J
RARA AVIS JACK AVIS
I
N THE previous number of the Pentagram we described the effect of this miracle stab with the result that many readers either thought we were trying to exaggerate or that some ingeniously gimmicked pack was being used. There was no exaggeration and an ordinary pack, somewhat maltreated by the time the effect is finished, is the only requiremeat apart from a pocket knife. For the benefit of new readers let us describe the effect as the audience see it. A card is chosen from the pack, noted and replaced. The pack is thenplaced on the table and taking an opened pocket knife, the performer demonstrates that he proposes to stab the pack with the knife, bringing up a number of cards on the point. Actually the main point is that the chosen card shall be at the depth of the stab. “ If I choose the cards you might not think it so magical,” says the performer, taking the cards from the point of the knife and replacing them an the pack, “ so I will stab the pack at the point you wish; please cut the pack!’’ The spectator cuts the cards the topmost ones being placed upon one side. Taki,ng the knife once more the performer stabs the pack to a depth of about ten cards. Bringing the point of the knife upwards it is seen that the chosen card is the face card. The only requirements as we previously mentioned are a pack of cards and a pocket knife. T h e presentation is as follows : The spectator is asked to take a card, initial it if he cares, and return it to the pack. At this point the card is brought to the top. Tndividual methods will prevail here but whatever the method it should be one hundred per centeffective and deceptive for table work. Placing the cards on the table in front of him, the performer takes the knife from his pocket.
opens it and demonstrates what he intends to do. The point of the knife is brought down on the top of the pack so that when it is lifted about ten or a dozen cards are impaled on the point. This action has the purpose Qf actually making a hole caused by a knife stab in the topmost (and of course the chosen) card. The cards are removed from the poi,nt of the knife, replaced on top of the pack and the spectator is invited to cut the cards to the point where he wishes the performer to make a stab. Taking the cards cut off, the chosen one still being at the top, the performer asks the spectator whether he is satisfied or whether he would like to cut off some more. As this is said, the performer casually cuts the cards a couple of times. Actually he performs a double undercut which at the end of the second cut leaves the chosen card at the bottom of the packet. (For a clear description of this. sleight, if itis not already k’nown tothe reader h’eis referred to “ Cutting the Aces ” in the Stars of Magic series or to the “ A1 Koran ” number of The Wizam!). If the spectator does cut off a few more cards these go on top of those previously cut off and now held by the performer. With the spectator expressing satisfaction, the cut off cards in the performer’s hand are placed to the left of the remaining cards. At this point the performer should have his left side to the spectators. The knife is nowpicked up by the right hand , and as this hand comes up to the selected heap, the left hand shifts the unwanted packet tothe left. A movement of stabbing is made but the point .of the knife is not allowed to (See Illustration 1). The penetrate thecards. knife is lifted again and at the same time the left hand moves the unwanted packet. This time it takes it right off the table. The knife comes down on the heap. the point penetrating the topmost
20 cards. During the downmovement the left hand bottom palm the selected card by using either the in Gambler’s Palm described by Dai’Vernon in his five cardmental miracle in “Stars of Magic ” series Or the bottom COP “ off the Bottom ” described by MikeTannenin Phoenix No. 64.
beginning of the effect the cards shouldbehandled ~t similar manner. The performer should in no way try to place the card on the poht of the knife but rather h one clean action it should appear that the card is simply being taken off thepoint of the knife. Thanks to the preliminaries there is already a stab mark in the chosen card. The whole thing sounds audacious to a degree. but I have had the opportunity of seeing Jack work this on anumber of occasions before well-informed card men and also the uninitiated. In both cases the result has been one of pure magical deception. To my ownway of thinking the beauty of the effect lies in the natural way that the effectisbrought about with the minimum of skill and because of the positioning of the performer even the most difficult piece of technique, the bottom palm requires the minimum of cover.
The right hand comes up with a number of cards impaled upon the knife and at the same time in a casual way the cards in the left hand, apart ‘from the palmed card, are allowed to slide on to the table. (Illustration 2). As the knife comes into a horizontal position the left handcomesin to remove thefacecard. Actuallywhat itdoesis to bring the card palmed in that hand into view. (Illustration 3 and 4 show the process). Hereit shouldbementioned that when the performer is making a pmliminary stab at the “ Audiences don’t mind being deceived, the like it Every time they go to the theatre, they deliberately enter a make-believe world forthe expres purpose of L n g a b b l y deceived in some way. With definite psychological pre:i:editation, they not only d o not try to interfere with the deception, but actually endconsciously,aid the deception as much as they can. The SUEE~SS of their evening +rids upon it.” Leith Loder, ‘ An Approach to Misdirection.‘ ‘ Sphinx,’ Vol. 40.
SPIN CUT ACES JACK AVlS HIS Is a version of “ Cuttingthe use of therather which m&*‘ Spin Cut.”
the left andthen by slight upward pressure causes it to turnover and fd1 face up on thecards held by the left hand (Illustration 2 shows this. movement taking place). That is the spin cut which is Thisform of cut generally attributedtoNate nothing morethan an elementary flourish. In the Leipzigewasverynicely dealt with by Bruce effect to be described however, itisadapted, not Elliott under the title of “ A Lesson in Magic ” in for the 6rst time by any means, as a false. cut. In Phoenix No. 277. However,we havetaken afew this version, the perfomm leaves anumber of photographs which shouldhelp the reader to cards below that portion whichisleveredround whom the flourish may be new. Holding the pack (see illustration 3), with the consequence that the with the right hand as illustration 1, the left hand card turned overby the performer’s thumb will. forefinger presses against the corner of the pack instead of being a card near the centre of the pack and swivels the lower part of the pack round using will actually. be the original bottom card of the the right hand middle finger as pivot. These cards pack. In using this cut it is of course quite obgo all the way round and are allowed to fall into vious that the audienceshould not be insucha the palm of the left hand. The left hand thumb position thatthe lower portion of the packleft thencomes underneaththe bottom-most card of behind can be seen as the performermakes the cut. !hose cards hfld in the right hand slides it towards
T
Aces ”
showy
21 The set-up is simple. The four bottom cards of the pack reading from the bottom are three aces, a spot card (for example, say a seven) and the renaming ace. The pack is false shuffled and the performer then illustrating the normal spin cut by showing how each time a cut is mad& a different card is turned up from the centre of the pack. The pack is then false spin cut three times so that the three aces at the bottom of the pack are produced one at a time and turned up on top of the left hand pile from which they are then thumbed off on to the table, the original bottom half of the pack going back each time to the bottom of the pack.
False cut again pIoducing the seven spot and turning it up on the left hand heap. This heap is now placed upon those held in the right hand a
break being kept betweentheremaining ace and of pips the cards belowit.Mentionthenumber on the card and at the same time thumb count with the right thumb seven cards ho!ding the break at this point. The.left hand now deals off the spot-card and the pack is given a double undercut which has the final effect of bringing the last ace into seventh position from the top. “Seven Spots,’’ says the performer “Seven cards,” and slowly counting them off one at a time, the final card is found to be the fourth ace.
1
To be applauded by fellow magicians for a clever piece of misdirection should not be considered a compliment. Misdirection, recognised as such, has failed in its real purpose.“ Leith,Loder,‘ An Approach to Misdirection.’ ‘ Sphinx,’ Vol. 40.
I
DISPLAYEDDEXTERITY ANON
‘‘I
BELIEVE, and I apologise for differing from so manymagicians in so doing, that the inclusion of flourishes at the beginning of a formance of card effects can in no way be detn-
pev
mental to the performer’s prestige. On the contrary, it canonly establish a favourable impression in the opinion of the most sceptical and establish an atmosphere of sympathy, admiration, superior‘ity and confidence. Furthermore. these are no longer times when one can seriously explain a card trick as being due to somemysterious or supernatural cause. The discerning and incredulous spectators no longer allow themselves to be easily convinced by the phenomena of thought transmission or other telepathic means. But, faced with the mysteriouseffect of someincomprehensible trick there is only one explanation which furnishes are them with a reasoning behind whichthey happy to withdraw and whichsuffices to satisfy their self respect, and that is your skill. From the momentwhenyou have proved yourself skilful, any miracle is permitted you. they no longer seek to fathom it and donot resent be~ng mystified.”
Thus wrote Jean Valton and indoing so he has voiced something whichit isjust as well should be appreicated by card conjurers-notmanipulators, whoseskill is visually apparent as is a juggler’s. The advisability of the modern tendency to conceal any evidence of dexterity in handling a pack of cards is very open toquestion as a present day audience will explain everything somehow and for the sake of a performer’s reputation what more desirable cause is there to which they should attribute results than hisskill. The brilliant new sleights in the card conjurer’s armoury available for obtaining effects are legion but these. must, or should remain secret weapons for there is little point in achieving some amazing effect thereby if only a fellow card expert can appreciate the technique. The reaction of the audience is too often that it is only necessary to buy some trick pack that they may have seen advertised, abd equal the performer. The reaction of the lay public to such flourishes asthe“card sprine.” “ waterfall shuffle” and ‘‘ single-handed cut ” is more than favourable and the way he handlesthe cards tells the audience
that there is nothing that .Be ‘carinot.do with them. His parade of dexterity is.‘rewarded .accordingly.. Displayed dexterity is something that ..an. audience realise they do not possess, and which also cannot be bought across a counker. Card players in the audience can often surpass the overhand shuffle of a conjurer in speed. The same also goes for dealing, for in certain cases the conjurer is slowed down by counting, running or jogging. To these people the use of displayed dexterity places him therefore above themselves. Fancy cuts, counts, deals and lifts all can play their part I
especially when the trick, .from the point of’view
of.method, is practically self-working. Read what Buckley ,wrote about 1 such tricks : These things I admire only for the creative thsught necessary to give them birth and also the art involved in their presentation to maintain their secret. However., they are weak things on which to build the reputa-. tion of a conjurer magician because their strength is wholly in their secret, which is much too easily disclosed. When such a thing happens, often someon? will remark ‘ Why, that’s nothing, I can do it”’’ “
BOOKS THROUGH THE BARRIER ” Origination of Douglas Hood and obtainable from him at 56, Rocky Lane, Perry Barr, Birmingham, 22B. Price
12/6. Mr. Hoodin his advertisement tells us that this effect is a clean and utterly incredible prediction using the “ Supersonic ” or similar display stand. Believe usthat is no understatement this magician Hood has evolved a method for predicting one card outof a number which smellsof brimstone. In his introduction tothe description of the method he gives due praise to Dr. Jaks for the original “ Supersonic ” idea. At the same time he points out a weakness or two. Handled in the correct way we can see that the weakness has been overcome in ‘ Throughthe Barrier ’; whilst to an average audience the effectwell presented is exactly the sam’e, the difference is found when the performer is playing before a very acute type of mind or where he has to play a return date. Another advantage is thatto those c m jurors, mainly mentalists, who for some reason of their own think that playing cards should have nopart in a mentalist’s performance, Mr. Hood can supply either lettered,numberedorputtemed cards. The cards that the reader willreceive for hi’s mere twelve and sixpence are excellent value. Wewould consider that the idea and workmanship involved would place the cost at 52/6.
“THE CLASSIC SECRETSOF MAGIC ” by Bruce Elliott (English Edition published by Faber and FaberLtd., Price l0/6). Some time ago we had occasion to review in thesepages the original American edition of our confrere Elliott’s follow-up tu “ Magic as a Hobby.’’ At that time we wrote, ‘ In his previous book, “ Magic as a Holbby,” Mr. Elliott initiated his readers into the fantastic world of modern conjuring by presenting them with a number of ingenious and puzzling tricks, which,in the main. had been culled from his own publication for connoisseurs, the Phoenix. In this. present book, the reader is taken many stages further in his magical education and is made to realise that there is art in the best of magic.’ A further acquaintance with the bookhas helped to confirm that Bruce Elliott has, done much to !bring home to the neophyte the point that good conjuring demands a certain amount of work from the practitioner, andthat despite the evier persistent Lorelei that appears in dealers’ advertisements there are really worthwhile magical effects that can be mastered by the would be performer In a matter of minutes. The book is very tastefully produced, clearly printed, whilst the illustrations of our very good friend Dr. Jaks ’help to explain the text. Excellent value whether you are a newcomer to magic or just an expert. We look hope.fully forward to a further volume, “ More Classic Secrets of Magic.”
“ I believe there’s a n affinity between men and the machines they make. They make them out of their own brains, really a sort of mental conception and gestation, and the result responds to the minds that created them, and to all human minds that understand and manipulate them.” C. L. Moore-“.No Woman Born.”
23
T
HIS IS the Jack Avis number that we promised you and we feel certain that all of our readers will consider thatthe waiting has been well worth while. By the time this appears in print most of you will ’haveseen Jack working in the Magic Circle TV show with that smoothness that marks him out as oneof our three best all round close-up workers. With a bit of luck he will include “ Loops Entwined ” and also the coin penetration effect described in this issue. For his great help in giving us this number we once more say a big “ Thank you!” One of the most original conjurersthat we have hadthechance of knowingwas Norman Hunter, who i.s now residing in South Africa. In one of his many booklets he published a theme in which after a quantity of tea had been poured on to a plate and then returnedto its container, a date or name of a card appeared in lettersof tea on,the aforesaid plate. Although it was direct it was not until our good friend GeoffreyBuckingham recalled it in an article in the “ Magic Circular ” a short while ago that we realised how a good trick had been passed by.Since then we have seen it worked on many occasions with great success by our friend, Alfred Gabriel. Now Jimmy Douglas coma along with a lovely angle that gives a stronger effect since there Is no force of card or We shall publish thisin the what have you. January issue together with a very original idea of Herbert Milton’s, one, which incidentally we fancy you will all be using ere long. In the same number we shall incude Will Dexter’s invaluable contribution on that truly beautiful classic, the “ Butterflies.” During an eveningwith ArthurCarterin which he outlined the effects for bis Annemann issue, h0 showed us one of them, a gem of an idea that makes the “ Burnt and Restored Note ” trick an even greater miracle. One of the biggest happenings in magic over the past few weeks has been the acquisition of the Chri’s Charltonlibrary by the MagicCircle. In-
sured with Lloyds for E4,000 it gives the Circle with its existing items, one of the largest and most valuable collections in the world. In the Charlton library there are in all ’between eleven and twelve thousand items. The cataloguing and arranging is something that is going to give Colin Donister and Bert Pratt a big job of work. Harry Stanley is: showing a very fine piece of enterpz-ise with his Eisteddfodd of Magic that will take place at the beginning of February. Even if your interest is not inthe performing of magic, there seems to be a lot of prizes to be won in other spheres of magical activity. Magiciswellto thefore in the Christmas shows. HarbinandPaula Baird at the Fortune whilst Eric Mason (The Great Masoni) has a season at the New Theatre, Bromley. There is also an Archie Andrew season at the Finsbury Park Empire, in which Harold Taylor and Teddy Victor with hand shadows.w.iU be to the fore. We are missing the ‘‘Sphinx’’ rather badly and we wonderwhetherin our ownlifetime another glossywill arise in whichsuchfinely illustrated articles on things other than trickswill appear. The very fine book. Magical Bibliographies by Victor Farelli and with an Appendix by Jimmy Findlay is a must forall students of magical literature. With the bound edition selling at only 21/- we think the .price extremely low when taking into consideration the limited demand for such a work. Thereisanother edition selling at 12/6. Both can be obtained from that great bibliophile, Ji’mmy Findlay at Firbank Private Hotel, Crescent Road, Shanklin, Isle of Wight. Although this comes ratherlate, wewould remind ourreadersthat Victor Farelliis also doing a good job of work in helping to make more comfortable tbe life of that well-known French conjurer, Claudius Odin. Odin who is in his 85th year is infirm and very poor. Contributions which are allowed for under Exchange Control Regulationscan be .sent to Monsieur M. Sardina, 56, Avenue de Verdun, La Varenne (Seine), France.
“ Let us consider for a moment the humorous patter. I repeat, it is not necessary to employ humour ‘at all. It is merely ona medium. Be sensible about It. If you findyou can’t get along with collar buttons and cuff links, you can wear attached collars and buttoned cuff:,and be just as well dressed. It is no disgrace or mark of intelligence to be or not to be able t o tell a funny story. LeithLoder. “To‘Wit.’SDhinx,’ Vol. 40.
24
m
I
I
MARTIN GARDNER’S
MYSTERY An easy t o d o yet baffling book test. The perGoose former hands out a bookletofMother ,Rhymes and a spectator selects a word and a page in such a fairmannerthatthe selection seems obviously t o be governed by chance, yet the performer can immediately name theword chosen (or he can predict it beforehand if preferred).
SPECTATOR’S CHOICE by DOUGLAS FRANCIS
I
PROFESSIONAL STANDARD MAGIC FROM A PROFESSIONAL PERFORMER \
IF YOU BELIEVE, as the author does, that the ultimate aim of every trick is its performance before an audience, whether it be of one, or one thousand, then you cannot fail t o find within the pages of this booksomething to suit your fancy. The contents include seven outstandin mysteries rsnging from a super “ Rainbow Sponge B:!f Routine ’’ for the close-up performer, t o routines with Drinks From Nowwhere,” Glass Levitation magic with eggs, liquid, matcher, livestock and a little nifty for the mentalist.
This can immediately be repeated and a different word is chosen Added to the full prerentation of this baffling double effect is a triple prediction by George Armstrong, which shows how the book of rhymescanbe used in other mental effects. Supplied completr with four page printed folder of instructions and presentation, and thr neatly printed book of Mother Goooe Rhymes.
In addition thereis “This isMagic,” a complete magic act with standard props. and effects, beautifully routined t o get the maximumeffect. It’s an ideal after-dinner or cabaret routine, and has already been effectively used by several performers. A neatly printodbook, with 23 illustrations.
( I Dollar)
Price 716 ; Postage3d.
Price 7/6 : Postage 3d.
FROM THE PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTON EOAD, ENFIELD, MIDDLESEX
l
MAGICIAN’S DIARY dk YEAR BOOK
The Magic Circle
1954
I’resident : His Grarc the D u k e o f SofllCNCt.
D.S.O., O.B.E., J.P., Y.I.Y.C.
Vice--dent: Dolulu C n u r . EM.. Y.I.M.C. Clubroom and L i b k y a n r M u r i m :
‘‘ Well bound, it compares favourably with any other pocket diury on the market . . . a ‘ must ’ for every magician.” -ABRACADABRA
Hearts of OakBuildings, Euston Road, London, N.W.I.
Over 200 pages. Complete lists of Magical Societies, dealers, publications, booksellersand magical glossary. Thumbindexeddiary,memo. and cash accounts and address pages Ato Z. Leatherette bound and gold blocked HOW C A N Y O U G O W R O N G
6/6: Post 3d.
MagicalTheatre
:
King George’s Hell, W.C. Forthcoming EventsJan. 30-Children’s Party Feb. 6-Concert Particulan from Hon. Secretary :
Francis White, 39 Alverstone Avenue,
From all dealers
Wimblcdon Park, S.W.19
or in case of dificulty from
PENSHAW PRESS, CRAYSHILL,BILLERICAY,
ESSEX.
I
I JACK HUGHES will be p l e d to send full details of
poa
THE DE LUXE “SU-TABLE”
PETER
PENTAGRAM is published on the 24thof each monthand can beobtained direct from the publishersfor 117 per bingle copy. Annml Subscription 181-
PUBLISHED together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, EvelynAve., Colindale, London, N.W.9.
WARLOCK’S
port free. BY:
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’ An entirely new “ thought o f ” stabbing card discovery Complete with pack and accessories 1216 FromDOUGLAS FRANCIS, 65 Norwich Avr Southend-on-Sea, Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripta for publication and books for review should be rent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your want. LIST FREE FOR STAMPED ENVELOPE N n Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
25
CHRONOKINESIS JACK AVlS HIS is one of the most effective close quarter prediction effects that we haveseen.We have given it the title of “ Chronokinesis ” (timemovement or travel) with thethought in mind that inposing as a time traveller. the mentalforecast ist can give a reawn for hisabilityto future events. This is how the routine goes; to a person on your left you hand a sealed envelope. A spectator on your right is then handeda sheet of paper with the request that on it he writes something that he will choose and something which nobody else will know for the time being. “ T o helpyou in yourchoice there are,“ remarks the mentalist. “ three main divisions into which material things can be. divided, Animal, Mineral and Vegetable, therefore will you please choose a representative from one of these groups and write its name on the sheet of paper. Remember sir, that before I started I placed an envelopein the safe keeping of our friend over there; in that envelope are three pieces of coloured paper, they have a definite bearing on whatyou have written. Just fold the paper so that nobody else can even glimpse the word.” The paper is taken by the mentalist and torn into pieces which are burned upon a small metal tray. The envelope is then taken from the spectator on theleft, opened and shown to contain three pieces of paper, red, white and blue respectively. “ Strange as it may seem, whilst I was not certain o n which group your choice would fall. I was certain which word you would choose in eachgroup. Which groupwas it?” The spectator replies to the effect that it was in tht “veeetable group.”thereupon the mentalist remarks, “Blue for animal, red for mineral. white for vegetable.” and at the same time hands the white slip of pap-r to the spectator who previously held the envelop.
T
VOLUME 8, No. 4
-
with a request that he opensit noting what is written. The spectator on me right is now for the first time asked to tell the audience the word he wrote upon the paper. He answer!, “ Tree.” The spectator on the left is asked to read aloud the and straightaway word on the mentalist’sslip, comes the answer “ Tree !” The requirements are few and are as follows : Four pieces of coloured paper measuring 4 inches square. Supposing that youhave blue, red and white you will require one pisce of blue, one piece of red and two pieces of white. A pencil. Box of matches. A metal ash-tray. Bminess size envelope. Foldthe piecesof paperonceesch way (in the usual manner preparatory to the business of “ centre stealing ”) and your preparation is started. Fromthe folded pieces of white, red and bluz paper make a normal centre tear; retain this piece but throw the surround away. One piec? of white paper is left untouched. A small drop of glue or wax is placed on the side of the torn whit: piece and this is fixed to the inside of the envelope, the red and blue pieces then being dropped inside as well. Thus you have two loose pieces and one fixed piece of paper. The flap of the envelope isnow sealed down. To present, first of all hand the envelope to a member of the audience on your left p3inting out that the contents will have a direct bearine on something that will take piace a little later. Now take the piece of white paper and hand it together with a pencil to a member of the audience on your right. Ask that person to think of the three main groups, Mineral, Animal and Veeeinble and then to think of one subject in one of those divisions. When he has done so ask him to print the word onthe paper, fold itand hand itto you. The paper is then torn up in the usual way. the centre being retained in the left hand which goes
I /6. (20 Cents)
-
JANUARY 1954
26 to thelefthand
pocket to take out a box oi matches, the cen.tre slip being left behind. The box of matches is withdrawn and the, right hand removes a match,, strikes it and sets fire tothe pieces of paper on the tray. The spectator holding the envelope is now requested to ’tear open the top and look inside. He does this and you ask him what he sees. His reply is naturally “ Three pieces of paper, one red, one whi.te and one blue.” At this point the matchbox should be in the right hand, and it is passed once more ’to the left and the box is returned to the pocket where the slip of paper is taken in a finger palm position. Tell p u r audience that actually the envelope contains three predictions, one for each of the three divisions for strange as they may find it, it is easier to predict the actual word in each group rather than predict the group itself. You now ask the spectator which group he chose. When he replies, and we will suppose that he chose the vegetable group, remark that you wrote a word in the animal group on the red paper, mineral group on the bluepaperand vegetable group on the white. I n other words whichever his group is, it is always and must be the white paper. Take the envelope with the right hand from the spectator on the left and apparently allow all three papers to fall on to the left hand palm (actually the red and bluefallto join the whitepiece already there). Placethe envelope out of reach and spread the pieces of paper on the table in front of you. As though you have forgotten it, ask the spectatof on the right to name the group and then taking the white piece of paper and hand it to the spectator who previously held the envelope. “And now, sir (this to the spectator who wrote the word) will you tell the audience the actual word that you
I
chose in thatgroup?” The spectator answers, “ Tree.” “ Please (this to the spectator with the piece of paper) unfold the paper and tell the audience what I have written.’? The spectator does SO,reading out the word.“Tree.” Climax! When Jack passed on his notes for this effect we did think of one additim and that was that on the red slip of paper a word which could be both animal and vegetable could be written whilst on the blue slip a word representing egunlly minerrrl and animal could h written. Without thinking a lot. about the choice. of words let us suppose that on the red slip you have tht word, “ Grub ” and on the blue, the word “ Derrick.” The finish of the trick when the pieces are spread on the table would go like this : The red slip is picked up and passed to the spectator for reading. The performer remarks, “ Had you thought of somethinginthe animal group it would have been ‘Grub’.’’ The spectator checks. The blue piece is now handed out. “ If you had thought of something in the mineral group, it would have been a form of crane, in fact a ‘Derrick‘.” The spectator checks. “ But sir, you thought of something in the vegetnble group, and that word should correspond with the word on this piece of paper.” lf the chosen word was in the mineral group then the red paper remains vegetablewhilstthe blue becomes animal, the performer adding that the chooser would have thought of a person named “ Derrick.” Lastly if the animal group is chosen the red paper is used to designate vegetable and the blue mineral.
‘‘ I saw a Chicago performer recently open his routine with a positive miracle. He performed for an hour afterwards but none of his other tricks amazed me, for his opening trick was sol good; he could go nowhere S I Ibqckward ~ from that point.” LeithJust Loder-“ Routine Stuff ’
l
CHANGE FOLD HERBERT MILTON CLAIM no originality forthe fold in, the following effect, but I do claim originality for using it to reveal rather subtly the name of a chosen card. Effect-A card is selected from a pack and placed face down without its name being disclosed. A card, measuring roughly 4+ inches X 23 inches, is then introduced. The card shows signs of creasing in places and printed on it in capital letters, is the following rhyme : WITHOUT ANY MORE FUSS, WE CAN FOLD THE CARD THUS (See Fig. 1.)
I
This is handed to the chooser of the playing card with, a request to hold it between thumb and forefinger only and without any other aid whatsoever, to fold it so as to reveal the name of the card selected. This being apparently impossible of accomplishment, performer takes the card and holding it by its two long edges,between thumb and forefinger, slowly bends it in such a manner that the card creases itself in a rather surprising way, into a number of folds which automatically obliterate several letters of the rhyme, leaving the others to form the name of the card selected, in this case Ten of Hearts (See Fig. 3).
27 Preparation-The only preparation needed is the card shown in Fig. 1. This is made from a fairly thinbut substantial material.Somelittle care is needed in choosing the right type of card but experiments with various sorts will enable the reader to soon choose one giving the best results when the card is caused to automatically fold itself up during the course of the effect.Myown card is similar in thickness and quality to that used in better quality playing cards. The size is 45 inches X 23 inches. With ruler and knife lightly score the card along the vertical dotted lines at the various positionsshowninFig. 1. and then fold the card in the manner illustrated. Continue folding the sides inwards, concertina fashion, flat to the centre and then fold the whole downwards along the horizontal centre line. If done correctly the result is the shape shown in Fig. 3.
Working-Using any pack of cards, the Ten of Hearts is forced and placed face down on taMe without its namebeingdisclosed. The “ Rhyme Card ” is now introduced in a very slightly folded condition as shown in Fig. 1. It ishanded to the chooser of thecard with a request to take it between thumb and forefingeronly and using no other aid whatsoever (this isemphasised) to fold the card so asto revealthe name of the card selected. The average spectator will of course take the card by one corner between thumb and forefinger and under the emphasizedconditions, be unable to do anything with it. Performer now takes the card and holds it from underneath, betweenhisright thumb and forefinger, the forefinger tip at the middle of the top edge (point “a ” in Fig. 1.) and thumb tip at
B 1.
mom
2.
We now come to the lettering on the card. In experimentingwith the names of various playing cards, I find the T e n of Hearts lends, itself admirably to the trick. With theplain card folded as in Fig. 3. print in capital letters TEN O F HEARTS exactly as shown. Then open out the card flat and print in the rhyme as shown in Fig. l . incorporating in it the letters already used in the Ten of Hearts. It will be found, on opening out the card flat, that four of t.he letters in the TEN OF HEARTS (F. S . T. H.) auto,matically “ disappear ” to the back of the card (see Fig. 2.) and these are ofcourseignoredwhenprinting the rhyme in.
I
BAQ:
middle of bottom edge (point “ b ”). The two lines of the rhyme are then read aloud. The thumb and forefinger are now slowly pressed together and this causes the card to automatically close up until it assumes theshape shown in Fig. 3, revealing to the onlooker the words TEN OF HEARTS. The playing card is then of courm turned over and the name verified. Some readers maylike to experimentwith the names of other cards and other rhymes. It is not easy to incorporate the two lots of letters but if any reader happens to ch’anceon anything good, I should be delighted to hear from him.
“ There is no substitute for good tasteand consideration for others Disparaging remarks or aspersions about religion. abnormal addiction, sickness and ocner ‘nformities, to mention a few, should certainly be classified as conduct unbecoming as gentleman.” Leith Loder-“ To Wit.”
I
BOOKS A LIFETIME OF DECEPTION-bythe late not only as a veryfine card conjurer but as a very Major L. H. Branson (Published by Robed Halevividpersonality who at all timeswaswilling to Ltd.), price 1519. give the benefi,t of his experience to those in need. There mustbe quite a number of readers of In this book thosememorieswill be revived and once again the reader will be back in those this journal whowill have pleasantmemories of thelateMajor Branson. They willrememberhimtimes w‘hen everything,includingmagic, was less
28 effete than it is to-day. Of magic, as magic there is little in the book but in the course of some two hundred pages the author tells the reader how magic since his childhood not only influenced his life but also how it became his greatest asset. We read of his first meeting with that great Edwardian magician, Charles Bertram whoweek after week coached a willing pupil. We pass on toMajor Branson’s early days in the Army as a regular officer, and this to those of us who have played a similar part during emergency we get a glimpse of Army life as we never knew it. As one progresses through the book the pattern takes shape and it is easy to see how this gift of entertaining deception really did help the author; amongst many things it gave him great opportunities as a junior officer for appearing ,at social functions. Most interesting is his description of how, quite by accident, whilst waiting for a vacancy at the Quetta Staff College, he showed some card tricks to Miss Lila Field, the dancing mistress, and as a result after an audition before Sir Alfred, (the Mr. Alfred) Butt, he was booked to appear at the Palace Theatre in London. This was in 1913 and he used the professional name of Lionel Cardac. The tricks he did were those that he had learned from Bertram.
We go on to the first World War, the aftermathand more experiences.Most interesting is thefactthattheauthor was responsible for the the introduction of the odd shillings and pence scheme asan aidto charity. It is of special interest as atthe end of the year it was revived with good results in connection with the Westminster Abbey Appeal. After the First World War, Major Branson having toabandon hisArmy career through illhealth became a full timeprofessional conjurer until aturn of family fortunes. allowedhim full retirement. The occurrence of the SecondWorld War sawhim back as keenas,ever entertaining troops under the severestconditio,ns. The book closeswith some notes anent the Indian Rope Trick. An absorbing volumewhich has anespecial interes,tfor magicians; we laid it down wishing that it was but an instalpent in a welllivedlife and that more might follow. In last month’sreviewof Bruce Elliott’s “ClassicSecretsof Magic” weconmzittedthe sin o f omissio~z. The nmth line from the botfonz of page shouka? have rend, “there nre n o renlly nuorthwkiLe magicaZ etc.’ ’
A FINISH FOR THE AMBITIOUS CARD ROUTINE JACK AVlS T THE commencement of your ambitious card routine have acard selected but 1z9t looked at. It is taken and dropped into the right hand pocket. Another card is chosen, marked and this becomes the ambitious card which keeps on perambulating inthe pack. Wewill suppose that you have reached the penultimate stage of the routine and that the marked card lies second from the top. Holding the pack in the left hand double lift the two top cards with the right hand and show the two cards as one. Now place the two cards f a c e up into the centre of the f a c e d o w n pack. Push them in squarely but hold a break with the li,ttle finger abovethe two cards. Retaining the break the pack is turned face up in the left hand. At one point is will be found that the break is lost butastep will be formed, the cards previously above the littlefinger, protruding to the right. The right hand now comes in to square up the pack and this time the left little finger enters the pack im-
A
I
mediately above the step and of course under the ambitious card. In squaring up the pack the third finger enters; as well and the1 card immediately above it is pushe4 to the right where it isside stolen by the right h.and,which now takes the cards from the left hand and ribbonspreads. the pack f a c e u p on the table. One card lies in the centre of the spread, face down, and this will be taken €or the selected card. The magician now reaches into his pocket with the apparent intention of removing thecard placed there at the beginning of the routine. Instead, of coursa, the palmed card is taken out. It is now held face down a few inches above the reversed card in the spread. For the last time the ambitious card is; commanded to move and occupy the most prominent position. The left hand turns the ribbon of cards over showing that the chosen card has changed into another, whilst ,the card in the right hand is turnedover showing it to be the ambitious. card.
“ Many an amateur’s efforts have bcen enhanced by the very fact that for economic reasons he could not afford to buy all ‘ big ’ tricks and was forced to build his routine round the few pet effects he could afford.” Leith Loder-“ Just Routine Stuff.”
I
29
THECHINESEBUTTERFLIES WILL DEXTER N THE Pentagram for May, 1950, Peter Warlock wrote regarding Edeling’s performance of thepaper butterfly trick, with the commentthat now its beauty in the hands of a Master had beenwitnessed by everymagical illiterate who cannot think for himself, we could expect to see a plague of paper butterflies dangling o n the ends of threads. The plague hasn’t materialised, happily, perhaps because those magical illiterates who can t think for themselves haven’t been able to work out sufficient details. And asfaras myknowledge goes, this beautiful effect has received too little attention in print. So the following thoughts on its preparation and performance may be welcomed b y those who admire the trick. It was a Chinese performer, named Lu Chang .Fu, a resident in Germany when not playing over here, who taught me his method somewhere about 1930. He fanned the butterflies (already cut out, folded and strung up) from a small box, driving them back into the box at the end. Over the years, I have varied this metho4, and prefer to cut out the paper in front of the audience, while I explain what I propose to do. At the finish, I blow the butterflies right out into the audience and take my bow as they drift away. The Chinese Butterffies,” of course, is not a trick as much as a feat of juggling, and as such, certain problems of balance and proportion must be solved. I offer so,me practicable solutions below, but without claiming them as exclusive. All I know is that they work, where other methods 1 have tried have failed. “
5.
Tieeue e l i p e joined by ten inch thread,bthered t o fan by second ten inch thread,
The various possible methods of presenting the feat include :(a) Cutting out the butterfiies openly and working with them strung to the fan. (b) Having the butterflies prepared beforehand and working with them strung to the fan. (c) Butterflies prepared beforehand and placed in a box, the butterflies being strung to the fan. (d) As (c) but the butterflies tethered to the box. (e) Attached at some time to part of the head by means of some form of adhesive. The drawback with (d) is that thebox must be held inthehandallthe time. I prefer method (a), as this can be done without tables, etc., and the hands hold only the essentials. Apartfromtheactual performance of the trick, there are four problems to consider : (1) Size and weight of fan. (2) Thickness and weight of paper. (3) Thickness and length of thread. (4) Handling during the cutting out of the paper.
THE FAN
I have tried several shapes and weights and find that a large heavy fan is best. Mine measures 14 inches long whenclosed, and so opens to a semi-circle of nearly 28 inches when fully opened. It is satin-faced on both sides of the ribs, this making for weight without taking away frommthe flexibility. There can’ be few rules as to colour, but I think a plain colour with very little pattern 3. Pan
under left arm,two folded s l i p 8 held in l e f t hand.Thread pseaee’ betweeh, f i r s t and seaond fiogere a n d behind hand to fan. The by dotted lice.
2. Show8 how the paper is folded in r e l a t i o n t o t h e thread.
30 shows upthe butterfliesbest.
I use a black fan
with a small spray of branches and leaves
embroidered on in silver. THE PAPER Ordinary tissue paper serves well. The stationers usuallystocktissue paper incolours. I use the red colour, with Chinese characters painted on in gold. The paper is cut to oblong size, about 3+ inches by 3 inches, and is folded in the middle across the short width. The thread is anchored to these by a tiny slip of Scotch tape one-quarter inch square in the middle of the fold-outside the fold, of course. The Scotch tape goes one-eighth inch on each si& of the fold. THE THREAD Now here is a problem!Black cotton isno use for an audience seated nearer than twenty or thirty feetaway. “ Invisible ” thread ravels and snarls almost at once. Horse hair is too stiff and thick. Hair is ideal, if youknow any lady with hair a foot or more long. But the best thread 1 know is a French product, used I believe,by fishermen for some piscatorial rite. No thicker than a strong hair, this is trade-marked “ Racine Tortue Nylon ” Size 10, with a reputed breaking strain of half a kilogram. As half a kilo is something like three-quarters of a pound, I can see a rush for this stuffby all the Zombie enthusiasts. The makers are La Soie, of Paris. Similar stuff may be obtainable from other sources, but I havenr found any. Bert Linnell, of Nottingham, was good enough to put me on to this wonderful understood thread. Incidentally, I have never why every dealer doesn’t stock this type of line. The thread is first used to join together two pieces of tissue, by a piece 10 incheslong. A second piece, the same length, is then tied by one end to the middle of the first thread. The other end of the second piece is stuck to the fan by a piece of Scotch tape half an inch or more square. Thus, when the papers are secured, the thread has a “ Y ” shape, with a folded oblong of paper at each end of the upper strokes, and the fan at the end of the downward stroke. The larger square of b t c h tape is stuck on the fan about one inch from the edge in the middle of the arc. It will now be Seen that when allowed to hang down, the butterflies will be 14 inches;belowthe edge of the fan(half the length of the ioining piece, plus 10 incheslength of attaching thread, minus one inch over edge of fan). As this is exactlv the length of the fan. I use, it may be found a useful rule to make the total length of thread equal to the length of the fan. See illustrution 1 HANDLING BEFORE PRESENTATION The paper oblongs can be prepared well ahead. T find that they are safely stored, after threading-up, in small envelopes, the paper folded inside, and the thread led out and wrapped round the envelopes,which are thensealed. The end of the thread is then lightly stuck to the envelope by
the Scotch tape, over the wrappings of thread, and everything is secure. Beforegoing on the plaform, one of the strung set-ups is taken from its envelope, and the square of Scotch tape is stuck down on the fan. If this can be stuck on part of the pattern, such as a small flower, it is perfectly concealed, but if there is no suitable-bit of pattern, it can hardly be seen. The fan, closed, is laid on the table, if a table is used, with the papers on top of it and a pair of round-pointed scissom on top of thepapers to stop them blowing away. If no table is used-say in the case of a compere item-the fan and papers are held together by the left hand and the scissors are in the right coat pocket. When ready to perform, the fan is tucked under the left arm, and the papers are held in left hand, betweenforefinger and thumb. The left hand is thengentlyextendeduntil the thread i’s taut.The secondfinger of left hand is inserted under thread to keep any slack out of the way of the scissors. This is difficult to explain in writing, but easy enough to accomplish after a couple of trials. See illustration 3 The scissors are then taken and the cutting is commenced. The leftforefinger and thumb hold the two folded papers together and cover the Scotch tape that holds the thread on. Start cutting from the right hand edge and turn the paper as the scissorsadvance. Thus by twocurvingcuts. two complete butterflies are cut out. These should measure no more than twoincheslongandtwoand-a-half inches acrossthewings.Bigger, and they become over-heavy. When cut out, the butterflies are opened out, and the wings bent slightly so that looked at from the front, each butterfly appears like fig. 2 They are perfectly balanced and weighted by the bit of Scotch tape. The two butterflies are held in the left hand, and the scissors are pocketed. Thefan is now taken from under the left arm and omned by the right hand, always remembering that it must never be more than fourteen inches away from the butterflies. If youfindit’s further awaythan the length of your thread, better put the whole thine away,becauseyourthread’sbroken!However. this should never happen with reasonable handling, PRESENTATION This is my presentation, and T am quite prepared to believe that others couldimprove on it. but this is the method I’ve got used to. The fan is owned and held in the same plane as thce floor, at elbowlevel. The edgeofthefan points towards the left, hand, which holds the bvtterflies. The left hand raises the butterflies as far asthe thdeadwill permit. movesover the fan slowly, and drops first one, then the other butterfly on to the fan. Be careful not to let one butterflv drop and then leave it suspended while the other is still held. Drop the second one before the first has landed. or else lower the hand to less thsn ten
31 inches from the fan. In that case there can be a longer pause between dropping the first and the second butterfly., Lower the left hand to the side, look steadily at the butterflies, tilting the €an a little so that they can be seen by the audience, and then raise the fan to the level of the face-slowly, slowly, as though the balancing was a difficult feat. With a sudden breathing out, blowthe butterflies off the fan towardsthe audience. Now comes the task of keepingthe butterfliesfluttering in the air without making it apparent that they are tethered to the fan. This is done by the method of fanning them. The principal move is to keep the €an upright, the round edge upwards one end rib towards yourself and the other end rib pointing straight at the audience. The fanning is done from the wrist. A few brisk strokes give you the feel of the set-up, because oddly enough, the slightest variation in length of thread, size of butterflies, even of the warmth of the atmosphere and the direction of air curren.ts, makes each performance different from the last. Once the butterflies are fluttering over the edge of the fan, wider, gentler movements of the fan will keep them up indefinitely. If there is a steady draught, however slight, youmay have to follow them a little with the fan, but unless the door is open and aneast wind is blowing, this need not necessitate moving from one position. However, I think the feat looks more difficult and can certainly be made more graceful if the performer moves about as though following the butterflies,. And the left arm should be slightly extended as it does. though to provide balance-which indeed That could be called the principle move. But there are other moveswhich add to the routine. For instance, the butterflies can be allowed to sink nearly to the floor by turning the wrist holding the fan until the fan is horizontal, and lowering it. In this move stronger wrist movements give a faster movement to the fan to keep the butterflies at the length of the thread, and toprevent them dangling. A pretty move, if working from the floor of the hall, is to keep the fan. perpendicular to the floor and then to twist the curved edge towards the audience. The butterflies will then flutter out towards the audience, and can be slowly " chased " so that they almost alight on somechild's'head. But pick the child! No Giles's brats, or they will snatch the butterflies away! Those, then, are the three main moves: Fan upright, arc on top, and the butterflies stay above it; fan horizmtal, quicker movement, and the butterflies move up or down; fan pointed at audience, perpendicular again, and the butterflies fly away from the performer. Other moves could be adapted to each performer'sownstyle.
CLIMAX Music should be provided for this effect, and the orchestra leader or pianist must be advised that the.pitch of sound must increase as the butterflies.fly high and decrease as they fly low. The tempo should be increased as they speed up their movements, and decreased as they slow down. As the final movement of the m,usicis' reached, the butterflies should be at the side of the horizontal fan. Onthe final chord, they are caught on the fan by a scooping movement, again, easy to do but difficult to describe inwriting. Thefan dives under them in a curve, and isthen raised and held high. The only danger in thisisthat sometimes, without 'having practised enough, the performer may find that he has caught one butterfly and left the other dangling. I,€this happens, another quick scoop must be made to; catch the dangling one. But it will be found that this rarely happens, for the very good reason ,that after thirty or forty seconds of fluttering, the two butterflies tend to come together, due to the twisting of the joining thread. Go on long enough, and they will be firmly twisted together. Incidentally, if as sometimes happens, the .two butterflies twist together before the climax of the music, this can usually be overcome by changing hands with the fan,when the butterflies will untwist and then twist the other way. Because of this twisting of the thread, it would seem inadvisable to use the samebutterflies for another performance. Having caught the butterflies on the fan, my favourite finish is to blow them out into the audience, like this; they are picked up in the left hand, thethreadis rapidly looped around the right thumb, which holds the fan, and the Scotch tape is quickly peeled off. This done by a twist of the left hand. Special care mustbeused, as some brand of tissue paper will tear before allo-wing the Scotch tape to peel off. Personally, I found that more practice was needed for this move than for all the rest put together. The tape c o m a loose easier if the butterfiies are held opened out flat. Having detached them, I place them on the fan and blow them off it towards any child sitting in the front row. In taking a bow after this, keep the fan open in the right hand, extend the left arm to balance the extended right arm, but Keep the f a n moving. The thread willshow if the fan is kept still. There is one important proviso attached to presenting the Chinese Butterflies : Never show it where the overhead lights are unshielded and low, otherwise the thread shows up badly. Where possible, get in front of overhead1 lights. The thread is i m p s i b l e to see whilemovingwith the light behind it, but it may shine with a strong overhead front light.
-
3.2
C
P L A Y I N G WITH M A G I C A 8uperblp produced cloth-bound book that is a MUST for the ed props Cloth-bound material. entertainer children’s 30/Porkgo 6d.
1’11 R E A D Y O U R MIND Mental magic in thebest Annemann tradition, Packed with practical
SPECTATOR’S C H O I C E
Professional standard magic of the highest order. N o elaborate
Postage 4d
17/6
7/6
Postage 3d.
PUBLICATIONS Chrllenge Instant Hypnotism and MW Hypnotism
GeorgeArmrtrong 211Chandu’s Psychoanalysis George Armstrong I0/3 Gwrge Armrtrong’r Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 5/3 Tricks of the Tradr George Armstrong 2/7 The Universal Mind Ron Baillie 12/9 Bohleno’s Mysteries 10/3 Bohlen Henry Read1’11 Your Mind Aage Darling 17/9 Entertaining with Contact Mindreading S. E.Dexter 7/9 Entertaining with Hypnotism S. E. Dexter 10/3 Automentalism Courcy Ken de 20/3 Telepathy Zodiac Courcy Ken de 1219 John Ramsay’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli 10/3
Spectator’s Choice Francis Douglas Mother Goosa Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist aad Children’s Entertainer I0/3Hurling Maurice Jamtsosophy James Stewart Strictly Magic JosephEddie Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With Shge Money Jack Lamonte Suzy and the City Slickcrs Jack Lamonte Where Houdini was wrong Maurice Sardina ”
’9
edition)(cheap
Stooging Around Playing With Magic Magically Yours
7/9 7/9 513
513 5/3 10/3 7/9 5/3 7/9 20/6 7/9
JoeStuthard5/3 WilfredTyler 30/6 VerrallWass l5/6
FROM THE PUBUSHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, ENPIELD, MIDDLESEX I
I
The Magic Circle President : His Grace the Duke of Somerset.
D.S.O., O.B.E., J.P., Y.I.M.C. Vice-President: DOUR^.^ Cnnnr. &a.. Y.I.M.C. Clubroom andLibiary and- ku&m :
Hearts of Oak Buildings, Euston Road, London, N.W.l. ~
1
MigicalTheatre
:
King George’s Hall, W.C. Forthcoming EventsMar. 8 Lecture-Percy Press 27 Concert Particulars from Hon. Sscretary
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishers for 117 per bingle copy. AnnualSubscription 181post free.
BY: The Magic Wand PublishingCo. 62 Wellington Road, Enfield
PUBLISHED
Middlesex Manuscripts for publication and books for review should be sent to the: EDITORIAL A D D R W :
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for astamp. Write now to
Jack Hughes, 2, Ejvelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE OLD ANI) NEW. Le m e know your want# LIST FREE FOR STAMPED ENVELOPE N e Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin
*
33 A
B
L
A
PETER WARLOCK’S
It doesn’t seen] possible that this is the eighth Annemann issue that we have put out. In each and every one we have tried to present our readers with magic that we felt A n n e m a n n would have liked and also magic that he wouldhavepublished inthe immortal ] i n s . This year, our friend Arthur Carter takes care of the whole issue. A great lover of mentalmagic
*****
those acquainted with the publications of the Arm-
strong Press will have found already some delightful ideas of this very thoughtful young man. “ On the Lap of the Gods,” is a card effect that you mu% try and assure yourself of the literally staggering result. We are beginning to evolve a theory that Annemann was a deliberate focal point inthe scheme of magic, so much so. that in Amsterdam on April 24th we are giving a..lecture entitled the “ Annemann Tradition,” which not only sets out to show what Annemann himself did for magic, but also how he brought from out of the fading light, effects of the generation preceding his own. And so once more we light our little candle.
ON THE LAP OF THE GODS ARTHUR CARTER ERE is a card prediction which really justifies its mange title. But don’t worry. At best you a good if may get a super miracle-at worst, somewhat drawn out trick, which I feel sure that you will like, especially after you have performed it a number of times and had a few lucky breaks turn UP. The requirements are few and simple. A pack of cards containingone marked card,in the writer’s case. the five of Clubs. The markmust not of course be too obvious, but atthe same time. must be SURciently plain to be instantly spotted by the performer while a specator is dealing the cards. The card should also be ink-marked on both of its long edges in order that its position in the pack may be apparent to anyonewho is looking for it. On a blank visiting card write “You will inevitably choose the five ofClubs” and seal same in a small envelope., which is thenplaced in a convenient pocket. You are ready.
H
VOLUME 8, No. 5
-
The presentation of the effect is roughly as follows Request a spectator to pick up the pack and mix up thecards thoroughly. In a case such as this. the word “mix ” is I think preferabe to “ shuffle ” which somehow seems to suggest trickery. It is small points such as these which make all the difference between a piece of magic and “ another card trick.” While this isbeing done, remove the envelope and toss it upon the table. When the holder of the cards has f i n i s h e d his m i x i n g ,t a k e a quietlookatthe p a c k w h i l e i t is still in hishands. P o s s i b l y , as has occurred t o t h e writer twice- the marked cardwill be
I/a. (20 Cents)
-
FEBRUARY 1954
ihe pack is whittled down until only one or two
~
Robert Houdin, Jnr., “The Jinx:’ page 759.
“To approach humour with m y degree of understanding. it is necessary todelineate the difference between comedy and tragedy. Contrary to the general wnception, tragedy is not alway8 n ‘tear jerker’ nor comedy a vehicle for slapstick actions and humorous qulps and witIicisms. The only real dtfference betweenthe two IS In the climax or ending of the story told.” Leith W-“To Wit.’’
35
THE PERENNIAL PHOE-NIX ARTH UR CARTER HAVE always had a liking for the burned and restored note effect, and during the last twenty years or so have tried out various versions, all of which have combinedto drive me to one conclusion-namely, the owner of the note. must receive back the actual note lent, otherwise disaster is sure to come sooner or later. On at least four occasions in my own experience I have had spectators either examine the note inquestionclosely,orbe requested by friends to make a carefulnote of the number; while I have also met no less than three people who have told me that they did not receive back the original from other performers. One-a lady, openlydenounced the performer, another lady who also realisedwhat had happened, kept silent. Thethird, a gentleman, although realising that wlnt hehadreturnedwas not his original property, was.completely baffled as to why such should be the case, PLAN V I L W OF STAND. and left the matter at that. The best version of thc effect which I think I have ever come across, was that of the late Douglas Dexter, described in the April, 1950, Pentagram, in which a borrowed and marked note is sealed in an envelope and burnt, and is afterwards reproduced from a second envelope which has been examined and sealed by a member of the audience. At no time during the entire eftect is the note touchedby the performer, the note at all timesbeing handled by tweezers. This, I believe, was Dexter’s main claim to originality. In any Oase, the entire effectwas one which, for sheer artistic simplicity would be hard to beat. The onlydefect from the writer’s point of view. was that a certain zmount of finger-palming and pocket workwasnecessary. In the version about to be described, which is exactly the same as Dexter’s in effect, all this is eliminated and the hands may be shown completely empty at any stage of the trick. Thz requisites are : 1 . A Special Stund t o hold the Envclnpa.5. As this is mainly responsible for the cleanness of the mows employed it will be d,escribed with some detail, although it is really extremely simple, and in EO waymechanical. The writer’sconsists of a single strip of inch square d,eal, eight inches long. In it are cut three deep parallel slots, reaching to half an inch of the two endls; these are one eighth
I
of an inch wide and one sixteenth of an inch apart. For the purposes of description, we. will call the slot at the front of the stand “ A,” the :middle one, ‘‘ B,” and the onenearest the performer “ C.” The stand should of course be attractivelycoloured, but not pillar-box red, plesuse! 2. A BlueEnvelope. This is unprepared. andis daced inslot “ A,” beingpushed to the right hind end. 3. A White Envelope. This furnished with the usualslit, and isplaced inslot “ B,” being pushed to the left hand end. 4. A Pair of Tweezers. These are placed in the breast pocket. 5. A Pair of Scissors. On table. 6. A Pencil. In breast poc ke’t. 7. Menns of firin Q the 1,7?hite Envelope. It is of course essential thst thecoloursof the envelopes t)e sufficientlydistinctive, ctherw5se there may be doubt as to whether the one containing (?) the money was: actually burnt. NOWfor the actual presentation. The magician commences by askin for-the loan of,either a ten shilling or one poun treasury n0t.e. On the Same being forthcoming, he is asked to mark it in Some distinctive manner, “ so that if he ever sees it again he will know it!” This “ line ” isalwaysgood for a laugh, and is handed a pencil for the purpose. The lender of the note is now asked to folditinhaIf, in half again. and i n half once more; the final packet being about olle and a half inches sauw-e. The tweezers are now removed from the breastpocket and the note received between their prongs. Th2 pencilisnow taken back with the left hand and replaced in the pocket, because, remarks the performer : ‘‘ That’s how I got it!” The magician now returns to his table, holding the notestill in the tweezers, high above his head during the journey and draws attention to the fact that the note never leaves the sight of the audience for a single instance. The white envelope is now picked up in the left hand and the no!e placedinside,beingpassedstraightthroughthe slit and retained at the back of the envelope with the leftthumb. The envelope is then sealed. T h e blue envelope is now removed from the
i
36 stand with the tweezers, andthe white envelope placed back on the ,stand into Slot “B,” the note o d y , being pushed into Slot “C” which retains it still in its folded condition, the envelope in which it was apparently placed screening it from the view of the audience. The blue envelope is now picked up with the tweezers and passed to a secondmember of the audience with the request thathe examine the same and seal it. It is then received back with the tweezers, and replaced in Slot “ A ” of the stand; the white envelope-still apparently containing the note is then removed, leaving the Blue examined envelope in position screening the nocte as its companion did a few momenb previously. During -thesemoves thehands may be casually showq empty; and when I say c a s u d y I mean casually, and not waved in the faces of the audience. The whiteenvelope is now set on fire, and after it has burned for a few moments. the flaming remains are dropped upon an ashtray and allowed to bum themselves out. After the resulting situation has been played up for a little, according to the type of audience andthe performer’s ability as a comedian, the hands are again shown empty-apparently by accident, and the scissors picked up in the right hand.
The left hand now removes both the envelope and the note from the s.tand,the left thumb clipping the note behind the envelop. The left hand now holdsthe. envelope about chin height, flap side facing the audience, the note still being concealed behind. The right hand end is thensnipped off, andthe scissors replaced upon the table. The right now picks up the tweezers, and these are apparently inserted into the slit end of the envelope. Actually one leg goes inside nnd the other goes outsideand over the note. The tweezers are now squeezed, and the note apparently drawn from the envelope, actually it comes from behind in the same manner that is sometimes used for producing a selected card, but the audience d0e.s not realise this. As soon a’s the note is clear, slowly lower the hand containing the envelope to waist-level, gazing fixedly at the audience meanwhile. This is an impressive ge5ture which will bring a good burst of applause. Step over to the lender of the note and request that he himself removes his property from between the points of the tweezers, and assure himself - and the rest of the audience that it is the actual note he originally loaned. (Commercial Manufacturing Rights Reserved by the Author).
“ Yes,” he went on, “ you are very intelligent, but you’re an amateur ; and the gulf fixed between the most dim witted pro. and the cleverest amateur is immeasurable. Certainly it’s important to think the right way, but like faith without good works, thought without technique is dead. Thought transference acrossthe footlights is onlyachieved by suggestion. By words loud enough and effects broad enough to get over to the bulk of your audience, you suggest to them the state of your mind ; you interpret your thoughts for them.” Nigel’ Fitzgerald-“ The Rosy Pastor ”
THREE MOREPOKERCHIPS ARTHUR CARTER HE PRO33LEM of the three poker chips-or counters, in English parlance, is undoubtedly one of the finest impromptu mental problems extant.There were occasions when Annemann, Mahendra and other leading mentalists convinczd their audiences that by means of it they genuinely read minh. But it possesses onerather serious defect, any slip-up on the part of the assisting spectators .while the performer has left the roomhowever slight, isfatal,andthere is no “ out!” After the writer ’had had two “ accidents ” of this kind, and two of the. victim& of successful performances had mmarked : “ m good trick, old man-but I suppose it’s mathemathl ”-orwords to that effect, the version about tob described was evolved. In it the dumbest of helpers would find it hard to make a mhtake, and although numbers are employed the method is by no means mat’hematical.
T
The actual effect is of course the same as in the>standard version. Three counters, coloured respectively Red, White and Blue are placed upon the table, and while the mentalist is out of the room, three spectators, Mr. A, Mr. B and Mr. C each pocket one. On hiB return the performer explains that in order to read minds it is essential to employ articles logically associated with one another, and accordingly introduces a pack of cards, by means of which he “divines” the exact choice of each of the helpem. The astute reader will I think, have guessed already that the secret lies with the cards, which are simply-but subtly prepared as follows :Thirteen of them are marked in some distinctive manner upon the back, these for the purpose of description wewill call “A”. A further thirteen are also marked distinctively, but slightly differently, these we will call “B”; the remainder are un-
37 marked. These we will call “C”. The pack is then stacked as follows : A. Nos. Oneto Thirteen. B. Nos. Fourteento Twenty-Six. C. NM. Twenty-Seven to Fifty-Two. The presentation is as follows. As soon as the three members have made their selections and the countersare safely hidden in their pockets,the magician returnsand proceeds to distribute the cards thus :l. The 13 “A” cards to Mr. A. 2. The 13 “B” cards to Mr. B. 3. The top 13 “C” cardsto Mr. C. 4. The remaining “C” cards he keeps himself. “ Now,” he remarks, “ each o f us is at the moment holding 13 cards, which is of nQ usewhatever, because when we begin to concentrate, our minds would all throw out the samevibrations. So once again I p r o p leaving the room. While I am absent I want whoever holds the RED counter to add six cards to mine which I shall leave upon the table.Further I want whoever holds, the W H I T E countertoadd less than six cards to those upon the table. Finally, I wantwhoever holds the BLUE counter to add more than six cards in the same way. This will ensure that each of us ends up with a different number of cards, and will r m l t in our thought waves each having a different vibratory wavelength. Is that clear? Very good. I will leave the r m . ” Assuming that the three spectatorshave done as requested, the mentalist returns, and continues :
‘‘ I do not of course wish to know how many cards
each of you hold, but I willnevertheless count mine.” This heproceeds to doby dealing the cards face down, upon thetable, as he does so he quietly notestheexact number of A ’’ cards in the packet by means of the secret marks upon the backs, let us suppose there are four, this reveals that Mr. A. has taken the W H I T E counter. The experiment is partially completed,. before the audience evenknow it has begun! “ Already,” he remarks, “I am getting vibrations, but they are veryweak, so I will try and intensify them by giving back some of the cards I hold to you.” This heproceeds to do, giving a card here, two cards there,and 60 on, apparently at random, under cover of the distribution. However, of “B” cards h0 is also countingthenumber that he holds finding (perhaps) six exactly. This at once tells him that Mr. B. holds the RED counter, and by a process of elimination that the BLUE counter rests in Mr. C’s pocket. From then on he may continue to hand out cards as he feels disposed, as allthat remains is to reveal actual selections with all the showmanship at hi8 command. All should now I think be clear but perhaps one ortwo examples may not come amiss : 4 “A” Cards. 8 “B” Cards. 19 “C” CardsMr. A. White, Mr. B. Blue, Mr. C. Red. 6 “A” Cards, 9 “B” Cards. 15 “C” CardsMr. A. Red, Mr. B. Blue, Mr. C. White. 18 “A” Cards, 6 “B” Cards, 20 “C” Cards.Mr. A. White, Mr. B. Red, Mr. C. Blue.
“ You’re obviously a perfectionist ; and perfect acting demands a perfect audience,which is a very rare th‘ There is great acting to be seen in London at the moment, thank God, but it’s the exception ; I’d prefer to see blooded theatricality than the sort of thing you’ll find in most West End theatres ; the would be highbrow or the bloodyplain suburban.’’ Fitzgerald-“ Nigel The Rosy Pastor ”
THE FATHOMING
OF A WORD
ARTHUR CARTER 0 The0 Annemann lies, I think, the credit for having
T
evolved the first absolutely unequivocal book test. I am of course refenring to hisfamousmagazine test described in “ The Book Without a. Name,” in which an absoutely unforced w o r d - o r for that matter a whole line, or if you happen t o be a second Chan Canasta, a complete page, could be revealed by the performer. In the version about to be described, three spectators eachmake an absolutely free choice of apage, line and word,while a fourth helper selects one of three novels. The mentalist has meanwhileselected a single wordfrom a dictionarywhichhewritesupon R large slate. Despite these stringentconditions however, the chosen words are found to be identical. The requirements are as follows : 1. A smalldictionary,thosesoldbyWoolworths, will be found admirable.
2. Two duplicate Novels, of roughly the same size as the Dictionary, and containing approximately the same number of pages. ”he dictionary and one of the novels must then be taken to a bookbinder,with the request that he re-binds one of the novels in the dictionary cover. 3. Twoother novels. 4. A large slate and chalk. One further item by way of preparation is necessary. Each of thenoveh are numbered res ively, one, two and three inside their front covers. c d u p l i c a + of the one enclosedinthedictionarycover,berng grven the number two. By thistime, the presentationshould 1 think be fairly obvious to an Annemam en.thusiad, or for, that matter an experienced mentalist. Assuming that the novel useJcontains about three hundred pages, a m m ber of theaudience is asked to name a number less
38 than this figure, sayonehundredandtwenty,a second person is then asked for a number from one t o twenty, and gives (sayfourteen. A thirdhelperisthen‘asked for a number etween one and ten; and selects (say) six. So far nothing could be fairer. Having shown the slate blank, the performer states thathealsoproposedtomakeachoice,inhis case a word, from a book which will give him the best possible selection, a dictionary, which he proposes to keep secret for the time being. The “dictionary” (?) is then picked up and deliberately opened a t page 120, the 14th line is counted down to, and the 6th word noted and written upon the slate, which isrestedagainstachairback,blanksidefacing theaudience. Uptothe moment no mention of the books to be used has beenmade. This is one of the strong points of $theroutine. Theduplicate of the“dictionary”has now to be forced,andwhereasthemethodusuallyemployed 1 Annemann, was the“takeit or leave it”principle,the following method, due to Mr. Stanley Collins, is I think far more subt.le.
b
The three books a r e placed in a line upon a tray, the required one occupying a position at one end. A member of the audience now freely chooses One, Two or Three.There isno equivoque used. In the case of OneorThreethebook is counted to, from the correct end. If, however, the choice falls upon I w o -themost usual selection, attention is drawn to the numbers inside the front covers, the helper being requested to return those bearing the numbers One and Three The page is thenlocated, the chosenline an& word counted to, and another miracle is accomplished. Since it has been proved times without number, that in experimmts of a mental nature, the audience cannot remember details unconnectedwiththe finaleffect, the average impression will be that the page, line and word, was made ulter the selection of the book, in fact the performer may if he wishesopenly’ state that such was the case. Finally, should the “line” number-as it sometimes will, be greater than the number of words available, the final word should be the one used, a further “proof” thattheperformerhadnoprevious knowledge of what the selection would be.
BOOKS “ SPECTATOR’S CHOIC%.” by Douglas Francis (PublishedbyGeorgeArmtrong),price 716: Within the thirty pages of this booklet, a professional magician, after a forthright introduction, details someseven practical effects followed by a well routined magic act. All th’eeffects are direct and call for little more than a knowledgeable technique. Their directness should prove their value with a public audience, and this, as Mr. Francis points out, is the only audience that pays you. We particularly liked the production of drinks at the finger tips, an item whichwould prove most suitable to a silent act. Good too, is the “ Crazy Cocktail Shaker,” an effect,easyto have made up andhaving the qualities.so necessary in a stage or cabaret act of to-day. The routined act, “ This is Magic ” is one much in the vein of the author’s “ On the Way Home,” for it makes no demands on stage setting. The performer enters, performs a multitude of magic and is yet able to exit without the need for the clearing away
of props. A decided bargain for themagician. who sets out to entertain in the commercial field. ‘‘MAGICALLY YOURS ” by Verrall Wass (Published by George Armstrong),price E/-. Verrall Wass dedicates this book of some 150 pages to all those magicians who prefer entertain-, ing the public to conjuring for conjurers. To achieve the many effects that he offers, the author seems to go the hard way, especially (in view of thefactthat he is preaching commercialism), in such an effect as the “ Nofors Card in Cigarette.” All in all there are more than forty effects detailed; they include; 17 card tricks, nine tricks with flowers, nine with silks and a number unclassified. For the magician who likes to make up apparatus and can be certain of always having a stage upon which he can perform, there are a number of origindities whichwill more than repay the cost of the book. For those whoseek their living on cabaret floor or by dinner dates, there are one or two items like “ Ardent Lovers,” that willfind a place. For the close-up worker there is nothing.
ON T H E LAP OF T H E GODS-continued from page 34
voque had to beemployed at all. The cards incidentally, wereshuffledbetweeneachselection, and the fact that this can be done is a real facer for any awkward individual who is out to catch the performer. A possibility which may appeal to some card workersmight be the employment of duplicates. Provided the card used were an incon,spicuousone, and the number did not exceed, say three or at the maximum four, the risk involved should not be too great; especially if the effectwere the last item presented, the additional cards being added at an earlier stage, prior to which the pack had been freely handled during the performance of other trick.s. The “breaks” would then be easier to come by, but in any case it isa matter for each performer to decide for himself.
The possibilities of this routine are really endless, and only depend on the ability of each individual performer insizing up the situation at any givenmoment. For instance, the writer once had the pleasure in performing it before those two great card men, Stewart James and Francis Haxton at the latter’s house. Stewart James was the dealer and the writer trusted entirely to luck-not touching the cards once throughout, as in fact it is someti.mesbest to gamble for high stakes. The first number given was “nine” and “mirabile dlctu” even this small number sufficed to “draw” the marked card. The remaining choices were “five” and “three” which left Stewart with the predicted card in his hand! Furthermore,on this occasion no form of equi-
39
The next issue of the Pentagram" will be contri.buted by Edmund Rowland .Those who have occasion 'to read magazines ahead will have noticed and enjoyed some ratherunusual e&& by this magician. You'll remember:, and will m, doubt have used, the papertear -effect in Pentagram No. l . Vol. 7 as well as the tricks with magazines that appeared in the ."Gen." A member of the Peutacle Club in those after war 'years when the Society was lacking in numbers, Edmund was one of the very few who helped to keep the University magical flag flying. Now a maths. master wuntry i n a North 'school he is able to give a little time to the origination of magical effects. One of the effects to be published shows how a commonly known trick w t h a sound principle can be used in a more subtle way. Just recently we have been giving alittlethought 10 the prrsentat~on ~t magic for &ldren. As a child we can well remembor the magical mrform a n e s that we witnessed and all in all we cannot remember any of the magicians emplo ing the :'na.mhy-panW' m e t h d of . . . I-...2.. . ' audlence approach that are in such common usage 10-day. Never dothe people seem to realise that all children, once outside the nursery, wish to have an adult mind. The sight of so much of this 'teeny w n y ' attitude is that it makes thcm despise, not only the magician, but magic. Also, great a deal of the reality of magichas been lost. The po ular rabbit has been replacedy! either a plastic cut-out or else by a piece of fur fachioned into a shape unknown toGodor man. Laziness is partly the cause of this, the , other part being the propagation of dogmatisms by those who . ~ -.",."(,!*"'ri-b., ~ ~~.-t * * ~ finding their own personality suited to such offerings wish to instil the same ideas in the heads of others. In thiscountry to-day there i are a few magicians who S c ialise in school work. We E i w them all and we know that the magic they @om is adult magic presented in 'I
!
an adult manner. One quite recently w s performing a t a very famous West of England Public School. His perfnnnance ended he received a great ovation. During the course of conversation with the Headmaster after the show he was shown a twelve month old copy ofthe school magaz~ne ~n which appeared a write-up of a show put on at the schaql by a l o d magical so c i e t y That article should have bcen published in i magazine in t h i S every mag& country, for it showed only too be platnly the faultsthatcan attributed to so many magical that societies and too many who attempt magic for the younger generation just haven't a clue! You may say, Yes, hui these are boys of an advanced age.' Believe us it doesn't only apply to them and the answer is given by instancing a magician we know who specialises in prep. school shows. He not only works adult magic for such occasions, but is also fortunate to have a daughter who is a bcretary at one. From her he gets the latest conversational between gen. these youngsters. At the moment it revolves atomicaround explosions, jet aircraft, space travel and horrible methods of death-dealing I It is very nice to think that one should a introduce touch of whimsy into a show, but rememberthat it is not the child or ' even :he adolescent thata re ctates suLh a thing to thz%!li "'Alice in Wonderland for example has given far more pleasure to theadult than the child. Only a few conjurers have the knack of producing a trick that has true magic allied to whimsicality. Charles Waller is one of the few. The basis of a true magic ' show whilst it ma be ignored and those who bymagicians * ~-S * d~dal . ~ haw * L . write * Y about J - maglc, is mvstery. To be appreciated by persons themystay must &!$rof easy understanding: it must be presented most directly; it can have humorous twists. it can be fantastic, but it mud be a myvieay. Pleaselet the children see more
1
.
,
~
I
'
1
@
2
of it!
'' Never again tell a man who talks poorly. to resort to Pentomime, as an 'out'. In attempting to follow such advice, that man is going down not up for he can most certainly develop prf& a y z h easier than he master this very demandmg art of pantonume." Leith Lader-" o Pant or Pantomime
ca:
40
? L A Y I N G WITH MAGIC Aruperblyproducedcloth-boundMental book that is a MUST for the children’s entertainer 30/Portage M.
SPECTATOR’S C H O I C E W REA YD OUR MIND magic inthe bestAnnemannProfersionalstandard magic of the highest order. No elaboratc tradition. Packed with practical marerid. Cloth-bound props required 716 Postage 3d. 17/6 ?ortage Id
MAGIC WAND PUBLICATIONS C:hallenge Instant Hypnotism andM u r Hypnotism
Armrtrong George C:bandu’s hychoandysis LGcorge Armstrong Bh r g e Armstrong‘s Premonition GeorgeArmetrong Blogic Wand Year Book 48/9 g GeorgeArmstrong 1‘ricks of the Trade 1 George Armstrong Ron Baillie 1’he Universal Mind Ikhlano’s Mysteriu Bohlen Henry I IIYour Read Mind Aage Darling S. E.Dexter Eintertainingwith ContactMindreading Lintertaining with HypnothRI S. E.Dexter ALukmentalism 1 Courcy Ken de I H i r e Telepathy Courcy Ken de ohn Ramsay’r Cups and balls Victor Farelli hanks to Leipzig ! Victor Farelli 8038R.2
!
21110/3 10/3 513 2/7 l2/9 10/3 17/9 7/9 10/3 20/3 l2/9 2516 10/3
Spectator’s Choice Francis Douglas Mother Goose Mystery Martin Gardncr Twenty-Six Living and Dead Tests Teral Garrett Ule Concert Vontriloquist and Children’s Hurling Maurice Entertainer Jamesosophy James Stewart Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With Saaga Money Jack Lamonte Suzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina 9’
9’
Stooging Around Playing With Magic Magically Yours
7/9 7/9 5/3
I0/3 513 5/3 10/3 7/9 5/3 7/9 20/6 7/9 Joe Stuthard 513 WilfredTyler Sal6 Verrall Wass 15/6
edition)(cheap
FROM T H E PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, ENWIELD, MIDDLESEX
The Magic Circle President : Hi8
Grace the Duke
of
PETER
WARLOCK’S
D.S.O.. O.B.E., J.P., M.I.M.C.
PENTAGRAM
Hearts of OakBuildings, Euston Road, London, N.W.1.
is publishedon the 24th of rmh monthand can be obtained direct from the publishersfor 117 per singlecopy. AnnualSabacription 18 I port free. PUBLISHED BY:
Somerset,
Vlco-Preddent: Dous1.a C m m , Rq., M.I.M.C. Clubroom and Library and Museum :
Magical Theatre :
King George’s Hall, W.C Forthcoming EventsMar. 2 7 ~ C o n c e r t April 3-Annual Banquet P . r t i c ~ l afrom ~ Hon. Secretary
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
The Magic Wand Publishing Co. 62 Wellington Road, Enfleld Middlerex Manuscriptsforpub1icrti.aand books for review rhould be sent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to .$end you full details of
THE DE LUXB “SU-TABLE” together with a11 his other effects in return far a stamp. Write now to
Jack Hughcs, 2, EvelynAve., N.W.9. Colindale, London, CONJURING BOOKS FOR SALE OLD AND N E W . Let me know your rants LIST FREB FOR STAMPED ENVELOPE Nn
Callers
GEORGE JENNESS 47 INVERNESS AVENUE ENFIELD, MIDDLESEX
e
# m - PETER
THE
"
*** **
WAR LOCK 'S
GIVE-AWAY" COLLECTING BOX EDMUND ROWLAND
HE PERFORMER produces a small box with
the lid should bc just large enough to admit one counter at a time. This is most important. You will also need twopieces of stiff cardvited to =move the lid and look inside. The box board or celluloid, cut into the shape whichis in Fig. 2. For a two ounce mustard tin, contains five coloured counters. Apart from theseshown it is quite empty and apparently free from any thesewill be. 2a incheslong and 2 incheswide. The slits in them must extend half way across and be trickery. The performer tips the counters on to the table as wide as the material from which the pieces are and turns his back (or walks away from the table) made. Slide each piece into the slit in the other so 80 that each of five spectators can pick one up that you now have a cross-shapedpartitionwhich willwithout the perthe box into four triangular former knowing compartments, as whichitis. The lid shown is then replaced, Figure 3. The corners of the and the performer pieces are rounded holds theboxbeso that they fit hind his back for the spectators to the snugly to bottom of the box, and the drop their counters partition shouldbthrough the slot in a fairly tightfit so the lid. @) &-) cc). &%G'). notwill that it jump He still cannot and up down as the moved box is about. know the colour of any counter as it is dropped into the box, but when they At the beginning are again t i p p d on of the effect the to the table he is partition is folded ableto return the flat,withoutbeing correct counter to l* taken apart, and each spectator. concealed in your -e waistcoat pocket. It nee The effect can be is secretly removed worked with any and slipped.into the one of a number of X U O W box when your back WlTL differentboxes, but is turned and the as the simplest method which I have tried works spectators are busilyengaged in picking up the just as well as the most elaborate, I willonly counters. You will not have to remove the lid to describe the simplest here. do this because the spectator who took it off to Any box of wood or or plastic can be see what was in the box should still be holding it. used if it is the right size. You can make a small You must replace it as soon as you can when you one from a two ounce mustard tin. This will be. have turned to the front again. two inches long, 1) incheswide. 2% inches deep. The box is then held in one hand behind your The counters will be ordinary tiddleywinks about back so that you can collect the wunters without g inch a m s s and inch thick;and the slot in beiig able to see which is which. But suppose that ..
T ita narrow slot in the lid. The box rattles when is shaken and the nearest spectator is in-
1
3
1
= t a l
VOLUME 8, No. 6
-
~
l/6. (20 Cents)
-
MARCH 1954
42 they are returnedinthe following order; blue, green, red, white and yellow. If the box is always tipped away from you, eachcounter will dropintothecompartment nearest to the spectator who has just returned it, that is, into the compartmentwhich is furthestaway from you. If the box is also given a quarter turn in a clockwise direction each timeacounter is returned, they will alsodropinto different compartments. This is represented by the successive views of the box in Figure 1. ThR last two counters can be dropped into the same end Compartment, and still be identified, because therelative sizes of the counters andthe width of the box ensure that the counters overlap, with the fifth on top of the fourth, unless the box has been vigorously shaken about since they were dropped. Fig. 3 shows what you will expect to see when youremove thelid. All that you need to know is the order in which the spectators returned their counters. Then the firstmust have had the blue; the second, the green; and so on. One important pointmust be emphasised a little more, however. This is that the dimensions of the box depend entirely on the size of thecounters which you wish to use. If the box is too large, It will only be possible to work the effect with four
l
counters instead of five, and this might easily suggest the method of working to one of your spzctators. If the box is too small, the counters will not @ways drsp intotheright compartments. This will be 'most confusing, and completely spoil the effect. This also means that the counters must all be the same size. If you wish to use a larger box and use coins instead of counters, you mustuse five pennies for example (with the head of a different sovereign on each), or fivesimi1,ar foreigncoins. This is hardly a disadvantage, however, for, if coins of different sizes could be used it would obviously be easy to tell which was which by the different noises they made when they were dropped. The depth of the slot in the lid is also critical, and you will be more certain of success in handling the box if it is made of thin wood-such as that from a cigar box. The thickness of the lid then ensures thatthe coins or counters drop straight down into the box and are not deflected to either side as they are pushed through the slot. For English pennies, the boxshould be approximately 3 inches long, 24- inches wide, and 3$ inches deep. The slides should be 32 inches long and 2&inches deep; and the slot in the lid should be l$ inches long and 1/12th of an inch wide.
A magicianhasnotonly to play his part as an actor;butsimultaneously, he has to give adequate addition to thesf,matters, he is attention to technical details which. involveconsiderable difficulty as arule.In often obliged to study his audience, and adapt his procedure to the requirements of the moment. Nevil Maskelvne--" Our Magic." ~~
A QUICK TURN OVER BOARD EDMUND ROWLAND FOLLOWING effect isone of those T HE which cannot be included in a purely mental routine, because it uses theratherobvious piece of apparatus &own in the illustrations. But it is quite suitable as a mental " quickie in an ordinary conjuring act. The performer h* a small board with numbersonboth sides of it. This is given to a spectator who stands at the performer's side and holdsthe baard by oppositecorners.The perdormer turns it over several times to show that the numbers are all different and not arranged in any apparent order. Various members of the audience are asked to choose any one of them and to add it to the number which appars in a corresponding position when the board is turned over. Everyone can then see that all the resulting totals are also *different. The performer then produces a sealed envelope and places it in the outside breast pocket of the spectator who is holding the board. Most of -it is left projecting from the topof his pocket, however, so that it canbe kept in full view. "
The performer takeg the board from the spectatorandasks him tothink of any oneofthe numbers on the side which is facing him. He turns theboard slowlyover and asks himto add the nu'mber which appears in the same position on the other side, and finally, to announce the total. When the spectator tears the envelope open, he isquite surprised to find thatthistotal has already been predicted on a small card inside it. This is the obvious method of presenting it, of course. The performer could blindfold the spectator and let him touch the board with the tip of a wand, or even get himto fire at it with one of those toy guns which shoot a wooden arrow with a rubber suction cup instead of a point. The secret is very simple, however; it depends once more upon the principle of the well-known " Chinese Compass." The board which I have illustratedis a regular hexagon with two " rings of numbers on each side. Theoretically there is no limit to the shape of theboard, provided it is regular, or to the number of divisions in each sector, but for "
43 simplicity and easy recognition of pairs of corresponding numbers, this particular boardis probably the best. The first illustration shows the obverseside of theboard;the second shows the reverseside when theboard is rotatedaboutthehorizontal axisA-B;andthethird shows the reverseside when it is rotated about the axis C-D. You will see that there are th7ee possible axes of rotation. If theboardis turned over about either of the axes A-B or E-F, the pairs of corresponding numbersproduce different totals : thus, 37+52=89 (about A-B) or 37+75= 112 (about E-F). But if theboardisturned over about the axis C-D every pair of corresponding numbers produces the same total : thus, in this particular case, 37+ 60, 59 + 38, 45 +52, etc.,=97. This is the total whichyou p#dict on thecard inside the envelope. At the beginning of the effect you are holding the board by the opposite corners C and D. Your assistant from the audience is then obliged to take it from youby the opposite corners A and B, or E and F, so that the board rotates about one of the axes which produce different totals as long as he is the one who is holding it. (In these illustrations I have assumed that he is standing to your left and that he has taken it by the corners A and B. I havealso assumed that each of you holds the board with the actual axis of rotation at that moment parallel to the floor. Thiscouldhardly be shown in the illustrations without making them unnecessarily complicated). I n taking it back from him, however, you again take hold of it by corners C and D as before. These moves are made quite naturally and should, therefore arouse no comment. Those of you who try the effect, and like it, may perhaps wonder if it ,might be possible to arrange the numbers so that a secolzd total could be found by holding the board by the third pair of opposite corners. Unfortunately, however, that is not possible, foritcan easily be proved to be mathematkally absurd.
But that should not prevent anyone who is at all interested in mathematical puzzles from getting plenty of amusement out of an easily constructed piece of apparatus.
I
\
A
" When we see a performer, who, with' the utmost assurance and self-conceit, starts off to present a new up' hismerit asan artist. He cannotpossiblyrealise effect in public,we need feel no uncertaintyinsizing his true position,northe natureof his responsibilities. He is confident of success,forthesimplereason that he does not understand how serious would be the result of failure.'' Nevil Maskelyne-"Our Magic.
A TOTAL MYSTERY EDMUND ROWLAND HIS mental item depends upon the useof a Tconfederate in your audience. This will probably be sufficient to have it rejected straightaway by anyone who thinks that there is something unethical about the use of a confederate in mentalism, or by anyone who has found that the
methods which do require one are often the clumsiest and most obvious. This particular method, however, can deceive even the type of spectator who suspects thatall mentalism is done with the help of a confederate, for the strict conditions under which it is per-
44 formed make it very difficult for anyone to see how a confederate could possibly be of any use to the performer. Even the-confederate himselfwillnot be able to say exactly how he has been able to assist him, because most of the actual trickery is still done by the performer-with the aid of a nailwriter. Nobody is likely to suspecthim of this, because the perfonner is the only person involved who does not appear to do any writing at all, and so there will not appear to be any need for him to do any other secret writing either. The effect is that you are given four or five numbers by different members of theaudience. (This is to avoid the possibility of merely using a number given to you by one spectator who could easily be your confederate). These numbers are added together by another member of the audience and thk total is used to determine a freely chosen page and line of text in a book test, for example. These will not really be freely chosen at all, however, for thetotal which is obtained isalways forced. Now it is obvious that, if the spectators were allowed to call out their numbers in turn, or write them on the sape paper or card, the choice of any of than might be influenced by those which had been given already by the others, and it would still be pssible for the last person to be a confederate who wouldmerelygiveyou thenumber which would produce the required total. To prevent either of these things happening, each spectatoris given a small blank card on which to write his number, and his name or initials. This will really make it impossible f o r any one else to h o w the number that he has chosen until all the cards have been collected and the numbers added together.
I
The method of forcing the total, however, is still verysimple. One of the spectators is a confederate who has previously been asked to sign or initial the card which he is given but not t o write any numbe7 on it at all. When thecards have been collected for you face downwards, you begin to call out the numbers for another spectator to write them in a column on a small blackboard so that they can eas.ily be added together. As you are doing this you must add the numbers together yourself in your head, and write the number which is needed to make them up to the required total on your confederate’s card with a nailwriter. If the personwho is helpingyou is not accustomed to writing with chalk on a blackboard, you will have ample time to make this calculation and to use the nailwriter whilst the attention of the audience is directed elsewhere. As each number is read out youask the person whose card you are holding if that was the number which was written on it. Of course he is obligedto say that it was, and, becauseyou are not asking any one to say whether that wasthe number that he actually wrote on the card himself, you are not expecting your confederate to assist you further by telling a lie. (I mention this because I find that, although the likely looking person is usuallywilling to act as my confederate and to keep it a secret afterwards, he is not as willing to lose integrity by telling a deliberate and outspoken lie). YOU should also try tq avoidleaving your confederate’s carduntil the last. If possible it should be next to the last, or even the one before that. Even a little point like thiswill help to direct the attention of the sharpest intelligence in your audience fromthe possibility of your using a confederate.
“ Looking at the matter fairly and squarely, one cannot help feeling that any presentation which leaves an impression of e$her indistinctness or over-elaboration has a very serious defect from whatever point of view it may Nevil be regarded. Meskelyne-‘‘ Our Magic.”
I
~~
THE PERFECT MIRROR ENVELOPE EDMUND ROWLAND
I
HAVE been interested inthedevelopmentofthe window envelope ever since I first read Annemann’s originalarticle in Jinx, number 9. It was‘,only natural,therefore, that I $ould be intermted inThe perfectWindow Envelopedescribed by oureditorin Pentagram for November, 1952. Unfortunately, however, I was still not happy about the actual use of a window envelope in my own routines. In the first place, I couldnever feel quite justified in using a packet of envelopes when only one of them was required. Even if I used more of them in other effects in the same programme, I could never feel that it looked at all natural to pick up the whole packet of envelopes in order to place a card in one of them, and to keep this envelope on top of the packet until the card had been placed.in it. I night say that I have often watched clerks prepanng bills and circulars for mailing but I have never
yet seen any of ,them holding a packet of envelo es and filling them one by one like that. In the seconx place, it is obvious that, although the envelope which is supposed to contain the card with the spectator’s writing on it can be left in the spectator’s possession, it is quite *is envelopeand impossible to removehiscardfrom return it to him, or to anyone else, unless some other method is used to switch them round again. And unless the card can be returned, there is very little point in sealing it in an envelope and keeping it. At the same time, I have always been interested in the use of a mirror for obtaining infonnation-as distinct from creating an optical illusion, Hewitt and Annemann, for example,described an effect inwhichasmall flat mi,rror was concealed in a packet of blank visiting cards. This was followed by another effect by Hewitt in which a small piece of tinfoil on theback of a playingcard
45 was used t o read the value of a?pthercardheldbya spectator. Then Bruce Elliott (in Ma ic as a Hobby ”) describedamethod of reading the vafue of a card by having a shiny convex headed paper!laying astener stuckinthemouthend of a cigarette; andsomebody (whose name I just cannotremember)showed me how it couldbedonewithnothingmorethan a square of shiny cellotape stuck on his finger tip. It was only necessary, therefore, t o combine the ideas
f: the mirror and theperfect window envelope t o produce the perfect mirror envelope.” At firs; I madeacomplicateddevice whichwould slide the mimor surface out of sight into the secret compartment of adouble-backedenvelope as soon asthe message had been read, but I soon discarded that for the following simple arrangement. All that is really necessary is an oblong piece of tinfoil on the outside of one ordinary envelope. Could anything be simpler than that ! The tinfoil is glued to the back of the address side
of the envelope, at the open end, as shown in the accompanying illustration. Anytype of envelopewilldo, if the flap is a big one, for this ensures that the area of tinfoil which can be used as a mirror shall. be as large as possible. You will probably find that you can cut away a little more of the back of the envelope to make this areaeven bigger withoutrunning the risk of sticking the flap to the enclosed card when the envelope is sealed. The tinfoil must be perfectly-smooth and shiny for it to be of any use as a mirror. But even the smoothest tinfoil will produce a distorted image unless it is carefully mounted on smooth paper, so the envelope also, must be of good quality,and fairly thick and heavy. The glue
which you use must be thin and evenly applied to the inside of the envelope. Any air bubbles between the tinfoiland the envelopewillalsoproducedistortion. To improve the surfacestillfurthes, -the tinfoil may be lightly and carefully polished with cotton wool, or even “ Duraglit ” wadding. As with “ the perfect window envelope,” the size of the card that you use is not important so long as it is big enough to cover the tinfoil. A little point to remember, however, is thatthespectator’swritingis likely to be found more easily by the mirror on a little card than on a big one. The envelopeis held nearlyverticallyinyourleft hand with the address side towards the audience. Your right hand brings the spectator’s card, with the writing side towardg the audience, into a position above the tinfoil and a little to the right of it, so that you can easily see the reflection of thewriting.Alittlepractice will show you what the necessary angles are foryou to do this successfully. It would also be advisable for you to be pattering to the audience as you are doing it, to account for any slight delay in getting the card into the envelope.
As soon as thetinfoilis hidden by thecard,the envelope can be turned towards the audience so that the cardcanbeshownslidingcleanly into it. Theflap should then be moistened with your fingertips instead of turning it backtowardsyouandbringingit toyour mouth, because rhat might make it appear as if you were trying to glimpse the writing on the card as youwere licking the flap. The sealed envelope is handed to the original spectator who looks after it until you have attempted to divine what was on the card. To confirm that you have done this correctly, you take the envelope from him and slit it open along the bottom edge. You then turn it over, and hold it lightly by the edges, so that another spectator may remove the card. If you de not call attentionto what you have just done, na-one is likely to notice that you opened it atthe bottom, nor to attach any importance to this even if they do. As the card is withdrawn, the writin on it will be facing the spectator and this will helpto firect his attention away from the envelope; but, in any case, the tinfoil will not be visible from that end of the envelope because it is glued undernea,th the top side of the envelope at the other end.
i
The shadedarea
is the tinfoil.
The point (A) of the bottom flap is cut away as far as thecurveddotted
line.
Thetinfoilmirror is, of course,moresuitable for reflecting the boldimage iven byasimplegeometrical design or a familiar word in printed capitals than for any lengthy message in long hand. It ia ideally suitable for revealinn the valueof a playing card from a borrowed pack, butt as playing cards can be glimpsed in so many morestraightforward ways, I would notadviseanyone to use them with a mirror envelope. The emptyenvelope is finally crumpledupinto ball and dropped into your pocket or your bag.
“It isn’t what you do, or even the way you do it, that matters, butwhat you make your audience think Annemann. you do.” “ The man who gives the public plenty of magic, but serves it up in such hot haste that his audience has no time to digest it, merely surfeits the spectators with that particular requirement without satisfying their other expectations. H$,occupies their attention more than enough, but does not entertain them as they rightly expect Nevil to be entertained. Maske1yne.-“ Our Magic.”
a
CLEAN CARBON EDMUND ROWLAND T HAS been said that British magicians do not like to use the clip board method of obtaining a secret copy of something written by a spectator on a slip of paper because a clipboard looks too much like a piece of conjuring apparatus. It can be used convincingly in a stage, performance when written questions have to be collected from a large audience, but in more intimate surroundings they would think it more natural to rest the paper on a smooth backed book or the pad from which it had been torn. This has led to the production of a number of specially faked books which are really clip boards in disguise. An excellent example of these was the one described by Ron Baillie in Pentagram for December, 1950. Unfortunately, however, none of these can be used again asan ordinary bookin the same routineand they canno,t be left lying about as safely as a clip board can, for anyone might pick up a book which you have been using and casually turn the pages over to see what it is about, though he might not want to examine a perfectly plain clip board. It wouldsometimes;be an advantage, therefore, to have a prepared book from which all traces of trickery could be, easily and secretly removed. Now it is easy to prepare a thin backed book by placing a sheet of carbon copying paper and a loose sheet of writing paper between the cover and the first page, so that an impression of the spectator’s writing is made through the cover and the carbon paper on to the loose sheet. But it is not very easy to remove these secretly, or to read the impression. Carbon paper is such flimsy and dirty material that you are certain to smudge the impression, or to mark your fingers or the pages of the book. If you try to keep the carbonpaper flat against the writing paper by gluing them together along one edge, you will still find it difficult to separate them secretly to read the impression. But if you use the following method of substituting a sheet of tracing paper for the sheet of writing paper you will find that your carbon copy is perfectly clean. All that you need to do is to fasten together a sheet of oil bound carbon paper and a sheet of good quality tracing paper by a narrow border of glue around their edges so that the carbon side of the carbon paper rests against the tracing paper. Place this under the cover of a thin backed. book withthetracing paper uppermost. An impression of anything written on a slip of paper rested on the book willnow be made the right z u n ~ ’ round on the inner side of the tracing paper, It can therefore be read without having to lift the
carbon paper and without having to turn anything over; the carbon cannot mark anything else, and the impression is not likely to be smudged. As the impression is not made in the normal manner, through the thickness of the carbon paper, anything whichwill strengthen the carbon paper and help to disguise it can be pasted on to it. If it is to be used inside a writing pad, for example. it can be backed with coloured blotting paper;. if it is usedinside a book, itcan be backedwith part of a corresponding page from a similar type of book.
2
W
47
TO show how it can be used, here is a simple effectwhich I ’have often performed : Enquire if any one in your audience would like a copy of the evening paper. Handthis person a newspaper which has been opened at the crosswordpuzzle and folded into about a quarter, or an eighth, of its normal size. Lend him a pencil as well, and ask himtofill in any clue,across or down.As he is doing this, pick up a slate a d . clean it. Then ask him to turn the folded newspaperoverand place it on the slate which you are holding like a tray. Walkacross to another spectator and ask him to take the newspaper for a moment while you finish your little experiment. After suitable patter and concentration youwrite the wordwhich the first spectator wrote in the crosswordpuzzleon your slate. The second spectator confirms that it is correct. The only preparation is a rectangular piece of “ clean carbon ” backed with thin black card-
board. This is hidden in the folds of the newspaper impression of the spectator’swriting.When the newspaper is lifted from the slate and handed to the second spectator, the carbon is allowed to slide out on to the slate. All that you have to do then is to read the impression and tqrn it over m that thO black side matching the surface ofthe slate is uppermost. The method of masking its edges will be obvious from Figure 3 when the area of the cardboard is shown a lighter shade than the slate. The chalk lines represent the squares of the crossword puzzle. The cardboard can be held to the slate by a dab of wax which wasalready on the slate to begin with. Alternatively it caneasily be held in position with the tip of the your thumb. “he newspaper is then returned tothefirst spectator to whomyoupromised it. If he reads it for a week,however,hewillnotdiscoverany trace of your trickery there!
so that it will take an
BOOKS “ FINALE ” by Lewis Ganson (Published by Harry Stanley, Unique Magic Studio, 14, Frith Street, budon, W.l.), price 301-. Let us comnlence by saying right away that “Finale” sets a new standard for magicaltextbooks.Regardin6 rt physically it comprises 254 pages measuring 6” X 9$ and is bound with a binding that will stand u p t o a lifetime of reference. Of photographlc illustratlons there must be hundreds, the art paper used showing thc-m off to their best advantage. In fact this IS a volume wlth an appearance which sells itself. Now .forthe contents. Thereareinall some ten sections : Anti-Grtvity Glasses,” “ Magi: with Coins,” Link$g,, Rings,” Magic with Dice,” Handkerchief Maglc, Magic with Sponge Ba!s,” “ Magic zf A1 Koran,” “ Miscellaneous Magic,” Card Magic and “ Card Magic by Manipulation." In the first section two versions of theanti-gravlty glasses are described by Lewis Ganson and Elizabeth Warlock, Lewis also adding a number of tips regarding various other presentations. Section two dealing with coins is noteworthy for the inclusion of a delightful coin routine by that phenomenal Dutch manipulator Fred Kaps. Despite its origin, this is aroutine well withinthe com ass of. those possessing reasonabletechnique. TheLinfing Ringssectlonis of first rate importance as itdeals with KenBrooke’s method of false counting the rings. We should think that there are few of our readers in this country who have failed to see Ken performing the Linking Rings and they, like myself, must have admired aqd envied the natural false count that he uses; here it is then described in detail. Ma!F with Dice covers two very nice6,eff”t”, Gerald KosLy’s HowMany?” and Ali Bongo’s DolaliDice.” Both routines will go into the programmz of those who specialt? in close quarter magic. In Handkerchief Magic we are FFeated to apersonallesson by Charlie Bdwards onthe DissolvingKnots.” The effect of this too highly, for. it has been one routine cannot be rated of themainstays of a workingprofesslonal’sshow for morethan fifty yearsWiththeever-growing need for themodernmagician to have a number of worthwhile ‘closequarter effects at hand, Lewis-Ganson has answered the need in &Ztion six bydescnbingthe necessaries, accessories and design that go to make up a most deceptive S onge Ball routine. d e nameof AI Koran needs nointroductionand the five routiips and tricks tt?t are contributed by him own. make upa Stars of Magic serles allontheir
Fornand restorednewspaper,asubtlevariation on a Gen’ Grant themewithtypicalKoran twists, a money trick, a complete routine with a lyndkerchief y d various odds and ends plus a version of Do as I Do , make up forty most satitfying pages of reading matter. “ MiscellaneousMagicconsists of some sixeffects. Fourare by Hans Trixer; the first it his miniature xersion of the cupsand balls, the second SilkenCanarywhich seems one _pf the most delightful ways of producinga si! handkerchief, a close-up quickie called “ Slot Machine andaversion of thepenetratingbilliardballthrough handkerchief.PeterBurtoroutinestheburntand restoredcremationpaperinamannerthatmakesatruly magical effect and John Lewis describes a method of the colour changing thimbles. The penultimate section dealing with card magic is notable for subtl~rsplendid version of Dai Vernon’s “ All Backs routine byAlexElmsley. So freefrom moves, s o straightforwardinpresentation, this, asour late Eriend Will Goldston would have said, is One of the plums of thebook.’ Besides this is a versiy of the cards to po+t by Patrick Page, Jack Chanin’s Card on Line,”theNicholasThought Casd,”BobbyBernard’s “ Educated Frog,:: Mary Kinson’s Fan See ” cardand Lewis Ganson’sBrainwavebyTelephone.” The concluding section of the book deals with split. and single cardmanipulation. It isclearlvdetailedand should prove of considerable assistanceto all those essaying this delightful work. And now a word abouttheauthor. Lewis Ganson hasperformedawonderfulfeatinproducingthecontents of the book. He has a knack of describing a trick in such a way that whilst no detail is missed he never bores with unnecessarypadding. It is noeasy task to watch another man’s trick and then relate the sequences and moves, butthismanGansonhaspatienceanda capacity for taking pains. When you buy the book vou’ll find that we have said quite a deal more about both the AuthorandthePublisheronthe vefy nice dustjacket A final. word of praise, and that that adorns the cover. is for theprinter,ourgoodfriend Harry Clarke,a to everymagician he magicianhimself,andafriend meets. He is also a first-class printer, and so he couldn’t do otherwise than print a first class book. We have written more than we usually write about booksthatcomeour way.We feel it w y more,,than justified. €or aswesaid at thebeginning,Finale sets a new standard.
!p
48
I
P L A Y I N G WITH MAGIC A superbly produced cloth-bound book that is a MUST for the
children’s entertainer Postage 6d. 30/-
I’ll READ Y O U R MIND
SPECTATOR’S CHOICE
Mental magic in the best Annemann tradition. Packed withpractical marerial. Cloth-bound
Professional standard magic of the highest order. No elaborate props required
17/6
7/6
Postage 4d
Postage 3d.
MAGIC WAND PUBLICATIONS Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s htertainer Maurice Hurling Jamesosophy James Stewart Strictly Magic JosephEddie Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With SCage Money Jack Lamonte Suzy and City the Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina
Challenge Instant Hypnotism and Mass Hypnotism
GeorgeArmstrong 211Chandu’s Psychoanalysis George Armstrong I0/3 George Armstrong’s Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 513 Tricks of the Trade Gnorge Armstrong 2/7 The Universal Mind Ron Baillie l 2 / 9 Bohleno’s Mysteries Henry Bohlen 10/3 I’ll Your Read Mind Aage Darling 17/9 Entertaining with Contact Mindreading S. E.Dexter 7/9 Entertaining with Hypnotism S.E. Dexter 10/3 Automentalism Courcy Ken de 2013 Telepathy Zodiac Courcy Ken de 1219 John Ramsay’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli 10/3
9’
9’
Stooging Around Playing With Magic Magically Yours
’,
edition) (cheap
7/9 7/9
513 I0/3 513 5/3 I0/3 7/9
513 7/9 20/6 7/9
JoeStuthard 5/3 WilfredTyler 30/6 Verrall Wass 15/6
FROM T H E PUBLISHERS
T H E M A G I C W A N D P I J B L I S H I N G CO. 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX
! 1
i
’
l
~
TheMagic
Circle
President : His Grace the Duke o f Sonrernet. D.S.O.. O.B.E., J.P.. M.I.M.C. Vlce-President: D o u g h Craggs. Esq., Y.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
King George’s Halt, W.C. Forthcoming EventsApril 3-Annual Banquet 12-Hoffmann Memorial Lecture 20-Concert Particulars from Hon. Secretary :
FrancisWhite, 39 Atverstone Avenue, Wimbledon Park, S.W.19
PETER
WARLOCK’S
PENTAGRAM is publishedonthe24th of each monthand from thepublishers for canbeobtaineddirect 117 perbingle copy. AnnualSubscription 181post free. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for rcview should be sent to the:
ElDITORI.4L ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will bepleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other inretnrn for a stamp. Write now to
effects
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9. CONJURING
HOOKS FOR SALE
OLD AND NEW
Le: m- know your wants
LIST FREE FOR STAMPED ENVELOPE Fit-
Callers
G E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P U B L I @ m D BY TU# PROPRIBTOPI 1 R X MAGIC WANDPUBLISHINGCOMPANY, 62 WELLINGTON ROAD, 1NIIELD, MIDDLESEX ANDPRlNTBD BY RORBBRT WALKBR & S O N (PRINTERS) LTD..WELL CROFT. SRIPLZY. YORKSHIRL
HE peaceful passing of our dear friend John Gambling on March 24th was also the passing of a tradition, for until a few months preceding his death John was performing the magic of a different generation. Parodoxically however, his performances seemed fresh, up-todate,andfullofnovelty.Weshallbe long in forgetting his last appearance before a group of magicians at the Unique Club, and how, despite his eighty odd years, he wowed them with his finalandunexpected production of a live rabbit. To the best of our knowledge, he was the inventor of the locking flap slate for magical usage, and the one made to his design in 1892 when he was twentyyearsold is one of our prizedpossess-with ions, for it was at the I.B.M. Hereford Convention that he handed it over to us. It is a beautiful and
T
unorthodox piece of craftmanship. It looks like genuine slate and the slate flap is backed with a 1901 piece of the London Times. Nothing gave us and everymember of the magical fraternity greater pleasure than the fact that hewas made President of the “British Ring” in 1952and was able to live throush and enjoyhis period of office. He didn’t write a great deal, but in the first volume of Percy Naldrett’s “ Collected ” series he contributed one of his favourite effects. It is honest-toGod magic of an honest-to-God conjurer and one which would well be worth revising by a conjurer who is not afraid to revert to a technique which to-day might be considered old fashioned. So, the permission of our goodfriendPercy Naldrett, here is-
GAMBLING’S “GOBLIN GOBLET” JOHN GAMBLING HIS effect has occupied a prominent place in my programmefor over two years; ifwell presented it never fails to puzzle and please. The principleis an old onebutthe method of To describe the working makes it entirelynew. experiment I cannot do better than quote part of a report from the Cambridge Daily News of 5th September, 1919 :-
T
“
Finally came ‘Gambling’s Goblin Goblet.’ which
‘‘ met with a most enthusiastic reception. The per.
former,addressing the whist players. asked if they of the mem“ bers replied that he would like some lemonade h ‘.claret. Thegoblet was thenproduced. It was B “plaincopper vessel about the sire of a glass I ’ tumbler. This was filled with confetti. But as “ t h e assistant did not care forconfetti, it was instantly changed to the drink asked for. Another ‘ I member, perhaps to puzzle the conjurer, asked “for sherry and lemonade, andin a second thiswas “produced. much to his surprise and delight. Then ‘*’smokes * were asked for. and the goblet at once “produced three fine cisws, with some matches P “moment later to light rhrm wirh.” “
** would like some refreshments. One
The drinks maybe chosen according to the class of audience you are entertaining; but I alwaysplay for safety, for I once tried to force
VOLUME 8, No. 7
-
whisky and soda upon a gentleman who happened to be a don-drinker and since then I have always used the drinks here named. The properties required can be made by any carpenter and tinsmith. I will describe mine ; first there is a folding box whichwhenopened out measures12” long, 6” wide, and 5r deep. Four copper goblets 4&”high, 3” wide at top, and tapering slightly to bottom. Two glasstumblers, a small Union Jack and some confetti. The only fake required is the ordinary shallow fake to fit in top of one of the goblets; a mushroom shaped knob in the centre of this tray, while concealed by the surrounding confetti, at the same time enables a sure grip to be obtained through the flag, when removing the fake from the goblet. The top of fake has some confetti glued to it. PRBPARATION-
Fill one of the goblets to within an inch. of the top with claret and lemonade, fix fake in top and sprinkle with a little loose confetti ; stand this in your box of confetti. Fill another gobletwith sherry and lemonade, and into another goblet put
1/6. (20 Cents)
-
APRIL 1954
50 WO cigars or two packets of cigarettes and some matches. Place box on table in front of a black art well large enough to take one of the goblets. Box should beplaced near side of table ; table should be to performer’s left. (The only time I go behind the table is when 1 load goblet with confetti). Place the other two goblets close behind the box ; the one containing the sherry being nearest to performer and just in front of well. The goblet containingthe smokes is furthest from the performer. The fourth goblet is stood in front of the box together with two glasses; the small flagis hanging over the edge of the box.
WORKINGThe performer having two volunteer assistants an the stage, says that he feels sure that they would like some refreshment, and of course gets a smile and an intimation that a drink wouldbe acceptable. “ Ah,” says the performer, ‘‘and what would you like?” At the same time going close to the gentleman, who we will call Mr. A, and whispering -“ What do you say to a claret and lemonade?” (This being the method I use for forcing the drinks and so far has always been successful. “ Yes ” says Mr. A, “Claret and lemonade.” By this time the conjurer has walked away towards the table, and pretending that he did not hear, he again asks Mr. A to name his drink ; this time Mr. A has to speak rather loud in order that the performer can hear him. This gives the audience.the impression that the gent has had free choice and that this is the drink he really requires.
Performer brings forward goblet and shows it to Mr. A, then takes it to the box and fills it with confetti, letting it run back into box again ; he fills it again but this time brings out the faked goblet containingthe claret. He offers this to Mr. A, who naturally declines it. Performer now covers it with flag, passes his wand over the top, snatches off flag together with the fake and drops both into the box. He now shows gent liquid in goblet and walks back:to table, and standing with table on his left, picks up one of the glasses in his right hand and pours out the drink and, looking towards Mr. A, lifts glass to level of his face as if about to drink, saying “ Your good health, sir ! ” Whilst all eyes are thus attracted to right hand, the left hand has fora second carried goblet behind box as if to rest it on table ; it is dropped into well and the other full goblet brought away in its place. Although this may seem a crude move to the reader with me it has always been successful. The audience have no reason to suspect that the problem is not finished, andare,asit were, caught napping. The move isof course to be made naturally and by standing close to the table, nothing could be more simple. Mr. A is given his drink.Theconjuror approaches Mr. B and asks him if he would like
a drink too, andquietly suggests sherry and lemonade (this is of course a contrasting colour to the other drink) more often .than not the gent falls in with thefun of the thing, andaftera certain amount of by-play as to the possibility of getting sherry and lemonade from this goblet, the wand is handed to Mr. B and he is asked to repeat the Spell. The drink iseveually poured out. (Goblet should now be in * ,ormer’s left hand held by first and second f ,ers only). The t a b l e is approached and box of confetti brought forward with emptv goblet concealed behind it, leaving the cigar goblet in view on the table, the audience naturally supposing this to be the goblet you have just used. Pretend to offer box of confetti for gentleman to take home-apparently change your mind and stand box‘oa one side, thus getting rid of goblet. Now in a casual way bring forward goblet from table, walk towards Mr. A, tilting goblet so that he may get a glimpse of contents, then ask him if there is anything else he would “ Let’s have a like. “ Oh, yes ! ” hereplies, smoke.” Performer looks surprised -more by-play with wand- and gentleman takes a cigar. As Mr. B takes his smoke he catches sight of matches. Ask him if he has all he requires, and he naturally asks for matches. With me, this plays fifteen minutes, and often when being booked, I have been asked by clients to include the “Goblet Trick.” I trustother wielders of the wand will get as mnch out of the experiment as I have done. I use the following patter. “After so ably assisting me this evening, I feel sure youwould like some refreshments. -Yes, I thought so.-Now sir, what drink would you like? (force claret and lemonade). I beg your pardon, sir, what? claret and lemonale. My word you do drink i n ---. Now sir, this ismy Goblin Goblet, and here is a box of mysterious mixture which has puzzled the most profound philosophers. Between ourselves it is really claret and lemonade. Imagination goes a long way in this experiment. Now sir, you take the goblet and gobble up the contents and fancy its a nice drink. What, you would rathernot have this? Well suppose we cover it with this small flag and pass the magic wand over thetop, so. Here we have a most wonderful change-genuine claret and lemonade ! “Your good health, sir. Oh, I beg your pardon, I thought the drink was for me ! Now sir (to Mr. B), perhaps you would like a claret and lemonade also? What’s that ! Sherry and lemonade ! Do you expect me to get that from a goblet which has just provided claret? Well, juit take my wand for a spell. Pass it over the goblet, saying Abracadabra ! There you are ! Now perhaps you would like to take the box home with you; well on second thoughts I had better keep it.Now, sir, is there anything elseyou would like? What! Smokes ! And from this goblet
51 too ! Verywell,work the oracle again with the wand. There you are,and you must have one ! The next requirement? Matches? too, sir Here they are and I hope you are satisfied, and that you will always have a pleasant recollection of ‘ Gambling’s Goblin Goblet ! ’ ” COMPILER’S NOTEMr. Gambling has proved once again the old
magical adage : “ It’s not what you do, etc.” The manner in which the changes “ forestall ” the audience, together with the element of surprise following surprise, is excellent magic. There are few conjurers, who, given a goblet and a boxof confetti, wouldevolvesuch a series of effects. PERCYNALDRETT
“ From time to time I hear magicians discussing the value of magic o r the cost of magic. If you see an effect you can’t use then any price you pay for it is too great. If you see a trick, o r move, o r sleight that you can use you can never over-pay for it. After all, once you learn a move-or effect it remains with you for life.” Bill Simon-“ Sleightly Sensational.”
RHODESIA REVERSE HANS TRIXER N THE May 1952 issue of the English monthly The Gen Bill Simon, the American author of that wonderful book for card lovers, “ Effective Card Magic ” described an unusual effect named “ Cards in Reverse.”
1
The novelty of the approach to the reverse of a card chosen out of three intrigued me and I set out to find a different solution. At the same time I have tried to make the effect even more puzzling -to the laymen and to the magician alike. Have I succeeded ? You will be the judge ! Here is the effect.-The deck is shuffledby the spectator and the magician deals the top three cards face down onthe table. (The magician does not cut or manipulate the deck in any way after the spectator’s shuffle.) One of thecards is chosenandlooked at. The magician in the meantime turns his back. Thethreecardsare then mixedand left on the table face down. The magician now turns to the audience once more and fans the cards left in his hands. (He shows both sides of thefan and proves the absence of any trickery in this way.” The three cards are inserted face down in the face down fan, whichis closed. The deckis cut once and left on the table. The magician then orders the three cards to assemble in thecentre of the deck, to reverse themselves orderingthe chosen card to take its place between theother two. Finally the chosen card is ordered to turn over once more so that it willbe face downbetween theother two cards. Now the magician says : “ You had three cards on the table. You did not chose the . . ., neither didyouselect the . . . but your choice was the . . .” While patteringthe magician fansthe deckoncemore. This time the backsof the
cards are towards the audience. In the centre of thefan two cardsare found to be reversed, They are the two cards first named. In between them is another card which proves to be the last card named : the chosen card. Before explaining this trick to you I want to draw your attention to the following points : A borrowed deck is used and the only manipulation required is a pressure or a two-handed thumb fan. The advantagesoverBillSimon’seffect (to my mind at least) are, l-the cardsare freely chosen, 2-the cards are inserted face down into the face down deck, and 3-the cards are named before they are shown. This last point is very strongas itseems that the three cards together are the same as the three whichwere dealtonthe table previously. is part of the Actually only the chosencard original three. Here is the handling.-After thespectator has shuffled thecardsthe magician deals three cards from top in a face down row on the table. While dealing the first card it is seized on the left outer corner-thumb on top, fingers underneath. In dealing this card a secret crimp is made, so the card is distinguishable to the conjuror. The next card is dealt without any chicanery. A short interval is made nowand the magician explains, that hewilloffer a choice from the ancient magical number “ Three.” In the meantime the next card from topis picked up by the right hand, thumb on the inner short side,fingers onthefarshort side.While pattering this card is bridged slightly and then dealt next to the others. The position isnow : -three cards on the table, one crimped, one bridged and one untouched.
52
(If an olddeck is used the principle of the ‘‘Imperfection ” may be used. A full description of the principle will be found in Marlo’s “ Marlo in Spades.” In this case no crimping nor bridging is necessary.) The magician invites a spectator to select one card. The moment the cardispointed at or picked up the magicianmakes a mental note of the c h o s e nc a r d and turns his back. The spectator isnowallowed to look at at the card. Then he is requested to replace the card onthe table andmix the three cards thoroughly,which prevents his looking at the other cards. Whilst his back is turned the magician turns over two cards of his deck. This should be about the sixth and seventh fromtop. It does not matter actually which cards are turned, but two cards near the top are preferred. Now the magician turnsfront againand makes a pressure fan, faces towards the audience. As soon as thefan isdeveloped the right hand goes alongthe topside of the fan withhis right hand fingers as if adjustingone or more cards. This actually is done to hide the exposure of the two reversed cards. The deck is now really adjusted so that the neighbouring cards cover the two reversed cards. This isall done with the faces of thefan towardsthe audience. The magicianremembers the namesof the two cards which stare into his face fromtheback.Thenheadjuststhosetwo cards so that they will not be showing if he turns thefan face down. The left of thetwocards may still be exposed as willbeseenin a minute. Thisadjusting business takes less than ten seconds, but it makes complicated reading, I know. Don’tlet this upset you, for an actual trial will prove how easy it is. While the fan is still facing the audience the magician picks up one of the three cards which are still face down onthe table. This must be the chosen card.You will find it easily. It’s eitherthe cardwith the bridge or the crimped one or the unprepared one. Anyway, pick up the chosen card and “ride along ” the back of the fan with the right inner cardbetween the corner of this card.Insertthe two reversed ones. Letthe card protrudeabout onethird in front of the deckand also about half an inch to the left. The card will now cover the index of the lowermost reversed card.
l
Turn the fan slowly face down while inserting thecard. Pick up the next card fromthe table and insert itaboutcentre of the fan without showing the face of thecard. The third card finally is inserted intothe left part of the face down fan. All three cards should protrude equally to front and left so that itis absolutely clear that they are not together. Close the fan and push the three cards home. Now cut the deck deliberately and place it on the table in front ofyou. Order the three cards to flock together andtapthe deckwithyour wand-ifyou are that kindof a magician. Then order the cards to reverse themselves and finally orderthe chosen card to liebetween the two others and reverse itself once more. Pick upthe deck saying : “ You did not chose the . . . (nameone of the reversed cards youglimpsed before), neither did youselect the . . . (the second card isnamed). Inthe meantimeyou pressure fanned the deck, this time faces towards yourself and backs showing to the audience. Youspot right away thetwo backs of the reversed cards and in between you see the chosen card. You continue your patter along these lines : Butyou selected the . . .” Rightawayyou turn the left hand holding the fan, so that you see the backs yourself. “
You find ( ! ) thetwo reversed cards with anothercard sandwichedbetween.Remove all three cards and throw them on the table so that the chosed card is showing.
The importance during the last part must be laid on the point, that you look for the reversed card. This will enhance the idea that youknew the names of all three cards before. (Justanotefor conclusion) After fanning the cards for the last time the faces are showing to the m a g i c i a n ’ S side while the backs are towardsthe audience. As soonasthe chosen card has been seen the left hand with the vertically held fan is pulled back so that the fan rests nearly against the left side ofthe chest. The magician then-looking down-sees the back asthe audience does and withoutexposing the chosen card he can remove the three cards. The climax then comes in throwing thecards down onto the table).
“ People who have reached the peak of their profesgions continue to practice, and learn, and improve. It certainly should not be too much to expect a mrgican to learn how properly to pyform his effectsbefore performing in public.” Bill SimonSensational.” Sleightly
53
TEA LEAVES JAMES DOUGLAS K E N T articles in The Magic Circl~lar has prompted me to describe another verconcerning the effect “Tell tale tea leaves’’ sion, which whilst using the same principle has to my way of thinking a more profound impression on the audience. The original effect, one of Norman Hunter‘s, is simple and direct and is briefly, the appearance of the figures in tea leaves of a previously borrowed coin. The coin was forced or switched and the date was previously written on the plate in flat white paint or white vaseline so that it “appeared” as far as the audience was concerned, “invisible” becoming “visible” when the dry tea leaves adhered to the tackyfigures. In m y version theplate can be handled by the audience, andan absolutely free choice of a card is made from an ordinary pack and yet the correct impression is accomplished by the performer. The points to note are, the performer does not touch the cards whilstfreeselection is made, the plate is used to carry the pack to the audience. The requirements are simple. Tea Cup with some dry tea leaves, about half full is sufficient, small Tea Plate or Saucer, a small pea of white vaseline and a set up deck -‘Si Stebbins’ or ‘Eight Kings’ etc.. and an elastic band. Stick the blob of vaseline to the cup, near the handle, rear side to audience. To perhmn---Remove cards from case. fan to show all different, false shuffle, and cut several
R
“
”
“
“
I
”
”
times, place cm plate, a b w spectator to cut and remove top card.Tell him not to look at card for the present but to reverse pack of cards to face up position and place his card face down in the centre so that it may be easily found later, snap band around, place cards on plate and hand to another s p t a t o r who is invited to bring them to theplatform. Seat the second assisant and ask him to place the cardsin his pocket; tako the plate from him in left hand, showfreely and pick up cup ‘with tea leaves in. Let some “run” out on to the floor and with the thumb pick up the vaseline from cup. This is easy and undetectable as forefinger is naturally through handle. Lay cup down andtakeplateinbothhandsfront side facing audience. Tellthe story of the “ fortunes predicted in tea leaves,” whilst doing so reverse plate so that bottom faces audience.. You willfind it an extremely easy matter to “write” the name of the chosen card on the plate. The figure and one letter to denote suit i’s sufficient, for example 3C. 2D and so on. Oh. 1 forgot, how do you know the card when *he spectator reversed the deck, you noted the bot*m card and the next in series is the chosen one. Having done thedirty wmk, pour some of *he tea leaves on to the plate, press! down lightly. re11 spectatorto remove cards from pocketand remove the “ reversedchosen card.” Throw the tea in the air and show the result to the audience In brief this is an adaptation of the thumb writer.
“ O n e of magic’s most profilic writers, Bob Otben, has contributedtremendoudy value of magic.” Sensational.” Sleightly Bill Simon-“
to the entertainment
I
I
DATED FLIGHT JAMES DOUGLAS H I S I S a ne f f e c t i v eC a r d andCoin c o m b i n a t i o n whichby the experienced operator,can be performedimpromtu. A pack of cards is thoroughly shuffled and a card is selected. A coin is borrowed and the spectator holding the selected card is asked to write on the latter the date of the coin which is now wrapped up in a small sheet of paper and placed in a wine glass. The selected card is taken by the performer and inserted in the centre of the pack which had previously been returned to its case and the flapleftopen.Theinsertedcard is leftpartly sticking out with its face anddatefacingthe audience, that is in a reversed position to other cards in case. The contents of wineglass then vanish by the
T
touch of a lighted cigaretteandtheperformer showing both hands perfectly empty, removes the cardsfrom case andadvancing to assistant, directs him tocutthecardsattheprofruding card.He lifts thisportionand discovers the coin whichwas originally in paper in the wineglass. Theperformerthendealsthefourcards lying beneath the discovered coin and holds them high up in his right hand backs to the audience. Thespectatorthenreadsdateon his cardand theperformer shows that thefourcards in his hand form the date on the coin. I will first describe the “ beginners ” routine which involves acouple of elementary sleights which most readers of this bu 11e t i n willbe familiar.
54
Previous to performance have say a Penny ofwhich you know thedate in the left hand trousers pocket. Place four cards corresponding to date on coin on top of the pack of cards in the reverse order, i.e., if date is 1947, place 7 on top of this a 4 then 9 and then an Ace. A small square of flash paper in right pocket. On table is wineglass,Cigarette and lighter or matches. Place the cards in the case and you are all set. To Perform-Remove cards and give a false shuffle retaining top stock. Allow removal of card from anywhere except top four. Crimp the bottom card of pack with the little finger of left hand by bending the corner a little downwards. Cut pack and place the bottom portion on top of pack. The crimped card is now approximately at centre of pack and next to the four “dated cards.” Place the pack in the case with edge of card with crimp visible up (to you). Leave flap open. Ask for the loan of a Penny and while doing so palm penny from left trousers pocket. Take the borrowed penny in right hand pretend to transfer, it to left and drop coin in glass. With right hand remove flash paper from right trousers
l
pocket and leave switched coin behind. Show p a p e r b o t h sides. Takeup glass. Allow spectator holding card to look at date on coin and write dateon face of card.Takethe coin andwrapit up in the usual paper coin fold. Allow it to drop into right finger palm and place “ the package ” in the glass. Take ‘the card from assistant with hand holding coin and pick up case with cards with left hand. It will be found an easy matter to insert card at the Crimp i.e., above the “ dated cards ” and allow coin to slip into pack behind it. Thecard provides adequate cover and actually assists the easy passage of coin. It will be found that coin rests about half way down pack in case. L e a v e card protruding. Light cigarette and touch off flash. Grip cards tightly at topand coin will be securely held in break. Show recovered coin andcards forming date. Show wineglass empty. The expert will find it easy to cull desired cards in a borrowed pack after sighting borrowed coin whichmaybe marked in his case and n o switch necessary. The final effect is the same.
“ Many magicians attempt to perform effects which require practice. If they refuse to practice (which is the only possible way to learn technically involved mover) then why don’t thev concentrate on the thousand;,of effects requirethat no practice.” Bill Simon-“ Sensational. Sleightly
THE MAGIC CIRCLE BANQUET HE 1954 Banquet at theParkLaneHotel, Piccadilly, proved to be a most enjoyable affair. As of always this social event gives onetheopportunity of meeting those members who hail from the country and make this one of the few occasions on which they travel to Town. Nearly four hundredsat down to a well served dinner. Speeches were nottoo long, the CommonSargeant of the City of London, Sir Anthony Hawke, wittily proposing theToast of the Society, the response beinggiven almost i n au d i b y1 by Douglas Craggs. One gathered that it involved some exciting magical adventures in the Midlands and Malaya ; in the latter place, a “ h a l f c u t ” c r o c o d i l e figured. F r a n c i s White, as only Francis White can, loosed a quick broadside of c u t t i n g w i s e c r a c k s i n succession before he bade the company rise and drink to “Our Guests.” A fine response to this Toast came from that distinguished broadcaster, Rchard Dimbleby. Duringa break in which the floor was cleared Ken Brooke intrigued, mystified and delighted a closely packed audience in the anteroom adjoining the Ballroom. At ten 0’clock dancing began to the music of Stanley Kilburn and his band ; it was short lived for the clock hands stood at ten twenty and
T
thecabaret (Someday a member of a magical society will find out thetrue meaning of this w o r da n dw o n d e r ! )w a s aboutto begin! Scheduled forthirty five minutes, it kept t o magical society traditionandran fiftyfive. In extenuation let us say that it had an exceptionally fine magical content whichwouldhave showed off to greater advantage with better stage management and presentation. It did howeverhave a theme and that theme was “ Light.” Claude Chandler who finely presented the “ Glost ” illusion associated with David Devant, wanted, and had to ask for, “ Light.” Bob Harbin with his sensational “ Out of this World 1’ illusion didn’t wantit and had to say so ! Paddy Victor used it for hisdelightful1 handshadows, and the Voltaires with their terrific act who closed the m a g i c a l p a r t of the show, prodcued it at will. A fine looking team of hoofers, the “ Gainsborough ” girls opened and closed the show. During the evening presehtations were made to Horace King, Peter Newcome and Leslie Turpin. The committee all did a fine job of work and we offer our thanksto them ; theywere MacWilson, Horace King, Bernard Lovett, Gil Leaney, Marchant and John Salisse.
55
MAGIC-GO-ROUND HEN, in the February issue we wrote relike myself to know that he has a Science Fiction gardingwhat weconsidered the wron&lnovel readied for publication. The title is “World tendency ofmodern children’smagic we in Eclipse” and the publisher is Peter Owen. never expected so many conjurers to agree with us The first weekin May is going to be a busy week. On the 3rd the Watford Society will hold their a n d SO few to disagree, and Yet suchwas the case, so for . once . in a time it looks as though we were ~~~~~l ~i~~~~ at Watford T~,.,,, ~ ~ 1 ( 1A. amaz~ on the right lines. ing Society for at this annual event more than 150 We have quite a numpeople attend, and yet ber of congratulatory the Society onlyboasts letters regarding Jack some 3@odd members. Avis’s “ Hole in the It has a percentage of Table,” and those who really good magicians have tried o u t t h i s that cannot be equalled effect will never leave by any other Society it out of their reperwe know in this countoire o f table magic. try). The 7th sees the It ‘had a very g o o d Supper sponsored by the British R i n g for reception f r o m t h e Les. Levante, whilst magicians who really matter lin America as the 9th will see one of well, and so too:did his those verysatisfying miracle card stab. Unique M a g i c i a n s ’ Club shows at Victoria It was with a great Hallswhich onlyHarry sense of regret that we Stanley knows how to heard of the sudden illstage. ness of “ Hen” Fetsch which meant that he April 25th saw me in would b e unable t o Amsterdam giving a keep the lecture dates lecture to some 300 which Harry Stanley continental magicians. hadarranged a t t h e There are quite a lot of Unique Studios. We nice things I wish to extend our own wishes say about this trip next our a n dt h o s eo f month but for the moreadersfor a speedy ment will be content recoveryand convalesin t h a n k i n g Henk cence coupled with the Vermeyden a n dh i s hope that his visit to Dutch colleagues for THE LATE J O H N GAMBLING theseshores will not t h e i r marvellous orbe delayed too long. ganisation and charming hospitality. Our publisher has a verynice treatise on ring We were most surprised quite recentlywhen tricks by Hans Trixer, who now, as most of our reading an article by Kaplan on Nate Leipzig, that readers will know, is resident in Rhodesia. When he attributed the invention of the Twentieth Cenwe saw Jack Lamonte. at the C.A.A. the other tury Silks to this very great magician. The date eveninghe told us that he just completed the given was 1910. Wewere surprised because we illustrations.Also on Holland : FredKaps goes have looked upon Kaplan asan informed authority to the Lido, Paris for five months commencing in Without in any way trying to detract from the May. veryfine work of Leipzig, credit for the initial effect must go to Devant who was performing the A lecture that we would like to hear again was effect at the turn of the century. A description of givenbyPercyPress at the Magic Circle on this method is given in “ Later Magic,” which was “Those were the Days.” It was worth theprice published in 1904. At the same time the trick was The following week oftwo year’ssubscription. o n sale using faked handerchiefs and advertisePercy also staged a show of magic at the C.A.A. whichwasvoted oneof the most entertaining mentscan be found in the very early copies of Stanyon’s “ Magic.” shows that hadbeen put on and further that it should become an annual event. Those who took It is excellent news to know that our friend part were Jimmy Rodgers, lack Crossbie, Michael Will Dexter returns to London at the beginning of Bailey, Fred B a r I o W, Margaret Newman and May. It is also good news to Science Fiction fans myself. PETER WARLOCK
W
I
PLAYING WITH M A G I C A ruperbly produced cloth-bound book that ir a MUST for the props Cloth-bound children’r marerid. entertainer Post8g.
6d.
m/-
SPECTATOR’S C H O I C E Professional standard magic of the highestorder. N o elaborate required
1’11 READ Y O U R MIND Mental magic in the best Annemann tradition. Packed with practical Postage Id
17/6
716
Postage 3d.
MAGIC WAND R?UBIC,€CATIONS Challenge Instant Hypnotism and M888 Hypnotism
GeorgeArmstrong Cbandu’s Psychoanalyrh George Armstrong George Armrtrong’r Pmnonition GeorgeArmstrong Magic Wand Ye8r Book 46/9 George Armstrong T r k k r of the Trade Gaorge Armstrong The Universal Mind Ron Baillie Bohleno’s Mysteries Henry Bohlen 1’11Your Read Mind Aage Darling Entertaining with Contact Mindreading S. E.Dexter Entertaining with Hypnotism S. E. Dexter Ken de Courcy Automentalism Ken deCourcy Zodiac Telepathy JohnRamsay’sCups and Balls Victor Farelli T h n k s to Leipzig ! Victor Farelli
~
~
21110/3 10/3 5/3 2/7 12/9 10/3 17/9 7/9 10/3 20/3 1219 25/6 10/3
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six living and Dead fytr Teral Garrett The ConcertVentriloquist 8nd Children’s Entertainer Maurice Hurling Jamemsophy James Stewart Strictly Magic Eddie Joseph Mastered Amaze, Mt Koran & Lamonte l o n i Koynini’r Card Miracles Toni Koynini Stunts With Strge Money Jack Lamonte Suzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina 9’
”
Stooging Around Playing With Magic Magically Yours
’’
7/9 7/9
5/3
10/3 513 5/3 l0/3 7/9 5/3 719 20/6 (cheap edition) 719 JoeStuthard 5/3 WilfredTyler 30/6 Verrall Wass l5/6
FROM T H E PUBLISHERS
THE MAGIC WAND PUBLISHING CO, 62 WELLINGCTON R.OAD, ENFIELD, MIDDLESEX
i I
The Magic Circle President : Hir
Duke ut Somerset. D.S.O., O.B.E.. J.P.. Y.I.Y.C. Vb-Preddent: DoUglU CmggD. E-.. M.1 .M.C. Cfabroom and Library and Muicum : Grace the
Hearts of Oak Buildingr, Euston Road, London, N.W.I. Magical Theatre :
King George’s
Hall,
W.C
Forthcoming EventsMay 15-Auction Sale 2.15 p.m.
l ~
Particulars from Hon. Secretary :
Francis White, 39 Alvetstone Avenue, Wimbledon Park, S.W.19
t+
PETER
JACK HUGHES
WARLOCK’S
PENTAGRAM is published on the 24th of r u b monthand CID b obtained direct from the publishers for 117 per cin~le copy. Annual Subscription 181port free. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscripts for publicationandbooks review should be wnt to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
Every Advertiser’s goods arefullyendorsed ?UBLIBRSD 111E BT
Pll0PR-W
will be pleased to send you
full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE OLD A N 0 N W . Le? me know your rants LIST FREE FOR STAMPHD ENVELOPE N o Callers
G E O R G E JENNESS 47 INVERNESS AVENUE. ENFIELD, MIDDLESEX
by thisMIDDLESEX Bulletin
1 R I MAGIC W A N D P U B ~ H M Q COUPANT. g2 W S L L M Q T O N ROAD. BNIIELD,
*
INTRODUCTORY NOTE N HIS admirable work on card magic, “ The Cardician,” Mr. Edward Marlo, after detailing
I
the routines ofseveraltricks, throws at his readers, in a chapter entitled, “ Some Challenging Ideas,” two plots without solutions. The first he calls, “ S p e c t a t o r Coincidence,” and in the our friend February i s s u e o f “ H u g a r d ’ s ” MilbourneChristopher gave his version of the effectwhich made use of faked cards. Inthe following issue of the same magazine Horace E. Bennett of Richmond, Virginia, came up with a method he had evolved. Mr. Bennett’s was certainly a fine trick but one felt that he had
departedfrom the original plot too.much to suggest thatthe trick was a solution. In fact Mr. Bennett himself admitted so in as many words.
Our own feelings towards the effect,were governed by the very thoughtful outlook of Marlo and we felt quite certain that in posing this problem a faked pack was not in hismind. We would therefore like to describe our own solution of the problem, which can if needs be performed with two borrowed packs of cards. First then is the plot as detailed by Marlo, to which we append our solution.
THE CARDICIAN’S FIRST PROBLEM PETER WARLOCK RED DECK is spread face up while a blue deck is spread face down. The spectator is asked to think of any card in the face up red deck. Now while he is concentrating on this card he is asked to remove any one of the face downcardsfrom the blue deck. Having done this, he next removes.the card he has been thinking of. Needless to say both cards are identical and the spectator has done it all.” Actually the details of the denouement are not clear for there is no indication ofhow the cardsare shown to be .similar. Knowing well some of the tendencies of card technique, we can think of many who would pick up both cards and place them on top of one of the packs.We are assuming therefore that at the end of the effect after both cards are .drawn from the two packs that the face down card is simply turned face up and it is seen to match the other card. Our method issimple and based upon a logical breakdown of the effect. Two things are apparent (provided unfaked packs are used). The first is, that the face up card is freely chosen, and the second that if the spectator really pushes any card from the other pack. then, unless he is
“A
VOLUME 8, No. 8
-
fortunate enough to strike the actual matching card, the card touched and withdrawnmust be changed for one which matches the face up card. Few card table changes.are fully effectiveor so they appear to us, with one outstanding exception, the PaulCurry“TurnoverChange ” andis upon this sleight that our own solution is based. The performer will require two packs of cards, In his one withred backs and one withblue. left hand pocket he has a card index to contain a full packof fifty two cards.Actually the backs of the pack in the index need not match either of the others thus allowing the useof borrowed packs, for the back of the card later taken from the indexisneverseen. With the index in place there is no other preparation. The presentation follows the plot previously outlined. The blue pack is removed from its case and is spread, not in a straight line but in the form of anarc, one end of this arcstarting at the middle of the left hand side of the card table and proceeding to the centre of the back of the table. The redbacked pack issimilarly spread face up atthe rightsideof the table. The performer stands both hands in pockets and the
1/6. (20 Cents)
-
MAY 1954
58 spectator is asked to think of any card then touch any face down card and slide it out from the face down spread. Next with the same card in mind, he isfurther requested to push the thought of card from the face up spread. Immediately the card is moved the performer locates its duplicate in the index, removes it and palms it in the left hand. The performer taking his time over this part, for slowness in action at thispoint isused in the patter to emphasise the impossibility of the feat, brings his hand out of his pocket and placing this hand over the face down cards on the right hand of table scoops up the spread adding the palmed card andatthe same time remarking to the spectator, “ I think, sir, you will agree withme that therewas no wayof your knowing which card you pushed out from this.” As this is said the cards are turned face up and the right hand moves in to fan the cards and quickly flash their faces. As the cards are closed the left hand little finger come between the added card and the rest of the pack so that it is in the “get ready ” position for the Curry “ Turnover Change.” The left hand drops to the side whilst the right hand scoops up the face up pack this time remarking, “but here sir the card you had inmindwas in don’t you think it rather strange that sight something like coincidence moved your hand and mind in each case and that the card you removed from the face down pack matches the one thought of and takenfrom the face up pack.” As the performer says the words “face down pack matches,” the right hand with thecardsitis holding is pointing to the face up card, and the left hand comes up and in turning over the face down card executes the “TurnoverChange” revealing the matched cards.
THEFEMALEOFTHESPECIES
IS.
MISS MAY HOWlE
..
....
fact
Prize Winner, I.B.M., Edinburgh, 1953
“ I want, dear Mr. Smith, to im ress upon you that ncting is the most important part o f magic. That ia e thmt many who call themselves m&ns hme never understood. A s one of the visual arts, magic only exiits
when it ispresented to a body of spectators, to an audience thst ie so ”y. when it is acted. Masterinp.the rcchnique pf mwic. the sleights and tricks with which the books are filled. $d : ignoring the acting of it, WiH rodtce a brofesaor dfconiurins but not a masician. Wilfridlonaon, Mr. Smith‘s Guide to Sleight 9f &nd
T H E CARDICIAN’S SECONDPROBLEM PETER WARLOCK H IS EFFECTis
calledby Marlo, “The Spectator’s Prediction.” It goes like this :“ The spectator writes down the name of any card he wishes on a piece of paper. The paper is never handled by the cardician. Thespectator himself isolates the pelletin a glass or on his person. Next a deck is spread face down and the samespectator pushes out any card. Later he opens his paper and reads out what he wrote. He himself turns over the card heselected andit proves to be theone originally jotted down.” Marlo adds to this . You think you already have an answer? “ Come now, if you think about it, it can’t be a forcing deck ! ”
T
. .
Now, first of all, this plot is not new in this country. In fact Jack Morrison has been performing the ultimate in this type of plot for many years. Jack, after spreading a pack face down on a table, asks a prominent member of the company present to think of his favourite card. This person i s not a stooge. Another member of the audience, again neither stooge nor confederate, is asked to push outonecardfrom the face down spread. The person thinking of the card is asked to name it, whereupon the memberof the audience who pushed the card out from the spread is asked to turn the face down card over. It is the same as the thought of card ! That is pure magic for the
59
performer never handles thecards after placing them on the table. Marlo, in describing this effect, reaches into the realm of the mentalist for the preliminary and seems to make out quite a meal of the method of obtaining the knowledge of what the spectator has written. Also in this problem he is more explicit, for at the end it is the spectator “himself” who turns up the card on the table. As a point in the presentation we should have thought it better for someone other than the spectator toread out what is on the billet for, after all, the spectator knows what he has written ; he doesn’t have to open a piece of paper to remind himself. Probably quite wrongly I am viewing the effect from a performing angle rather than that of the technician. The logical breakdown of the trick resolves itself into :l The knowledge of what the spectator has written. 2 That the card drawn from the pack must be subtly changed for that named on the paper or 3 With the name of the card known, that card must be forced from the face down pack. First things first, it would seem that in a card trick the simplest method available for obtaining the information about the name of the cardwritten on the pelletisby using a faked card case that carries a carbon at the back of one of it’s side. A full description of this will be found in “ Mental Bargain Effects ” by Annemann. The result which is well known to readers is that if when the pack is in the case a piece of paper is placed on top of the case, any writing made on the paper with a hard pointed pencil or ball pointed penwillbe duplicated on the faceof the card immediately underneath the carbon. Having knowledge of the card as the pack is removed from its case is only part of the trick. The reallydifficult part .is to conform with the description given by Marlo, which you remember goes on . . . “ next a deck of cards is spread face down and the spectator pushes out any card from the pack.” Now if at this point there is to be no monkeying with the card that the spectatorpushes out from the pack and as Marlo continues . . . “ Later he opens his paper and reads out what he wrote. He himself turns over the card he selected, etc . . . ” then quite obviousely unlessheis guided in his choice of a card, the pack must be a forcing pack. Equally obviously we can be sure, taking into account Marlo’s last few words, plus the knowledge that Marlo is an outstanding technician, that the use of an unlimited number of forcing decks is ruled out. Therefore, we come to two solutions, firstly that the spectator is guided in his choice the performer knowing the position of the card written on the paper (Milbourne Christopher suggests that the chosen card be
brought to a certain position from the top of the pack, SO that when the cards are spread it is easy to locate), or secondly the card drawn from the pack by the spectator is subtly changed by the performer before it is turned over by the spectator. Keep these alternatives in mind and go back to the point where the spectatorhas written the name of a card on a billet, an impression being obtained on a card on the face of the pack inside the case. The magician takes the cardscasually and as they fall into his hand he notes from the impression on theface card the name of the card written down. Now for ease in working the pack is stacked in a known order. With it is an easy matter to locate the card and hold a break above it as so much of the trick as is necessary is unfolded. The cards are casually cut bringing the chosen card to the top. At this point Mr. Christopher brings it to eighth position by running off that number of cards from the bottom to the top, the cards then being spread and the spectator physically influenced into touching that card. An alternative not by any means certain would be to crimp the bottom card. Cut the pack again and in spreading the cards give the selected card just that extra bit of room that would make for easy touching and withdrawal of the card. Having got the card to the top of the pack, however there are means of changing the card pushed out by the spectator at random. There is of course the one chance in fifty-two that the spectator may actually draw the top card and you haveperformed a miracle for the other cards can be immediately turned over and shown. Let us take one method of changing the card and still allowing the spectator to turn over the card. It is this: the spectator draws a card from the spread and leaves it on the table face down whilst he goesthrough the performance of finding the billet and opening it. Ashe does this the performer scoops up the rest of the pack, squares it and places it down again on the table. The face down card is now openly dropped on top of the pack. The pellet being opened and the name of the card read out, the pack is taken with the dealing hand and a second dealt which means that from thespectator’s point of view the card he took from the pack has been dealt ontothe table. Actually it is the chosen card waiting to be turned over.
For myself, I feel that the effect loses nothing by the performer turning over the card providing this is done before thename of the card is read aloud. The handling goes this way :The card is located in the stacked pack and brought to the top, the cards then being spread face down on the table. The spectator touches one card and draws it from the pack leaving it on the table. The remaining cards are scooped up by the performer with his left hand. He squares them up and with his third finger between the top card and the rest of the pack gets ready for the Curry Turnover. Taking a pencil from hispocketwith
60 the right hand (the fact that something-is held by the right hand gives the left hand an excuse for turning over the card) he points in the s p e c t a t o r ’S direction saying “ First of all you wrotethename of acardona pieceof paper which was folded and placed by yourself in your own pocket. The name of that card is known to you and you only. Secondly, from a packof cards you were asked to touch one and drawit from the pack. That card as you can see is the --of-(At this point thechange ismade). Will you please hand the pellet of paper to your neighbour
and ask him to read aloud the name of the card you wrote on the paper” . . . and then on to the remarks about coincidence. There are of course many alternative endings to the trick once knowledge of the card has been gained. Any good force would achieve good effect, and here I think I would rather allow another of thecompany to draw thecard rather than the spectator who wrote down the name of the card. T h e n at the endone c a n use the delightful Hofzinser sympathetic twist.
“ 1 would impress upon you the importance of studying all sieights with intelligence and regarding them purely as examples. First try them as I have described them ; then see if by some alteration you can make them more suitable for your own hands. Try to d o them also with objects other than those 1 have mentioned.” Wilfrid Jonson, ” Mr. Smith’s Guide to Sleight of Hand ”
HANDLING THE WINDOW ENVELOPE PETER WARLOCK OME TIME back in the last volume we wrote up an item which we entitled, “The Perfect WindowEnvelope.” It was a device that we foundquite useful and easy to handle. When Mr. Edmund Rowland came up with his idea of a reflector on part of an envelope andatthe same time pointed out the illogicality of picking up a stack of envelopes when only one was needed we were suitably impressed. Mr. Rowland’s idea is an excellent one, but looking at it from many angles one is struck by certain limitations. In the first place written nameswouldbedifficult to readbecause the writing will appear to the performer to have been written backwards. Secondly the handling of the card is such that an inobservant spectator may imply that the card istwisted round giving the performer a glimpse. Thirdly the en v e 1o p e , because of its preparation, must be spirited away by the performer. None of this is written with the idea of belittling the idea ofMr.Rowland’s but rather, b e c a u s e o f the observations made regarding logicality, we started thinking about the handling of the window envelope in the most convincing manner. We did get somewhere and though there has been little added, that little makes agreat deal of difference. First of all we have dispensed with the more usual type ofwindowenvelopewhichinvolves the use of an envelope that must be retrieved and kept by the performer at the endof the trick.
S
Gone too is any idea of the use of a stack of envelopes. In its place we have adoptedthe published but lesser idea of a pay envelope with a slit across what would be the address side of a a businessenvelope. This slit is made breadthwise about half an inch from the flap end of the envelope. That is all you require apart froma visiting card, which if necessary may beborrowed. Prior to using the device in a routine where it is necessary for the performer to obtain surreptitious knowledge of what a spectator has written, the envelopeisplaced slit sidedown on the table. In the performerspocketarea number of visiting cards or blank cards of a similar size. Takinga pencil f r o mh i sp o c k e t , the performerapproachesa spectator and taking a card hands it to him with a request that he thinks of a person, etc., and, writes it upon the card, then turning thecard face down. As he does this the performer turns awayandpicks up the envelope. H ‘ o l d i n g i t i n h i s left handhe approaches the spectator with the card, first takes backhispencil and then with the envelope slit side down against his hand andthe flap end towards the spectator, takes the card stillface downandveryslowly and deliberately slides i.t apparently into the envelope. Actually of course it passes through the slit on the underside of the envelope all that is with the exception of an odd half inch which positions itself in the equally odd half inch of the envelope above the slit. The flap
l
61
is folded over and the envelope back towards the to performer is brought up with bothhands shoulder level. With a q u i c kg l a n c e down towards the back of the envelope, the writing on thecardprotrudingfromthe slit is duly noted and simultaneously the envelope is folded in half, the card being on the inside, and in this condition it is handed to a spectator with a request that he holds it very tightly untilit is needed. This instruction is invariably adhered to for in the spectator’s mind he will at all cost try and avoid
your :having furthercontact with the envelope. He is very unlikely to be aware that in so doing he is effectively concealing the protruding card. When the time comes for the revelation of the name written on the card the performer takes the envelope in its folded condition steps back and unfolds it card towards him. The flap of the envelope is folded back, the card removed and handed to the writer for checking. The envelope is torn into pieces one tear coinciding with the slit, and dropped on the table or a chair.
“ I would warn you at this stage against doing so much practice before a mirror. When once you have made some progress with a sleight you should practice without the mirror in front of you, for there is a danger of becoming so accustomed to your reflection that you will strange when there is only an audience in front of you. You must remember also, that the mirror gives a view of your work from one direction only, while it will be viewed when you are perferming from many different angles.” Wilfrid Jonson, “ Mr. Smith’s Guide to Sleight of Hand”
“GIVE A W A Y COLLECTING BOX” JACK AVlS N THE ‘ Edmund Rowland ’ issue, the author described an excellent effect in which after a number of spectatorshad inserted various coloured chips that they were holding intoan examined box held by the performer behind his back he was without any undue trouble able to state which person had held each chip. Mr. Rowland as readers will remember recommended the use of a prosaic mustard tin suitably altered. Now theother evening Jack Avis came up with his version and handling of the effect. First of all he hadtakenone of those little plastic boxes that Davenports sell together with a plastic die, and had made a suitable cut in the lid of the box to admit one poker chip at a time. Regarding the little fake that is slipped into the box, he
I
~~
I
I
had reduced the height of this. Bestof all of Jack’s suggestions was, that instead of holding the box behind the back, the p e r f o r m e r s h o u l d drape a handkerchief over it lifting it ss the spectator came forward with his hand to drop the chip throughthe lid. This is not only very convincing but the performer is able to give the box the necessary turns in a most unsuspicious manner. Finally, though Jack didn’t mention this, if you have the box and the die plus the trick that goeswith it, you’llfind that using the handkerchief method it is justas simple to tell the spectators the colours of their chips without removing the lid.
~
Do youknowhow to bow, Mr. Smith ? There is a certain art in i t . A bow should be neither the wooden bending of $he hips, nor & obeisance of the whole figure, but a graceful curve of whole body accompanied by a n inclination ‘of the head. Go to the theatre and watch an accomplished actor bow. Go, if you can, and see the Russian ballet. More canbe conviyed by,’ bow than you havedreamt of in yourphilosophy.”WilfridJonson, “ Mr. Smith’sGuide to Sleight of Hand “
LMAGIC-GO-ROUND-continued from page 63 magical press as a whole, of the cancellation of the event. The illness of “Hen” Fetsch and the postponement of his lectures in London cbme asa great disappointment to all those magicianswho
I
l
had already.profited by his originations and were anxious to meet this man of charm in the flesh. By the time these words appear in print wefeel certain that he will have fully recovered and plans will already be under way for a definite appearance in the Metropolis.
62
“ SLEIGHTLY SENSATIONAL” by Bill’Simon (Published by Louis Tannen, price 14/-)
Those who read Simon’s excellent
book
Efectiue Card Magic know that here is one card
man who can .give a new plot or a new twist to an old plot that makes the reading of his effects worthwhile. In the present little book of some forty pages there are Some ten card effects and a bonus of three miscellaneousitems. There isalso a short chapter entitled “In General” which contains a wealthof commonsense adviceand from which we took some quotationsfor the previousissue of the “ Pentagram.” Of the card effects that Mr. Simon describes we like best, “ The Transposition ” (an effect with dice as well as cards), the “ Four Packet Shuffle ” whichis a very s t r a i g h t f o r w a r d version of Vernon’s “ Triumph,” and the“ Vital Prediction.” This last namedisbased on an idea of Curry’s and a number of versions withvariations appeared inthe previousvolume of this bulletin. The “ Miscellaneons ” section covers a sponge ball routine, a version of the ring on wand (or pencil) and a silver and copper transposition. All the effects show that the writeris a loverof good magic. We h a v ea l w a y sf o u n dt h a t any individualistleaveshisfingerprints on any effect he touches.Mr.Simon’sis that of what some might think is the unnecessaryreplacing cards back on top of the pack and then either turning them over or taking them off. Well printed and with adequate illustrations we consider the book excellent value. “MOHAMMED BEY’S ROUTINE WITH THE OKITO COIN BOX ” by S. Leo Horowitz (MohammedBey)Publishedby Holden’s Magic Shop and sold complete with box and all necessaries for 21/-
This is an item that all magicians who like a Mr. blend of subtelty and skillwillrevelin. Horowitz as his basis has taken the original Okito Coin Box, (which was, and in this version is quite a simplebrass circular box) andaround it has woven a web of some seven delightful mysteries. In the main they are penetrations, but there is a transposition which we let Jack Avis perform for us that isclose quarter magic at itsbest. There is also a delightful payoff at the conclusion of the routine where the boxisopened and insideis a little latex rabbit. Magicians will like the subtle manner in which the general awkwardness of the turnover of the box is eliminated and subtelty and little else achieves the desired -resuit.
This is a must for those who wish to add to their close-up repertoire. “PEN-I-PIN ” by John Derris (Marketed by John Derris, price 6/-)
You’llremember that sometimeback John Derris m a r k e t e d a very popular itemcalled “Trilogy.” This timehehascome up with a miracle penetration of an examined coin which takes t h e fol.1o W i n g shape. The performer removes from hispocket a parcel just large enough to hold a coin. Through various parts of the p a r c e 1 c o l o u r e d headedpins are stuck. Everything is shown quite fairly and the pins are slowly withdrawn. The parcel is opened and shown that its contents consist of a penny which is immediately handed out for examination. Very effective and recommended. “ POKER CHIP CHICANERY ” by AI Koran and Jack Avis, price 5/This again is a close-up effect of€the beaten track. Fivecolouredpokerchips are tipped out of a smallmetalbox and wrappedin a small piece of tissue which is then handed to a spectator to hold. One colour ischosen and presto ! the spectator opens the paper and finds that he only has four chips, the one of the chosen colour being missing. The box is then opened and it is found that the straggler has returned. Again very effective and recommended.
“ A MAGICIAN GOES TO DINNER ” by Ecldie Joseph (Published by Max Andrews, price 7/6) This is a booklet of sometwentypages touching on a field that has been much neglected. It deals with tricks of an extempore nature performed at the table by a diner. Devant devoted a chapter to this in one of his books and and so too has Martin Gardner. In all there are a score ofeffectsmakinguseof the thingsone would expect to find on or about the table or the diners . . . fruit, cigarettes, a bottle,rings,coins etc. The handling ineverycase sounds most deceptive and there is one itemwith an empty bottle that has heldspirits that sounds a dilly. We would say that every magician who wishes to increase his repertoire of impromptu tricks would wellprofitbypurchasingthisverymoderately priced booklet. Davenports. From these our goodfriends we some havereceivedmanylistswhichinclude attractive items.There’s a “ Demon ” ultra clip board which sounds a must for any mentalist at a modest price of lO/-, whilst Dr. Jak’s ’‘ Multiball and “ Four Blacks ” effects are throwaways at 5/- each.
63
MAGIC-GO-ROUND UR OWN little world of magic has become ful Viennese present some of his effects at a party poorer with the death of our friend and given by Henk. For our extra delight he showed neighbour,Sam Hiddleston. A man who us a genuine Hofzinser item. saw goodinevery conjurer, andfrom whom, even s o m e of t h e viler concoctions of King It is not our job to give details ahead of Qeorge’s Hall would simply evoke the words, “ It normal release regarding society activities unless specially asked, but we can say, speaking in generwasn’t so good” will be missed by the many who alities, that the layout for this years British Ring had the privilege of knowing him. His great interestwas in the collecting of playing cards, and Conventionshould make it the bestever. The over the course of several years he hsd amassed establishment of a .Headquarter Hotel, which experience has proved essential on such an occasion, a some finespecimenswhich he exhibitedon has, as most members know already been fixed. number of occasions at various functions. Gone too is On the “Ring” Laurie I r e l a n d the. Levante supand never again per at theHorseshall weseehim shoe p r o v e d a perform a sponge very jolly affair. ball routine, the Quite frankly we “Havana” deal s h o u l dn e v e r or hisdelightful have thought that version of “ Find Les Levante was the Lady.” f o u r t e e n years older than when The lotof the we last sawhim enthusiastic magon the occasion ical playboy can of his ‘Au Revior’ sometimes be a arranged by the strenuous one as w eo u r s e l v e s late Will Goldston at the Russell have found this H o t e l in1940. m o n t h . From Only a handful the datewhen we Amsterdam-April-Fred Taylor, Hens Trunk and Hcnk Vermeyden that were present went o v e r t o on that occasionwere at the Horseshoeand of Amsterdam until the time we are writingthis, that number three who performed in 1940 showed there has been a steady run of worthwhile events gr meetings that have engaged our attention. again on May 7th. They were Herbert J. Collings, Amsterdam proved more than magically interestBill Stickland and myself. ing ; for our chief part of the visit it showed us It is amazing how one enthusiastic magician how a magical lecture should be presented. Our is able to organise an event such as a convention good friend Henk Vermeyden, whose hospitality whilsthisconfreres, without .hishelp, are all at we feel we can never repay made certain that not sea. It happened at Cotswold when Wilfred Tyler only should we have the best conditions for went further afield, and now to-day we see an giving our lecture but also that it should be properly advertised event, the Bideford Convention flop at staged. It is a lesson that we shall take to heart, the last minute. This event was the result of one for at Brighton, in September, we are in charge of enthusiastic organiser,Edwin. We know that he t h e l e c t u r e s , in which J. F. Orrin and Gus had plenty of willing helpers, but it was his drive Southall w i l l t a k e p a r t . Coming b a c k t o that made a convention in the country town of Amsterdam, the visit gave us the opportunity of Bideford a possibility. It is said thatthe event seeing the KalanagandGloria showwhich, for died through lack of support, a thing we find hard dressing, teamwork and quality of magic certainly to believe for we know quite a number in London, has no equal in Europe, and judging by informed Bristol and Plymouth who were ready to support critics, nor America. What was a pleasant change the convention. It is particularly hard on those was to see a performer who had the sense to sell who seek to combine aholidaywithmagicand magic rather himself. book accommodation that has to be paid for. It is also a bad thing for the dealerwho, at very We also met Hans Trunk. All of our readers little profit to himself, is willing to set up a stand. will no doubt have read the very fine series that Particularly bad was the lack of proper announcehe wrote some years back in “Abracadabra,” and ment to registrants, either directly or through the it gave us a magical experiencein seeing the delight-
0
64
. _ o
.
P L A Y I N G WITH MAGIC A ruperblyproduced cloth-bound book that is a MUST for the children’s entertainer 301Postage M .
SPECTATOR’S C H O I C E
MIND
I’ll R E Y AO DUR
Mental magic in the best Annemann tradition. Packed with practical marerial. Cloth.bound 1716 Postage 4d
Professional standard magic of the highest order. N o elaborate props required 7/6
Postage 3d.
MAGIC WAND PUBLICATIONS Ch8llenge Instant Hypnotism and Mass Hypnotism
George Armstrong 21/Chandu’s Psychoanalysis George Armstrong 10/3 George Armstrong’s Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 5/3 Tricks of the Trade Gnorge Armstrong 2/7 The Univrrsal Mind Ron Baillie 1219 Mysteries Bohleno’s Bohlen Henry 10/3 I’ll Your Read Mind Aage Darling 17/9 Entertaining with Contact Mindreading S . E.Dexter 7 / 9 Entertaining with Hypnotism S. E. Dexter 10/3 Automentalism Courcy Ken de 20/3 Telepathy Zodiac Courcy Ken de 1219 John Ramsay’s Cups and Balls Victor Farelli 2Sl6 Than S to Leipzig ! Victor Farelli 1013
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s Entertainer Maurice Hurling Jamesorophy James Stewart Strictly Magic Eddie Joseph Mastered Amazement Koran & Larnonte Toni Koynini’s Card Miracles Toni Koynini Stunts With Sbage Money Jack Larnonte Suzy and the City flickers Jack Larnonte Where Houdini was wrong Maurice Sardina P’
9’
Stooging Around Playing With Magic Magically Yours
9)
7/9 7/9 513 l0/3 513 5/3
10/3 719 5/3 719 20/6 719
(cheap edition) JoeStuthard S/3 Wilfred Tyler 30/6 Verrall Wass l5/6
FROM T H E PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 6%WELLINGTON ROAD, ENFIELD, RIIDDLESEX
The Magic Circle President : His Grace the Duke of Somerser.
D.S.O.. O.B.E.. J.P.. M.I.M.C. VIc+President: Douglu Cram, Emq.. Y.I.N.C. Clubroom and Library and Museum
:
Hearts of Oak Buildings, N.W.1. Euston Road, London, Yagicrl Theatre :
King George’s Hall, W.C.
Forthcoming EventeJune 12-Concert July 16-A.G.M. Puticulara from Hon. Secmtary :
PETER WARLOCK’S
PENTAGRAM is published on the 24th of oath monthand can be obtained direct from the publishers for 117 per singlecopy. Annual Subwriptiolr 181 port free. PUBLISHED BY:
The Magic W8nd Publishing Co. 62 Wellington Road, Enfield Middlesex Manusoripts for publication and bookr for
review should be rent to the: EDITORIAL ADDRESS:
Francis White, 39 Alveretone Avenue,
Wimbledon Park, S.W.19
EveryAdvertiser’s
24,
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
JACK HUG= will be pleased tosend fulldetails of
you
THE DE LUXB “SU-TABLE” together with all his other effects inreturn for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9. ~
~~~~
~
~~
CONJURING BOOKS FOR SALE OLD ANI) NEW. Let me know your w m t r LIST FREE FOR STAMPED ENVELOPE No Callera
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
goodsare fully endorsed by this Bulletin
PUBLIOHED B 1 THE PROPLIUTORS THE MAUlC W A N D PUBLIBHINOCOMPANY. 62 WELLINOTONROAD,ENPIELD.MIDDLESEX A N D PRINTED BY HBRBERT WALKER & S O N (PRINTURS) LTD., W I L L CROIT, SHIPLEY,YORKSHIRE
*
THE OBEDIENT COLOURS THE LATEDOUGLAS " A variation of the ' Indian Sand ' trick was ~ e x t introduced (sundry and various pieces of coloured tissue paper in glases being used instead of sand). and MT. Dexter wasablr to pick out from a mass mixed in a glass bowl, a handful of pieces of any of the colours as they were chosen" Magic Circular. Volume 10 (1915-16) Page 173 HIS is an effectwith coloured paper pieces similar to the Indian Sand trick, but far more artistic andclean in its execution, the necessary apparatus being of small cost, and thewhole effect easily performed. The requisites are :1. Five ordinary tumblers of as large a size as possible. 2. Five china saucers also rather large. 3. A glass sweet or fruit jar with a cover. 4. Five lots of different coloured tissue paper (say red, white, green, blue and orange).
T
n
These pieces are made up from the ordinary sheets and each piece should measure about one inch by three quarters of an inch. It will be found that two sheets of tissue of each colour cut with a paper knife provide a sufficient quantity.
VOLUME 8, No. 9
-
DEXTER
A note regarding thejar. Thisshould be large enough so that the hand can move comfortably inside it. To prepare for the effect stand the saucers in a row on yourtable, and oneach saucer, a tumbler containing a number of the colouredpieces loosely dropped in, each tumbler, of course containing a different colour. (if the pieces are wellshaken
before being placedinside the tumblers it is amazing howfew ittakes to fill the glass.Lying on the table and just behind the rim of each saucer, is a small bundle of the coloured pieces, neatly stacked and tightly compressed together about half an inch thick; theyare kept secure by a strip of tissue round the bundle. A small length of fine florist's wire is run under the band, the ends fastened together, and a few twists given to the large loop thus formed close the package, the small upstanding loop forming a holder to be clipped between the fingers. To present the effect,pick up the glass jar, remove the cover placing it on the table. Standing to the left of the table empty the papersfrom each tumbler into the jar. Now replace the cover, and holding the jar on its side shakeit aboutand move it from side to side so as to thoroughly mix up the various coloured pieces.Whenthey are well shaken together, and present a pretty appearance from the outside, stand the jar on the table in front of the saucers and remove the cover. Invite someone to call out any one of the five colours. Directly one is given, pick up the saucer with the corresponding coloured package behind
1/6. (20 Cents)
-
JUNE t954
66 by inserting the right hand finger tips under the rim and allowing the wire loop of the bundle to come between the second and third fingers, about midwaybetween the first and second joints of same, which are then pressed together so clipping the wire loop between them and suspending the bundle at the back of the hand. Slide the saucer towards the left hand which picks it up, whilst the right, clearly seen to be empty, (but really holding the bundle at the back) is inserted in the jar. Directly it is in, the .package is allowed to drop on the loose paper pieces,when, under cover of burying the hand in the papers and stirring them round, the fingers obtain possession of the bundle, the thumb nail ripping off the paper band, and leaving it, together with the wire loop, in the jar. Bring up the hand containing the pieces from out of the jar hold it over the saucer, ask for the name of the colour to be repeated, and immediately begin to work the pieces from the hand dropping them onto the saucer and spreading them about as much as possible. Repeat this with one or ‘two colours, each time pressing down the papers in the jar so as to convey the immpression that there are less pieces inside the after each coloured handful is taken out.
I have obtained considerable effectwith this pretty little illusion, which besides being quite of the “light” order provides plentyof scope for humorous remarks, and is equally effective on the stage or in the drawing room. When performing in the latter, or when the carrying of the large glass jar has been inconvenient I have frequently taken with me on the tissue pieces and packages together with a paper bag. Then if a glass water jug, or flower vase of suitable size was not forthcoming, the paper bag has served as a receptacle for the mixedpieces.All the other properties are easily borrowed. The glass jar is worth getting as, however, as it costs only a shilling or two (Times have changed since 1916 ! P,W:) and gives an artistic finish to the effect. Editor’s Note. The type of jar used by the late Douglas Dexter I think of as a biscuit barrel, and these still of course can be easily obtained to-day. a search of shops dealing in antiques and secondhand ware may easily produce something worthwhile. In this age of plastic, there must be quite a number of containers that wouldeasily prove suitable and at the sametime be light to carry with no risk of breakage.-P.W.
Many performers of great repute scarcely include a genuine sleight from the the rise to the fall of the curtain. In some cases we have heard it uncharitably suggested that they never knew any. Be this as it may, these entertainers have doubtless discovered that the public does not want sleight of hand-presented as such. To the young magician therefore, the suggestion may be made, at least pay as much attention to presentation, coupled with misdirection, as you give to extravagant moves in sleight-of-handthat, in all probability, will never be of much service. “ Magic Wand.” Page 2 1, Volume 7
CHANGO ROY WALTON E are always pleased to have something from our friend Roy Walton, and this lovely little card transposition effect we have given the title of ‘‘ Chango.” We have left it as Roy wrote it and please takethecards in your hands and follow it with him. We know that you will like it as much as we did when he first showed it to us, some time back.
W T
WO packs of cards are required, one red and one blue, the blue having a slight arrangement using the Ace of Hearts and the King of Clubs from the red pack, and its own Ace and King of the same suits. Reading from the top of the face down blue pack thecards run-Red backed Ace of Hearts, Blue backed King of Clubs, about fifteen indifferent cards, Red backed King of Clubs. Place the blue pack back in its case and you are all set. To Perform-Remove the red pack from its case, and place it face up on thetable, do the same
with the blue. Say that you are going to use two easily remembered cards from the blue pack, run throughthe cards and remove the redbacked K i n g of C lu b s and the blue backed Ace of Hearts, placing them as you come to them on top of the pack, making sure that until they are placed there the backs of the cards are not seen. Place the squared up bluepackfacedown in the left hand. Reach over with the right hand to take off the two? top cards, the thumb being placed at the nearside end of the pack and the fingers at the far. Now lift off four cards by counting them with the thumb, do not hurry this, as you are supposed to be removing two cards and it would normally takea second or two.Place the rest of the blue pack on the table and with the now empty left hand pick up the red pack, which is left resting face down on the hand. Bring the right hand over to the left, and with the left fingers squareupthecards held there. Besides doing this separate the bottom card of the right hand
67 packet very slightly from the other three. Having done this,move the left hand away so that it is about eight inches from the right hand. Turn the right hand so that the face of the King of Clubs shows, and then, turningthehand back drop it from a height of about six inches face down onto the red pack. This dropping movement is almost immpossible without first separatingthe card as suggested. Turn the right hand to show the Ace of Hearts, (really three cards) turn the hand and reach over to pick the King of Clubs from the red pack. In actual fact when thetwohands come together you releaseone card from the right thumb, and come away fromthe pack, turningthe two
cards left in the right hand face up and placing them on the table. Cutabout a quarter of the red pack from bottom to top, and then cut it approximately in halfgiving the top half to a spectator to hold. Ask him to think of one of the blue ? backed cards face up on the table. Square these two cards up, andturning them face down place them in the centre of your half of the red pack which is also face down. Request the name of the selected card and spread your half to show that only one blue card remains, the other being in the centre of the packet he has beenholding. Either the selected card has remainedin your heap, or travelled to theother. Bothendings are reasonablyeffective.
“ I do not think,” said Mr. Sterling, “ that conjuring will eventually be looked upon as a mystery. Science presents far more wonderful effects than the conjuror ; the world has come to regard wonders asan every dayaffair. The magician of the future will have to be more of an entertainer. He will learn to please his audience by his methods of presentation rather than the mere creation of wonder. Mystery and the element of surprise will be helpful handmaids of the magician, but mystery alone, apart from the cleverest of showmanship, yill cease to ho/,d an audience.” Magic Wand. Page 90, Volume 7
A LETTER AT A TIME AN
EMAN-WARLOCK
HE way in which Annemann, by such simple and subtle means obtained such a fine effect as Magic v. Mindreading is a thing that has always fascinated me. The original effect as most readers will be aware is one in which the magicians discovers the position of a t h o u g h t of card by spelling its name and as a payoff duplicates the feat with another pack. In handling the original effect, as far back as 1938, I felt that I W o U 1d like to have a bigger choice for the selectionof the thought of card, and secondly that thecards should beshuffled. Many solutions can easily occur in stating these requirements, but one wanted to be free ofthe need for switching packs or similar chores. The result was that in the end I obt2ined an effectwhich suited me, and at the same time kept to the path pioneered by Annemann. The effect is as follows :The magician introduces two packs of cards, one of which can, if you are that type of magician, be a Jumbo pack. This latter pack will be thought of as pack B, whilst the other which has the lion’s share of the trick will be called pack A. Both packs should be in their cases. Taking pack A fromits case, the magician remarks that he wishes to indulge in an experiment in thought control. First of all he is going to ask a member of the audience to think of a card, but, as it is quite likely such a choice might be easy to guess, insomuch that peopie have a number of favourite cards, the magician proposes giving him
T
a batch of a dozen or so. At this point a number of cards are thumbed off from the bottom of the pack and are handed to a spectator with a request that he thinks of one only.When he has settled on a card he is to hold the cards face downwards and shuffle them, so t h a t e ve n he, will have no knowledge of the position of his thought-of card. This done he is requested to replace the heap of cards on top of the remaining cards of the pack and give the latter a complete cut. The packis nowpicked up by the magician who says, ‘now sir, you have a card in y o u r m i n d . Willyou please think of it as a name not as a picture . . . . think of i t a s a letter at a time . . . . ifit’sthe three of clubs, think T.. H . . R.. E . . E . . . . 0..F C . . L . . U . . B . . S . . . . O.K. ! ’ T h e m a g i c i a n places the pack b e h i n d h i s back. ‘ What I am going to do is to pick up your thoughts tactually . . . . myfingerswill think withyou.Remember your card’s position cannot be known to anyone.’ The pack is now brought forward and placed on the table. ‘ For the first time ’ says the magician, ‘will you tell the audience the name of the card you thought of? ’ . . . . The spectator does so saying, ‘ The two of clubs.’ ‘Please pick up the pack and for each letter in the name of your card deal off onecard. I will l e t t e r i t w i t h you.’The spectator takes the pack and as the magician spells cardsare removed, the final letter revealingthe thought-of card. This point is good for applause. Whenfinished the magiciancontinues.‘Actually sir, I tried another e x p e r i m e nt with you, for I actually projected the name ‘ Two of clubs ’ into
68
your mind. The proof is this pack (the jumbo pack is taken up) for you see I placed the two of clubs in exactly the same position. The cards are dealt off letter by letter the final letter revealing the thought of card. I have purposely been rather detailed in describing the effect in order thatthe methodis more easily followed. The requisites are simple. One pack of cards with the following duplicates :Two of clubs, ten of hearts, five of spades, Queen of hearts, five of diamonds, Queen of diamonds, seven of hearts, four of diamonds, seven of diamonds. Put nine cards in front of this stack and itwill be found that straightforward spelling of the first six cards will bring each of those cards out on the final letter. By adding the prefix ‘The ’ to the spelling of the final three cards, each of these will finish on the final letter. Nine cards are nowremoved from the pack proper, and two stacks are made of these nine cards, one of them being placed face down upon the table. On top of these nine cards eight cards from the remainder of the pack are placed. On top of this stack of seventeen a short or similiar type of ‘ key ’ card is placed and then on top of the eighteen cards, the remaining twenty-five cards. The remaining stack isnow placed under the pack, but the four of diamonds is juxtaposed with the seven of diamonds. There is an important reason for this. Reading from the top of the pack now with the cardsface down, you should have twenty-fiive mixed cards, then a short card, eight mixed cards, a stack of nine set-up cards followed by another s t a c k ofnine cards. The four of diamonds is the face card of the pack.
Another pack either ordinary sized or jumbo is required and this set-up counting from the top of the pack, with nine mixed cards, followed by the same cards in the same order as the stack of nine previously mentioned. With the two p a c k s in their cases you are ready to present. First of all the pack with the two stacks is removed f r o m its case, thecards being fanned to show that they are what they are meant to be. The nine cards at the bottom of the pack are now t hU m b e d off, and the reason for having afour at the bottom isnowobvious.If the stacks weresimilarly set-up ineveryrespect, another seven of diamonds would be staring the audience in the face. (Actually of course there could be a small bank of cards between the two stacks without affecting the working, but that is a matter of individual requirement). Thesenine cards are handed to the spectator and are referred the thumbing off is to as, ‘ abouta dozen.’If done casualy, this is easily permissable. The spectator now thinks of one of the cards, and having done so is asked to shuffle them. This shuffle from the layman’s point of view is a very strong point, and it should bewell accented in the presentation. As the shuffling is be ing d o n e ,the cards are once more f a n n e d and shown to the audience. They are then placed on the table and the spectator asked to return his cards on top and cutthe pack. From this point all that remains for the performer is a simple cutting of the pack at the short card behind his back. The thoughtof card is now in the correct position for revealment by spelling. The introduction of the second pack already set-up makes for a second climax.
Mr. Sidney Oldridge said, “ Presentation is greatly assisted by a genial presence. To me it is paradoxial for a purveyor of amusement to appear unhappy in a performance which he alleges is for the pleasure of others. There is infection in geniality, just as laughter is contagious ; therefore if you wish your audience to enjoy your show try to infuse this quality into it.” “ Magic Wand.” Page 169, Volume 7
THE 650 CHALLENGE PORTRAIT G. E. ARROWSMITH
I
T is not so much what you do as how you do it ” is an axiom that often applies to magic, and the effect that follows is a case in point. There is not much magic and no sleight-of-handits success depends mainly on showmanship, but if put, over properly it will gain far more applause than many much cleverer illusions. Here is the trick as the spectators see it. The d e m o n S t r a t o r issues a serious challenge, he undertakes to give E50 to any charity selected by the audience ifhe fails to accomplish his next “
psychiceffect, and incidentally, this is a genuine challenge and the sum involved might equally be E500 or even E5000- but the smaller amount sounds more credibleinthese days of financial stringency ! “ I propose,’’ says the man of mystery, “ t o secure a psychic photograph of any person in this auditorium whom youas an audience care to select, and if the likeness is not a true one I promise to pay E50 to the Banardo Homes, or some similar charity. But beforeyoudecide who is to be the
69 subject for this experiment I will set up the photographic apparatus that is to produce the portrait.” He then shows a frame about 10” X 8” in size, the back is removed and it is seen to be the regulation .article i.e. a sheet of glass surrounded by a narrow wooden border -a simple rectangular affair that is obviously above suspicion. The back has a piece .of white glossy paper (“ psychic sensitised printing paper” according to the performer !) fastened to .one slde and when reassembled this is next to the ,glass. The frame is shown to be empty -just a piece of blank unsullied paper within and nothing .else. In this stateit is wrapped in newspaper (“The spirits always work under cover of darkness ! ”) and propped against a chair, or put in some other prominent position. After this is done (not before) and incidentally, emphasis should be laid on this time factor, the audience selects one -of its number to undergo the psychic ordeal. The magician points out that no C O n f e d e r a t e S or stooges are employed, and the choice is not in any way engineered by him, and that is indeed the .case-until the person steps upon the stage he has not the remotest idea who will be the “ subject.” The person, whoever he or she is, is given the frame, still covered by the newspaper, to hold in both hands and is told to gaze upon it. After a few moments of this “ concentrated psychic projection ” the wrapping is removed, and, 10 and behold ! the formerglossy white paper is no longer blank and unsullied, a portrait of the very person who is holding the frame has taken its place, and what is more, the photo is acknowledged to be .correct by the victim himself and also by the audience when it is shown to them : and so Banardo’s Homes do not get the E50, and the performer retires to well merited applause (we hope). Before reading furthertryandthinkouta solution to the above magical problem bearing in mind that no confederate isused, thatthe performer has no previous information as to who will
lost.
partly
,
present himself for the portraiture, and that there is no switching of frames or other difficult manipulations. Have you discovered the secret ? N o ? Well, read on. I regret to say the solution is to be found in the category of tricks that are called sucker.” The portrait that is finally produced is a photo, or, better still, a painting of a human skull ! As all skulls are more or less alike the victim has to acknowledge that it is a correct likeness.Before removing the newspaper wrapping from the frame the performer leads up to the climax in this way : “ I must remind you that I undertook to produce a SPIRIT photograph and not an ordinary portrait. The spirits of course have a very penetrative sight, and they can seebeyond the veilof this mortal flesh, and so this is your appearance as they seeyou ! ” and there in the frame is the grinning skull ! If the1 build-up is skillfully worked the final effect is a riot for the climax comes as a complete surprise. Oh, by-the-way, how does theportrait get into the frame ? Well,you can use that ancient prop, the sand frame, or any other. stock apparatus that will change one picture for anotherthere are plenty of them on the market. Personally I use a frame provided by the Unique Studio (a free advert for Harry Stanley !) As it is a depot trick I must not d e s c r i b e it in detail, but the principle is verysimple : two flaps one with the blank paper and the other with the portrait, and these can easily betransposed with one hand under cover ofwrapping the frame in the newspaper. As to the skull, get an artist friend to paint it for you. Mine was done in water colour by an exhibitor to the Royal Academy and is most lifelike (or should it be death-like ?) ‘$
It is well t o remember that a move deliberately made with careful regard to misdirection will prove a thousand times more illusive than lightning-like rapidity which only goes to enlighten one’s audience in the wrong direction. If a spectator is morally certain that something happened-though he may not know what -the climax of the trick may be “ Magic Wand.” Page 185, Volume 7
BOOKS +‘MORE ONE MANMENTAL MAGIC” by MilbourneChristopher(Published by Lou Tannen, New York, .price 14/-) In thls little printed booklet, Milbourne Christopher details some seven mental effects ,which touch on mindreading and prediction.
Best of all seven would place the Magazine Test. which has already appeared as an individual item, The important thing is that in all the effects described, an entertainment angle has been devised which lifts the effect from a puzzle to a matter of general interest. There are some nice subtleties,
70 though in the item “ A Record Prediction ” we feel that the method used is very suspect and that a much easier and more deceptive solution could bedevised.Actually described asa “ routined @ental act ” the choice and order of items is left tothe reader. This is apoint that in a similar future publication or another edition might well be looked after, especially as in this case, the fourth item is recommended as being the finale. All those interested in mentalism will no doubt avail themselves of theopportunity of obtaining this publication, and profit by some of the angles expounded. “ ARTFULART AND BREATHLESSBRAINWAVES ” by Hubert (Published by the Authorandobtainablefromhim at 4 Tushmore Crescent, Crawley, Sussex, price Zl/-) This is not a book on magic, but is one that should prove of great interest to all who work in the professional or semi-professional field. The author now living in retirement specialjsed in school entertainment for a period of over thirty years, his presentation taking the form of lightning sketching, the memory feat, some juggling and a trick or two. It constituted a full evening’s show and wasseen at every famous preparatory qnd public school in this country. This is a fact that makes the reading of such a book so important for those whose business to entertain those of less mature age. Aman who can entertain at Harrow, Charterhouse, Repton, Rugby and Roedean, must have found the true secret of success for these are just famous examples where not only one visit but many were paid. So much drivel is talked about children’s entertaining to-day in magical magazines that it is heartening to read the words of a man who has treated children of all ages as intelligent people and given entertainment worthy of adults. Many older readers may remember, as we do, Mr. Leslie’s appearances at St. George’s Hall in 1920 when heproduced his ‘ Multiple Simultaneous Celebration’ act. In this he did six things at once,
first to listen to a member of the audience dictating proverbs from a book of well known proverbs, secondly to write down one of these as he is dictating the next, thirdly to memorise the order of five well known tunes picked at random from a list of a hundred, fourthly to play the tunes on a harmonica in the correct or reverse order, fifthly to draw any simple object on a blackboard using asan outline the words of one of the proverbs and finally to do a sum in simple arithmetic (addition of two or even three rows of figures, subtraction, multilpication or division) and with the figures written down by yet another member of the audience. If you like reading reminiscences and at the same time adding to your stock of knowledgeyou will like this cloth b o U nd , W e11 printed and illustrated book of Some164 pages. “ ALL FAIR ” A card and cigarette transposition originatedbyJackAvis.(Marketedbytheoriginatorandobtainablefromallaccrediteddealers, price 151- complete with cards, gimmick and everything except a cigarette. There is little need for me to tell readers of this bulletin that the name of Jack Avis attached to any magical idea means subtlety plus practibility. In this present effect Jack has taken as a basic plot the card in cigarette. Round the plot however he has added some delightful subtleties that make the trick more logical in conception and without anydoubt one hundred per cent more mysterious. The weakest part of the usual card in cigarette is always the switch of the cigarette. With this method that switch W i t h negligible practice is naturaland indetectible. We have seen Jack handle this and we have tried it ourand in selves. The vanish of the piecesofcard their place the finding of the pieces of tobacco is one of those beautiful surprises that only a man who loves magic could envisage. As with the very detailed routine, you obtain the necessary cards and gimmick. This effect is a literal throwaway at 15/-.
MAGIC-GO-ROUND-continued from page 71 a revival, and we canthink of few outside the realm of card magic, that has seen so much written about.it. Holden’s particularly with the Mohammed Bey and the Millidge routines have done much to help this wave of popularity. In a little while’s time we shall see our very good friend, Hans Trixer’s booklet on ring m a g i c , which touches to a great extent on the ‘ Ellis ’ ring. As we have already remarked,the Howie ms.is excellent and all beingwell we hope tostart
serialising this commencing with the July or Aug, issue. Touching on the Magic Circle again. In our stage column we were the first to mention the dates of the Golden Jubilee celebrations which will take place on April 28th,‘29th and 30thnext year. The headquarters willbe the St. Pancras assembly rooms which while seemingrather prosaic in name offer excellent accommodation for a London Convention.
71
T
HE fact that a good magician must be a good actor is never in d o U b t , but the attitude of magicians t o W a r dS a professional magical stage performance is most peculiar. This came to mind when reading a report of the opening night of a professional full evening show in which, reading between the lines, chaos reigned supreme, but the writer, being a magician and a very charming fellow as we have good c a U se to know added, “ We know that it isn’t fair to criticise the first night of a show etc.” Can any r e a d e r o f this bulletin interested in thetheatre ever remember reading a d r a m a t i ccritic’s r e p o r t of a straight theatrical showinwhich an excuse like this was made? Of course, he cannot. It is easily realised that a change of theatre each week can bring its hazards regarding lighting and music and because of this certain acts take infinite trouble to see that the possibility of such s n a g s are avoided by constant vigil. The fact however that a show does not runsmoothly is the faultof bad rehearsal, and it brings back the old story of the fact that whilst conjurers will practise they seldom rehearse. The vastly diminishing variety minded public in this country in exchange for the “ lolly ” they put up, expect, when they visit a variety house to see a show that has the finish and slicknesswhich is so adeptly ladled out by the film industry. How seldom, if .ever, they see anything approaching it ! In case you scanned that particular issue, and because we think there’s so much truth in it we’re quoting a paragraph from theeditorial of “Abra ” No. 435. “ To the ordinary laymen the only names in magic which mean a n y t h i n g at all to-day are Maskelyne and Devant andHoudini -all dead men. Some older chaps w h o r n o n e m e e t s remember seeing Chung Ling So0 and Lafayettealso dead. They don’t remember the name of one living magician-the nearest they get to it is ‘that chap I saw on television afortnight ago.’ This is not to say that magic isdead. but how many jugglers’ names can you remember, now ? Where we, in common, no doubt with fellows interested in rolling mills, textiles, stamp collecting, marbles, ping-pong, anda hundred other things, make a mistake in assuming that everybody has our singleminded enthusiasm. That comes from our con-
stant association, in societies, with fellows of like enthusiasms. Once in a while, it’s not a bad idea to take one’s head out of t h e s a n d a nd look around at what the others are doing.’ As a tailnote to this, in the S a m e issue of Goodliffe’s paper, there is a paragraph, regarding a newly formed magical society in which it states, ‘ Magic and only mapic is discussed.’ We can think of nothing worse. These poor deluded members no doubt have high ideals, but even in a specialised fraternal organisation there should be a catholic outlook. Actually of course they will seldom talk about magic, but rather about some fiddling conjuring trick or device. The following from the ‘ Magic Wand ’ Oct. 1916 under thetitle of ‘ Silent Code for Blackboard Reading etc.’ has a familiar and quite up-to-date note :‘ The conjurer has an ordinary electric,scurf pin attached to the usual pocket battery- the bulb endof the pin is faked to represent a button by covering a small ring withblacksilk, and this is pinnedonthedress coat to represmt one of the usual tuil buttons as illustrated. The battery is placed inside the left trousers pocket, and any play of theflexiblewiremay also be gulled intothe pocket.’ This present month will see a change in the Secretaryship of the Magic Circle. For nine years Francis White has held this post, a post far from enviable, as onlyhis brother councillors really know. During that period, the membership of the society has almost doubled and this increase has owed much to his personal efforts. To fill his shoes is no easy task and the nomination by the Council of Peter Newcombe, who during the past few years has been assistant secretary is a most happy one. Peter has those qualifications which are the necessity of a present day secretary, an easy manner, the ability to mix in any company, a ready wit and above all thetknowledge secretaryship. From John Howie, we have received a most excellent ms. dealing with an effect dear to his and many other magicians’ hearts, the ‘ Ellis ’ ring. During the past few years, no trick has seen such continued on opposite page
72
‘I
* WILFREO
P L A Y I N G WITH MAGIC I’ll R E A D Y O U R MIND Mental magic in the best Annemann A ruperbly produced cloth-bound book that is a MUST for the tradition. Packed with practical children’s entertainer required props Cloth-bound marerial. 30/Porkgo 17)s 716 Postage 4d
SPECTATOR’S C H O I C E
Professional standard magic of the highest order. No elaborate
6d.
Postage 3d.
MAGIC WAND PUBLICATIONS Challenge Instant Hypnotism and Mass Hypnotism
GeorgeArmstrong Chandu’s Psychoanalysis George Armstrong b r g e Armstrong’rPremonition GeorgeArmstrong Magic Wand Year Book 48/9 George Armstrong Tricks of the Trade Goorge Armstrong The Universal Mind Ron Baillie Mysteries Bohleno’s Henry Bohlen I’ll Your Read Mind Aage Darling Entertaining with ContactMindreading S.E. Dexter Entertaining with Hypnotism S.E. Dexter Automentalism Courcy Ken de Telepathy Zodiac Courcy Ken de John Ramsay’s Cups and Balls Victor Farelli Than S to Leipzig ! Victor Farelli
211-
l0/3 10/3
513 217 1219 1013 17/9 7/9 10/3 20/3 1219 2516 10/3
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert,Ventriloquist andChildren’s Entertainer Mnurice Hurling James Stewart Jamesosophy Strictly Magic Eddie Joseph Mastered Amazement Koran & Larnonte Toni Koynini’r Card Miracles Toni Koynini Stunta With Stage Money Jack Lamonte fuzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina S,
9’
Steoging Around Playing With Magic Magically Yours
7/9 7/9 5/3 i0/3
513 5/3 10/3 7/9 5/3 719 2016 (cheap edition) 7/9 ioe Stuthard 5/3 WilfredTyler 30/6 Verrall Wass l5/6
F R O M T H E PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
612 WELLINaTON ROAD, ENFIELD, MIDDLESEX
The Magic Circle President : His Grace the Duke of Somcrrec, D.S.O.. O.B.E., J.P.. Y.I.Y.C. Vic.eF’msidant: Dowlu C N ~ , Y.I.M.C. Clubroom and Library and Museum :
&q.,
Hearts of Oak Buildings, EustonRoad,London, N.W.l. Yagial Theatre :
King George’s Hall, W.C. Forthcoming EventsJuly 16-A.G.M. Puticulan from Hon. Secretary :
PETER
PENTAGRAM is published on the 24th of r u b monthand CUI be obtained direct from the publishersfor 117 per single copy. Annual Subscription l a / post free. PUBLISHED BY:
JACK HUGHES will bepleased to vend you fulldetails of
THE DE LUXB “SU-TABLE” together with a11 hisother effects inreturn fora stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books far review should be sent to the: EDITORIAL ADDRESS:
OLD AND NEW. Le? m e know your rants LIST FREE FOR STAMPED ENVELOPE Ein Callers
Francis W hi te, 39 Alverstone Avenue, Wimbledon Pnrk. S . w . 1 ~
WARLOCK’S
24,
Peter Warlock, Wordrworth Rd., Wellington, Surrey.
~~
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
JOHNHOWIE’SROUTINES WITH THEJARDINE ELLIS RING PREFACE
T
HE ingenious magicaleffectknown asthe Jardine Ellis ring trick was being performed by the originator (whose real name incidentally was Duncan Lorne Campbell) as early as 1910. Unfortunately thedetails of the routin: used by Ellis (who died on February lst, 1923) havenot, so far, been published and magicians wishing to use the apparatus have, for the most part, devised theirown versions of the basic effect. As a point of interest the original apparatus used by Jardine Ellis(consisting of ring, shell, duplicate split ring and three larger rings) is now in the possession of Dr. 0. H. Bowen. As will be noted from the bibliography given at the end of Part 1, very little was published on the subject of the Blis ring trick prior to 1952. Since then, however, considerable interest has been shownin th,is particular effect and srveral performers have disclosed their own individual treatments of it.This bookprovi.des a furthtr
series of variations onthe basic theme and includes several novel andhitherto unpublished moves with the apparatus. I have avoided effects requiring the introduction of special rings, e.g. split rings, since most magicians possess thestandardapparatus only. In all of tKe routines described in this book my aimhas been towards definite effectwith the minimum of preparation and Secret manipulation. I should l i e to takethisopportunity of thankingJack Potter of WhitleyBay, England andMilton Kort of Detroit, U.S.A., both of whom generously gave me valuable assistance with the bibliographical data in Part 1. My earnest hope is that each reader will wish to add at least one item fromthis book to his repertoire of effects with small objects. JOHN A. M. HOWIE. Danven, Lancashire, England.
PART I
BASIC TECHNIQUE AND BIBLIOGRAPHY GENERAL NOTES ON THE APPARATUS The ring and shell required for theJardine ring.Should the shelldevelopatendency E l l i ring effect are well-known. Figure 1, gives a diagrammatic view of a section throughboth ring and shell. The size of the ring is usually about 1) inches in diameter (that used by the author being 1%inches inoutsidediameterand 1 and 7/32& of an inch in inside diameter) but various sizes may be encountered. Thus, the modzl currcntlyavailableingreatest numbers in the U S A . has an outside diameter of 16 inches and a n inside diameter of1, inch. The shell should fit looselyover the solid
VOLUME 8, No. I0
-
to jam on the ring, as it may doafter considerable use. it can usually be freed either byrup.ning the forefinger h l y aroundthe inner circumference of the shel1,while it is on the ring or by running the tip of a penknifeblade round between t h s outer circumference of the shell and the ring. To protect the ring and shell when not in use, and particularly while being carried in the pocket, they should be kept in a small cloth or leather case.
1/6. (20 Cents)
I
JULY 1954
74
H A N D L I N G T H E S H E L L S O AS TO REPRESENT T H E S O L I D R I N G When the shell alone is on view representing the “ ring ” it should be handled with the same casualness as if it were, in fact, the solid ring. The spectators, not knowing of the existence of the shell, will regardwith suspicion any obviously careful handling of what appears to be a simple ring of steel. I t is quite a simple matter ,to toss the shell into the air and catch it again without any risk of the wrong side k i n g exposed, thus : hold the shell asin Fig. 2, full face tothe spectators. Throw it upwards some 18 inches imparting a slight backward spin to it as it leaves the hand. This will keep the shell spinning in one plane and it canthen be caught as it descends. For complete safety, the catch, should be made by closing the hand completely around the shell.
an effort to “ prove ” that the shell is beyond suspicion-no such proof is required.
One further bit of business, due to Bill Nord, is worthy of note. When it is necessary to free both hands, the shell may be p1,aced in one eye after tfie fasliion of a monocle, until it is required again.
DISPOSAL O F T H E SHELL
F I G 1, Other simple flourishes may be indulged in, e.g. by holding as in Fig. 2, but letting the tips of the forefinger and thumb come together inside the shell, it can be swung round and round within the space formed at the fork of the thumb.
FIG 2 A discreet use of such flourishes assists in dressing up ” an effect, but they should not be overdone. Above allit should be remembered that there is no need to perform such flourishes, in
In theory, since the ring and its shell can so easiIy be shown as one at almost any stage in an effect, there would appeartobe no great need for actually disposing of the shell. To achieve the most artistic presentation, however, it is reconmended thatthe $hell be disposed of, particularly at the climax of an effect-specially so since the disposal is usually fairly easily accomplished. By so doing the hands are left free to make the most of the properties used. It should not be necessary to point out that such display should be carried out withoutostentation and that no comment should be made on theemptiness of the hands. In each of the effects described’ in this book the method of disposal considered to bemost suited to theparticular circumstances has been indicated. In general the methods of disposing of the shell can be subdivided as follows : 1. DISPOSAL IN A POCKET The disposal of the shell in a pocket can be very easily effected under cover of removing an article such as a miniature wand, rablbit’s foot, etc.,which is allegedby the performer to be necessary in order to help bring about the climax of the effect in hand. This principle applies to any pocket. Considering specific pockets, disposal can be effected in the side coat pockets and also in the hip pocket by placing the appropri’ate hand on the side or hip, just above the pocket, as a dramatic stance is taken, then, as the climax of the effect is revealed, the shell can ;be allowed to slide into the pocket. Another method of dis,posal in the side
75
pocket is that illustrated in Figure 3 - as the handkerchief is pulled away fromthe wand (or otherarticle being uncovered) thehand comes above the pocket opening, permitting the shell to be dropped therein. Disposal intheouterbreast pocket can be effected either directly from a thumb palm after the manner of the well-known method of disposing of a coin in this pocket or under cover of a suitable action such as the draping of a handkerchief over the left shoulder.
2. DISPOSAL BY MEANS OF A TOPIT" VANISHER The " Topit vanisher obtainable from most Magical dealers, is well-known and provides a very cleanandsubtle method of disposal since €he hand concealing the shell does not have to do more than move across thefront of the body. This movement should, of course, be made with adequatereawn otherwise undesirable attention will be drawn to it. "
This disposal is a complete one and is, therefore, unsuitable in those cases where the shell has to be easily recoverable for subsequent use.
3. DISPOSAL BY SLEEVING In viewof the size and shape of the object concerned, sleeving provides an excellent method of disposal. Various techniques are possible and this book. For exsunples will be found in completedisposal the shell must be recovered from the sleeve and dealt with by methods 1 or 2 above or 6 or 7 below. 4. DISPOSAL BY VESI'ING Thismethodislimited to those occasions when a vest is worn and, ideally, an elastic tension band,fittedacrossthe top of thetrousersand concealed by the edge of the vest, is required to ensure a secure grip on the shell.
5. DISPOSAL BY CONCIZALMEN" BETWEE,N SHIRT COLLAR AND NECK This method can only be used when, say, a rope or ribbon is used' and can be hung around the neck. Such disposal is, of course, only temporary. 6. DISPOSAL BY DROPPING TO THE LAP
This disposal, again only atemporaryone, can only be used when seated at a table. 7. DISPOSAL BY MECHANICAL,AID By th,is method the shell can be disposed of and regained when required without having to resort to pockets. The principle is simply to have a spring clip device fixed underthe edge of the coat. Fig. 4 shows one possi,blearrangement-a clip of the Bulldog variety with the finger grips extended by soldering theretostrips of metal as shown. One of these strips is perforated to permit ofthle clip being Sewn to the inside of the coat as shown in Fig. 5. Pressure from the heel of the hand on th,e outside of the coat opens the clip and allows the shell to be pushed into it by the fingers curling under the edge of the coat. The same device can, of course, beused to deliver the shell to the hand when required. It is as well to line the jaws of the clip with felt to prevent undue noise during the operation of the device. 8. DISPOSAL BY MEANS OTHER THAN BODYCONCEALlMENTS This coverssuch devices as servantes, wells, etc., and their use depends entirely on prevailing circumstances. In general, this type of disposal will rarely be found to be suitable. To be camtinued
I
" It takes years to master an art, be itpainting, writing, piano playing o r walking across a stage. Too many devotees of diablerie are ' helplessly fascinated ' by magic or their own cleverness. Totally innocent of any ofthe tricks of stage presence, they insist on exhibiting their alleged proficiency beforethe public." Robert Lund. Conjurors' Magazine-Volume 5
l
76
ADDENDA to GAMBLING'S GOBLETS HIS HONOUR JUDGEWETHERED
WAS very interested to read your reprintin the current Pentagram of Gambling " Goblin Goblets." I have presented this effactmany times before adults and children and it has always gone well. There was one feature in the original presentation which I did not like and that was the use of the woodenbox. This I thought clumsy and was confirmed in this view when I saw the effect presented at Cheltenhamsome years ago. Instead of the box I use a brown paper sugar bag ten inches high by seven deep and nine wide. In the bottom of the bag placedwas woodena insert made of three ply. This was the constructed in as shown quick It forwas makes as you secondand sketch. can see, divided four into compartments, A, B, C and D, theofwalls compartment A, DB and being three of inches whilsthigh has Ccompartment walls four a n d a quarter inches high. The last named is roofopenand ed over at the rear and forandthe the At bottom. ward of side placed C ais flap is by which hinged its own will weight fall and towards ade the rear and close bottom the is of C . of A piece tape however is prevents it falling too far. structure When with the placed is erior the bag inside the seen top view the from of bag shown the is in sketch 3. At the back of the bag on the outside a wire ring 29" in diameter is fixed three ins. from the bottom to thebag backing. This is fitted with a check spring which holds the ring flush with the back of the bag. The ring is so pivoted that it can be pulled down and project at right angles from the bag. The ring is large enough to holdone of the cupsmade of aluminium which measures 34" across the mouth and tapering to 2" at the base. Each is 4" high. One of these cups whenfilledwithliquid and placed within the ring holds the latter in place. Directly the cup is lifted the ring flies back flush with the side of the bag. In my own version I use five instead of the four specified by the late John Gambling. This is to provide an alternative for that first offered. I use (for adults) beer and cider. The first assistant howevermay be, an abstainer. If so, lemonade is suggested and the additional cup (No, 3) is used instead of cup 2 which contains beer.
I
Both cups, 2 and 3 h a v e t h e f a k e cups in position coveredwith confetti. The set-up is as follows :In the table is a black art well large enough to take one of the cups. At the back of the table is a bag servante whilstinside the bag, just above compartment C, is fixed a small bag which contains a duplicate of the handkerchiefused to produce the first drink. I use the duplicate handkerchief for the production of the second drink as sometimes I found it difficult to easilyfree the fake one, from first the after it wasinto dropped the bag. The use of a duplicate obviates t h e difficulty a n d easy placed working.is The bag on the table so that the C is at the side the well a n d the ring opposite the bag servante. Cup 1 stands alongside on the table. 2 with is filled Cupbeer with the fake in position in compartment A. Cup 3 is lemon-with filled with fake in position in compartment B. Cup 4 in the ringfilled and is with whilst cider cup 5 filled cigarettes matchesand com(or chocolates) in is Cpartment with the flap back.folded Compartment D i se m p t y . A liberal quantity of confetti is inside the bag. The working of the effect differs little fromJohn Gambling's description. Cup No. 1 is shown, filled with confetti, emptied and then whilst refilling is switched inside the bag for cup 2 (or cup 3 as may be necessary). Cup 1 is left in compartment D. The cup with the fake in position is covered with the handkerchief, the fake being removed and the handkerchief gathered upand dropped inside the bag. The beer (or lemonade) in the cup is now poured into one of the glasses, and, as this is raised as if to drink the assistant's health, the left hand holding cup 2 (or 3 is lowered behind the bag, and dropped into the servante and CUP 4 iS lifted OutOf the ring, which at Once flies back flush With the bag* The duplicate handkerchief isremoved fromthebag and after covering the CUP the second drink is (continued on page 79)
77
CHANGtNG COINS MYSTIC0 HERE is always a fascination in taking an old between the thumb andfirst finger-again showing trick and adding one’s own improvements to that the right hand is empty ! The right hand is it ; the followingissuch a case, and was held out for the florin and the thumb ensures that brought about by a few pensive thoughts on that this coin is in the centre of the palm, old favourite inwhich a penny and a florin change The right hand now passes palm uppermost beplaces whilst held through a handkerchief by two neath the held corner of the handkerchief in order it spectators. that may reach the centre. Fig. 2 shows this This method of permove k i n g made from it forming excels which as close seen be it will that it is remarkis comparatively easy up effect and foolproof.ably to The look the make move, vital on the f a c e s of those which is to allow the holding the handkerchief to on drop penny to the w h e n they realize t h e fingers of the right hand it change as has been has made the goes into centre ofto be believed. seen to be the handkerchief. It istoimportant study its The drops left hand illustrations the the and corner in order finger 1st the thatt o ensure t a k et h u m b a n d up, are held correctly. the through handkerchief, The preliminaries are the r i g hpenny. t The a hand; firstly two obtain split second afterfew wards, pushes U p t h e gentlemen’s large handwhich kerchieves should florin behind the pennywhere held it is by the lay a c r o s s your table ; secondly place a florin and left hand. From fig. 3 it next a penny to them ; will be noticed the that is lastly penny a second fold of the handkerchief this required, afIixed is to theseparates two coins ; your waistcoat this(or jacket is most as important inside) in the vicinity of it.prevents them talking. the r i g h t armhole, by The e x t r a fold i s not paper means of a clip and noticeable. fig. a (see safety pin 1). The right hand is now Ask a spectatorto assist withdrawn and s h o w n empty. The performer says “ Would you like to you and indicate he is to stand on your right side. As this is happening bend your right arm up and see the florin ? ” and immediately feels under the handkerchief with his right hand and brings out casually feel inside your jacket with the left hand. This action passes for an adjustment of the waistthe florin. coat and in the process slip the coin from its clip As he does this the left hand is turned over palm down the sleeve On the inside where it falls to the uppermost, the penny still beingheld. A change elbow. Remember it must be on the body side Of of hold now takes place ; the thumb is removed the Sleeve otherwise it would fall into the hand entirely andthefirst finger takes its place. The when the right arm is dropped to the side. handkerchief appears to beheld in so casual a At the completion of this move the hands are manner that the spectators do not suspect there is anothe coin concealed in it. Fig. 4 shows exactly still emptyand a point should be made of ensuring -not to obviously-that thespectatorsare aware how this hand is held. of this fact. The right hand now returnsthe florin to the Now reach forward with the left hand and take centre of the handkerchief apparently, but as the up the handkerchief, transfer it to the right which left hand assumes its original position-the thumb holds it about shoulder height. The left hand now once again holding the p e n n y- the florin is dropped into the left sleeve.If the left hand is picks up the florin and hands it to the spectator held fairly near to the body the folds of the handto examine. As he takes it, the performer’s right kerchief fall round the wrist and effectively conceal hand is lowered and the hand catches the penny this sleeving. The right hand is again shown to be which drops into the palm. It is concealed behind empty. the held corner of the handkerchief. The left hand takes the handkerchief and penny (continued on puge 79)
T
78
THE “GIVE AWAY” COLLECTING BOX AGAIN EDMUND ROWLAND
HE publication of Jack Avis’ version of this little effect hasprompted me tq give the details of three more simple methods which I have tried out successfully since I wrote my original article. Each of them can be used with the plastic die box which has already been mentioned. The internal dimensions of this par!icular box are 1% inch in each direction. The counters Q inch diameter in and inch are albut thick. The first method is really a development of into the original in which the boxwasdivided fourseparatecompartments by acardboardor celluloid fake. Butthecompartments have now been reduced in size until they have become nothing more than a narrow vertical slot at the bottom of each side. The necessary fake is shown in Figure 1. Mine is about 6/ls inch thick (so that the depth of theslots is about half the diameter of the counters) and is madefrom the same colour of plastic material as the rest of the box. It could therefore be fastened permanently in position at the bottom of the box with plastic cement, but then the pectators could only be allowed to look into the X from a short distance. I prefer to keep it loose in my pocket and to slip it into the box as I walk away from the table, or as I cover the box with a handkerchief In this case, the fake hasn’t to be a very tight fit, but, on theother hand, it shouldn’t be too loose. If it is made correctly it will stay in the box when the counters are tipped out, but it can be jerked out smartly
T
L
and palmed away when required. As the box is tilted and turned around thz first four counters fall into the slots. If the box is then returned to a normal upright position, the fifth counter falls on top of the fakebetween them. The fake should be made so that the slots are as long as possible and about 3 inch wide. If they are narrower than this, the counters will not fall nicely into them. You will also find that the box should be tilted at an angle of 40 degrees or more from the vertical.
The method will not prevent you from shaking the counters about before you remove the lid. They will still make plenty of noise without jumping out of the slots if the box is c,arefully sbaken from side to side. The second new method is merely this development carried to its logicalconclusion. In other words, the counters are kept quite separate without using anyfake at all, for the box is divided into “ compartments ” by coating the four interior sides of it with clear gum or mucilage, This will not be easily seen arnd it’will take about ’kdf an hour to dry. If the counters are dropped intothe box before this happens (and th’c box is tilted and turned around as before) each of the first fourcounters will stick to a different side; and if the box m i s then returned tothe normal upright position, the fifth will lie by itself at the bottom. If the bottomwas coated with gum you would find that the counters would not always bounce fromthebottomand stick tothe sides. You would probably find that more th4anone of thlem would be sticking to the bottom. Unfortunately this’ method makes it impossible for you to empty the original counters on t o your hand when they have been returned to the box. You will therefore need to have a duplicate set of counters concealed in your hand, or in thle handkerchief which you use as a cover, to begin with. If the box is not tipped over too quickly the loose counter‘at the bottom will fall on t o onie of the sides and stick there instead of falling out on to the duplicate set. The method also makes it impossible for the counters to be shaken about. But this difficulty could be overcomebys’haking the duplicate set of counters between the bottom of the box and the palm of your hand. The third new method is probably the b , s t method of all. I t was the result of trying to find a way of working the effect without having to tilt the box orturnit around. In this meth0.d the box can be left on the table and counters dropped into it whilst the performer’s back is turned. All that is needed is ashort narrow tube. Mine is a transparent plastic one about aninch long and 2 inchwide. It camefrom a French pencil sharpener which I recently bought .at Woolworths. Similar tubes are sometimes used as containers for certain brands of tablets and cake decorations, but, of course, the tube which you use needn’t be transparent and it needn’t be made of plastic. It is fastened to the bottom of the box immediately below the slot in the lid.Thi,s, can be done permanently with cement, or temporarily with a dab of soft wax. It needn’t come right u p to the lid, for if it did it would probably be seen when the lid was removed. But if the distance between the top of thetubeand the lid is too great the counters will not always drop into the tube.
79 The nanbwness of the tube causes the counters to fall into a neat pile at the bottom of the box in the same order as that in which they ‘are droppedthrough the slot. This is shownin Figure 2. At the beginning of the effect the counters are loose inside the box and can th,erefore be shaken about quite safely before the lid is removed to tip them out. Whenthey have been collected the performer can see the order in which they are piled as soon a.s he removesthe lid. They can then be tipped out again without bothering how they land. Alternatively the counters can be tippedontothe cuppedpalm of your hand straightaway and there will not be any need for you to look into the box at all, for if the box is turned 6traight over they will fall into a pilein the reversed order. Thiscan be seen in the moment before your palm is straightened out and the counters are allowed to slide apart. In another version of this method the tube
is fastened to the lid instead of to the bottom, but the bottom of the tube must be cut off first of all so thatthetube is open at both ends. The bottom end of it must then fit flush against the bottom of the box so that the counters cannot slip out of it and into box. It is easily hidden by the fingers of the hand which removes the lid. The counters can then be showninside the box at the beginning of the effect.When they are returned they again fall into a neat pile at the bottom. This is shown inFigure 3. If the lid is then removed very carefully the pile will not be disturbed and a glance inside the boxwillshow you the correct order. A slight shake will then upset the pile and the counters can be shown to be loose and separate inside the box before they are again tipped out. If the box is shaken carefully the counters a n bemade torattle without disturbing their original order. _
_
_
_
_
_
~
~
~
~
~
~
ADDENDA TO GAMBLING’S GOBLETS (from page 76) produced.The contents are now pouredinto the completingthe f ~ r f a c at e the bottom Of the bag* The following sketch gives an idea of the layout second glass. N~~ cup N ~ 4. is apparently Of the effect* Prior to the placed behind the bag, but really into the well as theotherhand lifts the bag to reveal what is One final note. As sometimessmallpieces of apparently the samecup, but in reallity cup No. 5 confetti areaptto fall intothe liquid, I use a standingonthe table. At the same time when coarse strainer when pouring the liquid into the once the cup is clear of the bagthe flap falls first glass. C H A N G I N G COINS (from puge 77)
The held handkerchief and coin is given to the .assisting spectator, who holds it between his finger .and thumb. Both your hands are now empty and there is only one coin beneath the handkerchief. The left hand is held up duringthistime to p r e v e n t the florin frommakingapremature appearance. A second spectator is now called for and as he comes forward theright hand picks up the second handkerchief, transfers it to the left hand which drops and so secures the florin from the sleeve. Again the same procedureis followed-the florin .and penny being held by the left hand beneath the handkerchief. The performer repeats his question about showing the coin, this time a penny, and re-inserts his right hand under the handkerchief. Strangely enough it is only rarely that a spectator does ask to see the coin on this second occasion so deceptive were the moves on the first occasion ; this feint must be made, however. The right hand merelyslips the penny up the left sleeve and comes out empty again. The handkerchief is then handed to the second spectator to hold. Still holding the hands well up, the necessary magic pass is made and the spectator on the left asked to examine hiscoin-it proves to be the
florin. That on the right is found to be the penny -which puzzles the assisting spectators more than anyone ! It is importantthat the left hand, or second spectator be asked to show his coin first as it may happen that amistakehas been madeon the second switch (it is not likely on the first) in which case you take the penny from him and show it to prove it i s a penny, and immediately repeat the move which makes the change correctly. Here a delicious situation arises, for as soon as the left spectator has receivedhis handkerchief and coin back, you ask the right hand spectator to look at his coin. He finds it is a penny also ! The audience will then clamour to see the other coin-but as.you have changed it-everything proves in order, and a florin is seen. The left hand’s final move is to drop tothe side and pocket the second penny. A few practice runs through will show you how sweet these moves are, in fact the first time they were tried out the effect was as astonishing to myself as to the audience. A word ofwarning-in of the fingerring. case youneedit-is,beware If you wear one either remove it or cover it with a piece of the flesh coloured sticking plaster to be foundinmost chemists’ shops, otherwise you may betray the presence of a coin in the hand when you least expect it.
80
COME A LITTLE CLOSER
EIGHT SESSIONS
OF
CLOSE-UP MAGIC
By TOMMY VANDERSCHMIDT, ARTHUR HOLLAND, BOBBY BERNARD ALEX,EMSLEY, ROY WALTON,TEDDANSON,JOHNDERRIS,JACK
AVlS
Edited by Peter Warlock Printed on art paper, 40 pagespacked with the tops in CLOSE-UP MAGIC with 20 photographs illustrating tricks with cigarettes, cards, coins, rings, etc.
Available from all dealers POST
-
=
6/=
4d.
In case of difficulty write to :-
P E N S H A WP R E S S , BILLERICAY
G R A Y SH I L L ESSEX m
I
MAGIC WAND PUBLICATIONS Challenge Instant Hypnotism and Mass Hypnotism
George Armstrong Chandu’r Psychoanalysis George Armstrong George Armstrong’s Premonition George Armstrong Magic Wand Year Book 48/9 George Armstrong Tricks of the Trade George Armstrong The Universal Mind Ron Baillie bhleno’s Mysteries Bohlen Henry 1’11Your Read Mind Aage Darling Entertaining with Contact Mindreading S. E. Dexter Entertaining with Hypnotism S. E. Dexter Automentalism Courcy Ken de Telepathy Zodiac Courcy Ken de John Ramsay’s Cups and Balls Victor Farelli Thanks to Leipzig ! Victor Farelli
21/10/3 10/3 513 2/7 l2/9 10/3 17/9 7/9 10/3
20/3 1219 25/6 l0/3
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-fix living and Dead Tests Teral Garrett The Concert Ventriloquist ard Children’s htertainer Hurling Maurice Jamesosophy Stewart Jamcs Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’s Card Miracles Toni Koynini Stunts With Stage Money Jack Lamonte Suzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina 9’
‘9
Stooging Around Playing With Magic Magically Yours
7/9 7/9
5/3
10/3 513 5/3 10/3 7/9 513 719 20/6 (cheap edition) 7/9 Joe Stuthard 5/3 Wilfred Tyler 30/6 Verrall Wass 15/6
FROM THE PUBLISHERS
T E E M A G I CW A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, ENWIELD, MIDDLESEX
The Magic Circle President : Hi8 Grace the Duke of Sornerret, D.S.O.. O.B.E.. J.P.. M.I.Y.C. Vice-President: D o u g h Cragpr. Erq.. M.I.M.C. ClubroomandLibiaryandMuseum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. MagicalTheatre
:
King George’s Hall, W.C. Summer Recess Particulars from Hon. Secretary :
Peter Newcombo 38 Ovsrdale Avenue N e w Malden, Surrey
PETER
JACK HUGHES
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishera for 117 per Jngle copy. An ualSubscription l a / post fke. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscriptsforpublicationandbooks review should be rent to the: EDITORIAL ADDRESS: 24,
for
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
will be pleased tosend fulldetails of
you
THE DE LUXB “SU-TABLE” together with allhis other effects inreturn for a stamp. Writenow to
JackHughes, 2, Evelyn Ave., Colindale, London, N.W.9. CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your rantr LIST FREE FOR STAMPED ENVELOP6 N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHEV BY T H E PROPRIETORSTHE MAOIC W A N 6 P U B L X ~ I N G ~ O M ~ N ~ , ~ ~ ? ~ ~ LROAD, L M GENFIELD. T O N MIDDLESEX A N DP R I N T B D BY HERBBRTWALKER & S O N (PRINTEKS) LTV.,WELLCROFT. SHIPLEY.YORKSHIRE
j
ANNEMANN INTERLUDE GUSTAVE SOUTHALL
I
N AN early “ ] i n x ” (and I am too lazy to get up and search for it), The0 Annemann described an idea which he considered “ a
reasonable betting proposition.” It consisted of allowing anyone to freely select three cards from a shuffled pack, and the operator would then bet that amongst rhe three cards would be either an ace, deuce or Jack. Whether Annemann was awareof it or not the game is known as “ Ace-deuce-Jack.” and in his book “%me on Cards.” John Scarne refers to it as a 10 per cent. certainty for the dealer. With this as a background I dressed up the presentation, alteredthe rules slightly, and gave it an additional twist to guaranteethe dealer 100 per cent. But first the general effect The performer explains that he intends to demonstrate a little gambling game, for amusement only, and to show his intentions are strictly dishonourable he will provide the necessary stakes. A quantity of pokerchips or counters are introduced and divided amongst the various spectators, and some retained by the performer. A pack of cards is genuinely shuffled by the performer (otherwise the ‘‘ banker ”), and spread face downwards on the table. The spectators are allowed in turn to draw out of the packany threecardsfrom different positions inthe spread. Before these are turned face upwards the banker offers “evens” that the three cards contain either an ace, deuce or Jack (or any three denominations chosen by spectator). This procedure is repeated with other spectators. If each spectator is encouraged to stake generously it should not be long before the “banker ” wins back most of his chips. It may eventually dawn on someone that the “banker ” is having the best of the bargain, and he will offer to take fhe “bank.” (If this proposition is not made, the performer can suggest it himself). He thereupon shuffles the cards, nameshisthreedenominationsand withdraws three cards. He wins, of course, and continues to
VOLUME 8, No. I I
-
win until he secures allthe generously and compels the with the same amount. Three sufficient.
chips, for he bets
‘‘ banker ” to cover
or four rounds are
working. Required : a-quantity of poker chips. A one way pattern pack. The pack should be of a fine pattern with the distinguishing oddness at the extremeedge of tides or corners. Set the pack with ‘‘evens ” one way, ‘* odds ” reverse. (CountQueens as “even.”) In this condition the pack may, of course, be shuffled overhand or table riffledproviding the relative position of the pack is not disturbed. If the shuffling habits of anyone present are known, he may be allowed to shuffle also. To present, shuffle pack and ribbon it on the table. Invite a spectator to name tbree denominations and withdraw three cards from the spread. As stated, the odds in his favourallow the banker to wincomfortablymost of the time.(When turning the three cards faces up turn them sidewuys. so as not to disturb the one-way arrangement, andreturn to pack. Alternately, if turned end for end pushthem together afterwards, and turn the three over together in the same way and deposit them on pack). When the spectator takes the “bank,” divide all the counters into two portions and give him one of them and retainthe other. Shuffle the cards and secretly note thebottomcard as you spread the pack face down and check with its back to get a clue to theway the ‘‘ odds and evens ” lie inthe spread. Name three “even ” cards, such as deuce, Queen, 10 spot, thenproceed to draw out three “odd ” cards. Obviously, under this ideal arrangement. you are bound to win all the chips ultimately. Naturally, at any timeyoucanchange your call tothree“odd ” denominations; thecourt cards conceal the princip!e fair!y well.
I/a. (20 Cents)
-
AUGUST 1954
82 If challenged you maytruthfullygive your Incidentally it is a good plan 10 have ready a word that thecards are not marked in any way. similar patterned pack with a contrasting coloured A little comedy m a y be introduced by havingback, also arranged. If the firstpackshouldhea telescopic rod with a flatpiece of metal solderedcome disarranged change it for thiswith thc on at oneend similar to a croupiers’pallet. remark “Perhaps a freshpackwillbringbcrtcr Produce this from your vestpocket, extend itand luck!” rake in the chips from the furthest spectator. ’‘ Matters of fact well proved ought not to be denied because we cannot conceive how they can be prform. ed. Nor is it B reasonable inference, first to presume the thing impossible, and then to conclude that the fact cannot be proved. On the contrary we should judge of the action by the evidence and not of the evidence by the measure of our fancies about the action.” Joseph Glanvill, D.D., F.R.S., Saducismus Triumphatus, London. 1681 ‘I
SHAM SHUFFLE GUSTAVE SOUTHALL URING a card demonstratlon 1 have found fingers straighten the cards against the little that nothing convinces a spectator so muchfingers. as the knowledge that the cards in use are What actually happens is that the R.H. porOn theother hand, constant tion(formerly the bottom half of pack) now lies genuinelymixed. ehuffling, either by performer or spectator can be intact in the centre of thepack, and theL.H. boring procedure. a portion (former top half of pack) merely divided is What is required is an occasionalgesture, by the R.H. portion. The whole action of theshuffle takes only something more than a cuf yet not so elaborate as a riffleor overheadshuffle, to retain thespectator’s three or four seconds, but is so disarming that a spectator would swear the cards are well and truly confidence. The quest becomeseven more difficultwhenmixed. With this as a foundation I evolved the it is desired to use almost the same movements for a false as well as a genuine shuffle. following : 1. To retain the top dozen or so cards, The nearest I have arrived at a solution to execute as stated. this ideal shuffle was evolved from a sleight 2. To keep Reds and Blacks intact for “ Out shown to me by my friend Jean Carles of Grass% of this World,”etc. Hold pack in L.H., and an accomplished close-up pdormer, whouses it riffle off all cards of one colour on to fingers of as a card flourish. But tirst the principle. R.H. Fan these in R.H. and immediately fan L.H. Take the pack in the L.H., backs to palm, cards.SweepR.H. portion into centre of L.H. riffle half the pack on to the fingers of R.H., as in fan.(be sure all the cards go into one division). the preliminaries of a riffle or waterfallshuffle. Bring cards to position as in Figure 3, but do not (It is imwrtant to bridge the top half of pack square. Grip cards at centre (right thumb on top, strongly huring this move). (Fig. 11) fingers underneath) and place the pack face down in L.H. Curl left little finger on top of R.H. packet, which is now in centre of pack, to form a break. Square cards and double cut at break. The cards will be in Red and Black order but the colours are reversedfromtheprevlous arranpement.
D
Bothpackets of cards are fanned widelyby pressing outwards with the thumbs.andinwards with the fingers with both hands. At this point it will be. noted that due to the bridge the cards in the L.H. fan will separate and stand up slightly in the centre of fan and create small gaps. Extend the L.H. fan forward alittle,bring the hands together and sweep the R.H. fan into the centre of the L.H. fan. The cards will slide in easily and smoothly.(Fig. 2.) The entire pack is allowed to fall and blend together asit is squared. (Fig. 3.) Both fore-
3. To retain complete order of pack, divide pack as before, sweep R.H. fan intq centre of L.H. fan. Withpack as inFig. 3. position, grip it at centre with right thumb on top and fingers underneath and place pack in L.H. As you commence
83 b square cards press inwards with the leftlittle finger on the projecting inner packet to bring the 4. exaggerated). jogged cards to theleft.(Fig.
‘I
The pack is now squared at top andbottom with the right fingers and thumb. The leftforefinger actS as a “stop an,d the packcan be tapped lightly at the top and bottomedgeswith the right fingers without interfering with the jogged cards (Fig. 5). Finally, as the left forefinger pressescards into crux of thumb, the inner packs is stripped out and placed on top, as in a casual cut. (Fig. 6.) As you do this insert tip of left little finger to form a break. Double cut, and thepackwill be in its former condition. ”
The urtnost extent of human knowledge is comparitive ignorance.” Andrew Crosse “‘The Wizard of Qvantock Hills,”
as
he lay dying. 1855.
PERSONAL TOUCH GUSTAVE SOUTHALL FTER shutiling a pack of cards which have been in use, the performer then lays it on the table and asks someone to assisthim. Ths spectator is instructed to remove from his pocket his loose change and select any coin. Taking the pack the performer asks, for the 6rst time, for the date of the coin. Then without any suspicious moves he proceeds to count out the date by dealing four heaps; if the date is 1948, he places one card in first heap, nine cards in second, four cards in third and eight cards in last heap. All this, explains the performer, should bring to light something of personalinterest tothe spectator. So he enquires of him his car number, house number, etc., but shakes his head doubtfully on learning these. Finally he asks his helper for histelephone number.If say,Central 6792hesays, “That is it!” and turns face up the four heaps to reveal pips on the Cards as 6792. workingThis, as may be guesstd, is intended for use as an intimate party stunt. First ascertain whowill attend, then look up and make a note of a couple of ’phone numbers. Select those with no noughts in them. During a previous trick run through the pack and injog four cards, to correspondwiththe ’phone number you intend to use, and cut them to the top of pack. If, as stated, the number is 6792 transpose them to form 9267with the 9 spot as top card.(Obviously you mustinjog th:m in reverseorder). When ready, shuffle the cards, but retain the top four cards. Selectyour particular victim and askhim to bring out his small change. As he prepares to do this you have ample time to thumb count 12 cards from the top of pack, lift them off slightly but retain the top card with left fingers and let it slip into the break. Immediately afterwards slip the next card from the top on to tz:
A
previous card justmoved. L a y thepach on the table. (The position now is that on top of pack is a 6 spot and under it is a 7 spot, the 11th card is a 2 spot and the 12th card a 9 spot). These moves will go undetected as the attention will be on the spectator at this point. When the spectator goes to examine his coins, most of whichwillbe of this century, you can suggest, from a distance, of course, that he use “ that half crown on the top or that shilling,” etc. State you would prefer him to choose a coin with no noughts in the date. When he is satisfied with his choice, pick up the pack, and give it a couple of false fan shuffles (described elsewhere) which will not disturb the arranged cards. Prepareto deal 4 heaps in a row. Instruct spectator tocallout eachfigure of the ddts separately.Suppose it is1938, the firstfigureis always a one so deal one card fairly as first heap, then 9 cards fairly as second heap. For the third heap hold back the top card (a 2 spot) and second deal the whole of the number called (in this cast a 3). For the last heap deal 8 cards fairly. Tell the spectator that you feel there is a personal link involved and enquire his car number. house number, etc., and finally hit on his ’phone number. Repeat the numbersslowly as you turn over the heaps to disclose corresponding numbers on the four cards
After lhonshas If a coin of the Iast century is proffered keep a break under the three top cards when dealing the second heap. Then deal the top card followed by the next two cards dealt as one card. Credit for the novel date count (used for another purpose) goes to Stewart James. The method can be used to reveal the four aces “ lost ” in the pack.Similarly for the discovery of a quadruple selection of cards.
84
If desired to dispense with the second deal the following. method may be adopted. If numberis 6792 bring cardstotop 2967, deuce on top. Slip or double cut top card to bottom of 11 cards andsliptopcard pack.Thumbcount
l
between. L a y pack on table. Proceed with heaps one, two and three, butfor last heap shuffle the remaining cardsinhandand bring bottom card to top. Finish as in first method. T h e first method, however, is much superior.
“ Magic is n \\Tholesome hobby. It provides an outlet for exhibitionists, offers a means of escape for introverts, and encourages good fellowship. But if your talents lie elswhere, if no one other than your mother has conunended y o u on your prowess as a Merlin, dont abuse this delightful form of entertainment.” Robert Lund. Conjurors’ Magazine, Vol. 5 .
I
JOHN HOWIE’S ROUTINES WITH THE JARDINE ELLES RING Continued from page 75
E X A M I N A T I O N OF THE APPARATUS BY THE SPECTATORS Sincemost Ellis ring routines are designed for close up presentation and the effects possible are, from the layman’s point ofview, so remarkable, it is only natural that the spectators should wish to satisfy themselves that the ring is a plain ring of steel and nothingmore.There are two basic procedurles for dealing with this situation. In this first case the ring, complete with shell, is introduced andthe choseneffectperformed. Since in most Ellis ring effects the shell is disposed of before the climax of the effect is reached, it is a perfectly safe procedure to offer the ring for examination at that stage. In the second case the ring, complete with shell, is introduced (care being taken to let itbe seen that only one ring isin evidence) then the shell is palmed off before giving the ring for examination. On the return of the ring the shell is silently replaced, then the eEect inhandcan proceed. A variation of the second case is to introduce the ring alone and give it for examination meanwhile secretly obtaining the shell (from a clip, the sleeve or elsewhere) which is thenaddedto the ring on itsreturn. The above applies mainly to individual effects. In the case of several effectsblended to forma routine a combin.ation of both procedures can be used. Thus, assuming that it is desired to perform “ Ring on Necktie,” followed by “ John Howie’s Ring on Pencil ” (both described later), the first effect could be performed without examination of the ring and at the climax of the effect the shell would be temporarily disposed of (in the sleeve). After a brief examination of the ring by a spectator, the shell would be retrieved, secretly replaced on the ring, and the second effect performed. With regard to examination of the ring following removal of the shell, individual of performers will, no doubt, evolvemethods “ palming o ff ” to suit themselves.However, for the sake of completeness, two methods are given here, the first being a direct method, the second incorporating a simple but useful flourish.
THE DIRECT PALM OFF This is probably the simplest method of palming off the shell. Take the ring ,and shell from the pocket so that the shell lies next to the fingers. Better still, show the ring and shell as as one them, keeping the back of the left hand towards the spectators, allow the ring and shell to swivel round so that the shell is next to the fingers. With the ring and shell positioned a t -‘tEeroots of
85
the second and third fingers, contract these fingers slightly and turn the left hand palm down over the upturned right hand. The ring alone will fall to the right hand as shown in Fig. 6. A single trial will confirm the simplicity of this procedure. dn thereturn of the ring it willusuallybe necessary to replace the shell upon it and this should be done silently and with the minimum of finger movement. The following procedure will be found to be simple and effective. Hold the ring pinchedbetweenthe right forefinger and thumb, thethumb being towards the floor as shownin Fig. 7. With the shell ,still held in the left fingerpalm bring the left hand, thumb upwards, in front of the right positioning the shellimmediatelyin front of the ring.Press the ringgently into the shell (an operation that can be. absolutelysilent) and fold the left fingersinward.When the shell covered ring is flat on the left palm, remove the .right hand, turn the left hand, palmtowardsthe spectators, and extend the leftfingers to display the ring on the palm as in Fig. 8. The whole action takes but a moment.
leaves the spectators’sight. At this stage the hand should, of course, be above thespectators’ eyelevel. I have dubbed this move the “ Howie Pick-up Move,” since it is a move of general utility and reference will be made to it later in the book. A throw to the right hand is now executed as follows : Turn slightly to the right and swing
r” FIG.7 PACM OFF USING THE HOWIE PICK-UP MOVE In this case start withtheshellcoveredring on the left hand as inFig. 8. Thehand should be pointing downwards SQ that the ring is clearly seen. Bend the left second and third fingers upwards and pressthemfirmly into the.combined ring and shell as in Fig 9. Raise thelefthand keeping it palm upwards and as the forearm approaches the horizontal. unbend the left second and third fingers so asto keep the shellina vertical plane. It will be found that the shellis automatically carried away from the ring as the left fingersunbend. At the completion of this movement the positionshouldbe as in Fig. 10. which shows the view from directly above. Done correctly it should appear that the ringnever
the left handin an arc over theupturned right hand letting the solid ring go to the right hand. By the end of the swing the left fingers, other than the forefingex, are bent in to the palm as shown in Fig. 11. Care must be taken to avoid the ring and shell striking each other but this is simply a matter of care and practice. The ‘‘ flash ” of metal allthe way over to the right hand makes this switch particularly effective. If desired the shell canbe pressed into the classic palm position so asto release allthe leftfingers but thisisnot essential. Now press the right second and third fingers into the ring and raise it in the same way as done by the left fingers earlier. Holding the ringin this position, offer it for examination. On regaining the ring hold it between the right forefinger
86
and thumb as in Fig. 7. and replace the shell (moved inthe -meantime to the leftfinger paim position) as described above under the direct palm Of€.
*
o(c
*
At this point a ruse due to Dr. F. V. Taylo: is worthy of note. In order to free both hands thl: combined ring and shell may be placed and held in one eye like a monacle. Thus; though th,e apparatus is not given for examination, this casual handling is such as creates a strong impression that the ring cannot be other than a simple metai ring beyond suspicion.
A WORD O N BASIC PROCEDURE Most Ellis ring effects are concerned with the passing of the ring on to a rod, ribbon, handkerchief, etc., and a procedure frequently suggested is to thread the ribbon, etc., through the combined ring and shell as a “ demonstration.” The shell alone is then removed thus enabling a magical penetration to be effected subsequ~ently. This
F \ G .\c3 TOP
VIEW
move made in a magical effect should have an adequate reason to support its being made and it is felt that the reason for the procedure described above is just not strong enough.
FrG. 11
F\& 3 procedurei whilst very easy to adopt, is in the be avoided. author’s opinion, one to Everyone knows the normal way of passing a ring on an article such as a rod or ribbon. W h y , therefore, waste time and, by implication, insult the spectators intelligence by putting the ring on Every only to remove it again immediately?
(To be
A further reason for avoiding the “demonstration ” procedure is that it forewarns the spectators as to the effect you areaboutto perform. A much better and more surprising effectis achieved if the penetration of the article by the ring is carried out without any previous contact between them. This desirable result canusuallybe obtained by careful routining of the preliminary moves-practical examples will be found in the effects described in Parts 2 and 3 of this book. continued)
BOOKS “ RlSt call t0 C ards’’ by StewartJames (Published by Harold Sterling of Michigan, U.S.A. price two dollars. English representative Fr,ancis Haxton, St. Anthony’sNonsuchWalk,Cheam, Surrey). Those who have had the pleasure ofseeing the author of this bookwork the effects detailed therein, will, we know waste no time in purchasing a copy. Altogether there are twelve effects with a pack or packs of cards none of which call for digitai skill or faked accessories. They are as follow :“ Mike and Ike,”the first item is a story trick based on a most ingenious principle that allows the magician to locate fourcardsunder seemingly impossible conditions. A second version of the plot make use of contrasting backed packs. “ SevenWonders ” the nextitem is a card puzzle that to us seemsa bit too complicated in plot. At the sametime the meansemployed to bringaboutthe desired end cannot but arouse admiration. “ The Name is the Same,” is a version of a ‘‘ Do as I Do,” credit being given by th,e author to ourselves forthe inspiration. Stewart’s method keeps to the effect (namely that the spectator and magicianproduce a similar card by spelling out each other’s names), and achievedwith far less physical effort. “ Matchimera ” is one of the gems of the collection. Performer and spectatoreach select and replace a card in the pack which later is halved. Onthe halves being dealtboth spectator’s and performer’s cardturnupat the same spot. A very straightforward plot with undetectable means. “ The Deckspert ” which follows is also very Straightforward. The plot isthatthe performer like a goodcardsharpercan e.stimate the cut. Here again the means are so simple and out of all proportion to the effect. “ The Flight of the Spelling Bee.” On 9 blankcardthe performer has a drawingof a “ Spelling ” Bee. A tap on the back of the pack and a chosen card can be spelled out. The spectator chooses a card and, the performer taking the “ Bee ” card shows him how to spell out the name of a card a letter at a time. The spectator fails, thereupon taking the pack the performer mentions thatthe spectator didn’t tap the packwith the “ Bee.” Doing thisthe spectator’s card is then successfully dealt. ‘‘A Girl’sBest Friend ” is a fineitem for closing a location routine, where one card is yet
to be disclosed. It takes the form of a story in which after several cards in a mixed order have been spelt out in proper order,thecard to be located is left in the performer‘s hand. “ Dateaser,” is a very nice way of revealing a chosen card. The performer places on the table besides the cards, a slip of paper bearing the dates OR which the trick was previouly performed. A card havingbeenselected and itis shown that the five dates have a hidden meaning for by substituting letters for the numbers they represent the name of the chosen card is spelled out. “Double Timein Spi-ritland,”is a definite improvement on Jordan’s “ Spirit,Mathematician ” and at the table would make a very nice item for use with miniature cards. “ The Square Deal ” and “ Coloracle ” have a certain similarity. In factthelatter is really a combination of “ Double Time in Spiritland ” and “ The Square Deal.” It is a mathematical prediction of the first order plus the fact that procedure is very much off the be.aten path. “ Improsonic ” the final item is a version of the “ Supersonic ” plot but using no faked cards and at the same timeallowing the spectator the free choice of a number. Looking through the twenty-eight pages which make up this book, we realise that Stewart James is ,a comrade in spirit to Jordan and Hummer. We know that whenyou get yourcopy of this very finelyproduced publication, whichwith its offset typeset givesa nostalgic whiffof the great Jiax. you will find at least one effect which you will use. and keep on using, and just as I blessed the day when I first saw ‘Stewaft’s “ Mih.askil1”in the Jinx, so youwill have cause to be thankful €or this little book, for here issuchstuff that magic dreams are made on. I t i,sa delight to the magical connoisseur. Effwith, the Riffle Count.” by Mark Weston.Publishedby theauthor at 5, Deakin Street, Lower Ince, Wigan, Lancs. Price 41-. Mr. Weston has taken a sleightandused it as a means for achieving a great number of m m ical effects. Many of these couldbeachieved by other means, but undoubtedly the point Mr. Weston wishes to bring homle is the catholic way in which the rifflecount can be used. We know that those who have based their card technique on Merlin’s “And a Deck of Cards” have alreadv realised the potentialities of this useful sleight. The .author of the present manuscript takes it to the uttermost stage.
88
EIGHT SESSIONS
COME A LITTLE CLOSER
OF
CLOSE-UP MAGIC
By TOMMY VANDERSCHMIDT, ARTHUR HOLLAND, BOBBY BERNARO ALEX.EMSLEY, ROY WALTON,TEDDANSON, JOHN DERRIS, JACK AVlS
Edited by Peter Warlock Printed on art paper, 40 pages packed with the tops in CLOSE-UP MAGIC with 20 photographs illustrating tricks with cigarettes, cards, coins, rings, etc.
Available from alldealers POST
-
=
6/-
4d.
In case of difficulty write to :-
PENSHAW PRESS, G R A Y S HILL m ESSEX BILLERICAY MAGIC WAND PUBLICATIONS Spectator’s Choice Douglas Francis Mether Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s Maurice Hurling Entertainer Jrmesorophy James Stewart Strictly Magic JosephEddie Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With %age Money Jack Lamonte Suzy and City the Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina
Challrngo Instant tlypnotism and M a s s Hypnotism
, 1
GeorgeArmstrong 211Cbandu’r Psychoanrlyris George Armstrong 10/3 Gwrge Armrtrong’r Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 513 Tricks of the Trade George Armstrong 2/7 The Unlvrrul Mind Ron Baillie l219 HenryBohlen10/3 bhkno’r Mysteries Aage Darling 17/9 1’11 Road Your Mind Entrrtainingwith Contact Mindreading S. E.Dexter 7/9 Entertaining with Hypnotism S. E. Dexter l0/3 Automrnklism Courcy Ken de 20/3 Zodiac Teltpathy Courcy Ken de l2/9 John Ramray’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli l0/3
P,
9,
edition) (cheap
7/9 7/9 5/3 l0/3 513 513
l0/3 7/9 S/3
7i9 2016 7/9
Stooging Around Playing With Magic Magically Yours
JoeStuthard 513 WilfredTyler 30/6 Verrall Wass 15/6
FROM THE PUBLISHERS
T H E MAGIC W A N D P U B L I S H I N G CO. 62 WELLINGITOR’ ROAD, ENWIELD, MIDDLESEX
The Magic Circle Prrsldant : His G r r r e 111e Ihrkr o f Sumcccct.
D.S.O.. 0 . B E.. J.P.. M.I.Y.C. Vlce-President: D0ud.a CnBBI, M.l.M.C Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King
Geotye’s Ha!l,
W.C.
Summer Recess Pmrticulars from Hon
Secretary
Peter Newcomba 38 Overdale Avenue NewMaldeSurrey
PETER
JACK HUGHES
WARLOCK’S
PENTAGRAM is published on the 24th month and can be obtameddirect from the publishers for 117 per h g l e copy. Annual Subscription 181YOSt
PtiHLISttED
free.
l3Y:
Publishing Wand Magic The Co. 62 Wellington Road, Enfield Middlesex Martllsrripts publication books and for review should be sent EDfTORI4L
ADDRESS:
Peter 24,
for to the:
Warlock,
Wordsworth Rd., Wallington, Surrey.
w i l l bepleascd to send full details of
)OII
THE DE LUXE “SU-TABLE” together with all his other effects inreturn for a stamp. Writenow to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9. CONJURING BOOKS FOR SALE OLD AND NEW. Let m e know your w a n ~ LIST FREE FOR STAMPED ENVELOPE No
Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P U B L I S W O B? THE ? U O P R m O R S T H E MAOIC W A N D PWBLISHINO COMPANY. 6 2 WELLINGTON HOAD, ENPIELI). MIDDLESEX A N D PRINTBD B? HERBERT WALKER & SON (PIUNTERS) LTD.. WELL CROFT, SHIPLEY, Y O R K S H I R E
4th DIMENSIONAL POSTAL ORDERPETER WARLOCK and allows it to slide downover theplatform THIS IS. a !ittle effect off thebeatentrack until the lower end reaches the table top. It is and w h ~ kIt requmes some apparatus, such apparatus can be made up by even the most ham-handed member of the family. The effect goes like this :On the magician’s table can be seen a small pedestal. a rectangular cardboard chimney and a tray containingagrapefruit+a lemon, egg and walnut. The performer first shows that thz chimney just slides over the top of the pedestal and then removing it calls attention to thevarious articles m the tray. Fromhis pocket he now takes a postal order and asking a member of the audience to note that the number on the counterfoil agrees with the number of the he detaches the saidcounterfoiland leaves it with a member of the audience. Thepostalorder is rested against the pedestal. Thegrapefruit isnow placed on thelittle platform and then the cardboard cover is placed over it,but instead of as previously sliding it down over the platform it h rested on it (Fig. 1).
draft.
Now the lemon is taken and placed inside the tube and of course on top of the grapefruit. It is followed by the egg which is placed on top of thc lemon. Next comes the walnut. and finally the postal order is picked up, folded and dropped on top oP the walnut “ Now,” remarks the magician, “Let me show you a rather peculiar thing.” Takine the chimnev he gives - it a slight - turn ~
~~
~~
-
VOLUME 8, No. I2
-
apparent that all articles apart from the grapefruit must either have vanished or be crushed. At this point the chimney is drawn clear of the platform and only the gra&fruit is seen on the pedesta!, the chimney being shown empty and placed aside. Taking a sharp knife, the grapefruit is cut open to reveal within, the lemon. This too is severed and inside is found the egg. Finallythis is broken its interior, the over a glass to letfallfrom walnut. Wiping thelatter withacloth,it is handed to a member of the audience together with a pair of nutcrackers,this personbeingasked duly to see what is inside thenut.Thenut cracked a postal order is found inside, which upon being compared with the counterfoil proves to be that shown by the performer at the beginning of the effect. The requisites are few. They are :1. A smallplatform on a stand. The size of the platform should be 5 inches by S inches. 2. A cardboard chimney capable of slidiqg easily over theplatfom. One of the sides has a pocketformed down its whole length on the inside which can easily open without any assistance from the performer (see Fig. 2). 3. A real grapefruit, lemon, egg and walnut. 4. A latex lemon, latex egg and latex walnut. S. A &arp knife. 6. Two postal orders with all but the unit digit similar. The unitdigit in one case shou1.l case “6.” This may be “ 5 ” andintheother mean buying eleven postalorders on some OCcasions but as the poundage is the only thing you lose, it’s not much to pay. 7. A pair of nutcrackers and a glass tumbler. With assumption that the cardboard chimney anil thelittle platform have been made, the reader’sfirst concern i8 with thepostal orders. of Indian ink addastroke which Withaspot will alter the f i d digit “5” into a ‘‘ 6.” Then detach both counterfoils and with a spot of latex cement join the genuine counterfoil to the fake “ 6 ” draft.
I/6. (20 Cents)
-
SEPTEMBER 1954
90
Thenext step is to prepare the fruit. With the knife slice off neatly one end of the lemon, scoop out most of the contents and slide the egg inside. The sliced top of the lemon is now neatly attached either by means of pins or small slivers of cellotape Actually if the lemon is left to dry out a little an adhesive such as balsa cement can be used most effectively. The grapefruit is similarly treated only this time the lemon is placed inside. Oneother piece of preparationhasto be done and that is to carefully ease the walnut shell open separatingthe two shells and after place folding the genuine 6 " postalorderto the latter inside and glue the two s,hells together. To prepare for the effect, place. the pedestal and. chimney to the left of the table you are using whilst on tray,on the right are positioned the knife, tumbler, loaded grapefruit, latex lemon, egg and walnut. The fakedpostalorder is placed inside the performer's wallet. The prepared walnut is placed behind a crumpled cambric handkerchief near the rear of the table. Presentation.Finst of all call attentionto the small pedestal and cardboard chimney. Show that the latter can easily slide right over it and down on to the table. Remove the chimney and place it just behind the pedestal. The wallet is now removed from the pocket and after the postal order has been extracted i; is replaced. Have a spectator see that the number on the draft and that on the counterfoil agree ,and then detach the counterfoil and hand it to another spectator. Keeping the faked postal order withiil sight of everyone rest it against the base of the pedestal. The grapefruit is then taken and placed on the pedestal top and picking up the chimney and showing it to be empty, it is placed over the grapefruit in a way previouslydescribed and illustrated. Theflap inside, if properly made should fall inwards, of its own accord or at the most require a touch of the performer'^ finger. Intothe pocket formed by the opened flap are placed in turn the latex lemon, egg and walnut. Finally the postal order is taken from its resting place atthe bottom of the pedestal, folded in halves and then in halves agtain and also droppe3 inside the pocket. Placing his left hand across the top of the chimney the right hand gives it a dight twist so that it slides over the ped,estal top and "
I
ultimate The
down to the table. This actionautomaticaliy causes a closing of the pocket inwmuch that the top of the pedestal has been forced halfway up the chimney. Commenting on the fact that the walnut, egg and lemon are no longer in sight, the performer grips the pocket side of the chimney between his fingers and thumb and draws it up off the pedestal then showing the chimney to be empty. Only the grapefruit can be seen onthe pedestal. The chimney is placedaside. Taking the knife with the right handthe grapefruit is picked up with the left, shown to have an unbroken surface, and then, carefully severed with the knife and revealing the lemon. 'The knife is laid aside whilst the two halves of the grapefruit are placed on the tray and the lemon shown too, to have an unbroken surface. The knife is taken oncemore, the lemonsevered' to reveal the egg. The knife is again pl'aced down, the two halves of the lemon joining the pieces of grapefruit on the tray. The piece of cambric with the walnut (the latter being finger-palmed) ispicked up and the eggwiped dry. The piece of cambric isplaced down on the table and the egg passed to the hand which hasthe walnut finger-palmed.With the free hand the tumbler is brought to the centre1 of the t'abb and egg cracked against it. With each hand holding one end of the egg it is held over the glass opened out and in the action of allowing its contents to go ihtothe glass the finger-palmed walnut is released and goes with them. All that now remains to be done is to wipe the walnut with the cambric, hand it to a spectator with the nutcrackers, get him to open it and after removing the folded postal order inside see that the number agrees with the counterfoil. There are one or two points worthy of mention. The first is that if the reader likes to go t o a little more trouble, the chimney can be hinged at the sides and both at the beginning and end of its usage can be folded. The second point is that instead of a postal order a borrowed note could be used. This would call for a different technique insofar (providing the performer proposes to deal with that note only) that the note will have to be switched at the beginning and later loaded into a hinged walnut treated with adhesive in the performer's pocket. Thirdly, please in handling the latex egg, handle it like an egg.
result of shielding men from follv i s to fillworld with the
fools.
I
ONE OVER THE EIGHT JAMES ESLER ONE of his books, I cannot recall which, INadding Devant detxribes an indetectable method of a few cards to any number which have been counted on to the table by the person m i s t ing the trick. It is a perfectly natural move,
never ,suspected, most Pe~zftzgra~z~ivts will bc familiar with it, but for any who may have o w - looked it here is the procedure : ehe nerforlnor. holding the packinhis left hand preparatory '0 dealing, speaks to his assistant : Will you please "
9€
count on to the table a number of cards in this way,” he then proceeds to deal. off the pack. say three cards to illustrate his instruction, then cards justdealt,simulating regathersupthe placement, andhands the pack to his assistant. He has in fact, however, retained the three cards palmed in the right hand. Continuing his instructions to his helper, the conjurer directs him to : “ Count the cards as they drop on the table and stop where you like.” These instructions being duly fulfilledby the assistant, the conjurer by a sweep of his right hand pushes the uneven lot of cardstowards him with thefurther request : “ Square thecards up and place them in your pocket.” It is hardly necessary to informthz reader that the palmed cards were added to the pilein the action of pushing thecards across That is the barebones of Devant’s stratagem, an5
I
1 can vouch for the soundness of. the method, and here is a method of putting it to use in a manner which has a rather novel terminal point. Ask your helper to count SIX cards onto the table in the manner described, retain three adding them as you push the pile over to the assistant with the request that he placas them in his pocket, a t thisstage you take up a plain card and asking your assistant how many cards he has pocketed, and the replybeing SIX, you speak : “ Having six cards in your pocket I will write the figure 6 on this card, now the figure six has one quality not common to any other number, in that whenreversed ,in this way, it becomes a 9, will you be good enough to see if our reversing of the figure has in any way affected the number of cards younow hold? He counts his cards and, of course, finds nine!
The easiest person to deceive is one’s own self.
I
SANS FACON JAMES ESLER long long ago, I heard or read SatOMEWHERE, of a minor prediction effectwhich I trot out intervals when a few people are congregated together. It is quite puzzling and perhaps sume reader can give credit to the inventor, I cannot, mayhap it was never invented, it just happened Anyhow for what it’s worth here is the effect. You write a number on a scrap of paper fold it ,and lay it aside : now ask someone to think of a number, any number from one to nine : to double it : to add two : to multiply byfive : and then to subtract from thetotal arrived at, a number which you will state. The answer will be two figures, the first of which will be that which was thought of, and the second that whichyou predicted. The formula is simple : suppose you predict the figure 3, things proceed in this way :Think of a number ......... 6 Doubleit ..................... 12 Add 2 ........................ 14 Multiply by 5 ............... 70 Now you ask that a certain numb’er shall be subtractedfrom the totalthus arrived at, and this number must be the differencebetween the figure predicted byyou and 10. In the example we are considering 3 was the number predicted. 3 subtracted from 10 gives us 7. So you ask that
1
7 be taken from the unknown sumwhich your assistant has in mind, in this case 70 : 70 - 7= 63. Thus providing the correct answer : 6 thought of by your assistant, and 3 the number that you predicted. Now whatcan we make of this? My own application requires a pack of cards, in which the top few cards are arranged, regardless of suit, from ace to 5, these are palmed whilst the pack is k i n g shuffled by an assistant, and added on return as the pack is placed aside. This is done before the effect begins. Now youwillfind that if youmakeyour prediction 4 or 5 , andsubtract either of these figures from any figure thought of by someone. the difference can never be greaterthan 5 . So youask at the end of the calculations that the two numbers in the answer be subtracted from each other. Hand the pack of cards to the assistant asking him to count to the card standing at that number, to find th,at it corresponds. There is one exception when your helper selects the same number which you predict; you are a magician so asmall obstacle of this kind should present no difiiculty. I ignore the business of subtraction, and take the two figures as either 4 or 5. Anyhow if you think it worth while. I leave it to you.
The greatest of virtues is self-restraint.
l
92
JOHN HOWIE’SROUTINES WITH THE JARDINE ELLlS RING Continued fiom pale 86
RING ON STICK EFFECTS Display the shell covered ring in the left THE “DIRECI”’ RUNG ON WALVD hand as in Fig. 8, the wandbeingheldin the This effect is the culmination of a search for right hand. Execute the Howie Pick up ’* move a simple and direct version of the ring on wand as showninFigs. 9 and 1.0. Next grip theshell d k t . While bearing a certain similarity to Bill between the left forefinger and thumb then move “
Larsen Jr’s. ring on pencil effect themechanics are quite different. EFFECTThe performer dhplays a ring and a wand m such a way as to make it obvious that these are the only articles used. Showing the ring at the tips of the fingers qf one hand, the wandbeing held by the middle by the same hand, it is then carried under andintothe fist for a momem.. Suddenly the ring is seen to be threaded upon the wand, the ends of whichhavebeen in full view throughout. REQUIREMENTSThe Ellis ring and shell. A wand. METHODThe effect is brought about by a combination of the Howie “ Pick Up ” move and a subsequent “ steal ” of the shell.
the twomiddle fingers from inside the shell to below it and we thesefingers to push the sheii well up and away from the palm. The wand is now transferred to the left hand thus : lower the tip of the wand on to the near side of the ring thereby causing the ring to tilt upwards. Immediately push the wand through the ring and through between the left forefingers and thumb. so that the left hand is positioned central!? on the wand then close the left second, third and fourth fingersover the ring.Fig 12 shows the performer’s view of the wand tilting the r i q . Careshould be taken to avoidnoisewhen ths wand touches the ring and alm to avoid any undue pause just before the push through. Now turn the left hand palm downwards. It desired, the shell may be taken in the right hand for a moment then replacedbetween the left forefinger and thumb-this to give silent emphasis to the fact that m far there has been no contact between the “ ring” and the wand. Next extend the left second and third fingers and grip the shell between them (third finger 01: the spectators’ side) and, releasing the grip of the forefinger andthumb, fold the second and third fingers back so as to carry the shell out of sight. Under cover of thehand move the second and third fingers in relation to each other to bring the shell at right angles to the palm. Tilt the hand slightly toward,s the spectators so that the shell extends towards you as in Fig 13.
7 Withtheextended right forefinger point to each end of the wand emphasising that these will remain in‘view throughout. Statethat the ring
93
is held against the wand by the left hand-at this point tap the back of the left hand with the right forefinger as in Fig. 14 and steal the shell by txtending the right second and third fingers,using them to grip the shell which is then removed by folding t h e fingers back behind the right hand. This stealtakesbuta moment andisidentical with that used in the well-known vanish of a coin or sponge ball from the closed fist. Having made
F I G .14
the steal, lower the right hand to thesideand concentrate all attention on the left hand. Make a queezing motionwiththe leftfingers then spread them so as to grip the wand between the thumb and forefinger on one side of the ring and between the third and fourth fingers on the other. Finally slowly raise the left hand, palm towards the spectators, to Show the ring threaded upon the wand in Fig. 15.
n 6 3
FIG. 1 5
An alternative ending is to have the ends of the wand held by two spectators before removing your hand to reveal the ring upon the wand.
Disposal of the shell. Assuming that it is not required to continue with another effect requiring the shell, probably the best method isto the side pocket althqugh the “ Topit ” vanisher is also suitable. The following sleeve disposal is also worth noting : With the left hand held as in Fig. 15, use therighthand to spin the ring on the wand. This involves a Is’hort downward jerk ,of the right hand which gives perfect cover for the dropping of the shell into the upturned left sleeve from which it can be recovered at leisure. Adaptation t o otker Articles. Theabove effect can be performedusing 8 ribbon,rope, handkerchief, etc.inplace of the wand. Examples will be found later in the book.
JOHN HOWIE’S RING ON PENCIL TheHorowitzbooklet includes a neat ring Qn pencileffectbyBillNord.Since a special faked paper pad is required, however, the effect is limited accordingly. My version requires no special accessories, gives a clear viewof both ends of the pencil throughout the penetration and includes a “sound effect” as the ring “penetrates” the pencil. The method is based on anoriginal movefirst published in my ‘‘ Thanks to Ellis *’ effect . EFFECTA simple two fold screen is formed from any convenient small piece; of card or stiff paper and is impaled upon a pencil. A ring is placed behind thlsr screen as it stands on one hand. The hand is jerked upwards and the ring is h a r d to strike the pencil. On turning the screen to reveal the other side, the ring is seen to be threaded upon the pencil. REQUIREMENTSTheEllis ring and shell. A pencilwhich should for preference be a long one with a sharp point. A piece of thincardor stiffpaper-the exact aize is not of vital importance but 5 inch by 3 inch is convenient. A post-card or used envelope will prove satisfactory.
W
94
finger so as to keep the @hellin view. The relaxation of grip must be such as to allow tha ring to fall freely back on to the thumb. Fig. 17 shows the performer's view of the hands at the end of the upweep. The effect on the spectators should be simply that you have raised both hands keeping both ring. and card in full view. (Note : This version of my thumb move is rather different from the one given originally in '' Thanks to Ellis " and is considered to be an improvement). "
"
Now place the card between the left thumb and the shell-the dotted outline in Fig. 17 shows exactly how to place the card. With the freed right hand take the pencil from the breast pocket and as this is done,raise the left elbow. This natural movement has the effect of bringing the F I G . l7 left hand palm downwards and the ring to the tip -RERR Yl€Wof the thumb so that isit closethe to rear the of METHODcard as Shown in Fig. 18, which is a side view exposing the d a t i v e positions Of ring,shelland F o a ~small two fold screen by folding the card. Withthe leftlittle fingerpush the other card (or paper) in half across its length SO that half of the card round against the thumb as ina& half is about 3 inches by 23 inches. Forcc dicated in Fig. 18 then push the pencil from the the pencil point ashort distance thou& the spectators' Side right through the shell, and both centre of the folded card-this to facilitate the halves of the card (and also the hiddenring) as passage o f the wholepencil later. Havingdone this, place the pencil inthe breast pocket(this isshown in Fig. 18i'mportant). Now show the ring and shell as one and hold in the left hand as in Fig. 16-note that the xing and shell lie backincontactwith the'thumb. Hold the card in the right hand as shown. Raise bothhands U wards m indicated by the arrow S of the hands are towards the until the bac V t a t o r s andthe fingers point upwards. It is d m n g thisupwardmotion thatthe key move is made.
P
F I G . 19 -To?
VtEW-
%'ECTA7WtS _I_F
FG. 1 8 -SIDE; V t E W -
As the hands approach the horizontal re1a'; the grip between the left thumb and szcond finger slightly and, as the handscontinue upwards, mov? the tip of the thumb forward against the SeCO*K!
Withthe left thumb ease the ringsilently on to thepencil. Take the shell in the right hand, dip it off the pencil then, keeping it full face ;o the spectators, position thz card on thc upturned left hand in as Fig. 20. Stating thatwill you lay theunder ring the pencil actually lay it flat near the heel of thehand, then movethe right forefinger forward while the thumb pushestheshell backwithin the left sleeve ,as in Fig. 19. Place the right hand on top of the card as in Fig. 20. and give a short vertical shake whereupon the
95 ring will be heard to strike the pencil.
Holding both hands so that the palms are visible slowly rotate the pencil till the rear of the screen i s towards the spectators revealing the ring threaded upon the pencil as in Fig. 21.
FIG 21
Disposal of the Shell.
F I G . 20 Immediately grip the end of the pencil with the righthandand raise pencil and card about 12 inches above the left hand. Grip the point of the pencil with the left hand (the higher position helps to move the shell further up the sleeve).
The shell can be recovered easily by lowering the left arm after: which it can be replaced on the ring for a further effect or disposed of in a pocket as the ring or pencil is put away.
T o be continzted
BOOKS “EXPERT CARD TECHNIQUE” by Jean Hugardand Frederick Braue (English edition published by Messrs. Faber and Faber Ltd., price 42/-).
The present edition is a facsimile of the third edition that was published in the United States in 1950. It is without doubt the apotheosis of card trickery andits value to the card worker or would-be card worker is beyond price for within its 474 pages have been packed the finer sleights and subterfuges o f the World’s top-flight cardicians. When the third edition was published two additional chapters were added to the original edition; they were written by Dai Vernon and the late Dr. B l e y respectively. Vernon dealtwiththe finer points of card handling illustrating some of his points, by including his masterful “ All Backs ” routine whilst Daley the perfectionist deliberated on some aspects of the “ Side Steal.” The remaining part of the book covers every sleight and stratagem of card table artifice, adding to the sleights descriptions some of the most
brilliant feats of card magic devised by men l i k Miller, Horowitz, Rosini, McMillen, Vernon, Merlin and Zingone. Such a list of names -may appal the newcomer to magic but as an antidote tothis high-powered technique let us add that one chapter deals with effects that require no skill whatsoever, the means for accomplishing thc feats consisting of sublety and subterfuge well disguised. I t is hard to read through a book, even with a pack of cards in hand and pick out the best effect, for truth to tell there arc many ‘‘ bests ” according to the individual like of the performer. For ourselves, however, “ Solo Flight Aces,’‘ “ Mercury’s Card ” (A favourite of Dr. Stanley J a b ) “ Two-Six-Four’p and Miller’s “ Dunburi Delusion ” are eternal favourites. “ Expert Card Technique ” takes its rightful place among the great classics of magical literature. To any magician who essays the study of what Johann Nepomuk Hofzinser d,escribed as the “ Poetry of Magic ” it is a necessity.
WILL DEXTER’S IDENTITY PARADE This i s the ideal routine for the intimate show, for it is designed to get LAUGHS as well as t o completely baffle the audience. Half-a-dozen assistants are invited t o select one of their number as the SUSPECT,and this is done by dealing a well shuffledpack of cards. The man who gets the ace of spades is the SUSPECT, but he DOES NOT REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print a t each end. They then tear their slips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM i s taken t o each member of the IDENTIFICATION PARADE In turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE H O W HE DOES IT. As a check the victim selectsone of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show hiscards, and sure enough he holds the ACE OF SPADES. This routine comes t o you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The
Spectator Does All The Work-Without Knowing
“
How.”
Also included‘is a N E W PRINCIPLE in Mentalism thatcan be used in m a n y m o r eeffects.
PRICE 716
(1 Dollar)
Postage 3d.
MAGIC WAND PUBLICATIONS Spectator’s Choice Francis Douglas Mothor Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s Entertainer Hurling Maurice jamaosophy Stewart James Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’s Card Miracles Toni Koynini Stunts With Slage Money Jack Lamonte Sury and the City flickers Jack Lamonte Where Houdini was wrong Maurice Sardina
Challenge Instant Hypnotism and Mass Hypnotism
George Armstrong Chandu’s Psychoanalysis George Armstrong Goorge Armstrong’s Premonition George Armstrong Magic Wand Year Book 48/9 George Armstrong Tricks of the Trado Gnorge Armstrong The Universal Mind Ron Baillie Mysteries Bohleno’s Henry Bohlen 1’11Your Read Mind Darling Aage Entertaining with Contact Mindreading S. E.Dexter Entortalning with Hypnotism S . E. Dexter Identity Parade Will Dexter Automentalism Courcy Ken de Telepathy Zodiac Courcy Ken de Jobn Ramsay’s Cups and Balls Victor Farelli Thanks to Leipzig ! Victor Farelli
21110/3 10/3 513 2/7 l2/9 10/3 17/9 7/9
10/3 7/9 20/3 1219 2516 10/3
S,
9,
Stooging Around Playing With Magic Magically Yours
,,
7/9 7/9 513
l0/3 513 5/3 10/3 7/9 5/3 7/9 20/6 719 Joe Stuthard 5/3 Wilfred Tyler 30/6 Verrall Wass I5/6
edition) (cheap
FROM THE PUBLISHERS
T E E M A G I C W A N D P U B L I S H I N G CO. 612 WELLIN6lTON ROAD, ENWIELD, MIDDLESEX
The M.agic Circle Preaident : Hir
Grace
the Duke of
D.S.O., O.B.E., J.P., M.I.Y.C. Dorub Y.I.M.C.
VfC+mdent:
Clubroomand
Lib-mud-
PETER
BM..
Museum :
Hearts of Oak Buildings, Burton Road, London, N.W.1. Magi4 Tbrrtre :
King George’s Hall, W.C. Oct. 23 Auction Sale
2030 p m . Puticulur from Hon. Secretary :
Peter Newcornbe 38 Overdale Avenue New MaldoSurrey
WARLOCK’S
PENTAGRAM
Somerset,
ir published on the 24th of rwh month and
beobtained direct from the publirhers for 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
CM
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex M8nuscripb
for publiution and book for
review should be rent to the:
EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will k pleased to send you full details of
THE DE LUXB “SU-TABLB” together with a11 his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
N.W.9.
Colindale, London,
~CONJURING BOOKS FOR SALE OLD ANI) N EW. Let me know your wmtr LIST FREB FOR STAMPED ENVELOPE ~
No
C.llen
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISRXD ay THE rmommm m e UAOIC WAND Puauwnw COMPANY, 62 WXLLINOTON ROAD, XNPIELD. A N D PRINT80 BT HE88.RT WALKSR & SON (PRINTERS) LTD., WELL CROFT, SHIPLET. YORKSHIRE
umrxesex
*
THEY’RE ALL JACKS! WINSTON H. FREER N MAGIC, as in Music, the listener’s attention I.familiar most easily gained through a recognized, proceeding. that the group feels they IS
can follow. Once they are firmly upon your trail, your unexpected departurefromthefamiliar process will leave them stranded, perplexed, and if the parallel to the off-beat in music is clever, we hope it will leave them pleased, or at least talking about you. Using the story that is repeated, with an improved method at each re-telling, easily builds up following in a group that is receptive to closeup magic. just now so popular in the States. The will leave them droll climax of thebuild-up laughing with you, and avoids the usual triumphant atmosphere that might cause them to tire of you, were you t o prevail over them openly, in each effort. Manywell-knownlay-down tricks maybe adapted to this presentation. The old Four Jacks challenge will soon get their grudging attention, and will serve as a sample of the build-up of admiration that may be obtained by this process. You start with the four Jacks held in a vertically overlappedcolumnin onehand, with three odd cards behind the next-to-top Jack, as illustrated in all the old books. Slide them all square together, and place. them openly on the face-down pack. Proceedwithyour story aboutthefour housebreakers, who, leaving one of their number (lay topJack aside, face up) to watch forthe constable on the beat, each took a different floor of the building t o ransack : Inserting each of the next three “ Jacks ” (really odd cards) into three different inner levels of the pack for each law breaker you mention. Finally, when the Lookouthearstheconstable approaching, he returns to the top of the building, gives a signal whistle, and, as you deal four cards off, face down on the table, the other three thugs are found to have rushed to the topof the building tn join him in making their escape over the rooftops! (Show all four to be Jacks).
VOLUME 9, No. I
-
NQW, evenif they conceal their contempt for your effort, you will at least havegained their willing attention, and you proceed. to repeat the story, 6rst lettingone of your spectators place the four Jacks openly on top of the pack to start. But youhave now turnedthe lower two-thirds of the deck face-to-face with the upper third, secretly, and as you lay off the top Jack, face up, in an identicalrepeat telling of the first story, you drop the hand that holds the pack at your side, turning the pack over in the move, and on taking the second “ Jack,” you actually take the odd cards from theopposite end of the pack and thrust them into the upper two-thirds of the pile in different places.Now thelookout hears the constable approaching, and you again reverse. the pack as you reach for the table Jack, slap him on top of the pack, and deal off four top cards, facedown as youdid to climaxyour first story. On turning these face-up. your watchers may he surprised to find that again,thefour law-breakers made their escape. over the rooftop! For those who are now curious about your up the four second method, you again set vertically-overlapped Jacks, and openly put three odd cards behind the next-to-top Jack, as in your very first set-up. This set ofseven cards you now square up, place on top of the topface-down-thin3 of the face-to-face pack, as it was left after the second story,and you repeat your first story a third time, but openly explain, by active illustration, how it was not the three remaining Jacks that you put in separate parts of the pack, but the three ODD cards that rested just above them, after the top Jack has been laid aside. You herewith layasidethese top three ODD cards. a d in that samemotion,you reverse. the pack secretly, and openly take the now odd top card, putting it intothe top two-thirds of the pack, explaining that it is NOT a Jack (they think it MUST be. one) but wa! really the first odd card, which you now flip over on the table, face up, t o emphasize your .account as you go along-
I/a. (20 Cents)
...
-
OCTOBER 1954
2 Sliding the second top card (here, again, they feel you have taken a Jack) in another part of the top tws-thirds of the pack, you remark that it, tie, is an ODD card, NOT a Jack (which thy are becoming more certain it is), and alip over another of the three oddI cards on the table for emphasis. Finally, the last supposed Jack is buried in the top part of the pack, the third odd card on the table flipped over, and you take up the Lookout Jack from the table to finish your story as in the second telling by secretly reversing the face-toface pack, replacing the top Jack, dealing off the four Jacks face-down, and declare “That is how this clever quartet always got safely away across the roof-tops!” This time+ your onlookers may turn over the four Jacks for themselves, and find them to be NOT a mixed lot and one Jack, but REALLY all Jacks, in spite of their suspicion of your having been confused in your handling of the cards! But you have a fourth and final surprise for them. . . Secretly correcting the reversed portion of the deck during the momentary excitement of this last denouement, you hand it. and the Jacks to them, and ask one of their number to run through the story just as you told it, apparently to see if he understands how to do it. Let him actually lay aside the three odd cards, and the Lookout card, and REALLY BURY the next three Jacks in the pack. Let him now return the Lookout card to the top, then deal 04 four cards facedown, and when they are convinced that he hqq NOT come to a successful climax, you openly assure them that the pack is an ordinary one, in “I defy the wisest
fact, not even your own, but :h borrowed one (you really HAVE borrowed it in advance from someone like Jack Avis), and you now assure them that the four cards now face-down on the table are all Jack’s, You will hear from this challenge, and without touching the four facedown cards-, you merely prove your claim by reminding them again that the cards are NOT yours but Bor707md cards. “ Wha loaned me this pack, by the way?” you inquire. . . Mr. Avis (or someone with his first mine among your onlookers), now admits ownership, and you say, “ Thank you, JACK “. . . . “Is there anyone else who doubts that these’ f&r cards are ALL JACK’S?” Two other methods of doing this, without sleight-of-hand, are : (1) Pick up four Jacks as one, and lay nil four aside, face up, as the one LOOKOUT JACK. Returning “ him ” to the pack will leave you set for your climax. Or (2) Insert SIX cards openly behind the next-to-top Jack in your vertical display column, as in your third telling of the story, but declaring that there are tk7ee extra ones used. The fact that you seem to reveal a bit of a swindle here blinds them to the extra swindle you are perpetrating, with SIX extra cards, instead of three, and enables you to do the fourth telling without having to use the face-to-face move you used in the second and third telling of the story. Still further methods are possible, but the working out of the(se I will leave to those who find this repeat presentation theme a good one with which to amaze their friends.
man in the world to turn a truly good action into ridicule.” Henry Fielding, “Joseph
1 Andrews.”
TRIPALTERATION WINSTON
H. FREER
N DOING a series of colour-changes, it il. I effective to build up your climax until you are using but *‘ONE ” card, bare-handedly, to achieve your effect. To show just ONE (?) turn it over, then back to reveal an entirely different card, without preparation, is approaching near to perfection in neat, clean-cut manipulative work, don’t you agree ? The much-practised back-handpalm move which has ‘so little practical usefulness under present day conditions, is all you need possess in skill. Pick up two cards as one, from the FACE of the deck; and, facing your mirror, hold these two facing the mirror also, held before you by their lower right-hand corner, preparatory to back-palming. Lower your right hand to your side, then back behind you in a smooth sweep, execute the back-hand-palm of the face card, and allowing
5# * +t m
pfs’
the rear card to be nipped between tile middle finger (marked X in Fig. l.), and the forefinger. The thumb momentarily moves to ;.he right., and as the card tilts towards the audience, Fig. 2, the thumb goes to its face-side, hdlding it, finally, between the thumb and middle finger. Fig. 3. Note that this card now conceals any sight of the corners of the back-palmed card, that might
3 otherwise show. Your audience has Seen you wave ONE card in air, turn it over to reveal an entirely different card. You now let this card droptothe floor, aiid your right hand simultaneously drops to your side, out of sight, while you draw the back-palmed card intothe right palm, ready to slip back ontothe back of the pack.Before executing the above change, it is effective to hold the card first taken on the table while someone marks the back border plainly with adark pencil. This mark will still be on the changed card. You now propose to tell how the change was accomplished! You show an odd card, and place it face down behind the next-to-front card of the pack. (They think you put it back-to-back with the face card). Now repeat the same moves as in the first change, buttake up THREE cards in a triple-lift, and back palm only the facing card, as you swing your hand down and back. Turning a bit to your right, you comment that the card Seems to have “ changed,” a’s they now see the other card that seemed back-to-back with the first, but you will note that the middle card of the three will invariably fan a bit and reveal itself, in this move, and you comment further that should they
ever try to fool anyone with t4is kind of stunt, they should make certain that this “ spreading ” does npt occur . . Just in the event that it SHOULD show, then, you remind them, all they need do is to finish turning over the TWO cards as you turned over the one, in the first changemove, Fig. 3, and their,audience will be perplexed to see that the front card has now changed to a still different one! Again you let these two visible cards flutter to the floor, and recover the backpalmed card behind your right hip, as before. This sucker denouement is good for a mystified laugh-, and is a satirsfying skilful sleight to perform, For a third effect, I now have an expanding card, with a contrasting card glued back-to-back with the smallest card that is to “ EXPAND.” I show this contrasting card; go through the very previous same “ swoop” move as in thetwo changes and show the.back, or small card that is to expand. Now I state, “ that in order that all may better see the result, I’ll hold it closer,” . . . and on bringing .the card to the, frontagain, in the reverse of the first swooping move, I let it expand, and the changed card is now seen, but four times its original size.
.
‘l Mr. Van Druten’s Holroyd family is not a company of witches, it is a bunch of amateur, and rather inefficient amateurconjurers. And \!ere is n o entertainer on earth who so quickly exhausts his charm as an nmateur conjuror.” Harold Hobson. Sunday Times.”
A MATTER O F HABIT JAMES DOUGLAS T h e effect has numerous variations and the
FEW months ago I made up the following effect for a compere friend of mine who has used it with successinmanyshows. The entertainer, displaying a twenty packet of Capstan cigarettes, boldy states that habits, characteristics, etc., of a smoker are revealed by the kind of cigarettes he mokes. For example if he uses Capstan he is invariably of the‘sealoving type and is usually a sailor. If he is of the austere, sincere kind -he is fond of Churchman (passing his hand1 over the “ Capst,an ” packet it is now changed -to a packet of the Churchman brand). If the individual is of the gay nature and likes night clubs, etc.. he usually smokes Piccadilly). The entertainer covering the Churchman packet with his handkerchief on the words “Night Life,”’ removes later it to reveal a packet of “ Piccadilly ” cigarettes. Continuing his tale he asserts that if the smoker is a conjurer he is usually playing around and xmokes “ Players.” The “ Piccadilly ” packet having been again covered with the: handkerchief for a brief moment is nowremoved to show a packet of “ Players,” from which the performer removes one cigarette and lights it with the remark “ I never get fayged out doing this.”
A
I
“
above could be improved upon to suit the performer. Requirements : A full packet of 20 “Players”. An empty shell minus the tray of “Piccadilly” will slide nicely over this. Glue a “ front ” of a a packet of “ Churchman ” to the rear side of the ‘‘ a l l y ” shell. Place a front of a Capstan packet over the Churchman. If you “ score ” the Capstan front vertically down the centre it makes much easier the colour change palm described later. Presentation : Have the handkerchief handy in side pocket. Hold the “ Capstan ” packet facing audience holding flap in position by gripping at sides. Pass the right hand over the flap and as right hand’ base of the thumb strikes left asideof “ Capstan ” front double it (at centre) and palm as in the card colour change.Remove handkerchief leaving flap behind in pocket. Cover Churchman ” packet twisting the “ Piccadilly ” side to front under cover of handkerchief. Finally on covering for th,e last time, steal shellaway leaving the ordinary packet of “ Players ” for own use or distribution whichever you prefer.
Art is not imitatian, but illusion.” Charles Readc,
‘l
Christine Johnstone.”
l
4
JOHN HOWIE'S ROUTINES WITH THE JARDINE ELLIS RING Continuedfrom page 95
PENETRELLIS This effect which is ideally suited to drawir-g room or similar conditions incorporates twounusual feature&. One is the useof a duplicate solid M g and the other is a novel means of attaching one ring and shell to a borrowedhandkerchief. This latter sublety permits of particularly clean handling of the properties used.
'.
\
\
\,X /
f
/
/
me&:
While a rod and ring are being examined a handkerchief is borrowed and displayed insuch a w a y as to make it obvious that nothing is concealed in either hand. The handkerchief is draped over the rod which is held in a simple stand. On meiving back the ring the performerplacesit under the handkerchief then pushes the latter aside to show the ring upon the rod. The ring is slid off the rod which is returned to the stand, still with the handkerchiefupon it. Again the ring is placed under the cloth then the handkerchief is pulled away to shaw the ring spinningupon therod. If desired everything can again be examined while the handkerchief is folded and returned to its owner. Reqdremenb : The Ellis ring and shell together with a duplicate solidring-these should be in the left coat or trouser pocket. A rod of any suitable material measuring approximately half an inch in diameter by 24 inches in length. A simple displayst,and for the rod-the type consisting of a plain base with two uprights as illustrated in Fig. 25 iB recommended. Method : Remove thetwo rings and shellfrom the pocket with the left hand having manoeuvred one ring with the shell on top of it into the fingerpalm position. With the other ring at the fingertips take the rod in the right hancl and request the Ioan of a gentleman's pocket handkerchief. When one is offered, give the lender the rod to examine and take the handkerchief by one corner in the right hand. Transfer the handkercbief to the left hand and, taking the ring in the right hand, offer it to another spectator for examination. Jokingly remark that since your property is being examined it might tx? as well to have a closerlook at the han kerchief! X-Ray View Spread the handkerchief with bothhands then throw it over the left. hand,turning this 'hand palm upwards whenhiddenby thecloth.With the left fingers pointing towardsthespectators reach forward with the thumb and grip that portion of the shell neareit to the finger tips. Raise
\
/
\
/ l'
\
!
\
\
'T-
\
1
\',
,R\\\
-
L
d
e-
\L
F I ~ 2. 2
the thumb so that the hidden ring and shell form a sort of " jaw " as shown in Fig. 22. With the righthand grip the middle of. that edge of the handkerchief nearest to the spectators (X in Fig. 22) and gently draw the handkerchief off the left hand. (Note : The handkerchief should be positioned so that the rear edges is at right angles to the forearm). At the {start of this movement hold
FIG. 23 the hands so that the upper surface of the handkerchief can be seen but, as the movement continues.raise the right hand to conceal the move
5 that follows : When the rear edge of the handkerchief has almost cleared the hidden ring close the left thumb against the iingers thereby trapping about half an inch of cloth between the ring and the shell. Press the ring and shell firmly together to ensure a secure grip on the cloth. Raise the right hand to the limit to show one side of the handkerchief then release the right hand and let the handkerchier drape down over the back of the I d t hand as in Fig. 23, which shows the relative positions of ring, shell and rear edge of the handkerchief. Now withtheright forefinger and,thumb pinch theclothonthe spectators’ side a little below where the handkerchief drapes over the left fingertips. Raise the right hand and the ring and shell will remainhidden and suspended as in Fig. 24. The above moves while appearing to be complex take, in actual fact, no more than a few seconds to perform. Hold the handkerchiefbetween thetips of the thumb and forefinger so that the handcan be seen to be empty then transfer it to an identical position in the left hand. Thus both hands are tactfully shown to be empty. Take back the rod in the right hand.
of the rod the rod passes through the hidden ring and shell (to facilitate this move twist the handkerchief so as tobring the ring and shell face on to the rod). With the handkerchief draped over its middle replace the r o d on the stand and have the examined ring thrown back to you. Stand behind the table onwhich the stand rests, display the ring, then place both handsunder the handkerchief and grip the looseringin the right thumb palm. Gently pull the trapped portion of handkerchief from between the threaded ring and shell then push the handkerchief together with the shell to the right then, with the left hand spin the threaded ring as in Fig. 25. Now di,spose of the palmed ring.
Disposal of the duplicate ring Probably the best all-round method here,is to use the right side pocket. Circumstances, however,mayprovidegood alternatives. e.g. behindsome object already on the table or to a “ Topit ” vanisher. Continue by taking the rod in bothhands and remove it from the stand. Hold it as in Fig. 26,and slide the ring to and frobetween the hands several times by suitably tilting the rod then apparently take the ring off at your right hand end. Actually you switch the ring and shell thus : As the ring approaches the right hand use this hand to raise the handkerchief slightly and, at the
The handkerchief is now draped over the rod -the details being as follows : Bring the end of the rod.down behind the handkerchief so that in moving the handkerchief along to the middle
6 same time,follow up with the left hand so that the handkerchief is gripped by the left hand as the ring slides under it. Press the handkerchief d,own on the ring and iihmediately move the right hand with the shell along and off the rod. The switch takes but a W n d or two. Replace the rod on its stand. As the left hand grips the handkerchief over the solid ring. the right thumb slides shell along
rd. Rear View Take the shell and, whilst facing left, spin it in the air andcatch again.Nowface frontand place both hands under the handkerchief. Grip the shell in the right thumb palm and take one of the rear corners of thecloth between the right fore fidger and thumb. Rest the left hand on the rod to steady it, then pull the handkerchief backwards to reveal the ring spinning on the rod as in Fig. 27. Immediately swing the handkerchief up on to the left shoulder and, inmoving the right hand downwards, dispose of the shell in the breast pocket. Carry the stand complete with rod and ring forward and place into a spectator’s hands while you take the handkerchief fold it and return it to the lender. NOTES-This is one effect in which examination of the apparatus is not only desirable but esse+ tial. There ils no loss if interest, however, due to the handling of the borrowed handkerchief. The tempo of the second phase of the routine should be much faster than that of the first phase,
FIG.
27
which is intentionally deliberate-aim to give the impression that the penetration could be done as often as desired and that the repeat is merely a casual encore. If desired the left hand can beusedin place of the right for the disposal of the dmuplicate ring and also of the, shell-usewhicheverhandgives the easier handling.
T o be continued
BIBLIOGRAPHY OF THEJARDINEELLIS The following list of references, arranged in chronological order, is believed, at the time of writing, to be a complete one. Reference L-THE
ROD A N D RING from
A Few Jardine EMis’ SeCreQ Jd.msan. (p. 10). Publishedby George Johnson, London, 1925. This booklet of Ell’is’secretsincludesadescription of the removal of the ring from a stick followed by the passing of the ring onto the stick. Only the basic secret and fundamental moves are given and tbf author acknoy; ledges that he hadonlyseenthe effect from the front. The only example. knqwn to this writer of a dealer’s instructions for the Ellis ring trick appears to have been based on the above description. Reference 2.-THE
(c
JARDINE ELLIS RING - B. A. “ Magic Wand,” vol. xxvii, No. 179 (October, 1938). A subtle handling of the shell permitting a clean cut penetration of alengthof ribbon is described. This effectwasreprintedunder the title Bedram lJlillidge’s Jardime Ellis; Routine in Peter Warlock’s Pentagram,” Vol. 6 , No. 11, p. 85 (August,1952). Millidge. ”he
RING T R I C K
Reference 3.-THANKS TO ELLIS-John Peter Warlock’s (May,. 1949).
‘‘ Pentagram
”
A. M. Howie. Vol. 3, No. 8, p. 57
Describes an effect wherein ring, a after being definitelythreadedonaloop of ribbon, isshakenfree in full view. Reference 4.-MOHAMMED BEY’S ROUTINES FOR THE JARDINE ELLIS RING ON STICK AND RING ON ROPE AND TWO ADDITIONAL ROUTINES. Edited by John J. Crirnrnins, Jr. Published by Holden’s Magic Shops, 1952. The two routines by Mohammed Bey ( S . Leo. Horowitz) give details of his methods for passing a ring onto astick(thiseffectincludes an immediaterepeat), and onto a loop of rope hungaroundtheneck. The additional routines are : J d m Howie’s Ring and Ribbon,” being a reprint of ‘‘Thanks to Ellis ” (see Reference 3), and Bill Nard’s “ Ring on Pencil ” in which the ringispassed onto apencilundercover of asheet of notepaperimpaleduponthepencil. Reference 5.-ELLIO’IT ON ELLIS - Bruce EIPott. “ Phoenix ” No. 260, p. 1040 (July 25th, 1952). Details the passing of a ring onto a silk handkerchief which is twined around the ‘fingersoforie hand.
RIN?
Reference 6.-ROPAN - Jack Avis. Peter Warlock’s ‘‘Pentagram Vol. 6, No. 11, p. 84 (August, 1952). A version of the ring on rape is described.
F. Grant. Reference 7.-ELLlS RING ON ROPE-U. M.G.A. Inc. Jkciure, p. 8 (October 13th, 1952). A ringispassed onto a length of rope while the middle of the rope is out of sight within the coat pocket, both ends of the rope remaining in view throughout. Reference 8.-THUMB FUN - Franklin V. Taylor. ‘‘ Phoenix ’’ No. 267, p. 1068 (October 31st,1952). A novel Ellis r ~ effect g in which a ring, taken from a spectator’s thumb undercover of a handkerchief, is magically passed back onto the thumb. Dai ‘Vernon’shandling of the effeot, indexed as Vemon on,Taylm m Ellis was givenin “ PY~mnix No. 268,p.1073 (November 144h,1952). The original effect together with Vernon’s F d l i n g was reprhted inPeterWarlock’s “Penhgram Vol. 7, No. 4,p.28 (January, 1953) together with an additional This latter idea,indexed as ideabyPeterWarlock. Warlock’s Thumb Tip was reprinted in “ Phoenix ” No. 276, p. 1105 (March6th, 1953).
Dr. F. V. Taylor’s own handling of the effect appeared in ‘‘ Phoenix ” No. 273, p. 1093. (January 23rd, 1953). A presentationidea for theeffect,devisedby Fred Keating and indexed as Gmmsd, waspublished in “Phoenix ” No. 284, p. 1137, (June26th,1953). THE RIBBON-Ham Trixer. Reference9.-RlNGING Goodliffe’s “Abracadabra h Vol. 14, No. 361, p. (December 27th, 1952). A straightforward penetration effect, the ring being passedonto a loop of ribbon,
m.
CONCEIT - Dr. J. Reference 10.-DALEY’S phoenix No. 274,p.1097 (February6th, 1953). Whilebasically a ring-on-wandeffect,there is a preliminary phase wherein the ring is vanished from the handandreproduced from a smallcardboardcylinder, previously shown empty. This effect is patterned after John Ramsay’swellknown Cylinder and Coins routine.
To be continued
BOOKS “ CONJURING” by J. ElsdenTuffsin the Teach Yourself” Books (Published by the English Universities Press Ltd., London). price 61-. Here is an unpretentious book of some 180 odd pages, adequately illustrated whichtells the reader how to set about becoming a conjurer. There are very many tricks, some having original twists, but particularly useful are the hints regarding presentation and the attention to angles when performing. There is a chapter at the end called the “ Little Things that Matter,” whichcould give rise to much controversy, for it is here that the author speaks of the amateur turning semiprofessional, the point where, for some, they cease to take large expenses and receive a small fee.Mr.Tuffs suggststhat he should start by charging a very small amount increasing such amount as he continues to improve. We feel that this is all wrong and that once a conjurer beco,mes known as accepting a lowfee, that low fee will stick. This applies particularly to those who specialise in children’s work in their own district. All in all the book is excellent value and one which should figure in quite a number of juvenile Christmas stockings this Noel. “
BOON.” A device for mentalists marketed by Eric Mason of Erith and obtainable from all dealers. -Price 216. The device is definitely an improved form of the Swamigimmick, andthe briefest trial will prove its great advantages over every nail-writer that wehave tried to date. We also hope Mr. Mason will market the holder that ’he Ghowed us
a few weeks back, which enables the performer to get the gimmick into position in a most natural way.
*
*
*
From Gamages we havereceived their new catalogue. Within its 64 pages, one can find most of the standard items and gimmicks advertised, as well as quite a number of novelties. “ WORLD IN ECLIPS,E” by Will Dexter (A Science Fiction novel published by Peter Owen Ltd.) Price 1016.
Whilst all our readers will know Will Dexter as a contributor to this and many other magazines, it is not all of themwhoknow that heis a journalist byprofession. This present book is his first incumion in the realm of the full length novel. The plot is straightforward and deals with a small band of people who are the only survivors of the human race, after a cosmic catastrophe whenan untried form of explosivesweptalmost all livingthings from the globe. It deals too with the inhabitants of another planet, Vulcan. I n these days when factual records all lead to the fact that intelligent life must exist in outer spac:e, Mr. Dexter’s novel is not so far fetched as those not innured to science fiction might think. There are some nice touches in the book, espezial.ly one which explains the “ Marie Celeste ” mystery. To those of you who l.ike Science Fiction here is an opportunity to add to yourexisting library a n exciting and unusual contribution by a magician.
8
WILL DEXTER’S IDENTITY PARADE This is the ideal routine for the intimate show, for it is designed to gat LAUGHS as well as to completely baffle the audience. Half-a-dozen assistants are invited t o select one of their number as the SUSPECT,and this i s done by dealing a well shuffled pack of cards. The man who gets the ace of spades is the SUSPECT, but he DOES NOT REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print at each end. They then tear theirslips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM is taken t o each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE H O W HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes t o you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The
Spectator Does All The Work-Without Knowing
‘‘ How.’’
Also included is a N E W PRINCIPLE in Mantalism that can beused in m a n y m o r eeffects.
PRICE 716
Postage 3d.
(1 Dollar)
MAGIC WAND PUBLICATIONS Spectator’s Choice Francis Douglas 7/9 Mother Goose Mystery Martin Gardner 7/9 Twenty-Six Living and Dead Tests Teral Garrett 5/3 The Concert Ventriloquist and Children’s Hurling Maurice 10/3 Entertainer Jamesosophy Stewart James 513 Strictly Magic Eddie Joseph 5/3 Mastered Amazement Koran & Lamonte 10/3 Toni Koynini’r Card Miracles Toni Koynini 7/9 Stunts With Srage Money Lamonte Jack 5/3 Suzy and the City Slickers Jack Lamonte 7/9 Where Houdini was wrong Maurice Sardina 20/6 9’ 9, ,, (cheap edition) 719 Stooging Around Joe Stuthard 5/3 Playing With Magic Wilfred Tyler 30/6 Magically Yours Verrall Wass l5/6
Chdknge Instant Hypnotism andMass Hypnotism
GeorgeArmstrong 211Chandu’s Psychoanalysis George Armstrong 1013 Gwrge Armstrong’s Premonition George Armstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 513 Tricks of the Trade George Armstrong 217 The Universal Mind Ron Baillie l 2 / 9 Mysteries Bohleno’s Henry Bohlen 10/3 1’11 Read Your Mind Darling Aage 1719 Entertaining with Contact Mindreading S.E.Dexter 7 / 9 Entertaining with Hypnotism S.E. Dexter 10/3 Identity Parade Will Dexter 719 Automentalism Ken de Courcy 2013 Telepathy Zodiac Ken de Courcy 1219 John Ramsay’s Cups and Balls Victor Farelli 2516 Thanks to Leipzig ! Victor Farelli 10/3
F R O M T H E PUBLISHERS
T H E M A G I C W A N D PIJBLIS1HIAiG C O . 62 WELLINGTON ROAD, ENFIELD, MIDIDLESEX The Magic Circle President : Hir Grace the Duke of Somerset.
D.S.O.. O.B.E.. J.P., M.I.Y.C.
VIcePreaident: Dooglu Cnma, Eaq., Y.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magi4 Theatre :
King George’s Hall, W.C. Nov. 16-Concert 20-Dealers’ Day Puticulan from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue NewMaldsSurrey
k
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and canbe obtained direct from the publishem for 117 perrjngle copy. Annual Subscription 18 Ipost free. PUBLISHED BY:
JACK HUGHES will be pleued to send you full details of
THE DE LUXB “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books for review should be aent to the:
OLD AND NEW. Let m e know your W U I ~ LIST PREE FOR STAMPED ENVELOPE
EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
Colindale, London, N.W.9.
G E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P V B L I R X D BY T H E I’UOPAIBTORS ‘IRE MAGIC W A N D PUBLIEHINGCOMPANY. 62 WBLLINQTON ROAD, ENPIELD. MIDDLPSBX AND PUWTBD a y H P ~ B B R TWALKER e SON (Pnmnnd LTD.. WELL CROPT, SXWLW, Y o n K s H m E
*
ANNEMANN ASSEMBLY H A R R Y E. B U R N S I D E AND CHARLES W. C A M E R O N T H E FOLLOWINGhas
beenconceived andrecapturethe unusualanglehehad on Mentalism wntten as a sincere tribute to Theo and Magic, continued perusal of the ] i n x and Annemann. Annemann’s writings will conjure up many a new Whilst itisdoubtful if anyone couldever slant on magicin the Annemannmanner.
T E L E P A T H I CT W I N Therehas been a tremendousamount of material published on the“long distance telepathy ” theme and the version that follows, whilst involving a certain small amount of preparation, gives yet another workable method. EFFECTThe medium is led away under escort to another part of the building. A pack of playing cards, borrowed if desired, is shuffled by a spectator who then removes cards singly from the pack and drops them face up on a tableuntil requested to stop. Thefaceup removed cardsarethen gathered togetherand picked up by the spectator who places the balance of the pack aside. The cards held by the spectator are then mixed and on,e card is freely selected. This card is shown to the performer and to the audience. The chosen card is now placed face down on the table. The renzaindcr of the chosen grow areaeain to the - mixed andsentout medium. A few momentslater a slip of paper is brought back bv the SDectator whotook the cards out. The paper h& the name of the selected card written on it. Climax Number One ! The usual E.S.P. symbol cards are now shown, a circle. a cross. three wavy lines, a square and a five pointed star. One symbol is selected by a member of the audience and held up so that all present may know the chosen design. The performer now asks a spectator to bring back the medium, but requests him to thoroughly blindfold his Dartner before they enter theroom. The performer can be led out of the room before the medium enters or can be concealedwith-
VOLUME 9, No. 2
-
in the same room. The medium now makes a dramatic, if somewhat stumbling entry, guided by the escort, who places the medium facing the audience. Asking the audience to concentrate on the chosen design, it isslowly and correctly named. REQUIREMENTSA pack of playing cards and five large cards each bearing an E.S.P. symbol heavily outlined in Indian Ink. The size of these cards will depend upon where the effect is being performed. be Four coloured rubber bandswhichwill described later. Blindfold material, also described later. PRESENTA’TIONThe medium is introduced and then led away by two volunteer spectators. The pack of cards is then shuffled by a member of the audience who now draws cards. one at a time, and drops them face up on a table. The performeris quietly adding, mentally, thedenominational values of the cards, ignoring suits. Both medium and performer have a key total of 70. Jacks count as 11, Queens as 12 and Kings as 13. Casually stop the assisting spectator before he reaches the key total of 70 and then remark, as youremove the pack from his hands that : “Perhaps one morecard will do.” The performer himself adds a card of a value that will bring the total of face up cards on thetabletothe required number of 70. For examule, cards on the tablemay be, ignoring suits as follows.Ace,seven, jack, nine, three. queen, ten, four and nine. This assortment equals 66. The performer would then add a four spot of any suit to make a total of 70.
I/& (20 Cents)
-
NOVEMBER 1954
10
There should be no difficulty over the above as up till this point there is no cause for suspicion as no-one as yetknows thecardto b?selected. The balance of the pack is placed aside and the caiils on the table are mixed and then spread out face down. The assistant is asked to select one card, show it to the audi’enceand also to the performer. The card isnowplaced in the spectator’spocket or laid down, back uppermost on table. The remainder of the face down cards are now re-mixed by th? spectator and the performer gives him a rubber band to place around thz group of cards. Thecards are now taken out by a spectstor to the m,edium. The medium can tell the value of the chosen card bv auickly totalling the values of each card in the group and deducting. from 70. For example if the king of hearts is the chosen card then the mediumwillfind that the total of the cards brought. out by the spectatorequals 57. This deducted from 70 equals 13, the valw of a king. The suit is known by the colour of the rubber bandaroundthe cards. The performer has a small holder in his pocket containing four different coloured rubber bands. Red equals hearts, yellow equals clubs, blue equals diamonds andgreenis for spades. The name of the chosen card is written down by the medium 011 a piece of paper and sent back for verification. The five E.S.P. cards are exhibited and one is freely chown. The remainder can be hidden wherever the audience desires. Explain that you wish the medium to be thoroughly blindfolded before being brought back. Whilst a member of “
the audience leaves the room to bring the medium back the performer states that he can either b:: concealed in the same room or can be taken to another part of the building. It is, naturally, betterfor presentation if heremainssomewhere in the same room in order that he may be present to take his final bow with the medium. The method for passing the diagram chosen tothe medium is as follows.Depending on the blindfold sent out, the medium can tell the symbol chosen. White handkerchief equals circle.White handkerchief and a wad of cotton woolequals cross. Coloured handkerchief equals three wavy lines.Colouredhandkerchief and wad of cotton woolequals square and twowhitehandkerchiefs equal five pointed star. These materials arein the performer’spocketsin a knownorder. The symbols are memorized in the usual manner. Circle= 1 being 1 line. Cross= 2 being 2 lines. 3 wavy lines= 3 being 3 lines. Square=4 being 4 lines. 5 pointed star= 5 being 5 lines. Immediately on seeing the spectator with the blindfold material the mediumknows instantly the chosen diagram. This can be written down as an extra chcck point before the medium’s return. Throughout this routine tht performer can make the most of the fact that he wry seldom handles any of the items. The pres!o,ntationpoint of the medium’s blindfold entry can be made very dramatic and should hold an audience’s attention. With a little improvisation the entire routine can beperformed under anyconditionsandis entirely self contained.
Do you like card tricks,” he asked. I said “ No.” He showed me five. Somerset Maugham.
FANTASTIC FUMES The following close up effect is o n a subj,cct that was dear to Annemann’sheart-theWeird and Uncanny. The metbod is fairly well-known, having been used by Ron Baillie in the March, 1951. Pentagram and also by Will Goldston inhis “ Tricks of the Masters.” The story theme that follows, however, should build this effect into an unusual presentation that will be remembered. The magician states that for some time now he has beenextremelyinterestedin the Occult and all matters appertaining to the Supernatural. After a great deal of research he has discovered a rather peculiareffectdealingwith sympsthetic magic. “ If a native witch doctor wishes to produce rain he goes through the following ritual. “ A drummer beats a roll on the drums to
resemblethunder. The witchdoctorslashes the air with a blazing brand to imitate a flash of lightning andthen hesprinkles a few drops of water from a gourd o n to the ground. He firmly blelieves that what he has done on a smallscale will now happen on a larger scale.” As he finishesspeaking the magician withdraws a thin black plastic rod from a leather case and says. “ I amnot going to inconvenienc,eyou b y making something happen on a large scale but wlll perform certain actions and as a result of the Law of Natural Magic some peculiar result will occur, but on this occasion-in miniature.” The magician has by this time lighted a cigarette and is holding it in his left hand. Slowly he passes the end of the black rod through the thin swirl of smoke. Once, twice and a third time. Laying the cigarette in a receptacle he allows
l1 his hands to be seen empty with the exception of the rod. Suddenlyhepasses his right hand over the end of the rod and a thin spiral of smoke issues, apparently from the tip of the rod. The rod can now be handed for examination. SECRET-The abrasive side of a safety box of matches is burned in aglass or metal receptacle until anoily residue is left. This residue canbe carried as Ron Baillie suggested in his effect in a metal ink bottletop in yourpocket. A little
I
applied to the right forefinger andthumb and under cover of passing the hand over the rod the normal rubbing motion will produce the smoke. If anyone wishes to go to the trouble of fixing the little head of Skullocation to the end of the rod hewill have a really attractive close up " prop." A miniature wand as sold by the dealers will easily take the place of a plastic rod or even a thin piece ofwood carved into a rough totem pole would do.
" Lucre and applause are not necessary to him. If he were set down with the materials of his art on a desert island he would be quite happy. He would not cease to produce thebarber's pole from the mouth. To the indifferent winds he would still speak his patterand even in the lastthroes ,pf starvation would not eat his live rabbit or goldfish." Zuleika Dobson "-Max Beerbohm.
l
COINS OF CHANCE Remember Annemann's excellent force of one book from amongst several. The following is an adaptation of this principle but by using coins and byvarying the presentation slightly it has been made into a close up effect. Three different valued coins are lying on a table, say, +d.Id.and 3d. piece. The wizard extendshisclenchedfist and asks a spectator to holdhis wrist very tightly sayingnothing at the moment about the fact that in his clenched hand lies a duplicate of one of the three coins, say, the penny. The assisting spectatoris asked to pick up any two of the coins on the table. If heleaves the penny, point out that he liftedthe twohe free will, atthe sametime chose of hisown opening your clenched hand and letting the duplicate coin clink on to th'e coin on the table. CO-INCIDENCE OR? If, however, he picks up thepenny and the 4d. then ask liim to hand youone coin. If hegives "
I
"
you the penny,receivesamein the empty hand, again mentioning that he gave you that coin quite freely. As yousay this you slowly open the clenched hand and reveal the duplicate penny. Should he, however, hand you the jd. take it and drop it beside the coin remaining on thz table. State that he has retained one coin of his own free will,openyour hand andagain display your matching coin. An unnecessarily long explanation for a simple effect but experience has shown this to be a worthwhile routine for lay audi,el:ces. Naturally it is done once and once only.
*
*
*
CO-incidenceeffects are legion but the next routine is submitted because the conditions governing it seem to be so fairand above board that the final result is guaranteed to make the onlookers wonder wheth'er the old witchcraft lawshould have been repealed.
The work of the conjuror is so subtle that to the enthusiast it will have as much fascination as the unravelling of a mysterv has for a great detective;,and although all mv readers may not become brilliant performers, they will be Ftudents of conjuring . . " Magic Made Easy "-David Devant. least at
.
TRIPLEMIRROR Two spectators assist you, they stand one on either side: in front of you is a small tab1,e. Two packs of cards lie on the table and the spectator on your right picks up one pack, the second spectator picks uptheother pack. B.oth thorough!y mix their respective packs and you explain whatyou want them to do. Spectator A is to deal cards, one at a time, face down, andto stop whenever %e wishes. Spectator B is to deal cards in the same manner and in unisonwith spxtator A. He must dealas many as spectator A but once the first spectatorhas ceased to deal,then he canstop wheneverhewishes. Spectator A deals, say, 10 cards and then stops; spectator B also deals 10 cards and perhaps requested to lay the another 5 cards.Bothare
I
OF T H E MIND balance of thei,r packsaside. The performer stat.es that they themselves thoroughly mixed the cards, they had a perfectly fair choice as regards the number they dealt, they were not in any way influenced and that from start to finish he himself has not touched th,e cards, and yet . . when they turn over their top cards they are both the same. The conditions gov'erning this effect are so fair that the result appears to be a miracle. Requirements : Two packs of cards. one red backed and one blue backed. The redbscked pack is marked, in yourown system for preference. A set of card indexes containing a duplicate blue backedpack in your pockets. I know that the factthat you require to use a markedpack of
12
cards and card indexes may tend to scare many away, but I assure you that there is no speed required to extract the required card from the index andthe misdirection is more than s a c i e n t to allow even a non-sleight of hand performer to palm out and add one card to the spectator's pile. Presentation : Request two spectators to assist you. Place them one on either side. The table stands in front with the marked red pack and normal blue pack. ,Request the spectator on your rightto select a pack. If he chooses the red marked pack he becomes spectator A, if he takes the blue pack he becomes spectator B. Whoever has the marked pack becomes spectator A. Saying that one trained mind. can influence two untrained minds and that theirthoughts merely become a reflection of your own, you request them to thoroughly mix their cards, and tell spectator A to deal as many as he wishes, face down, one at
I
a time. He is to stop dealing whenever he wishes. Spectator B is told to deal as many as spectator A, but once A has stopped dealing then he can stop any time after that. When A has stoppedyou read the back of the top marked card. Pay no attention to the cards that B deals. Findand palm outtherequired card. When B hasstopped deaiing emphasize the fairness of the procedure, etc. Also the fact that you have not touched the cards, as you say this casually, and this must be done absolutely casually, push B's cards towards him, addingtheextra palmed card. As you do this, say, " Will youpick up andsquare your cards." Turn and look at A and request him to do the same, at the same time indicating his cards with your hand but not touching them. Request them to turn their top cards over.
Of all the tricks performed by amateurs, themost effective to a sm;ll audience are those which he does Magic Made Easy " - a v i d Devant. apparently on the spur of the moment.
I
JOHN HOWIE'S ROUTINES WITH THE JARDINE ELLIS RING Continued from page
6
RING ANDHAN'DKERCHIEFEFFECTS in Fig. 28. The recommended procedure is as fol-
RING IN THE KNOT This is a direct adaptation of the well-known effect in which a coinis vanished then found within a knot previously tied in a handkerchief (one of the many descriptions of this effect will be found the in " Greater Magic "-Hilliard, p.682). Using Ellis ring a humorous note can be introduced into the presentation as described below.
lows: display the combined ring and shell as in Fig. 16 then raise the left hand to obtain the position shown in Fig. 17. Take the shell in the right hand
EFFECTA ring is vanished and later shown to have passed withinaknot previously tiedin a handkerchief. REQUIREMENTSThe Ellis ring and shell. A handkerchief which may be borrowed. METHODBasic effect It is necessary to secretly separate thering and shell and then get the ring into the position shown
FIG
29
13 and place it aside, e.g. in the eye as a monocle o r hook it over a pen or pencil projecting from the breast pocket. Takethe handkerchief inboth hands by diagonaliy opposite corners and turn the left hand palm downwards to allow the ring to slide to the tip of the thumb and hence against the rear side of the cloth. Flip the handkerchief over to obtain the position shownin Fig. 28, i.e. the ring held between the two folds of the cloth. Now flip the hanging corners over as indicated by the arrow, thus forming a “ tube ” of cloth. Bring both hands togeth,er, simultaneously releasing the ring which will fall within the “tube’’ as indicated in Fig. 29. Now tie a single overhand knot in the handkerchief thereby trapping the ring within it.Finally vanish the shell in any suitable manner then allow a spectator to discover the ring within the knot. Humorous Presentation This is designed as a climax to a routine involving the passing of a ring on to a wand using a handkerchief as an accessory.P,roceed as in the basic effect up to thepoint where the knot hasbeen tied in the handkerchief. With the wand held by two spectators hold the shell on top of it with the left hand. Hold theknot in the right hand and put the knotted part of the handkerchief on top of the shell.
FIG. 30 -Top
\
VIEW-
Under cover of the handkerchief push the shell into the right thumb palm (both hands being held palm downwards). Now place the left hand on top of the knot to hold it in position and grip the corner of the handkerchief nearest to you with the right hand. With the left hand tap the hidden ring against the wan.d to confirm ‘its presence-the position is now as in Fig. 30-tfien remove the left hand and pull away the handkerchief. Do not look at the wand but immediately drapethehandkachief over the left shoulder, disposing of the shell in the breast pocket under cover of this action. Now with both hands held palms upwards gesture towards the wand. As you look at the wand register dismay at the non-appearance of the ring. Claim that you have no explanation for this surprising result and, taking thehandkerchief from your shoulder, drop it on a table. The resulting thud will attractattention. Have a spectator
examine the handkerchief and let him untie @e knot to reveal the missing ring which, you claim must have penetrated the handkerchief instead of the wand!
RING AND HANDKERCHIEF ROUTINE “his routine is a particular favourite of mine combining, as it does,maximumeffect with the minimum of apparatus. EFFECTWhile the ends of a borrowedhandkerchief are held by spectators the performer apparently rubs a steel ring on to it so that it is threaded thereon. The ring is removed and a loose knot is tied in the handkerchief after which the ring is apparently thrown, not only on to the handkerchief, but on to that part of it enclosed by the knot. A spectator unties the knot leaving the ring threaded on the handkerchief which is then tied arqund the performer’s hand, the ring being visible throughout. On shaking the cloth encircled hand over that of a spectator, the ring drops clean off and the handkerchief, still knotted, is immediately returned toits owner. Thus a very satisfactory climax is obtained with all the visible apparatus in the hands of the spectators. REQUIREMENTSThe Ellis ring and shell. METHODThe tliree phases of the routine will be described separately-in practice each leads naturally into thenext. Phase 1. This is a direct adaptation of the “ Ring of Thoth ” effect (see Ref. 15). Borrow a handkerchief and hold by one corner in the right hand. Display the combined ring and shell in the left hand then perform the Howie “ Pick up ” move reaching the position shown in Fig. 12. Thrust the corner of the handkerchief through the hidden ring and take the shell in the right hand (close the left fingers around the ring and handkerchief). Use the right second and third fingers to pull the handkerchiefhalf way through the left fist then turn the left hand palm downwards.
14
With the left hand pointing half right put the shell part waybetween the leftfirst and second fingers as shown in Fig. 31. Move the right hand so that it may be seen to be empty, take the shell. b.ack for a further briefdisplay then apparently replace it as in Fig. 3 1. This time, however, you actually allow the shell t o slide back within the right fingers simultaneously using the left thumb to push the solid ring outwards between the first and second fingers so that the ‘appearance is unaltered. Let the right hand fall to the side and, facing front, have the ends of the handkerchief held by two speztators.
FIG. 3 2
- REAR VIG‘dWith a grabbing ,action enclose the ring within the left hand then, after some kneading of the left fingers, remove the left hand to reveal the ring thread-d upon the handkerchief. NOTE-If desired, this phase of the routim may be repeated without using the shell thus : Temporarily dispose of the shell (e.g. to a clip) then perform Hans Trixer’s “ Epilogue to Thoth ” (Ref. 16) at the conclusion of which the shell must be regained in the rigkt hand. Phase 2. Offer to--attempt a more ambitious feat. Hold the handkerchief on the upturned left hand and bring the right hand over to “ remove the ring.” Actually leave the ring on the handkerchief closing the leftfingersover it as the right hand encircles the hqndkerchief just below the ring. Move the right hand along and off the handkerchief,
immediately displaying the shell as the ring. Place the shellaside (in the eye,over a pencilin the breast pocket, etc.), then tie a loosesingleoverhand knot in the handkerchief. Fig. 32 shows the psition just before the knotis tied.When the knot has been farmed loosely take particular care to ensure that the ring will be hidden by the knot before finally removing tfhehandkerchief from the left hand. Hold the handkerchief by on’e corner in the left hand so that the ring is facing towards the rear. Take the shell in the right hand-theposition as seen from the rear is now as in Fig. 33. Make thr?throwing motions of the right hand towards the knot and, on the third “ throw,” quickly thumb palm the shell and let the right fingei-tips just touch the knot. Immediately g i p the lower corner of the handkerchief in the right hand and twirI the hmandkerchief simultaneously tightening the knot. When th,e handkerchief comes to rest the ring will be visible within the knot as in Fig. 34. Hand the handkerchief to a spectator for examination.
-‘1.0.be continued
I
Don’t address your audience too often as ‘ Ladies and gentlemen ’; take it for granted that they are. T. Nelson Downs.
I
15
Y the time this appears in print, the B.M.S. Bannouncements Jubilee will be round the corner and will be forthcoming about thte
Magic Circle festivities in April. The venue for the main part of the affair is the St. Pancras Assembly rooms. Not aR impressive sounding, butabeautifulsuite of rooms and a first class nine hundredseatertheatre. When we say first class we mean it inevery way for theappointments, lighting, dressing rooms and seating accommodation leave nothing to be desired. The social event which we hope is going to be a success and the forerunner of many similar functions, is the ‘‘ British ,Ring ” Christmas Party scheduled to take place at th’e Criterion Hotel on Sunday, December 12th. Dancing to a West-end orchestra,fun and games, aCabaret(that is a cabaretandnot an endurance test), a sit down supper, all for the low price of 15/-. Our friend F.rancis Haxton, whose address is St. Anthony’s, Nonsuch Walk, Cheam, will be pleased to supply you with the necessary tickets. The Magic Circle has TV time on December 29th at 7-45 to 8-15.
Our very good friend Bob Driebeek (Aenigma) made a fine impression when he recently appeared for Harry Stanley at Victoria Halls, and although we were unable to see his show, we did have the chance of a little conversation on the following day just before he left for London Airport. It is an amazing thing that such a small country like Holland has made such prodigious strides in magic during the last decade. Whilst it certainly had a fine heritage in the name of Bamberg, to-day it is the home of continental novelty and skill. Whatever may be the thoughts of other magicians interested in Annemann, we think that the publication by the Phoenix of the fake Jinx in bad tasteand completely unnecessary. The magician without fault or some kind of viciousness is a comparitive rarityand, in the case of aman like Anneman, who in so little time gave so much to the printed chicanery sheet surely it is better to assess him as a magician only. As things go at present it wouldseem that there is a good chance of at least two Christmas magicaI seasons in the West End.
BOOKS “ 1dknti;tY Parade,” by Will Dexter (Published by Magic Wand Publishing Co. Enfield, price 7/61. Mental routines that are capable of mystical and laughable entertainment are very few, and Will Dexter is to be congratulatedon evolving from a “ crime in the audience ” type of theme, something that neverlags. Thereare somevery subtle twists described and it should prove a -popular number with all those conjurers who desire the extra mental item for their act. “ Magic Simplified ” by Harry Baron (Pub lished by Nicholas Kaye, price 8/6 net.). From Nicholas Kaye, who you may remember published the English edition of Walter ,Gibson’s book, “ Professional Magic for Amateurs,” comes a copy of Harry Baron’s “ Magic Simplified.” This is a bookstall publication designed to show how simple it is to become a magician, or rather how simple it is to learn to perform a number of conjuring tricks. Because
the writer is concerned with thelatter phase, I t neverseems to me that the exposure of mere secrets can ever do any harm. At the same time, there seems a tendency with such books to use more and more material forming part of the conjurer’s repertory that could well be left alone. In the present book we notice, Tan Hock Chuan’s “ Porous Glass,” and knowing Tan Hock Chum we should be surprised if he gave permission for its reproduction in a book intended for the general public. The book which contains some hundred odd pages, is clearly written and illustrated. The different sections of tricks covered asre, Cards, Close-up, Mental, Miscellaneous and Illusions. There is a chapter on showmanship and presentationand also a glossary and bibliography. The explanations are very clear and thexe should be little difficultyin the reader grasping the principles involved after a first reading. At the small price of 8/6 the secrets alone are excellent value.
16
This i s the id’eal routine for the intimate show, for it is designed to get LAUGHS as well as to completely baffle the audience. Half-a-dozen assistants are invited t o select one of their number as the SUSPECT,and this is donebydealing a well shuffledpack of cards.Theman who gets the ace of spades i s the SUSPECT, but he DOES N O T REVEAL THIS to you or the other assistants, for the cards are dealt face down. Each man then marks his thumb-print on a slip of paper-one print a t each end. They then tear their slips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM i s taken to each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE HOW HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes t o you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The Spectator
Does All The Work-Without Knowing
‘‘ HOW.’,
Also included is a N E W PRINCIPLE in M m t a l i r m t h a tcan be usod in m a n y m o r eeffects.
PRICE 716
Postage 3d.
(1 Dollar)
MAGIC WAND PUBLICATIONS Challenge Instant Hypnotism and Mass Hypnotism
GeorgeArmstrong 211Chandu’s Psychoanalysis George Armstrong 1013 Gaorge Armstrong’s Premonition George Armstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 5/3 Tricks of the Trade Goorge Armstrong 2/7 the Universal Mind Ron Baillie l 2 / 9 Bohleno’s Mysteries Henry Bohlen 10/3 1’11Your Read Mind Darling Aage 17/9 Entertaining with Contact Mindreading S . E.Dexter 7 / 9 Entertaining with Hypnotism S . E. Dexter l 0 / 3 Identity Parade Will Dexter 7 / 9 Automentalism Ken de Courcy 20/3 Telepathy Zodiac Ken de Courcy 1219 John Ramray’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli 10/3
Spectator’s Choice Francis Douglas Mother Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist aad Children’s Entertainer Hurling Maurice Jamesosophy Stewart James Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With Stage Money Lamonte Jack Suzy and the City flickers Jack Lamonte Where Houdini was wrong Maurice Sardina ’9
9,
Stooging Around Playing With Magic Magically Yours
’,
7/9 7/9 513 l0/3 513 5/3 10/3 7/9 5/3 719 2016 7/9
(cheap edition) Joe Stuthard 513 Wilfred Tyler 30/6 Verrall Wass l5/6
F R O M T H E PUBLISHERS
T H E M A G I C WANI) PIJBLISIIING CO. 62 WELLINGTON ROA.D, ENWIELD,MIDDLESEX The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
’,
King Geor&’s Hall, W.C.
W*ARLOCK’S
PENTAGRAM ispublishedon the 24th of eachmonth and canbeobtained direct from the publishen for 117 per tingle copy. AnnualSubscription 181post free.
PUBLISHED BY;
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for rsview should be sent to the:
Dec. 18-Conczrk Particulars from H+
l
PETER
Secretary
Peter Newcornbe 38 Overdale Avenue N e w Malden, Surrey
EveryAdvertiser’s
BDITORI.4L
ADDRESS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to rend you full details of
THE DE LUXB “SU-TABLE” together with all his other effects in rrtllrn for a stamp.
Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, . London, N.W.9. CONJURING BOOKS FOR SALE OLD ANI) NEW. Let m e know your rantr LIST FRG6 FOR STAMPED ENVELOPE G E O R GJ E ENNESS 47 INVERNESS AVENUE. ENFIELD, MIDDLESEX
goods arefullyendorsedbythisBulletin
PUBLlSHllD BY T n E PROPRIBTORS T H E MAGIC W A N D PUBLISHING COMPANY, 67 WELLINGTONROAD, IINFIELD. MIDDlESEX A N D PR-*@ BY HBRBIlRT W A L K B R & SON (PRINTERS) L’ID.. W e L L CROFT, SHIPLEY. YORICFHIPE
$
ERDNASE AND ALL THAT ROY WALTON HE three card trick is an excellent piece of Tinviting card manipulation, but if presented as a game members of the audience to find the lady, loses any magical effect that can beconveyed by a different presentation. Although the following patter is not clever, ithas the asset of being logically tied in with the manipulation of the three cards. For the technical details of the throw, one cannot do better than refer to the beauifully complete description in. “The Expert at theCard Table,” by Erdnase (Page 117). Whatever method of throw is used it canbe greatly increased in usefulness by learning to execute it with both hands. It is not necessary to use cards with an all overback design. unless the quality of throw requires it. The following presentation has the effectof causing a layman to accuse. you of using fake cards,and since they are not, itis a likeable comment. Req16remene: Threecards with the same back design, two of which have blank faces, and one a picture face, preferably a queen. description I t will be takenthroughoutthe that a good throw can be executed with the right hand. The three cards are held in the right hand in preparation for a throw, the queen being at the face. The p t t e r will be given first in its various phases, followed by the working details. Patter : (i) “Perhaps you have heard of ‘The Three Card Trick.’ Here is a short history of the game illustrated by means of these three cards. In the earliest version of the game they used three queens, and on one marked a cross, the one with the cross being the queen you had to find.” (ii) “ A littlelater theydecided thatths cross did not show up too well against the colourful background of the queen, and so used three blank cards, marking one with a cross-the one with the cross bein? the one you had to fid.”
VOLUME 9, No. 3
-
(iii) ‘‘ Still later they eliminated the cross entirely. and used just two queens and a blank card, the blank card being the one you had to find.” (iv) ‘‘ But in the modtrn version of the game, two blank cards and onequeen are used, the queen being the one you have to find.” (v) “ Let us play a couple of games to see how easy or hard it is to find the queen. First very slowly-the queen should be the centre card-but no, it’s here.” (vi) “ Now again, only this time I will not only show where the queen goes, but also one of the blank cards, so that if the queenis not here, it must be here. No! We’vemisseditagain-it’s this one.” (vii) “ The last time now, only to make it easy let’s see where all threecards go. A queen, a blank, a blank, the queenmustbehere. Well! I’ve lost it again-you know I never have found it.” Working : (i) Turn the right hand to show the qusen at the face, in so doing separate the top blank card from the other two, and fake throw it on to the table as the queen. Turn the right hand towards the audience again to show the queen, a d once more fake throw the blank card on the table to the right of the first one. Show in effect the last queen as you come to the part of the patter mentioning the cross, and drop it face down tothe right of those on the table. (ii) Pick up the extreme .right hand card (the queen) aiith the right hand, keeping it face down. Pick up one of the other cards beneath it. Turn the right hand towards the audience to show the blank card.andfakethrowit on to the table. With the left hand pick up the blank card already on the table and show.Replace it to the left of the card on the table, and show the remaining blank card in the right hand as you come to the point in the patter mentioning the cross. Replace it to the rieht of the two cards on the table.
I/6. (20 Cents)
-
DECEMBER 1954
18
(iii)Pick up the extreme right hand card in the right hand, and then the centre, card beneath it. Turnthehand to show the queen at the apposite point in the patter, and fake throw it on to the, right of the table. Turnthe right hand again to show,thesecond queen? Place it to the left of the card you have just thrown down. With the left hand pick up the extreme left blank card and show as you say, “ The blank card was the one you had to find,,” and replace it in the same position. (iv) Turn over the extreme left and right hand cards with both hands to showthem blank, and then show the queen in the centre. (v) Pick up the blank cards, one in each hand, the queen beneath the right hand one. Fake throw the queen on to the fable, and place one of the other c a d s each side of it. Turn over the centre oard attheappropriate point, and then reveal the real position of the Queen. (vi) Pick up one of theblank cards inthe right hand with the queenbeneath it. Show the
l
queen and fake throw it on to the table. Pick up the second blank beneath the card already in the right hand.Turn to showthe blankand fake throw it to the right of the card on the table. Place the remaining card atthe extreme left hand position without showing its face:. Turn over the centre card to coincide with the patter, and then the card to its left. Finally show the queen. (vii) Pick up a blank card ‘inthe right hand, and the queen beneath it. Show the queen and fake throw it on to the table. Pick up the second blank card beneath the card remainingin the right hand. Show the face of thel blank card and fake throw it to the left of the card on the table. Show the remaining blank card and place it in the Turn overcentre extreme right hand’position. card for conclusion of routine. Please pmctice the above moveswith patter, andthe timingwillbecomeobvious. It should be mentioned that every time a card is picked up by the right hand. it goes into the three card trick throw position.
“ Learning magic is like learning a second language. It is quite easy for anyone to memorise a few simple words or even a short sentence or two of a foreign tongue. It is verydifficult and lengthy to know another language really well, and unless one has a linguistic ability it is probably impossible. The same thing holds true in magic.” -John Mulholland “ Manic for Entertaining.’’
I
WILLIAM TO WARLOCK R€
THE HINDU NEEDLE TRICK Dear Peter, This isgoing to be a long Mter because, as you ‘know,when I take unto myself to brush up one of the cllassics of magic I go into thewholc As stunt in detail before I star.tworkingonit. regards the old NeedleSwallowing there were several considerations. First of all was it worth redoing? Well Houdinimade a sensation with it in somevery large theatresand even though needles have been effectively superc’eded by razor blade.s, I feel there is a space now for reversion to the original effect. Futhermore in the past performers have gone to great trouble toemphasise the more uncouth sbages of the trick such as showk g the mouth empty or perambulating the audience with oodles of needles thinly veiling the main effect and minimising the, eventualresult. Among the books in my library I found references in “ Tricks that Mystify ” page 37, “ Tarbell IV ” page 103, Booth’s “ Marvels of Mystery ” page 97, Stanyon’s “ Magic ” July, 1903, and a brief note in the “ Magic Wand ” to say the Needle Trick wasfirstseenin England at Bart’s Fair in 1787, done with 50 needles. In my file of “ The Jinx ” there appeared the most complete rendering of the needle trick but it contained all sorts of frills of presentation which, despite my admiration of anything thlat The0 Anneman produced,rather guided me into newfie’lds.Basically I felt it needed a newmethod allied to a cleaner presentation. So
here it is. The needles had to be. proved sharp. I got a block of balsa wood 4+ inches by 13 inches by 13 inches and decided that if you toldyour audiencethat this wassolid teak, one of the’ hardest woods in e’xistence, and showed that it was possible to plunge the needles into it by finger pressure alone and then flick them with a nail-file so they “ pinged,” that should convince them that the needleswere both sharp and made of st,eel. Now as to the length qf the needles, I bought packages of all ithe various sizes and finally settled on a needle which was 1%inches in length as being the most suitable. I usedeighteenneedles in duplicate. One set I threaded with the length of a needlebetweeneach and) knots on either side of each needle. This was a horrible job and took ages to do. As these threaded needleswerethe only ones whichwent into the,mouth I blunted the lot as there is little object in having them sharp since the climaxis whenyou pullthem out of your mouth threaded rather then when you trot into the audience to show they are dill sharp. A tinymeial bead is threaded onto the free end of the thread, two inch’es after the l’ast needle. This lengthiswrapped around the end of the bundle of needles resulting when you collect them inthzpalmof your hand in a “ point-eye-pointeye ” rotation. Now forthe gimmick proper. The balsa block has a portion carved out of the longedge
19 to fit an Eclipse magnet. This isgluedinplace and care is taken that the operating poles are flush withextremeedge. Thentake two slats of that very thin balsawoodyougetinmodel aircraft stores and glue them over the two adjacent sides of the block. This is a similar treatment to when you made Harbin's Tippler thing out of ABRA. When the lot is dry trim the edges with razor blade and rub the lot withveryfineglass-paper giving a bit more attention to the actual spot underwhich the two points of themagnet are hidden. You now shouldhave an ordinary looking block of balsawood'whichyoushould take care to keep clean by the simpleprocess of washing your paws before handling it. Balsapicks up hand dirt quicker than a clean towel.
Making your text-book advance" to the audience you cover the fact that the nxdle stunt you are about tc dc is a genuine Indian feat . . . that gets them very interested . . . all tricks from out of India are difficult and second cousins to the Indian Rope Trick as fiar as the lay person is cogcerned so they think you must be very clever. Next say it is very dange,rous and followthis up by tzak picking up theblock of balsawiththe introduction preparatory to stickingtheneedles intoit. Under the block of balsayouhaveyour roll of eighteen threaded needles right on the d g e spot where the points of the magnet lie. As you laytheblock on your left palm, use a brushing movement from the moment the inside edge touches the second joints of the fingers till it comes torest at the palmar mounts. This willdislodge the bundle of needles; from the magnetic area and cause them to remain free at the second joints of the fingers.Alsothemetal bead which the magneticfield has prevented from unwindingitself is now away from restriction. The needles remain"
"
"
ing stuck in a small black velvet pin cushion on the table !are taken out very quickly and stuck into the top of theblock. In thispositionth,ey are pinged " by a nail file. Do bhis right up close to the mike if there is one. The racket it makes is quite spine-chilling. Ratherafter the; style of bashing the saw for the sawing through, with a mallet prior to the illusion. As soon as you have pinged " the needles pull them out in clumps and lay them on your left palmbehindtheblock.Nowthemereaction of lifting the block from your palm with a rearward movement lifts all the sharp and separate needles and replaces thelm as neat as you like back on the table with the block.Picking up the threaded needles with your right fingers covering the wrapped thread you can wave'them about and finally deposit them on your tongue without anyone seeing the thread. Hold theminyourteeth with the winding portion of the thread inside the mouth and do a side to side turn pointing to them with your little finger pointing towards your mouth, the fingers closed into a fist and tb:: palm outwafds. This looks a lot moregentilethan a ruddy great point. If you have a spotlight operator who responds get the iris down to a thin point onthe mouth from themomentyouputthe needles on your 'tongue. Push themetalbead to the front of themouthwiththetongueandle,t th'e needlebundle slip downbetweenthetongue and teeth. Take a lei~gth of thread about the same length as that on the threaded set and bring on: end to your lips.With th:: left and right fingers and thumbs working in parallel bring the remainder of the thread up to the mouth the lips collecting the threads and the tongue pulling them into the mouth. After the tongue pulls the thread straight into the. mouth it proceeds to pack it ipto the tiaht cheek. Take care not to push out the cheeli otherwise the audience will get a good idea what'shappening. The beadis now broughtin front of theteeth and thea graspedby a pair of Spencer-Wells forceps. These are scissor-like things used by surgems and they have a couple of small teeth at the finger end which allows you to closethem and lock the object withinthc jlaws. Theseshouldonlycostyou about five bob and they save the ugly look of clawing the nezdles out of your mouth manually. Slowly draw the thread outand you'llfindtheneedlesbehave perkctly neither tangling nor ja,mming in any way. As soon as they are clear of the mouth swing thelength so thatit catchesthelight.Finally put out the left hand so that the needles fall over it and you lay it tall across your table for drying and refolding after the show. I'vedispens,edwith the glass of waterbit as being unnecessary and it only remains now to Suggest that as you start to remove the needles from the block into your palm you have music such as Rachmaninoff's " Preludein C Sharp Minor." (continued on Puge 23) "
"
20
DO IT BY .NUMBERS LESLlE MAY ESPITE the fact that mathematics obviously enter intothe scheme of things, I thought Sans Fawn byJames Esler, which appeared in last month’s (September) issue of The Pentagram,” a delightful little impromptu effect, and lost no time in putting it into use. In this connection, I am sure Mr. Esler will not mind my adding a couple of little ideas to his cunning application, as I think they aid to (1) conzeal the principle slightly, and (2) to bui!d up the effect. Firstly I wanted to avoid the giving of a Bpecific number by the performer for subtraction, so I arranged my deck of cards as follows, on top, readingdownwards five cardsfrom Ace to Five (perMr. Esler) and on bottom a SIX (my p r s dicted figure being FOUR). At commencement of effect, I produce deck, shuffle, keeping top stock and bottomcard in position, then ask spectator to cut and use the old dodge of X-ing the cut for future reference; I immed:ately startthe mathematical part of the business, which helps spectator forget aboutthe cutting business, I proceed as per last month’s article, but after having the figures multiplied by five, I say, Now let’s have a reduction this time, and leave theamount to chance.” I then ask spectator to rift up the upper portion of the cut and note VALUE of card facing him, adding, for
1)
“
”
“
“
“
”
“
misdirection that if itis a court card; we’ll consider it as ‘‘ ten ” to save complications, naturally it will be the SIX, and all is ready for the denouement. My second addition is the wording of the prediction in such a manner that the majority of the audience will leave with the impression that you actually foretold the volunteer’smentallychosen figure. This may wund exaggerated, but those readers conversantwith a similar bit of bluff in connection with the “ Brain-wave ” deck, as described by Bob Nelson on page 19 of “ The Linking Ring ” for January, 1942, will know that such procedure is sound and effective,especiallywhen the prediction is read aloud by a third party. My prediction is already in a sealed. envelope and is worded as follows :“ I predict that the answer to yourproblem will consist oftwofigures : The FIRST willbe YOUR MENTAL CHOICE and the S E C O N D will be my PRE-DETERMINED THOUGHT of 4. (FOUR).” (Sgd.) Leslie May. Despite the above, I think the effect can still be classified as impromptu, the deckcanbe borrowed and arranged in B second or two, and as for the prediction, I typeditwithseveralcarbon copies, andthushad sufficient for several quite otherwise unarranged de.monstrations.
JOHN HOWIE’S ROUTINES WITH THE JARDINE ELLlS RING Continued from Page 15
PHASE 3 Hiave the spectator untie the knot leaving thc ring upon the handkerchief. To obtainthe f i n d pemtration it is necessary to bring about an unsuspected exchange of ring and shell, the shell being apparently threaded on the handkerchief but, in fact, being only held against it by a fold in the cloth. This exchange is effected thus : Hold the handkerchief and ring on the upturned left hand as shown in Fig. 35. Two vital points must be noted at this stage : (a)The ring should be of the handpositioned so that onlyonecorner kerchief is on the thumb side of the ring, the other the ring and; (b) The ring three beingbelow should be at right angles to the hand and in lhe with the inner edge of the fourth finger so as to leave adequate spacebetween the ring andthz
further edge of the hand. These points are already illustrattedin Fig. 35. With the shell in the’ thumbpalmmovethe right hand so that it passes over the upturned left hand, the right fingers eve.ntuallyencircling the cloth at X-X in Fig. 35. As the two hands come momentarilypalm-to-palm grip the shelledgewise at the roots of the left fingers and, releasing the grip of thc right thumb, fold the shell across the left palm.Immediately this exchange takes place turn the left hand with its back towards the spectators and slide the right hand to the end of the handkerchief as in Fig. 36, whichshows the relative positions of ring and shell. Done correctly there is no risk of the shell and ring striking each other.
21 Now twn the left hand palm downwards and, with the right hand, stroke the handkerchief on the thumb side of the left hand a couple of times. Under cover of this stroking use the left forefinger to push that portion of the handkerchiefwhich passes over the shell down through the shell (the shell beingheld firmly betweentheunderside of the thumbandthe secondfin.ger). This " push through" is facilitated by the right hand, while stroking the handkerchief, also twists it somewhat to reduce its thickness. Next, retract the left forefinger and immediately pinch the tip of the protruding loop of cloth against the main part of the handkerchiefbetween the left thumband forefinger. Fig. 37 gives a diagrammatic viewof the position at this stage). Under cover of the right hand turn the left hand palm towards the spectators then stroke the lower half of the handkerchief with the right hand re'moving the ring in the process so that it ends up in the right fingerpalm. The description of this exchange of ring and shell has necessarilybeen long but, if studied carefully with the articles in hand, it will bel found to be quite straightforward and rapid in execution.
F ~ G36 . --R€AR
V I SW-
right fingers gently work the ring along the underside of the left hand until it is positioned in the centre of the left palm and between the handkerchief and the hand. When the tying is complete release the right bandandhold upthe left hand withitsback towards the spectators to display the knot to which youmay gesture with the right hand. At this stage you have the view shown in Fig. 38. If the solid ring is not fully covered by the folds of the handkerchief take this opportunity of quickly making the necessary adjustment. Next turn the left hand palm towards the spectators so that they obtain the view given in Fig. 38. WdGBGTtPb
HAYDKGKCt4tCF
Having given the spectators a briefview of the shell, apparently securely threaded on the handkerchief, turn the left hand palm downwards. Have a spectator ,tie the ends of the handkerchief together with adoubleknot at theback of the left hand while you grip your left wrist with your right hand. This position, apparently for support during the tying,covers a secret move-with the
TiunO
F\G.
37
From the spectators point of view nothing has occurred up to this point apart from the securing of the handkerchief to your left hand. Ask a spectator to hold his hand palm upwards and hold
22
your left handabove it. Make three throwing movements of the l& hand as you count, “ One, two, three.” Keep your fingers curved on the first two movements but, on the third, straighten the fingers, thus allowing the solid ring to be thrown on to the spectator’s hand as in Fig. 39-a highly surprising effect.
FG.40 Disposal of the Sbll. Hold the handkerchief hooked over the right thumb, the right forearm being vertical as in Fig. 40. Place the left hcand behindthe,handkerchief as shown in Fig. 40, a position which permits of the diqosal of the shell into the right sleeve, then immediately engage the left thumb inthecloth foop. Move the hands into the position shown in Fig. 41-both hands are thus seea to beempty while^ demonstrating that the handkerchief is still securelytied.Release the right hand and, with the left hand, return the handkerchief to its owner meanwhileregaining the shellintheright hand. The final disposal of the shell can then be effected as the ring istakenback and put into a pocket. To be continued.
FtG.
39
Follow up by removing the) handkerchief from the hand as follows : grip the knot with the right
hand letting the left fingers curve inwards naturally. Full upwards and forwards withthe right hand thereby freeing the shell which you grip at once in the left thumb palm.Straightenthe left fingers as soon as the shell is secure: and, with the right hand, removethehandkerchiefcompletely from the left. It is immediatelyobvious to the spectators, of course, that thereis no ring on the knottedhandkerchief.
To be continued
, FtG 41
7
23
BOOKS “MINDS IN CLOSEUP ” by Jack Yates (Published by Goddliffe, price 6/4. Within the thirty-two pages of this very tastefully produced booklet,. Jack Yates has detailed a number of very fine little mental items suitable for impromptu work. He starts off with “ Clip Line,” an item in which a newspaper cutting after suitable maltreatment has part of its contents divined .by the performer. The true beauty of this effectliesin the fact that any clue to the secret has been destroyed in the aforesaid maltreatment. The item that follows, “ Match Miracle ” is going to bel one of those things that Will become a perennial in closeup table tricks. The fact that it can be repeated makes forits strength. “Devil’s Die ” is a very
nice adaptation of a mathematical principle (as are most of these effects)whilst in “ Perfected the idea of the eternal “nine” Publicity ” we theme linked with an idea of thelateEdward Bagshawe’s. “ Astral Digit ” in the hands of a good showman could go places other than’closeup: So too could “ Merchant Mentalist ” whe
MAGIGGO-ROUND very pleased to have in this number W forERoyARE Walton’s version of the three card trick, by the time this bulletin lands in your home you will have had the opportunity of seeing ,Roy present the effect in the Magic Circle TV programme onDecember 29th. Thanks, too, to Billy McComb for his fine exposition of the Needle Effect . A great deal of credit must go to the EnterCircle in tainments Committee of the Magic obtaining, via the medium of the well-known journalist, clifford Davis, atalk,fromRonnie Waldman. Not only was the talk informative and entetrtaining but onerealisedin the way th.at all questions were answered, that the speaker understood all the trials and tribulations of TV from both the B.B.C‘s angle and that of the artiste or would-be artiste. Just over a year agowhenwritinginthe “ Stage ” we hoped that David Nixonwouldbe given a programme of his own.Since that time, mainly through the medium of “ What’s my Line ” he has become one of the best known personalities in TV. He has shown that a charming
r
rsonaltiy is thegreatest way of becoming a ublic favourite. InJanuaryour 1953wish becomes afactand Davidcommences a series of monthlyprogrammes.When we werewithhim at a party a few nights ago he gave us some idea of the programme layout. It soundedvery good indeed and we feel certain that this most charming magician will reap still more honours in the TV entertainment field. One of the mostinteresting plots that have come along in recent years is that concerned with the poisoned cup theme. Its origin the in Phoenix, manymethodshavebeenevolved,two of them appearing in thePentagram. Allhowever have hadacertain elemetnt of chance, or alternatively have demanded certain conditions. We think we have hit upon the simplest and most infallible method yet. It started out as a piece of mechanism and finally evolved as a most straightforward piece of chicanery. Details of the effect will be found on page 24 Finally may we take the opportunity of wishing all our readers everywhere a very happy and prosperous New Year.
T H E HINDU NEEDLE TRICK-Continued from page 19 Cuethisto fityour climax of drawing outthe So that’s the Needle Trick all wrapped up as needles threaded. I used to use this particular far as I’mconcerned. piece for the “ sawing in half ” and I can assure Regards. you it produces tension and, mounting excitement. Wm.
24 I
WILL DEXTER’S IDENTITY PARADE This is the ideal routine for the intimate show, for it is designed t o get LAUGHS as well as t o completely baffle the audience. Half-a-dozen assistants are invited to select one of their number as the SUSPECT,and this is donebydealing a well shuffled pack of cards. The man who gets the ace of spades i s the SUSPECT, but he DOES N O T REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print at each end. They then tear theirslips in half, keep one half and place the others in a heap on the table. Now the VICTIM i s selected from the audience and the audience decide upon the CRIME. The VICTIM is taken t o each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE H O W HE DOES IT. table, and this As a check the victim selects one of the thumb-prints from the pile on the MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes to you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards, pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The Spectator Does All Tho Work-Without Knowing ‘‘ How.” Also included is a N E W P R I N C I P L Ein Montrlism that can be used in many mora effects.
PRICE 7/6
Postage 3d.
(1 Dollar)
PETER WARLOCK’S
OF A BORGIA”
Half a dozen empty glasses stand on the table. One isindicated by a member of the audience and into it is poured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied. Whilst the performer’s back is turned a member of the audience wraps each glass in a piece of paper so that there is no possible indication of whichglass holds the milk. After thisthe same spectator moves the glasses around. The performer then turnsaround and with his buck to thespectator but in such a position that his actions can be seen by the audience, he requests that he behandedaglass at a time. With the build up of the poisoned cup theme, he dramatically stops theassistant and informs him that he, the performer, holds the poisoned glass ! Please remember these points :--
l The glassescanbe borrowed immediately prior t o the presentation. 2 There is nothing chancy like checking the weight of the glass and i t s contents. 3 There i s genuinely free choice of which glass the milk is poured into. 4 Nothing goes intothe glass withthe milk. S There are no magnets. 6 The pieces of paper used to wrap the glasses are taken at random by the spectator. not marked in any way. 7 If needsbe, the performer canbe genuinely blindfolded. 8 When the wrapped glasses are handed t o the performer his hands are empty.
They are
The routine complete with the little andmost inexpensive little accessory comesto you complete for-
12/6pst free from-
PETER WARLOCK, 24 Wordsworth Road, Wallington, Surrey The Magic Circle
PETER
President: Herbert J. Collings, Esq. Vice-President : Francir White, Esq.
PENTAGRAM L publlrhed
the 24th of each. month and can be 0)bin.d ditect from thepublishenfor 117 per ringle copy. Annual Sukcription 18 Ipost free. PUBLISHED BY:
C l d w ~and l b r u y and Yuwwn:
Hearts of Oak Buildingr, Euston Road, London, N.W.1.
W
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
Mad4 Tluatro: King George’s Hall, W.C.
Feb.5-Concert
lt*
WARLOCK’S
Y ~ u r c o i p t rfor publication md books fer rwww should be sent to the:
putlcol.m from Hon. Scntmy :
BDITORIAL ADDRESS:
Poter Newcornbe 38 Overdale Avenuo New Malden, Surrey
24,
Peter Warlock, Wordrworth Rd., Wallington, Surrey.
JACK HUGHBS will bp pleued to wndyou fulldetails
of
THE DE LUXE “SU-TABLE” together with dl his other effects inreturn
for a stamp.
Write now to
Jack Hughes, 2, EvclynAve.,
Colindale, London, N.W.9.
CONJURING BOOKS FOR SALE OLD AND Let me know your WMLI LIST FREE FOR STAMPED ENVBWPB
NEW.
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin BY TUE PUBLISHMQ ROAD, BNPIELD. PUBLIOHED
PROPRIBTORSTHE
AND PRPCI~D BY R
.
~
MAOIC W A N D WALKBR T a SON
COMPANY. 81 WXLLINOTON LTD., w e u mom. S ~ I I P L ~YORKSHIRE ,
(mmmo)
MIDDLESEX
*
m - PETER
WAR LOCK’S
*****
T H E D A N C E O F T H E SEVEN VEILS
E
COMRIE MACKAY making of a double-backer, the centre portion of FFECT. Performer tells spectator he will
endeavour to show him one of the mysterious and magical rites of the mystical East. He instructsspectator to select fromthe ribbon spread pack any one of the four Queens. Magician then states that with this Queen he will try and perform the Dance of the Seven Veils. The Queen is shuffledback into the pack, as, by the Sultan’s orders, she is not allowed to show hcrself and must at present becompletelymasked. Seven ordinary cards are shown and taken from the pack,each to represent a veil and spectator adds a further card, chosen by him from thefacedown pack, the identity of which is not known to eithep spectator or magician, and which is to represent the Queen’s yashmak. The eight cards are taken by magician and by running through them three times, discarding a card or two for veils eachtime and also showing thecards left, the magician is eventually left with two cards, one of which,hesays. is the last veil, the other being the “mystery” card-theyashmakof the now nearly nude queen. Placing one cad on each of the spectator’s palms the spectator chooses which willbe the last veil - a little amusing by play take place here - the yashmak and last veil is stripped leaving on one of the spectator’s palms a face-down card, which, the performer tells him, he willfind to be his originally chosenqueenthe card is turned over by the spectator who finds that it is indeed his original Queen, in so far as indices go-but otherwise she is completely (or practically) nude!!
REQUIREMENTS. An ordinary pack d card8 andfourextra queens, each of which are gimmicked so that the indices and borders of the queens remain intact but the bodies of the queens are replacedbya nude or semi-nude figure of a woman-each performer will have his own way of doing tliis, but it should be ensured that there is no raised surface on the card.Each queen can be split as in the
VOLUME 9, No. 4
-
the face then being cut out and the border being stuck again to the back - a centre portion of appropriate size of a nude figure can then be cut out an4 stuck into the vacant space. The backs of the fourgimm’icked queens mustmatch the ordinary pack. If the performer is prepared to force the spectator’s choice of a queen, then only one matching queen need be prepare& but I think you will find the resultant effect worth the trouble of preparing all the extra queens. PREPARATION. The four gimmickedqueens are placed into the left jacket pocket in any order which can be conveniently remembered by the magician. PRESENTATION AND ROUTINE Magician engages in opening patter as shown in “ EFFECT.” Pack is ribbon spread from right to left on table face up and spectator requested to chooseanyqueen. AS spectator picks this up finger or card is inserted under right hand end of ribbon and cards turnedover face down.Meantime left hand has palmed from pocket a matchins gimmickedqueen. Lefthand placed at left of ribbon and right hand at right, both hands sweeping cardstogether,left addingpalmed cardin process. Pack squared up and heldin left hand as for dealing, left little finger crimps inner right magician corner of bottom card, meanwhile patters as in “ E F F E a ” about queen not being allowed to showherself: cards changed to right hand preparing for Hindu shuffle-top card (gimmicked card) pulled off singly so that t t will be new bottom card; shuffle continues and spectator places his Queen in somewhere near middle - this is not picked up as in normal Hindu shuffle but bottom crimped card.is dropped upon it and shuffle continued. Commence overhand shuffle running seven cards, injog next and shuffle off making sure gimmicked queen atbottom arrives on top. then throwseven cards, up to injog, on t o p i n shufflingensure that middle portion
I/6. (20 Cents)
-
JANUARY 1955
26
containing regular queen and crimped card is dropped in bulk. Fan pack faces toward spectator centre of pack-apparently lost-only centre of pack need be fanned here. Continue, patter that seven ordinary cards will be chosen, each to represent a veil and deal the seven cards off top of pack, showing the faces and ask spectator if he is satisfied with those-normally he will assent. Then say that one furthe.r ordinary card is required to represent the Queen’s yashmak and that you will leave the selection of this card to him but that neither he nor you should know the identity of that card;have him insert a cardface-up (or a knife) into the pack and in taking that part of the pack above the cut make the slipforce bringing the gimmicked queen which was on top down to the cut. Have him take this card and without looking atit place it face down on theother seven cards. Again fan the pack saying that you hope he hasn’t by chance taken his Queen (regular); he ~ l lof, course, still see his Queen in the pack and as you bring the cards down from the fan casually locate the crimp and cut the pack there bringing the regular queen to the top. Place the pack on one side. Pick up the eight cards (seven veils and supposed yashmak, shufflesaying that you wish to lose the mystery card ” the spectator has just chosen and in shuffling bring it to the position fifth from bottom with the cards in face down position. Now say that the dance begins and the veils will be removed-here the performer can bring inany ingenious patter of which he is capable and suit it to the company he is in-hold the packet of cards in the left hand €ace-down in position for the glide. Bring left hand up and show bottom card, saying This is the first veil which the dancer retains ” an& turn hand down sliding out bottom card, not showing face again, and placing face-down on the, table in Slide off the next bottom card, front of you. without showing it-, place to one side saying, “The next veil she carelessly discards,” making your action appear careless and casual. Slide off the next card,after showing as with the first card, saying, This veil she also retains;” show the next card (fourth from bottom) saying, This one she retains as well-she is rather coy and believes in prolonging the suspense;’’ whilst pattering you have turnedhand down and executed the glide and drawn off the fifth card (gimmicked queen) and placed it facedown on table without showing it again as you have done with the other retained veils. Then say, “The next veil she discardsalive”and draw off just to keepyourinterest without showing and throw carelessly to one side the bottom c a d you have just previously glided back. ,Repeat the showing of each of the next two cards, sliding them off and saying theyarethe sixthand seventh veils which she is retaining. The last card say you’ll use as the Queen’s yashmak and won’t show it for thetime being. Pick up packet of six retained cards in glide position“
“
“
“
gimmicked quem is now thirdfrom bottom. Movements here are. similar to before and need not be described in detail-show first and retain, show SecondWhichyou sayshe is retaining but glide back and put down gimmicked queen; discard next-in all cases showing retaiked cards (or pretending to incases of cards glided back) and not showing discarded cards. The last card you again say you’ll U& as Queen’s yashmak and won’t show. Four cards left now - gimmickedQueen secon,d from bottom. Show bottom card as if retaining it and ask spectator to tell you what the card is (the magician does not at any time see any of the faces of the cards)-suppose it to be the Sevenof hearts-turningyo,ur hand down, say, “ Very well-we’ll put down the seven of hearts as a veil she’ll retain for the time being,” and as you are pattering glide back the seven of he.arts and put down the gimmicked queen. Discard the new bottom card unshown (actually seven of hearts) saying, “ That is the fifth veil she has discarded-the end will soon be in sight.” Fairly discard the next card saying, “ That is the sixth veil-allwill soon be revealed.’’ Gesturing with the last card left in your hand say to spectator. “This is the mystery card which we have called the Queen’s yashmak- for the first time I will let you see it-you are very privileged-you must try not to get excited.” Turn over card, whichwill of course, be an ordinary card; let us suppose it is the three of Clubs and say, “ You see, it is nothing after all - you really can never trust these women-theyre full of deception. Well, we’ll put down the three of clubs as the Queen’s yashmak,” and place it face-down on the table. Now pick up the last card in your left hand and the gimmicked queen in the right hand and put them behind your back and make motions as if shuffling them actually there’s no need to really change them. Bring them back to the front, still face-down, and say to the spectator, “ We’re going tq have a little game to see how good you are at ‘ Find the, Lady.’ Have the spectator extend his hands, palms up, and place a card face-down on each - keep a thumb on top of each card and retain hold of the spectator’s hand by placing your fingers underneath each of his hands, thus preventing any impulsive action on the part of the spectator in prematurely turning over either of the cards. An amusing bit of by-play m a y be ’had here - i.e. “ Surely you are familiar enough with the contours of a lady to be able to recognise which of these cards actually conceals the Queen-after all the last veil is very thin!’’ Should the spectator try to move his hands or fingers, as they often do, say “ M! she would not like you to be too free with your hands, sir, she is inclined to be ticklish!” You will find that the spectator nearly always hesitates over the choosing of a card so the foregoing by-play fits in quite easily. If hechooses Continued on page 31
27
THE NAME’S THE SAME LESLIE MAY WAS particularly intrigued by Gustave 1 Touch” Southall’s delightfulcontribution Personal which appeared in the August issue of “
the Pentagram, fur it is the type of effect which I love to perform; however, just to be contrary, I wanted to :- (i) eliminate the use of playing cards. (ii) broaden it sufficiently for display to a larger audience thanthat controlled by Mr. Southall’s plot, and (iii) (because I am a duffer at it), do away with any use of sleight of hand : The result is thefollowing :Performer displays two packs of cards,one a LEXICON pack,andtheothera series of Christian names (these are obtainable from Harry Stanley, Unique Magic Studios, and are of untold value for countless effects). Shuffling the Lexicon pack, psrformer requests any spectator to kindly assist him by removing any coin from his pocket and calling out the date shown thereon(restrictions regarding coins of the last century and thom with a nought in thedate apply as detailed !in Mr. Southall’s article). When date is announced, performer deals out four heaps of cards corresponding to same, i.e. if date was 1927, he would deal face down from top of pack, heaps of one, nine, two and seven cards. Picking up the pack of name cards he has a sum made of all or some of the figures comprising the selected date, and counting down from top of pack he removes the card at that number,and shows its face, we will imagine it 3s DORA, he turns over the four heaps of Lexicon cards, and reveals thatthe bottom or face cards spell D. 0. R. A. METHOD. Fromthe pack of name cards select oneof fourletters, preferably one with a vowel at the end, inmy pack,thereareROSE, DORA and NORA. We will select DORA for our demonstration;placethiscardtenthfromthe top of the names pack and place in case. You willneed actuallytwo Lexicon packs, but all you require from the second pack is one card,inthis case an A,” forinan ordinary Lexicon pack there are four A‘s,” 4 E’s,” etc., and you need five for this effect. Take your pack plus the extra card and arrange it as follows :- from top reading down-
“
”
“
“
“
“ D,” an “ 0,” any eight cards, an “ R,” and five “ A’s,”followed by the remainder of the lettered pack. This arrangement willcover any date of this Century called out (excluding those containing a nought), when cardsaredealt into the four piles as described above. I should mention here that both packs are false shuffled andcut by performer when first introduced. The pack of name cards is now exhibited, and to secufe the selection of DORA, the tenth card from the top, ’he juggles with the date figures as most appropriate.For example, if the date, was 1927 as given above, he asks for either the first two or last two. If the first two are chosen he says oneand nine make ten,andcounts to the tenth card, if the last two, he says two and seven are nine, counts off nine and turns the next card. Again, if the last two figures are not suitable the spectator is requested to announce the tota2 of the figures comprising thedate,and ‘in thisinstance the performer employs the procedure used by AI Koran in “ Magic Wand ” Mental Magic prize winning article some years ago(see also Arthur F. G. Carter’s “The Chest of the Koran”“ Magic Wand ” for March 1954), i.e. supposing the selected date is 1932 giving a total of 15, deal off 15cardsface down one on top of another, then say, “ Fifteen cards, one and five make six, count down tothe sixthcard, whichwill be DORA, and place aside, face down, for subsequent revelation. Further, if thelast twofigures of the date total eleven or over, i.e.1949, performer can request choice of first or last two figures, with the result that if last two are decided upon he adopts the procedure described above, or if the “ 19 ” is called for, he merely totals these and counts down to the tenth card. Although the performer has many variations to choose from in arriving at the appropriate name card the spectator is unaware of his intention and assumes the procedure adopted is the normal one. The reader may ask why I emphasise the use of a name ending in a vowel; the reason is that if a spectator handles the Lexicon pack subsequently he is not likely to notice the addition of one vowel card, but may easily spot the addition bf three or four consonants.
a
Then why can’t he apply his cleverness to earning an honest living ? ” Because the flaming amateurs have spoiled his line. Go down to Holborn and you’ll see them with their silly fat noses fiattened against the windows of the magic shop. They all fancy themselves as spare time magician’s. They’ve ruined it for the pros., dragged it down to the level of a kids’ party. Guy Cullingford--“ Conjurer’s Co6n.” l(
l‘
28
JOHN HOWIE'S ROUTINES WITH THE JARDINE ELLlS RING Continued from page 22
MISCELLANEOUS EFFECTS RING ON NECKTIE This quick effect which is inteuded for use on informal occasions, is a direct descendant of " The Ring of Thoth " (see Ref. 15).
EFFHolding ECT. one end of his necktiein
one hand, the performer holds a steel ring against thetie with the other. Suddenly the ring is seen tobe threaded upon the tie. REQUIREMENTS. T h e Ellis ring and shell. The performer must be wearing a four-in-hand type of necktie.
Using two free fingers of the right hand pull the tie through the leftfist till the left'hand is positioned half-way up the tie. Immediately move the left forefinger from below to above the tie which is thus gripped between the first and secondfingers. Place the shellbetween the left forefinger and thumb as in Fig. 42 (the fing at this stage ishiddenbehind the left fingers). Remove the shell for further display then apparently replace it but actually under momentary cover of the right fingers,slide the shellbackbehind the right fingers and squeeze up the solid ring with the left fingers so that the audience v'iew remains as in Fig. 42. Grip the tip of the tie with the right hand and move the tie nearer then further away from you several times bypulling on the tip. Whiledoing this cause the ring to rise and fall (exactly as if it were resting upon the tie) by alternately relaxing andcontracting the left secondfingerwhichis hidden by the lower portion of the tie. These two movementsshould . besynchronised to give the effect of the tie moving the ring up and down. Suddenly release the left hand completely and turning your right side tothe audience, extend the right hand to display the ring threaded upon the tie as in Fig. 43.
Flcl.43
FK,.
42
METHOD. Display the shell-coveredring as in Fig. 8. Perform the Howie Pick-up Move, then grip the shell as in Fig. 12. Take the tip of the tie in the right hand and transfer it to the left hand, pushing it through the hidden ring in so doing. Take the shell in the right hand and, if desired, spin it in the air and catch it again.
DISPOSAL OF THE SHELL. Whileholding the positionshown in Fig. 43 bring up the left hand and take over the hold on the end of the tie from the right hand. As the right hand 1eave.sthe end of the tie it is a simple matter to drop the shell into the upturned left sleeve. Remove the ring from thetie using the right hand then lower the left arm to regain the shell for replacement on the ring or otherwise.
29
TWO SUGGESTED ROUTINES The two routines that follow are included to indicate how effective sequences can be constructedfrommaterial available in the literature. Only brief outlines are given except where variations from the original are involved. 1. RING A N D ROPE This routine wasinspired by the following effects : (a) Ellis Ring on Rope-U. F. Grant (Reference 7). (b) A Trick Wrongly Named Sefalaljia Warlock (Reference 22). (c) Tannen's Ring, Knot and ,Rope (Reference 25). The performer'shandkerchief-covered!hand has replaced the pocket in the first eRect and the hat in the secondwhile an unprepared hanilkerchief has been made to fulfil the function of the prepared handkerchief required intheorigkal of the third effect.
-
EFFECT A ring penetrates a rope three times, a knot forming round the ring during the third penetration. REQUIREMENTS The Ellis ring and shell, a piece of soft rope (aboutfour and, a half feet long) and a pocket handkerchief. METHOD-Pba8e 1. Remove your handkerchief and drape it over the left shoulder.Display the shell-coveredring in the left hand and the rope in the right hand. Secretly get the solid ring on to the middle of the rope using the Howie Pick-up Move method as described my in Ring and Handkerchief Routine " Phase 1 (see Part 3). Hold the left hand shoulderhigh and cover it with the handkerchief, both ends of the rope hanging in full view. Display the shell in the right hand then carry it under the handkerchief. Drop the shell intothe upturned left sleeve andimmediately push up the solid ring. With the right hand grip the ring through the handkerchief from above then move the right hand to the right till the two ends of the row come into the left hand (which should be held so as to make it clear that it is empty). Keeping a grip on the handkerchief with the right hand, release the ring so that it swings downwards and can be seen to be threaded on the rope. Phase 2. Toss the handkerchiefin the air, re-catch it and again drape it over the left shoulder. Remove the ring from the rope with the right hand and reposit'ion the rope in the left hand so that the middle is held while the ends hang down. Hold the left hand so that it can be seen to hold nothing but the rope. Offer to repeat the effect more slow\y. "
Put the handkerchief over the left hand and carry the ring under the handkerchief then, using the well-knownSefalaljia " procedure, fix the ring onto the rope. Place the key loop over the kft thumb, take a grip on the handkerchief with the left thumb ,andforefinger then remove the right hand. Grip the " free " end. of the rope in the right hand then move both hands thus : Move the right hand tothe right and upwards; simultaneously move the left hand downwards so that at the end of the movementyour left arm ishangingdown at your side (this permits the shell to drop toyour left hand whichshouldbe cupped t o receiveit). Drape the handkerchief over the left shoulder and (with the shell thumb palmed with its " flat " side against the hand) grip the other end of the rope in the left hand. Gently pull the hands apart to dissolve the knot and reveal the ring once again threaded upon the rope. Phase 3. It is necessary a t this point to make a switch of the ring and shell-thisis done thus : Place both ends of the rope in the left hand and, gripping the ring with the right hand, release one end of the rope.Slide the ring up the rope towards the left hand. Apparently slide the ring right off -actually as the ring passes behind the kft hand (held with its back towards the spectators) grip the ring with the left third and fourth fingers and use the right thumb to lever upthe shell and immediately lift the shell away from the left hand. (Note-The slight pause required at the moment of switching exactly simulates the pause whichwouldoccur if the ring werereally taken off-try it with the ring alone first; actually take it off the rope and youwillobserve that a slight pause is necessary while thz left thumb changes its grip). Draw the upper end, of the rope upabout twelve inches and let it fall over the back of the main part of the rope and yourbody and grip it firmly between the left first and second fingers. (For an idea of the position at this stage, see the Tarbell Course in Magic, Vol. 2, p. 345, Fig 6). Place the shell between the left forefinger and thumbthen cover it with the handkerchief. Apparently wrap the shellwithin the folds of the handkerchief - actually use the time honoured coin through handkerchiefmove(seeHoffman, Lang Neil, etc.) whereby the shell is really brought tc the rear of the folded handkerchief. Press the handkerchief over the shell to confirm its presence then grip the handkerchief in the right hand over the shell and wave the handkerchief several times towards the rope. During this movementsqueeze the handkerchief with the finger tips and use the right thumb to pull the shell back into the, right thumb palm. When the sh.ell is secure make a final wave of the
30 handkerchief and, under ‘cover of this wave, let the loop of rope slip from off the left hand. The ring will appear ontheropeand securely tied within a knot (as is the Tarbell Course in Magic, Vol. 2, p. 346, Figs. 8 and 9). Toss the handkerchief in the air, catch it and drape it over the left shoulder, disposing of the shell inthe breast pocket atthe same time. Alternatively the handkerchiefmay beputinto the pocket, the shell being disposed of within its folds. NOTE : If desired the ring can be edge palmed in the thumb crotch so that the left hand can be held palm towards the spectators as in the original version. Due to the slippy surface of the ring the surest way to grip it is between the thumb on one side and the line of contact of the first and second fingers on the other.
2. A RING, A WAND AND A HANDKERCHIEF This routine isincludedprincipally to show how to introduce a touch of comedy-a factor all too often lacking in penetration effects. The basic ingredients of the routine are : (a) With Jardine Ellis ring-Roy Short (Reference 12). (b) Paquette’s Baguette (Reference 18). (c) Ring in the Knot-John Howie (see Part 3).
EFFECT.
A steel ring appearsto play pranks on the performerwhile he is introducing the properties for his effect, viz., the ring, a wand and a handkerchief. A successful penetration of the wand by the ringis then effected under cover of the handkerchief. On trying torepeat this, the ring vanishes, to be found within a knot in the handkerchief. REQUIREMENTS. The Ellis ring and shell and a wand. Also of great necessity is the ab’ility to act. The style of presentation is extremelyimportant-aim at giving the impression of being as befuddled asthe spectators wEen the unexpected occurs. METHOD: Phase l. Introduce the shell-covered ring and have the wand at hand.Hold the ring (plus shell)in the left hand. Borrow a handkerchief, receive it in the fight hand then place it in the left hand as in the
original ef€ect. Take the wandin the right hand and announce an effect using “ a ring ” (point to it with the wand), “ a handkerchief” (point to i t also) “ and a wand ” (hold up the wand then place it under the left arm). Make the necessarykeymovewith the ring and handkerchief then put the handkerchief (with ring now half-way along it) upon the left shoulder so that the ring is not seen. Display the shell (as the ring)using the right hand. Apparently pass the shell to the left hand but really retain it concealedin the right hand and immediately take the wand in the right hand. Emphasise that youwilluse nothing other than three articles-“ the handkerchief ” ( p i n t t o it with the wand), “ the wand ” (hold it up), “ and the ring ” (point to the left hand and open it as the tip of the wand reaches it). Register surprise at the disappearance of the ring then, after a short pause say, “ Let’s check again. Here is the wand (hold it up), the handkerchief (remove from shoulder with the left hand) . . . and . . . why there’s the ring (tap the ring with the wand) . . . I wonder how that got there.” Replace the wand under the left arm and remove the ring from the handkerchief. Phase 2. Now perform “ Paquette’s Baguette ” (Reference 18). Two courses are available here : if you wish to perform the effect exactly as originally described then, on removing the ring from the handkerchief, hold the latter so that in taking the Ting the right hand comes opposite the opening of the left sleeve and drop the shell therein-the ring on wand effect can then be done with the ring alone. If desired,however, the shell can be retained palmed during the preliminar‘ies then used pressed behind the handkerchief to aid the illusion that the ring is under the handkerchief when, in fact, it is not. In thi,s case you must, of course, palm away the shell before the climax.
wase 3.
m e r to repeat the penetration. Take the ring,secretly replace the shellupon it then perform “ Ring in the Knot ” as described in Part 3. Play up the registration of wonderment at the non-appearance of the ring on the, wand in line with the presentation theme beforefinally dropping the handkerchief on the table (or & accidentally ” on the floor if no table is available).
BIBLIOGRAPHY OF RING TRICKS LARSEN, JR. ON ELLI&Bill theperformer’s hand to thecentre
Reference 1l.-BJLL Larsen, Jr. MUM. Vol. 42, No. 9, p. 252 (February, 1953).
A particularly clean cut version of the ring on stick type of effect, no cover other than that provided by the handsbeingrequired. Reference 12.--wITH THE JARDINE ELLIS RING, No. 1 OF A SERIES-Roy Short. “The Magic Circular” Vol. 47, No. 522, p. 150 (February, 1953). An effect wherein the ring is passed magically from
of a handkerchief draped over his shoulder. It is interesting to notethatMr.Shortmakes the same point as is deak with in A Ward m Basic PIUcedum” and h’iseffectincorporatesaneatmethod of secretly introducing the solid ring over the handkerchief. Reference 13.-TWO JARDINE ELLIS RING-ONRIBBON ROUTINES-Bwtrarn Millidge. Edited by John 3. Crimmins, Jr. Published by Holden’s Magic Shops, 1953. L(
The first routine, entitled “ A Ring and a Ribbon,” has fivephases. The f i s t phase uses the shell as In Reference 2, the next three phases use the solid ring only and in the final phase the ring is secretly switched for a split ring to provide a strong c1ixn:x. In the second routine, entitled A Quick Ring Trick,” there are two phases, the shell being used in conjunctionwith the split ring thus enablinga surprising double penetration to be effected. Reference 14.-THE PAIGE ROPE AND RING RO-R. P. Psige. The Linking Ring, Vol. 33, No. 1.1, p. -58 (January, 1954). A steel rln g IS passed onto the centre of a ropeboth ends being in view at the time Refere- cc15-THERING OF THOTH - Nelson Hahne
from “ Smart Magic ’* by Ralph Hull and Nelson Hahne Published 1935. This ring and handkerchief penetrae tion effect depen ent on the use of a duplicate solid ring is listed because it is particularly suited for use with the Ellis Ring, the shell taking the place of the duplicate. Reference 16-EPILOGUE TO THOTH-Hans Trixer. Peter Warlock’s “Pemtagram”, Vol. 6, No. 7, p. 49 (April, 1952).
Describes a method for producing the effect of “The Ring of Thoth” using one ring only. RING AND STICK EFFECTS. Reference 17-H.ARNESED-Bill S i a “Phoenix”, No. 254, p. 1014 (May 2nd, 1952). A method for passinga nng, wrappedwithin a
handkerchief,onto .a wand - only one ring is used. Suitable as a“lead-in”effect to an Ellisringonwand sequence. Reference 18-PAQUE”TE’SBAGUE’ITE. 66Phoenix”, No. 271, p. 1-085 (December 26th, 1952). Similar in effect to Reference 17 but using a different method. W F ” S BASED ON “SEFALAWIA.” Reference l%RING, ROPE AND PIN (two versions). Tarbell, Comw h Magic, Vol. 3, Lesson 36, p. 81. This is a close up effect in which a ring is passed on to a bight in a rope, the bight being formed by securing the rope at twopointswith a safety pin. In the first versionahandkerchief is used as cover; the second version requires no cover. This effect, and the three that follow, are based on part of a reutine devisedbyStewartJamesentitled “Sefalaljia” and firstpublished ib the late Annemgnn’s “Jinx” No. 69, p. 471. Reference 20-TOM OSBORNE’S RING AND SPIRIT KNOT. Ta~blICourse in Magic, Vol. 3, Lesson 36, p. 83. In thisvariation on “&falaljia”,ahandkerchief is used as cover but the pin is eliminated, the ring being passed into a knot on the rope. Reference 21-FOURTH DIMENSIONAL SEWINGL. V. Lyans. A n m e m a d s “Jinx” NO. 100. In this version the ring penetrates a nbbon in which abighthasbeen formed bystitchingwhilebothends remain in full view.
“ Ah wish you’d giEe , n e a few tips like,” said one of the young men. “ Ah d o a bit at kids’ parties. Not up your street, of course ! “ Ah should think not,” said Lil. “H is is more of the ‘ Can’t-think-what’s.gone-wrof~g ’ variety. Guy Cdingford- Conjurer’s Coffin.”
The Dance of The Seven Veils
Continued from page 26 the three of clubs (he won’t know since it is .facedown)-move the thumb which is holding it and feel the back of the card with your fingers without removing itfrom the spectator’s hand and say “ Ah! you have chosen her yashmak-I can feel her ear-rings-obviously you want to see if she is beautiful and are not worried about her figureoh well, we all have our little idiosyncrasies-let me see, I believe you said that the three of clubs represented her yashmak?” When he assents, turn over the card showing it to be the three of clubs. Then say, “ Now the last veil is very flimsy and I really believe you could blow it away if you tried hard-justblow on the back of the card, sir.” As he blows (usually a fair puff) say, “ Oh! I say, sir, gently please-you’ll give the poor lady a cold inher spots.” Thenhave him name the this was the card again - “ I believeyousaid seven of hearts, sir? Yes?Well, if you’ll turn the card, over you’ll find that perhaps your breath is stronger than you thought. - I should be careful about blowingdownladies’necks in future!’’ Spectatorturnscard over and to his surprise sees the nude queen of his original choice.
Should he, however,choo.se the gimmicked queen, patter to this effect “ Ah! I thought your knowledge of thefair sexwould betray you in the end-despite my precaution of holding your hand obviouslyyou can stillrecognise her figure --of course, thelast veilisveryflimsy-I can practically see through it myself. Perhaps on second thoughts we had better remove her yashmak first and see whether shehas any wrinkles -we’ll leave her the veil for a few seconds to keep herwarm.” Thenpatterand proceed as before, feeling the back of the, card with your finger-tips to see that it really is ’her yashmak.During the resultant laughter (I hope! if not, change your friends!) pick up the main pack, palm off the iop card (regularqueen) and drop pack on tile discarded “ veils,”casually dropping regular queen As the amusement subsides, say, in pocket. “ Well, I don’t know what I’m going to do now I play strippokerwhen I playcards-unless you’ve spoilt the pack for m e , leaving the queen in that condition.” If the spectator does not of his own volition pick up the pack to look for his original regular queen patter so that he will look for it, only to find it missing, of course.
I
I
I
I
His hand went to his pocket and reappeared with a pack of cards. “ Shall I show you a few simple tricksto while away a wet afternoon ? ” Miss Milk shuddered involuntarily. Luckily the opening of the doors dispensed w,i,th the necessity for any response.” Guy Cullingford- Conjurer’s Coffin.” “
l
32.
WILL DEXTER’S IDENTITY PARADE This i s the ideal routine for the intimate show, for it i s designed to get LAUGHS as well as to completely baffle the audience. Half-a-dozen assistants are invited to select one of their number as the SUSPECT, and this is done by dealing a well shuffled pack of cards. The man who gets the ace of spades i s the SUSPECT, but he DOES NOT REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print at each end. They then tear theirslips in half, keep one halfand place the others ina heap on thetable. Now theVICTIM is selected from the audience and the audience decide upon the CRIME, The VICTIM is taken to each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT K N O W I N G QUITE HOW HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes to you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mysteryandcomedy out of thisunusualroutine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). Does All The Work-Without Knowing “ How.” REMEMBER-The Spectator Also included is a N E W P R I N C I P L E i nMentalism that can be used in many more effects.
PRIC 5 7/6 Postage 3d. (1 Dollar) The Magic Wand Pd ishing Co., 62 Wellington Road, Enfield, Middlesex
I
CCKISSOF .A, BORGIA” .
.
Half a dozen empty glasses stand on the table. One isindicated by a member of the audience and into it ispoured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied. Whilst the performer’s back is turned a member of the audience wraps each glassin a piece of paper so that there is no possible indication of.whichglass holds the milk. After thisthe same spectator moves the glaeses around. The performer then turnsaround and with his buck to thespectator but in such a position that his actions can be seen by the audience, he requests that he behanded a glassata time. With the build up of the poisoned cup theme, he dramatically stops theassistant and informs him that he, the performer, holds the poisoned glass ! Please remember these points :-l The glasses canbe borrowed immediately prior to the presentation. 2 There i s nothing chancy like’checking the weight of the glass and i t s contents. 3 There is genuinely free’ choice of which glass the milk is poured into.
4 Nothing goes intothe glass withthe milk. 5 Thereareno magnets. 6 The pieces of paper used to wrap the glasses are taken at random by the spectator.
They are
not marked i n any way. 7 If needsbe, the performer canbe genuinely blindfolded. 8 When the wrapped glasses are handed t o t h e performer his hands are empty. The routine with the little and most inexpensive little acceosory comes to you complete for-
12/6post free from-
PETER WARLOCK, 24 Wordsworth Road, Wallington,Surrey or from your favourite dealer
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library
and Museum :
Hearts of OakBuildings, Buston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. April 27th, 28th, 29th, 30thGolden Jubilee Celebrations Puticulan from Hon.Secretary
:
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each monthand can be obtaineddirect from thepublishersfor 117 per dngle copy. Annual Subscription 181port free.
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex ‘manuscripts forpublication
reviewshould
EDITORIAL
24,
and book for
be sent to the:
ADDRESS:
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
JACK HUGwill be pleased to send you full details of
THE DE LUXB “SU-TABLE” togetherwith all his other effects inreturn for a stamp. Write now to
Jack Hughes, 2, Bvelyn Ave., Colindale, London, N.W.9. BOOKS FOR SALE
.. .. ..
Tarbell Volume 6 Greater Magic Annemann Practkal Mental Effects Hugrrd Encyclopedia of CardTricks
701551-
461-
361-
G E O R G JE E N N E S S . 47 InvernessAvenue,Enfield,Middlesex
Every Advertiser’s .goods are fully endorsed by this Bulletin PUBLISHED BY 1 H E I R O P R I ~ O U ITAE MAOIC W A N D PUBLIBHINOCOMPANY, 62 WELLlNGTONROAD,UNPIEID. A N 0 P U m D 011 HllRSBRT WALK8R & SON (PRINTERS) LTD., W E L L CROITT,SHIPLPY,YORKSHIRE
MIDDLESEX
ANNEMANN ISSUE PENTACLE OF PAN HARRY E. BURNSIDE AND CHARLES W. CAMERON t o various fiction writers the general public have been initiated into the mysteries TofHANKS the Black Arts. The following effect takes
an old principle, gives it a new twist and using a
. ..
Satanical theme we have . . THE PENTACLE OF PAN “ In the practice of Black Magic the Occultist mustconstruct a fivepointed star, enclosed within a mystic circle. This design must be drawn with exact geometrical precision or the results will either be Nil . or prove highly - _dangerous to the practitioner. “Round the circumference of the Circle are inscribed either magical characters or, in certa’in cases, the Signs of the Zodiac. “ The Occultist, standing in the centre of this ageold device, now calls up a Denizen of the Other World or throughthe use of certain inhis cantationscommands unseen spiritstodo bidding. “However in the 16th century a noted sorcerer constructed a peculiar charm utilising the principles of the circle and pentacle. “ Having thus obviated all the arduous work involved in drawing the signs he was able to perform his magic in a much easier manner.” As hefinishes hisstory the magician withdraws a small case from his pocket and opening itheextracts a small black and coloureddisc. The base is in the shape of a circle and a five A pointed staris fastened tothe upperpart. brightly coloured stoneis embedded in each corner of thestar.Roundthe circumference of the circle are fashioned the Zodiacal characters. The magician explains that each stone represents a certain wish. The red one is for wealth. the white one for health,thebluestonestands for power. A green jewel indicates the fulfilment of anambitionandthe yellow stone represents happiness.
. . ..
~~~
~~
~
~~~
VOLUME 9, No. 5
-
A spectator is asked to choose a certain stone, to place his forefinger over the stone and to press 6rmly. Beforehedoes thisthe magician turns his back.When the spectator has carried out these instructions the magician says. then visualise “Should youchoosewealth with chests overflowing precious great stone of stones, gold and silver coins andallmanner valuable trinkets. Whatever you choose, please translate yourwish into a mental picture and concentrate very strongly. Now Sir, are you ready. take your hand away and turn the pentacle around once or twice.” The magician turns round and picking up the charm he places it to his forehead. Concentrating for a fewsecondsheproceeds to weave a tale around whatever the spectator’s wish has been, despite the fact that the wish is apparently unknown to the magician. When he has finished he asks the spectator to name his wish. The spectatordoes so and proves that the magician has in someuncanny manner divined his thoughts. The preceding routine is not one that can be accomplished i,mmediately. It does require a special piece of apparatus, but for those who can make or can have made for them the necessary “prop ” we think it will prove to he one of those miracles that makes a reputation. Credit for the original idea must go t o the magician Blackstone . . for those who are interested enough, page 60 of “ Blackstone’s Secrets of Magic,” will supply the original idea. We do claim, however, the Title, patter theme, routineand several twists tothe effect and to theoriginal idea. It is definitely not a pipedream, we have worked the effect as described on lay audiences andit hasalwayscompletelybewilderedthem.
..
I/6. (20 Cents)
-
FEBRUARY 1955
34
Many and varied have been the explanationsgiven
to us, but never yet has anyone divined the actual secret. The necessary apparatus is shown inthe sketches and should be constructed of wood or perspex (plastic). A black circular disc with the’ signs of the Zodiac inscribed aroundthe circumference. A coloured five pointed star, fastened tothetop surface of the disc. A hole is drilled in each corner of the star anda small quantity of luminous paint poured in. Next a colour& stone (obtainable from most “make it yourself ” stores), is embedded in the hole. A coat of clear varnigh is painted over the Stone.
STAR UPRAISED ON CIRCIS
c STONE
0 = HOG
DRILIED dc FILLED WrTH LUNINOUS FAIN3
Tell the story as described in the early part of theroutine. Ask a spectator to assist you, turn your back as you tell him to select a stone and to place his finger over the, stone. Tell him to press firmly and to concentrate as he does. Patterabout visualising great stone. chests, etc. and keep talking for, roughly a minute. The time required for the spectator to keep his finger pressed on the stone will vary with each piece of apparatus constructed and can only be found by experimenting. Tell the story as described in the early part toturnthe charm around several times.When he has done thisyou turn around and pick up the
I
.
charm. The method of picking upthe disc is rather peculiar but should be adhered to very rigidly as practice has proved this to be the best method of obtaining success. The righthand is cupped andthecharm picked up so that it rests at thefoot of the “ cup,” thumb being to the top. The disc ‘is gripped be,tween the curve of the little finger and palm of hand, in effect this makes a dark tunnel with the charm at the foot of the tunnel. Swing your hand up towards your forehead, turning slightly away from t’he spectators as you do SO. As the disc passes your eyesyouwill notice fogr glowing spots and one slightly darker spot. The darker spot is, of course the stone that the spectator pressed his finger upon. A glance at the pentacle before you pick it up will allow you to see the position of the various stones. Weave your tale around thewish that thestone represents and then ask the spectator to name his wish. There only remains one ortwo points to mention. The pentacle ,must be held against a bright light-, stones uppermost, to charge the luminous paint. You can dothis 10 or 15 minutes before you show the effect. The charm should really be lying on your table before presenting the effect, this will allow it to be exposed even further to normal lighting. You willfindwhenyou first try the effect that perhaps you will not be able to see any difference between the spots of light. Repeated practice will however, soon enable you to pick out the correct stone. Do not actually name the stonle,byweaving a story .around the wishyouwillfind that the spectators will afterwards credit you with reading their minds and will regard the stone pressing as so much fancy dressing. Have a small card printed giving the colour of each stone and the particular wish thatit represents, making it easier for the spectator to re,member the colour of the stone to be pressed. Tis said that words and signs have power O’er sprites in planetary hour, But scarce I praise their venturous part. Who tamper with such dangerous art.” Lay of the Last Minstrel. Dealers Manufacturing Rights Reserve.dby the Author(s). “
“ Mr. Parchment shook his head . ‘ Something simple perhaps ’ ‘ There is nothing simpler, but I’ll sell you something more difficult that you’ll think simple.’ ” “ The Curate’s Wand ” - Freedon Hughes.
I
35
TRANSFORMATIONSEXTRAORDINARY H A R R Y S. B U R N S I D E AND C H A R L E S W. C A M E R O N HE FOLLOWING item uses a borrowed, unForce, byyour own favouritemethod,the
Tprepared pack of cards and hasseveral surprise changes tinishing with a definite climax.
The most difficult part is t o explain the actual “modus operandi ” on paper as the sleights involved arenot difficultonly requiring a certain amount of practice and care in presentation. Effect :-Packof cards shutlled by performer andonecard selected. Thiscard is not shown but is placed. face down on table. fa= upand spread Pack is thenturned namesany card hands. Spectator between the that he sees in the spread and this card, say 5 of spades is pulled half-way out of the pack. Pack is then run through to End another two cards of the Same value, say, the 5 of diamonds and the 5 of clubs. Thesethreecards arethen withdrawn from pack and placed back. reversed. Stating that the unknown face down card on thetable is the matching card to the three reversed cards in pack, the performer turns the card face up. He discovers that he hasapparently made a mistake as the card is a King. Spreading the pack facedown on the table the threereversed cards, which were originally 5’s have now become three Kings.TheseKings are removed from the packand are mixed, together with thefourth King, by the spectator. Performer now turns pack face. up, cuts off half and spreads these cards fgce up along the table. The four Kings are taken from the spectators and inserted face down halfway into the face-up spread. Remainder of pack is cut, the cutis completed and these cards are laid aside. Flipping over the spread of cards on the table the four Kings have now changed to the four Aces. On spreading out the other portion of the pack the four Kings are found all together, reversed in the centre of the spread. The three 5’s whichcompletelyvanished in the early part of the routine are now producxi from the performer’s pocket. Everythingmay now be examined andthe cards will be found to be quite normal. The above is a correct description of the effect as it appears to an audience and if the explanation that follows is goneoverslowlywith the cards in handth3 whole. routine should be quite clear. Explanation . . The pack used is stacked as fOllOW5. . The top nine cards are,Four Kings face down, indifferent card face down and four Aces face up, next the remainder of the pack face down. Shuffle andcut, retaining the top stack of nine cards, taking care not to expose the face up Aces. (Perhaps it is unnecessary t o mention that the cards used should have white borders).
..
.
top card (King). This is placed aside unseen on table. Make sure that the remainder of stack is force to still kept on top of the pack.Theriffle the centre is as good as any or cut the pack and straight force one of the Kings, recutting the pack to bringremainder of stack back to top. Turn the pack face up and spread betwecn the hands (again keepingreversed cards hidden). Have the spectator name any card he sees, e.g. 5 of spades. Push this card half-way out of pack and holding the cards higher up, you, yourself look for any of the other two cards of similar denomination. In this case, say, 5 of diamonds and 5 of clubs: Also push these half way out of pack. Now lower the pack and show the three 5’s to the spectators. The reason for holding the packhigher is in case all four similarly valued cards are together as at the next stage youwish to give the impression that the card lying on table is thefourth matching ‘d. Square up pack with three cardsprojecting and turn pack to face audience. (See illustration A). Strip qut the three cards removing behind them the three Kings stacked on top of pack. Turn pack face down and drop stripped out cards face down on top. Position now, is t.hree Kings on fop of pack and three 5’s below them. Indifferent card and thenfour face up Aces. Push off the top card, a King, keeping it face down. Turn the pack face up, with the other handinsert this King, reversed into the pack about 6-8 cards from the bottom of pack. The spectator assumes this to be one of the just seen 5’s Turn pack faoe down and repeatthis move with the next card (also a King) inserting same 10-12 cards from face of pack. This also appean to be a 5. Turn pack face down again, double lift, showing a 5 spot card. RepIace carfls) on top of pack,
36 slide off top card:(King) and repeat the previous pack. moves, pushing it in about the centre of Turn pack face down,andassert triumphantly that the card lying face down on the table is the fourth matchingcard of the set inserted reversed into the pack. Turnupthis cardandspectators discover that it is really a King. Performer appears crestfallen and thed announcesthat he will require to bring a very strongconcentration of magical power to rectify the rnistakehe hasjust made. Ribbon spreadthe pack face down across the table with the exception of the top dozen cards (face up Aces) to reveal the fact that the three 5’s have vanished and that the three Kings are now face up in their place. Climax No. 1.
Keep a breakwith thethumb on the five bottom cards (four Aces face down and indifferent card which lies at the bottom of the pack). With theotherhandtakethefour Kings from the spectatorand bring thembeneaththe pack, at the same time release the five cards below the break, dropping them on top of the four Kings. Remove face up pack with right hand, leaving ninecards in theother hand. Place these nine cards face down on top of the face up pack. Undercut bottom half of pack and spread cardsfaceup along the table. Insert one at a time, spaced out, the four top cardsfrom the portion held in hands. K:ep these fourcardsface down as these are supposed to be the four Kings. Push them about half way into the spread. The instant the last card is pushed in, turn in hands and cut, comover the halfpackheld pleting thecut. Place thisportion aside face down. Flip over the spread and reveal that the four Kings have now become four Aces. Spread out the other half of the pack and show that the four Kings are now face up together, in the centre of this packet of cards. When performing this before lay spectators the invariable question at this point is . What happened to the fives? If, however, no-one asks, magician himsdf “ I n case you are wondering what statesthat. happen& to the three 5’s Here they ate in this pocket!” ProduCe them anddrop them on Remove the three Kings from the spread andthetable. handthem,together-withtheface up King on The foregoing explanation mayseem to bc table to the spectator. Ask him to mix these. four terribly involved but if you have the cards in your cards up, face down. While he is doing this, handsandtry outtheroutine youwillfind that it is quite straightforward. gather up the spread of cards and hold them face down. Palm off the three top cards and slipthem We should like to give credit to Joe Berg into your pocket. for it was an effect in hisbook “Hem’s New Turn the pack b c e up and hold it as in illusMagic” 1937, that gave us the idea for the above tration B. routine.
. .
...
“ How long is your programme to last?’ ‘I hadn’tthought,’ said Mr. Parchment, ‘ say half an hour.’ Mr. Verdi looked .solemnly at the curate. ’ Have. you ever watched a conjurrng show of an hour and a half?’ ha asked. Freedon Hu@hes. The Curate’s Wand”
-
INTER SPATIAL SORCERY HARRY S. BURNSIDE AND CHARLES W. CAMERON HE M,ENTALISTwithdraws Tcards. each in a sealed card them on the table.
.
two packsof and lays
case,
“ In days goneby. wizards and witches used broomsticks as a mean$ of transportation, Eastern magicians, of course, used Flying Carpets. “ Time, however, marches relentlessly forward and in these days of supersonic jets, wizards have been forced to discard their old.slow forms of transport. In theirplacethey now use two methods first Teleportation . usedby those
..
.
who are energetic enough to utilise the powers Of their ownmind.Second Matter Transference Cabinets being a lazy magician I use the latter method. “This method has one great advantage over broomsticks not only can you use it to travel to another place but you can go forward or backw a d in Time. It involves,however.,some little strain on the human frame, so I trust youwill forgive me if 1 use these playing cards to demonstrate and not myself.”
..
..
..
37 ‘‘Perhaps . . you, sir would hand me one of those packs of cards. This one sir, thank you.’’ Magician unseals the case and PrQceeds to q ~ t fairly e mix the cards and then requests the spectator to cut the cardsand to complete the cut. Holding the cards before the spectator’s eyes the magician riffles them and invites :thesxctator to merely think of one of the cards. Then he says . . ’‘You have se.lected a card, sir, ancl I propose to send this card into the future.” “ Would you, sir,” (turning to another spectator) “ name any number between, oh say, 1 and 25.” The spectator names, perhaps 25. “Right, sir, youwish this gentleman’s mentally selected card to be sent 25 years forward into Time.” The magician places the pack inside the t.he empty card case and lays them aside, saying as he does so. “ Nowwe have placed these cards into the first Matter Transference Cabinet. You do agree Sir, that you have mentally selected a card. You neither touched nor removed one.” The magician picks up the second card case and opening it he extracts the pack of cards. He now proceeds to, quite fairly, count off 25 cards, laying the 25th card aside on the table. “ You sir, are theonly permn here who knows the name of your mentally selected card and yet, ”heresir, 25 years ahead in Time, as illustrated by dealing 25 cards . . . is your card. Please name ‘it.”
Spectator does so and Magician turns over the card . . . it is the same card that the spectator has just named. Everything maynow be examined, you add nothing and nothing is taken away. Any pack may be cbosen by spectator at the ‘beginning, it makes no difference. Impossible . . not really . . don your space suits and read the secret. Requirements : Two packs of cards with card cases and a length of Sellotape. Each pack of cards contains a short corn,ered
1
card, shQrted at the top left and bottomright ’hand cofnefs (card being face down). Both packs set up as follows, indiffe,rent card, force card and short cornered card, followed by remainder of pack. Seal flap of the card cases containing the set up packs. Whichever pack is chosen by the spectator, unseal it and extract the cards. Shuffle them, shuffling the top stack of three cards into the centre of pack, taking care not to separate the three stacked cards. Hold the pack in front of the spectator, cards facing him and riffle the top left hand corners quickly, at the same time ask him to think of one of the cards that he. can see. AS your finger passes the: short-cornered card the pack will break for a second and the, force card will stare the spectator in the eyes and then the rest of the cards will riffle by too quickly for any others to register. Ask another spectator to giveyou a number between 1 and 25 and then replace. athe cards in their case. Pick up the second card case and opening it extract the cards. The followingmove,is one of Dr. Jacob Daley’s.Say thespectator has givenyou the number 25, hold the pack in left hand turn over thetop card, saying one, squareitwith pack, double lift and push the ca.rd(s) halfway over the pack, Pull out next card, saying two and lay it face up on tap of previously turned card. Carry on doing the same until you reach 24. Stop, look at spectator and say-“ Your number was 25 Sir, -please check the count.” Square the cards and count them again, :this time dealing them onto table until you come to the 25th card which will be lying face down. (This, of course, is your force card, which lay second fromthe top of pack at the beginning). Hold thiscard, face down ‘in your hand and turning to first spectator ask him for the name of his c.ard. Turn the card over and show thatithas arrived at the chosen number of yearsin the future.
“ A recent book on gambling tricks has been published ky S. W. Erdnase, under the title ‘ The Expert at the Card Table. It contains a chapter on legerdemain.” The Sphinx,” Volume I. Issue of Sept 15th, 1902.
I
I
TRANSPO THOUGHTS H A R R Y E. B U R N S I D E AND CHARLES W. CAMERON HE MAGICIANhands a card case to a and asks him to extract the cards T spectator. and to thoroughly mix them. Whcn this has been done the magician takes the cards back and spreading them between his hands, invites the spectator to select a card. Immediately the card has bee.n chosen the
pack is dropped on thetable and the magician asks the spectator to memorise his card, to replace it in the pack and to again thoroughly mix the cards. Whilst this is being done the magician says “ Please concentrate on your card and if your thoughts are strong enough they will actually influ,enix a msterial object.”
38 “ For example,” . . . . . He,re the magician takes a small leather folder from his pocket and lays it on the table. “ Now, sir, would you please name your card.” Spectatordoes so and names, perhaps the King of Hearts. He is asked to open the leather folder. . .inside there is a photograph of the magician and held between his two hands is a reproduction of the chosen card. This would makea good publicity effect as you can remove the photographand give it to the spectator as a souvenir. Needless to say, your name and address would be printed on thle back. The secret is fairly simple and has been used in variouscard effects in perhaps, slightly different ways. You will require the following articles. A pack of cards, a cigarette case which is feked, in a manner to be described later. Four photographs of yourself, in each of which you are holding a giant card. In effect, as described above, weuse the four Queens. Have your photographstakenand your advertising matter pfinted, if desired on the back.Nowyou are all set. T ~ cigarette B case. is feked as follows. A glance at the sketches will help to make things clear. On the back of the case fix, by means of a strip of Sellotape a small half-inch strip of strong cardboard, do the same to the bottom and also to the side where the catch of the case is. You will find that this set of clips will hold four cards qu‘itesecurely. Remove the four Queens from the pack and .place them, faces outermost under the three clips. ,
g
34RIP OF SELLOTAPG
A*
HALF INCH STKIP OF SICRONC) CARDBOARD
Put the case in your pocket and place each of
the small photographs in‘a cardboard or leather case.. Have these in different pockets in a memorised order.Yourfour Queensshouldalso be stacked in a known order. Lightly pencil dot the secondQuelen on the top left hand and bottom right hand corners on the back of the card. Hand the pack for shuffling and whilstit is beingshuffled, take out your cigarette case and lay it on the table. When thespectator has finished offer himacigarette at the same time taking back the pack in your lefthand. Hold the pack in your left hand and then casually lay the case on top of the cards to enable you to take acigarette. Close thecaseand as you takeit away your left hand fingers press on the hidden cards and draw them on top of the, pack. With proper timing this move is perfectly natural and as the cards are firmly held beneath the case you can handle the case quite casually. Lay your cigarette case aside and cut the cards, complete the cut and hold a break above th,e four Quee.ns. Spread the cards between your. hands and ask the spectator to take; one, timing the spre,ading so thatthe Queens arrivebeneaththe spectator’s hand. Whenhe takesone youwillknow the chosen card immediately, the key dotted Queen keying the position of each card. Drop the pack on the table, ask him to not0 his card and to replace it in the pack qnd then to mix the cards. Wit’hdraw the correct photograph and finish the effect as described. For those who do not wish to go tq the trouble of having photographs taken there areseveral. other vatiations. Have say, the Queen of Clubs in a miniature card stuck to the back of the visiting card. Place a Queen of Diamonds from a red pack, reversed in the centre of a blue pack in your pocket, Print the Queenof Heartsonthecigarette you ara smoking. Seal a duplicate, Queen of Spades in an envelope and place in your pocket.
BIBLIOGRAPHY OF RING TRICKS -continued from page 31. Reference 22-A TRICK W R 0 N G L Y NAMED Walaljia 111-Charb Nyquist and J. Thompson, Jr., “SEFALALJIA” - Peter Warlock. “ The Magic “Phoenix”, p. 108. Circuh’’, Vol. 46, No. 507, p. 32. MI!XXLLANEOUS RING A N D ROPE The middle of a rope if lowered into a hat leaving Reference 23-THE RING IN THE KNOT. The Tarthe ends in view. A ring is put into the hat and secured bell1 Ccnnse im Magic, Vol. 3, Lesson 36, p. 86. t o the rope by a knot. The rope is removed from the Suitable as a “follow up” to any effect in which a hat and the knot dissolved to reveal the ring threaded ring is passed on to a rope. A ring on a rope becomes upon the rope. embedded in a knot which forms apparently by magic. A variation making the effect capable of. impromptu Reference 24-RINGEWEddie Joseph, “The Linking performance was published by P&r W a r k k - M a d c e Ring”,Vol. 7, No. 7, p. 540 (September,1927) and Salrdimunderthe title “Thanks to Stewart James” in also Encyclopedia of Rope Trieks’’43tewart petea Wnrllock’s tagram" ram", Vol. 8, No. 2, p. 14 J m e s , p. 80. (November, 1953). Under cover of a handkerchief a ring is secured on Note-Further close-up variations on the original effect a rope by a double knot while both ends of the rope are can be found in : held by spectators. The first knot is untied and the Sefabljin JIrniar-Walter Giband Bruce Elliott, second can be shown to be a genuine overhand knot. b‘Phoenix”. p. 89 and
E.FFEcI‘s.
39
MAGIC-GO-ROUND NCEAGAIN we reacha February number and dedicate itto the memoryofAnnemann. This time two Scottish devotees of this shortlived genius give to readers of the Pentragram, some ideas which we know would have been welcomed in that unique journal of magic, the Jinx. Our contact with Annemann was that of correspondence, and we still everwonderhow one whodied so young managed to give so much to the magical fraternity in the courae of his lifetime. Quite recently what used
0
to be our favourite magical journal, devoted an issue to the more personal side of Annemann’s life. Some might have used the term muck raking in this connection for added as a supplement was the infamous fake Jinx evolved by two lavatory minded magicians. To us R magician is a magician and whether he be good,
bad or indifferent his private life. his deeds and misdeeds are things apart. Too oftencanlook at somevictim of misfortune’md truly say, There, but for the grace of God, go I. And so to thosetwo that havegiventhisnumber, two who think as I do, let us say Thank you!’ and pay
a little homage to a great magical mind, Time and time again we have in print and in conversationstressed the greathelp that the rightkind of music can give to a magical act. We had a fine illustration of this when recently watching a Magic Circle show. One of the acts, excellent in texture and containing some fine sIeights, sufferedalazyaccompaniment that w a s out of rhythm with the performer. The act looked slow and misdirection failed through the effect of thisslowness.Another act inthe same bill containingsome standardeffectswellworked,becameathing of life simplvbecause the scoring of the musicalaccompaniment led the audience along at a great pace. Into this issue we did hope to publish a..review of the Tarbell Course, volume 5. Space howevef is against us, but pending its appearance in the nextissue, let us tell those readers who have not already ordered a copy that this is one of the finest pieces of value for money that wehaveseensince ‘ Finale.’SenatorCrandall’s Cup and Balls ’ routine,could,easily in a Stars of Magic’ series,wellcommandthepricecharged for the the complete volume.
BOOKS PETER WARLOCK’S T H E KISS OF A B O R G I A
Published by Peter Warlock, price 2/6). INCE such a large number of magical effects consist of the identification of a selected article from among a number of others, be it one card from fifty-two, a deadname from livingones, or whathave you; itis refreshing to findnewgroundbrokeninthisdirection. Briefly, from six or more glasses one is freely chosen and filledwithmilk,which is supposed to representa deadIy poison, the remaining glasses are filled with water. While the performer either turns his back or leaves the room, amember of the audience wraps each glass in a separate sheet ofnewspaper so that the contents cannot be seen. The resultingpackages are thenmovedabout. Despitethesestringentconditions,however,whenthe performer returns he unerringly locates the glass of milk. In return for his money the purchaser gets a dupli-
S
BIBLIOGRAPHY (continuedfrom page 38)
Reference 25-TANNEN’S RING, KNOT AND ROPE -L. Tarmen. The Tarbell Course in: Magic, Vol. 2, Lesson 31, p. 344. A spectator’s finger ring is wrapped within a handkerchief held by the performer in one hand while a rope is held in the other. On striking the handkerchief against the rope, the ring penetrates the rope and is held in position by a knot which forms about the ring. RING T R I C K Pett~ Reference 26-THELATEST Warlock. “Tricks of the Mast-’’, Will Gold&p. 173. The performer holds a ring in one hand and also a loose length of rope stretched between his hands. A very singleknotistied inthe rope.Onthrowing thering towards the knot a penetration take place, the ring being threaded upon that part of the rope within the knot. Reference 27-RING OFF STRING - Tom’ SellwsDuplicated manuscript.
-
cated manuscript and a certain “ something.” The tyro will probably be disappointed, the experienced performer will probably curse himselffor not thinking of it first ,but the showman will welcome it with open arms. The secret incidentallv is somethingdiabolicallysimple,moreover the very nature of the items employed make it impossible ofdiscoveryby the assistingspectator.Before he obtained it, the writer made several attempts at solving the mystery, all of which’ were miles away from the truth. While an educatedaudienceshouldappreciate the Borgia theme, an alternative could very well be worked out for the man in the stryt, featuring,say, a master crook whotried to poison Fabian of the Yard ”; and children might be regaled with the story of a magician, who to regainhispower, had t o locateamagic drink from among a number of unmagic ones, and keeping this in mind, I highlyrecommendthiseffect toany discriminating magician. F. G.CARTER ARTHUR
A ring threaded on a string (or rope) is apparently made more securebytyingseveralknots. On pulling the ends of the string, however, the ring drops free. Reference 28--RING FROM ROPE - Milbourne CW&opher. “Hugard’s Magic Monthly’’, Vol. IV, No. 10, p. 301 (March, 1947). Aring is shownconcluslvely to be secured on a rope by a single overhand knot. The performer is able, however, t.0 pull the ring free from the rope leaving the knot unaltered. Reference 29-RING RELEASE - Jschimmd. (January, 1954x The urinciuleresuonsible for the working of (28) above is ;sed here to give a delayed action effGct, viz. a ring, tied on a rope, vanishes and reappears on a pencil or miniature wand held in the other hand.
KEN DE rnURcY’S The author takes the classic effect of the Coins Across,” and builds it into a really great routine. It’s one eternal weakness, the lack of a CLIMAX has been eliminated with a really startling climax that will leave the audience guessing-and talking. Three silver coins are wrapped in a handkerchief and placed on the left of the table. Three gold coins are similarly wrapped and placed on the right of the table. Amysticpass, and theleft-handhandkerchiefcontainsonlytwosilvercoins,which are re-wrapped.The right-hand handkerchief contains three gold and one silver coin, and these are also re-wrapped. Another mystic pass, and another coin is transferred, leaving but one silver coin on the left, and three gold and two silver coins on the right. The last silver coin is wrapped in the left-hand handkerchief, and the five coins are replaced in the other handkerchief. The lone silver coin vanishes, and the empty handkerchief is replaced on the table. A spectator unwraps the right-hand handkerchief, but in it he finds onlv three silver coins - the last one obviously having successfully travelled across. But he is unable to find the three gold coins. AND SO COMES THE CLIMAX-THE THREE GOLD COINS ARE FOUND IN THE LEFT-HAND HANDKERCHIEF, EMPTYONLY A MOMENT BEFORE! The other routine, SIMULKROSS, does not have such a startling climax, but it is i:teresting because coins pass simultaneously from each side. This too is a really outstanding coin routine and a gem ” of magic. Neither routine requires a prodigious amount of .skill, Merely practice with a d e s of clever and subtle moves that any magician of average abilitty c a m master in an evening. FO,RANEVENING’SPRACTICE-AND THE PRICE O F THIS NEATLY PRINTED BOOK (THAT IS ILLUSTRATED WITH 29 DRAWINGS)-YOUCANACQUIRE A REPUTATION MAKING CLOSE-UP COIN ROUTINE THAT THE ORIGINATOR SPENT YEARS IN PERFECTING. Price 5/-; Postage 3d. “
The Magic Wand Publishing Co., 62 Wellington Road, Enfield, Middlesex
I 661(ISS
OF A BORGIA”
Half a dozen empty glasses stand on the table. One is indicated by a member of the audience and into it ispoured a quantity o f milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied. Whilst the performer’s back is turned a member of the audience wraps each glass in a piece of paper so that there is n o possible indication o f which glass holds the milk. After thisthe same spectator movesthe glasses around. The performer then turns around and with his buck to the spectator but in such a position that his actions can be seen by theaudience, he requests that he be handed a glass at a time.With the build upof the poisoned cup theme, he dramatically stops the assistant and informs him that he, the performer, holds the poisoned glass ! Please remember these points :-1. The glassescanbeborrowedimmediately prior to the presentation. 2. There is nothing chancy like checking the weight of the glass and its contents. 3. There is genuinely free choice of which glass the milk is poured into. 4. Nothing goes into the glass with the milk. 5. There are no magnets. 6 . The pieces of paper used to wrap the glasses are taken at random by the spectator. They are not marked in
1
~
any wav. 7. If needs be. the performer can be genuinelv blindfolded. 8. When the wrapped glasses are handed to the perforlrer his hands are empty. “ The Showman will welcome it with open arms.”-ARTHUR CARTER. ‘‘ Your ‘ Borgia ’ routine is excellent and certamly the simplest way of solving the problem - 100% certain too.” -LEWIS GANSON
12/6post free from-
PETER WARLOCK, 24 Wordsworth Road, Wallington,Surrey o r f r o m your favourite dealer-
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
King George’s HHII, W.C. April 27th, 28th. 29th’ 30thGolden JubileeCelebrations Particulars from Hon. Secretary :
l+
Peter Newcombo 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24thof each month and can be obtained direct from the publishers for 117 per cingle copy. Annual Subscription 181post free. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex haxluscripts for publication and books for review should be rent to the: EDITORIAL ADDRHSS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects inreturnfor a stamp. Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Surrev.
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED BY THEPROPRIETORSTHEMAGIC W A N D PUBLISHINGCOMPANY, 67 WFLLINCTONROAD. E N F I E I D . MIDDLESEX AND PRINTED BY HERBBUT WALKER S O N (PRINTERS) LTD.. W E L L CROFT, SHIPLEY, Y O R K S H I R E
T H E SANDS OF TIME BOBBY BERNARD HEN Bobby first showed me. this intimate Weffect at Brighton I was struck by the novel me means of revealing a.chosen card. I was
many times as you l i e M) that neither you. nor nor any of our audience have any idea where the cardcan be. (This is done. The miniature doubly pleased when he said that I could have the hour glass is now handed to the chooser of the effect for the Pentagram. The only snag, from card whilst the performer picks up the pack prethe reader’s point of view. is that of obtaining the paratory to dealing the cards). I want you sir to necessary gimmick that makes the effect. turn the little time glass over and watch the sand The performerintroducesa fall. At the same time I intend dealing cards from pack of cards the pack. When the last gra’in of sand falls, I and a miniature hour glass. The one that Bobby has and the one in my own possession came from want you to say ‘ stop!”’(The assistant and pera jeweller’s in BurlingtonArcade.Therunning former each pursue their individual tasks. When time of thesand in theglass is approximately the word ‘stop!’ is uttered, the performer leaves twenty seconds and it is important to note when off dealing andpushes the card at that pointaway purchasing this little ornament. for such it is; to from the pack). see thatthe sand inside theglass flows freely and “ Now sir, at apoint where neither of us had any control a card was dealt; a shade earlier it does not stick. The spiel is then commenced“Ladiesand gentlemen long ago, moremight have been thiscard (here the performer years than you or I can remember, a magician shows the face of the preceding card),afraction of a second later it might have been this one (the stood before oneof the Rulers of Egypt; his name card following is then shown). Neither of those wasDedi and he performed wonders unequalled (A cards, I take it was, the one chosen by you. by any other of his kind. One of his feats connegative answer is received). What was the name sisted of divination using a quantity of sand. That don’t of your card, sir .the five of diamonds sand was carefully guarded through the centuries you think it rather strange and magical (here the by his descendents until a time came when it was divided into small quantities and placed in little performerliftstheface down card and slowly turns it over) that the sands ran out at the five time glasseslike this. (Here the performer lifts of diamonds!” up the miniaturehour glass). Notethe fineness The means for what to the lay audiences is of its texture. (The glass is turned over and the an undoubted miracle are very simple. The pack spectators see the sands run into the lowr part of used by the performer is a Svengali and with that the glass). The sand stillretains some of its magjCal power as the following demonstration and thedescriptionthere is nothing else to explain. The more adept may look for methods not will show you. ” “ A pack of cards. (The pack is picked up and involving trick decks, certainly a plan that saves a switch of packs should the performer intend the cards leafed through showing the faces). Now, to carry on with othercard tricks. A method sir . please give me a number between one and which is comparatively simple and needs a little fifty two . . twenty six. . . thank you. (Twentyskill in second dealing is to have a Iocator card, five cards are now dealt from the pack and the say a corner short in the pack. Thiscard is twenty-sixth is pushed across tothespectator). forced and initialled by the selector. After this Just take a look at it yourself and show it tothose it is replaced in the pack, the latter being shuffled. around you.Don’tletmesee it.(This is done Thisshumingmakesa very strongpoint.The and the peaformer turns hishead away). Now short is located and the pack openly cut. When perhaps you will replace it. (The card is replaced) the glassis turned over,seconds are dealt until and the,pack re-assembled. Cut the pack.sir. as
...
..
..
.. .
.
-.
VOLUME 9, No. 6
I/6. (20 Cents)
MARCH 1955
42
the word
Stop!” The top card is then pushed off, the preceding and proceeding cards shown and finally the chosencardturned over and proved to be the one iuitialled by the spectator.
I
“
The plot as I said before is delightful and experience has proved that it can maintain interest with a fair sized audience. Thank you Bobby on behalf of all our readers.
‘ I propose to append at the close of this work, a few of these tricks whfch will constitute a chapterunderthe title ‘ How to become a Wizard in a few minutes ’.’
Robed-Houdin-
The Secrets of Conjuring and Magic.’
I
POOR MAN’S LAST CARD PETER WARLOCK ANY M 00 N S ago there cam,e on the an effect called the LastCard,” MItsmarket chief attraction to many silmple minded “
folk who follow the paths of conjuring was that a piece of apparatus nearly large enough to produce a rabbit allowed the performer to add some sixteen cards to a pack. The plot, however,was onetoo good to gloss overand the following method obtains a far better effect and at the same time does awaywith some,thing that looks like nothing on earth. On the magician’s table stand three stemmed glasses. At their side are a sealed envelope and a pack of cards. The sealed envelopeispicked up and placed in a prominent position, attention being called to the fact that it will not be touched of thefeatto be attempted: is untiltheend reached. The pack of cards is then taken and a spectator is requested to give it a thorough shuffle. When this is complete the performer extends his left hand and further asks that nine cards be dealt upon it face down. These nine cards are counted off with their faces to the audience in threes, each three going in one of the glasses, backs to the audience. Two glasses arethen eliminated according to the spectator’s choice, the cards being removed from these glasses. Two of the three cards in thethird glass arethen removed, one each k i n g placed in the remainingtwo glasses. Again the spectator eliminates two glasses and as they are eliminated, the glasses are turned around to show the faces of the cards. The envelope isnow takenand the endtorn off. From the inside a playing card is removedandshown to the audience. The card in the third glass is now turned round andit is seen to match. The requirementsforthis effect, which has proved most effective in practice, are simple; they are :A pack of cards, three stemmedglasses, the conventional double envelope; a duplicate of one card int’he pack, say the four of clubs: a double faced card representing on one side say the ace of diamonds and on the other the queen of clubs. The preparation is simple. First of all the duplicate four of clubs is placed inside the second
partition of the double envelops and the two flaps are sealed together. Tbedouble faced card is then placed inside the normal compartment, care being taken that the respective sides of the card are remembered in their relation to the outside of the envelope. The envelopeis now sealed, and for the sake of effect a large blob of sealing wax is placed where the flap joins the envelope. From the pack proper the four of clubs, ace of diamonds and queen of clubs are removed and placedon top of the pack. With th*eglassesin a row on the table and the envelope and pack of cards beside them the performer is all set for the presentation. The envelopeisfirstpicked up andwith a remark that the contents represent the shape of things to come it is plaoed in a prominent position. The pack of cards is then taken with the left hand and as the performer looks round for a likely shuffler, the three top cards arethumbcounted and a break is held with the little finger prior to palming these cards with the right hand.The right hand nowcomesacross and in taking the cards from the left hand, the right hand gets the three top cards into a palm poiition, holding the remainder of the packbetween the fingers and thumb. The left hand at this point makes a gesturetowards the would-be shuffler and moving forward, the left handtakesthecardstohand them to the spectator whilst the right ’hand drops to the side. The cards are thenshuffled and the spectator is asked to deal nine cards face down on tothe performer’sleftpalm. As ’he remarks, “ May I have the remainder of the pack?” the right hand comes up and over the left hand and takes these cards by the thumb and fingertips, at the same time allowing the three pal,med cards to drop. The left ’hand, now free, takes the remainder of the pack and drops it into a side pocket. The action is logical. Moving back to behind the table so that the glasses are in front of him, the cards held in the right hand are raised so that their faces face the audience. Counthg off from the back of the supposed heap of nine cards, three cards (actually of course theadded cards) are taken with the left hand, and then turned over as thev are plaod in
43
the left hasd glass so that now they are backs towards the audience. Three more are similarly counted and placed in the centre. Finally two cards are counted off from the remaining six and the four cards as one being taken as three cards and placed in the right hand glass, backs outward to the audience. The position is that three cards, covered- by the double facer and duplicate inthe envelope, are in the left-hand glass, andit is this glass, which, by elimination must be left, whilst the cards in the centre and right hand glasses are removed and placedaside. The beauty, however, lies in the fact, that despite the conjuror’s choice, used to attain this means, the spectator is asked to use the same method of selection when finally deciding upon a glass the second time, for at this
point it is of no import at all which glass is chosen. With the final choice made and the two un-
wanted glasses turned round so that the faces of their contents can be seen, the performer takes up the envelope. If the card remaining is one r e p resented by one of the sides of the double facer hle must be careful to see that the envelope is turned round so that when the card is removed the correct side faces the audience. This is the only real care needed and in consequenc the only other item to attend to is that the right tear be made and the correct compartment be available without any fiddling. The card removed from the envelope isnow inon,e of the dropped in front of thecard unwanted glasses and then the chosenglass is turned around to reveal the duplicate.
‘The most elementarv rule of a conjuring entertainment is to arrange the programme after the manner of the feats exhibited in bygone day: on the stage of Nico1et:‘de plus fort en plus fort-i.e. always to make each trick more surprising than the last. Robert-Houdin-‘ The Secrets of Conjuring and Magic.’
I
A TWENTIETH CENTURY CARD JAMES DOUGLAS HAVE been playing around with the idea of a ‘chosen card vanish with a piece of ribbon, and reproducing the latter with card adhering to it between two previously shown, separate silks. The idea of concealing the ribbon and card, duplicates of those vanished, between thetwoapparently separate silks, originated from a method used in one of Tarbell’s books and was I bel,ieve, a dewlopment of one ofA1 Baker’s routines. I think mine is an improvement on both,as no special tables or unusual moves are necessary. A “ Good Night ” banner is employed and lies ready for use in the usual way, that is withthe double flap facing the audience. Tie a piec’e of coloured ribbon (about 12 hches by 14) between two 24 inch silks. At the centre of the ribbon, stick a piece of “ Sleek ” plaster wrong side to ribbon, that is leaving the adhesive side facing upwards. Fix a duplicate of a card to be ‘ 1 cannot suppose that any conjurer would forone Robert-Houdin-‘ audience.’
forced to this adhesive side, It can be easily removed later if required. Pleat the ribbon each side of the card andplace under the flap of banner. Take one of the top corners next to the corner tied to ribbon and arrange each silk so that they lie on top of the banner and appear separate. To the audience, the silks look as if they are a little distant from each other andhanging over the edge of table. The arrangement is similar to the “ tied together three ” of the sympathetic silks.
To perform. Force the card, wr.ap the duplicate ribbon around it, Vanish by the paper cone or as youprefer. Previous to this the silks are lifted one in each hand by the ends lying on the table to an almost perpendicular position and’ then brought nearer to each other before replacing on table. Show vanish of card. and ribbon and pull smartly on side corner to show result.
moment dream of employing confederatesa:I-]ongstth4 The Secrets and of Conjuring Magic.
44
THE THOUGHT RECORDER LESLIE MAY PERFORMER instances the various TofHE devices atnd inventions to date that arecapable recording sounds, pictures, etc., briefly
Frankie, Thinking
tracing through from the original phonograph to the modern wonders of wireless,television and the tape recorder. Hte then introduces hisown invention and greatest achievement of them all, a machine capable of recording thoughts. This resembles a toy mangle,having two rollers turned, by a handle. Attached to each upright pillar of th,emachineis a short length of flex terminating in a small handle or plug. Also used is a sheet of specially prepared (?) sensitized paper, cut to a size that can beeasily f e d into the machine.
TO dtemonstrate, the performerobtains the services of a volunteer who is asked to glance over a series of pictures of famous film stars, and thlen to secretly select one. The performer takes the sheet of paper, initials, or marks the corner in some way, and feeds it into the #machine,just sufficient for the rollers to hold it. The spectator is instructed to pick upand
hold, the two small handles atthe end of the flexes, grasping one in eachhand,and atthe same time to silently but intensely think of the chosen star, and. to repeat continually to himself, I am thinking of ... . . . . . of . . . . . . . . I am thinking of . . . . . . . . etc. etc. Theperformer now turns the handle of the machine,and the marked paper slowly passes through it, and asit emanates from the other side, printiing (or type) is observed upon it, and on being finallyremoved,(say AVA GARDNER was selected), the following (or something similar) appears on the sheet: I am thinking . . . . .. Ava thinking of, I can picture, of her AVA ThinkINGAVAGARDNER, will she and Frankie, will . . . ._.. the bullfighter . . . . . . thinking LOVELY, I am thinking Hard: thinking, Ava, Shape, see again, lucky
I am thinking of AVA GARDNER
The performer exhibits this, asks (as if he didn’tknow) if that is the star selected, and showshow this delicatemachine has picked up boththe conscious and subconscious thoughts of the spectator and faithfully recorded them. The machine is merely the old-fashioned Bank-Note printing machine.” The manner in which it is decked up to resemblesomething scientific can be left to individual ingenuity. The most essential things are the attachment of two wires or bits of flex with small handles attached.
“
The paper usedisany ordinary paperthat can befed into the machine, but f o r effect, it should be produced from a most carefully wrapped folder, and each piece be wrapped in, or placed under a sheet of cellophane. Themark placedon it, must, of course, be identical with the mark already placedon the prepared shleet hidden in the machine. This hidden piece, has already got the typing on it, the great thing being that the information must be on a similar style to the above,i.e. irregular in alignmlent, and also insequence, it apparently being a record of conscious and subconscious thoughts intruding on each other. The name is forced in any method suitable, but the more straightforward the force, the better for this type of effect. The names of film stars is only one idea. Views can be used, and if, say at a dinner, the performer has previousknowledge of who will attend, he can often find one particular scene, in a bunch of local views that will tie up with someone whowill be present, and incorporate on the paper quite a few facts that he is certain will come in the persons mind when they select and concentrate on that particular scene. This is an effect that can be adapted, in many ways; there is only one thing I ask, please don’t use piaying cards.
45
SURPRIZE HARRY E. BURNSIDE AND CHARLES W. CAMERON PACK of cards is shuffled and one card is Aselected-memorised andthen shuffledback into the pack. The mentalist cuts the cards and deals one cards face down on to the table. He states quite firmly that this card is the chosen card. The spectator turns the card over and denies that it is the one that he chose. The mentalist picks up the card and lays it face up on the top of the pack. He again, statles that he is sure that this is thecardthat the spectator chose. Upon the spectator again denying thisstatement the mentalist lifts the card from the pack. Holding it between his fingertips he brushes it against his sleeve.Suddenly thecard visibly changes to another card of different value. Once moE, however, the spectator states that this is still not his chosen card. Appearing confused the mentalist states that if they will forgive his mistake he will show them another effect. Suddenly as though a thoughthad just occurred to him he swiftly riffles the cards, holding them close to his ear. Then he asks the spectator to name his card. The spectator replies, “ Five of spades.” ‘‘ I thought so,” the mentalist replies. “ NO wonder I failed, this pack is short of one card. There are only fifty-one cards here.” Laying the pack aside he picks up the card case and opening it holds it upside down, a card falls from the case to the table. I t is the fiveof spades. The case is empty and the packmaybe thoroughly examined. Thereare onlyfifty-one cards in the pack, thereare no duplicate cards. There is nothing to addand nothing totake away. The requirements forthis effect are simple and consist of a pack of playing cards and a bottle of, “ It’s a Pip” fluid, which is obtainable from your ,magical dealers. First, using the fluid, change the five of clubsintothe five of spades, have thison top of your pack and above it have the genuine five of spades. Place the pack in the card case and you are now ready to bewilder the multitudes. Open the case and take out the cards, leaving thle top card (genuine five of spades) in the case. Close the card case and lay it aside. Shuffle the pack, retaining the top card, and, then
force thiscard, using your favourite force. The side slip is probably as good as any and better than most. Have the carcl returned to the pack, shuffle, controlling the f o r d card to the bottom. Cut the pack, pulling a section from the ce.ntre andplace them on top. Liftthe top card, and drop it face down on the table. State firmly thatthis is the card thatthe spectator chose and ask him to turn it over. You are holding the pack face down and whilstyou are talking your right or left hand fingers are running over the face of thebottom card (the f a k d five of spades). This naturally removes the extra lines that were painted on the card, turning it back again into the five of clubs. The spectator, having turnedthe card face up, statesthatitis not his chosen c a d . You appear crestfallen, pick the card up and lay it, face up on the face downpack. You say that you are positive that it isthe,comect card. The spectator will again deny this. As you are talking you prepare for a double lift. Double lift ,and hold’ing the two cards as one, thumb on the left long side of card(s) and finger tips on the right long sidle of card(@, brush it quickly, up and down your jacket sleeve. Snap the card quickly, allowing it to turn over, releasing the grip held by the fingers and now holding the edge of the card(s) between thumb an& finger. The card will have changed value. We cannot remember whosemove the above is and are themfore unable to give credit for if. Follow it with the two cards in your hand and the knack will soon be acquked. . The ,spectator will again h o k slightly statethatthh is not hiscard. bewildered, and say that if they will forgive you, you will show them another effect. Shuffle the pack, stop, and then riflethe cards past your ear. Ask the spectator the name of his card and saying that the pack is short of one card, lay it aside and pick up the c a d case. Open it and allow the five of spades to fall on to the table. Everything maynow be examind. The card case is empty and the pack is In order. All evidence of your “ skullduggery ” has been removed.
46
BOOKS The Tarbd C o u x s e 9 Volume 6 (Published by been marketed such as A1 Koran’s Word in Lou Tanner, New York, price 10 dollars). Thousands ’’ and Blake’s Uncanny Silks.” One thoughtstruck us in reading andthat was the Because of a larger amount of British delightful angles that Gen Grant has evolved, material in this volume there is little doubt that many of which appear here. His Bombay Ropes it will be dubbed the English Tarbell. Once andRings with a slightly different handling again our verygood friend Haran Tarbell, with gone into our own repertoire. have permanently Bruce Elliott as editor has brought off a tour de In the silk section, Jimmy Herpick’s knot release force for those who require a book dealing with which Fred Kaps showed us some time ago and more than one phase of magic. the Tarbell-Rice dissolvo silks are musts ” for There are in all someelevenlessons dealing those who like knotting effects with silks. with the following subjects :In the card section our friend Francis Novel Ball Magic, Unique Card Effects, Haxton has two nice card, effects which are most Novelty Magic, Rope Magic, Mind Reading effective and Palhina’s Wherizit, despite the fact Mysteries, X-Ray and Blindfold Effects, Silk and that it uses a fake card, is diabolically cunning. RopePenetrations, Escapes andSubstitutions, For those who want an effect that has great SpiritTiesand Vest Turning, Modern Stage humorous possibilities we recommend unreservedly Magic, Stage Productions. McLemore’s StopGo.” Thereare in all somelevenlessonsdealing To complete a budget of grand tricks Fred charged forthe complete volumeandamongst Keating writes on Magic as Theatre ” an essay these wewould mention two, namely Crandall’s worthy of attention from all those who*ish to Cup and Ball routine and also his version of the SixCard Repcat.There are many items that haveimprove the standzard of their own performance. “
“
“
“
”
“
”
”
“
“
“
ONLY THE MAGIC CIRCLE COULD GIVE SUCH VALUE The Acts appearing during the Jubilee Celabrotionr
INTERNATIONALGALAPERFORMANCE
...
will include-
Rrtdag, April 129
Milbourne Christopher.AdeandTrue Duval. Holden. KalanagandGloria Fred Kaps. Li King Si. Jay Marshall. David Nixon. Jimmy Rogers The Voltaires.
INVITATION TO A SEANCE Thursday, April 129 Robert Harbin. Maurice Fogel. Claude Chandler.
‘‘WITCHCRAWT Paula Baird.
”
Jack and Frances
Salvin.
Peter Warlock
Thnrsdag, April 28 Elizabeth.
‘‘ABRACADABOROUGH
”
Marjorie Fletcher.
Shan.
Elizabeth Warlock
Saturday, April 30
John Hayward. Claude Perry. Michael Bailey. John Salisse.
Larry Barnes. John Peake.
Jack Delvin. Alex Elmsley
ADDITIONAL ATTRACTION Lecture by Milbourne Christopher, on Thursday, April 28th : “ NEW WAYS TO DECEIVE.” (Frances Ireland in the chair)
All this and much more c m be yours to remember for ever. Register NOW before it’s too late : John Sulisse, Flat 8, 20-21 Marylebone High Street, London, W.I., und enjoy four unforgettuble days at
The Mugic cir,/eGOLDEN JUBILEE
CELEBRATIONS
HE PAST month has been a goodone for Toff thle Magic Circle and certainly no better send to the Golden Jubilee celebrations could have h,appened than that of the, visit of H.R.H. the Duke of EdinburghonMonday,February 28th. His interest was apparent in all that happened, and! we who had the pleasure of presenting tricks for his pleasure could neverfind a better audience. ,This visitcoincidedwith the completion of the new decorations, decor'ations inspired by a very fine architect, d.xorations too that give a truly magical surrounding to those who follow thepaths of accredited chicanery. The telecast on March7th, based on a competition between LondonandtheRest seems, judging by lay opinion, which after all is the true opinion, to have been the best Magic CircFe TV show to date. Certainly it brought a number of novelties to the viewers. Wle would like to record, our own thanks here to Bob Harbin who on the day of the show brought along a lovely little PeckingBird made. by Guy B'ert which at the last minute we substituted for the small one with which we had been rehearsing. It was quite a thrill to hear Jay Marshall's voice on the phone on the day following his and Francis Ireland's arrival in this country. Jay told us that whilst he is over here he will try and put out an edition from here. A little later we were to meet this charmingand talented couple at the special luncheon party sponsored by the British Ring. Although, Jay because of his contracts over here was unable to perform his act, we did have the pleasure ofseeing Frances Ireland present some magic and chapeaugraphy that included some very novel angles.
Another Americam visitor will soon be arriving namely Dai Vernon, a name to whom much homage hasrightly been paidin this country. We know that when he lectures at Victoria Halls on May lst, he will have one of the mostenthusiastic audiences that he could wish for. It is a great pity that many magicians whohave not aquainted themselves with Vernon'sworktend to think of him as a card worker. A study ofhis " Harlequin actand " Select Secrets " should prove that his genius has entered many magical fields. "
By the timethis is in print the Golden Jubilee celebrations will be just around the corner and we shall look forward to seeingonce again that great artiste Ade Duval, who so kindly accepted our invitation to appear in the Gala Show. The last time wesaw Adeperform was at the old Magicians' Club. It was at the time hewas working his beautiful silk act, but on this occasion he did a couple of small effects presented with the skill of a great conjurer allied to the art of a good actor.
Other acts in the showwhowillbenew to Magic Circle members are Holden whose performance of that classic, the needle threading trick leaves one breathless, Jay Marshall, Milbourne Christopherand Li KingSi,whose beautiful TibetanAct members of the BritishRingsaw at Brighton. The showing of the Scarnefilm " Cheating and Gambling should provemore than attractive for those who did not see it when it went the rounds somefive years ago. A double showing will allow all the niceties to be appreciated. There will also be a lecture by Milbourne Christopher, and to add to the publicity there is theunique achievementof Kalanag whowith Gloria and some seventeen assistants will charter a special plane so that he can appear in the Gala show.All in all it is doubtful if at any time so much has been offered to the follower of magic for so little. This is occasion to when the ladies are beingcatered for . . . Sightseeing tour, Hair Styles and Fashion Parades are just a few of the things that will be for them an antidote to magic. "
BOOKST R Y M E F I R S T F O R THAT
ENGLISH O R AMERICAN BOOK YOU REQUIRE-OLD
OR NEW
TARBELL, Vol. 6 in stock, 70/Lists on request What Books do you want?
JENNESS, 47 InvernessAvenue ENFIELD
48
The author takes the classic effect of the “ Coins Across,” and builds it into a really great routine. It’s one eternal weakness, the lack of a CLIMAX has been eliminated with a really startling climax that will leave the audience guessing-and talking. Three silver coins are wrapped in a handkerchief and placed on the left of the table. Three gold coins are similarly wrapped and placed on the right of the table. Amysticpass, and theleft-handhandkerchiefcontainsonly two silvercoins,which are re-wrapped. The right-hand handkerchief contains three gold and one silver coin, and these are also re-wrapped. Another mystic pass, and another coin is tmnsferred, leaving but one silver coin on the left, and three gold and two silver coins on the right. The last silver coin is wrappedin the left-hand handkerchief, and the five coins are replaced in the other handkerchief. The lone silver coin vanishes, and the empty handkerchief is replaced on the table. A spectator unwraps the right-hand handkerchief, but in it he finds only three silver coins - the last one obviously having successfully travelled across. But he is unable to find the three gold coins. AND So COMES THE CLIMAX--THE THREE GOLD COMS ARE FOUND IN THE LEFT-HAND HANDKERCHIEF, EM,PTY ONLY A MOMENT BEFORE! The other routine, SIMULKROS, does not have such a startling climax, but it is i?teresting because coins pass simultaneously from each side. This too is a really outstanding coin routine and a gem l 3 of magic. Neithcr rouflne requires a pdigioue amount of skill. M& p c t o is with a series of clever and subtb movm that any magician of averpge abilitty c a m madw kr an FOR AN EVENING’SPRACTICE-AND “E PRICE OF THIS NEATLY PRINTED BOOK (THAT IS ILLUSI’RATED WITH 29 DRAWINGS)-YOU CAN ACQUIREAREPUTATIONMAKINGCLOSE-UP COIN ROUTINE THAT THE ORIGINATOR SPENT YEARS IN PERFECTING. price S/-; Po&age 3 d.
e v -
The Magic wand Publishing Co., 62 Wellington Road, Enfield, Middlesex
PETER WARLOCK’S
ccKISS OF A BORGIA”
Half a dozen empty glassesstand on thetable. One is indicated by a member of theaudience and into itis poured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water ir emptied. Whilst the performer’s back is turned a member of the audience wraps each glassin a piece of paper EO that there is no possible indication of whichglass holds the milk.After thisthe same spectator moves the glarses around. The performer then turnsaround and with his back to the spectator but in such a position that his actions can be seen by the audience, he requests that hebehanded a glass at a time. With the build up of the poisoned cup theme, he dramatically stops the assistant and informs him that he, the performer, holdr the poisoned glasr ! Please remember these points:l . The glassescanbeborrowedimmediately prior to the presentation. 2. There is nothing chancy like checking the weight of the glass and its contents. 3. There is genuinely free choice of which glass the milk is poured into. 4. Nothing goes into the glass with the milk. 5. There are no magnets. 6. The pieces of paper used to wrap the glasses are taken at random by the spectator. They are not marked in any way. 7. If needs be. the performer can be genuinelv blindfoldd. 8. When the wrapped glasses are handed to the performm his hands are empty. “ The Showman will welcome it with open arms.”-AR”UR CARTER. Your ‘ Borgia ’ routine is excellent and certainly the simplest m y of solving the problem - 100% certain too.” -LEWIS GANSON “
12/6 posS fee from-
PETER WARLOCK, 24 Wordsworth Road, Wallington, Surrey or from your favourite dealer
The Magic Circle Premident: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. and Museum :
Clubroam and Library
I
l
Hearts of Oak Buildings, 6u8tOn Road, Madul Theatro :
PETER
London, N.W.l.
PENTAGRAM published ou the 24th of o.ch month and can be obWned direct from (h0 publbbm for 117 per singlecopy. Annual Sukuiptiw IS/-
PUBLISHED
po8t free. BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
April 27th, 28th, 29th, 30thGolden Jubilee Celebrations Poter Newcornbe 38 Overdale Avenue New Malden, Surrey
T
U
King George’s Hall, W.C. Putfculan from Hon. Secretary :
WARLOCK’S
kwnurcsipb for publication and book for review should be sent to the:
EDITORIAL ADDRBSS: 24,
Peter Warlock, Wordrworth Rd., Wallington,
THE DE LUXB “SU-TABLB” together with .I1 hia other effects in retun for a stamp. Write now to
Jack Hugher, 2, Bvelyn Ave., Colindale, London, N.W.9.
Surrey.
Every Advertiser9: goods are fully endorse1d by this Bulletin WBLI8H.D
BY
m ?ROPRIBTORI
1-
HAOIC W A N D FWBU881NG COMPANY. 02 W I L L I N O m
d
lndroduction
Aon
LTHOUGH my friend, His Honour Ernest Wethered has entitledhis contribution “ Variation the ‘Taped Slate’.” He has added something more than a variant. It must be nearly three years ago since he demonstrated the means that he describes. and it must be almost as long when I received the
manuscript.Althoughthehandling is aligned to my own effect “ Taped Slate,” the methods can be applied to any similar means where “ one ahead ” is
the rule. The similarity in effect of “Mental Epic” to “Taped Slate” makes this very worthwhile for those who have bought or those who intend to buy.
-
VARIATIONS ON THE ‘TAPED SLATE’ H I S H O N O U R ERNEST WETHERED HE “Taped Slate ” was the title given by Peter Warlock to an effect described by him in Patterns for Psychics, pages 17 ff. I considered this effect, when I read the description, to be one of the besteffectsWarlockhad everinvented,and I am still of thesameopinion.Theperformerattemptedtopredict in advancethe choicemade by three of his audience and wrote hispredictions on aslate, each prediction being covered with a piece of adhesivetape or plaster.Thethreemembers of the audience, in duecourse,madetheir respective selectionsand in eachcase the performer’sprediction was found to be correct. In The Pentagram for January, 1952, Warlock published another routine on similar lines under the title “ Gap in the Curtain,” which dispensed with the use of a mechanical slate used in his original effect. This latter routine is ingenious but I have not tried it out. The effect which I have been performing now for sometime with very considerablesuccess is a in variation on the original effect as described Poftertls for Psychics. This version, to my way of thinking,hadone weakness. Themethodofperforming it was an adaptation of the ‘‘ one ahead ’’ principle and it was necessary for the performer to to ascertain from his first twoassistants the choice they had made before he made his next prediction. In the routine which I adaptedthisweakness was eliminatedandnoquestionsare asked throughout. As seen by the audience the effect is a s follows :Theperformer secures the assistance of three members of hisaudienceandenquires if, for the purposeofthis experiment. he may addressthem
T
VOLUME 9, No. 7
-
respectively as Mr. A. Mr. B and Mr. C (or Mrs. or Miss). Hethenannouncesthathe will endeavour topredictinadvancethe choiceswhichthey will subsequentlymake and he proposes to writedown thesepredictionsbeforetheirchoices respectively. are made. For this purpose he uses a slate which h e divides with whitechalk into threedivisions. From a box of chalks he takes a blue chalk and announces that he will write his prediction of the choice which Mr. A. will make, in blue chalk. This he does in the first. divisionon theslateand thencovers the prediction with a strip of cardboard coloured blue, three inches in breadth, which he clips to the side of the slate with a bulldog clip. A, is then handed a book and asked to open it where he likes, to run hisfingerdowntherighthand page andstop on anyword when hefeelsanimpulse so todo,the performer saying that he will attempt to control his choice of the word at which he stops. The assistant does this, is asked to close the book and is handed a slip of paper and a Biro pen. He is asked to write the word clearly and distinctly on the slip, fold it in four and place it in an envelope which the performer hands him forthepurpose, seal theenvelope and mark it ‘* A.” The services of a fourth member of theaudience is secured,to be “ t h e holder of the envelopes.” Thisgentlemantakes possession of the envelope which is at no time touched by the performer. The performer then makes his second Drediction. with regard to the choice to be made by Mr. B, and writes this in the second division on the slate in pink chalk, which is covered with a second strip of card-
I/6. (20 Cents)
-
APRIL 1955
50 board coloured pink. Mr. B. is then asked to think of a number of four figures and having done so, is handed a slip of paper with the request to write the number on the slip, fold it in four, place it inthe B.” secondenvelopewhichhesealsandmarks Possession of this envelope is taken by the holder of the envelopes. The performerthenproceedstomakehisprediction with regard to the, last assistant, if possible a lady,whoisaddressedasMrs.or Miss C . This prediction he writes in the third division on the slate in green chalk and covers it with a third strip coloured green.. The slate is then placed on an easel on his table.Miss C isseatednearanothertableandthe performer shuffles a pack of cards and spreads the cards ribbon-wise across the table requesting her to drop her finger on any card which she chooses. This card sheisasked to withdraw from the spread but not to look at it for the moment and to place it in thethirdenvelope which sheseals andandmarks C.” The strips of cardboard are in turn taken from the slate and it is found that the performer has predicted correctly the word chosen by A, the number selected by B. and with regard to C , it is stated that the card she will select will be say, the four of Clubs. The holder of the envelopes opens the envelopes in turn and verifies thecorrectness of the performer’s predictions with regard to the choices made by A and B and on openingtheenvelopemarked “C,” it is foundthatthecard placed there by Miss C, was the four of Clubs. That in short, is the effect and now here is the method of performing it. Patterns Reference to Warlock’s description in for Psychics will show that the general lines of the routine are verysimilar to Mr.Warlock’s butthat it has been altered in several material respects. The slate used is a mechanical slate as described by Mr. Warlock, that is to say, it has a sliding panel which covers two-thirds of one of its surfaces and accordinglycaneithercoverthelowertwothirds orthe upper two thirds according to which way it is slid. In thethirddivisionontheslate,underneaththe panel, is written in greenchalk “ C = the four of Clubs.”Thepanel is then slid downto coverthis predictionand the, slateappearstobeblank.In order to disguise the presence of the ridge formed by thetop of thepanel,awhitechalkline is placed along this edge. At the start of this experiment this mark is covered by thethreestrips of cardboard which are held in place by one of the bulldog clips. The first two strips are removed and the third one is heldinplace by theperformer’sleftthumb so that the chalk mark is still hidden from the audience. From his box of chalkstheperformertakes awhitechalkand,turningtheslatetowardshimself he removes the.green strip and pretends to draw the line across the slate with his chalk in the position wherethechalkline is alreadydrawn.Theslate can then safely be turned towards the audience as the top of the slide is covered by thewhitechalk. “
Thechalklineblanketsthe edge. A secondchalk line isdrawn half way between thislineandthe loweredge of theslate so that the slate is divided into three portions. Takingabluechalkfromhisbox,inthefirst toplefthandcorner of theslatetheperformer writes A = . . . . .” and states that he proposes to makeaprediction of the choicethat will laterbe made by Mr. A. He turns the slate towards himself so that the audience cannot see what he writes and writesanything,itmattersnotwhat, in theupper corner of the first division, covers what he has written with the blue strip and fixes this in place with one A. a book from of the clips. He thenhandsMr. which he chooses a word. This book is an ordinary book which must have a good firm cover and it must have its paper jacket on it. Insidethetopflap of thejacket is pasted a piece of carbonpaper of themostsensitivetype available the printing side of the sheet being uppermost.Overthiscarbonsheet is placed a sheet of paper which isfixed in position with gum or paste. of thejacket. This pape,rshould matchthecolour Theresult is toformasort of pocket inside the jacketwhich is closed atthetop end but open at is slid a sheet of itslowerend.Inside,thispocket stout typewriting paper of such breadth that it will slide easily inthepocket.When pushed homethe sheetmustprojectoneinch below the edge of the pocket. The jacket is then replaced on the book, the projectingedge of thetypewritingpaper is folded back against the inside of the cover, and the flap of thejacket is foldeddownandcoversthe whole of the turned up strip of paper except a small portion at theinner side. Thisdescription may seem alittle complicatedbut if it is read with a book in hand, which carries a jacket, I think my meaning will becomeclear.Therough switch annexed may help. “
\
Cdrbm i n s i d e
P
Projectin2‘ slip o f paper, men beat upwards the s l i p i s covered by the f l a p except at inner end.
51 This book canbefreelyhandledand even if the cover is openedtheturned-inedge of thehidden be slip of paper appears, on a casual inspection, to aportion of thejacket.Thepocket is completely hidden between the jacket and the cover. his wordand Mr. A. opensthebook,selects thenclosesthebook. He is handedaslip of the thinnesttypewritingpaperobtainable, which correspondsroughlyin size tothe hidden slip. It is indicated to him that he could use the cover of the book as a writing pad. This should not be stated in express terms but can be indicated clearly if the percoverand former places thestrip of paperonthe He hands both to Mr. A, as he hands him the pen. isaskedtowritethewordclearly,preferablyto print the letters, as later “ It will be necessary for the word to be seen from all parts of the room.” Havingdonethis, he is askedtofolditinfour.The performer then takes from, his table a packetof large size pay envelopes. These are made of brown paper and open at one end and the size which I use are six incheslong andfourinchesbroad.The aremade mustbe paper of whichtheseenvelopes fair!y stout.Placingthepaperinsidetheenvelope, Mr. A. seals it and marks it “ A,” and hands it to of the envelopes. The performer is the holder holding in his hand several slips of paper similar to A. One of these theone which hehandedtoMr. will be used by Mr. B, and on it he will write the number selected by him. The performerretrieves of paper the book from A. and placesthesheaves on the cover of the book. He proceeds to explain to Mr. B. that he is going to ask him to think of a number and he will then be requiredtowriteitonastrip of paper,foldit in four and seal it up in an envelope in the same way that Mr. A. has sealed his slip. T o assist Mr. B, to understandtheproceduretobeadopted,theperformer illustrates what is required by folding one of As he preparesto thestripsinhishandintofour. do this he slips the second finger of his right hand underthetopcover of thebookand presseshis finger on the edge of the hidden slip, which he pulls freefromthe pocket and,holdingtheslip,draws thewholepacket of papers off towardshimself. In so doing he draws the hidden slip completely out of the pocket in the jacket; the hidden strip concealed under the other papers in his hand. He then draws this slip from under the others and it is with this slip B. shouldfoldhis thathedemonstrateshowMr. paper in four. On this slip the carbon has recorded theword chosen by Mr. A, andastheperformer folds this into four for the edification of Mr. B, it is an easy matter for him to read the chosen word, but he is careful to prevent anyone seeing its presence on the slip. That is thereason why this slip should be is made of fairlystouttypewritingpaper.There then no chance of the word being seen through the paperastheperformerhandles it. As hefoldsthe paper in half he folds the word inside and then folds
thedoublepaperacross,thusfoldingthe slip into four. He thenstraightensoutthis slip andthen placesitwiththeother,papersonthetableas he proceeds to make his prediction with regard to Mr. B’s choiceinpinkchalk.Thechalk used forthis purpose has two ends to it. One end is composed of blue chalk and the other of pink chalk. The method for thispurpose is of makingdoubleendedchalks described by Warlock in The Gap in the Curtain in The Pentagrum for January, 1952. As the performer takes this fake chalk from his boxonly thepinkend is seen by theaudience. As soon as he gets this chalk behind the slate he reverses theendsandinthe seconddivision of theslate writes A = chatterbox ” (or whatever the word may is then be which A, hasselected).Thisprediction coveredwiththestrip of cardboardcolouredpink. B, is then asked to think of a number of four figures andhavingdone so, is handedone of the slips of paper on the performer’s table, together with the Biro pen and asked to write the number on the paper, fold it in four and in due course place it in an B.” envelope which he is to mark I must now explain the nature of the packet of envelopesused by theperformer.Thispacketconsists of about tenenvelopes. Thetopone, which A., is notprepared, but istheonehandedtoMr. immediately under ‘this envelope is a faked envelope which consists only of the address sideof an envelope matching the others in colour but made of thinner paper, on the inner sur face of which is fixed a sheet of carbonpaper which covers the whole of the underneath surface except a band of a quarter of an inchallround.This fake is thenattachedtothe end of another envelope by a strip of paper to form a hinge. This envelope is re-inforced by the insertion of a piece ofstiff cardboard to make it a rigid and firmwritingsurface. The hinge is a slackhinge so as to leave sufficient space between the carbon face and the back of there-inforcedenvelopeforthree envelopes to be inserted. The next sketch will make this arrangement plain. “
”
“
“
Re-inforced
envelom
,Three
g
envelopes.
A
carbon sheet on u n d e r s i d e
When the three envelopes are inserted, with their address sides uppermost the fake envelope is folded back on top of them and the whole assembly is then placed ontheremainingenvelopesinthepacket. The whole packet is surrounded by a rubber band,
52 which lies, not across the centre of the packet, but across its upper end. To resume the narrative, when the slip is handed t o B to write his number he naturally requires something in the nature of awriting pad to enable him to write. For this purpose he is quietlyhanded the packet of envelopes and a slip of paper is placed on the top of thepacket for him to write. The result is that as soon as he writes the number on the paper, the carbon transfers the number on to the uFpermost of the three envelopes placed under the carbon. One reason foranchoringthefake envelope with the carbon side to the re-inforced envelope by means of the hinge is to prevent the fake from inadvertently s1ippi;lg and disclosing the presence of thecarbon. B, thenfolds his HavingwrittenhisnumberMr. paperinfourandtheperformerreachesforand obtains possession of the packet of envelopes and extractsallthree envelopesplacedunder thecarbon fake. To facilitatethis it is as well if thesethree envelopes,whenplaced in position,are allowed to project three eights of an inch beyond the top edge of thefake.Ontheuppermost of theseenvelopes the carbon has written the number selected and the performer is careful to see that in removing the envelopesthisfact is not disclosed. Theperformer places the envelopes o n thetop of thepacketand lower of thethreeto Mr. B. with thenhandsthe the request that he places the foldedpapertherein and marks it "B." The third of the three envelopes he then hands to Miss C . Inthemeantime,hehasnotedand memorised the number written on the upper envelope of the three which is placed,numberdown, on the packet of envelopes which in turn is placed on the table. The performer having noted the chosen number pretends to write his prediction with regard to Miss C's choice in the third division of the slate. H e announceshe will write this in greenchalk. From his box of chalkshetakesanotherdouble endedchalkwhichhaspinkchalk atone end and green at the other. Only the green end is disclosed, but reversing the chalk the performer writes on the third division of the slate " B = 9999 " (or whatever thenumbermay be). Then, bythepressure of his twothumbs,hemovesthepanelupwards, which
l
covers thetop section of the slate and revealsthe predictionalreadywritten in green on thelower third of the slate. This prediction is covered with the thirdstrip of cardboardcoloured green.The slate is then placed on the easel. The card selected by Miss C. is forced. For the purpose of this force the pack used is one of Ralph Hull's " Nu-idea " forcing packs. This pack consists of 26 cards with 26 duplicates of the four of Clubs arranged in pairsontheback of the indifferent cards, the faces of the fours of clubs and the backs of the indifferent cards beingroughened andthe oppositesurfacesbeingpolishedwithSimonizecar or leafed polish. Thispackcanbefreelyshuffled through, so long as gentle pressure is maintained on thebacks of thecards, withouttherebeingany chance of theduplicatefours of clubsbeing disclosed. This pack is ribbon-spreadacrossthetable and Miss C. is asked to let her hand play across the backs of the cards until she feels an impulse to drop her finger on one of them. When she does this, she is asked tomaintaintheposition of her finger and the performer pushes from the spread the card upon which her finger rests. Tn doing so, he separates the so pushes outthefour of clubs. The pairand cards are left on the table without beingdisturbed. There is areasonfor this which willbe explained so selected by Miss C . is placed in later. The card the envelope which she already has, without looking at it, sealed up and the envelope marked " C." rhe denouement can then be worked up as the performer thinks fit and in due course it is demonstrated that each of his predictions is correct. As a final touch,going to thetabletheperformer lifts thecardsabovethe place from which Miss C. selected her card to show that if she had stopped one card short she would have cut (say the nineof hearts) or if shehadgoneone cardfurtheron shewould have cut (say the five of diamonds). Only where she did cut was the four of clubs. I hopethereader will beabletofollow this description. A gooddeal of carefulpreparation is necessary to produce this effect but the trouble taken iswell worthwhile. I haveperformed this effect now to manyaudiences of different typesand the effect is just terrific.
Therefore, let us discover what most impresses an audience, and present those effects with as much intensity, deftnessandfaultlessexecution as possible.Andremember that in doing so we shall be quite jktified in getting the maximum effect with the minimum of labour. Douglas Dexter - The Psychology of Deception and its Effect upon Audiences.'' 1918 "
l
THE GHOST O F PASCAL A
CORVELO FEW YEARSago I needed an effect with received. a small slate which I could use at the table, withA spectator is zlllowed to examine a small sla:<:,
out getting rid of a flap. After much experimenting
I finally developed themethod I am going to describe now, and with which I have always been well
the size of a playing card and is then asked to mark it with a white pencil (the kind they use for photographs).After thatthe slate is placed in a small
53 envelope which is sealed and the address side signed by the assisting spectator and, during the time of the experiment, kept in his possession. Three other spectators write now a numoer on a business card and the numbers are added by ri fourth spectator.Theresult is not yetannouncedbuthe keeps a note of the total. The mentalistthentalksaboutthe ghost of Pascal, whom he will try to raise, and if he succeeds in that, the ghost will write the result of the addition on the slate. Atthepleasure of the performerthe ghost is willing to co-operate (did you expect slimething else) and when the envelope is opened,on of the theslate is writtenwithchalk,the.total numbers. Of course you are interested how the trick (pardon, experiment) works. Well, I use a principle that is very old, but still not much used with slates, viz. the impression method. You needamall slate, the size of aplaying card which you can make from a piece of cardboard A whitepencil,apen and someblackboard-paint. (notaball-point)ablottingpad,and lastly apayenvelope. The pay-envelope is carefullydpened Ion all sides, whichisverysimple if youplacethepoint of a lead pencil between the glued sides and roll it
I
along. On the inside of theaddress side youwrite in mirror writing very heavy in chalk the result of the addition (the total of the numbers is of course to its forced). Then you restorethepay-envelope normal form and you are ready for tbe presentation. Afterthespectatorhas inspected andmarked the slate you place it in the envelope which is sealed. Ontheaddress side thespectator signswithyour pen, his name, and as soon as this has happened you hand him the blotting-pad and ask him to blot it well. By this manoeuvre he himself prints the writing on the slate. Now you see why you cannot use a ballpoint, because you must have, a reason for using the blottingpad. As you have already read that the result of the addition is forced we don’tneed to goover that, becauseyoucanuse your ownmethod.After the addition is made, the envelope is cut open and the spectatorreceivesthe slate, which slides out of the of envelope, andthespectatorsseethattheghost Pascal has written the total in a very spooky writing on the slate. The envelope is thencasuallyplaced in the pocket. of coursealso Instead of anumberyoucan force a card, design, colour, etc.
. . . the magician’s hands, like those of the painter, sculptor or musician are merely the vehicle which conveys to theworld the resultshehasproducedbyusinghis brains. ThevdispIaythetechnique, but the actual result is due to his mental ability. For that reason :kill of hand is nothing in comparison to activity of mind. Douglas Dexter - The Psvchology of Deception and its Effect upon Audiences,” 1918
I
A LETTER FROM ROY E. SHORT Dear Peter Warlock, I was most interested in the effect entitled ‘‘ Take a Bow, Jack Avis,” whichyoudescribed inthe latestGansonbook F i m l e . I do notsubscribeto Pentagram so have not had a sight the item you atYour tributetoJack Avis,underthe title of Choice,” but from your remarks in F i d e it would -appear that a considerable amount of sleight of hand is required. Liking the plot of this item I have evolved the following method of working, which has been “ not-wanting.” No tested fully andfoundtobe sleight of hand, as such, is required nor is there any need for prepared or faked coins. So, thinking that you mightbeinterested in myversion, here,then is M Y CHOICE. The effect is exactly as you describe in Finale. REQUIRED : 2 pennies, 1 half-crown, 1 pencil, 1 full size handkerchief. PREPARATION : The two pennies are, in the lefthandtrouserpocket.The half-crown in right handtrouser pocket. The handkerchiefmaybe in T h e pencil in the outside breast any pocket. pocket. “
PRESENTATION : (1) Removethe handerchief fromthepocket and lay it out flat on the table. (2) Bothhands go to thetrouserpockets,the hand lays the half-crownalongside therighthand right hand coming out first with the half-crown (this allowing just that extra fraction of time for the left hand to finger palm one of the pennies) and the right corner of the handkerchief. Meantime the left handhas fingerpalmedonepenny and comesout with the second penny showing at the fingertips. (3) As thelefthand lays down the visible penny atthelefthandcorner of thehandkerchief the right hand goes up to the outside breast pocket and removes the pencil. (4) Handthe pencil toanonlooker, saying, Will you be good enough to take this pencil, sir,” your left hand picks up the penny and places it on thecentre of thehandkerchief and, withthe fore finger resting onthecoin,continue and be good enough to mark this coin in any way you desire. Make a cross, initial, etc.” ( 5 ) Therighthand nowpicks upthehalfcrown and places it down on the handkerchief near “
“
centre as the left hand removes themarkedpenny and replaces it at left hand corner of handkerchief. The half-crown is also marked. (6) Take back the pencil in right hand, transfer ittolefthand whichplacesit in outsidebreast pocket, a t the same time as the right hand picks up the marked half-crown and replaces it by the right hand corner of the hank. POSITION : Atlefthandcorner of handkerchief is themarked penny. Marked halfcrown is at righthandcorner of handkerchief. The second penny is finger palmed in left hand. Pencil replaced in outside breast pocket. (7) Lefthandpicksupthe penny andthrows it into the right hand, held palm up ready to receive it. The pennyisthrown so that it lands across the base of the second and third fingers. The left hand pick up the half-crown and this also is thrown into the right hand, remarking, “ So we have a penny and a half-crown.” (8) The righthandnowturnsoverand apparentlydepositsthetwocoinsintothe left hand which is now seen palm up with the silve,r and copper coin therein, as you continue, both of which have beenmarked.”Actually youretainedthepennyin therighthand fingerpalm anddroppedonlythe half-crownintothelefthand to jointhe finger palmed coin already there. POSITION : Right hand back out with marked penny finger palmed. Left hand palm up with duplicate penny and marked halfcrown in view. (9) The righthand picks up thehandkerchief at left hand corner and drapes it over the left hand. Under cover of the handkerchief the left hand jingles the coins so that all can hear the coins are there, and then the left hand is turned palm down and the, hand holds the two coins, pointing down, between thumb and index finger. (10) Theperformerasksanonlookertoname one coin(naturallyit is “ Conjurer’sChoice ” for the procedure is always the same it being the penny As yvhich is takenfromunderthehandkerchief). theonlookernames his coin, the right hand goes underthehandkerchiefandimmediatelyputsthe marked finger palmed coin from the right hand into the left hand, in the fingerpalmposition. andthe lefthandthumbpushesthehalf-crownintothe right hand finger palm and the right first finger and thumbtakethe penny fromthelefthandandthe right hand is withdrawn from handkerchief. POSITION : Left hand coveredwith handkerchief and holding the marked penny in finger palm position. The righthandhasduplicatepennyheld in view at fingertips and the half-crown concealed in fingerpalm. (1 1) Therighthandputsthe pennydownon tothetableandthentakesthehandkerchieffrom the left hand, holding the coin (which the spectators think is thehalf-crownbut which is actuallythe markedpenny)through thefolds of .the cloth. The left hand holds the cornersof the handkerchief which “
hangdown,thenthehands are lowereduntil they are about six inches from the table withthehandkerchiefstretchedbetweenthehand parallel to the tabletop. The righthandthenreleases its hold of the cointhroughthecloth so thatthethudof the coin in the handkerchiefisheard asit strikes the table. The right first finger is placed on to the coin through the cloth, on the table, and the onlooker is requested to take hold of thecorners of thehandkerchief which you are holding in your left hand. (12) Therighthand picks up thepenny from the table. It is held with the first and second fingers ontopandthumbunderneathand is thenthrown into the open palm of the left hand. It lands with an audiblesmackandtheleft fingersimmediately close onthe coin. You say, “ I havethepenny, here,”’andyouopenthelefthand showing the half-crown.’’ penny “ and you have the (13) As youremark onthefactthattheonlookerhaspossession of thehalf-crown,theright hand first and second fingers and thumb removes the penny from the left hand palm by taking it with t h e fingers on top and thumb underneath; held thus the. penny is actually not visible, from front when held in this position, being effectively hidden behind these two fingers. (14) Thistimewhenthepenny is apparently thrown into the left hand, the penny is retained in thesamepositionbutthethirdandfourthfingers is propelled straighten out so thatthehalf-crown into the left hand. The left hand fingers immediately close on the coin. (15) The righthandgoes uptothe outside breast pocket to remove the pencil, which it does b y grippingitwiththefirstandsecond fingers going behindpencil andthethirdandfourth fingers in front of the pencil. The finger tips arealready in the breast pocket and the coin is droppedinto the pocket and the pencil lifted out. Nowthethirdandfourth fingers press on the pencil SO that it pivots round and is held now with first and second fingers to front and third and fourth fingers to rear. The thumb presses on rear of pencil’ and holds it firmly. (16) At this stagethetransposition is complete. Tap the left hand with the pencil and open the hand showing themarked half-crown. Tapthehandkerchief with the pencil and ask the onlooker to open outthehandkerchiefand of coursehefinds the marked penny. Thus all is accomplished and you a r e left absolutely clean ” at the finish. Incidentally it maybe of interest tonote that I do not use the conventional finger palm grip but the coin is retained in theusualpositionby the pressure of the third finger only instead of the usuaI’ second and third fingers. This gives mefulluse of the first and second fingers and is of course vitaf in the throw-change in moves (13) and (14). Hope this is of interest. Sincerely, ROY E. SHORT. “
A STUDY IN SMOKE ARTHUR CARTER . R I G H T L Y or wrongly, I have always felt that the use of a slate or s1ate.s should be avoided if possibletoproduce aspiritmessage,asthemere sight of suchobjectsimmediatelyproclaimstointelligent members of the audience the nature of the final result to be achieved; thus leaving them free to devote their entire attention to fathoming, if possible the method used. If however, by employing unfamiliar objects, one can contrive to produce a me,ssage where no message is suspected u t ull, the effect produced is extremely good. Effect : The conjurer, having showntwowhite chinasoupplates,proceedstothoroughlyblacken the inside of one of them by smokingitoverthe flame of a candle. The doctored plate is then placed brimtobrim with theother,and both are placed upon the table. Ontheplates beingre-opened it is foundthat thedate of a selectedcoin, a chosen numberor similaritemhasappeareduponthesurface of the smokedplate. Requirements : Astutereaders will probably havealready guessed thatthemethod used is an adaptation of our worthy Editor’s “ Willow Pattern Plate ” effect the plates in this case. being unprepared white china ones. Prior to the performance, the inside of one of them is thoroughlyblackened as described,after which the performer writes the desired message upon thesmokedsurface with thetip of hisfinger, the chiefsnagbeing thatone is practicallylimitedto a four figure numberorsimilarshort item on,account of the smallness of the superficial area avail-
able. Thepreparedplate is thenplaceduponthe table, the unprepared one being nested in it. With a candle in an ornamental candlestick, and thenecessary means to force whateverit is desired to produce, you are all set for thePresentatiou : The performerpicksupboth plateswithhisrighthand,andmomentarilyholds the with the inside of the blank one facing the audience. Without showing the concealed or message ” plate,heturnsbothover,eachhandtakingone or12 plate and cliking it against the other, the blank being in the right hand. The conjurer now turns so that his lcft side is facingtheaudience,whichbringsthe inte:ior of the clean plate into view. The left hand, or “ message ” platemaynowbethrownintotheairand c-aught, the procedure being repeated with the other plateintherighthand.Theperformer now turns and faces the audience, nesting the plates as he does so, the “ message ” plate,beingnearesthisbody. Both are now placed in an inverted position upon the table,whilethecandle is lit. Thetopone of the pair, the clean one, is now taken and smoked as describedandthe “ message ” plate placed upon it withoutshowingtheinside. Both are now replaced upon the table, “ message ” plate on top. When it is required to reveal-the message, the plates are picked up and held in both hands against “ rressage ” plat: beins theperformerschest,the is thenremoved nearesthisbody.Thetopplate withouttheinsidebeingshown,thus leaving the message staring the audience in the face. “
“ It is because ninety nine people out of a hundred can only think of Magic in terms of ‘tricks’and have probably only seen ‘exhibitors of tricks’.that they do not realise the Art that lies behind the proper presentation of them. How can thev be expected to do so when they have never been fortunate enough to see a real Artist in Magic, and probably derive their conception of Magic from the performances of mere tricksters who refer in public Douglas Dexter-“ The Magic Circular:” 1927. to their effects as ‘tricks’ or even ‘swindles’.”
MAGICIGO-ROUND
IN
A RECENT copy of the Phoetlix there is somethingjusttoogoodtomiss,and so by permission of JayMarhall we’ll pass it on to those of seeing it. who have not had the chance We’llquote-“ Hereisanotherlittle gem of nonsense.Wemaybeable to print it right in the middle of this page and have it go unnoticed for a was decade or so. Let’s hideithere.GeorgeCoon the firstone we ever saw do itandhehadto be coaxed. . . ‘ Here,youdoacardtrick, George.’ Georgeborrowedapack of cardsand saidshyly, ‘I can’t do much sleight of hand, but I do have a couple of mechanicalcard tricks.’ As hesaidthis he took the deck in his left hand and riffled his thumb overthecorner of thecards. His righthandwas ’
turningasthoughwinding upaclock; thesound and action produced a very funny illusion of winding up a mechanical deck of cards. He repeated the riffle until his pack was fully wound.” The Magic Circle Golden Jubilee is now history and many magicians who appeared are looking forward to theInternationalCongress in Amsterdam which takesplace at theend of Augustandthe British Ring Convention at Southport in September. Judging by the present appearance of suggested plans we think that Southport may well live up to preceding Conventions, if notsurpassthem.Hardesttask of all is to bring new faces into being and see a true international representation.
56
ANNEMANN’S MENTAL BARGAIN EFFECTS A BARGAIN, WHOLE
THESEELEVENREPUTATION-MAKINGMENTALMIRACLESAREINDEED AS MUCHASORMORETHANTHE FOREACH HAS SOLD IN THEPASTFOR COLLECTION
NOW printed in a fullyillustratedbook, these elevenmentalmiraclesnumber be in the repertoire of every mentalist. put out by Annemann, and should
some of the best ever
30th CENTURY TELEVISION : A spectator thinks of anythinghecandraw, and ishanded a cardand pencil for his sketch. The performer takes a card and pencil to the opposite side of the stage, and draws something on it. There is no exchanging of cards and the spectator’s card never leaves his possession. Nothing else is written. Yetwhen bothcards are turnedround,theyhaveidenticaldrawings,
~
’
THE MODERN MINDREADER : This effect alone sells for more than the price of the new book, and is one of thefinestone-manquestionansweringactsconceived.Spectatorsjotdownpersonaldata,questions,etc.on cards,whichtheysealinenvelopes. The envelopes are collectedandimmediately the performertellswhathas been written or answers the questions. Each is verified and both card and envelope are handed back to the writer before the next question is dealt with. No clumsy dummy questions or similar devices. No chemicals or liquids, no lights or windowenvelopes. THE NEW DOUBLE TELEPATHY ROUTINE : Both a spectator and
Other great routines are DIABOIU) .PELLET READING - question written on paper, sealed in envelope and burned, yet performer answers question. B Y m C WRITING - two cards or slates shown all four sides and numbered, yet still a spirit message appears. EYES OF THE UNKNOWN - performer is able to read and visualizewritings in the dark. COINCDENCE - spectator and performerselectcards,whichturnout to be identical. PENETRATINGVISION - severalblankcards,spectatorwritesquestion or message on oneandmixes it withothers.Cardswrapped in handkerchief,yetstillperformercantell message or answer question.Terrificimprompturoutine. IMPROMPTUMINDREADER A nameiswrittenon a piece of paper whichis torn in pieces and burned.Performerisabletospellthenamealoud. GETIT - in a darkened roomthreespectatorseachremove a card from the pack. Theperformer is able to namethechosen card. Seemjnglyimpossibleconditions.
I
From the publishers
Price 7/6; Postage 3d.
The Magic Wand Publishing Co., 62 Wellington Road, Enfield, Middlesex ~~~
~~
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hell, W.C.
June 1 lth-Concert Puticulars from Hon. Secretary :
Peter Newcombc
38 Overdale Avenue New Maldcn, Surrey
Every Advertiser’;
PETER
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased to send you full details of
is published on the 24th of each month and ran be obtained direct from the publishen for 117 per ungle copy. Annual Sukcription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
together with a11 his other effects in return for a stamp.
hamscripts for. publication and books for review should be aent to the: EDITORIAL ADDRESS:
Peter Warlock,
24, Wordrworth Rd., Waliington, Surtev-
Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
goods arefully endorsed by this Bulletin
PVBLISRED BY TRI! P R O P R I m O R S THE MAGIC W A N D PUBLIBBHINQ COMPANY, 62 WELLINOIONROAD, I N O I E L D ~MIDDLESEX A N DP R W T S D BY HR-T WALK‘IIR & S O N (PIIINlWW) LTD., W E L L CUOm, SRWLXY, YOIULEIHIRRe
COMPLIMENTS O F DIA VERNON
THE
I.MPACT of Dai Vernon upon magicians in this couutrycannot be estimated in words. His consummate skill combined with immeasurableartistry musthave broughthome to many the mediocrity and meretriciousness of much that passes underthe nameofmagic. Too few are
aware that his publications extend outside the Stars of Magic series and Select Secrets and because of this we are publishing three delightful Vernon effects whichappeared inthe Phoenix. The first is entitled :
1-2-3 CARD is selected and replaced in the pack. The magician goes through some concentrating and pretendsto be in sore straits. Finally, as though attempting to get out of a tough spot, he says :,-‘‘I’m afraid that I’ll have to ask your pardon.” Hethenrunsthroughthe pack and throws out an ace, deuce and three of any suit. For the purpose of the description we’ll assume that it is hearts. He shows theace, deuce and three and counts them off in such a way that the spectators are sure that there are three cards and also that they know what thecards are. Thecardsarethen placed down upon the table and he drops his role of false humility. “ You selected a card, and to date I have failed to findit. I shall attempt a complete impossibility.” He gestures at the three cards. ‘* I willgive you a completely free choice of these three cards If you choose the ace, the ace will vanish and inits stead will appearyour card. Ifyou choose the deuce, the deuce will vanish and your card will appear. Ifyou choosethe three, the same will happen.” The performer now lets the spectator deliberate. It is a completely free choice. You can allow the spectator to select a number mentally and then offer to let him change his mind. Whichever card is decided upon, the requirements are fulfilled. The indicated card be it ace, deuce or three, vanishes andthe chosencardis found in its place. To achieve the effect the most you’ll need is a double lift and a false count. Evenifyoucan’t
A
.. . .
VOLUME 9, No. 8
-
perform the false count thateveryone is doing; the push off, you can still perform this typical piece of Vernoniana. Once you have the mechanics straight in your mind the effect is equally straightforward. The thing we like best about it is the boldness of telling the spectators what you’re going to do and then going ahead and doing it! Here is the method. First of all the chosen will cardmust be located. Anysimplemethod suffice because the end result is the revelation not the location. Let’s say for the sake of argument, and since you are going to look at the faces of the pack anyway, that youusea locator card. You know either the top or bottom card of the pack after is has been shuffled. You have a card taken and cut the card into thepack under or over the known card. Cut the pack a few times as you brood about the impossibility of what you are going to do. Make it look as though you were lost and don’t know what the hell the chosen card was. Get your brainstorm and run thefaces of the cards towards you whilst you throw out the ace, two and three of a suit. In doing this you find the selected card on topof the locator and cut it in to the top of the pack, then turning the latter face down in the left hand as though for dealing. You are now all set. Get a break under the chosen top card which for simplicity’s sake we will say is the Joker. Pick up the ace, two and three from the table and drop them on top of the pack being certain to see that you pick them up out of arithmetical order. Now turn the three cards over and arrange
I/& (20 Cents)
-
MAY 1955
58
.
them in arithmetical order . . 1 . . 2 . 3. Turn them face down and push off the top four, that is 1. 2 3 and the Joker. Put the pack to one side. The four cards which the audience think of as three are now taken in the left hand as though for dealing. Turn the top card over and show it. It is the ace. Turn it face down and place it at the bottom of the little packet. Now do the same with the two. The three is now turned face up and then turned face down. The position of the cards in the packet are now (from the top) three, joker, ace and deuce. The packet is now turned face up and apush off false count is made s h o w i n g t h e positions of the cards as three, ace and two from left to right. Place the three to the right so that the order is again ace, two and three. The little packet is now closed up and dropped on top of the pack. Pausingforamoment to emphasise what he intends doing the top three cards of the pack are now dealt face down upon the table. To the audience you have apparently dealt the ace, two and three, but really the order is joker, ace and deuce. The three is now the top card of the pack. Thereare three alternatives from this point on. The audience have a choice of ace, deuce or three. In each case the procedure differs although it is hardly necessary to point out that the change of the three to the selected card is something in the nature of a bonus. If, however, the ace is chosen as the card to change, you push the card which they think is an ace slightly forward towards them and have them put a finger on it. The pack at this stage is held in the left hand with the right hand hovering over
. ..
I
it. You should have no difficulty, no matter how fumble fingered you may be, in palming the three from the top of the pack. In one motion reach out and place your hand with the palmed card in it on top of the right hand card which they think is the three but is really the two. Pick up the two and slap it on top of the ace which they think is the deuce.Pick up the three cards which the spectators think are two and put them on top of the pack. Turn over the two top cards and show the two and three. Have them turn over the card they have had their finger from the beginning and they find their chosen card staring at them. If they choose the two, you pick up the card at the right which they think is the three and drop it face down on top of the pack. Then double lift and show the faceof the three. Reach outand pick up the other two cards. Flip them over. (The flip is just so they will lose track of the order of the cards). The ace now stares at them as well as the chosen card. The mise en scene is that the three is staring at them in your hand whilst the ace and chosen card lie on the table. If, miracle of miracles, the three is chosen, the pack is placed to one side (heaving a sigh of relief). The three cards are then picked up, backs to the audience, and slightly fanned. You speak to this effect, “ You could h a v e taken the ace (this is thrown down face up on the table) or the deuce (also thrown down) but instead you did precisely what I knewyouwould do, you chose the three.” This card is then turned over and placed on the table so that all can see it is the chosen card.
“ 1 believe that there would be more amateur conjurers if the old method of teaching conjuring could be swept away.” Made Magic Devant-“ David Easy ”
I
JUST INJOG DAI VERNON OU REMEMBERwhatagorgeous effect MacMillen’s plunger Acesgave ? Betyou stopped it after having fooled fora while because of the necessity of the care in setting it up in front of the spectators. You had to weave the aces into the pack with a card between each. No matter howwellyou did !it, it was clear to the audience that you were being over careful. In this handling-of Vernon’s you are ascasual as can be. Result? The effect is ten times better. The whole arrangement is set up in the simplest kind of jog shuffle.It’s so simple that not even the most timorous should fail to try it. No Erdnase complexities at all. Get a pack and follow along. Bring the four aces on top of the pack and hold the pack in the
Y
left hand ready for an overhand shuffle. Undercut half of the pack and then run one card, injogging it. Shuffle off the rest of the pack as innocently as you can since you are doing nothing untoward. Undercut at the injog which adds a card on top of the aces.Nowwith the stranger card on top of the four aces in the right hand packet you are set for the simple run. The other half pack is in your left hand. Run one card injogging it so that it sticks back towards you for half its length. Run the next card square on the pack. Then injog the next card, the next one square on the pack. This is repeated in all some five times and when completed the remainderof the pack is shuffled off on to the left hand packet. You are now all set. Turnthepack overwith the bottom card
59 facing the audience and let the spectators see that some cardsprotrudefromthe pack. Theone facing them will be an indifferent card, then two aces followed by two indifferent cards. If you fan the five cards so that only the three indifferent cards show, you can stress the fact you have left some cards protruding from the pack. At this moment you are ready to perform the “ Plunger ” Ace trick. Just pushing the packet of five upwards will cause the first ace to appear at the top followed by four cards. A push through from this end causes the next to appear and so on. You will be interested in some of Dai’s comments on the handling of the pack. Hold the pack in the left hand with the cards projecting out of the base. Grip the pack at the top between thumb and finger and wiggle the five cards a little to free them of binding. Next with the cards still stuck out of the pack, pull them towards you so that they stick out of the base of the pack projecting to the right at about a thirty degree angle. Next straighten them out so that they are in line with
I
the pack. The point of this manouevre is to make sure that the five cards aremost of their length out of the pack and this is an easy and clean way to do it. Next move the left hand hold on the pack from the top to the base and belly the pack i n wards towards your palm by pressure on the sides, by your thumb and fingers. Holding the pack in this way place the projecting block of cards on the back of your right fist and press downwards. The block goes through the pack and forces an ace into view at the top of the pack. Turn the pack around in your left hand so the base is now at the top. Press the block again. Each tme you repeat a new ace will appear. And of course, if after the arrival of the fourth ace you push it back into thepack keeping a break, all you have to do is to cut above the break and you have the four aces back on top of the pack, ready for any other ace chicanery that you have in mind.
“ Perhaps the art of conjuring may be compared to a vast fairy-land, full of pretty surprises that await a discovery. It is impossible to give a complete guide to this wonderful land, because explorers are always finding fresh delights in it, and no one knows the whole country thoroughly.” David Devant-“ Magic Made Easy ”
AL’N AND DAl AGAIN DAI VERNON HEN A1 Baker and Dai Vernon in the long ago, merchandised a cardeffect they dubbed “AL’N AND DAI” the effectnever got the reception it deserved for it had a spot in it where it was necessary to palm a card. Knowing that most magicians would rather buy a new box trick than palm a card, Dai worked out a nonpalming method that should give this little classic a new lease of life. Effect : Two cards which have been delegated to act as finders, let’s say the deuce of clubs and the deuce of spades, are removed from the pack anddropped face up on the table. The pack is then spread, a card is selected and replaced back in the pack. One deuce is left face up on the table as the magician removes a card from the top of the pack and, holdins it back up, asks the spectator to pick up the other deuce. The card in the magician’s hand is placed facedown on top of the face up deuce on the table, the spectator then being requested to drop his deuce face up on the face down card. In effect, a face down card is now sandwiched between two face up ones.
W
1
60 T h e performer now lifts the sandwich and says, “There is no way that I can know the identity of your card unless I look at the face, is there ? ” As he asks this he lifts the three cards as one and shows them to the spectatoras in the following illustration :
The spectator sees his chosen card between the two other cards, but the performer names it incorrectly, saying, “ There’s no earthly way I could k n o w y o u r card is the ten of clubs, is there ? ” The spectator assures the performer that the card is not the ten. The card between thetwo deuces is now removed and placed onthetable face down and the two deuces having failed in their duty as finders are placed in the pack. The performer is nonplussed to say the least. He says, “Your card is nottheten of clubs ? That’s odd,” and turns over the card on the table to reveal the fact that it is the ten of clubs. The performer muses : “ I felt certain it was the ten, but I must fall back upon my magic now . . ” and then he ribbon spreading the pack backs up, he shows that his magic is ever present for there in the centre of the ribbon spread is one
I
card face up and that card is the card selected by the spectator, which a moment before the same spectator saw sandwiched between the two deuces. No palming, no difficult sleights, no nonsense, and yet a terrific effect. Whilst going through the pack to locate and extract the two deuces notice and remember the name of the top card of the pack. In this example it is the ten of clubs. Now have any card selected and bring it second from the top of the pack, i.e. immediately under the ten of clubs. Push one of the deuces towards the spectator and ask him to pick up the other. This gives you all the time in the world to prepare for a double lift. Place the double lifted cards face down upon the face up deuce and ask the spectator to drop his deuce face up on the two (?) cards. You then pick up the three cards. The situation is now back to the first illustration, the cards being s p r e a d t o a s s u m e this appearance. In arranging this sandwich, press the tip of the middle finger lightly against the back of the back up card that is visible.Move this card away from you about an eighth of an inch (this ensures that the spectator can only see the thickness of one card). If you buckle the packet slightly there is no earthly chance that the extra card can be detected. Lift the s a n d w i c h s o that the face of the selected card is showing and miscall it the name of the card that was at the top of the pack. We are now back again to illustration 2. When the spectator assures you that you are in error, turn the packet in the left hand, so that the two deuces are face up and as you seem to be puzzled, put the ball of your thumb against the bottom of the deuce of spades and begin to push away from you, at the same time press the ball of the right middle finger tip against the back of the visible back up card. Push this way until the back up card is protrudingfromthe sandwich and theother cards are squared up. Pull the projecting card away and place it on the table face down. The other squaredup cards (with the reversed card hidden between them) are cut into the pack which has been waiting face up to your left. Complete the cutas you brood aboutthe iniquity of the trick having gone wrong, and then turn over the card on the table. They have just seen it to be their card and now it is the card you said it was. Ribbon spread the pack and show the selected card face up in the face down pack.
“The amateur should bear in mind that all sleight of hand is only a means to an end, and that if that end can be reached in a more direct way sleight of hand is of no value to him.” David Devant-“ Magic Made Easy ”
I
61
LET’S PREDICT A CARS) HANS TRIXER m H I S , asthe title denotes is a prediction ; similar effects have been described but I feel certain that many readers willfeel that the basic sleight used has certain advantages. The effect is very simple and straight forward. A card is placed faced downwards upon the table, after which a spectator is requested to name any card he wishes. The card on thetable, when turned over, proves to be that named by the spectator. To present the effect the performer will require to master the basic move which in action has an affinity with the Curry Turnover. As I have never been able to master this move to my own satisfactiona sleightwasevolvedwhich, from my own point of view, is superior to the Curry move insofar that it is completely noiseless in execution. The .card to be changed lies on the table in front of you, the longer side parallel to yourself and the audience. It is to be changed for the card on the bottom of the pack which is held in the right hand with a similar grip and positioning that would be required were the performer intending to make the standard form of glide. This hand, the right hand is now lowered to the table about two inches in front of the face down card (i.e. near to the .audience). The hand now starts to move back towards the performer’s body and apparently turns over the card lying on the table. Actually, however, the fingers of the right hand gripping the pack execute the first movement of the Kelly Bottom replacement (see Tarbell Course) holding the pack however in the position already described. As the hand comes towards the performer, thebottom card, which is now hinged away fromthe pack leaving an opening of about half an inch, is slid underneath the card lying face down on the table. The packiis now slowly turned face uppermost and the bottom card will appear to be that which was previously lying face down on the table. To com-
1
plete the move the right hand fingers push the bottom card in the direction of the right thumb, them releasing it so that it falls on the table as the hand holding the pack moves away. In the beginning the reader will find the move a little difficult. Practice, however, will prove its advantages, chief of which is the complete lack of a get-ready move. With the basic move described I will now describe the handling of the whole effect. First of all, one card isremoved from the pack and placed face down upon the table. It is important to remember its suit and value as there is a fifty two to one chance that the spectator may name that card and without anymore adoa miracle has been accomplished. With the card face down, the spectator is asked to name any particular card that comes to hls mind. When he has stated the name, fan the pack towards yourself stating that in most cases anothercard is named. Whilst looking through the cards note the position of the card named by the spectator, and also remember the name of the card immediately in front of it. Cut the pack leaving the chosen card at the bottom. With the pack held in the right hand ready for the turnover move, remove the top card with the left hand (this holding of a card in the left hand gives a logical reason in a moment or so for the right hand which is holding the cards, to turn over the card lying face down upon the table). Turn up the card held by the left hand, stressing thefactthat many a time this is the card chosen by the spectator. However, as you are a magicianyouknew that this would be the odd occasion and therefore you placed the. .....of... ... face down uponthe table. As this is said, the turnover is made, revealing the named card. ~~
“The am:lteur must take care that his performance does not degenerate into a mere exhibition of manual dexterity, or of an ingeniously contrived piece of apparatus.’’ David Devant “ Magic Made Easy”
~
l
MAGIC O F ROY JOHNSON A JARDINE ELLIS RING ROUTINE N RECENT years, no “ classic” has enjoyed a revival such as that of the Jardine Ellis Ring. The variations possible with this incredibly simple “props ” aretoo numerous to mention here, but one cannot fail to give credit to Bertram a new? Milledge, of Nottingham,forstarting approach to this effect with theintroduction of the length of ribbon.
I
1 am not a “ purist ” by any means, but it does distress me to see what is virtually a miracle, (e.g. The passing of the ring on to the ribbon) ruined by the performer immediately plunging his hand into a pocket to dispose of the shell. Again, I do feel that providing the shellis handled intelligently, it seems a pity to use it only for this one effect, and judging by articles appear-
62
ing in this and other publications of late, others of the fraternity have the sameidea. However, I do think that the final part of the following routine is sufficiently different to claim your attention-but if you dear reader, thought of it first then please forgive me ! Let us then proceed with
With the right shoulder towards spectators, the left hand is held with palm to audience and the shell, which is held between right thumb and forefinger,is slid up the ribbon to the position shown in figure 1.
REQUIREMENTS:-
These are The Jardine Ellis Ring and Shell, eighteen inch length of 8” ribbon, full length pencil or a small wand. SET UP :-
Pencil is upright at rear end of inner breast pocket. The shell is on the ring which is held at right hand finger tips, and the ribbon is held in the left hand. ROUTINE
:-
Commence with the classical Ring on Ribbon, which when completed leaves the shell palmed in the left hand. Having allowed the spectators time to realise the effect, the left hand removes the pencil from the breast pocket-meanwhile dropping the shell into the right hand sleeve (via the armpit) where it falls to the elbow which is held casually bent. The pencil is now threaded through the ring and a spectator is asked to hold the ends firmly. Holding one end of the ribbon in each hand, you now perform the penetration knownas the “ Snap-Away Follow Up ” described in vol. 3 of “ Tarbell Course,” (page 298) and again on page 576 of “Rice’s Encyclopedia of SilkMagic” vol. 2. Discard the pencil and again thread the ribbon through the ring, whichis then secured to centre of ribbon by means of a bow. The move of secretly pulling one end of ribbon through the ring is now performed, so that when the ends of ribbon are pulled gently apart, the ring falls free to the floor. Hold the ribbon in left hand and allow right hand to fall to side, so that the shell falls into the hand where it islooselyheldin the finger-palm position. Simultaneously step over to wherever the ring has fallen, so thatonefoot is directly behind same. As right hand apparantly picks up the fallen ring, it actually flips this beneath thepreviously positioned foot, whichmay (depending on the shape of your foot !) require lifting a fraction at the front end, and as the body straightens up, the shell is pushed forward into view--us the ring ! The ribbon should nowbe draped over the left hand, the centre being trapped between thumb and forefinger as in figure 1.
I
Pause momentarily so that the spectators are quite clear that the “ ring ” really is threaded on the ribbon. Close left fingers over shell and the fingers which hold it, and immediately allow the right hand to fall to your side-uctuully carrying the shell with it ! Do not change the position of shell until the hand is resting at side, for if you do the sleight will be detected. This sleightwillof course berecognised as one of the most convincing of coin vanishes, but as the’ ring is threaded on to the ribbon the effect is possibly even more effective to the layman. But to get back to the routine-Raise the right hand to grasp the end of ribbon “A,” and under cover of this action the shell is transferred to the finger-palm position. Slowly pull theribbonfrom left hand, and when it is completely free-open left hand to show that the ring has vanished ! Gather up ribbon into right hand which disposes of it and the shell in right hand pocket. Myown “patter” is now to the effect that, although the ring has disappeared it hasn’t gone very far, although if the floor hadn’t been there it might havegone for miles ! ! (A “gag ” which Francis White has used to good effect I believe) ! Immediately step back to reveal the ringresting on the floor.
63
T
HE MAGICCIRCLE Jubilee Celebrations are now history. That the event was a success there is littlareason to doubt. Quite rightly the proceedings started on lower notes and led up to a great climax. There were many highlights, some of them the result of short term planning. Worth far more than the registration fee was the delightful and informative lecture, ‘ New Ways to Deceive ’ given by Milbourne Christopher. There was the y o u t h fu 1 s h o w ‘Abracadaborough ’ engendered by our own suggestion that the youth of the Magic Circle should be invited to stage a show. There was the Gala show which has had no equal in Magical Society history. Entrusted with the production of an outstanding bill, our main purpose was to bring new acts to Magic Circle members. It was also necessary to see thatas many visual acts with a minimum of audience participation were present. The result brought the following new acts to the Magic Circle stage : Milbourne Christopher, Ade and True Duval, Holden, KalanagandGloria, Li King Si, Jay Marshall, Rezvani and the Grand Prix winning act of Elizabeth Warlock. Every artiste was in top form and with the slick stage management of Gil Leaney and Bernard Lovett, it seemed impossible that this was an unrehearsed one stand, but rather the final night of a week’s show. There were many presentations to the Circle including a lovely silver water iota, made by Kalanag, at the conclusion of his act in the Gala, an appearance for which he and a company of some thirty members had travelled by air from Munich. Magic however, was to continue with the cessation of the Jubilee festivities and thanks to the initiative of Harry Stanley a lecture by DaiVernon was staged at Victoria Iiall.In all theremust have been some three hundred magicians present and for three hours they watched a master at work. Many present like myself had followed the writings and observations over a course of many years. On that day we divorced ourselves from suppositionand we engagedwith reality. We satand
watched the greatest natural magician of this century. Wefeel certain that many echoed Lew Ganson’s words, at the close of the lecture when he said thatafter watching Vernon performing the marble trick, his first thought was to pack up magic and turn to something easier. Later that day a few of us were to hear and watch Vernon until nearly four o’clock the following morning. We witnessed miracles performed in an effortless way with the most common objects. We saw card work unlike anything that we had seenin this countryor,for that matter, from visiting magicians from overseas. This was magic. Harry Stanley made one mistake with the morning session. He did not charge enough. The t r i c k s themselves w e r e well worth t h e price charged, butthe value of the advicegiven by Vernon was incalculable in terms of money. Vernon always calls to our mind the names of Malini and Leipzig. One of Malini’s most publicised feats was the production of a solid brick or alump ofice.Fewsawhim do it. Our friend Eric de la Mare many years ago concentrated quite alot of time and study on the brick trick and many readers may remember his performing this some years back in one of the Magic Circle Televisionshows.Eric’s production is a double one, for after one brick has been produced another follows. We hesitated for many years before asking whether we might have permission to publish the routine. We have,however, summoned up courage, and the effect completely illustrated with photographs will appear in the next issue of the Pentagram.
FOOTNOTE-ASthese p r o o f s g o b a c k t o our printers it is with the deepest regret that we hear of the sudden death of Victor Farelli. A full appreciation will appear in the June issue.
ANNEMANN’S MENTAL BARGAIN EFFECTS THESEELEVENREPUTATION-MAKING MENTAL MIRACLESAREINDEED A BARGAIN, SOLD IN THEPAST FOR ASMUCHASORMORETHANTHEWHOLE COLLECTION
FOR EACHHAS
NOW printed in a fullyillustratedbook,theseelevenmental miracles numbersome of the best ever put out by Annernann, and should be in the repertoire of every mentalist. 30th CENTURY TELEVISION : A spectator thinks of anything he can draw, and is handedacardand pencil for his sketch. The performer takes a card and pencil to the opposite side of the stage, and draws something on it. There is no exchanging of cards and the spectator’s card never leaves his possession. Nothing else is written.Yetwhen both cards are turnedround,theyhaveidenticaldrawings,.
THE MODERN MINDREADER : This effect alone se!ls €0: more than the price of the new book, and is one jot downpersonaldata,questions,etc.on of the finestone-manquestionansweringactsconceived.Spectators cards,whichthey seal in envelopes. The envelopes are collected and immediately the performertellswhathas been written or answers the questions. Each is verified and both card and envelope are handed back to the writer before the next question is dealt with. No clumsy dummy questions or similar devices. No chemicals or liquidz, noliohts or windowenvelopes. THE NEW DOUBLE TELEPATHYROUTINE : Both aspectator andthe performermerely think of playingcards, and eachwrites the name of his card on a slip of paper which is tossedon to thetable. The performer removes a card from the pack, which he places bv the spectator’s slip, and the spectator removes any card but the one he is thinking of and places it down. The cards and slips are now checked : the performer has located the spectator’s card, and the spectator has located the performer’s card. 3lENTAL MASTERPIECE : Certainlyone of the greatestmental card routineseverconceived, A spectator thinks of a cardandwrites its name on a slip of paper which he immediately places in his pocket for later checking. The performertakes up a pack of cardsandplaces one cardface down on the spectator’s hand. The spectator himself turns up the card, and it is the very one he is thinking of.
Othergreatroutines are DIABOLO PELLET READING - question written on paper,sealed in envelope and burned, yet performer answersquestion. PSYCHIC ‘FVRITlhTG- two cards or slatesshownall four sides and numbered! yet still a spirit message appears. EYESOF THE UNKNOWN - performer is able to read and visualize writings in the dark. COINCIDENCE - s y c t a t o r and performerselectcards,which turn out t o be identical. PENETRATING VISION - severalblankcards,spectatorwritesquestion or message on one and mixes i t withothers.Cardswrappedinhandkerchief,yetstillperformercantellmessage or answer question.Terrificimprompturoutine. IMPROMPTUMIND READER A name is writtenonapiece of paper whichis torn in pieces and burned.Performer is ab!e to spellthename aloud. GETIT - ina darkened roomthreespectators each removea card from the pack. The performerisable to name the chosen card. Seeminglyimpossibleconditions.
From the publishers
Price 7/6; Postage 3d.
The Magic Wand Publishing Co., 62 Wellington Road, Enfield, Middlesex The Magic Circle President: Herbert J . Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library
and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Madcl1 Thratre :
KingGeorge’s Hall, W-C June 1 lth-Concert Partlcularr from
Hon. Secretary
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24th
i JACK HUGHES w i l l be pleased to send you full details of
of each month and canbe obtained directfrom the publishers for 117 per h g l e copy. AnnualSubacription 181post free. PL‘HI.ISHED U Y :
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlerex
together with all his other effects in returnfor a stamp.
publication and books for review should be sent to the: BDITORI.41. ADDRESS: Maliuscriptu for
Peter Warlock, 24, Wordeworth Rd., Wallington, Sutrev.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
T H E U L T I M A T E 3 CARD PREDICTION DR. NICHOLLS HARLEY HE three c a r d prediction effect was first described, so far as I know, by R. W. Hull in hisbook “Eye- Openers,” under thetitle “Hull’s Marvellous Card Prediction.” I advise anyone who contemplates performing this type of effect to read his description for its great detail and the many points of presentation given. Since then a number of authors have described further routines. The following are examples. 1 AI Koran, “ The Magic Wand ” vol. 35, No. 211, p 98 (October 1946.) 2 Jack Yates, “Abracadabra” vol. 12, No. 309, p 358 (29th December 1951). 3 Verne, ‘‘ Phoenix ” No. 84, p 340 (18th May
T
1945). 4 Peter Warlock “The Gen” vol. 10, No. 9, p 251 (January 1955). 5 E. H. Hopkinson ‘‘The Magic Circular ” vol. 49. No. 545. D 70 (Januarv 1955).
__
Over the years I performed the effect, basically as described by Hull, but gradually various alterations crept in, and my favourite routine now is that to be described. Its virtues are that it is suitable for platform or close up performance, there is no preparation, and technically only moderate skill is required. The card worker could perform it rightaway, but rehearsal will be needed to obtain smooth and easy working. The requirements are a pack of cards, three blank visiting cards in an envelope, and a pen or pencil. Three spectators are invited up to assist, and I shall refer to them as SI, S2 and S3. SI and S2 are placed on the performer’s right, and S3 on his left. S3 should be seated, the other two may sit or stand. The envelope, anditscontained visiting cards (referred to from now on as V.Cs.) is handed to S3, who is asked to take outthe cards and see that theyarequiteblank. The packis handed to S1 to shuffle. The performer now gives his introductory talkabout the possibility of seeing into the future, not toolong, but enough to excite -.
VOLUME 9, No. 9
-
interest. Threepoints shouldbe stressed. First, that three cards are going to be chosen, each in a different manner, to make things more interesting. Second, that beforeeach card is chosen the performer will write down what he thinks that card is going to be ; and third, that on each occasion the packwillbeshuffledby the helpers before thcy choose their cards. You may also point out,if you wish, that cards are used not so much as playing cards, but as symbols which are easily visualised. The pack is now taken from SI and fanncd out to show the cards wellmixed. This enables you to glimpse and memorise the second card from the top. If preferred the third card may be memorised, and then a doubleundercut performcd transferring one card t o the bottom of the pack. Now ask S3 to hand you one of the V.Cs. and place it on top of the pack in readiness to write the first prediction. Look at S1 and “study” him closely for a few moments, then write at the top of the V.C. the figure “ I ”-.Roman numerals being used-and underneath “you willtouch the,” :.t the same time reading out what you are writing. The V.C, is held on top of the packwhileyou move up closer to SI to “study” him again, making sure that he and S2 seewhatis written on the card. Finally move back and write down the name of the glimpsed card. Ask S3 for the envelope and place the V.C. inside, back to the audience, explaining that you do not wish to show as yet whet youhave written, as it would spoll the climax later on. Return the envelope to S3 and ask him to sit on it, or place it in his pocket. This will prevent him from lookinginside. The glimpsed card, second from the top, is now forced on SI using the Christ top turnover force. Explain that youwill turn over cards 0.1 top of the pack until SI wishesyou to stop by touchingthe next card.The top card isturned over on to the pack, and then the two top cards are lifted asoneand slidback to overlap th2 inner end of the pack by an inch or so. The now
1/6. (20 Cents)
-
JUNE 1955
66
top face down card is slid forward and turned face up on the two projecting at the back. This is continued until S1 stops you by touching the next face down card. The injogged cards are now slid forward flush with the pack, fanned out, and taken into the right hand with the remark that SI could have stopped you on any of these, but actually he chose the next card, the top one of the face down packet, which is thumbed forward for him to take. He is asked to look at it and place it in his pocket. You remark that if successful,this is the very card whosc name you have written down ! The pack is now handed to S2 to shuffle, and on its return the top card must be glimpsed. Do nDt hurry over this. There is plenty of time while “ studying ” S2 and while obtaining a second V.C. from S3. Various methods are describedin the textbooks, see, for example, Hugard’s “ C a r d Manipulations ” No. 5 , p 136 to 139. Next place the V.C. on top of the pack as before, and write the figure I1 at the top. Look at S2 again and let him sze what you have written. l hen step back, convert the figure I1 into I11 by adding one stroke, arid underneath write “ you will take the” followed b y tht: name of the card you have glimpsed. While writirlg you apparently read out what is on the card but actually say, “ No. 11 youwill choose the ”-and then finish writing. The V.C. is now placed in the envelope which is again left with S3. Turn to S2 for his choice of a card. Hold the pack face down in the left hand, and grip the ends from above with the right thumb and fingersin pgsition for riffling.Riffleslowly and ask S2 to insert hisfingerwhere he wishes a card chosen. C j t the pack very openly at this point and hold the top half facing S2, at the same moment turn the left hand over and push the top card (now u-lde--neath)over the side of the packet sufficiently to se: the index, and point with the forefinger to th; fase card of the right hand packet, just touching it.; edge. Say to S2, “ would you prefer to choose this card ” (the face card) “ or this one ? ” turning th.:Icft hand over again and indicating the top c x d , which has now been drawn back flush with t k rcst of the packet. Meanwhile glimpse the face card in the right hand packet in the usual way by bending the cards between fingers and thumb. The top card in the left hand is nearly always chosen, b;lt whichever it is, remember it. The cover for glimpsing this card is perfect, and nobody should h3vc any inkling that you know what it is. Make sx:re, without saying so of course; that everyone I’ .a!iszs the choice of card really is free. S2 places t * ccard in his pocket, and the pack is reassembled with the previously glimpsed card still on top. Turn now to S3 and palm the top card, preferably by the one hand palm (see Hugard’s “ Card ?\Aznipulations’‘ No. 1, p 2, and Buckley’s “ Card Contyol”p 69) for descriptions of this sleight. H m d him the pack for shuffling, take it back and rt?la,:e the palmed card as you ask him to give y ~ ) uthethird V.C. Drop this onthe pack and
“ study ” S3, then say, “ I will write No. I11 you will take the,” actually write “ I1 ” and under this “you will choose the.” Look at S3 again, and then write down the name of the card taken by S2. Place the V.C. in the envelope between the two already there, so that they are in order I, 11, 111, and return the envelope to S3. The last card is now forced on S3 by the place back move, which has been described many times. I do not know who originated it, but I perform it as follows. Ask S3 to name a number, say up to 25, not to prolong things too much. Meanwhile the two top cards are pushed over the edge of the pack as one and held there with the left thumb. S3 names his number, say it is 10. The cards are counted off face to the audience (hence the double push off which conceals the top card) one in front of the other, until the count of 9. At this point, as the hands come together, the top card in the right hand packet is pushed over on to the top of the pack by the thumb, and the 9th card is taken away. These cardsare dropped on tothe table and the next card taken off. Explain that you do not wish anyone to see this card, and ask S3 to put it in his pocket without looking at it. The work isnow over and you recapitulate briefly what has happened. Ask S3 to remove the three cards from the envelope, look at No. I and read what is written on it. S1 will quite often give an audible gasp ! He is asked to remove the card from his pocket and show it. The audience will applaud at this point. S3 now reads out the card marked 11, and S2 shows his card to the audience who will applaud again. The climaxis approaching and should be made as impressive as possible. State that nobody yet knows S3’s card, and invite him to read out what you have written for him. Finally askhim to hand you the card from his pocket, and show it as dramatically as you can to the audience. The above has taken a good deal of description, but the six basic steps may be summarised briefly as follows.
1 Write prediction for S 1. 2 Force card on SI. 3 Apparently write prediction for S2, actually write that for S3, the card previously glimpsed. 4 Card freely chosen by S2 and glimpsed. 5 Apparently write prediction for S3, actually that for S2. 6 Force card on S3. This is my favourite routine, but I do use one variation whichis a useful alternative. The pack is stacked, preferably in the Nichola or some similar system, and the card that is to be forced on S3 is in a clip under the right side of the coat. Here the one ahead principle is used throughout, (Continued on Page 67)
67
NO CLUE SPECTATOR LOCATION FRANCIS HAXTON HIS effect is so named since the moves are direct and in k e pe i n g w i t what h you are supposed to do.
T
EFFECT A pack of cards is thoroughly shuffled and handed to the performer, who leafs them through, inviting a spectator to touch any card and peek at it. Following this he is to take the pack in his own hands and shuffle the cards. The pack is once again handed back to the performer, who taking the cards in his left hand throws a handkerchief over them and invites the spectator to cut the pack at any point, through the handkerchief. This upper half of the pack is drawn away and the card at cut is turned over and shown to be the chosen card. METHOD The pack is genuinely shuffled and fanned through for the spectator to make his choice by touching the back of any card. When he has done this, you ask him if he is sure it is the card he wants. This little hesitation gives you the opportunity of crimping the bottom right hand corner of the chosen card, between the middle fingers of each hand, which are under the fan of cards being offered for selection. When thecardhas been p e e k e d at, you immediately close the fan and hand the cards to be shuffled. On r e c ei vin g the cards back you square them and the position of the crimped card will be apparent. Hold the cards in the left hand. between the thumb on one side and the middle, third and little fingers on theother side, the first fingerbeing across the top to control the cards.
You will see that the cards arein the position for the one hand cut. Your left thumb should be placed at the crimped card and as the halldle-chief is thrown over the cards onehand cut is made to bring the chosen card to the bottom of the pack. Now the spectator cuts the pack under cover of the handkerchief. You then perform the ALL FAIR FORCE (see Pentagrum Vol. 5, No. 12) which brings the chosen card on to the top of the lower packet, where it is when you bring the cards from under the handkerchief, to show that the spectator has cut the pack at the card of his choice. Just to complete Francis’s verynice card discovery we’ll repeat for the benefit of those new readers who may not have the copy of the Fentngram giving the ‘All Fair Force ’ a description of this very handy subterfuge.
‘This is an under the handkerchief force, but it has a naturalness in h a n d l ni g that should commend it to the perfectionist. The card to be forced is on the face of the pack. The pack face down is taken from the right hand by the left hand between the second, third and fourth fingers on one side and the thumb on the opposite side, the right finger at the outer end keeps the pack steady. In taking the pack, the left thumb pulls down the bottom card slightly forming a break. A handkerchief is now taken and placed over the pack and a spectator approached with a request that he cuts the cards through the handkerchief wherever he wishes. As he does this and takes the top packet away, the performer makes the Charlier pass (the force card being the bottom stock for this purpose) and brings the card to be forced to the top of the packet held. This card is then noieil by the spectator.’
-
ULTIMATE THREE CARD PREDICTION (Continued from page 66) andthe first card is not forced. The routine, in 6 Palm card from under coat totop of pack and force on S3 as before. outline, is as foUows. 1 Apparently write prediction for S1, actually And now a few final comments. In this effect write that for S3 (card under the coat). details of technique can obviously bevaried greatly to suit individual performers. Slips could be used 2 Card chosen by S1, and its name discovered instead of visiting cards, folded, and dropped into from the stock. a tumbler. The actual word written can be altered 3 Apparently write prediction for S2, actually but I am sure that some different wording should that for S1. be used on each of the three cards, a psychological 4 Card chosen by S2, in a different manner to point which increases the all over effect. I f you Sl’s selection, and discovered either from the stock know the initials of S3, initials could be used inor by glimpsing. stead of numbers onthe cards. And finally, as 5 Apparently write prediction fur S3, actually this is a mental effect, please. do not use any fancy moves, flourishes, shuffles or cuts with the cards. that for S2.
68
TWO THINK AS ONE H A R R Y E. B U R N S I D E and C H A R L E S W. CAMERON NCE MORE a “long distance telepathy ” effect andonethat, if presented with the proper amount of showmanship, will completely bewilder the audience. The medium is, as usual, led away under escort. The mentalist hands an unopened pack of cards to a spectator and requests him to break the seal and to extract the cards. He is told to thoroughly mix the cards. When this has been done he is asked to deal out 16 cards in theform of a square on the table. Remainder of pack is now pocketed by spectator. The assisting spectator, or any othermember of the audience, is asked to lift any card and to show it to the audience. The card is then replaced and the mentalist, after requesting that his partner be brought back, stands in front of the audience in any position that they may choose. From start to finish he has not handled nor, if desired, even looked at the faces of the cards. If the latter be the case then the medium is, of course, not reading his partners mind but that of the spectators. Upon the mediums return he goes straight to the table and, after due concentration, picks up the correct card. If the cards have been dealt out face up then the medium can practically name the care immediately upon entering the room.
0
2
I ..................................................................
.....
.....
-
. .;.......................................... ............
. “ “ “ . . I ”
4
SKETCH A
3
”...
SKETCH B
Audience c)90.83cB9aQ3~tbWw
1 Extreme left
3 Right Centre
2 Left Centre
4
Extreme right
SKETCH C
TABLE Chair 1
TABLE
TABLE
b 4 2
3
TABLE Chair 4
The mentalist may be watched as closely as the audience desire because he does not give any signals nor make any movement once the medium has entered the room. Credit must go to the Master Magician . . . Annemann, for it was one of his effects in his immortal Jinx that guided our minds along the road that led to the evolving of the above effect. The effect in question was “ Thoughts in the Air,” Jinx No. 14. Requirements-Anew, u n o p e n e d pack of of cards, a table and a chair. The required code is simple and is as follows. Sixteen cards are dealt out in the form of a square. Both magician and medium h a v e mentally broken the large square of 16 into 4 S m a 11e r squares, as indicated by 1 2 3 4 in sketch A. The four cards in each of the small squares are coded 1 2 3 4 (always coding clockwise). Any card chosen can now be coded by means of two signals. First the particular small square in which the card lies is coded by the mentalist’s position in front of the audience. A glance at sketch B should make this part clear. Next the number indicating the actual card itself is given by means of a chair code. (Contiuued on page 69)
69
“
UNPREDICTABLE PREDICTIONS” PHIL WYE
0 titled because of the ultimate ending of the effect is not known, but the card is predicted just the same. I was “ shaken ” when I saw C y Endfield do the original effect, but have since found itinvariably works under certain conditions. When performing it recently, spectator failed to select the right card, and I have to quickly devise an alternative ending to “ save face.” It bears a certain resemblance to P et e r Warlock‘s “ PreCog Speller.” The effect isthat acard is predicted, the whole pack is spreadout face up, and aspectator is asked to push out any card. Under these conditions, p e r f o r m e r i s shown to have predicted selected card. That is the ideal condition. The alternative procedure is that one or more cardsare pushed out of the spread-name of chosen card is spelled out, and predicted card turns up on last letter. First the psychological angles on the original effect, which is best performed on the ideal type of amiable, good-natured onlooker after you have shown your prowess with one or two other effects. A card is glimpsed, written down as your prediction, and cut to approximately centre of pack. With no indication of your intentions, cards are spread out slowly on table face up, stressing the factthat youwant all cards to be seen. Try to arrange matters so thatcardsarespread with glimpsed card veryslightlymore exposed, and directly opposite spectator’s right or left hand. Ask him to push out any card (stressing this
S
TWO THINK AS ONE
strongly) and make an indicative movement of the hand directly above where the glimpsed card lies. Ask him to use whichever hand is nearest to your predicted card. In themajority of cases, the spectator, acknowledging the fact that it matters little which card he selects, takes the line of least resistance and pushes outthe predicted card. When this happens, and it does frequently, make the most of it by a short “ build-up ” before disclosing name of predicted card. Now supposing spectator pushes o u t the wrong card. Quickly assess the number of letters in the name of this card. Assuming it has twelve letters, cut your glimpsed card to this position from top ofpack. Now finisheffectbyspelling out value of card pushed out, and disclose force card and prediction. Alternatively, you can have three cards pushed out, one of these selected, and spelling out name of this card. This method gives you plenty of time for counting twelve cards away from predicted card. Also, if thecard chosen should have thirteen letters, one of the discarded cards can be put on top of the pack, thus putting card in correct position for spelling to. It sometimes happens that the cardnext to the predicted card is pushed out (this maddening thing often happens when I try to force a card and I utilise this to advantage in the same way). Give thema choice of the card above or card below the pushed outcard.Arrangematters so that predicted card is left. Do try this out-I think you will like it.
(Continued from page 68)
When thespectator first comes forward to assist, he is asked to sit down at the table -when he has chosen his card and held it up so that the audience may see it, the mentalist thanks him and asks him to return to his seat in the audience. As he says this the performer courteously assists the spectator to rise by easing his chair back and then .casuallyhe pushes the chair forward and thus codes the second part of the required key. The chair code is as follows-Chair level with table but not pushed under - 1. Chair slightly tilted to right - - 2.
Chair slightly tilted to the left - - - 3. Chair pushed in flush with the table -
- - - 4.
Sketch C illustrates the code. The above effect could be worked into a very nice article test bysimplyhavingtwo spectators collect various articles from members of the audience, e.g., keys,coins, cigarettes, matches,pens, etc. These are then placed on the table in four lines of four, and byusing the method just explained, the medium could tell the particularobject the audience were concentrating on.
“ Where the juggler is in the true sense a ‘ stylist ’-and there seems no reason whatever why h e should not be 0ne-h can use the poetic glamour of rythmic gesture to entrance the audience with art 8 s well as raise their admiration deafness.” by his S. H. Sharpe-“ Neo-Magic ”
70
WHAT ARE YOU PLAYING? G . E. ARROWSMITH E X P E R I M E N T S inpsychic phenomenaaremany and varied,.”says thementalist to hisgullible is audience,” but I am going to attempt one that different from the average test, and it will, I hope, convinceyou of thereality of thosediscarnateintelligences that often play an active part in our every day life He thenproceedstotietogethertwounsullied slates, first markingthemforfuture identification. They are given to someone to hold. A pack of cards is next introduced, but, instead of thefamiliarredand blackpips,eachcardhas thename of amusicalinstrument-violin, ’cello, bassoon,cornet,piano, etc.-printed upon it. This pack is introduced as a complete orchestra. A volunteer is asked to step forward and the cards -re given to him to shuffle. “ Now,” says the psychic demonstrator, “ I want you to select one card, and whatever instrument it denotes shall be the one wewill use in our experiment.”
The volunteercutsthepack;removesthetop card, and shows it to the audience (let us suppose it has “ TROMBONE ” printed upon it). “ Yourjobisgoingto be a ‘veryresponsible for by selectone,” continues the genial performer, ing that particular card you have voluntarily undertaken to playatrombonesoloinourinvisible orchestra.Nowthisistheimportantpoint,you yourselfshalldecide what piece you will playbut you will keep the name of it to yourself andnot let me, or anyone else know the title of the musical composition that you have in mind. While you areplayingyourimaginarytrombone my invisible discarnate intelligencer will be watching your movements, and from them he wili be able to discover what you are playing, and, as proof thereof, he will writeitdownonone of thosetwoslatesthatare beingheldbyyonderobliginggentleman, andon the other slate he will write the name of the instrument you are wing in your solo performance. Ladies and Gentlemen, to makethis experiment more if my exciting I ampreparedtoissueachallenge psychicpowerfails tonamecorrectlywhatthis gentleman is playing I will give E50 to any deserving “
’
charity he cares to name-even pens to be himself.”
if that charity hap-
The challenge having been accepted, the volunteer soloist is made to stand facing the audience, and he acts the part of a trombonist (if there is such a word!) one hand holds the invisible instrument to his mouth, and the,n, puffing out his cheeks and working hisotherhandtoandfro,hegoesthroughthe actions of a player who is performing on that queer lookingmusicalcontraption.Needlesstosay,from of view, hecutsaridiculous theaudience’spoint figure, andhisanticsarecalculatedtoprovokea good deal of merriment. Afteraminuteor two of thisabsurdmiming the performer says, “ By now my discarnate intelligencershouldhavediscovered the name of theinstrument you are supposed to be operating and also I stand to what you areplaying. If hehasfailed lose f50,so this is a critical moment for me. Please untie the slates.” When this is done, on one slate is written TROMBONE ” andontheother - haveyou guessed it?-“ YOU ARE PLAYING THE FOOL.” Shrieks of laughter from the audience, and complete collapse of the volunteer instrumentalist!
“
There is verylittletoadd.Theslatesareprovidedwiththeusualloose flap whichhides writing until the final revelation is made.
the
The instrument card is forced by any of the one hundred and one methods that are available. And the volunteer? Well, care should be taken in makingthe selection fornoteveryone is going toappreciatethehumour of thefinalsituation! However, if theperformer,duringhisshow,has suffered at the hands of some interfering member of the audience-one of those horrible “ funny men ” volunteer to help and then steal the magician’s thunder by doing their best to spoil the trick -here is a grand way of scoring off him and keeping him silent for the rest of the evening. But a word of warning.Please do not trythis psychicexperimenton a Bishop, or anyotherdignitary, for quite frankly, they will not be amused!
“ And why not Magician? Let us avoid pedantry and be as euphonious as possible, We do not call an actor a ‘player’ or a chiropodist a ‘corn-cutter’? Let us see that Magic in our hands is an Art, that we may prove it is so to the carping critic. Let us above all, remember that Art i9 R& a thing separate and apart, it is d y the best way of doing things.’’ Douglas Dexter-“ The Magic Circular,” 1927.
I
N our previous issue we made mention of the fact that Eric de la Mare’s brick production effect would appear in this number. Because of many things this could not be, but this pleasure for readers will mean they will have to wait for the July issue which will be a Malini number. Dai Vernon has now left these shores and an aching void is left amongst those who eat, drink and dream magic. To those with magical integrity, his advent and work have meant an adjustment of technical standards. His advice and logical reasoning brought back only too well the utterances of David Devant. There never will be anadequate wayof thanking Dai Vernon for his patient and exhaustive treatises regarding the effects that he presented. It wasverynice to hear such a great artist giving so much credit to other magical workers and his oft repeated admiration for Johnny Ramsay must have been balm to all those who hold this mighty atom of a Scot in such high esteem. Let us thank too, IIarry Stanley for without his enterprise and organisation there would have been no Vernon. Without his persuasiveness there might have been many who thinking of Vernon only in terms of card work wouldhave
I
stayed away from the lectures and missed the most magical performances of the great classics that we have seen. If you suffer from very dry hands andperform the cups and %alls, theroutine used demanding classic palming, substitute for the usual cork balls piecesof rolled Plasticine. (This can be obtained in a variety of colours). You will find that this is ideal for handling. Once again .we’ll remind readers that the fastest drying adhesive for joining two materials, wood, silk, rope, etc., is Balsa cement. Although of little use in a rope routine where two ends have to be joined during the course of the routine, a permanent joint such as required in an extra loop can neverbe equalled by rubber cement. Once joined with Balsa cement two ends can never be separated. Dr. Harley’s three card prediction described in this issue is an ideal item for intimate. Regarding the place back move he mentiohs, we are certain that credit should go to Francis Haxton.
BOOKS ConjuRING TRIX, by Hans Trixer (Published by George Armstrong, price lO/-net) In this booklet of some forty pages, Hans Trixer has added quite a deal to the existing material dealing with Ring magic. In all he describes some eight effects, three of which make use of the Ellis Ring gimmick whilst the remaining five are concerned with borrowed rings. The first effect is a versionof the ring on stick we had the pleasure of seeing performed by that great artist Freds Kaps. It is delightful magic. The ring on string next to be described is a follow up which serves to heighten the general effect. Using borrowed rings, there are versions of the ring on and off stick, a follow up to Hahne’s Ring of Thorh” a nice version of Stewart James’ ring on ribbon effect and a poor man’s “ Flying Ring.”All are fully practicable, all require little more than average skill to produce the maximum effect and they are really magical in effect. The author concludes his all too short treatise with a description of a visible ring on wand using +‘
an Ellis ring. Nicely printed, special commendation must go to Jack Lamonte, who has designed one of the best covers we have seen on a magical booklet. No reader of the Pentagram should miss this publication. With it the recent series of ring effects in this magazine by John Howie make up a most informative and worthdile contribution to that particular form of magic. Douglas Hood’s “ SUPERCHANCE.” Marketed by Douglas Hood, price 12/6. In this effect, Douglas Hood has produced a very worthwhile version of “ Just Chance,” and whilst, to the best of our knowledge, the means used have been previously described, the purchaser receives some very nicely-printed “ Sorry ” Cards all ready for performance. For these alone the outfit is well worth the price asked. Mr. Hood, with the usual care that he takes when describing an effect,leaves no point uncovered in his. instructions. An excellentbuy.
72
I
THE BOOK QF THE YEAR
ConjuRING TRIX by EANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you. If, on the other hand, you prefer tricks with borrowed rings, then this book is still for you. In its forty odd pages there are described and iilustrated three miracles with The Jardine Ellis Ring, and six outstanding effects with borrowed rings. The Ring on Stick, The Ring on String, and Visible Ring on Pencil are effects that will leavea close-quarter audience gplping with amazement. We know that TheJardine Ellis Ring,is employed for all three but they d o not. and the handling is so perfect that they will never suspect that things are not as tiey seem. In thesection with Borrowed Rings, there is also a Ring on Stick routine, together with two methodr forgetting The Ring off Stick. The Ring o n String and theRing o n Silk are also accomplished with borrowcd rings, as ir The Flying Ring-normally an effect requiringextremely expensive apparatus. but now requiringjust--. ring, a safety pin anda rubber band.
That is the only apparatus required for any of thew effecta. apart from the Ellir Ring for the first three dccts.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have. PRICE lO/- ; postage 3d. FROM THE PUBLISHERS
THE , M A G I C WAND PUBLISHING C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
e MAGIC
WAND
George Armstrong
... 719 ... 21/... 1013 ... 1013
Ron Baillie
... 1013
Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism M w Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Routine)
GoorgeArmstrong‘s
George Armstrong
Premonition ”
(Mental Routine) Extra Sensory Perfection
Routine) (Mental
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
... 1219 ... 1013 ... 1719
S. Edward Dexter ... 719
Entertaining with Hypnotism S.EdwardDexter Identity Parade (Humorous mental routine)
Will Dexter
The Magic Circle Prcrident: Herbert J. Collings, Esq. Vice-Preeident : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Road, London, N.W.1.
Huston
Magical Theatre :
King George’s H a l l , W.C.
Summer Recess .
Puticularr from Hon. Secretary
Poter Newcombe 38 Overdale Avenue N e w Malden, Surrey
... ...
1013
719
PETER
PUBLICATIONS Automentalism (Complete act,with apparatus)
... 2013
Ken de Courcy
Dubbelkrosr & Simulkross (Coin Routines)
Ken de Courcy ... 513
Zodiac Tolrpathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
... 1219 ... 2516 ... 1013
Douglas Francis
...
719
Martin Gardner
... ...
719 513
...
1013 513
Mother Goose Mystery (Mental Effect)
Twenty-SixLiving & Dead Tests Terel Garrett The Concert Ventriloquist and Children’s En*ertainer Maurice Hurling jamesosophy (Card routines) Stewart James Etc., Etc.
...
WARLOCK’S
PENTAGRAM
JACK HUGHES will be plewd to s n d you full details of
is publishedon the 24th of arch month and canbeobtained direct from thepublhherr for 117 perbinglecopy.AnnualSubscription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with ell his other effects in return for a stamp,
hanoscripts for publication md hooka f o r review rhould ba seat to the: EDITORIAL ADDRESS:
Peter Warlock, Wallington,
24, Wordsworth Rd., Surrev.
Write now to
Jack Hughes, 2, Eivelyn Ave., Colindale, London,
N.W.9.
Every Advertiser’: goods arefully endorsed by this Bulletin
7
TAKE THREE PETER WARLOCK
T
HOUGH aspectatorhas
to assist the performer with this card trick, he doesn’t have to take a card! The pack is removed from its case and placed on the table. A spectator is then invited to shuffle the cards, replace them face down on the table and cut the pack into three approximately equal piles. One of these piles is chosen and theremaining two returned to the card case. Taking the heap chosentheperformerribbonspreads these cards asking the spectator to push out any three cards. When hehasdone this the performer removes three visiting cards fromhis pocket, places them on the table, and once again troubling the spectator he hands him a pencil,he asks him to note the nameof each card on one of the visitingcards. When this has been accomplished, the three. cards still face down are returned to different parts of the packet. The visiting cards are turned writing side down and mixed by the spectator. One of these is chosen and without looking to see what is written on it the performer places it upon the pile of cards and taps it three times with his first finger. “Just look at the name on the card and tell me what it is,” saystheperformer to thespectator.Thelatter looks at the card and possibly reads out, “Ace of Clubs”. “Believe it or not, sir, with a continuation of the ‘3’ motif, when I tapped the pile of cards three times your cardvanished withthe intentionof joining the cards you discarded and whichwere replaced in the card case. Just see for yourself.” At this point the performer turns thepile of cards on the table face up and ribbonspreads them. The selected card ismissing. Carefully removing the remaining cards from the cardcase, the performer ribbonspreads them face up across the table. Near the middle of the spread one card lies face down. “Just remove that card” says theperformer to the spectator. He does so and on turning it over finds that he holds themissing card, the“Ace of Clubs”. Now whilst there are very many ways in which the above result could be accomplished, my chief thought has been that of allowing the spectator .-
-
.
VOLUME 9, No. 10
..-
-
__
._
a free handlingofthe cards until the actualclimax of the trick. As a table trick, one can impress so many times ona spectator thatbe sbded the pack, be cot the cards into three heaps and so on. With this thought in focus, a gimmick was brought into play, a gimmick whosetask is to place the necessary card face up in a face down pack packet of cards. It is easily made from a strip of tin which equals in width the inside breadth of the card case you wiU be using. This strip of tin is first bent into this shape :
and then, with a pair of pliers pinched in so that it lookslike this:
This piece of shaped tin is now cut so that it exactly fits into the cardcase. With a pack of cards and some visiting cards plus the cardcase and gimmick and you are almost ready for the presentation. It is important that one of the visiting cards can easily be identified from the printed side. That is a matter for the individual. Any form of marking used should be subtle even thoughthespectatorhaslittleopportunity for This marked visiting card IS closeinspection. placed on top of a dozen or so undoctored visiting cards which are slipped inside the performer’s wallet. .-
l /a. (20 Cents)
-
.
.
JULY 1955
74
One card, say the “Ace of Clubs”, is removed from the pack and is slipped inside the tin holder which in turn is pushed inside the card case. If the gimmick has been made correctly thecard will takeup a central position. About half a dozen cards are now removed from the remainder of the pack. This incomplete pack is divided into halves each half being placed inside the card case with the card in the gimmick dividing them. Because of the abstraction of the six cards from thepack proper, it willbe found that all these cards can be slid out of the case without any chance of disturbing the anchored “Ace of Clubs”. The flap of thecard case is now tucked in and with a pencil in a convenient pocket the performer is ready to commence. Presentation. Seating himself at the table, the performer twas to a spectator on his left asking for assistance. At the same time the card case is picked up, the flap opened and all the cards with the e x c e p t i o n of the one in the g i m m i c k , a r e allowed to slide out.The performer keeps the open end of the case towards himself so that there is no possibility of anyone spectator glimpsing the anchored card. The pack is passed to the spectator who is asked to give it a thorough shuffle. Whenthis is completed he is further requested to cut the pack into three approximately equal heaps. At this point, though it doesn’t matter a Tinker’s Cuss which heaps are .eliminated, later the performer has to force one of the visiting cards upon the spectator and therefore it is preferable that a similar form of selection be adopted here. “Just touch two heaps”, says the conjurer, and the spectator oblingingly does as he is told. The untouched heap isplaced to one side, andthe performer takes these two heaps assembling them into one pile, turning them over and ribbonspreading them across the table. The purpose of this, without any audible comment, is to show that the cards are all facing the same way and that no one card is face down. The cards are now gathered up and replaced in the card case so that theanchored card not only goes amongst them, but also that itis facing the reverse way. The card case is now placed down this time the spectators beingallowed to see inside the case. The third heap of cards is turned face up and ribbonspread to show that every card is different. With a finger flick the spread is turned face down and the spectator asked to touch threz cards which are the11 pushed out of tile spread. The renaining cards i3 the spread are now gathered U? into a f x e down pile whicll is plased near the edge of the table. At this point the conjurer removes his wallet and taking oat the packet of visitin2 cards, counts off three, oils at a time, ia front of the spectator. The effectof this willbe thatthe marked card which was on top of the packet is now the bottom card of thc pile of three. The remaining visiting cards are now replaced in the wallet and the pencil taken and handed to the spectator.
“As I name the cards that you have chosen from this pile (the performer indicates the pile near the edge of the table) I want you to record veiy briefly their values on the three cards I have given you. One name to each card.” The performer now picks.up one of the cards with his left hand brings it over to his right, looks at itand names it. At this point he allows his right hand to drop a little so that the spectators can see the face of the card. The spectator having written the initials of the card on the top visiting card, places this aside and the conjurer takes one of the remaining cards with his left hand once again bringing it across to the right and placing it behind the first card. Again he names it and the spectator writes. Again the right hand drops a little so that the index of the second card can be seen. And now the performer speeds up the tempo. “And thirdly,” taking the remaining card with his left hand, “the ‘Ace of Clubs’.” His action this time differs slightly for he brings the third up, glances down at it, and whatever it may be miscalls it the ‘Ace of Clubs’. He places it behind the other two cards so that they just kill the index. If the action of picking up these cards is perfectly natural, there should be no suspicion in the minds of the spectators that there has been a miscall. In any case at this point they have no knowledge of what is to come. The three cards in the conjurer’s hand are now turned face down and taking the pile of cards near the edge of the table, and keeping the faces down, the performer takes the topmost card of the pile of three (this is the miscalled card) and pushes it halfway into the middle of the pack. The second card goes halfwayin a few cards above it whilst the third also halfway in a few cards below it. The packet is now turned face up and the spectators have a sight of three cards protruding from the pack. The face of the one they see is, of course, the first card called. The packet is now turned facedown and three protruding cards pushed into the packet which is squared up and placed once more near the edge of the table. The spectator is then asked to take the three visiting cards, turn them writing side downwards, and mix them, so that neither he nor anyone present can have any idea which card bears the name of a particular card. When he has done this the conjurer takes them and places them side by side on the tabls. “Now, sir,” says the conjurer to the spectator, “will you touch two of the cards.” If he touches the two unmxked cards, the performer is well away, for these two cards are taken and placed aside. If, however, the msrked card is included, the untouched card is placed aside and the spectator asked to lift one of his hands froin the cards he is touching. This works to the conjurer’s advantage each way. If he frees the marked card, the conjurer says, “Thank you, let’s placethe other one aside.’’ (Continued on txzne 79)
CONTROLLED THOUGHT HARRY E. B U R N S I D E AND CHARLES W. C A M E R O N HE magician asks a spectator to assisthim and requests whoever comes forward to seat himself at a small table. He gives the spectator a pack of cards and tells him to thoroughly shuffle them. When the spectator has mixed the cards to his complete satisfaction, the magician tells him to cut the pack into three heaps. Next he requests him to select one of the heaps and to push it slightly forward. He is then told to selectany card hewishes from thechosen heap. He is asked to look at and to memorise his chosen card and to lay it face down on the table. The other two heaps are then picked up and shuffled together. The chosen card is now placed on top of these shuffled cards and the remaining heap is placed on top. The pack is now shuffled and cut and then laid aside. The magician points to one ofhis jacket pockets and tells the spectator that this is the pocket that is going to be used in a moment for the culmination of the effect. He tells the spectator to take the value of his card and to add to it any number between 5 and 25. Next he is asked to divide his answer by two and finally to add any number between 1 and 10. The magiciannow asks him to announce hisanswer. The spectator names the result of his calculation and the magician promptly says “T hadan idea that wouldbe the answeryouwould arrive at. Please putyourhand in my jacket pocket and remove the envelope that you will find there. Please also satisfy yourself that there is nothing else in my pocket.” The spectator removes the envelope and is told to tear it open. Upon opening the envelope, he finds a duplicate card to the card that he so freely chose. From start to finish the magician does not touch the cards and at no time does he look at the faces of the cards. Properly presented, this isreally a verybewildering trick and has fooled not only laymen but has puzzledseveralmagicians.
T
You will require a pack of cards, marked in
I
your own system, a set of our old friends . . . the invaluable card indexes and twoenvelopes. The card indexes are placed in your trouser pockets and the two envelopes are placed, one in either outside jacket pocket. The envelopes require a certain amount of preparation, but it isvery simple and consists of painting around the. gummed part of the flap with rubber cement and also on the part of the envelope that the flap is gummed to. These envelopes,once the solution is dry are placed in yourpockets,flapsbeingupwards. Please do not shudder as so many magicians do when you realise that a pack of marked cards and card indexes are used. You willfind as you read on that there isplenty of time for you to read the marking on the back of the card and all the time in the world for you to find and palm out the duplicate card. Have your assistant seated at the table, give him the cards to mix. Tell him to cut the pack into three heaps and to push one heap slightly forward. Nexthe is to look at and to memorise any one card from his chosen heap. This card is then laid, face down on the table and the spectator is asked to pick up the other two heaps and to shufflethem together. Whilsthe is doing this,youhaveplentyoftime to read the back of the marked chosen card. Immediately you have found out the name of the card walkslightlyaway from the spectator and, as you are talking to him, place your hand in the appropriate pocket and palm out the duplicate card. Casually place your hand in either the right or the left-hand jacket pocket, depending upon the position of the palmed card. Slip the card into the envelope and press the flapdown. You willfind that the envelope is now securely sealed. Carry on with the ‘Mumbo Jumbo’ regarding the numbers and then finish the effect as described. You will find as we have mentioned that you have plenty of time to find the chosen card and to place it in the envelope.
“To be applauded by fellow magicians, for a clever bit of misdirection should not be considered a compliment, Misdirection, recognised as such, has failed in its real purpose.” AnApproach to Misdirection,Volume 40. The Spinx. Leith Loder.
76
RETURN TO MARLO HARRY E. BURNSIDE A N D CHARLES W. CAMERON
I
N PENTAGRAMNo. 6, Vol. 7, appeared Peter Warlock’s excellent version of “Angle on Marlo”. In the same issue Stewart James came forth with an additional brilliant idea which predicted in advance the“thoughtof”number by means of two reversed cards. Francis Haxton evolved another subtle version under the title of Spectator’s Choice, published in “My Best Card Trick”. In Pentagram No. 7, Vol. 7, an effectcalled Mentalist V. Marlo, by Peter Warlock, gave yet another version. The basic idea behind this effect is extremely intriguing, and the two versions that follow have been evolvedthrough experimentingwith the variations givenby the above-named gentlemen. Effect. Prediction is written and given to spectator, followingwhich a packof cardsis shuffled. The cards are turned face up and several cards are counted off the pack, showing, without drawing,undue attention to the fact that the cards are all different.When theJokerappears,it is thrown on to the table and the remainder of the pack (approx. 30-40) is then handed to the spectator, He is requested to mix the cards and then to‘hold them face down. He is asked to deal cards face up onto the table. He is told to stop whenever he wishes and to dealthe next card face down uponthe face-up Joker on the table. These two cards are placed on top of the face-up portion which has been held by the magician. This portion is now cut, losing the two cards inthecentre of the heap. The heap of cards is spread out face up until the reversed card beside the Joker appears. This card is removed and laid face down on table. The prediction is now read out and a spectator turns the card over and finds that it agrees with the prediction. This first version is based solely upon the fact that practicallyevery pack of cards nowadays has two Jokers (care must be taken in choosing a pack as certain packs have two differently-coloured Jokers). The set-up is very simple-pack face up. Top card being an indifferent one, face up. Second card is force card, face down then Joker, face up, followed by remainder of pack also face up. The second Joker is inserted about 12-13 cards away fromthe prediction (force) card. Prediction is written and given to a spectator to hold. Shuffle cards, keeping bottom three cards in position, alsotry to retainthe second Jokeras near to original place as possible. Pack is now tvrned face up-secure a little finger break under first three cards anddeal them off as one card onto
palm of other hand. Continue dealing cards off m top of these card(s). Deal until you arrive at the second Joker. Throw this cardontothe table, faceup. Balanceofpackisnowgiven to spectator (they can be ribbonspread face up across table which emphasizes, without calling attention to it, that all the cardsare different). Spectator is asked to shuffle these cardsthen, holding themface down he is told to deal cards, face up onto table, stopping whenever he wishes. When he stops he is told to deal the next card, face down, on top of the Joker (the Joker being face up). These two cards are then picked up and placed on the face-up small group held by magician. At this point cardsin magician’s hands are asfollows :-top card face down-being the spectator’s chosen card, underneath this is the face-up Joker, followedby a small group of cards, face up; second from bottom of this group reversed is your prediction (force) card. Cut these cards and complete the cut. Recap, what has happened-prediction written-held by spectatorbalance of pack shuffled. Card freely chosen and nowlyingreversed in face-up group of cards, next to Joker. Cardsare now spread face up between the hands until the first reversedcard shows This islyingimmediately above a Joker. Half remove the face-down card and show a large part of the Joker. This should register subconsciously in thespectator’s mindthat all is fair. Card removed and placed face down on table. Prediction is now read and the card is turned overby a spectator. Close up group of cards and replace on packthis leaves you with a reversed card (being spectator’s actualchosen card). This you can dispose of by shumng cards and reversing the card by any of the well-known sleights intended for this purpose. The secondversiondepends upon sleight of hand and has the advantage of leaving the performer absolutely clean. The pack can be examined immediately by the spectator and yet all is fair. Effect. As before. Set up-Pack face up-second card reversed, being force card. Pack shuffled, retaining bottom two cards. Pack turned face up and top two cards are dealt off asonecardonto palm of hand. Continue running cards off singly until spectator tells you to stop. Hand him the balance (try and have at least 12 cards from the pack before being stopped). Retain face up, in hand,the dealt-off group. At the bottom of this group, reversed, is your predicted card. Take care not to expose this card. Balance is shuffledby spectator who holds cards face down. He is asked to deal face up any number of cards, stopping whenever he wishes.
Once he has stopped he takes the next card, face down,and places it still face down on the group held in magician’s hand. Allow him to notice the face-up card below his chosen card, say in this case the Queenof Spades. Cut groupof cards and justbefore completing the cut, obtain a little finger break under the card above theQueen of Spades.(This card is, of course, the spectator’s card.) Close up thegroup then side slip palm the spectator’s card from the group. I
t
Turn the face-up group facedown, in the same motion transfeming the cards to your other hand and adding the palmed card to the top. At this point recap what has happened, then fanthe cards face up, one card and only one will now be reversed, immediately above the Queen of Spades, which wasthe spectator’s checkingpoint. Prediction is now read outandthespectator himself can remove the reversed cardand willfind thatit agreeswith the prediction. Cards may now be examined and the performer can relax.
“After all the real art of misdirection is to so time and routine the act that all need for misdirection is apparently eliminated.” An Approach to Misdirection, Volume 40. The Sphinx, Leith Loder.
ROYAL QUADRILLE HARRY E. BURNSIDE AND CHARLES W. CAMERON WAY back in August 1949, in the “Wizard”, Volume 3, No. 29, Al. Koran had a very wonderful item under the title of “Cut a Suit,” based on the Vernon undercut and VernonSlip Cut. The routinefollowing was actually worked out before Roy Scott-who is our Jack Potter of the North, drew attention to the Al. Koran effect. The details of the basic sleight involved are also given in Buckley’s “Card Control”, page 78. Also required is a double lift and jog shuffle-but for completeness the necessarymoves are described in full. Effect. Performer shuffles a pack of cards and produces one at a time the four Jacks. These are returned to the pack and each finds the Queen, King and Ace of his respective suit. The Queens, Kings and Aces are removed from thepack and the pack ribbonspread showing thatthefour Jacks have apparently vanished. Pack is re-assembled and fanned to show that the four Jacks have reappeared but are now reversed. Preparation-Simple and easy to remember stack of the top 16 cards. Remove from the pack all the Jacks, Queens, Kings and Aces. Place the balance of the pack face down on the table and assemble the court cards and Aces as follows. Top CardJack of Spades Face Down. ,, Diamonds ,, Clubs Hearts A;; of Hearts Y9 King of ,, Queen of ,, Face c p . ofAce Clubs Face Down. King Y, Queen 9, Face c p . Ace of Diamonds Face Down. King of Diamonds
A
9,
¶ ,
9,
9,
Face Up. Queen of Diamonds Ace of Spades Face Down. King of Spades Face Down. Face Up. Queen of Spades This packet with the face-up Queen of Spades at the foot of same is then placed on the remainder of the pack and you are allset. If you wanta check at this point spread the pack and you will find a face-up Queen at positions 7, 10, 13 and 16 from the top of pack. Stage 1. Undercut half the pack,injog first card of the undercut section and shuffleoff the remainder. Undercut at the injog and throw on top, bringing you back to original set up. Flip over the first card-the Jack of Spades. Repeat the above moves, three times producing in turn the Jack of Diamonds, the Jack of Clubs and finally the Jack of Hearts. Jack of Spades, Diamonds andClubs are dropped on the table as produced but the Jack of Hearts is retained FACE UP on top of the pack when produced. Stage 2. Hold the pack in the left hand in the dealing position-face up Jack of Hearts on top. Bring the right hand palm down over the pack, thumb nearest your body and obtained a break with the right thumb on the top three cards. This will expose the face-up Queen of Hearts to yourself (only as a check point, being nearest your body and the break hidden from front and sides by left and right hands). Now with the left fingersunder the pack undercut half the pack and slide them under the arch of the right hand, covering the face-up Jack of Hearts. Replace the left hand to its former position and undercut to the break still held by the right thumb. This brings into view the face-up Queen of Hearts and this packet of cards is also slid under the arch of the face-down right hand. The Jack of Hearts
78 has found the Queen of Hearts and if you flip the entire pack over the King will now be looking you in the face. Obtain the same break on the King only with the right thumb-you right hand again in the same position-and repeat the double undercut move. This brings the Aceof Hearts into view. Stage 3. Double lift the Ace of Hearts (beneath thiscard is the face-downJackof Hearts). and hold thesetwo cards as one in the palmdownwards right hand.The Aceof Hearts isfacing audience-be careful not to give a flash of the Jack of Hearts. With the left handturn the face-up pack face down-flip over the top card-the King of Hearts which also reveals the Queen of Heartsand push these two cards off the pack with the left thumb under the Ace of Hearts (with the Jack of Hearts concealed beneath). Square up the group of cards and turn them facedown and place aside meantine saying “Ace, King andQueen of Hearts”. Stage 4. Now pick up the Jack of Clubs and repeat exactly the same moves in stages 2 to 3. TheJack of Diamondsand Spades being treated in like fashion. This leavesyouwith a heap of 16 cards face down on the table. The audience
being under the impression (if you have got away with it), that only the Ace, King andQueen of each suit are there. Now the balance of the pack can be fanned or ribbonspread on the table and no Jacks are visible. Gather upthe 16 cards which have been produced and addthem to the pack. Cut the pack and complete the cut. Now spread the cards out face down to reveal the four Jacks face up, having once more returned to the pack. FINAL NOTES.-As Al. Koran emphasized in his routine of “cutting a suit”-speed is the keynote of this routine-once the moves and sequence are familiar. The complete routine can be worked in two and a halfminutes.Also if the undercut moves are made ina sliding fashion without separating the groups of cards too much-the appearance of the face-up Queens is a nice point. In spite of the repetition of moves-there is an interest point for the spectator in watching the : build-up of the Court sequence. A certain amount of care-is required to avoid prematurely exposing the face-up Queens but otherwise everything is quite straightforward.
“I reiterate, the magician is an actor playing the part of a magician. In his case, however, it is not so much a case of ‘getting into character’ as itis letting the character get into him. Unless he does a costume act, the average magician should not try to be someone else, but himself at his best, but temporarily possessing magical powers.” An Approach to Misdirection, Volume 40. The Sphinx. Leith Loder.
BOOKS CY, ENDFIELD’SENTERTAININGCARD MAGIC. Part 1. Described byLewis Ganson, published by Harry Stabley, price 12s. 6d. To those who read the “Phoenix”,the name of Cy. Endfield was known before he arrived in this 1952. This knowledge, country way back in however, gave no trueindication of his capabilities. These we soonfound out when at the Unique Studios and Victoria Hall he demonstrated some of the most delightful tricks in which the handling was superb. Most of all, because his general background is a most imaginative one, eachtrick that he presented washeld together by an entertaining story with adult content. In the present book under review, the first of three parts, there are some six effects plus descriptions of three veryworthwhilemoves. There has been no attempt to economise on illustrations and in all there are nearly sixty photographs accompanying the text. The book beautifully printed by Harry Clarke, and bound in a stiff cardboard cover, is a definite “must”for all those interested in magic with playing cards.
In Chapter one, entitled “To Lighten the Burden”, Cy. Endfield givesa great deal of practical advicewhich iffollowedby the reader should allow him a mastery of the contents in the shortest space of time. Chapter two contains a trick “TWO to Divine”. The plot is that two cards used after the manner of a water diviner’s rod locate a chosen card. Chapter three coversin detail Endfield’s handling of the “Curry Turnover Change” and the “Multiple Card Pass”. In Chapterfour, a trick “Conjure Bones” has a West Indian magical ritual setting and is delightful for its simplicity of plot. “Blackie is with us” takes up chapter five. Blackie well known to Americans is the Mountie who always catches his man and in this effect he is represented by the Ace of Spades, whilst a quartet of crooks are the four Jacks. After various permabulations of the cards, Blackieis found face up amongst the four face-down Jacks. To those whohaveseenCy.performhis “Cards to Pocket” effect chapter sixwill contain the cream of the book. for in this chapter he describes his version of this great classic. Twelve
79 pages and some thirteen photographs go to the making of this outstanding item. Although the move associated with the name of Elmer Biddle has been described in more than one magazine, we have never seen such a detailed description as that which appears in chapter seven, whilst in the following chapter in a trick entitled “The Escape of the Musketeers”, the author puts it to good use. For those who do not wish for skilful card tricks, chapter nine is a bonus. A magazine test is describedwhichisself-working and at the same time one hundred per cent mystely. The fact that i t is used by Dr. Stanley Jakes puts the hall mark on this contribution.
In conclusion there is an appendix in which the followingbasic card sleights are dealt with :Single-handedsecond deal; EndfieldSlip Cut; The BestOverhandShuffle; The Buckle Count; The False Count; Jog Control.
I think from the rather rough outline the reader can well visualise that the contents represent outstanding value. Quite frankly there is within the covers of this sixty-four page book magic withcards on which the assiduous student could gain a great reputation. It ismagicoffine order with all the rough edges removed by a man who is an expert. We shall lookforward with anticipation tothe publication of parts 2 and 3. ~~~~
TAKE THREE-Continued from page 74 Themarked visiting card writingside still downwards is placed on the pile of cards and the conjurer taps itwith the pencil three times. “Believe it or not, sir, those three taps hadthe magical effect of causing the card whose name is written on the visiting card to disappear from the heap.Let’s have a look. Read aloud the names of the card.” With these words the visiting card is passed to the spectator whilst the pileof cards ispicked up, turned over and ribbonspread across the table and the spectator, after naming the card, sees that it is missing. “Well, sir, there is onlyone place it can be”
I
~
~
and with that the left hand takes hold of the card case near the bottom so that through the cardboard the edges of the gimmick can be felt and gripped. His right hand thumb and fingers take the cards inside the case firmly, so that there is no chance of the reversed card being retained by the gimmick, and withdraws the cards from the pack. They are ribbonspread face up on the table showing that one card liesfacedown. The spectator is asked to remove this and turn it over. To the greatest of his surprise, if you have carried out your part of the proceedingssatisfactorily, he finds that it is the missing card.
“A little analysis will show you that, peculiar as it seems, a comedy situation without its little element of tragedy can have very little comedy in it. . . “TO Wit”, The Sphinx, Volume 40. Leith Loder. .77
I
MAGIC-GO-ROUND hen Jay Marshal1 was over here we had a most interesting discussion one evening anent the Hooker Rising Cards, that fabulous trick which has madesuch interesting reading in the past. We well remember just before the War writing to John Mulhollandregarding this trickand putting the case that a duplicate set of apparatusmightbe made in this country for performance in a specified place, the secret and the working being entrusted to two reputable and- knowledgeable magicians. Somewhere we have John’s reply which strange to say did not damn the suggestion. The incidence of war drove away any chance of implementing the idea. The effect has not been p2rfomed for many years. Neither too has Miltiades 111. Jay, during our diasussion,threw s m x new light on t\e origin of the trick and we are wondsriag wktlzer t h e will help in tyacing an English version. Just as w2 finished writing the above words we heard with the greatest of regret that Willane had died. During his short stay in magicwecame in contact with him quite a deal and we can think of fewmagiciansconcernedmainlywithstage performance who have retained such enthusiasm for
W
novelty in magic. Once Will had an idea he was never content until he had got somebody working on the gimmick and then.putting it into rehearsal. Money was the last consideration, for healways wanted the best.One has only to consider the thought and work that went into his “Inebriate” act to realise that every point of presentation had been studied to produce the maximum effect. When I was arranging the Gala shoe for the Circle Jubilee, I asked whether there would be a chance of having his act in the bill. He told me then that he had finished with that particular act and was working on a comedy conceptioa in which a Hammond Organ played a large part. Willzne did mus3 far magic whens he started the Arcas publications. Though books played a large part in the initial venture, his publication of the “Methods for Mitacles” seriesoffered a poor man’s “Stars of Magic” series to the magician who wanted effects that were not self-working. The title of this series came from a book that he had from myself way back in 1951. A man who loved magic among many other things in life, he will be sadly missed by all who knew him.
I
THE BOOK QF THE YEAR
ConjuRING TRIX by HANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplirhed with The Jardine Ellis Ring, then this book is foryou. If, on the othor hand, you prefer tricks with borrowed rings, then this book is still for you. In itr forty odd pages there are described and illustrated three miracles with The Jardine Ellis Ring,and six outstanding effects with borrowed rings. The Ring on Stick The Ring on String. and VisibleRing on Pencil are effects that will leave8 close-quarter audience&ping with amazement. We know that The Jardine Ellis Ring, is employed for all three but thoy do not, and the handling is ro perfect that theywill never suspect that thingn are not m tdey W m . In the rectlon withBorrowed Rings, there is also a Ring on Stick routine, togethor withtwo methods for getting The Ring ofF Stick. The Ring on String and the Ring on Silk are a180 accomplished with borrowcd rings, as is The Flying Ring-normally an &en requiring extremely expensive apparatus, butnow requiring Justring, a nafety pin and a rubber band. That is the only appsratue requiredfor any of these effects,apart from the Ellis Ring for the fimt three effccu
.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have. PRICE lO/-; postage 3d. FROM THE PUBLISHERS
THE MAGIC WANDPUBLISHING
COMPANY
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I-
cc MAGIC
WAND % PUBLICATIONS
Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Routine)
George Armstrong’s
George Armstrong
‘‘Pramonition
(Mental Routine)
”
George Armstrong
Extra Sensory Perfection
(Mental Routine)
Ron Baillie
The UniversalMind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
S. Edward Dexter S. EdwardDexter
EntertainingwithHypnotism Identity Parade (Humorous mental routine)
...
WillDexter
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. : Hearts of Oak B u i l d i n g s , E u a t o n Road, London, N.W.1. Magical Theatrs :
ClubroomandLibraryandHussum
King Goorge’r Hall, W.C. Summer Recess Oct. 3 to 8-Festival of Magic
Putfeulam from Hon. Slurtaxy :
Poter Newcombo 38 Overdale Avenuo Surrey New Malden,
... 7/9 ... 21/... l0/3 ... 1013 ... l0/3 ... l2/9 ... 10/3 ... 17/9 ... 7/9 ... 10/3
Automentalism (Complete act, with apparatus)
Ken de Courcy
Dubbelkroso & Simulkross“(Coin Routines)
Ken de Courcy
Zodiac Telrpathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francis
Mother Goose Mystery (Mental Effect)
Martin Gardner
Twenty-Six living & Dead Tests Terel Garrett The Concert Ventriloquist and Children’s EnQertainer Maurice Hurling Stewart James Jamesosophy (Card routines) Etc., Etc.
7/9
PETER
WARLOCK’S
PENTAGRAM publinhed on the 24th of o u h month and can be obtaineddirect from the publbhan for 117 per sing10 copy. Annual Subocription 1 S/p a t free. PUBLISHED BYt U
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex bbanudpts for publication a d books for
roviow rhould k sentto EDITORIAL ADDRaSfr
the:
Peter Warlock, Rd., Wallingtm, SUrreyl
24, Wordrworth
T
BY rp PPOPUI.K)P~ nss AXD RM.D m
u a c
W WALZPI
a
PVBLIDIO -011 1-(
... 513 ... 1219 ... 2516 ... 1013 ... 719 ... 719 ... 513 ... 1013 ... 513
JACK HUGHBS wiIl be pleased to wnd you fulldetails of
THE DE LUXB “SU-TABLE” togother with all his other effects in return f o r a r t m p .
Write now to
Jack Hugher, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertieer’s goods are fully endorsed by this Bulletin nmusnno
... 20/3
O U Y A ~ . os wmmmQIon ~ O A D .XSWNLD, -SIX LTD., YIL -o=. SWUT. T O -
-
.
THE IDOL WHISPERS AGAIN ARTHUR CARTER N our eternal chase after novelty. all of us I Working. Now for Ponsin’ssubtlety, which think tend to overlook the fact that the giants until Hugard andBraue publishedtheir monuof the past knew as much as us of the present mental work: “ Expert Card Technique ” lay forgeneration. The subtlety on which the effect about gotten for over a century, and evennow-as far to be. described rests upon is over a hundred years as I am aware-this is the iirst application of it. It
I
old, being originally described by Ponsin in 1853. and which-since he did not claim to he the inventor mayhavebeen old eventhen. In fairnessto the present however, it must be statedthatthe basic idea is linked up with two items described by myself in previous numbers of the Pentagram. The clever piece of showmanship of receiving whispers from an image washoweveroriginally due to .Toe Ovette.
Effect. A spectator genuinely thioks of MY card he likesinthe pack, after which thepera small figure of a formerdrawsattentionto Buddha. The spectator is now requested to pick it up and-holding the same against hislips, whisper the name of his mentally selected cardinto its ear. The performer then receives the image from him and, standing with the lips of the figure againsthisear, states that it, in its turn will whisper to him the name of the card of which the helper is merely thinking. After a few moments cogitation he picks up a pack of cards runs through the same and places one card face down upon the table: the selector being asked to treat his card in the same manner. Strange to relate. he fails to find it. It is we will suppose, the Five of Diamonds. The tabled card is then turned over revealing-the Five of Diamonds! Well, that is the effect, as simple anddirectas could be desired, and although there is an element of risk, a suitable ‘‘ out.” which detracts littlefrom the h a 1 effect is provided. Requirements. 1. A small Buddha or other idol. 2. A pack of cards. Both items are unprepared.
VOLUME 9, No. I I
-
is simply Lip Reading. The performer. after handing the figure to the spectator, simply takes up a position from which he can watch the lips of the latter while framing the name of the card. Lip Reading-like Pencil Reading, is something which cannot be taught it can only be tried, but a few attempts with an intimate friend will convince the reader if itspracticability.Incidentally, it is as well to place the “ whisperer ” with his back to the remainder of the audience, as should the humour of thesituation overcome him,the impressions received will be somewhat “ blurred.” Now it is of course possible, that sooner or later, either the performerwill make a mistake, or an awkward individual willdeliberately place another cardupon the table: in which case proceed as follows. Hand the pack to be s h a e d , and on receiving it back “ glimpse ” the bottom card. Thii is your key. Request thespectatorto place thecardhe removed on top of the pack, and give the cards a cut, which of course places the selected card immediately below the key. The performer now drops his card on topthe pack, and the helper cuts a second time. The spectator is now asked to hold the pack against the lips of the image, in order that it may whisper the to two-and obviously widely separatedcards, to place themselves together. “Now,”remarksthe performer, “for the iirst time I am going to name thecard which the Buddha whispered to me, it is th-here he names the “key” card)-I do not propose to touch the cards myself. therefore will you be good enough to
I/6. (20 Cents)
-
AUGUST 1955
82
deal them face up until this card is reached (the spectator does so) now will you be good enough to ,.name the card of whichyoumerelythought. Thank you. Now, if the Buddha’s commands have beenobeyed the next card should be the one of whichyou are thinking.” The spectator turns it over and finds that such is indeed the case.
If desired the “ out ” can be deliberately presented as the second stage of the effect, assuming that thefirst has beensuccessful, and while the “ whispering ” is in progress the performer may turn his back, thus check-mating members of the audiencewhomayhavesuspected the method employed in the first case.
Magicis the pretended performance of those things which cannot bedone. The success of a magician’s simulation of doing the impossible depends upon misleading the minds of his audiences. This, in the main, is done by adding to a performance details of which the spectators are unaware, and of leaving out others they believe you have not left out. John Mulholland . . . Magic for Entertaining.” “
“
TRIGON SEVENTEEN PETER WARLOCK HIS effectwasfirst demonstrated at one of the Zodiac Magical Society’smagical evenings. Despite the complete lack of rehearsal it achieved its purpose satisfactorily. Three packs of cards are introduced, two of thembeing handed to members of the audience with an accompanying request that they shall be well and truly shuffled. The third pack is placed face card to the audience in a stemmed glass. Approaching the first spectator whom we shall call A, the pack he is holding is taken from him and a handkerchief thrown over it. The spectator is requested to cut the cards through the handkerchief, and with the performer taking away the unwanted portion of the pack, the cards cut off are wrapped inside the handkerchief and handed back to A for safekeeping. A similar procedure is carried out with the second spectator B. Returning to the platform the conjurer requests a third spectator C , to think of any numbetween oneand fifty-two. HE IS NOT TO TELL THE PERFORMER THAT number, but rather, as one card at a time is removed from the face of the pack inside the glass and placed at the rear of the pack, he is to stop the performer one card before the number he has in his mind, so that were he thinking of eleven, he is to stop the conjurer on the tenth card. This is done and the performer gets readyfor the climax. He asks A to unwrap his cards and looks at the card at the face of the cut. Let suppose us that it is the Three of Hearts. B is told to do likewise andhe too finds that he has cutat the Three of Hearts. Thetrueclimax comes however when removing the card from the face of the packand showingthe card at the position indicated by C , this also proves to be the Three of Hearts. A triple coincidence effect indeed! Requirements. One Rough and Smooth Forcing pack, the force card being the Three of Hearts. Two packs of cards each of which has a
T
locator card correspondingto the force card in the rough andsmooth pack. Two opaquehandkerchiefs. The patterned ones used came from Woolworths. One stemmed glass capable of holding a pack of cards. Preparation. The glass is placed centrally on the performer’s table, the three packs of cards and the two handkerchiefs being adjacent. Presentation. The performer indicates the three packs, fanning each in turn finallyplacing therough andsmooth pack into the glass face card to the audience. The two spectators A and B whom he chooses should be situated right and left of the audience respectively. Taking thetwohandkerchiefs and throwing them over the left arm, the two packs of cards are picked up and given to A and B respectively. Each is asked to shuffle his pack and satisfy himself that it is exactly what it purports to be, namely a conventional pack of cards, Theperformerhas moved so that he is between the audience when he says this, and when he is satisfied that A has shuffled the cards to everybody’s satisfaction or rather, at the moment where, were the shuffling prolonged there would be a dead spot, he approaches A and takes the cards face down from him. The locator Three of Hearts is immediately located, and may I emphasise that whichever kind of locator is used it must present no difficulty in location. On thisoccasion as the effect had been putinto theprogrammeonly a few hours before I arrived, I usedthe broken corner dodge,whichallows for myself a faster location than the more ordinary corner short. With the card located the pack is casually cut bringing the locator card to the top and the performer, says to the spectator, ‘ I feel certain that you will agree and at the same timeassuretheaudience, that there cannot be any way in which I can know the position of any particularcards in this pack.’ Whilst speaking he gives the pack a casual over-
83 hand shufflewith the faces of cards welldown, and brings the locator card to the bottom of the pack. As he does this he looks all the time at the spectator who agrees orally with the statement made. The pack is placed upon the palm of the left hand. The right hand takes one of the handkerchiefs from the left arm,and in placing itand draping it over the left hand, the latter turns the pack over so that the face card is at the top of the pack. Spectator A is now asked to cut the cards under the handkerchief, and asking him to retain his cut the performer moveshis left hand away turning over the unwanted portion of the pack at the same time. This he drops intohis pocket. Then taking the handkerchief and the cards beneath it from the spectator, the performer wraps the handkerchieftightly around the cards. In turning the cards about in the process the spectator loses track of the original position. I do not know whom to credit with this additional sublety to the under the handkerchief force, but remember that my friend Francis Haxton passed it on to me about five or six years ago. Going to B, asimilar procedure is carried out, so that each spectator now holds a bundle of cards wrapped within the folded handkerchief, the face card of which in each case is the Three of Hearts! Returning to the platform, a third spectator is
invited to assist. “ I wantyou to think of any number between one and fifty-two, though because of time, I hope it may be not higher than of I shall thirty. Fox eachnumber youthink remove one card from the face of the pack placing at the rear. When I reach a card at a number immediately preceding the thought of number stopme. So that were youto think of eleven, stop me at ten. Is that understood?” The spectator answers in the affirmative. The conjurer now commences to remove the cards in pairs, i.e. he takes an indifferent card and a force card behind it each time placing them at the back of the pack. Quite obviouslywherever he is stopped the card immediatey below that card willbe aThree of Hearts. When the necessary signal is given the cards are left for the moment and A is asked to unwrap his cards and look at the face card. “ I want you,” says the conjurer as he does this, “ to bear in mind that youshuffled the pack and had a completely free choice of cut . . . is that so?’’ Again an affirmative answer. The conjurer repeats this with B. Both of course reveal the fact that the face card is a Three of Hearts. “ That may be coincidence enough, but don’t you think that this is a little more than coincidence?’’ As these final words are said the face card of the rough and smooth packis taken awayrevealing the third Threeof Hearts !
“ Because magic depends largely upon psychology and i n order to make use of that subject, the first thing to remember is to be natural or be yourself. That really is hard to do for, in magic, there seems to be an all compelling urge to adopt gestures, mannerisms and even a tone of voice which are unnatural.” John Mulholland “ Magic for Entertaining ”
...
A CARD MIRACLE DOUGLAS DEXTER
FOREWORD N those early days when I first became a member of The Magic Circle, Douglas Dexter proved at that time that artistry in magic was a personal thing and not just something that went with the trick. Everything hetouched hadthat meticulous thought andcare which madethe difference between a trick and a feat of magic. In the effect to be described, originally published in one ofmy friend Percy Naldrett’s books, and now reprinted withhispermission, Dexter shows the finesse that cancome to the handling of a three way forcing pack. The technique used for changing the pack may, in these days of bashing things out, seem to date a little, but it serves to make many of us think how much many modern magicians have slipped back. Whereas, Hoffman writing in ‘ Later Magic ’ in 1904 was describing the
I
latest positioning of pockets and commenting that “ the magician, of the 20th century in this, as in many other directions has improved considerably upon his predecessor of the last generation,” it is sad to think that the two generations following, have, in the main made little advance at all. The use of subtle pocket work is to - day the prerogative of a very few, those using it finding what a great aid it becomes in their work. The two changes of packs described by Dexter, one of whichwas at that time quite standard with many performers, wereusedbyhim at timeswhenperforming the blindfold cardstab,a trick in whichhevaried the procedure time and time again. With this brief note we’ll leave you to enjoy reading and later we hope performing acard trick which is truly a miracle. P.W.
84
HE results obtained by the use of a forcing pack do not always justify the risks which are incurred by its employment. One has only to refer to the innumerable card effects described in the vas: collection of books, pamphlets, and magazines on the subject, to find that the explanation of many of them begin with the words, “ A forcing pack is used,-” but no advice is given as to the introduction of such a pack, or the care required for its safe concealment throughout the experiment. To use a forcing pack for concert or drawing-room work in one card effect only, or even the first of several, is simply courting disaster. It must be cunningly substituted for an ordinary pack previously used in one or two effects and handled, if possible, by one or more members of the audience, and it must be as discreetly withdrawn afterwards. An audience is always suspicious of the performer’sown pack, innocent though it maybe. Unwilling to admit that there is anything they cannot understand, they murmur amongst themselves, “ A trick pack, I expect.” Someeven, from a book, or some bungling performer, have learnt that there is such a thing as a pack with the cards-or most of them all alike! One must be prepared for requests from such people to examine the pack. The following,however, is an illustration of the correct use of a forcing pack, and, I think, justifies its employment. After exhibiting one or twoeffectswith an obviously innocent pack, the performer, adopting an impressive manner, states that hewill attemptan experiment with certain forces over which he has only partial control, and that therefore he cannot guarantee success. He requests a member of the audience who is a card player to shuffle the pack, and, while this is being done, he asks forthe willing co-operation and assistance of another member of the audience, such volunteer being invited on to the platform. Having obtained from him the admission that he is in an impartial observer, and that he will not mind doing a little running aboutfor the performer, heis handed pack and requested to deal it out on the table in separate heaps of three cards at a time; as many heaps as he likes, but six or sevenissuggested as being enough. He is then requested to pick up-while the performer turns his back upon the table--any heap he likes and to take these three cards down and distribute them among any three members of the audience. Meanwhile the performer collects the rest of the cards from the table and finally, with apologies, turns his back once more on the audience, while he asks those who have the cards to hold them up for all to see. The performer, having faced round again, shows his assistant a number of plain white cards, one of which he is asked to select and initial. This is then dropped into a borrowed hat or large bowl together with a piece of pencil. The spectators holding cardsare asked to concentrate on them for a moment, and the assistant is then asked to remove the card from the hat. Scrawled across the non-initialled side are found the names of two of the cards. Professing some disappointment that
T
the experiment is not a complete success, the performer says he willtry to finish it another way, this time aided by the transmission of thought. He requests the assistant to blindfold him, then to take down the pack for the cards to be replaced, including the one whose name is still to be discovered, to shuffle thoroughly, and finally to spread out the cards face down all over the table. The performer thenmoveshiswandmysteriously about over them, eventually resting one end lightly upon one card. He then, after a mental effort, “ reads ” the name, and immediately lifts up the wand with the card adhering to the end and facing the audience, and it is seen to be the one he has named. Whipping off the blindfold he bows to the applause which should surely follow such a feat. For the working of this effect three packs are required: a forcing pack of three cards, 17 of each, and two ordinary packs to match. To avoid needless repetition I will refer to these packs as A, B and C . The first pack A is quite unprepared and should be used in one or two previous card effects, which should be of such a nature that the cards are freelyshown, handled and shuffled. B ‘is the forcing pack consisting of three cards repeated throughout 17 times, e.g. Queen of clubs, six of diamonds, seven of hearts. For this pack a pocket is made consisting of two broad strips of black elastic sewn together in the shape of a T, and with the three ends so formed sewn to the cloth of the left trouser leg midway between the side and back of the thigh, and slightly tilted towards the left. In this the pack is gripped securely, but may be instantly removed. If the right position is obtained for this it should be just opposite, and a trifle higher than the mouth of the left profonde. Pack C has the Queen of clubs, six of diamonds, and seven of hearts removed from it. Of these the first two are discarded entirely, but the seven of hearts has a small mark made on the back of it. This mark should only be just large enough for the performer to distinguish it easily; a slight extra shading by means of ink insome part of the pattern in the four corners is usually sufficient. Pack C , with the prepared card in it, is tucked into the left waistcoat pocket. A dozen or so plain white cards, large visiting card size, are also required. Onone of these is scrawled in pencil, “ Queen of Clubs, Six of Diamonds.” This card is placed writing down on top of the others, which, together with the pencc and the performer’s’wand, are placed in readiness on the table. A small pellet of wax on the underside of a waistcoat button, a folded newspaper, a small tray and a hat or large bowl at hand complete the requirements. Having prefaced the experiment with a few remarks on the lines already suggested, hand out pack A to a member of the audience to be shuffled, and ask for your volunteer assistant. Before he comes up take back the pack in the left hand, and as he reaches the platform stand him on your left and turn slightly towards him while you ask him, first, if he will for the satisfaction of everyone,deny all knowledge of what you are
85 about to do, and, secondly, if he will mind doing a little running about for you. During this conversation the left hand hangs by the side and is thus hidden fromthe audience, andample time and cover is afforded for A to be dropped into the profonde and B abstracted. Instantly turning to the table the performer moves it slightly forward and places the packthereon. He then asks his assistant to cut the pack and to deal out three cards together from the top face down on the table, then to deal the next three in another place, and so on six or seven times. The wand may be used to indicate the different places on the table and also to keep the cards in the assistant’s hands held near the table top and face down, so that there is no possibility of them being mixed up, or having their faces disclosed. Having done this the performer takes the rest of the cards from him and then says that he will turn his back towards the table, and that, while so standing, hewould like the assistant to pick up one of the heaps of three cards, look at them, and take them down to any three members of the audience he likes. While he is in the audience the performer gathers up the cards from the table and replaces them, packet by packet, on the bulk of the packheld in the left hand. He then offers to turn his back again while the three cards in the audience are held up for all to see. As soon as he has turned round the right hand lifts out pack C from the waistcoat pocket, while the left moves across the front of the body with pack B, towards the right inside breast pocket of the coat, intowhich B is dropped, while C in the right hand is carried out tothe right and held there fora moment at arm’s length. By this time the cards inthe audience shouldhavebeen taken down, so the performer faces the audience and quite naturally and unostentatiously lays the pack on the tray. He then picks up the visiting cards and fans them out for one to be selected by the assistant. Immediately closing up the fan he palms off the top card and asks the assistant, having seen that both sides of his card are blank, to replace it on the rest and then to pick up the pencil from the table withwhich to initial it. Meanwhile the palmed card is replaced in the usual waywhile squaring up the pack. It is then held out for the assistants initials to be written on. The two top cards are then lifted slightly, but heldtightly together as one card, and turned over to show once more the blank side of the intialled (3) card. In tuning the two cards back again the under one is slipped back on to the pack by the right finger tips in the manner of the familiar card change, while the top one is moved away, initialled side uppermost, and dropped into the hat, if possible so that it falls reversed, with the writing side uppermost.
I
The performer then quicklythrows in the pencil and covers the hat with the foldednewspaper or a borrowedhandkerchief. After the necessary concentration, anda slightpause for dramatic effect, the hat is handed to the assistant, who is asked to remove the card and to read out the names. As hedoes so the spectators holding those cards are asked to acknowledge them. Finding that only two cards have been named, the conjurer, working up to the climax as impressively as possible, asks the assistant to blindfold him, to hand him the wand, and then to take down the pack on the tray and have all three cards replaced and the pack shuffled. He is then asked to bring back the pack and to spread the cards out, backsup, all over the table. While this is going on the performer transfers the wax pellet to the end of his wand, and, standing behind the table, locates the marked card amongst the others while moving his wand about over them. Then, pressing the waxedend of the wandon to the marked card, he announces the name, and hearing that it is correct-which it must be-he lifts up the card on the end of the wand and shows that he has not onlycorrectlynamed the card without sight, but has discovered it without touch. There areone or two points to which I should like to call attention: 1. The changes from pack A to B, and from B to C are made right at the beginning of the experiment, and almost before anything has happened. From this point onward, the- conjurer should lay great stress upon the fact that he does not handle the cards at all, but that all the handling and dealing of the cards is carried out by the gentlemanwhoisassistinghim.Owing tothe lapse of time and the numerous distractions which occur after pack C is put on the table it will be found that the majority of the audience are quite convinced that the performer nevertouches the pack throughout. 2. The method of having the forcingpack dealt in heaps of three, each of which must consist of the required cards, and then allowing a free choice of any heap, completely negatives any idea of pre-arranged cards, even should such a suspicion arise in the mind of anyone. 3. During the exchange of packs B and C it is extremely unlikely that anyone will look at the performer at all, as all attention is drawn to the cards held up by the three spectators. 4. When the third card, the seven of hearts, isshuffled into pack C, there is, of course, the marked duplicate already there, but the chance@ against this being discovered are practically nil.
“ Another point i n being agreeable is never to offer to show a trick unless you have been requested to do so provided, of course, you are known to the group to be a magician.” John Mulholland ‘‘ Magic for Entertaining ”
...
86
HE ADVENT of ChanningPollock at the Palladium has shownmagicians in London, that there isnoset formula fora truly successful magic act. Twicewithin a matter of months, we have had the pleasure of seeingtwo American magicians take big billing at the greatest varietyhousein the country and prove starsin their ownrights. One looks forward totheday when a British act can play the same house in a similar spot with similar success. A point of interest because ventriloquism is so often allied with magic, is that whilst magicians in this country withveryfewexceptionshave failed to hit the highspots because of their allegiance to tricks, the vents. through a variety of means have established themselves as household favourites. Until now space, or rather lack of it, has not allowed us to give a full appreciation of the late Victor Farelli. Farelli was a character in magic, a friendly soul and one whose grounding was in the old school which allied skill to tradition. He was a man of strict conventions and he had not reached that easy stage of conversation when everyone is addressed by their Christian names. I can think of very few magicians who addressed him by his Christian name, and he in return kept to this same rule. I can remember how, only a few days before his death he suprised Dai Vernon in this respect. Few magicians in this country had seen him perform, and though I knew him over the course of very many years, I only saw him perform one trick and that was at my own house. The subject of the ‘ Repeater ’ watch trick had arisen, for it was one that always took my fancy. To my surprise, Farelli produced from his pocket a beautiful repeater watch, and then showedme how he made use of it. Taking a pack of cards he asked one of the company to select one and without looking at itto place it in hispocket. The purpose of this experiment he told the spectator is to make that card leave your pocket without my touching itin any way. Thecards were then placed aside and heremoved the repeater watch and the chain attached to it from his pocket. He asked the spectatorif he had in his possession such a watch, and then proceeded to show him how at each hour of the watchchimed. The watch had other properties; it could find out the name of a
chosen card. The spectator was asked to listen and with a coding of one chime for clubs, two for hearts, three for spades and four for diamonds, the watch indicated a suit. The value of the card was then ascertained in a similar way, and supposing the net result was the nine of diamonds, the spectator whohad the card in hispocket was asked whether that werecorrect.Havingby this time forgotten that the original proposition was that the card should leavehispocketwithout the performer touching, he fell into the trap by removing it himself and confirming that the watch had quite correctly indicated the card of his choice. The true climax came of coursewhen Farelli added that he has succeeded in his original intention, namelymaking thecard leave the spectator’s pocket without touching it in any way. Onehadto admire Farellifor his great thoroughness in his writings, and though, because of his love of detail, manywellversedinmagic found such meticulousness rather irritating, Farelli did the right thing in assuming thatthe reader in attempting to follow the description of a trick started from scratch. There was nothing slipshod about Farelli, and his various writings stand as excellent models for other writers on magic. We should like to draw our readers’ attention to the new address of Oscar Oswald. It is 7, Duke Street Hill, London Bridge, S.E.l. Elizabeth Warlock came back from Amsterdam with the biggest bouquet of flowers we have us whatan “Out of this everseen.Shetold World ” act we had missed in being absent when our good friend Fred Kaps won, for the second time, the Grand Prix. Thecongratulations of everyone will go to this great Dutch magician who, as we wrote so very many yearsago, has every gift thata greatconjurer needs,good looks, natural charm and great skill. He deserves all the success that has come to him and we hope it will not be long before we see him once again in this country. The advance B.B.C. TV programmes show that in the fieldof popularentertainmentthat every attempt willbe made to compete with the much advertised Commercial programmes which are imminent. Among the many seriesof programmes planned, it isgood to see that every other Friday has been reserved for an all magical
BOOKS LOUIS TANNEN’S NEW CATALOGUE. Published by Louis Tannen, New York, price two dollars. We have yet to lose our youthful enthusiasm for magical catalogues, and the one recently received from that well-known American dealer, Lou Tannen, is enough to wet the most jejune appetite. Quite rightly the producer compares its contents to those of Aladdin’s Cave, and with such an easy ‘ Open Sesame ’ the means of exploration are simple. To my fellow countrymen theirare of Exchange many enticements, whichbecause Control regulations are beyond our reach. The contents cover every phase of magic from the smallest pocket trick to the largest illusion. It is finely printed and illustrated and there are in all some 560 pages. Particularly interesting to readers of the ‘ Magic Wand ’ publications is a section dealing with “ Tricks of the Trade,’’whichwas originally published by George Armstrong in the “ Magic Wan Yearbook ” and is now reprinted here by his permission. This is a two dollarsworth that will possibly give many more entertainment than plenty of books costing double that amount of money.
ANNEMANN’S MENTAL BARGAIN EFFECTS. Published by George Armstrong, price 7s. 6d. net. This is an English reprint of an excellent booklet of mental effects by the late Annemann. In allthereare someeleven items, andnodoubt most readers of this bulletin have a copy of the original. If they have not we recommend the purchase of the present copy for they will receive so much for so little. JOHN HOWIE’S ROUTINES WITH THE JARDINE ELLIS RING. Published byGeorge Armstrong, price 12s. 6d. net. It was when I received a copy of this beautifully produced booklet that I realised what value
MAGIC-GO-ROUND-(Continued)
programme under the direction of our good friend David Nixon. Let us hope that with only magicians in the show some attempt willbe made to keep the hands of the performers in view or, for that matter, anything which for reasons of effect should not leave the picture.
had been given to our readers when the contents appeared in serial form. Page sizes are 11 in. by 8 in. and in all there are some 43 diagrams illustrating the various moves and accessories. For those interested in ‘ Ring ’ magic, and who isn’t, this is a must.
SHOW BUSINESS AND THE LAW by E. R. Hardy Ivamy,Ll.B.,Ph.D.PublishedbyStevens and Sons Ltd., London, price 25s. Few artistes are catholic minded, their main effort going into their work. The result too often is that in matters of business they are likechildren. In particular their knowledge of the laws relating to show business is, despite their everyday dealing with contracts of one kind or another, slight. The exception arises when the legal interpretationis enforced. In this well written book of some one hundred and ninetypages,the author, has collected and collated, the many interpretations of the law in its relation with the many phases of showbusiness. Every type of contract is dealt with, stage, music hall, circus, TV, film and radio together with the minimum rates of pay for employment. There is a section of the book which deals with licensing, whilst another concerns itself with Sunday entertainments. Of particular importance is a chapter which sets out the relationship betweenmanagement, audience and third parties. As will be fully realised the matter of copyright and its infringment has not been omitted. To a professional artiste this book is a necessity. It forms interesting reading and most detailed index shows that the contents cover any question that a contracting artiste would wish to ask. Case Law is fully quoted and to complete the volume a table of thestatutes covering the whole of showbusiness is given. To those who are professional, to those who intend to become professional and to those whose business it is to dabble in entertainment we recommend a copy of this very worthwhile book.
With a bit of luck the publication of this number and the Southport Convention may synchronise. Once again Bill Stickland has brought from Overseas threeactsthat willbenew to I.B.Mers, Septembre, Arland and leBas.Whilst we haveseen theartistic work of the first two named, the Irish boy will be new to us too.
88 ~
~~~
THE BOOK OF THE YEAR
ConjuRING TRIX by HANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you. If, on the other hand, you prefer tricks with borrowed rings, then this book is still for you. In its forty odd pages there are described and illustrated three miracles with The JardinsEilisRing, and six outstanding effects with borrowed rings. he Ringon Stick The Riw on String, andVisible Ring on Pencil are effects that will leave!a E u a r t c r audience &ping with amazement. We know thatThe Jardine Ellis Ring. ir employed for all three, but they do not, and the handling is EO perfect that theywill never ruapect that thingr are not as they seem. In the scction withBorrowed Ringr. there ir 8190 a Ring on Stick routine, togethor with two methods for getting The Ring atl Stick. The Ring on String and theRing on Silk are also accomplirhed with borrowcd rings, am is The Plying Ring-normally an effect requiring extremoly expensiveapparatw. butnow requiring jUUt-8 ri ,a safety in and a rubber band. W-
a.
apparatus requiredforsny of these effccta, apart from the Ellis Rindfor th.
ynlfirst three effccu.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have. PRICE lO/-; postage M. FROM THE PUBLISHERS
TI1E M A G I C W A N DP U B L I S H I N G
COMPANY
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
MAGIC WAND Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism& Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Routine)
GeSfge Armstrong
George Armstrong*s‘‘ Premonition
PUBLICATIONS
... 719 ... 21/1 ... 1013
Automentalism (Complete act, with apparatus)
S.Edward Dexter Entertaining with Hypnotism S . EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
Clubroom andLibraryand
Museum :
Hearts of OakBuildings, N.W.1. Euston Road, London, Magical Theatre : King George’s
Hall, W.C. Oct. 3 to 8-Festival of Magic Scala Theatre
?utlcularr from Hon. Secretary :
Poter Newcombe 38 Overdale Avenue N e w Mslden, Surrey
... ...
...
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francis
Mother Goose Mystery (Mental Effect)
Martin Gardner
Twenty-Six living & Dead Testa Terel Garrett The Concert Ventriloquist and Children’s EnCertainer Maurico Hurling Jamesosophy(Card routines) Stewart James Etc., Etc.
719 1013 719
PBTER
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
...
Ken de Courcy Victor Farelli
George Armstrong
Extra Sensory Perfection
Entertaining with Contact Mindreading
... 2013
Zodiac Telepathy (A complete act) Ken de Courcy John Ramsay’s Cups and Bails (cloth bound)
... 1013 (Mental Routine) Ron Baillie ... 1013 The Universal Mind (Mental Routine) Ron Baillie ... l2/9 Bohleno’s Mysteries (Prize-winning) Henry Bohlen ... 1013 1’11 ReadYour Mind (cloth bound) Aage Darling ... 1719 (Mental Routine)
Ken de Courcy
Dubbelkrosr & Simulkrosr (Coin Routines)
513
... 1219
... 2516 ... 1013 ... 719 ... 719
... 513 ... 1013 ... 513
WARLOCK’S
PENTAGRAM publimhcd on the 24th et r u h month and can be obtaineddirect from tho publhbrn for 117 persinglecopy. Annualsubscription 1S/post free. PUBLISHHD BY: U
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlerox Zianurcripbforpublication and baab for rovirr should be wnt to the:
EDITORIAL ADDRBSS:
Peter Warlock, Rd., Wallington,
24, Wordrworth
surrw.
JACK HUGHES will be pleucdto fulldetails
rend you of
THE DE LUXB “SU-TABLE” together with allhis other effectsin return for a stamp. write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London,
N.W.9.
MAX MALINI ERICDE LA MARE 1923 until 1932 1 was resident in the Hill F ROM . Statlon hotels of Nuwara Eliya and Kandy in Cevlon. These towns arecomparativehealth resorti and a large percentage of the visitors in those days were either W o r 1d travellers or residents of the Far East who could not afford the time to visit Europe and had come there forhealth reasons.
I was performing frequently in c 1 U b S, lodges, lounges and bars, and almost invariably someone from Hong Kong, S h a n g h a i or Singapore would introduce himself and tell me about a conjurer named Malini. Many of these stories were obviously the u s u a l layman's exaggerated descriptions of a conjuring effect but I found the description of certain items recurred with great regularity. All of these were card effects.
hard for a drawingpin to enter and a common ceiling board Lunumadillawhich is a timber little harderthan balsa wood and suited hi purpose admirably, as the card really stayed put ! The third most common feat was the vanish of a chosen card and its revelation by a similar card planted well ahead of the show in some impossible place usually a roomMalini had ' never ' entered.
i
:
I never met any reference to his celebrated card stabbing routine and his button biting trick was only m e n t i o n e dt w i c e . G e n e r a l l y the only remembered items which publicised him were from his impromptu performances and not from his set show.
1
i
/ l
The most frequent tale dealt with part of an ambitious card routine in which Malini repeatedly pushed the top card off and replaced it as second with one hand (See Buckley's ' Card Control ' page 88, ' A Different Top Change') and showed it to have returned on top. The secondeffectwas the card on ceiling or wall. Malini used two methods for this-wax for mirrors behind bars and a pin for the ceiling. He used to get into trouble over this becausehe refused to differentiate between teak wood which is common for ceilings and is too
VOLUME 9, No. I?,
-
Dai Vernon confirmed this aspect of Malini, i.e., that hecouldgive Houdini points on obtaining and maintaining publicity. His sole object was to publicise Malini as a magician and he did this so successfully that the fact that much of the material in his shows did notwarrant his great reputation was overlooked. The mere fact that he was the Great Malini, his murder of the English language, and his grand manner invariably left the laymen satisfied and wanting more despite time-killing it is some of the mostextended possible to imagine and to some of the effects
1/6. (20 Cents)
-
SEPTEMBER 1955
description for The Pentagram.
I will add that I have worked the effect many hundreds of times u n d e r very varied conditions and I know of no trick which gives more satisfactory audience reaction and ultimate publicity. being little more than mediocre.
To see Malini ambling about [a Hotel dining room or lounge wasan education. Spinning a plate. vanishing a tumbler, levitating a knife, producing a coin from a roll etc., were all minor miracles in his hands. As part of his reputation builder Malini used many devices which can only be called ' stunts '; they were not tricks in the ordianry se%of the wordinasmuch as they were impracticable for ordinary use. Nevertheless he considered them wellworth the effort and went to an inordinate amount of trouble to bring them off. The most notorious of these was his production of a brick froma hat. This appears to have beendone on relatively few occasions with no set method. As a full sized brick will not fit into a hat, Malini used a half brick, a lump of concrete. a granitesett or block of ice. It was not until 1937 that news of this Malini effectreachedme and at that time the magicalproduction ofa brick had been in my repertoire for some ten years.
It had come about bystages. In my early days I had been very impressed bythe Birmingham buskers' hat loading andhad seenguineapigs, pigeons and cabbagesused. I had developed a guinea pig production of my own of which I was very fond. In Ceylon I made an arrangement wlth the local Pasteur Institute which kept some thousand guinea pigs, to trade in my pig when it got too large. Despite this, guinea pigs were a certain amount of trouble to look after and when I found a rat snake had swallowedmy pig just before a show and was unable to get out of the cage owingto the bulge, I decided to look for some other equally effective load. After using a coconut for sometime I decided on a brick as being simultaneously the most incongruous and incompressible object. I was influenced inthis choice by Ellis Stanyon who at that time had a favourite expression to the effect, that with proper misdirection anyone could palm a brick! Whether anyone else will consider this effect to be worth whileremains to be SW, butin deference to Peter's persistence here is a detailed
THE EFFECT The performer, with an assistant from audience, commence to play '' Heads and Tails " with a coin in a hat. The performer then undertakes to pass the coin under the hat magically but on lifting the hat a glass of milk is found. The performer explains thatthis is not verydifficult and with practice one can even palm a brick; the hat is then lifted and a brick is shown to be beneath it. The performer explains that the only real difficulty about this is in finding a hat large enough to take a brick. The hat is placeddown and wben lifted again a momentlater a second brick is found. The bricks are knocked together and proved genuine. THE REQUIREMENTS In the tropics where washable coats are worn even for dress wear, attached fakes are a nuisance. and as braces are practically unknown I began to attach all fakes to a belt; these then hang correctly for any coat. When Buckley published ' Principles and Deceprions' I remember my annoyance at finding that he too had "invented" my belt technique and my patent holders for balls, coins and cards. A belt can be worn satisfactorily in this country in addition to braces with dress clothes, by making slits at the side seams of the trousers to allow the belt to be passed through and buckled in front of the stomach before buttoning up the trousers. Fakes as used in the Buckley book are then usable
- ..
YOU WILL THRILL A S D I.4RVEL AS YOU WATCH THIS WONDERFUL >lOSAHCH OF MYSTERY
91 without the necessity of attaching them to various suits and without the weight of the loads distorting the coat. The requirements for the routine areas follows :1. A good quality one inch leather belt with buckle (not friction grip!). 2. Two brass holders for the bricks. 3. One holder for the tumbler with ring for snap hook on belt. The drawingshows incomplete detail the make up of the brick holders and also the tumbler holder. 4. Two bricks with a screw inserted. Again the accompanying illustration shows the correct positioning. A standard brick is nine inches long and for a 7+ hat requires to be shortened to seven inches. This lopping off is not sufficient to be noticeable. 5 . A coin. 6. A soft felt hat with the sweat band stuck or sewn down. The reason for this is to prevent the coin from slippingdownbetween the sweat band and the side of the hat. l. A newspaper.
State that possibly his first introduction to gamblingwas that old fashionedpastimecalled ' Pitch and Toss.' Taking the coin and spinning it you remark that you will show him a new way of playing it, a way incidentallywhich is much fairer. Drop the coin in the hat shaking it around and then invert the hat so that the coin falls on the newspaper. The hat is kept over the coin. Go on to state that as it was your spin it is naturally hiscall.Whatwill he have, ' Heads or Tails?' The assistant makes his call the hat is lifted and he is shown whether he is correct or not.
At this point move the assistant behind the table, youmovingslightlyright but at the same timekeeping as closetohim as possible and slightly to his rear. Againyouplace the coin in the hat but this time you point out that it is the assistant's spin and your call. As he goes to carry out the necessary manoeuvre your left hand reaches under the coat and with a slight rocking movement pullsthe glass of milk off the rubber holder. The left hand comes down from under the coat, the glass of milk being shielded by the hand :and the *,assistant's body which, as it should beremembered,is in close proximity to the performer. At the point where the hat has been placed crown downwards on the T H E PREPARATION table with the coin beneath it you call ' heads ' or ' tails,' reach out with the right hand lifting the The loads are set on their respective holders, hat to check whether you have made a correct or the accompanying photograph No. 1. showing incorrect call. The hat is passed to the left hand the positions they should occupy. which is raised at the same time so that the glass of milk goes inside the hat. This is more or less It is suggested that should the anglesbe a standard ' cup and ball ' load. After taking the disadvantageous to the performer only m e brick coinwith the hght hand looking and registering be used. With the jacket slipped on, the paper and .. -..I_ the reaction of hat in hand and being either right or coin in pocket, the I wrong, it isplaced performer is ready at the edge of the to p r e s e n t the table. The right effect. hand comes back to t hlee fatn d THE PRESENTAgripping the load TION through the hat The newspaper carries it away and is laid on the table places it crown the hat then going downwards on the on top of it crown taW b l iet.h uppermost.At this experience W it h point you should be l- 4'4 t h i S method of standing squarely BRICKHOLDER' affixing the glass, behind the table. its detachment and n The assistance of a subsequentloading s p e c t a ti os r the reader will find requested and being the great superiority forthcoming he is over the more usual positionedclose to t y p e of rubber you on your left. covered load, with He should face the the necessity of audience and be TUMBLER HOLDER. disposing of the slightly in front of EXPANDING TO 23 OR TO SUIT TUMBLER procover before you. .
7
m
92
duction. The coin is now takenandafter performing a flourish such as the coin roll with the left hand, the right hand grips the glass through the topof the hat andcasually lifting both from the table slightly movesthem toanother position. This emphasises the apparent emptiness of the hat. Pointing out that you have done nothing very magical so far, explain that you will now perform a most difficult feat of magic by making the coin pass invisibly from your hand to underneath the hat. The coin is vanished by any desired method, but I suggest that the most spectacular method for this occasionis the conventionr.1vanish from a fold in the trousers, the coin being stolen and retained by the left hand. When the effect of the vanish has been fully assimulated by the audience the coin is surreptitiously disposed of in the left coat pocket.
p ’ -. A
Stand close to the assistant and ask him to make a call ofwhetherthe vanished coin has arrived underthehat “head” or “tail.” As he makeshis decision, possession ofthe first brick is obtained from under the coat by the left hand, whilst the right l i f t S up the hat disclosing the glass ofmilk.Express surprise at the unexpected result and with an action of hands and hat similar to that used for the load of the glass ‘ofmilk, load brick No. 1 inside the hat, then, with the right hand place the hat with brick on the table, the left hand taking the glass of milk and offering it to the assistant. The trick to all intents and purposes has reuched its d i m . Patter as desired and keeping close to the assistant f r e eb r i c kn u m b e r 2 w i t ht h e left hand. The hat isnow lifted to disclose the brick and again with a similar set of actions the hat comes from the right to theleft and the second brick is loadedinside. The full effect of the appearance of the brick is allowed to register on the audience before the right hand takes the loaded hat preparatory to placing it crown down upon the table whilst the left lifts up brick NO.1. Show it to the assistant allowing him to notice that it is a genuine brick and not something made Of rubber or papier mache. With the remark that.“ The only difficulty aboutthistrick is to 6nd a hat large enough to accommodate a brick,” take UP the hat and brick No. 2 with the right hand and bring the
?3 brick No. 1 in the left hand across the opening of the hat. Photograph No. 3 shows how No. l brick is held and because it has its wide side across the narrow side of No. 2 brick in the hat, the latter is completely concealed, as the performer goes on to say, “ You can see this one is almost too large for this hat.’’ Care must be taken in carrying out this
strategem that the surfaces of the bricks do not meet and ‘ talk.’ Carefully handled, this piece of subtlety is perfect in misdirecting the minds of the audience. The hat, care being taken that the load cannot be glimpsed, is placed back upon the table, whilst the brick first produced is placed alongside. After suitable remarks the second brick is produced.
PREDICTION O F PTAH HARRY E. BURNSIDE A N D CHARLES W. CAMERON HE MENTALISThandsa heavilysealed envelope to a spectator and asks him to initial the envelope,back andfrontand if hewisheshemayplacesomesecretindentification mark anywhere on the envelope. The envelope remains in the possession of the spectator whilst the mentalist explains that he has placed a prediction inside. The prediction has been written on one of hisbusiness cards. When the time comes for the prediction to be disclosed the mentalist requests the spectator to produce the envelope. He is asked to guarantee that it has neverbeen out of his possession, that it is still sealed and initialled and that he can still feel the card within. He mayeven hold the envelope against a strong light and see the outline of the card sealed inside. Taking the envelope the mentalist holds it at hisfingertips and tearing it open allows the card to fall to the table. Now . . . if you are showing this to your fellow magicians watch their eyes as they strain to detect either the ‘ switch ’ or the method of disposing of the duplicate prediction. Deliberately you tear the envelope open, tearing it down the sides and showing that it isperfectlyempty . . . And . . . so areyour hands. Needless to say the card lying on the table has the correct prediction written on it. Method. The envelope is our old friend, $he double sided envelope. Take an envelope and also the front portion of another envelope. A thin trail of rubber cement around the edges of the front portion (first cutting a very thin sliver from the edges). Slip this front portion inside your envelope, the thin sliver cut away will .make this easier. Carefullypress the edges together . . . first dropping one of your own business cards between the genuine envelope and the extra portion. (Going into the secret compartment.) Now seal the envelope and place ‘ blobs ’ of sealingwax over the flap. Have a spectator initial it. When the time comes to produce the prediction have the correct prediction written on another one of your cards. Palm this in your right hand. Take the envelope, first having the spectator feel
T
the card within. Tear open the end or better still open the envelope with a letter opener. Under cover of the envelope transfer the card from the palm of your hand and press it against theenvelope. Holdboth togetherwith the left fingertips and turn the envelopeupsidedown. Squeeze the ends to open the envelope and allow the card to fall to the table. Wait . . . then tear the envelope open, show it to be empty, crumple it up and dropit in your pocket. One of Annemann’s stunts would work perfectly here. Prepare an envelope as describedabove and place it in your pocket. You also have in the same pocket a genuine envelope containing one of your cards, the envelope being sealed with sealing wax. Remove the genuine envelope and hand it to the spectator to initial. When he has done this suddenly say, as though a thought had just struck you . . . “ No, wait,something has altered. I wrotetwopredictions. I thought that this would be the right one but I have just had an intuition.’’ Take the envelope from the spectator, crumple it up and drop it in your pocket. Remove the faked envelope and allow the spectator to initial it and to retain it. Later you take the crumpled genuine envelope, bearing the spectator’s signature, tear open the end, remove the card and then tear the envelope completely open. Crumple it up again and drop it in your pocket. Most prediction effects have a few day’s grace before they are required to be performed, so you to do the shouldhave ample time in which ‘ necessary.’ When you come to do the actual effect work it as described.Whilstthe spectators are reading your prediction you crumple up the envelope and casually drop it in your pocket and switch it for the genuineenvelope. Apparentlyasan afterthought youthrow the envelopeback on to the table.Saynothing but watch their faceswhen someone picks it up later to examine it. A small point, but one worthremembering is to draw a smallcircleon the flap of the envelope. This will ensure the spectator intialling in the identical spot in both cases.
94
HE MOST intersting piece of journalism T dealing with magic during the month of Augustis an article entitled ‘ GeorgeMelies
andthe Film of Fantasy.’ It appearedin ‘ The Times ’ on August 31st., and the writer, unnamed, in a matter of a thousandwordsshows that not onlydoesheunderstand the Kinema,but also magic. We mustgive a big vote of thanks to our friend Eric de la Mare for this Malini issue of the PENTAGRAM. Those who have had the opportunity of seeinghimwork the brick trick, know full well the truly shattering effect that it has upon an audience. For those who like close quarter magic we hope they will use the effect and will not postpone the working of it because of the need for makingup the necessary fakes. The photograph of Maliniwhich appears on thefront page and which was used by him in Ceylon on a brochure is, we believe, the last photo of himself that he used for publicity. Malini, as many older members of the Magicians’ Club mayremembercame to this country in the twenties and appeared on more than one occasion for the late Will Goldston. Herbert Milton had a number of interesting sessions with this legendry figure and can relate many anecdotes concerning him. Our friend Jack Avis has just put out a pretty little method for a carddiscovery which he entitles ‘ Sorcerer’sSerpent.’ It is basedupon a secret which is so very very simple but one which it is impossible forthe beholder to discover. Selling at 6s. you’llfind it on display at your favourite dealer. Roundthetabletheother evening Francis Haxton cameupwith a couple of variants on ‘ Take Three ’ whichwepublished a couple of months ago. He has promised us both of them for a future issue. The ‘ Budget ’ certainly looks a lot brighter in its new cover. It was at the A.G.M. at Brighton we raised the matter of making this little journal look little more contemporary, and it is a source of pleasure to see the idea carried into effect in such a comparitively short space of time. Bobby Voltaire who has taken over the Editor’s..job has done..quite a job of work and has certainly succeeded in letting members of the ‘ Ring ’ have their magazine on time.
Just as we are ready to send back this proof to the printers, we hear with great regret of the passing of Rufus Steele. It will be a great blow to those whohave a fondness forcard magic for Steele was amanwhocouldtake his rightful place as oneof the leading authorities on card table magic. It was from Dorny that we heard the sad news. Speaking of Dorny or rather listening to Dorny is to have a great deal added to the overA first class all picture of American magic. raconteur we found that afourhour session passed almost in a flash. With the first number of the new volume we have from Hans Trixer a delightful version of the needle threading trick in which the mouth is not used as a receptacle for the needles. When readers go through the routine they will, we feel sure, find that rather than diminishing the overall effect, the handling givenby Hans for the two methods he explains, tends to make the effectevenmore mystifying. The needle threading trick, properly presented, as those who have witnessed Holden’s fine performance.of the effect, is just as suitable forthe stage asit is for intimate work. In the same issue we also have John Derris’s version of the trick in which a copper coin held in one hand changes place with a silver coin in the other. The inspirationfor this effectis that classicof dear old Johnny Ramsay.John’s method which is perfect in effectmakes it easier for those whose qualifications are more pedestrian. AtSouthportthe dealers allreport excellent business, even though there were few novelties on show.Onedealer’s ad. on the backpage of Abra has made us read it many times, as it would seem that, provided one can give the ,audience the necessary mental outlook, a new ,phitse of magic is opened up for the budding wizard. Called “ Unbelievable ” the trick is a version of the cut and restored rope. Priortothe cutting, the ropeis marked with an identifying tell-tale mark. Later the rope is restored, and truly “ unbelievable ” as it may sound, thetell-talemark hasvanished ! Now just think of the possibilities with this new type ofmagic . . a cardcan beselected and marked, torn into pieces and later restored without the mark ! A pound note, after the number has been noted, can be destroyed and later another
95
THE MAGIC CIRCLEFESTIVAL OF MAGIC Scala Theatre, October 3rd-8th HE most pleasant thoughtthat strikes one after seeing this year’s show is’that the Committee responsible have not fallen intothe trap they made for themselves last year when nearly every act demanded audience participation. This year there is plenty of c o 1o u r andthe slightest of duplication. After the stirring overture by Sydney Jerome and his Orchestra, John Young satanically attired speaks a witty prologue. Vanishing in a puff of smoke,theMaster of Ceremonies, Dornytakes the stage. Used as we are in this country to rapid compering, the quiet styleof this exce 1l e n t raconteur makes a welcome change and the audience are soonunder this American charmer’s spell.We shall neversee a cigar again without associating it with Dorny. The first act to take the stage is that of Ram DasandKim.The oriental mysterieswhich include theSun and Moon, Paper Butterflies and Zombie are all smoothly and effectively presented. The stage is well set and the show is off to a nice start. Next to appear is Elizabeth Warlock. Calling her presentation ‘‘A Magical Rhapsody ’’ and using cards, paper and silk she works up to a fast finish with a streamlined version of the Tambourine trick using a vast number of silks instead of the more conventional ribbon. The production of a silken Pagoda from the tambourine at the finish gives the act a nice climax. Terry Hall next takes the stage and after using his famous dummy Mickey Flynn as an opener he brings onLennythe Lion, a most marvellous dummy and a fine line of patter and effects. Here is one of the greatest technicians of all time. Add to that qualification a clean attractive personality and YOU have a ventriloquist earmarked as a top of the bill act. It is customary for the non-magical acts on the openingnight to receive great ovations. To-night was no exception. Back to magic and Tonny van Dommelin, the attractive looking Dutch manipulator. In a gambling House setting, Tonny did the most wonderful
things with dice, cards and poker chips. He had a nice running gag of producing glasses of beer. This is an act that must be seen. The Great Masoni and his company close the first half of the show. This is a Chinese presentation that includes some nice traditional effects well presented . . theSmoke Vase, the Chinese Rings, Bowls of Gobi and a fine vanish of Shan at the end. Opening the secondare Juanand Avril, a musical act with plenty of colour and black light sequence. The well known TV personality, David Berglas follows, and presents that delightful combination of cigarette production, pickpocketing and prediction. This is another casewhere personality means so much toan act.David’s complete ease of working, his natural mannerisms and skill leave no doubt as to whyhe is one of the popular magicians of to-day. We have already seen Shan helping the Great Masoni, but now she performs the Memory Test. She performs it with a manner that is unequalled andnomatter howdifficultmaybe the item namedshenevergoes wrong.The act owes a great deal to the presentation of Eric Mason. It is a winner every time. The act whichfollowsisonewhichmany have seen on TV, a medium which has never done it justice. It is the act of Albert Burdon and Company and it is one of the funniest cod acts we have ever seen. This was the show stopper of the evening. Mireldo, the French illusionist closes the bill. Plenty of noise and fire all presented in a continental manner c o n c l u d i n g with a “ Sawing Through” which has to be seen to be believed for evenknowing the method one isled todoubt whether the trick can be achieved in that way. It would be unfair to conclude withoutgiving great credit to Gil Leaney and Bernard Lovett for the Stagemanagement and also the attractive settings.
MAGIC-GO-R0 W ND (continued)
illusionists of this century. The price is 151In closing this volume,maywe take the opportunity of thanking all those who have helped to makeupthe contents. In trying to present tricks free from boxes and fancy pieces of apparatus we plow a fairly narrow furrow, and it gave us a great deal of pleasure when Francis Haxton talking anddemonstrating at Southport, made reference to so many tricks that had appeared in this little journal.
T
note with an entirely different number returned to the borrower. No doubt such tricks willfollow the release of this exclusive and breathtaking idea. From Arc0 Publications we havereceived a copy of Will Dexter’s book on Chung Ling Soo. To do full justice to the contents we shall wait until the nextissue, but in passing we would like to say that no student of magic can afford to be without this pen portrait of one of the greatest
.
THE BOOK 8 F THE YEAR
ConjuRENG TRIX by HANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you. If, on the othor hand, you prefer tricks with borrowed rings, then this book is still foryou. In its forty odd pages there are described and illustrated three miracles with The Jardine Ellis Ring, and six outstanding effects with borrowed rings. T h e R t w o n Stfck. The Ring on Striw, and Vtrible Ring on Pencil are effects that will leave a clorequarter audience --tag with amazement. W e know that The Jardine Elltr Ring. tr employed for all three, but thordo not. and tbe handling ir ao perfect that theywill never rurpect that thinpm are not ar they Hem. In the section with Borrowed Rtngr, there is also a Ring on Stick routine, tosethor wtth two aethodr for getting The Rtns dt Stick. The Ring on Sttiw and the Ring on Silk are also accompltrhed wtth borrowcd r i m , W 10 +he Plying Ring-normdli an effect requtring extremelyexpenrtve appamtur. but now requitins jut--. ring, a safety pim and a rubber band
That tr the only apparatus required fo+ny o f there &ear, ap.ct from the lllir Rinrlfor the
fint three effccto.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, thie is a book you must bare. PRICE lO/-; postage M. FROM THE PUBLISHERS
THE &MAGICWANID P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
MAGIC WAND” PUBLICATIONS Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Routine)
George Armstrong
(Mental Routine)
George Armstrong
George Armstrong’s ‘‘ Premonition ” Extra Sensory Perfection
Routine) Ron (Mental
... 719 ... 21/... 1013 ... 1013 ... 1013 ... 1210 ... 1013
Baillie The Univerral Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling ... 1719 Entertaining with Contact Mindreading
S. Edward Dexter
...
...
719 1013
Will Dexter
...
719
EntertainingwithHypnotism S. EdwardDexter Identity Parade (Humorous mental routine)
The Magic Circle President: Herbert J. Collings, Esq. Vice.President : Francis White, Esq. Clubroom and Library
and Mureurn :
Hearts of Oak Buildings, Euston Road, London, N.W.1. &deal
Theatre :
King George’s H a l l , W.C. Oct. 3 to 8-Festival of Magic Scala Theatre
?uticulam from Hon. Socrotary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
PETER
Automentalism (Complete act,with apparatus)
Ken de Courcy
... 2013
Ken de Courcy
...
Dubbelkross & Simulkross (Coin Routines)
Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cup8 and Balls (cloth bound)
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francis
Mother Goose Mystery (Mental Effect)
Martin Gardner
Twenty-Six Living & Dead Tesb Terel Garrett The Concert Ventriloquist and Children’s EnLertainer Maurice Hurling Stewart James Jamesosophy(Card routines) Etc., Etc.
513
... 1219
... 2516
... 1013 ... 719 ... 719 ... 513 ... 1013
...
513
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleued to rcnd you full detail8 of
is published on the 24th of each month and can be obtained direct from thepublishers for 117 prr Angle copy. AnnualSubscription 18 Ipost free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects in return for a stamp.
hatluscriptr for publicationandbooks roview should be sent to the: EDITORIAL ADDRSS:
24,
tor
Peter Warlock, Wordrworth Rd., Wallington,
Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
THE NEEDLE TRICK H A N S TRIXER Editor’s Note. All of Hans Trixcr’s contributions to magical literature show the desire for quality and straightforward effect. Many will remember his very fine version of the broken and restored threadtrick and nonewhosaw Fred Kaps handling of this version at the Magic Circle Golden Jubilee TV performance.will forget its truly magical qualities. The Needle trick is a perfect follow up to thebroken and restored thread and Hans has done a great deal in avoiding the
THIS classical . .,’. maglc . . effect-often said to be Houdinl mventlon (although this is most S
uncertain) has suffered many degradations by improvements. In spite of razor blades and small electric light bulbs. I believe the original idea of using ordinary sewing needles is still the best. I rememberhavingseen as a kid-I must have been no more than 10 or 11 years of age at that time-the needle miracle performed by a Chinese looking performer on a stage in a big music hall. Not having been stung by ,the magic (spelling) bee yet, I wasimmensely impressed. proof that I remembered the feat throughout the years. I still maintain, having tried it with success, that the Needle Trick isfit for big theatres, provided proper lighting is available. The dangling pieces of polished steel show up in a concentrated spot light so well that the effectis a spectacular one, even in a big show. The only thing I never liked about it was the highly unaesthetic handling of putting the needles intothe performer’smouth.although I know of magicians who have the personality and manners to put this over in a less offensive manner (at least to me) than most. To overcome this drawback Mr. Trunk, the deanof Vienna’s wand wielders, invented years ago a version in which the needles never were put into the mouth. Everything was done with the performers hands. Hisversionwaspublished first in the serializing of his MagicalMemoirs in theGerman Die Magie and subsequentlyin book form. Englishmagicianswereputintouch
VOLUME 10, No. I
use of the mouth as a repository for the needles and thread without sacrificing any of themain effect, i.e. the magical threading of the needles. Weknow that this is a trickthat many Pentagram readers will add to their repertoire for it has the advantage of being equally suitable at close quarters or on a well lit stage. To our good friend in Southern Rhodesia we say on behalf of our readers, ‘ Thank you very much!’
with this method and presentation through the pages of Abracadabra whenTrunk’sbookwas serialized by the translation of Henk Vermeyden of Amsterdam. Hans Trunk’s idea greatly of a little appealed to me, although he made use cushion tailors often used to keep pins and needles handy. This called for the use of a table which I wanted to avoid. After someexperimenting I worked out the following method for the Needle trick, which can be done without any tables, chairs and the l i e . Everything necessary is carried on the performer’s clothing. This variation of the classical effect was evolved about four years ago and described in the Dutchmagicalmagazine Triks. Sincethen it has served me on many occasions and, as I mentioned before, in big halls with a seating capacity up to 600 people. As you will see presently some advance preparation of the performerisnecessary in the first described version. If I can help it I like to do my tricks without having to stuff my pockets full of paraphernalia or any oLher advance preparations. Thinking of a simplifiedmethod to perform the Needle Trick suddenly gave me the idea, which I have described in the second version. In this version no previous set-up is necessary as you will see and above all, the trick can be performed without a jacket, something all magicians in less temperate climates will greatly appreciate.
I/6, (20 Cents)
OCTOBER I955
2 Let me tell you first how to prepare and set up the necessary ingredients for the Needle Trick, whichwill cost you no more than a shilling or about 15 cents. Buy two packets of sewing needles, which usually contain a selection of different length needles from sewing to darning which makes the effect all the prettier. Besides this you need only a reel of cotton, not unlike the cotton used for the Hindu Thread Trick of whichyoumay care to find my version in a former issue of the Pentagram. The same kind of cotton-i.e. ordinary doubled cotton without the addition of glue etc.-is required, whitebeing of course the best colour.
second lot and thread the nylon or flesh coloured cotton through it. This you make into a loop which should be about one inch and a halfin diameter. (Figure I .)
Let me just mention, that nylon is by far preferable to cotton asit tends tostand open almost by itself and so make the execution of one of the vital moves of the routine easier. With this preparation of the required articles finished you are all set for the fixing-up of your show.
For the first version you also need a short piece of fishing tackle made of nylon, being colouress. In case you have no nylon handy, a short length of pink or flesh coloured cotton will do about as well as any other. Take about 8 or 10 needles from each packet and separate them into two equal lots. One lot you are going to prepare, the other needles are ready for use. Take a piece of the white cotton (about 3 foot long) and thread one of the needles from one lot. Make a single knot on top of this needle, so that it can’t move along the thread any more. This needle should be about three inches from the end of the cotton. The remaining needles(seven to be almost exact-at least if you are using eight in total) are also threaded on to the cotton and each one secured with a single knot. The needles should be at irregular intervals-This prepared lot of needles should last you a very long time and many shows. For the first version of the trick to be described you also need one more preparation. For this you take one of the needles from the
The prepared string of needles is folded as follows: Seize one of the end needles in the left hand. Place the next needle in succession next to it and see that the loop of cotton between those twoneedles lies nicelyaway from them. Repeat this folding until all eight needles form a neat little package with all the loops over them. (Figure 2.) Place one of the two ends next to the loops and stroke them nice and flat. Then fold them back over the needles and fold them up again, so that they cover about 2 / 3 of the needles. (Figure 3.) The other free end of the cotton is now wound around the completed parcel and the ultimate end of this cotton is placed between the points of the needles. You willnotice that the other free end will stick up from the package due to its greater length than that of the loops. The completed package should look like Figure 4. This is about all the preparation you have to do after each show. Be careful to make this package neat, because on it depends the correct unfolding of the needles at the climax of the performance and with this the success of the effect. Here now is the set-up for the show. The parcel of needles is pinned behind your left lapel.
3 The seven unprepared needles of the second lot go behind the right lapel, and the needle with the loop also is placed behind the right lapel, not against the front part of the jacket but against the rear side of the lapel itself. Preferably also a bit higher than the rest of the needles so that there can be no mistake about the location of the loopneedle. And with this, plus the reel of cotton handy, you are all set for THE FIRST NEEDLE TRICK Show the cotton and tear off a piece of about the same length asthe cotton of the prepared parcel of needles. I usually perform the Hindu Thread Trick first and commence the Needle Trick with the restored piece of cotton. After having shown the three foot length of cotton this is placed across the left palm, centre of the cotton right on the middle of the palm. The left arm is heldslightly bent andthe cotton is clearly visible all the time. With an appropriate gesture the right hand is shown empty and after that the cotton is transferred from left to right eventually occupying the same position in the right hand, i.e., across the right palm with the free ends at about equal length. The left hand now goes behind the left lapel to get a needle. Your face (and your patter) explain however, that you can’t find what you are looking for. In the meantime the left first finger and thumb secretly remove the parcel of needles. The left hand is removed from the lapel and the parcel is dropped from the fingers to rest across the roots of the fingers, whereit is to remain for quite a while. Without interruption the piece of cotton is transferred from right to left again and the flat hand, with the cotton across, is tilted slightly towards yourself to hide the package of needles. Hold the left hand naturally and do not try to hide anything in an obvious manner; it is not necessary. Immediately the right hand goesbehind the right lapel and finds one of the needles. This is shown and the left hand is moved upward a bit until it is about the height of your face. Place the needlewith the pointed end between the utmost tips of leftforefinger and thumb and display it, while the right hand goesbehind the lapel to remove a second needle, which is placed next to the first one in the left hand. Repeat this business fairly quickly until all your needles have been produced, with the exception of the loop needle. The needles, of course, are displayed in a neat little fan and the left hand (still with the cotton across the palm and the secret package along the roots of the fingers)ismovedslightly from the wrist to catch the spotlights on the needles and make every effort to show them. Finally you reach behind the lapel for the last needle and in removing it you insert the tip of
the thumb into the loop, which should bedead easy. This last needleis displayed in the right hand as all the foregoing ones and in placing it into the left hand the fan of needlesisclosedin a sweeping movement of the right finger tips. Without interruption all eightneedles are seized by the thumb and first finger of the right hand and the whole parcel is held nowby those fingers. Raise the right hand with its bundle and straighten the fingers of the left hand at the same time. Now bring the free end of the package under the centre of the cotton and lift it off the left hand. Raise the right hand holding the parcel horizontal. The cotton should hang over the needles with the free end of the cotton at the same height. Grip the hanging cotton with the thumb and first finger of the left hand about four inches under the needles and start winding the doubled cotton around them.Due to the small diameter of the parcel of needles and the length of cotton this would take some time before all the cotton is wound around the bundle. But if you do it fairly quick and make one or two remarks whichyou can, I suppose, gather from any of Orben’s last 25 books, you should beready without boring your audience too much. Please remember, in the meantime, that the loop of nylon stays around the tip of your thumb (which is quite a different thing from a thumb tip) all the time. When only an inch or so is left, the remaining cotton is placedbetween the point of the needles to prevent unrolling of the parcel at any future embarrassing moment. Nowcomes the crucial move, which is no move at all if you can manage to forget ail you know about magicandmagidian: and magical movements. After having shown the’ little cottonsurrounded bundle in the right hand, you toss it into your left hand, which does not evenclose over the received parcel. The funny thing, due to the nylon loop, is, thatthe original packet of needles hangs in your right palm, suspended from the thumb. If you turn during the tossingmovement a little bit to the left, that first package of needles is nicely hidden behind you right palm. No need to stick the thumb up or bring the hand into convulsions to prove it isempty. Just hold it natural and point lightly to the left hand. If you do this all like you would do it with a single parcel of needles, you are doing all right. If, however you try to convince yourself, that you have two bundles one of which has to be hidden, youmayrest assured that your spectators will know as well as you do. Assuming the parcel is safely in the left hand, freely shown to anybody interested, you blow on to the bundle just to kill time. After having noted, apparently, that your magical air conditioning has been effective you bring both hands together and
4
at the tips of the fingers you grasp one free end of the duplicate parcel with the thumb and first finger of the right hand, while the same fingers of the left hand take charge of the other free end. A short pull in an outward direction by both hands makes the parcel untie itself and youwill notice, at least if you have followed my instructions of folding the needles, that the parcel will unroll perfectly and a string of cotton with the needles threaded onto it is dangling between your hands.
1
5
The duplicate is safelyhanging inside your right palm and you need not worry about it. If you like taking risks and living adventurously you may conclude like I often do: Turnto the right and bring your right hand up over the height of the shoulder, at the same time giving a short sharp jerk with the right hand kind of backwards. This makes the duplicate parcel of needles fly around the thumb and it lands on the back of your hand. Old timers mayrecognize this move.Before the war there was a little wire loop in (dealers) existence whichwasflesh coloured andhad a little hook attached to it and which was used to make a pocket watch disappear from thebare hands. I believe this thing was the original idea behind the Stilwell silk ball. In the above versionwith the needles no rubbing movements of both hands is executed but the parcel is just swung around the thumb. Properly timed in the upward movement of the right hand it is guaranteed indetectable. To round up the performance the free dangling string of needles (the left hand has been removed in the meantime) is lowered into a little receptacle on the table and the looped parcel is slid off tha thumb the moment the end of the long string is put away. This leaves you clean and at the same time you are sure the string of needles will not be messed up and can be prepared for the next show without untangling an unholy mess first. Now for the secondversion of the Needle Trick.
THE LAST NEEDLE TRICK This is even more speedy in performance as all the needles are removed at the same time, and singly. Here the set-up is quite different and you neeed only the string of needles, prepared exactly as before. No loop-needle is necessary here.
In addition you need the little folder in which the needles come. The preparation is as follows. Push the eight needles (unprepared) into the centre of the folder. Now lay the prepared parcel on top of it and close the folder. (Figure5). With this you are ready for the performance. After having torn off your cotton you hang it over the left elbow, not over the palm. The ends should again be about equal. Remove the folder from your pocket. The flap should now open to the left.Push the flap open with the right thumb and press it down with the left one. Open the top and bottom flaps of the folder with the right thumb whileholding the folder tilted slightly so that nobody can look inside.Bring the left thumb over the duplicate parcel and pull away the entire folder with the right hand only, in the position shown in Figure 6. Turn to the right and raise the hand to show the contents of the folder. The duplicate bundle rests (again) across the roots of the fingers of the left hand while the whole hand makes a pointing gesture towards the folder in the right. The left hand isheldflat and the needles just lie on the palm. Turn front again and bring the hands together. Placing the open folder with the side flap over the duplicate parcel of needles. Remove all the needles from the folder with right thumb and first finger at the eye-ends. Drop the folder on the floor or on a nearby table of chair. Under no circumstances put it into a pocket, as youdon’t want to arouse suspicions by putting the left hand out of sight. Place the needles between the thumb and first finger of the left hand and fan them out as in the first version. Seize the cotton now with the right thumb and first fingersand hang it over the needles which remain in the left hand. Close the .fan and make a parcel as described before.
n I
k
When the parcel is finished and the ends are safely tucked between the points of the needles, it is taken up by the right hand and displayed. Then follows the tossingbusiness as in the first method, only the parcel from the right hand is retained in this hand as itcan not hang. Don’t let that worry you though, because if you do it as youwould doit with a singleparcel(see the sermon above) you are quite safe.
5 While blowing on the parcel of needles in the left hand the right thumb manoeuvres the duplicate bundle in a position parallel with the right second finger. Oneend of the parcel should be at the root of this finger. By bending the finger slightly the whole parcel is pinchedsecurely and connot fall during the following concluding manipulations and operations. Seize the free ends of the cotton as described in the first version and separate your hands while standing facing your audience. The bundlewill undoitself and the threaded needleswill make their appearance. Thehandsare held(slightly curled fingers !) with the palms towards the
spectators, but due to the position of the duplicate packet along the second finger of the right hand, only a spectator lying on the floor right at your feet would be able to see this parcel. This kind of concealing by the way I saw for the first time in 1947 from John Ramsay when he did somecoinmoves,whileholding a cigarette in the same hand. Well, there you are. A complete book almost, about the needle trick. Try them both and find out which one suits you best. Always work with your fingers as far open as possible, which enhances the effect tremendously.
SALUTE TO JOHN RAMSAY JOHN DERRIS T THE recent I.B.M. Convention at SouthA the port, Jack Avis, Roy Walton and myself had privilege of seeing John Ramsay perform many of his close-up classics at a session in his room early one morning. As we sat there ‘‘ Johnny,”in his slow and deliberate manner, fooled heck out of us with his cups and balls, rope routine, coins in the hat (with a newtwist that caught us right off our guard), and his copner and silver transposition and many others. Needless to say it was a wonderfulexperience and our own personal highlight of a grand convention. lCESTfTJG F U R I N 0
PENNY SIDE TOWAFfDS AUDSE2JCE
After the convention, it washis routine of copperand silver that setme thinking along similar lines and after pushing the idea around in my head for some time and playing late at night with a handful of coins, I eventually worked out the following routine. Some of youwhohave seen “ Johnny’s ” routine will recognise in mine similar characteristics, but do not think for one moment that I have tried to emulate his routine; this is just my own handling of a close-up classic, the copper and silver transposition, and in presenting it to you here I salute the man who in my opinion richly deserves the title ‘‘ Mr. Close-up Magic’”-John Ramsay,from whomcame the inspiration which led me to this effect. The magicianremoves from hispockets a
copper andsilver Coin which are held at the fingertips. He asks the spectator “ If I could make this copper coinchangeplaceswith this silvercoin, would that be a good trick.” The spectator answers that it would and with a wry grin the magicianmerelyexchanges the twocoins quite openly, so that they are in opposite hands. Remarking that perhaps it was a little too easy he offers to do the effect differently. The silver coin isplacedbetweentheteeth and the copper coin istossed into the left hand. The silvercoin is removed from the teeth and heldin full view at the fingertips of the right hand and the spectator is asked to keep his eye on the silver coin. Slowly itslides out of sightbehindthefingersonly to slide into view from behind the fingers of the left hand ! The magician then looks back at his right hand and slowlythe copper coin slides up from behind the fingers. He then showsbothsides of eachcoin and as hethrowsthem onto the table bothhis hands are seen to beempty. No tricky or quick moves and everything is done in a slow and deliberate manner a la John Ramsay. Interested? Wellread on. You require for this effect a nesting florin and pennyset. This iscomprised of a shellpenny and a florin with a penny on the reverse side. The florin justfits into the shellpenny so that the
6 back of the florin, the penny side, fills in the open side of the sheli penny, and when the set is locked it can be handled quite freely as a, single coin. It is with this that you achieve the above effect and the handling is as follows. In the right trousers pocket you have the shell penny and a genuine florin. In the left trousers pocket you have thefake florin. Casually reach into each pocket with your hands and remove the copper shell and the fake florin, finger palming the genuine florin in the right hand. The left hand coin is heldwith the silver side towards the audience and the right hand coin with the open side towards the performer, both coins being held at the fingertips andat approximately eye-level. Ask the spectator if it would be a good trick if you could make the copper coin change places with the silver coin and he will answer in the affirmative. You then merely change one coin for the other. Copper coin is now held at the left fingertips and the silver coin at the right fingertipswhilst the genuine florin is still in the finger palm. REAL FLORIM BEHMD
FROrnHTIPS ElEADY
TO BE PUSHED UP BV TBMB
favourite switchwhichyouwilluse; my own choice is the Bob0 switchdescribed on page 10 ofBobo’s “ Modern CoinMagic ” and I have found this ideal for this effect. The copper coin in the right hand is gripped between the first and little finger with the other fingers coveringthe coin and the open side of the shell towards the performer. You now remove the silver coin from your teeth with the right hand with the four fingers on top of the coin and the thumb below, so that the palmed copper shell just overlaps the silver coin. Hold the silver coin at the fingertips at eyelevelwith the thumb behind the coin and the copper shell gripped between the silver coin and the fingers. The left hand isheldin the same position but the genuine silver coin is not visible; it merely rests on edge on the palm. Relaxing the pressure on the right thumb allow the fake silvercoin to slowly slide down behind the fingers until it drops into place in the copper shell.Press the fake coinhomewith the right thumb and then look at your left hand as you slide the genuine florin into view with the left thumb. Hold it at the fingertips then look back at your right hand as you slide the copper shell into view (which now has the fake florin safely nested in the back) and you are now able to twist the coins at your fingertips so that both sides can be seen. PESTIN0
I Y
m R m PEmm
SIDE TQIWAFDS P E R F O I W R
mm’APEmY SHELL m
POSITIOM PRIOR .TO C M =
y OPEN
SIDE TDWARDS PERFOlWER
Say that you will do the trick a little differently. With the right fingers place the fake silver coin between the teeth with the silver side facing the audience and then allow the copper shell in the left hand to fall onto the outstretched palm of that hand. Pick up the coin with the first finger and thumb of the right hand, show itto the spectator and then toss it into the left hand closing the lingers over the coin as it hits the palm. In doing this you have switched the copper shell for the genuine florin that was held in the finger palm. Genuine silver coin is nowheld in the left fist whilst the shell copper coin isheld behind the fingers of the right hand. You may have your own
THUMB SLIDES TOP CMN
D m INTO SRELL PEN= NESTS W O TOGETEIER de THEN PUSHES THEM IllTO VTGW
The hands are dropped to table level as you toss both coins onto the table, making sure they do not hit each other as the unnatural ring would give the game away. Both your hands are empty and there isnothing that will explain your miracle. You have done it again !
BOOKS CATALOGUE. Gamages conjuring department have
recently issued new catalogue of some sixty four pages. It shows that this old established house is building up a department that was once so flourishing and which as a result of the War became almost non-existent. To Harry Baron must go a great deal of the credit for this. Most of the items in the catalogue are
standard dealer effects carried by this house. The catalogue is nicely produced in digest size and is well deserving of the modest shilling asked for it. ‘ ABOVE SUSPICION ’ A Jack Yates Creation, (published by Jack Yates at “ Glednhoon,” Garden Street, Accrington, Lancs., price 5s.) I am beginning to feel that Mental Magic is becoming a magical Frankenstein and taking up
l too much attention in the creative field. Jack Yates who has produced some delightful mentalistic ideas comes up with yet another method for resolving the name of a thought-of card. The ingenuity let it be said is well worth the reader’s five shillings that he asks, but in all sincerity the method though both subtle and indetectable has too many intermittent phases before the climax of the trick is reached. The principle behind this means of discovery is as I have previously remarked subtle and indetectable and well worth having as a shot in the locker on that odd occasion at the card table when one wants a trick that cannot fail. ‘THERIDDLE’ OF CHUNGLING SO0 ’ by Will Dexter (Published by Arco Publishers Ltd., price 15s.) This book as the author writes in his Introduction has been written with the desire to showtwo things; the first a modest testimony to a great magician and the second to refute many of the sensational stories that have assailed Chung Ling Soo’s name since his tragic death. The first chapters of the book deal with death of So0 at the Wood Green Empire. Then using theflash back technique the birthplace of Billie Robinson is settled as New York, the date, April 2nd, 1861. Starting his working days as a metal worker he later at the age of nineteen abandoned the profession of Tuba1 Cain for magic. In those early days he was known simply as Robinson the Man of Mystery his programme consisting of magic, spiritualism (?) mind reading etc. He got his first break in 1887, whenwith the additional aid of ‘ Dot ’ Path, he produced for the first time in the States the ‘ Black Art ’ principle. Even at this date Robinson was working as an oriental
under the name of AchmedBen Ali. Robinson soon went over to Kellar acting as stage manager and chief mechanician. Later he was to join Alexander Herrmann not only in the capacity of mechanician but also playing a part on the stage. In 1899 Robinson and Dot left the Herrman show and for some while worked a double act. It was the advent of Ching Ling Soo, a genuine Mongolian magician that turned Robinson’s thoughts to the matter of working on an oriental act, and in 1900 under the title of Hop Ling Loo he opened not too successfully at the Folies Bergeres in Paris. A London booker seeing the show, and ignoring the accident that had marred its climax after suggesting a change of name and Prince Fee Lung supplying that name which afterwards stuck to him, booked Robinson in at the Alhambra, London. From that engagement he never looked back, his success being well proved by the countless imitators of the act which immediately sprang into being. From that point the reader is given the highlights of this great magician’s career returning once again to the matter of the Gun trick which robbed him of his life. The opinions put forward by Goldston in his ‘ Sensational Tales of Mystery Men ’ are examined and found wanting. They are, in the writer’s own opinion simply sensational opinions put forward to titivate the palate of an ever jaded public, magical or otherwise. Will Dexter mustbecommended on the excellent job that he has made-of this all absorbing story. It is one that should notbe absent from the library of any contemporary magician.Well produced, excellently bound and having a number of half tone plates it represents excellent value for the modest sum of fifteen shillings.
MAGIC-GO-ROUND N THE near future we are going to present to I extraordinary. you a version of the Rising Cards that is truly It is the brain child of one who is known to a smallish circle of magicians and who seems to be treading a less conventional path in his approach to certain plots. In this particular trick a card selected and marked by a spectator replaced in the pack, the latter then being shuffled by the spectator. The pack is then dropped into a transparent plastic houlette and the chosen card rises. The principle used is most ingenious and those who have seen it have already tried several alternatives using the main idea.
Once in a while one-sees a master showman taking the oldest tricks and presentingmiracles. Richiardi junior falls into this class. At Finsbury Park Empire some weeksback we witnessed a stream-lined presentation of a trick which we had never seen in over forty years of watching magic.
It was the Vanishing Lady of De kolta’s. Whether he was working fast or slow, Richiardi had his audience intrigued and entertained. One regretted that the performance was not longer for when this performer closed with the Robert-Houdini suspension using a broom as a prop for the lady’s arm itwasvery obvious that the audience wanted a great deal more from this very likeable South American. The G.O.M. of Magic, Jean Hugard has once againbeenin hospital undergoing an operation, whichin the opinion of hismedical adviser has provedsuccessful. He is now home and undergoing a magical convalescence, for this great enthusiast, despite the fact that his eyes have to remainbandaged insists on dictating notes and letters. We know that the good wishes of all who owe so much to this great performer and writer willwish a true bill of health in the shortest possible space of time.
8 ~
~~
A NEW STYLE MAGIC BOOK
JOHN EOWIE’S ROUTINES WITH
THE JARDINE ELLIS HING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collection of Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE
WORLD’S GREATEST POCKET TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL T .
Now at last the author has described the FULL TECHNIQUE of the Jardine E h Rmg-GENERAL NOTES ON THE APPARATUS,HANDLING OF THE SHELL SO AS TOREPRESEm A SOLIDRING, DISPOSAL OF THE SHELL (eight mcthodr). EXAMINATION OF THE APPARATUS BY SPECTATORS, THE DIRECTPALM-OFF, THE HOWIEPICK-UP MOVE, and A WORD ON. BASICPROCEDURE: Havmgmastered the handhng of the ring-which is reallyverysimpleindeedwhentheseprecise and fullyillustrated instmctiom are followed the reader is introduced to some of the ‘fleanest and mostbaffling r?,t+ines everdevisedwith this pro?. RINGON .WKK EFFECTS-there are three, The Direct Rmg on Wand m which the rmgjustseems to malt * on to the wand. ‘‘ Ring on Pencilwhich is a wonderful close-U routin5,in which the audienceactually hear the ring penetrate the pencil, although the p&former’s hands are in full view all the time: an% finallyPenetrellis ”-a close-up or platform effectwhich seems quite i . ~ ~ ~ s i b l r yet the ring TWICEnetratesthe wand or stick RING. AND rANDKERCHIEF.EFFEqS&there aretwohere, ‘‘ Ring i n the Knot.” in which the ringisvanished, and then appears tledwlthlna knot that wasprevlouslytled m the handkerchlef.and the Ring and Handkerchief Routine,” whichisacomplete routine of threeseparate effects,each one more baWi?g than the previous one. routine at close quarters, inwhich the ringpenetrates MISCELLANEOUS EFFECTS-ther: is. the Ring y Necktle,”aterrific the necktle, andthentwo completq~outmes, -g and Rope in which :be ring penetratesa ropethree times,a knot forming round the pranks on the performer. ring on the thirdpenetrationand A Ring aWand and aHandkerchiefinwhichasteelringapparentlyplays BIBLIOGRAPHY-kor those intereited, there is a comprehensive bibliography of the Jardine Ellis Ring Trick from its invention, to date.
And now a word about the Book itself, which is in a new style for Magic Books, the same page size as The Magic Wand, with large clear illustrations by the author, and bound in red ‘Antelope ’ fin€& boards. MAKE SURE OF YOUR COPY, BY ORDERING NOW
12/6 ;postage 3d. ($2.00) FROM THE PUBLISHERS
THE MAGIC W A N D PUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
Cwrge Armstrong’s
‘‘ Premonition
”
(Mental Routine) George Armstrong
Extra Sensory Perfection
Routine) Ron (Mental
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. Edward Dexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine)
Will Dexter
The Magic Circle President: Herbert J. Coilings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre : King George’s H a l l , W.C.
Nov. 23-Annual Supper Scala Theatre ?utlculan from Hon. Secrotary :
Peter Newcomba 38 Overdale Avenue N o w Malden, Surrey
Every Advertis&
Automentalism (Complete act, with apparatus)
Ken de Courcy
... 21/-
Dubbelkross & Simulkross (Coin Routines)
... ...
Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Ken de Courcy
1013 1013
Victor Farelli
... 1013
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
... ...
...
1219 1013 1719
...
...
719 1013
...
719
PETER
Douglas Francia Mother Goose Mystery (Mental Effect)
Martin Gardner Twenty-Six living & Dead Tests TereiGartett The Concert Ventriloquist and Maurice Hurling Children’s EnCertainer Stewart James Jamesorophy (Card routines) Etc., Etc.
... 2013 ... 513 ... 1219 ... 2516 ... 1013 ... 719 ...
719
... 513 ... 1013 ... 513
WARLOCK’S
PENTAGRAM
JACK HUGHES willbepleased to rend you fulldetails of
published on the 24th of each month end can be obtamed direct from the publishen for 117 per wnele copy.AnnualSubscription 18/post free. PUBLISHBD BY:
THE DE LUXE “SU-TABLE”
The Magic Wand PublishingCo. 62 Wellington Road, Enfield. Middlesex
togetherwith all his o t h a effects in returnfor a stamp.
is
hanuscripts for publication and books tor review should be rent to the:
EDITORIAL
ADDRESS:
Peter
Warlock,
24, W o r d s w o r t h
Rd., Wallington,
Write now t o
Jack Hughes, 2, Bvelyn Ave., Colindale, London, N.W .9.
Surrey.
goodsare fully endorsed by this Bulletin
*
~~~
~~~
T H E NEW I N T R U D E R JACK AVlS ACK, WHO IS so prolific withworkable worthwhile ideas came up with this lovely Jversion of the ‘ Blue Intruder.’ If you like handling cards you’ll like this. The magician brings forth his deck of cards. With the exception of one blue backer, they have all red backs. “For the moment I am going to lose the blue backedcard,” says the wonder worker, and momentarily placing the deck behind his backhe brings itforwardface up. Then fanning thecards ,in front of the spectator he requests, “Just touchone card.” The helper obliges. We’ll suppose that it’s the nine of diamonds. “ Remember,” says Robert-Houdini Junior, as he turns the pack face down and starts runningthecardsfromhand to hand, “that I showed you that I had one blue backed card in the deck.” At this point in the run he has reached the blue backer! “Don’t you thinkit a trifle strange that it was the one card in the deck that you selected?” As these words are uttered, the blue backer is flicked face upwards to reveal its face which truly is the nine of diamonds. All thatyou’ll require is a deck of blue backed cardsandone blue-red double backer. Atthe commencement of the effect, the double backerlies on top of thedeck, blue side uppermost. Like that you start the trick. deck faces down The conjurer fansthe showing that all arered backers with the exception of the topmost card. When the conjurer remarks, “For the moment I am going to lose the blue backed card,” he places the pack behind his back, pauses momentarily, and then without doing anything to the cards at all (i.e. the double backer is not removed from the top of the deck) the deck is broughtforward again, the decksimplybeing turned face up before it is brought to the front. Be careful however that the onlookers do not get a flash of the blue side of the double backer!
VOLUME 10, No. 2
-
Placeyourself infront of a spectator. ask him to empty his mind of all conscious thought and to point at any card he wishes. Actually the cards arefan spreadbetween the hands, care beingtaken thatthe bottom cards, thedouble backer, is aligned with the card above it. The spectator points at a card, which once again we’ll suppose is the nine of diamonds. As he makes his selection, the left hand fingers push the double backer across the underside of the fan. “You are quite certain that youwould like this on receiving an card,” says theconjurerand affirmative reply breaks the pack at that point, the right hand fingers taking the double backer and retaining it under the cards it holds. The position now is that the right hand now holds a packet of face cards with the double backer at the bottom, whilst the left has a packet with the selected curd on top. The right hand packet is now placed on top of the left hand packet which means that the blue side of the double backer is against the face of the chosen card the nine of diamonds. The deck is now turned face downwards and held in the left hand. Mentioning the fact that he showed one .blue backed card before thetrick commenced, the conjurer starts running the cards fanwise from the left hand into the right. When he reaches the blue side of the double backer he pauses and breaks the pack at that point. The cards above the blue back naturally are taken by the right hand whilst the remainder with the blue backer on top are in the right hand. Now because Of the previous manoeuvre, the bottom card of of the right hand packet will be the nine diamonds. Without any apparent effort, this card is slightly outjogged and the left hand at the same time outjogs to a greater extent the double backer. The two packets should look something like this.
I/a, (20 Cents)
-
NOVEMBER 1955
10
ObTJGGGS3 OUTJOGGED
The right hand nowmoves in and using the right hand fan apparently places the edges of the
cards under the outjogged blue back and flips it over. Actually what happens is that the outjogged nine ,of diamonds goes under the edge of the double backer and as the fan is brought across the face of the cards to the left both cards are turned over as one, the selected card falling on the face of thepack. It is in effect a form of Mexican Turnover without the take away of one card. With practice the illusion is perfect, an additional factor inthedeceptionbeing that the card under the nine of diamonds ‘is the doublebacker with red side uppermost. To conclude the effect, the double backer and the card above it are double lifted and turned over, the double backer then being taken away and dropped into a pocket, whilst the chosen card with its normal red back is left on top of the pack.
THE LUCKY RING PETER WARLOCK THE Percy Naldrett Collected Series I T 0made some three contributions. Two of these, “The Willow Pattern” and the “Hatpin” have “
”
well proved worthy of improving with the advantage of experience. The third item was called the “ Silver Shoe ” and a recent glance at this teenage effort convinced me that it was also worthy of revival even though the earlier method could well stand improvement. The plot which is simple goes like this :A silver painted horseshoe is shown and also a length of pale blue ribbon. Next a wedding ring is borrowed anddropped into a glass.Asking two members of his audience to assisthim, the length of ribbon is threaded through the two topmost holes in the horseshoe and each assistant is ,given one end to hold. Over the shoe, which hangs from the centre of the ribbon, an opaque handkerchief is placed. Now taking the ring from the glass the performer wraps it in a piece of paper. The latter is flashed off and no trace of the ring is left. Removing the handkerchief from the horseshoe the missing ring is found safely threaded upon the ribbon between the twoholes of the horseshoe. The requirements are few. 1. Thehorseshoe of course needs contructing and a glance at the accompanying illustrations will help the reader in this very simple task. This illustration shows that the shoe is made from two pieces of plywood measuring approximately 3 / 16” in thickness. One piece is cut out to the shape of a horseshoe, the necessary seven holes being made
in the appropriate places. The other is a duplicate, apart from the fact that the top hole should be circular and measure one inch in diameter. The two pieces of wood are glued together and when dry and sandpapered are given a coat of silver paint.
SECTION OF SECOND PIECS OF WO@O SHOWING ROUND INSTEAD CF RECTANGULAR HOLE 0
2. A length of quarter inchlightblue satin ribbon, seven feet in length. 3. An opaque handkerchief. 4. A good quality bottomless glass tumbler. 5. A sheet of flashpaper. 6. A cigarette lighter. 7. A duplicate plain weddingring. As a note before dealing with the preparation side it should be mentioned that the horseshoe can be made up from pieces of thick cardboard, a form of manufacture that may appeal to those who are not woodworkers.
11
Preparation.
Thisamounts to very little. The opaque handkerchief and glass are set on the table adjacent to the horseshoe which should have the side with the faked hole nearest to the table top. The lighter is placed in the right hand trousers or jacket pocket whilst the piece of flashpaper cut to a size for the usual fold vanish is folded and placed inside the left hand waistcoat pocket together with the duplicate ring. The length of ribbon is draped across ,the table. The table should be to the left of two chairs which are placed about nine feet apart. Asking for the loan of a wedding ring the performer takes the bottomless glass with his left hand. The bottom is cupped by the fingers but care should be taken that the holding of the glass does not look unnatural. It will be found that the second, third and fourth fingers will comfortably cover the opening whilst the thumb and first finger encircle the base of the glass. The ring being forthcoming, the performer takes it with the fingertips of his right hand which is clearly shown to be empty. The ring is then lowered to a position about two inches above thelip of the tumbler and then dropped so that it strikes the inside of the glass near the bottom. The ring of course then falls intothe waitingfingers of the left hand. The illusion is perfect if the ring is dropped as stated. The conjurer movesback to his platform and the left hand moves the glass backwards and forwards allowing the ring to rattle against the sides of the glass. This piece of byplay over, the right hand comes across and takes the glass which is placed upon the table, the left hand falling to the side with the ring fingerpalmed. The horseshoe is now taken by the right hand and shown on both sides, care being taken to cover the faked hole. With the faked hole side nearest to his body the conjurer passes the horseshoe across to the left hand. It is passed in such a way that the faked hole goes over the ring. Let me make this clear. The end of the horseshoe with the faked hole goes over the base of the fingers of the $eft hand which should be held horizontal with the ground at elbowheight. The recess in the horseshoe allows a quick positioning of the ring without any attendant fumbling. When the ring is positioned inside the hole it will be found that by inclining the shoe so that the top part is nearest to the audience, the ring will stay quite safely inside the hole. Actually, however, there is little call for doing such a thing and for safety’s sake, I suggest that a slight left hand finger pressure be exerted against the edge of the ring. The right hand has a reason for passing the shoe to the left, for as the left hand takes it the right, now free takes one end of the ribbon and lifts it from the table. The assistance of two members of the audience is now requested and on arriving on the platform they are seated right and left in front of the performer.
The conjurer now threads the ribbon through the two top holes of the horseshoe, and then holding the ribbon on each side about a foot from the shoe, (the tautness of the ribbon caused by the weight of the shoe making this a safe procedure) he approaches the assistant on the left requesting him to take the end of the ribbon on that side with his right hand. This done he moves across and requests the right hand assistant to hold the right hand end with his left hand. The ribbon at this point should be fairly well stretched and almost horizontal. The positioning of the hands of the assistants with the ribbons makes certain that under normal conditions there is no possibility of their seeing the back of the horseshoe. Taking the handkerchief from his pocket, the conjurer shows it on both sides and then drapes it over the shoe. “ Perhaps,” he says tothe assistants, “ it would be better were you to stand and give the audience a better view of the trick.” As he says this he still retains his hold on the handkerchief. Gripping the ribbons at about a n inch from the shoe (as shown in Figure 2) with his third and f o u r t h f i n g e r s , t h e t h u m b
SECWXG HOW HAhQKERCHTEF & SHOE ARE HELD SO THAT SUFFICIENT SLACK IS CUTAINED TO RELEASE R I N G l%OM SEMIFIXED POSITION.
and the first finger of each hand grip the ends of the shoe. As the two spectators rise, the ribbon held by the performer is allowed to slacken and the top of the shoe is tilted towards him so that the ring falls out of the hole and takes up a position on the ribbon midwaybetween the holes. The movement is simple and unnoticeable and by the time the assistants have risen to full height and once again pulled the ribbon taut the main part of the trick is complete. The conjurer’s left hand then goes to his waistcoat pocket taking both the ring and the flashpaper, the former being brought into a fingerpalm position onthe way out. The performer should stand well to the left of the assistants at this stage. The flashpaper is passed to the risht hahd and the leh goes to t6e table and takes the
12
bottomless glass in just such a way that it took it at the beginning of the trick. The glass is moved backwards and forwards so that the duplicate ring rattles and then the glass is turned over and the ring allowed to drop through from the palm on to the flashpaper. The glass is then replaced upon the flashpaper. The glassis then replaced upon the table whilst bothhands assist in parcelling the ring in the paper using the standard fold so that it willslide out when required. The right hand
holds the packet at the open end and the ring is bangedagainstsome hard object. After this the ring is allowed to slide into the curled right fingers as the packetispassed to the lefthand,which holds it at the fingertips. The right hand with the duplicate finger palmed goes to the pocket for the lighter, ditching the ring in transit. A flick on the lighter, a flash of the paperand thenwith the removal of thehandkerchieffromtheshoe and ribbon the conjurer is safely in port.
VARIATION ON A THEME TAKE’ THREE FRANCIS HAXTON OU WILL remember a few numbers back an Y item, ‘ Take Three ’ whichwas a re-shaping of an older trick we had published way back some fifteen years ago. When the usual crowd of usweretogether atEricde la Mare’s, Francis came across withtwo or three versions of the effectwhich suited hisownstyle. Francis was concerned about the miscalling of one card and each of hisefforts endeavoured toremove that particular blight from what he agreed was a good card plot. The following he considers to be something approaching the ideal method and certainly in his hands it appears perfectly deceptive. Theperformer takes a pack of .cardsand ribbonspreads it face up across the table or floor. Without spoken comment this action is designed to show that the cards are all facing one way. The finger comes under one end of the pack and turns over the cards into a face down position. A spectator is asked to indicate what he thinks isthe centre of the spread andondoing so he is further asked whether he would like those on the right or left of his finger to be placed aside. Accordingtohisanswer approximately half the pack is taken from the spread, squaredupand placedfacedown at the left hand side of the remaining spread. “ Now sir,” says the conjurer to hisvictim, ‘‘ will you now point at three cards in that line of cards?” As the spectator does this the conjurer pushes each one out of the spread, turning it face up in the process. “ On each of these cards ” (the spectator is handed three visiting cards) “ I wish you to write down the name of the cards you have chosen, one on each card. The spectator does this and the conjurer takes the cards from him turning them face down. He mixes them, asking the spectator to choose one. “ Now sir, the cards you chose are going back into this packet, but whereas all the cards in the packet will stay face down, these you have chosen will be face up.” Holding
the packet in the lefthand, the right hand takes the cards one at a time and pushes them into it, then squares the packet. This packet is now placed on the table and the packetontheleftis taken and handed to a spectator. The spectator who wrote on and selected a visiting card isasked to turn it over and read what is written on it. Wewillsuppose that it is the four of clubs. The packet with the reversed cards in it is ribbon spread facedown and only two face up cards show, neither of which is the four of clubs. The person holding the other packetisasked to runthrough the cards heis holding. He does so and findsone card reversed . . . the four of clubs! Allyouwill require is a pack of cards and three visiting cards one of whichis capable of recognition after the writing has gone on its blank side and it has been turned over.Alternatively a sheet of papercan be torn in three the edge pattern giving the necessary clue. With the visiting cards at hand the pack of cards on the table and a pencil in your pocket you are all set to go. Pick up the pack and give it a strip shuffle before ribbon spreading it face up across the table. Let the fact sink in that all the cards are face up, and then flick the cards over so that they are all face down. Now ask the spectator to point at what he thinks is the centre of the spread. Break the pack at this point and then gather up, square and place to the left those cards which are not required immediately. From the remaining cards he is asked to point at three, and these ,are taken from the spread by the conjurer and turned face upwards. “ You had a fairly widechoice,” the conjurer remarks as he gathers up the remaining cards, turns then face up fans them before the spectator. This packet of cards after being squared up, is now placed face downwards onthe table. The visiting cards are
1.3 taken, the marked one being undermost, and with the words “ Just place the initials of each card on one of these visiting cards . . . here’s a pencil,” these items arehanded to the assistant. The conjurer ti, speed up the trick and to give himself a chance of not standing idle picks up the cards and states aloud their names, the spectator placing these names on the cards. The three cards are then placed down on the table. The visiting cards .are turned over and mixed, and the marked card is forced equivocably on the spectator, whois asked to keep the card writing side down under his finger. (A point occurs here, that in this version, if the conjurer had a means of identifying each card as 1, 2, or 3, the selection of the visiting card could be free.) The packet of cards is then taken face downby the left hand and the right hand, taking care that the third card to be picked up will be the force card, take the remaining two .and inserts them face up in the face down packet. The third card, whose’ name is written upon the visiting card, is then taken and pushed into the
packet.With a differencehowever thatat this point the conjurer resorts to the DiagonalPalm Shift, and as the right hand takes and replaces it upon the table, the left hand with the force card palmed drops to the side. The right hand now takes the packet that was put aside at the beginning and passes it face down to the left hand which at the same time adds the face up force card. Casually the performer does a Hindu Shuffle. He has already set the pattern for this at the beginning of the trick and this time it achieves the purpose of leaving the force card at about the centre of the packet. This packet is now handed to another spectator. The trickis all overbar the shouting. The spectator turns over the visiting card and reads out the name on it. The packetonthe table is ribbonspread and the chosen card has vanished. Finally the unwantedpacketis run through and there is the missing card face up in the face down spread.
VARIATION ON A THEME TAKE THREE-AGAIN Dr. STANLEY JAKS GOOD FRIEND Stanley Jaks has come 0UR upwithyet another variant on the ‘ Take Three ’ theme, one that has a mental flavour plus an added individual touch. The effect is like this : The mentalist writes a prediction whichis given to a spectator with a request that he places it in his pocket until it is asked for. A pack of cards is then removed from its case and handed to a member of the audience for shuffling. When this is completedhe is to deal three cards face ,down upon the table. The remainder of the pack of cards is placed aside and giving the spectator three blank cards or pieces of paper, this person is requested to write the names briefly one on each piece or card. These record cards are now turned face down, mixed andone is chosen. On being ,given thename of the card, the mentalist takes the original and writes the initials of the spectator .on the back of the card in the white margin. The three cards are then pushed back into the pack, the latter then being replaced inside the card case which is given to another party to hold. The person holding the prediction is asked to :remove it from his pocket and read it aloud. The message is to this effect, “ The card selected will
be the (say) three of diamonds and it will be found reversed in the pack,” and sure enough when the spectator removes the cards from the case and the cards are ribbonspread he finds the three of diamonds with his initials on the back duly reversed. The method is most straightforward and intended for usewhere the performer ascertains ahead of time the name of someone inthe audience who will assist him. On the white margin on the back of the ‘three of diamonds, the performer writes this person’sinitials. This card becomes the face card of the pack when it is placed inside the card case, and later when the cards are withdrawn this card is left behind, the mouth of the case being turned away from the audience so that nobody is likely to catch a glimpse of the inside. The remaining part of the trick follows on the lines of the original “ Take Three,” one card being miscalled as the three of diamonds, andlater the card upon which this name has been written is forced on the spectator. After the cards have beenpicked up and their names given to the writer on the cards, they are replaced on the table in a row so that when the timecomes forthe initialling on the back, the conjurer doesn’t have
14
to pick all the cards up again to sort one out. When the three cards are pushed back into the pack the latter goesback into the case withSome faces the opposite way to the force card anda slight tilting of the case makes sure that this card inside finds its way into the centre of the pack. With the reading of the prediction and removal of the cards from the case and subsequent
ribbon spreading face up, the trick is complete. readers may point out that the pack contains another card with initials on the back. In viewof the fact that the climax comes with the face up ribbon spreading and with one stranger initialled back showing, there is little need for worry.
PEEK DECK PREDICTION MAURICE S. HOWARTH PEEK DECK isused,with a nalrow force A oncard on top of the deck. Write the numbers three visiting cards, 1, 2, 3. Then put them in the breast pocket. Takeout the deck, false shuffleleaving the force card on top. Take the visiting card nearest to the outside of the pocket, look at it, say “ Number one,” actually it is the card marked No. 3. Onit write the force card; the visiting card is then dropped in a tumbler. Mr. No. One is allowed to peek a card. Move to Mr; No. Two, take out the visiting card from the breast pocket nearest to the body, say, “ Number two,” actually it is No. 1. On it write the card justpeeked. Drop card in tumbler. Let Mr. Two peek a card. Move to Mr. No. Three. Take the remaining card from breast pocket saying “ Number three,” actually it is card No. 2. On it write the card peeked by Mr. No. Two. Drop it in the tumbler, if possible between the cards already there, if it does not go between, don’t worry. Tell Mr. No. Three you want him to take his card without letting anyone see it or seeing it himself and he is to put it useen in his jacket pocket and to keep his hand on it. Riffle the cards asking him to say stop, using the slip force, he gets the narrow force card and
puts itinhis pocket. Ask Mr. No. One to take the tumbler and to name his card, ask him to take his visiting card out of the tumbler and read what is on it. Same with Mr. No. Two. Then ask Mr. No. Two to takethe remaining card from the tumbler and to read it loud and clear, then ask Mr. No. Three to show the card in his pocket to the audience. FINIS. I do appreciate the error in showmanship in having the so called spotlight on the assistants at the denouncement, but the point of not touching the tumbler and cards is very strong. The tumbler I use is a shallow whisky glass, the visiting cards are dropped jogged into it. Also the numbers on the cards are made quite large, so that there is no difficulty for the assistant infinding and taking out his numbered visiting card. I appreciate there are many methods by which the triple card prediction can be done, setups,deckswitch,etc., but the peekdeck does seem to havebeenneglected, for such a clever deck. I’ve beenusing the peekdecksince it appeared in Pheonix and I think, used carefully in a routine such as this, the deck is a wonderful tool for our card armoury.
ADDENDUM FOR “THE NEWINTRUDER” UST before receiving the proof of this issue of the Pentagram Jack Avis came up with a nice Jfinish for the “ New Intruder ” which appears on page 9. Let us suppose for a moment that you have reached that stage in the trick where the chosen card has been shown and the double backer lies underneath. There is also a packet of cards in the right hand. These go underneath the other packet so that the conjurer holds the complete pack with a face up card on top and the double backer red side ut>permost immediately beneath it. The conjurerhaving proved the point that the
spectator picked out the only red backed card in the pack, double lifts and turns over the face-up cardandthedouble backer as one so thatthe blue back of the double backer is now on top. The double backer is taken off and placed on the table, and with the words “ We’ll k e e p this stranger card out of the pack and replace the red backed corresponding card,” the conjurer palms the topmost card of the pack (the selected card), then placing the balance of the pack on the table and, reaching into his pocket, withdraws the selected card. The doublebacker is now taken and dropped into a pocket and the pack i5 komljlete.
15
MAGIC=GO=ROUND WASwith a great deal of pleasure that on ITapurchased bookstall the otherday wesaw and then a modest priced reprint of The Road
to En-Dor by E. H. Jones. This book, nowwith an introduction by that great escaper Eric (Wooden Horse) Williams tells of one of the great escapes of World War 1. More interesting to magiciansis the fact that Jones’sfellowescaper was Group-Captain C. W. Hill a Member of the MagicCircle. As this givesbyitselfnomagical qualifications it is as well to add that he is a very goodmagician and his last public performance for the Circle was at a Charity Festival p e r f o r m a n c e which I organised just before entering theForces inthe early forties. His appearance in the show which was held at Rudolph Steiner Hall was appropriate as the Charity in question was the R.A.F. Benevolent Fund. The tale of the escape has an interest for magicians insomuch that part of the means used for the escape involved pseudo spritualistic phenomena. The book which is entertaining and excellent reading for all members of the household is published by Pan Books Ltd., at the price of 2s. Jack Avis tells us that ‘ Sorcerer’sSerpent ’ has proved a most popular item and that he has in hand for the dealers soon a veryniceversion of ‘ Take Three ’ that cuts out any hard work and besides which brings in a point of handling that by itself would justify whatever price he cared to ask for the routine and gimmick.
Looking through the list of MagicCircle Lectures for 1955-1956, three greatly take our ’ by Alex fancy.They are ‘ Don’tlookback Elmsley, ‘ From Cover to Cover ’ byGeoffrey Robinson and ‘ Take a Trick ’ by Lewis Ganson. We feel certain that in both of the first two there will be some delightful debating points whilst Lew Ganson, will demonstrate in justsuch a perfect manner that hedescribes tricks in the ‘ Gen ’ moves, tricks and subtleties that are the delight of conjurers when they assemble in numbers. It is often said that magic is not a draw. In cities there maybe a certain amount of truth in such a statement. In the suburbs we feel that this is not so. We have had good proof of this recently for at Wallington we organised a Festival of Magic in aid of a local charity, which though playing in a comparativelysmall hall was instrumental in raising one hundred pounds for charity purposes. Michael and Valerie Baileygotaway to a flying start with the first edition of ‘ Focuson Hocus ’. As ‘ Mr. and Mrs. Magic ’ we feel certain that the present contracted series of six items will be well extended. Congratulations for one of the finest pieces of magical TV we have seen. On twooccasionsrecentlywhenvisiting a music hall to see a conjurer we have met between acts, that delightful inventor magician Eddie Joseph. Eddie has had a great deal of worry on his mind lately owing to the rather severe illness of his wife. We hope that bynowconvalescence has proved successful in putting her back on her feet again.
THE MAGICIAN’S TEN COMMANDMENTS By DOUGLAS D E X T E R 1.-Never tell your audience what you are going to do unless you have already done it. And never let anyone In your audience even think he knows how some feat is accomplished. 2.-Never disclose a secret, method or principle either intentionally or otherwise, to anyone who is not a magician. 3.-Use dexterity in manipulation as a means to an end and not the end itself. 4.-Do not insult the intelligence of your audience. 5.-Be suave, graceful, polished and commanding. 6.-Find your weakest spot and strengthen it as much as possible. 7.-A short programme well presented is worth far more than a long one poorly handled. %-Remember that your services are worth just as much as they can command. 9.-Let nothing be done except according to the first principles of Art. To reveal Art and conceal the Artist is the aim of all true Art.
lO.-Aft is not a thing, it is the product of what you do. Do not try to be greater than your Art. Try to be greater than you are.
~~
A. NEW STYLE MAGIC .BOOK
JOHN HOWIE’S ROUTINES WITH
THE JARDINE ELLIS RING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collectionof Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE
WORLD’S GREATEST POCKET TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL EFFECT.
Now at last the author has described the FULL TECHNIQUE of the Jardine Ellis R i n g a E N E R A L NOTES ON THE APPARATUS.HANDLING OFTHE SHELL SO AS TO REPRESENTASOLID RING, DISPOSAL OF THE SHELL (ught methods). EXAMINATION OFTHE APPARATUS BY SPECTATORS, THEDIRECT PALM-OFF, THE HOWIEPICK-UP MOVE, andA WORDON BASIC PROCEDURE. Havingmastered the handling of the ring-which isreallyverysimpleindeedwhentheseprecise and fullyillustratedinstructions prop. are followed, the readerisintroduced to some of the ‘Fleanest and mostbafflingr?,utineseverdevisedwiththis to ‘ melt ’ on to the RINGON STItZJC EFFECTSthere are three, The DirectRing on Wand in which the ringjustseems is a wonderfulclose-up routinqh which the audienceactually hear the ring penetrate the pencil,although wand; ‘‘ Ring on Pencilwhich the performer’s hands are in full view all the time;and finallyPenetrellis ”-a close-up orplatform effectwhichseems quite impossible yet the ring TWICEnetrates the wand or stick RING. AND g A N D K E R C H I E F . E F F E p e h e r e are two here, “ Ring i n the Knot,” in which the ringisvanished, and then Ring and HandkerchiefRoutine.’’whichis a complete aDDears tledwlthln a knot that was previously tled m the handkerchlef. andthe roatine of threeseparate effects, eaihone more baffljfg thanthe previousone. MISCELLANEOUS EFFECTSTtherz is. the Ring ?? Necktie.” a terrific routine at close quarters, in which the ringpenetrates the necktle, andthen two.complete,Foutrnes, f i n g and Rope in which the ringpenetrates a rope three times, a knot forming round the ranks on the performer. ring on the third penetratlon and A Ring a Wand and a Handkerchief ” inwhich a steelringapparentlyplays BIBLIOGRAPHY-ior those interedted. there is a comprehensive bibliography of the Jardine Ellis Ring h i c k from its invention, to date.
And now a word about the Book itself, which is in a new style for Magic Books, the same page size as T h e Magic Wand, with large clear illustrations by the author, and bound in red ‘ Antelope ’ Wish boards.
MAKE SURE OF YOUR COPY,BY ORDERING NOW
12/6 ;postage 3d. ($2.00) FROM THE PUBLISHERS
THE MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental George Armstrong’s ‘‘Premonition ”
(Mental Routine) George Armstrong
Extra Sensory Perfection
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
S. Edward Dexter
IEntertaining with Hypnotism S. Edward Dexter denti ty Parade (Humorous mental routine)
Will Dexter
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom8ndLibrary
and Museum :
Hearts of Oak Buildings, BustonRoad,London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
I
Puticulam from Hon. Secrotary :
Peter Nswcombe 38 Overdale Avenue N e w Malden, Surrey
... 10/3
... 2013 Ken de Courcy ... 513 Zodiac Telepathy ( A complete act) Ken de Courcy ... 1219 John Ramsay’s Cups and Balls (cloth bound) Victor Farelli ... 2516 Thanks to Leipzig! (Card Magic) Victor Farelli ... 1013 Spectator’s Choice (Miscellaneous Magic) Douglas Francis ... 719 Mother Goose Mystery (Mental Effect) Martin Gardner ... 719 Twenty-Six living & Dead Tests TerelGartett ... 513 The Concert Ventriloquist and Children’s Entertainer Maurice Hurling ... 1013
...
Stewart James Jamesorophy (Card routines) Etc., Etc.
...
Armstrong GeorgeRoutine)
Routine) Ron (Mental
Automentalism (Complete act, with apparatus)
Ken de Courcy
... 211-
Dubbelkrors & fimulkross (Coin Routines)
1013
.:. 1013 ... 1013 ... 1219
... 1013 ... 1719 ... 719 719
PETER
...
513
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased to send you fulldetails of
published on the 24thof o u h month and the publirherrfor 1f7 per ungle copy.AnnualSubscription 18 /post free. PUBLISHED BY:
THE DE LUXB “SU-TABLE”
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
togetherwith all hisother a stamp. effectsinreturnfor
i5
can be obtaineddirectfrom
hanuscripb forpublicationandbooks reviewshould be rant to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington,
Writenow
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
POKER R O Y WALTON
R
OY WALTON, who is one of the most fastidious magicians we know, gave us this Poker deal a long while back. A copy also went to our friend Bruce Elliott, but certainly up to this date it has not appeared in ‘ The Phoenix.’ In effect a pack of cards is shuffled and placed in the centre of the table. A number of hands of Poker (from two to ten inclusive) named by the spectator are dealt without any manipulation of by the performer to the pack. Thehanddealt himself will always be the winning hand! A stacked pack is responsible for the effect and it is for the performer to decide how it shall be brought into play. Once however it is inhis hands, a convincing false shuffle is given and after the number of hands has been asked for and the answer giventhey are dealt around the table by the performer. Generally the number named will be four, but as previously mentioned you will be covered for any number of hands from two to ten. This is theorder of the pack when face down:Five of spades (Top Card), king of spades, nine of clubs, king of hearts,jack of diamonds. queen of clubs, ace of diamonds, queen of hearts,nine of spades, three of spades. three of clubs, ten of hearts, two of clubs, two of diamonds, two of hearts, jack of hearts, five of hearts, ten of spades, four of hearts, ace of hearts, three of diamonds, four of spades, seven of hearts, nine of hearts, jack of clubs, eight of diamonds, eight of spades, four of diamonds, six of diamonds, ten of diamonds, nine of diamonds, queen of diamonds, six of clubs, three of hearts, fiveof diamonds, six of spades, two of spades, six of hearts, five of clubs, queen of spades, eight
VOLUME 10, No. 3
-
of clubs. ace of spades, ten of clubs. king of diamonds, seven of spades, seven of diamonds, seven of clubs, eight of hearts, king of clubs, ace of clubs, three of spades, four of clubs (bottom card). Now let us examine the hands that are dealt as a result of this particular set-up. If two hands, the performer holds:Kmg of spades, king of hearts, queen of clubs, queen of hearts and three of spades (two pairs). If three hands hewillhave:Nine ofclubs. queen of clubs, nine of spades, ten of hearts, and two of hearts (deuces are wild, so that this makes three of a kind). If four hands are dealt up comes the following: King of hearts, queen of hearts, ten of hearts. jack of hearts, and ace of hearts (Royal flush). Five hands will give the performer this: Jack of diamonds, three of spades. two of hearts, ace of hearts, and jack of clubs (with deuces wild three of a kind). Si hands give the following to the performer: Queen of clubs, ten of hearts, ten of spades, nine of hearts, ten of diamonds (threeof a kind). Seven hands: Ace of diamonds, two of diamonds, three of diamonds, four of diamonds, five of diamonds (straight flush). Eight hands: Queen of hearts, jack of hearts. nine of hearts, queen of diamonds and queen of spades (threeof a kind). Nine hands: Nine of spades, ten of spades, eight of spades, six of spades, Sevenof spades (straight flush). Ten hands: Three of spades, ace of hearts, ten of diamonds, queen of spades, and ace of clubs (one pair).
I/a, (20 Cents)
-
DECEMBER I955
18
THANKS TO EVERYONE PETER MACDONALD N VOLUME 8, No. 2, of Pentagram was an effect called Thanks to Stewart James dealing with a penetration of a ring on to a cord. This effect, as far as I know, started off as an impromptu effect using a handkerchief, borrowed ring, length of string and a safety-pin. A version appeared in Professional Magic for Amateurs some years ago. Peter Warlock‘s article set me thinking about impromptu versions again, and after some experimenting I produced the following presentation which dispenses with any cover and provides adequate misdirection. Procure a piece of string several feet in length (mine is just over three feet) and thread one end through the upper button-hole of the jacket and the other through the next lower button.-hole, leaving the bight on the inside of the coat. Figure 1 shows what I mean. You can now point out that the audience neverloses sight of either end.” Push the left index and second fingers through the bight (Figure 2). Now pass the bight through the ring and over the secondfinger. The position is now as shown in Figure 3. You will now have to look at Figure 4 to follow the move. Draw out a bight from the length of string lying between the ring and the left side of the second finger. Using this bight as though it was a single strand, tie a single knot round the length of string whichlies along the base of the index finger and disappears down the space between the thumb and first finger. The right fingerswiththe assistance of the left thumb, can perform this operation quite successfully.
I-
“
“
”
”
“
”
“
This has all been done with the left hand slightly cupped so that the audience cannot see what is going on. You tell them you are just trying an experiment in the fourth dimension and it might blind them if they were to see what was going on. Tell them you are nowgoing to tug at the string and pull one end free from the button-
hole. You will make sure that they see it all the time. Warn them not to lose sight of the end. Imagine that the string is divided into halves at the point where it is tied to the ring. One half is looped round the second fingerand then through the ring; the other leads straight from the knot to the buttonhole. This half, the one marked “A” on Figure 4, is the one you gently tug free from the button-hole. As you do this, turn the left hand over so that it can grasp the lapel of the coat at the left side. The free end now hangsdown from the left hand, appearing from between the thumb and first finger. Place the right hand under the free length of string and clip it between the thumb and firstfinger of that hand so that the free end hangs down the back of the right hand.
Now grasp the ring in the right hand tugging a little so that it comesaway from the left hand. Place the right thumb on the knot so that it will not untie and, closing the right fingers round the ring, hold it alongside the left hand which is still gripping the lapel. Now comes the crucial move. The right hand has to move away to the right and the left hand
19 pulls the lapel away to the left, thus exposing the inner lining of thejacket. This looks as though you have merely tugged the jacket back to jerk the string from the button-hole. The stringisleft hanging from the right hand in the position shown in Figure 5. The ringis, of course, retained in theright hand whichnow has one end of the string hangingdown from each side of it. This movementis quite deceptive if done smoothly andit looks perfectly natural. Whatreally happens, of course, is that the end of the string which wasleftinthe button-hole istugged out, round the second finger of the left hand, and through the ring. It hangs quite naturally at theend of this movement and themisdirection of openingthe coat and moving the hands apart makes it impossible for the spectators to see that the endis reallypassing through thering and out againin the time-honomed manner. The position at thisstage,therefore,is that the string is running throughtheringwhichis concealed inside the right hand. The knot is loose and if the left hand now takes hold of the nearest hanging end of the string, and the right hand slides the knot free,thering can beallowed to slide gracefully down to the centre of the string between the two hands.
The illustrations will show the various moves better than I can describetheminwords. As in all these effects, it is of great advantage to find a cord whichwillrunsmoothlywithoutbinding. When you have tried the moves once or twice and know them sufficiently well, do them in front of a mirror and notice how the eye is distracted by the opening of the jacket at the psychological moment. If your eyes follow the right hand when performing, the misdirection is even more potent as the audience will follow your glance.
SYMPATHY IN COLOUR TONY BLITZ HE NUMBER of Britishmagicianswho have had the chance of watching Tony Blitz at workmustbecomparativelyfew. Long before he arrived in London, I had been told by Stan Simpson of this young magician’s expertness with cards. When he did arrive in the Metropolis his work met with immediate acclamation for he was a natural card handler sure of his sleights and himself. Just as suddenly as he appeared so he went away -and it must be more than a year since the Magic Circle clubroom and its occupants set eyes upon him. This trick in his hands was a brilliant piece of card strategem and I asked him to write up for me a couple of years ago. It requires some work, but for those who like to tackle the task feeling that it is an effect that could suit their style it is something which will give both their audience and themselves a great deal of pleasure. The effect stems indirectly from Arthur Buckley’s ‘ Colour Separation ’ (Thirty Card Problems) and is a close quarter table effectutilising a straight pack with two Jokers. Tbe Effect. The performer picks up the pack and openly separates the red and black cards. The packet of black cards with a Joker on the face is
T
placedface upin front of the performer, the packet of red cards without the addition of a Joker is also placed face up upon the table. Taking the packet of red cards and counting them, six are removed one of them being selected by a member of theaudience.This card is then changed into a black card. Next the remaining five red cards are caused to change into black cards. The sixblack cards are placed one side of the table and sixred cards are dealt fromthe packet and placed on the other. These two heaps magically change places. The sixred cards are placedaside andthe sixblack are shuffled into theredpacket.When the packet is fanned it isseen that all the cards in the packet are now black! To conclude,thesupposedlyblack cards on the table are ribbon spread and it is seen that they have changed to red cards! Method. Pick up the pack and with the facestowardsyourselfopenly separate the reds from theblack. In thissorting a little more is done, for the make-up of what appears to be the packet of red cards, is, when it is placed face up on the table, a mixture of reds, Joker and blacks
20
arranged as follows:Topmost face up card . . . One red card. Second card from top . . . One of the Jokers. Next six cards are black cards. Finally comethe remaining 25 red cards so that in all the performer has 33 cards in this pile. In placing the packet upon the table the top eight cards are stepped slightly, so that when later they are picked up an easy break can be obtained. The remaining 20 black cards with the other Joker as the topmost card are flashed quickly and placed on the table well away from the packet of red (!) cards. As he does this the’performer adds . . ‘. The 26 black cards and a Joker will not be usedinthis little trick.” This packet should be close to the nearside edge of the table. The packet of red (?) cards is taken and keeping the top eight cards squared the remaining cards are casuallyfanned so that theaudience can see that thepacketconsists of redcards. In closing the packet a breakis obtained and held by the little finger underneath the eight tsp cards. This packet is now false counted as 26 cards the block of eight cards being pushed off as one, the r e m a i n d e r going on top. This move can be best made if the hands are swung towards the right as the count of ‘ one ’ is made. At the end of the count when the pack is turned face down the six black cards will be on top of the packet followed by the Joker and the remaining 26 red cards. The cards are nowshuffled and during this process the performer runs six red cards to the top of the pack. These top sixred cards are turnedoveron top of the pack and clearly shown. They are then turned face down and dealt singly into a pile on the table. As the sixth card is about to be dealt, the performer deals a second so that the top card of thesixis a black card. In placingaside the cards held in the hand, the top red card is slipped to the face of the packet. These cards are placed face upwards on the table. Taking thesix cardsthat were dealt, they are casually mixed face downwards the performer keeping track of the stranger black card which is then forced upon a spectator by one of the many forms of equivoque. Without revealingthe fact that it is a stranger card it is placed to the front of the remaining five cards. The purported packet of red cards is now taken face downbythe left hand. This action happens as the performer emphasiseswhat has taken place. The right hand casually comes across o n to the pack and withthiscover a break is obtained with the left hand little finger under the top five black cards. The right hand gestures towards the card chosen by the spectator and at the same time picks up the five red cards from the table. Asking the spectator to turn over the card spectators heselected,the attention of allthe being directed to this action. At this moment the five red cards in the right hand are topchanged for the five blacks on top of the packet.
.
The right hand touches the turned up black card with the five cards held in his hand, and then slowly turning them over he shows that they have apparently changed colour in sympathy. The six cards are turned face down and left on top of the table. At this point on top of the packet there are five red cards above the Joker and a casual shuffle or side steal adds another making six. With both hands aiding in squaring the packet, a break is obtained and the five top cards are palmed off by the right hand which goes to the six black cards picking them up and at the same time adding thefivepalmedcards. The position reading from the top of the pack is now:Five red cards, six black cards, one red card, the Joker and then the remaining red cards. Well to theleft of the table deal off into a heap the top five cards (red, but imagined black) up the sixth card, a black one being turned face to act as a ‘ leader.’ To the right of the table five cards (imagined red, but of course black) are dealt into a similar heap, and then the next card which is a red card isturnedfaceup and placed as a ‘ leader ’ of the red heap. Casuallyshuffle or slipthe top card, the Joker, to the face of the packet of the cards you nowhold,the cards thenbeingleftintheright hand so that the Joker faces the palm. The left hand nowtransposesthe ‘ leader ’ cards of each packet. The same hand now turns over the left-hand packet and shows that the cards havefollowed their leader. Now comes a very critical move. The left hand reaches across the body and turns over the right hand packet of cards showing that they ‘ leader.’Simultaneously too havefollowedtheir with this movement the right hand which is holding the packet of cards with the Joker at its face deposits it face up left of the packet of black cards and Joker, whichuptillnow has stayed on the table doingnothing, As theleft hand turns the packet of six cards over, the right hand picks up the packet of black cards and Joker. Now this may sound from the point of view of deception an impossible move, but readers will have to take my assurance that thefocussing of attention on the turnover of six cards coupled with the factthat the packet leftbehind by theperformer looks the same (owing to the fact that a Joker stares them in the face)makes it indetectable. With the packet of black cards and Joker in theright hand, the left hand comesin and then keeping hands and cards well away from the table the packet isgiven a casual shufflewhichalso brings the Joker to the top of the packet. Leaving the packet of black cards face down in the left hand take up the six red cards with the right and display them by spreading them on top of the packet held. In theaction of closingthis spread and taking them away the face down Joker is taken off behind them. The cards kept face up to concealthestolen card at theback are then
21
slipped into the jacket pocket. At this stage, the performer has 20 black faced cards face down in his hands. The six black cards are now taken and shuffled into the packet of black cards (supposedly red). A riffle with the thumb and all the cards are shown to be black. Finally reach into the pocket and remove the six red cards leaving the Joker behind. Fan these six cards and wave them over the packet lying face up on table with the Joker on top. A mystic curse and a spread bf cards in this packet shows them to be all red with the exception of the Joker o n top! Tony adds that the sleights used, can, with a little thought, be replaced by others. At the same time he emphasises that whilst speaking about the
sympathy that existsbetween similar coloured cards there is ample time to execute the necessary sleights. He also adds that the Joker subtlety may be eliminated by dispensing with Jokers and placing the heap of black cards face down instead of face up at the commencement of the trick. The thing that many readers will baulk at is the change of packets. Quite frankly I have seen Tony do this effect on many many occasions, and believe me, the attention, even though one knows that a switch is about to take place, automatically goes to the left hand which at that particular moment blocks out the movement of the right. Thank you Tony for a very wonderful routine.
MIRRORSLATE LEN BELCHER HIS IS DESIGNED for performance with two effects, followed by the method. performer and medium, and I shall describe Effect 1. The medium leaves the room. The performer takes a slate into the audience and has spectators write down any numbers theywish. These same numbers are added up by another spectator. (No switches!) The pedoimer then
T
cleans the slate thoroughly and hands it for inspection. He now leaves the room while the spectator takes the slate up to the stage, calls the medium and thengoes back to his place. The medium adjusts a previously examined bag over his head, takes the slate, and writes the total of the addition on it.
22 Effect 2. The medium again leaves the room, while the performer takes the slate into the audience and asks for any names of living persons to bewhispered to him. The spectators seehim write these down as each one is given. Finally the name of any dead person is whispered to him by a spectator who again sees it written down. The slate is again thoroughly cleaned, handed for examination, and given to a spectator to take upto thestage. The performerleavestheroom and themediumiscalledin. The bag isonce more adjusted over his head and then he first of all describes the person who gave the dead name and finallyrevealsthe name itself,writing iton the slate for all to see. Method. The slate employedis a modification of a slatedescribed in Best Tricks With Slfrtes (PeterWarlock). The originalslate had a sliding flap on top of thefixedslatesurface,the frame beingconstructed so that theslidingflap wouldmovesideways to reveal a slip containing information required for a book test, for example. In the modified slate, the sliding flap movesup and down, and maybelocked in eitherpositionby means of a simple ball and spring catch incorporated in each side of the frame. (See drawing.) To commencethe demonstration, theflapis in the ‘ up ’ position. The numbers are written on this flap, one under the other, leaving just sufficient room at the bottom for a spectator to writethe total. The space thus leftisthe part of the flap
whichslidesdown into the frame, carrying the total with it. When cleaning the slate, the performer slides. theflapdown,leavingthe total unharmed. The. slateisturned to facetheaudiencewhen suffi-. cientcleaninghasbeen done toconcealthe fact that the flap has moved. The slate may be: examined as it automatically locks. The medium,using a fake blindfold, simply slides the flap up with both thumbs, makes a false, start, erasesit (and alsotheoriginaltotal!) and. then writes the total clearly across the slate. The slate is thus set for the second test. The: performerwritesthelivingnamesundereach other, leavingroom at thebottom for the dead name, wherethe total waswritten at first. The slateiscleaned as before (the dead namenow being hidden in the frame). However, before cleaningtheslatetheperformer marks twoletters of the dead name with his thumb. One nick indicates a row in the audience, two nicks indicate the person in the row. (Many pre-arrangements are possible here.) The mediumisthusenabledtodescribe the personwhogavethe dead name, and finally to ‘ false start ’ writethename on theslate-the enabling him to erase the original writing. The operation of the slate is simplicity itself as there are no catches to adjust and the necessary movement and position of the hands are quite natural.
SKRYERING MAURICE S. H O W A R T H HEODD titleisderived from “ Town Skryer” by Orson Welles and “In the Ring” by Dr. Jaks, both taken from “ The Phoenix.” Both the above effects let the assistants into part of the secret of the trick during the action of the effect, and depend very much on the co-operation of theassistants. If thesegentlemen can be squared beforetheshow,you are on velvet.We all know what Anne.nannsaid on thesubject of using squared assistants. Requirements. Force deckindifferent card on the bottom. My deck is a 9 H. all alike with a 4s. at the bottom. Signet ring. Midget cards 9 H. and 4 S . Tumbler of water. Preparation. (a) Cut index of 4 S. from midget card and gluethisbehindthestone or main face of the ring. (b) Attach the midget 9 H. to the bottom of the tumbler with clear Durex tape, so that the card can be seen through the water. Two assistants one eachside of stage both
T
gentlemen being stood, you won’t keep them long. Spread thedeck on the table, pick up gimmicked tumbler ask Mr. Right to touch one card in the spread when he has got one ask him to look at it, but not to show to the audience yet. Ask Mr. Left to look into the tumbler as though it is a crystal and to imagine he can visualise a- playing card in the depths of the water. Ask him if he has got one, look himsquarelyintheeyes as you ask him, just so he won’t hedge. Then ask him to name it. Whenhedoes.TellMr. Right to show his selected card. When he does you breathe easy. Place tumbler back on table. Pick up the deck. Reverse fan it so that the only card indexes that can beseenwillbethose of the bottom card the 4 S . Ask Mr. Left to think of a card that he can seeinthe fan, fingerthe fan as if indicating he could think of any card. Orson Welles says give the gent a broad wink as you ask him to think of: “ One card he can see inthefan.”Askhim if he has got on one,tell him to keep in his mind.
23 Take ring off finger after putting deckin pocket keeping faces hidden. Place ring on back of right hand making sure it is right way up to read index 4 S . Tell Right to look in stone of ring as if it was a crystal and to name a card he sees there. When he names it quickly turn to Mr. Left asking if that is correct. He of course, will reply in the affirmative.
The effect is very strong for the work done and couldn’t be more direct. The only thing it is not for the meek; and feel you must take the bull by the horns when performing it, indeed to me it is a party piece rather than something to perform at a paid booking just in case it doesn’t click. Magicians get the force deck part and then are all at sea when you come to the fan force.
It is always of interest to note how the straight theatrical performance can create atmosphere seldom if everachieved by a variety performance. Whilstwatching ‘ Bell, Book and Candle ’ and being literally spellbound by the truly witchlike performance of Joan Greenwood and her Siamese cat Pywacket, as they were bathed in the firelight, it was Eric de la Mare who leaned across and commented on the fact that this was the setting for a quarter of the tricks in the JINX. Incidentally we have had some very nice comments regarding the fine Malini issue that Eric gave us. A11 his friends wiIl be sorry to know that he is in hospital at the moment. If there were an annual prize offered to the individual who had, through his own artistic and financial efforts, helped to raise thestandard of magical technique we feel certain that it would go to Harry Stanley, for in written form in the “ Gen ” and in stage presentation at Victoria Halls, he has gone to endless trouble to show embryonic magicians the best in magic. We call to mind the January 1st show at Victoria Halls. To have as we did, Channing Pollock and Marconick in the same billwas a feast for magical gourmets. Whilst Channing Pollock’s marvellous act has now been seen by most magicians, the sight of Marconick’s newest presentation was the perogative of those who visited the last International Congress at Amsterdam. This young man using silks, which because of their intangibility are hardest of all manipulative objects to handle, offered so many novelties in the course of a few minutes that one was left virtually stunned by delightfully restrained virtuosity. Never since we saw Arthur Sherwood present his “MagicPureand Simple ” for the first time some thirty odd years ago have we witnessed such faultless magic with silks.
Another year has flown away, a year which has been fruitful for magicians in this country . . . they have seen three acts completely new to them, Jay Marshall, Ade and True Duval, Rene Septembre and Channing Pollock. Theyhave had a fine lecture by Milbourne Christopher and a whole series of demonstration and lectures by that greatest of allnatural magicians, Dai Vernon. Goodliffe also brought over Dorny. Sorcar stayed eight weeks in Paris. So far as we know no English magus thoughtit worth a special trip to see this much vaunted show. Comments from well informed Continental sources were far from favourable and in many cases scathing, particular stress being laid upon the number of effects which had been borrowed (?) from the world’s greatest illusionist, Kalanag. Just to hand is the Ireland Year Book for 1955,which as usual is full of good things. The main difference in this particular issue is the inclusion ofeffects and ideas from British magi. Billy McComb contributes a complete act, whilst effects from the pens of Jack Avis, John Derris, Roy Walton, Bobby Bernard and Frederica will be found. Marlo comes up with still another version of the evergreen four aces. It was very nice to hear from our old friend ArChie Byford the other day. He sentus along hisveryclever effect ‘ Psychoma ’ whichisnow obtainable again from the dealers at the modest price of 5s. 6d. If you are not acquainted withtheeffect it goes like this . . . Five folded cards without any visible distinguishing mark are handed to a spectator. On opening the folders he finds that each carries inside a differentdesign. One is freely chosen by the spectator and under seemingly impossible conditions ‘the performer is able to divine the design selected.
24
A NEW STYLE MAGIC BOOK
JOHN HOWIE’S ROUTINES WITH
TEE JARDINE ELLIS RING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collectionof Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE
WORLD’S GREATEST POCKET TRICK PUBLISHED FOR THIS WONDEVUL EFFECT.
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN Now at last the author has descnbed the FULL TECHNIQUE of the Jardlne Ell~sRmg-GENERAL NOTES ON THE APPARATUS,HANDLING OF THE SHELL SO AS TO REPRESENT A SOLIDRING, DISPOSAL OFTHE !SWELL (eight methods), EXAMINATION OFTHE APPARATUS BY SPECTATORS, THEDIRJXX PALM-OFF. THE HOWIEPICK-UP MOVE. andA WORD ON. BASICPROCEDURE,. Havmg mastered the handhng of the ring-which is really very simple.indeed when these precise and fully illustrated imtructionr are followed, thereadet is introduced to some of the ,$leanest and m-ost bamng r y t m e s w u devisedwith this prop. are three The Direct Rlng on Wand in which the ring. just scems to melt ’ oa to the RINGONEFFECTS-there wand. “ Ring on P e a d .whit91 is a wonderful closcdp routh$,in which the audience actually hear the rmg penetrate the pencil, dthougb the &former’s hands are in full view all the time; and finally Penetrellis ”-a close-up or platform effectwhich seans quite impossible -yet the TWICE r’ etntss the wand or stlck +%G. AND &%JOKERCHIEF. E F F v e h e r e are two here, ‘‘ Ring the Knot.” in which the ring is va.nishpd, and then appears tied mthm a knot that was prmously tmi m the handkerchld, and the Ring and Handkerchief Routine,” whch IS a complete routine of threeseparate effccts. each one more b a p thanthe preyiqys one. MISCELLANEOUS EFFECTFthcr. is. the kmg Necktie. a terrific routine at close quarters, in which the ring penetrate# the nocktle, and then two.complete,~outmes, Rmg and Rope in which e!,t ring penetrates a rope three times, a knot forming round the ring on thethlrd penetration, and A. Ring, a Wand anda Handkerchief inwhich a s t d ring apparently lays ranks on the p e d o n ? ~ . BIBLIOGRAPHY-for those mterested. there IS a comprehenslve bibliography of the Jardine EUis kng $rick from its invantmn.
‘9
to date.
And now a word about the Book itself, which is in a new style for Magic Books, the same page size as The Magic Wand, with large clear illustrations by the author, and bound in red ‘Antelope ’ finish boards. MAKE SURE OF YOUR COPY,BY ORDERING NOW
12/6 ;postage 3d. ($2.00) FROM THE PUBLISHERS
T H E MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
e MAGIC
WAND” PUBLICATIONS ... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
GeorgeArmstrong’s
Ken de Courcy
... 21/... 1013 ... 1013 ... 1013 ... l2/9 ... 1013 ... 1719
Premonition ”
(Mental Routine) George Armstrong Extra Sensory Perfection
Routine) Ron (Mental
~
Automentalism (Complete act, with apparatus)
Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining withContact Mindreading
Dubbelkross & fimulkross (Coin Routines)
Ken de Courcy Zodiac Telepathy (A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francir
Will Dexter
The Magic Circle Prerident: Herbert J. Collings, Esq. Vice-President : Francir White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Buston Road, London, N.W.1. U d a l Theatre :
King George’s Hall, W.C.
I
I
...
1013
...
719
PETER
Martin Gardner Twenty-Six Living & Dead Tests TerelGartett The Concert Ventriloquist and Children’s Enaertainer Maurice Hurling Stewart James Jamesosophy (Card routines) Etc., Etc.
is published on the 24th d r u h month and can be obtained direct from thr publkben for 117 per ungk copy. Annual Subscription 181post free.
BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex hmnuscripb for publication .ad books fer roview should be sent to the:
Puticulan from Hon. Secretary :
Poter Newcombe 38 Overdale Avenue Now Malden, Surrey
EveryAdvertiser’s
S13
... 1219 ... 2516
... 1013
...
719
;j;
... ... 1013 ... 513
WARLOCK’S
PENTAGRAM PUBLISHED
...
Mother Goose Mystery (Mental Effect)
S.Edward Dexter ... 719
IEnttrtainingwith Hypnotism S. Edward Dexter d ant ityParade (Humorous mental routine)
... 2013
EDITORIAL ADDRBSS:
Peter Warlock, Rd., Wallington, surrey.
24, Wordrwarth
JACK HUGHBS 6 1 1 be p l e d to mend you full details of
THE DE LUXB “SU-TABLE” together with all his other effects in return for a stamp. write now to
Jack Hughes, 2, Evtlya Ave.,
Colindale, London, N.W.9.
goods are fully endorsid by this Bulletin
*
PARTI-PIECE PETER WARLOCK HIS EFFECT is for those who like visual T whilst . primarily magm. The plot isverysimpleindeed and designed for silent presentation the addition of speech will not detract. The audience see the performer holding two lengths of silk ribbon. One piece is green and the other yellow. Right at his finger tips he rolls them together leaving himself with a tightly rolled bundle of silk ribbons. A wine glass is picked up and the bundle dropped inside. A puffof smoke towards the glass and the ribbon isnow withdrawn but instead of twopieces, the performer holds a length of ribbon parti-coloured green and yellow! I am going to explain two methods of accomI plishing the effect.When I saytwomethods, had better qualify such a statement for actually the variation in the descriptions only applies to the final phase of the trick. The first version isintended for those who make use of a table containing a well. Many will rise upin indignation at the thought that any modem magician should resort to such a device, but I havenever hadanydoubtsthatthisaid subtly usedcanbe of the greatest’ benefit to a magician who takes the trouble to design a table incorporating one or more wells. One has only to think of the ingenuity displayed by His Honour Judge Wethered in this direction. The Judge’s tables look like every-day objects quite free from anykind of chicanery. Nevertheless adjustable wells are at his command. (For a full description of this type of table, the reader is recommended to read Seeing is Believing by Trevor Hall, or The Magic Circular Volume 29, page 53 and The Magic Circular Volume 33, page 93.) Leaving out any detailed explanation regarding the well and assuming that the reader has such means at hand, let us detail the requirements. 1. Two lengths of one inch green silk ribbon each measuring 30 inches in length. 2. Two similar sized pieces of yellow ribbon. 3. A plastic knitting needle 3/16 inch in diameter. 4. SomeBalsacement, paper, etc. 5. A stemmedglass.
VOLUME 10, No. 4
-
Preparation. First of all one length of green and one length ofyellow .ribbon arecutinto two equal sued pieces, and then using some of the balsa cement these four pieces arejoined by their edges to produce one parti-coloured piece measuring almost sixty inches in length like Figure 1.
1 FIG 2 Next a length measuring two and a half inches is cut off from the knitting needle and around one end, the remaining length of green ribbon is fixed with eitherthe balsa cement or someseccotine. It should look like this Figure 2. A small paper tube is now made to slip over the free end of the knitting needle piece. It should consist of more than one thickness so that when complete itis rigid and will not easilyfold. Figure 3. flk
h&. 3
FIG.
4
A length of thin tin (of the kindused for makingtobacco tins airtight) is next required. You will want a piece measuring 3 inches by p of an inch.This is thenplaced a shade over three inches from one end of the green ribbon, the free endthen beingoverlapped and sewn into place so that the tin is covered. (Figure 4.) With a similar sized piece of tin, the same theend of the partiprocess is camedoutat
I/6, (20 Cents)
-
JANUARY 1956
26 coloured ribbon. The result of this willbe seen when each piece of ribbon is wound into a tight roll, for the final bending. over of the metal strip within the silk will prevent any unrolling. Three inches is now cut away from the length of yellow ribbon. The piece of parti-coloured ribbon is then taken and the free end (i.e.,*the. end without the metal strip) is stuck to the paper tube. The reader should nowhave the component pahs of the gimmick and these should look like Figure 5 .
vi&5 To prepare for the actual presentation of the effect, the length of parti-coloured ribbon is rolled around the paper tube and slipped on to the piece of knitting needle, the length of green ribbon trailing from its fixed point. If the performer intends using this as an opening trick he can come on the platform holding the green ribbon and the yellow. If however it is to be usedduringsome otherpart of the programme, the ribbons and gimmick can be laid on the table in such a manner thatthe roll of parti-coloured silk is hidden. Assuming thatthe trick is used as an opening effect the conjurer holds the gimmick and trailing green silk between thumb and first finger in his left handas shown inFigure 6, so thatthe gimmicked portion is well concealed. The length of yellow ribboncan also trail from the left hand, the end being clipped between the second and first fingers of the left hand. The glass should be placed left of the well. The table should also be left of the performer. Presentation.
With the right hand shown to be empty, the yellow ribbon is taken from the left hand fingers and displayed at the finger tips. The holding of the yellow ribbon must conform to the holding of the gimmick and the attached green ribbon in the left hand. The right hand moves across and brings
the yellow ribbon behind the trailing green, so that the lgtter covers it. At the same time, the top part of the yellow ribbon is turned down so that the yellow ribbon is shortened by about twoinches. Grip the yellow ribbon against the green with the thumb andfingers of bothhands as sh’own in Figure 7. Commence to wind the ribbons into a roll. When you reach the ends, the piece of concealed tin prevents any un-rolling and the right hand moves away leaving the roll of green and yellow silk held by the tips of the left hand first finger and thumb, as shown in Figure 8. You are facing full front at this point and carefully showing the right hand to be empty you then turn slightly left. As the arms accordwith this movement, the roll of silk ribbon should be end on to the audience and at this point the right hand comes in and takes the ribbons and gimmick so that the roll of green and yellowsilkribbons are covered by the fingers whilst the part-coloured roll for the first time is exposed. The left hand is shown empty, and then with one follow through action, the right hand passes backwhat appears to be the roll of green and yellow ribbon to the left hand. Then reaching down ontothetable for the wineglass, pick it up and drop the particoloured ribbon inside. Actually as the left hand takes the roll of parti-coloured ribbon, the right hand movesaway carrying with it the rolled up green and yellow silk ribbons on the piece of knitting needle. They are easily finger-palmed and as the hand moves down to the table, the gimmick is ditched in the action of taking the glass. All that remains is for you to bring the effect to a dainty finish. Should the reader not decide to use a well, it is obvious that if the effect is to be brought to a proper conclusion, (i.e., the handsempty apart from the glass and its contents) that an alternative method of ditching the green and yellow ribbons must be sought. I would therefore suggest that the performer’s outside breast pocket be used. In order that the process shall beeasy a length of whaleboneshouldbe stitched inside at the top so that a large and permanent opening is formed. To disguise this opening a small piece of white cambric is sewn at the edge to simulate a handkerchief in the pocket. With this carried out and the point in the trick arrives where the parti-coloured roll has been passed to the left hand by the right, the latter with the gimmick finger-palmed gives the left sleeve a little tug to emphasise the fact that nothing apart from the roll of silk ribbon is held by the left hand. This tug is made at such a point that when thehand pulls back, the gimmick is positioned immediatelyabove the breast pocket and at this moment it is released and allowed to fall inside.
*
*
*
*
*
27
IKE-NEWSPAPER-PREDICTION HANS TRIXER HE METHODof this forecast wasworked TDwight out on the 4th of November, 1952, the day D. Eisenhower waselected President of the United States. And as a trick-sorry, a mental effect-must have a name, I called it the “ Ike Newspaper Prediction.” The effect does not differ from other predictions, but the method is extremely clean and easy. No difficult switches are involved and the preparations are nil. Before I tell you all about it I want to thank Peter Warlock from whom I borrowed the idea of sealing the envelope between sheets of glass, which makes a nice showy display in any shop window. Let me finally tell you, that this prediction is no pipe. dream, but that I (successfully) performed it here in Rhodesia last year. First stage of the prediction (the writing and closing of the forecast). Requirements: Some 10 or 12 of your business cards, a matching envelope. (Most business card envelopeshave ,no gummedflaps, which saves time in opening the forecast and speeds up presentation when the climax comes.) A normal sized envelope, some sealing wax, a couple of gummed stickers, 2 sheets of glass 7 X 10 inches and a reel of transparent Scotch tape. Preparations : Lay the business cards all facing the same way and take them into your left hand printed sides up. Reverse the second card from the top and you are set. The position of the stack of cards is as follows : Top card printed side up, 2nd card printed side down, the remaining cards printed sides up. Performance : Step into a newspaper office and have about four people handy to sign and seal the envelopes as witnesses. Show the stack of business cards after you have decorated a table with all the paraphernalia described in the preceding paragraph. Ask one of your witnesses to write his signature right across the top card (that is the printed side of the business card.) Let him use his own pen and if he uses some fancy coloured ink so much the better. Now ask everybody to stay away from your table a bit and tell them what you are going to do. That you are going to predict the headline of a certain day, the outcome of a lottery (as I did it), the weather, the stock exchange or whatever you want. In the meantime bring your little finger of the left hand between the 3rd and 4th card from top, preparing for a triple lift. After looking at the signature on the top card and making sure the ink has dried you simply turn the card over (actually three cards as one) and sit down to write your prediction on the back of the
signed (?) card. What haveyougot to write? Well, that is something novel in prediction, because the copy you put down is some kind of life insurance for youincasesomebodywouldbe so cheeky as to open the prediction before the fixed date. Here is the copy I wrote (while shielding the writing with the free left hand, so nobody could peek at the prediction) : “ I, Hans E. Trixer, predict today, the ...th day of .................,1956, that this prediction will be opened by a person who is not entitled to do so, before the ...th day of .....l.. ..........l95 ., the day, officially fixed for the opening of this forecast. Therefore I deposited to-day a sealed letter containing the REAL prediction at the post office. The letter is for the disposition of the Editor of this newspaper. signed : Hans E. Trixer.” As soon as you are ready, you slip off the card containing your forecast and slip it into the business card envelopewith the prediction side towards the flap, i.e., the side, seemingly signed is towards the address side of the envelope. Tuck in the flap and give the envelope to one of the witnesses to write his signature on the address side. Hand another witness the normal sized envelope and let him put the small envelope into the bigger one. Let him seal the envelope and sign it across the flap. Ask a third person to sign the front side of this envelope and give a fourth witness the sealingwax to seal the flap of this envelope. Now let somebody place the sealed envelope between the sheets of glass and stick onfour gummed stickers, whichyouhavesigned once more. Wind lots of scotch tape around the sheets and over the signed stickers and everything is 0.k. See that a civic dignatory is one of the witnesses and hand him the glasses asking him to arrange for their safe deposit. That completes the first part of the prediction. I told you that this is sure fire in every respect. Write something on another business card, put it into a small envelope and this one into a big one. Address the big one to yourself but forget to put on the sender. Now send this letter per registered mail. When the postman comes to you, you do not accept the letterand force thepost office to keep it for one year. (They can’t send it back, because there is no sender.) In case the prediction is really opened beforehand, they will find your prediction was correct. YOU maygo to the post office then with one of the witnesses and claim the letter which is opened as described below and contains your real forecast. This mayseem driving things too far, and possibly it is in a civilizedcountry. but in this
28
hinterland of Africa,where the people are a bit wild, it may be all right.-(Whether postal conditions are the same in this country I am not sure P.W.) Nowwe come to the second stage of the prediction (the opening and checking). Here youneed again about twelvebusiness cards, plusone extra card of the samesize but of your cards blank on bothsides(sticktwo together withsomeglue).Besides this youneed the card with the firstwitness’s signature and a pocket knife. Preparations: Write all the information you remember about the closing of the prediction on the double blank card. When,where the prediction was made. Who was present and who signed whichenvelope.Where the predictionwaskept during the intervalbetweenclosing and opening. I n fact write down all you want to say about the. prediction. If you have filled the one side of the double blank card repeat the copy on the other side, so you get a card with the same information on both sides.(You may-formisdirection-use a different kind of ink as you used for the prediction.) Now write the actual text of the prediction on the signed card, which you have kept all the time. seeto it that the writingressembles as much as possible the fake prediction, so when one of your witnesses happens to get a glimpse of one of the cards he will not notice a switch, because the cards look alike. Your opening line should read in any case : “ I, Hans E. Trixer, predict to-day, the ...th day of .. ........... ..... 195 ., that : .... .. Now for the set-up of your cards. This timeyouholdthestack of cards with the blank sides up. On top of the stack you place your “ note-card ” and second card from the top is the real prediction with the signature side downward.Let’srepeat for goodmeasure. Top card (doubleblankwithnotes on both sides),second from top: actual prediction with signed side DOWN, third till last card blanksides up. Put this stack with a rubber band around it into your coat pocket and see that four chairs are on the stage, but NO table. Performance: After the curtain rises you enter with your nicest smile. Start your patter and suddenly interrupt yourself as if looking for words. Extract the stack of cards from your pocket and from now on refer to your notes as often as to the possible so that your audiencegetsused cards. This has got nothing to do with bad showmanship. A prediction is not your every-day business and this cannot be a rehearsed act. The more it looks like an impromptu stunt the better. Anywaygetyourcustomersused to referring to your notes,because that isimmensely important (for you.) Get the four witnesses on the stage and put them on the chairs comfortably. (The most dangerous persons far from you !) See that one of the newspaper people has the M
edition of the headline with him for checking. Now give one of the people (sitting on one of the outer chairs) the sheets of glass. Let him check his signature. Take the sheets from him and show them to the other three people.(Seeminglyyou do that so that nobody is forced to rise and run around.) Give the sheets back to thefirstperson and give him your pocket knife also. Lethimopen the Scotch tape and take the sealedenvelope from him. Refer to the notes to seewhosignedtheenvelope and let the people check the signatures. Let them check the seal and givetheenvelopeoncemoreto the firstperson. (Always refer to your notes !) He is a bit helpless already with the twosheets of glass on hislap. but as thereis no table on the stage, he MUST keepthem.(Actuallyyouomitted the table so there is no possibility for you to put the stack of cards down when the climax comes, and you just forget about putting the stackback into your pocket.) Now lethim open the bigenvelope. In the meantime you get your little finger under the second card from the top of the stack. Take the small envelope from him and tell the people that this contains the prediction. “ Before we open it however, I want to have the signature checked.” to seewhosigned this Refertoyournotes envelope and let the persontelleverybodyhis signature was not forged. Now take the envelope into your right hand on top of the stack of cards, so that the flap side is uppermost and will open towards your left hand. Flip open the flap with the right thumb and draw out the business card with your left thumb and forefinger. The card will go right away on top of the stack. “ My prediction reads ......_.. but no ......... this card wassigned as well.” Turn the (now) three cards over as one and turn to the person who signed this card. Push it a bit off thestack and have him check his signature. As soon as he has said ‘‘ yes ” move your hand towards him and he willseize the card. Let him read the prediction and check it with the actual newspaper. Keep the stack of cards in your hand until the curtain goes down. That’s it. It reads a bit complicated, I am afraid, but actually there is nothing to it. If you handle the opening of the prediction as describedyoumay be sure nobodywillever say you had the card touched-as I can prove by a newspaperclip.Because one of thewitnesses opened all the cellophane tapeand envelopes, everybody will be convinced the last envelope .was openedbyhim as well (so don’tworry to tell them the truth.) In casesomebodyshouldhaveopened the prediction beforehand the opening of your registered letters is handled as described above. And please don’t forget to fetch the registered letter the next day, you will save the Postmaster General a lot of trouble.
29
VIBRATO COMRIE MACKIE OMRIE MACKIE who has had such a yen for mental magic during the past few years showed me a lovely little two person item in between tricks at one of Harry Stanley’s sessions. This is how it goes. The medium is escorted from the room and the performer tells how a person’s thoughts are tied up with his own personal vibrations. He offers to illustrate this fact and asks thata gentleman present having a visiting card with him shall be ready to help. This person is asked to think of any card in the pack, and as a check take it from a pack which the performer offers him. The card is dropped into another person’s pocket without .anyone, apart from the chooser, seeing its face. The spectator is then asked to take his visiting card outside to the medium, who takes it from him and holding it between her hands attempts to pick up the vibration of its owner. The card is handed back to its owner and the medium writes something on a pad which she hands tothe spectator, then .returning to the room with him. The performer stresses the conditions of the feat and then he asks the gentleman with the card in his pocket to remove it and show it tothe company. We’ll suppose that it is the ‘ ten of clubs.’ “ The ten of clubs . . . is thatthe same card that you thought of and removed from the pack?’’ The spectator replies in the affirmative. *‘ Will you please read out what the medium has written on the paper.” The spectator reads aloud, “ From the vibration that I receive I would say that you would think of the ten of clubs?” I feel certain that any mentalist will like this feat which can be performed quite impromptu for there are no gimmicks involved. All the conjurer wants is a pack of cards, an assistant who can write and a spectator with a visiting card. The only preparation needed beforehand is the stacking of a pack of cards in your favourite order. With the cards thus arranged in the case and the assistant at your side you are ready for the :Presentation: First of all the conjurer, telling his audience that he wishes to show them a strange feat of mental magic, asks a member of his audience to escort his assistant intoanother room. With this done, a spectator close by is asked whether he has a visiting card handy. This is a very personal kind of trick, the performer tells the spectator, and there is nothing more personal than a visiting card. By this time, if the spectator has one on him he will have produced the card and the performer takes it and places it on the table. The spectator is then asked to think of any playing card he wishes, and so that there cannot be
C
any doubt in anyone’s mind at a later stage in the experiment, the conjurer takes the pack from its case and asks the spectator to remove his thought of card as the faces are shown to him. Passing the cards one at a time from left hand to right the conjurer keeps a break at the point where the spectator abstracts his card. In one way or another, the card above the abstracted card is glimpsed, and knowledge of the thought of card is obtained. The easiest means is of course by a direct cut and a sight of the bottom card. Alternative and more subtle ways can easily be found. With a knowledge of the card, the pack is placed aside andthe spectator is asked todrop the card he holds into another spectator’s side pocket, without anyone glimpsing the face of it. As this is being done the conjurer idly picks up the visiting card which as you remember has been lying on the table since the spectator handed it over. At this point the conjurer thinks of the face of the card as a clock face, only on this clock face there are thirteen and not twelve hours, as shown in the illustration.
’6
5
4
With this thought in his mind the performer prepares to nail nick the card. If the thought of card is a ten then the nail nick goes at ten-0-clock. There is an added proviso, for not only the value of the card must be given but also its suit. One nick at the value position will mean either spades or hearts, these being the most common selection, whilsttwonicks mean clubs or diamonds. The differencebetween red and black is that with a spade the nicking is done from the front of the card whilst the red is done from the rear. One nick goes against the number, the second one, if necessary going in the centre of the card. Now the selected card in this case is the ten of clubs which means that as the conjurer picks up the visiting card and handles it in a casual fashion, he makes one nick from the front at ten-oclock and another in the centre of .the card. The
30 result willbetwo quite easily determined raised ridges on the back of the card. The visiting card is then replaced on the table. The card having been dropped into the spectator’s pocket the spectator who loaned the visiting card is asked to take it to the medium. When the latter receives it, she has noneed to do more than glance at it and see that it is the right way up. Fromthat point she can, without looking at it, determine by tactual means the card indicated. She should capitalise on this to the greatest degree by looking at the spectator whilst she appears to fathom his thoughts. When she has found the necessary nail nicks and knows the name of the card, she smoothes the raised surface
down in handing the card back to thz lender. She then takes her pad and pencil and writes, “ From the vibration that I received I would say that your card is the ten of clubs.” She folds the paper hands it to him and asks him to escort her back into the room. The conjurer, stressing the conditions, asks: the spectator holding the thought of card to remove it from his pocket. The ‘ Visiting Card spectator is asked whether that was the card he thought of and withdrew from the pack. The answer is in the aflSnnative. The pay-off comes. when the spectator holding the paper is requested to read out what the medium has written down.
CASTING THE FUTURE H. A. ADAMS Note. We have always tried to plug that lovely sheet the Phoenix for whether you want thelatest American news or the latest gen on American close quarter workers you will never be a disappointed. Upto number 300 we had reciprocal arrangement with Bruce Elliot regarding items published in Pentugrum and Phoenix. When Jay Marshal1 was over here, the agreement was continued with the new management. This item to be described comes from The New Phoenix, No. 334. This is an intriguing copy for in it besides effects thereare detailed descriptions of three Marlo Ace effects. If you want something better than a good crossword puzzle to chew on, get a copy and read these three descriptions: Whether you get down to theirsolution in theMarlo manner is of little moment for in the first March issue, the modus operandi will be published. In the meantime here is a very nice intimate table trick. In effect the performer successfully predicts the names of four cards that four spectators select from a borrowed shuffled pack and as a climax, a prediction involving colours and also one involving numbers are also proved correct. There is no preparation involved. Just make sure that the pack you will use contains 52 cards plus a Joker. This Joker is what you will use to write your predictions on. A pair of dice is also involved. Naturally a force is involved. It is based on a variant of the old principle that when two dice are rolled out the totals of the top and bottom numbers will always be fourteen. Routine. Have the pack shuffled andthen handed to you. Explain that you will remove the Joker and write six predictions on it. As you are looking for the Joker note and memorise the first card on top of the pack, and also the 14th, 28th and 29th cards from the top of the pack as they
would lay if the pack were face down. Now throw the Joker onto the table, close the pack up and place it face down on the table. Then tell the first spectator to write his initials at the top of the Joker, second spectator to write his initials below first spectator’s, third spectator below second and fourth below third. This is thepoint where you state you are making six predictions. Opposite thefirst spectator’s initials you write the name of the first card, whilst against the 2nd, 3rd, and 4th spectators’ initials you put down the names of the 14th, 28th, and 29th cards respectively. Right at the bottom of the card you add two further predictions, They are :l. The first spectator’s packet will contain four more cards than the fourth spectator’s packet. 2. The first spectator’s packet will contain two more red cards than there are bluck curds in the fourth spectator’s packet. Naturally you place the initials of the spectators against the spectatorsinstead of calling them by numbers. Now takethe dice from your pocket and hand them to the first spectator. Turn your back and ask him to roll the dice on the table and leave them laying. He is to total thetwo numbers on the top of the dice and then to silently count down one at a time that number of cards from the pack into a face down pile on the table. This has the effect of putting his predicted card at the bottom of the packet. We’ll suppose that the number in the pile is nine. The first spectator is now asked to pass the pack to the second spectator and he is to look at the two bottom numbers on the dice, total them and count that number of cards from the pack intoa face down pile. As thetotal of the top numbers wasnine obviously, because of the 14
31 principle, five willbe thetotal of thebottom numbers and when five cards are counted off into .a pile, the second spectator’s predicted card will be on top of his heap. The second spectator now hands the pack to the third with the added request fromthe performer that this time he, the third spectator, must add the numbers on top and those .on the bottom together then counting that number of cards ontothe table in front of him. This number will be fourteen and the third spectator’s predicted card will come out on top of his heap. ‘This complete, the third spectatorhandsthe remaining cards to thefourth spectatgr. It has the 29th card which has been predicted for him o n top. All the predicted cards are on top of their respective heaps with the exception of the first pile. As it is necessary to get the first spectator’s card on top of his heap a ruse must be employed. You say to him that something tells you that he has miscounted and to make sure will he count
thecards silentlyagain onto the table. This of course has the effect of reversing the order of the cards and bringing the predicted card to the top. Each spectator is now asked to peek at the top card ofhis packet, remember it andthen shuffle it into his packet. When this is done, the second and third spectators are to hand their packets to the first spectator,thefourth spectator keeping his. cards. In this manner the first spectator will always hold twenty-eight cards whilst the fourth spectator will hold twenty-four. For the first time since you handed the cards and dice over you turn round and face the spectators. The Joker is turned over and each is asked the card he peeked at. Then they are shown the card and the predictions, of course, are right in every case. Finally because of the beautiful principle utilised so well by Stewart James, when the two packets of cards are checked it is found that the colour and number prediction agree.
The conjurer must never disdain publicity and the Newspaper Headline prediction of Hans Trixer’s in this present issue is an effective means for so doing with the minimum of accessories. In 1952, Hans collected some very good publicity in Rhodesia and before us now we have the cuttings from the Sunday Mail and the Rhodesia Herald. In the next issue we are going to follow up thisparticular prediction with one of our own. With the title of “ Journey Into Time ” we made use of it predicting aRadio News Summary at the Edinburgh Convention of the I.B.M. in 1953. Altogether at the time .it resulted in nearly a hundred news clippings, including one ortwo banner headlines.Wefeel certain that readers may be able to make use of this as well. This year sees theGolden Jubilee of the Variety Artiste’s Federation. One result of this will be a souvenir booklet available to the public
at a moderate cost. Init willbe a number of articles dealing with various phases of the variety profession. We have been asked to take care of title of “ A the magic side and so underthe Magician in the House ” an attempt will be made to show the changing faceof magic duringthe past fifty years. It will show how the big show, partly through changing f a s h i o ns and partly because of theatre economics, has tended to disappear. One has only to count up the really big shows playing nationally or internationally and they total very few. There are Kalanag, Levante, Richardi junior, Dave B am b e rg , Blackstone, Calvert. With a terrific amount of work, expense and enthusiasm, these men of mystery plough a lonely furrow to-day. Another “ Focus on Hocus ” show comes on the air on February 22nd.
A NEW STYLE MAGIC BOOK
JOHN HOWIE’S ROUTINES WITH
THE JARDINE ELLIS nINC HERE IS a wonderful, new style magic book, that brings to the reader the greatest collection of Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE WORLD’S GREATEST POCKET TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL EFFECT.
Now at last the author has described the FULL TECHNIQUE of the Jardine Ellis Ring-GENERAL NOTES ON THE APPALRATUS,HANDLING OFTHE SHELL SO AS TO REPRESENTASOLID RING, DISPOSAL OFTHE SHELL (eightmethods). EXAMINATION OFTHE APPARATUS BY SPEtXATORS. THE DIRECTPALM-OFF, THE HOWIEPICK-UP MOVE, and A WORD ON. BASICPROCEDURE: Havlngmastered the handhng of the ring-which is reallyverysimpleindeedwhentheseprecise and fully illustratedinstructions ever devisedwith this pro?. are followed, the reader isintroduced to some of the zleanestand mostbafflingr?,utines to melt ’ on tothe RINGONSrI5.K EFFECFS--there are thzee, The DirectRing on Wand in which the ringjustseems wand; ‘‘ Ring on Pencilwhichis a wonderfulclose-up routimm which the audienceactually hear the ring penetrate the pencil,although “-a close-up or platform effectwhich seems quite impossible the performer’s hands are in full view all the time; and finallyPenetrellis yet the ring TWICEenetrates the wand or stick RING. AND &ANDKERCHIEF, E F F E F e h e r e are two here, “ Ring i n the Knot,” in which the ring isvanished, and then appears tiedwlthln a knot that wasprewouslytled m the hhndkerchlef, and the Ring and Handkerchief Routine,” whichis a complete routine of threeseparate effects.each one more batilifg than the previous one. is. the Ring .Necktie,” a terrific routine at close quarters, in which the ring penetrates MISCELLANEOUS EFFECTS-the: Rmg and Rope m which the ringpenetrates aropethree times, aknot forming round the the necktie, andthentwocompletqfoutines, Ring, a Wand and a Handkerchief ” in which a steel ring apparently plays pranks on the puformer. ring on the third penetration, and A BIBLIOGRAPHY-for those interested, there is a comprehensive bibliography of the Jardine Ellis Ring Trick from its invention. to date.
?e
And now a word about the Book itself, which is in a new styIe for Magic Books, the same page size as T h e Magic Wand, with large clear illustrations by the author, and bound in red ‘ Antelope finishboards. MAKE SUREOF YOUR COPY,BY ORDERING NOW
1216 ;postage 3d. ($2.00) FROM THE PUBLISHERS
T E E MAGIC WAND P U B L I S H I N GC O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X cc MAGIC
WAND” PUBLICATIONS
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
George Armstrong’s ‘‘ Premonition ”
(Mental Routine) George Armstrong
Extra Sensory Perfection
Ron Routine) (Mental
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohien 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
... 719
Automentalism (Complete act, with apparatus)
Ken de Courcy
... 21/... 1013 ... 1013 ... to13 ... 1219 ... 1013
...
Dubbelkross & Simulkross (Coin Routines)
Ken de Courcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramray’s Cups and Bails (cloth bound)
Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Martin Gardner
Twentysix Living & Dead Tests TerelGarrett The Concert Ventriloquist and Maurice Hurling Children’s EnCertainer Stewart James Jamesosophy (Card routines) Etc., Etc.
S. Edward Dexter ... 719
IEntertaining with Hypnotism S.Edward Dexter dent ityParade (Humorous mental routine)
Will Dexter
?he Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francic White, Esq. Clubroom and LIbrary and
Museum :
Hearts of Oak Buildings, London, N.W.l. Euston Road, bladcd Theatre :
King George’s Hall, W.C. Feb. 27-Lecture, Geoffrey Robinson “ From Cover to Cover” Puticulan from Hon.Secretary
:
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
+c
...
1013
...
719
PETER
...
... ...
...
719 719 513 iO/3 513
WARLOCK’S
JACK HUGHES
PENTAGRAM is
... 513 ... 1219 ... 2516 ... 1013
...
Douglas Francia Mother Goose Mystery (Mental Effect)
1719
... 2013
published on the 24th of each monthand
can be obtaineddirectfromthepublishersfor !l7 per cingle copy. AnnualSubscription post free.
18/-
BY: The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
PUBLISHED
forpubfiiutionandbooks review should be sent to the: EDITORIAL ADDRESS: kanuscripts
THE DE LUXE “SU-TABLB” togetherwith all hisother a stamp, effectsinreturnfor
!or
Peter Warlock, Rd., Wallington,
24, Wardsworth
will be pleased to rend you fulldetails of
Write now to
Jack Hughes, 2, Ejvelyn Ave.,
Colindale, London,
N.W.9.
Surrey.
Every Advertiser’ goods are fully endors :d by this Bulletin WBLISHB’D BY TkU3 PROPRIBTORSTHE MAOIC W A N D P U B L B H M O COMPANY, 62 WBLLINOTON ROAD, W P I E L D . MIDDLESEX AND PRINFED BY HEQBERT WALKER & 80N ( m m ) LTD.,WELL CUOFT, SHIPLEP. YORXBRIRL
*
JOURNEY INTO TIME
THE EDINBURGH RAD10 PREDICTION PETER WARLOCK ITH THE thought in mind that on a number of occasions readers may require a precan beusedeffectively for dictionthat publicity purposes I am explaining one that I have usedmost successfully on a number of occasions. I think I am right in saying that 1 was the first magician to make use of a headline prediction in this country. There was nothing in the wayof a pioneering effort about this, for America had led the field in this particular phase of mental magic. My own effort was immediately after the war, and the method that I used and later published in the ‘Linking Ring,’thougheffective, did not fully satisfy me. In 1948, at the British Ring Convention at Bournemouth. I used a method which I had evolved, and one, which for the time being, I do not wish to publish. This had somevery strong points but necessitated the preliminary part of the prediction being done publicly. My mind had always revolted at the idea of using a, prediction written on a microscopic piece of paper contained in a box large enough to hold a pair of shoes, and so with each of the predictions I havementioned I had tried to get away from such a drawback. In 1949 I was struck by the thought that for purposessuch as these what one wantedwas a prediction which,when unfolded, couldberead by a number, i.e., say a piece of black paper, a deal of poster size. I gave thematterquite consideration and at the same time thought how very good it would be if the prediction were seen by the audience prior to the eventwhichwas forecast, taking place! Quite obviously this wrote off theusual newspaper headline, but it made allowance for something even better-a radio news summary !
W
VOLUME 10, No. 5
-
With the definite plot in mind plus the idea of using a very large display sheet for the prediction I settled down to work on the idea, but it was not until 1951 that I put it into effect, the occasion being a demonstration of psychic magic by members of the Occult Committee of The Magic Circle at the Medical School of St. Thomas’s Hospital. As predictions are meant to beused sparingly I put it aside, not using it until May, 1952, at Bideford. It was used there to help the Devon Convention with publicity and it did not fail. Bill Stickland who was in the audience was very impressed with it and it was agreed to use it at one of the succeeding Conventions. And thus it came about that at the Edinburgh Convention in 1953 it was used on the night of the Civic Reception and through the medium of the Press helped to launch this particular Conventionwithsound publicity. Most interesting was the manner in which a number of papersaccepted the fact thatitwas a genuine prediction and not a clever trick. Bill Brown that indefatigable talkerand columnist made quite a feature of it in a Sunday paper adding that . . . “ there are more things in Heaven and Earth, etc.” Let me explain exactly what happens. A week before the prediction is scheduled to take place, a local dignatory or Press representstive is asked to co-operate andin order that everything shall be in order a number of witnesses shall be present. The magician or his representative takesfrom a case a large envelope. Fromthe inside he removes a peculiar looking object. This object consists, so he tells the onlookers, of a folded sheet of black paper held prisoner between two sheets of transparent plastic. The pieces of plastic !are fastened at/the edgeswithmedical adhesive tape, all joints being sealed with sealing
I /6, (20 Cents)
-
FEBRUARY 1956
34 wax. One of the sheets of plastic has aa opening cut away. The whole think looks something like Figure 1.
v/ WAY
S Ss€& over ends tape of adhesive tape indicates B indicates hinged f l a p
One further thing and that is a large white label is attached to the black paper and coincides with an opening in the plastic. This is quite clear in the illustration. There is an addition tothe label. By means of a small piece of cellophane, a square of paper one and a half inches square is affixed so that it forms a hinge. Later a mark will be made on the label at the point where, when this little hinge is laid flat and sealed, such mark is concealed. The performer or his representative stress the fact that so that there is no possibility of substitution, the sheet of paper must be marked in a way that will prohibit such a thing. First of all the local bigwig is asked to signhis name on the exposed part of the label, and then whilst the magician or his representative turns his back, make a secret mark beneath the hinge, then sealing the latter into position with a piece of adhesive paper which is given to them. With this done the whole thing is replaced in the large envelope, the flap of which is stuck down, seals being placed across the joints and signet rings applied. The envelope, in this condition, is placed in safe custody with the further request that on the night of it shall be brought to the performer at The great night arrives. On the stage a few minutes before a news bulletin is due to go on the air,the performer stands. On his left there is a radio set and with about four minutes in hand he commences his spiel. With a minute and a half gone he asks fortheewelope. The seals are checked and it iso,pened, the plastic container being removed. Cutting away the tape and seals,
the sheets of folded paper are taken.out,the signer on the label being asked to check his signature. He is then asked to tell the audience the nature of the secret, mark under the hingedflap. He does so and the performer asks him to tear away the flap and confirm the fact that such a mark is there. This is done, and without the folded sheet of paper leaving the audience’s sight it is unfolded. On the inside, written in chalk, are five predictions. The sheet of paper is tacked to a blackboard by means of drawing pins. The time should nowbe 45 seconds off the hour. Quickly the performer reads aloud each prediction and then he switches on the radio set to full volume. There should betime for the fade out of the item preceding the news bulletin. The announcer’s voice comes through . . . ‘ This is the o’clock news, etc.’ As he reads the various headings in the summary, the performer scores them through with chalk on the large sheet of paper. Needless to say each and everyone is correct.
The Explanation Begins. The reader of this bulletin is well aware of certain things relating to the modus operandi of the headline type of prediction. Two main courses are open to him. The first is a clever substitution of a sheet of paper, or an envelope or some similar container containing the actual details of (say) a current newspaper headline, for the similar object that has been left in safe custody some days or weeksbefore. The other is the introduction, or apparent introduction of a paper bearing the headline into some container which has been left insafecustody for a similar period and to which there would seem no form of access. Into this last class we have that colossus of mental mediocrity, the Prediction Chest with its outsized fake key. In the prediction to be described there is no switch, but the prediction is added in a rather novel way. Before describing the actual apparatus, let me say something about the items to be predicted. When I first got the idea of using a Radio News Summary, 1 had in’ mind the matter of recording these items on tape, doing all that was necessary regarding the technical side of the prediction and within a matter of some 20 seconds, reproducing the tape via means of an amplifier as the actual broadcast. There is little need for me to point out to the reader the very many snags that could arise were such a course of action taken. It was then that I realised that I was wasting time for in this country the reader will find that apart from the last minute introduction of some national or international disaster or urgent event, the seven o’clock news, is almost a repeat of the six o’clock news, whilst the ten o’clock is a repeat of the nineo‘clock. Quite
35 often there is little alteration over the course of the four bulletins, only the minor happenings being dropped from thelater ones. With this knowledge it was obvious that if I could so time my prediction for either seven o’clock or ten o’clock, all the details that I required would be available an hour earlier. If the reader is using it as a newspaper headline prediction then he has all that he wants hours before the opening of the prediction paper. Now let us deal with the make-up of the prediction paper itself. First of all youwill require some sheets of black pasting paper. Takeone which should measure 16 inches by 24 and crease it and fold it as in Figure 2.
Obtain a piece of tin sheeting and cut a piece measuring seven and three-quarter inches by five and three-quarter inches.See that it is well flattened and place it on that part of the paper I have shaded. Another piece of black paper is cut to the size shown in the drawing and applied to the protruding tabs withglue. These are stuck tothe paper around the tin plate so that the latter is trapped within a pocket. When the glue has dried, the nature of the paper kills the overlaying tabs and to all but a close inspection, the reader has one sheet of black paper. This sheetis now re-folded, care being taken that the section of the paper containing the sheet tin lies at the back of the packet. A piece of corrugated cardboard isnow cut to exactly the same size asthe folded rectangle of black paper and as shown in Figure 4.
The resultant rectangular packet should measure approximately eight inches by six. Incidentally the side pieces should come over first and care should be taken that the folding is even all the time, so that a perfect rectangle of black paper results. Now open up the paper, keeping in mind that part which is shaded in Figure 3.
Four segments are cut away, each being of such a size as to accommodate a strong bar magnet of the Alnico type. Their thickness should be no greater than the corrugated card. Alternatively if the performer has to resort to a thicker magnet, then the corrugated board must be built up to the same thickness as the magnets. With the rectangles cut away to hold the magnets, the latter areinserted and a piece of the black pasting paper is taken and glued around the corrugated board so that the magnets are kept in p s tion. In fixing the black paper tothe board an attempt should be made to produce a semblance of the folded sheet of paper. When the gimmick is dry, a piece of white paper measuring nine inches by four is pasted to it so that it looks like Figure 5.
36 is pulled down. When this is complete he is asked to seal the hinge in place with a piece of sellotape or adhesive tape. The whole thing is now slipped inside the large envelopewhich inturn is sealed and left in safe custody and the added instructions that it be broughtalongon the night.Youcan breathe freely until the nightyou intend undoing the prediction.
Further, with the aid of a piece of cellotape or gummed paper tape, the little hingedpiece of paper is added. Most of thepreparation is done. You will however require twopieces of talc, celluloid or thin perspex. Actually I use talc. These pieces should measure 10 inches by 8 inches. From one piece a windowmeasuring three inches by seven inches is cut away. Its relationship is with the label on the gimmicked cardboard so in cutting it away see that when the various items are placed together they are in register. With this chore completed and some adhesive tape at hand you are ready for the final preparations. Place the non-window piece of talc on the table and on top of it the black covered gimmick, label side uppermost. On top of this with the window in alignment goes the talc with the window. If youhave a stapling machine, staple the edges of the talc together at each corner and also at the sides. This helps tostop anybulge.Pieces of adhesive tape are thenplacedalong the sides as shown in the first illustration. Finally the points where the adhesive tape overlap are sealed with sealing wax. You are ready at this stage for handing over the prediction, the only extra accessory being a stout envelope large enough to hold it. With these items and some sealing wax, you enter the room where the men of integrity are gathered to assist you.
First of all the head man is asked to write his signature on the label. This done,he isfurther requested totake the packet and make a secret mark, which will be covered when the little hinge
Now your preparations for the night in question. First of all youwill require a blackboard and easel. This should be on the performer’s left. Into the blackboard near the right hand top corner are stuck four or five drawing pins. Actually you only require two, but in the excitement there is a chance of dropping these fiddling little things and there is no time to be lost in the indignity of pickingsomething up from the floor. A table should be centre stage.
You also require a copy of the current Radio Times ” (or if a headline prediction the necessary newspaper) a piece of chalk and a pair of scissors. These last two items are slipped into the right hand pocket. For the radio prediction there should be a reliable radio set on the stage. This should be to theleft of the easel. On the right of the stage a chair should be available. “
An hour before the opening phase of the prediction is due to commence, switch on the radio in a roomwell apart from the main hall where the prediction is to take place. As the News Summary is about to come up, stand by with a pencil or pen and paper. Have a spare pen or pencil right at hand in case ink runsdry or a point of lead breaks. Mark your sheet of paper 1, 2, 3, 4, and 5. You don’t want to overload this prediction. Immediately the announcer starts, listen intently and write down briefly but legibly the content of each headline. Switch off the set and take the folded sheet of paper that contains the sheet tin.Open this paper out and preferably with chemicalchalk or alternatively by damping an ordinary stick of chalk (both prevent smudging when the paper is re-folded) print on the paper in large letters the items concernedgiven by the announcer. Now refold the paper once more into a rectangular packet. You should not have taken more than five or six minutesover this so that between now and your appearance you have nearly 50 minutes to kill.Relax for half-an-hour and then take hold of the “ Radio Times.” Slip the folded piece of black paper inside between the last two pages, as shown in Figure 6.
37 which should flankhim on the left. He casually flicks the folded portion back so that the whole thing lies flat, the folded black paper protruding slightly at the back. If the reader thinks that there is attendant risk through this visibility then I suggest that he has a blackcoveron the table. Actually as the attention of the audience is never focussedupon the table, I wouldn’tworryvery much about this point.
Then fold the rest of the magazineover so that it looks like Figure 7.
The gentleman with the prediction is invited on to the stage and seated on the performers right. He is asked whether he has it safely with him and also whether it has been out of safe custody since it was handed over.
After satisfactory replies the envelope istaken from him and he is asked to verify the seals. Taking the scissors the envelope is cut open and the contents removed. The helper is shown the contents and isaskedwhether there has been any alteration.Again a negative. The envelopeisplaced aside and then taking the scissors once more the performer cuts through the talc and adhesive tape on one side. Through this openinghereachesin and withdraws the contents.Withtheremark to the helper, “ You can see that this was quite a transparent but strong container,” the performer passes the talc envelope to the helperwith the right hand whilst the left hand places the gimmick on to the table positioning it immediately above the folded sheet o f paper protruding from the Radio Times.
Audience
Youhave now made all thearrangements necessary and you only await the dock hands coming up to the time you appear and take over on the platform. Walk on to the stage or platform holding the RadioTimes with the right hand.Thatpart of the folded black paper which protrudes from the cover is thus well hidden. The action of holding is a natural one, much as one carries a book. The performer receives attention and possibly applause which he acknowledges and at this point he places the Radio Times and its contents on to the table,
The talc envelope is then taken back and also placed aside. “ As you no doubt are aware,” says the performer, “ the atmosphere is filled with electronic waves. This little magazine . . . ” (The performer turns half left, his body coming between the helper and the table, stoops silghtly and with his right hand he takes hold of the “ Radio Times ” whilst the fingers of the left hand come down firmly on the edge of the gimmick. The “ Radio Times ’’,is pulled away and the gimmickliesalmostperfectlyalignedwith the folded paper, the pull of the magnets on the tin making this move an easyone. There musn’tbe the slightest hesitation and as the right hand moves away the paper, and the body turns front, the left hand follows it, taking hold of the paper on the left side so that the action appears as though both hands picked up the “ Radio Times ”) “ . . . gives just a slight example of how many things fill the air. One thing that this phase of science has brought us is the hour to hour happenings spread throughout the world. I have attempted to predict much ahead of time what certain of these happeningswillbe.”(Whilstspeaking the performer has idly turned the pages of the paper. He places the paper aside.)
38 in the company of to take care of this prediction that I madesome . . . daysago.”(At this point the performer once more turns half left, again killing the viewbetween helper and table, and with both hands takes hold of gimmick and prediction onthefolded sheet. The right hand goes to the right corner nearest the audience whilst the left goes to the left corner furthest from the audience. The right hand second finger presses in .against the long side whilst the thumb performs a similar action on the short side. Similarly the left hand finger andthumb react against their respective sides. The result is that this pressure brings about perfect alignment of folded paper and gimmick in a fraction of a second and both paper and gimmick are picked up and, in turning front, tothe the label side of the gimmickiskept audience. The right hand covers most of the side of the gimmick and fake and the performernow turns half left and addresses the helper.) “ First of all sir, will you give the audience your word that this is the same signature that youaffixedsome days ago.” The answer is in the affirmative. “ Secondly, sir, you made a secret mark, hiding it with this little flap . . . will you please tell the audiencewhat formthatmark took?”The helper tells. “ Now, sir, (the performer tears away “
This gentlemanhere
. . . , etc.,wasgoodenough
the flap) is that the same mark?” Again an affirmative reply. The performer now turns full front and at this moment there should be about a minute in hand. Holding the flap of the folded black paper at the back he allows the labelled gimmick to go to the rearasthe sheet is thenopened out. The effect ismost deceptive and there isno fearthatthe gimmick will fall off. The sheet is now pinned to the blackboardand the performer points to his various predictions enumeratingthemone at a time. He moves across to the Radio Set and switches on the sound. Then comes the fade out of the programme preceding the delivery of the news and then the News Summary. Quite obviously if you are doing a newspaper headline prediction youwillneed a copy of the current newspaperand not a copy of the Radio Times. The reader willhave to excuse the long windedness of this contribution, but it was essential that no point of importance should be omitted, and from my own point of view in a magic undertaking such as this, every point in preparation and presentation is vital, for the publicity prediction is something that cannot be fully rehearsed.
SILKS AT THE FINGERTIPS PETER WARLOCK ILK MAGIC, always one of the most fascinating as well as being the most colourful phases of magic, offers fewer plots but greater problems than most branches, for a handkerchiefhas not the tangibility of a coin, card or billiard ball. This little essaywasbrought about bynecessity. At the opening of an act I wished to produce two 18 inch silks one after the other a t the fingertips. When produced they were to be free to handle, i.e., I did not want them anchored t o lengths of cotton or thread. With a great deal of experiment I managed to get exactly the result I required.
S
The audience see the performershow his hands to be perfectly empty. First a purple handkerchief appears at the finger-tips of the right hand and this is followed by the appearance of a green handkerchief at the left hand finger-tips. Without any more ado, the handkerchiefs can be used in any routine.
The Requirements. Twosilk handkerchiefs 18 inches square. Somenylon thread. Preparation. Take a length of nylon thread measuring approximately 18 inches in length and knot oneend to a corner of one of the silks. Repeat the process with another length of thread and the remaining silk. Each free end of the thread is now made into a loop that will slip comfortably over the performer’s thumbs. Under the lapels of the performer’s jackets two small pockets are made. (See illustration No. 1). With these chores out of the way, the silks are folded and accordion pleated so that the length of thread hangs free. Each bundle of silk is placed in one of the pockets under the lapel. If the folding has been carried outcorrectly, the slightest pull on the thread should take the whole handkerchief clear of the pocket. The loops at the end of the thread are placed over the relative thumbs of each hand. (See illustration 2.)
39 Presentation. The performer enters and clearly shows his hands to be empty. Both hands are nowheld parallel withthe ground, the right hand above the left. The left hand now makes an anti-clockwise circular motion around the right hand whilstthe latter makesa similar motion around theleft. (This obviouslyis better for a mime rather than a patter act.) Now with the first three revolutions the right hand fingers make certain that they do not engage in the thread which hangs from the left thumb passing across to the lapel. Withthe fourth motionhoweverthe right thumb engages under the thread and the silk pops out of the pocket and is caught by the right hand finger tips. At thesametimetheleft hand is lowered and the looparound the thumb comes away without anyhelp from the performer. The silk just produced is placed over the left arm, and in a similar manner the second silk is produced.
*
*
*
*
*
MAGIC-GOdROUND CHEERY letter from Jean Hugard gives us the news that Keating recently appeared in conjunction with the well known actress Cornelia Skinner at the Phoenix Theatre in New York. Miss Skinner entertained with her wonderful character sketches whilst Keating interspersed her offerings with magic which included the Vanishing Birdcage, SnowStorminChina, the Egg Bag aIid the Needle Swallowing trick. Originality of presentation made these classicsnew to New York theatregoers. Broadway critics well noted for their ruthlessness in reviewing were high in praise of Keating’s work. It is likely that when the present season is finished this twoperson show will go on tour. The Annual dinner of the Order of the Magi proveda delightful affair ineveryway. It was good to meet those many stalwarts of the North and better still to see some in action. At the after dinner show in which the South was represented by Francis Haxtonand myself, GrahamAdams excelled himself with hismost entertaining presentation of the GiantMemory feat. Leslie Lester making a dash from the Hulme Hippodrome was in great form despite the untheatrelike conditions. There was a two person mental actthat gave great promise for thefuture.
A
The stay overnight at Jack Morrison’s not only provided us with lavish hospitality but also allowed us an inspection of his wonderful collection of books and apparatus. In the next issue of the Pentagram we shall be describing Bob Bridson’sRising Card trick whichwe mentionedsome issues back. We are also (in -view of the many requests that we have had regarding this type of act) describing a two person mental and psychic act in which the maximum effect isobtained with theminimum of effort. In fact the type of act for husband and wife who have little time to give to codes. On the strength of Leq. Levante’s description we arelookingforward to seeingVirgil’s act. Judging by the circuit that it is working it should arrive in London in the near future. lecture at Those who missedLewGanson’s the Magic Circle missed a magical novelty as,well as some excellent magical instruction. After demonstrating and explaining the tricks presented, Lew had projected onto a screen, a number of c o l o u r e d photographic transparencies which showedeverymove and phase of the trick in question.
~~
A NEW STYLE MAGIC BOOK
JOHN HOWIN’S ROUTINES WITH
THE JARDINE ELLIS HING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collectionof Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE WORLD’S GREATEST PO-T TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL E F F ” .
Now at last the author has described the FULL TECHNIQUE of the Jardine Ellis Ring-GENERAL NOTES ON THE APPARATUSHANDLING OFTHE SHELL SO AS TO REPRESEm A SOLIDRING DISPOSAL OFTHE SHELL (eight methods) EXAMINATION OFTHE APPARATUS BY SPECTATORS, THEDIRECTPALM-OFF,THE HOWIEPICK-UP MOVE. and A WDRD ON. BASIC PROCEDURE, Havmg mastered the handhng of the ring-whichis really very simple.indeed when these precise and fully illustrated instructions are followed, the reader isintroduced to some of the ,pleanest .and most bamlng r$pnes everdevised.with thisprop. RINGON SrI(Z,K EFFECTS-there are threeThe Dmect Rmg on Wand in which the ring lust seems to ‘ melt ‘ on to the wand* ‘‘ Ring on Pencil which is a wonderful close-;p routin5,in which the audience actually hear the ring penetrate the pencil. althougb close-up or platform effectwhichseems quite impossible the perfoper’s hands are in full view all the t k e ; and finally Penetrellis ”-a wand or sttck. yet the rmg TWICEetratesthe RING. AND i$?NDKERCHIEF. E F F v v h e r e are two here. ‘‘ Ring ,“ the Knot,” in which the ring is vanished, and then appears tted wlthtn a knot that was prmously tted m thehandkerchlef. and the Ring and Handkerchief Routine,” whichis a complete routineofthreeseparate effects, each one more bafK.l;, thanthe previous one. MISCELLANEOUS EFFECTS-therz IS. the %g 29 Necktie.” a terrific routine at close quarters, in which the ring penetrates b p and Rope in which t,?e ring penetratesaropethree times, aknot forming roundthe the necktie andthen two completqfoutines ring on t h i thirdpenetrationandA R i d a Wand anda Handkerchief inwhich a steel ring apparently lays ranks on the performer. BIBLIOGRAPHY-;or those inter&ted, there is a comprehensive bibliography of the Jardine Ellis Trick from its invention. to date.
Ling
And now a word about the Book itself, which is in a new style for Magic Books,the same page size as The Magic Wand, with large clear illustrations by the author, and bound in red Antelope ’ finish boards. MAKE SURE OF YOUR COPY,BY ORDERING NOW
12/6;postage 3d. ($2.00) FROM THE PUBLISHERS
THEMAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
e MAGIC
WAND
Mental Bargain Effects Theo Annemann Chrllenge Instant Hypnotism 81Mars Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
George Armstrong’s ‘‘Premonition ”
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’r Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining withContact Mindreading
S. Edward Dexter
IEntertaining with Hypnotism S. Edward Dexter dentity Parade (Humorous mental routine)
W ill Dexter
The MagicCircle President: Herbert J. Collings, Esq. Vice-President : Francis White,Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, N.W.1. Euston Road, London, Yadcal Theatre :
King George’s Hall, W.C.
Mar. 28-Concert at TheAssembly Rooms, St. Pancras Town Hall Puticularr from Hon. Secretuy :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
... 719 ... 2119
Automentalism (Complete act, with apparatus)
... 1013
Zodiac Telepathy (A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
... 2013
Ken de Courcy
...
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’r Choice (Miscellaneous Magic)
... 1013 ... 1219 ... 1013 ... 1719 ... 719
... 2516 ... 1013 ...
719
Martin Gardner
... ...
719 513
Twenty-Six living a Dead Testa TerelGarrett The Concert Ventriloquist and Children’s Entertainer Maurice Hurling Jamerosophy (Card routines) Stewart James Etc., Etc.
... 1013 ... 513
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishers for 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
JACK HUGwill be pleued to send you full details of
THE DE LUXB “SU-TABLB” together with all his other effects in return for a stamp.
hanuscripts for publication rsd b o e b for review should be rent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrev.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
Every Advertiser’s goods are fully endorsed by this Bulletin T m PROPRIBTORI THE MA-C WAND I U . U B R W N Q AND PRINTBI) DY HRI&BERT WALKER L WON (-l=)
R I B L I S R E D BY
513
... 1210
Douglas Francis
Mother Goose Mystery (Mental Effect)
... 1013 ... 719
PETER
Ken de Courcy
Dubbelkross & Simulkross (Coin Routines)
... 1013
(.Mlcntal Routine) George Armstrong Extra Sensory Perfectlon
Routine) Ron (Mental
PUBLICATlONS
COHCANY, B2 WILLINOTON ROAD, ENPIULD, LTD., WBLL O I O R , IHWLPY, YOIUU-B
M!IDME6EX
*
PUZZLE FOR WANTONS JACK OME little while back we mentioned the three Marlo effects in “The Phoenix,” the solutions of whichwere to be published in theearly part of March. One of theplots(andin each effect only a straight pack was to be used) meant thatthe conjurer removed thefour aces from the pack. In one bunch they were returned to thecentre of the pack and thenwithoutany fiddling they were foundspreadthroughout the pack. There seemed to be littlebreathtaking, however advanced the technique, for the climax meantthatthespectatorhadtolookthrough the whole run of cards to see what had happened. It was a good puzzle. Jack Avis, utilising the basic procedure, has come along with an effect that gives a true climax and one that can be appreciated by a group rather than an individual. Very deliberately the four aces are removed fromthe pack and placed face down uponthe table. Cutting the pack into two packets the aces are placed on top of one heap and the remaining heap is placed ontopto reform the pack. A muttered “ Hocus Pocus ” and then spreading the pack faces down thefour aces arefound spread through the pack face up ! The requirements. One pack of cards and a moderate amount of card sense and skill. Preparation. See. that the four aces are well spread throughout thepack. Method. Taking thepack the conjurergives it any effective false shuflle that will ensure that the aces remain spread throughout the pack. (Alternatively the aces can be together at the beginning, a series ofrime shuflles scattering them throughout the pack. Holdingthecards face up inhis left hand, the conjurer commences to run them into his right, stopping when he arrives at the first ace. Therighthandremainsstationeryholding the cardsthathave been passed to it, whilst the left hand drops slightly displaying the ace at which ithasstopped.Thecardsshould beheldwell into the heel of the hand as shown in figure 1.
nws
S
VOLUME 10, No. 6
-
Now comes a move that is described by Buckley in “ Card Control.” The left hand thumb runs off the first two cards as though preparing for a double lift. Into the gap goes the left thumb as shown in Figure 2.
With the cards well gripped by the fingers, the heelof the hand releases its hold and the cardsinthe left handpacket are now turned face down, and in the apparent action of placing the ace face down on the table the thumb pushes off the card above it, theace being retained on the face. Now at this atage remember you have a face down heap in the left hand and a face up packet inthe right. As the left hand packet is swung back to the right and turned face up to continue
I/6, (20 Cents)
-
MARCH 1956
42
the abst:action of the remaining aces the Ieft hand fingers press against the ace, swivelling to the side from the pack. They do more than this, they see that the side nearest thethumb is lifted from the pack. In factthe moveis in someways comparable to the “ Kelly Replacement.”
face up. The action is comparable to opening a book. Thusthe ace that was at thebottom of the left hand packet now lies face down under the cards held in the right hand, which grips it against the packet. This process is now continued with the remaining aces so that when four cards lie face down upon the table, the four actual aces are all reversed in the pack. The pack is now cut into two heaps. The cut should be made from the part of the pack nearest to the performer so that he can see where he is cutting. Too casual .a cut mightmean that one of the face up aces could be exposed. On one half of the cut the four face down aces ” are placed, the remainder of the pack beingplaced on top. Themuttered “ Hocus Focus ” andthe pack is spreadshowing the face up aces scattered throughout the pack. The performer should work left side to his audience whilst making the essential moves. Like this he is free from angle effect. 66
Now asthe left hand comes across and reachest‘le right handpacketthecards in the right hand go above the bottom ace whilst at the same time the packet in the left hand is turned
ACES IN THE ASCENDANT DUDLEY WHITNALL FFECT : -The Performer shuffles and cuts a psck of cards. He turns the top cardface up andshows it to be an ace. Turning it face down again, he deals it face down on to the table and then undercuts a packet of about twelve cards from thc pack, which he drops face down on top of the ace. Againheshufflesand cutsthe pack.Once more tilc top card proves to be an ace and is similarly dealt face down to the right of the first ace packet. Another small packet is undercut from the pack and laid face down on top of the second ace. Repe:ition of these moves results in the discovery and burialunderpackets of cards of the third :md fourth aces. In the case of the fourth ace, the vv.holeof the balance of the pack-some twelve or thirteen cards-is dropped onit after cutting. Thc position nowis that there is a rowof four face down packets of cards, each with an ace .as the bottom card. Findly, the performer turns the top cardof every p a d e t face up to show that the aces have ascended to the top of their respective packets. PREPARATION :-Very little, except to cull the four aces to the bottom of an already shuffled --and, if thought fit, borrowed-pack. The type of person to whom this effect has any appeal is unlikely to experience much difficulty here. METHOD :-The pack is taken in the right hand in the !1sual p9;ition for an overhand shuffle except that i; i; ‘;-.l, at the ends, between thumb and second fiagc: mly and that the plane of the
E
cards is more nearly parallel to the ground than at right angles to it. The cards are thumbed off intothe left hand in the usual manner until a quarter or less remain. At this point the bottom card-one of the aces-is drawn or run by the left third finger tip on to the cardsin the left hand, and isfollowedby onecardrunfromthetop. The next card is run and injogged and the balance thrown on top. The pack is then undercut at, and including, the injog and this undercut thrown on top. As a result of this shuffle andcut, oneof the aces has been brought to a position third from thetop, whilst leaving theother three aces undisturbed. The top card of the pack is now shown to be an ace by means of a triple lift and, after turning face down, is apparently dealt onto the table. The packet comprising roughly a quarter of the pack which is dropped on top of the ace (?) is actually cutfromthetop of the pack, but by theold Erdnase false cut to lose the top card only. The abovemoves are repeatedtwice to discover and cover the second and third aces (?). For the last shuffle and cut, the ace is drawn off first, to be followed by one card run and one injogged, etc. After cutting and discovery, etc., the remaining packet of some twelve or thirteen cards is cut by undercutting all but the top card before the whole is dropped on top of the last ace (?). ACKNOWLEDGEMENT : -The basis of this effectis to be found in “ Double Rise,” described on page 139 of Bill Simon’s “ Effective Card Magic.” The remainder is an original development of that effect.
43
THE LADY AND THE TRAMP A N ACT FOR TWO PERSONS
PETER WARLOCK ANY a time I have been asked to recommend publications to those who want information regarding two a person mental routine which required a minimum of practice on the part of the female part of the act. The two items that I haverecommended invariably havebeenAnnemann’s En Rapport andThompson’s Moonlight Madness. Way back in the forties we wrote up a two person thought reading act for book a “ Methods for Miracles ” the manuscript of which washeldby Willane. The main purpose in this was to use a one ahead system of coding in the various tests used. Later we were to see a similar routine put out in mimeographed form, a truecase of telepathy ! The routine about to be described is one in which the presenter of the act tells the audience that his partner has a psychic sense which covers various phases of mental phenomena. Because of its detail it willbe started in this issue and concluded in the April number. The tests used cover telepathy, extra sensory perception and precognition. At the conclusion I intend to detail items whichcouldbe added should the performance timebe tooshort.Therunning timeof theact under normal conditions should be approximately seventeen minutes. Each item will be dealt with as a complete trick.
1. The opening of the act. COLOURS AND NUMBERS The stage is set asinthe accompanying diagram :-
The presenter of the act makes his appearance and briefly acquaints his a u d i e n c e with the possibilities of mental phenomena. The lady a sistant is next introduced and seated on thechair marked “X.” In her hands she carries a large envelope. Three volunteers to help with the experiments are requested to step upon the stage. They should be stationed on the performer’s right. Their attention is called to three coloured handkerchiefs on the table, say one red, one green a n d one yellow. The spectator nearest to the performer is asked to look at the colours, change his mind as much as he likes but finally fix on one and pick it up. When he has done this he is asked to look at the numbered chairs. Again he is asked to do some thinking. Thistimeheis to look at the his mind as much as three numbers, change he likes, settle on one and seat himselfon that chair which bears hischosennumber. We will suppose that he chooses the red handkerch i c j and sits in chair number two. The second person is asked to choose one of the remaining handkerchiefs and also onc of the remaining numbers. He too takes his handkerchief and seats himself upon the chosen chair. In this case we will suppose yellow and chair number three. The third spectator has no choice but takes the remaining handkerchief which is green and sits in the empty chuir ; in our example number one. Taking the large envelope from the Psychic Lady, the performer tells his audience that she has already been successful with the first test. He slits the envelope open and withdraws a large card on which is written in equally large letters :-“ The person sitting on number one chair has the green handkerchief, the person on number two the red, whilst the one on number three has the yellow.” Well presented, despite its simplicity, this first test can be most effective for there is colour and a certainamount of action. The means for accomplishing are very simple.
l
E A
*WASTEPAPER BASIU3T
B e
.TAB=
E.
C.
.BLACBOARD &
EASEL
D. .*CHAIR R ) R LADY CHAIRS NUMERED 1,2 and 3 FOR COMMITTEE
The chairs marked 1, 2 and 3 have number cards attached to them by tapes.
First of all the numbered cards attached by their corners to the chair backsshould measure twelve inches square. If they are covered with cellophane they will look better, the glossgiving them a professional finish. Besides the three coloured handkerchiefs the performer will require some large envelopes. They should vary in size so that two can be nested in the third. A duplicate of the largest is now taken and a double envelope made. A similar procedure is adopted with the second size envelope. Three
44 pieces of cardboard or stiffish paper are next required. These should be of varying sizes in order that they may fit comfortably into the envelopes. On the smallest piece print in large letters (using a dark crayon or Indian ink), (Number 1 Set) The person sitting on number one chair has the red handkerchief. The person sitting on number two chair has the green handkerchief. The person sitting on number three chair has the yellow handkerchief. On the middle size piece print a similar message, but this time :
This combination is the most common, judging by experience.
On the address sideof the middle sized envelope, print : (Number 5 Set) The person on number one chair has the red handkerchief. The person on number two chair has the yellow handkerchief. The person on number three chair has the green handkerchief. On the address side of the smallest envelope, print :
(Number 2 Set)
(Number 6 Set) The person on number one chair has the green handkerchief.
The person sitting on number one chair has the yellow handkerchief.
The person on number two chair has the yellow handkerchief.
The person sitting on number two chair has the green handkerchief.
The person on number three chair has the red handkerchief.
The person sitting on number three chair has the red handkerchief.
The smallest sized envelope is now nested into the middle sized envelopeso that the address sides correspond and finally these envelopes are placed inside the free compartment of the double envelope where here too the address sides correspond. The largest envelopeisnowsealed down and the lady has it with her offstage. The performer should memorise the order of the articles against the envelopes or alternatively have a small “ key ” handy which will give him the information without any stalling.
On the largest card print : (Number 3 Set) The person sitting on number one chair has the yellow handkerchief. The person sitting on number two chair has the red handkerchief. The person sitting on number three chair has the green handkerchief. The smallest card goes intothe smallest envelope which is then sealed down. The middle sized card goes into one compartment of its respectiveenvelope, and finally the largest card goes into one compartment of the large envelope. The envelopes now come in for attention. On the address side of the largestenvelope print words to the effect that : (Number 4 Set) The person on number one chair hasthe green handkerchief. The person on number two chair has the red handkerchief.
The person on number three chair has the yellow handkerchief.
The three handkerchiefs lie on the table. Presen tut ion.
The lady is introduced. As shemakes her entrance holding the envelopeshe must make quite sure that it is held quite casually against her body so that in this position it isimpossible for any memberof the audience to glimpse the printing on the address side. Sheisseatedand then three members of the audience are invited to assist.Theycome up on to the stage or platform and are grouped on the performer’s right on the right hand side of the stage. ’Ihe first one is asked to take a handkerchief and then choose a chair. The odds are in favour that he’ll take the red and go to the second chair. The two other spectators then take their respective handkerchiefs and chairs. By the time that the second spectator has taken his seat the performer should have in mind the position of the message in or on the envelopes.
45
With the third person seated, he moves across t o the lady and relieves her of the envelope keeping the blank side towards the audience whilst the positioning of the assistants on the stage makes it impossible for them to see therear part of the envelope. He tells them that the lady has already accomplished the first test successfully. If the layout of colours and numbers is number four set, all the performer has to do is t o slowly turn the large envelope round and allow the audience to read the message. If number five set, keeping the printed side of the large envelope towards him, heslits open the envelope and removes from the correct compartment thesecond size envelope. The large envelope placed is printing side down on the table and the envelope just withdrawn is turned round. If number six setis required, the smallestsizedenvelope is removed and the message on its address side shown.
With all this carried out the performer apparently concentrates upon the drawing, and without any word being spoken between performer or lady, thelatter successfully reproduces the spectator's drawing on the blackboard. The technique of this test is extremely simple, the wholeeffectbeing brought about by careful thought regarding the positioning of the various people taking part.Look once again at the layout of the stage and note the relative position of the blackboard. If the lady isled to the blackboard by her right hand, she is compelled to pass alongside the drawing board lying on the table. It iswhilst doing this that she glimpses down the sides of a normal blindfold, or alternatively a trick blindfold could be used which would allow her even fuller vision. We'll take it a little further. The following illustration shows the positioning of performer, lady and spectator at the time when the last named is drawing on the drawing board.
To obtain number one set we have again to go to the smallest envelope this timehowever
not showing the printing but slitting it open and revealing the card inside. For message number two the appropriate cardis removed from the compartment of the middle sizedenvelope a similar process being adopted for number three set which appearsonthe largest card in the compartment in the largest envelope. May I suggest thatratherthan leave the envelopeslying on the table thata fairly large paper basket be at hand into whichthey can be deposited. .POSITION OF SPECTATOR AT DRAWING BOARD B. eP0SITIOI OF PEAPDRMER
A.
The Second Test A MATTER OF DESIGN
The lady is blindfolded and she stands at the right hand corner of the platform. A member of the committee is asked to go tothe table. Onit rests a drawing-board to which a sheet of paper is tacked with drawing pins. The persormer tells his audience that he now wishes to demonstrate a feat of telepathy. The performer is facing his audience as he talks and his back is towards the spectator at the drawing board. A gesture of his left hand however towards this helper accompanies the request that he draws on thepaper with the pieceof charcoal pencil at the side some pattern or geometrical design It may be as complicated as he likes. The spectator is told to inform the performer when he has completed the task. When he has done so, the performer asks him to hand the lady a pieceof chalk and then to guide her to the blackboard. When she has beenplaced in a position where it iseasy for her to write, the spectator is to bring the drawing he made to the performer.
C.
.POSITlm OF LADY.
Dotted lfnes i n d i c a t e the path OP Lady towards blackbonsa.
Whenhe informs the performer thatthe drawing is complete he is brought to the front of the stage on the performer's left, the latter still keeping his gaze averted from the board. " Now, sir, I want you to guide the lady to the blackboard . . . . just give her this pieceof chalk as well. (The performer takes a piece of chalk from his pocket, and places it in the spectator's hand). The lady, who is facing front, apparently to co-operate in this part of the routine, extends her right hand. This is quite natural for it is nearest to the spectator. The spectator also quite naturally takes hold of her hand and this means thata complete turnabout results, for the spectator has to move over to the right side of the stage and in guiding her towards the blackboard a quick glimpseof the drawing is made and remembered.
46
The lady, with her back towards the audience, takes up her station in front of the blackboard. The spectator then takes the drawing board and brings it to the performer. Holdingthedrawinginfront of him and not allowing the audience to see what the design comprises, the performer appears to concentrate. (This doesn’t mean that heavy theatricals are called into play, justappearto be in deep thought). The lady commences to draw, and she indicates that she has completed thetask by saying, “That is the picture I appearto be receiving.” At this point, after the lady has moved aside and the full drawing on the blackboard is revealed, the performer turns round thedrawingboard showing thatboth pictures coincide. The performer then places theboard down so that it rests against the legs of the table . Theprops for this effect are really few, a drawing board that will take a sheet of paper measuring sixteen inches by twelve, some drawing pins, charcoal pencil, and blindfold. In many cases the easel and blackboard can be found where one is performing. For the exceptions aportable artist’s easel andablackboardmade from fibreboard make for light gear. The Third T e s t THEQUINTUPLETS
The performer thanks the spectator helped him and asks him to be reseated.
who
Another test is proposed. A pack of blue back cards is handed to the lady whilst the performer keeps for himself a pack of red-backed cards.At this pointa small stand which has beenlying flat uponthetable is erected into position, It is slotted to receive five pairs of playing cards. The lady fansthecards in front of her and withdraws one which the performer takes and places face outwards upon the stand. Spreading the red backed cards on atraythe performer now approachesthe first member of the committee and asks him to touchthe back of onecard.Thiscard is pulled out of the spreadandwithoutits face being shown it is placed back outwardson top of the first card given to the performer by the lady. This procedure is repeated four more times so that finally the performer has on the stand five cards of the lady’s choice and five chosen by various members of the committee. The climax comes when each pair of cards is shown to match. This is a revised version of “ Rhinegold” which published in “ The Phoenix” about seven years ago. In fact a sight of that particular trick might make the reader substitute it for this version.
Requirement8 : One red backed pack of cards. One blue backed pack of cards. Five double faced cards,the same pattern must be on each side. A tray. A stand to hold the cards. This may be made from any material but undoubtedly perspex or lucite are preferable. The illustration here gives an idea of how the stand should be made.
Preparation. Supposing the five double facers are as follows :-twoof clubs, fiveof hearts, eight of spades, Jack of diamonds and ace of clubs. Remove their mates from the blue backed pack and then get hold of some roughing fluid. Place thedouble facers on the table and completely roughen one side, When dry turn the cards over and half roughen the other side. Each of the five cardsfromthe blue backed pack is now roughened over half the face. When dry the half roughened side of the double facer is placed on its half roughened mate so that the two portions of roughing correspond and the two cards may be handled as one. These five pairs of cards are now replaced in the blue backed pack and their names memorised by the lady. The faces of all the cards in the red backed pack are treated with roughing fluid. Both packs of cardsare replaced in their cases and with thetrayandstand at hand you are ready for the presentation. Presentation. Thespectatorwho helped in the previous test and the lady take the seats they occupied at the beginning of the act. Picking up both packs of cards,the blue backed cardsare removed from their case andhanded to the lady. The case is placed aside andthenthe red backed cardsare withdrawn, the case again being dispensed with. Placing the stand in an upright position onthe tablethe performer commences to describe the scope of the test to be carried out, namely one of controlled coincidence. The faces of the red backed pack are casually shown to be different and then the pack is spread upon the tray which in turn is placed upon the table. “ Please hand me the first card,” says the conjurer to the lady, and she removes one of the pairs fromthefan by the
roughened end. The conjurer takes it at the other end with his left hand, then passing it to the right and places itinthe first compartment of the stand. The tray is now taken and the first member of the committee is asked to touch the back of one card. This card is slid from the spreadand without theface being seen is placed back outwards against the card taken from the blue pack. This process is now continued with the remaining four sets of cards. The tray is ,placed aside and the blue backed cards are taken from the lady. Picking up the first set of cardsfromthe stand, the performer says that the chance of the spectatortouchingthe mgt,e ,of thecard chosen
One must congratulate Virgil for obtaining such a fine write-up in theLondon“Times.” Sorcar too seems to be getting tasty write-ups in the local weeklies. We knew that this self styled “ Greatest of theGreats ” would have to play London at some time and as we go to press we hear that he is taking one of London’s theatres, theDuke of York’s for ashort season. If you have not yet seen Richiardi junior please repair that omission should he come your way for here is one of the truly great magical showmen carrying on a family tradition. Kalanag is still breaking records on the continent and as these words appear in print he will possibly be on his way to South Africa for yet anothertourinthat country. ArnoldFurst, who was in London for a couple of days told us of the long review he wrote for the Genii respecting thistruly greatest ofallmodern illusionists. Arnoldwho is like a whirlwind decided that in those few hours at his disposal he was going to see Virgil at Cardiff, Richiardi at Portsmouth and Channing Pollock at the London Hippodrome. Just to hand is a new book from the Armstrong Press, “ Sealed Vision,” by our good friend Will Dexter. It was a long while ago when we saw the manuscript and wrote a forward and it is good to see it in solid book form. For those interested in various methodsof blindfolds that allow limited or unlimited vision, at the price of 17/6 this is a must and we’ll go into greater detail next month regarding the individual contents.
by the lady is fifty-two to one. It could happen by chance that he might match the card, but the lady made certain, she controlled what is known as “ coincidence ” and made the spectator touch the mate of the first card. Here the conjurer separates the- cards, turning round what appears to be the card from thered backed pack, but which, because of the roughing, is actually any card from the red backed pack with one of the roughened sides of thedouble facer clinging to it.The two cards, one red backed and one blue backed are shown to match. The cards are then dropped on. to the table, As each set of cards is taken, the performer builds up the odds against mere chance, To be continued.
One of the most pleasant afternoons and evenings that we have spent recently was in the company of Tonny van Dommelen, whose manipulations with coins or poker chips are a delight to watch. A thing that invariably occurs to us on such an occasion is themanner in which thes.e lovely peopIe the Dutch have become the foremost exponents of continental magic and whilst all praice goes to the individual, a great tribute must be paid to Henk Vermeyden who with his great flair for the true theatre has tended and nurtured these magicians and helped them to win their success. All this reminds us that Fred Kaps will be in America this month. He will appear for the Foreign Press Club and after appearing in the Ed Sullivan TV show will go on to Chicago before returning home to Holland. Henk Vermeyden will travel with him. From our favourite comic magical magazine we read of the recent death of Hofzinser at the age of 75. Next month we shall expect a report on the sudden closing of Maskelynes Theatre. The film, “ Melies the Magician,” first televised on January 3 1st and repeated on Tuesday, April 3rd was most interesting showing as it did some of the early Melies films and also a reconwhich struction of theRobert-HoudinTheatre was acquired by Melies in 1888. It seemed a pity that inone magic sequence circa 1896, thatthe Lloyd production of candles at the fingertips was introduced.
48
I
I ~
A NEW CLOTH
SEALED VISION
BOUND BOOK
BY WILL DEXTER LIVEMAGICIANS on thelook-out for first-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by Will Dexter, for ,jt is a standardwork on allthat is bestin Blindfold effects srd*d&thods.
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, as well as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolcis, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck. Yet in every case the performer has clear straight-ahead vision, whilrt there is nothingmessy (such as dough) or unsure in the methods. The second section describes eight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that canallied be to the use of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensationai publicity stunts that theseblindfoldmethodscanbe used for.Thereisthe BlindfoldDrive, Blindfold Clrcle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LET OTHERS BEAT YOU TOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6 : postage 6d. ($2.50) From the Publishers
TIIE M A G I CW A N DP U B L I S H I N G
COMPANY
6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X
I
cc MAGIC
WAND” PUBLICATIONS ... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Armstrong George Hypnotism Chandu’s Psychoanalysis (Mental
Armstrong GeSfgeRoutine) George Armstrong’s (‘Premonition (Mental Routine) Georgs Armstrong Extra Sensory Perfection Ron Routine) (Mental Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining - with Contact Mindreading S. EdGard Dexter Entertaining with Hypnotism S. Edward Dexter Identity Parade (Humorous mental routine)
I
The MagicCircle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
1
Clubroorn and
Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. NaricaI Theatre :
King George’s Hall, W.C. April 18-Concert King George’s Hall ?articulrrs from Hon. Secretary :
Peter Newcomba 38 Overdale Avenue N e w Malden, Surrey
I
Automentalism (Complete act, with apparatus)
Ken deCourcy
... 211-
Dubbelkross & Simulkross (Coin Routines)
... 1013 ... 1013 ... 1013
Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Ken deCourcy Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
... 1219 ... 1013 ... 1719 ...
... ...
Douglas Francis Mother Goose Mystery (Mental Effect)
Martin Gardner Twenty-Six living & Dead Tests TerelGarrett The Concert Ventriloquist and Children’s Eneertainer Maurice Hurling Stewart James Jamesosophy (Card routines) Etc., Etc.
719 1013 719 I
PETER
WARLOCK’S
PENTAGRAM
I
post free.
BY:
... 25/6
... l0/3 ... 7/9 ... 7/9 ... 5/3 ... l0/3 ...
513
THE DE LUXB “SU-TABLB” together with all his other effects in return for a stamp.
hanuscripts for publication and books for review should be ment to the: EDITORIAL ADDRESS:
Peter Warlock, Wordsworth Rd., Wdlington,
5/3
... 12/9
JACK HUGHES
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
24,
...
will be pleased to send you full details of
is published on the 24th of each monthand can be obtained direct from the publishers for 117 per single copy. AnnualSUbrcriptiOn 18 /-
PUBLISHED
... 20/3
_SUWCV. ___ Every Advertiscr’d goodsare fully endorsid
Writenow
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
~
PVBUIHPD BY TYX PIOPRIRORS
m1 M A a c
WAND I
U
B
~
COMPANY, Q e2 WILLMOTON
by this Bulletin ROAD,LNPIILD.
MIDBLB~IX
A
T H E LADY AND T H E T R A M P A N ACT FOR TWO PERSONS
PETER WARLOCK (Continued from previous issue)
ITH THE conclusionofthethird test, The Quintuplets,’ the cards are gathered up and placed inthewastepaper basket. The audience is then prepared for the fourth test which we call CAUGHT THOUGHTS a visiting card Each spectatorishanded bearing a number corresponding with the number of the chair on which he or she is seated. To the Psychic Lady is given a piece of wood to act as a writing surface. Attached to this board by means of a length of string is a pencil. The performer explains that the Lady will endeavour to send a specific thought to each of the three assistants. Whether they will be successful in accurately receiving thoughts only time can tell. Thecard bearing the number ‘ 1’ isnow takenfromthe assistant occupying the relative chair and handed to the Lady who takes the pencil and writes something upon the card. When the writing is completed the presenter takes the card from her and turns tothe spectator No. 1. “On this card the Lady has written a three figure number. I am telling you this so that your mind can channelitself. Both of us will concentrate on this number when I give the signal word, ‘Ready!’. The number which then flashes into your mind I want you to state aloud . . . . 0. K.!” The assistant signifying that he understands, then awaitsthe signal word. During the short pause, the card held by the presentor is dropped into a glass bowl which rests on the table. With the signal word given, theassistant answers with a number which forthe sake of description we’ll imagine is 379.
W‘
VOLUME 10,
NO. 7
-
The assistant is now handed a piece of chalk and is asked to write this number near the top of the blackboard. When he has done this and the piece of chalk is taken back, he is thanked for his assistance and guided towardsthe rundown or steps. From there he thentakes his place once more inthe audience. The card is now taken from thesecond assistant and handed to the Lady. Again takingthe pencil she writes something. The cardis now taken back by the presenter whoafter looking at it tells the second assistant that on it is the name of a city. rhis card too isdroppedintothe bowl and once more a similar procedure is gone through,the second assistant naming the city that comes into his or her mind when the signal word isgiven. We’ll suppose thatit is “San Francisco.” The piece of chalk is handed to him and he writes underneath the first assistant’s number the words, ‘‘San Francisco.” The chalk is taken back fromhim and his helper is also returned to the audience. The final phase of the test is to come. The third assistantis relieved ofhiscard which is given to theLadywhooncemore writes. It is takenfromher by the presenter, who, after glancing at it, drops it into the bowl. “ This test,” says the presenter “ is the hardest of all. Up till now theLadyhas projected two thoughts with thehope that the helpers who were here might be successful in receiving them. Thistimeshe hopes to control more thanthe mind. This pack of cards (At this pointa pack of cards is taken and the faces fanned to the audience) is arranged in an order known to the Lady. I am going to spread them face downwards on this tray
l/6. (20 Cents)
APRIL 1956
50
and hold it in front of you. Place your hand aboutthree inches abovethecardsatone end ofthe row. When I say “ Ready ” move your hand along the row still keeping your hand above the cards. Don’ttry to anticipate, but when youappearto receive some impulse allow the first finger of your hand to touch the card immediately beneath it. Is that fully understood? ” With an affirmative reply, the presenter, gives the signal word, and the assistant moves his hand acrossthecards. Suddenly his finger falls upon one,and thiscard, still face down, is pushed of the pack out of thzspread.Theremainder is gathered up and placed aside. Leaving the tray momentarily with the assistant the presenter now writesonthe blackboard immediately under the name of the city a large question mark. “ Just slip the card in your pocket for the moment, sir” says the presenter to theassistant,and with this the tatter is relieved of the tray which is then placed laside. Followingthisthe writing board is taken from the Lady and replaced on the table. “ I want you now sir, to go to the bowl and take fromit the cardmarked No. 1.” The assistant moves across to the bowl and takesthecard numbered l . “ The Lady ” says the presenter “ wrote something upon the card for the assistant seated in Chair No. 1. He was to make an attempt to receive this number when ittook theform of athought.Thenumberhe gave was 379 ! Please read out whattheLadywrote upon the card ? ”
The assistant reads out. “ 7 h e thought I want “ The Lady,” remarks the presenter “ was successful with the first assistant,” andthen moving tothe blackboardhescores through the number 379 with the piece of chalk
bowl and reads aloud, “ I shall w ~ l lyou to touch the buck o f the three of spades.” Turning to the blackboard the presenter scores through the words, ‘ Three of spades.’ Climax. I have purposely given a deal of space in the description of this test in orderthatthemain pointing is present when it comes tothatpart dealing with presentation. The handling and action throughout is most natural and the final climax is a good applause winner.
The requirementsFour large visiting cards. A glass bowl large enough to hold three visiting cards sideby side.
A piece of chalk (This is already to hand).
A rough and smooth forcing pack, the force card of which we’ll suppose is the ‘ T.hree of spades.’ A writing board with pencil attached.This board is subjected to certainpreparation which we’ll describe underPretmration.
Obtain a piece of fibre board measuring seven inches by nine. You’il also want a piece of wood veneer, the kind which is mounted on paper so that it can be used for lining walls etc. A piece of this is cutto the same size asthe fibre board. Half way downits length acut is made with a sharp knife. (See Figure 1). The veneer is now glued on to thesmooth side of the fibre board a space being left as shown in Figure 2.
you to rccritle is 379 !”
“ Now, sir, takethe card numbered 2. In thiscasetheLady projected inthoughtform the name of a city. The recipient translated this “ San Francisco.” Please read out thoughtas what is written on the second card ? ” The assistant reads aloud. “ ‘My thought for you is San Fruncisco.” Againthepresenter scores throughthewords, ‘San Francisco.’
‘‘ Your test,” says the presenter to the third assistant, “ was the most difficult and your card lies in the bowl. The Lady tried to will movement in your case. Will you please remove from your pocket the card you touched and for the first time allow us all to see it? ” The assistant removes thecardfrom his pocketand we’ll suppose that it is thethree of spades. With the chalk the presenter now writes on the blackboard. “The three of spades.”
‘‘ Finally, sir, remove the card marked No. 3 romthe bowl and read what theLady wrote fupon it? ” The assistant takes the card from the
Here in effect you have apocket, a pocket whose edge is almost invisible if the job of glueing has been efficiently carriedout.Atthe end of the .board, oppositeto the pocket, a small hole is drilled. This is to take one end of a piece of string the other going to the blunt end of a pencil. Onthe blank sides of two of the visiting cardsatone end,thereader using Indianink, prints in reasonablylarge letters, “ CARD No. 3,” Takingtheothertwocards he numbers these respectively CARD No. 1 and CARD No. 2.
51
On thesame side asthenumber on one of the No. 3 cards, the message, “ I shall will you to touch the Thrtte of spades ’’ is written in pencil. This card, writing side uppermost, is tucked into the pocket of the writing board so tkat just writing over half an inch of it protrudes.The board is placed pocket side uppermoston the table the rough and smooth pack in its case being placed ontop of it so thatthe projecting part of the card is hidden. The three remaking visiting cards are placed on top of the card case whilst the bowl lies close to it on the table. Present:I tion
The numbered cards are taken and handed to the assistants. Those seated in the audience near t o thepresenter will also be able to see that there are numbers on the cards. When the cards have been distributed,the presenter turns back to the table, his left hand taking the board and the pack on it with his left hand. His right hand comes across and takes the card case, placing it on the table, and at the same time his left thumb comes across over the projecting piece of card hiding it. Theboard is then tilted pocket side away from the audience and handed to the Lady. The card numbered ‘ one ’ is taken from the first assistant and handed to the Lady who rests it upon the board. She pretends to write and when thepresenter moves across to her t o takebackthecard she simply removes the Number three card from the pocket and hands it to him. He takes it, numbered and written side away from the audience, and drops it numbered side uppermost into the bowl. The distance and position of the table from the assistants on the stage makes it impossible for any one of them to see the number on the card. Now the build-up takes place, the first assistant namingathree figure number.Additional effect can be obtained by the presenter, after the assistanthasannouncedathree figure number, saying, ‘‘ I am afraid that you’ve got one figure wrong, will youtry once more? ” Thenumber given is thenrecordedon the blackboardand helper dismissed. As he writes, the presenter stands between him andthe bowl so that once again
there is no chance of thenumber on the card being glimpsed. If, however, the reader likes to play safe, thecardcan always be dropped number side down. The second card is taken and the Lady starts writing. This time she actualls writes not upon the second card but upon the number one card which she retained. She gives the number statedby assistantnumber one. Thiscard is thentaken the bowl. by the presenter 2nd droppedinto Incidentally the bowl should be large enough to accommodate the cards side by side. The second assistant nowreceives (?) his thoughtandafter he has recorded it upon the blackboard. he takes his seat. Thethirdcard is thentakenand handed totheLady. She simply slips it into the pocket, pushing it right down 5 0 that it is completely hidden and then writes on the second card the “ City ” thought. This is taken by the presenter and dropped into the bowl. Thenature of the final test is explained, thecard case being takenandthe forcing pack removed. The faces of thecardsarecasually shown and then the tray is picked up and the pack ribbon-spreadacrossits surface. Theassistant touches the back of one card and this he places in his pocket, the remaining cards being picked up and replaced in the case which is then dropped onto the table. Inthe pick up of the cards it as is best todo this in suchamannerthat many faces as possible can be glimpsed. The rest is purely presentation, the climaxes being arrived at as previously described.
THE RIDDLE OF THE NUMBER This,thefinalphase of theroutine, is a prediction of a chosen telephone number. The means for accomplishing it are extremely simple. At themomentatesthas been concluded which has left thethirdassistant still upon the stage. Thank him andask him to be re-seated. Explain to the audience that the Lady has shown themfour phases of mentalphenomena.Now comes a most important test, a test of prophecy. As the presenter speaks he picks up a slate and piece of chalk and hands them to the Lady who quickly writes something onthe slate. Glancing atit thepresenter places it writing side down upon the table. Four London telephone directories are then introduced andone is chosen by theassistant, the three unwanted ones then being placed aside. The assistant is furtheraskedtoopenthe directory chosen wherever he likes and finally two telephonenumbers are chosen which are written upontheblackboard by the presenter. Atthis pointthe assistant is asked one final favour, namely to go down into theaudience and approach any member of ithe wishes. This person is to decide which of thetwo chosen numbersshall
52
betheone to be used. Whateverthe choice the slate is picked upto show thatthe Lady has been asaccurateinprophecyas she has in all the remaining phenomena. Requirements
One slate with loose fitting flap. Four London Telephonedirectories (Never carry these unless you canhelp it forthey are very weighty.Most places you will visit in the London area will have them. For those outside the London areahowever I think it better to bear the weight and that these massive tomesshould beused ratherthanthe spindly efforts which are so often to be found in smaller cities.
A special little gimmick which we’ll describe underPreparation
Do you remember an effect that aroused quite a lot of popularity before the War. I think it was called ‘ Wordo.’ It consisted of a little mask carryinga hole. The idea was that this mask, after being placed on a page, was moved about until the spectator told the conjurer to stop. The word showing throughthe hole was one predicted by theconjurer.The ruse was simple, merely that a small piece of printed paper was glued behind the hole in the mask. Inthe second volume of “ Mainly Mental ” C . L. Boarde gives some space to this subterfuge andit is one of his versions that is used here. Take a visiting card and cut from the centre a rectangular piece of such size that in length it measures thelength of the telephone exchange and ntlmber and in depththree numbers. Now take a small piece of cardboard and with a piece of sellotape hinge it at the position shown in Figure 4.
On to the underside of this flap paste a piece cut from a telephone directory so that when the flap is down two numbers can be seen clearly as shown in Figure 5 whilst the top and bottom of the adjacent numbers can also be visible. Nowonthe slate proper write the lower number, and to make it easy for the Lady place the flap on top and write on it in large pencilled figures theuppernumber.The slate, flap side uppermost, is placed on topof the fourdirectories and providing that there is room these should be placed at the right hand side of the table. If not, a n extra chair should be brought into play and used as a resting place for these articles.
The little card is placed inthe presenter’s pocket. The piece of chalk should be theretoo. If wearing tails use the waistcoat pocket, if dinner suit, inthe right handcoat pocket.
Presentution.
The presenter outlines the test that is to take place which is to prove the illimitable powers of the Lady. He takes the slate and chalk and hands it to her. Slanting the slate towards her she writes over the pencilled letters and figures the first telephone number. She retains the chalk whilst the presenter, who takes back the slate, glances at it for effect, and then places it on the table flap side down. Just a word here. So that there can be an easy pick up of both slate and flap if need arises, and after all it is an even chance, the bed of the slate shouldoverlapthe edge of the table very slightly. One other point. If the flap has to be left behind, and let me mention it at this point that there is nobody other than the presenter and the lady on the stage at that time, it is impossible for it to be noticed unless the audience is positioned in such a way that they can look down on to the table. If such is the case rather than any attemps at trying to match the table I suggest that the side of the flap that is likely to be exposed should be covered with white paper and that at thepoint where the slate is placed down a few sheets of
53 similar sized paper should be placed haphazardly. This method of concealment by exposing can be -more effective than most attempts at matching.
thing I have to ask you and that is to return to the audience andapproach any member of it. Will you do that please? ”
The telephone directories are taken and handed to the assistant with the request that he choosesany one. When he hasdone this, the three unwanted ones are taken and replaced either upon the chair or table.
The assistant steps down and walks up to a member of the audience. To this person the presenter says, “ On the blackboard we have two numbers, yours shall be the final choice!Which one shall be the ultimate and which one shall I erase and forget? ” Thespectator indicates and taking a handkerchief, the unwanted number is rubbed out. “ One number remains . . . FLAXMAN 2740. Taking the slate and either keeping or losing the flap, he holds it in front of him, with the writing sideexposed. “ Orie number from hundreds of thousands; don’t you think it a little more than strange that the Lady has proved her powers of prophecy ! ” The slate is then turned round and the number is revealed.
The assistant is then asked to open the directory wherever he wishes. Whilst he is doing this,the presenter has removed thefakedcard and the piece of chalk from his pocket. “ You’ll want this piece of chalk in a minute,” he says to the spectator. “But now in front of you, you have a book containing many thousands of names and numbers. This little piece of cardboard wlll help as a guide in your choosing one or two of those numbers. You’ll notice (and at this pointthe presenter takes the directory and places the card upon it, thehinged part being folded back allowing the assistant to see that up to three numbers just fill the small window) that three numbers just fill this little window. Just choose a column, sir?” As this issaid the hand holding the faked card movesaway from the page and the little flap is allowed to drop. At the same time the fingers of the hand cover the window. The assistant indicates a column and the presenter places theca r d at the top so thatthe window is in line with the numbers. “As I move the card down, I want you to stop me whenever you wish.” The assistant says, “ stop ! ” and with the card held in position the fingers moveaway from the window. “ How many numbers can you see?” the assistant is asked, and he answers “ two.” “ Will you tell us what they are? ” The assistant says aloudthetwo numbers he can see. “Will you write them on the blackboard please.” The assistant moves across to the blackboard, the presenter still holding the book. The numbers are written uponthe blackboard. When this is completed, the presenter slips thecardinto his pocket and closes the directory placing it aside. The reason for keeping thebookopen is that should the assistant fail to keep both the numbers in his mind the presenter can look at the book and remind him. The task of the presenter is to dissociate the means of selection fromthe ultimate effect. He thanks the assistant and then says : “ Sir you have chosen one telephone directory from a number. That directory was opened at any page by you and then in the fairest possible mannertwo numbers were chosen. These YOU have written upon the blackboard. One final
That concludes the routine and if well presented should bring far more kudos to the Lady than she deserves for each and every test is really a one man effect, the handling giving credit to the female partner who can learn all she wants to know in less than half an hour. At the beginning I mentioned that the routine could be lengthened by adding other standard or published effects. Such lengthening would only arise where the performer wasgiving a fairly lengthy show and in which this phase would help to fill up the time. The effects most suitable are:“ The Giant Memory test ” (This of course does involve some work onthe lady’s part, but well and speedily presented it is something that always makes a talking point with an audience. “ The Prophetress ” (Patterns for Psychics) This is a prediction effect that could be substituted for the telephone test described. Actually the effect could be the same, the conditions even more stringent. As described, the need for a screen to place around the medium is essential. “ Mental Epic ” or “ Taped Slate ” could be used asan alternative means for presenting “ Caught Thoughts.”
With a special type of audience a psychometry test based on the well known item of Annemann’s would be effective and again for such an audience “ Seven Keys to Baldpate ” has points to recommend it. Any of the items from “ En Rapport ” could also find a place though in these the part of the medium means a litlle more learning and concentration.
54
MY CHOICE PETER WARLOCK AY BACK on page 37 of Volume 7 of the Pentagram, my good friend Jack Avis contributed a very nice coin item which he titled, “ Your Choice.’’ Since that time, liking theplot very much, I have played around with anumber of versions. In each and every one, simplification of workingand elimination of unnecessary moves has been the aim, and in the method to be described, there is, strangely enough, no sleight of hand at all. In fact it almost becomes a self working coin trick. The Eflcct This remains the same as that described by Jack,but if you haven’t the necessary copy of the Pentagram handy, we’ll give it briefly. A two shilling piece anda penny are borrowed, each being marked by the lender. They are pIaced togetherunder cover of a handkerchief which with its contents is held at the fingertips. One of the spectators is now asked to state whether he prefers copper or silver. According to his answer one of the coins is removed fromunderthe fold and held in the hand. We’ll suppose that it is the penny. The handkerchief containing the florin is now droppedinto a glass. With amuttered, “ Hocus Pocus,” the penny changes into the florin which is returned to the lender, whilst the person who loaned the penny is asked to take the handkerchief and retrieve his property. Requisites Oneflorin. A cambrichandkerchief. A stemmed goblet. Preparation The florin is on thetable and just above and concealing it lies one corner of the handkerchief. The goblet is placed near the front edge of the table. Presentation The left hand takes the handkerchief andcoin as one from thetable,the coin is settled into a finger palm position whilst the right hand comes across and takes the handkerchief. This is done in acasual idle fashion,andtheperformer goes on to ask for the loan of the two coins stressing upon the would-be lenders the need for marking them in such a way that they will easily recognise them later. With the coins forthcoming, the handkerchief is replaced onthe table. The left hand takesthe penny at the fingertips whilst the right takes the florin. Each coin is balanced upon the second finger of each hand asin Figure l . The performer demonstrates to his audience a littleknownfact, namely, that by allowing the edges of the coins to lightly touch each other a clearringing sound is produced. The real purpose
W
of this by-play however is to lettheaudience see that only two coins are in play, for whilst this. is being done the finger palmed florin is perfectly concealed. Having demonstrated this curiosity, the thumb slides the penny back onto the fingers. so that it covers the palmed florin. The florin in the right hand is now tossed on top of the penny and the left hand drops slightly so that the two coins can be seen. (Figure l ) The left hand comes acrossand with the thumb undermost and the first and second fingers. on top thethree coins are lifted from the left hand, and as they are brought up to shoulder height the florin belonging to the spectator is pushed towards the left whilst the performer’s florin lies hidden behind the penny as in Figure 2.
The left hand now takes the handkerchief and the right hand places the coins within its folds. Actually, immediately cover is afforded by the handkerchief, the hidden florin is pushed forward so that the coins are in the position shown in Figure 3. The left hand grips them all throughthe handkerchief in this position and the right hand comes fromunderneath genuinely empty.The choice of acoin is asked for,and according to what is namedtheperformer either leaves or takes it away for actually he must reach under the handkerchief and apparently withdraw the florin. Actually when his right hand goes under and into the folds he takes his own florin and the penny, the latter being hidden whilst the former is shown. The actual position is shown in Figure 3. / --
55
The left hand now dropsthe handkerchief .and coin within it into the glass goblet, allowing the coin to strike the glass through the nandkerchief just before it goes in. The left hand comes across to take the florin -from the right and this manner of take is important. At theactual moment thatthe left hand reaches the right the latter is almost palm uppermost, whilst the left hand fingers ‘point down as in Figure 4. The left hand thumband second finger grip the edges of the exposed florin,bnt simultaneously the right second finger slides the penny forward
so that it lies immediately under the half crown. The left hand, moving a little to the left, maintains the position of holding the coin at the finger tips, whilst the right hand moves away and picks up the goblet by the stem. With amuttered incantation, the left hand is raised and held so that the penny is seenheld by the thumb and finger, the florin being perfectly concealed. Momen?arily placing down the goblet, the penny is taken by the right hand whilst the florin drops back into a finger palm position. All that now remains is for the lender of the florin to remove the handkerchief fromthe goblet and find inside it his original piece of money.
JOKER TRANSFORMATIONSEXTRAORDINARY H E R B RUNGE N PENTAGRAM, page 35 of Feb. 1955 issue, is a fine trick by Harry S. Burnside and Charles W. Cameron. I liked the plot but when I practiced it by myself I found that it wasn’t very convincing for me to bring the kings on the top of the pack andstrip them out with thecards that the spectator had pointed out, and that were half way out of pack. So here’s what happened. The top nine cards are, four kings face down, indifferent card face downandthenfour aces face up followed by the rest of the pack face down. Force one of the kings-put it on the table face down nearone edge. Fan the pack face up so thespectatorcantouch any card. Let us say the card touched is the ten of hearts.Take it out and lay it on the table in front of you. Holdthe pack up so they cannot see what you aredoing now, then remove still another ten spot and place it face down on top of the one already on the table. Find still another ten. Lay this face down on top of thetwoalready there. Nowfanthroughthe pack and find the joker. Place this on top of thethree tens-all cards face down. Now hold the pack face downinthe left hand, pick up the four face down cards (the three tens andthejoker)and place them on top of the pack, face up. Before you do this however, you get a little finger break with the left little finger under the top three cards of the pack. These are the three kings. With the four cards now face up on top of pack you are going to show them one at a time to the audience. This you do as illustrated and described in Tarbell Course, Vol. 5, on page 117, and is the trick called “ Ed Marlo’s Simplex Aces.” Show them then, a ten, another ten, then another ten, and then the joker. Then remove the joker and place it on table face up.
I
Place the three tens into the pack, reversed them according to the original text. Tell them that the three reversed cards match the selected card. (Face down near edge of table). The card is now turned over and it is a king ! Put the joker on top of the pack, face up. Ribbonspreadthecards face down, revealing the three face up kings. Take them out and give them to the spectator. Tell them that the joker helps out a lot but you will put him away forthe timebeing. Get a little finger breakunderthe topfour cards. (The threetensandthejoker).Takethejoker plus the top three tens and hold them as one card, the joker facing out towards spectators, and place it into the right trouser pocket. Have the four kings mixed by the spectator. Then continue as in the original text, getting the required cards on top of the four kings. Cut of the bottom half of the pack, ribbon spread it and insert thefour kings (they think) into this half, as explained in text, face down. Square up this half and turn the cards face down. Get thejokerfromyourpocket and leave the other three cards (the tens) behind. Place the joker on top of this half face up, ribbon spread this half on the table, and show the kings are now all’aces. In the meantime, cut the other half in your hands ; this brings the kings to the centre, face up. Turn this packet face down, put the joker on top face up. Ribbon spread the packet thus showing kings in centre and also face up. Tell them this all happened due to the influence of thejokers. When they ask about the tens--bring them out of thetrouserpocket and show. Our patter goes to the effect that the joker is a wonderful card and helps us to get out of many difficult situations.
56
A NEW CLOTH BOUND BOOK
SEALED VISION
BY WILL DEXTER LIVEMAGICIANSonthelook-out for first-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter,for it is a standardworkon all that is bestin Blindfold effects an3 hethods.
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine t o fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described n o less than fifteen fake blindfolk from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck. Yet in every case the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough)or unsure in the methods. The second section describeseight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can dbe i e d t o t huse e of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.ThereistheBlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery,etc., and in addition a fullstage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’TLETOTHERSBEAT YOU TOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6:postage 6d. ($2.50) From the Publishers
T H EM A G I C
WANI) P U B L I S H I N G C O M P A N Y
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X cc MAGIC
WANIb” PUBCICATWNS
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental Armstrong Routine) George George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection (Mental Routine) Ron Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. EdwardDexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
... 7/9
... 21/... ...
10/3
... ... ...
10/3 12/9 10/3
...
7/9 10/3
1013
... 17/9 ...
... 7 / 9 I
The Magic Circle President: Herbert J. Collings, Esq. Vic6-President : Francis White, Esq. Clubroom and Library
and Museum :
Hearts of O a k Buildings, Euston Road, London, N . W . l . Magical Theatre :
King George’s Hall, W.C. June 9-Concert King George’s Hall ?utlculan from Hon. Secretary :
Peter Newcombo 38 Overdale Avenue N e w Malden, Surrey
PETER
Automentalism (Complete act, with apparatus) Ken de Courcy Dubbelkross & Simulkross (Coin Routines) Ken deCourcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramray’s Cups and Balls (cloth bound) VictorFarelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic) DouglasFrancis Mother Goose Mystery (Mental Effect) MartinGardner Twenty-Six living & Dead Tests TerelGarrett The Concert Ventriloquist and Children’s Entertainer Maurice Hurling Jamesorophy (Card routines) Stewart James Etc.. Etc.
... 20/3 ...
5/3
...
10/3 5/3
... 12/9 ... 2516 ... l0/3 ... 7 / 9 ... 7/9 ... 513 ...
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased townd full details of
you
is published on the 24th of arch month and can be obtained direct from the publisherr for 117 per h g l e copy. Annual Subscription 18 I post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
together with a11 his other effects in return for a stamp.
hanuscriptr for publication and books for review should be rent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrey.
A N D ?1INFIID BY HBRBPRT W A L K P R & SON (FRINlXRd
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
LTD., BRIDGE WORKS, S I K L E Y ,Y O R K S H I R E
N.W.9.
A BOW TO U. F. GRANT PETER WARLOCK HOSE conjurers inthis country who had the privilege of seeing Gen. Grant’s film that was brought over by my friend Mystic Craig, sawsomedelightfulpiecesofdeceptivemagic. One that took my fancywas a trickwith a miniature nest of boxes and a coin. One point in the handling did not appeal to me, and playing about with the boxes the followingshowylittle routine was evolved. The conjurer requests a spectator to lend him a shilling. The date is to be noted and a mark of aome sort madeupon the coin so that future identification is madeeasy. The same spectator is then handed a smallpiece of tissue with the further request that he wraps the coin into a little parcel. Taking the wrappedcoinwithhisright hand finger tips, the conjurer, with his lefthand, takes from a hat a smallcircular box. The coin in its wrapping is placed inside and a lid is placed on top. The box isplaceddownmomentarily whilsttheperformerpicks up a handkerchief. The box is then placed beneath the handkerchief and given to the lender of the coin to hold. At this stage it isplain to the audience that the performer has nothing concealed in either of his hands. “ I have another box in the hat,” he says “ and I would like you to hold this in your other hand.” He then reaches insidethe hat and removes a similar box which he hands to the lender. The performer now introduces what he calls a lucky coin. It is a penny.Wrappingthis in a smallpiece of paper heplaces it upon a tray, asking someone with a lighted cigarette to apply theburningend to thepaper.Thereis a flash and it is seen that there neither paper nor penny upon the tray. “ Just give the box you are holdmg to your neighbour for a moment and sec what youhaveinside the boxinwhichyourshilling wasplaced. The spectator removes the hand-
T
VOLUME 10, No. 8
-
kerchief and opening the boxfinds that inside there is the performer’s penny wrapped in paper. He is now instructed to open the other box. He does so and finds inside another box. On this being opened still another box and with a repetition a fourth, which upon being opened reveals a small parcel. With this unwrapped the spectator finds his original shilling ! Requirementr.
Some flashpaper. Two similar looking pennies An opaque handkerchief Two smallnests of boxes, the smallestof whichis capableof holding a shillingwhen wrapped in paper. One hat A metal ashtray Preparation. so that they Cut twopiecesofflashpaper measure two and a half inches square. Another pieceis cut measuring two inches square. Wrap one of the larger pieces around the penny.
Now take the outer box of one of the nests and inside it place the wrapped‘penny.Then replace the lid. This box is then placed underneath one corner of the handkerchiefwhich can be looselybunched on therighthandsideof the table. On the left of the table is placed the hat. The ashtray is placed inthe centre of the table.
I /6, (20 Cents)
-
MAY 1956
The second nestisdealt with in a manner known to allthosewho saw the film. All the boxes are removed one at a time, and then the lids are nested and so are the boxes. This nest of boxes without lids is placed inside the hat. The nest of lids is then placed b;.hind the hat. Finally the lucky penny is placed in a pocket and the pieces of paper remaining, the smaller on top are placed on the ashtray. Presentation.
The spectator is asked for the loan of a coin and whilst this is being brought to light and marked, the performer takes thesmaller piece of flashpaper, handingit to the spectator with thefurther requestthathewrapsit aroundthe coin. The little parcel is taken at the fingertips of the right hand whilst the left goes inside the hatand removes the nest of boxes.Very deliberately the parcel is placed inside, and then, the right hand quiteemptyreachesdowntakes hold of all the lids as one and places them on top of the nest of boxes. Because of the perfect fit, it appears that one lid has been placed on one box. The latter is now placed at tkke front of the table. The righthand now takes the handkerchief and box concealed underthecorner.Thehandkerchief is draped over the left arm as in Figure 1.
The box is retained in a fingerpalm positionin the right hand. Taking the other box from the table with the right hand, the performer apparently places it behind the handkerchief. Actually what he does, immediately his right hand is out of sight is to push the nest of boxes into his left sleeve whilst the right hand travels forward taking the handkerchief in its trail. See Figure 2.
Theaction is most deceptive andthe left hand fingers take hold of the centre of the handkerchief andthe box beneath it. The left arm rises slightly to allow the nest to settle down to the elbow. The performer walks forward and gives the handkerchief and box beneath it to the spectator who loaned the shilling. With the words “ I have another box inthehat,”the left hand reaches inside thehat.Thisaction achieves its objective by allowing the nest of boxes to slide down the left sleeve into the performer’s hand. The hand is now removed from the hat holding the box, which the spectator is asked to hold in his other hand. The performer now takes his own penny from his pocket. Thelarger piece of flashpaper left is alsotakenandthecoin wrapped inside, using the conventional coin fold. The little packet held by the right hand is wrapped against the table top and then the left hand comes acrosstaking what appearsto be the complete package. Actually all that is taken is the covering, the coin sliding into the fingers of the right hand which without any pause reaches down and picks up theashtray. The latter is held so that it covers the coin and as theemptypackage is placed upon the tray, the coin inthe right hand is pressed upwards and allowed to strike the bottom of the tray. To the audience this piece of audible misdirection gives evidence that the coin is still within the wrapping. A spectator with a cigarette is asked to place the lighted tipagainstthepaper.There is a flash nothing being left onthetrayitappearing that both paper and coin have disintegrated. Still holdingthetray in his right hand, the spectator is asked to abandontemporarilyone box whilst he unwraps the handkerchief and sees what is inside the box he has been holding. Of course he finds the performer’s penny, wrapped in paper, and this is taken back on the ashtray and placed on the table, the duplicate coin being left underneath. Finally the nest of boxes is opened and inside theinnermost is foundthe missing shilling piece !
59
THREE DICE-FIFTY
TWO CARDS
ROY WALTON HE conjurer places three dice and a pack of cards upon the table. ‘Whilst my backis turned,’ he says to a spectator ‘ I wish you to pick up one of the dice, roll it and note the number uppermost. Count down the pack until you find the card represented by that number, look at it, replace it and then on top of it place the cards youhave dealt off from thetop of the pack.’ The spectator does all this, and then without turning round, the performer extends his arm behind him and asks that the pack be handed to him behind his back.
T
The spectator isgiven further instructions. He 1s to roll the other two dice, and then to group the three dice together so that if the performer turns round no clueisoffered as to whichdice was thrown first. This is done and the performer turns round placing the pack on the table against the three dice. ‘Which was the diceyouthrew first? ’ is the question to the spectator, and on it being pointed out, the diceis taken by the performer and dropped into his pocket. ‘Just total up the topmost numbers on the twodice remaining, numbers which I think you’llagree cannot have been known to myself.’ The spectator does this and is then asked to count down to the card at that number from the top of the pack. At that number the spectator finds the card he originally chose ! This is a neat pieceof almost self-working card chicanery that Roy has passedalong.All you’ll require is a pack of cards and three dice. Have the pack shuffledandplaced upon the table. Now bring out the three dice from your pocket and place them alongside. Turn round and make the request to the spectator that he rolls one of the dice noting the uppermost number. We’ll suppose that it is ‘three.’ He now counts down to the third card, noting it and by reassemblage
leaving it in the same position. Extending his arm behindhim, the conjurer now takes the pack and whilst giving the further instruction regarding the throw of the remaining two dice, he actually counts off the eleven top cards of the pack into his free hand. In the processthey are reversedin order. These eleven cards are then placed on top of the pack. With the remainingtwodicethrown and all three grouped’ together. the conjurer turns round. All he has to do is to note the total of the uppermost numbers onall three dice. He has a key number which is tugelue. If the total number of spots 07 the dicecome to this total he does nothing further other than place the pack he isholding upon the table. If the total is above twelve a number of cards representing the differenceis transferred from the top to thc bottom of the pack. Should the total be less than twelve a numberof cards representing that difference is transferred from the bottom to the top of the pack, the pack then being placed on the table. The firstthrowndice is then taken and dropped into the pocket.With the total left the card will automatically turn up at that number. Naturally a good thumb count is called for, but in view of the fact that immediately he turns round the performerisaware of the number hewishes to move, and has adequatetime to stall for the count as points out the impossibility of his knowing the original number doesn’tmake this a verydifficult task. If the transfer is from top to bottom, there is really little need to transfer the cards. They can bepalmed off, the same hand taking the first throwndice and then ditching dice and concealed cards in the pocket.
A LETTER FROM FRANCIS HAXTON 5th May, 1956 Dear Peter, I have just been going through the effect ofJack Avis’s in the Current Pentagram entitled PUZZLE FOR WANTONS. With my usual difficulty and misunderstanding the instructions another method of working this effect has occurred to m e and one which for my part I would find better. It also eliminates the method described of reversing the ace.
60
You proceed as in the Pentagram up to the point wherethe left hand runs off the ace and the card under, in other words, the Double Lift. Now instead of turning the pack over and pushing out the topcard with the thumb, you do this. There is a double lift ( I don’t know where I read it) which with theaid ofthe left fingers which are holding the two cards down, you push up the cards with the left thumb and continue to do so thus turning them completely over and face down on the face up packet. Actually they protrude slightly over the side of the packet when the move is completed. Now you start to turnthe packet face down, but when you have the pack at right angles to the table your left thumb starts to push off the top cardand the fingers of the left handto draw t h e under and ace card back on to the face of the pack. When the card has been pushed a suffici‘ent amountoff the pack it is placed on the table, face down. The packst in the left hand is then broughtback to the right hand packetand you continue to look for and place out the remaining aces in the same way, You will see from this that theaction of apparently dealing the aces on the table automaticallyreverses the aces in the pack. I do hopeyou can follow all this, I have only writtenas I have thought, without any attempt at a proper description. All the best, Yours,
FRANC I S HAXTON
AGAIN THE DEADNAME PETER WARLOCK HIS version of the “ Dead Name Test ” which has received quite a deal of attention when I have used in my “SweetSimplicity’’ lecturehas a few points whichwill interest all those who like this brand of divination CUM telepathy. The effect quite briefly is that after a spectator has written down the name of a dead person on a slip of paper which is folded and handed to another spectator for safe keeping, facts are given respecting the dead name and finally the name itself is revealed by the mentalist.
T
Requirements and Preparation.
Three slips of paper measuring approximately three and three quarter inches by two and three
quarter inches. Each slipis taken and folded first in half widthwise and then twice lengthwise. This is a standard fold well described in Annemann’s “ One Man . Mental and Psychic Routine.” When the folding iscomplete run the nail well along the edges. The reason for this is that with the slipwhich is to be handed to the spectator, a well creased paper makes him automatically use the same folds when he is asked to refold.Ifhowever, the folding is sloppy hemay fold it insomeocherwaywhich may well prove embarrassing to say the least. One of the folded billets is now unfolded and thatpart which is the inside iscoveredwith a good -adhesive. It isrefolded and allowed to dry under pressure. Whencompletely dry, the
61 performer has what appears to be another billet, but whichinrealityis a thickpieceof paper easilyhandled and which cannot unfold. This sticking of the paper is by no meansessential but it doesmake for veryeasyhandling at a particular stage of the effect.
The remaining billet folded is placed in the left hand trousers pocket. One other thing isrequired and that is a fairly soft leadpencil,say 2 or 3B with a cap which carries a rubber eraser in the top. This pencilwith the coverover the point isplaced in the outer breastpocket. On the table there should be a pack of cards in its case. With these preparations made you areready for the presentation.
to the spectator. First ofallhe takes back the pencilwithhisrighthand,replacing it in hisbreastpacket. The right hand now takes the spectator’s billet at the fingertips. As he holds it hegestures towards the spectator with this hand saying, “ On this little slip of paper,sir, you have written a name . . . . a nameofsome fairly famous or perhaps infamous person. I am not at the moment greatly interested inthat name, but rather I wish you to think of when he lived and what he did. I intend to try and receive those thoughts. For themomentthisgentlemanover here I wish to act as a referee.Wouldyou hold this slip for the moment.” At this point the mentalist switchesthe billets so that a member of hisaudience on hisleftisgiven to hold the blank billet whilst the paper written upon by the spectator is held in a fingerpalm position in the right hand. Any method of switching,providing that it isdeceptive,willsuffice. The switch I use myself isdescribedin “Patterns for Psychics.” It is a hand to handswitch and well handled is completely deceptive. Ifhowever the performerintendsusing a singlehandswitch, naturally, unlessheisleft handed, the extra billetwillhave to be on the right side and stolen from that position. The left hand now takes the glass by the stem, and as the performerremarks, “On this other slip of paper, I intend to note the thoughts I receive from you,” the right hand comes up and iscuppedwhilst the solidbillet in the glassis tipped out on to the palm of the right hand as shown in Figure 2.
Presentation. The performer tells his audience that he would like to show them an experimentintelepathy. For this he will make use of two slips of paper. At this point hegestures towards the glassand taking the topmost billetremoves it withhis left hand. It isunfolded and thensaying that he wishes a spectator to write upon it the name of somepersonwhoisdead, but whoseworkis still alive such as an artist, musician, poet, writer etc., he hands it to a member of the audience who is seated in the front. Without pausehe takes with his right hand the pencil, removes the cap, places it on the non-writing end of the pencil and hands it to the spectator. The timing of this action must be such that the spectator has no chance to use his own pencil or pen. Whilst the spectator is writing, the performer turns away, and without turning round asks whether the spectator has done as he wasrequested. When the answer is in the affirmative the spectator isasked to refold the paper. Ashe has turned away, the performer’sleft hand has gone to his trousers pocket and obtained possession ofand fingerpalmed the third billet. This hand with the billetisnowwithdrawn as the performergoes
The thumb pressesdown on the solidbillet andslides the spectator’s forward. Again the move is most natural and there is not the slightest reason for anyone to think that a switch is being made. l he left hand replaces the glass upon the table and coming up to the right hand aids the latter in unfolding what to the audience is another piece of paper but which in reality is the spectator’s paper. Thelefthandleaves the unfolded paper held by the righthand, and taking the cards in the card case from the table brings it up to act as a writingdesk.Theright hand places the paper on top of the card case but allows the solid slip to go underneuth where it is held hidden by the fingers of the left hand. The righthand now free goes to the breast pocket and removes the pencil.
You will also require a liqueur or champagne glass. Into this glass before commencing the effectplacefirstofall the prepared billet and crosswise on top of it one of the unprepared billets. (Figure 1)
62 By now the performer has noted the name written uponthepaper and with, we hope, sufficient knowledge of what this person has done helookstowards the spectator who wrote the name. First of all, sir, I want you to think of the period when the dead man lived. To make a case we’ll suppose that he has written “ Dickens.” “ I get the impression, sir, that you are thinking of the nineteenth century ! . . The performer writes at the top of the paper “ 19th century ” . . . “is thatcorrect? . . . Thespectator answers in the affirmative. The performer starts writing again. He puts down the word, “ Writer,” but to thespectator he says . . . “ You have in mind a painter. Am I right?” The spectator will certainly say “ No ” “ Funny ” says the performer, but that was the impression I got. Never mind, sir, I’ll try again.” With this the pencil is’ turnedroundandthe apparently wrong information e r a s e d . What actually happens however is that the word “ Dickens ” written by the spectator is rubbed out leaving only the words, “ 19thCentury ” and “ Writer ” ubon the slip. Now at this point depending upon his skill as a psychologist and the ability to lay the right bait, the performer can either play safe by writing in his own handthe words “ Charles Dickens,” and finishing the effect, or alternatively he can tryand get the name of a work of the dead man. By forcing a quick choice using the formula, “ Now sir, think of something that he wrote,” said very quickly the odds are in favour of “ Pickwick Papers”or “ Christmas Carol ” coming up in a case ilke this. A judicious
piece of fishing before writing it down will help the performer. If successful howeverhe has turned quite a good effect into something that will never be forgotten by the spectator. Whether or no, the name of the dead person is written down, the pencil is returned tothe breast pocket, whilst the left hand replaces the card case on the table with the solid billet underneath it. The paper held by the performer is folded once and handed back to thespectator who wrote the original name. “ Don’t look at it forthe moment, sir, because forthe firsttime I am going to see and read out from the paper over here (at this point the performer steps up to the person holding the dummy billet andtakes it from him) . . . . the name you wrote down in the first place. Unfolding the dummy bilfet and opening it out,the performer at first sightseem to have it upside down, for he turns it around (this is an effective touch) so that he can apparently read what the spectator wrote. The performer looks up and says . . . . “On this piece of paper you wrote the name Dickens.” . . . . I also asked you to think of one of his works. Wha? was that work, sir? The name of the work is given.Willyoupleaseread out everything that I have written on that slip of paper? Thespectator reads out . . . . “ 19th Century . . . Writer, PickwickPapers, Charles Dickens.” Apure case of telepathy I think, sir,” says the performer.
.
BLUFF CARD STAB RAVELLl AVELLI who is a young Swiss student, showed this very effective version of location by card stabto Jack Aviswho was good enough to pass it along to the Pentagram with Ravelli’s permission. It is an individual handling and although requiring llttle skill needs assurance. Hesitancy will kill the effect ‘and possibly expose the method. Let Ravelli tell the story himself. I have played about with many knife forces and have tried inserting knives all around the pack. Although many of the moves described have their points, to me many of the actions are unnaturaland with the object in mind of attempting an easy and natural location or force the method to be described was evolved. When I have shown ititsappeal has been apparent to magicians and laymen alike.
R
The effect is brief. A spectator takes a card from a pack, looks at it and replaces it in the pack. A second spectator is handed a knife and he is asked to push itintothe pack at any spot he wishes.When the pack is seperated at that very point the chosen card lies above the knife. Requirements.
A pack of cards
A knife. Presentation
The two spectators you intend using you should beplaced right and left respectively. There should be nobody behind you !
63 Show the cards and then approaching the spectators on the left force him to take a known card. The purpose of this force is to obviate a glimpse which would otherwise be necessary. Ask the spectator to look at thecardand rememberit. He is not to show it to the other spectators. The pack is now fanned and you ask him to replace the card. To allow this the cards are seperated near the centre the spectator’s card going on the lower portion whilst the remaining cards go on top. In this processhowever you have inserted the little finger beneath the chosen ( ?) card and this break is maintained as the pack is closed and squared up. The packis kept in the left hand with the fingers naturally held against the right side whilst the thumb lies along the fore-edgekeepingthe pack well squared. Addressing yourself to the spectator on the right at the same time handing him the knife. Tell him he may insert the point of the knife anywhere in the pack and in so doing he will automatically find the card chosen by the spectator on the right. Now a word or two regarding the insertion of the knife. It should not go into the pack less than ten cards from the top or bottom. The reason for this will aparent later. If the spectator should stab the pack at such a point, it is best to say, ‘ No, I am afraid that you are wrong, try once more.’ (Actually it is seldom that this is likely to happen). With the insertion of the knife there are three alternatives. 1. The knife can go above the break. 2. It can gobelow the break. 3. It can enter at the break (This last alternative has occurred several times). Let us take case 1. In this case you ask the spectator with the knife to lift it slightly. As he does this you grab thecards above the knifewith the right hand. The hold is important, the thumb being at the inner right corner whilst the second thirdand fourth fingers at the outer end of the pack with the firstfingerlying alongside the second finger
above the left side of the pack. Ask the spectator to move the knife a little higher so that the knife is about three inches above the break. At this point you bring the cards up leaving the spectator holding the knifesome few inches above the pdck. Now comes the vital partof the effect.You look towards the spectator saying, ‘You will agree that I separated the cards at the point whereyou stabbed the pack .. . . is that correct? He will answer in the affirmative. As you say this you have turned the packet in the right hand so that the bottom card faces you. No glimpse of this card must be caught by any of the spectators. Look towards the spectator on the leftsaying, ‘Would your card be the . . . . of .. . . (Naming the force card). Apparently you are naming the card that you are looking at. Your right hand turns down again and the packet of cards cut off goes down ontop of the remaining cards. At this point the spectator will undoubtedly say ‘Yes.’ Synchronising withthis the right thumb picks up the cards above the break adding them to the packet. The hands separate again the lefthand placing its packet to the leftof the table whilst the right hand moving towards the right of the table turns over its packet exposing the force card. The timing of this adding ’ action is most important and smoothly performed there is no suggestion that anything has been lost or added. You have confirmed by your action that cards chosen by the spectator has been found by his colleague. Incidentally in the turnover of the packet, it is the first finger pulling upwards which makes for a smooth revealment of the faces of the cards. In the second case the difference is that after the cards have been lifted, the right hand thumb taking care of the break, the cards underneath the selected card are released and not added. Of course if you are very lucky the spectator achieves the miracle for you.
BOOKS “PASTEBOARD PARADE ” by Jim Merlini (George Armstrong, price 7/6).
and fair shuffling of the pack seeming to preclude any order of the cards. “ Siamese Coincidence ” which follows sounds excellent. A “ Speller ” trick
64
I
I
SEALED VISION
BY WILL DEXTER LIVEMAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as conlbmed Mentalists will welcome this latest book by WillDexter,for it is a standardwork on allthat is best in Blindfold effects and methods.
A NEW CLOTH BOUND BOOK
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, as well as being eminently practical. In the seventy odd pages there are described n o less than fifteen fake blindfolris, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over theeyes and heavy cloth bags placed over the head and tied round the neck. Yet in everycase the performer hasclear straight-ahead vision, whilst there is nothingmessy (such as dough) or unsure in the methods. The second section describer eight more blindfold methodsusing unfaked blindfolds such as aurgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to the use of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.Thereisthe BlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
Thebook is finely printed, fully ilhstrrrted, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket YOU TOTHE USE OFTHESESENSATIONALEFFECTS DON’T LETOTHERSBEAT Price 17/6 :postage 6d. ($2.50) From the Publishers
PUBLISHING COMPANY
T H E MAGICWAND
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X cc MAGIC
Routine)
George Armstrong’s
George Armstrong
@‘ Premonition ”
Routine) Ron (Mental
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. Edward Dexter Entertaining with Hypnotism S. Edward Dexter Identity Parade (Humorous mental routine)
Will Dexter
Prerident: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
’ ~
~
Clubroom and Library and Museum :
I
King George’e Hall, W.C.
July 13-Annual General Meeting H O ~ .
... 2013 Ken de Courcy ... 513 Zodiac Telepathy ( A complete act) Ken de Courcy ... 1219 John Ramray’r Cups and Balls (cloth bound) Victor Farelli ... 2516 Thanks toLeipzig! (Card Magic) Victor Farelli ... 10/3 Sptctator’s Choice (Miscellaneous Magic) Douglas Francis ... 719 Mother Goose Mystery (Mental Effect) Martin Gardnsr ... 719 Twenty-SixLiving 8 Dead Twts TerelGarrett ... 513 Ken de Courcy
... 211... 1013
Dubbelkross & Simulkross (Coin Routines)
... 1013 ... l2/9
... 1013
... 1719 ... 719 ... 1013
...
The Concert Ventriloquist and
719
PETER
Maurice Hurling Children’s Enkrtainrr Stewart Jamea Jametosophy (Card routines) Etc.. Etc.
... 10/3
...
5/3
WARLOCK’S
PENTAGRAM published on the 24th of owh month .ad direct from tho p u b l l r h . ~for 117 per ungle copy. Annual Sukaiption 181post free. PUBLISHED BY:
U
JACK HUGHBS will be pleued to mend you full details of
c m be obtained
THE DE LUXB “SU-TABLB”
The Magic Wand Publishing Co.
Yadcal Theatre :
from
Automentalism (Complete act, with apparatus)
W
I
Hearts of Oak Buildings, Euston Road, London, N.W.l.
Puticu1.n
... 719
... 1013
(Mental Routine) George Armstrong
Extra Sensory Perfection
The Magic Circle
PUBLICATIONS
WANI)
Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Secretary :
Peter Newcornbe 38 Overdale Avenue New Malden, Surrey
I
62 Wellington Road, Enfield Middlesex hanuscripts for publication and books for review should be rent to the: BDITORIAL ADDRESS:
24,
Peter Warlock, Wordaworth Rd., Wellington, Surrey
together with all his othw effects in return for a stamp. Write now to
Jack hug he^, 2, Evtlyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goods are fully endors d by this Bulletin IN ROAD,INIIELD.
MIDDLESEX
A
A SIMPLIFIED NEWSPAPER TEST EDMUND ROWLAND N PENTAGRAM for November, 1952, under the tltle of “AnImpromptuTorn Newspaper Test,” I described a method of tearing a borrowed sheet of newspaper into 32 pieces so that one particular piece, which had been briefly memorised duringtheactual tearing, could be made to appear at any given number from the top of (he pile. Several magicians have since told me that they liked the effect, but all have agreed with me that the tearing of the paper was rather slow and difficult to do successfully unless they were working at a large table. I was therefore pleased when I recently discovered a method of simplifying the tearing and of speeding up the whole effect atthe same time. Instead of tearing the paper into halves. then intoquarters, then into eighths, and so on, itis merely folded smaller and smaller, and then the folds at the edges of the resulting bundle are all cut away together with a pair of scissors, so that you still finish up with a pile of separate pieces as before. A spectator isthenaskedto count down to the piece which is at the number he has chosen and, when he has taken it out, you proceed to tell him what is printed on either side of it.
1-
As some of you will not want to turn up the original description before you read any further. or will not have thatparticular copy of Pentagram at all, I had better describe the rest of this simplified version as if it was an entirely new effect. As soon as the sheet of newspaper has been borrowed you make a quick mental note of the main contents of the rectangular portion which is shaded in the following illustration. This can be done as both sides of the paper are being shown to the audience, or as you are waiting for someone to come forward to assist you. It is this portion of
VOLUME 10, No. 9
-
the paper which you are going to force. At the same time you ask for someone to call out any number less than 32. The paper is then folded into a half, then into a quarter, again to an eighth, again to a sixteenth. and finally to a thirty-second of its original size. The exact order ‘and positions of these five separate folds are indicated by the heavy lines in the illustration. They are easy to remember if the main part of the folding is done with your right hand, and if the paper is always given a quarter of a turn clockwise after each fold is made. Each of the folds canbe made either upwards or downwards; in other words, if the half which is nearer to you is kept in a plane which is parallel to the floor, the other half(which is nearer the audience) can be folded either on top of it or beneath it. Which of these is actually done as each fold is made will determine the position of the chosen portion in the final pile. It is only necessary, of course, to place it in one of 16 possible positions from the top, because the other positions, from 17 to 32, are found by turning the whole pile over and counting from the bottom. The folding must therefore be done according to the instructions in the following table. This is not quiteas complicated to understand and follow as it might appear at first, and there is no reason why you shouldn’t have a copy of it hidden behind something on your table for easy reference. Those of you who have tried the original method of tearing will find that this table is similar to the one which I gave for that, but I think you will also find that the folding and the final cutting of all the folds together with scissors can be carried out more easily, more neatly, and more quickly than the separate tearing.
I/a. (20 Cents)
-
JUNE 1956
66 If this is to be the position of the chosen piece of paper from the top 1 bottom,
24 21 19 17
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
32 31 30 29 28 27 26 25 23 22 20 18
the outer half must be folded back on top the of innerhalfduring the following fold(s)
1 2 1&2 3 1&3 2&3 1,2&3 4 1&4 2&4 1,2&4 3&4 1,3&4 2,3 &4 1, 2, 3 & 4
CUBIT EDMUND ROWLAND HIS IS a kind of divination effect with numbered cubes. The apparatus consists of three cubes, a simple stand on which to arrange them,anda four-sided cover or chimney which fits around them. These are shown in Figure 1, and the cubes are shown separately in Figure 2. The tops and bottoms of the cubes are blank, b u t each of the other sides bears a singlefigure. One side of each cube bears the figure 0, and the remaining nine sides bear the rest of the figures from 1 to 9. Thestandhasa shallow recess into which the cubes can just be fitted side by side, and there isa thin upright piece of wood at each end of this recess to hide the figures at the ends of the row. When the cover has been dropped over them the numbered faces of the cubes are effectively hidden so that nobody can possibly know which figures are facing the audience. The apparatus is given to a spectator who is askedtoarrange the cubes on the stand in any order he chooses to form a three-figure number. Some .of the audience might suppose that he has a choice of something like 899 (that is 999-100) different numbers, but a little calculation will show you that he is really limited to a choice of 216 (that is 9 X 6 X 4). The exact range of choice need not be mentioned, of course, for the fact remains that it is still too large for anyone to discover the exact arrangement of the cubes by mere guess-
T
work.
In spite of this, you are always able to discover the number whichis facing the audience evenwhen the cubes have been covered by the chimney, and to reveal it in any way that you choose. The secret depends upon the factthat the cubes are not completely coveredevenwhen the chimney is in position, though even if the audience realises this they are not likely to attach any significance to it, for it is only the tops which are visible and these are completely blank. The cubes have been made very carefully, however, so that they arequite identical except in one very small respect. In each case they have been cut so that all the edges and corners are quite sharp or pointed except for one corner at thetop of one of the cubes, two corners at thetop of another, and three corners at the top of the third which have been slightly blunted or rounded with a file or some fine sandpaper. To the casual observer this small amount of preparation is not noticeable and only the person who knows what to look for can make any use of it. The way in which it can be used to tell youthefigures on the fronts of the cubes is indicated in Figure 2 where the rounded corners are heavily marked for clarity. Suppose that you are standing behind the cubes and facing the audience. If the cube which has only one rounded corner is in a position which makes this the front left-hand corner, the figure which is facing the audience is 0. If it is the front
67 right-hand corner, the figure is 1; if it is the back right-hand corner, it is 4; and if it is the back lefthand corner, it is 7. A glance at the rest of the illustrations willshowyou that the positions of the other,two cubes can beeasily spotted in a similar manner if you imagine them turning in a clockwise direction. For example; if the arrangement is the one which is shown in Figure 3, the number facing the audience mustbe 620, which is also the number appearing on the cubes in the stand in Figure 1.
n2.
The onlydifficulty, therefore, is theactual manufacture of the cubes. They must be cut from very close-grained wood, and given a thin coat of hard enamel if this isneeded, so that the grain of the wood does not show and suggest a method of detecting their relative positions. The best material from which they could be made would be solid plastic, but this would probably make them more expensive. On the other hand, they can be made as small or as large as you prefer, but it is obvious that they must be treated fairly carefully and not thrown about, or you will soon find that all the corners have been accidentally chipped or blunted, and then you will not be able to work the effect at all. For this same reason the chimney and stand should fit together fairly well so that theywill help to protect the cubes when the apparatus is being carried in your case. I think youwiil agree that this is rather different from the usual type of divination effect with coloured rods or pencils, and I hope that you might prefer it to the usual “ think-of-a-number ” problem which calls for a certain amount of meaningless calculation on the part of the spectator. In this effect the spectator’s part is quite simple and straightforward, and there is also very little for you to remember-or forget. Manufacturing and Selling rights reserved by Edrnund Rowland.
RIGHT FROM LEFT EDMUND ROWLAND T ISN’T often that one comes across a mathematical effect which lends itself to comedy, but here is an amusing item which can be used in almost any kind of show. It is quite impromptu and requires no amount of preperation at all. A number is written on a slate, and someone is asked to divide it by any number which he cares to think of between 5 and 10, and to concentrate upon the remainder. Although you cannot possiblyknow the number he has chosen, you promise to reveal the remainder in a rather novel way. As he is busily working out the division you pick up a rectangular piece of plain paper, fold it twice in half (from top to bottom, and from side to side), and then proceed to tear it as shown in the first illustration. Instead of dropping the pieces onto your table or the floor,they are given to another spectator to hold. The reason for this will be obvious in a moment. When the pattern which you have torn is half opened out, the result is a figure 0, as shown in
I
the second illustration, and this you announce as the anumber on which the spectator is concentrating. But wait a moment. He is shaking his head, and even beginning to smile, as if you have made a mistake. “ I’m sorry,” yousay. “ Isn’t that the number you are thinking of? Oh yes, of course; I haven’t opened the paper out completely.” As you are saying this you open it out to form a figure 8, as shown in the third illustration. But the spectator is still shaking his head, and probably laughing at you. With some apparent embarrassment, for you have really been caught this time, you fold the figure in half down the centre to form a figure 3, as shown in the fourth illustration. But even this is wrong, and by this time most of the audience are amused. The only thing that you can do is to throw the paper away and go on to something else. “ There doesn’t seem to be anything else left,” you say. The mention of there being anything left, however, seems to suggest a way out of your predicament. “ I really am beingcareless,aren’t I ? I seem to be forgetting what I am doing. I’m
68 supposed to be telling you what you had left whenyou had finished the division. So let me see what I had left when I had finished my little bit of paper tearing.”
A
You immediately turn to the spectator who has been holding the torn pieces and you ask him to open them outand count them carefully onto your hand. He does this very willingly (because he has been wondering what he was supposed to do with them), and finds that there arefour separate pieces, as shown in the fifth illustration. And now it appears that you are finally correct, for the first spectator turns the slate to show that this was the actual remainder to the sum. In the final round of laughter and applause (?) which follows,you collect your slate (and the piece of chalk) and proceed to your next effect. The secret is simply that the number which you . write on the slate is 508 because the remainder when this is divided by 6, 7, 8 or 9 is always 4 and cannot be anything else. The papertearing really works itself, so unless you have been unlucky enough to pick on someone who is quite hopeless at arithmetic, you have nothing at all to worry about.
MULTIPLE ADDITION EDMUND ROWLAND IGURES OF FOO, whichwas put out by Jack Hughes some time ago, is one of the best mathematical effectswith apparatusthat I know. I was told about the effect before I saw it performed or advertised, and I began to try to discover a method of working it at once. When, later on, I finally learned the original method I discovered that my own was rather different. Quite naturally I prefer my own, for although the performer is required to do a little calculation before he knows the final answer, it will still fool anyone who knows the original, because none of the chosen figures appears in any definite order in the answer. As the original effect has been on sale for some time, I do not think that any harm can be done ifmy method is published now. The effect, of course, is thataspectator is given several flat strips of wood with a different column of figures printed or painted on both sides of each. He is asked to arrange them in any order, by fitting them intoa corresponding number of slots in a simple stand, so that an ordinary addition sum consisting of several large numbers is formed. (I prefer to use cardboardstrips which can be easily clipped across a’ small blackboard, and I use fourstrips with six figures on each side-though the number of strips and the number of figures on each can depend on the individual performer.) The spectator is finally asked to add the numbers together. Although he might be able to do this very quickly, you are always able to announcethetotal before hehas finished, and apparently without giving more thana casual glance at the arrangement of the figures.
F
As the left-hand column can be chosen in eight different ways, the next one in six, the next in four, andthe last in two, there are actually 8 X 6,X 4 X 2, or 384, different ways of arranging them all, and a corresponding number of possible totals. The figures on both sides of the strips which I use are shown below, and this illustration can also be taken to represent two possible arrangements. The two different answers are therefore shown underneath as well.
3
4 5 3
72
The figures in each column appearto have been chosen quite casually but as a matter of fact you will find that the total of any separate column is exactly six times the fourth figure from the top. It follows from this (and it might be a little sur-
69 prising to some of you) thatthetotal of any possible arrangement of all the strips is always six times the whole number on the fourth row. Thus, thetotal of the first of these particular arrangements which I have illustrated is six times 5367, and the total of the second is six times 7562. All that you have to be able to do then is to glimpse the number on the fourth row and multiply it quickly by six. Thiscan be done under cover of writing the answer on a separate blackboard, but it is an added advantage to be able to do it mentally. You will find that this is not too
difficult, for you have only a four-figure number to remember. It is not necessary, of course, for the figures which give you the clue to the total to be on the fourth row; they could just as well be onany other. They are not very likely to be detected by anyone because the only column of figures which produces a multiple of six in the ordinary process of addition is the one on the extreme right. The other separate totals are increased each time by the addition of the tens figurewhich is carried forward from the right.
EDMUND ROWLAND N " 202 Methods of Forcing " Annemann described a type of box which made it possible to know the number of spots on the top face of an ordinary die which had been shaken inside. The secret was a loose flap whichwas just big enough to prevent the die from turning over on to another face. This gaveme the idea for my DIVIDEDDIE BOX whichwas published in The Wizard for September, 1954. This particular box was made by soldering a semi-circular metal " flap " inside the lid of a round tobacco tin so 'that the whole box was divided into two separate compartments. If the lid was puton so that the die was shaken about in the deeper compartment it could turn over quite freely, but if it was put on so that the die was shaken about in the shallower one the number on top when the lid was removed was bound to be the one which had been on top when the lid was put on. A small disadvantage, however, was that no one could be allowed to catch a glimpse of the inside of the lid. When I was clearing out some old tin boxes from my workshop recently I realised that an even better die box with a flap could be made (without any soldering at all) if one happened to have the right sort of boxes available. Both the outside and the inside of this box can be shown quite naturally, and no one need suspect that it is anything but an ordinary box. Yourequire two metal boxes of the type which have straight vertical sides and a separate sharp edged lid which comes more than halfway down the side of the box when it is properly on. Unfortunately, most round boxes seem to have eithera bulge on the bottom half (to catchthe bottom edge of the lid) or a lid with aturned over rim (like the average tobacco tin) and you will see in a moment why neither: of these is suitable. I suppose that something could be done by trying different lids and bottoms together, but the box which I am using at the moment was made
I
from two rectangular tins which once contained Horlicks tablets. Take one of the lids and cut a circular hole, about half-an-inch in diameter, at the centre of it. Then push it ontothe bottom of theother box. If you are lucky it will not be either too loose or too tight. If it is too tight you might ease it a little with some emery paper. If it is too loose you might try the effectof making one or two small dents near the edge from the outside with a blunt nail and a hammer. Now,since each lid would normally come more than .halfway down or halfway up the side of the box, it follows that, if the bottom lid is on as far as it will go, the top lid will be only partly on (Figure l), and, if the top lid is on as far is it will go, the bottom one will be only partly on (Figure 2).
The real bottom and sides of the box can therefore be thought of as a moveable flap. A die in the box in Figure 1 willbe able to turn over quite freely, but in the shallower box in Figure 2 it will be able to move only a little way up and down without turning completely over. In actual use the die is shaken about several times in the box in Figure 1 to show that different numbers come to thetop each time. But before the lid is removed when the die has been shaken freely for the last time, the bottom of the box is pushed up into the top lid by pressing with your middle finger through the hole in the bottom lid.
70
The box is thus made slightly shallower, as in Figure 2, and when the die is shaken again you are able to announce the number on the top before the lid is removed, or the number can be used in some other effect. The main part of the box can be pushed down into the bottom lid at any time before the top lid is replaced.
The box is therefore self-contained, and there is little danger of the flap beinglost. The inside of the lid and the box appear quite normal, and the outside can be freely shown if the hole in the bottom lid is covered for a moment with your fingers or thumb. It isjust the sort of thing to carry around in your pocket.
BOOKS ‘‘SEALED
VISION ”
by Will Dexter (Published by George Armstrong, Enfield,price 17/6) The annals of successful magical publicity are replete with descriptions of blindfold drives, blindfold messages deliveries and even blindfold walks. In this well printed and illustrated book of some 70 pages, that able magician and journalist, Will Dexter, by dividing ,his subject into four sections, describes the most important phases of seeingwhilst apparently blindfolded. Partone deals with methods in which the magicians can see through the bandaging, whilst Part Two gives variants of bandaging allowing fora downward glimpse.Amongst the 20-odd methods explained there are many originalities. Part Three takes into account subtleties which help in the exploitation of “ sightlessvision,” whilst the closing chapter, after dealing with the blindfold drive, letter delivery and cycle ride, gives a suggested programme for stage use. To complete the book an appendix of suggested effects culled from books and magazines are noted with the appropriate references. is unreservedly Excellent value, it recommended. Three Scarne publications have just come to hand; they are “ Scarne on Cards,” “ Scarne’s Magic Tricks ” and “ Scarne on Card Tricks.” These three editions have been putout in this country by Messrs. Constables and retail at 35s., 12s. 6d. and 8s. 6d. respectively. Whilst the original American editions of the two books dealing with tricks have already been reviewedinthesepages at one time or another, “ Scarne on Cards ” has not. This book does not touch on conjuring in the true sense, though it has a large section dealing with “ cheating.” This by
itself should commend its reading and digestion by any card conjurer for it does givehim much of the true technique of card cheats. Its many photographic illustrations show typical “ Gambling House ” supplies which include marked cards, peek mirrors, holdouts, etc. The remainder of the book is taken up with descriptions and rules of modern card games. Again one feels that for the card conjurer this is animportant section. So very many card conjurers that we knowhavenoaffinity for card playing, and yet at the same time, card games have quite a tie-up withmany card tricks. One has only to think of the many Poker routines that have appeared both in books and magazines, and yet there appears among mostEnglish conjurers a complete ignorance regarding this International card game.Because of this particular factor, I know that some years back when listing a necessary list of books that wouldserve the modern magician as a working library, “ Scarne on Cards ” was included. Its choiceprovoked from Dariel Fitzkee a criticism that it didn’t deal with magic. Neither forthat matter does a book on stage make-up but it contains a source of knowledge that a catholic minded magician who aspires to greater things than performances in back parlours, should have by him and certainly need at some time. This book appears to be the American edition with an English binding. It is a worthwhile book with a vast amount of informative writing. The two books on tricks are produced in smaller form than their American forebears. “ Scarne’s Magic Tricks ” contains over 200 effects. All of them are easy to perform and none require any special apparatus. The book dealing with card magic contains some 75 effectsmost of which have aristocratic parentage. They have been simplified and streamlined so that any kind of skill is unnecessary.
71
MAGIC-GO-ROUND T is always very pleasant to have a complete issue of thePentagramfrom the pen of one writer. Actually this is the second timethat Edmund Rowland has performed this feat and I know that my own thanks are coupled with those of our readers. The next issue is alsoa one-man effort the contributor being that well-known personality, Bobby Bernard. Bobby whose ‘ gen ’ on close-up magic and pocket tricks fills me with amazement always seems to come up with some excellent slants on tricks which are capable of being given a story theme. Altogether he has 10 items in the next number and its our betting that we’ll see at least a couple of them on TV before the Pentagram has been published a fortnight. It wasvery nice alittle while back to have the pleasure of meeting thatgreatphotographermagician, George Karger. AtEricdela Mare’s on one of the few fine afternoon’s of this Summer we sat with a fascinated group getting the lowdown on so many American magicians we have heardaboutbut never met. Laterthatday we went along to the complimentary dinner given to Paul and Mrs. Fleming and some fellow American at the CoraHotel. Leaving out the matter of the meal it was a delightful evening, in which magic wasn’t taken too seriously. During his very short stay in America, Fred Kaps greatly impressed the people who really matter.Although handled rather badly by the production staff in the Ed. Sullivan show, his true charm and outstanding qualities brought the right kind of show people to him and the right kind of enquiries. Some few weeks back we received a copy of “ Ibidem,” Canadian a publication produced, directed andretailed by P.HowardLyons who counts the coin at P.O. Box 561, Adelaide P.O. Toronto,Ontario,Canada.Itretails at 50 cents a copy and is published approximately quarterly. We have now received the first five issues and for the sum of two dollarsfifty cents they represent for the intelligent magician one of the finest ‘ buys ’ in magic that we have come across in recent years. In the issue following the Bobby Bernard number we are running two effects from this delightful publication. One is an unpublished E. G. Brown effect and the other is a trick with a plot based upon it. In these days for the purchase of a publication which is published abroad, the reader will have little difficulty inobtaining the necessary sanction for the export of sterling from his local
I
bank manager who will then arrange a mail transfer to pay for the magazine or magazines. Despite what magicians may think about their own craft, it is fairly patent that the variety profession as a whole does not regard it so highly despite the big partthatithas played in show business over the past 60 years. In. the Jubilee V.A.F. Television Show, notone magician was represented. The British Ring Convention is not so far aheadand this year the attendance at Brighton looks like .beating all previous records. The gala show contains some gnteresting names and the Grant film, twice the length of the one shown last year at Southportcontains some 24fine visual effects. Coming back to magazines, how many readers of this paper are members of the Society of American Magicians? N.U.M. the monthly publication of this Society has, during its six years of publication under the fine editorship of Milbourne Christopher been built upto become an outstanding magazine in which news, informative articles and some truly excellent magic take their place. At the moment a series of first-class closeup routines called “ Top Secrets of Magic ” by J. G. Thompson, junior is being serialised. As many as 27 photographic illustrations go to the description of one effect. Thisalone gives the reader a a first rate lesson from a first ratebrain. Again payment could be made direct to America for this service and those interested should write to the Vynn Boyer, National Secretary, 93, Central Street, Forestville, Connecticut, U.S.A.We only wish that the two largest magical societies in this country had magazines comparable to those by the two largest American Societies for certainly to-day amongst society publications there is nothing to touch either the “ Linking Ring ” or “ M.U.M.” Asfor some of the smaller societies over here who putout a monthly publication, were it not for the fact that we well know their members as being enthusiastic and good magicians, we might, fromtheFourthForm style of writing think that we were reading areporton a society for the propogation of adolescents. Channing Pollock now onaEuropeantour should be getting better weather than we are having over here now. Italy, the Riviera, Scandinavia and Belgium will all have the pleasure and privilege of seeing this outstanding magician. No doubt after his date in Belgium in early October, magi in this country will have once again the opportunity of seeing his beautiful act.
72
SEALED VISION
BY WILL DEXTER LIVE MAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter,for it is a standard work on allthat is bestin Blindfold effects and methods.
A NEW CLOTH BOUND BOOK
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine t o fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolds, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck. Yet in every case the performer has clear straight-ahead vision, whilst there is ndthingmessy (such as dough) or unsure in the methods. The second section describeseight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to the useof blindfolds, the property plot, stage setting, psychological approach to the audience and so.on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.ThereistheBlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEATYOUTOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6 :postage6d. ($2.50) From the Publishers
T H E M A G I C WAND P U B L I S H I N G C O M P A N Y 6 2W E L L I N G T O N
R O A D , E N F I E L D ,M I D D L E S E X
MAGIC WAND e PIUBLICATIdDNS Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass George Armstrong Hypnotism Chandu’s Psychoanalysis (Mental Routine) George Armstrong George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection (Mental Routine) Ron Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. EdwardDexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and
Library and Museum :
I
I
Hearts of Oak Buildings, N.W.I. Euston Road, London, Yagical Theatre :
King George*s H a l l , W.C.
Summer Recess ?utlcolan from Hon. Secretary :
Peter Newcombc 38 Overdale Avenue New Malden, Surrey
I
... 7/9
... 21/.., l0/3 ... 1013 ... 10/3
... l2/9 ... 10/3 ... 17/9 ... 7/9
... ...
10/3
7/9 I
PETER
Automentalism (Complete act, with apparatus) KendeCourcy Dubbelkross 81Simulkross (Coin Routines) Ken deCourcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramray’s Cups and Balls (cloth bound) VictorFarelli Thanks to Leipzig! (CardMagic)Victor Farelli Spectator’s Choice (Miscellaneous Magic) Douglas Francis Mother Goose Mystery (Mental Effect) Martin Gardner Twenty-Six living & Dead Tests TerelGartett The Concert Ventriloquist and Children’s Eneertainer Maurice Hurling Jamesorophy (Cardroutines)StewartJames Etc.. Etc.
... 20/3 ...
5/3
...
10/3
... 12/9 ... 25/6
... 7/9 ... 7/9 ... 5/3 ... 10/3 ... 513
WARLOCK’S
JACK HUGHES
PENTAGRAM
will be pleued to send you full details of
is published on the 24th of each month and can be obtained direct from the publbhen for 117 per single copy. Annual Sukription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE’
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects inreturnfor a stamp.
hanuscripb for publication and books for
review should be sent to the:
EDITORIAL ADDRGSS:
Peter Warlock, 24, Wordrworth Rd., Wallington,
I
Write now to
Jack Hughee, 2, Evelyn Ave.,
Colindale, London, N.W.9.
surtw.
Every Advertiser’s goods are fully endorskd by this Bulletin PUBLISHED BY THE PROPRIBTORS THX M A U C W A N D P U B W Y M Q COMPANY, 67 WPLLIWQTQN ROAD, ENPIELD, MIDDLESEX AND PRl?Jl’BD B1 HEUBPRT WALKER (L #ON (?RINTERd LTD., BRlDQE WOnKS, 8IIPLEYs ‘IORKIRIRB
T H E BOBBY BERNARD ISSUE
I
WAS very proud when Peter Warlock approached me sometimeagoand asked me if I would contribute a complete issue of the “ Pentagram.” It is with a mixture of that pride coupled with pleasure that I place before you a varied budget of magic. All the effects have been
fully tried and tested and each has that novelty and clarity of effect, so important in the presentation of close-up magic to a lay public, who, with a surfeit of televisionmagic, require all effectsthey see to have a simple and straightforward plot.
ETHEREAL COINS
T
HE transposition of two coins has been featured in many variations over the past half century, ranging from the silver and copper transposition in “ The Modern Conjurer ” down.to a version ofmy own in the ‘‘ Triad ’’ I recently contributed to “ Abracadabra.” With few notable exceptions most of these transpositions have taken place using cover such as a handkerchief, but I think that it would be generally recognised that such transpositions without any form of extraneous cover achieve a greater impact upon the onlookers. In this version which I have used over a number of years the handling of the coins atall stages is clean and deliberate. The time taken for the effect is about thirty seconds. First of all the performer removes from his left hand trousers pocket a half-crown and a penny. The coins are well displayed on the left hand and it is plain that there are only two coins. The coins are then tossed upon the open right hand and the left hand is seen to be empty. “ Two coins and an empty pocket,” says the performer and accompanies the words by pulling out the left hand trousers pocket. He flicks it to prove its emptiness and then pushes it back again. The coins are now tossed back on to the left hand. “One coin goes into my pocket and the other into the right hand.” No mention of which coin goes into either hand or pocket is made at this stage and so to the audience. the destination of the coins would seem immaterial. The thumbof the left handrests upon the two coins and then turning thelefthand uppermost
VOLUME 10, NO. I0
-
over the right hand palm the .penny is allowed to drop, the half-crown being retained. The coin in the left hand is now placed in the left hand trousers pocket. The left hand now takes the penny from theright hand and with the words. “ I merely toss the penny into the right hand and it vanishes,” the action is suited to the words, the right hand fingers closing round the coin.When the fingers are opened again, however, the coin is still there. Looking rather puzzled, the performer repeats the action a couple of times and still the penny remains. He does it once more and with the fingers of the right hand closed round the coin he extends the right hand asking a member of the audience to touch it. Upon opening the hand, the penny is seen to have changed into a half-crown. The left hand then removes the penny from the left hand trousers pocket which once again is shown to be empty. Now for theexplanation which I hope will not disappoint you. First of all the pennyshown at the beginning of the effect is entirely freefrom guile. The same, however, cannot be said of the half-crown, for this coin is backed with a penny. First of all the half-crown used should be in a mint condition so that the tails side can easily be distinguished by touch. To the heads side the penny is a a e d by a metal worker. If, however, you don’t wish to go to the trouble of having a faked coin made up. a good alternative isto get two matching pennies and polish the head side of one with “ Chromit.” a chromium-plating compound easily obtainable at
I/6. (20 Cents)
I
JULY 1956
74
any ironmongery store and whichgives a true silver effect. If this is done it will be necessary to nick one side of the prepared coin, so that as the coins are withdrawn from the pocket the performer knows whichside is which. With the faked coin and a matching penny in the left hand pocket you are ready for the presentation. As described in the effect the two coins are removed from the left hand pocket and shown as a half-crown and a penny. After the pocket has been shown and they rest once more upon the left hand the thumb presses down upon them. As the left hand comes across and turns over to drop the penny (?) on to the right hand palm the faked coin is released pennyside uppermost whilst the real penny is retained in the left hand which then goes to the left hand pocket. The left hand now takes the coin from the right hand positioning it naturally on the two middle fingers. Now comes the only real move in the trick. As the left hand turns over to drop the coin into the right hand, the left
hand little finger is raised slightly, so that the edge of the coin rests against it. This combinedwith the turnover of the left hand causes the coin to turn over completely so that when it arrives on the palm of the right hand it is still penny side up. To the audience, however, it would appear that the coin has fallen naturally and in this way they will have seen both sides. The fingers of the right hand close round the coin but despite theconjurer’s muttered spell it fails to vanish. This is repeated twice more unsuccessfully. Finally the left hand places the coin into the right hand in such a way that the coin falls naturally silversideup. A spectator is asked to touch the right hand and then the fingersare opened and the half-crown is shown. Finally showing the left hand to be empty, the performer puts it into his left hand pocket and withdraws the penny. The twocoins are then replaced in the pocket all ready for another performance.
FUN WITH FLASH STRING
F
LASH STRING which has the appearance of strong white cotton cord although easily obtainable in America and on the Continent is not in easy supply in this country. Many readers will remember Fred Kaps using it with goodeffect at the Magic Circle Golden Jubilee T.V. show. When ignited, like its younger brother flash paper, it disintegrates in a flash of flame. Having had a fairly large supply I have been using it for a number of items some of which are appended below. FLASH GIPSY THREAD. Instead of using cotton or thread as is usual in the many forms of the Gipsy Thread Trick, a length of flash string is taken. With a patter theme anent the Indian magicians and how it is said they hypnotise their audience into the belief that they are performing such miracles as this (here the performer goes through his favourite Gipsy Thread routine) inwhich matter is broken up and then restored, the performer at the conclusion rolls the string into a compact ball and then showinghis hands to be otherwise empty touches it withthe end of a lighted cigarette. There is a flash and the string vanishes leaving no trace. “ As I said at the beginning,” remarks the performer, “ the whole
thingis done by hypnotism. There neverwas a length of thread, there never was a miracle . . . . it’s all illusion ! ”
COIN IN BALL OF WOOL The tired old effect of the coin in the ball of wool can be given a new lease of life by using flash thread instead of knitting wool. First of all take about two yards of flash string and dye it with a bright colour, using as a dye one of the many waterproof inks on the market. Just dip the length of string into the bottle and after it is saturated remove it and hang it outdoors to dry. The dyeing will not in any way affect the flash properties of the string. Using the string to make up the ball, and with the standard metal slide for getting the coin into the centre, the performer proceeds. When the ball is produced it is passed to a spectator with a request that hefeelswhether there is anything inside the wool. His answer will be in the affirmative. Now instead of the business of the spectator unwinding the wool, the ball is placed on a plate and touched with a lighted cigarette or match. The string disappears leaving the borrowed coin lying on the plate.
BLACK AND WHITE
M
ANY years ago, that verygood friend of mine Eddie Joseph marketed an effect called “ Red and Blue.” (This can still be obtained from the dealers.) Whilst not wishing to reveal the method used in that version, the following is a method used to make the effect even
more brain busting. With the outfit, the faked disc has an additional preparation. On one side it is covered with black “ It’s a Pip ” liquid this allowing to beshownmost carefully at certain stages of the effect. It allows for a very cunning change, for instead of placing it in the hand when a change
75 of colour is required, it is placed within the fold of a handkerchief. As the thumb and finger of the right hand go to place it under this cover, with a rotary movementtheyremovethe black covering allowing a subsequent revealment in whichyouthe achieve a very miraculous change from one colour to another.
When treated at thebeginning the fake disc can be safely handled by members of the audience who have no chance of accidentally removingany of the “ It’s a Pip ” liquid owing to the fact that disc is recessed.
M I N I T U R E SLATE SUPREME
T
HIS IS yet another addition to the many miniature slate routines so beloved by many close-up performers in this and other countries. It is a showy means of getting a message upon a seemingly blank slate. Two miniature slates are required. Instead of the more usual flap, a piece of black flashpaper is cut so that it fits loosely into the frame of the slates. (If black flashpaper is mobtainable, the whitevarietymaybe painted with Indian Ink.) Now the name of a card to be forced iswrittenwith a piece of pointed chalk uponthe surface of the slate, the piece of black flashpaper being dropped on top of it. Withthe two slates, a sheet of white flashpaper and a pack of cards in its case, you are ready to go ahead. First of all the card is forced and the pack returned to its case. Next the two slates are shown, the fingers of the hand holding the flap slate, keepingthepiece of flashpaper inposition. The two slates are then placed together, the flap slate going on top. Both slates are then wrapped in the piece of white flashpaper and they are placed upon the card case which is stood on its end. A lighted cigarette or match is now placed against thewhite flashpaper, it not only flashes off but also ignites the flap, which also disinte-
WRAPPED SLATES PLACED ON TOP OF CARD CASE ENSURING EASY
I I
grates, so that the message is left on the topmost slate. Removing the slates the performer slides them apart with the words, “ And written between the slates is the name of your card.” The action must be such that it appears that the one on which themessageiswrittenis underneath rather than on top. The reader will find by experiment that there are manywaysinwhich the messagemay appear to beinside, but thisseeming-barefaced method with no attendant moves is quite effective. Remember, too, that both slates were shown completely blank before the trick commenced!
BEWILDER-RING
T
HE OLD masking principle of a piece of paper stuck over the mouth of a tumbler so that when a flat object is placedupon a piece of matching paper or felt and covered with the inverted tumbler, the object appears to have vanished, is something that has appeared in many a boy’s box of tricks. It is an excellent principle nevertheless and in giving it Gome careful thought I am going ‘to describe three effects making use of this principle. Instead of the usual tumbler I use a fairly heavy chromed ring one and a half inches in diameter. It has a nice feel and its weight makes it a useful accessaryin other ring tricks. I have quite a number of these rings by me and shall be pleased to supply any reader who cares to send along sixpence to cover postage.
EFFECT NO. 1. THE CONTRARY COIN. A small mat of bold design is displayed and placed on the table. At its centre a sixpence is placed and over it is placed a ring on top of which rests a square of cardboard. To dispel any suspicion that anything has happened to the sixpence the performer removes the piece of card from the ring. “ Watch very carefully,” he says, and removing the sixpence, hereplaces the card on top of the ring. The coin is now vanished and uponlifting the card it is seen to have returned to its original resting place on the mat, inside the ring. The working is straightforward. At the commencement of theeffect,the mat lies on the table near the front edge. The ringwhich has a piece of matching material a&ed to it as shown
76
n
W in the illustration is placed to the performer’s right. On top of the matching paper a sixpence is placed and then on top of the ring is placed a piece of cardboard one and a half inches square. After showing the mat the performer places it down immediately in front of him and then taking a sixpence from his pocket he places it at the centre of the mat. The card and ring are then lifted as one and placed over the sixpence.Affecting to notice that one of the company is suspicious that something has already happened to the sixpence, the performer removes the piece of card. Owing to the matching paper whichnowcoversthe original coin there appears to be no change in the situation. Actually, however, one coin is above, and one under, the matching paper. The sixpence on top is removed and placed on the table, the piece of cardboard being taken by the fingertips and rested once more on the ring. Vanish the coin either by sleeving or aquitment and then lift the card and ring together and show that the sixpence has found its way home.
EFFECT NO. 2. THE DEVIL’S MINT. In this the mat you are using should be coveredwith several thicknesses of whitetissue paper, whilst the matching paper stuck to the underside of the ring should be white flashpaper.
At the commencement the ring is to the right covered with the small piece of cardboard. A sixpence is placed on the mat and then ring and card are placedover it. With the uttering of a magic spell the card isremovedshowing that the coin has apparently vanished. Actually, of course, it iscoveredwith matching flashpaper. From the pocket the performer now takes a small piece of flashpaper which has beencrumpled into a ball. He places it on the paper in the centre of thering. Taking a lighted cigarette he touches off the ball of paper with it. There is a flash of flame and right in the centre of the ring appears the sixpence and everything is left ready for examination.
EFFECT NO. 3. INVISIBLE COIN. In thiseffectthepieceofmatching paper attached to the ring is shaped in crescent form. The accompanying illustration gives an idea of this.
TUCK TO THE OF
&*tK
\UNDERSIDE,
With the mat in front of you and the faked ring with the square of card on top on your right, place a sixpence on the mat and cover it with both ring and card. A removal of the card reveals the actual sixpence because of the cut out in the disc of paper. Now by replacing the card and moving the ring forward with a lifting action the coin is hidden under the crescent of paper. A reversal of the process will cause the coin to appear.
SIMPLICITY SPELLER ANDIKG the spectator a pack of cards, the magician turns away. The spectator is given instructions to shuffle the pack. When he is satisfied that the cards are truly mixed he is to cut the pack wherehewishes, note the card at the face of the cut, remember it andreplace the cards on top of the remainder he is holding. He then hands the cards to the performer who has now turned to face the spectator. The performer gives the pack one cut, and then holding the pack flat on his outstretched right hand he asks for the first time the name of the card looked at by the spectator. Dealing off one card for each turned over letter of the named card,thecard after the full name has been spelt proves to be the card looked at by the spectator.
The whole effect stands or falls by the use of a simple subterfuge, a subterfuge which must be played out in a most casual manner by the performer. First of all the pack is handed to the spectator with a request that he shuffles it, cuts the pack and looks at and remembers the bottomcard of the cut. “ Don’t do any of this until I turn my back,” adds the performer. Withhis back turned, the performer takes the spectator through the drill again firstsaying “ Shuffle the cards,” and waiting for affirmative confirmation that this has been done. “ Now just cut the pack where you like and look at the bottom card of your cut,” then adding “ just replace the cards on top of the remainder.’’ With
77 a due allowance of time for the spectator to do this, the performer then turns round and faces him saying at .the same time, “ Have you done all I asked you ? ” The timing of the turn is most important and it must be so done in order that the spectator does not have time to completely square the pack before it is in sight of the performer. Average replacement even when neatly done will give a definite line along the edge of the pack which indicates where the top half of the cut was replaced. The pack is now taken from the spectator and the performer estimates that depth of the cut, a thing which is not quite so difficult as it sounds. Now either by means of the riffle count or approximation, the performer cuts off a number of cards from the top of the pack so that some thirteen cards lie above the selected card. For the first time the spectator is asked for
the name of the card he noted. With the name given the performer now has to spell it out with thirteen or fourteen letters. The ten letter cards, like “ two, of clubs ” are spelt out with the prefix “ the ” being added the chosen card following the last letter. Eleven letter cards also have the prefix “ the ” added and the chosen card falls on the h a 1 letter. Twelve letter cardsare spelt straight and then the thirteen and fourteenth cards are double lifted. Thirteen letter cards are self working. Fourteen letter cards are a straight spell with the chosen card falling on the final letter whilst in the case of fifteen letters the “ of ” is omitted and the chosen card follows the final letter. The estimation of cut is an invaluable aid well worthy of the practice it demands. Put in an hour’s practice working out the relative distance of cut from the centre of the pack and you will be surprised with the results.
UTILITY ALTAR LIGHT Y EN. GRANT’S veryweirdeffect ( J Light ” has always fascinated
“ Altar me andfor many years I sought a method that would enable me to present it with no thought of angles. At the same time I did not wish to use extraneous apparatus that would clutter up the effect.
The ultimate effect I obtained allows the performer to transpose a lighted flame from %ne candle to another using the simplest of properties. It is visual magic capable of being appreciated by the very youngest in your audience. The properties you require are as follows: 1. One Everlite Candle (these are obtainable from the principal dealers). 2. Two small holders for the canldles. These can be obtained at most good class stationers. 3. One white candle to match the Everlite. 4. Two clear glass tumblers. The ones I use are four inches in height, two and threequarter inches at the mouth and twoinches in diameter at the base.
One of these tumblers is unfaked but the other has a small hole one-eighth of an inch in diameter drilled through the side one inch from the base, as shown in the illustration.
SHUNINQ P OSITI ON OF HOIE IN SIDE
Now the set-up for the effect is like this. First of all place the Everlite candle to the right of the table and the unfaked one in its stand to the left. Behindthe Everlite candle is placedthe faked tumbler whilst behind the unfaked candle goes the ordinary tumbler. Taking a match the performer lights both candles and allows them to burn for about twenty seconds. As they burn the performer takes hold of the glasses, one witheach hand, showsthem mouth on to the audience and then replaces them mouth downwards on the table. The faked tumbler should be placed so that the hole it to the side. With the glasses replaced upon the table, the performer blows out thelighted Everlite candle and then picks up both glasses. The lighted ordinary candle is covered with the unfaked glass. Don’t have the flame so near to the top (or rather bottom of the glass) that the heat is likely to crack it.
78
As the ordinary candle burns it willuse up the oxygen in the glass and finally it willgo out. If the timing has been carried out inrespect of the Everlite candle, this should light up at the same time, the small hole in the glassallowingsufficient intake of air and thus making certain that oxygenline is always present. It wants comparatively little tryout to ascertain the degree of uniformity between the two candles.
Well, Peter, that’s it and I hope that you and your readers like the ideas. I have deliberately refrained from giving any definite patter scheme for each trick as I feel that each reader who takes own a fancy toany of theseeffectswillhavehis of patter to go withthem.
COLORFUSO PETER WARLOCK HIS little effect is appropriate to this issue forthe idea was patternedfrom Bobby Bernard’s “ Sands of Time” which we published way back in March, 1955.
T
What you’ll need are two packs of cards, respectively red backed and blue backed, an opaque handkerchief, andthe miniature hour glass. Remove a similar card from each pack. Let us say that it is the ten of clubs. The blue backed card is placed second from the top of the red backed pack, whilst the red backed mate is second from the face of the blue backed pack. Both packs are then replaced in their respective cases. The handkerchief and miniature hour glass are placed on the table. At the beginning of the presentation the packs of cards are removed from their cases and placed on the table. Thecardsare fanned both faces and backs being shown, care however being taken to prevent the backs of the odd cardsbeing glimpsed. Because of their positions in the packs this is a matter of little difficulty. Next the red backed pack is given a riffle shuffle that makes certain that the two top cards are left undisturbed. Similarly the blue backed pack is shuffled so that the two face cards keep their place. At the completion of the shuffle the latter pack is then turned face upwards and with the cards at such an angle that the face card cannot be seen by the audience, a double undercut is made leaving the red backed ten of clubs as the face card. The pack is then turned face down and placed on the table. Picking up the handkerchief it is draped over the blue backed pack which in the process is turned over. A spectator is asked to cut the cards through the handkerchief. As the spectator grips the cards through thehandkerchief
and makes the cut, the performer turns over the remaining cards withwhichheis left and withdraws them from the cover of the handkerchief then dropping them onto the table. The spectator is then asked to wrap the handkerchief round the cards he is holding and retain them forthe moment. Handing the hour glass to another spectator, the latter is asked, when the performer gives him the word “ Go ! ” to turn it over and allow the sand to run. When the final grain of sand has fallen he is to say “ Stop ! ” Whilst it is running the performer will deal off cards one at a time from the red backed pack. Taking the red backed pack in a dealing position and keeping the backs of the cards so that they cannot be seen by the audience, the word “ Go ! ” is given and the performer commences to deal the cards in a face up pile. The top card which is a red backed card is dealt straight but after that the performer deals seconds until the spectator says “ Stop ! ” At that point the blue backed ten of clubs left on top of the pack is dealt face up in front of the heap of cards already lying on the table. “ Now sir,” says the performer to the holder of thecards in the handkerchief, “ I am going to cause the card you cut at to change places with this one . . . I’ll just say “ Hocus Pocus,” and you’llsee them change places.” The performer says “ Hocus Pocus” but nothing isseen to happen. He repeats the spell and again no result. “ Look sir . . . there is something strange about this . . . may wesee the card you cut a t ? ” The spectator unwraps the handkerchief from around the cards, and finds that he too has cut at the ten of clubs. “ What a coincidence,” remarks the performer, “and not only thatforthe trick has actually worked. For you sir have the red backed ten of clubs” (At this point the performer takes the packet of cards from the spectator and turns over the card showing theback) whilst I have on the table, the blue backed ten ! ”
79
MAGIC-GO=ROUND IRST of all, a big “Thank you” to Bobby Bernard for bringing along such a varied budget of workable items. It is no easy job to sit down and write up a whole issue of this bulletin. It entails quite a deal of hard work and also the giving to the many pet ideas which have proved their value to the author. We know that those who have access to flash string will soon be putting into effect the two ideas that Bobby has come up with, whilst the old masking principle takes on a new era of life by using it in conjunction with a ring. Secondly, we’d like to apologise for the mistake made when describing Roy Walton’s effect in the May “ Pentagram ” . . . Three Dice-Fifty Two Cards.” Paragraph five should be amended to read “ if the the total is above twelve a number of cards is transferred from the bottom to the top. Should the total be less than twelve, a number of cards . . . is transferred from thetopto the bottom.” Very sorry Roy. Congratulations to Lew. Ganson, Ken. Brooke and Harry Stanley for their work at Miami. From all reports to hand it was unanimously agreed that the new type of lecture presented was a pattern that could well be adopted by all those trying to teach magic by way of lecture-demonstration. It is a matter of personal pleasure that when arranging the lecture sessions for the Ring Convention at Brighton that we persuaded Lew to repeat his successful Miami performance. As well as the slides that he will use for illustrating the various tricks described, he will bring along some beautiful photographic colour transparencies which give a fine picture of the Miami Convention. Kalanag is once again breaking records in
F
South Africa, and we hear that from there he is to go to South America. Here is the only illusion act to-day which is truly present twentieth century in -make-up and presentation. So many illusionists practising to-day have not left the days of the “ twenties ’’ behind them. Some are even reminiscent of Mafeking night. All this reminds us that Sorcar with his relatives and nicely painted scenery and props. seems to have left us. One hopes that it will not be too long before Kalanag reaches the States and American audiences have theopportunity ofseeing a magicshowwhich brings to the stage a productionthat has a Hollywood flavour. We feel that when quite recently, Arthur Leroy, without seeing either Kalanag or Sorcar, wrote an article weighing up the merits of one against theother would have been well advised to wait before sticking his neck out too far. After all there is a great difference in putting one’s real name to an article rather than use a smear pseudonym as for instance “ Eaton Hope.” When we read the description of “Outer Space,” Ken Allen’s trophy winning trick we thought the plot sounded a little familiar. If you have a copy of “ Patterns for Psychics ” turn up ‘ l Trigon ” and if you substitute E.S.P. cardsfor ordinary playing cards you can save yourself a matter of a couple of bucks. From Edwin of Bideford we have received quite a big list of items that he is retailing. Many are manuscripts of American origin very low priced indeed. The list which runs into some twenty-six pages may be obtained by sending a letter with a stamp to him. The address is 31 Clifton Street, Bideford, Devon.
BOOKS Annemm’s Club Act of Magic. Jinx Programme
No. 1. Published by the Magic Wand Publishing Co. by arrangement with Holden’s Magic Shop, Boston. Price 5/-. Those without copies of the Jinx or the original programmes taken from it should welcome this present publication. This particular programme details some seven effects with a running time of twenty-five to thirty minutes. The seveneffects are as follows : A Cigarette Rolled by Proxy Orville Meyer Henry E. Dixie The Dixie Cigarette Vanish Jacob Stiesel The Itinerant Pound Leslie May Election Selection
Seven Keys to Baldpate Annemann The Acme Thought Card Pass Annemann-Daley TheTorn Deck Location Julian F. Proskauer Everything needed for the act goes easily into the conjurer’s briefcase. In theoriginal programme “ Election Selection ” did not appear. It takes the place of “ A Matter of Policy,” a trick pertinent to American politics, and one whichcould not be applied in this country. We take it as a compliment that Leslie May’s effect from the “ Pentagram ” should take its place. Atthe price offive shillings this represents exceptionally good value.
80
A NEW CLOTH BOUND BOOK
SEALED VISION
BY WILL DEXTER LIVEMAGICIANSonthelook-out for first-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter, for it is a standardworkonallthat is bestin Blindfold effects and methods.
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described n o less than fifteen fake blindfolds, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the headand tied round the neck. Yet in everycase the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough) or unsure in the methods. The second section describeseight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to theuse of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.ThereistheBlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery, etc., and in addition a fullstage programme of reputation making blindfold effects.
in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEATYOUTOTHE USE OF THESESENSATIONALEFFECTS Price 17/6 : postage6d. ($2.50) From the Publishers ‘Fhe book is finely printed, fully illustrated, bound
T E E MAGICWANI)PUBLISHINGCOMPANY 6 2W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
MAGIC WAND ’ PUBLICATIONS Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental Armstrong GeorgeRoutine) George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection Routine) Ron (Mental Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. Edward Dexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Madcal Theatre :
King George’s Hail, W.C. Summer Recess
?articulars from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
... ...
1013
...
1013
...
...
1013
...
... 1219 ... 1013 ... 1719 ...
... ...
.
719 1013 719
Automentalism (Complete act, with apparatus) Ken de Courcy 20/3 Dubbelkross 81Simulkross (Coin Routines) Ken deCourcy ... 5/3 Zodiac Telepathy ( A complete act) Ken de Courcy 12/9 John Ramsay’s Cups and Balls (cloth bound) 25/6 Victor Farelli Thanks to Leipzig! (CardMagic)Victor Farelli ... 1013 Spectator’s Choice (Miscellaneous Magic) 7/9 DouglasFrancis Mother Goose Mystery (Mental Effect) Martin Gardner .. 7/9 Twenty-Six living & Dead Tests TerelGarrett ... 5/3 The Concert Ventriloquist and Children’s En8ertainer Maurice Hurling ... l0/3 Jamesosophy (Card routines) Stewart James ... 5/3 Etc.. Etc.
...
... 211-
PETER
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
... 719
.
I
WARLOCK’S
PENTAGRAM is published on the 24th of each month and be obtained direct from the publishers for 117 per single COPY. Annual Subscription 181post free. PUBLISHED BY:
can
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscripts for publication and books for
review should be sent to the: EDITORIAL A D D R W : Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrev
.
JACK HUGHES vi11 be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED BY THE ~ O p 1 ~ ”RE R SMAGIC WAND PUB-IN0 COMPANY. 62 WELLINGTONROAD, ENIXELD, MIDDLESEX AND PRINTED BY HBRBBRT WALKER L SON(PRINRRS) LTD., BRIDGE WORKS, SHIPLEY, YORKSHIRE
DIVINATION OF TWO MENTALLY SELECTEDCARDS THE LATE EDWARD G. B R O W N
I
N A PREVIOUS issue of the ‘ Pentagram ’ we have extolled the virtues of, and regretted our somewhat belated sight of P. Howard Lyons’ trulyremarkable publication Ibidem. In the fourth number there appeared an effect of the late Edward G. Brown’s which carried the above rather prosaic title. Though I did not see Edward Brown perform this himself, I did see Trevor Hall use the effect in one of the finest magical lectures I havehad the privilege of attending. It does not seem possible that nearly nine years have passed since Edward Brown quietly slipped away from this world. Duringthatlong period little of his work hascome to light. True, the late Willane ’ and the published his ‘Diminishing Cards ‘Thought of Cards Across.’ Brown committed little to paper, mainly I think for the reasonthathe never considered an effect complete. One of his favourite effects, the ‘Ring, Glass and Handkerchief,’ had manyversions. I know that on one occasion when I was visiting him a few years before he died that he showed me quite three variants of the effect. His mind was comparabletoVernon in the attempt to achieve effect with the simplest, but notthe easiest means. To TrevorHall,in the closing stages of his short life, in a series of letters. he gave the details of many of his effects. The publication of those letters could be one of the greatest events in magical history. In forthcoming issues of the ‘Pentagram’ we intend publishing a few of Brown’s effects. They will include his version of the ‘Cups and Balls,’ two versions of the ‘Ring, Glass and Handkerchief,’ his ‘ Cut and Restored Rope ’ and a version of ‘Follow the Leaders’ with unfaked Jumbo Cards. At this moment we will say our thanks to P. Howard Lyons for allowing us to publish the present effect from Ibidem.
VOLUME 10, No. I I
-
The magician announces that he wishes to have some cards mentally chosen. He adds that were he to offer a free choice, it is highly possible that certain cards like the ace of spades or the queen of hearts might be chosen. Thecards, therefore, will be selected from a mixed pack. Two spectators are then asked to think of a number and when he runs the faces of the cards in front of them they are to think of the card that happenstofall at that number. Once again he wants to be fair, and as certain numbers like seven and fourteen are so commonly thought of, the numbers chosen by the spectator should b e chosen a t random. He will do it in this mannerSpectator ‘A’ is asked to shuffle the pack, take off a small packet of cards and replace the talon on the table. Spectator ‘ B ’ is then given some of A’s packet byA. Meanwhile the performer has turned his back to these spectators. Each assistant counts his packet of cards, remembers thenumber of cards he holds and places them in his pocket. With a signal that this has been done, the performer turns and faces the assistants. Taking the talon of the pack from the table the performer approaches assistant A. He stresses that he keeps in mind the number of cards in his pocket and further to note the card at that number as the performer shows the cards to him. With the cards held in the left hand and taking the topcard with his righthand he holds it in front of the assistant. “ If the number you have in mind is ‘one,’ think of this card.” The cardis then placed face down upon the table. The next card is taken and shown as “ two ” to the spectator and then placed on top of the first card. The process is continued right through the talon of cards. The magician squares up the cards on the table and goes through the same process with assistant B.
I/a. (20 Cents)
-
AUGUST 1956
82
Jrhroughout the showing of the cards the performer takes care to look away from the faces of the assistants in order that no help may be obtained by facial hint. Remarking that now the cards have been noted mentally there is little need to remember the numbers nor keep the packets of cards in their pockets. Therefore he allows assistant B to replace his cards on top of the pack, which is then handed to A so that he too can replace his. The pack is then given a complete cut. The locating of the cards follows. Requisites. One pack of cards. Preparation. Nil. Presentation. Follow the procedure exactly as it has been described. Whilst you are showing the cards keep count of their number.Subtract this number from fifty-two. The resulting number, which we’ll suppose is twenty-nine, will be your key number. Now after the cards have been mentally selected and B returns his packet to the top of the pack, the top card must be glimpsed. A then places his cards back on top of B’s and the pack is given a complete cut. Taking the pack the magician looks for the card he glimpsed and upon finding it, cuts the pack at that point bringing .itto the top of the pack. Remembering the key number 29, the performer subtracts this from fiftydwo, which leaves him with the number 23 (assuming that a straight pack with no jokers is used). Thecard chosen by A will now be the twenty-third card from the top of the pack, and B’s twenty-third from the face of the pack. To the description given in Ibidem. Stewart lames adds a teasing note. He writes:
’‘ I would think it would improve the effect and s p e d the routine by having an unknown number of cards discarded at the start. I do this by having a number of cards secretly discarded so that I have no idea what the combined total of the cards in talon plus A’s and B’s is. The method is the same if one glimpses the key card, counts the cards in the deck after the return of A’s and B’s cards and then subtracts the original number of cards he counted from the resulting number. For example. You counted thirty one cards whilstshowingthe cards in the talon. After the cardsare returned and you have cut the key cardto the top, you count as you run through the cards finding that you have forty-two. It means that your key number for finding the respective cards at the topand bottom of the deck is eleven. Younow happen to know that the spectator discarded ten cards at the start, but for heaven’s sake forget it. “ I have discovered a method in which it is not necessary to know the number of cards discarded, it is not necessary to glimpse the face of any card at any time, it is never necessary to know how many cardsare in the talon plus the A packet plus the B packet because no subtracting is necessary at any time. It is still perfectly impromptu.” Well, Stewart has certainly a fine l o c a t i o n which onehopes will see the light of day.One which apart from mere acquisitive tendencies, every serious lover of card magic would like to seein published form. Let us hope that we shall not have to wait too long. Stewart, whose talent covers the whole gamut of the magical field, has published too littleduring the past two years. Always one is anticipating those books which were to follow ‘ First Call to Cards,’ books which contained some ‘ out of this world ’ ideas with objects other than pieces of pasteboard. Again let us hope that the wait is not too long.
THE WICKS THEME PETER WARLOCK HEN my Australian friend, Charles Wicks, described so very many years ag: in The Magic Wand his fine “ Lost Time theme, he gave magicians something that is a rarity, namely a short act requiring readily available properties and yet with these properties offering an audience something which meant a little more than their standard presentation. Few magicians (in this country at anyrate) seem to have made a feature of it, and yet, especially for those who sometimes are called upon to give a lengthy entertainment, it formsa very worthwhile ten-minute spot. Kenneth Kirk is one performer we associate with the trick, andinthe “ Abracadaborough ” revue at the Circle Jubilee. a mimed version was presented.
W
In Magic us Hobby a close-up version will be found. To those whomay not be acquainted withthe theme it is this. The performer notes the time by his watch. and then for example cuts a piece of rope noting the time and action on a slate. Milk is poured into a beaker. This too is noted and so areanother couple of actions. The slate is placed down writing side away from the audience. Finally the minute hand of the watch is pushed back to the time when the performer commenced these actions, the result being thatall the performer’s actions are nullified, the rope being found restored and so on. Finally the slate is turned round and
83 it is seen to be just as blank as it was at the beginning. Quite recently we have used the theme for platform work, trying to get the maximum dramatic effect with the minimum of apparatus and effort and we feel certain that it is something that could wellbeusedby others. This is effect as seenby the audience. The performer tells of how he had a dream. He will describe what happened. An invisible clock. He gestures towards the centre back of the stage. As he says this a ticking is heard which gets louder so that it forms a background to his speech. The clock strikes ‘ Three ’ .and going to a table on his right he lifts a handkerchief from a stemmed glass revealing a pack of cards with the ace of spades as the face card. The handkerchief is placed on the table and the cards are removed. They are fanned and all are shown to face the same way. The pack is now cut and one half is turned over and riffle shuffled into the other half. Allcardsare then shown to be mixed backs and fronts with the ten of hearts (say) as the facecard.Thecardsare replaced in the glass which once again is covered with the handkerchief. Picking up a slate which rests against the table leg and taking a piece of chalk from his pocket, aftertaking a look at the imaginary clock he writes, “ 3.1 Cards.” The slate is replaced against the table leg. From the sametable he picks up two separate loops of rope. Undoing the knot on one,he passes it through the other, re-tying the knot so that the two loops are entwined. The ropes are laid on the table alongside the glass. Taking the slate again, he looks centre back stage and writes, “ 3.3. Ropes.” Moving across to a table on his left, he draws the attention of the audience to two stemmed glasses. In one there is a red handkerchief and in the othera yellow. The red handkerchief is shown tocontaina red ball whilst the yellow containsa yellow ball. The red ball is wrapped inside the yellow handkerchief and replaced in one glass. Next the yellow ball is wrapped inside the red handkerchief and returned to the other glass. The slate is taken again and after looking centre backstage, underneath the other writing goes, “ 3.5. Colours.” The slate is placed down. Finallyattention is called toastack of four wooden bricks. All look the same, but when they are turned aroundit is seen that they arenumbered 1, 2, 3 and 4, respectively. No. 1 is the topmost brick. These bricks are then re-stacked, numbers away from the audience so that No. 4 is at the top and No. 1 at the bottom. On the slate after looking at the imaginary clock is recorded, “ 3.7. Numbers.” The slate is then placed against the table leg, writing side away from the audience. Going to the backcloth, the magician apparently pushes back the minute hand of the clock. AS this hand would appear to reach ‘ 3,’ three chimes are heard and the ticking stops.
At this moment the stage set looks exactly as it waswhen the performer commenced. Now he shows the effect of retracking into time. The handkerchief is lifted from the glass and once again the ace of spades faces the audience. Thecards are removed and all shown to face the same way. The ropes are picked upand shown to be two separated loops. The yellow handkerchief once more contains the yellow ball and the red too has its mate. The bricks are turned round andonce more seen to be stacked in their original order. Finally, the slate is picked up and shown to be as blank as when the presentation commenced.
Requirements. 1. A pack of cards consisting of twenty-six ordinary cards and twenty-six double facers. Fortunately these can now be obtainedfrom British dealers tomatch standard British packs. 2. Three stemmed glasses. All should be the: same size and capable of accommodating a. pack of cards. 3. Three eighteen-inch silk handkerchiefs. One mauve, one red and one yellow. 4. A set of red and white ropes. 5. Three billiard balls, two yellow and one red. 6. A set of four specially prepared wooden bricks. Thepreparation is comparatively simple. The bricks are best solid, though preference goes to the reader and also for their size. Each has a hinged flap so that it looks like the illustration.
The bricks are so made that the complete movement through 180 degrees changes the 1 to a 4, the 2 to a 3, the 3 to a 2 and the 4 to a 1. The handling of the bricks we’ll deal with later. The number on the brick proper must be in a reverse position to that on the flap. 7. A specially prepared slate. This slate has a movable flap fitted as shown in the follow.ing illustration.
84
hinged part of the flap in each case is at the top of the brick. The bricks are turned so that the numbers cannot be seen by the audience. The slate is next taken and three lines are drawn lengthwise, one covering the flap hinge. The flap is turned and three more lines are drawn so that withthe flap flat in either positionitlooks as shown in the illustration.
In place of this special slate the more usual type
of flap slate could be used but it necessitates losing or adding a flap. 8. A means for reproducing thetickingnoise of clock. the A tape recorder is undoubtedly best, the volume control being adjusted according to the phase of the trick. Needless to saysomeonewillbe required to work this and also sound three chimes by using a metal gong. Tape recorders are commonplace these days and if the performer has not one of his own a friend will no doubt oblige. In recording the ticking, make certain that a good-sized clock isused. An ordinary dinner gong will give good chimes. 9. A piece of chalk. 10. Two tables. Preparation. It is assumed that one table which will be called “A” is to go on theperformer’s right whilst another, “ B,” is on his left. On table “ A,” near the front edge, is placed one of the stemmedglasses. Init is placed the pack of cards, the twenty-six ordinary ones at the front and the double facers at the back. The face card should be the ace of spades. Over the cards and glass is draped the mauve handkerchief. Just behind the glass are placed the two ropes. They are separate, and each is knotted to form a loop. On the table “ B,” at the side nearest to the per€ormer and midwaybetween the frontandrear !edge, are placed the other stemmed glasses side by .side. The yellow ball is placed-in the centre of the ,yellow silk and both are placed in the first glass. Similarly the red ball and silkgo into the other glass. The blocks with the numbered flaps cover’mg the numbers on the bricks are stacked into order on the same table. This means thatthe
The slate is rested on its width against the right hand table when the stage is set. The piece of chalk goes into the right hand pocket with the extra yellow ball. With the assistant in charge of the tape recorder and thechimes and the tables setupon the stage you are complete and ready for presentation.
Presentation. Phase 1. With the striking of the clock, the performer lifts the mauve silk from the glass, places it on the table and removesthecards. He fans the pack showing the faces, and noting the point where the double facers meet the ordinary cards, breaks the pack at this point. The front half of the pack is turned over and the cards are riffle shuffled or woven, so that the ace of spades becomesthe rear card. Care is taken to leave a double facer at the front. The cards are fanned once more and shown to be mixed. The left hand holds the cards and the right picks up the glass. The pack is then dropped inside. The left hand drapes the handkerchief over the glass and under its cover the glass is turned, bringing the ace of spades to the front and also because of the double faces, making the remaining cards face the same way. The glass is replaced on the table. The performer looks at the imaginary clock, picks up the
85
slate, shows it to be blank apart from the ruled lines, and writes “ 3.1. Cards.” The slate is replaced and the chalk is slipped back into the pocket.
original stack stood. In so doing the flap is allowed to hang by its own weight so that it takes up the position shownin (A). Then as the left
Phase 2. The dealer’s instructions (Unique Magic Studio or Tannen’s supply these) make for no difficulty here. Again the recording of the time and ‘ Ropes.’ When the chalk is replaced in the pocket, however, possession of the yellow ball is obtained and it is palmed. Phase 3.
L
Keeping the yellow ball palmed, the two silks and balls are removed from the glasses. The red ball is taken and in the action of placing it beneath the yellow handkerchief a standard change is used to leave the palmed yellow ball in its place and the red ball is palmed. Silk and covered ball are then replaced in the glass. Similarly when placing the yellow ball under the red handkerchief this is changed for the red ball. The hand containing the palmed ball once again goes to the pocket for the chalk, ditches the ball and withdrawing the chalk writes the necessary note on the slate.
A S I T HANGS DO’JYN
hand goes to take it away and place it upon the table the third finger pushes against the flap bringing it against the underside of the brick (B). The
Phase 4. The bricks are turned round showing the numbers. The stack is shifted to the left of the table. Taking the brick with the figure 1 on it and taking care that no movement of the flap can take place it is shown that the remaining sides are blank. The block is now held quite naturally as shown in the illustration so that the flap side is covered by the hand. FlNGERPUSHING FLAP AGAINST UNDERSIDE OF BLOCK. RIGHT HAND
NOT SHOWN.
brick, now with the number 4 on the side furthest from the audience and the blank side of the flap underneath is placed on the table. The same moves are carried out with the remaining bricks. The action is noted upon the slate. When this is placed against the table leg the flap is allowed to swing across so that the slate is now devoid of writing. The imaginary clockisnow adjusted and the ticking stops. All that remains for the performer is to show that with the retracking of time, everything is as it was before. The performer apparently turns the brick over and places it on the table at the place where the
Selling and manufacturer’sright of changing blocks reserved
86
BROWN STUDY T. S. RANSOM HE method to achieve the effectof E. G . Brown described in this issue as a “ Divination of Two Mentally Chosen Cards,” was worked out by T. S. Ransom and his colleagues. Ransom, using a similar theme, has come along with a most deceptive version. Once again our P. Howard Lyons, Editorof thanksaredueto Ibidem, for permission to re-publish the description and method.
T
With a patter introduction similar to that used in the original Brown effect, the performer introduces a pack of cards. It is placed face down on the table. Turning his back, the performer makes a request to spectator A, that he shall cut off some ten to fifteen cards . . . ‘ about one quarter of the pack.’ He is to shuffle this small packet, replace one or two back on the remainder of the pack should he so desire and finally note the face card of the packet. Anotherspectator B, is requested to cut the remainder of the pack still lying on the table. He is to complete the cut,and then like spectator A, he is to cut off a small packet, shuffle it, replace a few should he wish and then like the first spectator remember the face card of the packet. Now spectator A replaces his packet of cards on top of the talon of the pack lying on the table, B puts his cards back on top of A’s and then a final instruction is given that the pack shall be given a complete cut and squared. The performer turns round and picking up the pack. Fanning the cards in front of him he removes two cards. One he places in front of A and the other in front of B.
‘‘ I believe,” he says, “ that I have been successful in reading each of your thoughts relating to the cards you looked at.” To A, “ For the first time will you name the card you had in mind ? ” Supposing that the answer is “ Ten of clubs,” the card in front of A is slowly turned over and it is shown to be the ten of clubs. Similarly the card in front of B proves to be that which he remembered. Requisites. One pack of cards. Preparation. It is necessary to have at the top of the pack a group of sixteen cards. These cards can be formed of a group of say the court cards
and the aces. There is no need to remember their order. Presentation. The cards are placed down upon the table. Should the performer feel thatit is necessary a false shuffle that will not disturb the top stock may be effected. The same goes for a false cut. With the instructions given to the first spectator the first cut willbe somewhere amongst the top sixteen cards, which remember are not looked at but simply shuffledby the spectator. Whether he replaces any or none the position will be unaltered so far as the means for ascertaining the cards at a later stage. The card he thinks of is the face card of this packet. Spectator B now gives the pack a complete cut which has the effect of bringing the remainder of the original ‘ key ’ stack to the centre of the remaining cards. B now cuts off a portion of the pack, and with a similar procedure he thinks of the face card. A’s cards nowgo back ontop of the talon which means that as the pack now stands, there is a large group of ‘ key ’ cards and somewhere farther down the pack a small group of ‘ key ’ cards and under them the remainder of the pack. B’s cards go back ontop ofA’s and the pack is given a complete cut. Now the run of the pack instantly reveals the two cards. All the performer has to do is to look for a long run of ‘ key cards. The card at the end of the run nearest the face of the pack will be that noted by A, whilst B’s will be the first card above the group. There is only one danger spot in the effect and that is where spectator A, trying to pull a fast one, replaces nearly all the cards retaining a few, so that at alater stage, the performer might well plump for the larger group. Ransom suggests that rather than be definite about A’s card, one should fish whilst naming A’s card. Myown attitude would be that of nut turninground whilst the selection of the cards is made. I feel that the fairness of the procedure is such that the direction of operations, say from a fair distance, which a full knowledge of what is taking place, is preferable to being completely inthedark regarding the possible outcome of the effect.
*
*
*
*
*
*
87
T
HOSE who missed the TV debut in this
country of Victor Borge, failed to see and hear one of the finest pieces of adult entertainment screened by the B.B.C. It struck us that apart from those international professionals who are members, that the whole membership of the magical societies in this country, were their essence to be distilled could not provide one quarter of an hour (letalone the three-quarters provided by Borge) of such fine entertainment. The undeniable beauty of a great artiste is his appeal to all ages. When Jay Marshal1 appeared at the Palladium (and the same goes for Channing Pollock) he was takentoheart just as much by the teenagers as by those of more mature years. These men are fewin magic. They comprise the great international magicians whether their act be small or large. Few English magicians have the capability.Perhaps the outstanding example in post-war years was the ill-starred Peter Waring, whose sophistication and presentation carried him to great heights.
In the previous issue we wrote up aneffect called ‘ Colourfuso.’ When showing this toour good friend Jack Avis, he thought that though the plot were good it could be bettered by showing the back of thecarddealtfrom the pack. We fully agree with him, and to those who might like to try out the effect in the new form the procedure is altered as follows:At the commencement of the effect and assuming that you are going to deal from a red-backed pack, a blue backer is placed at the face of the pack, the force card corresponding with a duplicate red backer in thebluepack being on top of the pack. The pack of red.-backed cards is fanned showing the faces of the cardsto the audience. The backs too are shown, taking care that the back of the face card is hidden. When the hour glass is turned over and the cue to start dealing given, the performer deals seconds retaining the force card at the top of the pack. When the order to stop comes, the deal is discontinued and the force carddealt in frontof the other cards face down. Thus the back of the card is allowed to register with the audience. The
dealt cards are taken and replaced on the balance of the pack which is still held by the performer. Keeping the cards face down, the performer with his free hand turns over the card on the table showing for the first time its face. Casually he places it at the face of the deck and with the covering of the original blue-backed face complete he turns the pack so that the face of the force card can be seen by the audience. As he reminds his audience what hastaken place, the thumb riffle counts the two face cards ready for a double lift. Saying that hewill attemptto make the known card change places with the unknown one held by the spectator, the two face cards are now double lifted and slid into the centre of the pack so that half of the face of the force card can be seen. With the words ‘ Hocus Pocus,’ the proface. Nothing truding card (?) is tappedonits happens. This is repeated. Again no visible change. Thespectator is then asked to look a t the card cut by him and he finds that it matches the card protruding from the pack held by the performer. The spectator turns over his card and finds thatit is a red backer. Slowly the pack is turned round showing the apparent back of the protruding card. Finis. Brighton, as we write this is a shade over five weeks ahead.The programme and the arrangements would seem to offer tremendous value. The lecture sessions alone are well worth the registration cost. It is heartening to think that nowhere else in the magical world do members of a magical organisation get so veryvery much for so little. The opening night show is our own responsibility and repeating in the sixty-minute show part, the format recently used at the Magic Circle in a ‘ Skulk of Sorcerers ’ we shall have one spot where four magicians do just one effect each. We are very proud to have as one of these performers Johnny Ramsay who will perform as only Johnny can, his devilishly deceptive Torn and Restored Paper.” Dominique, that terrific French personality, is holding sway at the Lido, and Channing Pollock continues to captivateContinentaland Scandinavian audiences. “
*
*
*
*
*
y
88
LIVEMAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by Will Dexter, for it is a standardwork on allthat is bestin Blindfold effects and methods. Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolds, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck.Yet in every case the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough)o r unsure in the methods. The second section describes eight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to theuse of blindfolds, the property plot, stage setting,psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethods can be used for.Thereisthe BlindfoldDrive, Blindfold Cycle Ride, Blindfold Letter Delivery, etc., and-in addition a fufstage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEAT YOU TOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6: postage 6d. ($2.50) From the Publishers
TEE M A G I C WAND P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X “
MAGIC WAND’9 PUBLICATIONS
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental Routine) George Armstrong George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection (Mental Routine) Ron Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. EdwardDexter Entertaining with Hypnotism S . Edward Dexter Identity Parade (Humorous mental routine) Will Dexter
... 7/9
...
211-
... 10/3 ... 1013 ... 10/3 ... l2/9 ... I0/3 ... 17/9 ... 7/9
... l0/3
... 7/9
1
I
I
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and
Library and Museum
:
Hearts of Oak Buildings, Euston Road, London, N.W.1. Madcal Theatre : King George’s Hall, W.C.
Summer Recess ?articulws from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
Automentalism (Complete act, with apparatus) Ken de Courcy Dubbelkross & Simulkross (Coin Routines) Ken deCourcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound) Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic) Douglas Francis Mother Goose Mystery (Mental Effect) Martin Gardner Twenty-Six Living & Dead Tests TerelGarcett The Concert Ventriloquist and Maurice Hurling Stewart James Children’s Enbertainer lamesosophy - . (Card routines) Etc., Etc.
... 20/3 ...
S/3
... 12/9 ... 2516 ... 10/3
... ...
7/9 7/9
... 513 ... 10/3 ... 5/3
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased to send you full details of
is published on the 24th of each month and can be obtained direct from the publishers for 117 per single c09y. Annual Subscription 181port free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
T h e M a g i c W a n dPublishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects inreturn for a stomp.
Manuscriptsfor publication and books for review should be sent to the: EDfTORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
A N D PRIEITED BY HERsERT WALKER & SON (PAINTBRS)
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
LTD., BRlDQE WORKS, SHIPLEY, YORKSHIRE
A
!
b
w
PETER WAR LOCK ‘S
*****
THE CHAIN OF SILKS MARCONICK LTHOUGH Hollandoccupies quite a small
A ofpartherof magicians the European continent, inthepost-war
the progress years has proved that ofaUcontinendnations &eisthe step withmodemtimes, onlyonecompletelyin whilst in complete contrast is France, a.countrv which so many years back played sucha large pait in the teaching of western magic, and yet to-day, witha few notableexceptions,isstill thinking technicallyinterms ofmagic of theEdwardian
p
Perhaps the greatest assetthat the Dutch possess istheability to harnessgrace and technique so that the ultimate result showsno jarring note. One thinks of it particularly with Fred Kaps and Van Domellen. Marconick, who is a newer arrival in the International field,has it, too. Not only a delightfultechnician, but Marconickindeaiing withsilkhandkerchiefsshows a touch of genius which has proved that this seemingly exhaustible field is really illimitable. One must not forget to add some words of thanks to Harry Stanley who ontwo occasionshasbroughtMarconickacross to appear at Uniqueconcerts. On his second appearance on the first day of this year, there was also in the bill Channing Pollwk. Rarely has one had the opportunity of seeing two such great acts performed by such young magicians. The effeet to be described is. to me, typical of Marconick’sapproach. It issomething that may be used as a flourish or as part of a trick. The magician shows three ditferent coloured 1.) silks looped into a chain ofthree.(Figure
.:::
fY *
2 VOLUME 10, No. I 2
-
I/6. (20 Cents)
-
SEPTEMBER 1956
90
Quite plainly the looped yellow handkerchief passes through the looped green and red. The magician’s hands move apart and instead of having three looped handkerchiefs he now has them tied in a chain as shown in Figure 2. Requirements. Three eighteen-inch silks, one red, one yellow and one green. The modernconjurer with his sleight of handand his flashy props has ceased to be amagician-he has become ajuggler. No one thinksthataprestidigitator pulls a rabbit out of a hat through super-natural ability, but many people believe that an Oriental fire-wa!cer can walkover hot coals due to some occult power. If not,
Prepmtion. Tie thesilks by their corners to make a chain as in Figure 2. Now take the handkerchiefs and lay them flat on a table like this. Ends A and B of the green silk are tied with a slip knot (Marconick uses the word ‘ schuifknoop ’). My own preference, and one that makes for easier handling, is to use a breakaway type of knot. Twowhich are ideal for thepurpose are NelsonLyford’sdescribedin The MagicWand, Volume 43, No. 242, page 73, or in The Tarbell Course, Volume 1, page 369. Next the ends C and D of the red handkerchief are similarly tied together. The ends of the yellow handkerchief E and F are now passedrespectivelythroughtheloops formed in the green and red handkerchiefs and are then tied together in a slip (breakaway) knot. The silksshould now appear like Figure 1. To the audienceyouhavethreeintertwinedloopedsilks forming a chain. The genuine-knots are well hidden by the folds of the handkerchiefs. The silks having been shown, the hands hold the green and red handkerchiefs near the knots so that the yellowhandkerchiefhangsdown,the thumb and fingers of the hands slip the knots free and at thesametimetheymove outwards in a brisk manner the result being that the chain of silks automatically appears. The pulling of the so chain also breaks the knot ontheyellowsilk that when the chain is displayed only two knots remain, namely those which are necessary to make the chain. Our thanks go to Henk Vermeyden for allowing us to offerthis translation of Marconick’s effectwhich appeared intheAugust number of TRIKS. then how does he do it ? The conjurercan’tgiveany logical answerbecauseits not worth his time to go through the trouble and danger involved in learning firewalking. So the fire-walker continues to be real a magicjm because people believe heisgenuine. Memoirs of aSwordSwallower ”-Dan Mannix. ”
OPEN INTRUDER ALEX ELMSLEY THE November, 1955, issue of Pentagram there was a version of theBlue Intruder by INJack Avis, involving a pleasant turnover switch. It occurred to me to combine this with a presentation idea which I first met in Marlo’s Cardician, underthe title of the “ Open Prediction,” and which Marlo credits to Paul Curry. Here is the result of this distinguished ancestry.
Effect. The performer has a red-backed pack of cards. He takes one blue-backed card, without
showing its face, and inserts it into the red pack behind his back. Now he holds the pack face up, and deals cards onto the table, turning them face down as hedoes so. At any card inthe deal a spectator stops him, and this card is dealt face upwards,withoutshowing its back. The rest of thepack is then dealt, and at theconclusion of the deal the back of every card except the spectator’s choice has been seen, yet the blue back has not appeared. Sureenough,the card chosen by the spectator turns out to be the blue intruder.
91
instructions for which I reproduce here altered as necessary. The pack is picked up and held face downwards in the left hand. Start running the cards fanwise from the left hand into the right. When you reach the face up nine of diamonds, pause and break the pack at that point. The cards above the face upcard naturally are taken by the right hand whilst the remainder with the face up card on top are in the left hand. Now because of the previous manoeuvres, the bottom card of the right hand packet willbe the double backer. Without any apparent effort, this card is slightly jogged to the left, and the left hand at the same timejogs to the right, to a greater extent, the face up nine of diamonds. The right hand nowmovesin and using the right hand fan apparently places the edges of the cards under the jogged nine of diamonds and flips it over. Actually what happens is that the jogged double backer goes under the edge of the nine of diamonds and as the fan is brought across the cards to the left, both cards are turned over as one,the double backer falling, blueside up, on theback of thenine of diamonds. It is in effect a form of Mexican Turnover without the take away of one card. With practice theillusion is perfect. To conclude the effect, the cards in the right hand are placed under those in the left hand. The double backer, blue side still showing, is removed from the pack and placed in the pocket containing the complete blue pack. The double backer is left in the pocket, and the blue pack is brought out as though the blue intruder had been added to it. You are now clean.
Routine. In addition tothe red pack, you need a blue-red double backer. At the beginning of the trick, I prefer to take the double backer from a complete blue pack, and to drop the blue pack into a pocket. Be that as it may, you show the double backer as a blue card,and tell the audience that no-one, not even yourself, is going to see its face, yet, and that you are going to bury it in the red pack behind your back. In fact, behind your back, you turn over the double backer and place it on top of the red pack, red side upwards. Bring the pack forwards and hold it face up. Begin to deal slowly by taking the face up cards and turning them face down as you deal them onto a table. Explain that youwill deal through the pack like this until you find the blue-backed card, but that whileyou are dealing you want a spectator to call stop at any time. When you are stopped at a card (suppose it is the nine of diamonds), place it face up on the dealt pile of face down cards without showing its back. Ask the spectator who .stopped you to remember this card. Meanwhile, casually turn the undealt packet of cards in your handface down, so bringing the double backer tothetop once more. Continue dealing cards face down onto the pile on the table but now, of course, their faces are not seen. The first carddealt is the double backer, which goes blue side down on downward in the left hand. Whenthe deal is finished, point outto the audience that they have seen the back of every card in the pack except the chosen card, yet the blue card has not appeared. Nowyou perform the' @witchfrom .Jack ,Avis'New Intruder, the
~-
~~~~
~~
I
us.
'' I enjoyed that mailbag trick especially," she told "
My ,husband can do several ffiings like that." I asked politely. Oh, no, he's dead," was the astonishing answer.
'' IS your husband a magician ? "
~-
But he comes back in spirit form. It's simply unbelievable what he can do now. Did you Rave to dematerialise yoursy)f to escape from thatbag ? she askedArthur. Memoirs of a Sword Swallower "-Dan Mannix. "
STILL TAKING THREE ALEX ELMSLEY this time last year there were a series A BOUT of versions in the Pentagram of a trick called Take Three." The effect was the transposi"
tion of a chosen card from one packet to another. The principle involved was that of forcing a card that was not there. This was done by having three cards touched by spectators. The magician looked at these cards and called out their names, which a spectator wrote down on visiting cards. In fact the magician miscalled one card, naming instead a card which was already reversed in the middle of a packet of cards held by a spectator. The appropriate visiting card was then forced, and the transposition shown to have taken place. Although I liked the principle, I did not like
thebusiness of writingdownthe names of the cards. Here are two versions of thesameeffect, and using the same principle, in which only a pack of cards is used. Routine 1. Before starting, run through the pack and bring to the top two cards of the same colour and value, for example the fives of hearts and diamonds. Slip one card, say the five of diamonds, to the centre of the pack, and keep a break beneath it. Advance to a first spectator, and ask him to touch a card, as you fan the top half of the pack. When a card is touched do not show it, but just jog it forward for about half its length.Ask a second spectator to touch a card somewhere
92 around the middle of the pack, and force the five of diamonds. Jog this card forward as you did the first. Ask a third spectator to touch a card in the bottom halfof the pack, and jog this card forward also* Close UP the fanned Pack, the three 10gged cards together and place them On top Of the pack, taking a break beneath the SKOnd card (the force card) as you do so. from Say, " Three cards havebeenchosen the pack," and to illustrate apparently count off the three chosen cardsfrom the top of the Pack. In fact, take the first two cards together as one, count the next card On top of the firsttwo and the next card, which is the five of hearts, on topin of all. As you gesture with the counted off cards, take a break beneath the top card of the pack, by pushing it forwards slightly with the left thumb and bringing the left little finger beneath its edge. Now return the counted off packet of cards face up to the top of the pack. (I have assumed that like mostpeopleyou normally holdthepack in your left hand.) Your left little finger is holding a break beneath the five top cards of thepack.Pick up these cards togetherwiththe right hand, fingers at the outer end of the packet and thumb at the inner end. With the left thumb pull the face card of the packet, the five of diamonds, face up onto the top of the pack, naming the cards as you do so. Pull the next card face up onto the five of diamonds and name it, and finally put the three remaining cards held by the right hand, as one, on top of the pack, again naming the card. As these three cards go as one on top of the pack, take a break beneath them with the left little finger. Turn to any spectator and say, will you (name the card showremember the -of -" ingon top ofthepack). Then take the top three cards as one into the right hand. Display the next card that shows on top of the pack and ask another spectator to remember this card. Then count this card on top (i.e. on the face) of those in the right hand. Displaythefive of diamonds, and ask a third spectator to rememberthis card. You will notice that the attention of the audience is being directed all the time towards the hand holding the pack, and away from the multiple lift in the right hand. Replace the cards inyour right hand on top of the face up fiveof diamonds, square up the pack, and then lift off the top three cards. Since the fourth card is face down, the cards will break naturally beneath the top three face up cards, but you ifwish you may riffle the cards off with the left thumb. The third of these three cards is the fiveof hearts whichyouhaveswitched for the five of diamonds, while the five of diamonds now reposes face up second from the top of the pack. Place the three cardsin the right hand, still face up, on your table, letting them spread lengthwaysslightly, but taking care that onlythe value and not the suit of the five of hearts is seen. Now (6
pass, cut, or shuffle the top quarter of the pack in your hands to the bottom, and place the pack face down on the table. Pick up the packet of three face up cards, turn them face down, and shuffle them, keeping track, however, of the five of hearts. Lay them face down in a row on the table, with the five of hearts in the middle, and ask a spectator to touch any one of the cards. If hetouchesthefive of hearts, pick up the other two, turn them face up, and thenpick up thefiveof hearts and place it face downbetween the others saying, The chosen card goesreversed &emiddle.'' If he touches one of the other cards, pick it and ask him touch UP, turn it face card. If he again does not touchthefive,pick up the card he has touched and place it face UP on the first card touched. Then pick UP the five and place it face down between the two face up cards, saying " The last card goesreversed in the "
If thesecond card touched is thefive,pick it UP and Place it without comment face down on the face up first Turn the last card face " up and place it on top of the other cards, I have assembled the cards as YOU pointed to them* I want you to watch the card in the Whateverhashappened younow holdthe three cards, with the five of hearts face down between the other two face up cards. Spread the cards lengthways until you can seemost of the index of the bottom card, but cannot see any of itspips. If YOU now turn thethree cards over, the index, but no pips, of the five of hearts should bevisible. (If the bottom face UP card is an ace Or a court card, You cannot use it in this way to gauge the permissible timount of spread*but must estimate the 'pread*) Show the half-hidden red five to the spectator whom you asked remember to the five of diamonds, saying, The five ofdiamonds was your to card, wasn9t it ? " Whenheassents,askhim cut off about half the pack which is lying on the table to give you the cut off half, and to place his hand onthe remainder (inthemiddle of which thefive of diamonds isreversed). Turn the three cards so that the five is again face down, place them on top of thehalf pack that has just been given to you, and cut them into the middle. Spread the half pack as you emphasise that the card is face down between two face up cards, and obtain a break up the packet beneath the five of hearts. and side slip the five to the top or bottom of the packet. Now order thefive of diamonds to fly from thepocketyou are holding to the packet beneath the spectator's hand. Spreadyourpacket toshow that the card betweenthe face up cards has vanished, and askthe spectator to spread his "
93 packet himself, whereupon he will find his five of diamonds reversed. Note. Instead of using two cards of the same colour and value, the old dodge of using a seven as an eight of the same suit, the index of the seven being hidden by your fingers as you hold it halfway intothe pack, or in this case, half-way between the other tw.0 chosen cards. Routine 2. The last routine depended upon forcing a cardthat was not there. This second routine was developed with the object of giving a free choice of a cardthat was not there. The object was not achieved, but it was approached. The effect is much the same as that of Routine 1, but instead of three cards beingchosen, the magician takes out the Jack, Queen and King of any suit. So, here wego:Suppose that you are going to use the Jack, Queen and King of Spades. Before you start, get the Queen and King of the suit of the same colour (in this case Clubs) to the bottom of the pack, the Queen on the bottom and the King above it. Now run through the pack, taking out the three Spade court cards, and placing each card as you come to it on the face of the pack. Arrange them in order, Jack, Queen, King, with the King at the face of the pack and the Jack on the face of the Queen of Clubs. While arranging the cards (the pack, of course, is face up) get a break below the King of Clubs, so that after the cards have been squared up, youmay lift off with the right hand all five court cards. The five cards are held by the right hand from above, thumb at their inner ends, fingers at their outer ends. With the left hand turn the rest of the pack face down, and take a break beneath the top card with the left little finger. Bring the cards which are face up in the right hand over the pack as though tosquare them upfurther,and pick up the cardseparatedfrom the pack by the break beneath them. You now have six cards in the right hand, though apparently only three. From the top these cards are, the King, Queen and Jack of Spades, the Queen and King of Clubs, and a face down indifferent card. With the left thumb, pull the‘King of Spades, still face up, onto the top of the pack. Name it and display it. On top of the King, pull the Queen of Spades, and name and display that card also. Finally, with the right hand, place the remaining four cards as one on top of theQueen. Name off and display the Jack of Spades.Nowpick the top three cards, which are the face up Jack of Spades and Queen and King of Clubs, and place them on your table, letting them spread lengthways slightly. On top of the pack you now have a face down card and then the face up Queen and King of Spades. Cut these three cards to the bottom of the pack. Nowbegin another cut, at the centre of the pack, by sliding the top half of the pack aboutan inch to the right. Then with the left
fingers at the bottom of the pack, push the lower of the two reversed cards (the King) to the right until it is levelwith the jogged top half of the pack, Now continue tocut the pack into two halves, the right fingers at the outer end and thumb at the inner end of the top half reaching down to grip the reversed King and bring it to the bottom of the top half. The two half packs are now placed separately on the table. Ask a spectator to name the King, Queen, or Jack of Spades. Under normal circumstances the Jack is the least likely to be mentioned. The likelihood is decreased here by its being at the face of the face up cards on the table. If, however, it is chosen you must descend to the conjuror’s choice and say, “ And will you name another? The cards you name are going to act as guardians for the third card, which I shall reverse between them.” WhentheKing or Queen has been reached, either by choice or elimination, you know which of the two half packs on the table has the chosen card revqrsed at the bottom. Cutthat packet towards a spectator, so bringing the chosen card to the middle, and ask the spectator to put his hand on the packet. Pick up the three court cards and turn them face down. Remove the Club equivalent of whichever card waschosen, and turn the remaining cards face up again, taking care that the Jack of Spades covers the suit of the card behind it. Place the removed card, apparently the chosen card, face downbetween the two face up cards, and then spread them all lengthwise so that they can be shown without revealing their suits. After showing the cards so, square them up and put them, with the outer cards face up, on top of the remaining half pack which is on the table. Suppose that the Queen of Spades was chosen, The Queen of Spades will now be in the middle of a half pack which is in the care of a spectator. On top of the other half pack are the Jack of Spades and King of Clubs face up, with the Queen of Clubs face down between them. At the bottom of the half pack is the face up King of Spades. Cut the half pack, bringing the Jack and King of Spades together. Recap. to the audience that thechosenQueenisreversedbetween the King and the Jack, and then command the chosen card to jump from packet to packet. Spread your packet carefully, stopping when you come to the reversed Jack and King of Spades and show that the Queen is no longer between them. Take care not to reveal the reversed King of Clubs, which is hidden by the face down Queen of Clubs. Ask the spectator to spread his packet, so revealing the Queen of Spades, and while he stares at it astounded, take the opportunity to right the reversed King of Clubs in your own packet. Note. The routine can, of course, be done with other cards than court cards. However, I believe that court cards givethe least chance of anyone noticing that the two face up cards in your packet reverse their order at the same time that the card between them vanishes.
94
BOOKS THE HINDU CUPS. Eddie Joseph (published by Max Andrews (Vampire) Ltd.), price 10s. There can be no gainsaying of the fact that the. Cups and Balls trick is the greatest classic of magic. Despite its great antiquity and the common basic plot, the scope for the individual performer is almost limitless. One can think of great performers of the feat . . .Laurie Ireland, Dai Vernon, Fred Kaps, Ken Brooke and Johnny Ramsay, and we understand that Johnny Paul has a version that is breathtaking in its technical brilliance. The late Dr. Daley, too, brought this fine feat into the miracle class by hisvery deliberate handling. In the non-European form Reszvani has a version that is a piece of magicalpoetry. The magical practitioner that puts his heart and soul into mastery of the feat has one effect that will never stale in a lifetime. The present book written by one of our most thoughtful magicians, a man who has contributed so much to the many aspects of the feat describes in this very well produced book, a table version of the effect using the type of cup in vogue in eastern countries. Eddie Joseph inthisseries of lessons disdains for table use the more conventional ball usedby the Hindu Jadoowalla, replacing it with an article far easier to handle for the type of manipulation demanded. The basicmoveswould seem to demand no great amount of practice, and yet at the same time the general routining throughout makes for a deceptive and surprising series of climaxes. Mr. Joseph concludes his treatise with a description of the conventional Hindu presentation in which twelve to fifteen balls are used. No student of this fine feat can afford to miss this publication, whilst to thosewhohavenever essayed its performance there is an offering by a first-class magical brain that will add a never-tobe-forgotten trick to their repertoire.
THE JINX PROGRAMMES. (English Editions published by George Armstrong by arrangement with Holdens Magic Shop. Price 5s. each).
Five booklets go to make up theseseries. Each one sets out to give the reader a complete programme. Number One presents a Club Act of Magic. Some eight effects,none requiring any special type of property go to the making and routining of a thirty minute act suitable for a Lodgemeeting entertainment. Number Two is a one man mental act. Again this is intended to run for about thirty minutes duration. In place of an effect truly destined for American audiences an item by Leslie May, “ Election Selection ” takes its place. Number Three is entitled a Magical Club programme and forms an excellent alternative programme to that detailed inthe first programme. The closing item, one by Keith Clark has been a firm favourite with that delightful magicianFrancis Watts for some twenty years. Number Four-“ No Card ” MysteryAct. Another thirty minute act in which the most common consort of the magician is conspicuous by its absence. Number Five-“ No Code ” Telepathy. The lightest act of all to carry, for apart from a slate everything can be carried in the pockets. For the young magiwhosewife or girl friend wants to appear in an eaqy two person telepathy routine, this is a “ must.” Each and every one of the programmes contains first classmagicaleffects.Eacheffect has good entertainment value and above all little cost is involved in obtaining the necessary properties. Skill in the exceptional sense is neverneeded. Whilst each programme runs longer than the generally accepted time for such an entertainment in this country, pruning can be carried out without killing the overall value of each act. The publisher has done an excellent job of work in bringing to British magicians these most informative and helpful booklets. At the low cost of five shillings each no reader unacquainted with their contents can afford to miss them.
95
MAGIC-GOmROUND OF ALL our thanks to Alex. Elmsley for FIRST letting us have three typical Elmsley card approaches. The twentieth Convention of the British Ring has come and gone. Its majority (from the Convention viewpoint) willbeheld at Scarborough next year. Of this year’s convention the highlights were few. On the other hand there were fewer weaker spots, and in all a good time was had by all. It was a pity that such a poor roomwas used for the showing of the Grant Film. Indian Summer conditions and lack of good air conditioning tended to maketheonlooker sleeper. It was not to be expected that the Gala show would surpassthe previous Brighton show which still stands in our own opinionasthe best Gala show the British Ring have staged. Nevertheless there were some fine acts. T o n n y van Dommelen, El Wido, Devolyn and Irene, J o h n n y Giordmaine and Haakon Edeling were outstanding. We do hope that at no future show shall we hear afemale magician use the word “sweat.” Bad enough from a man, but from a woman almost unbearable. Great credit however must go to Bill Stickland who, year after year, manages to get so many truly new International acts for this big show. Few people realise how hardatask this is.Fewrealise the personal expense he goes to in visiting the continent and contacting these artistes. The oompetition though having fewer entries than in the past fouryears brought nothing breathtaking. Geoff. Gregson undoubtedly stirred the audience with his presentation of Rinod’s “ Diabolical Wand ” and his Poodle production, whilst as was to be expected Lou. Histed made easy work of the originality prize. He also, whenreceiving the award made the wittiest speech of the convention. Both of the lectures wereexcellent. Lew Ganson, fresh from his Miami triumphs gave a delightful presentation of theRinod effect and followed it with some nice visual magic in which he was capably assisted by Ken. Scholes. Stanley Thomas despite the bad time for such a lecture (Sunday morning) b r o u g h t home to a large
I
audience the beauty of ancient magical Graftsmanship. The dealers didn’t have agreat number of new things to offer, but items which struck our eyewere the Table Tennis effect (of Orrin’s we believe) demonstrated by George Davenport, the silk production basket demmed by Harry Stanley and the “ Beacon” effect of Edwin’s. Ten minutes for a public demonstration is hardly enough for any dealer to display his wares. It was good to see the Benevolent and Welfare Fund benefitting from a number of sources and the total derived from the flower stand, the morning service and New Era must have been quite appreciable. Overseas visitors were more plentiful than WC have everseen them. A large contingent from Belgium brought many new faces. America as usual sent us its Ambassador of goodwill in the person of Craig, whilst it was a great pleasure to meet Tom Hawbecker (one of the National Deputies of the S.A.M.) and Mrs. Hawbecker. Australia never misses with Charlie Wicks and a newcomer fromthe Antipodes was Percy Boden. Henk Vermeyden who looks younger every time we see him had with him a number of Dutch magicians, and his production dice number which he showed in theI iternational Show,is proving a great seller botd in this country and on thecontinent. The close-up sessions organised by Francis Haxton must have been the best presented yet. We missed many faces including those of Freddy Carter, Voltaire, Ken. Brooke and our old friend Donald Forsyth. We had several enquiries whilst we were at Brighton regarding the publication of “ Peter Warlock’s Book of Magic.” Actually due for publication about June, the printing strike held things up. The publisher tells us thatit should be on sale about the middle of October. John Howie has promised us a special number in the near future. This very thoughtful magician hasdonea great deal of good for magic, his “ Ellis ” ring contributions being a fine contribution to ring magic.
There was a dime museum in Philadelphia near the old Chinatown section that featured a magician who kept the kiddies amused while their fathers went in to see the
round the Beautiful U n e p e d Models. I hung mag1c;m . . . Memoirs of aSwordSwallower”-DanMannix.
Stagemagic itself, unlikeknife-throwingandfireof danger;butthere eating,containsverylittleelement is one classic trick which has killed at least a dozen performersinthe two centuries of itsexistence; a bullet
bearing a mark put upon it by a member of the audience, is fired by avolunteerand i s apparentlycaughtbythe ! magician-between his teeth William Lindsay Gresham.
“
~~
“
I
I
LIVEMAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter,for it is a standardwork on allthat is bestin Blindfold effects and methods. Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, as well as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolJs, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck.Yet in every case the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough) or unsure in the methods. The second section describes eight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to theuse of blindfolda, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in .part four are described the sensational publicity stunts that theseblindfoldmethodscan beused for.Thereisthe BlindfoldDrive, Blindfold Cycle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEATYOUTOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6: postage 6d. ($2.50) From the Publishers
THE MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E - N F I E L D ,M I D D L E S E X
A THIRTIETH CENTURY MENTAL EFFECT.
II
I
The MYSTERY of TEE THREE COLOUREDBOXES The audience see three smallish attractively decoratedcoloured boxes onthe mentalist’s table. One is white, one black and one green. The actual size is 3in. X 3in. X 2in. Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green. On a large visiting card, the mentalist writes something. Thecard is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to namea three-figure number which is noted. Two more messages are similarly written and placed respec-
tively in the black and green boxes. Mr. Black choosing a City and Mr. Green a playing card. The pay off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case the mentalist has correctly forecast their particular choices. Completely mechanical in working thus leaving the mentalist free to make the most of his showmanshi “ The Mystery of the Three Coloured Boxes,” made o n c to order, comes complete for €6 OS., post free. Made only to Order
P E T E RW A R L O C K , 2 4W O R D S W O R T HR O A D ,
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroam and
Library .ad Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. bladcal Theatre * .
King George’s Hall, W.C. MAGIC FESTIVAL 15th-20th
October
?articulan from Hon. Secretary :
+
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WALLINGTON R O A DS, U R R E Y
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publbbm for 117 persing10 copy. A n n u l Subodption IS/port fme.
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscripto for publication and books tor review should be sent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordeworth Rd., Wallington, SurreyI
JACK HUGHBS will be pleased townd full details of
you
THE DE LUXB “SU-TABLE’ together with all hfr other effects in return for a stamp.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goodsare fully endorsed by this Bulletin PUBLISHED W THE PROPIWY’QRS TElE MAOlC WAND PUBU8UMO COMPANY. 62 WELLWOTON ROAD, HNPIELD. MIDDLESEX AND PRINTBD BY RPRSPRTWALKER L SON (PRW’IXRS) LTD., BRIDQE WORKS, SHIPLEY. YORKSHIRE
TAKE THIS RING JOHN DERRIS OHN’S contributiontakestheformof a “quickie” utilising a length of cord and a Jmetal ring. First of all the length of cord has a loose knot tied at the centre. In the process of making this knot the centre of the cordis lowered on to the table taking up a position.which is made clearinthe figure 1. A .handkerchiefisspread over the knot and each end of the cord is held by a spectator. Removing a small metalringfrom his pocket with his right hand John places it in the left hand. It is squeezed and vanishes. When the handkerchief is lifted from the cord, the ring ‘is found tied within the knot in the cord. The reader will require the following items in order to present the effect :l . A lengthof silk cord measuring approximately three and a half feet. 2. Twometalringsone and a half to two inches in diameter. The matter of weight is rather important, and the reader will find that the type of ring sold with the English Jardine Ellis Ring effect ideal for the purpose. 3. An opaque silk handkerchief two feet square.
The presentationcommences with the performer taking from his pocket thehandkerchief which he places on the table t o his left. Next the cord is produced and this is laid across the centre of the table. Finally the right hand goes t o the pocket and appears to bring out just one ring. Actually, however, the performer has one ring between his thumb and first iinger, whilst the other is finger palmed, resting against the fingers at an angle of ninety degrees. Figure 2 shows an exposed view of the hold. Pointing out to thr spectators that there is more than one way of threading a ring on a length of cord, the performer instances the most obvious method by taking hold of the cord about nine inches from one end and lowering it through the exposed ring, its own weight allowing it to pass through the right hand and the concealed ringuntilthe position shown in figure 3 is taken up. The right hand retaining the concealed ring uponthecord releases the free end,then pulling the remaining part of thecordthrough the visible ring, which is then dropped on to the table. A loose knot is now formed with the cord. So that the audience are given the impression that both hands are playing a part in the making of this knot, the left hand passes its end through a thrown loop so that a loose knot is formed. A
With the exception of the two rings, the items
can go into any of the performer’s pockets. The rings however, unless the performer is left-handed must be placed in a right hand pocket.
VOLUME I I, No. I
-
I/6. (20 Cents)
-
OCTOBER I956
2 glance backwards at theillustration accompanying the effect showshow it shouldlook. The right hand with the ring concealed within it retains its graspupontheend,but because of the move that is to take place in a moment or two the little a strong grip finger of the same hand maintains near the end. This grip is such that if the remaining fingers of therighthand were taken away from the cord, the cordwould still be held.
be very casual. There to theassistantsmust mustn’t appear to be anything purposeful about the procedure. The main part of the effect from the performer’s viewpoint isalmost complete. Taking the ring from the tablewith his right hand and using the “tourniquet” or some similar feint, he appears to placeit in his k f t hand, really retaining it in the right. The left hand closes into a fist and is held above the centre. of the handker-
Relinquishing the left hand end of the cord the handkerchief is picked up at the centre of one side and spread over the loop. At the same time with the cover afforded, therighthand fingers relinquish their hold on the concealed ring which slides down the cord into theright side ofthe loop. Asking a spectator to take the right hand end of the cord, another person is asked to take the left hand end. In picking up this latter end, the alteration in plane of the cord allows the ring to slide adtomatically inside the loop proper. The handling of the cords and thehanding of the ends
chief. A squeezing movement is made and then thehandis opened showing thatthe ring has vanished. The right hand then takes a corner of the handkerchief and whips it away fromthe table, letting the spectators see that the vanished ring is now safely knotted on thecentre of the cord ! One final note. As a heavy metalringis necessary and it has to fall some little distance on to thetabletop,it isimportant to see that a covering is used sufficient to deaden any noise.
THE CLOSE-UP SLATE TEST PETER WARLOCK
Let’s take the effect first in case some readers are unaquainted with the original.
and one side of the slate is covered with different letters. The otherslate istaken and thisis similarly dealt with. (In Annemann’s description he covered all sides of the slates, but the additional two sides are time stealing). The chalk is placed down and taking a duster the letters are erased from both slates which arethen placed one on top of the other. The card written upon by a member of the audience is now removed from the envelope and theperformerreadsitaloud.Nowtakingthe slates apart the name of the dead person is seen written upon one side of one of the slates.
Two slates are shown to be perfectly free from guile. A member of the audience is asked to write on a business card the name of some deadperson. Thiscard is placed in an envelope which after being sealed is rested againstsomepromlnent object. One slateand a piece of chalk is taken
The effect is very clean in working andthe theme can be that matter created cannot be destroyed, that the letters written though erased, still exist to provide a bond between thoughtand matter.
F T E R reading Annemann’s “Club Slate Test” in “Sh Its a Secret,” I used it a greatnumber of times, always finding it most effective. To me the only snag was the need for a flapand mainly with a special type of presentation that had to be given at the Society of Psychical Research, I lighted on a method which gave the same effect as that of Annemann’s but at the same time obviated a flap.
A
...
3
The Requirements. Two unprepared slates. Both should have fairly smooth surfaces. The kind I use are the non-locking Wandman. A pay envelope large enough to take :A visiting card. One stick of ordinary chalk. One pieceofspecially prepared chalk. This is thepreparation.Takeonepart of methylated spirit and one part of Stephen’s Gum ‘(Mucilage). Just pour them into a small glass and then taking half a stick of chalk drop it into the horrible mess. Leave it for about an hour then remove it, wipe away any surplus mixture and keep this piece of preparedchalkinatesttube which contains slight moisture. Acouple of drops of water is enough to keep the chalk in perfect condition. A duster (actually a piece of silk). A small box with a hinged lid. Preparation. Cut away part of the pay envelope to form a window envelope. This envelope, window side down, goes on the table to the right. On top of it is placedthe visiting card whilst tothe left of these articles go the two slates one on top of the other. Inside the box goes the pieceof chemical chalk and also a piece of unprepared chalk. The duster can be placed in the pocket. Presentation. The two slates are picked up and shown. It is a good idea that they should not be too clean and thus to an obliging spectator you say, as you remove the duster from the pocket, “ would you mind, sir, making sure that they are quite clean.” In this way you have the slates in the hands of a spectator who may examine them to his heart’s content. At the same time you do not have to use those shocking words, “will you please examine the slates ! ” Whilstthe slates areout of yourhands,ask another spectator to write downthedeadname onthecard. Ask him, when hehas finished writing, to hold the card writing side downwards for,“ThoughI myselfplay little part in the phenomenon that is about to take place, it is as I do not seewhatyou have written.” wellif Bringing the envelope forward, the spectator pushes it inside. The action of sealing the flap gives theperformertheopportunity to glimpse the name written. The envelope, window side away fromtheaudience is now rested against some article of prominence in the room where it can be seen by the whole company. Taking back both the slates and the duster, all are placed uponthetable,theperformerthen opening the lid of the box and apparently removing a piece of chalk. Actually he takes bothpieces, theordinary piece beingheld at the fingertips whilst the faked piece is finger palmed.
One slate is picked up and supposing that the name glimpsedwas “VIVALDI” (This was the actual name I had at the S.P.R.) theperformer starts writing three lines of letters with the surface of the slate towards him. On the first line with the ordinary chalk he writes a set of letters. Now .as he comes to the second line he switches under the adequate coverof the slate, the pieces of chalk and now on this second line writes the letters forming the given name, in this case VIVALDI. He spaces them well, and as he writes he will find that the writing given by the chalk is practically invisible, but after a few seconds it comesup pure white matchingtheordinarychalk letters. Now again switching the chalks over he altarsthe letters forming the chosen name by adding lines or curves. In this case the V becomes an M, the I an E, the V an N. Nothing is done to the A. The L becomes a D and the final I a T. The following illustration analyses the make up of ordinary and fake chalk on the slate.
9 0 &ad
nkd/ir/e
/ r k C of
ffidrcace
ordmrry c W 4
The third line is composed of letters made with the ordinary chalk. Fewnames indeed there are which with the addition of lines or curves cannot be altered. If the name given is a short word, like SHAW, a word which does not lend itself easily to impromptu alteration, it is better to space the letters well so that ordinary chalk letters can go in between so that you wouldhave asa result B I S F H L A 2 W P. This would fill the line and destroy the name formation. Withthe writing completeon this slate, it is placed on the table and the other one picked up. Onone side, using theordinarychalkthe performer writes three lines of letters then placing this slate on top of the first. The piece ( ? ) of chalk is replaced in the box and the lid closed. In accordance with the necessary patter theme, the duster and first slate are taken with the left hand. Carefully showing that one side is blank andtheothercontainssome letters written in chalk, the duster is taken in the right hand and all the letters are erased from the slate which is then placed down on the table. The second slate is also shown to have writing only on one side. Now comes thecritical part of the trick. The slate is held by the left hand, long sides parallel with the ground, The whole of the writing on the slate can beseen.As the right hand approaches with the duster the free end of the slate isswung in slightly and the duster starts to erase the first line of letters. As it gets near to the end the slate is swung in so far that the surface cannot be seen at
4
all. The duster continues its work and comes back along thesecond line. What happens here however is that only the ordinary chalk is erased, the letters made with the the prepared chalk staying “ put.” Thedusterthen movesalongthe third row of letters erasing them. The duster is dropped on to the table, whilst the slate held in the left hand is dropped on top of the other slate. A rubber band is snapped around them and they are given to a spectator to hold. The climaxis near. Thepay envelope is opened andthe cardremoved.The name is readaloud. Finally theband is slipped from the slates and it is found that the chosen
name is written on one surface.
A few words. The handling of the slate when cleaning is the most important part of the trick. Just try cleaning a slate and you will find that it is the most natural thing in the world to turn it in as you clean. The process however must not be jerky. Don’t use anything else but silk for cleaning. Any material that is slightly abrasive will tend to erase the letters made in prepared chalk, which whilst using theformulaforwhat is generally called “ ChemicalChalk,” gets away fromthe filthy smelling Carbon Tetrachloride.
THE DIGEST BOOK TEST PETER WARLOCK HE EFFECT of this book test could hardly be more straightforward. On a business card a ,member of the audience writes a number betweenone andahundred,anotheranumber between one and twenty anda third anumber between oneand five. Anotherspectator takes this card together with a slate, chalk and a chosen book, goes to theend of the hall or corner of stage. He looks up a page represented by the first number, a line by the second and a word by the third. When he has found the word at that point he writes it on the slate. Everything so far including thenumbers onthecardhas been done without the performer having had the opportunity of obtaining any information. Asking the spectator with the word on the slate, to hold the latter in front of himself and concentrate upon the word, theperformer takes another slate andaftera moment’s pause starts writing with a pieceof chalk. The writing complete, the spectator is asked to turn his slate round and show the word. The performer turns his slate round as well and it is seen that both words are the same. The effect in the main depends upon a rather subtle switch of the card used for the numbers. I say subtle, foratno time does the performer handlethecardonceithasgone to thefirst person for the one to one hundred number. Requirements. One slate measuring approximately nine inches by seven inches. This means that the bed of the slate should be about sevenby four and a half inches. This is best made up. Quite an easy job using thin ply for the bed and stripwood for the frame. One flap to fit the slate. This should be made of sheet tin (iron) and painted with blackboard paint to match the bed of the slate, One larger unprepared slate. Some pieces of chalk. Two large business cards.
T
Four magazines of different sizes. One however should not measure less than eight inches by eleven. There are plenty of “ glossies ” about this size. This particular magazine is prepared as shown intheaccompanying illustration. Four openings are cut at the points shown andin them securedby sellotape (Scotch tape) are fixed fourstrong magnets.
Now with all these items at hand you are ready to prepare the stage for the test. On one of the business cards (actually a larger card could be used) put down in a column the numbers 1, 2 and 3. Now against each of these numbers place anumbercomparablewiththe choice given to the audience, i.e., against 1, place say 67, against 2, 15 and against 3, 5. Alter the slant of the numbers so that it would appear that more than onepersonhad written them. Now take one of the magazines and look at page 67, line 15 and the fifth word in that line. Remember that word and make quite certain that you do not forget the book that it came from. Stack the four books in a pile with the faked book on top andtheone with theremembered word in it, second from the bottom. Now place the business card, written side downard on the small slate bed and on top of it place the flap. The other business cardwiththenumbers 1, 2 and 3 in acolumn goes on top of the flap. The larger slate, chalk and books are close at hand.
5 Presentation. Pick up the card and taking a pencil from your pocket, ask a spectator immediately to your right to place a number between 1 and 100 against the figure 1. Tellhim that heisnot to letyou see what he has written. When he has completed the task ask him to pass the card writing side downwards to another member of the audience who is to write the number between 1 and 20, against the figure 2. He in turn passes it to the third person who places a number between one and five against 3. (If the audience is small it is suggested that one person places allthreenumbersonthecard). Now come forward with the faked slate asking the third person to drop the card writing side down upon it, for as the performer adds, “ it is most importantthatin no way should I haveany access to information written on the card.” The slate with the card on it is placed upon the table and another spectator is requested to come forward and assist. The four books are taken and and the position of the performer as he handles them is that the slate is on a table immediately to his left. With the spectator onhis right he counts off the books from right hand into left which has the effect of bringing the faked book to the bottom of the pile and the book with the remembered word second fromthetop.Therighthandtakesthe top two books leaving an unfaked and faked book in thelefthand.Anequivocalforce is used at this point, the performer making certain that the twobooksinthelefthand are eliminated first. They are placed down across the slate as shown in the illustration.
h The action must be casual and with two books leftintheright hand, the top one is passed to the left so that the one to be forced is in the right
hand.Withthespectatortakingthisbook into book his possession, thelefthandholdingits moves downand picking upthe two resting across the slate moves away and of course takes the flap andthecardabove it away with the faked book. All threebooksare placed upon a chair. To thespectator on the stageand to the audiencetheperformerhas never touchedthe card on the slate. Taking a piece of chalkand also the slate, the performer gestures towards the card and instruct3 the assistant to go as far from him as possible, read what is on the card apply it to the book and write the result upon the slate. The effect from the performers’ point of view is almost finished. He has only to write the remembered word upon his slate to complete the effect.
A few points. Make certain that the spectator assisting is not sitting with the writers of any of the numbers. Don’tuse it with too intimate an audience or in too small a room. It is designed for a platform show where conditions are favourable. If you know the names of certain people in the audience an additional effect may be obtained by writing on the back of the prepared card the initials of somebody you will ask to come up and help you. In this way preface the effect by turning to thisperson and asking him whether he will help you in amoment or two. With the affirmative answer ask for his initials and write them on the back of the card which you intend passing out for the numbers. Needless to say the card between the flap and the slate bears similar initials upon the back. Make certain you retrieve the card from the helper. Perhaps the most definite way is after having written the word on your slate, you place it against a chair back or something similar. You then say, “ you, sir, have written upon your slate, a word arrived at by the choice of three numbers written down by these three gentlemen here. Have you got the card with those numbers?” He hands you the card, and holding it with the left hand, gesture with the right, saying, “ even had I known the numbers, I could not have hazardedyour choice of book could I ? Now sir, turn your slate round and let us see the word you wrote.” The left hand has placed the card upon the table.” It is the word . . . . . .” says theperformer, “and you can see that I was completely in harmony with you forthat isthe same word that I wrote on my slate.”
..
.
DESIGN0 PETER WARLOCK HOSE who visited the I.B.M. Convention at 1952 (itdoesn’tseem all that Hastingsin time ago) may remember that Russell Swann who was over here at the time had a great deal of fun with the chemical ink which fades. Difficult to get over here for a while, it is now obtainable
T
from dealers. Offering a great number of opportunities for gags, hereisalittle effectwhich is suitable for after dinner work. On the performer’s table are a white silk handkerchief, two small bottles of ink,one red and one black, a pen and a pack of cards. A card is
6 selected from the pack and the conjurer tells his audience that he hasjustfounda newway of divining the name of a chosen card.It is donewith the aid of coloured ink and even a member of the audience can do it. Therefore the chooser of the cardisasked to trythismodernmethod of determining chosen cards. “ First of all, however, there is one thing we must know, and that is the colour of the card, whether it is a red or black.” The spectator says that it is a black card. “ Right,” says theperformer, “all youhave to do is to spread this handkerchief flat on the table (the action is suited to the words) dip this pen in the black ink and shake it on to the handkerchief. something peculiar in the make up of the pen will cause the ink to form into the name of the card you chose.” The victim dips the pen in the ink and shakes it on tothe handkerchief the result being no more than two or three blobs of ink. “ You don’t seem very successful,” says the conjurer, “ so try again.” More ink, more blots ! Taking the bottle of ink with hisrighthand, the conjurer tips the table towards the audience so that they can see the result of the application of the ink. “ Look sir, I don’t think that it is due to any deliberation on your part but quite frankly we don’t seem to be making progress ; just keep the name of your card in mind and leave the rest to me.” Atthispoint where the spectator is dismissed, the performer shows both sides of the handkerchief to thespectators,thenclosing his left hand into a fist he pushes the inked silk into it with his right hand fingers. Now sir, just tell me the name of your card? ” Supposingtheanswer is the “Ten of Spades,” the performer withdraws the silk from his hand showing that the blots have disappearedand in their place are written the words, “Ten of Spades.” Theworkingrequireslittleexplanation.The necessary bottle of ink duly corked, another bottle containing red ink,two twelve inch white silk handkerchiefs,ahandkerchiefcolourchanging fake and a pack of cards. One of the handkerchiefi is prepared by painting with black paint the name of a black card upon it. Wewill keep the ten of spades in mind. The
best type of paint for this kind of work is sold by Winsor and Newton. It is easy to apply and once onthematerial will standupto washing. This silk is now tucked inside the changing tube which is dropped into one of the easily accessible right hand pockets. The other silk is tuckedintothe breast pocket whilst the bottles of ink, pen and pack of cards are on the table. The pack may be prepared or unpreparedaccording to theindivof idual, but the sober fact remains that the ten spades hasto be forced in the most natural manner. Presentation.
Force the ten of spades upon the spectator who youintendshall assist you. Lethim rerain the card of his choice and drop the remainder of the packintoyourpocket at the same time getting on the possession of thecolourchangingfake right hand second finger. The hand comes out of the pocket, the tube being easily concealed. Reach up to the breast pocket andremove the unprepared handkerchief. Place it on the table and have the chooser of thecard on your left. Instruct him regarding the ink and after he has told you that the card is black remove the red inkpot from the table. He now spatters ink over thehandkerchief, and holding the black inkpot with the right hand the table is tilted to show the damage. This is a good comedy situation.Thetable islevelled andthe inkpot replaced, the helper taking his seat. With the fake still held on the right hand second finger pick up the handkerchief, the left hand taking one corner so that thedamage is visible to the audience. Don’t hold it to long in case the fading commences. In running the silk through the left hand fingers release hold of the fake so that it is held inthe left fist, and then with the second finger of therighthand commence pushingthe damaged silk intothe left fist. Don’t allow the other silk to expand over the hand, but when the damaged silk is completely in the tube and a steal of the fake has been made with the right hand, ask for the name of the card. As it is given allow the silk held in the left hand to expand and then open it out with bothhands, showing how the blobs of ink have formed the name of the chosen card.
A N ANGLE ON CLIPPO PETER WARLOCK HOUGH the thought must have occurred to anumber of people we cannotremember seeing Clippo worked in this fashion. It is for use with a two person act. The performer takes a yard long strip of paper, the whole length of which has been prepared with cement and powdered, and holding the strip high allows it to hang from his left hand. The assistant who is left of the performer holds the bottom of the stripwith her left hand. With a pairof scissors
T
in his right hand, the performer cuts through the strip about six inches from the bottom. Thissmall strip which is heldby the assistant is passed by her to the left hand. More cuts are made so that finally with the addition of the piece left in the performer’s lefthandthereare some six pieces held by theassistant.Taking these pieces and apparently trimming the ends, the performer holding one end allows the paper into one completely restored strip.
7 The effectlooksa miracle andthe only thingthe necessary is that theassistant when placing the papersinher left hand should see that they are kept in alignment. If they criss cross too much,
performer will have to do some shaping up unless he wants a restored strip of paperthat staggers alongits length.
-
HE main magical event of this month was TheMagic Circle’s Magic Festival at the Scala. It proved a better money maker than the one of 1955. The magical content was small. Starting with Leslie Lester, who with fast (in some places too fast) card and cigarette manipulations completed his stint with the s t a c k of tumblersproductionala Booth. Albert le Bas, new to the Circle butnot to I.B.M. members, started the comedy ball rolling and for this purpose used theburnt and restored treasury note, aerialtreasury and a nice silk production.June went through her usual “ Strip a trick ” routine, adding as makeweight, a dogproduction effect of the late Arthur Ainslie’s and the “ Cremation ” illusion. Bobby Voltaire, abandonning his usual electrical act, brought more comedy with another treasurynotetrickand some small magic, the whole accompanied by a torrentof broken English. To close the first half of the programme, Milton Woodward with his “ W o n d e r Bar ” brought colour, movement, many drinksand of course, more comedy. The pace and ease of thisact showed its undoubted booking value. The curtain up on the first act in the second half. Rhoda Diane, aglamorouscartoonest, deserved a better spot for this most refreshing novelty act. Back to the laughs again with Pat Hatton and Peggy. Also back to the cut and restored rope and the the first sword impalement. A good vaudeville act, but the magicians were still waiting for some magic. Next, A1 Koran with undoubtedly the slickest mental act in Britain to-day. Good magic which registered well, but A1 should be far more careful in his treatment of ladies on the stage. To close the show came Les Andreor and partner, giving much the sameact which they had performed only a matter of days back at the British Ring Convention at Brighton. Mechanical pieces deftly used, but the sight of yet another sword impalement problem sent one magician friend of good taste from the theatre muttering “ Ichabod.” To complete the record, Billy McComb compered.
T
The first-night audience seemed to appreciate and enjoy the show though there were no showstopping acts. One missed the truly mysterious as well as the easy style of the Dutch manipulative school. On Wednesday, the 31 st October, we shall watch RudiIlenteattempt the HoudiniWater Torture Cell escape. It willbe presented ina passage way under the Hearts of Oak Buildings. We wish this young student the best of luck and hope that the evening will not be too cold. The next issue of the “ Pentagram ” bring readers a delightful. close-up coin effectof John Derris’s. Simple to handle and with a very good finale, it should be a must for table top workers. The Brown item in volume 10 has brought some interesting sidelights onthe effcct. Dai Vernon, Alex.Elmsley and Jack Yates have all added subtleties and possibilities which make for easy location of two mentally chosen cards. Whilst so often we hear magician lecturers bemoaning the treatment they have received when visiting magical societies, our own reception and the hospitality we have received has been all that one could desire. We have delightful memories of Leamington earlier this year, and last week a trip to Bournemouth and a talk .and demonstration was all the more enjoyable because of the way we were looked after. A special vote of thanks to our hosts, Mr. and Mrs. Laurie. For the second year we are staging a magic show in Wallington, in aid of a most deserving charity. Ourthanks go to theartistes coming along. They are A1 Koran,TheGreat Masoni, Shan, Harry and Marjorie Fletcher, Michael Bailey, John Salisse, Alfredand Cecilia Gabriel and Gil Leaney. The following week sees another magical show not many miles away, namely at Cheam, where our friend Francis Haxton is staging a show, the proceeds of which will go to the S.P.C.C.
ANNEMANN’S FAMOUS JINX PROGRAMMES 1
THIS series of five magical and mental programmes has been specially cornpiled for the magician who wants ready-made professionally routined acts of the highest order. They contain seven t o eight effects each, and run for 20 or 30 minutes, according to thespeed of presentation. Each act is fully routined; there is an outline of the act, full list of the requirements-most of which will already be in the possession of the average magician, a suggested opening
1
No. 1. Act Club
address and patter outline for the effects. Each effect is fully described and. where necessary, illustrated. so that even a beginner could produce a first-class professionally routined act with but a few evenings practice. The average Cost of providing the props for these acts wousd be 20 to 30 shiilings each, but despite this low cost the routines are full of entertainment value and visual appeal.
No. 3. Programme Magical Club
of Magic
This magical club programme, like No. 1. is suitable for club or dinner This programme of magic runs for about 25 minutes and theprops can be carried in a brief case. It opens with one of the most beautiful cigarette pro- shows and private parries. A flash cut and restored ribbon opens the act and is duction tricks conceived, this cigarette immediately being vanished by the follow-d by a terrific cardroutine,asimplebut effective card in balloon cleanest of all methods. A routine with a pound notefollows. the note vanish- (without theusual expensive props ), a beautiful pound note andlemon routine ing and appearing in the most unlikely places. The act runs through a humorous and a final closing number by Keith Clark. Everything could be carried in a item by Leslie May, a baffling mental or psychic item by Annemann and Dr. brief case except the last item you will therefore need instead a small suit cmc. Jacob Daley’s great Thought Card Pass t o a final card trick that will amwe, but theweight will be very light. baffle and intrigue the audience.
No. 4. “No Card ” MysteryAct
No. 2. MentalClubAct
‘ 1
1 1
mental act that can be carried in a brief Here is a one person 30-minute case, and ranks with the best. Seven super mental effects demonstrate rnindreading, sympathy, the ability of the performer to tell when a spectator is telling a lie, a great impromptu newspaper test,atriplecoercion effect, a baffling living and dead test and the final demonstration of Extra Sensory Perception.
No. 5.
‘‘No Code” Telepathy
This two-person routine utilises no codes at all. Its running time is about 30 strate pseudo telepathy between two people, and are‘foutined SO that the !:a minutes and the ne:essary props can be carried in the pocket. I his is a terrific builds up to the grand climax of Annemann’e great l houghts in the Air boon to themarried magician who, after an evenings practice can walk in any- routine. where, without case o r bag and go rtraight into the act. The six effects demon-
Each routine is described in a neatly printed and fully illustrated book Price each S/-. Postage 4d.
l
l
Magicians who prefer not to use card tricks in their acts will PO for this one, for as the title implies, it is a 25-minute act with not a single card trick. The total carrying weight is about six pounds. The classical cigarette opens and is followed by a novel visible cigarette vanish. A lovely coin routine of Ottokar Fisher’s is followed by an amusing and unusual production. Three more off-the-beat effects are followed by Annemann‘s sensational Blackboard Mystery which brings the act ton grand climax.
THE MAGIC W A N D PUBLISHING COMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
A THIRTIETH CENTURY MENTAL EFFECT.
The MYSTERY of THE THREE COLOURED BOXES The audience see three smallish attractively decoratedcoloured boxes on the mentalist’s table.One is white, one black and one green. The actual size is 3in. X 3in. X 2in. Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green. On a large visiting card, the mentalist writes something. The card is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to namea three-figure number which is noted. Two more messages are similarly written and placed respec-
I
PETER WARLOCK, 24 WORDSWORTH ROAD, WALLINGTON, SURREY PETER
The Magic Circle clubroom and Library
Particularr
Iron, Hun
Secretary :
Newcombe 38 Overdale Avenue N e w Malden, Surrey Peter
published en the 24th of each month and be obtained direct from the publtehcrs for l17 per Eingle copy. Annual Sukrigtion 181-
IS
can
and Museum :
Hearts of O a k Buildings, Euston Road. London, N.W.1. Marical Theatre . King George’s Hall, W.C.
WARLOCK’S
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
I
tively in the black and green boxes. Mr. Black choosing a City and Mr. Greena playing card. The pay off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case tile mentalist has correctly forecast their particular choices. Completely mechanical in working thus leaving the mentalist free to makethe most of his showmanshi The Mystery of the Three Coloured Boxes,” made o n t to order, comes complete for f 6 IOs., post free. Made only t o Order
p a t free.
I
PUBLISHED BY: The Magic Wand Publishing Co.
62 Wellington Road, Enfield Middlesex
hanuocriptr for prbliatiom and book fer review shodd be sent to the: EDITORIAL ADDRE3SS:
Peter Warlock, Wallingtan,
24, Wordsworth Rd., Surrev.
]ACK
HUGHES
will be pleased to wnd you full details of
THE DE LUXB “SU-TABLE” together with all hi8 other effeetr in ruturn for a stunp. write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser% goods are- fully endorsed by this Bulletin PUBLISHED BY THE PROPRIETORS T H E MAGIC WANDPUBUSHINOCOMPANY, 67 WELLINGTONROAD,ENPIELD.HIDDLBSEX A N DP R I N T E D BY HBRBBRT WALKER & SON (PRINTERS)LTD.,BRIDGE W O R K S , SHIPLEYIYORKSHIRE
1
TH.E JOJAMAJO CAP AND COINS MYSTERY JOHN DERRIS
HE ORIGIN of the cap and coins trick is somewhere in the early days qf commercial magic and recent research on my part to uncover its beginning has been fruitless. George Davenport marketed the effect before the war and since 1946 has sold an improved version which is still available to-day. The style of manufacture is reminiscent of Brema and it is possible that the first model was made in his workshop, but I have found no evidence to substantiate this possibility.
T
The basic effect is very simple. Three pennies and a small brass cap are shown and the coins are stacked together and placed on thebackof the hand and covered with the cap. The magician taps the cap with his finger and a coin drops on tothe tablefromunderneath the outstretched hand. Upon lifting thecap onlytwocoins are seen, the cap being empty, proving that one coin has actually penetrated the hand. This straightforward effect was performed in this manner for many, many years and as far aswe know the first man to give any thought to developing this fine trick into a routine was that master of the closeup art.Johti Ramsay. When he first showed his version it hadmany knowledgeable magicians worried for they were unable t o detect the usual gimmick, such was thecunningofhisroutine. The next man to give new life to the cap and coins was my goodfriend Jack Avis andhis version is full of typical Avis subtleties which are, as with John Ramsay’s routine, designed to fool the magician possessing knowledge of thegimmick. After Jack came a routine by that brilliant Dutch magician, Marconick ; this was published in “The Gen” and once againmany clever ideas were evolved around this simple piece of apparatus.
VOLUME I I, No. 2
-
The principle used in this, my own version of the effect, was employed in a slightly different way some years agoby myself, but 1was not very enthusiastic about the handling at the time so the idealaydormant until recently. The effect is briefly as follows. The magician uses a glass cap tumbler, a pockethandkerchief,thebrass and four pennies. The four coins are shown quite freely on both sides and one at a time are placed into the cap. The cap containing the four pennies is laid in the middle of the handkerchief which is held between the two hands. Holding the handkerchief over the tumbler the magician says that he will cause one coin to leave the cap and pass right through the handkerchief. At thispoint a coin is seen and heard to fall into,the tumbler and on lifting the cap only three pennres are left. The four coins andthecapare again shownquite freely.
Atthe beginning of theroutinetheitems used are set up in the following way. The pocket handkerchief is pushed inside the tumbler which restsupsidedown on the table, whilst the cap
I/6. (20 Cents)
-
NOVEMBER 1956
10
containing four loose fitting pennies is on top of the tumbler, coins uppermost. The gimmick coin is held in the classic palm in the right hand with the penny side of the coin away from the palm(1). With the right hand pick up the tumbler and toss the cap containing the coins into the air and catchtheminthe left hand ; thenreplacethe tumbler on the table. Taking the cap in the right hand you tip all the coins out on to the table and place the empty cap open side uppermost behind
the pile of four coins. As you mention that you use just four coins for the trick you pick up one of the pennies with the right hand, move towards the open left palm and as you do so you tap the coin against the side of the upturned cap causing it to ring (2). The coin is then tossed into the left palm so that it falls roughly into the classic palm position. This processis repeated with the remainingthreecoins,ringingthemeachtimeagainst the cap and tossing them into the left hand. As the fourth coin is thrown into the palm you then tip all the coins into the right hand, retaining one of the pennies in the classic palm in the left hand. The three coins have now been added to the fake coin which has been palmedintherighthand, and to all appearances you have just transferred the four coins fPom hand to hand.
The coins are then bounced a couple of times and picked up by the lingers and spread into a
fan as you again stress, “just four coins ” (3). The fake coin is at the top of the fan and nearest to theperformer.Picking up the cap with the left hand and holding it open side towards the performeryou place thefake coin intothecap pressing it home with the left thumb. As you do this the hands areheld in front of you at shoulder height. The remaining three coins are also placed in the cap one at a time in the same way, and the cap is then held in the right hand and shown to the spectators. It is then placed back on top of the upturned tumbler, coins uppermost. With the coin still palmed in the left hand you pick up the tumblerand with theright hand you takethe corner of the handkerchief and pull it from the tumbler which is ?hen replaced on the table. The handkerchief is held by the two corners between thehandsandthenthrownoverthe left hand, palm uppermost ; as this is done you shake the coin palmed in the hand to the fingertips where it rests. The cap is now taken from the top of the tumbler and placed on the handkerchief so that it lies directly over the coin which is underneath (4).
With therighthand you turnthetumbhr over so that the mouth is uppermost and as you lean forward to do this it is quite natural to place the left thumb on top of thecap,throughthe handkerchief, to preventitfrom sliding off the on top you palm. But as youplacethethumb
press the cap hard between thumb and fingers so thatthe coinunderneaththehandkerchief is is wedged inside the bottom of the cap. The cap is then placed with the handkerchief on the table alongsidethetumbler.The h a n d k e r c h i e f is straightened out and then heldby the hands at theleft and righthand sides andlifted off the table and held, so that the cap is positioned over the tumbler. Stating that you will make one coin leave the cap and pass through the handkerchief you pull in opposite directions with the hands and this causes the wedged coin to be ,released from
(5).The its hiding place and to drop into tumbler the handkerchief with thecap is laid onthe table again and the cap is lifted and shown to be empty and the three remaining coins are spread and then picked up one at a time and dropped singly into the tumbler. All four coins are then tipped fromthe tumbler into the left palm and from the left palm they are tipped into the right palm in the same way as at the beginning of the routine. You finish as you started ;with four pennies, the cap, the tumbler and a handkerchief, and at the end, you have made magic.
BROWNWAVES ALEX ELMSLEY HE METHOD of havingacard chosen wherein aspectatorcuts off some cards, counts them to arrive at a number, and then remembers the card at that number in the rest of thepack,has always been very popular with mathematicallyminded magicians, if not with their audiences. Edward Brown took this further by doing it to two spectators at one and the same time. By kickingtheidea arounda bit, I have found two versions, working on slightly different principles from Brown’s. Brownwave No. l. This is acard discovery of thetype which has been called an “ interrelation ” discovery, the reason being thatthe magician does not know where either of the chosen cards may be, but he does know that there is a certain relation between the positions of the cards. By doing various things with the pack this relation can be changed to suit the magician. The commonest revelation used in this type of location is to divide the pack into two packets and to show that the two chosen cards are the same distance down, one in each packet. By correct presentation the magician can give the impression that he knows thepositions of both cards, instead of neither. Routine You muststart with afullpack of cards. Hand them out to be shuffled, and ask two spectators each to take some of the cards. Suggest a third of thepack or less each,andparticularly ask them to cut off different sized packets, as you do not want to risk them both having the same number of cards. The remainder of the pack is returned to you. Ask both spectators to counttheircards secretly, and to remember the number they arrive at. Then show cards from the top of the packet you hold one at a time to the spectators, asking them each to remember the card that he sees at his number. Do not alter the order of the cards in counting.
T
When you have counted out twenty-six cards, ask the spectators if they have seen their cards, which they should have. Then cut your packet at this point. If, however, you have less than twentysix cards, you must cut sufficient cards from the top of thepacket to thebottom to makethe count up to twenty-six.
Now ask one of the spectators to take both theirpackets,and to shuffle themtogether. Cut your packet as exactly in half as you can manage, and have thespectators’cards replaced inthe middle of your packet. Mathematics being what they are you must now take the bottom card of the pack and push it into the middle or the trick will not work out. Atthisstageyou mayif you wish, false shuffle, or pass the time in any other way to which you may feel inclined. Then divide the pack in two by counting out twenty-six cards onto the table, reversing theirorder.Thetwo chosen cardsare now the same distance down in each half of the pack, and you may reveal them as you think fit. One possibility is as follows. When you arecounting off and reversing twenty-six cards, do so with thepack face up, takingthecardsfromthe face, andaskthe spectators to watch for their cards. On reaching twenty-six, ask if either of the cards has been seen. Onespectator will say, “ yes.” Hand him the counted off cards, and hand the other spectator the remaining cards. Now have both spectators deal cards in time with each other from the tops of their packets, but while one spectator is to deal his cards face down, the other is to deal his cards face up, and is to shout “ stop ” when he sees his chosen card. When he shouts “stop,” ask the first spectator to name his card, and then to turn over the card at which he was stopped. Climax.
12
Brownwave No. 2 In this routine the magician really does find bothcards. It involves an interestingprinciple, for although it is a key card type trick, no key cards are used. Instead, all the work is done by holding a break. If, however, you dislike breaks, you will find that the routinecan easily be adapted to the use of two crimpedcards,one atthe bottom of the pack, and one thetwenty-sixth card in the pack. Routine As in the last trick,you must use a full pack. Also, when you start, you must have a little finger break right in themiddle of the pack, i.e., beneath the twenty-sixth card. You may get this break by any means which appeal to you. Thus, while toying with the cards you may cut the pack for ‘a perfect weave, check the accuracy of the cut by startingthe weave, andthenapparentlychange yourmind about shuffling and reassemble the pack with a break between the halves. Be this as it may, you have a break in the middle of the pack. Ask a first spectator to cut off some cards-youmay suggest athird of the packor less. Thisdone,lookaroundfor a second spectator to assist you, and while looking around, cut your cards at the break. When completing the cut do not square up straightaway but first take a new break between the cut packets.
Ask the second spectator also to cutoff some cards, and you may again suggest a third or less. Anyway, you must finish with morecardsthan either of the spectators. Now ask both spectators to count their cards secretly, and then to put them into their pockets. While they are counting, hold your own cards so that youcan see thebreak. It will probably be nearer to thebottomthantothetop of your packet. If, however, it is nearer the top, again cut at the break and take up a new break between the cut packets. Explain to the spectators that you are going to show them cards one at a time, and that each is to remember the card lying at his number. Start showingcardsfromthe top of thepacket you hold, without reversing their order. Count yourself as you show the cards, and when you come to the break, remember the number of cards above it.This is your key number which is going to locateboththechosencards.Dropthebreak, andcarryoncounting. When you come upto twenty-six, ask if both spectators have seen their cards, and then cut the cardsat this point,i.e. put the twenty six cards counted off back beneath the remaining cards. As in the last trick, if there are
less than twenty-six cards, cut or shufle sufficient make the cards from the top to the bottom to count up to twenty-six.
Now you are all ready to finish and you may throwinafalse shuffle. Remember when you looked to see whether your break was nearer the top or bottom of the packet 2 If all was well then, you are going to discover the first spectator’s card first. If the break was nearer the top,and you had to cut your cards, you are going to discover the second spectator’s card first. Hand your cards to the appropriate spectator and ask him to deal them down onto the table. Count the cards to yourself, and call “ stop ” as he is holding the card at the position corresponding to your key number. This ishis card. After he has beengiven a moment or two to recover from his astonishment,ask him toretain his chosen card, to drop his remaining cards on top of the dealt cards, and then to passthese cards to the other spectator. The other spectator is also to deal cards onto the table, andhis card is discovered in the same manner, by calling “ stop ” when you reach the key number. Ecstatic cries from the audience of “ Mmm,” “ Seen it,” “ I’m afraid I must go now.” Collapse of magician from brain fatigue. Magician’s wife calls on the editor of the Pentagram with a horse whip. Escape of editor, standing on top of a train making predictions.He is knocked off by a low bridge and dies muttering “problems.” As many wills arefound as there arehopeful legatees possessing Dr. Jaks knives. Civil war. End of civilisation as we know it.
Notes In No. 1; instead of cutting the cardsyou are showing thespectatorsat twenty-six, and subsequently placing acardfromthebottominto the middle, you may cut at twenty-five, and place a card from the top into the middle, for example with a slip cut. In both routines instead of counting right up to twenty-six (or twenty-five if you are using the suggestion in Note 1) when it is obvious that both spectatorshave seen theircardsquite early on, you may stopthecountearlierand cut. Then spreadthecards while saying that you cannot know where either of the chosen cards are, and mark off sufficient cards from the top to make your count up to twenty-six (or -five as the case may be), square up, and cut these cards to the bottom. In No. 2 you may find it simpler while showingthecards,instead of holding a little finger break, to jog all the cards above the break about one tenth of an inch to the right. and to keep an eye on the jog while counting.
13
THOUGHT ON A MENTALLY SELECTED CARD JACK YATES N THIS effect the spectator after shuilling the pack, cuts off about a third of the pack. Out of the performer’s sight he counts the number of cards he has cut, drops them into his pocket and then, supposing that the numberhe holds is fourteen, looks at the fourteenth card from the top of the remaining cards. Before taking the cards from the table the conjurer suggests that in case he, the performer, might be accused of making some calculation, that thehelper cuts off a portion of talon from the bottom. Now taking the remaining cards, the conjurer glances through them with the appar-
I
ent objectof trying to find the noted card. Actually he counts the cards and supposingthe total comes to twenty-four.Thisnumber he subtracts from fifty-two givinghim a key number of twenty-eight. Now with the appropriate patter that will make the action casual, the helper places the cards he cut from the bottom on top of those held by the performer.Thisautomaticallyhasthe effectof bringing the chosen card to the key number, and with this information the performer can reveal it as he wishes.
TUMBLEJACK JOHN DERRIS OT A NEW trick, not anew sleight, but anew card flourish that has not theslightest chance of making magical history. Every magician has his favouriteselection of card flourishes which he displays from time to time and usually he is very reluctant to adopt and practice any new ideas that are published. So, happy in the knowledge that no magician is going to use this flourish and I have an exclusive on my hands I hereby describe to you-Tumblejack. Holding the pack in one hand the magician deals off the top card with the finger so that it tumbles over and over onto the table landingface up or face down according to the whim of the magic maker. Useful for dealing one or a number of cards to a spectator in the course of a trick, for use by honest Black Jack dealersor forimpressing newly joined members in your magic club with your undoubted ability with the pasteboards. Thedrawing shows how thepack is held and here is a graphic move for movelaccount of the
finger breaking execution of this almost useless flourish. The short sides of the pack are held in the right hand between the thumb and thesecond and third fingers with the long side of the’cards nearest the performer. The cards are face down and the pack is held from underneath so that the hand is palm uppermost. Pressure is exerted with the holding fingers and thumb so that the pack is slightly bridged. The first finger curls around the far side of the pack and rests on the top card. This finger slides the top card until it is overlapping the pack by approximately The fingernow snapsthe card downwards using the edge of the pack as the point of leverage maintaining the pressurewith the thumb and fingers as you send the card tumbling away from the pack. By judging the distance from the pack to the table you can make the card land either face up or face down and with practice you can deal the cards rapidly so that they fall one on top of the other. Selected card is,say, seventh from the top. Six cards are dealt one at a time face down onto the table but theseventh card falls onto the packet and lands face up-the selected card. A note on a variationof handling. If you allow the first finger to fall on the top card so that it is positioned off centre, the card will not somersault from the pack but will spin away from the pack in the same as when a card is “ boomeranged.” Thisenablesyouproject the card to a greater distance than with the tumbling method. Get your cards out, contort your fingers and then go back to sleep.
a”.
14
BOOKS “EVERYBODY’S BOOK OF MAGIC” by Will Dexter (Published byArc0 Publishing Co. Ltd., Price 10/6) There are many thousands of books dealing with the varying phases of the magic art. In the main their field has been concise and limited. Will Dexter’s bookbreaks new groundhowever,for good journalist as he is, he aims to interest both laymen and magicians without theneed for cluttering their minds up withdescriptions and explanaof tricks tions of tricks. In factinthematter proper there are only ten in the book, the contributors bearing quite hallowed names. The narrative might be likened to a journey, for in the main serves it the purposeof making the reader a traveller touring the realm of magicdom,. He soon learns that the true secrets of magic are not the mere means, but something that is part of the magician himself, and armed with this knowledge at an early stage he is better able to view the changing aspects of the picture of the magical world unrolled before him.
He learns what a“ Gimmick ” is to amagician, he finds that the underlying secret of mindreading is applied psychologymixedwith a dash ofelementary conjuring. He makes his first visit to the Magic Circle clubroom and becomes acquainted with the International Brotherhood of Magicians. He is confronted withlists ofdealers and magazines and finds that whichever part of these blessed isles that he chooses to reside, the Magical Society is omnipresent. He is introduced to the personalities of magic ; the performers, inventor5 and even editors of magazines. Whether the pen pictures aretrue ones, he will soon find out for himself, for by the time that he has finished readingtheabsorbing contents he will have decided that he must become an inhabitant of this precious country instead of being a sightseer. More than merely interesting, this book is a ‘‘ Must ” for every magician, For the record, page page size 6 by 9 inches cloth bound, one hundred and eighty pages.
HE publication in a previous issue of the late duplicated thefamous feat of Iioudini’s, “ The Edward Brown’s “ Discovery of Two MentChinese Water Torture Cell ” illusion. Our report ally Selected Cards,’’ brought us quite a deal in The Stage will antedate this by many weeks, of correspondence, including aletterfromthe but we should like to pay a tribute to the sincere Professor himself, DaiVernon.With his permanner in which this youngster of ninzteen years mission we hope in a f u t U r e number of this presented a most sensational feat. Those present bulletin to publish his handling of this mathematical were mainly press, and as far as we could judge problem. In the meanwhile we publish a version there were only a matter ofhalf a dQzen Circle by Jack Yates andalso two ideas of Alex. Elmsley. members present. They included Francis White, Whilst Jack has kept a purely mathematical format,Peter Newcombe, Michael Baileyand JohnSalisse. Alex.,by natural handling, has disguised the The weight of thewater in the tankfor this mathematics involved. All the methods are prac“ Upside Down ” escape was one ton, and the chief tical and will p l e a s ethosedevotees of card concern of the presenter was whether the glass in location exercises. the tank would stand up to thepressure. All went Just a note too on the John Derris item. The well however, and the press gave this lad a terrific Jojamajo cap and coin mystery is one of those reception when he emerged safe and sound. Flash rarities, a close-up trick that can be used with a bulbs flashed andcameras clicked. Hadit not considerably larger audience. Thehandling is been fortheprecedence of war news onthe clean all the way through and calls for little skill. succeeding day, “ Rudilante ” would have garnered We are certain that this version will give new life a terrific press. tothe inexpensive gimmick required to achieve Another interesting Circle event, which so far the effect. we have not seen reported, was the occasionwhen Congratulations to “ Rudilante ” the young a group of International Boy Scouts made a visit. medical student who on Hallowe’ensuccessfully This was aspecial night arranged by Eric Franklin,
T
is and in the main the Circle members present were those who took part in the show, a show which was “ bang on ! ” from the word go. Giving their best were HerbertJ.Collings,Francis White, Michael Bailey, the Editor and Stanley Thomas. We are very interestedinacquiring Jordan material. Apart from the specialissues of Jordan’s tricks put out by Annemann and his books, there must be quite a vast amount of Jordan material in manuscript form in this country. To ourknowledge Stewart James has a vast collection, but not
complete. If any reader has any material outside the books and Annmann issues, we should be more than grateful if we could have a sight of the items for private duplication. Not so far in the future, one’s thoughts will go to the next I.B.M. Convention which is to be held at Scarborough. The Grand, whichwillbe the Headquarter Hotel should prove an excellent venue, for its accommodation in theway of public rooms exceeds most of those which have been used in previous years.
‘‘ POSTHUMOUS INFLUENCE” G. E. ARROWSMITH
ERE is an original routine with a standard prop which has proved to be effective for a close-up audience. As seen by the spectator this is what happens. A photo frame that contains the portrait of any well known deceased magician (or, for that matter, of anyone else) is introduced as an article that is endowed with strange magical power-the influence of the former miracle--worker still pervades it, and enables it to do theimpossible. “ Don’t take my word for this,” says the genial performer, “ secing is believing, so let me convince you by a simple little experiment. First of all we will remove the photo from the frame.” He suitstheaction to thewords,and the audiencecan see thattheframe is undeniably empty. He then hands out a dozen or more paper slips and asks each holder to write the name of any animal-the number of letters not to exceed half a dozen. These slips are thenfolded and placed in the performer’s side pocket after someone has removed its contents and satisfied himself that it is empty. A pack of Lexicon cards is next shown and thoroughly shuffled. Someone drawsone of the slips from the performer’s pocket, having a perfectly free choice. Says the Magician, “ Obviously I cannot tell what animal is recorded on your paper, you do not know, none of the audience knows, and, what is more, we won’t know until you unfold it and read it out. Butthisframe, owing to theposthumous influence of its former owner (who, you will remember, was a famousmagician), this frame, I repeat, does know, and will reveal it to you in a miraculousmanner. Wewill put thispack of Lexicon cards in contact with it, and wrap a silk handkerchief around both,thus.Now wewill place the folded slip on the package, and allow a few momentsfordeepbreathingandmental concentration ”-pause-‘* That is sufficient. If our experiment has been successful we will find that the magic frame has drawn from the pack the actual letterswhich will spell the nameof your chosenanimal.Pleaseopentheslipandread what is on it, The word C A T ? Tbank you.” The handkerchief is removed, and, sure
H
enough,insidethe previously emptyframeare three letter cards C A T. The secret is simple-a sand frame (a most useful prop of Prof. Hoffman vintage) butstill obtainablefrom a magical dealer,)andacoat pocket-a side one for preference- that has been converted into a double pocket on the “changing bag” principle. Into one of its divisions a dozen folded slips are loaded each containing the word C A T. A haudkerchief, knife, keys, or-what-have you, areputintheother division, and in due coursetheseareemptied out by thevolunteer assistant,theperformer obiigingly holding the pocket open for him, and, by so doing, making it impossible for him to draw from the wrong division. This explains thefcrcing of theword. Incidentally I claim originality for theidea of using a coat pocket as achanging-bag, although I expect my claim will be challenged immediately by a score of other magicians ! As to the sand frame. I have had one of these by me for many years but have seldom used it, for it seemed to me to be an unconvincing prop. The weak partaboutit istheinability to open the back and so prove its emptiness. But the method employed inthepresent effect overcomes that difficulty. To set the frame first insert the photograph and behind it place thethreelettercards.With the sand out of sight, and the photo visible, it will appear to be a very ordinaryarticle. To empty the frame the backis turned towards the audience, and, by thesame movement, it is reversed so causing the sand to function. The back is opened slightly and the photo removed, leaving the cards in place, but on turning the frame round they will now be invisible owing to the sandscreen. To the audience it will seem that you have removed the photo by opening the frame and then have shown it to be unmistakably empty. Further explanation is superfluous. The whole success of the effect depends on those two invaluable qualities-showmanship and cheek, and when you come to think of it,those priceless ingredients form the greater part of most magical marvels ! Geo. E. Arrowsmith, M.I.M.C.
ANNEMANN’S FAMOUS JINX PROGRAMMES HIS series of five magical and mental progrnmmee has been specially com- address and patter outline for the effects. Each effect is fully described and. Tpiled for the magician who wants ready-made professionally routined acts where necessary, illustrated, so that even a beginner could produce a first-dass of the highest order. They contain seven to eight effects each, and run for 20 professionally routined act with but a few evenings practice. The average Cost or 30 minutes, accordingto the speedof presentation. Each act is fully routined;of providing the props for these acts would be 20 to 30 shillings each. but of entertainment value and visual there is an outline of the act, full list of the requirements-most of which despite this low cost the routines are full will already be in the possession of the average magician, a suggested opening appeal.
No. 1. Club Act of Magic
No. 3. Magical Club Programme
This magical club programme, like No. 1. is suitable for club or dinner This programme of magic runs for about 25 minutes and theprops can be carried in a brief case. It opens with one of the most beautiful cigarette pro- shows and private partics. A lash cut and restored ribbon opens the act and is ductiontricks conceived,thiscigaretteimmediatelybeingvanishedby the follow.-dbyaterrificcardroutine,a simple but effective cardinballoon cleanest of all methods. A routine with a pound note follows, the note vanish- (without the usual expensiveprops ), a beautifulpound note andlemon routine ing and appearing inthe mostunlikely places. The act runs through a humorous and a final closing number by Keith Clark. Everything could be carried in a item by Leslie May, a baffling mental or psychic item by Annemann and Dr. brief case except the last item you will therefore need instead a small suit case, Jacob Daley’s great Thought Card Pass t o a final card trick that will amuse, but the weight will be very light. baffle and intrigue the audience.
No. 4.
No. 2. MentalClubAct Here is a one person 30-minute mental act that can be carried in a brief case, and ranks with the best. Seven super mental effects demonstrate mindreading, sympathy, the ability of the performer t o tell when a spectator is tellingalie,agreat impromptu newspapertest,a triple coercion effect, a baffling living and dead test and the final demonstration ofExtraSensory Perception.
No. 5.
‘‘No Card
”
Mystery Act
Magicians who prefer not to use card tricks in their acts will go for this one for as the title implies, it is a 25-minute act with not a single card trick. The‘total carrying weight is about six pounds. The classical cigarette opens and is followed by a novel visible cigarette vanish. A lovely coin routine of Ottokar Fisher’s is followed by an amusing and unusual production. Three more off-the-beat effects are followed by Annemann’s sensational Blackboard Mystery which bringsthe act to grand a climax.
No Code ” Telepathy
This two-person routine utilises no codes at all. Ita running time is about 30 strate pseudo telepathy between two people, and are‘foutlned EO that the a !: minutes and the nesessary props can be carried in the pocket. This is a terrific builds up to the grand climax of Annemann’s great l howhts in the Air boon to the married magician who, after an evenings practice canwalk in any- routine. where, without case or bag and go straight into the act. The six effects demon-
Each routine is described in a neatly printed and fully illustrated book Price each 5/-.
THE MAGICWAND
Postage 4d.
P U B L I S H I N G C(PMPANY
6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X
~
~
~
~
~
~
~~
~~
~~
A THIRTIETH CENTURYMENTAL EFFECT.
The MYSTERY of TEE THREE COLOURED BOXES The audience see three smallish attractively decoratedcoloured boxes onthe mentalist’s table. One is white, one black and one green. The actual size is 3in. X 3in. X 2in. Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green. On a large visiting card, the mentalist writes something. The card is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to namea three-figure number which is noted. Two more messages are similarly written and placed respec-
I
Made only t o Order
PETER WARLOCK, 24 W O R D S W O R T H R O A D , W A L L I N G T O N , SURREY
The Magic Circle President: Herbert 1. Collings, Esq. Vice-President : Francis White, Esq. Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre *
King George’s Hall, W.C. Dec. 18-Christmas Concert
Particulars front Hon. Secretary :
Peter Newcornbe 38 Overdale Avenue New Malden, Surrey
l+
tively in the black and green boxes. Mr. Black choosing a City and Mr. Green a playing card. The pap off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case the mentalist has correctly forecast their particular choices. Completely mechanical in working thus leaving the mentalist free to make the most of his showmanshi “ The Mystery of the Three Coloured Boxes,” made on& to order, comes complete for €6 lOs., post free.
-~
PETER
WARLOCK’S
PENTAGRAM
JACK HUGHES will bepleased to sendyou full details of
is published on the 24th of eachmonth and can be obtaineddirect from thepublishers for 117 per singlecopy. Annual Subscription 18/post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
togetherwithall his other effectsin return for a stamp,
Manuscripts for publication and books for reviewshould be sent to the: EDITORIAL ADDRESS:
Peter Warlock,
24, Wordsworth Rd., Wallington, Surtev __-- - -
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser9; goods are fully endorsAd by this Bulletin PUBLISHED BY T H E PROPRIETORSTHEMAGIC WANDPUBLISHINGCOMPANY, 62 WELLINGTONHOADIENFIELD.MIDDLESEX A N DP R I N T E D BY RERBERTWALKER & S O N (PRINTERS) LTD., BRIDGE W O R K S , SHIPLHYIYORKSHIRE
EDWARDBROWN’S
HANDKERCHIEF AND GLASS TO H A T Twomatchingcoloured silk lady’s handkerchiefs, size about ten inches square. An opaque foulard, size at least eighteen inches square. Two small glasses,size abouttwoand a quarter inches top diameter and three inches tall. Brown used a Pony glass with the wisecrack that it was so called, “because it only contained enough to make you a little hoarse.” An unbreakable “ Crystolac ” tumbler of toughened glass -not plastic-is obtainable which although slightly larger thanthe above, suits admirably, the rim at the base facilitating the The Effect penetration.This rim, however, is not essential and Brown did not use a glass with a base rim. A hat is shown and from it are extractedthe ingredients Of the mystery, a These Crystolac tumblers are unbreakable glass, a lady’s silk handkerchief and and a foulard. and can be thrown about on a stone floor. They Thehat is inverted to demonstrateits emptiness will break however, if they happen fall flat and is placed crown down on the table. mouth downwards thus creating an internal presThe performer explains that he proposes to sure which exerts a bursting effect and in this case place the lady’s handkerchief in the glass and then the glass disintegrate$ into a fine powder and an pass these two articles magically into the hat. To amazing complete vanish of a tumbler occurs ! preparation preclude any possibility of trickery the items are identified by enclosing in the handkerchief a ring borrowed from a spectator. The audience is given Tuckoneofthe lady’s handkerchiefs well the choice as to whether the articles shallpassdown into each glass and Place both glasses inthe seperately or all together and to please everyone hat with the foulard between to stop any ‘‘talking.” Presentation the performer undertakes to do it both ways. Take up hat, with left hand remove the foulard The glass containing the lady’s handkerchief and drapeover the left arm. Remove 1 lady’s hand0 with thering inside, covered with thefoulard, kerchief then one gIass (No. 1) and place on the visibly penetrates the crown of the hatand is table. If desired, slip the other glass (No. 2) under recovered from within. the left fingers holding the hat and inconsequentially invert the hat to imply emptiness. Place the hat on The threearticles are then caused to disappear the table, crown down, and commence the effect individually in sequence, first the ring thenthe handkerchief and finally the glass. Once again the by takingupthe glass (No. 1) fromthe table, spreading thelady’s handkerchief over the top and glass and its contents are immediately recovered borrowing a finger ring. The owner of the ring from the hat, drops it intoa well made by tucking the handkerRequirements chief into the glass but the performer should take note of the ring so that he can describe it later. A howler or operahat.The effect can be The remainder of the handkerchief is then tucked worked with a softhat butthepenetrationas in toenclose the ringand half fill the glass. Ensure Phase 1 is not so good.
T
HE HANDKERCHIEF and glass to hat is probably the best remembered of the late E. G . Brown’s brilliant sleight of hand adaptations of classical apparatus effects. It is di5cult to give a definitive description of any Brown effect due to changes resulting from his constant striving for perfection, but, whilst he had other versions of as this effect, he retained thisparticularroutine now described to the end, so presumably he was satisfied with it as were his numerousadmirers who saw him perform it.
VOLUME I I , No. 3
-
116. (20 Cents)
-
DECEMBER 1956
18
that the otherhandkerchief in glass No. 2 occupies a similar volume and also that the handkerchief andringare wedged intothe glass sufficiently to out when the glass is inverted. tightly so as not fall
Phase 1. Penetration of glass through base of hat The glass is now placed on the left hand held
Starting position for penetration and vanish. Glass held in left hand.
palm up in the same position as for back palming acoin.Thefoulard removed fromthe left arm and, held by themiddle of one side, is drawn over the glass from the front until the middle of the side being held canbe gripped in theleft thumb crotch. This will result in the glass being in the centre of the foulard in one dimension and in the other approximately one third will be behind the glass and the remaining two thirdswill be hanging down in front. Raise the front of the foulard and show that the glass is still there. Let the foulard drop again and flick the glass through the foulard; during this move the left second and third fingers bend in to the palm under the base of the glass similarly to the commencement of the coin back Palm*
i I
I i
Underhandkerchieffingerstakeup this position. After hat is placed ontop andpressed down with the right hand, glass is caused to slide through fingers of left hand and take up position shown by dotted lines.
This leaves the glass gripped between the tips of the first and fourth fingers, but no change in the position of the glassis evident to the audience. Tilt the left hand slightly upwards so that thelevel of the first and fourth finger tips is slightly above the level of the knuckles of the second and third
fingers curved into the palm. (This aids in getting the maximum possible traverse of the glass during the penetration). Turn half left and place the hat crown down on top of the foulard covered glass with the right hand.Now effect thepenetration by pushing down with the hat and causing the glass to slide down between the left fingers. The extent of the downward movement is accentuated by the left fingers being pointed upwards to commence with and dropping slightly during the slide. The glass apparently penetrates the base of the hat. Practice in front of a mirror will allow an effect equal to the piston and table method to be obtained. If a trilby hat is used it is necessary to place the right hand inside the hat and push against the insideof the crown and the effect is not as good as when a hard hat is used as this can be held by the brim and pushed down.Thepenetrationterminates with the hat resting on the second and third knuckles below the foulard covering the left hand.
Left 2nd and 3rd fingers enter glass and left hand drops to side, the glass beingretainedbetweenthefirstand second fingers.
Lift off the hat with the right hand, lower the left hand and simultaneouslystraightenthe left second and third fingers which will enter the glass, (Figure 3.) (It is tofacilitatethisandtoavoid nipping the foulard in the process, that is necessary to have the glass as near to tips of the fingers as possible duringthepenetration.)The glasswill now be gripped between the tips of the first and second fingers and be completely concealed by the foulard. Replace the hat in the left hand gripping it between thumband fingers abovethefoulard. (Figure 4.) Remove glass No. 2 from the hatwith the right hand and place it on the table. Turn the hat with the right hand, re-gripping iton the opposite side of the brim with the left hand, so that thebottom now faces theaudience.Snapthe bottomand show thatthere is noholeinthe crown. (Figure -5).
19 ( 1 ) Vanish of the ring The right fingers dive into the handkerchief in the glass and appear toextract the ring without removing the handkerchief from the glass. Place the glass on the table. Describe the imaginary ring from the details noted earlier and apparently transfer it to the left handand vanish it from there.
Hat taken in left hand whilst rightremoves duplicate from hat.
Now snatchthefoulard hanging below the hat from the left hand and show no hole in that either-this automatically loads glass No. 1 into the hat ready for Phase 2. Place the foulard in the. right trousers pocket, thehat on thetable and take up theglass.
(2) Vanixh of the lady’s handkerchief The lady’s handkerchief is removed fromthe glass by the right hand andthe glass placed down. The left hand is closed intoa fist and held with thumb side up : the handkerchief is placed centrally over the fist and the centre is tucked in to form a well similar to the thumb tip cigarette vanish. Whilst the handkerchief is tightly gripped in the left hand the four corners and finally the remainder are tucked in. The result of this is a tight little bundle about the size of a pigeon’s egg. Whilst the tucking 1s being completed the left hand is turnedfirst horizontally and finally vertically with the thumb down. Duringthe final tucking movement the bundled handkerchief is allowed to extrude from the rear of the hand between the first and second fingers. Thelast tucking movement is made facing half left ; the right hand is held vertically, palm towardsthe audience, the first finger doing the tucking and the hand being obvio-dy empty. Now with one continuous movement the right so thatthe back is towardsthe handrotates audience, the right second and third fingers called extend up behind the left handtakethe handkerchief, and bend down intothe right palm and hold it there 1 there is no need to palm it. The left handturns fingers towardstheaudience, appears to pulverise the handkerchief and vanish it ; the right hand whichwas just before shown empty dives into the right trouser pocket, stuffs the handkerchief into the top corner and draws out the foulard. The left hand takes up the glass from the table.
(3) Vunish of glass A. Left hand Instructions
Position of left h:nd
tr right to show
as hat is tapped N o hole m the crown.
This is the end of the first part of the effect and the performer is left holding the glass No. 2 with the lady’s handkerchief inside and the audience believed the borrowed ring to be inside that. Phase 2 V a n i s h of Ring. Handkerchief and Glass individually The second part of the effect consists of again passing the three objects into the hat but this time they travel separately.
The glass is placed on the left hand in a similar position to that detailed in Phase 1 for the penetration andis again covered with thefoulard,the middle of one side of the foulard being again gripped in the left thumb crotch. This time whilst the foulard is being arranged over the glass, the left. second and third fingers bend in under the bottom of the glass so that the glass is gripped between the first and fourth fingers and is resting on the backs of the second and third fingers. (Figure 6). If the left fingers were now straightened the glass would be back palmed with the base of the glass in the same position as a back palmed coin. This is where a rim on the base of the glass helps, particularly if any perspiration is present. As the hand is horizontal the back palmed glass points vertically downwards.
Under cover of handkerchief, left hand fingers take up this position, right hand giving support.
B. Right hand Instructions Therighthand with the fingers spread is placed palm down flaton top of the foulard covered glass in the left hand. The right fingers now close together and trap a small portion of the foulard between the first and second, and the third and fourth fingers. The effect of this is to maintain the shape of the glass-similar tothedisc in handkerchief-andthe glass could now be removed without the audience noticing its departure.
Right hand dropsto side, handkerchief coveringglass.
The left hand drops to the side which brings the glass parallel to the floor at the back of the hand, the portion gripped by the fingers, whilst not perfectly back palmed dueto its width, is entirely concealed by the hanging foulard which is still gripped in the left thumb crotch. Pause here C, The Vanish of the C&zss Turn half left. The momentarily. foulard is gripped by the right hand as B. Raise the right handabout two inches and simultaneously The following now occurs with asimultaback palm the glass with the left hand. neous movement of both hands. The right hand approaches the left hand which rises slightly and the fingers bend up to a more horizontal position ~ H A N D K E R S F I I E F with the result that the back palmed glass points verticallydownwards, Exactly at this pointthe 3rd & 4th thumb enters the glass pushing in the foulard and F‘INOERS de 1st FINGER
Glass allowed to drop unseen to this position.
The right hand now drops the foulard which of the glass andthe it is holdingintheshape effect of this is that the foulard seems to collapse and the glass to melt away.
\ r 1 Left fingers raise glass to position shown whilst right hand thumb-entersglass and fingers and thumb take both glass and handkerchief.
21 rips the glass between the first finger and thumb and takes it, giving it an inconsequentialshake whilst attention is focussed on the left hand.
pick up the bat tipping it to show the arrival of the glass and place it in the left hand making the glass in the palm on the turn and taking the hat between the left fingers and thumb.
Right hand throws glassand handkerchief into left
Therighthand now swings thecorners of the hand. This is the performer’s view. foulard between the left thumb and fingers. The glass comesin an invertedpositioninthe palm of Reach intohat remove glass No. 1 with contthe left hand with the four corners of the foulard ents with right hand and place on the table. Drop hangingovertheback of the hand towards the the foulard with contents into the hat ;place down audience, effectively concealingtheglass whichis thehat. Pick upthe glass, show andreturnthe now securely in a bag in the left palm. Turn right, borrowed ring.
THE FOUR CARD PACK JOHN DERRIS T IS no idle boast when I tell you that I have
I
had more reaction from laymen with this trick I have ever thananyother close-uptrick performed. The effectisreally a combination of two existingcard tricks-Dai Vernon’s “ The Travellers ” and AI Baker’s “ Vanishing Pack,” for features from both these wonderful items of card magichave been incorporated, but the routine is, as far as I know, original. The success I have had with this effect is due entirely to the straightforward presentation which culminates with an extremely strong climax ; in short, it is the ideal layman’s trick. This is the effcct : Themagician shows thefour aces andthe pack. T h e cards are fanned and the four aces are inserted into different parts of the pack which is then shdied and cut. The magician then tells the spectator that he will cause some of the aces to travel to different pockets of his suit and he would like the spectator to watch very closely to see if he can see them actually leave the pack and pass to the pockets. The pack is riffled and the magician removes one ace card from his inside breast pocket. The pack is riffled again and this time he removes an
ace card from his trousers pocket. Picking up a handkerchief he says that he will cover the pack andtry to detectthelasttwo aces in thepack with hisfingertips. Reaching under the handkerchief he removes a card which is shown to be a third ace card and reaching under a second time he removes a cardwhich is shown to be the fourth and last ace. He goes on to say that the spectator is probably wondering why it is so easy for the magician to locate the aces in the pack under the handkerchief.Actually, hesays, it is quite easy for in his pack there are only four cards and as he says this the handkerchief is shaken to show that the pack has completely disappeared. All that is left is the handkerchief and the four aces on the table. Believe me, the look on the face of the spectator when you shakethehandkerchief to show that the pack has vanished is worth all the work I’ve ever put into magic. Now for the work that goes on behind the scenes. Other than the pack of cards you require two duplicate cards of two of the aces. This may be the point of departure for many purists but in my own opinion the effect fully justifies the use of duplicates. Still with me? Good. Then let’s go on. The four aces are on the table, with the handker-
22 chief, the pack is in your hands and the duplicates are in your pockets. For the purposesof description let us say that the two duplicates are the ace of spades and the ace of hearts.Theformer is in your right trousers pocketand the latteris in your left breast pocket of your coat. The pack is fanned and held in the left hand and with the right hand you pick up either the ace of hearts or the ace of spades and push it halfway intothefan of face up cardsnearthe left hand side of thefan.The next ace to be a duplicate of picked up is the other card which you have in your pockets, andthis is pushed into the pack in a similar manner approximately halfway from the edge of the fan. ‘lhe remaining two aces are also pushed into the fan so that they are equally spaced from the other cards. The fan is closed with the aces still projecting and you now perform the multiple shift to bring all the aces to the bottom of the pack. If you are not familiar with this useful sleight may I refer you to Dai Vernon’s description in his trick “The Travellers ” published inthe “ Stars of Magic” Series, or a1t e r n a t i v e l y Ed Marlo’s handling of the move in his book “ Marlo in Spades.” With the four aces now on the bottom of the pack which is held in the left hand younow lift the top card of the face down pack with the right thumb and then double undercut the pack so that the top card is transferredfrom top to bottom. The pack is now shuffled and cut so that the bottom five cards of the pack are not disturbed, and it is then turned face up and fanned ensuring that the aces are not revealed to the spectators. You state that as the pack has been shuffled it is now impossible for you to know the exact position of anyoneparticular ace ; thefan is then half closed from the right and then with the left thumb you slide the bottom card to the left as you split the pack in two and place the packet in your right hand on top of the packet in your left hand. This brings the four aces immediately to the bottom. Needless to say this is done with the faces of the cards towards you so that the spectators do not see the aces. The pack is turned face downwards and held in the left hand with the right hand on top.The right thumbruns twocards off the bottom of the pack, the left little finger holds a break and the right hand is removed. Stating that you will make an ace pass to your breast pocket you riffle the top left handcorner of the pack with your left thumb at the same time making a throwing motion towards your coat pocket with your right hand. Asking if the spectator saw the card pass you reach intothe pocket with the right hand and remove the duplicate ace of hearts. You tell the spectator that he now has a second chance to see if he can spot the card passing to the pocket and this time you inform him that you will make the card travel to the right trouser pocket. Again you riffle thecorner of the pack with the left thumb and make a throwing motion
with the right hand toward the trouser pocket, turningthe body to the left so thatthe pocket faces the audience. As you turn the body the left hand holding the pack moves back until it is positioned just over the left jacket pocket and as you remove the ace of spades from the trousers pocket you allow the pack to drop into the left coat pocket, retaining your griponthebottom two cards below the little finger break. The ace just removed from your pocket is placed on to the table and at this stage the cards held in the left hand come into sight again. These two aces are held high in your hand so that they appear as a full pack ; the only thing to watch is that you keep the backs towards the spectators and do not reveal the sides of the cards. The handkerchief is picked up from the table and thrown over the left hand holding the “ pack ” and the cards are held upright so that the outline of the top of the cards is seen through the handkerchief. The leftfinger and thumb hold thecardsnearthe top so that when they are removed the shape of the “pack ” is assumed by the fingers. Stating that you will locate thelast two aces in the pack with your fingertips you reach under with your right hand and remove one of the aces, show it, and place it on the table. You reach under again and remove thelastcard, retaining the shape of thecards with the outstretched left finger and thumb. You now patterabout being able to find the aces so easily and as you tell the spectators that you have only four cards in your pack you take a corner of the handkerchief with your right hand and make as if to throw the pack in the left hand intotheair. As the handkerchief floats towards the floor you take hold of the other corner with the left fingers, shake it, fold it intofour and place it on the table with the four aces. Well there it is-believe me, if you bother to try this on laymen you will be well rewarded in satisfaction. One or two observances and historical notes. Although in my own opinion, the trick is excellent it does have its limitations, and many of you will have realised this in reading the routine. The one thing against it, is thatit is not angle proof. Performed for group a of spectators directly facing you there willbe notroublein ditching the cards without attracting attention to the move ; but if you have spectators situated either side of you, you can be sure that some of them will see your arm movement as the cards are droppedintothe pocket. The misdirection of removing the ace from the trousers pocket as you ditchthecards isvery strongbutthere will be some people who will catch the move, so remember, the trick is only suitable for performing to small groups of spectators and you must ensure that they aresituated directly infront of you. I learned my lesson with this trick when I performed it at a close-up session at one of Harry Stanley’s Sunday Shows. Under these conditions with people almost behind you it was madness to
23 attempt the trick and all I gained from the event was e x p e r i e n c e - w h i c h made theattempt worthwhile. Another point. I hope that you will not let the use of duplicates turn you away from this routine. Remember that that the pack is perfectly “
straight the whole time, enabling you to perform other card effects in a routine and finishing with this effect. I waswhollyconvinced that the duplicates were justified the day I showed the routine to a magician at a convention and he afterwards complimented me on my palming prior to producing the aces from the pockets.
MIND AND PATTER”
A piece of some moment by Arthur Writis When Mr. Peter Warlock said : “What about giving me something for the Pentugrum ? ” C little thought that he meant money. But as I hurriedly returned the slim volume to his bookshelf I did ponder upon the possibilities of an article in his august publication. Or if not the august one, the September one. . . .
*
*
*
*
*
My theme. would be, I think, Mirth in Mentalism. There is a place for Mental Magic and it is a place not far from here. To the average layman (no reference intended to Mr. A1 Koran-I wouldn’t want to cross His Nibs) to the lay adult, I repefit, the only true and worthwhile magic of 1957 is going to be the Magic of the Mind. I have made this prediction before, and forall I know it stands still sealed in a jam-jar below the Wombwell Penny Bank. Now as I see it-through two layers of cottonwool and oneof dough-the strength of Mentalism lies in the plain fact that the best mysteries are those simplest in effect. Those that seem natural, “ everydayish,” a continuation of Life. And if in real life there is a place for Laughter and for Tears, why thereforeshould Mentalism be the grim and almost unrelievedly sober thing that so many gentlemen have made it? I say almost. True, I’ve seen some Book Tests (for instance) which really were quite laughable. Those of you seeing Lucille and Eddie Roberts will know immediately that those unwritten traditions of profound seriousness are not essential ; that brilliant Act is a fine example of Humour overlaying Solid Mystery, of Magical Principle allied to Variety Technique. It left me, if not starry eyed, at least dough-eyed. And owners of the “ XRay Eyes ” will know exactly how I felt. (N.B. Don’t think, will you, that the application of a little Comedy is going to make yourwork automaticallyeasier? This is muddled thinking unequalled even by the young Smithfield butcher who thought hesaw a great future forhimself just by gazing at his Gristle Ball. You can of course eschew . . . . pardon me ! That’s the last time I type on tissue paper . . . you can ignorethehumorousapproachandinstead play maurice fogels. Mr. Fogel on-stage sweats and staggers prodigiously and is completely satisfying, perhaps the
greatest thing of his kind in this country, but if you have not the Grand Manner you’dbewelladvised to enliven your few items with grating of gags and a leavening of laughs.) Let us look at an illustration, deftly produced with a few quick strokes of my typewriter. Let us look, moreover, at the sweetusesof the Swami feke. For more years than I care to remember (To Clear : Giant Memory Test, lO/- as new) this little aid was used simply to predict a single number and sometimes a single alphabetical letter. Some adventurous magician, thinking to alteror, at anyrate, improve upon this, took to predicting t h r e e figures and, sometimes, three letters. And this comprised its dreary history, with not a laugh in a cartload. (It takes a lot of Swamis to make acartload). (It takes alot of anything to make a cartload-P.W.) (Thank you -A.W.) There enters now a certain Mr. George Braund upon the scene. Uniformed for War and based in the Middle East, he gave to this brief effect both sense and humour. “ What’s the girl’s phone number? ” he asks a fellow officer. “ Er . . . . Cairo 2234 ” is maybe the other’s reply. “ Funny,” says George, “ I’ve got that one too.” And dropping his cigarette packet onto the table he shews them the number pencilled in one corner ! Now there’s an effect. There’s an effect, I say. The strong comic angle-man finds to his dismay that his secret is shared by others--ensures an entertained, an interested, an amused and bemused audience who would otherwise perhaps have paid scant attention to a simple, meaningless prediction.
*
*
*
*
*
All this, and more, was to be the subject of my Article on the place of Mirth in Mentalism. If you would readme further on this topic I am easily persuaded, but it must be done quickly. I am an old man now and I don’t see too clearly (it’s that damned dough !) butinto my twenty-four years I have tightly packed thrills, experience, laughs and a clean shirt for Weekends and assuredly some of the things that I have learned must be of use to some of you. All replies in a plain envelope sealed with diachylon.
24
T H R E E B . . O O K S I NO N E
ANNEI1IANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH
I I
ANNEMANN’S “MASTER MIND” CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONE MANMENTAL AND PSYCHIC ROUTINE isa professionally routinedmentalactthat runs according to speed of presentationandthe effects included, from ten minutes to half an hour.Thesix effects described make one of the finest mental routines ever conceived, andcan be cut down tothree reallysensationalitems for theshorter show. I t is a strictly ‘One Man’ act,there is no cumbersome apparatus, no assistants, no confederates. A brief case will cany allthatisrequired,but I O U could travel with the necessary itemsallreadyinyour pockets if preferred. Thementaland psychic tests are presented in aroutinedorder,and inclnde some of Annemann’s choiccst billet methodsand effects. Ideallysuitedasaclub,privateparty, television ornightclubact. ANNEMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favomite card routine for newspaper offices. and intimate gatherings. Withjusta pack of cardsthe performer presentsa w r i e of five stunning prediction effects that leaves the audiences gasping as each one in turn eclipses theprevious one. No skill is required,andtheactcan be learned andthoroughly practiced in an evening. ANNEMANN’S MENTAL MISCELLANY is a collection of six off-beat ideas in mentalism that are typical of theauthor.The treatise one on Pencil Rcading-to the man who uses thembe worth many times the price of the book. on the Mirror Reflector andthe
I
AS USUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 12/6 Postage 4d.
I
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVEANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemann Secrets now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places htween’ the pcrformer’s and sycctator’s pockets. STOP-A freely selected card, lost in thepack,is found atanumberthoughtof. THE POUND NOTE ANI) THE CIGARETTE CHALLENGE-Marked cigarettee in performer’s mouth,number of note a written down by spectator-notc: openly burned-and then found in the cigarette-the best everroutineforthis effect. IMPROVED REMOTE CONTROL-With red and blue packs the performer proves hc can controlanother person bymakingthem pick anycardhe chooses, while ata distance. MENTALMONEY-Three pound notes borrowed andfoldedtight, one is chosen, theperformer reveals itsnumber. NUMBER PLEASE-A Telephone Book Test in which the performer reveals bothname and number. SENSITIVE THOUGHTS-A sensational card trick. with two packs and two spectators. THE CARI) DOCTOR-Spectatfir selects card which is initialled,cornertom from card,then initialled card torn into pieces, pieces vauish and card IS found back in the pack, minus its corner. SLATES AND ACES-Performer andspectator write names of the aces on two slatcs, spectator rubs out three on his, the spirits’ rub. out the same three aces from the performer’s late. POKER PLUS-Performer deals three face down hands of Poker. SecGnd hand shown tobeat performer’s. Then p e r f o m d s hand shown again, and it beats thc second. Third hand shown to beat performer’s. Then performer’s shown again, and it beatsthethird. most unusual card Terrific effect! THOUGHT IN PERSON-A routine. A MENTAL HEADACHE-Another typical Annemann card routine with mental a twist. And, of course, a full description of .. a most useful GIMMICK.
ASUSUAL-A
FINELY PRINTED BOOK
Price 7 / 6 Postage Pd.
THE MAGIC W A N D PUBLISHING COMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle ,
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
l ~
Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre *
KingGeorge’s Hall, W.C. Feb. 5-John Salisse’s Choice Particulanhorn
Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM
]ACK
HUGHES
will be pleased to send you full details of
is published on the 24th of each month and can be obtained direct from thepublishers for 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together’ with all his other effects in returnfor a stamp.
hanuscripts for publication and books for review should be sentto the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
Surrev.
Every Advertiser’; goods are fullyendorskdbythis
Bulletin
PUBLISHED BY THE PROPRIETORSTHEMAGIC W A N D PUBLISHINGCOMPANY, 62 WELLINGTON ROAD, ENPIELD.MIDDLESEX A N DP R I N T E D BY HERBERT WALKER & S O N (PRINTERS) LTD., BRIDQE W O R K S , SHIPLEYIYORKSHIRE
*
CASE FOR CARDS A SERIES BY S T E W A R T J A M E S 1 EIGHT DICE A N D A C A R D SPECTATOR is handed a dice cup containing four green dice and four red dice. The magician turns his back while the volunteershakes and throws the dice on the table. He groups four dice of one colour, adds the numbers uppermost and covers these four with the cup. After shuflling a pack of cards, he notesthecard at this number from the topof the pack. ate Being informed that these picks accomplished, the magician turns round and up the pack. holds itbehind his back for a moment and then returns it to the spectator. The cup is lifted and the magician places the four dice Ofsquare. One colour1 One at each corner Of an imaginary The remaining dice are distributed so that one occupies each side of this square. The cup is placed at the centre. Care is taken in moving thedice that the original numbers rolled remain on top. According to thenumber uppermost, that many cards are dealt from the top of the pack beside each die and the die is placed on top of its pile each time. When the eight piles have been completed, the pack is placed face down on the This sounds dice cup.
A
The magician asserts that if the spectator will turn the top card of the pack face-up it will be the one he noted-and itis so. Tbe method can be best explained by giving example. The spectator roUs out the dice and groups thegreen ones. Numbersuppermost on these four dice may total fourteen. He covers them with the CUP, from shufaes thetop. pack and say notes card the We will thatthe itfourteenth is the jack of diamonds. When the magician turns around to take the pack, he quickly notes andtotalsthenumbers uppermost on the four red dice. Perhaps it is ten. With the pack concealed from view behind his back, he shifts eleven cards-one more than the total of thenumbersuppermost on thered dice-from face to top of pack. Follow through as explained in the effect and the card noted by the spectator Will be the top card Of the pack* ridiculously simple but I can assure has you it that puzzled some keen minds.
2 T H O U G H T S IN MOTION LACK is given a written prediction to keep You impress the spectators with the fact that gives no clue as to the actual numbers selected in his pocket until later. Gray writes a number this would be impossible to know in between 1 and 10, On a slip ofpaper.Hesec-andthatit retlycounts off that number Of cards, reversing advancewhatthisnumber would be. them as he does so, from the top of the pack, Count off thisnumberofcards, reversing notes the next card and replaces the counted -cards on top of the noted card. them as you d o so, and give Black the next one to White writes a number on a second diu. betplace in his pocket. (’) w e n 10 and 20, counts off thatmany c&ds in Gray thrusts a knife in the pack which is cut at that point. The top card of the lower half is the Same manner, notesthe next and replaces the counted cards on topof the noted card. his card. (3) Gray and White give their slips to Black who m i t e deals the cards oneat a time face down subtracts the one number from the other and anounces the difference aloud. on your extended hand. At your command, he
B
VOLUME I I, No. 4
-
I/6. (20 Cents)
-
JANUARY 1956
stops and turns over the card he is about to deal. It is his card. (4) The prediction is read and it names the card that Black has in his pocket. THE PREPARATION
Suppose the Joker isto be predicted. Arrange ten cards inthe following order : Joker, any card, a six, a seven, an eight, a nine, a ten, a jack, a queen, and a king. The Joker is on top. The suits do not matter.Place these cards on top of the pack. 1 You might false shuffle. Probably the easiest is a Hindu Shuffle with the cards face-up. 2 The card given to Black will be the original top card of the pack-the Joker. These cards are also reversed in the counting and replaced on top. The card now on top of the pack will be the card noted by Gray. Remember thenumber of cardsyoucounted off which was the difference ,between the selected numbers.
3 Thetopcard of the pack is slipped to the lower half as the cards are seperated. This is described as " To ' Slip ' A Card " in. Modern Magic 4 Subtract five fromthe value of Gray's card, add this to the number of cards counted off in (2) and you have the position of White's card and can tell him when to stop dealing. EXAMPLE
Gray chooses 7 so he will have noted the jack. White selects 12 and his card may be the two of hearts. The difference between the numbers is 5 which, after your count, leaves the Joker in the possession ofBlack and the jack on top of the pack. Work the " slip " on Gray. In showing that he (?)hasstabbed at the very card he selected, younoteits value and subtract 5. You always subtract 5. As the value of the a jack is 1 l this leaves 6 to add to 5-the number of cards you counted at (2)-which informs you that White's card is 1lth from the top of the pack.
PRODUCTION OF A CRICKET BAT J. A. HOLLAND AVING occasion recently to give a short performance at the local Cricket Club Dance, I pondered upon ways of introducing a touch of topicallity intotheact. My hands being to small for the multiplying cricket balls, the one effect which kept recurring to my mind was the production of a cricket bat as a finale. The following notes may be of value to conjurers faced with similar bookings. My type of act is light, I carry all props in a top hat,the stage being furnished with simple dignity by a table and a chair. Furthermore for the show in question I was not using an assistant. Thesefactors precluded the useof a steal from behindthetable or froman assistant's back. I was thus left with having to body load the cricket bat. To make things worse, thebatproduction for obvious dramatic reasons had to be thelast action of the performance-I planned to produce small silks from nowhere, large ones fromthe small ones, finally a 36" square silk from which, with appropriatebanddrum roll, I materialised the cricket bat. Luckily I could enterfromthe rear of the stage down three short steps, the stage in this case being the end of the dance floor, not raised above the floor level. The four piece band was to my left and slightly to my rear. The audience was seated aroundthe wallsof thedance floor, the nearest some five feet in front ofme. Angles were therefore awkward. I took the precaution to see the layout a week before the act, and noticed that lighting was favourable in that it would not shine from behind the silk handkerchief.
H
The remainder of the act was to consist of cut rope, thimbles, and a tornand restored card effect, all necessitating body loading or pocket work. This then was the set up : conditions noteasy ; an exciting challenge. There were two problems involved. First a workable place of concealment that would not hinder ones action or render movement unnatural. Second, ease of access-a quick steal without the clothes becoming rumpled and misplaced was essential.The steal furthermore, must involve nounnatural movements. I found that for my height (6' 2") a size 4 boys bat was suitable, and looked full size when brandished by the end of its handle. The first difficulty was solved as far as I believe possible by concealing thebat on the left f r o n to ft h eb o d yw i t h( a n d this is the important part) the handle pointing downwards. A double breasted jacket is essential for this, and the trousers require braces and some form of belt. Removing thecoatthebat is inserted handle downwards and flat side against the body, down the front of the left leg. By experiment I found that itwas easier to steal when the bat was between the trousers and the pants. An additional aid to stealing is to cover therubber handle withcellophane. This is vital to success, otherwise the rubber acts as a very effective brake, and ruffles the trousers upon the bat being withdrawn. With the bat so positioned the belt is adjusted to give light support to it, (trial and error gives the required tension here) and the coat replaced
27 over the bat. The general feeling at this stage is one of being stark naked except for the cricket bat. It seems impossible that its outline cannot be seen beneath the clothes. As a matter of fact it can, but if the bat is now twisted slightly anticlockwise so that the handleend lies along the inner left thigh, and in addition the bat pushed down until the worst of the bulge caused by the business end of the bat is masked by the breast pocket, the presence of the batis undetectible even at close quarters. Admittedly it still feels the size of Nelson’s Column, but this is where acting ability helps. It is necessary to learn to move normally withtheload. All rehearsals should be carried out with the bat in its hiding place and the performer should practice the stage turns andbusiness thus loaded. Where (as in my case) oneenters down stairs, these must present no problem. One must also be prepared for the accidental dropping of props, and being able to pick them off the floor gracefully. I found for this purpose that to bend the right knee whilst the left leg remained straight but swept backwards enabled dropped articles to be retrieved gracefully and quickly. As mentioned in the introduction,I performed this on the level floor without footlights. If any reader is contemplating the production on araised stage with footlignts he would be well advised to rehearse on site beforehand.Theadditionalupward light might show the handle of the bat as a slight bump. especiallywhen walking across the stage, anda little imagination will makeone realise that this is highly undesirable. The second difficulty, that of the steal, was very much easier than the actualconcealment. Let us supposewe have reached the momentwhen the 36” silk, or better still two silks fastened at the top, has been produced. The silk is held in front of the chest the left hand endbeing between thumb and forefinger of the left hand. The hold onthe right hand end is importantand is as follows : the silk is gripped between the ball of the thumb and the lowest joint of the back of the forefinger. The hand is given a half turn towards the body. Thus the silk is curved round the back of the hand and the second and third fingers are left free for the dirty work. Having displayed the silk in this way the left
hand swings outwards towards theright whilst the right hand moves across the body towards theleft apparently to display the different pattern on the reverse side of thedouble silk. Thusthe right hand has ample cover to enter the jacket and to grasp firmly the bat between the second and third fingers, some support being provided by the other fingers. Stay motionless for a second then let the left hand swingback and when it is halfway across the body (and not before) raise both hands outwards, apparently merely lift the silk for further display and an applause cue. This action masks the slow but firm withdrawal of the bat diagonally upwards towards the right and it is concealed behind the silk,held entirely by the fingersof the right hand round its base whilst the handle end is behind the lower left hand corner of the silk. This is the cueforadrum roll fromthebandwho should be so placed as to see this manoeuvre. Finally in one movement the left hand drops to the lower left hand corner of the silk, grasping both silk andhandleandthe silk thus pulled across a diagonal forms a triangle. The bat is still concealed by the silk. The hands now move away from the body and the bat sweptfromthe silk upwards to the left, held by the end of the handle in the left hand, whilst the right hand carries the silk upwards to the right. It is a good plan to condition the audience to this upwards and outwardsmovement of the hands in previous conclusions of tricks. There is then nothing suspicious in the action when required, providing it is done smoothly. The bat must not be snatched. I have described this effect at some length in the hope that I will have eradicated some of the stumblingblocks that could otherwise hamper initial attempts. The secret is confidencein the concealment and the ability to be undeterred by the presence of the load during previous tricks. The appearance of a solid bat from nowhere and clear of all tables and other helps is a big climax and I found that few people seriously considered the possibility of my having carried it around on my person when discussing it afterwards. As regards the effectiveness of the steal, even the band said they failed to see where the bat came from.
SIMPLIFIED DIVINATION O F TWO ENTALLY SELECTED CARDS DUDLEY WHITNALL ONG AGO when I wasvery young, I was greatly intrigued by my first experience of a mentalmystery. I wasinvitedby my nursemaid to think of a number. Then I was directed to subject this number to a complicated process of
L
addition, subtraction, multiplication and division, with a final direction to “ to take away the number you first thought of,” whereupon followed the incredible revelation of an answer known only to myself. Sensation !
28
Many yearslater,somebudding magical geniusdiscovered that something of the same process could be utilised for an effect with a pack of cards. By countingcardsdealt singly intoa face down pile up to a given number, at the same time inviting the mental selection of the particular card counted at the number corresponding with the number of cards contained in a small packet previously removed from the pack, by replacing the pile on top of the pack followed by the packet first removed and counted, he found that he was eliminating the number thought of and bringing above the selected card merely that number of cards he had himself dealt into the pile. Perhaps the most remarkable feature of this discovery is that he should not have advertised it in themagical press as “An EntirelyNew Principle. No Sleight of Hand. Canbe Worked RightAway.”’ He may have done. And so we come to the late Edward Brown’s effect as described in Pentagrum for August, 1956, the firstrealadvancefromtheoriginal version and its variations in that two cards are mentally selected by different persons and eventually discovered by asomewhat similar process of mathematical misdirection. Strangelyenough, however, Edward Brown appears to have stoppedshortaf realising that the most direct method of achieving this result is by an arrangement of cards at thetop of the pack to deal with one selected cardandan arrangement of cards at the bottom of the pack for the second selected card. Itremains to be seen whetherornotthe noteregarding a simplified method evolved by Stewart James indicates a solution on the above lines. Meanwhile, I offer the following as an original and simplified development of the basic effect.
*
*
Hand a pack of cards to any member of the audience with the request that he shuffles it and then remove a few cards, say not more than five. Explain that, to avoidsuspicion of arithmetical methods, you intend to use a pack containing an unknown number of cards. Ask him to hand the pack to another spectator, to whom I refer hereafter as “A.” Ask “A” to remove at random a packet of not more than about a dozen cards and then to hand the balance of the pack to any other spectator, hereinafterdesignated as “ B.” “A” is to countthenumber of cardsin his packetand remember that number, but he must not tell you or anybody else. Ask “ B ” similarly to remove apacket of about the same size or less, to pass the balance of the pack to yet another spectator and similarly to count and remember the number of cards in his possession.
Ask the last mentioned spectator to give the talon a final shuffle and then hand it to you. Explain now, if not previously, that you wish two cards to be mentally selected by two different members of the audience ; that you also wish to avoid any chance of selection of cards likely to come readily to mind, and that you are adopting thisparticularmethod of selection inorder to ensure that it shall be completely at random. Address “A” and explain that you propose to show cards to him one at a time ; that you wish him to count them silently and to remember theparticularcardshown on thecountcorresponding with the numberof cards in hispossesion. He is notto makeany sign but, to save time involved by showing too many cards, should stop you whenever he considers that you have shown enough. Illustrate this by dealing a few cards in themanner to be described and have thepack shuffled yet again before proceeding. Takethepackinthelefthandasinthe normalmanner for dealing. Lift it to eyelevel and, with the left thumb, push the top card into view. It is important, and should be stressed, that you avert your owngaze. Lower the hand, and the pack, to a horizontal positition, and transfer the card to the right hand. Continue similarly,with the next andsubsequentcards,eachone being passed in turn to the right hand underneath the card or cards already passed, and silently count the number of cards so passsed. Let us assume that “A” ultimately stops you when you have passed 15 cards into your right hand. Remember this number as you replace the packet on the bottom of the pack. Now address yourself to “ B ” and request him to select and remember the card to be found insimilarfashionaccording to thenumber of cards, known only to himself, in his own packet. Proceed in exactly the same way, counting to yourself the number of cards passed, but this time they are passed into the right hand on top of each other. Let us suppose that “ B ” eventually stops you whenyou have passed 12 cardsintoyour right hand. Remember this number as you replace the packet on top of the pack. Extend your hand and ask “ B ” to replace on top of the pack the packet originally taken by him. Turn to ‘‘A” andask him to do the same. On this occasion, however, thetip of your left little finger presses against the edge of the pack so that a tiny break is automatically taken below “A‘s ” packet. Address yourself to the audience generally, explaining that you are now about to attempt the difficulttask of divining thecards which have been mentally selected. Whilst so engaged the pack is, apparently given a casual cut or two. In fact, “A’s” packet is here transferred tothe bottom by means of a double undercut.
29 You now know that “A’S ” card is 16th (15 plus 1) from the bottom and that “ B’s ” card is 13th (12 plus 1) from the top of the pack, and it only remains to exploitthis knowledge tothe utmost advantage. The pack is face down in the left hand with the right hand on top. It is a simple matter to riffle off, with the right thumb, 15 cards from the .bottom and to hold the break with the left little finger. Address yourself to “A” and, under cover of assisting the mental effort (?) by lifting your right
hand to the forehead, glimpse the index of the 16th card whilst proceeding, “ your card, sir, is, I think, a black card. Yes. It is a spade. It seems to be of medium value. I fancy it is a seven. No. It is a six. Yes. The Six of Spades. Is that right. Thank you.” Turn finally to “ B ” and divine his card in like manner. In this case the pack is first turned face up in the left hand, and 13 cards then riffled off to enable a glimpse of the 13th card from the top.
TWO MORE MENTALLY SELECTED
CARDS JOHN P. HAMILTON TILL yet another version of the E. G . Brown effect first described in Ibidem. First of all after the pack has been shuffled, the magician asks that a small numberof cards be cut off from the pack so that an unknown number of cards will be used. Twospectators,Aand B respectively, are askedeach tocut off a small packet of cards whilst the performer’s back is turned. They are to count the number of cards they have taken and then slip them into their equally respective pockets. Turning rpund and facing them, themagician mentions that each has a number in his mind, a number represented by the cards they cutoff from the pack ; numbers quite unknown to him. Addressing A, theperformer says, “ I am going to show you the cards one at a time and I wish you to note the card appearing at number the designated by the cards you hold.” With the pack held for dealing, the cards are are removed one at a time, each being shown to the spectator and placed on the table. When say twenty havebeen counted inthis way, the performer remarks, “ I feel certain that you have seen the card at that number.” The spectator assents. Now the known number of cards lying on the table are picked up, placed under the talon held in the left hand, and a break kept between the two packets with the little finger. Turningtothe secondspectator,thecards are now removed but not placed on the table. Instead as each is taken from the top of the talon it is placed under the one previously shown, so that the order is maintained. I count the cards until I reach the break, thus obtaining knowledge of the
S
total number of cards in the talon. If the number of cards above the break is few, I continue until about fifteen cards has been shown, checking with thespectatorthat his cardhas beenseen. The cards held by the right hand are now replaced on the talon held by the left hand, and we’ll assume that the total in the taloncomes to thirty. A is nowasked to take the cards from his pocket and replace them on top of the pack. B is requested to do the same, but between his packet of cards and the remainder of the pack, a break is held with the little finger. The right hand comes across,takesthebreak,and allows thebottom card of B’s packet to fall on to the talon, so that assuming that there were nine cardsabovethe break before, there are now eight. Now double cut the pack so that B’s packet of eightcards goes to the bottom of the pack. The cards are now placed on the table. Atthispoint I realise that I have madea mistakein so much thatthe spectators’cards should have gone back into the pack and not on top. I seek to remedy the situation. A is asked to deal from the topof the pack the numberof cards he originally had. B is asked to do likewise. “ Now sir,” I say to A, “ I want you to cut a few cards from the top of the pack, replace the counted cards and then replace the portionoffcut ! B is told to do likewise. The cards mentally selected are now ready to be revealed as you wish. B’s card now lies topmost in the pack, whilst A’s is seperated from it by the number of cards in the talon, so that with thirty cardsinthetalon, A’s card becomes thethirty second from the top.
30
LES CARTES A LA MANCHE A PLAINT BY
STAN LEY COLLINS HE classical CARDS UP THE SLEEVEis withoutquestionone of thealmost perfect examples of cardconjuring. Its plot,unlike that of most conjuring tricks, is logical ; it calls for no troublesome and irritating participation by the audience ; it is as effective in a theatre as in a Drawing Room and what is most important of all it can be repeatedoverand over againwithout fear of detection if handled by a man who knows his business. In view of all this, it is to be deplored that the trickhas been entirelymisapprehended by English conjurers and writers, and made into an illogical absurdity instead of a delicate gem of card artistry.
T
I think we may with safety agreethat Charles Bertram was the conjurer who popularised, even if he did not originate, the illogical perversion of passing cards fromhis hand into his trouser pocket instead of to the vest openingunderarmpit as demanded by the classic presentation.Sophists will argue that a conjurer can surely pass cards from his hand into his trouser pocket if he is so minded : of course, he can ; he can pass them into his right shoe or behind his ear, but that would NOT be The Cards Up The Sleeve. To pass the cardsintothetrouserpocket,quiteapartfrom the indelicacy of the thingparticularly when ladies are in the audience, is to miss the point of the effect entirely. This is no trick for the ham-handed amateur : it calls for brains, perfect misdirection and excep tional skill. Let me cite only two of the many mistakes thatare almostinvariablymade. A common procedure is to show that the right hand contains nothing and then, after palming off the desired number of cards, to transfer the stack to the right hand merely to prove that the left hand hasnothinginit. On page 86 of theModern Conjurer these instructions aregiven :-“ Immediately after palming the six cards, return the other six from left intotherighthandandshowleft empty.” One of our leading authors in Conjuring has written :-“ . . . he squeezes up the cards leaving
the six inaposition to be palmed off. . . and shows therighthand empty. Henow transfers the cards to the right hand, palming the six and takingtheremaindermomentarily between the fingers and thumb of the same hand, while showing the left empty.” Why must the left hand be shown to contain nothing when immediately after the stack of cards has to be taken by it? If a man cannot devise somethingmore logical thanthatto cover his “ steals,” he should leave the trick to more competent hands. Then we come to the pas4ng of the last card or cards. Usually some highly suspicious fast flourish or other unnatural handling entirely different from anything that has gone before, offends the eye and seldom deceives. The onlooker should reasonably be led to imagine that he sees exactly the same procedure as has been followed throughoutthe trick,aproblem calling fora deal of thought and tentative patience, I admit, but one by no means impossible of solution. Camille Gautier gives no fewer than seven different moves for this last pass, none of which, however to my perverse way of thinking, is satisfactory. I have been privileged to witness one, only one truly artistic presentation of this beautiful old classic ; it was done by that superb artist,l’homme Masque with a presentation and handling of this very difficult trick that was irreproachable.
I have no quarrel with the man who passes cards from his hand to his trouser pocket or to any other part of his attire ; the gravamen of my contention in this paper is the absurdity of calling such presentation a THE CARDS UP THE SLEEVE.
To conclude, let me refer you to what Camille Gautier has written on page 226 of his delightful book LA P R E S T I D I G I T A T I O N SANS APPAREILS, or tothe translationby Jean Hugard (MAGICWITHOUT APPARATUS)on page 210.
31
BOOKS “MINDS IN DUPLICATE ” by Jack Yates (Published by Goodliffe, price 6/6).
sonmentalism,eachandeveryoneof which fulfils the requirements previously mentioned. Numbers, E.S.P. cards, playing cards and The American mentalists and in particular the late Thee. Annemann set stage fora new typeof money take their respective places and help to twopersonmental act. Its tests needed no elaborProducemost effective results. Best in thebook, ate coding, thepartner atthe receiving endhadfrom Our Own Of thinking is an item “ She little to learn.factit was an ideal formatforHasthe Number,”a“total” divination that leaves the mentalist, whose partnermarried or otherwise nothing to chance and has a strong register* “Astral Headline ” also reads well and so does a wished to take a part in an act with a minimum version of “ Just Chance ” entitled, “ Money and of work and a maximum of plaudits. theMedium.”Altogether this well printed and In this present little booklet, JackYates with illustrated thirty-two page book is excellentvalue, due acknowledgement to the sources of his ultimate each of the three items we have picked out being bworth the price asked for the nine items. inspiration presents some nine items of two per4
iIS most pleasant to”have commencing in this issue a series ofnew card tricks by Stewart James.Altogether twelve itemsgo to make thecomplete run and as usual, Stewart brings into play some very subtle ideas in card magic. Regarding the first item in which the coloured dice are used, a version struck uswhen reading the manuscript that would help to kill any suspicion of mathematical reasoning for their are always those who, with a photographic mind and eye, take a trick backwards, and, if it is of the self working variety, arrive at the correct method. As well as the dice, the performer has a box to hold them. This box is the familiar one wherein the dice can either be shakenand altered or alternatively where only lateral movement is allowed. Walter Wandman put out a nice version of this before the war, and there have been quite a number of versions described, one quite recently in this bulletin by Edmund Rowland. The performerturns his back as in the original trick and the spectator is asked to choose either colour dice,place the set inside thebox, shake them, take off the lid and note the number, and with this numberlook atthe card at that position in the pack. He is then to place the box down and replace the lid. The performer turnsround,andnotesthe topmost numbers of the other set ofdice.We’ll suppose they total fifteen. He subtracts this number from twentyfour, leaving nine. Taking
IT
the pack behind his back, he moves’ ten --cards (one more than the number in his mind) from the bottom of the pack to the top, then placing the cards on the table. He removes the lid from the dice box, removes the dice and places them in the formation detailed by Stewart. Theunused dice are thentakenone at a timeandplaced in the box, the lid being replaced and the box given to thespectator to shake. It is takenandturned over, the lidremoved and dicewhich have only been moved laterally show a total ofnine. They are removed and also placedin position. From that point the trick proceedsas described by Stewart. Way back in August we wrote anent the impact of Victor Borge on TV adding that with the International professionals excepted, the distilled essence of all the magical societies in this country could not stage a quarter of an hour’s entertainment equal in merit to this great artist. Our friend Francis Haxton, who in passing failed to see this outstanding show, writes andatthe same time misquotes in the December “ Budget,’’ defending Magical Societies. We’ll stick to our original point. Borgewill come into his own with his two and a half hour’s show in London very soonand only the early corners will manage to get tickets. Can yousee the non-professional talent of the magical societies filling sucha hall with their own supporters, let alone the public !
T H R E E B O O K S IN ONE
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S “MASTER MIND ” CARDACT
ANNEMANN’S MENTALMISCELLANY
ANNEMANN’S ONE MAN MENTAL AND PSYCHICROUTINE is a professionallyroutined mentalactthat runs according to speed of presentation andthe effectsincluded,fromtenminutes to half an hour. The six effectsdescribedmakeone of thefinest mental routines ever conceived, and can becutdown to threereallysensationalitems f o r the shortershow. I t is a strictly ‘OneMan’ act,there is no J ou couldtravelwiththenecessary cumbersome apparatus,no assistants, no confederates. A brief case will carry all that isrequired,but in a routinedorder, and includesome of Anneitemsallreadyinyour pockets if preferred. Thementaland psychictestsarepresented mann’schoicdstbillet methodsand effects.Ideallysuited as a club,privateparty,television M night clubact. ROUTINE was theoriginator’s favourite card routine for newspaper offices and intimate ANNEMANN’S “MASTER MIND” CARD gatherings. With just a pack of ca;rds the performerpresents a wries of five stunning predictioneffects that leaves the audiencesgasping is required, andtheact can be learned and thoroughlypracticed in an evening. each one in turneclipses the previousone.Noskill ANNEMANN’S MENTALMISCELLANY is a collection of’ six off-beat ideas in mentalism thatare typicalofthe authorThe treatise 021 the Minor Reflector andtheone on Pencil Reading-to the man whouses them-canbe worth many times the priceof’ the book.
AS USUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 12/6 Postage 4d.
ANNEMANN’S INCORPORATED STRANGE
SECRETS
CONTAINING
TWELVEANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemann Secrets, now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between the performer’s and spectator’s pockets. STOP-A freely selected card, lostinthe pack, isfound at a number thought of. THE POUNDNOTE AND THECIGARETTE CHALLENGE-Marked cigarettee in performer’s mouth,number of anote writtendown by spectator-noteopenlyburned-and then foundin the cigarette-the best everroutineforthiseffect.IMPROVEDREMOTE CONTROL-With red and bluepacks the performerproves he cancontrol another person by making them pick anycardhe chooses,while ata distance MENTALMONEY-Three pound notes borrowed and foldedtight one is chosen, the performerrevealsitsnumber.NUMBER PLEASE-A Telephone Book Testin whichtheperformerreveals both nam; and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs and two spectators. THE CARD DOCTOR-Spectator selectscardwhichisinitialled,corner tomfromcard,then initialledcard tominto pieces,piecesvanishandcardisfoundbackinthe pack, minusitscorner. SLATES AND ACES-Performer andspectatorwritenames of the aces on two slates, spectator rubs outthree on his the ‘spirits’ ruboutthesamethree aces fromthe performer’s late POKER PLUS-Performer deals three face down hands of Poker ’Second hand shown to beat performer’s Then performer’shandshownagain and it beats the second. Third handshown to beat most unusual card perforker’s. Then performer’s shown again, and beats it the third. Terrific &e&! THOUGHT IN PERSON-A routine. A MENTAL HEADACHE-Another typical Annemann card routine with mental a twist. And, of course, a full description of a mostuseful GIMMICK.
ASUSUAL-A
FINELYPRINTED BOOK
Price 7/6
Postage 4d,
THE MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum : Hearts of Oak Buildings,
Euston Road, London, N.W.l. Magical Theatre *
King George’s Hall, W.C. Feb. 5-John Salisse’s Choice
I
Particulars born Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonth and can be obtaineddirect from thepublishcmfor 117 per singlecopy. Annual Subacription l 8 / post free. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Ranusuipts forpublication and books for reviewshouldbesent
EDITORIAL
to the:
ADDRESS:
Peter Warlock,
24, Wordsworth Rd., Wallington, Surrev
.
]ACK
HUGHES
will be pleased to send you fulldetails of
THE DE LUXB “SU-TABLE” together withall his other effectsinreturnforastomp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale,London,
Every A d v e r t i s e d goods arefullyendorsQdbythisBulletin PUBLISHED BY THBPROPRIETORS“HB MAOIC WANDPUBLISHINGCOMPANY. 62 WBLLINOTONROAD,ENFIELD. MIDDLESEX A N DP R I N T B D BY HERBBRTWALKER & ION (PRINTERS) LTD., BRIDGE WORKS, SEIPLEY, YORKSHIRE
N.W.9.
*
33
THE BIG SQUEEZE J O H N DERRIS
T
HE CLASSIC effect of passing a coin through a finger ring whilst wrapped in a handkerchief has, through the years, brought forth scores of ingenious methods from students and professionals of magic. The effect isbold, easy to follow and ideal for working under most conditions. andcan truly be called one of the classics of close-up magic. The method I .am aboutto describe is, I believe, the only presentation where the spectator sees the unfaked coin actually pass through a borrowed finger ring without any covering whatsoever. If this trick weretobe sold on the market the description would be a dealer’s delight, for his advertisements would read-” Remember, an unfaked coin actually passes through a borrowed linger ring without cover of any kind impossible!” First, a brief outline of thefull effect. A silver and copper coin are shown and placed into the centre of a handkerchief. A finger ring, which can be borrowed, is slipped over the four ends of the handkerchief and pushed up to the coins. The handkerchief is turned over, and the four corners are held bytwo spectators so that the coins can be seen through the small hole where the handkerchief passes through the ring. The magician points out that only one of the coins can be seen andthat he will turn them around through the handkerchief so that the other coin is visible. This is done and the spectators look through the hole and confirm that they can see the other coin. One of the coins is now selected and without any covering the magician pulls the sides of the handkerchief and the coin literally jumps through the ring on to the handkerchief. It can be immediately picked up by a spectator and checked as being genuine. The handkerchief is turned over and the spectator feels that there is only one coin left
VOLUME I I, No. 5
-
inside the handkerchief. The ring is removed and returned toits owner andthe handkerchief is folded back to reveal the other coin which is tossed on to the table . . and everything is clean. No doubt you are interested, so I will proceed to the handling of the routine with no further delay. The requisites for performing this effect are a silver andcopper nesting set of coins, a duplicate coin, a finger ring, a matchbox and a small rubber band. For readers not familiar with a nesting set of coins, let me explain. It is generally composed of a shell penny and a two shilling piece with a cut down penny on the reverse side. If the shell penny and the florin are pressed together theyfitsnugly one inside the other. the penny back of the florin completing the reverse side of the shell penny. From this you can see that by nesting the two coins together one of them is made to vanish completely. An expensive but very useful piece of apparatus. You prepare for the routine as follows. The penny and florin parts of the nesting set are on the table with the handkerchief andthe borrowed finger ring. The .small rubberband is slipped around the outer shell of the matchbox, the inner tray being discarded, so that it is about half-aninch from the end, and this is placed in the left trousers pocket. You are now ready to begin. With a duplicate florin finger palmed in the right hand you take a pocket handkerchief and throw it over your left palm. The fake florin is picked up from the table with the right hand and transferred to the left hand where itis held between finger and thumber through the material. (Figure 1.) Next, the penny is picked up and transferred to the left hand andsituated directly over the florin: The whole hand is now turned over so that
I /6. (20 Cents)
.
-
FEBRUARY 1957
34
handkerchiefwhichis uppermost. (Figure 3.) AS this move is done you press the two coins together so that they lock as one.
the coins which are still held through the material. As the hand is now palm down the florin will have dropped into the shell penny under cover of the turnover.
the handkerchief drops over
The spectator is invited to slip the four ends of the handkerchief through the finger ring. This is done and finally the ring is pushed right up to the coins (Figure 2). Thehandkerchief is now turned over again so that the coins lie on the left palm and can be seen through the opening in the
Two spectators are invited to hold the ends of the handkerchiefwhich is stretched out like a table with the openinguppermost. You ask one of the spectators to look through the opening and tell you which coin can be seen. As he does this your left hand goes to your left trousers pocket and the second and third fingers of that hand are inserted into the matchbox cover.With the left thumb you roll the rubber band toward the end so that it slips over the two fingers. The hand is withdrawn from the pocket and the fingers with the rubber band around them are curled so that it is not visible. When the spectator hasnamed thevisible coin you then tell him that you will turn the coins over through the handkerchief so that he can see the other coin as well. The left hand goes underneath the handkerchief and the thumb slips under the rubberband so .that it .isheld open wide enoughfor thecoininthehandkerchief to slip through. As this is beingdone you reach over the handkerchiefwith the right hand containing the palmed florin and under cover of the hand this is dropped into the handkerchief so that it goes through the rubber band underneath. (Figure 4.) The rubber band is now released and it pulls the material into a small aperture immediately above the coin just added. You remove the hands and ask the spectator to look through thering again and tell you if he can see the second coin. This he does but of course he is not looking through the ring but the rubber band whichholds the handkerchief in the same manner as the ring. He now names one of the coins but the choice doesn't really matter to you, for it is the silver coin which will penetrate the ring. If he names silver, you go right ahead and make the silver coin jump
35
through the ring and if he names the copper coin you do exactly the same telling him at the climax that the selectedcoinis left inside the handkerchief.
With the spectators holding the four corners of the handkerchiefyou grasp the sides of the handkerchief between your two hands, tug slightly and the coin will be squeezed through the rubber band. (Figure 5.) The coin is given to a spectator for examination, the other coin left in the handkerchief is now grasped from underneath and the spectators drop the corners. As you turn the handkerchief overto showthesinglecoin left inside you ensure that the ring is pushed right up tothecoinwithyourfingers so that the rubber band is covered. When this coin has been felt you turn the coin so that it is face on to the spectator and with the right hand you slide the finger ring off and return it to itsowner. To prevent the rubberbandfrom sliding into viewyouhold it with the left thumb behindthecoin. The left hand is again turned over and one corner of the handkerchiefispulled so that the rubberband slides over the coin. The coin is removed with the right handand the rubberbandunderneath is allowed to drop to the floor. The spectator may pick up the nested copper coin but it will always stand a casual examination. In mostcasesyouwillfind that they are more interested in the silver coin. And there, my friends youhave an effectwhichwill spin the heads of the laymen and make a fewmagicians think as well. In April’s t h r i 11i n g episode I will describe to you an excellent twist on the above effect originated by Eric de la Mare. Because of certain reasons some ofyou will not perform “ The Big Squeeze ” but withEric’s idea on this effect, I guarantee that you will be working the routine the moment you read your April’s Pentagram.
CASE FOR CARDS STEWART JAM ES No. 3. THIRD SIGHT EOPLE often speak of the five senses. From time to time we hear of a sixth sense. Certain scientists claimthat there are actually many more. Practically every person has heard of second sight. You intend todemonstratesomethingnot so well known-third sight. You place one card to the side face-down. A spectator freely selects two cards. Another card is removed from the pack by you. These three cards designate, in a manner to be described later, the number three. The original face-down card is revealed to be a three. THEMETHOD Place any three-spot to one side face-down. After the pack is shuffled, take itback and fan the
P
cardsface-down.Permita spectator to remove two cards side by side. If they are both of the same value, he returns oneanddraws another. After memorizing them, they are returned to the pack side by side. While he was looking at his cards, you glimpsed the face card of the pack. By executing the Hindu Shuffle as his cards are returned, you know the card immediately above them. As you lookthrough the packto remove another card, locate your key and note the selected cards. You will discover one of three things: 1. One card will be a three-spot or will have the value of a multiple of three.
36
2. The value of one card subtracted from the value of the other will give three or a multiple of three. 3. The value of one card added to the value of the other will give three or a multiple of three. Phase 1 (A). When the value of one card is three: Remove a three-spot from the pack. Tell the spectator youwillnow have himselectone card from the pair he noted. The familiar ‘ conso that the three-spot jurer’s choice ’ isused appears to be freely selected. Show that the card you removed before his last selection was a threespot. More remarkable, the card removed before any selection was made was also a three-spot. Ask the spectator to select the highest or lowest valued card. You know the cards so you twist his selection to suit yourself but wording the request in this manner does not reveal the information you possess. Phase 1 (B). When the value of one card is a multiple of three: Suppose one card is a queen. It is considered as having a value of twelve. In this case you remove a four-spot. Force the queen as you did the three-spot in (A). Have the spectator remove that many cards from the pack, twelve, and deal them in as many piles as indicated by the value of the card you just removed, four. He now
counts the cards inanypile and there are three. Just as many cards as there are spots on the card you removed before any selection was made. For a six or nine you would remove a two or three. Phase 2 (A). When the value of one card subtracted from the value ofthe other is three: The ‘ conjurer’s choice ’ is not needed. Simply remove a three-spot, havehim subtract and conclude as in Phase 1 (A). Phase 2 (B). When the subtracted value is a multiple of three: Remove acard whose value when divided into that subtracted valuewillgive three, as in Phase l (B). Phase 3 (A). Whenthevalue of one card added to the other is three: Remove a three-spot, have him add and conclude as in Phase 1 (A). Phase 3 (B). When the value of one card added to the other is a multiple of three: Remove a card whosevaluewhen divided into that added value will give three, as in Phase 1 (B). Do not let this lengthy explanation discourage you. In actual practice, the values of the cards themselves will suggest what is to be done. I havemerely tried toshow that regardless of what cards are selected by the spectator, the result of three may be obtained.
No. 4. DEALING WITH THE UNKNOWN SPECTATOR thinks of acard. A second spectator thinks of both a card and a number. You place the first spectator’s card at the second spectator’s number, and predict the location of the second spectator’s card before asking a single question and without looking through the pack. THEMETHOD Black and White will serve as names for our assisting spectators. Black thinks of any card and places it in his pocket. (Example: Joker.) White shuffles the pack, thinks of any number-Iess than 15-and notes the card at that number. (Example: Ace of spades, seventh card from face.) Have Black place his card on top of the pack and bury it with a single cut. You arehandedthetopcard of pack after the cut. (Example: Eight of diamonds.) Show the cardtothe spectators and, with a pencil, write “ 18 ” on its face. Return to. pack and have it single cut again. Ask White tofan the cards with the faces towardhimandcut so that his card (ace of spades) becomes the bottom or face card of pack. He is asked to shift its position so once more it is at the thought of number. (Seventh from face.) Explain that you do not know exactly where, but for the time being it is somewhere out of the way near the bottom of the pack. Step over near Black. Tell him that you will
A
remove the cards one at a time from the top of the pack, allowing him to see each one as you do so, but he is to make no indication of the fact should he see the card of which he is thinking. The pack is held face-down in the left hand with the thumb on top and first-finger underneath. Show the top card and place it beneath the pack but between your first and second fingers. The next card you show goes on top of the first and this is continued until eighteen have been transferred. Black expects that youwill stop when you come to his card and willbelieve that you have failed when you deal on. Remove your first finger and allow the pack to come together. Say, “ I receive a strong impression that you have seen your card and I have dealt past it.” Do not wait for him to confirm this statement. Hold the pack to your earand riffle one corner. “ An extremely odd thing has happened. Kindly take the pack, ask White what number he is thinking of, deal off that many cards from the face and the last card you deal will be the card of which you are thinking.’’ After this proves to be so, have the pack handed to White. Ask him to look at what you wrote on the eight of diamonds but not to disturb the position of any card in doing so. When he says that you have written 18, have him count to the 18th card from face and there is his cardthe ace of spades.
37
TRIGON TWO PETER WARLOCK FFECTS of coincidence, when straightforward and free from intricasies, are always effective. Trigon Two is no exception. Originated in 1943, many copy versions have seen the light of day.Though described as a playing card effect (the normal pack giving a great range of design) E.S.P. ‘ Letter ’ or patternedcards could be just as easily brought into play.
E
As the audience see it The magician’s table is set centre stage. On it in a line facing the audience stand three stemmed glasses. Beside the glasses lie two packs of cards, one red andone bluebacked respectively. Seated right and left of the stage are two members of the audience. The magician picks up the blue backed pack. He casually fans the cards so that the faces may be seen by the audience. A casual shuffle is given. To the assistant on the right he says:“ I am going to deal cards one at a time from this pack face down upon the table. At any point in the deal I want you to say ‘ Stop!’ ” The action iscarriedout,and the cardstopped at by the spectator, without its face being shown, is dropped back towards the audienceinto the .right-hand glasson the table. Saying that hewishes for another choice, the dealing is carried on until the assistantstops him again.This time the chosen card, without its face being seen, is dropped into the centre glass. A similar procedure is adopted for athird time and the chosen card goesback outwards into the left-hand glass. At this point the remainingblue backed cards are placed aside and the red backed pack is picked up and handed to the assistant on the left. He is asked to mix them thoroughly. When this is done he is further requested to deal the cards face down upon the table stopping and placing aside a card wheneverhewishes. This is doneand the magician takes the card and withoutshowing its face drops it back outward in front of the blue backed card in the right-hand glass. The assistant with the red pack is asked to repeat the procedure twice more, the cards placed aside beingplaced respectively in the centre and left-hand glasses. The performer points out the fairness of the whole procedure, the matter of coincidence being strongly stressed. Taking the two cards from the right-hand glass he turns them round,separates them and shows their faces. Theymatch!Needless to say the cards from the centre and left-hand glasses are also shown to be perfect pairs! The Requirements Although a certain amount of preparation is required, the effect isalmost self-working. This
allows the magician’s capabilities as a showman to be exploited to the full. The requirements are as follows:1. Two packs of bluebacked cards. 2. One pack of red backed cards. 3. Three stemmed glasses eachcapable of accommodating playing cards. The glasses should not allow too much side-play. A point regarding effects where different colouredpacks are brought into play, not only have different colours but also different design. To prepare for the effect, some roughing solution will be required. The redbackedpackis taken first and the face of every card is treated. Twenty-six cards are now removed from one of the blue backedpacks and back of each is roughened. When the solution onthese cards has dried, each card is turnedover and moreroughing solution is applied this time to haZf the face. Twenty-six cards of similar value and suit are now taken from the other blue backed pack. The backs of these cards are roughened over half their backs. When the solution has dried, the blue backed cards are paired, with the roughened halves in contact witheach other. (See illustration.) Eachpair of cards shouldbe free from
BACYOF T H 6 CAtD HALF (WGhYNED
roughingon the face, but completelyroughened on the back. Thus if the two cardsare held between finger and thumb a1 the roughened ends, both cards may beshown as onewithout any possibility of either caxd slipping. Held at the other end, a slight rotary movement of thumb and finger in opposite directions will cause the cards to fan. The blue backed pairs are now assembled to form a pack of fifty-two cards, care beingtaken during the assembly that the inside roughened parts all face the same way. The pack is ready for use.
38 The Set-up Three stemmed glasses in a line on the table, the blue blacked and redbacked cardsadjacent. The Presentation The volunteer assistants are seated right and left respectively andtheperformer picks up the blue backed pack and overhand shuffles the cards in acasualmanner.He mentions thematter of coincidence. Duringthe shuffle, care mustbe taken so that there is no splitting of the pairs. The fact that the cards are only half roughened means greater care in this respect. The shuffle does allow the audience without any comment from the performer,to see that the cardsare different. To stress this point still further, the cards are fanned facestothe audience just before the dealing is commenced. Theright-hand assistant is now told by the performer that the cards will be dealt face down onto the table, andthat he, the assistant may stop the performerwhenever he wishes. (At this point the performer shouldbe certainthat the thumb pushing off the cardsfrom the packwill have the halfroughened ends beneath it.) Thedeal is nowmade, the cards coming away in pairs. When stopped by the assistant, the selected pair, as one card, is placed back outwards in the right-hand glass. Thenormaltakingand placing of this pair means that the roughened ends are at the mouth end of the glass. The procedure is repeated with two more cards (?). The
remainder of the bluebacked cards are dropped on top of those already dealt upon the table, the whole heap, thenbeing takenanddropped well out of harms way in the performer’s pocket. The redbackedpack is thenhanded tothe left-hand assistant who, after mixing the cards, is asked to deal them one at a time stopping whenever hewishes. Thecards thus designated are placed respectively in front of the blue backed cards in the right-hand, centre and left-hand glasses, inevery case without their faces being shown. The red backed cardsare taken fromthe assistant andaddedto those dealt. As with the blue backed cards, they are picked up and placed in a pocket. All is now ready for a treble climax. The performer, with his left hand, removes all the cards from the right hand glass. The backs are still kepttowards the audience and he makes certain that the cardsare well aligned. The right hand approaches the left andtakes hold of the cards at the non-roughened ends. The cards are tuned round, the right-hand fingers making the necessary rotary motion so that the cards will fan showing two identical faces, for the roughened face of the red backed cardadheres to the roughened back of the bluebacked card. The cards at this point may be separated and shown back and front. The same procedure is now repeated with the two remaining glasses.
BOOKS “THE CHINESE LINKING RINGS,” a newroutineby Sydney Twinn.Price 7/6. Published by and obtainable from theAuthor at 55, WarringtonCrescent,London, W.9. In this nicely produced booklet of some sixteen pages, the author presents his reader with a nine ring routine of the ‘ Rings.’ The effect is cumulative, the routine starting with the linking of two rings and finally linking all the rings. The use of ornamental figures has not been despised, and used, as they are here, in moderation, one feels that they could do little otherwise thanaddto the entertainment value of the feat. In addition to the text a folder of drawings adds to theinstruction. To those whowish to add to their repertoire an effective presentation of the Linking Rings, a presentationrequiring considerably less practice than many which have been described, this booklet is a worthwhile proposition. The inclusion of the name of a metal working firm who is willing to make a set, or any special rings to a magician’s requirements is a most useful appendage.
“GOLF BALL ROUTINE,” by Sydney Twinn.Price 5/-. Published by theAuthor. The routine described by Mr. ‘Twinn is almost anact in itself and using the patter given, one wouldimagine that it wouldrun for a matter of some ten minutes. Manipulative golf ball magicmakes up the first part of the routine. In this there is materialisation, vanishing and colour changing. In the second part a cone and a Square Circle gimmick representing a SummerHouse are brought into play. There is also a veryeffectivepiece of visual magic, where, after the performer’s pocket hasbeen pulled inside to show its emptiness, it returns of its own accord. Well printed, clearly described and carrying fourphotographic illustrations, the reader gets good value for his small outlay. “ I N C O R P O R A T E D STRANGE Theodore Annemann. English SECRETS,” by edition by Gmrge Armstrong.Price 7/6. This new edition is most welcome, and though most readers of this bulletin are bound tobe
39 familiar with the contents, to the newcomer in magic, one must stress the fact that within twenty pages of this well printed book, are described in all sometwelve first-class effects in which everyday irems figure. In addition the most natural gimmick for switching small objects finds a place. Before publication in book form, Annemann sold many of these effects at prices muchhigher than the cost of the book itself. In particular one callstomind, the first item, “ In~to-Transpo,’~ a card itemwhich, if well performed,canmake a performer’s reputation. For the platform worker, “ Slates and Aces,” which though we have used it ourselves, we have never seen any other magician work, is a fine applause getter. Recommended without any reservation. “ ANNEMANN’S ONEMAN MENTAL AND PSYCHIC ROUTINE,” by Theodore Annemann. English edition by George Armstrong.Price 12/6. Altogetherin this book of thirty-four pages, there are three sections. The first part consists of the routine proper in which some six items make
up the act. Of these the Telephone Drama, a billet effect which has been a shattering feat in the hands- of MauriceFogel stands out as the finest item. Eachand everyitem has its merits and amongst them we would particularise “ Telepathy Plus,” again a reputation maker. Part two is the “ Master Mind ” Card Act. Originally described in brief form in “The Sphinx” of Doc. Wilson’s days, greater detail in description will be found. It is a series of predictions in which the only accessories are a pack of cards and some billets. It is afeatthathas been strangely neglected, and yet for intimate workwhere the true miracleisrequired here is something worth three times the cost of the book! Part three is a miscellanyinwhich among other things pencil reading is touched upon. Also there is a brief note regarding the “ Spirit Pencil ” which the lateRalphRead introduced to the magical fraternity. If you have never had or seen a copy of this Annernann classic repair the omissionwithout delay.
MAGIC G O ROUND 0 news is better than that the New Phoenix is well in production again. The latest issue to hand, a Houdini numberis certainly someA thingthatnostudent ofmagicshouldmiss. London number of this adult magazine is scheduled some time in the near future. Next month we shall come up with an Edinburghnumber compiledby that good friend of magic John Howie. Five items of really practical little apparatus magic offer great value. The British Ring Banquet was a most successful function. Held this year at the Rembrandt, food was good, speeches were short and there was plenty of time for dancing and cabaret. The appearance of that greatartiste COCOperforminga version of the vanishing tumbler which he first saw performed sob sixty yearsback wasof historicinterest. Harbin came across with a delightful version of the egg in bag using a small glass of water instead of the more usual egg. It is an effectwhich has been in mind for a long while, but Bob got the rightsolutionquite by accident whilst returning from a telecast show near Manchester. Talking of Bob Harbin reminds us that next Octobershould see thepublication of his new book (intended for youngsters) ‘ How to become a’,Wizard.’ He showed us the illustrations which for qualityaresomething new in thehistory of magical textbooks. Published by the Daily Express who were responsible for ‘ Paper Magic ’ we predict colossal sales for this primer of magic.
N
By the time this is in print the Vernon book should be incirculation.Onemustcongratulate Harry Stanley and his team of Lewis Ganson and Harry Clarke for giving to the magical fraternity such a great book at such a moderate price. Not since Hilliard’s ‘Art ofMagic ’ can one recall a publication which offers so much of thetrue secrets of magical technique. Bestwishes to June and Harbin when they make their appearancein the one and half a hour’s all colour magic show which is being organised in the States by our good friend Milbourne Christopher.Milbourneplansa visithere duringthe course of the next month or so. None will forget the fine lecture that he gave at the Magic Circle Jubilee in 1955. The British Ring dinner to be held at Bristol on May 21st promises to be a most friendly function. We shall travel downwith Francis Haxton to take partin the after dinner entertainment. Speak to laymenofmagic on TV and most will tell you that the lastLondon-Amsterdam exchange was the best yet. Two items which stood out seemed to be Stanley Watson’s ‘ Cane to Birdcage ’ and Marconick’s ‘ Silks on Rod.’ Ask the layman however, the best trick they have seen on TV and nine out of ten will plump for the ‘ Substitution Trunk.’ Wewere sorry to hearthat EsmeLevante has been far from well again and hope that she will soon be out of hospital.
40
THREE BOOKS IN ONE
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S ‘‘ MASTER MIND” CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONE M A N MENTAL AND PSYCHIC ROUTINE is a professionallyroutinedmentalact that runs according to speed of the finest mental routines fromten minutes to halfanhour. The six effectsdescribedmakeone of presentation and the effectsincluded to’ threereallysensationalitemsfor theshorter show. I t is a strictly ‘OneMan’ act,there is no ever conceived, and can be cutdown cumbersome apparatus, no assistants, no confederates. A brief case will carryallthat isrequired, but l o u couldtravelwith the necessary itemsall ready in y o u pockets if preferred. Thementaland psychictestsarepresented in a routinedorder, and includesome of Annemann’schoicustbillet methodsand effects.Ideallysuited asa club,privateparty,televisionornightclubact. ANNEMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favourite card routine f o r newspaper offices. andintimate gatherings. Withjustapack of cardsthoperformer presents a serie of five stunning predictioneffects that leavestheaudiencesgasping as each oneinturn eclipses the previous one. No skill is required, andtheact can be learnedand thoroughlypracticedin an evening. ANNEMANN’S MENTALMISCELLANY is a collection of six off-beatideasinmentalism thatare typical of theauthor.The treakisc on the MirrorReflector andtheone on Pencil Reading-to the manwho uses t h e m - a n beworth many timesthe price of the book.
ASUSUAL-A
FINELY PRINTED AND ILLUSTRATED BOOK
Price 12/6 Postage 4d.
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVEANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicert Annemann Secrets now collected toogetha and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between’ the performer’s and spectator’s pockets. STOP-A freely selectedcard.lost mthe pack. is found ata number thought of. THE POUNDNOTE AND THECIGARETTE CHALLENGE-Marked number of anote writtendown by spectator-noteopenly burned-andthen found tn theugarette-the cigarettee in performer’smouth, and bluepacks the performerproves he cancontrol another best everroutineforthis effect.IMPROVEDREMOTE CONTROL-Withred JIEXTAL MONEY-Three pound notes borrowed and folded tight, person bymaking them pick any card he chooses, while at a distance. one is chosen, the performer reveals its number. NUMBER PLEASE-A Telephone Book Testin which the performer revealsboth name and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs a n d , two spectators. THE CARD DOCTOR-Spectator torn Intopleces,plecesvanishandcardisfoundback in the selects card whichisinitialled,cornertornfromcard, then initialledcard pack, minusits corner.SLATES AND ACES-Performer andspectatorwritenames of the aces ontwo slates,spectator rubs outthree on his, the ‘spirits’ rub outthe same three acesfromthe performer’s !ate. POKER PLUS-Performer dealsthreefacedownhands of anditbeatsthe second. Thirdhand shown to beat Poker.Second hand shown to beat performer’s. Then performer’shandshownagain performer’s. Then performer’s shown a g a i n , and beats it the third. Temfic effeht! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-Another typical Annemann card routine with a mental twist. And, of course, full a description of a mostuseful GIMMICK.
ASUSUAL-A
FINELYPRINTED
BOOK
Postage 4d.
Price 7/6
T H E M A G I C WARW P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Libran and Museum
is published on the 24th of eachmonth
1
Euston Road, London, N.W.1.
.
King George’s Hall, W.C.
Mar. 25-Both Sides of the Camera Particulars trom tton. Secretary
*
1
’
I
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects in return for a stamp.
mirllusaipts for publication and books for review should be sent to the:
Peter Warlock, 24, Wordsworth Rd., Wallington, I
Surrev
.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s P U B L I S H l D BY
you
fulldatdbd
from
EDITORIAL ADDRESS:
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
JACK HUGHEiS will be pleasedtosend
and the pubhhers for 117 per single copy. Annual Subscription 1 8 Ipost free. PUBLISHED BY:
can be obtaineddirect
Hearts of O a k Buildings, bf8gical Theatre
WARLOCK’S
PROPPIXTORO
A N D C.IN¶TD BY HERBERT WALKER B: SON (PRINTERS)LTD.,
BRIDGE WORYI, SRIPLEY,YORKSHIRE
MAGIC O F THE E D I N B U R G H MAGIC CIRCLE N OCTOBER, 1956, TheEdinburgh Magic ‘Circle held a week-end of magic to celebrate the tenth anniversary of itsformation. I was honoured in being asked to give one of the lectures and when, during the week-end, I suggested a special number of the “Pentagram” comprising items contributed by members of the E.M.C., such items were freely offered. About the contributors-all arenoted for their original ideas. Roy Scott isthe present Secretary of the Circle, having previously held most of the offices therein including that of Presi-
dent. Charles Cameron is the present VicePresident, while Harry Burnside, a former Secretary and President, is the Hon. Treasurer. Leslie May iswell-known, particularly for his work in the field of mental magic-during the above-mentioned week-endhe gave an excellent talk on Annemann-the Enigma. I am grateful to the above for their generosity -with their permission I have added notes to some of the items.
JOHN HOWIE.
THE SUBSTITUTE ROY SCOTT HAVE always believed that it is better to have a reputationthan to have publicity. In ‘ The Substitute’ it is possible to gain both. You not only perform a nice piece of magic, but leave behind the means to have it discussed in your absence. Whenyou are asked to perform at a houseparty, ask your host to provide a brand new pack of cards and to keep them in the sealed wrappings until you arrive. Ask for the pack as soon as you are on and do this as your first card trick. You must stress that, whilst bought on your instigation, the pack has not yet been handled by you. Break the seals, remove the jokers, etc., andlay them aside. Askthespectator to look for the ten of spades and to note its position from the top of the pack. In doing so the spectator deals the cards to find the ten of face-up on the table but fails spades. In counting to notethe position of the missing card he also discovers thatthere are only 51 cards. You reach into your pocketand remove a sealed envelope. You remark that you knew thatto
I
VOLUME I I, No. 6
-
the ten of spades would be missing and, so that you could carry on, have taken steps to make good the omission. Ask the spectator to open the envelope. Inside he finds a ten of spades with the same back design but, across the face are typed the words: “ This card has been substituted by . . . ” and signed in ink. Thiscardis now added to thepack which, being complete, is ready for your other effects. Notice how the typing precludes the theory that it is the card from the pack and the signature in ink disposes of any ideas regarding a rubber stamp. The beauty of theroutine lies in leaving a complete pack with your host. He willuse it whenever he plays whist, bridge-or pontoon. His guests, on receiving a marked card in their hands, are bound to enquire the reason. The answer cannotfailto give creditto you. Your reputation is being built up inyour absence. In case you are wondering how it isdone here ismy method. When you first askyourhost purchase a pack suggest (don’t insist) a store
I/6. (20 Cents)
-
MARCH 1957
42
from whichhe can get a pack. Then buy one yourself from the same store. Youmaybelucky and buy an identical pack,although youwon’t know this until you are ready to perform. The different procedureneededshould the packs differ ismentioned later. Packs made by the same manufacturerare stackedin the same order and it is on this fact that the first method is made (e.g., the top card of a New Bond pack is the three of diamonds and the bottom card the ten of spades, with one of the Jokers on the face of the pack). that In the following routine it willbeassumed this pack is used. Open your pack when you reachhome and, removing the Joker, ensure that the next card is the ten of spades. Remove the ten and write your messageon the face of thecard. Place the ten inan envelope and seal it securely. Remember the back design. If you were lucky and find that your host has an identical pack. take it from him and break the seals. Remove the extra cards and the Jokers. In removing the Joker at the face of the pack, double lift and with it remove the card urderneath (10. S.). Hand out the pack and, as you place the extra cardson !the table. side-steal the ten of spadesinto yourpalm.Whilst the spectator is dealing you reach into your pocket, leave the ten behind and remove the sealed envelope which you place in full view. Your work is over. Whathappens if the pack is not identical?
Themethod is as easy but not so convincing. Whilst holding the pack before removing the Jokers, glimpse the card under the Jokerat the face of the pack. It is also good policy to do this in the first verion to make sure the stack has not been altered. Assuming this glimpsed card is the ten of spadesyouvisibly write the following message,without letting the audienceread it at this point, on the face of the Joker: “ This Joker hasbeen substituted for the ten of spades . . . ” Double lift, removing the glimpsedtenwith the Joker, and palm off the ten as you place the Joker down. I prefer the Buckley Throw Change, throwing the Joker face-up. The writing isseen but, before it can be read, the left handreaches out andturns the card face-down. The ten is palmed until the deal is started and, as you return the pen to your pocket, the ten is also left behind. Scotsmenwill like the factthat this pocketed card is added to their ownpack. In the first method their ownpack is complete and, in the second, theyhave a stranger card whichshould prove useful . Completely divorced from the above there is another interesting pointabout the NewBond pack. Whilst one joker is on the face of the pack, the second joker is inserted amidst the rest of the pack near the bottom. Most packs nowadays have two jokers but I doubt if the public realise this. The possibility of using this position as a force of the cards on either side might be worth exploring.
NOTEBY JOHN HOWIE Since the first method has such a powerful climax it is desirable to increase, if possible, the chance of providing oneself with a card matching the pack provided. This is easily done by having several envelopes with cards corresponding to
several back designs. Sincemostpacks are made with a choice of two colours for the backs, I would suggest at least two duplicates to cover one design and two colours. If you can afford it (!) you may care to provideyourselfwith four duplicates to cover two designs each in two colours.
CLANNISH ROY SCOTT TACKED packshavealways a wide appeal but their main drawbackis the difficulty of remembering the stack. When the stack is one of principle and not of a fixed sequence there is a greater chance of its beingmemorised and used, which is one of the reasons for the popularity of ‘ Out of this World.’ Thebeauty of ‘ Clannish ’ is that you can use the stacked pack you normally use or the cards can be in no recognisable sequence. PREPARATION Should your pack be set up in the Si Stebbins, Hammond or Eight Kings stack, no other preparation is needed. If not, stack them as follows. The 1st and 27th cards must be of the same colour and value. Similarly the 2nd and 28th, the 3rd and 29th and so on throughout the pack until the 26th and 52nd are reached, i.e., the lst, 2nd and 3rd
S
being 6D, 5C, KC the 27th, 28th and 29th would be 6H, 5S, KS. PRESENTATION The effect is self-working except for one wellknown sleight in the final stages. Thisportion maybeeliminatedwithout detracting overmuch from the effect. Give the pack to a spectator and tell him what to do. “ Cut the pack as often as youwish.Now count off 26 cards into one face-down heap. Place the remainder of the cards face-down beside those you have just dealt and you now have two heaps, each containing the same number of cards.” Due to the counting, the first 26 cards dealt have been reversed in the dealing. Thus the twin of the top card in one heap is the bottom card in the other pile and vice-versa.
43
Push one pile aside for the momentand concentrateon the other. Pick up this pile. Cut off about half and drop themface-down onthe table.Takethetopcard of those inyour hand, show it aroundand place it face-up ontop of those face-down cards you have just cut off on to the table. Drop the cards in your hand on top of the face-up card whichisnowsandwichedin the half of the pack." Mathernaticiarw may cure to reason outthe pmirion twre. Bring the discarded pile forward and place yourtwo piles side by side. Now dealfrom the top of both piles simultaneously until you come to your face-up card-then stop. Now for the sympathy. Turn over the card still face-down at the top of the heap you previously placed aside. It nmtches-colour and value." DurinA) this dealthere are two altermtivesfwu-14p or fwe-down. Either way is effective so d o n ' t lead. l / they are deult face-up,and the number cut is odd, you will find twins appearing halfw q . tlmmgh. Use this as a strong point. I f they W C dealt face-down make sure that you turn over both sets as soon as they have been dealt to show t h m the f a e s do not match. Before we go further give me a small number-Five?-right.Pick up one of theundealt piles. Turn it face-up and deal off eight or nine cards in a row face-up. Now I'll take this other undealt pile and deal these cards singly on top of yoursface-down. Thereare now eight pairs of cards, the bottom of each pair face-up and the top cardface-down, you said five-we have dealt eight pairs. Let's turn over the cards. Notice that the last three pairs do not match but these five are pairs." "
"
"
Thislastdeal is notquiteautomatic.The first deal, which is by the spectator, is fair, all his cards being face-up.Yourdeal is straight-forward for the first five-the number selected. Here you pause andmakethe passbefore continuing the deal. There are so few cards it is easily done. Naturally the last three cards will not now match.
If you prefer, omit the asking for a number and have all the eight cards dealt out in identical pairs -But make sure you show the remainder do not match. Again the pass will be useful in destroying the sequence. Those who normally use the Nicola stack will be sorry that it is not suitable for this routine. ~NOTEBY JOHNHOWIE While trying out this effect (and I can vouch for its effectiveness), I evolved an a1:ernative endingwhichmaybe of interest. This alternative requires no skill and maintainsthesame general procedure established in the first part of the effect. The methodfollows:Perform the firstphase exactly as described above up to the point where coincidence has been established between the card reversed by the spectator and the corresponding card in the other pile. At this point there will be four piles on the table: two face-up pileswithmatching cards showing and two undealt face-down piles. Request the spectator to take one of the facedownpiles,give it a complete cut and replace it. Havehim repeat this with the other face-down pile.Nowhavehim turn overthe topcard of each face-down pile. Obviously one of two things will happen, viz.:( I ) These top cards will match, colour and value. If this occurs, play up the coincidence strongly and turn over the next two or three pairs of cards to show that none of thesem'atch. This climaxoccursmore often than onewouldexpect at first thought-since the piles arearranged in reverse sequence, a cut in the middle of each pile gives a high probability of matching cards being brought to the top. (2) The top cards will not match. When this occurs,astrong climax i s still possible as follows: Take the top cards from the spectator as you remark that you will demonstrate an even more remarkable coincidence. Place these two cardsface-up beside the face-up piles but place each card beside the pile opposite tothat from which it came, as shown in the diagram. Now ask the spectatorto continue dealing cards from the face-down pile face-up on to the face-up piles but, for maximumeffect,havehim turn his left-hand card over before the right-hand one. After each deal point out that no relationship exists between any of the fourface-upcards. A point will be reached, however, when his left-hand card will match, in colour and value, the card on the extreme left. Have himpause at this stage then turn over his right-hand card-it will match the card on the extreme right! Thus, using the cards shown in the diagram, when the ace of spades is dealt from pile A, the corresponding cardfrom pile B willbe the five of hearts.
44
E. S. P. EXPERIMENT HARRY E. BURNSIDE AND CHARLES W. CAMEROW HE FOLLOWING item has, we hope, caused a certain amount of cogitation amongst our fellow magicians. Broken down basically itismerely a test of ‘ telepathy ’ between two persons neither of whom is in direct contact with the otherduring the demonstration. The material used is very simple and consists of five small cards each bearing an E.S.P. symbol and a small leather wallet to contain them. THE EFFECT The mentalist introduces his partner whois then led away under escort to another part of the building. The mentalist now asks for the assistance of a spectator and hands him the wallet containing the E.S.P. cards. He emphasises to the audience that from that moment onwards he will neither handle the cards nor will he even approach the spectator who is assisting in the demonstration. The spectator is asked to extract the cards from the wallet and to show them to the audience. He is now asked to mix them and then to lay them down, face up, on the table, The spectator is now asked toconcentrate and then finally to select one symbol. The chosen symbol is shown by the assisting spectator tothe audience. The mentalist without touching the cards or going near the spectator is led away under escort. A member of the audience goes to the room in which the mentalist’s partner is waiting and brings him back to the audience. After the usual concentration the medium either names the selected symbol or draws it on a slate.
T
METHOD
The method is relatively simple and is out of all proportion to the effect obtained. It is based on a principle extremely difficult to break down, namely the principle of optional termination. The symbols and code number are as in the following table:-
Circle @ 1 Cross 2
m
=
Wavy lines 3 Square U 4
Pentacle
*
5
l . If the circle is chosen the mentalist asks the spectator to mix the cards and leave them lying face up on the table. 2. If the cross the cards are to be mixed and turned face down on the table. 3. Three wavy lines chosen are coded by asking the spectator tomix the cards and to replace them in the wallet and to throw the wallet on the table. 4. If the square is chosen then the cards are put in the wallet and then placed in the spectator’s inside pocket. 5. Should the five pointed star beselected then the cards are mixed, placed in the wallet and are taken out to the medium. This last choice makes the effect a 100% miracle as the cardscan be looked at by the medium before returning to the audience and the selected cardcan be withdrawn and heldin the medium’s hand before entering the room, From the medium’s point of view the code used could not be simpler. Immediately upon re-entering the room a quick glance in the direction of the table gives the clue to the chosen card. The glance at the table is, of course, done unobtrusively and the medium does not even require toapproach the table. If desired a fake blindfold can be used but this does not really require to be used. We have tried this out on very many occasions, both on lay and magical audiences and can assure readers that it is 100% simple, direct and extremely baffling to an audience. The strong point of the above routine is that the mentalist does not handle any of the items and does not appear to be sending or leaving any codes or clues to the medium.
A NEEDLE MATCH MAJOR LESLIE MAY M.B.E. HERE IS on the magical market an intriguinglittle effect called “ Needle-Off ”; it is extremely popular,owing to its low price (2s. 6d.) and ease of working, therefore I hope our editor will notobject to publishing my routine, which I venture to think enhances the original effect considerably. I am not at liberty to give away the secret of
T
“ Needle-Off ” so if this interests you, the expenditure of 5s. at your favourite dealer will provide you with two sets andfull instructions how to accomplish the advertised effect. If you already possess a set, then it will only cost you a further half-crown in order to perform this extended routine.
45
Each set as supplied by the dealers, consists of one faked, and one matching unfaked, needle; place the two faked ones together in one packet, discard the two unprepared needles, or give them as a present to a lady of your choice and in return obtain a packet of two ordinary needles, with same sizeeyes as your fakes, but either shorter or longer. Next, obtain a reel of thread of a thickness to go through the eyes of the needles without too much difficulty, a nice brightly coloured thread, if possible, for the sake of effect, and you are all set. PRESENTATION Obtain the assistance of two gentlemen from your audience and announce that you would like to conduct a little competition to discover which of them is more adept at a simple domestic job like threading a needle. Draw attention to the two packets and ask each volunteer to take one, remove one of the needles from it, and place it in the lapel of his jacket for the time being (this prevents the man withthe fakefromexamining it too closely). Next, request the assistance of a lady to act as adjudicator; give her the reel of thread, ask her to step forward, break off about three-and-a-half to four feet of it, lay the reel aside, and hold the thread by the exact centre. Give oneend of the thread toeach of the male volunteers, and say that when you call “ Go,”they areto remove the needle from the lapel, thread it, and slide the needle uptothe centre, the first one reaching that position being declared the winner. Experiencehas proved that a considerable
amount of fun can be got from this, and its up to the performer to capitalize on any amusing situation that may occur. After completion of the race, thank and dismiss the Lady, ask the men to still keep hold of their respective ends of the thread. Commiserate with the loser, congratulate the winner and say that despite his speed, howmuch more expediplace tiously threading or unthreadingcantake with the aid of magic, and that you would like to demonstrate this; cover the centre of the thread and the two needles with a handkerchief: Give the winner the privilege of nominating a needle, either the short one or the longer of the two, irrespective of whathe states, place your handunder the handkerchief, say “ one, two, three!” and remove thefaked needle vide the instructions provided with the purchased effect. The winner’schoiceis,however, interpreted as follows: If he names the faked one, say you will demonstrate with that, and then present him with the other one still threaded, as a souvenir. If he names the ordinary one, say you will present him with that and you will remove the other by magic. In either case, you keep the faked one, and he is left with the normal one on the thread to retain. If he had won with the unfaked needle, its most appropriate for him to be allowed to keep it. There may not appear to be a lot of magic in the above, I admit there is not, but properly presented, I can assure the reader thatmore genuine entertainment can be got from this routine thanfrommanya far more expensive effect.
IT’S ON THE CARDS MAJOR L E S l l E MAY M.B.E. FEW years ago, whilst visiting Dublin’s fair city and enjoying the company of that King of the Leprechauns, Hubert Lambert, I purchasedaratherunusualand attractive pack of purely Irish playing cards. The backs had a most attractive shamrock design,whilst on the faces, the values were shown only by the normal indices, the entire centre of each card bearing a delightful photo of some Irish beauty spot, historic building, etc.,with the name of same printed below, thus there were 52 different photos of interest. In viewof the shamrock motif I used the pack for fortune telling demonstrations, but later
A
thought that surely the unusual faces couldbe turned to advantage, and eventually the following routine was evolved. Probably the reader is already saying “ This is no good to me as I don’t possess such a pack,” well the Irish pack discovered by me is not essential, as long as a pack of a similar unusual nature is found irrespective of its geographical origination. Such packs, I understand, exist in many places, and the interested reader whowould like a somewhat different and novel effect in his repertoire will surely take the trouble to discover one. I know, suchpacksarefairly common abroad,
46
and our editor, Peter Warlock, has told me of a Spanish pack bearing similar pictorial reproductions, he once came across. For the benefit of those unable to locate a pack of this description, some suggestions asto conversion of an ordinary pack will be given at the foot of this article.
Emphasising the absolute fairness of the mental and physical selections, the lady is asked to, turn over the card she took, and it is found to be of the same value and suit as thought ofby first volunteer and to bear the pictorial representation of the place name on the billetselected by the second helper! REQUIREMENTS
EFFECT (The figures in parenthesis indicate the various moves,etc., used, and willbeso detailed at the end.) The performer displays a card case, containing, he says, a rather unusual pack of cards and gives a brief description without actually showing them at this stage. He next draws attention to a glass bowl containing 52 folded slips of paper-each bearing the name of one of the places of interest depicted on the cards, and invites a member of the audience to open oneor two at randomand confirmhis statement; these are refolded, replaced and the volunteer is requested to thoroughly mix them. The assistance of three further volunteers is obtained. If they are seated in, or near the front row of the audience on the same level as the performer, theycan remain in their seats. If possible they should be two gentlemen, one on the performer’s left, one on his right and a lady seated in the approximate centre. The person on the left is requested to think of any suit in a pack of cards, then of the value of that suit (this prevents the “ clever one ” thinking of the Joker!!), not to disclose his mental selection -at present but to record it on paper for subsequent display;for this purpose heisgiven a piece of paper anda pencil, andasan afterthought the card case for use as a rest on which to write legibly (1). He is then to fold and retain the paper, while the performer casually retrieves the case and lays it on his table. Next, the bowl containing the name slips is taken to the assistant on the right, who is requested to remove any slip, and hold it, unopened, in his hand. Finally, the pack of pictorial cards is removed from its case (2), the backs and faces briefly displayed, the Lady assistant then being requested to kindly select one, not to look at or disclose its face at the moment, but to place it face down on her lap, with her hands resting upon it. (3.) The performer briefly recapitulates what action has taken place, steps to first volunteer (on left) takes his folded slip, holds it alofttoenableall to sec it, then hands it back; walks to volunteer on right, takes his folded slip, holds italoft also whilst recapitulating, drops his arm to side, turns to volunteer 1 asks him to stand, open his slip, and read out the name of card he mentally selected; as this is being done, he returns second slip to volunteer 2, and after first Spectator hascompleted, No. 2 is also asked to stand and read out the place name on the slip he freely chose. (4.)
(i) A pack of cards similar to that described above. This is arranged in Si-Stebbins or other suitable system enabling the performer to locate any card secretly and instantaneously, and then inserted in acard case fitted with Annemann’s “ Mental Masterpiece ” or “ Perfected Mental Masterpiece ” (R. W. Read’s improvement). The complete case may be purchased from a magical dealer. A small piece of paper on which to write, and a short hard pencil. A description of Annemann’s Mental Masterpiecewillbe found on page 10 of Annemann’s MENTAL BARGAIN EFFECTS, recently republished in this country by George Armstrong. (ii) A glass bowl containing 52 folded billets, each bearing a different name from the picture pack. (iii) A set of pocket indices, containing not cards, but billets, being a duplicate set to those in the bowl, and folded in an identical manner. Each billet bears the place name associated with the particular card in the pictorial pack and are placed in the index according to the playing card value, i.e., in my Irish pack, the THREE OF CLUBS bears a photo of KILKENNY CASTLE, therefore the slip bearing the name KILKENNY CASTLE is placed in the compartment of the index normally allotted to the THREE OF CLUBS, and so throughout the 52 billets. METHOD (1.) By means of the MENTAL MASTERPIECE Case, the name of the mentally chosen card will automatically be recorded on the receiving medium INSIDE the case; the use of a short hard pencil ensures this being legible. (2.) In the act of removing the cards from the case, the performer notes, and memorizes, the name of the card secretly recorded vide (1) above. (3.) Whilst exhibiting the unusual faces of the cards, the performer locates the card whose identity he learnt at (2) above and brings itto either top, bottom or whatever position he wishes in order to force it upon the lady assistant. This force he then carries out. The nature of the force used I will leave to the individual performer, all I ask is, NOTHING COMPLICATED, PLEASE! (4.) Whilst recapitulating performer locates appropriate billet from index and finger palms it; takes card billet from first volunteer with other hand, holds it aloft, and then returns it. Walking to second volunteer he takes the name billet from him, holds it aloft in a similar manner, but does
47
not immediately returnit; he lowers his hand, .and at same time asks first Spectator to stand and .read out name of mentally chosen card; this is sufficient misdirection for the second spectator’s slip to be exchanged for the one taken from the index, and it is this that is handed to the second assistant to open and read. Performer meanwhile dropping original billet into a convenient pocket. SUGGESTIONS In the event of the reader being unable to locate a pack such as described above the following suggestions may be of use:- (i.) Obtain sheets of transfers (such as children use to stick on the back of their hands, etc.), ob some subject such as flowers, animals, etc., and transfer one to the face of each card.
(ii.) Type or print in block letters on the face of each card a short statement as to the significance or portent of that particular card. (The ladies will love this, but even if a card is black, still make it a cheerful reading.) (iii.) For male audiences, have the name of a race-horse on each card. (A patter theme regarding the tie-up of cards and racing in gambling will help to make this appear logical.) (iv.) For the appropriate class of all-male audience a “ Wolf ” pack can beused - each scantily clothed lady on the cards beinggiven a Christian name--or nickname. I am sure other themes will come to the mind of the intelligent reader. LESLIEMAY.
CASE FOR CARDS STEWART JAMES 5. THE WORLD’S GREATEST TATEthat youwill make anyone a wonder worker in one easy lesson. The volunteer shuffles the pack and hands it to a spectator to select a card in a manner to be explained.
S
Taking back the pack and dealing a card for each letter in the words I AM THE WORLD’S GREATESTMAGICIAN, the volunteer is as surprised as anyone when the card at the final letter is the selected one. THE METHOD
Be sure the pack contains exactly fifty-two cards. The spectator shuffles and deals two facedown piles containing twenty-six cards each. He removes one cardfromeach pile and turns them face-up on the table. From either pile, he deals cards on each to equal their value. Face cards are considered as ten.
Suppose a five and a nine turn up. Five cards are dealt on one and nine on the other. The pile from whichthe cards were dealt is placed facedown to one side for the time being. The total number of spots on the two face-up cards are fourteen and so he notes the fourteenth card from the face of the remaining pile. The king of hearts perhaps. This pile is dropped face-down on the first, the remaining sixteen cards from the table squared up and dropped on topof all. The noted cards is now the twenty-eigth card from the top of the pack, regardless of what cards were turned face-up, and it will spell outas explained. A trick of this nature lends itselfto topical presentation. When I did itat one of the club meetings, I used the words THE LONDON SOCIETY OF MAGICIANS. In this case, the noted card appeared after the last letter.
6. VIDA PACK SPECTATOR deals the shuffled pack in any number of piles, from two to twelve, a card at a time. He gathers up the piles and hands thesquaredpack to youwho are standing with your back toward him so as not to see what he did.Glancing quickly over the cards, you pick out one that bears as many spots as there were piles dealt.
A
THE METHOD Prepare by having six face cards on top and six on the bottom in any order. Riffle shuffle without disturbing them and then give the pack a genuine cut. The spectator may single cut again before he deals. When you take the pack back, simply count the groups of face cards. The number of groups tells you the number of piles dealt and you remove a card bearing that many spots as your reason for looking through the pack.
48
T H R E E BO.OKS IN 0N.E
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S “MASTER MIND ’*CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONE MAN MENTAL AND PSYCHICROUTINEisa professionally routinedmentalactthat runs according to speed of presentationandthe effects includedfromtenminutes to half an hour.The six effects described make one of the finest mental routines ever conceived, and can becut down to’three reallysensational items forthe shorter show. I t is astrictly ‘One Man’ act,there is no cumbersome apparatus,no assistants, no confederates. A brief case will carryallthat is required,but J O U could travel with the necessary itemsallready in your pockets if preferred.Thementaland psychic testsare presented in aroutinedorder,and include some of Annemann’s choiccst billet methodsand effects. Ideallysuitedas a club, privateparty, television ornightclub act. ANNEMANN’S “MASTER WIND” CARD ROUTINE was theoriginator’s favourite card routine for newspaper offices and intimate gatherings.Withjusta pack of cardsthe performer presentsa series of five stunning prediction effects that leaves the audiences gasping as eachone in turn eclipses theprevious one. No skill is required,andtheactcan be learnedandthoroughly practiced in an evening. ANNEMANN’S MENTAL MISCELLANY is a collection of six off-beat ideas in mentalism thataretypjcal of theauthor.Thetreatise on the Mirror Reflector andtheone on Pencil Reading-to the man who uses them-canbe worthmany times thepnce of the book.
AS USUAL-A
FINELYPRINTED AND ILLUSTRATED BOOK
Price 12/6 Postage 4d.
ANNEMANN’S I N C O R P O R A T ESDT R A N GSEE C R E T S CONTAINING
TWELVE ANNEMANNMIRACLES-AND
A MASTER
‘c
GIMMICK”
THIS COLLECTION comprises some of the choicest Annemann Secrets, now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between the performer’s and spectator’s pockets. STOP-A freely selectedcard.lostinthepack,isfoundatanumberthought of. T H E POUNDNOTE AND THE CIGARETTE CHALLENGE--Marked cigarettee in performer’s mouth,number of anote written down by spectator-note openly burned-and thenfound in the cigarette-the besteverroutineforthis effect. IMPROVEDREMOTE CONTROL-With red and blue packs theperformerproveshe can controlanother person bymaking them pick anycard he chooses, while a t a distance. MENTAL MONEY-Three pound notes borrowed and folded tight, one is chosen, the performer reveals its number. NUMBER PLEASE-A Telephone Book Testin which the performer reveals both name and two spectaton. THE CARD DOCTOR-Spectator and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs in the selectscard which isinitialled.corner tom from card,then initialled card tominto pieces, pieces vanish and cardisfoundback pack. minusitscorner.SLATES AND ACES-Performer and spectator write names of theacesontwo slates, spectatorrubsoutthree on his, the ‘spirits’ rubcutthe same three aces from the performer’s late. POKER PLUS-Performer dealsthreeface down hands of shown tobeat Poker. Second handshown tobeat performer’s. Then performer’s hand shown again, and it beatsthesecond.Thirdhand performer’s. Then performer’s shown again and beats it the third Temfic effect! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-Anothir typical Annemann caid routine with a mental twist. And, of course, full a description of a most useful GIMMICK.
ASUSUAL-A
FINELY PRINTED BOOK
Price 7 / 6
Postage 4d.
THE M A G I C WANED P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre . King George’s Hall, W.C.
May 7-CONCERT Particulars from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
JACK HUGHES
PENTAGRAM
will be pleased to send you
is published on the 24th of eachmonth
and can be obtaineddirect from thepublishersfor 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
THJ3 DE LUXB “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
togethrr with all hlr other effects in returnfor a stomp.
full dstailr of
Manusuiptsfor publication and books for review should be sentto the: EDITORIAL ADDRESS:
Write now to
Jack Hughes, 2, Bvelyn Ave.,
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrev . I -
Colindale, London, N.W.9. I
Every Advertiser’; goods arefullyendorsed
by’this Bulletin
PUBLISHED BY THEPROPRIETORSTHEMAOlCWANDPUBLISHINQCOMPANY, 62 WELLINGTONROAD,ENPlELD,MIDDLESEX AND PRINTED BY HBRBERT WALKER & (ION (PRINTERS) LTD.. BAIDOH WORKS,SHIPLEY,YORKSHIRE
+
ERIC’S D E LANIGHTMARE DESCRIBED BY JOHN DERRIS N THE February issue of “ Pentagram ” I described to you my version of the coin through ring effect called “The Big Squeeze ” and I promised to give you an original twist on this routine by my friend Eric De La Mare; first of all let me tell you how this idea was conceived. After performing my version for some time I showed it to Eric, who shares with me a love of coin magic, and jokingly he said that he was too poor to perform the effect with a nesting set of coins; he then reached intohis pocket, took a handful of ordinary coins, a handkerchief and a ring and worked out what he called the pauper’s method of “The Big Squeeze.” He agreed that it would be fitting for this second version to be published immediately afterthe first and so, on Eric’s behalf I describe to you his method. No fake coins are required, just a silver and a copper coin, a match box with a rubber band, a handkerchief and, of course, a finger ring. The match-box with the rubber band around the outer shell is set as described inthe first version and placed in the left trousers pocket. The two coins are picked up fromthetableand shown, held between the finger and thumb of the left hand as in Fig. 1. The handkercbicf is picked up in the
I
position as this is done. With the right hand you grasp the remaining coin through the material and the handkerchief is pulled forward away from the left hand and then laid on the left palm so that the single coin in the handkerchief lies directly over the other coin palmed in the fingers-Fig. 2.
The two coins are then picked up as one and held infront of you as youstate-two coins in the handkerchief. As this movement is made you turn both coins over so that the rear coin is covered 3. The finger by a fold of the material-Fig.
right hand and thrown over the left hand allowingthe lower coin to drop into the finger palm
VOLUME I I, No. 7
-
I/6. (20 Cents)
I
APRIL 1957
50 ring is now borrowed and the spectator slips the four ends of the handkerchiefthrough the ring which is pushed right up to the coins-Fig. 4. If
required the spectator can feel the two coins inside the handkerchiefthrough the materialprovided the magician holds the fold covering the coin outside the handkerchief with his thumb. The handkerchief is now turned upside down so that the coins hang underneath and the material is opened to reveal the small aperture where the handkerchief passes through the ring. At this stage the four corners are held by two spectators, and you can safely removeyourhandsallowing the coins to hangunderneath the handkerchief. You invite one of the spectators to look through the small hole and tell youwhichcoin is uppermost. As he does this your right hand goes underneathtosupport the coins so that they maybe seen more easily but in actual fact the right thumb is working the outside coin from the folds of the handkerchief into the right palm-Fig. 5. At the
same time the left hand goes to the left trousers pocket and picks up the rubber band as described in the first version. When the spectator has named the visible coin yousay that youwill turn the coins over so that he may see the other coin. You then add the coin that you have just picked up in your right hand overthehandkerchief so that it drops on top of the hole whilst the left hand goes underneath, opens up the rubber band and allows both coins and ring to pass through. The handling is the same as described in last month’sissue. When one of thecoins has beenselectedyou merely pull the sides of the handkerchief and the uppermost coin just added will jump through the rubberband.Removal of the ring and the disposal of the bandare the same as inthe first version. Well, there is Eric’s version and I think you will agree withme in saying thatits virtues of straight coins andimpromptuhandlingmake it veryfine indeed. To Eric I say thank you for a veryclever thought on this new angle of one of the classics of close-up magic-grr-r-r-r!
THE LITTLE MAN PETER WARLOCK HIS IS a slate trick for children. The effect is straightforward. The conjurer after showing three slates to be blank on both sides, numbers two of them, one and two respectively, then placing them number side towards the audience in a small stand. Adjacent to the stand is a small house, and in this house there lives a little man whowill help the conjurer with this trick with the three slates. Picking up the third slate, one of the audience is asked to give him the name of an animal. “ Now,” says the conjurer, “ I’ll write the FIRST LETTER of that word on this slate, and strange and wonderful thought it may seem, the little man will leave his house, rush behind SLATE NUMBER ONE and draw the SAME LETTER. Just watch the slate, the little house and myself all AT THE SAME TIME.”
T
Now immediately the conjurer puts chalk to the slate in order to writethe first letter of the animal’s name, the door of the house opens and stays open.About fiveseconds after thewriting is complete, the door closes. “ Did you see the little Man?” a s h the conjurer. The answeris, of course, in the negative. “ Well,” continues the conjurer, “ He left his house and drew the letter on the slate!” At this point slate numberone is turnedroundand on it the letter drawn by the conjurer has been duplicated. “ Look, we’ll go a bit further this time and you seewhetheryou can seehim.Don’t forget he movesvery quickly, but youmight just see his red coat.” The slate is cleaned, re-numbered and replaced in the stand. Now the conjurer writes on the third slate, the full name of the animal. Similar business as
S1 before with thedooropeningand shutting and when the slate is turnedroundthefull word is written on it. Finally attention is drawn to slate number two. Taking the third slate and cleaning it,the conjurer makes a comical drawing of the animal. There is,of course, the opening and shutting of the door and thenthe completion of the trick when the third slate is turned round and a similar drawing is found on it. With young children in particular the visual side of the effect, i.e., the opening and shutting of the door in the house, brings forth many imaginative qualities and there will be many who will see the flashing red jacket of the little man who isn’t there. The Requirements Three school slates of identical size. One loose fitting flap, which obviously will be common to all the slates. Chalk . The Little House.This maybe as plain or elaborateas youwish. The principal feature is the door which is so constructed that it may be opened by a pull on a thread and closed when the pull is relaxed. The most reliable idea I have found is shown in the following sketch:-
A pull on the thread makes the counterweight rise, and when the pull is relaxed, the counterweight causes the door to close. A stand to hold the slates. Again this is a matterfor simplicity or elaboration. Nothing is gained by being elaborate in this case andthe following illustration shows a stand whichfulfils all the requirementsneeded, i.e., the slates are
heldfirmly and there is nochance of the stand falling one way or t’other. It is hardly necessary to say that the choice of animal is hardly a choice in the true sense of
the word, and before commencing his preparation for the performance, the animal decided upon is that beautiful and intelligent citizen, the Cat. The three slates are then placed in a row and thinking of them as One,Twoand Three, the additioxm shown in the following illustration are made firmly with chalk.
The flap isnow takenand placed over the written side of slate number one. This slate is placed on slate number two and finally both slates are placed on top of slate number three. The table usedby the conjurer must have a fairly large surface. Acard table will do and it should be placed in this position the stand for the slates and the little house being set uponitas shown:-
The motivation of the door is best done by an assistant off-stage. Actually the thread used for activating the movement as it is carried across the table surface and down one of the table legs, can be so fixedby means of a small staple at the bottom of the leg so that even in a room it can be used by an assistant either concealed behind a screen or simply seated as part of the audience. The movement of the hand holding the thread is very little indeed. With the stand and house set on the table the slates with a piece of chalk placed on top are put down just in front of the stand.
52
hwlmtation The slates andchalk are takenfrom the table by the left hand. Slipping the chalk into his pocket with the right handand then tilting the slates towards himself, the conjurer with his right hand removes the topmost slate which, remember, has chalked on its surface the two letters and is covered with the flap. The writing on the surface of the second slate is concealed from the audience because of the simple fact that the surface is tilted awayfromthem.The first slate, fingers keeping the flap in position, is shown on both sides. ‘‘ This we’ll call slatenumber one,’’ says the conjurer, and then placing this slate flap side undermust on the two slates heldby the left hand.His right hand goes to his pocketremoves the chalk and on the uppermost slate he writes a large ‘ 1.’ This slate is now taken off the stack leaving the flap behind on top of the second slate. Handling must be natural and slate Number 1, care being taken that the writing previously concealed by the flap is notglimpsed, is placedinto the stand on the side nearest to the little house. The second slate with the flap covering the drawing is shown on both sides and it is placed on slate three flap side undermost. This slate is marked ‘ 2 ’ and similarly it is taken away leaving the flap on slate three. The second slate is placed in the stand alongside slate number one. Now, chalk in onehandand slate in the other, the conjurer gets the word cat from a member of the audience. There is no need to go to the trouble of some kind of force, for bysuggestion the word willbe forthcoming. The conjurer tells of his little friend in the little house and how when he, the conjurer drawsanythingupon the slate, this little man will do the same on slate number one. cc Just watch!” he says. To make it easy for him we’ll use the first letter of Cat,’ and with thatremark the conjurer startsdrawing a letter ‘‘ K on the non-flap side of the slate. At the sametime the assistant in charge of the thread moves it so that the door opens in the house. The conjurer’s mistakewith the initial letter of the animal’s name will bring forth jibes from his audience who will also have seen the door open. ”
”
The conjurer apologises and asks for correction. “ C ” they will tell him, and so the “ K ” is crossed out and the letter “ C ” placed in one corner of the slate so that it is comparable with the letters madeon slate number one. “ There,” hesays, “ my little friend has copied what I have written on the slate.” As this is said the assistant allows the door of the house to close. Never at any time does the conjurer give any conscious attention to the opening and closing of the door. Slate numberone is now takenfromthe stand, turned around and it is seen that the writing on it agrees with that which the conjurer did on his slate. “ Let’stry it once more,”and then placing slate number one on top of the slate he is holding (the flap on the latter beingundermost and held in place with the left hand fingers),he takes a handkerchief from his pocket and cleans off the letters. Then he turns it over and cleans off the ‘‘ 1.” Finally he places slate number three with its attendant flap on top of the original slate number one and then cleans off the letters on its surface. This slate isthen lifted leaving the flap behind and with similar handling to that used with slate number one, it isplacedinthe frame alongside slate number two. This time the full word “ C-A-T ” is drawn on the slate and the conjurer tells his audience that if they watch very, very closely indeed they may catch a glimpse of the little man’sred jacket. Believe me someone will see him and the cry will be taken up by all thosewho do not wish to be thought good viewers. Needless to say after the dooropening and closingprocess has been repeated, the slate in number one position is turned and it is seen that the little man has written the full word “ C-A-T.” To complete the effect and without changing slates, the onemarked “ 1 ” beingplacedaside, the conjurer makes the drawing of the animal whilst the door opens and ultimately closes. When slate number two is turnedround theconjurer’s drawing is seen to be duplicated.
CASE FOR CARDS STEWART JAMES
ALIAS SPECTATOR notes a card in the pack at a number unknown to you. He selects a second card, spells out its name by dealing a card for each letter, and the first card turns up at the conclusion of the spelling. THEMFITHOD Get any king to the top of the pack and retain it there during a shuffle. Place the pack face-down
A
in front of a spectator and have him cut off a few cards. He removes the topcardfromeach pile and places them separately face-down on the table. (He will thus get the king and an unknown card.) The rest ofthe pack is squaredandhe may shuffle if he likes. Slide the unknown card toward him. He is to note the value only, pick up the pack and memorize the card at that position. Thecard may be
53 a five, andthe two of diamonds maybe at the fifth position from the top. Adding the values of both cards on the table -five and king (1 3)-will give him 18. Dealing one card at a time, eighteen cards are counted off and the eighteenth is turned face-up to one side. This may be the king of spades. The other seventeen cards are returned to the top of pack. Ask the spectator to imagine that the card he noted in the pack (two of diamonds) is a criminal. The better to hide, he has chosen an alias at random. (King of spades.)
To show how useless it is to try and remain concealed, have the spectator spell king of spades dealing a card for each letter. The next card is turned over and it is the two of diamonds. Experimerutwillprove thatitmatters mt what the one original card may be as long as the other is a king, the noted card willalways be thirteenth from the top after the deal. Use the familiar spelling of any card by twelve or thirteen letters. Turn over the cardon or afterthe final letter as required.
PREDESTINACETION 0 U START to do what appears to be one Y of the standard Four Ace tricks but it presents a surprise or two before the climax is reached.
THEMETHOD Secretly shift the jacks to the top of the pack as you openly place the aces in a row face-up on the table. Deal one card(ajack) face-down oneach ace. Continue with a second and a third. Turn each ace face-down on top of its packet. Place one of the packets of four cards facedown on top of the pack and false cut. A spectator names any number between five and thirty. Supposetwelve is named.Count off twelve cards, one at a time and face-down. Deal the next five cards in a row face-down. The spectator freely selects one of the five cards, notes what it is and returns it to the top of the pack. Place the twelve cards and another ace packet on top andfalse cut again. The four cards that are left, after the selection of the one from the five, are left on the table for a time. Count off the spectator’s number (twelve) and place the next card to one side face down. Replace the twelve cards back on top, the third ace packet on top of all and false cut. Again count off twelve and place the next card face down beside the first. Replace the twelve cards back on top, the last ace packet on top of all and false cut. Againcount off twelve and place the next card beside the first two. Replace the twelve cards back on top and then the four cards that were left
after one had been selected. False cut and hand the pack to a spectator. Say, “ We require just onemorecard, will you kindly count to it?” He deals off twelve cards, places the next card beside the three you dealt but does not look at it. This time drop the pack on top of the twelve cards.Thespectator names his card. Youknow thatit is automatically the thirteenth cardfrom the top so you arrange the spelling as in “ALIAS.” Deal a card for each letter and show his card at the conclusion of the spelling. The spelled card is placed on those dealt and the thirteen cards are returned to the top of the pack. Say, “ And here we have the four aces.” Turn face up the card that the spectator dealt. It will be a Jack. Look at him as if it was his fault. Momentarily appear undecided, then pick up the pack and deal three cards from the top in a face-downrow. Continue ,three times more 60 that you have three piles of four cards each. Force the centre pile. Youmighthavehim place hishands, oneonone pile and one on another. If hedoesn’tcover the centre pile, pick it up and turn the cards over so as to reveal the aces. If the ace pile is one of those covered, have him lift onehand. Shouldhe lift the handfrom on top of the aces, pick them up and reveal. Whenhekeeps the aces covered, havehim place the other hand on top as well. Remove the twouncovered piles and havehim turn over the aces himself. Now turn over the three cards that are facedown beside the jack and disclose that they are the other three jacks.
TELE-COINCIDO PETER WARLOCK I R S T of all the magician calls the attention underneath it D concealing the number 2.” of the audience toastandon which rest a A telephone directory is thenhanded to a number of alphabet cards. He goes a little further member of the audience. Whilsthe is looking
F
and shows that underneath eachthere are two other cards,onealsobearing a letterand the other a number. For instance here is a letter “ B ” and
“
”
“
through it to see that it is a genuine directory, a tumbler containing dozens of pieces of folded paper is taken into the audience. Several specta-
54 number being omitted. These pieces of paper are now folded crosswise and crosswise in the opposite way,the fold being left in a springy condition (something akin to aspring flower). This “ springiness ” is an integral part of the force.
tors are requested to take one each of these folded slips, open it out and read the number written on it. At the same time the magician points out that the slips of papercarrynumberscorresponding and equal in number to the pages of the directory. The person holding the directory is now approachedand heis askedtodrawoneof the folded slips. He too is requested to look at the number upon the paper, butfurthermore isto turn to the page in the telephone directory represented by thatnumber.Another member of the audience is asked to give a number from one to four. This number decides the column that shall be used and with this information the holder of the directory is asked to state aloud the name of the subscriber at the top of that particular column on the chosen page. We’ll give an actual example from aLeicester directory which we have used, GREY, T. E. The magician now removes from the main part of the stand the letters with their appropriate “ letters ” and “ numbers ” placing them on the top shelf of the stand so that they spell out the chosen name and initials. The name of the subscriber’s exchange is now askedfor,and with the reply “ SYSTON,” the top cards are removed one at a time revealing the word, “ SYSTON ” underneath. Saying that the coincidence has already exceeded his expectations, themagicianwonderswhether he can achieve ultimate success. He says that he’ll take a chance, and asking for the number of the subscriber, he is given the answer, 861450. Removing the letters forming the word “ SYSTON,” the number beneath is revealed as 861450! The Requirements The reader will have no doubts that this effect is brought about by means of a force, and may think that I have glossed over some detail in describing the selection of the numbered page. Simplicity of method and handling gives this perfect force. Therequirementsarea large sized tumbler (if working with aLondonTelephone Directoryone would require a pint sizedglass), and a piece of thin celluloid or acetate cut to such a size that it forms a transparent partition inside the glass. On say, onehundred pieces of paper measuringapproximatelyone inch square, numbers from one to a hundred are written, the force
of Another hundred similar sized pieces paper are taken and on each the force number is written. These pieces too, are folded similarly and then dropped into one partition of the glass, the vari-numbered slips going into the otherpartition. The paper should be pushed down so that a space of about three quarters of an inch at the mouth of the glass is free from paper. Now, if the reader, having madeupthe necessary fake has it in hand, he will find that if it is held as in the illustration the pressing of the celluloid partition to one side, the glass being held at the fingertips, only one set of papers is offered toa spectator. The interesting part is that the flexibility of the celluloid allows it to conform to the shape of the glass. The need for “ springiness ” in the papers is now apparent for when the celluloid is moved, the papers on one side of the partition compress easily whilst those on the other side expand. Apart from the faked tumbler and papers the requirements are:1. A stand like that shownin the illustration. Myown measures fifteeninches by twentyfour. With a strong hinged strut at the back, four lengths of wood were glued to the front to make shelves for the cards. 2. Two packs of “ Lexicon ” or lettered cards. 3. A pack of numbered cards. 4. A local telephone directory. The page which the magician has decided to force should contain aname at the top of the third column which consists of either a four letter surname plustwo intials or a five letter surname plus one initial. Taking thename already mentioned, “ T. E. Grey,” which fulfils these requirements on page 31 of the Leicester telephone directory we have loaded one of the partitions in the glasswith ahundred duplicates of this number.
We now go a stage further. On the table we place thenumberedcardsrepresenting his telephone number, to wit 8, 6 , 1,4, 5 and 0. On top of these in relative order go the lettered cards, S, Y, S, T, .O and N, andfinally on topof these go the lettered cards giving the subscriber’s name, G , R, E, Y, T, .and E. These sets of cards are placed in their correct alphabetical order on the stand (see illustration) triple sets of cards and numbersalso being set in their appropriate positions. Quite obviously apart from the top letter it is immaterial which cards gobeneath the one which shows. When complete the stand and cards should appear as shown in theillustration.Notethat an extra “A,” two extra “ E’s ” and an “ S ” are included. With the stand set on the table, the force glass alongside and a local telephone directory at hand the magician is ready.
The Presentation The magician talks of coincidence andthe partit plays in one’s life. Theattention of the audienceisthen drawnto the cardsuponthe stand and it is pointed out that under each lettered card there is anotherletteredcard,and beneath the latter a card bearing a number. The telephone directory is handed to a member of the audience with a request that he assures both himself and the audience that it is really a copy of the currentlocal directory. Taking the force tumbler and holding it in such a way that the varied numbers are exposed, the members of the audience are asked to take a few slips, satisfying themselves thatthere is no limitation of choice. Changing the glass over totheotherhandthe celluloid is pulled the oppositeway and the slips now exposed are the ones bearing the force number.
Approaching the holder of the directory, the magician requests that he takes just one slip opens it out and notes the number on it. Further he is to turntothat numberedpage inthe directory. Another member of the audience is asked to give a number from one to four. The answer will either be “ two ” or “ three.” If it is the former number the holder of the directory is asked to ignore the first two columns and look at the third noting the subscriber’s name at the top of the column. If “ three ” is the answer, there is no equivoque. The spectator having found the name and readit aloud, the magician removes the appropriate sets of cards from the stand, placing themin the name order on the top ledge. Nowhere is apointworth noting. If it is possible to find a name with wariance in spelling please use it. For instance in the present case, “ Grey.” In removing the cards, the letters G, R and then A are taken. With this last letter, the assistant should stop the magician telling him that it should be E and not A. Such a casual mistake instils in the minds of the audience To that the selection is one of purechance. counteract the possibility that the assistant may not notice the mis-spelling, the magician has under the letter A, the same letter and number card that would be placed under E in this case. With the placing of the cards on the top ledge the effect is virtually finished and it only remains for the magician to build up the necessary suspense before revealing first the exchange and then the actual number. Before leaving this effect, I would like to point out that if the performer wishes to make use of a wider range of names there is nothing to stop him. By having two sets of cards on the stand, the choice of toporbottom of a columnmightbe offered. In such a case the namewouldhave to commence with a different letter.
BOOKS THE OLDEST DECEPTION,” Publishedby Car1 W. Jones, U.S.A. Price $4.00. (Distributed in GreatBritain by Goodliffe, Price 30s.) The sub-title of this book CUPS AND BALLS IN THE ART OF THE 15th and 16th CENTURIES reveals the beliefof the learned author and the late publisher that the Cupsand Balls trick is “ TheOldest Deception.” I, personally, am not so sure of this: I am certain, however, that in his fine folio volume DAS BECHERSPIEL which was published in Dusseldorf in 1954, my good friend Dr. Kurt Volkmann has very patiently compiled an unusualanderudite work that cannot failto charm the serious student. This work, translated by Barrows Mussey, is now available to English readers, thanks to the .enthusiasm of the late publisher. It reproduces no fewer than 23 15th and 16th Century engravings
i6
and woodcuts,nowalmost priceless, in each of which a performance of the Cupsand Balls is depicted. The accompanying text is a painstaking masterpiece that only a true lover of his subject could have prosecuted. Of particular interest is the fact that most of the early prints and engravingswhich are reproduced in this bookshow the old trick being performed with only two cups. In the highly imaginative Peter Breughel engraving, THE FALL OF THE WIZARD HERMOGENES, 1565, however, we see the trick being clearly performed with three cups. At this point I wouldhave it clearly understood that no tricks are explained: the work is for the ever-growing family of students of conjuring history and collectors of memorabilia. Stanley Collins
56
T H R E E B O O K S I NO N E
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH “
ANNEMANN’S MASTER MIND ” CARDACT
ANNEMANN’S MENTALMISCELLANY
&
isaprofessionallyroutined mentalactthat runs according to speed ANNEMANN’S ONE MAN MENTAL ANDPSYCHICROUTINE of the finestmentalroutines to half anhour. The six effectsdescribedmakeone of presentation and the effectsincluded,fromtenminutes It is astrictly ‘One Man’ act,there is no ever conceived, and can be cut down t o threereallysensationalitemsfortheshortershow. cumbersome apparatus,no assistants, no confederates.A brief case will carry all thatis required, but)ou couldtravelwith the necessary itemsall readyinyour pockets if preferred. Thementaland psychictests are presented in a routinedorder, and include some of Ann+ mann’schoicestbillet methodsand effects.Ideallysuited as aclub,privateparty,television ornightclubact. ANNEMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favourite card routine for newspaper offices. and performerpresentsaseries of five stunning predictioneffects that leaves the audiences gaspmg gatherings. With just a pack of cardsthe as each one inturneclipses the previousone. No skill is required, andtheact can be learnedand thoroughlypracticed in anevening. ANNEMANN’S MElNTAL MISCELLANY is acollection of six off-beat ideasinmentalism thatare typical of theauthor.Thetreatise on the MirrorReflector andtheone on Pencil Reading-to the manwhouses them-can beworth many timestheprice of the book.
intieto
AS USUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 12/6
Postage 4d.
ANNEMANN’S INCORPORATED STRANGE
SECRETS
CONTAINING
TWELVE ANNEMANNMIRACLES-AND
A MASTER
‘‘ GIMMICK”
THIS COLLECTION comprises rome of the choicest Annemann Secrets now collected together 2nd printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between’ the performer’s and spectator’s pockets. STOP-A freely in thepack, is foundat a numberthought of. THE POUND NOTE AND THECIGARETTE CHALLENGE-Marked selectedcard,lost cigarettee in performer’s mouth,number of a note writtendown by spectator-noteopenly burned-and then found in the cigarette-the best everroutineforthis effect.IMPROVEDREMOTE CONTROL-With red and bluepacks the performerproves he cancontrol another person by making them pick anycardhe chooses,while at adistance.MENTAL MONEY-Three pound notes borrowed and foldedtight, one is chosen, the performerreveals its number.NUMBER PLEASE-A Telephone Book Testin which the performerreveals both name and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs and two spectators. THE CARD DOCTOR-Spectator selects card whichisinitialled cornertom fromcard then initialledcard tom into piecespieoesvanish and card is foundback in the pack,. minus its corner. SLAi’ES AND ACES-Perfokerandspectator write names of &e aces on two slates,spectator rubs outthree on hs, the ‘spirits’ ruboutthe same three acesfrom the performer’s late. POKER PLUS-Performer deals three face down hands of Poker.Second hand shown to beat performer‘s. Then performe& hand shown again, anditbeatsthe second. Thirdhand shown tobeat performer’s. Then performer’s shown again, and beats it the third. Temfic effect! THOUGHT IN PERWN-A most unusual card routine. A MENTAL HEADACHE-Another typical Annemann card routine with a mental twist. And, of course, a f u l l description of a mostuseful GIMMICK.
ASUSUAL-A
FINELY PRINTED BOOK
Price 7 / 6
Postage 4d.
T H E MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
Clubroom and Library and Museum :
Hearts of O a k Buildings, Euston Road, London, N.W.l. Magical Theatre
King George’s Hall, W.C. May 27-MENTAL MAGIC (Sld Lawrence)
Particularsfrom
Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
I
I
PETER
WARLOCK’S
PENTAGRAM is publiahed on the 24th of each month and
can be obtaineddirect from the publirhornfor 117 persingle copy. Annual Subscription 181postfree. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscriptsfor publication and booksfor review should be sent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrev.
Every Advertiser’s goodsarefullyendorsed
JACK HUGwill be pleased to send you
full details of
THE DE LUXB “SU-TABLE” together withall his other effectsin returnfor a stamp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9.
by thisBulletin
PUBLISHED BY T H E PROPRIETORS I R E MAOlC WANDPUBLISHINOCOMPANY, 62 WELLINGTONROAD,ENFIELD, MIDDLESEX AND PRINTED BY RERBERT WALKER SON (PRINTERS) LTD., BRIDGE WORKS, SHIPLEY, YORKSHIRE
*
NO GUESSING B O B DRIEBEEK
A
T HENK ‘VERMEYDEN’S,Bob Driebeek
showed three forms of magical divination. Two of these were in the mechanical Class, whilst the third Bob was good enough to pass on to the Pentagram.
The effect is brief. There are three round coloured sticks and a metal tube with a screw top. Taking the tube and unscrewing the top, the conjurer turns his back to the audience and holding the tube behind his back and giving the lid to a person nearby he asks that any one of the coloured sticks be picked up, dropped into the tube and the top screwed on. The remaining two sticks are to be taken by the person anddroppedinto his pocket. When this is done the conjurerturns round to face his audience. “ You have,” he says, “ placed the red stick in the tube and the yellow and blue ones in your pocket.” The divination is. of course, correct. When Bob first performed this, there were 3 few who thought that he had, after the insertion of the stick into the tube, obtained a glimpse of the remaining sticks which were standing on a nearby table. With these suspicions aroused he offered to perform the effect again. So the tube was unscrewed, the stick removed and the same procedure adopted. This time, however, be handed the tube to a spectator, then correctly divining the colour of the stick in the tube. That is the effect with no trimmings, and many of you will already have the gimmick necessary to achieve this baffling littlefeat. It isthe Bill Tube! Besides the conventional bill tube, youwill requirethree sticks of chalk. The sticks should not be the customary type which one sees in the
VOLUME I I , No. 8
-
stationer’s shopbutratherthe cylindrical type which can be bought in most art shops. If the reader cannot obtain these, ordinary chalk will do equally well, but the sticks I have mentioned look more like coloured cylinders. Having obtained three different coloured sticks of chalk and with the bill tube at hand, the procedure for the first part is as follows. First of all the top is unscrewed from the bill tube and is placed with the sticks of chalk on the table. Showing the tube and stating what he wishes done. the performer turns his back to the spectator and holding the bill tube with his left hand,month towards the spectator, he asks him to choose any one of the chalks and drop it into the tube.Then he is to take the cap and screw it on quite firmly. When he has done this the performer eases the inner tube slightly and as he turns and brings the tube in front of him with his left hand, he notes the colour of the chalk which can be seen easily through the opening at the base of the tube. In the act of placing the tube on the table, the inner tube is pushed upand the performer announces which chalk is inside and which are in the pocket. With the repeat of the trick a slightly different procedure is adopted. After the chalk has been inserted in:o the tube, theconjurerturns round. retaining the tube behind his back for a moment. During this very brief period, his second finger nail scratches against the side of the chalk through the opening. Then thetubeis closed and without bringing it in front of him a spectator at the side is asked to take it. The hands then come to the front and in accentuating the fairness of the procedure, the performer gestures with both hands. At the same time he notices the colour of the chalk on the nail. Finale.
I/6. (20 Cents)
MAY 1957
TRIPLE MENTAL COINCIDENCE RAVELLI S R E E PEOPLE, namely the magician and two spectators, each think of a number and remember the card falling at that number. Although such numbersappearto begoverned by chance, the cards thought of, impossible though it may seem, are identical! Method. Though the effect calls fora long description itsaction is easily understood. First of all you need a pack of fifty-two cards and two spectators. For the purpose of the description let us call one the right and the other the left spectator. Hand the pack to the left spectator for a thorough shuming. When he has done this stretch ouz your left hand in order to receive the pack. At the sametime turn away yourhead, so that in effect you stand with your back to the spectators and cannot see what goes on. Now ask the spectator on the left to cut off about half the pack and take it.Thenearer he cuts to exactly half the in a easier yourwork later. If the packisheld position similar to the ‘ mechanic’s ’ grip you can tell without looking if he has taken approximately half. If the amount should be much less ask him to takea few more.Thegrip youhave on the pack should prevent him taking more than half. Now without moving ask the spectator on the left to hand to the spectator on the right some of the cardshe holds. There is a rider to this and that, is that the cards should not be divided exactly; one inust have a thick heap and the other a thin one. When the right hand spectator has taken his packet each is asked to coun: in a silent manner the number of cards he holds. When this has been done they are to slip ihe cards into their pockets. At this point explain that each has a number in his mind, a number achieved purely by chance. The procedureyouhave adopted, you go on to explain, rules out favourite numbers which might result in the two spectators having the same nuaber in their minds. Furthermore, it is impossible for you to know either number. Turn to the left hand spectator with the cards whichwere left in your hand, you explain that you will show him these one at a time, numbering them as they are shown. He is to remember the card whizh falls at his thought-of number. With the pack held face down in the left hand, the right hand removes one card at a time, shows it to the spectator then places it face down on to the table. At the sa’ne time he counts each card. At the end of the counttheperformer knows not only the the numkzr of cards heldby the two spectators (for to achieve this hehas only tosubtractthe number oE cards dealt from fifty-two), but he has also reversed the order of thecards so that the card which was at the top of the pack is now at the bottorx and vice versa.
T
Now at this point in showing the cards to the second spectator, the one on the right, it is necessary that he thinks of the same card and to achieve this it is necessary to reverse one less card than the totalnumber. As youhave reversed all the cards, an adjustmentmustbemade. Let us give an example. The number of cards that you have counted on to the table is twenty-nine which means that the two spectators hold twenty-three cards between them, and to achieve the force on the second spectator, twenty-two (one less) cards must be reversed. You have, therefore, reversed the order of seven cards too many. These seven cards lie now on top of the packet, bat their transfer to thq bottom of the packetwill adjust thematter. Perhaps the easiest way to achieve this is to run them off singly in an overhandshuffle, but any other method arriving at the same result will do. The second supposition is that the number of cards taken by the first spectator maybe smaller than the number to be reversed. Suppose that the spectators hold twenty-eight cards betweenthem, whichmean3 that youhavetwenty-four in your packet. This means that twenty-seven cards have to be reversed, and as you are holding only twentyfoclr this means that three cards must come from the bottom to the top of the packet. The means of doing this either openly or underhandedly are nwnerous. When the cards havebeen transferred from either bottom to the top or topto bottom, the effect is as good as finished. At this point, however, where the cards have up and the necessaryadjustment beenpicked made, stress that you can neither know the number or the card in the left hand spectator’s mind. The cards are now shown in the same way to the right hand spectator, but when say two-thirds havebeen dealt askthe spectator if youhave passed his number. If he says “ Yes,” drop the remaining cardson top. This helps to speed up the trick a little. Both spectators will now have the same card in mind. Tell the spectators that the cards in their pockets are now of little consequence.Pick up the cards lying on the table with the right hand. Stretch out the left hand and as the left hand spectator takes his cards fromhis pocket, take them face down in this hand. Now place the cards in the right hand on top of those in the left hand and extend this same hand towards the right hand spectator who, having little choice, places his cards on top and thusmakes up the full pack. Square up the pack and place it on the table. Explain that before you started this ‘experiment,’ you, too,hada number inyour mind. It
59
was . . . . . (naming a number which is one greater than the number of cards which remained after the spectators had taken their share. Thus if you had twenty-four, you name twenty five). Slowly deal off twenty-four cards ontothe table and then deal the twenty-fifth placing it near the front of the table without permitting anyone to get a glimpse of its face. Stress the fact that the card, because of its position, cannot be exchanged. Explain that the numbers of the spectators were governed by chance and that in view of what you said previously it wouldseem unlikely that they could be the same. “ My number,” says the contwenty-five. May I ask your jurer, “ was numbers?” (These are given, say, as 18 and 10.) “ Thus,” says the conjurer, “ we have three numbers, 10, 18 and 25. All are different and each thought of a card at that number.” (This is not quite in accordance with facts, but nobody is likely to query it.) To the first spectator: “ Youhad thenumber 18. What was the card you thought of? ” We’ll suppose that the reply is the ten of spades. “ Thank you, sir, . . . . and you, sir, had 10. What was the card you noted? ” The second spectator rather amazed will give the same card, the ten of spades. Then say, “ I, too, had a number in my mind. It was 25 and the card of which I am thinking is still lying at the front of the table. Willyou please turn itover ? ” The spectator does so and to his amazement finds the ten of spades. Additional notes. When dealing thethought
of card glimpse it at the same time and thus be ahead of the spectators before they name the card. The spectators may write the names of their cards on a slip of paper, folding them and leaving them in full view. By some this might be thought a more telling finish if the writing on the slips is read aloud at the penultimate stage of the trick. To shorten the proceduresomewhat,should the reader think it too long, any number of cards may be used providing the total number is known. thirty-six cards. For instance I sometimesuse These are easily available after a standard four ace effect where sixteen cards have been used and then placed aside. I have already mentioned that with the second spectator’s choice it is unnecessary to go through all the cards. With the first spectator this cannot be doneas the performer mustknow the total number of cards held. However, I do use a subterfuge which obviates or seems to obviate counting all the cards. When I turn to the left hand spectator and explain what I want him to do, I count off five cards, instancing that were his number five he is to think of the fifth card. I then place these five cards underthe packet, retaining a break. Then instead of counting the cards on to the table I count them from hand to hand. When I reach the break I ask the spectator whether he has seen the cardat his number. With an affirmative answer, I simply cut the cards under the break to the top of the packet and add five to the counted number thus arriving at the total number of cards in the Dacket.
CASE FOR CARDS A SERIES BY STEWART JAMES THE HOODOO CARDS WRITTEN prediction isgiven to a member of the audience to retain. (1) After the Joker is tossed to one side, the pack is shuffled (2) and dealt in four face-down piles, a card at a time. A spectator slides the Joker into any pile and removes the card either above or below it. (3) Letting no one elsesee his selected card, he places it on any heap. Any two of the remaining three heaps are placed on top of it. The remaining heap is cut by a second spectator who notes the top card after the cut. The large heap is dropped on this small heap and the pack is cut. (4) A third spectator removes any number up to a dozen cards from the top of the pack and places them to the side. He does the same, with the same number of cards from the bottom. ( 5 ) He looks at and remembers the card that is now on top and gives the pack a single cut. You quickly fan through the pack and remove three cards in a group. ( 6 ) The centre card of the group is the first card noted.
A
The total value of the other two cards is the same as predicted. Counting on to the number predicted, there is the second selected card. The dealt off cards are left on the table but the two packets, placed to the side by third spectator, are returned to the pack (7) and the predicted number is counted again. There is the third selected card. THE METHOD. Secretly get four 3’s on the bottom and four 10’s on the top of the pack. (l) The number on the prediction is 13. (2) Riffleshuffle,leaving thetopfourand bottomfour cards undisturbed. Conclude with a false cut. (3) Thismethod of selectionleaves thirteen cards in the pile. (4) False cut. (5) These two groups are kept in separate piles. (6) The first selected card will be the only card between a 3 anda 10. Shift all the cards below this group of three to the topof the pack. (7) One packet is returned to the top and the other to the bottom of the pack.
60
BROWNWAVES-NO LOOKING m
1‘WO
ELMSLEY
ALEX
spectators eachthlnk of cards lying at freely chosen numbers. The performer reads their minds and names their cards. The cards are shuffled beforehand and the performer does not look through the cards. The Method. Start by dividing the pack exactly in half, and give half to each of the two spectators taking part. It is best if you can get a break beneath the twentysixth card of the pack before starting so that you canjust cut the pack in two at the break. Otherwise, deal the pack into two. If you deal in twos and threes, the deal is speeded, and also it is less obvious that the pack is being divided exactly in half. Ask the two spectators each to shuffle their cards and then to cut off a number of cards and return the rest to you.Askonespectator,whom you will call A, to cut off more than half of his packet, and the other spectator, B, to cut off less than half his packet. This is not absolutely necessary, but it makes things simpler foryou later, and is quite logical on the excuse that you do not want both to cut off the same number. When both spectatorshavemade their cuts,takebackthe remainder of A’s cards, an then the remainder of B’s cards, put B’s remainder underneath A’s keeping a break between them with you left little finger. Squareup, and while squaring sight and remember the bottom card of all. This is the card which B will choose. It can easily be sighted if you square the cards at the left fingertips, so that they are in a vertical plane,faces to the left (B, of course, should be to your right). Ask both spectators to counttheir cards secretly and to remember the numbers they obtain. While they are counting, you appear to give your cards a casualshuffle. In fact, you transferyourcardsto your right hand in the positionfor an overhand shuffle, talung the left little finger break with the right thumb. Run the cards above the break singly into your left hand, counting them to yourself, and when you reach the breakthrow the rest of the cards all together on top. Remember the number of cards youhavecounted as yourkeynumber. Because of the way you limited the spectator’s cut, the number will be quite small. You will find that this shuffle can quite easily be doneby touch ‘
alone, without loolungat the cards. Now tell A that you will shou r him the cards one at a time. and vou want him tc1 remember the card that lies‘at hiinumber. Take the cards from the top of your packet, show them to A, and then lay them in a pile on the table, face down. Their order is thus reversed.Asyoushow the cards, count aloud. Carry on showing the cards until you haveshowntwenty-five.Say“Youshouldhave seen your card by now--do you remember it?, Pick up the counted cards, and replace them on top of the remainder. Ifby chance you haveless than twenty-five cards in your packet, count out all the cards youhave,pickthemup, and cutsufficient cardsfrom the bottomtothetoptomakethe number up to twenty-five. Turn to B, and askhimalsotonote and remember the card at his number. Show him the cards as you did to A, counting aloud. The heap into which the cards are dealt on the table should be alittlescattered.When youcometo the card which lies at the key number which you remembered earlier on, deal it so that it is a little further to the right in the heap than the other cards. This card is A’s card. Deal on up to about fifteen, and then say, “You chose the smaller number, so you should have seen your card.” Pick up the dealt cards, taking care not to let A’s card go square with theothers, and replacethemontheremainder. Square up and take a break under A’s card as you do so. You can simply sight A’s card at this point, I prefer to continue along these lines: “You are both thinking of cards, and the onlyevidenceoutside your minds as to your cardsare the packets you cut off. I want you to destroy that evidence by returning thosepacketsto the restof the pack.” Cut off the cards above your break with your right hand and hold out the cards in your left hand for A and B to drop back their packets. Square the cards in you left hand by tapping their inner ends with the back of your right fingers. This action is quite natural, but it tilts the right hand so that you can sight A’s card on the face of the right hand packet. Then drop the right hand cards on top of the rest, and put down the pack. Go into the usual pangs of mindreading, and name the two thought-of cards.
30th CENTURY PROPHECY THE MENTALIST
PETER WARLOCK
takes from either his pocket or his table two visiting cards andon onea member of the audience is requested to write his name. On the other side the mentalist says that he proposes writing three shortphrasedprophecies for three different members ofhis audience.
He will designate them respectively ‘A,’ ‘B’ and ‘C.’ With the writing on the card complete it is placedinside an envelope the flap of which is folded over but not sealed. This envelope is rested in an upright position against a glass standing on the table.
61
The three members of the audience ‘ A,’ ‘ B ’ and ‘ C ’ are noted. ‘ A ’ is asked to think of a colour, and then state his thoughts to the remainderof the audience. This colour is noted by the mentalist on thesecond card.’ ‘ B ’ is asked to think and then state a fourfigure number. This, too, is written upon the card. Finally ‘ C ’ is asked to think of any city in the world and when he has made his choice known to the audience this, too, is added to the card. Momentarily placing thecardonthe table, the mentalist picks up the envelope and going to the member of the audience who signed his name upon the first card, asks him to take it from the envelope. He is asked to check that it is his signature upon the card. With this agreed he is asked to look at what the mentalist wrote on the opposite side. Taking the card on which ‘ A,’ ‘ B ’ and ‘C’s’ choices were written, from the table, the mentalist says to his audience :“ ‘ A ’ with a choice of anycolour chose you orange. Whatdid I write onthecardthat signed ? ” The answer from the assistant holding the card is “ Orange.” This mode of question and answer is successfully continued with the remaining two choices. The Requirements. Two similar sized visiting cards. Two similar sized epvelopes. A pencil. A glass. The envelopeused helps agreat deal with the trickery and is prepared in this manner :-
Firstly cut away the back portion of one of the envelopes and shape it as in Figure 1 so that it conforms with the shape of the front portion. Now slip a piece of cardboard inside the other envelope and with a razor blade make a slit as shown in Figure 2. One side of the cut-outback is now lightly coated with seccotine or office pasteand then slipped through the slit in the envelope so that it aligns with thenormal opening in the envelope. Figure 3 showsboth frontandrear viewof the completed envelope. When dryit willbe found that if a visiting card is placed inside the envelope opening it will automatically emergethrough the back of the envelope. Just a slit across the back of an envelope can never make this clean in handling. The slit will show, of course, onthe address side, but this side is never really shown to the audience. However, if the reader wishes to conceal it there is an easy procedure which I have
adopted. In making the envelope I use as the shell, one which has been through the post. The necessary slit havingbeen made which will go through part of the name or address, I rule a blue pencil line along the slit and the remainder of the address, then addinganother addressmaking it appearthattheletter hasbeenforwarded to another address. With the two cards, envelope (flap uppermost), glass and pencil on table the mentalist is ready for the presentation.
The Presentation. The cards and pencil are taken with the left and right hands respectively. The mentalist steps into the audience and handing one of the cards and the pencil 10 a spectator asks that the latter’s name be written on one side. Taking back card and pencil and returning to the piatform he tells his azdience that he proposes writing down three prophecies. On the side opposite to the signature he writes : ‘ A ’ will choose . . . . ‘ B ’ willchoose . . . . ‘ C ’ will choose . . . . Plenry of spaceineach case shouldbe left after the w a d ‘ choose.’ At this point the performer should be standing to the left of his table, andwith the words, “ These are my three prophecies ”; the pencil is placedin the breast pocket ;ind the ‘ prophecy ’ card is taken by the right hand, which then reaches out for the envelope. The envelope and card are then brought across to the left hand going on top of the blank card. ’The right hand takes away the signed card, leaving the envelopegripped by the left hand thumb on fop and the fingersunderneath. With a remark, “ For a minute or two I’ll leave this card in the envelope,” the right hand holds the card aloft and then taking care that the signature side is uppermost, the fingers holding the cardflipopen the flap of the envelope and slide
the cardintoit. Actually the card goesthrough the slit and underneath the blank card. With the added remark, “ I’ll place the envelope here,” the
62 right hand fingers turn downthe flap and slide the envelope from the left hand, leaving the two cards behind. The cards are automatically squared and with this action a turn to the right is made and the envelope, flap side to the audience, is rested against the glass. In his left hand the mentalist now hasthe blank card on top of the ' prophecy ' card. To the audience he just has the blank card. Theyare casually turned over as his right hand goes to his pocket f9r the pencil. Three helpers in the audienceare requested and are dubbed A, B and C . Each in turn is asked to think respectively of a colour, numberand city andas these choices are named aloud the mentalist writes their choices in the appropriate spaces on the signed card. The pencil is replaced in the pocket.
Now comes the essential move of the trick and smoothness is a necessity. The right hand comes across and takes the two cards as one from the left hand. They are held thumb at one end and first and second fingers at the other (see Figure 4). The pressure of thumb and fingers is sufficient to give them a concave form. As they are held thus, the mentalist says, " Here are your three choices," and then apparently the left hand takes the card (?) and drops it upon the table. Actually the left hand takes the blank card whilst the ' prophecy ' is allowed to spring back from the thumb into a palm position. The right hand drops to the side and the left hand picks up the envelopeand brings it across the body. The right hand with the palmedcard comesto meet it. As the envelope is takenon
top of the palmed card the flap of the envelope is at the fingertips end of the hand. Also in the take, the cardshould automatically slide throughthe slit on the underside of the envelope. The mentalist is now in a position to go to the member of the audience who signed the card and then open the flap exposing one end of the card (see Figure 5). He does this, allowing the spectator to remove the card, and slips the envelope inside his pocket and returns to the platform. The spectator holding the card is asked to check his signature and note what the mentalist has written.
Taking the blankcardfrom the table, the mentalist picks it up and remembering the itemsthat havebeengivenhe apparently reads these from the blank card. In each and every case the mentalist is correct. One closing detail with reference to the choice of colour, a detail that can heighten the effect and make it appear that the mentalist has truly psychic powers. Suppose that the colour given is ' Red.' Instead of writingjust this commonword,the mentalist writes down a shade of red, like crimson or vermillion. When the closing phase of the trick is at hand, the mentalist says, " Our friend A was asked to think of a colour; he named ' red.' When I made my choice I saw that colour, too, but it was a definite shade of red, it was crimson; that was the colour you had in your mind, sir? " And then giving the chooser no time to reply he asks the holder of the signed card to read aloudwhat is written on the ' prophecy ' card-" A will choose crimson."
WANTED PENTAGRAM -Index to Vol. 1 ; Index to Vol. 2 ; Vol. 3 No. 1 ; Vol. 6 No. 10 Please advise me if you can supply me with the above issues in Mint, or near Mint condition, I will give a Five Shilling Book voucher for each item in good condition.
GEORGE ARMSTRONG 62 W E L L I N G T O N ROAD, ENFIELD,MIDDLESEX
I
63
BOOKS “ THE DAI VERNON BOOK OF MAGIC,” by Le* Ganson (Published by Harry Stanley, 14, Frith Street, W.l. Price €2/5/-, De Luxe edition
.f3/10/-).
To LewisGanson has fallen thehonour of .writing a book dealing with the magic ofthe greatestnatural magician of this century, Dai Vernon. It is a task in which hehas surpassed himself. It is a task which when completed needed a publisher with imagination, a publisher willing to shoulder the cost of hundreds of photographic illustrations, a publisher who would stint nothing in order that onebook on natural magic published i n this country could become a classic of all time. And so our thanks go as on so many other occasoinstoHarry Stanley for making the working material of this great artist available to all those who follow the muse of magic. The pellucidness of Lewis’s explanations is a byword and therefore the clarity of description and explanation is never in doubt. In all there are some twenty-four chapters, only two of which are not devoted to tricks as tricks. They are the first two in the book. One is entitled “ Background to a Legend ” and is a most interesting biographical note on Dai Vernon, the magician who has become a legend in his own lifetime. The other called, “ The Vernon Touch, is a mostimportantchapter because it shows and allows the reader to understand Vernon’s mental approach to a trick. To review the book chapter by chapter could provetedioustothe reader. It would be just as difficult for a reviewer to find ‘ high spots ’ for the overallstandard of effectis so high that every chapter would qualify in this respect. We shall, therefore, take the classic effects first. In order these are, Vernon’s handling of the Han Ping Chien coins through table, theThree Ball Transposition, Cups and Balls, Expansion of Texture,Ball,Coneand Handkerchief, and the Thumb Tie. When Vernon was in Europe several hundreds of magicians both in this country and on the Continenthadtheopportunity of seeing the miracle quality of these non-apparatus effects and their explanation shows to a marked degree how much the Vernon touch is applied, for in each and
every one nofinger-flinging skill is called for; neither could it be desired. The magician in each and every case goes out to prove that .he is a likeable deceiver and in so doing covers all his tracks so that the deception is complete and natural. Thirteen photographs and fourteen pages of description alone go to Vernon’s presentation of the Cups and Balls. Every point is made clear and the reader isgiven an unforgetable lesson in the greatest of all classics. Many readers maywellsay that such tricks demand a degree of skill beyond the average devotee of magic. Our answer would be one of negation. Vernon’s magic involves no digital gyanastics, for he has approached each feat with the object of simplifying the technique. Practice is necessary, of course, but ‘it is practice of sleights and subterfuges that are well within the reach of those who wish to go forward in magic. There are verymany tricks, however, that come within the easier category. The “ Seven Card Monte ” the adaptation of “ Clipped,” Martin Gardner’s cigar vanish, “ Coin on Knee,” “ Mental Spell,” a miracle spelling trick, “ One up and One down,” arz good examples. Thereare tributes to other artistes and one must particularise the description of the Leipzig ‘* Card Stab,” Paul Rosini’s “ Impromptu Thimble Routine.” the last trick originated by Dr. Jacob Daky, Charles Miller’s delightful and deceptive move for use in the “ Cups and Balls,” and Welsh Miiier’s “ Cards and Matches.” There are somenice tips on knots anda version of the six card repeat that is not onIy miraculous in effect but should bring a new lease of life to this much abused trick. The lessons that one learns after reading throqh this great book of magic is that the good magician must himse!f be and that natural handling cannot be equalled by mere skill alone. Bouquets to the publisher, the author,the printer (our good friend, Harry Clarke), George Bartlett, the photographer, and above all, the ‘ Professor “ himself, Dai Vernon, for this book of a century. With more than two hundred pages, two hundred photographs, allon art paper, the book has a binding that will last and serve you a lifetime.
F O R SALE As I am thinning my collection of books, I have a number, many in mint condition, for sale. A list may be obtained upon request from-
PETER WARLOCK.
I
2 4 WORDSWORTH ROAD,
WALLINGTON,
SURREY
I
64
T H R E E BOOKS IN ONE
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S “MASTER MIND’’ CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNBMANN’S ONH MAN MENTAL AND PSYCHIC ROUTINB is a professionallv routined mmtal act that runs according to speed of presentationandthe effects included,fromten minutes t o half an hour. The six &ectsdescribedmakeone of the finest m e d a l routines mer conceived, andcan be cut down t o threereally sensational items f o r the shortershow. It is a strictly ‘OneMM’ act,there is no
cumbersome apparatus, no assistants, no confederates. A brief case will carryall that is required, but JOU couldtravelwith the necessary itemsallready in yourpockets if preferred. Themental and psychictests are presented in a routinedorder,and include same of Ann+ xnnnn’s choicestbillet methodsand effects. Ideallysuited asa club,privateparty,,televisionornightclubact. ANNBMANN’S ‘“ASTER WIND” CARD ROUTINE was thooriginatm’s favourite card routine far newspaper 05ces and intimate grthuings. Withjust a pack of cards the performerpresents a wrica of five stunning predictioneffects that leaves the audiences gasping U each one in turn eclipses the previous one. No skill is requind, and the act can be learned andtharoughly practicedin an evening. ANNEMANN’S MENTAL MISCBLLANY h a collectioa of six &-best ideas in mentalism that are typical of theauthor.The on the Mirror Reflector andthe one on Pendl RSrdinp-40 the man who uses thembeworth many times thepnce of the book.
AS USUAL-A
FINELY PRINTED AND ILLUSTRATED BOOK Price 1216 Postage 4.
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVE ANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemann Secreta now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between’ the performer’s and spectator’s pockets. STOP-A freely is foundata number thought of. THE POUNDNOTE AND THECIGARETTE CHALLENGE-Marked selected card, lost mthepack, cigarettee in performer’s mouth,number of anote writtendown by spectator-noteopenlyburned-and then foundin the cigarette-the best everroutineforthis effect.IMPROVEDREMOTE CONTROL-With red and bluepacks the performerproves he cancontrol another MONEY-Three pound notes borrowed and folded tight person by making them pick any card he chooses. while ata distance MENTAL which the performer reveals both n& one is chosen,the performer reveals its number. NUMBER PLEASE-A Telephone Book Testin and number. SENSITIVE. THOUGHTS-A sensational card trick. with two packs and two spectators. THE CARD DOCTOR-Spectator in the selects card which is ~nltlalled, corner tom fromcard,theninitialledcardtomintopieces,piecesvanishandcardisfoundback pack,minusitscorller.SLATES AND ACES-Performer andspectator writenames of theaces on twoslates,spectator rubs outthree on his, the ’spirits’ rub out the samethreeacesfrom the performer’s late. POKER PLUS-Performer deals three face down hands of handshownagain, anditbeatsthe second. Thirdhand shown to beat Poker.Second hand shown to beatperfomxr’s.Thenperformer’s performer’s. Then performer’s shown again, and it beats the third. Temfic effect! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-Another typical Annemann card routine with a mental twist. And, of course, a full description of a mostuseful GIMMICK.
ASUSUAL-AFIISELY
Price 7 / 6
PRINTED BOOK
Postage 4d.
THEE M A G I C W A N D P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
TheMagic
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubrootn and Library and Muscwrn
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre . King George’s Hall, W.C.
I
Particularstrom
%
PETER
Circle
Hon. Secretary
.
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
WARLOCK’S
JACK HUGHES
PENTAGRAM is published on the 24th of eachmonth can be obtaineddirectfromthepubiisherefor 117 per single copy. AnnualSubscription post free. PUBLISHED BY:
and
manuscriptsforpublication and books for review should be senttothe:
ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
EveryAdvertise&goods
pleased to send you full details of
181-
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
EDITORIAL
willbe
THE DE LUXB “SU-TABLE” together with a l l his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
are fully endorsed by this Bulletin
PUBLISRED BY T R E PROPRIETOR8 I R E MAGIC WAND PUBLISHING COMPANY, 62 WELLINGTON ROAD, E h F I E l D . MIDDLESEX AND PRINTHD BY RERBERT WALKHR & SON (PRINTERS) LTD., BRIDQE WORKS, SRIPLEY.YORKSHIRE
*
THE PRISONERS
I
PETER WARLOCK acetate solution near to the finished painting for N VOLUME 6 of Tarbell is described a trick
by that prolific originator ‘Gen’ Grant entitled “ The Bombay Ropes and Rings.” Tt is a modernised form of the classic “.Grandmother’s Necklace ” but the touches in it make it an attractive effect for adults and children alike. Somehow the handling, excellent and straightforward though it was, did not appeal to me and after having a special set of wooden rings made, several experiments in handling led to the method to be described. On those occasions when I have used it the audience, whether magicians or laymen, have liked it. The Effect. Two lengths of silk cordand six wooden rings are introduced. Four of the rings arepainted yellow and two blue. On thetable rests an opera hat open. The two lengths of cord are held together and the blue rings are threaded upon them. The rings are now lowered into the hat and on each side of the blue rings are now threaded two yellow, so that the blue rings are imprisoned between the yellow. The magician requests a spectator to nominate one of the colours. We’ll say that the colour is blue. With a ‘ Hocus Pocus ’ the ropes are withdrawn from the hat to show that whilst the yellow rinzs are still threaded upon the cords, the blue rings have penetrated them and remain in the hat. The effect is colourful and suitable for either adults or children. The Requirements. T w oy a r d sa n d a half lengths of coloured silk cord. Six wooden rings. The ones that I have are three. inches in diameter and have a hole in the centre threequarters of an inch in diameter. The thickness of the rings, which allows them tostand edgewise, is half an inch. These rings were cut from half inch plywood and then two were painted blue and four yellow. With regard to painting, should you have a local firm who are able to stove enamel (this means that the paint is baked on) get them to colour the rings and you will have a really first-class job. (One warning word, should this be done. Never bring any
VOLUME I I, No. 9
-
it will soften it wherever it touches.) One opera hat.
Presentation. We’U assume thatthe rings are stacked in a pile, blue at the top, yellow beneath, at the front right-hand corner of the table, that the hat opened andmouth upwards is centre table. and finally the two lengths of cords lie side by side across the table. The topmost ring is picked up and banged down against the rest as the magician remarks, “Some coloured rings” . . The two lengths of cord arethentaken by the left hand, between thumband first finger, one being passed tothe right. The hands are held high and the audience can see two separate pieces of cord, although the magician adds, “ and two lengths of silk cord.” The right hand passes the cord it is holding across to the left hand which remember is already holding one end between the first finger and thumb, and it is taken between the first and second fingers. The right hand now strokesthe cords in a downwards direction and when about six inches from the lower ends takes the cords in exactly the same mannerasthe oppositeends held inthe left hand. The cords are then brought up into a horizontal position, care being taken that the cords are parallel to one another and do not cross one another. Figure 1. (This and the following move, as owners of the Tarbell, Volume 6, will know, follows Grant’s routine). The ends of the cord held by the right hand are now passed to the left,
l/6. (20 Cents)
.
-
JUNE 1957
66
so that the end between the right thumb and first finger goes together with the opposite end held by the left hand between the lefthandthumband first finger, whilst the right hand end of the other cord goes together with the left hand end held Sy the first and second fingers. See Figure 2.
“Two of therings I shallthreadontothe cords . . . the blue ones,” says the conjurer, his speech and demeanour pointing the fact that they willbethreadedover the ends held by the right left hand. During its movementdownwardsthe hand h position the endsof the cords so that now one end is held between the thumb and first finger whilst theother is movedover so that is held between the first and second fingers. The left hand movesup andtakesthe twoends as shown in Figure 4.
9
With the ends firmly held by the left hand fingers, the right hand runs down the cords with the first finger between them and on reaching the centre loop gives a good tug, whichwithoutany comment shows the strength of the cords. The right hand releases its hold and the cords dangle down from the left hand. A t this point the reader may well think that there has been unnecessary changing of ropes from hand t o h a d . Believeme, this is not so. The hundling from the audience’s point of view allows them to see that there are two separate cords and that these two cords are free fromany preparation. With the remark “ And a hat,” the right hand so that picks up the hat from the table, turns it the inside may be seen by the audience and then replaces it mouth upwards on the table. The left hand now lowers the lowerends o f the cords into the hat so that they just touch the bottom. The two ends of the cord heldbetween the first and second fingers are taken by the right hand, between thumband finger, whilst the left hand is lowered slightly so thatthe relationship exists between hands and hat asshown in Figure 3.
The right hand takes the first blue ring from the table, places it over the two ends, then releasing it and taking the ends of the cords in a vertical position allows it to slide into the hatand, of course, free of the cords. The second blue ring is handled in the same manner,but directly it has started its waydown the cords, the right hand separates the two ends it isholding so thatone end is held between the thumb and first finger whilst the other is taken by the first and secondfingers. The ends are now passed to the left hand, the right end held between thumb and first finger going with the left hand end held similarly, and the right hand end held by first and second finger joining its left hand mate in the same position. The left handheldabove the hat moves the cords up and down a little as though allowing the rings to settle. “ And now to make these two rings complete prisoners . . .” the magicianremarks, and at the sametime takesthe twoendsheldbetween the left hand first and second fingers, and drapes them over the right hand side of the hat whilst the left hand drapes its ends over the left hand side of the hat. The four yellow rings are now picked up by the right hand. Using both hands they are banged against one another. They are then replaced upon the table. One yellow ring is nowtakenby the right hand and the left hand lifts the ends of the cord on the right side of the hat. The right hand slides the ring onto the ends of the cords, and then the left hand takes hold of the ring, whilst the right hand takes the ends of the cords. The left hand does not allow the ring to drop but takes it down thecordsand when it reaches the centre inside the hat it is stood upright on its broad edge
67 and at the sametime the two blue discs are positioned similarly alongside it, as shown in Figure 5.
of the rings, and seeing that the cord is concealed at the rear, shows the cords running through the
rings. Figure 8 shows the rear view, the cords being hidden from the audience. The handling is repeated with a second yellow ring, so that now there are two yellow rings on the rope. The right handends of the cordsareonce more drapedover the right side of the hat, and then, using the right and left hands in an opposite manner, the two remaining yellow rings are threaded on to the left hand ends of the cords.
6 If the reader looks down into the hat now, he will see two blue rings free of the cords with the cords passing overthem as shownin Figure 6. Nowif the hat is tilted so that the audience can see inside it, all the rings will roll and at the same time theexposed cords between the two sets .If yellow rings will roll with them and be concealed by the blue rings in the centre, as shown in Figure 7. As though to allow the audience a better view of the position, the magician reaches into the hat and with thumb and fingers outstretched takes hold
The trick is now about to come to fruition. The rings are replaced in the hat and the ends of the cords allowed to drape over the right and left hand sides of the hat. Two spectators are invited to assist; one is requested to hold the right hand cords, the other those on the left. A colour is nominated. Whatever the choice, the blue will be freed whilst the yellow remain on the cords. With this fact stated, the holders of the cords are asked to pull on the ends they are holding. A ‘HOCUS Focus.’ The yellow rings remain m the cords, the hat thenbeinglifted and the blue rings allowed to fall on to the table.
68
SIMPLEX COIN TRANSPO RAVELLl THlS IS another transposition of twa W ELL, coins, an effect which has beenoffered in such a great many variations duringthe past decades. l’his particular version of mine was born when I tried out Bobby Bernard’s “ Ethereal Coins ” which appeared in Pentagram in Bobby’s issue back in July, last year. While trying out this effect only in idea, as I had no double copper/silver coin at hand, it occurred to me that I could duplicate the exact effect and movements without the use of a faked coin. The handling of the coins remains at aii stages clean and deliberate. The effect is suited for impromptu work at any time, when you want to do a small trick without any preparation whatsoever. I am completely aware of the fact, that my working may not appealto everybody asit is a rather unusual approach which needs some boldness to put over. Yet I hope that it will be liked by some readers, and 1 can assure you that, provided there is suitable misdirection, the trick will appeal to and puzzle laymen. First of all the performer removes from his left trouser pocket a half-crown and a penny. He shows the two coins, and shows his pocket empty. Then he puts the copper coin into the pocket again, and the silver coin into his right hand. The spectator guesses now if the silver coin lies heads gr tails up. Whatever his guess,he certainly will be surprised when on the opening of the performer’s hand, instead of the silver coin, there is the copper coin, which seemingly has changed places with ;he silver coin, which is taken out of the pocket which once again can be shown empty. Now for the explanation of the exact working. Take out the two coins from the left trouser pocket. There are really only these two coins, and that is what I particularly like about this effect. If you prefer you can substitute the left jacket pocket for the trouser pocket. Thc two coins are well displayed on the left hand, and then tossed upon the right hand,andthe pocket shown empty. Then the left hand takes the copper coin and puts it into the left pocket. When the hand comes out of the
pocket, show itto be empty, pickup the silver coin, show it and toss it into the right hand, which closes immediately. So far nothing unfair has happened. Now in order to make everything perfectly clear, you recapitulate what has happened. You say, “ Remember, I have put one coin into the pocket . . .” (Do not mention at this stage the denomination of the coin, as this will give emphasis at a wrongtime).Whenyousay this, reach again into theleft pocket, take out thecopper coin at the extreme finger tips, show it for a very short moment, and drop it back into the pocket. This is what you appear to do, in reality, the coin is slid back into finger palm position, and taken out again secretly. You continue to say, “. . . and the other coin into my right hand . . .” Here you open your right hand, pick up the silver coin with the left hand, between the finger-tips andthe thumb, show it for a short moment, and throw it back into the right which closes immediately. Ask the spectator, “ Can you tell me whether the coin is heads or tail up.” Upon his answer open the right hand and say “ Right ” or “ Wrong ” according to his guess being correct or wrong. Take up the coin again with the left hand, and throw it again into the right hand whichcloses immediately. Actually here you do a throw exchange, throwing the finger palmed copper coin, and retaining the other one. This is a standard move which 1 do not need to describe. It will be found in Bobo’s iModern Coin Magic under the name of the Bob0 Switch. Again ask the spectator whether the silver coinis heads or tail up. Whatever his answer, slowly open the right hand, proving there is silver coin at all. Do notworry at all about the finger-palmed coin in the left hand. If your handling has been correct, nobody will have any suspicion concerning the left hand. You can even pick up the copper coin with the left hand, or turn it over on the right hand. Then very slowly reach into the left pocket, and bring out the silver coin at the finger tips, proving that the coins have changed places. And there you are.
CASE FOR CARDS A SERIES BY STEWART JAMES
HEDUZ
Y
OU ARE able to predict a card and a number by apparently knowing in advance where a spectator will cut the pack.
THEMETHOD. Place the ace of diamonds and the two of clubs to one side face-down. Also remove three cards, without stating the number, and drop them in a hat. During this preparation, you have
secretly shifted the two of diamonds to tenth from the top of the pack and the ace of clubs to the nineteenth position. Relate how some gamblers, as a result of long practice, can cut off the exact number of cards they desire. Ask a spectator to name some number between ten and thirty and then try to cut off that many cards, no more and no less. He does and counts them one at a time which
69
will reverse their order. Congratulate him if the number is at all close. Wewill say thatthe spectator hascut off twenty-four cards. State that by no normal means could you know in advance how many cards there would be.Askhim toreturn two cards for the first digit and four cards for thesecond digit in this total. The order of these few cards is reversed again as they are counted back on the pack. Have him drop the rest of the cards in the hat. Turn over the two of clubs and the ace Lyf diamonds so that they represent 21. The cards in the hat are counted and there are exactly 21 !
Remark that one card is an ace and the other is a club. The top card of the pack is revealed to be the ace of clubs ! Any number from 20 to 29 inclusive will leave the spectator with 18 cards to drop in the hat with your three. The ace of clubs will automatically be on top of the pack. Any number from 10 to 19 inclusive will leave the spectator with 9 cards to add to your 3 and the two of diamonds will be on top of the pack. In this case, reveal your prediction cards in ace and two order, indicating 12, and in two and diamond order to represent the two of diamonds.
THREE IN COUNCIL HAXTON-AVIS-WARLOCK
Francis started the ball rolling by saying, ’‘ I’d like you to look at this effect.”
up card to the bottom of the pack and immediately underneath the chosen card.The pack is then given a straight cut bringing both cards tothe centre. Finally the pack is ribbon-spread and the chosen card is found lying immediately above the face up card.
A card was selected, say the five of diamonds, and returned to the pack. Jack, at Francis’s direction, then cut off thetop halfof the pack and placed it on Francis’s left hand. It was cut again and the top card of the cut turned face upwards. The noted card was then lost in the packet and this part of the pack was replaced on the remaining cards. One more cut and the cardswere spread. The noted face up card was about the centre of the spread. “ Just look at the card above it,’’ said Francis. Jackdidand it was thecard originally selected, the “five of diamonds ! ”
Jack came up with a slight variation of method. After the card was selected hehad it returned to the pack and brought to the top. Then he cut the pack, completing the cut, keeping a slight break between the upper part of the pack and the seiected card. Thetop card was now turned face up.All Jack then did was a slip cut taking the face-up card to the break and immedialely on top of the selected card, the packet under the original topcard was then replaced on top. With a spread of the cards, the selected card was found to be lying under the face-up card.
Francis then went over the method which was as follows : After the selected card has been noted, it is returned to thepack and brought to the bottom using the pass. A bit of false shufflingdoesn’t pack is affect the position of thecardandthe placed on the table or floor. The top half is cut off and placed on the magician’s hand, the spectator then being asked to cut the packet and turn over the top card. We’ll say that it is the ten of clubs. The packet is then cut by the magician, using the double undercut so that the face up card now lies at the bottom of the packet. Holding the packet with the right hand and lifting up the other packet with the left, the magician, in the act of placing the right hand packet on to the left, uses the “ Kelly Replacement ” move bringing the face
Being extremely lazy I came up with the least effortless version. After the card has been selected and returned to the pack it is brought to the top of the pack which, after a false shuffle is placed on the table. “ Please cut the pack and put the top half aside . . . Now turn over thecard you cut at.” The magician picks up the half which has the face up card on top, double undercuts the packet bringing the face upcard to the bottom of the packet, and then replaces this part of the pack ,on the half lying on the table. The selected card now lies immediately beneath the face up card.
HERE were three of us drooling around with a pack of cards . . . Francis Haxton,Jack Avis and myself.
T
Whichever way you like to try you’ll find the effect clean and good.
70
THE MATHEMATICS O F THE WEAVE SHUFFLE ALEX. ELMSLEY EDITOR’S FOREWORD. One feels oneself fortunate Indeed to have the opportunlty of publlshlng this mostinformativearticle.Thosewhohave seenAlex. Elmsley’s card work duringthepastfewyears will knowhow muchthoughtandcarehehasputinto evolving the most deceptive card effects makmg use of a perfect wmve shuffle. To watchAlex. casuallycutthe pack into exact halves and with equal casualnessweave shuffle the pack is a lesson in itself. It will be good news to those who visit Scarborough for the British Ring Conventionin September, to know that Alex.willbegiving alecture-demonstration.It is entitled ‘‘ Low Cunning ’’ and we know that it will be a most profitable session €or all those who attend.
This article is for mathematicians W ARNING. only.The many excellent tricks using the weave shuffle depend, with few exceptions, on the simplest of its properties. I am going to deal with some of the more complicated and lesser known properties, most of which are useless to the magician, who is practical only, and I am writing primarily for thosewith an interest in mathematics quite apart from their interest inmagic. OUT-AND-IN WEAVES. Provided that we have a pack containing an even number of cards, there are two chief forms of weaveshuffle. In the form in which it is used by most magicians the pack is divided in half, and the halves are interwoven card for card in such a way that the original top and bottom cards remain on top and bottom. This is called the “Out-weave” since the top and bottom cards remain outside the rest of the pack. It is also possible to weave in such a way that one card goes below the original bottom card, and one card goes above the original top card. This is called the “ M-weave,” since the top and bottom cards have gone inside the pack. The basic properties of these shuffles are as follows, assuming that we are using a pack of fiftytwo cards. Out-weave. After one shuffle, cards in the top halfof the pack move todoubletheiroriginal position less one (e.g. the 10th card becomes 19th). Cards in the lower halfof the pack move to double their original position less fifty-two. After eight shuffles the pack returnsto its original order. In-weave. After one shuffle, cards in the top halfof the pack move todoubletheiroriginal position. Cards in the lower half of the pack move to double their original position less fifty-three. After fifty-two shuffles the pack returns to its original order. After twenty-six shuffles the pack has reversed its original order.
Both In- and Out-weaves. One shuffle brings together cardsthat were twenty-six apart (hence the usefulness of the weave in combination with twenty-six-key-card-type locations). Thisabout summarises what is generally known about the weave, and more than covers 211 that most magicians need to know. So, aux armes, mathematicians, and forward into the darkness. THE ODD PACK AND WEAVE. This is a basic concept in working out many of the properties of the weave. Suppose we have a pack containing an odd number of cards. We make an “ Odd-weave,” by dividing the pack in half to the nearest card (i.e., one ‘ half ’ has one more cardthan the other ‘ half ’), andthen weaving so that the top and bottom cards of thelarger ‘ half ’ areretainedontopand bottom. Now, we can take any card as a reference cardand reckon the position of othercards by counting from the reference card. If a card is at a position No from the reference card before the shuffle, and at a position N, after the shuffle. n, = 2n or nl = 2n - P where P is the number of cards in the pack. What makes this result important is that it is true even if to get no or n, we count round the ends of the pack, i.e., from the reference card to the bottom card and then straight on from the top. This can be seen simply by doing an odd-weave, when you will see that one cardgoes outside either the bottom or the top card and thuscomes between them if we are counting round the ends of the pack. The top and bottom cards can thus be treated ;IS neighbouring cards in exactly the same way as any other neighbouring cards in the pack. The pack as a whole can be treated as an endless belt, and it is of no importance what particularcardshappen to be at top or bottom. It follows that if an odd pack will come to a definite order after a certain number of weaves, it will come to that order even if the pack is cut in between each weave. For example, by discarding one card from a pack of fifty-two, we get a pack whichwill return to the same orderafter eight shuffles despite repeated cutting between shuffles. EQUIVALENT ODD PACK. This last example introduces another point. Suppose we do an out-weave with fifty-two cards. Thetopand bottom cards remain ontopand bottom. It would make no difference to the final order of the cards if we removed the bottom card before shuffling, cut so that the top ‘ half ’ contained twenty-six cardsandthe bottom ‘ half ’
twenty-five cards, wove retaining the top card, and then replaced the bottom card. But the shuffle would then be an odd-weave with a pack of fiftyone cards. In other words, the change in the order of a pack after an out-weave is the same as the change in the order of a pack containing one less card after an odd-weave. We can express this by saying that an even pack out-shuffled is equivalent to an odd pack of one less card. In a similar waywe can show that an even of packin-shuffled is equivalent to an odd pack one more card. For example, we know that a pack of fiftytwo cards out-shuf€ied return to thesameorder after eight weaves. Hence, the equivalent odd pack of fifty-one returns to the same order afte~ A pack of fifty-one is also the eightshuffles. equivalent odd pack to a pack of fifty, in-shuffled. Hence a pack of fifty cards will return to the same order after eight in-shuffles. RETURNING A PACK TO THE SAME ORDER. Suppose we have an odd pack of P cards, and that it returns to its original order after S shuffles. First consider a card, whose position froma reference card is originally no, and which moves to n,, n,, etc., in successive shuffles. After one shuffle n, = 2n0or 2n0-P After two shuffles n, = 2n,, or 2n, - P = 4n, minus the largest multiple of P less than 4n0 = 4n0-X2P After three shuffles n3 = 8110 -X,P After S shuffles ns = 2s no -XS P . . . . (l) Thepack returns to the same order after S shuffles, and therefore no = ns .. * (2) no = 2Sn0 - X S P ...no = no-XS P ...no(2s - 1) = XS P ...no(2S- 1) = XS . . .. (3) P Xs, although unknown and varying with no, must
be an integer, and this last equation must be true for all values of no. Considering no = 1, 25- 1 = xs P This means that 2s - 1 must be divisibleby P. We can see from equation (3) that this makes & integral for all values of no, so it is a possible solution of the equation. Thus, an odd pack of P cards return to the same order after S shuffles if 2s - 1 is divisibleby P. An even pack, in- or out-shuffled,will return to the same order in the same number of shuffles as the equivalent odd pack. In a similar way to the above, by substituting for equation (2) nR = P - no, we can show that an odd pack' of P cards will reverse its order after R shuffles if 2R l is divisible by P. An even pack reverses in the samenumber ofshuffles asthe equivalent odd pack. If, however, the even pack is out-shuffled, the top and bottom cards will still be in their original positions, i.e., these two cards do not reverse, though all the other cards in the pack willreverse. Solving the Shufle Equation.-Pack of 2" cards. A pack containing a number of cards equal to a power of two is a special case. Thus, 2" cards, out-shuffled, are equivalent to an oddpack of tX- 1 cards. These will return to the same order after S shuffles if 2s - 1 is divisible by P= 2"- 1. The obvious solution is S= X, so 2" cards retain their order after X out-shuffles. Similarly, we can show that 2" cards reverse their order after X in-shuffles. For example,a piquet pack contains thirty-two cards. An ordinary pack from which in the course of a gambling demonstration you have discarded the fourRoyal Flushes, also contains thirty-two cards. Thirty-two is two to the fifth. Therefore either of these two packs will return to their original order after five out-shuffles, and will reverse their order after five in-shuffles. (To be continued)
" 101 MAGIC SECRETS," by W ill Dexter (published by Arco Publications, Ltd., price 9/6). There are two types of magic books. The first more useful for the true magic student is where the author acts as a teacher and does his best to make his book a series of lessons. The other is i n the Goldston genre and resolvesitself into the explanation of the ' how.'WillDexter's latest book falls into the latter class and all in all offers excellent value to those whowish todo tricks rather than become magicians. Well over one hundred effects are explained not with a multitude of words but with a series of excellent sketches and brief captions. The formula is much like the well known book of Dum's but
the drawings and choice of material arefar superior in every way. Tricks range from impromptu table effects to more ambitious stages numbers. As value for money it represents one of the best ' buys ' that we have seen for many a day. The diversity of the contents and their accompanying clarity of explanation should prove their value to all practical magicians for most of us in our reading tend to overlook a number of effective items and this book has taken for its context more than a hundred all of which have proved their effectiveness. A word of praise toStanLane who from WillDexter'snotes and sketches has produced a most practical book.
-
+
72
T H R E E B O O K S I NO N E
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S ‘*MASTERMIND’’CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONEi MAN MEiNTALAND PSYCHICROUTINE is a professionally routinedmmtalactthat runs according to speed of presentationandthe effects included, from tenminutes to half an hour. The six effects described make one of the finest mental routines ever conceived, andcan be cut down tothree reallysensationalitems for theshorter show. I t is astrictly ‘OneMan’ act,there is no cumbersomeapparatus, no assistants, no confederates. A brief case will carryallthatisrequired,but JOU could travel with the necessary itemsallready in yourpockets if preferred. Thementaland psychic testsare presented in aroutined order, and include some of Annemann’s choicest billet methodsand effects. Ideally suited as aclub,privateparty, television ornightclubact. for newspaper offices and intimate ANNBMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favourite card routine series of fivestunning prediction effects that leaves the audiences gasping gathesings. Withjusta pack of cards the performer presentsa as each one in turn eclipses theprevious one. No skill is required,andtheactcan be learnedandthoroughly practiced in an evening. ANNBMANN’S MENTAL MISCELLANY is a collection of sixoff-beatideas in mentalism thatare typical of theauthor.Thetreatise on the Mirror Reflector andtheone on Pencil Readmg-to the man who uses t h e m - c m be worth many times the price of the book.
ASUSUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 1216 Postage 4d.
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVE ANNEMANN MIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemmn Secrets, now collected together s.nd printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between the performer’s and spectator’s pockets. STOP-A freely selected card. lwt m thepack, IS found atanumberthought of. THE POUND NOTE AND THE CIGARETTE CHALLENGE-Marktd cigarettee in performer’s mouth,number of a note written down by spectator-note openly burned-and then found im the cigarette-the best everroutineforthis effect. IMPROVED REMOTE CONTROL-With red and blue packs the performer proves he can controlanother person bymakingthem pick anycard he chooses, while at a distance. MENTAL MONEY-Three pound notes borrowed and folded tight, oneis chosen, the performer reveals its number. NUMBER PLEASE-A Telephone Book Test in which the performer reveals both name and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs and two spectators. THE CARD DOCTOR-Spectator selects card which isinitialled,cornertom from card,then initialled card torn into pieces, pieces vanish andcardis found back in the SLATES AND ACES-Performer andspectator write names of the aces on two slates, spectator rubs out three pack, minus itscorner. three face down hands of on his, the ,spirits’ rub outthe same three aces from the performer’s late. POKER PLUS-Performer deals Poker. Second handshown to beat performer‘s. Then performer’s hand shown again,anditbeatsthe second. Third hand shown to beat performer’s. Then performer’s shown again, and it beats the third. Terrific effect! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-hother typical Annemann card routine with B mental twist. And, of course, a full description of a most useful GIMMICK.
ASUSUAL-AFINELY
PRINTED BOOK
Price 7 / 6 Postage 4d.
T H E M A G I C WANID P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X PETER
The Magic Circle IS
published on the 24th of each month and
can be obtained direct from thepubhhorn for 117 per single copy. Annual Sulmcriptlm 181-
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W. 1.
PUBLISHED
Magical Theatre *
King George’s Hall, W.C.
Summer Recess
]ACK HUGHBS
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
Particdarn trom Hon. Secretary :
WARLOCK’S
i
togethrr with all hlr other effects in return f o r a stamp. Write now to
ADDRESS:
Jack Hughes, 2, Bvelyn Ave.,
Peter Warlock, Wordsworth Rd., Wallington, Surrev ---- 7 -~
pleased to mnd you full detdlr of
THE DE LUXB “SU-TABLE”
blanuscxipts for publication and book for review should bo rentto the:
24, I
past fmo. BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex EDITOR1 4L
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
willbe l
Colindale, London, N. W.9. I
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED BY THE PROPRIETOR8 THE HAOlC W A N D PUBLISHINGCOMPANY, 67 WELLINGTON ROAD, E h F I E L D . MlDDLlEEX A N D P R l N T l D B7 HERBERT WALKLIR (t ION (PRINTERS)LTD.,BRIDGE WORKS, SHIPLEY,YORKIHIRE
*
CASE FOR CARDS A SERIES BY S T E W A R T J A M E S HOLIDAY FROMREASON WO CARDS are magically transferred from T one pile to another. Nothing is used but the cards and there isno palming. THEMETHOD The pack is held face-up in the left hand. The Jokerhas been secretly reversed on thebottom and you know the card third from the bottomsay the seven of diamonds. Slowly riffle the outer left corner of the pack with the thumb until told to stop by a spectator. Cut at that point by lifting off the cards above the break, with the right thumb at the inner end and the second finger at the outside, and turning the right hand over so that these cards are face-down. Have the spectatorlook at the topcard of this packet butnot remove it. Turn therighthand over and replace the packet, but as you do so press against the noted card with the ball of the right second finger and twist the inner end of the card to the right. At the same time you will find it possible to tilt this inner end so that the cards remaining in the left hand go between the spectator’s card and the rest of the packet so that it becomes the bottom card of the face up pack. The movement is covered by the quite natural position of the right hand. This was sold many years ago by Joe Ovette as“The Master Move,” and is described in Volume Three of the TmbeZZ Course as “ Kelly’s Bottom Placement.” I have never heard of anyone else doing it with the cards face-up. This makes it appear even more fair and increases Its usefulness. Hindu Shuffle, withoutdisturbingthe four cards at the bottom, andhavethespectatorcut off and place to one side about two-thirds of the pack. Turnthe remaining cards face-down and count them one at a time. Deal from the bottom and turn each cardface-up.
VOLUME I I, No. 10
-
Ask the spectator to remove his card and the Joker if they show up. He will not see them. A second spectator is asked to remember the number of cards counted. Make the glide shortly after you startdealing. As soon as the seven of diamonds turns up. deal all the remaining cards (3) as one, with the exception of the glided card. Conclude your count with it. You will recognize this as Stanley Collins’ four card vanish move. In this case youwill have two morecards than you appearto have, one cardis reversed although the back andfront of every cardhas apparently been seen, and the faces of two cards have not been seen at all. Pick up these cards, turn them face-down and give them a single cut. Ask the spectator to do the same with the remaining cards so that you do not even know the position of the one formerly at the face of the cut packet and noted by the spectator. Pretend to remove the spectator’s card from the larger packet andthrustitintothesmaller group. Actually you have nothing at all. Repeat this bit of make-believe with the Joker. Notice that some of your onlookers appear rather dubious. To convince them (?), pretend to remove the Joker again and make a great show of turning it over before you put it back. Declare that it is now not only reversed but face to face with the selected card. The spectator fansout the cards anddiscovers that this is so. A count reveals that he also has two more cards than before; just what he rhould have if you had done what was pretended.
I/6. (20 Cents)
-
JULY 19n
74
SYNCHROMAGIC
A
FREELY selected card is revealed and two others are predicted under fairer than average conditions. I will describe the effect and method at the same time.
THE METHOD Consider the queen of hearts and ten of spades the cards you wish to predict. Write their names on separate slips of paper and seal each in a separate envelope. The latter envelope is marked so you can quickly tell which predicts thespot card. Unknown to the audience, you have six cards in p u r right trouser pocket, facing your body, and reading from the face of the packet they are in the following order: ten of spades, ace of diamonds, two 'of clubs, four of hearts, eight of spades, and queen of hearts. A spectator names any number between10 anA 35. If it is over 24, he is given the marked en ,,elope to write his number on and retain. If under 25, he gets the other one. Mentally subtract his number from 48 and write it on the outside of the remaining envelope. Place it somewhere in full view. As an example, hemay name 28. While he writes it on the marked envelope-the one containing the ten of spades prediction-you write 20 on the remaining one. Have himshuffle the pack (actually only 46 cards)andcount off 20 cards. It is always the smallest number that is counted off at this time. Place these 20 cards in your pocket facing the same way as the rest of the cards and on top, or farthest from the body. The spectator removes any card from the remainder of the pack. Say it is the nine of diamonds.
Reach in your pocket, shift the ten of spades to second fromtop of thecards therein, and triumphantly produce the ace of diamonds. By touch alone, you have apparently located a card of the same suit asthe selected card and after they were well shuffled. Youwill realize that this was easy because you knew the order of the four face cards in which the four suits were represented. The value of any card may now be indicated by the correct combination from these four cards. This was explained by Charles Jordan in Ten New Impromptu Card Tricks as The Spirit Mathematician." In this case you remove the eight. Added to the ace already displayed, this gives you the value of nine. Take the remaining cards from your pocket and drop them face-down on the ace and eight. Always place these cards on top of the indicator cards. The 26 cards on the table are placed on top of all. The spectator deals the cards one at a time until he comes to the 28th. (The number he wrote on the envelope.) This card he removes and retains. You square the pack by dropping the uncounted cards on top of the others and have a second spectator count tothe number 20 (the number on the second envelope) and remove the 20th card. The predictions are read and the cards checked. The highest number is always counted first when the predicted cards are removed. If the spectator names 24, you give him the marked envelope and write 24 on yours. His card will turn up first in the counting. "
THIMBLEKIN BOB DRIEBEEK HIS IS a nice follow-up for a thimble peneT tration through a silk. When have performed your favourite routine with thimbles and you
after one of those has penetrated the silken handkerchief, you then offer to repeat the trick. Place the thimble on the extended right first finger. Drape the silk over the thimble and with your left hand steal the thimble. Do not try to male a correct thumb palm but j u s t t a k e the thimble off and everything is all right. Pull the silk towards yourself until the tip of
the right first finger is under the centre of the silk. Stap a moment and then pull the silk further in the direction of your mouth while your eyes are fixed on the top of the first finger. Just before the hem of the silk leaves the extended finger the thimble is placed into your mouth. Be careful it does not click against your teeth. As soon as the empty finger is exposed you show both hands unmistakably empty. The thimble has gone.(Smile and say: Cheese.)
75
Now for the re-appearance: with the right hand you reach intothe air . . . nothing. Once more . . . again nothing ! Cover the empty finger as in the beginning and pull the silk towards yourself. At the moment the finger comes free you push the thimble out of your mouth with the tongue and seize it withwith left thumb and first finger.
As the right first finger makes its reappearance from under the silk empty, you look slightly embarrassed and place the with silk its centre once more over the extended finger. Now you finish with the generally known penctration in placing the thimble on the finger the silkbetween the finger and thimble.
FINISH FOR FOUR ACE R O U T I N E A. W. ROOTS FTER your favourite Four Ace routine, A push the four aces backin the pack, red aces anywhere, black aces on top. False shuffle. “
”
Turnup and show the black aces ontop. Allow aspectatorto take out the red aces and keep them for a moment . Push the black aces in the pack and control them back to the top. False shuffle. Have one of the red aces returned as the shuffle is made and control this ace also to the top. Now on top, red ace, black ace, black ace. Continue the false shuffle-run the top two cards and throw these back on top of the pack; undercut half, injog, shuffleoff, undercut threequarters holding break at injog, shuffle to break and throw on top. Order now from top is black ace, red ace, black ace. Undercut half the pack and have the last red acereturned; injogging,shuffling off, etc., fetching this ace finally on top of the stock of three aces. Spread the pack in the hands, break under the top four cards, double-undercut to bottom and lay the pack down on the table. Point outthatthe aces are now lost in the pack-the spectator’s red aces and the performer’s black aces. Take the pack in the left hand and undercut half from bottom in right hand.Laythis righthand half down for moment and take it again in the right hand, face downwards in the side-glide position. Blow on this packet and turn the hand
over showing a black ace on the bottom. Lay the left-hand packet down to one side; turn the righthand packet face down, side-glide the bottom card with the right fingers and the left hand withdraws the second card from the bottom, face down, and lays it in the centre of the table. “ One black ace ! ” you say. The right hand lays the pack face down on the left hand, and the left hand little finger forms a break above the bottom glided card. The right hand undercuts half this packet above the bottom card and lays it face down to the right of the tabled card. The remainder in left hand is laid tothe left of the tabled card. Pick up the right-hand heap again in the right hand, in the glide position, blow on the packet, turn it up and show the second black ace. The hand turns down again, the left hand pulls out the second card from the bottom and lays it below the firstsingle card on the table; the right hand drops its heap to the Zeft of this card. Now on the table-two heaps of cards with twosingle cards to their right. The audience believes the single cards are the black ones. Hover the right and left hands over the packets and say, “ And please name the colour of your aces !” The spectator says “ Red ” - straightaway change the position of handsand flick over the single cards showing a surprise change into red aces. Finish by turning over the packets revealing the black aces.
THE TAPED SLATE PETER WARLOCK
T lished HIS was originated in 1944 and first pubin 1946. Among its staunchest sup-
ment. In the description, however, I will keep to the original idea of tape.
portersand users I can mention HisHonour Ernest Wethered and Will Dexter. Each in using the effect has departed from the original idea of using adhesive tape to cover the predictions and instead use pieces of card held in place by bulldog clips. This is a much more satisfactory arrange-
The Eflect Taking a school slate and a piece of chalk, the mentalist by drawing two parallel lines divides the surface intothree parts. In thetop section he writes in green chalk a prophecy for spectator ‘A’;
76 then picking up a wide piece of adhesive tape and covering the message. ‘A’ is then asked to think of a colour and name it aloud. Supposing that it is “ Yellow ”; the mentalist picks up another slate and writes on it “ A . . . Yellow.” A prophecy is now written for a second spectator ‘ B,’ but this time in red chalk. This too is covered and ‘ B ’ then names a number which comes to his mind. This also is recorded on the other slate. Finally a prophecy is written for a third spectator ‘ C ’ in yellow chalk which also is covered. Mentioning the fact that in the first two cases the predictions were made only a short while before the spectators took part, the third prophecy will take a different form. Spectator ‘ C ’ is handed a pack of cards with a request that he shuf€les it and asks his neighbour to take any card. A sealed packet is then introduced with theremark, “ I sealed this packet two hours before I entered this hall.” The packet is placed in a prominent position. When the card has been chosen and its value givzn to the audience and mentalist he adds to the writing on the untaped slate, “ C . . . (say) ace of diamonds.” Lifting up the taped slate and removing the first tape it is seen that the prediction of A’s colour was correct. And the same with B’s number when the second tape is removed. Taking away the third tape, written in yellow chalk is seen the message “ C reversed at (say) 6 p.m.” The sealed packet is now undone and from it is removed a Jumbo pack of cards. When it is fanned both back and front one cardis seen reversed . . . it is the ace of diamonds !
The Preparation A special slate isnecessary for the effect. If the reader can obtain two silicate slates, i.e., slates where the writing surface is thin hard board, half his job is done. If not with a slate frame available, he will do better to make the whole jobfrom scratch. With the former assumption and with a request that the illustrations be studied, the slates are dissected and the grooves that hold the slate bed widened allowing for the accommodation of three thicknesses of the writing surface. One of the pieces of silicate is cut across one third of its length and this piece is glued to the uncut piece of silicate (Figure 1). When the glue hasdried,the
2
TUICSNES5
LIA6GbWTW
3 two-thirds length is laid ontop of the recessed is re-assembled piece (Figure 3), andtheframe round the two sets of silicate. Be careful in using glue during assembly to see that none of it gets on to the silicate.
4 When the frame is dry, the two-thirds piece of silicate can be moved from its initial position to the bottom of the frame, an easy movement of the thumb bringing it back to the position shown in Figure 3. In this position and this is the position it finally takes up in the trick the whole surface is flush. Figure 4 gives a side view of the slate. Chalk lines are now drawn, a reference to Figure 5 showing their position. That is the slate,
CYALK LINE W Y L Y A 1 MGIWIWB WILL
nt
-wow
l
5
IN
‘b’
a job which totheaveragehandyman is one of simplicity and contains no pitfalls. Reverting back toHisHonourErnestWetheredand Will Dexter, both the slates usedby them were larger than the usual school slate. The next piece of preparation has to do with the playing cards used. The packhanded to the spectator consists of four banks of the same twelve cards in the style of Audley Walsh’s “ Magician Dream ” pack. From the Jumbopack duplicates of these twelve cards are taken and treated with roughing fluid on both sides. Twenty-four more Jumbos are taken, twelve being roughened on their backs and the other twelve on the face. These treated thirtysix cards are assembled now in this manner: one with a roughened back is placed face down on the table andontop is placedone of the original twelve roughened on both sides face up. On top of this is placed face down one of the cards with a roughened face. This process is continued until the whole thirty-six cards are assembled. Of the remaining cards in theJumbopack, eight are placed aboveand below the stack of thirty-six cards. For easy indentification when the pack is fanned f m e s to the audience a small pencil mark of identification is placed on the rear card of each set of three, telling the mentalist which card is sandwiched face up. A little more preparation, with the consolation that when all these matters have been attended to you are set for a long while to come. Get hold of some sticks of white, green, red and yellow chalk. Have a small box to contain them. Sticks of green red and yellow chalk are takenand broken into halves. One of these pieces of green chalk is now joined to a similar length of red chalk by means of a length of adhesive tape (see Figure 6). Two pieces of red and yellow chalk are similarly treated. Place the faked pieces inside the
6
I
box together with two unfaked pieces of white and green chalk. Before presentation you will require looking slate similar inappearance tothe preparedone and three pieces of adhesivetape two inches in width. Place a rubber band round the Jumbo pack and then seal it inside an envelope. This packet will lie on the table together with the two slates.
The faked slate comes in for a little attention. On the lower part of the slate proper, i.e., the part with theappendage ;write in yellow chalk “ C REVERSED 6 P.M.” Adjust the slide over this so thatthe slate appearsblank except for the white chalk lines. Incidentally the slate should lie faked side down so that the lines are not seen. Easily at hand are the pieces of tape the normalsizedpack of cards andthe box containing the chalks. The Presentation Thefaked slate is taken, the “ lined ” side being kept away from the audience. Holding it in the left hand, the right hand takes a piece of white chalkfrom the box andappearsto writelines across the slate. The audience have seeming proof of this when you turn it round showing the lines that actually were there beforeyou started. The white chalk is placed down and the stick of green chalk is taken. Saying that you intend writing a prediction for spectator ‘ A,’ casually toss the piece of green chalk into the air and catch it. There is areasonfor this. The spectators see a piece of green chalk and nothing else. When they see you handling another piece of coloured chalk later on they will take it that this too is just as unprepared. With the green chalk in view of the audience, write ‘ A,’ and then turn the slate so that the surface is hiddenfrom the audience. Writeanother word which can be any word. The chalk is dropped into the box and one of the lengths of tape is picked up and placed across theframeand slate, covering the message. It is essential, should youuse tape, that the adhesive surface should not be allowed to touch the slate surface. It must be stretched across the frame and leave the surface of the slate free. asked to name any Spectator ‘A’ isnow colour, and when he does so you take the other slate and with a piece of white chalk record it as previouslymentioned. With the remark that youwillnow write a prediction for another spectator ‘ B,’ but this time with red chalk, you reach into the chalk box and remove the piece of red-green chalk, masking the green part with the fingers and allowing the red part to beseen. Takingthe ‘ taped ’ slate and keeping the ruled side towards you, reverse the chalk you are holding endfor end, andinthe second space write in green “A . . . Yellow’’ (the colour named by ‘ A ’). The chalk is returned to the box, care being taken that no green chalk can be seen by the wary eyed spectator, and the second length of adhesive tape picked up and placed over the second (?) prediction. ‘ B ’ now names a multiple number and this is recorded on the unfaked slate. The last prediction. Taking the piece of redyellow chalk and showing it as yellow, you write in the third space in red “ B . . . 4567 ” (the number given by B). After replacing the chalk into the
box thesamehand stretches forward to pick up the third length of tape, whilst the thumb of the hand holding the faked slate, slides the slide part upwards, so that all the predictions are in the correct position. The tape is then placed over the third prediction and the slate is placed in a standing position against a chair back or some similar rest . The pack of cards is taken, fannedand handed to ‘ C ’ with a request that he shuffles the cardsand asks his neighbour to take any one. When this is done,thecard isnamed andit is recorded on the unfaked slate as “ C . . . ace of diamonds ” (the chosen card). Theunfaked slate should nowbe placed so that it too rests against some object and the writing can be seen by the audience.
The faked slate is picked up, the top tape is removed, and the first prediction is foundto be correct. The middle tape is also removed. The second prediction is correct! Finally the third tape is taken off to show the message, “ C . . . Reversed 6 p.m.” Ripping open the envelope the pack of Jumbo cards is removed, the rubber band is taken off and fanning the cards faces towards the audience you leaf through the pack until you find the group of three the middleone of whichis the reversed duplicate of the chosen card. Split the roughened assembly allowing the back of the duplicate to be seen. Then slowly turnround the packand the face of the duplicate card is apparent.
MATHEMATICS O F THE WEAVE SHUFFLE ALEX. EMSLEY Continued from June issue
SOLVING THE SHUFFLE EQUATION IS prime. In addition to the case of a pack of 2x cards, there is one other case when a an immediate solution of the equation is possible. This is when P is a prime number, then 2P-1-1 is divisible by P. This is Fermat’s theorem, a theorem in the theory of numbers. Applied to the weaveshuffle equationit means that when P is prime, P cards will return to their original order in P-l shuffles. Incidentally, this is not necessarily the smallest number of shuffles necessary for the cards to return to their original order. For example, fifty-two cards in-shuffled are equivalent toanodd pack of fifty-three. Fiftythree is a prime, and therefore fifty-three cards returntothesameorder after fifty-twoshuffles. Hence, fifty-two cards returnto the sameorder after fifty-two in-shuffles.
p
SOLVING THE SHUFFLE EQUATION Generalmethod.This is the quickest allroundmethod. It uses the binary system,which would take too longto explain here, so I shall assume it is known. Express P (which of course is odd) in the binary system, and write it down. Write it down a second time underneath, so that the final ‘ 1 ’ of the lower expression of P comes under the farthest right ‘ 0 ’ in the upper expression. Add the two together. If you get nothing
but ‘ l’s,’ stop right there.Otherwise,write P down again under the sum with the final 1 ,in l? under the farthest right ‘ 0 ’ in the sum. Again add. Carryon until youget a sum containing nothing but ‘ l’s.’ The number of ‘ l’s ’ in the final sum is the necessary number of shuffles to bring P cards back to the original order. For example, eleven in the binary system is 1011. Going through the procedure described, we have 1011 1011
l10111 1011 10001111 1011 100111111 1011
1 1 1 1 1 1 1 1 1 1 There are ten ‘ l’s ’ in the final sum, so eleven cards return to the same order after ten shuffles. Note that weget thesame result fromthe last section, since eleven is a prime.
79
To find out how many shuffles are necessary for the cards to reverse their order, we write P down each time with its final ‘ 1 ’ under the ‘ 1,’ excluding the final ‘ 1,’ furthest to the right in the sum, or expression of P, above, until we get a sum of theform 1000 - - - 001. The necessary number of shuffles is one more than the number of ‘ 0’s.’ It is advisable to solve for S before trying for R, for although there is always a solution for S, there is not always a solution for R. When there is, of course, S = 2R. For example, with eleven cards as before1 0 1 1 1 0 1 1 1 0 0 0 0 1 There are four ‘ O’s,’ so eleven cards reverse their order in five shuffles. STACK TRANSFORMATIONS Suppose, in an odd pack of P cards, we have a set of cards stacked a apart, counting downwardsthroughthe pack. As we shuffle, the distanceapart of the cards in the stack becomes successively 2a, 4a, 8a and so on. Suppose after X shuffles, the distance apart of cards in the stack (which is 2xa) is less than P but greater than half P. Ifwenow count in the opposite direction, 1. 2. upwards through the pack, the distance apart of cards in the stack isP-2xa. This maygive an interesting transformation of one stack to another. At each transformation the order of the cards in the stack reverses. With an even pack, the calculations are made as for the equivalent odd pack. For example, fifty-two cards out-shuffled are equivalent to an odd pack of fifty-one. Therefore, a stack of cards seven apart in a full pack will move in successive out-shuffles through the following distances apart 7, 14,28 or 51-28 =23, 46 or 51--46=5. Thus a stack seven apart becomes a stack five apart after three out-shuffles. There were two transformations, so the stack is in its original order. If after shuffling, the distance between two cards of the stack has to be countedround the ends of the pack, there will be an error due to the fact that we are using an even pack. Other transformations with apack of fiftytwo out-shuffled are :10 to 11 in two shuffles, reversing their order. 11 to 7 in two shuffles, reversing their order. Any multiple of three to itself infour shuffles, reversing their order. With fifty-two cards in-shuffled we get :10 to 13 in two shuffles, reversing their order. 11 to 9 in two shuffles, reversing their order. 7 to 3 in three shuffles, retaining their order. 3 to 5 in four shuffles, reversing their order. “
”
The 10-13 transformation means thatcards ten apartcan be brought together by four inshuffles. Here, incidentally, is a poker deal which uses the 7-3 transformation. ROYAL FLUSH DEAL Take out the four royal flushes from the pack, and arrange them in the pack as follows :The cards of one flush at positions 2- 4- 6- 8-10 The cards of one flush at positions 7-14-21-28-35 The cards of one flush at positions 9-18-27-36-45 The cards of one flush at positions 5-17-29-41-46 You can now have any number of hands suggested by a spectator, shuffle and deal that number of hands, and get for yourself a royal flush. When the number of hands is named. you make the number of in-shumes shown below, and then deal normally. For two hands, shuffle not at all. For three hands, shuffle three times. For four hands, shuffle once. For five hands, shuffle twice. For six hands, shuffle four times. For seven hands, shuffle not at all. For eight hands, shuffle twice. For nine hands, shuffle not at all. For ten hands, shuffle three times. Thesame flush that is set to come out on seven hands turns up after three shufflesset for three hands. THE CONSTANT STACK Suppose,in anodd pack, P=ab. We can stack a set of ‘ b ’ cards ‘ a ’ apart through the pack, so that by dealing out ‘ a ’ hands of ‘ b’ cards each, all the stacked cards will fall in the same hand. Taking any card of the stack as a reference card, the position from it of any other card in the stack will be a multiple of ‘ a,’ i.e., No =xa. After one shuffle, N1=2xa or N 1=2xa-P =2xa-ab = a (2x-b) In either case, N, is also a multiple of ‘ a,’ i.e., the ‘ b ’ cards are still stacked ‘ a ’ apart through the pack after one shuffle, and hence after any number of shuffles. The cards will not, however, be in the same order in the stack. For example, suppose we discard all the diamonds from a full pack, leaving 39 = 3 X 13 cards. We set these up in the order clubs, hearts, spades, clubs, hearts, spadesand so on throughout. We now have three separate stacks of thirteen cards, three apart. If after any number of shuffles (with cuts in between, if you like) we deal the cards into three hands, each hand will consist of a full suit. To be concluded
80
*
l
A SELECTION ON
THE LATEST B O O K S
THE GREATER MAGIC LIBRARY
Conjuring’s greatest clasic, now available in 5 separate volumes, with a total ofpages. 1,000 21/volumeper Price Postage 9d. ABBOTT’S ENCYCLOPEDIA OF ROPE TRICKS 128 ‘ double size * pages and every conceivable rope trick. The new enlarged edition. Price 21/Postage 7d. SCIENCEMAGIC By Kenneth Swezey A fine 182 pp. cloth-bound book with masses photographs of illustrating hundreds of fascinating chemical and science tricks. Price 16/Postage l/-
DOING MAGIC FOR YOUNGSTERS By Bert Easley
THE DIA VERNON BOOK By Lewis Ganson NO need to extol the virtues of this great work. Price 45/Postage 1/4
GRAND DECEPTIONS By Alexander Klein The World‘s most spectacular hoaxes, fuses and frauds. Fascinatlng! Price 21/Postage 1/1
PLAYING CARDS HISTORYANDSECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition!
ENCYCLOPEDIA OF CIGARETI’E TRICKS By Keith Clark The only worth-while book on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 1/2
Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks ’ to performatthe dinner table. 182 pp. Cloth bound, masses of photographs. Price 16/Postage l/EFFECTIVE CARDMAGIC By Bill Simon
Includes also the full text of Eric P. Wilson’s classic, THE ART OF CON- A cloth-bound book of182 pages of JURING TO CHILDREN. 128 pp. first-rate card magic by one of America’s top card men. Cloth. Price 25/Price 47/Postage 8d. Postage l/-
*
*
MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everything you need to know about escaping from handcuffs. 112 pp. Board covers. Price 60/Postage 6d. NICK’S TABLE TRIX By Nick Trost A well illustrated manuscript publication of tricks for thecardtable and the author’s fine Ring and Rope Routine. Price 7/Postage 3d.
Write for our full Book List containing hundreds of Titles
*
T H E MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
~
~~
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom andLibramand
Museum :
Hearts of Oak Buildings, Eiuston Road, London, N.W.1. Magical Theatre *
King Geotge’s Hall, W.C.
Summer Recess Puticulan from Hon. Secretary :
+
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
Every Advertiser PUBLI8HED B 1 TXiE PROPRIB? A N D PRINTID BY
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and
JACK HUGHBS will be pl~predtownd full dot& d
you
from thr publi.hrrm for 117 per single copy. Annual Subsuiptioa I S / p a t free. PUBLISHED BY:
THE DE LUXE “SU-TABLB”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with a11 hb other rffccta in ntuxn f o r a stamp.
can be obtaineddirect
Bsanuscripb tor publication and books fur review should b. sent to the:
BDITORIAL ADDRHSS:
Peter Warlock, Wallington,
24, WoFdsworth Rd.,
write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Surrey.
2d bv this Bulletin TON ROAD,PNIIEID.
MIDDLESEX
i
THE HANDCUFFEDCARDICIAN HANS T R I X E R ERE IS a card trick with a most novel angle, an angle which can be most impressive with H a lay audience. It is a modern version of an old effect, but then as is so often the old will seem to be new. With a disclaimer that he is comparable to the great Houdini, the conjurer tells his audience that he will endeavour to show them a card trick under the most difficult of all conditions, namely with his hands securely fastened together with a length of rope. First of all a card is freely chosen from the pack, returned, and the pack is shuffled by a spectator, the cards being left in his hands. After his hands have been securely tied together the performer retrieves the pack from the spectator and succeeds in making thecardappearin his (the performer’s) hands. Let me commence by saying that the trick is extremely easy. Do not however make the mistake of freeing yourself fromthe restraining tie for this would spoil the impression thatyourhands were truly imprisoned. The requirements are few. They are :1. A pack of cards (these may be borrowed). 2. A length of string, rope or tape. This latteris placed beforehand intheouter rigt-hand coat pocket . Presentation. Take the pack and ask a spectator to select a card. Suggest that it be marked and as it is, at the conjurer’s request, returned to the pack, secretly crimp one corner. The pack can now be handed to another spectator for shuffling without any possibility of the chosen card being lost.
back the pack from the spectator and noting the crimped card cnt it to the top of the pack. The second way is tofan thecardsinfront of the spectator, and with the words, “You can see for yourself that your card is still here,” leaf through the cards until youcome tothe crimped cards. Keep a slight finger break and leaf through the rest of the cards and then in the action of turning thecards face down execute a turnover pass so that the chosen card is on top of the pack. With a preference for the single hand top palm the card is palmed off in the act of handing the pack to the spectator whilst the hand containing it goes to the right-hand pocket for the rope which is removed and handed to another spectator. Place both hands behind the back in a folded position, as you remark that you wish him to tie yourhands together behind your back. “Like this,” you say and turn round with your back to the audience. In the brief interval, however, you have removed the cardfromthe palm with the free hand and pushed it up into the sleeve where it is hidden. The spectator now securely ties the performer’s hands together, and when the tying is completed the performer once again turns and faces the audience. “Just give the cards a cut and place them in my hands,” says the performer. The spectator does as he is told and in a matter of seconds the performer allows the pack to drop to the ground whilst the card is retrieved from the sleeve. Immediately the performer asks the spectator to name his card. This is done and with a remark, “ Please take from my hands the card I am holding,” the spectator does so to find the selected card in his hand.
When the pack has been shuffled either of two procedures may be adopted. The first is to take
VOLUME I I , No. I 1
-
I/6. (20 Cents)
-
AUGUST 1957
82
DOUBLE SURPRISE JACK AVIS recent English issue of The Phoenix,” IAllNNo.THE 345, I described an effectwhich I called Fair Surprise.” The basis of the routine is “
“
an original handling of a card switch. This switch is of general utility and to further demonstrate its usefulness the following routine is being offered. Preparation-nil, sleights required, top card reverse and an original card change. Routine. A card is selected and controlled to thetop of the pack.Thiscard mustnowbe reversed. The following procedureis simple and in keepingwith the effect. The left hand holding the pack is placed behind the back and your patter runsas follows : “ Without evenlooking at !the cards I will try to divine the name of your selected card.” You strikea pose of deepconcentration and whilst in this meditative mood your left thumb is busy pushing the top card over the side of the pack and flipping itfaceup.You now remark pack and flipping it face up. You now remark that somehow the spectator’s thoughts are not reaching youand so youmust adoptanother method to locate the chosen card. At this point the pack is broughtfrom behind the back and fanned faces towards the audiencein the right hand, being careful not to expose the top reversed card. On completing the fan the left hand appears to be adjusting a few cards in the fan but infact the left thumb is busy drawing the reversed card to the left where it is gripped by the tip of the right thumb on the extreme right edge of the reversed card. At this point tell thespectator you will attempt to locate his card by merely running your finger along the top edge of the fanned cards. The left forefinger now approachesthe top left-hand
side of the fan from the rear, and moves along the edge of the fan until you reach the centre. Here you stop and make some remark about how sure you are that this is the selected card, and pull a card from the centre of the fan. Of course the spectators can see that you have made a mistake and tells you so. You act surprised, turn the card to face yourself and say This nine of hearts is not your card? As you sure?” As yousay the last fewwordslook at the spectator and at this point the left-hand drops behind the fanned pack and slips the wrong card behind the selected card whichyou areholding. by the tip of your right thumbandtakes in its place the reversed card. The exchangehavingbeen made the card which you apparently removed from the centre of the fan is placed face down on the table. This card is, of course, now the selected card but believed by the spectators to be the wrong card. You now patter to the effect that mind reading and your sense of touchseem to have failed you and therefore you must resort to magic. Whilst saying these fewwordsyouhavesquared up the pack, retaining it face up in the left hand, being careful once again not to expose the reversed card. Cut the cards once, bringing the reversed card to the centre. Orderthe spectator’s chosen cardto reverse itself inthe pack. Fan the pack face up and reveal the reversed card. Ask the spectator to name his selected card and with a flourish turn the reverse card face up, only to find that it is the nine of hearts, the card which should be on the table. The tabled card is turned face up and now found to be the selected card thus bringing the effect to a satisfactory and magical conclusion.
SIMPLICITY TWO PERSON PREDICTION PETER WARLOCK T THE conclusion of one or moreeffects Whilst she is writing the mentallist stalls by makwhere the mentalist’s partner has given some ing some remarks regarding this particular phase of mentalism. Reaching behind the screen the proof of her psychic powers, and for this purpose has been isolated behind a threefold screen, the mentalist takesthe slate with the initialled side performer informs his audience that he wishes to outwardsand rests it against the edge of the conclude his demonstration byshowing theproscreen. (Fig. 1.) phetic powers of his assistant. A slate, after being Three spectators are now asked to take part. initialled with chalk by a spectator, is passed with The first designated A is asked to name the first the chalk to the medium behind the screen. She is four-figure number which enters his head. We’ll asked to write three predictions for three spectasuppose that it is 1360. On a large slate or blacktors who will be called A, B and C respectively. board the mentalist now writes A . . . 1360.” The
A
“
83
next spectator, B is then asked to name any city in the world. With the reply ‘ York,’ on the blackboardunder A’s selection goes, “ B . . . York.’’ C is then handed a pack of cards with a request that he shuffles the cards and requests his immediate neighbour totake one. Before thecard is exposed to the audience the performer picks up a large envelope andhanding itto spectator C relieves him of the remaining portion of the pack. The slate is now picked up and turned round. On it in the medium’s writing is seen :A . . . 1360 B . . . York C . . . Reversed The slate is placed down, the sealed envelope being taken and slit open with a knife. From it is removed aJumbo pack of cards whichwhen fanned reveal, reversed in the pack, the card held by C’s neighbour! The Requirerzzerlts. The inherent weakness of the effect lies in the factthat the performer’s assistant is behind the screen. This weakness, however, is overcome providing that before the prediction, certain tests are carried out which necessitate this isolation of the assistant. The requirements are few. They are :One reasonably large slate with a well fitting flap. A blackboard on easel (or another large slate). Two packs of cards, one ordinary size and one Jumbo as described in “Taped in that Slate.” TheJumbopack,as trick, is sealed in a large envelope. Before the performance takes place the followingwords are written onthe slate by the assistant :A ... B . .. C . . . Reversed
The flap is then adjusted into the slate frame writing side downwards. The slate now appears to be blank on both sides. The set-up of the articles should be slate on table, flap uppermost, piece of chalk and packs of cards adjacent. Blackboard or large slate leftof stage. The Presentation. Taking the slate and chalk fromthe table, the performer, after casually showing it,asksa spectator to write his initials on the non-flap side, the flap being held in position as he does this. Moving back, the slate and chalk are passed behind the screen to the assistant, who first removes the flap and rests it against the leg of the chair on which she is sitting and then makes as much noise as she can with the chalk writing a number of words on the slate surfaceproper. Asking if she has completed her prophecies and receiving an affirmative answer, the performer takes the slate from her, and keeping the side with the spectator’s initials towardsthe audience places it on the ground, allowing it to rest against the edge of the screen. Immediately the slate hasbeen taken from her the assistant picks up the flap and rests it on her lap with the writing side uppermost. The three helpers are nowchosen and A is asked to name afour figure number.When the assistant behind the screen hears the performer writing the number on the blackboard, she writes the samenumber as noiselessly as possible after the letter A, though as the performer is writing at the same time there is little chance that her writing could be heard. B is requested to name a city and again as the performer writes, the assistant fills in the same word after B. Her task is now complete with the exception of one little thing. Being as careful and noiseless as she can she places the flap, writing side outwards against that edge of the screen where the slate rests. She places it so thatit aligns as closely as possible with the slate (Fig. 2). The regular sizepack of cards is taken and handed to C, who in turn shuffles it and asks his neighbour to select any onecard.Attentionis called to the sealed packet which is handed to C , the pack held by him being taken back and placed on the table. The spectator with the card is asked to name it and on the blackboard, against C , the name of the card is written. Now for the climax. The performerbends down and with thumb at rear and fingers in front takes slate and flap as one. Too much pressure must not be used, otherwise there will be a click as the flap comes into contact with the slate. The very slightest of pressures combinedwith a sideways movement will show that this can be easily accomplished after adequate rehearsal. The right hand has been used for this and immediately the
84
SIX IN A ROW CORVELO IS a mentaleffect for close quarter H ERE work which can be most effective. First of allthe mentallist removes fromhis pocketa sealed envelopewhich he places in a prominent position on the table. Next he introduces a writing pad which consists of sheets of paper perforated so that six slips may be torn from each whole sheet. Now in each of the six divisions a spectator writes his initials, and then with a request for the names of (say) six film stars the names given are written one on each of the perforated slips. The whole sheet is first tornfromthepad,the same spectator whowrote his initials beingasked to write his signature across the back of the whole sheet of paper. The main sheet is then torn along the perforations and the six resulting slips laid ‘ Star ’ names down on the table.One is freely chosen and turned over. On it is written, we’ll suppose, ‘ Bing Crosby.’ A spectator is asked to unseal the envelope placed on the table at the beginning. He does so and removes from inside a card on which is written . . . ‘ I predict that the chosen name will be Bing Crosby.’
The secret lies in the note pad used. It can be easily madeup by a local printer or bookbinder. It consists of a number of sheets perforated at equal distance so that six slips may be torn from one main sheet. The topmost sheet a strip measuring one inch in width is cut away (see illustration). On the sheet under the narrow sheet write in each division, the name ‘ Bing Crosby ’ or the name of a star who is inthe news.Now take an elastic bandand place itaround the pad (in the style of ‘Out to Lunch ’1, so that it covers the shortened division. With a card on which you have written, ‘ I predict that the chosennamewillbeBing Crosby,’ sealed in an envelopeyou are ready for the presentation. First of all take the sealed envelope and place it in a proininent position on the table. The pad is now introduced anda spectator requested to scribble his initials right of the elastic band on each perforated slip. Now ask for the names of six film stars making sure that one of those offered is Bing Crosby. Subtle approach in the mentalist’s invitation should always bring in the‘ force ’ name. If picture house has a star in the film use this, as its topicality willensure it being given. As soon as the six names have been given and written on the six slips, turn the pad so that those near may see that the names are all different, and then turning thepad oncemoretowardsyouremove the elastic band and tearoff the second sheet and place it writing side down upon the table. The note pad is dropped into the left-hand side pocket. The assisting spectator now writes his signature across the whole of the page and then the performer tears off the perforated slips keeping the film star names unseen and mixes them. A choice of one is made by the spectator and the others are gathered up screwed into a ball and dropped into the pocket. Leaving the chosen slip writing side undermost, theperformer asks the spectator to open the sealed envelope and read what the performerwrote beforethe commencement of the experiment. He does and the slip on the table is slowly and deliberately turned over showing that the performer was successful in his prediction.
SIMPLICITY T W O P E R S O N PREDICTION-Continued from page 83
performer hasregained full height, the left hand comes in to hold the left-hand side of the slate (a natural action). Thethumb of thishand, which should be in contact with the flap, eases it into complete alignment and allows itto fit intothe slate frame. The performer is nowready to reveal the predictions. Slowly heturns the slate round. The first two cause for no comment other thanwonderment. The
third still needs confirmation. Taking the envelope from C, the person with the card is asked to hold his card aloft so that it can be seen by everybody including the performer. Tearing open the envelope the Jumbo cards are removed and fanned as in “ Taped Slate,” showing that in the final prediction the prophetress has been equally successful.
85
MATHEMATICS O F THE WEAVE SHUFFLE ALEX. EMSLEY Continued from July issue THE RE-STACKING PACK We know that fifty-two cards return to their original order after eight out-shuffles. During these shuffles thetopand bottom cards never move, and two more, the eighteenth andthirtyfifth, change places in each shuffle. The remaining forty-eight cards can be considered as lying in six chains, each chain comprising eight positions. A card at any of these positions will move through each of theother positions inits chain before returning to its original position after eight shuffles. If we place four cards of the same value at alternate positions ina chain, after two shuffles each of the four cardswill have moved into a position previously occupied by one of the others. For example, one chain is 2-3-5-9-17-33-14-27. If we place the four Jacks at 2, 5, 17, and 14, after two shuffles there will still be Jacks at each of these positions. Hence, if we place fourcards of the same value at alternate positions, in all the six chains, we shall have arranged twelve sets of four cards in forty-eight positions in such a way thatafter two shuffles, every one of the forty-eight positions will be occupied by a card of the same value as was originally at that position. If the remaining four cards of a kind go on top, eighteenth, thirtyfifth, and on the bottom, each of these cards will be in exactly the same position after two shuffles. Thus wenow have a stacked pack which, disregarding suits, returns to the same orderxter two out-shuffles. Here is an example of such a stack :J-D 10-D 4-S Q-H 9-C
The suits have been so arranged that, apart from the twos, after two shuffles the position previously occupied by any card will be occupied by the card of the same value which is next in the suit order Clubs-Hearts-Spades-Diamonds. The twos will always be in the same positions. It will be seen that the cards fall into three groups of sixteen, separated by the twos. The suit orderin each group of sixteen is the same. Dividing each group of sixteen intofour sets of four, each set contains four cards of different suits. The orders of the suits in the second and third sets are respectively the reverse of the order in the first and fourth sets. Thecard values fall intofour classes, each comprising three values. The division of the values among the classes is, of course, arbitrary, but in the stack given above the classes are 3-7-5, 4-8-Q, 5-9-K, and 6-10-A. The values in any one class are always found inthe same positions inthe groups of sixteen. It hardly needs saying that you canobtain other restacking stacks from this stack by interchanging cards of one value for cards of another value. AFTERWORD This article has not exhausted the properties. of the weaveshuffle. I have mentioned veryfew of the principles applicable to tricks-as I have said before, those principles are mostly the simple principles. Also, I must admit, there is one principle which I have kept back for purely selfish reasons because, although it is not simple, of the good audience tricks that can be based on it. Nevertheless, I hope that I may have increased some people’s knowledge of the weave, whether they be purely mathematicians, or whether they are intent on learning all they can about a pack of cards, in the belief that all knowledge must some day prove useful. 5-S Q-D 8-C 6-H
J-H 10-C 5-D J-S
2-c
J- C 9-H 6-S
2-H
3-c K-H 10-S 3-D A-D 8-S
4-H K-C 9-S 4-D Q-C 10-H 3-H A-C 9-D 3-S
2-S
7-c
5-H A-S 7-D 6-D Q-S
8-H 5-C K-S 8-D 4-C A-H 7-H 6-C K-D 7-S
2-D
86
I NEVER USE CARDS ER1K PADT T LEAST this is what the conjurer tells his A audience. But when placing some apparatus on the table the audience spots a big size playing card at the performer’s back, just under his coat. “ I neveruse cards because I don’t like to bore you with that sterotype magician’s question: have a card,” explains the wizard once more and turns around to pick up his die box. Again a murmer is heard because a giant card is peeping from under his coat, but . . . this time it is a different card. Seemingly the magician never is aware of the untruth of his patter. “ Everybody does card tricks, that’s the reason I don’t.” So says the magi and turns around once more, just to give the audience opportunity to see thecardprotrudingfromunderhiscoat, and this time it’s a third different card. When his act is over and he turns around to leave the stage . . . there is no card at all. For a gag-magician this will be a fine trick. If you are performing as “ Mystic the Mystery Mixer ” you had better leave it out. The requirements for this gag are simple to make. Gluethree giant cards together asinthe
RITING well in advance of the British Ring Conventionwith the knowledge that these words may appear in print after ithas closed, can arouse interesting speculation. From the point of view bf stage presentation our interest lies chieflyin the thought of seeing the Italian magician Sitta. Appearing with a Chinese presentation and a stage name of Chun Chin Foo we look forward to seeing some of the delightful effects that hehas described both in ‘ Triks ’ and ‘ Magia Moderna ’ the well produced Italian magical magazine. We are also interested in what the competition will bring forth. I n this latter connection we hope that the standard will be higher than that of the past two years. It is always inexplicable to us that anyone can enter a competitionwith an act which not only is under rehearsed but is also lack-
illustration. Makea smallholder on which the cardscanturnandsolder a safety-pin tothis holder. The whole thing is pinned underyour coatand all youhave todo is toturnthe “ apparatus ” a quarter turn when desired.
ing in outstanding characteristic. The idea of attention to stage setting( and after all this a competition for stage magic) is too often conspicuous by its absence, a factor which is in direct contrast to the acts which participate in the Dutch competito a tions where so many competitors have gone great amount of trouble to make the stage attractive, and where the spectator before the performer’s entrance is greeted with either the promise of novelty and /or an expression of good taste. In the recent Convention at Zwolle, ‘ Flip ’ Ronaldo, whose first prize-winning act we had seen in embryonic form way back in April used a gramophone record motif and all his tricks utilised records or the gramophone. The inspiration for stage setting which involves very little expense and trouble can be inspired quite easily by looking into
87 the window displays of the bigger andbetter stores. Go to the Magic Circle on a Monday evening where week after weekmembers appear on the stage withwhat is intended to be a magical act. In a number of cases thought and rehearsal has gone into the finished product, but in the majority few tricks have been takenand without any thought of routining or even whether they fit the performer’s personality they arethrown at the audience. Our good friend Kalanag is gaining still more laurels in the international field of entertainment. After a tour, outstanding in its success, of Africa and South America, he is, as we type these words resting in New York before flying on to Canada where on August 30th he will present his show in a special theatre at theGreatCanadianNational Exhibition at Quebec. Afterthis engagement he will go back to the United States and play Boston, Detroit,and Chicagobeforeplaying a season at Las Vegas. Afterthata six months’ tour of the Far East is contemplated. Wellknowing that the attraction of this greatest of all illusion acts inevitably results in an extension of contract, we feel that the Far East will keepKalanag away from Europe for far longer than the six month period mentioned. Many of you, nodoubt,like ourselves are looking forwardtotheInternational Congress which commences on August 27th next year. The headquarters of the Congress will be at the Sophia Rooms, a lovely building which is just outside the ‘ Ring ’ only a stone’s throw away from the Opera House. For the ladies who attend the shopping centres in Kaerntner Strasse and MariahilferStrasse are only a fewminuteswalk from the Sophia Rooms. Attheheadquarters things of material comfort such as food will be available so that the minimum of time shall be wasted on comparative triviality of eating. For ourselves we shalllook
€orward to the days outside the Congressperiod when we visit the Schoenbrunn Palace, the Prater, the ViennaWoods and St. Stephens. To see the places associated with Haydn, Mozart and Vienna. To attend a performance at the greatest Opera House in the World. To eat in comfort the dishes for which the Viennese are so famous. The magical event of August was the marriage of Gerry Larson to ArtBaker, or as Herbert J. Collings wittily put it the marriage Art and Beauty. Present at the reception were leading personalities in British magic and representing America were Jack Kodell, George Boston and Cy Enfield. A truly jolly atmosphere prevailed and though this was the married couple’s first acquaintance with British magicians en masse we know that theywill return to these shores again. With the sudden death of Lewis Messent, the Magic Circle has been robbed of one of its finest workers. Lewis who was a most modest and retiring type, was responsible for the Festivals of Magic at the Scala Theatre from the time that Freddy Shuter relinquished the position of Festival Manager. of genuinekindness Tactful,diplomaticandfull workers.Lewiswas a modest and retiring type, was responsible for the Festivals of Magic at the Scala Theatre from the time thatFreddyShuter relinquished the position of Festival Manager. Tactful, daplomatic and full of genuinekindness no artiste appearing in the bill ever had just cause for temperamentalbehaviour.We shall misshim very much. Incidentally for the benefit of those visiting the Hastings areaduringthe holidayseasonwe would like to mention that our old friend Roland Spray, whounable to follow his normal occupation of sign writing owing to eye trouble has now opened a Magic Shop at 110, Bohemia Road, St. Leonards-on-Sea.Wewishhim success with this enterprise.
WANTED THE JINX-Summer Extra 1936 and No. 129 in the original Annemann editions only. THE BAT-Nos. 53 and 73. CONJURERS CHRONICLE-Vol. 8, NOS. l , 2, 3, 6 ; Vol. 9, NO. 3 ; Vol. 10, Nos. 1, 3 ; Vol. 11, Nos. l, 2, 3 ; Vol. 12, No. 2 ; Vol. 13, No. l. CORNISH PIXIE-Vol. 1 (1943)Nos. l , 4, 5, 6, 8, 9. (NOTE : Thismagazine startednumberingfrom No. l again,in1944.1943 EDITIONS ONLY ARE REQUIRED.) S T A T EC O N D I T I O NA N DP R I C EW A N T E D
GEORGE ARMSTRON6 62 WELLINGTONROAD,ENFIELD,MIDDLESEX
*
88 ~~
A SELECTION OB’
T H E LATEST B O O K S THE DIA VERNON BOOK
THE GREATER MAGIC LIBRARY
Conjuring’s greatest clasic, now available in 5 separate volumes, with a pages. 1,000 total of Price per volume 211Postage 9d.
*
GRAND DECEPTIONS By Alexander Klein
By Lewis Ganson The World’s most spectacular hoaxes, No need to extol the virtuesofthisimpostures, ruses and frauds. Fascinating! great work. Price 451Price 21/Postage 114 Postage 111
ABB0TI”S ENCYCLOPEDIA OF ROPE TRICKS
PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition!
128 ‘ double size ’ pages and every The new conceivable rope trick. enlargededition. Price 21/Postage 7d.
Price 351Postage 114
SCIENCEMAGIC By Kenneth Swezey
AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks ’ to performatthe dinner table. 182 pp. Cloth bound, masses of photographs. Price 161Postage l/-
A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price 161Postage l/DOING MAGIC FOR YOUNGSTERS By Bert Easley
ENCYCLOPEDIA OF CIGARE’ITE TRICKS By Keith Clark The only worth-whilebook on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 112 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everything you need to know about escaping from handcuffs. 112 pp. Board covers. Price 601Postage 6d.
NICK’S TABLE TRIX By Nick Trost textfull theIncludes also of Eric P. A well illustrated manuscript publicaWilson’sclassic, THE ART OF CONA cloth-boundbook of 182 pagesoftionof tricks forthe cardtableand JURING TO CHILDREN. 128 pp. first-rate card magic by one of the author’s fine Ring and Rope Cloth. card America’s top men. Routine. 1 Price 251Price 471Price 71Postage 8d. Postage l/Postage 3d.
*
EFFECTIVE CARDMAGIC By Bill Simon
Write for our full Book List containing hundreds of Titles
*
T H E MAGIC WANID P U B L I S H I N GC O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
is published on the24th of each monthand can be obtained direct from the publishem for 117 per single copy. Annual Subscription 181post free.
Clubroom end Library and Museum :
Hearts of O a k Buildings, Euston Road, London, N.W.1.
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex knnusuipts for publication and books for
Magical Theatre . King George’s Hall, W.C.
Summer Recess Particulars horn Hon. Secretary :
Everv Advertiser PUBLISHED BY T H EP R O P R I P T ’ A N D P R I N T E D BY
24,
S
JACK HUGHES will be pleased tosend full details of
you
THE DE LUXE “SU-TABLE” together with all hb other effects in return for a stamp.
review should be senttothe:
Write now to
ADDRESS:
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
EDITORIAL
Peter New,combo 38 Overdale Avenue New Malden, Surrey
l k
WARLOCK’S
Peter Warlock, Wordsworth Rd., Wallington,
Surrev . goods are fully endor ed by thisBulletin
S T H E MAOIC W A N DP U B L l S W l N OC O M P A N Y , 67 WELL: CRBBRT WALKER (t SON (PRINTERS) LTD., BRIDOE W C
:TON ROAD,INPIBLD.MIDDLESEX <S, SRIPLEY, YORKSHIRE
j
P R E D I C T E D M E N T A L SPELL EDWARD MARLO FFECT : Magician successfully predicts the outcome of a mental spelling process. Above effect is based on ideas using the Mostellur spelling system from the Phenix issue NO. 58 of April, 1944, and that of Ed Marlo’s SECOND PRESENTATION from Hugurd’s Magic Monthly forJanuary, 1956. Whilenot actually using the Mosteller count spell principle it does utilize the two card deal during the spelling process. 1. The set-up of 12 cards, from top down, is as follows : The A-6-9-J of Clubs, the 4 and K of Hearts, the 8 andQ of Spades, the 4-5-7-Q of Di-monds. On first glance it would appear obvious that ;.lybody could spot such a set-up; however, the handling is such that it will not be seen in the above order during the performance of the effect. At the same time the stock is such as to be easily rememberedthusmaking it asimple process to re-set as per the procedure in the performance of the effect. 2. The Gimmick-This consists of a playing card folded in half, then slit on both sides, about half-inch fromthetop across its widthbutnot entirely across butrather of sufficient length so that later three billets, on each side, can be inserted ino the slits. The billets are originally 2in.by lfin. then later folded into a lengthwise or rectangular strip of one inch by three eighths. The billets are inserted into the slits, three in each side, then the card is stapled on both sides so as to give tension or grip to the billets it is supposed to hold. The Fig. 1 shows the gimmick completed. 3. On the six billetsyou write the following sentence. “You will think of the ,” then fill in the names of the following cards on each6C-JC-KH-QS-5D-QD. In the Fig. 1 is seen the order of the first three billets and the remaining three billets are folded and, of course, on the other side of the gimmick. All you need to remember is 6-J-K-Q-5-Q and disregard suits except perhaps in the case of the Queens you would make a mental
E
VOLUME I I , No. 12
-
picture of which is which but this is not any real problem. 4. A pen or pencil should be one of the props plus some extra billets, folded as the ones in the gimmick, in the left coat pocket. The gimmickitself can be in the right coat pocket or trouser pocket preferably. The deck should have the 12 card set-up on top of deck also the bottom card of deck is crimped. With deck in case and all props handy you are ready to perform as you face audience.
5. Removedeckfrom case and give it an overhand shuffle as follows. Undercut half the deck and in drawing off: the first cards you also draw off the bottom crimped card with the result as the shuffle is continued fairly your stock is already marked off by the crimped card abovesame. Finish by cutting at crimped card to bring it to bottom of deck and stock again is on top. 6. Say, I’m going to give you some of these shuffled cards and I want you to further shuffle them.” Here you thumb over the top 12 cards and hand them to spectator for shuffling. Place rest of deck on to table. 7. While spectator is shuffling the cards you remove paper and pencil, then state you will write a prediction on the billet. Open up the billet and write, “You and I will think of he same card.” Fold billet, then place it to your left. The pencil is left on the table to yourright.
I /6. (20 Cents)
‘I
-
SEPTEMBER 1957
90
8. Afterspectator has sufficientlymixed the cards you tell him to fan the cards in front of his eyes and to think of any one of them, then he is to close up the cards and shuffle them again. 9. While spectator is following your instruction in Step 8 you casually pick up deck and run nine cards from top to bottom of deck thus bringing crimped cardtenth from the bottom. Place deck back on to table. 10. Take the packet of 12 cards from spectator and say, “ I will also think of one of these cards.” Here you seem to be deciding as to which card you want to think of but instead you are actually re-setting the cards back into their original order.Thisis very easy asthe suits run in C-H-S-D orderand each set is arranged to run numerically higher; therefore, clubs is A-6-9-J, Hearts is 4-K-, Spades S-Q, Diamonds is 4-5-7-Q. Once you have reset the cards you give the packet a false shuffle to retain the order. The following shuffle is convincing and easy-Run 3 and throwRun 3 and throw-Run 6 and throw-Run 3 and throw-Run 3 and throw-Run 6 and throw-the cards are back in original order. Just remember the whole as 3-3-6-3-3-6 and you’ll have no trouble. 11. Drop the packet on top of the deck, then have spectator cut deck. You say, “ Just once more,” andat same time reach over and cut at crimp to bring it to the bottom on completion of cut. Nine cardsare now above the stock of original 12 cards. 12. Pick up deck and tell spectator youwill deal off a card at a time from top of deck and that as you do so he is to spell the name of his thought of cards mentally. Each card you drop, of course, will represent a letter of the card and he is to stop you when he mentally reaches the last letter S of his card. 13. You are holding deck face down in left hand as for dealing. The right forefinger lifts off top card at inner right cornerinthefamiliar double lift method except here only a single card is taken. The card is carried to the table and resting its face against thetablethe right thumb presses downwards on the card as the right forefinger moves upwards slightly with the result that the corner of the card seems to snap off the tip of right forefinger. This action is importantforall cards as will be seen. 14. Continue taking single cards off the deck in the above manner until you have taken off nine. Every time you take off a card from here on has to be two cards takenas one until spectator calls stop ! Of course, he might call ‘ Stop ’ after the first nine cards if he had thought of either the A or 6 of Clubs; however, from this pointon you will have to deal off two cards as one until he calls a halt. 15. As you go along you also keep the count so that you will know exactly what set or pair of cards have to be on top. Needless to mention that the sets spell with 10-11-12-13-14-15letters. Sets
that spell with 10 and 11 letters are all club cards, the 12 letter cards are the 4-K of Hearts, the 13 letter cardsare 8-Q of Spades while the 14-15 letter cards are all diamonds. You willfindhow easy it becomes to remember not only which set you have been stopped at but also which card of the two is actually the top one because of each set the under or second card is higher in value than the top one. As an example suppose spectator stopped you as you reached the count of 14. You know that set 14 and 15 are diamond cards so 14 is a diamond pair, the first pair, also they run in numerical sequence of 4-5-7-Q; therefore 14 is 4 and 5 of diamonds with the 4D being the top card. It isnot at all complicated once you grasp the idea. 16. For sake of getting to rest of the effect let us assume you have been stopped at the twelfth count. You know this is the Heart pair and that 4H is topcard.Hand the deck to spectator and say, “ I’m thinking of a card and you are thinking of a card. You do not know what card I’m thinking I’m thinking of but I willtellyou. of the Four of Hearts-What card are you thinking of‘?’’ 17. Nowif spectator gasps out, “ That’s the card I was thinking of-the Four of Hearts,” then you have accomplished a miracle because all you do is tell him to turn over top card to reveal the Four of Hearts. Next remind him about the billet on whichyou wrote something before all this happened. Have him open the billet and read out, “ You and I will think of the same card ” for the climax of the effect. 18. If the spectator should say, “ I thought of the King of Hearts,” then you quickly say, “ I thought of the Four of Hearts-would you please turn over the top card?’’ As spectator isbusy turning top card you casually place right hand into trouser pocket and remove KH billet from holder. Finger palm billet, then remove your hand. During this you have instructed spectator to place aside your Four of Hearts and now you again ask him to name the card he is thinking of. After he repeats its name instruct him to turn over the top card of deck. 19. As attention is on spectator’s card your left hand reaches for the tabled billet and in transferring to right hand does the UTILITY SWITCH so that right hand actually tosses the KH pellet on to table as you say, “ On this slip of paper I wrote something before we began this experiment. Would you please open it and read it aloud. Spectator, of course, reads, “ Youwill think of the King of Hearts.” During this pick up pencil from tableand replace in pocket also getting rid of palmed billet. As one can see the effect is short and to the point, it is the little details that take time to describe. To follow are several other thoughts on the PREDICTED MENTAL SPELL.
91 SUGGESTION No. 1 : 1. Instead of using the deck, only the twelve card packet can be used. In this case the whole procedure is exactly identical up to the point where the performer is apparently going to think of a card. 2. At this point the cards are re-set but the four club cards are brought to the bottom of the packet. This is so that now you can give an illustration of how when you place a card from top to bottom he is to spell his card and stop you only after you have .placedacard on the bottom of packet for the letter S in his spelling. 3. To clarify the thing for him you demonstrate by saying, “ Suppose you thought of the Two of Clubs you would spell a letter for each card I place on the bottom. Transfer three cards, one at a time, spelling T-W-0, then stop and say, “ That would be for the two.” Continue by saying don’t forget the ‘ of ’ as you transfer two cards for the letters 0-F. Finish by spelling Clubs in the same manner and at the same time emphasise that he is to stop you only after the letter S has been placed to the bottom and not before. 4. Needless to say during this demonstration you are set to do the effect. Openly transfer one card at a time from top to bottom until 10 cards have been transferred but from this point on two cards as one are transferred from top to bottom until told to stop.
5. Needless to say the effect is concluded as in the first instance. An observation-I think that using the full deck fora mental spell is better than using a packet in that these packet affairs usually have the flavour of self-working automatic spellers. Anyway one should decide for himselfwhich he feels is the better procedure for himself. SUGGESTION No. 2 : 1. In case one wants to dispense with the gimmick but retain the prediction of ” We will both think of the same card ” idea why then it is only necessary to go back to the original system of merely forcing a spectator to think of one of six cardsthat you show him slowly off the top of deck. Needless to say, these cards spell with 10-11-12-13-14-15 letters so as soon as you know the number you can name the card you thought of and later have the prediction read. SUGGESTION No. 3 : 1. Retaining the 12 card packet and prediction idea without the gimmick you could proceed as follows: After you re-set cards you write on the slip, “ We will both think of the same card ” but make it appear, but not conclusively, as if you are writing down your own card. 2, When it comes time toname your card you open billet and at same time say, “ I thought ” naming proper card. Conclude of the *the effect but also point out that your thought and his thought were closely allied.
SUGGESTION NO.4 : NOT WITH A PREDICTION. 1. The six card set automatic spell can be extended into nine cards providing you have the 7-8-9 cards to all spell with 15 letters. Alsoonly 8 cardsare placed above the set of cards. This means that instructions should be given not to stop themental spell until the card on letter S joins those dealt on to table. You will then have to ask for the name of the card, then proceed by picking up either the deck proper or the tabled packet. Now the actual card can be shown on top by either a single or double turnover this depending on the position of the named card. You will readily get the idea of the process involved if with an 8 card stock over the set-up the spectator should stop you on a 15 letter card. This means four 15 letter possibilities distributed 2 and 2 on each section of deck. SUGGESTION No. 5 : Again not with Prediction. 1. In this case the deck can be shuffled, a card thought of but it has to be named before spelling to it; however, it is interesting in principle as one will see. 2. Deck having been shuffled you must force spectator’s mental choice to one of three cards. This can be done as you show him top three cards quickly, then slow up and say, “ Too Fast.” Now show next three slowly, etc. At any rate each time restricting his choice to among three cards.
3. Once youknowwhich set of three he made his mental choice from youshuffle enough cards on top to make the first card of the three as the twelfth one down. 4. Ask for spectator to name his card. No matter what his card is you must assume it is the first one of the set of three possibilities. Now you add or subtract the necessary number of cards so as to bring that first card to come out on the letter S.
5. Let us suppose he said his card is the Seven of Hearts a 13 letter card. Set that first card so it will be the thirteenth card. 6 . Now spell the cards dealing them face up as you do so. If the 7H shows up on the last letter S you have done all right.
7. If it does not show up on the letter S you look up and ask what was the card at same time do a double turnover of the top two cards of the deck. If the 7H shows you are O K . If it doesn’t, turn it face down, then take top card and say, “ I forgot to do this ” as you snap card. Turn it face up and it has to be the 7H if your restrictions to a mental choice of three cards has been correct. I call this also a good “ ESTIMATION OUT.” Have used it since 1948.
92
EXTENDED MENTAL SPELL EDWARD MARLO FFECT : A card thought of is spelled to mentally and on last letter performer is stopped. Card is named and performer shows correct mentally chosen card. This is a further development of the Suggestion No. 4, extended spelling, from “ Predicted Mental Spell.” 1. Set-up.-A crimped card 9th from bottom of deck. In other words, 8 cards below the crimped card. On top of deck the following nine cards are arranged, from top down-
E
6C-KH-AC-8S-4H-7D-3D-QS-8D 1 2 3 4 5 6 7 8 9 2. To work.-Removedeck from case. Give it a couple of straight cuts finally cutting at crimp to bring crimp to the bottom. Now run off 8 cards in an overhand shuffle. This brings deck back to original set-up as in the Step 1 above. 3. Show thetop nine cardstoa spectator asking him to think of one. You can show him the cards one at a time or take off all nine, fan them, tell spectator totake histime. This last is good for those whomay know something of spelling effects. 4. Return the nine cards to top. Get a break undertop card and Double Under-cut ittothe bottom. Next overhand shuffle as follows-Run 2 and throw-Run 2 and throw-Run 3 and throw. Now give it a couple of straight cuts finally cutting crimped card to the bottom.
5. You are now set to spell out the spectator’s mentally selected card but you must remember that the card he stops you at-the last letter S -this card is always tossed ontothe dealt off packet before you ask for the name of the card. 6. Here is the procedure.-All you do is count the cards as he mentally spells. If he stops you at the tenth card you naturally toss it on to the tabled packet. Pick up the tabled packet as this has the two possibilities in clubs. Also remember that the top card of the dealt packet is always the lowest in value of the particular set. Inthe case of the 10 count the one, or ace, is top card of packet but if he names 6C you do a Double Turnover. 7. If the count is 12 when stopped the top card of dealt packet will be 4 H followed by KH so proceed as in the case of Clubs. 8. If the count is 13 hold the deck in your hand because 8s will be on top of dealt card but the QS will be top card of deck. In this case you will note no double lift is necessary in either case. 9. If the count is 15 again hold the deck. If 3D is named it is top card of dealt packet. If 7D is called it is top card of deck but for the QD you do a Double Turnover. 10. A few trials will show how easy it is to remember the sets and howtheylie. It becomes an easy matter to disclose the mentally selected card.
BEHIND THE SCREEN PETER WARLOCK
It
N THE effect “ Two Person Simplicity Predicion ” I mentioned the need for having some other item or items in which it wasseemingly necessary for the medium to be isolated behind a screen. The effect to be described is one of them. The medium is first seated on a chair behind the screen. A spectator from the audience is invited to assist and when he reaches the stage he is seated on thechair B (see diagram of stage layout). In this position he is well isolated from the medium. Two packs ofE.S.P. cards are introduced. (Each carries five patterns repeated fivetimes.) One is handed to the medium behind the screen, whilst theother,afterthe faces have been shown, is in ribbon-spread face downwards on thetable front of the assisting spectator. On a small table to the right (performer’s) of the screen is a small perspex (lucite) stand.
The spectator is asked to look at the spread and to fix his mind on the back of one card. “ In a moment I want you to withdraw that card, but before you do so, my assistant will hand me one from the pack she is holding.” The performer places his hand round the screen and comes back with a card held by his fingertips. The face of this card is not shown and it is placed back outwards at one end of the perspex stand. “ Nowsir,’’ to the spectator . . . “ just push the card you have in mind out of spread.” The spectator does so and the performer picks up the card and without showing its face places it back outwards on the stand on top of the medium’s card. This process is repeated with four more cards, so that there are five pairs of cards on the stand. The climax arrives when the performer turns the cards round and shows that each is a matched pair!
93 The Requirements
The requisites are very simple, just two packs of E S P . (or similar patterened cards) cards,and a perspex stand. One pack of cards is now roughened on the faces. From the other pack five cards are removed .and these are roughened on their backs. Supposing that these five cardsconstitute two crosses, wavy lines,asquareandapentacle,take five similar cards from the pack and pair the sets so that the roughened back of each pair is outermost. These ten cards are then placed on top of the pack from whichthey have been removed. Place a rubberbandaround each packandput them together with the stand on the table at the right of the screen. The Presentatiort
The spectator from the audience being forthcoming he is seated inchair B. Before this, of course,the medium has been placed behind the screen. Say that you wish to show how thought can be anticipated and that for theexperiment you will use two packs of patterened cards. With this you hand him the pack in which all the faces of the cards have been roughened whilst theother is handed to the medium. Come back to the specta-
tor, take the pack from him, remove the rubber band and call attention to the fact that the pack containsanumber of patterns each of which is repeated a number of times. Don’t say how many patterns or how many times each is repeated. Spread the cards face down on the table in front of him. Tell him that you wish him to think of one card, but before he discloses his selection you will take one from the medium. At this point your hand goes behind the screen and the medium hands you the two topmostcards of thepack which you take and handle as one. Then, without showing the face of the card (?) places it (?) at one end of the stand. The spectator is now asked to push the card of his choice out of the spread. He does so and taking it at the fingertips, but not allowing either assistant or audience a chance of glimpsing its face, you place it on top of the two cards handed out by the medium. This process is similarly continued until five cards have been dealt with. The first set of cards is taken with the right hand, squared with the left, and then turned over faces to the audiences. The cards are then separated andbecause of the roughing onthe face ofthe spectator’s cardandthe roughing on the back of the pair handed out by the medium only two cards are seen and these match. The process is continued with the four remaining sets.
SMALL, MEDIUM A N D LARGE PETER WARLOCK N THE performer’s table three envelopes are displayed. Oneisnormal business size, the second is slightly larger than a Jumbo pack. The third is very large indeed. Close by is a pack of cards and a glass containing a numberof folded slips of paper. The performer speaks of the power of prophecy and draws attention to the three envelopes. The pack of cards is then picked up, and cutting off a few of the cards he handsthem to a spectator whom we shall designate as A, with a request that he merely thinks of one. The remainder of the pack is handed to anotherspectator, B, who is asked to shuffle thecardsandthenrequesthis neighbour to take one, look at it and remember it. With his left hand the performer picks up the glass from the table, whilst the right reaches inside and removes about a dozen slips and distributes them a few at a time to members of the audience,
0
asking them to unfold them and note that each bears a different name of a town or city.When they have done this they are asked to re-fold their papers and drop them back into the glass, at the same time the performermentions that in all there are over two hundred slips each bearing a different name. With one hand held over the top the glass is given a shake and then removing the hand, a thirdspectator, C, is asked to withdraw one of the slips, to open it and note the name on it. Withthesechoresout of the way theperformer picks up the theme of prophecy . . . how three choices have been made . . . the first person onecardfrom say half-a-dozen . . . the second person with a choice from the remainder of the pack . . . and finally one town or city from many hundreds. Turning to A, the performer askshim to name thecardin his mind andthenslittingopenthe
94
small envelope he removes a similar card; the first prophecy is correct. B is asked to name his card and taking the second sized envelope and slitting it open a Jumbo pack is removed. It is fanned and it is seen that the card selected by B is the only one reversed in the pack. Finally C is asked the name of the town or city that he has in his mind. Supposing thatthe answer is Norwich, thethird envelope is openedandfromit is takenalarge folded map, which when unfolded bears a caption ‘ YOU WILL SELECT ’ in large letters at the top of the sheet and running from it a slender length of red ribbon the end of which is stuck to the sheet and arranged so that it encircles the city of Norwich. The Requirements 1. A pack of Jumbocardstogether with ordinary size pack as described in “ Taped Slates.’’ 2. A pint size changing glass as described in “ Tele-Coincido.” 3. A large map of the British Isles. . 4. Six playing cards with similar back pattern to the ordinary size pack. Supposing they are :Six of hearts, Ace of Clubs, Queen of hearts, Jack of diamonds, Nine of spades, seven of spades. 5. You will then require three double faced cards of the following values :Six of hearts-Ace of clubs Queen of hearts-Jack of diamonds Nine of hearts-seven of spades. 6. A specially constructed envelope, details of which appeared in Jinx 15. The letterpress describingit is as follows. The illustrationsshould make it quite clear: -
Place three letter envelopes before you and a pair of sharp pointed scissors. Envelope No. 1 is untouched but the sides and bottoms of envelopes 2 and 3 are trimmed so that only the address side remains. Place these twopieces in front of you and apply adhesive at those parts which are shown shaded. Where the dotted line is shown this means adhesive on the underside. Into envelope 1 place the first double faced card. Now place 2 on top of 3 and between these two place the second double facer. Two and 3 are theninsertedintothe envelope 1 and the whole assembly is allowed to dry under pressure. When dry you have what in appearance is an ordinary envelope, but actually one having two secret com-
partments. The third double facer is placed in the envelope proper and the flap is turned over and sealed down. Two points of mention. The first is. that you must be certain of the positions of the cards inside, and secondly that none of the adhesive gets on to thecards. Now that the. envelope is sealed, consider the position. If the left-hand end is trimmed to the depth of one eighth of an inch only the first double facer can be allowed to slide out. Cutting the right-hand side in a similar manner means the exodus of the second card, whilst for the third, slit the top and only the third card can escape. 2. You will require a larger envelope to hold the Jumbo pack and an even larger one for the folded map. The Preparation Part of thishasalready been dealt with in detailing the method of making the faked envelope. The rest resolves itself into the following :You willrequire about150slipsof paper measur ing twoinchesby one. On 75 write the names of dif ferent towns and cities of the British Isles. Fold each slip first widthwise and then lengthwise. On the remaining 75 slips write the word ‘ Norwich.’ These slips are similarly folded. One set of slips goes in one side of the changing glass, whilst the others go in the other side. On the map of the British Isles, paste a piece of white paper and on it paint with a blush ‘ YOU WILL SELECT.’ Now takea length of narrow red ribbon and some sellotape. By means of the latterfastenone end of theribbontothemap under the words, ‘ You will select ’ then running the ribbon down the msp and with the end encircling the city of Norwich use an additional piece of sellotape and fix it in &.ace. Thejumbo pack suitably set upis placed inside the second sized envelope and the map is foldedand placed in the largest envelope. The envelopes are placed in 8 row resting against something so that they can be seen easily. The pack of cards with the extra six on top is placed on the table alongside the changing glass. The Presentation Draw attention to the three envelopes. Pick up the pack of cards, fan them and then run off the top half dozen, handing them to spectatorA. Askhim tothink of one cardand then handing the remainder of the pack to B ask him to shuffle them and ask his neighbour to take one. When this has been done, retrieve the cards and place them in your right-hand pocket. The changing glass is then picked up and a rapiddistributionof some dozen slips made to spectators from the non force compartment. Have theslipsre-foldedanddropped back into glass.
95
With the hand over thetop,the glass is then shaken in true cocktail fashion, and then with a -tilt over of the partition so that only the force slips maybe taken, thethird spectator is asked to remove one slip, unfold it and look at the name of the town or city on it. Directly the slip has been taken, release your hold on the celluloid partition and reach in the non force side and take hold of a number of the slips and scatter them among the audience. As far as you are concerned the effect is now complete. A names his card, and taking a pair of scissors from your pocket you takethe small envelope.
Bearing in mind thecard chosen, you snipthe appropriate side and then allow the duplicate card to slide out into your hand. The first prophecy is correct! B’s neighbour is asked to name the card he drew from the pack. Hc does so and slittins the second envelope open, theJumbo pack is withdrawn, spread and the duplicate of the chosen card is shown reversed. Finally the chosen city is named by C and the third and largest envelope is opened and the map withdrawn, showing that each and every prediction is correct.
MAGIC G O ROUND When these words see the light of daythe British Ring’s Twenty-first Convention will be a thing of the past. Two well-known Pentagram contributors, Alex. Elmsley and John Howie will have lectured and have added something more to the magical vocabulary. We shall have judged the measure of Scarborough asa Convention venue and already the wheelswill have been set in motion for the Twenty-second Convention at Eastbourne in 1958. Though even as these words are written, it seems a time ago the magical events of August were the marriage of Gerrie Larsen to Art Baker and the supper given to them in their honour by the British Ring at the Cock Tavern in Fleet Street. At the show following the supper we saw for the first time the ‘ Shrinking Head ’ illusion, which, we believewas marketed some time before the World War (second not first! ). The presenter told his audience that during the past week hehad presented the effect three hundred times at a local fair. After this, the three hundredand first, we felt sorry that we missed the chance of seeing the first performance. In the July issue of the ‘ Linking Ring,’ Bobby Bernard straining at the scrag end of magical gossipfor his column, ‘ London Bobby Bernard Reporting ’ concludes his July contribution with : “ English magicians are raising the hue and cry over the many famous names publishing magic books for the lay public:Peter Warlock, Will Dexter, Harbinand others. The reply of the authors is ‘ It can’t hurt magic.’ Whom do they think they’re kidding?’’ Perhaps we’re growing oldand not getting around as much as we should for we’ve heard no melodramatic cry nor have we seen the hue. For Bobby’s information, quiteanumber of I.B.M. members are wondering why a non-member of the British Ring, and so far as we know a nonmember of the I.B.M., should be writing a column in a magazine which we always understood was written by the members for the members.
-
Incidentally Bob Harbin’s book due for publication in October and entitled, ‘ How to become a Wizard,’ carries the best black and white illustrations that we’ve seen in a magic book. Primarily intended for the young aspirant to magical honours, Bob has taken a great deal of trouble to use simple methods, methods which can give the experienced magician little cause for worry. Last minute name in the Scala ‘ Magic Festival ’ was Milbourne Christopher, the new President of the S.A.M. It was a lucky chance that a visit to Europe enabled him to fulfil this date. Milbourne seems always to preserve the eternal quality of youth both in his outward appearance and his enthusiastic approach to the evolution of new tricks and ideas. This is exemplified in his monthly column in Hugard’s Magic monthly. In his new capacity as President of the S.A.M. we wish him a happy and successful term of office. It has been a real pleasure during the past few months meeting Claud and Daisy Leslie from Australia. Claud, who is a septuagenarian can take you back to the turn of the century and retail stories of the original Dante, Leroy, Thurston and Jean Hugard. Assistant himself to Czerny he knows his theatre and this much longed for trip to the Mother Country has been a grand experience for both him and hiswife. He sailed back on August 12th. We wish them a calm sea and prosperous voyage. It was good to see David Nixon looking fit and well after his successful season with Winifred Attwell at Brighton. David tells us that “ It’s Magic ” comes back on the air soon with some 10 scheduled shows. Our talk with George Boston at the Larsen reception was all too short. As readers of ‘ Inside Magic ’ know, George knows the magic business from A to Z . And talking of America, Sis Gabriel is lucky enough to have three months in New York and roundabout. Her vivacity and ability to keep a party goingwill be missed this year at Scarborough.
* MAGIC
96
A SELECTION OB?
THE LATEST B O O K S
THE GREATER LIBRARY
THE DECEPTIONS BOOK KIein Alexander By Lewis Ganson The World’s most spectacular hoaxes, NO need to extol the virtues of this impostures, and frauds- Fascinating! great work. Price 21/Price 45/Postage 1/1 Postage1/4
VERNON By
Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages. Price per volume 21/Postage 9d.
DIA
ABBOTT’S ENCYCLOPEDIA OF ROPE TRICKS
PLAYINGCARDS HISTORY AND SECRETS OF THE PACK
128 ‘ double size ’ pages and every conceivable rope trick. The new enlarged edition. Price 21/Postage 7d.
By W. Gurney Benham pp. Dozens of beautifully coloured illustrations. A few only, in mint condition! Price 35/Postage i / 4 196
SCIENCE MAGIC By Kenneth Swezey
AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘sciencetricks ’ to perform atthe dinner table. 182 pp. Cloth bound, masses of photographs. Price la/Postage l/-
A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price 16/Postage l/DOINGMAGIC FOR YOUNGSTEW ByBert Easley Includes also full the text of Eric P. Wilson’s classic, THE ART OF CONJURING TO CHILDREN. 128 pp. Cloth. Price 25/Postage ad.
*
*
EFFECTIVE CARDMAGIC By Bill Simon Acloth-boundbook of 182 pages of first-rate card magic by one of America’s top card men. Price 47/Postage l/-
ENCYCLOPEDIA
OF CIGARETTE TRICKS By Keith Clark The only worth-while book on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everything you need to know about escaping from handcuffs. 112 pp. Board covers. Price 60/Postage 6d. NICK’S TABLE TRIX By Nick Trost A well illustrated manuscript publication of tricks for the card tableand the author’s fine Ring and Rope Routine. Price 7/Postage 3d.
Write for our full Book List containing hundreds of Titles
*
THE M A G I C W A N D PUBLISHING C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
is published on the24th of each month and can be obtaineddirect from the pubbhazs for 117 persingle copy. Annual Sutucription 181post free.
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road. London, N.W.l. Magical Theatre
King George’s Hall, W.C.
Saturday, 9th November, 2-30 p.m. AIJCTION SALE Particulars horn Hon. Secretary
*
;
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
Advertiser’s Every
WARLOCK’S
I
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscripts for publication and books for review should ba sent to the: EDITORIAL ADDRIiSS:
Peter Warlock,
24, Wordsworth Rd., Wallington,
JACK HUGHES will be pleved to rend you fall detaita of
THE DE LUXB “SU-TABLE” together with all hia other effecta in return for a rtarnp. Write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London, N.W.9.
Surrey.
goods are fully endorrs’edBulletin by this
PUBLISHED BY T R E PROPRIETORS T R E MAOlC W A N D PUBLIBHINOCOMPANY. S? WPLLINOTONROAD,PNPIELD, MIDDLESEX L S O N (PRINTERS)LTD.. BRIDGE W O R K S , SRIPLEY, YORKSRIRE A N DP R I N T E D BY RERBERTWALKER
j
THE
“
DOLLIS” COIN VANISH JOHN DERRIS
HIS IS an extremelyeasy and a beautifully clean vanish of a single coin accomplished with the aid of a wand. Its use is obviously in a coin routine where a wand is not out of place and itis in this role that I have foundit ideal. Holding a wand, the magician shows a coin and places it on his left palm. The wand is now heldby the left hand whilst the righthand is shown quiteempty; the left fist is turnedback uppermost. With fingers opened wide the right hand removes the wand from the left hand. The wand is touched to the back of the closed hand which is opened to show that the coin has vanished -it can be reproduced if so desired. Truthfully, there are no fast or unnatural moves; it can be performed slowly and casually and it is extremely deceptive. Here’show. You canuse a standardwand,black with white tips, but personally for close-up magic I use a white plastic chopstickwhich is square instead of circular. The vanish is easier with this type of wand. Halfway along the length of the wand place a small pellet of waxof the same colour as the wand (in this case, white). Now proceed as follows. 1. Hold the wand in the right hand and show the coin to be vanished, held between the thumb and finger of the same hand. Lay the coin on the palm of the left hand (Fig. 1) and point to it with the tip of the wand. 2. The wand is now laid casually across the left palmalsothe coin so thatthe wax spotis directly over and in contact with the coin. Do notmakea move out of this; you have merely transferred the wand to the left hand so that you can show the right hand empty. As the right hand is raised and shown the left fingers close over the wand and coin so thatthe wax spotis pressed firmly against the coin. 3. The left hand now turns completely over so that the back of the hand is uppermost and the
T
VOLUME 12, No. I
-
left arm is raised slightly. With finger wide apart, the index finger and thumb of the right hand now graspsthe wand projecting above the lefthand. The left fingers are in a relaxed position asthe right hand removes the wand in an upward movement. Because of the wax spot the coin clings to the wand and emerges from the hand as the wand is removed. Fig. 2 shows the position clearly from the performer’s view-the coin is just leaving the left hand. Althoughtheright fingers are wide apart the action of the coin leaving the left hand is completelycoveredby the right palmwhich coincides with the position of the coin on the wand. 4. The upward movement is continued until the lower end of the wand is clear of the left hand. Do not make any movement whatsoever with the left fingers-just keep them in their relaxed position as if they were still holding the coin.
1/6. (20 Cents)
-
OCTOBER 1957
2
2 5. Withthe wand and coin a f h e d held in your right hand, touch the back of the left hand with the tip of the wand, then open to show that the coin has vanished. If you now wish to get rid of the coin altogether you can place the wand down on to the table behind a silk or similar object or you can place it in your inside jacket pocket. Either way, because the coin is still attached to the wand, you can perform these actions very cleanly and with-
out any suggestion of hiding anything. Alternatively you may like to reproduce the coin. In this case, whilst you are opening the left hand to show that the coin has vanished, you work the coin free from the wand in your right hand. Then, with your open left hand palm up, you gesture with the right so that this hand passes over the left. At this momentyou drop the coin from the right hand into the left. Immediately the left hand closes and turns back up. Touch the back of the hand with the tip of the wand and thenopen to show that the coin has returned. If you wish to finish a coin routine by vanishing a number of coins it is possible to use the move described by waxing the coins together then proceeding with the vanish as with a single coin. The principle of this vanish can also be used for sponge balls in the following way. Instead of using a plastic wand you must use a wooden model but with one end tapered to a point; a conductor’s baton is just the thing. The sponge ball mustbe madefromamaterial of an open texture. The ball is placed in the left hand which is then closed. The wand is pushedthrough the fist so thatit penetrates the ball. The right hand is shown empty and the wand is removed from the left fist with the ball or balls impaled thereon. Although this ball vanish may read very well I warn you that it is quite a tricky thing to handle for a lot depends upon the type of sponge you are using, also the necessity for a wand with a sharp end. I mention it, for it maybe of someuse to you but the principle, used for vanishing a coin, is entirely practical and I recommend it unreservedly.
T H R E E CARD ROUTINE A. W. ROOTS PECTATOR shuffles. Take pack in left hand.Crimpthebottom card-and drawa packet from middle of pack and start Hindu shuffling this packet on top of remainder. Audience calls “stop” anytime, stop here and deal off top threecardsof left hand packet to three persons, A, B. C. Drop right hand cards on left hand packet. Undercut half the pack and have thethree cards returned to top of left hand heap and drop right handheapontop.Cut fairly, then to and includingcrimp. Selected cardsare now ontop of pack. Riffle-shufflemaintaining top stock. Turn the pack face-up and leaf through a few cards. Get a break nine cards from face of deck. Close the spread and double-cut the nine cards to top of deck. Turn pack facedownandribbon spread on table.
S
Point out that the cards are lost somewhere in the 52 cards-wave hand over ribbon and with eye countto eleventh cardfromtop ofdeckflick this card face-up. Push it to table centreone of the spectators will claim it. Scoop ribbon UPHold pack in left hand in overhand shuffle position, undercut half with right hand and hold out left hand-spectator returns his discovered card face-up on left hand packet. Shuffle off right hand packet fairly on this card. Ribbon deck face down again. Wave hand over ribbon again, count with eye totenthcardfrom face-up card at centre-run finger along and flick this card face-up. Another spectator will claim this card. Leave it face-up in deck at its original position. Nowtwo face-up cards in deck. Scoop pack up.
3 T H R E E CARD ROUTINE-Continued
from page 2
Hold pack in left hand and start running off with right hand until first face-up card is reached -toss it out-run to second face-up card, leave it on top of left hand heap and lay down cards in right hand. Left hand thumb counts two cards as right hand picks up the first face-up card which was tossed out earlier. Hold this card by the ends, layit on the face-up card(s) on left hand packet and pick this card(s) up. Actually top card of the packet is now face-down below this card. Lay the two cards (3) in left hand still face-up and take off top card during covering patter. Return this card below theface-upcard in left hand. Thus the third selected card is now face down between the
two face-up cards. Hold these cards in right hand, pick up a packet in left hand and with thumb of that hand flick over its top card to show for moment, then turnit face down again. (This is not really necessary, but I use it because card men I know sometimes think a glide move is used here and showing of topcard getsrid of that idea.) Lay the face-up cards on this face-down packet. Pick up other tabled packet, turn face up to show bottom card casually, drop it on face-up cards. Lay pack down. Ask for name of third card. Wave hand over pack and ribbon show last card face down between the other face-up selections! ~~
M Y SEALED MESSAGE READING ROUTINE GER MOT0 IRST of all I distributea number of plain business cardsand request members of the audience to write some simple question on these pasteboards. A number of pay-envelopes are handy and these are stacked as follows: First of all flaps are opened and all envelopes are placed one on top of the other address or writing side down except the top two. The topmost envelope, containing a blank card, is placed on the next one with the address side up, but the flap is
F
tucked inside the second envelope fromthe top. This gives the opportunity to place a card seemingly in the top envelope but in fact it goes into the second one. The questions having been written I ask aspectatortohand me his card with the written side down so that I can not see what his question is. “ I’ll show you how to place the card into an envelope correctly,” I explain, and taking the card appear to place thecardintothetop envelope. As you now know this card goes into the second envelope from the top.
Thetop envelope is pushed forwardand handed tothe spectator to seal. However this envelope contains the blank card. Next each spectator receives an envelope from the bottom of the stack in which the cards are sealed as explained by the mentalist. While this is going on I turn my back so that 1 cannot see what happens. In the meantime there is sufficient time to open thetop envelope and read the question therein. Thiscard is placed under a sheet of blotting paper on the table as I place the remaining envelopes on the table. The other envelopes are collected-the envelope containing the blank card going at the bottom of the stack. I take the top envelope and place it against my forehead. The question is “ read ” but actually you say aloud the question already known to you, answer it as well and then open the envelope to convince yourself the question was correct. After the spectator has confirmed the question and the answer to be correct (we hope) you offer to give him his card back “ and as a souvenir I will place my signature on your card.” Sit down at the table, write your signature and blot it, lifting one corner of the blotting paper only. Under cover of the blotting paper you switch the cards and read the next question. After this procedure thecard is handed back to the spectator. The signature on the first card was written while my back was turned. Certainly, this is the one-ahead system, with the advantage that the spectator gets his own card back before the next card is read and answered. You can go on until you have the blank card (the last one) under the blotting paper.
4
FACE U P CARD AT NUMBER A. W. ROOTS HIS effect is well known-this is my method. pack Fan face-down. Selection made, returned-hold break below selected card at centre of pack. Takethe pack in right hand transferring break to right thumb. Drop in left hand all cards below break. Side glide bottom card of right hand packet with third finger. Ask for anumber upto (say) fifteen. Say ten called. Push off top card of left hand packet and turn it face-up with left thumb. “ Watch for your card.” Push the face-up card under the right hand packet but leave it protruding. Actually it goessecond frombottom owing to glide of bottom card. Push off next card of left handheap,turn face-up, push under right hand packet (this time actually onbottom below glided card)andcontinue pushing off cards face-up until there are ten
T
face-upunderthe packet. Spectator’s card has not been seen. Lay down remainder of left hand heap. Take face-up cards from beneath right hand packet in left hand and square glided card with rest. Laydown right hand heap. Turn packet of ten (?) face down and buckle is not amongst count “ Ten cards and your card them! ” Lay last card below rest. Spectator’s card is now tenth from top of this packet and face-up. Ask spectatorto point to one of the two tabled packets and drop the packet in handon same. Hand in this packet. Ask for his number again and have him count down to his card. Personally, I find it better not to havehim name value of his card as in normal way.
A WARLOCK’S PREDICTION PETER WARLOCK ERE IS a practical prediction effect suitable for large stage work. Many of you will have seen A1 Koran make use of an adapted version in T.V. work. A standon which rests a card with alarge ‘ 1 ’ on it is seen on the performer’s table. A blackboard and easel are close at hand. The numbered card is takenfrom the stand revealing acard beneath numbered ‘ 2.’ On the one in his hand the performer writes, with a piece of green chalk, a message and withoutshowing the audience what he has written he replaces the card back on the stand. A member of the audience is now requested tostandupandtonameacolouraloud. When he has done this the mentalist writes on the blackboard “ A- (say) Mauve.” The second and indeed a third board are similarly taken and respectively written upon with red and brown chalk, whilst two other members of the audience act as representatives B and C. The spoken thoughts of these two spectatorsare also written upontheblackboard that the three below those of A.We’llsuppose selections by the spectators are as follows:A-Mauve B-San Francisco C-Three of hearts The boards are now taken from the stand and the writing beingrevealedproves that in every case the performer has been accurate with his predictions.
H
The Requirements This is an apparatus trick and requires care in manufacture. First of all let me state that the cards used are in effect blotting paper holders, a sheet of white paper taking the place of the more absorbent kind of paper. Withcoloured chalk writing on a white surface, such writing shows up far better on this white surface than it does on a slate. To make up these pads you will first require nine pieces of stout cardboard measuring 12 by 10 inches. (This size is arbitary but I am giving the size of the boards made upbymyself.) Four of the boards should be faced with a quality paper. Now from the centre of the four faced boards cut a circle of cardboard three inches in diameter. Four pieces of thin celluloid, four inches square are now taken and affixed to the unfaced side of
-
12’
----t
DOTTED L I N E S SUOW POSITION OF CELLULOID U N D E R ADUESIVE T A P E
5
these pieces of board SQ that each completely covers the cut out circle. The easiest way and at the same time cleanest, is to use sellotape. This is shown in Fig. 1. Nov to construct the padsproper. Those numbered ‘ 1 ’ and ‘ 2 ’ are quite straightforward. Some fairly thin leather is required for the corner pieces. Sixteen pieces are required in all and the shapeto whichtheyshould becutis shown in Fig. 2.
SWAPE MMWDNS OF LEATHER.C O U E L
Preparethree of the unfaced boards with corners and then at the centre of the backs of these boards affixwith paste asquare of white paper 34 inches square. With a brush and some Indian ink paint on the squares of paper the numbers ‘ 1 ’ and ‘ 2 ’ respectively. With a coating of adhesive over the backs of these cards (except, of course, where the square of paper with thenumber appears) they are applied squarely to the non-face side of the faced cards and allowed to dry under pressure. Pads ‘ 1 ’ and ‘ 2 ’ are nowcomplete
I
~~
I
~
5 L1 0E
POSITION O F
-
DOTTED LINES CLEfMSENf POSITION OF CClLLULOlD W I N D W POSITION OF NUMW5RS
glued to the top and bottom of the unfaced side of the faced board whilst the third piece forms the slide. So that it shall not protrude at either end, four inches are lopped off. Near oneend of the slide a drawing pin is inserted (see illustration) and on the other side, white paper is pasted on and the numbers ‘ 1 ’ and ‘ 2 ’ painted upon it. The slide is nowplaced into the channel formed by the other twopieces of card and the positions found for the extreme movements of the slide i.e., to change through the celluloid window the number ‘ 1 ’ to a ‘ 2.’ A slot is now cut in the leathered cornered card to allow for the movement of the slide and drawing pin. Nowwith the aid of glue the complete card is assembled and with the slide at the position shownin the illustration a slight pressure on the drawing pin headand lateral movement to the right will cause a change of number on the card (Fig. 6). There is nothing really difficult in constructing the card. Patience is all that is necessary.
bACK OF PAD WUEN FINISHED
(Fig. 3). There is little difference in the construction of pad number ‘3,’ this difference is in the two topmost corners where the leather holders are enlarged so that pad number ‘ 2 ’ can nest. (See Fig. 4.)
WOW
I2
PAD
IS NESTED IN
2
I
S L I T TO
PIN WEAD
-
POSITION OF
Finally the stand onwhich the cards rest. Here again the illustration tells a better tale than a multitude of words. It is best made in five-ply wood; it has an easy fitting flap to match the back of the stand. The flap I have is made from stout cardboard.Thestandcan either be finished by painting, or covered with veneer. (Fig. 7.)
OF FAD ILLUSTlCATlON SUOWS PAD INCOMPLLnYJ NUWE COLNERS
The construction of pad number ‘ 4 ’ (this has to play the role of twopads) is moreintricate. Remember that youhave onefaced card spare and also a spare card with affixed corners. Between these two pieces of card a slide has to move so that either a ‘ 1 ’ or ‘ 2 ’ can be seen throughthe celluloid window. For thispurpose the ninth board is taken and cut lengthwise into three pieces (see FigS), the two outer pieces being
F L A P W H E W EXACTLY FITS S T A N D b I5 PAINTED TO MATCH BACK O F STAND
6 The remaining requirements are three sticks of chalk, one an ordinary stick of green, the second half green, half red joinedwithadhesive tape, whilst the third is halfred and half brown similarly joined. You also need a means for forcing a card in a most direct manner. I use a straight forcing pack with an indifferent card on the face. There should be little need for me to add that the one ahead system is used and that the last ‘ prediction ’ is a force.
manner. Standing left side to the audience the pad is taken with the right hand. The left hand tilts the pads and flag forward (see Fig. 9), and the right hand continues with a downward movement placing board number ‘ 1 ’ behind the flap. To the audience it wouldseem thatboard numberone has been placed at the rear of the visible board.
The Preparation Into the unfaked padsslip suitable sized pieces of white drawingpaper. On the number three sheet write in brown chalk: “Number three will choose the (name of force card).’’ Now board number two is nested in board number three and in this condition bothboards maybe handled easily asoneboard. A sheet of paper is now slipped into the faked board and cut with a razor blade, allowingspace forfree movement of the drawing pinhead. To further conceal this slot a line is drawn across it in green chalk. Fig. 8 shows how, when the message is added, this line forms a mere flourish. At a distance of three feet, the slot is invisible.
SHOWING HOW CUALK M A U DISGUISES S L I T WHICH tN TU15 D R A W I N G IS EXAGGERATED IN WIDTH
The boards are now set up as follows: First of all fit the flap into the stand and then place on top of it,number side facing the audience, pad three, which remember has pad two nested inside. On top of this place the faked pad with figure ‘ 2 ’ showing and finally ontop of this the unfaked pad number ‘ 1.’ At hand you have the chalks in a box, blackboard and easel and forcing pack. The Presentation Pad number ‘ 1 ’ is taken with the left hand and the piece of green chalk with the right. On this pad the mentalist writes any message he likes. When he has finished the chalk is dropped into the box and the pad is placed back on the stand in this
A spectator is now asked to think of a colour and then name it aloud. When this has been done, the mentalist writes on the blackboard with green chalk: “ A . . . Mauve ” (or the given colour). The green chalk is replaced in the box, and the faked pad removed with the left hand whilst the right takes the stick of red and greenchalk from the box. Makecertainthat in picking up the chalk the red part is visible to the audience and at the same time say, “ For my second prediction I shall use red chalk.’’ At this stage the mentalist, whilst apparently writing the second prediction, turns the chalk end for end and in green writes on thefakedpad theprediction for spectatorA,i.e., the colour. The chalk is replaced in the box, care being taken that the audience is allowed no sight of the green end of the chalk, and the pad apparently replaced on the stand in a similar manner to the first pad handled. The difference lies in the fact that only pad number three with its nested number two is tilted and the faked pad goes between these and the flap. The second spectator is now asked to name a city . . and this is written on the blackboard. The two nested boards are now taken whilst the stick of red-brown chalk is picked up with the
.
7 right hand. On what appears to be board number three, but which because of the nesting is board number two, the mentalist writes the second person’s choice in red chalk. The pack of cards is now taken and a straight force made with a third spectator. The nested boards are replaced on the stand on top of the faked board and the name of the card taken is then written on the blackboard. The pack is droppedbackinto the mentalist’s pocke!. The trick is complete and all the boards above the flap are removedby the mentalist. Holding the boards in front of himwith both hands, the mentalist recapitulatesand at the sametime his right hand thumb presses against the head of the drawing pin and moves it to the right so that the number on this board changes from ‘ 2 ’ to ‘ 1.’ “ Before this first gentleman namedacolour I wrote something on board number one for him.’’ The board is turned round and it is seen that the
performer has been successful with his first prediction. The board is nowreplaced on the stand writing side to the audience. The right hand movesover to the nested boards, which are in the left hand, and comes to rest underneath them. At the sametime the left hand, which for the moment has kept the nest in alignment, releases its pressure allowing the real padnumber two to slide into the )righthand; Immediatelypad number two is free the right hand turns it round andshows that the second prediction is correct. After this has registered with the audience and been replaced on the stand, the third pad is turned around showing thatall three predictions are correct. For the record this effect was first performed at the Leicester Magic Circle in the Autumn of 1945.
BOOKS “ WHAT’S NEW IN MAGIC ” by Walter B. by Nicholas Gibson(Englisheditionpublished Kaye, price 15/-). The ability to express themselves concisely, is a gift that is not enjoyed by all magical writers. Walter B. Gibson has beenwellblessedby the fairiesfornot only are his explanations concise but they show an enthusiasm for magic, an enthusiasm that cannot fail to infect the reader. In this present book, Mr. Gibson has taken in all some eighty-odd feats of magic for the delectation of his readers. He is catholic in his choice and though, perhaps, as is always natural, there is a preponderence of card effects, there are items that will be fitted to every kind and type of magician, though let it be saidthatto the well read or experienced conjurer there is little that is new or unpublished. Like that master of explanation, Will Goldston, Mr. .Gibson believes that good illustrations can tell a story more graphically than countless words with the result that illustrations, too numerous to mention, help the text and leave no reader in any doubt regarding the working of the trick described. Nobody can fail to praise such a publication but one feels that it is rather a pity that the English Editor seesfit to paint the lily by stating in his ‘ Foreword ’ that:“ I venture to state that if the reader takes the trouble to learn the sleights (and they are not difficult) he willneed no further knowledge (the italics are ours.-Ed.) on that subject t o establish himself as a ‘ card man ’ in the truly professional sense.” Such statements in a book written primarily for the laypubliccan givenothing but a false
impression, and we can see the aspirant for magical honours who may use this excellent book as his bible being a little deflated whenhedoescome into contact with not only professional butalso first-class amateur ‘ card men.’ Excellent value, this well bound and well produced volume will make an ideal Christmas present for your wife to give you. “ TWENTY-FOUR ROUTINES WITH ‘RUSS’ WALSH’S RUBBER TOP HAT,” by ‘Hen ’ Fetsch. No price given. It wouldbe an easier proposition to review the present publication if we had one of the rubber tophatsabout which the present booklet is devoted. Accepting the fact thatthehat which sells at tendollars in America lives uptoits description the routines by ‘ Hen ’ Fetsch should enablethe owner to produce some surprising results. The hat, a full size one, is made of latex rubberand therefore easily compressible. With this excellent aid,our good friend, ‘ Hen ’ has written up a series of some twenty-four items all of whichhave the typical ‘ Fetsch ’ touch,and those who had the privilege of seeing him at Harry Stanley’s know that such a touch makes a commonplace trick into a magicaleffect. Tarbell has supplied some excellent drawings and though descriptions are brief they are clear. ‘ Russ ’ Walshwho has given the magical fraternity some nice effectswhichhavestood the test of time, seems to be on another winner here. He pays a very nice and well deserved tribute to ‘ Hen ’ Fetsch on the title page. For the practical workerwefeel that there is a worth of material having its use with either children or adults.
*
I
-
-
8
A SELECTION O F
THE LATEST B O O K S
THE GREATER MAGIC LIBRARY
Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of1,000 pages. Price per volume 21/Postage 9d.
THE DIA VERNON BOOK By Lewis Ganson No need to extol the virtues of this great work. Price 45/Postage 1/4
*
GRAND DECEPTIONS By Alexander Klein The World’s most spectacular hoaxes, impostures, ruses and frauds. Fascinating! Price 21/Postage 1/1
ENCYCLOPEDIA PLAYING OF CIGAREITE TRICKS HISTORY SECRETS AND By Keith Clark THE PACK The only worth-while book onthis By W. GurneyBenham 128 ‘ double size ’ pages and every subject. 304 pp. cloth-bound Fine conceivable rope trick. The new 196 pp. Dozens of beautifully book, enlarged edition. coloured illustrations. A few only, m Price 52/6 mint condition! Price 21/Postage 1/2 Postage 7d. Price 35/Postage i / 4 MODERN SCIENCEMAGIC HANDCUFF SECRETS By Kenneth Swezey AFTER-DINNER FOR MAGICIANS SCIENCE A fine 182 pp. cloth-bound book with By DickNorman masses of photographs illustrating By Kenneth Swezey Everything you need to know about hundreds of fascinating chemical and Hundreds of ‘-science tricks ’ to perescaping from handcuffs. 112 pp. science tricks. formatthe dinner table. 182 pp. Board covers. Price 161Cloth bound, masses of photographs. Price 601Postage l/Price 16/Postage 6d. Fustage l/DOINGMAGIC NICK’S EFFECTIVE FOR YOUNGSTERS TABLE TRIX CARDMAGIC By Bert Easley By Nick Trost By Bill Simon A well illustrated manuscript publicaIncludesalso the full text of Eric P. Wilson’s classic, THE ART OF CON- A cloth-bound book of 182 pages of tion of tricks for the card tableand author’s fine Ring and Rope JURING TO CHILDREN. 128 pp. first-rate card magic by one of the Routine. Cloth. America’s top card men. Price 71Price 25/Price 47/Postage 3d. Postage 8d. Postage l/ABBOTT’S ENCYCLOPEDIA OF OFTRICKS ROPE
*
CARDS
Write for our full Book List containing hundreds of Titles
*
T H E M A G I C WAND PUBLISHING C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Librarc
and Museum :
Hearts of Oak Bulldings, Euston Road. London, N.W.1. Magical Theatre
King Georce’s H ~ l l ,W.C. 27th November-
ANNUAL SUPPER Particulars trom H o n . Secretary .
*
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
JACK HUGHES
PENTAGRAM is publishedon
the 24th of eachmonth
and
r a n be obialneddirect from thepublishers for 117 per Lingle copy. AnnualSubscription l8l-
PUBLISHGD
post free. BY:
EDlTORIhL
Peter Warlock, Rd., Wallington, Surrev.
together with a11 his other
effects in return for a stamp.
for
ADDRESS:
24, Wordsworth
you
full details 01
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication andbooks review should be sent tothe:
will be pleased tosend
Writenow
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goods are fully endorsed by thisBulletin PUBLISHED BY T H EP R O P R I E T O R ST H EM A Q l CW A N DP U B L I S H I N GC O M P A N Y . 67 W E L L I N G T O NR O A D .E N F l E l D .M I D D l E S t X A N DP R I N T E D BY HERBERT WALKER & S O N (PRINTERS)LTD.,BRIDGE W O R K S . SHIPLEY,YORKSHIRE
9
A FRED LOWE NUMBER RED LOWE is a lover of natural magic. The prelty boxes and silk screened cutouts have little place in his magic life. He took up magic some twenty years ago. and all the items he has published have the quality of straightforwardness inplot and technique. The present three items are more than welcome.
F
The cup and ball routine’is something quite different. and can appeal equally in a room or on a stage.
In the main Fred presents either a two or one penon mental act, at the same time never neglecting sleight of hand and close-up magic. North of England magicians know him well as he lived in the Liverpool area for many years and was a most active member of the Mahatma Circle of Magicians. Two years ago hemoved south and took up residence near Portsmouth. Wherever there isa gathering of magicians, Fred will endeavour to be there.
RAINBOW CUP AND BALLS
A
FRED LOWE BOUT nine years ago Roy Bensou published As we know, the Cups and Balls (with three a very effective routine in “The Phoenix.’’ cups) can become a little confusing to a lay
The routine employed asmall bowl and sponge balls and was. in effect, the cups and balls withonly one cup. I liked the routine from the first reading and used it in a ‘‘G d y ” Act from 1949 onwards. Bruce Elliott included the trick in his “Classic Secrets of Magic” and this popularised it to some extent.
VOLUME 12, No. 2
-
audience and Benson’s routine certainly made the effect very clear-cut. In fact I began to think that the effectwas alittletoo simple andthatthe moves, although not seen, could be worked out by the astute spectator. Thus-ball apparently placed in left hand disappears and appears under the cup. A second ball apparently placed in left hand dis-
I/a. (20 Cents)
-
NOVEMBER I957
10
appearsand now thereare two balls under the cup. The knowledgeable layman (and the great educational medium of television is increasing the number daily) assumes thattheball whichwas vanished from the left hand remained in the right hand and from there was introduced into the cup. I had the chastening experience recently of having most of the moves of the c.ups and balls explained to meby alayman whilst wewerewatching a television performance of the routine. It was as a result of this reasoning that the following routine was devised, and even experiencedperformersmayfind the movesdifficult to follow when watching a performance. The simplicity of effect has been retained and the use of three differently-coloured balls is a change from the usual. The effect Performer shows a cup and three balls-red, yellow and blue in colour. The yellow ballis vanished and appears under the cup. The red ball is thenvanished and joins the yellowunder the cup.The blue ball then vanishes andjoinsthe other two under the cup. All three balls are placed in the pocket. The blue ball jumps fromthe pocket under the cup. Blue ball is replaced in pocket and the redballjumpsfrom pocketunder the cup. Red ball is replaced in pocket and the yellow ball jumpsfrom pocketunder the cup.Finally performerstatesthathe will makeallthreeballs jump from pocket under cup but when cup islifted there is one large ball colouredred-yellow and blue. Properties required A cup-one from a set of cups is ideal. I use a large heavy brass cup with a mouth diameter of threeandone-quarter inches. Sixsponge balls (two yellow, two red and two blue). I use balls of oneandone-quarter inches diameter. The balls must be very compressible and I have found the best sponge for the purpose is the very light nylon sponge which can be obtained at any chemist or largestore.Unfortunately the colours are pastel shades and I found it necessary to dye the sponge. ‘The dyeing is simple. Obtain some “ Dylon ” make dyes and use a veryconcentrated solution -about a quart of boiling water to one dye. Put the sponge in the solutionand leave for a few minutes-it takes the colour quite rapidly. A wand. If possible not a black wandwith white tips. A large sponge ballmade up of the three colours used. Simply stick pieces of sponge together and cut the ball to shape. This ball must be cut to a size which will allow it to stick in the top of the cup.
Routine As I perform the effect in “ Gilly ” style a fez is worn and the fez is used in the routine to obtain
and discard some of the balls. I will describe the routine exactly as performed and append one or two suggestions for those who would not want to use a,fez. The properties are set as follows. Three balls -yellow, red and blue, on table covered by cup. Wand on table. A yellow ball and a red ball are tuckedunder the shirt collar at the back of the neck. These ballsare touchingeach other with the yellow ball on the left. A blue ball is in the fez--1 frequently have the fez on the table with the ball inside and place the fez on the head before commencing the routine. Donesmoothly the ball will not fall out. Large ball is in the right jacket pocket. Take cup in left hand and wand in right hand. Rattle wand inside cup saying, “ The oldest trick in the world-one brass cup. Nothing inhim.” Replace cup on table clear of the balls. Move the three balls in turn with the tip of the wand saying, “ Three little balls-theyellow, the red and the blue.” (Obviously this patter is given with a “ Gilly ” accent but it needs little change if working “ straight.”) Placewandunder left arm and take yellow ball at right fingertips saying, “ The trick is to make the yellow ball vanish and ,gounderthe cup.” Place the yellow ball into the left hand (use the same movement which you use when palming in the right handlater).Take wand from under arm with right hand and tap the left hand. Look at the cup and tap the top of the cup. Replace wand under left arm and lift cup with right hand. Say, “ Ah! He has not gone.” Look at left hand and slowlyopen the hand revealing ball. Say, “ Sorry-Iwill try himoncemore.” Apparently place ball in left hand, palmingin right hand. Take wand in right hand and tap the left hand. Smile and open the lefthand saying, “He has gone.” Replace wandunder left armand lift cup with right hand, look inside cup and say, “ Not there.” Replace cupontable saying, “ Where has he jumped to-Ah! I feel him.” In replacing the cup on the tableintroduce the palmedyellow ball under the cup. Reach behind neck with right hand and take the two balls from under the shirt collar. The red ball is concealedby the finger tips and the yellow ball is visible. Say, “ Ah! there you are.” Place yellow ball on top of cup. At this point, although you have not yet done what you promised (viz., made the ball vanish and go under the cup,youhave done onepass and, more important, have conditioned the audience so that they do not knowwhat to expect. Also at this point there is no suspicion that a yellow ball has been loaded under the cup because even the astute spectator will reason that the ball produced from the neck was the one vanished. The position is now thus: Yellow ball concealed under cup. Yellow ball on top of cup. Red ball concealed in right hand. Say, “ I will try again.”
11
Take yellow ball from top of cup with right hand and apparently place into left hand, fingerpalming in right hand.Take wand fromunder left arm and tap left hand. Show left hand empty and replace wandunder left arm.Takecup in right hand with the fingers near the bottom (mouth). The back of the hand should be towards the audience and the thumb on your side of the cup. Liftcupand reveal yellow b a l l - d o this slowly to avoid suspicion that youmaybe dropping a ball from your hand as you lift the cup. Pick up yellow ball with left hand and as you do this turn the right hand so that the top of the cup is pointing towards the audience. As the left hand moves up from the table holding the yellow ball it passes between the audience and the right hand and at this moment you release the two palmed balls from the right hand continuing the turn of the cup until the cup is mouth upwards. Replace cup mouth upwards on the table. Take yellow ball from left fingertips by the right hand and hold the ball up saying, “ At last the yellow do what I tell him.” Apparently place yellow ball in the cup, fingerpalming in right hand. Do this quickly and casually. Pickup red ball with right hand saying, “ Now the red ball.” Apparently place red ball in left hand, palming in right hand. Take wandwith right hand and tap left hand, showing empty.Replacewandunder left arm. Take, cup with right hand slowly turning the cup mouth towards the audience and allow the red and yellow balls to roll slowly out. Cover the balls with the cup. Say, “ Now the blue ball.” Take blue ball from table andapparently place in left hand, palming in right hand, Take wand in right hand and tap left hand. Do not neglect this bit of business because at this stage you will have three balls palmed in right hand and the handlingof the wand is good misdirection. As the balls are very compressible they can be held tightly by the third and fourth fingers of the right hand. Show left hand empty andreplace wand under arm. Say, “ The blue ball has gone under the cup.” Lift cup with right handand say, “ Not there. Where has hegone.Ah! I feel him-inmy tarboosh.” Replacecup over balls on table. With left hand take fez from head with hand on top of the crown and hold fez upside down in left hand. Put right hand inside fez and relax the right hand allowing the balls to expand, then retain the blue ball (which will be nearest the thumb) and drop the red and yellow. Pick up the other blue ball between right first finger andthumband bring handawayfrom thefez. Replace fez on head with left hand. This reads long but only takes a moment and to the audience you have simply produced the blue ball from your fez.
Take blue ball at left fingertips and hold it close to the cup. Speak to the ball saying, “ Now, no more tricks from you-I want you to go under the cup with your two brothers.” As you say this pick up the cup with the right hand. Replace the cup and introduce palmed blue ball. I favour an upwardthrowmove here to avoid interference from the other two balls as you introduce the blue ball. This “ upward throw ’’ moveis that used when loading a ball between two cups in the classic cups and ball routine. Vanish ball from left hand and lift cup showing all three balls. Replace cup on table introducing the palmed blue ball. Take the wand with the right handand separate the three balls on the table with the tip of the wand. Place wand on table. Pickupblue ball and place in right jacket pocket-tuck the ball in the small ticket pocket which most suits have inside the right side pocket of the jacket. Now take the yellow ball and place this also in the right side jacket pocket-just leave it in the bottom of the pocket. Now take the red ball and apparently place in the same pocket but finger palm in right hand. Say, “ The blue ball will jumpfrom my pocket under the cup.” Lift cup with right hand and show blue ball. Take blue ball with left hand. As you do this let the cup tilt with the top towards the audience and allow the palmed red ball to roll inside the cup. Replace cup mouth down on table with red ball concealed beneath. Take blue ball into right hand and place in pocket-before releasing it pick up the loose ball in the pocket, which will be the yellow ball, and finger palm itas you bring the handfrom the pocket. Say, “ The red ball will jump from my pocket under the cup.” Lift cup with right hand revealing the red ball. Pick up the red ball with the left hand and introduce thepalmed yellow ball with the drop move. Place the red ball in the pocket and palm out the large multi-coloured ball, compressing it small in the finger palm. Say, “ The yellow ball.” Lift cup with right handand reveal yellow ball. As you pick up theyellow ball with the left hand allow the large palmed ball to roll into the cup. Replace the cup gently on the table, mouth down. The ball will stick in the top of the cup. Place the yellow ball in the pocket. Say, “ AlI three balls will jump together.” Lift cup and say, “ Not yet.” Drop cup back on table to dislodge ball. Claphands together and lift cup revealing the large ball.
12
Comment8 and furtber Wggestio~ Although this description is lengthy the routine is not long in performance. None of the moveswillgive anytrouble to anyperformer reasonably competent in the craft. Anyone who wishes to work theroutine straight ” and dispense with the fez will have to work out another method of obtaining the second “
blue ball and disposing of the yellow and red. One way would be to have a small box to contain the properties.This could be on the tableandthe cup, wand and balls taken from the box to commence the routine.The box could then beused instead of the fez to effect the necessary change of balls. Of course, a dignified performer would always wear a bowler hat and usehis umbrella as a wand!
BAG IN THE EGG FRED LOWE
WE
MUST all agreethat novelty and surprise plays a big part in the audience appreciation of amagicalact. Before television many people saw magic onodd occasions with often long intervals between performers. In those days even the regulartheatre-goer saw only a small fraction of the magic which almost everyone sees today via television. Because of this it is becoming increasingly more difficult to have novelty and surprise in one’s act. One of the best ways of overcoming this problem is to use well known effects in a different way. The surprise will come when the effect does not progress on the expected lines. I am sure this is the reason why the following presentation of an old effect has proved very successful in my own performances.
trimmings to use for the “ hole ” in the egg. Simply cut a small circle of the silk, about the size of a penny, and attach it to the egg with two or three dabs of Melrose. This is far preferable to painting on a black “ hole ” because (a) the effect is strengthened when the audience seeyou remove the “ hole ” before breaking the egg; (b) at close quarters it really looks as if the bag is inside the egg. Do not be tempted to use oneof the fake eggswhich contain an imitation yoke. I cannot, and have never seen, one of these eggs “ broken ” realistically. A handkerchief vanisher of the pear shape-elastic pull type. This is fixedwith the elastic anchored at the back of the trousers, the elastic then runs through a safety pin just over the left side pocket of the trousers and the container remains in that position when not in use.
Effect Performer shows asmallblackbagandan egg. He states if he places the egg inside the bag, the egg will vanish. He places the egg inside the bag and goes through the usual business but the egg has not vanished. He trys again without success. He then says that perhaps he has the thing the wrong way round and will try to vanish the bag inside the egg. Holding the egg in his hands he apparently tucks the bag into the egg because he is able to show his hands empty except for the egg. He then reveals the secret by turning the egg around and showing that the egg has a hole and that the bag is inside the egg. Performer now confesses that he has not told the truth about the secret, in fact dare not under Union rules. He removes the “ hole ” from the egg and breaks the egg into a glass.
Routhe Have the egg inside the bag. Display the bag and reach inside producingthe egg. State that you will place the egg inside the bag, from there it will vanish and go into your left trousers pocket. Place the egg inside the bag. Take the bag in the right hand. Feel in left trousers pocket, look surprised and remove hand. Transfer bag to left hand, then remove egg frombag with righthand.Repeat these moves but when placing the left hand inside the lefttrouserspockettakethe vanisher inside the pocket. Remove the hand with the vanisher, take bag in left hand and produce the eggwith right hand. Say that you will try to vanish the bag inside the egg. Holding the hands together the egg is held by the right third and fourth fingerswhilst the right first and second fingers tuck the bag into the vanisher. Say, “ Thebagis now inside the egg,” and as you say this move the righthand away with the egg at the fingertips. Turn the egg so that the black patch can be seen and at this moment release the vanisher.
Requirements Small black silk bag, about seven inches by five inches. Use an old silk dyed black. Keep the
13 Now " confess " to the audience thatyou have tolda lie andthat you havenottoldthereal secret, etc. Slowly peel off the black patch from the egg. During this make sure that the audience see that both hands are empty except for the egg. Break the egg into a g l a s s 4 0 not rush this. Look a t audience and say, " Of course, this is a very expensive trick. Every time I do it I lose an egg and a bag ! "
comments You may, 'of course, dispense with the vanisher and simply tuck the silk into the right fingerpalm, disposing of the silk when picking the glass from the table. Thiswould, however, weaken the effect because the best time to show the hands empty is immediately after apparently tucking the bag into the egg.
PASSE DICE STACK FRED LOWE P TO a few years ago not many people in this country had seen dice stacking. Today most conjurers have seen dice stacking and manyclose-up workers canperform the feat. It is undoubtedly interesting to watch but there is a shortage of routines using the principle.
U
To make the following routineunderstandable to those who have not seen dice stacking it may be as well to give a brief description. Performer uses a dice cup and four dice. Holding the cup inverted, i.e., mouth downwards, he picks up the first die from the table with a flicking move. By moving the cup from side to side (still inverted) with an even rhythm the die will remain in the cup. The other dice are picked up similarly -the cupis slid alongthetableandstopped suddenly.On lifting thecupallthe dice are in an uprightstack.Thiscan be done with two, three,four, or more dice. Fulldescriptions of how to stack dice are given in " Shoot the Works " by Ed Marlo and Dice Dexterity " by Audley V. Walsh.
This sequence is repeated twice more so that the left hand cup reveals four black dice stacked. The three white dice are then picked up with the other cup and left covered. The remaining black die is vanished and on lifting the right hand cup is seen to bein the middle of the stack of white dice.
Properties required Two dice cups, six black dice and three white dice. One of the cups is faked and has a magnet in the base.Allthe black dice areloaded with metal.
"
Effect Performer shows two dice cups and eight dice. Five are black dice and three are white dice. Performer then demonstrates how dice can be stacked. He then places three white and one black diceina row and picks them up with the cup, leaving the cup on the right side of the table still covering the dice. The other cup is shown empty and placed inverted on the left side of the table. The right hand cup is lifted revealing only three white dice. The left hand cup is lifted to reveal the black die. The black die is picked up with the cupandcupreplacedontable.Performeradds anotherblackdietothethreewhitediceand On picks up allfour with therighthandcup. lifting this cup the black die has vanished leaving again three white dice. The left hand cup is now lifted and two black dice are seen stacked.
I cannot give exact measurements of the cup because this depends upon the size of dice used. Myown cups are straight sided andmade of leather. Assuming that thedicetobe used are threequarterinch size thefakedcupshouldbe made with an inside depth of three inches plus the extra space needed for the magnet and a thin false bottom. When four dice are stacked with this cup the top die will be- touching the top of the
14
cup and if the cup is lifted reasonably gently the die will be attracted by the magnet and held in thetop of the cup. The unfaked cup should be made with the same outside measurements as the faked cup. Themouth diameter of the cups should be three times the length of the dice used, or slightly less. Thus with threequarter inch dice the mouth diameter of the cup should be two inches approximately. Loading the black dice with metal can be done in several ways. I drilled out some of the spots on each face and inserted short lengths of metal rod, afterwards repainting the spots. This is rather labourious and I see no reason why all metal dice could not be made. The amount of attraction the magnet should have for the faked dice is governed by the following factors: (a) It must be sufficient to hold the die in the top of the cup when the cup if lifted from the stack; (b) A slight shake of the cup should be sufficient to overcome the attraction of the magnet and allow the die to fall into the fingers.
Routine Before commencing unfaked cup is on left of table with a black die beneath thecup (cup is mouth down). The faked cup is to the right and the other five black dice and three white dice are on the left rear of the table. Lift both cups simultaneously, one in each hand.The die concealed under theleft cup is pressed against the inside of the cup by the left fourth fingerwhich curls beneath the cup as the latter is lifted. Left cup is replaced and you then use the right (faked) cup to demonstrate dice stacking. Use three white and one black dice for this demonstration and always pick up first a white die. Then lay out the four dice in a row and pick
them up with the cup, the first die picked up being the black die. Leave the stack covered by the cup and state that the black die will go to the other cup. Lift right cup with the right hand and reveal only three white dice stacked. With left hand place the three white dice in a row and whilst doing this. shake the right cup slightly and dislodge the black die-curl the right fingers beneath the cup to catch the die. Replace right cup near the white dice. With the right hand lift the left cup revealing. the black die. Pick up this die with the cup and whilst shaking the cup allow the palmed die to shoot up inside the cup. Replace the cup on the table with the two dice stacked beneath. Repeat the complete sequence by adding another black die to the row of white dice, picking up the stack and passing the black die to the left cup. To the audience two black dice have now passed across to the left cup. Repeat the sequence twice more and lift the left cup showing four black dice stacked. Place the left cup down to one side of the black stack. Right hand stiIl has a black die finger-palmed. Take the right cup in the right hand and pick up the three white dice, loading in the black die after picking up two of. the white dice. Leave cup on table covering the stack. Take the remaining black die and apparently place in left hand, palming in right hand. Pretend to throw the die from the left hand through the right cup, then lift cup revealing the stack-the black die will be next to the bottom of the stack. Throughout the above description the expression “ picking up ” the dice refers to the method used in dice stacking of picking up dice from the table with an inverted dice cup.
BOOKS MAGIC MINE No. 1 by Stewart James (Published by Harold Sterling, Royal Oak, Michigan. Price unknown). Any publication by Stewart James is something of an event and something that those who talk the same magical language as myself more than welcome. Those who purchase this book will be well rewarded for in easily mderstood language are arranged some dozen effects all of which bring into play some subtlety or idea which typifies the originator. The first item, ‘ Silversion ’ is a subtle variation on the old classic the ‘ Coin in Bottle.’ In this case, however, the performer using a sealed milk bottle containing water succeeds in evolving a practical method inwhich a borrowed and marked coin manage to get inside without damage
to seal, bottle or coin. The effect which follows, ‘ Cheerio Glass ’ is a good platform effect in which a glass of milk vanished from a paper serviette covering to appear in an empty hat. Squaring the square is a nice item for the mathematically minded, the kind of item forRotary or similar ‘ Do’s.’ Another item having a mathematical flavour is ‘ Count of Monte Cristo.’ Colourful because of the Poker Chips used and effective because the performer achieves an excellent prediction. The item which follows, is for me and I think many others a gem. Entitled ‘ Double Ring Ceremony ’ and evolving in eflect from the ring effect which Stewart described originally in ‘ Sefalaljia,’ the performer causes two rings (borrowed if needs be) to pass on to a length of cord, rope or ribbon, both ends of which are in view of the audience.
15
.Just as the original ring effect became subject to variation, this too will be adaptedand become .afirm favourite with close-up workers. In its form as described the reader will have a first-class .platform effect, simple in method and working and one which leaves no room for explanation in the minds of the audience. Indian Giver,’ an effectusing three eggs is another grand platform effect which would make ideal children’s entertainment whilst ‘ The Gofar Bail ’ also a platform trick involving the use of a rubber ball and two tubes offers one of the most mystifying transpositions that can be envisaged. ‘ Astral Dagger ’ is for the after dinner show. Two drinking straws, free from any preparationafter being placed in an examined tube are magically cut In halves with the ‘ Astral Dagger,’ ‘ Let the ChipsFall ’ shows how thatold classic, the ‘ Patriotic Billiard Balls ’ can be revamped when plastic cups and coloured poker are substituted. ‘ Unwritten Predictions ’ is for the mentalist and takes thehard work out of second dealing. ’ Slatest ’ another mental effect brings into play an idea seldom used and builds up a very nice prediction. Closing the book, Stewart offers ‘ Hotelepathy ’ a platform effect full of entertainment value and making use of that seldom seen prop, ‘ Attaboy.’We feel certain that after reading this item and realising its potentialities, there will be a steady runon this very valuable and ingenious piece of apparatus. Recommended unreservedly and wholeheartedly. “ SANTA’S WORKSHOP ” by Amalfi (Published by GoodlNe the Magician, price 10/6). In the literature of conjuring, books dealing with that highly specialised branch, children’s magic are comparative rarities. Because of this a new addition is always welcome.
Mr. Tunnah, who uses the nom de plume of ‘Amalfi ’ has a streak of Waller in his magical make-up and this shows togreat advantage ten excellent effects that he details in this publication. Because it gives the book its title we would well commend “ Santa’s Workshop ” tothe notice of all readers on the look-out for an excellent production finish. There is something fairylike in its conception . . . Santa Claus’s workshop is built up in the form of a small house . . . there is the sound of “ Jingle Bells ” being played in a mysterious manner by a musical box . . . Santa himself makes his appearance from the chimney of the workshop and later from inside a vast production of presents can be made. Delightful magic especially for small children. Then there is “ Novelty Cracker ” in which after pulling the cracker apart a lighted Christmas tree is produced . . . magical stories, “ The PopInn ” and “ The Xmas Sledge.” Items with a measure of illimitable humour like “ A Xmas Photograph ” and “ Holly, Mistletoe and Ivy,” whilst “ Turkey Trouble ” gives that necessitous “ sucker ” trick in a new guise. Additional pieces like “ Christmas Bell,” Memory Test for Children,” “ Decoration Paper Tear,’‘ and “ Song Session,”all add to the generous measure given and to conclude the author gives some excellent and practical advice on the painting and colouring of various props. To the conjuror who likes to make pieces of apparatus, he will find a wealth of inspiration in this book. As additional information, for those living in or near London, may we mention that Kettles, in New1 Oxford Street (next door to Davenports), is a gold mine for those whowish to get carboard tubes, boxes, fancy papers, etc.,whichtheywillfind of great use in making up some of the excellent ideas of Amalfi. “
Excellent value.
MAGIC-GOlROUND CTOBER saw the Annual Magic Festival of the Magic Circle at the Scala Theatre. The greatest commercial success ever we understand though the show was more than pedestrian when we saw it onthe opening night, the outstanding spots being the non-magic acts. Our greatest admiration was for the stage managers who with little time to make advance preparations made the stage sets most attractive. For artistry in presentation on the night in question we would pick out Esme Levante, Milbourne Christopher and Robert Harbin. We felt that the last two named could have used materialthathadnotalready been seen by many through the medium of TV.
0
Talking of TV reminds us that Piet Forton, winner of Micro-magic prize at the Zwolle Convention and who many magicians in this country met when he visited here, starts a TV series in his native Switzerland. Table magic will be the order of the day. We’ve a lot to thank Fred Lowe for in providing this issue. Regarding Fred, we’ve heard nothing but praise for his close-up magic organisation at the recent Portsmouth Day of Magic. The difficulties of presenting table magic to a large audience are too well known for us to comment upon them, but Fred seems to have arrived at a formula whichwithefficient organisation is the answer to the question.
16
A SELECTION O F
-rf THE LATEST B O O K S THE DIA VERNON BOOK By Lewis Ganson of this No needtoextolthevirtues great work. Price 45/Postage 1/4 PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition! Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks ’ to performatthedinnertable. 182 pp. Cloth bound, masses of photographs. P r i e 16/Postage l/-
GRAND DECEPTIONS By Alexander Klein The World’s most spectacular hoaxes, impostures,rusesandfrauds.Fascinating! Price 21/Postage 1/1 ENCYCLOPEDIA OF CIGARETTE TRICKS ByKeithClark Theonlyworth-whilebook on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everythingyouneed to knowabout escaping from handcuffs. 112 pp. Board covers. Price a/Postage 6d.
*
*
THE GREATER MAGIC LIBRARY Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages. Price per volume 21/Postage 9d ABBO’IT’S ENCYCLOPEDIA OF ROPE TRICKS 128 ‘ double size pages andevery conceivable rope trick. The new enlargededition. Price 21/Postage7d. SCIENCE MAGIC By Kenneth Snezey A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price la/Postage l/-
Write for our full Book List containing hundreds of Tities
*
T H E M A G I C WAND P U B L I S H I N G C O M P A N Y
I
T H E MAGIC W A N D No. 253. (Vol. 46, Part l)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks by Len Belcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS--. colourful $imble routine by Edwar! Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” “Just. Chance effect. THE SHOWER BATH ILLUSION by JayPalmer-saucy and surprising. THE DISrate. MAGIC FOR MAGICIANS COVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only 7/6 : Postage 7d.
4iEOR4iE A R M S T R O N G 6 2 W E L L I N G T O NR O A D .E N F I E L D .M I D D L E S E X
I
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
I
Clubroom and Librarv and Muwum :
Hearts of Oak Buildings, Euston Road, London, N.W.1.
Ibagicd Theatre .
King George’s Hall, W.C.
13th JanuaryLECTURE BY ALEX ELMSLEY Pdculars trom Hon. Sacretary
L
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
l*
I
I
PETER
WARLOCK’S
PENTAGRAM m i published W the 24th d each m r t h and tan be obtained dinct from the publimhen for 117 per single copy. Annual Sukaiptkr l a / port free. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex h n w r i p b forpublication and book for review rhould be sent to the:
EDITORIAL ADDRGSS: 24,
Peter Warlock, Wordsworth Rd., Wallington, Surrcv
.
Wanted by George Armstrong Any of the “ C. T.J(otdan) Series of Magical Effects.” Complete inenvelopes if possible. Also want many U. F. Grant and Grantand Menge mimeographed items. Sort out thoseold unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLIIRID BY IIII PROPI1ETORI TXI MAQIC WAND PUBLIEHINO COMPANT. 62 WVILLINQTON ROAD, INFIILD. UIDDLEEEX W O I K I , IXIPLXY. YORK8RIRVI A N D Pn.TwTBD BY H E R B 3 3 2 WALKXI h I O N (PUXNTERI) LTD., BR&l
j
A
PETER WAR LOCK ‘S *
**
A COIN FANTASY FRED KAPS
I
N THIS well routined effect, that great Dutch magician, Fred Kaps, hasadded skill to a marketed effect the result being a delightful and entertaining coin sequence. The effect. First of all the performer produces four silver coins which then travel invisibly and singly from one hand to a glass held in the other. The coins are then removed and wrapped inside a silk handkerchief which is placed inside the glass. Placing the glass behind a small screen, another screen is shown and placed some distance away. A magical gesture and glass, silk and coins vanish from behind the screen toappear behind the second screen. Requirements. Four silver coins, a glass, silk and the fake for the ‘Transpo Glass’ effect (Unique Magic Studio. As the latter is a proprietory effect quite obviously we cannot explain the working, the reader having the effectwill follow the present explanation with ease. We hope, however, that those unacquainted with the working of this excellent marketed item will have the necessary enthusiasm to purchase it for whether used in the present routine or as originally intended hy John Rice, its originator, it is an excellent effect. The price, incidentally, is very moderate . . . twenty shillings !) Preparafion. Open one of the screens and stand it on the table. It should be openedonly partly. On top of this screen place the second one which should be folded. Behind the standing screen place the fake which should be completely hidden. On top of the folded screen place the glass. The silk you intend using should be in your left breast pocket and the four coins in a get-at-able position on the body. Presentation. First of all get possession of the coins in the left hand crotch position. Reach into the air and
VOLUME 12, No. 3
-
produce the coins one at a time. As each coin is produced it is placed between the fingers of the right hand it la billiard ball production. After the fourth coin has been produced and placed in the right hand, the coins are displayed. The left hand then moves across and the coin held between the third and fourth fingers of the right hand is taken between the left hand thumb, first and second fingersedgewise. The coins between the third and second fingers and second and first fingers are similarly taken. Atthis point you should be standing with left side towards the audience. The left hand fingers now appear to takethefourth coin whichis held between the Erst finger and thumb of the right hand, but actually as soon as the left hand screens the right hand the fourth coin is moved into a thumb palm position so thatasthe left hand moves away, with what to the audience, is the fourth coin the right hand appears to be empty. The performer now steps towards his table and with his left hand places the three coins in a stack upon thetable, so that they cannot be seen by the audience. The right hand takes the glass from thetop of the screen. It is held as shown in Figure 1.
I/a. (20 .Cents)
-
DECEMBER I957
18
Taking one coin from the table with the left hand the performer makes a throwing motion towards the glass held in the right. Actually the coin in the left hand is palmed in the classical manner and right thumb moves out a little allowing the palmed coin to drop inside the glass. The right hand changes its grip and turning the glass over,the coininside is apparently dropped into the left hand. As the glass is brought over the left hand the curled fingers of the right hand catch the coin whilst the palmed coin in the left hand (apparently the one dropped from the glass) is displayed and tossed into air and then caught. The visible coin is dropped into the glass which is now held in the right hand as shown in Figure 2.
The left hand takes another coin from the table and another throwing motion is made towards the glass. Again this coin is palmed and the coin held concealed in the right hand allowed to fall. The right hand now tilts the glass and allows both coins to fall onto the fingers of the left hand. At this stage the left hand has three coins, one in palm position and two on the fingertips. The hand should beheld fairly high. The left hand thumb pushes the twocoins forward and displays them and then drops them into the glass. This time the glass is passed across to the left hand which holds it by the rim whilst the right hand takes the third (and last) coin from the table. A throw movement, palm and a release of the coin palmed in the left hand. The third coin has arrived! Now in trans-
ferring the glass from the left hand to the right, the performer turns right and at thesametime brings the coin palmed in the right hand to a back palmposition. The screening of the right hand by the left hand and the glass gives excellent cover and the position is shown in Figure 3.
Note that the glass should be gripped by the thumb and fourth finger allowing perfect freedom for the remaining fingers. With the left hand feign to take the final and non-existentcoinfrom the table and make a throw towards the glass. Jerk the right hand sharply and release the clipped coin which should tumble over the side of the forefinger into the glass. Show the left hand to be empty and on to it pour the four coins from the glass. Replace the glass on top of the screen and remove the silk from yourbreastpocket. Drop thecoins onto the handerchief and gather the corners together to form a bag. Taking these corners, the silk and its contents are dropped inside the glass. The glass is now placed behind both screens and fake, and after showing both screens and placing them well apart, the effect proceeds upon the lines laid down in the instructions. Quite obviously the performer builds up the effectby makingfirst the coin and then the handkerchief pass invisibly.Remove the silk and its contents from behind the screen without allowing the coins to chink against the glass, for until the last you intend to make the audience think that only the silk and coinshavemovedacross.Unpack the coins and count them one at a time onto the table, then placing the silk back inside your pocket. Finally order the glass to make its invisible journey and finish the routine in accordance with the dealer’s instructions.
ABOUT TURN! HUGH SCOTT
T
HE SECRET reversal of a card in a pack, never seems to have brought to light methods otherwise than those most obvious. With the sleight about to be described, Hugh Scott,whose pack handling is impeccable, has
given us a methodwhich is simple in operation and perfect in deception. The purpose of the sleight is to secretly bring the top card of the pack to the bottom and at the
19
same time reverse it, one hand only beingused for such purpose. Take a pack of cards in the right hand. The pack is held at the narrow ends between thumb at the inner end and first, second and third fingers attheouter end. (See Figure 1.)
Thetop card is the three of spades and in the action of either placing the pack on the table or on the palm of the left hand you are going to bring the three of spades to the bottom so that it will lie face-up. The ball of the right hand little finger presses against the corner of the three of spades and moves in towards the body a little so that the top card is bridged slightly. (Ifyou are used to using the single hand palm, the movement of the little finger at the start of this sleight is in an opposite direction to that employed in the palm.) The little finger continues moving and the top card is levered to one side. (See Figure 2.)
The movement continues and in unison the little finger presses downwards, the second finger well wrapped around the end of the pack presses upwards and the firstfinger touching the top of the pack pressesdownwards. The effectof this combined operation is that the three of spades is automatically reversed at the bottom of the pack. As the movement of the fingers takes place the hand is not stationary but is moving either towards the table on which the pack is deposited or towards the left hand which receives the pack. Let it be emphasised that this is a most straightforward sleight and one which can be mastered in a short time. Its uses are innumerable. Thank you very much, Hugh Scott.
ADDITION TO THE
BRAINWAVE''
" PETER WARLOCK
HEN,THROUGH the columns of the JINX, Paul Fox and Dai Vernon gave to the magical fraternity that gemof mental magic, the ' Brainwave Deck,' there was a general usage,which,inmany hands suffered from lack of finesse. In using this effect myself I have made one little addition which has proved its worth many times. This addition has meant that when the faked pack is withdrawn from the case a face card is seen on the apparent face of either a redbacked or blue-backed p-ack. Readers using this particular pack will know that without any addition, the cards would be backs uppermost at the top and bottom of the pack, a blue backer in one case and a red backer in the other. Not ideal when the audience surrounds you. The means of achieving this extra piece of business involves no skill on the part of the per'former, the card case in which the pack is housed
W
being responsible for the addition or subtraction of one card at either end of the pack.
The illustrations will help you to understand the construction of the casewhich is best made from two empty cases. First of all dissect the two cases. Now with the aid of some thin strong cardboard andthe necessary parts of the dissected
20
cases make up a card case that will have a flap at each end (Illustration 1). The depth of the case should be capable of accommodating nearer sixty than fifty-two cards. The second stage is the fixing of a small cardboard flap by means of a linen hinge at each end of the case (Illustration 2). When
SEmoNhL the hinges have been coated with seccotine place a pack of cards inside the case and allow everything to dry under pressure. After the time allowed for drying, empty thecardsout of the case. To prepare fos the presentation with the assumption that you are using a blue and red backed ' Brainwave Deck ' and that your blue backers are black cards and the red backers red cards, load a redfaced card inside one flap and a black-faced card in the other, then sliding the pack inside. So that the pack will be set ready for correct withdrawal, the red-faced card inside the flap should be in front of the topmost blue-backed card. To facilitate sliding the pack intothe case without the chance of fouling either of the hinges,
the card case should be opened at both ends and a thin slip of card twice the length of the case, slipped inside as a guide for the pack. When the pack is inside. the case, remove the long strip of card and then close the flaps of the case. A small pencil mark should be placed on the flap to show which side is whichwhenitcomes to the withdrawal of the pack. When a card has been named by a member of the audience the case is opened at the appropriate end, the pack withdrawn and the effect then being proceeded with in the usual way with the advantage that the pack from all angles will appear to be a normal pack. Should the performer make use of a pack of Aviator or Bicycle cards one extra refinement is that in making the case part of a blue case and part of a red case are used in constructing the faked case. The pack lies in the right hand pocket and before asking for the name of thecard,it is removed, the hand concealing the side of the case, As the card is named it is placed on the outstretched palm of the left hand in such a manner that the outside colour of the case matches the backs inside. Many maysay thatin this addition I am ' painting the lily ' (actually most would incorrectly quote than I am ' gilding the lily '). In my humble way I shall contradict such folk for the present addition wasevolved through necessity during the war years when performing conditions meant that one had to strive for perfection at all times.
PERSONAL PREDICTION PETER WARLOCK
T
HIS IS an effect which appears to be entirely impromptu. Actually, like most so-called impromptu effects, there is some advance preparation.
The effect. A pack of cards is shown, fanned, shuffled and cut and placed upon the table. Taking some visiting cards from his wallet, the mentalist writes in ink upon the topmost one the name of a card. The audience is given a sight of the writing and the card is then placed writing side down on the table. A spectator is now asked to deal a card at a time from the pack stopping whenever he wishes. Supposing that the card stopped at is the nine of diamonds the visiting card is turned over to show that written uponitarethe words, ' Nine of diamonds ! '
The requirements. Twenty visiting cards. Thirteen of these have the name and address of the presenter printed on both sides, the remainder are printed on one side only. A pack of cards which consists of four banks of the same thirteen cards. A fountain pen filled with the type of ink which is visiblewhen written but quickly fades away. Preporation. On each of the thirteen double-faced visiting cards thementalist writes in ordinaryink the names of each of the cardsconstituting the prepared pack. These visiting cards, writing side undermost, are now arranged in reverse order to the cards in the special pack. Under this stack of visiting cards one of the ordinary visiting cards is placed printing side uppermost whilst the remaining six cards are placed on top of the stack printed side upper-
21 most. If the stack of cards is now shown there should be a blank side at the bottom and printed there side at the top. If thecardsarefanned, should be a series of printed sides. Viewed from either side thecards present no peculiarities. At this stage thecardsare either banded with an elastic band and/or slipped inside the appropriate compartment in the mentalist’s wallet. The special pack in its case isdroppedintothe performer’s right-hand jacket pocket. The pen should be in the left breast pocket. Presentation.
Removing the pack in its case from his righthand pocket the cards are withdrawn, false shuffled, casually fanned to showdifferent faces and after beinggiven a false cut placed face down upon the table. The stack of visiting cards is then removed from the wallet and taking the pen, the mentalist writes the name of a card upon the topmost card. The pen is placed down and the card lifted fromthe stack, the audience allowed a glimpse of the writing as the mentalist shakes it as though helping the ink todry.This is a perfectly natural action and helps in the evaporation of the ink. The cardis now placed writing side down on the table. Pointing tothepack,the mentalist asks a spectator to deal slowly one at a time the cards face uponto the table, stopping whenever he wishes. The slowness of dealing which is emphasised serves a treble purpose, i.e. :1. It gives the deal.er the opportunity of seeing that the cards are all different. 2. It prevents him dealing more than thirteen cards. 3. The stack of visiting cards is held in the left hand,the right hand on top. This must be a casual positioning. However as each cardis dealt,the right-hand thumb pressing against the inner ends of _the cards releases a card at a time in unison with the dealing of each card.This means that with the stopping of the dealer, the release of one more card will mean that such card has the same name upon it as the card stopped at. A break is held and a double-handed pass made bringing this card to the top of the packet.
With the necessary card on top of the packet, the right handtakes hold of itandthe hands separate. Dropping the remainder of the visiting cards into his left hand pocket, the mentalist gestures towards the selected cardandthe visiting card lying on the table. He stresses the freedom of choice saying, “ Before you started dealing the cards I wrote a prediction on this visiting card . . . the prediction was the name of the card which I felt certain you would stop at. I am seldom wrong in such matters.” Ashe utters tfiese words he
flips over the visiting card on the table with the card held in his right hand. Actually he performs the Mexicall Turnover and changes the card on the table with the one he is holding. The deception in this case is aided by the fact that at the conclusion of the sleight he is holding a perfectly normal visiting card, for by this time the ink will have faded, whilst face up on the table with writing showing and its second face concealed lies the faked visiting card. Finally the visiting cardis taken from the table, and holding it in such a way that its second face cannot be glimpsed the spectator is asked to read the performer’s prediction. A point or two. When placing the first visiting card on the table give it a slight longitudinal bend so that it presents a concave upper surface. Secondly see that the table is covered with some kind of material. These two things help in the accomplishment of the Mexican turnover sleight. If thereader dislikes the idea of using the speciai ink two courses are open to him. He can use m empty fountain pen and pretend to write upon the card or alternatively he can dispense with ink and use a dummy pencil forthe writing. In both cases the strong point of showing writing upon the card before the cards are deait is ‘ out.’ Two alternative methods might appeal ‘to certain performers. In the first we’ll suppose thatthe ‘Ace of diamonds ’ is the topmost card of the pack to be used. Taking a visiting card the mentalist writes on it : ‘ You will stop me at the Ace of diamonds.’ The card is then placed upon the table or better still slipped into somebody’s pocket. The pack is then takenand either shuffledby the performer keeping the ace of diamonds at the top or alternatively the ace of diamonds is palmed off, and a spectator asked to shuffle thepack, the ace being added as the pack is taken back. The mentalist then asks the spectator to stop him as he deals the cards one at a time onto the table. The mentalist now starts dealing seconds, and when the spectator stops him he pushes the next card, i.e. the ace of diamonds, off the top of the pack allowing ittodrop face down uponthe table. The spectator is now asked to read what the mentalist wrote upon the cardat the beginning. He does so. ‘ Now, sir, just turn over the card at whichyou stopped medealing.’ The spectator again does as he is told. Climax! Theother method is ,similar in procedure except that rather than rely upon skill the mentalist uses a rough and smooth forcing pack. He deals two cards at a time until he is stopped, and then the topmost card, i.e. the force card, is pushed off the top of the pack and allowed to drop face down upon the table.
22
TRIPLE TELEPHONE TEST TOM SELLERS
T
HE PERFORMER has a spectator freely select a card and place it inside his pocket. Nextthe same personselects an article and finally he is handed a piece of paper on which is written down a number. The helper is then requested to telephone your psychic partner and ask the name of the article, the name of the card and the number on the paper. He does so and in each and every case receives the correct answers. Preparation. First of all both performer and helper must know the arrangement of a set-up pack of cards. Si Stebbins or Nikola System suggest themselves. Also the following numbers mustbeassociated with the following articles :1. KEY. 2. PEN. 3. MATCHES. 4. RING. 5. CIGARETTE. 6. WALLET. At the other end of the telephone the partner musthave written down the two numbers 2997 and 29997. Presentation. Take the pre-arranged pack and spread the cards face up on the table. Allow the spectator to touch any card hewishes, and with a choice made we’ll suppose that its position in the arrangement is 33, i.e. the thirty-third card from the top of the pack. Keep this number in mind and now remove from your pocket or pockets the six articles for which you have numbers. Supposing that with a choice of one the spectator chooses the ring, keep the number ‘ 4 ’ also in your mind. Take hold of a scribblingblock and pencil andat the same time tell your helper that you wish him to take part in an addition sum. You start off at the top of the pad by writing down any unit followed by the number opposite to the selected card ,followed by the number indicating the article chosen. In this case as an example is would be 1 3 3 4. Under this you ask your helper to write down any four figure number.
He does so and then taking the pencil you write below a four figure number whichwhen added to thepreceding line willbringeach number to ‘ 9.’ This alternation of helper and yourself coupled with the ‘ nine ’ addition is repeated twice more so that the following might result :1 3 3 4 Any unit followed by card and ‘ ring ’ number. 5 2 1 8 Written by spectator. 4 7 8 1 Written by performer and giving a ‘ 9 ’ total. 6 1 2 4 Written by spectator. 3 8 7 5 Written by. performer and giving another ‘ 9 ’ total. 5 6 2 4 Written by spectator. 4 3 7 5 Written by performer and giving yet another ‘ 9 ’ total. 3 1 3 3 1
When this total has been arrived at ask the spectator to subtract from it the number 2 9 9 9 7 whichwillgivehim the number 1 3 3 4. This number you write upon another piece of paper and hand to the spectator for safe keeping. The spectator is then asked to phone your assistant, and his or her first question is ‘ What was the total of the sum? ’ With the number 3 l 3 3 1 given as an answershe subtracts the number 2 9 9 9 7 from it leaving the first number of the sum, i.e. 1 3 3 4. Withthis number before her she has all the .!information that is required. She takes the two middle numbers first and checking with her card key tells the spectator that first of all he chose the -of -(the card at the thirty-third position). Secondly, noting the unit digit which is ‘ 4 ’ she tells him that the article he chose was a ring. To conclude she tells him that the number written upon the paper he is holdingis 1 3 3 4. Incidentally, the number 2997 held by the psychic partner will apply when the position of the card is amongst the first ten. The performer then starts the sumwith a threefigure number and at completion there will be four figures.
TOM SELLERS
T
HE PERFORMER places two packs of cards in their cases upon the table. One is chosen and placedaside. From the other, one card is freely chosen. When the pack that was placed aside isremoved from its case, one card
isseenreversed. chosen card !
It is a duplicate of the freely
Requirements. Two packs of cards and a one-wayforcing
23
Preparation. Take one of the ordinary packs and supposing that the one-way forcing pack consists of all nines of diamonds, reverse this card and replace the pack inthe case. Fromtheotherordinary pack remove the nine of diamonds. It will not be needed. Place this pack in your left jacket pocket, faces towards the body. Havethe forcing pack ‘in its case.
complete the cut. Tell the spectator to hold out his handand ontoit you deal six cards, the remaining cards then being placed into the left hand pocket alongside the other pack. Stand the cards in an upright position so that the two packs cannot be intermixed. Takethe six cards from the spectator’s hand and deal them in a line across the table top. Ask him to indicate one and when this is done gather up the remainder anddrop these toointothe left hand pocket. Leave these cards behind but bring the ordinary pack out and place it alongside the face-down card.
Presentation. Take the two packs in their cases and place them upon the table. Have one pointed to. If it isthe forcing pack, place the other near to the front edge of the table stressing its importance at alater time. If theordinary pack is pointed to the same procedure is adopted. Remove the forcing pack from its case and lay the case aside. With the pack held in the left hand ask spectator to cut off a packet of cards. This portion is thentaken with the right hand andthecardsin the left hand placed on top to
Pick up the case that lies near the edge of the table and ask spectator to remove the cards and run through them until he finds one card reversed. He does so. ‘ And the name of this card? ’ says the performer. ‘ The nine of diamonds ’ is the answer of the spectator. Lifting up the other pack, the conjurer fans the cards in front of the spectator. ‘ You might have selected any one of these cards. Don’t you think it strange that you selected the :duplicate of the one I reversed? ’ With these final words the conjurer turns over the face-down card on the table and reveals that it is truly the nine of diamonds.
pack. The back pattern of all these cards should be similar.
MAGIC-GO-ROUND Marvin Roy still continues at the Lido andhis closing item, the electric bulbs from the mouth, almost thirty feet in length, hits the customers very hard. When we were with David Nixonashort while back he was full of this act, which had been one of the many he had seen whilst on a short trip to France. Incidentally, David is to be congratulated on abandoning at short notice the explanation of simple tricks that he was going to teach his viewing public. The amateur spot which he introduced instead has proved its worth. Though we have missed a couple of these programmes we did have the pleasure of seeing Paul Gain present his very nice version of the soup plates and handkerchief. This young man from Selby has a very polished style and we shall always remember the act that he put over in the British Ring Shield Competition at Brighton in 1956. A very nice mental item that appealed to us was the snooker ball divination in Buckley and Cook’s mental book. A1 Koran came up with a version of the effect on TV the other evening and it scored very well. We are still trying to find out a little more abouttheInternational Congress at Vienna in 1958. Apart from the advance leaflet which came out in the beginning of the year there seems to be littleinformation available. It is good to know that Hans Trixer will be there, taking a holiday
from Rhodesia, and there is a chance that “ Lefty ” may bring over Jay Marshall. Whilst in his writings concerning Kalanag, Arthur Leroy has always struck us as trailing one foot in the gutter, we never expected from Bob Lund the kind of review that appeared in a recent edition of Hugard’s. Supposed to be an impartial appraisement, ill tasted American humour is allowed to show in things like the criticism of Kalanag’s speech, whilst Gloria, Kalanag’s beautiful wife is subjected to description that ill becomes the writer. Kalanag’s show which to-day is unequalled and which at the moment is playing to packed audiences on the Continent gives the lay audience uptodate entertainment. Fromthe Leroy-Lund side we hear of the introduction of sexy situations and we can only conclude that Kalanagthought (possibly fromacquaintance with wartime G.1.s and American horror comics) that such things were partand parcel of the American way of life. Wemustapologise for theextremely late appearance of the last issue of ‘Pentagram.’ The printing blocks went astray in the post. The printer was waiting for them, and we were waiting for him to delivertheissue to us. By thetime it wasdiscovered what had happened the issue was very late, and then of course we had to get new blocks made.
*
24
A SELECTION OE‘
THE LATEST B O O K S THE DIA VERNON BOOK By Lewis Ganson No need toextolthe virtues of this great work. Price 45/Postage 1/4 PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully colouredillustrations. A fewonly, in mint condition! Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of‘-science tricks ’ to per182 pp. formatthe dinner table. Cloth bound, masses of photographs. Price 16/Postage l/-
GRAND DECEPTIONS By Alexander Klein The Worlds most spectacular hoaxes, impostures,rusesandfrauds.Fascinating! Price 21/Postage 1/1 ENCYCLOPEDIA OF CIGARETTE TRICKS By Keith Clark The onlyworth-whilebook onthis Fine cloth-bound subject. 304 pp. book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS ByDickNorman Everythingyou need toknowabout escaping from handcuffs. 112 pp. Board covers. Price 60/Postage 6d.
*
*
THE GREATER MAGIC LIBRARY Conjuring’s greatest clasic, now available in 5 separatevolumes, with a total of 1,000 pages. Price per volume 21/Postage 9d. ABBOTT’S ENCYCLOPEDIA OF ROPETRICKS 128 ‘ doublesize’ pages and every conceivable rope trick. The new enlargededition. Price 21/Postage 7d. SCIENCE MAGIC
By KennethSwezey A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks.
Price 16/Postage l/-
Write for our full Book List containing hundreds of Titles
*
TPIE M A G I C WANID P U B L I S H I N G C O M P A N Y
T H E MAGIC W A N D
I
Part
46,
(Vol. No. 253.
1)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine withcards. Two apparatus tricks byLenBelcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful thimble routine by Edwarf Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a “natural” “Just Chance effect. THE SHOWER BATH ILLUSION by Jay Palmer-saucy and surprising. THE DISCOVERY O F A MENTALLY SELECTED CARD by Arthur Carter-asusual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
GEORGE ARMSTRONG -
6 2W E L L I N G T O NR O A D .E N F I E L D .M I D D L E S E X
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
Clubroom and Library aod Museum :
Hearts of O a k Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. 6th FebruaryCONCERT
I
I
II
WARLOCK’S
W a d e d by George Armstrong
PENTAGRAM is published on the 24th of each month and ran be obtained direct from the publisbm for 117 par single copy. Annual Subscriptioa 181post free. PUBLISHED BY:
Any of the “ C. T. J(otdan) Series of Magical Effects.’’ Complete in envelopes if possible. Also wantmany U . F. GrantandGrantand Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for review should be sent to the:
Particulars trorn Hon. Secretary :
EDITORIAI.
Peter Newcombe 38 Overdale Avenue
*
PETER
ADDRESS: Peter Warlock,
Rd., Wallington, Surrev - .-
Georqe Armstrong
24, Wordsworth
New Malden, Surrey L
62 Wellington Road, Enfield,Middx. I
Every Advertiser’s goods are fully endorse2d by this Bulletin PUBLISHED BY T H E PROPRIETORS T H E UAOlC WANDPUBLISHIN0COM?ANT. 62 WELLING: CON ROAD,ENPIXLD. MIDDLESEX A N D PBINTXD BY E E R B I R T WALKER L S O N (?RINTERS) LTD., BRlDOE W O R K # , SZiIPLEY, YORKSHIRE
j
~
~-
A SCARF CALLED MOEBIUS ROY WALTON OY commencesby taking from one of his pockets two card cases containing red and bluebackedpacksrespectively;they are placed side by side on the table in front of him. From another pocket he removes a handkerchief which he unfolds and refolds, finally placing it to one side of thetable. He tellshisaudience that thehandkerchiefhas fourth dimensjonalproperties and offers to give them just one illustration of the seeming miracles it can achieve when used In conjunction with two packs of cards.
R
The handkerchief at this point is taken and again unfolded, but this time it is spread over the twopacks of cards;beforethey are completely coveredone of thespectators is asked to state whether he prefers red or blue, and according to thischoiceone of the packs is liftedfrom the allowed to cover table, the handkerchief then being the remainingcaseand its contents.Wewill assume that the bluebackedpackhasbeen removed, and opening the case Roy removes the contents,showingbothbacks and fronts to the
spectators. He then turns to a spectator and running the cardsface-up from hand to hand asksthat one be chosen and that when the choice is made. the card shall be removed and marked on its back either with pencil or pen by the chooser. After the card has been marked it is returned to the pack,.the latter then being replaced within its case which inturn is placed under the handkerchief.Explaining that toproducethis particular effect, the handkerchief must be handled in a certain manner, Roy takes hold of it at each side and see-saws it acrossthecardcasestwo or three times.Thisactioncompletedherefolds it and returns it to his pocket. Addressing the spectator whoremoved and initialled the card, Roy recaps, pointing out that from a face-up packof blue backed cardsthe spectator chose and initialled one card. He then takes the case containing the blue backed cards, opens it and removes its contents. Running them face-up fromhand to hand, the chooser of thecard is asked to see whether hiscard is still present. With an answerin the negative,Roytakes the case holding the red backed cards and after removing them starts runningthemface-downinfront of the spectator.Facesdown,facesdownwith one exception . . . the cardchosen by thespectator. which is seen to befaceup.Anysuspicionof a duplicate card is dissipated when he is allowed t o withdraw it from the remaining cards and check the initials upon its back. This most effective piece of true table magic calls for the use of the following articles:1. An opaquehandkerchief or small scarf measuring not less than eighteen inches square. 2. A card case appropriate to a blue backed pack of cards. 3. T w o packs of blue backed cards.
4. A pack of red backed cards. 5. A specially made card case constructed so that it can appear to be a blue or red container at the performer’s will. It is constructed like this :-
First take two card cases appropriate to a blue backed pack and a red backed pack respectively. The first chore is to cut off the flaps. Taking the red case, the top and side are cut away and then glued and fixed in position on the bottom and side of thebluecase. Finally the twoflaps are hinged at the appropriate ends.As,whensuch a case is placed on a plane surface only three sides can be seen by an onlooker, it follows that a mere turning over of the case can produce a blue or red backed container. Before he is ready to perform the reader must set upthe varying properties. The handkerchief in,a folded condition goes into the breast pocket, then inside the genuine blue case fifty-two blue backed cards. These consist of two similar banks of twenty-six cards. Each bank iswellmixed, but both have a similar sequence. Into the faked case go fifty-twocards; twentysix of these are blue backed making up the complement of the twenty-sixdifferent cards in the genuine case, the remainingbank of twenty-six cards have a similar sequence but are red backed. The blue backed cards are placed on top of the redbacked cards, the complete pack then being placed in the faked case in such a way that when the blue side of the case is uppermost and the flap opened, a small part of the topmost blue back can be seen. After placing both the cases and their contents in his pockets the reader is ready to go ahead with the presentation of “ A Scarf called Moebius.” First of all the two cases of cards are removed from the pockets and placed sde by side on the table. The faked case,red side uppermost, lies to the right of the table (see earlier illustration) whilst the genuine case is alongside of it on the left. The handkerchiefisremoved and unfolded whilst its properties are discoursed upon. Refolding it and placing at the extreme left of the table the performer calls attention to the card cases. Taking the handkerchief with the left hand it is allowed to unfold and is draped over the card cases.Before they are completelycovered,however, the spectator is asked to choose either ‘ red ’ or ‘ blue.’Whatever the answer the performer interprets it to his own advantage, by leaving the genuine blue case and cards beneath the handkerchief, whilst under the cover of the latter, the faked case is picked up by the right hand, turned over and brought out to be shown as the blue case. The performed now opens the flap and withdraws the pack. Because of the parti-coloured make-up of the pack, it is of great importance that there should be no spread of cards as they are withdrawn. A tip to the reader in this respect, is
that if hegives a slight push on the flap at the opposite end withhis little finger it will help materially in allowing the pack to emerge as a solid unit. The empty case is now dropped on top of the handkerchief and the performer starts running the cards face down from hand to hand showing the bluebacks.Whenhereaches the twentieth or twenty-first card in the run, heraises the cards so that thefaces can beseen by the spectator. With no stop in the running of the cards and with the backs now facing him he continues to the end of the pack and at the conclusion, in squaring up the cards, separates the pack into two portions casually making a complete cut at the blue backed card immediately above the bank of red cards. Now the pack reading from the top card consists of one blue backed card followed by twentysix red backed cards and twenty-five blue backed cards. Turning the pack face up again and running the cards from hand to hand the spectator is asked to make a choice of one card. The choice must be made to fall within the range of the bank of twenty-fivebluebacked cards. The spectator then removes the card of his choice and,places his initialsupon the back.Whilst he isdoing this the performer makes in effect a half-pass so that withtheexception of the top card the whole of thepackisreversed.At the momentwhen this moveismadethefocus of attention is upon the spectator who is initialling the card. When the card has been initialled it is taken from the spectator and pushed into the bank of red cards and naturally because of the half pass made by the performer the spectator’s card isnow reversed amongst the red backers. The pack, which to the audience appears to be face down, is now replaced insidethe card case, and holding this inhisleft hand and lifting the left hand side of the handkerchief with his right hand the performer apparently places the faked card case to the left of the genuinecase, then allowing the handkerchief to fall back into place. Actually,however, he reverses the fakedcase bringing it red side up and places it to the right of the genuine case. To aid in the ultimate deception, the genuine case is pushed to the left. The cover allowed by the handkerchiefallowsthesemoves to be performed without the slightestsuspicion being aroused in the minds of the audience. The mechanics of the effect are complete, but the effect is not. Taking each side of the handkerchief with his right and left hand, respectively, the performer see-saws it across the card cases two or three times and thenlifts it, refolds it and places it back into the pocket. Picking up the genuinebluecase, the performer remarks as he opens and withdraws the pack inside, “From this blue backed packof cards, youchose and initialled one card . . . it was a choice made whilst the faces of the cards were in
‘
front of you and therefore there,wasnowayin which I could influence your decision.Willyou tell me if you can still see your card in this pack?” With these words the cards are slowly run from hand-to hand so that the faces can be seen quite clearly by the spectators. When therun is complete, the performer is given a negative answer. “ Now, sir,” says the performer, “ I think you will have to admit the strange properties contained in this ‘ Scarfof Moebius ’ . . . for with its use I caused your card to leave the blue backed pack and arrive. amongst the red backed cards in this case.” The faked case is now opened andthe pack, now with red backs uppermost, is withdrawn. “ For the first time you seethis pack of red backed cards.” To accentuate the word ‘ red ’ the topmost card is removed and placed at the bottom of the pack. It is done most casually and it serves the double purpose of covering the reversed blue backed card atthe bottom and making it seem
27
that all the cards in the pack face one way. “ Will youpleasesay aloud the nameof the card you chose and initialled? ” . . . ” The three of hearts.” Running what appears to be a red backed pack from hand to hand one card is seen reversed and staring the spectator straight in the face. It is, of course, the three of hearts. It is partly withdrawn from the pack, the latter being brought up in front of the performer’s face whilst he completes therun of the cards. (Care, of course, mustbe taken when nearing the end of the run that there isno chance of the reversedbluebacked card second from thebottombeingglimpsed by the spectators.) The pack is then squared up, brought backs down again and the spectator is allowed to remove the three of hearts and confirm that the card is in fact the one he originally chose, for his initials are clear upon its back.
TELLING THE COLOURS TOM SELLERS
T
HE THEME of this trick is old indeed and apart from magazine and book contributions many ideas dealing with it have been marketed at prices ranging from fifty cents to three dollars. It is a natural thought to simplify matters and whilst I have already given one version in one of my many booklets, an entirely different angle of approach is used in the method to be described. The effect is simple. Three spectators each pocket a card carrying a colour. You, without seeing them, take the cards, telleach spectator the colour of the card in his pocket. Requirements. Three cards each carrying a coloured spot. Supposing that the cards are black, one can carry a white spot, another a red and the third a blue. Place these in your inside pocket. A card which has the signs of the Zodiac, letters and numbers. It is shown in Illustration 1. This goes inside your wallet. Forty-two coloured counters; seven red, fourteen white and twenty-one blue. These are placed inside :A small cloth bag to hold the counters. A small glass or crystal ball. Put this in your outside jacket pocket. The Method. Ask three members of your audience to assist you. As they step up to the table take the three cards carrying the spots from your pocket and place them face up on the table. Tell them that you will turn away, and when you do each is to take one of the cards and place it in his pocket.
Turn round again and picking up the cloth bag you look at the spectators, mentally counting them from left to right as 1, 2 and 3 respectively. Now remove one red, twowhite and three blue counters, placing them in front of spectator No. 1. Tell him that you will turn away and when
you do so he is to pick up all of those corresponding to the colour of the card in his pocket and return the unwanted ones to the bag. When he has done this you turn round and place in front of the second spectator two red, four white and six blue counters which you remove from the bag. He is given similar instructions to spectator No. 1. Finally, with again similar instructions, the third spectator has placed in front of him four red, eight white and twelve blue counters.
28
Wenow come to the actual divinaticn. Take the bag and remove the remaining counters from it. Separatethem into their respectivecolours, placing them in small piles. As you do this secretly count them and the resulting total willbe either 25, 26, 27, 29, 30 or 31. With the remark that youwillconsult the Oracle, throughthecrystal, youremoveyour walletfromyourpocket and take out the card bearing the signs,lettersandnumbers. This is
placed on the table and the wallet is returned to the pocket. Bring out the crystal ball and place it on top of the card; then look into it. All you do is to note the appropriate number and the three lettersfollowingitin a clockwisedirection. For example should the number be 27, ‘the1,ettew following it are R.B.W., which indicates that the first person has a red card, the second a blue and the third a white. As a table trick I find it particularly effective.
COLOUR AND NUMBER PREDICTION TOM SELLERS
E
FFECT. The conjurer takes a small slip of blank paper, folds it up and places it on a small tray on his table. From his pocket he now removes four pencils, one red, one black, one blue and one green and they are placed beside the folded slip and all covered with a handkerchief.
todisplaythe cards thetricktakeson a better appearance. It you haven’t you’ll have to improvise one with a folded newspaper. A small tray. Four coloured pencils. A slip of paper the same size as those that Nine cards numbered from one to nine respecwillbeplaced inside the slots. On the outside a tively are now introduced and one is freely small blob of magician’s wax is affixed. selected. Next a free choice of one of the coloured pencilsisgiven.Reachingunder the Preparation. handkerchief the performer takes the folded slip The folded slips that go in theback of the and handsit to the spectator who did all the No. cards willhave to beseentofirst.Oncard choosing. He isaskedtoopen it and when he one four foldedslips are insertedin the slides. does so finds on it the chosen number written in Each carries the figure one written in a different the chosen colour. There is no force ! colour and slipped into the appropriate slot. This procedure is gone through with differing numbers with the remainingeightcards. The cardsin numerical order are placed along the stand. Have C a handkerchief, the pencils and the extra folded slipnearby. The trayrestsonthetabletop.
”PI Diwl A
9
Requirements. Nine cards as illustrated. Each carries a number on the front. The backs, which are not shown, have four small slides allowing a folded slip of paper to be inserted. If you have a stand
Presentation. Pick up the slip, fold it and place it on the tray towards the front, wax side uppermost. Show the pencils and placethemalongsidethefolded paper. Now unfold the handkerchief and drape this over the tray, pressing it down on the waxed part of the foldedslip.Point to the numbered cards and have one freely chosen. Emphasise the choice by picking up the card. With the card in your hand, ask for a choice of colour, and now handle the number card so that the righthand obtains possession of and fingerpalms the folded slip in a natural manner as the other hand takes the card away and replaces it upon the table. With your left hand lift the corner of the handkerchief and with the right reach down as though to take the folded slip, really bringing forward the palmed slip. The left hands picks up the handkerchief (and, of course, the original slip) and pockets it. Hand out the slip and have the contents checked and verified.
29
MY BILLET SWITCH
T
HE SLIPS of paper that I use measure three by twoinches. For usethey are folded once widthwiseand twice lengthwiseso that a billet liin. by +in. results. I prefer that the slips are cut from a fairly stifiishkind of paper with the result that when the folded billet is fashioned there is no tendency towards bending. The procedure for the switch is as follows :The mentalist has concealed in his left hand ablankbillet. It isheldbetween the top joint and the base of the second finger. (See Figure 1.) The left arm hangsdown at theside.Assuming that a spectator has written something on a billet, he is asked to refold it. The mentalist takes back the slip with his right hand, holding it at the tips of the second finger and thumb. He holds it aloft so that without any needfor comment it is obvious that thereisnothingconcealedin the hand. As he does this, he emphasises what has been done; i.e., that a spectator has noted some person’s name on a slip of paper. As he says this, the right arm drops to the side and he mentions that he wants another spectator to act as referee. He advances to another member of hisaudience and as he stands in front of himheraisesbothhands. At a point where they are about an inch and a half apart (Figure 2) the thumb of the right hand pulls back the spectator’s billet into the secondfinger
M ‘ agc i).
“ CHIP-TEASE ” (J. N. J. Price 6s. from your favourite dealer. The articles used in this very effective closeup penetration are a short length of red with a die affixed at each end and twodifferentcoloured pokerchipshavingaholeboredthrough the centre. At the commencement the two chips are on the rod and the magicianshows that it is impossible to remove either or both without taking off one of the dice. After the apparatus has been examined, the spectator selects one of the chips, say green. This chip after the die at the end has been removed is slipped on the rod after which the die is replaced and the green chip is a prisoner. Dice, rod and chip are then coveredwithahandkerchief, the spectator holding both dice through the temporary cover. Picking up the other chip which we’ll suppose is white, the magician reaches under the folds of the handkerchief. ‘ Remember,’ he says,‘green chip on the rod, white in my hand.’ His hand comes away from the handkerchief but instead of holding a WHITE chip he now holds the GREEN chip and when the handkerchief is removed the
grip whilst the thumb of the left hand pushes the dummybillet forward, almostatthesametime, the dummybillet is gripped at its rightside by thethumbandsecondfinger of therighthand (Figure 3). The hands hold this positionfor a few seconds in front of the spectator before the billet is handed tohim. If the readerwillonlytrythisswitcha few times I know that he will find it invaluable. spectator sees that the WHITE chip is now on the rod.Onceagaineverythingcanbeexamined. Here is another worthwhileadditiontothe pockettrickworker’srepertoire,andall for the absurd sum of six shillings. Dice, chips, rod plus the very necessary something come to you packed incellophane in an attractive envelope.We’ve seen the originators work this and obtain miraculousresults. The simplicity of the methodplus the carefully prepared instructions ensurethat you, dear reader, can do the same. An excellent buy ! “Perfecto Prediction,” by Tom Sellers (marketed by Supreme Magic, price %a . .).
Here is a very niceself contained item for the mentalist,thislatestbrainchild of that prolific originator, Tom Sellers. The effect is direct, indeed. An envelope is introduced inside of which lies a piece of paper or card on which is written a prediction. A card isnow quite freely selected from (if necessary) an examined and shuffled pack. Nevertheless the mentalist is right. Good routining and a gimmicked subtlety make this miracle possible. At the priceaskedyoujust can’t go wrong.
30
WHAT’S IN A DEAD NAME PETER WARLOCK
T
HIS IS my favourite billet test. Ever since Annemann published the “ Dead Name Test ” in Thayer’s “ Trick of the Month ” Club series, I have played around with the plot. One variation I published in Plans for Deception andanother in a copy of the Linking Ring. In each of these and also in the present contribution I have tried to overcome what I consider an inherent weakness of the original effect, namely that the slip on which the mentalist wrote could not be handed back to the spectator who wrote the name on the original slip. This method I have used for a number of years and I doubt whether I shall ever change for any other. From the spectator’s point of view, everything is fair, there is no fumbling and it is one of those heaven-sent opportunities for the mentalist who is a good psychologist, and who after obtaining the primary information, is capable of building up such a picture, that the person who wrote the name is converted to the fact that the mentalist is truly reading his mind.
The Ejject. On the mentalist’s table stands a wine glass containing two folded slips of paper. The performer, after a brief preamble, draws attention to the slips. One he removes, unfoldsand hands together with a pencil toa spectator with the added request that firstly he or she, clears their mind of any extraneous thought andthenconcentrates on the name of some famous person who has died, preferably someone like an artist, poet, writer or musician. In fact someone who has left a lasting legacy to mankind. This is the trend of the mentalist’s patter. The spectator writes, and having written is asked to refold the paper and handback the pencil to the mentalist, who in turn takes the folded slip. He holds it with his right hand so that it can be seen by all his audience. “ On this slip of paper a name has been written, a name to evoke memories. I am going to askthe lady (or gentleman) who wrote this name to build a picture round it and then I am going to visualise that picture. Until the end of this experiment because of the vagaries of the human mind, I would like you, madam, to actasa custodian of the slip.” The slip, still folded, is then handed to another spectator. Turning to his table, the mentalist takes the wine glass and tilts out the other folded slip on to his palm. “ On this slip of paper I intend to record the impressions I hope to glimpse in the writer’smind.” The slip is then opened andthe mentalist removes the pencil from his pocket. “ First of all, madam, I wish you to think of the phase of work connected with the person
whose name you wrote on that slip . . . Ah, yes.” The mentalist scribbles on the paper. . . . “ You are thinking of music . . . is that correct? ” It is acknowledged by the writer. “Now then the period of the music . . . . classical, romantic or modern? ” The mentalist writes again. “ It is romantic.” Again this is affirmed. “ Now please try to think of somepiece of musicwritten by this person . . . just a few lines of melody . . . I have the name now.” At this point the mentalist refolds his slip and hands it to the spectator who wrote the name, then turning to the custodian of the original slip he takes it in his hands and unfolds it remarking, “ And now for the first time let us see the name that was written.” He looks down at the paper and then says, “ Madam, the name you wrote on this slipe was that of Beethoven. Will you please open out the slip you hold and read all that I have written ? ” The spectator opens the paper and reads aloud . . . “ Music . . . romantic . . . Ludwig von Beethoven.” The Requirements. Three slips of paper folded into billets as described in “ My Billet Switch.” One pencil carrying an eraser at one end. A wine glass. These articles are disposed as follows : Pencil inouter breast pocket, two folded billets in the wine glass which is placed on the table. The third billet is in the left hand trousers pocket. The Presentation. The mentalist calls attention to the slips inside the wine glass. One is removed .and handed toa spectator together with the pencil. The mentalist explains what is required and whilst the ‘ dead ’ name is being written on the slip, his left hand goes ina casual fashion to his left hand trousers pocket and obtains possession of the billet, finger palming it as explained in the “ Billet Switch.” With the writing completed the spectator is requested to refold the paper. Moving towards her (or him), the mentalist first relieves her of the pencil and then the folded slip. With the patter already given the mentalist, in turning to another member of the audience who is to act as custodian, switches the dummy in the left hand for the billet in the right, the previously described billet switch beingused. The original slip is, of course, left in the right hand and the latter drops naturally to the side. The mentalist moves across to his table, and at this point comes the touch which makes the effect so clean, a touch, too, which obviates pocket work. The left hand takes hold of the stem of the
31
wine glass by the finger tips and with the raising of the right hand, the glass is tilted so that the slip wine glass by the fingertips and with the raising of inside the glass falls quite naturally on to the performer’s right palm. The right thumb pulls back the slip and then, after the wineglass has been replaced upon the table, the left hand comes unhurriedly back to the right, and the spectator’s billet is opened out whilstthedummy from the glass is fingerpalmed. The left hand holds the opened slip and the mentalistglimpses the namewritten. The right hand goes to the pocket for the pencil, the billet being retained in the fingerpalmed position until the completion of the effect. Should the mentalist find when he first looks at the billet that he has it so that the writing is upside down and difficult to take in at a glance, his best plan is to allow the left hand to drop and so adjust the paper, as the right hand goes for the pencil. As mostpeople tend to print, rather than write, such difficulty is seldom experienced. With the name in mind, the mentalist starts building up the necessarypicture. Taking our original example, ‘ Beethoven,’ he commences by writing the word, ‘ Music ’ but keeping it clear of the spectator’swriting. He starts to writesomething else, and then as though correcting himself,
says, “ No, that’s not right.’’ He reverses the pencil end for end, and rubs out the spectator’s writing, leaving on the paper only the word, “ Music.” He carries on from there putting down the period of the music.With a fair summing up of the spectator’s mentality, he may be able to pinpoint an actual work by the composer, and certainly should have a chance of classifying the choice of work such as Symphony, Concerto or Sonata. The work, such as Symphony, Conecrto or Sonata. The mentalistdoesn’thave to go so far, but if well schooled in the arts, it is surprising how far one can delve into a person’smindwith the very slightest of suggestions. He adds one more impression, finally adding the name. If the spectator has simply given the surname, the effect is still better if the full name is given. With the writing completed the slip is refolded and handed to the original spectator. The dummy slip is taken from the spectator and opened. Now for another telling touch. With the slip opened out, the mentalist glances at it and appearing to have the writing on it upside down, he turns the slip round. This is most convincing. The mentalist reads, apparently from the slip, the to open her slip and the powers of the mentalist name written by the spectator. The latter is asked are proved without any shadow of a doubt.
BOOKS “Magic 100 New Tricks,” by Bruce EHiott (Published in England by Messrs. Faber and Faber, price 15s.). The great advantage of a Bruce Elliott book is that it is written by a true journalist rather than a magician seeking to explain the manoeuvres and subtleties of his art. Those who are readers of the PHOENIX willhave already digested the main part of its contents in magazine form, but as we always think that book publication seems to improve the status of a trick published in a magazine, we feel certain that such readers will discover in this digest a number of magicalgemswhich they may have overlooked at a previous date. There are eightmainsections to the book. They deal respectively with close-up tricks, tricks with currency, ring, rope and silks tricks, selfworking card tricks, card tricks requiring skill, the ‘ Expert at the card table,’ mental magic and routined magic. As this is a book intended for the general public there will be many of our readers who will regret the publication of many of the subtleties stemming from minds of magicians like Slydini and the late Dr. Daley. It is a nice tribute to British magic to see John Howiewell represented with items like ‘ Ghost Thimble ’ and ‘ Reward.’ Whatever your taste in magic you’llfind somepleasingitem to take your fancy for Elliott is a connoisseur and
much like Annemann he was choosey as to what went into the PHOENIX. “Modem Magic Manual,” by Jean Hugad (English by Messrs. Faber and Faber, price 20s.).
Magicianswouldhave an eternal task in attempting to repay their indebtednessto that G.O.M. of magic, Jean Hugard. Few practical magicians write with such clarity, fewinwriting so easily show that magic is something more than the matter of learning a fewtricks. The present book is no exception. First published in America nearly two decades ago. It says a great deal for the quality of the book that today it reads just as freshly as it did then. The ‘ Modern Magic Manual ’ will be to the present-day magician what ‘ Modern Magic ’ was tothemagician of thenineteenthcentury, for Hugard’s purpose much like Hoffman’s is to give the reader a coverage of the overall field of magic. Actuallyheachievesmore than Hoffman, for in the mam this is a book of natural magicwhere the pretty mechanical toylike tricks are conspicuous by their absence. Well bound and illustrated, containing nearly of teaching, no four hundred crowded pages magician can afford to leave this book out of his working library.
*
32
A SELECTION OF‘
THE LATEST B O O K S THE DIA VERNON BOOK By Lewis Ganson N o need to extol the virtues of this great work. Price 451Postage 1/4 PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenbam 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition! Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks * to perform at the dinner table. 182 pp. Cloth bound, masses of photographs.
GRAND DECEPTIONS By Alexander Klein The World‘s most spectacular hoaxes, impostures, ruses and frauds.Fascinating! Price 21/Postage 1/1 ENCYCLOPEDIA OF CIGARETTE TRICKS By Keith Clark The only worth-while book on this cloth-bound subject. 304 pp. Fine book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everythingyou need to know about escaping from handcuffs. 112 pp. Board covers. Price 60/Postrrge 6d.
*
Price 16/-
PoeffaOe l/-
THE GREATER MAGIC LIBRARY Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages. Price per volume 211Postage 9d. ABBOTT’S ENCYCLOPEDIA OF ROPE TRICKS
12* ‘ size ’ pages and ~ ~ ~ ~ ~ ~ trick’ ~ ~ b $ inew t ~ p e Price 21/Postage 7d. SCIENCE MAGIC ByKennethSwezey A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price 16/Podage l/-
Write for our full Book List containing hundredsof Titles
TEE MAGICWAND
*
*
PUBLISHING COMPANY
T E E M A G I C WAND No. 253. (Vol. 46, Part 1)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks by Len Belcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS--. colourful $imble routine by Edwari Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” “Just Chance effect. THE SHOWER BATH ILLUSION by Jay Palmer-saucy and surprising. THE DIS= COVERY OF A MENTALLY SELECTED CARD by Arthur Carter-ar usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, feature8 and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
GEORGE ARMSTRONQ
6 2 W E L L I N G T O N R O A D . E N F I E L D ,M I D D L E S E X
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice0President : Francis White, Esq. Clubroom and Library and Museum :
I
I
Hearts of Oak Buildings, Euston Road, London,N.W. 1.
WARLOCK’S
PENTAGRAM is publirhed on tho 24th d erch nath rad can be obtained direct from tho pebhbom for 117 per single copy. Annual Su&ri)lJa le/port fro.. PUBLISHfiD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publiatiw and bookm f a
Magical Theatxe :
King George’s Hall, W.C.
15th Ma:fhMancunian Magic ’’ PutiCUhrS
PETER
review should be mnt to the: EDITORIAL ADDRESS:
trom Hon. Secretary :
Pater Newcornba 38 Overdale Avenue N e w Malden, Surrey
24, l
Peter Warlock, Wordoworth Rd., Wallington, Surrcv.
Wanted b y George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in en. velopes if possible. ,4180 want many U. F. Grant and Grantand Menge mimeographed items. old unused ‘manuscript’ Sort out those items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goods are fully endorsed by t h i s Bulletin PUBLISHED BY T R L PROPRIETORS TRE MAO1C W A N D IUBLl6HIIPO C O U I A N Y . 61, WIIUIWOTON ROAD, ENllllLD. MIDDLESEX A N D PRINTED BY HERBERT W A L K E R & S O N (IRINTZM) L l p . . SBIDOEWORK$.IHIPLEY.YORKSHIRE
DIABOLO’S COIN VANISH DIABOLO (Russell Sharp) DIABOLO is the stage name of a n American, Russell Sharp. Married to a n lcelandicgirl soon after the war. he took up residence in Iceland and there practises as a professional magicbn. supplementing his income with Science fiction writing for American magazines.-Editor. T was way back at the first I.B.M.S.A.M. Convention that I first had the honour of watching your great close-up performer, John Ramsay. Though I had derived much pleasure from watching many of the British team in action and had rhapsodised over your Mr. Buckingham’s wonderful lecture on manipulation, it was the superbly individual magic of this little Scotsman that stirred my blood and though I never shall have the slow adroitness necessary to perform his intriguing “ Triple Restoration ” the lesson that I had in his room at the Sherman Hotel was an unforgettable piece of teaching and something that gave me a new slant on the beauty of close-up conjuring. Did I just mention “Triple Restoration.” I should have coupled this with an equal masterpiece, the “Cylinderand Coins.” It was thelatter effect which gave me the slow motion vanish that I now describe for Mr. Warlock’s readers. Fromthe spectator’s viewpoint. ,the magus holds a coi between the tips of his right hand irst finger. The hand is almost horithumb and ! zontal with the ground. The left hand approaches with palm to the audience. The fingers point ceilingwards. The coin is taken by the fingers of the left hand closing around it. There is no movement of thelefthand at all. Slowly the right hand moves a little to the right and in a natural manner point towards the closed fist of the left hand. The left hand is now opened and it is seen that the coin has vanished. Try this with a coin the size of an English penny or half-crown. The coin and your hands are the only things you require.
Look at the illustrauon. This is the position of thehands just before the apparent take-over of the coin. As the left hand fingers close over
I
VOLUME 12, No. 5
-
the coin. the left hand first finger presses against the edge of the coin. With a continued downward movement in closing the coin takes the position shown in the next picture.
2 The coin is completely masked by the 6ngers of the right hand, and as the left hand moves a few inches away, as though carrying the coin, the second finger of the right hand presses against the coin and the first finger eases its hold so that the coin is gripped now between thethumband second finger. The right hand finger now points t o the closedfist. Everything has been donein a most deliberate manner. a manner which must be maintained as the left hand is turned back of the hand nearest to the floor and then thefist is slowly opened revealing the vanish of the coin.
I/6. (20 Cents)
-
FEBRUARY I958
34
From the manner in which the coin is held in the right hand it can with the slightest of movements be transferred to either a thumb palm or finger-palm position. Those familiar with Mr. Farelli’s write-up of
Mr. Ramsey’s trick willsee thattheadaptation has changed what was a self working vanish, i.e. the coin fell into position to an aided vanish. Just try this out in front of a mirror and I guess you’ll be pleased with its natural deceptiveness.
A STRANGER RE-VISITS PARADISE PETER WARLOCK HEN “ Greater Magic ” first appeared, Bill McCaffrey’s “ Prizewinner ” was one of the outstanding card feats described. Though in this country it seemed to receive scant consideration (judging by the watching of performances) from magicians in this country, it was to form the basis more than ten years later for effects in the “ Premonition ” tradition. In 1955, Gilly Davenport marketed an effect of mine called ‘‘ Stranger in Paradise,” and those who have used it have been good enough to tell me how effective it has proved. In this effect, the appearance of one selected card as a stranger in a pack took on a new lookin so farthatit was the only card missing from its home pack. m-
Wishing to present this effect some little while back when at a friend’s house where borrowed cardshad to be used the following version was quickly devised. The Eflect. Two packs of cards (in their cases), one red backed and the other blue backed, are introduced. A spectator is requested to slip the blue backed pack into his pocket whilst anotheris asked to remove the red backed cards from their case and give them a thorough shuffle.
When the shuffling is complete the red backed cards are retrieved by the magician. Holding them in his right hand faces towards the audience, he asks one of the company to give him any number between one and fifty-two. Deliberately counting off thecardsone at a time until he reaches the card at the chosen number he removes it and rests it against a glass standing upon the table. We’ll suppose that it is the seven of hearts. The person having charge of the blue backed cards is now asked to remove them from their case and dealing them face up is to count down to the seven of hearts inthe blue backed pack. This helper goes on through the pack finding that he has fifty-onecards and thatthere is tu) seven of hearts. Finally the magician turns round the original seven of hearts and it is seen that this is the missinghlue backed card. Then from his inside pocket the performer takes an envelope which, on being opened, reveals a red backed seven of hearts!
Requirements. Two packs of cards, one red and one blue backed. Also a glass for the chosen card to rest against. Preparotion. Supposing that we keep to the idea that the seven of hearts is the “ stranger.” Remove this from the blue backed pack and also take out the Jokers thus leaving fifty-one cards. Replace these in the blue case. From the red backed pack remove any one card, the seven of hearts and the Jokers. Replace the pack in its case. Place the seven of hearts in an envelope and slip this in your inside coat pocket. Place the red backed card on top of the blue backed seven of hearts and rest them on top of the red card case. On top of these cards and the case place the blue backed cards in their case. The two packs in their cases are nowplaced on the table with the glass adjacent. Presentation. Pick up both card cases from the table with the left hand. Move across to a spectator on the right and with the left thumb push off the blue backed case, the right hand taking it. Be careful to keep the two cards on top of the red case in alignment. Tell the spectator to slip this case into his pocket, and as the action of taking and handing the case is gone through the left hand drops to the side and the little finger comes in between the cards on top of the case and the case itself. Apparently pass the case from the left hand to the right but in actuality as the right comes into position the two loose cards are palmed in the right hand which at the same time takes the case and passes it to another spectator who is then requested to takethe cards from the case and shuffle them thoroughly. The performer takes the case fromthespectator and slips into his left hand pocket, the right hand with the palmed cards has dropped to the side. When the cards have beenshuffled, the performer takes them with his left hand andas he moves back to his performing spot passes them to the right hand letting the two palmed cards fall on top of the pack.
35
The right hand at this point is holding the pack by the narrow ends between the thumb and fingers. The left hand moves across takes the cards on the long side whilst the right hand moves round and the left hand deposits the pack on the right hand so that the cards lie face down on the palm with the thumb on top. The left hand stays put for the moment and in that moment the left thumb triple lifts the top three cards and moves them over the left edge so they overlap the rest of the pack by about quarter-of-ana inch. Now using both hands the cards are fanned with the remark, “ You were good enough to thoroughly shuffle this red backed pack of cards . . . I want your help still further . . . I want you to give me a number between one and fifty-two. Nineteen. Thank youvery much.” Thefan of cards is closed but in closing the cards the stack of three cards is kept positioned and so with the number given, the counting commences. The right thumb as the left hand comes in pushes off the top three cards as one and the left hand takes them asone card. The next card is taken in front of the three, the performer counting two.” The next card goes across as “ three,” but at the same time the left thumbunder cover of thetake pushes across the rearmost red backed card. (This method of false counting is a great favourite of Francis Haxton’s and was first des cribed by him in “ Nonsuch Prediction ” which was published in this magazine some 12 years ago, a fineeffectwhichis still as effective to-day as it was then.) “
a
Now at this point the magician has a bunch of four cards in his left hand with a blue backed seven of hearts at the rear. He continues counting off the cards from the right to the left hand and as
he pushes off the eighteenth card with his right thumb and it is taken in front of the batch held by the left hand, the false count move is repeated and this time under cover of the take the bluebacker is left behind the cards held by the right hand. With the count of “ nineteen,” the blue backer is pushed off by the right thumb and taken by the fingertips of the first and second fingers of the left hand. The packet of cards held by the right hand is placed on the table and then the blue backed seven of hearts with face towards the audience is stood against the glass on the table. The cards in the left hand are then added to those already lying on the table. The gentleman with the blue backed cards is now addressed. “ Sir, please remove the case of cards from your pocket. I wishyou to take the cards from the case (performer takes case from him and drops it into pocket) hold them face up and counting carefully note the position of the seven of hearts in the blue pack.” The spectator counts through finding fifty-one cards but no seven of hearts. Picking up the red backed cards from the table, the performer with the backs of the cards towards the audience leafs through them at the same time saying . . . “ From this red backed pack . . . one card was freely chosen . . . don’tyou think it something more than a coincidence, that the choice fell upon the only card that had been removed from the blue backed pack.” As this is said the seven of hearts is turned round to show its blue back. “ And of course to make quite certain that there could be no confusion, I placed the seven of hearts from the red backed pack inside this envelope.” As this is said the left hand removes the envelope from the inside pocket. It is opened and the red backed card removed and shown.
VARIATION ON A THEME ROY WALTON
T
HE EFFECT : Any card is named and placed in an envelope which is sealed and in turn placed in the performer’s pocket. The twin of this cardisthen removed fromthe pack, initialled in pencil by a spectator and returned to the pack. A muttered hocus pocus and it is found that the initialled card has vanished from the pack. When the envelope is taken from the performer’s pocket and slit open it is seen that the initialled card has joined its mate ! Requirements. Two business sized envelopes made from stiffish paper. One pack of playing cards. A pencil. ~~~
Preparation. One of the envelopes is taken andabout a. quarter-of-an-inch down on one of the short sides a tear is made so that ingress into the envelope can be accomplished without unsealing the envelope. The width of the tear should be about an inch wider than the width of the playing cards being used. This envelope is sealed and placed in an inside pocket (preferably left side) with the torn part nearest the top of the pocket and away from the body. The other envelope unsealed is also slipped into the pocket together with a pencil. The pack of cards is in the jacket pocket. Presentation. Remove the unsealed envelope from the
36 pocket and also the pack of cards. Ask a spectator for the name of any card. Run through the pack and find this card, splitting the pack at that point and so dividing the cards that the face card of the left hand packetis the card named. In turning down this packet and apparently placing the chosen card face down on the table do a “throw change ” leaving an indifferent card on the table. Replace the right packet on top of left and double undercut bringing the chosen card to the top of the pack. The card on the table is now picked up and wthout being shown, sealed inside the envelope, and the latter is then placed inthe pocket alongside the torn envelope. It goes in between the envelope and the lining nearest the body. Now remove the twin card from the pack, have it initialled, place it on top of the pack and false cut apparently bringing it to the centre. Actually the twin cards are now on top of the pack. Add a false shuffle for full measure and then palm off the top twocards. After a brief
but suitable interval, reach into the pocket with the hand which has the palmed cards and in the act of removing the envelope which has the tear push both cards through the opening so that they are well and truly inside. Remove the envelopefromthepocket and place it tear side down on the table. Pick up the pack, leaf through it showing that the twin of the card has vanished. Pick up the envelope and tear it at theendwhich already has the tear on one side. Allowthe spectator to withdraw the two cards and at the sametimeconfirm that the initialled card is really there. It isessentialtouse stiff paper envelopes otherwise there is a tendency for the envelope to buckle when the performer attempts to insert the cards. An extra aid is the insertion of a small length of matchstick just beneath the tear so that in a plane opposite to the sides of theenvelope the sides of the envelope are kept apart.
A PRETTY SILK FLOURISH JAMES DOUGLAS ‘0eighteen-inch or twenty-four-inch silks of contrasting colours are required for this effect. Throw one over the right shoulder and twirl the other ropewise. Execute the tie over wrist knot without letting go of the ends on the left wrist. This is a well-knownflourish and should not require description. Nowremove the silk from the shoulder and tie a similar knot on the right wrist.
T”
The move that follows is a little hard to describe but if the reader follows it with the silks in his hands he should have no difficulty in understanding.
The protruding end of each silk is grasped by the opposite end and each silk is then slid off the hands on to the portion of its mate held by the opposite hand. The bundle supported by holding the ends in each hand is then thrown in the air in a perpendicular manner and as it descends the lower ends are caught by the right and left hands, i.e. one end in each hand.
Without pause the two hands are separated and a knotted silk is left in each hand. Though requiring very little practice this flourish has been productive of muchapplause, applause farout of proportion the little work entailed.
37
MAY I BORROW A BOOK? PETER WARLOCK
T
HE NUMBER of book tests where the mentalist is able to borrow a book from his host are few. At the time I first used this (way back in 1942) it was, to the best of my belief, unique in so far that no conditions were imposed regarding thechoice of word or words that the mentalist ultimatelydivines. It is an ideal effect for impromptu performance. ‘The Eflect. The mentalist (assuming that he is working in a house rather than on a platform) asks for the loan of a book. After receiving ithe glances through it and tells his audience the number of pages it contains. With the supposition that the number is two hundred and fifty, he requests that a number not greater than that be given him by a member of hisaudience.Let’s suppose that the number given is “ forty-two.” The mentalist turns to this page which he mentions is flanked by page forty-three. “ You have the choice of both these pages” he informs his audience, casually .showing those near him that hehas opened the book at the pages mentioned. He then places the book, still opened, page side down on the table. A member of the audience is invited to assist and with his help forthcoming the performer takes from his pocket a visiting card and a pencil. To the assistant he says :“ I want you to stand with your back to my table directly in front of the bookwhich I shall t u n over so that the selected pages forty-two and forty-three are uppermost. By putting your arm behind you you are in a position to touch the surface of either page. I shall give you a pencil and when I have walked to the furthest corner of the room and I giveyou the signal, I wantyou to draw a small circle, like this (here the performer draws a small circle on the visiting card), on either of the pages.”
The mentalist nowplaces the spectator in front of the book and then hands him the pencil. Next he walks away and when he has reached the furthest point he tells the spectator to make the pencil ring on one of the pages of the book. When it is apparent that the assistant has completed his little task, the mentalist walks up to him and asks him for the return of the pencil. With it the mentalist starts writing on the visiting card. When he has finished he folds it in half and hands it to a member of the audience. The mentalist now motions the assistant to his seat, then picking up the book.
“ Ladies and gentlemen,” he goes on, “ a borrowed book . . . two pages selected by one of you . . . a marking made in the dark . . . also by one of you.” The book is now handed to a spectator with a request that he looks at the word or words encircled by the assistant’s pencilled circle and reads them aloud. The result maybesomething like this :“e . . .c a s e . . . ~ ” “ And now,” this to the spectator holding the folded visiting card, “ will you please read aloud what I have written?” The spectator then reads out “ e . . . c a S e . . . W!”
The Requirements. Any borrowed book. A joke pencil that will not write. A Nail Writer. A Visiting Card. The Preparation. Nailwriter in position on thumb, visiting card and pencil in pocket. The Presentation. The performer asks for the loan of a book and with this forthcomingthechoice of page is asked for and the bookisopened at that point. Should by chance there be a blank page, ask for another selection, at the same time giving the reason. Those nearest the performer are allowed to see that the book has been opened at the page number given, and before placing the book on the table it is raised so that the pages are shielded from the audience. At the sametime the assistance of a member of the audience is requested by the mentalist. There is a little more to it than what I have said. As the performer shows the pagestotheaudience he notes and remembers the wordimmediately above the thumbtip. As hebrings the book into an uprightpostion he rings a circle round it using the nail writer. If the word is short he includes the final letter or letters of the previous word and also the first letter of the followingword.Don’t try and rush this. As the assistant walks forward the book is placed still open, pages down upon the table. Taking the visting card and fake pencil from hispocket and using the patter given in the “ effect,” the performer, holding the pencil near the point, appears to draw a circle on the visiting card. Actually it is the nail writer which does the work. The card is slipped into the pocket and the
38
pencil is handed to the spectator whilst the performer walksaway.When the assistant has performed his brief task, the performer takes back the pencil and sends the assistant back to his seat. Once again, using the nail writer technique the performer writes on the card the letters he circled and memorised. The card is folded and handed
to a spectator whilst the pencil is slipped into the pocket. The effect nears its climax. The book is handed to a spectator to read out the word or words circled; the other spectator with the visiting card reading out inconfirmation the mentalist’s correct divination.
ECENTLY Goodliffewrote an editorial in countless societies throughout the breadth which he gave thought to the spawning of of this country. Nobody woulddeny the good fellowship of any magicalsociety, nor for that matter the pleasure gained from meeting those of a similar interest, but unfortunately in many cases the smaller society aims, perhaps unconsciously, at a lower standard of performance. On the other hand don’t let it be thought that the largest society maintains, all the time, the highest standards. A visit to The Magic Circle Theatre on a Monday evening is sometimes only for the staunch hearted for there, despite its enormous library, its excellent lecturers and the example set by so many of its members there are some who take the stage without the necessaryclue. The magicalsociety in one phase must have a bad influence on magic, and this is the phase, namely that a bad magician can have an audience and what is more an audience whowill overlook every fault because they think that the performer is doing his best. If it is their best, then what the worst is like we don’t know. Quite recently we sat through ten acts, three of whichwerewell up to standard. Of the other seven we would say little, but with the many textbooks dealing with stagecraft and presentation we fail to understand any adult performer coming on to a stage with one loaded table and then during the performance placing used articles on the floor!
will be ready by the end of this year. Both of the books should be excellent ‘ buys.’
R
Both the Vernon Card Book and Tarbell Volume Seven are under way. Lew Ganson, now a civilian is immersed in the former whilst Doe. Tarbell writes saying that he hopes volume seven
Whensomewhileback we gave a talk on magical literature at the National BookLeague, we instanced the Vernon Book of Magic asan outstanding example of magic and publishing. We also had a display of books on magic and this particular volume had pride of place. In our own opinion it stands on its own and yet we have heard magicians say that there is nothing new in it. What do some people want? We think that we have read most of what Vernon has published. We have read his lecture notes and seen the famous manuscript. Nowhere in these has hishandling of the effects described been equalled. Congratulations to Larry Barnes on the production of his play the “ Gimmick ” at the Related Arts Club in Park Lane. The story of a magician and magicians, it brought to light the histrionic talent of Bobby Bernard. His performance, according to the reports we have seen, took firstclass honours. We can think of no other nation which, like Russia, seeks to encourage the bestamong its people. Whether the fieldbe that of art, music, sport or science, the standard always aimed is the best. One development which has just come to our notice through the medium of our good friend Horace King, is that there is in Moscow, ready for opening, a School of Variety. At this school the various types of estrada (variety) acts are taught and coached. David Chitashvili who toured this
39 country last summer and who will never be forgotten for his handling of the appearing and vanishing bowl of water will be one of its professors. In this capacity he will teach theart of illusion. The age limit for entrance into the school is thirty.
Kalanag continues to get first-class notices during his Continental tour. A performance at Copenhagen before Prince Knud andthe Prime Minister brought much treasured letters expressing the pleasure that this master of mystery had given to the writers.
BOOKS “ROPE ETERNAL,” or the d y six ways to restore a rope. By Dariel Fitzkee. Published by Louis Tannen, New York, price ........This is a reprint of an old book. It is concise and clear in explanation and has the typical Fitzkee analytical approach. Following a succinct preface, the author classifies the cut and restored rope effect into a number of methods and from those methods, singly or in complement, he shows thatall cut and restored rope tricks are stemmed. To the well informed magician there is little, in fact nothing new, and whilst he may not have applied the pro-
cess of analysis given in the text he will be aware of most resultant possibilities. At the same time as a reference book it is commendable. For the student of magic it is a necessity for within the scope of the fifty odd pages comprising the book, there is information that would take him many months to collect and collate. As in the “ Trick Brain,” Mr. Fitzkee shows that by interchangeability and adoption of certain methods new rope tricks can be evolved. That this is true he illustrates with three examples. Unfortunately from the general public’s point of view, whatever the method, unless it is so bad that the secret escapes, there is only one trick in which a rope is first cut and then restored. Well recommended.
THE BRITISH RING BANQUET, CABARET & DANCE Nearly two hundred members and their ladies cameto the Grosvenor Hotel inLondon on Sunday, March 2nd, for the annual British Ring Banquet. Many had travelled considerable distances. Among these were FreddyandMarian Carter from Huddersfield, Tommy and Phyllis Rowe from the Swindon area, Arthur Culpin and Elizabeth from Staffordshire, Eddieand Molly Dexter from Southport, Wilfred Tyler from Sheffield,Jeffery and Catherine Atkins from Southampton. The members and guests were received by this year’s President, Les. Levante and his wife, Gladys. Les. Downham, better known tomany as Marzinni, played the part of M.C. and Toastmaster in excellent style. The meal was excellent andthe speeches short.Afterthe Loyal Toast by the President, Edward Graves of “ World Fair ” proposed the toast, “ The British Ring,” the reply being made by the President. The second toast, the “ Ladies and Visitors,” brought forth a deal of wit from the proposer, Freddie Carter, and an equally good reply from Catherine Atkins. The dinner over and the floor clear, dancing started to the music of Robin Richmond with his Electric Organ. At a little after ten o’clock came the cabaret. Opened by Gerry King, a new face
at a magical function, a literal whirlwind of manipulation with cards, thimbles and cigarettes was presented. A skilful act but the speed at which the performer worked gave his audience little chance to appreciate exactly what he was doing. He was followed by John Wade, an experienced concert party artiste. Comedy patter was attached to the Rigid Rope, Turnover Candle, Thimble multiplication and Percy the Penguin. A break from magic with Clifford Stanton who well might be called the man with a thousand faces. Incredibly quick facial disguise plus witty lines made this act a show stopper. To bring the cabaret to a close came Paul Arland, the Merry Angler, who during the past month has been appearing at the Embassy Club. Many will have seen Paul’s act through the medium of television. If they have, they have missed something most important, the gleaming gold of the many fish that he produces from space, handkerchiefs, glasses, etc. A very novel act which well merited the acclamation it received. During the evening it wasverynice to see David Nixon arrive after completing his weekly stint on “ What’s My Line.” A very pleasant evening indeed, with everyone praising the organisers and saying, “ Here’s to the Next Time !”
40
ANNEMANN’S
EN R A P P O R T is the only requisite, and you can begin the moment you EN RAPPORT is Annemann’s supreme effort to give the arrive! fraternity a practical and easily learned two-person routine of telepathic oddities. EN RAPPORT is the EN RAPPORT has been audience tested.You have ONLY complete programme of its kind offered, and has probably seen many typescrip te1ep:thy acts advertised been developed over a long period and little by little in the past. The inventor thinks it good. is You refined through actual performance to the nth degree of ‘. think it has been tested, and buy. Then you find that showmanship. it is impractical in actual performance.‘, As a contrast Annemann performed this act as a repea!,” show EN RAPPORT is designed to fulfil the need of advanced following normal bookings of his one man mental amateurs and semi-professionals. Fromstart to finish act on no fewer than 53 occasions over a period of just the routine can be well learned in two evenings. From over four years, earning fees ranging from the equivalent then on it is strictly a matter of presenting the act before at the time of from f20 to f70 per performance! an audience to gain the confidence necessary to a proEN RAPPORT runs approximately forty minutes for the fessional standard performance. fullact, and afterthe introduction tests are made to EN RAPPORT is NOT a question answering act, nor is ascertain if conditions are right for telepathic communiit a telepathic act of the type which requires many cation. The routine continues with cards, coins, notes, months of arduous study and rehearsal. This modern names, dates and pictures. The various effects are Annemann routine is for the many who perform but surrounded with drama and all phases of abnormal occasionally yet want theultra of professionalism. It mentality are shown. has been arranged for presentation before from as few EN RAPPORT is now published as a finely printed and as five people to as many as 500. In the drawing room, fully illustrated book with illustrated board coversat the club or on the stage! produced in the usual first-class Armstrong manner. EN RAPPORT is NOT an act of apparatus, Forty Price 12/6 Postage 6d. minutes of mystery are carried in a briefcase, and the FOR THIS COMPLETE TWOmPERSON ACT act can be shortened to as little as ten or twelve mystery; DEMONSTRATING EXTRASENSORY packed minutes for the shorter show. No at location preparation is needed. You ask for nothing. An audience PERCEPTION AND TELEPATHY. From your Local Dealer, or direct from ”
“
“
”
“
”
“
G E 0R G E A R M ST R 0N G
62 Wellington Road, Enfleld, Middlesex.
T H E MAGIC W A N D No. 253. (Vol. 46,Part 1) Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks by Len Belcher-THE CYLINDER O F HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful thimble routine b y Edwarf Victor. Also by Edward Victor-Three Card Sleightr. SHEER CHANCE by Peter Cavour-a “natural” “Just Chance effect. THE SHOWER BATH ILLUSION b y Jay Palmer-saucy and surprising. THE DISCOVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gcprdon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, feature8 and articles complete a FIRST RATE ISSUE.
Price for this massive book-only 7/6 : Postage 76.
GEORGE ARMSTRONG
-
6 2 W E L L I N (G T O N R O A D , ENFIELD, M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Muaeum :
Hearts of Oak Buildings, Euston Road, London, N.W 1. Magical Theatxe :
King George’s Hall, W.C. April 3 r c l ~
Doctor’s Orders
”
Particulan from non. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM i@ published on tho Mtb of e8ch m r t h md can be obtained direct from tho pubbbon for 117 per single copy. Annual S o b u d p t t a 181peclt free.
PUBLISHBD
BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex h a n u d p b for pabliatioa and bookm for review should k sent to the: IGDITORIAL ADDRBSS:
Peter Warlock,
24, Wordrworth Rd., Wallington, Surrey.
Wanted by George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in en0 velopes if possible. Also want many U. F. Grant and Grantand Menge mimeographcd items. Sort out those old unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goods are fully endorsed by this Bulletin ?UBLIIHBD BY T H X ?ROPIlIXTORI T H X HAOlC WAND W B U I H I I I O COY?ANY. W W N I W O T O N ROAD.XNIIBLD.
UXDDLXUBX
THE MAGIC OF JAPAN DIABOLO (Russell Sharp) Phase 3. Whilst Russell Sharp tends to think dons mechanicallines as witness hispresentseries of articles in *‘Abracadabra,” he has been gmd enough to send us a couple of items with no mechanical associations. One, a coin vanish we publishedlast month, the second is the present effect which is a glorified version of Snowstorm in China.”-Editor. “
OR A TRULY oriental touch in a magic programme I guess there’s little to touch Snowstorm inChina ” (actually it’s a Japanese trick therefore my title!). To get a certain completeness and lengthen the trick the following routine came into being.
F
‘I
Effect. Phase I . The magus shows five sheets of coloured paper. They are placed together and torn across several times; finallythey are squeezed into a ball. The ball of paperisthendroppedinto a. narrow glass goblet. Taking a fan and gently fanning the goblet, the ball of paper rises and falls. The fanis placed aside and theball of paper tipped out into the magus’s hand. Showing his hands to be otherwise empty, the ball of paper is unfolded to show the pieces of tissue restored. Phnse 2. ‘The pieces of paper have a quarter of their length torn away from them. These quarters are pushed into a glass, a jug of water is taken and some of the water poured on to the paper in the glass. Taking a chopstick with the right hand the sodden papers are lifted fromthe glass the left hand taking hold of them and squeezing out the surplus moisture. The chopstick is placed down, andthefanis taken again, used to fan the left hand, and from it a stream of vari-coloured serpentine pours on to the floor. When all the serpentine has flowed from the hand which is shown to be empty, the paper is picked up from the floor.
VOLUME 12, No. 6
-
From the serpentine, strips of different colours are torn, crumpled, and dropped into the glass of water. Once again the chopstick is taken by the left hand and the sodden pieces removed. Once again the left hand takes them, squeezes them. Once more the chopstick is placed down. the fan taken. The left hand is fanned and from it a cloud of squares of coloured paper emerge completely filling the stage !
Requirements. 1. One large Japanese folding fan. 2. Ten sheets of tissue paper each measuring ten inches by eight. Two are red, two blue, two green. two yellow, and two purple. 3. A small coil of serpentine (mouth coi1.-
Ed.). 4. Some large sheets of coloured tissue paper. 5. A glass jug containing water. 6. A narrow glass goblet. It should be approximately twelve inches high. Alternatively a straight sided lamp chimney could be used. 7. A length of hair or nylon thread. The exact length can only be arrived at by experiment. 8. Two chopsticks or thin wooden sticks. 9. Some Scotch tape.
For the ‘‘ snowstorm ” effect the large sheets of tissue will have to be taken and cut into pieces measuring approximately three-quarters-of-aninch square. The best way isputthe sheets together andfold them several times andthen using a very sharp pair of scissors cut through as many thicknesses as possible. (This has been well described by Dai Vernon in his priceless book “ SelectSecrets,” and the actual “ Snowstorm ” effect follows the procedure laid down by him), I guess you’ll find the pieces stick in wads and so just place them in a cardboard chocolate box.
I /a. (20 Cents)
-
MARCH 1958
42
X-
/
n
The Preparation. First of all place five of the colour sheets of tissue on one side. Theseare pieces thatthe audience see first of all.
3
The papers in this state are placed inside the inner breast pocket so that the bundle is furthest from themagus’s body. The goblet is placed on the table (the table should be on the performer’s left). The fan, in a closed state, is placed just in front of the goblet. This set-up now accounts for everything that takes place in Phase 1. Phase 2 concerns the change of paper to serpentine. The articles concerned are the chopsticks, the coil, the jug of water and the glass. Take the coil and with the aid of a small rubber band affix it to one end of the chopstick (illustration 4). This
43
method allows for a quick release and gives no complications. This chopstick is placed at the rear of the table on the right of the magus so that the end with theserpentineattached is hidden from view. With the glass and jug on the left-hand table all the preparation for the second phase is complete.
Preparation for Phase 3. Let’s take the words of Vernon : “ Assemble the stacks of small squares so that when pressed together they are about an inch thick. It does not matter how irregularthe edges, it is not necessary for the papersto be squared up. These stacks are placed in the centre of asquare of tissue about five inches by five inches and the fourcorners are brought up around the package and screwed down close tothecut papers. The resulting tail is thencut off fairly close andto prevent the package from opening when handled, a piece of transparent Scotch tape is stuck over the twisted part which will hold the package securely. “ With a razor blade, cut two slits along the side of one of the folds in the package and push the second chopstick so that it will hang securely near one end. The stick is now placed nearby the other stick so that this package is hidden by the table top.”
With this done you have completed allthe preparation for the three phases of the trick. The Presentation.
Tell your audience that you will show then1 some oriental magic, and thsn let the whole thing speak for itself with a background of music.
Show both hands clearly empty and remove the papers from the inside pocket with the left hand. As the left hand takes the papers it closes over the ball of paper attached to the sheets. Bring the folded sheets in front of the body and holding them at shoulder height, turn the left hand so that the palm is seen to be empty. At the same time the right hand comes across and takes the pieces at the right-hand side. The ball of paper is now nearest to the performer’s body. Using the fingertips only, open out the sheets. The right hand takes a sheet at a time from the left hand and as each sheet is taken it is placed behind the sheet of red. Finally the left and right hand separate, the left hand taking away the red sheet which should now be the one nearest to the audience and places it behind the others. The position of thepapers is now as it was at the beginning. The papers are now torn into halves and then quartered. The pieces are screwed into a ball. All this is done as much as is possible with the fingertips so thatthroughoutthe procedure the palms can face the audience and be seen to be empty. Now you will have a ball of torn papers to which is stuck a ball of untorn papers. In the final stage of screwing up the torn papers, bring the ball of untorn paper to the front. Hold both balls as one between the thumband first finger of the right hand. Don’t forget that attached to the untorn papers is the length of hair!The right hand apparently places the ball of screwed up paper into the left hand where it is taken at the fingertips. Actually in the process of passing the papers the ball of torn papers is torn away from the untorn ones and fingerpalmed as the movement is made. The right hand then moves down and takes the goblet and when it is raised to shoulder height the ball of papers held in the left hand is dropped inside it. The right hand reaches down for the fan. (Don’t forget, you’ve still got a ball of torn papers fingerpalmed !) The fan is opened and the goblet held to the left of the magus as the fan comes into action. With the fanning the left hand moves forward slightly andthe ball of paper rises. It is allowed to sink and then to rise again and finally to sink. The fan is replaced on the table, and then the left hand tilts the goblet allowing the ball of paper to fall out into the right hand which, still keeping the original torn papers palmed, holds the untorn ones at the fingertips. The right hand moves forward allowing thehairto break away from the paper ball and at the same time the goblet is replaced on the table. Both hands assist in opening out the papers and showing that they are restored. End of phase 1. The right hand holds the papers and the left tears off about a quarter of their length. The right hand crumples up theremainderand in this crumpling the ball of torn pieces is screwed up with them. The unwanted pieces are then thrown
44
offstage. At this point the magusisholdingjust five small pieces of paper. He places them inside the glass and taking the jug of water pours some more into the glass. The chopstickwith the coil attached to it is picked up with the right hand. In the taking the hand completely conceals the coil. the left hand comes across takes the other end of the stick and pulls it from the right hand which has the effect of allowingthecoiltoslidefrom the stick and the rubber band to expand and drop unnoticedon the floor. The stickisusedto stir the papers around and thenitispassedback to the right hand which, with its aid, lifts the sodden paper from the glass. The left hand takes the paper at a point just over the mouth of the glass and removes it from the end of the stick, then squeezing out the surpluswater. The motion of squeezingmustbe accentuated, for then the performer drops the stick and takes the paper fromtheleft hand and still continues the squeezing. At this point he gets the sodden papers into a crotch palm position. They are apparently passed back to the left hand, actually however, the coil is taken by the left hand the palm position being held. The right hand picks up the €an again and fans the left hand. The fan is placed down and the right hand still having the wet papers palmed reaches inside the left fist and starts
pulling at the centre of the coil. Once the movementis started the serpentine willflow from the hand. When it has all been released the left hand is opened and shown to be empty. The right hand picks up the serpentine and both hands take part in bearing of differentcoloured strips. These are finally taken in the left hand whilst the right hand places serpentine and sodden pieces on the table in front of the fan. Oncemore the performeris clean, simply holding a number of strips of coloured paper. Finally to phase three, the “ Snowstorm.” The strips of papers are crumpled and dropped into the water,oncemore the righthandtakes a stick, but this time the stick with the package on it from the table. Precisely the same moves take place so that finally the right hand holds the sodden strips and the left hand has inside the package of small pieces.Astheright hand goes for the fan, the pieces are dropped, the presence of the serpentine concealingthem. The fan ispicked up opened out. The left hand turns its back to the audience and thefingersbreak and loosen the packaging. Fanning immediatelybelowthe hand a terrific shower of coloured paper is produced. Once the “ snowstorm ” is started, fan as hard as possible so that the pieces will scatter in a wide direction and, in fact, seem to fill the stage.
SILVER TO COPPER PHOA YAN TlONG
T
HE PAPER fold for vanishing a coin has received quite a deal of treatment from may sources. One thinks of Gus. Davenport’s lovely vanish described in “ My Best Closeup Trick,” and there have been excellent contributions from Jack Chanin, and also from Ed. Marlo in his recent book, “ CoiningMagic.” It was, however, Edward Victor and Joe Stuthard who first Eut forward the idea of changing one coin for another, and the followingeffectdoes just that, namely changing a silver coin for a copper coin. The handling and method of fold are offshoots from a Jerry Andrus coin production effect which appeared some time back in, I believe, the Genii. Verysimple, the effect takes this form. The performer shows a small rectangle of paper on bothsides. A silver coin is now placed on the paper which is folded round it in a most deliberate manner. The performer taps the contents of the package with his small wand or pencil and the evidence of genuine metal within is unmistakable.
Squeezingthepackage and thus breaking the paper, a copper coin is forced through the opening, and the paper dropped upon the table for examination. The original silver coin, can, should theperformerwish,bereproduced in a manner that the conjurer dictates. The requirements are simple :1. A copper coin (a penny). 2. A silvercoin (a half-crown). 3. A piece of paper measuring four inches by six. 4. A pencil.
It is advisable that the table at which the conjurer works should be covered with a cloth. The absence of this may make one of the coins ‘ talk ’ during the routine. The preparation consists in taking the sheet of paper and creasing it in four places as shown in illustration 1. The pencil should be in the outer breastpocket, the copper coin is palmedinleft
45
hand. The silvercoin and thepiece of paper lie o n the table. The performer is seated.
until it isstopped halfway. The right hand now takes the folded paper as in illustration 17 and the left hand takes the pencil from the table and taps Presentation. the paper (illustration 18),so that the spectators can hear the sound of metal inside. The pencil is The paper is taken as in illustration 2, so the inside folds are uppermost. The copper coin is replaced on the table (or it may be replaced in a 'concealed by the paper which, as youwillnotice,packetwhere at the Same time the palmedcoin is between the first second the maybe disposed of). The packet is then folded as left hand. The right handand takes holdfingers of the Of paper and pulls it through the fingersreversing it. Once in illustration 19 and placedagainst the side of a more it takes up a similar position in the left hand glass (illustration 20). A Hocus ~ C U ''S and but this time inner folds are nearest to the hand taking the paper it is squeezed so that it is broken (see illustration 3). It is in this way that the paper is placed on the table, the hidden coin being left and the copper coinmakes its appearance, the underneath it at the pointshown in illustration 4. paper then being dropped upon the table. Now you can see the reason for having a cover on the table. The pencil is taken from the pocket by the right hand. It is placed on the paper in the position shown in illustration 4. The left hand then takes the upper end of the paper (illustration 5 ) and as the right hand moves the pencil forward slightly the left pulls the paper towards the performer so that by the time the pencilisclearof the paper (illustrations 6 and 7) both sides 8 of the paper have been seen and by the slight movement inthe the showing the copper coin has takenup the position shown in illustration 8. L "
-
,E) l
The silver coin is now picked up and placed centrallythein fold shown in illustration 9. The folding of the silver coin within the p a p e r n o W takes place. Illustrations 10, 11,12 and 13 show the course of this. Illustration 11 is included to show the viewpoint ofthe spectator. Notice how, the silver coin during the folding is shifted slightly to the left, so that when the paper is folded aroundboth coins they occupy the positions shown in illustration 14. G r i p p i n g the copper coin throughthe paper the package is tilted as in illustrations 15 and 16 the silver coin falling intothe left hand palm, and almost simultaneously the left hand thumb positions itself as shown in illustration 16 so that with the right hand leaving go of the package, the copper coin slides down inside the paper
\+-
\ I
12
19
20
46
FOUR WHITES BRIAN GLOVER
A
FEW YEARS back Dr. Jaks released to the magical fraternity an excellent close-up effect called “ Four Blacks.” At a later date Alex. Elmsley, through the medium of Harry Stanley, brought out a variation called “ What card?” It was the study of these two effects that brought into being “ Four Whites.” Efject. The magician hasacard selected by the simple process of having a spectator cut the pack. The card on top of the cut is not looked at, but its position is marked by reversing thecut off portionontop of it. Four cards, white on both sides are shown and are counted on to the table. Two of the four are selected and placed aside for thetime being. Now the card selected is looked at and it is taken and placed face down between the remaining two white cards. On pronouncing the mystic words “ Hocus Pocus,” the seZected card is shown to be blank, whilst the missing pips are discovered on the undermost white cards!
Requirements. 1. A pack of cards. 2. A duplicate of any card in the pack. We’ll say it’s the seven of diamonds. 3. Adouble backer to match the pack. 4. A blank card with matching back. Initial Preparation. First you must prepareacard of normal thickness which is blank on one side and the seven of diamondsontheother.This is best made by splitting the two necessary cardseither in adry or wet state,thedry splitting will give you the better surface (actually all the cards mentioned by Brian can be obtained to match Aviator cards.Ed.). The regular seven of diamonds is now treated with roughing fluid on its back whilst the blank-face card is roughened on the face.
Set-up. The main part of the pack is placed face down on the table. The blank-face card is then placed face up on top and on top of it goes face up the roughened seven of diamonds. This brings the two roughened surfaces together. Three all white cards plus the blank one side and seven of diamonds the other are set up in the order prescribed by Dr. Jaks. Presentation. The pack is taken and fanned face up, care being taken not to disclose the reversed cards. It is thenturned face down, and a spectator is invited to cut the pack anywhere he wishes. This done,the face down cut at which he has cut is indicated by the performer, and to mark its position the cut-off portion is turnedface up and placed on top (The Henry Christ force). The four white cards are then shown to be blank on all sides as in Dr. Jak’s method. Twoare selected from the four. If the selected pair includes the fake card, they are stacked together, fake card on top. then reversed and placed in a prominent position. T,he remaining two all whites are placed together in fan formation near the pack. If the choice falls on the other a change of patter covers the equivoque so that the same result is obtained. At this point the conjurer says that the selected card will be noted for the first time. He takes the pack and fans through it until he reaches the first face down card.Thankstothe double backer this will be the two roughened cards. The two cardsareturned over as one to show what appears to be the seven of diamonds. It is turned face down again and this time only the top card,the blank faced card is slid off and then placed between the two white cards. The routine is then brought toa successful conclusion as detailed in the “ effect.’ ’
CALL THAT NUMBER PETER WARLOCK ‘UCH water has flown under London Bridge since theday when JohnNorthernHilliard presented his famous telephone effect to the magical fraternity. A truly miraculous effect which never seems to have been used as much as it should. There have been many alterations in the manner of coding the name of a selected card, but few in which the clear cut effect of the originator has been maintained. Many years back, there was an excellent article in the Sphinx dealing with the methods and subtleties employed for the pur-
M
’
pose of obtaining the effect of card telepathy by telephone. The excellence of many of the methods was marred by the fact that the enquirer had to code thecard by a series of remarks. Myown experience is that the simplest sentence can lose shape from the time that it leaves the performer’s lips to the time when it is apparently repeated by the helper. Wishing to use some form of the effect in a programme of mental and psychic effects given to
47
:a Summer School at Loughborough College a few years ago I made use of the &st of the two methods to be described. The second method I made use of at the H.Q. at which I was stationed during the War. The effect is similar in each case, namely that a spectator is handeda pack of cards with the request that he shuffles it and asks his neighbour to select any one card. Whilst this is taking place the mentalist has informed his audience that he proposes a demonstration of long range telepathy, he acting as the transmitter of the thought, whilst his wife, some two hundred miles away will endeavour to receive it. The mentalist asks to see the card selected and then taking back the remainder of the pack, asks the spectator to ring his (the mentalist’s) home number, ask to speak (in this case) toAnn Warlock, telling herquite simply that an experiment is being conducted in which her help is required. When the exchange has connected the number, the answer fromthe telepath is that the experiment concerns the matter of a playing card which she envisages as the . . . of . . . The name of thecard given agrees with that chosen by the spectator. The secret lies in the fact that the spectator is restricted in his choice. The pack used consists of four similar of thirteen cards. The cards used by myself are :Ace of clubs Two of hearts Three of spades Four of diamonds Five of clubs Six of hearts Seven of spades Eight of diamonds Nine of clubs Ten of hearts Jack of spades Queen of diamonds King of clubs. One set of thirteen is taken and shuffled into a well mixed order. The remaining threebanks arethen assembled in asimilarorder. The four banks are then assembled toforma complete pack. An ordinary pack with similarbackpattern is alsorequired.This pack is placed horizontally in the left-hand jacket pocket. The prepared pack is placed in a case and dropped in the right-hand pocket. The Presentation. The prepared pack, in its case, is taken from the pocket andaspectatorisaskedto help. Removing the pack from the case, the mentalist gives the cards a casual fan and then hands the pack to the assisting spectator with a request that he shuffles the cards and then has one selected by another spectator. The performertakesback the remainder of the pack and drops it into his pocket so that it takes up a vertical position. Whilst this has taken
place he has explained what he intends doing. Now he looks at the chosen card. If it is a CLUB or HEART he refers to his assistant by Christian name and surname (in this case Ann Warlock). If, however, it is either a SPADEor DIAMOND, then it is Mrs. Warlock. If the card is black, then the spectator is asked to take the card with him when he goes to the telephone. If the card is an Ace, two three or four, the spectator is told to ask in his own words the name of the cardthat is being thought of. Now the spectator cannot go wrong on this. With this form of address plus the use of either Christian name or Mrs. the assistant knows that it is one of two cards. To make certain of theactualcard, she says to the person, “ To help me get an accurate picture willyou please look at the card you are holding.’’ The spectator’s answer resolves her problem and she names thecardthat has been thought of. If the card is a five, six, seven or eight, the spectator is asked to tell the assistant at the other end that her help is required in an experiment. The word experiment will not be forgetten. Once again using the same methods, the assistant arrives at the correct answer. If the card is a nine, ten, Jack or Queen, the performer tells the spectator that the assistant is capable of producing automatic writing, so will he please ask her to write down the name of the card that is being thought of. Once again using the same procedure the medium names the correct card. The thirteenth card is the real humdinger. Should the king of clubs be chosen, the mentalist just asks the spectatorto ring the number, say nothing and wait fortheother party to speak. Explain that your wife is expecting the call at about this time and will be at the other end of the line waiting forthe call. Incidentally whilst the spectator is phoning, the mentalist removes the ordinary pack from his pocket in a casual way and drops it on the table. Method 2. This method which I used in my Unit on a few occasions calls foran internal switchboard. Whilst a pack of fifty-two different cards could be used I preferred to keep to the four bankset-up. The switchboard operator is told beforehand that during the evening he will be asked for a call to the mentallist’s home. In this case the number was Enterprise 1604. The numbers I told him would range from 1604 to 1616. Whichever numberhe was given he was to ring 1604, but before passing the call to the spectator at my end of the line he was to tell mywife thenumberthathad been requested. All she hadtodo was to check this number against the list she had.Thishardly called for a list as 1604 represented the Ace, 1605 the two, and so on until 1616 was the King. This method is absolutely foolproof and ideal for use in an hotel.
48
ANNEMANN’S
EN R A P P O R T is the only requisite, and you can begin the moment you arrive! EN RAPPORT has been audience tested. Youhave probably seen many typescrip teleptthy acts advertised in the past. The inventor thinks it is good. You “ think ” it has been tested, and buy. Then you find that it is impractical in actual performance.,‘ As a Eontrast Annemann performed this act as ,,a repea), show following normal bookings of his one man mental act on no fewer than 53 occasions over a period of just over four years, earning fees ranging from the equivalent at the time of from E20 to f70 per performance! EN RAPPORT runs approximately forty minutes for the fullact,andafterthe introduction tests are made to ascertain if conditions are right for telepathic communication. The routinecontinues with cards, coins, notes, names, dates and pictures. The various effects are surrounded with dramaandall phases of abnormal mentality are shown. EN RAPPORT is now published as a finely printed and fullyillustrated book with illustratedboard coversproduced in the usual first-class Armstrong manner.
EN RAPPORT is Annemann’s supreme effort t o give the fraternity practical a and easily learned two-person routine of telepathic oddities. ENRAPPORT is the ONLY complete programme of its kind offered, and has been developedoveralongperiod and little by little refined through actual performance to the nth degree of showmanship. EN RAPPORT is designed to fulfil the need of advanced amateursand semi-professionals. Fromstartto finish the routine can be well learned in two evenings. From then on it is strictly a matter of presenting the act before an audie?Fe to gaip the confidence necessary to a professional standard performance. EN RAPPORT is NOT a question answering act, nor is it atelepathicact of thetype which requiresmany months of arduous study and rehearsal. This modern Annemannroutine is forthe manywho perform but occasionally yetwant theultra of professionalism. It has been arranged for presentationbefore fromas few as five people to as many as 500. In the drawing room, at the club or on the stage! EN RAPPORT is NOTan act of apparatus.Forty minutes of mystery are carried in a brief case, and the act can be shortened to as little as ten or twelve mystery; packed minutes for the shorter show. No ‘‘ at location preparation is needed. You ask for nothing. An audience “
”
“
Price 12/6
Postage 6d.
FOR THIS COMPLETE TWO-PERSON ACT DEMONSTRATING EXTRA-SENSORY PERCEPTION AND TELEPATHY. From your Local Dealer, or direct from
G E 0 R G E A R M S ‘l’ R O N G
62WellingtonRoad,Enfleld,Middlesex.
T H E MAGIC W A N D No. 253. (Vol. 46,Part 1) Three complere routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine withcards. Two apparatus tricks by Len Belcher-THE CYLINDER O F HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful thimble routine by Edwatd Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a “ natural ” ‘ I Just Chance ” effect. THE SHOWER BATH ILLUSION by Jay Palmer--saucy and surprising. THE DISCOVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
GEORGE ARMSTRONG 62WELLINGTONROAD.ENFIELD..MJDDLESEX PETER
The Magic Circle President: Herbert J. Collinps, Esq. Vice-President : Francis White, Esq. Clubroom and Library and M u s e u m :
Hearts of Oak Buildings, Euston Road, London, N.W 1. Magical Theatle :
King George’s Hall, W.C. ~
~
May 3rd-
Annual Banquet
Particulars trom Hon. Secretary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
I
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtamrd direct from the publishersfor 117 per single copy. Annual Sukription 181post free.
BY$ The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
PUBLISHED
kanuscripts for publication and books for review should bc rent to the:
EDITORI.4L ADDRBSS:
Peter 24, Wordsworth
Warlock, Rd., Wallington,
Surrev.
T
Wanted b y George Armstrong Any of the ‘ l C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U F. GrantandGrantand Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to:
George Armstrong 62 Wellington Road, Enfield, Middx.
goodsare fully endorsed by this Bulletin THE HASIC W A N D ?UPLl8RIRQCOY?ANT, W WELLINGTONROAD, H N P I P l D . MIDDLPSIX AND PRINTED BY BiIRBERT WALKIR (L SON (PR1-S) L I D . , BRIDOP W O R K 8 , 8HiPLEY, TORK8RIRE
*
MAGIC SQUARE TELEPATHY PETER WARLOCK
0
NLY in recent months have I discovered the
applause getting possibilities of the “ Magic Square:’ and could kick myself for not having used it before. It struck me that with a two person mental theme, the effect could be even greater andthe following was devised. The assistant who is also a psychic wonder is either taken from the room or placedin such a position thatshecannot have any knowledge of the preliminaries. The presenter of the act approaches a member of the audience or one of a committee upon the platfonnandasks him to think of a number between forty and one hundred. “Keep the number in your mind, sir.” Addressing his audience the performer harks on the antiquity of the Magic Square and turning a blackboard over shows an example. The blackboard also has a skeleton square drawn upon it. Coming back to the spectator who thought of a number between forty and one hundred, the perfdrmer tells the person that he wishes to try out a most difficult form of telepathy between the spectator and Madame X. ‘‘ You, sir, have a number in your mind. a number between forty andone hundred. Here are a number of cards carrying drawings of magic squares from themake-up number of forty to onehundred. As I run these in front of your face, sir, I want you to remove !hat opposite to the number you have in your mind; don’t let anyone see it, but concentrate onthe numbers in the square.” As he fans the cards for the selection, the performer turns his head away from the spectator.. From the time of the taking of the card until the medium steps up to the blackboard. the presented says no word, yet nevertheless at lightning speed the medium completes a magic square in the skeleton frame. the number being comparable to that thought of by the spectator.
VOLUME 12, No. 7
-
The Requirements. The requisites are simple and there are no unseengimmicks. First of all,and this takes a little time, you will require a matter of sixty-one blank cards (blank playing cardsare ideal). on each of whichis drawn in ink a magic square starting with 40 and finishing with 100. The other necessities are three pieces of chalk, a blackboard. an easel and a table. The table should be on the right (Performer’s) of the stage and the blackboard and easel in a central position. If the spectator assisting is one of a committee he should be placed on the right of the table. Preparation. On one side of the blackboard make two sixteenfigure skeleton magic squares. The one on the right hand side should be Elled in to give the basic square of 34 thus :-
S
11
14
I
13
2
7
12
3 1 6
9
6
5
4
15
10
This square will give the total of 34 on the vertical. horizontals, diagonals, any four adjacent squares and also the corner squares. It is the one given in Annemann’s “Book Without a Name.” and necessary calculation is based on his working with an added simplification. The sixty-one cards are assembled in consecutive order starting with 40 at the face of the pack and finishing with I00 on top. The three pieces of chalk are taken; one is left as it is, one has a quarter of its length broken off whilst the third has half its length removed. These pieces should be either in the presenter’s pocket or in a box on the table.
I /a. (20 Cents)
-
APRIL 1958
so ,
Now let it be said straightaway that the presenter does the real work and with certain information given, information that is coding in its most elementary form, all the medium has to do is to note the basic square and when completing the chosen square to add, with four exceptions, the same number (which can never exceed sixteen) to the figures in the basic square. The excepted squares are those carrying the numbers 13, 14, 15 and 16. Finally, the medium should carry a spare piece of chalk. Method and Presentation. Supposing that there is already a committee on the stage, one of their number is seated right of the presenter whilst the others take care of the medium during the preliminaries. The presenter explains how he wishes to conduct an advanced feat of telepathy using one of the committee as the sender of the thought. The conditions are stressed including the fact that no verbal communication shall take place after the helper has given the necessary ‘ ready ! ’ to the medium. The Magic Square on the blackboard is indicated. The medium is either escorted from the room or taken behind a screen by two members of the committee. The assistant on the right is asked to think of a number between forty and a hundred. Next, so that he can concentrate on the Magic Square of that number, he is asked to take the card bearing that numbered square. To allow for this the presenter picks up the pack of cards and liefs through them in front of the assistant. When the necessary card has been taken the pack is cut at that point and the presenter glimpses the bottom card whichwillbe one higher than the chosen number. Immediately the presenter subtracts from this number 34, then diving the result by4. This may result in an answer with nothing over, with one over, two over or three over. Let us quote four examples: Chosen number 58. 34 subtracted leave24 which divided by 4 gives 6. Chosen number 59. 34 subtracted leaves 25 which divided by 4 gives 6 and 1 over. Chosen number 60. 34 subtracted leaves26 which divided by 4 gives 6 and 2 over. Chosen number 61.34 subtracted leaves 27 which divided by 4 gives 6 and 3 over. Now the result has to beconveyed tothe medium in the easiest form. This is how it i s done with an age old principle. Imagine that the table is divided into nine squares. Counting the numbers like this.
FRONT OF TABLE 1 2 3 4 5 6 7 8 9 Now, if after the chosen number has been noted and the main result arrived at, i.e. ignoring for the moment any amount of one, two or three over. The pack of cards is placedcasually on the table at the numberindicated. It isplaced squarely, i.e. parallel to either edge. Now obviously the plan only allows for nine numbers whilst anything up tosixteenmaybeneeded. Therefore if the pack is replacedin a diagonal position on those parts of the table indicating 1 to 7, these numbers willcome up to represent 10 to 16. This can be noted by the medium in the briefest possible time. Now regarding the matter of one, two or three over. This issignalled by the sticks of chalk. If there is one over, the unbroken stick is placed on the easel rest, if two the next shortest piece and with three the smallest. In the presentation, the assistant after taking the card and the pack having been placedupon the table, the presenter using no words but by gesture (the assistant has been told of this in the preliminaries) indicates that he (thepresenter)will stand aside whilst the medium is recalled. or The presenter either stands wellback leaves the platform and the medium approaches the blackboard. Don’tforget that she carries an extra piece of chalk. As she passes the table she notes the position of the pack and remembers the number indicated.Reaching the blackboard she sees whether there is any chalk on the blackboard rest. According to what she finds she prepares to go ahead with the Magic Square. All she does as she fills in the figures in the Skeleton Square is note the corresponding figure in the basic square at the side. To this number she adds the main figure given, i.e. witha main figure of 6, she would place in the skeletonsquare 14 in the square corresponding to 8 in the basic square and so on with the exceptions of those squares in the basicin which the numbers 13, 14, 15 and 16 appear. To these she adds the main number plus the remainder, i.e.if she has been signalled 6 by the table and 3 by the chalk she adds 9 to the numbers 13,14,15 and 16.That’s all there is to it and the better arithmetician the medium is the more miraculous the effect will appear. On the average it will be found that the average chosen number lies between sixty and seventy so that no involved feat of addition is called for. When the Square isfinished the presenter turns round, asks the assistant to name the chosen number. Then as quickly as possiblehe tots up the verticals, horizontals, diagonals and all adjacent squares showing that each and everyone gives the chosennumber. Finally as a bonus he points out that the number at each corner comes to the required number as well.
ANENT “ABOUT TURN
” JACK AVIS, ALEX ELMSLEY, ROY WALTON, JOHN MESSENGER N PAGE 18, No. 3, Volume 12 of the PENTAGRAM we publish a lovely move of Hugh Scott’s for reversing the top card of the pack and at the same time bringing it to the bottom. The Professor himself, Dai Vernon, wrote to say how much he appreciated it and the other Saturday those who find in magic the calories unobtainable in ordinary food gave some thought to the possibilities of the sleight in question. First of all Roy. As a finish to an ‘All Backs ’ routine. At the close the pack should be face up in the left hand with one face down card on top. Right hand moves over to take the pack and gets ready for the ‘ About Turn.’ Hands go down towards tabletop,the sleight ismadeand as the hands ribbonspread thepack, a face up pack is seen. Roy carries on. Line up secretly a Joker at the top and bottom of the pack. Double lift the top two cards turn over, and leave face up on top of pack. Let’s say the card exposed is the ten of hearts. Right hand take pack in a get ready position, turns first palm upto show Joker at bottom of pack. As the pack is turned face down and placed on the left hand palm the ‘ About Turn ’ is made a which should jolt the spectator whonowsees Joker face up on top of the pack whilst a turnover of the pack with the right hand shows that the ten of hearts is at the bottom. Alex suggests that if a card is jogged out of the centre of the pack, the sleight can be executed just as easily. John comes up with this. At the topand bottom of the pack have duplicate cards, say the ten of spades. Double lift two topcards which show say the ace of spades. Turn down and deal face down the ten of spades on to table leaving ace of spades on top. Now take pack in right hand in a get ready position. Turn over pack to show bottomcard,the duplicate ten of spades. Left hand removes this card and places it down face up on table. The right hand turns pack over and places it on table at the same time executing ‘About Turn ’ move. The pack is then cut into two halves, the top half being placed to the right of the bottom half. Pick upthe face up ten of spades and place it face down on the right hand heap. Place on top the left hand heap burying the card in the centre of the pack. Tell your audience that with a mere spread of the cards you will cause the ten of spades to turn face up in the pack. The cardsare spread anditis seen thatthe ace of spades is face up, whilst the card they thought of as the ace of spades is really the missing ten of spades ! Now Jack comes along with these two. A card is selected and brought to the top of the pack. With the pack held in the left hand riffle the left hand side of the pack with your thumb at the same time asking the spectator to call ‘ Stop ! ’ when-
0
ever he wishes. At this command, cut off with the right hand all the cards above the break retained by the left thumb. The right hand should hold the cards in aget ready position for the ‘ About Turn.’ Flipupand over thetopcard of the left hand portion and at the same time ask whether you have been stopped at the chosen card. Replace the cards in the right hand on top of the face up card and at the same time execute the reversal move so that the selected card now lies face up on top of the shown face up card. Announce that you will cause the wrong card to change to the selected one. Lief through the cards until you come to the face up selected card. Stop and make certain thecard underneath is not exposed. See the spectator acknowledges the correctness of the card. By means of the Downs change throw the card below the selected card face down on the table. Replace the right hand packet on top of the left. The cards at this point are face up and the selected card is face up on the bottom of the left hand packet. Cut the pack bringing the reversed card to the centre. Take the card from the table and explain that what the audience saw was merely an illusion, they only thought they saw the chosen card. Turn over the card you are holding and prove the truth of this statement. With the pack held face down push the wrong card face up into the centre of the pack at the same time jogging it tothe right, and then in manner indicated by Alex. making the ‘ About Turn ’ in the action. Ribbonspread the pack and reveal that the wrong card has changed into the chosen one. Now Jack has an angle on the Magic Thrust. Double lift the two top cards showing say the ten of hearts. Turn down on top of pack and deal off top card leaving ten still on top of pack. Spread cards and have one selected. Square pack and cut for return of card to the centre. The right hand packet in the act of being placed on top of the selected card undergoes the ‘ About Turn ’ move so that the reversed ten of hearts goes face up on top of the selected card. Pick up the face down card from the table, look at it and with the words, “ I want you to place this card, the ten of hearts, face up in the pack wherever you wish. To make certain that I cannot control your actions take the cards behind your back.’’ The spectator is handed the cards behind his back but in the covered action the left thumb reverses the top card so that it is face up. Tell the spectator to turn the top card over and just push it into the pack just wherever he likes. When he has done this take the pack from him and ribbonspread the cards. The ten of hearts is reversed. Ask for the name of the selected card and then ask the spectator to take out and look at the card lying beneath the face up card which is, of course, the chosen one. Thanks a lot, Jack, John, Alex. and Roy !
52
TWO READ A BOOK PETER WARLOCK AY BACK in 1942 I remember writing up a two person book test called The Hand isGuided.” The principle employedwas one that had been little used though Zancig at one time had managed to get ten dollars a time for it. The effect I have mentioned meant a great amount of spade work, and though later it was marketed by an American with no credit to this writer, recent months have sent me back toit and in going back I have simplified the preparation without losing any of the effect.
W
“
First of all in any book test, I feel that the audience should never have reason to think that what is taking place is a feat of memory, i.e. in many cases a performer asks for a number to be given and a book is opened at the page bearingthat number, the performer then detailing particulars of the chosen page. The spectator could well give the performer credit for havingmemorisedthe contents of each page. Book tests as I see them should indicate a telepathic approach, and in such case where a number is requested and then given a book should be chosen, its title being unknown to the perfurmer. In this effect(offered as phase of telepathy between spectator and medium)whichisvery straightforward a number between six and a hundred is requested. The presenter notes this number on a slate whichisthen handed with a piece of chalk to the medium who sits facing the audience. The presenter indicates to a member of the audience a pile of popular magazines. “ Sir,” he says, “ I want you to look over and then remove any .one of those magazines.Don’t let mesee which one has been taken and please don’t let the lady here see, either.” The assistant takes one of the magazines, the presenter looking away. In fact the best thing is to have the magazines in a pile on a chair or table and both presenter and medium well to the front, thus there can never be any idea in the audience’s mind that anything is glimpsed. “ Now you have taken a magazine . . . . I want you to open it at the page number that has been freely given . . . . first of all look at the page heading . . . . concentrate on this and see whether the medium can pick up your thoughts . . . .” This is done and the medium gives details of the page measurement, heading. “ Now, sir, a harder test . .‘. . take the words at the corners of the page. First of all the top left hand corner . . . . (the medium starts writing on the slate), next the right hand corner (more writing), the left hand bottom corner and the right hand bottom corner (more writing by the medium).
The medium is asked to turn round the slate she is holding. On it printed in chalk and reading fromleft to right in twolines appear (say) the words “ DELIGHT . . . REALLY HAPPEN TOO.” The spectator with the book is asked to read out the words he noted. They are . . “ DELIGHT, REALLY, HAPPEN and TOO ! ”
Requirements. Nine sticks of chalk. Ten similar magazines of the Digest size. Ninemagazines of the same size but all different copies. A large slate or blackboard.
Some paper, pen, sellotape and patienoe.
Prepavtzrion. The books that I use are Ellery Queen magazineswhich run to ninety-sixpages. The performer is, therefore, concernedwith a matter of ninety pages assumingthat he ignores the first five or six. Remove the covers from all but one of the magazines and with a spot of adhesive rebind the similar magazines insidethe differentcovers. Thus though appearing to have ten different magazines the contents of each are identical. Now make up some paper tubes that will fit over a length of chalk. About four rollings of paper willgive quite a stiffish tube (see illustration 1). Making a note of the circumference
pieces cut some of paper of the same length. You will require nine tubes and nine pieces of paper. These papers willrepresenttenpages of the magazine. The firstwillcover 6 to 15 and SO on. The information neededis the titling atthe top and the four extreme words on each page. The
53 format on each piece of paper gives all this information, which is printed in small lettm like this :-
The lengths of paper are now taken, adhesive applied and rolled around the tubes. To keep the writing clean sellotape (Scotch tape) is used to ,cover the writing. The sticks of chalk are now pushed inside the tubes which should allow about half an inch to protrude. The matter of keeping the tubes positioned is one for the individual. First of all the sequence is important, i.e. the presenter must be able to place his hand on the needed information without hesitation. Therefore the following suggestions are made. The first is to have two holders, one ,whichwill take four pieces, and the other five, these holders being slipped into the right and left trousers pockets, respectively, or to have a box on the table whichwill allow the easy extraction of the necessary piece. The following illustration in which the chalks can stand upright meets the case.
The slate and books should be either on chair or table, the chalks being easily getatable.
Presentation. The medium is seated facing the audience well to the front of platform. Books and slate are picked up by presenter, the books being placed at the rear of the table which should be behind him. A number is asked for and being given, the presenter goes to either his pocket or box and takes out the piecewhich carries the information relative to that particular page. He writes the given number in large figures on the slate, and this with the piece of chalk is handed to the medium. She holds the chalk between the left hand, thumb and second fingers and in that position she can easily revolve it and note the contents of the titling and the chosen line. Remember that at this stage she already has the infermation though no book has been chosen ! The spectator is directed to choose one of the books and from then on until the close of the effect the total result depends on the showmanship of the presenter and his assistant.
PIN POINTED SLATES PETER WARLOCK HIS IS a slate writing effect which has been a standby with me for many years. Not only has it mystery, but in the handling there is great scope for a humorous presentation. prior to the commencement of the effect, the performer has two assistants from the audience seated right and left of him, respectively. The Eflect. The performer picks up a stack of three slates and a stick of chalk. Passing them from right to left hand one at a time and showing them to be blank, he adds that as he has no wish to confuse his audience hewillshow each carefully on boththe
T
sides. Taking the topmost slate heshows both sides and then with the chalk, marks a large ' 1 ' on one side. Turning slightly left the performer asks the assistant that side to raise her foot slightly. The slate is then placed blank side down underneath it and she is asked to rest her foot on the frame. The next slate is similarly shown and on one side a large ' 2 ' is chalked. This slate, also blank side down, isplaced under the foot of the right hand assistant. The third slate after being shown is replaced on f i e table and the chalk slipped into pocket.
54
From the table the performer takes a newspaperanda pin. Going across to the left hand assistant he hands her the pin and then holding the newspaper infront of her asks herto push the pin into the paper wherever she likes. When she has done this the performer turns right and asks the assistant on that side whether the pin has punctured a word on the reverse side or just struck a blank space. Onthe assurance that it has impaled a word, the assistant is asked to note the word and remember it. The newspaper is folded and replaced upon the table and the third slate picked up, whilst the right hand takes the chalk from the pocket. The performer remarks that on slate number one. he will, with a little psychic aid, have written in chalk the chosen word. In order to do this he will make use of the third slate. On this slate he draws with the chalk a pentacle or some similar magical sign and then holds it out above the slate under the left hand assistant’s foot. Asking the assistant if she notices anything happening to the slate under her foot, she will, in all probability, reply inthe negative. ‘‘ Then,” says the performer, “ you must co-operate a little more and remember that all the time we are attempting to get the chosen word written upon the slate beneath your foot.” Removing the slate from beneath the left hand assistant’s foot,theperformer shows that whilst there is a chalked message upon it,the message reads . . . ‘‘ The Chosen Word.” “ That wasn’t what I wanted. We must try again,” says the performer, and cleaning the slate he replaces it under the assistant’s foot. To the right hand assistant he says, “ Now, please, think very hard indeed of the word.” Once again a pentacle is drawn upon the third slate and once more is it held above the left hand slate. “ I feel certain,” says the performer, “ that we have been more successful this time. Would you mind (this to the left hand assistant) picking up the slate and seeing whether we have yritten upon itthe word in this lady’s mind? ” The assistant does as she is told and on lifting the slate finds that it bears the message, “ Look on the other slate.” “ That I feel certain we shall have to do,” remarks the performer, ‘‘ but before you lift up the slate (this to the right hand assistant) would you please tell the audience the word in your mind.” The assistant does so and with the supposition that the word is ‘ delighted,’ she picks up the slate from beneath b c foot and finds written across it the word ‘ de; I&ed.’ After he has obtained the necessary applause, but beforc he dismisses his assistants, the performer renarks that he would like to obtain one more message. Takingone slate and holding it crosswise across another, the slates are separated revealing written upon one, the words “ Thank you ! ” The performer turns to each assistant and remarks. “ That final message is for you both.”
The beauty of this effect is that the set-up is easy. The requirements are few. First and foremost you’ll need three similar sized slates and two flaps common to all the slates. The slates that F. have used for nearly twenty years were made by Walter Wandman and being precision made and assembled are ideal for the job. The only other requisites are a piece of chalk. a newspaper, some pins and some one-inch squares of cardboard. The Preparation. We’ll allocate the letters A, B and C respectively to the three slates. On one side of slate ‘A’ is written in chalk, ‘ THE CHOSEN WORD,’ whilst on the reverse side go the words, ‘ LOOKON THE OTHER. SLATE ! ’ Each message is now covered with a flap andthe slate is placed down with the first message uppermost. Slate ‘ B ’ is now taken and on one side the word you intend to force from the newspaper is written in large letters. We’ll keep to the word. ‘ delighted.’ This for the moment is placed alongside slate A with the message uppermost. Finally on slate ‘ C ’ the words ‘ THANK YOU ! ’ are written. The slates are now assembled into a stackSlate ‘ B ’ is placed on ‘ C ’ with the edges in align,ment and then ‘ A ’ is placed on top of both but it is allowed to overlap. If this slate were in align.ment the lower flap would fall on to ‘ B.’ The messages in order going down are as follows :Slate A-Upper: THE CHOSEN WORD Lower:LOOKON THE OTHER SLATE. Slate B-Upper : DELIGHTED. Slate C-Upper : THANK YOU! The slates in this formation are now placed on the table to beused and alongside goes the chalk. The newspaper comes in for a little preparation. It has already been assumed that the force word, ‘ delighted,’ is to be found near the centre of the back page of the paper. Take one of the pins and push it through one of the square of cardboard. On the side of the cardboardnearest ot the point of the pin a coating of seccotine is given. The pin is now pushed through the rear sheet of the paper so that it impales the force word. As the pin comes through, the gluey side of the cardboard will come in contact with theinner side of the rear sheet. Allow this to dry. The paper can be folded with the protruding pin in the inside fold. Another pin is pushed through the top corners of the paper. In this way two things are achieved. The first is that the pin can be found in an instant and the second the folds of the paper are kept steady. With the paper as well as the slates and chalk on your table you are ready for the presentation.
55 The Presentation. With the assistants placed in chairs respectively right and left, the stack of slates istaken from the table with the left hand, the right hand taking the chalk. As the chalk offers no impedance theright hand assists in raising the slates to a vertical position and in this position they are fanned blank sides towards the audience. Care, of course, must be taken to see that the two flaps on. slate ‘A’ are held in place. Taking slate ‘ A ’ away with the right hand and still keeping the other two slates in an almost vertical position, you turn it round so that both sides can be seen. The slate isthen placed on top of the other two slates, which at the same time are lowered to a horizontal position. In the replacement the message ‘ LOOK ON THE OTHER SIDE ! ’ should be uppermost. Allthe slates are now brought into alignment so that the flap falls on to slate ‘ B.’ This, of course, covers the force word, ‘ DELIGHTED.’ Turning slightly left, chalk on the uppermost side of slate ‘ A ’ a large figure 1. Moving towards the left-hand assistant and lifting off slate ‘ A ’ from the stack and keeping it canted at such an angle that neither the assistant northe audience can glimpse the message on the underside, place it under the left-hand assistant’s foot. At this point the underside of the slate carries the first message to be revealed, whilst the uppermost side is covered .with a second flap. Facing the audience again show slate ‘ B ’ in manner similar tothat used with ‘ A,’ i.e. itis shown on both sides and then placed message-side down on the message side of slate ‘ C.’ On this slate you write a large figure 2 and it is lifted off (the flap previously covering its messagenow covering the message on the slate ‘ C,’ and placed message side hidden under the right-hand assistant’s foot. The third slate is replaced flap side uppermost a n the table and the newspaper is picked up, the pin being withdrawn from the corners allowing it to open, the rearsheet with the projecting pin being held nearest the body. The paper should be held upright in this manner: the folded edge of the paper with the right hand, the left holding the open side, thumb of the left hand against the rear sheet, first and second fingers of the left hand between rear sheet andthefrontpart of paper, whilst the remaining two fingers hold the front sheets. Approaching the left hand assistant, you hand her the pin and holding the paper in front of you (this cuts off the vision of the right hand assistant) ask the assistant to push the pin through the paper. The chances are that the pin will go through the most central part of the paper. That, however, is immaterial. Immediately the pin has been pushed home, the first and second fingers of the left hand do a scissors action which has the effect of opening out the newspaper to the extent of three inches.
The result of this movement is that the pin pushed through by the assistant is taken forward by the front sheets and out of the rear sheet leaving only the prepwed pin showing on the rear sheet ! This action can be done as you turn to the assistant on the right, who is then asked to note the word impaled on the pin. When the assistant has done this the paper is refolded and placed on the table. Now comes the accumulation of messages. The third slate, which remember has a flap on top is picked up and on its upper (flap) surface is chalked a mystical sign. The slate is held above the one imprisoned by the left-hand assistant’s foot. Bending down you pick up this slate, which please also remember hasa flap on top. Itis picked up and the first message shown. Dissatisfied with the result you make a remark to the effect thatanotherattempt willbemade, and place slate ‘ C ’ (held by the left hand) on top of slate ‘ A ’ (held by the right hand). The left a handholdsboth. The same handthentakes handkerchief or duster and erases the pentacle sign on slate ‘ A.’ The right hand now takes this slate, turns it over (keeping a grip on the flap) and places it under slate ‘ A,’ the left hand fingers taking a grip on both slate and flap. Now the figure 1 on slate ‘ A ’ is erased and then this slate is turned over but replaced on top of ‘ C ’ so that the flap covering the second message falls on to the upperside of slate ‘ C.’ Slate ‘ A ’ now has a large figure l chalked once more on the uppermost surface and then, message side hidden it is replaced under the left-hand assistant’s foot. Holding slate ‘ C ’ which now has a flap each side of it, you chalk once more the pentacle and hold it above the left-hand slate. This time ask the assistant to pick upthe slate and see what is written upon it. (This action and the fact that the right-hand assistant also handles the slate beneath her foot give the audience the impression thatthe slates are handled freely by the assistants all the time).With the message ‘ LOOK ON THE OTHER SLATE ! ’ you ask the right-hand assistant to first name the word she looked at. When this is done she picksupthe slate and shows the correct word written upon it. After the left-hand assistant has showed her slate you take it from her quite casually and place it under slate ‘ C ’ at the same time bringing the slates into alignment and allowing the flap on the underside of ‘ C ’ to fall on to slate ‘ A.’ With the applause coming at the successful conclusion of the effect, you tell the two assistants that you wish to obtain one final message. Placing slate ‘ C ’ across at right angles to slate ‘ A ’ you approach the right-hand assistant and ask her to place one hand underneath the other on top of the slates. When the slate is lifted the final message is found and the two assistants are dismissed.
56
r
ANNEMANN’S
EN R A P P O R T is the only requisite, and you can begin the moment you arrive! EN RAPPORT has been audience tested. You have probably seen many typescrip te1ep:thy acts advertised in the past. The inventor thinks it is good. You “ think ” it has been tested, and buy. Then you find that it is impractical in actual performance.,‘ As a Eontrast Annemann performed this act as ‘‘a repeaf, show following normal bookings of his one man mental act on no fewer than 53 occasions over a period of just over four years, earning fees ranging from the equivalent at the time of from E20 to E70 per performance! EN RAPPORT runs approximately forty minutes for the full act, andafterthe introduction tests are, made to ascertain if conditions are right for telepathic communication. The routinecontinues with cards, coins, notes, names, dates and pictures. The various effects arc surrounded with dramaandall phases of abnormal mentality are shown. EN RAPPORT is now published as a finely printed and fully illustrated book with illustratedboard coversproduced in the usual first-class Armstrong manner.
EN RAPPORT is Annemann’s supreme effort to give the
~
~
~
fraternity practical a and easily learned two-person routine of telepathic oddities. ENRAPPORT is the ONLY complete programme of its kind offered, and has been developedoveralongperiod and little by little refined throughactualperformancetothe nth degree of showmanship. EN RAPPORT is designed to fulfil the need of advanced amateursand semi-professionals. Fromstart to finish the routine can be well *‘ learned *’in two evenings. From then on it is strictly a matter of presenting the act before an audience to gain the confidence necessary to a *‘ professional ” standard performance. EN RAPPORT is NOT a question answering act, nor is it atelepathic act of the type which requiresmany months of arduous study and rehearsal. This modern Annemann routine is forthe many who perform but occasionallyyetwant theultra of professionalism. It has been arranged for presentationbefore fromas few as five people to as many as 500. In the drawing room, at the club or on the stage! EN RAPPORT is NOTan act of apparatus. Forty minutes of mystery are carried in a brief case, and the act can be shortened to as little as ten or tFelve mystery; Dacked minutes fortheshorter show. No at location preparation is needed. You ask for nothing. .An audience
Price 12/6
Postage 6d.
FOR THIS COMPLETE TWO-PERSON ACT DEMONSTRATINGEXTRASENSORY PERCEPTION AND TELEPATHY.
From your Local Dealer,or direct from
G E O R G E A €&.MS T R O N G 9 62 Wellington Road, Enfleld, Middlesex.
THE M A G I C WAND No. l) 253. (Vol. 46, Part
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine withcards. Two apparatus tricks by Len Belcher-THE CYLINDER O F HOFFMANN and ORANGE SQUASH-idem1 for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful $timble routine by Edwari Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” ‘‘Just Chance effect. THE SHOWER BATH ILLUSION b y Jay Palmer-saucy and surprising. THE DISCOVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Werton, THE MEDIUM KNOWS by Gcvrdon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6: Postage 7d.
GEORGM ARMSTRONG 6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E . SE - X ~~
PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
is published on the Mth of each meath and can be obtsined direct from the publishers for 117 per single copy. Annual Subscriptloo 181 post free.
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W 1.
PUBLISHED
King George’s Hall, W.C.
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
BY:
The Magic Wand Publishing CO. 62 Wellington Road, Enfield Middlesex
Magical Theacxe :
Particulars horn Hon. Secretary .
WARLOCK’S
Manusmpts for publication and books for review should b. sent to the:
I
EDITORIAL 24,
ADDRESS:
Peter Warlock, Wordrworth Rd., Wallington, Surrcv.
Wanted by 4eorge Armsfirong Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U. F. Grant and Grantand Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Arnmstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goodsare fully endorsed by this Bulletin I
PUBLISHED BY T H E PROPRIETOR8i T H E M A O l C WAND P U B L I I H U O COMPANY, 62 W E L L I N G T O NR O A D ,E N F I E I D .M I D D L E S E X A N D PRINTED BY HERB@RT W A L K E R & S O N (PRINTBRS) L m . , BRlDGe W O R K S . SHIPLEY.YORKSHIPF
+
m - PETER
WAR LOCK’S
* ** **
T H E A L L E R T O N MASTERPIECE GUSTAVE SOUTHALL
HE recently recorded death of the American
T
close-up artiste,Bert Allerton, recalls the trick, which to many of us, will always be associated with his name. Glowing appreciations of it appeared in Max Holden’s column in ‘ Tops,’ the ‘Sphinx,’ ‘Linking Ring ’ and ‘ Genii ’ from 1940 onwards. Here is one of them : ‘‘ Bert Allerton had the lads worried. . . . one of his effects where he hands someone a pack of cards to shuffle then wraps the pack in a piece of newspaper. A table knife is taken andBert asks the spectator toname any card inthe pack. A stabinto the wrapped packand there on the knife point is the card named. This is one I’ll dare you to solve ! ” Many years later Holden referred to theeffect a number of times and I was able to collect a few dozen references from other sources. The accurate butambiguousaccount (Holden once impressed that he was forced to be evasive after the LarsenWright team had continuously solved the miracles described in his columns) must have had card enthusiasts the world over agog. Here then are the reactions of one of them with the hope that they may be of interest. This is the method I worked out (which turned out to be quite different from the original when it was published). Meanwhile much brooding aided by additional scraps of information which filtered through (remember there was a war on atthe time!) suggested several clues. Theywere: (a) The order of the cardswas known hence a pre-arranged pack. (b) That as thespectator was allowed to shuffle the pack, a switch of pack. (c) The newspaper: evidently a guide for estimating. (d) The table knife: to afford a reflected glimpse. Eventually, when I had solved the matter to n1y own satisfaction I included the trick in my lectureswithout disclosing the method. Due credit was given to Allerton and I added a sleight which may perhaps justify thisarticle apart fromits tribute to Allerton.
VOLUME 12, No. 8
-
The Requirements. (1) A pre-arranged pack, Nikola system recommended with the position of each card associated with a number from 1 to 52. (Si Stebbins or Eight kings arrangement will act as substitutes but the Nikola system is preferred.) (2) In place of the table knife a large nail file, the plated broad end acting as a reflector. The rounded partnear tlie point end is sharpened to a knife-lie edge and both sides of the file are smoothed on stone. (3) A piece of Air Mail paper instead of a newspaper, the measurements about 33 by 6 inches. For Practice. False shuffle the pack and place it on its long side on the table top with the faces of the cards to the left. With the other hand drape the paper lengthwise over the upper edge and tap the lower edge on the table to straighten the top edge. Now think of any card in the pack. Before you do this, however, judge the exact centre of the pack (not a very difficult matter) and make a small dot or puncture with the sharp edge of the file. Calculate whether your thought-of card is in the top or bottom half of the pack. If in the top half divide this in turninto two portions by making another dot exactly midway in this part at approximately thethirteenthcard. Needless to say this narrows the search considerably and should the ,thought-of card be at the twentieth position quite obviously it is midway between the thirteenth and twenty-sixth dots! Should it occupy the sixteenth position then it lies midwaybetween the thirteenthand twentieth card. (Naturally these remarks similarly apply if the card is in the lower part of the pack.) In actual performance after the necessary practice all the dots may be omitted but it is as well to retain the marking of the centre position. After the first few attempts it will be found not at all difficult to judge accurately and separate the pack at the actual card so that it is either
I /6. (20 Cents)
MAY 1958
58
immediatelybelow or above the blade. If, however, it is second from the top of the under packet, the top portion is laid aside and a double lift made to show the card on top of the lower half. If, however, it is second from the face of the upper portion, the lower portion is laid aside and the glide performed with the upper portion held face down. (This was the procedure adopted by Allerton.) Quite naturally a glimpse is first obtained by a glance at the reflection of the index in the broad end of the file which projects at an angle from the inner left corner of the pack. To avoid double lifts and glides I tried several ideas and eventually settled on the following: When inserting the file judge the location of the card as already described. If, in the heat of the performance there is any doubt make sure that the file is inserted beZow the card named. A leeway of as much as eight or nine cards can be overcome. For this the pack is held in theleft hand, dealing position, with the broad end at the inner left corner. As the paper is stripped off the reflected index is glimpsedby bending up the cards above the blade. With the right fingers and thumb turn the pack into the left hand so that the point of the file is to the left and grip the ends of the file between the left thumb and little finger to hold it securely. Meanwhile calculate how many surplus cards lie above the file. Quare the pack and place the tips of the right fingers on top of the pack with the tip of the thumb at the inner break caused by
the depth of the file. Thumb off and count the surplus cards (hold the pack lightlyas you do this). A line of patter such as “ This is called by the Bullfighter the moment of truth ” will cover the slight pause necessary. Insert the left little finger into the flesh break. Take the right hand away for a moment and make some gesture. Bring the right hand palmupwards and then bringing it down towards the pack let the broad end of the file lie between the tips of the first and second fingers and press the third finger tip well into the break at the rightside of the pack. Slide the right hand forward as you bear down with the left little finger on the cards immediately under the new break. This will retain the few surplus cards which lie between the file and the chosen card as the righthand moves forward and carries the file onto the new face card of the upper packet. The right hand immediately turns over and reveals the chosen card with the file, held by the right fingers, lying straight across it. Althoughgenerally it isnotgoodpolicy to repeat a trickimmediately,invariably an encore willberequested for thisone. In which case the cards are already set up and noneis out of place. A final word regarding Allerton. Some years agohe heard that I wasinterested in his work and although I was a total stranger to him, he took the trouble to write to me, care of Fred Braue. He mentioned that he hoped to visit England in the near future and hoped that he would see me then. Unfortunately his visit never materialised.
IMPROMPTU STRANGER
T
HE performer shows a deck of blue cards that he places into a glass. He also hands a red deck to a spectator. Magi then transfers a card from the back to the face of the blue deck, one at a time until spectator calls stop. The card at the point of stoppage is removedand placed face outward in another glass or face up on the table. The performer requests assistant to take the red deck and count the cards and stop when he reaches the duplicate of the card removed from the blue deck. On counting the cards he finds only 51 and the duplicate missing. Performer spreads out his blue deck, then says that there was one stranger among them. He turns over the single face up card that spectator stopped at and it is a redbacked card.
Inspiration for the above came from an effect of Peter Warlock’s “ Stranger in Paradise.” Our method uses no trick cards so that both decks can be examined at the conclusion of the effect. All that is required is a glass large enough to hoId the cards and yet small enough so that the deck does not go all the way to the bottom. 1. At any opportune momentsteal a card from the red deck to the bottom of the blue deck, then cut this card to second from the top of the blue deck. 2. Show the blue deck and place it backs out into the glass. Now pick up the glass and turn it around so that the cards face the audience. Keep the glass in the left hand so that left fingers cover the bottom of the glass. See Fig.1
59 Deck in glass. Lower index almost visible.
6. Continue the action until a halt is called at his request. Here ask if he is sure that he wants to stop now, etc., as you go into the pre-build
-
\
TI
I
Right fingers remove the cards that below the red backer.
L€FT #AM COVERS PORTION
N o 7 %Q
U S f W7
l7 tlCU o P fbCK
Fig. I 3. The rightfingersremove the back card and transfer it to the face of the deck as you say: “ While I remove the cards and transfer them in this manner, I want you to stop me at any time you wish.” By this time you have transferred the first blue card tothe face of the deck. 4. As the right fingers go to take the second card the right thumb pushes the red card down into the glass for about a half inch or more. The result is as in Figure 2 which is a side view of the situation. 5. The right fingers and thumb at the same time remove the second card and transfer it to the face of the deck. Continue transferring the cards by lightly taking the cards at the top end with the right thumb at back and first and seGond fingers in front of the card asit is removed and transferred. The pushed down card, of course, remains at back all the time. You are indulging more or less in a very easy form of second deal.
Fig. 2. up. Very casually say : “ Very well, then, this willbe the card,” as youremove the red backed card from the back and place itin another glass or face up on the table. 7. Have a spectator go through hisreddeck counting and looking for the duplicate of the card he stopped at. Naturally he will not find it and end up with a count of 51 cards. Conclude the effect as performer’s ability will allow. 1st note: Several thoughts occurred to us that perhaps it might be a good idea to have the blue duplicate in the red deck so that spectator actually finds his card but of course he assumes it to be a red backed card. Here perhaps you can point out there are two STRANGERS IN PARADISE. Could be a transposition of some sort. Anyhow, here is food for thinking about. 2nd note: For an unknowledgeablelay audience you can get the same effect using a glide or second deal in the hands by merely holding deck at bottom and pushing card down as in the glass effect. This is to be considered only if the glasses are not available.
THE REVERSE STACK
60
appeared in our method of working.Eddieused his ideas in a routine he put out called Staggered, whichisworthusingandthosewithfiles of the Indian Digestwillfind other ideas of histhere. My own routines were published in Pentagram as “ Result of Thought ” and “ Clannish.”Glenn Gravatt in his Final Selection has a routine similar to “ Clannish ” under the title of “ Super-Divino.” There is also a different idea in Ibidem, which is worthy of a closer look. So much for the principle. In trying to eliminate the snag already mentionedone automatic mathematical feature came to light.Unfortunately for me, thefinestuse of this knowledge is in a mentalroutine. I dislike mentalism, and not wishing to descend the ladder, I pass it on to my poor cousin-the mentalist. EflRt.
The pack is divided in two. A card selected turn up at the identical positioninthe other heap. The mentalistthen makes a prediction. That another set of twins will appear-their names-the position at whichthey will appear. (You are advised to read “ Clannish ” in the March, 1957, issue of Pentagram for a more of the completedescription of thefirstphase effect.)
in one heap has its twin
Prepcaration. A packisset HammondStack.
gp in the Si Stebbins or the
Presentation. After the pack has been cutand/or false shuffled it is handed to a spectator whoisasked to count off 26 cards. This is done face-down on to the tableand thus reverses their order. The 26 cards dealt off are then passed over to a second spectator to hold. The first spectator then places hispile of 26 cards face-down on the table. He makes a simple cut placing the cut-off portion to the right. The top card of the bottom portion is turned face-upand placed, still face-up, on top of the face-down upper portion, the lower portion is then placed face-down on top of the face-up card. The first spectator then lifts his 26 cards. Both spectators now have 26 cards face-down in their hands, but the first spectator has a card freelyselected face-up in his pile. Both spectators are then asked to deal cards in unison face-down. When the faceto up card isreached the mentalistasksthem pause. The top card of the second spectator’s pile is turned over and shown as a twin. The TWINS are laidaside and are not included in the future calculations. The mentalist maintains that another set of twinshavemoved themselves into identicalpositionineitherpile. He predicts their name and position. The spectators again deal the cards, this time face-up so that they may see there are no other twins at other positions. At the predictednumber a pause is made before turning over the predicted twins.
Let’s go back and see how the mentalist gains the information he needs to make his prediction. As the cards are being dealtby the two spectators simultaneouslyface-down into separatepiles he counts the number they deal BEFORE they reach theface-upcard.(Whenthisface-upcard is reached, its twinis also turned face-up and both these cards are set aside. Do NOT include them in the figure you count.) If the number dealt in each pile is ODD, have thespectatorspick up thecardstheyhave just dealt and replace them on top of the cards they are holding. The twins will lie as the centre card in the piles they have just picked up and replaced. The easiest way to calculate the number is to add ONE to the number you have counted and divide by TWO. Using the first set of twins as a starting pointyoucannow calculate ONWARDS in the stack and determine the name of the cards which will turnupinthepredictedposition, e.g., the number of cards dealt in each heap is 15. The pre8. The Twins are black dictednumberwillbe sevens. The predicted cards (in the Stebbins Stack) are Black Fives. If thenumberdealtineachpileisEVEN, have the spectators place the cards they hold on top of the cards theyhavealreadydealt.SUBTRACT this EVEN number from 26 and divide byTWO. That givesthenumber for prediction. Again the first set of twins are used as a starting point but this time you calculate BACKWARDin the stack to find rhe predictedcards, e.g., the number of cards dealtin each pile is12. Subtracted from 26 gives 14 which divided by 2 gives 7 as the predicted number. The Twins are RED THREES which makes the predicted cards Black Eights. The remainder of the cards may be quickly dealt if desired to show there are no other twins in position. This is also the reason for dealingthe cards face-up in the second part of the effect. Naturally for thesamereason the cards must be dealt face-down in the first portion. Additionally you may wish to name the first set of twins by telepathy. To do so you make a glimpse. The best time to do this is when you ask him to cut the portionheisholding. Take the cards hecuts off. Turn round, hand these to an interested spectator glimpsing the bottom card as you do so. After the card is turned face up it is replaced on those cards held by the interested spectator and the bottom portion isreplaced by the first spectator all whilst your back is turned. Due to your glimpse you know the twins as the face-upcard is oneahead in the stack you are using. SYNOPSIS Part One 1. Pack stacked. 2. cut. 3. 26 cards counted off.
Q1 4. Remainder cut. Top card of cut on top of upper
half face-up, lower half placed on top. piles dealt simultaneously. 5. Both 6. Stop on appearance of face-up card. Twins shown. LAID ASIDE.
Twins
Part Two 1. Cards secretly counted in stage 5 above. Odd Number 2. Put Dealt portion on top of held portion in each pile.
Even Number 2. Put Held portion on top of Dealt portion, in pile. each
3. Add one to number.
3. Subtract from 26.
4 Divide by two and
4. Divide by two and predict this number. predict this number. 5. Calculate ONWARD Calculate B A C K5. from twinin part one WARD from twin in for predicted card. part one for pre6. Deal off simultanedicted card. ously and prove both 6. Deal off simultanepredictions. ously and prove both predictions. PS.-Readers of the Linking Ring will notice the similarity between my “ Result of Thought ” in Pentagram, 1953, and Phantini’s “ Thought Power ” in the Phantini Parade, 1957. I have no doubt .that Phantini reachedhis results independently and hope this article will bring out more routines of the Reverse Stack.
SCREENED THOUGHTS PETER WARLOCK RIMARILY a drawing room efiect, this can, during the course of a lecture on psychic magic be usedin a fairly large hall. I remember on one occasion Eric Cudden, presenting it most successfully at the Society of Psychical Research. It is based on that beautiful effect of Vosburgh Lyons’ “ Mental Rescue.” The Eflect. Two ladies whom we will call ‘A’ and ‘B’ are invited to sit at a table, ‘A’ on the left and ‘B’ on the right. In front of each assistant is a stack of envelopes. ‘A’ is handed a pack of cards with the request that she firstshuffles the cards and then cuts them into two heaps. She picks up either heap and deals five cards from it. ‘B’ takes the remaining heap and does likewise. The rest of the pack is picked up and dropped into theperformer’s pocket. The attention of the two assistants is now directed to the twopiles of envelopes. Each is requested to place their cards one into each envelope. They are not to look at the cards and they are not to seal the envelopes. When this has been done, each is requested to pick up an envelope and without allowing the other to seeitlook at the card inside and memorise it. Whilst all this is taking place the performer looks away. Both assistants are now requested to place the envelope each is holding on to the four envelopes in front of the other, so ‘A’ places the envelope with her chosen card on the four envelopes infront of ‘ B,’ and vice versa. Both helpers are asked to mix the envelopes in front of them. The performer now takes the envelopes in front of ‘ B.’ He also asks ‘ B ’ to stand a
P
moment. Fanning the fiveenvelopesin front of her he tells her that the other helper ‘A’ noted a card in an envelopewhichis one of the five he holds. “ Do you think, madam,with certainty, that you couldpick out the envelope containing that card ? ” If theladysays ‘‘ Yes,” she takes one envelope and the performer continues, “ Madam, do you think withone hundred per cent. certainty youcould picture the card chosen by ‘A’ ? ” This time the answerisinthenegative, so the mentalist continues, “ Madam, I will help you . . . .” Quickly he removesthe four cards from the envelopes he holds and places them face upwardsuponthe table top. “ Now, Madam, does that help you ? ” The lady will be bound to say ‘‘ No.’’ The mentalistgives her a lastchance. “ Madam, justremove the card you havein the “ Would you envelopeyouhold.”Shedoesthis. say with certainty that you are holding the thought of card ? ” The answer will either be negative or indefinite.With this thementalist turns to ‘A’ saying, ‘‘ Madam, you thought of one card . . . think of it now as a picture . . . first the colour . . . you are thinking of red . . . am I right ? ” This is acknowledged. ‘‘ Think of the value . . . a nine . . . a rednine . . . now the suit . . . hearts or diamonds . . . you are thinking of thenine of hearts . . . Is that correct ? ” The correctness is acknowledged by ‘A’ and ‘ B ’ is asked to sit down. ‘A’ is asked to stand and taking her envelopes the mentalist fans them in front of her face saying, “ Will you please take these envelopes in your left hand, just walk across to the corner of the room and when I give a signal I would like you to take any one of those envelopes withyour right hand? ” The mentalistgives the signaland ‘A’ takes an envelope. “ Now, Madam, place that one aside and
62
take another.’’ The mentalist sbys, “‘Retain the envelope in your right -hand and ,place thk others aside. I think that by strange chance. I have located the enve1o.p containing the card thought of by ‘ B.’ ” ‘ B ’ is asked to think of the colour, etc., of the card she looked at and the mentalist divines the name of the chosen card. Finally ’the assistant ‘A’ is asked to removethe card- inside the envelope that she isholding.Only too truly it proves to be the card thought of by ‘ B.’ The Requirements. A regulation pack of cards. Ten envelopes. The Prepw-don. Take five of the envelopes and make a light pencil mark on each one. It is preferable touse manilla envelopes as the texture helps to conceal a small mark. These five envelopes are placed on the right side of the table. ,The unmarked five are placed at the left. From the pack of cards remove five cards whichyoumemorise. These five cards are placed in the right-hand jacket pocketfaces towards the body. The remainder of the packis placed in its case and this is also placedonthe table. The Presentation The two assistants beingforthcomingthey are placed ‘A’ to the left and ‘ B ’ to the right of the table. The, card caseispicked up, the cards removed and handed to ‘A’ for shuffling and cutting. The cards case is dropped into the right-hand jacket pocket and then the five memorised cards are taken into a palm position by the right hand and the hand is withdrawn. With the cards cut into two heaps ‘A’ is asked to make her choice and deal off five cards. The halfpack not usedby ‘A’ is picked up with the left hand as she deals. The cards are passed to
the right hand which. adds the five palmed cardsStressing the fairness of what has taken place, you pass this packet of cards to ‘ B ’ with a request that she too deals off five cards. With the ladies havingfive cards each the remainder of the pack is taken and ,dropped into your pocket. Now the assistants, without looking at their cards, place each in one of the envelopes in front of them. Naturally the fivewhichgo inside the marked envelopes are the five memorisedones and with a changeover of one, card from eachside ‘A’s’ fivewill contain one stranger housed. in a marked envelope whilst the. stranger in ‘ B’s ’ will be the unmarked one among the four marked ones. Picking up the envelopes in front,of ‘ B ’ after theyhavebeenmixed, the assistant is asked whether she thinks that she can pick out the envelope containing the chosen card. More often than not the answerwillbe in the negative. If, however, she answers “ Yes ” let her take the envelope she wants.Whether she does take an envelope or not you ask her whether shecan divine the name of the card looked at by ‘ A.’ To help her the cards are removed from the envelopes and laid on the table. The sight of the faces not only reveals the stranger which is ‘ A’s ’ card, but it also shows which card is missing, which will be ‘ B’s ’ card. You can now divine the name of ‘A’s ’ card and then after seating ‘ B ’ and asking ‘A’ to stand, you pick up the five envelopes of ‘A’ and fan them so that you can note the position of the marked envelope containing ‘ B’s ’ card. Place the cards, still fanned, into ‘A’s ’ hand. ‘A’ isasked to remove one envelope. If the first one taken is the marked one, then a miracle has happened. If not she is asked to place it aside. She continues untiI she takes the marked envelope and at this point she is stopped. You then first divine the name of the card chosen by ‘ B,’ and then show that the envelope contains that card.
MATHEMATICS O F T H E W E A V E SHUFFLE ALEX ELMSLEY
T
HOSE whowere interested inthis article may like to make the following corrections of errors and misprints (whichwerelargely, I fear, due to my writing). JUNE PENTAGRAM. Page 70, Column 1, Sectionheaded “ Out- and In-Weaves.” Line Para. 2, Line 4 : Change “M-weave” to “ Inweave.”
Column 2, Sectionheaded Weave.”
“
The Odd Pack and
Para. 1, Line 12 : Change - “ No” to Line 13 : Change “ NI’’ to “ nl ”
“
no”
14 : Change “ 2n ” to “ 2n,” Line 15 : Change “ n’ ” to “ nl ” and “ 213, ”
“
2n ” to
63 Page 71, Column l , Section headed “ Returning a Pack to the Same Order.” Line 18 : The left hand side of the equation should be in the form of a fraction, No (2’ - 1)
“
Line 10 : Change “P-2xa”
i.e. ” to “P-2xa’’
Column 2, Section headed Stack.”
“
The Constant
Lines 8, 9, 10 : Change “ No”and “ no ” and “ nly’respectively.
P Column 2, Line 3 : The left hand side should be 2s-
Line 8 : Change ‘‘ 1.2.” to
1
P
JULY PENTAGRAM. Page 78, Column 1. Para. 1, Line 1 : P is prime.” Para. 3, Line 1 : General method.” Each of these phrases should form part of the heading immediately above it. Para. I , Line 2 : Change 2x to 2x” Line 4 : Change 2 P-1-1 to 2p-1 -1 ” Page 79, Column 1, Section headed Stack Transformations.” Para. 1, Line 7 : Change 2xa ” to 2xa “
“
“
“
”
”
“
“
“
“
“
”
Line 13 : Change
“
N ” to
“
“
N1 ” to
nl”
In going through the article checking for errors, I realised that in many places the way in which I set the article out was unnecessarily confusing. You might find it worthwhile to mark the following passages whichcontain important results which have been rather submerged. June Pentagram, Page 70, Column 2. Odd Pack and Weave.”
“
The
Last paragraph. Page 71, Column 1, Lines 7 to 12. Column 2, Lines 8 to 12. Also, in case there is any doubt, the stack set out in the August Pentagram should be read across from left to right.
BOOKS ‘ Famous Magicians of the World,’ by Amold Furst, published by the Genii Publishing Co. as a memorial to Bill Larsen, price two dollars.
This excellent book of some fifty-two (unnumbered) pages is a mostwelcome item tothe magician who is interested in the overall magical picture. Too little time in thepasthas been devoted to the programmes of the great magical entertainers. J. F. Burrows produced one booklet dealing in all too brief a manner with the programme matter of many greats and not so greats whilst Max Holden went a little better. We must be more than thankful to our good friend, Arnold Furst,for detailing, and we mean detailing, the programme material of the following large scale acts: Kalanag, Dante, Fu Manchu, Virgil, Chang, Blackstone, Lee Grabel, Ormond McGill, Sorcar and Richiardi, junior. His descriptions of the items making up the respective entertainments are clear and free from partiality. Our appetite is whetted at the thought of the acts which we have not had the opportunity of seeing. The book is lavishly illustrated including some beautiful coloured photographs of the Kalanag show. It is certainly a must for all collec-
tors and for every magician whose interest does not lie wholly in his own performance. In reading and taking in the overall picture of any one of these bigshows, the realisation of the vast amount of work entailed is achastening thought to the smaller time magician who sometimes rebels at the small chore of preparation entailed in his modest offering. Unreservedly recommended. ‘ IT’S STRICTLY COMEDY,’ by Johnny Geddes (published by Millars Exchange Mart, Dundee, price 6 / - ) .
Though mimeographed this booklet is well produced. Aiming at situation comedy for which he is well known, Johnny Geddes has, within the confines of some dozen pages, detailed some fifty pieces of comedy business opposite to the magical entertainer. To read a comedy item in cold print is not the same as seeing the idea in action, but there is no doubtthat many of these items are good for belly laughs when handled by the right performer. If you have a yen for ‘ funny business ’ as against ‘ funny patter ’ you will be well advised to invest the small amount required.
64
ANNEMANN’S
EN RAPPORT is the only requisite, and you can begin the moment you EN RAPPORT is Annemann’s supreme effort to give the arrive! fraternity a practical and easily learned two-person routine of telepathic oddities. EN RAPPORT is the EN RAPPORT has been audience tested.You have ONLY complete programme of its kind offered, and has probably seen many typescrip telepathy acts advertised been developed over a long period and little by little !F the past. The inventor thinks ’* it is good. You refined through actual performance to the nth degree of think it has been tested, and buy. Then you find that showmanship. it is impractical in actual performance.,‘ As a Eontrast Annemann performed this act as ,,a repeaf, show EN RAPPORT is designd to fulfil the need of advanced following normal bookings of his one man mental amateurs and semiprofessionals. From start to finish act on no fewer than 53 occasions over a period of just the routine can be well ‘‘ learned in two evenings. From over four years, earning fees ranging from the equivalent then on it is strictly a matter of presenting the act !:fore at the time of from E20 to E70 per performance! an audience to gala the confidence necessary to a proEN RAPPORT runs approximately forty minutes for the fessional standard performance. full act, and after the introduction tests are made to EN RAPPORT is NOT a question answering act, nor is ascertain if conditions are right for telepathic communiit a telepathic act of the type which requires many cation. The routine continues with cards, coins, notes, months of arduousatudyand rehearsal. This modem names, dates and pictures. The various effects are Annemann routine is for the many who perform but surrounded with drama and all phases of abnormal occasionally yet want theultra of professionalism. It mentality are shown. has been arranged for presentation before from as few EN RAPPORT is now published as a finely printed and as five people to as many as 500. In the drawing room, fully illustrated book with illustrated board coversat the club or on the stage! moduced in the usual first-class Armstrong manner. EN RAPPORT is NOT an act of apparatus. Forty Price 12/6 Postage 6d: minutes of mystery are carried in a brief case, and the FOR THIS COMPLETETWO-PERSON ACT act can be shortened toas little as ten or twelvemystery; Dacked .the shorter show. No at location DEMONSTRATING EXTRASENSORY = - . ~minutes ~ ~ ~ for preparation is needed, You ask for nothing. An audience PERCEPTION AND. TELEPATHY. From your Local Dealer, or direct from ”
”
”
~
~~~~~~
“
~
G E O R G E A R M S ‘l’ R O N 6:
,.
62 WellingtonRoad,Enfleld,Middlesex.
T E E MAGIC WAND 46, No. 253. (Vol.
Part 1)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks byLenBelcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTYFORPAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful $imble routine by Edwarc! Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” “ Jurt Chance effect. THE SHOWER BATH ILLUSION by Jay Palmer-saucy and surprising. THE DISCOVERY OF A MENTALLYSELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM K N O W S by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
G E O R G E ARmSTRONa 62 WELLINGTON ROAD. ENFIELD,
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W l , Magical Theatle :
King George’s Hall, W.C. Summer Recess
Pnrticulare tront Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
nR I D D L E S E X
WARLOCK’S
Wanted b y George Armstrong
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishers for 117 per single COPY. Annual Subscription 181post free. PUBLISHBD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for review should ba rent to the: EDITORIAL ADDRESS: 24,
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
Any of the “ C. T. J(ordan) Series of Magical Effects.’’ Complete in envelopes if possible. Also wantmany U. F. Grant and Grant and Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx. i
Every Advertiser’s goods are fully endorr sd by this Bulletin TRE U A O I C WAND PUBLISHIIIOCOMPANY. W W E L L I N G l O N ROAD.ENPIEID. MIDDLESEX AND PRINTED BY HEILBERT WALKER e SON ( P R I N ~ R S ) LTD.. BRIDGE W O R K S . S H I P L E Y . Y O R K S H I R E
+
“ l GOT A HORSE” GUSTAVE SOUTHALL 0 STARTLING originalityisclaimed for thefollowing,noris it likelywith the title taken from Prince Monolulu. the plotfrom Harlan Tarbell and the sleightsfromJohnny Scarne. Some small differences may be of interest. In place of Tarbell’s forcing pack, any cards are used; in the case of Scarne, a glimpse, a miscall and a predictionwhichcannotbeshown at the climax are eliminated (incidentally. the pellet switch mentioned but not explained here will be found in Scarne’s “Think a Card ” soldby Davenports. The sleightaloneisworthmany times the half-crown that George asks for it). First the effect. With every card in a borrowed pack representing a racehorse the performer successfully places bets on the winner in each of three races. Requirements. A packet of cigarette papers. A ballpoint pen. preferably the type with a retractable point. Preparation. Write “ two of spades ” (or any card easily recalled later), on one of the cigarette papers, roll it into a pellet and place it together with the packet in the left-hand coat pocket. Working. Take the shuffled pack and commence :“ I wantyou to imagine that thisisDerby Day and all the horses are represented in this pack of cards; fifty-two runners in fact. Obviously the odds vary. Favourites such as a King (show) bring modest odds offive to one, outsiders, say five or six spots (show) bring sixty-six to one.” As you spread the cards face up in front of the spectators,locate the two of spades and casually cut it to the top of the pack, then place the pack face down upon the table. Place the left hand in the coat pocket, pick up the pelletsecreted there and press it firmly between the middle joints of the second and third
N
VOLUME 12, No. 9
-
fingers. Then take hold of the packet of cigarette papers, bring them from the pocket and toss the packet into the centre of the table. With the right hand remove the hall point pen from the pocket and lay it downalongsidethepacket ofpapers. Then proceed, “With all these horses we should havethreeraces.”(Withtherighthandcut the pack into three portions in the f o w of a triangle. the top portion of thepack at therear of the table.) Turn to the spectatornearestnumber one heap :“You maynotfollow thehorses,sir,but please oblige me, take the runners and pick out a gee-gee in the first race. Merely think of one of the horses you would like to win.” Pick up the packet of papers with the right hand and place it over thehiddenpellet. Now extract a paper, rest it on the packet and pretend to write the name of a card.Actuallyscribble what you like on the paper which is then rolled into a small ball with the right fingers and then dropped on to thetableintheplacepreviously occupied by the number one packet. “ Please hand me the horse you have decided upon.” Take the chosen card and rest it face up on top of thepellet.Request the spectator to retaintheremainder of “the field” for a few moments. If the card selected is a high card say “Just as I expected . . . odds of five to one;” if a high spot card “ twenty to one for that one.” Turn to the spectatornearestnumbertwo heap. Repeat the instructions for him to pick up his “ stable ” and choose a winner. Again take a cigarettepaper to make a “bet” butthistime write on the paper the name of the cardlying before spectator number one. Roll the paper into a small ball and place it on the table in front of spectator number two.Askhim to giveyou his selection which again is placed face upwards on the second pellet and retain the rest of the cards. You continue, ‘‘ Of course, not all horses are selected on form. Many punters leave it entirely
I/a. (20 Cents)
I
JUNE 1958
66
to chance and some evenpickthem out with a I willhave a pin. Let meshowyou.Butfirst small bet .” Extract another paper, this time writing upon it the name of the card lying in front of spectator number two. Roll the paper into a ball and apparently place it upon the left hand which is held flat for that purpose. Actually as the right hand turns as though to drop the pellet on to the left hand, the pellet is rolled by the right thumb to a position between the middle joints of the right second and third fingers,whilst the lefthandis opened flat the right thumb and forefinger move the previously concealed pellet to the palm of the left hand. During this move the right hand has retained the ballpointpenwhichinno way hinders the operation described. This hand now spreads the third packet of cards in a line face down. Retract the point of the pen and hand it to a spectator immediately in front. Askhim to stab, or rather pushany “ horse ” unseen. This is done by the spectator. Meanwhilewith the rightforefinger and thumb deliberately pick the pellet off the palm of the left hand and hold it so that it is quite apparent that no sleight of hand takes place. With the left hand scoop up the line of cards in such a way that the known card, the two of spades is on top of the packet. Hold up the pellet inthe right hand remarking, “ I expect exceptional odds with this one . . . at least one hundred to one.” Meanwhile still holding the small packet you approach the face down card chosen by the third spectator. You apparently turn it face up but actually perform the
Curry “ Turnover ” moveswitching the two of spades for the unknowncard. Do this without looking at the cards. Immediately place the pellet held by therighthand on theface of the card. Then, either place the packet of cards you are holding on one side or hand them to someone to hold. Remember you still have the ball point pen in the righthand and also the concealedpellet carrying the name of the second card. Focus your attention on spectator numbertwo. As you lift his card casually with the left hand, the right hand goes underneath to take the pellet and place it on top of the card. Actually at this point you make the Scarne switch previously mentioned substituting the concealed slipfor the one bearing the name of the first card. The wholethingisdonemost casually as you recall the odds on this ,particular card. Turn to spectator number one repeating the moves, so that you are leftwith the first paper concealedwhilst now on each card there is a paper carrying the correct name of each card. The holding of the ball point pen in the right hand is a considerable aid in disguising the necessary moves. Use the pen now to centre the pellets on each card then returning it to thepocketwhere the extra paper is disposed of. Finally request the three spectators to pick up their respective pellets, unravel themand check whether all your bets have been successful. Before a male audience on the eve, or the day, of a big race meeting, this particular effect will be of great interest.
SYMPATHETIC COINCIDENCE EDWARD MARLO HE PERFORMER removes a card from the blue deck and places it into the card case without showing its face. A spectator now hands any red card from red deck to performer. This card and the one performer placed into the case are identical in suit and value. Inspiration forthe following method came from a similar effectby Peter Warlock in which the cards were gimmicked. 1. Have blue deck shuffled and on its return hand out red deck to be shuffled. 2. While red deck is being shuffled you quietly reverse the bottom card of the blue deck. Take the blue deck into right hand, from above by the ends, as you wait for the red deck. 3. Take red deck face down into the left hand and at the same time get a slight break under top card of the red deck.
T
4. Ask spectator which deckyou should use, the red one or the blue one? As you say “ red deck ” your right hand deliberately comes over to touch the red deckwith the bluedeck. During this momentary meeting the red top card is stolen to under the blue deck. Immediately the right hand moves forward as you say, “ or the blue deck?” 5. Regardless of the choiceyouplace the reddeck aside and turnthe blue deckfaces to yourself. Note the name of the bottom card and remove its duplicate from the blue deck. Assume this card is the IOD. Place this card, without showing its face, into the card case. Point out that you are making this selection before proceeding any further. 6. Spread red deck face down and ask spectator to push out any card that he wishes. While giving these instructions you have picked up the
67
blue deck again. Thumb count three cards off the bottom and cut these cards to the top. You will have the red card under the double back card. /Impromptu double backer. / Get a break under the red card that is below the impromptu double backer thus the left fourth fingeris holding a break under the top three cards. 7. When spectator has pushed out a card from the red backed deck, you pick itupand hold it face down in the right hand. Nowsay : “Are you sure you want this card?” Next place the red card on top of the blue deck .as your right hand points to the red deck and you say: “ Remember you could have any one ,of these cards.” 8. Right hand returns to the blue deck as you start to say : “ Now lets see, you gave me the IOD,” as right here you turn four cards face up as one. Continue by taking the face up IOD into right hand and show its back as you say : “ From
the red deck.” In other words, the whole sequence of ,actions are covered by the complete patter line : “ Now let’s see, you gave me the ten of diamonds from the red deck.” 9. Tell spectator to remove the blue card youpreviouslyplaced into the card case to conclude the coincidence. 10. While spectators are commenting on the effect you quickly cut the top three cards to the bottom to bring the red card to face of deck. Take deck with right hand from above after first getting a break on the bottom card. Break is maintained by right thumb. With left hand scoop up the red deck as the right hand rests at right end of spread to sort of aid in the scoop up.Needless to say that as the two decks meet, the bottom red card from the blue deck is added to the top of red deck. Place red deck aside and all you need to do is right the bottom card of the blue deck to clean up and have both decks examined.
A TIP FOR THE CARD IN CIGARETTE RAVELLI (SWITZERLAND)
The following method is the one to use for obtaining a good result. It takes the minimum of time and the finished cigarette looks neat and free from any preparation.
the cigarette. As it is not glued or fastened to the cigarette paper this is an easy task taking about a couple of seconds. The effect of this is to leave the cigarette open at one end to the extent of about half an inch. Now take a round pencil and place it with the left hand, tip resting on the table. The right hand holding the cigarette then places the open part of the cigarette over the pencil and continues to press downwards which has the result of pushing the tobacco out of the cigarette paper. When you consider that there is sufficient space in the cigarette tube to contain the article to be produced, remove the cigarette from the pencil and with a razor blade cut off the unwanted portion of tobacco. The object for production, tightly rolled, is now gently pushed inside the cigarette and to complete the job, either the filter is replaced or, alternatively, part of the tube of tobacco that was removed.
The type of cigarette needed is that which has a white paper filter. NOWwith a pair of fine tweezers, or failing that, a pin or the points of a pair of scissors, grip the filter and remove it from
The whole job doesn’t take more than a couple of minutes and the finished product is as neat and tidy asthe remaining cigarettes in the packet.
HE VANISH of a card or a note and its subsequent appearance inside a cigarette that the performer is smoking alwaysseems to be a popular effect but I sometimes shudder at the way in which many magicians prepare a cigarette for such a purpose. The most popular method seems to be that of rolling a cigarette between the hands until the tobacco inside is sufficiently loosened and allowing a quantity to be withdrawn, the card or note then being pushed inside the tube that is formed. Unless time and great care is takenin such preparation the resultant cigarette invariably looks as though the cigarette has been carried around in the trousers pocket for a week or two.
T
ACE ELIMINATION RAVELLI (SWITZERLAND) HE EFFECT of this trick, namely that of handling. I doubt if there can be
1‘
card is not new at alf. But in most versions one out of four aces changing to a selected to date the efkt has been accomplished by a m plicated false counts, double lifts and endless
a more direct handling than the following which still har a very good effect upon laymen as a trial will show. The only mal oleight used in the trick is a change which, if I remember rightiy, has appeared
68 some time ago in this magazine. Here is the actual working :Secretlycutany ace to the bottom of the pack. This is simple enough. Have any card selected. Have the card returned insuch a way, that the lower half with the Ace (suppose it is the Ace of Hearts), falls on top of the selected card. There are many ways of doing that, e.g., the Hindu Shuffle. (Personally, I prefer a different way but this will not be familiar to all readers. I riffle the pack looking for an ace and getting a break below any ace which lies about in the middle of the pack. I retain that break during the selection, and for the return I fan the pack and separate the pack at the break. This is a very direct and fair handling.)Nowyou openly declare that for this trick you need the four Aces. Take the pack, face against you,in the left hand and fan it into the righthandlooking for theAces.When an Ace appears you separate the hands, so that the ace lies as the first card of the left-hand part. Show this ace, turn the hand over and push this ace face down on to the table. Proceedsimilarly for the other aces.Whilelooking through the pack you may hold them in such a way that the spectators see the faces of the cards too. One of the Acesyou arrive willbe the Ace of Hearts. Just
herethe procedure is a little different for you. Make sure that the spectators don’t get aware that the selected card justliesbefore.Separate the hands with the Ace the same way as before, showing the ace on the left part. During this the right fingers move the backmost card, the selected one a little to the left, the left fingertips just holding this card, but actually resting on the back of the next card. Now the left hand in the act of turning back and putting the Ace on the table picks up the selected card from the right part on its way and it is this card which is actually put on to the table. If done correctly this is absolutely invisible. Then proceed to look for the remaining aces. When all the four aces are on the table, put the pack aside and have a spectator take the four aces into his hands.Normallytheselectedcardshouldlie as the second or third card. Suppose it liessecond. Have the spectator hand you the bottomace. Flash it and put it into your left hand. Have him hand to you the top ace. Proceed the same way. Have him hand to you again the bottom ace. Then askhim if he has paid attention and if he can name without looking at it the fourth ace still being in his hand. Whateverhesayshavehim turn over the card, which will be his selected one staring him into his face.
A TIP FOR THE SYMPATHETIC SILKS PETER WARLOCK ‘ATCHING a dear old gentleman perform that classic, the Sympathetic Silks, I was intrigued by thetrouble he hadin first picking up the silks. Nothing was wrong with the routine proper, but the clumsiness of the initial taking of the silks destroyed the smoothness of the performance.
W
If memorydoesn’t fail me I believe that the late Ned Proudlock, in his excellent routine, suggests using bulldog clips to hold the sets of silks. Though effective and free from any form of breakdown, simpler methods could be devised.
The method, if one can call such an elementary device, a method, to bedescribedallows a perfectly easy pick-up and at the same time there is nothing for the performer to get rid of or worry about. Naturally the use of any anchoring or holding device only applies when the effect is not an opening item, for in such case the performer would be .well advised to make his entry holding the silks. All that are needed are two elastic bands, the kind measuring about half an inch in diameter.
Each set of three silks is taken and at a point about six inches from the ends they are folded and a band,slipped over the folded part like this :-
The ends of the silks are then brought back so that they now appear like this :-
2 Bothsets of silks are then either laid over a chair back or placed upon a table.
69 When the time comes for the performance of the effect the left hand takes the handkerchiefs untied set between thumb and first finger, tied set betweenfirstfinger and secondfinger. As the handkerchiefs are lifted, the right hand comes over to apparently steady the silks.Actually a slight pull is given to both sets with the result that the
silks straighten and the elastic bands shoot off and fall unnoticed to the floor. So simple is this procedure that I feel others may have used this and, perhaps, even published it. For myself I haveneverseen it used or described. It is,however,recommendedwhen the occasion demands.
PSYCHIC CARD PETER WARLOCK N THIS effect the mentalist shows how a dormant sixth sense of the spectator may be awakened. Withthe plot the same in eachcasetwo methods are given. The first requiring no skill in theacceptedsense,whilst the second calls for reasonable card handling.
I
The mentalist commences by stating that he would like to illustrate the use of a sixth sense and for that purpose willuse a pack of cards. From these he has one selected and shuffledback into the pack by a spectator. He takes back the pack and drops it into his jacket pocket. “ Do you believe,”hesays to the spectator whodrew the card, “ that a sixth sense will enable me to find your card?” If the reply is in the a-ative, then the mentalist remarks that the spectator must be a believer in matters psychic. If in the negative, the mentalist tells the spectator that he will prove the matter beyond all doubt. Placing his hand into his pocket he withdraws one card, keeping its back towards the audience. “ What was the card you looked at?” he asks the spectator. With the spectator’s reply given he turns round the card he is holding and shows that it is the card named ! The rest of the pack is then removed from the pocket and the chosen card is shuffled into it, the pack then being cut into three, approximately equal, heaps. Addressing the spectator who drew the card, the mentalist remarks, “ My finding of your card was due to something inherent in me . . . the same qualities lie within yourself and so I want you to find your own card . . . here are three small heaps, one containing your card, number one, number two and number three (as this is said each heap is indicated).Willyou let your choice fall on one and name it please?” The spectator chooses, say, heap No. 2 and the mentalist picks up the remaining twoheaps,places them together and runs through them faces towards him. “ You’re right, sir, in choosing the centre heap for your card isn’t amongst these.” The fan of cards is now turned allowing the audience ,to see the .faces,
“ Let’s go a stage further; in this heap there are somewhere between fourteen and twenty cards . . . try and visualise the position of your card and give a number at whichyou think it lies.” Supposing that the spectator answers “ Twelve.” Taking the centre packet the performer deals off eleven cards and then turning over the twelfth card shows that it is the selected one! The card is replaced and the three heaps are assembled and casually shuffled and cut. “ Having shown what a fine sixth senseyoupossess, I amgoing to ask you to go a step further by tellingme at which position you think your card is now lying in the whole pack?” Supposing that the answer is “ Twenty-four,” the mentalist counts off twenty-three cards and then turns over the twenty-fourth showing that it it is the selected card! The spectator is right once more ! METHOD No. 1.
This is the simple way. The Requirements. An unprepared pack of cards. A rough and smooth forcingpack to force say the seven of diamonds. The backs of these cards must match those in the ordinary pack. The Preparation. Place the seven of diamonds in the ordinary pack on top of the pack and place the pack in its case. The rough and smooth forcingpackis placed in a horizontal position in the right-hand jacket pocket. The Presentation. Remove the cards from their case and after a false shuffle force the seven of diamonds upon an obliging spectator. The force usedmustbe sure fire and casual. Let the spectator take the pack and shuffle his card back. The pack is then taken and placed inthe right-hand jacket pocket in a verticalposition.
70 Stating whatyou propose attempting, the right hand goes to the pocket and removes the top card of the forcing pack which, of course, will correspond with the chosen card. After the correctness of the card has been established the forcing pack is withdrawn from the pocket, the seven of diamonds being replaced on top, and the pack is given a casual shufflewhichwill not cause the roughened pairs to separate. The pack is then cut so that a force card is on top. Holding the pack in the left hand, the right hand removes about a third of the pack and places it to the right of the table. Next another third is taken and placed centre table, the remaining portion in the left hand being placed to the left of the table. In the cutting a sliding action should be achieved so that in each and every case a force card is at the top of each heap (and, of course, occupies alternate positions through each heap). The choice of a heap by the spectator is immaterial, but the unwanted heaps aretaken, placed together and fanned. You then look through them and afterwards show the faces to the audience. Whatever number is given, provided it is within the range of the number in the chosen heap, yousimply arrange the count so that the force card is at the chosen number. If it is odd, it simply means counting off each and everyone of the cards whilst if an even number comes;the first two are counted as one and from then on the counting is every card. The cards should be counted from hand to hand and under each other so that the order is retained. When the chosen card has been shown it is replaced upon the remaining cards in the heap and those counted off are placed on top. The two piles are then assembled, casually shuffled and cut. With a force card at the top, it matters little what number is given by the spectator for using the same formula the force card will turn up at any number apart from fifty-two, and even this can be covered if you like to add a Joker and make this the bottom card of the pack throughout the course of the second part of the effect. METHOD No. 2. To my own wayof thinking the fact that no faked pack is used makes the effect stronger. The Requirements. One pack of cards with a short, or similar locator, card. Suppose that the card in question is
also the seven of diamonds. The seven of dia-
monds is on top of the pack whichis placed inside its case. The Presentation. Remove the pack from its case and shuffle, retaining control of the locator whichis then forced on a spectator who is asked to writehis initial upon the face. He is handed the pack and asked to shuffle the chosen card amongst the others. The pack is then taken back and as you talk to the spectator you locate the seven of diamonds, openly cut it to the top and then once more shuffle the cards, retaining the seven of diamonds in that postion. The pack is dropped into the jacket pocket andthe spectator is asked to think of his card. You place your hand inside the pocket and withdraw the top card which, of course, is the chosen one. You then remove the remainder of the pack from your pocket, place the chosen card on the face of the pack and do a double undercut, leaving the chosen card on top of the pack which is then shuffled, the position of the top card being maintained. As the cards are cut into three heaps, the top card is single hand palmed.When the spectator names the desired heap, as though to confirm it you bring your right hand over the heap, and lift it slightly from the table, at the same time saying, “ This then is your choice (the heap is replaced and the palmed card is allowed to fall on won’t require these.” The two top), so you unwanted heaps are picked up, placed together and fanned as before. This heap is then placed aside. The spectator then gives a number and by second dealing thetop card is retained until desired, whilst the remaining cards are dealt face up. This point alone makes the effect stronger than in method No. 1. The card is produced at the given number. The spectator is handed his card for checking and also the remaining cards. He is asked to shuffle them together once more. Taking back the cards you tell of the more advanced stage of the experiment; the short is located, brought to the top, and the pack is placed on the table. k i t h the number between one and fifty-two given, seconds are dealt once more until the desired number, and the chosen card is reached.
BOOKS
‘EnRapport ’ by The0 Annemann (English edition published by George Armsttang, price 12/6). Many, many years ago, the fate The0
Annemann finding through practical experfence
that a worthwhile deceptive two person mental and psychic routine could be developed without the use of alaborate codes wrote the booklet now undef review* In the Pmfam he wrote:“At least 95% of those who buy magio book8
follow magic in an amateur or semi-professional manner. Their performances are intermittent and they seldom, ifever, have the desire or opportunity of performing on the professional stage. Their shows are limited to clubs, homes, private parties and audiences of the intimate sort. It is forthelatter type ofshow that this routine has been published. The wives and sweethearts for the most part will be the ones on the receiving end of the show and will have but a minimum to learn to be able to present an intimate act of professional calibre. The very same act for which the writer has received up to 200 dollars for a singleeveningin private homes or clubs.” The justification for such an act has been seenwhen the Piddingtons wereover here for
they, despising code and utilising simple conjuring technique alliedwith subtlety, established a reputation that has neverbeenexceededby any mental act in the post-war years. The routine givenis intended to run for a period of thirty to forty minutes. It takes in its stride telepathy and prophecy. Truethere is a code of a simple sort but it is one that can be learned by an intelligent person in an hour. With the still greater interest being shown in mental magic this is a ‘must’ for the mental worker who isnew to magic and to whom this work of Annemann is unknown. Whilst the seriesofeffectswillnever make the participants an Eddie and Lucille Roberts team, good presentation willleave an indelible impression on lay audience.
MAGIGGO-ROUND Thanks once again to Harry Stanley, magicians inthiscountry have had the opportunity of seeing that greatest man of magic, Dai Vernon, in action. When we sawhim at Portland Hall, our regret was that the letting terms of the theatre did not allow him to give all that he desired for the meeting had to terminate at 10-30. In those hours during which he demonstrated his extraordinary talent, one witnessed not only the finest technical accomplishments, but also how much difference a relaxed approach made for truemagic. To catalogue the items presented would mean nothing more than a record of what he did, but we must mention three things which stood out above all others (that of course is from own viewpoint). They were the six-ring routine,the ‘Jumping Jack ’ routine using the Tenkai change (this will be found in the Dai Vernan Book of Magic) and the use of the top change. Those who knew him will greatly regret the death of Lionel King. None of the modern generation sawhim work anyactbut the one in which he presented the ‘Nap Hand ’ trick in such an effective fashion. Older magicians whose minds can remember the early twenties will recall the delightful act in which he gave impressions of a number of amateur conjurers. One of these will always stand out for it was an impression of the conjurer whose patter hadbeen influencedthrough reading the ‘Book ofArtemus.’We first met Lionel King at the house of a school-friend, Leslie Harris. LeslieHarris’s father was an excellent entertainer at the piano, appearing on numerous occasions at St. George’s Hall. We feel certain that the year was 1919 for bath Lionel
King and Leslie Harrishad returned from a Rhineland tour where they had been entertaining the occupying forces. At the Vernon lecture it was very nice to run into Piet Forton, the young Swiss magician. Piet is spending a vacation in this country and taking in as much magic as time permits. From him we had a first-hand reportonthe Hilversum Convention. In the July issue of the Pentagram we are publishing an excellent sleight of Jack Alvis’s which has a use for all card workers. We also have for a future issue some excellent mathematical material from Edmund Rowland. This reminds us that a long while back we would get down to writing up the routine of Jardine Ellis’s which was his own presentation of the Ellis ring. Partly laziness and partly so many things to do have always prevented attacking this in the way wewouldwish, but let’s ho e it willbecome a New Year resolution that wil be kept. We hear excellent reports of Goodliffe’s, Tom Harris’s and Harry Robinson’s appearances at the S.A.M. Convention. Interesting was the fact that Goodliffe we understand was working a new apparatus effect of our own, which strangely enough we haven’t a copy. Thc current issue of Ibidem carries a delightful effect of Alex. Elmsley’s which should prove advantageous both to card worker and mentalist. Alex. has also come up with some nice ideas in Russduck’smostenthusiasticpublication ‘Cardiste.’ In this newest of publications, more mental material is promised, and if this is up to thestandard of some. of the poker stacks it
P
should be most worthwhile.
72 THE WORLD’S LARGEST MAGIC BOOK
T H E MAGIC W A N D Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now on sale MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle-including a clevervestturning stunt. PARTY FORPAMELLA byJACKGI’ITINGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together withsuggested presentations for standard props, patter, tips, routines, etc. M Y MAGIC by BRIDGER LEWIS gives.you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE byCLE’JTIS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than SS, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature card routine for the mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards
to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator’s pocket, and says which spectator itis, and tells the other spectator howmany cards he originally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title imphes, but It IS beautifully routlned and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card isreversedin the pack single handed. This new sleight will have many usesin card magic. SUPER MEMORY IN CLOSE-UPby ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routine for the children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. A card, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the items just named! Easy to make and do!Also aTOPCHANGE stunt ‘for the card enthusiast, anda CARD PREDICTION using a slate in a new and novel way. And as much more fine material again, whichwe have not the space to list here. Atotal of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.
Price: 7/6, Postage 7d. For this Giant (8+ X llin.) Book.
GEORGE ARMSTRONG 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free PETER
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W l.
PENTAGRAM is publirhedon tho 24th of each month and can be obtained direct from tho publishers for 117 per single copy. Annual Subaeription 1 SI. post free. PUBLISHGD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
Magical Theatre :
King George’s Hall, W.C. Summer Recess
Particulars from Hon. Secretary :
Peter Newconbe 38 Overdale Avenue New Malden, Surrey
WARLOCK’S
Manuscripts for publicationandbooks review should be sent to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordrwwth Rd., Wallington,
surrcv.
Wanted b y George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.’’ Complete in envelopes if possible. Also wantmany U. F. Grant and Grant and Menge mirneographed $ems. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser! goods are fully endorsed by this Bulletin I
PUBLISHED BY THP PROPRIETCb Ral THE MAOIC W A N D PUBLIOHINO COMPANY. 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX AND PRINTED BY HERBRUT WALKER & SON (PRINXURS) LTD., BRIDDQE W e R K S , SHIPLET, YORKSHIRE
PETER WAR LOCK 'S
SILK
*
IN A LOOP MARCONICK
T
HE MAGIC of Marconick is always sheer delight and we canthink of no magician who has added so much to the wealth of silk magic. Atthe moment Nick is working a delightful cabaret act in Continental night spots. His quiet unassuming manner serves to enhance the silken poetry of his act. The interlude to be described is primarily an opening item. To some it will seem a flourish but if you care to try itout you willfindhow effective it can be.
from one end, the remainder of the rope being allowed to trail. The left handis lifted and the right hand comes across and takes the free end of the rope. Both hands move apart and the rope is displayed horizontal to the ground.
The Effect. The magician holds a piece of ropein his hands.Just a piece of rope. A loopis formed and then a knot thrown into the rope. Much more than a knot, however, for in the knot is tied an eighteen inch silk. The Requisites. A piece of cotton ropeaboutfour feet in length. One brightly coloured eighteen inch silk. Preparation. First of all foldthe silk into a zigzag fold and place it around the centre of the rope. Fig. 1.) Now resting silk and rope on a table roll the ends of the silk in towards the rpe so that finally you have a small bundle of silk. You will find that if the hand releases its hold the silk will automatically unroll, so if you wish to make your preparations ahead a small clip should be placed around the bundle. That is the preparation. Presentation. Supposing that the clip hasbeen removed and you are ready to go into the effect. The rope with the bundle is taken in the left hand. the second. third and fourth fingers closing over the silk so that it is concealed. Now because of thenature of the material it will easily slide along the rope, therefore the rope can be easily handled and it is suggested that it should be held at about six inches
VOLUME 12, No. 10
-
The right rehiquishes its hold and the left handis left holding the rope with the silk still concealed.
I/6. (20 Cents)
-
JULY 1958
74
The right hand comes across and taking the end of the rope protruding from the left hand pulls it through the silk and hand so that just over half the rope is beneath the left hand. The right hand then pulls up the centre of the rope.(See Fig. 3.) Note how the rope runs over the left hand firstfinger. The free end of the rope, i.e., the end opposite to that held by the left hand, is now taken by the right hand, brought around the free end of rope and placed between the second and third fingers of the left hand. (Fig. 4.) Now
in one continuous movement the following things happen : (1) The right hand drops slightly, the second and third fingersmaintaining their hold of the end of the rope (Fig. 5); (2) Which has the effectof forming a single knot and (3) The loop is allowed to slide from the hand whilst the left hand fingers relinquish their hold on the silk. The combination of these actions is such that -as the loop falls it is reduced in size, the silk automatically expands and the finished effect is shown in Fig. 6 .
CLIPPED PREDICTION BRlAN GLOVER
A
MUCH used Annemann principle, is the three compartment envelope.’ This has beenused in manyeffectswhichbring about a strictly limited prediction. A description of the envelope can be found in any of the following :‘ The Jinx,’ page 72. Peter Warlock’s ‘ Patterns for Psychics,’ page 29. ‘ Pentagram,’ Volume 12, page 94. I am now about to describe an alternative for this faked envelope which has served me very well over the past few years. Requirements, Preparation md Set-up. First youwill require a faked bull-dog clip used in the marketed effect known as Bob Ostin’s ‘ Dice Prediction ’ which is sold by Davenports. In my own opinion the gimmick is worth treble the price asked. The gimmickedbillet is sealed with a piece of sellotape. Secondly, three predictions covering your triple limited choice. These are written on sirnilar sized billets, folded and also sealed with sellotape. The third thing you require is a saucer. Perhaps a strange thing to use instead of a more con-
ventional plate, but the reason will be given shortly. Fourthly three nineinchlengths of cotton, joined together as shown in illustration. The table that you use is now set up as shown here.
cOTT9N A77ACtdEb 7 9 KGlK E D d E OF TA 6 s W m l D&WcEJGQIN
Notice that the three single knotted ends of the cotton are affixed lightly to the sellotape sealing the billets, i.e., the knot is inserted under the sellotape whichis then stuckdown.Needless to say the billets are in a known order. In the illustration so as to help the explanation I have lettered them A, B and C. The specialclip previously mentioned is threaded on a piece of cord which is attached to two chairs, the clip hanging in the centre. These chairs are on the right of the stage.
Perfurmance. The performer first of all indicates the billet held inthe clip. He then goes intoan effect in which an ultimate choice of three objects, cards or what have you are arrived at. These items are takencare of by the billets in the saucer. Now carefully stressing the fact a complete freedom of choice is to be made, one item is chosen. Turning to the table the mentalist allows the left hand to go to the saucer. The left thumb is placed
on top of the desired billet, whilst the remaining fingers of the left hand grip the saucer and carry it forward, canting the rear edge slightly towards the table, see illustration. Thanks to the pieces of thread, the unwanted billets gently slide off the edge of the saucer to lie on the table top (nowyou’ll appreciate why a saucer is used for its natural concavity is an aid to this manoeuvre). As soon as the unwanted billets are clear of the saucer the left thumb is taken off the billet and moves to the front edge of the saucer. Whilst this is all taking place do not glue your eyes on the saucer. After first getting the preliminary position with the merest glance, the taking of the saucer from the table should seem unimportant. Walk over to the clipped prediction bringing the saucer immediately under the clip. Make the necessary action with the clip and then walk over to a member of the audience asking him to remove the sealed billet from the saucer, open it out and read howyouhavebeensuccessful in your prophecy. Thanks to Mr. Ostin’s ingenuity it would seem that you never touched the billet at any time during the effect.
THE CENTRE DOUBLE LIFT JACK AVIS
T
HOUGH the title mayseem somewhat odd, the sleight that I amaboutto describe is not only practical but extremely deceptive. It was back in 1950 when I first developed it and A1 Koran was the first magician to see it in use. Since that time it has been used more or less exclusively and had it not been for the fact that it is beginning to go the rounds, having already been described in two Continental magazines, I feel that I should claim my own rather grown-up offspring. With a pack of cards in your hands you will find it easy to follow. 1. Hold the pack in your left hand as in a dealing position. 2. With the left thumb riffle down the outer left corner of the pack. 3. Stop ataboutthe centre or at whatever point the effect in hand demands. 4. Reach over with lyour right hand and place the right thumb into the break made by the left thumb. 5. Once the right thumb isin position allow the required number of cards, possiblytwo or three. depending on whether you intend making a double or triple lift, to escape from the left thumb.
6. As soon asthe cards are released the right forefingerisplaced into the break formed below the released cards. 7. You are now able to grip the released cards between the right thumb and forefinger and withdraw them from the pack. 8. As the cards clear thegack, they are turned face upwards and placed between the left thumb and secondfinger tips which now should extend above the pack. If you are doing this with a pack of cards in your hands, you will see that the change of position is automatic and calls for no gymnastics. 9. The cards are held wellaway from the top of the pack, and the hold forms, in effect, a cage which prevents any displacement of the cards. 10. After displaying the card(s) they are flipped face down on top of the pack, the top card then being removed and used as desired.
The same technique may be used for removing two or more cards from the rear edge of the pack and it is a suggestion that different methods be experimented with so that a personalised handling is developed.Used for the right tricks this sleight as I have said before is most deceptive.
76
STAB IN THE DARK PETER WARLOCK F ALL the card classics the most telling are those with a clear cut effect.Some represent straight-forward conjuring at its best, whilst a few give scope to the mental or psychic worker. One of these is the blindfold card stab. Many versionsinvolve a number of cards being selected which, when the performer is blindfolded, are unerringly stabbed with the knife that he holds. The present version, a very simple version indeed, is only concerned with the losing and find-, ing of one card. The total effectwe have found always telling, the discovery of the one card being a true climax. The patter thememakes it a psychic effect.
0
The magician picks up a pack of cards which he casually shuffles; he talks of sixth sense and how he would like to try an experiment. He takes a knife from the table : it should be of the stilletto type and interesting to look at and handle. (The one I use at the moment is a Spanish product and is a miniature Toledo sword.) “The ancients were very learned when they sought truth in the breakingdown of metals, for evenwithin this sword there is a strange power, a power beyond scientific analysis.Wouldyou mind, madam, taking this sword and pushing it into this pack of cards?” At this moment the magician hands the knife to a lady in the audience and fanning the pack of cards allows her to push the end of the sword into the spread. “ Madam, wouldyou like to enjoy the prerogative of your sex and change your mind? No ! . . . Verywell just look at the face of the card above the sword and then kindly autograph it for me; incidentally don’t let me get a glimpse of the card !’’ The lady is handed a pencil so that she can write her name across the face of the card. Before she commences writing, however, the sword is retrieved and slipped into the outer breast pocket. The magician then walksback to his table as the lady writes. He faces front and says, “ One thing that I wish to impress upon you all is that the lady allowed the sword to find a card. My purpose now is to show that under seemingly impossible conditions the sword will find it once again. But first we must lose track of the card. Madam I want you to put the pack into complete confusion by thoroughly shuffling the card you have autographed with the rest of the cards . . . give the pack your very best shuffle !” The lady shuffles the pack and the magician steps forward first taking the pencil back, followed by the pack itself. “ Madam, I still require your assistance so will you please step this way.” The lady walks to the table with the magician. Placing
the pack upon the table top, he then picks up a piece of cotton wool saying, “ Wenow approach the most critical stage of the experiment for I have to fit myself to be responsive to the sword. I have to develop an extra sense! To achievethis, one sensemustgo, and theeasiestis sight. Madam, will you tell the audience whether this pad of cotton wool cuts out all light!” The pad islightly placedacross the assistant’seyes and after an affirmativereplyisremoved. “ Thank you !” There is a slight pause as the performer takes a foldedsilkhandkerchiefonwhichheplaces thecotton wool. He liftsthem to a positionwhere pad and handkerchief cover his eyes. To the assistant he says, “ Will you please tie the ends of the handkerchief at the back ofmy head?” This is done. “ Ladies and gentlemen, remember what has happened. One of fifty-two cards has been decided upon by this lady who found that card with this sword.” As this issaidtheright hand removes the knife from the pocket. “ Through the medium of the sword I intend to find that card again.’’ Turning his head in the direction of the assistant he adds, “ To make my task as easy as possible will you cut the pack into three separate heaps.” The assistant carries out the request. “ Have you done that?” says the magician.With an affirmative reply, he extends his hand holding the sword. “ Please guide my hand so that the point of the swordtouches one of the heaps.” The assistant “ No response,”says the magician, doesthis. “ Just remove that heap and place the point on another. Far better, justremove the remaining heap.” The magiciannow starts scattering the cards with the point of the sword and when they are spread all over the table hefinallyencircles them from above and lets the point of the sword fall and impale one card. He says, “ Madam I am beginning to get an impression of a pattern, is your card a red card? . . . it is . . . good . . . a heart . . . the nine of hearts . . . that is correct? . . . and is there a card on the point of the knife?” Again an affirmative. The sword is lifted so thatthe face of the impaled card, whichis the nine of hearts, can beseen by theaudience and atthe sametime the magicianwhips off the bandage covering his eyes. The lady is allowed to confirm that the card on the point of the sword is the one that she autographed.
The Requirements. A pack of cards in which,say, the nine of hearts is a short card.
A silk handkerchief large enough to bandage $he magician's head. A pad of cotton wool measuring seven inches by three and a half inches. On one side of this is glueda piece of white cardboardthe size of a playing card (see illustration).
A knife of the stilleto type. A pencil.
The Preparation. The short card is on top of the pack which is placed on the table together with the silk handkerchief, pad of cotton wool and knife. The silk handkerchief should be folded ready to makea 'bandage and the cotton wool pad should be cardboard side undermost. The pencil is placed in the outside breast pocket. A chair is placed on the right-hand side of the table.
The Presentation. As in the description of the effect I have given a very detailed presentation, here I shall give just the bare bones of the means employed. First of all you pick up the pack of cards and shuffle them, faces towards the audience but maintaining the short card on top. Near the end of his preamble, the short is brought to the bottom of the pack, the palm of the hand covering the short card. The pack is held in the right hand whilst the left hand takes the sword from the table. This is handed to a lady in the audience. The right hand now fans the cards it is holding and under cover of the spread the bottom card is slid along the fan so that it is positioned almost below the right hand side of the fan. The lady inserts the point of the sword into the pack and with the assurance that she is satisfied with her choice, you remove the cards below the knife with your left handand at the same time square the cards above the short card which now becomes the bottom card of thetop half, and apparently the one above the knife. This is a sure fire force based on an Hofzinser force and one which I have used
for over thirty years, although the first time I mentioned it in print as a single hand force was in 1946. Since then, in factquite recently, Jim Thompson gave quitea space to it in his Top Secrets of Magic. The packet with the card facing her is handed tothe assistant and with a request that she autographs it you hand her the pencil and the remainder of the pack. Take back the sword and slip it into your breast pocket. When the cards have been shuffled the pack is taken back and also the pencil. The pencil is dropped into the pocket and as you ask the lady to further assist you, the short is located and the pack is openly cut, bringing the short card to the top. Believeme, the openness of this action is proof against suspicion. The assistant returns with you to his table, the cards are placed down and the pad of cotton wool is picked up. In order to test the opaque quality of the wool by placing it over the assistant's eyes, the pad is taken so that thenon-cardboard side rests against her face whilst the card is covered and masked by your hands. The pad is then taken away and retained by the right hand whilst the left hand picks up the folded silk handkerchief from the table. The cotton wool pad is laid upon it and when handkerchief and pad are lifted they are brought into such a position that the piece of cardboard goes across the bridge of your nose. However tightly the bandage is now tied the cardboard allows you perfect down the nose vision, which covers the whole of the table top. The assistant cuts the pack into three heaps and you note where the top portion of the pack goes. Taking the sword from your pocket with the right hand, the assistant places the point on one of the heaps. As it would be poor psychology to find the card in the first heap indicated by the assistant, should the guiding by the assistant take the point of the knife to the heap which has as its topcardthe one autographed, you take care to guide the assistant so that it goes to another. This is no difficult task, for remember the word ' Guide ' has been used. When the point of the sword finally rests upon the heap containing the chosen card and the two other heaps have been removed from the table, the cards are scattered around thetable top, whilstyou keep track of the autographed card. The sword is now encircled above the cards, ultimately falling and impaling the chosen one. I should like the reader to note that in describing the use of the blindfold there has been no suggestion that itisbeingused tostopthe performer seeing, i.e., I have heard magicians say, Now so that it is impossible for me to see what is taking place, etc. . . . I'll allow you to blindfold me!" This type of statement is something like a challenge and so truly serves its purpose in sowing the seeds of suspicion. "
78
COME NINE EDMUND ROWLAND HIS is more of a puzzle than a proper trick but, asthe solution to it depends on a simple catch whichvery few people will discover for themselves, it is something which can beenjoyed by everyone around youeven when some of them have already seen it. All that you require is four square cards (or tablets) with the four figures 1, 2, 3 and 4 written boldly on both sides as illustrated. (The reason why the figures, and figure 2 in particular, should be written rather than printed or stamped will be obvious in a moment.) The object of the puzzle, you say, is to arrange all fourcards (or tablets) in a row to make nine.” To make your meaning clear ( !), demonstrate that, by adding thefour numbers together, you can make a total of 10 by arranging them like this, for example,
T
victim to get “ a total of 9 ” by a similar arrangement. But, as a matter of fact, the solution does not depend upon a process of addition or subtraction at all; so he will eventually tell you that the puzzle cannot be solved. (To carry the deception a little further, you mightevenshowhim that, by turning a figure 1 around to make a minus sign, you can get a total of 19 like this
or a total of 10 again like this
“
or a total of 8 by arranging them like this
and so on.) The correct solution, when you are ready to show it to him, is as follows.Simply turn each figure 2 around to make a capital N (with many kinds of printed figure 2’s this cannot be done convincingly), turn a figure 3 around to make a capital E,- use the remaining figure 1 as a capital I and then-arrange the cards to make “ NINE ” like this
and so on. This suggests, without your actually stating it, that you want your
BACKS
ODD O R EVEN? EDMUND ROWLAND
T
HE working of this little item depends on twothings. First of all on the fact (too obvious for most people to notice), that a rectangular card can be turned over in two dif-
ferent ways (either from side to side or from top to bottom) and that the effect of turning it over in both ways insuccession is merely the same as turning it around or upside down. And secondly
79
.on the fact that when a number like 608 which is even is turned around or upside down it becomes a number like 809 which is odd. Prepare six rectangularcards like those which are illustrated below. Each of these has a threefigure number printed on one side only.The backs are blank or, if the cards are madefromblankfaced playing cards, they can carry some sort of “ reversible ” design. To get them in the correct order for the trick, .arrange them face-up in a straight line on the table with the third card from the leftshowing the number 608. Then gather them up on top of one .another fromleft to rightand turn the whole packet over FROM SIDE TO SIDE. In performing the trick, deal them face-down on the table in front of a spectator. Explain to him that each card bears a number on the other side.Some of these are odd and the rest, of course, are even. Both ofyou are going to choose just one card each and the two numbers on these willbeaddedtogether. This willproduceeither an odd or an even total. Ask him which he would like it to be. Then point outthat you had better be allowed to choose yours fmt because it would be easy for you to choose a number which would producethe kind of total hewants if he chose his number first (for you probably know the position of each of the numbers and would, therefore, be able to tell whether he had chosen an odd one or an even one). Yet, when each of you has chosen a card, you turn both of themover to show that the total
of the two freely chosen numbers is the kind which he asked.
for
To produce this result, the card you choose for yourselfmustalwaysbetheonebearingthe numbers 608 or 809 (which is the third from the left youwillremember),andyoumustalways turn the spectator’s over first (to see if his number is odd or even), and you must always turn it over FROM SIDE TO SIDE. Then, if he wants the total to be odd and has chosen an odd number, you turn your card over FROM SIDE TO SIDE aswell (to get an odd total of 243 + 608, 185 + 608 or 597 608). On the other hand, if he wants the total to be odd but haschosen an even number, you turnyourown card over FROM TOP TO BOTTOM instead (to get an odd total of 314 809 or 732 809).
+
+
+
Similarly, if he wants the total to be even and has chosen an even number, you turn both cards over FROM SIDE TO SIDE (to get an even total of 314 + 608 or 732 + 608), but, if he has chosen an oddnumber, you turnyourowncardover FROM TOP TO BOTTOM to get an even total of 243 809, 185 + 809 or 597 + 809).
+
In other words, if his chosen number is the same as the total he is wanting (that is, both odd or botheven), you turn both cards over FROM SIDE TO SIDE. If it is no the same (that is, one odd and one even), you turn his card over FROM SIDE TO SIDE. If it is not the same (that is, one FROM TOP TO BOTTOM. Apart from the slight trouble of remembering this simple rule, the trick moreor less works itself.
TURNED OVER FROM SIDE TO SIDE
TURNED OVER FROM TOP TO BOTTOM
80
THE WORLD’S LARGESTMAGIC BOOK
T E E MAGIC WAND Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now onsale to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator’s pocket, and says which spectator it is, and tells theother spectator how many cards he originally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title implies, but It IS beautrfully routlned and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversedin the pack single handed. This new sleight will have many usesin card magic. SUPER MEMORY IN CLOSE-UPby ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you aHat Production routine forthe children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. Acard, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the itemsjust named! Easy to make and do!Also a TOP CHANGE stunt forthe card enthusiast, and aCARD PREDICTION using a slate in a new and novel way. And as much more fine material again, whichwe have not the space to list here. Atotal of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.
MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle-including a clevervestturning stunt. PARTY FOR PAMELLA byJACK GITI’INGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations for standard props, patter, tips, routines, etc. M Y MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE byCLE’ITIS V. MUSSON willbe for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than €5, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature card routine forthe mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards
Price: 7/6, Postage 7d. For this Giant (84 X llh) Book.
GEORan ARMBTRONG 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President: Francir White, Esq. EIubroom and Library and M-rn
U publubod on fk M& d u c h nrtb .ad cam bs obtained diroct from tho prbikhn for 117 per shale copy. AM^ S a k c r i . U a 181-
:
port h . .
Hearts of Oak Buildings, Euston Road, London, N.W 1.
PUBLISHBD
BY:
The Magic Wand Publishing Co.
MagicalThcattc :
62 Wellington Road, Enfield Middlesex
King George’s Hall, W.C. Summer Recess
kaauscriph for pabliutioa and bmlu for review rhould k wntto tho:
?.rticularr from Hon. Secrotary :
EDITORI.4L ADDRESS:
Peter Newcornbe 38 Overdale Avenue New Malden, Surrey
K
WARLOCK’S
Peter Warlock,
24, Wordrworth Rd., Wallinpton,
surrev.
Every Advertiser’
l
Wanted b y GeoFge Armstrong Any of the “ C. T. J(otdan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U. F. GrantandGrantandMenge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield,Middx.
goods are fully endoried by this Bulletin
I
R I T H E MABIC WAND WPLmRRIQ ‘COMPANY. 6? WELLINGTON ROAD, HNFIPLD.MIDDLHSEX A N D PIIINTXD BY HERPHRT W A I X E R L SON (PRll*¶%RS) L=., BR100B WORKS. SRIPLET. YORKSHIRE
*
A
PETER WARLOCK'S
**+*e
THANKS TO MOEBIUS EDMUND ROWLAND Fasten all three strips together by their ends DON'T remember who it was who first described the idea of tying three coloured ropes with cellotape to make one long strip. Then give one end of this a twist (as if you were making one together in a circle so thatanyone of the of the bands of paper for the Afghan Bands effect) knots could be secretly untied to show that the ropes had been tied together in the same order as and fasten the two ends together to make an endthat in which a similar set of ropes had been tied less band. Then fold this carefully at tLc t h e 2 by a spectator, but this is a paper version of the joins and. at the same time, carefully flatten it out same thing. (My original reason for making itin so thatit will just fitnicely inside the envelope. paper was merely that I wanted to include it in an The method of folding and flattening should be act consisting entirely of paper magic, but another clear from Figure 1. reason for using it is that it is easier to carry a Three slits must now be made with a sharp Of paper in an than to carry a box* knife of thewith edges the envelope so or to borrow a hat. in which to hide the circle of that, near when itthree is sealed theof folded paper band ropes.) inside it, the three folded joins between two adjacent colours will just project through them. Suppose that a spectatoris going to be asked to arrange the colours green and yellow in any The appearance of the finished article is shown in order he likes. (Heis going to have a choice of Figure 2. (This side of the envelope must always six different arrangements, of course.) Then you be turned away from your audience, of course.) will need three similar strips of coloured paper: one red. one green, and one yellow. These strips
I
red.
yC'LOW
FtCURE
F~~UQGI
.
may be as broad as you like but thelength of each must be slightly less thanthe width of the envelope which you are going to use-and this, of course, may be as large as you like.
VOLUME 12, No. I I
-
2
.
Now, as soon as you know the sequence of colours chosen by the spectator. you can open the envelope at the top, at the bottom or at one end by cutting off the edge of the envelope and the edge of the fold in the paper band together with a pair of scissors and take out the long paper strip
I/6. (20 Cents)
-
AUGUST 1958
82 to show that the colours on this are arranged in exactly the same order. For example, if he has chosen the order yellow, redand green, youwill cutthe envelope open at the end and, at the same time, cut ‘away the join between the green and the yellow parts of the band. If the slits in the envelope have been made rather longer than the width of the paper band, you can now withdraw the strip from the envelope quite easily with one hand whilst your other band holds the envelope open at the end and, atthe same time, grips thestrip looselybetweentwo
fingers so that the folds in it are straightened out as it is withdrawn and so that only one colour emerges at a time. Instead of having the joins in the band projecting through slits in the envelope, you can, of course, make the band so neatly and exactly that it will fit tightly inside and not tend to slide about. The envelope may then be opened in the more normal fashion-with the blade of a knife. If you pretend that you cannot do thiswith one quick slicing cut, it will then be possible for you to cut through the band with the knife at the same time.
A MASTER SPELLER EDMUND ROWLAND
T
HE ABOVE title has been used several times in the past to describe spelling effects with playing cards. In this particular case the word “ master ” is quite appropriate, however, because it is a spelling effect with a pack of Lexicon cards and four of the “ Master ” cards which are used in the game of Lexicon to represent any letter that is needed to complete a word.Unfortunately only one Master card is supplied with each pack so, if you cannot beg or borrow three more from someone else, you are going to have the trouble of making three from blank-faced playing cards for yourself. (Of course, I don’t want to suggest the alternative-that you don’t perform this effect at all!) Fortunately the Master card designdoesn’t have to be copied very expertly because the cards are not going to be handled by anyone but yourhelf. (The best way of making them is to trace the design on to tracing paper, transfer this to the face of the card by means of carbon paper and then go over the design on the card with a fins pen or a thin brush and some Indian ink.) Before I go any further I had better point out that the whole effect is not intended to be taken very seriously ! The trick depends on forcing a four-letter word. Suppose you decide to force the word WEST. (Ifyou are limited to using the cards in only one pack of Lexicon cards, you will find that the choice of possible four-letter words is rather restricted-because only a few of the consonants are duplicated and because with some of the fourletter words which can be duplicated the letters can also be rearranged to form a totally different word.) Take out a W,an E, an S, and a T and stick each of them and a Master card back to back. Then, to forcethe wordWEST, arrange the following cards on top of the pack. First of all,
any four letters which cannot be arranged to spell a four-letter word (for example, L, 0, R and H); then four more (for example, B, D, F and G);then the duplicate letters W, E, S and T; then four more letters which will not spell a four-letter word (for example, 2,E, N and E); and then the rest of the pack in any orderat all. Finally put the four Master cards close together near the middle of the pack so that you can find them fairly quickly. To perform the effect, give the whole pack a false shuffle so that the cards remain in the same order. Deal the first four cards whichwill not spell a word to spectator A, the next four to spectator B, the next four (which are W, E, S and T), to spectator C and the next four to spectator D. Before you deal any cards to spectator E(! ), ask if anyone who has already been given some cards is able to arrange them to spell a four-letter word. Unless spectator C is either very dull or half asleep, he will soon say that he can. (If one of the others says that he can as well, you had better take a quick look at what he is doing-or elsehave second thoughts about trying to be an entertainer !) So take back the cards from the other three spectators and return them to the pack. Explain that you are now going to reveal the word that spectator C has chosen (?) by taking four more cards from the pack and arranging them in a rowwith their backs tothe audience in a small stand. Ask spectator C to concentrate on the first letter of his chosen word. As soon as he looks as though he mightbe doing this, take a card from the pack and place it in the stand with its back towards the audience. Repeat this for the other three cards. It doesn’treally matter which four letters you take but suppose- you choose p, Q, R and S. You are now going to show that your word is the same as the spectator’s. Turn the first card around and say, “ The first letter in your word is
83 P.” Spectator C will immediately deny this, of course, and you will probably get your first smile from the audience. “ I’m sorry,” yousay. “ But just a moment. Everyone knows that in playing Lexicon you are allowed to use a Master card to represent any letter that youneed to complete a word. So, if youdon’t mind, I will replace this letter P with the Master card.” As you finish saying this, you put the letter P back in the pack and in its place in the stand put the Master card which has the letter T at the back. now^ you probably get a laugh from the audience. You then turn the second card around and say, “ The second letter in your word is Q.” More laughter from the audience when they find that it isn’t. But wait! “ Fortunately there happens to be another Master card in the pack so, if’you don’t mind, etc., etc.,” and you replace the letter Q with the Master card which has the letter S at the back. Again there willbesome more laughter from the audience. Repeat this with the remaining two letters so that youhave four Master cards in the stand
instead of the four correct letters in the chosen word. You try to explain that you have really succeeded in spellingthe word correctly, of ccurse, but spectator C and the rest of the audience are obviously thinking that youhave tried to fool them with a simple catch. “ Butjust a moment,” you say. “ Perhaps you wouldn’t mind telling me what your word is.” “ It is WEST,” says the spectator. So you solemnly take a small compass from your pocket“ That explains it then. I’m afraid that you are all facingin the wrong direction. According to this, you are all facing East. Now, if only you had been sitting on the other side of me,youwould have seen at once that the word in the stand really is correct.”
As yousay this, you turn the whole stand around to show the word WEST on the backs of the Master cards. Collapse of audience (?) and end of trick. But believe it or believe it not, h a your audience will think that you have done something clever.
TWOIFOLD LOCATION EDMUND ROWLAND
E
VERYONE must have noticed at some time or another that there is more than one way of folding a rectangular piece of paper from top to bottom and from side to side into a quarter of its original size, but no one except a magician (or a secret agent perhaps), would think of attaching any significance to such a trivial thing. It was about six months ago that I first thought of using the different methods of folding asa means of secretly distinguishing one folded billet from another by mere touch.
Now this, of course, is a case in which a few illustrations can be worth much more than several words of detailed explanation so I would suggest that you look straightaway at the billets illustrated in Figure 1. Notice first of all that each of them has been drawn with the creases at thetop end and the right-hand side. This is also the way in which any one of them should be held before you try to feel which one it is. Then notice that the first fold can be made either from top to bottom or from side to side. Notice also that either fold or both of them can be made either so that the two opposite edges are brought exactly together or so that one of them slightly overlaps the other.
To avoidhaving too many illustrations and too much detailed description, Figure 1 shows only those billets in which there is either no overlap at all or in which the overlap is produced by only one of the two folds. This gives us 10 different billets all of which, at a casual glance, lookexactly alike, however,because none of them is folded more than twice and becauseeach fold has been made at right angles to the other and to. the edges of the paper. But let us seehow they do differ from one another so that any one of them can be recognise& by feeling the creases and the sharp edges. (a) In numbers l to 5 the double fold which tends to make the billet spring open again is a t the right-hand side of the billet: in numbers 6 to 10 it is at the top end. (b) In numbers 1 and 6 the four sharp edges at the left-hand side and the bottom end are flush together without any kind of overlap: in all the rest two of them overlap the other two. (c) In numbers 3, 5, 7 and 9 this overlap is produced by the first fold and is, therefore, at the bottom end of the billet in numbers 3 and 5, and at the left-hand side in numbers 7 and 9. In numbers 3 and 7 the two overlapping edges are
84
between the two shorter edges: in numbers 5 and 9 the two shorter edges are between the two longer ones.
As an example of the way in which some of them can be used in an actual effect, suppose that youhave the sixpieces of paper illustrated in
6)
l0 B
6
I
0
(d) In numbers 2, 4, 8 and 10 the overlap is produced by the second fold, and is, therefore, at the left-hand side of the billet in numbers 2 and 4, and at the bottom end in numbers 8 and 10. In numbers 2 and 8 the two overlapping edges are behind the two shorter ones: in numbers 4 and 10 they are in front of them. I
2
Figure 2. Each of these is shown to your audience who are asked to remember the sixdifferent designs that are on them. As soon as each paper has been shown, you fold it into a billet using, in turn, any six of the different methods of folding already explained. (To helpyou to remember which is which, you should notice that the design 4
3
. FIGURE
BY producing an overlap at both folds instead of at only one (that is, by combining 2 or 4 with 3 or 5 , and 7 or 9 with 8 or lO), it is possible to get eight more different billets. The ten that are illustrated here, however, ought to beenough for anybody.
Q
6
a. on paper I is drawn with one line only, that on paper 2 with two lines only, that on paper 3 with three lines and so on.) Then, when all the papers havebeenfolded and shaken about in a hatthem to mix up, you
85
can quickly pick out any design as it is called fop or, more easily, you can immediately identify the design on any billet which is picked out by a spectator and handed to you behind your back.
Once you have grasped the principle on which the effect is based, you will probably be able to think of other effects along similar lines for yourself.
EDMUND ROWLAND
0
N PAGES 127-8 of “ Scarne’s Magic Tricks ” there is a simple mental item called “ Watch-it”. In this a spectator is asked to look at the face of his watch.
First of all he is to add together any two numbers which are exactly opposite each other and announce the result. After a moment’s concentration you tell him the two numbers which he added together. This is easily done because there are only six pairs of numbers to choose from, so you have only six different totals (8, 10, 12, 14, 16 and 18) to remember and, if you are given any one of them, you can soon discover by inspection the two numbers which must have been added together to produce it. Then, when the spectator has done two or three of these additions, youaskhim to choose another pair of opposite numbers but, this time, to subtract the smaller from the larger and not announce the answer but merely concentrate on it. Almost immediately you tell him what this number is. This again is very easy to do because the difference between everypair of opposite numbers is 6. But, as he has just hadit impressed upon him that the result is always different when opposite numbers are added together, he will naturally tend to assume that the results will still be different when he is asked to subtract one number from another.
As I have already said, the trick is only a simple one. It can be made rather more effective, however, by using, instead of the relatively few numbers on the face of a watch, the several page numbers of a fairly thick magazine. But first of all, I would like to explain how the first part of the trick with the watch can be done by using a simple calculation instead of by having to visualise all the possible pairs of numbers and relying on a process of trial and error. Suppose that we call the larger number a and the smaller number b. Then you know that a - b= 6. Suppose you have been told that a + b = 14. By adding together these two equations (a - b = 6 and (a + b = 14),youwillfind that 2a= 20 or a = 10. Then, if a = 10 and a b=14 (or a b=6), b=4.
+
+
Now look at the way in which the pages of a magazine are numbered. Any single section book (one that is made by stapling or stitching together a single pile of double sheets), can be used but the one I am looking at now happens to be “ Radio surely be the commonest Times ” whichmust periodical there is. It has 48 pages. Remove the wire staples which hold it together and look at the four page numbers on a fewof the double sheets. There are two consecutive page numbers, of course, on each halfof a double sheet. Call the sum of the two page numbers on the right-hand half X and the sum of those on the left-hand half y. Then, for every double sheet, X is greater than y, and X - y is different (as with a + b for the numbers on the face of the watch). But X + y is always thesame: with “ Radio Times ” it is actually 98 which is 96 + 2, or 2 more than twice the total number of pages. In other words, if the number of pages in the magazine you happen to using be z,is X + y=.2z + 2. Suppose, therefore, that you have asked someone to choose any double sheet from a “ Radio Times ” and mentally to add together the two numbers on the right-hand half and the two numbers on the left-hand half. First of all, askhim to subtract the smaller total from the larger and tell you the answer. Suppose he says that it is 52. You already know that X + y=98 so, by the same kind of reasoning which was used above for the numbers on the watch,you can quickly discover that 2x = (X + y) + (X - y) = 98 + 52=150 and, from this, that x=75. Then, since X + y=98 (or X - y=52), y=23. Noweach of these numbers X and y is the To find out sum of twoconsecutivenumbers. what these are, add 1 to each answer and divide eacMnew result by 2. Thus, from y = 23 and x=75 Yod will find that the four page numbers on the chosen double sheet are 11 and 12 (because 24 + 2 = 12) and 37 and 38 (because 16 + 2=38). Do this once or twice again letting the person who is choosing the numbers see that his. answer which he is givingyou is different each time.
86
Then ask him toadd together all the four page numbers on any other double sheet and concentrate on the answer. You can immediately tell him that he is now thinking of the number 98 because youknow that this must always be the answer. Alternatively, if you have asked him just to addthe odd number on either halfof a double
sheet to the even number on the other, you can immediately tell him that heis thinking of the number 49 because this is half of 98. Thus, with the double sheet used in the example above, 11 + 38 = 12 + 37 = 49. It will also be obvious that a magazine can beusedin this way to provide an impromptu method of forcing a number in any kind of trick.
THE CARDS RISE PETER WARLOCK
T
HIS EFFECT was first used by me at a Magic Circle Show on October 7th, 1931. Reporting the show, Tom Donovan wrote the following :“Some finished thimble work introduced the act, the remaining contribution otherwise consisted of a baffling version of the rising cards. The pack wasgiven into the hands of the audience, and three cards chosen and marked; the pack having been returned to the performer, the marked cards were inserted therein by the audience, and the pack placed in a glass standing upon a glass tray, both articles having been previously examined. At the word of command the marked cards rose and were at once handed tothe audience for identification.’’ Let me add to the description the following :1. Both be packmay and glass
With the help of illustrations I will explain exactlyhow the threads are arranged. When I speak of thread, I exaggerate for, as little strain is, placed upon the hook-up, strong cotton or Silk0 can be used.
borrowed.
2. There isno force of cards. 3. Nothing is attached to either cards or glass. 4. The cards may rise at any speed. 5 . The final card can be made to jump from the glass into the performer’s hand. 6 . There is no involvedmechanism that can fail the performer at the last minute. There is a drawback and that is that an assistant is required. Actually it is possible to dispense with the assistant but if the performer is compelled to do the assistant’s job, then he will lose all mobility and the effect will suffer very much. The Set-up. The effect has been given so we will discuss the method. The means for arriving at the effect are simple indeed. Glass, tray and cards are rested on achair seat and it is an ingenious arrangement of threads plus assistant which brings about the effect.
D OFF S I STANT D U W I N G PINS ?USUED IN
AT
THESE POINTS
At points A and B (underneath the chair seat),two drawing Pins are Pushedhome. Two more drawing pins are now taken and these are inserted behind the top chair rail at points C and D. Next take a mediumsized rubber band and fasten to its side the end of the length of thread (don’t break it away from the reel-for the time being !). Now holding the rubber band at a point between C and D, take the thread over C round behind A and B, and up and over D, finally breaking it at this point and attaching the free end to the opposite side of the rubber band. By reason of the elastic the thread should be maintained in a taut position. Now take the glass you intend using and placing it first on the tray and then both on the seat of the chair take another piece of thread and tie it at points E and F so that it crosses the top of the glass. Finally a long length of thread (this is governed by stage conditions), is taken and one end istied to the centre of the piecewhich
a7 runs from E to F. The free end of the long thread is now taken through the back cloth or alternatively if this is not possible through an anchored staple and then into the wings. With these details given the principle should ‘be apparent, and now all that is necessary is for the assistant to be stationed at the free end of the .thread with a full knowledge of what he or she has to do. The assistant is the keystone and wrong handling can mar the ultimate effect. Forthe record the assistant I used when I first presented -this effectwas Colin Donister, the indefatigable Magic Circle librarian. We rehearsed the handling once at my home and on the night everything was as smooth as a whistle. ’The Presentation. Pick up the glass in your right hand and the pack of cards in the left. The first finger of the righthand snaps against the glass, causing it to ring. If thought necessary the glass can be handed out for examination. The pack of cards is handed to one spectator with a request that he thinks of one card, removes it from the pack andautographs it. He is asked to pass the pack along and two more spectators in turn choose cards ina similar manner. Whilst this is taking placeyou step back, pick up the tray and show it and then place the glass upon it. Both are placed on the chair so that the threads take up their position over the mouth of the glass (see illustration). With the third card chosen, you relieve the third chooser of the pack.
are added to the top, a left little finger break separating them from the remainder of the pack. Walking across to the chair you appearto drop the pack into the glass, just that and nothing more. Actually, however, as the cards are placed in the glass the three separated cards go behind the cross thread whilst the balance of the pack goes in front. The offstage assistant must be in a position to see exactly what is going on so that he relaxes his hold on the thread as the cards go in, thus allowing the offstage thread to go down with the three autographed cards. At this point a pull on the thread by the assistant will cause all three cards to rise at once but only the face cmd of the three will be seen, and from the mdience’s point of view only one card has risen. That iswhat happens. Just read on. On the given word of command the assistant pulls either slowly or quickly (he must avoid any suggestion of jerkiness), causing all three cards to rise at once. When the card has risen threequarters distance out of the glass, the assistant stops the pull. You then approach the pack and with the thumb and secondfinger grip thetop corner of the front card. When this action is seen by the assistant he immediately releases the thread allowing the two hidden cards to fall back into the rear section of the glass. The card held by you is now handed out for a check. The second card is treated in a similar manner.
The three cards are then returned to the pack any by means of any standard indetectible sleight brought to the top from whence they are palmed off, whilst the pack, supposedly containing the three autographed cards, is handed out for shuffling. Upon its return the three palmed cards
The rising of the third card can be treated in a different manner and with a command forits appearance the assistant gives a quick jerk on the thread which has the effect of making the card jump from the pack about two feet, at which position you catch it.
Congratulations to the Dutch school for their performances at the F.I.S.M.Vienna Congress. Van Domelen, the Grand Prix most of us have seen on a number of occasions but up till now only those lucky enough to see Peter Pit when he was playing cabaret over here have seen something more than the abbreviated act that was televised intheHenryHall show. His version of the “Dancing Cane’’ is almost unbelievable andit must have helped a great deal in obtaining a first prize. He will be seen at The Magic Circle Festival which commences at the Scala Theatre in October. Strange to say the “ Magic Circular ” announce-
ment of artistes did not carry, what to some, is themost essential information, thedate of the show. Of Holland, we would like to mention that the September number of Triks ” that splendid magical magazine published by our very good friend, Henk Vermeyden, is a British number and containscontributions from Hans Trixer, Leslie May, Francis Haxton, Alex. Elmsley, Roy Walton and Edmund Rowland as well asa mechanical piece of our own. Two items had to be held over ; the brainchilds of Jack Avis and John Derris they wil be published in a later issue. And now for Eastbourne !
THE WORLD’SLARGESTMAGIC
BOOK
Edited by G E O R G E A R M S T R O N G No. 254. (Vol. 46, Part 2) Now on sale MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks wiih cards, common objects, dice, numbers, etc., all based upon amathematical principle-including a clever vestturningstunt. PARTY FOR PAMELLA byJACKGI‘ITINGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations forstandard props, patter, tips, routines, etc. MY MAGIC by BRIDGER LEWIS gives,you the terrific B.L. EGGS FROM HAT ROUTINE. Whetheryou are a born comedlan or a naturally stralght performer you’ll nct be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you donot need to buy expensive propsfor thisone. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return tothe pack reversed. Andthere is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE byCLETTIS V. MUSSON willbe for you if you haveambitions to be an illusionist. This stage filling illusion can be made for less than f5, is colourful, baffling and entertaining. THENAME IS MINE by PAVO is areally different type of DeadNameTest, ideally suited tothe Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a featurecardroutineforthe mentalist. Two spectators pocketanumber of cardseach. One spectator selects a card from the pack, and one returns his packet of cards
to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch,names the number of cards in a spectator’s pocket, and says which spectatorit is, and tells theother spectatorhowmanycards he originally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title imphes, but it 1s beautifully routmed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routineforthe children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name number, a colour and book title. These are noted and tossed into a box. Acard, which the performer has previously written on, is then removed from another box and given to aspectator for checking. It lists allthe items just named! Easy to make anddo! Also a TOP CHANGE stunt forthecard enthusiast, and a CARDPREDICTION using a slate in a new and novel way. And as much more fine materialagain, which we have notthe space to list here.A total of 35 tricks and routines, plus miscellaneous articles. We aresorry,butNo. 253 in now OUTOFPRINT. 254 before this, too, follows Rush you orderforNo. suit.
Price: 716, Postage 7d. For this Giant (84 X 11h) Book.
GEORGE ARMSTRONG
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and M u m m :
Hearts of Oak Buildings, Euston Road, London, N . W 1. Magical Theatre :
King George’s Hall, W.C. Week commencing, 20th OctoberFestival of Magic at the Scala Theatre. Putieolan tram Hun. Sccretmy
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM Uth of c8ch month and can be obtmned direct from t!10 publblers for 117 per single copy. Anowl Subecriptk. lU/pat PUBLISHED BY:
in publirhed on the
fne.
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex k a n u d p t s for pabhtioo and books for review should k r o t to the: EDITOR1 4L ADDRBSS:
Peter Warlock. 24, Wordrworth Rd., Wallington, Surrff
.
Wanted by George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.’’ Complete in envelopes ifpossible. Also want many U. F. Grant and Grant and Menge mimeographed items. Sort out those oldunused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 WellingtonRoad,
Enfield, Middx.
h
PETER WAR LOCK ‘S * *
*
QUICK TOT EDMUND ROWLAND
T
HIS IS another of my methods of working the effect in which you are apparently able to add together several large numbers at lightning speed. It is not for me, of course, to say if it is any better or worse than the four or five other methods which I have originated during the past few years, but I do think that it is an interesting one. In an earlier method, called “Addendum ”, which was published a couple of years ago, I used the well-known principle of figures adding together to make rows of nines, but, to avoid the usual procedure in this of having only half of the numbers provided by the audience and the other half by the performer, I arranged for all the numbers in the addition to be chosen by a spectator by cutting a long line of figures on an endless band of gummed paper into several short strips. This was done, the performer was careful to explain, not for his benefit but to speed up the effect and to lessen the amount of mental effort required of ihe spectator.
FtGuR,E
I
In both of these respects the method whiFh I am aboutto describe nowis somewhat simdar.
VOLUME 12, No. I 2
-
Thereisoneimponant difference,however. In the earlier method the figures were written side by side in a long row: in this present method they are written above one another in a long vertical column. This, unfortunately, does mean that there is now a greater risk of someone noticing that alternate pairs of figures add to nine, but it also means that there is no longer the need for the performer to secretly add an extra group of figures of his own to those obtained by cutting the endless band. The actual band of figures thatis used is shown in Fig. 1. The complete column of figures (which could not be shown in the illustration), is as follows: 4,5, 0, 9, 6. 3, 8, 1, 2, 7, 6, 3, 0,9, 2, 7,4,5,8.1,0,9,6,3,4,5,2,7,8,1.Fromthis you will see that there are thirty figures in all and that the total of alternate pairs (of 4 and 5, of 0 and 9, of 6 and 3, etc), is nine. In performing the actual effect, a spectator is asked to cut the band at any point between the figures to make it into one long strip. This is then cut up into six equal strips each containing five different figures. The spectator is finally asked to stick these six strips side by side on a blackboard to form a straight-forward addition sum containing six 5-figure numbers. Now, although there are 30 different ways of cutting the band to make a single strip, there are only 5 different ways of cutting it into six equal shorter strips. But, in addition to this, there are 6 different waysof choosing the strip to make the first column of figures on the left, 5 ways of choosing thesecond strip, 4 ways of choosing the third& so on. The total number of different arrangements which can be madefromthe endless band is, therefore, 5 X 6 X 5 X 4 X 3 X 2 X 1 which is 3,600. In spite of this you are able to call out the answer (from left to right or from right to left), as quickly as anyone can write it down as soon as the strips have been stuck in position and with little more than a “casual” glance at the actual sum.
l/6. (20 Cents)
-
SEPTEMBER 1958
90
The method of doing this can be explained mosteasilyby referring to the twoexamples in Fig. 2. (To make the explanation as clear as possible, the pairs of figures which make two rows of nines are bracketed together in these illustrations but this, of course, is something which is not done during an actual performance).
t-'rr,unRE
t/ .
From this youwillsee that the example in Fig. 2a is equivalent to 603459 + 199998 = 2603493, so that the answer can be obtained, without the trouble of carrying out the actual addition,
bywritingdown the unmatchedfigure in each column, subtracting 2 from the one at the extreme right and putting 2 in front of the first figure at the left. You will be able to do this quickly and correctly if you follow these four rules. (1) The first figure in the answer must always be 2. (2) Look at the figure at the top of each column in turn. If it is odd, this is the figure which must appear directly below in the answer: if it is even, the figure in the answer will be the even figure at the foot of the same column. (This follows from the fact that the upper figure in each pair which make nine is even.) (3) Subtract 2 from thefigurewhichyou obtain in this way in the last column on the right and use the result instead of that figure in the answer. (4) If the figure at the top of the last column on the right is even and the figure at the foot of this column is 0 (as in Fig. 2b), you will have to borrow 10 from the next place to the left in the answer before you can subtract 2 to get the last figure. But be careful then to remember that this will reduce this second figure from the right by 1 : thus, the correct answer in Fig. 2b is 2936088 as shown, and not 2936098. After a certain amount of practice you will find that the working can be done very quickly without any hesitation.
PECULIAR PATIENCE JOHN A. M. HOWlE
N
0 ORIGINALITY is claimed for the plot of this sequence which is identical with that entitled " A Surprising Solitaire " in Ralph Hull's '' Eye Opener The main features werefirstshown in Hull by Dr. Leo Levi, of Vienna. I have modified the spelling bee climax to the sequence and, finding the whole relatively unknown among magicians while registering well with laymen, consider it worthy of detailed description. Taking a shuffled pack of cards you offer to demonstrate a novel form of Patience game. Phase One. Assuming that Spades is the suit to be prophase three, duced by the spelling inthelater remove fromthepack: Any ace, otherthan spades, the two and three of spades and the four of either clubs, hearts, or diamonds. We'll assume that you have the ace of hearts and the four diamonds. Laythecardsface up in the following order :
".
-
3s 2s
AH
6 2 4
4 D 8 (2) (1) You point out that you have removed an ace, a two, a three and a four . . . the suits are immaterial. Now place opposite each of these four cards, a card of double the value as shown in (2). Note that nunc of these double valued cards belong to the spades suit. These eight cards constitute the initial layout. State that the object of the game is to get rid of all the cards in hand by simple addition. For ease of working deal with the pairs in the following order :(a) The " 4 of diamonds " pile : since 4 plus 8 equals 12 you place a Queen (12) on top of the eight (all cards face up throughout this phase. Now 4 plus 12 equals 16. Since the maximum possible is 13, i.e. a King, 16 is treated as 3, i.e. 3 over 13 thus a 3 is placed on the Queen. Continue placing
91 the cards out in this way until a King is dealt and then place all the cards on top of the 4. Plecmse note that rw spades are used in making up this pile.” (b) The two of spades ” pile. The same addition technique is used but note . . . ONLY THE ‘‘ SIX ” IS A SPADE. This stack will be : 2S, 4, 6s. 10, Q, A, 3, 5, 7, 9, J. K. (c) The “ Ace ” pile. Use the same addition method but note . . . THE 8, 9, Q and K ARE SPADES. This stack will be: A, 2, 3, 4, 5 , 6, 7, 8S, 9S, 10, J, QS, KS. (d) The “Three ” pile. Again use the same form of addition. There is no need to remember which cards have to be spades since the formation of this, the fourth pile,is automatic. This stack will be: 3S, 6, 9, Q, 2, 5S, 8, JS, AS, 4S, 7% 10% K. You thus end with four piles with a King on top of each and you show that this phase of the Patience game has been successful. Assemble the pack by picking up the piles face up thus: The “ ace ” pile, followed ‘by the “ three ” pile, then the ‘‘ two ” pile and finally the ‘‘ four ” pile. Turn the pack face down. Phase Two. False shuffle and false cut so as to leave the entire sequenceunchanged. In this phase the cards are dealt face down. Deal the top thirteen cards thus :1 2 3 4 5 6 7 8 9 10 11 12 13 Show the face of the next card-it will be a ‘‘ three ”. Place it face down on top of the third card in the layout. Place the next three further on, i.e. on card number 6, and continue placing at intervals of three round and round the layout until a card is dealt at position thirteen, then stop. Show the top card of the pack to be-it will be a “ two ”-then place in position two and continue placing to positions four, six, eight, ten, etc., until a card is again dealt to position “ thirteen ”. Again show the new top card-itwill be a “ four ”, and place it at intervals of four until all “
the cards are dealt, the final card falling on position ‘‘ thirteen ”. The second phase of the “ patience ” game has come to a successful conclusion. Re-assemble the pack by placing pile on pile two, both piles on pile and so on. Phase Three. You now offer to show a remarkable feature of this form of “ Patience ”. Spell A-C-E by placing two cards one at a time from the top to the bottom then dealing off the third card face up and showing that it is the ace of spades. Repeat the process with T-W-0 and the card dealt will be the two of spades. ALWAYS TURNUP ON THE LAST CARD OF THE SPELL. Continue through the pack to K-I-N-G and the full suit of spades willhavebeen dealt in sequence. (As a point of interest this result is due to the fact that the letters used in spelling the words “ ace ” to ‘‘ King ” add to fifty-two, thus after the spell the pack is returned to its original order.) To conclude, run through the pack, and, taking the cards in threes, throw them face-up on to the table. They will appear as three aces, three twos and so on up to the three kings. This run through should be done with rapidity. A Presentation Idea. Whilst the versiondescribedusing normal cards registerswellwithlaymen, the following addition ensures even greater interest, particularly with male spectators. Obtain a “ Wolf deck ” or one of the new German “ Pin-up ” girl packs. In the German pack there are three Jokers. These should be on top of the pack.
Hold the pack faces down as you make your opening remarks. Comment that ‘‘ Patience ” is considered by many to be a boringgame. This, you claim, isonlybecause of the cards used. ‘‘ With these, (flip the three Jokers face up on to the table one by one), “ Patience ” can be quite interesting! Place the Jokers aside and proceed with the routine as described above.
DECIMUS EDMUND ROWLAND
T
HISISthe sort of thing that I like to do between a couple of proper tricks. I find that it helps to separate one trick from another and also provides a little comic relief in a programme whichmight otherwise be too completely mystifying and rather heavy to digest. It is merely a slightly elaborated version of an
old match stick puzzle, but I find that the different method of presentation tends to make it look like something new and also makes it easier to show to a large audience. In its original form youwouldneed a blackboard and some large dummy match sticks fittedwith sharp pins to make them stick on to it.
92 Figures 1 and 2 represent the two sides of a square sheet of paper on which there are a number of thick black strokes. These must be made in
K
8
exactly the same positions shown in the figures. With a dressmaker's wheel or the needle of a sewing machine (without any thread in it), perforate the paper along the dotted line. This is to make it easy for you to tear off the narrow strip at the side. In presenting the effect, turn the paper over and over toshow that there are five strokes on each side-making a total of ten strokes altogether.
Then say that, strangely enough,it is still possible to see ten evenwhenoneof the strokes is removed. As youfinishsayingthis,tear off the narrow strip at the perforations and hold this up tom toshow that one of thestrokeshasbeen away with it before you crumple it up into a ball and throw it away. Then turn the rest of the paper over and over as before as if to show that there are still ten strokes on it. Everyone in the audience, however, can plainly see that there are only nine. To prove that you are right (and that they aro wrong?), fold the paper from top to bottom along the line X-Y and hold it up to the light so that everyonecansee,nottenstrokes, but the word TEN in block capitals!
Cu8ullf
3
No more words
of explanation should needed.
be
A SIMPLE PRODUCTION EDMUND ROWLAND
T
HIS IS an effectwhichdoes not take long either to describe or toperform.What happensis that a spectator isallowed to feel at each page of a magazine (and even encouraged to piercethem as many times as he likes with a large knife or skewer), whilst you are holding the magazine at arms length. Then, when he is satisfied that there cannot possibly be anyxhing hidden inside it, you quickly tear the maga-
ct4uec
4
.
zine in two and produce a solid-looking metal tray from amongst the tom pages. As you can imagine,
this usually produces a gasp of astonishment. For there does not seem to have been any part of the magazine in which the tray could have been concealed. PA5TE WUEPE
SbMOED
The preparation of the magazineis quite simple, however. Any large one can be used, and only one copy of it is required. Open it at the centre pages and remove the wire staples which hold it together. Without dis-
93 turbing the order of the pages, divide the magazine into two equal sections and staple the pages in each half together again, as in Fig. 1.
right hand on the tray to allow it to drop from the upper half of the magazine to the lower.
Place the tray upside down between the two sections and then carefully paste these together round their edges, as in Fig. 2. When the magazine is opened out flat, the tray can now slide freely from one end to the other. Close it with the tray in the back or righthand half of it, and it is then ready for use.
In presenting the effect, pick up the closed magazine and show both sides of it. Stand with your left side turned towards your audience and have the spectator who is going to assist you facing you (so that his left side is turned away from -them). The tray has been sealed in the magazine with its top (or concave), surface towards the back so that, if the magazine is in your right hand with your thumb against the front cover which is facing the audience, the tray will be hanging quite naturally by its rim from the tips of your fingers through the thickness of the back pages, as in Fig. 3. (The spine of the magazine should be parallel to the floor, of course, so that you are holding it by the opposite Iongeredge.) As younow turn down the pages one by one from frontto back with your left hand, the spectator is easily able to feel each of them with his left, or to pierce any of them with a knife or skewer held in his right, without obscuring the view of the rest of the audience. At any time after you have passed the first pair of pageswhich are pasted together atthe edges,you can slightly release the grip of your
Then, when the rest of the pages have been felt or pierced in turn, take the magazine and hold it in both hands with the back cover towards the audience. Quickly tear it down the centre and produce the tray from inside. If you have not already told the audience that you areaboutto produce something from the magazine, the sudden appearance of theshiny metal tray will be quite unexepected. The same method can, of course, be used for the production of a plate, a gramophone record or a slate. If possible, however, you should try to arrange for it to be something which you require for your next effect so that you can have a sufficientlygood reason for producing it in such an unusual and illogical fashion.
EDMUND ROWLAND
T
HIS IS a method of magicallyrevealing a freely '' selected number by means of a number of matches hidden between a couple of shallow trays. From the point ofview of your audience it will be similar to the effect in which a quantity of confetti is poured on to a plate and then immediately tipped off again to show that some has become stuck to it to form the name of a playing card. The use of a few matches instead of confetti, however,seems to have two possible advantages. One is that, by using matches, you avoid the sort of mess which can be made by scattering confetti; 'the other is that, to some bb
extent, the spectator does have a perfectly free choice. First of all I shall describe the preparation of the apparatus and then explain the way in which it is used. Apart from a couple of small shallow trays, you require twenty-seven matches, a little glue (or Copydex), and a pack of numbered cards. (Instead of the trays you can, of course, use a couple of plates or even a pair of slates without a flap.)
94
The appearance of the first or bottom tray is shown in Fig. 1. To beginwith, nine matches are
please. This second tray is then placed upside down on top of the first. The only other preparation that remains to be done is to decide on a method of forcing four cards (a 2, an 8, a 10 and a 17), from the pack of numbered cards. (I don't think that I need to describe such a method for the readers of Pentagram.) Let me jump forward, therefore, to the momentwhenyouhaveforcedthese four cards on to an unsuspecting member of your audience who is just about to choose one of them in a perfectly free and open manner. Fromthat point onwards the handling of the two trays depends on which particular number he finally chooses.
stuck in position to form the word TEN. the tray is then turned around (so that the word TEN is upside down), and eight more matches are;scattered loosely around and between those already in position so that, with the letters of the word TEN being upside down and not arranged too neatly, the tray just appears to have a few matches scattered loosely upon it.
FIGURE
2.
The appearance of the second or top tray is shown in Fig. 2. From this it will be seen that the
Ftc.uUE
3
.
remaining ten matches have been stuck in position to form the word TWO. The placing of this lot of matchesmay be doneas neatly as you
If he chooses the number 2, you explain that you have a number of matches concealed between the two trays and that you are going to get them to reveal the number which has just been selected. You then pick up both trays together and shake them about as vigorously as you like so that the loose matchescan be heard jumping about between them. Then take the top tray off and turnit towards your audience so that they can see that some of the matches have become stuck to it to form the word TWO.
If he chooses the number 8, shake both trays together as before but, whenyou separate them, keep both of them turned away from your audience (so that no one gets a glimpse of either the word TWO or the word TEN), and allow all the loose matches to fall on to your table or into someone's lap. The person who counts them will then find that there are just eight and no more. If he chooses the number 10, follow the same procedure as for the number 2 but secretly turn both trays over under cover of shaking them so that the tray which was at the bottom is now on top. Then take this tray off and turn it towards your audience to show that some of the matches have become stuck to it to form the word TEN.
Finally, if he chooses the number 17, do not disturb the matches at all. Just remove the top tray and carry the other to a spectator so that he may count the number of matches on it for himself. (Be careful, of course, to try to avoid the sort of personwhowill want to move the matches about with his finger as he is counting them or he will soon discover that some of them are actually stuck to the tray.) In each case, whatever the chosen number is, the trays are returned to their original position on top of each other before you proceed to your next effect.
95
THE “ T I P ” ROUTINE RAVELLI, SWITZERLAND assume every reader of this magazine knows the old stunt of apparently placing a coin on a table in order to give a tip and the coin has vanished though it is heard to knock against the table. Some time ago somebody showed me a follow up for this which he told had appeared intheold Phoenix. I amnot ina position to clear that up, anyhow out of these basics I put together the following routine which has served me very well for some time. I like it because it is perfectly impromptu. Some words concerning the presentation. It is not advisable todo theroutine really when seemingly to tip. But therearealot of other possible presentations. A way I often use is to remark to a friend “Don’t I owe you still a shilling ? ” Before he can answer anything, you have placed the coin on the table where ithas vanished. Remark, “ Oh, I am sorry ! ” and push thecointowardthe spectators, where it again vanishes. Look at the spectator and say, “ Oh, I don’towe you anything ? You would not have got anything, by the way ! ” and here the coin vanishes for the third and final time. The preceeding will sound very funny so now here is the actual working. 1. Display the coin on the right hand, which .is held palm up. The coin is very near the fingertips in position to be gripped between the index and the little finger in the familiar palm. Look at the coin and then seemingly take it away with the left hand. This is done in the natural following way. The left hand approaches, the left fingers going below the right fingers, the left thumb going on top of the coin. Seemingly the left hand draws off the coin. During this bothhands turn inwards. The left thumb only slides over the coin which is retained between the index and the little finger. Remember that you are not going to do a clever magic sleight. Thespectators do not await magic at all. You just take the coin in a natural way after having made sure that it is a shilling piece. Reach forward with the left hand andputthe fingertips on the table. The right hand just drops to the table where it is, that is very nearthe edge. Apparently the coin inthe left hand is released on the table (which should not have acloth or only a very thin one). Actually the right hand slips off the thumb which has gone on the edge of the coin in the meantime, and lets it click against the table. If you time the move well and look at the place where the coin is supposed to be the illusion is perfect. Move your left hand away turning it over at the same time and casually showing its emptiness. Everybody will stare at the place where the coin should be and amazed to find no coin.
I
2. After the effect has been registered well, it, only lift off the right handwithoutturning moving it backward to display where the coin is. Say, “ I am sorry,” and apparenty push the coin forward with the right hand to the place where it just should have been. Actually you leave the coin where it is and only slide the hand forward. If you press your fingertips just before the coin firmly on the table, lower your wrist as much as possible and move your hand forward, theillusion once again is perfect. The coin is always hidden by the right arm. When your right handhas reached the spot, lift your right hand a little, and turn it a little, but keep your elbow low to cover the coin. Then move the arm backward toits original position, the hand lying naturally on the table and covering the coin which lies behind the fingertips. Lean backwards ina content manner only to let the spectators discover that they have not got anything this time either. 3. Lift again your right hand to display the coin, but do it in the following manner this time. Turnit over half way to the right. so thatit standsonits edge and move it a little forward and to the right. This allows the coin to be seen. Move the hand backwards the opposite way and close the hand. Actually the coin is either shut up your sleeve orshutontothelap whatever you prefer, advantage being taken that the coin lies in a perfect position forthat. This time clearly lift the right arm off the table and hand the coin to the spectator. The spectator is this time convinced that he will get it, and is astonished to get again nothing while you say your final line. The Chunge Climax Suppose you really owe somebody that that shilling. Do theroutinethe following way. Before takingthe shilling out of your pocket, deposit 12 penny pieces neatly in a pile on your lap. The pile must not stand as it is too risky but the coins lie in a row overlapping each other so that they can be picked up easily and noiselessly. Now do theroutine exactly as describedabove. After the coin has vanished for the second time while you are sitting back in a contented manner your left hand moves casually to the table top, the misdirection being perfect. Then pick up the coin with the right hand, actually lapping or sleeving it, look at the closed hand and say, “ Oh, I understand, you do notwant such great amounts of money in one piece as this is too dangerous to carry around. You prefer small change. As you wish . .” Here the coin in the right hand is apparently transferred to the left hand which opens below the cover of the right hand similar to the familar transfer change so that the contents of the left hand cannot be seen prematurely. The empty right hand is casually taken away, and the 12 pennies poured onto the table.
.
96
THEWORLD’SLARGEST
MAGIC BOOK
T H E MAGIC W A N D Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now on sale to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator’s pocket, and says which spectator it is, and tells theother spectator how many cards he originally held but returned to the pack! A SILK PRODUCTION by YVEF COOPER is just what the title Imphes, but it IS beautlfully routmed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card isreversed in the pack single handed. Thls new sleight will have many usesin card magic. SUPER MEMORY IN CLOSE-UPby ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routine for the children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. Acard, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the items just named! Easy to make and do! Also aTOP CHANGE! PREDICstunt for the card enthusiast, andaCARD TION using a slate in a new and novel way. And as much more fine material again, whichwe have not the space to list here. A total of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.
MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle-including a clevervestturning stunt. PARTY FOR PAMELLA by JACK GI’ITINGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations for standard props, patter, tips, routines, etc. MY MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V.also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLETIlS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can bemade for less than f5, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature card routine for the mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards
Price: 7/6, Postage ?d. For this Giant (84 X llh) Book.
GEOR6:EARMSTRONG 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
Annnal Subscription (4 issues) 40 post free
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W 1. Magical Theatre :
King George’s Hall, W.C. ‘l Ring Up The Curtain ”
Putieularr from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
F
PETER
WARLOCK’S
PENTAGRAM in published on tbo Iltb of each month and can be obtainod diroct from tho publishers for 117 per sing10 copy. Annual Subouiptiea 181post h . . PUBLISHBD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manwcripts for publication and baob for r e v i o r should bo mnt to thc EDITORIAL ADDRESS:
Peter Warlock, 24, Wordowotth
Rd., Wallington,
Wanted by George Armstrong Any of the ‘l C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U. F. Grant and Grant and Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Surrev . Every Advertiser ’S goods are fully endoried by this Bulletin PUBLISHED BY T I I B PUOPRIETURE TEtE MAOlC WANP P U B L I S W ~ H SC O M P A N Y , 62 WELLINGTON R O A D , PNFlELD, MIDDLESEX AND P n w m D BY EBRBERT WALKER SON (PRINTZSS) L=., BILIDGP W O R X S , SRIPLEY,YORKERIRE
FLIGHT OF THE BLUES FRANCIS H A X T O N
S
Method. The two glasses are on the table about 12m. apart. Behind the left glass is a red back pack with the duplicate card, .blue back, say the 4 of Clubs, second from the top.
'TANDING on the performer's table are two glasses, stem glasses for preference. Just behind the two glasses are two packs of cards, one red back and the otherblue backs. Taking up the red back the performer fans the cards to show them as all red backs and then with the backs to the audience, counts off tencardsand places them backs out in the glass on the left, his left.
The blue backed packis behind the righthand glass and is quite innocent except that the top card is the 4 of Clubs.
Picking up the blue backed pack he fans this likewise to show they are all blue backed, as indeed they are. Now he asks for a spectator to call out any number between one and ten. Holding the pack in his left hand with faces towards the audience he counts off the cards into his right hand asking the spectator to note the value of the card at the. number he called out. When the ten cards have been counted out, the performer drops themintothe glass on his right, and places the rest of the pack down on the table.
Picking up the redbacked pack the performer states that he will count.off 10 cards. Holding the cards in his left hand, backs towards the audience, he thumb counts two cards and pushes them with the left thumb into the right hand being careful not to disclose the there are really two cards there. Continuing and successively he counts on top of these 9 more cards, places the balance of the pack down and cutting the small packet to bring the blue card to the middle, he places them in the left-hand glass.
The performer now commandsthe chosen card from the blue packet to travel invisibly across and join the red packet in the other glass. The blue cards are now takenfromtheir glass and counted back into the glass when it is discovered that there are only 9 cards and that the chosen cardhas vanished fromthe packet. The cardsaretakenfromtheother glass, fanned with the backs towards the audience, when it is seen that there is a blue card among the ten red cards. It is found to be the chosen c a d . Requirements. Two stem glasses. Two packs of cards, one red backs and the other blue backs. Oneextra blue card.
VOLUME I 3 No. I
-
Now he picks up the blue pack and holding them in the left hand, faces to the audience, he asks for a number between one and ten. Say he is given 6. Thumb count two cards and push them off as one into the right hand. The next card is pushed off andtaken in front of the first card and so on up to the point where you are about to take the 5th card, as you do this the right thumb pushes the top and force card, the4 of Clubs back on to the pack so that'it. is thenthe next card pushed off as number 6. This move is explained in Brian McCarthy's Slow Sleights, or earlier still in Stanyon's Magic. Continue on to 10 cards andplace the balance of thecards down. I should have explained that it is necessary to keep a break in the packet of 10 cards just above the chosen card so that you can cut the chosen card to the top of the packet, then drop them in the left glass.
I/& (20 Cents)
-
OCTOBER 1958
2
All that now remains is that the chosen card is named and you take out the blue packet, hold them face down in the left hand and count them taking the cards fromthebottom of thepacket with the fingers of the right hand turning the card up, showing it to the audience and dropping it in the glass. Continue up tothe 7th card. As you go to take the 8th card you perform the Stanley Collins false count.
the card (?) in the glass with the others, finally flicking anddropping in the last card which is counted as the 9th.
With the fingers of the left hand you draw back the original 8th card and with the thumb and second finger of the right hand you take the top two cards as one, show the face-the chosen card will be behind the card you are showing-and drop
This effect has taken some time to explain due to my explaining for the benefit of the not so well informed moves which the card man will be familiar with, but I hope he will not have been bored too much ploughing through these explanations.
It only now remains for the performer to take the red packet of cards out of the glass, fan them and show that the chosen blue card has travelled across and joined them.
REVERSIBLE KNOTS EDMUND ROWLAND
A
LTHOUGH this is one of my favourite routines with a short length of unprepared rope, it is actually a combination of four knots or flourishes which ought to be quite well known bythemselves. The only part of itfor which I can claim any credit for myself is the way in which these have been blended together into one continuous routine. You beginby tying a loose reef knot (or square knot) at the centreof the rope-apparently without letting go of the ends (Figs. 1, 2 and 3). Next, whilst a spectator is holdingtheends of the rope, you divide this reef knot into two separate overhand knots (or thumb knots), Fig. 4. Then you take back the ends from the spectator and shake both of these knots from the rope. The rest of the routine is the same thing done in reverse (hence the titles : Reversible Knots). That is, you throw two overhand knots backon to the rope, you bring these together to makethe original reef knot and, finally, you shake this out to finish as youbegan-with a plain unknotted length of rope. The moves which are needed to produce these effects should be fairly clear from the illustrations and the brief description which follows, but I must point out thata certain amount of individual practice and experiment will also be required before you can perform themsuccessfully. I think I can safely assume that you will already know the old effect of tying a knot “ without letting go of the ends ” (the one in which you secretly change your grip on one end of the rope undercover of dropping it fromaroundyour wrists), for it has been described in most of the elementarybooks of tricks. You will easily get
the reef knot, therefore, by tying another single knot on top of the first in a similar sort of way. From Figs. 1 and 2, however, you will see that, if the first knot is started by taking the right-hand end of the rope behind your left wrist and then bringing it in towards your body, the same end of it mustbebroughttowards you andthenback over your left wrist again before you begin to tie the second knot. If you do not do this, you will find that you have tied a granny knot-which will make it impossible for you to continue with the rest of the routine. The two different moves should be clear from the two different illustrations : from each of these starting positions your right hand follows the direction of the arrow before you drop theloopsfromyour wrists and secretly change your grip on the right-hand end of the rope. At this point it is important that thetwo knots should be tied rather loosely. They will keep their shape (and also enable you and your audience to see what you are doing), if the rope is fairly stiff or if you use new carpet-braid instead of rope. If they are not tied loosely, you will find it difficult to do the next move. In this, whilst the ends of the rope are being held by a spectator, you putyour right hand through the top part of the reef knot in the direction of the arrow in Fig. 3 and get hold of the bottom loop at point X. If you now withdraw your hand (and the bottom loop), you will find that you have the result which is shown in Fig. 4. (I don’t know who invented or discovered this little flourish but it is described in The Ashley Book of Knots-published by Doubleday, Doran and Co., of New York, in 1944 and by Faber and Faber, of London, in 1947-and I have never come across it anywhere else.)
3 To untie both of these knots at the same time inone easy movement you have merely toput your left hand through the loop in the left-hand, knot, and your right through the loop in the other,
gested in Fig. 5 is, once again, a method with which you will no doubt be familiar for, like the effect of tying a knot without letting go of the ends, it has been described many times elsewhere. The other method (whichis more showy but just as easy to do-but I haven’t illustrated it here because I haven’t asked for the permission of the people concerned), is Tony Lopilato’s Double Knotter which you will find on page 326, however, of Volume 5 of the Tarbell Course. The two knots are brought together again into an ordinary reef knot by dropping one of them completely through the loop in the other. (At this point it will probably be necessary to rearrange the positions of the resulting loops a little whilst the ends of the rope are once more being held by the spectator.)
so that you cantake back the ends of therope from the spectator who has been holding them and drop theknotsfromaround your wrists. They will automatically untie themselves and disappear. They can be brought back on to the rope in two differentways. The one which I have sug-
The final effect (of magically untying the reef knot) is merely a slight variation of the well-known Chefalo Knot. Instead of threading the right-hand end of the rope through the knot, you put your left hand through the loops and bring the righthand end of the rope back with it. You will then find that the rope is once more free from knots. That brings the whole routine to an end. It is quite a short one, of course, but rather neat and effectivewhen properly performed. I hope that you like it-and use it.
QUEENS AND WATER ROY WALTON
F
OUR QUEENS and fourindifferent cards are alternatedand placed on top of the pack. The Queens penetrate the indifferent cards and rise to the top of the pack. The Method. (1) Show thefour Queens and place them face down on top of the pack. (2) Ask aspectator standing or sitting in front of you to extend his left hand.Dealface down on to his hand the Queens, but as you reach the third o.ne look directly at him and ask if he would also kindly extend his right hand.Under cover of this mis-direction a second is dealt on the third Queen. The position at this stage is three Queens covered by an indifferent card on the spectator’s left hand, and a Queen on top of the pack. (3) Deal four cards from the top of the pack on to the spectator’s right hand calling them indifferent cards. In actual fact only the top three are indifferent, the bottom one being a Queen.
(4) The eight cardsare now alternated and placed face down on top of the pack. In doing this most of the faces are shown, and it rests with the performer to act casually so as not to draw attention to the ones that are not. The first ‘card is taken from the spectator’s right hand, the second from the left, and so on : all cards going on top of the pack. The order for showing the eight cards is: show - don’t show - show - show - show show - don’t show - show. The order of cards reading from the topof the pack should be : Queen - Queen - Queen - Indifferent card - Queen. ( 5 ) The effect is now brought to a conclusion by dealing the Queens face up on to the spectator’s left hand, a second being dealt on the fourth one. The left hand is used because better angles are offered. Please do not let the two second deals frighten you from this effect, they are adequately covered, and a second card take is just as suitable as a polished deal.
-
a
THE POSTMAN ALWAYS .RINGS ONCE LESLIE MAY
A
SPECTATOR is given 10 slips ,of paper and acorrespondingnumber of envelopes. In each of five of the latter he seals one blank slip of paper. Taking the five remaining slips, he writes the name of a male acquaintance on four of them and the name of a lady friend on the fifth, these five slips are also sealed, each in a separate envelope. The ten envelopes are mixed thoroughly by the spectator and handed en bloc to the performer. Performer now puts himself in the place of the spectator in the act of receiving and opening his morning mail, aided by Extra Sensory Perception,pointingout how suchan accomplishment can aid in eliminating unwanted missives, such as accounts for unpaidbills, Income Tax returns,etc., and also distinguish whether actual lettersreceived are from mere acquaintances or close friends by mere handling of the sealed letters. Throwing the letters on the table, hepicks up five,which he says containunwanted accounts, circulars, etc., as represented by the blank slips, and without further ado tears them up, unopened, and casts them aside. .(A small waste paper basket assists in keeping the stage or room tidy.) Glancing over the five remaining, he picks out four and says : “ Oh yes, these come from the “ Yes, Francis boys ”, opens and reads in proof, Haxton wants a free PASS again ”, “ Here’s one from Harry Stanley, I MUST give him the GEN on Magic! !”, etc., etc., these four being disclosed, he, -then with a look of anticipation on his facesays “ Now I have plenty of time to read my letter fromthatdelightful young lady Deb Sharp (or whatever name iswritten .. therein), and gives sealed letter to the spectator to open and show for verification. This resolves itself into three mysteries :(i) The elimination of the five blank pieces. (ii) The separation of the sexes, and (iii) The divination of the lady’s name; the last should come as a complete surprise to the audience who will think the segregation of the sexes completes the effect. The Requirements. One packet of envelopes.
A pad of blank paper, i.e., a scribbling block thathas same appearance both sides, i.e., no covers. On one side fasten (glue or paste), at the corners, a piece of carbon paper to underside of outermost sheet so that anything written on top sheet will be duplicated on the one beneath. (Don’t have carbon come to bottom of sheet in case it shows-about three-quarters of the way down will suffice.
The Working. Havepad on table carbon side down with packet of envelopes and pencil. Take off the top sheet of paper, tear into five equal strips and have spectator seal one in each of five envelopes. . Next, tear another sheet off pad (sameside);, tear into five slips asbefore-have him write name of a male friend or acquaintance on each of four slips (giving him the pad carbon side down) as a support to write on, when this is done, take back pad, throwing it on table and reversing it in the process; give him packet of envelopes and ask him to seal one slip in separate envelopes and seal, take them from him as this is done and casually nick each with thumb nail in an identical spot, i.e., bottom right-hand corner. When this is completed, return the pad tohim (carbon side up this time), lay remaining slip on top and ask him to write thename of a young lady who is constantly in his thoughts thereon, give him an envelope to seal the slip in and at same time take back the pad from him, When he has sealed the envelope take it back with freehandand thumb nick in a different location to the other four marked envelopes, turnand place padontable while you ,reach for other sealed envelopes and glimpse name now duplicatedon second sheet. Givetheten envelopes to thespectator to mix thoroughly while you briefly recapitulate what has taken place. From then-it’s just a matter of presentation. Pick outandtearupthe five unmarked envelopes, eliminate the fourmale names by means of corner nicks, open and disclose. Finally pick up remaining envelope and announce name therein, have it opened and verified; a nice final touch is to take slip, fold it carefully and get spectator to place it in his wallet for safe custody.
5
If you can decide beforehand who you will request to assist you, try to find out, if you don’t already know, if he has a particular lady friend (presuming he is single, of course), and ascertain .and memorize her address and telephone number (if any). In the event of this lady’s name being written down you can seize theopportunity of providing a sensation by not only divining the name, but -the other details of the chosen charmer that have not been written down at all. If you posess clip a board, use thatas follows : Under the clip have two layers of paper, each consisting of a sheet of five perforated slips; top five aretorn off and inserted asblanks .in envelopes, next five are written on and the female
T
HE EastbourneConventionhas come and gone. Few will disagree that it was one of the finest staged by the British Ring. One feels that it matters a great deal more to have a thoroughly sociable gathering with occasional human lapses rather than an over-organized machine with no faults to find. Slydini was as we wrote in the programme ‘ incomparable ’ and for the first time was saw a British magical audience give a standing ovation to a lecturer. Those who went to the lecture given by Mr. Richard Blore of Leichnersthefamousmake-up firm, showed at least that they were interested in a better presentation of stage magic. Some excellent advice was given and, we hope, heeded. Eddie Joseph, with a lecture L Deluding the Senses ’, gave away some delightful material which showed a true sense of magic and misdirection. Those who saw his ring release from silk will be glad to know that it will be published in the ‘ Pentagram ’ (at a later date). On the surprise ’ side, DiaboloandDeb which veiled theidentityofFrancisHaxtonandyour editor was the best kept secret of the year. One dealeraskedafterthe evening show whether he had seen theIcelandicact, replied thathehad missed the evening show but had met the couple
name glimpsed in the usual manner. If no impression device is available, the effect can be done quite impromptu, but without final disclosure of the lady’s name. All that is needed are envelopes and paper. Have the five blank slips sealed, then, tearing the next sheetinto fivepieces, use theancient dodge of the male names being written on the slips with two rough edges and the female name on the slip bearing a smooth and a rough edge (a la old living and dead presentation); slips can be mixed face down, or folded and you mark envelopes accordingly as spectator inserts slips. Actually any methodto achieve the result can really be used - AFTERALL, IT’S THE EFFECT THAT COUNTS!
at his stand during the afternoon. R.I.P. It was great to meet, once again, Hans Trixer (though actually we had had a session before the Convention), andto see his delightful close-up working. From Hans we have some nice material including his two tumblers through the coat, the vanishing mini-skull, a version of the ‘ Travellers ’ and the ‘ Cards up Sleeve ’. We’ll have to. make this a special issue.
If theCraigCardini film was a disappointment, this great little guy made up for it with his films of Jack Miller and- the Omaha filmwhich gave a showing of the Sundmans and also Senor Maldo.
At the Civic Reception, Sitta was as immaculate as ever and Horace King and Betty introduced us to a new act in the Russian manner. With the addition of LesGirlsthis was the bestCivic Reception Cabaret that we have seen. Whilst the Shield Competition touched the bottom at times, theMicro Magic Competition having its send-off fortheZina Bennet Trophy produced some clever and thoughtful magic.
6
BQOKS Corinda’s ‘THIRTEEN STEPS TO MENTALISM ’, Parts 1 and 2, Price 10s. each (Published by Corinda’s Magic Stwdio.)
part.
To the best of our. knowled,ge.this .is the first time in the present decade that a. writer has taken the subject of mentalism and attempted. to analyse the various parts that. .go.to the making of the whole. Let us take the two booklets.one at a time. Step one deals with the Swami ’ gimmick. Various types of nail atfachhents for svrreptitious writing are detailed. The succeeding section deals with the necessary technique to give.the best effect. The advice given here is excellent and apart from tips on adjustingthe gimmick various aids to enhance the ultimate effect are detailed. 6
Tke final section gives twenty-four tricks, makinguse of the gimmick.Althoughdescribed briefly are easily understandable. Many of the effects are reputation makers in the right hands. Step two gives the reader information regarding pencil .reading, lip reading, sound reading,. touch reading, and muscle reading. Much of the material will be new to the average conjurer and therefore to havesuch a collation of material a t hand hewouldbewelladvised to purchase. The ‘ Steps ’ are consecutively numbered, well printed and illustrated. Step two finishes on page 54 and withelevenmore booklets to follow the purchaserwould,when the 13th part has been published, have an excellent guide to the whole art of mentalism.
MAGIC Cl CLE FESTIVAL PETER WARLOCK
0
NE came away from this showwith the feeling that it was one of the best to date. More than that, it contained certain acts which hit the high in magical artistry. Stanley Thomas as‘Lao Tang* complete with his daughters assisting openedthe bill-oriental and pseudo oriental magical to a background of Ketelby culminated in a production of a stack of fishbowls. It was a colourful act that acted as a good hors d’oeuvre. RobertO’Connorworking his father’s card act followed. Good appearance and effective work, but where thepatter well suited Billy it didn’t suit Robert with the result that the act neverseemed to come to life. The next act gave a rest from magic proper for it was noneotherthanHarryCorbett with his hand puppets, ‘Sooty’ and ‘Sweep.’ A lovely act that made children of us all. and The music of ‘ Bewitched,Bothered Bewildered ’ meantonlyonething-Channing Pollock.Youallknowthe act by now.There were minor changes, however, including a beautiful production of the first silk and dove. One of the truly great acts of magic that welldeserved the ovation it received. To close the first half of the show, Benson Dulay with his company of ladyassistantand stooges. Anact with some mystery and a great deal of laughter. The second half opened with a hoofing act performed by two girls and though the compere
gave their names we have fortunatelyforgotten them. Peter Pitt, the young Dutch winner of the StageMagic prize at Vienna then proceeded to, give to the dancing cane a virtuosity that we had not yet witnessed. Hisact concludedwith a multiple production of liquor bottles. He was followedby Claudine whopresented not only some delightful magical novelties but gave the stageitsmostcolourfulandartisticdressing during thatevening. Outstanding was the magical production of herassistant ‘Stevens * andthe change of toy bricks into a pekinese dog. The penultimate actwas that of Jay Marshall. The cod production of a bowl of water, the serpent silk, linking rings and ‘Lefty ’ were all there in an act that proved the smash hit of a grand evening. A greatartistandone to be envied, for how many can walk on to a stage with empty hands and get such a vociferous reception. Closing the bill was Randi who in turn performed a peculiar version of thesubstitution trunk, the Kellar tie, vanishing radio and straight jacket escape. Our thought was that amore professional straight jacket might have been used and despite the assurance that it had come from a place where such things are used it looked too much like a magical depot item. Bob Andrews proved an excellent Master of Ceremonies and Sydney Jerome with his orchestra provided excellent musical accompaniment.
7
THE BIABOLO STORY PETER WARLOCK
‘M
AGICAL hoaxes are rarities and because the ‘Diabolo and Deb’ act was one that provedmost successful I think it only rightthatthe full details should beplaced on record. Those who attend the British Ring Conventions will know that one of the biggest surprises of the oneat Brighton in 1956 was Francis Haxton and myself performing a burlesque mime “Sisters” act. The success of this encouraged us to present another number thefollowing year at Scarborough. The make-up was much the same but instead of a mime duet we had a four-voice item, both France a n d myself having a large talking photograph of Goodliffe and MysticCraig respectively. Afterwards, having finished with the animated photographs I passed them on as souvenirs to the two people they represented and I believe that Goodliffe had quite a lot of fun with his own photograph in America this year. Inthemonth following theScatborough Convention I thought of a terrific hoax that could be played uponthosewho were going to be present at Eastbourne. An entirely new and fictitious act had to be created. The name had to trip easily on the tongue and of course it had to be an actoutside the British Isles. Quite obviously it had to come from a country where magicians ‘were rarieties. We gotthenameandthe idea was launchedwithaparagraphin the January copy of theMagic Circular. (‘InandOut of Town’-Peter Warlock.Theparagraph was as follows :“ Until amonthagotheonly Icelandic magician we had heard about was Baldur Georgs. It was through the international magical grapevine that the news came to our notice that an American magician had, after leaving the U.S.A.F., marriedayoung Icelandic girl and settled in Recjavik. Hisname is Russell Sharpand his interest in magic arose during the latter war years after seeing anumber ofwell-known magicians performonthe U.S.O. circuit. Since we heard this news we have had the pleasure of receiving a letter from him, and from this we learn that he and his wife, working under the name of ‘ Diabolo and Deb’ havebroughtinto existence a full eveningshow of stage magic which has proved its popularity wherever it has been performed. Keeping in the main to good visual magic he has added several original items and we understand that some of these may be published in the near futureinthis country. Bothheand his wife intend visiting this country in the autumn of l958 for apart from the possibility of appearing professionally in this country they wish to visit The
Magic Circle and also take in the British Ring Convention.” That. was the groundbait.AlreadyFrance and I had agreed that he would be Diabolo and I would be thefemale. assistant, Deb. Notice the matter of publication of effects. As it was necessary for this character to be: known and read about tricks and a lot of them ‘written under his name werenecessary. I reckonedthat about sixteen items published between March and the Convention date. wouldsuffice. It wouldhavebeen of little use running them ‘ina monthly magazineand apart fromtwo items in the ‘Pentagram ’ fourteen effects were written. up, and after swearing Goodliffe and Fabian to secrecy,.theywere published at fortnightly intervals in. ‘Abracadabra ’ under the title of the ‘ Deceptions of Diabolo.’ All were were written in a,brash manner for it was the full intention to make this character a true bighead. Two items couldhave beenrecognised. One a silk vanish which I had used on a few occasions and a glass penetration which dated from 1944, andalthough little usedwasgiven in 1948 to a Nottingham magician. In February we broached the matter to our good friend and colleague Bill Stickland and after giving him the full details he agreed that it could beaGala‘show item. Apart from our families only three other people werein the know. 7 hey were Seff Atkins, Tommy Rowe and Percy Naldrett . The next thing was to get the act into being. We had agreed that to help the disguise, domino masksshould be worn.Theact was to open completely ‘straight ’ but was to go haywire after an initial ‘ accident.’ As ‘a band-call was out of the question (ifwewere to keepthe secret up until the last moment) the act had to be ready t o go on.and be played with theminimum of trouble. And so after quite a deal of discussion we agreed to end on a short mime number-‘ Anything you can do I can do better.’ It fitted in with the plot of the act for in thefinal trick the female assistant scores
8
THE WORLD'S LARGEST MAGIC BOOK
T E E MAGIC W A N D Edited by GEORGE ARMSTRONG
NO.254. (Vol. 46, Part 2) Now on sale "ATHEMATICS, MAGIC ANDMYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objec& dice, numbers, etc.,ali based upon a mathematical principle-hcluding a clever vestturning stunt. PARTY FOR PAMELLA by JACK GlplTINGS contimes the outstanding aeriea for the children's entertainer. dealing this time with S I W PRODUCTIONS together with suggested presentatiobil €or stan&rd props, patter, tips, routines, etc. MY MAGIC by BRIDGER L&WIS gives you the terrific B.L. EGGS FROM HAT ROWINB. Whether you are a born comedian or a naturally straight erformer you'll not be able to avoid getting laugh upon faugh if you w e this item. It's ideally suited to adult or children's shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get intoclosed a and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITIONcauses a signed card to vanish from a sealed envelo' and return tothe packreversed. Andthere is a use& article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLE'ITIS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than f S , is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is areallydiEerent type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI'SSEVENTEEN by TON1 KOYNINI isa featurecardroutinefor -the mentalist. 'ITwo spectators pocketanumber of cards each.Onespectatorselects a card from the pack, andone returns his packet of cards
to the pack. All'with the performer's back turned. The performer then n m e s the selected card, finds the card by the sense of touch,namesthenumber of cards in a spectator'socket,andsays which spectator it is, and tells the o g e r spectatorhowmanycards he originally held but returned to the pack! A SILK PRODUCI'ION by TRAVERS COOPER is juat what the, title implies, .but. it is beautifully routhed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTffiTR W. ROOTS .is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you aHatProductionroutineforthe children's entertainer, packed with laughter and surprises, but using on1 standard props which you probably already have. (You's need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describer a fine prediction.Threespectatorsnameanumber, colour and book title.. These are noted and tossed into a box. A card, whlch theperformerhasprevlously written on, is then removed from another box and given toaspectatorfor checking. It lists allthe items just named! Easy to make and do! Alsoa TOP CHANGE stuntforthecardenthusiast,andaCARDPREDICTION using a slate in a new and novel way. And as much more fine material again, which we have not thespace to listhere. Atotal of 35 tricksand routines, plus miscellaneous articles. We aresorry,but No. 253 innow OUT OF PRINT. Rush you orderfor No. 254 beforethis,too,follows suit.
Price: 7/6, Postage 76. For this Giant (8+ X llin.) Boolr.
QEORLGB) A R M S T R O N G
6 2 WE,LLINGTON R O A D , E N F I E L D ,' M I D D L E S E X Annmal Subscription (4 h u e s ) 40 post free
The Magic Circle President: Herbert J. Collingo, Esq. Vica-President : Francir White, Esq. Clubroom and Library and Mureurn :
Hearts of Oak Buildings, Euoton Road, London, N.W 1. M y i d Theatre :
King George's Hall, .WC. Saturday, November 22nd " Ring Up The Curtain *'
Putkulur from Hon. SIcretrry :
Peter Newcombe
38 Overdale Avenue
N ew Malden,
Surrey
Everv Advert3ser PUBLIGRED BY TR8 t E O P R W n
PETER
WARLOCK'S
PENTAGRAM h publirhod m tho u(h d 88Ch month and can be obhind dinet Lrom tbo pubkhom for 117 por siaalo uopy. Annual 5uburiptiorr 161post b.. PUBLISHED
BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex h a n u d p t s for pabhtioc und bwah f o r
mvirw should k sont to theEDITORIAL ADDRESS:
Peter Warlock,
24, Wordswocth Rd., Wallington,
Wanted b y George Armstrong Any of the " C. T. J(ordan) Series of Magical Effects." Complete in envelopes if possible. Also wantmany U. F. GrantandGrantand Menge mimeographed items. Sort out those old unused 'manuscript' items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Arrnsstrong 62 Wellington Road, Enfield, Middx.
PETER W A R LOCK ‘S * *
t
iP
THE GLASS THROUGHCOAT HANS TRIXER
A
T EASTBOURNE Hans duly intrigued and mystified a host of conventioneers with this very lovely impromptu miracle.
The effect is simple indeed. The performer borrows a hat, a coat and a glass. The coat is spread out on the floor and the glass placed underneath it in a central position. Theshape of it canbe seen and this shape is covered with the hat. Upon the word of command the glass penetrates the coat and is found nestling safely under the hat. The requirements are just the three articles mentioned. All may, in fact should, be borrowed. for after all this is an impromptu effect. The glass shouldhave straight sides andshouldn’tbe too heavy. Presentation All the articles are indicated by the performer and taking first the jacket he opens it out so that the inside is against the floor. Then agreat pretence is nlade of straightening it out and the sleeves are doubled back.
Next the glass is taken and placed on its side underneaththe coat at acentral position. The shape of the glass is clearly visible to the audience and the performer withdraws his hand. The hat whichshouldbe of thesoft trilby type is takenby the left hand andit is placed crown downwards over that part of the coat which covers the glass. The performer releases his hold of the hat and bothhands are free. He explains that he proposesmaking the glass penetratethe cloth of thecoatandappearingunderthehat, something possible to a magicianbutimpossible to the cleverest scientist.
VOLUME I3 No.2
-
Placing his right hand beneath the coat and steadying the hat with the left hand he m o w the former hand as though assisting the gislss to make its passage through the cloth of the coat. ‘The left hand leaves go of the hat and comes back to the rear edge of the cwat taking hold of the edge. At the same time the right hand leaves underneath part of the coat and also takes hold of the rear edge. Now with the come-back of the right hand the fingers take hold of the edge of the glass and carry it withthem so that the ginss is under the coat. It is gripped by the second and third fingers thus leaving the thumb and first finger completely free. As the glass is taken the performer takes care not to disturb the hump of cloth in the coat so that when a little laterthehat is removed it would appear that the glass is still underneath the coat. ‘The glass is nearly through !he cloth.’ remarks the performer and all that is necessary is a slight shake. Here the performer raises and lowers the rear edge a few times and then reaches forward with his left hand which takes hold of the hat by the crown and passes it across to the right hand which takes hold of it beneath the thumb. The position of the hat is that the thumb of the right hand is on top of the brim, whilst the lower side of the brim rests upon the rear edge of the coat. The magician seems surprised that with the removal of the hat the glass is qot visible on top of the coat. ‘ Let’stry once more,’ he adds, and then bringing the hat back slightly with the right hand he has plenty of cover to load into the hat the glass gripped between his fingers. The hat is placed downagain over the hump in the middle of the coat and the same actions carried out. i.e., the left hand steadies the hat whilst the right goes under the coat. However this time there is a great differ-
1/6. (20 Cents)
-
NOVEMBER 1958
10 ence for when the right hand comes back to the rear edge of the coat and the hat is lifted there lies the glass on top of the coat.
In the description we have described the effect using one glcass only. If small ponv glasses are used there is nothing to prevent two being used, the technique employed being the same as
for onebut in duplicate. One point has to be borne in mind and that is that a small ridge of coat should makea division so that after the production of the first glass on top of the coat, it is left there and the second one deposited on the other side of the ridge noiselessly. Lack of precaution could cause the glasses to touch one another and “ talk.”
STRICTLY STRAIGHT RUSDUCK W a y back in February, 1957, Rusduck started the ’ Cardiste ’ which in his own words symbolised a rnagazine dedicated to the m of cardistry. In an editorial paragraph he wrote : ’ Cardiste ’ will contain only such eflects as are coincident to card table routine for which playing cards were originated, designed and intended.There will be rare reference ro the ‘ You lose-l fird ‘it’ type of eflect. Rrlsdmck, who recently ltmi a bod bout in hospital, but whose condition is daily imp-oving, has specialised for inmy years in stacked p a c k routines ar:d particularly where such stacks affect card ploy. W e f e dthat many of our readers may also be inierested and for that reason and also so thatitmuy bring to some the knowledge of a magazine that was outside their ken, we are, with Russ’s permission, publishing ’ Strictly Straight.’ One final thing. Magicians are seldom card players and for that reason they tend to think that their own lack of knowledge regarding Bridge, Poker and suchlike games is on a par with that of their non-magical friends. Poker is becoming a mucl? more played gume in thfs comtry thanit ever I Y ~ and , with a look through the Poker section in ‘ Scarne on Curds ’ he should be well set ro make himself the gambler supreme withthis convincing demonstration.
Cold-Decking Circle ? ” I replied, “ Eddie, you and JIM THOMPSON have certainly done a thorough job in identifying the name of Rusduck with stacked decks. Every time I do an effect, everybody is looking for a ‘ set-up.’ I want you to know that I’ve reformed. As a matter of fact all my deals are now STRICTLY STRAIGHT! Let me show you what I mean.”
HILE AWAY a bit of your spare time in reading over this little bit of “ Cold-Decking ” deception. I am indebted to LYNN SEARLES and his gem, “ T H E STRAIGHT ,GAMBLER,” for the inspiration of this effective ,dealing routine. I have changed the set-up, the handling, varied the climax, and added additional progressive effects tothe original routine. The patter background fortheSEARLES “ Straight Gambler ” is superb, andit is earnestly recommended that you obtainthe manuscript sold by ABBOTT. On with thestory: While visiting EDDIE CLEVER recently, we got to talking about dealing effects, and Eddie said, “ Russ, what’s new in
So I proceeded to deal out four hands in the same manner, turned over the dealer’s hand and said, “ See, Ed, STRICTLY STRAIGHT ! ” “ WOW! ” screams Ed. “ Where are those cards coming from, Russ? ” I replied, “ Well since you’re making me do it the hard way, I have to take them where I find them-Bottoms-Seconds -Middles-and even from the top if necessary.” “ I’ll try again, Ed, so watch my fingersvery closely.” I again gathered up the hands as before (Winning Hand First). “ How many hands, Ed? ” “ LET’S TRY THREE.”
W
I took the 01’ family deck out of my pocket and proceeded to give it a good rapid riffle shuffle (thoroughly false). I then dealt out five face-down poker hands in the approved manner. Turning over my hand (dealer’s hand) I said, “ See what I mean, Ed?-STRICTLY STRAIGHT.” Eddie says, “ Whoa, slow .down a bit Rus.s. That looked like a pretty fast stock shuffle to me. Now suppose you put the rest of the cards back in your pocket.” I returned the unused cards to my coat pocket. “ Now gather up your dealt cards.” I placed the winning hand on my palm, and gathered up the remaining hands in the order dealt, placing them on the winning hand I held. deal Continued Eddie : “ Nowlet’sseeyou out the cards without any of your fancy shuffles, and also, DEAL ME OUT! ” I said, “ You mean deal FOUR hands? ” “ That’s EXACTLY what I mean,” he replied.
Three hands dealt-Result : Dealer’s HandSTRICTLY STRAIGHT.
11
I know I’m being ‘conned,’ ” says Eddie, the gimmick. Watching your fingersdoesn’t help any, either.’’ “ Keep going, Russ-1’11 figure this if it takes all night.” “ Like to go for two, Ed? ” “ Might as well, Russ.” Cards gathered as before-two hands dealt -Result: The usual STRICTLY STRAIGHT. I gathered the two hands and continued: “ By this time you should be convinced that this is onthe level, so 1’11 continue with the effect I wasgoing to showyou in the first place. I deal ONLY a STRICTLY STRAIGHT Poker Dealand as a matter of fact, I’ll even spell it out for you.’’ I dealt out five hands in the orthodox manner (face down) spelling S-T-R-I-C-T-L-Y out S-T-R-A-I-G-H-T P-0-K-E-R D-E-A-L, one letterfor each card dealt, with a slight pause between words. As usual, the dealer’s hand showed the inevitable straight. Eddie sighed, “ Well Russ, I admit I couldn’t catch anything wrong. Let’s assume that you DID actually deal STRICTLYSTRAIGHT as you allege. What would happen if you dealt STRICTLY CROOKED? ” I gathered up the hands in the same manner as before, and dealt out five face-down hands. “ In that case, Ed, I’d still deal STRICTLY STRAIGHT. I’d see that everybody got a straight (turning over the hands in order dealt), “ But I’d be tempted to make mine a STRICTLY STRAIGHT FLUSH (turning over Dealer’s Hand) of Royal Vintage! ” Said Eddie, weakly : “ Hocus my Pocus, Russ, that sure is a doozy. I admit I couldn’t catch anything underhanded, but I can’t seem to get it out of my head that you must be using one of your “ Cold Decks.” I replied, “ Eddie, I can see you’re a real gone skeptic. Since my reputation as a ‘ Cardiste ’ is at stake, I’m resigned that the only way to convince you that the deal was STRICTLY STRAIGHT. is to let you handle the cards yourself . . . .” I gathered upthe hands in the usual order (dealer’s hand first) and handed them toEddie, saying, “ Suppose YOU dealout five face-down hands starting with me.’’ “
’‘ but I can’tfind
Eddie dealt outthe five hands and I said. Let’s see what you dealt yourself.” Dealer’s hand turned over-“ Just an ace-high singleton --YOU couldn’teven open with THAT hand, or evenbuck a lowpair-THAT should convince you that the cards aren’t set up.” I then continued, “ Nowlet’ssee what you dealt me.’’ (Turn over first hand dealt.) “ Well, Ed, you won’t believe this-but even when YOU deal-I’m still STRICTLY STRAIGHT ! ”
I once more gathered the cards in the usual manner (winning hand first) and handed them to Ed, saying, “ Now, Ed, I’m going to convince you that I ACTUALLY DID get cards from the top or bottom as needed. I want you to deai out five poker hands, and whenyou take YOUR cards, getthem from the TOP O R BOTTOM as you desire. Suppose you deal your hand face-up so we can both see how you hand is building up.” Eddie dealt as directed, taking cards for the dealer’s hand from the topOR bottom AT RANDOM, and placing them face-up on the table. If you ever saw suspense mounting, you can imagine the culmination abuilding as the dealer’s hand finally-and DEFINITELY filled in to produce the inevitable STRICTLY STRAIGHT ! “ I quit,” sighed Eddie, weakly. “ What’s new in Cold-Decking Circles, Russ? ” THE WORKING A set-up of 25 cards. Remove every 5 , 6, 7. 8 and 9 as well as any Royal Flush from deck. From Top to Bottom: TOP: 9 - (K) -(A) - (10) - 9 76 - 9 - 6 -6 8 - 9 - 7 5 -7 8 - 8 - (J) - (Q) - 8 5 - 7 - 5 - 6 - 5 BOTTOM Cards in ( ) must be of the same suit. Suits otherwise disregarded. Deal as directed aboveCards are dealt face-down except as stated. Dealer’s or Winning Hand is ALWAYS picked up first, then the remaining hands in the order dealt. Cards in hands must not be disarranged.The EIGHT PROGRESSIVE DEALS must be dealt in the ORDER GIVEN. This is a beautiful and entertaining routine if properly rehearsed and presented.
FOOD FOR THOUGHT LESLIE MAY Coincidence of ideas in magic are never so rare as many think, and the following eflect by my good friend Leslie May is a case in point.
W a y backin 1953, Harry Baron, who! then intended putting out a booklet with the title, ‘M y Best Mental Trick,’ asked Leslie for m originul
12
contributiora As a result ‘ Food for Thought ’ WQS originated and forwarded for publication. Circumstances arose including publication difiulties which prevented the publication of the book. On (he 23rd April, 1955, an eflect, ‘Food for Thought’ was described by that well known and respected writer Jmk Yates in ‘ Abracadabra.’ Apart from the title the eflectwas similar and much of the method, too. Subsequent correspondence proved that both writers had conceived the SAME plot, TITLE ond a deal of the method without any kind of collaboration, and as Goodiiffe wrote in his weekly, The whole thing is mother one of those amazing coincidences.” Leslie asked us to add thislittlepreface in cme either he or ourselves should be accused of plagiarism. ‘I
H E following is my favourite original mental eflect because it is unusual in theme, provides entertainment as well as mystery, and above all, has a particular appeal to the ladies of the audience.
T
Eflect The mentalist shows six cards, each one bearing the name and picture of an item of food, i.e., FISH, as each is exhibited, the ladies present are asked what they associate instantly with that particular item, e.g. CHIPS,as each association is .announced, it is written on a slate or large cardboard, so that eventually six such associated ideas are on view. A gentleman from the audience is then asked to seal each food card into aseparate envelope, and then to mix them so that there is no clue as to the contents. Next the services of a lady who is fond of cooking, and who considers herself to be a good cook is obtained, and the mentalist explains that he is convinced she possesses qualifications above the ordinary in that connection, and her fondness for culinary arts has produced a sixth sense, which he would now like to prove, exists. The gentleman is asked to pick an envelope, although the contents are unknown, the lady is requested to name what associated word from the slate or board she considers is applicable to the card which the envelope contains, and the figure J‘ONE ” is written against that item. A second envelope is now selected, and again the lady nominates her mental choice, the figure “ TWO ” being written against same, and so one, until all the six envelopes have been dealt with. The mentalist again says that he is convinced the lady has a strong mental power of recognising the aromas, etc., of even pictures or mere names of. articles of food, something like the “ Bisto Kids ” on a fourth dimensional plane and in proof the six envelopes are opened in the order chosen,
and in every instance, the correct associated word has been selected. Remorks The method is only the old “ one behind,” with some slight variations, but never mind about that, it’s the effect that counts. Requirements Six cards, of approximately playing card size (for reason given later) each bearing the name and picture of one of the following :CHEESE, FISH, EGGS, APPLES, DUCK, BEEF.
A packet of envelopes of a size to take one of above. A slate and chalk, or a large piece of cardboard and black crayon. Presentation The six cardsare shown and their associations obtained and written on slate, as described under EFFECT. Only one association is written in respect of each card. The most frequent responses are as follows: CHEESE-bread, onions or macaroni. FISH-CHIPS. EGGS-bacon, ham. APPLES-pears, pie, jam or tart. DUCK-green peas. BEEF-steaks, carrots. The above having been completed, the gentleman volunteer is requested to insert a card into an envelope. This is where a bit of trickery is introduced, for although care is taken not to exhibit them in that order, the initials of the objects on the cards comprise the first six letters of the alphabet, i.e., Apples, Beef, Cheese, Duck, Eggs and Fish, and as a card is inserted in an envelope, so mentalist takes same, and nail-nicks envelope in a manner enabling him to tell contents immediately. The services of a lady having been obtained, she is seated on the right of the mentalist, gentleman onthe left, thelatter havingmixed the envelopes thoroughly, hands them to the performer who holds them aloft for all to see, he then displays them in a fan to the gentleman who freely selects one. The gentleman holds up the envelope and the lady announces what she thinks is associated with it, her choice being restricted to the six names on the slate, andthe mentalist chalks “ ONE ” against that particular word. He then takes the first envelope from the gentleman and places it on
a table or a convenient vacant chair; next, he again offers the gentleman the choice of one of the remaining five envelopes, but this time he forces the one appropriate to the selection the lady has just made, i.e., if she stated the FIRST envelope brought the word “ ONIONS ” to her mind, M. would then force the envelope containing CHEESE. L. is again asked what sheassociates with secmd envelope and, presuming sheannounces JAM, then, M. notes envelope containing APPLES and forces that on G.; this procedure is carriedoutuntilall six envelopes have been utilised, six associations named and identified as to order by numbers. (See laterremarksabout methods of forcing applicable.) In some cases, as noted below, a slightly different procedure may have tobeadopted for the denouement, but, experience has proved that generally,the envelopes willbe “ one behind ” rightthrough, i.e., thecorrespondingto No. 6 lowest, and reading upwards from that, Nos. 1, 2, 3, 4 and 5, M. in this instance, drawsattention to fact that No. 6 (?)envelope is on top, andreverses order by counting each, one on top of each other, this brings what is apparently envelope No. 1 to top, but it is really that corresponding with object No. 6 on slate, so he inserts little finger of right hand under this last envelope and under cover of turning towards slate, makes the pass and brings this envelope to bottom of stack, which brings them in corresponding order to their allied objects on board. Hence reason fornot having “ food cards ” toolarge,inordertomakepass easily. There is plenty of cover for performing this action. Instances may arise where theprocedure is slightly complicated by the fact that the food card due to be forced somewhere through the effect is theone freely chosen in the first instance, this, however, is easily overcome, and an example, with procedure, is given below:G. takes FISH. L. calls GREEN PEAS. M. forces DUCK. L. calls JAM. M. forces APPLES. L. calls CHIPS. The FISH cardis already taken,so let G. have a FREE CHOICE, and in placing this envelope down on the first three, make a slight “ step ” to enable this point to be noted instantly. L. calls Steaks. Say G. takes EGGS. L. calls ONIONS. M. forces BEEF. L. calls Bacon. G. takes CHEESE (last card). Cards now read from bottom up :-
FISH. DUCK. APPLES. EGGS. BEEF. CHEESE. Should read, from Bottom up :DUCK. APPLES. FISH. BEEF. CHEESE. EGGS. Pick uptop three envelopes above ‘‘ step,” say here are Nos. 6, 5 and 4, indicate numbers on board and in so doing, make pass to brings “eggs” to bottom. Count them on table, thus bringing them in correct order. Pick up remaining three envelopes, hold them in a rough fan-shape in left hand,takeFISH envelope, with right hand, say “ No. 3,” drop this on first three, and as you dothis slide APPLE envelope to left with left thumb, remove it with, right hand,droponothers saying “ Two,’’ and throw “ DUCK ” envelope on top, calling this No. 1. Envelopes are now in their correct orderfor revealment. Don’t worry, this move is quite deceptive and convincing. This has been my favourite effect for mixed audiences, and I am releasing it for first time. Some readers may prefer to use their own moves for the required mis-counts, that is up to them; as I emphasised before, IT’S THE EFFECT THAT MATTERS. The following are my suggestions for methods of forcing :1st selection from six cards-FREE FROM FAN.
CHOICE
2nd selection from five cards-FAN FORCE. 3rd selection from four cards-“ No. between 1 and 4.” 4t h selection from three cards-Elimination force (see YOGI BOOK TEST, page 67 of PRACTICAL MENTAL EFFECTS, by Annernann). 5t h selection from two cards-place envelope to be forced under spectator’s Right hand, other under Left. Tell him to lift one hand and construe accordingly. 6th selection from one card. If the mentalist likes, he can present the lady who assisted him so successfullywith a small diploma certifying as to her supernormal culinary powers; this diploma, of course, discreetly bearing the performer’s name and address !
14
THE DIABOLO STORY (CONCLUDED) Now although the idea blossomed early it was late in the year before we really got down to act. France. luckv fellow. managed to have a triD to New Zealand i n d Australia ik June, and it W& near the end of July before we really got things under way.Suddenly the thingtookshapeone evening when, at the Haxton’s house, 1.suggested trying the opening withmusic. There was a pile of ten inch “ seventy-eights ” on the table and the bottom one was “When the Saints go Marching n.” We tried the opening once more and for the first time it came to life. Fromthenon tw,) or three times a weekwe went through most of the act which was made up in this routine :Orchestra playing as stage curtains open. Deb (that’s me !) is in immaculate lady’s evening dress on left of stage holding a large card with the name ‘ Diabolo ’ displayed. France, immaculately clad in ‘ tails ’ and masked. enters and card is placeddown as I take first his stick which is placed on stage to form table base, his hat which goes on top and then gloves whichgo into hat. From his pocket he takes a packet of cigarettes, offers me one which in mime 1 decline at the same time indicating that I would prefer flowers. Additional mime indicates that he can smoke. He takescigarettefrompacketand 1 light it.Then blowing smoketowards the cigarettepacketit changes into a bouquet of flowers. This I take and place in the hat. Then he ties his scarf around his neck and pulling onbothends the scarf penetrates his neck. Scarf taken and also placed in hat. Now in the true Channing Pollock manner he pulls a silk from a flower on my dress. Ashe displays it I take holdof a length clf rope. He starts to roll the handkerchief in his hands and as it disappears I shake a knot into the rope and the missing silk is seen in the knot. France takes hold of the silk and pulls itfromtheknot.Unfortunatelyandmostnaturally as hishandcomes back, he hits the table on the right with disastrous results. It goes crashing to thefloorand as the die goes with it a large spring snake leaps into the air.Moretragedy,for in his distractedmoment his foot has gone inside the large die on the floor. I right the table, pick up the snake and throw it off stage. With plenty of mime two cards reading ‘ The Educated Snake ’ and ‘ Fantastic Die’ are removed and placed out of sight at the back. Seeing that Diabolo is still in trouble I get hold o f the die and in pulling it off his foot take, without apparently noticing it, his shoe as well. There’s a heck of hole in his sock. All is well again and going to the card stand I takeand hold aloft a cardbearingthewords ‘ Enchanted Petal ’ The card is placed down and I hand Diabolo a fan and with plenty ofmime
indicate his carnationbuttonholefrom which I pluck a petal, show it and place it upon the fan. As Diabolo commences the Sterling egg trick I walk off-stage returning when the egg is almost full blown. In my left hand I have a real egg, and as I go to take the blown egg off the fan with both hands, I break the egg so that it drips from my hands. At thispoint we are set forone of the biggest laughs and gasps for I wipe the egg and shell on my dress. Failure, but we arenot daunted. The next card is picked up. It bears the words ‘ Salt to you ! ’ Handing a salt pourer to Diabolo, he takes it and pours a small quantity into his left fist. The usual vanish takes place and by this time I am offstage. The reproduction is about to take place. The right hand reaches out and grabs for the salt, thz left hand drops to the side and from the sleeve pours Salt and Salt and Salt. So much so that I wheel onto the stage a Hoovercleaner in full blast to clear the floor. Finally about a thimble of salt is produced from the right hand. Ready for the finale. The card ‘ Magical Gardening is shown by Diabolo, the reason for this being my going offstage tostart the tape recorder. To the musicof ‘ Tea forTwo’ we show first the flower potsand then the cones. The cones are placed c n thepots and a typical ‘ Botania ’ twist given as the cones are placed on the pots. I watch Diabolo as he raises hiscover revealing a flower growth about ten inches high. I go to my side of the stage and start raising the cone. Up and up it goesand I iabolo holds the cone as I get a chair to stand upon. Finally the cone is removed revealing a tall flowergrowth. At this point there is the cue for the mime and the act ends. The fact that the act was most successful gave us agreat kick. Thoughthere musthavebeen very few present who recognised me (a good wig and a ‘ Masked Ball” domino taking care of this), France, whose mannerisms rather than his makeup wasrecognised by quitea few.Thisin no way spoiled things. We had shaken a large core of those present who were glad to be fooled by such a hoax. We playedonly at the evening performance for we felt certain that anappearance in theafternoon would have killed the surprise forthe majority. Only as the evening performance started did Paul Graham the Stage Manager and Geoff. Robinson the compere know thetrue identity of ‘ Diaboloand Deb.’ Our thanks must go to both. To the first for making our stage easy to use and to the second for announcing the act without a completely straight face. Despite the fact that manyhave toldus that theywish to see theact again, our own feeling is that it is a ‘ oncer.’ It was good fun.
15
We were sorry to say ‘ Au revoir ’ to Les and Gladys Levante. During the time that he has been in this country, Les has been ceaseless in his activities to help magic and magicians. His work for the British Ring before the war was responsible for a great change in the Convention outlook. We wish, and we know you will join us, him the best of everything when he returns to his native heath. Just before he sailed he spent an evening with us in company with Gladys, Esme and her husband George Hunt. We heard of magical adventures in China, Siberia and in factalmost everycountry where entertainment can be organised. We heard some delightful stories regarding great tricks including the Substitution Trunk,that perennial which the public always welcome. The Stuthardsare onceagain in circulation and Joe the other evening was telling how, on the same evening as the telecast of The Magic Circle show from the Scala he appeared on Channel Nine and as usual gave a Svengali deck the works. (At this point just let meremindyou that Jay Marshall with ‘ Lefty ’ was the star of the Channel One show). The following day Joe was at his agents, Fosters, and was introduced to a caller. The latter on hearing Joe speakremarked : ‘‘ Why,you’re the guywho did the card tricks last evening on I.T.V.” Joe affirmed this and the caller went on . . “And I guess I liked your earlier spot on B.B.C. with the hand puppet but I had a hard job recognising you later with your toupke off! ”
As the Stuthards have come back, Slydini and Jay and Frances Marshal1 have. All grand people, each adding something to magic and our knowledge of magic intheir own particular way. To Slydini we say a particular ‘‘ Thank you ! ” for one very important thing he told us regarding the handling of the cups and balls. It has added since then a great deal to the effect. Every magician must have felt extremely sorry for Randi, when during the telecast of the Circle show he found himself in trouble with his vanishing radio. It had itsfunnyside for never
have we seen a conjurer kick a piece of apparatus when it failed to work. The assistant hasto be congratulated in covering up the complete failure of the effect from the viewing audience. As we write this we are recovering froma strenuousbutatthe sametimemostenjoyable week-end at Leeds. We travelled up there to take part in the Leeds Magical Society Night of Magic. A truly wonderfulcrowd they proved and the public show staged at the Civic Theatre certainly was very much to the liking of the audience who paid to see the show. We were the guests of Bill and Margaret Bailey and great hosts they proved. Bill who is as great an enthusiast of sport as he is of magic enthralled us with cricket and other sporting anecdotes. After the show there was quite a party at Paul Gaines’ house and Claude Perry who was in great form proved a grand laughter-maker.
Once again the Circle Festival, despite a very costly cast hasproved a financial success. This seems to prove that magic still is a draw toa certain section of the public. Even on the opening night apartfrom the unused Press tickets (one hundred and fifty of these were issued) there were not a great numberof vacant seats. At Eastbourne this year, the first performance of the British Ring Gala was exceptionally well attended and in fact watching the show from the back of the stalls there seemed to beveryfew seats vacant. Never let anyone say that ‘ Magic is dead! ’
If you collect playing cards you’ll be pleased to know thata special Icelandic pack (I know you’ve read about Diabolo and Deb, so please don’t think this is a gag !) can be obtained from Mr. Baldur Georgs at a price of 7 / - or one dollar. Beautifully designed with a booklet giving historical details of the characters illustrated on the cards it is a very low priced buy. The cards come with either blue or red backs and Mr. Georgs’s address is P.O. S09, Reykavik, Iceland. The recent easing of currency export restrictions shouldn’t make it difficult for you to send the few necessary shillings to Iceland.-P. W.
16
T E E MAGIC W A N D Edited by GEORGE A R M S T R O N n J No. 254. (VoI. 46, Part 2) Now on sa !e MATHEMATICS, MAGIC AND -MYSTERY by MARTIN GARDNER gives you five first-ratetricks with cards, common objects, dice, numbers, etc., all based uponamathematical principle-including a clever vestturningstunt. PARTY FOR PAMELLA byJACK GI’ITINGS continues the outstanding series for the children’s entertainer, dealingthistime with SILK PRODUCTIONS, together with suggested presentations forstandard props, patter, tips, routines, etc. M Y MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buy expensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return tothe pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLETTIS V. MUSSON willbe for you if you haveambitions to be an illusionist. This stage filling illusion can be made for less than f 5 , is colourful, baffling and entertaining. THENAME IS MINE by PAVO is a really different type of Dead Name Test. ideally suited tothe Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature cardroutine for the mentalist. Two spectators pocket anumber of cards each. Onespectator selects a card from the pack, and one returns his packet of cards
to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch,names the number of cards in a spectator’s pocket, and says which spectator itis, and tellsthe other spectator how many cards he originally held but returned to the pack! A SILK PRODUTION by TRAVERS COOPER is just what the title implies, but it IS beautifully rout~ned and is an example of perfect magic. THE WESTON PINKIE REVERSE MARK by WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS byPETER McDONALD gives you aHat Production routine forthe children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug. an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number. colour and book title. These are noted and tossed into a box. A card. which theperformer has previously written on, is then removed from another box and given to aspectator for checking. It lists allthe items just named! Easy to make and do! Also a TOP CHANGE stunt for thecard enthusiast,anda CARDPREDICTION using a slate in a new and novel way. And as much more fine material again, whichwe have notthe space to list here. Atotal of 35 tricks and routines, plus miscellaneous articles. We aresorry, but No. 253 in now OUT OF PRINT. Rush you order for No. 254 before this. too, follows suit.
Price: 7/6, Postage 7d. For this Giant (84 X 11in.) Book.
C: EORUGE ti.Kns[S‘I’U,dDNG 6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free I
The Magic Circle
I
is published on the 24th of each month and can be obtained direct from the publishers for 117 per L-in& copy. Annual Subscription 18;past free. PliHLISHED BY:
:
Hearts of Oak Buildings, Euston Road, London, N.W 1.
l‘
WARLOCK’S
PENTAGRAM
President: Francis White, Esq. Vice-President : Claude Chandler, Esq. Clubroom and Library and M u s e u m
PETER
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
Monday, February 2nd Lowet Cunning ” A!ex Elmsley
Marlurcriptr for publication and books for reviow s h o l l l d be sent to tbe.
hrtlcolars tronl Hon. Secretary .
EUITORI.4L
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
ADDRESS:
Peter Warlock. 24, Wordswotth Rd., Wallington,
Any of the C. T. J(ordan) Seties of Magical Effects.” Complete in envelopes if possible. Alsowant many U F. Grant and Grantand Menge mimeographed items. Sort out thoseold unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to : l‘
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser‘
I
P U B L l S H E D BY T H E P R O P H l E l O R S T H E MAGIC \ \ ‘ A h D PUBLISHING COMPAKUY. b? W E L L I K G I O N kCAF’r ENFIFID.MlDD1ESI.X A N DP R l N T E n B” WERBERT WALKER S . S O H (PRINTPRE) LTD.. BRIDGE U O P h E . F H I l ’ l € Y . Y O R K S H I R E
AUTORING ESCAPE EDDIE JOSEPH Editor’s Foreword
F7
HEN, onbehalf of the British Ring. I asked my friend Eddie Joseph to give a lecture at theEastbourne Convention andhe said, “Yes!“ I knew that those present would have placed before them some delightfully subtle ideas and effects. With the title of “ Delnding the Senses” Eddie gave away some first-rate magic one of the items being that which he now describes. I t is a lovelyeffect mainly because of its extreme simplicity and it was with some trepidation that in the role of host I asked whether I could publish it. There was no hesitation in Eddie’s reply and in good time he not only wrote up the necessary details butalso supplied the photographs which add to the story. This is the first contribution that we have had from Eddie Joseph and it is our sincere hope that it may be theforerunner of equally effective items inthe future.Thanks a lot! The Effect Two metal rings-a large and a small oneare tied, in the centre of a lady’s head scarfby means of a double knot. The scarfisthen held. by its corners, inthe left hand with the rings suspended in the middle.
You now asksome obliging spectator to nominate a ring. By the simple action of shaking the scarf the chosen ring escapes from its knotted confinement leaving its companion behind still tied inthe centre. Operation For best effect doNOT use pure silk but thekind of scarf you get at Woolworths. The reason, as you will realise yourself after trial, a certain degree of friction is helpful when tying the false knot. Silk, Nylon and Rayon arefar too slippery for this particular work. I do not intend to imply that silk is completely unsuitable and if you prefer it then just ignore my advice.
VOLUME l 3 No. 3
-
My scarf is 24” square. The rings are S’ and 34’’ in diameter. The accompanying photographs are delayed action shots of my hands to help the explanation along. (a) Thread the two rings on to the centre of the scarf as in Fig. 1. Note particularly that the
Fig. l
corner in the left hand is passing between the first two fingers. The third andfourth finger of the same hand is bent over the part of the scarf at that point. (b) The right hand now places ‘its corner in the crotch of the left thumb. Study the position of the scarf, rings and fingersin relation toone another. See Fig. 2 . (c) The righthandis now passed through the larger ring as well as the loop formed by the scarf and the corner extending from the left fingers is clipped between the first two fingers of the right. This is shown in Fig. 3. (d) Having got hold of the corner you pull it straight in towards yourself. However, as you
I /6. (20 Cents)
-
DECEMBER 1958
begin to pull,curlthe second finger of the left hand against the portion of the scarf directly under it. Now asthe right pulls inthe scarf corner the left second linger acting as a sort of a
(f) Hold the scarf by the corners as in Fig. b. Note only the left hand is used. The right hand a t this stage hangs by your side.
(g) You willnow be working up to the climax. Ask some spectator to nameone of the rings. I t makes no difference which one he names because by shaking the scarf only the larger ring win drop off. You can see this in Fig. 7.
Fig. 2
hook pulls its point of the scarf outward. I n other w o r d s the two hands move in opposite directions. Note Fig. 4. The second fmger of the left hand is inside the bight which is formed automatically a t this point. The view shown here is deliberately
Fig. 4
However, in the actual presentation the right hand is held about a foot or so below the rings. The left is raised and then the rings are shaken. The large ring will drop out automatically and is caught by the waiting right hand below. The small ring only remains inside the genuine single knot.
Fig. 3
exaggerated. In actual presentation you do not expose this necessary secret move. This is best done by pointing the second finger of the left hand downwards. Stand before the mirror and you will soon learn the right angle of execution. Study Fig. 4 in conjunction with Fig. 3. (e) As faras
the spectators are concerned
you have so far merely tied the two rings together
by means of a single knot. Now follows the next move which is an honest one. Tie a genuine knot at this point as shown in Fig. 5.
Fig. 5
Actually you employ the “conjurer’s choice”
ruse when you ask them to nominate a ring. If they
choose the large, well you will have fulfilled their desires. If on theother hand should the choice fall on the smaller ring . . . then . . . you still
19 appear to satisfy by retaining the small ring on the scarf.
want both todrop then pass yourhandthrough both.
In practice-whichever ring you wish to release you must pass yourhand through that particular one when tying the first knot. If you
Personally I prefer to work the trick the way I have described it. I know you will like it when
Fig. 6
Fig. 7
you see what itlookslikein
operation.
THE ETERNAL TRAVELLERS HANS TRIXER
H
ANS was good enough to send us this effect on tape some iittle while before theEastbourne Convention. The plot is based upon Dai Vernon’s “Travellers” but with the difference that no extra card is brought into play. go We had the opportunity of seeing Hans through the effect and not only is it very deceptive, butthe technique required should be well within the range of all those who study and practise card magic. Let us repeatthattheplot is that of the “Travellers”andfor thesake of those who. unfortunately, may not be acquainted with the original, the effect is as follows:Fourcards such as aces orfour kings are removed from the pack andplaced upon the table. If needs be they can be initialled by spectators. The cards are then openly returned to various on the performer’s comparts of thepack,but mand vanish one at a time each being found in a different pocket of the performer’s coat. This is the handling which Hans gives the trick. T o start with the performer’s coat should be buttoned.Thereshould be a glass on the table. First of all run through the pack and remove the four aces. Fan the remainder of the cards faces to
the audience and then insert the aces one at a timein various parts of thefan. Close the f a n andthen with a single cut perform one of the many multiple shifts so that the four aces are left on top of the pack. At this point it is wise to d o what Vernon himself does, namely to fanthe cards faces towards yourself and check thatin making the shift, no ace has been taken away inthecut. If such has happened thatodd ace will have to be brought to the top. Close the fan and take the cards with the right hand in such a manner that you are in a position to carry out a single handed palm of the topmost card which is one of the aces. Pass the pack to the left hand and a t the same time execute the single handed palm with the right hand. of thecoat The righthandholdsthelapel whilst the left hand undoes the coat button and then you turnfullright pulling thelapeland allowing the audience to see the inside of the jacket and, of course, the inside jacket pocket to which theattention of the audience is drawn.
The performerstates that already one ace has left thepackand amved in his righthand pocket and to emphasise this the left hand holding the cards points towards it. With these words therighthand relinquishes its grip on thelapel
20
.and-goes inside the trousers pocket then coming out slowly a d showing the card that was previously palmed. As you carry out this ,action youhave ‘turned. s3 thatyour right side is towardsthe ‘audience. The left hand is hidden ‘bythe performer’s body and with the attention of the audience on the right hand, the left hand thumbs off the top card of the packinto the. left hand jacket pocket. The ace you have apparently withdrawn from the right handpocket is droppedintothe glass which stands on the table. The right hand now takes the pack from the left hand and giving the cards a slightriffle, the left hand, after being shown empty, goes tothe left hand pocket and slowlyremoves the second ace. This too is dropped into the glasswith the first ace. The right hand which it will be remembered is holding the packet now single hand palms the top card in the act of passing the pack into the left hand and with the remark that the next card mustnotbe impeded the right hand with the palmed card goes into the right jacket pocket, leaves the palmed card behind and removesany odd items such as a cigarette lighter which might be there. After riffling the cards with the left hand you reach into the right hand pocket with the right
’
,hand after showing it to be empty and remove the third card. This too goesinside the glass. As this third stage is being carried out turn :the packet of -cards in the left hand so that they lie face up. The right hand now takes the pack thumb on onenarrow side and the other four fingers on the opposite side, so that you are positioned for the more modernversion of the ‘ glide ’. You should now be standing half left. The left hand firstshownemptymakes a movement inside the right hand side of the coat andtowards the inside pocketwhilst the right hand near to the edge of the coat levers away the top card as in the “ g!ide ” or “ Master move ”. The right hand mwes towards the lapel and the topmost card well separated from the rest of the pack goes under the lapel whilst the right hand holds the latter. The left hand turning down slightly grabs hold of the levered card and pushes it into the inside pocket. The right hand continues todrawback the jacket and the left hand withdraws the last ace slowiy from the pocket. With this final move good timing is essential and it will be found that there is no need to rush the actions, smoothness being the thing to achieve.
THE TURNCOATS PETER WARLOCK
N
OW andagainone comes across an effect to which no solution canbefound, nevertheless fromthe original idea one may evolve an effect which can prove new and deceptive. Some while back I wanted a solution to the following problem:The conjurer introduces two packs of cards, ‘one with red backs and the other with blue. Each is ribbon-spread face upwards on the table. A is asked to choose acard fromthe face-up blue backs, whilst B decides on a card in the face-up of the red backers. Each slides his cardout spread.The cards are gatheredupandsquared ineach case andthe chosen blue backer goes into the face-down blue backers face up. Similarly the card chosen from the red-backed pack. Both packs are given a magic touch and then ribbonspread face down. In each case there appears to be no change for the card chosen from the bluebackedpack and whichwas returned face up still appears face-up in thespreadandfor that matter so does the card selected and returned to the red-backed pack. The difference has yet to be
shown for when the cards arewithdrawnand turned over, the card in the blue-backed pack has a red back’whilst that in the red a blue back.. That was the problem and with provisos that no faked packs were used it was passed out to a number of knowledgeablecard menin this and other countries. Notonecameup with a solution. For that matter I had no solution either but delving among the wreckage the following effect came into being. Eflect
The con~urer introduces two packs of cards. One has red backs and the other blue backs. Each is fanned, shown backandfront,squaredand placed face down on the table. Taking the bluebacked pack a spectator is asked to stop the performer as he cuts the cards in Hindu shuffle style. The card stopped at is noted and placed face up upon the table. The blue-backed packis placed face down onecard being taken away and placed down in front of it to indicate the colour. A card is similarly chosen from the red-backed pack and
21 the sametreatment given. The position at this point is that the main portions of the two packs lie side by side with a chosen card and a marker card in front. Thecard chosen: fromthe blue backed pack is now placed, still face up, on the facedowncardsand the pack isgiven a single cut bringing the chosen card to about the centre. This pack is then turned face-up the marker card indicating thecolour backs. The other chosen card and pack are dealt with in a similar manner. The spectators are asked to well remember their cardsand observe a strange case of sympathy. The two marker cards are changed over. “ With ,this change of cards, gentlemen, strange as it seems, your chosen cards follow . . . just watch!” Spreading the blue-backed cards face up one .card is seen face down. It is a red-backer! The red-backed cards are ribbon-spread. face-up and one blue-backer is seen face down. When the redbacked is removed from the blue-backedcards and turnedover it is seen to bethat originally chosen from the red backed pack and when the blue-backedcard is taken and turnedover that is the card originally chosen from the blue backed pack! Requirements One pack of red-backed cards. One pack of blue-backed cards. Twodoublefaced cards. One we’ll imagine is seven of diamonds/ace of clubs, the other four of hearts/two of diamonds. Preparation From the blue-backed pack remove the seven of diamonds and the ace of clubs. From the red-backedpack remove the four of hearts and the two of diamonds. Place the ace of clubs and the two of diamonds aside. They are not wanted during the course of the trick and if left in the pack might cause the performer embarrassment. Take the red-backed four of hearts and place it in a face-up position at the bottom of the face downblue-backed pack. Under this card place any blue-backed card face down and then under this card place the double facer ace of clubs next tothepackand seven of diamonds showing as bottomcardand finally one other blue-backed card which acts as the true face card. Reading now from the bottom of thepackyouhave an indifferent cardfollowed by thedouble facer (seven of diamondslace of clubs), an indifferent card, the red backed four of hearts face up and thebalance of thepack.Withthered-backed cards the set-up fromthebottom takes similar form,the exceptions being the values of two cards. It is as follows: An indifferent card,the -double facer (four of hearts, two of diamonds, the four of heartsbeingthe face card i f . the first card is removed-), an indifferent red-backer, the blue-backed seven of diamonds face up followed ’
by the balance of the pack. . Both packs in this condition are returned to their cases. Presentation Both card cases are placed on the table and thenopenedand the packswithdrawn.Taking the blue-backedpack the cards are pressure or finger fannedaccording to their condition and the audiencecan seefirst faces and then blue backs. Needless to say there is little need for me to mention that in such a showing care must betakennot to expose either the reversed card or the double facer. The pack is squared and in the squaring a slight break is madeand held between the bottom card and the rest of the pack and when the pack is squareand immediately before, placing on the table a double undercut is made so that the erstwhile bottom card becomes the topcardand the face card is theseven of diamonds side of the double facer. The red backed cards are taken similarly shown and in the act of squaring and replacing on the table by means of the double undercut, the bottomcard becomes the top card and the face card the four of hearts side of the double facer. Taking the blue-backed with his right hand and holding it face down, the left hand comes in as foraHindu shuffle and strips off the cards from the top of the pack in small packet. When the spectator commands “ stop,” the performer simply turns the packet he is holding in his right hand face-up and shows the spectator the face card the seven of diamonds. This is a very bold force but mostconvincing to alayman. At the sametimethat the right hand turns over its packet revealing the seven of diamonds side of the double facer the left hand turns face-up the cards it is holding and the packet in the right hand is placed face upon thosein the left hand, the double facer then beingslid off and placed on the table, the remainder of the pack being turned face down and placed just behind it. As an afterthought the left hand takes the cards lifts them from the table and the right hand slides off the bottom indifferent card and places it just in front of the chosen card. Acard is similarlychosen from the red-backed pack the subsequent handling being as with the blue-backed pack. Each of the chosen cards is placed on top of its own pack and a straight cut is givenineach case to bring the chosen card and, of course, the face-up bottom card to the centre. Each pack is now turned face up, the odd face down cards denoting their positions. The pointer cards are changed about and the packs ribbon-spread with the result that the only cards contrary to the usual runare the chosen cards, the red backer being in the blue pack and the blue backer in the red pack. Though in reading it may seem a little complicated the handling is very straightforward and the ultimate effect most convincing.
22
A NEW PRINCIPLE FOR THE “SYMPATHETIC SILKS” FRED ELINK
I
N this version of the “ Sympathetic Silks ” all the silks can be shown separately. Four silks measuring twenty-four inches square are required. As there is no switch of silks two could be of one colour and two a contrasting colour. Two of the silks require special preparation. Supposing that two of your silks are green and two yellow, first of all take one of the green silks and one and a half inches from one corner, sew to it a small bone ring measuring about half an inch in diameter.The ring is now bound round with the same colour silk cotton as the silk. Now take the other green silk and one and a quarter inches from one corner attach by means of threadasmall sponge ball measuring threequarters of an inch in diameter. That is all the preparation needed before setting out your table €or the commencement of the trick. Lay the silks on the table in this manner:First of all the two yellows so that they hang down over the front of the table. On top of these two silks place the silkwith the sponge ball attached. The end with the sponge ball is nearest to the back of the table. Finally place the handkerchiefwith thebone ring on top of all three and again theposition of thering is nearest to the back of the table. Presentation Pick up all four silks by theircorners with the left hand. They should be taken in such a
manner that the ring on the topmost handkerchief is completely shielded. The right hand approaches the left and taking hold of the corner of the green (ring) handkerchief with the first and second fingers it is drawn awayin an upward direction from the left hand. As it does so the right-hand thumb moves againstthe ring. The silk i s well displayed and then coming back to the left hand the right hand (with the ring clipped between first finger and thumb), slides the ring over the corner of the next green silk. i.e., the one with the sponge ball attached. This silk is taken too in an upward direction and in the upward movement the second finger helps in pushing the ring over the spmge baff. Theresult is that both silks are,in effect, secretly knotted together and at a later stage can be handled quite freely without any fear of accidental separation. The two green silks are placed over the left shoulder with the knottedcorners of course out of sight. The two remaining yellowsilks after being shown separately and displayed are tied together with a false knot, a false knot that can easily be shaken loose. Holding one of the yellow silks by its corner and allowing the knot to be seen, the performer gives a slight shakeand the silks become separated, the lower silk fluttering to the. ground. Placing the silknow held with the right hand over therightshoulder, the same hand reaches across andtaking hold of acorner of one of the green silks pulls it away bringing with ittheother greensilkwhich appearsto betied securely to it.
MAGIC-GOIROUND T’S been a busy month and we typethese notes much later than they qhould be typed. This will be the last copy to be printed by our present printers,Herbert Walker and Son and for what they have done in the past we thank them. It was good tohearthatour old friend Roland T. Smith is well on the road to recovery. A constant Monday nighter at the Magic Circle, he has beenverymuchmissed by all those who
havethe courageto meetings.
face up to these weekly
Instead of painting those rather ornate props which you may use from time to time, try covering them with Fablon ”. This plastic sheeting whichcomesinmany patterns, some particularly magical with stars on coloured backgrounds and delightful candy stripes iseasily applied, doesn’t chipand is washable. Mostcommonly sold in 18” width, it ispossiblenow to get it in widths “
23 of a yard. At
some time you may want to make up a ghost tube in a hurry and unless you are a hnsmith, you’ll have tomakeitincardboard. Whilst the outer tube is dead easy the truncated cone formation that goes inside can be the devil of atime waster in making up. To help you “ Sifta ’*salt comes along in a loveiy conical package, which, when the ends are removed gives you a cone with a periphery of ashade Over three inches diameter and an apex of two inches diameter. We have had some very complimentary things saidregardingthe Diabolo ” act,and “
Francis Haxton and myself are most appreciative of such compliments. The last performance of the act took place at theCircle on November the 22nd. and the second house performance pleased us just as much as it did the audience. There was a difference fromtheoriginal. We includedthe radio cabinet vanish based on a T.V. presentation and the finish was faster the flower growth never stopping. It was good fun and a good ending to a great hoax. In April we are giving a lecture that we have entitled the “ Annemann Legend ” at the Circle. Its main intention is to pay a tribute to this tragic man of magic and we should welcome any unpublished information that might be in some of our readers’ possession. Stewart James’s “ Case for Cards ” which appeared serially in these pages is now obtainable in booklet form at the moderate cost of 51-. For those who are newgeaderswe recommend this fine little collection of card effects from the man who is the legitimate successor to Jordan. From Davenports the latest lists arrive and there seems no end to new tricks. Gamages send along a new catalogue running to some 64 pages and listing all thestandard items. It is pleasant tothinkthat thanks to Harry Baron this well-known store has brought back to life its magical department. To us it brings back nostalgic thoughts of our schooldays some 40 years when, on a Wednesday afternoon,inthewinter, we would skip either football or hockey and take a tramcar to Farringdon Street and walking past Bleeding Heart yard and turning into Hatton Garden would reach the side entranceto Gamages. Inside we would goand wander around spending much time and possibly little money in the magic department which then was quite sizeable.Big apparatus was displayed in those days and the catalogue covered all phases includingstage illusion. We can remember well the Conradi Vanishing Lamp which seemed to be a constant and never disturbed feature. Books of that era were different dealing more with direct effect ratherthansubtlety.The house magazine of Gamages, the “ Magician ” month after month
brought some really workable novelty fromthe pen of that prolific writer,Robertson Keene. Priced only sixpence what wonderful value it was. From there we might wander along High Holborn into Hamley’s where upstairs the magical departmentwas housed. There was aVictoriantouch here and one sawin actual fact the counterparts of those period pieces described in “ Modern Magic ” . . . the Card Lyre, the Demon’s Head andornatetables with trapdoorsand pistons. LaterHarold Comden was totake his place as demonstrator at this branch and sell innumerable “ Topits ’* and other items of his thoughtfulness. From there to Davenports, or perhaps to Ludgate Hill where Hamleys had yet anotherbranch where a most engaging Mr. Wheeler officiated. An afternoon in Wonderland for then we looked upon our magic withoutthe cynicism thathas developed with the passing years.
In November the Circle Annual Supper was a wonderful evening and it gave all those present the chance of seeing those great Russian artists, LidyaandUri Mazhuchin whose performance was immaculateand whose water vanish had most if not all of the company completely fooled. At the beginning of March, Tuesday the 3rd to be exact, we shall be presenting a Night of Magic at Wallington, the proceeds from whichwill go to the “ British Ring” Benevolent and Welfare Fund.The bill is shaping verynicely and if Wallington is nottoogreat ajourneyfor you we hope to see as many magicians as possible at the show.
If you are looking for a delightful effect for an older children’s type of show, get the December issue of the “ Gen ” in which Wilfred Tyler describes his owneffect, “ Startime ’’. When quite recently we had the privilege of being in the Chair on the occasion of Wilfred lecturing at the Circle, he demonstrated this effect and I think that everyone in thetheatre was greatlytaken with it. A good plot with showy but not unnatural props it could form an effective part of a n y platform act. Now and again one has an idea for an effect, makes up a model publishes the working details and yet nobody seems to take it to heart. It was thereforeratherpleasant to see, some eighteen years after publication in “ Designs for Magic ”, somebody make use of “ Sawing Through a Doll ” and to wit no lesser person than “ Sooty ” aided andabetted by that delightfulpuppeteerHarry Corbett. This, of course was at the Circle Supper where Harry was the guest of honour. Congratulations toour friend E. Jackson Laurie who for the second time has been elected President of the Wessex Magical Association.
24
THE WORLD’S LARGEST MAGIC BOOK
T H E MAGIC W A N D Edited by G E O R G E A R M S T R O N G No. 254. (Vol. 46, Part 2) Now on sale to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch,namesthenumber of cards in a spectator’spocket, and sayswhichspectator itis, and tells theotherspectator howmanycardsheoriginally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title Implies, but it IS beautifully routmed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK is reversed in WESTON is forcardenthusiasts.Acard the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives youa HatProductionroutineforthechildren’sentertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’.ll needanEvaporated Milk Jug,anordinaryFunneland a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name number, a colourandbook title. Thesearenotedandtossedinto a box. Acard,whichtheperformerhaspreviously written on, is then removed from another b.ox and given toaspectatorfor checking. It lists allthe items just named!Easy to makeand do! Alsoa TOP CHANGE stuntforthecard enthusiast,anda CARDPREDICTION using a slate in a new and novel way. And as muchmore fine materialagain, which we have notthe space to list here.Atotal of 35 tricksand routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you orderfor No. 254 before this, too,follows suit.
MATHEMATICS, MAGIC AND MYSTERY by MARTINGARDNER gives you five first-rate tricks with cards, common objects, dice, numbers,etc., all based uponamathematical principle-including aclever vestturning stunt. PARTY FOR PAMELLA byJACK GITTINGS continues the outstanding series for the children’s entertainer, dealingthistimewith SILK PRODUCTIONS, together withsuggestedpresentations for standard props, patter, tips, routines, etc. MY MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whetheryou are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you donot need to buyexpensiveprops for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return tothe packreversed.Andthere is ausefularticle by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLETTIS V. MUSSON will be for you if you haveambitionsto be an illusionist. This stage filling illusion can be made for less than f5, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is areallydifferent type of DeadNameTest,ideallysuitedtotheSeance Room or the Intimate Show. KOYNINI’SSEVENTEEN by TON1 KOYNINI is a featurecardroutineforthe mentalist.Twospectators pocketanumber of cardseach.Onespectatorselects a card from the pack, and one returns his packet of cards
Price: 7/6, Postage 7d. For this Giant (84 X llin.) Book.
GEOItGE AItMSTttOXG 6 2 W E L L I N G T O NR O A D ,
E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free PETER
The Magic Circle President: Francis White, Esy. Vice-President : Claude Chandler,Esq. Cluhroom and Library and Museum:
Hearts of Oak Buildings, Euston R o a d , London, N.W 1.
PENTAGRAM published on the 24th of each month and can be obta~nrd direct from the publishers for l17 per :.ingle copy. Annual Subscription 181post free. PI.;BLISHED BY: IS
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
Monday, February 2nd “ Lower Cunning ” A?ex Elmsley Particulars
Hon. Srcretary
~ ~ O I I I
hnnuccnpts for publication and books for reviow shorrld be sent to the.
,
Peter Newcombc 38 Overdale Avenue N e w Malden, Surrey
M
WARLOCK’S
Every Advertiser’
EDITOR1 91.
ADDRESS:
Peter Warlock, Rd., Wallingten,
24, Wordsworth
Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U F. Grant and Grantand Menge mimcographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
I
P U R L l S H E l ) BY T H EP R O P H I E 7 0 R ST H EM A G l C U ’ A b T , P L B L 1 6 H I b GC O M P A N Y . 67 W P I L I N G 1 O N R O A F r E N F I E I D . MIDDLESEX A N DP R I N T E D BV HERRERTWALKER & S O H (PRINTERS) L’Il7.. ER1DC.E M O H h S ,S . M I I l E I , Y O R K S H I R E
,
OlNE IN THREE JOHN DERRIS
T .
HIS is an excellent effect for opening a card routme and it is in this rolethat I have used it for manymoons. It wasevolved at a time when I wanted to use a series of card effects involving the use of four cards of the same value and I tried to find a good way of producing four like cards. After playing around with many ideas for doing this I settled on the routine I am about to describe to you. Effect : The magician shuffles the .pack. cuts it a couple of times and then has a card selected by the spectator who places it to one side withoutlooking at its face. The pack is then handed to the spectator with the request that he shuffles it so thoroughly that it is impossible to know the position of any one card. This is done and the pack is returned tothe magicianwho states that behind his back he will try and locate a card to match the unseen selected card lying on the table. For example if the selected card were a seventhenyousay that you will try and find in the shuffled pack another seven. This is done and the magician brings forward a card and lays it face down on the table; he says that he is not absolutely sure that he has the right wouldallowhim card so perhapsthespectator to have asecondchance. The spectator agrees, (what else can he do!) andthe magician brings forth another face down card which is laid alongside the first. Yet again he expresses doubt as to whether he is correct and asksfor a further chance. and again he brings from behinda face down card which is placed alongside theother two on the table. The pack is placed to one side andthe magician asks the spectator to point to one of the cards on the table. When this is done it is turned over and is seen to be an ace; the spectator then turns over his selected card and it is also ad ace-a miraclecoincidence! Looking
VOLUME 13 NO. 4
-
1/6
rather wry the magician say that he was fooling for all the cards on the table match the selected card -theremainingtwo cards are turned over and they too are seen to be aces, a triple coincidence. From hereon you are ready togointoanother card effect involving four like cards. Routine : Just a pack of cards and a load of audacity are requiredfor this stunner. From the pack remove the four aces, place any one on top OP the pack whilst the other three are placed up the left sleeve and held in place with an armband or elastic bandaroundtheforearm. The cards should be face down. To perform,pick upthe pack, false shuffle and cut leaving the ace on top of the pack, then cut or make a pass and forcetheace on the spectator instructing him not to look at the card but to place ,it face down on the table. Then hand him the pack and ask him to shuffle thoroughly and hand it hack to you. This he does and you place the pack behind your back and inform him of your intentions. As you are doing this the pack is held in the left hand and the right fingers reach into the left sleeve,remove the three cards under the hand and add them to the top of the face down pack. The rest of the trick is now pure bluff. You make pretence at having some difficulty in finding the cards but remove them one at a time from the top of the pack and lay them in front of youon the table. All you have to donow is to have the spectator select any one of the three aces on the table, turn it over and on looking at his selected card he finds that they match. Then watch his face as you turn the remaining two cards over and he sees that all four match-a really goodstart to any card routine that involves hardly any work on your part.
(20 Cents)'
-
JANUARY 1959
26
THE “MEFFCOINVANISH BRIAN GLOVER coin flourish I am describing was originated some six years ago. Whenever I have used it. it has been the cause of favourable comment from laymen and magicians alike.
THe
cupped. The left thumb enters thegap between the right thumband fingers, bringing the right thumb into the left thumb crotch. The left fingers now of course hide the coin from view.(See Figure 2).
The coin to be used should preferably be a large one i.e. comparable to a half-crown in size. The coin is held in the right band, between tips of the thumb and middle finger. The position of the performer at this stage is as follows:With the body turned half left the right arm is extended across the body, so that the right hand
Figure 2 When this stage is reached, the following action takes place:-
Figure 1 is tothe left with thethumbsquare viewers.(See Figure 1).
on to the
The left handapproachesfromaboveand apparently take$ the coin, with the following action :Left hand above right, back towards audience, the thumb lowermost whilst the fingers are slightly
The right thumb slides the coin in an upward direction, this causing it to pivot about the middle right finger-tip and assume a position lying horizcntal along thenail of the middle finger. The right third finger now comes forward and rests on top of the coin, thus gripping it between the third and middle fingers. (See Figure 3 for a rear view of this position). With the coin held thus, the right hand now revolves in a clockwise direction using the right thumb as a fulcrum. This action brings the back of the right hand towards the audience, with the coin concealed from view.
21
Figure 3
Figure 4
At the same timethe left hand rotates so that thefront of the clenched hand faces the audience. which brings thetip of the right forefinger at the back of therightthumb. (Figure 4). The right fingertips are now unfurled showing that the coin has vanished andtoadd emphasis the right forefinger is trailed horizontally across the displayed left palm.
The coin can now be reproduced at the right fingertips either from behind the right knee, left elbow or wherever fancy dictates. Whenperforming this flourish, the various actions shouldbe executedslowly and gracefully so thatanair of studied casualness is added to what can prove a most bewildering vanish.
COLOUR-NUMBER PETER
WARLOCK
THE. a
bers of theaudiencehave been summoned assist. on thestage or platform.
Bearing in mind that particular fact, this effect is one to commence a mental act once four mem-
Let us takeitstage by stage first of all describing how the stage is set. A small table is placed on the platform more to the O.P. side, and, on its right (that is the performer’s right) is placed a chair. Left of the table are three chairs arranged in a row with six or seven inches separating them. To the back of each chair is fastened a large card bearing a number. The chair nearest the table carries ONE, the one left of it TWO and that on the extreme left. THREE. On the table rests a smallish box tied with ribbon and beside it three tumblersinarow. Each tumbler has
modem mentalist’s acthas been helped quite deal by various television presentations insofar that it has conditioned the great maioritv of people to the needs demanded b y t h e menialist, which among many things includes audience participation, and so. whilst the ordinarytype of conjurer would find the request for some members of the audience to step on the stage and assist a very bad opening gambit, such is not the casewith B mentalist and whilst in the case of the former, the audience might well be irritated hy the necessary stall, the latterwill have a sympathetic hearing.
~
to
~~
~
28 inside acoloured silk handkerchief; the colours are mauve, yellow and green.
Effect: The mentalist requests the services ol four members of his audience to act as a committee onthe stage. When they come up, they are shepherded tothe performer’s right. To onehe says, “Sir (or madam as the case may be) I want you to .keep your eye on this llittle box; so perhaps you’ll sit here” (indicating chair on right) Addressing one of the three remaining assistants, he asks him or her to fix his or her mind on one of the numbers on the chairs, take any one of the handkerchiefs from the glasses, and then seat him or herself in the chair bearing the chosen number. This having been done, the second assistant is addressed and he or she is asked to do likewise. Finally thethird assistant takes thethirdhandkerchief and seats him or herself in the third chair, With these preliminaries out of the way, the performer turns right and addressing the spectator seated right of thetableand at thesame time lifting the little box from th,e table asks himto undo the ribbon, remove the lid and then remove a piece of folded paper which has beenfastened down with sellotape. This the assistant does. “Just open out the paper and read what is written upon it,” says the mentalist. The assistant reads out, “ The spectator who chooses chair number ONE will take the YELLOW handkerchief . The spectator choosing chair number TWO will choose theMAUVE handkerchiefwhilst the spectator on number THREE chair has the GREEN.” This prediction proves to be correct and makes an impressive start to the act.
Requisites. 1 Three cards measuring twelve inches by twelve. One has a large figure ONE painted on it, another TWO and the third a THREE. So that they can be attached to the chairs easily, tapes should be fixed at two adjacent corners. 2. Three glass or perspex tumblers.
3. One mauve, one yellow and one eighteen inch silk handkerchiefs. 4. Somesheets sellotape.
of writing paper, anda
green reel of
5 . A small box. It measures three inches by three inches and its height is only one inch. It is bottomlessandhasa flushfitting lid. It ismost simple to make, allthat is necessary being a length ofwoodmeasuring in widthone inch and in thickness onequarter of an inch. Four pieces measuring two and three quarter inches in length are cut and glued toforma three inch square.
The lid can be cut from plywood or hardboard. When sandpapered down I suggestpainting the box with cream paint. When the paint is dry get hol,d of a few feet of half-inch red ribbon, cut off two lengths of nine inches. Now with the aid of a strong adhesive, stick one end of one piece to the centre of the bottom edge of one side of the box. The other length is similarly fastened at the if both bottom edge of the opposite side.Now free ends are brought up over the lid they can be tied into a bow so that the box and lid are apparently tied securely together with the ribbon.
6. Besides the box,you’ll also want six squares of sheet tin or strong thin cardboard cut three inches by three. Theseare painted with dull black paint on both sides, and, as an afterthought, so too is the inside of the bottomless box! Preparation. Take the sheets of writing paper and a pen. Cut somepieces of paper measuringsix inches by six.You’llneedsixsheetsin all. On the first sheet write the message:The spectator who chosc chair number ONE will also choose the MAUVE handkerchief. The spectator choosing chair number TWO willalso choose the YELLOW handkerchief whilstthe spectator on chair number THREE has the GREEN.
On the second sheet goes:The spectator whochooses chair number ONE will also choose the YELLOW handkerchief. The spectator choosing chair number TWO will also choose theMAUVE handkerchief, whilst the spectator on chair number THREE has the GREEN. Sheet three takes the following:The spectator whochooses chair number ONE will also choosethe GREEN handkerchief. The spectator choosing chair numberTWO will also choose the YELLOW handkerchiefwhilst the spectator on chair number THREE has the MAUVE. On sheet four:The spectator whochooses chair numberONE will also choose the YELLOW handkerchief. The spectator choosing chair numberTWO will also choose the GREEN handkerchief whilst the spectator on chair number THREE has the MAUVE. Number five sheet comes up with:The spectator whochooses chair number ONE will also choose the MAUVE handkerchief. The spectator choosing chair numberTWO willalso choose the GREEN handkerchief whilst the spectator on chair number THREE has the YELLOW.
29 And finally sheet six with:The spectator whochooses chair number ONE will also choosethe GREEN handkerchief. The spectator choosing chair numberTWO w,ill also choose the MAUVE handkerchief, whilst the spectator on chair number THREE has the
YELLOW.
Prediction:Number l--ONE-Mauve (M), TWOYellow (Y),THREE-Green MAY Number 2 4 N E - Y e l l o w (Y), TWOMauve THREE-Green. (M), YOU
MAKE Those six predictions cover all possible eventualities. Each paper is folded into halves and quarters so that a packet approximately one and a half .inches square is the result. Keep track of the various papersand fix each bymeans of sellotape to the central part of one of the six metal orcardboard squares. The sellotape should be fixedinsuch amannerthat whilst itholdsthe folded paper securely in place, a pull on the paper will free it without anydifficulty. When all the pieces have been folded and stuck totheblack squares, makea small white pencil mark at the corner of each square showing the numbered prediction fixed toit.Then take the six squares in a numerically consecutive ordered stack and slip them into the right hand trousers pocket with the sixth predictionnearest to the body. With the box on the table together with the three glasses and handkerchiefs and the numbered cards tied td the back of the chairs you are all set forthe presentation.
Presentation. Invite your committee of four on to the stage. Ask one to sit on the right of the table and keep hiseye on the box; and then turn to the nearest spectator and ask him to choose a number on a chair and then a colour. At this point your right hand rests casually in your right hand pocket. We’ll suppose that he chooses the SECOND chair and the YELLOW silk. Ask him to take the silk and siton the appropriate numbered chair. Ask the second spectator to choose a chair number and a colour. We’ll suppose that his choice falls on number THREE and MAUVE. At this point the th,ird spectator will be forced to sit on chair number ONEandtakethe remaining silkwhich is GREEN. Now, even before you address this spectator, your right hand has located the square in the pocket which! gives the prediction covering ONE-GREEN, TWO-YELLOW,and THREEMAUVE. It i s the third one from the audience. In fact so that there is nochance of forgetting the line-up the addition of mnemonic sentence will be of assistance thus:-
Number 3 4 N E Green (G), TWOG A Y Yellow (Y), THREE-Mauve. Number 4-0NE-Yellow (Y), Green (G), THREE-Mauve
TWO-
YOUR GREAT
Number 5-ONE-Mauve (M), TWOGreen (G), THREE-Yellow MAGIC Numb,er 6-ONE-Green (G), TWOMauve (M), THREElYellow GAME Thus the complete mnemonic is MAYYOU MAKE-GAY-YOUR GREAT-MAGIC GAME. With the location of the square carrying the correct prediction, the mentalist addresses the remaining spectator saying, “Perhaps, though there is little choice, you will take the remaining handkerchief and sit on the vacant seat.’’ Withthe taking of the third silk the performer’s right hand has been withdrawn from his pocket together with the necessary square which is heldin a palmed position so that the folded paper is not on the side adjacent to the palm.The performer turns half left and taking the box with the left hand lifts it from the table in such a way that nobody near can see that it isbottomless, it ispassedto the right hand which comes up, and as the box comes on to theright palmthesquare of card or tinplate is lined up with the sides of the box. There is nothing difficult about this in the least, but in making the necessary movements, angles must be studied so that those seated on the platform cannot see that the right hand carries anything before it takes hold of the box. This means that the action shou1,d be carried out slightly to the rear of the line of spectators on the stage. With the boxdeposited on the Right hand, the performerallows it to sit on the palmand pointing to it with his left hand firstfingerasks the spectator on his right to undo the ribbon and rem,ove the lid. He turns slightly right for this purpose and with the lid removed the performer pauses and as he offers the box to the spectator (Turn to Page 30)
30
SMACK, DAB IN THE MIDDLE BRIAN GLOVER
I
N the November, 1955 issue of thePentagram ,(Volume 10, No. 2) Dr. Stanley Jaks described under the heading of “Variation on a theme Take Three Again” an appealing routine with a mental slant. Under this present heading I am describing a faked card case which makes the retention of the proposed reversed card, and the placing of it in the centre of the replaced pack 100% certain. The fakedcard case can also be used in numerous other effects of a similar nature. (I use it in a torn and restored card effect in, which the selected and mutilated card is later found, minusthe corner held by an assisting spectator, reversed in the centre of the pack).
RD
Preparation A card case is taken and a tab cut as shown in Figure 1. The backing card and case are cut along the lines AB, BC and CD leaving a tab which can be hinged along AD.
A small length of sellotape is now taken and it is secured to the tab as shown in Figure 2. Note that it is heldsecurelybetween the cut backing card and the card case back proper, so that the adhesive side of thetape is facing towards the inside of the case. The tab and the sellotape are nowpushed throughthe aperture, so that the sellotape is now inside the case, and adjacent to the back of the case. The card to be reversed is nowplaced inside the case and fixed to the tape and tab as shown in Figure 3.
the cardto bereversedisleftstuck to the rear part of the case. Incidentally during the removal of the pack from the case, it matters little whether the audience see the back of the case as owing to the presence of the backing card the tab is well camouflaged. When the point has beenreached for the cards to be returned to the case the procedure is asfollows:-
Performance The cards are tipped out of the card case into the waiting left hand but thanks to the sellotape,
The case is held in the left hand, with the left forefingerpressing on the tab. This action brings the reversed card to the centre of the case so that itis an easything to place the remaining cards into the case and atthe sametime bring the ‘reversed’ card, smack, dab in the middle! Figure 4 shows, by means of the arrows the direction taken by the cards and the way that the sellotape is disengaged from the reversed card and the tab brought in alignment with the rear part of the card case, as the pack finally rests inside.
Colour Number-from Page 29. with a request that he takes away the folded paper, gets a firm grip upon the side of the box with his right hand thumb thus preventing any movement of the base of the box. The piece of paper being removed andopenedandthe reading aloud of the contents brings the effect its desired end. To those who make this effect up, they are welcome to a tip that could improve the mechani-
cal technique. This improvementis to insert a couple of reasonably strong magnets into opposite sides of the box. Actually of course,in viewof the size of the box this means building two sides round the magnets. The poles of the magnets should come to the base of the boxsides.Now provided tinplate, i.e. tin coated iron is used for the squares, immediately the right hand brings (Continued on Page 31)
The remainingpart of the pack is now inserted inside the card case,keeping the ‘stuck’ card pressed against the rear side of the case.
31
T
HE winter months whirl by andbeforeone can say “Knife” the Buxton Convention will be upon us. May we add a word of thanksto all who sent us Christmas cards. Each succeeding year our collection seems to grow larger than ever, and there seem to be few nationalities not represented. Those who remember the performances of Chung Ling So0 will never forget his presentation of the twentieth century silks, in which two handkerchiefsweretied together and placed upona slender standand athird waspushed into a decanter. The firing of a pistol producedthe magical and highlyvisualeffect of the silk vanishing from the decanter and re-appearing visibly tightly tied between the silks onthe stand. I don’t think that the effect was confined to So0 for 1 have the feeling that I also saw Horace Goldin use thesame effect. That’s by the way. The effect as described hasdroppedinto obscurity although I knowthat my old friend Charlie Harrison used it quite a lot in his Rajah Khan act andwhat is more he nowdescribes his version in the December number of the ‘LinkingRing’. Whilst the reproduction of the third handkerchief between the two tied on the stand follows a conventional pattern, the devise for causing the vanish fromthe decanter is truly delightful in its simplicity. We rememberCharles tellingus about this many many years ago, and thought then what a wonderful means he had devised for obviating the use of a catgut loop with its attendant fiddling. If you are apparatus-minded see that youdon’t miss reading this tib-bit of mechanical magic. How merciless can television be if the camera is not just right. We viewed aperformance of A1 Koran in company with somenon-magicians the other evening; there were the usual ‘Ohs’ and ‘Ahs’ until he started a versiorl of ‘Do as I Do’ in for two which the Curry Turnoveraccounted changes of the helper’s cards whilst a third made use of the Mexican Turnover. The camera came in with a close-up shot and whilst up till now they had marvelled, the lay portion of the onlookers simultaneously andwithout any inhibitions said aloud . . . “ He’s changed the card for theone he’s ho1,ding.” Thefactthattobe up-to-date youshould present something truly old has never been better
exemplified than to-day when quite a number of stage and cabaret performers are cashing in with presentations of the Broomstick version of the aerial suspension. It must be almost one hundred and twenty years ago when this trick in its original form was astandard ’item amongst nineteenth centuryillusionists. Quite obviously the coming of Aga. Maskelyne levitation, andAsrah, with their true forms of levitation put the suspension under the counter. To-daythe pendulum has swung the other way and when Abbott marketed his Super X suspension and Winston Freer had a oneman suspension there was an appreciation, mainlybecause of changing stage conditions, for a static form of levitation. To-daythechance of seeing a magician perform a true levitation effect is a rarity. There is, of course, the superb work of Kalanag in this respect and Richiardi Jr., and Calvert when he was over here used the Aga. If a trick like the aerial suspension can come back into favour and seem in modern audience’s eyes a miracle, there must be many other old and almost forgotten effectslyingready to be dusted and presented. One trick whichwe have neverseen presented and one which we feel could be a great success in good a performer’s hands is the inexhaustible bottle, and we mean bottle, not kettle or cocktail shaker. Then there was the effect whichMaskelynecalled “The Spirits are Here”. Simple principle of counterweights and a plot which had possibilities of both magic and humour . . . . the cascade od cards . . . . the glass lined trunk . . . . a terrific hat production, and so on, and so on. It was a great pleasure to look at some of GeorgeArmstrong’s magicalbooksand memorablia the other evening. A magnificent collection of books with anumber of editions of “HOCUS Pocus”as well as a non-listed third edition of Scot. Prints in quantity withstandard framing. An enviable collection indeed, which like most collections, needs great houseroom,
Colour Number-from Page 30 one of the squares near the underside of the box two sides of it will be attracted by the magnets and itwillbe retained in position without anywork from the performer’s hands. The handling overall will be far neater.
A NEW GIANT-SIZED MANUAL
PATTERNSPETERFOR PSYCHICS
By WARLOCK. is placedin an unsealedenvelope and rested This beautifully produced giant-sized manual (S3 against a glassin full view. Three spectators by 11 inches) contains twenty of the most cherchoose a colour, four-figure number and any city ished effects from Magic’s most fertile brain. Not in the world, and these are noted down on another only is the author renowned for his originality, but card. The spectator who signed his name removes also for his performing ability, as evidenced by the cardfromthe envelope and checks his sigthefactthathe won the British Ring, I.B.M. nature and turns over the card, Meanwhile the Shield with one of the most outstanding acts that performer reads from his card the thoughts he has has everbeenpresentedin this competition. If noted down, and each time the spectator confirms proofwereneeded of thePRACTICABILITY that the predictionis correct. It’s as direct as and ENTERTAINMENT VALUE of the effects that, and there are no stooges, carbon impressions originated by Peter Warlock, this is it! or such-like methods. This book deals with five distinct types of mental PIN POINTEDSLATES gives an unusualeffect effects, demonstrating: Coincidence, Prediction, in that three slates are plainly shown to be blank Mental Telepathy, Spirit Slate Writing, Extra on all sixsides,yet upona wordbeingchosen Sensory Perception and Movement of Objects. under very fair conditions, it appears as one of a TRIGON TWO is one of the most beautiful series of four separate messages upon the surfaces Coincidence effects ever conceived: The performer of the slates,building up from an apparent misdeals a pack of blue backed cards and stops three take to the finalclimaxwhichensuresapplause. timeswhen requested by a spectator, and each Under the heading ‘Movement’ is a most unusual time p1,aces the card stopped at back out into a CARD RISING effect, that willbe of interest to stemmed goblet. Another spectator now takes a conjurers as well as mentalists, and might be said pack of red backed cards, shuffles them and himto be worth more than the price of the book on its self deals themon tothe table, stopping three own. A borrowedpack of cards and. borrowed times and placing a card aside each time, whenglass may be used. Three cards are freely chosen ever he likes.These cards are placedback out and signed (no force of any sort), replaced in in the three glasses, in front of the other cards. the pack and the pack is placed in the glass, which Each pair of cards are removed, in turn, from the is rested upon the seat of a chair well. away from glasses, andare shownineach case to be an the performer. In spite of these impossible identical pair. Coincidence indeed! conditions the three cards rise one at a time, and the last card can be madeto jump out of the glass. In 30th CENTURY PROPHECY the author is There is no switch of pack or glass, and no cards certainly ten centuries ahead of his time in what is are added or taken away from the borrowed pack. conceded to bethe most direct triple prediction These are but four of the twenty fine effects in this onecould wish for.A spectator signs his name great book-spaceprevents us from describing across theback of a card, the performer writes them all. three predictions on the other side, and the card Illustrated with Drawings by George Hill and Peter Warlock, Finely printed in the usual Armstrong manner and bound in strong Antelope finish boards. POSTAGE 6d. ($250). PRICE 151- : From the Publisher : G E 0 R G E A R M ST R 0N G 62, W E L L I N G T ORNO A E DN . F I E LM D .I D D L E S E X . THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,Libraryand Museum: Hearts of Oak Buildings, Euston Road,London,N.W.l. Monday,February 2nd “LowerCunning”Alex Elmsley. Particularsfrom Hon. Secretary: PETERNEWCOMBE,
38, Overdale Ave., New Malden,
*
Surrey.
AdveI Every
PETERWARLOCK’S
PENTAGRAM is publishedon Ahe 24th of each month and can be obtained direct from the pub:isher for 1/7 per single copy. Annual Sub. lS/post free. Published by GeorgeArmstrong, 62, Wellington R&., Enfield Middx. Manuscripts for publication & books for review shouldbesent tothe Editorial AddressPeterWarlock, 24, WordsworthRd., Wallington
Surrey.
ser’sGoodsare
WANTED BY
GEORGE ARMSTRONG
-
Any of the“C. T. J(ordan) Seriesof Magical Effects”. Complete in envelopes if possible. Alsowantmany U. F. GrantandGrantand Menge mimeographed items. Sort out those old unused manuscript items and I will buy for cash or allowyougenerouscredit in lieu. Send lists to *
GEORGE ARMSTRONG
62. Wellington R$., Enfield Middx.
*
fully endorsed by this Bulletin ~~
Publishedby theProprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. AndPrintedbyCentralPrinting Co. (Chas. Sowden)Ltd.,Burnley, Lancs.
__
0
SUCKER SILVER
ALEX ELMSLEY
0
LEX, makinghimselfcomfortable, took a half a crown from his pocket and went on to say :-
A
“If. you take half acrown and place itintothe left hand, then squeezingit, strangely enough side it emerges from theother lookinglike a penny.” The actions are suited tothe words, for the left hand after being shown empty and closed into a fist has the half crown pushed in a t one side only to emerge as a penny on the other.
The left hand is closed and he:d back uppermost, the penny still partly exposed. A slight movement of the hand causes the half crown to appear on the left side of the fist.
!
“Once the audience realises that you have two coins you might as well stop performing.” The left hand is turned palm upwards both coins being seen, “so before pushing out the half crown you must push in the penny.” ...
. ;;i’ . . ,,.c
i
Lefthand is turned back uppermost, the halfcrown and the penny both beingseen. The right hand fingers nowpush the penny into the left fist.
Alex. continued, “to do that, in addition to the penny you need a half crown.” The penny is place down infront of the performer and the right hand reaches into the trousers pocket for a half crown which is brought out and displayed. “ Before you commence, placethe half crownin the left hand.” This is done. “Of course, you must notopen the hand, otherwise people will see the half-crown.”
Now the penny is taken and pushed into the left hand fist, part of it remaining visible. The left hand is then opened showing that the half crown has vanished. “Also you mustn’t letthe half crown appear from the! bottom of thehand before the penny has beenpushed in.”
VOLUME 13 No. 5
“Another thing you have to he carefu! about is making certainthatthe coins don’t clink together.” At this point the left hand moves slightly so thatthe coins clink together.
L ; ~
I
“
crown came out the other side.” The halfcrown istaken away and dropped into a pocket. “That still leaves the problem of what todo with the penny. I think that the best answer is to change itinto a half a crown..” The left hand is then opened to show that instead of a penny it now holds another half crown!
’
j
l -
Remember you have pushed
a penny into your fist and a half
1/6
(20 Cents)
-
FEBRUARY 1959
34 For the performance of this delightful close-up coin routine, the would-be performer will require apart from a mastery of the necessary moves, two halfcrowns anda penny.These coins, priorto the commencement of the routine, are placed in the performer’s right hand trousers pocket. The opening phase: The performer’s hand goes into his pocket, takes into a thumb palm position the penny whilst one ol the half crowns is held at the finger tips and brought from the pocket. The hale crown 1s dropped on to the left hand palm at the base of the forefinger (see illustration 1). The left hand moves from left to right to display the coin. With the openingwords of the routine: “If you take half a crown, etc.”, the right hand comes across over the left hand and taking the half crown between the tips of the thumb and forefinger drops thethumb-palmed penny ontothe left hand fingers. Followingthrough the left hand moves down and turns over so that it is back uppermost, the coinbeing finger-palmed, and then the hand forminga fist. At this stage the thumb-pal,med coin is dropped and held. The half crown is now momentarily rested onthe left handthumb just touching the crotch the forefinger of the right hand keeping it in place. It nowseems that a forward ‘movement of the right forefinger pushes the coin inside the fist, but this is actually what happens. The tip of the forefinger presses on the centre of the coin and with a forward and downward movement causes it to swivel right round the left hand thumb, then coming to rest, and being gripped by the right hand thumb. If you look at illustrations 2 and 3 (the left hand has been opened more than it should tic to allow the photographs tobe taken) you will s::e the passage of the coin and its ultimate position kripped by the right hand thumb. The left hand now moves away from the right and coin gripped by the right hand thumb is transferred to a proper thumb-palm position. The right hand fingers tap the back of the left hand and by means of a manoeuvre with the left hand fingers the penny is pushed to the left so that part of it is visible on the left side of the fist. It is essential that a grip b,e maintained on the coin with thelittle fingerotherwise it(the coin) may jump out of the hand. With the words “To dothat, etc.”, the left hand, still cl,osed, is turned palm upwards, whilst the thumb-palmed coin in the right hand is allowed to fallintoa finger-palm position. The penny is taken from the left hand by the thumb and forefinger of the right hand. It is displayed, placed down in front of the performer and the left hand opened and shown to beempty. With the words, “To do that, etc.”, the right hand goes to the pocket and takes and brings out at the fingertips the other half crown, the original
halfcrown still being retained in a finger-palm position. Now at this point the performer accompanying the words, “Before you commence, etc.” apparently places the visiblehalfcrown into the left hand.. Actua’ly he thumb-palms this coin, to prevent any question of ‘talk’ with the one already finger-palmed, the left hand closing to simulate the take. The left hand is then turned back uppermost and the penny is taken from the table and pushed halfway into the fist. The left hand is then opened showing that only
a penny is held. The right hand coming in to take the penny, repeats the move used in the initial phase, i.e. the thumb palmed coin is dropped, the left hand movingdownwards and turning overwith the halfcrown inside it. Once more the penny is pushed half way into the fist. Repeating the manoeuvrepreviouslymentioned the halfcrown is allowed to protrude from the opposite side of the fist (illustration four). This accompanies the phrase, “Alsbyoumustn’t let the halfcrown appearfrom the bottom of the hand before the penny has been pushed in.” The left hand is now turned palm uppermost and opened, the right hand thumb and forefinger siaying the half crown to prevent it falling, whilst the 1,eft handthumb pushes the penny into the palm of the left hand.The right handthumb and fingermeanwhile position the halfcrown at the base of the second and third fingers of the left hand. Now the two coins on the left hand are apparently tossed on to the right palm. Actually, however the half crown is retained in a finger-palm position in the left hand and only the penny falls on to the other half crown in the right hand. The coins are displayed oncemore. At this point the left hand is backuppermost and it closes into a fist. The right hand now places the half crown it holds on the left hand side of the fist whilst the penny is pushed halfway in on the other side. A move is now made of pushing the penny into the fist but actually the move originally used (illustrations 2 and 3) comes into play andthe penny comes away gripped by the right thumb. Accompanying the words, “Another thing you have to be, etc.”, shake the left hand so that the half crown inside the hand moves and strikes the edge of the half crown that is partly visible. The Ieft hand is now turned palm uppermost and reaching across with his right handthe performer removes the visible half crown and places it in his pocket atthesame time disposing of the finger palmed penny. With the words, “That still leaves the problem, etc.”, the left hand is opened to reveal the presence of the other half-crown!
35
DOUBLE DOUBLE AN OPENING ROUTINE FOR A MENTAL ACT PETER WARLOCK
D
URING the past year this routine has more than proved its worth. The first part was the result of a conversation with Dr. Stanley Jaks whilst the latter phase is the trip1.e extension of an Annemann effect. As the presentation carries the effects, I feel that it is better to describe the requirements and then give the complete presentation.
TheRequirements: 1. One rough and smooth. forcing packwith the force card being the three of hearts.
2. A form of brainwave deck made up as follows: Takean unprepared pack of cardsand apply roughing fluid to the backs of every card except the two Jokers. Now take the rough and smooth forcing pack and ribbon spread it face up on the table. From the pack you have just treated, place aside all the cards that are duplicated in the face-up spread of the forcing pack. Now pair these twenty six cards off back to back with the remaining twenty-six cards. The pairs are then assembled to form a pack and in doing so the order of the cards should be thesame as that in the forcing pack. Turn these cards down and face down on the topmost card place one of the Jokers. The other Joker is then taken and this is made the face card of the pack. Now if this pack is fanned there will be a Joker at the face and one at the rear, and if the conjurer is looking at the back of thecards he willsee the complete run on odd cardsin the forcing pack. When the fan is closed it can be handled as an ordinary pack insomuchthata back is seen at one end of the pack and a face card at the other. Think of this as pack number one and replace it in its case. 3. Two packs will be required tomake up this pack. First of all remove the following cards from each pack. Two of clubs, ten of hearts, five of spades. Queen of hearts, five of diamonds, Queen of diamonds. Sevenof hearts, four of diamonds, sevenof diamonds. Stack these nine cards in just that order with the two of clubs face down and the others following underneath. Now tha following cards are also removed: Ten of clubs, ace of hearts, four of spades, sevenof spades, nine of diamonds, three of dia-
monds,eight of spades, King of diamonds, eight of diamonds. One set of these nine cards is now stacked ten of clubs face downwith the others in ascending order on top so that the topmost card is the eight of diamonds. The remaining duplicates are stacked in a similar order, the top card being the two of clubs and the bottom card the ten of clubs. Now to assemble the pack. Take any nine cards and place them on top of the two of clubs stack. Under thelatter place the eight of diamonds stack, then under these place nine indifferent cards, one of which should bethe three of hearts, and finally under these the stack of eighteen duplicates. Reading from the top of the pack this should be the make-up:Nine indifferent cards; Stack-Two of clubs to seven of diamonds; Stack-Eight of diamonds to ten of clubs; Nineindifferent cards, one of which is the three of hearts; Eighteen duplicates of the twostacks-fiftyfour cards in all. One thing more, place two small pencil marks on the back of the eight of diamonds atdiagonally opposite corners, so positioned that when the pack is fanned one can be noted by the performer. Cali this pack ‘Number Two’ and before replacing it in its case reverse the three of hearts. 4. One ordinary pack which is set up as follows:Remove the cards which duplicate the two stacks in pack number two. Arrange these cards in the same order. Now on top of the two of clubs.stack placenineindifferent cards. Underthe ten of clubs place another nine indifferent cards and then sandwiched between the two stacks goes the remainder of the pack. Think of this as pack number three and replace it in its case.
5 . Three envelopes. Preparation. Take each pack in its case and place them one at a time into the three envelopes, making certain that you know which one is in which. Seal the flaps of the envelopes and on the address side write inlarge letters, ‘Pack number One’, ‘Pack number Two’ and ‘Pack number Three’, thus identifying the contents inside.
Priortothe showcommencing, approacha member of the audience, preferably someone well
36 known, and ask him to take charge of the envelopes until you make your appearance and ask for them. You also ask him to write his name across the flap of eachenvelope. Place the forcing pack in its caseupon table and you are all set for the:-
the
Presentation. After a brief introductory effect, the mentalisttells his audience that before he came upon the stage he had certain cards taken from three packs, each was replaced in a different way, the packs werethen returned to their cases .and the latter sealed inside envelopes which after beingsigned and sealedwereleftwith Mr. X in .the audience. Mr. X is asked to stand andthe mentalist says: “ You were the gentleman who was kind enough to place his signature upon the envelopesandmindthem until now,is that correct? :The spectator assents, and with this assent the ,effect on the audience is that not only did this gentlemando just what you have said butthe innuendo is that the taking of certain cards and their return to the packs before they were replaced in their cases and finally the envelopes was also done by a member of the audience. It was this lovely angle that I have Dr. Jaks to thank for. The spectator with the envelopes is now requested to step upontheplatformandhe is seated on your left. Ask him to indicate another member of the audienceto assistyou and with such further help forthcoming seathimon your right. Open the case containing the forcing pack. Removethepackanddropthe case into your ,pocket. Ribbonspreadthepack face uponthe table and ask the spectator on your right to touch onecardwithout consciously thinking of any particular card. When he hasdone this askhim if he is satisfied that the choice is free. When he assents, ask the spectator on your left forpack number one. Rip off the envelope andthrow it bff the stage. Ask the audience to remember that .one card was taken from each pack and replaced in a particular manner.Removethe pack from the case, droppingthe latter onto the table. Casually show the pack back and front and then fan the cards so that the duplicates of the indifferent cards in the forcing pack are facing you. Breakthepack atthe point where you see the duplicate of the card touched by the spectator on your right and separate itfrom its roughened mate. “One card reversed . . what was thename of thecard you touched? The ace of spades . . . don’t you think it more than a coincidence that the card taken from pack number one and replaced in a reversed position is also the ace of spades?” At this point the reversed card is withdrawn fromthe packand shown to be the matching card to the one touchedby the spectator.
The reversed card is now replaced in the pack and the latter dropped into the left hand pocket. The forcingpackisthenscooped up, and addressing both the spectator on the right and also the audience, the mentalist remarks, “You may all think that your good friend here was influenced in somepsychological wayinmakinghischoice. I want to try the experiment once more but this time there willbe no confusion of faces (at this point the pack is fanned faces to the audience). I want you sir, to touch one of the backs of the cards when they are spread in front od you.” The pack is ribbon spread on the table face down and the spectator, with a signal from the mentalist, touches the back of one card. The mentalist pushes it out of the spread and gathers up the remainder of the packwhich he drops into his pocket leaving just the touched card face down upon the table. The spectator onthe leftisasked for pack number two. To the audience the mentalistsays, “In this pack too, there is a card reversed.” He rips away the envelope, throwing it off-stage, and thenremoves the cards from their case. He fans the cards showing one reversed, back to the audience. He turns the pack round so that theycan see the face. “Three of hearts . . . willyou (this to the spectator on the right) pick up the card you touchedand show the audience its face!” The audience then see that the touched card is also a three of hearts. The spectators are thanked and the three of hearts which has been slightly withdrawn from the packheld by the mentalist is pulled out of the pack, rev,ersed, and replaced in the same position it occupied before. Now comes the second part of the routine.
To the spectator on the right, the mentalist says, “For the moment, rather than try and anticipate your thoughts I wish to showyou an experiment in telepathy. I want you to think of a card. If however I say that and your choice falls on a commonly thought of card some may say that I guessed rather than read your mind, therefore I wantyou to take about half this pack of cards. (At this point the performer fans the pack towards himself and cuts off the bottom eighteencards. then handing them tothe right hand spectator). As I turn away I want you to fan these cards in front of you and thgink of just one. Keep it well in your mind. Tell me when you’ve made a decision.” When the assistant tells the performer that he has thought of a card, he is further asked to turn the cards face down and mixthem. The performer turns roundandfanning the cards cuts at the pencil dotted eight of diamonds.ccJust replace yourpacketback in the pack.” The spectator replaces his cards so that they are sandwiched between the two banks of eighteen stacked cards.
37 The pack is momentarilyplacedupon the table. “You sir, merely thought of a card. I am going to reach into yourmindand find out just what that card was, more than that I am going to place itin a particular part of thepack.” The pack isnowpicked up by the performer whogoes on to say, “I want you to think of this card not as a picture, but rather as a word, in other words were the card the ace of clubs I want you to think of it asA.C.E. O.F. C.L.U.B.S. just a letter at a time. Start thinking when I say ‘Ready!’. The pack is placed behind the performers back with one hand andthe other reaches behind, removes thetop card. and without showing its face brings it forward. “Here” say the performer, “I think is your card, but as I told you I intend doing just a little somethingmore.” The card is taken behind the back and simply replaced on top and then the pack is brought forward and placed face down on the table. “Now, sir, for the firsttime I wishyou to tell the audience here the name of the card you thought of?” We’ll, suppose that the spectator says the five of diamonds. Nowyouknow that this card isin the stack nearest the top of the pack.
Pick up the pack and slowly and deliberately count off one cardfor each letter of the name of the card and the five of diamonds will turn up on the final letter. Hadthecard beenin the top stack and been the seven of hearts, four of diamonds or seven of diamonds, the spelling would have had to hav,e been prefixed with the letters T. H. E. If the card had been in the lower stack the cards would have been counted off from the face instead of the !op. The same rule for the 7th, 8th and 9th card In this stack also applies, i.e. the prefix ‘THE’ must be added to the spelling. You will get your applause at this point. Then to the right hand spectator, “You choose a card freely from a big batch of cards. If I told you that I made you think of that card, would you believe me?”The answerwill be in the negative. “Let me prove it,” says the mentalist, and he asks the spectator on the left for the envel.ope marked ‘3’. Ripping away the covering he removes the pack from its case and counting off exactly in the same manner as he did before he turns up the thought of card on the final letter!
ERIC’S ACES ERIC DE LA MARE
T
HE other evening, as it so often does, the talk got around to the Four Aces. It was Harry Harley who reminded usof a most straight forward method devised by Eric way back some five or six years ago. The effect is as straight forward as one could wish. The magician takes the four aces and deals them face down on the table. A spectator is requested to designate any one and that ace, (we’ll say that it’s the ace of diamonds), is turned face up, noted, andturned down again. Ontop of eachaceare now dealt three cards face down. The magical commandand when the piles of cards are turned over all the aces are in the pile of the designated ace, the ace of diamonds, whilst none are seeninany of the other heaps. The only requirement is a pack of cards. Now the initial part of the trick is dependent on the switching of four aces for four indifferent cards. With the passing of time I would not like tobe positive about this initial stage inEric’s hands, but I am reasonably certain that he used a strip out method of adding four card on to the backs of the aces. A good description of this strip out method is given by Kaplan on page 97 of the Fine Art of Magic. Anothermethod of adding the necessary four cards is described by Simon in Effective Card Magic, page 108, whilst on page 13
of IBIDEM No. 12, Alex Elmsley in “1,002 Aces’’. (a trick which has a certain affinity with this older method) givesyet another means for, ineffect. switching four aces for four indifferent cards. Let us assume at this stage that the aces have beenculled from the pack and placed on top. Actuallyhowever the position is that there are four indifferent cards on top of the aces. These four indifferent cards are dealt in a row on the table. A spectator is asked to choose any of the aces and as this choice is asked for the left hand holding the pack has dropped to the side and with a break between the topmost ace and the remainder of the pack, the performer gets ready for that move of all moves, the ‘‘Curry Turnover”. With an ace decidedupon by the spectator, the performer apparently turns over the card, but inreality changes it for the topcard of the pack, which we’ll suppose is the ace of diamonds. The right hand pushes thecardforwardand then turns it face down. “ So that’s the ace you want . . . sir! The performernow has an indifferent card on top of the pack followed by the three remaining aces.
He apparentely casually cuts the pack a couple of times but in reality does a double undercut thus bringing the odd card to the bottom of the pack and leaving the three aces at the top.
38 On top of the chosen ace, the performer deals off the three aces, then three indifferent cards on thetouch to each of the other three piles.Only of showmanship is now needed to make the aces pass from the three piles to the chosen fourth. I think it wouldbe harderto finda more straight forwardmethodthan that. Everything seems so fair. Coming back to the strip-out addition, we’d like to add just one other method which has an affinity with that described by Simon. Taking the pack’ in his right hand and holding it face up the performer starts running cards off into the left hand one on top of the other. As he reaches the fourth card (in this particular case where four indifferent cards are needed on top of the aces) he holds a break with his left hand finger-
tip. He runs the cards until he comes to the first ace which is taken and apparently placed behind the cards held in the left hand. It is placed so that the lowerleft hand quarter iscovered. At least that is what it looks like, but actually it is slid in between the four rearmost cards and those on top, the pressure of the left hand fingeretip adjusting itself so that the position is held. Still running the cards from right to left, the aces are all removed and take their placesbehind the firstace. Now in one move the cards in the left hand are turned overby the right hand and placed on the table. whilst the left hand first finger pulls the two sets of cards it is holding into alignment so that as the pack is moved away from the left hand only the face of the top ace can be seen. The set of cards is then turned down and dropped on top of the pack.
B O O K S THE SYMPHONY OF THE RINGS by Lewis Ganson (Published by Harry Starrley). Price 15/-. The title above is the title of the booklet, but the frontispiece carries the true title namely “Dai Vernon’s Symphony of the Rings”. On the night when the Magic Circle made a presentation to Dai,Mr.Magicperformed just two effects, the cards to pocket and his six ring routine with the linking rings. I had seen during my lifetime many fine‘ring’ routines but never anything quite like this. All the way throughit showed the hand of the great artist, that touch of masterly restraint which by the avoidence of the clashing and rapid movement so commonly associated with this feat, produced as an end product a masterpiece of true magic. In explaining the routine, LewisGanson in his usual accomplished manner has utilised sixteen pages of text and some thirty photographs. Moves like these are comparableto silk knots when it comes to explanation.. Nevertheless Lewishas painstakingly made up his mind that nothing shall be missed. We know this because we have learnt the routine andthough at times,evenwith the rings in hand,one or twomovesseema little difficult to follow,aclose attention to the script
will put you on the right road. Only near the end of the routine does the routine call for that little something extra in the way of handling, and even that little extra is well within the scope of any but the truly ham-fisted. It is a routine that aims at smoothness and allows for graceful presentation. Let us quote Lewis, “ . . . handle the rings as though they were precious objects, so that any sound they make as they come together is a musical ringing tone.” Thereare two great classics of magic that everymagicianworthy of the title shouldknow how to perform, they are the “Cups andBalls’ and the“Linking Rings”. In the DaiVernon Book of Magic, the maestro took the former and presented to all those who read the book, a routine that would last them alifetime. In this preknt booklet he has routined the best of the ‘ring’ moves to give each reader and student a masterpiece of magic that requires no alteration and no improvement, at a price which should be three times greater. Once again magicians must thank Harry Stanley for letting them have a sight of this great classic. A word of thanks too toHarryClarke for the printing.. ‘THIS BOOK IS .A MUST’.
MAGIC GO ROUND {from page 39).
lecturer, there is nothing to tell the reader the true content of the lecture. What a changefrom a decade ago whenlectureswere not onlyfully reported but separate supplements of lectures were issued and distributed to all members. In response to our request for any information regarding Annemann, we had a bumper response from our friend Leslie May and in thanking him may we still repeat that any unpublished item of information youmay have we shall bepleased to receive.
In the current number of the ‘Magic Circular’ there is quite a fair photograph of Jean Hugard receiving a ‘Magic Circle’ Wand. Round him are grouped DaiVemonandTony Slydini as C l 8 Greenmakesthe presentation on beha1,fof the Magic Circle. In the same issue there is an all too brief report of a lecture by our old friend Jimmy Orrin. In the space of thirteen lines, though there is plenty of laudatory praise for afine
39
N
EVER have we felt sorrier for the professional magician thanthis winter. F O has ~ been a bad enemyin all parts of the country and apart from its effect on travelling and transport generally, it’s not a good thing for one’s health. As we write this the British RingAnnual Dinner is only a f,ew days away. Tickets have gone well and we look forward to seeing Borra in action once again. The Circle Banquetisn,ot too far away on a day when the Magi lads will be in action with their Golden Jubilee celebrations. We’ve had some very nice comments regarding Eddie Joseph’s ring release which reminds us that he has just released a new version of the ‘Calendar at the Fingertips’.. It is called “Living Calendar”, and those of you who at some time or another may have wanted to use this staggering memoryeffect in your act but have been daunted by the thought of memory failing at the crucial momentwillbe morethan assuredwith this present method for Eddie has eliminated all the hard work and introduced a presentation that not only takes care of everythingbut addsa little more interest tothe proceedings. It only costs 5 / - and is available from your dealer. Reading through that cheerylitt1,emagazine, The Magical Gazette (official organ of the London Society of Magicians) we came across the report of a lecture givenbyBobby Bernard. It was a talk and demonstration of close-up conjuring and near the end of the report we read, “(the lecturer gave) . . a very welcome bit of advice on how to push your ‘Masonic’ fee up from fiv,e guines to twelve guineas by playing both ends against the middle. I€ youweren’t there, you won’t know whatthat means.”Nowwewerenot thereand in consequence are still intrigued by the phrase of “playing the ends against the middle.” What interests us most is the fact that a ‘Lodge’ date is wiling to pay twelveguineas for anact. With the general and overall increase in dining f,ees plus thelack of desire to raise duesmore than theyneed be. after-dinner entertainm,ent is falling more and more into disuse. We certainly cannotthink of any occasion apart froma Ladies’ Nightwith the average Lodgewhen twelve guineas would b,espent on a magician! Whathappenstoalltheold tricks? During the past couple of weekswe have been confined indoors and it has given us the chance to catch up withsomereading and also to look back at
magazines of the thirties and early forties. There was some delightful stuff produced and yet somehow most of those tricks must have gone into the limbo ol forgotten things. Is it just that despite the fact that a magician has bought a trick, and though finding it successful, has just got bored with it and put it aside? Certainly atthe magical society auctions one sees quite a lot of good workable effects coming under the auctioneer’s hammer. Maybe its just thata choosymagicianbuys a trick thinking he can use it and then much to his disappointment finds that it’s not his cup of tea. Recentlyin the ‘Stage’, Mandrake wrote a long letter refuting ithe idea putforwardin a previous issue thatthe large scale magicshow hadhad its day. (In all fairness it wasmeant to apply to this country and not to the continent where a show liketheKalanag showcan break all records for any continental theatre it goes to). Mandrake, whose modern version of the old Aerial Suspension has given him quite a deal of publicity, starts on a world tour, and we know that magicians everywherewillwishhimwell.When it comes to talking of “Variety” and whether it will die or flourish , it seems that the answer is notin the hands of the variety acts. When times were goodin variety, with rare exceptions the profits taken wereneverploughedback into the theatre with the result that to-day the decor and furnishings of many of the smaller variety theatres in this country makes them little more than upholstered closets. The onset o€ the super cinema with its phshy furnishings and its atmosphere of escape helped to steal the younger generation from the theatre in the immediate post-war years, whilst the cheapand nasty type of nudeshowhelped to kill off the regular family patrons. Thenthe entertainment in the box, the ‘Telly’,meant that without stirring furtherthana comfortable armchair MaandPa couldwitn,essentertainment which, though at times, meandered from the meritorious to the meretricious, they certainly viewed. even in two dimensions, entertainment that aimed a bit higher than many of the variety houses that abound. Now itlooks as though a newpolicy may be found, namely to keep going the few bigger and better variety houseswithbigger and better shows. Not a change of programmeeveryweek, but a production that will have a pantomime run. In factthe experiment has already been started in the Midlands. (Turnto page 38)
A NEW GIANT-SIZED MANUAL
PATTERNS F,OR PSYCHICS By
PETER WARLOCK. is placedin an unsealedenvelope and rested This beautifully produced giant-sized manual (S3 against a glassin full view. Three spectators by 11 inches) contains twenty of the most cherchoose a colour, four-figure number and any city ished effects from Magic’s most fertile brain. Not in the world, and these are noted down on another only is the author renowned for his originality, but card. The spectator who signed his name removes also for his performing ability, as evidenced by the cardfromthe envelope and checks his sigthefactthathe won the British Ring, I.B.M. nature and turns over the card, Meanwhile the Shield with one of the most outstanding acts that performer reads from his card the thoughts he has has everbeen presented in this competition. If noted down, and each time the spectator confirms proofwereneeded of thePRACTlCABILITY that the prediction is correct. It’s as direct as and ENTERTAINMENT VALUE of the effects that, and there are no stooges, carbon impressions originated by Peter Warlock, this is it! or such-like methods. This book deals with five distinct types of mental PIN POINTED SLATES gives an unusual effect effects; demonstrating: Coincidence, Prediction, in that three slates are plainly shown to be blank Writing, Extra Mental Telepathy, Spirit Slate on all six sides,yet upon a word beingchosen Sensory Perception and Movement o€ Objects. under very fair conditions, it appears as one of a TRIGON TWO is one of the most beautiful series of four separate messages upon the surfaces Coincidence effects ever conceived: The performer of the slates,building up from an apparent misdeals a pack of blue backed cards and stops three take to the finalclimaxwhichensures applause. timeswhen requested by a spectator, and each Under the heading ‘Movement’ is a most unusual time places the card stopped at back out into a CARD RISING effect, that willbe of interest to stemmed goblet. Another spectator now takes a conjurers as well as mentalists, ‘and might be said pack of red backed cards, shuffles them and himto be worth more than the price of the book on its self deals themon tothe table, stopping three own. A borrowedpack of cards and borrowed times and placing a card aside eachtime,whenglass may be used. Three cards are freely chosen ever he likes.These cards are placed back out and signed (no force of any sort), replacedin in the three glasses,in front of the other cards. the pack and the pack is placed in the glass, which Each pair of cards are removed, in turn, from the is rested upon the seat of a chair well away from glasses, andare shownineach case to be an the performer. In spite of these impossible identical pair. Coincidence indeed! conditions the three cards rise one at a time, and Jn 30th CENTURY PROPHECY theauthor is the last card can be made to jump out of the glass. certainly ten centuries ahead of his time in what is There is no switch of pack or glass, and no cards conceded tobethe most direct triple prediction are added or taken away from the borrowed pack. onecould wish for. A spectator signs his name These are but four of the twenty fine effects in this across theback of a card, theperformer writes great book-spacepreventsus from describing three predictions on the other side, and the card them all.
THE MAGIC CIRCLE President:FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of Oak Buildings, EustonRoad,London, N.W.l. Monday,20thApril Lecture: By PeterWarlock,M.J.M.C. “ THE ANNEMANN LEGEND ” ParticularsfromHon.Secretary: PETER NEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser’s
I
PETER WARLOCK’S
PENTAGRAM
is published onthe24th of each month and can be obtained direct from the publisher for per single Sub. Is/- post free* Published by GeorgeArmstrong, 62, Wellington Rd,., EnfieldMiddx.
~ ~ ; u I s ; ~fs“h‘oGb1t2t’t ~$ “,mEs Editorial AddressPeterWarlock, 24, Wordsworth Rd., Wallington Surrey.
Goods are
fdlv endorsed bv -~
I
WANTED BY
GEORGEARMSTRONG
“c.
of the T. ~ ( ~ ~series d ~ of~ ) , Complete in enMagical velopes if possible.Alsowant U. F. GrantandGrantand Menge
,::
b”U”y””f”0drin
~~~~~~1 allow YOU generouscredit Send lists to
-
lieu.
GEORGE ARMSTRONG
62, Wellington Rd., Enfield Middx.
this Bulletin ~
.._
Publishedby theProprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. (Chas. Sowden)Ltd.,Burnley, Iancs. AndPrinted by CentralPrintingCo.
*
LE THOUGHT WAVE JACK AVIS
THE
effect is the discovery of twomentally chosen cards.
Routiw. Ask foP the assistance of two spectators. Wewill designate them Mr. A and Mr. B. Hand A a complete deck of 52 cards and ask him to shuffle them and then remove about a third of the deck, handing you the remaining twothirds. Spectator Anow splits his third into two unequal parts and hands one of the packets to B. Instruct both A and B to count the cards in their packets. While this is being doneturn away so that itwill not be thought youare trying to glimpse the number of cards held by your assistants. When both A and B are aware of the number of cards they hold turn and face them, and explain that you want each to select a card in a manner that will your having any Of the tions. This You willachievebyusing the Secret number each is thinking of.AskA to watch the cardsas you deal them faceupwards on tothe table. When you deal the card at the position that corresponds with his secret number he is to remember this card as hisselection but make no sign that he has in fact made a selection, he must allow you to carry On dea’ng. To give an spectator A counts his packet, he has eight cards. So, he would note and remember the eighth card you deal down.
deal until you reach twenty-six, stop, pick up the d e a l cards, turn them face downwards and place them below the cards you are holding. Have spectator A replace his small packet of deck, cards on top of the deck. Squareupthe crimp the bottom card. Hold out your right hand and receive spectator B’s smallpacket of cards. Replace these cards below the deck held in the left hand, square up deck and again crimp the bottom card. Hand the deck to spectator A and have him cut the cards a few times. Take back the deck and ribbon spread it across the table, making sure you can see the two crimped cards. To locate the two selected cards, first locate the crimped Start countiog to the left at the first card past the left hand crimped card, turn the twenty+ixthcard and it will bespectator B,s card. Next count the cards between the two crimped this is your key number, Starting with the first card past the right hand crimped card and moving to the right, to your key number, then turn up the next card which will be spectator A,s card
.
The above is the basic routine forthe selection When dealing the cards face on to and location of the chosen cards. The presentathe tablefor A to make his selection deal exactly which is most important With thistype of twentysixcards,then stop. Makesomeremark effect. must beleftto the i n d i v i d ~ l . about being sure he has made a selection by now, pick up the twenty-six cards, turn them face down Note : After the spectator has cut the deck and place them below the cards you are still holdand before ribbon spreading it, note the position of ing. You may if you wish false shuffle the deck the twokey cards. If these are close together if the keys at this point. as oncarry explained however, above, have a large number of cards between them, cut Turn tofacespectator B and give himthe the deck once yourself. This will putthecards in same instructions that were given to A.Again correct order.
VOLUME 13 NO 6
-
1/6
120 Cents)
MARCH, 1959.
42
THE CARD WORK OF CRAHAM ADAMS
M
Y first meeting with Graham Adams wasin
the year 1931, when onthe 30th January, under the Chairmanship of Douglas Dexter, he gave a lecture to Magic Circle members which was called simply, “S. W. Erdnase-His Book”. It wasan outstanding eventin thatyear of the Circle’s history and as a permanent record there is, in the library, a full copy copiously illustrated with first class photographs, the work of one of Graham’s fellow Order of the Magi members. That is going back a long time, but the thing that struck me so forcibly at the time was the tie-up of entertainment with skill. So manywho dabble with cards sooften turn into merepuzzlers, but always, with Graham skill goes hand in hand with
mystery. It is a great pleasure to puton record this present compilation which so exemplifies the attributes of Graham.The articles are not the product of 1959 for theywerein fact all written between the years of 1927 and 1940. In brief and non-illustrated form most of them appeared in Wilford Hutchinson’s excellent “Conjurer’s Chronicle”. Intended for book publication they have nowbeenedited by GeorgeArmstrong and illustrated by JackLamonte.Those readers who require good entertaining card magic, which necessitates some, but not illimitabl.e, skill,are well catered for. Read on the first instalment. PETER WARLOCK.
THE TRIANGLE my opinionone of the most beautiful card 1canN beexperiments is David Devant’s “Triangle”; it performed in any large theatre, in a small hall or in a drawing-room,and everyone can understand what is going on. My objection to this effectwas the difficultyingetting the prepared cards. “Steamboats” wereeasyenough tostrip and glue together again; other cards did not take so nicely to the treatment and after a time the pack looked shabby and one had to start again.
I am lazy in manufacturing things like these, and until Edward Bagshaweplaced the cards on the market some years before the late war it was impossible to obtain them.Duringa periodin Army Concert Party (in the War before the last) when cards werenot too plentiful, I decided the illusion hadto be performed by sleight-of-hand. Here it is. THE EFFECT All readers will know of “The Triangle”. The plot is themain thing. A pack of cards is shuffled and placed on a small table while a male member of the audience is invited to assist the conjurer; he is seated at the table. The pack is again shuffled and the assistant counts 26 cards face upwardson the table. He shuffles theremaining cards, cutting themand placing the cut‘ portions face to face. A piece of ribbon about eight yards in length is handed to the assistant. He finds the middle of theribbonand winds.it about his face toface packet of cards. One end is given to a lady in the audience, on the right; the other end to a lady on the left. This is the “Eternal Triangle”-two ladies and a man.
The conjurer then takes the remaining26 cards (those just counted on to the table) hands them to the lady on the right of the audience, placing the cards face down on her open right hand. He walks away and asks the lady to look through the cards and think of one card, to square them up and hold them out on her hand as they were given to her. The performer then takes the cards to the lady on the left of the audience andasks her to do likewise. As each lady hands back the packet of cards the conjurer asks her to will her card to leave her hand. pass along the ribbon and enter the packet held by the mere man. The packet of cards is handed to theassistant. Each lady is theg asked the name of her card and the assistant is asked to deal the cards face-up on to the table, counting them as he does so. He finds that the two selected cards are missing. On unwrapping the ribbon from around his cards and searching among them he finds two extra cards, and they are the two chosen cards.
So much for the effect. It is, to all intents and purposes, that of our late Master, David Devant. THE REQUIREMENTS Eight yards of ribbon and two packs of cards of the same make,back design and condition. THE METHOD Take a new pack of cards and give it a thorough shuffle. Thencount twenty-six cards from the pack. From the other pack sort out the sametwentysix cards. These packets we shall call “A’’ and “B” respectively.
43 One of the remaining packets is called “C”. The fourth packet is discarded. Packet “A’ is placed on “B”. Any two cards from “C” are placed on packet “A”. This pack of 54 cards is placed on the table. The packet ‘‘C’’ is in the left-hand trouser pocket. “A” and “B” can be false shuffled very easily. First run the two top cards. Then run the others a few cards at atime uniil nearing the middle of the pack. Then run the cards singly until past the middle of the pack, after which they can again be run in small packets. This leaves the cards in their packets with the two odd cards on the bottom of the pack. Ask the assistant tocount twenty-six cards from the top of the pack on to the table. Then he is to cut the remainder about the middle and place the cut packets face to face. He is handed the ribbon and wraps its middle portion about the face to face packet. Hand the ends of‘the ribbon to the two ladies. The packet of cards in the ribbon is packet “A” with the two odd cards. Take packet “B” to the lady on the right of the audience andplace it on her outstretched hand. Ask her to think of one of the cards in the pack and walk away whi:e she looks through the cards. She is then to offer you the cards as she received them. As she hands you the cards she is to think of hercardand “will”it to join the cards in the ribbon. Repeat this with lady No. 2. In taking the cards fromher palm packet “C’’ from the left-hand pocket, face of cards to the palm. (Figure 1). Take the cards fromher in the right handand place them in the left hand, across the palmed packet. as youaskher to “will” her card to join
those in the ribbon. (See Figure 2). Now make the “Hellis Change” to switch the two packets. Thischange ismade as follows: The right hand apparently takes packet “B”, thumb at back and fingers at front, to place it on the table. As the hand covers the cards packet “B” is palmed in the right hand. (Figure 3). The right handthen movesslightly to the right and grips packet “C” between the thumb and fingers, as shown in Figure 4, and this packet isimmediatelyplacedon the table as youaddress the assistant. The workis now over. Each lady names her card and the assistant is requested to deal the cards (packet “C”) face-up on the table, counting them as he does so. There are, of course, only 24 cards, and the two mentally selected cards havevanished.While he is thus counting, casually dispose of the palmed packet in the right trouser pocket. The assistant then opens his packet and counts 28 cards, and amongst these he finds the two mentally selected cards.
NE PLUS ULTRA
E
RNEST NOAKES, in his “Magical Originaling the selected cards by touching the fingertips of the selectors. ities” (1914), described his method of performing A. Roterberg’s “Ne P h s Ultra” from The conjurer then calls: “The first card is the “New Era Card Tricks’.’ four of hearts and it is the fifteenth card in the I liked the of the Ernest Noakes pack.’” The Committee Of tW0 Count the cards face upwards on the table, hold UP the fifteenth version, but did not like the idea of dealing four card which proves to be the four of hearts, replace heaps of four onthe table, although I usedhis method until about 1920. the square then upand it pack. No 2 is the Ace of Spades and is the 32nd card. THE EFFECT No. 3 is the Ten of Clubs and is the 21st card. No. of Clubs is the 26th card No. 4 is is the the Seven Two of Spadesand and is the loth ca&. In this versionvery little skill is required, the effectdependingchiefly onshowmanship. Only card is discovered five cards are selectedbymembers of the audience; pack Each named by the performer.at the position in the they are replaced in different parts of the pack, whichisshuffled and given to twomembers of the THE METHOD audience. It is best tohave these two seated at a The five cards are forced. The performer can table in the middle of the room or on the stage, either have the five cards on the bottom of the pack the performer mixing withtheaudienceand findand force them straight away, or thepackcanbe
44
shuffled .(keeping the bottom stock in place), after whichthe first card is forced. Thentheremaining cards are forced, with a! brief and casual shuffle in between each force. Ii use the latter method. Instead of taking the cards back in the same order:Take No. 2 first. Then No. 4. Then No. 3. Then No. 1. ThenNo. 5. In collecting the cards, when approaching No. 2, make a break with the little finger of the left hand, about two-thirds down from the top of the pack, fan the cards from the left hand into the right. Whenfive cards from the end of the fan (i.e. from the break) grip all those above the: five cards in the fork of the right fore-finger and thumb, the five cards being held by the main packet above and the second, third and little fingers underneath. (Figure 5).
The sequenceiseasy to remember:-five, four, five, four, nine. The performer who can thumb-count can dispense with the last fan, having number five replace his card at the previously made break, close the pack and in doing so quickly thumb-count nine cards from bottom of right hand packet on to the replaced card, holding the break above these nine cards. This is the method I use myself. Make the pass at the last break, or shuffle off the top cards. False riffle shuffle and hand the cards to the committee. Then go into the audience and apply your powers of showmanship to the discovery of the cards. They will be in the following order:No. 5 is the 10th card. No. 1 is the 15th card. No. 3 is the 21st card. No. 4 is the 26th card. No. 2 is the 32nd card. As the committee count the cards face-up on to the table, have them show the appropriate card, replace it on the pack and then replace the dealt cards on top. This method hasthe advantage over the others of being short, leaving the time for the performer to discover the cards and, after all. the effect is in the discovery, isn’t it? 8 8 8 8 8 88888888888888888888888888888888~88~SD8~888888888888888888888888.88
(A LETTER FROM JOHN P. HAMILTON continued from Page 55)
Lift or tilt the cards in the right hand, including the five cards, and the spectator places his card on the packet in the left hand (where the break was held, (Figure 6 ) . Close up the cards, pushing the five cards into the left hand and immediately make a new break above the five cards with the left little finger. The remainder of packisclosed up over the break. (Figure 7). Then go to spectator No. 4, fan the cards as before, separating four cards from the end, immediately abovethe break. Number four replaces his card at the break, the pack is again closed and a new break is made above the fourcards. Repeat, separating five cards, and have number three replace his card. Hold break above the five cards. Repeat, separating four cards, and have numberone replace his card. Holdbreakabovethe four cards. Repeat, separating nine cards, and have number five replace his card. Holdbreakabovethe nine cards.
to have the black card from the bluedeck jump over into the red deck and the red card from the reddeck jump over into the blue deck. In other words they are going tochange places. You explain that in order to accomplish this it will be necessary to place the decks close together, in fact on top of one another. You then place the face-up “Red” deck on top of the face-up “Blue” deck. Here is where big hands help. Pick up both decks and with your left thumb riffledownward along the corners and stop whenyou hear the corner short clickby. Obtain a break beneath this card and hold the break with your left little finger. It isnecessarynow to “pass” the cards below your left little finger to the topof the double deck. Youdo this by performing the Hermann pass as you turn the double deck face down and spread it across the table.
You spreadthe cards out until the face-up cards show. You then realize that you have failed in yourendeavour. However,youend triumphantly when you show that though the faces didn’t change the backs did. Yours sincerely, JOHN P. HAMILTON.
A LETTER FROM
JOHN P. HAMILTON Dear Mr. Wariock, I have just received the December issue of the “Pentagram” and read with interest the card problem you posed and your fine solution of it called “The Turncoats”. I have a solution to itwhich I am herewith submittingandas you stated theproblem was presented to several card men you probably have a solution similar to the one I have evolved but here it is anyway, for what it’s worth. The effect really leaves the spectator puzzled and I have had them grab the cards and look them over, trying to find the answer. What I like most about the effectis that the spectators are in the darkabout whatyou are attempting todo until the finale. THE EFFECT One spectator selects a blue deck of cards, another spectator selects a red deck of cards. Each spectator mentally selects a card in his respective deck. Each selected card is returned to it’sdeck, face up. Both decks are ribbon spread face down and the cards that have beenselected from each pack are still seen to be face up. When the cards are turned over it is seen that the face up card in the red deck now has a blue back while the face up card in the b h e deck now has a red back.
THE ROUTINE Two decks of cards are in their cases. One deck is red backed and the other blue backed. One spectator is asked to select a deck. The other deck is placed before the second spectator. The performer removes the blue cards from their case and ashe spreads the cards backs-up in front of the first spectator he says; “The usual way to have a card selected is back up but then you don’t know what card you are getting, so for this effect I will spread the cards face up and have you name any one that you see here in the fan and we will use that one.” Theperformer suiting his actions to his words turns the deck face-up and when the spectator names a card, thatcard isslid out of the fan on to the table face up. The deck is then squaredupand placed face downnext to the selected card which is face up. The same procedure is now followed through with the second spectator. The situation nowis that there are twodecks of cards face down on the table and each has a selected card face up ‘on the table next to it. Each selected card isnowpushed into the centre of it’s respective deck, face up. Each deck is now turned face up. The performer now explains that he is going to have the selected cards
leave their respectivedecks andappear in the other deck,in other words change places. He explains that in order to do this he must place both decks together. As he says this he picks up the red deck and places it on top of the face up blue deck. He now turns the two decks face down and ribbon spreads them across the table. The two face-up cards are seen amongthe face5down cards, but alas! the performer has failed for the face up blue card is still face up in the blue deck while the face up red card is still face up in its red deck. The performer thinks for a moment andthen says : “I bet I know whaa happened. Instead of the whole of the cards changingplacesjusthalf of them exchanged places. In other words the faces of the cards didn’t change places but the backs did.’’ On examination this proves to be true, for the card that was selected from the blue deck nowhas a red back and the card that was selected from the red deck now has a blue back. One pack of red backed cards. On0 pack of blue backed cards. One pair of large hands will help. The so-called “Blue” deck consists of 26 red cards with 26 blue cards on top. The 27th card from the top in the “Blue” deck is a corner short, i.e. the top card of the red section. The “Red” deck consists of 26 blue cards with 26 red cards on top. Pick up the“Blue” deck and spread few a of the top cards so that the spectator sees their blue backs, explain to him that you could have himselect a card sight unseen but forthe purposes of this experimeht you would like him to select a black face card, i.e. a Club or a Spade from this deck. You then turn the deck face up and fan the cards at the bottom of the deck and ask him to name any black card that he sees. Thus he will name one of the red backed cards which occupy the bottomof the d F k . When he names it you will slide it up out of the deckon to the table. Thensquareup the deck and place it facedownnext to the selected card. Pick up the “Red” deck and follow the same procedure with the second spectator but have him name a card with a red face i.e. a Heart or a Diamond. Attention is now called to the selected cards and each is placed face up into it’s respective face downdeck as you explain that this will make it easy to locate the cards again. As each card is placed into it’s deck it is placed in about thirteen cards from the top, or less. You now turn both decks face up on the table as you explain to the spectators that you are going (Continued on Page 44)
46
B O O K S “PATTERNS FOR PSYCHICS” byPeter Warlock, 2ndrevised edition (Published by George Armstrong, price 151-). Most of the books on mentalism-especially those from the U.S.A.--contain at best an idea or two. If you find a complete routine that can be performed without considerable alteration, you’re lucky. If you find two tricks worthperforming as they stand, you’ve got a prize. The rest of the book is usually worth little as practical material. How, then, can we assess the value of a book like “Patterns for Psychics’’,by Peter Warlock? This is a book that contains not one, not two, but at least half a dozen out of its twenty tricks that are absolutely first-rate without altering a single idea. Andthemore thoughtful reader maywell develop twice as many successfultricks than a mere half dozen. These “Patterns for Psychics” are the nearest thing to genuine mind-reading that you’ll ever come across. Take, for example, two in particular which I have been using for twelve years-“Trigon TWO” and “The Taped Slate”. In brief, “Trigon Two” enables the magician to duplicate exactly and without effort a number of cards selected at random by the audience. P r o p ? Gimmicks? None-except for two packs of cards, three stemmedglasses and a bottle of roughing fluid. The clever and unusual application of this last-named item enables the magician to perform a pure miracle. “The Taped Slate” makes possible an astonishing three-phase prediction on a simply prepared slate. No doubtful moves, no difficult manipulations, no possibility of failure. Now: these two are not only brilliant and baffling tricks, they are infinitely more than that. They can be performed singlehanded in the fullest sense of the word. Nobody ig invited to leave his seat and come up to assist in the mysteries. And that, tome, is the hall-mark of good magic. Pickingalmostanywhere in this invaluable book,onecan find acompletemental routinevaried, unusual, baffling, entertaining-from which to build a full act. And, if you pickjudiciously, you need never ask for the assistance of a spectator
onthe stage. Think of the value of that. There are no awkward pauses, no difficult assistants, and no possibilities of anyone whispering“stooge’’. The magician is on his own, whether on the platform or in the drawing room, and performs his miracles without having to depend on the goodwill or intelligence of a nervous assistant. I do not know whether Peter Warlock designed the book with this specially in view, but it is the factor that for me, makes “Patterns for Psychics” a priceless source of fine material - material designed to appealtothe intelligent spectator, material to send theaudience away thinking: “There must be something in this mind-reading.’’ In this new edition the bookis of more practical format. The tricks can be conned without turning back to a lost illustration or a previous reference. The large-sizedpages make for much easier reading than did the late ARCAS edition. Better still, the author has been able to edit the book more efficiently. The book is divided into six chapters: Outlaws of Coincidence (two items); Patterns for Prediction (eight items); Mental Telepathy (five items); Slate Writing (one item); Extra Sensory Perception (three items); and Movement (one item). The divisions are rather arbitrary; for instance, only one itemcomesunder “Slate Writing”, but there are outstanding slate tricks under other headings. And I would take exception to the phrase “Mental Telepathy”. After all, what other sort of telepathy is there? For me, the highlights are “Trigon Two” and “Taped Slate”, together with a wonderfulbillet force in “Tele-Coincido”, a clever,clever faked envelopein“30thCentury Prophecy” (which I have found of great value in a coin transposition I am now working), Peter Warlock’s own startling billetreadingeffect,“What’sin a DeadName,” and a very crafty blindfold in “Stab in the Dark”. “Patterns for Psychics’’is a book that just had to be written, in order to make complete the bibliography of mentalism. Andas Annemann nevergot around to writing it, it could not have had a better author than Peter Warlock. WILL DEXTER.
TRICK REVIEW “ELIZABETH’S FANTASTIC JOKER” Marketed by Elizabeth Lucas of 24, Castle St. Portchester, nr. Fareham, Hants. (Price 30/-). The effect of this trick is direct as you could wish for. First of all a pocket wallet is placed on the table in full view. You mention that it contains a Joker and one other card. A spectator is then asked to think of and name any card in the conventional pack of playing cards. With the name of thecard given andwithout anyfancy
moves the wallet is opened and together with the Fantastic Joker isdiscovered the card named by the spectator. The trick comes to you with everything including quite a nice pocket wallet. Besides the original instructions Fred Lowe contributes two routines so that, in all, the purchaser hasthree methods covering various phases of the trick, at his disposal. Always agood trick withanymagician,in the right hands this could be an “Out of this World” Brain Buster.
47
T
HOSE who were members of the Magic Circle
way back in theAndertons’days will be pleased to know that a “Those were the Days!’’ SupperandEntertainment willbe held atthe Windsor Castle restaurant, Victoria, on Saturday, May 23rd. O:d memories should berevived and a good time had by all. Tickets, price 18/6 each, are available fromEdwin Brittian, to all those whose membership dates from pre-1935, and also their ladies. Wehope by thetimethatthe date comesroundour old friend Edwin Brittian will be really fit and well. The past couple of months have seen him undergoing great agony with a most persistent attack of sciatica. It was nice to meet again, Len Mason of Rose Bay, Australia, who made a fast business trip to this country before going on tothe States. Len hopes to be across to next year’s British Ring Convention where he will have the opportunity of meeting all those friends he made on his last visit. The Chicago combinedS.A.M. I.B.M. convention looks like being something really to remember. There’s talk of a meeting of all the living Greater Magic Card Stars and in place of those who have departed, the election of contemporary card men to take their place. Shoot the question at a knowledgeable cardman to name the Greater Magic card stars, and few will come up with the complete list, perhaps because one or two names are associated less with cards than other branches ofmagic. Standing for the next National Presidency of the S.A.M. are two American magicians wellknown to English magi, Tom Hawbecker, oneof the hardest workers S.A.M. has ever hadandDr. Zna Bennett, the I.B.M. Welware worker.
A word of warning.Sometime back when we were writing up Diabolo material we gave a version of the “Snowstorm in China’’ in which we advocated the use of coloured tissue. The warning is to the effect that it shouldn’t be used on a dance floor forthecombination of waterand runny dye in the paper can cause a stain on the floor which only a sanding operation can remove. Today the use of hardboard as a substitute for plywood in magicalapparatus is proving its
worth. With hardboard, however, there is a need to seal the board before applying paint. If at any time you have a spot of emulsion paint left over. dilute this with ten parts of water and you’ll find that an application of this to the hardboard will effectivelyseal it. At a show that we staged at the Midland Bank Magical Society the other evening, there was much admiration expressed from the artistes taking part (Michael Bailey, John Salisse, Francis Haxton, George Getting andTonyCrabbe) at the new stage. This is situated in the Smoking Room and a ton of money has been spent in making it perfect in every way. With a Victorian proscenium which has a place in contemporary shows,doub1,e trach curtain runners whichallow foranimmediate swing round of back cloth plus the very finest in lighting. it gives every aid to the performer. The County of Gloucester owes much to the ReverendMichaelSeacome for bringing into its boundariessome firstclassmagic. He hastwo shows planned for this season. One in April with Stanley Thomas. Geoffrey Buckingham, Eric Williams and John Todd and Jill, with ourselves also trying to keep themagical flagflying, and another in June when Michael and Valerie Bailey, John Salisse and Francis Haxton will be among the many artistes taking part. Michael very much wanted the Diabolo act, but Francis and I have put that behind us. ~mmmmmmmmmmammmmmmmmmmmmmmmmmmmmmmmmmmmmm~mmmmmmmmmmm~~mmm~mmmmmmmmm~~
m
ELIZABETH’S FANTASTIC JOKER 0
!
3
Effect AnySpectatorcanname NO othercard thanthe ONLY card in Walletwiththe JOKER Opinions Experts of the :
Peter Warlock-“A real Brain Buster” I Fabian ‘Ab“’-“Most Impressive” 5 Davenports-“Unbelieveable” Fred Lowe-“Cleanest Ever” American : 3 Ferguson-“This .Grand Effect” Holden’s-“Stunmng”
E 3
m
m
3
3
i m
m :
m m m m 8 m
m m
PRICE COMPLETE PP 30/ELIZABETH LUCAS (nee Bell) 24, Castle Street, Portchester, Nr. Fareham, Hants. : 8
~~~mmmmm~mmmmmmmmmwmm~mm~mmmmmmm~mm~mmmwmmm~~mmmmmm~mmmmmmm~mmmmmm~~~
A NEW GIANT-SIZED MANUAL
PATTERNS-PETERF O R PSYCHICS
WARLOCK. BY is placedin an unsealedenvelope and rested This beautifully produced giant-sized manual (84 against a glassin full view. Three spectators by 11 inches) contains twenty of the most cherchoose a colour, four-figure number and any city ished effects from Magic’s most fertile brain. Not in the world, and these are noted down on another only is the author renowned for his originality, but card. The spectator who signed his name removes also for his performing ability, as evidenced by the cardfromthe envelope and checks his sigthefactthat he won the British Ring, I.B.M. nature and turns over the card, Meanwhile the Shie:d with one of the most outstanding acts that performer reads from his card the thoughts he has has everbeenpresented in this competition. If noted down, and each time the spectator confirms proofwereneeded of thePRACTICABILITY that the prediction is correct.It’s as direct as and ENTERTAINMENT VALUE of the effects that, and there are no stooges, carbon impressions originated by Peter Warlock, this is it! or such-like methods. This book deals with five distinct types of mental PIN POINTED SLATES gives an unusualeffect effects, demonstrating: Coincidence, Prediction, in that three slates are plainly shown to be blank Writing, Extra Mental Telepathy, Spirit Slate on all sixsides,yet upona wordbeingchosen Sensory Perception and Movement of Objects. under very fair conditions, it appears as one of a TRIGON TWO is one of the most beautiful series of four separate messages upon the surfaces Coincidence effects ever conceived: The performer of the slates,building up from an apparent misdeals a pack of blue backed cards and stops three take to the finalclimaxwhichensures applause. timeswhen requested by a spectator, andeach Under the heading ‘Movement’ is a most unusual time places the card stopped at back out into a CARD RISING effect, that will be of interest to stemmed goblet. Another spectator now takes a conjurers as well as mentalists, and might be said pack of red backed cards, shuffles them and himto be worth more than the price of the book on its self deals themon tothe table, stopping three own. A borrowed pack of cards and borrowed times and placing a card aside each time, whenglass may be used. Three cards are freely chosen ever he likes. These cards are placed backout and signed (no force of any sort), replacedin in the three glasses,in front of the other cards. the pack and the packis placed in the glass, which Each pair of cards are removed, in turn, from the is rested upon the seat of a chair well away from glasses, andare shownin each case to be an the performer. In spite of these impossible identical pair. Coincidence indeed! conditions the three cards rise one at a time, and h 30th CENTURY PROPHECY theauthor is the last card can be made to jump out of the glass. certainly ten centuries ahead of his time in what is There is no switch of pack or glass, and no cards conceded tobethe most direct triple prediction are added or taken away from the borrowed pack. onecould wish for. A spectator signs his name These are but four of the twenty fine effects in this across theback of acard,theperformer writes great book-spacepreventsus from describing three predictions on the other side, and the card them all. Il!ustrated with Drawings by George Hill and Peter Warlock. Finely printed in the usual Armstrong manner and bound in strong Antelope finish boards. PRICE 15/- : POSTAGE 6d. ($250), From the Publisher : G E 0 R G E A R M ST R 0N G 6W 2 ,E L L I N G T ORNO A E DN , F I E LM D .I D D L E S E X . L
PETERWARLOCK’S
THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of Oak Buildings, EustonRoad,London, N.W.1. Saturday,March14th Concert at King George’s Hall. ParticularsfromHon.Secretary: PETERNEWCOMBE,
38, Overdale Ave., New Malden,
*
Surrey.
is published On the 24th Of each month and can be obtained direct from the pubIisher for ‘/7per singleEffect rel="nofollow">’. Magical if possible.Also Complete inmany en. velopes want Sub’ 18/-Post free. U, F. GrantandGrantand Menge by George Amstrong, mimeographed items. 62, WellingtonR&,EnfieldMiddx.
249
Wa’lington
GEORGE ARMSTRONG 62,Middx. Enfield Wellington Rd.,
Goods are fullv endorsed this bv Bulletin -
‘in lieu,
allowyougenerouscredit Send lists to *
Editorial AddressPeterWarlock,
Surrey.
Every Advertiser’s
WANTED BY GEORGEARMSTRONG of the “c T J(ordan)series of
PENTAGRAM
Y
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. AndPrintedbyCentralPrintingCo.(Chas.Sowden)Ltd.,Burnley,Lancs.
*
TWO IN TIME PETER WARLOCK
l. CIGARETTES TO FLOWERS HE EFFECT is very brief but colourful. The magician takes from his pocket a packet of twenty cigarettes, opening the packet he removes one, places it in his mouth and lights it. Blowing a puffof smoke towards the packet of cigarettes, thelatter instantly changes into a bouquet of flowers. The requirements. Some cardboard, sellotape and a packet of twenty cigarettes, Players Churchman or whatever you smoke. You'll also want fifteen first quality, repeat first quality spring flowers. The ones that I used in a model I made up for a friend came to him from Lou Tannen in New York,but I have no doubtthat English dealers will supply some well up to this standard. From the cardboard (and this should strong be but not too thick) make up a shape as shown in Figure 1, using sellotape to act as a binder. The hinge of the piece that hangs down is also made from sellotape.
T
A small hole is cut in the back of the box. The purpose of this is to run the strings of the spring flowers through so that they be secured at the back. Now completely dissect the outer casing of the cigarette packet so that you have a separate front. back and twosides. Gluethe two sides to the corresponding sides of the box you have made. Glue the back to the back of the shape, taking care to cut a hole which coincides with the other hole and finally on the flap glue the front of the outer case, but in applying the glue see that the topmost three-quarters of an inch is free from adhesive. as shown in Figure 2.
PAKT /S & @ L E
2 From the' inner casing cut away the flap and part of the back. This is then glued on tothe back of the box so that when the apparentcigarette packet is intended to be closed the flap is tucked into the gapbetween the packet front and the flap, as shown in Figure 3. The size approximatesto cigarette packet.
the size of the
VOLUME 13 NO. 7
Take your fifteen flowers and placing the fifteen strings together fasten them with a small piece of sellotape so that they become attenuated. ~~~. ~
-
1/6
(20 Cents
-
~~
APRIL, 1959
towards it. At the same time the left hand fingers release their grip on the flap and the flowers inside automatically push it forward and down, and the bouquet appears.
LINE OF SILKS We’ll suppose that in the course of a silk trick like the twentieth century the performer is left with a line of knotted silks, saymauve,yellow and green. The audienceisasked to note that the yellow is in the centre. Gathering the siiks up the performerthrowsthem into theairandas they come down and are caught the yellow is now seen to be one of the end silks. Requirements. Three different coloured silk handkerchiefs, saymauve,yellow and green, and two small bar magnets. 2.
in this condition they are taken through the hole from the front of the box to the back and secured with yet another piece of sellotape. See that about two inches of string is inside so that when the flowers expand they formquitea solid bunch. Incidental:y, whilst you are passing the strings through the back, the flowers should be held in a bulldog clip. Hold the flowers and remove the clip andthen bringing up the large flap, take the packet flap and tuck it in as previously described. Youwillfind that the packet remains closed without any chance of it accidentally opening. Having tried this, open the flap, place a loose cigarette inside and reclose the flap. Place the packet in your left hand pocket and a lighter in your right hand pocket.
Presentation. Removethe cigarette packetfrom the left hand pocket, taking care to well cover the back of the packet where the strings are held by sellotape. With the left hand fingers pressing down on the flap (i.e. the large flap) open the top of the packet by lifting the small flap, and withdraw a cigarette. Place the cigarette in the mouth, retaining a grip on the packet with the left hand. The right handtakesthe lighter and lights the cigarette. The lighter is replaced. The left hand comes up to shoulder height and you blow smoke
At one corner of the mauve silk sew one of the bar magnets. Do the samewith the green. To the opposite diagonal corner of the mauve silk tie the yellow silk with a reef knot and then taking the end of the greensilkwhich contains the magnet tie round the opposite end of the yellow silk a single knot so that with a reasonable pull the yellow silk can slide out of the knot.
Presentalion. Younowhave the three silks in a line, mauve,yellow and green. Hold the magnet end of the mauve in the left hand, and the nonmagnetend of the green silk in the right hand. Thus the silks hang naturally between the hands with the yellow in the centre. Draw attention to position of yellow silk and as you do so raisethe right handand bring it towards the left so that the magnet in the green silk comes into contact with the magnet in the mauve silk. Let the left hand grip the silks at this point, the right hand releasing its hold on the green silk. The silks are apparently held bunched in the left hand. The right hand is displayed and comes in totakethe silks. Actually asit takes them the right hand pulls on theyellow silk, releasing it from the knot of the green silk. The silks are thrown into the air and asthey come down and are caught their order is seen to have changed.
THE CARD WORK OF CRAHAM ADAMS THE “WHISPERING” TRICK
T
HIS trick is very 1,ittle known and was described in Hoffman’s “Card Tricks” (1889). Professor Hoffman said it is of Spanish origin and that itcan only be shown to one person at a time. I have been showing this to many audiences for years and never fail to get plenty of laughs with it, and that is what is needed these days.
THE EFECT Here is the effect as I do it. An assistant is selected from the audience; one who is likely to help the performer. He is given a pack of cards to shuffle. He thenselects onecard, which is shown tothe audience. The conjuror announces thatthe result of the experiment can only be
51
announced in a whisper,owing tothe fact that sound waves interfere with the hypnotic influence. The card is replaced in the pack, the performer shuffles thepack, places itbehind his backand removes onecard,atthesametime mumbling somethingtothe assistant. As the assistant can make neither head nor tail of this the performer whispers into his assistant’s ear “The Name of the Card.” The card in the performer’s hand is then shown to be the selected one. Another assistant is chosen and the same thing happens, but this time the first assistant is asked to concentrate and whisper the name of the selected card, and this he does successfully. The third time the audience are asked toconcentrate on the card, and they are able to name it correctly.
THE METHOD Inthe first case thecard is an ordinary selection; it is brought to the top of the pack and glimpsed. At the sametimelook atthebottom card of the pack and whisper to the assistant, “The
ANY CARD
I
HOPE this effect will suit the reader as it has been a favourite of minefor a long time. It is my method of presenting “Any card called for, produced from thepocket.” ArthurLloyd“TheHumanCard featured this for years andmade income from this one effect alone.
Index”, a verygood
I remember buying the pocketindexes from Waite of Manchester, “asused by Herbert Brooks,” and it became a craze during the war to produce meal tickets, seasontickets,pawn tickets, ration cards and fourteen days leave tickets from the trouser pockets of a khaki uniform. Billy O’Connor, Tom Fagan and others did the effect without the cardboard fakes; Arthur Buckley wrote up his version in a manuscript. In presenting this to my usual Clu6 or Drawing Room audience, I present it as a feat of memory. Here are twosystems for locating the selected cards.
FIRST METHOD First with the “Si Stebbim” set-up. The pack is divided into four groupsof thirteen cards:-
next man will receive the five of spades (or whatever the bottom card is), whisper that card to him when I tell you.” Stand away and say aloud, “Is that right?” He will nod his head. Then show the card he selected. Getanother assistant and force the bottom card. This card is whispered to him by assistant numberone as the performer produces itfrom behind his back. (It was brought to the top of the pack after rep’acing.) The third time,have the card selected and replace and bring it tothebottom of the pack. Mumble to the assistant anything that cannot be understood, and as you again whisper the “name of the card”, place your right hand. containing the pack, over his left shoulder. As you do this show the bottom card to the audience and attract their attention by tapping the face of the selected card with the forefinger of the right hand. The audience will see this and will be able to announce(in a stage whisper) thename of the card. Produce it from behind your back as they do so. Try this out at your next show.
CALLED FOR 1st Group A.C. 4.H. 7.s. 10.D. K.C. 3.H. 6.S. 9.D. Q.C. 2.H. 5.s. 8 .D. J.C.
2nd Group 3rd Group 4th Group A.D. A.H. A.S. 4.c. 4.D. 4.s. 7.H. 7.c. 7.D. lo.s. 10.H. 1o.c. K.D. K.S. K.H. 3 .c. 3 .D. 3.s. 6.H. 6.D. 6.C. 9.s. 9 .H. 9 .c. Q.D. Q.H. Q.S. 2.c. 2.D. 2.s. 5.H.. 5.D. 5.c. 8.S. 8.H. 8.C. J .D. J.H. J.S.
The first thing to learn is the whereabouts of each complete suit. You know the suits are arranged club, heart, spade and diamond. In Group 1 are the A.K. Q. J. of clubs, so we call it the Club Group. In Group 2 are the 10, 9, 8 of clubs. In Group 3 are the 7, 6 , 5 of clubs. In Group 4 are the 4, 3 , 2 of clubs. Group 2 we call the Heart Group, it contains the A, K,Q, J, of hearts.
52
Group 3 is the Spade Group. Group 4 is the Diamond Group. In presenting the effect theright-hand pocket will hold Group 1.
coat
The right-hand trouser pocket will hold Group 2.
The left-hand trouser pocket will hold Group 3. The left-handcoat pocket Group 4. Shouldanyone call fora club, immediately think of the Club Group,which is in the right-hand coat pocket. Should it be the ace, king, queen or jack, it will be in that pocket. The 10,9, 8, in one group forward. The 7, 6, 5, in two groups forward. The 4, 3, 2, in three groups forward. The samemethod of counting isused for hearts, spades or for diamonds. The only thing now is to produce your cards. Learn the order of your cards both forward and backwards. e.g. Forwards: Ace, four, seven,two king, three, six, nine, queen, two, five, eight, jack. (Eachcard three forward invalue). Backwards: Jack, eight, five, two, queen, nine, six, three, king, ten, seven, four, ace. (Eachcard three back in value). After time a this recitation becomes mechanical. Placeeachgroup of cards in your pockets, faces of the cards to your body, and when a card is called:First locate the group pocket. Put your hand into the pocket and should the card be in the first six, recite the order of the cards to yourself, picking up each card until you come to thedesired card. Then take out all those cards, showing them as one card. Should the card called be in the last sevenRecite your order backwards,taking.the whole packet in your hand, but counting the cards off with the thumb until you come to the desired card. Leave this cardonthe face of theremaining packet, remove the whole packet with the card on the face, and show as one card. In each case, replace thapacket of cards (apparently one card) and you are ready to produce the next card.
SECOND METHOD The second method uses the“Eight Kings’’ set-up. He= again the pack is divided into four s o u p s of thirteen cards each:-
1st Group 8.C. K.H. 3 .S. 10.D.
2.c.
7.H. 9 .S. 5 .D. Q.C. 4.H. A.S. 6.D. J.C.
2nd Group 3rd Group 8.H. 8.S. K.D. K.S. 3 .c. 3 .D. 10.H. 1o.c. 2.s. 2.H. 7.D. 7.s. 9.D. 9.c. 5 .H. 5 .c. Q.S. Q.H. 4.D. 4.s. A.C. A.D. 6.H. 6.C. J.S. J .H.
4th Group 8 .D. K.C. 3 .H.
lo.s. 2.D. 7. c . 9.H.
5.s.
Q.D.
4.c.
A.H. 6.S. J .D.
The usual mnemonic can beused to remember “EIGHT the order of the cards in eachgroup. KINGSTHREE-TENedTWO save (SEVEN) NINETY-FIVE QUEEENS FOURone(ACE) sick (SIX) KNAVE”. Group 1 contains the 8,2, Q and J of clubs. Group 2 contains the 8, 2, Q J of hearts. Group 3 contains the 8,2, Q and J of spades. Group 4 contains the 8, 2, Q, J of diamonds. Group 1 contains the K, 7 and 4 of hearts. Group 2 contains the K, 7 and 4 of spades. Group 3 contains the K, 7 and 4 of diamonds. Group 4 contains the K, 7 and 4 of clubs. Group 1 contains the 3 , 9 and Ace of spades. Group 2 contains the 3, 9, Ace of diamonds. Group 3 contains the 3 , 9 and Ace of clubs. Group 4contains the 3 , 9 and Ace of hearts. Group 1 contains the 10, 5, 6 of diamonds. Group 2 contains the 10, 5 and ,6 of clubs. Group 3 contains the 10, 5 and 6 of hearts. Group 4 contains the 10, 5 and 6 of spades.
So it will be seen that the suits are divided into groups in the following order-8, 2, Q, J - 10, 5 , 6 - 3, 9, A - K, 7, 4. PATTER
It is a simple matter whichever arrangement you careto use, and wellworthpractising. I present it in the following way!:“Ladies and gentlemen, a feat of memory with apack of cards. I’llshufflethem. (False shuffle and false cut). “ I will glance through the pack and attempt to memorise the fifty-twocards. We’ll takethe
S3 first thirteen cards. I’ll look at them and you may look at them. And you sir, I would like you to see them. (Run them before the eyesof a spectator). And now sir, as you have memorisedthose,I’ll place them into this pocket. Youhavean easy task to memorise thirteen, but I mustmemorise
fifty-two. The second thirteen is a little harder for me, but it will be easy for youmadam.”(Show the second thirteen to a lady, then place them in your pocket. Repeaton the same lineswith the third and fourth packets and then carry out the effect, but don’t prolong it!)
THE BOOMERANG CARD
E
VEN in the days of Robert-Houdin “The BoomerangCard” was popularand exhibitions weregiveninwhich a card was thrown into the air, returning totheperformer who caught it in his hand, in the pack, or cut it with a pair of scissors. The late Tom Fagan madea speciality of this, catching the card in the pack in between two other cards, the names of which had been called out by the audience. He taught this to me in 1922, when hs had justbegun to perform it, butas no two performers should use the same thing in the same way. I have hand:ed it in a different manner.
THE THROW Hold a card by the middle of the short/end, between the thumb and second fingers of the right hand, the index fingerresting on the corner as shown in Figure 8.
Drawbackthe wrist towardsthe body and then extend the arm sharply at an upward angle of about 45 degrees and release the card, throwing it a yard or two.However, asthecard leaves the hand it is necessary to give it a spinning motion with a backward jerk of the hand and a “return” movement, similar to that which one gives to a
child’s hoop. If this is done, when the card reaches the end of its course, its inclining plane revolving on its own axis in the air, will cause it to return to its starting point, where it can be caught.
THE FIRST METHOD.
The first method is quite open. The pack is shuffled and two cards are selected.Allow the assistants to have thepack in their possession when making their selection. The cards are replaced and brought to the top and the pack is again shuffled, the two cards being retained on the top. Another assistant is asked to make a selection and to retain his card. The twoselected cards, resting on the top of the pack, are brought to the centre by the pass. They are divided, the bottom portion of the pack, with one selected card on top, being gripped by the fork of the thumb and the second finger; the top portion, with the other selected cardon the bottom, being held by the fork of the thumb and the tip of the thumb, so that the pack may be opened like a book. See Figure 9.
The third selected card is taken in the right hand and thrown into the air by the “Boomerang Throw.” As it returns it is an easy matter to catch it in the book-like pack. The pack is immediately allowed to close andthe rest of the experiment follows naturally. Turnthe packover and the three selected cards are found together, the “Boomerang Card” being between the other two:-
54 “Ladies and gentlemen, the ace of spades is somewherein thepack, restingbetweentwo cards, although I have no knowledge of the selected cards. The ace is between the nine of diamonds and the six of clubs. Are they the cards youselected? They are, thank you!’’
THE SECOND METHOD In this method theconditions seem impossible. It may be conjuring for conjurers, but the method is practical. Two spectators each peek at a card and they are immediatelygiven thepackfor shuffling. A third spectator selects a card. This is thrown and caught between the other two.
Twopacks of cards are used. One isprearranged in your favourite system and the other is sorted into twopocketindexeswhich are placed one in each trouser pocket. The first spectator cuts the pack and looks at the card cut to. The second spectator doeslikewise, and in each case the tophalf is fairly dropped on top. In each caseyoudiscover the card by noting the card on the bottom of the top half as it is replaced. Immediatelyhandthe pack tothe second spectator for shuffling, and then ask him to pass it to a third spectator for him to remove a card. This will give ample opportunity for thetwo duplicate cards to be removed from theindexes and palmed. As the pack is recovered the two palmed cards are placed on top, brought to the centre and divided as a1,ready explained. The rest you know.
P E T EWRA R L O C K ’ S
Under this title wepresent a newlowpriced utility device that gives the following effect :Taking a piece of verystiff paper, the conjurer forms it into a rectangular tube. The audience are then allowed a view of the tube. Three twelve through each end inch silks are tucked inside and once again the tube is turned end sides on allowing the silks be to seen through each end. The “ Wham!” the paper is flippedopen and shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used for the production or change ofsilks.Remember the following points ?1. Completely self-contained. 2. No tricky angle work.
3. Nothing to add
or take away.
4. No threads or flaps.
5. No body work. 6. Always ready. 7. The price makes it
a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
PETER WARLOCK,
24, Wordsworth Road, Wallington, Surrey or from your favourite dealer.
MAGIC GO ROUND - Continued from Page55 One of the most delightful events we attended recently was the Press Club ‘Magic Circle’ evening. As official guests were the Magic Circle President, Vice-President, Secretary andtheEntertainments Secretarywith their respective ladies whilst the McCombs, TommyCoopers, Berglas’s andWarlock’swere the guests of theDailyMirrorT.V. correspondent, Clifford Davis. There were excellentspeeches from David Ensor, the Chairman, and Francis White. The show which followed the dinner, and was lapped up by a most responsive audience was.givenby June Merlin, Billy McComb,David Berglas, TommyCooper and
Peter Warlock whilst Cligord Dads was an expert compere. We’re writing this on the eve of the British Ring regional lunch at Leicester. The rain is pelting down and we’re hoping that it’sgoing to be a little better for the run upto Leicester tomorrow. The last time wewent to “The Bell’’ at Leicester, for a lunchwas on thefirst occasion of Zina Bennett’s arrival in this country. With Francis Haxton and myself there travelled Vakil who hadcomemanythousands of miles to see magicians in this country. On this trip we take a visitor that has travelled even further, namely, Len Mason, from Australia.
55
F
ROMHans Trixer we’ve received a most comprehensive report of the first South African Convention which took place at Johannesburgon Easter SaturdayandSunday. Organised by the Transvaal Magic Circle, Hans says that it can be summed up as a “tremendous success.”
Magicians travelled from so far away as Cape Town(onethousand miles) andRhodesia.On the Saturdaymorning in the Technical College Hall some seventy conventioneers were welcomed by the President, (who was the driving force behind the whole affair) of the T.M.C.Official.delegates were introducedand telegramswere read. After this the firstshowwasstagedinwhich among others Pat Levey (remember his lovely version of Zombie at the Scala) and Jack Yates, a Yorkshire lad,took part later.CaptainSaunders gave a twenty minute lecture on the history of The Magic Circle and our friend Hans gave the audience the Hindu thread trick, Slydini’ Paper Ballsover the Head and some card effects. Hans then goes on to say that the buffet lunch which followed the show was the best he had ever sampled at a magicalconvention and when we think how much he has travelled and how many conventions he has attended this certainly means somethingtothe epicure. The afternoon saw a public show staged for the children from orphan, ages. The highlights were thecompere,Tony Lotter, Stan Chatfield (who many of youmet at Eastbourne last year) andthe“Mad Professor Swanepoel.” Saturday evening meant the Gala showwith expert and excellent compering by Jack Yates. Dudley Smithopened with a card act inwhich only Jumbo cards were used. The Pollock influence was noted in the second act ofJimmy Wilsonwho apart fromdoveproduction showed that with his addition of general magic experience should take him right to the top of the magical profession. There was a spot of ventriloquism and the firsthalf of the showclosedwithsome pleasing sleight of hand and the first showing of some black light effects presented very stylishly by Wally Radford, or rather as he was billed. “Palmetto.”
The second half opened with some delightful comedy by Bob Roberts, and Rodriguesfrom Cape Town closed the bill with a grand Chinese act. Sundaymorningwasleft free so that conventioneerscould do as theypleased. The afternoonsaw an organised coach excursionallowing all who wished to see the beauty spots of Johannesburg. After tea there was a not soseriouscom, petition which was won by ‘Professor Swanepoel.’ Mention must not be forgotten of a lovely colour filmshown to the conventioneers by Rodrigues. It portrayed the Ritual dancers of Cape Malay and what most interested the magicians were the intricate sword dances that were incorporated into the dance routines. In the evening a dinner dance took place which was interrupted by two short speeches and a short lecture by Hans entitled ‘Magic for the Underpaid’ (so-calledbecause of its non-apparatus nature). The evening concluded with a magical cabaret in which magicians from all over the Union took part. Hans concludes by giving special praise to the performance of Colin Holtman who gave a most impressive and spectacular mental act of about ten minutes duration. It includedFetch’slovely slate prediction and the ‘Seven Keys to Baldpate.’ With the success of this initial convfnwn there seems little doubt that more will come ill this great country. Becausdof the distances .to be travelled large scale participation is not easy, but the spirit of goodwill and comradeship, H m s says, was as good as one wouldfind anywhel:: in the world. Thank you Hans! It’s good to know that Tarbell haspaid 01 another visit and that London has had an opportunity of hearing and seeinghimgive one of his famous lectures.
Those whomissed the opportunity of seeing the films shown by Harry Stanley in London and provincial centres missed some great magic. (Continued on Page 54)
EDDIE JOSEPH S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your ownshells, should you prefer the genuine item instead of the present-day plastic variety.
I F YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, butthere is no reason at all why you should not master them all. NOTHING is left to the imagination, for in this section alone there are no less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyouhavemastered them, but even this is done for you, with Three completely baff;ing and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has tenphases of baffling moves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirelynew to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or how a spectator may challenge you, he can 26 fine illustrations by Jack Lamonte make everything is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE ASA THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
G E OARRG MES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: FrancisWhite,Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of OakBuildings, Euston Road,London, N.W.l. Saturday, June 13th C O N C E R T King George’s Hall. ParticularsfromHon. Secretary: PETERNEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser’s
l
I
PETERWARLOCK’S
PENTAGRAM
W ANT’ED
is published on {the 24th of each month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington R&., Enfield Middx. Manuscripts for publication & books for review shouldbesent tothe Editorial AddressPeterWarlock, 24, WordsworthRd.,Wallington Surrey.
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many items by C . T. Jordan, U. F. Grant, Grant & Menge, Ovette, etc., etc. Only originals p’ease, and not typed copies, I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62, WellingtonRd.,Enfield,
Goods are fully endorsed Bulletin this by
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, Lancs.
*
Middx,
SEE HOW IT RUNS! PETER WARLOCK
T H E p?ssing, of thesalt
from hand to hand m m b l y IS a very nice piece of visual magic. The trick, as a trick using salt (for the passing of loose tobacco must go intothe same category) originated so far as I know, with the very versatile and inventive magician, Fred Cullpitt. It is and in his excellent little book, “ Laughter that the first reference willbe Legerdemain found to this trick under the title of “ The Flying Salt.” The method makes use of the conventional thumbtip. Actually, Cullpitt seemsmorepleased by finding an additional use for thethumbtip than for the effect of the trick. Since that time the number of variations devised must be countBss, only my friend Jack Potter knowing exactly how many.
into the air with his right hand, the fingers close and from the fist cascades the vanished salt. REQUIREMENTS
One eighteen inch white silk handkerchief. A small salt shaker that pours easily. A gimmick made as follows :-
”
The effect to be described and one which I am using has as a means for transfer something going back further than Cullpitt’s idea. I t was in 1921, that OswaldWilliams after seeing an effect of to use, in exmine whichheaskedpermission change passed on a method for transferring invisibly, some sand poured into one hand, into the other. I t was a clever idea and later he published the method in the Magic Wand.” “
The effect is as follows:The conjurer showing both his handsto be empty, removes his handkerchief from his breast pocket with the right hand. He drapes it over his left fist and pokes it down into the fist forming a small pocket. Therighthandtakes from the table a saYt shaker and the contents are allowed to flow into the pocket the in handkerchief. When the shaker is empty it is replaced on the table. Now without any suspicious moves the handkerchief is slowly removed from the left hand, all trace of the salthaving vanished. The handkerchief is quite clearly empty and so too areboth hands. Reaching ~
VOLUME 13 No. 8
.. . .
-
First of all go along to your local handyman’s stores and see if they keep the Welpac series of screws, tacks, etc. They are supplied in small transparent phstic containers, andthe size you require is that which has on the label ‘‘ F. B. Drugget Pins.” When you’ve got this, take off the cap and empty out thecontents. Across the bottom of the container, which is a bright red, paint either with flesh coloured paintor cover with flesh covered adhesive tape. Now at thetop of the container on opposite sides make two small holes. You’llnow require some florist’s wire. Cut off a length measuring about three and a half inches and takilg one end through each of the holes, make a loop that willallow your thumb to pass easily through. When the loop is the correct size twist the free ends around the wire so that the loop is secure tothe container. The essential thing is that the thumb can pass easily in and out of the loop. The accompanying illustration shows how the fake appears:“
”
The gimmick is nowfilled almost to the top with salt, and this amount is then poured into the -
116
.
- ~.__
.-
-
(20 Cents)
-
~
~
__
MAY, 1959
58
saltshaker. In this way all thesalt now inthe shaker can be vanished. Takethe silk handkerchief, fold itin four and place it in the outsid,e breast pocket so that only a corner shows. The gimmick is then slipped in behind it, the top of the loopcoincidingwith the protruding corner of the handkerchief. With the salt shaker on th,e table, whichshould be to the right of the performer, the performer is set for the
handkerchief and then taking one corner with his right hand fingers,slowlywithdraws it from the left hand, letting it beseen that thesalt has vanished.Both hands display the handkerchief and then thehandkerchiefispassed to theright hand, where it isheld by onecorner. With easy positioning the right hand turns allowing the palm and fingers to beseenwhilstthefakecontaining the salt hangs behind the corner of the handkerchief like this: -
PRESENTATION
Sho,v both hands to be empty. The right hand reachesacross the body to take thehandkerchief from the breast pocket. The fingers come in front and thethumb taking the handkerchief at the rear engages inthe loop of thefake.The fake should not do more than hang from the first joint of thethumb.Thehand moves upwards taking both handkerchief andfake. The right hand is held at rightangles tothe ground and the left hand takes the handkerchiefanddisplays it The fact that the right hand is at right angles to the ground completely conceals the fake which hangs now from the right thumb. The-handkerchief is now draped over the left fist, and the right hand first finger pokes it down into the left fist. At this point, the conjurer shouldbe standing halfright tothe audience. As he nowgoes to pick up the salt shaker, which remember is on the table on his right, hemoves left side on to the audience and in the fraction of asecondbeforehisright hand moves away from the handkerchief totakethe shaker,the left hand fingers take through the handkerchief the gimmick offthethumb of the right hand. The right hand now takes the shaker and the performer faces his audience but the position of the left hand isheld so that the gimmick is inthefolds of the handkerchiefnearest to the performer. Thesalt is now apparently poured into the handkerchief, but really intothefake. As the pouring is done the performer takes the shaker upand down, thus adding tothe effect. When the shaker is empty, it is replaced upon the table. The right hand now flicks an imaginary grain of salt off the top of the handkerchief. This is repeated. Actually what happens is this. With the firstflick, the performerdoesnothingmore thanthat. With thesecondflick,however, the thumb of the first finger enters the wire loop and giving a half turn apparently flicks a grain of salt to the left sideof the audience. Thenturning slightly more his right hand comes at right angles to the ground and the left hand releases its hold on the fake and the right hand moves away the gimmick hanging from the right hand thumb, the fingers of the right hand being slightly apart. The fake is well covered. The performer blows at the
Theright hand returns to its previousposition and thehandkerchief is taken back by th,e left hand. Now reaching intotheair,the right hand fingersintheaction of closing into a fist, grasp the fake and at the same time see that the wireloopisdisengaged from thethumb.The right hand turns, allowing the salt to pour on to eitherthefloor or a plate. At the conclusionof thepourthegimmickis thumb palmed inthe right hand and in the action of apparently dusting the salt from both hands with the handkerchief thegimmickiscovered and taken away. Handkerchief and gimmick are replacedin the breast pocket.
LET A
MAGICIAN SELL YOUR
BUSINESS FOR YOU
CLEMENTS & CHAMBERS CONSULTANTS BUSINESS TRANSFER
AND SPECIALISTS
OFFER AN ETHICAL,NATIONWIDE. AND FIRST CLASS SERVICE.
- . . .. _
HUNDREDS OF CASHCLIENTS WAITING T O BUY. _ .. .. _
145, FLEET STREET,LONDON,E.C.4. (Over the Cheshire Cheese)
Fleet Street 7666-0685
59
THE CARD WORK OF GRAHAMADAMS MY F A V O U R I T ET R I C K most conjurers appreciate the idea of Ience,THINK showing the working of atrickto theaudiand leavingthoseladies and gentlemenin state of bewilderment. It is the imp in us, and itwillalivays bring the required laugh from the aforementioned bewilderment.
likelihood of myfinding it. I willlose them altogether by mixing them up again,and place the pack into the empty pocket, so.
;L
I saw DeBiere and +hislittle black bag time after timewithout tiring, and each time felt that I\had my money's worth. I must have seenhim nearly a hundred times, yet knew that he had his tongue .in his cheek at least half the time he was working ; I fclt that with the three things he was doing at the time he accomplished more than whenhe toured his ten tons of apparatus. I do not think it is taking a liberty with the audience, and I am sure they enjoy the explanation as much as we do in giving it. This little experiment is of the explanation order, and, as is usual with my effects, gets through a fairamount of time with as little apparatus as possible. PATTERANDPRESENTATION
The conjurer comes forward witha pack of cards, shuffling them and talking to the audience. Ladies and gentlemen, I feel generous this evening, and as the Conjurers' Union and myself have had a little altercation I am going to let you into all their secrets. "
"
With me, a secret in my mouth, . . . islikeawild bird put intoacage, Whose door no sooner opens, but 'tis out.'
A much more clever man than I wrote that. butthere, he wasn't a conjurer. Anyway, you arethe recipients of the secret, and all I ask is that you keep the peace-I mean the secret-and you will be able to mystify the income tax collector and persuade him to waitawhile.Tellhim thatas the National Debt is seven thousand millionsyou are notgoingto let a little amount like one pound seven and eight-pence worry you. All you require for the trick is a pack of cards and two hands, here are my hands, they call them farm hands. By the way, I always use an empty pocket as well, and as my own must be about the emptiest in the room, I shall use one of my own. "
I would like three of you to each take a card, note the name and then place it in the pack somewhere,where you think there willbe the least "
I placemy hand alongwith thecards,the object being to try and find the selected cards and bring them to light. Your card, Madam,was the three of hearts, I will'find it like this. Yours, Sir, wastheten of diamonds, and yours was the ace of spades. and here it is. "
Now I will show you all just how to repeat it foryourselves. Take the wholething as I did it. I shuffledthe pack,had mypocket examined, then I hadthree cards chosen and placedback intothe pack. I shuffled thecards, placed the packintomypocket andout came the chosen cards. "
We'll try again. Will you take a card, and will you, and you ? No, I don't wish to see them, If you but let everyoneelse have agoodlook. remember, I shuffledthe cards last time, but to show you that it doesn't matter, take the pack and mix themalltogether, just as you like. "
Giveme the cards ; I place them inmy pocket. Now here'sthe secret ; I think of what you are thinking, andas I knowyou arethinking of thefour of clubs, I find it like this ; and the other two I pick out just likethat-they are thc two of clubs and the ace of hearts." "
EXPLANATION
The foregoingis the eff,ect andpatteras I give it, and I hopeyou l'ike it. Now for the explanation. All that isrequiredis a pack of cards and threeduplicates.Supposingforthemoment that the three cards are: Four of clubs Two of clubs Ace of hearts
and the three cards to beused in the first phase are : Three of hearts Ten of diamonds Aceof spades
60 The top cards of the pack will be: Three of hearts Ten of diamonds Aceof spades Four of clubs Two of clubs Aceof hearts Four of clubs Two of clubs Aceof hearts First of all bring the cards to the middle of the pack and force ;he first three.Have them replaced on the top of the six stacked cards, false shuffleandbringthe “ stock ” back tothetop of the pack. Place the pack into the pocket, which
hasbeen previously examined. Produce the three chosen cards, show them, and bring out the pack, leaving behind the three duplicates which are on top of the pack. The rest is easy. Force the three cards from the top of the pack, allow the audience to shuffle them in the packasthey please, take the pack, replace in the pocket and produce the three selected (duplicate) cards. Sometinm I just have six cards on the top, and allow a free choice of the first threecards, bring them to the topand producefrom the pocket, leaving the three duplicates behindand then produce the last three cards in the same way as I have described above.
YOU DO AS I DO HIS effect is a great favourite these days. This T my version andit should present nodifficulty to students of magic. It will appeal to those whoremember the work of the late NateLeipzig and NelsonDowns. THEEFFECT
This is what happens. Twopacks of cards of the same size, one with red backs and one with blue backs, are used ; or twoborrowedpacks of different back design. Thereisno preparation. Bothpacks are shuffled by an assistant who returns one pack to the performer. The conjurer asks him to spot a card while the pack is riffled before his eyes. Thisdone, the performer places the packon his open left hand. The assistant is asked to riffle his pack for the performer to peek at a card and then to place the pack on his own left hand, just as the performer has done. The conjurerthentakes the packfrom the assistant with his right hand and asks the assistant to likewise take his pack.The performerlooks through the pack he is now holding, removes the card he just looked at and holds it face down. He then asks the assistant to declare his card. ‘ ‘ Six of spades !” (or whatever it is). The performer holds up his ownselected card for all to see ; it is the six of spades. Coincidence !
Willyou please take your own six of spades from your pack,” continues the performer. The card cannot be found, and the performeris then seen to beholding the two sixes, onered backed and the other blue backed. Magic! “
THEMETHOD
Thefirstmove takes place when thecards are riffled before the assistant. Make a break with
the secondfinger of the left hand(Figure 10). When the right hand riffles the cards this break causes the necessary pause which forces the assistant to sight the card at the break (Figure 11). Insert the tip of 1,eft second finger into the break and push upwards and outwards with this finger. The straightening movement propels the chosen card into the right palm, as shown in Figures 12 and 13. By means of this “ Slip Palm the right hand takes the sighted card and drops to the side, the left hand holding the pack.When the assistant riffles his pack for you to note a card merely pretend to do so. ”
Now take the assistant’s pack in the right hand,adding the palmed cardto the top,but taking care that the differentl’ycoloured top card is not seen. The assistant takes your own pack.
Fan the cards, keeping thetopcard concealed against the palm of the left hand,and sight this card.Find the duplicate andbringit to the top of the pack, which may now be safely turned backs up. Double lift the two topcards, holding them as one. is After the spectator’s declaration of the name
of his card hold up the two cards as one, showing that, bychance,younoted the very same card fromhis pack. Now have the assistant run through the pack he holding, notbut willhe find hisFinally, card. spread the two cardsand showthemback and front.
A NEW “SPELLING B E E ” WITH A SURPRISEFINISH
OST conjurers are familiar with the Spelling MModern Bee with thirteencards, as described in Magic”-but here we have a great “
”
“
Thecardsarethensquared into a pack of thirteen cards and held face down, i.e., the jack is the top card.
improvement. PATTERANDPRESENTATION THE EFFECT
The effectis as follows : Thethirteencards are face down and the performer spells out each letter separately, at the sametime transferring one card from the top of the pack to bottom, i.e., 0-N-E one, moving three cards from thetop of the pack, then, on saying the word “ one ” turn up the card at the top of the pack (really the fourth card) and it is the ace. The performer next spells T-W-0 and the deuce appears. The cards are then handedtoa spectator whoisrequested to work the trick.He spells outT-H-R-E-Eand it is a failure. The conjurer patters, takes the cards from him, spells outT-H-R-E-Eandthe three-spot appears. The cards are again handed to the spectator who spells outF-0-U-Rand again it is a failure. Theconjurer showshimhow to work it and spells F-0-U-R, and the four-spot turns up. The cards are handedto spectator who spells F-I-V-E and again has a miss. The conjurer correctly spells F-I-V-E. The cardsare againgiven to the spectator who gets six right,but seven proves adud, likewise eight and nine, but the spectator gets the ten, jack and queen right and is getting confident, but the last card in his hand proves a big surprise. I think my readers will appreciate this effect for drawingroomwork or smoking concerts, as it offers undoubted scope for comedy. THEPREPARATION
I n addition to twelve cards, ace toqueen, you will require a card with STUNG ” printed in bold type in place of the king. The cards are placed face up -in the following order: -
Getting a spectator to the stage, askhim: What is a Bee?” Of course, he knows it is the industrious insect onefinds in a CrossWord Puzzle. Has heever sat on one ? No-if he did hewouldbe stung. ‘‘ I have another bee here, it is a spelling bee-may I introduce it to you ? Yes!Well,here it is-the cardsarrange themselves so thatin spelling out their names they answer to them. Here’s the idea-0-N-E.” The performer transfers one card from the top of the pack to the bottom as each letter is spelt out, then, as he says the word “ One ” he turns up the card at the top uf the pack (this is really thefourth card) and it is the ace. This card is laid aside on the table. He then spells out “ T-W-0, two,” and the deuce is turned upand laid aside. Handing the cardstothe spectator who is requested to work the trick, he (the spectator) spells out T-H-R-E-Eandit is a failure. (He will actually beholding thejack). This card is replaced on top of thepacket,and the performerpattersto the effect that the spectator is not holding the cards right, or he is not rolling his “ r ” in Three. The conjurerthen spells out T-H-R-E-E, and the three-spot is turned up and laid aside. The cards are again handedtothe spectator who spells out F-0-U-R, and again he proves a’failure. There is scope for patter here. “
Thewrong card(actually the eight) is replaced on top of the pack and the conjurer again takesthecards, spells F-0-U-R, andthe fourspot turnsupand is laid aside. The cards are handedtothe spectator whospells F-I-V-E and again he has a miss. The conjurer spells F-I-V-E and turns up the correct card.
l‘
Jack, 7, 5, Ace, 4, STUNG, 3, 2, 10, 9, 6, Queen, 8.
Continueworking as detailed above,complaining that when the spectator has a failure he isnot putting enough “ vim ” into it, or isnot passing the cards from top to bottomwith sufficient flourish, etc., etc.
62
P E T EWRA R L O C K ’ S
“THE
SILKBOY”
Under this title we presentanewlowpriced utility device that gives the following effect :Taking a piece of verystiff paper, the conjurer forms into it a rectangular tube. The audience are then allowed a view through each end of the tube. Three twelve inch silks are tucked inside and once again the tube is turned end sides on allowing the silks to be seen through each end. Then “ Wham!” the paper isflipped open and shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used for the production or change ofsilks.Remember the followingpoints :-
1. Completely self-contained. 2. No tricky angle work. 3. Nothing to add ortake 4. No threads or flaps.
away.
S. No body work. 6. Always ready.
7. The price makes it
a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
24, Wordsworth Road, Wallington,
PETER WARLOCK,
Surrey
or from your favourite dealer. Finally,on production of the queen, the spectator hol’ding the lastcard facedowninhis hands, is asked by the conjurer what card he has in his hand. Naturally, he says “ The king,’’ but on turning the card over finds it is not the king, but STUNG!” “
The last line of the patter is: it is called a Spelling Bee.”
“
That is why
NOTES
For alternative finish thecard could have printed onit “ Blank,” “ Sold,” or “ Wrong Again,” thepatter being altered accordingly. ,If desired, when the spectator proves a failure witheight or nine, the performer could pretend to stop the trick, saying it is not worth while, but finallydeciding to have another try. You will particularly note that the card Stung ” never turns face up inthe working, and you will therefore appreciate the value of the Key. It is sincerely hoped that the reader will not broadcast this Key to all’ and sundry. “
Onefinal point, whena card spells out correctly,it is laid aside,when it spellsincorrectly the wrong card is replaced on top of the packet. This effect can be transformed into an excellent stage routine by using Giant cards.
Magic Go Round
-
(Continued from Back Page)
backsimilardiscussionstookplace at the Open House of the S.A.M. Parent Assembly. It should prove an interesting evening. We’ve got our own ideas of the worst disaster that has befallen magic. It’s not TV, but as magic addicts comprise a small ,proup and life’stoo short to go round antagonising people unnecessarily, we’ll just keep quiet. One of thenicestcompliments we have had recentlycamefromAmerica,whereacolumnist wasgoodenough to describe the Pentagram as an Englishversion of the Jinx. If suchisthe thought, then the complimentshouldbepassed on to the many contributors that have helped in keeping this smallbulletingoing during the past thirteen years. And to you, dear readers,don’t forget that we alwayslike to have any newsitems. Apart from these notes, we have a column in the Magic Circular ” and also in M.U.M.” ‘ I
“
The influence of Vernon is noticeable regarding theclassics. It mustbe many years since so many setsof cups and balls and Chineselinking rings were purchased by magicians. Years ago in aCircleauction sale, the highestbid for a good set of rings might have been twenty shillings. On May 9th, a fair set brought thebids up tothe three pounds mark!
63
HE past month has been more than interesting T because of an activity in magic that one doesn’t generally expect at this time of the year. First, there was a delightful week-end at GloucesterwithMichaelSeacome and his wife, Mary.Michaelisbecomingquite famous in the Gloucestershire area for the fine magic shows that hestages. As a resulthe has raised quite a deal of money for various goodcauses. The show that we took part in was mounted on the stage of the Winifred Cullis School, a new building in very contemporary style. The stage itself is something that might be envied by many municipal enterprises. First classlighting,good curtaining, and plenty of room around and back stage. Apart from ourselves Stanley Thomas, JohnHayward,Eric Williams, John Todd and Jill, Brenda Marshwithjuggling,Cis and Alfred Gabriel and Geoffrey Buckingham took part. An enthusiastic audience left no doubt in the artistes’ and organisers’ minds that they fullyenjoyed a showwhichpresentedalmost every facet of the magic art. The followingweek-endsaw the arrival of Doc. Tarbell and the Magic Circle Banquet. Doc. just arrived in time to seat himself at the festive board. Congratulations should go to the banquet committeewho,this year not only arranged for an excellentmeal’, but presented a cabaret that left nothing to bedesired. The music,this year, supplied by a band under the direction of Alfred Gabrielhelped in maintaining a spirit of jollity throughout the evening. The following Sunday at the Francis Haxtons, Doc. Tarbell held forth on many phases of magic. Heshowed us some very colourfulitems and to helpfill out the magical stint,Francis himself, Jack Avis,George Getting, Elizabeth Warlock and I went through a number of items for the Doc’sbenefit. The following Tuesday saw the Doc. this time at the Magic Circledelivering a most instructive and informativelecturedemonstration to a large number of magicians. Particular interest wasshown in his item with three different lengths of rope which most casually handed all became the same length. Based on an idea of Hen Fetsch’s we feel that this will go into many repertoires Thenext night we werewith Francisand Doc. again at the Circle, this time to see the pro-
gramme of films presented by Harry Stanley. For an hour and a half we were thoroughly entertained by the performances of Vernon,Slydini,Marconick,KenBrooke and LewisGanson. There were many lessonstobe learnt from the films, and in particular, the d.elightfu1 close-up items of KenBrookeserved as wonderfulillustrations for the would-be television close-up worker.Theaccompanyingmusicplus the wellthought-out commentary of Harry Stanley, gave a very professional finish. We must praise too the work of Lewis Ganson, who is responsible for the making of the films. If the opportunity affords, no magician worthy of his salt should miss these fine colour films. When these words are in print, the combined S.A. M. -I.B. M. Convention will possibly be underway, and there will undoubtedly be a contingent of magicians from this country to take part in one of the biggestmagicalconventions of alltimes. Thereis a rumour that there willbe a Dutch contingent, which may include Henk Vermeyden, FredKaps, Marconick and Bob Driebeek. If this is the case, then this will be a great attraction, for it seems that the Dutch boys have something in.theway of magicwhichnoothernation has to-day. The concert at Conway Hall of theLondon Society of MagiciansonMay 8th, brought before a magical audience for the first time, Frank Brooker,performing the Channing Pollock act. There are few cases on record, apart from family legacies, where a professional magician has given another magicianhis act, lock,stock and barrel, but here was such a case. Channing hot only gave the acttoFrank Brooker, but hecoachedhim aswell. ForFrank, appearing as the final act, it must have been a great ordeal, an ordeal, which apart from certain lapseswhich quite obviously were the result of nervousness rather than lack of rehearsal, hecame through with flying colours. We feel certain that when he has run through the act a fewmoretimes, Channing Pollockwillbe proud indeed of his very hardworking pupil. At the Magic Circle, we notice that on June In the 8th there isprogrammed a debate, opinion of this House,Televisionistheworst disaster that has befallenMagic.”Sometime “
(Continued on Page 62)
E D DJI O ESEPH‘S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME
THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THE PRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your ownshells. should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would be an acknowledged expert at the Three Shell Game, but there is no reason at all why you should not master them all. NOTHING is left to the imagination, for in this section alone there are noless than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER isdealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyou have mastered them, but even this is done for you, with Three completely baff:ing and completely different styles of routines that are thoroughly described.
THE REGULARROUTINE has tenphases of baffling moves, THE RILER is a routine with a NO LESS THAN 24 MOVES are then described different slant and tons of entertainment value; and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work Youtell an entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITHA SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THISBOOK,YOU CAN ACQUIREA REPUTATION SECONDTO NONE ASA THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. PETER WARLOCK’S
THE MAGIC CIRCLE
PENTAGRAM
President: Francis White, Esq. Vice-Pres.: Claude Chandle;., Esq. Clubroom,LibraryandMuseum: Hearts of Oak Buildings, Euston Road,London, N.W.1. Next CONCERT will be held on December10th Particulars fromHon. Secretary: PETERNEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
i s published on
I
,the 24th of each month and can be obtained direct from the publishe; for 1/8 per sing!e copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, WellingtonRd.,EnfieldMiddx. Manuscripts for publication & books for review should be sent tothe Editorial AddressPeterWarlock, 24’
Surrey.
1
WANTED MANUSCRIPTS-If you can help me complete my manuscript files I shall bz most grateful. I still want many items by C. T. Jordan. U. F. Grant, Grant & Menge, Ovette, etc., etc. Only originals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
I
GEORGE ARMSTRONG 62. Enfield, Middx. Wellington Rd.,
Every Advertiser’s Goods are fully endorsed Bulletin this by ~~
~
~~~~~~
~~
~
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. AndPrintedbyCentral Printing Co. (Chas. Sowden)Ltd., Burnley, Lancs.
*
MARKET HARBOROUCH TO DERBY HAXTON
- WARLOCK
N the 30thMay, Francisand I travelled by 0 ' to Derby, where we were to join Wilfred tram Tyler, and go by car to Buxton, where a meeting of the British Ring ConventionCommitteewas taking place. Market At Harborough, both Francis and I had had our fill of the '' Observer " and " SundayTimes " respectively, and we started thinking about magic.BetweenMarket Harborough and Derby we tackled two problems which I had put forward, and this month here are two variations that Francis proposed. In all we hadabout ten methods using various subtleties.
T H EF I R S TP R O B L E M BASIC EFFECT
METHOD NUMBER
1
Commence by having the two packs of cards shuffled and placed on the table. Now have a card selected from the blue pack, returned, shuffled and then it is secretly brought to the top by your favourite method.Thispack is thenhanded to the spectator. Any card is now selected from the redbacked cards by the second spectator. The first spectator is now invited to deal his cards face down in a pile on the table. Obviously, the first card dealt willbe the chosen card. At any time whilst the dealing is going on the second spectator who has by now chosen the card from among the red backs calls stop and places his card on to the dealt blue cards, followingwhich the remainder of the blue cards are placed on top of the tabled packet.
For this effectyouwill require two packs of cards, one having blue backsand the other red backs. Both of these packs may beshuffled and replaced on the table. The performer picks up the b h e pack,hasacard selected from it, returned and shuffled into the pack.This is thenhanded to the spectator, whochose the card. A card is then selected by another spectator from the red backed pack. The spectator holding the red backed card is now invited to call stop at any time helikeswhilst the blue cards are being dealt. When hecalls stop heplaces the red card he is holding on to those cards dealt on to the tabk, followingwhich the remainder of the blue cards are dealt on top or placed on in onecomplete packet.
You now pick up the pack and fan the cards face down in the right hand, being assisted by the left hand. This enables you to pull the bottom card of the fan (which is the chosen one) by means of the right fingers along underneath the fan to a position just above that held bythe redcard, (this readers will recognise as the Super Supreme Force). The fan is broken at this point and the cards in the right hand, which will be that section above the red card, are now turned up to show the chosen card, whichisseen to be next to the red card.
The cards are now picked upby the performer and fanned, when it is found that the red card has been placed into the pack at the position occupied by the chosenblue backedcard ; thus showing,apparently,that the second spectator called the first spectator to stopon hischosen card.
The effectwith this method is the same as above excepting that when thecardhas been chosenfrom the blue backed pack and returned, it is immediatelyhanded tothe spectator to shuffle and the performer does not take the pack back until the conclusion of the instructions given to the spectator.
METHODNUMBER
2
To enable this to bedone you will require a short card in the blue backed pack, this card you force andthen allow spectatornumber one to shuffle it back into the pack. Youdo not, of course, know the position of this and in fact do not obtain control of it until’ a later period in the effect. Thecard chosen from the redbacked pack byspectator numbertwo andthe procedure of spectatornumber one dealing thecards from the bluebackedpack into onepile is the same asabove. Spectatornumbertwo calls stop and places his red card into the blue deck which is then assembled. You now pick up the assembled pack, rifle to theshort,and chosen, cardandcut this to the bottom. The effect is now completed as described in Method Number 1. X
X
X
Thefollowing effect arose out of our consideration of the basic effect and really might be described asavariationfor it doesnotfollow exactly the conditions of the basic effect. However, for those who are interested I will describe it. EFFECT
The blue and red backed packs are required as in the first method. The performer hasboth of the packsshuffled and placedon thetable. Picking up the redpack acard is chosenfrom this by a spectator, the blue backed pack is then laid face down ontheperformers left hand and the spectator holding the chosen red card is invited to place it on top of the blue pack. When this is done the red card is cut into the blue backed pack. The performer now hands a paper knife to another spectator and invites him to thrust the knife into the blue pack at any place he so wishes whilst the performer is rifling the pack. This he does, whereupon the performer breaks the pack at that point to show the card that he has been stopped on, The packetwhichwillnowbe in his right hand is returned to the talon of the pack and the wholeis squared up. The pack is now fanned and the red card and the blue backed card next to it are removed and shown to be the two chosen cards. METHOD
Both the redbacked and blue backedpacks are totally unpreparedandmay bethoroughly shuffled. Place the blue backed pack on your left hand face down. Have a red backed card chosen from the other pack and placed on top of the blue cards. Younowdoubleunder-cut the red card into the pack which leaves it at the bottom. Now have a card selected fromamong the bluebacks by rifling and allowing aspectator to insert a knife at any point. Break the pack at this point, holding thetop section in you right hand with the fingers at theouter end andthethumb the inner end of the packet.
Show the card at this point, but in replacing the card on top of the rest of the pack you execute the Master Move,” which will bring the chosen card directly underneath the red back card at the bottom of the pack. Cut the pack and spread the cards on the table. Youthenremove the red backed card whichwill readily showamong the blue backs together with the bluebacked card below andturn them face up to show that the two chosen cards have come together. “
THE SECOND PROBLEM The problem as originally posed was this :Three members of an audience each select one card each, which, after noting, is returned to the pack, the latter then being shuffled. The pack is placed on the table and covered with a handkerchief. Each selector of acard respectively gives the performer a sixpence, penny and a florin. The coins are vanished and when the handkerchief is lifted from the pack it is found that the coins have found their way to the pack, the sixpence lent by the first chooseris lying on top of hisselected card, the penny on the second card and the florin on the third. There is a method but we preferred to use the basic plot from which with many deviations we arrived at the following effect :On the performer’s table stand four stemmed glasseseach large enough to contain a playing cardbut instead of pips or pictures each card bears a square of colour. Onesquare is red, one blue, onegreen and one orange. The performer addresses himself to a spectator. “ Sir,” he says, “ will you please think of the card with the blue square as your card. To help you, I’ll giveyou a disc of the same colour (a large poker chip). So that you won’t lose it, here’s a small envelope you can keep it in. ” Three other spectators are respectively asked to allocate the three remaining coloured cards and they too are givencoloureddiscs and envelopes. The four cards are th,en removedfrom the glasses, turned faces from the audience, mixed and then placedone in eachglasswith its back towards the audience. Each spectator hording the coloureddisc is now asked to seal it inside the envelope that accompanied it. Theenvelopes are collected by the performer, whomixesthem and fans them in his hand.Toa spectator who has playedno part in the proceedings, hemakes a request that hechooseoneenvelope andthen indicates one of the cards. When this isdone the chosen envelope is clipped to the chosen card. The same spectator is requested to make a second choice of both envelope andcard, again the chosen envelope being clipped to the chosen card. Thisprocedureisoncemore repeated, and the fourth envelopeis then clipped to the l’ast card.
67 Now turningtothe first spectatorthe performer stresses the freedom of choicewith the spectator. You, sir,hadthe colour blue in yourmind, don'tyou thinkit wouldbe a little strange, if the envelope attached to the blue card (at this point one of thecards isremovedfrom one of the glasses) should prove to contain a blue disc? ' ' Taking a pair of scissors, the performer cutsa sliver from the top of the envelope and turning it overallows a blue disc to fall from it. Thisprocedure of finding theappropriate discs attached to the correct cards is repeated with the other three cards. "
REQUIREMENTS
1. Eightthin
poker chips, two blue, two orange (or yellow), two red and two green. 2. Some very small square envelopes. The kind I mean are smaller than pay envelopes, the square type. 3 . Four stemmed glasses.
the chip inside the envelope, sealing the flap. The cards are removed from the glasses turned backs to the audience and mixed, the cards then being repl'aced one at a time inside the glasses. Now the envelopes are collected and alsomixed. A fifth spectator is asked to designate acardand envelope. As the selectedenvelopeis taken with the left hand the remainingones are placedon the table, the right hand taking hold of the clip. Now as the left hand with the envelopecomes tothecard with the purpose of attachingit by means of a clip, the poker chip is allowed to roll to the side so that when the clip is applied to the envelope and card, the poker chip should be held by the clip. One thing more, the envelope should pratrude over the top of the cardbyabouta quarter of an inch. Now the picture shouldlook like this : -
4. Four very small bulldog or springback clips. 5. Fourcards specially prepared. PREPARATION O F CARDS
Obtain some blank faced cards with a back pattern, pokersize preferably. Next find some cardboard thicker than the poker chips you are using and cut a piece to the shape shown in the accompanying illustration. Its overall size is equal to the size of the blank faced cards and the cutout is of such a size that it will accommodate quite comfortably the poker chips you intend using. Glue this piece of cardboard betweentwo of the blankfaced cards.Finally, onone surface, paint a square of colour. One square is blue, one red, one-orange (or yellow) and-one green. Youwill require a pair of scissors. THEPREPARATION "
don't
Thecards in the glasses are indicated and the first spectatorhandedachipappropriatetothe first card, together with an envelope. Thisis repeated with three other spectators. Each places
theI re-
Now the spectator who had the blue " cardandchip is addressed. Takingthepair of scissors and removing the blue card, still back to the audience-from the glass, the top of the envelope attached is snipped off, the card is turned and the poker chip in the 'lot to fall out into the glass. From the audience's point of view it has fallen from the envelope attached to the card! The card is then turned round to show that colour matches the chip. The procedure is the repeated with the remaining "
"
Into the slot in the blue '' card place one of the blue poker chips. Take the remaining three coloured cardsandinto their slots place their complementav chips' The cards thus prepared are PTaced 'lot One in each Of the glasses. The clips lieone beside each glass and the chips and envelopes areeach in a pile at the right of thetable.The scissors are also on the tavble. PRESENTATION
A similar procedure is adoptedwith maining envelopes.
"
you Naturally, havehave to coloured cards. You coul'dhavenumbered cards or representations of playing cards. In fact, you don't evenhave to haveglasses, a simpleform of slotted cardstand wouldmake the handling very easy indeed.
68
THE CARD WORK OF GRAHAMADAMS ON T H EA R M
THECARD
this move some years ago when Iof DISCOVERED practising an older sleight, wherein theback the arm is shown to the audieoce, and quickly shown again,the audience believing theyhave seen both sides of the arm. In this version the arm was held, first in front of the leg, then turned up and held in front of the body. In this new version the audiencesee both sides of the arm, and both the back and palm of the left hand,and furthermore,it is done very slowly and deliberately.
I have shown ittoprobably half-a-dozen conjurers, all of whom are well read and know a lot of magic, and they had never seen this curious fact before, and two of themweremedicalmen. THE PREPARATION
I use a Woo& red indelible pencil to write on the arm in the following manner, and to get the positions correct do just as I say: "
"
Firstbarethe left armto above the elbow, the arm, with the hand palm upwards, and pointing straight in front of you, is laid on the table ; with a fountain pen or pencil make a line straight upthearm, from the middle of the wrist, as shown by the dotted lines in Figure 14. Using this fine line as a guide, write the name of acardinlettersabout one inch deep. The writing shouldbe about eight inches in length. This is all the preparation that is necessary.
THECARD
THEROUTINE
Suppose the ace of hearts has been forced on a spectator. Then bare the arm, the arm pointing down and the back of the hand to the audience. Then bring your arm up to angle of ninety degrees to your body,straightoutfrom your shoulder, back of the hand still to the audience, the fingers well open. Bend your arm from the elbow until the back of your hand comes just in front of your chin, the palm of the hand to the audience. You have now shown both sides of your arm and no writing is yet visible. Swing the arm down in front of your body,back of the hand to the audience, and ask the name of the selected card. When youare told Aceof hearts," wipe the arm with the right hand, once up and down, then repeat the name of the card, raising the left arm and at the sametime turning the palm to the audience and bringing thearmtoa horizontal position so that the name may be read. The right hand, wiping the arm again as you announce the name of the card, acts as a cover for this move. "
I N THECIGARETTE FIRSTMETHOD
N this method of The Card in the Cigarette Iyears nochange of a cigarette is made,and some ago I used to use it for a ten shilling note "
"
in cigarette routine. The reader willno doubt be able to use it for that purpose if desired. THEEFFECT
The effect is that a corner is torn from a selected card,anddroppedintoan envelope, which is burnt in a candle flame. A cigarette is borrowed and partly smoked, and when torn open the missing corner is found therein. It exactly fits the remainder of the selected card.
THEREQUIREMENTS
A duplicate card. A match-box of the Bryant and May drawer type (this may be borrowed). A packet of cigarette papers, an envelope, a candle and a candlestick. If the envelopeisused it maybe set alight with a match, and the candle may be left out. Or the envelope can be omitted, in which case a pair of forceps will be required to hol'd the torn corner in the candle flame while it is burning. THEPREPARATION
Tear a cornerfrom the duplicate card, suppose it to be the eight of hearts. Roll up the cor-
69 ner at its narrow end into as small a compass as possible. Then roll it in a cigarette paper and seal it. Trim the ends of the paper, and you will have a small packet aboutaquarter of an inch in diameter and one-and-a-quarter inches long. Keep this in either the left-hand jacket or trouser pock,et. The duplicate card is placed in the left vest pocket, face outwards and torn corner downwards; it is kept there out of the way and may be introduced at any part of the programme. The envelope is on the table (presuming you are workingwith the envelope, and without the candle ; it is more convincing to burn the corner openly,butittakesa longtime to burnthat corner-even with the candl’e). THEROUTINE
When about to perform the effect, force the eight of hearts, and when the assistant is showing the card to theaudience, turn your back, and with the pack in the left hand, face to palm, add the duplicate card by taking it from the pocket. This adds the torn card to the top of the pack. Turn tothe audienceoncemore,make the pass, bringing the torn card to the middle of the pack. Ask the assistant to place his card face down on the pack, and not to give you a chance to see its face. Tearout the right-hand bottom corner of the card-as near to the duplicate tear as possible. Give thecornertothe assistant, asking him to place it in the envelope, which is thento be sealed. Whilehe is doing this, rifle the cards, the torn portion of the duplicate acting as a “ short ” card makes abreak ; makethe pass, which brings the duplicate card to the top of thepack,andthus getting rid of the newly torncard. Place the packon the tabre. Feel in your pockets, and ask for the loan of a box of matches. At the same time take the small
roll in the left hand, lengthwise across the fingers. Take the matches in the right hand (if none are forthcoming, have a box in readiness in the righthand jacket pocket). Bring the right hand to the left andpush open the box. As you do this, push the rolled-up corner intotheouter case of the box-into the space. just vacated by the end of the drawer (as in David Devant’s handkerchief production). Take a match and strike it on the box, placing the box on thetable, leaving it open and the roll still inside. Set fire to the envelope ; seeing that it gets well alight and turning the envelope about to burn the corner. Drop the ashes on to the floor or on to a tray. Then ask for a cigarette. Casually, show the hands empty, without remarking about the fact ; takethe cigarette and place itinthe mouth.Pick up the match-box, take a match and light the cigarette,, closing the box, which pushes the roll into the left hand. Toss th,e box on to the table. After a few puffs at the cigarette, remove it from the mouth, between the fingers of your right hand.Then pretend to examine the cigarette. Place it in your Ieft hand over the roll, and flick the glowing end away. Hold the cigarette in view andtearit into two about equal portions, placing the portion held in the right hand into the left, on the other side of the roll ; press the three pieceswell together, holding them well up so that everyone may see the pieces ; then start totear the paperand tobacco away, dropping the bits on the floor and letting loose pieces of paper hang over like flower petals. Draw outthe corner, open it out, and take the torn card from the top of the pack and fit it together, a complete eight of hearts. So much for the first method,which takesthreeto four minutes to perform.
THE CARD I N THE CIGARETTE SECOND METHOD
USE this method in conjunctionwith atorn 1 pack. The pack is torn in two, the pieces are dropped into a hat and the portions of a selected card recovered therefrom. THEPREPARATION
I prepare for the effect by tearing a card in half, onehalf is inserted in a cigarette. The following is the way I have found best: Empty all the tobacco from a full-size cigarette, press or flatten out the paper to remove any creases. Cut a piece of thin white note-paper the size of a cigarette paper, roll this into a tube and place this tube inside theempty cigarette. Roll
up the half card, place this inside the tube, then fill theends with tobacco, pressing the tobacco level with a match and trimming it with scissors. Youwill find that this cigarette will stand more handling than one prepared by the usual method. Theother half of the card I place in my righthand trouser pocket-. The cigarette inmy lefthand trouser pocket. T H E ROUTJNE
A pack of cards is torn, the pieces are thrown into a hat and from this hat I take the correct pieces to assemble cards that were previously selected.
70
PETER
“THE
WARLOCK’S
SILKBOY”
Under this title we present a newlowpriced utility device that gives the following effect :-
‘Silkboy’ can also be used production or change of silks. the following points ?-
for the Remember
1. Completely self-contained. 2. No tricky angle work.
Takinga piece of verystiff paper, the conjurer forms it into a rectangular tube. a view The audience are then aIlowed through each end of the tube. Three twelve inch silks are tucked inside and once again the tube is turned end sides on allowing the silks to seen bethrough each end. Then “ Wham!” thepaper is flipped open and shown slowly and deliberately on both sides. completely vanished! The silks have
3. Nothing to add or take 4. No threads or flaps.
away.
5. No body work. 6. Always ready. 7. The price makes it a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
PETER WARLOCK,
24, Wordsworth Road, Wallington, or from your favourite
Then I palm from my pocket the half-card, and going to a spectator with the hat in my left hand I place my right hand into the hat and bring out a handful of half-cards and ask a spectator to take a piece and see if the cards are really torn. Withthethumbpush forward the palmed halfcard (that has been added to the top of the handful) so that he will take it. Drop the remaining pieces back into the hat. From the left-hand pocket get the cigarette, holding it across the fingers of the left hand, and hold the hat by the brim, also in the left hand. This, of course, conceals the cigarette. Ask thespectatorabout the genuineness of the tear, ask him to “ keep the piece ” for a time, then borrow a cigarette. (In these daysit is a nice gesture to hand to the spectator a cigarette from your case, in exchange for his). Should it beofferedfromsomeoneon your right, take it in the right hand and hold it aloft, and should it be of the same brand that you have prepared you are ‘‘ on velvet as they say. With the cigarette in your right hand, transfer the hat to that hand, andwith no hestitation walk to someone on your left and give the prepared cigarette to him and ask him to smoke it. ”
Take the hat in the left hand and drop the borrowed cigarette in among the half-cards.
Surrey
dealer.
Light the cigarette for the spectator and then ask the name of the half-card. Askth,e spectator to tear open the cigarette, take the half-card from each spectator, fit them together, andthat is another version of “ The Card in the Cigarette.”
LET A
MAGICIAN SELL YOUR
BUSINESS FOR YOU
I CLEMENTS & CHAMBERS I CONSULTANTS BUSINESS TRANSFER
AND SPECIALISTS
OFFER AN ETHICAL,NATION
WIDE, AND FIRST CLASS SERVICE.
- . . .. _
HUNDREDS OF CASH CLIENTS WAITING TO BUY.
-. ..
* _
145, FLEET STREET, LONDON, E.C.4. (Over the Cheshire Cheese)
FleetStreet
7666-0685
I
71
TRANGE at this time of the year one seems to Sthroughout have seen-moremagic and magicians than the wintermonths. BobHarbin is backfrom the West Indies looking remarkably well, and we understand that these sun splashed islands havedone the world of good for Dolly’s health. On June 17th at Shoreditch Town Hall. we find ourselves onthe samebillwith Bob, Gwen Voltaire, AlanAlan, Eric Mason andShanand DavidBerglas ina MagicCircle Festival show. Though one might think it the wrong time of the yearfora bigmagicshow, we understand that tickets are selling very well indeed. A sense of magic.On the waybackfrom Derby we spoke to Francis Haxton regarding this. Therearemany in magicwho can perform a number of tricks proficiently, assemble quitea pleasant act, but lack something which should be inherent, namely a sense of magic. It is something hard to define, and yet it must be the difference of the magiccoming from the heart rather than from thehead. It is somethingwhichdoes
“MAG WI A CN D ” AUTHOR TJTLE Price Club Act of Magic (Complete Act) ... Theo Annemann 5/6 EnRapporh (Complete 2-person Act) The0 Annemann 13/0 Incorporated Strange Secrets ... The0 Annemann 8/0 Magical ClubProg. (Comp. Acij’ .., The0 Annemann 5/6 Mental Bargain Effects ... The0 Annemann 8/0 MentalClub Act (Comp.’Act:j’ . , . Theo Annemann 5/6 “No Card” MysteryAct (Comp. Act) The0 Annemann 5/6 “No Code” Telepathy (Comp. Act) ... The0 ‘Annemann 5/6 One Man Mental Psychic Routine ... The0 Annemann 13/0 Challenge Instant Hypnotism . . . . . . G . Armstrong ... 21/6 Chandu’s Psychoanalysis (Mental G. Armstrong 10/6 routine) Premonition (Sensational Card Routine) ... G. Armstrong 10/6 ExtraSensory Perfection (Mental Routine) . . . . . . Ron Baillie ... 10/6 The Universal Mind (Mental Routine) Ron Baillie ... 13/Enitertsining the Modem Child & Competitions for Children . . . . . . Betram of Cl’ton 6/6 Bohleno’s Mysteries Sensational effects Henry Bohlen .. 10/6 1’3 Read Your Mind (Cloth, very . . . . . . . . . . . . . . . Agae Darling 18/2 good) Automentalism (2-person act, with props) KendeCourcy 20/6 Dubbelkross & Simulkross (Coin Routines) . . . . . . . . . . . . Ken deCourcy 5/6 Zodiac Telepathy (Complete 2-person act) . . . . . . . . .Courcy . . de . Ken 13/8 Entertaining with “Contact Mind S. E. Dex‘er ... W O Reading . . . . . . . . . . . . . . . Entertaining with Hypnotism (3rd Ed.) S. E. Dexter ... 10/6
...............
..................
GEORGE
not demand serious presentation as onemight think, for both David Nixon and Michael’ Bailey, who bring such delightful humour to their presentations, have a sense of magic to a marked degree. The arrival of KO in this countryhas produced the best press notices of a magical act for many years and it issomething of more than a novelty for an illusion act to play the full second half of a circus, especially in such vast arena as Wembley.On Sunday,June 28th, an informal party isbeingheld at the MagicCircleheadquartersand Kiowillbe the guest of honour. HoraceKing, thatgreat protagonist of Russian magic,ismaking the necessary arrangements. Buxtonshouldprove an ideal convention venue.Never,do we think,has so muchspace been available for the dealers, and the “ Playhouse ’’ theatre shouldprove an ideal hall for their demonstration. Given good weather as well; for Buxton,the highest town in England, is a jewel’ set amongstsome of the mostimpressive English scenery, a goodtimeshouldbe hadby one and all.
PUBLICATIONS AUTHOR TITLE Price IndentityParade (Humourous mental routine) . . . . . . . . . . . . Will Dexter ... 8/0 Sealed Vision (Blindfold Stunts) (Cloth Bound) . . . . . . . . . . . . Will Dexter ... 18/2 John Ramsay’s Cups & Balls Victor Farelli.. . 52/8 Thanks To Leipzig! (CardMagic) ... Victor Farelli .. 10/6 Spectator’s Choice (Misc. andan act) DouglasFrancis 8/0 Mother Goose Mystely (Mental Effect) Martin Gardner 8/0 Twenty-six Living and Dead Tests ... Teral Garrett ... 5/6 Routines withtheJardine Ellis Ring J. A. M. Howie 13/2 Case ‘for Cards (12 fine card tricks) ... Stewart James ... .5/4 Jamesosophy (Card M.agic) . . . . . . Stewart James ... 5/6 The Nullifactor (Card M.agic) . . . . . . Stewart James ... 5/6 Manual of theThree Shell Game ... E. Joseph ... 13/2 Strictly Magic (MiscelIaneous Magic) E. Joseph ... 5/6 Toni Koynini’s Card Miracles ...... Toni Koynini ... 8/0 Derby (Close-up Card Routine) ... Toni Koynini ... 5/6 S untswithStage Money . . . . . . . . . Jack Lamont ... 5/6 SuzyandtheCitySlickers (Close-upTrick) . . . . . . . . . . . . Jack Lamont . . . 8 / 0 Pasteboard,Parade (Comp. card act) ... Jim Merlini ... 8/0 Where HoudiniWasWrong (Cloth. 120pp.) . . . . . . . . . M. Sardina ... 20/9 Where Houdini WasWrong (cheappaperedition) . . . . . . . . . M. Sardina ... 8/2 S’ooginp Around (Magic & Laughs) ... Joe Stuthard ... 5/6 ConjuRING TRIX (Tricks with Rings) Hans E. Trixer 10/6 Playingwith Magic (Cloth 112pp.) ... Wilfred Tyler 30/9 PatternsForPhychics (M.enta1 Magic) Peter Warlock 15/6 Magically Yours (Cloth, 150 pp.) ... Vera11 Wass ... 15/10
ARMSTRONG
62, WELLINGTON ROAD, ENFIELD ROAD, MIDDLESEX.
E D D I E JOSEPH‘S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS, HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a fewevenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there areeven instructions for preparing your own shells, shouldyou prefer the genuine item instead of the present-day plastic variety.
I F YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, but thereis no reason at all why you shouldnotmasterthem all. NOTHING is ;eft tothe imagination, for in this sectionalone there are no less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act will be easywhenyouhavemasteredthem,but even this is done for you, with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has ten phases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these havenever unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirely new to the conjuring profession. with baffiing moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces.Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 12/6
6d.Postage
($2-00)
From the Publisher :
G E OARRGMES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of 0a.k Buildings, Euston Road,London, N.W.1. Next CONCERT will be held .on February3rd Particulars from Hon. Secretary: PETERNEWCOMBE.
38, Overdale Ave., New Malden, Surrey.
PETERWARLOCK’S
PENTAGRAM is published on ,the
24th of each month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington Rd., Enfield Middx. Manuscripts €or publication & books for review should be sent tothe Editorial AddressPeterWarlock, 24, WordsworthRd.,Wallington
WANTED MANUSCRIPTS-I€ you can help me complete my manuscript files I shall be most grateful. I still want many items by C. T. Jordan. U. F. Grant, Grant & Menge, Ovette, etc., etc. Only origina!s p’ease, and not typed copies. I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62, Wellington Rd., Enfield,Middx.
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, Imcs.
P
m
h
PETER WAR LOCK 'S
A
* ***
SILKEN LOOPS PETER WARLOCK
THIS is an effect that will be liked by those who are looking for novelty in silk magic. The magician takes a yellow silk and tying two ends together to form a loop places it over his left arm. Another handkerchief, a purple one, is removed from the breast pocket and the opposite ends of this are also tied toform a loop. The loop of yellow silk is now taken by the right hand whilst the purple is held by the left. Both loops are definitely separate. A s;ight tossing motion is made by the right hand and the yellow silk leaves it and isvisibly1.inked into the purple loop. The requirements are few; they are, two purple eighteen inch silk handkerchiefs. andone also wantsome yellow of similar size.You'll nylon thread, a safety pin and some lead shot. Preparation. First of all takeone of the purple silks in the left hand by one corner, allowing the remainder to hang down. Now, four inches from the corner you are holding, cut through the silk with a pair of scissors so that in your left handyou are left with a triangle of purple siik, the apex end held in your left fingers. Take a needle and some purple cotton and after gathering the lower part of the silksew.it so that you have a piece of silk like illustration 1.
-. ~-
~
~
VOLUME 13 No. 10
This will act as a fake corner tothe other silk. The other purpye silk is now taken and to the extremetip of onecorner the nylonis attached. The best wayis to thread a needlewith the thread and run it through the silk ast the corner. Once the needle and thread are through, remove the needle and knot the thread, afterwards cutting away any surplus thread. The length of thread that you will require attached to the corner of the silk can only be found by experimentation for the simple reason thatit will depend upon your physical build. Start off with thirty inches and make any adjustment necessary. The free end of the thread is fastened to the safety-pin.
The yellow silk now comes in for some treatment.With some similar coloured silk makeup two 3 t l e bags then filling them with lead shot so that inall you hme aboutanounce inweight. Each of these little bags is now stitched near to two diagonally opposite corners of the yellow silk, like illustration 2. Whi'st the yellowsilkisplaced on the table prior to your performance,the purple silk is pushed into the outer breast pocket, the corner with the thread attached to it protruding. The other end of the thread is now fastened inside the front edge of the rinht hand coat Docket so that the thread passes upwards to the silk in the breast -pocket. Now take the extra corner of silk andfplace it in front of the threaded corner of the purple silk in the pocket. It must be so positioned thatboth corner and silk can easily be withdrawn from the pocket as one and that there should be no suggestion of fumbling. Thetakemustbe completely clean and to the audience appear that just a silk handkerchief has been removed from the pocket. PresentaBon. The yellowsilk is takenfrom the table the diagonally opposite weighted ends being taken one in each hand. The handkerchief
___
-
_ _ ~ _ _ _ ~ ~ _ - ~ ~
l/ 6
(20 Cents)
~~~~
-
~
~
JULY 1959
74
is given a twirl or two so that it becomes ropewise, in fact the more like a rope the slicker the effect when in action. The twoweightedends are now tied together and the silken loop with theknots nearest to the floor slid onto the left arm. (Those who are already ahead of me will realise bynow that this is a version of the Bohleno rings on silk. . and they’re right). Now the right hand moves to the breast pocket andtakesseparate corner and Letting ithang vertically purple silk as one. for a moment of two, the left hand now comes in andtheopposite ends of the silk are seemingly tied together; actually one end is tied to the separate piece of silk. The left hand movesaway and the silken loop is displayed by the right hand which holds it in such a manner that it does appear to be a genuine loop of silk. The right hand now places the purple silk into the left hand so that it takes up the position shown in the two succeeding illustrations :-
thumb hooks the thread at point X. The following illustration shows the position of the thread and the way it passes over both thumbs.
You’re nearly ready forthe kill, re-position the threaded corner so that instead of being between the first and second left fingers it is held between the tips of the firstfinger and thumb of the left hand. Make a preparatoryaction of throwing with the right hand, then wham! Do all these things at once :1 . Release your hold on the yellowsilkwith the right hand. 2.
W
’
The right hand now takes hold of the topmost part of the ye1:ow loop and passes it off the arm and over the purple loop so that it is now held in the position shown here.
Move the right hand to the right making certain that the thumb keeps its engagement with the thread.
3. Release the threadedend of the purple silk which is held at that moment by the left hand first finger and thumb.
The result will be that the threaded end of the silk will pass through the yellow loop, coming to restin the crotch of the left hand thumb.whikt the weightin the yellow silk willallow it to fall inside the purple loop so thata complete link is made. P:ea,sedon’t think that youwill do this to perfection the first time. Once howeveryouhave acquired the knack and synchronisation of the throw, everything willcomeeasily. Try not to tense up when making the throw. This will make you jerky in movement and might result in breakage of the thread. and in this effect . . . . no thread . . . . no trick. Now in showing either by means of words or he intends doing, the right hand raises the silk, and of course the thread, and allows the left hand thumb to hook it so that it passes ever the base of the thumb and inside the crotch of the thumb. Almost at the same time the right i n mimewhat
Before we forget . . . once the loops are linked, the right hand takes the purple ends from the left hand holdingthem high. He thenproceeds to untie the ends of the purple silk allowing the yellow loop to fall onto the table.
75
THE CARD WORK OF GRAHAM ADAMS A CARD DISCOVERY H E R E is an effect that I usedmany years ago. About 1934 or 1935 I presented it at “The Order of the Magi” in Manchester. where it baffled members present. Sincethen the idea has been bandied aboutandithas evenbeenused for a “cod” thought transmission effect. THE EFFECT. A new pack of cards is opened, the packis shuffled by the performer. a card is freely s,elected and returned to the packwhichisshuffled again and then handed to a spectator for him to shuff:e. While the spectator isshuffling. the performer announces:- “You selected (say) the seven of diamonds”.(Naming the selected card).
THE EXPLANATION. The pack is a brand new pack of cards and they are not tampered with in any way, and there is no force. American cardsare set up in packs i l l suits. usually a black suit. next a red, then a
black and lastly a red. Notehow thecardsare se; and use a pack made up in this fashion. Open pack, discard the joker, and with the cards in the left hand prepare for the r8:e shuffle. Run throughhalf the pack. Then, taking one halfin the right hand and one in the left hand, riffle the cards together, making the shuffle proper. This places 26 red cards on top of 26 black cards. Ofer the cards for selection, allowing the assistant to take any card in the top 26. After he has noted the card allow him to replace it in the bottom ha:f of the pack andsquare the cards up. With the pack in the left hand, prepare for the riffle shuffle again. Riffling the black cards slowly, the selected card being red will show up clearly; note the card, halve the pack and complete the shuffle. Handthe pa.ck tothe assistant to shuffle ashe pleases. and announce the name of the selected card as described, or reveal -it in some other method that maybe preferred.
THE CUT CARD REVEALED HERE is an idea for performers who use Erdnase’s Crimp Cut Location. It eliminates that one chmce in six of being wrong.
THE EFFECT A pack of cards is shuffled, the spectator cuts the pack. looks at the cut cards, replaces the cut and then cuts the pack again. The conjuror knows the card and he can reveal it as he desires.
former. It is easy to see if the cut is made at thc desired spot.
If it isn’t?
THE METHOD Here I must introduce Mr. Erdnase again, for in his book. under “The Player without an Ally”. on page 110, Crimping for the Cut, he says you may put a convex or concave crimp, or both, into the cards and the packets may then be squared up evenly. (See figures 15 and 16). The spectator will invariably cut atthe crimp, and if the performer has, previouslyglimpsed the bottom card of top packet (or top card of bottom packet) he is ableto conclude the trick as required. The chances are about five in six in favour of the per-
Billy O’Connor realised that the prelarranged packcouldbeveryuseful. So did TomFagan. A number of our performershavingseenBilly
16
GRAHAM ADAMS’ CARD WORK
- (Continued).
and Tom, used the same methods. One bright lad even went to the extent of using Billy’s whole act. gags and ali. That was some twelve yews ago. There is the old “Eight Kings” set-up, or the Si Stebbins arrangement. Again, there is the vastly superior LouisNikola system. I alsohave an arrangement of my own.
That’s the secret of the cutting. Get to know your pack, each card by its number. False shuffle. cut and put in the crimp-Tra-la-la. Should they not cut at the right place, estimate the number of cards and “fish”; A cherry coloured card? Yes. A heart? Yes. The four of hearts? Right. Try it out-it’s
easy, if you know your pack.
ERDNASE ON MENTALISM HERE is a little item of interest to the Mental Experts, which I trust theywilllike. On page 167 of. “TheExpert at theCardTable” (Erdnase), under heading “D”, it says:“
METHODS OF DETERMINING A CARD THOUGHT O F ”
“Thiscunning and absolutely unfathomable stratagem must have beendevisedby an individual of Mickavelian sublety. The deck is heldin the left hand face down and the cards are taken OR in the right hand and held face to the spectator. Eachcard is countedas it is taken off the deck, and theright hand packetis kept well squared up, so that but one card remains exposed to view. “As the cards are exposed thehands are parted some little distance, and the action of drawing the cards is made uniform, neither rapidly nor slowly.Now the operator looks covertly into the eyes of the spectator, and he seeswith surprising distinctness that they follow the movements of his right hand in taking off and exposing the cards. The moment the eyesrest or l.ose their intensity. the performernotes the number of the card, but continues the drawing off process. Shortly, asking if a cardhas been thought of, he closes up the deck, and counts to the number and produces the card at will.” For those who havenota copy of “ The Expert ” at hand I have given this explanation in full, and although I picked this one out of the book a good many years ago I present it in a different way today. Here weare:-
“Ladiesand gentlemen. I shall nowpresent an experiment in mind reading, and although I do not claim to be an adept in the art, I have managed to obtain an understanding of its fundamentals and shall demonstratethat, under favourable conditions, I can read the thought most prominent in the mind of a willingsubject.Wouldanylady or gentleman give my ability an impartial test?” Show the assistant to a seat, side-ways on to the audience, with the light full on the face, so that the eyesmaybeclearlyseen. As the assistantis seated and the performer is standing, the assistant mustlookupwards. The cards are heldin the left hand and passed in front of his eyes at a distance of about two feet. The right hand takes the cards one at a time, but instead of keeping them in that hand they are placed underneath the cards in the left hand. Note the slackening off of the intensity of the assistant’s look; this will occur after four or five cards have passed. Say: “Have you decided on a card, sir?” Should the answer be, “Yes”, you are all right. Shouldthe answerbe “No”, youare still all right, and say:“Wewill go throughit again .” What is happening is this. The pack is falseshuffled and genuinely cut. But the pack is our old friend the “Eight Kings”, “Si Stebbins”, “Nikola”, or any other not too obvious set-up. As you pass the cards you are reciting to yourself the names of the cards. Watch the eyes and you know the cards. By the way. the introduction is from Erdnase. page 194.
A CARD COMBINATION T O find somethingreallyaway from every-day card effects is becoming a rather difficult task, when each one must be practical.
that they are lost onan audience, or just to be shown to a couple of friends. In combination, however. they make a good comedy effect.
Here is a little combination of twoeffects which, when separated, are so quickly terminated
The first part of the effect is a colour chmge or card change that Stanley Collins showed to me
many years ago, during the first World War. At thattimehe waswith theFourthArmyHeadquarters, and Stanleywasassisting Capt. Elliott and Nat. D. Ayer to produce a Revue. The other portion of the effect is based on Houdini’s Torn Card experiment, described by T. Kelson Downs in “The Art of Magic.”
THE STANLEY COLLINSCHANGE For the card change the double lift is employed,two cards beingshown as one, when suddenly the wrong card appears as the right one. Hold the two cards as one in the following way:-- The right hand first and second fingers hold the two cards by the left-hand bottom quarter, on the face of the outer card which faces the audience. The right thumb is at the back, pressing slightly in the hollowbetweenthesetwofingers. The third and fourth fingers of the right hand rest on the back of the rear card, assisting in holding the two cards as one. The remainder of the pack is face down in the left hand.Figure 17 shows the audience view, and figure 18 shows the rear view. Hold the right hand with the fingers upwards and the card facing the audience, as shown in fig. 17. The second and third fingers snapthe front cardbackto a horizontal position, leaving the selected card facing audience. See figure 19. whichshows the back view. This is a sort of “finger snapping” movement. and willsoonbe grasped after a, few minutes practice.
The part played by the left hand is to lift the first card away from the right hand while making a natural move. The fingers of the left hand tap the front and the back of the card that is being shown, the performermaking somesuch remark as-“Your card, sir? No? I thought it was! (the SnapChange is nowmade) Ah, that’s it” On the last expression the right hand snaps the card away forthe changeandthe left hand takes it away on the back of the pack as shown in Figure 20. So much for the change.
HOUDINI’S TORN CARD TRICK This trick dependssolely on the ability to perform the two-handed pass. Here is the effect as I do it. A selected card has the top right-hand quarter torn fromit; the card is initialled, yet while being held between the outstretched palms of the assistant it changes to another card, which just goes to prove that “seeing is notalwaysbelieving.” The only preparation is to tear the right-hand top quarter from a card, place the quarter under the card and this mutilated card in the middle of thc pack. A card isselected and the right-hand top quarter is torn away. The card isplaced on top of the pack for a moment, “So thatit may be initialled”. The torn quarter isplaced under the mutilated card as it is placed on top of the pack. The right hand takes a pencil from the pocket and the assistant initials thetop card-he thinks he initials the selected card, but the performer has made the pass before getting the pencil, bringing the previously mutilated card from the centre of the pack to the top. Thetopcardand corner are given to the assistant and he is asked to hold the pieces in his hands. “Of course,youwouldknow your own card?” “Yes”. “The nine of diamonds?” “Just fit the corner to the card and hold it up so that all mayseeit-and having seen it they don’t believe it”. Of course, thecard proves tobeanything but the nine of diamonds - or whatever the selected card was.
THE COMBINATION Combine the two effects like this:right-hand top corner fromthetopcard pack and tuck it underneath the card.
Tear the of the
Have a calrd selected from the middle of the pack andthen replaced. Makethe pass,which brings the sel.ected card to the top and the secretly torn card to the centre. Announce that youwill cause the selected card to come to the top of the
78 GRAHAMADAMS’
CARD WORKS
-- Continued
pack. Double lift the top two cards and, holding them as oneinthemanner described forthe Stanley Collins Change, announce that this is the selected card.“Yourcard, sir? No? I thought it was! (make the snap change) Ah, that’s it.’’ Take the card after thechange, tear the quarter from it, tucking the cornerunder the cardand placing it back on top of the pack “for initialling”. Make the pass. bringing the secretly torn card to
the top, have it initialled and then hand it to the spectator, together with the torn quarter, for holding between his hands. Now finish the routine as described above, and there you are. To locate the torn card for the pass, just riffle the cards with the right fingers and the torn card will act as a short card and stop the run. Insert the little finger and you are ready for the pass.
(To be continued).
THE “Linking Ring”, always so perfect in presentation, certainly boobed in theJune issue! Elizabeth Warlock instead of Elizabeth Hammond was shown on thecover as onewho was makingthe Chicago trip, whilst inside an alltoo falmiliar photograph of Slydini was captioned with ‘George Jayson (Jason)’. Th,esame issue also brought a Magi-ministers ‘Parade’, consisting in the main of standard tricks. the accompanying patter involving the Trinity’. Now perhaps I’m a strange guy forto me there isnothingbut profanity when a priest takes the holiest of words and allies them with the mediocre rubbish that some are prepared to call magic, and I cannot believe that inany country that acknowledges Christianity it is necessary for magic to be presented in the pulpit or its equivalent. True itwouldseem that many of these American Magiministers are strongly slanted towards evangelism, and perhaps because I read “Elmer Gantry’’ whenyoung,I’mbiassed against these jingoistic peddlers of spiritual In this perticular compilation, the emotions. greatest profanity is a posed photograph of one of their number caught in the midst of a linking ring routine. a painting of Christ visible in thebackground. I have. in my time in these islands, met many many priests who havefound inmagic a great hobby. which has given great pleasure not only to themselves but allsoto those who at their entertain-
ments,haveformed their audience. All of these men with faith in themselves would never need or think of bringing into their strict teaching of Christianity the wherewithal of conjuring. The British group who visited Chicago czrtainly seemed to have had a first-class time and AlexElmsley is fortunate enough to extend his stay until September. Corinda reports excellent business. Francis White, as usual, proved the ideal compkre for the International show and besides this acted as anexcellentambassador for magicians in this country. We are always amazed when a magician with a big collection of tricks tells us how many he has
accumulated.Only the other dayTravisWills was tellingus that his collection of tricks alone touches the eight-hundred mark. This, as he puts it. simply represents buying twenty tricks a year for some forty years andneverd,isposing of any of them. Besides this he has a collection of some two-thousandone-hundred and thirty books and magazines.Whilst we might well touch the book and magazinenumber the tricks we’ve bought during our magical lifetime of some forty-odd years wouldn’ttouch the fifty markand yetwe alwaysseem to belooking for storege room. It was very nice to hear from George Johnson He dropped us a line regarding the cigarette packet
79 MAGIC GO ROUND (Continued) tc flowersitem that we publisheda little while back. His note was to tell us that George Munro in the pre-First WorldWar yearsused to sell a matchbox to flowereffect. Though the effectwas simply achieved it would not be possib1,e to make it up with the spring flowers marketed to-day, as they are far too large forthe purpose. About a dozensilk spring flowerswere fastened by their strings to oneend of a matchsbox drawer. With the flowersheld the drawer waspushed into the cover of the box about a quarter of its length, the flowers taking up the remaining three-quarters space left inside the cover. The drawer was filled with matches andthe box placed on theperformer’s table. Theperformertookthe boxwith his left hand, then extracting a match with his right. The matchwas struck and, say, a cigarette lit. Now with the actual closing of the box, i.e. pushing the drawer into alignmentwith the cover, the spring flowers automatically expanded completely covering the box. George Johnson suggests that a small pointed hook be affixed to the outside of the box, so that when the flowers had expanded the resultant display of flowers could befastened to the performer’s button-hole.
We hope that you like the silken loops idea in this issue.You’ll have the chance to see it in action at Buxton, where we shall be lecturing. We shall also be including a few other silken ideas that should prove novel to British Ringers.
PETER
The ‘Silkboy’whichweadvertised a little whilebackseemsto have proved its popularity. Certainly wehave foundit mostuseful and by using only a very slightly larger model find it the best trouble-free vanish for three eighteen-inch silks.You’llsee this too at Buxton. June proved an interesting month.Kio
was Circle A delightful Reception for him onthe 28th. evening in which we had the pleasure of meeting Jac Olton again, and Celeste Evans for the first time. As we shall be travellingwestwards on Saturday. Juiy 18th, it looks as though we’ll meet her T.V. spot. There was the ShoreditchTown Hall Circleshowwhichprovided a true Festival or’ Magic. at Wembley and there was theMagic
PercyPressseemsverybusythesedays, and apart from countlessengagements for magic and Punchwork he is currently taking part in the shooting of a film,which at the moment has the title,‘EveryNightSomethingAwful’. A skit on an ENSA wartime show, it includessuchwellknown personalities as Dora Bryan, Alfred Marks and Dick Bentley. Besides giving technical advice. for in the film there is a conjurer played by Reginald Beckwith, Percy has a nice spot where he does a Galli Galli act.
WARLOCK’S
Under this title we present a new lowpriced utility device that gives the following effect :Taking a piece of verystiff paper, the conjurer forms it into a rectangular tube. The audience are then allowed a view through each end of the tube. Three twelve inch silks are tucked inside and once again the. tube is turned end sides on allowing the silks to be seen through each end. Then “Wham!”thepaper isflippedopen and shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used for the production or change ofsilks.Remember the following points :1. Completely self-contained. 2. No tricky angle work. 3. Nothing to add or take away. 4. No threads or flaps.
5. No body work. 6. Always ready. 7. The price makes it a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
PETER WARLOCK, 24, Wordsworth Road, Wallington, Surrey or from your favourite dealer.
E D DJI O ESEPH‘S Latest and GreatestWork THE MANUAL OF
THE, T H R E E SHELL GAME
THE MOSTCOMPREHENSIVEWORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. half of these HERE IS another in the series of George IF YOU MASTERED only moves you wouldbe an acknowledged expert at the Armstrong’s Giant Sized Manuals, uniform in style Three Shell Game, but there is no reason at all why with John Howie’s ROUTINESWITH THE you should not master them all.NOTHING is JARDINEELLISRING and Peter Warlock’s left to the imagination, for in this sectionalone PATTERNS FOR PSYCHICS. Possession of there are no less than 60 finedrawings by Jack this new manual will open up for you an entirely Lamonte to augment the text. newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a FRUSTRATING THE CHALLENGER isdealt feweveningspracticewill enable you to present with in a special chapter, and there are moves and some of the most baffling moves and routines ever suggestions here that will really tickle your fancy. devised. ROUTINING THE MOVES into a complete act willbeeasywhenyou have masteredthem, but THE PRINCIPLESandRUDlMENTS of The eventhisis done for you, with Three completely Three Shell Game are thoroughly discussed before you learn a single move, and there are even instruc- baffhg and completely different styles of routines that are thoroughly described. tions for preparing your ownshells, should you prefer the genuine item instead of the present-day THE REGULAR ROUTINE has tenphases of plastic variety. baffling moves, THE RILER is a routine with a differentslant and tons of entertainmentvalue; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probablythemost in the minutestdetail.Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertainingstory and illustrate it and are entirelynew to the conjuring profession. wi:h baffiing moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
GEO AR RG MES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: Francis White, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,Libraryand Museum: Hearts of Oak Buildings, N.W.I. EustonRoad,London, ParticularsfromHon. Secretary: PETERNEWCOMBE.
38, OverdaleAve.,NewMalden,
*
Surrey.
I
Every Advertiser’s Goods are
I
PETERWARLOCK’S
PENTAGRAM
W A N-T E D
i i published on ‘the 24th of each
MANUSCRIPTS-If you can help m( complete my manuscript files I shall bc most grateful. I still want many item! by C. T. Jordan. U. F. Grant, Gran R: Menge, Ovette, etc., etc. On11 originals please, and not typed copies I will allow generous credits ir exchange, or buy for cash,
rhonth and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. lS/- post free. Published byGeorge Armstrong, 62, Wellington Rd., EnfieldMiddx. Manuscripts for publication & books for review should be sent to the Editorial AddressPeterWarlock, 24, WordsworthRd.,Wallington Surrey.
fully endorsed by
GEORGE ARMSTRONG 62, Wellington Rd., Enfield,Middx,
this Bulletin
PubIished by the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. AndPrinted by CentralPrinting Co. (Chas. Sowden) Ltd., Burnley, Lancs.
*
PETER WAR LOCK ‘S
* ***
__~___
~
THE KEY OiF FORTUNATO
PETER WARLOCK TO KOLAR must go the credit for originating an effect in which the performercould decide unerringly and without visual aid, which of several keyswould openalocked padlock. It took the imagination of Anneman however, in “Book Without a Name” to come up with a title that has stood the test of time,“Seven Keys to Baldpate”,and with the title he presented a method which today is still as good as many that havehit the market since that date. The trick in its accepted form cannot be considered ideal entertainment because of the waste of time involved whilst a number of people, (any numberup to seven!) each take a key andone after the other test whether such key will or will not open apadlock presented to them by the MilbourneChristopher was, to the performer. best ofmy knowiedge, the first magician to come up with a presentation that ignored these prelimiilaries and gave a version of the trick in which a number of spectators were invited to take keys one of which would open a padlocked box containing a sum of money. Withoutlookingup the. actual reference I feel certain thatMilbourneadvocated the use of Stewart Judah’slovely method. the “Keys Of Judah”.. Now although the method here is excellent, and up to a certain point, foolproof, I am allergic to reliance on mechanism if it canbe avoided. It was with this thought in mindthat the following routine and method were devised. The presentation to bedescribed makes the “Keys to Baldpate” effect into a stage or platform presentation.
-
_
~~
VOLUME 13 No. l1
-
_
1/6
Four members of the audience are seated left of the performer. On his table is a simple stand (See illustration 1) to which are clipped five small enve!opes. Each envelope bears a different number, the numbersrangingfrom 1 to 5. _
~
(20 Cents)
-
-
AUGUST, 1959
82 ThePerformer lifts fromthetablea small transparentplastic box. A length of coloured ribbon (illustration 2) twice encircles the box and through two rings at the ends of the ribbon a padlock keeps them together. Holding the box so thattheCommitteeandthe audience can see, the performer points out that locked inside the box is a E5 note. The box is placed on a chairand then the attention of the audience is drawn to the five numbered envelopes clipped tothestand. “Each of these envelopes contains one key . . one of the keyswill open the padlock which keeps lockedthe box which I have shown you. (To the committee). Eachone will have a choice of one envelope andthechance of the E5 note. I shall in no way try to influence your choice.” Each spectator in turn is asked to name the envelope that he or she would like and according to their choice the envelope is removed from the stand and handed to them. When four envelopes have been chosen and only one remains clipped to the stand, the spectatorsholding them are asked to open them, and remove the key contained inside. Each then in turn tries his key in the padlock, but none succeeds in opening it.Takingthe final envelope and handling at the fingertips, the performer cuts off one end and allows the key inside to fallontohispalm.Handing this key toone of the Committee, he asks him to try the key in the lock. Needless to say, it is the one key which opens it!
The Requirements : 1. A padlock together with five keys that will open it and another five that will not. 2. Some pay envelopes measuring 2$ inches by 3 inches. I don’t think that you’ll be able to buy envelopes thisactual size. Those I use have been cut down from slightly longer envelopes. 3 . A transparent plastic box. 4. A length of ribbon. 5 . Two small metal rings. 6 . A simple stand to hold the envelopes. It consists of a base twenty inches long with two holes drilled one inch from each end to accommodate respectively two twelve inch lengths of quarterinchdowel rod. The only other requisite is a inch strip length of one - eighth byhalf of wood, whichwhen setting upthestand is attached at each end to the tops of the dowel rods by means of criss-crossed elastic bands. If the woodworkisgiven a coat of matt flat black paint it looks quite respectable.
-
1-
. ._. In describing the effect I don’t think I have stressed enough thefactthereare no suspicious moves and in particular that as each envelope is removed from its clip it is freely shown on both sides. When thespectators remove their keys from the envelopes nothing else is left inside.
83
7. Fivesmallbulldog clips to hold the envelopes in place. 8. A pair of scissors. Preparation : Check the length of ribbon needed to go round the plastic box both ways, thenhavea ring sewn to each end. Place the f5 note in the case put onthelid, bind the ribbon round bothways and then snap the Padlockthrough both rings SO that the only wayof opening the box is by unlock- but ing the padlock.
Take five envelopes and the five keys that will not open the lock. Into each envelope place one key. There is aparticular position for each key, namely at the flap end lying crosswise across the envelope. Seal the flap of eachenvelope,but before allowing the glue to set take the keys that will open the padlock and insert them in the flap (as in Illustration 3) Don’tallow the gum to set against the key for all you require is a small pocket to hold it in place; there should be easy freedom of movementwithout the possibility of the key falling to either side. On the face of each envelope is chalked anumber with charcoal stick. (Alternatively, numbersfrom office calendars canbe cutoutand affixed). The envelopes are then + clipped totheupperstrip of wood. Illustration four shows the position of the envelopes as seen by the performer. The stand holding the envelopes is placed on the performer’s table whichshouldbealmost centre stage, There should be one chair immediately to the left of and slightly in front of the table. and well left of the table, and to the front of the stage or platform are four chairs to accommodate the four helpers from the a(Ud’ lence.
The Iocked box at the commencementis placed upon the table adjacent to the stand. The scissors are dropped into the right hand pocket.
’
Presentation The four helpers are invited upon the stage a d seated onthechairsleft of the table. The performer thentakesthe plastic box from the tableand shows that notonly is it padlocked that it also contains a g5 note. The box is then placed upon the seat of the chair adjacent to the performer’s table. The attention of the four helpers is drawn to the envelopes, and in stating that eachenvelope contains one key, the performer is perfectly truthful. The first helper isasked tomakea choice of the number. We’ll suppose thathe decides uponnumber three, the centre envelope. The performer asks him whether he (or she)is quite satisfied with such a choice and allows a last minutechange of mind.When the helper has affirmed his or her choice, the left hand of the performer removes the cl.ip whilst the right hand takes hold of the envelope in such a manner that the ball of the thumb rests on and covers completely, the top of the key held in the pocket of the the following verseThe left hand carries away the clip and drops it into his left hand pocket whilst the right hand turns the envelopeover thus allowing both sides to be seen. remarking, “This, then is your choice!’’ The right hand returns to its original position so that the coveredkey is nearest to the performer. Now inonecontinuous action, the right hand thumb slides the key upwards from the pocket, turns the envelope down so that it is paralllel to the floor and places it onto the upturned fingers of
84
the left hand, whichin turn takes the key,now separate from the envelope and the envelope itself. The performer moves across to the spectator who chose the envelope and in this action the fingers close over the key in the envelope being held between thethumb and firstfinger. Illustra,tion six shows the twopositions. The spectator takes the envelope and the performer moves backto the stand. A second spectator is asked to nominate an envelope. The left hand, which remember, has fingerclipped the keystolen from the firstenvelope, takes hold of the club whilst right hand takes hold of the envelope in the samemannerthatthe firstenvelope was taken. Now the left hand removes the clip anddropsthisandthepalmedkey into his lefthand pocket. In handing the envelope to the secondspectator the procedure adoptedis the same as with the first spectator. Carry on in exactly the same way with the third and fourth spectators, so that you are left with just one envelope on the stand, and one key in the left hand. Let the spectators open their envelopes and unsuccessfullytry to open the padlock. Nowpleasepay attention to the handling at this final stage, handling which is very clean and cannot allow any suspicion t o . arise in the audience’s minds that you do more than you appear to do. At this point the left hand still has the odd key takenfromthefourth chooser’s envelope. Left hand comes upto remove clip whilst right hand takes the fifthenvelope ashehastaken those before. The clip and key are dropped into the pocket and the envelope shown on both sides.
Whenhowever, the hand returns to its original position and the keyis nearest to the performer, the left hand c o m a in and takes the envelope first finger tip on the top edge, thumb against bottom edge (illustration 7). Quite obviously there is only an envelope and nothing concealed in the hands, though naturally nothing is mentioned regarding this. “This is the envelope you left for me . .(ahe says this the right hand comes in and taking it by the lower corner between thumb and first fingertip, holds it up. He then passes it back to the left hand which this time takes it at the positionshown in illustration 8. The thumband fingerpress on the extreme end of the key in the pocket and also the key insidetheenvelope. The right hand reaches into the right hand pocket for the pair of scissors comes out and then slicesaway theend of the envelope opposite to that held by the thumb and forefinger of the left hand. The scissors are dropped onto the table and without comment the right hand is shownempty andbrought across under the envelope. The left hand tilts the envelope over shifting the grip of the thumb from the key in the pocketandontothe key inside the envelope.When it is insuch a position that the keyin the pocket is in a vertical position it will fall behind the envelope and onto the palm of the right hand. To the audience it is exactly as though the envelope were tilted and a key fell from within it. Naturally the pressure of thethumb on the key inside the envelopeprevents this falling as well. The left hand places the openedenvelope on the table and then advancing toone of the helpers onthe stage, the performer asks him to remove the key from his palm and see whether it is theone which opensthe paidlock. It does!
THE CARDWORK
CRAHAMADAMS
OF
ACCOMPANIED BY THE JOKER SOME years ago Carruthers, of the Order of the Magi, performed a very pretty little experiment, trick, effect or what you will, with four aces. Don’tsmile, it was not the usual four-ace trick. He used four aces, all long cards, and he gave me permission to use it. I didn’t, until a few years later, and then in S different way. One difficulty was in getting the pack cut so thatthe four aceswere “long”. However, on reading Page Wright’s “NoteBook” I founda little tip of Frank Lane’s which he described there. This is a piece of thin celluloid, cut slightly larger
than the cards to beused. It makes an excellent long card, and isundetectable. Try this out and you will like it and use it. The only move required in my routine is the Charlier Pass, used as a flourish. The Charlier Pass is easier to use this way than as a magical sleight, when it is the quickest and one of the most invisible of call the millions of invisible grasses ih existence. The “Cards up the Sleeve’’ is used as an introduction, and I shall not attempt to describe that here as everyone has his ownpet method.
85
Then off we go; “Accompanied by the Joker”:
PATTER AND PRESENTATION “ Ladies and Gentlemen. The American poet, Bret Harte, wrote a little thing you all know abouta“Heathen Chinee”.
“Ah Sin was his na,me: And I shall not deny In regardtothesame Whatthename might imply, and child-like. But his smile itwaspensive “Now Ah Sinplayed a friendly game of Euchre withtwo Yankeecrooks in agamehe did not understand. You all know how the Chink won andthecard sharpers turnedhimupside down. “In the scene that ensued I did not take a hand, But the floor it wasstrewed Like the leaves on the strand With the cards that Ah Sin had been hiding, In a game he did not understand. In his sleeveswhichwere long He had twenty-four packs, Whichwascoming it strong, Yet I statebutthe facts. That for ways thataredark, And for tricks that are vain The heathen Chinee is peculiar, Which the same I am free to maintain. “Now,LadiesandGentlemen, I’m nota heathen Chine-and I haver no ‘cards bp my sleeve, but I willshowyouhow to send them there! Here are the cards. Watchthem go, one at a time.” (Holding the cards in the left hand, flick and produce the cards singly from under the coat at the left shoulder.)
‘‘ Here they come, another, and another, two more, here’s a bunch.” (Etc., etc. Finish production.) “This life is like a game of cards, Which mortals have to learn; Each shuffles, dealls, and cuts the pack, And each a trump doth turn.
Some bring a high card to the top, And some will bring a low; Some hold a hand quite full of trumps While others few can show.
In playing some throw out their trumps, Their winning cards to save. Some play the king, some play the deuce, But manyplay the knave. Some play for money, some for love, And some for worldly fame, But not until the hand’s played out Can they count up the game”. (During this recital there is plenty of opportunity toproducetheappropriate cards, this of course at the discretion of the performer). “You see the game’s the thing, and what does and a joker! it matter if occasionally one holds-four aces
“Here they are, four aces accompanied by the joker”. (The four aces with the joker under them have previously been placed in the pack with the celluloid fake on top of them. A cut at the fake will now bring the fake to the bottom of the pack and the ace to the top. Therefore proceed as follows: Makethe Charlier Pass (single-handed cut) and deal off the firstace. Cut again, bring thefake on top of the aces in the middle of the pack, and immediately cut agalin, bring another ace to the top and deal it off. Repeat this until all four aces have been produced, “accompanied by the joker”. This looks like a very clever pieceof manipulation, for, apart from the continuous single-handed cuts, the performer has produced the four aces and the joker while apparently cutting at random). “ We’ll lose these in the pack, placing them indifferent parts, like this! The ace of hearts here, and lose it like this. The ace of spades here, and it is lost. . h o t h e r ace goes, and another, followed by the joker, until they alre all lost.
(Use the celluloid fake as a guide. Cut the pack-single handed as usual, bring the fake to the bottom and place the first ace on top of the pack. Cut again ‘losing’ the ace. Another cut, and so on, until the four aces alnd joker have apparently been lost in the pack. Really theywill all be together with the fake on top). “And here we have - four aces accompanied by the joker.”
Repeatthe whole productionagain - this time the joker willcome out first - and then apparently lose themin thepack again, butdo not produce them again until the eighth line in the following verse-
86 GRAHAM ADAMS’ CARD WORKS
-- Continued No other hand in all the world, Can greater solace bring, Than that sweet hand I held last nightFour aces and a King-
“Last night I held a little hand, So dainty and so sweet, I thought my heart would surely break So wildly did it beat.
Accompanied by the joker!”
THE SLEEPY CARD THIS one was shown to me by the late Douglas Dexter. He was responsible for a number of good things, which could only be described as magic, and this one, in his hands, was a little gem. THE EFFECT Someone takesacard;the performer says: “There’s a sleepy card in the pack. The nine of hearts--funnyyoushould havetaken it. We’ll put it to bed.” The pack is held in the left hand, face down, and the nine of hearts is placed on the bottom of the pack and slowly, without any move of the left hand it is tapped square with the pack with the right forefinger. The pack is turned face-up, exposing the card. The performer points with his right forefinger to the nine and says:“He’s too hot. We’ll cool him down.” Takingthecard at thebottom of the now face-uppack in his right hand he fans the nine, saying: “Now he’s too cold. We’ll cover
himup” The oddcard is buriedin the pack and the pack, still face-up, is cut, bringing the nine to the middle. Then, turning the packface-down the performer proceeds: “He’s so cold he needs blankets, so two cards, one oneach side of him, will turn over to make himwarmer.” The pack is fanned until two face-up cards are found, withoneface-down card betweenthem. This card is removed; it is the nine. THE METHOD The explanation is very simple, yet the sima pack of cards with plicity is its mystery.Use white borders. Reverse the bottom card of the pack and the card second from the top. Have a card selected from the face-down pack, taking care not to expose the face-up cards. Whatever it is, refer to it as the Sleepy Card. Place it beneath the pack,slowly tap it home, turn the pack over and carry on with the patter; the trick just works itself.
SIMPLICITY SHOW this as a thought-readingeffect will have a puzzler.
and you
THE EFFECT Three cards are selected, each one in a different way. The first is takenfromthepack while the performer is looking intothe eyes of the selector. The second whilst the performer’sback is turned on the selector. Each of these keep their cards, and the methods of selection seem to preclude any possibility of the performerinfluencing the selection. The thirdcard is selected by the spectator sighting a card in the pack as it is riffled before his eyes. The pack is immediately given to the third spectator to shuffle and hold.
also holds up his card. No. 3 is asked to hold up the pack and his card is named.When the selector agrees, the conjurer exclaims : “ Yes, I thought so, because I am holding up that card”whichheimmediatelydoes.
The performer points out that Nos. 1 and 2 hold their cards and No. 3 holds the pack.
THE METHOD. There is nothing here to present any difficulty. The threecards a’re, of course, forced. The first card is forced by the normal fan-force, while the performer looks into the spectator’s eyes. Forcing the next card, behind the back, is just as easy and ismerely a matter of confidence and practice. The third force, by the glimpse and side steal is knownby all conjurors. This 1.eaves the card palmed andthe pack is immediatelyhanded to the spectator.
The performer names the first card, after due concentration, andthe selector holds itupfor verification. This is repeatedwith No. 2, who
There is nothingin itbut presentation, and yet it brings more applause and recognition than other winners that cost a whole heap of E S. d.
(To be continued).
MAGIC CIRCLE FESTIVAL OF MAGIC This year’s Festival not only brought a very colourful and varied presentation of magic art but it gavea very large audiencethe opportunity of seeing the superb artistry of the Marvyn. Roys and Sitta. The former with their almost ballet-like act inwhich the general motifwas magic with electric light bulbsmadeone easily understand whytheywere picked by Ed. Sullivan for his Moscow presentation. Sitta costumed as the imperturble Chinese magician, did much of what we had seen him do before and in justsuch an immaculate manner; the silks which change into beautiful imitation water lillies is a piece of magical poetry and something exclusive which we hope stays that way. The two acts mentioned were well supported by the remainder of the company, all of whom well merit individual praise. Opening was Horace King and Betty (Korolyov) with fast moving magic and a fine music score. There was Rahnee Motie,a
PETER
“THE
slim, but busty fire eater, Jackie Flosso with gags, fooling Saveen with ventriloquism and Gogia Pasha. Leslie Lester opened the second half with manipulative magic consisting of card and cigarette production plus a very effective presentation of the diminishing cards. Then there wi~s Eddie Schuyer and assistant witha delightful ,novelty act. JohnDanieland companyclosed the show with an eye popping vanish and re-production of aduck plus a great lay public foolerversion of the “Sawing Through”John Wade proved an amiable compere, whilst Sydney Jerome and his orchestra supplied the music. An enjoyable showwhichmight little more humour in it.
have had a
The Directorate responsible for the Festival, Michael Bailey, Norman Cooper and Gil Leaney are to be congratulated on their offering.
WARLOCK’S
SILKBOY”
Under this title we present a newlowpriced utility device that gives the following effect,:Taking a piece of verystiff paper, the conjurer forms it into a rectangular tube. The audience are then allowed a view through each end of the tube. Three twelve inch silks are tucked inside and once again the tube is turned end sides on allowing the silks to be -seen through each end. Then “ Wham!’’ thepaper -is flippedopen land shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used production or change ofsilks. the following points :L
for the Remember
1. Completely self-contained. 2. No tricky angle work.
3. Nothing to add
or take away.
4. No threads or flaps.
5. No body work. 6. Always ready. 7. The price makes it a ‘must’.
IT’S ONLY 716 Complete (No Silks)
PETER WARLOCK, 24, Wordsworth Road, Wallington, Surrey or from your favourite dealer.
E D D I E JOSEPH‘S LatestandGreatest Work THE MANUAL OF
T H E T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLES andRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparingyour ownshells, should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, but there is no reason at all why you shouldnotmasterthem all. NOTHING is left to the imagination, for in this section alone there areno less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER isdealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyou have mastered them, but even this is done for you, with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has tenphases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; N O LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirelynew to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunl.ikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECOND TO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
G E OARRGMES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubr.oom,LibraryandMuseum: Hearts ofOa,kBuildings, Euston Road,London, N.W.1. ParticularsfromHon. Secretary: PETERNEWCOMBE.
38, OverdaleAve.,NewMalden, Surrey.
PETERWARLOCK’S
PENTAGRAM i ; gub!ished
on {the 24th of each month and can be obtained direct from the publisher for 1/8 persingle copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington Rd.,EnfieldMiddx. Manuscripts for publication & books for review should besent tothe Editorial AddressPeter Warlock, 24, WordsworthRd.,Wallington
Surrey.
WANTED MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many item! by C. T. Jordan. U. F. Grant, Gran1 & Menge, Ovette, etc., etc. Only originals please, and not typed copies I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62. WellingtonRd.,Enfield,Middx.
*
PublishedbytheProprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. AndPrinted by CentralPrinting Co. (Chas.Sowden) Ltd., Burnley,
Lsncs.
THE MAGIC BOWL OF BUNG H0 HUBERT LESLIE T H E name of Hubert Leslie is known at every famous school throughout the length and breadth of theseisles. Some readers may remember a review of his book, “Artful Art and Breathless Brainwaves”, a book in which he told of his experiences as an entertainer at many many public schools. This present contribution is not a trick but a little interlude which like the late OswaldWilliams’ “JigsawFaces” is morethan acceptable in a programme of magic. The apparatus consists of a large cut-out of a bowl. The first photograph gives the appearance as seen by the audience, whilst the line drawing shows that it is hinged at AB and CD whilst from D to the lower edge a saw cut is made. Now if the part ADB is bent backwards the part DE can be moved roundon the hinge to formthe pattern shown in figure (4). Any reader interested in having the effect madeupmight like to contact Mr.Leslie at 4. Tushmore Crescent.Crawley. Sussex. The bowl when the necessary cutting has been madeand hinges have been added is painted to give the effectshown in the first photograph. It should have a small base so that it can easily stand on the performer’s table. ...
..
The patter then goes as follows :Long years ago in Old Cathay, (Or China, its it’s called today), There lived, as some of you may know, That Gay Philosopher. Bung-Ho. The Laughing Sagethey called him then, The merriest of mortal men; Andfromthat day and ever after Bung-Ho has been the God of Laughter. This is the Master’sMagicBowl. CoveredwithChinese rigmarole, Mysterioussigns of incantation Painted on it for decoration. It says: “Let Laughter ease your pain, Make life a joy - and keep you SANE!” The Bowl, you’ll note, is filled with Wine, If offered some, you must decline! Cast it aside. you do not need Strong Drink this Oracle to read! (Here bend back the top part along the line AB, at right angles to the lower part).
90
Then make the Cabalistic Sign And Magic Power shallthine! be And, as a proof that this is true, Behold! The Bowl breaks-thus-in two!
And thus rejoins itself to show The laughing face of Bung-Ho! old (Complete the movement to the right, so that the two halves fit together).
(Here slowly bend the left-hand half over to the right on the “hinge” CD).
A ROUTINE FOR THE SUPER BILL HEAD TUBE The Revd. MICHAEL
SEACOME, M.I.M.C., I.B.M.
T H e performer borrows a 101- note. It’s number is noted down ona visiting card. Note is folded into a small roll and enclosed by a rubber band. (This is doneunderthe eyes of the spectator). Performer holds the folded note with a pair of tweezers for all to see and then, placing the note in his left hand for a moment he lights candle a on his table. Note is ignited and disappear in a flash. Performer immediately reaches to his table and exhibits a small brass tube with a cap secured by a small padlock. Spectator. after examining the tube, unlocks the cap and finds the borrowed note inside.
REQUIREMENTS 1 Super Bill Head Tube. (Unique Studio of Magic). 1 visiting card. 2rubberbands (smallestsize). 1 small bridge pencil. 1 candle in a candle stick. 1 box of matches. 1 pair of philatelist’stweezers. Supply of flash paper.
PREPARATION
(1)
TheFaked Note A piece of flash paper cut the same size as a 101- note should be folded to resemble a note folded 1/32nd of its size.(Severalshould be prepa’red at the same time).
The finalresult should be acompact roll which can be pressed and moulded into shape with the fingers. Enclose with a rubberband (doubled). Atouch of water colour paint will complete the preparation and give it the appearance of a r e d note similarly folded. (2) The Match Box This should have a ledge of thin card-board stuck on the underside, protruding approximately two-fifths of an inch, sufficient to hold the faked note.
(3) The Bill HeadTube A small piece of thin card should overlap the slidingsection of the maintube (2” X l”). This will ensure that the note will not jam when the tube is shut after loading. The card should have some short message or compliment written on it, e.g. with thanks. or. with the compliments of ............ performer’s name, or New Year Greetings, etc. Anything suitable to give a logical excuse for its inclusion in the tube.
SET UP
I n my opinion this excellent miniature illusion should be made as visually attractive as possible. Therefore I attach importance to the dressing of the effect.
91 In my own presentation 1 use an occasional table with a white velveteen cord cloth fringed with red. On thetable I have a small ornamental Victorian clock base in gold and covered with red velveteen cord. The object of the stand is to provide a convenient base to deposit the small objects usedin the routine-in effect a sort of Victorian miniature display tray. A small tray could do equally well. On the tray shouldbeplaced the following articles :Matchbox. 2 rubber bands ( l for emergency in case theother shouldbreak in performance), tweezers, key of the padlock (preferably attachedto a key tag onaccount of its small size). a small ornagmentalcandle stick with a red candle, pencil, visiting card. At the back of the tray or stand (approx. 12” X 4+“ X 1” in dimension), a small iedge 2” X threefifths inches should be fixed. This will depend on the tray used. The object of the ledge is to hold the inner portion of the tube just below the edge of the tray for the crucial load of the real note. The attachment of the padlock makes it difficult to position the sliding portion as required otherwise. THE LOAD The faked note is exchanged during the lighting of the candle. As the matchbox is returned to the stand (or tray) after the lighting of the candle i~ is tilted slightly to allow the real note to roll into the sliding portion of the tube just below the surlace of the stand.This movement. of course. t2:kes but a second, but camreshould be exercised to ensure the safe loading of the note. A slight tilt shouldsuffice. The hand covers this move from tileview of the audience. There is a slight risk that the note might roll beyond the tube. This is a reasonwhy the performer folds the note and not the spectator to ensure that the folding is done neatly and compactly. so that an easy load is made possible.
PERFORMANCE, The Performer asks for a 10/- note. He hands the spectator a visiting cardanda pencil and requests him to note down the number of the note and retain the card for future reference. Then taking one of the rubber bands he carefully folds the note under the eyes of the spectator. who sees tha,t everything is fair. Performerthen takes the note with the pair of tweezers with some such remark as “This is a very small object-these tweezers will help to keep it in view.” The left hand is held open so that the audience can see that it is empty, without special attention beingdrawn to this. Thenhe places thenote in the palm of the up-turned (left) hand exclaiming “We’ll just light the candle.”
Performer takes the match-box, lights the candle, blows out the match, and replaces the box on the stand. It is during this procedure that the switch is made, aided by the ledge at the rear of the box. The faked noteis tipped into the palm, and the real note is scoopedup onto the ledge instead. The fakednoteremainsin the palm as the matchbox is replaced on the stand, rolling the real note into the sliding portion of the tube. This rnovement takes but a second, but care should be exercised to ensure safe loading. A little practice wi!l show that only a slight tilt is really necessary. The faked note is removed with the tweezers and ignited from the flame of the candle, whereupon it disappears in a flash. This is very effective and my in experience registers well with an audience. Reaching behind the standthe performer immediately picks up the tube between the thumb and firstfinger of his right hand. The action of picking up and displaying the tube is done with a flourish. (:The piece of card inside the tube ensures that its closing is instantaneous, andthe movementiscovered partly by the sweep of the hand). The spectator is handed the tube with a request to examine itc:osely.When he sees that it isimpossible to open it withoutundoing the padlock the performer hands him the key, and the spectator opens the tube to find the borrowed note inside. The number is checked and the routine is over. FINAL COMMENTS I have found this to be a very effective routine. clean in action and with a minimum of suspicious movement.Whileno great originality isclaimed in the routine I havesmoothed outone or two points which I hadpreviouslyconsideredweaknesses.
I had lelt that the loading of the tube in the pocket inartistic and unsatisfactory. The use of the card inside the tube obviates the danger of the note beingwedgedbetween the edge of the main tube andthe solid end of the sliding portion. 1 recommend that at the conclusion of the effect the performerhimselfremoves thecard using the tweezers. There is a small risk otherwise that the spectator in his examination of the tube might press on the edge of the card and push out the sliding portion.
The routine requires the simplest and most direct patter in orderto keep the mystery clear cut and to sustain interest.
92
THECARD WORK OF CRAHAM ADAMS A CATCH THIS little effect should prove useful for catching unwary conjurers as well as laymen. THE EFFECT
replaced at the break-on the top card. Again make the pass. bringing the pack back to its original position, but with the chosen card now on top.
The cards are shuffled by anyone. The performer then takes the pack and shows the top and bottom cards. A card isselected from the middle of the packand replaced.Again the top and bottom cards are shown unchanged. The performer taps the pack and announces that the chosen card has moved to the top. The top card is shown, but it is the wrong card. However, the performer does not give them the chance to say that it is the wrong card, but takes the top card after tapping the pack, just shows the card and says: “And that brings theexperimenttoa successful conclusion.” The audience then see the correct ca.rd-a moment before the wrong one - is held in the right hand.
THE METHOD Sleightsneeded are : The pass,well done. Thumb counting with the left thumb. The doubleand treble lift. The throw down change. Thetopandbottom cards of the packare shown and noted. When showing the “top” card. make the double lift, so thatit is actually the second card that isshown. Make the pass and hold the break. Have a card sel.ected and have it
lz
Show the “top” and bottom cards again, but this timemakethe treble lift whenshowing the top card. Tap the pack, make the double lift and show the“top”card again, (the spectator will quickly note that it is the wrong card) saying: “And here we havethe selected card”. Immediately make the throw change, as shown in Figures 21 and 22, saying:“Whichof course brings the experiment to a successfulconclusion”,casually showing the card to be the correct one.
ASSEMBLING THE PACK WHEN aperformer
is asked, “Canyou deal a. good Bridge hand?” or “I Eaw a man deal a full of hearts. Could you do it?”, the following routine may beperformed. It requires no pre-arrangedpack,fortheperformer makeshis own arrangements as he goes along.
which suit would he prefer.Suppose
he replies “Hearts”, the performerselects a sporting Nap hand, to be played with three other players. The cards arerunfromonehand to the other, and theperformer throwsfromthe pack, on tothe‘ table, the ace, king. queen, jack and nine of hearts.
THE EFFECT A spectator is asked to shuffle and cut a pack, and he is asked if he can play “Nap”, and if so,
The cards are shown one at atimeand replaced on the pack, which is shuffled and cut by thc performer. Fourhands are dealt. Number
93 it contains the “Nap” hand,
but number 2 hand holds the two, three, four, five and ten of hearts. They are all shuffied into the pack again, and four hands are dealt for Whist. Thefourthhand is shown to consist of all hearts, the others being indifferent cards. The performer “showshow it is done”, and again shows his hand to consist of all hearts. But handnumberoneholdsall the spades; hand number two all the diamonds; hand ‘number three all the clubs! or1
That is the plot, and the whole thing is based the “Milk Build Shuffle” and the Bottom Deal.
THE MILK BUILD SHUFFLE The pack of cards is held in the right hand as for the overhand shuffle. The thumb at one end. the forefingerrests across the side, the second finger atthe other end. The third andfourth fingers act as coverwhen the action takes place. (See figure 23). The right hand makes all the necessary movements, the left hand being as stationary as possible. and the cards mustbeheldloosely duringthe shuffle. In shuffling. the right hand brings the pack well into the left palm (Figure 24) to enable the left forefinger to draw a card from the bottom of the pack at the same time that the left thumb draws one from the top of the pack. (See Figure 25).
You are now ready to commence the routine. First, have the pack shuffled and cut, then ask an assistant which suit he would prefer for his “Nap” hand. We will suppose “hearts” isselected. Run throughthepackto findace,king,queen, jack and nine, which you throw out on to the table. As you do this place the two, three, four, five and ten on the bottom of the pack. Replace the five cards from the table, showing them one at a time a you place them on top of the pack. Remark that with 4 peopleplaying, these five cards would makea sporting “Nap” hand, and while saying this shuffle the pack, first making the “milk”shuffle five times. Then shuffle the remainder of the pack in any way on top of the ten cards. This leaves the ten cards :It the bottom of the pack, placed alternatively for two hands. To Deal Deal four hands of five cards each, one card at a time to ea.ch hand, the cards to hands “two” and “four” being secretly dealt from the bottom of the pack.
Give the last hand to the assistant who first shuffled the pack and give hand number two to another spectator. Ask them to play their hands, calling each card aloud. As they do this replace the other two hands on the pack, and quickly run through the pack, placing the remaining three hearts (six, seven and eight) on the bottom of the pack. After the hands have been played replace the len hearts on thebottom of the pack. Makea falseshuffle anda false cut, and offer to show how “Whist”hands maybe dealt. Deal four hands of thirteen cards, the “fourth” hand being dealt from the bottom.This will, of course, contain a full suit of hearts. Do not espose this hand yet, but giving the remaining 3 handsto 3 members of the audience.asking them to sort them as theywould if theywere playing Bridge or Whist. Take the cards from them and examine each hand,remarkingon its possibilities. This gives an opportunity to get the three suits sorted into completesuits, all the spades together, and the clubs and diamonds.
Whentwo cards are taken as justdescribed thc action is known as “milking” the pack; when the thumb only takes one card from the topof the pack the action is termed “building”. Practise this shuffle onthe lines suggested. altering the positions of the fingers, and the angle at which the cards are held, until you find the positions most suitable to yourself.
You are now prepared for the “Milk Build’’ shuffle. which places the three suits ready for dealing. You mustfirst make thirteen “milk” moves. placing the remaining thirteen cards on the bottom of thosein the left hand.Thenagain shuffle, making one “milk” move and one “build” move alternately, each thirteen times, after whichyou will be ready for the final deal.
94
GRAHAM ADAMS’ CARD WORKS
-- Continued
To give you time to make the above mentioned shuffle, which should be donequite casually, remark on the hands just picked up and that by a strange coincidenceeach hand was short-suited. and would the obliging assistant turn up his cards one at a time very slowly. The hand on the table is thus shown to be a 2 hearts. After hehas done this, takeup the hearts,
place them on the bottom of the pack, and off,er to show how it is done. Falseshuffleand false cut,and deal, the 4th hand again being dealt from the bottom. This timeshow “all hearts’’in the fourth hand.then take up the first hand showing it to be all spades. tilesecond handto bediamonds and the third hand to be clubs. just as the case may be.
A NAP ROUTINE THIS is the patter and general effect, which may be accomplished with a little practice, all the movesbeing found in “TheExpert at theCard Table”. PATTER AND PRESENTATION “Ladiesand Gentlemen. On many occasions, after I havebeen entertaining with a pack of cards, I heartheremark, ‘I wouldn’tplay cards with that fellow at anyprice’. I suppose it is really intended as a compliment, but as a matter of fact I never play cards under any circumstances. Whatdid yousay sir? ‘A good thing too!’ Perhaps you’re right. However, I fear I shouldn’t get much of a run with all you people, for you all have your suspicions awakened to the fact that I am a conjurer,andit wouldbeimpossible to get any advantage with your eyes glued to every move that l shouldbe able to make. The eyeshave it too. I Here’s a little thing that may interest you. shall ask fivegentlemen to select one card each, from this pack which you see is being thoroughly shuffled. (1). I want you to imagine forthe timebeing that 1 am in the hands of five card sharps; will you select your cards? (2) Thaak you. Justa little question. What youldyouterm a good certain Nap hand? The ace, king, queen, jack and ten of one suit! Well I daresay an Aberdonian might risk five with that. What card did you select, sir? The ace of diamonds. and yours‘? The king of diamonds. land yours? The queen of diamonds. and‘? The jack of diamonds. also? The ten of diamonds. “Just to think that I asked you to imagine that I was in the hands of five card sharps! I wonder where the other forty are! “We’ll replace them in the pack and shuffle them again. (3). Willyou cut. I shall deal a couple of Nap hands, like this. (4) and remember please that the cards were shuffled and cut; being the dealer I get this hand whichcontains:The ace of diatmonds. The king of diamonds. The queen of diamonds.
The jack of diamonds. and The ten of diamonds. “Easyisn’t it? We’llshuffle (5) and you can deal. I’llmixthem upas much as I can. Is that enough? It is as well to give them another for luck. 1’11 cut. like this, and you deal four hands. (6). You takethe dealer’s hand. What have you got? The ace of diamonds. The king of diamonds. The queen of diamonds. The jack of diamonds. and The ten of diamonds. “Back they go. (7) and although you imagine that you have seen five particular cards this evening. I have in my pocket :---The ace of diamonds. The king of diamonds. The queen of diamonds. The jack of diamonds. and The ten of diamonds.
THE EXPLANATION. ( l ) The five cards are on the bottom of the pack.whichisgiven a false shuffle, retaining the bottom stock. (2) Force the five cards on the fivemembers of the mdience. (3) Replacethem,one at a time.half-way into the pack. one cardon the other, and bring them to the bottom by the diagonal palm shift, or your favourite method. (4) Dealtwo hands of five cards each, the Nap Hand falling to the dealer by the bottom deal. ( 5 ) Again replace the cards, this time on top, and make a stock shuffle, for four players. (6) The five cards will fall tothe dealer’s (spectator’s) hand. (7) Again replace the cards, as in the first instance, make the diagonal shift palm (or palm the cards out by your favourite method) and produce one at a time from the trouser pocket. Try this effect. practise it, and you will have a series of effectswhichwill be appreciated by any club a(Ud’lence.
95
BOOKS “CardTricksWithout
Skill”, by PaulClive.
(Published by Faber & Faber, price M/-). This is a new edition of a bookoriginally publishedin 1946. This edition is far easier on the eye, having larger pages and a more modern type. (The original wasin Gil Sans). Thereare some264pagescoveringwellover a hundred tricks. Many sources have been tapped to provide this feast of easy to do magic and credit has been given to that source when known. To this edition there has been addedan extra chapter which should bring the new reader up to date; it deals with contemporary books dealing with card magic. The bookwould makea nicepresent to a newcomer to magic. for from its varied contents he would have not only a large number of varied card tricks brought wellwithinhis capabilities, but he wouldbe brought into contact with the better known creators of subtle and sleight free card magic.
In his editingLewis Gansonhas beenwise in taking so many varied treatments of mental effects, and it is because of this that there is something for every conjurer whowishes toadda mental item to his act. Books dealingwith the practical side of mentalism are all too rare, and so, this present publication is all the more welcome. An excellent ‘buy’ which no reader of this paper can afford to miss.
EddieJoseph’s Sensational Subtleties ‘Vacant Vision’ OriginatedandsoldbyEddieJoseph, of 24, Kilburn Priory, N.W.6., price 5/Here is a lovely little trick using three cards, in which the performer proves the lack of observation of his audience. Though a faked card is used the handling which is minutely described in conjunction with a set of some eight photographs completely disguises such a fact, and the buyer has a baffling little mystery at a mostmodestprice.
‘Magic of the Mind’.-Compiled by Lewis Ganson (Published byHarryStanley,Price
20/-)
This is a beautifully produced book of more thanahundred Pagesdealingexclusivelywith mentalmagic. Apartfromthe general make-up of the book it has the distinction of being the first book to becomposedin England on a ‘Monophoto’ Filmsetter. The dedication is to Dr. Jaks,one well deserved for there is certainly nobody better deserving of the compliment. There are some nine sections each dealing with a particular phase of mentalistic technique or artifice. The headings of thesesections are :-. Predictions, Book Tests, Alive or Dead, Mentalism with Playing Cards, Mentalism withSlates,Mentalism by Numbers, Miscellaneous Mysteries, MentalismbyDesign, andAidsfor Mentalists. Whether the reader be new or not to mentalism he willfind the sixtyeffects and subtleties within these sections very much to his liking, in fact he will, if he so troubles, findeffects that can prove sensational, worked in the right manner.
‘TheManual of theThreeShellGame’ by Eddie Joseph (PublishedbyGeorgeArmstrong,price
1216)
With the ever-increasing desire for magicians to add close-upeffects to their repertoire, the present publication dealingwithadvanceddevelopment of the old ‘thimble-ring’ is most welcome. With the usual thoroughness that one associates with Eddie Joseph, he has usedsome thirty large pages of text and illustrations to describe some twenty-odd ‘moves’ and three complete routines. As. well as this hehastaken pains to give his rea,der the necessary information which is so vitallynecessaryin preparing the shells that are to be used. An excellent publication, easy to read, and one whichwithstudy shouldmakethe student expert in this particular phase of close-up magic.
E D DJI O ESEPH-S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic.Youneedknow NOTHING of the subject before purchasing the book, but a fewevenings practice will enableyou to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your own shells, shouldyou prefer the genuine item instead of the present-day plastic variety.
I F YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, but thereis no reason at all why youshouldnotmasterthem all. NOTHING is left to the imagination, for in this section alone thereareno less than 60 fine drawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyouhavemasteredthem,but even this is done for you,with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has tenphases of baffling moves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there is a move here to deal with it. No matter when or disappearsin the most unlikely places.Another 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECOND TO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
G E OARRG MES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. c
THE MAGIC CIRCLE President:FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of OakBuildings, Euston Road,London,N.W.l. Next CONCERT will be held on February3rd, 1960. Particulars fromHon. Secretary: PETERNEWCOMBE,
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser’s
I
PETER WARLOCK’S
PENTAGRAM
WANTED
is published on )the 24th of each month and can be obtained direct from thepublisher for 1/8 persingle copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington Rd., EnfieldMiddx. Manuscripts for publication & books for review should be senttothe Editorial AddressPeterWarlock, 24, Wordsworth Rd., Wallington Surrey.
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many items by C. T. Jordan, U. F. Grant, Grant Rt Menge, Ovette, etc., etc. Only originals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62, WellingtonRd.,Enfield,Middx.
Goods are fully endorsed by this Bulletin
PublishedbytheProprietor.GcorgeArmstrong, 62, Wellington Road, Enfield, Middx. AndPrintedbyCentralPrinting Co. (Chas.Sowden)Ltd., Burnley, Imcs.
*
AN INDIAN FABLE BOBBY BERNARD
BOBBY’S apparatus for this most visual piece of coinchicanery consists of a pennythrough the Centre of which a hole has been bored and a Number 12 size knitting needle. The hole in the penny is sufficiently large to allow it to slip onto and shda along the needle. Taking the needle and holding it by the ‘knobbed endin a vertical position, the penny is rests upon the slid onto the needle so thatit knobbed end. The right hand leaves it there and takes hold of the pointedend.With theIndian Rope Trick as an illustration the needle representing theropeandthe penny the smallboy, the coin, after a magical incantation has been uttered, is seen to rise and slowly travel up the needle until it reaches the top from whence it is removed. The first phase of the effect is concluded. There is moreto come.Holding the penny at the fingertips of the right hand and grasping the centre of the needlewith the left.a spectator is asked totake hold of the ends of the needle. Another magical incantation and the penny vanishes from the right hand and with the removal of the performer’s hand from the centre portion of the needle the coin is found impaled upon it. It is spunby the performer and everything is handed out for examination. The requirements are easy to come by and comprise:1. A Number 12 knitting needle. 2. A pennywith a loose fitting shell. Through both shell and penny a hole measuring in approximately one-eighth of an inch diameter must be bored. 3. A hair approximatelytwenty-two inches in length. 4. Some conjuror’s wax. To prepare for the presentation of the effect. one end of the length of hair is securely fastened to the left-hand side of the performer’s braces at shoulderheight. The freeend is nowtaken and passed through the hole in the shell from the upper side and by means of a minute dab of coniurer’s
wax (too liberal an application may result in the shell sticking the to actual coin), the to underside. The shell is now placed on top of the coin, the wholeassemblythenbeingtucked into the performer’s lower left hand waistcoat pocket. With the knitting needle in the inside right jacket pocket the stage is set for the presentation. First of all the left hand removes the knitting needle from the right hand. pocket and places it
upon the table. Mentioning the fact that he wishes to showhis audience an aspect of the fabulous Indian Rope trick, the right hand now goes to the waistcoat pocket and removesboth penny and shell as one. The peculiarity of the coin, namely the hole in the centre is commented upon. Retaining the coin in the right hand the left hand picks up the needle holding it by the knobbed end. He speaks of the Indian Rope trick instancing the needle as the rope and the penny as the small boy who assists the Indian Sorcerer and adds that with these properties he will showuponaminiature scale what happens in this fabulous feat of magic. Whilst hehas been talking the penny and shell of the havebeenplacedover the pointedend needle and slid down until the knobbed end has been reached. Now a8 the right hand relinquishes its hold on the coin, it comes up to take hold of
~
VOLUME 14 No. 1.
-
1/6
(20 Cents)
~~~~
- OCT., 1959
2 fingertips and with a movementdownwards and away from the needle breaks it away from the hair.
t.he pointed end of the needle the hair is engaged between thumbandhand.(The accomoanying illustration gives a clear picture of the \;ay-thg needle is. held and run of the white thread which . ..._ ~. . forthe purpose of photography has been substihair). for tuted ~~~~~
~~~~~
~~~~~
~~
~
Atthesame time the left hand holds both penny and needle so thatthe real coin cannot be seen. Now the right hand holding the shell penny at the finger-tips uses its little finger to give the pointed end of the needle B casual push so that both the coin upon it and the hand covering it take up a central position, and it is at this point that a spectator is requested to take hold of each end of the needle, the performer maintaining his grip centre. - .around the
~
At thii stage, the p&ormer by extending his arms slightly cam the shell to rise on the needle, pennystill atthe leaving of course theactual knobbed end. Inthe accompanying illustration the shellisshownhalfwayup the needle, and an exposed view of the performer’s left hand allows the position of the real penny to be seen. When the shell rises so that is has reached nearly the top of the needle, the right hand removes it with the
Coming back to the Indian Rope Trick, the performerreminds his audience that he has already been successful in showine them in miniature how the boy. represented by &e penny, climbs up the the rope. Now he .intends to show them how later after he has vanished he returns to the magician.
The shell coin is now slid from the fingertips ontothe fingers of the right hand and well displayed. Now in the action of closing and turning over thehand.the coinissleeved. A muttered, ‘HocusPocus’ and thehand isopenedshowing thatthe coin has vanished andthe left handis opened and lifted from the knitting needle so that the audience can see that thecoin has travelled back to its original resting place. The performer spins the coin upon the needle and with this flourish brings to a conclusion, an Indian Fable. ~
~
.
_ _ ~ ~
.
-__
..___
-~ ~~
~~
__
~
~
STAMP IN TRANSIT BRIAN GLOVER
A
CARD isselected froma shuffled pack and after beingshown to the audience is placed face down in a prominent position on the table.
The performer then runs through the pack and after locating the Joker,.a5ixes a postage stamp to its back. Thii card is placed on the table alongside the selected card,but face-up. The card originally selectedisplacedback on’top of the pack and’ fairly cut intothe centre. After a muttered ‘HocusPocus’, the pack is spread face down to reveal the fact that the selected card has reverseditselfaridisnow face-op. The Jokeris now turned over and the, stamp is found to be missing. Removing the selected faceup card from the pack and turningit over, the missing. stamp is found stuck to its back! The only preparation needed is that TheJoker is placed on top of the face-down pack and that a book of stamps is in the performer’s right hand jacket pocket.
Prodore. The pack. is thoroughly shuffled, the Joker however,being maintained in its original position on top of the pack. Holding the pack face-down in the left hand, invite a spectator to select a card by simply calling ‘Stop!’ whilst your left thumb riffles down the edge of the cards. When this signal is received, you perform the Avis ‘Centre Double Lift’ (see Pentagram Volume 12. No. 10) which at the conclusion will leave the card shown second from the top of the pack with an indifferent card immediately above it. What appears to be the selected card, but in reality the top indifferent card is placed face down on the table. the selected card now being the topmost card with the Joker immediately beneath it. The pack is given a single cut and then with thefaces of the cards towards you the pack is leafed through to find the Joker. On locating it. cut it to the face of the pack and allow everyone to see it.
3 Holding the pack face-up in the left hand the right hand goes tothepocketand removes the book of stamps, then handing it to the selector of the card. This spectator is then asked to remove a stamp of anydenominationhe wishes. As he is doing this your right handapparently helps in squaring the pack in the left hand but actually its main purpose is to secure a break under thesecond cardfromthe face, i.e. the selected card. Attention is once more drawn to the Joker and theright hand takes the two cards as one at.the break and turns them face down on the face up pack. The stamp is now taken with the right hand, moistened and affixed to what is seemingly the back of the Joker, but in reality the back of the selected card. The left hand now turns back uppermost and with the right hand in apparently removing the Joker face upfromwhat isnow thebottom of the pack, theperformer executes the glide, and the selected card with the stamp on its back stays reversed at the bottom of the pack.
The pack is placed down for a moment, still face down. The Jokernow lies face-up on the table alongside the face down card which from the audience’s point ofview is the card originally selected. The latter is takenanddroppedon top of the pack whichin turn isgiven a straight cut. (Because the selected card was glided back and left reversed at the bottom of the pack, it is now reversed at the centre of the pack). The mysticwords aremutteredand then ribbon-spreading the face down cards the selected card is seen to be face-up! The Joker is then taken, turned over and it is seen that the stamphas vanished! Finally, the selected face-up card is removed from the spread and slowly turned over to reveal the missing stamp! Afterthought. At the point where the ‘glide’ is made, the reader mayprefer to use the Bob Hummer move detailed in CyEndfield‘s‘Entertaining Card Magic’ (Card Penetration and Change’).
“LEXICONBRIANHAUNTED PACK GLOVER ”
T H E “Haunted Pack” seems to be a very popular effect with many magicians. to say nothing of their audiences. After usingit onanumber of occasions, I discovered that there is a possibility of the thread being seen when the pack comes in close proximity of the viewersi.e. at the point in the routine where the three spectators eachselect a card. In an attempt to avoidthisweakness and at the same time streamlining it so that it wasjust as suitable forplatform work. 1 hit upon the following presentation:-
The packusedis madeupfroma Lexicon Pack; twenty-six different alphabet cards are sorted out and the remainder ‘threaded’ as in the original marketed effect. The workingdiffersin no way,except that the need for going into the audience is avoided as you simply ask three spectators to eachname a letter of the alphabet. As eachisgivenitisremoved and either placedon display against something. on the table, or alternatively slipped (so that it shows) in the outer breast pocket. The cards after they have beenselected are replaced in the pack andfrom there the cmjuror proceeds as in the original effect.
THE CARD WO!RK OF CRAHAMADAMS GAMBLING ROUTINES A GAIME OF NAP
A
GAME OF NAP isdescribedin Sleight of When oncethe spectator’s cards are known to Hand, by Edwin Sachs. In this theperformer the performerhecan nearlyalways get a“Nap”. forces five cards onto a spectator, who takes the pack and asks the performer to pick out five; or he This routine can be performedwith a1 borrowed maypick out five for the performer. The cards packwhich has beenshuffledby a spectator before M e played andtheperformer gets Napor four. the performer handles it.
4
THE GLIMPSE Glimpsing the cardsis all that counts and itis taken for granted that thereader can memorise five cards quickly, can force a pack and can pass it into the middle of the pack. After the pack has been shuffled, and whilst talking about gambling, hold the pack in the left hand across the fingers and in the fork of the thumb. The left thumb presses on the edge of the topcard while thepack is heldfirmlywith the fingers of the left hand; this pressure outwards causes the top card to bulge at the outer edge and the index may be seen at the topright hand corner. (Figure 26.)
Just before you offer the cards for selection (force), make a break with the right thumb and glimpse the card above the break. (Fig. 27). You now have knowledge of four cards. Force this card first. Make the pass and force the three cards first noted. Then again glimpse the bottom card, bring it to the middle of the pack and force it. You IK)W know all five of the spectator’s cards. Then hand the pack tothe spectator and allow him to fan it while you select five cards; or have him remove five cards for you. Suppose the spectator has:-9H, 4C, AS, 2D, 10D. You have, say:-8C, 3S, 5S, lOH, 2H. You have two hearts and twospades. He has only one spade, but it is high, so could beat one of yours so you must make hearts trumps. It will be necessary to sum up the position quickly as you glance at your own cards, remembering those held by the spectator.
THE ROUTINE
Say:-“Hearts are trumps. I’ll play lOH, you play 9H. I’ll play 2H, you play AS. (It won’t be any use to you). I’llplay8C,youplay4C. I’ll play 5S, you play 2D. I’ll play 3S, you play10D.”
When taking the cards from the spectator after he has shuffled them glimpsethe bottom card; then the twoon top as just described. You then have knowledge of three cards.
In nearly every case you will pull it off, sometimes even getting all five tricks as shownin the above example. Try itout now,withany cards taken at random from the pack.
Glimpse the two cards on top of the pack in this way. Try this first.
HOW TO PLAY NAP T H I S IS another NapHand effect that I have found useful for “Club” work. I have found it an acquisition to be ableto satisfy the usual “Club” and especially thecard playingmembers of a “Club”, that it is the peculiarity of a pack of cards to arrange itself for the benefit of a conjurer when he is playing. The conjurer has nothing to do with it at all, the cards just seem to fall tohim no matter how they are cut or shuffled, or who deals them; there they are and he can’t help it! I have made a practice of this type of experiment, and think with many others that no display of dexterity should be intended, for the whole thing is due to “Magic” and the luck of the conjurer, and when the Nap turns up always to the performer heshould bejust as surprised as anyone in the audience. This used be may complete one as experiment, cr itmaybeused as a preface to the sleight-ofmethod hand already described.
I have not included patter, for it will be somewhat similar tothat already suggested for the sleight-of-hand method. I suggestitbeingin a brisk. racy style.
EFFECT The effectis that a pack of cards is shuffled andcut; three hands of Napare dealt by the performer to himself and two assistants, the performergetting the Nap hand. The cards are replaced and the performer asks the audience if they would care to see it again; the cards are once moreshuffled,then the audience isasked to say whether three, four or five hands shall bedealt. and the performer again gets aNaphand! The performer may invite one of the assistants to make the deal for him.
EXPLANATION Use a pack prearranged in the following
S 1 Queen of Hearts 2 Jack of Hearts 3 Ace of Diamonds 4 Kings of Spades 5 King of Clubs 6 King of Diamonds 7 Queen of Clubs 8 Jack of Spades 9 Queen of Diamonds 10 Four of Diamonds 11 Two of Clubs 12 Jack of Diamonds 13 Queenof Spades 14 Two of Hearts Diamonds 15 Tenof
16 Five of Spades 17 Ace of Spades 18 Seven of Heartsandthe 19 Five of Diamonds and 20 Ace of Hearts 21 Jack of Clubs 22 Six of Hearts 23 Three of Hearts 24 Two of Spades 25 Ace of,Clubs 26 Sevenof Diamonds 27 Three of Clubs 28 Nine of Hearts 29 Six of Spades 30 King of Hearts
The cards as arranged are on top of the pack, anda false shuffle is made. Threehandsare dealt, performer gets the ace, king, queen,jack ten of diamonds. This hand is placed on the bottom of the pack after ithas beenshown,where it will be in readiness for the sleight-of-hand method if desired. Hand number one is placed on hand number two and these are placed on top of the pack. No matter whether the audience make a request for three, four or five handstobe dealt, afteranother false shuffle has been made the performer again getsNap a hand.
BOTTOM DEALING BOTTOM DEALING has been described as the best single accomplishment of the professional card player, and it is a very useful addition to the repertoire of sleights of either the professional or amateur conjurer. It may be brought to perfection, and when perfectly performed it is impossible to saywhether the card was dealt from the top or bottom of the pack. Those who have had the privilege of seeing the close work of Richard Cardini will realise that he is one of the neatest dealers of cards in this or any other generation. He uses a different hold to Erdnase, and his action is necessarilyswift to create an illusion. He deals like lightning, and I envyhimhisperfect technique, but he in turn eubgises the work of two of his New York friends, Messrs. Scott and Dai Vernon. Although the Erdnase method of bottom dealing requires a certain amount of movement if perrorrned as described in The Expert at the Card Table, it gives an illusion when performed at low speed.However. a certain amount of movement can be eliminated. and one should be able to learn to deal in a short time from the following analysis. if the necessary time is devoted to practise. I am told that in America the hold for dealing from the bottom, or for second dealing, is termed the“Key”. and in the followingdescription the same hold is used for both bottom and second dealing. A tip which is worth whi1,e for preliminary practice, is to have made a wood block or placque exactly the same size as the cards to be used. and about the thickness of fifteen to twenty cards; or to glue that number of cards together. The advantage of the wood block is that once made it never wears out or gets soiled sufficiently to throw away. The placque maybeusedwith oneor two loose cards at the top and bottom, and it will save a lot of time in the early stages of learning. We will analyse the bottom deal as follows:-
TO Hold or “Key”. Which embraces the position of the fingers in relation to the pack. The Deal from the Top. The swing of the left forearm, and the action of the right hand. The Deal from the Bottom. The combined action of both hands. The cover. Timing the DeaL The Ha!d, or “Key”. First comes the “hold”, so take either fifteen cards, or one of the devicessuggested, and place them in th’e left hand in this manner:The left-hand bottom corner of the pac;a is placed in the left palm at the base of the thumb. The bestway to find the exact spot is to hold the palm left upwards, the fingers fully extended, andthethumb at right angles to the fingers. If an imaginary line is drawn down the middle of the secondfinger,nearly tothe wrist, and another line is drawn down the thumb across the palm, the point of intersection of the two lines will indicate the place. This will be position number one. (Figures 28 and 29). The right-hand top corner of the pack is held lightly by the middle of the first joint of the second finger. This position is number two. Figures 28 and 29. ’
The righbhand top corner of the pack is held lightly by the middle of the first joint of the second finger. This is positiontwo. (Figures 28 and 29).
6 The middle of the first joint of the little finger then holds the cards about two-thirds of the length fromthetop right-hand corner. This is position number three. (Figure 29). The forefingernextcomes into a perfectly natural position. The left top corner of the cards should reach to about the middle of the third joint of the forefinger, if the forefinger is fullyextended. The whole left side of the cardsis held against the palm by reason of the slight pressure of the second and fourth fingers. Curlthe forefinger along the top edge of the pack, the middle of the first joint will naturally come into position near the second finger. This is position four. (Figure 29). Allare important; get them correct at the, outset for it will make the moves comparatively easy. The dealing of the bottom card is practically all the work of thethird finger, althoughthe thumb plays a part in the r e l w e of the bottom card. When not dealing, the third finger is situated one-third of the distance from the righthand top corner of the pack, the first joint resting on the side of the pack, assisting the other fingers i n keeping thepack inposition. This isposition number five. (Figure 29). The thumb lays diagonally across the pack, the thumb-tip pointing to the right-hand top corner, heldloosely, not rigid. This is position number six. (Figure 29). Practise swinging thethumbbackwardsand forwards from the topleft-hand corner to the third finger position. The left hand should now be holding the pack easily, with no effort and no straining. The actual deal is made with the cards at an angle of about 45 degrees with the table top. Do not grip the cards; realise that they are being held, not strangled. After a little practice it is easy to take the cards from the table with the left hand and assume the hold without any effort.
The Deal from the Top of the Deck. To obtain a perfect illusion in bottom dealing of timing, andtheutmost issimply amatter importance mustbe attached to this. There must be no difference in movementwhen the bottom card is dealt, fromthe dealing of the top card. Therefore practise the deal fromthetop in this manner:With cards in the left hand, held as described. and in front of the body,move the left forearm about eight or nine inches to the left. As this move is made very slowly, the left thumb moves about an inch to the left and pivots the top card to the right until the right handtop corner of the card projects about an inch over the others. (Figure 30).
The left forearm should, by this time,have travelled to the top of its outward swing. It begins its downwardswing to the right hand, M;hich up to the present moment has remained still. As the left hand approaches, the right forefinger and thumb take the top card and make the deal, snapping the card from the left hand when bothhands are about twoinches from the table top. (Figure 31). The left hand again commences the outward swing. Practice the deal slowly at first, speeding up as moreefficiencyis attained, until the wholething is automatic.
The Deal from the Bottom of the Pack. If the above instructions have been followed, and the top cards can be dealt with perfect timing, it will be an easy task to learn to deal the bottom cards. The actioniscovered by:1. The swingof the left forearm. 2. The partly dealt top card. 3. The coverafforded by the three fingers of the right hand as the deal ismade. When the left arm has completed its outward swing, and the topcardhas beenpivoted for dealing. the third finger action takes place. The little finger maintains a grip on the side of the cards. and itsholdisnotremoved at any period. This isvery important as it preventsthe pack slipping, and eliminates as muchmovement as possible under the circumstances. The third finger moves from its position at the side of the pack to a position underneath the bottom card. This is the approximate position at this stage:The secondfinger-tipis protruding over the right-hand corner. Thethumb-tipshouldbe on the rightside of the pack, aboutan inchbelow the corner. The third fingerismid-waybetween the two. The third fingerpresses upwards and outwards, forcing the bottom card out as if on a pivot. The thumb presses downwards and inwards. taking the topcard back to its normal position. (Figure 32).
7
The bottomcard will slide out between the little finger and the cards. At this stage the left handhasapproached the right, which has moved inwards, the right thumb and forefinger take the top corner of the bottom card, the middle, third and fourth fingers o f the right hand acting as cover. The bottom card is dealt, andatthe same moment the left hand ison its backwards swing. (Figure 33). Practice. Practise veryslowly at the outset; the slower this is done.getting thetiming correctly, the better the progress will be and the deal will not be detected. Dealing from a full pack, and dealing cards
from the top and bottom alternatively, should be accomplished comfortably in twenty-five seconds. Now some advice about taking the card with the right finger and thumb. Practise with a penny held in the second, third and fourth fingers of the right hand. When the deal canbemade in this way without effort the coin can be discarded and the fingersmaythen be used as cover for the bottom deal. Another tip. Practise with the assistance of a loudlytickingclock or metranome; I use the latter and count each card as it is dealt. Withhalf -the pack deal six heaps of cards, the bottom cards being dealt to healp number six. When this can bedone, practise dealingsix heaps, but deal the bottom cards at number five. Then do the same deal, but the bottom cards being dealt at two, four and six.
Note Regular practice each day, however short, is much better than a longer period once a month. Don’tuse onemake of cards all the time. Practise with different packs so that it will be easy to workwithanypack that maybe handedup when performing.
MAGIC - GO - ROUND The news of the death of Dr. Jaks on the 3rd of Januarycameas a great shock. Our two memories of him are vivid. First at the lecture he gave under theaegis of Harry Stanley, and secondly in 1958 when he paid a short visit to this country. On that xcasion Vernon was also hereand WC can remembersittingwiththem both in Harry Stanley’s studio talking of magic of the past. (if the greats they had seen, and particularly do we remember Stanley Jaks extolling the merits of a German mental act he had seen in his youth. He had great enthusiasmandawonderful sense of what constituted entertainment value in a mental effect. We remember that he gave us the root idea for the plot which ultimately became a favourite effect,‘DoubleDouble’. He contributed a great deall to magicand his writingswill be found in every worthwhile magical periodical. It was. in the ‘Jinx’, we believe, that his effectsfirst becameknown to magicians. He was agile with pen and pencil and many were the illustrations he preparedforbooksand articles, his two largest tasks in this direction being,‘ClassicSecretsof Magic’ by Bruce Elliott and Bill Simon’s, ‘Effective Card Magic’. The other day we were the guests of Jo and Lewis Ganson, and whilst wit.\ them had an opportunity of seeing the manuscript of the forthcoming
Slydini book. Innumerable first class photogralphs accompany the text, and this book dealing with the practical close-up magic of one of the most outstanding personalities in magic shouldprove a “must” for all whowish tohaveapermanent reminder of his faultless work.Weunderstand that the price will be in the region of 45/-. Though no date has been scheduled for its printing we feel certain that it should be available before the end of the year. Tribute must be paid not only to Lewis Ganson who has been responsible for the writing but also toHarry Stanley,who has onceagain taken on the task of publishing a most costly (from the publisher’sviewpoint)book of outstanding magic. It is a big assignment and because of high costs, and the necessary comparatively low circulation of magic books. largely a labour of1.ove. There’s still time to get a ticket for the British King Dinner, Ball and Cabaret, which is to be held at WashingtonHotel in Curzon Street, W.l. on Sunday.14th February. Modestlypriced at 35/each. they may beobtainedfrom either Bill Stickland at the ‘Wand’, Dudsbury Crescent, Femdown, Dorset, or from Geoffrey Robinson, 14. Bristol House. Southampton Row, W.C.1. Appearing in the cabaret are Frank Brooker with his E1.OoO prize act, Billy McComb and A1 Koran. Barney Colehan will be Guest of Honour.
EDDIE
JOSEPH’S Latest and Greatest Work THE MANUAL OF
THE THREE SHELL WORK
THE MOST COMPREHENSIVE
GAME
EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS.
HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject belore purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your own shells, should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would be an acknowledgedexpert at the Three Shell Game, but thereis no reason at all why you should notmasterthem all. NOTHING is left tothe imagination, for in this section alone there are noless than 60 finedrawings by Jack Lamonte to augmentthe text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act will be easywhenyouhavemasteredthem,but even this is done for you, with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULARROUTINE has tenphases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG isprobably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work Youtellan entertaining storyand illustrate it and are entirely new to the conjuring profession. with baffiing moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 1216
($2-00)
Postage 6d. From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. I
THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,Libraryand Museum: Hearts of Oak Buildings, Euston Road,London, N.W.1. Next CONCERT will be held on February 3rd ParticularsfromHon. Secretary: PETER NEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Adver Everv
PETER WARLOCK’S
PENTAGRAM
WANTED
is published on the 24th of each
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many items by C. T. Jordan. U. F. Grant, Grant & Menge, Ovette, etc., etc. Only originals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by George Armstrong, 62, Wellington Rd., Enfield Middx. Manuscripts for publication & books for review should be sent tothe Editorial AddressPeter Warlock, 24, Wordsworth Rd., Wallington Surrey.
ser‘s Goods are fullv endorsed
GEORGE ARMSTRONG 62. Wellington Rd., Enfield, Middx. I
by
this Bulletiu
Publishedby the Proprietor. Qeorge Armstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, Lmm.
*
*****
PETER WAR LOCK ‘S
h
R IPETER NCCORD WARLOCK
M A N Y years ago myvery good friend Jack Avis the ring. Secondly the other cord through the ring published in the Pentagram, m effect entitled, andtinallyeachpiece of cord through the other! ‘Loops Entwined‘. Actually it was published He lifts that central part of the handkerchief twice The first time without illustrations and without any repercussion, the second time a couple nearest to him with his left hand and with his right of years later with illustrations andthe result, that hemoves one of the pieces of cord. Hishand with permission, it was reprinted insomehalfacomesaway and picking upthe tiny chianti flask dozen other magazines and later still inthe book and remarking that it contains aremarkable of Bruce Elliott’s ‘Professional Magic Made Easy’.magical solvent, he tilts it and shakes its invisible The effectconcerned the linking of two lengths of contents onto the cord. ‘One cord has nowpassed silk cordand on a number of occasions Jackhas through the ring!’‘Now for the second!’ The right hand comesunder the handkerchiefagain said, ‘What 1 would l i e todo is to link a Jardine and there is some more movement and afterwards Ellis ring and two lengths of cord under similar conditions.’ One plays aboutWithan idea without the chianti flaskcomes into play.‘Twocords doinganything about it andit was duringthelatter through the ring’, says the conjurer. ‘Now to make one cord pass through the other’. The right part of last Summer that I got down to putting in hand goes beneath the handkerchief once more effect, something that had previously onlybeen a fewdoodleson a sheet of paper. The result is and yetagain the chianti flaskserves its turn. ‘I simple in action and makes, from my own point of have now done the three things I hoped to achieve.’ view. a nice addition to any table routine in which The right hand now withdraws the cords and a Jardine Ellis ring is used. ring from under the handkerchiefshowing that The effect is as follows :truly each cord has not only penetrated the ring, The coniuror disdavs two lengths of nvlon but a’so each Other! parachute coid, each mkaiuring aboucthirty iiches The requirements are simple, they are:in length, a Jardine Ellis ring (the Englishtype. which~. is heavv) Jardine Ellis ring. ~. ,,and a oocket handkerchief. Also. not essential but to add tothe effect.a miniature 2.-Two lengths of nylon cord eachmeasuring chianti flask. thirty inches or thereabouts. If eacha is dyed different colour the ultimate effect is enhanced. 3.-A pocket handkerchief. The cords are doubled andlaid on the table with the ring central.Illustrationnumber one 4 , ~ miniaturechianti flask. A~~~~~ going to shows the layout. The handkerchief is then Italy will obtainone of these for you. The unfolded and placed over the centres of the rope one I have is purely a novelty and the top and the ring. In the first illustration the position unscrews to allow a couple of small dice to of the handkerchief is shown with cords and rings fall out. on top. The four ends of the cords are inview throughout the trick. Prepadon. Have the ‘handkerchief folded on the left side of the table. On top of it are coiled the of cord and in the jacket or waistcoat pocket The conjurer tells his audience that he willpieces attempt an effect of triple magical penetration. is the ring. The chiantibottle is on the right hand side of the table. First of all he willpass one piece of cord through ~
~
~~
~~~~~
~
~
~
~-
VOLUME 14 No. 2
-
-. .
.. -
1/6 (20 Cents)
~
-
- ....
NOV. 1959
10 Presentation. Seat yourself atthe table. Take the ring from your pocket, if it is thought necessary, allow it to be examined. Place the ringin the centre of the table and then show the cords. fold them and place them in the position relative to the ring as shown in the first illustration. Unfold the handkerchief and also place this in the position shown in illustration one.
bottle thenbeing tilted. The bottle isgiven a shake and the right hand comes away and replaces the bottle in its original position on the table. The left hand releases its hold on the edge of the handkerchief and moves away. The performer remarks: ‘One cordhas nowpassed through the ring!’ %age Two. The performer, after relaxing for a matter offive or six seconds,goes through the secondprocess. Left hand lifts the handkerchief onceagainwhilst the rlght hand goesbeneath and under the cover affored, the left hand loop is passed throughthe right handloop protruding through the ring so that it takes up the position shownin illustration three. The chianti bottles comes into play again and both hands move away from thehandkerchief as theperformersays :‘Two cords through the ring!’
Not forgetting the useof the chianti bottle the effectis achieved in four main stalges, as follows :-
Stage One. The left hand takes hold of the side of the handkerchief nearest to the performer and raises it about a:couple of inches, just sufficient to allow the performer to see the ring and the centres of the double cords. In this stage with the right hand, he passes the centre loop of the right hand cord under and over the ring so that it occupies the position shown in illustration two.
n
His right hand comes away and picks up. the chianti bottle, the left hand still retaining its hold on the edge of the handkerchief. The right hand approaches the raised part of the handkerchief and a!lows the lip of the bottle to go underneath, the
Stage Three. Another few seconds relaxation and of thenthe third phase. This simplyconsists taking the the left hand loop alittle further through the right hand loop (both hands of course playing their usual parts), and then bringing the outer sides c€ the loops so that position of cords and ring is now as shownin illstration four. The chianti bottle comes into play again and the performer remarks :- ‘I have now done the three things I hoped to achieve!’
3
11 Stage Four. Relaxationand then the right hand comes in under the edge of the handkerchief and takes hold of the twopieces of cord between his thumb and secondfinger at the points X and Y respectively. At the same time as though to steady the handkerchief his left hand second finger drops onto the handkerchief at point A, which is within the loop of the left hand cord. The drop of
this finger should synchronise with the start of the take away of the right hand, which now pulls the cordsbackwardstowards the rear of the table. This has the effect of causing one end of the left handcord to pass through the ring and the latter is threaded in the manner shown in illustration five. The magicianhas truly reached his original objective!
PRECOG FIVE PETER WARLOCK
THIS IS a prediction effectusingtwopacks of cards and little else. It goes like this :The conjurer leafs through a pack of redbacked cards, and withoutallowing the audience to see its face, he removes one card, slips it into an envelope and hands it to a spectator for safe keeping. A blue-backed pack is now taken and offered to another spectator for shuffling.When this has been done the performer requests the spectator to cut off about half of the pack and hand it to him, retaining the other half for his own use.
“h a moment or two”,say the conjurer, “I want you to turn your cards face up, spread them across the table and pick out any calrd you wish. According to the name of the card you choose I will deal off one card at a time from these cards (indicating the half handed to him) for each letter in the name of the card you have chosen. The spectator now chooses any of the cards in front of him, and supposing that it is the ten of clubs. the performer ina most straightforward manner deals a card for each letter of the word, from the face down packet he holds. in this case: T . E .N 0 . F C,. L . U . B . S On reaching the last letter he places this card still face down to one side. He stresses the shuffling of the pack at the beginning and further the complete freedom of choice of the spectator’s indicatorcard. To the spectator with the envelopecontaining the red-backed card, a request is made that for thefirst time hetakesthatcardfromthe envelope and names it’s value and suit. We’ll suppose that it’s the “seven of diamonds”. The spectator is then asked toturn over the card lying face downon the table. It, too, is the seven of diamonds!
The Requirements : I .-One red-backed pack of cards. :.-One blue-backed pack of cards. 3 .-One envelope. 4.-The blue-backed pack contains a corner short which we’ll suppose is the seven of diamonds.
Preparation. Envelope in inner breast pocket. Packs in the cases onthe table. Previous to replacing the blue-backed pack in its case remove five cardsanddrop them intothe right hand trousers pocket, faces nearest the body. Presentation. Tell youraudience that you wish to try an experiment and nothing more . . . . sometimes it works, just depending on the people who are helping . . . . pick up the case containing the red backed cards. Fan them in front of your face, and whenyou see the seven of diamonds,removeit and place it face down on the table. Replace the rema’inderof the red backed cards in their case and slip this into the right hand jacket pocket. Now remove the envelope from your inner breast pocket and without the audience being allowed to see its face slip the redbackedseven of diamonds into the envelope and hand it to a spectator. Ask another spectator to help you. Pickup the case containing the blue backed cards. Remove them from the case and place the case aside. Hand the cards to the spectator asking him to give them a verythoroughshuffle. Thishe does. and you takethe cards back from him. As you. say that you wish him to help you still more, locate the short calrd and casually cut the pack at this point to bring the seven of diamonds to the top of the pack. With your request the spectator has stepped up toyour table. Point outthathe shuffled the cards, and now youwanthim to cut off about half the pack and hand it to you. As you are talkingyouhaveplaced the cards on the talble. #The spectator does as you wish so that you now have approximately half the pack, and the short seven of diamonds on top. Ask the spectator to pick up the remaining cards. Go on to tell him, that in a moment or two, you wish him to turn his packet face up and spread the cards across the table then picking out any card at random, and according to the name of khat card you will spell off a card for each letter from the shufflled heap that he handed to you.“Supposing”, says the performer“your choice fell on the two of clubs; I would count off a cardat altime like this”. To illustrate, the per-
12 tormer counts off ten cards for the letters of the words,‘ten of clubs’. In counting he deals one card face down on top of the other, so at the end of the deal, the sevenof hearts willbe the tenth card from the top. The performerthen picks up this heap of cards and casually drops it on top of the remainder. He then straightens the cards and asks the spectator to proceed. The spectator turns over the cards in his packet, spreads the cards across the table top, and finally chooses one card, which we’ll suppose is the eight OC clubs. As he is making his choice the performer stands relaxed with his right hand in his right hand trousers pocket. Immediately the spectator has fixed on this card, he notes the number of letters forming the name. In this present case it is twelve.Now had it been a ten letter name he would have hadtodo nothing. but in this case two cards have to be added to the pack to bring it to twelfth position, therefore the conjurer separates two of the five cards in his pocket and positions them in his right hand palm. With the words ‘Then your choice isthe 8 of clubs.’ the right handcomes out of the pocket, the left hand taking the pack from the table andpassing it to the right hand, the fingers andthumb of the latter holding the packet by its narrow opposite ends. the two palmed cards still being maintained in that position. With his left hand. the performer gestures emphasising the points he made. “Rememberyou shuffled a pack ofcards-you cut off some handing them to me. from the rernain-
der you chose one card, any card, is that correct? hrow sir, let’s see whether the experiment has been successful”. The cards are passed back to the left hand at this point and in the process the two extra cards palmed are added to the top of the pack so that the seven of diamonds nowlies in twelfth position. All that now remains is for the performer to count, in the mostopenway, to the twelfth card placing it aside while the envelope containing the red backed card is removed and shown. The blue backed card is then turnedover to show that it matches!
Alternative handling. Instead of having a short card, have the seven of diamonds on top of the pack at the beginning, palmingit off before. and adding it to the top of the pack after, shuffling. Instead of adding cards at the end start counting until the tenth card is reached then use a second deal until necessary. The complete fairness of the count until the tenth card is reached. permits ol” use of elementarysecond dealing technique. if however,you area goodsecond dealer, deal secondalll the time. Then the card canstay at the top of the heap all the time, the demonstration necessary for bringing the card to the tenth position being avoided. Alternatively to second dealing isany other type of false deal that willconvincinglyspell out the predicted card on the final letter of the chosen card.
THE CARD WORK OF GRAHAMADAMS SECOND DEALING SECOND DEALING, like Bottom Dealing, requires regular practice to acquire proficiency. It is not so useful to conjurers as bottom dealing. butithasits uses, and once the enthusiast has mastered both bottom and second dealing, separately and in combination, he will be able to make sufficient use of it to have justified the time spent in learning it. Primarily it was intended for use with a marked pack of cards. a very difficult and risky proceeding; but a card may be kept at the’ topof the pack, and dealt when required, without a great amount of practice, and some other useswillbegiven later in this book. To deal seconds. the pack is held exactly as for bottom dealing. so there is no necessity to re-describe it.
The left thumb and third finger again do the work, the third fingerhoweverdoesnotmove; it acts as a check on the cards, and with practice will allow either one or two cards to be dealt at will. To ded two cardsfromthe pack the left thumb-tip is extended about a quarter of an inch over the top edge of the pack, and about an inch from the left hand top corner, the thumb at this point presses downwards, and pulls backwards at the same time. The momentyoufeel it in contact with the second card. the thumb commences to pivot, both cards are moved over the third finger, which will slightly spread the cards; the third finger can feel if more than two cards are being pivoted and can prevent any more than two coming bver. (Fig. 34). The forefinger and thumb of the right hand take the two cards by the right hand top corner, ’
13 theforefingercomes into contact with the under surface of the second cardand pressesupwards, the left thumb pivots the top card from under the right thumb, taking it back to its normal position on top of the pack as the second card is dealt. (Figure 35 ) . I think a snapping action isbestindealing seconds, as in dealing from the bottom. If a continuous second deal is being made, the top card is not pivoted right back, but near enough to enable the right thumb-tip to take the second card, and yet to preserve the illusion of the top card being the only card taken.
DEALING BOTTOM CARDS WITH ONE HAND THE HOLD is exactly the same as that described for bottom and second dealing, and once the method of bottom dealing with two hands has been learned. and practised, theone-handed deal will present no great difficulty and will be found very useful;dealing the cards with onehand would surely convince anyone that trickery is absolutely excluded.
When I make this deal the left hand moves outward from the elbow, covering about a twelveinch arc of a circle. Thethumb pivots the top card on the outward movement, and recovers it as the bottom card is dealt on the downward movement; the bottom cardleaving the pack when about four inches from the table top.
DEALING SECONDS WITH ONE HAND THIS sleight is more difficult to acquire than the one previouslydescribed, but it is wellworth while, if only for one effectdescribed later. 1 refer to. The cards are held in the same way as in the other deals, and the left forearm swings back and forward just as insingle handed bottom dealing. The two top cards are pushed over on the downward stroke. the arm isswung outwards,and during the swingthe topcard ispivoted to its
normal position. The third finger pushes upwards, against the under surface of the second card, this card being lifted about a quarter of an inch from the remainder of the pack. The left arm commences the inward swing,throwing the second card, and continuing the downward stroke. Immediately the second card has been dealt, and on the downward swing, the left thumb again pushes the two cards over, and the whole process is repeated.
JUMPING JACKS M O S T CONJURERS doing card tricks like the ‘self-working’effects. Thisone is almost self-working apartfrom move.namely thatonecardhasto be ‘bottomdealt’ Nomore,no less. The rest of the trick looks after itself. EFFECT. The four jacks are dealt face-up onto the table in a row and then three cards are dealt face-up on each jack. The first jack is taken and laid face down on the left hand. On this jack place the three indifferent cards all face dawn. The next jack is taken and place face-down on the heap in the left hand and this too isfollowedby the three indifferent cards. This is continued until the conjurer has all sixteen cards face down on his left hand. As each jack and three cards are taken, the conjurer repeats.
‘Jack and three cards, the jack is the fourth card down!’ Now deal the cards one at a time onto the table in 4 heaps of 4 counting aloud and saying‘One, two. three, jack’. Squareuptheheapsand turn theinnertwo heaps lengthwise to form a bridge b,etween heaps one and four. From the audiences point of view all the jacks are in heap numberfour. Command the jacks to cross the bridge and turn heap four over showing that it contains only indif€went cards, whilst when heap number oneis turned over it contains the four jacks! THE METHOD. Verysimpleindeed. All that happens is that at the commencement of the deal there is a bottom deal of the bottom card, a jack, andfrom thence on the jacks automatically fall into the first heap as the cards are dealt.
14
A DEALING ROUTINE THE DEALING routine is one of the simplest of many that I have collected; it is also enough to beveryeffectivewith a lay audience. MartinChapender performed an effect in which“Twelve courtcards in a glass changed places withtwelve ordinarycards held in the hand”. My friend, James Wakefield, in his book, Practical Conjuring, (Derby 1911), explained the method used by Martin Chapender, in which only one change takes place. Dai Vernon, in his Clloeup Problems, gives his own excellent version. This version is different fromthat of Dai Vernon, the effect being obtained by bottom dealing. Patter and Presentation. Thirteenblack cards are shown to the spectators and placed face down on a table. Thirteen red cards are shown and placed face down on the black cards. Explain the position to the audience: “Ladies and Gentlemen, youhave seen that the twenty-six cards consist of thirteen black and thirteen red cards; the red cards are on thetop halfof the heap. Let me showyou.” Show thecards by fanning the packet from the left hand to the right. “I shall reverse the position by dealing the cardson the table”’ Turn the packet face down and deal the cards, apparently reversing theirorder. However,they are really dealt alternatively fromthe topand bottom of the pack, until all the cards have been dealt into one heap. “The red cards are now on the bottom, and the black cards are on the top of the pack. We’ll take a look and see if that is so.” Pick up the cards,show the top card andplace it face-up on the table, saying “Black”. Take the next card, show it as red, and place it a. foot to the right of the black card, saying “Red”. Deal the remaining cards in their respective heaps, calling the colour as each card is placed on the table. Place the black cards face up on the red cards. show them to the audience saying, “It’s funny how thathappened. We’ll try again, but thistime I willkeep theheaps away from each other. I’ll deal the red cards on the left of the table, theblack cards on the right. First the red cards (which are on the top half of the pack). One, two, three. four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen. Now forthe black cards (counting as
before).” Deal the cards in this manner:-For the red cards: one from the top, two from the bottom, one from the top, two from the bottom, three from the top. three trom thebottom,and lastly onefrom the top.The bottomdealmg,is, of course, done secretly. Before you deal the black cards, and as you say “Now for the black cards”, casually turn over tne heap in the right hand, showing the black card at the bottom, then deal.; one from thebottom, two from the top, one from the bottom, two from the top, three from the bottom, three from thetop, and the remaining card being counted “Thirteen” and placed on top of the heap. Proceed :‘‘This time we have kept the cards apaxt; the red cards on the left. 1’11 take the top card in my left hand, and would ask you to keep your left eye o n that card. The black cards are on my right and 1 will take the top card of that heap in my right hand, and ask you to keep your right eye on that card. You lookrather uncomfortabledoing that. 1’11 changethem over, that will make it easier for you. Now I have the black caxd in my left hand and the red card in my right hand; now youlookmuch happier. A peculiar thing has happenedthough. The red cards havefollowed this red card, andthe black cards have followed the black card. Look!” Here,you place the single cards face up on the table, between yourself and the packets of cards; or place themin tumblers, goblets or houlettes. (I use two houlettes). The black card being on the left and the red card being on the right. Then pick up a card from each heap simultaneously, placing it with the card of thesame colour. Do this slowly-three times. “Let’s try again”. Place all the cards that havebeenturned up over tothe opposite heap, then turn up three more cards from each heap. “We’ll try once more.” Change over the upturned cards as before. This time turn over two cards. “And again.” Changing again, turn over one card. “Oncemore”.Change and turn overtwo cards. “And again”. Turning over the last card from each heap. Now pick up the thirteen red cards, show them and discard; pick up the black cards and show.
MAGIC GO ROUND (IContinued from Page 15) We’ve also been looking through some of the manuscript of the second Vernon card book, which shouldbeon sale within a’ week or two of the publication of this number. The contents would seem even better than those in the first volume and of outstanding importance to all card menis the chapter on the “Riffle Shuffle” in its many aspects.
The other day we had a call from Mollie Ellis of the “Stage” asking whetherwe would care to run agalina magic column in one of the greatest of all papers relating to showbusiness.Weagreed and in consequence we shall alwaysbeglad of real news items relating to magic and/or magicians. Let’s emphasise that preferably such items should be of general interest. Januazy 23rd, 1960.
15
MISFORTUNE hit the“Pentagram” last year in twoways. Firstthere was the printing strike which delayed production for a couple of months. as though that wasnotbadenough I hadto succumb toanattack of Shingles which affected tny sight for some time. This meant that the May issue cameout inSeptember andthe August numberinDecember (for some the beginning of January!) Wecouldhavestopped putting the name of a month on each issue. but we felt that if this lazy attitude were adopted we’d just never catch up. Therefore it is hoped that by getting an issue out every three weeks instead of every month. we’ll get really straight by the month of May. As these words are written, the September number is beingrun off andtheOctober issue has been proofed. We don’t like going into a lot of explanai:on, but from letters we have received. we felt it necessary to say a few words regarding the cause of what, to the many, must seem unwarranted delay. Not that we are the only magazine falling in arrears. The “New Phoenix” seems to have abandoned publication altogether, much tothe regret of all those wholoved a lessconventional outlook on magic. One of the joys in the pastfewmonthshas been the opportunity of meeting and talking to Marvyn andCaroleRoy. Suchmodestpeople withsuch a great and artistic act. They spoke of their friend Peter Godfrey. who, in the thirties, when he was producing and acting at the “Gate” Theatre, presented such a delightful, magic show. We wonder how many of our readers rcmember it.The presentation was of Victorian magic. good straightforward effects, with the added attribute, possessed by so few conjurers. the ability toact.Later Peter Godfreywent tothe States and into the film industry. During the War however, we believe thathetookoutquite a large An magicshow to entertain the U.S. Forces. actor we should liketo see present magicis Leonard Sachs. His supreme chairmanship at the “Players” Theatre andalso in the B.B.C. T.V. “Old Time Music Hall” series show only too well that he could take the merest conjuring trifle and make it an entertaining trick. Although thinking inDickensian terms. one associates al Winter party withmagic. theT.V. channels didn’t let magic unduly worry their programmesover the Christmas holidays. The two offeringswere those of Percy Press, whoworked
as .though he was pressed for time (and no doubt hewas!) andHaroldTaylor. Bothinafternoon shows, one felt they could have been givena longer spot in their respective programmes. From our friend Ronald Wohl in Switzerland, we hear that there is to be a Swiss Magic Convention at Basle on the 9th, 10th and 11th September. Here’s a chance to see Switzerland and some International Magic - a week to rest and then down to Hastings for the British Ring Convention.Don’t forget toothat there’s a Convention at Bologna (Italy) starting on the 31st March and extending to the 3rd April. This will be sponsored by the Club Magico Italiano, of which that beautiful artiste. Alberto Sitta is President. If you feel like a trip to Bologna write for full details to Prof. Alberto Sitta, Via Lame, 160, Bolognal, Italy. The brochure, as one may well expect, emanating as it does from what is now one of the leading artistic centres of the WesternWorld, is truly attractive. and programme for the convention includes lectures, dealers’displays.Banquet, competitions, private shows. A gift will be given to every participant and apart from the magic. there is a sightseeing tour of this very historical cityand wme special entertainments for ladies. The registration is 4.000 lire. It has the added attraction of Slydini. This, year the Magic Circle changes its venue for its Annual Banquet. It will be heldon 6th April (a Wednesday) at the Cafe Royal. Starting a little later than usual it willgoon until 1 a.m. A little whilebackwe hadthe pleasure of spending a day with Jo and Lewis Ganson. Whilst with them. we had an opportunity of glancing at the manuscript for the forthcoming Slydini book. This should prove a ‘must’ for every reader of this bulletin. In it there is a record of the tricks you saw Slydini perform, all explained with the minutest detail and accompanied with a veritable galaxy of first class photographs. We understand that the selling price should be in the region of 45/which for suchanoutstanding book is a most rnodest charge. Lewis, just as with the Vernon books, has done a wonderful job. In praising him we must once again praise Harry Stanley for taking on the task of publication. Suchbooks are very costly productions and largely a labour of love. It iq rather ironic that both Vernon and Slydini had to come to this country tobe sponsored by a publisher with guts and imagination for the first man-sized books of their lives.
E D D I E JOSEPH’S Latest and Greatest Work THE MANUAL OF
T H E T H R E E SHELL GAME
THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS.
HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic.Youneedknow NOTHING of the subject belore purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THE PRlNCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your own shells, should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would be an acknowledged expertat the Three Shell Game, but there is no reason at all why you should not master them all. NOTHING is left tothe imagination, for in this section alone there are no less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act will be easywhenyouhavemasteredthem,but eventhis is done for you,with Three completely baffiing and completely different styles of routines that are thoroughly described.
THE REGULARROUTINE has tenphases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG isprobably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tellan entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces.Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE ASA THREE SHELL MAN.
Price 12/6
Postage 6d. From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: Francis White, Esq. Vice-Pres.: Claude Chandler, Esq. Clubroom, Library and Museum: Hearts of Oak Buildings, Euston Road,London, N.W.l. Next CONCERT will be held on February 3rd Particulars from Hon. Secretary: PETER NEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser‘s
PETER WARLOCK’S
PENTAGRAM
WANTED
is published on (the 24th of each
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still wantmany items by C. T. Jordan. U. F. Grant, Grant &L Menge, Ovette, etc., etc. Only oiginals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. lS/- post free. Published by George Armstrong, 62, Wellington Rd., Enfield Middx. Manuscripts for publication & books for review should be sent to the Editorial AddressPeter Warlock, 24, Wordsworth Rd., Wallington Surrey.
GEORGE ARMSTRONG 62. WellingtonRd.,
Enfield, Middx.
Goods are fully endorsed by this Bulletin
Published by the Proprietor. George Armstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley,
*
THANKS TO JOSEPHANDJAMES LESLIE MAY The reason fortheaboverather Biblical sounding title is due to the fact that the following effect is a combination of ideas emanating from the fertile brains of Eddie Joseph and Stewart James. I have woven them into a routine that I have used for some time now whenever an impromptu example of mentalism has been requested. The good points I claim inthisroutine are that with the aid of a borrowed pack, and without the use of a sleight or even a preliminary glimpse of a single card, the performer is able to demonstrate telepathy, clairvoyance and the gift of foretellingin the future. My presentation has been as follows:-Using his own cards, or preferably, requesting the loan of a pack. the performer states he wou!d l k e to demonstrate a few of the branches of paranormalism, using cards, as they are an easily recognisable series of symbols, etc. In orderto exercise an absolute freedom of choice of some of these pictorial symbols, he demonstrates various chance selections by taking the pack, lifting a small portion and placing them back reversed.i.e. facing the opposite way to the remainder, the small portion nowbeing face up whilst the bulk of the cards remain face down. Naturally. the identity of the uppermost face-down card remains unknown until shownby the demonstrator.Bringing the pack back, to its normal condition he repeats the example two or three times to ensure thatthe flexibility of selection is impressed upon the onlookers. When he is satisfied that they accept this, he hands the pack out to be thoroughlymixed (not shuffled!!) takes it back face-down on his left hand and requests a spectator to reverse a small portion on the top as previously demonstrated; this having becn done. he raises the pack and fansfaces or bulk towards the assisting spectator. requesting him to
noteand recollect whatwas the first face-down card, performer turning his head aside as this is done. Before closing upthe pack though he quickly glimpses the twoface-up cardsthatlie immediatelyabove the notedface-down one, let us say that they are reading from left to rightl of hearts and 10 of diamonds. He remembers them in this order. So fa,r he does not know the identity of the card noted by the spectator (who we will call S.1). so let us say that this is the 8 of spades. Closing up the pack still with the top portion reversed, he suddenly appears to have an inspiration,and looking at a spectator seated a little distance away,announces thathe can foretell exactly what that gentleman will do a few minutes later, so saying, he takes a p:eceof paper, writes on ii the name of the second noted card, i.e. 10 of diamonds, but elaborating somewhat as follows:--. “I feel absolutely certain that you willselect one cardfrom 52, andthat one will be theTen of He then folds Diamonds, (sgd.) Peter Koran.” the paper and asks the gentleman in question, (who we will designate S.3) to place it in his pocket for the time being. Again picking up the pack and holding it as becore facedown (or at least bulk ofit is facedown) on palm of left hand,he approaches yet another spectator (we’ll call him S.2:-(1 know this may appearout of sequence, butitisn’treally, as you’ll appreciate in a minute, I hope) and asks this person to again cut off about half of the pack, just as they are and replace them reversed on the lower half. This willagain bring about a third of the pack faceup on top of the remainder. Performer again fans pack towards this spectator, t.urning his head aside whilst doing so. and asks him to remove the first face down card he sees and
18 place it in his pocket, without disclosing its identity. Actually this will be the first of the two previously noted cards, the seven of hearis. Care mustbe taken at this point that the face of the next card is not disclosed, as this will be the predicted card, i.e. the 10 of diamonds.When spectator has removed his card, performer in the act of closing thefan, notes and remembers the extreme left handface-upcard, this willbe the eight of spades, the card noted by the first volunteer. Performer closes the fan, lifts up all the faceup cards (care being taken not to disclose the eight of spades) and places them face downunder the remainder of the pack, whichisnawback to its normal state, i.e. all face down, the predicted card, the ten of diamonds, TOP CARD OF THE PACK. Walking up to S.3, the performer asks him to repeat the previousprocedure, i.e. reverse and replace a section of cards, performer holds cards behind his back for this to bedone, turning his backwith thecards so held to the spectator for convenience.When this has beendone, it will bring the predicted ten of diamonds as the lowest face-upcard, withsay-thejack of clubs, the uppermost face-up one, which the spectator in question cannot help but observing, in fact, the moreprominent thecard, i.e. courtcardor ace. the greater the subsequent misdirection, for. turning to th,e assistant for a second to enquire if he had made the necessary reverse. THEPERFORMER. BEHIND HIS BACK. EXECUTES S T E W A RJ T AMES’S DELIGHTFUL ‘NULLIFACTOR SHIFT’ with the result that the ten of diamonds has nowbecome the first facedown card, whilst the jack of clubs still appears face-up on the top, being silent proof that no funny business or‘ any sort has taken place! This spectator isthenasked to remove the firstface-down card, and consequently gets the ten of diamonds, which he is asked to keep face-down for the time belng. and p!ace in his pocket. To re-cap. the position is now as follows. S 1 has noted a card (eight of spades) which is in his mind, the actual card being lost in the pack. S.2 hasacard in hispocket or (alternatively canbe hiddenunder a book or the carpet-thisis quite effective)--thisbeing the seven of hearts. Whilst
S.3 has the ten of diatmonds and a prediction in his pocket. Now for the disclosures, stress is made on S.l that his card is only in the mind, there has been no physical contact, so the performer gathers the identlty of this by telepathy. Turningto S.2 performerannounces he will discover what his card is by clairvoyance, and to ensure that he is not assisted by receiving thoughts telepathically, he askes this spectator to think hard cf the opposite, i.e. if the card was a red one, to think of a black, if it was an odd, to think of an even, or if it was a court card to think of a spot cne, etc. Placing his fingertips against the covering concealing the seven of hearts, hestarts tc name the exact opposite, i.e. this card is black, it is acourtcard, “No, no, I’m sorry, but I’m afraid I was picking up your thoughts, that is whatyouwere thinking isn’t it? I thought so!” (This is a mosteffective bit of business),he then gets his clairvoyant powers to work smoothly, and announces the name of the card as seven of hearts, which is proved correct. Next, he requests S.3 to stand, and emphasises how, at the verycommencement he received this sudderlpremonitionconcerninghim, asks him to readaloud the prediction, performer repeating it after him for effect, then to disclose the card. and again, it is correct. As I stated at the beginning, this is my favourite impromp!ueffect: I admit I canclaimno origina ity for the actual principles used, but I do honestly think I have comblned them into a really cutstanding mental routine, and again, my thanks to Edd’e Joseph and Stewayt James for their ingenious moves.anG I hope theywon’t mind my wholecale appropria1:ion of them for the above. The above is exac:ly as I have been displaying it. I would like to mentionthough that my good friend Roy Scott, who I consider one of the finest sleight of hand men in Great Britain, suggests that before commencing. I should glimpse the 2nd top card of the pack and make out No Three’s predictionbeForeever starting the demonstrations. He is probably right, that it is b,etter, but somehow I prefer it just as I have described. so that the appearance of absolute impromptuness and spontaneity is preserved, butdear Reader, I give you his suggestion-so now it is up to you.
STAMP OF APPROVAL JACK AVIS EFFECT : A card marked by a spectator is used to select two cards. The same two cards are found to have been predicted by the performer. REQUIRED : A double back card to match the deck in use, and two postage stamps.
PREPARATION : Stick one of the stamps in the centre of one side of the double back card. Note the na,mes of the top and bottom cards, these are the cardsyou will later predict. Place the double back card with its unstamped side up on top of the deck. Place the deckin its case.
19 Routine : Remove the deck fromits case and shuffle retaining topandbottom stock. Ribbon spread the deck across the table for the selection of a card. While this is being done, write your prediction, naming the two ca,rdsyou noted at top and bottom of the deck. Square up thedeck and hold it In the left hand. Have the selected card replaced face down on top of the deck. Remove the stamp from yournote-case, which by the way you should have by you on the table, and stick the stamp in the centre of the selected card. With some remark about having everybody present remembering the stamped card, turn theselected card face up on top of the deck. With thecard still face up, turn the left hand palm down, glide back the selected card, and with the right fingers pull out the second card, this is the double back card, but as the stamp now shows on its back all appearsto be fair a,nd square. Place the double back card onto the table. The right hand now returns to the deck and cutsoutthe lower half. The left handdrops its half still face up on to the table, and theright hand packet is dropped on top of the tabled packet. This is in fact a simple cut but done with the cards face up to conceal the selected card until it has been cut to the centre. The stamped selected card is now between the two predicted cards. Spectator is now handed the deck which should be face down, and the stamped card is placed on top of the deck.
Spectator is requested to place the deck behind his back, turn the top stamped card face up, and irsert it anywhere in the deck. He is then to hand you the deck.When youhavethe deckribbon spread it across the table, push forward the faceup card,and the cards tothe left and right of it. Have your prediction read, and reveal the selected cards. Note One : After cutting the deck and just before handing it to the spectator, it is better to shuffle the cards being sure not to disturb the three card set up in the centre. Note Two : If you can do the Buckley second deal, Black Jack method,see CARD CONTROL, page 119. This sleight can take the place of the glide which perhaps gets a little overworked.
Note Three : In place of the stamp idea you can have the spectator initial the face of the selected card which is then switched as before. However the stamp is quite a strong point. Note Four : It could be that you feel the spectator will note one of the predicted cards was the bottom card. As several things happen before the climax it is not likely to be remembered, however you cannote the second cardfromthebottom, then after the cut. hold a break, turn the deck face down, rega,in the break. and side steal the card above the little finger to the top or bottom to lose it.
HUCH SCOm’S “
DOUBLE HOP
”
DESCRIBED BY JACK AVIS EFFECT : A transposition, with a surprise climax. SLEIGHT : The double turnover and a false shuffle. ROUTINE : Shuffle the deck, then apparently turn the top card face up on top of the deck. In fact you maske adouble turnover, and name the cardthat lies face up. Let us assume it is the Ace of Clubs. Turn the top card(s) face down, and deal the top card to your left. False shuffle the deck retaining the top card. Again appear to turn the top card face up, but doubleturnover and name the exposed top card. Let us say this is the Two of Clubs. Turn the top card(s) face down and deal the top card. to your right.
You now say : “lf I place this Ace of Clubs into the centre of the deck, snap the top of the deck and cause the Ace to return to the top, I think you will agree, that is a pretty good trick.” Carryoutthe actions as givenin the above remarks, as you say “good trick”, remove the top card but do not show its face but carry on into the following patter lines. “But this is even better, here is the Ace.” Place the card you are holding face down to your left. “And herewehave the Two.”Point to the card on your right. “ Let’s see if we can make themchange places.”Snap your fingers over the two cards, turn them face upand reveal theyhaveindeed transposed.
20
THE CARD WORK OF GRAHAM ADAMS A USEFUL CARD PALM T H E PALM I shall describe is little known, and hasnot to my knowledge appeared in print, and those who havelearntit tellmetheyhave usemade good of it.
The middle finger of the left hand does most cf the preparatory work by separating thecards that are to be palmed from the remainder of the pack.
The palm is a variation of the Erdnase palm fromthetop of thepack,andit is made while the pack is being transferred from one hand to the other. Hold the pack in the left hand, the thumb on one side, the first, second and third fingers on the opposite side. See figure 36.
It is an easy move, the thumb, first and third fingers hold the pack and the middle finger pushes up the cards to be palmed, making a break. The thumb, middle and third fingersholdthese cards and the thumb and first finger hold the remainder of the pack. See figure 37. This takes only afraction of a second and it is done as the right hand is shown empty. The right hand then takes the pack, the palm of the handcovering the pack, the second and third fingers of the left hand remaining stationary, the thumband forefinger of the left hand moving upwards. The thumband forefinger of the right hand take hold of the remainder of the pack as near to the corners as possible; the palm is made andthe left hand maybeshownempty. See figure 38. Figure 38 shows the right hand taking hold of the pack, while figure 39 shows an exposed view cf the rinht hand movingawaywith the palmed cards and pack. The remaillder of the pack is then taken in the left hand and the cards are produced or disposed of by the right hand as the performer wishes.
A VARIATION IN THE DIAGONAL PALM SHIFT IT' WAS Richard Cardini who drew my attention to this sleight, andhe found this throughmisreading the Diagonal Palm Shift of Erdnase and he, of course, preferred the variation to the origind.Dai Vernonexpressed the opinion that it was good and Cardini has made a perfect sleight of it. Another writer, George de Lawrence, wrote of the same sleight in 1920, in Modem Card Tricks, published by Arthur P. Felsman. Detail is lacking in the book, but up to a point the same description givenin The Expert at the Card Table suits admirably.
The Diagonal Palm Shift is a beautiful sleight which allows the performer to palm the cards in the left hand, after theyhavebeenpushed into the middle of the pack. The variation allows the cards to be pushed into the pack in the sam,e way, but they are palmed in the right hand. In demonstrations of card dealing I make great use of this sleight and palm, and find it a good finish in the Acrobatic Jacks, just as James Thompson has used the variation in his Four Ace Trick Unique. There are a number of possibilitiesin both, and the final handling of the cards in each sleight
21 are my own,differing respective authors.
from h a t givenby
the
THE ERDNASE METHOD The pack is held in the left hand by the sides, between the first joints of thethumb,andthe second, third and little fingers. The first finger is curled up at the bottom of the pack. Figure 40. The spectator inserts the selected cardinto the pack, pushing it home until only about halfan-inch protrudes. Bring the right hand over the pack, with the little finger at the side of the protruding card. Second and third fingers are at the middle of the end and the firstfinger is close to the end corner; the thumb close to the inner end corner of thepack.Figure 41.
The next action is to palm the selected card in the left hand, as the right hand passes the pack to be shuffled. With the left little finger against the side of the card, swing or turn it inwards, using the right thumb as a pivot. Straighten outthe left first, second and third fingers, catching the outer end as it turns, as shown in Figure 44. At the same time slide the packoutwards andtothe right. The left hand turns over and inwards with the palmed cardandthe little finger is slipped totheend, Figure 45 shows the performer’s view as the card is palmed. There should be no force or twist employed, the card running outas freely as thoughdrawn. Thecardand packmustcontinue onthesame plane until quite free of each other. The left little 1ir:ger may press the side of the card very slightly upwards, so that as it is palmed it will bend into, instead of away from the left hand.
i i
The card is apparently punched home; really push the protruding end with the right little finger, about a quarter-of-an-inch to the left, so that the right first finger can push the tilted cornerdown the side of thepack,thecard movingslightly diagondly,andtheopposite corner just grazing the right thumb and protruding about threequarters of an inch. Figure 42 shows the position of thecard. The left andthirdlittle fingers are released sufficiently to allow thecardtoprotrude at the side. The left thumb now takesthe place of the right hand first finger,pushing the cornerflush with the side of the pack. The diagonal position of the selected card is now perfectly concealed, andthe pack is .held in a naturaland regular manner. Figure 43 indicates the position, from above, the right hand not being shown for the sake of clarity.
As the card is being turned by the little finger, the lelt thumb is raised, letting the right thumb with the corner of the pack pass under it, so that the card can lie parallel with, but still above the left palm. As the pack is slid out, the right thumb slides along the side of the card which is not actually pa1,med until the hands are almost free from each other. The whole action may be made as quick as a flash and without a sound,yetwhenperformed quite slowly it is still perfectly deceptive. The left hand may seize the pack by the corner, between the first finger andthumb,asthecard is palmed, leaving the right hand free; but the beauty of the “shift” is thenaturaland simple manner of palming the selected card by the ordinary movement the right hand makes in passing ihe cards to be shuffled. Erdnase thensays:“Wewish to particularly impress our readers with the merits of this palm shift. It isnotdifficult if a properunderstanding of the action is obtained,andit is of great assistance in card tricks.
22
“It dispenses toagreat extent with regular shiftsand blind shuffles, andit can beaccomplished under the very nose of a shrewd spectator without an inkling of what is taking place. “The usual procedure of card handlers is to insert the little finger over the selected card, shift the two packets, and palm the card from the top in the right hand.This process takes time; the shift must be concealed by a partial turn, swing or drop of the hands,and to palm,thepack must be covered at least for an instant. In thepalm shift described the card is placed in its diagonal position with apparently the customary movement of squaring up, and the rest is accomplished, as it were, by handing the pack to be shuffled. “Several cards may be palmed together, when inserted at different points, or from one point, or fromtopor bottom. If thetopcard is tobe shifted, itis slipped into the same diagonal position and held in place by the right little finger being curledontop. The action is the same.When the single palm shift is acquired the rest will come easily.” The above description is given as Erdnase wrote it, s:mply because no better description could be given. It contains a lot of detail, but each detail is important and is an example of good card handling; it is not only a good sleight, but forms a basis of holds for other sleights, for the pass, for putting a crimp into a selected card and, of course, for the variation. THE VARIATION The use of this variation is more for manipulators of cards. James Thompson, in Modem Card Effects,uses this in his “Four Ace Trick
BOOKS D A I VERNON’S Inner Secrets of Card Magic,” Part 1 (compiled and photographed by Lewis Ganson. Publisher, Harry Stanley, price 20/). T’his,the very first book of Dai Vernon devoted exclusively to card magic, contains material valuable to beginner and advanced card worker alike. “
Fortheformer,one effectin chapter one, entitled “EmotionalReaction”, is analmostselfworkingeffect; certainly no skill is required, and this effect alone could make a reputation for any of those with adequate showmanship. I’ll certainly never forget the time at Portland Hall, when Dai in his most charming manner presented this effect and. how, despite Its simplicity it completely fooled the major part of the large aud:ence. “Zock’.ail Cards”, “BentCorner Prediction” and “Colour Separation” make up this first easy to do chapter. The second chapter brings a litt’e ski11 irlto play and among the tricks described, “Repeat
Unique”. The aces are exhibited and inserted at different points in the pack. The pack is fanned and then squared up and the aces are pushed into the pack. Thefour aces are thenproduced in a fan from the arm. u p to a point the procedure is the same as in the Dlagonal Palm Shift. The card, or cards, are pushed into the pack in the same way, but are left protruding at the inner end of the pack, instead o f beingpalmedin the left hand. The right hand may casually be shown empty andthe body turnstothe left. The protruding. cards are held in the crotch of the right thumb and forefinger; the left arm bends upwards, taking the pack but leaving the card or cards in the right hand (Figures 46 and 47), whichthenproduces them from the elbow. Once the Diagonal Palm Shift is understood, there isnodifficultyin the variation. There is no real continuity in it, as in the former, but as a sleight it may be used very effectively. (To beContinued). Do As I Do” and Four of a Kind”, are both very strong and direct ineffect. Chapter three gives some very practical advice regarding the use of hair as a means of motivation when attachedto playing cards. Asusual the Vernon touch turns the trifling trick into a miracle. ln the remaining chapters are many colour changes and many tricks described. It is,however,when one reaches chapter slx, entitled “Dexterous Deception” and the description of Vernon’s method for producing cards with the fingers interlocked that one realises the full stature of Vernon. Here is a method far -superior to anything previously described, and having seen Vernon perform the sleight in a manner, far, far superior to anyone else, one begins to realise that if this chapter done were sold at the price asked for the book, the rcader interested in card manipulationwouldbe gerting a barga’n. We have merely sk:mmed somz c?! the creamfrom the seventy-six pages which make uo this first part. In summing up we could do no better than repeat in editorlal formwhat Vernonwrote in the foreword :-
23 “We would like to thank LewisGanson for his wonderful patience and all the effort he has expended. He explains everything-youcan’t go wrong-andwewould also like tothankHarry Stanley who hasdone so much forthe art-he holds the reins and always arrives at his destination.” And, of course, yours and’our thanksto Vernon.
ters, about hundred a effects, most of them requiring the simplest pieces of apparatus. Many are mere impromptus. All belong to magic in the modern manner. For the most part they have been collected from the “Phoenix” and it is pleasing to find one “Pentagram” effect, Jack Avis’s “Loops Entwined” in the first chapter. There’ll be tricks that you’ve liked and possibly forgotten, like Honeycutt’s “Honeycutter” and Elmsley’s (not ‘Emsley’ as printed in boththe American and this edition!) “Puncture” that you’ll want to do agalin. The book is well produced and apart from the letterpress carries some fifty-seven full page drawings by Arthur Seymour. This is a nice present to buy yourself.
“PROFESSIONALMAGICMADE EASY” by Bruce Elliott (English edition, published by Faber & Faber, price 15/-.) The name of Bruce Elliott is synonymous with the presentation of practical novelties in magic, and ir, this present volume consisting of more than two hundred pages, he describes insome eight chap~~~
~
.. .~
.
~
~~
~
~
-~ ....
____ ~~~
-. .
~~~ ~
~
~.
.
~-
__
“MAGIC G O R O U N D ” We write this on the eighth day of February with the realisation that slowly but surely we’re bringing the Pentagram up to date. Though there don’t seem to be a great number of ma,gicians working in Town, the societies are all working full out.The Circle show onFebruary 3rdmeant that those who attended saw A1 Koran open his act with a delightful three ring linking ring routine whichowedmuch toVernon.His handlingwas superbandone link seemed truly impossible. Whata great revival this grandold classic has had since Vernon came over here and first presented, and then through the medium of Lewis Ganson, published his ownsix ring routine. As a magical effect it would seem that this is in a class of its own, in fact, possibly the greatest of all classics. Certainly the greatest effect of matter through matter. Wesee that Slydini is notonlyvisiting Italy inthe Spring, but also Holland.Inthecurrent issue of “Triks”. mention is made of this with the more important news that Slydini will lecture at Amsterdam. Thedate is April 10th. Rumour has it that Trevor Hall is working on another Bibliography that will take into account publications on magic from 1851-1900. Though taking care of quite a number of books we would bc sorry indeed for those who would attempt more than a short title list of magical publications dating Trevor Hall’s first bibliofrom 1900 to 1960. graphy covered as most of youwillknow the period from 1580 until 1850 andone of the omissions is a detailed description of the 14th edition of Dean’s “Hocus Pocus”, an edition that we were indeed fortunate to see only a little while back. It’s a Scottish edition publishedin181 1. by Napier of Glasgow.. Memories of Hastings’ Convention in1952 and recent visits only tend to strengthen our belief
that this venueshouldprove ideal forthe Silver Jubilee Convention of the British Ring. The White Rock Pavilion has had certain structural improvements added which will make it capable of handlingevery facet of the Convention tothe comfort of all that are there. Just a little more than a year away many will be making plans for attending theInternational Congress in Brussells. We know that one who will travel far is HansTrixer of Rhodesia. So far there seems to be little advance news regarding this outstandingeventbut no doubt some details will be to hand within the next month. Why do some people let speed kill their performance‘? The other evening at a magicalshow wewere watching a very talented fingerflinger. All the time he worked at high speed and though skill was there it was never used to the advantage it shouldenjoy.Whydon’tsome of these boys get round to the idea that to be a first-class artiste in magic like Cardini, Kaps or Pollock, there must be restraint inperformance. This notonly refers to magic but every artform.Those whowatch great magicians are notdebatingonhow a card manipulator can holda number of cards, but rather where on earth the cards come from. Sometime on a Monday evening in April our good friend fromChicago,George 0.etting. is presenting at the Circle a progralmme entitled. “The SphinxSpeaks.” It pays tributetothat great American magical magazine which unfortunately is nomore.Georgeproposesusing certain quotes and has asked about a dozen of us to each performone trick thathasappeared within its pages. Those taking part include Francis Haxton, Alf. and Cis. Gabriel, Harry andMarjorie Fletcher. It should prove a most interesting evening.
E D D I E JOSEPH‘S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME
THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised.
IF YOU MASTERED only half of these moves you would be an acknowledged expert at the Three Shell Game, but thereis no reason at all why you should not master themall. NOTHING is left to the imagination. for in this section alone there are noless than 60 fine drawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER isdealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyou have mastered them, but even thisis done for you, with Three completely baffiing and completely different styles of routines that are thoroughly described.
THE PRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your ownshells, should you prefer the genuine item instead of the present-day THEREGULARROUTINE has ten phases of plastic variety. bafflingmoves. THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tellan entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: Francis White, Esq. ViCe-PreS.: Claude Chandler, Esq. Clubr.oom, Library and Museum: Hearts of Oak Buildings, Euston Road, London, N.W.1. CONCERT,MARCH 12th Particulars from Hon. Secretary: PETER NEWCOMBE, 389
Overdale
*
New Malden, Surrey.
Every Advertiser‘s
I I
PETER WARLOCK’S
-
PENTAGRAM
WANTED
is published on [the 24th of each
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still wantmany items by C. T. Jordan. U. F. Grant, Grant Menge, Ovette, etc., etc. Only origina!s please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by George Armstrong, 62, Wellington Rd., Enfield Middx. Manuscripts for publication & books for review should be sent to the Editorial AddressPeter Warlock, 24, Wordsworth Rd., Wallington
GEORGE ARMSTRONG 62. Wellington Rd., Enfield, Middx.
Goods are fully endorsed b y this Bulletin
Published bythe Proprietor. George Armstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, I-ancs.
*
DIGITAL PENTAGRAM
Pentagram Magazine — 1946 to 1959 — converted for use with Adobe Acrobat viewer
PENTAGRAM MAGAZINE Martin Breese, London 2001 No part of this CD-ROM or its contents may be copied or duplicated or reproduced in any way whether electronic or otherwise without the copyright owner’s permission. Martin Breese, 164 Kensington Park Road, London W11 2ER, United Kingdom
INTRODUCTION BY MARTIN BREESE Some years ago I received a telephone call from the manager of the book department at Sothebys in London. I was told that a complete set of Peter Warlock’s Pentagram and an almost complete file of the Magic Wand had been entered for the sale. There was a large file of original artwork as well. I went along to the sale and was able to bid successfully for these items. I enquired about the vendor and was told that he was a descendant of the publisher of these magazines. Eventually I was able to meet up with him and he was not even aware of the fact that he actually owned the entire copyright on several magazines and many other Magic Wand publications. I expressed my interest in purchasing the copyright to all of this material and we reached an agreement that enabled me to become the owner of all the publications (books, pamphlets and magazines) owned and published by the Magic Wand Publishing Company and not previously sold to anyone else. The way was now clear for me to republish at will. Pentagram was first published and edited by Peter Warlock in October 1946. Volume three issue, number seven produced in April 1949 was the last to be financed and selfpublished by Peter Warlock. From then on, until the magazine’s demise with volume fourteen, issue number three in December 1959, it was edited by Peter Warlock but published by the Magic Wand Publishing Company in Enfield, Middlesex. From May 1949 Peter had a new publisher but remained the editor and founder. A few years ago Peter Warlock also very kindly transferred to me all his rights in Pentagram issues that he owned. Pentagram had a total of 1270 pages and was supported by the advertisers of the day. It included a happy mix of editorial comment, reports, advertising and practical magical contributions from the leading innovators and performers of the day. Some time after Pentagram ceased being published, the Supreme Magic Company under the ownership of Edwin Hooper, produced a magazine edited by Peter Warlock and entitled The New Pentagram and this magazine continued publication for many years. In 1990 I published a book which gathered together card magic from Pentagram and this was released under the title of The Best of Pentagram Card Magic. I planned to release a very high quality reprint of the entire magazine in two beautifully bound volumes… but that is another story and, as I write, is a matter for my lawyers in the UK and the USA. Max Maven has very kindly provided a short piece on Pentagram and its impact on the world of magic and Peter Warlock has written the foreword in which he modestly discusses the contribution that Pentagram has made towards mentalism and its creative performance. (T A Waters in his Encyclopaedia of Magic and Magicians published in 1988 says of Pentagram magazine, ‘… it was noted for the very high quality of the magic published in its pages, much of it created by editor, Warlock’). Peter Warlock attributes the impact of his magazine to its contents and its contributors rather than to himself and
he forgets his own catalytic contribution to the world of magic by the actual creation of Pentagram. The late Peter Warlock was a giant in the world of magic. He created numerous classical effects and wrote many significant books. To me his major contribution to our art is Pentagram magazine and I do hope that the publication of this CD-ROM will reintroduce a whole new group of younger magicians to the exciting world of Pentagram magic. Martin Breese, London, England April 2001
ANENT THE PENTAGRAM BY MAX MAVEN (Introduction written specifically for the proposed re-issue of the Pentagram in volume form but still appropriate to this CD-ROM) A good magic book can be thrilling. A file of a good magic magazine can go beyond that. The difference is organic. A book is a summation of ideas that have come together at a certain place and time; a periodical is, by definition, a work in progress. What you hold in your hands is a synthesis of the two. The material in this book was culled from a journal that from 1946 to 1959 offered splendid contributions from some of the keenest minds in magic. The quality of the material is a testament to the magazine’s editor, Peter Warlock, whose intellectual ardour for new ideas and scholarly respect for old ideas blended together to establish an interactive forum for top creators of that era. In the course of its evolution, the Pentagram presented fine offerings from some of my favourite inventors: Stanley Collins, Tom Sellers, Stewart James, Alex Elmsley. Roy Walton, Jack Avis and, of course, Peter Warlock himself. Surely you will discover favourites of your own. The magazine featured many types of conjuring, but its contents skewed towards the editor’s own interests. As a result, over the years the Pentagram provided a lot of mentalism, held to an unusually high standard. If you are familiar with the Pentagram, then there is nothing more that need be said; you’re undoubtedly eager to move on. If this is all new to you, keep reading; you have many treats in store. Max Maven, Hollywood, California 1990
FOREWORD BY PETER WARLOCK Still awaiting demobilisation from the army, the idea of publication of the Pentagram came into being. The spur, when reading Bruce Elliott’s comment regarding the birth of Abracadabra in February 1946, that this was obviously a domestic magazine. First the matter of name and then so many letters to friends in this country and America. The reply was encouraging and with the help of Tom Boot arrangements were made for publication to take place in October, the printers George Searson of Nottingham. And so, in those final army days, the matter of contacting dealers, possible advertisers, setting and making illustrations for the first three issues. At Hereford the first post war convention, taking a stand and cajoling customers as subscribers. Never was the intention to deal exclusively with tricks of a mental nature in the magazine and those with a complete file will know that there was a catholic coverage of the magic scene the main concession being given to tricks needing little or no especial apparatus. In the thirties as a student of magic literature will find, the publication of tricks of a mentalistic or psychic nature were increasing in number, and then in 1934 with the coming of Annemann’s Jinx more and more magicians were turning their attention to magic of the mind. And so in the Pentagram many contributors were found to be following this intriguing trail. Largely, mental magic when analysed, offers few plots. In the main, one appears to read a spectator’s mind, or in some way predict the future. Add to this pseudo psychometry and forms of calculation. Of these things have come into being novel ways of presentation. Even two person telepathy is only an extension of single person mind reading. With the invitation of Martin Breese to present a list of what in my opinion are the best mentalism contributions, some famous names are to be found. Of these contributions most of all I would lay stress on first of all the late Al Koran’s ‘A Letter from Al Koran’ for this way back in 1944 was later to be part of Al’s professional presentation. Although mention of the conventional three items suggested many will recall his Dream Car and Dream Holiday predictions, and, whilst a commercial version of the effect has been marketed (Confabulation, Ken Brooke), the method described has no snags, is inexpensive and quite easy to handle. Three other items of note, Edmund Rowlands’‘Impromptu Torn Newspaper Test’, Arthur Carter’s ‘One Red Card,’this later receiving treatment by Karl Fulves, Martin Gardener and Dai Vernon in Chronicles, and never to be forgotten the devilishing mystifying contribution by my very great friend Jack Avis, this entitled ‘Chronokinesis’. But add to this so much more for your pleasure and knowledge. Thank too the publisher for keeping alive the effects of many of those contributors no longer with us. Peter Warlock, London, England July 1990
CONTENTS AND INDEXES INDEXES Effects index – effects listed by type Contributor index – effects listed by contributor(s)
CONTENTS Vol.
No.
Page
1
1
1
1
1
1
1
1
1
1
2
1
Date
Effect
Type
Contributor(s)
Oct-46 Your Fate In A Teacup
Mental Effects
Peter Warlock
3
Oct-46 Super Speller
Card Tricks & Routines
George Blake
4
Oct-46 Cig-Repeat
Cigarette Effects
Cecil Tebbett
5
Oct-46 Tissue Paper Monte
Miscellaneous
Tom Sellers
7
Nov-46 Chains
Miscellaneous
Robert Harbin
2
8
Nov-46 The Thread In The Maze
Card Tricks & Routines
Peter Warlock
1
2
9
Nov-46 Prelude To Duo Coincido
Card Tricks & Routines
Peter Warlock
1
2
9
Nov-46 Duo Coincido
Card Tricks & Routines
Douglas Francis
1
2
10
Nov-46 Porous Glass
Silk Effects
Anon & Peter Warlock
1
2
11
Nov-46 Duo Coincido (cont.)
Card Tricks & Routines
Douglas Francis
1
3
13
Dec-46 Lamps
Miscellaneous
Robert Harbin
Children’s Effects
Wilfred Tyler
1
3
14
Dec-46 Warlock’s Silvertown Express
1
3
15
Dec-46 A ‘Plaint
Card Tricks & Routines
Stanley Collins
1
3
16
Dec-46 Aerial Treasury
Coin & Money Effects
Geoffrey Buckingham
1
3
17
Dec-46 Travel Ring
Ring Effects
Charles Harrison
1
3
19
Dec-46 Lamps (cont.)
Miscellaneous
Robert Harbin
1
3
19
Dec-46 a ‘Plaint
Card Tricks & Routines
Stanley Collins
1
4
21
Jan-47 Money
Coin & Money Effects
Robert Harbin
1
4
22
Jan-47 The Genii In The Calendar Mental Effects
J. F. Bruce
1
4
23
Jan-47 Four a Side
Peter Warlock
1
4
23
Jan-47 The Genii In The Calendar Mental Effects (cont.)
J. F. Bruce
1
4
24
Jan-47 Aerial Treasury (cont.)
Coin & Money Effects
Geoffrey Buckingham
1
5
27
Feb-47 Spirit News Conference
Mental Effects
Robert Tothill
1
5
29
Feb-47 Footnote To Spirit News Conference
Mental Effects
Eric C. Lewis
1
5
30
Feb-47 Mark Of The Reader
Card Tricks & Routines
Stewart James
1
5
30
Feb-47 The Secret Of Ga-Oh
Mental Effects
Orville Meyer
1
5
31
Feb-47 The Bill And the Lemon
Miscellaneous
Dr. E. G. Ervin
1
5
31
Feb-47 Insto Transpo Slates
Slate Effects
Peter Warlock
1
6
35
Mar-47 Symsilk
Miscellaneous
Robert Harbin
Slate Effects
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
1
6
36
Mar-47 Double-Lift Plus
Card Tricks & Routines
Stanley Collins
1
6
37
Mar-47 Chameleon Thimbles
Thimble Effects
Douglas Francis
1
6
37
Mar-47 Arcana (cont.)
Mental Effects
Claude Collier
1
6
38
Mar-47 Arcana
Mental Effects
Claude Collier
1
6
39
Mar-47 The Art To Enchant
Miscellaneous
S. H. Sharpe
1
7
43
Apr-47 Robbers And Sheep
Children’s Effects
Peter Warlock
1
7
45
Apr-47 Have A Scotch
Miscellaneous Effects
Douglas Francis
1
7
46
Apr-47 Prevhue
Mental Effects
L. A. Belcher
1
7
47
Apr-47 The Nonsuch Card Prediction
Card Tricks & Routines
Francis Haxton
1
7
48
Apr-47 Invisible Flight
Card Tricks & Routines
Ken Burrows
1
8
51
May-47 A Trick With A ‘Punch’
Card Tricks & Routines
Rev. G. E. Arrowsmith
1
8
52
May-47 Slates Of Hecate (cont.)
Slate Effects
Jack Morrison
1
8
53
May-47 365
Mental Effects
Tom Sellers
1
8
55
May-47 Slates Of Hecate
Slate Effects
Jack Morrison
1
9
59
Jun-47 You Can’t Be Wrong
Mental Effects
John Brearley
1
9
61
Jun-47 Welcome
Paper Effects
Tan Hock Chuan
1
9
61
Jun-47 Cig-Flower
Cigarette Effects
Peter Warlock
1
9
62
Jun-47 Melted Currency
Cabaret Effects
James Douglas
1
9
63
Jun-47 Split-Fan Pass
Card Tricks & Routines
S. H. Sharpe
1
10
67
Jul-47
Western 1-2-4-8
Card Tricks & Routines
Victor Peacock
1
10
68
Jul-47
Climax Prediction (cont.)
Card Tricks & Routines
Reg. Gayton
1
10
69
Jul-47
Silk Filter
Silk Effects
Peter Warlock
1
10
70
Jul-47
Paint Brush Colour Change Card Tricks & Routines
Stanley Collins
1
10
70
Jul-47
Climax Prediction
Card Tricks & Routines
Reg. Gayton
1
10
71
Jul-47
Sense In The Dark
Mental Effects
Peter Warlock
1
11
75
Aug-47 Twins Of Trigon
Card Tricks & Routines
Peter Warlock
1
11
76
Aug-47 Crumple Coin
Coin & Money Effects
Peter Warlock
1
11
77
Aug-47 Re-Covery
Miscellaneous Effects
James Douglas
1
11
78
Aug-47 So You don’t Like Chemicals!
Miscellaneous Effects
Harry Vernon
1
11
79
Aug-47 Penetrating Tumbler
Miscellaneous Effects
Edward G. Brown
1
11
81
Aug-47 Penetrating Tumbler (cont.) Miscellaneous Effects
Edward G. Brown
1
12
83
Sep-47 Adhesive Glass
Miscellaneous Effects
Peter Warlock
1
12
85
Sep-47 Untying Sympathy
Silk Effects
James Douglas
1
12
86
Sep-47 Word Sense
Mental Effects
Reg. Gayton & Peter Warlock
1
12
87
Sep-47 Magical Suggestion
Card Tricks & Routines
John Kenyon
1
12
89
Sep-47 Word Sense (cont.)
Mental Effects
Reg. Gayton
2
1
1
Oct-47 Who’ll Bell The Cat?
Children’s Effects
Peter Warlock
2
1
3
Oct-47 The Mystery Of Any Card
Card Tricks & Routines
Rev. G. E. Arrowsmith
2
1
4
Oct-47 Sticks That Pass In The Bight
Miscellaneous Effects
Jules Giraud
Vol.
No.
Page
2
1
5
2
1
2
Date
Effect
Type
Contributor(s)
Oct-47 The Mystery Of Any Card (cont.)
Card Tricks & Routines
Rev. G. E. Arrowsmith
5
Oct-47 Sticks That Pass In The Bight (cont.)
Miscellaneous Effects
Jules Giraud
2
9
Nov-47 Abdul And His Egg
Children’s Effects
Wilfred Tyler
2
2
11
Nov-47 The Case Of The Curious Chronometer
Slate Effects
James Douglas
2
2
12
Nov-47 Card discovery by Telephone
Mental Effects
Victor Peacock
2
2
13
Nov-47 The Perfect False Shuffle For Out Of This world
Card Tricks & Routines
Anonymous
2
3
17
Dec-47 Enchanted Petals 2
Miscellaneous Effects
Peter Warlock
2
3
19
Dec-47 Spectator Selection
Card Tricks & Routines
Francis Haxton
Card Tricks & Routines
Louis Histed
2
3
20
Dec-47 The Fastest Indices In The World
2
3
21
Dec-47 Hot Money!
Cabaret Effects
Anon
2
3
21
Dec-47 The Fastest Indices In The World (cont.)
Card Tricks & Routines
Louis Histed
2
4
25
Jan-48 The Two Thoughts
Card Tricks & Routines
Jim Merlini
2
4
26
Jan-48 Different Milk Penetration
Miscellaneous Effects
Tom Sellers
2
4
26
Jan-48 The Two Thoughts (cont.)
Card Tricks & Routines
Jim Merlini
2
4
27
Jan-48 Photographic Absorption
Card Tricks & Routines
James Douglas
2
4
28
Jan-48 For The Meek
Card Tricks & Routines
Peter Warlock
2
4
29
Jan-48 Good Evening
Miscellaneous Effects
Herbert Milton
2
5
33
Feb-48 Cryptogramagic
Cabaret Effects
Stanley Collins
2
5
35
Feb-48 The Spectator Directs
Mental Effects
Leslie May
2
5
36
Feb-48 Austerity Augury
Miscellaneous Effects
Peter Warlock
2
5
37
Feb-48 The Spectator Directs (cont.)
Mental Effects
Leslie May
2
5
38
Feb-48 Cryptogramagic (cont.)
Cabaret Effects
Stanley Collins
2
6
41
Mar-48 Prisoner In The Silk
Miscellaneous Effects
Jules Giraud
2
6
43
Mar-48 Match-Ring
Close-up Effects
Jack Eddlestone
2
6
44
Mar-48 Ringo 2
Miscellaneous
Peter Warlock
2
6
44
Mar-48 Ring In An Emergancy
Cabaret Effects
Billy McComb
2
6
45
Mar-48 Acme Ring Release
Close-up Effects
Charles Jordan
2
7
49
Apr-48 Ultra-Anti-Gravity
Miscellaneous Effects
Olle Oson Liberg
2
7
51
Apr-48 Anti-Gravity Cigarettes
Cigarette Effects
Tom Sellers
2
7
51
Apr-48 Two in Harmony
Mental Effects
H. C. Mole
2
7
52
Apr-48 Wingless Victory
Card Tricks & Routines
Louis Histed
2
7
53
Apr-48 Two in Harmony (cont.)
Mental Effects
H. C. Mole
2
8
57
May-48 Psychic Card 2
Card Tricks & Routines
Francis Haxton
2
8
58
May-48 Bricks Through the Window
Miscellaneous Effects
J. F Orrin
2
8
59
May-48 The Acme Book Test
Mental Effects
J. A. Esler
2
8
60
May-48 Turn Down An Empty Glass
Miscellaneous Effects
Peter Warlock
Vol.
No.
Page
2
8
60
2
8
2 2
Date
Effect
Type
Contributor(s)
May-48 Wot! Another Telephone Card Trick
Mental Effects
Jack Potter
63
May-48 Psychic Card 2 (cont.)
Card Tricks & Routines
Francis Haxton
9
65
Jun-48 1: Believe It Or Not
Silk Effects
James Douglas
9
66
Jun-48 2: Free Ring
Cabaret Effects
James Douglas
2
9
67
Jun-48 Thanks to Marlo
Card Tricks & Routines
Peter Warlock
2
9
68
Jun-48 My Astral Eye
Card Tricks & Routines
J. Demaline
2
9
69
Jun-48 My Astral Eye (cont.)
Card Tricks & Routines
J. Demaline
2
9
69
Jun-48 Thanks to Marlo (cont.)
Card Tricks & Routines
Peter Warlock
2
9
71
Jun-48 Free Ring (cont.)
Cabaret Effects
James Douglas
2
10
73
Jul-48
Birthday Honours
Card Tricks & Routines
Jules Giraud
2
10
75
Jul-48
X – The Unknown
Miscellaneous Effects
Peter Warlock
2
10
76
Jul-48
Sands – Which?
Miscellaneous Effects
S. H. Sharpe
2
10
77
Jul-48
Thoughts On The Palm
Card Tricks & Routines
Douglas Francis
2
11
81
Aug-48 Kismet
Mental Effects
Will Dexter
2
11
83
Aug-48 Silk Away
Silk Effects
Milbourne Christopher
2
11
84
Aug-48 Super Sympathetic Cubes
Miscellaneous Effects
Leslie Drake
2
11
85
Aug-48 A Legacy From Jordan
Card Tricks & Routines
Francis Haxton
2
12
89
Sep-48 The Confetti Charmer
Miscellaneous Effects
Rudi Jader
2
12
91
Sep-48 1: Long Ago And Far Away!
Miscellaneous Effects
Peter Warlock
2
12
92
Sep-48 2: Willow Pattern Plus
Miscellaneous Effects
Peter Warlock
3
1
1
Oct-48 On Pencil Reading
Mental Effects
C. L. Boarde
3
1
3
Oct-48 A Letter From Al Koran
Mental Effects
Al Koran
3
1
4
Oct-48 Eleventeen Storey Leaper
Card Tricks & Routines
Stewart James
3
1
4
Oct-48 On Pencil Reading (cont.)
Mental Effects
C. L. Boarde
3
2
7
Nov-48 A Letter From Al Koran (cont.)
Mental Effects
Al Koran
3
2
9
Nov-48 Lesson In Banking
Miscellaneous Effects
H. Robertson Keene
3
2
11
Nov-48 “I, Give It Up”
Card Tricks & Routines
Wilfred Jonson
3
2
11
Nov-48 Passe Passe Matches
Close-up Effects
Allan Lambie
3
2
12
Nov-48 Lesson In Banking
Miscellaneous Effects
H. Robertson Keene
3
2
14
Nov-48 Passe Passe Matches (cont.) Close-up Effects
Allan Lambie
3
3
17
Dec-48 Ringing The Needle
Miscellaneous Effects
J. F Orrin
3
3
19
Dec-48 Turn Of Card
Card Tricks & Routines
Will Dexter
3
3
20
Dec-48 Weird Wire
Mental Effects
Theo Anneman & Robert Lund
3
3
21
Dec-48 Atomic Silk
Miscellaneous Effects
Peter Warlock
3
3
21
Dec-48 Turn Of Card (cont.)
Card Tricks & Routines
Will Dexter
3
3
23
Dec-48 Weird Wire (cont.)
Mental Effects
Theo Anneman & Robert Lund
3
4
25
Jan-49 Legerdebrain
Card Tricks & Routines
Peter Moffat
3
4
26
Jan-49 An Ace Change
Card Tricks & Routines
Roy Walton
3
4
27
Jan-49 The Disappearing Hole
Coin & Money Effects
Brian McCarthy
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
3
4
28
Jan-49 Prevhue Plus
Mental Effects
Len Belcher
3
4
28
Jan-49 An Ace Change (cont.)
Card Tricks & Routines
Roy Walton
3
4
29
Jan-49 Unskilful Skill
Card Tricks & Routines
G. E. Arrowsmith
3
4
31
Jan-49 Unskilful Skill (cont.)
Card Tricks & Routines
G. E. Arrowsmith
3
5
33
Feb-49 Strange Harmony
Card Tricks & Routines
Peter Warlock
3
5
35
Feb-49 Watered Wine
Miscellaneous Effects
Tan Hock Chuan
3
5
35
Feb-49 Contagious Luck
Mental Effects
Robert Fairthorne
3
5
36
Feb-49 Man On Top Of The Train Mental Effects
Leslie May
3
5
39
Feb-49 Contagious Luck (cont.)
Mental Effects
Robert Fairthorne
3
6
41
Mar-49 Fire Alarm!
Coin & Money Effects
Joe Stuthard
3
6
43
Mar-49 Thrustfully Yours!
Card Tricks & Routines
Francis Haxton
3
6
44
Mar-49 Time will Tell
Utility Items
Will Dexter
3
6
45
Mar-49 A Stitch In Time
Card Tricks & Routines
Jules Giraud
3
6
47
Mar-49 A Stitch In Time (cont.)
Card Tricks & Routines
Jules Giraud
3
7
49
Apr-49 Shadow!
Miscellaneous Effects
Robert Tothill
3
7
50
Apr-49 The Mentalist’s Dream
Card Tricks & Routines
Charles Wicks
3
7
51
Apr-49 Chopitup
Cabaret Effects
J. F Orrin
3
7
52
Apr-49 Shadow! (cont.)
Miscellaneous Effects
Robert Tothill
3
7
52
Apr-49 The Mentalist’s Dream (cont.)
Card Tricks & Routines
Charles Wicks
3
7
53
Apr-49 Darn Clever
Card Tricks & Routines
Len Belcher
3
8
57
May-49 Thanks To Ellis!
Ring Effects
John A. M. Howie
3
8
58
May-49 The Guessing Game
Close-up Effects
Richard Armour
3
8
58
May-49 The Slaphappy Pass
Card Tricks & Routines
Peter Sutton
3
8
60
May-49 The Two Thoughts
Card Tricks & Routines
Peter Sutton
3
8
60
May-49 William Selects A Number Close-up Effects
Billy McComb
3
8
61
May-49 Destiny
Close-up Effects
Len Belcher
3
9
66
Jun-49 Three White-Handled Daggers
Card Tricks & Routines
Douglas Dexter
3
9
68
Jun-49 Sharpe Scissors
Close-up Effects
S. H. Sharpe
3
9
69
Jun-49 Making A Candle Light
Miscellaneous Effects
Douglas Dexter
3
9
71
Jun-49 Three White-Handled Daggers (cont.)
Card Tricks & Routines
Douglas Dexter
3
10
73
Jul-49
Super Sharpe Scissors
Close-up Effects
George Braund
3
10
74
Jul-49
Extra Sharpe Scissors
Cabaret Effects
C. E. Logan
3
10
75
Jul-49
A Matter Of Massacre!
Card Tricks & Routines
John Young
3
10
76
Jul-49
Material To A Matchbox
Mental Effects
James Esler
3
10
76
Jul-49
Floored!
Card Tricks & Routines
Bill Bishop
3
11
81
Aug-49 A Matter Of Some Gravity Card Tricks & Routines
“Anon, Herbert Milton & Peter Warlock”
3
11
83
Aug-49 Over My Shoulder!
Close-up Effects
Sid Emons
3
11
84
Aug-49 Mental Persuasion
Card Tricks & Routines
Francis Haxton
3
11
85
Aug-49 The Shape Of Things To Come
Mental Effects
Charles Gardner
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
3
11
86
Aug-49 Magical Magazines
Miscellaneous
Stewart James
3
12
90
Sep-49 Knife In Hand
Miscellaneous
Percy Naldrett & Douglas Dexter
3
12
91
Sep-49 Cream Of The Jest
Silk Effects
Peter Warlock
3
12
93
Sep-49 “A Boy, A Bag And Some Egg Tricks Eggs!”
Francis White
4
1
1
Oct-49 Jiffy Slate
Slate Effects
Louis Histed
4
1
3
Oct-49 On Threading A Needle
Miscellaneous Effects
Eric De La Mare
4
1
5
Oct-49 Chameleon Thimbles Again Thimble Effects
Peter Sutton
4
2
9
Nov-49 Up Cards And At ‘em
Card Tricks & Routines
Gil Leaney
4
2
11
Nov-49 Ghost Story
Egg Tricks
John Brearley
4
2
13
Nov-49 Psychic Post Card
Card Tricks & Routines
G. E. Arrowsmith
4
2
14
Nov-49 Hypnotic Multiplication
Card Tricks & Routines
R. H. Michaelson
4
3
17
Dec-49 Garendon Slate
Slate Effects
Peter Warlock
4
3
19
Dec-49 Mother Goose Prediction
Mental Effects
Douglas Francis
4
3
20
Dec-49 Prediction Plus One
Mental Effects
Len Belcher
4
3
20
Dec-49 Death From A Newspaper
Mental Effects
A. Tapsell
4
3
23
Dec-49 Mother Goose Prediction (cont.)
Mental Effects
Douglas Francis
4
4
25
Jan-50 Pay Day
Mental Effects
Jack Vosburgh & Will Dexter
4
4
26
Jan-50 Image On The Retina
Card Tricks & Routines
Will Dexter
4
4
26
Jan-50 Pay Day (cont.)
Mental Effects
Jack Vosburgh & Will Dexter
4
4
27
Jan-50 Riddle Of The Ring
Children’s Effects
Jules Giraud
4
4
29
Jan-50 Automatic Prediction
Card Tricks & Routines
Vic Maxwell
4
4
29
Jan-50 The Case Of The Baffling Burglars
Miscellaneous Effects
A. A. Dickson
4
4
31
Jan-50 The Case Of The Baffling Burglars (cont.)
Miscellaneous Effects
A. A. Dickson
4
5
33
Feb-50 “Bubble, Bubble!”
Card Tricks & Routines
Dr. Stanley Jaks
4
5
34
Feb-50 Technique For Sale
Card Tricks & Routines
Robert C. Tothill
4
5
36
Feb-50 Take It Or Leave It!
Mental Effects
Al Koran
4
5
36
Feb-50 Ring On Pencil
Ring Effects
Harry Boughen
4
5
38
Feb-50 Technique For Sale (cont.) Card Tricks & Routines
Robert C. Tothill
4
5
39
Feb-50 Technique For Sale (cont.) Card Tricks & Routines
Robert C. Tothill
4
6
41
Mar-50 Impromptu Solo-WhistBridge Deal
Card Tricks & Routines
Gustave Southall
4
6
43
Mar-50 Autograph Hunter
Mental Effects
Ron Bailie
4
6
43
Mar-50 Coin Routine
Coin & Money Effects
Harry Latour
4
6
44
Mar-50 Billiard Ball Routine
Ball Effects
Geoffrey Buckingham
4
6
47
Mar-50 Impromptu Solo-WhistBridge Deal (cont.)
Card Tricks & Routines
Gustave Southall
4
6
47
Mar-50 Coin Routine (cont.)
Coin & Money Effects
Harry Latour
4
7
49
Apr-50 Burnt And Restored Note Effect
Coin & Money Effects
Douglas Dexter
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
4
7
52
Apr-50 All Smoke
Cigarette Effects
A. C. P Medrington
4
7
52
Apr-50 Bones Of Contention
Card Tricks & Routines
A. C. P Medrington
4
7
53
Apr-50 Seeing By Phone
Mental Effects
Ernest Hammond
4
7
54
Apr-50 Billiard Ball Routine (cont.) Ball Effects
Geoffrey Buckingham
4
7
55
Apr-50 Name Your Choice
Card Tricks & Routines
A. C. P Medrington
4
8
57
May-50 Mental Match-Ic
Mental Effects
C. L. Board
4
8
58
May-50 Restless Choice
Card Tricks & Routines
Francis Haxton
4
8
59
May-50 The Book Of One Word
Miscellaneous Effects
Stanley Collins
4
8
60
May-50 Billiard Ball Routine (cont.) Ball Effects
Geoffrey Buckingham
4
9
65
Jun-50 Tearing Them Up!
Mental Effects
Ron Bailie
4
9
67
Jun-50 Line Of Silks
Silk Effects
Tan Hock Chuan
4
9
68
Jun-50 Missing Link Pack
Card Tricks & Routines
Percy James
4
9
71
Jun-50 The Gap In The Line
Card Tricks & Routines
Arthur Carter
4
10
73
Jul-50
Linklater
Miscellaneous Effects
Elizabeth Warlock
4
10
75
Jul-50
Kismet 2
Mental Effects
Will Dexter
4
10
76
Jul-50
Thermometer
Miscellaneous
Will Dexter
4
10
76
Jul-50
A Christianer Conception
Card Tricks & Routines
Nicholls Harley
4
10
77
Jul-50
Slately Telepathic
Slate Effects
Fred Williams
4
10
77
Jul-50
Kismet 2 (cont.)
Mental Effects
Will Dexter
4
10
78
Jul-50
A Note And Two Coins
Coin & Money Effects
Peter Warlock
4
10
79
Jul-50
Linklater (cont.)
Miscellaneous Effects
Elizabeth Warlock
4
11
81
Aug-50 Predicto
Mental Effects
Herbert Milton
4
11
83
Aug-50 Jack Sheppard
Ring Effects
R. Woodhouse Pitman
4
11
85
Aug-50 The Curse Of Scotland
Miscellaneous
S. Hiddleston
4
11
86
Aug-50 Cards Across
Card Tricks & Routines
Peter Warlock
4
11
87
Aug-50 Predicto (cont.)
Mental Effects
Herbert Milton
4
11
87
Aug-50 Cards Across (cont.)
Card Tricks & Routines
Peter Warlock
4
12
89
Sep-50 Trigon 7
Card Tricks & Routines
Peter Warlock
4
12
91
Sep-50 Do as I Do – Brainwave
Card Tricks & Routines
Gustave Southall
4
12
91
Sep-50 The Mystery Of The Sixth Card
Card Tricks & Routines
Arthur Carter
4
12
92
Sep-50 Trigon 7 (cont.)
Card Tricks & Routines
Peter Warlock
4
12
93
Sep-50 The Curiosity Cat
Miscellaneous Effects
James Douglas
5
1
1
Oct-50 Double Stop
Card Tricks & Routines
Franklin V. Taylor
5
1
2
Oct-50 Miracle Miraskill
Card Tricks & Routines
Stewart James & Peter Warlock
5
1
3
Oct-50 A Letter From Peter Moffat Mental Effects
Peter Moffat
5
1
4
Oct-50 Hocus Pocus Pack
Card Tricks & Routines
Percy James
5
1
7
Oct-50 Double Stop (cont.)
Card Tricks & Routines
Franklin V. Taylor
5
1
7
Oct-50 Hocus Pocus Pack (cont.)
Card Tricks & Routines
Percy James
5
2
9
Nov-50 The Enchanted Chalk And The Magic Portfolio
Children’s Effects
Jules Giraud
5
2
11
Nov-50 An Underground Journey
Mental Effects
R. C. Tothill
5
2
12
Nov-50 Two Minds
Mental Effects
L. A. Belcher
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
5
2
13
Nov-50 Psychic Writing
Card Tricks & Routines
Rev. G. E. Arrowsmith
5
2
14
Nov-50 The Semper Paratus Discovery
Card Tricks & Routines
J. A. Esler
5
3
17
Dec-50 The Plot Thickens
Mental Effects
Ron Bailie & Leslie May
5
3
19
Dec-50 Minds In Harmony
Mental Effects
Ron Bailie
5
3
21
Dec-50 Occipital Occultism
Card Tricks & Routines
Leslie May
5
3
21
Dec-50 Telepathy Test
Mental Effects
Ron Bailie
5
3
23
Dec-50 Euclid’s Enigma
Card Tricks & Routines
Leslie May
5
4
25
Jan-51 Revised Version
Card Tricks & Routines
His Honour Judge Ernest Wethered
5
4
28
Jan-51 Supper With The Borgias
Mental Effects
Will Dexter
5
4
29
Jan-51 Music Maestro
Mental Effects
J. B. Findlay
5
5
33
Feb-51 The Magic Of Colour
Silk Effects
Arthur Sherwood
5
6
41
Mar-51 The Finger Of Fate
Mental Effects
Ron Bailie
5
6
42
Mar-51 Beads Of Bagdad
Children’s Effects
Wilfred Tyler
5
6
43
Mar-51 Kiss Me Kate!
Card Tricks & Routines
Tan Hock Chuan
5
6
43
Mar-51 The Whisper Of An Idol
Card Tricks & Routines
Arthur Carter
5
6
44
Mar-51 Arise Sir!
Card Tricks & Routines
Leslie May
5
6
44
Mar-51 Beads Of Bagdad (cont.)
Children’s Effects
Wilfred Tyler
5
6
44
Mar-51 The Whisper Of An Idol (cont.)
Card Tricks & Routines
Arthur Carter
5
7
49
Apr-51 Sweet Simplicity 1
Card Tricks & Routines
Peter Warlock
5
7
50
Apr-51 Sweet Simplicity 2
Card Tricks & Routines
Peter Warlock
5
7
51
Apr-51 Sweet Simplicity 3
Card Tricks & Routines
Peter Warlock
5
7
52
Apr-51 Supreme Colour Prediction Mental Effects
Raymond Of Leeds
5
7
53
Apr-51 Impulse Writing
Mental Effects
Raymond Of Leeds
5
7
55
Apr-51 Sweet Simplicity 3 (cont.)
Card Tricks & Routines
Peter Warlock
5
7
55
Apr-51 Impulse Writing (cont.)
Mental Effects
Raymond Of Leeds
5
8
57
May-51 Magazine Switcher
Utility Items
Ron Bailie
5
8
59
May-51 Pagan Papers In Embryo
Miscellaneous Effects
Peter Warlock
5
8
59
May-51 Back To Methuselah
Card Tricks & Routines
Peter Warlock
5
8
61
May-51 Impromptu Changing Bag
Utility Items
Hen Fetsch
5
8
61
May-51 Tear The Cards
Card Tricks & Routines
Hen Fetsch
5
8
61
May-51 Double Stop
Card Tricks & Routines
R. J. Fisher
Utility Items
Ron Bailie
5
8
63
May-51 Magazine Switcher (cont.)
5
8
63
May-51 Back To Methuselah (cont.) Card Tricks & Routines
Peter Warlock
5
9
65
Jun-51 Lined Up
Mental Effects
Ron Bailie
5
9
66
Jun-51 “Clever Devils, Those Hungarians”
Utility Items
Will Dexter
5
9
67
Jun-51 A Trick With A Purpose
Card Tricks & Routines
Wilfred Jonson
5
9
67
Jun-51 “Clever Devils, Those Hungarians (cont.)”
Utility Items
Will Dexter
5
9
68
Jun-51 Paired Thoughts
Card Tricks & Routines
Francis Haxton
5
9
68
Jun-51 Canastics
Card Tricks & Routines
Jack Yates
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
5
9
71
Jun-51 Lined Up (cont.)
Mental Effects
Ron Bailie
5
10
73
Jul-51
After Annemann
Card Tricks & Routines
Hubert Lambert
5
10
75
Jul-51
Double-Stoppered
Card Tricks & Routines
Ron Bailie
5
10
76
Jul-51
Colour Sense of The Coins Coin & Money Effects
W. Gibson & Peter Warlock
5
10
79
Jul-51
After Annemann (cont.)
Card Tricks & Routines
Hubert Lambert
5
10
79
Jul-51
Double-Stoppered (cont.)
Card Tricks & Routines
Ron Bailie
5
11
81
Aug-51 The 27th Card
Card Tricks & Routines
C. Dudley Whitnall
5
11
83
Aug-51 The Knot That Is Not
Miscellaneous
Victor Peacock
5
11
84
Aug-51 Turnover Change
Card Tricks & Routines
Harry Hickson
5
11
85
Aug-51 Bewildering Bunnies
Children’s Effects
James Douglas
5
11
85
Aug-51 It’s A Game
Miscellaneous Effects
James Douglas
5
11
86
Aug-51 A Sympathetic Rhyme
Patter
Arthur Carter
5
12
89
Sep-51 “Ring, Coin And Handkerchief”
Coin & Money Effects
Al Koran
5
12
91
Sep-51 Double-Deletion
Mental Effects
Leslie May
5
12
92
Sep-51 My Favourite Card
Card Tricks & Routines
Nicholls Harley
5
12
93
Sep-51 Semper Paratus Plus
Card Tricks & Routines
Arthur Carter
5
12
93
Sep-51 Cut Your Number
Card Tricks & Routines
Francis Haxton
5
12
94
Sep-51 All Fair Force
Card Tricks & Routines
Francis Haxton
5
12
95
Sep-51 My Favourite Card (cont.)
Card Tricks & Routines
Nicholls Harley
6
1
1
Oct-51 The Cap And Pence
Coin & Money Effects
Eric De La Mare
6
1
3
Oct-51 Improved Sure-Fire Force
Card Tricks & Routines
C. Dudley Whitnall
6
1
5
Oct-51 Mind Out Of Time Again
Card Tricks & Routines
T. B. Donovan
6
1
5
Oct-51 Diluted Discovery
Card Tricks & Routines
J. A. Esler
6
1
6
Oct-51 Diluted Discovery (cont.)
Card Tricks & Routines
J. A. Esler
6
2
9
Nov-51 Twin Ribbons
Ribbon Effects
James Douglas
6
2
10
Nov-51 The Ladies Looking Glass Sans Pass
Card Tricks & Routines
Tudor Brock
6
2
11
Nov-51 Subconcious Publicity
Mental Effects
Len Belcher
6
2
11
Nov-51 Just In Time
Card Tricks & Routines
James Douglas
6
2
12
Nov-51 A Quick Return
Close-up Effects
James Douglas
6
2
13
Nov-51 Just In Time (cont.)
Card Tricks & Routines
James Douglas
6
2
14
Nov-51 The Ladies Looking Glass Sans Pass (cont.)
Card Tricks & Routines
Tudor Brock
6
2
15
Nov-51 Twin Ribbons (cont.)
Ribbon Effects
James Douglas
6
3
17
Dec-51 One Red Card
Card Tricks & Routines
Arthur Carter
6
3
18
Dec-51 “For Those Horrors, The ‘Teeny Weenies’”
Children’s Effects
Peter Warlock
6
3
20
Dec-51 Operation Psychic
Mental Effects
B. E. Rasmussen
6
3
20
Dec-51 “For Those Horrors, The ‘Teeny Weenies’(cont.)”
Children’s Effects
Peter Warlock
6
3
21
Dec-51 An Uncanny Force
Mental Effects
Herbert Milton
6
3
21
Dec-51 By Three
Card Tricks & Routines
George Johnson
6
3
22
Dec-51 A Juggling Force
Utility Items
J. G. Findlay
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
6
4
25
Jan-52 Express Delivery
Utility Items
Harry Hickson
6
4
26
Jan-52 Mystic Multiplication
Miscellaneous
Stanley Collins
6
4
26
Jan-52 The Gap In The Curtain
Slate Effects
Peter Warlock
6
4
30
Jan-52 A Strange Coincidence
Card Tricks & Routines
Freddy Clarke
6
4
31
Jan-52 Express Delivery (cont.)
Utility Items
Harry Hickson
6
5
33
Feb-52 Election Selection
Mental Effects
Leslie May
6
5
35
Feb-52 Two By Two
Mental Effects
Leslie May
6
5
36
Feb-52 It’s A Date
Coin & Money Effects
Leslie May
6
5
37
Feb-52 The Word Within
Mental Effects
Leslie May
6
5
38
Feb-52 By Thought And Deed
Mental Effects
Leslie May
6
6
41
Mar-52 Creating An Impression
Mental Effects
Ron Bailie
6
6
43
Mar-52 Tip For Cigarette Workers
Cigarette Effects
Leslie May
6
6
44
Mar-52 Prestimentalation (!)
Mental Effects
Ron Bailie
6
6
47
Mar-52 Idea For A Nail Writer
Utility Items
Anonymous
6
7
49
Apr-52 Epilogue To Thoth
Ring Effects
Hans Trixer
6
7
50
Apr-52 Wishful Thinking
Mental Effects
Ron Bailie
6
7
51
Apr-52 Fourth Dimensional Thoughts
Mental Effects
Ron Bailie
6
7
53
Apr-52 I Do as You Do As I do
Card Tricks & Routines
C. Dudley Whitnall
6
8
57
May-52 Let’s Choose A Word
Mental Effects
James Douglas
6
8
58
May-52 Out Of The Loop
Ring Effects
Jack Miller & Peter Warlock
6
8
60
May-52 Cupro
Coin & Money Effects
Tommy Vanderschmidt
6
8
60
May-52 Here It Is!
Silk Effects
James Douglas
6
8
62
May-52 Double Stop
Card Tricks & Routines
Jack Potter
6
9
65
Jun-52 Discovery X
Card Tricks & Routines
Billy O’Conner
6
9
66
Jun-52 Persistant Ghost
Slate Effects
Arturo
6
9
67
Jun-52 Face-Down Forethought
Card Tricks & Routines
Ron Bailie
6
9
68
Jun-52 Precogspeller
Card Tricks & Routines
Peter Warlock
6
10
73
Jul-52
Loops Entwined
Close-up Effects
Jack Avis
6
10
74
Jul-52
Version Of Precogspeller
Card Tricks & Routines
Hans Trixer
6
10
75
Jul-52
Make Mine Milk
Mental Effects
Peter Warlock
6
10
77
Jul-52
Coinjuration
Coin & Money Effects
Bobby Bernard
6
10
79
Jul-52
Cardthought
Card Tricks & Routines
B. A. Rasmussen
6
11
81
Aug-52 Linking Ring Manipulation Ring Effects
Dudley Whitnall
6
11
84
Aug-52 Ropan Ring
Ring Effects
Jack Avis
6
11
85
Aug-52 Jardine Ellis Routine
Ring Effects
Bertram Millidge
6
12
89
Sep-52 Sandwich Spread
Card Tricks & Routines
Peter Warlock
6
12
90
Sep-52 Knifed
Knife Effects
Roy Walton
6
12
91
Sep-52 Linking Ring Manipulation Ring Effects (cont.)
Dudley Whitnall
7
1
1
Oct-52 Astral Coin
Coin & Money Effects
Tan Hock Chuan
7
1
2
Oct-52 Nota Bene
Coin & Money Effects
J. A. Esler
7
1
3
Oct-52 “Full Stop, Double Stop!”
Card Tricks & Routines
Hugh A. Carroll
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
7
1
3
Oct-52 Sands Of Gobi
Miscellaneous
Tan Hock Chuan
7
1
5
Oct-52 Four Cards – Four Envelopes
Mental Effects
Edmund Rowland
7
1
5
Oct-52 Astral Coin (cont.)
Coin & Money Effects
Tan Hock Chuan
7
2
9
Nov-52 The Perfect Window Envelope
Miscellaneous
Peter Warlock
7
2
10
Nov-52 All At Sea
Close-up Effects
Will Dexter
7
2
11
Nov-52 An Impromptu Torn Newspaper Test
Mental Effects
Edmund Rowland
7
2
12
Nov-52 The Thumb Tie Effect
Miscellaneous
Charles Harrison
7
3
17
Dec-52 The Binding Ring
Paper Effects
Douglas Francis
7
3
19
Dec-52 The Enchanted Basket
Card Tricks & Routines
Treborix
7
3
21
Dec-52 the A-C.I.D Test
Card Tricks & Routines
Leslie May
7
4
25
Jan-53 The Borgia Affair
Mental Effects
James Esler
7
4
26
Jan-53 Yrutnec Hteitnewt
Silk Effects
James Douglas
7
4
27
Jan-53 Collected Thoughts
Mental Effects
Len Belcher
7
4
28
Jan-53 Thumb Fun
Ring Effects
Franklin V. Taylor
7
5
33
Feb-53 Two Into One Will Go
Miscellaneous
Brian McCarthy
7
5
36
Feb-53 Colourblind
Card Tricks & Routines
Francis Haxton
7
5
37
Feb-53 Your Choice
Coin & Money Effects
Jack Avis
7
5
38
Feb-53 Poison In Jest
Mental Effects
Peter Warlock
7
5
39
Feb-53 Buried Treasure
Card Tricks & Routines
Alex Elmsley
7
5
40
Feb-53 Fantasy In Silk
Silk Effects
Fred Kaps
7
5
41
Feb-53 Jacob’s Elevator
Card Tricks & Routines
Hans Trixer
7
5
42
Feb-53 The Psychic Seven
Card Tricks & Routines
Arthur Carter
7
5
42
Feb-53 Jacob’s Elevator (cont.)
Card Tricks & Routines
Hans Trixer
7
6
45
Mar-53 Kortially Yours
Card Tricks & Routines
Milton Kort
7
6
46
Mar-53 Angle On Marlo
Card Tricks & Routines
Peter Warlock
7
6
47
Mar-53 Angle On Angle On Marlo Card Tricks & Routines
Stewart James
7
6
48
Mar-53 Thoughts Out Of Print
Mental Effects
Dr. Stanley Jaks
7
6
49
Mar-53 Do you Reverse
Mental Effects
Leslie May
7
6
50
Mar-53 Angle On Marlo (cont.)
Card Tricks & Routines
Peter Warlock
7
6
50
Mar-53 Kortially Yours (cont.)
Card Tricks & Routines
Milton Kort
7
7
53
Apr-53 Miracle Porous Glass
Silk Effects
Peter Warlock
7
7
55
Apr-53 Mentalist v. Marlo
Card Tricks & Routines
Peter Warlock
7
7
56
Apr-53 Kortially Yours II
Card Tricks & Routines
Jack Potter
7
8
61
May-53 The Hindu Thread Trick
Cabaret Effects
Hans Trixer
7
8
61
May-53 The Hindu Thread Trick
Close-up Effects
Al Baker, Kaplan, Peter Warlock & Hans Trixer
7
8
65
May-53 The Astral Coin Rides Again
Close-up Effects
Alex Elmsley
7
9
69
Jun-53 Laced Up
Ring Effects
John A. M. Howie
7
9
71
Jun-53 Double Up Discovery
Close-up Effects
Norman Macleod
7
9
72
Jun-53 Written On Time
Mental Effects
John Derris
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
7
9
73
Jun-53 Pawrus Coin
Coin & Money Effects
Bobby Bernard
7
9
74
Jun-53 Pawrus Coin (cont.)
Coin & Money Effects
Bobby Bernard
7
10
77
Jul-53
The Ring Binds Again
Miscellaneous
Douglas Francis
7
10
78
Jul-53
Hold a Candle
Mental Effects
Peter Moffat
7
10
79
Jul-53
Variation On Card Incidence
Card Tricks & Routines
Peter Moffat
7
10
80
Jul-53
One More Chance
Miscellaneous
Will Dexter
7
10
81
Jul-53
Invulnerable
Coin & Money Effects
Peter Warlock
7
11
85
Aug-53 Ye Bonny Banks
Coin & Money Effects
Leslie May
7
11
87
Aug-53 Beyond Belief
Card Tricks & Routines
Roy Scott
7
11
87
Aug-53 I’ve Got your Number
Card Tricks & Routines
Roy Scott
7
11
88
Aug-53 Nae Bother At A’
Mental Effects
Oliver Mackenzie
7
11
89
Aug-53 Your Astral In 3D
Mental Effects
George Pigott
7
12
93
Sep-53 The Incredible Stab
Card Tricks & Routines
Bob Driebeek
7
12
95
Sep-53 Rouge Et Noir
Card Tricks & Routines
Dr. Daley
7
12
96
Sep-53 Space Controlled
Card Tricks & Routines
Roy Scott
7
12
97
Sep-53 Result Of Thought
Card Tricks & Routines
Roy Scott
7
12
97
Sep-53 A Joker Prediction
Card Tricks & Routines
Arthur F. G. Carter
8
1
1
Oct-53 Variation On Le Paul’s Cards In The Sealed Envelope
Card Tricks & Routines
His Honour Judge Ernest Wethered
8
1
3
Oct-53 Dead Reckoning
Slate Effects
Peter Warlock
8
1
5
Oct-53 The Aeroplane Card Trick
Card Tricks & Routines
Dai Vernon
8
1
5
Oct-53 Tristing The Twister
Cigarette Effects
James Douglas
8
2
9
Nov-53 Epitaph For Brown
Card Tricks & Routines
Peter Warlock
8
2
12
Nov-53 The Want Ad. Test I Like
Slate Effects
Peter Warlock
8
2
14
Nov-53 Thanks To Stewart James
Miscellaneous Effects
Peter Warlock & Maurice Sardina
8
3
17
Dec-53 The Hole In The Table
Coin & Money Effects
Jack Avis
8
3
19
Dec-53 Rara Avis
Card Tricks & Routines
Jack Avis
8
3
20
Dec-53 Spin Cut Aces
Card Tricks & Routines
Jack Avis
8
4
25
Jan-54 Chronokinesis
Mental Effects
Jack Avis
8
4
26
Jan-54 Change Fold
Miscellaneous
Herbert Milton
8
4
28
Jan-54 The Finish For The Ambitious Card Routine
Card Tricks & Routines
Jack Avis
8
4
29
Jan-54 The Chinese Butterflies
Miscellaneous
Will Dexter
8
5
33
Feb-54 On The Lap Of The Gods
Card Tricks & Routines
Arthur Carter
8
5
35
Feb-54 The Perennial Phoenix
Miscellaneous Effects
Arthur Carter
8
5
36
Feb-54 Three More Poker Chips
Mental Effects
Arthur Carter
8
5
37
Feb-54 The Fathoming Of The Word
Mental Effects
Arthur Carter
8
6
41
Mar-54 The Give-away Collecting Box
Miscellaneous Effects
Edmund Rowland
8
6
42
Mar-54 A Quick Turn Over Board
Miscellaneous Effects
Edmund Rowland
8
6
43
Mar-54 A Total Mystery
Mental Effects
Edmund Rowland
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
8
6
44
Mar-54 A Perfect Mirror Envelope Utility Items
Edmund Rowland
8
6
46
Mar-54 Clean Carbon
Edmund Rowland
8
7
49
Apr-54 Gambling’s Goblin Goblet Miscellaneous Effects
John Gambling
8
7
51
Apr-54 Rhodesia Reverse
Card Tricks & Routines
Hans Trixer
8
7
53
Apr-54 Tea Leaves
Miscellaneous Effects
James Douglas
8
7
53
Apr-54 Dated Flight
Cabaret Effects
James Douglas
8
8
57
May-54 The Cardician’s First Problem
Card Tricks & Routines
Peter Warlock
8
8
58
May-54 The Cardician’s Second Problem
Card Tricks & Routines
Peter Warlock
8
8
60
May-54 Handling The Window Envelope
Utility Items
Peter Warlock
8
8
61
May-54 A Note On Edmund Rowland’s Give Away Collecting Box
Miscellaneous Effects
Jack Avis
8
9
65
Jun-54 The Obedient Colours
Miscellaneous Effects
Douglas Dexter
8
9
66
Jun-54 Chango
Card Tricks & Routines
Roy Walton
8
9
67
Jun-54 A Letter At A Time
Card Tricks & Routines
Peter Warlock
8
9
68
Jun-54 The £50 Challenge Portrait Mental Effects
G. E. Arrowsmith
8
10
73
Jul-54
John Howie’s Routines Ring Effects With The Jardine Ellis Ring
John A. M. Howie
8
10
76
Jul-54
Addenda To Gambling’s Goblets
Miscellaneous Effects
His Honour Judge Ernest Wethered
8
10
77
Jul-54
Changing Coins
Coin & Money Effects
Mystico
8
10
78
Jul-54
The Give Away Collecting Miscellaneous Effects Box Again
8
11
81
Aug-54 Annemann Interlude
Miscellaneous
Gustave Southall
8
11
82
Aug-54 Sham Shuffle
Card Tricks & Routines
Gustave Southall
8
11
83
Aug-54 Personal Touch
Miscellaneous
Gustave Southall
8
11
84
Aug-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
8
12
89
Sep-54 4th Dimensional Postal Order
Miscellaneous Effects
Peter Warlock
8
12
90
Sep-54 One Over The Eight
Card Tricks & Routines
James Esler
8
12
91
Sep-54 Sans Falcon
Number Magic
James Esler
8
12
92
Sep-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
1
1
Oct-54 They’re All Jacks!
Card Tricks & Routines
Winston H. Freer
9
1
2
Oct-54 Tripalteration
Card Tricks & Routines
Winston H. Freer
9
1
3
Oct-54 A Matter Of Habit
Cigarette Effects
James Douglas
9
1
4
Oct-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
2
9
Nov-54 Annemann Assembly
Harry E. Burnside & Charles W. Cameron
Utility Items
Mental Effects
Edmund Rowland
Vol.
No.
Page
Date
Effect
Type
9
2
12
Nov-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
3
17
Dec-54 Erdnase And All That
Card Tricks & Routines
Roy Walton
9
3
18
Dec-54 The Hindu Needle Trick
Close-up Effects
Billy McComb
9
3
20
Dec-54 Do It By Numbers
Number Magic
Leslie May
9
3
20
Dec-54 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
3
23
Dec-54 The Hindu Needle Trick (cont.)
Close-up Effects
Billy McComb
9
4
25
Jan-55 The Dance Of The Seven Veils
Card Tricks & Routines
Comrie Mackay
9
4
27
Jan-55 The Name’s The Same
Cabaret Effects
Leslie May
9
4
28
Jan-55 John Howie’s Routines Ring Effects With The Jardine Ellis Ring (cont.)
John A. M. Howie
9
4
31
Jan-55 The Dance Of The Seven Veils (cont.)
Card Tricks & Routines
Comrie Mackay
9
5
33
Feb-55 Pentacle Of Pan
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
5
35
Feb-55 Transformations Extraordinary
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
5
36
Feb-55 Inter Spatial Sorcery
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
5
37
Feb-55 Transpo Thoughts
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
6
41
Mar-55 The Sands Of Time
Card Tricks & Routines
Bobby Bernard
9
6
42
Mar-55 Poor Man’s Last Card
Card Tricks & Routines
Peter Warlock
9
6
43
Mar-55 A Twentieth Cantury Card
Card Tricks & Routines
James Douglas
9
6
44
Mar-55 The Thought Recorder
Mental Effects
Leslie May
9
6
45
Mar-55 Surprize
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
7
49
Apr-55 Variations On The Taped Slate
Slate Effects
His Honour Judge Ernest Wethered
9
7
52
Apr-55 The Ghost Of Pascal
Slate Effects
Corvelo
9
7
53
Apr-55 A Letter From Roy E. Short Coin & Money Effects
Roy E. Short
9
7
55
Apr-55 A Study In Smoke
Miscellaneous Effects
Arthur Carter
9
8
57
May-55 1 – 2 – 3
Card Tricks & Routines
Dai Vernon
9
8
58
May-55 Just Injog
Card Tricks & Routines
Dai Vernon
9
8
59
May-55 Al’n And Dai Again
Card Tricks & Routines
Dai Vernon
9
8
61
May-55 Let’s Predict A card
Card Tricks & Routines
Hans Trixer
Ring Effects
Roy Johnson
Card Tricks & Routines
Dr. Nicholls Harley
9
8
61
May-55 A Jardine Ellis Ring Routine
9
9
65
Jun-55 The Ultimate Three Card Prediction
9
9
67
Jun-55 No Clue Spectator Location Card Tricks & Routines
Contributor(s)
Francis Haxton
Vol.
No.
Page
9
9
67
9
9
9
Date
Effect
Type
Contributor(s)
Jun-55 Ultimate Three Card Prediction (cont.)
Card Tricks & Routines
Dr. Nicholls Harley
68
Jun-55 Two Think As One
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
69
Jun-55 Unpredictable Predictions
Card Tricks & Routines
Phil Wye
9
9
69
Jun-55 Two Think As One
Mental Effects
Harry E. Burnside & Charles W. Cameron
9
9
70
Jun-55 What Are You Playing?
Mental Effects
G. E. Arrowsmith
9
10
73
Jul-55
Take Three
Card Tricks & Routines
Peter Warlock
9
10
75
Jul-55
Controlled Thought
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
10
76
Jul-55
Return To Marlo
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
10
77
Jul-55
Royal Quadrille
Card Tricks & Routines
Harry E. Burnside & Charles W. Cameron
9
10
79
Jul-55
Take Three (cont.)
Card Tricks & Routines
Peter Warlock
9
11
81
Aug-55 The Idol Whispers Again
Mental Effects
Arthur Carter
9
11
82
Aug-55 Trigon Seventeen
Card Tricks & Routines
Peter Warlock
9
11
83
Aug-55 A Card Miracle
Card Tricks & Routines
Douglas Dexter
9
12
89
Sep-55 Max Malini
Miscellaneous Effects
Eric De La Mare
9
12
93
Sep-55 Prediction Of Ptah
Mental Effects
Harry E. Burnside & Charles W. Cameron
10
1
1
Oct-55 The Needle Trick
Classic Effects
Hans Trixer
10
1
5
Oct-55 Salute To John Ramsay
Coin & Money Effects
John Derris
10
2
9
Nov-55 The New Intruder
Card Tricks & Routines
Jack Avis
10
2
10
Nov-55 The Lucky Ring
Ring Effects
Peter Warlock
10
2
12
Nov-55 Variation On A Theme Take Three
Card Tricks & Routines
Francis Haxton
10
2
13
Nov-55 Variation On A Theme Take Three – Again
Card Tricks & Routines
Dr. Stanley Jaks
10
2
14
Nov-55 Peek Deck Prediction
Card Tricks & Routines
Maurice S. Howarth
10
2
14
Nov-55 Addenum For The New Intruder
Card Tricks & Routines
Jack Avis & Peter Warlock
10
2
15
Nov-55 The Magician’s Ten Commandments
Miscellaneous
Douglas Dexter
10
3
17
Dec-55 Poker
Card Tricks & Routines
Roy Walton
10
3
18
Dec-55 Thanks To Everyone
Ring Effects
Peter Macdonald
10
3
19
Dec-55 Sympathy In Colour
Card Tricks & Routines
Tony Blitz
10
3
21
Dec-55 Mirrorslate
Slate Effects
Len Belcher
10
3
22
Dec-55 Skryring
Card Tricks & Routines
Maurice S. Howarth
10
4
25
Jan-56 Parti-Piece
Ribbon Effects
Peter Warlock
10
4
27
Jan-56 Ike-Newspaper-Prediction
Mental Effects
Hans Trixer
10
4
29
Jan-56 Vibrato
Mental Effects
Comrie Mackay
10
4
30
Jan-56 Casting The Future
Card Tricks & Routines
H. A. Adams
10
5
33
Feb-56 The Edinburgh Radio Prediction
Mental Effects
Peter Warlock
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
10
5
38
Feb-56 Silks At The Fingertips
Silk Effects
Peter Warlock
10
6
41
Mar-56 Puzzle For Wantons
Card Tricks & Routines
Jack Avis
10
6
42
Mar-56 Aces In The Ascendant
Card Tricks & Routines
Dudley Whitnall
10
6
43
Mar-56 The Lady And The Tramp
Card Tricks & Routines
Peter Warlock
10
7
49
Apr-56 The Lady And The Tramp (cont.)
Card Tricks & Routines
Peter Warlock
10
7
54
Apr-56 My Choice
Coin & Money Effects
Peter Warlock
10
7
55
Apr-56 Joker Transformations Extraordinary
Card Tricks & Routines
Herb Runge
10
8
57
May-56 A Bow To U. F. Grant
Coin & Money Effects
Peter Warlock
10
8
59
May-56 Three Dice – Fifty Two Cards
Card Tricks & Routines
Roy Walton
10
8
59
May-56 A Letter From Francis Haxton
Card Tricks & Routines
Francis Haxton
10
8
60
May-56 Again The Dead Name
Mental Effects
Peter Warlock
10
8
62
May-56 Bluff Card Stab
Card Tricks & Routines
Ravelli
10
9
65
Jun-56 A Simplified Newspaper Test
Mental Effects
Edmund Rowland
10
9
66
Jun-56 Cubit
Miscellaneous Effects
Edmund Rowland
10
9
67
Jun-56 Right From Left
Paper Effects
Edmund Rowland
10
9
68
Jun-56 Multiple Addition
Miscellaneous Effects
Edmund Rowland
10
9
69
Jun-56 A New Flap Die Box
Miscellaneous Effects
Edmund Rowland
10
10
73
Jul-56
Ethereal Coins
Coin & Money Effects
Bobby Bernard
10
10
74
Jul-56
Fun With Flash String
Utility Items
Bobby Bernard
10
10
74
Jul-56
Black And White
Miscellaneous Effects
Bobby Bernard
10
10
75
Jul-56
Miniature Slate Supreme
Slate Effects
Bobby Bernard
10
10
75
Jul-56
Bewilder-Ring
Coin & Money Effects
Bobby Bernard
10
10
76
Jul-56
Simplicity Speller
Card Tricks & Routines
Bobby Bernard
10
10
77
Jul-56
Utility Altar Light
Miscellaneous Effects
Bobby Bernard
10
10
78
Jul-56
Colorfuso
Card Tricks & Routines
Peter Warlock
10
11
81
Aug-56 Divination Of Two Mentally Selected Cards
Card Tricks & Routines
The Late Edward G. Brown
10
11
82
Aug-56 The Wick’s Theme
Mental Effects
Peter Warlock
10
11
86
Aug-56 Brown Study
Card Tricks & Routines
T. S. Ransom
10
12
89
Sep-56 The Chain Of Silks
Silk Effects
Marconick
10
12
90
Sep-56 Open Intruder
Card Tricks & Routines
Alex Elmsley
10
12
91
Sep-56 Still Taking Three
Card Tricks & Routines
Alex Elmsley
11
1
1
Oct-56 Take This Ring
Ring Effects
John Derris
11
1
2
Oct-56 The Close-Up Slate Test
Slate Effects
Peter Warlock
11
1
4
Oct-56 The Digest Book Test
Slate Effects
Peter Warlock
11
1
5
Oct-56 Designo
Miscellaneous Effects
Peter Warlock
11
1
6
Oct-56 An Angle on Clippo
Paper Effects
Peter Warlock
Coin & Money Effects
John Derris
Card Tricks & Routines
Alex Elmsley
11
2
9
Nov-56 The Jojamajo Cap And Coins Mystery
11
2
11
Nov-56 Brownwaves
Vol.
No.
Page
11
2
13
11
2
11 11
Date
Effect
Type
Contributor(s)
Nov-56 Thought On A Mentally Selected Card
Card Tricks & Routines
Jack Yates
13
Nov-56 Tumblejack
Card Tricks & Routines
John Derris
2
15
Nov-56 Posthumous Influence
Mental Effects
G. E. Arrowsmith
3
17
Dec-56 Handkerchief And Glass To Classic Effects Hat
Edward Brown
11
3
21
Dec-56 The Four Card Pack
Card Tricks & Routines
John Derris
11
4
25
Jan-57 Eight Dice And a Card
Card Tricks & Routines
Stewart James
11
4
25
Jan-57 Thoughts In Motion
Card Tricks & Routines
Stewart James
11
4
26
Jan-57 Production Of A Cricket Bat
Miscellaneous Effects
J. A Holland
11
4
27
Jan-57 Simplified Divination Of Two Mentally Selected Cards
Card Tricks & Routines
Dudley Whitnall
11
4
29
Jan-57 Two More Mentally Selected Cards
Card Tricks & Routines
John P. Hamilton
11
4
30
Jan-57 Les Cartes A La Manche
Card Tricks & Routines
Stanley Collins
11
5
33
Feb-57 The Big Squeeze
Close-up Effects
John Derris
11
5
35
Feb-57 Third Sight
Card Tricks & Routines
Stewart James
11
5
36
Feb-57 Dealing With The Unknown Card Tricks & Routines
Stewart James
11
5
37
Feb-57 Trigon Two
Card Tricks & Routines
Peter Warlock
11
6
41
Mar-57 The Substitute
Card Tricks & Routines
Roy Scott
11
6
42
Mar-57 Clannish
Card Tricks & Routines
Roy Scott
11
6
44
Mar-57 E. S. P. Experiment
Mental Effects
Harry E. Burnside & Charles W. Cameron
11
6
44
Mar-57 A Needle Match
Close-up Effects
Major Leslie May M.B.E
11
6
45
Mar-57 It’s On The Cards
Mental Effects
Major Leslie May M.B.E
11
6
47
Mar-57 The World’s Greatest
Card Tricks & Routines
Stewart James
11
6
47
Mar-57 Vida Pack
Card Tricks & Routines
Stewart James
11
7
49
Apr-57 Eric’s De La Nightmare
Coin & Money Effects
John Derris
11
7
50
Apr-57 The Little Man
Children’s Effects
Peter Warlock
11
7
52
Apr-57 Alias
Card Tricks & Routines
Stewart James
11
7
53
Apr-57 Predestinacetion
Card Tricks & Routines
Stewart James
11
7
53
Apr-56 Tele-Coincido
Mental Effects
Peter Warlock
Close-up Effects
Bob Driebeek
11
8
57
May-57 No Guessing
11
8
58
May-57 Triple Mental Coincidence Card Tricks & Routines
Ravelli
11
8
59
May-57 The Hoodoo Cards
Card Tricks & Routines
Stewart James
11
8
60
May-57 Brownwaves – No Looking Card Tricks & Routines
Alex Elmsley
11
8
60
May-57 30th Century Prophecy
Mental Effects
Peter Warlock
11
9
65
Jun-57 The Prisoners
Classic Effects
Peter Warlock
11
9
68
Jun-57 Simplex Coin Transpo
Coin & Money Effects
Ravelli
11
9
68
Jun-57 Heduz
Card Tricks & Routines
Stewart James
11
9
69
Jun-57 Three In Council
Card Tricks & Routines
Francis Haxton, Jack Avis & Peter Warlock
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
11
9
70
Jun-57 Mathematics Of The Weave Card Tricks & Routines Shuffle
Alex Elmsley
11
10
73
Jul-57
Holiday From Reason
Card Tricks & Routines
Stewart James
11
10
74
Jul-57
Synchromagic
Card Tricks & Routines
Stewart James
11
10
74
Jul-57
Thimblekin
Thimble Effects
Bob Driebeek
11
10
75
Jul-57
Finish For Four Ace Routine
Card Tricks & Routines
A. W. Roots
11
10
75
Jul-57
The Taped Slate
Slate Effects
Peter Warlock
11
10
78
Jul-57
Mathematics Of The Weave Card Tricks & Routines Shuffle (cont.)
11
11
81
Aug-57 The Handcuffed Cardician
Card Tricks & Routines
Hans Trixer
11
11
82
Aug-57 Double Surprise
Card Tricks & Routines
Jack Avis
11
11
82
Aug-57 Simplicity Two Person Prediction
Slate Effects
Peter Warlock
11
11
84
Aug-57 Six In A Row
Mental Effects
Corvelo
11
11
85
Aug-57 Mathematics Of The Weave Card Tricks & Routines Shuffle (cont.)
Alex Elmsley
11
11
86
Aug-57 I Never Use Cards
Card Tricks & Routines
Erik Padt
11
12
89
Sep-57 Predicted Mental Spell
Card Tricks & Routines
Edward Marlo
11
12
92
Sep-57 Extended Mental Spell
Card Tricks & Routines
Edward Marlo
11
12
92
Sep-57 Behind The Screen
Card Tricks & Routines
Peter Warlock
11
12
93
Sep-57 “Small, Medium And Large”
Mental Effects
Peter Warlock
12
1
1
Oct-57 The Dollis Coin Vanish
Coin & Money Effects
John Derris
12
1
2
Oct-57 Three Card Routine
Card Tricks & Routines
A. W. Roots
12
1
3
Oct-57 My Sealed Message Reading Routine
Mental Effects
Ger Moto
12
1
4
Oct-57 Face Up Card At Number
Card Tricks & Routines
A. W. Roots
12
1
4
Oct-57 A Warlock’s Prediction
Mental Effects
Peter Warlock
12
2
9
Nov-57 Rainbow Cup And Balls
Classic Effects
Fred Lowe
12
2
12
Nov-57 Bag In The Egg
Miscellaneous Effects
Fred Lowe
12
2
13
Nov-57 Passe Dice Stack
Miscellaneous Effects
Fred Lowe
Alex Elmsley
12
3
17
Dec-57 A Coin Fantasy
Coin & Money Effects
Fred Kaps
12
3
18
Dec-57 About Turn!
Card Tricks & Routines
Hugh Scott
12
3
19
Dec-57 Addition To The Brainwave Card Tricks & Routines
Peter Warlock
12
3
20
Dec-57 Personal Prediction
Mental Effects
Peter Warlock
12
3
22
Dec-57 Triple Telephone Test
Mental Effects
Tom Sellers
12
3
22
Dec-57 Reverse Card Discovery
Card Tricks & Routines
Tom Sellers
12
4
25
Jan-58 A Scarf Called Moebius
Card Tricks & Routines
Roy Walton
12
4
27
Jan-58 Telling the Colours
Mental Effects
Tom Sellers
12
4
28
Jan-58 Colour And Number Prediction
Mental Effects
Tom Sellers
12
4
29
Jan-58 My Billet Switch
Utility Items
Peter Warlock
12
4
30
Jan-58 What’s In A Dead Name
Mental Effects
Peter Warlock
12
5
33
Feb-58 Diabolo’s Coin Vanish
Coin & Money Effects
Diabolo (Russell Sharp)
Vol.
No.
Page
12
5
34
12
5
12 12
Date
Effect
Type
Contributor(s)
Feb-58 A Stranger Re-Visits Paradise
Card Tricks & Routines
Peter Warlock
35
Feb-58 Variation On A Theme
Mental Effects
Roy Walton
5
36
Feb-58 A Pretty Sillk Flourish
Silk Effects
James Douglas
5
37
Feb-58 May I Borrow a Book?
Mental Effects
Peter Warlock
12
6
41
Mar-58 The Magic Of Japan
Paper Effects
Diabolo (Russell Sharp)
12
6
44
Mar-58 Silver To Copper
Coin & Money Effects
Phoa Yan Tiong
12
6
46
Mar-58 Four Whites
Card Tricks & Routines
Brian Glover
12
6
46
Mar-58 Call That Number
Mental Effects
Peter Warlock
12
7
49
Apr-58 Magic Square Telepathy
Mental Effects
Peter Warlock
12
7
51
Apr-58 Anent About Turn
Card Tricks & Routines
Jack Avis, Alex Elmsley, Roy Walton & John Messenger
12
7
52
Apr-58 Two Read A Book
Mental Effects
Peter Warlock
12
7
53
Apr-58 Pin Pointed Slates
Slate Effects
Peter Warlock
12
8
57
May-58 The Allerton Masterpiece
Card Tricks & Routines
Gustave Southall
12
8
58
May-58 Impromptu Stranger
Card Tricks & Routines
Edward Marlo
12
8
59
May-58 The Reverse Stack
Card Tricks & Routines
Roy Scott
12
8
61
May-58 Screened Thoughts
Mental Effects
Peter Warlock
12
8
62
May-58 Mathematics Of The Weave Card Tricks & Routines Shuffle
Alex Elmsley
12
9
65
Jun-58 I Got A Horse
Miscellaneous Effects
Gustave Southall
12
9
66
Jun-58 Sympathetic Coincidence
Card Tricks & Routines
Edward Marlo
12
9
67
Jun-58 A Tip For The Card In Cigarette
Cigarette Effects
Ravelli (Switzerland)
12
9
67
Jun-58 Ace Elimination
Card Tricks & Routines
Ravelli (Switzerland)
12
9
68
Jun-58 A Tip For The Sympathetic Utility Items Silks
Peter Warlock
12
9
69
Jun-58 Psychic Card
Mental Effects
Peter Warlock
12
10
73
Jul-58
Silk In A Loop
Close-up Effects
Marconick
12
10
74
Jul-58
Clipped Prediction
Mental Effects
Brian Glover
12
10
75
Jul-58
The Centre Double Lift
Card Tricks & Routines
Jack Avis
12
10
76
Jul-58
Stab In The Dark
Card Tricks & Routines
Peter Warlock
12
10
78
Jul-58
Come Nine
Miscellaneous Effects
Edmund Rowland
12
11
81
Aug-58 Thanks To Moebius
Paper Effects
Edmund Rowland
12
11
82
Aug-58 A Master Speller
Miscellaneous Effects
Edmund Rowland
12
11
83
Aug-58 Two-Fold Location
Utility Items
Edmund Rowland
12
11
85
Aug-58 Page-It
Number Magic
Edmund Rowland
12
11
86
Aug-58 The Cards Rise
Card Tricks & Routines
Peter Warlock
12
12
89
Sep-58 Quick Tot
Number Magic
Edmund Rowland
12
12
90
Sep-58 Peculiar Patience
Card Tricks & Routines
John A. M. Howie
12
12
91
Sep-58 Decimus
Miscellaneous Effects
Edmund Rowland
12
12
92
Sep-58 A Simple Production
Miscellaneous Effects
Edmund Rowland
12
12
93
Sep-58 Well Matched
Utility Items
Edmund Rowland
12
12
95
Sep-58 The Tip Routine
Coin & Money Effects
Ravelli (Switzerland)
Vol.
No.
Page
Date
Effect
Type
Contributor(s)
13
1
1
Oct-58 Flight Of The Blues
Card Tricks & Routines
Francis Haxton
13
1
2
Oct-58 Reversible Knots
Close-up Effects
Edmund Rowland
13
1
3
Oct-58 Queens And Water
Card Tricks & Routines
Roy Walton
13
1
4
Oct-58 The Postman Always Rings Mental Effects Once
Leslie May
13
2
9
Nov-58 The Glass Through Coat
Miscellaneous Effects
Hans Trixer
13
2
10
Nov-58 Strictly Straight
Card Tricks & Routines
Rusduck
13
2
11
Nov-58 Food For Thought
Mental Effects
Leslie May
13
3
17
Dec-58 Autoring Escape
Ring Effects
Eddie Joseph
13
3
19
Dec-58 The Eternal Travellers
Card Tricks & Routines
Hans Trixer
13
3
20
Dec-58 The Turncoats
Card Tricks & Routines
Peter Warlock
13
3
22
Dec-58 A New Principle For The Sypathetic Silks
Silk Effects
Fred Elink
13
4
25
Jan-59 One In Three
Card Tricks & Routines
John Derris
13
4
26
Jan-59 The Meff Coin Vanish
Coin & Money Effects
Brian Glover
13
4
27
Jan-59 Colour-Number
Mental Effects
Peter Warlock
13
4
29
Jan-59 Colour-Number (cont.)
Mental Effects
Peter Warlock
13
4
30
Jan-59 “Smack, Dab In The Middle”
Card Tricks & Routines
Brian Glover
13
5
33
Feb-59 Sucker Silver
Coin & Money Effects
Alex Elmsley
13
5
35
Feb-59 Double Double
Mental Effects
Peter Warlock
13
5
37
Feb-59 Eric’s Aces
Card Tricks & Routines
Eric De La Mare
13
6
41
Mar-59 Double Thought Wave
Card Tricks & Routines
Jack Avis
13
6
42
Mar-59 The Triangle
Card Tricks & Routines
Graham Adams
13
6
43
Mar-59 Ne Plus Ultra
Card Tricks & Routines
Graham Adams
13
6
44
Mar-59 A Letter From John P. Hamilton (cont.)
Card Tricks & Routines
John P. Hamilton
13
6
45
Mar-59 A Letter From John P. Hamilton
Card Tricks & Routines
John P. Hamilton
13
7
49
Apr-59 Cigarettes to Flowers
Miscellaneous Effects
Peter Warlock
13
7
50
Apr-59 The Whispering Trick
Card Tricks & Routines
Graham Adams
13
7
50
Apr-59 Line Of Silks
Silk Effects
Peter Warlock
13
7
51
Apr-59 Any Card Called For
Card Tricks & Routines
Graham Adams
13
7
53
Apr-59 The Boomerang Card
Card Tricks & Routines
Graham Adams
13
8
57
May-59 See How It Runs!
Miscellaneous Effects
Peter Warlock
13
8
59
May-59 My Favourite Trick
Card Tricks & Routines
Graham Adams
13
8
60
May-59 You Do As I Do
Card Tricks & Routines
Graham Adams
13
8
61
May-59 A New Spelling Bee – With Card Tricks & Routines A Surprise Ending
Graham Adams
13
9
65
Jun-59 Market Harborough To Derby
Card Tricks & Routines
Francis Haxton & Peter Warlock
13
9
68
Jun-59 The Card On The Arm
Card Tricks & Routines
Graham Adams
13
9
68
Jun-59 The Card In The Cigarette (First Method)
Card Tricks & Routines
Graham Adams
Vol.
No.
Page
13
9
69
13
10
13 13
Date
Effect
Type
Contributor(s)
Jun-59 The Card In The Cigarette (Second Method)
Card Tricks & Routines
Graham Adams
73
Jun-59 Silken Loops
Silk Effects
Peter Warlock
10
75
Jun-59 A Card Discovery
Card Tricks & Routines
Graham Adams
10
75
Jun-59 The Cut Card Revealed
Card Tricks & Routines
Graham Adams
13
10
76
Jun-59 Erdnase On Mentalism
Card Tricks & Routines
Graham Adams
13
10
76
Jun-59 A Card Combination
Card Tricks & Routines
Graham Adams
13
11
81
Aug-59 The Key Of Fortunato
Mental Effects
Peter Warlock
13
11
84
Aug-59 Accompanied By The Joker Card Tricks & Routines
Graham Adams
13
11
86
Aug-59 The Sleepy Card
Card Tricks & Routines
Graham Adams
13
11
86
Aug-59 Simplicity
Card Tricks & Routines
Graham Adams
13
12
89
Sep-59 The Magic Bowl Of Bung Ho
Miscellaneous Effects
Hubert Leslie
13
12
90
Sep-59 A Routine For The Super Bill Head Tube
Cabaret Effects
The Revd. Michael Seacome
13
12
92
Sep-59 A Catch
Close-up Effects
Graham Adams
13
12
92
Sep-59 Assembling The Pack
Card Tricks & Routines
Graham Adams
13
12
94
Sep-59 A Nap Routine
Card Tricks & Routines
Graham Adams
14
1
1
Oct-59 An Indian Fable
Coin & Money Effects
Bobby Bernard
14
1
2
Oct-59 Stamp In Transit
Card Tricks & Routines
Brian Glover
14
1
3
Oct-59 Lexicon Haunted Pack
Card Tricks & Routines
Brian Glover
14
1
3
Oct-59 Gambling Routines – A Game Of Nap
Card Tricks & Routines
Graham Adams
14
1
4
Oct-59 How to Play Nap
Card Tricks & Routines
Graham Adams
14
1
5
Oct-59 Bottom Dealing
Card Tricks & Routines
Graham Adams
14
2
9
Nov-59 Ringcord
Ring Effects
Peter Warlock
14
2
11
Nov-59 Precog Five
Card Tricks & Routines
Peter Warlock
14
2
12
Nov-59 Second Dealing
Card Tricks & Routines
Graham Adams
14
2
13
Nov-59 Dealing Bottom Cards With Card Tricks & Routines One Hand
Graham Adams
14
2
13
Nov-59 Dealing Seconds With One Card Tricks & Routines Hand
Graham Adams
14
2
13
Nov-59 Jumping Jacks
Card Tricks & Routines
Graham Adams
14
2
14
Nov-59 A Dealing Routine
Card Tricks & Routines
Graham Adams
14
3
17
Dec-59 Thanks To Joseph And James
Mental Effects
Leslie May
14
3
18
Dec-59 Stamp Of Approval
Card Tricks & Routines
Jack Avis
14
3
19
Dec-59 Hugh Scott’s Double Hop
Card Tricks & Routines
Jack Avis
14
3
20
Dec-59 A Useful Card Palm
Card Tricks & Routines
Graham Adams
14
3
20
Dec-59 A Variation In The Diagonal Palm Shift
Card Tricks & Routines
Graham Adams
PENTAGRAM An independent monthly bulletin for all who want good magic
Vol.
I
NO. I
O ,
1946
Price IL
The writing of one’s first editorial is no easy task. Of how much to say and how much not to say. I do think, however, that I should tell my readers the main policy of the “ Pentagram.” Its main purpose is to presenttested practical magical effects and routines. In this sphere quality will come before quantity. Book reviews and apparatus reviewswill be given in an unbiassed manner. Many of my friends have asked me whether, because of my predilection, the “ Pentagram ” will deal only with mental magic. I should like to say here, now, that it will publish within its pages effects suitable for all types of magicians.
One issue, the February one, will be an exception, as it will be anAnnemann commemoration number, every contribution comprising new material contributed by “ Jinx ” contributors.
\f’ith a similar title I described a prediction effect in a recent copy of the B.M.S. Journal. This version is far more advanced in effect and adds a piece of worthwhile apparatus tothe armoury of the mentalist. Effect.Three members of the audience arenominated as helpers and designated A, B and C. A is handed six pieces of cardboard each a different colour and B is handed a deck of cards. The operator approaches C with a book and a knife. Round the former is a paper wrapper. C: is requested to stick the knife through the paperinto the book. The knife is then left in position and the wrapperrcmol-ed. Book and knife are left in the charge of C:. These preliminaries performed the, operator returnsto his performing position andfrom his table lifts a teacup. “ Many of you, no doubt, have hadyour fortune told in a teacup,andoneoften sees books on fortunetelling,called ‘ Your Fate in a Teacup.’ Perhaps you are sceptical, and so to-night I am going to tempt the Fates.” At this point the operatortipsfrom the teacup on to his h-ancl three folded piecesof paper, coloured respectively red, white, and blue. T o A, he says, “ This is your fate ” at the same time holding up the red paper anddropping it back into the cup. T o B he makes a similar remark,droppingthe white paperinto the cup. And, lastly, the blue paper is dropped in for C. A is now requested to choose one of the coloured cardsand hold it up. We will supposethat “ orange ” is chosen. A member of the audience is asked to make a note of the choice. B is now asked to glance through the cards in his hands, choose one, and hold it aloft. We mill suppose
that it is the two of clubs. The member of the audience isasked to notethis too. Lastly C is requested to open the book atthe place wherehe inserted the knife, and choose either page. Suggesting thatthe average number of lines on a page is thirty, C is asked to name any number between oneandthirtyandcount down tothat line. Then to say aloud the first and last letters of that line. We will suppose that the line is 27 on page 15 1 and thewords “ love ” and hate ” These too are noted by the member of the audience. The operator now .recapitulates and emphasises how with each choice the odds havebeen stepped up . six, fifty two, sixty thousand ! ‘‘ Remember,” he says, “ I said that yourfate was in theteacup.’’ He picks up the teacup and tips the folded papers on to hishand. Advancing to A hehands him the red paper, to B he hands the white, and to C the blue. Aisasked to open the paperand see what is written. He does so, and reads out Your fate is that you will prefer ‘ Orange.’ ” The first prediction is correct ! B thenopenshispaper and reads “ Your fate is that you will choose the two of Clubs ” ! Finally C opens his paperand reads “ Your fate is that you will choose line 27 on ,:age 151, and the first word of that line will be love whilst the last willbe “ hate.” The motifof this effectis that of restricted choice. In the fairest possible manner the helpers have apparently a wide range of choice.,Actually that choice is limited to forty-nine. As I consider this the main means to the end, let us discuss this first. First of allsixpieces of cardboard coloured Blue, Green, Red,Yellow,Orange
It is only by criticism that one can knowone’s own weaknesses. I do not want weakness in this bulletin, and I shall morethan welcome the opinions of its readers. I should like to conclude this very brief note by thanking all those who have beenso helpful in making the publication of this- bulletin a practical possibility;
..
YOUR
FATE IN A
TEACUP-contimced from page I
and Black (I know black is technically not B colour, but by the majority of people it is so considered). The size of thesecards is immaterial. These cardsconstitutethe only free choice. The deck of cardswhich is handed to +e second spectator consists of twelve cards repeated four times. I suggest thatfor conveniences sake thesecards shduld range fromAce to Queen, the order and suits being mixed. With this deck in his hands the second spectator ‘obviouslya n only have one of twelwe choices. En the book the use of a wrapper is to cover a slide which will forcethe knife to gobetween two previously decided pages. This slideconsistssimply of two pieces of t$h cardboard inserted into the pages required and doubledback ontothe cover of the book. The wrapper is thenputin placeand gluedh whichhasthe dduble. c e t . of pressing the pagestogetherandconcealing the slide. Figs. E and F show what 1. mean. m e book should be fairly thick and contain illustrations. I forgot tomention a couple of points regarding work to be done before the slides are inserted and the wrapper placed on. The first is that the two pages must consist of one printed page and an oppositeone of afullpage illustration. Secondly thatthe operator must take thirty-one pieces of thin blue paper (each measuring three inches by two). On t h i p of thesepapershe writes Your fate is that you will choose line . on page . and,the first word of that line willbe andthe last will The blanks. will be be filled into covernumber of page, each line and the first and last wordsinthose lines. Onthe thirty-first “billet, the operatorwillwriteYourfate is that you will choose page on whichthereis a picture of (followed by description). These pieces of paper are now folded lengthwise and crosswise, so that their final measurement is one and a half inches by one quarter of an inch. As each one is folded it is placed into a billet index which is to be described.Quiteobviouslythe chief pointisthat order shall not be lost or confused. Now forthe billet index. There have beenmany ideas put out for the accommodation of billets, but from of my own point ofview I have not found one capable accommodatingover fifty billets andgivingtrouble-free delivery. Letme describe theone I use. First of all you will wantsomecardboard the thickness of three playing cards(failing this playing cards can be stuck together giving the desiredthickness). One piece i s cuttothe size 34” X l&”andequidistant.alongitslengthare cut six pieces measuring 5/16” X 1”. Two piecesof playing card 3&” X 1” are glue respectively front and back of this comb-looking piece of card so that a piece of card with six slots is formed(Fig. B showsexactlywhat I mean). Theseslotsarecapable of accommodating billets when folded tothe size stated, so thathalf-an-inchprojects. Pieces of linentapearegluedinthepositionshownin Fig C , and a piece of thin, but strong, cardboard is cut to shapeandstapledtotheslottedcard(Fig. C again). Anotherslottedholder is made tothesame size, whilst to these sizes :othersaremade 2 c 3 34;; X l+;; 2 @ 3*,, X 2 @ 3* X 1Q” 1 @ 38” X 19” The size of theslots m each onebeingthesame.
..
..
... ...
. ..
Slips of thick cardboard 34” X 4’’aze now glued between the linen tapes withthe billet holders arranged in ascending anddescendingorderasshownin fig. D. This is an arrangement that makes for compactness. The flaps Whenfinishedthereader should all fwe the Sameway. has a holder capable of taking fifty-four billets, which for, card work, would mean the whole deck, Joker and Score Card. The index is now prepared for theeffect as f o i l o ~ :s Into the first holder are placed six red pieces of paper is writtena on eachofwhich message with 8 colourcorresponding to thesixcards. Into the next,twelvedivisionsare placed pieces of white paper carrying the namesof the twelve cards. We have already discussed the magazineandrnentioned that the thirty-one billets go intotheindexin a known order. One final point to be discussed and that is the teacup. a fair-sized cup is taken, and about half-way down a circle of cardboardfromthecentre of whicha piece of card half an inchindiameter has been cut, is jammed and stopped from moving by means of scotch tape (see fig. A). This is somewhatreminiscent of a wasp trap and if abillet is droppedthrough the holeintothecupareversal of the cup will not allow it to fall out. That is the apparatus forthe effect, andalthough it seems a lot it is all a means to an end. From the audience’s point of view there is no apparatus. The only other requirements are three slips of paper : onered, one white, and one blue, folded to resemblethe billets in the index. These are placed on top of the cardboard circle inthe cup.Withthecup,cards,and book on table,asmallpaper knifeinbreastpocket,andthe index in the trousers pocket the operator isready forthe presentation. As thethreemembers of the audience are being chosen the operator picks up the colouredcards,playingcardsand book. He advances to A, handinghimthecolouredcards. T o B the deck of playingcards is given. Moving to C , hehandshim the knife with the right hand, retaining the wrapped book in the left. C is asked to push the point of the knife through the wrapper and into the leaves of the book. This being done and making sure that the knife is well gripped, the operator holds the book and knife aloft for all to see, a t thesametimeaccentuatingtheimpossibility of anyone knowing the particular pages thattheknife would find. The operator nowmoves theknife to oneside of the wrapper and rips wrapper and pieces on card away from book. The book andknifearethenhanded to C , and the wrapper and card placed in pocket. Great care should be taken here to see that when C receives it there is no possibility of the knife slipping onto the floor, thus ruining the force. These preliminaries having been accomplished, the operator picks up the cup and tips into his right hand thethreefolded billets. The cup is thenreplacedon the table. Showing the red first he takes it with his left hand and drops it into the cup, taking care that it enters the circular opening in the card. This procedure is repeatedwiththeremaining twobillets. The operator now places his right hand in pocket opening the llap of the fake which covers the red billets. Directly A chooses his colour the appropriate billet is located and pulled out of itshiding place. Tt is not palmed,butsimply heId. A member of theaudience isasked to notethecolour. Continued on page 5
T h e reader may have come across many types of spelling tricks, and, like myself, have found that most of them had snags one way or another. Perhaps there was too much to remember, or, perhaps, there were too many ‘ ifs ’ and ‘ buts.’ Therefore I set myself the task of finding a routine that was straightforward, easily remembered, non-confusing to the audience,and would bear repetition,for, while I agree in part that effects should not be repeated before the same audience, I find from experience that spelling effects when presented once only leave the impression of a lucky fluke on the performer’s part, but, if repeated, gain ratherthan lose by such repetition. After literally hundreds of try-outs, pages upon pages of figures and calculations, I came upon what follows, and I can only hope that the reader will think as highly of it as I do myself. Or do we all think our own ‘ children ’ the best ? The performerfans out a pack of giantcards and invitesaspectator to merely think of one card he sees. When the choice has been made,performer closes the fan, remarking, “ This gentleman has merely thought of a card and at the moment it must be admitted that he is the only person who knows what the card is.Now sir, will you make me a promise ? I a m going to ask you a series of questions, and I want you to promise that you will tellme thetruthin your answers, for I intend to spell outyour answers, moving acard at a time for each letter spelled. If I succeed inthe effect, I shall be able to turn up the very card you arethinking of now.” Fromhereon the performer asks the colour of the card, then the suit, whether it is a picture card or a spot card,and, finally, asking its value, turns up the very card. Each answer given by the spectator is spelled out, even to “ yes ” or “ no ’’ when asked if it is apicture card. The routine is always the same, with no variations whatever, and in all cases the next card following the completion of the spelling is always turned up and is the chosen card. I t cannot fail. Continuing, the performer says, “ You may think I was lucky, so what do you say to a really convincing test ? I will ask a lady this time to be as awkward as she can and to chose a most difficult card. Perhaps you, madam, will kindly concentrate on one of these cards. Make it as difficult as you can, please. You have made your choice ? Thank you ! ” and, without further ado, the performer places the cards intoa small holder, backs outwards, so that he has to handlethem as little as possible. I t is a simple box affair, just slightly larger than half the height of the cards. The performer then goes through the same spelling routine, moving one card at a time from the front of the box to the baek. At the completion of the spelling the performer names the card, which, of course, has been gleaned from the spectator’s answers, and which is now known to the audience, then, pointing to the houlette, one card is seen slowly rising from the rest. When the card is almost half way out, the performer takes it cleanly from the box, brings it forward, turns it round and displays it as the card initially thought of. You will need twelve giant cards. Did I mention at the beginning that a pack of cards was fanned ? Perhaps I did, but believe me, if you fan twelve giant cards in front of an audience unused to suchthings, the twelve cards will look like two handsful. Anyway, that’s all you need. Here are the cards :--8S, 9D, 10s (or ten of diamonds would dohere), KH, JC, AS, QD, SC, SD, 7C, 8H, 9H. Theyare arranged in that order, eight of spades being on the back and nine of hearts on the face. tinderboth indexes of the nine of hearts make a
small red line. With the cards so arranged, display them face outwards, running through them in small cuts as you name them,and placing the cards cut off to the back of the packet. Thus you have apparently handled them carelessly but have not disarranged their order, for cutting the nine of hearts to the front or face, brings them back to the original order. Fan them out fora choice and then close the fan. Explain how you are going to spell the spectator’s answers, illustrating your remarks by moving a few cards one at atimefrom topto bottom. Before asking the first question fan the cards towards yourself, pretend to study them and remark “ I think I will take a chance andcutthe cardshere this time.” In any case you always cut the nine of hearts to the face of the packet, hence the small mark on the index, just to remind you. From this position, and turning the cards face downwards, you can now spell any card in the set, if you use the following questionnaire. Always askthe questions in the singular and interpret in thesingular. If you remember that the theanswer routine is perfectly straightforward. (1) Is the colour of your card red or black ? Spell red or black. (2) Is your carda heart or a diamond ? Spell heart or diamond. Is yourcarda club or aspade ? Spell club or spade. (3) Is yourcardapicturecard ? Spell yes or no. Fromherethere will naturally be a diversion, according to whether the answer IS yes or no. Suppose it is yes. .3fterspelling yes, proceed :(4) Is your card a king, queen or jac,k ? Spell king, queen or jack andturnup the next card. Suppose the answer was no. Having spelled no, proceed :( S ) Not apicture card. Then it must have been aspot card. Was your card high or low ? Remember, Sir,Eight upto Ace is high, Seven down to Two is low. I repeat, Ace, King,Queen, down to Eight is considered high, Seven down to Two is considered low. High or low ? Spell high or low. ( 6 ) How many spots on your chosen card ? Whatever the answer, count that number of cards from top to bottom, and at the finish turn up the next card. So, briefly, we have the following rules, which are always adhered to :Always cut the nine of hearts to the face before spelling ; Alwaysask the questions inthe singular and interpret the answers in the singular, as :--. Red,Black,Heart,Diamond,Club,Spade, no. High or low King, @ueen, Jack. Yes or are naturally spelled as given. Always count the number of spots given, in the case of aspotcard, moving acardfor each count from top to bottom ; and, finally, Always remember that .-Ice is high, then king, queen, jack, down to eight are high, and that seven down to two are low. That’s all ! Oh, the Rising Card Effect ? I almost forgot ! The spelling is exactly the same except that the cards are moved in the houlette instead of in the hand, and always from back to face of the packet. The chosen card is then the nearest one to the audience at the conclusion of the spelling. As to the rising effect, youwill perhaps arrange your own method. Mine is a box, the mouth of which is four and three-quarter inches by three-quarters of an inch, and the depth inside is five inches, thus leaving Continued on page 4
Those who, like myself, havehad the pleasure of witnessing Mr. Tebbctt perform this series of sleights know full well the deceptive nature of the effect produced. It is a nice interlude and makes a welcome change from alighted cigarette production. The onerator nlaces a hat onatable and standing right side io audieke raises his left hand back towards audience. It is closed into a fist, andthen acigarette is slowly seen to emerge at the top. The right hand removes this cigarette depositing into it the hat. T h e production is repeated some half-dozen times, and with the taking of the penultimate cigarette from the left hand, any theory that the right hand deposits a cigarette in the left hand under the process of removal of the produced cigarette, is disproved as the right hand is, without audible comment shown to be quiteempty.
n
T h e requirements for producing the effect are few, just a hatand six or seven cigarettes. One of these cigarettes is in a clip on the left side of the operator, whilst the remainderare in a position for easy acquirement by the right hand. A hat,either the operator’s or one belonging to a member of one’s audience should he available. The righthandobtains possession of the half dozen cigarettes andinthe action o f placing the hat on the table, loads all hut one into it. The remainingone is thumb-clipped. Whilst thehat is being placed onthe table the left hand has obtained possession of the cigarette onthe left side. Turning right side tothe audience, the operator raises his left hand, fingers outstretched back to audience and closed into a fist. Withattention directed by mannerism or patter towards the left hand, a slight upward movement of the left thumb inside the fist causes the concealed cigarette to rise. When a couple of inches of the cigarette
. ..
S U P E R
S
..
P E L, L E
R-continued
is visible, the right hand approaches the left to remove the cigarette. Now comes one of the vital moves. As the tips of the first and second fingers of the right hand reach to take thetip of the exposed cigarette, the concealed thumh-clipped cigarc tte in the right hand enters the left fist (Fig. 1 shows the cigarette by means of a dotted line). In synchronisation with the taking of the cigarette from the left hand by theright and under cover of the latter, the thumb of the left hand guides the intruderinto the position for the next production (Fig. 2 shows what happens, the right hand not being shown). The right handapparently places the first Cigarette into the hat, actually leaving the latter with the cigarette thumbclipped and ready to repeat the move which is done once more. With the apparent production of the third cigarette the left hand turns over to the position shown in Fig. 3. The righthandthis time approaches with the concealed thumb-clipped cigarette, and takes thetip of the exposed cigarette as in Fig. 4. In removing the cigarette from the left hand, it is turned over on the hand in an upward movement, and as the left hand fingers open to release it, Jhe thumbclipped cigarette in the right hand is left in its place. The right hand carries through its upward move ment and the left hand turns back tothe audience for next production. The right hand now apparently places the produced Cigarette into the hat,butthistime picksup anotherand comes away with two thumb-clipped. After the production of the next cigarette, the right hand leaves the two thumbclipped cigarettes inside the left fist. The left hand thumb nom pushes up one of the cigarettes, and in approaching the left hand to remove it the right hand is seen to be empty. This should be a s unostentatiously as possible. as possible. The right hand drops this cigarette into the hat, and as a finale picks up the latter. The final cigarette rises from the left hand and is dropped in to the hat which is held underneath.
from page 3
two inches of the cards standing-out.Inside the box is a small metal bar, made in theshape of a trough or channel, and this slides in grooves cut in the sides and near to the front of the box. These grooves, one on each side terminate about half-an-inch from thetop of the box, thus giving a rise of just over four inches. The ends of the bar are drilled to take two threads, and these threads pass upthe grooves mentioned, out through small holes at the top front corners, thence along the two narrow edgcs of the box and down the back to a small rising motor attached to the back of the box. T h e threads pass through
one eyelet in the ctntr,: of thc back, thus gathering the two threads together as one for the motor roller. For the spelling, the cards 80 back outwards, behind the metal bar, and as each card is spelled it is placed at the back, pushing the other cards slightly forward each time. As the last card is spelled and placed at the back, the now front card, the chosen one, is eased slightly forward and into the metal channel, and the motor started up. If a motor is not available the anchoring of the threads to the table, the performer picking up the box and causing a tautening of the threads would achieve the same object,
hlr. Sellersinthis effect hasproducedsomething which is hard to find an impromptu effect capable of stage performance. EXfect,-Three hatsareborrowedand p k e d ina row on atable. The operatorthentakesasquare of white tissue about a foot square, rolls it into a ball and dropsintotherighthandhat.Another piece of white tissue is similarly treated and dropped into the left hand hat.Lastlyasquare of redtissue is rolled intoa ball and dropped into the centre hat. Duringall this procedure the operator is careful to let the audience see that nothing but the paper balls go into the hats. The hats are then movedaboutandtheaudience asked to say whathat the red ball is in. Needless to say theyarewrong,not once, but repeatedly so. The requirements for this effect are simple . just the borrowed hats and four tw~lveinch squares of tissue, three of which are white, the remaining sheet being red. Prior to presentation, the operator screws up one piece of white tissue into a ball and drops it into his left trousers pocket. The remainingsheets of paperare placed on his @Me. Presentati6n.-Havingobtained possession of the white ball of tissue with his left hand, the operator asks for the foan of three hats. The request being answered, h e takes “dre first with his right hand and passes it to the left whicir takes it in such a manner that the ball of tissue is held aga*mst insidebandand covered by the fingee, thumb, of cause, is grippinetheoutside of the brim. The hatshould be held crown towardsaudience. The next hat is taken by the right hand and again passed to the left, which, by temporarily releasing the grip of the thumb, takes this hat and holds the two brims together, so thdt in effect one hat is on top of the other. The third hat is taken by the right hand and the operator returns to his platform. The hat he is holding.fitli his right hand is placed on the table to the operator’s right. The right hand. takes the topmost hat from the left hand and places i t on the left hand side of the table. The left hand now allows thecrown todropand released thegriponthe
...
..
Y O U R FATE IN A TEACUP-continued
B is now asked
whiteball of tissue whichnow drops into the hat. The right hand takes this hat and places it between the other two. From the audience’s point ofview three hats have been borrowed and placed ontheoperator’stable. The sequence of moves has given perfect cover for the load. The pieces of’tissue arerolled at thefinger tips and dropped intothehats. The positionbeingthat each hat has a ball of white tissue, the centre hat having a ball of red tissue as well. T h e hats are moved about and audienc: asked to state the :hereaboutsof the red ball. Oh, no, says the operator, you are wrong,” and, carefully showing his hand, reaches inside the chosen ht, takes the white ballwithhisfingertipsand finger palms thered .b l!: He withdrawshis hand saying,inanartlessmanner, I told you.” The white ballis dropped back into the hat and reachinginsideone of theotherhats,theoperator brings the finger-palmed red ball to &,finger tips, saying, “ You should watch more carefully ! The red ball is now dropped back into the hat from which it was apparently taken, and showing his hands to be quite empty, he places each hand in the mmining two hats and brings out from each awhite ball. Heoffentorepeatthe effect. The hats are again moved about and with a similar procedure on the part of the operator, the audience are wrong again. Once morethe effect isrepeated,butatthe finish the procedure differs slightly in this way : w e n the operator goes tothehatfromthe red ball, he finger-palms the white ball, the hat is then taken by the .brim with the left hand and allowed to swing down so that the audience p n see that it is empty. The red ball is thrown inside, leavmg the white ball still finger-palmed. The righthand now takes the hat from the left and the white ballis held under the brim completely concealed by the fingers of the right hand. The left hand now picks up one of the other hats and holding ahove thehatcontainingthe red ball lets thewhite ball drop mtoit. This is repeatedwith the other hat. The right hand now t u r n the hat over, allowing the three balls to drop on to the table. The fingerpalmed ball can be retained during the return of the hats and then pocketed.
%
from page
to glance through his cards,
choose oneandname it. Again- theappropriatebillet is withdrawn and the card noted. C is now asked to open the book and chooseeither page. If itistheprinted page h e is then asked to choose a line, etc. The last billet is found whilst either the words or picture. ace being noted. At this stage the operator has three billets in his hand ; they should be in a light finger palm position, as the hand leaves the pocket. There is a recapitulation, the left hand picks up the cup at the same time there is a raising of the
right arm and in a natural way the cup is turned over on totherighthand.Nothing, of course, leaves thecup, but as the right hand is fullyspreadtheappearance of thethree finger-palmed billet is perfect a deception. ‘I’he cup is replaced on the table, the billets opened and read thenCurtain. Manufacturingrights of theabove-describedbillet by hlagikraftStudios. indexareheldinthiscountry Arrangements are also in hand for its mamrfacture in the L’mted States.
.. .
STOP PRESS : MAGICIANS’ CLUB. As w e go to press we hear from our friend Tom Harris that Mr. WILL GOLDSTON is staging a series of SUNDAY EVENING SHOWS at the WINDMILL THEATRE. The first of such shows to be held on SUNDAY, 27th OCTOBER, 1946. Mr. Will Goldston no doubt will he able to supply further particulars on application.
ll/@ per year, post free, from t “GREENBANKS,” BRAMCOTE, NOTTS., or from your dealer 1/1 per copy, post free
::
THE MAGIC WAND
GOLDSTON’S BEST 1s THE WORLD’S BEST
...
Novkl Linesarenowinstock
Thefollowing
,a& %iiahi. REVIEW (famousfor FOV~Yyears) October issuenow on sale containssix entries for the Mental Magic Cobpetition andmore more GOOD MAGIC by the Fwmost Writcrs. Per issue 318 f i s t paid ; Annual Subscription 1416 post $aid
QEORQE ARMSTRONB, THE MAQIC WAND PUBLUHINO 11 MONAWERY
TheCharmedDial,Ribbonsand Box, 35/The “ Best-of-all ” ProductionBoxes,60/Cardbox (a la The ‘‘ Jewel * * Brass Roterberg), 30/The Brass “Wonder * * Box (a la Bartl), 25/TheMetalChangingBOX, .10/6 The ‘ Aladdin *’ Fake to produce -12 Coins singly from fingertips,6/6 Gold PlatedPalming Coins, 2/6 per dozeit 6-foot SpringSnake, 1716 Cabbage, 4/9 Monstra .Banana, 4/9 BangPistol.withsilkbanner, 22/6. PleaseNote : thz ahgte triuks weredetnonstrated the I.R.M. Conoention last month. postage extra on all xoods ~-
WILL
GOLDSTON
’
....
LONDON, W.C.2.
Conjuring Books for Sale No Callers
47
GEORGEJENNESS Inverness Avenue, Enfield, Middlesex
MAGICAL BOOKS. & MSS;, Etc. Available on 3d.
Loan.
Stamp for Lists
F.ROBINSON, Magician, STATHERN, MELTON MOWBRAY, LEICS.
at
Mrs. LAURA WUBEY wouldlike it known that she is stillcarrying on herhusband’s business at the same address . ” DORCHESTER,” Turner Road, NEW MALDEN, Surrey
LTD.,
..
Leicester Square Phone : WHI. 3304
JAMES,,GRAYSON
.
OLDANDNEW. Let me knowyour wants LISTFREE FOR STAMPED ENVELOPE
(first floor suile), 14 Irving Street
0 0 ,
QARDEFJS, ENFIELD, MIDDLESEX
Welcome
to the Pentagram
@‘ Your Books am the mod valuable guide that havo ovor km to mrni ulation
~ o mis a r n ~ ~ otn r
and our best wishes for its success. W e lookforward to making new friends and clientsthroughitspages. Like the Pentagram,
writton;
23 GREENFIELD AVENUE,
A - e z effects being regularly produced. -4re you on our mailing list ?
Board Covers lO/- ; De-Luxe Cloth Bound edition, autographed l+. From your Dealer, OY post free from the Author,cjo. :
GILDERSOME, Nr.. LEEDS
MAGIKRAFT STUDIOS
Maker of Highklass Magical Effects, Stage Illusions, etc. PhoneorTelegram
MORLEY
:
899
Address :-
MAGIKRAFT STANDS FOR THE BEST IN MAGIC
(ERIC C. LEWIS)
Nearly 30 yearsinthe
66
husigess
IT 9,
32 VERRTON STREET
NORTHAMPTON
HENRI “C.,
my list of exclusive effectsthat also contains useful hints and tips for magicians. Send Id. in s t a m p s to :
‘‘ ZAHAREE ,” Magician , 16 & 18 Watts)Place CHATHAM KENT,
DEIEEVAH
BUS.,
1BM.r S S M C
The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call at his studw :l CLARENCE ROAD Harborne, Birminghamli
Magic, and all am quit0 so reads Ron.Lamson’s unsolicited testimonial to Edward Victor’s latest book
. . . . .
“
FURTHER MAGIC OF THE HANDS * *
BAYARD GRIRISHAW, The Bungalow, Castleton House, Rochdale Stamped envebpe brings prospectus
THE MAGIC CIRCLE President : His Grace the Dukr o?Somerset D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglu Gnl[gs, Eq., M.I.M.C. Clubroomand Library and Musewn : ST. ERMIN’S HOTEL, CAXTONST., S.W.1 Magzcal Theatre : KlNQ QEORBE’S HALL, W.C. Partaculars from Hon. Sec.: Franczs White, 39 Alverstone AV.,Wimbledon Park,S.W.rc)
S
THE CORNISH PIXIE from your dealer or :
John’s
Wolverhampton,
Square, England
AMERICA :Two dollars for a y 4 numbers
“Put the Milk Baxck” A smashing finish to your Evaporated Milk routine. Put the milk back into the same lug in anamusing and mysterious manner. ChrisVan Bern, Jackle Dair, Chris Charlton and others say it is excellent. Full instructions and suggestionsforpatter 816 from . . . KEN BURROWS, WOODFORDRD.,HUCKNALL,NOTTS.
I INSTITUTEof MAGICIANS I Founded 1334 President : A. Zomah. Hon Sec . Oscar Oswald 102 Elmstrrb AveWembley Par; Middx. H.Q. and L*,a(;: NO. 2 H a d court (Victory Club), High Holborn,W.C. MEETINQ EVERY THURSDAY 7-11 p.m. VlsltmgMagmansalways welcome. Your membership cordiallyinvited-drop aline to theHon. Sec. forliterature.
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
7
PENTAGRAM An independentmonthlybulletin
Vol.
I
No. z
N!iwemh, 1946
Magic Welding has in my humble opinion never been correctly solved. First came the Mirror tumbler are dropped into this and then the tray . . . as all the apparatus in this connection has been sold by now I feel I am doing no harm by describing method a which I have found to be far superior.
Effect. Assistant and operator meet centre stage-assistant holding doubled Eve‘ning Stand or any small newspaper . . operator has a glass dish containing the links of a chain. With patter in or silence the operator drops the links one by one into the double newspaper . . . this haying been done the assntant pours the links back into the glass dish . . operator tosses the “ links ” into the air and down comes a chain . paper is tornup.
.
.
..
Working. Fig. A will show you that a pocket is pasted to one side of thefront page. The assistant holds the paper doubled and when centre stage, faces the audience. When the Magi prepares to drop the links one by one intothe paper the assistant turns and faces him . at the same time pulling
..
for all who want good magic Price One Shilling
the flap open with his right thumb, Fig. B. compartment.
All the links
When the assistant poursthe “ links ” into the paper thev actuallv stav behind. and a chain. which is hidden in between’ the dcentre sheets of the paper, poursinto the dish. The links now become a chain . . after catching and showing . it, the operator drops the chain in tothe paper and theassistant begins to exit . . as an afterthought the performer calls him back, takes the doubIe paper with one hand and gives the glass dish the to assistant.
.
.
Now the Magi from pours the other end (which 1s automatic) (Fig. C) and both lmks and chains come out together. The assistant walks off casually lifting one . end of )he chain anddroppiting back into the dish . the performer with an “ Oswald Williams ” smile tears the paper up
.
.
...
Try this now I
8
With the advent of Scalbert: Mystery. of the SeventhCard, there has beena greater interest shown in two person card discoveries with the medium atthe end of atelephone or outside the room where the action takes place. During myArmy career I made use mainly of two metho$, both of which are described in Patterns for Psychics.” Atalater stage I used Geoffrey Scalbert’s effect, and on one occasion finding that I wanted something similar in effect but entirely different in method, I devised the following which I have found extremely effective and have used ever since. “
the
After shuftiing a deck of cards the operator asks for the assistance of two of his audience, whom we shall call “A” and “B.” A is cut asked to deck into two heaps, choose one, and pick it up. T h e remaining heap is handed to B, who is now requested to deal seven cards face down intoa heap onthe table. A is now asked to spreadhis cards also face down on the table andthe totouch one card and push it out from the rest. He is handed an envelope and told to place the card inside without he or the audience glimpsing it. This envelope is now placed onthe table and the operator picks upthe heap of seven cards. Talking of ocoultism andthe mysteries of the seven stars, he places the seven cards in a circle around the envelope. After a moment or two of deliberation, coupled with more accent on the seven motq, the seven cardsare picked up again and handed to B, who is asked to either ’phone or take the cards to the medium. the If ’phone is used the medium simply asks him to name the cards he is holding. He does so and she names a card. Returning tothe table he states the card shehas named. The envelope is opened by A, and the card named is found the be one to selected I T h e requirements for the effect are simply a deck of cards and an envelope. The deck is stacked in the order bestsuited tothe operator, the following cards being abstracted from the stack :The Joker, Jack of Hearts,King of Diamonds, Ace of Clubs, Two of Spades, Four of Hearts and Eight of Spades. The method of coding is very simple but subtle.
It is easily realised that the value of any card can be transmitted by the ace, two, four and eight in combination or by themselves, i.e., An Ace represented by the Ace. 2. A Deuce do. A Three do. Ace 4. A Four do. 4 A Five do. A Six do. 4 4 A Seven do. 8. An Eight do. 8 A Nine do. 8 A Ten do. 8 A Jack do. 8 QueenA do. 8 A King do.
+ 2.
+ Ace. + 2. + 2 + Ace. + Ace. + 2. + 2 + Ace. + 4. + 4 + Ace.
That is the codin@ for value. We must now deal withwhat I call the stopper card-the Joker. The functioncard of thiscard is to show the completion of the value, i.e.,an Eight andan Ace, followed by the Joker would indicate a Nine . a Four and a TWOfollowed by the Joker
.
would indicate a Six, and so on. Now for the method of suit coding, and it shmld be mentioned thatthe suit is indicated before the value. If the first card before the value is the King of Diamonds lastcard of the seven is andthe not theJack of Hearts, the suit is Clubs. The Heart’s suit is indicated by the first card being the Jack of Hearts, the King of Diamonds also being anywhere but last. For Spades, the first card is the King, followedby the Jack, whilst for Diamonds, the Jack is followed by the King. Now supposing that the operator wishes to code the Queen of Diamonds, the seven cards would be in this order (showing end of value). Jack of Hearts, King of Diamonds, Four,Eight, Joker followed by remaining two cards. At this point I should like to emphasise that suit with the of clubs and hearts if the unwanted card court is placed attheend, and over the ’phone thesender reads cards face up instead of face down, the receiver might get the wrong card. With Clubs or Hearts,the unwanted court card can go anywhere among the value or other cards and is simply ignored by the medium. This seems ratheralengthy explanation, but with cards in hand, the reader will find the whole thing very simple indeed. T h e seven cards in the first-named orderare placed on top of the stacked deck. This is placed in a handy pocket, the envelope to be used being placed in another. Thus set the operator is ready for the .
. .
Presentation. After already having performed a psychic effect, the operator removes the deck from his pocket and gives it a very casual shuffle, which, needless to say, is false. Even if the operator only keeps cutting the cards (provided he makes sure that at completion the seven cards are at thetop) there is no occasion for suspicion in the audience’s mind that the operator is using an arranged deck. If the eflect is presentedinthe correct way playing cards are simply symbols and not the mainstay of conjurors. The deck is now placedtheon table and A is invited to cut it into two heaps then choosing one. It is almost a hundred to one that he will choose the heap not containing the seven key cards. If he should, however, and not B, he is asked to deal the seven top cards on to the table, the remaining cards being handed the toother helper who is asked to spread the cards face down in a row, touch and then push out one card. The envelope is removed from the pocket and the chooser of the card asked to place the face down card inside. This envelope is now placed on the table. The operator turns to the chooser of the card, and at the same time turns the cards on the table face up, remarking l ‘ You see, you had a pretty good range of choice.” This allows the operator to see the cards above or below the chosen card and because of the arrangement knows its value. The seven cards are picked up and very deliberately criss-crossing this way and that and with appropriate occult patter the cards are arranged in the order which will give the name of the selected card. (The operator having placed these cards in a circle must, of course, remember the starting point.) A slight pause precedes the picking pp of the cards and then handing them to the spectator with the request that he ’phones the medium. The order of the cards give her the name of the in the envelope. She tells the caller thisand the assistant returnstothe table ;the envelope is opened and the medium proved correct. T o my mind the fact that the card is not known gives suspense to the effect.
9
In this issue, myfriend Douglas Francis describes false an excellent version of “ Do as I DO.” Initthe lift is involved, and because this sleight so often becomes a major operation with many conjurers, I am describing my own false lift which gives anaturaldouble,treble or quadruple lift with the minimum of effort and preparation. From the audience’s point of view, acard is taken from adealing position. The illustrations will assist the reader in making everything quite clear, providing that he has a deck of cards inhis hands. First of all the left hand holds the cards, as in A. The deck should be pressed well into the ball of the thumbandthe little finger applies enough pressure to nearly, butnotquite, buckle the cards. With good quality cards the positioning is instantaneous. The right hand approaches and as seen m B, the right thumb meets thetop of the deck nearly twothirds of the. way down, tip the of right first finger pressing against, but not downwards on the corner of the top card. This position IS difficult to describe, but the corner of the top card should be
in such a position to be lifted by the tip of the first finger. Actually the first finger tip starts to lift the corner, and when only about one eighth of an inch from the deck, pressure is applied to the next card and both cornersare lifted. At the same moment, the right hand thumb slides up the card to meetthe first finger. The two cards are now pulled forward tothe position shown inC, and turned over to be held by the thumb and first finger of the left hand as shown in D. The cards are now taken by the right and hand turned face down the on deck. The not top card is taken off by right hand the more in usual way (because to my own way of thinking there IS no rational reason for turning card a over on top of a deck with the right hand, leaving it there thenand removing it with the same hand), but is pushed off face downthe toon table with the right thumb. For triplicate or quadruple, lift the operator in )h” process of liftthe ing first and second cards will have no more difficulty in feeling PW. for the corners of the suceeding cards.
PerhapsI am asking fortrouble by inflicting yet another effect of thistype uponthe magical fraternity. Undoubtedlythey seem almost as plentiful as versions of theFour Ace Trick these days. However, in view of the fact that I consider this to be a little different from the usual run of such effects, in addition to being direct and clean-cut in action I trustthat you, dear reader, will forgive me.
to do likewise with the performer’s spread. Both lots of cards are now squared up. Spectator turns over the top card, that is the one you removed and placed there, and it is, say, the Six of Hearts. The operator turns over the top card of his pile and it is the Six of Diamonds ! Truly a strange coincidence, but more is to follow. Operator picks up spectator’s pile and fans it face up for a momentbrief to show that the cards really are all different. He then closes it and has spectator spread it again upon the table face down. Now he shuffles his own pile and places it face down on the table, after which he picks two cards at random from the face down spread. They are, say, the Eight of Hearts and the Jack of Clubs. Operator remarks “ You notice thatone of the cards is anEight value and the other is of theClub suit. Would itnot be a remarkable coincidence if thetop card of my pile was the Eight of Clubs ? ’’ The top card, is turned and it is !
In the first place, unlike the usual coincidence effect, only one pack is used. The effect uponthe onlookers is as follows :The operator s h d e s the pack, cuts it in half, retains one half and hands the other half to the spectator who has volunteered to assist. Each now thoroughly shuffles his respective half, after which theyare ribbon-spread face down across the table. The operator now reaches over and removes a card at random from the spectator’s spread and places it ontop. The spectator is now requested
...
continued on page
11
10
My oldfriend, Peter Warlock, having asked me to write something for his new paper, I agreed provided he suggesteda topic. T h e responsibility forthe following rests,therefore,entirelywith theEditor ! " Is Magic an Art ? " The question has been asked before and answered in different ways. As Joad would say, " it depends upon what you mean by Magic." Dear old Charles Larson, who used to collect magical apparatus as others, myself included, collect postage stamps, would look lovingly at a good piece of magical equipment and say " That's a fine piece of magic ! " Definitions are usually unsatisfactory and inadequate but-" Magic is the performance of the incredible "-may be wide enough to embraceall forms of magical presentation. T h e point is that magic is not themaking of apparatus, the invention of tricks, the devising of presentations, or the planning of acts, but theactual performance of apparent impossibilities, of the incredible.
Having decided ?!ut we mean by Magic we can return to our question, Is Magic an Art ? " and, again as Joad would say, " it depends upon what you mean by Art." There aremany people whoappear to think that all forms of representation, and particularly pictorial representation, are Art, so that for them Art is all- embracing and covers every kind of drawing, painting, carving, and poker work, notto mention art-needlework and art-photography. If we acceptany such catholic interpretation of the meaning of Art there is no need to carry our discussion a single step further ; for then, of course, magic is an art, like golf, billiards, forgery, juggling and tiddli-winks. But Art is something more than that. If I were rash enough to attempt to define the meaning of Art I should say that it is any form of representation that stimulates the intellect and the emotions, that makes one both think and feel. Now, if Magic is the performance of the incredible it is obvious that it is a kind of acting, and, if acting is anArt,then so is Magic. It hasbeen maintained that, since the essence of art is that it is creative and the actor creates nothingbutan impression, acting cannot be an Art. Butdoes the painter orthe architectcreatemore than an impression ? We know that the picture orthe
On every occasion when I have performed this effect and conjurers have been presentthere has been general commentonthe beauty of this effect. Some have even credited me with its origination ; I cannot recall the name of the originator but believe it appeared in the " Seven Circles " Magazine.
Effect. Into an examined tumbler the operator places a mauve coloured silk, on top of the latter he places an orange silk, and thenover the mouth of the glass he puts a green silk ; this being kept in place with an elastic band which has the effect of making a drumhead. Holding the glass at the finger tips of the left hand, the right hand is placed underneath and the mauve silk is apparently drawn throughthe bottom of the tumbler. Elastic band and green silk are removed showing only the orange silk left in the tumbler ! Requirements. One tumbler and three silks, mauve, orange, andgreen, respectively. T o one of the corners of the mauve silk a piece of thin, but strong black thread about four inches long, is attached. Two or three knots are tied at the free end, and a little conjurers' wax is
building actually exists in space but it exists in our minds only throughthe impressions conveyedby our senses. T o a blind man the art of painting has no existence except as a subject for intellectual speculation. If the actor can portrayhispart so as to stimulate our intellect orour emotions he can claim to be an artist. If the magician can portray his part in the same way he also can claim to be an artist. The difficulty with magic is that it possesses very little intellectual stimulation and that it leaves the higher emotions quite unaffected. For this reason magic can never take a very high place amongst the Arts. (It IS interesting to reflect that for the same reason, its lackof emotional appeal, magic fails to rank amongst the most commercially successful forms of theatrical presentation.) But if a magician can, by his acting, convey a real impression of the performance of the incredible he can claim to be an artist, not a great artist perhaps, but at least a minor artist. Magicians of this calibre are not very common. There hasbeen, unfortunately, for years, an agitation for making magic entertaining. It would be betterto agitate for making magic magical. Ido not think David Devant ever worried about making magic entertaining. He put all his fine talentsinto the job of making his magic real. Cardini putshis whole mind into the business of portraying the character he actsthe slightly fuddled dude who is under a magic spell, and has no need totryto be entertaining. These two have been the' greatest artistic successes in the magic of this century, and I understand Cardini has not done so badlyfinancially also. Les Levante once told me that as a young man he used " humorous patter " in the customary way of '' making magic entertaining," and that it got him nowhere. When he came to years of discretion he dropped the wisecracks and concentrated onpresenting magic simply as magic. The Levante show toured Britain with consistent success for three years, and Levante now plays golf in his native Sidney, enjoying the leisure earned by magic presented as magic. "
often
Is Magic an Art ?
'' ! !
"
I answer
"
Yes, butnot
wrapped around the knots (this is the only thing I have added to the original, but it makes forbetter working). With an elastic band, the tumbler, and 'three silks beside it the operator is ready for the . . .
Presentation. Ask aspectator to have a look at the glass. Taking it back with the left hand the operator, with his right hand, picks up the mauve silk so that the threaded corner is held whilst the remainder of this silk is poked into the glass. The thread will remain outside, and as the operator calls attention to the position of the mauve silk he also presses the wax ball against the side of the glass so that the thread is anchored. The orange silk is now placed on top, and thenthe green silk is placed over themouthand secured by the elastic band. The green silk is lifted to show the relative positions of the silks, and then taking the tumbler with the tips of the left fingers, the right hand comes under the green silk, frees the waxed end of the thread, and with a quick action pulls the thread. This has the effect of pulling the mauve silk up the inside of the tumbler and then down between the green silk and elastic band. T o the audience the silkhas been pulled through the bottom of the tumbler !
11
First of all I should like to express myappreciation to all those well-wishers and critics whohave written to me aboutthe first copyof the “ Pentagram.”Many of the suggestionshave been noted and a few incorporated in this issue. T o those who have spoken or written to me regarding the question of the odd page when binding copies, may I say that to a binder the odd sheet makes little difference, as those whohave had copies of Hugard’s Monthlyor the “ Jinx ” bound know. I hope that in a few months’ time that the addition.oftwo more pages will enable me to use a larger type. At the present, paperis still‘a difficultyboth in quantity and quality. One point I should like to raise is that of answering letters. Believe me,I wouldlike to answerevery letter at the same time that I receive it, but it is a physical impossibility, and I can only attack theminrotation. To
***
*****
those whoask whetherI havebooks or magazines for disposal, I am afraid my answer is that I have not, as I am a collector in a small way. In this issue it gives me greatpleasure to publish effectsby RobertHarbinand Douglas Francis,whilst from the pen of Wilfrid Jonson comes a timely article on much a debated subject. The December issue will contain contributions from Robert Harbin, Stanley Collins, Charles Harrison,Wilfred Tyler and Geoffrey Buckingham. The latter’s contribution will be the first of two instalments describinghisremarkableversion of that great classic, ‘‘ The Aria1 Treasury.” Lastly to those whohaveasked forthemeaning of Pentagram,” I give the Oxford Dictionary definition :“‘A five-pointed star formed by producing the sides of a pentagon until they intersect ; formerlyusedas a mystic symbol.” Occultists know its earlier name was Pentalpha. “
** *** ****
PENTAGRAMGRADING : (Fivestars)-Outstanding. (Fourstars)-VeryGood. (Threestars)-OfPracticalValue. ( T w o stars)--n/oReason for Publication. (Three Star) Grading. A l l the Books under review this month came under a SIMPLY WIZARD by Goodliffe (Publisher Goodliffe, THUMBS UP ! by John Kenyon (published by Goodliffe price 14/- ) price 5 / 6 ) This is a very readable book written by the well-known Goodliffe sets a good standard for printing and Editor of ‘‘ Abracadabra.” Within its hundred-odd pages, illustrating and this is no exception. Within the forty-odd he sets out to describe several effects which not only are pages, John Kenyon sets a device in search of some tricks. all stage tested but have audience appeal.An author That he is successful to a degree there is no doubt, even if who is a practical magician should know his own audience, it is the magic of the single stick rather than the rapier. but whether asin one effectwhen a denture is used we Few conjurers I think would adopt his method described just wonderwhetherthis wouldhave general audience forthe handkerchief andsoupplate, forcingthemselves appeal. As no complicated mechanisms are involvedin to use a silk, one wouldsay, about sixinchessquare. any of the effects one can see that the mechanics are foolAt the price asked, however, it is a good buy. proof. The inclusion of his ‘ Leg Chopper ’ effect (which * * X we do hope will end all choppers) is to those whomake their own apparatus, a good return for the moneyasked REPRINTS. for the book. We 1iked‘;the production box attributed to The following have been rec$ved :Don Calvin, and also Goodnight.” Gerry Findler’s “ Watch m e Closely,” and Be Deceived,” both article on the voice might bewell taken to heart by a number by thelateLouisLam,andpublished by Davenports of conjurors. ‘‘ The Impressionable Joker,” by Fred at 3/-. Both are good value, especially for an experienced Payne (apsychic butnot mental effectplease) is good. conjurer. It is apitythatalittleediting was notdone Twenty-one pages aretaken up by adescription of the and that terms like double-shift €or “ double lift ” were late Brunel White’s Dove Act. This is exceptionally adjusted. well routined and to a would be variety aspirant a chance From George Johnson come “ Modern Sleights ’’ t o be different. The book is capitally illustrated by and “ SlowSleights,” by Brian McCarthy. A desire ‘ Dennis,’ well printedandboundina serviceable linen for afurtheredition, plus thereputation cjf theauthor binding. There is, thank goodness, spine a title. is sufficient recommendation. They are priced at 3 / - each.
DUO COINCIDO-continuedfrompage
g
Method. The effect isfar in excessof themethod used, which is of theutmost simplicity. It can be performedwithany borrowedpack atamoment’s notice ; it only being necessary to get two cards of a kind, say the two red Sixes, one on the top and the other on the bottom of the pack. T o perform, give the pack a vigorousfalseshuffle, retainingthetopandbottomcardsin position. Cut the pack and give the bottom half to the assisting spectator, crimping the lower lefthandcorner of thebottomcard as you do so. You each shuffle your cards, the spectator’s shuffle beinggenuine, but your’sbeing false, inasmuch as you keep the top card in position. Bothhalves arenowribbon-spread facedown on the table.Youreachover andapparently select acard at random, but really you quickly locate the crimped card whichyouremove and place ontop of thespread. The spectator now does likewise with your spread, taking any card he fancies and placing it on top of the spread. Both heaps of cards andnowsquaredup. You doublelift
the two top cards of your pile and reveal, say, the Six of Hearts. Heturns overhis top card and reveals the six ofDiamonds.Could anything be simplerand yet so immensely effective, as a trial will show. The second part of the effect is equally simple. When the spectator removed the card from your spread you took ample opportunity to note what it was, say it was the Queen of Spades. In fanninghiscards ostensibly to show that they are all different, you look for a Queen and any Spade andnotetheir respectivepositions.Youwillfind that this can be done in a second after a little practice. Close the fan then place the cards in a face down pile in front of him and ask him to spread them once more. Hitherto, the card you revealed in the first part of the effect, really two cards, has been replaced on top of your pile, the top card being the Queen of Spades. Falseshuffle your pile, keeping this card in the same position, and then place it facedown onthe table infront of you.All that now remains is toremove the two cards, positions of which you noted,apparentlyatrandom,fromthe spectator’s spread, patter along the lines given in the effect and turn over the top card of your own pile for the climax.
12 THE MAOlC WAND and MABICAL REVIEW Next issue published December 1st. Forty-eight pages crammed with outstandiq kiddies’ effects.Also six entries in the Mental Magic Competibon. Profusely illustratedwithphotographsand drayings. Make sure of yodr copy by ordering now. Per i s s w 318 postpaid ; Annual Subscription 1410 post paid
I
MAGICAL BOOKS & MSS., Etc.
1.
Available on Loan. 3d. Stamp for Lists F. ROBINSON, Magician, STATHERN, MELTON MOWBRAY, LEICS.
QEORQE ARMSTRONB, THE MAQlO WANDPUBLISHINQ CO., 11 MONASTERY BARDENS, ENFIELD, MIDDLESEX
Mrs. LAUBA WILBEY
Conjuring Books for Sale
would like it known that she is still carrying on her late husband’s business at the same address “ DORCHESTER,” Turner Road, NEW MALDEN, Surrey
OLDANDNEW. LISTFREEFOR
Let me knowyourwants STAMPED ENVELOPE No Callers GEORGE JENNESS 47 Inverness Avenue, Enfield, Middlesex
JAMES GRAYSON Maker of High-Class Magical Effects, Stage Illusions, etc. PhoneorTelegram MORLEY 899 -~
Address
I
ADVANCE NOTICE ! !
F
orthediscerning magician. Magic bv craftsmen. Our lists arefree, and detail many kiddies’ and adult effects.
I
:
...
:-
23 GREENFIELD AVENUE,
MAGIKRAFT
GILDERSOME, Nr. LEEDS
32 VERNONSTREET
Nearly 30 years inthe
hsiqess
NORTHAMPTON
HENRI MMC.,
ATTRACTIVE DISPLAYED LISTS BOOKLETS MANUSCRIPTS Ltt u s know your requirements
-
-
-
FIELD 42 Alderson Road,Sheffield 2 C .
SSMC
invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his studlo :l CLARENCE ROAD Harbome, Birminghamli
ZAHAREE,” Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept.
IBM.,
T k Friendly,Magician
my list of exclusive effectsthat also contains useful hints and tips for magicians. Send M. in &m@ to : “
DE’SEEVAH
EMS.,
ALL THE ABOVE ADVERTISERS’ OFFERS ARE ENDORSED B Y THE “ P E N T A G R A M ” WHICH SHOULD BE QUOTED WHENREPLYING
1/1 per copy, post free
::
( B E F O R EX M A S )
full details next issue
PAUL CLIVE & Co. Ltd. Back 68 Cocker Street Blackpool :: Lancs.
THE MAGIC CIRCLE President :His Grace the Duke of Somerset D.S.O., O.B.E., I.P.,D.L.,M.I.M.C. Vice-President : Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and Museum : ST. ERMIN’S HOTEL,GAXTON ST., S.W.l Magical Theatre : KlNQ QEORQE’S HALL, W.C. Particulars from Hon. Sec.: Francis White, 39 Alverstone AV.,Wimbledon Park,S.W.~g
INSTITUTE of MAGICIANS
Founded 1334 President : A.Zomah. Hon Sec Oscar Oswald 102 Elmstead Avo * Wembley Pari Middx. H.Q. and ~ i b r a ; ; ) : NO. 2 ~.n court i (Victory Club) Hi hHolborn W C MEETING EVE+? TP~URSDAY i-1yd.m. Vwtmg Magmansalways welcome. Your membership cordially invited-drop a line tothe Hon.Sec. for literature.
-
lI/M per year, post free, from :
“CREENBANKS,” BRAMCOTE, NOTTS., or ~~
Card Tricks without skill A NEW BOOK ReadyNextMonth
from your dealer
~~~
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
13
PENTAGRAM
An independent monthly bulletin for all who want good magic
Editor’sForeword.-Thewar wasagreatmisfortune toRobertHarbin, as for jive and ahalfyearshehad to sacYiJce that periodwhichmighthave seen the conhe had in mind. Not summation oF the Magical act that of thelateOswaldWilliams has there since thedays been a British inventor Magician with such potentialities. His creative pozcers are of that order that having got an idea he getsintohisworkshopand presto-the effect is of the effects thatBabhas in being. Althoughmost published have been apparatus effects, he is catholic in his conceptions, and his Telephone, Whittaker’s Almanac and and Dictionary Book test, is without parallel in the jield of mental magic. Those who have recently had the opportunity oF seeing him perform will know that none of the old charm is lacking and that it is only a matterof time, and a short time at that, when we shall see Robert Harbin presenting the big show he has in mind.
*
X
U
This is my latest version of the Vanishing Lamp. On the operator’s table stands a solid-looking table lamp. It is picked up and around it is placed a sheet of newspaper. The operator walks forward holding it in one hand . . . his free hand is lifted andbrought down on top of the paper which collapses. The paper is crumpledintoa ball and may be thrown into the audience. It is all in the !amp. This is made to collapse absolutely flat, the total thickness measuring not more than a quarter of an inch. Fig. A shows the general appearance of the lamp as it is seen by the audience. Fig. B shows the
shape when flattened. Now let us consider its construction. First of all the shade. This is made of six sections of a shape similar to that in Fig. C. The size of these pieces is approximately seven inches in length, three and a half inches at the base and two at the apex. A pattern is cut out and a backing of silvery (not silver) paper glued at the back of each section. These now being joinedat the edges with tape, and for additional strength stapled with an ordinary office-type stapler. You now have a shade which will collapse intoa flat state. In Fig. D you see the part which forms the base of the lamp. This consists of two pieces of thin fibre board, measuring four inches by six and a half inches. These pieces too are hinged along theshort sides with tape. Again staples are applied for strengthening. Now open this partout so that it is circular and cut two circular pieces of fibre board which will forma fairly tight fit (thistightness is essential). These circular pieces are now cut diametrically and also hinged (see Figs. E and F). Now the operator will require three pieces of fibre board, two measure ten anda half inches by one, whilst the third measures twelve inches by two. The two smaller pieces are hinged to F atthe pointsshown, i.e., an inch anda half from the hinge, whilst the larger piece is hinged on the hinge. Three slots in all are cut in part E. Two of these correspond with the positions taken up by the smaller pieces on F, whilst the thirdslot runs through the hinge itself. The three pieces of card are pushed through the slots, and E and F are now placed in D and hinged with tape and staples at pointsninety degrees tothe hinges. At four
continued on page 19
Ia;
P.W.
14
wtfen Peter Warlock wrote his book “ Designs for Magic I received my copy on the very first day of publication. I was immediately struck with his “ Silvertown Express ” children’s item. I made upthe cards and other itemsrequired, and, with the aid of two friend’s children, rehearsed the routine. Whilst going through it I saw the immense possibilities of comedy and childish reaction to simple movement. I decided to get away from the stereotypedkind of trick and base the effect around a game. Entertainment was what I was after, and using the effect with comedy actions, use of children to the utmost, and not even pretending that the audience were to witness a magical effect, I evolved a glorious piece of children’s entertainment. I have used this in my programme ever since that book came out in 1940, and many are the times that I have been requested to repeat the item at subsequent shows. The routine so far as the effect is concerned hardly varies from the original. It is difficult to try and pass on the complete plot in approved “ script fashion,” so I will now try and write the entire act in a descriptive manner. From thisyou should be able to visualize the whole ‘ game.’ Coming forward to the frontof the stage I say “ Boys and Girls, as a complete change from magic, I am going to introduce my magical game, and for this I shall want two children to play this with me. F 1 1 any who would like tojoin in putup theirhands ? The childrendo this andthen I choose a boy and a girl whom I thinkare suitable. If possible you should get a boy about 5/7 years of age and the same with the girl. T o try and tell you of the type to select is impossible, but I have an uncanny way of selecting just the right type from experience, and all I can say is after presenting it several times you too will soon be able to recognise at sight the righttype ! The children selected come up on stage, and, after the usualintroductions,you place the boy on yourleft and the girl on yourright (on stage extremes).
I am usually standing back a little but in the centre, and stepping briskly *wn to the front of the stage I say “ Now‘poys and girls (with great enthusiasm and excitement) we are going to play the game of Magical Puffer Trains-won’t that be fine ? ” T o boy : “ Now if we are to play the game of Magical Puffer Trains we must have a couple of stations.” Turning to the boy, “ Do you mind being astation ? ” “’No,” says the boy. “ That’s fine,” I say. To the girl : “ Doyoz miftd 2eing th; other station,” to which she answers No. Grand,,, says I, “ then I will find you your stations name boards. Going to table at rear I pick up cards (‘ Silvertown ’ on top). Going down to boy I take card, show audience, and say “ Silvertown ! That’s a nice name isn’t it ? We’ll put that round your neck ! ” Do so and :urn boy facing audience. Walk over tothe girl and say Here is a funny name, isn’t one for you. ‘ Pennygroes ’-that’s it ? ” Put it round her neck and place her same as boy on her side of stage. Walk to centre of stage and with right or left foot back a little and left or right foot forward-just as if you were getting stance for a quick get-off in a run and with hands clenched excitably extended slightly at side, say “ No: we are all ready for the game of Magical Puffer Trains with emphasis onthe words ‘‘ Mugicul Pufler Trains.” Then suddenly draw left foot back and drop hands to side and pause for a second as if hit with a last minute idea. “ Wait a minute,” you say. “ If we are to play Magical Puffer Trains we must have a station master, musn’t we ? ” Turningto boy say “ D:, y : ~ mind being the station master ? ” He says “ No. Grand,” you say, and go back to table and pick up whistle, go to boy and drape it
round his neck, saying, “ There, you are now you’re alright.” Takeup stance in centre as before andin exactly same manner say “ We’re all ready for the game of ‘ Magical Puffer Trains.’ ” Once again pause slightly and again drawing back left foot and dropping hands, come out with the new idea that has just struck you. “ Wait aminute.” “ If we are to play Magical ,puffer Trains then we must have a guard,mustn’t we ? (Note-you will find by this time that the kiddies in th$‘audience are full of fun and will unconsciously answer yes ’’ each time you make these indirect questions.) Turningtothe girl sa;, “ D o you mind being the guard ? ” again she answers No. You then go to table at rear again and pick up green flag and going down to girl, hand it to her asking her to hold it in righthand. Get back tocentre of stage and once again take up stance as before, saying same pronouncement : “ We are ;ow ready for the game of Magical Puger Train-s-s-s (here slur the ‘ S ’ as if again having another idea) and once again relax as before, pause, and say “ Wait a minute. Now look here, ifwe are to play the game d magical puffer trains, we must have something to carry in the train, mustn’t we ? I know, we’ll have a couple of mail bags.” Go to rear and pick up the two cloth bags. (Mine are six inches square aEd one is red and the other IS ye,l,low.). Going to boy, say You have this little ‘ Wed ’ one (saying ‘ Wed ’ instead of red always raises a laugh). it inside out and back again, and screw Put hand in, top up and say I’ve got a little ‘ Lellow ’ one for you,” again turningit inside out and back again. The girl holds her’s in similar manner to boy only in left hand.
t u : :
Take up stance again and repeat the announcement of game as before, only this time slurring the ‘ n ’ at end of train-not quite saying “ train.” Draw back, k k at the childrenand then announce your new idea : Ifwe are to play the game of Magical Puffer Trains we must have something to go into the bags, mustn’t we ? ” (saying this to the two helpers);, They say “ yes.” “ I know,” ” we’ll have two coins. Pick up small tray (mine is eight inches by five inches and has a simple raised edge aroundit three-sixteenths high). As youpick up tray also finger-palm penny in righ: hand holding tray in right hand, come forward saying Now I want one of the Mummy’s or Daddie’s (or teachers, if school) to loan me a pennyandanothera half-crown-eachofyou take a note of the date.” Go down to audience and have coins placed on tray. As you are stepping up on to stage again, memorise date on penny loaned, and switching it, retaining real loaned penny in finger palm hold dupe penny in fingers of same hand supposedly reading the date on it (read it aloud to audience), but actually stating the date on real loaned penny. Lay penny down on tray and pick up 2/6, peering at date on this and reading date out for all to hear. Go to boy, in same movement asking him to hold out bag, you take this from him (having laid down tray temporarily) and with bag in left hand clearly show that you insert the 2/6 in bag, but as your hand lowers below edge of bag, switch and leave loaned penny, fingerpalming the 2/6. Screw bag up and hand tor>oy asking him to hold it. Stand back a little and say There we have the silver coin in the Silvertown station.” Go to girl and, taking penny off tray, clearly show that you put in in the bag, but again switching once below edge of bag and really leaving the 2/6 behind, finger-palming the dupe penny. (The trick is now done so you can concentrate agam on the presentation.) Againsay “ There we are, and the penny in the Pennygroes station.” Screw bag up give it to girl to hold again and re-run to centre of stage and take up stance as before, after laying tray down on table. “ Now, boys and girls, we are really ready to play the game of ‘ Magical Trai . Againyou draw back, pausing, and turning to boy and girl, say “ Wait a minute,
. .”
15
I think it would be as well if we put a medal on each of you so that we really shan’t forget where the coins are. You don’t mind, do you ? ’’ Go to table, pick up two large discs (mine are four and a half. inches m diameter) one with 2/6 on it and the other with Id. on it. On the back of each are display ticket pins so that they can be hooked on to clothing of children. Put the 2/6 one on boy, going to girl and hooking the Id. one on her. Take up stance again and say “ All aboard for thegame of Magical Puffer T . . Wait aminute.” Repeat as before, this time standing back and surveying the boy say “ You don’t look very old for a station master, do you ? ” He will say “ No.” You :,ay “ You don’t mind if I make you a little older, do you ? Go to table and pick uyfalse beard (mine is a ginger one) put it on him and say, Ah, that’s better, now we’re ready,” Takeup stance but casually glancing towards the girl don’t say anything but draw back and say, “ Come to think of it you don’t look much like a guard, do you ? You don’t mind if I make you more like one, do you ? ” Go to table and bring down comedy railway guard’s hat (I mademine by cutting a straw hat-boater-all around the crown, leaving a section of the brim for the peak. Black enamelled and with a red enamelled bandarounditmade it look fine !). Set,,this onthe girl’s head andthen again take up stance. Off we go for the game of Magical . . . . Wait a minute ” draw back. (I meant to have said earlier that as you draw back each time you say “ W a i t a minute,’’ with an emphasis onthe wait. This always produces roars). “ If we are to play the game of Magic;! Puffer Trains we myst have a puffer train, mustn’t we ? pause . . . then, I know, I’ll be the puffe; train shall I ? ” ; Stand back as if all set and then say Wait a minute, this is really a game for little boys ;Ird girls and I’m hardly a little boy am ,f ? ” pause . . . I know, I’ll be a little boy just for tonight . then pull up trousers over knees for short trousers, and put boy’s school cap on your head at rakish angle and take up position by the side of the boy on left of stage, standing pin-toed. (By the time the laughter has subsided you are ready to at last explain the game to assistants.) Now you say “ What I want you to do is ” (to boy “ when you are ready for the train to go to the other station, blow your whistle ; ” (to girl) “ and if it’s alright for the train to come into your station you willwave the flag. Have you got that clear ? ” Then say, “ Iforgot,I must
.
.
.
“
‘ TRY
N O T T H EPASS,’ THE OLD MAN SAID.”(Longfellow).
The late Arthur Ainslie (Wellesley Pain) was wont to submit to us a few of his unsolved problems in conjuringsome very good and some not worth worrying about. Here is one of my unsolved problems. Why do amateurs and alas (!) professionals also, some of whom should know better, still talk and write glibly about controlling a selected card by means of the old-fashioned and out-moded doublehanded pass ? The Pass, as a means of card control is like the gearbox on amotor engine-a barbarous device working reasonably well used in very expert hands. The reader of these lines may ask what then do you suggest as a procedure better than the one you condemn ? Well, in a quaint little eighty-four page book, written over a century ago, entitled : THE JUGGLER’S ORACLE ” ...or... “ The whole art of Legerdemain laid open ” . . .by . The Sieur H. Boaz, Thirty years professor of the Art, I find the following :“
..
collect the parcel we are to take,” (pretend t o extract the 2/6 fry? the outside of the red bag, holding up an,rnaginary 2/6). There we are kiddies, can you see it ? “ No,” they will shout, so pretend to hold it out further in front of you. Mindthat you have dropped itandthen get down on all fours and make an imaginary search for it, lifting up boy’s foot and pretending to have found it. Once again take up position byboy at his side (close), right hand held aloft with imaginary coin in it and left hand at right angles to left side like small boys do when playing trains. (Whisper in boy’s ear that he is to blow as hard as he can.) You make the accepted noise ‘ofa train getting up steam and say, “ I’m ready,” and the boy blows very loud. You throw decorum entirely tothe wind, lose you balance, pull boy down on top of you and the two of you are in a heap on the stage. He then rises, leaving you sitting on stage dishevelled and looking blackly at him, saying “ I didn’t tell you to blow as hard as all that.” Rise, take up position again and get him to blow once more. You then shuffle across stage imitating a train as children do, pretending to drop the coin in the yellow bag as you reach that side. Then, pretend to take outthe penny as before, take up position, announce that this time you will take the penny across in similar manner and shuffle across again as before. Stand to centre and say “ Now, ifwe have done this correctly, instead of having the 2/6 indicatjflg the 2/6 badge, in this bag we should have the penny. Ask boy to take out coin and deposit it on the tray. It is the penny ! Go to girl and say, “ Instead of the penny,’’ indicating the Id. badge, “ we should have the 2/6.” Girl takes out coin and places it also on tray. Give tray to girl and ask her to take the coins back to the owners. Remove all the impedimenta from them and say “ And that was the game of Magical Puffer Trains.” Well there it is. Ipresented itat the I.B.M. Convention at Hereford and following so many requests to use the routine I have decided to let it go and have pleasure in sending it to “ Pentagram,” so that you may all have the chance of using it if you want to. It’s exhausting I admit, but well worth the trouble, and believe me when I say I always look forward to that part of the programme when it comes along, as I enjoy it as much as the children, and, after all, isn’t that the secret of winning the hearts of the little ones in entertaining them ?
“
In showing feats of juggling with cards, the principa point consists inthe shuffling them nimbly, and always keeping onecardeither at the bottom or in some known place in the pack, four or five cards from it ; hereby you will seem to work wonders, for it will beeasy for you to see one card, which, though you be perceived to do it, will not be suspected if you shuffle them well afterwards ; and this caution I must give you, that,. in reserving the bottom card, you must always, whilst you shuffle, keep it a little before or a little behind all the cards lying underneath it, bestowing it either a little beyond its fellows before, right over the forefinger, or else behind the rest, so as the little finger of the lefthand may meet with it, which is the easier, readier, and better way. In the beginning of your shuffling, shuffle as thick as you can, and, in the end, throw upon the pack the nether card, with so many more, at theleast, as you wouldhave preserved for any purpose, a little before or a little behind the rest, provided always that your forefinger (if the pack lie behind) creep up to meet with the bottom card, and, when you feel it, you may then hold it until
continued on page I g
16
T h e following routine as performed by Geoffrey bekingham during the past two years, offers one or two novelties on this well-known effect in that all coins are Seen to be droppedintothe containersandfulluseis made of the back-palm production. I thinkthat most magicians in this country have seen Geoffrey perform this routine and without quibble acclaimed it as a masterpiece in presentation.
Effect. The operator enters (preferably centre stage) in full evening dress, wearing opera hat, cloak and gloves. Reaching centre stage he wmmences to remove his gloves, startingwiththelefthand. This glove is held in the left hand in the usual manner, while divesting the right glove. Upon commencing to remove this glove, turns slightlywithright however, theoperatorpauses, side to audience, reaches out with the still gloved right hand and catches a silver coin in the tips of the fingers. This coinistransferred to lefthand which stillholds the loose lefthand glove. While displayingthiscoin in the tipsof the finger of left hand, the right hand reaches a secondcoin. These two winsare out andcatches dropped one after the other into a small glass bowl which standson atable atthe operator's left. Severalmore coins are then caught with the right hand and dropped intothe bowl oneaftertheother. The loose glove is then changedfrom the lefthand to the righthandand four coins caught with the left hand and dropped in bowl. T h e glove once more changes hands and the right hand catches eight or nine more coins, which are dropped into bowl one at n time. Again the glove is passed back tothe righthand, and the lefthandreaches up andcntches another coin. T h e operator then removes his opera hat and right hand and drops thecoin into it. T h e w i n is seen, and is distinctly heard to dmp into then caught with the left hand and dropped into thehat in the Same way. They are all Seen and heard to dropin and one or two are actually spun into the air and caught in the hat in that fashion. T h e opera hat is then passed to the left hand, followed by the loose glove which is held on top of the brim with the a number of left thumb. The righthandagaincatches coins (about twelve) which are dropped in quick succession into the hat;at the end of which the hat is passed back to the right hand, which pours the coins from the hat into the glass bowl, and the hat placed back on the operator's head,leaving the loose glove intheleft hand. Thisto the audience appears to be the conclusion of the sequence, and the operator'sattitudeshould give that impression. Suddenly, however, he looks down,changes glove into right hand and produces another coin with left hand from
the hat. About a dozencoinsare
behindleft knee. This is dropped into glass bowl. The glove changes hands once more, and after two or three catching movements inthe air theright band with a stream of silver coins isdropped into thebowl with the right hand. The glass bowl is then picked up and all the coins poured into the opera hat, which is once more removed from the headfor that purpose. T h e hat isthen placed onthe top of a coin ladder and the bowl at the bottom of the ladder, and upon a signal from the operator the coins are seen to descend the ladderfrom the opera hat and are caught in theglass bowl placed at thebottom toreceive them Requirements. Apartfromtheclothesmentioned atthe commencement,therequisitesareasmalltable witha glass bowl, placed on the leftof the performer, type and on the righta good sizedcoin-ladder of ,$W '*Nelson Downs'-Artof Magic witha describedin magazine loaded with about twenty-five coins. For production about forty-five Nelson Downs' palming coins are required, and about eightor ninepalming coins slightly larger than the N.D. coins. If these cannot be procured, real half crowns will serve, but are rather heavy for some manipulators. FifteenDowns' coins are staded in the left hand tail pocket and nine in the right hand tail pocket. There is no need for special holders for these stacks if the bottom of the pockets are sloped slightly downwards towards the back in the usual way the coins will keep together. One coin is placed in a small slot in the braid of the left trouser leg, just above the level of the knee so that half the coin is protruding and can be withdrawn quickly. N.D. T h e remainder of the wins. i.e.. about iwentv .~~., . . coin* and the eight or nine slighily &er ones, are held in the gloved righthand at the time of making the entrance, the whole stack being pressed against the palm with the two middlefingers, the largercoins being nearest the two hands are fingers. Whenenteringthestage,the together, the back of therighthand being towards the audience, the performer being in the act of removing the left glove. Thusthe concealment of the large stack of coins is effected in B most natural manner. ~
~
~~~
~
Modus Operandi. It will greatly assist invisualizing this routine if it is remembered that the whole of the production is made with the right hand side of the operator towards the audience, either in the half left turn position or full left turn. One or two stepssideways or backwards and forwards may be made for variation of position but this should not beoverdone. Thusthe whole productionis principally made up of twomoves: (a) the front palmproduction
17 made with the right hand with a glove on and the back of the handtowards the audience ; ( b ) the back palm production madewith the bare lefthandwith the palm of the handtowards the audience. The gloves shouldbe preferably of the yellow cotton variety, as the coins will slide over the cotton fabric betterthan over chamois leather. It will be seenlater that the loose left hand glove plays a very important part in the routine as it is changed from hand to hand. The whole sequence is carried out as follows :The operator proceeds to remove the left hand glove with the right forefinger and thumb, while walking nonchalantlytowardscentre stage, the timing being such thatthe glove is completely removed by the time this position is reached. T h e loose glove is then held in the crook of the left thumb, and the movement made as if to remove the right glove. This glove is not removed but at that instant the operator makes the half turn to the left and looks at a spot about three feet from the ground immediately making the front hand production with the right hand, thus the hand reaches out to the spot where the performer is looking, at the same time allowing the stack of coins to spread towards the tips of the fingers. T h e little finger is brought forward slightly to forma kind of ledge to support the coins as in Fig. A. The hand slightly tilted to assist in retaining the coins in thisposition. Almost simultaneously with this movement, thethumb pushes the top coin forward so that it can be held between the tip of the forefinger andthumb,thus effecting the production of the first coin. As the coin is pushed into this position the two middle fingers close up the stack of coins and hold it against the palm as at the commencement of the sleight. This assists in allowing thethumbto pushthe first coin as far forward as possible, and this position is illustrated by Fig. B.
The whole of thefront handproductionconsists of alternate spreading and re-stacking the coins as each one is produced by pushing forward thetop coin with thethumb. With practice this becomes one smooth, continQous sleight, and each coin will appear to be caught in the air. The audience will never suspect that so many coins can be held in a gloved hand, whilst in actual fact the glove gives extra cover. The first coin is transferred to the left hand and after a short pause to display it, a second coin, caught so that a coin is held in the tips of the fingers of each hand. Drop these into the glass bowl, righthand followed by left hand. Almost simultaneously with dropping the left-hand coin, a third is produced with right hand, followed by one or two more, each thrown separately into the bowl. The loose glove held in theleft hand is now transferred to the right hand under cover of which the remainder of the larger sized coins are gripped by the fingers of the left hand in the back palm position. These can be picked off the main stack held in the right hand by virtue of their larger size. The operator now looks at a position farther to the left and about head high, as if seeing a coin at that spot, simultaneously reaching up with the left hand and producing a coin by the back palm production. This production needs no explanation, being the well-known sleight described by T. Nelson Downs andother writers. The remaining three coins are produced in the same way and dropped into the bowl one at a time.
To beconcludednextmonth
effect (the outside of the coat facing the audience) and two spectators asked to hold the respective ends. They are asked to pull the rope taut. The operator now takes an examined ring, places it behind the coat foramoment or two, and then raising the rope and sticks above the level of the coat collar it is seen that thering is now threaded on to the rope between the two sticks. Rope, rings and sticks are withdrawn from the coat and everything can be examined. In Mr. Harrison’s hand this is truly a remarkable effect.
Charles Harrison evolved this effect the root idea that itshould be a follow-on tothe Ropes and Rings.” Inthelatterthe operatorhasmade use of a wand, twolengths or rope and acouple of rings. It is pointedouttothe audience that quite obviously if a magician is able to remove a solid ring from a length of rope he should be able to reverse the process. In order that monotony shall be avoided, the operator tells his audience that this time‘ he will use two wands and one piece of rope, as he is about to reverse the magical process. Two small wands or pieces of stick are now introduced, and each tied separately near the centre of the rope (see A). There should be a space of about nine inches between the wands. The ends of the rope are now threaded through the sleeves of the coat which has been used in the previous
R
t
Q
The requirements are quite simple, just a length of rope, two small wands or sticks, about eight inches long, a solid metal ring and a coat.
L
R
L
R
R
18 coat, the operator places the ring over the lower end of the righthand stick ithe operatyr’s Eight hand. In the sketches the letters R ” and L , of course, mean right and left.) and carries it in an upward direction (as represented by the arrows in B) over the top of this stick. The result will be as shown in C. This is amatter of moments, andthen grasping the sticks, one with each hand, and at the same time clipping the looped rope with the right, the sticks, rope and ring are raised to that level which makes it appear that the ring is threaded on the cord (illustration D). If the reader is thinking thata slackening of the rope might show the rope running through the bottom part of the ring, he need not worry, as he will find in trying this move, that despite what he is doing he can also grip the coat thus preventing a possible catastrophe. The left hand assistant is now asked, t o pull the cord through the sleeve, the right hand assistant, of course, slackening and then releasing his end so that this can be done. At this point the operator’s thumb engages in the loop shown in E, which, as the rope is gradually withdrawn, has the effect of automatically threading the ring between the two sticks. Needless to say that whilst the rope is being withdrawn the coat must be held by the operator so that thercpe is in a more or less horizontal plane.
(Beforedetailingthepesentation,itshould be noted that the basic principle for threading the ring on the rope was given in the “ Jinx ” by Stewart James, in his eflect ‘‘ SefaIaGia,” and due acknowle&ment is paid to that source.) With a spectator on either side of him, the operator passes the ring to the right hand assistant for examination, whilst the left hand assistant is requested to watch the operator whilst he ties the little sticks in position. On receiving the assent of the right hand assistant that the ring is whatit is claimed to be, he is asked to retain it whilst the operator threads the ends of the rope through the armholes and sleeves of the coat. The endsof the rope are now respectively held by each assistant,andwhen pulled taut all that should be seen by the audience is the back of the coat, and the ends of the rope coming from the sleeves to the hands of the assistant. The ring is now taken from the right hand assistant and held by the finger tips. At this point the operator impresses upon his audience theapparent impossibility of his task. The assistants areeach told that on no account must they release the ends of the rope. The ring is now placed behind the coat out of sight of the audience. Under cover of the
aWd
&t
****-‘ ***
%
d
b
#
***** c
c
c
****
**
PENTAGRAMGRADING : (Five stars)-Outstanding. (Fourstars)-VeryGood. (Threestars)-OfPractzcalValue. (Twostars)-No Reason for Publication. ‘ B U T N O T T OPLAY ” b.y Wilfrid Jonson on parade of dexterity. Only three actual effects are described, but in their description no point is evaded or PublisherGeorgeJohnson, price 21 I-). The author describes this book as a primer of card omitted.With these effects theauthor should convince the reader as well as the audience that this is “ Convincing magic. That is rather an understatement,for within its Coin Magic.” The book is well printedon fine quality hundred-odd pages the reader is carried from the novice paperand carries some fifty-odd photographs and diatothe expert stage. Credit has been fairly given to all grams. Whilst the binding is better thanthe Johnson sourcesfrom whence material has been drawn, andin publication it still leaves quite a lot to be desired. There describing the various sleights and moves, Mr. Jonson, is no spine title. This, we believe, is Mr. Armstrong’s with good journalistic experience, reduces his instructions first publication anda very noteworthy one,augurmg to a minimum,with the result that greater clarity is obtained. well for the future. Unreservedly recommended. Some examples are easily evident if one first reads Erdnase # # #, andthenMr. Jonson. There is plenty of worthwhile “ INTUITIONALSIGHT ” by EddieJoseph advice to both the novice and experienced performer, and the only flies in the ointment are the poor quality of the (Published by the Vampire Press, price 716). binding and the publisher’s (one of his pet weaknesses) This is an English edition of aroutine which was economy of blocks. Although thereare over a hundred published by Abbott’s some years back. It deals very illustrations, which by themselves are completely adequate, thoroughly with an act similar in effect to that which is theyaregroupedinto masses of anything up to sixteen associated withKuda Bux. The reader is taken stepby drawings. The result to the learner of continual reference step through every point affecting thepresentation, and through this method is wearying to say the least. Since whilst this is not everyone’s maglc, there is little doubt the days of Hoffman this is the best book of card magic to be of its ultimate effectiveness. Clearly printed and covering written by an Englishman. After the recent craz7‘of b o o k nearly thirty pages it is protected with a semi-stiff stapled binding. Recommended. dealing with faked cards, supposedly for the expert, # # # it is a welcome relief to read a book in which skill plays a chief part, and where with an attainment of such skill, the “ HOW T O PICK POCKETS ” by Eddie reader with diligent practice may become an expert. Joseph(Publishedby the VampirePress, price 5 / - ) . Unreservedly recommended. The reader who has been impressed with the per# # * formances of various entertaining pick-pockets, will find “ CONVINCING COIN MAGIC ” by Victor a great deal of instructionand advice to enable him to price 17/6). Farelli (Publisher George Armstrong, formulate an act of his own. Whilst pick-pocketing may We are somewhat surprisedthat the author did not seem entertaining, it is not Magic in any sense and is only makc thistitle completelx allietrative and use the word suitable for those who have pachydermic skins and fear no “ conjuring ” instead of magic.” This is a specialist reproof from a member of the audience who may object volume for those interested in coin work, and whilst some to being mauled. The incident of a lady’s garter may be may grumble at the lackof novelty in the effects and passable in variety, but very low taste anywhere else. sleights, he should feel more than compensated by Mr. Joseph, however, seems to know his subject, and the fact that the author in his usual manner, has analysed writes in his usual clear and logicalway. This too is so thoroughly and aimed at perfection in the technical clearly printedon good quality paper and again is propresentation. There is some good advice, especially that tected by a semi-stiff stapled wrapper.
***
***
****
Bramcote.December,1946.
PETER WARLOCK.
19
Sad indeed was the news of the passingof Wilfred Leyland ; news Ifoundhard to believe, for less than a fortnight before he, Dick Ritson, Tom Boot and myself had been lunching togetherat the“ Imperial,” Birmingham. Wilfred was in high spirits, already making plans for the next meeting of N.A.M.S. at Colwyn Bay in March, 1947. H e was the kindliest of men, and never did I hear him talk adversely of any fellow-being. Withthe laying down of his wand Magic in this Country has lost a lovable personality. One point I should like to bring to the notice of my readers is that anytrick which appears in the“ Pentagram ” involvingapparatushas been seen, examined andtested by myself. Whilstit is not myintention to introducea lot of effects which make use of involved apparatus, certain items, either because of their novelty or magical valueor both, will bedescribedfromtime to time.Items whichareapparatusforapparatus’ sake, and which so often grace-or should itbe disgrace (!)-sundry periodicals will find no place here.Nextmonthafulldescription (withphotographsand line-drawings)ofW. F. Bruce’s “ Calendar ” effectwill appear. Old members of the MagicCircle willhaverecollections of the late Bruce Hurling performingthis effect at Anderton’s Hotel. A new periodical is promised from Goodliffe. If it agenuineattempt to educatethe “ man inthestreet magically (and I am assured by the publisher that it is !) I believe that good may come from this venture. The lack of a good mentor regarding magic in one’s youth, means
2
to the enthusiast time and opportunities wasted at a most
absorbing age. This magazine may be that mentor. I am, however, interestedintheattitude of conjurers generally towards this idea, for to most the idea of magic on bookstalls is anathema. No real criticism can be given until the first copy is seen. After many years’lapse into oblivion, the Floating Piano is to be revived. Willane tells me that he is causing a piano to float in hisnew act. It was in 1909 atthe WinterGarden, Berlin, thatthe floatingpianowas first performed.Afterwards,I believe,Kellarused itinthe States. We shallcertainlylookforward to seeing this new act. The National Days of Magichavecome and gone. It would seem that apart from the financial return to the charity involved thatgreaterinterest inmagichas been created. Ithinkthatthismight have been greater still hadthe variousSocieties inthiscountry shown more enterprisein staging their shows. In the majority of cases a number of acts were strung together witha compere as a repeated link. Withthemonths offore-knowledge of the event, more than this might have been attempted by the largerSocieties inanattemptto make the general public magicconscious. The showswesaw, withone exceptionwere all good. The exceptionwas one where the organiser saw fit to flounder through forty-six minutes of what he himself would have described as a Louis LamAnnemann-Hull routine. God rest their souls !
LAMPS - continued from page 13 points on D, small pieces of thin brass are fixed to prevent the part E rising toohigh. The operator will now find that by pushing up the base part F the bottom of the stand is formedand looks a solid affair. A slightpush, however, on F:, at the point shown in A causes a complete collapse. A hexagonal shape is taken G, and this fits about half-way u p the shade. This is cut into two halves andthesetoo .are hinged. A slot is made through the hinge and this is (dropped onto the three strips so that thelarger goesthrough the slot, the smaller ones being hinged. The shade is now .dropped on top of this hexagonal shape and the two discs parallel with the hingearefastened tothe respective sides of the shade. Fig. I shows the action of the closing and opening in
A
’PLAINT
simple section. A sleeve of linen isfastened round the upright of the stand and the lamp has only to be painted to the operator’schoice. T o present the effect, the lamp is first fixed in a scblid position. On one of the operator’s tables is a tray with a flap and on top of the flap a sheet of newspaper. The operator picks upthe lampwith his right hand and walks over to the table. He picks up the newspaper and at the same time lifts the flap on the tray. The lamp is placed behind the newspaper and flap, a press of the thumb the lamp collapses and it is dropped ontothe tray.Immediatelythe same hand comes up behind the paper, and, taking the flap, lowers it on to the lamp. A simulation of wrapping is carried out, the operator walks forward,thepaper is crushed and another lamp has gone into the unknown !
...
- continued .from page 15
you have shuffled over the cards again, whilst leaving your kept card below. Being perfect herein, you may do almost whatyou like with cards by this means ; what pack so ever you use, though it consist of eight, .twelve, ortwenty cards,youmay keep themstill together unsevered, next to the card, and yetshuffle them often,to satisfy theadmiring beholders.”
fram
“
Nothing can bebetter :F clearer than that andto addanything to it would beanact of supererogation ” asmy old friend Dr. ByrdPageused to be so fondof saying. Even so, in all humilityI would suggest an additionaltouch.Extendandseparate all the fingersof the right hand, press the tip of the thumb hard against the proboscis and so, inthe beautifulliquid Italian of Soho, cocka da snooka ! !
GREENBALNKS,” BRAMCOTE, NOTTS, or from your dealer
Magical Books & Mss., Etc.
CONJURING BOOKS FORSALE
Available on Loan 3d. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
GEORGE JENNESS 47 Inverness AV., Enfield Middlesex
OLD AND NEW. Let me know your Wants LIST FREE FOR STAMPED ENVELOPE No Callers
B
THE MAOlC WAND December issue now on sale. 48 pages of outstanding kiddies’ effects and six entries for the Mental Magic Competition. Make sure of your copy by ordering now. Also contains details of The Magic Wand Year Book. Per m u e 318 post paid Annual Subscription 1416 post paid George Armstrong, The Magic Wand PublishingCompany, 11 MonasteryGardens, Enfield,Mlddlesex
20 I
“CARD MAGIC WITHOUT SKILL
VICTOR FARELLI’S LATEST AND GREATEST WORK
CONVINCING COIN MAGIC
”
everyeffect and Farelli routining.
A N E W BOOK (readybefore
Xmas)on effects with cards, embracing practically every non-sleightof-handprincipleyst evolved.Look atthis list of contributors :-Geo. Braund,Herbert Collings, Douglas Craggs, Lionel King, Jack Kinson, Victor Peacock, StanleyStevenson,EdwardVictor,Peter Warlock - and that’s not all ! !
“
move ” a masterpiece of subtle The greatest workyet published on...
... CONVINCING COIN MAGIC
Close-up,
P‘atform and Stage effects with a CompleteCoinAct Illustratedwith 33 photographsand 24 drawings
Fromthe
Publishers :
Price 17/6 post 46. I have seen the proofs, and must say I know of no greater value for money.- PeterWarlock
THE MAGIC WAND YEAR BOOK The most valuable reference book yet published for the magicalfraternity
Stupendous Value : over 200 pages ; 90,000 words ; 150 illustrationsandphotographs ; boundin thick cloth-bound cover ; nearly 120 magical effects (real magic) ; and much valuable information, formulas, magical etc. ; Price 516 (5/10 post paid) from any dealer, including the publishers :
a.
PAUL CLIVE back 6 8 Cocker Street, Blackpool
All about everything. Tricks of theTrade Workshop, Wrinkles Radio Publicity for Magic, Magic Circle Entirprises Ltd., N.A.M.S.: Magical Conventions, Society Reports, Trade Section, Cartoons and Illustrations. List of Dealers and Magical Publications, Classified List of Magical Societies, etc., etc.
Price 2/6 post 4d. The Magic WandPublishingCompany
Ltd.
1 1 MonasteryGardens,Enfield,Middlesex
J A M E s GRAYSON Maker of High-Class Magical Effects, Stage Illusicms, etc.
Phone or Telegram : MORLEY 899
-~
Confidence ! You take no rkks with M A G I K R A F T asconfidence in our gcods makes us give a money-back guarantee with all apparatus. Write for lists now.
Address :23 GREENFIELD AVENUE, GILDERSOME, Nr. LEEDS
P E T E RW A R L O C K ’ SI N D I C E S (see Pentagram No. I) will be available early i n the New Year
Xearly 30 yearsinthe
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
66
business
IT 9,
HENRl MMC.,
my list of exclusive effects that also contains useful hints and tips for magicians. S d n d 4d. in stamps to : “
ZAHAREE,”Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept. ATTRACTIVE DISPLAYED LISTS BOOKLETS - MANUSCRIPTS - Lct us know your requirements -
CF . IELD
DE’SEEVAH
BMS.,
IBH.,
SSMC
The Friendly Magician invites all Bona Fide Mayicians to send for his list of new and used apparatus and books, or call a t his Studio :l CLARENCE ROAD Harborne, Birminghaml #
B U T NOT
TO
PLAY
by Wilfrid Jonso1: (21/3)
‘‘ That card work of cscellence CEORGE JOHNSON 23 Buckingham StreM London W.C.2
”
Over 60% of the available cofies were sold i n the first six months afterpublication so hurry if you have not already got your own copy of Edward Victor’s latest Book: “
FURTHER MAGIC OF THE HANDS ”
Brilliant, practical material from the repertoire of the world’s greatest living exponent of sleight-of-hand. Boards 101- ; Cloth,autographed 151From your Dealer or direct, post free from the Author,
c/o. BAYARDGRIMSHAW TheBungalow Castleton House, Rochdale
THE MAGIC CIRCLE President :His Grace the D& of Somuset D.S.O., O.B.E., Z.P., D.L.,M.I.M.C. V*ce-Preszdent : Douglas Craggs, Eq., M.I.M.C. Clubroomand Library andMuseum : ST. ERMIN’S HOTEL, CAXTONST.,S.W.l Magacal Theatre : KING GEORGE’SHALL, W.C. Partzculars from Hon Sec.: Franczs White 39 Alverstone Au., Wimbledon Park.S.W.1;
INSTITUTE of MAGICIANS Founded 1934 President : A. Zomah. Hon Sec . OscarOswald 102 Elmstead Ave.; Wembley Pad, Middx. H.Q. andLibrary : NO. 2 Hand Court WG (VictoryClub)HighHolborn MEETING E V E ~ Y THURSDAY ?-I{ ;m .. V~sltmgMagiclans always welcome. Your membership cordially invited-drop Hon. Sec. for literature. a line tothe
Printed in England for PETER W.4RLOCK by GEORGE SEARSON, Blue Bdl Hill, Nottingham.
21
PENTAGRAM
An independentmonthly
bulletin for all who want good ,magic
Editor's Foreword.-Those visiting or residing in London will have an excellent opportun{:y of seeing Robert Harbin intheJasperMaskelyneshowHeyPresto.? I t is good to see both these namestogetherinawest-endtheatre. Let us hope that this may be a forerunner of a permanent LondonMagicalShow.InthisitemRobertHarbinin attacking the subject of magical coin-catching treats it in entirelydifferent way from GeoflreyBuckingham, whose routineisconcludedin'thisissue.Whilstthismethod requires practicetoperform,itismore of aready-made to those who have method and should prove a valuable salve nor digitalaptitudetomaster slezghtneitherthetime of -hand. #
#
#
The effect is that the operator picks up a small metal cup (one used for the cups andballs is admirable) and then reaching this way andthat way produces an indefinite number of coins, each one as it is produced being quite definitely droppedinto the cup. The routine can be finished in one of two ways, either by the evanishment of the coins, or their being poured out of the container. The requisites are shown in A.-A cup, a coin with a hole through which is threaded a piece of black cotton. The free end of the latter (the length of which will have to be determined by the individual magi) is fastened to the too of the trousers. With the coin in a get-at-able Position a i d thecupon table,theoperator is r$dy for the' . . .
Presentation.-Possession of the coin is obtained in the right hand, where it is thumb-clipped. Left hand picks upthecup holding as shown in B. Right hand reaches out and produces the coin at the finger-tips. It is then thrown into the cup, theleft hand bringing the cup forward so that the cotton is over the left thumb. A turn is made to the right and the right hand takes the cup (as in C) whilst the left hand comes away from the cup, the tension of the cotton causing the coin to take up theposition shown in D. The lefthand reaches out and apparently producesa coin atthe finger tips. Withanalternating change of handsthis process is continued. " Wealth," says the operator, " what does it mean . .just nothing," and with that he turns the cup upside down (taking care, of course, that the coin on thread is under control in one of the hands) . . it is empty.
.
.
If the operator wishes to finish with a display- of the money he has caught, he starts in a different way. The cuplis loaded with say a dozen coins. Picking upthe cup inhis left hand, the operator commences the production as before, he is careful, however, until he has apparently caught three coins to prevent any noise (other than the dropping of the coins) coming from the coins in the cup. After he has caught three, it doesn't matter and as he goes on still more freedom in handling the cup can be obtained. At the end of this routine the coin can be snapped from the thread and droppedinto thecup, thecontents of the latter being tippedontoa plate or-table.
22
Editor’s Foreword.-Few readers will be umqwrinted withtheeffect k n m astheBnrce-HurlingBowls,a version of the ChineseRiceBowls,whichwasmarketed War. J. F. Bmce W the inbejwethefirstWorld ventor of thateffectand many others o j like ingem’ty. Perhaps his finest effect ir the one to about be described. Whilst I nmer saw the inventor present the effect hzmselj, I did, in the early twenties, see two or three performances o j it by the late Bmce Hurling, with whom in the presentation of all his effects, Mr. Bruce was intimtely connected. Mr. Bruce has now retired f r o mthe actiwe list of magic, a keen interest,butalsuplans butstillnotonlyretains in advance of manymodernideas. effectswhicharestill He is a first-class mechamk and general c r a j t m n . I feel sure that my readno as well m mysev, owe him a debt of gratitude fur releasing this effect exclurively to the “ Pentaof his effects will gram.” In later numbers,stillmore be desrribed.
*
*
. I
The Effect.-The operator requests the assistance ofa spectator who, whenforthcoming, is handedabirthday book with a request that he autographs it nn his birthday page. A blank card is now taken and dropped inside an envelope, which the spectator is asked to seal and retain in his possession. The operatornowdrawshisaudience’s attention to adeskcalendar, and if thoughtnecessary, hands for it examination. After this, the operator takes it back and sets it to the current day’s date. This done the calendar is placed back towards audience (ur. if the operator is surrounded by his audience, covered w ~ t h B silk). The operator now takes envelope from spectator, and opening it withdraws’ the card, on it being written the b i r t h h y q d t o t i o n which is found on the page o j the birthday book where the spectator has written his name. The climax Comes when theoperatorturnsroundthe calendar revealingthe day and date o j the spectator’s birthday. That is the broad outline of the effect, which gives scope to every kind of presentation. On the occasions this effect in his polished when I saw Bruce Hurling present and convincing manner, the audience, consisting of both magicians and lay public, were astounded. Beforegoing into details let us analyse the effect. T w o resultshavetobeaccomplished. The first is the writing on the card, the second the change of the date on a the calendar. The first calls for little intricacy,as double envelope is used for the change of a blank card for oneon whichthere is writing. The Zeadermaywell The answer is ask, “ but how the particular quotation l simple. The birthday book used by theoperatorcarries one quotation on each page (which may carry mure than
one day). The book when bought should have no quotations hutthe services of a good printerareengaged to overprint seven quotations consecutively through the book. Thus theoperator is only concerned with seven quotations. (I wouldsuggest that for easy referencethefirstword shouldbe ’’ I ” or “ A ” (one letter), thesecond, two letters, etc. This makes for speed as well.) Inside an envelopeboxontheoperator’stableare placed in order seven double envelopes each carrying in the double part of the envelope, a card which carries the appropriate quotation. (This is, of course,optional,theenvelopes can easily be placed in order in a pocket.) Having dealt with the modus o p e m d i of the message, we come to the question of the calendar. The onelent to mehy Mr. Bruce (there are only two in existence) is beautifully made and can be handed without any qualms, for examination. The internal mechanism consists of a spring blind which to represent the date carries pieces of thincardmade when the effect is performed and which, when in position, conceals the normal date. This blind is controlled by the spindle at the top, i.e., the one which alters the day of the week. The photographshowsthespindle being turned and the blind coming up (the front of the calendar being removed forthispurpose). That is aroughdescription. Let us go intothe matterin detail. The case forthe calendar is first made. (The maker’s bestmethodis, perhaps, to buy B desk calendar and use the rollers and numbers,theneitheradaptingthe case or making the -e to fit.) Underneaththerollerwhichcarriesthe months, B spring roller is placed on which is fued a blind. This blind is made of thin oilskin, and is bound by tape at the edges, stitching being made across the oilskin so that pockets are formed for holding the day, number and month cards. This blind can be quite easily seen in the photograph and in more detail in E. Two hooks are connected to the ends of the tape (see E). One thing which should come first is that the front of the calendar, together with the piece of glass which backs it, should slide in from the base, the mere replacement of the base keeping them in place. (In Mr. Bruce’s model,the basehas aspecial locking device.) The top roller, representing the days, is encased in a metal cylinder, the latter having an opening towards thefront (see C ) . Before this happens two things must be done to the roller. These two things are shown in A andB. A slot is cut in the roller and a wooden slide made which carries the wood spindle. In this slide a smallhole is bored. D shows B diagram of the roller inside the cylinder (in actual fact theend on themetal cylinder is shout one-eighth in thickness). A hole is made far the spindle (the other end for the moment being left open) and aroundthis hole are fixed seven strong metal pins at equidistant intervals. The roller is nowdropped
continued on paae 23
23
3!kzte& W &%
a I wonder how many conjurers realise that it is possible, by only using a slate withone flap, to have that slate marked on one side and yet get five different messages on the other. It sounds a tall order, and yet it is so simple. The basis is to be found in the “ Satchel ” (Jinx Summer Special, 1939, and “ Annemann’s Practical Mental Effects ”) and under another title (“ The Best Tricks with Slates). In thisroutineI only wentfor two messages. With the same principle as I say, five messages can be obtained. Actually I would at the most use four as, unlessthere is astrong reason forrepetitionthis is enough. The method is a combination of slate manoeuvre and so-called chemical chalk. First of all a few words about the chalk. On the otherside of the Atlantic it ispossible to get Burling Hull’s outfit, but since, in his book on Slates, he gave a formula by Lonergen,I have used thisfor some time. The formula is this. Mix an equal quantity of methylated spirit and Steven’s gum in a small glass. Take a piece of white chalk and dip it into the resultant mixture. Capillary action will cause the chalk to soak up some of the mixture. Now take the chalk and start writing on the slate (a bakelite type of bed, like Wandman’s slate, is more effective than slate proper). In a matter of seconds almost the writing will appear hard and white. (In fact it is really fixed in the manner that a pastel worker causes pastel to stay put with fixatif.) If a wash of Carbontetrachloride is now given to the chalk, the writing will (whilst the surface of the slate is wet) disappear. As evaporation takes place (and because of the high volatility of carbon tetrachloride this is very rapid) the writing comes back again. Now let us get toour routine of getting four messages. On the slate proper write the words “ very easy ” in one line, but in writing them, the letter “ y ” in “ very ” and the letters “ e ” and “ S ” are written in chemical chalk. The other lettersarewritten with ordinary chalk. Supposing that you are forcing a word. Write this word onone side of the flap in ordinary chalk, then place the flap in position in the slate so that it is blank on both sides. Now on the flap side of the slate, write in chemical chalk the name of thespirit you intendto conjure up. The only other requirements besides the impedimentia for forcing, are a small dish to hold the carbon tetrachloride (with a lid) and some non-abrasive material for applying the carbon tetrachloride. The ideal thingI have found is a wadof cotton wool covered with a small piece of silk. A newspaper of the smaller size is the only other requisite, and from the centre of the bottom edge a semi-circular wedge of paper is torn. The dish of carbon tetrachloride should be concealed and it should beeasy for the operator to
THE
GENII
IN T H E
CALENDAR - continued from page
into the cylinder and it should now be obvious that a pull on the spindle will cause it to engage with one of the pins, and, consequently, a turn of the spindle will turn roller and cylinder. The other end of the cylinder, with a hole to accommodate the otherspindle, is now soldered on. Tapes are now fastened around the cylinder at each end, care being made that they are secure all the way round. A small piece of tape is left free and to this a metal eye is sewn which is necessary to engage with the tape around thespring roller. For a continual performance of this effecttheoperator will require a complcte set of days, datesandmonthson card for insertion intothe blind. With the current date set, the envelopes in the box and the birthday book at hand, the operator is ready for the . . . Presentation.-The assistance of :I spectator being forthcoming, the operatorhandshimthebirthday book with therequestthat he autographsit. The book is opened atthe page andthewriting donc. The operator notices thc quotation and going tothe box on his tablr, takes the appropriate envelope, and then showing a blank
knock the lid off. If there is no lid it easily is possible for the liquid to evaporate. Now for the method. The newspaper is folded around the slate (message side down). The operator invites a member of the audience to assist him. This spectator chooses a name or some article ; two very good forces here being the glass force or pin force in “ Patterns for Psychics.” The paper is now removed from the slate, the latter being held message side down, the former being replaced on the table. The slate is washed first onthe non-flap side andthen on the flap (name) side. When completely wet,this side is turned round (and don’t forget to give it a good soaking). The slate is turnedround again, andon the side now showing the spectator’s initials are written with a piece of chalk which the operator takes from his pocket. The slate is now laid onthe newspaper and half of the latter folded over it “just to act as a Seance Room,” says the operator . Slate and flap are then removed and the name of the spirit shown. The slate is not cleaned this time but simply placed back inside the folded paper flap side down. The operator asks the spirit whether conditions are difficult or easy. The slate is now removed from the paper leaving the fl:p behind. On the slate are seen the words “ Very Easy. The slate is now wiped with carbon tetrachloride which has the ejfect o[ erasing the ordinary chalk and just leaving the letters Yes.” The slate is placed back inside the paper andthe ghost asked whether he will assist. The slate is now removed showing the answer “ Yes.” This time the slate is not cleaned, but a manoeuvre is adopted in replacing it in the paper. The slate message side up is held in the left hand,the table and paper are on the operator’s right. The operator approaches the table and instead of just lifting the tophalf of the paper, lifts the flap as well (remember the underside of the flap had the name of the ghost, but the uppermost side bears the final message), the semi-circular cut-out making this easy, the left hand comes across with the slate, holds the paper for a moment, the right hand leaving go and taking the slate which is placed inside the paper. The right hand now lowers theupperpart of thepaperand the flap on to the slate. For the finale the operator has now only to take paper and slate, remove slate and flap, show final message and drop paper on to the floor. Needless to say, during this routine, attention is called to the fact that the initials are on the slate all the time.
. .
T o get an extra message means a combination of ordinary and chemical chalk on the other straight message.
22
card drops it inside. The envelope is sealed and handed to the spectator to hold. The calendar is next introduced and, under the pretenceof setting at the current days’ date, theoperator sets it at the chosen dayandmonth. When it comes to the point of apparently setting the day, this is done quickly and the spindle pulled out, the result as we know causing the roller to engage with the spindle and raise the blind. (The great point about this locking device is, that when the blind is released the roller comcs back to exactly where it started.) The hand retains sufficient pressure on the spindle to prevent it’srelease and turns the calendar round so thatthe spectators can see it. It is then either turnedround and placed on a table or covered with a silk. In either case directly the calendar’s face is out of sight of the audience the pressure is removed from the spindle andthe blind allowxl to rewind. The operator first opens the envelope, showing thatthespirits have been at work writing on thecard, the birthday quotation . . and then as a climax, the in the C:alendnris shown . . . the. work of theGenii assistant’s birthday has superseded the current day’s date.
24
continuedfront page 17 T h e next tw moves are repetitions of the foregoingas far as the sleights are concerned.exceptwithagreater number of coins. T h e associatedactions, howeven, are left withthe stack of varied thus-the operatorisnow the loose glove in twenty T.N.D. coins,togetherwith the righthand. Transferthe loose glove to lefthand. Produce eight coins with the right hand, i.e., front-palm production. Change glove back to right hand under cover of which remainder of coins (twelve) are picked up by fingers of left hand in back-palm pmsition. It will assist in carrying out this move if the fingers of the right hand press the coins into position and slightly spread them as the left hand moves away from the right hand. The left hand now reaches up to produce the first of the twelve coins. Simultaneously, the right hand with the loose glove drops naturally to theside of the body so that the edge of the cloak drapes round the whole a m . I n this position the hand goes into the tail pocket and grips the stack of nine coins between the first finger and thumb. These are withdrawn from the pocket with the minimum amount of movement, the completestealbeingcarried out under cover of the edge of the cloak, while the left hand is producing the first coin by the back-palm pmductIon. The righthand now reaches up and removes the o p e n hat. Tothe audiencethishandapparentlyonly contains the loose glove, but the nine coins just withdrawn from the tail pocket arealsocontainedtherein,andthc loose glove helps to conceal them and also givc thc hand a natural position. If this move is carried out properly, it will be found that the hat can be held quite easily by the brim, and the coins can be allowed to drop farther into the pulm of the right hand as the hat is turned mouth upwards to receive the twelve coins about to be produced by the left hand back-palm production. These twelve coins are now produced and dropped, one at a time, into the upnuncd after producing opera hat, oneor two being spun into the air and caught in the hat. A stout piece of cardboard should be fitted into the bottom of the hat in order that thc coins will make more noise in falling. A s .the reader will know,considerablc prncticc is requiredto back-palm andproduce twelve coinsina single load. A great deal depends on obtaining the correct position at the commencement, and this is greatly facilitated by the use of the loose glove as a subterfuge to cover the pick-up, as it is changed from one hand to another. T h e correct position for the back-palmed coins is shown in C, as close as possibleto thetips of the fingers with the first coin
After the production of the twelve back-palmed coins
by the left hand the hat is passed fmm right hand to left hand by the loose glove which is held against the brim with the left thumb.
The right hand is now free to produce by the frontpalmproduction the nine coins recentlyextracted from the right hand tail pocket. Each of these is thrown, one at atime,intothe hat and the productionincreasedin speedtowards the end as if leadingtoa climax. When the last coin has been produced, change the hat over to the righthandagain,leaving the loose glove in the left hand and stepping close to the table, pour the whole of the coins from the hat into the glass bowl. As this is being done by the left hand it is obvious that the crown of the hat is towards the audience. The hat should, therefore, be held well above the glass bowl in order that the coins can be seen to fall into the bowl. When emptythe hatis immediatelyplaced back on the head. Under cover of thisaction,theleft hand goes into the tail pocket and withdrawsthestack of fifteen coins previously placed there. It will be remembered that this handstillholdsthe loose glove. This should be held well into the crook of the forefinger and thumb, leaving the tips of the finger and thumb free to grip the coins. As the coins are withdrawn from the pocket, the palm and fingers of the glove are allowed to drape over the coins to conceal them from the audience, as in D. This lefthandstealshouldbecompletedandthe ann in repose at the side of the body, by the time the hat is replaced onthe head. This is important.bemuse as the hat is replaced, the operator makes a half right turn so that he almostfaces the auditorium, towards the audience giving the impression that the routine is complete. This actionbringstheleft arminto view, butthe loose glove effectively hides the stack of coins held between the left forefinger andthumb.After a pause to receive any appreciations from the audience which may be forthcoming, the magician glances down at his left knee and changes the loose glove from left hand to right hand. This move serves a double purpose. Firstly it covers the transfer of the stack of coins from left forefinger and thumb to the palm of the right hand. These are pushed into the palm of the right hand as the glove changes hands. Secondly, it appears to the audience a necessary change simply to leave the lefthandfree, which immediately extracts the coin which has been secreted in the braid of the left trouser-leg. This coin is produced and dropped into the glass bowl. Following this the loose glove is passed back to the left hand and the right hand makes several catchingmovementsintheair, making louder and louder clinking sounds with the stack of coins palmed therein, and finally dropping the whole stack in the form of a shower into the glass bowl. The routine can now be bmught to a close by the use of a coin ladder, as described at the commencement of this article, or by any other means which may occur to the individual operator.
25
*****
***
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
****
“CARD TRICKS WITHOUT SKILL” (Edited and published by Paul Clive, price 516).
Of recent ,magical publications, I must say I know of no greater value for money than this book of card effects. Stiff cover, well printed and copiously illustrated (I think by Wilfrid Jonson) it covers two hundred odd pages and well over a hundred effects. The non-skilful aspirant should not be discouraged by the glossary of card artifice which covers the first thirtypages. Whilst a number of these (and remarkably simple ones) are necessary for the accomplishment of some,there is a spate of self-working card effects. Many sources have been tappedto provide this feast, and the editor has given credit where known. In all thereareeightchapters comprising Beginners’ Tricks, ImpromptuMysteries, Miscellaneous Mysteries, Treated andPreparedCards (particularly inthis section did we like the editor’s own effect “ Stained Glass Window ”) Pre-arranged cards, The Identity Deck and Contemporary Effects. The eighth chapter is the glossary previously mentioned.Just some of the names which should focus attention are those of Stewart James, Zens, Dai Vernon, “ Gen.”Grant,GravattandTed Annemann. The last chapter has contributions by English conjurersand they have stuck to the letter of the law in really giving effects without skill.All are practical as I well know. The gem of these, however, to my own way of thinking, is Victor Peacock’s “ Magic byProxy.” I like the dedication page. Unreservedly recommended.
****
*
*
****
**
(Fivestars)-Outstanding. (Fourstars)-VeryGood. (Tzcostars)-NoReasonforPublication.
rwl
“ RINGS IN YOUR FINGERS ” by Dariel Fitxkee (published bySan Raphael house, price 5 dollars.
ThatMr. Fitzkee is an indefatigible analyst has been evidenced by his previous books. This is no exception for hereinthe space of eleyen chapters, covering one
Just as the “ Pentagram ” was going to press,I received the very sad news that Mr. J. F. Bruce had died. He had suffered a lotinthelatterpart of his life. T o his wife and son we extend, on behalf of the “ Pentagram ” and its readers, our deepest sJ-mpathy. In watching Dante attheNottinghamEmpire, our thoughtsturned back and wewere talking toRupert Howard just before he left for the States, where as Danton, he was going to take over the Dante Show. Looking at the feather bouquets filling the stage we wondered if when and there would ever be another Devant. T o thepresent generation he is a name,and one wishes’that talkies and technicolour might have been invented earlier so that the might of this one man might have been caught for all time. He zcas a magician ! Those who metand knew Rooklyn whilst he was here, just before the war, will be pleased to know that he is running a full stage show in thc Antipodes. “ Punch ” recently tried tooutshineone of our contemporaries and had a very interesting article entitled “ You too can be a carpenter.”
“ On the Beam ” seems to be attaining world-wide publicity, and the latest port of call seems to be Norway
hundredandtwenty pages, every phase of theLinking Rings seems to becovered. The titles of thechapters should give the reader some idea of the completeness of this work . . . The Effect, Methods of Counting,Substitutionsand Exchanges, Simulated LinkingandUnlinking, Methods of Linking, Secreting and Securing the Key Ritlg, The Figures,EndingtheRoutine,Routines (eighteen routines including the Odin), Routines without a Key Ring, andFinal Suggestions. Inits completeness this book shouldstand as reference and guidance for many years. T o the would-be linker of rings . . buy . . for youwillfind no better literary mentor. The chapter onFigures is the most complete wehave seen,but we agree with the author insofar that they add nothing to the effect andin certain circumstances detract. This book is not of the same standard of printing and finish as Mr. Fitzkee’s Trilogy, but all the same it is clearly printed and illustrated, although the illustrations are grouped. The binding is betterthan we are accustomed to over here, butthere is no spine title. Unreservedlyrecommended.
.
*
.
rw1
***
“ HOW TO DO JUGGLING ” by John J . Mills price l O / - ) (publishedbytheVampirePress,
Within the forty-odd pages qf this well-printed little booklet, Mr. Mills certainly shows the reader how, with the minimum of practice, he can put together an acceptable juggling routine. Ball andClub Juggling, Balancing and Spinning,are all dealt with. The author writes clearly, and with the necessary practice wesee no reason why a person of normal intelligence should not reach the stage ofproficikncy desired by the author, but the acquisition ofskillis something gained which is not easilylost. Recommended.
vide MagiensVerden. In this same magazinewe were greatly surprised to see an explanation of Scarne’s Triple Coincidence, by HubertLambert. Abbott’s are putting out an improved version of the Warlock “ Glass Penetration.” From the advertisement, the improvement seems tobethatit is painted intwo colours.-As a suggestion, why not a sympathetic effect using “ Soft Soap ” (Tommy Windsor method), Red Silk in one box, red card in front .. . . black silk in other, black card in front . . cards changed over and so have the silks.
.
With such poor bindings on so many recent publications, I was beginning to think that the art of bookbinding waslost. Mr. Field, of Sheffield, has convinced me that such is not the case, for some books sent to him recently for binding, have been returned in a state that would have delighted the past generation. I cannot say more than that.
If you still lack a particular book on your bookshelf, that well-known collector, George Jenness, has just published a new list of books that he has for sale. It runs to several pages and includes many books which arevery difficult to obtain. You will find his address onthe next page !
, ~
26
...... WITHOUT SKILL .. .. NOW READY .. .. .. Price5/6 Post paid 5/10(S1.35) from .. dealer, directfrom PAUL CLIVE CO., Ltd., .. back 68 Cocker St., Blackpool .. ..
._
“
CARD TRICKS
CONVlNClNB COIN MAGIC
.m
VictorFarelli’s latestandgreatest work Close-up, Platform and Stage Effects. Cloth bound, art paper, 33 photographs and 24 drawings Price 17/6 post 4d.
.m .a
”
.m .W
S.
m.
Contributors include :-Gm. Braund, Herbert Collings, Douglas Craggs, Lionel King, Jack Kinson, Victor Peacock, Edward Victor, Peter Warlock, etc. bound. Cloth 120 Effects.
your
or
:
New Price List, M. post free, now ready
m8 8.
ALL ABOUT EVERYTHING Eighty pages of Magical Iqformation. Make-up for the Tricks of theTrade, Stage, Workshop Wrinkles, Radio Publicity for Magic, Society Reports Trade Section, Cartoons, etc., etc., etc: Price 2/6, post 4d.
.m .m a
b a. .m drn .m m. .U
GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING CO, 11 MonasteryGardens,Enfield,Middlesex
?I
Magikraft
Patterns for Psychics by PeterWarlock
invites
Packed with Mentalist Effects thatare positively UNCANNY. Card prediction effects, billettestsandthought-rea&ng brought to thehighest pitch of perfection. Fully Illustrated Cloth bound 1947
of
by LewisGanson195 Plates Price l O / ARCAS LIMITED
Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
... of
Also to Complete my Files I Require th;, following Copies of ‘a TheGenii, Sept., 1943 ; Sept. and Nov., 1945 ; Aug., 1946.
Autographed copies of Patterns forPsychics may be obtained from me : 10/3 post freePETER WARLOCK
HENRl
‘‘ Greenbanks,”Bramcote, NOTTS.
DE’SEEVAH
BMS.,
InM.,
Magical Books & Mss., Etc.
SSMC,
The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his stud10 :l CLARENCE ROAD Harborne, Birminghaml;
my list of exclusive effects that also contains useful hints and tips for magicians. Send in stumps to :
4d.
ZAHAREE,”Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept.
Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
I INSTITUTE of MAGICIANS I
B U TN O TT OP L A Y by Wilfrid Jonson (21/3)\
‘‘ That card work of excellence ” G E O R G JEO H N S O N 24BuckinghamStreet London W .C .2
ATTRACTIVE DISPLAYED LISTS BOOKLETS MANUSCRIPTS Ltt us know your requirements -
-
C F. I E L D 42 Alderson Road, Sheffield 2 T H E MAGIC WAND and
MAQICAL REVIEW Few Copies of December issue left. Forty-eight pages of outstanding Magic. Kiddies’ effects, Mental and Manipulative Magic., etc Profusely illustrated with photographs andartistic drawings. Circulation doubled duringthelast year-a proof of success ! ! Published on the first of March,June, October and December Per Issue 318 post paid Annual Subscription 1416 post paid GEORGEARMSTRONG, THE MAGIC WAND CO., MIDDLESEX 11 MONASTERY GARDENS :: ENFIELD PUBLISHING
post free
Visiting Magicians always welcome. Your membership cordially invited-drop a line tothe Hon. Sec. for literature.
CONJURING
BOOKS
F O RS A L E
OLDANDNEW.Let meknowyourWants LIST FREE FOR STAMPED ENVELOPE No callers
..
1/24 percopy,
W.C.
Particulars from Hon.Secretary :
A Copy $ Scot’s Discovery Witchcraft (any edition)
you
MMC.,
-
Magical Theatre :
King George’s Hall,
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
404-408 SYDENHAM RD., CROYDON
“
St.Ermin’sHotel, Caxton Street, S.W.l.
I want to Purchase
to have yournameon our mailing list. Many new items in production and lists will be issued intermittantly. M A G I K R A F T is the name for . G O O D MAGI’C
Price l O / -
Expert Manipulation Playing Cards
postfree
20/- for both books
JUST OFF T H EP R E S S
R E A D YI NJ A N U A R Y ,
President :His Grace the Dukeof Somenet D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.I.M.C.
MAGIC WEEAR BOOK Clubroom and Library and Museum :
urn m.
am mm am e. me
&
THE MAGIC CIRCLE
47
::
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
l l / m per year, post free, from :
‘‘ GREENBANKS,” BRAMCOTE, NOTTS., ~~
or from your dealer
~
Printed in England for PETER WA4RLOCI
PENTAGRAM
An independentmonthlybulletin
for all who want good magic
& d k 'u m y ,1947
V&. I N . . 5
clxte SxaYing
Lakadme
1907
annemann
- -
1942
c
It was with much more than regret that I heard of the passing of T e d Annemann, for whilst we had never had that pleasu.reof meeting in person, we had correspondedquitealot,and in thatcorrespondence found that we had so much in common regarding our attitude to conjuringingeneral,andmentaland psychic magic in particular. T h e " Jinx,'' which. he founded and so faithfully personified as its editor, w~llremam a lasting monument to him. Towardstheend of my temporary Army career, when I started to plan this little bulletin, I decided that I would try and repay to a T a l l exLent the benefit that hadbeen received from th:; Jinx b?, each February publishinganissueof,*Pentagram with the conso here, as was tributors all ex-" Jinx writers. And announced in the first issue, is the first Annemann mmmemoration number. 1should like to express my gratitude to my fellow contributors in this number, and particularly to q y i l l e Meyer:,who, after the arduous task Of editing Annemann an parade October the for Linking Ring," so graciously came forward with an item for this issue. Many of you will soon put into effect Robert Tothill's idea. for theeffect on theaudience IS one ofthe superlatives. I n memory of, a great magical writer I wish you '' G w d reading I 1 PETERWARLOCK.
Editor's Note.-A
In this routine use is made of stock effects ;credit ia given wherever possibleto sleights and apparatus invented by other magicians.
i
resident in ConnuoN, Robert Tothill is not so well-known to magiciam nr hemight be. A
first-class technigue, coupled with well thought out presentotion of m e r y effect which he essays, his work i s (I jw to watch.Readers of the " Jinr '' will wellrememberhim for his cord rosrineon page 500, "Secrets for Sale."
"
Introduction.-In my " Spirit News Conference " effect there is considerable speculation as to how a facsimile of asekcted newspaperpicture can beproduced on a card so thatactualcomparison may bemade with'the original. My routine,.although evolved some time ago, I have had hasrecentlybeen brought up-to-dateand marked success with i t at smokers and intimate perforrnances, audience appeal being an outstanding feature.
Presentation.-The operatormentionsthat itis believed the spiritworld has newspapers, with a counterpart to our Fleet Street and often publishes news relating to the earth plane. " It is, therefore, highly probable that there are spirit beings who are interested in feminine fashions, and I am sure there must be some who even follow the latest escapades of Jane inthe Daily Minor. So let us have a News Conferencewiththespirit reporters."
T h e operator passes out for examination a blank piece of card. “ T h e card is placed in this window envelope. T h e purpose of the window is to enable the card to beseen the whole time and for the card to be initialled. We will take the Daily Mirror as asuitable paper for reflecting the earth’s happenings. I will number the main pictures throughout to-day’s paper, actually there are six. T o convince you there is no conscious, or unconscious co-operation on anyone’s part,the choice shall be decided entirely by chance. If this die is shaken well in a matchbox by someone, and we take the number which is uppermost, the picture will be chosen by chance. Thank you for shaking, there is really no need for all that shaking, for I can assure you that the spirits will not be in any way frightening. The‘number uppermost, I see, is four, will you confirm that, sir ? One, two, three,four . . . I see you have chosen quiteasuitable subject. ‘ l Now thatthe picture has been decided upon, a word will be selected by what is known as a selector-plate. As you see, it is an oblong piece of metal with a small portion cut out of the centre. I will move it up anddown the columns of newsprint until you say ‘ Stop,’ and the word showing throughthe opening in the centre will be the word chosen for the News Conference. Should there be two words we will carry on again ’until you say ‘ Stop.’ Will you p1ea;edec,ide the page to be used ? This one ? Now say Stop whever you like. Stop ? Well, here is the word. It is . “ Common to all News Conferences we can imagine the reporters dashing off to ’phone the City desk. Soon the presses are turning out the editions, the distribution organisation gets going and finally the news boys put their initials onthe papers which have been ordered-the newsprint shortage being not only world-wide but universal. Your initials, sir, are on this card and I see on the other side is a spirit reproduction of the Dairy Mirror heading with to-day’s date, giving the selected word andthe chosen picture, proving our News Conference a success.” Method.-In the routine a certain amount of preparation is necessary. Areproduction of apredetermined picture and word has to be made on a card. The medium employed in transferring the picture from the newspaper tothe card is paraffin wax. I have found that candle grease and toilet soap can also be used, but does not give such good results. T h e following is my method of transfer. Wax a piece of thin good quality paper on one side. Lay this paper wax side up, and on face it downwards place the newspaper with the selected picture. Over the newspaper place another piece of thin paper and with a blunt pencil, using a fair amount of pressure, the whole of the picture area is shaded over. This transferssome of the ink from the newsprint to the waxed surface of the paper underneath. When the whole area has been covered in &is way you will find a reproduction of the picture on the waxed paper. But it will be noticed that the positions and printingare reversed. I call thisa negative as this impression has to be transferred tothe card, thenthe picture and printing becomes the correct way round. T h e card is waxed on one side, the negative placed over it face downwards. The pencil operation again carried out onthe back of the negative. The pictureon the card will now be a positive. Similar treatment is used for the forced word, employing an unused part of the negative. I also use the Dairy Mirror heading on page one, which gives the dateand is printed in red. Best results are obtained in the morning before the printing ink has had time to harden. The prepared card is now placed in position in the switching envelope. As willbe realised, the card examined is exchanged for one upon which is the reproduction of the picture and word. I use the clever device for switching described in “ Message from Confucius,’’ by Eric C. Lewis, in Abracadabra. It is Mr. Gripper’s adaptation of Mr. Len J. Sewell’s device for switching envelopes. (See footnote to “ SpiritNews. Conference.) However, any of the standard methods of envelope switching using window envelopes could be employed. For forcing the picture a die shaken in a match box is used. A small die is glued towards the end of a drawer of any emptymatch box, with the fourspot upwards.
..
Another die is also placed inthe box. On order to do away with cards and numbers as far as possible the effect “ Wordo,” which can be purchased from any dealer, is used for forcing the word. If anyone does not possess this effect, it is money well spent to purchase one-the method is direct and easy to perform. The match box is placed in thecoat pocket, the selector-plates in the waistcoat pocket, a Daily Mirror and the switching envelope put in a convenient place. The preparation is now complete. T o present the effect, the card is examined. When using Gripper’s switching envelope, I take this card from the envelope where it has been placed in front of the fake, as it enhances the illusion of the switching for the prepared card when it is replaced. After the card has been examined and placed in the envelope, the back of the prepared card which now shows, is initialled through the window. Number any six pictures in the paper by ringing them with a red crayon and place the number in a conspicuous position. Care, of course, should be taken that four, the number uppermost inthe match box is thenumber of the picture which is to be forced. The loose die is taken from the box and shown, is then replaced and the box shaken. Remembering which end of the box the dice has been glued, it is tilted so that the loose dice slides to the opposite end. The drawer is opened enough for the fixed dice to be seen with the number four uppermost, the loose dice, of course, is hidden. The drawer is closed andthe box pocketed. The chosen picture is shown. The t w o selector-plates are taken from the pocket, the faked plate palmed, the ordinary plate is shown to demonstrate how the word will be selected. Whilst the page is being chosen, the plates are exchanged, the ordinary one returned to the pocket. The effect is worked according t o the instructions supplied with the plates, and after the word has been seen by the spectator, the plate is immediately placed inthe pocket. The situation is then built up to a strong finish by taking the card from the envelope and showing the spiritpicture is indeed a replica of the original. The reaction is one of astonishment when the two are held side by side for comparison. For those who prefer the prediction type of effect here is an alternative presentation. Effect.-Operator states that a week ago he predicted a certain newspaper picture andword, not even then printed, would be freely chosen here to-night. That prediction was enclosed in an envelope and posted to himself at this address. T o bear outthe statement the envelope is handed out for inspection, with the request that special notice be taken of the date-stamp of the post office franking and the fact that the envelope has not been opened. A picture and word is then chosen from a newspaper in the manner previously described, and a startling effect is producedwhen the envelope is dramatically opened, revealing inside a sheet of paper bearing a reproduction of the chosen word and picture. Method.-The reproduction of the picture and word on thepiece of paper and theway the force is accomplished have already been given. What may not be so clear is how it is possible for a letter posted a week ago to contain such a piece of paper. The “ Jinx ” issue number eixtyfive published November, 1939, on pages 455 and 456, gave Sid Lorrain’s version of rubberised envelopes under the heading of “ Prediction.” An ordinary envelope is coated with latex on the gummed part of the flap andthatpart of the envelope where the flap folds down. When dry the envelope is sealed by pressing the rubberised parts together. The envelope is addressed and posted a week before the date of the performance. Upon arrival at the place of entertainment, the letter is asked for.Take it somewhere free from observation and open the envelope. It will be found that this is quite easily done. Traces of latex are removed from the envelope by a rolling action. The reproduction already prepared on a piece of paper is inserted in the envelope and sealed by moistening the gum which has not been impaired. The envelope is then given to someone in the audience to hold until required in the routine. Rope cement, or Wunda Cut fluid used for ‘ I Clippo ” may be substituted for latex.
29
Editor’s Note.-FeelingthatBobTothill’seflectwould not be completewithoutadescription of thechanging enveloperecommendedbyhim, I approached myfriend Goodlifle,who,withouthesitation,gave his permission forit’sreproduction.It comes fromEric C. Lewis’s “ Magic toEntertain,”seriallypublishedin ‘‘ Abracadabra,” and which will soonbe available in book form. E
*
E
In essence, what takes place is this : a large envelope aboutten inches long by seven inches wide (the exact size does not matter) is shown to have an oblong window cutfromthe centre. A piece of blank cardboard of a size to slip easily into the envelope is examined, and then slid into the envelope, the card plainly going inside, and its journey made visible by means of the “ window.” The card is initialled or otherwise marked through the “ window.” Later, when the card it; removed, the front of the card still bears the marking, but the back now bears a message boldly written upon it. It will thus be seen that this apparatus will have a host of uses, and is well wortl: making up. ‘ The illustrations explain themselves to certain a degree, but to make doubly certain, the necessary ‘ faking ’ will be explained in detail. The envelope should be of fairly stout material and is unprepared except for the “ window ” cut in the centre of the address side. A sample envelope is shown in fig. A, the shadedportion indicating the interior of the envelope seen through the window, and the dottedlines the shape of the envelope on the side opposite to the address side.
A special fake is necessary to fit inside the envelope and this is clearly illustrated in fig. B. T h e construction isas follows : cutthe non-addressside neatly froma spare envelope and trim this to the shape shown in fig. B. This should be made to fill the envelope completely. Now fix aband of very stiff paperaround the narrow portion of the feke, this band being a fraction greater in width thanthe window inthe envelope. Now cut another portion of paper from the waste envelope and fix this asshown to the centre of the banc!, this portion matchingthe interior of the envelope. Turnthe whole fake over, and securely glue two small squares of very thick cardboard onthe extremecorners of the band. These areshown by the black squares inthe diagram,under-
standing, of course, that they are actually on the rear of the feke ;they are also indicated clearly on the end “ view ” also illustrated. This prepared band should now be able to slide easily and smoothly up and down the narrow portion of the feke as shown by the arrows. The cards used in the effect should measure about three-quarters of an inch less in all directions than this feke.
T o prepare, write your message on one card. Reverse thisand slide itunder the band as shown by the large arrow in fig. B. Have the band to the left of the narrow part as in the diagram. Insert the fake (with card under band) into the envelope and the result wil! be similar to that shown in fig. C . If the fake has been carefully made, it willlie flat inside the envelope, and the envelope will look unprepared. T o use the fake, introduce first the card and the envelope, calling attention to the window in the latter. Have the blank card examined and place it slowly intothe envelope, making sure that it goes into the opposite compartment from the one which already contains a card. It will enter almost as far as the opening, when it will meet-the thick cardboard squares on the band. Continue slowly pushing the card down, and the whole band will be pushed down with it in the direction of the arrows in fig. C, gradually uncovering the blank side of the card already contained in the envelope. When the band comes to the end of its run, lift the card slightly away so that it slides over the cardboardsquares, and push it right home. Fromthefront andthrough the window the illusion of the card being slowly pushed visibly into the envelope is perfect. Initial the portion of the card showing, and when later the card is removed, it is the front one only that is drawn away, the envelope appearing empty again owing tothe fake covering the original card and appearing as the back of the envelope. #
#
#
TheManufacturingandSellingRights of allapparatus described in ‘‘ Magic to Entertain ” areretained by the Author and the . M a g i h a f t Studios.” Items may, of course, be madeup by readers for theirown use.
30
A spectator notes a card in the deck which is squared and placed on a “ Readers’Digest,’’which is still in its postalwrapper. The magazine serves as atray.
The late H. S. Paine sold this at leasttwenty-five yearsago as the “ RemarkableProphecy.” A short card duplicate of the Ace of Hearts is a little more than half way down in the deck.
The spectatormay give the deckany number of single cuts, finally dividing the cards in two face-down piles. He now places the previously removed Joker face-uponone pile and replaces theother pile on top. The deck is retained by him for the moment. The magician removes the wrapper andplaces the magazine beneath the foot of aspectator.Without looking attheir faces the spectator removes the card above and below the Jokerand places them inhis pocket. The deck is taken by the magician, given a quick shuffle and ribbon-spread face-up on the floor or a wide fan is made to reveal to the spectator that the card be noted, and the name of which he has told to no one,has vanished. If he is at all doubtful he may take the deck inhis own handsand examine it thoroughly without causing the performer any uneasiness. Attention is nowdirected tothe fact thatthespectator hastwocards in his pocket. The magician states that, without actuallylooking atthecards,thevolunteer will be unable to hand him the selected card the first time he removesone. He triesand fails. The chosen card could not be taken out first, explains the magician, because the oneremainingisn’t it either. The spectatornameshis card, takes the one from his pocket and discloses that it is quitedifferent. Thenumber of spotsonthetwo cards that were inhis pocket areadded.Whateverthe total, heturnstothat page inthe magazine. There is his selected card.
Presentation.-Hold deckface-down in left hand. Riffle corner of deck with left thumb until told to stop by spectator.Atthemomenthe givesyou thecommand, allow all the cards to the short card to slip by. Lift off the upper halfof the deck to and including the short card. Your right hand thumb is at the inner end of the packet and the second and third fingers curled around the outer edge.Allow spectatorto see the Ace of Hearts,butthe manner in which you are holding the cards is convincing proof that you do not see it. Replace the packeton the deck, but as you do so the second andthird fingers of right hand twist the Ace of Hearts to the right and away from face of packet. The lower half of deck enters between the upper packet and short card so that this, the selected one, becomes the face card of the deck. Thislis a beautiful sleightand has numberless use?.Soldas The Master Move ” by the late JoeOvette, he stilldidn’t recognise it when he saw me use it.When youhave squaredthe deck, retain itin righthand. Pick upthe magazine in left hand byonelongside. Fingers are underneathand thumbontop. Repeat theMaster Moveasyouplace the deckon the magazine. The shortcard goesbeneath the magazine and isretainedby left fingers. This move willbefamiliar to “ Card Through Magazine ” users.
Secret Preparation.-Insertthe Ace of Hearts inthe “ Readers’ Digest ” betweenpages fourteenand fifteen. The postal wrapper is replaced. One other ace is discarded and the fifty remaining cards set up by values only so that any two cards together from any spot will total either fourteen or fifteen. (seven-eight, six-nine, five-ten, four-jack, three-queen, two-king, ace-king, two-queen-three, etc.) This makes an endlesschain so the deckmay becut.
The spectator places the Joker in the deck as described. Remove the magazine, place it beneath his foot and discard the postal wrapper with theshortcard still concealed beneath it. I sometimes fold and place in side coat pocket. Part will projectfrom pocket. Atthe conclusion of the trickIwithdrawitand replaceonmagazine-but the card remains in the pocket. The two cards that spectator removes besides the Joker must total fourteen or fifteen. Ofcourse,eithertotal will do . . .
In Annemann’s “ CompleteOneManMentaland Psychic Routine ’’ is given his version of an older effect, which he called “ The New Nile Divination.” Many readers and do-ers of this effect must have soon realised that the principleinvolved need not be confined to numbers alone, but could beadaptedtootherthings aswell, including playing cards.
The holder of the slate is nowasked to shorvhis written thought to every one by turning the slate around. The second person is asked to remove the card from the envelope. They are the same ! This isreally a strong effect from the audience viewpoint. It is, of course, N o gimequally S: simpleas the Nile stuntmentioned. micks art: necessary ; the articlesusedare ordinary.
As intheAnnemann effect, theperformerstates he will attempt a strange test of coincidence with the audience itself, and in which he will have no part except for the direction. An assistant is secured, and giving him a slate and chalk, the performer leaveshim at a far side of the room. The spectator istold tothink ofany card in the deck, and keep it in mind.
First secure your assistantfromaudience, and pick someone who has a pleasant look and has been evidently enjoyingthe performance throughout.One canalways be found, and this type of person is right in the spirit of things and onlytooglad to help. Ask him to stand at a far side of the room, and you take him to this spot, and a; you are at a distance for a few secondsyou tell the spectator, Think of any cardinthe pack.Which one wouldyoulike toconcentrateupon ? ” He givesyou thename of a card. You say, Just keep thinking of it from nowon until I tell youtowrite it down.”
that
l‘
Taking a deck of cards, the performer now has some one in the audience select a card at random but the card is not looked at. Without knowing its identity, the secondassistant seals thecardinanyordinary envelope and holds itinsight of all. As this isbeing donethe performer asks the person in the corner to write the name of his thought of card on the slate.
Youactuallyask himto pick his own card,buthe tells youbefore he realises or knowswhat is to happen. This is muchbetterthantryingto get him towrite a
31 certain card,or having writteninstructions onthe slate ahead of time, etc. And don’t think this is too brazen to work, because if you go over the above carefully you will see that everything is above board as far as he is concerned. Turning back after giving him the slate and chalk to hold,you return to front, taking a deckof cardsfrom pocket, andthenturning, call back tothe spcctator, “ Stand where you are and kecp one card in your mind constantly. You have a card in mind now, haven’t you ? ” T h e answerisalways “ yes.” T o the audience youhave put a man in the corner with a slate and had him think of a card.
Now state you will remove the Joker, which gives you an opportunity to locate the needed card, and then follow with a falseshuffle or two. Needless to say thiscard is taken by the second spectatorthrough the use of your best card force, and if you haven’t one, you should buy a copy of Annemann’s “ 202 Methods of Forcing.” Thusthe workingis made clear. The spectator is told to write the cardhe has been thinking of. The person in audiencestandsand removes the chosen card from the sealed envelope and calls outits name. The slate is turnedaroundand they coincide. And as it stands it i s a clean cut number thatmakes talk.
The following variation of this popular item you will find to be an acceptable offering with any audience. While the principles arenot new itsrequirementsaresimple and readily obtained.
of that essential procedure, the recording of the serial number-thisis read aloud from the match-packet held against bill, andmatch-packet is then disposed of.
A bill, the serial number of which youhave on a packet of flap-matches, is folded into a half-inch squareand placed in a piece offlash paper about two-inches square. Atop this, upon table, is a picceof paper of similar size and color. Now insert a slip of paper with “ I.O.U. one dollar ’’ written on it, into a hole in a medium sized kitchenmatches potato, replacing the “ plug.” Afew in your right coat pocket, and a knife at hand.
‘ spud ’ is cut open to find the I.O.U., andtheensuing
Bill is vanished-by
The potato,which may be produced magically if desired, is placed in sight, perhaps on an inverted tumbler. Bill is borrowed, and a flap-match is lighted as though t o ighite the bill---when the performer recalls the omission
This effect, to the best of my kqowledge, introduces a new themeintoslate magic. After a member of the audience has been inveigled into assisting the magician he is handed a slate, and then from a box of coloursd chalks is asked to select any one h e wishes. With this pieceof coloured chalk he isasked to draw a patternonthe slate. Whilsthe is doingthis the operator picks up a slate and on it draws with white chalk the figure of a pentagram. Each slate is now marked on the sideopposite to the drawing, the assistant’s with his initials the operator’s with his own. The assistant’s slate is now placed drawing side down on the floor, and he is requested to keep his foot in place on the frame of the slate. Now the operator recapitulates in this way . . . “ Yourrepresentative, ladies andgentlemen,hasdrawn a design selected from several, a triangle in green chalk on a slate which bears his initials and is now wedged between his foot and the floor. On the slate, n-hich I am holding, I drew the design of the pentagram . . . Watch a strange feat of magic, the two drawings are going to change places. If, ladies and gentlemen, I were a n-iere conjurer, I should cwerthe slates possibly with tubesor handkerchiefs. Being a magician, I do nothing of the kind . . . iust watch ! ” The operator at this point holds his slate about three feet above the spectator’s,andthen slowly turns it round. Onit is seen the spectator’s drawing. “ Will you now ” (thistothe spectator) “ please lift up your slate and show it to the audience ? ” The spectator does
reparteewithowner
your favourite method-and
the
of bill suggests goodcomedy.
Finally, the packet containing bill, andthe extra paper covering it. are picked uptogzther, the I.O.U. is folded withinthepaper, the two small packets held up and shown as one-that containing the bill being against thethumb. Now place both packets upon left palm, thumb underneath,and steal off the I.O.U. packet in a fingerpalm.Show bill packet uponpalm, go into pocket for match, leaving I.O.U. packet. 1,ight flash paper . . . Finale to suit.
so. On it is seen the operator’s drawing of tlzr pcntagrcutr ! Believe me,when the spectatordoes show the audience his slate there is a gasp, for the freedom of handling makes the effect so convincingly magical.
The requirements are very simple and the effect can beset up in a coupl: of milutzs.These are the things that the reader requires :-two slates of similar size and with a flap common toboth. I am using twoIVandman non-locking slates, the machinefinish plus thcstrong bakelite beds making these ideai for this effect ; half-a-dozen pieces of different coloured chalk in a small box ; a piece of white chalk. A piece of cardboard, size fourtec-n inches bytwelve inchcs completes therequirements. side of the The preparation is as follows :--One piece of cardboard isdik-ided into six equal parts and in each part is drawn a simple design (see A). On the other side is drawn a large pentagram (B). Readers \vi11 realise that once this is done it is good for all succecding presentations. We will suppose that one slate is A and the other B. On slate -4 theoperator dra\vs a pentagram, nearly filling the slate. On one side of the flap he draws a similar sized pentagram. This flap is no\\- fitted into A, so that the two pentagrams ‘ kiss ’ one anothtr, and to all tffect, the operatorhas nowtwo slates blank on both sides. A, flap side uppermost, is now laid on top of R , and both placed onthe table. Box of chalks is nearbyand the piece of white chalk in operator’s pocket ; the card lvith
32 the six designs showing is displayed upright against chair back. T h e stage is now set for the . . .
Presentation.-The spectator is invited to assist, and is seated on the operator’s left. The topmost slate, A (with the flap), is handed tohim, Some readers may think that this is risky, but the mere action of handing the slate to aspectator allays all suspicion. Duringthe last couple of months I have used this effect some couple of dozen times with both children and adult audiences, and never once have I known a spectator do more than casually look at the slate.) He is then asked to choose one of the coloured chalks. This done, the operator either points to, or picks up, thecardboard showing the designs and requests the spectator to reproduce one of these as largely as possible on his slate. Whilst this is being don% the operator removes the white chalk from his pocket apd‘pn the slate B, drawsapentagram. T h e spoken line is, and whilst you are drawing your design, I will draw something more complicated with white chalk.” The operator allows the writing side of his slate to be exposed to the audience so that they can see his drawing. I t is held in the left hand drawing side up. Taking the assistant’s slate the operator holds it up so that the audience can see the design drawn by theirrepresentative.(Care must be taken thatthe flap is retained in position.) Then, “ So that there can be no m;llstake I shall mark both slates. Whatareyour initials ? The assistant tells the operator his initials, the operator turns the assistant’s slate over on to his own, and squaring the two and allows the flap to drop on to his own slate: Now the spectator’s initials are placed on the slate it is removed, placed onthe floor (care is, of course, taken that the audience do not see the underside of the slate) and the assistantrequested to put his foot upon the frame. (Because the flap carrying the spectator’s drawing had on its reverse a duplicate of the operator’s drawing the slate left in the operator’shandlooksunchanged.) This latter is now turned ove’r andthe operatorwriteshis own initials on the blank side. During or immediately afterthiswriting (this is a matter for the individual) the flap is allowed to drop slightly andit is moved into a position where it
In publishing “ Porous Glass ”-in our secopd issuewe mademention that this effectwas published in an American magazine. We have now traced the source and find that credit should go to Tan Hock Chuan. . T o him we will pass on the many thanks of readers for the republication of this splendid impromptu penetration effect.
It would se:m that‘the publication of the two effectsOnthe Beam and Triple Coincidence ”-in Magiens Y e d e n , . were the result of amisunderstanding. Mr. Hubert Lambert, who had sent these effects to the Editor to use personally, was himself amazed when he saw them in print. “
projects about an eighth-of-an-inch over one side of the frame (see C). T h e operator now turns over his slate, holding it by the right hand, and picking upthe card bearing the designs uses the words given in the description “ Your representative, etc.”, and at the same time points with the slate (see C) towards the chosen design. (Note thatthe card is held atthe edge between the first and second fingers.) The slate is passed from the right hand so that it is gripped by the first fing;; and thumb of the left hand.. As the operator remarks Idrewthe design of the pentagram,” the left hand turns card and slate round so that picture of the pentagram faces audience. T o this the operator gestures with his right hand. Under cover of the cardboard the left hand thumb, with a sliding mcvement,brings the flap across the frame of the slate (see D). The right hand now goes behind the cardboard, takes the slate and leaves the flap behind gripped by the thumb and first finger ot the left hand (E). The great point here is to avoid t!;is being done noisily. Firm but relaxed handling is essentia!. The operator shows the slate once more . . . his initials on one side and, of course, the original pentagram on theothel. At thepoint “ were I n conjurer, etc.” the 0peratc.r with 2 synchronised movement brings the slate partly behind the cardboard and turns the card over so that as th-e cdrd is finally turned the slate covers the flap (this is an easv and natural move which jusc needs timing). l’he fingers of the light hand hold the flap and the thumb and first finger of the left harid releases their hold. The left hand now gestures with the card towards the assistant, and at the same time the right hand aligns the flap into its recess. Because of the manoeuvre outlined, the flap has been turned over and the operator now has the spcctator’s design on his slate. This !atter is now held above the spectator’s slate . . . it is turned round, and the design of the spectator shown to the audience . . . the assistant picks up his slate , . . and believe it or notthere is the operator’s drawing. Before deciding on the method employed forturning over the flap Itried many methods . . . under silks, paper, in paper bags. All were practical, and, in a couple of cases, easier, but in the end because of the fact that right up to the last minute the audience see the design on the operator’s slate, I decided to use this for myself.
From all sides andfromour own experience this must have been one of the busiest of all Xmas seasons, reminiscent in some ways of the immediate period after the first World War, plus an added factor that fees have been much higher. The Magic Wand Year Book has just come to hakd, and we congratulate the publisher on this pioneer venture. Within its eighty pages there is contained a wonderful assortment of valuable information. In the section “ Tricks of the Trade,” the reader will find all that infonnation which at one time or another he meant to make a note of and then forgot. Mr. Armstrong has put it here for you-all in alphabetical order !
33
I remember meeting Annemann when he first came t o New York Cityaround 1927--seeing hisshowthen when he wore a turban and a long black cloak. It was Al. Bakerwhoprevailed upon him to drop that and wear a next Tuxedo suit.
In fact it would seem that Ted must have been born under an unlucky star as life was just one break after another for him, and it seems that the ,jinx which he created just hung on his trail until it finally caught up with him. In 1931 he wrote his first book--“ The Book without a Name,” which I took over, and this started a seriesof books from then on and all successful. remember I one of the boysJlere fixing up for a two night’s show with Ted, doingtwo hours of magic, includingthebulletcatching effect, and ticketsbeingsold out inadvance. The first showwas to havebeenon January 2hth, 1942. On January12th I remembertryingto get Ted onthe ’phone-no answer-Mrs. Holden finally called the ’phone operator, for she had a feeling that something was wrong and sure enough at2 8.m. the next morning we were called on the ’phone and told ?hzt Ted had passed on the previous day.
Ted’sfather was an -4rmenian and yed, who had inheriteda paleface andlong black hair,hada lookof mysteryabouthim.Hisactthen consisted of amental routinewhichafterwardshe sold as the “ FourthDimensionalTelepathy.” He wenthomeforthesummer and came back to New York with his wife, Greta, renting asmallapartmentwheretheykeptopenhousefor all magicians. Lateraparting of the ways withhis wife, that left Ted hezrtbroken,andthen 1934,when Ted decided to get out a monthly magazine and the “ Jinx ” madeitsappearance. “ Jinx ” went so well thatTed decided to put out the effects cf Charles Jordan, but, alas, only sixissuescame out.Aboutthistime Ted hadmet anothergirlwhohelpedwiththeartwork,andthey subsequentlymarried.Happinessthough was notthere.
***
*****
***
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
“ HOW TO DO THE CUPS AND BALLS by Eddie Joseph (published by the Vampire Prers, l O / - ) .
**
****
X
****
(Ficestars)-Outstanding. (Four stars)-Vvery (Two stars)-NoReasonforPublication. ”
This is a verywell printedlittle booklet of some sixty-odd pages, with stiff board covers. It-consists of two parts (previously publishedseparately byAbbott’s). The first part is more of a primer and is entitled “ How to do the Cups and Balls,” the second is entitled “ Advanced Lessons intheCupsand Balls.” In the first part,Mr. Josephcarriesthereaderthroughthe variousstages of secret introduction and secret extraction completing with a full routine and suggesting four different finales. Among these moves, a very individualisticone, but oneworth acquiring is the Jo-JoIntroduction.Whilstthere may be something to be said for the use of a full palm insofar that the fingers are open, the speed at which most cup and ball routinesare worked hardly calls for moveswhich actuallydouble the work. In thesecondsection, hlr. Josephcarries the readerfurther along detailingmany littlesubtletiesand ideas. The,,ideas of the “ Rain of Balls ” andthe “ FlamingCupsare exceptionallygood and novel, one only wondering in the latter whether the necessary preparation to the cups would upsetanormal routine. T o thosewhowantsomeworth-whileand out of the way information on the Cups’and Balls, this book is unreservedlyrecommended. #
A sadday for all magiuans, a s . I think every one mournedforonewho was great.
Good.
*** ‘‘
T.N.T.” (editedbyFabian,publishedbyGoodliffe, price6/-).
Here is a little booklet of some dozen typically British tricks. Fromthe noveltyangle perhapsthemostoutstanding beingJack Shephard’s “ AllezOop.” What is, however, worth far more than the price of the book; is the splendidand practical articlewritten by Ron Bishop. Well printedand with a semi-stiffcover. Reconmmeded.
#
X
#
***
“ ABRACADABRA XMAS SPECIAL lished by Goodliffe, price316).
”
(pub-
Whilstthepaper is notup to the normal Goodliffe standard, the material in this booklet is decidedly worthwhile.Children’s entertainers should on no account miss John Kenyon’s “ The Fortieth Thief,” which a splendid example of building up standard effects into story form. The biggest mysteryto uswastoreadone contributor writingthe “ Legendry CharlesJordan.” After three weeks we still don’tunderstandit ! Recowmended.
X
#
N E 0 MAGIC ” by S. H . Shurpe(published 1416). byGeorgeJohnson,price
#
#
“
In theMarch issue we propose to give a detailed criticism of Mr. Sharpe’s book, for it is not a book to be ‘dismissedina few lines. Let usonly say herethatit is well printed, errors there are and at the moment we are awaiting an “ errata ” list) andboundincloth. It is a book for the magician who sees more to magic than the performance of a few tricks. Whilst this may seem heresy to so many, wedisagree withtheauthor’sreiteration of someprevious fallacies. Enoughfor now. This book is unreservedlyrecommended.
‘‘ GOODLIFFE’SMAGICMONTHLY,”
. No.
1.
The first number of this much discussed venture is now to hand. Whilst we should have liked to see something morealluring, we feel thatto criticise suchapioneer ventureonsuchgrounds is trifling. Our ownfeelings towardssuchapublicationare as stated before, thatit can do a great deal towards making good conjurers. The publication of secrets is, however, a bogey to some members of societies. Such is the worst of mere puzzledom. We look,forward tothe secondissue.
34
Wandman Specials FLAP SLATES Locking and O r d i m r y - t k finest obtainable
CONVINCING COIN MAGIC
Victor Farelli’s latest u d greatest work Close-up Platform and Stage Effects. Cloth b&nd, art paper, 33 photographs and 24 drawings Price 17/S post
4d.
TABLE STANDS (Patt. appliedf o r No. 18210146) Chrome Hexagon Pillar, Three Black Moulded Legs, One Screw fixing. For rigidity and artistic appearance they stand supreme
Price E2-2-0 List sent on request
WalterWandrnan
MAGIC W A N D E A R BOOK
ALL ABOUT .EVERYTHING Eighty pages of Magical Information. Tricks of theTrade, Make-up forthe Stage, Workshop Wrinkles, Radio Publicity for Magic, Society Reports Trade Section, Cartoons, etc., etc., etc: Price 2/6, post 4d.
2 0 / - for both books
ELECTRA WORKS, REDDING’O LANE, TYSELEY :: BIRMINGHAM 11
Patterns for Psychics by Peter Warlock
Packed with Mentalist Effects thatare positively UNCANNY. Card prediction effects, billettestsandthought-reading brought to thehighest pitch of perfection. Fully Illustrated Cloth bound
post free
GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING CO, 11 Monastery Gardens, Enfield,Mlddlesex
you
Expert h‘Inmipulation of Playing Cards This is, without doubt, the best book on mental effects since Anneman left US."^ by LewisGanson 195 Plates PricelO/ARCAS L I M I T E D
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
‘I
ABRACADABRA
404-408 SYDENHAM RD.,
66
CROYDON
IT
HENRI DEIEEVAH MMC.9
‘‘ Z,PPHAREE,”
Magician, 16 & 18 Watts’Place CHATHAM KENT,
MAGICIANS’ BOOKBINDING SERVICE Duplicating Dept. ATTRACTIVE DISPLAYED LISTS BOOKLETS MANUSCRIPTS Lct us know your requtrements
-
-
-
CF . IELD 42 Alderson Road, Sheffield 2
EMS-,
IEM.,
SSMC
The Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or :call a t his s t u d ~ o l CLARENCE ROAD, Harborne, Birmingham 17
my list of exclusive effectsthat also contains useful hints and tips for magicians. Smd 4d. i n stamps to :
JAMES
GRAYSON
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephune or Telegram : MORLEY 899 . Address :23 GREENFIELD AVENUE GILDERSOME, ,Nr. LEEDS Nearly 30 years zn thebusmess
THE MAGIC WAND and MAQICAL REVIEW March issue containsthelasttenentries for the Mental Magic Competition. Also details ofnew Competition for the besteffect for entertaining Children. LIO In prizes. Much more good magic by Victor Farelli, E. Brian Maccarthy, P. C. Sorcar (the famous Indian Magician) etcetc Sample Copy 3/8 test phid iiur selection) Annual SUbsCriptiOn 14/6 +ost +azd Publishedon the first of March,June,-Octdber and December THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
Clubroom and Library and Museum :
St.Ermin’sHotel, Caxton Street, S.W.l. Magical Theatre :
King George’s Hall, Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
AN ORIGINAL ROUTINE FOR BURNT AND RESTORED NOTE. Price 718 post free Latestunsolicited Testimonialfrom Will Tedder, of London :I didthis at U MasonicDinnerand got two return bookings, stipulating I must do fhe LI note trick. It’s smashing . . . ” ! ! Direct from :
CECIL V. TEBBETT 4b ALBERT PROMENADE LOUGHBOROUGH, LEICS. or:
HENRIDESEEVAH 136 HARVINGTON ROAD WEOLEYCASTLE :: BIRMINGHAM 29
Magical Books Br Mss., Etc. Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics. INSTITUTE of MAGICIANS
Founded 1734 President : A.Zomah. Hon Sec Oscar Oswald 102 Elmstead Ave * Wembley P a r i Middx. H.Q. and L i b r a j : NO. 2 H a d Court (Victory Club) High Holborn W.C. MEETINGEVE$Y THURSDAY i-11pm. Vlsltmng Magclans always welcome. Your membership cordially invited-drop a line tothe Hon. Sec. for literature.
C O N J U R I N GB O O K SF O RS A L E OLD AND NEW. Let me know your Want8 LIST FREE FOR STAMPED ENVELOPE No callers
47
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
‘‘ CARD TRICKS WITHOUT
PETER WARLOCK’S
W.C.
Particulars from Hon. Secretary :
“UP THE GARDEN PATH”
to have your n a x e on our mailing list. Many new items in production and lists will be issued intermittnntlp. M A G I K K A F T is the name for . G 0 0 D AI A I C
Price l O / -
President :His Grace the Duke of Somerset D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.I.M.C.
TEBBETT’S
Magikraft invites
THE MAGIC CIRCLE
SKILL ”
A New Book already famous The quintessence of Eard magic without a t a price thatis a fraction of its value (h+S. Histed). One of the best I’ve seen this side of the Atlantlc on Card Magic ” (Herbert CoZlilgs). 117 Effects - 150 Illustrations - Over200pages - Cloth-bound 5/11 post free New Price List 6d. post free :-li
PE NTXGRXM Published on the 15th o? each month 1 /i single copy, post free 11/- per year, post free from
“
...
GREENBANKS,”BRAMCOTE,NOTTS. or from yourdealer
PAUL CLIVE & CO., LTD. Back 68 COCKER STREET, BLACKPOOL
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
35
PENTAGRAM
An independent monthly bulletin for all who want good magic
V!& l J K ! 6~
M , 1947
This isadescription of an excellentdevice whereby in effect the handkerchief in the magician’s breastpocketrepeatedlychangescolour. Its uses aremultiple, andsuchausemight beinstanced when the Coloured Plumes effect is being performed . . the magician places the coloured plume in the to the fact paper tube . . . attentionbeingdrawn thattheplume matches his handkerchief . . . whisst . . . the handkerchief changes colour and the plume iswithdrawnsimilarlycoloured. The fake to accomplish this has to be hand-tailored to fit the breast pocket and the accompanying drawings made from the actualapparatusshouldmakeeverything quite plain.Illustration A shows the back-bone of the fake and consists of a piece of very thin ply, bordered by two uprights measuring half aninch square. Each of these uprights is recessed to accommodate the plywood and to make this plain, A shows only one upright in place, the other being shownseparately so thatthe recesscanbeseen. It should be noted that the plywood is shorter than the uprights by half an inch. This is shown in B. The latterillustrationshowssomeadditionswhen the uprights havebeengluedinto place. Through the uprights at the lower end, a piece of thin metal rod (about the thickness of a bicycle spoke) is run, and at the topof the two uprights arefixed two small right-angledbracketsmadefrombrass. Through these brackets another thin metal rod is run, and it is a matter of importance that each end should be screw-threaded and befittedwithsmallnuts. A
.
oh43 S-
piece of black satinis now made into an endless band so that it fits tightly around the fake and the metalrods. T o achieve this tightness, unscrew the top metalrod,adjust thesatin band to the more than necessary degree of tightness, then replace the rod. A piece of wireis now takenandshapedas andsewninto in D. This is placed onthesatin the positionshownin C. Fivedifferentcolouredpieces of silk are now taken,shaped,andsewn at regularintervalson to the endlessband. The mainillustration gives you the correctlayout. To the bottom of the fake is now fixed a piece of metal shaped as in E, and over the hole inthe projectingtriangleisattacheda length of brakecablesheathing. A piece of brake wire is now run through the tubing and attached to the wire sewn across the satin. D shows the means of attachment.Withthe cableinserted, it will be ,found that a short tug brings the succeeding pieces of silkintoposition in a positive manner. T o use the fake, the rectangular part isinsertedinto the breastpocket,asmallhole being-cut through the lining so that the cablecanbecarriedround the back of the operator. Tails arebestfor its use. A safety pin is attached to be cable as in the illustrationandkeeps the cable in position. As it has been stated before, just a tug moving the roller an inch or so, and up pops the next coloured silk. It is veryconvincing,andthosevisiting the of CotswoldConventionwillhaveanopportunity seeing the originalpiece of apparatus.
36
As usually handled, the artifice we know as the Double-liftwouldnotdeceiveablindschool. In most instances where it is employedatop-change would be much the betterprocedure. I can conceive of nothingincardconjuring less likely to deceive than the taking of a card from the top of a pack and then returning to the top for no other reason than to lift it off again. Yet I have seen this done some scores of times, and notalways by the inexperienced. My object in this short article is toshow how a double-lift may, with perfectly natural moves, serve a two-fold purpose :-(l) to change the second card into the top one with one hand only ; (2) to reverse a card in the pack automatically. For the explanation to have something more than a dry academic interest I shall embody it is an unpretentious little trick. Imagine then that two cards have been selected by different spectators, the first card drawn being, say, the Ace of Clubs and the second the TWOof Hearts.Havingcontrolledthesetwocardstothe top of the pack by one of the many known methods and byrepeatedshufflingconvinced the onlookers that the twocardsmust belost in the pack, the conjurer offers to makethe first of the selected cards appear on the top of the pack. At this point comes the double-lift. The two cards, dealt off as one, are turned face up on pack but allowed to overlap by
COTSWOLD MAGICAL SOCIETY COMPETITIONASSEMBLY CHELTENHAM, MAY lst, 2nd, 3rd & 4th All visitors must register.Application forms now ready. Apply: Eric Williams, 203 The Homend, Ledbury. Ask the Secretary of your Local Magical Society for details of Open Competitions-he has them. OOTSWOLD CUP CONTESTrSoi5eties Entry Forms now ready. Apply: Tom Waterman, I Lansdown, Stroud, Glos.
CONJURING
BOOKS
F O RS A L E
OLDANDNEW.Let mr know your wants LIST FREE FOR STAMPEDENVELOPE No callers
47
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
half their width only as shown in Fig. 1. From this position the Ace of Clubs is apparentlydealtface down on the table in a perfectly natural and convincingmanner. As the hand turns over tobring the knuckles uppermost, the thumb draws the Ace ofClubsflushwith the rest of the pack and the fingers push the second card, the Two of Hearts, on to the table. This sleight,which is nothingmore than an adaptation of a very familiar card change has the advantage of notonlybeingindetectible, but also so easy that itcan be mastered in a few minutes. The important thing is have to the tipsof the fingers projecting just above the edge of the pack so that instead of the over-lapping cards lying flat on the top, the floating edges are liftedto an angle of about twentydegrees (see Fig. 2). Reviewing what has been done, we find that the first card drawn, the Ace of Clubs-is reversed on top of pack, the face-down card on table being the other spectator’s selection,viz., the Twoof Hearts. Turningtothe secondhelper, theconjurer enquires “ Is this by any chance your selection, Sir ? ” at the same time cutting off a top packet to shcw its bottom card and indicating its face with left index finger. The object of this move istobringthe reversed Two of Hearts to approximately the, centre by means of the familiar Slip. The card on bottom of packet being, of course, disavowed, the conjurer continues “ I didn’t think for one moment that it was your card. Be patient and 1’11 show you something rather extraordinary.” He then proposes tomake the Ace of Clubs on table not only change places with a card in the pack, but also to reverse itself on arrival. A spread of the cards reveals the reversed Aceof Clubsaboutthecentre of the pack. The cardon table is turned over and shown to be the second of the selected cards-the Two of Hearts. In the third paragraph of this article I have purposelyitalicised the word “ dealt.” Readers sufficientlyinterested inthe refinements of this sleight may find some helpful suggestions in mynew book “ A ConjuringMelange,” just published by the Fleming Book Company, of America. M A G I C I A N S ’P A L M I N GC O I N S If you have any coins made for or by magicians for use as palming I wantthem. I do not want fake or gimmzcked coins. SEND LIST ANDPRICES
coins or advertisingtokens,
JOHN MULHOLLAND 130WEST44ndSTREET,
NEW YORK18,
NEW YORK,U.S.A
THE. MAGIC .WAND a+ MAGICAL REKW MarchIssue containsthelasttenentrlesfortheMental Magc Competition. Also details of new Competitioafor thebesteffect for entertainingchildren. &roin prizes. 48 pages of goodmagic. Published on the first of March, Jum, October and December Per Copy 318 post paid. Annual Subscription 1418 post paid CONVlNClNBCOIN MAQIC by VICTOR FARELLI 17/10 postpaid THE MAGIC WAND YEAR BOOK184617 EDITdN, 219 postpaid THE MAGIC WAND PUBLISHINQ COMPANY MONASTERY 11 GARDENS :: ENFIELD :: MIDDLESEX
37
Here is a snappy and pretty little thimble routine that is entirely impromptu. It encompassesseveral colourchanges andthe finalproduction of four thimbles, all different colours. No holders or fakes are required, all you need are four thimbles each of a distinctly different colour. For the sakeof clearness we will assume that the four thimbles areBlue, Red, Yellow andGreen respectively. The red, yellow andgreen thimbles lie in one corner of yourleft jacketpocket,stackedtogetherin thatorderfrom bottom totop. The bluethimblelies separate in the other corner. T o perform,reachintoyourpocket withleft handand finger-palm the stack of threethimbles in the bend of the second, third and little fingers. They should lie with the bottom of the stack towards thelittle finger side of the hand. Withthelast three fingers closed into the palm over the thimbles, bring the hand out of yourpocket with the blue thimble in full view on the tip of the fotefinger. The right hand is shown empty, the left fcrefingerisbroughtover and laid onthe palm, the righthand fingersclosingapparentlyover it,and the thimble,immediately. What reallyhappens, of course, is that just before the left forefinger reaches the right palm, the thimble isquickly thumb-palmed andtherighthand closesover the leftforefinger minus thimble. The closed right hand isnow drawn off the leftforefinger to all intentsandpurposes taking thethimblewithit.Thethimbleis now reproducedon tip of left forefinger.Right hand is now opened and disclosed empty. Now comes a move, simple enough in execution, but rather difficult to explaininprint. As the onlookerssee it, you close your right hand and turn it back outwards as the left hand comes up and points towards it. What happens, however, is that as the right hand starts to close, the left hand comesup and past it and literally throws the stack of threethimblesintotheright hand. If donecorrectly, they land with bottom of
ARCANA-continued
stack towards the thumb. The hand closes over the stackimmediatelyand thenturns back outwards almost simultaneously, as the left forefinger bearing the blue thimble points towards it. At the time of the throw the handsareonlyaboutthreeinches apart. Once you get the knack, you willfind it is quite indiscernible. The left forefinger,still bearing the blue thimble, is now insertedinto theright fist. Just before it enters the first, the blue thimble is neatly thumb palmed, the forefinger enters the fist and then comes out with thered thimble on its tip. The thimble has apparently changed colour. Left hand now reaches out and the bluethimbleappearsonthesecond finger. Left forefingerbearing the redthimble, now enters closed right hand as before, same move isrepeated,and it comes out bearing the yellow thimble.Rightforefingerandthumb now transfer yellow thimble to third finger of left hand, and red thimble is reproduced on left forefinger. Of course, if you can do it, you can reproduce the red thimble onthird fingerasIusually do. Withabit of practice it is not over difficult to reproduce a thimble onthethirdahdlittle fingersfrom thethumbpalmedposition.However,assuming that you are going to do it theeasiest way, left forefinger bearing redthimble onceagainenters right hand,same move is executedand it comes out bearing the greenthimble. The greenthimbleistransferred to left little finger and the red thimble is reproduced on left forefinger. Both hands are now freely displayed,left hand finger-tipsbeingcapped with fourthimbles,each of adifferentcolour. This little routine is not at all difficult and its greatest virtueisthat, providedyou always carry the thimblesinyourpocket, it canbeperformed anywhere on the spur of the moment. This routine of Douglas Francis’s has also been recentlypublished in the B.A.T.
from page 38
When the pad has been passed to the medium, shewill writethreeseparate predictions onthree sheets of the pad and fold them. The forceword previously obtained is now noted from the key and written on a fourthsheet.
A book (the book, of course) is borrowed from the bookcase and one of the assistants asked to total the values of the three chosen cards. (Jack, Queen and King countingeleven, twelve and thirteen). The book is opened to this page and the assistant counts to theword denoted bythe value of the highest card. It is best to stipulate that the heading of the page, oftenthe book title,shouldbeignored. The prediction, of course, correctly statesthe chosen word.’
The medium returns and the three card predictions opened and proved correct. The fourth is placed,folded, inprominent a position.Everything is now ready forthe final effect.
The excellent Annemann effect referred to can be adapted in this manner to give a startling prethe dictionwhichwilllongberememberedby audience.
on three separate business cards, the opportunity is taken to make the three secret marks on the pad to correspond.
38
The principle of Arcana isone of general utilityforatwo-personmindreadingact,andis capable of adaptation for a number or effects. Three of theseare given insomedetailand throughouttheworkingis clean withtheadded virtue that lengthy coding is not required. The performer will require a numberof printed businesscards,designedinsucha way thatthe matter is spaced around the borders, with sufficient letteringordesignuponthetopandrighthand margins. This will leave a spacefor thewritten messagein the centre of the card. An unprepared padandasharppencilcompletetheequipment. Effect 1.-The mediumisseated away from the audience, or preferably in another roomwhen house-partiesareentertained.Amember of the audienceisinvitedto shuffle a pack of cards and chooseone,which is made known. Squaringone of the printed cards with the bottom left hand corner of the pad, themagician writes the nameof the card boldly in the centre of his card, at the same time making a minute pencil mark on the pad opposite to the border lettering. This is in accordance with a key card whichis in thepossession of the medium, where each letter or part of the design represents Ace to King. The suit is coded by, say, a small dot for Clubs, a tiny vertical stroke for Hearts, horizontal for Spades, and a sloping one for Diamonds. The wholeishandedto themember of the audience. He pockets your business card, thus enabling you to enjoy alittlefreeadvertisement,and takes the pad and pencil to the medium. When alone, themedium, who possesses a similar sized cardas a key, spaces it accurately on the pad and thus rapidly learns the selected card. The pad is returned with the name of the card correctly written on its face. The key card should have the actualvaluesspaced around the margin for speed and accuracy. The effect canbeenhancedbyrepetition. T h e deck should have been pocketed after the first selection and matching a one now withdrawn, stackedin a knownorder, i.e., theSiStebbid System. A second assistant cuts the deck, takes the top card of the cut but does not announce his choice. T h e mentalist casuallytakes up the two halves of the pack and notes the card beneaththecut. Announcing a double foreoast, he writes the name of the chosen card as before and again codes this on
the pad. Retaining his business card until the pad is returned from the medium a double denouement can be made. Effect 2.-A line chosen from any book can be transmittedtothemedium by the same means. This time itis necessary to presume the top lettering of the card to represent 0 to 9 for the page number and the right hand margin in a similar manner for the line. As the numbers decided upon will be in any order, differently shaped marks on the pad are made to show the first, second and third number, so that the medium may obtain them in the right sequence. A number chosen is by a memberof the audience, to indicate the page. Again, a small numberis given to indicate the line,which is read out. Whilst the operator writes out the chosen line on one of his cards, he marks in a suitable manner the numbers, denoting the chosen page and line. Pad, pencil and book are conveyed to the medium, who returns the padwiththe chosen linewrittenthereon.Where more than one mark is made on the pad, as in this effect, it isas well forthemediumtowriteher message over the marks so that everything will defy detection afterwards. Thesheetthus becomes a souvenir for the assistant who is making the choice. Effect 3.-An excellent combination can be made with the foregoingin those instanceswhere access can be had for a few minutes to your host’s bookcase beforehand, and opportunities of this nature should not beoverlooked. Utiliseastacked deck, wherethe cardsare arranged in the Si Stebbins order. Now wherever three cards are taken together from the deck, there are only thirteen different totals possible, with one high card in the three. Liberty is taken in adopting this idea from Annemann’s “ SH-H-H-- ! IT’S A SECRET ” (A ThoughtisFathomed)and every acknowledgment should be given in this respect. The medium’s key card should befilled in thus: Bottom Card Page Word Word 10 21 Ace 24 11 Two 27 12 Three 30 13 Four 20 11 Five 12 23 Six Seven 26 13 16 11 Eight Nine 12 19 Ten 22 13 12 7 Jack 15 8 Queen 18 9 King The last column is completed of course from the glimpse of the book which is tobe used. The deck is cut and the three topcards exposed are taken by three membersof the audience. Now in gathering up the two halves of the pack, the operator glancesat the bottom card of the cut and is thus acquainted with the threecards. In predicting these continued on page 37
39
3Ae Uat tu After reading Mr. Jonson’s article on “ Is Magic an Art ? ” inthe November Pentagram, I find I have made seven ? marks in the margin ; I should like therefore to cross swords with him on the points concerned. Because it may be thoughtthat I am trying to be provocative,let me begin by assuring him, and anyone else sufficiently interested to read the following, that it is chiefly written in order to clearmy ownmind,andispublished(withthe Editor’s consent) in the hope that it may stimulate othersto consider thematter from different a approach. As members of The Magic Circle know, there has been for some months a discussion going on in the pages of The Magic Circular on thissame subject, during the course of which I suggested that A r t was work that evoked feeling ; and that therefore conjuring was art because it evoked the feeling of Wonder. Mr. Jonson-who haslongbeen of theopinionthat conjuring is not an art-rather grudgingly admitted that magicmay be an artafter all ; and now, in Pentagram he states definitely that it is . . “ but not often ! ! ” My first ? is against Mr. Jonson’sdefinition : “ Magic is the presentation of the incredible.’’ To beginwith, the wordmagic must surelyinclude Natural Magic as well as Imitation Magic or Conjuring ; and as natural magic is not a performance, the definitionwillobviouslynotdo. Also “ incredible ” is hardly the happiestchoice of word because many incrediblethings are not magical. Surely magic of any kind does not exist apart from the mind that experiences it ; and so it should be definedas the mentalimpression of supernormal activity, or something similar. Remember that magic isnotconjuringbutincludes conjuring. I take it that Mr. Jonson means : “ Is Conjuring an Art ? ” and so conjuring could be defined as Imitation Magic ; and a conjurer as an artist in illusion, or an imitator of magic. Mr. Jonson attempts to define Art by saying i t is any form of representation that makes one both think and feel ; but byadding “ feeling ” tomy longer definition he has, inmy view, madeitno define. When I said that artevoked feeling, I wished to convey an idea which distinguished the mental activity of artfromthegroup of non-artmental activities that are, broadly speaking, covered by the word “ thinking ” ; and which include of course : reasoning, planning, remembering, and so on, which are intellectual activities. Art, on the other hand, is surely not intellectual, but emotional, and imaginative.Music,ballet,paintings,magic and so on, in so f a r as theyare art, stimulatenotthought, but imaginationandfeeling. It is becauseadraftsman does not set out toevoke feeling (his aim being to be accurate) that he is a technician, but not an artist. So an artist is one who intentionally evokes feeling and imagination.
.
The next point is rather involved, the questiod bv artists of the creation of mentalimpressions being to some extent confusedAwith their <material media, or vehicles of expression. Is notapainting used by a painter in the same way that actors are used by a dramatist ? Surely the actors themselves are secondaryartistsbecause,thoughtheyarecircumscribed by the dramatist’srequirements, each must interpret his part according to hisown imagination and feeling, unless he imitates some other actor who has played the same part. It is the same with acomposerand the musical virtuosi who play his creations. The painter and the sculptor make their mentalimpressiondirect, each throughhis own medium. An orzginal conjurer, however, creates his impression direct by presenting his own illusions ; so that, so far as this matter of creative imaginationgoes, he is better entitled to the name of artist than an actor in somebody else’s play, so long as heewokes feelingand imagination by hisperformance. The mere demonstrator is a technician like the draftsman. Unhappily,many of the conjurerswho do act at present seem to havemisreadRobertHoudin’s dictum as “ A conjurer is an actor playingthe part of a drunkard.” When Mr. Jonson opines that conjuring offers little intellectualstimulationheisgetting off the point of his thesis, and so ,I will not go further into that questionhere, save to ask him, “ Whatarts combinemoreintellectualstimulationwith their evocation of feeling than conjuring ? ” I n saying that magic’s lack of emotional appeal causes it to fail to rank among the most commercially successful formsof theatrical presentations, he must have made Houdini’s shade squirm ; though in many respects lack of commercial emotional appeal is something tobe thankful for. As for magic leaving the higher emotions quite unaffected, so that aconjurercanhardlyclaim to be more than a minor artist, this notion was maybe due to Mr.Jonson having for too longlooked on the small change of conjuring, resulting in his forgetting that golden guineas ever existedor could again exist. If the highest, and at the same time the most profound feelings are those which transport humanityfromthis materialplane of existenceinto the SeventhHeaven,andwhichhave been referred to variously as Cosmic Consciousness, Yoga, and Union with God, then it seems to me that, so far from magic being incapable of evoking such feeling, and visions, it must have within itself the supreme power so to evoke, over any other art. Indeed, how couldany otherart evoke the authenticmystical experiencewithgreaterforcethanmysteryitself, when rightly employed by an inspired magic-artist ? Perhaps the whirligigoftime will throw up some new genius who will show US that those feelings which are too transcendental for words to convey, are not too transcendentalto be conveyed by Magic.
40
*****
*;k*
PENTAGRAMGRADING : (Threestars)-OfPracticalValue. ‘ L
P A T T E R N S FOR PSYCHICS.”
****
**
(Fivestars)-Outstanding. ( T w o stars)-NoReason
(Fourstnrs)-Very for Publication.
Good.
By PeterWarlock.
Publishedby Arcas,price 10:-. Reviewed by Jack Morrison.
In hislatest book “ Patterns for Psychics,” Peter Warlock has given to“the Mentalist ” and all who are interested in this type of Magic, anumber of thoroughly practical routines,effects and ideaswhich arewell worthy of close study. They are obviously not “ pipe dreams ” and all have stood the acid test of repeated presentation under varying conditions. The author is not only a first-class performer of many typesof Magic but he also is a keen student with avery considerable theoretical knowledge, and his published effects always give one the impression that he is for ever striving after athreefold objective-simplicity of method, perfection of result and maximum audience reaction. “ Patterns for Psychics ” is divided into six sections covering a total of seventy-six pages. The first Section comprises two routines based on apparent coincidence, in the second of which is described a very good idea for the forcing, changing, etc. of billets. Section Two is headed Patterns for Predictions and comprises seven prediction effects for use under.varying conditions and circumstances. The item called a “ Warlock Prediction ” will probablystart afew people alteringtheir ideas. Section Three includes a method of switching billets, a dead name test, very a good book test and two ideas on the telephone test. Section Four contains one slate routine strong in novelty and humour andSection Five, three routines under the Heading Extra Sensory Perception. The last of these, called a Stab in the Dark, is very a good lesson in how to present and build up this type of effect. The Last Section, No. 6, gives amethod used by the Author for the Rising Cards, but no apology need have been inferred in the Preface for its inclusion in the book. “ Patterns for Psychics” has been well illustratedwith drawings by George Hill, the printing is clear and pleasant to read and we give this book our unqualified recommendation.
****
“
THE FIRST BOOK OF WILLIAM ”
by Billy McComb (Publisher : Goodliffe, 6 / - ) .
There are few writers on conjuring who bring a touch of freshness, and by that term, Ido not mean originality to it. Waller is such a one,Billy McComb is another. On reading Billy McComb’s book, I had much the same feeling as I had when reading the MS. of Harbin’s “ Demon Magic ” . . . the feeling thatthewriterhad no limitsin discovering new magical angles. In this, his first book, Mr. McComb treats his effects as matters of variety entertainment, but unlike so many in this field, who strive for gags at the expense of magic, he gets his humour without any deprecation of the mystery angle. For the seeker of novelty there ‘is a simply marvellous effect with such an uncommon article as a bicycle tyre, and, a delightfulopening effect for the stageperformer where a pair of gloves change . . . not into a dove but into a silken parachute which flutters down into the performer’shands. The Floating Ball routine
“
PETER WARLOCK’S
P E N T X G R X M Publishedon
the15th
of each month
1/ l single copy, post .free 11 /- per year, post free from
“
GREENBANKS,”
which he describes is in the true Waller tradition of perversemagic,andwhilst we remember ourlate friend Will Blyth performing the “ Invisible Paint ” effect, Mr. McComb adds some very subtle touches. Probably the best item in an original manner for a stage performer is entitled “ William turns Gravity Upside down.” The man with a big show, whatever his style of presentation has here an effect costing a negligible amount to build which those who see will always remember. T o thosewhodonotdobig shows and who do not like comedy magic, the Poker Hand effect and “ Amid the Fakirs ” will more than repay them for the extremely small outlay. Besides the effects I have mentioned there are many more, all showing the enthusiasm of a practical magician, with the result that“ The Second Book of William ” is eagerlyawaited.For‘thosewholikedetails this volume runs to fifty-one pages, is well printed on good paper. The illustrations by theauthorbear the mark of his originality.Unreservedlyrecommended.
. ..
RRAMCOTE, NOTTS.
or from yowr halm
CARD TRICKS WITHOUT
SKILL ”
A New Book already famous :-“ Card book splendiS1; Send another. Postal Order enclosed ” ( C k i s Vun Bern). Stands out as something every conjurer, amateur or professional, should possess ’’ (Lionel King). 117 Effects - 150 Illustrations Over 200 pages - Cloth-bound 5/11 post free New Price List 6d. f i s t free
-
PAUL CLIVE & CO., LTD. Back 68 COCKER STREET, BLACKPOOL
41
Since the “ Pentagram’” commencedpublication there havebeen few adversecriticisms of its format. One thing however that has troubled some of our readers has been the smallness of type used. Papereconomy was the chief reason. Withthis issue we areable toadd anextra two pagesand slightlyincrease the size of type,making it easier for reading. The eight page issuenaturally make an easier job for the bookbinder, although the odd page which has only been issued with three issues will prove little trouble to a good craftsman, which leads me to the point that elsewhere in these pages such a craftsman, Mr. Field, is advertising a binder case in which copiesof the “ Pentagram ” can be kept clean, tidy and ready for reference ; I have received one and it is very nicely finished with snap fastener and gold letterpress. The first number of the “ Pentagram ” went out of print very quickly and I have had to turn aside requests for somewhere in the nature of two hundred and fifty copies, I am considering a second edition providingthatthedemandis sufficient to cover the cost. I should therefore like those readers who wish to have a copy of Number One, to just send a postcard, requesting a reservation. My friend George Armstrong not content with the editing of the “ Magic Wand,” has decided to I revive “ The Wizard ” asamonthlymagazine. feel sure that all my readers join with me in wishing him a successful launching of the first number an the 10th April, followed by a “ calm sea and prosperous voyage.” The shade of Herrman (if he invented the Hermann pass) must be greatly amused by the way this sleighthasbeenglamourisedsinceFredBraue published the “ Invisible Pass.” The greatpoint in all the discussionseems to havebeenmissed. namely, that a first-rate card man and a first-class publisher tried to place a price not only on a move, but on a quality publication. Particulars have now been received from Monsieur M. Sardina anent the Congres Magique Internationalwhichis tobeheldinParisonthe Z t h , 26th, 27thand28thSeptember, 1947. The organisation of this big festival of magic has been undertaken by AssociationFrancaisedesArtistes Prestidigitateurs, of whom, that great figure in the literary world of magic, Dr.Dhotel, M.D., is President. The programme is veryattractive,includingamongotherthingstwo galapublicper-
formances to be givenin thefamous SallePleyel (that very name brings thoughts of Spring, Chopin and Georges Sand !). There is aBanquet,presumably the all-night sessions, without which no convention is complete, dealers exhibits and moat importantinterpreters ! There will be an official meeting of representatives of Societiesattending the Congres and items that come up for discussion include the possibility of forming an International Federation of Magicians. Those readersinterested in combining magic with anopportunity of visitingPariscan obtain all particulars from :Monsieur M. Sardina, 14, Rue de Rivoli, PARIS, France. The republication of some of Frank Chapman’s splendid effect in the BAT was abrilliantidea of LloydJones. “ The Watch intheLoaf” (when shall we be able to use loaves for magic ?)has never been more finely routined. Membership of the B.A.T. isbringing some very good things,and mentalists would find more than well worth while, C . L. Boarde’s “ The Borrowed Brain, which was a bonusissue. “ The Phoenix ” No. 118, carrieda lovely idea with book matches. Like we always first read “ Editrivia ” in the“ Jinx,” so do we read “ The Back Room ” before looking at theeffects.. This is an angle which might make a change in prediction effects . . . instead of predicting what the spectator is going to do, or say, the magacian says he willget the spectator to readhis(the magician’s) mind . . . prediction in reverse ! In certain cases of predictionmodusoperandi the effect, I think would be more telling on the spectators. Whilst on the subject, of predictionswhichcouldbe thus adapted, next monthI shall publish such aneffect. It is “ PREVHUE ” by L. A. Belcher. StewartJameshasdone it again. In his new effect, “ Remembering theFuture,”he hasproduced another effect in the “ Miraskill ” class. .It is an effect which demands only good presentation . the better the presentation the greater the miracle as from the audience’s point of view the spectator does all the work. At the price offered no card worker can afford to miss this outstanding effect. I feel that I do not have to apologise for the lateness of the “ Pentagram.” The Fuel crisis with its effect upon the printing industry is of course the reason. I t is hoped that in a couple of months the “ Pentagram ” will be back on its scheduled publication date.
STEWART JAMES’ Exclusive Effects No. 1 :
..
REMEMBERING THE FUTURE
“ ” A Card Effect where one spectator freely predicts the number that will be arrived at by another spectator cutting and counting the cqds. ANY DECK OF CARDS USED., NO SLEIGHT OF HAND OR INTRICATE MO?ES. The effect is a winner and will completely deceive the best informed of magmans. Read tL folbwzngunsolzcztedtestzmonzal from a well-kmn magzctan and znventor :‘‘ The very best magic depends on uncanny principles such as you apply in your ‘ Further Than That ’ and recent ‘ REMEMBERING THE FUTURE ’ effect. Makes fine Radio material too. I can feature every such effect you can devise thouph how you do it I cannot understand. These principles that will I apply to more than card tricks are both rare and welcome. Publish lots more. Gratefully-Winston H . Freer.”
PRICE 51- postfreefrom :-FRANCIS
HAXTON, ST. ANTHONY’S, NONSUCH
WALK, CHEAM, SURREY
42
THE SPHINX
THE WIZARD Founded 1905
by P . T . Selbit
Resumed1947 by George Armstrong
AN INDEPENDENT MAGAZINE OF MAGIC
John Mulholland Editor
IN RESPONSE to the requests by hundreds of readers of THE MAGIC WAND for something on similar lines a t more frequent intervals we have decided to resume publication of the monthly WIZARD
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
First issue to be published on 10thApril, 1947' Sixteen pages of glossy super-calendered paper. Two-Colour Printing. Photographic Cover. Views. Outstanding andNews Magic. Profusely Illustrated. FREESUBSCRIPTION
OFFER
For a limited period we make a special free subscription offer, but becau:e this magzzine is intended only for the bona-fide magician and magical enthusiast, and not for the general public or casual reader, the offer is designed to restrict circulation to the class of reader desired. Send a Postal Order for TEN SHILLINGS to qualify for twelve issues of THE WIZARD. Bound in the first issue will be three vouchers each worth 218. These vouchers may beused atany time toGards the purchas- of books listed in our advertisements. (f/6 cash and 4 6 voucher will purchase books to the value of IO/-). THE EFFECT therefore, is that the reader will purchase a t some time during thk year, books to the value of 301- (most Aagicians spend more than this on books during a year) and he will have received twelve !sues of T E E WIZARD for a/6-the cost of postage. THIS IS A GENUINE OFFER and will be withdrawn as soon as the first issue is sold out. Thereafter the price will be 1/1 per copy post paid, or 1216 per year for twelve issues post paid.
SubscriptionPriceinEngland 5 dollars a year :: 55 cents.
:
a copy
Arrangements have been made for subscriptions to be accepted and money .. England deposited in .. .. .. WRITEFORDETAILS
REGISTER NOW
THE SPHINX
Receipt will not be sent unless stamped addressed envelopeis enclosed GEORQEARMSTRONG, THE MAGIC WANDPUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD MIDDLESEX
130WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
..
JustPublished EXPERTMANIPULATION OF PLAYING CARDS byLewisGanson Every phase of card manipulation clearly and fully described from the continuous front and backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals and complete cardroutines illustrated by 195 photographic reproductions. Price 101- postage 4 d . ARCAS LIMITED 406408 SYDENHAM RD., CROYDON
66
IT 9 9
THE MAGIC CERCLE
inwites
President :His Grace the Dukeo?Somerset D.S.O., O.B.E., I.P., D.L., M.I.M.C. Crag& Esq. Vice-President : Douglas M.I.M.C.
you
to have your name on our
mailing list. Many new items in production and lists will be issued intermittantly. M A G I K R A F T is the name for . G O O D M A G I ' C
Magical Theatre :
King George's Hall,
W.C.
VrancisWhite 39 Alverstone Avenue, Wimbledon Park, S.W.19
INSTITUTE of MAGICIANS
DEIEEVAH IBM.,
F ~ d 1934 d President : A.Zomah.
SSMC
Thc Frimdly Magician invites all Bona Fide Magicians to send for hls
Hon Sec. : Oscar Oswald
102 Elmrte& AveWembley P a r i Middx. H.Q. a d Libra;: NO. 2 H A court
list of new and used apparatus and books, or
MAGICIANS' BOOKBINDING SERVICE
Magical Books & Mss., Etc.
Keep your " P E N T A G R A M " copies safe and clean in our speczal " Pentagram cases PRICE 4/- post ?res
Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
CF . IELD 2 42 Alderson Road, Sheffield
St.Ermin'sHotel, Caxton Street, S.W.l.
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRI
ZAHAREE," Magician, 16 & 18 Watts'Place CHATHAM KENT,
Clubroom and Library and Museum :
Particulars fromHon. Secretary :
M M C . r BMS.1
m y list of exclusive effects that also contains useful hints and tifis for magicians. Send U. in stamps to : "
Magikraft
(Victory Club) Hi h Holborn W.C. M E E T I ~EVER)YT ~ U R S D A Y+-11 p.m. V1sltmng Magmans always welcome. Your membership cordially invited-p a linetothe Hon. Sec. for literature.
I
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
-
Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, .Nr. LEEDS NearJy 30 years m the busmess
Telephone
01
Printed in England for PETER W.4RLOCK by GEORGE SEARSON, Blue Bell Hill; Nottingham.
43
PENTAGRAM
An independent monthly bulletin for all who want good magic ~
-_
vue.I A ~7.
U p ! ,1947
(Dedicate8 to theCotswoldMagical T o whom we are indebted for the original idea of this effect I do not know, but I think that most conjurersarefamiliarwiththeoldversion of the RobbersandSheep,usingseven lumps of sugar and two hats. I canwell remember how myold friendthelate WillBlythliked thislittle conceit. Shaman in a copy of the “ Phoenix ” took the effect severalstages further,but because there always
_
_
_
_
_ ~-
9%CeO N S A W
Society)
of seems(amongstchildren)adefinitesuspicion any trick employing cubes, I decided that the sheep must be sheep and the robbers, robbers. The effect is asof old.-The robbers go one into each barn (represented by hats), followed alternatively by the sheep. Thefarmer comes along and out come the sheep. The farmer counts them. He goes away and back go the sheep. The farmer
_
44
returns again,expecting to find the sheepstolen, but,tohis, disappointment, the two robbersare found in one barn whilst the five sheep are found in its opposite number. The . effect as I havenow madeitispartly mechanical, but at the same time it hascolourful display which more than compensates for what, in some conjurers’ minds, can be considered a strong defect. Requirements. Fivepieces of wood (Balsa wood is recommended for lightness) rectangular in shape,having the followingmeasurements : 3hin. by 2kin. by fin. (playingcard size). This sizeis arbitary-thereisnothing to stop the effect being made in a giant sizeprovidingalternativecover is used, i.e., a small screen, wastepaper basket, etc.These pieces are sandpapered, and on each a picture of asheepisdrawnandpainted(theillustration gives the readeraroughdesign). The opposite can now be either painted black or can be designed to represent the rear of the sheep (the edges should be dead black). The mechanicalrequirementsare thetwo robbers. T o makethese,four pieces of woodsize 3&in. by2$in.by#in. arerequired. These must be absolutely true. From two of these piecesasegment iscutoutto accommodate an Eclipse magnet. Because of the shape of the magnet it will be realised that once its lateral movement is stopped, the cut-outholds it securely. Thisis achieved by taking pieces of card similarly sized to the pieces of wood and glueing them front and back to the wood. Before this takesplace,however, the two pieces of wood are hinged with tape (or, better still, finelinen). The illustrationsshowthisin effect. Also astrip of metalis fixed onthenonmagnet piece of wood to act as akeeper. (A strzpl of metal is essential, don’t imagine that a couple of nails will do the job.) The purpose of the magnet is to keep the robber-figure in one tense piece, but at the same time to allow immediate folding. This methodisbetterthanspringor elastichingeing, for if the job is done properly the long figure can behandled asthough it wereonesolidpiece of wood. Cover whatisto be thefrontwith thin material, cut out the head and shoulders, shape and paint on the features (theydon’t have to be twins !). On the lower rear side paint a duplicate sheep, and according to whether you have blackened or painted the rear portion of the unprepared sheep, do likewise with the top half of the robber. T o finish off, paint the edges of the robber deadblack, and over the magnet-keeperandadjacent wood gluesome thin linen and paint black. When dry and the robber is folded in half, it should be the ‘ dead spit ’ of one of the unpreparedsheep.Onepointwhichmust
CONJURING
BOOKS
FOR
OLD AND NEW.Let meknow your wants LIST FREE FOR STAMPED ENVELOPE No callers
47
GEORGE JENNESS Inverness Avenue, Enfield, Middlesex
SALE
be emphasised : when making the robbers be quite surethatthey willfoldflat. Toolittleattention in hingeingwillstopthetwohalvesclosingcompletely. Prior to presentation the operatorhas the sheep and robbers standing on his table-the robbers should, of course,havesomekind of background against which they can rest. Presentation. The operator borrows two hats which he says will represent two barns in the storyheisaboutto tell. Theyare respectively placed on chairs at oppositesides of the stage. They arenot set squarelyon their crowns, but tilted so that theopenings areaway from the audience. The operator goes on with his story, and picking up one robber places him in the right hand hat. (The robber should be held by the top half, the second fingerand thumbgrippingthe sides.Directly the shape is covered by the hat the third finger pushes against the bottom half, breaking the magnetic connection,andtherobber folds up andbecomes a sheep.) The secondrobber is Similarly treated i n being placed intheleft handhat. Now the sheep go in-one to the right, one to the left, one t o the right, one to the left, and, finally, one to the right. The position isthatthere arethreesheep. .and a robber in the right hand hat and two sheep and arobberintheleft handhat. The operator continues his story of how the farmer came along and calledhissheep.Going totheleft hand hat, the operator takes out thefolded robber, showing it, ,of course,asasheep,and places it on the table. The folded robber is removed from the right hand hat and sihilarly placed down. Now asheepfrom the left, one from the rightand another from theleft. The position now being that there are two sheep in therighthand hat. The operatorcontinuesand tells how thefarmer went away therobbers madeafunnywhistlingnoise,and back went the sheep. Intotherighthandhat goes an ’ordinary sheep ; into the left hand hat goes a folded robber ; into the right hand hat an ordinary sheep ; the to left hand hat the other folded robber, whilst, finally, intotheright hand hat goes the lastsheep. Now the operator has all the sheep in the right hand hat and the foldedrobbers in the left handhat. Back .comes the farmer once more. He is still suspicious, and so he goes into the barnoverhere,andwhat doeshefind . . just fivesheep(theoperator removesthem, shows thehatto be empty . . . whilst in the other barn, as quiet as two mice, are . . . the tworobbers. In removing thelatter,the operator liftsthem by the topso that as they straighten theyautomatically become erect. World manufacturing and selling Rkhts are held by JackHughes.
...
.
THE MAGIC WAND and MAGICAL REVIEW March issue contains thelasttenentries for the Mental Magic Competition. Also details of new Competition for the best ef/ect for entertainingchildren. LIO in prizes. 48 pages of goodmagic. Published on the first of March,June, October and December Per Copy 3/8 post paid. Annual Subscription 14/6 post paid CONVINCINOCOIN MAGIC by VICTOR FARELLI 17/10postpaid THE MAGIC WAND YEAR BOOK 1B46/7 EDITldN, 2/9 post paid THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
45
In 1944 I contributedanitemto the British edition of “ The Linking Ring ” magazine with the abovetitle.Sincethenoneortwobigimprovements have occurred to me, especially with regard to the final vanish of the glass.
Effect. Performerremovesapockethandkerchief fromhisinside breastpocket,shakes it out, displays it back and front, thenimmediately produces from its foldsa tot of whisky, which he hands to one of the spectators.After the lucky recipient has ‘ downed ’ the drink and testified to its goodness, the performer takes back the empty glass, pushes it downinto his closed right hand, then drapes ‘the handkerchief over all. The left fore-finger now pushes the centre of the handkerchief down into the right fist, then left hand reaches beneath, grasps the centre and pulls the handkerchief right through the fist,whichsimultaneouslyopens to reveal that the glass has vanished completely. Both hands are empty exceptfor the handkerchief. Method. Takea small whisky glass of the barrel type, half fill with whisky and then fit arubber ball into mouth ; a rubber (productiontype) golf ball isideal.Place the glass uprightintheright vest pocket. Have the handkerchief in your inner breast pocket.Incidentally you cancarry the glassabout like this allday without anyworryand you are, therefore, prepared to present it at any time. To present, reach into the inside pocket for the handkerchief. As soon asthe left hand is outof sight inside your jacket,it removes the ball from the glass, carries on to the inside pocketandbrings out the handkerchief, leaving the ball behind. With a little practice this canbedone inonesmooth, unhesitating movement.
The handkerchief is now shaken out and gripped at the two top corners by right and left hands respectively, first fingers in front,thumbs and remaining fingersbehind. Hands are now crossedover,right over left, thus displaying rear side of handkerchief. At this momentleft thumbenters glass, fingers outside, and removesglassfromrightvestpocket. Hands are now brought hack to first position, which brings glass concealed =behind left top corner of handkerchief. The right hand now releases its corner, allowing handkerchief to hangdownfrom left hand, glass remaining hidden in the folds at top. Right handthen reaches in,grips glass, travels down and brings it into view at the bottom of handkerchief. The glass is then handed to the spectator for consumptionof the contents, andthe handkerchief is draped over the right fore-arm. Taking back the empty glass with his left hand, the performer now pushes it downinto his closed right hand. As it goes down out of sight,second and third fingers of lefthand go inside glass and lever it out at rear of closed right hand and clip it againstleftpalm. Left hand now moves away, fore-finger points at right hand for a moment, the latterremaining closed exactly asthough ‘itstill contained glass. The lefthand now moves over to grasp the corner of the handkerchief that hangs at the rear of right fore-arm, and as it does so, it will be found that it is in a perfect position to drop the glass unseen, intotheright jacketpocket. Left hand now comes away with the handkerchiefand proceeds to spread it over the closed right hand. Left fore-finger pokes the centre down into fist, then left hand reaches beneath and takes the centre now protruding below fist, pulls the handkerchiefclear through, then flicks the closed right hand with it, whichimmediatelysnapsopen to reveal the completedisappearance of the glass.
~~
STEWART JAMES’ Exclusive Effects
No. 1 :
REMEMBERING THE FUTURE
“ ” A Card Effect where one spectator freely predicts the number that will be arrived a t by another spectator cutting and counting the cards. ANY DECK OF CARDS USED. NO SLEIGHT OF HAND OR INTRIC.4TE MOVES. The effect is awinner and will completely deceive the best informed of magicians. Read the following unsolicitedtestimonial from a well-known magician and inventor :-
PETER WARLOCK :-“ StewartJames’sideais
veryclever.” I can recommend it as a very good trick utilising a new and interesting principle.” PRICE 5 j - postfreefrom :-FRANCIS HAXTON, ST. ANTHONY’S, NONSUCH WALK, CHEAM, SURREY
FRED B R A U E
:-b
NOW I ST H ET I M E
TO BOOK YOUR RESERVATION
LYNWOOD HOTEL, 118 Clarendon Road, SOUTHSEA, Hants. This PRIVATE HOTEL occupies one of the finest positions in :: Hot and cold running water in all bedroom Southsea Under the personal supervision of the Proprietors :
Mr.andMrs.HowardD.Denovan A special welcome awaits all lovers of the art of magic
46
E d i t o r ’ s Foreword.This ais nice angle in prediction and one that,as Mr. Belcher says, can be appliedto coloured other . . as objects a ne x a m p l e , coloured cubes could be stacked or coloured b i l l i a r d balls a dropped into glass tube. Thzs little show of colour in a mental tends to item i m p r e s ts h e on the effect spectator.--P. W.
.
x
x
x
The magician tells his audience of how is he sometimes grante,d a brief vision of things to come. H e proposes to give them an example providing he canget the necessaryreactions.Takingaslip of pape’r, he writes something on it, foldsit and drops it into hat. aThree respectively coloured Red, Whiteand Bluesilkhandkerchiefsare now taken and handed to a spectator with a request that he ties them together in any order he wishes. The operator emphasises that when the silks are knottedtheir order can be read two ways, thus red, white, blue or blue, white,red,and so on. Forthis reasonwhen the silks aretiedthespectatoris asked to say aloud which sequence he desires. The operator then goes to the hat,takes out the billet (and without comment shows the hat to be empty), hands it to the spectator whoopens it and reads out the correctprediction of the order of the colours.
Method. A pocketindexcontainingsixslips loaded as shown :l. Red, Blue, White. 2. Red, White, Blue. 3. White, Blue, Red. 4. White, Red, Blue. 5. Blue, Red, White. 6 . Blue, White, Red. A brief study of this set-up willshow how easily it is memorised. The first column (1, 3 and 5) gives the colour at the top of the chain. There are now twoalternativesaccording to the order of the two remaining silks. Of thesetwo,onecolourwill be of strengthis strongerthantheother(theorder Blue, Red, White). The first column not only gives the silk at the top, but also the correct order if the strong colouris in the centre. The second column (2, 4 and 6) gives the correctorder if the weak colour is in the middle. Here are twoexamples :l. White, Blue, Red-White at top-first Of the two columngiveswhite atNumberthree. remainingcolours,BlueandRed, Blue isinthe middleandisstrongerthanRed,thereforethe correct slip is in the first column’ at number three.
2. Blue White Red.-Blue is at t h et o pa n d column one gives this number at five. Of the two remaining colours, White andRed, White in the middle,is the weaker colour and, thcrefore,the correctslip is in t hs ee c o n d column-at number. six. Prediction,-T h eo r i g i n a l billet-a dummy, of course, though properly written is actually dropped into hat but very a simple, easily made fake, The sweat-band conceals it. I useasilk-linedhat. isseparatedfrom theside of thehatforabout four and a half inches, and a piece of whalebone’ or spring is sewn to it, which is sufficient to return the bandagainst the side of the hat if it isseparated from it. This secretcompartmentisproppedopen by means of a matchstick. The slip is dropped in, and a touch of the finger releases the match which fallsinside the lining--the compartmentimmediatelyclosingup.When the spectatorcompletes his chain, the correct slip from the index is palmed in and the hat handed to another spectator, all in one movement. Presentation.-The only detail requiring any mentionis the lead-in to the effect. The spectator is asked a series of questions by the operator, who requests him toanswerimmediatelywiththefirst word that comes into his head. He makes a note of these replies-explaining that by this means he gets an insight into the spectator’s mind and can have ashotatpredictinghispossiblereactionsunder certain conditions. This is all ‘build-up,’ of course, but if the ‘ prediction ’ is now writtenthisearly part of the effect is dominant inthe spectators’ minds. Notes.-l, Make the index of talc or celluloid which can besewn ; it can be wornallday quite comfortablyandnevercrumples or takesonan awkward shapeatthe criticalmoment. The slips are foldedoverasshownandare easy to locate ; 2, the ‘ dummy ’ billet can be palmed out and the hat fake dispensed with (see “ Jinx ”) ; 3, if using the hat fake, the match may be left in position until the spectator has completed his chain: if you happen to have predicted the choice correctly, simply turn the hat over, tipping the billet out, and release the match as the hat is righted.
47
. E d i t o r ’ sF o r e w o r d . - A l l those present a t theHereford Convention last year will remember this effect of Francis Haxton’s, which, as a contemporary described “ paralysed severalmagicians.” I t isadelightful lesson inmagical eflect and the clean cut outline plus the simple mechanics, bring it within the reach of all magicians zcho are willing to accord it theproperpresentation.Themainand comparativelysimple sleight that has to be used isone, that considering its general utility, has been very much late Douglas neglected. I can zuell remember the Dexter making use of it zcith telling e f i c t . - P . W . x
x
x
I like this effect because the magician can imposetestconditionsonhimselfduringtheperformance as there is nothing to hold out or add. Although the ejfect is mine, the basic move is developedfromasleightdescribed in one of Ellis. Stanyon’searlySerials. Before I describe the effect I think it would be better togive details of the move as I have developed it. Wewillimagine thattheoperatoris desirous of causingacardsituatedon top of the deck to appear at any number called out by a member of the audience. Aspectatorcallsout, say, “ eight.” I thumb-count the two top cards of the deck, which lays face-down in my left hand, with my left thumb and push off as one card. This card is taken between my right thumb and finger and held at about chin level,squarelyfacing the audience. The deck is held in left hand face down at waist level and to the left of the exposed card. Now as I count “ two ” my left thumb openly pushes off the card from the top of the deck and approaches the right hand, placing the cardinfront of the first card, In receiving this secondcard therightthumband firstfinger move further down the cards, and the right middle finger joins the first to get more control of the cards. This count continues u p to seven and as this card is placed infront of cards intherighthand,the right thumb pushes off the top card which is drawn .on tothe back of the deck withtheleftthumb. This move must synchronise withthe placing of the countercardon the face of the packet in the right hand so that the left hand is drawn back to its position with the deck face down at waist level. The eighth cardis now pushed off andshownto bethe selected card. This count is absolutely indetectable and the magician should make it clear, by performance, that the card is actually counted off
I
I
PETER WARLOCK’S
I
1/ l s i n g l e c o p y ,post free 111- p e r y e a r ,post free
P Published E N onTthe15th P G R F M of each month from . . . ‘‘ G R E E N B A N K S , ”R R A M C O T E ,
or from your dealer
NOTTS.
I
I
I
the deck before it reaches his right hand, which, by the way, isheldstationary. There are-two little aids which‘ are helpful with this. The cardsin theright handarenot boxed together each time,but heldslightly ragged. In practice this will helpthe magician to get the chosen c u d partially pushed off before the chosen number isarrivedat, the unevenness of the cards masking this subterfuge.Secondly, if the operatorwould prefertodispensewiththedouble-lift (which I only use as a refinement) he can start counting the cards face down,graduallyraisinghishandsto have the cardsfacing the audience.Afterhehas counted the second card he has the necessary cover. Effect.---Here the following arerequired :A slate ; A piece of chalk ; A pack of cards containing a short cardsay, eight of Diamonds, The operator invites a spectator to thoroughly shuffle the deck of cards, while he writes aprediction on the slate. The deck is handed back to the operator, who has the spectatorhold the slate,writing side down.Operator now asks anyoneto call out any number betweenoneandfifty-two,suggesting it should not be too large so as to unduly prolong the effect.Operator now points outthatthe deck has been thoroughlyshuffledanda number freely called. On counting down to that number, however, it is found that thecard at that position was successfullypredicted by theoperator. Method.Thereislittleto add to whathas already been described. When the operator receives the shu’ed deck back he riffles to the shortand either indetectably transposes the packets, or idly shuffles off the cardsabove theshort whilst he casually pattersaboutthespectator beingsatisfied thathe (theoperator) couldnotpossibly know theorder of the cards. This brings the short card to the top, and it is subsequently produced at the chosen number by means of the move described above. Of course theoperator hadwrittenthe name of the short card,eight of Diamonds,ontheslate. I hope you will find the above of interest and canmakesomething of it.The countisareal utility move and capable of many uses. B L A C K P O O L ! !
if you come this zcay, do look us up on North Pier (by
A big variety of thelatest magic alwaysinstock. P A U L C L I V E & C O . , L T D . for “ Witchcraft ” M a g i c TalbotSquare).
48
*****
***
P E N T A G R A MG R A D I N G : (Threestars)-OfPracticalValue.
**
Both books coming under review thismonth dealwithphases of cardmanipulation. x
****
“
x
x
CARD FAN-TASIES
”
by Edward G.
Love (price 15/-).
The fact that this book hasreachedasecond editionisindicative of its quality. The author, whosepracticaldemonstrationsare well-known in this country, calls it a practical guide to the expert execution of card fans, cuts and shuffles. The book of fiftypagesisdividedinto five chapters. The firstdealing withthe care of hands,cards to use andtheirtreatment. The second part deals with the varioustypes of fans,i.e.,two-handed,blank fan, giant fan, etc. In every case the text is accompanied by the finestclose-upphotographs that we have seen in any magical publication, and, what is moretothepoint,the readershouldnotice the beautifulevenness of the fans. Thispartis concluded with the flash fan,an effect which,as Mr. Love remarksis truly magical. Partthree deals with fancy cutsstartingwiththe single cutsand proceeding through multiple cuts to the triple one handcut.Partfour dealswith thespringing of cards,the waterfallshuffleand the weave shuffle, whilst in chapter five the switching of a colour fan deck is discussed. In the last part Mr. Lovegives a complete routine, employing most of the items he has described. The book throughout is wonderfully illustrated and forms a complete guide to the would-be aspirant to this branch of conjuring. Billy O’Connor contributes Preface. a The book is serviceably boundandprintedonart paper. Tothe author, photographerandpublisher we extend our congratulations. Unreservedly recommended. x
x
****
(Five stars)-Outstanding. ( T w o stars)-NoReason
x
Editor’s Foreword.-It wasafterwatching a murderous Transpo )’ that performance of Anneman’s “ Insto K e n Burrows showed methe versionto be described. The performanceinquestionhad been simplyawful, no the crude double-lifting of thedemonstratorleaving doubt in the minds of the audience that something more of the topcard of thedeck was thantheturningover takingplace. Itwas, therefore, something of a relief to see this very clean version,which,whilst not hnuing the advantage of an unprepared deck of the Annemann version, is a sure gift to those who wish to duplicate the effect without any chance of mishandling. Actually K e n had been inspired(nothaving seenthe Annemann ky reading R. M . Jamieson’seflect versioninprint) ‘‘ InvisibleFlightin the 2LTovember, 1 9 4 g , number of Hugard’s MonthlJ*.--P .W.
****
(Fourstars)-VeryGood. f o r Publication.
“ EXPERT MANIPULATION O F PLAYING CARDS ” by Lewis Ganson (published byArcas,price lO/-). Our regretis thatthe samepaper used for “ Card Fan-tasies ” was not available for this volume. Mr. Ganson has produced a praiseworthy book clear indescriptionandcarryingoveronehundred and fifty photographic illustrations. Unfortunately these photographs are not reproduced (owing to the paper used) to their best advantage. There are four sections to the book. The first deals with the back and front palm, including gloved manipulation and split-fanproduction. This isthe besttreatise we have seen on this subject, but we think we can add to the author’s knowledge by saying that it was the late A. C.P.Medrington who introduced the silk move withthe back palm.Glovedmanipulation is effectively dealtwith,including the removal of the gloves whilst thereisretention of the cards. Section two dealswithcardfanning,andcovers roughly the sameground as “ CardFan-tasies.” Whilst it is not quite clear from the text here, under the title of the “ Visible Changing Fan,” seems to appear the “ Flash Fan ” described by Mr. Love. As this is a fairly recent developmentof card fanning one is surprised that there isno record of the source. Part three deals with flourishes in a very thorough manner. The lastsectiondealswithsuggestions forroutines,andhereMr.Gansonputsforward manyexcellentideas. We liked the “ Ace ” dimwill inishingcards,butreaders of the ‘‘ Jinx alreadybefamiliarwithasimilaridea that was contributed in No. 90, under the title of “ Assorted Cards-AudleyWalsh.” The book is well printed, runstoeighty odd pages, andserviceablybound. It isapleasantthoughtfor the publisher toadd spine a title. For the would-be manipulator of cards this book carriesour unreserved recommendation, and Mr. Ganson deserves the thanks of conjurers for covering so muchgroundinsuch a thoroughmanner. ))
Effect. The sameas Insto Transpo. A card is selected by a spectator who initials it on the face andmarks it with a crosson the back. This card is then placed into an envelope and left in the spectator’s care. The operator now selectsa card from the deck andshowing it to the audienceinitials it on the face and also marks it, as the spectator did, with a crosson the back. This card he places in his pocket. On the word of command the two cards change places, thespectator finding the operator’s card in the envelope he is holding, whilst from his own pocket the operatorwithdraws the spectator’s initialled card !
49
Requirements. Nu-Idea Forcing Deck, an extra forcecard theback of whichhas been treated with r0ughin.g fluid, a soft pencil and an envelope. Preparation. With the soft pencil (the reason for using a soft pencil is that the initials written by the spectator can be easily erased without affecting the surface of the cards), theoperatorwriteshis initials on all of the force cards with the exception of the oneroughened on the back. The latter is then placed on top of the deck. With a pencil and envelopeathandtheoperatoris readyfor the . . . Presentation. Shuffle the deck (keeping the pairs together) faces towards the audience, the extra forcecardbeingretainedat the top of the deck. This shuffle is not essential,the operator can casually showthecards,but I havefoundthatthe casual handling of the cardswhilstshufflingis effective. Nowfan the cardsand haveaspectatortouch one. The operator takes this card and its roughened neighbour, and places the twocardsfaceupwards ontop of the deck. The twocards are placed so thattheyprotrudeabout half aninchfrom the deck (this allows foreasierhandling). Now have the spectatorinitialthe face of the card. When this is done, turn both cards over and square up the deck. The spectator who is still holding the pencil is now asked to place a cross onthe back of the card.
This being done, the envelope is now offered to the spectatorand the operatorslides off the top card and places it face down in theenvelope, the spectator being asked to seal it down. The position now is that the spectator’soriginalcard is on top of the deck with the rough-backed extra force card beneath it.Withthe remark thathe willselectacard at random, the operator either takes the two top cards as one (or, better still, makes a convincing false cut which will leave the top stack intact, then taking up the top card(s).-P. W.) shows the face of the force card to the audience and places the card(s) face up on top of deck. The face of the card showing is now initialled. (If the.audience are close up, see that the position of the initials correspond with those on the other duplicates.) Now turn the card(s)facedown and mark on the back with a cross in a similar spot tothat used by the spectator. Now take thetop card,andwithoutshowingits face, place it back outwardsinthebreastpocket FO thata corner protrudes. All that remains now isthe maximum build up, the spectator then being asked to undo his envelopeand reveal the operator’scard. The real climax arrives when, very slowly, the operator withdraws the card from his breast pocket, turns it slowly over, and reveals the card selectedby spectator.
In “ Robbers and Sheep ” we havesuggested the use of Balsa wood as a medium. To our shame we have only just discovered this wood-a substance whichhasmanypotentialitiesinconjuring. As an example,apiece of Balsawood measuring three feet by three inches by three-eighths of aninch, weighs just a shade under two ounces. In an effect such as “ Gravity Upside Down,” by Billy McComb, this is the ideal medium, for despite its lightness it looks(asallmodelmakers know) like wood and when struck against a solid object sounds like wood. With proper doping and varnishingit can be painted and polished. Fora longwhile we havewondered why no cardmanipulator hasthought of doing thesplit fanproductionwiththe backs of the cardsfacing the audience. It wouldatleastmakeachange. George McKenzie has sent us a copy of “ Compere’s Corner ” produced in book form. At the moderate price of five shillings there is a wealth of practical materialfor the M.C. or would-beM.C. By the time this is in print the Cotswold Competition Assembly at Cheltenham will bejust around the corner. Those readers who have been interested in the late J. F. Bruce’s CalendarTrick will have the opportunity of seeing the originalapparatus madefor BruceHurling. I t will be onshow at Stand No. 6, where we shall look forward to meeting friends old and new. The CotswoldSociety,under the ableleadership of its President, WilfridTyler, has certainly put a lot of planning into the organisation of this meetingandwhich looks likebeing the MagicFeast of the year. The British Ring’s Convention is to be at Southport again at the beginning of July.We know that we are voicing the
thoughts of many of our readers when we suggest that the date of this Convention should be available earlier, and that it might be part of the duty of the retiring Committee to fix the date and the venue. This is thecommon practice with American Societies. Visitorsleavingone year’s Convention know not only the date but the venue of the one to be held in the succeeding year. More andmoreconjurersarerealising that greater effect canbeobtained by good musical accompaniment : my friendCharlesHarrison’sact is anexcellentexample. Musicwithits emotional stress can oftendouble the climax of an effect. For this purpose the modern electrical reproducer, with its portability is ideal, for the conjurer is not at the mercy of a band of hired assassins or a tenthrate pianist. Mr. S. H. Sharpe in “ Great Magic ” listed a number of compositions of varying musical degreesuitableforconjurers’acts,and we should like to add to these from time to time.The following will be found of exceptional merit wherereal mystery is involved :-“ The Swan of Tuonela ” (Sibelius), Philadelphia Symphony Orchestra (H.M.V.) ; “ Scene ” from “ The Swan Lake ” (Tschaikowski), London Philharmonic Orchestra (Columbia) ; “ Introduction ” to “ The Fire Bird ” (Stravinsky), PhiladelphiaOrchestra (H.M.V.). JimThompson ” in Phoenix No. 119, with “ HoimantheSpirick shows what dressing can do to a trick. In the same number Stuart Cramer puts overareal ‘ creepy ’ with “ Mortmain.”We,too,thinkheisright aboutHoudin’s “ Automaton.” The nextissue of the “ Pentagram ” will contain magic by the Rev. G. E. Arrowsmith, hlay. Tom Sellers, Jack Morrison, and Leslie
50
WIZARD
T H E SPHINX
PRANG!!
The circulation of The Wizard is now almost equal This is proof of the tothat of The Magic Wand. outstanding success of our new monthlymagazine. REGISTER NOW
A N INDEPENDENT MAGAZINE OF MAGIC JohnMulholland
THEWIZARD is a 1 6 page nlonthly magazine. Issue No. I published on 10th April. The subscription is 10;-per year, and 7 6 is returned in the form of vouchers which may be used towards the purchase of books. This spe-.ial offer will soon be withdrawn, after which the subscriptioll will be 12/6. Twelve issues of a!6 page two-colour magazine at 23d. !:ch. What See Pentagram No. 6 for more could Wlzard a ask for ? full details.
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widelyreadmagicpublication inthe world. Each issue contains new, practical tricks and authoritativeaiticleswritten by the best mindsin magic in all parts of the world.Since 1902, T H E SPHINX has bcen the outstanding magazine of magic.
GEORGEARMSTRONG, THE MAGIC WANDPUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
No. 6 Stand
...
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
. . . Cheltenham
Arrangements have been made f o r subscriptions to be accepted and money .. Englanddeposited in .. ....
PETER
WARLOCK hopes to meet friends old and new
MAY
la
JustPublished EXPERTMANIPULATION OF PLAYING CARDS byLewisGanson Every phase of card manipulation clearly and fully described from thecontinuousfrontand backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals andcomplete cardroutinesillustrated by 195 photographic reproductions. Price 101- postage 4 d . ARCAS LIMITED 404-408 SVDENHAM RD., CROYDON
If you like good comedy magicJ’OU zuill like “ MilkShrink ”the shrinking glass of milk2216 postfree
1
ZAHAREE (Geoff.R. Hursell) 16 & 18 Watts’Place CHATHAM, KENT
WRITEFORDETAILS
THE SPH.INX 130 WEST42ndSTREET,NEW YORK 18, NEW YORK, U.S.A.
4th
THE MAGIC CIRCLE President :His Grace theDuke of Somerset D.S.O., O.B.E., I.P., D.L., M.Z.M.C. Vice-President : Douglas Craggs, Esq. M.Z.M.C. Clubroom and Library and Museum :
Magical Theatre :
MAGIKRAFT STUDIOS
Francis White 39 Alverstone Avenue, S.W.19 Wimbledon Park,
HENRl “C.,
IBM.8
INSTITUTE of MAGICIANS Founded 1334 Presidelzt : A.Zomah. Hon Sec * OscarOswald 102 Elmstead Ave.; Wembley Park) Middx. H.Q. and Library : No. 2 H a d Court (Victor Club) HighHolbornWC MEETINDEVE+ THURSDAY 5 - r i ;m .. Vlsltlng Maglclansalwayswelcome. YOUY membership cordially invited-drop a line tothe Hon.Sec. for literature.
SSMC
The Friendly Magicialz invites all Bona Fide Mauicians to send for his list’ of new and used apparatus and books, or call a t his studlo :l CLARENCE ROAD, Harborne, Birmingham 17
Available on Loan 3d. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
W.C.
Particulars from Hon. Secretary :
DE’SEEVAH
BM5.3
Keep your ‘‘ P E N T A G R A M ” copifs safe and clean i n our special ‘‘ Penhgram cases PRICE 4,’- postfree
FIELD
King George’s Hall,
32 Vernon St., Northampton
Magical Books & Mss Etc.
C.
St.Ermin’sHotel, Caxton Street, S.W.l.
A printed magazinegiving detailsof our latest releases in exclusivemagical effects. Issued free. If you are not on our mailing list, writenow.
MAGICIANS’ BOOKBINDING SERVICE
42 Alderson Road, Sheffield2
Editor
JAMES
GRAYSON
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
II
Telebhone or Telegram : MORLEV 899 Address :23 GREENFIELD AVENUE GILDERSOME. Nr. LEEDS Nearly 30 years-in the business
Printed in England for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
51
PENTAGRAM
An independent ‘monthly bulletin for all who want good magic
This trick is well suited for an intimate audience (&e that can gather around a card table and watch adaDted for i t close quartirs),but it canalsobe as it was recently perstage presentation, and such formed the Magic Author at Circle ” Entertainment in the Portland Hall.
,“z
The effect is as follows : Two packs of cardsare shuffled by aspectatorandshe,and she alone, handles the cards from start to finish, so ruling out any sleight-ofhandanticson the part of the performer. I say ‘ she ’ advisedly,for it is always better to have lady a volunteershe will add a touch ofglamour tothe proceedings !
freeselection, for the pack never leaves the lady’s own fair fingers.Somewhere inthe spread-eagled Dack there is a duplicate of this card, and because ;wins are always i n rapport theywili be drawn together by “ sym;; patheticattraction. The lady is told to hold her card between firmly finger and thumb, and to pass it to and fro over the concealed pack, the performerholding her wrist while she does so. Suddenly she feelsanirresistible impulse tolower the cardoveracertain spot, the magician asks her to place her forefinger firmly on the paper at this point. He tears away the “ Punch ” cover and the card beneath on which her finger is now resting is found to be the duplicate of the one sheselected.
One pack isspread face-downward on a smalltable so that its surface is completely covered with As anexample the cards. Two “ Sympathetic of copies of “ Punch ” Magic ” this will are takentheir covers take a lot of beating. are torn off and Actually, however, The above Cover Design is reproduced by ??mission handedtothe lady of tL Proprietors of “ P U N C H the onlysympathy with the requestto employed is a Symputthem over the face-down caldsand so hidethempathetic understanding of human gullibility ! from view. She then takes the second pack, shuffles it and cuts it for the selection ofcard. a This card, Although YOU impress upon the lady fie as the performer is careful to pointout, is an absolutely “ obviousfact ” that she is havinga free choice of
52
card, in reality it isforced-sadly wehave to confess it IOf the two packs used, oneis ordinary and unprepared, and this is first handed to the lady to shuffle and spread on the table ; but the other is a “ Rough and Smooth Pack.” The principle employed by this forcing pack is wellknown and need not be entered into here.
9
One of the “ Punch ” covers is ordinary but the theunother is faked. First takeanycardfrom prepared pack and gum on to its faceapiece cut from the front cover of a spare copy of “ Punch.” Now take another cover and place this card, faked sideoutward,insuch aposition that it is superimposed on that partof the cover design that figures onthe card. Keepitin placebysticking two narrowstrips of transparentgummedpaper(the kind used for repairing sheets of music) one at each end in sucha way that the card is held loosely inside as if it were in a frame. (N.B.-the gummed paper must not be fastened to the card but only to the cover.) Before fastening the card in place, the duplicate of the one to be forced is put beneath it faceoutward. The coverwillappear to be quite unprepared,and if keptslightlymovingcanbe shewnat veryclose quarterswithoutfear of the faked part beingdetected. The illustrationshows prepared card. Black lines show position of
transparent tape. The “ modus operandi ” will now be obvious. The performer takes off the covers, shows them on bothsidesandhands first the unpreparedone to the assistant,who puts it over half of the spread pack and then thefaked cover, and he must see to it that she puts this one with the design side in contact withthe cards.All thatremainsisforhimto supply the “ urge ” that impels the lady’s card to come down on to the paper at the exact spot where he knows the faked part to be. She marks the point withher finger : a sharppull by the performer tears away the paper andforces out thetwo concealed cards-the oneimmediately underthe assistant’s finger will be the duplicate, and the one beneath it will be the faked card, but as it is now back up on the table the “ Punch ” side is invisible and there is nothing to give the show away.
SLATES
OF HECATE-continued
Note 1.-As the “ Punch ” cover is made of good qualitypaper it isnottoo easy to tear. To get over this difficulty make a smallslit in thepaper behind the cards-this will serve to mark the place and also greatlyassist the finaltearing process. A “ Punch ” cover is used for the trick because its design lends itself so admirably for camouflage, but forstage purposesasheet of newspaper can be substituted. I n this case the faked card will have a piece of the samenewspaper (a picturepartfor preference) pasted on to its face, but otherwise the preparation of the sheetwillbe the sameas that for Punch.” Note 2.-Care
must be taken as to lighting :
if there is a strong light behind the paper when it is shown back andfront,itssilhouette will be clearly visible to the audience !
Suggested Patter.-“ Trickswith cardsare very often rather insipid-they have no punch about them-well, you will not be able to say that about the card trick I am now going to show you, for if it is lacking in every other quality it certainly has a “ punch ” in it as you will see in a minute. It is anexperiment in ‘ sympathy.’Sympathy,as you know, is that instinct or influence, that tends to drawthose who are like-mindedtogether,and so we have the well-known saying ‘ Birds of a feather flock together.’But this proverbappliesnotonly t o birds and humans but also to playingcards,as I will now try and show you with these two packs. There are fifty-twocardsineach,and, of course, every card has its duplicate, or opposite number, in the other pack. Because theseduplicatesaretwins they are insympathy with one another and they will tend to gravitate together even though one of them is hiddenfrom view. Let meshow you. Madam, will you please shuffle this pack andthenspread the cards face down on the table ? Please do it so that theyoverlapas little as possible. I promised you that there would be a ‘ punch ’ in this trick. As a matter of fact there are going be two to ‘ Punches ’ for I want you tohidethe cardswhich you have spreadon the table, under,these two covers of ‘ Punch ’ which I will tear off and give to you . . .”
from page 55
performer draws his chalk through the number and then repeats the procedure with the threeremaining personswhoselectednumbers.Having thus convinced everybody of the apparent fairness of everything, the twospectatorswith the slatesare asked to hold them up, showing the two totals to be the same and the prediction, therefore, correct. Observations.-The above routine can be mademore foolproof by usinglocking-type flap slates,as this allows the spectatorstowritetheir own numbers on the slate.Ifa loose flap slate is used, the performer must ask for numbers and write them himself, and a person quick at adding figures can cause a disaster. This can be avoided by having the numbers whispered, or by standing so close to
the spectator that he need only give his number in a low voice. I t is also wise to have somespace between the fourspectatorsselecting numbers so as to avoid a check up amongst themselves. If a locking-type flap is used, it will be found an advantage to have three permanent white lines on one side of the flap and also on one side of slate number Two, so that the slate and flap will be divided into four equalparts. This will lead the spectators to write their numbers, one in each division, and it will be foundhelpfulinkeeping the spectators’ numbers and those of the performer similar in general appearance. The above description may appear involved, but five minutes’ study with the slates in hand will, we trust, make everything clear.
53
Methods for finding out which day of the week a given date will fall date back into the distant past. Themethodto be describedwhilsthavingthe standard basis isdesignedtohelp,notnecessarily those with poor a memory, but those whose memories during a presentation of conjuring do not function at their best. Presentation.-Theoperator takes fromhis pocket twelve visiting cards-each one has typed on its back of each one month of the year.-The cards arespreadonthetable(monthsideup)andthe spectator asked to think of and then state a certain day-month and year.-The operator picks up the apprcpriate month card, and holding it to his ear as though it would whisper to him, then states the day of the week on which the chosen day falls. Preparation.-The immediate aid which allows the slowest thinking conjurer to arrive at this result inaperiodnot exceeding tensecondsliesin the typing on the back of the cards, and can be seen intheheadingtothis effect. The letterorfull stop which is slightly out of alignment is the key. Forthispurposecountingisfrom back tofront. The following is the lay-out :January. February. March.
= l so full-stopout of alignment. = 4 so “a”out of alignment. = 4 so “ r ” out of alignment.
April. May. June. July August. September. Oc‘tober. November. December.
0 = 2 = 5 = 0 = 3 = 6 = 1
-
=
nothingout of alignment. so “ y ” out of alignment. so “ J ” out of alignment.
so nothing out of alignment. so “ S ” out of alignment. so second “ e ” out of alignment. so full-stopout of alignment. = 4 SO “ b ” out of alignment. = 5 so “ m ” out of alignment.
The typing should be done on a well-aligned machine and the difference in alignment should be very slight, much less than that shown in heading.
...
That isthepreparation.Thisisthe
Method.-Theoperator keeps inmindthe basic number 23. Takingthe 12 cardsfromhis pocket, they are spread on the table, month sideup. When the spectator has stated the date, all but the appropriate month card are swept up and dropped in the pocket. Supposing that the date chosen is 4th October, 1947. With the basis number 23 inhismindthe operatornoticesthewrongalignment of thefull stop which,of course, means 1 :-23 plus 1 equals 24. T o this latter number the operator adds the date, i.e., 4, making atotal of 28. This is divided by 7-the resultbeing 0, which,according to the following table is Saturday :-
...
...
Sunday Monday Tuesday Wednesday Thursday Friday Saturday
... ... ... ... ... ...
...
...
... ... ... ...
1 2 3 4 5 6
7
Just to conclude, here is another example :23rd June, 1947. Basic figure, 23 ; June Card shows fifthletterout of alignment ; therefore 23 plus 5 equals 28 ; date is 23 ; therefore 23 plus 28 equals 51 ; 51 divide by 7 equals7and 2 over. Second day of week is Monday.
PETER WARLOCK’S
PE NTXGRRW PuUishod ontba 16th ol r r b month 1/l single copy, post free 111- per year, post free from
‘‘ GREENBANKS,” 01
...
BRAMCOTE,
from y o w dcalcr
NOTTS.
54
In each of thethree secretcompartments of the envelopeis placed awhitecardendorsedas follows :FirstCompartment : Card bearing on one side thejirst word of page 28 of book to be used ; on reverse the last word of page 28. Second compartment : Card bears on face jirst word of page 29 ; on reverse last word of page 29. Third Compartment : Card bears on face, jirst word of page 30 ; on reverse, last word of page 30.
In order to give credit for all artifices utilized in the following effect, I should call it “ The ANNEMANN - VOSBURGH -- WARLOCK - May ” Book Test, with the “ May ” in very small letters in comparison, for my contribution to it being only “ re-appropriation.” Effect.-On operator’stable standsa normal sizedsealed letter envelope (a largedab of red sealing wax looks very efficient in an effect of this nature) ; this envelope he marks with initials called out by any spectator, inorderto prevent the possibility of exchange. This envelope left is isolated in full view. Pattering anent the powers of prediction, he requests the assistance of twospectators,who I willdesignate A andBrespectively. B is requested to choose one of three novels present on the table and to stand holding the volume selected. Operatornextproducesa pack of cards,and after carelessly mixing (not shuffling-this is a mental item) them, he requests A to cut the deck into two portions and then to remove the top and bottom cards of eachportioninordertomake picking as mixed as possible. With these four cardsinhand,Aisrequestedtoaddtheirvalues together and announce the resulting total. SpectatorBisthen requested toturntothe equivalentnumberedpage of the chosen book, look at and remember either the jirst or last word on that page,whichever he prefers, thento close book and placedown. Operatorthen recapitulates briefly whathas takenplaceandemphasises the apparentimpossibility of predicting the chosenword,inview of the thousands of possible alternatives (?) Spectator B is then asked to clearly announce the word arrived at.Operatorthen reachesforenvelope,opens it, and produces a white card, across which in bloodcoloured letters is writtenina bold, butrather shakyghostlyfashion the sameword ! Method.-As previouslystated, I claimnb originalityforthis,exceptfor the final “ puttogether,” and the only excuse I offer for this yet another book test, is the apparent freedom of choice present throughout the .effect. T h e envelope shown is constructed as detailed in “ ’Jinx ” No. 15, and also in “ Annemann’s Practical MentalEffects,” pages 155-6, andPeter Warlock’s “ Patternsfor Psychics,”pages 29-30.
The order of cardsandwordsismemorized by operator.Three books areontable,one of which contains the wordson the cards. The deck is set up in the well-known (to conjurors only, I hope !) 14-15 arrangement. Presentation.-Envelope is shewn and marked by operatorwithselectedinitials (Note : do not let spectatorpersonally mark envelopeashe may detect unusualthickness).Envelope is then placed in full view-a stand is suitable for this. The services of twospectatorsareobtained. The attention of spectator B is invited to the three books ; these are spread on the table, the ‘ force ’ book being in the centre, and he is asked to select one. The centreoneisforced as described by Annemannin page 70 of his “ PracticalMental Effects.” He is then requested to stand with book. Spectator A is then invited to stand, and operator after false shuffiing in a casualmanner-a series of shortcutswith cardsinhandsis sufficient-gives deck to A and requests him to cut it into two heaps and then taketopandbottomcards cf each heap, add their values together and announce the result. Owing to the arrangement of deck result can only be one of three numbers : 28, 29, or 30. (Credit to this is due to Jack Vosburgh, of U.S.A., videhis excellent effect “ Monk’sMystery.” Spectator B is then requested to turn to page of the book held by him, bearing the number called for by A, and to look at and memorize either first or lastwordon that page, as his fancydictates,then to close book. Operator,emphasisingfairnessand freeness of selection of (Q) boob, ( b ) cards, (c) page, and ( d ) word, asks B to announcefor the information of all present the word finally arrived at. Operator repeats word for sake of effect and to impress it onaudiencz, then takesscissorsfrom pocket,picks up envelopeandremembering the position, snips the appropriate side, the envelope is tilted and the cardshowing theappropriate word “ side ” is allowed to slide into his hand ; this is then placed against envelope and exhibited (to preventwordonreversebeingseen) or placed on the stand which originally supported the envelope. The credit for the prepared envelope is due to the late Theo. Annemann, and the additional subtlety of a double-faced card in each compartment wasoriginated by Peter Warlock anddisclosed in his “ Small, Medium and Large ” effect contained in “ Patterns for Psychics.”
55
Sometime ago I was greatlyintrigued by a Slate Prediction effect which was being fcatured by severalAmericanperformers,including, I believe, Dunninger. Briefly the effect is that four spectators eachthink of anumber of fourdigits. The performer takes a slate and writes a number which he states is the total of the four numbers as yet only in theminds of thefour spectators. This slateis given into the custody of a spectator and need not be touched again by the performer. A second slate is takenand each of thefourspectators asked in turn for their mentally selected number-the numbers being written on the slate in the form of an addition sumand verified by the spectators. The sumis added by yetanotherspectator,and t h e totalisfoundtoagreewith the performers’ predictionwrittenonthefirstslate. This apparentmiracle was accomplished by the aid of a special slate with a hinged flap. Slates of this type not beingobtainable in England,and wishing to perform the effect as outlined, the following routine was worked out. It has been performed many times, is very practicable,andhasa good audience effect. Requirements.-Three slates are required which for ease of description we will call numbers One, Two, and Three. A flap also is required, and this flap must fit both sides of slates numbers Two and Three. At the commencement of the routine, the three slates are in a stack, number One on the top and number Three on the bottom. Slates numbersOneandThree areunprepared,buton thetop side of slate numberTwoiswritten an addition sum composed of four lines of four digits each, and the total of this sum must be memorised by the performer. These figuresarecovered by the previouslymentioned flap. Working.-Four spectators sitting on the left hand side of the room are asked to stand up and to think of anumber of fourdigits. The performer looks at eachspectator in turn, concentratesfora moment,and, takingslate number One,stateshe will write a number on it, and that this number will be the total of the four mentally selected numbers. T h e number actually written is the one previously memorised by the performer, i.e., thetotal of his own numbers hidden by the flap on slate number Two, and he then places his initials openly on the reverse side of the slate which is given to a spectator on the leftside of the audience to hold, number side downwards. The performer now takes slates numbers Two and Three, the flap side of number Two still being uppermost, and going to thefirst of the fourspectators asks himtonamehis mentallyselectednumber. This is written on the flap,aDd the spectator asked
to verify that his numberhas been written correctly. This procedureisrepeatedwith theotherthree spectators, thefournumbers being placed inthe form of anadditionsum.Turning slate number Two overon top of slatenumberThree,a fifth spectator is asked for his initials, which are placed on the now top side of slate number Two “just to identify the slate.” The result of thisprocedure isthatthe flap hasdroppedontoslatenumber Three, hiding the spectator’s numbers, and walking across to the right hand side of the room, the performer lifts off slate number Two ; the spectator’s initials still being on one side whilst the performer’s own figures originally placed on the slate are visible on theother side.Choosingaspectatoron the right hand side of the room, he is given slatenumber Two and asked to add the four numbers which he believes are the numbers given by the original four spectators. The performerstillholdsslate number Three andthisslateisturnedoverwhilsttalkmg, so that the flapis underneath and held in place by the fingers of the lefthand. The person making the addition is asked to call out the total of each columnas he adds them and the total iswritten figure by figure by the performer on the top side of slate number Three. When the addition is complted the performerholdsslate number Three in his left hand and takes slate number Two in his right hand and says to the spectator “ You are sure that the total I have written is the correct total of the fournumbers on this slate ? ” The spectator agrees and slate number Two, numbered side uppermostis placed underslate numberThree ; the flap allowed to drop on to slate number two as the performer asks “ Andwhatareyourinitials, Sir ? ’’ Thetop slate, numberThree,isthen openlyturnedoverandthe.initials placed on the blank side of the slate which is immediately handed intothe custody of the spectatorwhohasmade the addition. The position now is that slate number One, containing the performer’sprediction,isheld by a person on the left of the performer, slate number Three, containing the spectator’s,addition ’is held by this spectator onthe rightof the performer, m hilst slate number two is held by the performer himself ; the flap being on top with the original four numbers chosen by the four members of the audience, now visible. The performer now pausesandstates that before proving his predictionto be correct, hewishes to convinceeverybody that the numbers originally chosen have notbeenalteredin any way, and, walking across to the first person who thought of a number, he asks, Is that the number you selected the mentally ? ” Receivingaconfirmatoryreply, “
continued on page 52
56
***
*****
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
*****
**
(Five stars)-Outstanding. ( T w o starsj-No
“ A CONJURING MELANGE ” by Stanley Collins (published by the Fleming Book Co., BerkelzyHeights,price 4 dollars).
A Flemingpublicationisanevent,andthis book is no exception. Dealing withthe book’s physicalaspectfirst, it canbesaid that it consists of 256 pages well printed inlarge type ongood paper. It carries nearly a hundred and fifty line drawings and the binding is blue linen finish with gold stamped titling. The book starts off with averyinteresting ; inthisthereare some prefacebyPaulFleming biographicalnotesanent the author.Mr. Collins adds aforewordand we getdown to averylong Part I., which deals with cardtricks.Altogether therearetwenty seven effects plusavery good version of the double-lift. Mr. Collinsechoesall our own thoughts on the maltreatment and abuse of this sleight. It can safely be said that in this section all tastes are catered for. T h e advanced card-worker willfindyetanotherbrilliantCollins’s Four Ace routine, under the title of “ The Forthright Aces.” At first we thought this was a reprint of “ Those Aces,”contributedbyMr.Collinsto the pm (page 697). It was good to see “ The Spider ” once more, for the plot of this effect is so different and i t hasastory which is generallylacking with most cardtricks. “ The Anti-GravityCards ” is a beautifulimpromptu, whilstforthosewholike spelling-bee tricks there are two splendid examples : “ The Comedy of Errors ” is Mr. Collins’s version of the classic “ Everywhere and Nowhere.” The two effects which we plumpfor, however, inthis large section are “ Sympathetic Coincidence ” and “ The Mystery from Domdaniel.” This latter requires only the skill of presentation to produce a diracle card effect in the minds of this audience. Inthis section thereare sometypicalCollins’s remarks such as “ there are, of course,exceptions tothis rule,which the bornconjurerwill know instinctively-the others will do the wrong thing in any case ! ” The second part deals with pocket tricks and takes in its stride a penetration effect (a matchstickispushedthrough aborrowedcoin),animprovedcricketbateffect, thejumping bands,a removable thumb ideaandnoteson the coin roll. The third part dealswithtricksforchildren, and there is no doubt about the entertainment value for that section of the community.
In thefourthpart handkerchiefs are covered and there is a twentieth-century effect using a glass tube. Whilst we have seldom seen this effect performed, it is exceptionallyeffectiveiWe always thought that this was an idea of the late Bretma’s, but knowing that so many of Mr. Collins’sideas (including “ Sawing through a Woman ”) have been
****
(Four stars)-Very Reason for Publicatiov.
Good.
attributed to other sources, we now know the true originator. This section would not have been corn-. plete without “ Knee Plus Ultra ” silk effect which is now very clearly described. Part V. describesthreemental effects-a very ingeniousmethodof the “ QuickandDead,”an effect called “ Whisper Word,” whichcontainsa little usedprinciple. (We have only encountered i t twice--once inan effect by Jack Vosburghand secondly in a recent “ Phoenix.”) “ Chiffrenon ” i S. an improvementonan A1 Bakereffect. Part VI. covers miscellaneous tricks anddevices. -there is a very good description of the “ Flying Die,” the “ Hindu Bead,” andseveralothersmall andlarge effects. Part VII. deals exclusively with Electrique ”-a stage effect. Author,publishersandartist(Alba) be to congratulated which aon outstandingmerit. #
#
“
Le Mystere areall
has such
#
****
“ MANUAL OF JUGGLING ” by Max Holden(published by Max Holden, New York, price One dollar Fifty cents.).
In this well printed and well illustrated book, therearecontributions by CharlesCarrer, Larry Weeks, Leo Rullman, Roger Montadon, Harry Ferrier, H. M. Lorette, and Max Holden. Of these Army ” fame,is Larry Weeks of “ Thisisthe perhapsthe onlyone whose work is known to modern English magicians, Each of thesecontributors takes a particular branch of juggling, and describes not onlythe basic actions, but also suggests a routine. Juggling is not for the lazy man, for skill is essential,andskillmeanshoursanddays of practice.Fakedjuggling effects arequite rightly ignored. Hoop juggling is a thing which seems to have gone out of favour in recent years, but in this book there is a chapter devoted to this very pleasing branch of the art. (I wonderhowmany “ Pentagram ” readers can remember Eddie Gray doing his mirrored club and hoop act at St. George’s Hall !) The chapter on plate-spinning is the best we have seen on this subject. The “ DevilSticks,”which always formaneffectiveinterludeare also well described. Besides the headingsmentioned, Ball, Club, Hat and novelty juggling are effectively all dealt with. A lovely little item by Herman Hanson, suitable for inclusion in aconjuringact,concludes thisinformative book. The illustrationsare by NelsonHahne. To those who have a desire to juggle this book is unreservedly recommended.
57
I was deeply grieved to hear of the passing of Dr. E. G. Ervin. It was such a little while since I had heardfromhim. To his friends and relatives we &tend both on our own behalf and that of our readers, the deepestsympathy. The first number of the new “ Wizard ” is to hand. Printed in two colours and with an attractive cover it should find a steady market. In this issue there are two magical effects, a. book test by the Editor and a tube production ideaby K. J. Bays. Articles fill up the rest of the twelve pages.
Nos. The articlesbyDuvallandRobertEdmansonseem to be the thing to try and equal in other departments, for if you aretrying to teachboysasubjectlike conjuring give them the basic knowledge first. It doesseemallwrong,and we weremore than surprised, to see aneffect which requires confederacy for a person at an impressive age can so easily abuse this unethical aid, bringing ultimate disaster. Rather late in
the daywehavereceived
2, 3 and 4 of Goodliffe’s MagicMonthly.
Congratulations to friendHolden onthe write-up and photographs in the April issue of the “ American.” Mentalists and those making use of reflectors note that there is.now on saleat ladies’ beauty shops a very small mirror complete with clip togo on lipstick case. It is called ‘ Immaculip.’ The clip can beeasily adjusted to slipon the finger, the price is a modest 1/ 6 . We notice that N.A.M.S. have started a new book reviewingpolicy . . . anattempt possibly inspired by the famousFleming reviews. To the reviewer in questionthe use of an adequate dictionary is recommended. We haveoftenwanted to see the seconddeal and bottomdealperformedinaperfectmanner. Theother daythat pleasure was ours when we were with Fred Robinson. We asked him how long it took to acquire thesecond deal (the strike method of Scott). The answer was threehours practice a day for nine months ! ! ! The Cotswold Convention is over. Onthe whole it wasanexcellentpiece of organisation. Our chief criticism relates to the lateness in starting shows. Nothing can be worse for the temperament of competitorsthanto faceadelayedappearance because of the late appearance of the Judges. The other criticism,and thisisnominor one,isthe running of a licensed bar in the rear part of the hall during .the big show. I t is hopedforthesake of those who wish to see the show, and for the artists as well, that this so-called feature will be eliminated on future occasions.
Telephone tests still seem to take up alot of printed space in our contemporaries. In this sphere of mentalism you will like Victor Peacock’s “ Western 1248,” whichwillappear inJuly issue. T o those who use conjuring as a peg on which to hang a little dreary comedy, the ditty “ Open the Door, Richard,” will, no doubt, inspire a version of the “ SevenKeys to Baldpate,”usingaminiature door and the ghost of the muchoverworked Richard. Coming on top of our note in the Aprilissue of the “ Pentagram,” regardingJim Thompson’s routine “ Hoiman the Spirick,” is the welcome news that the effect in questioncan now be obtained in England. Very interesting has been the response to Fred Braue’s requect to readers of Hugard’s Monthly for their opinions of the five best effects with playing cards. In this response most writers have taken the short view andconsidered their own programmes instead of a more general view of card magic. Most . naturally,fromAmericans. of the repliesare, Irrespective of performance on the part of individuals we should very much like to have the opinions of our readersonwhattheyconsider the tenbest effects in conjuring. If you are interested, please list them on a postcard and sent it along. The deadline date will be 23rd June, 1947. Of particular interest to English readers was an article in “ Magic is Fun ” anent Richard Cardini, and one wondershow long it will be before this great conjurer can beseenagainin this country. Well can I remember in those days before he performed the act for which he is so famous, his presenting the handkerchief and inkbottle. To’ the aud.ience there was ink everywhere and it seemed a miracle when the handkerchiefwhichhadbeenborrowed was returnedtoits lenderinpristinecondition ! 9eaders of the “ Pentagram ” whovisited Cheltenham will, no doubt, be pleased to know that Harold Poole’s excellent and most entertaining Slateroutine will appearinafutureissue. Halry Vernon and Reg. Gayton also passed on some very niceeffects.Westill can’t understand the change of Bill Larsen’sopinionfrom page 119, volume 7, of the “ Genii ” to that in. the April, 1947, issue. Forourpart we have always liked the Genii,” we still like it, and with our own belief that there is room for everybody, only hope that this wild hitting at all and sundry is not the first notecf the “ Genii’s ” swan song ! ((
Those whowantasomewhatdifferententertainingroutinewilllikeJohn Brearley’s can’tbeWrong ” innextmonth’s issue.
“
You
58
WANTED.-Good price offered : clean copies of Pmtagram N o s . I and 2 . Also Collins’ ‘‘ Holiday in MorocL-o ” FOR SALE -A few sets of my 4 AceLovelies” club or lodge effect now otherwise unobtainab€e,12./6 BAYARD GRIMSHAW The Bungalow, Castleton House,
TH’E SPHI-NX AN’INDEPENDENT’MAGAZINE OF,MAGIC
John Mulholland Editor
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts- of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
THE W I Z A R D A modern monthly magic magazine. Annual subscription 1216. 716 is returned in the form of, vouchers which may be used towards the purchase of books. THE M.AG1.C W A N D A quartely book of mag~c. Published on first of March, June, October’ and December. Per copy 3/8 post paid. Annual subscription 14/6. GEORGEARMSTRONG, THE MAGIC WANDPUBLISHINQ CO., 11 MONASTERY GARDENS ENFIELD MIDDLESEX
..
.
Rodhdale
..
C O N J U R I N GB O O K SF O RS A L E OLD AND NEW. me know your Wanb
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
LIST FREE FOR ’STAMPED ENVELOPE No callers
ATangements have been made for suband money scrzphons to be accepted .. Englanddehosited in ....
G E O R G EJ E N N E S S 47 Inverness Avenue, Enfield, Middlesex
..
WRITEFORDETAILS
BLACKPOOL! ! if you come this way, do look us up on North Pier (by A big variety of thelatestmagic TalbotSquare). alwaysinstock. P A U L C L I V E & * C O . , L T D . f o r ‘‘ Witchcraft ” Magic
Published EXPERTMANIPULATION OF PLAYING CARDS by Lewis Ganson Every phase of card manipulation clearly and fully described from the continuous front and backpalm to the modern act of the white-gloved manipulator. Fans, flourishes, steals and complete cardroutines illustrated by 195 photographic reproductions. Price 101- postage 4d. A R , C AL SI M I T E D
THE SPHINX 130 WEST42ndSTREET,NEW YORK 18, NEW YORK, U.S.A.
THE MAGIC CIRCLE
,3;st
406408 SYDENHAM RD., CROYDON
If you like good comedy magicyou willlike “ MilkShrink ”the shrinking glass of milk2216 postfree ZAHAREE (Geoff.R. Hursell) 16 & 18 Watts’Place CHATHAM, KENT
1
MAGICIANS’ BOOKBINDING SERVICE KeePyour P E N T A G R A M ” cqPies safe and cleani n our special‘‘ Pentagram ” cases ’ PRICE 4/- pdst free
CF . IELD 42 Aldersoh Road, Sheffield 2
President :His Grace the Dukeof Somert D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.I.M.C. Clubroom and Library and Museum :
St.Ermin’sHotel, Caxton Street, S.W.l.
Aprinted magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are not on our mailing list, write now.
Magical Theutre :
King George’s Hall, Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRI
INSTITUTE of MAGICIANS
DE’SEEVAH
M M C . 1 BMS.,
IBM.8
SSMC
The Friendly Magician invites all Bona Fide Magicians to send for his list new of and used apparatus and books, or call a t his studio :1 CLARENCE ROAD Harborne, Birminghaml i
I Magical Books & Mss
l
Etc.
Available on Loan gd. Stamp for Lists F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics.
Printed in England for PETER WARLOCK by
W.C.
Particulars from Hun. Secretary :
1
I
Founded 133.4 President : A.Zomah. Hon Sec O m r Oowald 102 Elmstead AV; * Wembley Park) Middx. H.Q. and Libra;;: No. 2 Hani Court (Victory.Club), High Holborn, W.C. MEETING EVERY THURSDAY 7-11 pm. Vlsltmg Maglclans always welcome. You*membership cordially invited-drop a line tothe Hon. Sec. for literature.
JAMES
GRAYSON
MAKER OF HIQH-CLASS MABICAL EFFECTS, STABE ILLUSIONS, ETC. W Telegram: MORLEY 899 Aaiiress :GREENFIELD AVENUE BILDERSOME, .Nr. LEEDS Nearly 30 years tn the buswess
Tdephme p3
GEORGE SEARSON, Blue Bell Hill, Nottingham.
59
PENTAGRAM
An independent monthly bulletin for all who want good magic
y@uh
’ t
Cogitation as to the nature of this contribution revealed that I could adopt one of three courses, that is :I-Describe an entirely new effect ; 2-Disclose a new method of working an old effect ; 3-Detail a novel presentation for an old effect. Item one naturally would be the most satisfactory, but these new effects materialise themselves only at odd andrareintervals. I n my opinion classification two is merely futile, which bringsus tothe consideration of “ a novel presentation for an oldeffect.”
I am slowly coming tothe conclusion that conjurers attach far too much importance to tricks. The mereperformance of tricks will get you no place, which is poor English but hard fact. If, on theotherhand, conjuringismade of secondary importance inour endeavours to entertain, there is fargreateropportunity of touching the highspots. I t will betime well spent if we consider the tactics adopted by a few top-liners in variety, such as Vic Oliver,Stanelli, Ted Ray, MaxWalland MaxMiller. They areessentiallyraconteurswith excellentmaterial. Thatin itself, however, isnot
enough. The members of the audience say to themselves,erroneously, of course, “ I could do that. He onlytellsa few stories,probablywritten for him by script a writer.’’ So our top-liner concludes his turn by doing something which the audience knows perfectly well they could not do : play the violin, guitar, uke or piano, sing, dance,yes, why not,-conjure. In practicallyevery case the digitalskillisdisplayed as anafterthought. It is a tail-piece with a sting.
I commendthisprocedure to conjurersfor two reasons. - First, I feel it iswhatpresent-day audiences require and secondly, assuming my theory to be wrong, if one can attain a certain measure of successwiththismethod, it will proveasplendid training should one ultimately decide that the performance of tricks is to be the dominating feature. The sequence of effects I am about to describe iseminentlysuitablefor the method of approach above suggested or can be interpolated in any programme, other than one designed for very youngchildren. The following patter also outlines the effect : “ You all remember the ‘ Radio EIOORed Cross Competition,’ in whichyou had achoice of A, B or C. I am going to hold a similar competition, but with the ‘ rub ’ removed. In otherwords you can’t be wrong ! These three slates are marked, as you see, A, B and C, but on the reverse side of one is written a message. Whichistheslatewiththe messageA, B or C ? You can’t bewrong ! C ? Correct. It has the writing, whilst A and B are blank. “ Three packs of cards also marked A, B and C. The backs of two of these packs are red, whilst the third are blue. Which is theblue-backed packA, B or C ? Again you can’t bewrong ! B ? Yes. As you see, the back of every card is coloured blue. Packs C and A have backs which are red.
continued on page 6 0
60 U
YOU ,CAN'T BE WRONG "-continued
from page 5 9
" Three books,distinguishableby the first three letters of the alphabet, showing on the covers. One of thesebookscontainspicturesonly,whilst the othertwoarewithoutillustrations.Which is the book with the picture-A, B or C ? C ? Right again. Books A and B have not a single illustration, whilst the chosen book has the pictures. " On this stand are three envelopes. One contains a pound note and the other two are void. Now, A, Bor C forthepound note ? You can't go wrong ! A ? Yes,sir. B and C areworthless (removetheseandtearinsmallpieces).Envelope A has the money. You can't be wrong ! ! "
No gags or wisecracks you notice, because these have been handed over in the non-conjuring part of your act. The four effects must be worked snappily with the minimum amount of word accompaniment, otherwise the novelty of the presentation will be diminished. No doubtthe readercanthink of otherand possiblybetter effects whichcould be utilised. So muchthe better. It wouldstandrepetitionwith differenttricks ata re-engagement, just as the ariginal radio contest was repeated week after week. The working will be obvious, but for the sake of completeness details are as follows :Slates.-Ordinaryslatescanbeused, but for consideration of lightnessmake I my ownwith black cardandplasterers'laths,suitablyplaned. Incidently,if you cansecureabundle of these laths, it issurprisingthenumber of purposes to which they can be put. Identical messages are painted in white on each slate. I use the wording " EIOORed Cross Contest." One'snamecould be used orthe caption " You can't go wrong." Actually it is a matter of indifference. The slatesaremarkedon the reverseside with A, B and C. A flap will be required for each slate. The one for slate A will have the letter B painted on. This flap will cover the message on slate A, the B facing towards the message. The appearance of theslate will now be blank on one side and letter A on the other.SlateBisfittedwitha flap marked C, and likewise slate C with flap marked A. The slates are held in a fan and shown to be marked A, B and C respectively, care being exercised to keep the backs well hidden.Whicheverletterischosen, the slate so markedis cut to the top and squaredwith the slate beneath it. The chosen slate is then removed, leaving behind the flap on top of the next or middle slate. Message is displayed to the audience and the two remainingslatesarereversedandnaturally appear blank.
The Cards.-Three packs of red-backed cards arerequired,onthetop of each beingonebluebackedcard. Ontop of the bluecardsarewhite
cards, the size of a playing card, on which are printed the letters A, B and C respectively. Rubberbands hold the packsintact.
As soon as a letter is called, pick up the pack so markedand remove the rubber band. Hold the pack face down in the right hand, with thumb on one side ; second, third and fourth fingers on the other sideandfirst finger atend. Remove lettercard and reveal blue backed card. Witha sweeping motion bring the pack over, across the body, to the lefthand,whichslidesafewcards off the bottom withtheleft finger andthumb. The righthand sweeps back and again shows the blue-backed card. This is repeated until only the blue card remains in the righthand.Givethisaslight flick andadd it to the bottom of the pack. The other two packs are shown to be red-backed by the same sort of action. When removing the white card in these two instances, the blue card is removed with it.
The Books.-These are made up on the long and short principle, using magazines of the Lilliput, London Opinion and Digest variety. They should be covered with a bright stiff paper and lettered on both the front and back. It speeds things up somewhat if the books are shown in a fan, thechosen one removed and placed under the arm. The remainingtwoare flicked through as one,to show no pictures. The one under the arm is then taken, which movement naturally reverses it and shown to have naught but ' picker-tures.' The Envelopes.-Asmallstand is required with three divisions-each division being the exact size of a pay envelope. The stand is painted black. Three pay envelopes are paintedblack on the address sideandpoundnotes placed therein.Theseare placedon thestand, openingenddownand black side facing the audience. The standshould now have the appearance of beingempty. Three empty envelopes are placed on the stand, that is on top of the blackened envelopes. As soon as aletter is called, the non-chosen envelopes are slid off the stand and torn in pieces. The selected envelope remains on the stand. This, together with the envelopebehind,are removed asonewith the right hand and placed in the left hand, reversing the two in so doing. They are taken in the left hand in the manner a pack of cards would be held for dealing. Fromthetop envelope, thepound note is slowly removed,opened out andputontop of thetwo envelopes. Added Suggestions.-I appenda few alternativesuggestions. These I have nottriedout, but the " how " should be within the knowledge of all readers :Three match boxes, one only containing matches. Three tubes, one of which covers a glass of milk. Three billiard balls wrappedintissuepaper, one ball is red, the other two white. Three paper cones or sugar bags, one contains confettior rose petals.
61
E d i t o r ’ sF o r e w o r d . - T a nH o c k Chuan needs of this or any littleintroductiontoreaders othermagicalmagazine.DuringtheWorld W a r No. 2 he unfortunately lost all his big propsandcostumes, but was,in some way, books. The slant on fortunateinsavinghis the ‘‘ Torn and Restored Newspaper ” which be he describes, includes a touchwhichwill ecelcomed by allreaders.Especiallywillit be welcomed by the silent performer. I t would make a still more effective finish to the p s e n t a t i o n which Billy McComb detailed in of William.” TheFirstBook
Effect.-On
the operator’s table stands short lengths of coloured paper. The operator takes newspaper a which he tearsinto many pieces. Holding the pieces aloft withhis left handthe pieces of coloured paperareremoved fromthe glass with the right hand and tucked into the newspaper. Restoration of the newspapertakes place. It is shown onthe outside and then opened to reveal on the inside page, the colouredslipsspelling the word “ Welcome.” a glass in whichareinsertedsome
The method of restoring the newspaper is theor famous A1 Baker, the coloured slips simply taking their place with thetorn pieces atthe conclusion
of the effect. The word is, of course, pasted on the duplicate paper beforehand. The reader will realise that it is not necessary to use the word given. On those occasions when the performer is performing before a special group Society, the coloured slips could form greeting a to that particular group.
on the cigarette and then pushes it into his left fist. Smoke is blown on to the fist and it is slowly opened to reveal a small packet of silver paper. The packet is opened to reveal a red rose, which is thrown to a member of the audience. The fact that the rose is still damp makes this effect remembered by whoever catches the rose.
This is quite a good little semi-opening effect, suitable for amanipulator.Round about 1938 I used it quite a lot. After doing a couple of sleights with a lighted cigarette (the reason for this is that the hands shall be seen to be otherwise empty) operator takes a draw
The fake for accomplishing this is very simple. First of all take two pieces of thin fibreboard each measuringtwoinches square (fibreboard is mentioned because it has anatural resilience which is necessary). Join these pieces ontwo opposite sides with tape (see illustration). On one piece of board glue a piece of silver foil two inches square, whilst on theother a piece six inches square.Shown casually on both sides it would appear that you are holding a six inch square of foil. That is the fake. All that is necessary is to have a clip on the left hand side of the body to hold it. Preparation.-About five minutes before you are dueto appear take the rose you are going to use, trim the stalk so that the overall length is about two inches. Place the rose (it shouldbe needless continued on page 6 2
62
Whilst containing little new, this routine will be foundtobe easy, thesurprise climaxmaking it extremely effective. The magicianborrowsa IO/noteandasks the owner to note the number and wrap it (the note) in piece a of paper which is handed to him by the magician. The latter now produces a pack of numbered cards and requests the spectator to select one. This done,thepapercontainingthe IO/- note, is placed in a wine glass ; the spectator holdsthelatter*inhislefthandandin his right hand theselected card, all in full view of the audience. The magician now borrows a cigarette which is then lit, but instead of production of the ultimate note ,from the latter as most of the audience expects, he asks the spectator holding the articles to name the number on his card. Supposing the answer is four. T o this the magician retorts that he is going to burn as manyholes inthenote as thatnumber. He touchesthepaperthree times, butonthefourth touch the paper disappears in a flash, and on turning the glass upsidedownoutdrop four half-crowns into the spectator's hand ! Requirements and Preparation.-Pack of cards printed with numerals (afew extra with the number four will be found useful to those who find the fan force difficult), a box of matches, two pieces of flash paper about 4" by 4" and folded to make a squareabout I:'' andthenopenedout flat again, and four half-crowns. Wrap the.four half-crowns in one of the pieces of flash paper making a neat packet and gum the ends down. (This precautionis necessary owing to the weight of the coins and prevents any unfolding during the switch that takes place.) Place the matches on the table and also the cards. These shouldbeface upandwiththe longside parallel to the audience. On top of the cards place the packet containing the coins near the end of the short side (the gummed side of the packetshould beface up). A silk handkerchief is bunched up ClG.
and placed in front of the cards, whilst in front of this is placedawineglasswith the duplicatesheet of flash paper resting on top. Presentation .-Borrow aten shilling note, and let the lender note the number (this is merely misdirection, but should on no account be omitted). Taking the note the operatorfolds it into a squareof approximately one inch and handing it back to the spectator asks him to makeaparcel of the note. Whilst this is being done the operator's right hand picks up the cards from the table, the thumbpressing on the coin packet. With a little sweep place cards and packet in the left hand at the same time turning them over ; this move is easy and has the purpose of placing the packet in a left hand finger-palm position. The faces of thecards are casually shownbefore asking the spectatortomake his " choice." The cardwith " four " onitbeingforced. Ask your ' victim ' to look atand' hold,whilstwith the righthand you temporarily relieve of him of the notepacket.Place the cardsheld in the left hand intherighthand, over the packet, the left hand coming away with the coin packet. The cards with the notepacketunderneathareplacedon the silk, whilst the left hand places the ' coin ' packet in the wineglasswhich is picked up andhandedto the assistant. The cigarette isnow borrowedand lit. The first three times the operator appears to touch the flash paper, thefourthtimethe glowing end goes right into the paper. There is a flash and the four coins are left in the glass ! Two pointsto note.-A wineglass is used for the simple reason that it has little depth and there is no risk of noisewhen coin packet is deposited. Tell the spectator to hold the glass fairly high up. In this wayhe has no opportunity of noticing any difference in the packets.
F L O W E R - c o n t i ~ u e d from page 6 1
for me to state that this should not be full blown) diagonally across the centre of the six inch square of foil; and then fold the foil over the rose, making as compactaparcel as possible. The reader will now find that by squeezing slightly on the edges of the parcel the fibreboards will open slightly forming a tube large enough to accommodate a cigarette. A release of the pressure and the cigarette is held fast. The parcel is now placed in the clip, the operator making sure that he knows which side of the parcel is which. Presentation.-Operator performs a couple of sleights withlighted cigarette, thenstandingright side to audienceapparentlywith his righthand throws cigarette into the air, actually thumb-clipping
He follows the direction of thethrow with his eyes, whilst his left hand obtains secretly the packet, His gaze comes down andthe cigarette is reproduced just aboveknee level. The lefthand comes up back to audience, the packetheld by thethumb. Left hand closes into a fist and pressure is applied to sides of the packet. Operator takes a draw on the cigarette and then pushes the latter in the left hand (actually into the opening of the packet). Left hand remains still whilst smoke is blown in that direction. Hand is turned round and opened, revealing packet which is thenopenedrevealing the rose. The rose isheld aloft withtherighthand whilst left hand takesopportunity of pinching the packet flat and making surethatthereisno smouldering of the cigarette. it.
9rn! The pass is then repeated with the other two packs onthe table, when all the kings will beat the bottom. The split-fan passes can even be reduced to two by passing the cards in the last packet one by one into the fingers of the left hand, reversing their orderin so doing. It is then fairly placed onthe cards in the left hand, when the last king will be on top. By making a cut all the kings will be brought togetherin the middle. Of course, with this procedure the packet in the left hand must be held so that the face card is hidden as the fanned cards are reversed, or the bottom king would be seen.
It is withsome temerity that oneclaims originality for a sleight as there are so many variations being developed and published nowadays that one cannot keeptrack of them all, let along rememberevery modification and who first claimed to have done it !
For the above simple illustrative effect you can tell a storyof four friends with the same keen interest in a certain subject (namedaccording to the audience -conjuring, of course, if the spectators are conjurers) who always foregathered when opportunity permitted, despitetravel difficulties.
Nevertheless, I really think the utility pass to be described hereunder is new. The purpose of what I have termed The Split-Fan Pass is to bring a card to the bottom of the stack held in the left hand, in the action of replacing a fan of cards held in the right,the procedure being as follows . .
This pass may have other uses.
I am reminded of the vanity of claiming originality by the fact that quite recently I thought of what seemed to be an improved way of doing the Glide. This consisted of pushing the bottom card back with the tips of the right middlefinger a the hand approached the cards, the second card being slipped out with the forefinger. This enabled the pack to be held at the tips of the left fingers andthumb instead of having the fingers curled under the pack so that the third finger could execute the Glide.
.
Assume four packets of cards to have been dealt face down on to the table, each consisting of a king withthree indifferent cards above it. The first packet is taken up in therighthand, fanned face towards the spectators, and then placed face down in the left hand accomplished without the need of any suspicious or rapid gestures. It will be found that once the fan has beensplit by the packet of cards, it can be slowly closed in a perfectly natural way within a few feet of the spectator’s eyes without the ruse being noticeable.
Imagine my surprise, when glancing through Robert Hondin’s Secrets, to find my “ new ” method described there ! Yet it seems to have been entirely overlooked for nearly a hundred years !
COPIES OF NO. 1 “PENTAGRAM” HAVE XOW BEEN RE-PRINTED AND AREAVAILABLE. WILL DEALERS AND READERSPLEASE CONTACT hlE AS SOON ASPOSSIBLE I have a number of exclusive pieces of ApparatusandsomeAmericanBooksforSale. A list will be . ent on receipt of a stampedandaddressedenvelope. For the first sixty copies of No. 3 ‘‘ Pentagram ” sent in clean conditiott I will p a y the sum of 113 mch PETER WARLOCK
::
“
GREENBANKS ”
THE W I Z A R D A modern monthly magicmagazine.Annualsubscription 1216. 7/6 is returned in the form of vouchers which may be used towards the purchase of books. THE M A G I CW A N D Aquartelybook of magic.Published on first of March, June, October and December. Per copy 318 post paid. Annual subscription 1416. QEORBEARMSTRONG, THE MFGlC WAND PUBLISHINQ CO., 11 MONASTERY GARDENS ENfIELD MIDDLESEX
..
..
::
BRAMCOTE
NOTTS
::
::
ENGLAND
PETER WARLOCK’S
PE IVTRG RXM Published on the15th of each month 1/ l single copy, post free l 1 1- per year, post free from
b b
...
GREENBANKS,”BRAMCOTE,NOTTS. 01
from your dealer
64
***
*****
PENTAGRAM GRADING : (Threestars)-OfPractzcalValue.
**
****
(Five stars)-Outstanding. (Two stars)-NoReason
***** “MAGIC WITHOUT APPARATUS” LLD.,
byCamilleGautier, translated from the French by Jean Hugard (published by the Fleming Book Co., Berkeley Heights, New Jersey, US.A., price Seven dollars Fifty cents.
The physical make-up first. This is standard Fleming production. There are 526 pages, the illustrations being by Donna Allen. This book in its original form has long been considered a classic. Last year, whilst with Stanley Collins andDr. Jeral, we had theopportunity of comparing the original with the translation and then regretted that in some cases the photographs which appeared in the original were not used in the newer version. The hand can be abeautiful thing,and whilst Miss Allen certainly clarifies the various sleights, the hands in some of the drawings are far from being things of beauty. After a Preface by Paul Fleming and a pen note on Gautier by Caroly, we have along introduction dealing respectively with magic and magicians in France, the Literature of Magic and GeneralObservationson theTechniqueand Presentation of Magic. T o the serious student the first two parts of this long chapter are well worth the price asked for the book. Part one follows and deals with Cards. There arefourchapters covering Basic Card Sleights, Card Flourishes, the Back andFront Palm(and resultant manipulations) and finally Tricks with Cards. As this book initsoriginalform was published in 1914,it naturally follows that most of the material in this section is now well publicised. The student will find little new, but because this goes back to an earlier part of the century hecan get more information regarding the origin of certain sleights. There are many methods for revealing a chosen card. The Cards up Sleeve is dealtwith inthe classic and not pocket manner. Everywhere and Nowhere, the Ladies’ Looking Glass (in our opinion a beautiful but so neglected card effect), The Ambitious
(Four stars)-Very for Publication.
Good.
Card and the Cards through Handkerchief. Readers of Hugard’smost excellent Monthly have already been given a number of possibilities for using the back and front palm as a means to end and inSection four Gaultier also touches in a less advanced manner on such feats. One effect by Max Cadet has always appealed to us. We had always attributeditto Douglas Dexter (old members of the Magic Circle may remember his performance of this at aCircle Meetingin 1918). He also published underthe title “ A Means to an End ” in Naldrett’s “ More Collected Magic.” (By one of those strange coincidences thiseffect is preceded by a hut loading device of M m Cadet’s.) This chapter finishes with a description of the Three Card Trick including a remarkably good routine by M. Nordach. The second section deals with coins, and after covering a vast number of sleights gives several fine effects culminating in the greatest of coin tricks, “ The Miser’s Dream.” Section three deals with billiard ball manipulation. Production, vanish, colour changes and steals are dealt with in a thorough manner and this section forms an able complement to Burling Hull’sfamous treatise. Apartfrom the production and vanish of a number of balls only two other tricks are. described. The book concludes with a treatise on thimble sleights and tricks, asubject which at the time of original publication was much neglected. Amongst the sleights there aresome moves which still have the touch of novelty, partly because of their unorthodox nature. The book is agreat achievement andto conclude, we feel that more than a word of praise is dueto Jean Hugard. He has notmadealiteral translation, but being a born magician he has given a practical one. Looking back through the last fourteen years we find it hard to easily express the good that this grand writer has done for the modern conjurer. Long may his work continue. Unreservedlyrecommended.
M A G I C - G O - R O U N D - c o n t i n u e d from page 65
many more) which at one time or another you have meanttojot down andthen forgotten. Herethey are all, stunts, tricks and novelties, gatheredtogether with a plethora of line drawings and photographs, in one volume of sixty-four pages. Douglas Francis’s book consists of some three dozen pages and contains ten really first-class close quarter work items.They are all thoroughly practical, all have thattouch of novelty which makes the audience rememberthe effect longafteritsperformance. The price of this little booklet is S/- and it is published by Unique Magic Studio. Whilst we realise that conjuring effects make inevitable cyclic reappearances, we cannot under-
stand contemporary a publishing as a “ new ” effectthe rapping drum,forit was performed by RobertHoudini a hundred years ago (Secrets of StageConjuring, page 249 ; Modern Magic, page 492). Whilst Charles Waller in the “ Magic Wand ” of March, 1921, gave the same dressing, i.e., “ Drake’s Drum,”tothe effect described inthe case under discussion. Max Holden writes that Okito made an appearance at S.A.M. Chicago Covnention. He performedhisfamous silk routine. This is a thingone sees and never forgets theempty hands come together andthen atongue of silk is only one Okito, shoots out . . . butthenthere a magician true to hisart.
...
65
Our first duty is to amend the mistake. made in the printing of Tom Sellers’s “ 365 ” last month. The key numberforDecember (as manyreaders have written and pointed out) should be “ 6 ” and not “ 5.” A glance atthe illustration will show thatto be correct-the “ e ” andnotthe “ m ” being out of alignment.
ReaderswillnoticethatCopies ” are now available.
‘‘ Pentagram
of No. 1
Now thatthingsare in better perspective we thought we would pass on our opinions of some of the dealers’ .items that were on show at Cheltenham. Whilst Burtini’s version of “ Quart into a Pint Pot ” was noton sale, there is no doubtthatthis is an effect which the audience will always remember. It is good news to know that the production of this effect will be limited to fifty copies, and that buyers’ names will be published. This is a step in the right direction. Only one other comment we would make(one that we have already made to Burtini) and that is that for additional fairness to purchasers, the effect shouldbe zoned. Eric Lewis’s “ FantasticFrame,” whilst obviously being a piece of apparatus should form an acquisition to the showy type of act. The working is one hundred per cent. reliable and the effect to the spectators very pleasing. Highonthe list we would place “ Electrovan ” (the effect of which is now well known) and Cash Cups ” put out by Zaharee. This latter item relies upon a most subtle principle and is a ‘ must ’ for the mentalist who wants something different for his act. Also in the psychic field was Dr. Taylor’s “ Spirit Buzzer,” put out in this country by Max Andrews. Again thenumbertobe sold is limited to fifty. Unique Studio had a good display of their famous products, but the effects which took our fancy were Norman’s “ Myster-Bell ” andHerbert Milton’s version of the “ Crazy Compass.” We stillcannot understand why this effect took so long in becoming popularinthis country. On Davenport’s stand we espied their version of Abbott’s “ Water-loo ” which is first-rate a hydrostatic effect. Herbert Sutcliffe’s stand, next to our own, attracted quite a lot of attentionwith “ The Monkey’s Paw.” The simplicity of the mechanism plus the possibilities of the effectshould make this a best seller. George Mackenzie, unfortunately, did not have his “ Sten Gun ” effect with him, but he had a novelty in the shape of a miniature golfer, who, witha likewise miniature niblick knocked a chosen card fromthe deck. StanleyMarelle’s “ MiracleMirage ” should prove a decided acquisition to any magical compere. We liked this very much. Tubby Allison had some very nice work, the Hathaway Card Riser and Pent-aBlock looking very good. O ~ e rall there was a tendency towards better workmanship. I amsure that among dealers to-day there is a genuine desire to give quality.Onlytoounfortunately difficulty in getting certain materials more than trebles their difficulties. ((
Our good friend; Vic. Maxwell, informs us that the Lincolnshire Magic Circle is re-starting its activities. Mr. J. Crooks has been elected Chairman. A medal for the AnnualCompetition has been donated by Vic. Maxwell. Monthly meetings will be held. Those interested may obtain further information from the Hon. Secretary, Mr. R. Cook, 28 Freestone Street, Cleethorpes. The I.B.M. (British Ring) Convention at Buxton is now just around the corner. Commencing on July 10th with a civic reception, there will be a practically non-stop magic programme until Sunday evening. The big show includes Milton Woodward and Company, Peter Waring, Douglas Francis, Arthur Dowler, Fritz Oloi, Lenz, “ Scotty ” Lang, Raoul, W’alter Wandman, and a possible “ mystery ” act. The Children’sMatinee will be underthe aegis of Wilfred Tyler.Judge Wethered will be giving alecture on the ‘(Rough and Smooth ” principle. Cabaret and other shows will take up the rest of the time. Onthe Sundaya lunch will be held followed by stillmore magic.Bill Stickland, aided by his able Committee men, is respmsible forthisgreat feast. Please don’t forget about theten best tricks we mentioned last month. We want as many replies as possible to make this representative of our large circle of readers. N.A.M.S. andthe I.B.M. have adoptedSt. Dunstan’s Institute for the Blind as the charity for this year’s day of Magic. We arenotatonewith paragraph eight of the Circular composed by a joint committee and sent to us by the Publicity Officer of N.A.M.S. This reads as follows :-“ Societies will appreciate thatapart from their big show, if the members not on that programme are encouraged to run other shows in the district, the total raised will be very considerable, and the boost for Magic greater ” (the italics and heavy typeare. ours) and it is this part of the paragraph that makes us wonder whether the Committee have ever seen that phrase which appears in sundry Society Rules “ to elevate the Art of Magic.” De Vega’s Formula X is to hand. Its purpose isto visibly producea design or somewriting in redon the flesh. On test it has proved completely satisfactory. Mr. De Vega supplies with the chemical a ms. giving a number of different routines. We venture to suggest that the chemical has a great number of possibilities apart from those suggested. Too late for review proper we received copies of Willane’s Wizardry ” and Douglas Francis’s “ Right under your Nose.” The first of these is most modestly priced at 2/6, and is a “ must ” for everyone of you, for it contains all those items (and “
66 T H E MAGICAL E V E N T
~
THE SPHINX
OF THE YEAR
THE BRITISH RING’S (I. B . M.)
AN INDEPENDENT MAGAZINE OF MAGIC
CONVENTION
John Mulholland Editor
will be held a t BUXTON,DERBYSHIRE,On JULY 10-13 All theoldandmany new attractions Details from the Hon Secretary : WM. G. STICKLAND “ The Wand,” Ferndown, Dorset SEE YOU AT BUXTON
THESPHINX is the professional magazine of magic. . Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
C O N J U R I N GB O O K SF O RS A L E OLD AND NEW. La me knowyourwants UST FREE FOR STAMPED ENVELOPE No callers
47
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
Arrangements have been made for subscriptions to be accepted and money .. England deposited in ..
....
~~~~
WRITE FOR DETAILS
BLACKPOOL! ! if you come this way, do look us up on North Pier ( b y TalbotSquare). A big variety of thelatestmagic alwaysinstock. P A U L C L I V E & C O . , L T D . for “ Witchcraft ” Magic
WILLABE’S
WIZARDRY
You all know the author’s vaudeville act. This book contains all the publicity and stunt items he does outside his act. If you are a conjurer looking for advanced magic you can take itorlewe it. When Douglas Craggs saw it, he said :“ It’s the best collection of wheezes awd tricky ideas I have ever seenworth manytimesitsprice to any professicnal performer.”
Price 216 ARCAS
THE SPHINX 130 WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
Postage3d. L I M I T E D
40416 SYDENHAM ROAD, CROYDON
If you likegood comedy magic you “ Milk Shrink ”willlike the shrinking glass of milk2216 postfree ZAHAREE (Geoff.R. Hursell) 16 & 1s Watts’ PXsce CNATHAM, KENT
MAGICIANS’ BOOKBINDING SERVICE Send stamp for booklet giving full details of our :: binding service :: c. FIELD 42 Alderson Road, Sheffield 2 PrintedinEnzland
THE MAGIC CIRCLE President :His Grace the Duke of Somerset U.S.O., O.B.E., I.P.; D.L., M.I.M.C. Vice-President : Douglas Craggs, Esq. M.Z.M.C.
MASQUE
Clubroom and Library and Musewn :
St. Errnin’s Hotel, Caxton Street, S.W.I.
A printed magazine giving details of our latest releases in
Magical Theatre :
exclusive magical effects. Issued free. If you are not on our mailing list, write now. .
King George’s Hall,
Francis White Alverstone Avecue, Wimbledon Park, S.W.19
MAGIKRAFT STUDIOS
39
32 Vernon St., Northampton
INSTITUTE of MAGICIANS
HENRI DEIEEVAH ”C.,
BME.,
IBM.,
W.C.
Particulars from Hon. Secretary :
Founded I o z i
SSMC
The Friendlv Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his studlu :l CLARENCE ROAD Harborne, Birminghaml#
MAGICAL BOOKS, ETC. Available on Loan Comprehensive Lists for 3d. stamp. Also new and secondhand books for salz. F. ROBINSON, Magician, Stathern, Melton hIonbray, Leics.
~
Visiting Magicians always welcome. Yoztr membership cordially invited-drop a line tothe Hon. Sec. for literature.
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY 888 Address :23 GREENFIELD AVENUE GILDERSOME,. Nr. LEEDS Nearly 30 years m thebuszncss
for PETER WARLOCK by GEORGE SE-iRSON, Blue Bell Hill, Nottingham.
67
PENTAGRAM
Anindependentmonthlybulletin
The 1-2-4-8 Principle.-In one of the earliest numbers of the Pentagram, its indefatigable editorpublishedan effect whichhe called " The Thread in the Maze." Briefly, it was amethod of giving information as to the name of a selected card over the telephone, by calling outthe names of seven other'cards in a' certainorder. A Joker was used as a " stop " card to indicate the break between the cards giving information as to value, and those giving information as to suit. "
The basis of the method was what I know as the 1-2-4-8 Principle " by means of which anynumber
by combinationsof from I to 13 canbeindicated three or less of these four numbers. Two thingsoccurred to me at the time ; first the information can be given with much fewer than seven cards, and secondly I did not like the idea of a " stop " card.Additionally usingtheJokeras I couldsee thatthe necessityforcalling outthe cards in any particular order could be avoided.
for all who want good magic
As the Pentagram is essentially a magazine for students, some readers may be interested in a closer examination of the subject. The number of cards necessary would be diminished at once if only one card is used to indicate the suit. Thus, if an Ace, Two,Four, andEight are used in combination to indicate value, any one of threecards higher thanEight canbeused to indicate the suit. (In the " Thread in the Maze '' twocardswereused to indicate the suit but they had to beinacertainorder.) Let us assume that 10 aDiamond,any any 9 representsaSpade,any i.e., JackaClub,andwhennosuitcardisgiven, when cards of value 8 or lower only are used, we will know it to be a Heart. Wecan now find thatthenumber of cards required to give indication of any card in the pack isas follows. In every case it will be one less if thesuit isHearts. continued on page 68
68
WESTERN
I 2 4 &continued
from page 67
g, 10,or Jack is all that is needed. If itshouldbethe Ace of Hearts, no card at all is required and the assistant can ask quite freely over the’phoneandgetthe right reply. 2 cards for a a-The 2 and the suit card. 3 cards for a 3-The 2, Ace and the suit card. 2 cards for a 4-The 4 and the suit card. 3 cards for a 5-The 4, Ace and the suit card. 3 cards for a &The 4, 2 and the suit card. 4 cards for a 7-The 4, 2, Ace and the suit card. 2 cards for an 8-The 8 and the suit card. 3 cards for a 9-The 8, Ace and the suit card. 3 cards for a Io-The 8, 2 and the suit card. 4 cards for a Jack-The 8, 2, Ace and the suit card. 3 cards for a Queen-The 8, 4 and the suit card. 4 cards for a King-The 8, 4, Ace and the suit card. I card for an Ace-The
From this we get the following :-
o cards of 7 requiredtorepresent I cards of 7 required to represent 2 cards of 7 requiredtorepresent 3 cards of 7 requiredtorepresent 4 cards of 7 requiredtorepresent
... ... ... ... ...
I card. 6 cards. 15 21
,, ,,
9
9,
52
2,
-
It will, therefore, be seen that although 7 cards are necessary from which to make the selection of the particular cards which will code the information, in the great bulk of cases, the selected card can be indicated by 3 cards or less, and never more than 4. Moreover these cards can be mixed up and called
CLIMAX PREDICTION
- continued from bage
out in any order, as the card representing the suit is outsidetherange of thecards which give the value total. Applyingthis
we can proceed asfollows
:-
Commence as in “ The Thread in the Maze ” versionwithapre-arranged pack fromwhicha card is selected and consequently known. The seven cards in a known order can be in the pocket. Afterthecard has beenselected, the packcan be given back forthoroughshuffling, while theperformertalksabouthis psychic friendattheother end of thetelephone. Select the rightcardsfrom the pocket andpalmthem.Getthespectatorto cuttheshuffled pack, pick upthebottom half adding the palmed cards, and deal off as though they come from the bottom half. Say “ I don’t want to seethesecardsatwhich youcut-but take them and call them out in any order my to psychic friend ” -or words to that effect. And the answer will be easy attheotherend. There is onepointatwhich, however, some disguise is necessary. An Ace representsan Ace, and a 2 represents a 2, and so on, although it is not so obviouswhen several cardsaretotalled.There aremany ways inwhichthis can be overcome. The whole thingcouldbereversed,for example, so that ~JI Ace is represented by a King, a 2 by a Queen, a 3 a Jack, and so on. Another way would be to subtract 3 pips from the card and code three pips lower accordingly, going to King, Queen and Jack for 3, 2 and Ace. The adjustment could easily bemadeattheotherend : but perhaps
the simplest of all would be to take the first sevencardsof your pre-arranged pack and l , 2, 4, 8, letthemrepresentrespectively Spade, Diamond and Club.
70
a stage further, he now takes the pack and quickly runsthroughit,showingthatthe selectedcardis no longer there. He then asks the spectator to turn over the card that was used to cover the paper, and which has been lying in full view the whole time. ! This turns out to be the missing selected card All you need to know :-If you have not got it already, the secret is simplicity itself. All you require is a duplicate of a card to be forced, and the ability to palm a cardoff under the easiest conditions possible.Commencewith thetwoduplicateson top of the pack. Give the cards a shuffle,keeping thesein place. A riffle is the easiest. Nowmake your prediction, and cover with the top card-one of the duplicates-leaving theotheron top, ina good.positionforcontrollingforalmostanyforce you may favour, as long as it is convincing. Having hadthecard ‘ selected,’ letitbereturnedtothe centre of the pack andholdthe break. Do not
make the pass yet. All eyes areonthecardsand you will have a much better opportunity when you ask thespectatortoreadthe prediction.Having done that, once again do not be impatient, but leave the card on top, and remarkingthat the card should be somewhere near the centre, turn them face up and rapidly run them through, keeping the chosen one covered. Now,when you requestthehelperto turn over the card on thetable, you can palm off the duplicate, having all the coveryou could wish for. Casually drop thepack on thetable (in case they wish I have never had to look forduplicates,although thishappenexceptwith magicians). Yourhand goes naturally to your pocket at the completion of the trick,andyour pack is complete tocarryon withanother effect if necessary. Nothing very clever I’m afraid, but it is easier than itmay sound, and quite effective I can assure you.
69
Presentation .-Operator picks upthe two glasses and shews them to be just two glasses. The colouredsilkisthen placed insideone,care being taken that the silk comes just above the rim of the glass (the reasonforthis will beexplained later). The opaquehandkerchiefis now picked up andplacedover themouth of this glass (the lid actuallygoingover the top of the glass) with the result that a small amount of the coloured silk should overlap the side. Holding the opaque handkerchieftightagainst the sides of the glass withthelefthand,theright picks up the elastic band and places it over the handkerchief and apparentlysecures the latter to the glass. Actually it encircles the opaque handkerchief and encirclesthe lid ! The glass isstillretained inthe left hand whilst theright hand turnsthe remaining glass mouth down, thebleft hand then loweringthe covered glass so that its base rests on top of the upturned glass (illustration A shows the position at this stage). Remarking that completeisolationis necessary for the success of the effect, the operator places his left hand on top of the opaque handkerchief, whilst the right hand goes underneath to hold the glasses. I n thispositionheapparently places both glasses in the samerelativepositionsontheplate,which, as you may remember, was on hisright.Actually in the course of moving across to the plate, the right hand, gripping both glasses where they meet reverses their position so that the e m p t y glass becomes the top glass and vice-versa. There isnoneed torushthis move, as it is more than covered by the handkerchief. The empty glass, of course, comes to restinsidelid. There is no chance of the silk falling from the glass inthe move as asimpletrial will tell. The operator has now finished the effect, but there isonepointwhichtells heavily withanaudience. The operator now announces what he proposesto do. The elastic band is then removed from the handkerchief, which is turn is lifted to show the top glass empty. The latter is picked up with the left hand as the righthand places the opaquehandkerchief down ; the right hand comes up and flicks the glass withthe secondfingercausing itto ring. The audience can see that the silk is in the bottom glass, butthe operatorholds the applause.Remember that the silk slightly overlapped the rim of the glass. The result of this is that a portion of the silk should be protruding outside the glass andlyingalmost flat on that part of the plate’s surface that is adjacent. The empty glass is placed down and the right hand picks up theplate so that the thumb comes down andgripstheprojecting piece of silk. The left hand now removes the glass in a forward and upward motion. The resultbeing thatthe silk islefton theplate. The effect tothe audienceis thatthe operator has lifted a glass and the handkerchief has fallen out of it. It isasmallpoint,but, as 1 said before, it not only tells, but it gives the mag’oian a curtain to the effect.
...
Effect.-Two whiskey glasses areshown to be empty, and in one is placed a twelve or eighteen inch silk. This glass is then covered with an opaque handkerchief which is kept in place over the mouth of the glass withthe aid of an elastic band, makingatightdrumhead. The remaining glass is thenturned downand onits baseisplaced the covered glass, both glasses then beingstoodona chinaplate.On the word of command the silk in thetop glass penetrates the bases of bothglasses and arrives in the bottom glass ! That is the broad effect which is accomplished by the most simple means, plus a couple of subtleties. Requirements.-Two whiskey glasses (this size or type of glass is not essential but makes for extremely clean working) of similar -size, one bright coloured twelve oreighteeninch silk square,an eighteeninchopaquehandkerchief(nylonwould answer the purpose well, but I havebeenusing cambric), a china plate, an elastic band and a metal or plastic lid which will comfortably fit the top of either glass. (A search through the larder or a visit to one’s grocer will soon see this article forthcoming). Preparation.-In the metal or plastic lid are punched two diametrically opposite sets of small holes. Through theseholes the lidisstitched to the centre of the opaquehandkerchief. The inside part of the lid is now lined with material similar to the handkerchief to which itisattached. Thisis partly to prevent talking. Prior to presentation the two glasses shouldbeontheoperator’stable togetherwith the colouredsilk,rubber bandand so opaque handkerchief. The latter should be arranged thatit can be picked up withoutthere being the slightest suspicion that the lid is attached to it. The china plate is placed on a chair or another table on the operator’s right.
70
i?
Many yearsago I publishedadescription of this flourish in The Magician Monthly underthe title “ OriginalColourChange,” but as the illustrations which then accompanied the text did moreto mislead thanto aidcomprehension,andas the youngergeneration of conjurers may neverhave heard of, or seen, this particular method of performinga colour-change, it maycomeasanovelty to the majority of readers of the Pentagram.
In most of the colour-changes the action of stealingacard fromthe back of the pack has a certain degree of unnaturalness, no matter how well it is handled. I n thismethod, the withdrawal of the rear card is covered by a perfectly natural and logical action.
As the title suggests, this is a prediction effect with a definite climax (apart from the truth of the prophecy). I suppose .I mustaddthe inevitable rider that I hardly dare claim this for my own, but I have never seen it in print, and did think it out whiIstplayingaboutwithsomething else. It is easy to follow and simple in operation. What the spectator sees :-The operator takes apack of cards,shufflesthem, andthen writes something on a piece of paper. The latter is folded
Instead of the usual plan of rubbing the palm of the hand over the face card of the pack to make the change, the Joker (or any other card) is used as the coveringmedium. Holdthe pack inthe left hand face up exactly as if’about tomake the Charlier Pass, but have the little finger at the side instead of atthe bottom edge. Overlap thetop end of the pack with the face-down Joker as shown in Fig. I . Two movements have now to be made,onewith left fore-finger and the other with right thumb and fingers ; actuallytheyblendintoonecontinuous action, With index finger of lefthandpush the Joker down flush with rest of pack and straightway carry it away withright thumb and fingers. No change of the bottom card is seen but unknown to the onlookers the rear cardof the pack is drawn away behind the Joker as shown in Fig. 2, which gives a side view of theimportantpart of thesleight. Actually it amounts tonomore,thanthe regular colour-changestealoperatedunder the cover of a face-downcard. Now comes the part that is really troublesome to describe. As all eyes, includingtheconjurer’s, follow the elevated pack, the twocardsinright hand arepressedhardinto thumb crotchand the first and little fingers grip the sides as if about to back-palm. This grip,which keeps thecards in perfectregister,ismaintainedas the right hand comes up andreturnsthesupposedsingleJoker again to the position shown in Fig. I . The colourchange can now be made by pushing down the two cards(presumed to beoneonly)withleftindex finger and withdrawing the faced Jokertogether with the rearcard of pack in preparationfor the nextchange. The dropping of the right arm for the hand to square the twocardsandthesimultaneousraising of the lefthand,aretheessentials of the sleight which I suggestshouldbeperformeda few times withsmooth, even action.Finally,theJokeris turned to show that it has not been changed.
and placed on the table, being immediately covered withacardtakenfromthe top of the pack. Next the spectatoris asked to selectacard. He istold to remember it and return it to the pack. Pointing out that he wrotesomethingon the paperbefore the card was selected, the operator asks his helper to push. the card covering it to one side, and read that which was written, thus verifying the truth of the prediction. Saying that he will carry the effect continued on page 68
71
sa!
irt
m
m 181 Oxford Dictionary.-Psychometry :Faculty of divining from physical contact or proximity the qualities of an object or of persons, etc.,thathave been in contact with it. On page 36 of the Jinx Annemanndescribed Pseudo-Psychometry. As described it must have been worked by many mentalists. In working with a very small group I have considerably altered the working. The mainreasonforthisalteration was thatwithsayonly half adozenspectators, it couldbeconstrued thatthe articlesplacedin the envelopesmightbeapparentbeforecommencing the effect and simplymemorised.Onlytoooften I have foundspectatorsdroppingrings or evena wrist watch into an envelope. Here then is the . . . Effect.-The operator talks of psychometry of how even the mental make-up of anindividual canbe assessed bysomethingtheyhavehandled. Whilst speaking, envelopes with small adhesive seals aredistributedtomembers of the audience. The mentalist asks eachholder of anenvelope to take somesmallobject that is in his orher possession anddropitintothe envelope, the envelopes then being sealed by means of the adhesive wafers they havebeengiven.Whilstthisisbeingdone the operatorturnsround,and, takingahandkerchief from his pocket, blindfolds himself, remarking that the exclusion of one sense tends to arouse that senSe commonlycalledsixthsense.Asking if all the envelopes are dealt with then he prevails upon one of the company to collect them (I provide a small waste-paperbasketfor this purpose). This being done the operator asks that one envelope be handed to him. He half turnsand takes the proffered envelopebehindhisback, then goingon to say “
...
how he gets (say) a male impression, etc. ; finally he walks up to oneof the members of his small audience askinghim to verify the contents of the envelope. The recipient opens the envelope and confirms that thecontents belonghim. This procedureiscontinued with the other envelopes the mentalist, always being right. One point I must add, and that isanimportantone. It isnotenoughto say this article belongs to a male with blonde hair and pink eyes. The operator must assess hisvictims beforehand and give some character pointing, i.e., artistry, love of outdoor life, academic, etc. This method is not offered as animprovement but asalternative forcertainconditions. Method.-This simply boils down toidentification of the envelopes. These arepreparedin a simple way. Obtain eighteen good quality business envelopes, a few old razor blades, a pair of scissors, and some rubber cement or librarypaste.Now cut away the frontsof nine of the envelopes, trimming theiredgesand making them readyforinsertion intotheother envelopes(theconventionaldouble envelope). The razor blades are now cut into approximatehalf-inchsquaresandone placed in each envelope at a position shown in the illustration. Rubber cement(orpaste)isappliedaroundthe part of the envelope adjacent, more rubber c-,merit being applied to the insert which is then pushed into place, the two flaps being sealed. The envelopes are allowed todryunder pressure. Whendry, the operator will find that by lightlyrunninghis thumband secondfingeracross the envelopehe canfeel the position of the metalinside. (If his finger tips are so insensitive that he cannot, a small alnicomagnetpalmed will soon find it forhim !) With the envelopesarrangedinasetorderanda handkerchief in hisbreastppcketandsomepaper seals on the table, the operator is ready for the . . . Presentation.-The envelopes are handed out togetherwith the seals. Instructionsarethen givenregarding the placingofsomesmallobject such as acoin,button, etc., inside, the envelopes thento besealed. The operator turns away. As he does so he removes the silk from his pocket and rolls the twodiagonallyoppositecornersinto the centre, so that when he places it over his eyes there is ,the merest fraction of an inch of single thickness silkoverhis eyes whilst the severalthicknesses of silk come above and below. He thus has full vision directly in front. He now gives instructions for the collection of the envelopes, and at this point, if he cannot trust his sense of touch he obtains possession of the magnetfromhis pocket. The firstenvelope is now handed to himandhelocates the piece of metalbetween the layers of envelope. He looks at its corresponding number in the audience, gives his analysis, walks unhesitatingly uptothe spectator and hands him the envelope. This is repeated with the remaining envelopes. The use of adhesivesealsmeans thatthe prepared envelopes can be used over and over again.
a
72
W d atr;.aut BUd b!! ***** *** c
PENTAGRAM GRADING : (Threestars)-OfPractzcalValue.
*****
m
“ OUR MAGIC ” by Nevil Maskelyne andDavidDevant. Secondeditionpublished by The Fleming Book Company, Berkeley Heights, New Jersey, U.S.A., price jive dollars.
Mr.Flemingin hisPreface tothis edition remarks that it is difficult to understand why this work was allowed to remain out of print so long. The answer is very simple : The golden days have gone and a great number of present-day conjurers think only of entertaining the lowest level of intelligence thatisto befoundinapublicaudience. Such persons only see in magic a few tricks which with commonplace patter and presentation will enable them to makeatemporaryreputation. The consequence is that the demand forany work dealing with magic as an Art is naturally in small demand. In our own simple way we think that Magic is not only an Art, but a fine Art, and, therefore, a second edition of this workwithattendantpublicityis more than timely. The book isinthreeparts. Part One deals with the Art in Magic. It is a section that can provoke much debate, and we think that the Authorwould have welcomed more stringent and analyticalcriticism of thispart of the book. Here the dictum laid down by Robert Houdin that “ A conjurer is an actor playing the part of a magician ’’ is altered to “ A great conjurer is an actor,” etc. Withthisstatement we disagree, if Magic is to stand as an Art by itself. This definition simply makes magic a phase of the Actor’s Art. Is it said, regarding music,that Toscaniniis an actor playing the part of a conductor ? I t certainly is not. We simply say the Toscanini is agreatmusician. Thus if the authorwantstobeconsistent,aMagicianisa magician. The difference between the magician and onewhosimplydemonstratessomepuzzlesis a matter of mind, just as much as the instrumentalist who,havinggreatdigitaldexteritycanfind no compositiontoo difficult to play, but,having the mind of a pig fails to be a musician ; such difference, please note,isunnoticed by the public(who will loudly applaud) but only by the cognoscenti. Chapter six deals with “ Surprise and Repetition,” and here againthereisnotonly food for thought but again for debate, for surely an effect which achieves its result purelybysurprise allows norepetitionbefore the same group. Part One covers in all some 104 pages and bearsreadingandre-reading. PartTwo dealswith theTheory of Magic. Being believers in simplicity, the opening paragraph strikes a concurrent note, for it says : “ The study of magic is too often conducted upon lines that demand TH,E W I Z A R D A modern monthly magic magazine. 20 pages of first-class magic. News andview on magical events. Per copy I/I post paid. Annual subscription 1216. THE M A G I C WAND A quartely book of magic. 48 pages of maglc by world-famous contributors. Profusely illustratsd. Per copy 3/8 post paid. Annual sckxiption 1416. GEORGEARMSTRONG, THE MAGIC WAND PUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
**
****
(Five stars)-Outstanding. (Two stars)-NoReason
(Four stars)-- Very Good. for Publication.
amaximum of energyinobtainingaminimum of resultant benefit.’’(A greatcomplementarywork that should be read in conjunction with this section is Fitzkee’s “.Trick Brain.”) There are ten chapters relating tothe following : Terminology,General Analysis, Misdirection, Stylesof Magic, Manipulative principles, Principles of Mental Magic, Mechanical Principles, Optical Principles, Accoustical Principles, Electrical Principles, Chemical Principles and Magical Inventions. PartThree dealswith the Practice of Magic and contains twelve effects from the programme of theMaster, DavidDevant. The effects are :The Triangle, The Production of Billiard Balls, SimpleAddition (a slateandrisingcard effect), The ForgottenGuest(aninterludewith a borrowed watch), A Lesson in Magic (this is without doubtthefinestroutine based onthe “ Sunand Moon ” effect), The Homing Bells (olderreaders may remember Oswald Williams brilliant presentation of this effect), The National Colours (an effect with flags), The ThreeVases (a general posteffect utilising liquids and a flag), The Silver Ball (a trick with a silverball,arabbitand two hats), The Educated Fish(aversion of the risingcards), The Point of View (a transposition effect usingdovesandrats), The Phoenix (a trick using a target and a canary). All these effects are explained in the fullest of detail andthe originalpatteris given. HadtheMaster been alive we think othereffects would have taken the place of “ Educated Fish,” “ The Point of View,” (this was unsatisfactory owing to the fact that movement of the livestock in such a light container causedmovement)andthe “ Phoenix.” Theyare notinthetrue Devanttradition. T o our way of thinking out of all these the “ Lessonin Magic ” stands head and shoulders above the other effects, and is alastingmemorial to the greatest magician of all time. Whilst forming part of the original edition, we feelthat the “ Bibliography of CardTricks ” (wrongfully headed as “ The Triangle ”) now very much dated might have been omitted. The book is well printedandboundin the standard Fleming manner. The original photographs have been replaced by anumber of line drawings (in these certain small details seem to have escaped the notice of the artist,JeanneMcLavy) whichareadequate. There are 318 pages against 487 of the original. To those unacquainted with the original this edition is more than recommended, andthethanks of all seriousstudents of Magic should be morethangratefulforitspublication in modernform. PETER WARLOCK’S
PE DITSG RXM Published on the15th of eachmonth 1/1 single copy, post free 11/- per year, post free from
“
01
-
...
GREENBANKS,” BRAMCOTE, NOTTS. _I_I_L_
-__I_
from your dealer
73
On behalf of our readers we extend the deepest sympathy to Fred. Walker (Hon. Secretary B.M.S.) and W. H. Williams (Hon. Librarian of the Magic Circle) on the occasion of the loss of their life partners.
issue of 180 pages) bouquest must be presented to Edward Heyl, who in “ Seven Up ! ” writes what is undoubtedly the last word in single-man telephone cardtransmission.
When we published Robert Harbin’s“ Symsilk,” we didn’t think it would be long before the root idea of this effect became a dealer’s item. Our thoughts were justified and we see that Thayer’s announce a preview of the “ Hopping Handkerchief.” The handkerchief, instead of changing colour, keeps appearingand disappearing.
Somepeoplearebornambassadors of magic, and it is a source of pleasure, when receiving foreign magazines, to*see mention of their names. John Charlesworthisonewhosprings to mind.Only the other day we received a copy of Illusionismo from Spaininwhichappearedaphotograph of this magician with his wife Tina.
Isthis coincidence ? It was in 1939 that we last saw Maurice Fogel. Twice during the war we ,missed seeinghis show. Onthe 25th June we wrote and posted a letter at 9 a.m. . . at I o a.m., onehourlater,a long-distance call came through fromLondon askingforus . . . it was Maurice Fogel ! ! Fogel’s place inmagicisunique,forhis is to thebest of our knowledge the first real one-man mental act to play in Variety in this country. Incidentally, we thinkthatthere arevery few acts at number one Music Halls that would give an individual act twenty-three minutes. Members of the Cotswold mayremember that someeighteen months ago, when we lectured on Mentalism, Psychic Research andthe Magician, we gave greatprominence to Fogel and his bottle prediction (the effect, but not the method,that can beattributed to the fertile mind of CharlesWaller). This effect, because of the broken glass resulting, has hadto be cut from variety shows.
.
Somewhile back ‘we wroteanent the use of music(by way of anelectricamplifier). Those readers who might be interested will find two reasonablypricedamplifers now on sale. Oneis the Collaro “ Microgram,”whichsells at Ezo, the other is called the “ Porto-gram,”andsells at approximately k z ~ . Bothamplifiersarereasonably “ portable.” Any readers essaying recently a published pinchbeck version of “ Electrovan,” in which a self-lighting bulb is attached to a piece of elastic, will find the accompaniment of eithermusic or noisenecessitous to drown the swish of the pull. This shoddyexample of puzzledomonly goes to show that itis better topurchase an effect that works. The response toour requestfor the “ Ten Best Tricks ” has been interestingif not illuminating, and we shall publish the result (based on majority figures)nextmonth. We cannot let this issue pass without praising the “ Thompson Parade ” in the June Linking Ring. The ultra-wave deck is just one of the effects describedwhichcouldhavebecomeadealer’sitem. In the Mayissue of the samemagazine(ajubilee
We have recently been working with Reg. Gayton onan angle incoincidental magic. I t is rather out of the run of usual effects, and a drawingroomversion will be publishedin the September issue. The stageversion,which involves theuse of a slate, will appear in our new slate book. Next month JamesDouglassubmitsaveryclean effect with a magazine (not a mental or psychic eflect) and in the same issue Harry Vernon gives an example of chemical magic, the chemicalpart being usedasa means to an end, and not as is so apparent in many chemicaltricks, as the end itself. We were sorry to hearthatourfriendJames Grayson has been on the sick list(incidentally we don’t know a better celluloid worker in this country). Another invalid is Aimee Swaine (one of the few lady conjurers in this Country) who did someexcellent work with Ensa duringthe war. We hope that by the time this is in print that both will be on the road to good-health. To those who have madeenquiries, we shall be publishing as aseparateitem,afour-pagesheetwhich will carry,title page, indexanderrata to Volume I. of the ‘‘ Pentagram.” George Jenness has just sent us a new list of books, both new and second-hand. The list is classified and has something of everything. Our friendFrancis White tellsus thatthe MagicCircleisnearingitsthousandthmember mark. This madeus look atour firstvolume of the MagicCircular. On pageeight of theOctober number we found just overa hundred names. I t was tragic to read the names of those who have gone . . Devant, Nikola, Hoffman, J.N.and Nevil Maskelyne, Oswald Williams, Leipzig, Sachs, and Malini. What a chorus of talent that the present generation has missed !
.
RonaldCrabtree has sentus “ SixthSense ” for review. It is very a well designed psychic routine that will stand any mentalist in good stead. Using our own presentation we have trieditout underthe conditionsinstanced by Mr.Crabtree and we founditleftlittletobedesired. The routine comes completewithasmallcrystal ball, andeverything you requireforthesum of 10/6 from 12 Beechwood Avenue, Pontefract.
74
THE SPHINX
COPIES OF No. 1 “ PENTAGRAM ” nowobtainable from dealersormyself,price 111 post free.
,
AN INDEPENDENT MAGAZINE OF MAGIC
John Mulholland Editor
The following two books are for sale :Buckley’s “ Card Control,” price E2 12s. 6 d . “ Sleight of Hand,” by Sachs (secondedition) E1 15s. Od.
“
PETER GREENBANKS,”
THESPHINX is the professional magazine of magic. Year after year, it continues to be the most widely read magic publication in the world. Each issue contains new, practical tricks and authoritative articles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
WARLOC’K BRAMCOTE, NOTTS.
C O N J U R I N GB O O K SF O RS A L E ’ OLD AND NEW. kt me know p u r WmC
SubscriptionPrice in England : 5 dollars a year :: 55 cents. a copy
LIST FREE FOR STAMPED ENVELOPE No callers
47
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
Arrangements have been made f o r subsm‘ptions to be accepted and money deposited in England .. .. ..
..
WRITEFORDETAILS
BLACKPOOL! ! if you come this way, do look us up on North Pier ( b y TalbotSquare). A big variety of thelatestmagic always stock. in . P A , U LC L I V E 81 C O . , L T D . f o r ‘‘ Witchcraft ” Magic
THE SPHINX 130WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
WILLAIE’S VIZARDRY You all know the author’s vaudeville act. This book contains all the publicity and stunt items he does outside his act. If you are a conjurer looking for advanced magic you can take itor leave it. Whe:
Douglas Craggs saw it, he said :It’s the best collection of wheezes and tricky ideas I have ever seenworth manytimesits @ice to any professional performer.”
Price Postage 2/63d.
THE MAGIC CIRCLE President :His Orace the Duke of Someisat D.S.O., O.B.E., I.P., D.L., M.I.M.C. Vice-President : Douglas C r y pE , q. M.I.M.C.
Clubrootn and Library and Museum :
Aprinted magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are notonour mailing list, write now.
MAGIKRAFT STUDIOS
ARCAS LIMITED 4M/6 SYDENHAM ROAD, CROYDON
If you likegood comedy magicyou “ MilkShrink ”willlike the shrinking glass of milk2216 postfree
ZAHAREE (Geoff. R. Hursell) 16 & 18 Watts’Place CHATHAM, KENT
MAGICIANS’ BOOKBINDING SERVICE Send stamp f o r booklet giving full details of OUT :: binding service :: CF . IELD 42’Alderson Road, Sheffield 2 PrintedinEngland
32 Vernon St., Northampton
HENRl
DE’SEEVAH
MMC.3 SMS.,
IBM.,
SSMC.
Thc Friendly Magician invites all Bona Fide Magicians to send for his list of new and used apparatus and books, or call a t his studlt, :l CLARENCE ROAD, HaCborne, Birmingham 17
MAGICAL BOOKS, ETC. Available on Loan Comprehensive Lists for 3d. stamp. Also new and secondhand books for sale. F. ROBINSON, Magician, Stathern,Melton Mowbray, Leics.
St.Ermin’sHotel, CaxtonStreet, S .W. 1. Magical Theatre :
King George’s Hall,
W.C.
Particulars from Hon. Secretury :
Francis White 39 Alverstone Avenue, Wimbledon Park, S.W.19
INSTITUTE of MAGICIANS Founded 133+ President : A. Zomah. Hon Sec Oscar Oswald 102 ElmsterrbAvoWembleyPark)Middx. H.Q. and Libra;; : No. 2 H a d Court (Victory Club) High Holborn W C MEETING EVER’Y THURSDAY i-1ib.m. Visiting Magicians always welcome. Your membership cordially invited-drop a line tothe Hon. Sec. for literature.
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAQICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY899 Address 23 GREENFIELD AVENUE GILDERSOME, .Nr. LEEDS Nearly 30 years zn the bustness
for PETER WARLOCK by GEORGE SEARSON, Blue Bell Hill, Nottingham.
1 -
PENTAGRAM This is an outlaw of coincidence. cards are Three members of the audience are each invited to draw card a from a red-backed deck. T h e operatorturnshis backwhile thecardsare looked atand remembered. The cardsarethen replaced in the deck which is left with 3 member of the audience. Taking a deck of blue-backed cards from his pocket theyarehanded to the holder of the red cards with a request he that shufflesbothdecks together. This being done, thecards are taken back, and cuttingthisdoublesized deck in two, theoperator places one half in each side pocket. Turningto thedrawer of the first card he requests a small numher, say not more than ten. Supposingthatthe numher “ five ’’ is given, theoperator s h o w both his handsto be empty and places oneinto eachpocket and he remo<es one at a time four cards from each pocket, throwingthem on to the table. He then removes the fifth card from each pocket, commenting: You see what strangetrickscoincidencecan play . one blue-backed cardfrom this pocket , . one red-backed from card t’other.” These two ‘I
.
. .
rested backs towards audience against a glass on the operator’s table. The drawer of the second card is asked to givesmall a number and the same ritual is observed . . Again a red and a blue-backed cardareproducedand are rested against asecond glass. Lastlythethirddrawer is asked for a number and again that number of cards are withdrawn, from each pocket culminating in ared-backed and a blue-backed card being placed against a third glass. Turning to the first drawer, the operator says: “You must admit that already n e have seen a case ofcoincidence . . stillmore so if the red-backed card that you looked at was atthenumber you named !...What was thename of your card ?...‘The King of Hearts ? ’ ” While talking, the operator has picked upthe first two cards taken from his pocket. “ As yousee . a still stranger coin-
.
.
. .
cidence.” rlnwlv . .-. ... . . (He X---
turnsthe red-backed card face tothe audience, showing it to be the one chosen !) “ T h e sympathy of yourcard has, however,exercised itsinfluence ox-er its twin in the blue-backed deck.” The conrimwd
nn p q u
76
TWINS O F
TRIGON
- contimed from
b q e 75
operatorturnstheblue cardroundshowingthat it also is a King of Hearts ! Needless to say that inthe caseof the second and third selected cards the operator shows that he has removed these from hispocketwiththeirappropriate “ twins.” The readermaythinkthattherepetition of discovery may not be climatic. The presentation should, however, go to show theever-increasing odds against the magician.
.
The requirements are few . . one blue-backed deck of cards,onered-backed deck of cards,three glasses, and (say) five red-backedKings of Hearts, Fours of Clubs and Tens of Diamonds. Preparation.-Remove fifteen cardsfrom the red-backed deck andthenfromboththe red and blue-backeddecksremove theKings of Hearts, Fours of Clubsand Tens of Diamonds. Fromthe top of the red deck count five cards and then insert five duplicate Kings of Hearts . . . five more cards and then five Fours of Clubs . . . five morecards andthen five Tens of Diamonds. T o help the cautious a lightpencil dot on the oppasite corners of the first andlastcardsin the sets of duplicates may behelpful. The threered-backed andthree blue-backedcards that were originally removedare setup like this. The blue-backed King of Hearts is placedfacedown. Ontop is placed theredbacked Four of Clubs, and on top of this the bluebacked ‘Ten of Diamonds. ‘I’his set of cards is placed in the operator’s right hand pocket, the King being nearest the body. The remaining three cards are arrangedin a similar order and placed in the left hand pocket. The reader may well say “ Whynotput all of the red-backedinone pocket and all the blue-backedin theother ? ” The reason is merely that of attention to detail and what is noticedby ten per cent. of the onlookers. It looks betterthat way. If theoperator hasnot used it in a preceding effect, the remainder of the blue-backed deck is placed in a vertical position in the righthandpocket,thered-backed deck being placed at hand. Withthethree glasses in a line on the table the operator is ready for the .
..
This is an apparent impromptu that has to be performed at the right time and place. In effect the operator wraps a half-crown (or foreign equivalent) in a piece of foil (tobacco or cigarette wrapping) and after asking a spectator to make sure that the coin is there by sense of touch rests it on the palm of their righthand. Slowly the hand isclosed and when opened the parcel is seen to have diminished in size. It is then handed to a spectator who on opening it findsthat the half-cr0n.n has changedinto a sixpenny piece.
Presentation.--& he mentions that he Ivishes to show the audience an “ outlaw ” of coincidence, the operator picks up the red-backed deck of cards, casually showing the front twenty cards of the deck nhile talking. Approaching a spectator and fanning the cards face down the operator asks him to touch and withdraw a card. A second and third spectator is likewise approached ; in fact thethreecards shouldbe selected ontherun . . . the fii-e cards between each force card should give the right timing. (The expert who can force on the run will not need the duplicates . . . such experts are so rare that I can only call to mind one in this country.) If the reader who doubts his ability to get home with three sets of j i z e cards, his alternative is to step up the number of ‘ force ’ cards, for this effect does not allow for a mistake. It is not the type of effect where, if you miss on a ‘ force ’ youcomeback and have another go. The cards having been drawn,the operator turns away while the cards are sighted and remembered. -Approaching the drawers, he asks them to replace their cards in the deck, finally leaving the deck in the hands of thethirdspectator. The blue-backed deck is taken from the pocket, attention called toit,and it is then given tothe holder of the red-backed deck with the request that he shuffles both decks together. This being donetheoperator takes the double deck and cutting it places the halves in the right and left pockets respectively. The two packets should go behindthethreecardsin each pocket (the three force cards shmld be nearest the body !). ‘The first selector isnowasked to name a smallnumber. JVhen given, the operator starts removing cardsoneat a timefrom the tops of each deck and throws them on to the table. \\‘hen he reaches thenumbernamed by thespectator he removes from each pocket the first of the force cards. The coincidence of one heing redand theother blue is commentedupon,and the two cardsare placed backs towards the audience against the first glass. This procedure is twice repeated, the second andthirdgroups of force cards being withdrawn and placed againsttheir respective glasses. The effect from the operator’s point of view is finished. The finish from the spectator’spoint of L-iew has already been outlined in the description of the effect.
..
. a folding halfThe requirementsare few crown(George Alackenzie,of Glasgow, makes a lovely job of these), two similar piecesofleadfoil, and a sixpence. All thepreparation necessary is to place a sixpence on one piece of foil and wrap the latter round it until you have a little bundle which in length is equal to the diameter of a half-crolvn and in width tothe diameter of the sixpence. This bundle is placedin the left handtrousers pocket.
77
The Torn and RestoredPaper Trick in all its various guises has never appealed to me very much. IVhy, I cannot say. Perhapsit is that I cannotget the same out of it as otherperformers.Anyhow, the following routine was mysubstituteand I can assure you that it has audience appeal and the power to raise thatenthusiasm to applausewhich we magicians are always striving to obtain. ‘
Briefly the effect is that the performer, taking a large magazine, suchasthe Illustrated, “ rips ” the cover fromitsfoundationsand rolls the cover into a ballwhich is finally wrappedin a sheet of tissuepaper. The latter is placed infull vien- of the audience on a small metal tray and the ‘ naked ’ magazineis then rolled into a tube-like parcel with a sheet of newspaper. A lightedcigarette is then touched to thc ‘ ball ’ on the tray. A flashof flame is seen andthe tray is left completelyempty : a fact which the magician emphasises by turning the trayandshowingboth sides. The newspaper is thenunrolledand the magazine cover is shown to beback on the magazine initsrightful place. The method is simple and the small amount of preparation necessary Jvorth \vhile. Procure t\\-o magazines of the same issue, preferaiiy \\it11 a brightly-coloured cover. The weeklJ- Illustrated will be found an ideal ‘ model ’ and size. Carefully remoj-e the col-er from one of the copies b\- prising upthe staples.Open uptheother magazine at thecentreand layflat on a tableandprise up its staples at right angles, removing one complete sheet (i.e., two pages -,\.hich areunitedasone). Place the duplicate cover face up (i.e., frontside) over the pins and replace the latter in their former positions by carefully bending back. Close the magazine andpress flat.Younowhave a complete magazine withduplicate cover atcentre (as if you didn’t know !). Younon- require a sheet of tissue paper and a sheet of flash paperthe same size. Takingthe sheet of the flash paper, roll it into a hollou- ball or parcel, the size of which you determine as follows : Take the page which youremoved from the centre ofmagazine-which is, of course, the same size as the magazinecover-androll it into a small ball or parcel. This will give you an idea of the size you have to make your ‘ flash ’ parcel. Having rolled the latter toyour satisfaction, gumtheendsto preventunrolling and place a spot of seccotine on one of its ‘ sides.’ This parcel is now stuckto a smallmetaltrayaboutnineinchesindiameter. You can obtain one of these at the Sixpenny Stores, and it is simply a round,shallow, bakiug tit1 (for tarts, etc.). Caremustbe taken not tocrushthe hollo\v flash parcel on the tray which is now inverted, that is nith the parcel downwards, on an open opera
hat. The parcel is now,of course, invisible to the audience, who see a tray resting on the hat upside down. Have a sheet of newspaper and a lighted cigarette handy and you are all ready. T o perform pick up the magazine and riffle a fewpages, being careful not to disclose the cover. Get fingers into centre of magazine and finally let the magazine hangdown open by grippingatthetop of the longside with Frontand rear page ofcover is now righthand. exposed to audienceand the duplicate cover is at rear. Il’ith the left fingers and thumb at top of the front cover, tear off the whole page with a downward move. Layiton a chair, pick upthe sheet of newspaperwith left hand and lay the ‘ naked ’ magazine with the duplicate cover against the newspaper,and,using the lower part of the bodyas a support, roll the two together into a tubeandtuck in the ends. The duplicate cover is thus rolled to the front in full view of the audience but unseen on-ing to the newspaper. (I do not know the originator of this move but have been acquainted with it for the past seven years.) Takethe cover and roll it into a ball as near to the flash parcel as it in the tissue possible inappearance,andwrap paper, keeping theshapeand size to resemble the flash parcel as near as possible. Takeitinthe right hand and turning right to the table, raise the backof the tin tray with the left hand by gripping it at the edge farthest from audience and immediately bring the right hand uith the tissue parcel behind it anddrop it in the hat. \Vithout pause turnthe tray up, tile righthand “ following through ” smoothly to touch the flash ball as the tray becomes horizontal. It appears tothe audience as if you raised the tray and laid the tissue on it at the same moment.Either lay the tray onthe hat again in in upright position or carry forward to the front of the platform.After the “ usual business ” chatter, produce the lighted cigarette magically or otherwise, and touch the parcel, giving the audience plenty of time to appreciate the emptiness of the trayafter the flash has come and gone. Lay down the tray and pick up newspaper tube. Loosenendsand unroll a little. Get fingers into foldsandgrip the cover attopwiththe left hand standing right side tothe audience. Strip off the nelvspaper with one sweep withrighthand in a downward movement. The cover comes to view vith fine effect. Close magazine, show it each side, and take your bow. Postcript.-A slothereandthere,madewith scissors, in the hollow flash parcel considerably speeds upthe “ flash ’’ when it is touchedwith the cigarette.
Editor’s Foreword.-This is a good applicationof chemical -4s magic which is not ratricted to plaling cards. alternative suggestions, oce of thP thrpe colours could be chosen, and a word, number or picture could appcarthis would open up possibilities .for its inclusion in pro.,vramnzes f o r >*ounger audiences. X
X
1
Operator picks up atrayon which restthree coloured counters-one brown,oneblueandone yellow. The tray is takenamongst the audience andthree of itsmembersinvitedto choose one countereach,thetraythenbeing replaced onthe table. A pack of cards is now introduced and shuffled, the spectators holding the coloured counters each drawing a card. (To make this easier to follow we willcall the spectators A, B, and C, and that A has chosen the browncounterandtheThree of Hearts, B the blue counter and the Four of Spades, and C yellow and the Jack of Clubs.) A few blank visiting cards are now introduced, one given to each assistant to besigned;theyarethen taken backon the tray. A is now asked whatcolourandwhatcardhe chose. He repliesas above ( i . e . , brown andthe Three of Hearts)andthewhitecardbearing his signature is handed to him and there, on the opposite side is the name of the cardwrittenin brown ink. This is repeated with theother assistailts, except that the colours and cards are, of course, different.
How it’s done.-Thecolouredcountersare quiteunpreparedandtheassistants have afree choice. Operator forces the Three of heartson the assistant who chooses brown ; the Four of Spades on the chooser of the blue ; and the Jack of Clubs ontheonewho chooses yellow. The whitecards areprepared as follows : On one is written the “ Three of Hearts ” withsolutionAmmonium Thiocyaniate, on the next, the Four of Spades, with CRUMPLE
COIN
- continued from page
PotassiumFerrocyanate,andon the lastis Ivritten Jack of Clubs ” with Lead Nitrate-this writing, needless to say, is invisible whendry. These are offered for signature on the unprepared side and laid down on a special tray, whichis constructed as follows :“
\Vhilst it is madeto look thesameoneither side,oneside of the tray is specially prepared. -At the commencement of the effect the coloured counters areofferedon the unpreparedside of the tray andduringthe process of the trick it is turned over bring tonumber two side into play. The covering onboth sides is athin black cloth, but under this cloth the on prepared side threepads of cotton wool are let into the tray. The first is soakedin FerricChloride, the second in Ferric Chloride, and the third in potassium Iodide. (This can, of course, be applied without removing the covering cloth.) The rest is simple. \I.’hen thecards havebeen signed,numberone card isplacedon numberone pad, and the same process is followed with the other two cards-numbertlvoonpad two, andnumber three onpad three. A s each assistant declares the colour and card he chose the appropriate card is pressed against the pad as it is drawn off the tray, and the re-agents immediately bring out the writing.
Editov’s Note.--\Ve would suggest that the cards have the writing on both sides and that at the commencement of the effect theappropriatecard lies under each counter,thespectator being asked to choose counterandcard. The cardsarethen initialled and taken back, andthe playing cards introduced.
76
Forthebest presentation theother piece offoil should be performing its proper function and encase anounce of tobacco. The folding coin withsome coppers is in therighthandtrousers pocket. With the effect timed to co-ordinate with the removal of the tobacco packet here is the . . . Presentation.-Operator reaches into hispocket and takespacket of tobacco,removing tobacco (or cigaretteswhicharealternatively placed in case), undoes the foil and leaves it on table whilst tobacco is placedinpouch.Handful of change is then removed from pocket, operator mentioning that he will show an interestingexperimentwith alloy. The half-crown is separatedand placed onthe table whilst the copper coins remaining are replaced in the pocket. \Vith his hands obviously empty, the half-crown is placed on the foil and the latter is folded aroundit, makingasquare (but nottoo
tight) packet. The packet israppedagainstthe table and a spectator asked to feel that the coinis there. The packet is rested onthe palm of the right hand whilst the left goes in a natural manner to the left pocket to obtain possession of the packet containing the sixpence. Slowly the right hand closes, the coin being folded atthesame time. (It is best to know the run of the folds in relation to the outside of the packet.) As the right hand slowly opensthe left hand removes the duplicate packet from pocket. The opening of the hand shows that the packet has diminished insize. Turning half left the operator apparently passes the packet to his left hand. Actually he performsa switch which is more often used with billets, namely the right hand packet is retained and that in the left hand pushed forward and shown. This is then handed to a spectator on the left who is asked to open it.
Editor’s Foreword.-Possibly
o?tw 01 rrriw n ?cor TU? n-puhlirh (with f u l l prrnrirrion of author andmor pahlirhrr) nn effect rrhidt for IOUI(’ rmron or nnothrr IICVCI s ~ m sto korr r m p d the rtwnrd rrhirli i f s m dorthtl.d merit d e w r w s 1i.r had i n t r a d 4 to start rrillr thr lntr Losir ,Vikolds ’’ Intpudmt Iw!po,orition.” but t l m G.O.M. of Mngir, Yrnn Htrgord. hrnt 11s to it in n r m w t ropy of his Monthly. Tlw uffd to hr desrribrd may, Irmunrr. hr wmrc n t l m r f i r e nr it Qvfs mmy fron, plnyinf m r i . A;. hnrc only wen t k r &i,rt prrfor~wd trcirc.. once by rlrr originntor nnd w t ~ n d l yby Mnjor Elr;(,,, Mrfortlzy. I t , their 1rnnd.v it wm n brnt
rho:/
*
*
Performers who are on the look-out for effects with the minimum of apparatus,and who donot mind spendinga little timein acquiring the necessary digitaldexterity, \vill, I amsure,appreciate the following. The writergratefully acknowledges thatthe idea of performing the “ Glass through the Hat ” by means of sleight-of-hand, was derived from M r . Eric Wilson’s Tested Magic. The eflect differs from Mr. \\’ikon’s inasmuch as a borrowed handkerchief is used to identify the tumbler, and only one tumbler is seen by the audiencethroughout. The method, except for the sinking effect, differs entirely. The effect, briefly, is as follo\vs :-A borrowed handkerchief is placed into a small tumbler which is then covered with a silk handkerchief. Whilst the tumbler is held in the hand, an empty hat is placed crown dovnwards on top of it, and the glass apparently passes through the hat and handkerchief into the interior of the hat, from which it is then taken andthe borrowed handkerchief returned. There are no fakes whatever, the effect depending entirely onsleight-of-hand, and also it is necessary to admitaduplicatetumbler. That is the only thing required other than those seen by the audience, i.e., atumbler,a coloured silk handkerchief, and an opera or b o d e r hat. The duplicate tumbler is laid on a chair or table,
on its side, mouth away from the audienceand is covered with the silk handkerchief in sucha \\-ay that in picking up the handkerchief with acorner in each hand the glass is picked up as well and hidden behind the left hand corner, by inserting the left thumb into the mouth of the glass and gripping the handkerchief and glass together. One corner of the silk, therefore, must lay over the tumbler, and the corner to be picked up by the right hand must also be easily accessible ; the remaining portion is carelessly bunched upto hide the presence of the glass. The effect is commenced by showing thetumbler and persuading a lady to place her handkerchief inside it. The glass is now held in the righthandand the silk picked up and shown. In picking upthe silk it is necessary to hold the risible tumbler between the first and second fingers of the right hand so that the corner of the silk can be grasped by the first finger and thumb. The left handbrings upthe duplicate tumbler behind the left corner of the silk. The silk is now s h o w by holding it in front of the body. The next move is to release the hold by the right finger and thumb and moving the right hand up to the left, the right thumb is inserted into the duplicate tumbler. The left hand now pulls the silk upwards and the right slides the two tumblers downwards, one on cither side of the llawilierchief until the centre is reached. This position is shown in the first photograph. The left handthen releases the handkerchief and takes the visible tumbler and places it under the silk. As soon as it is out of sight, however, the mouth oi the tumbler is turned towards the body. The glass should now be held by the second, third and fourth fingers pressing it against thepalm; this leaves the first finger and thumb in a position to grasp the bottom of the duplicate glass. The two glasses are thus held at right angles one to theotherthe empty one is upright and the original one mouth towards the conjurer. The silk is now arranged over the tumbler, care being taken that the mouth of the original one is allowed to protrude.Care is also necessary in order toprevent the silk accidentally falling tothe floor oaingto its slippery texture. The position is shown in the second photograph. All this sounds very complicated but it blends into one movement as the handkerchief covers the tumbler, and, what is more, apart from the prerent experiment, the reader will find it a very useful s\\-itch for a tumbler. The hat is now picked up, thumb on the inside and fingers in the curl of the brim. In showing the hat it is held fairly close tothe left hand. The inside is shown first, and in turning half left to she\\. the outside the thumb is inserted into the mouth of the protrudingtumbler, \vhich is gripped betwen the thumband the brim and so loaded into the hat. rontinrrrd on pwr 81
*****
***
PENTAGRAM GRADING : (Three stars)-Of Practical Value. “
**
(Fire stars)--Outstanding. (Tzcostars)-No
ABRACADABRA ” SUMMER SPECIAL. (Published byGoodliffe,price 3/6).
This month weleave theHeights ofBerkeley and descend onthe CityofBirmingham. In a recent advertisement a claim was made for a preceding “Abracadabra ” Special, that it was akin to a “ Jinx ” Special. Such a claim is imprudent to say the least. Let it rather be said that the “Abracadabra ” Special issues are to “ Abracadabra ” what the “ Jinx ” Special issues were to the “ Jinx,” forwhilst theformer paper is completely national inoutlook, the “ Jinx ” was international. This issue carries some fifty-two pages (some, of course, carryingadvertisingmatter), is clearly printedand illustrated in the typical Dennis manner. The issue under review opens n-ith a four page Editorialwhich,amongotherthings, deals n-ith conjurers’domesticity, the twentieth-century silks, “ \Vu Ling ” cabinet, Massey’s “ RibbonFantastique,” IVilfred Tyler andEric Le\,,-is’s forthcoming book on Children’s Magic, Abboti’s “ PhantomClock,” the letter I ” and Goodliffe. This is succeeded by the following contributions :“
L. A. Belcher “ The Three Sisters.** A children’s effect using dummyrabbits a la three card trick. Our own opinion(from rendirq a l ~ d not performing the effect) is that the climax kills the original part of the effect. PeterWarlock’s “ Ribbonflash.” An austerity version of his effect nhich appeared in the “ Jins ’’ under the title of the “ Jest of Gratoulet.” If you saw Francis IVatts (when he was n-ith the XlaskelyneHarbinshow) using the original, youwill possibly like the present version. Louis S. Histed “ The Trials of a Magical Inventor.” An exceedingly interestingarticle by one of our most fertile inventors. It is, unfortunately all too short. As (one might almost say unnecessary) make-weight Mr. Histed gives an excellent suggestion in table construction, and concludes with an unsolved but very intriguingproblem.
P. A. McDonaZd “E 1,000,000 Trunk Mystery.’* Mr.McDonald in his prefatory remarks says : “ This is justan honestattemptto re-capture,in a formsuitable for drawing room work, the undoubted thrill of the stage illusion \vhere the magician changes place withan assistant who has been securely locked and double-locked in a
****
(Fourstars)-VerJ-
Good.
Rerzson f o r Publication.
trunk.” We can only say that Mr. McDonald: seems to have taken a lot of trouble to getthis. attemptedthrill. Len J. Sewell “ Crossed in Transit From the fertilebrain of that well-known Colonist here, is an effect withgiant cards. The basic idea is. excellent because of its simplicity. Someoneseems, to have ‘ slipped ’ on page 25 line 10. Goodlifle “ Chord On.” This short article from Goodliffe andotherscontains some advice, regardingstagetechnique.
.”
John Kenyan “ The Flying Princess .”’ There is a nice touchaboutthisroutine. It is designed foryoungerchildrenand has thetrue fairy touch. As most of the necessary apparatus is. to be found in the conjurers’ stock cupboard we can imagine this going into a number of programmes. Eric C. Lezcis “ Animation.” This routine brings back L-erp poignant memories of the late Ken Lancaster, for it \vas at an I.B.M. lunch during the u-ar that we san- him perform the main part of the effect ; it was, 1l.e believe, marked by Abbott’s with a slightly different gimmick.31r.Leivishas built up a verynice routine which we think has greater possibilities as a children’s effect.
L. A. Belcher “ Compere’s Birthday.” Alr. Belcher most is ingenious, and whilst the presentation does not appeal to us,the mechanics and effect areescellent. Briefly it is a cake-making scena. George S~*I.z-estre‘‘ The Sacred Cups.” A routineusing stock apparatus,but having a good descripti\-estory. George Sylwstre “ A Useful Ashtray.” A piece of apparatusforsvitching a cigarette or similar object. This is one of the’“ plums ” of the book, for the reader \vho cares to make this up, has a fine utility “ prop.” Jimmy Floecers “ The Wishing Well.” Another children’s routine making use of stock apparatus, this time the “ Say \Vhen ” glass.Besides all this material there is a storyette-“ His act \\-as Murder ”-by Archie Elray andDorothy, and innumerable drawings of our pet aversion “ Marvo.”
\I’e are not grading this publication because of Varying as it does from three four tostar, it carries our unreserved recornmendation. lack of balance in quality.
PETER WARLOCK’S
P E N T R G R X M Published on the15th
1
frovt
“
of each month
single copy, post free 11;-per year, post free
...
GREEhTBhNKS,” RRAMCOTE, NOTTS. or f r o m j’our draler
The I.B.11. Convention at Buston is past. It \vas here that \\-e received John Gambling’s gift of whatmustbe the first locking flap slate. It \\-as designed by andmade for himaboutthe year 1887 and is abeautiful piece of work. Its mechanism is perfectand, \\-hat is more,it looks like a real school slate. \Ye cannot thank you enough, John, for singling us out like this. Oncemore the orchestra played havoc with the big show. ,4t first \\-e thought that the Hereford Horrors hadbeen trying to improve their standard, but a glance attheprogramme proved ustobe \\-rang. Perhaps we arebeinghardon the players, n-homightput up a fair performance playing teatime music. The accompanimenttoa number of conjuringactsneedsnot only an orchestra used to theatre work but an experienced corrductor. Regarding the ten best tricks, wehad nearly seventy replies. -4s we expected, half a dozen classics\\-erein almost every list, the remaining four effects varying. Despite \\-hat n-e said in the first place, many n-riters specified an effect performed by acertainconjurer. This is the list according to the Ivriters :Cups and Balls The Linking Rings The Aerial Treasury The Egg Bag The Four Ace Trick ‘l‘hz DiminishmgCards The Floating Bafl S\-mpathetic-Silks Lesson in Magic The Thumb Tie. It is a list that is very thought-provoking, as
among theten effects, only two belong tothis century. The inclusion of Devant’s “ Lesson in Magic ” promptsustoincludeaworth-whiletip to English conjurers. Many, no doubt, would work, cut andlor burnt handkerchief effectswere it not for the coupon difficulty. Excellent linen for such effects can be obtainedby getting some draughtsman’slinen, soaking itin warm water andthen allowing it to dry. The other day we received fromHenride Seevah his latest lists. Quite frankly we were amazed atthe (literally) thousands of bargainsin tricks, fakes and books thathe has to offer. The pre-war fakeyouhavebeen tryingto get . . . the -4merican manuscript . . . that out of print book ; theyare all there. “ Twins of Trigon ” has, of course, as its root, the idea that Annemann mooted in the “ Red and Blue Back Mix-up ”’in the “ Book IVithout a Yame.” \Yehave foundthatthe selection of cardsplus the concurrent withdrawal of the cardsmore telling. Just as n-e go topress (very early because of theprinter’s holidays) weha1.e receivedBill Stickland’sandEric TI’ilson’s “ Jointhe Party.” \\‘hilst we cannot review itwithin the confines of this column we can mention that it is (so far as we know) a pioneer effort insofar that the whole of the book is in conversation form. Among the newcomers to the world of Magical Dealers in Konald Crabtree. He is not oniy manufacturing quality apparatus, but putting out routines as well. Reportsregarding his Floating Electric Light Bulb ” are good and as regular readers know we mentionedthat wehad successfully tried out his “ SixthSense ” routine.His catalogue carries many,many, items. “
*‘ PENETRATING TUMBLER ” - continued front pogc 71)
The hat is now placed on the covered glass, cro\\-n down. The tumblershould now beheld at the bottom which rests on the two middle fingers ; the first and little fingers now grip the sides and the IWO middlejingers curl in tozcavds the p a l m (as in back-palming a penny) leaving the way clear for the tumbler to sink. The left thumb should beoutside the handkerchief, the edge of n-hich should be held in the crotch of the thumb. The first andlittle fingers no\\-loosen their griponthetumblerandit is allowed to gradually sink down untilthe hattouches the twomiddle fingers. The steadyingtouch of the righthand will probably be found necessary during this movement ;as soon as it is complete, the right hand removes the hat, letting the audience see the tumbler in the interior. At the sametime the left hand is lon-eretf and the two middle fingers straightened ; it will now befoundthat the glass canbe held by its edge between the first and second fingers and the handkerchief, still heldin the crotch of thethumb, hangs naturally in front of it. The righthandbrings the hat up to the left, the thumb of which grips thebrim, and the right
hand removes the glass. The glass is placed on the chair whilst the hat is again taken in the right handandshownundamaged. The hat is held by the second,third andfourth fingers in the curl of the brim, leaving the index finger and thumb free. The hat having been shown, the right hand. is brought over to the left, the first finger and thumb seize the silk, which is releasedby the left thumb, and at the same time the tumbler is loaded into the hat and the hat taken by the left hand. The hat isplacedon a chair, the handkerchief shown and dropped into the hat, and all that remains to be done is toreturnthe borroived handkerchief to its rightful owner. I t will be seen thatthe experiment resolves itself intofour sxtions :(I) The change. (2) The load. (3) The sinking movement. (4) The disposal of the duplicate. \\’ith thesefourthingsinmind,try it over carefully and you \\-ill find it much easier to perform than it has been for me to explain it.
Thereare No.
I
T H E SPHINX
s t i l l a few copies of
'' PENTAGRAM " AVAILABLE price I / l post free ~-
AN INDEPENDENT MAGAZINE OF MAGIC JohnMulholland
For those who were unfortunate enough to miss N o . 2 , I have the good news that copies of this are now being re-printed -PETER
T H E SPHISX is theprofesional magazine of magic. Year after year, it continues to be the most widelyreadmagic publicationinthe world. Each issue contains new, practical tricks and authoritative a.ticles written by the best minds in magic in all parts of the world. Since 1902, T H E SPHINX has been the outstanding magazine of magic.
WARLOCK
'' GREENRANKS," BRAMCOTE, NOTTS. C O N J U R I N GB O O K S
FOR
SALE
--
OLD AND NEW. Letmeknowyourwants LIST FREE FOR STAMPED ENVELOPE N o callers
47
Editor
SubscriptionPriceinEngland : 5 dollars a year :: 55 cents. a copy
G E O R G EJ E N N E S S Inverness Avenue, Enfield, Middlesex
Arrangements have been .made f o r subscriptions to be accepted and mone3t .. deposited in England ....
[TRITE FOR DETAILS
BLACKPOOL! ! if~poucome this way, do look us up on Nor'h Pier (by A big variet3. of the 1n:est ntagic TalbotSquare). alzoa3.s instock. P A U L C L I V E & C O . , L T D . f o r ' ' Witchcraft * * Magic
THE SPHINX 130 WEST42ndSTREET, NEW YORK 18, NEW YORK, U.S.A.
THE MAGIC CIRCLE Prrsidrrrf :His Grace the Dukeof Somerset U.S.O., O.ll.li.,I.P., D.L., M.1.AI.C. L~icr-Prestli~rrt : Douglas Craggs, Esq. dI.I.Jl.C. Clrrhroow ntrrl Lihrur~parzd Mtrscrcrrt :
A printed magazinegiving details of our latestreleasesin exclusivemagicaleffects. Issued free. If you are not on our mailing list,write now.
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRl
If 3 . o ~like good corned>* magic >~otr zcill like " MilkShrink "the shrinking glass of milk2216 post frec
IBU.,
SSMC
The l~rirrtrily Jlagicinrt invites all Bona Iide Maqicians to send for his list of new and used apparatus and book, or r a i l a t hi:, studllj :l CLARENCE ROAD, Harborne, Birmingham17
ZAHAREE (Geoff. R. Hursell) 16 & 1s Watts' Place CHATHAM , KENT
MAGICIANS' BOOKBINDING SERVICE Srnd stamp .for book1:t giriqg full d:>tailsof our :: binding s:vwice :: C. FIELD 42 Alderson Road, Sheffield 2
DE'SEEVAH
M V C . , EVE.,
BOOKS, ETC. Available on Loan Comprehensive 1,ists for 3d. stamp. Also new and secondhand books for sale. F. ROBINSON, Magician, Stathern,MeltonMowbray, Leics. MAGICAL
S t . @:rmin's Hotel, C ~ : x t:n Street, S.W.1. Magicul 'I'ireutrr :
King Ccorge's EM!, W.C. Purlirrrlurs frorn Hort. Srrretcwy :
Prancis White Alverstone Avenue, S.W.19 Wimbledon Park, 39
INSTITUTE of MAGICIANS Founded 1334 President : A. Zomah. €fort. sec . OscarOswald 102 ElmsteadAve ' Wembley Park) Middx H.O. und LiDrur; : No. 2 H a d CO"; (VictoryClub)HighHolbornWC MEETING EVE$Y THURSDAY +-1ii.m. \'isltmgMaglclansalwayswelcome. Your membership cordially invited-drop a line to the Hon. Sec. for literature.
J A M EGSR A Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
lelephone or Telegram : MORLEY 099 Address :23 QREENFIELD AVENUE GILDERSOME, .Nr. LEEDS Nearly 30 years m thebuszness
S3
9?e% wa’5,
PENTAGRAM
An independentmonthly
V ! .1 Nit. 12
bulletin for all who want good magic
Sq.&,
‘The i\nti-Grdvit!- glasses al\vays seems to have been effective, but I have never understood why the magician should have to bandage a book or a piece of wood with a handkerchief for its accomplishment. The method to he described can he adapted in many wsys, hut herv is a typical effect : Supposing tliot the mngician has just finished a performance of ‘‘ Welcome I ’ (see “ Pentagram ” S o . 9). The newspaper is folded until its measurements are one-eighth of its normal page size. It is momentarily placed down whilst a glass is picked up from the table. Intothe former is pusheda nine-inch white silk. The newspaper is now picked up and the glass placed against the side (see photograph I ) where it adheres. The handkerchief is remo\-ed from the glass whilst it is in this condition and placed o\-erthemouth of the glass (and, of course, partlyover the paper). T h e glass is then taken away fromthe paper, the latter now being placed over the mouth of the glass, and, of course, the handkerchief. The hand is now removed and the glass and handkerchief are seen suspended from the paper (similar to photograph 2, but here the silk is inside the glass). The paper is now turned so that the bottom of the tumbler points towards the
1947
93lh @m is&t?&g
audience. The free hand no\\- takes a corner of the silk, gently pulls it upward (see photograph 3) still leaving the glass in situ. The paper is then turned so that the glass is once more in 2 vertical position. It is lowered on to the free hand and the paper taken away. The silk is no\\- placed inside the glass, the paper held over the mouth nf the glass, and once more the glass adheres(as i n photograph 2). The f x c hand now takcs ho!d cif tl-,c 9; silk p,,truding from the glass and pulls it away from and out of the glass. Once more t h paperand glass are lowered ontothe free hand andthe paper removed. That is one series of moves. All this being visual, it will be found to be effective with nearly any type of audience.
I will runthroughthe method first before worrying about any other methods of presentation. Many, many, years ago a firm of celluloid manufacturers put on the market an unbreakable glass for picnics. It was some time before conjurers realised that such an article could be put to conjuring uses. Whenthey did, they nearly all thought in one way that of crushing the glass for a vanish. It is one of these glasses that is essential for the effect, and it is only by the way in which this glass is
...
confinupd on page 84
ADHESIVE
GLASS - continued from page 83
strengthenedatthemouththatthe effect is easily possible. Ifyou look at one you will find that the periphoryis rolled (see enlarged view in drawing). Now take a piece of piano wire (I cannot give gauge, but thepiece I used came fromthe G below middle C) measuringinlengthapproximatelythreetimesthe diameter of the glass, and slideitintothissmall tunnel which encircles themouth of the glass. (Don’tstraightenthewirebeforetryingthis,for the naturaltendencytocurl makes thisparticular job easy.) Whenthewire is inside youwill find that at a distance of a few feet it is quite invisible. You nowhave a “glass ”, the rim of which canbe attracted by a magnet. T o complete the preparation for the newspaper and glass routine described, you cardboard will want small a fake. A piece of slightlywider thanthediameter of the glass and shaped as in illustrationis first required.Onthis place two “ Eclipse ” magnetsatsuchadistance apartthatwhentherim of the glass is placedon the poles themaximum pull is exerted. When positioned,fastendownwithwideadhesivetape, seeing that the poles ends are clear. The fake thus prepared,it is placed in the righthandpocket (or someequallyaccessible place). Withthe glass on table, a small white silk in the breast pocket and a newspaper at hand, the operator is ready for the . . .
Presentation.- Possession of the fake must, of course, be obtained before folding the paper (incidentaiiy if the operator is simply using the newspaper for this particular eflect only, there is noreason why the fake cannot be an irttegral part of the paper by sewing i t in a fakepocket). Ifthe “ Torn and Restored Newspaper ” effect has preceded it and the performeris of thenonchalent talkative variety, the question of getting from the pocket is easy. For the silent performer a direct load from a clip would be better.Withthefake in therighthand palm, the operator commences to fold the paper, and it should so be folded thatnotmorethanone thickness of papershallbe between the magnet polesandthe rim of the glass (illustrationshows the relative position of themagnets ; the lie is importantin the final phase). With the fake inside thepaper is momentarily placed down, the silk is removed from the pocket and placed inside the glass. The latter is now picked up by the right hand and placed on the palm of the left. The right hand nowpicks up the newspaper at the non-magnet end, and bringing the oppositeendagainst the glass, positionsit so thatthe necessary pull is felt. The left hand is nowtaken awayleaving the glass suspended as in illustration I . The silk is now removed by the lefthandanddrapedover the mouth of the glass, the latter being removed and the paper being placed over the silk and glass. The paper is thenturned so that the glass assumes a horizontal position with the bottom of it facing the audience. The operator is at this point standing left side to the spectators. H e passes the paper from his right hand to the left, andwiththerighthand takes the silk andgently pulls it upward, leaving the glass still in a horizontal
position (photograph 3). (Justonepointhere : it is advisable to have one side on the silk unhemmed ; this sideshould be so arrangedthatitis the side which has to pass across the mouth of the tumbler. -4 test will show that the undulations caused by the hemmingcansometimes loosen the glass, causing it to fall.) The paper is now turned, the glass being restored to a vertical position, the paper is changed to the right hand, the glass being lowered on to the left. slight pressure on the glass, plus a see-saw motion with the paper, will free the magnets and leave the glass on the hand. T o the audience you have simply placed the glass on the hand. The silk is now placed within the glass and one corner allowed todrape over the edge. The paper isnowpicked up, but the manner of holding it should be such that a convex surface is presented to the mouth of the glass (see illustration)and also thattheprotruding end of the silk does not lie between the rim of the glass and magnet poles. If the paper is now moved so that the glass assumesa horizontalposition this convexity cannot be seen. It is in this position that the silk is pulled clear from the glass ; the space between the paper and the rim of the glass gives no ,obstruction whatsoever. There is just oneother importantpoint. It will be foundthat the two magnets are comparatively heavy. Therefore to stop the paper from becomingfloppy and bending, theoperatormust so arrange his gripthatthis is avoided. Handling of the paper itself is the best experience. If the operatoradopts the fakednewspapermethod he can, of course, stiffen the paper, making the job one hundred per cent. easier. Here are two othersuggestions : ( I ) The magnets can be inatwenty cigarette-packet. The operator removes a cigarette and closes the packet, lights the cigaretteand puffs some smoke intothetumbler. T h e latter is now placed mouth towards the cigarette packet where it performs its anti-gravity effect. AA1lthe other effects can be tried using the packet as amagnetcarrier. (2) The magnets couldbe built intoa stack of playing cards. This stackcould so be made that by pivotingatonecorner, the stack in conjunctionwith the rest of the deck,couldbe fannedand the routine carried through.
85
aame6. B !
S
4
v
U
m
yt
P
t
a
v
t
i
R
yt
T o those who have worked the “ Sympathetic Silks ” to ‘ death,’ and are in need of something different, the following routine with three silks u 3 l pro\-idearefreshing change. The effect is as follows : The performer shows three silks about eighteen-inches squareand of contrastingcolours,andtiesasingleknot atthe centre of each one. He drops them singly into an operahat, leaving theends in full view. He asks aspectator to choose a colour (that is one of the silks). He removes the spectator’s choice and hands the knotted silk to him. Patteringaboutthe sympathy existing between the silks, hethen asks the spectator to untie the knot in the silk he is holding. This done the performer slowly removes each silk by the ends from the hat with forefinger and thumb, and shows thattheknots in them have vanished in sympathy. Therequirements are three silks of different colours at least eighteen-inchessquare,andahat, preferably an operaone. Show thehatempty after springingit open, and show the silks back andfront separately. We will assume the coloursare Red, Blue and Green. Take the blue silk, and twisting it in the usual manner to form a rope, tie a false knot in the centre. This knot is the one which dissolves witha slight pull on the ends. Show the silk by holding itat the top end with the left fingers and thumb. Cover the knot with the right hand as if to tighten it, at the same time doubling the silk in half and secretly unloosening the knot.’ Still holding the silk with the right hand place the silk in the hatwith the centre
v and (as the spectators suppose) the ‘ knot ’ just out of sight. Thus most of the silk is in full view with the ends hanging over the side ofhat. Taking the red silk, simulate the moves in tying the knot, but this time make a real knot. Grasp the centre in a similar manner and place in the hat with the ends in view as before. Takingthe green silk, tie the dissolving knot as in the case of the blue silk and place in hat, to the right of the red one. Thusthethree silks arein the full view of the spectators with the red one in the centre. Ask one of the audience to choose one. The red or centre one is invariably chosen. If so, pick upthe hat showing clearly that you donot touch the silks in any way and allow him to remove it by pulling gently on the ends. Hold the hat high while this is done to avoid any viewof the inside. ilsk him to untie the knot slowly and then show that the remaining silks have untied themselves in sympathy. If any one of the other silks are chosen (say the green), simply pass to another spectator. Ask for a colour and then say to another “ Will you please have the remaining one ? ’’ Pattering about what has been done, turn to the spectator who has the red silk “ choice,” and ask him, “ Now what was the colour of your silk ? ” This question should be put in such a way as if you had forgotten and as if it didn’t matter what colour he had chosen. When the answer is given, proceed as indicated before, the only difference in proceedure being that the other two spectators are allowed to remove their choice themselves. I have found thatthe paradds ticipation of the threespectatorssometimes to theeffect, but eithermethod will be foundpleasing to the audience.
I
I
l
PETER WARLOCK’S
111 single copy, port free l l i - per
“GREENBANKS,” 01
year, port free
... BRAMCOTE,
fm
from your hie
NOTTS.
S6
On the magician’s table rest three “ Penguin ” novels andoneclothbound book (this latter would well be a volume of short stories). The “ Penguins ” areoffered to a spectatorwith a request thathe chooses one. The remainingtwoare replaced on the table and the operator picks up the clothbound book. Another spectator is requested to help. H e is seatedright-ofthe Operato; and is handed-a small scratch pad and a pencil. Two numbers are now requested between I and 10. Supposing seventh that they are seven and five respectively, the spectatorwiththe book is requestedto turnto page seventy-five, count down to line seven and look at the fifth wordinthat line. “ Justputyour finger ‘onthe word and show ittoyour nextdoor neighbour.” . . . “ You would credit hardly but last week a word was similarly and, chosen, believe it or not, the on same page and line his in volume of short word stories, a similar remarks occurred,” one the the Whilst operator. .speaking he has the been thumbing corners of the pages . . . “ Page seventy-five was it, Sir ? Line 7 ? ” . .eleven . I’ll contents the read out of this perhaps line, and as a will check you on write it the holding pad you are ” the (this to spectator the on right). “ had Perhaps you print better large capitals.” . . . The operator slowly the reads out line the from book he is holding, the taking spectator it down. Vi’hen he has finished, the operator the looks at spectator with the book. “ Are we lucky this word repeated in the line from might read week ? . . . Is your this book ? ” The spectator replies in the negative and the magician appears slightly crestfallen. “ In that case there is only one thing for me to try, the that is,” (operator turns to spectator with pad) Some “ providing you are willing to co-operate . . . You \vi11 ? . . . Thank you very much.” The operator and are not goes onto say Are youby anychance psychic ? ” A negative answer is bound to given (an affirmative is only likely to be given by a would-be humourist). “ In that case, Sir, would you mind letting me help thatdormantthe sixth sense by blindfolding you ? . . . You don’t mind ? . . . Excellent.” Herethe operator takes a silk handkerchief and blindfolds the spectator. The latter is then handed back the pencil, whilst the operator refreshes the audience’s mind with his book. T h e scratch appeared in the that line “
“
padis handed tothe blindfolded spectator \v110 is asked to concentrateandthendraw an ellipse on the pad. \Vhen he has donethisthe pencil and padaretakenfromhimand placed momentarily onthe table, the blindfold then being remoj-ed. The pad is picked up and handed back to the spectator who is asked to read outthe letters he has ringed around.He reads out (say) c.0.n.t.e.n.t. . . . “ And now, Sir, what was the fifth word on the line of page seventy-five ? ” The ansum-, as the reader will guess, is “ Content.” The effect may seem involved, but used as intended with small audiences, the action is quicker inactualfactthan it wouldseem fromthe reading. T o the reader who does not wish totooindulge in one preparation, much Pengllin ” novel is recommended. The use of between limit ten and choice of words in the book to eighty-two (this even includes one itself being given. The first be number nil1 and all multiples of are ten This out). is an apparently free choice of and page letter line, and members of the B.3I.S. willit remember in connection with the “ Whispering Joker.” These words are noted and on the corresponding page of the clothbound book the operator pencil writes in a line that contains the same \l-ord broken up. As an example, taking the word “ content ” . . . the line : “ cried ‘ Garcon.’ Ten tired men mozqed their heads as one.” The circling on the “ con ” in “ Garcon,” the word “ ten ” and “ t ” in “ tired ” provide the u-ord. words are difficult, especially should there be only a matter of two or three letters capable of being accommodated in a largerword.Anexample of this is Mrs.”and a suggestion for this to get the word “ misses ” with such words : “ in Islam is sessional, but neeertheless, etc.” The ringing of the “ m ” is “ Islam,” word “ is ” and “ ses ” of “ sessional ” giving the required word. With the clothbound book pencilled (if the reader decides on using three books, two courses are open to him : the first is to pencil three lines to genuinely cover the three books, or, alternatively, to have three similar books with “
“
continued on pn
S7
Here is a cardmystery n-ithanunprepared pack, suitable for afterdinner 01’ “ at the card fairly shuffled, table ’’ purposes. The cardsare and a spectator is asked to choose onementallyas theyarerunthrough in front of his eyes. The pack is now dividedintothree packets, .and the spectator is asked to guess I\-hich one contains hiscard.One of the unchosen packets is then discarded,and the process is repeated again and again untilonecard only remains. The spectator turns over this card, and itis the one that heoriginally chose mentally. Method. After having had thecards fairly shuffled and cut, hold them so that the bottom card faces the audience,and the rest are flush with the pack. Run through them slon-ly in front of a -spectator, asking him to choose one of the cards that he sees, andto tell you when he hasseenenough from which to make hismental selection. It is as well to add that he must not tell you to stop at the .selected card, as this wouldmake thingstoo easy for you. \Yhen this is done, secretly mark the place wherehe told you tostop w-ith yourlittle finger. Place the cards behind your back “ to avoid any suspicion.” Call attention tothe fact that at no time willyou see the faces of the cards. ,Make up a small packet of about ten cards with one of those viewed fourthfromthetop.Givethisto the spectator, and ask himto tellyou whether his card is init.Whilsthe is looking throughthis packet,prepareanotherin case hiscard is notin the first, and continue until he finds his card. Then place this packet onthetop of the pack, andput thetop twocards in the middle. This leaves the mentally chosen cardsecondfrom the top. The packcannow bebroughtfrombehindyour back, and given a thorough false shuffle.Hold upthe top cardand ask \\-hether this is the chosen card. Then show thebottomcard.On beingassured that neither is his card, say that it must therefore be mixed up in the pack well and truly. This falsehood is astonishingly convincing,forsome reason not known to me. Now divide the pack intothrec approximatelyequal packets, and place themon a
table. Ask him to guess which one contains his card. Take away one of the unchosen ones, takingcare thatit doesnot contain the chosen card.Spread the cardsinthis packet face uponthe tableand ask himwhether his card is there. (It won’t be !) Continue again and again, taking carenotto put the top, or key packet, in the same place every time you lay down the three packets-to avoid any suspicion-until only half a dozen or so cards remain. Now place the chosen card all by itself as the centre packet. It is my experience that more oftenthannot this card is chosen,in whichcase your trick is finished so far asyou are concerned. If it is notchosen,continueas before until there are three cards only left. If the chosen card is not guessed correctly, so well and good. If not, do not despair. Continue again and you will be left with two cards. It is now a fifty-fifty chance that he will guess correctly. If he does not,then you want to cancel any fortuitous undertakings that you may have embarked upon that day ! However,thingsarenot so bad really, for you must quickly throw away the card he has chosen, and loudly ask thename of his card. The climax that follows completely detracts from this slight failure. And now for the climax.You have got him to guess his cardthat he has previously mentally chosen. Say that asall the cardsexceptthis last remainingone have been turned over, and have notappeared,thenthis last onemustbe his card. Appear unwilling to turn it over toproveyour words. The audience always leap to the conclusion that you have managed to get rid of his card by “ sleight of hand,’’ which is the key-word for black equals white with most people. N o w get the spectatortoannounce the name of his card. This brings the rest of thepartyintothe trick. So far they have notparticipated very much,and it has been rather a two-man shon-. Again, gettinghim to announce his card avoids that awful anti-climax \\.hen a spectator says he cannot remember his card, but thinks you areright. SOW ask himto turn over the card himself for all and sundry to see, and try notto look too pleased withyourself!
This is a very pri\xte party to \vhich the reader is invited to play the role of a listener,for it is jvritten in dialogue. The \+*riterstouch on many phases of conjuring and conjurers.Anumber of tricks areintroducedanddescribed. All sound practical, butthe prize must go to a close-up effectwhich Mr. Stickland says\vasLvorkedby a German-JeLvish conjurer,Frankoni.Some of the ideas and advice put forwardare good andtheresultof long experience, but we are certainly not in agreement \vith Mr. Stickland’s opinion that the magician Lvhose act does not produce laughs should try his hand at making a living by other means. There is also anexampleof loose-thinking offered by Mr. Wilson on Mental llagic. After com-
menting on the fact that mental eflccts \vi11 never take the place of p z t w and siwlpllj conj14~in~q (the italics are ours’) he attempts to prove his point by stiying hoxv an audience aged from 14-16 failed to appreciate a mental effect. In point of fact it \vas a pseudo-spiritualistic trick. Apart from these points the book has much to commend it, and \vhilst thc sleight of handexpert \vi11 not find any exercises for dexterity there is something for most The authorsareto be congratulated on a pioneer venture. Mr. Victor Farelli writes a most interesting Preface (\ye thought ho\v apposite was his quotationof Holmes). For the originality of conception \ve think this merits four stars and it carries our recommendation.
*****
***
PENTAGRAMGRADING : (Threestars)-OfPracticalValue.
(Five
*****“SLEIGHT OF HAND ‘I Ednein T. Sarhr (fourth edition) published b. the Flemmg Book Co., Bwkrley Heights, New Jersey, U.S.A. price five dollars). We must first of all comment on the physical aspect of this work. It is much easier on the eye than first, second or third editions. T h e binding is good and has a heavy linen finish. it carries four hundred pages. There are B total of over one hundred and thirty linedrawings. Aftera reproduction of Edwin Sachs’s Preface tothe is a Preface to thirdeditionthere this edition by the Editor, Mr. Paul Fleming. In hisshortcontribution Mr. Fleming introduces some interEdrrin T.Sarhr estingpoints,among them being the scarcity of Dictulres of Sachq. There are i w o parts to the hook, the first dealing with Drawing Room Magic and the second with Stage Magic. Dealing with that pan devoted to Drawing Room Magic, it is an interesting thing for the student to make comparisons with Hoffman’s Modern Magic ’’ ( for whilst both authors deal with similar effects,their approach is different, an approach making one believe that Sachs had more experience as a performer). Altogether in this section Sachs covers effects with coins, common objects (here are included the flying pieces of paper on knife, the animated penknife, and the Cut and Restored Thread. (Whilst there is an editorial we footnote suggesting thatstring is betterthanthread, know of one performer who presents a miracle uring the original method), the Cups and Balls, Handkerchief tricks, Chinese tricks (this section contains the Chinese mart.!e trick, a version of uhich some of our readers may hare seen Mr. Max Andrews perform, and the Buttertly trick. Why this latter effecthas fallen into disuse we cannotthink. Old nlrmhers of the Magic Circle may remember William Dawker making afeature of it some years ago), tricks at the table and tricks with cards. Prcfacing the part dealing with Stage Magic, there are some remarks, which though made by one who never followed the stage as a profession, shows a deep understanding of what should constitute a stage act. Speaking of styles in magic the following is worthy of quotation : “ The worst possible style to adopt is that which impresses the audience with the idea that conjuring is nothing hut a mere cheatB svindle from beginning to end.” Stage magic corers (If is a large field and all the classics arerepresented. interesting to note that to-day five such effects with detatled routining easily form a book of some hundred odd qages.) Some effects have gained little inthe course of time. The Sto+ Egg trick with its American onomatopoeic name of Kling Klang ” is an example. The last two chapters but one of this sectjon are devoted to c‘ Sham Mesmerism and Clairvoyance and “Some up-to-date tricks.” The former gives the original version of the Flap Slate(it is of interestthatthroughout Hoffman’s works, tricks with slates are entirelyabsent), and the Animated Skull. Inthe “ Trick ” chapter the back and front palm (which at the time of publication of the third edition was some thing of a novelty) i6 one of the sleights described. T h e author completes his work with “ Final Instructions.” W e could well recommend to some modem performers the beginning of the last sentence but one. It reads : ” Do not perform longer than fortyfive or fifty minutes at a stretch 3’0 conjurer who respects his art should be without this book. Unresewedls recommended.
*
.
The Foreword is by Mr. S. H.Sharpe and in this hetackles, among other things, the misuse ofthe word ’’ trick.” We are fully in agreement with him on this point. This is followed by a short address to the reader by Mr. Hall. The Book is then divided into two main parts. The first deals with Card and Mental Magic, and the following effects appear (unless otherwise stated they are by Mr. Hall himself): ‘‘ Mind Poreer by Proxy ‘ I by Capt. Leslie May. This is a good tion of a pseudo mind-reading effect. I t is entirely’ self-working. ” S t a g e Trl”phonrTelepafh?.” This i t a fair book test. At the conclusion Mr. Hall writes: I have tried many clahorate book tests. but I always come back to this. one.” We do not know whether the author means elaborate in preparation or in presentation,hut we think that his method of forcing the use of so many pages both something nearer to the elaborate and. 10 the snmator, -r--.conjurerthan the mentalist. A Simultaneotm Coinridmce ” by Thomas M. Harris. A card coincidence effect that is excellent. ‘’ Thp Thror? of Relafiwify.” This is a good presentation based on a mathematical principle. Inromprehmsible Prediction ” !,““is by Histcd. An effect based on one of Arthur Buckley S. Mr. Histed adds a very cunning twist. ‘‘ Location.TranspositionandTransformation.” This. is re-printed from Abracadabra Summer Special 1946.” ‘’ TheTornandRestored C a r d ” by Judge E.H.C. Wethered. An outstandin(. contrihution to the literature of this particular effect. It singles itself out because of its. logical conclusion. ‘*Two Intpossiblr Card Dircovrries.” These are re-printedfrom the Abracadabra Xmas Special, 1946.” ‘‘ I n the Middle.” A sood card effect, but we wonder whether the introduction of single-hand flourishes will enhance the effect. A display of digital dexterity tends to discount a later display of subtlety. Part Two is concerned with presentation and patter and concerns itself with aroutine comprising Hulls’ ’’ D.T. ” cards, the Chinese sticks and a cut and restored rope routine. Whilst Mr. Hall makes no claims for originalityof eitherpatteroreffect we think that creditmight have been given to Reilly, whose ‘‘ Chow Coon ” patter and rope routine obviously inspired the ‘‘ Chow King ” story. It is asoundroutine and the magician is able to commence and finish his act without the setting or removal of any more apparation than the Chinese sticks. With a few alternative suggestions for this routine the book comes to final cadence. A readable book with all tested effects it is unreservedly rwommmd?d. ~
~
~~
.
~~
il
12/6).
. . . . . . . . . . . .
. . .” t
****“READING IS BELIEVING ’’ b. T r m . ~ H . Hall(published by Goodliffe,price 12/6). This book of just over one hundred pages is printed on fair quality paper, the binding is adequate and carries a spine title.
~~
llilliam G . Stkklnnd
t
This is written to the sound of waves lapping the shore ; it makes us think what a terrific effect King Knut might have obtained had he had a tide timetable ! This number brings us to the end of our first volume, andour first thought is tothankboth subscribersandcontributors.Normust we forget our Printer, who has had to cope with many difficulties .during the past twelve months. The index for Volume \One will be available inOctober. To those who have madeenquiriesregarding the Siamese cat on the cover of our last issue, we wouldanswerthathe is “ Jinx ” ; his father is registered as “ Trigon ” and his mother as “ Queen Bamboozle ” (a very suitabletie-upfor a magical cat !). Those who have visited “ Greenbanks ” know all about him and his magic chain.
Maurice Fogel continues to steal the show wherever he goes. Evenwithpresentdaypaper shortage the local newspapers are splashing headlines on him. His act is a real show-stopper. Hisspot is to close the first half. Duringand after the interval the audience are still wondering and talking aboutthisoutstanding act. Those interested in quality apparatus would be well advised toget a copy of Burtini’s catalogue. There aresome very attractive items. The student of thefuture is going to have a somewhat difficult job tracing the cource of certain effects. Asanexample : ten years ago we read of a very nice idea for getting a message on a piece of WORD
SENSE
- continued from
markedcardboard. Now we find the sameidea published in a recent issue of the Genii. In a recent issue we reviewed Ronald Crabtree’s “ Sixth Sense.” Later we foundthat this was copied almost in toto from a manuscript of TeralGarratt.We wrote Mr.Crabtreeand found that the ms. had been supplied to himandhe had been misled by a third party. Card workers shouldonnoaccount miss Dai Vernon’s “ 1-2-3 ” in Phoenix No. 130. Despite the rumours that have been circulating we do not think Dunninger will behere this year. If he is coming we shall be the first to hear it, even if (throughour being a monthlypublication) we are not the first to publish it. Someone has mooted the idea of forming a smallorchestracomposed of musical members of the British Ring. The idea is thattheyshould playfor the big show at the SouthseaConvention. T h e proposal is pointless as ( I ) the said orchestra cannot get ,the band partsin advance ; (2) the person whomattersmost is a conductor used to variety work. An amateurseldom knowshow muchthe “ eleven o’clock band-call ” means to the professional performer. Immediate future effects for publication include “ IYho’ll Bell the Cat ” (this will be in the October number) ; “ Wide Boy’sAces ” ; *‘ MoneyGoes like Water ” ; and “ Enchanted Petals 11.”
a children’s effect,
pagc (36
different covers) a nail writer, a pencil that will write, a pencil with a dummy tip, a scratch pad and a silk handkerchief, the operator is ready for the . . . Presentation. The “ Penguin ” book is selected andthenumber of page chosen. IVhilst this is beingdonetheoperatorobtains possession of the nail writer and gets it in position on the left thumb. T h e second helper comes forward, is seated on the chair,andhandedthepadandordinary pencil. T h e spectator with the book finds his word, and the operator looks at the similarly numbered page in his book and reads out thepencilled line to thespectator, who takes it down. Oneimportant pointwhich must not be overlooked is that the wordsfrom which theresultantwordis assembledmustcome near the beginning, otherwise there may be a splitting of lines. ‘The spectatorwith the “ Penguin ” book is asked -whetherhiswordappearsin thewritten line. On receiving a negative, the operator takes the pad and pencilfrom the writingspectator and rests them on the table, then picking up the silk and addressing his remarks regarding the spectator’s willingness to
continue. On receiving assent, the spectator is blindfolded. The pad is picked upand also the dummy pencil. Holdingthe pad withbothhands the operatorreads out oncemore Ivhat has been lvritten. As he does so his left handthumb-rings in an ellipse the letters necessary to form the word. There is no need for hurry. The pad is then placed inthe blindfoldedspectator’s left hand,the pencil being placed in the right. The hands of the spectator shouldbe raised by the operator so thatbothart out of sight of a possible accidental downward glimpse. The spectator is nowasked to draw the elongated circle and \Then hehas finish drawing just nothing the operator says “ Thank you ” and takes the pad and pencil. The former is placed on the table whilst the latter is retained in the hands as the operator removes the blindfold. Both handkerchief and pencil arethen placed ontable behindthe pad. The pad is handed back and the spectator asked to read outthe lettersthatare ringed . . . the spectator with the “ Penguin ” book is asked to give the word he chose. Both words agree!
PENDING
AMERICA I
ARRIVAL FROM URGENTLY
REQUIRE SIX NELSOIV'S U . P . CLIP BOARDS.
_II'RITE, 'P€10A\7E O H Ti-IRE
"
P E T E 1R1 ' A R L O C K GREENBANKS," BRAMCOTE, Beeston 5 5 7 4 1
CONJC:RING
BOOKS
FOR
XSOTTS.
SALE
OLD AND NEW. Letmeknowyourwants LIST FREE FOR STAMPED ENVELOPE .Yo cdlers-----
GEORGE JENNESS Inverness Avenue, Enfield, Illitidlesex
47
YIIILLBNE'S
YIIIZARDHY
T o u all kno\\- the author's yaudevi!le act. This book contains all the publicit>- and stunt items he does outsile his act. If you arc: a conjure1 iookinr! for you can take advanced magic it or lenve it. \\'hell lhuglah C'raggs saw it, hesaid :-It's the best collectioil of whrezes und tricky ideas I htrcc ecer seenworth mnny finres its ,price lo f u r y professiontll prrformer. ( S
Price 21'6 ARCAS
Postage 3d. LIMITED
404/6 SYDENHAM ROAD, CROYDON
If you like good comedy magicJ'OU
MilkShrink "t h shrinking glass of milk2216 postfree
w i l l like
"
ZAHAREE (Geoff.R . Hursell) 16 & 18 M'atts' P l x e CHATHAM, KENT
MAGICIANS' BOOKBINDING SERVICE Send stamp for booklet giving full details of our :: binding service :: C. FIELD 42 Alderson Road, Sheffield 2
THE MAGIC CIRCLE
MASQUE A printed magazine giving details of our latest releasesin exclusivemagicaleffects. Issued free. If you are not on our mailing list, write now.
MAGIKRAFT STUDIOS 32 Vernon St., Northampton
HENRl MMC.,
DE'SEEVAH
EMS.,
IBhr.,
SSMC
The FriendI.v Magician invites all Bona Iide Mayicians to send for his list of new and used apparatus and books, or call a t his studl,?:l CLARENCE ROAD, Harborne, Birmingham 17
MAGICAL BOOKS, ETC. Available on Loan Comprehensive Lists for 3d. stamp. Also new and secondhand books for sale. F. ROBINSON, Magician, Stathern, Meltnn Mowbray, Leics.
I'rt.sLC.rrf : His Grace the Dukeof Somerset 1)..5.0.,O.Il.b;.,IJ'., D.I-., kI.I..4,I.C. l . t c t - P r t s z h r / : Douglas Craggs, Esq. JI.I.Al.C. C'[rrbr.oo~nurrd Lihrary and Mltsctrrn :
St.Ermin'sHotel, Caxton Street, S.W.1. .IIagiztrl 'I'heutre:
King George's Hall,
W.C.
Pitrticrrlitrs from Hon. Secretary :
Francis White Alverstone Avenue, Wimbledon Park, S.W.19 39
INSTITUTE of MAGICIANS Founded 1934 President : A. Zomah. Hon Sec . OscarOswald 102 ElmsteadAveWembley P a r i Middx H . Q . and Librur;): No. 2 H a dC o u i (Victory Club) High Holborn W C THURSDAY i-11'd.m. MEETING EVE$Y VlsltmgMaglclansalwayswelcome. l'ortv membership cordially invited-drop Hon. Sec. for literature. a line tothe
JAMES
GRAYSON
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. T e l t f h n e or Telegram : MORLEYl899 Address :23 GREENFIELD AVENUE GILDERSOME Nr. LEEDS LYrarl!. 30 years'in the business
CARDS
. ..
..
Super Speller .. Thread in the N a z e (telephone test) Prelude to Coincido (double lift) Duo Coincido.. .. Mark of the Reader . . .. Double I. ift Plus .. .. Nonsuch Card Prediction .. Invisible Flight .. .. Trick with a Punch .. .. Split Fan Pass .. Western 1-2-4-8 (telephone test) Paint Brush ColourChange .. Climax Prediction .. .. Twins of Trigon .. .. Magical Suggestion . . ..
CIGARETTES Cig-Repeat . . Cig-Flower . .
..
.. .. .. .. ..
.. ..
..
..
..
4
..
61
COINS .
..
..
.. ..
. . 16 24
..
..
.. ..
.. ....
Aerial Treasury .. Money Melted Currency Crumple Coin
21 62 76
CHEMICAL. So you Don’t like Chemicals !
tlml
..
..
78
Cords).
Your Fate in a Teacup .... Genii in Calendar the .. .. News Spirit Conference Footnote toSpirit N a y s Conference .. The Mystery of Ga-Oh Arcana .. .. .. .. .. .. Prevhue
1 . . 365 22 .. 27 29 .. 30 .. 38 .. 46 ..
..
Arrowsmith. T h e Rev . G . E . Belcher. 1, . A. .. Blake. George .. Brearley. John .. Brown. Edward G . . . Bruce. J . F. (the late) Buckingham. Geoffrcy Burrows. Ken .. . . .. Collier. Claude Collins. Stanley .. Douglas. James .. Ervin. Dr . 13. G . (the late) Francis. Douglas .. Gayton. Iieg ... .. .. Harbin. Iiobert .. Harrison. Charles .. Francis Haxton.
. .
.. .. ..
.. .. ..
.. ..
..
.. ..
.. .24 . 16
..
..
..
15 62
..
. . 36
.. ..
..
45 9
..
..
..
..
..
.. ..
..
..
54 55 71 86
Porous Glass (silk penetiation) . . Symsilk .. .. .. Silk Filter (silk penetration) .. L’ntying Sympathy .. ..
.. .. .. ..
10 35 69 85
..
37
..
45
.. ..
23 31
S
..
.
SILKS
*.
.
THIMBLES . Chameleon Thimbles
..
..
LIQUIDS .
..
!
..
SLATES. Four-a-Side . . Insto Transpo Slates
..
PAPER AND Tissue Paper Monte “ \Velcome ’’ Re-covery .. ..
..
..
.. ..
MAGAZINES
..
..
..
.
..
5 61
.. ..
-I
//
MISCELLANEOUS .
MENTAL AND PSYCHIC. (Othr
..
Scotch aHave
.
..
..
8 9 9 30 36 47 48 51 63 67 70 70 75 87
..
”
I‘
3
.. .. .. .. ..
..
And yet another Book ‘rest Slates of Mecate .. Dark the Sense in .. \l’ord Sense . .
7
1.335
..
..
51 46 3 59 79 22
48 38 70 77 85 31 37 70 86 21 17 47
Chains (linking effect) .. LamDs .. . .. .. Silvehown Express (children’s effect) Travel Ring . . .. .. Dill and the I. emon . . .. Robbers and Sheep (children’s effect) ” (calendar efiect) .. You Can’t \Vrong be ! .. T h e Penetrating Tumbler .. Adhesive Glass .. Editorial .. . . 1 i i 19 Magic-Go-Round . . 49 57 65
Holden. Max . . James. Stewart Jonson. \Vilfrid Kenyon. John. . Ixwis.Eric . . May. Capt., Leslie Meyer. Orville Morrison. Jack Peacock. Victor Sellers. Tom Sharpe. S. I4 . Tan Hock. Chuan Tebbett. Cecil Tyler. \Vilfred Vernon. Harry \\’arlock. Peter
.. .. ..
.. .. ..
..
.. ..
.. .... ..
.. ..
1’‘8 61
..
.. .. .. ..
..
.. .. ..
..
7 13 14 17 31
..
43
..
53 59 79
.. .. 41 31 73 89 81
.. ..
33 30
..
87 29
..
..
..
.. .. .. ..
.. ..
..
9 1 0 14 69 76 75 71
54
..
.. ..
..
10
..
..
..
X3
is
..
5 39 10
2; 31X3
30 31 67 5 3 63 61 4 14 78 43 86
ZeuieCcr& Three / Four Star :
Five Star :
..
A Conjuring Melange without hlagic Apparatus Our Magic .. Sleight Mand of ..
.. ..
..
56 64 72 88
..
..
..
Abracadabra Summer Special, 1947
Three Star
Four Star : But Not to Play . . .. .. Card Fan-Tasics . . .. .. Card Tricks without Skill . . .. Convincing Coin nIagic .. .. Expert hlanipulation of Playing Cards First Book l\’ilIiam of .. .. Party the Join .. .. .. Rlanual of Juggling .. .. Neo Rlagic .. .. .. Reading Believing is .. .. RingsYour in Fingers .. ..
..
80
.. .. .. ..
33 11 33 25 18 18
:
Abracadabra Xmas Special, 1946 Be Deceived .. .. I Io\v t o do the cups allcl Balls .. I low to do Juggling .. Ilo\v to Pick Pockets Intuitional Sight .. .. Modern Sleights .. .. Simply \Vizarc1 . . .. Slow Sleights .. .. .. ‘I‘humbs Up .. ‘li. N. T. .. .. \\‘atcl1 me Closely ! ..
l8
413 25 18
48 40 813 56 33 88 25
..
.. ..
..
11 11 11
.. *.
33 11
..
..
11
Page
7
11
1
read “
“
Standard ”
otherthe fan is split(see illustration) the bottom card of the second packet now becoming thebottomcard of both packets. ‘l’his can be . . .”
for
stand.” left ” for
right.”
9
33
2
read
39
13
2
from bottom read for “ feeling.”
53
4
1
frombottom “ 5.”
63
17
1
betzueetr “ hand ” and “ accomplished ” read “ T h e next p?cket is picked up, fanned and in the action of placing this packet ontop of the
“
“
“
read
thought
“
”
63
3
2
from bottom rend for “ Hondin.”
64
12
2
from bottom (irr s o m copies o r ~ h )r e d “ I-Ioudin ” for “ Moudini.”
79
Y
1
read
6 ” for
“
I-Ioudin ”
’
“
the ” for
“
thr.”
I
PENTAGRAM
An
independent monthly bulletin
vue.2 [email protected]
Odd&,
This effect, designed for children, is based “ T h e Mice in Counsel.’’ on a fable ofAesop’s, T h e effectwill be given briefly, followed by the modus operandi. T h e presentation will then give a story outline with the accompanying actions. There is plenty of scope for individualpresentation. The Effect. It is the story of a magic mouse who undertakes to tie around a cat’s neck a piece of ribbon to which is attach4 a bell ; the latter is to give the mice warning of the cat’s approach. T h e cat is representedby a plywood cut-out,and the mouse (wooden too !) is takenfromhis house, the door of which is closed. Against the cat a pieceof cardboard is rested. Mouse,ribbonand bell then vanish. T h e ribbonand bell arefound fastenedaround the cat’s neck, whilst the mouse is discovered back in his house. Requirements. A wooden mouse modelled in themanner of a Bonus Genius. I t should have can standupright. a fairly good base so thatit (One of Burtini’s “ Wandering Willie’s ” suitably altered is ideal.) A duplicate of thismouse, but made of thinner wood. The usual Bonus Genius cloak, but embroideredto looklike a conventional magician’s cloak. Three silver bells, onethat will ring and tlvo that will not ; two lengths of wide silk ribbon,an eclipse magnet, a small piece of tinto act as a ‘ keeper,’ a house for the mouse, a plywood cut-out of a cat, a silk handkerchief, a small box, and some cardboard. will The mouse’s house is illdstrated,andit be seen that it consists very simply of a sentry box jvithout back or top ; the door slides within grooves and can be lifted to reveal the mouse standing there. It n-ill be seen that if the two mice arestoodone in front of the other, one can be lifted zcith and b e h i d the slide, revealing the other. In the cut-out of the cat a pcrtion is cut away at the neck (see illustration) and the eclipse magnet wedged in position. The back andfront of the cut-outare now covered with blackvelvet or fine felt, suitable touches being made to give an appearance of a cat’s face (don’t forget the whiskers !)
for all who want good magic
1947
9 ?one S W 4
One pieceof ribbon isnow tied into a large bow, one of the dummy bells attached, and to one side is sewn the small plate of tin (see illustration). T h e reader having got so far, will now see how the ribbonappearstobe tied round the cat’s neck, for he has only to take this bow and hold it about a quarter of an inch away from the magnet,and presto ! . . . itappearstobesecurely tied. One other thing is needed, and that is a square of cardboard. It should be large enough to cover the cat-all but hisears. Atthemiddle of oneside is hinged a small pieceof card (see ilhstration) and to the latter is fixed a long needle (the best way to do this is to solder the needle to a piece of metal and fasten the latter to the card by means of small rivets or paper fasteners), thesharpenedend protruding. If this needle is pushed through the barrel of the knot in the silkbow, the latter lvill with stay put, at the same time it canberemoved slight pressure. The needle should be so placed that nhen the flap to which it is attached is folded bo\v attached (as in against the board andthe illustration) the metal plate on the bowis opposite the magnet.
2
WHO’LL BELL T H E CAT ?
- continued from page
I
Preparation. The cat drapedwitha silk, is placed onone table, whilst the mouse’s house is placed on another ; this is set as mentioned before. I n front of the house lies the cloak, and nearby is the small box (the bottom of this should be padded with a folded silk) in which is placed the bell that rings, the other dummy bell and the piece of ribbon neatly folded. The piece of card with the folded flap should be near the cat and it can be placed in table morethan one way. If the performerhasa drape of sufficient length the card can be flat on the table, with the hinged flap at right angles at the back of the table. Alternatively it can rest in an upright position against a chair back. The reader will determinewhat is, tohim,the best way. Set like this the conjurer is ready for the . . . Presentation. “ Once upon atime there was a big family of mice who were being constantly worried by a cat . . . This is the cat ” (silk removed from cat cut-out). “ You can see how fierce he looks ! Things got so bad that one day an old mouse called them together and told them how they could never be surprised by the cat . . . ‘ I t is easy,’ he said. ‘ All that we need do is to tie this little bell ’ (real bell is picked upfrom box and rattled) ‘ toour enemy’s neck.’ The mice all applauded and were just going to sing ‘ For he’s a jolly good fellow,’ when one little mouse spoke up and said ‘ but who is going to undertake this perilous task ? ’ There was a silence, and then . . . ‘ what about Mickini ! ’ Now Mickini was a magician. ! ” (Performer raises the door of the Hereheis housewithhis left hand, taking up with the slide the duplicate mouse. The right hand removes the Bonus Genius mouse, the slide is lowered and the duplicatemouse left in place ready forthe finish.) “ So all the mice said ‘ Good old Mickini,’ andthenthey gave him three cheers, the bell ” (bell is picked up andrattled again) “ andthe length of ribbon ” (bell is replaced andribbon picked upand shown). “ They all went away and Mickini was left feeling very glum. Well, he thought,andhethought,and he thought,and he ‘ Eureka ’ . . . the magic cloak.” thought.Then (The cloak is picked up and shown.) “ Now this is whathappened. First of allwe’ll imagine thatit is midnight and for a few moments the cat is asleep.”
(Square of card is picked up and placed in front of cat, care being taken that the bow falls against the neck part.) “ Very, very, quietly Mickini put on his cloak ” (mouse is placed inside cloak) “ then he asked another mouse to hand him as quickly as possible the bell ” (hereperformer palms out of the body of the mouse as he reaches into the box for the dummy bell ; the former is left in the box and thebell carried up to the cloak, placed underneath and finger-palmed) “ and the ribbon ” (the hand comes out with the bell, drops it into the box and picks upthe ribbon. The emphasis on speed by the mouse makes perfect misdirection for the sequence of these movements.) “ But before he took the ribbon he asked him to fold it.” (Conjurer with ribbon in his hand, makes it into a small parcel, which is put under the cloak and into the pocket.) “ Then he asked all the mice to chant with him the magic spell. Now we can’t have all the mice here tonight, so ” (tothe children) “ willyou pretend to be mice ? Now listen carefully, this is the spell they chanted : ‘ Hocus pocus, cat’s away, Hocus pocus, mice at play. Wave a wand and chant this rhyme, The midnight hour is just the time.’ “ Then suddenly, like this, Mickini disappeared, and his cloak was lying on the ground . . . empty ! ” (Conjurer shows cloak inside and out.) “ The mice started chattering and then stopped, for in the distancethey could hear the tinkling of a bell ! They looked round a corner and there was the cat, now awake, with the bell andribbonaround his neck.” (Conjurer slowly lifts cardboard, the needle leaving the bow and coming away. If the reader has any qualms that the pull of the needle may be stronger than the magnet, the free hand can easily go behind the card, the fingers steadying the bow.) “ AS they looked they thought but where is Mickini ? Buttheir thoughts turnedto a loud ‘ hip,hip, hooray,’ when they saw the door of Mickini’s house open and the magician was back safely once more ! ” (Conjurer lifts door showing the duplicate mouse). All manufacturing and selling rights reserved byPeterWarlock. Picture of cat on page I reproduced by permission of “ Tibs.”
The discovery of a chosen card from a borrowed packby amediumsituated inanother room is a popular mental effect to judge by the spate of tricks thatthe idea has called into being. First came ” (a Scalbert’s “ Mystery of the SeventhCard masterpiece of easy, foolproof deception), followed by Hamlyn’s “ Mystery of the Sixth Card,” promptly capped by Scalbert again ina further “ Mystery of the’Fifth Card.” Then Billy McComb shows to the magicians at Cheltenham his spoof “ Mystery of the Second Card,’’ and so it goes on !
pective colours : the red go into the coat pocket on the left hand side, the grey into the trouser pocket (left), the blue intotrouser pocket (right), and the yellow into coat pocket (right). Red for Clubs, grey for Hearts, blue for Spades,and yellow for Diamonds. Hence one glance at the colour of the elastic band that holds the cardstogether will reveal to the medium the suit of the selected card.
But why should the mentalist confine himself to an arbitary number of cards ? Would itnot be much more convincing as an example of telepathy if he could say to his assistant, ‘(Takeyour own pack and shuffle it : now remove any number of cards you like and spread them face down on the table ; turn over any one of them, this will be your chosen card. The mediumin the adjoining room will tell you what it is, although I do notgo anywhere nearher or have contactwithherin any way.’’ If he then allowed his volunteer assistant to gather up the face-down cards and stack them in any order before conveying them to the medium would it not be less suspicious than the stacking of the cards by the performer in what is obviously anarranged ? Certaidy, and in a order ? Canthisbedone way that is very uncomplicated and easy to master.
Ace denoted by narrow bandaroundcardsfrom side to side (Le,, encircling their width). z denoted by broad band encircling width. 3 denoted by long band encircling width. 4 denoted by narrow band aroundcardsfrom to end (i.e., encircling theirlength). 5 denoted by broad band encircling length. 6 denoted by long band encircling length.
Obviously the performerhas to convey the information to the medium by some sort of code, and the system now to be described is so natural in operation that no suspicions are likely to be aroused even in the mind of the most sceptical. T h e “ dirty work ” is done entirely by an innocent elastic band ! When the obliging assistant has gathered up his cards (and, incidentally, in this wayof presenting the mystery it is more effective to leave the chosen cardamong the others-its position in the packet being immaterial) it is quite natural to hand him an elastic band with the request, ‘( Please square up the cards and then fasten them together with this band,” before he takes themto the medium, who is, of course, in another room. The colour of this elastic band will reveal the suit of the selected cardand itspositionaroundthecards willtellitsdenomination-those are the basic principles employed. Now for the requirements. You mustprovide yourself with twelve elastic bands : four of them are narrow and are coloured respectively red, grey, blue and yellow ; four broad ones coloured in the same way ; and four that are double the length of the narrowones but also coloured red, grey, blue and yellow. They aresorted outintotheir res-
Next as to its value. The following table must be memorized by the performerandmedium,
end
For the next series of cards, seven to King, the elastic bands are repeated as above, only in this case the assistant is asked to reverse the bottomcard of his packet “ so that the medium will not be able to see the face of any card when they are handed to h e r ” ! ! And so :-
7 denoted by narrow band encircling width (bottom card reversed). 8 denoted by broad band encircling width (bottom card reversed). 9 denoted by long band encircling width (bottom card reversed). 10 denoted by narrow band encircling length (bottom card reversed). Knavedenoted by broad band encircling length (bottom card reversed). Queen denoted by long band encircling length (bottom card reversed). King denoted by two bands onearound the ends (lengthway) and one encircling the width. There still remains the Joker to be considered (and if the assistant employs his own pack he may want to puzzle the medium by using it). Forthe Joker noelasticband is used. And so when the cardsarehanded in a squared-up condition to the medium and she sees they are loose, she knows in a flash thatthe Joker has been selected. ’Iliith the above code committed to memory (and owing to its simplicity that shouldnot take long) the working of the “ Mystery of any Card ” is almost automaticand foolproof. The performer shouldstress at the beginning that throughout the
.
. . a slight pause and his sightbehindthechair hand continues along the other side qf the rope xith the stick . . . izz his hand ! Everything can be examinedonce more. I
I
(I
The Requirements. Two sticks as mentioned inthe description. T o go over theend of each stick is a small cap-a red one to go over the greenended stick, and a green cap to go over the end of the red-ended stick. These caps should fit snugly so thatthey will not,whenadded easily, slip of?. ,1 pieceof cord about ten feet long. If a screen is going to be used it must not be too fragile, otherwise there is the danger of it falling forward. The stage should be set with two chairs about eight feet apart (these for the assistants) andwiththetable with screen onit(or chair) slightly tothe rear of and betweenthesetwo chairs. Preparation. The two unprepared sticks are placed on the table together with the length of cord. The two fake ends repose in the inside coat pocket togetherwith a pencil.
Editor’s Note,-This effecthasas itsforebearan effect of the lateEdzcardBagshawe’s.The basic principle is thesame, but M . Giraud hasincreasedthe mystery ten-fold,forwhilstwith the original,abrighf-minded spectatormightplayaroundwithafew rings anda piece of cordandultimatelysolve the mystery, the use of differentcoloured articlesthrows such aspectator o f f the scent.
*
#
*
The Effect. T h e conjurer shows his audience tworound sticks, measuringapproximatelyeight inches long by one inch in diameter (the sticks used by M. Giraud when he demonstrated the effect to me in 1938 had been specially turned from boxwood. Two office rulers cutdowntothe correctlength would serve admirable, but in these days of plastics, lengths of perspex or lucite would bethe idealEditor). A hole half an inchindiameter is drilled through the centre of each rod, and one end of each is coloured tothedepth of an inchwith a distinctive colour (say oneredandonegreen) as in the illustration. T h e sticks are offered forexamination,one is chosenandthreaded on a length of cord,the rope then beingknotted. T h e stick and knot are now draped over a little screen (an opaque chair-back would answer the purpose just aswell) andtheends of the rope held bytwo spectators. T h e remaining stick is now taken and, temporarily relieving one of the spectators of his end of the rope, this stick is threaded on the cord. T h e end of the cord is now handed back tothe spectator. T h e conjurer now explains that he is going to attempt the impossible, namely thathe will take the stick justthreadedand pass itthroughtheobstruction and knot and stick in the centre of the cord. Slowly he moves the stick along the rope and then out of
Presentation, The conjurer first of allasks for the assistance of two spectators. They are seated in the two chairs and then he introduces the two sticks, and hands them to two members of his audiencefor examination. In doing so he places the non-colouredendintotheirhand, suggesting thatthey maylike toautographthem. He reaches into his pocket with his left hand, obtains possession of the two caps and the pencil. He passes the pencil to the right hand and gives to one spectator. \I’hilst the stick is being marked his hands drop to the side, and as he stands looking on his hands meet at the back (this is as a natural position) and the right hand gains possessionof one of the caps, so that he now has one in each hand. As the first spectator finishes, the right hand comes up to take the pencil, and in its journey the colour of the cap is noticed. T h e pencil is handed to the holder of the second stick and the first stick is taken back with the hand thatholds the opposite coloured cap. IYhilst the other spectator is signing his name on the stick it is the easiest thing in the world to adjust the cap over the end of the stick. Whenthe second spectatorhas finished writing, the pencil is taken back and replaced in a pocket. The stick is then taken by its coloured end with the free hand and the cap adjusted. T h e righthand now takes the stick from the left hand, care being taken that during this transfer the coloured end is not seen. Onceboth sticks arein one handit doesn’t matter,for up tillnow youhave given theaudienceno ideaof what you propose to do. T h e two sticks aremomentarily placed on the table and the piece of cord picked up.
5 THE MYSTERY OF ANYCARD
- coutit1uedfronl page
,demonstrationhe will nothandle or even touch any of the cards or be in contact Ivith the medium any (who is under obseryation in another room) in way whatsoever, for this reason the assistant must use his own pack and shuffle it himself, etc. will be readily The routine to be followed grasped if we take oneor tu-o examples :T h e assistant decides to remove tencardsfor theexperiment. He is instructedto lay them face down onthe tableandthen turn overanyone of them, suppose it is the eight of Spades. “ That is your chosen card,” says the performer, “ and the medium will name it to you in a moment by a weird mental process. But first of all I want you to so that even shuffle it amongst the other nine cards you do not know whereit is amongstthem. Then reverse the bottom card, s3 that when you take them to hershe will notbeabletosee the faceof any card,andput this elastic band ” (the performer takes the broadblueonefrom his righttrouser pocket and hands it to him) “ around the cards so ‘holding them tightlytogether. Now take themto the medium and ask her to concentrate and tell v011 whatyourcard is.” On receiving the cards the medium notes first of all the colour of the band : this is blue and tells
“
STICKS THAT PASS IN THE BIGHT
”
3
herthatthe card is aSpade. Sext she looks to see if the bottom card is reversed-it is, this means that its denomination is above six. As the band is around the cards from side to side it must be either the seven, eight, or nine. And because it is a broad banditmustbe the eight. And so themedium announces,aftera little time of mentalstressand strain, “ T h e card you selected was the eight of Spades.”And, of course,she is right ! Suppose thechosen card was the six of Diamonds. The long yellow band would be taken from the right coat pocket, handed to the assistant, who is told to put it round the ends of the cards so holding them firmly together “ in such a way thatthemedium will not be able topeep at any of them.” I n this case (beingin theone to six group)thatbottom card is n:)t reversed. Take one other example.-The cards are handed to the medium andshe sees that there are two elastic bands around them (endways and lengthas the ways) this tells herthat it isaKing,and so she concolour is red this denotesaClub,and fidently asserts “ Your card was the Icing of Clubs.” “ All very simplewhen youknow how,” but that’s just it-your audience won’t know “ how ” : tryitand see for yourself !
- continued from page 4
T h e assistant on the left is asked which colour he would like. According to hisreplythatcoloured stick is picked up from the table and threaded on the cord,aknotthenbeingtied and a reasonable sizebightbeing left (see illustration). T h e loop and stick are now drapedova-the screen or chair (in doing this M. Giraud actually removed the stick from the l o ~ pby px;ina it a l m s th; cord (s3e illustration) as in Bagshawe’s method. This speeded upthe ultimatestage of the effect, but it is not essential at this s t a g ) and the false tip removed and retained in the hand. T h e ends of the rope are now handedtothe respective helpxs.The remaining stick is now picked up, and, whilst telling his audience what he is about to do, the cap in the hand is dropped into a side pocket. T h e remaining stick is now threaded on the cord,carried along,
andasit reaches cover the cap is removed. T h e original stick is carried along the cord,and out of the loop the second stick then being similarly threaded in the loop. Of course if the conjurer will practice getting the first stick out of the loop as he places it behind cover, this part of the presentation is rendered much smoother. T h e original stick is now carried along the ropeandhanded tothe spectator for examination ; the ropewith loop and stick being lifted into full view. Whilst all this has taken rather a while to tell it is all very straight forward. It is an effect that with appropriate dressing will prove suitable to any type of audience. Manufacturing and selling rights m e w e df o r Jules Giraudby Peter Warlock.
6 N E W P E N T A G R A M GRADING.-A maximumaward of Ten (A)-Physical, Make-tip (B)-Quality of M a t e n d (E)-Illustmttonr (FFReadabrlrty (G)-Sincnity . . “ H U G A R D ’ SM A G I CM O N T H L Y W Volumes 1 a n d 2 , Special Book Edition (published b the Fleming Book Company, BerkelqvHeights, NW J ~ l s e ~U’ ,. S . A . , price 5 dollars. This, in common with all other Fleming Publications, m a y be obtainedwithEnglish money €y applicationto Mr. J. Robertson Keene, at 301 N o r m o d Rood,Southall,Middlesex. Hugard’s Monthly has now reached its fifth year of publication. ThroughoutthewholeperiodMr. Hugard has rigidly kept to the objectstated“inhis firsteditorial. He wrote: My object in publishingthissheet is tosetforth fully, clearly and conscientiously the bestthingsin r.?.gic, so that if my readers absorb the instructions and carry them out in practice they will acquire repertoire a Jean H q a r d of good magic that will last a lifetime.” In the two volumes under review there are approximately two hundred effects, sleights, routines and essays. T h e majority of the effects are, as one might well expect, withplayingcards.Whilstsomeitemsareindividual routines of standard effects, there are manynewangles. Outstmdinc in the card catemrvwe should like to mention the followi& :Orville Meyer’s “ World’s Gmztcrt Four Ace Trick.” R.M.Jamiesqy’s “ U p theSleeve.” Fred B y e ’ s S e n d Addition.” Cadet’s Magic Bell.” ‘‘ Double as I do ” (this is attributed to Gerald Kaufgo toMartinGlrdner,who mann,butcreditshould publishedthis effect some six or seven years ago). CoinTrickstoooccupy a prominent place. Apart from the valuable article on“ Sleeving ” by George Starke, we should like to call attention to the following effects :‘‘ TheMeltingCoin ’’ (this is a sdendid routine of B great classic). George Starke’s “ Ghost Coins ’* (a very subtle vanish o f a number of coins). Paul Morris’s “ Clothes Pin (Peg) Magic ” (a novelty anglewith a folding c?”. Harry Bernstein’s Transmutation of M e t a l ” (a routine n i t h a sumrise finish it should aooeal to all lovers .~~~~~~ ofsleightof h & ~ i . h o &ant B close-& cointrick that is different). The restof the volumecoversgeneraleffectsand the Editor and his contributors have given of their best. Here aEain we should like to single out those effects which have appealed to us , : : Ccorge Starke’s Hornszcoggled” (this being an effectwith Americanbillsofvariousvalues, cannotbe duplicatedintheCountry). R. M. Jamieson’s ‘:,The Oracle Steaks ’’ (a slate effect). R. M. Tamieson’s Sbot Sticks (a strikingvariation of the old paddle ” tysk). Ahril Lamarqu:: Rabbit Vanish.” Jean Hugard’s Butterjim.” JeanHugard’s “ Spertorular Flmh Opening.” T h e conjurer who thinks that the future of conjuring lies in theinventionof nmv effectswillalterhis idens after reading this volume. for whilst them are a plethora of new ideas and effects, thosz gwzt tricks that have stayed thelonecoursetake on a new lease asdescribedhere by Mr..’Hugard. It is refreshing to find throughout these two volumes thatmodestyanddignityprevail.Mr. Hu-rd doesnot (as is hecoming so common to-day) tell his reader in every issuehowgood is hismaKaeinr. Quiterightlyheknows that if his readers are coniurers. thev know that it is eood. There is also no attempcto claim prestige at some other journal’sexpense. Award : 67 points. Indirpmmnbk. ~~
~
~
~~
’‘
~~~
~
~~
~
_
I
P o i n t s inthefollmcingcategories(whenapp!icabC) :(C)-Value to Magic (D)-Clarits T O T A L 70 P O I N T S a ‘ O P E NS E S A M E ’’ 62. Eric C . Lsneir andWilfwd Tybr (published by Goodliflr of Birmingham, price 3Oj-).
After a Preface by the publisher, and an Introduction by Mr. Lewis, W find the latter in Chapter one calling the reader’s nttention to the paucity of books anrnt ‘ I ConjuringforitoChildren.”Fromthis, Mr. Lewis goes on to deal with the many aspects of children’s entertainment, all of which is clear and unbiassed. The subjects actually dealt with in this chapter are : The Basic Principle, Factors intheEntertainment of Children,ComrdySituation, Suspense, Repetition, Audience Participation, Dressing-up, Action, Story, Colour, and Education. Although he does not give it a heading, Mystery is also included. Chapter two deals with what the authors call Magigags,” and all the bits of business described are practical. even if notsuited to all performers. Chapter three start: the actual trick part with what authors the entitle Characterised Magic.” Under this heading four very novel and original effects are described, respectively entitled ‘‘ What a Life-houy,” “ ChuffChuff,” ‘‘ Opium,”and “ Big ChiefMoneyHa Ha.” Chapter four deals with Glove Puppets, and should appenl to all those who want a maximum of effect with a minimum of apparatus. There are three routines : ‘‘ A Slate, a Silk, and a Rabbit,” ‘‘ Monkeying with the Monkey,and *‘SpellingPuppetRoutine.” In Chapter five the authors have taken three standard effects and routined them. They are, respectively, “ The Recipe (witha Dove Pan), “ The Children’s Penelease(SilkandCords),and “Linking Rings for Children.” Chapter six is entitled “ Story Magic,” and contains “ Little Bo-Peep,” ‘‘ TheTemperamentalClown,”and “ Schoolor Picnic.” Foryoungerchildrentheseshould makea very strongappeal. In Chapterseven wecometnsevenmoreeffects and routines under the heading of *‘Various Effects and Routines.”Fromthese seven items we would pick out for rnecial mention “ Aladdin’s Pdace.” and the - -r------rnlrndid r - ~ ~ adeption of B standard toy in “ Alf‘s Button.” The Book concludes with aChaptercalled “The Games’ Master.” ThisChapter is very valuable,containing something which many conjurers have never thoughtabout.We arc glad to know that a small hook may soon be puhlisheddevoted exclusively to this angle of entertainment. We ha,renotsingledout M r . Tylrr’seffectsfrom those of Mr. Lewis. Both of these well-known children’s enterteiccrs hrre, with enthusiasm and good hearts, Riven inthis book ideas,tricksandpresentationsthat hare proved successful. There has heenno stinting with the rcrult that this bccomcs nn outstanding book dealing with thisbranch of entertainment, All thedescriptions are enhanced bp the work of Dcnnio. Bindingandpaperarequiteadequate.Thereare two illustrations in two colours about which the publisher makesmuch ado. We should like tocorrecthisremark abouttheintroduction of colour-platesin magical books as a new departure.Weknow a t leastfourGerman books having colour-plates. The words ‘‘ OpenSesame I’ willforyou, as they did for AliBnba, open a door revealing a treasure hoard. Atcard : 65 points. Unrrsrrwdlyreconrmmded, ‘I
~
~~~~
~
.
7
T h e growing population of would-be conjurers has naturally meant a larger market for dealers and manufacturers of apparatus. Despite the limitations and restrictionsaremarkably good showhas been made.Whilst we cannotequalthe metalwork of Kling’l of Vienna, orthe woodn-ork of Thayer of California, the quality of apparatusputout by reputablemanufacturers is betterto-daythanit was ten yearsago. Unfortunately this improvement has been counter-balanced by the mushroom growth of backroom workshop boys, who just see the possibility of a new racket for divorcing good money No dealeru-ithareputation from the born sucker. would accept such goods for sale, but, unfortunately, there is a wayof bringing effects to the eye of the would-be buyer other than through a dealer’s counter. That method is throughanadvertisement sectioninaconjuring magazine. The buyerwho buys something that has been misrepresented should considerwhether all his spleen should be vented on the racketeer. The magazine must bear a share. Whilst we quiterightlyconsider that a magazine may accept anadvertisementfromanunknown source,itshould,onceit knows thatthereis misrepresentation, dropthat advertiser. This is only fair from the point of view of bona-fide advertisers ; foranewcomerto magicmay rightly say, inthe terms of Alice’s dormouse, after being caught once, ‘‘ They are all much of amuchness.” W e willsay nowthateveryadvertiserin our ownbulletinhas his wares endorsed by us. W e will(andwenow have) turndown any oger of advertisementin which theproduct does not liveuptothe speci$cation. Furthermore we shall,in theinterest of magicin general, give the fullest publicity to any case of purposeful misrepresentation. We dislike having to labouranything like thisjust as we dislike the idea of selling the Pentagram toitsownreaders, but it does mean that we are doing what no other independent conjuring paperis doing in this country. We were sorrytohearthatChris. VanBern was in hospital, and on behalf of our readers wish him a rapid return to good health. Our congratulations to M. Sardinaandhis colleagues on the marvellous publicity they achieved fortheInternationalCongress in Paris. Foran EnglishSundaypaperto take thismeeting as a basis fora political cartoonindicates the size of the event. Our greatregret is that we couldnot make the journey. CONJURING
BOOKS
F OS R ALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE s o Cnllers -~
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
We feel thatin BookReviewswehave not done full justice to the fine printing andgood binding and coversof the Fleming BookCompany’s productions. Books that are needed for constant reference need suchbinding. Just as we go to press we have received the first volume of the translated versionof Dr. Dhotel’s “ Magicwith Small Apparatus.’’ We shall give ita full reviewnext month, but right now we shall say that it more than lives up to the Fleming standard. There is a FloatingCandleroutinethat, for the stage performer, is worththe cost of the complete w7ork. Full particulars of this and all other Fleming books (and many modern American books) can be obtained 301 fromour good friend, J. RobertsonKeeneat Norwood Road, Southall, Middlesex. In this, the first number of the second volume, we should like to announce the Pentagram Trophy Award. This prize, whichwilltake theform of a speciallydesigned Plaque, is to be competed for annually. I t will be awarded to the best contribution of trick,routine,presentationor essay, appearing in the Pentagram. The judges will consist of two professionals and two amateurs, the Editor having a casting vote. The main pointer for the award is something that practically or theoretically will add to the stockofmagic. Would- b e contributors please note that the first twelve months for eligibility of award will be from December, 1947, to November, 1948. Besides the actualtrophy the winner willreceive avoucherforto be spenton either books or apparatus. There will also be prizes forrunners-up. From our good friend Zaharee we have received the “ Eyes of the East.” This is a very cute mental effect that only requires effective presentation. From Vanestro, at the Magic Box, comes the Devano DictionaryFeat. I n effect the mentalisthasmemorised the contents of afair sized dictionary. Some of youmayhaveseenWilfred Tyler’s “ Abdul and his Egg ” and know that it is superb comedy conjuring for either adults or children. When Wilfredshowed usthis effect at “ Greenbanks,” we thought (but didn’tsay)it wouldlook and readwell inthe Pentagram. We were more than pleasurablysurprisedwhen, just as hewas preparingtodepart,Wilfred said that wecould we proudlypresent publish it. So, nextmonth, “ Abdul and his Egg ” ! ! As we go to press we hear that the date of the I.B.M. Convention hasbeenfixed forSeptember 3oth, 1948.
T O COMPLETE YOUR FIRST VOLUME OF THE
You want Cover and Binding by Mr. C. Field (see page 8 ) and Index from Peter Warlock or your favourite dealer, price6d.
8
.
YOU CAN NOW BUY with Englislt .Woneonql
THE DEVANO DICTIONARY FEAT
. . .
EFFECT is of the memorising c f
2 camplctc dictionary. Pcrfqmer listswordsonany page called,dctailinp their pcrltmn. As a climax he detrils the position in the dictionary of ANY word called Limited numbrronlywill besold No forces or nrromplim Manuscript, L2 2s. Od. from
A CON J U R I N G M E L A N G E ** 6'
*
bySfanlq\.Collinr
V A N E S T R TOH M , EA G BI C OX, 36 LEE HIGH ROAD
cloth, 256 pages, 146 illusttrationr, 5 2 f i n e .fears by this well-knmm magman . .
.
. . . and . . . ANY
..
S. E. 13
After Drvano drnronstratc.fhis &cl bvforc the Society of MagicalEntertainrrs, he ?car r?q'psestrd if possible to make his method available for mle.--\'mestro.
221..
TEN OF OTHER FINELY-PR0DUCF.D AMERICAN BOOKS ONMAGIC
NEW MAGICAB LOOKS 1% W.
-_
m. W. oa.
(01.
131. 6a. 201. W. 151. W. 12,. 51. W. 61. Od. 1M. Od. 2%. 6d.
Our English Represenfafivt-Mr. Robertson Keene, 301 Norwood. Road, Southall, Middlesex, rcill rznd .full Particulars on h.nv f o purchasrthesebooks ~ p o nreceipt of postalenquiry. You should be acquainted with T h e FlemingMagicClasslc Series-thc Irandsomtsf and most valunhlebooksinmogical bookdovr
ed.
-
F L E MBICONOOGM KP A N Y BERKELEY HEIGHTS, NEW JERSEY,
WILLANE'S
WIZARDRY
5AHAREE (Geoff. R . Hursell) 16 & 18 Watts' Place CHATHAW :: KENT
1
U.S.A.
I
...
F R E D ROBINSON,MAGICIAN, S T A T H E R N :: MELTONMOWBRAY :: LEICS.
I The
Magic Circle
9
PENTAGRAM
An
independent monthly bulletin for all who want good magic
I0
ABDUL AND HIS
EGG - continued frompage 9
On his way he is again stopped by the City guard, and, likewise on his return home, he is chided by his wife and told to return. He leaves the second egg on the chair. And so, for the third time, Abdul went in his Constantinoplean way tothe market. He stopped at the stall ; he looked at the trinkets (conjurer picks up various items ; more can be done here by facial expression and mime than by speaking), but always his eye came back to the egg (the egg is picked up and quickly placed down in the manner of one forcefully overcoming agreat temptation). He looked at the silks from Hispahan ! (Here comes the vital move : at this stage the fez is held by the fingers and thumb of the left hand, mouth upwards). Because of the stiffness of the material used the fez keeps its shape. The righthand, thumb on top and fingers underneath,apparently feels the texture of the silk. The hand moves up and down the silk, finally coming to rest atapoint opposite the opening of the egg. The second finger of the right hand enters the hole in the ostrich egg whilst the first finger and thumb feel the surface of the silk at this point. The righthand picks upthe silk whose draping completely conceals the Ostrich e g g . The silk is now brought across the left arm, and in mime, as though emphasising its beauty, the conjurer draws it across that part between the wrist and the extremity, so that for a few moments the opening of the fez is covered. Duringthis brief space, the Ostrich egg is allowed to sink into the fez. And so Abdul decided that he would take the silks back to his Constantinoplean wife (the silk he is holding is pushed inside the fez down the side of the Ostrich egg, the other silk now being he picked upand placed on top of this).When arrived home (the conjurer walks towards the prompt side) his wife asked for the third time what he had bought from the market, and this time, Abdul was able to say in his best Constantinopleanmanner, " I have boughtfor you the most beautiful silk from the land of Hispahan " (the silks are slowly removed and displayed). " And for yourself ? " said his wife, " Ah, well, I still had to bring myself an egg ! " (at this point fez is turned upside down on to the left hand, the right hand gently pulls on the tassell, allowing the Ostrich egg to be seen restingon the righthand).
have you in your fez ? " and Abdul, in his urbane Constantinoplean manner, replied, " Nothing at all, nothing at all " (here the fez is turned inside out and shown to be empty). Abdul then proceeded home(conjurer takes another couple of stepsand stops). His wife met himatthe doorand said, " Well, Abdul, what have you bought indeed from the Constantinopleanmarket ? " and Abdul,with Constantinoplean wistfulness, said, " Well, my dear, I looked all the way round but finally fancied this egg for myself ! " (the fez is turned mouth upwards andthe egg is removed and shown. Abdul's wife then said, " Have you.not broughtanything for me ? " Abdul, in Constantinoplean a manner, shookhis head. His wife screamed " Then go back thou lazy dog " (the conjurer places the egg on a table or chair). So off Abdul went once more. T h e whole of the preceding is repeated ; Abdul first looking at the egg on the chair, picking it up, putting it down andthen taking it again and returning.
ANNOUNCING A NEWSERIES
OF E X C L U S I V E M E N T A L E F F E C T S
MODES
FOR
MENTALISTS
No. 1-' ' THINK AS I THINK "-This is an effect, where, instead of the performer receiving the spectators' thoughts, they receive his thoughts. Every detail has been attended to so that this makes for a perfect presentation. VOLTAIRE, after seeing it demonstrated wrote as follows :-" I would like you to accept my admiration of the effect . . . in which members of the audience appear to read your mind. In my view it is one of the most brilliant of mental effects that I have seen . . ." COMPLETE INSTRUCTIONS RUNNING TO APPROXIMATELY 2,000 WORDS, PRICE 7/6 POST FREE . . from . . . PETER WARLOCK .. " GREENBANKS " .. BRAMCOTE .. NOTTS or from your " Pentagram " Dealer RE-PRINTED COPIES OF NO. 2 P E N T A G R A M ARE NOW AVAILABLE, PRICE 1 / 1 POST FREE
..
.
..
..
I1
E d i t o r ’ s F o r e w o r d .-In hispreviouscontributions, Mr. Douglas has shown that he has the pleasant ‘ knack ’ 0; making pleasing routines . . .‘i Melted Currency, Restored ” and “ UntyingSympathy,”asweknow .from readers’ letters, have gone into many programmes. In the effect to be described theslatetrickis presented &thadifferentangle. “
#
#
#
Effect.-The conjurer shows a slate. One side is blankand thisis initialled. T h e otherside is then shown and seen to have chalked on its surface the dial of a clock. Besides thehours there are the usual two hands, but instead of being drawn like thehourswith chalk, theyareproved by theconjurerto betwopieces of card, which of adhesive are made toadhereto withacoating the slate. Thesehandsare removedandplaced on the table. Taking a piece of chalk, a spectator’s initials arewrittenontheblankside of the slate. The latter is now stood upright with an opera hat acting as support. Taking handkerchief a from his pocket, theconjurer folds itintoa bag and picking upthe “ hands ” dropsthem inside. T h e “ bag ” is then handed to a willing spectator with therequestthatheholdsit for a few moments. Twelvecards,numberedfromonetotwelveare now shown,theyare shuffledandthespectator holding the “ bag ” requested to touchanyone, then remove itand show ittothe audience. We .the will supposethatit is the “ nine.”Aloud conjurer cries “ nine o’clock ! ” The handkerchief is disengaged from the spectator’s hand and shown onbothsides . . . the hands havegone. The slate is turnedaroundandtherethehands are seen to have returned to the slate registering nine o’clock !
“ roughed and smoothed ” The cards are (although, personally, I prefer diachylon) so that the cards can be shown all different, yet “ force ” card whenfanned and- one touched, the must be selected. Onthe slate proper is drawn in white chalk the face of the clock and the thin setof handsare fixed(say thetonine o’clock position). Coveritwith flap whichhasa similar “ clock ” on it and fix thick hands at six o’clock. Instead of chalk, artists’ waterwhitepaint will befoundto be more permanent.
Show the slate and flap together,removing hands ” and initial blank side as described in effect. Lay on table for a second while you pick up hatandspringopen.Lift up slate, leaving flap behindandleanagainst hat, initialled side facing audience, of course. The hat is laid on flap. Show “double hank” each side, fold in the usual way and drop in the “ hands.” Force the nine o’clock card. Flip hank and vanish hands. Then show the correcthouron clock.
“
Various methods of working will suggest themselves to the reader. I triedvariousstands to lean the slate against but always found that a certain amount of suspiciousfumbling was necessary in orderto leave the flap behind. T o pick upthe hat and spring open, it is natural to lay slate down, and the hatserves to coverflap when slate is removed for the climax. The slate at finish may be handed tospectatorbeforeturningitaround,butthis is up to the performer. #
Requirements.-The requirements are a flap slate with the inner sideof flap covered with material (or newspaper) to match top of table. An opera hat, numeral cards one to twelve and twelve force cards (say, number nine), adoublehank,and.twosets side of eachhasa of cardboard “ hands,”one smallpiece of adhesive plaster glued to it, so that adhesive side is out.Thehands whicharestuck to the slate and are shownto the audienceshould be constructed from fairly stout cardboard. (If the reader is in apositiontoobtainsomewhite sheet plastic this would be better still.) The handsthataretoindicatethe “ chosen time ” shouldbe of thinnercardboard. The reason for this is thatminimumthickness is tobe desired. I t will be realised that the first-mentioned “ hands ” can be easily stuck on the slate to indicate a desired time.Onepointsoccurs to me here, andthat is that should the double handkerchief that you propose to usebewhite, it might be advisable- to usecolouredhandsand chalk for contrast.
#
#
Editor’s Footnote.-We should like to make three suggestions. The first is that the flap should be added to the slate, f o r to hand the slate out a t the finish savours of anticlimax. By doing thisthe spectator cantakethe slate in hisownhandsandinitial.Thosewhohaveheard us talk on slates know that we have always laid accent on this angle,. The second point is thatinstead of just anhour being selected, a four-figure number might be forced (i.e., sum method). With such a total as 12.45,9.35,8.50,7.10,etc., it is aneasy matter for the hands toregister such numbers. Thirdly,Readers of the ‘‘ Jinx ” may remember avery nice paperroutinebyKeithClark,wherethe performerapparently tore a clock face with the h n d s indicating the time at the moment he opened the paper. W e haveavivid recollection of Francis Wattsperformingthisatthe Magicians’ Clubin 1939. M r . Douglas’s routinemightendthesameway . . the performermarkstheslate, etc.,indicating that - this is hisfinaleffect.Whenthehandshavevanished, slate amember of the audience is asked the time. The isturnedroundand there it is. Knowingthelengtlf. of his programme, it is the easiest thing to set the clock irnmediatt.13- beforegoing on the stage.
.
I2
Effect of card .-Name selected theSupposing distant psychic telephone ” hisfriend and ‘ number commencing. before given are A complete pack of fifty-two cards is given thorough shuffling. for A spectator is then asked the spread to the table, packthe ribbon-wise on face down, then and is he asked without towards card, him card toone draw it. at looking isThere end complete other freedom of choice. This cardisnot changed touched not and again until the spectator himself turnsit over at the climax of the effect. The spectator is then asked to push shuffling any four or more cards towards the performer in code card asimilar way, fromanypart of the pack. Again there iscompletefreedom of choice as to whatcardsout. and how many. The balance of are so pushed, the pack is now no longer needed and is squared upthe and put to one side by the spectator. action to “
The cardspushedtowards the performerare now gathered up by him. Theyare shownone by one, while the spectatorwritestheirnameson a slip of paper. The assistant now rings up thenumberand calls outthe cardsover the ’phone. .He doesnot get far, however (in fact any time after theJirst three cards are called out) when the voice at the other end says “ Stop. I feel sure I know the selectedcard. Somehow I feel convinced that it is the -of Please letme know if I’mright. I’ll hangon ! ” The card is now turned over and it is !
-.
Method.-The method is based on the simple principlethatanyonecard can indicate the name of any other card, but the method of obtaining the card involves an entirely new use of the card index. Butletus start at the beginning. As only one card is going to give the information, That is it will be necessary to disguisethefact. why four or more cards are pushed out, and why at least three cards are called out before the information is given thatthe cardisknown. The cardwhich gives the vitalinformationisadded to thosethat’ are pushed out. 1
T o discover the card under the conditions set forth in the above description, it will be necessary to usemarkedcards ! Take any pack of cards of thesamepattern asareto be usedfor the experiment,and shuffle them thoroughly. Write down these cards and letthem represent Ace toKing sequences.Now put them in the card indexes as though they were the cardstheyrepresent.
was the five of Clubs. I would go to my and index card card take theout that normally would be the five of Clubs. I would have no idea what card would actually be. It may King be the of Hearts. I would know, however, that whatever the it would be the translated at as of the five Clubs.
Sosequence this theis : The selected card is known (a prearranged pack could be used if the by the spectator is dispensed with). The is obtained from the index. I t is added totheotherswhentheyaregatheredupto be called The performer looks firstto see whetherthe card which came from the index duplicated is in remainder he holds. If so he takes suitable see that the second one is not shown, The codecardis called out first. The idea of getting the cardswrittendownisthatwhereascar& may be mixed up or called out in different orders when taken tothe’phone,it is unlikely thatthey would be called out in any other than the order in which they were written. If seven or eight cards have been pushedtowardstheperformer,theadditionalcard is not likely to be noticed, but with fewer cards it will be necessary to palm one away, or throw down two as onewhen calling themout. The use of the indexinthis wayis trouble free,anditisthesimplestthingforthefriend to referto the conversionchartatthe .other end to see whattheselectedcardmust be.
CONJURING
BOOKS
FOR
SALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE
No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
THE W I Z A R D A modernmonthlymagazine. 2 0 pages of lirst-class magic. h-ews and views on magical events. Per copy I/I post paid, Annual sbuscription 12/6 THE M A G I C ’ W A N D A quarterly book of magic. 48 pages of magic by world-famous contributors. 3/8 postpaid,Annualsubscription 1416 Profuselyillustrated.Percopy QEORGEARMSTRONQ, THE MAGIC WANDPUBLlSHlNQ COMPANY 11 MONASTERY GARDENS :: ENFIELD . :: MIDDLESEX
There is little doubt that Paul Curry, in devising his effect “ Out of this World ! ” gave card magic one of the masterpieces that is easily recognisable in its owngeneration.Many have been the false shuffles offered for this effect, but most of them have of normal false shuffles where been variations complete retention of stacked a deck has been desirable. For performance a of the effect in question this is not necessary. As we never publicly usea riffle shuffle, deeming the normaloverhand shuffle more natural (we are quite aware that nearly everycardplayerusesa riffle shuffle !) the false shuffle for this effect just walked in. theWith stacked deck the for effect heldand in the right hand ready for overhand shuffling, the left thumb moves off about five or six cards. This is repeated three times so that the conjurer may have run off fifteeneighteen to cards. The next eleven
Q* A.
QA.
QA.
A.
Q. A.
Are you in favour of exposing Magic ? As Joad might say, it all depends on what you If you mean the elucidmeanbyexposing. ation of thefundamentalprinciples of conjuring and magic, I most heartily approve of it. Butalthoughseveralabortiveattempts have been made, no one as yet has been successful, even in part,inco-ordinating the essentials of the two arts. What is an illusion ? The popular ‘belief thata a magician.
mereconjurer
cards are thenrun off singly, andthe rest of the deck run off in small packets. The deck hasbeen subjected to a genuine overhand shugle but is ready for a performance of the effect.
Try this over with the cards in hand, and we thinkthat youwilllike it. Incidentally the finest leads in to “ Out of this World ” are Stewart James’s “ Miraskill ” whichappeared in an early Jinx, and Walter B. Gibson’s “ Pay o f f ” in the first issue of the Phoenix. In both of these effects the demonstrator of colour sense is in a position to carry right onwith the ultimate effect. b
Somecard tricks I findvery easy, but some as are very difficult. Whatdoyousuggest a help ? You just take the rough with the smooth. Should I useaMagicWand ? Certainly ! But be sure that you also wear a
#
Footnote.-Since the above was written, Walter P. Gibson has described similar a shuffle in “ Conjurer’s Magazine.”
sugar-loafhat and aflowingrobeadorned with cabalistic characters. , And it wouldbe as well to have a draped table with a hidden assistant under it.
Q.
Should I openmyaddresswiththewords “ Ladies and Gentlemen ” ?
A.
No ! Leave that nonsense tothe fair-ground barkers, racecourse tipsters, flash auctioneers, political touts,parliamentarycandidatesand other cheap jacks. Remember that David Devant never opened his entertainment with “ Ladies and Gentlemen.”
Q. A.
How is arabbitproducedfromahat ? Notby its ears, i hope ! How would you like to be lifted from Mother Earth by your ears ?
Q.
Shouldconjurer a
A.
He cancallhimself whathe likes : it is what the public calls him that matters. The really greatmenamongus have neverused that adjective : itsemployment is asure sign of mediocrity.
is
Should I title myself Professor ? No ! Although no one is likely to challenge the imposture, thereare better ways of getting a laugh.
9
call himself
GREAT ?
‘4
NEW P E N T A G R A MG R A D I N G . - A (A)-Physical Make-up (B)-Quality (E)-Illustrations (F)-Readabzlzty (G)-Sincerity
maximumaward
‘‘ M A G I C
of TenPoints inthefollozcingcategories(whenapp?icable) of Material (C)- Value Magic to (D)-Clarity T O T A L 70 P O I N T S
WITH S M A L L A P P A R A T U S ” Volume l by Jules Dhotel, M . D . (translatedbyPaulFleming). (Publishedbythe Fleming Book Compdny of Berkeley Heights, New Jersey, U.S.A., price 5 dollars, English price 28 /-). This is the first translated instalment of M. Dhotel’s monumental work “ LesPrestidigitationSansBagages.” Its format and binding are that of theFlemingClassic series. In thewhole of the series some nearly two thouand items (all cannot be classed as conjuring effects, for puzzles andsimilardiversionsareincluded). T h e book commences with a translation of the author’s Preface,thisbeingfollowedbyaspecialPrefaceto the American edition by the translator, Mr. Fleming. I n this the reader is given some interesting information regarding the work. WhilstDr.Dhotelsetsoutinthis work todetail effects that only involve small apparatus, it does not mean thatthesuch effectsareonlysuitable forclose-upperformance. T h e first volumecoverstricks,puzzles and diversions with the following :-matches and match-boxes, animals,rings,wands,candles, fire, flames andshooting, balls,corks, and muscades. The border of Chapters has been retained from the French edition which is alphabetical (i.e., (1) Allumetes (matches) etc.). Much of Dr. Dhotel’s newer material is from French sources. This is somethingthathasanadvantageforto those, who through the language difficulty or lack of access to Frenchworks, will be ableto read a number,of effects for the first time. In the first section . . . Matches and MatchBoxes, the author has given the reader some sixty pages of interesting material. (At this point we agree to disagree with Mr. John Mulholland who, on the dust jacket, states thatthe workisencyclopaedic, forDr.Dhotel would require something nearer to six hundred pages to tackle evenmatchtricks,etc.,inacompletemanner.) The next section, dealing with animals, we found disappointing for whilst the “ Magical Thaumotrope ” makesaflying startandthenoteontheVanishing BirdCageagood finish,thetrickswith flieswe foundmost nauseating. The section dealing with rings covers some thirty pages. T h e brevity of this Chapter makes one realise how little attentionhasbeen givenbyoriginators tothis article. Wewere surprisedthatthere were no version of ring releases (from string or wand). T h e next section, however, makesfull atonement,forin dealingwithtricks with wands,theauthor givesnearly fifty pages of verysolid material. This is followed by yet another excellent Chapter dealing with candles, fire, flames, etc. Outstanding here (as mentioned in last month’s “ Magic-GoRound ” is theDiavol-HedoltFloatingCandleroutine. This isaone-manstagepresentationwhichleaveslittle to bedesired. T h e last section,dealingwithballsand corks, over eighty pages are devoted to variouskinds of trickswithbilliardballs, golf balls, etc. T h e book is well illustrated and the explanations are concise. It is undoubtedlypart of agreatworkandits valueasawork of referencewillbeundisputed. The gratitude of English-speaking magicians toMr. Paul Flemingforhis excellenttranslation is somethingthat cannot beeasilyexpressed. “ Pentagram ” Grading : 67 points. Unreservedly recommznded. P
“
P
*
M A G I C AT Y O U R F I N G E R T I P S ” byMilbourne Christopher and “ Hen ” Fetoch. (Published by Maryland MagicStudios, price 2 dollars).
:-
This is a well-printed and illustrated booklet of some forty-odd pages by two well-known magicians. There are in all thirty-three effects.Wethink thattheconclusion shouldhaveformedpart of the Preface, forherethe author’s write : “ We hope you haven’t read through this book withouttryingthevarioustricksandideas.” It is an all to important fact that the reader cannot always visualisethe full effect from the printedillustrations. The ‘prst Chapter deals wit!, “ Clo;+upMagic.” He;: the Climax Cup and Bat! and Dollar in Orange effectsaretwo “ naturals fortheclose-upperformer “ Impromptu Changing Bag ” 1s whohaspersonality. splendid a idea. Besides these there are items with thimbles, cigarettes, matches and a drinking cup. “ Mental Magic.” After ChapterTwo dealswith startingwitha lovelyangle ona psychometrytest,two versions of Karson’s “ Seven Rings to Baldpate ” follow. We know the first is good because we have been using a 1938. The second is aclever stunt similarversionsince reversing theprocedure,forinstead of thementalist finding the key that fits a lock he finds which of sexen locks hasbeenopened. This Chapterconcludeswith Mental Projection.” In the hands of one used to mentalistic presentationthiscouldbeamiracle. Chapter Three contains some novel ideas with cards, from which we should like to single out for mention “ Tear theCards ”- alovelyidea andthe “ Etho Vanishing Cardcase.” Chapter Four is entitled “ Silk Mag;?.” “ Lightning Production.” “ The“Go BetweenSilkwithanaccompanyingroutineandSilkThrough Body ” are all good. “ Variety Magic ” is the finaf‘chapter, and for speck! mentionareDeanLongfellowsRypeThrough Neck Vanish.” and “ X04 RopeTrick ” andtheDixieCup Altogetherasplendidtwodollarsworthwithnearly all the apparatus at hand. “ Pentagram ” Grading (points lost on binding) : 57 points. Unreservedly recommended. P
#
P
M A S T E R E D A M A Z E M E N T ” by A1 Koranand Jack Lamonte. (Published by George Armstrong (“ Magic Wand ”) price l O / - ) . Here is another book of reallypracticableeffects requiringlittleornoapparatus.Notes,coins,cigarettes, thimblesandcardsarealldealt with.Combinedwith thosetwomarvellouspieces of naturalapparatus-the hands-the authors have introduced some nice subtleties. In the first sectiondealing ‘yith money, we should like to single outformention The Last,,WordNote Routine.” “ T h e MasterClose-upVanishisexcellent if you dress the right way (or wrong way in our opinion). I n “ CigaretteSorcery,”the perfey: “ Cig-Switch ” is just that. The “ ChapeauCigarettes is anovel effect withasomethingextra. “ Thimble Amazement ” is ashortChapter which should open up a newline of thought. “ Pasteboard Parade ” contains some very good things for the card worker.Alothasalready k e n said and written regarding theexcellence ofA1 Koran’s Miracle CardStab.” Wecanonly addourendorsement.This effecthasasitsbaseaverycleverlocationideawhich appeared some years back in the “ Genii.” For a close-up effectwithaborrowed clfck it is hardto beat.Equally good, inouropinion, 1s CorrespondingColours.” The false cut, whichJackLamontere-describes, is alsovery useful. This is a book in wbich the sincerity and enthusiasm is apparent all the way. T h e book consists of some sixty-six pages, is profusely illustrated and clearly printed. “ Pentagram ” Grading : 57 points (points lost on binding). Unreservedly recommended. “
Cqntrasts and Viewpoints.-Whilst we were staying in Birmingham for Goodliffe’s Jam session, we witnessed at an after-the-show get together what was, to us, the most repulsive presentation of fire,eating. We were glad we didn’t walk out for this same conjurer gave a performance of “ Snowstorm inChina ” that was superb.We felt that in this alone our visit hadbeenrepaid. Next to us was a very stylish performer of at least three effects. T o him we commented on the beauty of the effect. “ But what’s the good of it, you can’t do itin cabaret,” he replied. So there you are ! Some littletime ago we commented on the amazing card technique of Fred Robinson, the magician-bookseller. We had the opportunity of a day’s session with Fred ; a session that convinced us beyond all doubt that thereis no card-table worker to equal him in this country. Readers will be interested to know that just for practice this expert .will deal secondsfrom the middle and bottom, new alternatively, at speed. This brings ustothe book “ Basic CardTechnique.”Theother day we had theopportunity of seeing the “ galleys ” of this book and were favourably impressed, for it covers very completely the field of card technique. Its primarypurpose is to teach the best way of performing a known sleight, thisthe diligent newcomer to card work can, by the simplest process of turningto page -, find the best way suited to himself for achieving a desired result.Whilstwith Max Andrews, we were shown the Scalbert Brothers’ “ Master Mystery.” This two-person routine, nicely printed andwith the necessary accessories, sells at I S / - . As in the “ Mystery of the Seventh Card ” the means of coding certain objects has been mechanised. T o the conjurerwho does not wish to devote a lot of time to practice, here is a method of thought-transferencewhich,properlypresented, v should reputation. aearn him At UniqueStudiosthe same day we had the
On Hallowe’en, 1947, the Magic Circle held its “ National Day of Magic ” Show. Onthis gala occasion, Edward G. Brown gave the most brilliant stage performance of his career ; after the show he returnedto hishome atNewEltham, sat down, and quietly slipped away from this world. “ E.G.” abanker by profession and agreat conjurer bynature, was beloved by all who knew him. Here was indeed a magical giant forever devising new subtleties and sleights which culminatedin such magnificent displays of “ Magic for Magicians.” He was ever ready to help the genuine studentinthe attainment of perfection ; of apparatusfor apparatus’s sake hehadno use, and if the brain and thatwonderful piece of apparatus, ’
opportunity of seeing the new lighted bulb effect. Voltaire, whose energy seems inexhaustible is responsible for the ‘ something ’ that makes this impossible for the back-room copyist to market. For the first time a magically lit bulb gives a light comprehensible to its size. Laterthe same day, after a lecture at the L.S.M., several of us, including Louis Histed,adjourned to Geoff. Robinson’s flat. A very enjoyable session followed in which we were treated to a presentation of the “ Jiffy ” slate and Louis Histed’s “ Rising Cards.” It seems amazing that despite the fact that this latter effect was published some years back in the “ Magic Circular,” few people seem to have constructedit. This was Fridayand we were greatly impressed by the enthusiasm of Geoffrey Robinson, who, receiving last month’s “ Pentagram ” on the Tuesday, had nearly finished constructing “ Who’ll Bell the Cat ? ” We and our contemporary, “ Abracadabra,” were premature in announcing the date of the next I.B.M. Convention. Apparentlya last minute snag upset what seemed to be perfect arrangement. From Watson’s Publications comes a copy of a book entitled “ Money from Entertaining,” by Bruce Grove. The selling price is 6/- with stiff cover or 316 limp covers. Theauthor who has had a deal of erperience as a conjurer in the concert world, gives some sound advice. On many phases of entertainingin the concert world. The business side, a thing which is very important and which so many have to learn by hard experience, is efficiently dealtwith. Our only comment is that we should have liked to have seen an advocation for higher fees. At the end of the book, which runs to approximately ninety pages, particulars of V.A.F., C.A.A., and British Equity are given. A very handy book. Hamley’s have just issued a new catalogue, the largest for many years. Inthe one hundredand fifty pages all types of effects are covered.
the hands, were capable of producing an effect wherea lesser mind would use a fake or piece of apparatus, the brain in conjunction with the hands would achieve the desired end. Being a purist in magic, it was only natural that in ‘the course of his many lectures to Magical Societies, he tried to imbue his audiencewith similar ideals. Hepublished very little : the main reason that his effects were tailored for himself anda general diffusion of the methods involved would have been accomplished by general man-handling. His passing has left us poorer, and to his wife and Olive, his daughter, I should like toaddto my own expression of deepsympathy that of the Warlock. manyreaders of this paper.-Peter
HERE ARE GREAT BOOKS
~
~
.
A s Britain’s outstanding makers and sellers of fine apparatus i t is only right that our advertisementshouldappear in the only British Magical Magazine which is prepared to guarantee theproducts of itsadvertisers
Y o u can now purchase, with English money, any or all of the following books, by remitting the prices inditatedto our EnglishRepresentative, Mr.RobertsonKeene , 30 1 Norwood Road, Southall, Middlesex. Your order will(cme 10 us ciaciirwail,ard Kill be shipped toyou immediatdy,postpaid MagicwithSmallApparatus(Vol. 1) (Dhotel) 281-
Sendstamp for details of thenewexclusive ‘‘ Elektrick. ’’ THE GEN. October issue ready. As usual, 28pp. full of PRACTICAL magic-andnews of still more NEW items. S/- year(twelveissues)
STUDIO OF UNIQUE MAGIC
First in a great 8-volume series, this book explains 177 tricks and routines with matches, nngs, wands, candles, balls. I n the format,cloth, 320 large pages, superb FlemingMagicClassic 183 illustrations.
(JACK--HARRY--ARTHUR)
.. 221Fifty-two original feats by this celebrated conjurer, cloth,z j h pages, 147 illustrations. .. .. Sleight-of-Hand (Sachs) .. .. 2s 1A Conjuring Melange
(Collins)
The great classic in a handsome edition. 1 3 1 illustrations.
::
Magic Without Apparatus (Gaultier)
::
Our Magic (Maskelyne-Devant
S
Magic Monthly
Contains Volumes illustrations.
TheExpertatthe
I
and
281-
(book edition)
4 1 /-
Cloth, 128 extra large pages,
2.
Card Table (Erdnase)
::
NEW M A G I C AB LO O K S
Cloth,
::
12s.6d. MASTERPIECES IN MAGIC OF’ PLAYING EXPERT MANIPULATION CARDS . 10s. od. FARZA.\TWELVE NEW TRICKS . . 6s. Od. . . 13s. 6d. GOODLZFFE SIMPLY WIZARD . . 20s. Od. TESTAMENT OF R. W. HULL HALL .. . . 15s. Od. NOTHING I S IMPOSSIBLE HALL READIYG I S BEl.!EVING . . . 12s. 6d. HALL . . 30s. Od. L E W Z S & TE’Z,E R OPEN SESAME Ai‘ACKER’ZIE COMPERE’S CORNER‘.‘. .‘.’ . . 5s. Od. McCOMB . . 6s. Od. FIRST BOOKOF WlLLlAM . PATTERNS FOR PSYCHICS .. . . 10s. Od. WARLOCK WILLANE’S WIZARDRY .. . . 6d. 2s. CRAGGS GA.VS0.V
2S/221
.
.
A n order totallzng 28/-entitles the buyer to Volume I . or II. of The Paul Fleming Book Reviews (each 128 pages), butonly one cop39 Gf each to acustomer : or add 5 ! - per volume and zce will send the deluxe (cloth bound) edition of the Reviews F L E MBC ION OOG M KP A N Y BERKELEY HEIGHTS, NEW JERSEY, U.S.A.
A NEW ARCAS BOOK by YOHN BREARLEY A balanced programme, including patter
A printed maga*zinegiving deteils Of our latest releases in effects. Issued free. If you are nct onour mailinglist,writenow.
T o those %,ho fhlnk thev haze ,lot the flair for entel;tainingchildren, &e say get ConJC‘.vZORing a d get it quickly f o r notonly will yozt L
benefit, but so also will the children.” -peter Warlock
Fully illustrated, cloth bound, price 101postage 6d. Academy of Recorded Crafts, Arts andSciencesLtd. 40418 Sydenham Road, Croydon
am^..^
THE MAGIKRAFT STUDIOS 32 Vernon
PENTAGRAM ” VOLUME 1. Binding Prices :CLOTH516, REXINE 6/6, MOROCCO FINISH 716
FIEC LD . 42 4238 Alderson Road, Sheffield Ric
2
Northampton H E N RDI E ’ S E E V A H MMC., BMS., IBM., SSMC. THEFRIENDLYMAGICIAN invites allbona-fide Magicians to send for his list of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
ZAHAREE (Geoff. R . Hursell) 16 & 18 Watts’ Place :: KENT CHATHAM
“
The, Magic Circle President : His Grace the Duke of Somerset, D.S.O., O.B.E., Z.P., D.L.,M.Z.M.C. M.Z.M.C. Vice-President : DouglasCraggs,Esq.,
--
ClubroomandLibraryandMuseum
:
St. Ermin’sHotel, CaxtonStreet, S.W.l. MagicalTheatre
:
KingGeorge’sHall,
W.C.
l.....
ABDUL’S FEZ Increased cost of materialshas forced me to increasethe price of this effect to 1216. I feel confident, however, that it is still a bargainto anyone who hasever worked the Egg Bag. Thanks to all those who have sent kind words about thistrick
MAGICIANS’ BOOKBINDING SERVICE
brings
FREDROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
MASQUE
of superiati /e corju! i ?g for children by the ilventor o f thss:: classic tricks, Magic Ass mbly and the Postage StampAlbum
II
Please add posta,qe on o r d m under E 1. 3d.stamp * list of books available on loan
S&&&&
Con JUNIOR ing
.
::
1 1 1-
Includes critical comments by Professor Hoffntann. Cloth, 218 pages, IOI illustrations. .Ilso available are :-HugaId-Rraue’s EXPERT CARD TECHNIQUF (cloth 448 pages 318 illustrations 28’-.THE ‘‘ MIRACLE METHODS SERIES (1 bookl&s, 1 2 0 pages) 28:- ; ‘aAd THE INVISIBLE PASS (cloth, 3-3 huge pages, 28 illustrations) 171- ; and Down’s THE ART OFMAGIC (cloth, 354 pages, 68 illilstration:) 281-
1
Street
Cloth, 336 large pages, R7 illustrations.
The greatest work on pure sleight-of-hand ever published. 544 l a y pages, 2 2 6 illustrations.
Hugard
THIR FLOOR (IT’S NICE AND PRIVATE) 0pe)n daily 10-6 includingSATURDAYS Corner Wardour Street and Brezeter Street. Entrance Brerer Telephone : Gerrard 5409 THEYALLMEETATTHE UNIQUE
Cloth, 416 large pages,
.. ..
Another famous classic.
87 WARDOUR ST., PICCADILLY, LONDON,W.1
l
II
OLD AND NEW MAGIC Latest Think a Magician A pocket Mind Reading Effect onlv 2;6 Orrin’s fam‘dus Spider’s Web, Card Trick . 36,1COIK WANDS t(J produce a real coin l6j6 A few Sliding Glue Packs of Cards 819 S e n d stamp f o r printedlists o j old andnew Munac Sydney de 363 SANDYCOMBE ROAD, SURREY
Hempsew KEW GARDENS
Every Advertiser’s goods are fully endorsed
Particulars from Hon. Secretary :
Francis White, 3 9 AlverstoneAvenue, WimbledonPark, S.W.19 INSTITUTE
OF
MAGICIANS
Founded 1934 President : A. Zomah. Hon.Sec: Oscar Oswald 102 ElmsteadAvenueWembleyParkMiddlesex H.Q. and Lzbrary :No.’2 Hand Court(Vihory Club), HighHolborn,W.C. MEETING .EVERY THURSDAY, 7-11 pm. VISITING MAGICI.4N.SALWAYSWELCOME Your membership cordlallv invited-drop a line to the Honorary Secretary for literature
JAM GERSA Y S O N MAKER OF HIGH-CLASSMAGICALEFFECTS, STAGE ILLUSIONS, ETC.. Teltzphone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME,.NearLEEDS Searly 30 yenvs ! n the business
by this Bulletin
PENTAGRAM
An independent monthly bulletin
for all who want good magic
V!& 2 N&&3
1947
Remarks.-The
B&,
effect may be divided into
continued on $cage 18
18 ENCHANTED PETALS
2.-continued from page 17
red and green silks are separated by other colours. Whilst the ring protrudes directly, the glass is placed on a solid surface, it lies f l a t . The reader will now see that if the ring-pull is attachedto the ring stitched to the coloured silks, a release of the pull will carry the red and green silks through the central tube and up the conjurer’s sleeve. It is a novel and’effective visual vanish.
(2) Appearance.-The firstrequirement is a photograph-frame of the type previously mentioned. In theoneillustrated the pieces of glass measure 9” by 10”. For a description of theveryelementary faking the reader will obtain additional help by studying the illustrations. Let me first explain silken flowersdo not appearbetween the thatthe glasses but at the back of them. The means of accomplishment are ones of extreme simplicity. A piece of strongcardboard, size 6” by 9” is stainedadarkcolour(thistoconformwiththe size of the frame I use). and on it is glued a strip of wood (A) measuring 2” by 5” (illustration C). T o one end of this is hinged apiece of fibreboard (B) measuring 2” by 54’‘ (the piece used came froma suitcase), so thatan uneven see-saw is formed. It will be .realised that if end C ispusheddown, end D will rise until it assumes a vertical position. This is the principle, but in order to get this strip flush against the glass one thing must be done, and that is to cut a segment from the base of the frame. This segment, rectangular in shape, should be one inch longer than the widthof B, i.e., 3”, and in depth of the rear should come to within one-eighth inch piece of glass. The flower to be produced(the readerisnotforced, as intheoldermethod,to useonlyoneflower,forhecan make up various flowers) is obtained by first of all making an envelope of stiff paper (the sides‘ are best stitched) that will fitover the B. On to this is nowglued the cardboardcut-out of the flower andtheappropriate pieces of coloured silk are lightly stuck and sewn on. When finished, this is slipped over B. T o complete the preparation, place the flower cardsina box. This latter is then placed on the table in the position illustrated. The distancebetween box and “ X ” is sufficient to allow the base of the frame to come between hitting thelibreboard B and bringing it intoaverticalposition.Aneighteen-inch silk is placedoverthe flower andfake,folded in such a way that it can be picked up two corners and immediately opened. The frame, with glasses inside, is now placed in front of the box containing the cards. The Okito glass is placed on another table and the ring-pull is attached the conjurer, to the pull itself comingdown theright sleeve.
Presentation in bare-bone form :I. Frameis shownandreplaced on tablein same position ; 2. Silk at rear is lifted, opened out at rear of frameoverwhichitisdraped,carebeingtaken that the front is completely covered ;
3. Frame is liftedand placed behind card box, the latter then being picked up. (This action, of course,brings B intoaverticalpositionbehind frameand silk.) 4. Cards removed anddesiredand forced ; 5. Cardsreplacedontable with lefthand, possession of ring-pull being obtained in right hand ; 6. Lefthand picks up Okito glass near base, masking any possibility of a glimpse of ring ; 7. Righthandtakes glass andslips swivel ontoring.Leftandrighthands both hold glass momentarilywhilstthisisdone. The tensionon onthepull is increased,freeingthespring,but pull is maintained by pressure of therighthand against glass ; 8. Pullisreleased,taking silks up sleeve ; 9. Remaining silks are removed singly and glass shown to be empty ; 10. Silk removed is from, and dropped behind, frame, card revealing silks apparently betweenthe glasses. Note.-If thereader has neitherOkito glass nor ring-pull, any other vanish can be substituted. I like theidea of a visual vanish. The simplest vanish might be to use a paper cone with the usual pocket,the silks not be be vanished being leftin the cone proper.-P. W. World manufacturingand reserved.
selling rightsstrictly
I
CONJURING
BOOKS
F OS R ALE
OLD AND NEW Let me know our wants LIST FREE FO’R STAMPED ZH’NVELOPE No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
'9 9
k
i
m
c
i
b
/
3 t a a t a 9 &
This is a revision, both of effect and method, of " ANewNumberForce,"which anitementitled appeared in that excellentlittle book " Walker's Card Mysteries,':' published in 1933. I wasusing this method when Stewart James suggested an alternative stackingarrangementwhichwasmuch better, and I have further altered it to bring out the best effect fromapresentationpoint ofview-I think. It is direct and has audience appeal. I should mention that an effect, " Name your Number,' byBob Allerton,appeared in Hugard's IMonthZy, August, 1945, whichusesthemethodgivenin Roy Walker's book. Mymethodandpresentation is quite different. Forwant of abettername I havecalled it " SpectatorSelection." Effect.-Themagician shuffles the deckand cutsit in two.Aspectator isasked to takeone of the packets. The other half is fanned face down and a second spectator asked to touch the back of any card, lift the cardandnoteits value. The packet is then deliberately closed, shuffled and handed tothis spectator. The first spectator is now asked to commencedealing thecards face down on to the performer's hand on tray, depending how you like to work. Whilst he is doing this (or, rather, before he begins) the magician invites anybody in the audience to call " Stop ! " to spectator number one.Whatevercardheisstoppedathe turns over. Assuming, for example, there were is asked seven ' pips ' on it, spectator number two to count down to that number in his packet where he finds his chosen card. Method.-In devising this method and presentation, several aids which will beappreciatedby the experienced performer have been included, and I will commentonthem. T h e onlyrequirements are a deck of cards containing a " short." Remove fromthisdeck thefoureightsandfournines ; these are placed on top of the pack, the four nines first and four eights next. On top of all is placed theshort card. (Ifpreferred thetop eight can be the short card.) The magician now picks up the deck, undercuts half the cards and casually and deliberately shuffles them off. This is the 'first aid foralthough you donotannouncewhat you are doing, you will have dispelled any doubts that may subsequently have beenentertainedthatthe pack wasnot freely mixed. Now shuffle totheshort, andcutatthis point. It doesnotmatterwhich packetspectatornumberone chooses-he either becomes theonethat choosesacard ortheone THE W I Z A R D A modern monthly magazine. 20 pages of first-class magic.News views on magicalevents. Per copy x/x post paid, Annualsbuscription
and 1z/6
THE MAGIC W A N D A quarterly book of magic. 49 pages of magic by world-famous contributors. Profuselyillustrated.Percopy 318 postpaid,Annualsubscription 14/6 QEORQE ARMSTRONQ, THE MAQICWANDPUBLlSHlNQ COMPANY 11 MONASTERY QARDENS :: ENFIELD :: MIDDLESEX
that deals. Assume he chooses the stacked portion : magiciangoes tospectatornumbertwoand, after ashort shuffle, commences to runthe cards in a fan, requesting the spectatortotouchoneand at the same time counting the cards. Contrive to have the spectator touch the ninth card, then- you can, after the card has been ' peeked ' at, close the fan deliberately and hand the packet to thespectator. Should a card further in the fan-say the eleventhbe touched you close it as before and then run two cards, drop balance of pack underneathandhand the packet over. Shouldacard be touchedsooner than youwanted-say sixth card-you still close the fan, genuinely after the card is noted, but you undercut about half the packet, run three cards on topand dropthe packetunderneath again. These moves will be accepted as genuinelight shuffles and will not be suspect, as your volunteer does not know what you are going to do at this stage. Now we return to spectator number one who has the stackedpacket. You announce that you want someone in the audienceto call " Stop '' to the dealer at any time they wish. There is a reason for asking the audiencetostop the dealer, rather than the dealer stopping himself, andis a further aid. Somepeopleareslower thanothersinstopping whendealingcardsand youmaybe unfortunate in your choice of volunteer, for you must have him stopped before the eights andnine's have all been in your choice of volunteer, for you must have him stopped before the eights and nine's haveall been dealt. By having anybody in the audience call " Stop '' you greatly improve your position, as you have people of mixed characteristics and, I think, you are safe. If, however, youfeel anxious after about five cards have been dealt (I should have mentioned that youask the spectator to deal deliberately) you can introduce another aid used by experienced performers, that of looking up suddenly,andenquiringly at your audience, and you will get the call. I have never had it happen, but since we must guardagainst all eventualities, if the eightcards hadbeen dealt withoutbeingstopped, I would immediatelytaketheremainder of the pack from the spectator, add the dealt cards back on top, and, addressing the audience, say that I hadapparently not made myself clear as to what I wanted them to do, andstart again. Of course if spectator one turns over an eight, spectator two counts off eight cards and turns up the next.
I
" I only Pick the Winners " ! ! 7/10 Breakaway Mixing 'poon Troublewit .. .. 1216 ManJ* otlwrsSend Stamp for List J. K E M P T H O R N E l7 Sandy Lane Petersham - Surrey
..
-
.. ..
I
20
Illustration 11. shows another adaption for even speedier location. The readers of this paper will be familiar with the use and construction of Indexes, but justa few more notes for the sake of completeness. Each Index holds twenty-six cards. Indexes are used in pairs, one in the left and one in the right handtrousers pocket. The cards are loaded into the pockets of the Index as required for the trick, say in numerically ascending sequence, commencing with the Ace of Clubs and the Ace of Diamonds in thefront pocket of the Index. The Index isface (i.e., steps ”) outwards in the trousers pocket and the pairs of cards are also fac.e outwards in the separate pockets of the Index. T o produce the required card the index-finger locates the ridge formed by the matchstick and presses the flap of the Index back. The index-finger and thumb then push down into the opening thus made in the Index and contact either side of the two cards in the pocket of the Index. Either the front card or the back card is then withdrawn as required. ( ,‘
I have amongst my aids to card magic a couple of card indexes. They arepre-war Depot articles, beautifully and neatly made. I have used them fromtimeto time and have always succeeded in producing the right card, but never with that careless abandon which any effect in which an index is secretly pressed into service seems to demand. I have witnessed other magicians who specialize in tricksusinganindex and I have marvelled at their accuracy and speed, and concluded that they had progressed in the field of index design and were, quite rightly, preserving their own secrets for personal use. Recently, however, I had occasion to turn my thoughts to Indexes and without any violent cerebration produced the Indexes now described. They are not necessarily the last word, and I should be glad to hear from anyone who has progressed further.They are, however, speedy and accurate, and the required card can be located automatically by sense of touch without running the index finger over the ‘ flaps ’ of the Index. Little need be said. A reference to the diagram will tell most of the story. The cardsare on their sides (instead of upright) so the Index is wider than the commercial article. Extra width is an advantage, asthe widerindex fits moresnugly and securely into the bottom of the trousers pocket. Illustration I. shows the tongue of each pocket extends beyond the flap in front of it about two-fifths of aninch. This is considerably widerthanthe Depot article and is therefore less ‘ finicky ’ in I have made these operation. I n myownIndexes “ steps ” half an inch wide, but I now think twofifths is enough. Match sticks are glued on (as illustrated) and with very little practice these enable the finger tipto locate the required spotwithout any counting at all.
One further constructional point. Mine is made out of board about the thickness of a playing card. The pieces can be cut out four at a time for the twoIndexes and seccotined togetheratthe base with spacers consisting of three thicknesses of board half an inchwide glued together. The front and back flaps are rectangular (the two Kings repose in the back pocket). The other flaps are like the letter ‘‘ L ”, the base of the ‘(L ” being the rectangular coincident with thefront of the Indexandthe rightand left stem increasing in length by about half an inch for each flap. Transparent celluloid would probably be an ideal material for the job as it is tough and flexible.
Pack Switch.-The safest and easiest way to switch a pack of cards is in the course of a trick. This switch is intended to be used in conjunction with the Index described above, but it can be used as a trick without the Index. A reference to the diagram will reveal a “ Bulldog ” clip in which the jaws are kept slightly apart by a string loop through the ‘ handle.’ This piece of string, about six inches long, terminates in another loop. The object of the free loop is to anchor the gimmick by threading thefront brace through it. T w o clips are used either side of the trousers. The clip then hangs down freely at trousers pocket level between the inside of the trousers and the pants. A half a pack of cards, dulystacked, is thrust into the very top of the left hand trousers pocket and continued on page
21
21
This apparent impromptu item is too good to be overlooked, and we wish we could give the name .of the originator. It was published sometime before the war, andwhilst we have used it ourselves we have never seen it worked by anyonc else. In effect the conjurer places a metal ashtray on top of a tumbler. A borrowed coin is wrappedin a pieceof tissue and placed on the tray.Applying a lighted matchtothe tissuethere is a flash-a momentary pause and the coin apparently penetrates the tray, falling visibly and audibly into the tumbler. T h e requirements are simple and straight forward. Apieceofflash paper, measuring approximatelyfourinchesbyfourinches, a spot of conjurer’s wax, a smallmetalashtray(preferablyone that is concave on the underside), a coinof similar value to the one that is to be borrowed, a glass, and a box of matches. Preparation.-With a dab of the conjurer’s wax, stick the coin totheunderside of thetray and leave the latter on the table ; the glass and the flash paperarenearby and the box of matchesin the righthandtrousers pocket. T o present, first of all place ashtray on top of glass and then borrow a coin of similar value tothe duplicate.See that the lendermarksit. This coin is nowwrapped in the flashpaper, using the standard coinfold. IVhen wrapped it is held intherighthandand tapped against the table, accompanied by such A N N O U N C I N G A NEW SERIES
a remark : ‘‘ Amazing-the paper doesn’t seem to dull the noise.” (Don’t for goodness’ sake say ‘‘ You can tell by the noise that the coin is still here.” Such a statement is as good as saying that the coin is going to leave the paperpronto !). Withthe packet held at the right hand finger tips it is passed tothe left hand,the coin being allowed to slide into a righthand finger palm position. T h e left hand now places empty packet firmly, but gently, on the ash tray, the right hand (with coin) p i n g to trousers pocket for matches. The matchbox is withdrawn, coin being retained i n finger-palm arid at this point the co?zJjurer states his irrltedon of passing coin through tray. IYhilst he is speaking, a match is struck. Ontheword ‘‘ Watch ! ” the a flash light is applied to the flashpaper---thereis which, accompanied by generation of heat plus conductivity of the metaltray, causes the wax to melt, releasing the coin which is seen and heard to fall intothe glass. Lefthand picks up tray,shon-s it to beemptyand replaces it on table.Lefthand picks up glass whilstrighthanddropsmatchbox, the glass is tiltedand the coin allowed to fall into the palm of the right hand (the position of the right handshouldbeknucklestowardsaudience). The right hand now turns over above tray the borrowed coin being released from finger palm whilst the top of the right thumb pressesagainstduplicate coin. is This change because there is littlemovement perfectly deceptive. T h e right hand falls whilst the left picks up thetray and brings the coin forward for identification.
OF EXCLUSIVE MENTAL EFFECTS
MODES
FOR
MENTALISTS
No. 1--“ THINK AS I THINK ”-This is an effect, where, instead of the performer receiving the spectators’ thoughts, they receive his thoughts. Every detail has been attended to so that this makes for a perfect presentation. VOLTAIRE, after seeing it demonstrated wrote as follows :-“ I would like you to accept my admiratioa of the effect . . . in which members of the audience appear to read your mind. In my vie%?it is one of the most brilliant of mental ejfects that I have seen . . .” COMPLETE INSTRUCTIONS RUNNING TO APPROXIMATELY 2,000 WORDS, PRICE 7 / 6 POST FREE . . .from . . . .. .. .. “ GREENBANKS ” BRAMCOTE .. NOTTS PETER WARLOCK or from your ‘‘ Pentagram ” Dealer RE-PRINTED COPIES OF No. 2 P E N T A G R A M ARE NOW AVAILABLE, PRICE 1/1 POST FREE THE FASTEST INDICES
IN THE WORLD - rontinucdfvom page
slipped inthat positionfrominside the trousers. T h e right hand pocket is similarly loaded with the other half of the stack. I n operation twocards are freely selected from the pack and freely returned and shuffled. T h e pack is dividedinto twoparts and deposited intherightand left handtrousers pocket. T h e selected cardsarenamedandfound “ by the sense of touch ” (fromthe Index). T h e stacked halves arewithdrawnfromthepocket as the original pack. Alternatively, in the absence of the Index, two
-30
cards are chosen and controlled to the top and the bottom of the pack respectively so thatwhenthe pack isdividedinto the pockets the selected cards can be readily located andproduced. T h e original pack is left behindin the pockets and the stacked halves producesinits place. The stringbinding the jaws of the clip open.Withoutitthejaws of a the “ Bulldog ’’ clip wouldsnaptogetherwith resounding ‘ whack ’ as the half packs of cards is withdrawn from each pocket.
aWd
&t
B&,
...
22
NEW PENTAGRAM GRAVING.-A
masimwn nnoard of T e nP o i n t s in thefollorcingcategories (wlten appJicable):(A)-Physical Make-np (B)-Quality of Mare*ial (C)-Value to Magic (D)-Clarity (G)-Sincerity T O T A L 70 P O I N T S (E)-Illustrations (F)-Readability
I‘
T H EF I T Z K E ET R I L O G Y . ” This compriws the following books rrritten by Darield Fitskpe :Showmanship forMagiciars,TheTrick Bram and Magic by Misdirection. Allarepublished by Saint Raphnel House, San Rafael, Colifornin, U . S . A . P r i c e 5 dollars.
Book No. I “ S h o w m a n s h i pf o rM a g i c i a n s . ” It is not possible within the compass of this review to mmpletely analyse Mr. Fitzkee’s *‘ Trilogy.” “ Showmanshipfor Magicians” is the mostcomto date on the plete treatise grooming and selling of a Conjuring act. I t not only sets out to analyse the ever present faults of the aspirant to conjuring honours,but seeks to give also B synthesis successful for presentatlon. fully are We inagreementwiththeauthor that conjurers devote too much ; theneed is forpresentation of suchan timetotricks effect so that it becomes a vehicle of entertainment. This latter word in the jargon of many contemporary conjurers is onlysynonymouswithcomedy.Mr.Fiztkee,whilst realising the fact that humour and comedy have their place in the magical act, does not overlook the more serioustype of presentation.Quitealotoftheadvice that the author gives has been drawn from his own experience with the ‘‘ International Magicians in Action ” Show : that was a unique professional enterprise, for it not only gave the author the opportunity of seeing his ideas formodernmagicexpressed,hut allowed him to watch modernaudiencereaction. Therearein all twenty-five Chapterscovering 187 pages, and one in particular that we should like to see writ in letters large in every magical society club room is number eleven. It deals with groomingandpersonalbehaviour.Anactotherwisegoodcan beruined by thefaultsthat are mentionedhere.We should like to haveseen onethingmentioned,thatis that (we believe) the conjurer who seeks the top in any or al! branches of his art must perform the effects that he believes in and in which there is something of his own ego. It is the lack of this that makes so many acts just B series of tricks. This is a book to be bought, shldied, and used as a yardstick, for we feel certain that there are few who can say ‘’ That doesn’t mean a thingtome.”Forthe new-cornerwhowantstobecome a magicianand not a purveyor of puzzles it is essential for here with sincerity and great enthusiasm Mr. Fitzkee has tried to lift conjuring a little higher up the ladder of entertainment. 68 Points. Book No.. 2 ‘ T h e T r i c k B r a i n ; ’ p r i c e10 dollars. At the end of hisintroduction, Mr. Fitzkervrites. I like to think that this is one of the first books to attack magic methods from B scientific standpoint.” Whilst this is notthe first attempttodissecteffectsinto basic methods(Devant at thebeginning of thecentury in a small way--” A4agic Made Easy ”--and a little later Nevil Maskelyne in B muchbigger wag-“ Our Magic”attempted a similar thing) itis far and away an achievement that it can in our o n n time be considered a clsssic. First of all the author presents to his reader nineteen andinsucceeding (againstDevant’sseven)basiceffects chapters gives examples of such effects, together nith the known ways of producing such effects. (1ncidentslly.in B laterchapter all thesemethods are precisrd for easy reference.) The groundworkcovered is immenseto say the least. Fromthispoint,asoutlined at thebeginning of the hook, Mr. Fitzkee s h o w h o a t h e reader can devise new tricks. The principleis almost mathematical. T h e reader first of all looks at his list of nineteen hasic effects and chooses one. We will suppose that the effect is one of envanishment. From here he chooses an article and one of the basic methodsandanewvanishingeffect is born.
The reader of course must use B little imagination as well.. The great point about this work is its pozcer of stimulation and w e think even thehestreadconjurers will findon reading that they will he reminded of many things they h a w forgotten. The conclusion of Chapterthirty-three greatlyappealedto us. It is as follows :I thinkthemind of theperformer,utilising theseelements(thethings we use when operating the mechanism of magic) intelligently and discriminately,influencing,andguidingtheminds of the spectatorsexpertlyandskillfully,containsthe real secrets of magic, secrets beyond the abilitiesof anyone to reveal hurtfully . . . The secrets of the mind, the real secrets, cannot be exposed.” How right Mr. Fitzkee is ! The last chapter gives a useful glossary of Definitions. Superlatives are being outworn by the magical press to-day. There is, however, pinnacle a on which we place things that are great. “ The Trick Brain ” is one ofthese few. 69 Points. Book No. 3, “ Magic by Misdirection.’’ price 7 dollars 50 cents;< WhereasintheTrick Brain,” Mr.Fitzkeeanalysed the meansofaccomplishingmagicaleffects,herehe analyses the types of misdirection necessary in the presentation of effects; after the analysis he shows how the variousknownmeans of misdirectioncan be used with standard effccts. On pages twenty-threeandtwenty-fourtheauthor writesofthe classics, pointingoutthatananalysis of theirplotsshowsthattheir greatness doesnot lie there but can only be achieved by great performances ; further that B trick becomes B classic because it fits the average style and average abilities. Our own opinion is that a classic becomes such because of its outstanding and universal audience appeal provided that it is adepuately presented. One must remember too that despite the improvements as regardsmethods, the effect of the Linking Rings, Egg Bag and the Cups and Balls to a lay audience is muchthesamewhateverroutine or method be employed.Continuinghiswork,theauthor gives notonlyexamples of themisdirectionemployed bySome contemporaryAmericanconjurers,but also as previously stated how certain effects can he improved by attentiontodetails of misdirection.Weonlywishthat he had not included the Die Box, which has only obtained and retained its popularity among juvenile audiences because of the “ sucker ” finish. The sheer artificiality of theapparatus involved preventsthiseffectfromever becoming B classic. We should like to take two quotes which summarise the aims of this book :In true deception, skill is not the skill of the hands. It is the skill of themind.” “ It would be far better for magic and magicians if we couldlock-up or banishthoseblunderinggoofs w,ho spend from ten cents to ten thousand dollars for apparatus and immediately tell the world they are magicians. They are no more ma&ians than the man whose sole claim to musicianship is theprice of a violin. Unfortunatelythe unskilled possessor of magical apparatus can buy a ‘ rabbit in the hat ’ pin, which is, in fact, more nearly the badge of thetyrothanit isof theskilledperformer.Moretyros thanexpertswearthem. Hc may buyhis pinandtell theworldheis B magician. He mayevenget outhis junkandfumblethrough a performance,but does the spectator as readilydetect B hadmagician as he does a poormusician ? Ofcoursenot ! When B fiddlesounds terribleeventheoperator of the fiddleknows i t ; the audience does not blame music, the blame the performer. But in the case of manic. if the performer is poor, the poor unfortunate is the dope of his own ignorance.” Thinkonthesethings l ! ! 68 Points. All of thetrilogy are uniforminbinding. All are Essential to the intelligent conjurer’s library. I‘
when we were with H.M. Forces, and immediately developed a false shuffle that could be used. That was the one that wepublished. More Magical Societies continue to appear ; the latest underthe aegis of our friend, Stanley Thomas, atWatford. We often wonderwhether specialist societies will ever come into being. For ourselves we would rather welcome a Society for those interested in mentalism. We realise that such a society would have to be one linked through correspondence with possibly one or two central meetings in the course of a year. Sucha society might, howeter, do more to improve methods of technique and performance thanthe home-based general society. We should very much like to hear our readers’ views onthismatter. Children’s entertainerscannotgrumbleat the lack of new material available for this season’s shows. “ Open Sesame ” has something for everpbody, and in “ Join theParty ” there are some excellent ideas. For the very young we very much like the “ HumptyDumpty ” effect, putout by Unique Magic Studios. The effect, worked intimately, has all that appeals tothe unspoilt child. “ The Crown Jewel ” and Wilfrid Tyler’s “ Fireworks ” from the same firm, are two moderately priced items with terrific entertainment value. JohnKempthorne,who tells us he is due for the Army, has a beadtiful gag for cake-making effects . . . a “ Breakaway ” spoon. Jim Merlini, who has a very big work on card magic nearly due for publication, contributes a very nice card effect to the January “ Pentagram.”
The Magic of Christmas survives austerity. ‘Thiswonderful spirit of Christmas transcends all earthly things coming each year with its sweetness, bringing its messageof Goodwill to us all. It is withpleasure that wetakethis ,opportunity to wish all Magic Lovers, whereevertheymaybe,a Happy Christmas. From Percy Bee andNorman Cliffe we have received the “ Soccko WatchRoutine.” It is an ,excellent twelve minutes of comedy conjuring utilising stock apparatus thatpacks into a small space. Before presentinga headline prediction of a daily newspaper we werestruck by thethought thatthe mentalist can do muchto cook his own goose. Imagine thethoughts of an audience if, ‘on the day when the prediction is opened, the acat.headline reportssometerriblecatastrophe,
astrophe which might have been averted if the mentalist realZy could see the -future. Better let the prediction give thewordsinthe heading free of anyorder. This idea of line content has more a genuine ring with a newspaper office, and recently, in presenting such aprophecy (which even in these days of newspaper austerity gave uswrite-up extending over three days) while making no claim to psychic powers we said we would try and get the words in the headline. We pointed out to the editor that if it were possible to get the actual order we could make a pile of money by just sitting back and picking out winners from the races or on football pools. In the “ Help Yourself ” Annual, our friend Max Andrews has a very interesting article on “ Magic as aHobby.” The price of this annual is 2/6,and all proceeds from the sales help to swell the hospital and charity funds sponsored by the London Stock Exchange. In the November issue of the “ Pentagram ” we published a shuffle for Paul Curry’s miracle effect “ Out of this World.” As several contributors and one contemporary have toldus, this shuffle was included with alater version of the routine. For this weare sorry to have inflicted on them something already known. “ Out of this World ” came to us
-
WANTED!!
SILKS, preferably 24” squares-all -
colours
:,
Pleasewrite,statingpriceto HADLEY
-
..
159 Rolleston Drive
Nottingham
INDEED !!
PlZAIS-E
L
~~
From‘Britain’sleading,writer on magic, VICTOR FARELLI : I am delighted wlth this book, and can recommend it wlth every confidence to all enthusiasts who may be. on the look-out for new and good material.” From‘one of Britain’sleadingmagicalinventors, TOM SELLERS : It’s a pleasure to come arrnss a book containinp wme real conjuring. The younger generation of magicians are lucky indeed to have the benefit of the brain:of such authnrs. A book that will be appreciated by all true conjurers ! ” From one of Britain’sleadingexponents of sleight-of-hand,E. BRIAN MacCARTHY : *‘ -4wonderful book.” FromtheMagical Press : ‘‘ ‘MasteredAmazement’-1 say without hesitation-is the best book on general sleight-of-handwhich, is aku original, born since Edward Victor’s triplets.”-Vermll Wass i n “ The Demon Telegraph.” “ Here is . . . a book of reallv practical effects requiring little orno apparatus . . . This is a book in which sincerit5and enthusiasm is appareit all the way . . . Unreservedly recommended.”-Peter Warlock in “ The Pentagram.” 000
PRACTICAL EFFECTSWlTH C-ARDS, COINS, THIMBLES,AND CIGARETTES.Well illustrated in a 72-pagr book, bound In soft-board covers.
printed aridsuperbly
PRICE l O / - (postage 4d.)
--------ooo--------
Y
GEORGE ARMSTRONG, ,THE 11 MONASTERY GARDENS
MAGIC WAND PUBLISHING COMPANY .. ENFIELD .. MIDDLESEX
..
..
VALUE FOR MONEY THE GEN Number 12 (noa ready) completes yet anothw year in its successful career. During the post year, mbsm'bm have receiued 12 issues containing 248 pages, full of good stuff essential to the modern and up-to-date Magician. Contributors have included:-Robt. Harbin, Jack le
Dab. LewisGanson.DouglasFrancis, Peter Warlock, Wilf Hutchinson.
Voltalre.
STUDIO OF UNIQUE MAGIC (JACK--HARRY--ARTHUR) WARDOUR ST PICCADILLY LONDON,
87
w.1
THIRD F L O O ~[IT'S ~ NICE AND'PRIVATEI Own daily l 0 4 in~Iulim&SATURDAVS Wardour Slrcrl and B r m b Slrcll. E ~ r a n c r Brew" Slred TIle@honc : Grrrotd 51og THEYALLMEET A 1T H E UNIQUE
CO-
00 fDagiciatte eoerpwbere 1 wieb
El 'lbappp grnas anb a "l1 information about nngement : Collinr'r IT OF H.4ND. zRr. ; XAGIC WITHOUT (Volumer. 1. and 11.) :ARD TECHNIQUE,
d -
h I ad<. order, or both :ned looks. Fleming Fine bookmaking a t y as to reach English
That book you want to read can be bought :from : FRED ROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: 'LEICS.
CANV 1. U.S.A.
A NEW
ARCAS BOOK
me...
Con JUNIOR ing
The Magic .Circle
b YOHN BREARLEK A balanced programme, including patter of superlativeconjuri-g for children hy the inventor of t11:s:classic tricks, Magic Asszmbly a-d the Postage' Stamn Altum A printedmagazinegivingdetails of " Tolhosc who Ihlnt I h q hare no1 111 p a i r fm our latest releases in exclusive magical +!a
MASQUE ......
l
I
THE MAGIKRAFT STUDIOS
fhirtrick
ZAHAREE (Geoff. Hursell) R. 16 & IS Watts' Place CHATHAM :: KENT
H-ml.
OLD
"?I!NTABRAM " VOLUME 1. B i d i n g Prices ;CLOTH S/% REXINE 6;8.?MOROCCO flNISH l / I
CF. I E L D Road, Sheffield
42 Alderson
0
D.S.O.. O.B.Z., I.P., D.L.,M.I.M.C. ViU-Pr&: DeWIU CE-.. M.I.M.C.
-
Clubrmm a d Library end Murrum:
St. Ermin's Hotel, CaxtonStreet, S.W.I. Magical Thllalrz :
-
KingGeorge'sHall,
-
W.C.
P,a?linrlarr *om Hon. swcfaw:
Francis White, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
H E N RDl E ' S E E V A H YMC.,BMS., IBM.,SSMC. THE FRIENDLYMABICIAN i n v i t e all bona-fide Magicians to send for his list of new and Used apparatus and books, or call a t his studio :1 CLARENCE ROAD.
MAGICIANS' BOOKBINDING SERVICE
I
Prrrr(Cn1: Hh a r m tk. Dub .1 & m m .
AND
Birmmlhm
NEW
l1
MAGIC
J A MGERSA Y S O N MAKER OF HlBH-OLAlg MABICALEffEOT(I. ETABE ILLUSIONS, ETC.
2
Every Advertiser's goods are
fully endorsed by this Bulletin
Printed in England for PETER WARLOCK b y GEORGE SEIRSOS. 40 Blue Bell Hill Rmd, Nottingham (Telephone 14652)
PENTAGRAM
An independent monthly bulletin
The Effect.-Two packs of cards, one red backed and one blue backed are offered for shuffling. Taking back the packs, the conjurer asks for a choice of either colour. The unwanted pack is placed on the table, whilst from the other,twocardsare selected,noted and returned. This pack is now placed onthe table, theother pack being picked upand placed in the performer’s pocket. Asking the selectors of the cards to think of the cards they drew, the conjurer reaches into his pocket and withdraws two cards, backs towards audience. Asking the names of the two thought of cards, the cards in handare slowly turned round and shown to bethose selected. Before describing the method, the reader should consider that both packs are genuinely shuffled, there is no force, and, above all, until the two cards are withdrawn from his pocket the conjurer does notevenknowtheir names ! Two packs are required-red and blue backsof the same manufacture, such as Woolworth’s sell at present . . . the idea is to get two packs the same size, otherwise the moves become very tricky. Haveboth packs thoroughly shuffled by two spectators and receive them back face down on the palm of eitherhand. The left hand contrives to turn its pack face uppermost by pressing onthe top left cornerwith the thumb of the same hand. The pack in the right hand is now placed face down on the finger tips of the left so that the two packs are held together, but open like a book. The performer now asks which pack is preferred. Whichever coloured back is chosen the performer makes the following sleight :-Assuming thatthe red backed pack is the one lying face down on the performer’s finger tipsandthat this is the pack chosen, the conjurer takes off all thesecardswith the exception of the bottomcard which is easily retained with the left fingers, and lays them on the
for all who want good magic
table in such a way that the narrow edge is towards the spectators and that the pack is face down. A t thesame time the leftthumb JEicks over the pack standing on its edge in the lefthand so that it falls face down on top ofthesingle red backed card and conceals it. In effect the performer has simply executed .the familiar “ slip ” described in “ Modern Magic,” but with two packs instead of one, and has merely transferred a red backed card from one pack to the bottom of the blue backed pack. The choice is an equivoque, and whichever pack is chosen the blue backed pack would be retained. The red pack is placed face down on thetable. As both packs are used, the spectator has no grounds for suspicion.
The blue backed pack is now fanned, taking care not to expose the “ outlander,” and a card is freely selected, noted andreturned into the fan. T h e right fingers underneath the fan locate the card as it is returnedand press lightly onthe face of itin orderto maintain the location. Without closing the fan the conjurer offers the pack to a second spectator for selection, and as soon as a card is drawn the previous chosen card is slipped tothe bottom of the back below the red backed card in the act of closing the fan. This move has long been a favourite of mine, and is performed asfollows :-The right fingers press fromunderneath the fan onthe face of the chosen card whilst the left thumb above pulls the card immediately above it a little tothe left in order to conceal it. Now the fingers of the right hand pull the chosen card to the right, underneath thefan,untilthe card becomes disengaged from the rest of the cards. The action of closing the fan places the chosen card on the bottom of the pack. The second card is now returned and the ruse repeated, the position now is thatthe two chosen cards are on the bottom of the deck below the red continued on page 26
~~~
~~
~~
Effect.-Performer shows an empty glass then placesan empty cover ortube overit. Ontop of this he places a block of wood aboutfourinches square ; on this is thenplaced a square of sheet glass. The performer now fills up another glass with milk. This is placed on top of the glass and block of wood ; now, visibly, the milk in the top glass is seen to get lessandlessuntil it is empty ; the block and top glass are now removed. When the cover is removed from the lower glass it isseen to be full of milk, and it is the samemilk which was in the upper glass. Requirements.-Two glasses, one has a quarter-inch hole drilled just above the bottom whilst the other glass is unprepared ; a tube must be made to fit over the latter-this tube being the sameheightas the glass. Yournextrequirement isa piece of sheetglassoneanda half inchesby
THE TWO
threeanda half inches. Youwillnow have to make a block of wood as theshapeshown (see illustration). This is a piece ofwood fourinches square, but rounded on two sides, illustration shows an end view of the block. Across the centre of the block andrightroundit, youwillhave tocuta groove one-quarterinch wide by one-eighthinch deep. After you do this the block should be painted redandthe groove black : also two black rings should be paintedroundthe block near theends, to match the groove in the centre. Whilst the block of wood may not be comprehensible to an everyday article it will, priorato presentation, stand the most rigid inspection. Method. Show the unprepared glass and then cover itwiththetube. Show the block of on wood and place thisontop of thetube,and top of this place the small piece of sheet glass. Now pick up the other glass and keep your finger pressed against the hole while you fill itup withmilk. Place this on the piece of glass, placing it so that the hole will be to the rear ; stand away from the glass andthe milk will be seen to get lower and lower tillthe glass isempty. The trickdependspartly on a natural law. As soon as the milkflows on to thegroove it clings tothe block andpours off at the centre and runs into the lower glass. If the hole in the glass is too small the pressure will cause the milk tosquirt beyond the block. Myfirstexperiment with this was with a grooved three inch wooden ball, but I think the block is better and more natural.
THOUGHTS - continued from page 25
backedcard. The performershows thatthetop card is not one of the chosen ones and places this card below the pack and then shows the next card and replaces it. With the right thumb at the inner end, the conjurerthumb-countsfourcards by the riffle andinserts the leftlittlefinger atthe break (i.e., above the red backed card). The righthand covers the pack, fingers in front, thumb at the rear, and takes it fromthe lefthand,therightthumb holdingthebreak. The righthand is now twisted a half-turn clockwise to expose the faceof the bottom card tothe audience. This manouvre effectively hides the break. Now comes averydeceptivebit of business : Both hands approach the blue backed pack on the table together, under cover of the left hand it will be found easy to drop all the cards below the break inthe righthandon top of thoseon the table. The third finger of the right hand gives the pack on the table a little push forward from the rear edge towardstheaudienceinorder to facilitatepicking
themup with the lefthand,andthendropsthe blue backed pack fromtherighthandonto the place previously occupied by the red backed pack. This adding of stock is very illusive, not only is the move quiteinvisible, but the feature of usingtwo different coloured backs and having different a backed card above the stock to be added makes the trickappearquiteimpossible. The idea now, of course, is to producethe twochosencardsin the red backed pack. This pack is put into a shown empty pocket and the three top cardspulled out togetherandheldflushwith back in the backs to the audience ; that is the red frontandthe two blue backs behind. The cardsarenamed,thecardsturnedover, and the top card removed to show the second card. Care must betaken, of course, in order that the " walk." third card does not The Two Thoughts
are revealed ! !
There have been many routines published using the well-known card silks, but the following (because of its lackof extraneousproperties) will befound very effective if presented in the manner suggested. Briefly the effect is thatthe conjurerdisplaysa blank silk which he asserts possesses “ photographic absorption ” propertiesandwhichhetucksintoa “ dark room,” namely, his otherwise empty trouser’s pocket (righthand).Producinga pack of cards, -he shuffles them and requests a spectator to select one which is shown to the audience. Placing it on top of the pack the conjurer invites another member to initial the back of it, once more showing the card, which wewill imagine is the Nine of Spades, front andrearside.Remindingthespectators of the silk in his pocket, the conjurer makes a short speech on the latest development in photographic science, under namely of the properties of silk, which, certain conditions, absorbs andeven enlarges pictures from other objects. The chosen card with the initialled back hestates will serveasanexample, andheremoves itandrubsits face to the cloth, against his right hand trousers pocket. Slowly turningthe initialledcardaround it is now seen to be denuded of pips.Slowlywithdrawing the silk from his pocket, it is now seen to bear a picture of theNine of Spades !
match ; softpencil(ininsidepocket,rightside). Tuck the picture silk, say the Nine of Spades, into thetop of trouser’spocketintheusualmanner. Placethe blank cardontop of the pack with the Nine of Spades on top of all.
To Perform.-Displaythe blank silk each side and turn out the right hand trouser’s pocket to blank show pocket “ empty,”thentuckinginthe silk, making the exchange of silks intheorthodox manner, so thatthe picture silk isatbottom of pocket and blank at. top. Make the pass and force the Nine of Spades, then cutting the blank to top of pack. Palmtheblankintherighthand while spectator shows the Nine of Spades ; allow him to place on deck inlefthand. Takethe pack in the righthand,addingthe blank totopand over the Nine of Spades, while left handgoes to inside pocket forpencil.Show theNine of Spades again by making the doublelift,andplace on packwhile spectator initials. Point to pocket with right hand, while left hand holds deck. This is an excuse for releasing righthandtemporarilyfrom deck. Then carefullyremoving the initialledcard(really blank) and, not showing its face, rub the latter for a few secondsagainst the outside of pocket and turnitaround slowly andshow it blank. Slowly remove the silk, turning out pocket at same time, to show empty . . . and display picture.
R e q u i r e m e n t s are simple :-One picture silk andone “ blank ” ; pack of cardswithblank to
PRIZE
WINNING
MAGIC
FROM THEI.B.M.(St.Louis,U.S.A.)CONVENTION PerformanceTestedby a ProfessionalMagician Triple Ring-Silk Penetration Impossible Floating Master Through Silk Ropes Devil’s Own Multi Cut PaperStrip
Handkerchief Knife-Cut Ribbon (Clippooutdone)
These are the five ORIGINAL routines with which Professional Magician Henry Bohlen won the Ring One Trophy and Conjuror’s Magazine Award a t the I.B.M. Convention in St. Louis, U.S.A., in June, 1946. Here are effects that you willlike and do. Real magical“ IMPOSSIBILITIES ” which caused head-shakings at St. Louis-and will cause wonder i n your audience. NO APPARATUS TO MAKE OK BUY with the exception of one small“ gimmick ” (used in one effect)which you probably have already. No sleight-of-hand ability is required, for they are easy to do when you follow the clear, well-printed directions which are illustrated wlth more than thirty drawings bv Lamonte. AW E L LP R I N T E DB O O K L E TW I T H SOFT BOARDCOVERS
BOHLENO’SMYSTERIESby Henry Bohlen PRICE l O / - (postage3d.) GEORGE ARMSTRONG, THE 11 MONASTERYGARDENS
MAGIC WAND PUBLISHING COMPANY .. ENFIELD .. MIDDLESEX
..
..
28
9&
W ” & ! consists of a frame withtwo pieces of glass (a picture frame can easily be converted). One piece of glass is taken, and all over itssurfacearespread some playing cards, faces towards ‘glass. The arrangement must be haphazard as possible, but the whole surfaceshould be covered (see illustration). Over the backs of the cards is now spread a thin layer of liquid glue and over this is placed a piece of green baize equal in size to the glass. (I say green baize, but as this is simply to form a background masking to the table top or what, is on it, the baize can be substituted by using velvet, silk or newspaper. Baize is found on most card tables and is, therefore, of greater utility.) The remaining piece of glass is now placed ontop and the whole fitted into the frame, extra strips of wood being used to keep the glasses in place. If this tray is now placed on table, a from the top it should appear to benothingmore than a glass traywitha wooden beading (actually a plastic beading would give a better finish). T o put this article into use, the conjurer picks up a one-way forcing deck that has an ‘ outlander ’ on its face. Assuming thatthe conjurer has aspectatoron the stage, hespreads so thatthe surface is fully the deck onthetray spectator, the covered ; then handing ittothe latter is requested to go to a member of the audience. As this spectator .leaves the stage, those whose vision allows them a view of the underside of the tray, can apparently see an ordinary deck of cards spread in haphazard order on a glass surface (actually they of course see the cards sandwiched between the glasses). T h e member of the audience whom the tray-holder approaches is now asked to touch any card and withdraw it from the rest. Thus is another card forced.
There are occasions when the performermay wish to force a card with the deck outside his control, and whilst I should have, and have had, no hesitation in handinga straight forcingwitha facing ‘ outlander ’ to aspectator, thereare manywho have a procedure. The following qualms about such method makes everythingnot only very easy, but safe from any angle. Despite the fact that a piece of extraneous apparatus is brought into play, it can once the force has been accomplished, be used in a normal manner. The means for accomplishing this is contained in what purportstobe a glass tray. Thistray ~
ANNOUNCINGTHESECOND
~~~~
~
~
~
OF A SERIES OF EXCLUSIVEMENTAL
MODES
EFFECTS
MENTALISTS
FOR
is the effect :-After a pack of cards has been shuffled, a spytator is asked The mentalist who turns awaywhiIstthisis done, remarks,Choosewhich heap you like and I will take the one remaining.” The spectator is asked to pick up his heap and look:t the bottom card and Now, Sir, I a m going impress it on his mind. The mentalist now writes something on a card which he drops into a glass. to look at the bottom card of my heap, think of it, and I want you to try and get my thought ; there’s a pencil and a card spectator beside you.” Mentalistpicksup his cardandspectatorwrites,droppinghiscardintoanotherglass.Another removes both cards, reads whatis written, and believe it or not in each case the thoughts are correctly“ caught.” Please remember that there are no stooges, no carbon or other impressions, no one ahead method,no switches and not one suspicious move. Can even be performed with a borrowed pack. “
CAUGHT THOUGHTS.” This
to cut several times, finally leaving two heaps.
COMPLETE INSTRUCTIONS RUNNING TO APPROXIMATELY 2,000 WORDS, PRICE 7/6 POST FREE
. . . from . . .
PETER WARLOCK
..
“
GREENBANKS
”
..
BRAMCOTE
..
NOTTS
or from your Pentagram ” Dealer RE-PRINTED COPIES OF No. 2 PENTAGRAM ARE NOW AVAILABLE,PRICE 1/1 POST FREE I‘
Editor’s Note.-From
out of the past zce once more bring an effect thatistoogood to be lost.Althoughwesaw HerbertMiltongive thepremiere of this effect inthe earlytwenties,wecannotremember seeing anyother performer present this cleaer and startling effect.-P. W. #
#
1
Magicians .possessing the familiar “ Ghost Drumhead Tube ” will find, I think, in the following effect, a novel use for this piece of apparatus. Effect.-A tube is shown entirely empty, and a temporary bottom is made to it by clamping apiece of tissuepaper over one end witha metal ring. A number of cards, each bearing a letter of the alphabet, are then dropped into the tube a few at a time. A piece of black ribbon, about four feet in length, is then taken, the two ends being held, one in each is gently lowered into hand ; the centreportion thetube. Special attention is drawn tothe fact that’ the two ends are always keptin view. A few seconds later the ribbon is pulled out again and stretched horizontally, and attached to it is found a number of the letteredcards,forming the words, “ Good Evening.” Requirements.-A large sized “ Ghost Tube,” this as most readers will be aware, consists of a tube lined withanother but slightly tapering tube so that when held with the largest diameter tothe audience the internal taper is not discernible owing to the optical effect. In the space between the tubes, flags and soft goods are usually concealed for subsequent production. Two metal clamping rings complete the apparatus, but only onering and a piece of tissue are required in this effect. A number of cards, size one and a half inches by two inches, each bearing a different letter of the alphabet in bold print. In order to obtain the best effect the whole of the alphabetshouldbe represented,togetherwitha few extracards purportingto be duplicates. A piece of black ribbon, four feet in length and three quartersof an inch wide. T o each end may beattachedaneat rosette of a contrasting colour, thus making them conspicuous. At points six inches from each end, thelower portions of two black press-studs are sewn. A piece of strong black thread a yard in length. O n this are threaded in their correct order, eleven lettered cards forming the words “ Good Evening.” T o each end of thethread is fastened theupper portion of a press-stud corresponding to those on the ribbon. I t is at this point that great care must be exercised in arranging thethreadjustthe correct length. It shouldbeattached tothe ribbon by means of the press-studs and the ribbonstretched out to its fullest extent, keeping a thumb and forefinger on each press-stud. The cardsshould now appearto beattached tothe ribbon itself. If the thread sags in the centre, slightly shorten by tying one or two knots in it.
The length of the thread having been adjusted, the whole string of cards is now laid in a row face down and collected up one on top of the other from either end-the length of thread between each card being of just sufficient length to enable this to be done. The stack is now pushed into the hidden compartment of the Ghosthead Tube, the faces of the cards inwards, and the threaded edges of the cards at the top. Owing tothe peculiar shape of the compartmentit will be found thatthe stack will become tightly wedged between the outer and inner tubes, enabling the tube to be safely turned upside downa very convincing move when presenting. The two portions of press-studsattached to the thread,are fixedby means of a little wax to the inside of the outer tube, right at the top. Presentation.-Introducetube and show it empty in the usual way. Seal up oneend of the tube by means of the tissue paper and ring, leaving the fake end open. I t is then stooduprighton the table, the hiddencompartment being tothe rear. The lettered cards are now shown, one at a time, and drbpped a few at a time into the tube proper. The ribbon is then taken and the ends held, one in each hand, the thumb and forefinger gripping the pressstudsat each end.Care must be taken thatthe ribbon is not twisted. The centre of the ribbon is now allowed to drop into the tube proper,on top of the loose cards. An up and down movement is now made with the right hand while the thumb and forefinger of left hand come to rest on top of the tube, and the forefinger presses home its portion of the press-stud on to the correspondingportion on the inside of the tube and at the same time frees the stud from the wax which holds it. The right hand then does exactly the same with the otherend of the ribbon. Now comes the critical move. The ribbon is pulled outand stretched to itsfullestextent, the thumband forefinger of each handgripping the press-studs, and if done with the correct speed it will appear as though the cards themselves are actually attached to the ribbon. The move must not be made too quickly or the string of cards will become entangled with the ribbon. A few trials will soon show how quickly the ribbonshould be withdrawn. It will be seen that the above effect is specially adapted for a closing item, but the principle underlying it could’ very easily be adopted in any effect necessitating the revealing of a chosen word, or even a number. 1
Editor’s Footnote.-Mr.
1
1
Milton,who is, withoutdoubt, one of England’soutstandingmagicians,introducedthe effect,, by an “ A .B.C.” rhymewhichfinishedthus : W’s the Welcome accorded, X is the Exit, don’t go just yet, Y y o u will see in a minute, Z is the last, m y story i s told. Watch me fish for the wish that is in it.”
NEW PENTAGRAM GRADING.-A maximumaward of Ten Points in the following categories (whenapplicable) (A)-Physical. Make-up (B)-Quality of Material (C)- Value Magic to (D)-Clarity (E)-Illzutratzons (F)-Readabzlzty (G)-Sincerity TOTAL 70 POINTS THE MAGIC OF LOUIS S . HISTED (edited by Fabian, published byGoodlifle, price 30/-) T h e name of Louis Histed is one greatly honoured, and the pity is that the magical public at large have had to wait so long for a book containing a number of his effects. Such waiting has its own reward for this book of nearly one hundred and sixty pages contains over fifty ideas and effectsallmainlyoriginalwiththeauthor. Chapter One covers “ Magic with Cards.” The authorhere pays tributetothe lateHorace(Howard) Spencerandhiscard work,givingsomeexamples. The shades and manipulations of the late Arthur Carlton are also conjured up. The outstmding Zffects in this chapter are, toour way of thinking Brass(a prediction effect) and “ T h e Miracle Divination ” (the author’s version of -A1Baker’s “ Vocalepathy ”). Chapter Two is entitled “ Magic for ‘ One Case ’ ” and includes an easily made rope gimmick, two practical “ ring ” moves of Osmond Dellis, a version of the “ Rod and Beads,” a very effective production of a silk in a glass tube,an excellentclimax to “ Simplified Golf”and a first-ratenotetransposition. Besides theseitemsthere isaverygood effect entitled “ Humpty Dumpty ” and the “ ChameleonReels.” Inthe latteran oldprinciple isusedin amostingeniousmanner. “ Camouflage,” which completes the Chapter, is aningeniousversion of “ Everywhere and Nowhere,” usingtoysoldiers. Chapter Three c,ytains t,yo effects of Oscar Paulson : “ Just the Reverse and Who’ll bid Five Bob ?” Bothareexcellent andentailno specialapparatus. ChapterFour is “ InspirationsandBrainstorms.” I t commences’ with a lever loading idea, followed by a hint for one hundred per cent. working of the Demuth milk bottle. Under the title of “ Wot ! No Beer,” an ingenious adaption of the evaporated Milk Jug is described (actually for the effect in question we can see no reasonwhy an ordinaryevaporatedmilk jug shouldn’tbeused). The Erystal Cylinder,’,’ is another adaption of the author’s own SquareCircleprinciple.There is also a veryuseful ideaforobtainingabigload. A . veryfulldescription ofthe Bunder Boat ” isdescribed,andtheChapter concludes with two clever ideas : “ Topsy Turvy Topsy ” and “ T h e Ladx’sUpset.” Illusions is the title of Chapter Five and describes somethree stage effects. T h e first, “ ThePaint Box Illusion ” haseverything,colour,bewilderment,surprise The EaselIllusion ” that followsis andingenuity. really the second half of this effect, and adds a very fine piece of concealment artistry to the armoury of the stage worker. “ Materialisation ” is very a good idea for production of a human-being using the means of nature. We should like to correct the printer’s error of “ angle ” for “ angel.” ChapterSix “ Magic withLiquids,” isstartlingly outstanding,foritstrikesentirely new ground.Commencingwithsomenotesonthesyphonprinciple,Mr. Histed goes onto givedetails of the crystalcruxiform and the bevel ” conduit(principles of masking). With these three principles as a main basis, Some eleven effects involvingpenetrations,transpositions,changes,vanishes, and productions of liquids. The author describesall the methodsin amostlucidfashion,andwhilstherefrains from giving more than a straight presentation, the reader who thinks will realise the various presentations possible withsuchmiraculouseffects.Forespecialmentionit wouldbehardtosingleoutanyparticulareffect.From an audiences’ pointof view, however, we thinkthat Niagara ” would prove the greatest applause-getter. T h e book is clearly printed and well illustrated, and ouronly wishis thatdespitethe publisher’s “ blurb ” (regarding the fact that no expense had been spared, etc.), thatthebindinghad beenbetter. T o Fabianmust go a word of praise, for he has edited the material in a Sure manner. The illustrations of Dennis are clear and concise. ‘ I
‘ I
l‘
l‘
l‘
l‘
:-
Our greatwishin unreservedlyrecommending thisoutstanding book is that those who purchase it will make the fullestuse of theingenuities describedtherein,forhere is magic that is not only new but having strong audience appeal. 67 points. X
X
X
CON-JUNIOR-ING ” b3- John BrearleJ1 (published by ArcasLtd., price The sub-titling is A Balanced Programme of Magical Effects forChildren.”When we had the pleasure of reading the manuscript of the book, several months ago, we weregreatlyimpressed by thesoundcommon-sense of the writer regarding the entertainment of children of all ages. Inthe openingChapter, “ ThisandThat,” theauthor deals in averyforthrightfashionwiththe The advice is concise routining of achildren’sshow. andgood. The opening of theact isnowdealtwith, Mr. Brearleybringing out qualities o[,effects which makethemost appeal. The FlashSlateintroduces a nice angle oninstanteous message production.Under gives the heading of “ A Dirty Trick,” the author now what is really hisintroductorychapter.Again,coupled, with brevity, the reader is given more interesting advice on the lay-out of an act. From this point the author goes on to describe some eighteen tested effects or routines, most of them original. They all have the advantage of requiring very little in the way ofspecialapparatus. What is needed in most cases can quite easily be made up by the average person. From these effectswe would“ pick outfor specialmention ‘‘ NationalCostumes,”SchoolReport ” (a tornand restored effect withastory )“ ToffeePapers ” an effect with an excellent story and an amazing climax, the “ Fairy Tale Book,” an effect which not only involves theproduction of ‘‘ story ” silks but in the description gives the designs. A novelty about this effect is that it contains a special songforthechildrentosing (a Mr.Frederick Jukes is responsible for thiz). T h e ‘ l MagicCrayons ” is also very good and so is the Tests oflthe Magic Square.” Inthislatter several “ do as I do(butthe assistant doesn’t !) effects are lined up to form a very entertaining routine. There isaveryfineversion of the Mutilated Sunshade,”inwhichtheauthor gives fullcredit to the late Montagu Leslie. I n borrowed this a handkerchiefisused. There isamethodforthepursetrick, madefamous by the lateCharlesMorritt.Mr. Brearley contributesaveryfineproduction effect whichis tobe recommended on account of its simplicity. This book of over ninety pages, concludes with various items of advice, including the all-important matter of fees andwritinglettersto prospectiveclients. The book is well printed and illustrated, and whilbt the binding could have been improved, we are glad to see that the publisher had accepted the more normal format. We shallconclude by saying that thosewho think they have not the flair forentertainingchildren, wesay get ConJunioring and get it quickly,” for not only will y o u benefit, but so alsowill thechildren. 66 points. Unreserv ?dlJ* recommended. b b
‘,p/-)
‘!e,
‘ I
‘l
X
(‘WILLANE’S
X
S
WIZARDRY
”
(published by Arcas L t d . ,
price 2 / 6 ) The fact that this publication has been produced for bookstall publication will, no doubt, bring forth a strong chorus of protest from the “ T i n Pan Alley ” conjurers, whoseexistence dependsonthe acquisition of secrets coupledwith no ideas of presentation. We ourselves can seenodangerinsuchapublication. Actually all of the ideas inthis miscellanyare not tricks,forpuzzles and “ wheezes ” serve to make up the measure. continued on page 3 1
First of all a word of thanks for the cascade of Xmas Cards. Particularly were we impressed by the distinct individuality of some. Sid Lorraine ‘as usual hadsomethingrightout of theordinary,whilst StanleyCollinsnotonlysentusgreetings but includedthreecharmingpuzzles.GeorgeBraund’s weight does not seemaffected by austerity, and he can still rightly callhimself the “ Biggest Thing in Magic.” ,And nowapologies. Lastmonth, owing to a nightmarishrush we overlooked some errors in FrancisHaxton’s “ SpectatorSelection.” The first was that of “ Bob for “ Bert ” Allerton ; secondly, .on the fourth line from the bottom in the first column of page 19, it should read “ riffle to short : thirdly, on line eleven,columntwo of page 19, instead of “ drop balance of pack underneath ” read “ drop balance of pack on top.” Our referenceregarding “ HotMoney ” soon brought replies as to its origin. The first came from our good friend Tom Sellers, who informed us that he published the basis of it in “ Quik Tricks.” So for a good effect, Tom Sellers, we say “ Thank you very much ! ” Burtini has published his “ Linking Ring Routine ” in book form. The text is by Fabian. We think that most readers at some time or anothermust have seen Burtini put over this very fast presentation of this great classic. In consequence they will know that they are gettingsomething really worthwhile. Whilstthere is nothing revolutionary in itBurtini has managed to get some very individual twists that greatly help in disguising the use of a key ring. At the price of316 it is an exceptionallygoodbuy. Even if you have every other Linking Ring routine we still unreservedly recommend it. Our “ feeler ” about a Society of Mentalists has brought quite a number of replies from those interested. We hope that by the time this issue is in the post, we shall have managed to answereachpersonally. If not,please take thisas atemporaryacknowledgment. More regarding this next month. Billet Switchers can get a lively angle on billet “ Billet reading in PHOENIX 139. It iscalled Catching,” and apart from the novel angle detailed by ”
”
EdwardClinkscale and. EugeneTaylor,there general purpose tip worth a dozen issues.
is a
“ Caught Thoughts,” thesecond of “ Modes for Mentalists,”toucheswhat we believe to be anew angle. The Third in this series will not, owing to rather heavy commitments,be available untilJuly or August.
We have just read the latest formula for success. The writer tells us “ Get through your act as though you had a train to catch.” The gist of this article is that one should do as many tricks as possible in the shortestpossibletime.Whydon’tthepeople who write like this realise thatthere is noformula for success. Those who have been great in the world of magic achieved success through varying means. Surelythe secret of successfroma lay audience’s point of view is yourentertainment value. The audience must not be bored, and if the train catching tregetourthinksthatquantityplusspeed is the antidote to boredom, he has a very big think coming. Regarding Tom Sellers’ mostingenious milk trick, may we suggest that if a gold band half an inch deep is painted around the rimof the drilled tumbler, the conjurer will, with a filled glass, be able to isolate himself before the miracleworks. Too late for review, we have received Hugard’sMonthly,” Vols. 3and 4, published in bookformby the Fleming Book Co.Wequite frankly do not know how they have managed to turn out such a fine job at such a low price ( 5 dollars). Next month we shall review this together with Brian McCarthy’s “ Sleights Supreme ” and “ Abracadabra Xmas Special.” In this last there is one routine dealing with a cow, that helps to bring conjuring right off thebottom rung of the ladder into the gutter. “
Our friendWillGoldston,who now seems completely recovered from his serious illness had a nice write-upin the “ Leader,” dated 27th December. It is entitled “ The Magical Man of Leicester Square,” and in it,Will Goldstonshows how his early interest in magic was aroused and fostered by ProfessorAlexander(JackCripps).Nineexcellent photographs help to make up this two-page story.
A WORD ABOUT BOOKS - continued from page 30 Among thetricksarethe “ Chinese Cornpas:,” (in itsmostelementaryform),the “ RopesandRings(asa penetration effect), the “ ’Bus TicketandWalnut ” (in this effect we should have liked to have seen some credit to Nelson Meredith), a version of “ Just Chance,” some knot effects, the “ SafetyPinthroughHandkerchief,” andthepenetration of handkerchief by awalking stick. All of these are lucidly explained and illustrated with either line drawings or photographs. Among those things which cannot be strictly classedastricksare the “ Calendar at your Fingertips ” (we have already heard moans regarding the publication of this, but would remind readers that in
nearly every book dealing with mnemonics a version of this willbe found).There is averycompletedescription of “ Trente et Un.” Altogether thereare someeighty-odd ideas all of which are of sufficient merit as to be acquired by those who wish to have some item ready when there is a moment or two flagging. As they have already been mentioned, it seems unnecessary to mention that some of the effects are capable of great effect with studied presentation.Printingandillustrationsareexcellentandout of allproportiontothemoderatepriceasked.Havingonly stiff papercovers it loses points, but is unreservedy WCommended with 58 points.
JUST OUT
!!
Re-printed
HUGARD’S MAGIC MONTHLY BOOK EDITION No. 2 (Volumes 111. and IV.)
_-
No. 3 is now out of print and will not be re-printed 0
P E T EW R ARLOCK “ Greenbanks ” :: Bramcote
MAGIC WITH SMALL APPARATUS : Vol. l Dr. Dhotel’sgreat work is the fastest seller we haveyet published,probabfi because of itssolid merit, which is perfectly apparent to anyone whoexamines this book of 177 tricks and routines with matches,rings, wands, candles, and balls. “A rich mine of magical information ; I await future volumes in joyous anticipation,” says William produced in the Fleming Larsen (Genii). Beautifully Magic Classic format, 320 pages, 28s.
IA
1
I
CONJUNIORING MASTERPIECES IN MAGIC . ’ EXPERT MANIPULATION O F PLAYING CARDS . . THE-MAGIC OF LOUIS HISTED .. HISI‘ED TWELVE NEW TRICKS .. FA BIAS TESTAMENT OF R. W. HULL.. HALL HALL NOTHING I S IMPOSSIBLE H .4 LL READING IS BELIEVING .. K 0R A N MASTERED AMAZEMENT .. KRNTON THUMBS -- - - - ..- - - UP -M A C X ~ ~ Z I E COMPERES CORNERFIRST BOOK OF WlLLlAM . . .’llcCOMB L E W I S c7 T Y L E R OPEN SESAME PATTERNS FOR PSYCHICS WARLOCh‘ WILLANE WIZARDRY .. WILLAA-E .. A?ORhfA-V BASIC CARD TECHNIQUE .. 3d. Stampfor list of Books on Loan
10s. Od. 12s. 6d. 10s. Od. 30s. O d. 6s.Od.
20s. Od. 15s. Od. 12s. Od. 10s. Od. 6s. Od. 5s. OB,
..
~~
0 0 0 -
BOOK
COMPANY N. J.,
8s. Od, 1
30s. Od, 10s Od 2s: 6d:
46s. Od,
FREDROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
U. S. A .
-
NEW ARCAS BOOK
The Magic Circle
Con JUNIOR ing
by JOHN BREARLEY
A balanced programme, including patter of superlativeconjuringforchildren by the inventor of those classic tricks, 1Magic Assembly. and the Postage StampAlbum I‘
Notts.
NEW MAGICAL BOOKS
-- -00o--
BERKELEY HEIGHTS
::
BREAKLEIC RAGGS GANS0.V
Pleaseremit.Englishmoney toour Representative, M r . Robertson Keene, 3 0 I Norzcood Road, Southall, Middlesex, anil receive the books direct from the United States
FLEMING
U
Price 1/ l post free
000-
_ I -
”
stillavailable
No. r , 28s.
--
No. 1 and No. 2
PENTAGRAM
“
We believe that everymagicianwhoowns Book Edition N o . I (Vols. I. and 11.) will insist upon having Book Edition No. 2 ( v l s . 111. aftd TV.), which we regard as the biggest “ money S worth In current magical publications. Though it contains 208 large pages (as against 128 pages in No. l), and though printing costs have risen 5 3 per cent., we have managed to hold fast to the old price of 28s., by enormouslyincrtasingthe size 06 theprintingandthus Book Edition holding down the unit costs. Uniform u-ith
~
Copies of
3‘0those whothlnk they haze not the Pair for entertaining children, we say get ‘ ConJUIVIORi n g ” und get it quickly for ?lot only will J’OU benefit, but so also twill the childten.” --Peter\T.arlock
Fully illustrated, cloth bound, price 10,’postage 6 d . Academy of Recorded Crafts, Arts andSciencesLtd. 404/8 Sydenham Road, Croydon
MASQUE Aprintedmagazinegivingdetails of our latest releases in exclusive magical effects. Issued free. If you are not onour mailinglist,writenow.
President: His Grace the Duke of Somerset, D.S.O., O.R.E.,I.P., D.L., M.I.M.C. Vice-Presidetlt : Douglas Craggs,Esq., M.I.M.C. ClubroomandLibraryandMuseunt
:
St.Ermin’sHotel, CaxtonStreet,S.W.l. MagicalTheatre
:
King George’sHall,
W.C.
mm.... a
m
~
~
m
.
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
Particulars frowHon.
Secretary :
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19 ~
ABDUL’S FEZ Increased cost of materialshas forced me to increase the price of this effect to 12!6. I feel confident, however. that it is still a bargain to anyone who hasever worked the Egg Bag. Thanks to all those who huve sent kind.a,ords ab61lt t h i s trick
ZAHAREE (Geoff. R . &Hursell) 16 & Watts’ 18 Place CHATHAM :: KENT
H E N RDl E ’ S E E V A H MMC., BMS., IBM., SSMC. THEFRIENDLYMAGICIAN invites allbona-fide Magicians toseud for hislist of new and used apparatus and books, or calla t his studio :l CLARENCE ROAD Harborne, Birmingham 17
INSTITUTE OF
MAGICIANS
Founded 1934 President : A.Zomah. Hon. Sec: OscarOswald 102 ElmsteadAvenueWembleyParkMiddlesex H . @ . a d Ltbrary : NO.'^ Hand Court(Vihory Club), HighHolborn, W.C. pm. MEETING EVERY THURSDAY, 7-41 VISITING MAG1CIAN.S ALWAYS WELCOME Your membership cordially invited-drop a line to the Honorary Secretary for literature
~
MAGICIANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME I. IliudilL Prices :CLOTH 516, REXINE 6,6, MOROCCO FINISH 7!6
C. FIELD 42 Alderson Road, Sheffield Ric
Every Advertiser’s
2
OLD AND’ NEW MAGIC J A MGERSA Y S O N LatestThink a Magician A pocket hlind MAKER OF HIGH-CLASSMAGICALEFFECTS, Reading Lflect 07113: 2,6 STAGE ILLUSIONS, ETC. Orvirl’s faulous Spider’s \Veb, Card Trick 30!COIX M’ANIX to produce a real coin 1616 I‘rltphone. or Telegram : MORLEY 899 .1.few Sliding Glue- Packs of Cards 8,’9 S o d stump for pritlted lists qf old a d ne?&’M ~ ~ g r c Address :23 GREENFIELD AVENUE S y d n e y de Hempsoy GILDERSOME, Near LEEDS 363 SANDYCOMBF ROAD, KEW GARDENS -Yearly 30 yews in the business 4238 SURREY
goods are fully endorsed by this Bulletin
__
33
PENTAC
An independent monthly bulletin
for all who want good
magic
'h fDetrtoriam
p
exponent d
Mental Telepathy Bepinning in Le
li"IRE ROOM
*
ANNEMANN, world-famed Mental Telepathist," come6 the Palmer House direct from all-sweeping seven-year series personal appearancessponsored the socially, financially,and litically great of both Europe i America. i performances in the Empire >mwill be his first in Chicago well as his first on a cafe floor. willappearonlyin the ten lock show. Monday, Oct. lSth d o r e Annemann is reputed to the foremcst exponent of mental telcq x t h y intheworld. His mind . readingachievementshavecaused him tc be called the "human OuijiBoard," Heis tfie author of "The Book Wlthout A Name" describing his work. ,I
I n his book " TwentyMagical Nowelties," the lateEdward Bagshawe introducedacuriouslittle card trick under the title of The Message that can't be read. As outlined by Bagshawe, the trickhad perforce to be a mere intimate one entirely unsuitable entertainer. Now, for the needs of the public althoughadmittedlybased upon and suggestedby
-
1907 1942 Oncemorethe " Pentagram " pays a modest tribute to the memory of Ted Annemann. In thisissuethereare three items contributed by those who atsometimeor " Jinx." anothercontributedtothe
I can add little to what has already been saidregardingthisoutstandingfigurein the world of mental magic ; thatlittleis : that with the passing of every year, . I realise more than ever the great contribution that the " Jinx " - and really by thatI mean its progentitor - gave to present-day conjuring. The torch-bearers of the name of Annemannare legion ; those .* torches will burn forever. PeterWarlock.
Edward Bagshawe's idea, the trick I amabout to describe introduces a more or less coherent business cableinstead of ameaninglessjumble of letters ; ; it canbemade upto servepublicperformance it calls for the useof but one mask and, most important of all,it has anentirelyunexpected finish continued on page .34
34 CRYPTOGRAMAGIC - continued from page 33
Fig. I purports to show cable a calling for shipment of sundry lots of .cereals to specified customers ; and Fig. 2 illustrates the three - slotted mask has which to accompany the cable card. The proportions of the cablecard andthe mask are arbitrary matters depending entirely upon the size of the hall or theatre in which the effect has to be in exhibited ; but anyevent I suggest thatthe cablecard shouldnot be smaller than 15” X 10”. The plotissimpleandstraightforward. From four selectedcards, the name of one,chosenwith entire freedom, has to be revealed through the slots when the mask isplacedoverthemystic cable. Much to the discomfort of the conjurer,however, no card name is suggested whenthe mask is in place, and the trick in consequence appears to have gone wrongsomehow.Suddenlybrightening,theconjurer turns the cablecard and mask upsidedown when,sure enough, the name of thechosencard seems to be magically transformed from the letters and figures seen a moment before. Fig. z illustrates thefour possiblerevelations. The figures and words that call forreversal on the cable card must be very carefully designed, particularly the figures 574034 and the words “ Esq.m.p ” inthe firstlineand the somewhat strained “ Ogpu Oeuoip ” inthe second line. The chief difficulties are with the figure “ o ” which in two places has to appear as an “ a ” when reversed, and the figure “ 7 ” which has to do duty as “ t.” T h e necessaryblemishesindesignshouldappear accidental:and as unobtrusiveasis possible. The non-symmetrical arrangement of the slots in the mask, which is the key to the conceit, makes
possible the revelation of four different combinations of words. Call one side of ‘the mask A and the other sideB. As each side can be superimposed two in positions on the cable card, it follows that any one of four different combinations can be made to appear through the slots by simply knowing in which position the mask has to be laid, arranging and it accordingly. Side A uppermostaccounts for Ace of Clubsinone position- andfor Ten of Diamonds in the other position ; Side B uppermost accounts for Six of Hearts in one position and for Eight of Spadesintheother position. Although unrestricted choice of’one of them is permitted,fourcards have to be forced.Whilst this will notdisconcerttheexpertcardhandler, it can admittedly prove stumbling-block a tothe ‘ ham-handed.’Here,then,arethreesuggested procedures which call for neither address nor dexterity :-(I) A forcing pack made up of thirteen will sets of the same regularly arranged four cards notonlypermitrepeatedcuttingbutensuresthat any removed bunch of four cards will comprise the desired set ;(2)An impudent nursery plan that might serve for an unsophisticated audience is to instruct a spectator to select with perfect freedom any four cardsfroma well-shuffled pack. As, however, the cards that fall to his choice mustnot be known even to the drawerof them, he is ordered to drop the four cards into a flap card-box and to close the lid. The four cards removed from box a few moments later are, of course, the hidden four which have to servethepurpose of theconjurer ; (3) The best following. I t necessitates the plan, I think,isthe continued on page 38
35
The operator, after having demonstrated successfully, various experiments in Telepathy, Telethesia, etc. (without the aid of phying cards), announces that the success of the recentlyconductedexperiments was largely due to the extreme sensitiveness of the mentalprocesses of the assistingspectators, and. remarking uponthe particularlyacutefaculties of onesuchvolunteer,enquires if he was aware that he was the possessor of such powers and, whatever the reply,requests himto personallyconduct an experiment in telepathyand mind control ; the operator, although participating, to merely act as an assistantandadviseras tothe procedure to be adopted in order to secure the most effective results. It being taken that the spectator has expressed his willingness, we will now, for the sake of clarity, designatehim as theoperator, the actualmagician as P (performer), and other volunteers (see below), asspectatorsoneand two respectively. Performersuggestsoperatorstandandfocus hismind upon adiagram or picture,and further suggests that in order to ensure that itis a commonplace and easily recognised symbol, it be the designation of a playing card-anyone of the fifty-two ; that he thinks intently of one such card, visualising its appearance in his mind as a picture, then for the sake of subsequent proof of either success or failure of the experiment, that hewrite the name of the selected card on a piece of paper, and place it in his pocket until it is required for verification purposes. He is next advised to select two gentlemen, or call for two volunteers, and having obtained them, requestthemtostand,transmithis will tothem and project the “ thought ” of the card-picture into theirsubconsciousminds. Performer then takes a pack of cards from its case, displays same, and requests operator to instruct spectator number one toannounceanynumber betweenone and fifty-two thatenters hismind. P. countsdowntothat As soonasthisisdone, number, not disturbing order of cards, and without showing face of card arrived at, writes its name on a small billet, which is folded and placed in full view or into the custody of some other member of the audience.P.,idlymixing pack, then recommends operatortoinstructspectatornumbertwotostep forwardandselectbychanceone of the fifty-two diagrams or cards, explaining that in order to prevent anybpossibility of the faces being perceived, he will hold pack behindhis back withonehandwhile spectatornumber tworeachesround,cuts pack and removes card cut at, placing same in his pocket without glimpsing or allowing anyoneelse to glimpse its face. P. then briefly summarizes what has gone before, emphasising that the whole experiment has been conducted by the volunteer operator, that there has been no personal conduct between him (voluntary operator)andthethree volunteers-so describing
himself as one-and that, if the desired results have beenobtained,theyareobviously entirely. due to the remarkablydevelopedmentalpowers of the presiding operator. Calling for a previously neutral member of the audience, he requests him to take the billet bearing the name of the thought-ofpicture(card)which hasreposedinoperator’spocketduringtheentire proceedingsand to announce the namethereon ; secondly, to open and read aloud the name of the cardwritten by the performer, but arrived at by spectator number one’s chance number-it is the same, and, finally, to display the-card selected apparently freely, but actually under volunteer operator’smental control-it is identical with the name of the card appearing uponthe two slips of paper ! All that remains is to thank all assistants, congratulate the volunteer operator upon the development of these obviously latent mentalpowers, announce that he has successfully conducted a perfect example of “ Thoughts in Action ” and then congratulate yourself silently upon having introduced the audience to a somewhat unusual effect. Remarks.-Please note the concluding line of the foregoing description ; as far as the audience are concerned, you have introduced a decidedly unusual experimentwhichhappilysucceeded ! That’s all that matters, for no originality is claimed by me for the qeanswhereby the effect is obtained, unlessit be “ brass-necked ” action,which foroneabsolute will beobserved below. Requirements.-Ashort,hp-d pencil ; two small pieces of writing paper ; a pack of cards in a case, fitted with Annemann’s “ Mental Masterpiece ” or ‘‘ PerfectedMentalMasterpiece ” (R. W. Read’s improvement) ; a considerableamount of ‘ cool cheek.’ Method .-Explanations will be brief-it being assumed that all “ Pentagram ” readersare wellversed magicians, and not merely“ curiously minded customers.” ( I ) Volunteer operator is asked to stand and to write down name of thought-of card for subsequent “ advising ” him. to identification purposes. Whilst playing cardsas a use “ one of thesefifty-two picture,”P.idly picks up case containingcards, indicating same, then placing piece of paper on case, he gives it together with pencil to operator’to write name, fold same, and place in pocket without disclosing name of cardmentally chosen. (2) P. takes card case and pencil, places pencir inpocket,openscard case andtakes out cards, thereby ascertaining name of “ thought card ” by means of the “ Mental Masterpiece ” (users of t b appliance will realise why a short,hardpencil was specified inthelist of requirementsenumerated above). Then, casually showing faces of cards, heglimpsesposition of thought-ofcardandidly cuts it to the bottom. ,
continued on page 37
Whilst this i:; a mental item more akin to the conjurerthanthetruementalist,itwill. be found A factor extremely,effectivewithsmallaudiences, is that a number of people take part and that there seems no possibilityof collusion and/or forced choice. The conjurer commences : “ Ladies and gentlemen . the future is a thing hidden fromthe present bya heavy curtain.Sometimesthereisagapin thatcurtain, andsome, like myself, arepermitted a view through that gap.” At this point the conjurer with casual comment picks up an envelope and rests it againsta glass. Turningthen toamember of the audiencewhom wewill designate A, . h e asks thisperson to relax andthink of acolour(don’t “ red ”), and choose a female as they generally say then tell the audience that colour. This being given, the conjurerpicksaslateandon it writes “ One ;. . (say) Orange.” A deck of cards is now B ; heis picked up, handed toanotherspectator asked to look ata cardandnameit. This is also noted onthe slate. T o athird spectator(C)is given a pad and pencil, and he is requested to write downfourlines of threefigures (if timepermits these can be given by other members of the audience. If the conjurer wishes to hurry he can just ask the holder of the pad to write down four figures), add them up and announce the total. This being given it is written on the slate. Now taking the envelope, theconjurerripsit openandfrom it withdraws another.envelope.Ripping the end of this, the conjurerpausesandaddressingthefirstspectator of a remarks : “ Yop, sir,quitefreelythought colour . that colour was “ orange ” . . . Don’t you think it strange that two hours ago I placed inside orange backedplayingCard ?” thisenvelopean Slowly the conjurerwithdrawsanorange.backed card,the envelopebeingcrumpledanddropped. To the second spectator he says : ‘.‘You, sir, quite
..
. .
freely chose acard,” (say) the Ten of Diamonds “ don’t you think that it is somethingmore thana coincidence that, this orange backed playing card should be the Ten of Diamonds ? ” Slowly the orange card is turned round to show the face, which, of course, is the Ten of Diamonds. Those near the card can see that there is somewriting across the face. T o thethirdspectator,theconjurer turns and says : “ You, sir, wrote on a paper twelve digits . . . these digits were freely chosen . . they were addedto make asum,andthetotal of thatsum was (say) 5724. Will you please read whatiswrittenonthe face of thiscard ? ” The spectatorishandedthe card and reads out “ I (name of performer) predict that the sum arrived at by the third spectator will be 5724 ” ! ! Requirements .-A Telematic Deck forcing (say) Ten of Diamonds ; one nail writer ; twelve “ Tens of Diamonds ” each having adifferent coloured back. The colours covered arered,pink, mauve,blue,orange, yellow, green,brown, black, white,silverand gold. (To anintelligentaudience the last four are not ,colours, but it is best to cater for every one.) The colours can be obtainedin many ways-either by painting or sticking coloured paper on the backs. Card collectors no doubt would possibly have a back tosuitevery case. Twelve envelopes thatwill just contain a playing card. One envelope of normalletter size ; oneslate and piece of chalk ; one pad and pencil. Preparation.-Onthe face of each of the “ I (name of perplayingcardswritethewords former) predict that the sum arrived at by the third spectator will be . . .” (for position of this see illustthatpart ration). A windowtocorrespondwith wherethe number will come is now cut away in each envelope and the cards placed inside. A small L
.
continued on page 37
37 “
AUSTERITY AUGURY
”
- continued from
page 36
indication should be pencilled on each envelope so that there is no doubt which envelope contains the appropriate colour. Memorising theorder, these envelopes are placed in the left hand trousers pocket, window and, of course, face of cardfarthestfrom body. The ordinary envelope is sealed and can be slipped intoan inside pocket. The slate and chalk are near at hand. The telematic deck encircled with an elastic band is also in the performer’s pocket. Pad and pencil lie near the slate and chalk. The nail writer can be in position on the conjurer’s nail. Presentation.-As the effect has been well .detailed this is given in bare-bone ’ form :I . Envelope is taken from pocket and rei’ted against glass on table left of conjurer. 2. First spectator names colour ; slate and chalk are picked up with right hand. Slate is passed to left hand and is held by thumb andfingers (see illustration) the colour being noted and written down. 3. Slate and chalk are placed aside on table -right of performer. 4. Telematic deck is removed from pocket, band removed, faces of cards shown(without comment) band replaced and deck handed to second spectator, who is asked to peek at one card and name it. Slate and chalk are again picked up as before and name of card noted.Slate and chalk again replaced. Deck L
M O D E S . FOR
is taken back from spectator. 5. Padand pencil handed tothird spectator, who is ,requested to writedown sum. This is the moment when the conjurer casually places ,his hand inhis left hand pocket and locates envelope with the card coloured according to first spectator’s choice. It is palmed but thehand is not removed from pocket. 6. Spectatornamestotal, right. hand picks up slate and chalk as before. Left hand with envelope palmed comes out of pocket to take slate as before, the position of the slate completely hiding envelope. 7. Total writtenon slate. Conjurer recapitulates and picks up sealed envelope from table with right hand, passes it toright hand (see illustration) the left hand removing slate and, of course, leaving the window envelope underthe sealed envelope. 8. End of sealed envelope is torn and window envelope is apparently removed from inside. The opened envelope is crumpled and dropped. Window now faces conjurer.Holding this .up, and as he turnsto address first spectator,conjurer writes in window space on the card the number of the third spectatorwith the nail writer. 9. Window envelope is ripped open, card withdrawn and envelope crumpled and droppedon to floor. Fromthe conjurer’s viewpoint the effect is finished. The rest is build up.
MENTALISTS
NO. 1-‘ L THINK AS I THINK ,”-This is an effect, where, instead of the performer receiving the spectators’ thoughts, they receive his thoughts. Eyery detail has been attended to so that this makes for a perfect presentation. Voltaire, after seeing it demonstrated, wrote as follows :-“ I would like you to accept my admiration of the eflect . . . in which members of the audience appear to read your mind. In my view it is one of the most brilliant of mental effects that I have seen . . . .” Complete Instructions running to approximately 2,000 words, price 7/6 post free. No. 2--“ CAUGHT THOUGHTS ”-This is thc effect :-After a pack of cards has been shufIl2d, a spectator is asked to cut several times, finally 1eaving.two heaps. T h e mentalist who turns away whilst this is done, remarks, “ Choose which . heap you like and I win take the one remaining.” T h e spectator is asked to pick up his heap and look atL;lx bottom card and impress it on his mind. T h e mentalist now writes something on a card whi& he drops into a glass. NOW, Sir,I a n going to look at the bottom card of my heap, think of it, and I want you to try-and g2t my thought ; there’s a pencil and a card beside you.” Mentalist picks up his card and spectator writes, dropping his card into alother glass:‘ Another spectator removes both cards, reads what is written, and believe it or not in each cas: the thoughts are correctly caught.” Please remember that there areno stooges, no carbon or other impressions,no one ahead method,no switches and notonesuspiciousmove. Can evenbeperformedwithaborrowedpack. . Complete Instructions running up to approximately 2,000 words, price 7/6 post free. . . . from . . . PETER WARLOCK .. “ GREENBANKS ” BRAMCOTE * NOTTS or fromyourPentagram ” Dealer
..
..
THE SPECTATOR. DIRECTS
..
- continued from page 35
(3) Requesting number between one and fiftytwo from spectator number one, P. counts down to that number, looks at face of cardarrived at,and apparently writes its name on second piece of paper. Actually he writes name of card chosen by volunteer operator, which now lies at bottom of pack (now the reference to brass-neck ” will be understood). Note : If possible work away fromtable, and use pack as backing for paper whilst writing (care being taken face of bbttom card is not seen by audience), this action is’ similar to that of volunteeroperator when writing name, and is a strong point. (4) Idly mixing pack, P. reverses bottom card secretly, and holding pack behind back, force bottom card on second spectator by means of
standingly deceptive manoeuvre is described in Annemann’s ‘‘ Par-opticVision ” on page 250 of “ Practical Mental Eflects ” and is particularly suitable for inclusion in the effect I am describing. The exact wording andminute details of the presentation are best left to the individual performer, to enablehim to arrange themtosuit his own personality and style. The great thing to remember is that it must be impressed on all present that the volunteer operator is the sole director of the effect and that the success is dueto his efforts alone. The actual performer merely acting as an assistant in an advisory capacity, suggesting the best procedure to beadopted in order to demonstrate that ‘‘ genuine mind control ’’ is in force.
a
W d ahut B&0.
U
c
NEW P E N T A G R A M G R A D I N G . - A maximum a w a r d . of TenPoints in thefollowingcategories(whenapplicable) (A)-Physical Make-up (BFQuality of Material (C)-Value Magic to (D)-Clarity (E)-Illustrations (F)-Readability (G)--Sincm*ty TOTAL 70 P O I N T S H U G A R D ’ SM A G I CM O N T H L Y ” (Volumes 3 and 4) published i n book form by theFleming Book Company, price 28 I-. Our first thoughton receiving this volume was “ How on earth can the puklishers produce such a fine volumeatsucha low price ? Exceptionallywell bound, it accords in every way to the high standard set by the Fleming Book Company. cards T h e size is full quarto and contains some 200 pages. We should like to emphasise .that this is not just a binding of loose copies but a special printing in book form. Illustrationsareprofuse,quiteanumber beingphotographic reproductions.volumes two these throughout T h e material is of a high standard-card effects and sleightsaccountingforaboutone-third of thecontents. OftheseweshouldparticularlyliketomentionJohnnie Scarne’s “ Challenge $;and SlamandLittk‘Slam,” “ Telephonic Telepathy byAbrilLamarque, Onthe Beam ” by Walter Gibson;‘‘‘ Can You deal a g9pd Poker Hand ? ’I by Hugard. the Infallible Indicator by Dai There Vernon, and “ Name your Number,” attributed to Allerton mention but actually Roy Walker’s. These are first-rate material Tissue andto makeex)ragoodmeasure thereis “ CardMagic ” by Hugard, running serially through the two volumes. VictorFarellicontributessomegoodsleights,andthere is anexcellentdescription of the one-hand-riffle-shuffle (this, incidentally, is superbly illustrated with photographs). “
T h e coin enthusiast also well is provided index. the for effects taking our fancy being the “ One dollar, eighty-five cents ” by R. M. Jamieson, “ Who’1l“give meOneFifty ? ” by Oscar Paulson and the Coins through the table.” There are a number of effects utilising rope. Under the title of “ Snapping a Knot,’’ Harvey Graham gives clear a and simple wayperforming of single thehand
Reviews of
“
Sleights Supreme ” and
CRYPTOGRAMAGIC
- continued from
“
:-
knot.Underthetitle of “ ARopecuttingTie-up,” FrancesJ. Rigneygives our ownropeandring effect ; scissorsbeingutilisedinstead of the ring.Besidesthese there are many other knotting effectsplusvariations on the cut and restored rope. Mentalists will not find a great deal of material, but what is there is good. We have already mentioned under “ Telephonic TYFpathy “On ” and $e Beam ” which haveamentalbias.Guessing is Fun,by Engel, is a goodpresentationforclose qu,:rter work, and we also by Corning. “ Glimpsl i g d “ Subcons$ousPrediction 1ng theFuture, by Pavloff, is nice a idea of prediction. issues I n most Milbourne Christopher contributes a page. In these there is awealth of ideas and materialtoonumerous to specify, butthey radiate thebrilliantpersonality of the writer. It is enough to say that every conjurer, whatever his speciality, will gain something from reading this particularsection. are some excellent routines by Jean Hugard ; of which must be the “ Tor:‘ and Restored ” (an excellent platform effect), The Flight of Time ” andHugard’s “ Billiard Ball Finale.” In the later issues Fred Braue contributes under the title of “ Roundabout ” an excellent contemporary cornmentaryonconjurersandconjuring. At the end of the volume there is a verycomplete We have in the course of this short review, only been able to skim the excellentcontents.JeanHugard has maintained the high standard with which he commenced and the bulletin, publication monthly outstanding of this we cannotrecommendittoo highly. It is onthecrest of superlatives . . . superb ! 67 Points.
Abracadabra Xmas Special ’) unavoidably held over until next month
page 34
arrangement of thetop twenty-onecards of the pack in this order :Ace of Clubs, any Queen, any Jack, any Ten spot, any Nine spot, any Eight spot, any Seven spot, any Six spot, any Five spot, any Four spot, any Three spot, any Two spot, Six of Hearts, any Three spot, any card, Eight of Spades, any Five Ten spot,anycard,anycard,anycard,anycard, of Diamonds. Someoneis called upon tosayany number betweenoneand twelve. Let us suppose that five is, the sameno is the response,thoughtheresult matterwhatnumberis called. With pack inleft hand, the cards are counted one by one into right hand, each as it is taken going under its predecessor. At the count of “ four,” the left thumb slides back the top card (the Ace of Clubs) on to the top of the pack, so that the first of thedesiredcardsfalls at the fifth position. This is, of course, nothing more than the well-known false count familiar’to all card handlers. If, as the second card is dealt, the .right thumb slides the first one slightly to the left so that it overlaps the second by abouthalf-an-inch, the
steal of notmorethanonecard is madecertain. TheJirst of our four cards, the Ace of Clubs, is thus accountedfor. Now it makes no difference what number is first called for ; the arrangement of the top stockensures that the nextcardon pack will indicate by the number of pips on it, the position of the secondof the desired cards,viz., Six of Hearts. With “ five ” as the original call, the next card in pack will be a Nine spot, and a count down to the ninth cardbringstheSix of Hearts.Whenthis Six‘ of Heartsisremoved,the following card, a Three spot, gives the position of our third card, the Eight of Spades. TheTen of Diamondsis then found at the fifth position indicated by the Five spot which follows the removal of the Eight of Spades. A convincing false-shuffle given td the cards before these counts are made will serve to add conviction in theminds of the onlookers that the results obtained areentirelyfortuitous. To preventthepossibility of the mask falling out of register-a veryimportant considerationit is advisable to have the cable card framed.
39
It is always a blow to us whenwe hear of activeminded conjurersbeingcompelled to undertakea forcedrestthrough illness. RobertO’Connorand Les. Vincent have been onthe sick listforsome while, and another addition is the London Correspondent of the Sphinx (Wilfrid Jonson). On behalf of our readers we take this opportunity of wishing them-and any others similarly indisposed-a rapid recovery. Atthe‘WindmillTheatreonFebruary 2nd; Harold Taylor started season a at thefamous (we never closed) Windmill Theatre. I t is the 210th edition of Revudeville. If you haven’tseenHaroldTaylor, takethisopportunity of seeinghim,forhe is one who has natural charm. I t is (as most readers of the Budget know) now official that the I.B.M. Convention is to take place .at Bournemouth on September 30th to October 3rd. T h e headquarters hotel will be the “ Burlington ” at Boscombe. A thing that annoysusmostishavingto pay for an effect which we have already described. Last it was year we “ fell ” for a book test, only to find that .a version of “ Lend me your Book ” (“ Patterns for Psychics ”). We know thatthere was no case of plagiarism on the part of the vendor. It was simply that he hadn’t read our previously published version. Wedid, however,takeexception to “ Saturday ,EveningGhost,”copyrighted by Thayersin 1943. ‘This is simply a straight steal of “ The Whispering ” published 1941). Joker ” (“ DesignsforMagic .Knowing that Thayar’s handled and sold this book .and that the Editor recommended it, we should like Mr. Larsen not necessarily to “ face this fact,” but j u s t to take a side glance and give us his opinion on ;thisblatant case of plagiarism. Fromour good friend Conny Steffensen, of #Copenhagen,we have received a copy of Thorkild Our Anderson’s “ Thirteen EffectswithPaper.” ,chief regret is that we cannot read Danish, but with
the aid of the illustrations we can see that it contains some novel ideasofwhich “ Kluk-Kluk ” isan outstandingexample of camouflage fortheGhost Tube. The book is well illustrated by the author. On anotherpage will be found a displayed notice regardingtheformation of amentalists’Society. We have alreadyhadthe offer of aclubroom(in Birmingham) and Library. It is up to those interested in mentalism to inaugurate a pioneer effort in magical societies. Quite frankly we are surprised. that specialist societies haven’t started before. The nextissue of the “ Pentagram ” will be devotedto “ ring ” magic. JackEddlestonedescribeshis lovely string and ring release, and there is a new angle on the “ flying ring ” by Jules Giraud. Regarding the former effect, we can remember Jack HughesatHerefordin 1946 saying, “ Peter, come and see a miracle ” . . . well, we went along and saw Jack put over this particular effect which we know you will all like. The April issue will contain a nice idea of Louis Histed’s and also the last wordin AntiGravity Glasses. The latter is by SirToon,a Scandinavian. We do try, as far as possible, to keep away from any form of apparatus used purely as apparatus, and for those who like such effects, and are perhaps newcomers, we should like to recommend to them three otherbulletinswithasimilaroutlook. They are “ Hugard’s Monthly,”the “ Phoenix ” andthe “ B.A.T.”Regardingthefirst,thefirstfour volumes can be obtainedin book form. The “ Phoenix ” (publishedfortnightly) now edite‘d by Bruce Elliott, 1s anatural follow ontothe ‘‘ Jinx.” An Annemann issue is scheduled ; with theteam of ex-“ Jinx ” writers that are normal contotreasure. tributors, CG should be anumber The “ B.A.T.” is editedby Lloyd Jones,of California, The lastissue we received dealingwith “ doating year’s subsilk ” routines was worthmorethana scription.
.
CHARLES HARRISON (Junior) On Friday, January Igth, we heard that’charles had skidded on his motor cycle and had been.taken to hospitalinanunconsciouscondition. The nextday,withoutregainingconsciousness,he passed from this life. One of the finest craftsmen we have had the pleasure to know (he was a teacher of wood and metalwork) hewas also a fine conjurer, preferringto use the apparatusof nature rather than the products of a bench. His criticism was worth while and we have to thank him for more than one suggestion that has helped to give emphasis to our own presentation. We never heard him say an unkind word about any other conjurer and hewas always willing to pass on his knowledge to those needing it. We feel proud to have known him, and to his parents. and Betsy (his Wife) we should like to add to our own sincere expression of sympathy to that of all the readers of this bulletin.
I
T H E W I Z A R D Amodernmonthly magazme. 24 pages of first-class magic. News and AnnualSubscription views on magical events. Percopy I / I postpaid. Vol. I., 12/6 THE M A G I CW A N D A quarterly book of magic. 70 pages of magic by world-famous contributors, book lists,advertisements,etc. Profusely illustrated.Percopy 3/8 post paid. AnnualSubscription 14/6.
c 0N J U R I N G
B 0 0K S
F 0R
OLD AND NEW. La me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
GEORGE JENNESS
S ALE
FOUR FINE AMERICAN MAGIC BOOKS ! !
MENTALISTS Further to the announcements made in the " Pentagram"itisproposedtohold an Inaugural Meeting (possibly at Birmingham) sometime in April. Will all those interested sends.a.e.forleafletwhichgivesfurther particulars regarding some of the proposed objects of the Society, etc.
Any or all of thz following important works on conjuring maybehadby sendingtheamountsindicatedtoour English representative, M r . Robertson Keene, 301 Norwood Road, Southall, Middlesex. He will forward your order to us via airmail,tobesentdirecttoyou by return mail.
4 The Royal Road to Card Magic "-A 'new book by Jean Hugard and Fred Braue, which every card. conjurer will prize. Just published. Highlyrecommended by Paul Fleming. Cloth, 310 pages. 121 illus., 22s. " Magic with Small Apparatus " (Vol. 1)-This first volume of the great Dhotel series is the very best work on tricks (not sIeights) with matches, rings, watches, candles, balls, corks, and cups and balls. You can't afford to miss any volume in the series. (Vol. 11, a 600-page volume on cardtricks, is nowbeingtranslated by PaulFleming.) Cloth, 320 pages, 183 illus., 28s. Hugard'sMagicMonthly : BookEdition MO. 2A brand new 'edition of Vols. 11. andIV,inthe same format as the much praised Book Edition No. 1 (Vols. I. and 11.) T h e greatest magic book value in many a year. Cloth, 208 pages, 84'' by ll", 28s. A Conjuring Melange-A collection of fifty-two original fiats of StanleyCollins's,whichhasimpressedeveryone who has,seenit.Practicable,effective,testedmagic ! Cloth, 256 pages, 147 illus., 22s. "
0 --
FLEMING
BOOK
BERKELEY HEIGHTSN.
COMPANY J.,
U. S. A.
PETER WARLOCK "
Creenbanks
Bramcote
NEW M A G I C AB LO O K S
by JOHN B R E A R L E Y
of superlativeconjuringforchildren by the inventor of those classic tricks, Magic Assembly and the Postage StampAlbum To those whothlnktheyhave
not the flair for entel;taining children, we say get L ConJUNIORing andget itquickly for not onlywillyou benefit, but so alsowill the children." . -Peter Warlock
Fully- illustrated, cloth bound, price 101postage 6 d . Academy of Recorded Crafts, Arts andSciencesLtd. 404/8 Sydenham Road,Croydon ABDUL'S FEZ Increasedcost of materialshasforced me t o increase the price of this effect to 12/8.BI feel confident, however, thatit is stillabargain to anyone who hasever worked theEgg Bag. Thanks to all those who have sent kindiwords about thistrick
ZAHAREE (Geoff. R. Hursell) 16 & 18 W-atts' Place :: KENT CHATHAM MAGICIANS' BOOKBINDING SERVICE
'' PENTAGRAM "
VOLUME 1. Bindin:Prices ,CLOTH 6/6, REXINE 8i6,~MOROCCOFINISH 718
0
'
.. ... . . .. .. .. .. ..
..
::. . ..
od.
10s. 128.6d.
od. od.
'
od. 60. od. 68. Od: ss. od
..
301 Od 101'od'
..
36s. Od.
%:&l:
FRED ROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
2
MASQUE A printed magazinegivingdetails of our latest releases in exclusive magical effects. Issued free. If you are not onourmailinglist, wricte now. .mm... s m m m m m
President : His Grace the Duke of Somerset, D.S.O., O.B.E.,I.P.,D.L.,M.I.M.C. Vice-President : DouglasCraggs,Esq., M.I.M.C. ClubroomaltdLibraryandMuseum
:
St.Ermin'sHotel, CaxtonStreet,S.W.l. MagicalTheatre
:
ParticularsfromHon.Secretary
32 Vernon St., Northampton
OLD AND NEW MAGIC LatestThinka Magician Apocket Mind only 218 Reading Effect Orrin's famousSpider'sWeb,CardTrick 301COIN WANDS to produce real a com 18/8 A few Sliding Glue Packs of Cards a/? Send stump for printed lists of old and new Magzc Sydne de H e m m s o 383 S A N D Y ~ B F ROAD, KEW SURREY . Ric 4238
:
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19
THE MAGIKRAFT STUDIOS H E N RDI E ' S E E V A H MMC., BMS., IBM., SSMC. THE FRIENDLYMAGICIAN invites allbona-fide Magicians tosendforhislist of new and used apparatus and books, or calla t his studio :1 CLARENCE ROAD 17 Harborne, Birmingham
W.C.
King George'sHall,
INSTITUTE
OF
MAGICIANS
Foz~nded 1934 President :A.Zomah. Hon.Sec: OscarOswald 102 ElmsteadAvenueWembley Park Middlasex H.Q. and Lzbrary :No.'2 Hand Court(Vihory Club),
High Holborn W C MEETING EVERY THURkDAY' 7-11 pm VISITING MAC~ICIANSALWA+S WELCOME' Yozcr membershlp cordially invlted-drop a line Secretary for literature to the Honorary
JAM G ERSA Y S O N MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
GAREENS
Telephone or Telegram : MORLEY S99 Address *B GREENFIELD AVENUE GILDERSOME, .Rear LEEDS Nearly 30 years tn the Eustness
Every Advertiser's goods are fully. endorsed by this Bulletin Printed in Englandfor
101. 30s. 8S.M. 201. M. 16s. Od. 128. Od. 10s.
The Magic Circle
A balanced programme, including patter
C. FIELD Alderson Road, Sheffield
..
CONJUNIORIN6 MASTERPIECES IN MAGIC ' ' EXPERT MANIPULATION O F PLAYINQ CARDS HISTEU THE MAGIG'OF Louis HISTED . FABIAN TWELVE NEW TRICKS .. p . . TESTAMENT OF R. W. HULL.. HALL . NOTHING I S IMPOSSIBLE HALL HALL READING I S BELIEVING .. KORAN MASTERED AMAZEMENT . . UPTHUMBS KENJON . MACKENZIE COMPERES CORN'ER' . . FIRST BOOK OF WlLLlAM . . .'McCOMB L E W I S G , T Y L E R OPEN SESAME WARLOCK PATTERNS PSYCHICS FOR WILLANE WILLANE WIZARDRY .. NORMAN BASIC CARD TECHNIQUE 3d. Stamp forlist of Books on Loan ~
Con JUNIOR ing
42
Notts
BREARLEY CRAGGS GANSON _._. --
A NEW ARCAS BOOK
'I
"
PETER WARLOCK by GEORGE SEARSON. 40 BlueBellHillRoad,Nottingham(Telephone
44652)
,
4’
PENTAGRAM
An independent monthly bulletin
V ! &2
6
for all who want
good magic
& a d , 1948
Effect.-On the conjurer’s table stands a cardboard postal tube.This is lifted, revealing a grass tumbler from which the conjurer takes a silk handkerchief, a small length of ribbon and a lady’s ring-box. These articles are laid aside and the tumbler re-covered with thetube. Awedding or dressring is now borrowed ,and placed inside the ring-box. Around the box is then placed an elastic band ; the box is next placed under the handkerchief which is held atthe fingertips of the left hand. Approachingaspectator, the latter is requested to place his hand underthe silk. “ When I count ‘ three ’,” says the conjurer, “ I am going to drop the box on to your hand . . . you will then open the box and find thatthe ring has vanished.” The conjurer counts, apparently drops the box, whipping the silkaway ; the only thing the spectator holds, however, is an elastic band ! The situationhere is for the individualconjurer. The handkerchief is then taken and tucked into his left hand, the piece of ribbon being poked in with it. A rubbing motion, and the left hand is shown to be empty. Going to the tube on the table it is lifted to show that the vanished silk has wrapped itself roundthe glass, the ends being tied with the silk ribbon. The spectator who loaned the ribbon is requested to untiethe ribbon ; thisdone, the silk falls away revealing the vanished ring-box safely inside the tumbler. The lender of the ring opens the ring-box and finds his ring safe and secure ! Requirements. - Aghost tube made to resemble a postal tube (please don’t use a nickelplated affair). The size of this tube will depend on the size of the glasses used. One bottomless tumbler (the moulded type made by Burtini cannot be equalled). Two eighteeninch silks of similar colour. Alength of cord elastic. Onering-box. A finger tube for vanishing a handkerchief. Two elastic bands (these should be reasonably stout and encompass the ring-box witha safe butnot too tight fit). A tumbler similarin appearance to the
bottomless tumbler. Two shortlengths of ribbon or tape. A length of fishing line or strongthread. Preparation.-One of the silks is taken, and from the centrea circular piece is cut. The size of the hole ,is dependent o n the size of the ring-box, for the latter must pass throughit comfortably. A hem is now made round the edge of this cut-out (this is a woman’s job, and it must be neatly done) and through the hem is threaded the piece of eiastic (whilst it is desirable thatthe when elastic is unstretched, the hole should be completely closed, it is sufficient if a small gap is left showing, see first illustration) theends of which are sewn together. If ‘this handkerchief is now placed with the centre over themouth of the glass and theends pulled down and around the sides so that theymeet at the bottom, the elastic will bestretched, leaving a hole at the mouthof the glass (see second illustration). The ends of the silk are now tightly tied with one piece of tape. Thethird illustration shows the set-up of the glasses in the tube, which is as follows : The bottomless tumbler is stoodupon the table ; into it is placed first the duplicate silk, thenthe ring-box and on top of this the piece of ribbon or tape. The ghost tube is now placed over the tumbler and the silk covered glass dropped mouth upwards in to thetube. One of the elastic bands is now fastened to one end of the thread (or fishline), this piece of thread being taken inside the coat on the left side and the free end being tied to a safety pin which is attached near the left handreartrousers buttons ; the length of thisthread must be determined by the length of the coat. Tails, of course, give a greater scope for length, the main point being that when the elastic band is allowed to fall it is out of sight but easily get-at-able. The elastic band that is anchored togetherwithitsfreetwin is placed in the left hand waistcoat pocket. Handkerchief tube is placed in right hand pocket. With these preparations made the conjurer is all set continued on page .I” for the . . ,
PRISONER IN THE
SILK - continued from page 41
Presentation.-Thetube isliftedfrom the table,carryingwith itthe silk covered glass, but leaving the bottomless table and its contents showing. Tube is placed on its side on the table so that the audiencecannot. see throughit.Contents of the bottomless tumbler are then removed and placed on the table. Finally the bottomless tumbler is picked up by the left hand, the right second finger snapping againstitandcausing itto ring. The righthand picks up the tube so that the thumb, first,second and third fingers encircle it at the silk covered glass end, whilst the fourth finger bends over the edge of the tube. Tube iscantedandbrought uptoa vertical position with the silk covered glass undermost (the fourth finger prevents dropping). it The left hand drops the bottomless tumbler mouth downwards into the tube ; the third finger coming ; with the visible roundtojointhelittlefinger dropping of the bottomless tumbler, these two fingers give aslight reflex action as thoughthey werestoppingtheglass.from falling throughthe tube.Righthandreplacesthetubeonthetable. (The actionfromtheaudience'spoint of view, providingtheperformer has carried out all these actionsinanaturalmanner, gives nogroundfor suspicion.) The ring-lender is asked for ; he is requested to place his ring inside the box which is handed to him. Taking back the box and momentarily placing it down, the right hand removes both elasticbandsfrom the lefthandpocket,theleft hand picking up ring-boxandthefingers of the right hand slipping round it the band is tied to the is heldagainst the side thread ; thesecondband of the box by the fingers of thelefthand. The righthandtakesthesilkanddrapes it over the ring-box,theduplicateelasticband being pinch'ed againsttheside of the box. The lefthandcomes out fromunderthe silk obviously empty. The conjurer, still holding the box and band under the silk, turns slightleftandapproachesaspectator, asking him to place his hand under the silk ; at this moment as he stoops slightly, the box is dropped ; by gripping it throughthe silk with thumband first finger the duplicate band is retained, and clipping the silk with the fingers, the shape of the
top of the box is simulated (it is such a small object that this calls for little effort). The spectator places his hand under the silk, the band is allowed todropintohishandandthe silk whisked away. The silk is passed to the left hand, and whikt the performer is asking the spectator what has happened to the box, his right handgoes to his trousers pocket, therebyobtaining possession of thehandkerchief tube. The hand comes out, andtakingthe silk from the left hand leaves in its place the handkerchief tube.Lefthand closes andthe silk is poked intothe tube withthe second finger of theright hand ; when about two-thirds have disappeared into thefist,the piece of ribbon is picked andpushed inside as well ; the conjurer goes on pushing until all silk and ribbon is in tube ; the right hand finger gives a final push,andthelefthand movesaway closed, the tube being left on the right hand second finger. The righthandpullsthe left hand, coat sleeve above the elbow, the handkerchief tube being deposited in the breast pocket. (A length of whalebone will helpto keep it open.) The left hand is to theside, shown to beemptyandthendrops locating the ring-box and quickly detaching it from the elastic band and finger-palming it. A turn is made to the right. The right hand raises the tube to show silk covered glass ; tube is shown empty and placed down. Righthand picks up silk covered glass by way thatthe itsears, so to speak, andinsucha mouth is canted away from the audience. The left hand comes up to take it on its palm, the result beingthatthe box goes through the hole andinto the theglass andthelefthandcompletelyhiding opening ; in this condition the spectator who loaned the ring is approached with a request that he shall disundotheribbon ; hedoesthis,theresulting appearance of thetensiononthe silk causing the elastictocontractandpractically close the hole in the silk so that as the silk falls the box appears to be resting on an out-stretched silk. As the spectator goes to lift the box, the conjurer allows the fingers of his hand to draw inwards, gripping the centre of the silk andcarry it away. The ring-boxisthen opened by the spectator and the contents checked.
43
Many of our readers will, no doubt, have seen Jack Eddlestone perform this version of a ring release and know how extremely effective it is. The effect is that a small brass ring is threaded on a length of string, the ends of which are held by spectators. The ring is further secured by the means of amatchstickwhich the conjurerplaces between the ringandstring.Suddenly the conjurer breaks the match and the ringfalls ofl the string ! The conjurerthenreversesthe effect, passing the ring back on to the string. Everything, as they say inthe adverts., can beexamined. R e q u i r e m e n t s for this superlative pocket trick are simple : a length of string (of sufficient length for twospectators to hold and still giveroom for the conjurer to work),twosmallbrassrings(small curtain rings are those used by Jack), and a matchstidk. Rings, string and matchstick are placed in left hand pocket. of stringandone Method.-Handthelength of the rings to a spectator, whois requested to thread the ring on to the string. One spectator now holds oneendwhilstanotherholds theother.(Quite obviouslythiscanbeworked for oneperson, the conjurer facing him as he works.) The conjurer now goes to his pocketostensibly for the matchstick. As hedoes so he Dositions the duDlicatering. and match, bringing tgem out as sho& in first"i1luspiece thumb and bending tration, i.e., t h e ring rest between the first joint of first finger. (The fact that the matchbeware stick is visible makes the holding of the ring natural.)
The right hand first finger and thumb now take the match from the left hand and at the same time the left hand turns over ; the action tothe audience nowis that the performeranchors the ring to the is string,andthemovement of bothhandsagain natural, for with the turn over of the left hand the duplicatering isplaced againstthestring tothe right of the original ring, the right hand coming in and insekting the matchstick between ring and string. Apparently the left hand has simply steadied theringwhile the match was pushedthrough. The second illustration shows the underside of the performer's left hand(thehand is shownopen to closed) make position clear ; actually itshouldbe which at the conclusion of the anchoring pushes the original ring further left. The left hand, in a closed position, moves slightly left andtherighthand breaks the stick, removing the ring. Again the presence of the steadying influence of the left hand is accounted for. The ring is heldbytheright hand fingers for a brief space,it is thenplaced as the left underthe left handandfinger-palmed hand comes away revealing the original ring ; as the left handmoves the ring is givena slight touch, sufficient to make it spin on the string. There are just two tips before signing off ; the first is that if the ring. is of thin metal. to whittle a off the match,"so that it will break without the ring ; the second, that in practising, of angles.
. . .
MFO W ITV NR HIG IN ETEG ERS
By R o b e r t Harbin
EFFECT :-Announcing that he has made a prediction, the performer shows a piece of paper, which he places in a prominent position. Names of six guests present are written on sheets from a note pad. Each name is checked by the nearest person, crumpled, and dropped into any convenient container. One of the crumpled names is freely chosen, the paper opened and the name read out. The piece of paper containing the prediction is opened up and the names are found to be the same . . . Now a further predictioa is made on a sheet from the note pad, and this, too, is crumpled and placed in a prominent position. Six names of people at- the otherside of the audience are collected, written down on sheets of the pad, andthese sheets are crumpled and placed in a container. Once again a free selection is made, and once again both papers are opened up and the names found to be identical . . . There is no possibility of your audience discovering the method, because each time a different subterfuge is employed. The time taken is four minutes or more, and something is happening all the time. The effect on your audience is dumbfounding. This is the first really practical prediction for dinner and private show workers--n reputation-maker. And the price is right.
Only a few left 5 / - (One Dollar). ROBERT HARBIN
::
Y o u receiveillustratedinstructionsonly.Justonesimplemove. study you can put it rightintotheShow. 401 FROBISHER :: DOLPHIN SQUARE
Afterten ::
minutes'
LONDON, S . W . l
hput
44
2 In the habyon days of 1937, I hit upon a couple of moves with a rope and ring. The effect was that after a fair sized loop had been made in a four foot length of rope, an eight inch metal ring was passed intothe loop. (This version,using scissors instead of aringhassincebeenpublished in “ Hugard’s Monthly ” and “ Tricks.”) In this first method, the ring was thrown at the loop ; in this the second method the rope is apparently rubbed through the ring. I published the first methodinthe “ Magic Wand.” The explanation given by me was not too easily understood,andinconsequencewhen my friend the late Will Goldston, asked permission to include it with ample illustration in “ Tricks of I alsogave him theMasters,” I readilyassented. the version about to be described. Something went wrong with the illustrations (a second set of drawings were made as the originals and blocks were destroyed duringthe blitz). Because I thinkthatthisquick penetration may be of use as apreludeto say, a GlassPenetration effect, or as part of alinking ringroutine, I amgiving furtherdescriptionwith adequateandcorrect illustrations. The only requirements are a four foot length of ro,pe (this shouldn’t be too soft) and an eight-inch metal ring. Taking the rope, the conjurer first ties a single knot ; this done, the rope is held by the left hand as in first illustration. Assuming that there are spectators seated right and left of the conjurer, the righthandspectator is handed thering for examination (if the first movehasbeen u3ed this is, of
Bevast,
Ulster. 29th‘ December, 1947. andPeter, Dear
Do you rememberthat article called “ Re” you a ran few months ago ? I’ve been
Cowry
course omittedas the ring has already been examined). The ring is taken back and held between the rope and fingers (second illustration), thesecondand third fingers supporting it. Turning left to . a spectator, the conjurer remarks, “ And now I would like to show you this is slow motion.” As he makes thisremark,the first andsecond fingers of the right hand takes hold of the lowest part of the loop, bringing it to theposition shown in third illustration. These fingers start to rub the rope against the ring at that point and at the same time the second, and third fingers (which are supportingthering)grip under the that part of end B, immediately ring. The left hand releases the rope it is holdingandgraspsthering(fourth illustration) whilst theright hand second and third fingers B through the ring. End being A pull end well grippedbythethumbandhand, so that the two ends apparently move together. These two movements jorm part of one bz‘g movement. This big movement is that of the right hand (which holds the ring) moving as far as it willgo tothe right, whilst the left hand with both ends (one now threaded through the ring) goes as far as it can go to the left. This actionhas the effect of makinga new loop (not look !,) with the point marked X becoming the lowest point. In the last illustration I have omitted the left hand in order that there shall be no confusion. It is a convincing but not a difficult move, and as I saidbefore,itcan make an effective preludetoa greater penetration effect, or alternatively a pleasant break in alinkingringroutine.
working it since gredt ever with success.just It ground. suits down the me to The magnetized glass thing I fiddledwithforabitanddiscovered that it works if you cut twosemi-circles in thepaper just it so that through shows the semi-circular holes, thetape picks upthe celluloid continued on page 35
45 RING
IN
AN
EMERGENCY - continuedfronzpage 4 4
-GhCkP/-
glass easily, and after that effect you can go into the T. and R. Newspaper,as the gimmicking of the paper for the glass effect does not interferewith the gimmicking for the T. and R. T h e following may be some use to you for the Pentagram.” It is an impromptu method of doing the “ Ring on Stick.” Cut a piece of sticking plaster tothe shapeshownand fold over thetab “
Stringinga plain finger ringona short piece of cord, a spectator secures it in the centre with a hard knot. You take the ring fromhiminyour right hand, allowing thestringendsto dangle. T h e left hand runs down the string, picks up one end of it and places it in spectator’s right hand as hestands facing you. Left hand now places other end of string inspectator’s other hand. You now let go of ring which hangs suspended in full view, tied inthe centre of the cord. Covering the ring with a handkerchief you proceed to release it without damage to either the ring or cord. This depends upon a subtle andutterly unlooked Seemingly this is an impossibility underthe conditions. In your left hand you have concealed a duplicate ring looped to the centre of a piece of string the same length as the other. The loop looks much like a hard knot and the, string lies curled in the left hand, it being about twelve inches long. Up the right sleeve is an ordinary fairly tight elastic pull with a hook at the lower end. for substitution of both the cord and ring.
so thatthe two sticky sides are together. This prevents it from sticking to anythingand gives a tabwhich, when pulled on, will drag off the rest of the plaster. T o the centre of the plaster press a cheap ring. Lay the whole on the palm of the left hand with sticky side up. Borrow white handkerchief in folded condition-it would bequite excuseable to lift it out of the pocket of an onlooker in close-up impromptu work. Place handkerchief on to left hand so that a corner presses against the fake. That sticks fake to corner of the handkerchief. in position where normally the ring would be sewn in working the effect with your own handkerchief. Working is, then, as per usual for the ring on stick. But the fake is stolen on the surprise of finding the ring on the stick. The tab facilitates its quick and smooth removal. It canbe pressed underthe left hand side of the jacket where it will remain till it is safe to remove itand dispose of it completely.
That is a very scrappy description, but it’s now 3 a.m. and I am nearly asleep ! I’m enclosing sample sticker in case you don’t quite get the idea. My best for the New Year,
A spectatorsecures the ring, and as hedoes this you secure the end of pull in right hand. As you take the ring from him with string endsdangling, getit intothe hook or clasp. Whenthe left hand apparently runs dou7n the strings very rapidly it leaves its ring betweenright thumb and fingers which at the same instant releases the ring it holds. The ring and string trailing from it vanish up right sleeve like a flash and at the same instant the left hand merely runs down and unwinds the string it held concealed in palm. The illusion is absolutely perfect at close range. Hand spectator the string endsand cover the ring with handkerchief, under which you easily undo the loop and all may be examined. The loop is best made by putting the two ends of cord through the ring and then through the bight of the cord, pulling the ends of cord which makes a solid appearing knot at ring. However, the ring is quickly removed while ends of cord are held by loosening the loop and passing it completely over the ringwhereupon itjust falls off.
WILL
GOLDSTON
In the early morning of the 24th February, at his Folkestone home, this international figure in Magic passed quietly away. There can be very few who had not heard his name, for he was surely one of the most prolific of all magical writers. We had known him over a period of twenty-nine years. Still vivid in our memory is our first visit to Aladdin House. Quietly we walked up the stairs, gently we pushed open a door bearing the name ‘ Will Goldston ’ ; there was the far away tinkle of a bell-and then we were inside our first Magic Shop ! Making our first purchase (the multiplying billiard balls !) we met Will Goldstonfor the first time. Will Goldston’s knowledge of the ‘ inside ’ of magic and magicians was amazing. . His friends in the newspaper world enabled him to always have a good “ press ” for any entertainmentwith which he was associated. The books and articles he wrote are legion innumber.(His last article to be published whilst he wasalive appeared in “ Readers’ Digest ” March issue.) All put together they would require at least a five foot shelf ! In describing a trick he never used two words where one would do, and he never stinted his illustrations. Look back at the Magicians’ Annuals and the early “ Magazines of Magic ” and you will not only find some of the best examples of his work, but some most excellent magic superblyillustrated by artists like H. M. Elcock and “ Alba.” The latter years of his life were dogged by bad health thoughapart from seeming a little thinner he still seemed the same Will Goldston. T o us he was always helpful in every way and on many occasions went out of his way to grant a favour. We, as all other magicians, shall miss him. T o Mrs. Goldston in her bereavement we should like to add to our own sincere expression of sympathy that of all readers of this bulletin.
A.
ZOMAH
With the loss of its President on February 19th~not only the Institute of Magicians, but the World of Magic has suffered a grievous loss, for with MadameZomah, theact he presented entitled ‘‘ The Unsolved Mystery,” was one which reached the peak of two-person vaudeville telepathic acts andtop-linedall over the globe. I n 1934, Zomah was responsible for the inception of the Institute of Magicians. He didnot believe thatan honest Magical Society shouldcountenancecheats, exposers and copyists, the result being such vandals were not tolerated in this new Society. He was a fine conjurer and his versions of the “ Rising Cards ” and the “ Television Frame ” were objects of envy by many conjurers who enjoyed the privilege of witnessing them. In 1947 he conceived the idea of teaching conjuring to the blinded ex-soldiers. The team of instructors for this ‘project included such well-known magicians as George Davenport, Jack Hughes, Oscar Oswald and John Brgdbury. That he was able to see some of the success of such a scheme must have been a great consolation duringthe last months of his life. It must have also given him pleasure to have seen the Society that he started,. reach in so short a time, a membership of some six hundred. He was a most approachable man, always willing to give the benefit of his knowledge to those in need of it. He was astaunch supporter of youthin magic. T o Madame Zomah in her great sorrow, and to all who walked so close beside him, we join with our readers in expressing the deepestsympathy.
NEW P E N T A G R A MG R A D I N G . - A maximumaward of Ten Points in the following categories (when app?icable) :(A)-Physical Make-up (B)-Quality of Material ( C ) - Value Magic to (D)-Clarity TOTAL 70 POINTS (E)-Illustrations (F)-Readability (G)-Sincerity “SLEIGHTSSUPREME” by E . Brinn MucCartlg. (published by George Jbhnson, price 1216). This isa book written by anoutstandingamateur. We use the word in its proper form, for there are many classingthemselves as amateur,whenthewordshould really beaspirated.Major lLfacCarthyloves conjuring, and this is not only evident in his introduction, but also in the way he approach.cs a technical difficulty in manipulation, first attacking and finally surmounting it in triumph. T h e firstsectionis one devoted tocoins,andthe f i k t effect isasingle-handedvanish of four coins (in conjunction with the Hughes’ coin tray). This is described in meticulous detail. “ FlyingCoins ” issomethingnew in handkerchief coin folds. A single coin vanish completes this section.
The second section deals with cards, and here, after giving his own an,!, on top changing, the author proceeds with fiveeffects, LeadingthemuptheGardenPath ” (theauthor remarksthisisaversion of anEricLewis effect, but we shouldhavecredited Art Lyle),aversion of “ Everybody’sCard,” “ All Change,” “ Vanishing Faces,” and a card and crystal effect. The third section, and, to our way of thinking, the best,dealswith one effectcalled the “ Colour-Sensitive Silk.” One can realise when reading that a lot of thinking and experimentation must have gone to its making. SectionFour dealswith billiardball manipulation. Two openingacquitmentsare given togetherwithsome colour changes of two and three balls. continued on page 47
47 A WORD ABOUT BOOKS
- continued frompage
46
T h e last section deals with some “ Cup and Balls ” moves, the best of which we consider the vanish of a ball. T h e bookisprofuselyillustratedwithdrawingsby the author, the text is clear and the contents cover nearly ninety pages. It is abook that deservesamorelasting binding. It is nota book forthemanwho is lazy nor for those who believe that an ability to crack a doubtful joke is the royalroad to conjuringstardom. It is Brian Maccarthy,and being thatitis excellent. 59 Points. X
*
X
ABRACADABRA CHRISTMAS SPECIAL ” (publishedbyGoodliffe, price 3 / 6 ) . Wedidthink of saying “ themixture asbefore,” but that would be unkind, not only to the conttibutors, but also to the publisher, who obviously does his best to please the multifarious tastes of his readers. Like the curate’s egg, there is a mixture of good and bad conjuring. Of the good we would pick out “ Rainbow Cards ” byLouisHisted.(This is aversion of aDai Vernon effect we had the pleasure of seeing performed by Stanley Collins last summer), and “ T h e Improved Cube of Confucius ” by Len J. Sewell ; whilstmost of our readers know, we are not partial to tricks where apparatus is used as apparatus, we class this fine idea as an exception. George Sylvestre gives his own angle on the dyeing handkerchiefsand Billy McCombcontributesashort five ringroutine.Len Belcherdescribesacouple of apparatus’ tricks that have merit, and Syd the Sorcerer gives a calendarideaprobablyinspiredbytheBruceCalendar trick. Gerry Findler gives the reader sandwich a of advice, the bread part being commonsense whilst the filling is spacious nonsense. There is paper a cutting effect re-described by Len Sewell, in yhich the performer can, with single a cut, produce a Pentagram.’ A comedy milk routine by one Jimmie Bates, touches (as we mentioned in “ Magic go Round last month), bottom so far as we are concerned. We contribute a novelty book test. Not really part Ef the tricksection we likedvery much W. S. Hartley’sCheckmate.” Written in narrative form and dealing with chess (but not ill such a way that it is necessary to be a chessplayer) it makesawelcome oasis in a sea of descriptive jargon. T h e booklet is well printedon goodquality.paper and capablyillustratedbyDennis.Attheverymodest price asked it is a very good buy. 55 Points. “
BOHLENO’SMYSTERIES ” by Henry Bohlen (publishedbyGeorgeArmstrong, price l O / - ) : In thislittle.booklet of sometwenty-oddpages, Mr. Bohlen describes five routines that made him a prizewinner a t the I.B.M. St. Louis Convention in, 1946. T h e first effect is one in which theconjurerpasses three wooden rings into a loop of silk. This is conjuring of the visible‘ order. It is straightforward,freefrom worry and has plenty of audienceappeal. T h e second effect is that of a floating handkerchief. The writer here, seems more concerned with the passing of ahooproundthe silk ratherthanthat of ahandkerchieffloatinginspace. It is conjuringforconjurers, but not magic for magicians. The nexteffect is acutandrestoredribbon.For effect we think it straightforwardness of methodand would be hard to beat. A cut and restored strip of paper follows. Again there is nothing tortuous either in method or effect. The last routine deals with silk-cum-rope penetration. Whilstthismethodpre-datestheSpaldingroutine,Mr. Bohlen has given a great deal of study and introduced a number of niceties that make thisanoutstandingcontribution.Here is somethingwhichcouldtakeitsplace in the largestshowwithgreat effect. During a period of convalescence we havetried all these effects and found them to be one hundred per cent. practical. With the exception of the floating handkerchief eacheffect orroutine is somethingthatwouldregister wellwithany type of audience. Inone effectonly is there any need for a special gimmick, and that should be found in any conjurer’s kit. All the effectsareclear in text,andLamontehas provided plethora a of illustrations. The booklet is clearly printedandisboundintoa semi-stiffattractive cover. 56 Points. “
$+
X
Q
MANUSCRIPT THE MOVINGFINGERWRITES ” by Robert Harbin(manuscript, price 5 / - ) . From one of the finest brains in British magic to-day comesaprediction effect. Primarily intended for dinner work, it is, however, just as suitable for any entertainment with an intimate audience. One prediction is proved to be correct ; then breaking the acceptedrule, thementalistsuccessfullyrepeatsthe effect. T h e subtlety used by Mr. Harbin would be cheap to any practising mentalist at treble the price. “
We must first apologise for the delay in delivery of the February issue of the “ Pentagram.” A diet of “ M. and B.s ” forced upon us by a well-meaning doctor laid us low at a busy time.
Good news comes from Hastings. Robert O’Conner, after along illness, wouldseemtobe well on the road to recovery ; he hopes to be back in theshowbusiness by May.
Coincident The hound of death is abroad. with the news of the deaths of Zomah and Goldston, came that of MauriceRaymond.Probablynone of the present generation of English conjurers ever saw the Great Raymond ; the last time we saw him was at Collin’s, Islington, and the thing thatsticks in our memory was his .presentation of atriple silk vanish andreproductioninthreetumblers.(Our memory is abithazybut webelieve this was his opening effect.) A fine Showman !
Our friend Stanley Collins’s “ Quesans ” have tickled the palate of some of our contemporaries. We are pleased to say that we have some more of these for future issues. The Annemann- issue of the “ Phoenix ” (No. 151) is n&so far off. We like the idea of the cats becomingmoreapparentwitheach successive issue.
C O N J U R I NBGO O K F SOS R ALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX T H E W l Z A R U A modern monthly magazine. 24 pages of first-classmagic. News and I/I postpaid.AnnualSubscription views on magicalevents.Percopy Vol. I., 12/6 THE M A G I CW A N D A quarterly book of magic. 70 pages of magic by world-famous contributors, booklists,advertisements,etc.Profuselyillustrated.Percopy 318 post paid. Annual Subscription 1416. , COMPANY GEORGEARMSTRONG, THE MAGIC WANDPUBLISHING :: ENFIELD :: MIDDLESEX 11 MONASTERY GARDENS
Quality Apparatus
THE ARDEN HOTEL, NEW STREET, BIRMINGHAM will be the venuef o r the Meetingof consideration and inauguration of the Society of Mentalists Evening Meeting, Saturday, April 24th, 1948 Morning Meeting, Sunday, April 25th, 1948 Chairman : Mr. GEORGE ARMSTRONG (Editor of the "k ?@ W a n d ) W e should liketo knox in advance if YOU zcill be present P E T EW RA R L O C K " GREENBANKS," BRAMCOTE, NOTTS. NkW MAGICAL BOOKS
The Moulded By:tomless Glass (recommended for Giraud's exzellent Prisoner in the Silk " and selling at the moderate price of S/-, post free) i s just one of the manypiecesofqualityapparatusmade by u s . Glass and Metalwork are our specialities Sendfor List ----
CONJUNIORING .. MASTERPIECES IN MAGIC ' ' EXPERT MANIPULATION O F PLAYING
BREARLEICRAGGS
10s. Od. 128.
6d.
.. . . Qd.30s. .. 6s.Od. . . 208. Od. .. .. 12s. 15s. Od. (Id--. ._I. W-.
THEMAGiC.0f LOUIS HISTE'D' TWELVE NEW TRICKS .. TESTAMENT OF W. R. HULL.. . NOTHING I S IMPOSSIBLE .. READING I S BELIEVING KORAN MASTERED AMAZEMENT. KE,\'JON THUMBS UP MACKENZIE COMPERESCORNER'. .ITcCOMR FIRST BOOK OF WlLLlAM L E W I S E + T Y L E K ' OPENSESAME WARLOCK PATTERNSPSYCHlCS FOR W 1 1 1 AAT&' WILLANE WIZARDRY BASIC CARD TECHNIQUE .V0RM A .l. 3d.Stamp for list of Books on Loan
HISTED FABIAX HALL
.
'
1Os. Od. 6s.Od. 5s. Od. 6s. Od. 30s.Od. 10s. Od.
'
I
'BEKTISI 70 WATERLOO ROAD - SMETHWICK (SME 0439)
I, 1 _ U 1 1
..
I , Y
Is.6d
.I
35s;
Od:
FREDROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
A WCAS Magical Publications
The Magic Circle
Mr. Smith's Guide to Sleight . .\V.Jonson of Hand A.B.C. of Ventriloquism . .D. Craggs Expert Manipulationof Playing Cards . . . .I.. Ganson Testament of R. W. Hull . .'I.H. Hall . .T. H.Hall Nothing is Impossible Masterpieces of Magic, Vol. 1 . . Patterns for Psychic3 . .Warlock . . Franklin Kamut .. Conjunioring . . Brearlev Willane's Wizardry .. .Willan<
President : His Grace the Duke of Somerset, D.S.O., O.B.E.,I.P.,D.L.,M.I.M.C. Vice-President : DouglasCraggs, Esq.! M . I . M . C .
'
.
1016 10;-
10120!15/-
lO/10131'6
lO/2%
MASQUE A printed magazine giving details of our latest releases in exclusive magical effects. Issued free. If youare not onour mailinglist, write now.
Clubroonk
aid
Lihmry and Museum :
St.Ermin'sHotel, S.W.l. CaxtonStreet, --
Magical lhentre :
KingGeorge'sHall,
W.C.
Particulars from H O M .Secretary : ObtainablefromallDealers
4041408 SYDENHAM ROAD Croydon ..
ordirect
..
from :-
THE MAGIKRAFT STUDIOS
Surrey
32 Vernon St., Northampton
ABDUL'S FEZ Increasedcost of materialshasforced me to increase the price of this effect to 1216. I feel confident,however, thatitisstilla bargairl to anyone whohaseverworked the Egg Bag. Thanks to all those who haze sent kind ze3ords about thistrick
H E N RDI E ' S E E V A H MMC., BMS., IBM., SSMC. THEFRIENDLY MAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or call a t his studio :1 CLARENCE ROAD Harborne. Birmingham 17
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts' Place :: KENT CHATHAM ~~
~~
"PENTAGRAM '' VOLUME 1. Bindin Prices :CLOTH 5/6, REXINE 6i6,IiMOROCCO FINISH 7!6
CF. I E L D 42 Alderson Road, Sheffield
0
2
Every Advertiser's PrintedinEngland
AN ND EW MAGIC Latest 'I'hink a Magician A pocket Mind oidy 216 Reading Effect Trick 30!Orrin's famousSpider'sWeb, Card l6/6 COIN WANDS to produce a real coin A fewSlidingGluePacks of Cards 819 Send stamp for printed lists of old and nezz Magzc Sydney de Hemlose 363 SANDYCOMBE ROAD, KEW G A R ~ E N S SURREY Ric 4238
goods are fully endorsed
for PETER WAKLOCI< byGEORGE
OF
INSTITUTE
'MAGICIANS
Founded 1934 President : A. Zomah. Hon. Sec: OscarOswald 102 ElmsteadAvenueWembley Park Middlesex H.Q. and Library : NO.'^ Hand Court (Vi'ctoryClub), C HighHolbornW 7-11 p.m. MEETING EVERY THURbDAY; VISITING MAGICIANSA1,WAYSWELCOME Your membershlpcordially ~ n v i t e d - d r o pa line to the Honorary Secretary for literature
.
OLD
MAGICIANS' BOOKBINDING SERVICE
FrancisWhite, 39AlverstoneAvenue, Wimbledon Park, S .W. 19
JAMES
'
GRAYSON
MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegrnm : MORLEY 899 ' Address :23 GREENFIELD AVENUE GILDERSOME,NearLEEDS Nearly 30 years in the business
by this Bulletin
SEARSON;. 40 BlueBellHillRoad,NottinghamTelephone
44652)
@
49
PENTAGRAM ( A NEW VERSION OF THE HANGINGGLASSES) Effect.-Aftershowinghishandsempty, the magician places anunpreparedsilkhandkerchief over and around an ordinary sheet of glass (a glass plateabout 6” X 9” insize) ; thenheshowstwo (ordinary)drinking glasses to be absolutelyempty, and places them on top of the glass plate with the silk, mouth down. The performer now turnsthe plate, with the glasses still on it, upside down and the audience is astonished to see the glasses remain attached to the silk as by supernatural force 1 Now for the new way to present the miracle :-
A moment later the performer removes the glass silk “ in a jiff,’’ withthe glasses stillonthe plate and the glasses still remain firmly to the plate, whilethemagicianstepsdowntotheaudience, letting everyone see the miracle in near view. Yes, he moves the plate with the glasses close before the eyes of the spectators . . . apparently there is nothing that holds the glasses but “ the supernatural force.” The performerthen by one,andimmediately
removes the glasses one gives everything out for
examination,atthesametimeshowinghishands empty with fingers wide apart. Requirements.-A double hook made of celluloid,inshapeandconstruction as shown in Fig. I (approximate size : length 23mm., the three hooks 9mm.inheight). The widthis gmm., the shorter piece with the hooked doubleendto the right (Fig. I ) makes a clip that fits the gimmick on top edge of one glass). Also two thitz drihking glssses, a glass plate .and a silkhandkerchiefin size to fit the plate but with seams on only three sides. Preparation.-Fasten the gimmick on top edge of one of the glasses, gimmick outside,of course. Placetheother glass inside the firstoneand have both glasses on yourtable so thatgimmickis out of view (see Fig. 2). The gimmick can’t be seen whenattachedto glass, however, thanksto the reflections in the glasses, even if looked at quite near. Onthe tablenear glasses have theplateand the silk (Fig. 2). continued on page 5 0
ULTRA
- ANTI - GRAVITY -continued from page 39
Presentation.-I. Showyourhands completely empty with fingers apart. 2. Takethe glasses in your left hand, move them to the right and take them apart ; left hand holds the unprepared glass while righthand takes hold of the gimmicked one by pressing thumb on top edge and directly above gimmick, and with first and second fingers atthe bottom. Left hand holdsits glass in a similar fashion. Turn hands as shown in Fig. 3 and let audience look into empty (!) glasses. During this the gimmick is covered by right hand thumb in an easy non-manipulative manner(Fig. 3). 3. Now let the gimmicked glass fit into the otherand place both back on table with gimmick out of view. Immediately pick upthe glass plate, show itto beunprepared and solid, and at same time, but without saying anythingaboutit, show yourhandsempty, while you transfer the plate from one hand to another. 4. Turntothe table, place the plate onthe glasses for a moment in full view, and pick up the silk. Show it very thoroughly, both sides, and let it slide between first and second fingers of one hand, or even through the hands of aspectator if you wish, thus showing thatthe silk has nothing concealed in it or is otherwise prepared. Once more show the silk from both sides with thumbsand first fingers at two corners, thus even showing your hands otherwise still empty.Hold silk in corners while you move back to the table. 5 . Withoutturning around,transfer silk to left handandgripitatthe side without a seam. Right hand picks up the glass plate in a clear and open manner,and with left hand drapethe silk over the plate withthe seamless part longwise at the rim, where you are holding the plate. Gripping plate inthe middlewith rightthumb(that also takes hold of the seamless part of handkerchief in draping same), on the upper side and fingers at rear, now put the free-hanging frontpart of silk beneath the platewhere the first, second and third fingers take it and thus even stretch the whole silk a little around the plate. 6. Showyourlefthand empty with fingers apart, reach out, pick upthe gimmicked glass, grip it between thumb and first finger at the bottom part (turn it alittle so that the gimmick does not show out sidewise, otherwise you canhandle the glass freely, thanks to the movement) and place it, not too slowly, mouth downon the plate. Don't putthumbintothe gimmick yet,bufbealittle careful in handling the plate at this moment. Once more show your left hand empty, at same time reach out and pick glass number two from table, placing it mouth down on plate and inside the free hook of gimmick. Arrange glasses with left handandat the same time place your right thumb between the two classes and pressdown glightly, thus shaking the platealittle. Let it beheard as if the glasses are (what they seem to be) quite loose and freely standing on the plate (see Fig. 4). .
7. In ending the shaking make a few " magic Then passes " over the glasses withlefthand. turnthe whole thing upsidedown, at sametime pressing yourright thumb harder down between the glasses. Move right arm in a half circle before you and then (aftera few seconds) turnthe plate right again, at same time lifting thumb and letting the glasses rattle against the plate. 8. With glasses still loose (?) let part of silk beneath plate fall down free, with left hand reaching under.the hanging part andsnap the silkaway quickly. Letthe glasses rattle, while you turnto the table in placing silk on same. 9. Nowstepalittle forward, and when about two or threeyards between you and the first spectator, stop walking and move the plate upwards in front of you, nottoo slowly. Be sure that youhave got your thumb into the right position between the glasses, then turn the plate upside down. With the front rim of plate in a lower position than the back rim,start moving plate and glasses, at same time walk a little in front of audience. Then you can change the position of the glass plate so that the back rim becomes the lower one infront of you, and move the plate over the heads of the spectators inthefmnt line. That is, you may not hold the your right thumb plate so that the front rim (and between the glasses) are directly in frontof 'spectators' .eyes, but if you have the plate in a diagonal position, you' can handle it without fear (Fig. 5 ). 10. With plate still upside down, stepa little backwards, turn plate and let the glasses rattle a moment or two, then remove the gimmicked glass .and repeat the trick with the remainder. I I. Without turning aroundstep back to the table, hold plate and glass still upside down, in front .of you for amoment, then turn plate and remove glass. (You may also turn plate alittle faster and a$ the same time toss the remaining glass in the air and catch itin your left hand. This is, however, a littlemoredifficult but also abetterending of the trick). 12. Instantly after you have removed the .glass, reach out and pick up the other glass with your left hand(that holds the last you used). I n the same movement you change the position of your first finger of the right hand, which holds the plate, from beneath same to a place directly above your thumb on the upper side, and in picking up the silk with the righthandpush gimmick fromthumb with first finger, thus gettingrid of same as it falls on the table. These two moves should be done in a snappy manner as if you only picked up the things on the table (without turning your back) the glasses in your left hand and the plate and the silk in your right. 13.. Immediately step down with the requirements In yourhands,andinletting the audience examine the things, show your hands empty. All rightsreserved byOlle OsonLiberg,Stockholm C , Sweden, includingthe rightsto manufacture thedescribed apparatus, except lfor private use.
Effect.-Taking two cigarettes, you place them on your wallet, then turning the wallet upside down, strangetosaythe cigarettes stay put. Cigarettes roll ontoyourhandandthen give them away, but the lucky ones will only get out of them a ‘ free ’ smoke ! ! Requirements.-A wallet ; an Eclipse Magnet; asmallmetal or cardboardcontainertotaketwo cigarettes. You willnow have to make uptwo cigarettes with a piece of nail inside each one. Fix
Despitethe fact thatthemethodisabsurdly simple, the effect onanaudience is astounding. I t can be done anywhere, at the tea-table, anevening party,inthe largest hall-nothing to rememberno code,for the method does not justify the statement It hasbeenafeature of a thatthere is acode. double-actbymy wife and myself for verymany years. T o thebest of myknowledgenothinghas ever been discovered, and the chief comment I have heard, and that very repeatedly, about “my medium ” assistant is “ She’s certainly Psychic ” ! I claim no great originality except, perhaps, for presentation. The basic principle is merely the “ one ahead ” principle given to me very many years ago bythe late Hugh Mackay. The properties needed are very simple-a genuine eye-bandage for the medium sitting upon the stage, and a packof forty-eight cards (deuces omitted from an ordinary full pack). Introduction.-“ We should like to show you a little. experiment in thought-reading. Some people say it is donebymesmerism,othersthink it is hypnotism and others often suggestspiritualism. It has even been suggested itis done by rheumatism ! As a matter of fact it is not done in any of. these ways. The brain is composed of hundreds of little cells-and this is just one of them . . .”
the magnet to the inside of the wallet at the centre, seeing that it is behindonesheet of the material only.Next fix the container tothe inside of the wallet with the opening just at the edge of the end (see Fig. 2). Fig. I shows thelittle containerwith the cigarettes, and Fig. 3 theprepared cigarettes. Method.-Place two cigarettes in the container and then put the wallet, containerenduppermost, intoyourinside pocket-this is usuallyon the right side. Place the two cigarettes intoapacket and place inyourpocket. T o work the effect remove the packet of cigarettes, take outthe two preparedonesand put one on eachearwithyour left hand,remove the wallet. Holditin yourleft handwiththumbontopand fingers underneath, now place the cigarettes on to the wallet above the magnet, turn the walletupsidedowna few times, then finish as you startedwiththethumbon top andthe fingers underneath.Withyour right hand griptheend of the wallet which is farthest away from you then hold itupright.Atthispointthe two cigarettes in the container will fall into the left hand.Throwthemoutto two spectators, and, as attention is onthis,withyour left hand place the walletback intoyourinsidepocket.
Procedure.-You go down into the audience “ Willyou withthe pack of cardsfaceupwards. just touchacardwith your finger, Madam ? Any card you like, don’t let me influence you. Are you sure you are satisfied ? You would not like to changeit ? Right.”Callstomedium : “ Ready.” Mediurti : It’sared card. Magician : No reply. Medium : It’s aDiamond, I think. Magician : Yes. Medium : I canseea Court card. Magician : No reply. Medium : I’msure it’s aCourt card. Magician : Yes. chose the Jack of Medium : I feel surethelady Diamonds. This procedure is repeated in various partsof the hall. We usually consider that three cards are sufficient. Closing Patter as magician returns to stage : “ And now, ladies and gentlemen, youwill underI think stand how jolly careful I have tobewhat about at home ! ” . Red or Black.-Ifyousay to chooser of card “ Are you satisfied, or would you like to change it,” then the medium knows it is red. If not, it is black. continued on page 5 3
Effect.-The broad effect is that a member of the audience merely thinks of card, a another member of the audience freely selects acardfrom the pack, andthe card thought of andthe card selected are identical. Simple enough as a plot and by no means new. But think of it as a problem. Think of the wayyou would accomplish the effect and you may then decide whether or not there is somethingnear ,perfection in the mechanics and misdirection of the featured routine that follows. Properties.-You will need a pack of double faced cards, twenty six cards covering, by virtue of their double faces, the range of .a full pack. But “ don’t be fright.” Forthe presentpurpose the pack is easily and quickly made. The cards are split by immersion in boiling. water, the backs are discarded and the faces are stuck in pairs, the Ace of Clubs backing the Ace of Diamonds, the Two of Clubs backing theTwo of Diamonds, etc. When the cards are reasonably dry a hot electric iron will complete the job, flatten them out and return sufficient polish ‘to the surface of the card for the present effect. (If you are a purist and have plenty of time, split the cards dry.) Pocket Index and Clip.-You will also need a pocket index as described in the December, 1947, Pentagram. The double faced cardsare sealed in twenty-six pay or seed envelopes. The bridge size cards fit into these .envelopes exactly. Obviously the back of the envelope can be told from the front by inspection of the sealed flap and equally obvious the double faced cards are inserted in the envelopes according to a plan. Shall we say that all the red cards face the flaps. Obviously also a pencilled initial indicating the contents is placed on the flap of each envelope for future guidance. The envelopes go in pairs inthe appropriatethirteen pockets of the index, the latter reposing in the righthand trousers pocket. You will also need half a dozen empty pay envelopes and these aresecuredin the top of the trousers pocket by a Bulldog Clip as described in the December Pentagram. In the bottom of the pocket, togetherwith the index, is a small pocket knife. The only visible items atthestart of the performance are a pack of cards, a small slate, and a piece of chalk (all unprepared). Routine (A C a r d is Thought of).-The performer states that he wishes to conduct an experiment in applied psychology and invites anyone particularly interested in that sort of thing to accompany himonthe platform. The volunteerhelper is invited to look through the faces of the abovementionedunprepared pack of cards andto think of any one card. He is to change his mind as often as he likes but finally to decide on one, and exclude theother cards from his mind. The performer then explains thatthe helper is conducting the experiment in conjunction with one other ‘member of the audience whom he is to choose, andthat
“ test ” conditions, the helper is to write the name of his card on the slate h r future reference. He is to ensure that no member of the audience gets a glimpse of what he is writing. The performkr shows the helper how to indicate a card by writing initials in large capitals on one side of the slate, and leave him to complete the job by writing the side of the siate. initials of his card ontheother Although the helper has been enjoined to conceal the writingfrom the audience, he has not been specially enjoined to conceal it from the gaze of the performer, who in point of fact is standingat the helper’s right shoulder and obtains a clear view of what is written. The helper is then requested to place the slate writing side down on the table. If he is one of those suspicious people who, without adequate reason insist in concealing everything they do even fromthe performer, he merely takes the slate himself and takes an unhurried look atthe writing as he puts it down. Provided the performer doesnot indicate that this knowledge is essential to him, no suspicion can attach to his actions, nor will they afford any clue to the modus opemzdi. T h e helper is thanked for his part in the experiment, requested to pick another member of the audience to complete the experiment, to take the packof cards to the second helper, andreturn to his seat. A C a r d is Selected.-When the second helper has wended his reluctant way on to the platform h e is requested to examine the cards, to shuffle them,and finally to remove any card face down and give it to the performer. The performer takes this cardin his left hand. In the meantime his righthand goes into his righttrdusers pocket, he secures theappropriate envelope from the Index, adds this to the bottom of the few envelopes in the clipat thetop of the pocket, and withdraws the packet from the pocket. The Index. employed and the Bulldog Clip makes this operation sure, quick and mechanically easy. Securing of the necessary card (in the envelope) under cover of removing the envelopes from the pocket is an essential and- unsuspicious action in the course of the trick. The double-faced card in the envelope is retained at the bottom of the packet. The card selected by the thetop envelope second helper is insertedinto which is then stuck down. The packet is held in the left hand and now notice the simple switch and the adequate cover and misdirection for it. The helper is standing on the performer’s left and he is stillholding the pack of cards. “ May I have the cards,” says the performer. As the cards are offered the performer’s right hand extends across his momentarily covere the body to take themand small packet of envelopes inhis left hand.This packet of envelopes is promptlyturned over, and the pack of .cards is placed down 011 the table on the performer’s right (together with the slate).
continued on page 53
53 WINGLESS VICTORY - continued f r o m page 5 2
Unhurriedlytheenvelope no117 atthetop of the packet containing the double-faced card is also placed ontop of slate. T h e packet of envelopes remain in the performer’s left hand, and the second helper is thanked for his services and asked to resume his seat. As he moves infront of him the performer palms the envelope containing the selected card, and removing the penknife, unhurriedly, from his trousers pocket, leaves the palmed envclope secretlytherein.
Denouement.--A strong point about the effect is thatthe essential moves are covered by natural requirements and that although tn-o people have acted as assistants, the performer is in sole possession of the stagefor thedenouement. He briefly recapitulates and builds up. Our friend Mr. Smith has merely thought of a card, any card, and written its name on a slate. Notone of the members of the audience knows thename of the card. I n fact theoddsare very great thatthe name of the card could not even be guessed. Indeed, a member of the audience is invited to guess. If the longshot comes off andhenames the card chalked on the slate, the most is made of the miracle andthe “ influences ” at work thatnight. Rut sincehewon’tguess, several othermembersare invited to “ have a go,” and before theconjurer
TWO
IN
HARMONY - continued f r o m page
An occasional slip-up, such as naming the Seven of Diamonds for the Eight, helps to enhance the effect. “ Please concentrate a little more, Madam, you’ve given me the pip ” ! !
Medium : Magician : Medium : Magician : Medium : Magician : Medium :
of Hearts :
It’s a Heart..
I thinkit is a pip card. Notmany pips., I’mcertaintherearenotmany.
”
51
Suit.-If ‘CluborDiamond you keep silent ; if Heart or Spade you say “ yes.” Court or Plain.Always silent for the lower (i.e., plain, pip) ; silent if Queen or Jack ; “ Yes ” if King or Ace. “ Yes, I’m sure it is a Court card : silent if Jack or King ; “ Yes ” if Queen or Ace. Pip Cards.-three, four, ten,high ; then five, six, low ; seven,eight,nine, three and four low, five and six high, seven and eight low, nine and .ten high. “ Yes, I’m sure there are a lot(orfew)pips on it,” and again you’resilent for the lower one. General remarksandexamples.You’llnotice that only one “ Yes ” reply (at the start) is needed for the t ~ 7 o“ Threes ” Hearts and Spades. No reply at all for the others.
Example.-Four
displays what has been written on the slate, he asks “ Mr. Smith ” whether anyone has guessed his card. T h e fact that the conjurer has. to appeal to ‘’ Rlr. Smith ” to ascertain the name of the card confirms inthecorporatemind of the audiencethe fact (supposedly) that he is in no better shape than they are. He doesn’t know. He has had no opportunity of knowingthanthey have had. “ Mr.Smith ” then names his card and his statement is confirmed by what is found written on the slate. But we must retrace our stepstoanother small item calculatcd to produce a state of insensibility amongst those “ in the knox.” While the “ guessing ” ccmpetition is going on the cofijurer quietly tears up the four or five empty envelopes in his hand and lets them f:llP tothe floor. He thenpoints outthat everythiilg has been in the hands of “ Mr. Smith ” and “ M1.. Robinsm,” that it w a d d be a miracle if “ Mr. Rohinson ” had picked outthe very card of which “ Mr. Smith had merely thought. He ~ S S U K S the audience thatif such a circumstance has happened it would be a miracle indeed. And then assures them. “ IVatch, you a.re about to witness a miracle.” T h e performer can say this with due assurance and no risk of a ‘ flop.’ T h e tell-tale pencilled initids onthe envelope confirms all he needs to knov;. He slits the envelopes and withdraws the card . . . the appropriate face to the audience, of course I !
AWagician: Yes. -Medium : T h e gentleman chose the Four Hearts. Ace of Medium : Magician : Medium : kfagician : Medium : ,Wagician : Medium : Magician :
of
Spades : It’s a Spade. Yes. And a Courtcard. Yes. A nice card to have inyourhand. Yes. I can see the Ace of ‘Spades. Quitecorrect.
Steps .High (requiring “ yes ”) HeartorSpade Card Court King or Ace 7, 8, 9, 1 0 9 or 10: 5 or 6 10, 6, 8, 4
Steps
Low (110
anszw)
. ..
I
... DiamondorClub
...
2
...
... ... ... ... ’.
3
...
4
... ... ...
5
CardPip Jack or Queen 3, 4, 5 , 6 7 or 8, 3 or 4
99 5 , 7: 3
No answers required at all for Three of Clubs and Diamonds. “ Yes ” only required for Step Ifor Three of Hear@ andSpades.
54
There are, I think, only six reasons, given below, forbuyinga book on magic, and only the last is a sensible one :-
I. The poor wretch is a collector of magic books ; 2. The half-wit likes reading magic books ; 3. The insane optimist is looking for new tricks ; 4. The confirmed pessimist is afraid that, if he. does not buy it, he might miss ‘ something. worthwhile ’ ; 5. The unfortunate magician knows the author. personally and has to send for an auto-graphed copy ; 6. The luckless wight is unable to borrow the book. Now, whichever reason is yours, I suggest. you are not particularly interested in coloured plates, art paper, profuse illustrations, and all the other trimmings the publishers advertise to justify charging thirty shillings for a “ ten-bob ” book. All of us would welcome cheaper books. Authors, I speak with some authority,are very vain men, but even theyshould welcome the larger sale and increased influence which cheaper book production would provide. There is a way by which we could have cheaper books, and that is by adopting the Frenchsystem of issuing them unbound. . It seems to me a most sensible system-thebooksyouwish to keep you have bound in your own style and the rest you throw away. Most of them youwill throw away.
Q*
Q*
One has only to consider some of the publications of recent years, such as “ Mr.Smith’sGuideto Sleight-of-Hand,” at 10/6 ; “ Nothing is Impossible,’’ Play,” at 2 1 /- ; “ Open at I S / - : “ But Notto Sesame,” at 30/- ; and “ Basic CardTechnique,’’ at 35/-,to realise that, if this continues, we magicians will have to eat less if we are to read as much. “ Card Tricks without Skill ” at 5 /6 was undoubtedly an isolated phenomenon having no bearing upon the general trend. There is evidence that Colonnade Passage and Monastery Gardens have atendency toenter into competitionwith each other in book production, so that if one uses “ art paper ” theother will another retaliate with “ coloured plates ”-adding five shillings tothe price, with the poor reader paying for their amusements. The reader curses the “ art paper ” because it shines, hurts his eyes, and hasadisgustingodour, while the “ coloured plates ” prove to be black and whiteillustrations printedin coloured ink.
And, if anyone mentionsthat oneabout it being worth the price if you get one trick you can work, I shall shoot ! ,
Shouldname Iletters my after add ? A. Certainly ! So long as they are the appropriate three. When doing the Cards upthe Sleeve, is it correct to pass the cards into the trouser pocket ? A. It is definitely wrong, and no true artist in conjuring would commit such an absurdity. It is illogical, inartistic and on occasions indelicate. The sleeve of the coat runs from the is, therefore, from the wrist to the armpit and it vest. opening that the cards should be produced. It may be argued that a conjurer has a perfect right to pass cardsfromhishand to wherever he chooses. Of course he has : he may pass the cards inside his socks if he so wishes, but that would not be the Cards upthe Sleeve. Refer to Robert Houdin’s “ Secrets of Conjuring and Magic ” ; Stanyon’s “ Conjuring with Cards ” and Gaultier’s “ Magic Without Apparatus.” Q* Should a conjurer roll ‘up his sleeves ? A. No ! Acrobatic performances areout of place in aconjuringentertainment.
Q.
Shouldconjurers be called operators ? Have we not .telephone operators, cinematograph operators, donkeyengine operatcrs, pneumatic-drill operators, etc. ? Why exclude operators of toys and puzzles from conjuring‘shops ? One day I shall hear “ For my next operation . . . ” I am waiting for it ! Q. Who do you think is the greatest magician that youhave seen ? A. Sorry ! I have never seen a magician. 0. All the amateur text books instruct that a trick should never be repeated before the same audience. Do you agree ? A. No sane man would think of immediately repeatingatrick. But that does not mean that after it has been once witnessed a trick must never be repeated before the same onlookers. If a trick is so weak in principle that its repetition would make detection probable or certain, it is not worth five minutes’ serious consideration by the professional conjurer, who often has to appear before the same audience as many as a dozen timesin a week.
A. Of course they should.
hl
55
Q W d akkwt B&, NEW P E N T A G R A M GRAUING.-A maximum award of Ten Points in thefollowzngcategories(whenapp?icable) (A)--Ph3-‘sical. Make-up (B)-Quality of Material (C)-Value to Magic (D)-Clarzty TOTAL 70 POINTS (E)--lllustratzons (F)-Readability (G)--Sincer&y THE CARD EXPERT ENTERTAINS ” by Fitzkee(publishedbySaint Raphael House, price3 dollars 50 cents). In this volume of some 128 pages, Mr. Fitzkee commences with an analysis of card moves. Despite the almostinimitablenumber of cardsleights,theauthor bringstheirfunctionswithina basic scope of sixteen. T h e position of thecardexpert is also considered. The first six chapterscoverthisandmuchmore.Fewwill have cause to quarrel with Mr. Fitzkee in his condemnation of complicated puzzle tricks, for they interest a very fenand bore so many. Mr. Fitzkee’srootidea in this book is to present effects that will please an audience and which at the same time give an impression that they are watching a cardexpert. T o supporthis thesis, thirty of Arthur Buckley’s effects (previously published in abbreviated form) are taken and described in detail (so much so that eventhe necessarysleights to accomplish the effects are given). We feel that in the taking of these thirty effects, Mr. Fitzkeehasgivenhimself an unnecessaryhandicap, for not only could some of the efleects be obtained by less skilfulmeans, but also the effects themselvesare not thebest illustrations of theirtype, as, forinstance,the passing of cards from one set to the other. Also in a book o n expert card work the “ card in cigarette ” is not, In our opinion, card magic. Of the effects themselves we think that the prediction effect, that Arthur,Buckley marketed under the title of “ Knock’emDead ! is thebestitem. The bookis well writtenand profuselyillustrated. M r . Fitzkee in some cases gives patter plots that are not only well written but interesting. I t is definitely a worthwhile book in every respect. T h e effects are well defined and varied. We want it to be borne in mind we do not criticise thequality of the effects. Points63. “
S
’
#
#
8
ANNEMANN’S MIRACLES OF CARD MAGIC ” (published by Max Holden) dollars. price 2 JohnJ.Crimmin’s,junior,hasdone a goo! job $ work in collecting the sixty effects from the Jmx but little understood, “
N.A.M.S.-On March 13th/1qth, the tenth Meeting of the Committeeof Management took place at the Bell Hotel, Leicester. Leicester Magic Circle were the hosts, and as such they lived up to their reputation. At the meeting, among other things, it was reported that the “ Days of Magic ” had raised for St.Dunstan’snearlytwothousand pounds (about a hundred pounds up on the ‘previous year). This is notanawe-inspiring total whenit is realised that two local Societies (Nottingham and Leicester) were responsible for a quarter of the amount. One of the difficulties that local societies have tocontendwith is publicity. This is needed in force to bring a contribution up to the five figure mark,and we feel surethat in their election of Wilfred Tyler as Press Publicity Officer, N.A.M.S. have madea wisechoice. The question of reviews took up a great dealof time at the meeting, and again we feel that in giving the present Editor, Charles Harrison, a free hand, the Committee have shown wisdom. There are many who grumble about the slow progress made by N.A.M.S., in fact manyquerywhetherthere is progress at all. We
;-
files and publishing them in booklet form. T h e selection of effectshasbeen done with an experienced hand, and we think that there are few whocould not find at least one effect to theirliking. Our ownHerbert Millonhas “ The Sympathetic Clubs ” on page 75. (This effect has been very much overlooked and yet apart from the brilliant presentation of theinventor it was agreatfavourit2 of Leipzig.) For agooddiscovery of twocards thereader would have to go a long way to better Dr. Daley’s Two Cards in Fear ”-a good title to a fine effect. Horowitz’s “ During Pasteboard ” andWalter Gibson’s “ Twenty CardTrick ” also standout.FromGibson also comes DoubleReverse,”which,from our ownexperience,is one of the simplest andmost effective of all reversed card tricks. Jamison’s “ Here or There” is a nice effect toe. There could be no. finer tribute to the late Editor of the “ Jinx ” thanihe tworoutines “ The Omega Card Act ” andFiveFindo.”Bothanswer the’question of those in search of a complete card act of short duration. The booklet runs to 108 pages, is clearly printed and exceptionally well illustrated by Nelson Halne. Points 62.. l‘
l‘
# *
#
#
ENCYCLOPAEDIA OF SLEEVING ” by Jack Chanin(publishedbyChanin,distributedin thiscountry by Goodlifle, 6 Colonnade Passage, Birmingham 2) price 10/6 post free. This booklet is thepublished ‘correspondencefrom Chaninto A1 Baker. T o datethere hasbeenpublished verylittle onthe technique of sleeving. Mr.Chanin warns his reader not to abuse theprinciples detailed, but to use them sparingly. After giving hints about sleeves themselves, theenvanishment of smallobjectsisdealt with ; later in dealing with the sleeving of cards a novel version of the twenty card trick and “ Six Card Reprat ” Sleeving givenare cigarettes of cigars, coins, thimbles. and arealldealtwith ; inmany cases the sleeve is used as a means of accommodation and becoming anup-to-date pochette. T h e writing blunt straightforward. and is I t shouldkindleinmany an interestinamuchtalkedabout, subject. Points 60. “
wouldreply ,that thingsdesigned for permanence and also the benefit of man, can never be achieved quickly ; our own opinion is that N.A.M.S. is going slowly along the right road. The big show inthe evening was asplendid bi.tof organisation, both in front of and back stage. Thank you very much, Leicester ! CRUELTY.-Plenty of conjurers are cruel to their audiences. The latter, hoyever: have a remedy, namely that they can walk out. Such conjurers harm only conjuring. We hope, however,that a special Hell awaits thosewho produce doves from a changing bag. We are morethansurprised at onepublisher who seems to take pride in the fact that such an effect appeared. in one of his publicatians. C U R R E N T EFFECT.-We should like to express our thanks to Mr. C. Steffensen (the wellknown Danish writer and dealer) for permission to include “ Ultra- Anti-Gravity ” in this issue. Those interested in obtaining the necessary fake, should contact Mr. Steffensen. His address is Ludtoftegade I 18, Copenhagen, Denmark.
C O N J U R I NBGO O K F SOS R ALE l
i
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
JENNESS
.GEORGE 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX THE WBZARD A modern monthly magazine. 24 pages of first-class magic.News and Per copy I/X postpaid.AnnualSubscription views on magicalevents. Vol. I., 12j6 THE MAGIC WAND A quarterlybook of magic. 70 pag-s of magic by world-famous contributors, 3!8 post booklists,advertisements,etc.Profuselyillustrated.Percopy paid.AnnualSubscription 1416. GEORGEARMSTRONG, THE MAGIC WANDPUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
NEW MAGICAL
Peter .Warlock‘s
BREdRLEI’ CRAGGS GAKSOAV
PENTAGRAlW .
1/l single copy, 1 1 /S per year .post free
si?&
ARCAS MagicalPublications Mr.Smith’sGuide to Sleight o? Hand . .W. Jonson A.B.C. d Vsntriloquiim . .P. Craggs Lx p r t Manipulation o? Playing cards .. . .L. Gansoll Testament o? W. R. Hull . .T.H.Hall Nothing is Impossible .T. H. Hall Muterpieew o? Magic, Vo!. 1 . .. Patterns tor Psychtcs . .Warlock Kamut. . .Franklin Con unlorini . . .Brearley Willane’r Wizardry Willane
.
..
c
1016 10110120116/101101310 lO/?,/S
-Obtainablefromall
..
:-
Surrey
A6DUL’S FEZ Increasedcost of materials hasforcedme to increase the price of this effect to 12!6.9-. Ifeel confident,however, thatitisstilla bar&in to anyone whohaseverworked the EggBag. Thanks to all those.who have sent kind,words about this trick
.
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place :: KENT CHATHAM MAGICPANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME 1. Bindin Prices :CLOTH 5/0, REXINE 6/0,1MOROCCO FINISH 7,’6 “
CF. l E L D 42 Alderson Road, Sheffield
0
Every Advertiser’s PrintedinEngland
10s. W. 12s. 0d.
. .. .. .. .. .. .. *. .. .. ..
10s. 308. Od. Od. 20s. W. 15s. Od. 128. Od. 10s. Od. 6s. W. W. Od. 301. Od. . 101. W.
..
36s. Od,
od.
8s.
W. SS.
.. ..
. ..
It.0d.
FREDROBINSON, MAGICIAN, STATHERN :: MELTON. MOWBRAY :: LEICS.
The Magic Circle *
c‘
,MASQUE A printed magazinegivingdetails
of our latest releases in exclusive magical effects. Issued free. If you arenot onour mailinglist, write now.
President: His Grace the Duke o? Somerset, D.S.O., O.B.E.,I.P., D.L., M.I.M.C. Vice-President : Douglas Crag@, Esq., M.I.M.C. Clttbroovn and Library nnd Museum :
St.Ermin’sHotel, CaxtonStreet,S.W.l. -Magical Thentre :
q n g George’sHall,
W.C.
Pnrficulavs froat Hon. Secretary :
Dealers ordirectfrom
404/408 SYDENHAM ROAD Croydon
c
.
:
. . . BRAMCOTE, NOTTS
from your dealer or from
“GREENBANKS,”
BOOKS
. CONJUNIORING MASTERPIECES IN MAGIC ‘ * EXPERT MANIPULATION O F PLAYING CARDS.. .. .
~ I S T E ~ FABIAAHALL HALL HALL KORAS K E NJON THUMBS UP MACKEhrZZE COMPERES CORNER” .IbcCOM B FIRST BOOK OF WlLLlAM . . LEWZS c7 T Y L E R OPENSESAME WARLOCK PATTERNSPSYCHICS FOR U‘ILLANE WILLANE WIZARDRY . h’ORAZAN BASIC CARD TECHNIQUE 3d.Stamp tor list o? Books on Loan
Published on the 25th of each month
.
THE ARDEN HOTEL, N E K STREET, BIKisllINGHAX tcill be the vrnuefor tr’7e-Tfeting of cmsideration and inauguraiion cf t!zs SorietJy of ?dentalists EveningMeeting, 7.45 Saturday,April,24th, 1948 LMorning Meeting, 10.15 Sunday, April25th, 1943 C1:nirwzan : hIr. GEORGE ARMSTRONG (Editor of the “ Magic M7a?2d) W e sl10ulc! iikc to k n o x i n adcancr ;f Y O U x i 1 1 be present P E T EW RA R L O C K “ GREENBANKS,” BRAMCO’I‘E, NOTTS.
2
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton H E N R DI E ’ S E E V A H M M C . , BMS., ZBM., S S M C . THE FRIENDLY MAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17 OLD AND NEW MAGIC LatestThinka Magician A pocket Mind Reading Effect o d y 210 Orrin’s famousSpider’sWeb,CardTrick 30/COIN WANDS to produce a real coin 1016 A fewSlidingGluePacks of Cards 819 Send stamp for Printed lists of old and me. Magrc Sydney de H e m p s e w 303 SANDYCOMBF ROAD, KEW GARDENS SURREY Ric 4235
FrancisWhite, 39 AlverstoneAvenue, WimbledonPark,S.W.19 INSTITUTE OF
MAGICIANS
Fottnded 1934 President :A. Zomah. Hon. Sec: Oscar OswUd 102 Elmdead AvenueWembley Park Middlesex H.Q. and Ltbrary :No.’2 Hand Court (Vhtory Club), H i hHolborn W C MEETING THUR’SDA’V] 7-11 p.m. VISITING MAGICIANSALWAYS WELCOME Your membershp cordially Invlted-drop a line to the Honorary Secretary for literature
EVERY
J A MGERSA Y S O N MAKER OF HIGH-CLASS MAGICAL STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME,NearLEEDS Nearly 30 years in the business
goods are fuHy endorsed by this Bulletin
for PETER WARLOCK byGEORGESEARSON.
EFFECTS,
40 Blue BellHillRoad,NottinghamTelephone
44652)
PENTAGRAM
An independent monthly bulletin
for all who want
good magic
Mav, 1948
V ! .2 N&. 8
Editor’s N o t e . - I n “ Patterns for Psychics ” I contributed method an effect called ‘‘ ThePsychicCard.”The made us of afakeddeck. M y goodfriend Francis Haxton,after readingthe effect, almostimmediately sent me his o z n version which is capable of performance .Frith a borrowed deck. The working is not only straightforward but makes verylittledemand on skill. I t should, therefore, be welcomed by those who, zchilst likingtheoriginal,weredeterred f r o m using it because gf themeansem$doyed.--P.W.
Effect.-A card is freely chosen from the deck by spectator. a After replacement in and squaring of deck, the latter isplaced in the conjurer’s pocket. As demonstration a of sixth sense the conjurer then places his hand in the samepocket, andwithlittlehesitationbringsforth the selected cardwhichishanded to the chooser. The card is then shuffled into the deck, the latter being cut into threeheaps. This timetheconjurer remarks that he wants the spectator to find his own card ; to this endthespectatorfirstchoosesaheap,andwith the conjurer’s estimation of, say, seventeen cards in that heap he is asked to give a number between one andseventeen.Needless to say the chosencard is found at that number. The spectator is asked to assistagain. The chosencardisagainreturned to thedeck,thelatterbeingshuffled. Thistimethe spectatoris asked tonameany number between one and fifty-two. On counting down to that number the card is found ! Requirements.-A deck of cardscontaining a short card. (The newcomer to conjuring who may querytheeditor’sremarkanentaborroweddeck, can improvise an impromptu short card b# bending the corner of one of thecards so that the surface isbroken.) Preparation.-The shortcardis placed as tenth cardfrom the‘ face of the deck. Thus set the conjurer isready for the
...
Presentation .-After obtaining the assistance of a spectator, the conjurer sIowly riffles the cards infront of him,requesting him to say “ stop ” whenhewishes(onepoint to noteisthat in the commencement of the riffle startjust below the short, for it is essential that the .word “ stop ” should not be given before the short card passes the conjurer’s fingers). The spectatorgiving the signal, the deck is’broken and cut at that point, the upper half being held up so that the spectator can see the card. (As he makes this move, the conjurer turns hishead away): The assistant,havingnoted the card, the conjurer apparently replaces the cards he hasheld up,ontop of those intheotherhand. “ Master Actually however, heexecutesOvette’s by StewartJames in Move ” (thisisdescribed “ The Mark of theReader,” Pentagram forFebruary, 1947) which inthe mostindetectable way brings the card tothe bottom of the deck. The deck issquared, Careof coursebeingtaken that the bottomcardisnotseen,andleftmomentarily onthe table. (This pauseshouldservetodivorce any ideaof manipulation from the audience’s minds.) Makinga few remarksaboutExtraSensoryPerception, the conjurer. drops the deck in his pocket ; a few more remarks and the hand goes to the pocket to remove the chosencard.Show it andhand it tothespectator,who acknowledges thatit i s the of the card that he looked at. That istheend firstphase of the effect. The deck is now taken from the pocket. The conjurer has alternatives here. The first is that ‘the spectator places his card on top of the deck and gives the latter a straight cutwhichhasthe effect of bringingthe chosen cardeleventh below theshort. The deck isthen cut by theconjurerattheshortcard. The second isthat aftertakingthe deck fromhispocket,he commences a Hindu shuffle asking for the replacement of the card at any spot ; this done the card is broughttothetop of thedeck. The deck isthen continued on page 6 3
As you have no doubt guessed, this is another glass penetration. The visibleapparatusconsists ,of ( I ) atraytowhicharefastenedtwoupright pillars : these support between them a sheetof glass ; (2) four cubes ; (3) two screens just large enough to cover the cubeswhenstacked. The performer first displays the cubes and the sheet of glass, demonstrates their solidity and stacks thefour cubesbehindthepane. T h e cubesare coveredwithoneof the screens(Fig. I ) andthe second screen is placed in front of the glass. When the screensareremoved,one of the blocksstands of thepane,havingapparentlypassed infront throughit.This isrepeated until allfourcubes stand in front of the pane. This may sound rather dull but the effect is clean-cut and easy to follow, while the apparatus is sufficiently imposing to commandattention.Forordinaryconcert work I suggest three-and-a-half-inch cubes, a tray thirteen inches square and a pane of glass'fifteen inches high by eleveninches in width. The maindeceptionlies in twocollapsible cubes, one on either side of the glass, and about an inch away from it. They can be folded up concertina fashion,flushwiththetop of thetray,but are normallyhelderectbyspiralspringswithin. The sides are madeof coloured cloth, and the solid cubes, of which there are three, are covered with the same so kind of material. The collapsible cubes are arrangedthat whenone is expanded theotheris flat, and vice-versa. This is shown in Fig. 2, which is a side section of the tray. The tray is made from twolayers of plywood. I n theupper layersquare holesare cutto accommodate thedummy cubes, butthe lower sheetisuntouchedexceptfortwo holes just largeenough to enablestoutthreads to passfreely throughthem.Thesethreads connect the tops of the cubes with the lever which controls
I
I
0
of them. As this lever is screwed to the underside the tray it is necessary to raise the floor of the latter from the table (Fig. 2). Fig. 3 is a view of the underside of the tray and shows the lever and the mechanism for locking it. Whenthe leveris inthe positionindicatedthe right-hand cube is expanded and the left-hand cube contracted. T o reverse this state of affairs catch B is moved aside, thus releasingtheend of the lever. The oppositeend, A, isthenpulledinthe direction of the arrow until it is locked by catch C. Pegs attached to the catches and the lever and projecting through slots in the top of the tray enable the performer to operate the mechanism from above. T indicatethethreadswhich The linesmarked I hope I have madethis connectleverandcubes. sort of see-saw dear. Broadly speaking itisa arrangement. The cubes are attached to a common lever, so that when one is up the other is down. The screens which are used to cover the cubes have threesides. The centre panel isfourinches wide and the two side panels six inches wide. They are set at an obtuse angle and are held in this position by fastening them together at one end with a piece of card or playwood, shaped as in Fig. 4. Fig. 5 showsapartially collapsed cube,one side having been omitted for clarity. Now let me explain, if I can, how the apparatus is used to produce the illusion of passing four solid cubes throughthe glass pane.Atthecommencement the tray rests on the table, and on it are four cubes. Three aresolid but the fourth is the rearmost dummy cubeexpanded. The screensstand on the floor and the pane of glass rests against the
BRICKS
THROUGH THE
WINDOW - continued from page 58
table leg. The traymechanismison the left hand side and the performer commences operations standing to the left of the table. He picks up two solid cubes, knocks them together and lets one fall back on to the tray. The third solid cube is picked upand knockedagainst the first, andboth cubes aredropped back ontothe tray. The three solid cubes are stacked on the dummy cube, the pane of glass is provedsolidandfitted’into thepillars attachedto the tray. The cubes, which are now behind the glass, are covered with one of the screens (Fig. I ) and the other screen is placed in front of the glass. The mechanism is operated and the screensareremoved. The spectators see onecube in front of the glass and three behind, but in order to give them a clearerview of the latter, the performer turns the tray right round. This. brings the three cubes to the front, and, as they are all solid, opportunity is taken to lift them one by one from .thetrayand drop them backagain. One result of the reversal is that we now again have an expanded cube at the rear of the glass and a contracted one infront. T o passthesecondcubethrough the panetheperformer leaves onesolidcube in front and places twoon thedummycubebehind. The in position,theleveroperated screensareplaced (this time from the right hand side) and when the
screens are removed there are two blocks on either side of the glass. Oncemore thetrayisturned round to show the two cubes behind it, and these A areidlypicked up andreturnedtothetray. third operation of the lever increases the front pile to three and reduces the rear pile to one. The tray is turned round as before and two cubes are taken from what is now the rear stack and placed.on the one solid block in front. The final operation of the leverincreases thestack fromthreetofour. The three solid cubes are lifted from the stack and dropped on to the tray. The reversal of the tray is des-igned to make the bestuse of the see-saw arrangement. Althoughtheperformerappearsto be passing the cubesthroughtheglassone by one, he is really passing one cube (and a dummy one at that) backwardsandforwards.But the reason for turning so very plausible that no further the tray round is excuse. is necessary. It may be found that even with a strong spring the creases in the dummy cube may tend to show. This is easily camouflaged by paintingapattern onthelinento conformwiththe creases. This pattern is naturallyduplicatedonthesolidcubes. Manufacturing and selling rights reserved by M r . J. F: Orrin..
Whetherthismethod of usingtheStanley Collin’s book has been thought of or used by someone else, I do not know. Its use in the form outlined makes this routine one of the most convincing in the yholegamut of such effects. Thereisnothingto hide, no subterfuges, the performer asks for something to be done, and the result is certain and trouble free. The added element of confidence which invests the performermakinguse of thismethod shouldenable himto emphasisepresentationwith correspondingsatisfactoryfinality. Effect.-Three books are handed to three members of the audience,whoareeachasked to select a word, write it on a card, seal the card in an envelope and return these to the performer, who, in hisown way, correctlynames each written word before opening the envelopes ! Method.--Thisdependsonthe use of the StanleyCollin’sbook,and the olddevice of one
thick card ; the books are handed out, or the performer may suggest that if anymember of the book can be audience has a book withhim,this used, as long as the fake book is used by one participantthe effect cannot go wrong. The three cardsaregiven,oneeach, tothe book holders : to the holder of the “ Love Poems ” is given the thick card, the performer now requests each of his helpers to choose a word, and although it does not matter in what way the word be chosen in the case of the honest books, it is best to ask that the same form of choiceshallapply to each volume. When choice has beenmadeandselectionsare sealed in the envelopes, the envelopes are. handled by the performer by theusualoneaheadmethod,with whichform of disclosure all readers of Pentagram will be familiar. It is hardly necessary to add that the envelopecontainingthethickcardis the last one to beopened.
T H E WIZARD A lnodern monthly magazine. 24 pages of fist-class magic. News and views on rdagicalevents. Per copy I/I postpaid. Annual Subscription Vol. I., 12/6 THE. M A G I C WAND -4quarterly book of magic. 70 pages of magic by world-famous contributors, 3/8 post booklists,advertisements,etc.Profuselyillustrated.Percopy paid. Annual Subscription 14/6.
C O N J URING
B 00K S
F 0R
S A LE
OLD AND NEW. Let me know your Wants LIST FREE FOR STAMPED ENVELOPE - N o Callers
GEORGE
JENNESS
47 INVERNESS AVENUE, ENFIELD, MIDDLESEX f ~ o $ ~ ~ A & ! ~ \ T ~ ~ MAGiC f ~ & ~~E~ ~ ~ L D L D P U B L I ~ H I N ~ ~ ~ ~ ~ ~ E N :
60
I n hisbook,mygood friendLouisHisted, describesan effect inwhichmilkpouredfroma jug changes into beer. For this the author describes a special jug. When reading the effect it struck me that such a jug was unnecessary, but sheer laziness stopped me from trying the idea that I had in mind. It was the visit of, and a discussion with, Charles Harrison that forced me to actually try the method which, as you can find for yourselves, works like a charm. The effect issimilar.Takinga jug (or glass) of milk the conjurer pours the contents into another glass or beaker, but instead of milk appearing inthe secondreceptacle Guinness appears. This canbehanded out for drinking.The receptacle fromwhichthemilk is pouredisseen(andit is) definitely empty ! Forthis effect (which doesn’t appeal to me) theapparatusneeded
inthe least is simplyan
Effect .-This runs on familiar lines. Spectator has free choice.of a single card from a well shuffled, unpreparedpack.Performerrings up his assistant or “ medium ” onthe telephone,which hethen hands to the spectator whohearsthename of his previouslychosencardannouncedby thedistant partyoverthewire.Apartfromsaying ‘‘ Is that Central 6786 ? ” or whatever the number happens to be, in order to make sure hehasgottheright number,performerspeaksnofurtherwordsover the telephone. Method.-Thename of the chosencardis coded to the distant party when youconfirm that youhavegot theright (?) number. The following code must be mtmorised (which is quite easy) and a copy of it supplied to your“ medium ” in’advance : Ace Two Three Four Five Six
or 02
03 04
05 06
Seven Eight Nine Ten Jack Queen King
07 08
Clubs
5
09
Hearts
6
Spades
7
10 11
12
13
Diamonds 8
It will be seenthat the suit follow the well-known CHaSeD formula. T h e name and first digit of the No matterwhatisthe numberareimmaterial.
evaporatedmilk jugor similarlyfakedtumbler. T o prepare remove the fake and in the jug or glass pour that amount of milk that will be necessary .to make thejug(or glass) appear full of milkwhen the fake is inserted. Now adjust the fake, and into pour a quantity of Guinness so that the level in the fakeis about half-an-inch below thelevel of milk surroundingthe fake. Fromthe audience’spoint of view you now have ajug (or glass) of milk. When presenting, pick up this evaporated milk jug, tilting it so that the Guiness runs out over the tip. Keep on pourin and the milk comes out aswell, mixing with the Euiness . Empty the whole of the contents of the jug so that all the milkgoes in with the Guiness. There is so little of the former that it will not discolour the Guiness.Placing itonthe table hand the receptacle containing the Guiness out for sampling. Because of the nature of this drink the small addition of milk will make no difference to the taste.
number of thedistant “ medium ” you did her correctnumber,andwhenshe replies, yo’u say “ Is that Central 6 - - - ? ” conveying to her in the final threedigits,thesuitandvalue of the card. T h e second and third digits code the value of the cardandthe last digit conveys itssuit, according to the above tables. For example, if thespectator has chosen the Ace of Spades, you would say “ Is that Central 6017 ? ” If hechose the Queen of 6125 ? ” Clubs, you would say “ IsthatCentral and so on.Anyone of thefiftytwocardsinthe pack canbecodedby thismethod. Of course the suits need not necessarily be numbered 5 , 6, 7 and 8 respectively. They could just as easily be numbered I , 2, 3 and 4, as long as your “ medium ”. knows the orderof the suits and the corresponding numbers. I have found it useful to choose four ndmbers which approximate closely to thelast digit of your assistant’s i.e., if hernumberis actualtelephonenumber, Central 6772, then use thenumbers I, 2, 3 and 4 to code the suit. On the other hand, if her number is Central 6778, then use the numbers 6, 7, 8 and 9 to code the suit. This will help to avoid an astute spectator from spotting the fact that you dialled a number with low a last digit and then, in confirmation mentionedanumberwithahigh last digit, or vice-versa. Normallyyouraudiencehasnocause to suspect that you dialled any other number than theone theyheardyouconfirm.
There can be only one reason why the Editor published Wilfrid Jonson’s views on magical books andtheircurrent prices, andthat reason is that they were Jonson’s views expressed in Jonson’s inimitable way and, therefore, amusingto read. Comingfromthe manwhowrote recently that I published my own misguided opinions in my own magazine, the article was a rich specimen of gross inaccuracies strung together in a plausible fashion. Mr. Jonson should really get to work on propaganda for apolitical party, where thissort of thing is “ just what the doctor ordered ” ! Dissecting the article, one detects first, without difficulty, that the listof books includes publications by ARCAS,George Johnson,Max Andrews, and myself. Thereis no reference to any book put out by ourfriend George Armstrong, who has, as far as my knowledge goes, published nothing over 17/6 and has indeed gone to the other extreme i n issuing as Year Book at a “ give-away ” price. H e is, nevertheless, pilloried as an offender ! Neither isthere any mention-it would be inconvenientof .‘‘Willane’s Wizardry,” at 2/6, or for that matter of our first “ Summer Special,”which was issued at the same price. I n fairness, let us try to get at the facts. Magical publishers, like any other section of the community, have their failings, and I ventureto suggest that they view with as much dismay as anyone else, and morethan some, the steadily mounting prices at which their books have to be sold to show a return o n their money. There canbe only one reason for highprices, andthat is absolute necessity ; there canbeonlyone reason for going to great expense intheshape of the cloth bindings,art paper, coloured pictures, andthe like, andthatis reader-demand. Mr. Jonson’s themeisthat increased sales wouldaccrue from less costly books, butthisis demonstrably false. Sales of any magic book not offered on the bookstalls are small, and even those quite ignorant of the subject, like Mr. Jonson, know that what makes certain books cheap is quantity production. This doorbeing closed to the magical publisher, he has either to produce a shoddy product or charge ahigh price. Since any dealer will tell you that paper-backed booklets are most difficult to sell, a cloth binding becomes necessary, and with this costly adjunctit would beabsurdtotryto savea few shillingsonacheappaper and inferior printing. Hence 90 per cent. of magic books issued to-dayarewell-produced and priced accordingly. Nobody but a madman would offer a book. at 30/-if a fair price were IO/-, and similarly a book would not be produced to sell at 30/- unless there were a demand. My publication “ Open Seseame ” was mentioned, so it may perhaps be used without impropriety as an example. May I -say first that before the war it was considered that a magic book had donefairly well if it sold 400 copies inthis country. Times have changed, and a reasonable expectation to-day is upwards of 1,000 copies.
There have been books which have sold more than this, but it would be imprudent to rely on an excess and so, the publisher may reasonably budgetwith that figure in mind. Now back to “ Open Sesame.” The actual cost of production : authors’ royalty, drawings, blocks, printing, binding,advertising (a “ overheads ”-office work, big item, this),and postages, etc.-worked aut at very nearly EI,OOO. Since the reader will be aware that the bulk of an edition is sold through dealers who receive (and earn) adiscount, 1,000 copies would be expected to produceapproximately E I ,000, therebygiving the publisherhis money back without any profit whatever. I n other words, he would have been working, and laying out his money, fornothing. It is obvious, then, that he has to gamble on selling more than 1,000copies in order to live, and since price is a very definiteconsideration he will keep the figure down to the lowest possible. That was done with “ OpenSesame,”and thanks largely toits success abroad-due inno small measure to my good friend Bill Larsensome 1,500 copies- have been disposed of to date andthe sales continue steadily. Hence I have, and I am pleased to admit it, made a good profit on the publication.But don’t you think. I deserved it ? I took the chance of losing a very large sum, and had my judgment been at fault, I should have done so. One must remember that every book one publishes does not “ r h g the bell,” anda heavy loss on one needs aterrific success onanother to balance the budget. OnMr. Jonson’s argument, it would have been therightthingtoturnoutthis book in as cheap a way as’ possible in order to ensure a wide sale. I venture to suggest that however cheap it had been, it would not have sold more copies than has in fact been the case . . . which proves my case, that the publisher, trying to ensure a “ square deal ” for the buyer, knows what the public demands and tries to supply it. This -is as true in magical publishing as in anything else, and bringsone to a concluding reflection. It has been suggested to me more than once, by fellows “ inthe know,” that magic books are in fact too cheap, the average cost being little more thanthat of an average novel to-day. When one considers that the novel may sell 20,000 copies of a first edition, and then run into several editions equally large, the price of the magic books does not seem excessive after all. One important point is that many of the keenest magicians are poor ; they cannot afford to pay 301for magic a book however desirable. Theyare catered for by the library, run either by their magical society or by one of several commercial concerns who loan out these works for afraction of their cost, thereby ensuring that nobody need remain in ignorance of the contents of any book, however expensive. Summing up, I think that, after all, the magical publisher may not be such a rogue as Mr. Jonson would have us believe !
62
NEW P E N T A G R A M GRADING.-A maximumaward of TenPoints inthefollowtngcategories(whenapplicable) (A)-Physzcal Make-up (B)-Quality of Material (C)-Value Magic to (D)-Clarity (E)-Illustrations (F)-Readabzlity (G)--Sinc?rity TOTAL 70 POINTS
:-
“FIFTYTRICKS WITH A THUMBTIP ” by LWilbourne Christopher (published by D . Robbins and Co., price One Dollar) Any writing of Milbourne Christopher’s wants little recommendation. As HenFetschtruly remarks in his introductionto thisbooklet, “ Milbourne Christopher writes straight to the point.” T h e fifty ideascoveralarge field, andtheauthor prefaces their description by giving a few historical notes regarding the thumb tip. (Although this is not mentioned, but because we recently heard someonemake the misguidedstatementthattheyinventedthe nail-writer, we would notethatthe nail-writer was in use before the thumb-tip.) Fromthis variedfare we should like tonotethose effects or aids to effects that aqpeal to us most. These are “ Burning Handkerchief,’”‘ a Making Money (this is production of banknotes),ConjuringupCandy ” (this is by Hen Fetsch and is a lovely impromptu for intimate work : this is thekind of magic we can envisageusing when working in a children’s hospital ward). “ Living or Dead ” (this is a most practical method of marking envelopes for tactual recognition), “ Thumb Tie with Rubber
Bands,” “ Dollar in Banana,” “ Reimer’s Ribbon Cut ” (a cut and restored ribbon effect, which, as Mr. Christopher points out, can be done just as effectively with a piece of string), “ Spotsthat Pass ” (again,although the author does not make mention of it, we think that this would make a very nice children’s item, the old ‘ Peter! :a Paul ’ story coming into play). Underthe title of theAnnemann Move ” is given a good billet switch (this is not new, and we feel sure that Ted Annemann attributed it to Al. Baker). Jarrow’s “ Full size Cigarette Vanish ” is the thingtobringtothe magic club-room or confound the man who bought a thumb tip at a chain store. Wereitnrate we have mentionedthose ideas that particularlyappeal’ to us. As there is a full measure of fifty, there should be something for everybody. Some of the material is admittedly far from new, but together with the lesser known and new material it makes a worth-while booklet. T o the conjurer pessimist who is already thinking of donning battledress for the next war, we would suggest that a copy of this booklet and a thumb-tip should form part of his equipment, for both take up little space and both will help to provide a great amount of entertainment. Unreservedlyrecommended. Points, 56.
Every magician whohasspecialized to any extent in card work will bG familiar with the name of Charles T. Jordan, to whom we are indebted for many fine effects, the principles of which have been used in some of the later card creations. There works attributedto Charles is no doubtthatthe T. Jordan stand high in the opinionof every student of card magic. There is mystery, a however, surrounding this man, for he kept well in the backgroundanddidnotattend magicians’ meetings. Nobodyin fact seems to know muchabouthim. T h e following story which I told at a closed meeting of the London Society of Magicians will, no doubt, be of great interestto many readers. Therefore withthe permission of my friend StewartJames, I will tell it to you. Steele, the In a long conversationwithRufus u-ell-known authoron card effects, Stewart James learned that onone occasion during his travels Rufus Steele arrived in Penngrove. He learned here, fromthe local postmaster that Charles T. Jordan lived about three miles out of town with his sister. Rufus Steele decided to pay Jordan a visit and on arrival he discovered anunpainted shack. Part of the barn had fallen down and no attempt had been made to repair it. Unwashed dishes could be seen onatable in acorner room. Windows were open in this room on two sides and chickens flew in and out at theirpleasure and stroIled across the table. There was amost unkempt manin the front yard and RufusSteele asked him if Jordan was around. The man replied that he was Jordan. Steele was more than a little surprised but took out a deck of cards and proceeded to do some of his
best tricks. Hethen handed the deck to Jordan and asked himto do one. Jordan replied thathe did not do tricks. Jordan admittedthathe was the man who put the effects on the market but added that he had never inventedatrick in his life. It seems that he placed the effects on the market for a man in New York, who did not want hisname associated with magic. Jordan told Steele he would not know the man but would show him the latest batch of material that had been sent him. He produced a large unopened envelope which hadarrived from New York a few days before. When it was opened it disgorged a sheaf of typeyellow paper. written instructions for - tricks,on The name was Arthur Finley. This name, as my readers will know, is notentirelyunknownfor he is mentioned in “ Greater Magic.” StewartJames asked Sid Lorraine if he could add anything to this Ovette had told Sid story. It seemed that Joe Lorraine of meeting Jordan, but that he could not persuade himto doa trick. Ovette’s description of the house to Sid was the same as Steele’s, even tothebarnand chickens. Confirmation is added to this story by a letter Stewart received from George Reading of Ohio, an assistant to Kellar. It seems that Nelson Downs wrote him (GeorgeReading) that Finley was the originator of theJordan material. Steele claims that Finley is still alive and runs a haberdashery in New York. Reproduced by courtesy of the Author and Editor, from ‘‘ The Magical Gazette,” oflicial organ of the L.S.M.
First of allwe that our address is
should like all readerstonote now :-65 Manor Road, Wallington, Surrey (Tel. Wallington 1424).
This business of moving has caused an accumulation of correspondence withresultantdelays in replying. T o those who have had to wait for 'either lettersor copies of the Pentagram we apologise. At this point we should like to tender our thanks to those conjurers in Nottingham who made our stay. theresuch a pleasant interlude. We shall miss verymuch the exuberance of Tom Boot, theenlightening criticisms of Charles Harrison and, most of all, the weekly visit of Bryan Hadley. The Inaugural Meeting of the Society of Mentalists resulted in an establishment of a Society as yet withouta name. I t also resulted, much against our own publicly expressed wish,in our being elected the first President. Altogether aninteresting week-end atBirmingham. A committeehas beenformed to draw up Rules.Donald Crombie very kindly took notes afid also agreed to carry on as ,Secretary for theinterim period. There will be
little more to announce until the Committee makes its full reportin July. T o Goodliffe,whovery kindly made the arrangements at Birmingham, and also in lieu of George Armstrong actedas Chairman, we say " Thank you very much " !
Last yearStewartJames, whose reachesinto subtle mathematical principles have never been equalled,marketed " Remembering the Future," a card prediction effect that was extremely off trail. My vefy good friend Francis Haxton who put the effect out in Britain for Stewart, has added a very effective stage version of the effect, which, as readers will note, is available to all thosewhobought the original effect. We have in mind a Douglas Dexter commemoration issue. T o our own wayof thinking, Dexter was one of the outstanding magiciansof this century. Inthis connection we shouldverymuch like to contact his son, Kenneth Dexter, and also be pleased tohearfromanywhomight have somerelevant memorabila.
PSYCHIC CARD 2 - continued from page 57
openly cut atthe shortcard and the ten cards beneath releasedanddroppedon top of the chosencard so that as inthealternativeit lies eleventhfrom thetop.The deck is now cutintothree heaps andtheonecontainingthe chosencardforced equivocally.Pick this packet up andspreadthem, observing that there are possibly sixteen or seventeen cards in the packet, and therefore will the spectator stateanumbernot exceeding seventeen. If he should say eleven you are all set, but should a lesser number, as for instance, eight, be given, insert the little finger of thelefthandundertherequisite number of cards from the top (in this case of eight If number a greater than it would be three). eleven is given then the requisite number of cards must beseparatedfromthebottom. Inthe act of the closing thefanthe passisexecuted (the
Stowartihnnes's
spreading of the cards when estimating the number greatly facilitates this transfer when necessqry). The cardisthenproduced atthe givennumber. This is the end of the second phase. For the final phase the card is returned to the deck and brought to the top by the sleight that is best with the reader. After a false shuffle which leaves the top stock intact, the deck is againplaceddownandtheconjurer states that this time he is going to ask the selector of the card to attempt a still harder feat, namely, to tryandgivetheposition of his cardamongst the fifty-two. Onthenumber beinggiven, the conjurer starts to slowly count off the cards using the utility false count I described in the April number of the Pentagram for 1947 (see " The Nonsuch Card Prediction "). At the number desired by the spectator the selected card appears.
RemenrberingtheE"dure
''
" A WINNER OF THE " LINKINGRING " AWARD OF MERIT, 1947 Recommendedandendorsed by J . G. Thompson (Junior), Peter Warlock, Fred Braue, etc. Effect.-A spectator predicts the number that will be arrived at by another spectator cutting and counting the cards. The effect is outstanding because :-Spectators have completely free choice in the number predicted and cards cut, which maybedifferenteverytime.
*
N O TROUBLE CARD PREDICTION ROUTINE IN YEARS
THE FINEST NON-SLEIGHT,
Price g/= [post free]
A varied presentation by Francis Haxton, suitable for platform presentation
*
will be included free with every order. This. alternative presentation will be sent to any previous purchaser of this effect on receipt of stamped addressed envelope Order from :
FRANCIS HAXTON,
"
St. Anthony's,''Nonsuch
Walk,
Cheam, Surrey
THE LATEST
PETER
!
AMERICAN MAGIC BOOKS
W e can accept a reasonable number of orders f o r the follozoing .-books, most of whichwerepublished very recently : ’
of eachmonth
000--
PLEASE NOTE NEW ADDRESS:
Please remit amounts indicated to our English iepresentative Mr. Robertson Keene, 30 1 Norwaod Road, Southall, Middlesex. He will forward your order via airmail, and wewill send itdirecttoyoubyreturnmail
::
publishedonthe15th -__ 000--
1/ 1 single copy, 1 1 /6 per yearpost free ---
Fittkee’s THE CARD EXPERT ENTERTAINS, boards, 171pages, ill., an elaborated editron of earlier Buckley booklet, just out, 17/6. Hugard’sMAGIC MONTHLY :,BOOK EDITION N.0.2 (Vols. 111. and W.), cloth, 208 pages (84 by X I Inches), crammed with latest and best magic, superbly produce.1, unequalled value, 28/-. Hugard’s MAGIC MONTHLY :BOOK EDITION No. 1 (Vols. 1. and 11.)’ ?S/-, Hugard’s MODERN MAGIC MANUAL, cloth, 345 paces, 270 ill., one of the b v e r y bestgeneraltreatises onconjuring, 17/6.O Hugard-Braue’s THE ROYAL ROAD TO CARDMAGIC cloth 310 panes, 121 ill.,excellentworkfor both amateurs and prdfessioials, 22/-:, Rice’sENCYCLOPEDIAOF SILK MAGIC cloth 520 pages over I 800 ill. 350 effectsby 75 experts, first huieboik‘on handiterchie; magic: just out, SO,/-.
F L E MBI O NCO GOKM. P A N Y BERKELEY HEIGHTS :: N . J .
PENTAGRALW
-
Annamann’s MIRACLE OF CARDMAGIC boards 109 pages ill. 60 great card tricks selected from The J i n x , :emarka’ble value, iO/-: Chanin’s ENCYCLOPEDIA OF SLEEVING, boards, 8 0 pages, ill., only substantial work on this rrnportant subject, just out, lO/-. Dhotel’sMAGIC WITHSMALL APPARATUS : VOL. I 177 tricks (not h sleights), with matches, ‘rings, wands, candles, balls,’~orks,etc., cloth, 320 pages, 183 ill.,ourbestseller ” to date, 28,‘-. Elliott’s MAGIC AS A HORBY cloth 220 pagesmanyillus., a goodbook of up-to-date tricks with little iquipment, ’just out, 1716.
WARLOCK’S
Telephone : Wallington 1424
BOOKS
NEW MAGICAL
10s.Od. 12s.
CONJUNIORING MASTERPIECES IN MAGIC ’ * EXPERT MANIPULATION O F PLAYINQ CARDS_... HISTED THE-MAGIC OF LOUIS HlSTED TWELVE NEW TRICKS FABIAN TESTAMENT OFR. W. HULL.. HALL HALL NOTHINQ I S IMPOSSIBLE . READING I S BELIEVING .. HALL MASTEREDAMAZEMENT . KORAN , KENJON UP THUMBS MACKENZIE COMPERES CORNER‘‘ FIRST BOOK OF WlLLlAM . JIcCOMB L E W Z S G T Y L E R OPENSESAME WARLOCK PATTERNSPSYCHICS FOR .. WILLANE WILLANE WIZARDRY . NORMAN BASIC CARD TECHNIQUE . 3d.Stamp for list of Books on Loan
BREARLEY CRAGGS GA,XSON
.. . .
64. od.
10s. 30s.Od.
6s. od. od.
20s. 15s.Od. 12s. Od. 10s.Od.
. .. .. .. .. ..
.
:
. .
6s. W. ss. W.
6s. Od. 30s. Od. 10s. Od.
b. M.
36s. W.
FRED ROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
U.S.A.
ARCAS Magical Publications
The Magic Circle
Mr.Smith’sGuide to Sleight .W. Jonson o? Hand A.B.C. ot Ventriloquism . .D. Craggs Expert Manlpulatrano? Playing Cards . .L. Gansoll Testamento? R. W. Hull . .T. H.Hall Nothing is Impossible .T. H. Hall Masterpieces ot Magic, Vol. 1 . . Patterns ?or Psychics . .Warlock . .Franklin Kamut Brearley Conjunioring * Willane’s Wizardry . W i llane
President : His Grace the Duke o? Somerset, D.S.O., O.B.E., Z.P.,D.L.,M.I.M.C. Vice-President : Douglas Craggs,Esp., M.I.M.C.
.
1016
.
10120115/101-
..
. .. ..
.
101-
101-
316 101216
--
‘MASQ-UE
Clubroomand
Library and Museum :
St.Ermin’sHotel, CaxtonStreet,S.W.l.
A printed magazinegivingdetails
of our latest releases in exclusive magical effects. Issuedfree. If you arenot . onourmailing list, writenow. ,
MagicalTheatre
:
KingGeorge’s-Hall,
W.C.
Pmticulnrs from Hon. Secretary : ObtainablefromallDealers
ordirectfrom
:-
SYDENHAM ROAD
404/408
Croydon
..
Surrey
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
ABDUL’S FEZ Increasedcost of materialshasforcedme to increase the priceofthis effect to 1216. I feel conhdent, however, thatit isstillabargainto anyone whohaseverworked the Egg Bag. Thanks to all those who haae sent kind words about thistrick
~~
-
PENTAGRAM ” VOLUME 1. BimZirzg Prices :CLOTH 516, REXINE 6/6,MOROCCO FINISH 7,’6
OLD AND NEW MAGIC LatestThinka Magician A pocket Mind Reading Effect only 216 Orrin’s famousSpider’s \V&, CardTrick 301COIN WANDS to. produce a real coin 1616 A fewSlidingGluePacks of Cards 819 Send stamp for printed lists of old and n w Magw
CF. l E L D 42 Alderson Road, Sheffield
363 SANDYCOMB€ SURREY
‘I
,
Every Advertiser’s PrintedinEngland
Sydney
2
INSTITUTE
HENRIDE’SEEVAH MMC., BMS., ZBM.,SSMC. THEFRIENDLY MAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place CHATHAM :: KENT MAGICIANS’ BOOKBINDING SERVICE
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19 MAGICIANS
OF
BranchesinLondon,Wakefield,Brighton, and Detroit, U S A . The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute i’ictoria Station) Particulars from Oscar Oswald, 102 Elmstead Avenue, W‘embley Park, 1Middlesex ~
~~
J A MGERSA Y S O N
-
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
de Hernosey ROAD, KEW GARDENS Ric 4238
Telefihone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME.NearLEEDS Nearly 30 ye& i t &the business
goods are fully endorsed
by this Bulletin
for PETER WARLOCK by GEORGE SEARSON, 40 BlueBellHillRoad,NottinghamTelephone
44652)
,
-
PENTAGRAM An independent monthly bulletin
This is a silk routine which I am sure you will like. It has the advantage that it canbefittedinto any part of an act and requires no preparation. Displaying five silkswhich, we will assume, consist of twogreen,twored, andone yellow, the performerdeliheratelydrops the greensilksone at a time into a previously shown empty opera hat. Taking the redsilks he slowly ties the yellow one around the latter and displays the knot by holding the yellow in his right hand and allowing the two redsilks tohang down. T h e threesilksarethen slowly rested in a bunch on the front brim of the operahatwhichcontainsthetwosinglegreens. Recounting what has transpired, the performer then makes a statement something like this : “ Seeing is not always believing, and although you may believe that I tied the yellow silk to the two red ones, I am going to prove that youarewrong.”Sayingthese words he advances to the hat and suddenly plunges his hand among the silks and suddenly throws three silks intheair.The spectators now seethatthe yellow silk istiedtothe green ones. T h e performershowsthesituationbyholdingthetwo greens with the yellow in the middle by holding a greenin each handand allowing thecontrasting silk tohang down.Placing the “ string ” inhis left hand the redsilks are then picked up andare showntobe singleandseparate. T h e hat is then showntobeentirelyemptyoncemore.Thereare noduplicates or switches,infactnothing butthe silks,a hat,and ? ? ? Butread on !
Requirements are five silksabouteighteen inches square (these can be of any colour, but one should be of a distinct contrast to the other four). This “ contrasting ” silk is the one that is mysterAn iously transferred fromonepairtotheother. opera hat is needed and is preferable to any other
for all who want
good magic
on account of its depth and style. T h e last requirementisa few small rubber bands.(Onlyone is necessary intheroutine,but a few othersshould a precautionary measure.) behandyas
To Perform.-One of therubber bandsis placed onthe second finger of theright hand. If preferred the bands may bepiaceci in the trousers right hand pocket and one obtained when required, but that is up to the reader. T h e five silksare at hand over a chair back and the folded opera hat is onthe table. Springopenthehat, showing it tobeemptyand place on table. Show the silks, each inturn back andfront,and take one of the usual mannerand greenones, “ twirl ” itinthe a allow oneendtodropintothehat,andwith zig-zag forward and backward, allow the silk to sink into the hat, but the end in the right hand is left hanging about three inches over the rear brim of the hat,which,by the way, isbroadside to the audience. Repeat withthe second green, theend of the lattercoincidingwith its mate. Place the tu-o reds in the left hand and tie the yellow to the latter. This is the usual fake knot made by twisting the yellow corner around the two red corners held together and then tieing a single knot on top. The yellow silk is held intherighthandandthe red ones are allowed to hang down, giving the audience plenty of time to see the “ state of affairs.” Grasp the two reds about three inches below the “ fake ” knot with the left hand. Raise the left hand above the level of the right, which is lowered slightly at the same time to avoid “ discomfort.” This action approach makes the yellow sag and the two hands each other to bunch the silks as they are about to be placed onthefrontbrim of the hat. It will be found an easy matter to slightly twist the right continued on page 6 6
66 BELIEVE
IT
OR
NOT - continued f y o ? page ~ 65
hand under cover of the left with its bundle. This thethree upsetsthe fake knot “ halfway.”As silks are placed on the brim, the reds to the front, the yellow dipsslightlyintothehatbuttheright handdoes not release itsend. The latterisdrawn backwardsover the greens untilit coincides with their ends. I t must be understood that the placing of the three on the brim takes but a second or two, and the secret placing of the yellow in position for the finale synchronises withthe movement.Plenty of cover is provided by the red bunch at the front andthe move shouldprovidenodifficulty. The performer now patters about “ seeing is not always believing,” and while so doing slips his index finger into the band which we will assume is now on the second finger. Thusthe two fingers areencircled.
“ FreeRing ” isacolourful release problem suitableforthe cl.ose quarter workerandutilising simple objects, namely ring, a ribbonandsilk. T h e performer displays a length of ribbon or coloured tape,andaspectatorisrequestedtothreadatwo inchdiametercurtainringonit. The performer now holds the ring and allows the tape to hangdown. A smallsilk is now handed the spectator assisting, and hzis asLecl tu 1111-cad the silk throughtheupper part of theringandtotieaknotthereon. This donetheoperatorgraspstheringatits “ top ” and allows the silk to hang down the ends of which partlydrapethetape. Two spectatorsnowgrasp anend each of thelatter,thetape now takinga horizontalpositionand the performerlowering his handholding thering as this positionis reached. Giving a slight jerk the ring and silk are lifted free of the tape and everything may be examined.
Requirements .-Two curtainrings(approx. two inches diameter), a length of ribbon or coloured tape(abouttwoanda half tothreefeet of threequarter inch). All these can be had at the Sixpenny Stores. A smallcolouredsilkandasmallportion
Advancing toward the hat the thumb is now slipped into the band and as the right hand is thrust towards the hat the bandisstretched. The handgrasps the three corners of the silks hanging to rear of hat about three inches from the end andfrom above, and as his hand grips the three, the band is allowed to slip off the fingers and thumb on to the silks, thus. fastening them together. LVithout hesitation the lotarethrown intheair,the yellow onecoming away easily fromtheredsonaccount of its upset knot. The three silks are caught and displayed by holding the greens in one each hand, the yellow hangingdown. The lotare then placed in the left hand while righthand picks up reds singly. Finally the hat is shown to be empty.
of conjurers’ wax. The latter is stuck to the outside edge of one (see B) of the rings which is placed in therighthandtrousers pocket. The silk is placed inthe lefttrousers pocketnear thetopforquick removal ; the other ring (see A) and tape are placed ontable.
To Perform.-Handoutthering which n-e will call A, and request a spectator to pass the tape through it and bring the two ends together, so that an equal length hangs on each (‘side ” of the ring. 15’hile this is beingdone palm the duplicatering with the wax side or edge at the little finger position. The ring is palmedbetween the first andlittle fingers. Takethe threadedringwiththe left hand graspingthepartwherethetape passesover itat its loweredge. The left thumbjust rests lightly on the latter and the largest area of the ring remains visibleto the audienceandduringthe following move apparently never leaves theirsight.Bring up the right hand as if to grasp the visible ring A and immediately the left hand is covered, press with continued on page 7 1
This isacard effect forfairlyintimate work. T h e climax is all that can be desired ; the drawback to some conjurers will be that it entails (as the deck is torn up) a newdeck for each performance.
The Effect. - A card aft-r being freely selected andautographedisreturnedtothe deck. The latteris now distributed betweenabout five members of the audience who are asked to tear the cards into quarters. These quarters are then dropped into an examinedcloth bag whichisheld spectator. by a This spectator gives the bag a good shake to mix the pieces. Showing his hand to be empty,theconjurer places it inside the bag. His hand comes out with a quarter of card, which he does not show, but placesface down on a piece of perspex. T h e movementisrepeatedthreemore times. The piece of perspex (which has been treatedwithathincoating of vaseline) isthen turned over to show the four quarters forming the spectator’sautographedcard !
The R e q u i r e m e n t s are simple.-Adeckof cards ; a cloth bag measuring ten inches bytwelve inches ; a paper clip ; a piece of perspex (or glass) measuringsixinches by sixinches. Preparation.-Slipthepaperclipon to the left hand shirt cuff. Smear a thin layer of vaseline on one side of the perspex then placing the latter vaseline side upwards on the table. The cloth bag is placed nearby. Presentation.-Let me emphasise that smoothness and naturalness in presentation are essentialthe mostimportantpart of the chicanerybeing concealedby natural play onthepart of theperformer. The conjurer,holdingthe deck of cards, approachesamember of the audience. “ Would youmind,Sir,thinking of justone cardandone card only ? When you have madeyourdecision I should like to remove it from this pack and write your name across its face. Please don’t let me see the face of this card ! ” The spectatortakes the deck, removes the thought of card, and, as he takes a pencil to write, the conjurerretrieves the
deck. The conjurerthen turns away as the cardis autographed. When the spectator signifies that he has written his name across the face the conjurer has the card returned to the deck. From this point he must move it to thetop of the deck,using to himself. the most deceptive method suited method Quite a number will use the “ pass.’’(A suitedtothe less skilful wouldbe to have a short cardat face of the deck atthe beginning. Ifthe spectator’s choice should fall on this particular card it is always within the conjurer’s control by the simple process of cuttingthe deck. Ifanyothercardis taken, have the spectator replace itontop of the deck and request him to cut the deck, bringing his cardto the centre. A simplecut below theshort will thenbringthe chosen card back tothe top. (This cut, I may say, canbe madewhen the performerisdistributingthecards.) The cardsare then placeddown whilst the conjurer picks up the cloth bag and hands it to a spectator on his right : “ Would you mind having a look atthis bag ? ” T h e deck is now takenandcutintofoursmall heaps. From oneheap the conjurercutsthree or four cards, the topmost one of this group being the chosencard. These few cards heleaves onthe table. Taking the four almost equal heaps between his fingers, he addresses the audience : “ This is an effectwhere ‘ four ’ predominates.Wouldyou, Sir, take this packetof cards ? ” (oneportionis handedto one spectator). The remaining three : heapsaredistributedtothreeotherspectators “ Now, may I suggest that you take about half the number of cards you are holding and do as I do ? ” The conjurer picks up the few cards he has left on the table faces towards the audience, and, naturally, the selected cardbeing atthe rear. The conjurer then bends the cards he is holding crosswise (this is the standard move for the torn and restored paper andtornand restoredcard). Hethen apparently straightens them out again (see illustration) but actuallyleaveschosen card folded at the back, simplystraightening out the remaining cards. T h e conjurerthentearsthesecardsinto halves, the spectators following suit. The move isrepeated withtheobject of tearing the cards into quarters. T h e finalresultbeing thatthe conjurerhas the of chosen card folded into quarters with a number quartered pieces of card infront. As the conjurer looks over thefourspectatorswith the cards,he apparently places all the pieces he is holding on to the table. Actually he slides back the folded chosen card,retaining it in a finger palmposition(either hand will do). “ Do you get the idea, gentlemen ? ” he remarks to the tearers. “ Now would you mind carrying on with the other cards ? ” As he watches themhestands handsbehind back, legs slightly “ easy ” apart (more or less army an position). And in this position tears the card continued on page 6 9
68
t
‘E AT THE CROSS
PACK OF CARDS FACE DOWN ON SLATE. FACE INSIDEREBATiCCF FUKE
CARDS
This is asimple,straightforward and easily followed effect which will raise a few laughs as well asbeingaprofound mystery. It necessitates the making of a special sized slate, but I feel sure you will more than find it worth while. I t can be done surrounded or on a stage. It is just as suitable for small as for giant cards if you only want to do it at family gatherings. However, by using giants you introduce both novelty and extravisibility. Effect.-You namethe bottom hidden card of a freely shuffled pack of cards. You write this name invisibly in the air and itappears on a business card. You thendoit again, only thistime you writeanother card’s name on aslate ortray held by a member of the audience. Requirements.-One pack of giant cards (or ordinary ones) ; one slate of such a size that a giant card just goes in the rebate at each side (44’’ X 7’’ inside frame) and fits exactly ; two cards alike (say two Kings of Hearts). These are backed to match the slate and acts as flaps ; a piece of chalk ; a pencil ; about a dozen business or blank cards of approximately playing card size. Set-Up.-Onone side of the slatewrite or print a figure Eight crossed out (as in figure 3a) and the name of card on the side of flap (Kine of Hearts) in figures. Write the name of anycard of pack (say Eight of Clubs) on the plain side of one of the businesscards in pencil. Putthis business card message side up on blank side of slate. Then place the named card-Eight ofClubs-face down on topof it. Now place one of the ‘(King of Hearts ”
flaps ontop. Putthe otherflap-picture to chalk writingon other side of slate (see Fig. 2). The giant cards are placed in a box if you have one, and the slate placed on back corner of itto hold the single flap in place underneath (see Fig. I). If you don’t use a box just place it over one of the back corners of table or on some object to allow you to get your fingers under easily and hold flaps in place. The pencil, chalk and business cards are laid on slate. You are now ready for the . . . Presentation.--“ Some time ago I had a dream-a strangeand vivid one it was. I dreamt that my astral self left my body and floated away into space. Whilstit wasaway I watched itperform several little tasks that I had been unable to get around to but had intended doing for weeks. Then it came back . . . and I awoke. When I got up I found these jobs had really been done, so, having been trained by ‘ Mr. Pelman,’ T decided to utilise this astral self and make it really useful. Now my astral eye and hands can helpmea lot. Letme demonstrate.” (Pick up giant cards and begin to shuRle them, be careful not to disturb slate flaps, etc.) “ Here are some playing cards. Oh, yes, they were specially made for a short-sighted old aunt of mine who used to play Patience with them on the lawn, but she got so out of patience playing Patience that she gave them to me.” (Hand them to gentleman on left and ask him to shuffle them.) “ Enjoying yourself, Sir ? ” (Now walk over to table and pick up the slate as a tray and let some lady on your right remove the business cards and examine them. Ask her to choose one ; note its blank expression ! and return the others to you on the tray. You now put the pencil, chalk and remainder of cards on table, return to lady and have her place the card printed side down on the ‘ tray ’ you are holding. You now go over to the gentleman who is shuffling the cards and ask him to hold them well down so that neither he nor you, or anyone else, knows the top, bottom, or position of anycard of the pack Theseare placed on ‘ tray,’ see Ill.). “ Now, Sir, you have shuffled this pack really thoroughly and in a really expert fashion, and you feel sure that I don’t know where a single card is ? Now I am going to let you look under the tray and I want you to tell me the name of the bottomcard. You can’t ? Dear me ! You see you have not got an astral eye like mine.” (Look under, lettingaudience see there is nothing to see.) “ Now, according to my astral eye the bottom card is the Eight of Clubs. Is that correct ? You don’t know ? Well, will you take my word for it ? I may be wrong you know, so I am going to give myself another chance. I am going to write ‘ Eight of Clubs ’ on the business card this lady placed underthe pack. There is nothingon it continued on page 6 9
* ‘ M Y ASTRAL
EYE
” -continuedfrompage
68
now is there, lady ? No ? Thank you ! ” (Write ‘ Eight of Clubs ’ in the air with the pencil.) “ Now Sir, if my astral has seen the bottomcard and I have named it correctly, it is very clever, isn’t it ?And, madam, if I have managed to write its name on the card you just placed there, even if it’s the wrong one, it is good is it not ? ” (pause) “ But if I have done both correctly it will be almost, if not, “ Now we will a miracle ! ” (W‘ait forlaugh.) look and see-what-we-shall-see.” (Empty cards off the slate on to left hand and put slate remaining flapside up ontable.Hold the business cardon pack with right first finger and tip the cards up to let the audience see the bottom card-Eight of Clubs. Walk over and let the shuffler of the cards verify it aloud then go over to the lady on right and let her remove the cardshe placed there(?)and read it aloud, too. Bow as if the ef€ect is over) then . . . “ I’m glad you liked it, folks, because it was shown to a friend the other night and he didn’t seem at all pleased withit.What would have happenedhad thecard not been theEight of Clubs,’he asked. NOWI ask you, isn’t that a silly question ? He asked what would have happened had it been, say, ‘ The King of Hearts ? ’ ” (As you say this remove the Eight of Clubs, wave it around to casually show bothsides, andthrowit down ontable or chair. Point to King of Hearts as if you didn’t know what the next card would be, but you’ll use it as an example) ‘‘ ‘ Well,’ says I, ‘ I would have had the cardson the traylike this ’ ” (put cardsontray exactly as before on top of flap) “ looked under and told you
4 6
THANKS TO
MARLO
”
- continued from
it was the King of Hearts and written Kingof Hearts instead of Eight of Clubs.But, ifyou don’tlike that we’ll try something else.” (Empty cards off again letting audience see the front card is just the same, walk over to lady on right again and get her to stand facing stage and grip the slate. Here you hold it just as high as she can reach-message facing yourself-and you will find she cannot see anything and neither can the audience. Pick up chalk.) “ I am going to let my astral hand write with chalk this time-are you ready ?-I will now write ‘ Eight . . . ’ ” (stop) “ Oh, 1% am sorry, it isn’t ‘ Eight ’ any more-it’s a King, so we’ll cross itout ” (do so). “ Now, ‘ K-i-n-g 0-f H-e-a-r-t-s.’ Did you feel anything, madam ? No ? Well look at the gentleman over there.” (Point backwards towards rear of audience and the lady will turn round, and so will slate. Just watch the lady pull slatedown and look atit.) “ So you see, ladies andgentlmen,my astral eye and handsareequal to all emergencies and it makes no difference which card is chosen ! ”
Notes.-(I) Don’t drawany attentiontothe crossed out ‘ eight ’ ; the audience will see it andtalk. (2) If surrounded the lady holds the slate well down between her palms message side down-or you can just place the slate, message side down, on to table and let someone pick it up later. (3) Do not refer to slate as a slate but as a ‘ tray.’ I n fact I have seriously been thinking of making atray in wood to replace it.
page 67
into four pieces, slips the paper clip off his shirt cuff and slips it over the four pieces of pasteboard. The four pieces thus clipped are then finger-palmed in the left hand. Seeing that the fourmembers of the audience have torn up all their cards, he moves ,overto the spectator holding the cloth bag. “ Everything alright ? ” he says tohim and receives an affirmative reply. Hethen takes the bag withhis right hand and moves to the nearest member of the audience with the torn pieces. “ Would you mind dropping all your pieces into this bag, Sir ? ” As he says this the left hand comes up to aid inopening the mouth of the bag. The bag is then held under the spectator’s hand andthe pieces held by this spectator allowed to fall inside (the pieces torn by the conjurer and held by the clip are still retained in the finger-palm position). The second, third and fourth holders of pieces arethen approached and their pieces dropped inside. The conjurer then turnstoanother spectator and asks himto hold the bag. As he does this he allows the clipped pieces to drop inside. “ I might aswell drop these pieces in as well,” says the conjurer as he picks up from his table the few torn pieces that he used to illustrate the method of tearing. Getting the
spectator with the bag to open the mouth the odd pieces are thendropped by the conjurer. “ Will you please give the bag a good shake, so that the pieces are well mixed ? ” (the spectator can shake the bag as much as he wishes, but the pieces will not be dislodged fromthe paperclip). Holding his right hand up and letting the. audience see that it is definitely empty, the conjurer places it inside the bag, feels for the paperclip, and then, having found it, slides out onequarter. This he removes and places face down with slightpressure on the piece of perspex. The spectator is then asked to give the bag another good shake, and once more showing his hand to be emptyit is placed inside the bag and another quarter withdrawn and placed onthe perspex. This procedure is repeated twice more so that the conjurer has the four quarters in correctposition onthe perspex. As he takes the last quarter he takes the clip as well, slides it off the last quarter and finger-palms it. The spectator is now asked to name the card he thought of and autographed.Picking up the piece of perspex, the conjurer turnsit over to reveal the selected card. Everything, if you are that way inclined, can now be examined.
aW d
c&ut
&&!
U
U
c
NEW PENTAGRAM GRADING.-A maximumaward of Ten Points in the foZlowzng categories(whenapp!icable) (A)-PhysicaZ. Make-up (B)-Quality of Material (C)- Value Magic to (D)-Clarity (E)-IZZustratzons (F)-ReadabzZzty (G)-Sincm’ty T O T A L 70 P O I N T S
’‘ B A S I C C A R D T E C H N I Q U E
” by Anthony Norman (published by M a x A n d r e w s ) price 351-. Rather late in the day this much vaunted book has arrivedforour review. When,many,many,months agowe hadaquick glance at the ‘ galley ’ proofs, we thought that the contents of this volume might provide a handy work for reference. Now that we have had an opportunity of reading through carefullywecanonlyexpress ourgreatdisappointment. If the book is for the card student (as Mr. Norman would designateit)thedata is insufficient. Theauthor has taken from many sources various methods of performing certain sleights, and hasgiven in brizf form t h i r mechanics. The following arethe basic sleightsdealtwith :T h e Pass,Locations,Palming,Forcing,FalseCutting, False Shuffling, False Counting, Double Lifting, rop andBottomChanging, T h e Glide,Glimpsing,Reversing of Cards, Back and Front Palming,FaEning and Flourishes. Under the title of “ Card Subtleties arranged packs and a fewideasaredealtwith. A chapter dealswith the variousways of treatingcards, i.e., roughing,etc.Nine pagesaccountforsuchitems as forcingpacks.Twentyeightpagesgivesomecardclimaxes, none of which fly very high, and there is a concluding chapter on what the author calls “ Presentation.” I n all thesechaptersthe authorappearstoshowthathehasnotthe necessary experience to write in an authoritive way on card work. Statements like “ Onecannot overestimate the pass. It is the integral part of about seventy five-per cent. really goodcardtricks ” (the italicsareours)and It seems to be the common desire of practically every card magician to attainthe .heights of suchperfection inmanipulative skill ” (the back and front palm is referred to here by the author) show too well that Mr. Norman’s outlook on card magic is not t:lat of a he would-l;? card expert. Hofzinser and Erdnase, so far as we can judge from thisvolume,seemtohave given nothingthat couldbe considered ‘ l basic ” andthe suggestions thattheperformershould wear his magical society medalandhave his monogram on his table cover have rather a mildewed touch. Howina book dealingwith basic cardwork,the classic force,culling,secondandbottomdealing, Dai Vernon’smethod of thetwo-handed palm andCurry’s turnover change (one of the finest of modern day sleights) have been omitted is beyond us. For the author’s information, conjurer the responsible the for single-
:-
handpalm, was, as we havementionedmanytimes, the late John Elrick. The book isillustrated by Dennis,andthere is an excellent Preface by Francis Haxton, who truthfully concludes by saying “ This book is particularly recommended to the beginner.” Weconsiderthat 351- isfartoohighapricefora book that is, for the most part, a re-hash and also fails to cover the field defined by its title. For thebook collector, it is well printed and reasonably bound. I t hasamostattractive dust cover. 42 Points. X
1
X
“STUNTW S ITH STAGE MONEY” Jack by Lamonte(publishedbyGeorgeArmstrong) p r i c e 51-. This is an unpretentious little booklet of some thirty pages in which Mr.Lamonte detailstwenty gags, ideas andeffects, making useof “ stage ” money. The two best effects are “ Tear-ablyGood,”atornandrestored “ Impromptu Note in Cigarette.” not: routine, and For the comedian who likes to think that he is a magician there are several worth-while commercial ideas. T h e booklet is lavish inillustration,butwhytheillustrator shouldnot be contentwith drawingwhatis necessary, instead of attaching heads and shoulders, that are neither caricaturesnor likenesses we don’t know. This form of illustration s2en-s to bespreading in certainpublications and periodicals and we can only presume there are some peoplewho like it. 49 Points. X
1
X
T H EM A G I CW A N DY E A R BOOK, 1947-48 ” (published by GeorgeArmstrong) price 316. It is a great pity that the publisher was so late getting this publication out. A pity not only for himseli, but also some of hisadvertisers. It follows, inthemain,the 1916-47 model.Quitefrankly we would say thatthisis an essential purchase for the enthusiastic conjurer as the informationthatMr.Armstronghas collected regarding Dealers and Societies is all embracing. There are nearly onehundred pages, and besides the informationalready mentionedtherearesometwenty pages dealing with ‘‘ Tricks of theTrade ” and “ WorkshopWrinkles.” T h e Cotswold Assembly, the Ring Convention at Buxton andtheInternational Congress in Parisare all covered and accompanied by photographs.Anexcellentbuvat the small price. Unieserve;l‘l3; recommended. “
! Peter Warlock% “MODES FOR MENTALWTS ” N E WE X C L U S I V EM E N T A 4 LM Y S T E R I E S N u m b e r 1-“ T H I N K A SI THINK.”-In this effect the Spectators receive the Mey!alists thoughts in a most definite way. N u m b e r 2-“ CAUGHT THOUGHTS.”-The second item in Peter Warlock’s Modes for Mentalists ” series is up to the same high standard as the first release. Caught Thoughts is a practical mental routine in which the mentalist not only catches the spectator’s thoughts, but the assistant catches those of the performer as well. A double thought reading effect. T h e routine is logical and the method is practical. Most important, it is entertaining if properly presented. This duplicated 4-page manuscript is neatly produced and mental magic enthusiasts who use the effect will consider their money well spent.-“ i’llagic Wand.” I regret to s a y that I have no copies of this in stock. There m a y , h o w e v e r , be a few available from Dealers. N u m b e r 3 ( f o r release on July 22nd)-“ M I N D O U T OF TIME.”-This is,,the ultimate in card prediction. A full description of this effect will appear in the July number of the ‘‘ Pentagran. PETER WARLOCK ::: 65 M A N O R O A D ::: WALLINGTON ::: S U R R E Y I
’
LEARN HYPNOTISM.-ANYONE canlearntoHYPNOTISE provided andare willing todevotealittle time to practice. they know how Practical lessons in THEWIZARD everv monthwritten especiallyfor the ENTERTAINER, by S. E. (Dexterous! Dexte;,V.A.F I.B.M., ALSO MUCH GOOD MAGIC, for Mentalists,Children’s EntertGnersand Clrtb Performers.Specialsectionfor Vent.;. 36 fully illustrafed pages per issue Subscription : 6 months,12!6 ; Year, 24/-
C 0N J U R I N G
B 00K S
F 0R
OLD AND NEW. Letmeknow your wants LIST FREE FOR STAMPED ENVELOPE -No Callers
G E O R G EJ E N N E S S
SALE
7’
It was with great regret that we heard of the death of Colin Tooke. A serious minded magician with a preference for mental magic, he will be missed by the many who knew him. LVe are grateful for the fates which led himto Buxton lastyear, and where, in company with John Brearley, we had the opportunityfor mutual discussion, little guessing thzt he was going to Burma for the last time. In our issue for April that great veteran H. C. Mole gave the details of a simple coding system for playing cards. We regret thatinthis description a mistake occurred.On page 5 1 the card denoted should have been the Queen and ?lot the Jack of Diamonds. T o Mr. Mole andto those whomay have been misled by this error we ofFer our sincere apologies. We understand that Percy Bee is working this particular method with success in his professional act. From America we hear thatour good friend PaulFleming will be visitingthiscountryinJuly and August. We feel that he will be accorded a great welcome by magicians on thisside of the Atlantic. Incidentally we should like to call our readers’ attention to the remarkably good exchange dollar rate which Messrs. Flemings are .advertising. New York rate for When oneconsidersthatthe sterling is less than three dollars, it can be realised what a good bargain the English buyer is getting. After a recent MagicCircle show we had the pleasure of Ineetmg A1 Korall for the first L n e . Later we managed togettogether. A1 is a natural conjurerusingthemost unconventional technique. H e showed me his effect ‘(Everywhere and Somewhere,” which, briefly, isthe transfer of three selected cards to the performer’s pocket. T h e differenceliesinthefactthatthe cards produced fromthe pocket are the actual cards selected, and that there is no palming of fancy s l e i g h by theperformer. At the remarkably low price of FREE
seven and sixpence itis must ” buy, for the (‘littlesomething ’’ could be utilised for things other than playing cards. If you are interested the address to write to is 66 Ponsonby House, Bishops’ Way, London, E.2. There is still a cry for silks for those who use or wish to use them. T o those who are in difficulty Co., we suggest that you writetotheStarMagic Box 7, Brinkworth, S. Australia. Mr.Everitt, who runs this store, has quite a number of thirteen inch and twenty-four inch coloured silks at the price of I /3 and S/- respectively. It is very difficult to sometimes find a principle that has not been used before. We were, therefore, pleased when some littletime backwe ran into a new idea for card prediction coincidence. This will appear as No. 3 of ModesforMentalists ” underthetitle of Mindout of Time.” Whilst on the subject of mentalism we are reminded of the numerous occasions on which we hear the Pentagram described as catering only for Mentalists. Those who are regular readers know too well that this is not so. T o those in doubt we just ask them to run through all the published numbers to date and note the low percentage of mental effects. After that it hardly seems apposite tomention that in the next issue we are running an effect (which canbcused either as a straight card effect or a coincidence effect) S. H . S h a p e hasalsocome by JulesGiraud.Mr. along with a visible coiour changinz sand idea. This piece of visual magic he had put aside, but was reminded of it when reading our own Put down an Empty Glass ” in the May issue. The Annemann issue of the (‘Phoenix ” (a very authenticnumber)is now tohand. It is excellent, and those who may have been using the Rev. G. E. Arrowsmith’s effect (‘ The Mystery of any Card ” (page 3, Vol. 2) will find an idea by J. G. Thompson (Junior) that willnicely tie in. ((
,
((
((
((
RING - continuedfrompage 6 6
the left thumb on the edge it is touching of ring A and the ringwill swivel towards you and downwards. T h e ribbon tape which was at the lower edge of the circumferenceis now atthetop. The right hand synchronising kvith the above n:ovement places palmed ring B in the position between left thumb and forefinger with its waxed edge down and without pause grasps the double edge of the tape at the top of the now invkible ring A and draws ring B with the tape (i.e., at double centre) to the right and in a T o thespectatorsit should horizontaldirection. appear as if you grasped the ring and drew it and the tape away from left hand. The action, of course, draws the tape free from ring A which is left in the left hand. T h e right hand holds the ring and tape as firmly as possible and gives one or two tugs as the rest of the tape is drawn through the left hand. This appearsas if you aretrying to demonstrate thesecuremannerin which thetapeis “ fixed ” tothe ring. The righthand continuessmoothly
throughuntil all thetapeisfree of the left hand whichimmediately goes to left pocket, dropsthe palmed ring and removes the silk. Thc silk is handed to spectator who is asked to twirl it in rope fashion. Meantime your right fingers have been busy pushing a small portion of the double centre of tapethroughringand ontothe wax thereon. The silk is now tied on as described in the effect, end the spectators take an end each, the performer previously allowing the silk to drape the (‘dirty work ” and holding top of ring. T h e wax will hold the tape in place until the finale provided due care is taken that the spectators assisting do not pull the ends prematurely. As the assistants take their respective endsthe performershould lower the ring and tape silk as the tape assumes the horizontal position. A sharptug will release ringand silk, and as you untie silk from ring scrape off wax with the thumb nail EO that all may be examined.
PETER WARLOCK’S
PENTAGRAM Effective immediately and continuing indefinitely, we are establishing a uniform world price on all books published by the Fleming Book company. British equivalents of .%mericau money are, at present : I , - equals 20 cents ; S / - equals One Dollar. Hence, n e will deliver to British magicians any bf our eight publications, post paid, a t the enact British equizalenfs of the Arnericart prices, as noted below :Collhs’s Conjuring A Melange (4 dollars) .. ,. 20s. Od. Ilhotel’s Magic with Small Apparatus (5 dollars) .. 25s. Od. Erdnase’s The Expert at the CardTable ( 2 dollars) . . 10s. Od. Gaulfier’s Magic Without Apparatus (7.50 dollars) . 37s. 6d. Hugarci’s Book Ed.No. 1 (Vols. 1 and 2) (5dollars) .. 25s. Od. Hugard’s Book Ed.No. 2 (Vols. 3 and 4) (5 dollars) . . 25s. Od. Maskelyne-Devant’s Our Magic (5 dollars) . . . . 25s. Od. Sachs’s Sleight-of-Hand (5 dollars) . . 25s. Od.
publishedonthe15th ---O O G -
of eachmonth
1 /l single copy, 1 1 /S per year post free _-300----
PLEASENOTE
NEWADDRESS
:
.
Also effective immediately and c o n l i w i n g through J u n e , J u l y a d August, 1948,we will deliver any Americarz magic book on the basis outlined above. A few of the hundreds of books available under this arrangement are :Elliott’s Magic as a Hobb (3 5 0 dollars) . . 17% 6d. Fitakee’s TheCard ExpeREntertains (3.50 &liars) . . 17s. 6d. Halliard’s Greater Magic ( K Odollars) . . 50s. Od. 20s. Od. Hugard-Uraue’s Royal Road to Card Magic dollars) Rice’s Encyclopedia of Silk Magic ( 1 0 dollars) . . 50s. Od. Tarbell’s Course i n Magic, Vol. I, 25s. Od. ; Vol. z . . 32s. 6d. Tarbell’s Course in Magic, Vol. 3 , 32s. 6d. ; Vol. . . 37s. 6d.
(1
.+
Please remittheexactBritishequivalent of the price of any currently obtainable American work on magic, to our representative, Mr. Robertson Keene, 301 Norwood Road, Southall, Middlesex. Yourorderwill come to us via airmail, and willbe shipped to you a t once, post paid.
FLEM B IONOGK BERKELEY HEIGHTS
~
COMPANY :: U.S.A.
:: N . J .
Telephone : Wallington1424
NEW MAGICAB LOOKS
.
::
.
-Obtainablefromall
404/408 SYDENHAM ROAD Croydon
..
:-
Surrey
ASDUL’S FEZ Increased cost of materialshas forced me t o increase the price of this effect t o 1216. I feel confident, however, thatitisstill a bargain to anyone who hasever worked theEgg Bag. Thanks to all those who have seglt kind words about thistrick
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place :: KENT CHATHAM MAGICIANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME 1. Bilzdilog Prices :CLOTH 5/6, REXINE 616,MOROCCO FINISH 7,’6
CF. I E L D 42 Alderson Road, Sheffield
0
MASQUE
Clubroom and LibraryandMuseum
Every Advertiser’s
2
MagicalTheaire
:
KingGeorge’sHall,
W.C.
Porticulars from Hon. Secretary :
Francis White, 39 AlverstoneAvenue, WimbledonPark, S.W.19
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
INSTITUTE
HENRlDE’SEEVAH “C., BMS., IBM., SSMC. THE FRIENDLYMAGICIAN invites allbona-fide Magicians to send for his list of new and used apparatus and books, or calla t his studio :1 CLARENCE ROAD Harborne, Birmingham 17
goods are fully endorsed
:
St.Ermin’sHotel, CaxtonStreet,S.W.l.
A printed magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are not now. onour mailinglist,write
OLD AND NEW LatestThink a Magician A pocket blind only 216 Reading Effect Orrin’s famous Spider’s Web, CardTrick 301COIN WANDS to produce a real coin l616 A few Sliding Glue Packs of Cards 819 Send stamp for printed lists of old and nm Magic Sydney de U e m m s e y 363 SANDYCOMBE ROAD, KEW GARDENS SURREY Ric 4238
Magic Circle
President : His Grace the Duke of Somerset, D.S.O., O.B.I.:., I.P., D.L., M.I.M.C. Vim-President : Douglas Craggs,Esq., M.I.M.C.
mm.8.. a m m m m m
Dealers ordirectfrom
6s. Od. 20s. Od. 15s. Cd. 12s. 06. 10s. Od. 6s. Od. 5s. Od. Ss. Od. 30s. Od. 10s. Od. 2s. 6d. 35s. Od.
FREDROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
1 The
1o.l20!15110110’316 101216
10s. Od. 308. od.
. . .. . .
.
ARCAS MagicalPublications 1016 101-
10s. Od. 12s. M.
.. .
. ..
l
Mr.Smith’sGuide to Sleight of Hand . .M-.Jonson A.B.C. ot Ventriloquism . .P. ~ r a g g s Expert Manipulation of Playing .L. Gansorl Cards . . Testament of R. W. Hull . .T.H.Hall Nothing is Impossible . .T. H. Hall Masterpieces of Magic, Vol. 1 . . Patterns for Psychic3 . .Warlock Kamut . .Franklin ConJunioring ’ . .Brearley Willane’s Wizardry . . ..M’illane
.
. CONJUNIORING MASTERPIECES IN MAGIC * * EXPERT MANIPULATION O F PLAYING CARDS . . .. HISTED THE MAGIC OF L o u i s HISTED . . FABIAN TWELVE NEW TRICKS . R. HULL.. . TESTAMENT OF W. HALL ., HALL NOTHING I S IMPOSSIBLE . . .. READING I S BELIEVING HALL .. KORAhT MASTERED AMAZEMENT .. . THUMBS UP KENJON . MACKENZIE COMPERES CORNER* FIRST BOOK Ob: WlLLlAM . MCCOMB . L E W I S 6. T Y L E R OPENSESAME .. WARLOCK PATTERNS FOR PSYCHICS . WILLANE WILLANE WIZARDRY .. NORMAN BASIC CARD TECHNIQUE . ... 3d. Stamp for list of Books on Loan BREARLEY CRAGGS GAh;SON
OF
MAGICIANS
Branches in London, M‘akefie;d, Brighton, and Detroit, U.S.A. The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Dellison Houw, 2%; Vauxhall Bridge, Victoria, S.LV.1.(one minute Victoria Station) Particulars from Oscar Oswaid, 102 Elmstead Avenue, Wembley Park, Middlesex
I
l
I
JA GM RE A SY S O N
~~
MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 893 Address :23 GREENFIELD AVENUE GILDERSOME, ,Near LEEDS h’early 30 years zn the busaness
by this Bulletin
Printed in England for PETER WARLOCK by GEORGE SEARSON, 40 Blue Bell Hill Road,Nottingham
Telephone 44652)
73
PENTAGRAM
i Editor’s Note.- You can call this prediction, coincidence, or straight card work. The main thing is that the eflect is exceptionally clean cut and is suitable for performance either in a room or a hall.-Peter Warlock. W
#
#
Effect.-Theconjurer offers to onespectator a pack of cards for shuffling. Whilst to another he hands a sealed envelope. Receiving the cards back, hecutsthe pack intothree almostequal heaps. Turning to one spectator whom we-will consider as “A” he asks him the name of the month in which he was born. Supposing the spectator says ‘ March ’ the conjurer picks up one of the small heaps of cards, at.the same time remarking : “ March,thethird month of the year,” and then from this heap deals down to the third card which he places, without the audience seeing its face, in a glass that stands on the table. This procedure is continued withtheother two heaps, two other spectators being designated “ B ” and “ C ” and the months of their birthdays beingrequested. These cards, intheirturn,are placed behind the first card in the glass, so that the conjurer has now three cards back towards the the audience, in a glass. The spectatorholding
c
J
envelope is now requested to open it and remove the contents. He takes out a slip of card on which there is somewriting. “ Will you please read out what is written on the card ? ” says the conjurer. The spectator now reads “ ‘A’s’ birthdaycard is the five of diamonds.’’ As he says this, the conjurer turns the glass round, showing that the first card is the five of diamonds. “ ‘ B’s ’ birthday card is the ace of clubs.” The five of diamonds is now withdrawn, showing the ace of clubsbehind it,”and lastly, “ ‘ C’s ’ birthday card is the queen of hearts.” The ace of clubs is withdrawn showing the queen of hearts remaining in the glass ! The Requirements are very simpleand are as follows :-One glass, brandyshape, into which, say, ten cards will fit without any lateral play. A pack of cards. An envelope and piece of card. Three cards, say the five of diamonds, the ace of clubs and queen of hearts’are removed fromthe pack and placed on one side. Some roughing solution (the two best preparations we know are CharIes Harrison’s secret formula and that described continued on page 7 3
BIRTHDAY HONOURS
”
- continued from page
73
by Trevor Hall in “ NothingisImpossible ”). Two clips for holding cards (the usual type of clip usedbymanipulators for holdingcards priorto ‘ stealing.’ A couple of wirepaperclips of the larger variety if properly anchored will answer admirably).
Preparation. - The threeextracardsmentioned are treated with roughing fluid in this manner : the face of the queen of hearts is half roughened, theface and back of the ace of clubs is half roughened, whilst thebackof the fiveof diamonds ishalf roughened. Whendrythe roughenedportionsare placedtogetherin thisorder : Onthe face down five of diamonds place the ace of clubs, and on top of this the queen of hearts. The reader will know ifhehandles the roughenedendshaveapparently one card the fiveof diamonds. If i t is handled by the non-roughenedendshe can fan three cards. Thesethree cardsare now placed inone of the clips which should be situated under the conjurer’s coat on the right side. I n this spot they are in an easy positionforstealing(for our own part we should prefer to use the right hand trouserspocketEd.). Another odd cardtakenfrom the pack is, placed in a clip which can either be by the side of the three clipped cards or on the other side of the body. The reader will have to judge from his own experience the best place. Onthe pieces of card a message as follows is written :-“ A’s birthday card is the five of diamonds ” ; “ B’s birthday card is the ace of clubs ” ; whilst “ C’s birthday card is the Queenofhearts.” This cardis now placed in the envelope, the flap of the latter being stuckdown. The pack of cards, the glass and the envelope are placed on the conjurer’s table. Thus set the reader isreadyfor the
...
Presentation.-With onehand theconjurer hands the pack of cards to one spectator for shuffling whilst with the other he gives to another member of his audience the envelope with the request that he keeps in safecustody. The conjurermovesback, and with his right hand gets possession of the three roughened cards and retainsthem in apalm position. (It should have been previously mentioned that the cards when removed fromthis position into the palm should have the roughened ends towards the heel of the palm.)Seeing thatthe spectatorhasfinished shuffling the conjurer steps forward, taking them with his lefthand.Holding them up hesays, “ Ladies and Gentlemen . . . one of your audience has been good enough to shuffle these cards. If anyone doubtsthat theyare well mixed would hesay so now ? ” No answerbeingforthcoming,theconI call jurer goes onto say “ This pieceofmagic ‘ Birthday Honours ’ . . . the honours are for three of your number, and, therefore, I will cut the cards intothree heaps.’’ As he suits thesewords tohis actionshe passes the pack totheright hand. Rememberthat this handcontainspalmedthethree roughened cards. The right hand, holding the pack, now cuts it into three approximately equal heaps on the table, and with the cutting of the last heap drops
thethree palmedcardsontop. (All these movements, i.e., the passing of the cards from one hand toanother,andthecuttingshould have an easy action and follow through. The whole sequence has been designed to help those who are awkward inthehandling of cards especially when palming cards.) The conjurer now designatesthreespectators, A, B and C respectively, and as he does so he stands in such a position that he can, if necessary, obtainthesingleordinarycardthatis palmed. This .necessity only arises if the first spectator tells theconjurer that hisbirthdayis in February. The spectator Ais asked to namehisbirthday month.Ifhe says “ January,”theconjurerisset for the most natural piece of chicanery that has ever come his way, for all he has to do is to take up the heapwiththethreeroughenedcards on topand dealing them off as one card from his left hand to his right, place them also backs towards the audience as one card in the glass (the reason for perfect fitment now becomesapparent).Ifthespectatorshould say “ February,” the extra card is stolen and added to the topof the roughened card pileas the cards are picked. The conjurer always hasplenty of time, because each time before he deals the cards off, he repeats themonth, also mentioningitsnumber. If it is February, the first card is dealt off, the three roughenedcardsas one, beingdealt as thesecond card and placed inthe glass. If, however, the monthis Marchorlater,theconjurer uses the utility false count (see “ Pentagram,’’ page,, 47, volume I , “ The NonsuchCardPrediction, by FrancisHaxton). In doingthe false countfor this effect, start with the cards low so that the faceof thefirst card (?) cannot be seen. The threecards are removed at the appropriate number and placed in the glass. The second and third heaps are treatedgenuinely,andthecards .at thedesired month numbers are removed and placed behind the three cardsalreadythere. Withthe three (five) cardsinsidethe glass theconjurer now remarks, “ And now, LadiesandGentlemen,letus seewhether I nave been successful in forecasting your ‘ Birthday Honours ’ . . . Would you mind,Sir, undoingthe envelope andremovingacard that youwill find inside ? . . And now will you read ? ’’ The spectator out whatiswrittenonthecard reads out the name of the first card and as he does so the conjurer slowly turns round theglass, showing that the firstcardiscorrect. The second choice is readout,andwhilst totheaudiencetheconjurer simplyslides the face cardout,actuallyhisforefinger pushes the first card away from the second, so thatthe roughenedsurfaces are separatedandthe face card assumes concavity towards the second card. In this manner, with the aidof the thumband fingertip, it is withdrawn from the glass showing the face of the secondcard. The naming of the third card is followed by a similarremoval of the second,leaving in the glass, from the audience’s point of view, the third andlastcard.Thesecards, unless the conjurer intends to perform another card effect, should be leftinthe glass.
.
75
This effect is really for stage use, but it can be worked at reasonably close quarters. I worked it several times during the war years, and intended to put an improved version in “ Patterns for Psychics.” The improvement I experimented with did not work satisfactorily. This was possible due to the fact that I amanimpatientworker,andtheapparatusstill standswaitingattention.
The Effect .--The conjurer exhibits glass a lamp chimney three pieces of newspaper (two five inches and one twelve inches square) and two metal rings (wide elastic bands can take the place of these’ latter so easilyhandled). All these articles butarenot articles are handed to a member (or members) of the audience (in working I had two persons seated well downstagewhilstthetableonwhichthe glass chimney was ultimately placed waswell up stage). A requestismadethat the twelve inchsquare of paper be rolledintoa tight ball and also that one end of the chimney be capped by means .of the five inchsquare of paperandthering. The ball of paperisdroppedintothe glass chimneyand the other end capped. All this is done by the spectators. The ball is shaken inside the tube and thus audible commentconvincinglyshownwithoutthat it is unattached, after which the tube is placed down on the table. Fromthispoint onwardsthe ball of paper inside the glass tube is under the magician’s spell and it can fall or rise at his commands. The ball finally falls to the bottom of the tube, and one of the spectator’s is requested to step forward, pick up thetube,inspectanddissembleit.Thereis nothingtogiveanypossibleclue as .to how the levitation has been effected. The Requirements are few. They are as follows :-One straight-sidedlampchimney(the size of the one that I used is 8&inches by 18 inches). Three pieces of newspaper (two measure five inches square, the third twelve inches square). Two metal or cardboard bands that will slip comfortably over
FIXING HOLES. D.. .FLANGE
thechimney. A fake aboutto be described. In some ways it isakintothetime-honouredpiston beloved by some of ourforefathers. It isattached toatray. In describing it I thinkthatthereader will follow more closely by studyingthedrawing. The firstdrawing shows anelevation view of this piece of high-tensile strength piston. A ais wire(pianowire comes intothis class). At the point where it protrudes from theflange it is tapered off to a needle point. . This piece of wire is now given a coat of dull black paint. The lower end is sunk into a piece of steel or lead. B, the casing, is It measures part of a 8 inchtubularcurtainrod. seven inches in length. The lower end of this tube is, of course, closed by sweating on a piece of metal. C is a small ring attached to the weight and through thisisruna piece of fishingline. D isa flange and has a central hole drilled that will allow the wire to move easily. The underside of the flange has a small piece of tube attached through which another hole is drilled, allowing the fishing lineto emerge (see enlarged illustration). The flange which is made to fit tightly into the,tube is now fitted to the underside of the tray and as seen in the illustration the wire point should now protrude about one-eighth of an inch. Notice in the illustration that the fixing of the flange is at one side of the tray. The reason for this will soon be clear. A slit measuring inch by eight inches is now cut near the front of the conjurer’stable, allowing thetubeto go throughand the tray to rest naturally on the table top (see illustration). Whilst, no doubt, many would have a drape to conceal the presence of the tube, my own method of concealmentisillustrated. I had two silks between the tray and the table top ; they hung down in front concealing the tube. After performing this effect and wishing to use the silks, I picked up the tray at the side farthest from the audience with (see the right hand, bringing it into a vertical position illustration). rel="nofollow">The’lefthand took the silks and the continued on page 7 6
SMh!
c
c
Mr. Warlock's description of a method by means of which milk can be changed to beer as it is poured Pentagram, out of ajug,explained intheMay reminded me of an idea in one of my " Brainwave " notebooks of years ago. The identicalprincipleis used in connection with a tumbler full of sand.
The Preparation consists of filling a tumbler with waterandemptying it,andthenpouringin some dark-coloured sand. When this is emptied out a thin layer will remain adhering to the sides of the tumbler,heldon by the film of water.Again the tumbler is filled with sand of a contrasting colour, " shell." Ontopis this goinginsidethesand sprinkled a little more of the first coloured sand so that the main contents a r e completelyhidden. By placing this preparedtumbleron the oven-topfor a short time the moisture will be evaporated, leaving thesand absolutelydry.Supposing the " shell "
X
..
WM.?
c
of sand to beblueandthemaincontents yellow, this tumbler is placed in a boxof blue sand. Presentation.-A duplicatetumbleris taken andsome of the bluesand scooped up in it and allowed to trickle back intothe box. In theact of filling it by the same method it is switched for the preparedtumbler inthefamiliar way, andstood on the table. The Coloured Sands and Water effect can now be presented ; after which the tumbler of (apparently)bluesandistaken,andthesand poured on to a large plate from some distance above so that the thin layer of blue sand is.lost among the stream of yellow. The illusion of blue sand changing to yellow in full view is created. The necessity for evaporating all the moisture that held the blue sand to the inside of the glass will be realised, since any bluesandadhering to the side of the glass would give a clue to the trick.
THE UNKNOWN - continued from page 75
tray was rested against the back of a chair, a book previously placed there preventing the former from sliding farward. Preparation.-The only preparation, apart from placing the various articles on the table, is that a long length of fish line is run through the attachment on the weight in the manner of-threading a needle and thus doubled through the hole at the side of the tube, through two small screw eyes fixed to the table one onthe underside andone at the bottom of the leg andthence off-stage. T o obtainthe best effect an off-stageassistant is necessary. The conjurer,however, by anchoring the fish lineto some stationary object could get the necessary pull and slack needed by pressingagainstit.Ifthe conjurer decided to work single handed the removal of theline becomes adifficulttask, The off-stage assistant has two eqds of fish line in his hand. The purpose of this is that at the end of the effect one end isreleased and thewhole of the fish line drawn in and off-stage thus leavingthetrayfreefromany attachment.
Presentation and Working.-This should be fairlyobvious. One end of the glass chimneyis sealed inthemanner of thedrumheadtube. The LEARN HYPNOTISM.-ANYONE can learn to HYPNOTISEprovided they knowhowandare willing to devote a little time to practice. Practicallessons in THE WIZARD every month, written especially for the ENTERTAINER by S E (Dexterous) Dexter V A.F I B M ALSO MUCHGOODMAGiC, f& Mkntalists,Children's'Edtert&&' a i d Club Performers.Special section for Vents. 36 fully illustrated pages per i s s u e Subscription : 6 months, 12/6 ; Year,241QEORaE ARMSTRONQ THE MAGIC WANDPUBLISHINQ COMPANY 11 MONASTERY G A R ~ E N S :: ENFIELD :: MIDDLESEX
It must be so rolled that it will drop into the tube easily andnotcling tothesides. The spectator caps the other end of the tube, the ball is shown to move easily and the conjurer then sets either end on so thatthe latter thetray overtheneedlepoint puncturesthepaperalmostdeadcentre. If this cannot be done instinctively it is better to mark the tray in some way so that there is no hesitation in placingdownthechimney. The assistant now by a slight pull on the fish line causes the wire to rise, bringingthe ball ontop of it. The factthatthe wire is dull black and that the glass chimney reflects a great deal of light, makes the wire. invisible at a few feet. The ball finally sinks, the spectator then being asked to pick up the tube and dismantle for capping the it. Because newspaper is used ends, the discovery of the puncture mark requires exceptionally close scrutiny. In nine cases out of ten the actual hole will penetrate a letter, thus giving onehundredpercent.concealment. Those interestedinthis effect will have the opportunity of seeing it performed ina demonstration lecture that I shall be giving for the I.B.M. at Bournemouth.4'. W . Manufacturing and
c0
RI
G
B
selling rights retained
K
F
R
A LE
OLD AND NEW. Let meknowyour wanb LISTFREE FOR STAMPED ENVELOPE
No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
by
77
B
!
, 2Tkml.&:4 6-6-
3-
th 9 h ”
(v2
. . , ANDINTRODUCING Perfect and indetectible palming-off of a card from the pack is an ability that continues to elude the average purveyor of card magic. Why this should be so is a vexed question, and to deal with it in full is quite beyond the scope of the space availablehere. Suffice to say that in this writer’s opinion the main fault lies intheutterdisregard of anyattemptto coincide the action with even the simplest form of misdirection.Fartoomanyindulgeinwhatmay be called a ‘‘ sliding off ’*movement that looks more like a swimming instructor endeavouring to illustrate the intricacies of theside stroke. Blandly these offenderscarry on, firmlyconvinced in their own minds that they are somewhat “ bad hands ” with a packof cards, butsucceedingonly infooling themselvesandnobody else. However, let us leave these mundane thoughts and carry on to the main purpose of this literary outburst which is to describe a slight evolution of thepalmwhich I have devisedandwhich may prove of use to all card exponents, especially those who find this sleightadifficult one. Personally, I have always used the palm described in C. Langneil’s “ T h e Modem Conjuxer,” accredited to CharlesBertram,andconsider.thatit is quite impossible to improve upon it. However, one likes to ring the changes occasionally and I find the palm about to be described, provided the necessary practiceisgivenit,tobe clean-cut, indetectible and natural. Assuming that the inevitable selected card has been replaced in the pack, then, controlled to the top, we proceed. The operator takes the pack so that it liesface up on theleft hand, while he calls attention to the face and queries card as to whether
A NEW ONE
it is the selected one. The end of the pack nearest operator is pressed firmly into the baseof thumb and rear of palm by pressure of the second, third and fourth fingers at the front end of pack. First finger remains free but rests lightly on bottom front lefthandcorner of pack. Thumb takes nopart in theproceedings as yet. Righthand, held palm up, nowcomes towithinaboutafoot of theleft hand but slightly lower. Lefthandnowreadies itself to toss the pack into the right hand facedown. Fore-finger of left handpressesonthefrontleft hand corner of the top card of the pack and pulls slightly inwards which action buckles or curves the card in towards the palm (see Fig. I). Immediately the left hand turns almost completely over tossing the pack face down intorighthand (see Fig. 2). If you have done this anywhere like correctly you will find the top card of the pack is retained in the leftpalm (see Fig. 3). Withoutanyhesitationand in one continuous movement, the left hand follows u p and takes the card now lying on top of the pack betwixtthumband fore-finger to display the fact that it also is not the chosen card (see Figs. 4, 5, 6). From there on it’s up to you. T o sum up, I have triedto.describestepbystepclearly.as possible, a palm that is achieved cleanly under cover of the perfectandnaturalmisdirectionprovided by the action of displaying the both top and bottom’cards of the pack asnotbeingthe chosen one. Devote a little time to it and I feel sure you will find this a worthy addition to your’ store of secret sleights. Iwouldadd that this palm is a most useful asset in. any of thenumerousambitiouscardroutines, but, perhaps, you have already realised that ! Good Palming ! !
1 Peter Warlock’s “MODES FOR MENTALISTS ” Number Three - “MINDOUT TIME . . . From a blue-backed pack of cards three are taken and placed back towards audience, one in each of three glasss that stand OF
3 ,
on the table. A pack of red-backed cards is now taken and with their facer towards the audience the mentalist deals offone On the command “ stop ! the card that card at a time asking that a member of the audience stops him when he wishes. Two more cards are selected in this the mentalist is holding is placed in the nearest glass in front of the blue-backed card. manner and placed respectively in front of the othertwoblue-backedcards.Nowcomestheseemingly impossible climax. the blue-backed card placed there by the mentalist matches Each glassis turned roundto show thatin every case that the card selected from the face-up packby the varying spectators in each case. Please bearinmind the following :there is no force, no confederate, no rough or smooth principle, no sleight of hand, and finally, that the cards selected are from a face-uppack. The price of the Routine with patter andnotes on presentation is moderately price atSeven Shillingsand Sixpence from : dealer PETER WARLOCK, 65 .MANOR ROAD, WALLINGTON, SURREY or any reliable
U W d dht
%U&
c
c
m
‘‘ YOUR
DECK, YOUR CARD” by Kardyro (published byConjurers’Library; U.S.A.) price One dollar. This unpretentious but well printed booklet contains someten effects and ideas. T h e reader is expected to have not only theknowledge of, but also ability in, handling a deck of cards in a competent manner. T h e main thing that strikes the reader is that the effects are straightforward and have entertainment value. We particularly liked ‘ l Wetcome Stranger ” wherein the author has not only struck a novel and useful improvement on a time old force, but has provided an effect that ‘in the hands of agood magician can becomeamiracle. Strange, very Strange ” has an excellentmystery’angle and requires little in the way of sleight of hand. Smoothness in presentationwill make this an effect .that should impress the most sceptical audience. T h e author gives yetanother variation o n “ Follow theLeader,” avariation that is gJod because whilst thehandling of thecards is straightforward and four changes are carried out with ten cards in each heap, allthe chicanery is accomplishedbefore theoperator startsthe trick proper.Thesethreementioned effects struckus asbeing the best. T h e reader,however, who cares to purchasewillfind that every effect ispractical and all have especial meritwhen close-quarter work is desired. T h e booklet is tastefullyproduced and at the very modest price of five shillings (if obtained from T h e Fleming Book Co., via Mr. Robertson Keene) is agood bargain. 52 Points. #
X
#
THESTEWARTJAMES’CREATIONS (obtainable “ St. Anthony’s,” Nonsuch from Mr. FrancisHaxton, Walk,Cheam,Surrey). Mr. Stewart James is making available a number of exclusive roktinesand effezttu. Thesearein duplicated manuscriptform. T h e description and explanations are straight to the point. X
X
#
TEN NIGHTS IN A CARD ROOM *’ price 15/-. This isacompletecard act,the plotbeing that a famous cardexperthas explained tothe performer the various subtle bits of chicanery which he detected on ten different nights in the card room of afamousgambling casino. He proposes to show hisassembledaudiencea demonstration of the unbelievable control that is possible in games that apparently depend on chance. T h e routine is then commenced and consists of ten effects all of which are varied in nature. It is not necessary for the performer to use all the effects, but as they stand they form a perfect sequence both from a point of demonstration and, also for handling. I t is sufficient to say thatthe effectsare not “
only of a very high standard but, what is more, are also practically self-working, thus giving the performer abundant scope in his presentation. As the requirements are those which aretohand,the reader who wishes topresenta trouble-free card act that is definitely differentandentertaining has the opportunity of acquiring this one at the extremelysmallprice of fifteen shillings. Recommended withoutanyreserve. #
X
#
‘‘ POKERICULUM ”
price 5 / - . We cannot think of any poker deal effect that could be more stunning in its effect. The cards are dealt as for poker, each player receiving four cards. Atthispoint the dealing is stopped,the performer remarking that should theother players thinkthatthe position of the cards might have been controlled in any way, theperof the former will chacgehishand with anyotherone players before dealing the fifth card. Even.with the dealing of the fifth card thosetaking part are given theoption of changing this card for any otherinthe deck. This effect carries our full quota of marks. X
#
X
.‘‘ T H E
JAMESWAYPOKERDEAL ” price 5/-. This is an exceptionally good and convincing method of card control for close-up demonstration, and though a certain amount of practice is required foranadequate performance, the reader will be well repaid by having a most useful weapon added to his card armoury. A supplement is issued so that in all, five effects are detailed. They are “ Everybody T,l$n!‘ ! ” ; l ‘ One Feathered Bird ’’ ; “ Up the Ladder Deal ; T h e Five Ace Deal ; and l ‘ Dealing anyHand Named.” Again we give thisfull marks. #
#
X
“ T H E NEWLOOK” In this we get away from the card room, and although the effect is one with cards it has a novel angle. One card in the pack is anchored to a silk ribbon. T w o spectators look at this card. Before the ribbon is pulled by a third member of the audience the two spectators are asked tonamethe cardthey looked at. Each names a different card, whilst when this third spectator pulls the card clear it doesn’t agree with the verdict of either of the first twospectators.Now just remember there is n o sleight of hand or any underhand moves by the performer, there are no faked cards and the pack can be examined. I t is completely self-working and an effect that is just as much off-trail as Stewart’s brilliant “ Miraskill.” ~~
REVIEWERS-continued from page
79
entally, I did not buy because of the rave reviews), Victor Farelli writes : “ T h e only reviews, or reports, that have any real value in this respect are those that neither the authornor his publisherareever likely to see : they are written in private letters from one magician to another. Such reviews, when favourable, do .increase sales. Naturally, when the reports are !) they have the unfavourable(andtheyoftenare opposite effect. “ In the past, magical critics have usually treated my little books withmore leniency than perhapstheydeserve,andwhile I am gratifiedby the praise,andgratefulto the reviewers, I donot thinkthattheirreports havehelped my sales in anymarked degree.” Bothreviewers andpublishers would do well to paste Mr. Farelli’s words above their typewriters. my contention thattheinformed, I t isnot conscientious reviewer doesnotperforma service.
Quitethecontrary, his counsel is vitally needed. But he is faroutnumbered by literarydegenerates who have nothing to offer in theway of constructive criticism. I think it was the late Ted Annemann who first suggested in an issue of his unique journal “ T h e Jinx,” that before an effect or book be recommended It s’houlci pass the approval of aboard of (was it seven ?) qualifiedreviewers. Sucha plan as that outlinedby Mr. Annemann, whilenotfool-proof, wouldbe the magician’sbest guaranteethat he is getting goodvalue for his money. But I mustget back to my library. A new volume, “ The Universal Supreme Encyclopedia of Tricksand IllusionswithanOldShoe,” has just come in and the reviewers say it is “ great, stupendous,terrific, marvell~us,indescribable, remarkable, gigantic,wonderful, fascinating, astonishing, overwhelming, stunning, dazzling . . .”
79
The history of conjuring and conjurers is one of the most fascinating aspects of the Art, and it is a great pity that more writers are not interested in the researchthatsuch work needs. Through blind adherence to mistakes madeby apparently authoritive writers, these mistakes are perpetuated and accepted as fact by the lesser interested. Quite recently in a series of articles by a Mr.Stapleton ina contemporary magazine, we noticed a reference that was obviously inspired by RobertHoudin. . It referred to the De Grisy-Torrini-Pinettistoryandtheultimate death of Pinetti in poverty. Those who have gone deeper into the matterknow that there is no evidence ofPinettidyinginpovertyand also thereisno supporting evidence that a conjurer named De Grisy existed. De Grisy, Torrini-call him what you will, as far asone can judge, was aproduct of Robert Houdin’sfertileimagination. I t isto be consideredagreatpitythat somh magicalsocietiesinarrangingprogrammesare so little concerned with the balance of that programme. Last year, at Buxton, we saw the first two performers producehandkerchiefsfrom boxes. Quite recently at a show held by the I.B.M. in London, not only was the balance bad, but there were also too many acts in the bill ; attending a show that commences at 7.30 in these days people who may have travelled many miles expect a showto finish reasonably early; they do notexpectto be appealedtostaythelast two acts. In this we feel extremelysorryforboth EdwardVictorand Geoffrey Robinson who were the last to appear on this bill. This over-length of
programme has happened with the last two I.B.M. shows.held. A good feast of magic is not evolved from quantity of itsingredients, but quality, and as we said before, balance. The bigplateful can givetheaudiencerather bad magical indigestion. whose totalrunning Seven or eightvariedacts timeamounts to twohours or so will give more lastingpleasure. On page 879 of the “ Jinx ” was published an effect by Bruce Elliott and Annemann entitled “ Not fortheMeek.” I t made use of packets of sweets called “ LifeSavers.”Englishreaders that remember the miracle nature of this effect will be glad to know that there is now on sale in our own shops, a similar type of sweet made by Rowntree’s and called “ Polo.” Having said this we shall now expect at least one version of the Okito “ Life Saver ” effect to appear in the home market. In the “ Magic .Circular ” for February, Mr. J. F. Orrin described a Book Test in which an offstageassistant was used.Wedeprecatedthe offstageassistantremarkingthattheconnivance of a second person was unnecessary. In the June number of the same periodical Mr. Orrin took us to taskandinsistedthat the effect could not be performed single-handed. Actually we had two methods in mind. By one of those strange laws that we call coincidence, Mr. Will Dexter sent us along a couple of effects, one of which, “ Kismet,” is a well-worked andpracticalanswer toMr. Orrin’s challenge. I t willappeartogetherwithMilbourneChristopher’s “ Silk Away ” in the August number of the Pentagram
May I addasomewhattardyaside tothe articleson books written by Messrs.Jonsonand Goodliffe (Pentagrams forAprilandMay).While my views may not be suitable for publication, they may suggest a thought for a rainy day editorial. Bywayof introduction, it should be explained that I fall into book-buyer classifications I and 2 as outlined by Mr. Jonson : ( I ) “ The poor wretch is a collector of magic books,” and, (2) “ The half-wit likes readingmagic books.” Mr. Jonsonmight well have emphasizedthe of word “ poor.” The follower of thefriends to buy all themagic ‘books, Merlinwhoattempts pamphlets,manuscriptspublishedto-daysoon will find himself apubliccharitycharge.Fortunately, the writer is not burdenedby the expense-consuming tastes of the ordinary human being, i.e., food, clothing,shelter,andis,therefore,able to keep abreast of current magical literature. But my argument is not with the publisher of magic books or the outrageous prices he charges for his product. I wouldlike to take to task the “ reviewer ” or “ critic ” of magic books.
The titles “ reviewer ” and “ critic ” are,in most instances, misnomers. By what literary license theseself-appointed “ experts ” have theunmitigatedgaul to pose as professionalanalysts qualified to pass on the merits of any publication is beyond my ken. There are, of course,,afewcompetents inthisover-crowded field. Butforthemostpart you will find thema slovenly lot,unequipped for their calling and given to vague platitudes in their alleged “ reviews.” I t has always been my suspicion that the average “ reviewer ” limits his use of the thesaurus to the laudatoryadjectivesectionwiththethinly-veiled hope of havinghis name quotedinthedealers’ advertisements. The magician, poor dupe,isled to believe that because Robert Reviewer says a book is “ must readipg,tremendous,invaluable, the volume of the century,” the book is necessarily good. Poppycock ! ! In hisprefacetoWilliamG.Stickland’and Eric P. Wilson’s. “ Join the Party,” (which, incidcontinued on page 78
80
AMERICAN
BOOKS ON MAGIC
PETER
Our long-established policy of a uniform price throughout the zmrld for magic books brings to the magi of England any +American book, old or new, at the exact British equioalent of the American price, counting the shilling at 20 cents. The priceis inclusive of postage. At SO/-, Rice’s Encyclopedia of Silk Magic ; Hilliard’s Greater Magic ; Buckley’s Card Control ; and Buckley’s PrinciplesandDeceptions .(justout), on coin, ball and. card magic, uniform with Card Control, 223 pages. At 37/6, Gaultier’s Magic Without Apparatus ; Thompson’s My Best ; Tarbell’s Course in Magic, Vol.111. orIV. At 25/-, Dhotel’s Magic with Small Apparatus,Vol. 1 ; Sachs’ Sleight-of-Hand ; Maskelyne-Devant’s Our (Book Edition), Magic ; Hugard’sMagicMonthly (Book Vols. I andI1 ; Hugard’sMagicMonthly Edition), Vols. 111 and IV ; Tarbell’s Course in Magic, Vol. I ; Downs’ The Art of Magic. At 2 O j - , Collins’ A Conjuring Melange ;Hugard-Braue’s The Royal Road to Card Magic. At17 16, Elliott’s Magic as a Hobby ; Fitzkee’s The ; Gibson’s Professional Card ExpertEntertains Magic for Amateurs. At l O / - , Erdnase’s TheExbertatthe Card Table ; Annemann’s Miracles ofCard Magic (justout) ; Chanin’s Encyclopedia of^ Sleeving. These prices are merely illustrative of our world-wide price policy, which applies to all books on magic. Please remit toMr.RobertsonKeene, 301 NorwoodRoad,Southall, Middltsex, acdreccive the books ordered (by the promptest mail) direct from :FLEMING B O O K COMPANY ’BERKELEY HEIGHTS :: N. J . :: U.S.A.
WARLOCK’S
PEXTAGRAM publishedonthe15th ---900--
of eachmonth
1 / 1 singlecopy, 1 1 /S peryear post free ---ooa---
PLEASENOTE
NEW ADDRESS :
3Iamor Boltd Walllimgt~om :: Surrep G5
Telephone : Wallington 6236 NEW
M A G I C AB LO O K S
CONJUNIORING MASTERPIECES IN MAGIC ‘ * EXPERT MANIPULATION O F ’LAYING CARDS THE MAGIC’OF Louis H181’E D HISTED TWELVE NEW TRICKS FABIAN TESTAMENT OF R. W. HUL, L . . HALL NOTHING IS IMPOSSIBLE HALL READING I S BELIEVING HALL MASTERED AMAZEMENT KORAN THUMBS UP KENJON COMPERES CORNER* MACKlLVZIE FIRST BOOK OF WlLLlAM .IfcCOMB L E W I S G T Y L E R OPEN SESAME PATTERNS FOR PSYCHIC5 WARLOCK WILLANE WIZARDRY WZLLAA-E BASIC CARD TECHNIQUE NORMAN 3d.Stamp ?or list o? Books on Loan
10s. Od. 1%. 6d.
BREARLEY C RAGGS GANSOX
10s. Od.
Od. 6s.Od.
30s.
20s. Od. 15s. Od. 12s. Od. 10s. Od.
..
6s. od.
5s. Od. Ss. Od. 30s.Od. 10s. Od.
Is.6d..
35s. Od
FREDROBINSON,MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.
ARCAS MagicalPublications
The Magir; Circle
Mr. Smith’s buide to Sleight ..W. Jonson O? H8nd A.B.C. of Ventriloquism . .D. Craggs Expert Manipulationo? Playing Cards .L. Gansorl Testament of ’R. W. Hull .T. H.Hall Nothing is Impossible . .T. H. Hall Masterpiecesof M8gic, Vol. 1 Patterns ?or Psychics ..Warlock . Franklin K8mut . Brearley Oonjuniorin .Willane Willane’s d r a r d r y
President : His Grace the Duke o? kmenOt, D.S.O.,O.B.E.,I.P.,, D.L.,M.Z.M.C. Vice-President : DouglasCraggs,’Esq., M.Z.M.C.
. . .. . .. .
.
:
1016 101101201-
161101101316 1Oi218
MASQUE A printed magazinegivingdetails
of our latest releases in exclusive magical effects. Issuedfree.If you arenot onour mailinglist,writenow.
ClubroomandLibraryandMuseum
:
St.Ermin’sHotel, CaxtonStreet,S.W.l. Theatre Magical : e King George’s Hall, W .C. -Particulars f r o m Hon. Secretary :
Obtainable from all Dealers ordirectfrom
:-
SYDENHAM ROAD
404/408
Croydon
..
Surrey
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
ABDUL’S FEZ Increased cost of materials has forced me t o increase the price of thiseffect to 12/6. I feel confident,however, that it is stillabargain to anyone who has everworked the EggBag. Tltanks to all those w h have ~ sent kind words about this trick
HENRIDE’SEEVAH MMC., BMS., ZBM., SSMC. THE FRIENDLYMAGICIAN invites all bona-fide Magicians of new tosend forhislist and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
ZAHAREE (Geoff. Hursell) R. 16 & 18 Whtts’ Place CHATHAM :: KENT MAGICIANS’ BOOKBINDING SERVICE “PENTAGRAM ’’ VOLUME 1. BindingPrices :CLOTH 5/6, REXINE 616, MOROCCO FINISH 716
42
CF. I E L D Alderson Road, Sheffield
EveryAdvertiser’s PrintedinEngland
2
OLD AND NEW MfiGIC LatestThinka Magician A pocket Mind Reading Effect . only 216 Orrin’s famousSpider’sWeb,CardTrick 301COIN WANDS to produce a real coin 16/6 A few Sliding Glue Packs of Cards 819 Send stamp for printed lists of old and new Magzc Sydney de Hempsoy 363 SANDYCOMBF ROAD, KEW GARDENS SURREY Ric 4238
-
FrancisWhite, 39 AlverstoneAvenue, WimbledonPark,S.W.19 INSTITUTE
OF
MAGICIANS
Branches in London, Wakefield,Brighton, and Detroit, U.S.4. The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Denison House,‘796 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station) Particulars from Oscar Oswald, 102 Elmstead .%venue, Wembley Park, Middlesex
JAM GERSA Y S O N MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
lelzphone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME. Near LEEDS Fearly 30 years in the business
goods are fully endorsed by this Bulletin
for PETER WARLOCK byCEORGE
SE.\RSUS, 40 Blue Bell Hill Read, Xottingham‘Telephone
.4+652
81
PENTAGRAM An independent monthly bulletin
for all who want good magic
E AlthoughaSwami gimmick anda bunch of visiting cardsstill seem to me to offer one of the simplest and most convincing means of secretly producing writing, I have never felt assured that I could match up my thumb-writing with script made with a pencil.. So after much trial and error and many quires of torn paper, I turnedoutthe following effect.
I have a feeling that it may correspond in some ways with Richard Himber’s “ Voodoo ” envelopes, but not having been able to learn much about these? apart from reading American advertisements, it may be that we have gone about things in different ways to reach the same end. This is best used as a prediction, and I get an effect on these lines : In full view on yourtable, on an easel, or hanging from the ceiling on a bit of elastic, if you prefer it that way, is a sealed envelope. Before drawing attention to it, set about getting your needed information-the answer to the sum, winner of the competition, freely chosen m-ord, name of the chairman’s favourite blonde, or what have you.
T
You then, as convincingly as you know how, point outthatthe envelope is there and has notbeen touched since the rise of the curtain (curtains, too ! How. do you ‘get these well-appointed bookings ?). Picking up the envelope, you show it both sides anddrawattention tothe imposing looking seals on the flap. The envelope is now in your left hand, and with your right you take from your jacket pocket (all right, then, there are no jacket pockets in your suit : don’t quibble !) the pair of scissors you’ve not used since yoursupply of Clippo cement ran out. You deftly snip off one end of the envelope, tip it up (the envelope ; not the end), and out falls yet another envelope, also sealed with that distinctive sealing wax your wife got for Christmas. Again you snip off the end, andas quickly as you can, without falling over the footlights (aren’t you lucky ?-footlightsaswell !) you handthis second envelope to some lucky spectator in the expensive seats. He probesaboutinside, and withdraws one of your visiting cards. continued on page 82
82 KISMET - continued from page 81
And there,onthe back (unless you’re one of those four-flushers who have printing on both sides !) -there on the back, I say, is your prediction. It’s a longish one, and in the middle of it come the words or number just ten seconds ago revealed by the audience. What’s more, it’s written in red pencil, and if you want to make it extra convincing, when you first picked up theenvelope, you have taken out aredpencilfromyour pocket andwritten on the outer envelope : “ This envelope was sealed at o’clock.” I n fact you’d better do this, to get the audience used to seeing red ! Because red they certainly will see. If they saw black writingthey’d recognise it as acarbon impression. And there y o have ~ it-red carbon paper in the outer envelope is responsible for the whole thing.Nowreadon. The outer envelope (and to be original 1’11 call it envelope number one !) is prepared by having a slip of red carbon paper pasted by one edge to the back of its face. The carbon faces inwards (and if Peter Warlock makes you a nice drawing of it you need read no further), and is inserted into envelope number two via a slitinthe correspondingend. Beneath the carbon is yourvisitingcard,with the body of the prediction already written through red carbon, and aspacelargeenough for thenumber or wordspredicted. Both envelopes should be dissected by having the flaps carefully opened beforehand, and the whole thing will then fit together easily. Having assembled the envelopes, gum down the flaps again and applyyour sealing wax. When you pick up the sealed envelope, which is faintly pencilled on the face over the part where the blank on yourcard comes, you write,witha sharpened thumb-nail, the numberor word supplied
by the audience. Take your time over it and do it neatly-it’s much easier than witha Swami. Then comes the end-snippingpart. Snip off the end of envelope number one at the opposite end to the carbon paper. Withdraw envelope number two, by dropping it into the otherhand. It will carry with it the visiting card and leave behind the carbon (remember ? You gummed it down, you crafty beast !). So that envelope number: two, which you hand out, after you’ve snipped off the bit with the slit in it, carries with it that cachet of the careful conjurer-you canhand it out to be examined. And if Warlock can say the same about some of his props, then I’llpromise to mention the Pentagram when answering advertisements ! ! While the multitude is baiting its breath ready to cheer you to the proverbial echo, and, incidentally, while they are watching the man in the front row dig out your card, and listening to him read the contents, you yourself put in a little shady work screwing up envelope number one into a ball and stuffing it into your pocket out of discovery’s way. But if you take my tip, you’ll switch it for another envelope identical in every way-except for the carbonand drop it in the lap of the most suspicious-looking (you know what I mean !) member of the audience within reach. But do please remember to have yourduplicate envelope with a snipped-off end as well. And lastly-andseriously-make this upand rehearse it carefully, and you’ve really got something. What’s more, you’ve got it for the price of this magazine only because I couldn’t spare the time to make up a few hundred sets of envelopes to sell.
All manufacturing and selling rights reserved by Will Dexter. .
CARBON PAPER. THE SHADED AND DASHED PART RFPHESENTS THE PROPHECY CARD
LEARN HYPNOTISM.-ANYONE canlearnto HYPNOTISE provided they know how andare willing todevotealittletimeto practice. Practical lessons in THE WIZARD every month,written especially for the ENTERTAINER, by S. E. (Dexterous) Dexter, V.A.F., I.B.M., ALSO MUCH GOOD MAGIC, for Mentalists,Children’s Entertainers and Club Performers.SpecialsectionforVents. 36 fully illustrated pages per issue subscription : 6 months, 12/6 ; Year, !U/QEORQE ARMSTRONG, THE M!Glc WAND PUBL!fHINQCOMPANY 11 MONASTERY GARDENS ENFIELD MIDDLESEX
..
..
CON JURIN G
BOOKS
F 0R
SALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers ,
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
The magic I like best to do is that which requiresno special apparatus. I enjoytrickswhich may be doneanywhere at anytime.Howsad to spend years developing a sleight which is only good on stages, then spend most of your time performing while surrounded by spectators. This little feat,once acquired, may be used under almostanyset of circumstances. You can doit in the parlour,in the centre of a night club or while conjuring on a stage. It is best when performed as an introductory trick-before one of thestandard
rope and silk penetrations, for instance. But enough prologue, let’s get on with the performance. Effect.-The wizard drapesa silk over the centre of a length of rope and ties it in place with a single knot. He holds the rope vertically, one end in each hand and calls attention to the tied silk. Hocus pocus ! He blows on the silk. The knot fades away andthe silk falls free. eighteenRequirements.-A Silk( I usean inch square) ; a five feet length of rope, and enough practice to make the presentation perfect. Presentation.-The performer drapes the silk over the centre of his rope and holds the rope as shown in Figure I . He seems to tie the silk in place with an everhand knot, but this is what really happens.-As the two hands come together the right thumb slides underthestrand marked Ain Figure 2 , and pulls thestrand through the loop. The right thumb holds this strand as the left band tugs to the left to draw the “ knot ” tight. As soon as the “ knot ” holds, the right thumb is withdrawn and the right hand is moved to the right along the rope until it reaches the end. It is vitally important that you practice this move untilit appears that you are tyinga simple knot fromthe front.Hold the rope vertically between your two hands, show the tied silk to the left, then to the right.(If the trick is done too quickly there is no efect !) Sitddenly blow on the silk. At the same time tug the rope taut between your hands. The knot will vanish and, as promised earlier, the silk will flutter off and away. Release the lower end of the rope with your right hand and catch the silk before it reaches the floor. Acknowledge the applause-orwereyou performing in front of a mirror ?
(ztith apologies toOmarKhayyam)
With all the learning by the Wise possess’d, There’s yet one branch of Knowledge little guess’d, -The Art of Magic ; let me say it now : They wonder still, for all they laugh and jest.
Why, all the Ones who loved this Magic Art Had each his Dream, that yet may prove a part Of some Eternal Magic, still unknown. Ah ! Keep this Dreamtight-locked within your heart
But there’s no time for quarrels here below, Within our Magic Circles, Men must know, That we are of a Clan, and strive to help Each other, as we did, once, long ago.
So when at last the setting Sun retires, T o leave the world in darkness, slumbering Fires, Shall wake within the Conjurer, and anon, His practised Art will soothe his vain Desires.
Ah ! that the Mantle of Houdini fell, Upon my shoulders for a little spell, How soon I’d open wide the Magic Door, To learn its Secrets, and its Wonders tell !
And when Thyself, with memories of Fame, -That pass’d me by-perhaps recall my name ; Remember with a smile,-I cannot die, But must live on, while Magic does the same.
stack to match. Cover this right hand stack with the lefthand cover. (You will remember thatthe right hand cover contains the blue shell.) Now, moving round to the left hand side of your table (your left hand), point out the order of the colours of the left hand stack (red, white and blue, reading from the top) and mention that this order of colours matches that of the right hand stack. Mention in passing that some may think it is your intention to vanish the cubes from the right hand stack. T o prove this is not the case, standon the left hand side of your table and pick up the covered right hand stack, left hand at bottom and right hand at top, holding cubes in cover. Take care that you do not alter the exact position of the cubes (do not turnthem). Carry the stack slightly forward and tilting stack slightly towards audience, show top cube is still there, and then, turning right towards yourtable, show that bottom cube is in position. This move turns the stack round and in this position the stack is replaced on the table in front of its righthand cover. Now alter the position of the left hand cubes so that they read red at the bottom and blue at the top. Moving round tothe right of your table remove the cover from the right hand stack and the cubes will be seen to match the left hand stack. In removing this right hand cover carry away also the red shell therein, by gripping the cover rather tightly, and place this cover containing the red shell behind thelefthand stack (the blue shell is in the righthand cover). Offer to show the effect again and reverse the order of your right hand stack so that the blue cube is at the bottom and the red at the top. Cover this stack with the cover behind it (this cover contains the blue shell). Similarly place the left hand cover containing the red shell over the left hand stack. Both covers are now removed and the stacks show red, white, red and blue, white blue, a second change. Both stacks are casually turned round showing all sides. Make up a small set with children’s bricks and try out themoves. You will find them quite straightforward, and you will have a fine effect. Manufacturing and selling rightsreserved.
Two stacks of cubes change the order of their colours in “ sympathy.” This methodpermits the cubes to be shown all round both before and after the changes. Requirements .-Six wooden cubes of, say, three inches square. Two of the usual square tubular covers of chimneys to fit neatly over the cubes when theyarein stacks of three. All cubes are painted black on topand bottom. The sides of two of the cubes are blue, two white,andone red, and the sixth cube has two sides blue and two red. Also requiredaretwo shells (hollow cubes of cardboard with a top but no bottom) to fit neatly over the solid cubes. One is coloured red and one blue. Effect.-Stand behindyour table. On your right-on the table-place a blue cubeand cover it with the red shell. Ontop of this place the white cube and on top of the white cube place the redfblue cube with blue part towards the audience. Cover this top cubewith the blue shell. On your ieft place the other three cubes ; red, ,then white, then blue. It is understood that all cubes are placed edgeways to audience. Cover each stack of cubes witha chimney or square cover which fits over the stack neatly and is the same height as the stack. (As a facility place a white mark on the top of the blue/red cube at the angle of the blue section and place asimilar mark on the blue shell. The position of the cubes is then certain, and there will be no mistakes.) To proceed ! Remove both covers, casually showing them to be empty and place them behind their respective stacks. (“ Behind ” means nearest you.) Both stacks can then be turnedright round showing back andfront. Finishwithcubes in the original position and while pattering, casually replace and remove the covers to confirm that they “ fit.” I n removing the cover fromtheright hand stack (your right hand) remove the blue shell in the cover. Replace the covers behind their respective stacks again. No difference in the order of the stacks can be noticed (top cube has blue section to audience). Now alter the order of your right hand stack so that the “ red ” cube is at the top and the “ blue ” cube is at the bottom.Alter the order of the left hand
I No.
3 - “ MIND OUT OF TIME ”
We could fill a whole page with the very complimentary reports on this effect. Sufficient for the day are the following DENMARK-C. Steffenson---“ I think it is excellent, the best of the three.” HOLLA2L’D-J. H . Vermeyden“ A tremendoa success.” Fl?PNCE-M.Sardina-‘( People willspeak andthinkabout it.” ENGLAND-percy RobertHarbin-“ It is excellent and so simple.” GeorgeArmstrong---“ Really Naldrett-“ Highly ingenious. must congratulate you . . . it’s the best of the lot.” Charles Harrison-“ -4s near to a miracle as it is possible to get.”
. . .
000----------
FOR FULL DESCRIPTION OF EFFECT SEE JULY PETER
WARLOCK,
“
PENTAGRAM”
65 MANOR ROAD, WALLINGTON, SURREY
OY
any
PRICE : 7/6 from : reliable dealer
Editor’s Note.--,-111 readers of the “ Pentagram ” evil1 b; familiar zcith Charles T. Jordaii’s ‘‘ Unknozm Leaper. X o d m b t if thej, hare performed the Cflect they are also mcare 9f itsidlerent zceakness, i.e.,thetaking of the spectator’scards beforethe $?la1 turn-up of the chosen card. In thispresent zlersion M r . Francis Haxtonhas elimiratedthis zceakness dlilstkcepizgto the direct effect of theoriginal, as the reader will jind.With a methodusing only onebasic sl+ht he hasproduced an effect zhich to the zlnitiated hrooks no -feasible eaplanation.
The Effect.-A spectator is requested to think of a small number, say, between oneand twelve. Holding the pack in his left hand the conjurer removes acard at a time from thetop, showing their faces to the spectator who is told to note the card standing at the number he thought of. The spectator at the same time is asked not to give the conjurer any clue by audibly assenting when he sees his card. After twelve cards have been shown, thespectator is asked whether his chosen number has been passed. On receiving an affirmative, the pack is proffered to the spectatorwith the request that he cuts off thetop portion of the pack that containshiscard. The conjurer is left holding the other half. For the first time the conjurer asks the spectator the number he thought of. We will suppose that it is “ eight.” Both the conjurer and time from their thespectator deal off a cardata respective heaps until seven have heen dealt. There deal off is a pause and the spectatorandconjurer theeighth card of their respective heaps. Strange to relate, however, the spectator’s card is the card ,dealt fromthe conjurer’s heap ! Requirements.-A deck of cards which includes a shortor similar locator. If the deck is borrowed, break the corner of one card and use this. Preparation.-The locator card is brought to thetop of the deck and the performer is ready forthe . . . Presentation (the conjurer’s lines are in italics).-would you mind assisting me a mometzt, Sir ? (as spectator who has been addressed $stepsforward, conjurer picks up the deck of cards from the table). I want you to think of asmallnumber, say, not less than one, and possibly not more than twelve. Will you do that ? Now, Sir, as I pass these cards one at a time in front of your eyes I want you to note the card occupying the position at the number you have in your mind. (Withthe deck held in his left hand the cardsare removed by the rightoneata time and shown tothe spectator, the same order being re-
tained, i.e., the second card goes underneath the first, the second under the third, and so on. As he does this the conjurer half turns his head so that the spectator is aware that he is not trying to get any psychological reaction. Whenabouta dozen cards have been shown in this manner the conjurer turns and faces the spectator. Atthe same time he replaces the cards he is holding in the righthand on top of the rest of the deck that is in the left hand, thetip of the little finger holding a break. The pack at this moment is horizontal with the ground.) You have, no doubt, by now noted the card in question. (As the conjurer says this he looks straight at the spectator, lets his hands drop slightly and makes the regular two-handed pass. As the spectator was purposely asked to make his number not more than twelve his answer must be in the affirmative.) You have, Sir ? In that case I should like you to cut off a portion of the pack that is bound to contain your card. I n order not to give me any clue to its position, take about hulf. (The let’s say you cut the pack and spectatorcuts the pack which has in the interim been placed on the table, and the conjurer picks up the remaining half. Remember that the twelve that were at the top of the deck are now in the same order at the bottom, the twelfth card from the bottombeing the locator. The conjurer picks up the remaining bottom half with his right hand, and as he places it in the left hand, locates the key card and holds a break so that he is ready to execute another two handed pass. Again the cards arein a horizontal position with the ground.) Now,Sir, for the jirst time I want you to tell the audience the number you had in mind. (At this point the conjurer repeats his previous manoeuvre, i.e., as he addresses the spectatorhe looks straightathim,drops the cards slightly in making the pass. This has the effect of bringing the spectator’s chosen card into the original position, but this time it is in the performer’s heap.) Eight, Sir ? Thankyouvery much. What I want you to donowis to count very slowly downyourpacketuntil you gettotheeighthcard. I will also do the same with my packet. (Seven cards are dealt off, the conjurer halting the spectator before the eighthcard is dealt.) I am going to attempt something very dtficult :I am going to make the card, which, mind you, Sir, you only thought of, leap from your own packet to the one I am holding. What was the card you remembered? The Six of Clubs ? IVatch . . . did you see it go ? I t has though. Just t w n over your eighth card. (The spectator turns over the next card revealing an entirely different one fromthat which he had chosen. Slowly and deliberately the conjurer turns over his eighth card, showing itto be thg spectator’s card.) And there you are, Sir, the six of Clubs . . . a champion kaper !
86
NEW P E N T A G R A M GRADING.-A maximum award of Ten Points in the follorring categories (??hen applicable) :(A)-PhJ’sical Make-up (B)_Quality of Maferial ( C ) - Value Magic to (D)-ClaritJ* (E)-Illustrations (F)-Rendzbzlztnq (G)-Szncerzty TOTAL 70 POINTS THE ROYAL ROAD TO CARD MAGIC ” by ’Jean HugardandFredBraue (publzshed blv HarperBros. of Nezc York). PriceFour dq!lars. This book belongs totheHarperHobby Series.” T h e aim of this series is that of teaching something worthwhileusing step by stepmethods. T o a wide awake publisherthe choice of thepresent collaborators must have been an automatic one, their previous writings having proved nct only an excellent teaching ability but also most extensiveknowlcdge of cardwork.PaulFlemingwrites a preface intrcducirg the writers in his usual well-informed manner. The mcthod of teaching in this book is that similar to the m-ay adopted by our own Wilfrid Jonson in “ But Not to Play,” namely a sleight or subterfuge is first explained, followedby an effect ornumber of effects usingthis particular piece of artifice. Theauthors are.extremely clever for with the first chapter, which explains the false shuffleina way that itcanhe quicklymastered by the reader, several good effects follow as corollaries. T h e beginner with thisenc0uragin.g start will be inclinedto tackle \\-ith gusto the succeeding sleights that involve kreater skill, and, as he can so casily see fromthe off-shooteffects. greatermiracles ! The sleightscoveredinclude all those that should form part of the apprenticeshipof any would-be card magician, and though such sleights are far from the expertfield, \ve feelthatthelearner, makinga complete mastery of all these .cleights and effects would not find his lvork despised by thoseacknowledged as experts. The followingare the sleights or artifices dealtwith : Riffle Shuffle, palm, double lift, glimpse, pass, backslip, reverses, force, topandbottom changes. Thereare also chapters dealingwith “ key ” cardsand a pre-arranged pack. Accompanyingthesearenearlyseventy effects and also large r,:!mbcr vf card flcurishes. The magical purist may take apoor view of thetreatment of certaincard classics, but it is quite obvious that the classicitself had aprevioushistory. The book hassomethreehundred pages, is well printed on heavy paper. Drawings which are profuse, are by Frank Rigney (with whom readers of Hugard’s Monthly will befamiliar). The bindingisindarkbluecloth,and unlike most English bindings to-day should be read near afirewithoutthe coverscurling. Whilst this book is primarily intended for the beginner, we feelsurethatthereareaminoritywho couldfind nothingnewwithinits covers. Forthe teacher of conjuringitoffersan admirabletextbookforhisstudents. Unreservedly recommended. 59 points. “
;l
8
r
e
MAGIC AS A HOBBY ” by Bruce Elliott (published byHarper Bros.,“ N e wY o r k ) price 3.20 dollars. This is also a Ha:per Hobby Series publication. andhasasub-title of New TricksforAmateurPerformers.” Orson Welles writes foreword, a parts of which we should like to seewritinilluminatedletters, framed and hung on the walls of every magic clubroom in thiscountry. We’ll justquote twosentences : “ There are some fineentertainers zcho usemagic props inthe sole service of comedy, but theyare no moremagiciansthanthe clown with the break-away fiddle is a violinist ” . . . and . . . “ Remocing from magic theelement of zconder is no less disastrousthan music withouttheelement of pitch.” Those words,dearreader,werewritten not by an armchair theorist, but by one who is an outstanding actor of internationalreputation.BruceElliottwhoneedsnointroduction, has, within the two hundred and thirty pages of this excellentbook, given the element of truemystery to, thenumerousfeats which he describes.Many, in fact mostaretakenfromhisownoutstandingbroadsheet “ T h e Phoenix,” which by itself not only tells of mystery but also quality. Elliott is without doubt a man who loves magic, and in painting a picture of his love he makes it LL
intelligible and appreciable to all but the veriest ‘yloron. Thereare in all some ten chapters. They are : Swzet Simplicity ” in whichsubtlety is thestrong keynote. This chapter gave us a bit of a shock as it would sYem that WalterGibsonhas yet a3cther alias. Thecut string effect by Joe Barnett is outstanding and there is a very fine close-uppresentation of the ‘ losttime ’ theme. The next two chapters deal with cards and Shaman’s “ Spectacles of Cagliostro ” is included. The fourthchapter, called “ Slick Quick Tricks ” is well named, for here are seemingly a score of apparently impromptu miracles. Chapter five deals withcoins. The nextchapter, called “ Elliott’s Enigmas ” ccntains several originations of the author. We realise that it is our loss that we never struck “ Sorcerer’s Serpent ” before, for it is a marvellous piece of visual magic accomFlished by mostsimplemeans. A chapter on ‘‘ Telepathy ” follows andthiscontains a number of first-rate mental mysteries. “ Slate of Mind ” deals withanumber of slate effects,all of whichhave merit of originality. The concluding chapter is on presentation. Two appendices are added ; the first dealing with the ‘ Hindu Shuffle ’ and the ‘ French Drop,’ whilst the other lists the names of the magic stores in the U.S.A. A fine book that is unreservedly recommended. (It has the additional merit tkat if the reader has not kept in touch with the “ Phoenix he can find within its covers a plethora of new and worthwhile material.) The biding is of a similar high quality to that of “ The i3.3yal Road to Card Magic.” The drawings, and they are excellent ones,are by L. VosburghLyons. 65 points. Both of the above books can be obtained through the Fleming Book Companyattheprices of 20/- and 17/6 respectively-see page 88. d
r
8
‘‘ DARLING’S
MENTAJAE MYSTERIER ’’ bl* Aagt Darling(published b31 C . Steflensen,Lundtoftegade 118 , Copenhagan,Denmark). This bookletis inDanish,buta precisedEnglish translationcanbeobtained.Printed byoffsetprocess, there are some forty-two pages dealing with some fifteen mentaland psychic feats. They are asfollows :-“ Instanto Book Test,” “ Vibrato ” (a cardstabbingeffect), “ Tele-Hypnosis ” (a novel effect which the ‘indefatigable Bruce Elliot;, hasalreadypublishedin the Phoenix ”), “ A Thr,i,ller (a book test using a detective novel), “ ?:lephotrix (mental card effect), “ Pin-up Girl Test (a mental effect with pictures suitable for stage presentation), “ Suprema ” (a pseudo-psychometry tes:), “ Symbol Test‘:’ (an E.S.P. e p c t ) , “ Suprediction (this effect Death’sName we thinkthe best inthe booklet), ‘%igura ” ( a two-person test using pictures), “ Numero ” (a coincidence card effect which should be most effective), “ A Test of the Spirits ” (a form of living and Test with a novel presentation), “ The Death’s Name ” (an excellent andLivingandDeadTest),Thought Echo ” (aneffect in the Annemann vein), “ ?‘he Marked Card ” (making use of a known subterfuge the writer has built up an excellent effect). The drawings are by Thorkild Anderson and ClementdeLioncontributesa preface. All the material in the booklet seems to be practicable, and whilst there is nothing sensationally new in method, the effects have that touch of difference that makes them attractive. For Scandinavian readers particularly, and all mentalists generally, we recommend the acquisition of this book. 57 points. 8
8
1(;
ROUTINES “ HOW RIGHT YOU ARE ! ”-the last word on the Svengali Deck-by Lezois Ganson (published by Gen Publications). Price 5 / - . Having recently had the pleasure of seeing Mr. GansGn performthisroutine,our task of reviewing is ‘mademuch easier. Therearethree phases,all of card discovery, andan optional climax. The author,knowing
Theend of Septemberandthebeginning of October will see the foregathering of many magicians. Fromthe 30thSeptemberuntilthe4thOctober, the British Ring Convention will take place at Bournemouth.Wehopethatbythetimethenext issue of the “ Pentagram ” is going to press that the names of the conjurers in the Saturday afternoon show will be available. Fromthe5thtothe 10th October, the Magic Circle is attempting the biggest ventureyetundertaken by anymagicalsociety in thiscountry.At the Scala Theatre onthesedays the following acts will appear : Chris.Charlton, Arthur Dowler, Billy O’Connor,Raoul,Willane, “ DaisyMay,”Niberco. VernonLee,Saveenwith ,(Those who visited Paris last year will welcome theopportunity of seeingthisphenomenalmanipulator again. Thosethatdidnot seehim have a treat in store) and modern a seance presented bycertainmembers of the MagicCircleOccult Committee. (Without betraying any secrets we can anticipatethatthislatteritem will beone of theoutstandingmagical “ spots.”) As thereader can see there should be something for everybody . . . illusions, colourful magic, magic of the hands, psychicmagic,ventriloquism,andcomedy. I t is
A
WORD
ABOUT
BOOKS - continued frompage 86
his magic and the averageaudience,hasmadesurethat .each succeeding discovery ismoreinexplicable. Besides this,inanintroduction,hehasnotonlyinitiatedthe beginner into the secret of the Svengali deck but also the correct way to handle it so that not the slightest suspicion shouldariseinthespectator’smindthatanythingother than a regular deck is being used. As it is impossible for the greatestcardexpert to attainthe same results by manipulation we unreservedlyrecommend this routine. n
a show that is not only designed to please conjurers butto offer a well balancedprogrammeto the generalpublicwho are cordially invited. Tickets are obtainablefrom Mr. E. G. Brittian, 57 ChatsS.E.27. worthWay,WestNorwood,London, OurfriendHenride Seevahinforms usthat he is nowin a position to supply one, two or three-way forcing packs withanordinary pack tomatch at the moderateprice of 6/9. Those readerswho are after some item hard to get in these days of austerity would do well to advise Mr.de Seevah. The letters, should the item not be immediatelvavailable, are filed andwhen suchitem comes to handan advice note is sent. We know from personal experience how useful this service can be. I t hasbeenverynice to meet Mr.andMrs. PaulFlemingduring their stay in England. T o speak to one who saw the Great Kellar in his prime is an experience, andwe only wishthat our conjuring of timeformulascouldbetranslatedintoterms reality so that we too might turn back the clock and see the “ greats ” of the past. Too late for review we have received Mr. C. L. Boarde’s “ MainlyMental.” It is of exceptional merit.
n
is now passed to the spectatorwhoreadssomething to the effef,t that “ I, . . . predict that . . . will think of the . . of . . . As readers willrealise, thetheme is notnew and many, as Mr. Hall points out, have been the devices brought into use to obtain a similar effect . . . nail writers, pocket indices, and so on. Mr. Hall’s version is very clean and simple in action. Besides the description of the means forobtainingthe effect come all the necessariesnicely -boxed. Recommended.
.
n
PINKLADIES ” byStewartJames(obtainablefrom Francis Haxton,St.Anthony’s,”NonsuchWalk,Cheam, Surrey). Price 5 / - . Whilst StewartJamcshasproduced amost baffling sequence, a sequence too which can be performed whilst the conjurerisgenuinelyblindfoldedorevensheltered behind a screen, we find it extremely difficult to see how the effect can be built into a normal presentation. Ingenuity there is in plenty, but presentation must be considered. T o those who have not seen a description of the effect it consists of theperformer, whilst genuinelyblindfolded, first of all bringing two cards next to one another and then locatinga third selectedcard. A borrowed deck maybe used andthereareno fakedcards. All StewartJames’s fans will wish to add this to their collection.
*
#
n
“
n
n
(‘ULTIMATEIMPOSSIBILITY
9
” by Trevor Hall (marketed by E . SutclifSe, of 2 Sackville Street, Bradford). Price 30 I - . The effect is one where thementalist writes something o n asmallcardwhich is placed,writingsidedown, on the table. A spectator? is then requested to think of one cardfrom abunch of nearlythirty. T h e prophecycard
MIND OUT OF TIME ” devisedandpublished by PeterWarlock. Price 716. A full description of the effect appeared in the Pentagram for July. Mr. Victor Farelli writes as follows :-‘‘. Neatly producedintypescriptform,thismanuscript ishighly recommended to all magicians, and principally to those who specialize inmental effects. The effectof theroutineis direct, the working is clean and there is nothing to confuse the spectators. It ought to be possible to run through the whole trick, without undue haste, in four or five minutes. Each and every ‘ move ’ is clearly described by the author, who has never produced a better piece of magical writing. (Apparently he has taken more pains than he often does whendescribingatrick !) The principleemployed is new,atanyrate tothe present reviewer whohasread practically every book on card magic publishe? in Englis; ’and, French. Magicians who donot like prediction effeckcouldchangethepresentationandperformthe trick as, say, ‘ The Power of Mind over Mind,’ namely, suggesting(mentally) to each of thethree spectators at which card hemust stop. Unreservedly recommended.” “
88 BOOKS
AT
PETER
PRlCES ! ! ! !
SENSIBLE
We have always sold book on magic, and delivered them postpaid throughoutthe world to anyone who could pay us in dollars. At present u7e are receiving and filling ordersfrom English conjurers,and taking payment in pounds and shillings atthe exact English equivalent of the American price. For example, Sachs’s Sleight of Hand, Maskehne and Dcvant’s Our Magic, Dhotel’s Magic with Small Apparatus, Hugard’s Magic Monthly (Book Edition No. r or No. 2 ) , Tarbell’s Course in Magic, Vol. I, and any other five dollar American magic book is yours for 251postpaid. Translate any American price intoits English equivalent,send thatamounttoour English ReKeene, 301 Norwood presentative (Mr. Robertson Road,Southall,Middlesex), andtheorder willbe filled promptlyfrom theUnited States,with the books packed so as to arrivein perfect condition.
PENTAGRAX published on the15th
1 / l singlecopy,--1 l / 6 peryear
Mr. Smith’sGuidetoSleight .W. Jonson of Hand A.B.C. of Ventriloquism .D. Craggs Expert Manipulatlonof Playing .L. Gansou Cards Testament of R. W. Hull .T.H.Hall Nothing is Impossible .T. H. Hall Masterpieces of Magic, Vol. 1 . Patterns for Psychic8 . .Warlock Franklin Kamut Gonjunioring. . .Brearley Willane’s Wizardry . . .Willane
. . . . . . .. .
..
1016 101-
101201151101101-
316 101216
post free
000--
PLEASENOTE
NEW ADDRESS :
Telephone : Wallington 6236 ~
NEW M A G I C AB LO O K S
HISTED FABIAN HALL HALL HALL KORAN KENJON MACKENZIE .!!cCOMB L E W I S 6. T Y L E R WARLOCK WILLANE NORMAN 3d.
.
. CONJUNIORING MASTERPIECES IN MAGIC * ‘ EXPERT MANIPULATION O F PLAYINQ CARDS THE MAGIC’OF Louis HISTED .. TRICKS .. TWELVE NEW
BREARLEY C RAGGS GANSOR’
New Permanent Address : FLEMING BOOK COMPANY YORK :: PENNSYLVANIA :: U.S.A.
She
of eachmonth
---000-
Any magicbooksnowinprint,whetherthe fine Fleming editions or the publications of others, whetheroldornew,areavailableto you under this policy.
ARCAS MagicalPublications
WARLOCK’S
THUMBS UP COMPERES CORNER FIRST BOOK OF WlLLlAM . OPEN SESAME PATTERNS FOR PSYCHIC8 WILLANE WIZARDRY BASIC CARD TECHNIQUE Stamp for list of Books on Loan
.
10s. Od. 12s.
.. .. .. .. .. ...... .. ..
8s. od.
Ss. Od. Ss. Od.
30s. Od. 109.. Od. 2s. 6d. 36s. Od.
..
.. ..
6d.
108. Od. 308. Od. Od. 6s. 208. Od. 15s. Od. 12s. Od. 10s. Od.
..
..
FREl31 ROBINSON, MAGICIA.N, STATHERN :: MELTON MOWBRAY :: LEICS.
The Magic Circle
c
MASQUE A printed magazinegivingdetailsof our latest releases in exclusive magical effects. Issued free. If you are not onour mailing list, writenow.
President : His Grace the Duke of Somerset, D.S.O., O.B.E.,I.P.,D.L.,M.I.M.C. Vice-President : DouglasCraggs, Esq.,“’M.I.M.C. Clubroom and Library and Museum :
St.Ermin’sHotel, CaxtonStreet, S.W.l. -MagicalTheatre
:
KingGeorge’sHall,
W.C.
Particulars from Hon. Secretary : Obtainable fromallDealers
ordirectfrom
:-
SYDENHAM ROAD
404/408
Croydon
..
..
Surrey
THE MAGIKRAFT STUDIOS 32 Vernon St., Northampton
FrancisWhite, 39 AlverstoneAvenue, Wimbledon Park, S .W. 19
~~~
~
’ ~
~
ABDUL’S FEZ Increasedcost of materials hasforcedme to 12!6. I feel increase the price of thiseffectto confident,however, that it is still a bargain to anyone whohaseverworked the EggBag. Thanks to all those who have sent kind words about thistrick
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place CHATHAM :: KENT , l
MAGICIANS’ BOOKBINDING SERVICE “PENTAGRAM ” VOLUME 1. BindingPrices :CLOTH 516, REXfNE 616,MOROCCO FINISH 716
42
0
C. FlELD Alderson Road, Sheffield
Every Advertiser’s
2
HENRlDE’SEEVAH
MMC., B M S . , I B M . , S S M C . THE FRIENDLYMAGICIAN invites allbona-fide Magicians tosend forhislist of new and used apparatus and books, or calla t his studio :l CLARENCE ROAD Harborne, Birmingham 17 OLD AND NEW MAGIC LatestThinka Magician A pocket Mind Reading Effect only 216 Orrin’s famousSpider’sWeb,CardTrick 301COIN WANDS to produce a real coin lSj6 A few SlidingGluePacks of Cards 819 Send stamp for printed lists of old and new Magzc Sydney de Hempse 363 SANDYCOMBF ROAD, KEW 8URREY 4238 Ric
GARBENS
INSTITUTE
OF
MAGICIANS
Branches in London,Wakefield,Brighton, and Detroit, U.S.A. The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station) Particulars from Oscar Oswald, 102 Etmstead Avenue,Wembley Park, Middlesex
JAM GERSA Y S O N MAKER OFHIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.
Telephone or Telegram : MORLEY 889 Address :23 GREENFIELD AVENUE GILDERSOME. Near LEEDS Nearly 30 year; i n the business
goods are fully endorsed by this Bulletin ~~
PrintedinEngland
for PETER WARLOCK byGEORGESEARSON
I
o Blue Bell HillRoad,Kottingham‘Telephone
44652
0
PENTAGRAM An independent monthly bulletin
Editor’s Note.-Here is an eflect that can. he used iu manyways.It can reveal a name, a set of uumbers or n message. Rudi uses this @ect in his Harltquk act asa second item, the C O nventional “ Good Evening ” messagebeing produced. The running time with him is two minutes.-P.W.
E f f e c t.-A strip of cellophane measuring approximately one yard by six inches is shown and thenrolled into a tube which is held by the left hand. The handpicks up acone that contains confetti. The cone is tilted and the confetti allowed to trickle into the cellophane tube. Strange to say itstaysinside thetube. T h e conjurergoeson pouring the confettiuntil the tube overflows, then gentle blowing a little surplus off the top, the cone is replaced on thc table. The tube of cellophane is now unrolledand the words “,Good Evening ” are seen to have formed themselves out of confetti.
for all who want good magic
R e q u i r e m e n t s .-Two lengths of cqllophane A specially measuring 36” by 6”. Someconfetti. constructed cone. A small standto hold the cone. (Ifoneis working withan assistant the stand is unnecessary.) P r e p a r a t i o n aad Construction.-~ithough the effect from the audience’s poikt of view appears to be free from the usual type of conjurer’s apparatus, there is quite a lot of hidden chicanery. Fortunately oncemade up,there is practically nothing to set for eachsuccessiveperformance. Let usdeal with the cellophane first. On one piece the conjurer, afterdeciding the message that hewishes reproduced,cutsoutthe necessary lettersfromwhite tissue and sticks them to one of the pieces of cellophane.Careshouldbetakenthatthe first letter is at least sixinchesfrom the narrowedge (see illustration). With a brush and some red: blue and continued on page
90
THE CONFETTI
CHARMER
- continued from page 129
greenwatercolourpaint,spotsare placed on the tissue, so thattheultimate effect is of pieces of confetti. This, incidentally, is farquickerajob than onewouldimagine, as, of course, one colour is dealt with at a time. When this task is finished and the paint is dry, the reader will realise why the odd six inches is left, for he will see that where the paperisstuck tothe cellophane the latter will crinkle. The six inches gives complete coverage when this piece of cellophane is rolled into a tube. T h e second piece of cellophaneistreatedin this manner :-Roll one end around an office ruler, or, betterstill, roll back andapplyalittleglue, to the edge, then roll forward perspex cement again so that the cement contacts the sheet and a tube measuringapproximatelyoneandaquarter inchesindiameter is formed.When completely dry, one endof this tube is pressed flat and a piece of cellophane(scotch)tapefastened over it (see illustration).This, of course,is thetubeinto which the confetti is poured. T h e piece of cellophane is now rolled into a tube and kept like this until needed. T h e cone has next to be constructed. The former for this is made from thin cardboard (the one that Rudi Jader sent mewas made from part of an office folder) measuring 104;” by 9”. T h e cardboard is rolled into conicalform so that the diameterat the periphory measuresapproximately 4$”. Atthebottomit is not hroughtto apoint. A piece is now cutfrom the larger side of the cone (see illustration) measuring six and a half inches in length. A piece of similar cardboard is then’ gluedinto position so thatin effect aniche is formed (see illustration). Yewspaper or coloured paper is now pasted over the cone and some is also pasted inside. Newspaper is preferable as the type helps to hide the irregularity of the interior caused by the ‘ niche ’ construction. T h e stand to hold the cone is in effect like a retort holderconsistingsimply of aringattached to a andthering stand. It must have a heavybase shouldmeasure(on the inside)threeinchesin diameter. T o prepare, the piece of cellophane is givena very slightsprinkling of confettion the message side,afterwhich it is rolled fairly tightly so that a roll measuring about one and a half inches indiameter is formed. (This rolling is donefrom the end of the message, so that the unadulterated end completelycovers anysign of crinkling). Of course from a point of view of symmetry the message should also finish about six inchesfrom the edge. This roll of cellophane is now placed in the ‘ niche ’ of the cone,care beingtaken that the free end of the cellophane isfarthestfromthe cone. Cone andcellophaneare nowplaced inside the holder andthe cone filled withconfetti. (The weight of the conepreventsanymovement of the roll of cellophane.) With the holder in its position on the table, which should be onthe conjurer’s left (the roll of cellophane is, of course,farthestfromthe audience), the rolled length of cellophane on a chair on his right, the conjurer is ready for the . . . Presentation.-Theright handpicks upthe roll of cellophane fromthe chair, moves upwards and across the body, then releasing all but theunfaked
end,The cellophanefalls andthe faked end i s caught by the left hand. Becauseof the fact that the cellophane at all times is kept rolled, the tube at thelower end (should any one notice it) is naturally taken for the normal curl that one finds with many materials that havebeen rolled. (Wallerhasused asimilar idea withpaper.) The left handcomes up and the right hand drops the end it was holding. Using both hands the cellophane is now rolled into a tube. This rolling should be done with the fingers at each end. By this means a reasonably tight tube is achieved. Atthispointtheconjurer is n.ithin hand’s reach of his table, and care being taken that the open end of the cellophane tube is ceiling side up, .the body is moved slightly left and the right hand reachesacross and down to pick upthe cone. In picking up the cone, second, third and fourth fingers ,go round the front, whilst the thumb is at the rear. T h e first finger for a fraction of a moment lies in a vertical position (see illustration),but as the cone is carriedupwards, it goesbetween the concealed cellophaneand the cone. T o those whomay think that angles are likely to be a cause of danger, let me disillusionthem. At an angle of 35 degrees from the stage there is no chance of the load being seen. T h e cone is carried upwards and the body .is turned so that the conjurer once moreis facing his audience. T h e cone is now held about four orfive inches above the cellophane tube and tilted so thattheconfetti begins to fall. T o get the best effect theconjurer \vi11 have to shake the cone. When the tube is filled to overflowing, the right hand restores the cone PO a vertical position then movesaway ; at thispoint with the right arm in an elbow position, the cone is about five inches tothe right of the performer. T h e left hand brings the opening of the cellophane tube of the body just in front of his mouth and then gently blows thesurplus away.Everyaction that has gonebefore hasled up to the most important move that is now about to take place, i.e., the switch of the filled tube for the “ message ” tube. The left handholdingthe. filled tube is lower andtaken slightlyleft. In other words, theconjurerafter blowingaway thesurplus, lowers thetube in a natural fashion.Both hands move inwards and the right hand apparently takes the tube whilst the left takes the cone. Actually when the left hand is under cover of the cone the right hand (remember that the cellophane roll has been held throughout by the first finger and thumb) moves away, the left hand leaving the filled tube in the ‘ niche ’ and then holding the cone with the fingers and thumb. The coneis nowplaced once more inside the holder which, of course,retains the filled tubein a safe position (this is in effect theKarlGermain switch for his confetti and dove trick. The articles used make the handling exceptionally clean). The effect is now almost complete. The “ message ” roll is tapped, and then holding it in a vertical position, the conjurer commences to unroll it and reveal the message, the sprinkling of confetti placed inside at the start falls totheground,thus giving a finishing touch to a very pretty effect.
with thetitle of “ T h e HydrostaticCone.” The advent of “ Evaporated Milk ” made the effect much easier, and during the years 1941-42I worked ou‘ a presentation which I used as an opening effect in a general magic show for some four years. I t is a presentation which brings back many Army memories, of Eddie Carroll, the Blue Rockets, andonone occasion the inimitableChris. King working the off-stage voice. Those who may remember the original effect may recall that a special cone had to beconstructedfor each performance. Mr. Graysonmade a fake formethat helped to make this a very easy task. I t will help if the fell. properties are first described and then the presentation complete \\-ith “ lines ” is given.
Requisites.-A celluloid fake as shown in illustration. It will beseenfrom the second illustration tha.t if a piece of newspaper is rolled around this inconical form a cone with a celluloid top is achiel-ed. A coating of adhesive is first applied to the sides of the fake and the edge of the paper is trimmed. T h e surface of the celluloid is smeared a thin covering of vaseline. As I said before, the fake n-as made by James Grayson who, no doubt if fou like the effect, will make one for you at the cost of a few shillings. T h e samemanufacturer also suppliedme \\-it11 an evaporated milk tumbler, and this is the second article required. Intothis is placed the necessary amount of milk so that \\-hen the fake is inserted the glass appears to be filled \\-it11 milk. A piece of newspaper,some fi\-e inches syuarc isalso needed,and this is placed onthe conjurer’stable. These are +.hecompleteproperties as seen by the audience. FM the presentation,as I nearly ahvays used it,an 08-stagemicrophone attached to an amplifier is also required as well as a
lady assistant. These are not always available, and the performer will find that if the off-stage lines are spoken by himself and the glass even has to be taken from the table he still has a startling effect. Table, carrying the piece of papershouldbeto the conjurer’s immediate right. There is a backgroundof musicthroughout, played quietlyand veryslowly. Originally I used the tune “ I feel so Tired that I could Sleep,” but later changed tothe lovely Jerome Kern melody “ Long Ago and Far Away.” T h e effect runs about two and a half to three minutes. Presentation.-Long ago and far away I had a dream (this is spoken to the open bars of the theme music). I imagined I held a cone of paper just like this . . . (the cone is carried on by the conjurer who holds it atits periphory ; no attempt is made to show the inside, and no such move is necessary). Suddenly I heard a noise and I looked round to see the door of my room opening (performer turns his head rightand assistant very slowly glides onto the stage, carrying in her right hand the glass of milk) and saw a &we carrying a glass of milk. She came towards me and handed me the glass (Assistant hands performer the glasswhich he takes with his right hand, she passes behind him, looks back, and walks off the stage).. I was certain that I was dreaming, for she walked away and out of mylqe-forever. Performer looks after the figure). And theninthe dream I heard a voice and it said (here the now off-stagc assistant speaks into the microphone and says in a sepulchral voice) “ Pour the milk into the cone.” I obeyed (the conjurer commences to pour (?) from the glass ; when the action is complete he lifts the glass about a couple of inches and allows some of the milk to fall ontothe cone. Becauseof the celluloid surface it simply runs off, and to the audiencethere is prima .facie evidence thatthe cone is filled). Then once more I heard the voice and this time it said (from the loudspeaker comes) L L Put down the glass and place a piece of paper over the mouth of the cone.” Again I obeyed (conjurer placesdown the glass and picks upthe piece of paperfrom the table. This he places over the mouth of the cone, pressing as he does so, the paper, thus becoming attached to the celluloid because of the adhesive). Again I heard the voice, and thistime it said L L Turn the cone upside down.” Tremblingly I obeyed, and strange to relate not a drop of milk left the cone (at this point the conjurer carefully, but not gingerly, reverses the cone, holding the tip with his left hand fingers), and then-for the last time I heard the voice, which said, sardonically, L L I’ve seen something like this before ! ” and I , in my waking moments said triumphautly . . . yes . . . but you’ve never seen this ! ! ! (As he says this the con-jurer brings his right hand under the covered mouth of the cone, smashing the latter and throwing the crumpled paper into the wings.
2: * W
WHERE COVERING PAPER IS GUMTKKD
-SHADED PORTION SHOWS POSITION
v
OF FOLDED PAPER BIACKEXED PART AREA THAT IS GUMMED
My friend John Brearley will never let meforget this effect of my teen-age. The original effect was first presented at the London Polytechnic and later “ Collected described in one of PercyNaldrett’s Magic ” series. As, however, it has never been published in complete form, and, realising that it is an opener that could be used with or without patter, hereit is. E f f e c t.-The conjurer, after showing two willow patterned plates, places them down and takes twosheets of paper, one white and one blue. T o the accompaniment of music he tears them into pieces ; the pieces are screwed into a ball. Holding this ball at his fingertips, he picks up with his other hand one of the willow pattern plates. On this he drops theball of paper, and thenlifting the remaining willow pattern plate, places it on top of the plal-e he is alreadyholding, so that the ball of paper is imprisonedbetween the two. Holding the plates withboth hands, he moves them gently over the flame of a candle. One willow pattern plate is is seen to have vanished. lifted andthepattern Taking the ball of paper he untwists it revealing the fact the pieces have been restored to form one large piece of blue tissuewitha circular whitecentre whichcarries the willow pattern. ’
The effect is clean cut,itis (horribleword) pretty,and, best of all, the vanish of thepattern fromthe plate is accomplished insuch asimple manner . . . no shells, wires, etc. R e q u i r e m e n t s .-Two willow pattern plates of, say, nine inches diameter. One of these is painted over withwhite porcelain paint.If the pattern goes righttothe edge abouta half-inch margin is left unpainted.Someblue and white tissue paper, a decorative candlestick (what wouldn’t I give forthe counterpart of the one shown ina
recentphotograph of Dunninger !) and a candle. From the white tissue cut two pieces of similar or slightly larger size to the willow pattern plate. These pieces are gummed at their edges and then when dry again gummed round the edge and placed of blue tissue. The inthe centre of afullsheet reason that two pieces are used is that a pure white background results. One piece of white placed over blue looks dingy. Onthis circular piece of tissue is now painted quite roughly the pattern of the plate (with water colour). If you are no artist yourself it will not be hard to find someone who can perform this task. Unless it is intendedfor very close quarter work, it should not be carried out with too much regard for detail. This large blue sheet is, when dry, folded into the smallest possible compass and adapted to the torn and restored tissue effect used by the performer. If he is a newcomer and if he has no method we will detail a well-known .and sure method. A half-sheet of blue paper is taken and at a point “A” a dab of gum (mucilage, and so on, to my friend Bruce Elliott !). On this gum is placed the fplded sheet, and around and on top is further placed a smaller sheet which is gummed alongthe edge (see illustration). The dark nature of the paper completely hides any sign of adhesive. Intearing, tearround the pocket, so that a piece is leftadhering to the packet. All the pieces formedasaresult of the tearing are screwed up into this one piece, which, of course, adhere to the main piece. When unfolding care must, of course, be taken that these pieces are kept rearwards all the time. A half-sheet of white tissue is also needed. With thesepreparations made the stage should be set as follows :-Candlestick and pieces of paper on table to conjurer’s left,achair being placed to his right. On the seat of this chair the blank plate is first placed paintsideup. On top is placed the patterned plate, patterned side up. With these preparations made the conjurer is ready : (during the whole of the presentation the background music is Cyril Scott’s “ Lotusland ”) P r e s e n t a t i o n . - M y Jirst effect I call the Mystery of the Willow Pattern Plate ” or a ‘‘ Tale of Old China.” Needless to say . . . this is the ‘ Old China ’ (conjurer at this point picks up the plates from the chair with his right hand which approaches his left hand.The platesaremomentarily held with the patterned one facing the audience. Without showing the concealed and blank plate, the conjuret casually turnsboth over, each hand taking one plate and clinking one against the other. If handled properly this is a most convincing move. Although I used this move some twenty-seven years ago it has since been described for slates. The blank faced one, incidentally, is taken by the right hand. At this point I used to turn right,whichhad the L‘
continued on page 93
WILLOW
PATTERN PLUS
- continued frompage
92
natural effect of allowing thelefthandpatterned plate to be turned pattern side to the audience, the right hand still keeping the back of the plate towards threw the left hand the audience. I then plate into the air catching it on its downward flight. A similarprocedure was adoptedwiththeright hand plate. T h e left handplate was then placed patternside down on the backof the blank plate andboth replaced onthe chairin a face down now picked up from condition. T h e papersare the table, the conjurerremarking :) Two sheets of paper, one whiteandblue,and therest is a story (Conjurer now starts . tearingand withoutwords. finally adjusting the paper so that the bigsheet is readyfor the restoration and unfolding. This wad of paper is held by the fingertips of the left hand whilst theright reaches for thetopmost plate.
This is picked up and casually shown, the wadof paperbeingdroppedon to it. T h e conjurer turns slightly right and holding the plate with the paper on it in the left hand,hisrighthandpicks up the blank plate, and making sure that the underside is not glimpsed, places it on top of the plate held by the left ha.nd. T h e effect from the conjurer’s point ofviewis finished. He turns left and walks to the ca.ndle. Gentlythe plates aretilted backwards and forwards over the candle flame. Thetop plate is removed,shown tobe blank,then placed on the table. T h e righthand now takes thepaperatthe finger tips holding it high, whilst the left hand drops from thewrist showingthe pattern on the other plate. T h e wad of paper is now unrolledshowing the pattern.
113[0DES WOE MENTALISTS
Peter Warlock’s
“ ” EXTREMES MEET WHEN IT COMES TO “MIND OUT OF TIME ” Bill Stickland writes :-‘< Having proved during the pastyear that a good mental effect admirably‘fits into a varied magical programme,Iammoreinterestedthan I shouldhavebeeninPeter Warlock’s new effect MindOut of Time.” This produces an incredible effect on the audience with minimum effort and skill. The manuscript fully describes the moves,etc.,andincludesasample of the “ gimmick ’’ which can easily be made up. I wouldunhesitatingly recommend this to magicians requiring an effect which will make their audiences think. C. L. Boarde writes :-“ As I read on I found myself chuckling at the points where I found clever handling. I think the most honest thing I can say is ‘ This is the sort of thing Annemann would have enjoyed.’ I t is, thank God, direct ; as a platform effect there is no apparent point of weakness, and knowing the bumbling abilities of niost of those who call themselves conjurers, I was most heartily pleased to find it well nigh fool-proof.” 000 The price of the Routine with patter and notes on presentation is moderately priced at Seven Shillings and Sixpence from : PETER WARLOCK, 76 MANOR ROAD, WALLINGTON, SURREY, or any reliabledealer
‘Rotice
C O N J U R I NBGO O K F SOS R ALE OLD AND NEW. La me know your wants LISTFREE FOR STAMPEDENVELOPE
N o Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX LEARNHYPNOTISM.-ANYONE can learn to HYPNOTISE provided they knowhowandare wllhng to devote a little tlme to practice. Practicallessons in THE WIZARD every month, writtenespeciallyfor the ENTERTAINER, by S. E. (Dexterous).Dexter, V.A.F.,, I.B.M., ALSO MUCH GOOD MAGIC, forMentahsts,Chlldren’sEntertamersandClub Performers.Special section for Vents. 36 fully illustrated pages per issue Subscription : 6 months, 1216 ; Year, 241GEORGEARMSTRONG, THE MAGIC WAND PUBL!fHING COMPANY 11 MONASTERY GARDENS ENFIELD MIDDLESEX
..
A
WORD ABOUTBOOKS
..
is hereby given that the partnership heretofore subsisting between Jack Francis Hughes Arthur Dowler and Harry Stanley carrying on business as manufacturers of magical apparatus at 44 and 46 Market Parade, Peckham, London, S.E.15, 85 ShaftesburyAvenue, W.C., and 87 W:fdour Street, W.1., underthestyk,or firm mmes of Jack Hughes and ,Harry Stanley and also The Unique Magic Studio has been dissolvedas from the 6th day of May, 1948. All debts due andowing by the said firm will be respectively receivedby the said. Arthur Edward Dowler andHarry Stanleywho will in futurecarryonthe said business underthe styleandname of “ Unique Magic Studio.” T h e said Jack FrancisHughes will carryon business in his own name at 2 Evelyn Avenue, Colindale, N.W.9. of August, 1948. DATEDthis11thday
- continued from page g 4
ROUTINE STUTHARD’S SVENGALI SUBTLETIES, written and published by J. Stuthard. Price 316. This,an enlargedEnglishedition,showsthatthe firsteditionwaspublishedinCanada,September, 1938. At that timelittle had been written about theSvengali deck, especially withregard to handling.Firstandforemost inthismanuscript,Mr.Sutthardteachesthereaderthe verynecessaryactions and moves for using this deck in
such a manner that no suspicion can arrive inthe spectator’s mind that any other than a straight deck is in use. Running the cards, double lift, riffle-shuffle andglideare all dealt with, and the text is accompanied by a number of clear illustrations. Possibly the best piece of chicanery thatis described is the method of dropping the cards so that the audience can see in the fairest possible way that they are all different. A convincing routine follows the descriptions of these moves, whilst for make-weight the author throws Insomeseven variatlons. W L recom?nenc€ed. ~
94
N E W P E N T A G R A M G R A D I N G . - A maximum award of Ten Points in the following categories (Ychen applicable) :( A)-Physical Make-up (B)-.Quality of Material (C)- Value Magic to (D)--ClaritJ* (E)-Illustrations (F)-Rendzbzltty (G)--Sinceritj. T O T A L 70 P O I N T S
‘‘ M A I N L YM E N T A L , ”
(Volume One : “ Billet Reading ”) by C . L. Boarde(publishedbytheauthor) pricetendollars. This book, of some one hundredclosely printed pages, is, todate,themostcomprehensive treatise onthisparticularphase of the mentalists’art. Inhis introduction Mr. Boardeemphasisestwopoints : the first is thathe doesnot claimcompleteoriginalityforthecontents ; the second thatthe materialdescribedhasbeen,and is, of extremepracticaluse. T h e book isdivided into five sections. The first deals with the “ Steal ” of the billet and in all more than twentymethodsarecoveredwherebythementalistis enabled to obtain knowledge of what has been written bv aspectatorona billet. All of thesemethodsarebillet steals inthe realsense. There is no confusionin this section, i.e., the author does not introduce ‘ impression ’ technique. T h e explanations are well deAailed and illustrated with numerous drawings. The Improved Torn Centre ” describedhere is exceptionallygood. Sectiontwoiscalledthe “ Read ” andherethe author is at pains to impress certain points upon the reader. T h e first is that the mentalist, having obtained possession of a spectator’s billet, must avoid all noise in opening the said billetshould he desire to read the contents surreptitiously. This aspecthas not beenstressedveryoften, but, as Mr. Boarde points out, it is most important when close quarter workisinvolved. T h e secondpoint is that thereadingshouldconformtothesituation, whilst the third ismisdirectionduringreading ; his caseof Bert Keese and his cigar heing a perfect example. Thethird sectionisentitled the “ Spiel,”andthe author gives some very definite advice on first of all analysing the spectator and then the spectator’s question. Next the matter of delivery is taken and a number of psychological pointsarediscussed. The remainder of this section is taken up withsuggestedanswers to questions. Inthefourthsection,Mr. Boardedealswith subsiduarytechniques.These twenty-fivepagescarrvsolne ofthemostinterestingandinformativematerialin the wholebook. Forthefirsttime(tothis revieweratanv rate) the matter of nail writing is given a certain amount 0-f studied thought, and the reader is shown the right way to getcertainandnon-spideryresultswithanailwriter. This issomethingthatmost of uslearnthehard way. Another often talked about, but litt!e written about, subject is also analysed : that is pencil reading. Mr. Boardemakesnopretence thatonecan becomeagood pencil reader in five minutes, but his charts andsuggestions should help the conscientious student to achieve success in the shortest possible amount of time. The fifthand last sectiondealswitheffects, all of whichare based onthetechniques explained.Altogether the tl,\.enty-eightvariationsare giten onthe follou.ing “ LivingandDead,” themes : “ QuestionandAnswer,” OneAhead,” “ Dead NameDuplication,” “ Psychometry,” “ TelephoneTests,” “ Projection,”and ‘‘ Predictions.” This book islimited to 275 copies. It is bound\\-ith stiff cardboard co\.ers and has an erinoid binding that makes for a flat readingsurface.It is anoutstanding\rork in the mentalistic field kvritten Lvith great sincerity and knowledge. We anticipatetheundoubted pleasure that will be ours in reading “ Volume Two.” Withthiseditioncomesaseparatelvprintedsupplenlellt that adds certainsubt!eticsandeffects to the main \York. T h e book cannc,t be obtainedthroughdealers,hut those readers of the “ Pentu,pm?rt Ivishing to a\.aij themsel\.es of this book, should contact hlr. C. I,. Hoardc. at 1012, 190thStreet,Jamaica,Ne\\York, I_‘.S.X. 66 points. U t w s c r z w I l ~rc*ronn?rrndccd. ‘ “
”
“THENCYCLOPAEDIA OF S I L M K AGIC’’ (Volume l ) bj* Harold R. Rice(published b3- Silk King Studios,Ardnzore, Pa., U . S . A . ) pricetendollars. This is the first volume of four dealingwith silk conjuring. It comprises ten chapters which deal respectively w5th :-(l) The RomanticStory of Silk, 14 pages ; (2) Dyeing your own Silks, 18 pages ; (3) Methods of Folding Silks, 24 pages ; (1)Non-apparatus methods of Producing a Single Silk, 33 pages ; (5) Apparatus methods of producing a Single Silk, 59 pages ; ( 6 ) Non-apparatus quantityproductions, 36 pages ; (7) Apparatusquantity productions, 108 pages ; (8) Vanishes, 72 pages.: (9) Changes, 38 pages ; and, lastly, (10) Transposltions, 121 pages. Whenthereader is toldthat every effectis in bare-bone but extremely lucid form he canrealise the quantity of material exceptionallywell illustratedthat is by the containedinthisone volume ; we areassured compiler,and n-e certainlyhaveno reason fordoubt, that there are over 350 effects and some 1,800 illustrations ! The first chapter of the book, dealing with the Romance of Silk, is of singularinterest,forMr. Ride gives quite a lot of information that, so far as we know, hasneverbeenpublishedwithina magical text book. Texture and weight ofsilk arediscussed,andwhilstin this land of delightful austerity such things can mean very much to the Englishmagician at the moment, no doubt thosewhotreadin oursteps will find theinformation exceedinglyhelpfulwhenitcomes tothe choosing and buying of silks. Lookingthrough all thechaptersthere seemslittle, if anything, that has escaped Mr. Rice’ssilk-mindedeye. The titles of the chapters speaking for themselves, the most we could do would be to find fault with some of the methods; to take thetaresfromthe wheat,however, wouldspoil theobject of the book.Nevertheless we marvelat the ingenuity of themindthat willseek to make themost complicated contraption to produce the most compressible productiongoods in the realm of conjuring,andwonder whysuchpeoplewastetheirtimeon magic instead of using it in the proper sphere of pure puzzle-making. The make-up of the book is of singularinterest. Mr. Francis B. Martineau who has previously been associated with Mr. Rice has not only drawn the many hundreds of first-rateillustrations, but hehashandprinted c w ~ r ~ ~ word of text, the whole of thesedrawingsthenbeing reproduced by off-set process.Another novelty is the method of quick location of a section or item. It is based ontheoldcine book method.Inthis case thetopleft of those respectivepages carrya andrighthandcorners black and white titling extending to the edge of the page. I findit effective. Nodoubt many of themore conservative minds will find it equally distractive and irritating. Throughoutthe book Mr. Rice has been carefulto gi\.e credit where it is due, and we know from our contact with him the trouble he has gone to in keeping faith with those \\-h0havecontributed in any form. He pays aparticular tributetoour own Eric C. 1.eLvis. The book is strongly bound in a blue fabric covering, stampedwith heavysilver lettering. We consider that from the point of information on the silk effects specified it is outstanding.
95
On Thursday, the2nd September, Mrs. Douglas Craggs, after a long and painful illness, was called to rest. On behalfof ourselves andour readers we should like to take this opportunity of extending to Douglas the deepest expression of sympathy in this hismosttroubledhour. JVe must first of all apologise for the lateness of the JulyandAugust issues. Our printerran into a spot of bother with staff illness and machine trouble. We sincerelyhope thatthispresent issue will reach you on the due publication date. In this, the last number of Volume 2 , we have giventhree effects suitableforopening. All have been well tested. Eawh has quite a lot to show despitethe fact thatthere is noapparatus in the acceptedsense of the word. Most of the Bill for the British Ring Showis now to hand and includes HoraceKing andBetty, Deveen, MariusandMariette,Sylvestre, Raoul, Ren. Clark and George Smallwood. Subscriptions for Volume 3 are now due, and we take pleasure in the fact that we shall, through a very generous gesture of Mr. C. L. Boarde, be able tooffer a very generous bonus tothefirsthundredsubscriptions received. This bonus takes the form of Mr. Boarde’s Borrowed most excellent routine “ The Brain,’’aroutinethat is printedandillustrated and selling currently for ten shillings. We feel sure that those readers who receive a copywilllike tothankMr.Boardedirect. .Hisaddressis 8012, 190thStreet,Jamaica, New York, U.S.A. I willquotefromhis letter : “ They come to you a s a gift without \obligation in any form or manner. There is but one qualification, which is that they may not be sold but mustgiven be away in a manner you think best foryou and the ‘ Pentagram.’ ” Sometimeback,readersmayremember, we mademention of thisroutine,which is ,exceptionalforclose-quarterwork. We certainly prize our own copy. Thosequalifying for this very nice gift, will receive it with the firstnumber of thethirdvolume. May we add that for fairness’ sake that if any reader has a renewal subscription due later than the first number, i.e his renewal falls due at number Three, etc., he will be eligible providinghesendsthenecessaryremittance. Our good friend Goodliffe tries hard. Not contentwithattemptingtore-mapthe world ot conjuring, we nolice that he has now created a new ... LondonsuburbintheNorthWestdistrict “ Cullindale.” Congratulations are the order of the day for the EnglishcompetitorsattheInternational Congress. T h e Grand Prix to Willane, Pauline Baird second in the manipulation class, andBurtiniwinningthe first prize in the invention class.
.,
On another page will be found an announcement regarding the dissolution of partnership of Hughes, Dowlerand Stanley. This is quiteanamicable dissolution, Arthur Dowlerbeing busy withprofessional work, Jack Hughes back in his old workshop and Harry Stanleyassuming sole responsibility for the new Unique. Needless to say, Jack Hughes’s effects will still be available at the studio. I
Scandinwian readers may be interested to know that the “ Modes for hlentalists ” Series are now being published in Danish by my friend, Mr. Steffensen. T h e title of this series is “ Mentale Metoder,” and the first is entitled (‘Taenk som jeg taenker.” It is a six-page publication with a semi-stiff cover. \lie are pleased to welcome A1 Korantoour list of contributors. A very nice effect of his will appear in our October issue. Many have been the enquiries that we have had regarding the Society for Mentalists. As we mentionedin a previousnumber a Rules Committee was appointedattheinauguralmeeting,andit was hoped that when they met at a later date rules would be drawn up for consideration by the Cornmitf.ee. ‘l’here were, however, difficulties arising out of a very important point regarding theeligibility of membership, and as that could not be immediately settled the matter is being held over until the end of September. Withthe publication of ourfriend Francis Haxton’s article on Charles T. Jordan, weseem to have fanned a dyingsparkinto a small flame. Browsing through volume 2 1 of the Sphinx (on page 257 to be exact) we found a group photograph T. that includedDorny,RibertStullandCharles Jordan.Anarticleaccompaniedthepictureand we read asfollows : Then came Stull, Dornfield, Mueller and Jordan each performing their pet tricks.” This party,incidentally, n-as not so far fromPenn Grove. ((
As this is the end of another volume we should like to give publicthanks to all those who have helpedinany way. T o contributorsparticularly, €or their’s is the life-blood which makes this broadsheet possible ; thentothe dealers, advertisers, readers and reviewers. Lastly, ourPrinter, who has, often times under great handicaps, done a very good job of work. Finally, looking back through an even older previously mentioned, copy of the Sphinx than the one we should like toquote GeorgeShulte : “ Somewhere i t is written in a book that magicians.are born and not made. But the rate isn’t one a mihyte ! ”
MAClC BOOKS AT FAIR PRICES
COLOURED
“
TROUBLE-WIT
”
Our poliq- of one pricethroughoutthe zcorld ” bringsto English magicians, post paid, all American ecorhs on conjuring a t theexartEnglishequir*alents of the .4merican prices (5shillingsequalsonepoundsterling).
TreweyModelCartridgePaperStanyonCorners Beatuifull??Colouredin fast Rainbozc,,Colours Stage Size, used by Trewey, Stanyon, etc., 12 when closed PRICE22/6 Plain White Paper, if desired . . . 15/6 ImportantHints on opening and closing thefoldsincluded TroubleWit Booklet ; 80 illustrations . .. 2/9
This means that you can have any magic books delivered to you at the standard American prices, as for example : Hilliard’s Greater Magic ; Rice’s Encyclopaedia of Silk Magic ; Buckley’s Principles and Deceptions ; McGill’sEncyclopaedia of StageHypnotism ; at SO/- each. G a u l t i e r ’ sM a g i cw i t h o u A t pparatus ; Tarbell’s Course, Vol. IV. ; Thompson’s My Best ; at 3716 each. Dhotel’s Magic with Small Apparatus ; Hugard’sBookEditionNo. 1 o r No. 2 ; Sachs’s Sleight-of-Hand ; Maskelyne and Devant’s Our Magic ; at 25/- each. Collins’s A Conjuring Melange; H u g a r d & Braue’s The.Roya1 Road to Card Magic ; at20/-each.
DiminishingCardstoMatchbox. Highgradecards diminish to half size (a sample card is extracted) then changes to afull sizebox of matches, price 7/6 Find the Lady. Aperfectedform of thiseverpopular trick. Set of three trick cardswithprintedinstructions, price l O / Self-ReversingCards.Ten Cards arrangedalternately back and face up. A flick of the fingers and cards are foundto havere-arrangedthemselves.Repeatedas often as desired.Aperfect pocket trick, price 3/6 The Burglar’s Escape. comedy A pocket trick, ’ andaburglar ’ price 3/6 implicating3policemen
((
---
___
B 0 0 K S----B 0 0 K S---------B 00KS It is our policy to keep every book on conjuring and allied arts i n s t o c k . Write for free lists. Most U.S. books and all Englishpublications i n s t o c k . FiveShillingsequalsonedollar-wepaypostage Foreign and Colonial customers please write direct. We hove W O R L D since 1890 supplied M A G I C tothe
Please remit to Mr. Robertson Keene, 301 Norwood Road, Southall,Middlesex, zcho 7cillsend>*our order to us via airmail for immediate shipment.
--
ELLISTANYON AND COMPANY 76 Solent Road, West Hampstead, London, Telephone : HAMpstead 0940
F L E M I NBGO OCKO M P A N Y ( N e w , permanentaddress) YORK, PA., U.S.A.
ARCAS Magical Publications
i
Mr.Smith’sGuidetoSleight .W. Jonson ot Hand A.B.C. ot Ventriloquism . .D. Craggs Expert Manipulationot Playing Cards . . . .L. Gansorl Testamento?R. W. Hull . .T.H.Hall Nothing is Impossible . .T. H. Hall Masterpieces ot Magic, Vol. 1 . PatternsPsychics Tor .Warlock Franklin Kamut Brearley ~onjuoioring. Willane’s Wizardry .. . .Willane
.
404/408 Croydon
PLEASENOTENEWADDRESS
:-
Surrey
ABDUL’S FEZ Increasedcost of materialshas forced me t o increase the price of this effect to 12!6. l feel confident, however, that it isstill a bargain t o anyonewhohasever worked theEgg Bag. Tlrarrks to all those who hare sent kind words nbout this trick
,
of e a c h m o n t h
1/I single copy 1 1 /S per year post free
SYDENHAM ROAD
..
PENTAGRAM published on 15th
. . .. ..
Obtainable from all Dealers or directfrom
PETER WARLOCK’S
ZAHAREE (Geoff. Hursell) R. 16 & 18 Watts’ Place CHATHAM :: KENT
6%IvIalaor R0tta.I Wadlington Surrey Telephone : Wallington 6236 H E N R ID E ’ S E E V A H MMC., BMS., ZBM.,S S M C . THEFRIENDLY MAGICIAN invites allbona-fide Magicians t o send for hislist of new and used apparatus and books, or call a t his studio :l CLARENCE ROAD Harborne, Birmingham 17
N .W .6
The Magic CIrcle Presidetzt : His Grace the Duke of Somerset, D.S.O., O.B.E.,Z.P.,D.L., M.Z.M.C. Vice-President : DouglasCraggs,Esq., M.Z.M.C.
Musewn :
ClubroomandLibraryand
St.Ermin’sHotel, CaxtonStreet,S.W.l. MagicalTheatre
:
KingGeorge’sHall,
W.C.
--
Purticulnrs from Hon. Secretary :
FrancisWhite, 39 AlverstoneAvenue, WimbledonPark, S.W.19 INSTITUTE
OF
MAGICIANS
Branches in London, \Vakefield, Brighton, and Detroit, I J S A . The friendliest of magical societies. No entrance fee, printed club magazine, splendid library London H Q . Deaison House, Vauxhall Bridge, Victoria, S.jV.1. (one ~ninuteVictoria Station) Particulars from Oscar O s ~ a l d . 102 Elmsteatl Avenue,\Vernbley Park, Middlesex
- ,
MAGICIANS’ BOOKBINDING SERVICE PENTAGRAM ” VOLUME 1. Bindirgg Prices :CLOTH 5/6, REXINE 6/6,MOROCCO FINISH 7!6 “
42
C . FIELD Alderson Road, Sheffield
3
OLD AND NEW MAGIC LatestThink a Magician A pocket Mind Reading Effect 091ly 2/6 Ovrin’s famous Spider’s Web,CardTrick 30.’COIK K.-\NDS to produce a real coin 16,6 A few Sliding Glue Packs of Cards 8:9 Send stamp for pvinted lists of old and n e z blclgc Sydney d e Hamossy 363 SANDYCOMB€ ROAD, KEW GAPDENS SURREY RIC 4238
J A MGERSA Y S O N MAKER OFHIGH-CLASSMAGICALEFFECTS, STAGE ILLUSIONS, ETC. .1 cltiress :-
23 GREENFIELD AVENUE GILDERSOME.NearLEEDS
Every Advertiser’s goods are fully endorsed by this Bulletin Printed in England for PETER \VARLOCIi by GEORGE SE.AKSON
40 Hlue Bell Hill Read,Kottingham
Telephone 4&z
0
CQntmb ANTI-GRAVITYEFFECTS
... ... ...
Anti-Gravity Ultra Anti-Gravity Cigarettes X-The Unknown
ARTICLES Magic Books ... ... Books ... ... ... Mystery of CharlesT . Jordon Reviewers ... ...
... ...
... ...
C A R D EFFECTS Mystery anyof card ... Card Discovery by telephone Spectator Selection ... The FastestIndicesin theWorld Thoughts Two The ... For the Meek (method of forcing) Cryptogramagic ... ... Wingless Victory ... ... Psychic Card 2 ... ... Wot ! AnotherTelephoneTrick Thanks Marlo to ... ... Birthday Honours . . . ... Thoughtsthe on Palm ... A Legacy from Jordan ......
... ... ... ... ... ...
... ...
... ... ...
... ...
CHILDRENS’EFFECTS Who’ll Bell Cat the ? ... ... Abdulhisand Egg ... ... CLOSl NG EFFECT
Good Evening !
...
...
...
CO1N EFFECT
Money Hot
...
MISCELLANEOUS
Page ... QUESANS 49 ... 51 ... 75
...
M E N T A L EFFECTS The Spectator Directs ... Austerity Augury ... ... Two Harmony in ... ... Acme Book Test ... ... Kismet ... ... ...
... ...
... ... ...
2; !;
Page ... 13. 54 Magic-go-round 7. 15. 23. 31. 39. 47 55.63. 71. 79.87. 95 A Word about Books (see following page) M I S C E L L A N E O U SE F F E C T S Turn down Empty an Glass ... 60 Sands-Which ? ... ... ... 76 Super Sympathetic Cubes ... ... 84
...
... ...
E . G . Brown
OBITUARY
...
...
...
Charles Harrison. junior ... ... 3 Will ... ... ... 12 Goldston A . Zomah ... ... 19 20 O P E N I N G EFFECTS 25 Confetti The Charmer ... ... 28 Willow Pattern Plus ... ... 33 Long Ago and Away Far ... ... 52 57 P E N E T R A T I O N EFFECTS 6o “ Sticks that pass in the Bight ” ... Different Penetration Milk ... ... Bricks Window through the 77 85 R I N G EFFECTS Prisoner in the Silk ... ... ... ... Match-Ring ... ... ... 1 Ringo 2 . . . ... 9 “ Ring anin Emergency ” . . Ring Acme Release ... ... Ring Free ... ... ... 29 EFFECTS SILK Enchanted Petals 2 ... .. Photographic Absorption ... Believe 21 not it or ! ... ... Silk Away ... ... ...
!;
35 36
51 59 81
SLATEEFFECTS Case of the Curious Chronometer M y Astral Eye ... ... VERSE The Rubaiyat of a Conjurer
15 39 46 46 89
92
91
4 26 58 47 43 44 44 45 66
17 27 65 83
...
11 68
...
83
...
45 79 79 44 83 35 25 29 51 58 12 26 76 9
ecwt-tm Arrowsmith. The Rev . G . E . Christopher. Milbourne ... ... Coilins.. Stanley ... ... ... Demaline. J . ... ... Dexter. Will ... ... Douglas. James ... .. Drake. Leslie ... ... Eddleston. Jack ... ... Esler. James ... Francis. Douglas ... ... ... Giraud. Jules ... ... Goodliffe ... ... Haxton. Francis ... ... Histed. Louis ... ... Jader. Rudi ... ... Jonson. Wilfrid
...
3 83 13. 33. 54 ... 68 81 111.27. 65. 66 ... 84 ... 43 ... 59 ... 77 4. 41. 73 61 l9.*.S7.62. 85 ... 20. 52 ...
...
...
89 54
Jordan. Charles T. Liberg. 0 . 0. ... Lund. Robert ... McComb. Billy ... Maskell. Don ... May. Leslie ... Merlini. Jim ... Milton. Herbert ... Mole. H.C. ... Orrin. J . F . ... Peacock. Victor .. Sellers. Tom ... Sharpe. S. H . Tyler. Wilfred H . Warlock. Peter ...
... ...
...
... ...
...
...
-
...
...
... ..
... ... ... ...
. I .
... ...
...
...
...
...
... ... 17. 1. 4436. 75. 60. 67. 91. 92 ...
28.
UUMVLd&tB& Books Hugards Magic Monthly, Volumes “ Open Sesame ” ... ... Magic with Small Apparatus Fingertips your Magic at ... Mastered Amazement ... Showmanship Magicians for The Trick Brain ... ... Misdirection by Magic .. Magic The of Louis Histed Con-Junior-ing ... ... Willane’s Wizardry ... Hugard’s Magic Monthly, Volumes Supreme Sleights ... Abracadabra Xmas Special, 1947 Bohleno’s Mysteries ... Expert Card Entertains The Encyclopaedia Sleeving of .. . Thumb-tip Tricks Fifty awith Technique Card Basic ... Stunts Stage Money with ...
Page
6 6 14
1&2
... ... ...Hobby a Magic as 14
Magic Wand Yearbook 1947/48 Your Deck, Your Card ! The Royal Card Road Magic to
... Darling’s Mentale Mysterier 14
... ...
22
22 22 30 30
...
... ...
...
Mainly Mental, Vol. 1 Encyclopaedia Silk Magic, ofVol. Routines
30 38 46 47
Writes Moving Finger Ten Nights Card ainRoom Pokericulum ... Jamesway Poker Deal 47 LookNew ... 55 are Right you How ! 55 Ladies Pink ... 62 Ultimate Impossibility 70 outMindTime of 70 Stuthard’s Svengali Subtleties
3 & 4.
... ... ... ...
... ... ...
...
...
...
... ...
... ...
e..
... ... 1
94
...
...
...
...
...
... ...
... .. .
...
...
..
Page
70 78 86 86 86 94
... ...
... ...
47 78 78 78 78 86 87 87 87 93
For at the moment space only allows us to give our readers six suggested programmes suitable for various occasions, each needing the minimum of preparation and apparatus. As time goes by we shall add to this number. Programme No. 1
Programme No. 4
Platform Miscellaneous
Intimate show with c a d s
Runningtimea-pproximatcly 14 minutesand Runningtimeapproximately 17 minutesand effects pack into attache case. everything packs into brief case. Vol. Page Vol. Page ... 2 92 Coincido Plus Pattern Willow .... 1 9 Duo Enchanted Petals 2 ... 2 17 Wingless Victory ... ... 2 52 Recovery ... ... 1 77 A Legacy from Jordan ... 2 85 Evening Good ! ... ... 2 29 Nonsuch Card Prediction ... l 47 Marlo Thanks to ! ... 2 67 Programme No. 5
Programme No. 2
Intimate Mental and Psychic
Platform Miscellaneous
Running time approximately 30 minutes. Everything packs into brief case. Runningtimeapproximately 14 minutesand effects pack into attache case. ... 1 Conference News Spirit Dark the in Sense ... 1 Long Ago and Far Away ! ... 2 91 3 The Directs ... 2 ... 65 Spectator Believe it o r N o t ! Acme Test Book The ... 2 Glass Porous ... ... 10 1 ... 2 Kismet ... ... Transpo Slates Insto ... 1 31 “ You Can’t Wrong be ! ” .. 1 5‘1, Programme No. 6
27 71 35 59
81
Children
Programme No. 3 Platform Miscellaneous
Runningtimeapproximately 20 minutesand effects pack into brief case. Welcome ! Cryptogramagic Believe it or N o t Twins Trigon of Slates of Hecate
...
...
... ... ...
...
...
...
...
...
61
1 2 2 1
33
1
55
65 75
Running time approximately 40 minutes. Everything packs into medium sized suitcase. ... The Confetti Charmer 2 89 Abdul his and egg ... 2 9 1 14 Silvertown Exmess ... Who’ll Bell the Cat ? ... 2 1 Ring Travel ... ... 1 17 SuperSympatheticCubes ... 2 84 Robbers Sheep and ... 1 43 Good Evening ... ... 2 29
1
PENTAGRAM An independant monthly bulletin for all who want good magic
V ! *3 N!kP
Clktdh, 1946:
As the title impli,es, thissubsection isdevotedtoa study ,of ?he art of ascertaining whatiswrittenonaslip of paper,notbyany direct,orindirectreading of theslip, butby watching andanalysingthemovements of the writinginstrument.The,history of the technique is very vague, but in all probability it was developed by amedium wh,o wasconfrontedby test conditions b o strong f'or his conjurhg ability. Perhaps the Policewere too prone to grab dummies at inappropriat,e mom'ents and the technique developedtomeetthedemand 'of apr,ocedure that wouldleave no evidence.Exposure iswell nigh impossible, for the worst that can happen are restrictions of conditions necessary f,or its operation and the resultant blank dem,onstration. The technique is rarely used and seen, however, due to the extreme difficulty encountered in mastering its many ramifications.Once'learned,though,it is one ofif not the strongest techniques available. The processcannotbeacquiredbya mere study ,of the basic fundamentals.Thepsychic who hasdevelopedthe,ability,hasd,one so by adding hours of drudgery devoted to brute application (hours shared by a friend to play the part of theclient),tohisunderstanding of theprinciples involved. To beexact,thefundamentals are not very much more than inexact guides which serveto(indicatewhatshouldbeexpected. In effect, they are means of shortening the time that mustbedevotedtosheerpractice.Learningto PencilReadcan easily be likened to neara sighted manlearningtoreadthefamiliarsemaphoreflag wig-wags. Inasmuchasthetop of the pencil is being watched, the size of that instrumentis of great import. I t must be large, so that when it is held inthenormalmanner(betweenthethumb, first and second fingers and resting in the crotch of the thumb), that portion of the pencil measured from the crotch of thethumbtotheeraser is at least one-half thetotallength of theinstrument, if 'nottwo-thirds or more.Thereason is obvious ;
the crotch of the thumb acts as a fulcrum to the pencil,whichtakes thepartof a lever.Any actionimpartedtothes'hort ann of the lever is greatly magnified bythelongarm.Thusthe greater the length of the long arm, the greater fhe motion imparted to the eraser, and, of course, the easier lit is toreadthewritingproduced. . The spectator is directed to print slowly in large characters(toimpressthe thmought strongeranddeeper in his mind), a factor which also helps t.0 make thereadingeasier.The size of the slip onwhich he writes is not too iinportant,althoughasmall piece of paper will restrict the number of characters that can be written in so limited a space. Th,e performerhas less letterswithwhich t,o juggle, making his task easier. When the psychic is unable to decipher a character, ,he does not puzzle over it, but tries to catch the next, keeping in mind thatthere is ablank atthatpoint.Whenthe spectator is finihed,the psychicexaminesthose he does have, ,and finds that they generally help in puzzling out what the missingletters areand thus fill in the blanks. Therearethree different approachestothe process. Each could very well be called a system in itself. Onealonemay beused, any two in combination, or allthreejointly. The first isa strict ,analysis of the motions involved as seen by the psychic seated across the table from the spectator. See Figure One. This entails a breakd,own of thestrokesrequiredtodrawthe character. N,ot only the strokes actua,lly involved in the writing, but those motions required to bring the pencil to the starting positi,on for each stroke, are taken int,o account. The nature of the strokes are three in number : vertical,represented in the 1, horizontalrepresented by -, and tableby circular,which,since it very often is seen as a shorthorizontal followed by alongervertical, is represented by J . These, in turn,arebroken down t'o short and lmong strokes. To these symbols are added arrowheads to indicate direction. Several continued on page 2
ON PENCIL READING-continuedfromgage
2 1
characters may be drawn in two ways, and the less commonis listed asalternate.Thereareseveral characters, which in eithergeneral oralternate state are drawn in one conbinuous motion. These are starred (*) . These fine points aid in differentiatingsimilarbutdifferentlyconstructedcharacters.When seen frombehindthespectator,the direct,ions in the tab,leare, of course,reversed. I n attempting to analyse any character or symbol not listed, it must be kept in mind that the moti,on of the eraser is the reverse of the pencil point. I t remainsforthepsychic usingthis procedure to learn it thoroughly in all its ramifications, and then applytheorytopractice.Thistechnique is best forthose who areunableto visualise fromthe motions of the pencil what letters or numbers are beingdrawn. For thosewhoareableto visualise well, a table of thelettersandnumbers as theyappear upside down is often sufficient. See Figure Two. Here attention is paid only to the strokes actually made in the drawing of the character.Thisprocedure,therefore,dependsupon the ability to commit each stroke to memory as it isdrawn,and, when thecharacter is completed, mentally reassemble the components so that they arereadily recognised astheletter,ornumber, drawnupsidedown. To this, we Figure addThree, an analysis of letters and numbers as to the number of drawing strokes required to complete the standard characters and the alternate variations. The m m b e r of strokesrequiredisdeterminedbythe requisitechanges of directions. Thus, S is primarily a two-stroke character. Draw it with chalk on a slate and twostrokes will beheard.In its alternate stage it is a one-stroke character because it canbedrawnontheslate so slowly that only one stroke can be heard. (This table is thebasis of " SoundReading " usedwith slate and c'halk in which short words or number groups are
divined.) Of the three procedures it is the weakest, being used in conjunction with one of the others, but never alone. Tshe readerhasmost likely noticed thatthe tablesarerestrictedtoprintedcharactersonly. PencilReading is difficult enough in that stage, due to the disparities in methods used by various spectators, and when applied to script the technique becomesa life-time process to acquire.However, by the time the psychic has mastered the printed phase, he has acquired enough ability to decipher simple diagrams. The use of the upside-down table is excellent training for reading any reversedprinted matter which is largeenough. The psychicmay beconfrontedwith false strokes. In timehe is practicallyabletorecognise themsubconsciously. A truestrokerequires theapplication of the pencilpoint tothepaper. A false strokemust be made off thepaper.The differenceshows in theheight of thepencilfrom the paper, it being raised slightly higher than usual forthe false stroke.Inaddition,thetruestroke requires pressure to place the mark on the paper. This produces sound, which, although low, is audible if listened for. The false stroke makes no sound. I t would hardly be proper for the psychic to directlyobservethemovements of thepencil. Even the most obtuse spectator will become justifiably suspicisus. The observation must be doaked in some manner. One method of indirect observation lis the use of the well-known slotted newspaper.Whilethespectator is busy writirig, the performer picks up the newspaper on the pretence of passing the time unti.1 the client is finished. In actuality, th,e pencil is observed through a slit, about three inches in length, set vertically in the centre of thesheet. All that is needed to open the slit is a very slight horizontal tug in opposite directions by the two hands holding the newspaper Continued on Page 4
3
Dear Peter, Here at last is the article I promised you for the Pentagram.” As youknow, I havemyownideason Mentalism; mostly they are based on presentati,on. I believe that Mentalism is alive, real, and above all a fact.Thatiswhat I b,elieve the mentalist shouldconveytohisaudience. Most of theperformers of mental effects convey the reverse, namely, that ,Mentalism is dead. “
When I startedroutiningmyact I searched books and magazines for ab,out 18 months for five cleancut effects. Andbelieve mewhat a job I had. Of all the thousands of effects read, I found four from whic’h t.0 ch’oose from. These had Direct presentation,speedandcleancut effects which to me are the first three essentials of Mentalism. I saw a perf,ormer recently put over a triple PreI timedhim. I t was73 minutes dictionEffect. beforehegottohis first reaction.That’swhy Mentalism 1s called dead and slow entertainment, if it is called the latter, which I sometimes doubt. Another error performers make is to flog.a good principletodeath.Annemann’s4th,dimensional is to my opinion the finest closing effect possible. Kothing could be a bigger and better pay off, yet I’ve seen a Mentalist using the method of reading oneaheadandinreverseforfour effects in the programme. Programme building is very hard but it must begiven a lot ofthmought. Never use thesame principle twice. Remember you are not deceiving the eyes but the minds. Therefore you must lead the mind ,of the spectator through the maze, twisting and turning the thinking power until it is lost. There must be nosolutiron except Mentalism and Mind-reading. But we must above all keep Logic. That the foundation is of the all mystery. Logic is staringthem in theeyes and they cannot escape. The opening in stage a mental act is probably the hardest effect tso find. I t mustbepowerfulandconvincing,becausethe whole act that follows depends on it. I n the first contact with his audience the Mentalist must immediately c o n v i n c e them of his power. Here then follows my own ,opening effect. I have used thisunderallconditionsandIcan’t find a better one. brief, and I Performer enters and gives very mean brief, pseudo talk and introduction. Then hetakesa walletfrom his pocketand gives it to a person to place in his inside pocket. Performer withpencil andpad walksover to somebody else andasksthemtosearchtheir pocketsforsomething witha numberon.Anyticket, anything thing, %l note, licence, bus with a number on. They call out the number and performeropenly writes itonthepad.Hethen walks to the oth,er side of stage and asks someone to namethe first colour that comesintotheir
mind.Thisnamed,he writes itdown.Going to the third person he states that the wo,rld is a big place,but also sometimesverysmall. Imagine the world spinningroundinfront of your eyes, suddenly it stops, you are looking at one country. Now namethe first cityyourmind’s eye sees. Thankyou.”Thisiswrittendown.Theperftormer now handsthe list toaspectatorfor checking. The gentlemanmindingthewalletisasked to take it out of his pocket, stressing the fact that ithasneverlefthis possession.Slowly theperiormer,opensit, andfromaninsidepocket of wallet takes out a sealed envelope; this is handed to spectator to verify that it is sealed and signed across the flap. I t is openedand inside isthe signed statement. I, Koran,predictonthisday17thJuly, 1948, at 9 p.m. at so and so place three people will makethe fol1,owing statements :Number : C,olour : City : Signed,theday, at 10-30 a.m. A1 Koran.” Now allthatactionincludingtheopening speech and gettingthreepeopleontostagetakes threeminutes. I know,because it’s timed tothe second.And,believeme, it knocksthemvery hard. “
“
Routine & Properties. ( 1) A wallet, any leather one will do. Take a razor blade and split it down the outside, right through. Make a neat slit that will alllow a small pay envelope ,to pass through easily. (2) Asmallboardabout 34 by 2 inches, witha clip ontop.Some Red or Green carbon (not blue or black). Try to getoilboundcarbon as it d,oesn’t smudge. Nowwrite your prediction leavingaspaceforthethreeanswers to go in. Use a fairlylarge full-size sheet of paper.Try and leaveyourblankspaces in themiddle of paper. Nowfoldthisup to the size of envelope andrememberto fold so thatycurblankspace is outside.Once you experimentwiththisyou wil,lsee what I mean. Now cut a piece of carbon to fit envelope and insertpredictionandcarb,on insideenvelope and sealit.Sign it rightacross flap. Place this right side out and correct way up under clip on board and over it place a piece of paper.Place bsoard anda hard pencil inoutsidejacketpocket.Wallet is carried in inside pocket. Now follows Routine. First of all hand wallet out. Go up to first spectatorfornumber.Then take b,oard from pocket and let him see vou write itclearly.Repeat with colsour and city. Nmow tear off paperatsame timereleasingprediction continued on page 7
Spectatornotesacardanddeck is immediatelybanded with three elastics-one lengthwise and twoarounditswidth. From sevcra:magazines, spectat,orhands you one. It is placedon the table with the deck on top. After striking the decka sharp blow, youstepaway.Spectator lifts the magazine and finds his card beneath. He .may examine everything. Method : Holdthe deck faceup in theleft hand. Slmowly riffle the outer left corner withleft thumb until told to stop by spectator. Cut off all the cards above the break, with the right thumb a!t innerendandthe first and second fingers at outside, and turn the right hand over so that these cards .are face down. Havehim look atand rememberthetop card of thisgroup.Squareupthe deck but, in replacing the cards from your right hand, execute the Master M,ove as !explainedin T H E MARK OFTHEREADER,February, 1947, PENTAGRAM.Althoug,h I havenotheard of anyone else doingthismove with the c.ards face up, I consider It muchmore effective that way. Holdthedeckface up intherighthand. Agaiu d,o MasterMove as Back of .handisup. you snap the band on the deck lengthwise. Square the selected cardevenwith the rest of the cards as youplace the deckface up on palm of left hand. Band is now around all of the cards except the selected one. Change the position .of left hand so that it is backupbut deck isstill face up. Do theglide as you pick up the second band from fable. The firslt band does not interfere as much as one might expect.Snapsecondbandaroundsuterend of deck andagainsquare selected cardevenwith the rest. Reverse d,eck end f,or end,againmake glide as you pickupthird b.and(glideisveryeasy now),snaponband,square selected cardand place deck face up on table. I t is cleaner to take it in the right hand, fingers below and thumb on top, ,then to put it down directly fr,orn thelefthand.The loose card is keptsquaredmuchmoreeasily. As the right hand puts the cards down, the left hand picks up three or four magazines, about LinkingRing size. Thespectator choosesone, it is placed on the table and the rest are discarded. W,hatactuallyhappens is that the deck is lifted selected away as themagazine is dropped.The card is 1,eft on the table and remains concealed by the magazine at all times. There but remains tro tap the deck, step away andpermitthespectat,or to find hiscardunder the book. ApplicationNumberTwo : CARD IN HAT.
Cardbrought to topas beforeorbyusual pass. Only ,one band used and it is actually placed lengthwise around the entire deck. A ,hat is picked upinthelefthandand hewn empty. At same time the right h.and is executing the Master Move which pulls card out of the band. Deck is passed across the hat as you place it on the table and the selected card is allowed to drop in the hat. Hold the hat high above the deck and command t,he selected card to pass fr,om thedeck, invisiblythroughtheairandintothehat. You will even b,e able to name it as no difficulty will be encounteredinglimpsingthecardwhich will fall face up in the hat. ApplicationNumberThree : CARDFROM POCKET. Lengthwise band misses topcardas in the first trick. Two bands around width of deck actually encircle all cards. Cards dro,pped in spectator's pocket-or yourown. You canreach in and remove the selected card in a flash. variation A which eliminates the Master Move. Cardbrought to top by regular pass. Glide i,s worked as tw,o bands apparently encircle width of deck.Lengthwisebandgoesaroundall the cards. I n this case you draw card away from the side instead of the end as in the first: method.
ON PENCIL READING-continued from page 2
in theaccustomedmanner.Another methmod is tocoverthe face and eyeswith bothhandsand turnthe faceaway. If theface is held atthe see sidewaysbetween the properangle,onecan hand and the bridge of the nose and observe the pencil. Stillanothermethod is to covertheeyes with one hand. An extremely slight separation of the fingers covering the eye is sufficient to produce the requisite peephole. Some people have fingers thatdonotexactly meetwhenpressedtogether, producingnatural peep-holes. The psychic who has gone tothetrouble of learningPencilReadof ing, has usually gone to the additional trouble acquiringagoodmethodofindirectobservation. This section is reproduced from " Mainly Mental kind permission of the author
"
Vol. 1. by
LEARN HYPNOTISM.-ANYONE can learn to HYPNOTISE provided they know how and are willing to devote a little time to practice. Practical lessons in THE WIZARD every month, written especially for the ENTERTAINER, by S. E. (Dexterous!) Dexter, V.A.F., I.B.M., ALSO MUCH GOODMAGIC. for Mentalists, Children's Entertainers and Club Performers. Special section for Vents, 36 fully illustrated pages per issue. Subscripticns : 6 months, 1216 ; year, 241GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX
a
W d lil!ht
PRINCIPLES AND DECEPTIONS ” 11.11 ;Irthur / I u c k k y (yuDZixh~dD y t h e A u t h o r ) . Price 10 dollars. Inthis well printedandproduced book of some two hundred odd pages, Mr. Buckley divides his matter intofourmainsections;theyare as follows : the first dealingwith theauthor’stheoriesregardingthemakeupand successful presentation of magic; the second dealing with coin conjuring ; third the with fourth the and cards billiard balls. with Regarding the chapter first we could argue a gr.eat deal, but space (especially this month) is precious. Thechapteron coinmagic containsseveral items,manyold,but possildy not widelyknown.A completecoinroutine is givenwhichshould be attractive. The second chapter dealing with cards gives mainlyvariations on thestandard effects, and we feel as w e felt when reading the Card Expert Entertains that Mr. Buckleymakesworkforhimself, and that in many cases there is a redundancy of sleights t o bring about a straightforward effect.After all,theshortest distancebetweentwopoints is a straight line. ‘CVe likedbest of all thechapteronbilliard ball work, which is possibly the most informative since Hull’s work. Altogether the student and practical worker will findmuch meat.There is a plethora of photographicillustrations,andthetext is quiteclear regarding the necessarymoves. Thebinding is in the manner of “ Card Control.” Recommended without reservation t o sleight of hand workers. “
“
”
MAGIC FEATS ” b!J il1ajikan.y (puhlixhrd b y (:oodiiffo) In thls lltcle booklet of some thirty-seven pages, there are sixteen items for varying tastes. In the we thought “ TissueTear the pocker tricksection hestwith “ Thimbles ad lib good a second. The secondsectiontouchingodd devicesoffers a good idea under“EscapeInterlude.” ‘‘ StripperFan sounds handy, but the man who hasn’t the time to learn such a simple thingas a weaveshuffle shouldn’ttrycard fanning.Inthelast sectionthere is an excellentitem called “ Ninepins The examinedSpiritlamp seems a cumbersomeidea t o produce such a simpleeffect. At the price i t is a “ must buyandshouldprove of practicalvalue. “
e“.:/-.
”
”
”
”
”
‘‘ JAME!WSOPHY ,” edition,George
hy
S o wurt
Jam Q..$
A 4 r n ~ . * t r t ) n.! ~ )Price 5 f - .
(En!qli.?A
Onthe cover is notedthe fact that.thisbooklet consists of three “ Self workingcardmiracles.”We feel certainthatontheoriginaleditionthisdidnot appear, and we feel equally certain that Stewart James would not have added this caption. Of the three effects describedone is inthetrueStewartJamestradition, andthat is “ The All Clear Card Transposition.” “ Swastricka and ” Memo-graphia ” sufferinsofar that the first is notstrongandthe second thatthere istoomuchcounting. As the All Clear ” effect is easily worth a dollar we give this our recommendation. ‘I
“
R O U T I N E S ‘ S P W CASH,” by Stewart Ja.wLe,s (price five shillings). This is a n exceedinglypuzzling routine inwhich two cards selectedfromblue and redbackeddecks are found t o coincideinnumericalvalue.Recommended. “
THE SO FAIRPOKER DEAL,” hy Stewart /urrrrs (price five shillings). When we received ‘‘ Pokericulum we thought thatthis was thelast wordinpokerdeals. Thispresent routine makes us pause and consider for here Stewart has devised a form of deal that is stunning in its effect oncardplayers.Unreservedlyrecommended. “
”
THE GOBAK CARD MYSTERY,” by Stewart Jurnme.s (price five shillings) This is a lovely littlemysteryin which a selected cardfirstdisappearsfromseveralothers,and is then finallyfoundby thespectatorspellingout his name, the chosencard turninguponthelastletter.Those present at the BritishRingConvention will remember at an impromptu Francis Haxton performing this session. Unreservedly recommended. ALL THETHREEROUTINES OF STEWART JAMESmaybe obtainedfromFrancisHaxton, “ St. Anthony’s,’’NonsuchWalk, C,heam, Surrey. “
.
“ CUPS AND BALLS ROUTINE,” h y Kon IlrooX-v (Publishedby the a u t h ~ r ) . Price 3/6. Manyvisitors t o Bournemouth will haveseenKen perform thisroutine which is delightfullyoff-trailin thisline of country.It has theadvantage of being straightforwardandnot difficult to learnUnreservedly recommended.
SCALA THEATRE, Oct. 4th-9th. The fact that ‘this, the biggest theatrical venture of any MagicalSociety,hasbeensucha success, both magically and financially means that at least a week of magic will be forthcoming each year. The bill was good and v.aried, the main criticism being that a big act, big that is from the point of display, should have been the closing act and that the running time could have been cut by half anhour.Onepointcommon to boththis show and that ,of the I.B.M. show at Bournemouth w,as ‘that in eachcasetheperformershadthe backing of an efficient orchestra.Inthe case of the Circle show it was under the able direction of Stanley Kilburn. The show ,opened with a fine prologue, devised and produced by John Young. His company werefollowed by Raoul, whoselovely act was such a feature of the Bournemouth shmow.
Will.ane, fresh from his win at Lausanne, followed, both amazing and amusing ,the audience with the so many good novelties that he has. Vern,on Lee, accompanied by his daughter and piano, a broughtamoment of respitefrommagic.Chris. Charlton, wh,o has done so much for magic, assisted by Betty, then gave half an hour of that delightful magic that is ever fresh. After an intervaloftenminutes, Dr. Dingwall took,the stagetointroduceademonstration by the Magic CircleOccult Committee.First of all we gave two examples of telekinesis (one being .an adaptaX-the unknown which appeared tion of inarecent Pentagram.”) T’his was foll~owed Sudo ’* givingexamples of clairvoyance. by The dem,onstration c1,osed with Jack Salvin presenting the last word in Telepathy, At least that is whathecalledit ! This was “
”
“
“
“
”
continued on Page 6
6 MAGIC CIRCLE FESTIVAL OF MAGIC-continued from page 5
followed by th,einimitableBillyO’Connor,who only s e e m tobeinoneform,nam,ely,thebest. Another break from magic came after this, namely Saveenand ‘‘ DaisyMay.” This is beautiful ventri1,oquial presentation ‘that puts this perf,ormer in the front rank of present day ventriloquists. The one and ,only Arthar Dowler f’ol1,owed. Is th,ere any need t’o say any more? He
lefttheaudienceasking f’or more. To close the showcameVoltaire. Hi,s lighting of aonethousand watt lamp in bare hands is surely one of the greatest marvels of modern magic. The show was admirablycomperedbyDavldNixon.Freddy Shuter was an admirable Stage Manager, wielding the iron hand in the velvet glove. A very enjoyable week.
3.3. Jl4. The general opini,on, in whi’ch we join, is that this was the best ever. To Bill Stickland and his ConventionCommitteemennopraise canbetoo high for the work that w,as undertaken and successfullycarried,out. The onlything at fault wastheweather.Nothingis worse thantobe compelled to stay indoors whilst the sea and sun are outside. Thursday opened with an official welcome in the afternoon ; this was f,oll,owedby a Reception and Ball atthe Towrl Hallintheevening. A short ,cabaret was arranged, and in this were Fritz Oloi(Symph,onyinSilk),Stanley Ncorman and Enid Scott (ventril,oquism),andJummyGreen. Thelatter’shumantimetablewas t,o us theoutstanding item of the whole Conventimon. Paul Graham, whowascompering,showeda 1,ovely rope effect that no doubt will soon be pirated. On the Friday morning at ,a .deadly hour the competitiontookplace.GeoffreyRobinsoninimitably presenting some .Jack Hughes effects had almost a walk,over,theotheractsbeingpedestrian in the extreme. Intheafternoonthere was aladies’ shmow that was only enlivened b y ,a presentation of, ChapeaugraphybyYolando.Thisacthasto us possibilities, and was the one bright moment in a very dull Ixour. Following this His Honour Judge Wethered, aided and abetted ,by Francis Haxtlon, gave a most interesting and informative lecture ,on card deights ; we followed with a talk on Invention.” I n the evening Jack Potter gave a demonstration of ‘ fluorescent magic,andthis was fol1,owed byanInternationalCabaret. After seeing J. SI. Bhownagary, of B,ombay,the stifle and heat of the Ballroom caused us ,to join a card session. Later we returnedto witness a young ventriloquist,FredAtkins, whlo isdestinedfor Star-dom.Afterthis Dexberous Dexter with a hypnotic demonstration. Whilst we have no time flor exhibitions ‘of hypnotismasstageentertainment we must give full marks to this performerfaor the way in which he gave his lecture and demonstration. It held therapt audienceforamatter of two hours. It was an excellent and gentlemanly .presentation. “
”
On the Saturday morning came the children’s show.Unfortunately we werenotpresent, but reports wereenthusiastic. The bigshow at tine Hippod.romewasexcellentfortworeasons : The first that it only ran a shade over two hours, and that the second half was strong both in magic and novelty. Outstanding were Vcoltaire, Roaul, HoraceKingand Bill Stickland.Thelatterin his new act hac some marvellous material, and we prophesythat when therough edges havebeen smoothed, plus a little pruning, it will beone of the outstanding novelty magical acts of this country. Saturday eveningsawtheBanquetwith f.ar too manyandtoolengthy speeches, and i,t was goingon For elevenwhen we hadourheadline predictionopenedand, of course, foundcorrect. After this we sat down to enjoy ourselves at the show which followed. We were particularly tickled by Will Ayling’s mlouse gag. Cecil Tebbett and Fred Castle were also in great form. Then camethetit-bit of theConvention.This was the new Rmobinson store tu,cked away in the basement. We’ve just remembered that we didn’t enquire the price of his newspaper prediction method. All thedealershadsomething new.Some effects were good,othersobviously destined for thenextSociety sale of apparatus.Things we noted were Ja,ck Hughes’s “Tantalising Tassels,’’ ‘ c Dippy Duck andthe cleverprinciple of “ Fly-way ” birds,Ken.Brooke’s “ Return tlo Karnak ( a very nice effect forchildren),and Cadh Cups,” the LeedsMagic Co.’s “ Korrector ” (this brought back memories of an effect of in ‘ Designs for ours, “ The A.B.mC. cards Magic ’ ”), Max Andrew’s new Jumbo cards, and Unique Studimo’s Ali Baba.’ ’ Sundaymorning brought the Annual Gen’eral Meeting. Finally we should like to commentonthe Bill Penn’sexcellentdhplay of playing card faces.Amostinterestingandfascinatingexhibition. ”
”
“
“
Those fortunateenough to be in the first hundredsubscribers will receive acopy of Mr. C. L. Boarde’s Borrowed Brain withthis issue. -4s n-e write the Magic Circle showat the Scala is just finishing itsweek’s run. The fact that the theatre has played to capacity since the first night is a recompensefor th.ose whocarriedoutthe crganisation of this event. There is littleneedforme to note thatthis cumber of the Pentagram is a Mainly Mental one. We feel that some of those readers who are not mentalists will find among the effects clescribed somethingtheycan use. The articleby C. L. Boarde ‘reproduced by his permissionfrom his recent book is something not only outstanding but also of great value to the student. We must regret ,the brevity accorded to book reviews thismonth,but were we to writefully and analytically we should be at least three months behind the entry of the book into circulation. Just to hand is a new publication, The Fine Art of Magic.” This will be reviewed in the N,ovember number.Fleming’sarethepublishers and George Kaplantheauth.or.A brief glanw showsit to be an excellentjob,andobviously destined as abest seller ; italsobringsback the memory that Paul Fleming showed us some of the “
“
”
”
“
”
“
galleys whenhewas in London.Bournemouthbrought us int,o touchwitholdand new friends.Wewereparticularlypleased to meet Hugh Scott(whosedealing of seconds is inthe true Erdnase manner), and also Ken. Brooke, of Bradford ; thelatter is the liveliest demonstrator that we have encountered for some time. Our headline prediction went ,off very well at Bournemouth, and scooped approximately half of thepublicity.Wewere,however,puttosome veryhardthinking on theSaturdayeveningas, owing to Mayor’sn,aturaldisability we didnot wanttodraghimontotheplatform. Atfiv,e o’clock we tried.out,withFrancis Haxtonasa spectator, an alternativemethod.Thefactthat notonlywas thiss successful, butthatthe local presswantedonthefollowingdaytoknowmy cwn psychicreacti,onsbeforemakingtheprediction, is in itself indicative of ‘the ultimate effect on thepublic. I n thisprediction we wanted tso get somethingth.atstoodawayfromachest effect. We can think of nothing more silly than after all theballyhoo,a chestlargeenough to h.old sixty packs of cards, is ‘opened to revealasmallcapsule, inside of which is a tiny billet. Nextmonth’s issue will containavery nice routine by Robertson Keene, which is doubly attractive, as it can be most entertaining to either adults or children. ‘*
”
A LETTER FROM AL KORAN-contmued fro111 page 3
erwelope from clip. Hand paper to spectator who gavethenumber.Theboard is heldwith the envelope facing performer’s body, figures t,owards audience, left thumbholdingenvelopetightto b,oard. Ask thegentlem,anonyourrighttotake the wallet from his pocket.Takeit with the right hand. Get this position right. You are facing front. Left hand hold envelope and board. Right hand holds wallet, fingers in front, thumb at rear. No\\- don’t rush thisnext mo17e. Don’t lvorry aboutit,Don’teven think aboutit. Relieve me itseasy. Ask the personwith the\\,rittenpaper to stand and read the statement. Non. is the time. Ail eyes, and that means yours too, are on him as he reads. Now both hands come together and the rightthum,bsteals,theenvelopefromthe board Gnto the back of the wallet. Take your time. Put theboardintooutside left pocket. Ask him if thosestatementsare writtencorrectly.Holding wallet atarms’lengthforward with bothhands \\-ill bring em7elope openwalletright out.This hiddenbetweenfolds.
Now youcan showwallet all round,but don’t stress this. Hold wallet in rig’ht hand. Now reach in with left fingers andpullenvelope half :jut. Ofterenvelope to gentleman on right, who pullsitoutof wallet. Refoldwallet andreplace in inside pocket. Ask him if the envelope is sealed and signed across flap. Ask him to openit. Justas he is going to, take it from him, open it quickly yourself andextractprediction,partlyopeningsame. Just put envelope in your pocket. He then re#ads loud out your triple prediction which is correct. Well, Peter,thzt’sit.Its beenmyfavourite c p n e r for a long time and has never let me down yet.Butthemain line is speed of presentation. You mustknockthem andkeep onknocking. I will next sendyoumy blindf,old routine, which I call my high spot. Yours, A1 K,oran.
Peter Warlock’s MODES FOR MENTALISTS
” MIND OUT OF TIME ” C. L. Boarde writes :-“ As I read on I found myself chuckling at the pointswhere I found clever handling. I thinkthe mosthonestthing T can say is ‘This is thesort of thingAnnemann \\-ould have enjoyed.’ It is,thank God, direct; as a platform effect there is noapparentpoint of weakness, and knowing the 1)umlAing alilities of most of those \vho callthemselvescmjul-ers, I \vas mostheartily pleasetl to fin(! i t \\-ell nigh fool-proof.” The price of theRoutine \vith patter ant1 notes on presentation is mocleratelypricetl at Seven Shillings and Sixpence from : PETER WARLOCK, 65, MANOR ROAD, WA LLINGTON, SURREY, (It/:(/ t ~ ~ : / i ~ I / ) /d/ t, , r / l f , / . “
“
Coloured
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners Rotrrrtifrrfl!/ (‘oiourod i r t jtr.*t h’uit!how ( f o l o u r . ~ Stage Size, used l ) y Trewey,Stanyon,etc., 12’’ \\,hen closed PRICE 22/6 Plain IVhite Paper, if desired ... 15/6 ~ r r ~ p ~ r t u n t H ion t i t os p r r i n f y rrnd r.ln.*.itr!lt h c fold<eittclrrtr’crl Trouble iVitBooklet ; 80 illustrations . . . 2/9
This means that you can have any magic books delivered t o you. at the standard American prices, as for example : Hilliard’s Greater Magic ; Rice’s Encyclopaedia of Silk Magjc ; Buckley’s Principles and Deception ; McGill’s Encyclopaedia of Stage Hypnotism ; at .SO/- each. Gaultier’s Magic without Apparatus ; Tarbdl’s Course, Vol. IV. ; Thompson’s My Best ! a t 37/6 each.Dhotel’s Magic withSmallApparatus ; Hugard’s Book Edition No. 1 or No. 2 ; Sach’s Sleight-of-Hand ; Maskeiyne and Devant’s Our Magic ; a t 25 / - ea.ch.Collins’sAConjuringMelange ; Hugard & Braue’s TheRoyalRoad to Card Magic ; at 201- each.
Diminishing Cards to Matchbox. High grade cards diminish t o halfsize ( a samplecard is extracted) then changes to a full size 1)ox of matches, price 7/6 FindtheLady.A perfectedform of thiseverpopular trick. Set of three trick cards \vith printed instructions, price 10/Self-Reversing Cards. Ten cards arranged alternately back and faceup.A flick of the fingers and cartls are found t o have re-arranged themselves. Repcatcd as often as desired. A perfect pocket trick, price 3/6 The Burglar’s Escape. comedy A pocket trick, implicating 8 ‘policemen’ and ‘a burglar’ price 3/6
BOOKS----------BOOKS---------BOOKS It is our policy t o keepevery book onconjuringand allied artsin stock.iVritefor free lists. Most U.S.
Pleuse, r e m i t to Mr. RobertsonKeene, 801, Nor\vootI Road, Southall, Middlesex, who will w n d ;rp(rr order to
books and allEnglishpublicationsinstock. Five Shillings equals one dollar-we pay postage F o r o i ~ pc r n d C’olonial cu.qtomern pleu.*p w r i f r d i r p r f . 11-p Jtrrt*r .qlrpplictl 11f9GZC to t i r v TI-OIt’Ln .c.i,tct, 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. Y’rlepltone : HAMpstead 0940
W* vicl airwrri7 for i nrrrredi~te qQhipu?errt.
F L E M I NBGO OCKO M P A N Y ( *Vew,perntnnPnt udc1rP.w) YORK, PA., U.S.A.
ARCAS Magical Publications Mr. Smith’sGuide to Sleight of Hand .. .. . .W. Jonson A.B.C. Ventriloquism of D. Craggs ExpertManipulation of Play.. L Ganson ing C a d Testamentof R. W. H& . .T.‘ H. Hall Nothing is Im possible , .T.H. Hall Masterpieces ,of Magic, Vol. 1 Patterns for Psvchics .. . .Warlock Kamut .. .. .. . .Franklin Conjunioring .. .. . .Brearley Willane’s Wizardry .. ..Willane
PETER
published on 24th
1016
1 / 1 single copy
101-
1 1 /6 per year post free
201151 101316
65
101-
216
HENRI DE’SEEVAH MM(’.. BMS., IBM.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magiof cians to sendforhislist new and used apparatus and books, or call at his studio :1, CLARENCEROAD Harborne, Binningham 17
NEW. Let me know your wants STAMPED ENVELOPE I
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX NEW AND I OLD
I
PENTAGRAM ” VOLUME 1.
Binding Prices :CLOTH 516, REXINE ‘616, MOROCCO FINISH 716
* 42
MANOR ROAD
WALLINGTON
:-
CONJURING BOOKS FOR SALE
MAGICIANS’ BOOKBINDING SERVICE
C. F I E L D Alderson Road, Sheffield
2
II
PETER WARLOCK
MAGIC
LatestThinka Magician Apocket ’Mind Readi,:g Effect . .only 216 “ Orrin’s famous Spideks Web, Card Trick . . 301COINWANDS to produce a real‘coin 1616 A few Sliding Glue Packs of Cards 819 Sendprinted stamp lists for of oldnew and Magic. SYDNEY deHEMPSEY 363 SANDYCOMBEROAD,KEWGARDENS SURREY .. Ric 4230
EveryAdvertiser‘sgoods
Printed in England for
M.1.FI.C‘.
Museum :
St. Ermin’sHotel, Caxton Street, S. W. 1.
SURREY
No Callers
Vice-President: DouglasCraggs,Esq.,
Magical Theatre :
7’elephonc : Wallington6236
FOR
Prrsident : His Grace theDuke of Somerset, D.S.O.. O.B.E., I.P., D.L., M.I.M.C.
ClubroomandLibraryand
PLEASE NOTE NEW ADDRESS
101-
Croydon
“
of each month
101-
SYDENHAM 404/408 ROAD
LIST FREE
The Magic Circle
PENTAGRAM
ObtainablefromallDealersordirectfrom
OLD AND
WARLOCK’S
..
King George’s Hall, W.C. ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenue, WimbledonPark, S.W.l-9 INSTITUTE
OF
MAGICIANS
Branches in London, Wakefield, Brighton, PortsmouthandDetroit.U.S.A.Thefriendliest of magicalsocieties.Noentrancefee,printed club magazine, splendid library. London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station). Oswald, 102 Elmstcad Particulars from Oscar Avenlle Wembley Park, Middlesex.
J A MG ERSA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 yearsinthebusiness
are fully endorsed by this Bulletin
*
by HERBERT WALKER & SON (Printers) LTD., Well Croft Works, Well Croft,Shiplev, Yorks.
9
PENTAGRAM An independant monthly bulletin for all who want good magic
J
V d . 3 &U. 2
Man!- years ago-so many that I am frighteriedto t.\’en think of thenumber; before the world \vent kvar-mad, anyway--I contributed to my Xetv Lamps for Old the follo\\ing little t>ifect Lvhich I hadalmostforgottenentirely until I \vas reminded of it by friend PeterWarlock, who had seen it,andanother re-dressed effect ot mine,presentedrecentlyat a Circle shoiv by Mr. L%’. -4. Greenland, cf Dorchester. Mr. \I:arlock \vas sufficiently taken \vith the little stunt t o request me to unearththebodyand dress it up forthePentagram.It is a verylongtime since I actuall~7presented it i n a shot\-or since I havethoughtabout it atall, for that matterbut I gi\*c it here\\.ithsuchimprovements as I tla1.t. madc sinctb ittvas tirst publi~hed. “
”
“
”
K 1948 ~
%ice 0h.e S-
any o f his audienceshould find themselr-es with any moneyafterthe lastbatch of official forms had beeen filled, andthe lastpocket had been cmptied. The routine is asfcllo\vs,”saystheper tormer. “You take your surplus cash to the bank and hand it to a very efficient gentleman called a cashier, kvho thenenterstheamount in a book called a Ledger . . . . nottobeconfused with another of thesamename where yourmoney ir; also entered,butvery seldoncomes outagain! (To my friends outside the British Isles-the Leger ’’ is one of the classic horse races held i n England.-Ed.) Here your money remains safel!. . . . \\ehope! . . . until a portion of it is required to assist y o t ~to pay for a new neck-tit., iyhell t h c ltdger comesinto use againandyour \vithdrnual is entered upon the other side and the l x ~ h n c tItJft ~ is shon.11 i n plain . . . all too piairk “
“
contirwzd on p a g e 10
10 A LESSON I N BANKING-continued from page 9
sometimes . . . figures. Yourcash is thenhanded toyou in a nicelittleshovel;everypenny of It, including the odd halfpenny, and you take it home in your little bag, debating with yourself whether you will keep it for shove ha’penny at the local, or buy the canary some bird seed, Picking up a small paper bag and a number of coins (in view of the times, Mr. Greenland used nice, brighthalfpennies),theperformersays : ‘This littlebagshallrepresentthebankand these 20 (or what have you) coins the cash to be banked.”He picks upalargepaperbag from whichhe takesaslateanda piece of chalk . . . this we willuse as theledger (he writes the words ‘ Deposit ’ 8z Withdraw ’ (or ‘ Credit,’ ‘ Debit ’) the at top of the slate which he divided has chalk with a line into two parts illustrated) (as Naturally your particular page must have a number, or various the accounts would soon be i n amuddle . . . Will someonebegoodenoughto suggestanumber ? . . . 3? Thankyou. Now it only remains to settle upon which bank we shali favour with our colossal patronage. Willsomeone suggest a bank which I can conveniently print upontheback of the ledger ? . . . I have to.be particularly careful about this as whenever I have backedanythingon t,he Ledgerithasusually arrived about twenty-four hours late, having stayedthenight with afriend.Martins ? Thank you.” He writes the name of the suggested bank ontheback of theslate. Strictlyspeaking, of course,theledgershouldhavea c,over, but, for moment, the we will make envelope the serve . . . you will note that there is a window provided, but they have left the glass out to make it easier for the window-cleaner. I n orderthattheamount to bewithdraum shall be a matter of pure chance I will first deposit the cash in the bank and I want you to note that I do this coin by coin so that if you ,hear any base ”
I‘
”
l‘
‘ l
coin go in, I hopethat someonta \vi11 takethe treble . . er . . the trouble . . to draw my attention to it.” The bag is placed upright in the palm of the left hand and the 20 coins are separately dropped, or,rather,thrownintoit.The performer now gathers up the .mouth of the bag and hands it to a member of theaudience,atthesametime takingarubberband f,rom his waistcoatpocket. He offers both with a request that t.he band shall be twistedseveraltimes aroundthe neck of the bag until it is completely closed up. Now,” saystheperformer, in orderto make it amatter of chanceas to ho\v much we cxtract from the bank, I am going to thoroughly shuffle this .pack of cards whilst someone examines,equallythoroughly, this clothbag.” he says this he picks up a cloth bag whic,h he turns inside out and back again and then, having inserted his empty hand, he holds it, pointing upwards,and twirls it around vigorouslyuponthe tips of his fingers, the bag being, of course, upside down.Finally hejerks it off his handintothe lap of ‘someone in theaudience. Halve a good look at ityourself,madam, you know farmore of this sort of thing than I do . . . the last time I didacrotchetd’oyley,atthe finish, I looked far more like the pattern than the d’oyley did. I was full of holes ! Whilst I am shuffling these cards will someonecall ‘ Stop ! ’ asthecardsslowlydropfrom hand to hand . . . thank you, sir, I will put that cardaside (this is repeateduntilseveralcards are selected andput,face d,own,upon asmall tray). I don’tknowany of thecards selected and,naturally,neitherdoyou . . . that is 011 account of the law of physics which says that \ve never see a thing properly unless we look at it . . . and eventhen we sometimes seetwo of them ! Would several people each take one of the cards ? . . . Whathave you, sir ? _ k t : ? ,And continued on page 13 “
“
‘ l
“
”
“
11
Card effects which incorporate an opportunity forhumourarecomparativelyrare.The following effectis highlyamusing,but is notforthe ilovice, and itis presumedthatthereader is an experienced card handler. Summarised,the effect andmethodareas f ollo\vs :l . Secretlycullfoursimilar ~ ~ a l ucards e to the top of the pack. (Suppose these to be the four queens.) 2. Force one of these queens.(This is a simple force and the most suspicious assistant shouldneversuspectthattheir choice ha,s been influenced. ) 3. Whilsttheassistantdisplaysthechosen cardcutthepacktobringthethreeremaining queens to the top. 4. Undercut half thepackand shuffle off, injoggingthe first card.Undercutthree-quarters holding break at injog; throw to break and extend these for chosen card to be replaced on top. Completethe shuffle byrunningthenextthree cards - theotherthreequeens - singly,injog nextcard and shuffle off. Cutcards below .injog to top. All queens are now on top of pack, the chosen queen being the fourth card. 5 . Spring the cards from hand to hand. This bends the cards mith the faces concave.
6 . Riffle theupperthird of thepack.This bends the cards of the upper portion of the pack with the faces convex. 7 . Undercut half and shuffle off. This results in a bridge at the centre of the pack with the four queens below the bridge. 8. CharlierCut whichbringsthefour queens to the top. 9. Slide off thetopqueen with thethumb and let it fall face up on the table, asking :“ Is this your card? ” 1 0 . Or1 receipt of a.negative xepiy ap’pear disconcerted.Leavequeenontable. 1 l . Repeatmoves 5 . 6, 7 .and 8. 12. Repeatmove 9 and askanxiously :“ Is this your card? ” 13. Leave second queen on table and appeac as though you can believeneither your eyesnor yourears.Repeat moves 5 , 6, 7 and 8. 14. Repeatmove 9 andsay :“ This time it must be your card.” 15. Leavethirdqueenontableon receipr of a further negative reply and say :“ I give it up,” flinging thepackonthetable in agesture of frustration, when the chosen card gives itself up by landing face up. This is accomplished by the well-knownmove of pushingthecardoverthe side of the pack to cause the air pressure to reverse it during flight.
The effect is,thattheperformer shows both hands empty, then one hand is closedinto a fist, the other hand drops a number of matches into it. Now both hands are closed, held wide apart-and, 10 and behold, the hand which contained the matches is sh0n.n to bc empty, whiletheother F35IPTY hand POC‘RS OUT THE VANISHED MATCHES from the fist. This is ;? good close-up nifty.” impromptu The gimmick is merely an ordinary glass tube vial, about three inches long and one-half or fi\.e-eighths inch in diameter : at any rate, it should !,e wide enough so that you can iwert your second finger. Ha\le the glass tube on your rig-ht hand second finger, and you canshcwbothhandsemptybt. wing the 1vell-kno1vt1 mo\’tls, s~!ch as ustd 1viti:-
thimbles,etc. A favourite of mine is this-bend second right finger so tube lies in palm, and point to left hand with right first finger. The first finger points as left handturnsbackandfront. Now finger shou1.d rest at lower part of left palm, and righthand now turnscompletelyaround, so therightpalmfacesaudience.ATSAME TIME right second finger, with tube on it, comes up and behind Ieft hand.Inother words, you are sholvins both hands empty. Now-left handturns off the o\’er downrvards, and grabs the tube from finger of right hand,andrighthand is at once mo\Ted away. No\v you place number a of matches in left hand, they, of course, go intothe tube.Onthe last match,as you drop it i n , the right second finger enterscpen end of tu&, an6 c..;rrit.s it np and a~va!. frcm out of theleft fist.
“
“
”
“
”
continued on page 14
12
\]'e mustapologise to X r . C . L. Boardefor r:cently makingamistake in his address; it is 8012, 190th Street,Jamaica 3 , New York.InciCcntally,themostrecentcopy of thePhoenix f o handcarrieda \'er37 nicebook test bythis .zuthor.
It is hoped to hold a meeting of the Societ), c;i Mentalists in London towards the end of January. More particulars \vi11 appear i n thc Decemberissue. George Braund, one of magic's real personalities. managed to get a full page photograph in a recentnumber of the Tatler." Thiq is publicity of the best and most remunerati1.e typt'. Georgehasthe mannerthatcantake him to thy hest places and mix with the best peopk. During his recent engagement at the Bagatelle he hac1 his \'cry sophisticatedaudienceeatingout of hi:, hand. "
"
"
A LESSON IN BANKING-continued from pugs I U you, sir ? A six. And you,madam ? An eight. - 7
sir ? Three of clubs.Thenthehighest is the eight, so n.e are to draweightpounds from our bank, which the gentemen here will, perhaps, be so good as to hold. You, madam, are completely satisfied wit.h the emptiness of the bag.? Good ! I will askyouto tie the bag up with this ribbonand I will thensuspendit in full vien. fromthislittle stand. We are to withdrawfrom the bank account of 20 poundsthesum of eight pounds . . . heregoes ! " Motions are now made of transferringthe right coins, one at a time,fromthe ' bank ' to the cloth bag, whilst the large bag, in which is the slate with the name of the bank clearly showing i n theopen ' window,' rests uprightupontheperformer'stable,oragainsttheback of achair, as may be most convenient. " Now, saystheperformer, " I will ask the keeper of the bank to slip off the elastic band and to count t,he contents . . . S l Z , sir ? . . . that that seems quitecorrect.Andperhapsthelady will be so good as to representthe bank's client and see thatshehasthecorrect sum of S8 . . . Correct,madam ? Manythanks ! It now only remainstoenterthetransaction up in theledger (taking up the large paper bag and removing the slate and chalk), but I see that one of the bank's ytaff has beenbeforemeandhassavedme thv trouble,for here is theentryalreadymadeout of twentypounds showingthatfromourdeposit \\e ha\,e drawn out exactly eight pounds, leaving a balance of t ~ pounds l in~the bank." YOU,
"
Thb clatc. of ntsxt ),ear's British Ring tion is definite131fixed for Scptembclr 22nd-Sep. tembcr25th, the \*enue being that t1ccidt.d at tht. _l.G.I1I., Southport. The British Ring rc'ationai Day..; of Magic tvill be Feb. 14 and Fcb . 15. Tht. hall \vi11 be.C'onn'ayHall,and t h e sho\\.s \vi11 ha\,c some names ne\v to London.There \\.il;, o f course,bcthelast-minutechance of getting L)ile or t\vo really star acts that may be plaJ7ing i n Tonm.Thisfixturehas a little moreorganisatioi1 behind it thanthepre\*ious t+fort b). tht. I . R . M . at the Scala. There \\,ill be \ \ , ~ ~ il nl :id\yailce publicitJr. and only the necessary number of acts in\litcd to fill a normal size bill.Geoff. Robi~~son h+ undertakenthe secretarial u m k f o r theLondoll Committee. o n thisoccasion. The date for the Magic Circle Annual Banquet hasbeenfixedfor Friday, March25th,1949, at theParkLaneHotel. Prices of tickets !vi11 tw 21 1 Is. 6d. Furtherparticulars will be found 111 theNagicCircular,Decembernumber. ( y o n \ . c s ~ ~ -
The Requirements. ( a ) A smallpaperbag(minewas a small bag such as sweets areusually sold in), measurmg about three and a-half to four inches square). There is no preparation at all. ( b ) A cloth bag, plain or ornamental, as preferred,madesack-fashion,but otherwisequite ordinary in everyrespect. (c) A slatewith loose flapwith an upper corner neatly cut out and with the rear side coveredtoexactlymatchthe inside of thepaper bag in which the slate is put. ( d ) A paperbag to justaccommodate t,he date so that it may be easily slid in and out. The baghasa ' window ' cut in thefrontthrough Ivhich the name written upon the back of the slate can be plainly seen. (e) A pile of eight coins, tied cross-wise with a nottwo strongthread.Twenty similar coins loose. Preparation.
The loose coins are in a pile standing on the smallpaperbag.The pile of eightcoins is in the centre of the ribbon, which is coiled around it. Theslate is prepared with the words and figures as shownintheillustration. It is then co\Tered withtheflap and inse,rted in the large paperbag, with theflaptothe front, facingthe rut-out window. .A pack of cards is arranged by having severa1 rards on tht. top, the highest being an eight. continued on page 13
!3 A LESSON IN
BANKING--co!lti,lttcd~ from page 1 J In thc performer's left \Test pocket is an india!-:lbbcr band of a sizes to go, fair137 tightly, tivo or t h r w times round the ' neck ' of the small paper ' ~ a g . Uponthetable isthticoil of ribbonhiding iilc. coirx.
Working. Tht. small paper bag is held [vith mouth nide ,penupon the lcft palm,supported in that position the slightly cur\ved fingers, the hand being heid so iilat the knuckles are, more or less, toivard t i l t . audience. Thy first threeorfourcoinsare thrown therebut bag, fairly the into ~ f t e rabout e \ - ~ r yother coin is thrown behind the 3ag but upon thecoinsalready Ivithin it.This, !f done cori-ectly. soundsexactly as if e\rery coin zocs fairlj. i ~ t or h e bag. It also lealres the right :oilis in just the right position for the finger-palm, ,tnd, whtw ail arc' thrown in . . . oraresupposed to be . . . the neck of the bag is screwed up with the right fingers ivhich then remo\'e the bag whilst left finger.;, go to the \Test pocket for the rubber hand . . . and also deposit the coins in the pocket nt the same time. With the band in the left fingers, andjinglingthebag full of coins in the yight, the performer approaches a member of the iiudience and leaves both with him. Theslate is takenfromthebagandthe Jividillg line andthe wording is dulychalked apon it and a small bracket is added, which is, of course, made round the edge of the cut-out corner, : ~ n din this space (actually upon the surface of the slate, of course)the ' page number ' suggestedis put. Turning the slate around, the suggested ;lame of the bank iswritten,boldly, in the exact .;pace which thecut-out window inthebag will frame. ,Any forcecanbe used forthenumber of coinstobe ' withdrawn ' fromthebank,andin my originalpublished version I used the some.,\.hat ancient wheeze of thesumwrittenbythe . pcrfornwr. Audicncc . . . and ' planted ' b ~ the 1 prefer the fo!lon.ing method, since it seems quite straightforward. The pack, with the several arranged cards on top, is fairly shuffled in the overhand shuffle style, exceptthat,asthe first movement is made of rlrawing off cardsuponthe few inthe left hand (theactualtopcards),thissection,maskedby thosebeing dropped from the right, is picked up behindtherighthandpackandretainedthere m t i l all the cards are shuffled off; it is then throivn an top as though it were ,the last of those taken up 3y therighthandatthestart.Thismanoeuvre leaves the pack unaltered as far as the performer's requirementsareconcerned.Theforce is simply of thissameprocedure, a repetition,eachtime, mcept that the stolen packet is dropped invisibly, upon the cards in the left as soon as the ' stop ! ' is c a l k l , theadditionbeingentirelymaskedby the cards in and the action of the right hand. In >.dwr ivords, the top section deliberately is bJ7
t
h
t
h
' planted ' each time so thata definite card is remo\.ed instead of, as theaudience imagine. a purcbl>. haphazardone.Four or five cards arc. silfficient. Each time the ' stop ! ' is calledthe ' selected ' card is pushed off b ~ 7the left thumb, facc do\vn\vard,uponthetray. Thedoublefact of the ' s:op ' choice and the apparentl?. haphazard ' highest number ' choice seems t o 1eaL.e no loophole for trickery. As has been stated,the ribbonfor thebag is coiled around the little pile of coins and, as the ribbon is wider than the depth of the coin pile, It sen'es to conceal itin a verynaturalmanner. Whenthe performer says . . . I n i l 1 askyou to tie the bag up with thisribbon . . ." hepicks up the coil of ribbon,and with it the'coins.and dram,.; the ribbon outatfulllength between his hands, an action ivhich sen'es to conceal the coins now in his right hand and gives asimple reason forthe slight curving of the fingers in order to hold them securely. With a polite Allow me ! he throwsthe ribbon, now hanging from his righthand, over his left armand,asthe two palmsare crossing each other, he quietlydropsthecoinsfromthe rightpalmintotheleft,theright.hand moving straight on to take the bag which he passes to the left hand, whilst he takes the ribbon from the left armandhands it tothelady. H e then proceeds to gatherupthe neck of thebag with theright hand, fairly low down,the left hand h,olding the bag with the coins just within the mouth and, as soon astherighthand commencesto gatherup the bag, the coins are allowed to slide gently down until the pile of coins is actually grasped, through the cloth, by the encircling right hand whilst the left similarlygathersuptheactualmouth of the bag.Thusthere isabsout an inch anda-half to two ,inches of materialgatheredup between the two hands,and presentedto theladyfor . the ribbon to be tied around it. The coins are actually just below this, and shielded bytherighthand entirely.Shouldthelady, overcome by curiosity, essay to feel the bag portion she wil! find nothing unusual about it. This action of gathering up the bag and presenting it for the lady to tieis quite consistentandexplains itself, since it seems only courteousto assist heras,otherwise, it would prove a somewhat awkward business. The exc>hanging of the ribbon forthebag is thus accountedfor,and arouses no suspicion. Before actuallyhangingupthebag upona standthe performer indulges in much the same treatment of it as is generally meted out to the ' egg-bag,' since the coins, being in a solid pile, can be shifted from pointto point, like theegg,andthebagtreated ivith apparent carelessness just as in the case of the ' ewn-bag,' bb with perfect safety. At thelast,thecoins beingsafely in one corner,theyare given a firm squeeze andthe Thread brokenand,treatingthebag now with a "
"
"
continued on page 14
14 A LESSON I N
BANKING-coniinuedfrom
page 14
certain amount of curcumspection, it can be hung up upon the little stand. This may be any simple arrangement that performer the m,ay find convenient. The slate is withdrawnfromthelargepaper bag and, of course, the flap left behind, it appearing to betheinsidethebag, as seen through the cut out space. For thisreasonthe bag should be ofa fairly stiff paper, not liable to fold up of its own accord. Inthe ab.ove I have given an improved version. Intheoriginalversion which appeared in the Magician (M.ay:1917), I used the small brass cup with an inner, removable cylinder, with ahook by whichitcould be drawn out attached to the clothing, for the removal of th.e unwanted coins, and the coins ‘ transferred ’ tjo the bag were actually there from the start, sewn, with .a drawthread, in arow atthebottom of thebaguntil released bythewithdrawal of thethreadatthe lastmoment. Mr. Greenland, like myself, substitutes a simply prepared paper bag for the brass cylinder, the bag having a second bag, of less than half the depth of the visible one,fastenedwithadhesive just within the mouth of the bag proper, and it is intothis that the ‘ vanished ’ coinsactually go. Also, like myself,heusesalarge bagforthe slate, having a cut out window to show the writing upontheslate. I n his version,however,hepreferstosecurethecoins inside thebagin a pile in onecorner,securedbyamuchshorterdrawthread. This is certaidy. much simpler, and more easilyhandled,thanthe versionoriginallypublished,.andforchildren(f,orwhom,withasuitable line of patter,this effect is verysuitable) his presentationwouldbemostsuitable, but, for versiongiven in thisarticle adults, I thinkthe is better. As a rule I am not in favour of giving outthingsforexamination, it beingunnecessarq’ andtedious, andveryoftendangerous,,as well astending to holduptheaction;butthereare exceptionswhere it is desirable,and I thinkthat this is one. Mr. Greenland’s presentation of this little trifle is very effective, and his oneortwoalterations in theoriginalversionarecertainlyby \vay of impro\Ting it. R . K. PASSE PASSE MATCHES-continuedfromp.
The right fingers then curl around tube, into a Bothhandsare heldwideapart-andyou PASS,” etc., finally showing the left hand “
11
fist. say
empty-andthen pouring the matches out of the right fist. This gimmick may also beused forvarious other effects on thesame lines astheabove. For instance, I personally use it f,or a couple of other vanishes, in additiontotheabove,atvarious times . A lighted cigarette may becaused to vanisb, same way as the matches. The vanish and re-production of a silk. Here I know you will like. is a nice littleitemwhich Have asmall12-inch silk in the glass tube,and have one corner out a little bit, so that the second finger slips intotheopenend,and you can nip thecornerbetweenthis finger andthumb.Have theloadedtube on second finger of righthand. Show both hands empty, as outlined above. Now lefthandturnsoverandgraspstube in the left fist, atthesame time thumb of right!handnips thecorner of silk,andrighthandpullsthe silk downwards,out of left h.and.Thismakesa nice little quickie production of asilkfromthe barehands.The glass tubecan begot rid of under cover of hank when you place hand over it, in left hand,etc. “
”
~
~~
EFFECTS FOR REVIEW. THE “DEVANO” RISING CARDS (from the inventor, see advert.onthispage, price 30/-). Themethods of performing the rising card effect are legion; this present self-contained method originatetl by l)e\.nno is in ;L class of its ou.11. Just imagine-a pack of cards is freely fanned,andany number of cardsselected.The No\\- \\-ith performer shuffles them trick intothepack. thepack heldin eithertheperformer’sor a spectator’s hancl the chosen cards canrise. Thepackcanalterrnatively I)e placed in a glass or replaced in its case. and the cardsstillrise. IVe recentlyhadthe pleasure c ) f presentingthis effect at ;t party where n .number of \\,ell-kno\\.n conjurers were present and they agreed that it \\‘asthe twst e\.er . . . not only that,they\\roteto l)e\.ano ant1 tmught the effect! It is so simple that !-ou can do it in f i \ ~minutes after reading the instructions : a s you are a reader of the “Pentagram,” you won’t be so foolish; \vi11 weigh u p the points of presentation a 1 l t 1 irl time \\ill ha\re a remarkable and mystifying effect.Afterall that i t seems almost unnecessary t c m sa!- that i t is unreservedlyrecommended. THE “ZINGAREE”BLINDFOLD (Veroni I louse o f JIagic, price 12/6). Here,too, is a trouble freedevice that hasmore uses than \\’c ha.1.e space tolist.The a c l \ ~ ~ n t a g\\.ith e thisparticu1:~rmethod is that the 1x.rformer has f u l l vision using an examinctl piece o f opaquematerial ant1 t\vo \w-y solidpatls to co\.er the eves. F o r such things as I)lintlfoltl drives o r use in n t \ \ o person \isnal code a c t i t is ideal for the items usei! are tldirlitely unfaked. Accompanying the blintlfoltl there is a suggestetl routine, but \\-c feel sure t h a t reatlers of this little 1)ulletin coultl think o f manv \\-a>-s to apply thisaid. IJnreser\wlly recommended.
15
THEFINEART OF MAGIC,” 09 G e o r y e C‘. A’u&rl (publishecl l)!- the I-leming Book Co., York, P.A., IJ .S..\.),Price 37/6. -1 I)ook consisting of o \ w threehundredandfifty pages of newly described efiects is something of a n e\.ent. -Icld tothisfactthattheauthor is one whose contributionstocontenlporary magazines haveearned highpraisefromthe coglloscenti ami you have a book that \\-ill notonly gi\.e enjoyment 1)ut addtoone’s kno\vledge. rlltogether the 1)ook containssomeeightycompIete effects pluso\-er a score of methods and principles. i’;trtl \York ancl menta.1effects take up the largepercentage of the effects, and the only criticism we can make is t h a t sometimes the effect (from the audience’s point o f \.ie\v) is not as straightforward as onemight\vish; forexample,the effect “Twentyonecards.”We pirticularlyappreciatedthespacegiventothe use of +_he “short card” for whilst many effects have appeared liuring thiscenturymaking use of thislocator,the wl)ject has not been so well tackled. Mr. Kaplan’s clcscription of proceduresincardcontrolshould make :L strongappealtothenaturaltype of conjurer,for herewith the minimum of digitalefiortsomemiracle location of effect of “peeked at” cards are made simple through sul,tIety. Among the card effects are eight suitableforstagepresentation,thebestfromour way o f thinking 1)eing “Giant Trio Flight.” The card stahl)ing effect described here is rather suggestive of thelate Douglas Dexter, but the method lacks his sul)tlety.In hisnlintl Readingsection, \vhich is very, very good, Mr. Kaplan confuses a s so manyconjurers t l o , physicalwithmentalphenomena,i.e.,slatewriting r t o t p r r t O / or nn!/thin!f t o I / O with rraclttul rrrngic. I n thissection \\.e liked particularlytheCapitalproblem, and cannot think why the author didn’t suggest the use of aflap\vith the possible alternatename.Thereare sixfirst rateitems in thecoinsection,althoughthe Iiaplan coinswitchhere described has been in cornmoll wage hereformore yearsthan I care t o remember. The author’s \Tersion of the “Sympathetic Coins” i s very,veryniceindeed. There is a chapter giving some eleven selected items, \vhichincludesa good utilityswitching device a nice routinewith “Thetrap-doorHandkerchief”and ;L ThayerHandkerchiefCaddy. In thepenultimatechapter of the 1,ook are descril)e(lsome half dozeneffectssuital)leforplatform use, l)ut making use of apparatus and technique that would :)e u11~letectal)leat the closest r a q y . I t is in this chapter that momentarily (for us) Mr. Kaplan falls fromgrace. \%’e justcannot see why so olwiously ;! fastidiousperformerhas t o descend tothe“panties” effect t o olltain a laugh. All the effects are described \\.it11 meticulous detail, the presentation and method o f the “Rill in theLemon”andthe“Thread”trick ~tantling out as highlights.Thelastchapter is entitle11 “Conclucling Observations.” Here theauthornot only Ki\.es certain\*ien,pointsregarding the place of magic, {Jut also gi\.es some practical advice regarding the routining out o f an-4ct. The I)ook is 1~eautifull~printecl and i ) o u n t l i n the Fleming Classic Series style.Theillustrationsare 1 ) ~ Francis J . Rigney.Jean I-Iugartl (lid theediting. \\‘it11 t h e month of Deceml)er so near can think o f fenfiner things a t so smallacost that a wife coultl 1 ) u > her huslmnd as a Xmas present. Congratulations to a11 concerned. Vnreservedlyrecommended. “
PROFESSIONAL MAGIC FOR AMATEURS,”
/I!/
I l - d t r r B . G i l ~ w n (published by NicholasKave T,ttl., 1 , TreheckStreet, T-ondon, W . I . ) , Price 8/6. I t is eas1- to recognise the work of a n experience(1 journalist and in this we11 producetl 1,ooli o f some b1.o
hundred odd pages, Mr. Gibsonshows the mature ha11d that in the past has given magic so many good things. His method in this bookis to take the readerthrough a course of easymagic.Altogethernearlyfifty effects All, withtheexception of the Illusion aredescribed. section,require the simplest of accessories, andinall cases the effects obtainedaregood.Thattheyshould be goes withoutsayingfor Gibson is one of themost knowledgable magical writers. The book lavish is lvithillustrationsandtakesone Iacktothedays of \\W Goldston, who knew so well that t\\:o gooddrawings could teach more than two hundred words of letterpress! It isrecommended to beginner andexperiencedperformeralike,for the former wll learn quite ;L lotwhilstthelatter willbe remindedofseveralthings that he has forgotten. The illusion section expose shoukln’tworryanyonefor who to-dayisgoing to \vork the ‘ ‘Vanishing Automobile’ ’ or ‘ ‘Walking Through a \\’all” (Fancy waiting ior modern bricklayers to make a wall!)\Vhilst considerablecomment has I)een causedregarding the publication of the socalledGoldinversion of “Sawingthrough a Woman,” i t should be remembered thatthere is always more than one w a y ofkilling a cat than bychoking it with cream. I only know thathsd I. been a professional illusionist working the two person version, I would have immediately switched over to the Stanley Collins (better butincorrectlyknownas theSelbit) version theday thatthe“DailyExpress” published a n explanation of thetwo personeffect. Atthe priceasked an excellent buy. “ JOHN RAMSAY’S ROUTINE WITH CUPS AND BALLS,” b y T’ictor P’UreZli (published by George Xrmstrong), Price 2 5 / - . It seems fittingthat coincidentwiththis pulllication,that mostlovable of present-dayconjurers,John Ramsay, should have received the high honour .of being electedPresident of the BritishRing. Mr. Farelli has in this book carried out a l’ery fine piece of work; we personallyrateitas hisbest.After n preface by John Ramsay, the author gives a comprehensi\re history of the cups and balls which carriesthe reader o.\.er sometwenty-sevenpages.Theroutine is then attacked and no single detail of working is omitted. Xltogether nearly fifty pages are used and photographic illustrationsareprofuse.Tenpagesarethen gi\Ten t o ;I l-)il)liograph.y of the trick in question. Mr. Farelli assures us, and \ve havelittle reason to doubt, that it is the mostcomprehensiveinexistence. On the same daythat \\.e received acopy of the book a t Bour-nemouth \ve had the pleasure of seeing John Ramsay work the routine, lvhich is a real masterpiece of natural we magic. It is of interest, too, to notethatalthough hat1 in a brief breakhurriedlyscanned the final stages of theroutine,Johnny had 11s completelybeatenwith t \ v o of his loatls. This is a 1)ook notonly for the p r ; ~ t i c a lworker 1)ut forthecollector. It \vi11 he treasi t is unreser\.edly ured l)y Iwth.Excellentlyproduced, wcommencled.
16 WEAREPROUD
I
TO PUBLISH
FLEMING BOOK CO., YORK, P.A.,U.S.A.
ARCAS MagicalPublications Mr. Smith’s Guide toSleight of Hand .. .. . . U’. Jonson 10/6 A.B.C. of Ventriloquism D. Craggs 10/Expect Manipulation of Play-
. . L . Ganson
..
in& Cards
PLEASE NOTE
lO/lO/-
:-
or directfrom
Surrey
I
. .
--.
FOR
. -
-
No
-___--
-
Vice-President: Douglas Craggs, Esq., hI.1.RI.C‘. (’lllbroom
and Library and
MllsrIlnl :
St. Ermin’s Hotel, Caxton Street, S.W. 1.
NEW ADDRESS
King George’s Hall,W.C. I’artirulars from Hon. Secretar!. :
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
HENRI DE’SEEVAH
INSTITUTE
AIM(’., IEhLS., I R M . . SShlC’.
--
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
OF
MAGICIANS
I ’ o ~ t ? ; m r ~ t ~\\‘akdicld. tl~. Ilriall:r~n antl I)t.troit. L.S.A. l h e fric.ndlic,.;t o t magic.al socirti!.s. K O c*ntrancc*f ( ~ . . printc.cl clllb magazinc.. splendid librar:.. h l d o n H.Q. Ihsnison Honsv, 296 \ ~ a ~ ~ s h a l l Rridgr. \’ictoria. S.W.I. (one Ininlltc. Yictnria Station). I’artictilars trom Oscar Oswald. 102 F:lmstt.ad \ \ . I I I I ! ~ \\’( IIII>Ic,\ l’al-i<, hlidtllcw S . 131-ancht5
THE FRIENDLY MAGICIAN invites all bona-fide Mapirians to sendforhis list o f new and used apparatlls and books, or call at his
STAMPED ENVELOPE Caller5
D.S.0.. O.R.E.. T.F.. D.L.. M.I.M.C.
of each month
f ’ t l l c l h o t t p : R xilington 6236
NEW. Let me know your wants
LIST FREE
I ’ I ~ .:ti(.rlt : His Grace the Duke of Somerset,
65 MANOR ROAD WALLINGTON SURREY
CONJURING BOOKS FOR SALE OLD AND
Circle
Magical Theatre :
316 216
TheMagic
1 / 1 single copy 1 1 /6per year post free
151
404/408 SYDENHAM ROAD Croydon
published on 24th
20/-
10/-
WARLOCK’S
PENTAGRAM
10/-
Testament of R. W. Hull . .T. H. Hall Nothing i s Im possible . .T. H. Hall Masterpieces of Magic, Vol. 1 Patterns for Psychics .. . .Warlock Karnut .. .. . . .Franklin ConJunioring , Rrearley Willane’s Wizardry .. , Willanc ObtainablefromallDealers
I
PETER
ill
I~rrltlon,
I
I
MAGICIANS‘ BOOKBINDING SERVICE “
PENTAGRAM
”
NEW AND OLD
VOLUME I .
”
Rintlinr Pricrs :CLOTH 5/6, REXINE 6/6, MOROCCO FINISH 7/6
42
*
-~
C. Alderson
F I E L D Road, Sheffield
2
MAGIC
Latcst Think Magician a A pocket Mind Keading Effect .. .. . .onl! 216 Orrin’s famow Spidrr’?; \\’tb. (‘aid Trick . 30’COIX \i‘ANDS to Droducc a real (.()in 16.6 .A - f e w Sliding Cllk Parks of Cards 8,/9 Send stamp for printed. lists of old and new Maglc. SYDNEY de HEMPSEY 363 SANDYCOMBE ROAD, KEW GARDENS SURREY .. Ric 4238 ”
I
I
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Tt.l(,phonc. or Trlrpram : MORLEY 899
..
.A(ldrc.+ : GREENFIELD AVENUE GILDERSOME, Near LEEDS Iirarl) . U 1 >x’ar- in thc. l>llsint,+ 23
Every Advertiser’s goods are fully endorsed-by this PrinCtd
i I l E11cllt1ld
for P E T E R
W 4 R L O c ‘ t i R Y HERBBRT\\‘ALKER
&.
S O N (PRINTERS)LTD.,\YELLCROFT\YDRKS.H’ELL
Bulletin
c’ROFT, S H I P L E I . YOHK?iHIHF:
*
17
PENTAGRAM An independant monthly bulletinfor all who want good magic
V ? .3 J K .i3
B
! 1948
W
In mylastbook I described an effect of the Ringing the Rod type wherein a serviette ring, selected fromamongfourimpaledonaknitting needle in aframe, wasmagicallytransferredto another needle threaded through perforated a box. The effect proved quite popular, and I useditforseveral years, but it is not everyone’s meat.The b,ox used forthereproduction of the ring is ratherbulky,and it hasoccurred to me thatthe effect mightmakeawiderappeal if I could substitute for the box something which wouldpack flat in thebag.Inthepresentversion,therefore,ascreentakesthe.place of the box. I have also discarded the frame, using insteada loop of ribbon. In its simplifiedform the effectis as follows :The performerexhibits four ,plasticserviette rings, each one being of a different colour. These arethreadedontoalength of ribbon,theends of which are tied together so that. the rings cannot beremovedwithoutuntyingtheribbon. Onthetablestandsa screenwith a knitting rlcedkthreadedthrough holes in its sides. I t is shown back and front and replaced on the table. Theperformernextintroduces a square of velvetwithahole in thecentre.This isused to coverthefourrings, by passingtheloop of ribbon through the hole and letting the velvet fall around the rings. A spectator,invited on the stage, is askedtoholdtheribbon. He is also asked to select one of the rings., Whenthishas been done, theperformerexplainsthathe n.ill remove the chosen ring from the ribbon, but that i n order to do so hemust first make it invisible. He places his handunderthevelvetsquareand brings it away,empty,but with thethumb ancl fcxefinger separatedas if they held an invisible ring.Hemakessurethatthespectators realise places that his hand is, in fact,empty,andthen it behindthescreen,withtheavowedintention “
”
of passingthe invisible ring on to the needle threaded through the screen. So f.ar theperformerhasapparentlydone nothing but fool ab,out, and so the sudden denouement is doubly effective. Th,evelvetsquare is removed from the ribbon, and the helper is amazed to find that thechosenringhasdisappeared. The remaining three rings are still threaded on the ribbon, and no amount of examination gives anyhint of theclue to the mystery.The screen i.s thenturnedround,and there, threaded on the needle, is the chosen ring. Screen, needle and ring are handed to the helper, who thus holds the whole of the apparatus used -except thevelvetsquare,andwhyshouldhe worryabout a littlething like that ? This is quite a pretty pr,oblem, and the comparative ease with which the rather stringent conditionsare compliedwith will, I hope,commend it to some of my readers. We have to consider1. The removal of the ring from the ribbon. 2. its evanishment. 3. Itsreproductionontheknittingneedle. The choice of colour is, of course, forced, and the ring of the colour decided upon is cut through at cne point of its circumference with a very fine saw. To one side of thevelvetsquare issewn a pocket justlargeenough to accommodatethe ring.Therings,bytheway,shouldnotbe too wide ; ringsabout half an inch wide arefairly common,and these arejustthethingsfor cur purpose. The screen,which I have drawn, is made of thick cardboard, suitably decorated. At the point A is a slit about half an inch deep. A duplicatering of thecolour to be selected is suspended in a lcop of blackthread.The twoends of theloop arejammed in the slit andadjusted so thatthe ringhangsmidwaybetweenthetop “
”
continued on page 18
18 R I N G I N G THE NEEDLE-continued from page 17 andbottom of the screen. Thesurplusthread, which will behangingdowninfront of thescreen, left handdoesnot is thencutaway with theexception of one-eighth cess, andhandsitto be noticed the by examination. He takes back itand threads it of an inch. This will not spectators, but is it sufficient prevent to thethreadbeing dislodged prematurely.
We can now considerthelayout.The screen,withthering suspended inside it, standsonatableto the performer’s left. The knitting need.le is position, i.e., in threadedthroughthe holes the inscreen (a ‘11d, incidentally, through the suspended ring).Thesplitring, together with the remaining three solid ones, is on atableto theright of theperform,er. On thistable are also the velvet square and a length of ribbon.
T heperformer commences by displaying the four rings, threading them the ribbon, on and tying together the ends of the latter. The velvet square is passed over the ribbon so that it envelopes the rings, and a spectatorisasked to come on to thestage and assist. H e is requested tohold the ribbon. Attention is now directedtothescreen. The right-hand fold is gripped with the left hand, the thumb being to the front and the suspended ring beingscooped up into the palm with thefingers. At thesametimetheneedle is wit‘hdr,awn with therighthand.Thelefthand now turnsthe screenupsidedown, thus bringing the inside into view. The right hand grips the edge of the screen, while theleft, still concealing thering, slides to thecentre of thetop(temporarilythebottom). In this position the screen can be opened out to permitthespectatorstogetaclear view ,of the interior. The needle is then threaded through the holes again, the screen is turned right-side-up and replacedonthetable,theringbeinggently released so that itdoesnot click againstthe needle as the left hand leaves the screen. As hecommences to walk awayfromthe table,theperformer remembers thathehas of theneedle. H e withnotprovedthesolidity draws it with his right hand, taking care that his “
”
go nearthescreenintheprohi? temporaryassistant
for
through the screen, oncemoreusing only his right hand. If you have followed the r o u t i ne you will appreciate that when the needle is withdrawnthesuspended ringresumesitsnormal position, which is such that when the needle is replaced it goes through the ring (see diagram).
The next move is torequestthespectator to select aring. The choice of the split ring is forced, and the performer places his hand under the velvet covering. I t is a simple matter to open the ring sufficiently to detach from it the ribbon,afterwhichit is slipped into the pocket of thevelvet is brought away, the square. hand The t6umb and forefinger being held ;bout two’ inches apart as if they heid a ring. Walking over to the screen the performer places his empty hand behindit. As soon as it is hidden it graspsthe thread and pulls it out of the slit and away from the ring, so that it drops on to the table. Now comestheclimax. Thevelvetsquare is removedfromtheribbonanddiscarded. The assistant is left with a loop of ribboncontaining three rings which are unmistakably solid, any one of whichhemighthavechosen (so he thinks). To complete his bewildermenthe is handedthe screen and needle on which isnow threadedthe fourth solid ring. EFFECT FOR REVIEW. JoeStuthard’s“Trilby”Deck(price 21/-, from X . L\’. (;amage, Ltd.,Holborn, E.C.2. ) In the past couple of years that delightful Canuck, JoeStuthard,putthe Svengalideck on themap of England.Thedeckthat hedescribes as “Trill>y” has all the advantages of the“svengali” plus a number of features that the buyer j\.iil discover. Besides the actualcardssupplied(letit he mentioned thatthe faking of the various cards has been carried out in a firstclass manner), there is a booklet of some twenty pages photographically illustrated that covers t h e handling of the deck plus some t\venty-t\\,o effects. Excellentvalue.
19
Note.-For some months I havekept this effect to myself, believing it to be similar to Joe Berg’s UltraMentalDeck. Now that I understandBerg’sdeck it quite different from mine, I offer my own version here with the assurance that while others may have used asimilaridea, my working is original. If you include card ,tricks in your programme, To mixitwith double PLEASEleavethisout. lifts, invisible passes, injogand shuffle off four, is toleavewiththeaudiencetheimpression that it’sjustacardtrick.Whereas, if youincludeit astheonecard effect in amentalprogramme, usedsimplybecauseapack of cards seemed a handy thin,g to experimeent with, you’ll give them somethingtotalkabout. And make it as simple as you know how, with nofancy flourishes, fans or shuffles, for the 1,ove of Pete. Here is what happens : After explaining that thoughttransference is afacultymanypeople possess to some extent without knowing of it, you invitethewholeaudienceto ‘‘ .havea go.”You look aroundyourstage,and seize onapackof cards in its case which happens to be there. It seems easier toprovethis with cardsthan with abstractthoughts,”youexplain,disarmingly. In my case, I tellthem that if they imagine themselves ,as standing behind me and looking .over my shoulder for the next thirty secondsor so, they aremorelikelyto get amentalpicture of what goes on.Suityourself,butthat’sproveda good line of pattertome. will Havingdonethis,youexplainthatyou look through the cards, which you take from case and show back and front. You will then take lout one cardandreplaceit wrongway round in the pack. And you may safely bet that one, at least, in theaudiencehasbeenable to get amental glimpse of that card, whichyou prove by taking cards from case again and showing that one card isreversed-justtheone cardthat is namedby the audience. Of course, it’s a Brainwave Deck in disguise. The disguise consists of the fact that you can sho1T.r the fronts of the cards and (as far as the people in frontknow)thebacksas well. First of all,theset-up.Takea new pack of cards, and forget about that grubby old pack you first thought you‘d try this out on. Apply roughing fluid to all the backs, except those of the joker and the blank. Then set upthepack so that theoddreds and even blacks face one wa37, with the elyen reds and odd blacks the other. Clubs and Hearts back so doSpadesandDiamonds. eachotherup,and so that the comAnd it’s advisable to stack them Author’s
“
binedpips on each pairtotal 14-K.S. backs A D . ; 8C backs 6H, and so on-whichis exactly thesameset-up .as the commercial Brainwave Deck,exceptthatthisfacesoutw.ardsinstead of inwards. Place the Joker and the blank (or two Jokers if you prefer it) back outwards at one end of the pack, and put the whole set-up back in the case, remembering which side is which. Now when you take it out of the case, you do SQ with the “back” (thebacks of the two Jokers) tow.ards theaudience, and slightly fan these two cards so that they gettheimpression of seeing cardbacks.Believe me, this never fails to impress on t,hem that they’ve seen the whole pack thoroughly, back and front,because you thenturnthecards over and run through the fronts, giving them a goodview of that side,card by card. Two tips at thisstage : don’tmakeapretty fan-remember you’re not a sleight-,of-hand expert this time, just a chap who happens to be able to readminds.Anddon’tdo a snappy shuffle, for the samereason. Shuffle, youshould,but be a little clumsy over it, while leaving them quite sure thatyou’ve shuffled honestly-which you have, except that you’ve retained the two Jokers on the back(whatErdnaselaughinglycalls “ retaining the top-stock,” just in case you’re an M.1.M.C). Now shovethepackbackintoits case, and herecomes theartfulbit. You, the mentalist, are going to take out one card, look at it: and replace it wrong way round. (Don’tsay Replace t.he cardreversed,”that You pick u.p the onlyconfuses thecustomers). case, tipcardshalf-wayout,and hold up with +he ‘‘ backs toaudience.Aftera bit of browknitting, you takeoutthe second Joker.” The back of thetopJoker will conceal thc faces of the other cards, and leave the audience convinced thatthey’veagain seen thebacks of thecards. Holdingthiscardfacing you, backtoaudience, you turn the cards and case round, and slip theJoker you hold in front of thecards in the case. So thatthepack now st.andsJoker(back outnvard),pack,Joker(back outward). Nou- lay down cards and case on table. Ask if you anyone g0.t aclear impression of thecard lookedat,andyou’ll get several offers. Take one only and askwhatcardtheladysaw(it’s a lady 99 times in a 100). Whenshe tells you t,he name of her card, ask if anyone else saw the same card. Andhere you’llget ashock, in all seriousness, because you’ll find that several others “saw” :he same card. PeterWarlock will bearmeout that this surprisingthingdoeshappen,andoften at that. “
”
continued on page 21
20
If onecanbelievethespoken andprinted word,thelateTheo.Annemann was the richest man inmagic. The noun is used as it appliesto friendships, material not wealth. Wherever magicians congregate, conventions, at society meetings ,or in the back rooms of the magic shops, theconversationbearstestimonytoAnnemann’s talent. Magic magazines periodically publish specialAnnemann sections, Annemannanecdotes and reprints and variations of Annemann effects. Weird Wire, Jr., is nothing more than the latter, a variation of an effect entitled Annemann’s Weird Wire which appearedin Jinx No. 89 someeight years back. The original effect made use of a set of the now famous Rhine symbols-a circle, cross, wavy lines,squareanda star-a deckof cards and a magazine.Theperformeraskedthesubjectto call a select one of the five symbolsandthen previously given teleph.one number. The performer’s associate ontheotherend of the wire questionedthesubject and revealedtheselected symbol.Annemanncautioned,however,thatthe effect was not fool proof. He had devised a book test using thecardsandmagazineasanalternate when the first effect failed. Annemann objected to the use of foreign articlesinperformingmagic. H e believed that use of such articles excite suspicion in the subject’s mind. An analysis of that belief andtheforegoing effectwill provethemcontradictory.Use of one of theobjects in WeirdWire,automatically should cancel out use of the remaining two. Whiletheyarenot foreignarticles ” in themselves, none of the items are in any way related. Weird Wire, Jr., eliminates the possibility of failure.Further,theperformer’s associateneed notquestionthesubject.Anditmakes use of only a single item-cigarettes. (As regular a reader of the British press, thewriter is aware that mere mention of MyLady Nicotine will cause a number of Pentagram readers to turn the page. But wait!) “
Effect : A number of different br,ands of cigarettesare collected fromtheon-lookers. The performerexplains that he has a friend who has developed an animal-like sense of smell. He hands the mostszepticalmember of his audience a slip of paperon which is writtenatelephone number. Freely select acigarette,’’theperformer commands. doubting The Thomas choosesacigarette, dialsthetelephoneandthe performer’sassociate on the other endofthe weird wire tells the subject the name of his cigarette. The effect makes use of Anneman’s Weird Wire “
code. (American brands of cigarettes are here listed. Pentagram readers will, of course,want to revise the code to list the most popular makes of British cigarettes). The code folloLvs, ..vith codewordsunderlined : What brand am l smoking? lit Lucky Strike What brand am I smoking? unlit Cheste,rfield What cigarette am I smoking? lit Camel What cigarette am I smoking? unlit Old Gold \Vhat brand of cigarette am I smoking? lit Philip Morris What brand of cigarette am I smoking? unlit Pall Mall What am I smoking? lit KO01 What am I smoking? unlit Wings Working : If the subject selects, say, an Old Gold, the performer instructs him to dial the telephonenumberandask, (‘ What cigarette am I smoking ? By casually emphasizing the word cigarette, theperformerinvariably will fcrcethe subjectto use the codeword.Whentheperformer’sassociateanswers thetelephone, he tells (he does not ask) the subject to blow a thin stream of smokeintothetelephpnereceiver. As - the subjectmustpauseamomentto light thecigarette,theperformer’sassociateknows it to bean Old Gold. If the subject selects a Lucky Strike, the performerinstructshim to light thecigarettebefore What brand am dialling the telephone and asks, I smoking ? Again,theperformer’sassociate tells the subject to blowsmokeintothereceiver. If thesubjectdoes so immediat,ely, the ,associate knows thecigarette is alreadylit,and is, therefore, a Lucky Strike. Use of thisparticular code is limitless. By enlarging th,e list of code words, the performer can includeakeywordforeverybrand of cigarette made.Thesamecode easily ‘can beapplied to books,magazines,wearingapparel, coins, cards and an endless variety of articles. A few pointers in performingtheforegoing effect : If the performer does not have the of thesubject, it iswell to undividedattention repeat the code sentence immediately after he, the subject,dialsthe te1,ephone number.Forcefully impress upon him by the tone of your voice what he is to ask. ”
“
”
continated.on page 23
Here is a pretty little opening effect that does notwantspoilingwithunsuitable patter.It is basedontheuseof Cremation or Red Ashes paper.Whilst, so faras I know,there is no dealer marketing this effect in England, fine Japanese tissue of the kind used in the making of model’aeroplanesshouldprovean efficient substitute.Fromasheet pieces arecuttoa size of six inches byfour. As thereadermay be aware, this type of paper will, after being ignited, rise in theair.(Cortinimadeaspeciality of this in his burnt and restored paper effect.) The onlyotherrequirementsarea twelve-inch silk of similarcolour to the tissue, awax taper,candlestick andcandle,andanashtray. First of all,the silk is laid flatonthetable and two opposite diagonal corners rolled in towardsthecentreuntilyouhave a longroll of silk aboutoneand a-halfinches in width.Turn up twoanda-halfinches at oneend of the silk at right angles, and, rolling from this end, a little bundle is made,theright-angledendprotruding as in theillustration.Withtheaid of ashort length of blackcottonthebundle is fastenedto thetaper(seeillustration).This piece of cotton actually forms a loop, and were it not for the fact that the wax taper so easily breaks under pressure I would say use an elastic band(thismethod of fastening a silk for easy release is, of course, similar to that of attaching a silk to a wand for ultimateproduction.Thisbeingdone,thearticles iheperformer is using arearrangedon‘thetable as shownintheillustration. It will be noticed that the small silk bundle is completely concealed bythethickness of thetable.With,thesmall piece of tissue at hand and the candle lighted, the conjurer is ready for the Presentation. The piece of tissue is taken and held bybothhandsattheextremeopposite corners ; theaudiencemust begiven theopportunity to see that there is nothing concealed either in thehandsorbehindthepaper.The tissue is now creasedwidthwise and openedout so that the folds are at right angles to one another. In this condition the tissue is placed like an openbookontheashtray.Therighthand now takes the taper-, care, of course,beingtaken that (1) the fingers shield thebundle ; (2) the : (3) bundle is nearer to the palm than the ,taper the tip of silk protruding from the bundle is positioned near the first finger. The right hand moves the taper across to the candle flame, and when the former is alightappliesthisflametothetwo corners and the top part of the fold of the tissue. As the tissue burns down therighthandquite naturally passes the taper to the left hand, which in turn replaces the former on the table, the silk bundlebeingleft in therighthand.In these moments the flame should have reached the lower “
”
“
”
Thread t i e d round taper and folded
Taper with s i l k attached
silk
edgeof the tissue, andtheash is readyto rise. When this happens the conjurer times the movement of his right arm so that as the ash reaches shoulderheighttherighthandmeetsit.Atthe moment of contact the right thumb presses against the protruding tip of silk, the fingers of the right hand releasingtheirhold onthebundle so that the silk falls. The effect totheaudience is one of instantaneouschangefrom%ashto silk. There should be no attempt to shake the silk as the hand reachestheash : justletitfall.Whilst a bigger silk may beused,thegreaterlength of fall will make the change less magical. ~~
~~
TURN OF A CARD-continued
from page 19
Pickupcase,andbearinmind which card must haveitsback t.0 theaudience.Extractthe cards right side forward, leaving behind the Joker which happens to be at the. “ front ” of the pack. to flashily-and Fanoutthe cards--again,not when you see the named card facing you, separate it with left thumbnail W thatthebackjust shows to theaudience.Runthroughthemagain, cut the pack there, and you ,have another “ back outwards card on the back of the pack, which you can once more show casu.ally as you lay pack down. Ask again for the name of the card, and on receiving ilt. turn it sl.owly ‘over at arm’slength so that its face appears for the first time. And if my experience is anything to go by, you’llhearagasp of surprise.But, of course, you must watch the angles, you Macchiavelli, you. If you’ve.had ‘no luck with formulae for roughingfluids, you may care t.0 trythisone : 202. CanadaBalsam dissolved in &oz. Thawpit (both obtainable from Boot’s). Apply with a soft cloth,becausethefluid dries so quicklythat use of a brush will leave streaky brush marks. ”
-
22
(SEE PENTAGRAM No. 10, Vol. 2.)
ever. Because of the Thiscould go on for lack of remuneration for the job, the magic book reviewercannotbeafull-timeexpert at the job. w’hich magicians Because of thesmall worldin revolve,the author and ,publisher of most books areknownpersonallytothereviewer.If,then, the latter is a friend of either of the former, and wishes to remain so, he can hardly slam the book reviewed. Hence the vague platitudes, which shouldbe,totheseasoned hok-buyer, .a danger signal.If,onthelotherhand,the reviewer has some quarrel with the author ,or publisher, he feels, in most cases, that fair play demands that he shali not allow this to bias his opinion of the value of thebook. H e thereforefallsbackagainonthe vagueplatitud,es. So you got themanyway! I doubt if this is necessarily a bad thing. The only way to get really unbiassed reviews is to find a reviewer. who ,has nothing m,hatever to do with
magic or magicians and who cases, in consequence, nothing for their feelings. But such a man would be totally unqualified to pass judgment on a m a g c book, so his opinionswouldbeworth less than those of the menwho do thejobnow. Of Bob Lund’s criticism of thesepoor fellows, conscientiously trying to fall between tw.0 stools in a neat fashion, I cansayonlyth.at hemisjudgesmost. The majority have certainly not less than a quarter of a century of experience of magic behind them, and you do learn something in that time-even if it’s only that a book critic’s job is pretty thankless. Perh.aps I may put a period to this discussion bycongratulatingthe ‘‘ Pentagram ” onhaving securedtheattention of RobertLund, who is-a rarity amongst magical writers-a professi,onal journalist and adelightfulcompanion,as I discovered in Detroit earlier this year. His weakness is a Idisconcerting.habit of quoting Chinese maxims . . . which maybetaken twoways
JMPROMPTU ” by B r i m M c C ~ r t h y (publishedby George Johnson) Price 7 / 6 . This is a new edition of a veryworthwhilebook. In thefour sectionswhichcovercoins,cards,cigarettes and matches, the author offers some twenty-three effects and ideas all of which, as the title of the book indicates, can be performed impromptu. Whilst the author is notedforhisskillthereare few of these effects that callfor anything more thanaverageability. Allied t o the magicaleffectivenessis theadditionalvirtuethat most of the effects have a story plot attached-. thing which so often lifts the small item into the well rememberedmiracle. The effectswhich appealed t o us most were “TheDisappearingHole” (a coin trickwith a novel angle), “The Torn and RestoredCigarette,”and the“RepeatingPenetration. ‘The bookconsists of some ninetlyoddpagesandcontainsover a hundred illustrations. Tothose wholike t o havethe oddtrick always on hand we unreservedlyrecommend it.
moveusedhere is indetectable we think it for the few ratherthanthemany.The secondeffect is described as a “mental” effect;whilst we can excuse the author thismistake, we cannotunderstand GeorgeArmstrong also committingthesamedescriptivefaultin hisforeword, and canonlyassumet.hathi$interestinhypnotism is undermininghismagicaljudgment. Because a thou!///t o/ card passesfromoneheap to another such a trick is not a mental feat. The ultimate in this effect \\’as reached 1)y thelateEdward G . Brown andnith thatstandard \ve judgeallothersand find in Mr. .~ Parelli’seffectlessnaturalmoves.Despitetheauthor’s meticulousobservation of bibliographicaldetails we are surprised that hemissed the false count,sscrilxdto RrianMcCarthy, in theStanyonserials. IT‘e feel fairly Yertain toothatthe CharlesHarrisonfalsecount \vi11 also be found in a similar spot. The book is nicely produced and well illustrated withphotographicillustrations. As theEdward Brownmethodhasnot been published we canrecommendthelatter effect as being thenextbestmethod published to date.
“
”
“
”
CARDTRICKSTHAT WORK ” by ?”on2 Sellers (publishedby George Johnson) . Price 3/-. This again is a new edition of a previously published booklet. Altogether there are some twenty-three effects, of which we think“Repeatcard t o pocket” is the best. It is not a card worker’s book in the accepted sense, huttothose who want number a of simple \\.orking effects thathave a flavour of novelty we recommend it. “
‘‘ THANKS TO LEIPZIG
” by I-ictor 2;’areUi (yuhlishecl Price 10/-. In thisbooklet of some fiftyoddpages, M r . Farelli gives two lrersions of “Mene Tekel.” In the first, cards selected by members of the audience pass from one heap to anotherwithoutanyunnaturalaids. W’hilstwe are prepared t o acceptthewriter’s word thatthe hasic
t ) y George Armstrong).
“ LESLIE’SHYPNOTICHANDKERCHIEF.”(Price 7/6,The LeedsMagicalSupplies, 276, KirkstallRoad, Leeds 4). This is similar to a routine described by Martin Gardnerin‘‘AftertheDessert. -4s the writerseems to think that it is originaln-ithhim,Iremustpresume that this is a case of coincidentalthinking. ”
6 4 THE PINKLADIES,” h y Stewrtrt J U I I I P . , ~Readers . may \vel1 remember that we criticised the needfor ;I suggested presentation \vith this \rery ingenious mystery. Ste\\-arthas no\r run off in story formsomething that covers allthepoints we hadinmind. To thosewho h u g h t copies of “PinkLadies”thepresentation mill !,e suppliedgratis. continued on Page 23
23
Those who, like myself, will have been charmed by Dr. Jaks’s lovely little mystery Pendle (PhoenixAnnemannissue) will find thatthe use of one of the littleplastic skul1.s (put out with the effect Skull-ocation ”) instead of a locket adds a nice touch. To get the pendulum swing we have removed the short length of chain and substituted a piece of thin silk ribbon. Incidentally, we hear-and we hope thatourinformantis wrong-that this effect is due to be pirated on our side of the Atlantic. BobbyVoltaire,whoafter his season atthe Windmill, is abandoningVariety, is getting well booked for private work. A special Electrick show with the aid of his new assistant Gwen, plus theonly electric canine Martha,” is anovelty in the way of children’s entertainment, and somethingthatthey will talkabout. TheAnnual MagicCirclesale of apparatus and booksthisyearbroughtalongthe press. Whi,lst there was not a lot of scope for reporting, it did manage a news item based on the story of thesale of some of thelateEdwardG.Brown’s props.Theseitems of his intheMagicCircle salewere,however, mainlyoddments. Since ourreturn to. London, we had wondered wh,at hadhappenedto some of the accessories that: heused, in particularthe device that playedapart in his aerialmint. It wasonly this week that we f o m d out where they were, and have had the pleasure of seeing them and handlingthemagain.Chris.Charltonprobably hadthebestbuyoftheafternoon.It wasinterestingwhenbooksandmagazinescameupfor sale to see the prices theyfetched. I t was also hterestingtonotethat whilst glossies were in abundance,there wasnotone lot thatincluded Jinxes, Phoenixes, Hugards, Bats Pentaor grams.We feel thatsomewherethere is amoral to be drawn. HenrideSeevah showed us some very nice featherdartstheotherday, bloom six inches in width, and stemstwelveincheslong,price 4 6 each-not our line of country,but we feel sure that many of our readers could make use of these colourful accessories. MauryFogelgettingtwentyminutes on the LightProgrammeonDecember6th is something of a record for magic in thiscountry. I t wasa iirst-rate presentation. Onthose few occasionswhen we havelittle 10 do we play in fascinated a way with the Devano Rising cards. If youare using this effect, tryholdingthecard in acuppedmanner, and allow thefrontcardto rise. It looksreally spooky. George Blake sent us this many, many is no reason for it, months ago, and though there ”
‘ l
l‘
“
“
”
”
italwaysseemstowork.Takeadeck of cards and thoroughly shuffle it ; now dealoutfour hands of cards, but misdealon one heap so that oue heap will have twelve,onefourteen and two thirteencards. Now reassemble theheapsand dealagainwithout any misdeal. You will find whenyou turntheheapsoverthatone set will containa singleton, i.e.,there will in one heap beeither one club,heart,spadeordiamond. Our .apologies to a1.l concernedfornotmentioning that Wilfrid Jonson’s effect that appeared in the last issue was translated and reproduced by permission from Le Journal de la Prestidigitation. Congratulations to Mr. and Mrs. Francis V’hite onthe additimon to thefamily of Master Martin Whi.te. D.V., there will beameeting of the Society of Mentalists in LondononSaturday,February 12th.This in view of thefactthatthere is a possibility of an I.B.M. lunchonthe fol1,owing day should fit in well with country members’ arrangements, and allow them to makea full weekend followed by the I.B.M. show on the M.onday. W E I R P W I RE-continued from page 20 If an off brandcigarette is collected, spreadthecigarettes carelessly onatablewith the strange brand on the end ,of.the row. If more than one uncoded ’’ brand is collected, tell your audience that to prove that there is no collusionbetweenyourself andthesubject,thatall of the cigarettes will be placed on the table with thebrandnamesturnedfacedown.Placethe uncoded cigarettes at the ends. Past practice has provedthatthesubjectalmostalways will select a cigarettefromthemiddle of therow. “
”
”
BOOKS and ROUTINES-continued from page 22 T H E DEVIL’S WHISPER 8 ITS DEVELOPMENT, h!/ 110 l-p!/n (pu1)lishetl l)y the author, 316, Alorningside Ytreet, 1Iigh Carntyne, (;lasgo\v, price 3 / 3 postfree). The modern generation of colljurers \vi11 kno\v little about the “Devil’sWhisper,”hut we can\\ell renlemher in3ur young dayslmyingsmallphials fromEllis Stanyon and mixing the necessary ingredients th:tt u.ouldallow us to snap my fingers and produce a flash o f flame.Onehad t o 1 ) ~carefulwiththe chemicals, and many a gootl magician has sufferedserious danlage through carelessnessin either mixingorhandling. The author of thismonograph,pointsoutsuchdangers in his introduction,then proceeding to give the safe \\ay of carrying, mixing and hantlling the chemicalsused. After thistheauthor clertls \vith a numher of varying types o f flashes that c a n 1)e produced, including a “Chameleon” flash (\\.herethere is a colourchange!) ant1 an“Echo” flash. De Vega not onlyn-ritesknow1etlgai)ly 1)ut his criting is lmcketl \vith practical experience that can 1ea:e thereader rendv totryout the itemsmentioned. E c l n x t l Victor \\ill be onlvtoo rcwly to testify as to the quality of the effects produced ior he was supplied 1)y thelvrittr \vith the necessary flashes when he was playing the pantomime role o f “~\I)anazar” (luring a long season a t Glasgon. Pavilion. \-cry \vorth\\.hile ant1 unreser\xvllv recolnmendetl.
24
THE EXPERTS ARE ENTHUSED
Coloured
over
THE FINE ART OF MAGIC Ed.byJean
By George G.Kaplan. Hugard.Illus.byFrancisRigney.
will get :(FredBraue); Thebook of the I'll wagcr, many year athereafter" (John Braun); year-and A modern Sachs. . . . Amodemclassic (Milbourne Christ0 A work of outstanding merit. . . . I amdelightedwith pher); (Stank?. Collins); ' ' Superb it, and give the it highest praise magic-magic as itshouldbedone (John J. Crimmins, J r . ) ; This is the Vernon kind of magic-and we mean it ! . . . Pure and (Brnce Elliott) : " .4 delightful magic, exqnisitely thought olrt major addition to genuinely useful magical literature (Dariel Fitzkec); An absorbing book. with many gems in the different something for everyone, and much ior fields. . . . Certainly most (Goodliffe); Hereisatookthat willIive (JeanHugard); T h e most original book of magic I have read in years " RobertsonKecne); Certainl\. very a fine book, and nndottbtrdl\. a Fleming best seller (Pttc:. IVarlock). destined as B Cloth, 352 largepages.bearltifull~~printedandhandsomel).bound. postpaid ($7.50) 37 '6. '' book A that's entitled to the superlatives it
' Recommendednncqoivocally
"
"
"
"
"
"
"
"
"
'l
"
"
"
--
"
"
BOOKS ANNOUNCED FOR EARLYPUBLICATION. TARBELL COURSE : VOL 5, cIoth, 418 pages ($10) jO'-. CYC'LOPEDIA OF MAGIC (Ha),), cloth, 500 pages ($7.50) 3i.'6. RemittheseEnglishprices t o Mr. RobertsonKeenc, 301 Norwood Road,Southall,Middlesex.andshipment will be mad?immediately direct from America. FLEMING BOOK COMPANY, 728 Madison A V . . York, h . , U.S.A.
ARCAS Magical Publications
I
Mr. Smith'r Guide toSleight .. . .W. Jonson of Hand A.B.C. of Ventriioquism D. Craggs Expert Manipulation of Play..L.Canson ing Cards Testament of R. W. Hull . .T.H. Hall Nothing Im is Dossible . .T.H. Hall MhsteGieces of 'Magic, Vol. 1 .. . .Warlock Patterns for Psychics Kamut .. .. .. . .Franklin Conjunioring .. .. . .Brearley .. . .Willane Willane's Wizardry
or directfrom
ObtainablefromallDealers
10/6
I
PETER
10/-
WARLOCK'S
published on 24th
The Magic Circle I'rc*sidrrlt : His Grace the Duke of Somerset, D.S.O., O.B.E., LP., D.L., M.I.M.C.
of each month
Vice-President: Douglas Craggs, Esq., M.I.M.C.
1 / 1 single copy 1 1 /6per year post free
10/-
20/15/ 10)-
O OBKOSO K S BOOKS It is our policy t o keep every hook :)11 conjuringand allied arts in stock. \\'rite for free lists. Most LT.S. t-moks and all Englishpuhlications instock. Five Shillings equals one dollar-we pay postage I''oyc'l'!/n o r t d ~ ' t h n i u c l t l . ~ t o u r e r z ~ I P ( I . * c sur/'fcp c i i r . c l c / . If-(' X n r c supplied iVA4GIC'to tlrv lI'OIZLT,.D. v ' i r r . c p 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. Telephone : EIXAIpstead 0 9 ~
PENTAGRAM
10/-
St.Emin'sHotel, CaxtonStreet,S.W.1. Magical Theatre :
65 MANOR ROAD
KingGeorge's
WALLZNGTON
:-
SYDENHAM 404/408
ROAD
SURREY
Croydon
Surrey
I'depitrrnc : Wallington6236
Museum :
ClubroomandLibraryand
PLEASE NOTE NEW ADDRESS
3/6 10/2/6
Trouble-Wit
FindtheLady. A perfected form of this ever popular trick. Set of three trick cards \vith printecl instructions, price 10/Self-Reversing Cards. Ten cards arranged alternately back and face u p . A flick o f the fingers and cards are found to have re-arranged themsel\.es. Repeated as often as desired. A perfect pocket trick, price 3/6
"
"
"
Trewey Model Cartridge Paper Stanyon Corners Betrutifuily C'olowred i r r fmt K u i ~ ~ h o u *P V ~ O I I Y . ~ Stage Size, used by Trelvey, Stanyon,etc., 12" when closed PRICE 22/6 PlainWhitePaper, if desired ... 15/6 I/tlportant Hint8 on openi?tcl and d o z i n y t h e f o l ~ i irrclrrded s Trouble FVit Booklet ; 80 illustrations . .. 2/9 LimitDiminishing Cards (a StanyonExclusive). Backs of cards shown a at n y time and sample ,card extracted and. displayed after each diminution. is nowincluded \vith instructions. Packtomatch Price 25/-. DisplayStand, 5/-.
Hall, W.C.
ParticularsfromHon.Secretar).
:
FrancisWhite, 39 Alverstone Avenue, WimbledonPark, S.W.19 -
CONJURING BOOKS OLDANDNEW. LIST
HENRI DE'SEEVAH M M ' . . RMS.. IRM.. SSMC.. THE FRIENDLY MAGICIAN invites all bona-fide Magicianstosendfnihis list of new and used apparatus or call at his and books. studio :l, CLARENCE ROAD Harborne, Birmingham 17
FOR SALE
Let me know your wants
FREE FOR No
STAMPED ENVELOPE Cailtrs
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
l
MAGICIANS' BOOKBINDING SERVICE "
PENTAGRAM
"
NEW AND OLD
VOLUME I.
"
~
Binding Prices :CLOTH 5/6, REXINE 6/6, MOROCCO FINISH 7/6
C. 42
*
Alderson
F I E L D Road, Sheffield
MAGIC
Latest Think a Magician A pocket Mind . .onl!. 2/6 Effect ReadiEg Orrin's famous Spider's iccb, Card . . 30/Trick COINWANDS to produce a reai.coin 1616 A few Sliding Glue Packs of Cards 8/9 Send stamp for printed lists of old and new Magic. HEMPSEY SYDNEY de 363 SANDYCOMBE ROAD, KEW GARDENS SURREY Ric 4238
2
..
Every Advertiser's goods arefullyendorsed Printed in England for
PETER WARLOCK BY H e R a e R T WALKER
& SON
INSTITUTE
OF
MAGICIANS
Hranchcss in Lcndon, I-'ortsmouth, IYakefield, Brighton and Detroit, V.S..4. The friendliest of magical societies. KO entrancefee,printed club magazine, splendid library. London H.Q. Denison House, 296 Yamhall S.W.1. (one minute Victoria Bridge, Victoria, Station). 102 Elmstead Particulars from Oscar Oswald. 4vc nllc. \Vi.mbl(.\ Park blidd'tv S .
JAM GE R SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephonc cm Telegram : MORLEY 899 Address :-23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Near]:. 30 >'ears in thebusiness
by this Bulletin
( P R I N T E R S ) LTD. W E L L CROFT WORKS, WELL CROFT, S H I P L E Y , YORKSHIRE
*
25
PENTAGRAM An independent monthly bulletin for all who want good magic
The routine is outlined under $three headings : (1) Presentation (as seen bytheaudience) , (2) Requirements, and (3) Working. (1) Presentation. Thepatter givenhere is on1~- meant as a guide to the plot whichfollows. lnditidual performers will change it to suittheir styles. Ladiesandgentlemen, it is believedby many people that the human mind is composed of t \ \ o parts-the conscio:ls andthe subconsci,ous. The conscious mind contains the thoughts and impressionswhich are in being at themoment and which can be conveyed to the external world b>speaking, writing, gestures--and telepathy. T h e subconscious, however, contains a vast collection of thoughts and impressions which are totallJr hidden from our conscious minds, and we have no knowledge of their existerlcc. But they are there. ~ n d what’s , more:many of them will materialize intoourconsciousminds in thefuture,and ~ve :.l.ill then be acvare of their existence. I t is possible to read the conscious mind directly, by telepathy. We will see in Lvhat follows.But I contendthat it is possible toread the subconscious mind directly, with more a p\\-erful form of telepathy.Whateveryour own \.ie\vs are, let us sec what happens.” This preamble is very necessary, and the performershouldmakethemost of it, preferablli n his okvn way.Thespectators’mindsmust.be :jttulIt.d to xvhatFollows. Fourspectators(designated A, R, C and D ) are no“ chosen by the I?c.rformer (at random) . You sir (indicating Spec. A ) aregoing to act as a subconscious mind, whilst you, sir, you a!:d you (indicatingSpecs. € 3 , C and D ) will act ;is conscious minds. My jobistopenetrate your mi:lds (gesture tokvards Specs. B, C and D)-and J-nurs (to Spec. A ) .” Performertakesup a pack of cards,fans [ h t m \\ iclely, and a d \ ~ m c e . ;011 Spec. A . Holding “
“
“
”
”
I ‘
the fan out to this spectator, faces down, the performerexplainsthatthese (thecards)represent unknown thoughts and t‘hat he, ‘the spectator,,must chooseone of themandwithoutlookingatthe card to place it deep down in one of his pockets. The pocket symbolises a hidden recess in the subconscious mind. You have now ;X thoughthiddenaway in yourmind,andnobody,least of allyourself, knows what it is.” Performer non goes to Spectator B, asks him to think of a card, and as the spectator does this heremoves a card f r o 3 thepack.This is not shown, but placed face down on the table (or back out 011 astand).Thespectator is now askedto name his thought card.Hedoesthis,and pcrformer removes this card from the pack, shows it,and places it with thecardhejustremoved. These two cards n e will call a pair (performer's card and spectator’s card). This is repeated with spectators C and D, but the “pairs” nrc kept separate from each other on the table. Ncw, the performer turns to A, gazes intently a t him,removes a cardfromthepackandlays this on the table. For the first time, Spectator A is asked to take his card from his pocket and divuige its name.This hedoes, andthecard is laid with the performer’s one. At thisstagethere will be 4 pairs of cards lying in a row on the table. Ql;ite openly, the performer lifts up the first pair (Spectator B’s) and lays it face d,own on his pa!m. Hethen picks up the second pair(Spec. C’s) andlaysthisface down ontop of thefirst. D’s) is lai,d onthis, and, Thenestpair(Spec. finally,the last (Spec. A’s) is laid on this. Thc cards are now dealt off from the bottom of thepacketfaceuponthetable in pairs. The first pair of cardsare seen to coincide u i t h each other i n value and colour (e.g., “
“
”
“
”
continued on page 26
26 PETER MOFFA,T’S LEGERDEBRAI~-cotatinut?df~o,n page 25 cards. 7 hearts--5 diamonds). Finally go to Spectator ,4. Pretend to fathom Similarly,theotherpairsarefoundto coinhis subcalxious. Remove a cardcorresponding cide in this way, as they are dealt off .on the table. to D’s card in \due.and colour, and place on The last pair of cards [Spec. A’s) are not shown table as before. immediately, but the performer gives a brief ,4 non.removes his cardfrom hispocket, recapitulation and,turnsthemover.They,too, sho\vs it,and you place it facedown on top of coiacide. The subconscious thought has been thecardycuremoved.Thereare now 4 heaps read! of 2 cards each. ( 2 ) Requirements. Pack of cards arranged in Lift up the pair ot cards first laid down, place the Si Stebbins system (or any other). thenext pair on them, thenext on them,and Table or stand. finally A’s heap on them. The Glide.” Packet is heldfacedo\vn in left hand. Draw (3) Working. Deliver introductor37 remark;. off bottomcard 2ndshow. It is E’s ( ‘ thought Packmaybefalse shufffed if desired. I t is card. La17 it face up ontable. fznned to Spec. A, who‘ choosesa card. At this Glide thenextcard,anddraw off theone point,variousmethodsforsightingthekeycard nexttoit. It \vi11 coincide with the one on the tolearnthechosencardmaybeused. I doas table. . follows :-Hold abreakatthepointwherecard Maintainthe glide, and deal off the next t\vo was removedfrom,andsquareuppack. Cut off cards(the first is C’s thoughtcard,thenest portionabovebreakandhold in right hand. yours).They coincide. Lower half is inleft hand.Thesetwohalvesare Repeat ~ i t hthenext twocards, maintaining of riffle shuffled together, Iettjng the bottom card the glide all the time. righthand packet fall first. It then becomes Youare now left withtwo cards (the glided bottom card of pack. Don’t glimpse it yet. one and Spwtator A’s subconscious choice). Spectator P, is approached and asked to think of Pause for a second to recapitulate, then turn both acard. As hedoes so, fanthepacktoyourself, these cardsoversimultaneously,spreadingthem. note bottom card, calculate Spectator A’s card and They coincide. remove a card from the pack corresponding to A’s The onlysnag is if by chanceonespectator card in value and colour. This card is apparent117 thinks of the card which you have already withchosen by interpreting Spectator B’s thought. dralvn a s acorresponding one(e.g., B thinks B divulgeshis Thiscard is laidfacedown. of 4 heartsand C thinks of 4 diamonds). As an card. this is removed from pack and slid face down out it is probably wisest to ask C to think of underthefirstcard. a card differing as mucn as possible from B, or Keeping R’s card in mind, go to Spectator C. eise tell C that the card he has just said (4 diaRepeat the same as with B, but remo1.e the card monds) \vas not the first card he thought of, and corresponding to R’s card,andlaythisonthe that he hadbetterha\,eanothertry. table.When C divulgeshiscard,removethis frompackbutplace it face down on top of your card. [Editor’s note : Way back in the summer, Captalr, This is repeated with D, removingacard LedieMay showed methis presentation of correspnding to C’s card in valueandcolour. Peter Moffat’s ; thecombination of effectil-cThe actual card thotlght of by D is remo\Ted from ness plus simplicity of \vorking made 8n pack and again placed on top of your card. Keep instantappeal,and I feel surethatreacers in mind D’s card. m 4 1 u.elcome it asaworthof thisbulletin Yc:: k?:,.~ 3 bmps. each contaiging 2 v.hilt addition to their repertoire.-P.W. 1 “
”
I 1
”
( 1
”
:;f,x:
A trick \\hicl] is ineffect similartothiswas published i n tile Pnaeriix by Dai Vernon. In Verno:1’s t,ffect n card was selected2ndreturned t o the pack. -411ace, two andthree, of anysuit, the \\.ere tilen sho\vn and placecl facedownon tabic. A spectatorwasthenaskedtonameeither ace, t\vo or three, and the one he names is found tohavechanged to the selected card.TheonlJdra\vbacktothistrick was thata different procedure had to bc adopted for \\-hichever card nras chosen. “
”
Inthe methodIevolvedthefour aces are used instead of anace,twoandthree. It can safely be repeated i t so desired, without an!chance of detection, as the procedure is the same whichever ace is choserl. Thefour aces are first placedface up i n 3 fanonthetable. At thispointtheorder of thc first three aces from the face card of the fan must bc noted. A card is then selected from the rea1nainder o f thepack,andafterbeingreturned, contintred on page 28
27
Effect. A piece of paper ivith a slit in the centre is held upforinspection. A half-crown is pushed
throughtheslit.Thepaper is turnedroundand the coin is seen to have vanished. A second halfcrown is pushed through the slit, the coin disappears,thepaperandthehandholding it being shown entirelyempty.The magician thencalls for iz coin to reappear, and one slon.ly comes back into view through the slit. The second then reappears in-1’’IKe manner. Requirements. A piece of paper,abouteight inches square, with a clean slit two inches long in thy centre. A1so t\\o half-crowns. Method. Theperformerstandsfacingleft, bclliild his table,and holds tile paperup in the left hand. The first coin is takenfrom the table b ~ ltherighthand,and SlO\Vlj~pushedupwards throughthe slit in thepaper, see Fig 1, which shows thespectators’ view from thefront.Fig 2 slmws the back view at this moment. As the coin c’omes through the slit, it is grasped by the second and third finger-tips of the left hand, which eventuallypullthe coincompletely throughtheslit
left, as in Fig. 5 , nhich shows thespectators’ The coin intheright fingers (Number 2) is held underneaththepaper.The left hand is removedand shown empty.Itthenre-takesthe paper from the right, as shown in Fig. 6 (omitting the hand shown dotted), at ,the same time taking Number 2 beneaththegaper.Therighthand is removed for a moment and then grasps the paper while the left hand is moved alongthe line of arrows(seediagram)totheposition shown in dotted iines, taking coin Number 2 with it beneath thepaper.Thepaper is heldverticallyas in Fig. 1 (omitting the right hand). To cause the coin toappear,the left fingers maniplllate the coin slowly through the slit, \\here it drops into the right hand and is placed on the table. Coin Number 1 palmed in the right hand is now alloned to drop on to the fingers, and the came hand takes the paper from the left, and shows i t on bothsides. I n doingthis,theperformersuingsroundtofaceright. Coin Number I palmed in the right hand is now allowed to drop on tothefingers,andthesamehandtakesthe paper from theleft,and showsiton both sides. I n doing this, the performer swings round to face right. Coin Number 1 is now helsd againstthe back of thepaper with theright fingers. Still facing right, the left hand comes up and takes the paper from theright. I n doing so, the coinis droped from the right LO the left hand behind the paper, see Fig. 7, Lvhich shows thespectators’ view.Swinging round to face left againthiscoin is causedto appearthroughthe slitin thesame \\-a\’ as \\-ith the previous coin. Patter Suggestion. I n.ould like toshow \-ox a remarkable invention of mine (shoning pzper). I call it the disappearing hole (shon. slit). I doll’t mean that the hole itself disappears; I mean that x:~.thingpushcdthroughthe holc disappears.That is (pickingupcoin), if I push this coin through fromthisside, it nel’er comes c,ut on theother si,de (pushing coin through). You see it’sdisappeared en route (showingback of paper) . Once more I mill push a coin through--and it also neverccmes outtheother side. So, y o u sec, i t meritsitsname of ‘ The DisappearingHole.’(Showing left handempty). If 37011 want the coins back again, all you ha\re to sa>‘ is ‘ gilly gilly coin come ’ and one coin comes back (cne coin appears). I shall now call for the other. You \\:ill notice ,that although it is actuailJjust bctlind the slit (showing back of paper), yet 1;ou still cannot sec‘ it. I haveonly to call ‘ gill!. gill\. coin come ’ and it makesits appearance (coin appears) . [Reproduced from Impromptu,”by kind permission of the plhlisher, Georgc Johnson.; view.
“
scc Fig. 3. The right hand, having pushed the coin through, drops to pick upthe second coin from thetable.In doing so, the wrist turns, and as the hand passes do\s.nwards,the coin is dropped by !the left hand a r ~ dfalisintotherightfingers, see Fig. 4. Fig 3 shows theposition of thchand; at one moment, ancl Fig 4 thc position at the next instant, as the right hand is dropping. The right hand continuessmoothlydown\vard>,and picks up the second coin. In so doing, Number 1 is palmedin the palm prcper. Before inserting the second coin. the paper is turned round to show that there is nothiasatthe back. Coin Number 2 is non. pushed through the slit, and dropped back on to thc right fingers by repetition of the above moves. The next thing to do is to show the paper and tlleleft handempty. ’To dothis.therighthand comes up andtakesthe piecc of paperfromthe
‘~ilcl hold it behindthepaper,
”
“
28
Readers whorecallmy predioti,on effect entitledPrevhue,andpublished in “ Pentagram,” Vol. 1 , No. 7, may be interested in this variation onthesametheme.Letme first briefly recapitulatetheoriginal effect. Theperformer,afterafewquestionstoa volunteerassistant,writes a predictionwhich is droppedintoahat.Theassistantishandeda red,a white and abluesilk,andaskedto tie them together in a chain, ir? any order, and then to hold the chain up by either end he wishes. The prediction,readingfromtoptobottom, corresponds with the order of thesilks in the chain.
missing, andthe set on tophasbluemissing. The mnemonicineachcasecorresponds to theoriginalone. ,411 thattheperformer needs to remember is that he mustsubstituteyellowin the mnemonic for the colour that has been omittedfromtheset,except, of course,forthe set whichcontainsnoyellow. If the reader is familiar with Prevhue, he will rapidlyappreciatethattheextramental effort is very small, while the added effect fully justifies it. The diagram shows the actual lay-out of the billets. ~
~~~
~
AN ACE CHANCE-continued from page 26 Y Y brought to the top by any method you prefer. The W B pack is heldfacedown in thelefthand,anda B W break heldunderthe sclected cardbythelittle . finger. W W Thefan of aces is thenpicked upfromthe Y B table and placed face up on,thepack. The right B - Y hand then takes them off together with the B B selected card.The aces arethentransferredone W Y at time a from thetop of thepacket to the Y W bottom,atthesame time theyareturned face down.Readingfromthetop of thepacketyou -m will now have,the selected card,thethree aces R R in the order you know, and at the bottom the last Y ace. The packet is now replaced on the pack, and W thefourtopcardsdealt in a line from left to right.Thespectators imagine these to be the W Y four aces, but in actualfactthe first is the Y R selected card, and following this are the aces whose R B order,readingfromlefttoright, is known.On Y Y B top of thepackyouhavethefourthace. Next W R R Y ask the spectator to name any ace R W R Y If one of the three you noted is named, then all you have to do is to sco,op iton to thepack -W -B and turn it face up by means of thedouble lift, Thevariationsuggested here consists merely followed by the other two aces without the double of adding a fourth silk, say a yell.ow. Before tying lift.This leaves the select,ed card facedown on the silks in a chain the assistant is asked to take the table. Of course, if you are fortunate enough any oneandlay it aside.Whentheprediction to have thespectatornamethe ace that is not Is read it is in two parts.Theperformer has on thetableatall, just carryonasbefore,but lrritten,forexample, “ You will layasidethe without the lift. bluesilk,”and Theorder of thecolours will Pleasegivethisatrialwithpack in hand, be, red, yellow, white.” and I am sure you will like it. Boththesestatementsare correc,t. The modus operandi is as bef,ore, except that two billet holdersareused,oneineachtrouser SOCIETY OF MENTALISTS pocket.Eachholderhas six divisions, and each division holds two billets, as shown in the diagram. The perforrner thus has four sets of billets easily There will be a MEETING at 3 p.m. available,andeach set is identified mentallyby on SATURDAY, 12th FEBRUARY, 1949 thefactthat it hasonecolourout of thefour in missing.Forinstance, ir, theright-handpocket ST. ERMIN’S HOTEL, CAXTON STREET the set nearest the body has no yellow in it, and WESTMINSTER, S.W. 1. is therefore identical with the set required for the All interested Magicians will be welcomed. originalPrevhue-themnemonicbeing thesame A postcard advising us that you will be present too. ’The second set inthispocket,on tmop of will be appreciated. the other, has the colour red missing. In the lefthandpocketthesetnearestthebodyhas white
1; l
~~
“
29
My son, who is a C.aptaininthe Indian Army, \vas recentlyhomeonleave,andhesuddenly conceived theideathatareputationasa sleight-of-hand manipulator with cards might enhance his reputation in the Officers' Mess. Would I teachhimoneortwotricks that would appear skilful and yet require little or no practice to putover effectively ?---not altogetheraneasy proposition ! However, here is one od the sleightof-hand ( ? ) deceptions that I suggested. First,the effect. A borrowed packis used (this should be stressed, for it rules out any future questioning as to marked or pre-arranged cards). It is freelyshuffled (a gtnuineone,andnothing false about it), and then it is explained that the court cards, being royal, are superior to the nonpictureones,and so theyalways trytoseparate themselvesfromthecommonpip-cardswhenever they find themselves in their neighbourhood. For instance," says the demonstrator, somewhere in this pack which you have shuffled, and which up to this point has never left your own hands, there are four kings, four queens, and four royalknaves. I cannot tell wheretheyare,but if I give them half a chance they will very quickly revealthemselves.Letmeexperimentwiththe kings first of all. My trouserpocket, as you see, is empty,and I placethepackinside.Immediately the kings take advantage of the darkness to separacethemselvesfromthecommoners that surround them, and here they are-one, two, three andfour. We will shuffle thembackintothe pack,and now we will experiment with thefour jacks. Being knaves, they are never happy unless theydothingsbehindotherpeople'sbacks. So this time I will holdthepackbehind my own back, but before doing so will you give the cards another shuffle? Thank you. I place them behindme. I n avery few momentstheknaves force themselves to the front, and here they areone,twa,three, andfour.Onlythequeensare ieft-four ladies, bless their 16ttle hearts ; my own heart goes out to them, and so let me place them here in thisbreastpccket,andasnearto my heartasclothing will permit.First of all, will you, sir, feel inthepocketandsatisfy yourself that is as empty as you would expect the pocket of an impoverished pelson like myself to be. It's allright ? Good. Now in goesthe pack, and here in a royal procession the lovely queens literally force themselves into mmy questing hand-one, two, three,andfour." Theentertainermakes his bow andretires amidst anoutburst of well-merited applause (we hope!). Well, that is the effect. Skilful ? Notabit of it-elementary, my dear MTatson ! '
"
"
But first notice these points, which should be emphasisedwhenperformingthefeat : ( 1 ) A borrowed pack is used. (2) It has not been previously seen or handled by the conjuror. (3) I t is genuinelyshuffledeachtimebefore the court cards are produced. How then is it done ? 0, so simple ! Four kings ( f r o m another pack are placed face oetwards inthetrouserpocket, thefourknavesfromthe same number two pack are suspended face inwards by a paper clip attached to a safety pin under the coat the the back (not too high up, but just high enough to be hidden),andthefourduplicate queens are placed face outward in the upper waistcoatpocket (the onewhere thefountainpen is usually clipped) on a level with the inside breast pocket of thecoat.These concealed cards need not have the same patterned backs as' th.ose that are to be borrowed, for the simple 'reason that their backs will never be shown. The astute reader probably needs no further explanation, but for the benefit of those who are less enlightenedthisiswhathappens. For the production of the kings. The pack is shuffled by a spectator, the trouser pocket is shown empty by the well-known method .of wedging the cards in thetop inside cornerbeforepullingthe liningout.Theborrowedcardsareplaced face outwards in the pocket, then .after a certain a.mount of fumbling and feeling the four duplicate kings are produced one at a time, care being taken nottoturnthemaround so that their backs become visible. Havingshownthem,thehand, still holding these cards, returns to the pocket to retrieve the pack, and, in withdrawing it, the four duplicatekingsarequietlyleftbehind,thepack at once is given an overhand shuffle, the inference beingthatthekingsarebeingagain lost in the pack . It is advisable at this poin't to hand the cards to a spectator with the request that he gives them an additional mix-up--this can be safely done, fsor now thereare no duplicates withalienbacks to give the show aw-ay. Fortheknavestheprocedure is muchthe same, only the place of discovery being different. When hel'd behindthebackit is very easy to secure the four duplicates from the clip under the coat,and to showthemone by one-never, of course, allowing the backs to be seen. The knaves are placed on the bottom of the pack (i.e., faces to the audience), which is then turned round and false shuffled, still leavingthemonthebottom. The right hand palms them off, and then goes to the breast pocket to empty if of its contents, e.g., continued on page 3 1
TheExeter meeting of N.A.M.S.hascome main point whichseemsto have andgone.The arisen is that an increase of 1/ - per capita (bringingthetotalto 1/6 percapita) is necessary to put the Associationintoasolventpositi,on. Such acontributioninthecase of a largeSocietylike the Magic Circle will mean contribution a of approximately S90 perannum. Add tothisthe cost of delegates attending long-’distance meetings, and we shall be surprised if the amount shown in the Magic Circle’s Income and Expenditure Account for 1948/49 is no less than 2150. We mentionthisforthe benefit ofthosemembersof the British Ring who have been in favour of joining N.A.M.S., for with a total membership of 800 (the present figure) the present Ring subscriptionwouldnot cover the cost of joining. Manyreaders kvho aremembers of magical societies in the Association may wonder where the money goes. Part of it, of course, is absorbed in printing the book reviews. Now just a \vord about these book reviews. The present Editor is one of the bestofmagicians we know, but he seems to be hampered in many ways. First of all books for review b y N.A.M.S. seem to arrive about ten months later than reach the magazines, and secondly some of the henchmen are not acquainted with thematterunder review. When \ve read : For the experienced card worker the book contains nothing .outstanding. The only t\\’o amongst the ‘ new ’ sleights which have any appeal to this reviewer are the and the A.N. TopChange,” we feel that we would like to donate a copy of Roterberg’s New EraCard Tricks to the Review Panel. An idea that seems to ha1.e arisen is that the reviews, to justify themselves,shouldbelengthy.Furtherexpense is involved 0u.in.g tothefactthaltthe business meetinghasto be rushedthrough so thatthe dinner,eveningshow,andSundaymorning session are left sacred and untuuchei ; thus it is necessary to have sub-committtee meetings at \.arioustimes of theyear,the officers resident in thecountryandattendingthesemeetings, which areheld in London.quiterightlydrawingtheir cbxpenses from the N.A.M.S. funds. A large amount of thisexpenditure couldbeobviated by morecarefulplanningoftheagenda at the half~ ~ c ‘ a rmeetings. ly ‘ I
”
“
~
I ‘
in Societies has now definitely fixed itsvenue Hollandforthe 1949 proceedings, and we note friend Henk Itithpleasurethatour Lerygood Vermeyden will bePresident. The children’s show at the SIagic Circle was far from a success. Held on the worst day of the war,Januarylst, was it savedfrom magical ignominyby Gil Lemeyandthe clowns. Tony Branson, billed as the Children’s Television Favourite,” makes us realise that television is in a less ad\-ancedstagethan n e thought.Weknow that the Entertainments Committee have for many years tried to have this event in the early spring. Nextyear we areglad to knowthatthis will be 50. \$‘e have alsoproposed that in view of the factthatthis is animportantevent(from thc members’point of vie.!y) that a sub-committee be formed to deal with the question of making this ; i realchildren’sparty.This pro’posalmet kcith approval,andarrangementshavealready been put in handto find a \enue wherecatering as cvell asentertainment is apracticalpossibility. “
Spirit Wehave reviewed JackHughes’s Bell onanotherpage.When we worked this for Jack at the Magic Circle we made use of an auxiliary bell so that the ball could function when the box \vas placed on 2 table.Jack, kve understand,cansupplythe necessarybells,which are well matchedfortone of ring. If we hearfrom Jack that he has had many requests \\e will publish thefull device that we madeup, for there is a bit more to the eft’ect thal: just a battery switch and wire. “
”
”
’The Societiesiricorporated in N.A.M.S. have i n the last few years raised a sum of over ;E2,000 >.early for charity. We feel that a similarsum might easily be raised for Magic. It might make easier the path of promisir?g magic i x ~ ~ its ,could send worth while representatives to o\-crscas Con\-entions. It coulddoahundred and on(’ thingsthatmakeforbettermagic. Thcb
International Federation
of
hIagical
M’orkinglvith Joe Stuthard the other evening had, 111 ccmpany with somelaymen, a pre\.iew of Bi-Co-Trilby. We canthink of no finer tributetoaremarkable series of effects than the foihwing- remark passed by one of the spectators : be raisedfor thc benefit of magic and magicians. You can’t possibly be using a trick pack, becausc. I’1.e been handlingthecards.” Yes,it’sjust like that. \ye
‘ l
Just to hand are some of the names of those appearing in theBritishRing’s Days of Magic shoLv at Conway Hall o n February 14th and 15th. Tht. names are : Billy McComb, Jeff. Atkins, Fred Lovelle, Frank Boynett, Stanley Thomas, Goodliffe, Tom Harris, Paul Ducaine, George S!yvt:stre, Jimmy Kogers, JackLamonte,Jimm)? Green, Robert Harbin and Peter Warlock. Will thosereadersn-hoareinterestedkindly note that in accordanceniththe displayed notice 011 Page 28, a meeting of the Society of Menrtalists \{ill be held on Saturday, February 12th, at 3 p.m. is St. Ermin’s Hotel, sharp. The venue I%’cstmint;ter.
31
handkerchief, ;L slight lifting of the handkerchief pro\i(lingthe m0tiL.e. The resourceful conjurer could for \\-ith \ w y littleeffort ha\re the whole thingset remote control. Exceptionall\\vel1 made 1))- one of ouroldestestaldished and relialjle tlealers, \\-e unreser\.ctll~-recommend it. From the same firm \ve ha\,t: received a S\-engali pack. \Vith the prominence thathas 1)een gi\.en tothe use of thispack \yefeel sure thatthe \\.ouid-be Sven’gali user c m do no better thal; purchaseone o f these. Precision cut,the cards make for exceptionaily smooth hantlling and areo1)tainal)le a t t h e moderate price o f 7/6. ;L
ELLISSTANYON’S “ CARD CASTLE ” (Natleantl marketed 1)y E/iis S t ( / / p y o r / tk ( ’ I ) . , price 50/-. To the cartl \\-orker looking for a stagy finish to his act \\-e can think of few mort’ appealing things than the item under revie\\..Rising as i t does to ;L height of six tiers,antl rising in such a \\.ay that at the fiilish, there is no possildity of collapse, i t is a most impressi\.e sight. Normal\\-orking \\-odd I)e for thecardsto rise untler
JACK HUGHES’S“SPIRITBELL” (Xlacle antl marketettl l)? b r r c - X a Hu!yho.*, price 50/-). 011 this same p3ge \vi11 I)e founcl all technicaldetails of this effect \‘e hadthe pri\.ilege of tryingoutone of the first models ant1 can fully endorse all the ad\-ertiser’s claims. The apparatus is typical J . H . \\orkmat;lshil) ant1 1)arrinp 1);LtterJ- replacementthereisnothmg t o go \vrong or for the performer to worryabout.Inthis class o f effect i t is I,etter thananything \ye have seen forthe Iwll can I)e caused to ring lvhilst the box is -heldin any position;despite thefactthatthe mechanics are tixtremely simple the apparatus 1\41 stand rigid examination. It is attractively finished incream and black. The fact that \ve :)re using this(seenote inMagic G o R0~11ltl) oursel\.es gi\-es theeffectourunreservedrecommentlation.
UNSKILFUL SKILL-continued from page 29 handkerchief, some letters, etc. These are placed on the table and act as excellent cover for thepalmedcards, which are left onthetable beneaththem.Thepack is handedoutforan additional shuffle, for once again it is freefrom anytaint of deception,andthemore it is examined themorepleased u d l be theperformer ! As thebreastpocket rea.lly is empty,hecan safely allow his dupe to feel In it tohisheart’scontent before himself putting the cardswithin.Turning that side ton.ards the audience, he apparently puts
his right hand into the pocket, and draws out the queens one at a time, but actually he takes them from the kvaistcoatpocket-the illusion being perfect. The same hand that holds the queens retul-ns to the breast pocket to retrieve the pack, the duplicate queens are left behind, and the pack is shuffled and then handed out for examination. Nothing could be.simpler, and yet I am confident’thatthisnon-sleight-of-handroutine will gainformyarmy son out in Indiaa repumtation for skilflll manipulation with cardsthathe certainly Iyill notdeserve !
a
Learn Hypnotism.-Anyone call learn t o Hypnotise pro\.itlc.d the\- ‘lcno\\. ho\v’antl are \\,illing t o tle\wte a little time to pxctice. Practical 1t.ssonsin ‘TheWizard’ e\wy month, ivrittenespecial1~- for the Entertainer, l)?. S . E . (1)exterous)Dexter, V . A . F . , T . H . h l . , Also Much GoodMagic, for Alentalists, Children’s Entertainers ant1 Club Performers. Special section for Vents. 36 full\-illustrntetl pages per issuc.. Subscription : 6 months, 12/6; Year, 24/-. George Armstrong, The Magic Wand PublishingCoy., 11 Monastery Gardens :: Enfield :: Middlesex
“
HubertLambert’s VOICEOF THELEPRECHAUN.”
.-\ ft’at
A
“
rncmtalism in \vhich a spcciall>. rc*cortl(.tl gralnophnnc tlihr plnys the chief part.
of
Cotnplete with Instructions, Price 30/-, or Personal Disc Addressing Y o u by Name, Price Post Free, from
35:-.
HUBERT LAMBERT, B e h e , ” Vemon Park, Clontarf, Dublin, Ireland.
JackHughes Goes Psychic ! ! ! THE J. H. SPIRIT BELL
32 THE BEST BOOK ON MAGIC I’VE EVER READ. IT’STERRIFIC ! ”
Coloured
is the verdict of the \vorltl-famous JOHN SCARNE bvith respect to George C;. Kaplan’s
THEFINE
“
Trouble-Wit ’’
Trewey Model Cartridge Paper Stanyon Corners Beautifully (‘olorrrcti i t r fn.5.t ICttit!botc* (’crlolrrs StageSize, used L!- Tre\\.ey,Stanyon,etc., 12” \\.hen closecl Rainbow coloured, 22/6. Plain White, 15/6. l t t t p o ~ t m Hitcts t on operring trnd doxirrg tkc f o l d s irrclrrdcd Trouble \Vit Booklet ; 80 illustrations ... 2/9
ART OF MAGIC.
A few of the scores of other glowing tributesfrom peoplewhoknow : . “It excellentcontentsstaggered me” (Sid. Lorraine) ; ‘‘ ‘The Fine Art of Magic’-Sta~ld CARD TRICKS BY STANYON Card Castle. Base l!, X 103 inches; 6 tiers of cards; 22 u p and cheer (Dr. A. L. Baldwin,Sec’y. I.B.M.); incheshigh; beautifully made\vith t1oul)le cards, “Magic a s i t should be done” (John J . Crimmins, Jr.); 50/-. “These are no idle dreams, but practical effects” ( J . G. Card Castlefrom Hat. 6 tiers; high grademiniature, Thompson, Jr. ) ; “Recommended unequivocally” (Fred Braue) . 30/-. ‘Limit’Diminishing Cards. \Vith pack tomatch, 22/6. Eightycompletetricksandroutinesthat \vi11 baffle: ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. you can do them! C:l,oth, 352 pages, the experts-and (New Bond Cards)\Pizard, 6 / - ; Svengali, TrickPacks. 316 magnificentillustrations, superlAy produced, 37/6. 7/6; Quick Cut and Calculating, 7/6;Colour Change OtherNe\\, AmericanBooks! and Free Choicc Forcing, 7/6; Limit Arranged TARBELL COURSE : VOL. 5 , 418 pages, 5 0 / - ; Hay’s Pack, 7/6. (’YC1,OPEDIA OF MAGIC, 500 pages, 37/6; Wiersbe’s Cartls cut to !.our mv11 specitication. TANTAT,ILIN(; TIIII1IRLES, 1 0 pages, justout, ?O/-; -Rice’sENCYCLOPEDIA OF SILK MAGIC, 520 pages, B O OBKOSO K S B,OOKS \S),’-; Ilhotel’s MAGIC \VITHSMALL APPARATUS, I t is our policy to keep every I)ook OII con~uringant1 320 pages, 25/-; (hultier’s MAGIC WITHOUT APPARstock. \\’rite for free lists. Nost l1.S. allied arts in ATUS, 344 pages, 37/6. PleaseremitEnglish price to books and all Englishpublications instock. our Representative, Mr. Robertson Keeile, 301, Nor\vood Five Shillings equals one dollar-we pay postage Road,Southall, Middlesex, \\rho will ‘ ‘airmail’’ the J’oreY!/m cctctl (‘oloniul c l r . ~ t r ) m c ~ l .px I ~ ( ~ . xlcrvifc’ e t l i t ~ c ~ c * t . 11. I , or-tler to us. and we \vi11 foru-ard the books immediately I t ( 1 r p supplicrl .!5!-46!1P to t l ~ r II‘OIZLIT, .*irrr.c> 1890 from E L L I SS T A N Y O NA N DC O M P A N Y FLEMING BOOK COMPANY, 76 Solent Road, West Hampstead, London, N.W.6. 728, Madison Avenxe, York, Pa.,U.S.A. Y’elephorje : HhAIpstead ”
ARCAS Magical Publications Mr. Smith’sGuide toSleight of Hand .. , .W. Jonson D. Craggs A.B.C. of VentrilaquGA Expert Manipulation of Playing Cards . . ..L.Ganson Testament of R. W. Hull . .T. H.Hall Nothing is Im possible . .T.H. Hall Masterpieces of Magic, Vol. 1 Patterns for Psychics .. . .Warlock Kamut .. .. ., , .Franklin Conjunioring .. .. . .Brearley Willane’s Wizardry .. . .Willanr
Croydon
’
CONJURING BOOKS
101201151 101101316 101216
1 / l single copy
WALLINGTON
ROAD
SURREY
Surrey
Y’elephorre : Wallington 6236 HENRI DE’SEEVAH MMC.. T3”S.. I R M . . SSM(‘. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for hislist of new and used apparatus and books, or call at his studio :l, CLARENCE ROAD Harborne, Birmingham 17
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
PENTAGRAM
”
NEW AND I OLD
VOLUME I.
Binding Prices :CLOTH 516, REXINE 616, MOROCCO FINISH 716
42
*
C. F I E L D Alderson Road, Sheffield
2
MAGIC
Latest Think a Magician A pocket Mind .(Jnl! 2/15 Readi!g Effect “ Orrin’s famous Spider’s Web, . (‘art1 Trick . . 301COINWANDS to moduce a rcal‘coin 16/6 A-fcw Sliding Glue Packs of Cards 819 Send stamp for printedlists of old and new Magic. HEMPSEY SYDNEY de 363 SANDYCOMRE ROAD, KEW GARDENS SURREY Ric 4238
..
Every Advertiser’s goodsare Printed in England for
PETERM‘ARLOCK
BY H E R B E R T W A L K E R
&
the Duke of Somerset,
I.F., D.L.. M.I.M.C.
Vice-President: Dougtas Craggs, Esq., M.T.M.C. Mnseam :
St. Ermin’s Hotel, Caxton Street, S.W. 1. Magical Theatre :
65 MANOR ROAD
No Callers
“
D.S.O., O.B.E.,
ClubroomandLibraryand
PLEASE NOTE NEW ADDRESS
FOR SALE
I“4GICIANS’ BOOKBINDING SERVICE
Prc-itlent : HisGrace
1 1 /6 per year post free
OLD ANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE
l
The Magic Circle
published on 24th of each month
:-
SYDENHAM
WARLOCK’S
PENTAGRAM
1016 101-
ObtainablefromallDealersordirectfrom
404/408
PETER
KingGeorge’s ParticularsfromHon.
Hall, W.C. Secretar!. :
FrancisWhite, 39 Alverstone Avenuz, WimbledonPark, S.W.19
--
INsrIrurE-:
OF
MAGICIANS
I3ranchc,s in London, I’ortmcmth. \\.akeficld. Rrighton a n d Iktroit. U.S ..l. The friendliest o f magical socictirs. No entrance fee, printed club magazine, splendid library. London H.Q. Denison House, 296 Vauxhall S.W.1. (one minrttr Victoria Bridge. Victoria, Station 1. Particulars from Oscar Oswald, 102 Elrnstead \I. ‘ n ~ t t . \i‘. ~nl11c\. I k r k Blitltl’r,v S .
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telrphonc or Telegram : MORLEY 899 Addrcs, :-GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearl!- 30 years in the b u s h e s 23
fully endorsed by this Bulletin SON
( PRINTERS) LTD. WELL CROFT
W O R K S , \\’ELL
CROFT. S H I P L E Y , Y O R K S H I R E
*
33
PENTAGRAM A n independent monthly bulletin for all who want good magic Zeta
W,L.VL~~C&%
-Although thc psychicworker might liketo this,it is quiteacceptable in an ordinar!. magic programme. It is direct and easy to tc~lio\\. Three p ~ c k sof cards ill their cases are intrcduced. Two areremoved,andafterbeinggenuinely shuffled are placed respectively in two stemmedglasses,faces awayfromaudience.The thirdpack is left in itscaseon thetable. Two spectatorsareinvitedto assist, and theirtask is simple,foralltheyhaveto do is tocutafe\\ cards from ihe face of each pack and count them. \&‘c will supposethatthe first cuts twelve cards andthesecond seL7enteen. That’sfunny,” rem d s thecoajuwer, twelve from seventeen lcal-cs five. Do you realise thatwithout knou.ing either of you gentlemen,knew I thatthe difference in your selectior? lvould be ii1.e ! Here is the proof (as he makes this remark the third pack of cards is removed frcirn its case and a third spectator is approached) . On one of these c x d s urote I somethingtothe effect thatthe difference Ivould bc fi1-t. cards. Theconjurer fails tht. pack faces towards the spectaior. Wiii !’ou pleaseremove thatparticularcard ? (The spectator does so.) And now, sir, will you pleaseread whatIhave written ? The spectatorreadsout : I ha\Te apremcnitionthat five \\ill be the difference of numbers cut.” (The \\.riting fills, thecard.) ‘‘ Coincidence,youmaJrightly say,” goeson theconjurer. 111 a way J-OII are right, but just notice that I ha\.(%Lvritten this prophecy on the two of spades.Don’t yc!u ihink it something mGre than coincidence that these gentlemen should have both cul the shuffleu packs atthe identical card ? The conjurer turns both gla~ssesround,andtheaudience see that thc facecard of eachpack is the tcvo of spa des. Thebeautyofthis effectlies in the unsuspected \by theaudiencc) pa!--off: namely, the rc.I.mling of thesimilarcards. LW
“
“
”
“
”
“
”
“
”
“
“
”
consist of Tilerequirementsaresimple,and a rough and smooth forcing pack, two unprepared packs, two stemmed glasses (theseshould allow
the pack when placedinside to protrude at least an inch anda-half), two small pieces of tin cut totheshapeshown in thetopleft-handcorner of theillustration,somecellophanetape, and a soft pencil. Preparation.--We will first of all assume that the force card in the rough and smooth pack is the two of spades. Taking the first two of spades,theconjurer writesinlarge lettersuiththe pencil : I haveapremonition tha’t you will each cut the same number of cards.” On the second : I have a premonition that one will bethe difference of numberscut,”onthe third : Tw’o will bethe difference,” and so OF throughoutth(, twenty-six cards.Thechance of a differerice of more than twenty-six is too remote to beconsidered. I n practice,nine will generally be themaximum.The indifferentrough-backed cards are now placed on top of the force cards, 50 that t\s.clntr\T-.ixpaira lie in frontofvou.Turn eachpairover:andiightly, with a pencil, mark ontnecorner of theback of each force card thenumberindicztedon its face.Takingthe pair that includes the two of spades showing that thetwo cuts will beequal assemble thepack in this order :Difference of 25, 23,21, 19, 17, 15, 1 3 , 11, 9, 7 . 5 , 3, 1. NTOdifference. Difference of 2, 4, 6 . 8, 1 0 , 12, 14, 16, 18, 20, 22, 24, 26. This pack is now placed in its card case. From the other two packs remove the two of spadcs and two indjfferent cards.Placethe little angle brackct OI? the back of each t\vo of spades, secure by means of cellophanetape,andthen giving each indifferent card a coating of glue on its faceglue it to theback of each two of spades. you will then ha1.e t \ i o Dryunderpressure,and two of spades each Lvith a tongue of metal continued on page 34 “
“
“
“
”
STRANGE HARMONY-continued from page 33
protrudingatrightangles(thetongue, incidentally, is totheback of thecard).Each tit70 of spades is now trimmedasshown in second illustration. These faked cards are now plactcl secondfromface of eachpack,andthelatter placed in the respective card cases. The t\\o glasses areplaced respectivelyright and left of theconjurer’stable. Presentation.-The pack of rough and smootil cards is taken and placed in a prominent position, after which one of the packs containing the faked card is removedfromitscase,fanned,andgiven a shume which is genuine, the faked card is left neartheface of the pack. The pack is then droppedfaceawayfromtheaudienceintothe glass which ison theleft-handside of the conjurer’stable.Theotherpack is removedfrom its case, similarly treated, and placed in the glass on the right-hand side. ‘Two spectators art. invited to assist. They areplacedeach side of and just in front of the table. I want you each tocutasmallnumber of cards from the face of eachpack,just like this.”Heretheperformer illustrates by sliding up anumber of cardsfrom the glass.Because thetwo of spades is safely anchored, and because of the cut-away part at the sides,this card is-left on the face (this was describedfor use .as force a in one of Hugard’s Annuals, and seems to have been completely o\w-looked). Turning to the assistant on the other side he ciemonstratesforhim too, and inci“
dentally on each occas:on thecardscut b\. the coajurerarereturnedto tiw front of the glass. Tile position I ~ O I V is thatalthough thy audience and thv assistants areunawzre of this fact, the face card of each pack is no\\. the t\vo of spades. ’The conjurer no\\. positions the spectators saying : Now, I \\ant neither of you to know ho\v man!. cardstheothercuts, so justplaceyour hands round r o m d the cards.” Standing betijeen them. the conjurer places their hands sa that their fingers touchthe sides of thepack. All\mu havetodo is t o just cut a few fromthe face of [hepack as I did. Don’t look at the cards yourself, and pIozse don’t look at eachother, as I want you toactindependently.”Thespectators are so carefuilyplacedthattheycannot see thc facecard, in other words,theirright and left arms respectivel\- are held back at a slight angle. Each cuts the cardsi n an upward motion, and the!, areaskedtocountthe packet theyareholding. Whate\lerthe ans1ver (althoughthe bestone is when theyznnouncethesamenumber)theconjurer picks up the card case on the table, remol’es the rough and srnaol-h pack, and going to another spectator slowly fansthecards in front of him. Withthe pencil mark on theback of thecards, theroughfacedcardbearingthe correctprediction is pushed to one side 2s its position is reached in thefan.The correctness of the prediction being acknowledged, the conjurer goes on to by turning securehissecondandgreatereffect round the giasses and showing the similar cards. “
“
35
pleasure of Icriting downmyexcluChuan’s Wine and Water,” for the Pentagram. Two tumblersnestedtogether,with the top one half filied with water. are seen on the table.Themagician separa,tes them,andholds one in each hand. The water is poured back and forth to sho\v that it is just the usual wet fluid used for the bath.” -4t a commandfromthe magi ( “ magi is short for magician,” and so is correct, in myhumbleopinion,and not the pluralformfortheLatin magus the fluid turns to nine, \Ihich is pouredbackandforth freely ! At anotherbehestthe\\ineturns magical!>- back into \vater, the liquid that turn.s black after ust‘ ! The modus operandi is subtlety plus the use of thetime-honoured dope of phenolphthalein, sodium carbonate tartaric andacid. The phenolphthalein (good for the Spelling Bee) is in the half tumblerful of water. The two latter reagentsmustbe in the crystal form. A teerly
bit of each is fastenedtothetumblersomen.here nearthe top edgewith a bit of transparenttape Scotch.’’ I believe, why I don’tknowyet). The modern tumblers Lvith flower designs on them are the very thing to use for this effect. Be careful to remember which tumbler has the sod. carbonate and which the tartaric, else the experiment \vi11 ilGt work the Pentagram is for magis jshcrtfor magicians and so isright again !) like meandother deep in thedye fellows. more words are not necessary. The adlyantages of thismethodaretooobviousto be stressed. Wonder :vhether J’OU have heard of the magi who had another member of a concert party help himself to drink a framthemagi’s wine and uater set, :S the pitcher and glasses were all laid cut. Gladtosaythatthisstoryhad a happy eEding, as thedope ~ ~ was r d of the “ nonpoisonous type !
Effect. -A number of pecple,say five, are invited to throwdice, cut cards, cr perform some similar charm operation. The two lowest scorers arc inL7iied to ha1.e their luck improved by transfer fromthe ,WO highestscorers.After a suitable ritualforthetransfer of goodluck,bytheperformerasconductor,bytalisman,orbycontact \\.ith the\\inners,thetwo losers tryagain.Their combined scGre hasimproved. Method.-None. Tt is unlikely that the same people \vi11 get the least scores twice running. Put differently, theperformerhasdeliberatelypicked out the tivo people who have had less than average scores. Ontheirnextattempttheyaretherefore more likely than not to score more than they did the first time. Inthe sasmeway,the scores of the winners would most likely be less, if wewere so foolish asto ;et themtry. The experiment !S a demonstration of one of the four classic errors in interpretingstatistics. The others are covered by the following anecdotes: ( a ) The man who was told that twenty less people had been killed 011 the roads this month than last, and tvanted toknowwhothey were ; (b) The nonagcnarian u.ho wasdelightedtoreadinthe offkialstatistics thatvery fewpeoplediewhen the!* areoverninety ; (c) Consternationarose when it n.as learntthat 50 percent. of the teetotLtller:,in theIndianArmyhadbeendevoured b!. tisers, and the other 50 per cent. had died of
fever.This was quitt true, but there were only two teetotaliers in the Indian Army, both of whom had beenunfortunate. The faliacy we are making use of is extremely widespread, and can be seen in action every day in newspapsrs, speeches, and particularly in claimsfor treatments ’’ whoseeffects at best are assessed by means very iiable to error. Presentation. - This is everything. The belief in transfer of luck, etc., by contact is midespreadanddeeprooted.Anyperformer who is tolerably acquainted nith folklore and the history of magiccanmake agoodshow of it.Theonly peoplelikely to r n ’ u f ? it are thosewedded tothe belief thatentertainment begins andends with broadfarce.Readers of Pentagramdonothave to be instructed as to how to devise a ritual suited to themselves and their audiences. To makethe most of the probabilities, itis besttu havethethirteenvalues of a suit(one only ,of each) shuffied and, drawnbythirteen. spectators.Thisnumberhasconvenientmystical connotations..ThedrawersoftheA. 2, 3, then go throughtheappropriateritual to drawthe luck fromtheholders of the J. Q. K. anddraw onecardeachfromthe reassembled and shuffled thirteen. The chances 9.re 1715 to l thatat least one person has drau-r, a higher card than before ; 547 to E5 thatat leasttwopeople have dralvn
I
ha1.c
4r.c effect,
“
“
”
“
“
’ l ) ,
“
”
“
L
k
“
”
“
”
7 ,
“
continued on page 39
&die
36
a -
There is little that is original in the follokving routine, so the best thingtodo is togivecredits on the styk of a film, so here goes :MethodsbyAnnemann,Orville Meyer and Rill Larsen. The coincidence effect by unknown (first shown to me by Jimmie Findlajr). Title from the film Night has 2 Thousand Eyes.” Effect.-The performerstatesthathe isin p s s c ; 4- o n of poivers enabling him to discern what hashappened in thepast, is happeningatthe present, and toforetellwhat will happen in the future. To prove his statementhemust necessarily coniine himself to the actions made known to his assembledaudience, andto assist him in these respects he prod:lced pack a of cards. These cardsarenotto be used as playingcardsbut as a se: of familiar and easily remembered designs. of ascertainFirst tu demonstratethepower ing pastactions,he(theperformer)aftermixing the cardsasksaspectatortostepforward.The performerplaving,thesecardsbehind his back, requeststhisspectatortocutthem and complete the cut lealing the cards in the performer’s hand. Thespectatorthenremovesthe top cardsand places in hispocketwithoutlooking atthe face or permittinganyoneekes to do so. Thisbeing done, the performer, still holding the pack behind him,states t!lat althoughtheaction of the spectator \vas a fen, seconds previous, nevertheless that action is in the PAST. A card is now in the spect.ator’s possessi311, itsfacedesign urlknown to anyone.Theperformer, tc; provethathe possesses thepon’er of unlocking the secrets of thepast, This,” brings from behind his back two cards. hesays,indicatingone, will indicatethevalue o f thecardthat YOU tsokand secreted in your pocket, Vtvhilst this (here he indicates the second card) Ivil! reveal its suit.”Heturnsthecards face up. the first being,say,the seven of clubs, Jvhilst the second is the four of diamonds. That shouldprove thatthecard is theseven of diamonds.”Thespectatorremovesthecardfrom his pocket, and it is seen tobetheseven of “
”
“
“
“
”
“
“
diamonds.
The performer now turns to a second spectator,saying : If I asked you to select a card and immediatelytold you its name,that would againbe ‘ tellingthepast.’ If I told youthat you will select acertain mrd and you proceeded to do so, that would be foretelling the .future, as I s!lould be telling youwhatyou were goingto do. I therefore hadto evolveamethod so that an action of mine is performedsimultaneously n*ith a n action of your own.” The performer now introducesanotherpack of cards tvith abackpatterncontrastingtothe “
already used. The twopacksare p1act.d side by side, the: spectatx beingaskedto choosethe packhe [vishes. The performertakestheremaining p ~ c k . Theperformer now emphasises tnat the spectatol’s actions must be similar and simultaileous Ivith the performer’s. The folloning ac:icJns arc g ~ n ethrough :I . Both shui‘lle thvir respectivepacks. 2. Eachcuts tilt> packheholds. 3. Each places his deck into his right trousers pocket. 4 . Each nojv placeshisright hand intothc pocket and IvithdraLvs a card, keeping it face cl 0n.1-l. 5 . Cards, are exchangedandplacedback i2to the pocket andintothecentreofthe pack in that pocket. 6. Packsaretakenfrom pocket and’ spread facedou,Iiontablc. 7 . Each remoi-esthe stranger cardfrom the spread-they are the same ! The spectator is thanked, and third a requested, \h.ith whom thepack of cards will be used to demonstrate the power of rending the 1-31 that obscures the future. LVith thztend in\.ien. the performertakes one of packs, the and on the face of something rites card one with a pencil. The audience permitted not are to see what he has written. The cards are now ribbonspreadfacedownonthetabie,the spectator being- askedtostand in front of them holding his haild with index finger extended ab3k.c the spread. ’The performer shows him csactly ;\hat kcs means. Now, sir, please mo\’e your finger b;c!r\h.arG al?d forwardsaiongthe spreadanddrop it whe!l you wish on anycard thatyoufancy.”Thespectator doesthis, and is asked tori-’rno\re the card and look at its face. Or] it iswrittc:;1 : This is thc card that 370u \vi11 choose. Thc1s tne performer has prolyed his ability to foreLe11 the fcture.Thespectator is thanked, and ,tile performer gathers up the cards, casually displayingthem to show thatthey a r e normal and freefrom any writing. Remarks.-Three actual effects areinvolved, none, as I ha\:c stated before, beingoriginal u.ith myself. The b1endi:lg of these effects into one routine has Increased their effectiveness. The 7.vhole effezt makes atest of mentalism thatfor a n intimateaudience is direct,appealing,and is well remembered. Requirements.--l. Two decks of cards with contrasting-backs (say:redandblue).The first oneto be used is stacked in SiStebbinsorder. TWOduplicates, Lvith backstomatcheach pack (say,king of clubs). 2. A pencil. “
”
“
“
”
continued on page 37
37 3 . -Another pack \\.ith backs match to either of the previous mentioned pack. This p c k . Ivith theexception of threecards,hasthe \\.ords This is the card you will choose," \vritten i l l thetopleft-handcorner of the face o f each c a d . Of the three excepted cards, one is pencil dottedontheright-hand left upperand lou.ercornersontheback,and is thenplaced in the middle o f the pack. The two remaining cards ::re pi2ct.d rcspectively a t thetopandbottom of thepack. Preparation.--The arranged pack is placed in ;eft jacket pocket. Pencil in left jacket pocket. The Iiritten on pack in right jacket pocket, faces tolvards thebody. The t1i.o duplicateare plzcedback outwards in right-hand trousers pocket. Redbackedfirst, tilt. blue on top. Methods.falseshuffle. T h e Past.---Pick up packand Cards pl2'cedbe!lind b x . k ancl cut b3' spectator, n.ho rcmo;.cs topcard,placing it in hispocket. 14,'ith thecards still behind his back,theperformer counts to the tivelfth and thirteenth cards fromthetop.Thetwelfthcard will showsuit, \f*hilst thethirteenth will give thevalue of the chosencard.Please note.-Do notremovethe twocardstogether,butrather give theaudience the idea that you are searching through the pack for correct indicators. T h e Present.-The second pack is non' brought from the pocket a1;d the spectator offered choice of eitherpack.Thesearethe twocourses of action open according to the pack decided upon by the spectator :l .-If the spectator takes Red deck :Performertekesblue axd places it in righthandtrouserspocket.PutredKing of Clubs in ce:ltre of bluepack.Theblue-backedKing of Clubs is broughtoutandhandedtospectator.
Take his card, place it inpocketandleave it there when pack is withdrakvn. 2.-Ehould spectatortaketheBluepack :Performer takes red pack and places it in his pocket. The blue-backed King of Clubs is pushed intocentre of thispack,thered-backedKing of Clubs beingremoved andhandedtospectator. Hisbiue-backedcard is thentaken,placed in pocket,and left thereaspack is withdrawn. In eachcase when cardsareribbonspread, the stranger cards are of course the same. The Future.-After finishing the previous part of the effect, pick up with therighthand deck that matches the Written on one in the right-hand pocket. Place both hands into left and right hand jacket pockets simultaneously and almostinstantaneouslywithdraw, left hand holding pencil, and right hand holding written on " pack, the previously used pack being left behind. C,oniidently andsmoothlydone,this switch is indetectible. Casuallyfanthecards,,the writi,ng in the cornerbeingconcealedbythefacecard. Now turn the faces of the cards towards you and pretend to urite something on the face of a card near themiddleofthepack,atthesame timestating the fact that you will try and foretell the future, Now give the cards an overhand shuffle and in so doingreverse the position of the top and bottom cards. Againcasuallydisplay and ribbonspread cards the face down on table. theIn demonstratingwhatspectator is requiredtodo, let J'cJur finger drop on the pencil markedcard, pull it out of spread and place one on side. The spectator now moves hand his spread, acrcss the finally allowing his finger to drop on one card which is removed and shown to beartheprediction. The Future has no secrets fromyou.Slo~vly pick up packwriting side doiv11 and casually fan the pack, and so that nith no comment and in an indirect fashion pro\-h g that there is no writing on any other card.
Much interest has been aroused recently concerning this well-known illusion. and following the t'xpose in "alter Gibson's book which \vas recentlypublished in this country. It would 1 1 o w appearthatthePressand Public will not be satisfied until illusionists saw a I understand that \\Oman in half lengthmise. efforts arebeingmadeto seekasolutiontothis aew way. If your knotvledge is thesame as mine,you will probablybeunderthe impression that this really is a new departure for this illusion. I havecorrespondedonthematter kvith my \7ery good friend,StewartJames, of Ontario,Canada. Stewart, whose knowledgeonmattersmagical is
I'ery great, has nrittenand sent meinformation on this subject which I thought would be of interest to readers of this b1111etm. appears It that the American magazine Science and 1i:rYeiltion held a competition back iil September, 1929 (20 yearsago,mark you ! j and offered 250 dcllarsinprizesforthe bestsolutions. It is mostinteresting toreadthat in response there were more than 10,000 entrants, and the first prize ivzs awarded to a Mr. Illich. Likeali il!usions, the solution dependson theconditionsattached. In thisparticularcase, the lady \vas completc1~~ enclosed in a casket Ivith
"
"
"
"
"
"
"
"
continued on page 39
38
February l , 1949. D e a r Goodliffe!
attemDt This is not,asyoumaysuspect,an word. It is submitted for yair Magic Mail column,providingyouthink it warrants publlcation on its own merit, not because of personal friendship. Goodliffe’s remarks anent my criticism of book reviewers in theDecember issue of Pentagram, just at hand on this side, were, .as always., concisely accurate.But his charmingfrankness only seIved to emphasize another shortcoming of the clan. Specifically, must one’s interest in magic supersede the tenets of fundamental honesty ? to havethelast
”
I ‘
HARBIN’S UNCANNY MATCHES, Price 4/-, post free from fto//r,rtHorhitt, 95, Marsh Lane, Nil1 Hill, Lorldorl, X.IV.7.
TJncanny is the right wordforthis ei-fect in Ivhich the performer takes a number of borrowed matches and 1)alaIlces them on the edge of a table or match box. The performer right away and yet without any contact the matches tip and fall off. We feel sure that those readers \v120 like to present something illustrative of mind over over. Quite honestly the matter will not pass this effect is a gift at the price. It can, of course,be used a s ;l detector of a chosen card, say six cards being used a 1x1 onechosen.Thecardsare placed alongtheedge o f thetableand six matchesareborrowed,onebeing card; thematchthat now tipsup Inlancedoneach designates the chosen card.There is nothing t o go \\-rang, andeverythingcan be examined. TVhen writing just mention the Pentagram.” Like Dippy Magnet,”this effect \vi11 earn you a 1)igger reputatmn thanvoudeserve.
For instance, 1 rtcently submitted a series of articles t o four nlagiciarl friends with a request constructive for criticism. ’Three redies ecstatically (proclaimed mJeffusions asthe greatest thing since theKingJames translation of the Bible.’ Fhioney i FredBraue,Hugard columnistcoilaborator, was the wle exception. Prefacing has remarks with aqualifyingevasion,Braue said, in effect, Seil your typewriter.” bVe conti1;uc 10 bc good friends. Honesty is an essential luxury even amongst maFicians. And that, intense as i t may sound, am t no Chinese rr1ax11n. Sincereiy J‘ours, Uob (Robcrt Lnnd) . ’
“
.
straight stipper deck a r e phrnomenai. The sample of cards sentto us, islike the S\.engali deck that \\e had uncle:re\.ierv lastmonth, typical of the house o f StaIlyon, a 1 1 excellent product being precision cut. II’ith the tleck comes a printedfoldergivingtheparticulars of some forty effects possil)le lvith thispack. An excellent1)uy. Messrs. Stanyonha\-e also just released a ne\\. list of Englishand American Imoks. If you are in sea:ch of that hard t o get edition,\\,rite for a cop!-. “
”
. ~ ‘ t v t t v ~ ~r tU
“ MAGIC OF THE FAMOUS,” l)!/ S t r t c < / r t J ( 1 t t / P . * , price five shillings (ohtainablefromFrancisHaxton, St.Anthony’s,”Nonsuch Walk, Cheam,Surrey). In this manuscript, Ste\vart presents three proI)lems, that ha1.e as theirkeynote Edgal- Allen Poe, Le\\.isCarroll andtheSaint.The first effect is a cartl rffect in \\.hich the names of selected cards are revealed i n a piece of \.erse. The second is a cunning \.emion of a magic square,\\-hilstthethird,and in ouropinion. thebest o f the bunchculminates i n a prediction that should 1 )e mnem bered.
ELLISSTANYON’S “ STRIPPER ” PACK, price 6/-, from Ellis Stanyon & Co., 7 6 , Solent Road, West I lampstead, N.W.6 Thestripperdeck,despitetheexcellentnorkon it l ) \ - Hugard ancl Braue in the hliracle card series. s&ms t o hd\,elostcaste with preseat-clay conjurers. It is certainl!. not because they disdain faked cards hut ratherthe case of the sheeplike attitudethat is so pre\-alent. The effects t h a t can 1)e o1)tainetl with a
Effects in\vhich elastic 1)antls encircle a pack of cards arcnottoonumerous.This effect is as follo\vs : A card is wlected,returnetl to the pack which is freel!cut I)y a spectator. After 1)eing encircled \vith a numher o f elastic l)ands, the performer places it 1)ehinclhisback momentaril!-. Bringing i t forn-ard almost instantly, the performer sho\\.s thatthe cardselectedhas La.ltr.11 the place of the c a d that \ \ a s previouslvon the face. The effect emlxaces a couple o f princip1t.s that \\-ill l w ne\v tomost.The \\.rite:- gi\.es t\voother 1-ersions ant1 also a method \\here the selectedcardescapesfrom the packlvhilstIxmded. The effects arefull\practicn1)lt~ ant1 call for little more than good sho\\mianship to extractthemaximum of m!-ster!.. In a nt‘atl!- printf.tl a n t 1 illustrated I)ook, together \\.ith a specimen gimmick. this represent5 a useful addition to the Tvorker \\.l20 \\-ants a some\vhntdifferent t 1 - p o f card effect.
“
THE
“
TRIPLE THREAT POKER DEAL,” h!/ N I P S , price fiveshillings. This is ohtainable from FrancisHaxton. Inthelast tn.el\re months,Steuarthasadded a greatdeal tothe science o f the magicalpoker deal. Eachtime we think that he hasreachedtheultimate, ; t u 1 eachsuccessive time we are forced toamendour clecision. The present routine enables the performer toobtainthehandthat he predicts,despitethefact thatthespectatorcan designate thestart of the deal for each round. Fair enough, you mav say, hut listen . . . the effect is .repeated ! The method is straightfor\vardand \’er).simple, ant1 is stonglv ;ecommcntletl. “
“
”
“
39 S A W I N G A W O M A N IN HALVES-continued the exception o f her feet and it will be enlightening to many ma;,icians tolearnthatshe was cntitled to \\’earapair of jackboots. -4rising out of this re\ived interest,Stewart has sentme a solution i n which the boxfalls apart beforethesawing is completedandthis, I think, adds very greatly to tht. effect. It uxs, d s o of furtherinterest to learnthat the ivell-knomm American magical genius, Winston Freer, also originated a method in which ;L spectator \ j x s 3s;ed. Afterthe operation,he is restored to normality\\iihtheexception of the saw cutrtmEining \.isible downthecentre of his face.E\,entunily rhis disfigurement is caused to disappear. I sincerely h o p thatreaders of thisarticle
frott~page 37
-4gai1-1ive dedicate t h i c aFebruary issue to Ted.,\nncnxnn. -4notheryearhaspassed(for 11s all too quickly)and it is onlytooplainthat in the passing of this year, the name of Annemann hasreachedout still farther. To readback in t!le oid files ot the Sphinx ”, some of the ideas he contributed when butayouth is to realise that hehadexceptional gifts when only a boy. To us, his Test of theTiber standsoutas one of his finest conceptions and it is amusing andillustrative of the ignorance of so many that theeditor of oneSociety j o u r ~ ~ athe l , Magi, onl3the other month, regarded this as new. We s!lould have liked Terl. to have x e n Maurice Fogel, for he more than anyone dse we know has taken some of Annemann’s ideas to a height that they naci neverbeforereached in this country. Ourremarks in our pre\.ious issue regarding N.A.M.S.havebroughtforwardremarks f;om certain.quartersthat ute areanti-N.A.M.5. ‘iVe will counter that with the reply that we are proMagic. All \ye ask is thatthedelegatesrepre5enting the many Societies that make up N.A.M.S.erect a solid edifice that will benefit in everywayrnagicandmzgicians. One reader told us that we had overlooked the pablicity that emanated from the Exeter meeting regarding Sa\\ing through a Woman.’’ It is txue that despite the efforts of thePublicity Officer, N .-4.M.S. bc.c,lme front-pagereading in one of the Sundzy newspapers, but what publicity! I t came from a joking remark without a basis of fzci, the repercussions of which cost Bob Harbin a bigpresssplash for’ his new challenge lrersion of SawingthroughWoman.” a If N.A.M.S. Is stuck for food for thought the followingpointsdeserves its, attention :( l ) The introduction of legislation preventing exposure of magician’s secrets to thelaypublic (thereturntoParliamentaryprocedure of Memb e n introducing Private Rills is timely for this) ; “
“
”
“
, ‘ I
uill h a w iound dlis information of interest. Science andInvenP.S.--’l’hc. cor,test in tion was run by Dunninger. “
”
~~
~~~~
~
~
~~
CONTAGIOUS LUCK-continuedfiomgage 35 a higher cardthan before : 250 to 179 that all threehave dra1I.n higher cards than before. Sinceeveryonebelievesthathehadbuilt-in bad luck and is extremeiyproud of thefact,’’ thosewho do notimproveunder this treatment Iyill be dellgiltc-d if theperformercomm,entson the srubbormess of their ill-fortune, and will almost aiMays agree if he asks them if they happen to be persistentiy ~ ~ n l u c k y . RORERT FAIRTHORNE.
( 2 ) An enquiry into the recent attitude of certain conjurers in di\-ulging to the press certain secrets andattemptingto discredit professional conjurers(the Helliwell and Wennellcases and thematter of a certainManchesterconjurerare t.he ones we ha\le in mind) ; ( 3 ) To attempt to elevatemagic(wehave icft out “Art of by the encouragement of promising performers in worthwhile competition. Somethi:lg iike t h e Drama League Festival is \\hat we have in mind ; ( 4 j To adclpt aIi idea of our gnomelike friendGoodlifie of payingthe full expenses of \vorth\vhile repiesentat;\ es who visit other countries. to elevate It is amazing how thatphrase the Art of Magic appears in so many books of Societies’ Rules. Often we thinkthat someone has pressed the wro:lp button of the elevator and ,4rt has take11 ado\vnwardplungepast ‘the ground floor. T h c meeting of the Society of Mentalisis (now named the Fellowship of Mentalists)duly met on Saturday, February 12th. After the sabotage by the RulesCommitteeappointed last year it was decided to start afresh. The new secretary isWill Dexter. As soon astheRulesare re247 a further statement wili be issued. Tickets for the Magic Circle Banquet are going \.cry quickly. The arrallgt1ments are in c.xpc.rI hands, and an excellent show can be cxpectcd. We arepreparingforpublication in another journalanarticle on Magicians in Pantomime. IVe should be verygratefulfor any information regarding this topic for theperiod 1900-1915. M;e should ilhe to call burreaders’attenti.on to the announcement in Messrs. Fleming’s advertisementregarding.the increase in cost o f theTarbell course’.
”>
“
”
‘ I
”
40
F L E M I NB GO OC KO M P A N Y , 728 MADISON AVE., YORK. P.A.,U.S.A.
ARCAS Magical Publications Mr. Smith's Guide toSleight .. . . W . Jonson of Hand D. Craggs A.B.C. of Ventriioquism Expert Manipulation of Play. . L . Ganson .. ing Cards . .T. H. Hall Testament of R. W. Hull Nothing is Im possible . T. H. Hall Masterpieces of Magic, Vol. 1 . .Warlock Patterns for Psychics .. , .Franklin Kamut .. .. . Conjunioring .. .. . .Brearley Willane's Wizardry .. . .Willane
PETER
1016 10/-
CONJURING LIST FREE
20.'-
-
:--
STAMPED ENVELOPE Callers ____- -
--
G E O R GJ EE N N E S S 47 INVERNESS AVENUE. ENFIELD,MIDDLESEX
MAGICIANS'
NEW AND OLD
BOOKBINDING SERVICE "
PENTAGRAM
"
VOLUME I.
*
C. Alderson
F I E L D Road, Sheffield
2
I
MAGIC
..
Every Advertiser's goods are fully endorsed PrinCedIn England for
PETER W A R L O C K BY H E R B e R T W A L K E R
&
SON
( P R I ~ T E R SLTD. ) \\\'ELL
:
FrancisWhite, 39 Alverstone Avenur, Wimbledon Park, S.W.19
Latest Think a Magician .\ pocket Mind . .. ..onI) 1/6 Readi;g Effect Orrin's famous Spidrr': Web, ('art1 . . 301'Trick to product a rval ' c n h 16/6 COINWANDS A f e w Sliding Glue Packs of Cards 8./9 Send stamp for printed lists of old and new Magic. SYDNEY dc HEMPSEY 363 SANDYCOMRE ROAD, KEW GARDENS SURREY Ric 4238 "
Binding Prices :CLOTH 5/6, REXINE 6/6, MOROCCO FINISH 7/6
42
King George's Hall, W.C. Particulars from Hon.Secretar].
HENRI DE'SEEVAH hIhI( .. ms., Ii
BOOKS FOR S41!1
No
:
Magical Theatrc :
65 MANOR ROAD WALLINGTON SURREY
-
10, 2,'6
or directfrom
and Library and hllw~~lm
St. Ermin'sHotel, CaxtonStreet. 5.W.I.
PLEASE NOTE NEW ADDRESS
31'6
l
FOR
Vice-President: Douglas Craggs, Esq., M . 1 . M . C . ('Inbroom
15;'
10, 10 ,'-
NEW. Let me know your wants
. .-
l + q'clc,nt : His Gracc the DIAe o r Somerset, D.S.O.. O.R.E.. I.F., D.L.. M.I.M.C.
of each month
1 1 singlecopy 1 1 /6per year post free
10:-
404/408. SYDENHAM ROAD
OLD AND
The Magic Circle
PENTAGRAM published on 24th
'
ObtainablefromallDealers
WARLOCK'S
INSI'ITUTE
OF
MAGICIANS
I:ranc!l. \ i n 1.c.nclon. I.'orts~nouth. \2'akcfioId, Z r i : < h [ o n and I k t r o i t , lJ.S..4. The, fric.ndlic5: c ~ t~nagic'al~oc'it~tirs. No ctntrance Ice. prinicd club magazine. splcndid library. London H.Q. Iknison H O I I S ~296 . Va~rxhall Rridgr. Vivtnria. S.W.I. (one minrlte Vic.toria Statinn) . Particulars from Oscar Oswald. 102 Elmslvad 1 ~. ,,,,,, \I' . I-'. . ' 1 : !.;'+.:I. >i L ! -
\;
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Tcl(~phonvnr Telegram : MORLEY 899 Addrcss : -
23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Xear1:- 30 Jx-ars in the businc.5
by this Bulletin CROFT \VORKS,WELL
<"ROFTI SHII'LEY, Y O R K d H I H t
*
4.1
PENTAGRAM Editor’s Note.
It was way back in December that Joe told
us version of the burnt note trick, and we
about this had his promise that we could publish it. Actually as the reader w i l l find out for himself Joe has decribed three versions, one o f which shouldbe suitable to yourself. In the company of several knowledgable magicians we saw its first performance, and ule know that it had them wonderingwhilst the l a y audience were dumbfounded (P. W.) Effect.---The performer takes from his pocket three envelopes that are respectively numbered in largefigures 1, 2 and 3. A member ,of theaudience now is requested to choose one of the envelopes, and supposing that 2 is chosen, this is placed in full view on the table. Quite c:.b\*iouslywe shan’twant No. 1,” remarksthe conjurer(ashe says this he tearsitintopieces, throlvingthemonthe floor). Neithershall W \\.antthis,”andenvelope No. 3 is alsotorninto pieces and discarded. A ten shillingnote is asked for,and onbeing handed to theperformerthe !ender is asked to notc the number. Taking another erl\.elope from his pocket,the note is placed inside without being folded. The audience is asked to remember the number ivhich is repeated,andtheconjurer goes on to say : I Ivonder n.hether you know that owing to the losses that have occurred through bank notes being burnt the Bank of England have recently used a special chcmical process to render notes non-inflammable. Let me s h o ~ v3 7 0 ~ 1 . ” At thispointtheconjurer removes ;I lighter from his pocket, snaps the \\heel :incl setslighttoone corner of the envelope that heis holding.The enlrelopc startstoburn,and when it reaches the corner held bytheconjurtr there is a f:ash. iVell, sir,”saystheconjnrer, addressing the lenclcr of tht. I:ote, it seems that the?. put the wrong chemical i n your note ! Tht. ~ n g l eof accide:?t is built up until finally the conenr7elope that has been resting jL1rt.r picks up 011 his table. Hal!diug it to ;I mtlmber of the audi“
“
“
“
“
”
t h t h
ence asks him tu open it.Thespectator does so, f i d s inside a note which onacheck of number prcyec; to be the one borrowed by theconjurer. Thelattertakesit,andadvancing to the lender remarks : And this, sir, I believe is the note that J ~ O Ugave me. Is thatcorrect ? Thespectator ansv ers intheaffirmative. Method No. 1.-In thismethod the,re are many n h o 110 doubt xi11 regret that the lender of the note is a stooge.” This, howl-er, is the method used bythewriter,and which to him offers the best effect. The two remaining methods to be describedmake the performance a one-man set-up nithout losing anythirlg ineffect. Presentation for Method l.-Three envelopes are nrst t&en and on the front of each the figures 1 , 2 and 3 respectivelyarcdran-norpainted as large a:; possible. Three ten-shilling notes are taken, their numbers being noted, and after being folded to one-eighth of their normal size are placed one in either of the lolver corners i n each tm:elope. Thelatterarethensealed. The perfonner must make certain which note goes in each envelupe. Threeother en\x4opes aretaken,and, treating these as l a , 2a and 3a, along the bottom c f each are ivrittcn in soft pencil thenumbers of he noteslodged in envelopes l , 2 ar;d 3, so that 10 make thingsquiteclearenvelope l a has pencilled 011 it the numbcr o f the ten-shilling note i n cn\-elopc l , and so o n . In one of the lou.rr corners ol each of these emptj- envelopes is now ~);.tct‘cl a small pieccx oi foldtd flash paper,after T,\.hich the en\.t.lopes are placed in the performer’s iilsidc breast pocket.Thesealedenl-elopesare piaccd c11 the table, the stooge is given an imitntio:1 nc,tc (stage nmne!.). With a lighterin ont: hi.: right-ham1pockets theconjurer is read!?or tile Presentation.----The three numbered en\’elopelm: first picked up, s h o w , and one se’kcted ; the scl(rtccl one is plncccl so that it can be seen all tht. “
”
“
rjf
conti~lurdon pugr 42
42 F1RE ALARM-continrted
from page 4 1
time by the audience.Theother two en\lelopes a r t torn first into tn’o andthcn if you like into fonr, the folded notes, b y reason of their position in the envelopes, offering no obstruction during thetearing.The pieces arethendroppedeither
to the table or floor (doll’t forget to pick them up at the end ; they are worth a pound to you!) This tearing of the envelopes is the thing that is remvmbcrcd by the audience when you have finished the effect. The note is then asked for. bringingoutthe and tiw ‘‘ stcogc’ obliges phoney note, and at the same time the conjurer’s lcf: hand goes inside his pocket, locates the ell\-elope corresponding to the one selected and brings i t out. Taking the phoney n,ote, and without folding it,theconjurer places it inside the en\-elope. At this pointhe asks the lender to note thenumber.Forthispurposethe envelope is handed to him,andpullingthe noteslightly out of the cn\Telope, he actually reads the number written on thebottom of the enldope. Someone elsc- is asked to note this, the note is pushed back intothe emyelope, the flap turnedover,sealed, andtheperformerreturnstothestage.Holding :hr. envelope by thecorner,theperformerstarts his patterregardingthein\,ulnerabiIity of neunotes to fire, and at the same time takes with ,his righi hand a lighter from his pocket.The lighter Is lit andthe flame appliedtothe envelope that the conjurer is holding (it should beunnecessary to add that the corner held by the conjurer contains the Aash paper).The envelope with its ?honey note inside is allowed toburnrightout, the resultant flash from the flashpaper gets a big laugh when the conjurer brings in the line, ‘‘ They must ha\,t: used the wrong chemical!” All that (311
”
b
~
*
rclmains n o ~ vis for the chosen enlvelope to be opcl;led, the gcl:luine note taken out and the number checkcd.
Method 2.-Three emdopes are prepared by piacixg notes inside as in Method 1. About a dozen similar sizcd emelopes are taken and stackcd w i t h the flaps protruding (see illustration). The top OIIC of the stack now has the flap folded lmck (aotted lillcs she\\. this), ivhilst the three en\~eIopesimmediate:?; llnderneath aretreatedas l a , 2a and 3a, with a slight addition ; that is to 5337, a m a l l piece o i flash paper is placed in each,thenumh,$rs cf the notes in envelopes l , 2 a x l 3 are pencilled on thebottom of each.The addition is that n piece of tissue p a p a or a phoney note is placed in each en\,clope. Thealteration in the Ivorking is thatafterha\.ingan en\yelope chosen and the other tivo being torn up, the stack of envelopes is picked up.Aspectator is asked for the loan of a note, and taking it the conjurer places it in the top envelope. The stack is tipped towardshim, flaps attopand accordingto the originalenvelopechosen, the conjurer takes hold of thecorresponding flapwithdraws it from thy stack,thelatter being placed on the table. (This ib the old envelope move applied to three tbnvelopes instead of the usual one). At this stage theconjurer remembers thatthe lender hasn’t noted the number, so partly withdrawing the fake cote from theenvelope,thenumber written in pencil on the envelope i s read aloud and noted by the spectat,or. From that Foini the effect proceeds as in Method 1.
Editor’s Note.-We \\.ould make a suggestion that would avoid using three envelopes,namely that the three numbers be written on the top ( f l a p folded back) envelope, and that as the performer takesthe note and goes to place it inside, he pausesandreadsouttherequirednumber from the top envelope. Method 3.-Thisis for use when playing a good date.The set ‘ u p is a s in Method 1. The ten shillingnote is borrowed afterthe requisite envelope is removed from the inside pocket. The rlumber is read out as the note is in the process ot beingplacedinside. The note is sealed in the t:nvelope andthe wh.ole lot really burned. This rrlakes it a fairly expensive effect over here, but in Canada and the States where dollar notes are i n use one wouldn’t worry so much. Incidentally, when I go to give back the note I remark ,“ and this is the note that the gentleman gave me. Is that correct, Sir ! This is, of course, acknowledged. You heard wh.at the gentleman said. . . . . this is the note that he gave me. . . . thank you verymuch,Sir.”The note is taken back by me and is placed in my pocket. This gets quite a good laugh, after which the note is of course handed back to the lender. ”
“
This cffect is based 011 Hicidt.11SI!-stery by Herb Kunyie thatappearedin the Jins. The contribution was spoken ot highlyby -4:memann attracted my attention as a direct aild enterxining myster!.. InHerbRungie’sversion, howr\.er, the inclusion of duplicate and stranger cards -$“as necessar!.. V’hilst appreciati1,g the use to hich duplicatescan be put 1 am personall\: Allergic tothem. I ha1.e accordinglydevised the ioliol\ingroutine\\.herell>-thecffect can beperformed impromptu. ‘
Effect.-The
I
”
performergenuinelyshufflesa
p a c k o f cards or if prefc-md tile shuffling may be
:loilC by a spectator. The pack is now handed to a volunteer assisiant after the performer has removed from it the joker.Theassistant is asked to dealthecards ,111 to the table in a face d o ~ packet n and to stop $1-henel-erhe pleases. If necessary the performer’s Sackmaybeturned \:.bile this is beingdone. \\’hen the assistant stops dealing he is instructed to look at the last card he dealt, drop it back on the packet, then drop on the balance of the pack, a t and complete the cut, thus losing completel~~ the position of his card. The pack is then handed t v a second spectator \vho selects a cardin a similar manner burying it by cutting the pack. The performer now takes the pack in. his left hand and picking up the joker with his right hand Announces that he lvill, behind his back, :.ndtla\,our to thrustthejoker face up intothe pack at the position occupied by one of the chosen cards. This he does and on bringing the pack to thefront,spreadsthecardsandhasspectator X o . 2 removethejokerandthecardfacingand immediatelyaboveit.Onturningthe two cards ()\-er he: discovers thzt the joker is facing the card he selected. Theperformer now takesthepackasain in hislefthandandtakingthejokerfromthe spectator he places both the pack and joker behind his back and oncemore thrusts the joker faceupintothepack. U’henitis broughtonce more to the front the pack is spread again and the nrst spectator invited to remove the face-up joker 2nd the card above it. He also finds the joker is face to face with his card. Requirements.--A pack of cards containing a ‘’
corner short.”
Method.-Thc cornershortcard is shuffled to thebottomofthepack. If ~7ouprefer to have a spectatorshuffle,which I donot c o n d v r necessary, J’OU will ‘have to cut theshort carcl tothe
bottom of thepackbeforehandingit volunteer No. 1 .
to your
Instruct him to deal a number of cards in a face down packet on the table, look at the top one is and replace The it. number deals he immaterial.Hethenplacesthebalance of the “ short ” card deckon top,thusplacingthe directly on his selected card. The cards may now be cut any number of times without disturbing the relationshipbetweentheselectedcard and the short card.Finally,theshortcardislocated by the performer and the pack cut one card below it, thus bringing the chosen card to the bottom. The pack is now handed to volunteer No. 2. He also dealsand selects acard in asimilar manner to No. 1 volunteer.‘When he dropsthe of his card and cuts balance of the pack on top Lile pack you now havetheshortcard withthe two selected cardsunderneath.Thepackmay be cut any number of times, but finally the performertakesthepack, riffles to the short card * andcuts twobelow anddropsthepack on the twoselected cardsat table. Now youhavethe thebottom.Pickingupthepackandthejoker YOU place both behind your back, place the joker on top, face up,andcutthepack.Thisbrings the joker face to face with volmteer No. 2’s card. No. 2 \$,‘hen the cards are fanned and volunteer removesthejokerandfacingcard,separatethe pack here and in re-assembling place the top half underneath.Thisbrings \.olunteer No. l’s card to the bottom. in the Theprocedure of thrustingthejoker pack is gone throughas withvolunteer No. 2’s card. Thus when heremovesthejokerandfacills card he has but to turn them over to discover his card.
* This riffle should not be obvious. In factit neednot be a complete riffle. If theyerformer squares the pack it is possible ‘to sight the cornershort.Knowing its position and holding the packfilmly in thelefthand place theright thumb at the inside end of the pack and the first finger overthetop of thepack,just below the By slightlypullingbackthecards shortcard. Ivith the forefinger and releasingthem as ina To the riffle the pack will cut at the short ‘card. spectatortherehasbeen no riffle and this is a decided advantage in the presentation.
44
This‘billet switch is based on Blackstone’s “Pick-up,” and can be used for billets of varying sizes. I find2in. to 23in.square is a convenient size. The billet should be folded in half eaclh way and then again in half one way, making an oblong packet.Thedummybillet is foldedtothesame size and is clipped by one cornerbetween first and second fingers of right hand, nearer to the second jointthanthe first joint.(Seeillustration (1) ) .
First and second fingers arc cuppccl round it, and billet is inclined tc;\,\arcls base of thumb. Thirdandfourth fingers project a little. Hand is heldpalm down. Ha1.e theother billet ivritten and folded as above.Takeit from theuriter between thumb and tlziv‘l finger of right hand. Littlefinger then encircles it anddraws it intopalm, while the thumb releasesit, and coming upunderdummy billet, raises it into I-iew above edge of first finger (illustration (2) ) . Dummy is then gripped between first finger an,d thumb, which slides ny to take a grip on the corner quite naturallJ-. In this position. right hand (still palm dotvn,! can safel!. beextended to athirdparty, offering him the dum,mybillet, or betterstill, it can be droppedintoa wine glassforhim‘to hold,or placed in 2 pair of tweezers.Genuinebillet is perfectlyconcealedinright palm. Xow for the glimpse. Under cover of a turn genuine biilet is openedagainst and raise left i\ri.;t thepalm.Turnfrontagain, to look at wrist watch. Genuine bi,llet is operi now, and is cupped betLYeeu first three fingers ot right hand, heldbetween first and second fingers along top edge.Rightlittlefinger is vstended, a!ld with it you draw up left sleeve an inch to be able to see your n.atch. Look at your \vatch and J ~ O U ha1.e rhebilletright under yonr e>le at t h e same time. to therightthe
You will have ample time to read the longest message if you remark‘: “If I d,on’t get an im. . pression n.ith ten seconds, I shallhavefailed . . . . .” meann.hilelooking for tenseconds nt Ifour billet. R u t don’t forget : keeplooking at vow natch--wu ( I Y C cowtlfitlg S ~ C O ~ rZt m , tmber. not taking a peep at something you have hidden i n J’om- hand.
Keep the left \\rist \vel1 in to\vr\rds the body as it is raised,thusdroppingthe CJ-Y; more to TOU’ spectators read the billet. This prc\.ents front noticing the verJ’ slight movement of the eye f r o x \\.ztch facc to billet held i n hand.
Although this glimpse is fairly safe as regards o u beat off spectators u h o take angles, ~ ~ should up their stand immediatelJ- behind you or within a yard of your left shoulder. The others don’t matter ;I ShinLvell’scuss-theywill see nothin;: o f your artful mm-e.
45
Editor’s Note. It is strange hokv certain tricks bring to mind ccruineI-ents.Formc, withthislittle effect of the late Jules Giraud, I shall always remember a ridc back to Parame fromMont St. Michel. 11.l’t. \\ere both travelling in an open car and a strong \\,ind n a s nrhipping upthefine.sandfrom the beach belour theshoreroadandturningthose little particles into lil1,iputian arrows which struck ourcheekswithoutcessation. I t \vas theevening o f that day \\.llcn GiraLirl after shelving me his amazing, ancl as yet undexribed, spiritcabinet, hter he shon.ed mc ;I routise ofTvhich the effect :c) h c iicwribcd is a part.--F’.IY. Effect.-Itis a version of the mutilated card trick.Afteracardhasbeenchosen,it is torn into eightalmostequalparts,one of thesebeing retained by spectator. a A reel of thread, a ileedle and ;I cotton ha ncikerchiefarc‘ then introduced.Thefourcorners of thehandkerchiefare taken and held together so that a kind of bag is fcrrned.First of all thepieces of cardaretaken and theyaredroppedintotheextemporebag. The pieces are followed by the reel of cotton and t h e needie. . . . ashortpausefor effect andthe handkerchief is placedon the table.Thecorners arethendrawnback to show th,e reel of thread plusthecardduly sewntogether (see illustration).Thecorner held bythespectator,need!ess to say, fits the empty space. Whatstruck mewhen I sari. the effect was that here was a fine basisfor a childrenk effect, cardsotherthanplayingonesbeingused. The Idea of n n in\-isiblc mzgic seamstress or leprechaun stitching away \\.odd appeal to children. R e q u i s i t e s . 4 n e pack of cards ; a duplicate o f one,say nine of spades. A reel of thread, fromthecentre of this reel thecorehasbeen removedleavingashell.(Anyone u . h o has the reels for Jordan’s Spectral Seamstress has the \yrything.) Tivo needles. A Devil’shandkerchief. This is a stock prop, but in case there are readers unaware of it, it is a double handkerchief, \\ith an opening half-cvay along one edge. Preparation.JThc duplicate card is first torn into eight pieces, and sei’eI1 of thesepiecesart. sensenm together (see illustration).Whenthe ing is complete, a length of thread is attached at the top and bottom of the card. The top piece is then fastened to the remaining thread i n the reel \\.hilstthelowerlength is threadedthroughthe needle.Onepointmustbeattended to in sewing a n d th2-t is thattheremustbefreedom of play \ye IIOIV lxbt\veen ;he separate pieces card,for ccme to the point Lvhere the w ~ v ncards must be folded. The method of folding is this : first of all :l
“
”
the sen.11card is folded lengthwise; this done. the foursegmentsshoningare folded \l- shape nrld tcgether nith threaded needle and lcjose rhreadsto\ved atva?. inside the shell reel. The reelis no\\. pIaced on thetable with thecpen;rlg to therear. \?‘it11 the devil’s handkerchief i n thebreastpocket,theoddcorner from the “
“
”
”
sewn card in his right-handpocket, and needle and pack of cards on table the conjurer is ready for the Presenation.-The pack of cards is picked up andtheduplicatenine of spadesforced upcn ;I spectator. ( I t is not bad a thing to use the underthehandkerchief ” forcewhichbrings thefakedhandkerchiefinto play.) Placingthe cards in his right-hand pocket, the conjurer gets possession of the odd c,orner n.hilst the spectator nith the card is asked t,o double it over and tear it. Then place thtx piecestogetheragain. etc ,. until he has torn it into eight pieces. The conjurer’ rakes thepieces i n his right hand.Pausing a moment .he .remarks, Oh, perhaps y o ~had ~ better retail: 011c corrler,” a t tho same time handing the spectator the piece that fits the senn card.The pieces are mon;entaril\.placedon the table whi!st theconjurertakesthe h,andkerchief from his pocket ; it is taken by its four corners in the left hand.Therighthand insmoothi11g out oneside of thebagformed,opensthe secret pocket in the handkerchief. The pieces then being picked up from the table one at a time and droppedintothe secret pocket.Next,theneedle is taken and this too goes with the pieces of card. Liftingthereel,care of coursebeingtakenthat showtheopening is not exposed,andcarefully ing that othern.ise his handsareempty, this is Dlaced not inside the pocket, but in theactual bag. Immediately the reel is out of sight the contents art. allowed to drop from their place of con“
”
‘ l
“
“
”
continued on page 47
ecommended
46
EX LIBRIS
WARLOCK \I‘hc.thcr !,ou are a collector or not, the additlon o f a persona.1 bookplatetothe \-olunles yoa possess just addsthat littlesomething. To tilost. who ha\-e considered the matter of gettingsomething a little different, but either through personal inabilitJ- to produce a drawing-,design, etc.,that wouid sc‘rl’e their purpose. or lack of contact with one who could carry out their idea ha\-e ’iempora d > - abandoned the project, may we suggest the follo\~ingx-ery easymethod of making a bookplatesimilartotheoneillustrated. It \vi11 be seen that the bulk of this bookplate is picture (a reproduction of an engraving, which as no doubt many of our readers will recollect has been one of the very many fine specimens to adorn the Magic \I’orld’s longtbst running magazine, the
“Sphinx”).Taking such a picturt, it is first ;Iffixed toalarge piece of non-absorbentwhite card (or better stlll, Bristol Board). Some lndian Ink and a couple oi lettering nibs with holder are i1c>\v required; the lat4er can be obtained from any :cod stationers, in fact, at the present time there i5 being sold at the low price of‘ 13’3 a card containingsonwdozen a-arying widthnibs. Taking the \\;de nib anddipping it into theIndianInk the words “Ex Libris” and the owner’s name are Iyritten respectilrely top and bottom of the picture. I+ is needlessto say,advisable to pencil in the lchtters beforehand so that the letters are properly .paced. Lt’hen the lettering cc,mplctc take the !’arrow nib and dra\z. one thin line around picture and lettering. The \vide nib is then refitted to the holder and dra\,I.n around the thin line. The drawing is no\$; readyiorthe bicjck maker. At this point I can hear some reader remarking that their penmanship wouldnot allon. tinem to reach n professional standard inlettering. To this snag there is a n easy w a ~ ’of mw-coming the difficult>-; let such a reader get a couple of books of specimenlettering (the VereFoster series is one of many). Two courses are now opento him, the first of which is to cut out and stick on the necessary letters from the type he finds most suitabk, \\.hilst the second Ivith is a piece of tracing paper and pencil trace to the letters ontcj he card, after \vhich they are inkedin.There is anotheralternativeand that is to ask a local printer to run off the wording on twopieces of paper.These pieces of paper arethenpastedtothecard.Having gottothe point \\.‘here yourdrawing iscomplete, you will \\.ant a b.lock (or if you are an American, a ‘cut’) made.The c9st of the one illustrated is 1913, ;ind was made by Messrs. F. Hewitt & Son (1937) Ltd., 25, Albion Street, Leicester, who are willing to carry out any such work for our readers. The block made, it is only necessaryto approach a localprinterand gethimto run off thenumlber o f plates you require. We suggest that you have them with gummedbacks, an additionthat \vi11 saveyoumuchtimeandpasteatalaterstage. Theaverage cost per 500 would beabout 10,/-, m that the total cost should not be more than 30 -.
Now Ready !
NOI&iW,iN’S XIRACULOUS FIRE SCREEN This hnlltlsonlc. tirescreen \vi11 not 0 1 1 1 ~I)e a Ivorthv addition toyourdrawingroom, but i t also produces ;L \-isil)lt. illusion. A t \‘our comrnnn(1. the plant \\-hich decorates the xreen starts to flower until it is a riot of colour ! The 1)een s o simplifietl that a child can work it. Having ironed outallthesnags,I find that I nlechanicalactionhas canput out thissmooth-workingillusion at a lower pricethan that previouslyadvertised. “ Marvellous!”-RusselI Swann. Now Carriage paid. GQODLIFFE. by THE CHINESEBAT. -4 pocketnifty, first time acl\-ertised, 2/6, post free. Detailsappear in my Jlarch 1,etter. tlispatchetl o n receipt o f one penny ..tamp.
. . . . .
Ja&
S8 10/=
Hughes
2, EVELYN AVENUE, COLLINDALE, LONDON, N.W.9.
(COL
4452).
4i
moderatelypriced. \Ye feel that this in thereadingmatter
is a “must” for thoseinterested of magic.
ROBERTHARBIN’S FIRE BOWL ( t o bepurchased from Robert Harbin, 95, Marsh Lane, Mill Hill, N.T.V.7., price 3 5 / - ) .
There must be many conjurers who ha\rewished to inclutlc in their programme, the production from a silk harltllterchief, of a bowl of fire. A t the same time their enthusiasm has Iwrn dampened by the somewhat chancy nature o f the effect coupled\vith the attendant risks caused by possible prematureignition.Withthe firel)o\\.l under review not only- isignition a matter of certnintl- hut there is no risk of p ‘ r ~ m t c w e ignition. The l)o\vl could be carried in any position in the performer’s pocket, for as long as hewished,withoutinany way prvj udicing the possibility of ultimate production. The l ) o w l itself is made from spun lmss and when the contentsareignitedmakes a Ijraveshon-.Unreservedly recommended.
First of all, let us congratulate N.A.M.S. on theappointment of FranclsWhiteasChairm.an during the coming Jvear. The other day whilst visiting us, Billy McComb shelved us avery nicecigaretteswitch that he uses for the card in cigarette and with his permission ~ ~ ’ pass 1 1 iton.Theonlythingthat you’ll need apartfromthe 1,oaded cigarette is a faked matc hbos of the type used for “imaginary” cigarette effect. Thismatchbox is loaded with thecigarettecontainingtheduplicatecard.With the matchbox in )Tour pocket or on the table you areset.cigarette is first borrowedandplaced bet\vecn the l i p . Thematchbox is thentaken, dran.er opened, match remo\.ed and struck. When alight,boxand lightedmatch aretakentothe mouthandundercover of handsfakedcigarette is left between lips whilsttheborrowedone is stolen b~7 the left hand as box is taken away from face andplaced in pocket.It is a most natural series of actionsandthebeauty liesin thefact that the auclience see you straight away place the borrowedcigarettebetweenyour lips. On the 13th March, all the tickets had been soldfor theXagic Circle Banquet.Wecan well sympathise withthoselvho ha1.e leftthings too late, but the publicity for this outstanding event ff’as good and many months’ noticewasgiven. Those cvho, unljkeourselves,havesaid that the laughs are the necessary thing for the modern magician,musthavehad a shock iithey were present atthe Magic C,ircle onMonday,March 7th, when one of the leading Variety agents, Mr. CyrilBerlin remarkedthattheconjurers with a piece of rope and a few gags had reached saturation point in thevariety field andthatthisparticulartype of acthadlittle or no appealto a modernaudience. H e answeredmanyquestions put from his audience and the plain fact emerged
that magic presented as mystery (having, ,of course,audienceappeal) wasmorelikely to get to thetop of the bill thantheconjurercum comedian. One’sconceit is always tickled by a presentation of one’s own effects at the M.agic Circle in February and we were very pleased with the way Will Dexter,puttingover one of the nicest acts o f the evening, handled out “Taped Slates.” We feel sure that he will not mind us passing on the tip that instead of usingadhesivetape .as in the original, he made use of three large metal slides. Fraser Smyth recently sent us some cuttings from Ireland,pointingouttheamount of publicityhe hadreceivedusing ourbottle(Nottingham)prediction (sec‘’ Linking Ring Annemann Parade, October, 1948). Thepaper concerned was the Irish Times.” Inournext issue we havea nice off trail idea by Robert (Secrets for Sale) Tothill, entitled “The Shadow.” In the same number will be the “Mentalist’s Dream, ” by,, Charles Wicks of A\ustralia,and ( ‘ Chopitup,by J . F. Orrin. “
”
l‘
“A STITCH IN TIME”-continued
frorn page 45
cealment.The effectisnow finished, for all that theconjurerhasto d.0is to place thehandkerchief onthetable,spreaditoutand expose the card sewntogetherandthethreadedneedle. Pre\:iously Jordan’s SpectralSeamstress \\‘as mentioned. As those who havethis effect havethree shell reels, eachshellbearinga differentcolourthread,it is possible tohavethree cards s e n m together wi’th different coloured thread,onebeingplaced in eachreel. A choice of colour could then be allowed. “
”
1
HOW T O SAVE
MONEY ! 1 3 ~ - I)ul-ing A Conjuring JIc.lange,” l)>- Stanley Collins (cloth, 256 pages. 147 illns., 5 2 original tricks,heretofore 2 0 / - ) , a t the special price,until furthernotice, of 10;- ! l y e areslashing tht. price ( a ) to help in theI)attleagainstinflation, ancl ( h ) to get the \\.idest possi1)le rending for ;L trult. fine “
1 )OOl<.
FLEMING BOOK COMPANY, 728 MADISON AVE ., YORK. P.A., U.S.A.
E L L I SS T A 76 Solent R y d l P1
I
~~~
ARCAS Magical Pub1ications Mr. Smith’sGuide to Sleight . . . .\V. Jorxon Hand of A.B.C. of Ventriloquism r). Crams ExpertManipulation of Playing Cards .. . . L . Gan>on Testament of R. W. Hull . T. H. Hall Nothing is Im possible .T. 11. Hall Masterpieces of Magic,Vol. 1 Patte-rns for Psychics .. . .1Varlock Kamut .. .. . . .Franklin .Brear:e> Conjunioring Willane’s Wizardry .. . .Willan(. Ohtainablc f r o m all Dealers or c1irrc.t
PETER
PENTAGRAM published on 24th
of
flom
10: -
1 / 1 single copy 1 1 I 6 per year post free
10120,’15, 101
-
-
lO,, 3/6
PLEASE NOTE NEW ADDRESS
65 M A N O R R O A D WALLINGTON SURREY
10:-
21 6
:-
-
: Wallington 6236
Y’depJlottc
Croydon
~~
CONJURING BOOKS FOR SALE OLD ANDNEW. LIST FREE
No
wants
----
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
MAGICIANS’ SERVICE
BOOKBINDING “
PENTAGRAM ” VOLUME I.
Binding Prices :CLOTH 5/6, REXINE6/6, MOROCCO FINISH 7/6
C. 42
*
Alderson
F I E L D Road, ShefTi2ld
DE’SEEVAH
.?. I ( . .. ivlrs.. T I N . . SS>I(’
1, CLARENCEROAD Harborne, Birmingham
NEW AND OLD
17
MAGIC
Latest Think a Magician A pocket Jlintl Effect . . .. . . c d \ 216 Readi;g Orrin’s famous Spider's ~ V ( . ! J . (‘art1 Trick 30 ’ COIN WANDS to produce a I ( ~ a I ’ c ~ ~ i1616 n’’ .4 few Sliding Glue Packs of Catds 1),9 Send stampforprintedlists of old and new Magic. de HEY PSEY SYDNEY 363 SANDYCOMREROAD, KEW GARDENS SURREY .. Ric 1238 ‘ I
..
Every Advertiser’s goodsare Printed in England for
HENRI
THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for his list ol IICW and usetl apltaratuand books. nr call a t h i s
STAMPED ENVELOPE Callers
~~
)I
Let me know your
FOR
each month
10,’6
SYDENHAM ROAD
404/408
WARLOCK‘S
PETER \VARLOCK BY HERBBRT WALKER
6r sox
fully endorsed by this Bulletin ( P R I S T E H S ) LTD. \ Y E L L
L-ROFT
W O R K S , \YELL c R n m . ~ H I P L E Y Y, O R K S H I R E
*
49
PENTAGRA.M An independent monthly bulletin for all who want good magic 1949 Wd.3 &a. 7
-4rather effectilve cardexperimentinwhich tile performertellsthespectatorsthe effect is producedbytheextraordinary powers of light and itscounterpartshadow. A pack of cards, whichcan beborrowed, is taken and sllufiled ar!d :l card ch:.stm. The selected card is laidfacedownwardsonapiece of paper, andtheshadow of theindexcorneristraced around in pencil,after which thecardis well shuffled into the pack. Theperformerfoldsthepaperintotwo, it is handedtothespectator, whoplacesitinto thepack below the selected card. It is expl,ai!xd that the card and paper have been in contactinthelight,and now theyare in contact in the shadow of the pack. The out the folded piece of spectator is asked to take Faper and the selected card. The paper is opened byhim,andtheshadowedcorner is now found to h.a.leamistyindex on it.Thecardisshown andtheindexrevealedbythepowers of light and shadow on the paper proves to be the same. The effect is very thought-provoking, straightforwardanddirect,andthereappearstobe no possibility of any preparedness, as the experiment 1s intended to be,notacardtrick,but anexhibition of thepeculiar effect of shadow. The effect cameintobeingthroughnoticing the copyingproperties of somepencils andink. It was noticed that the Parker leads, red and blue, have copying qualities, as also the Parker WashableBlue Ink. On a piece of paper draw with the red pencil of the Turna ” pencil an index of, say, the five of diamonds, moisten the second finger of the left hand, and pressfirmlyovertheindexyouhave drawn.Providingthere is nottoomuchgrease onthefinger,theimpression will take.It will be reversed, of course. If you wish to use a black card,thendrawtheindex in blue, or use the “
P x k e r Washable Blue Ink.. The Parker refill leads are obtainable at Woolworth’s. Have a piece of fairly absorbent paper, and you are ready to commence your effect. A pack m.ay be borrowed, or your own pack used. First locate the card whose index you have taken.Thiscard is forcedon to thespectator. If you have a favourite forcethenuseit. If not, thenturntotheHinduForce as explainedon Page 399 in the May Kumber of the Jinx No. 36. This appears to be ,a straightforward selection, and awayfromtheusual takeacard.”Thecard is then laid on the piece of paper which you use, andshouldmeasureabout 6 inches by 4 inches, and the corner traced around. The card is immediatelytaken bythespectator,returned to the pack and shuffled. The following procedure should now be taken i n order to transfer the impression on to the paper i n a natural way. Take the pencil used for drawingtheoutline of theindexcorner,.and incidentally do notuse themodernmulti-coloured ,ones, justaplain woodenpencil,drawajagged line fromtheends of the two lines tracedfromthe sides so that it resembles a cornertornfromthe card.The secondfinger of therighthandhas been moistened by the tong, and after the jagged line hasbeencompletedwipethismoisture on to the p,aper where theindexshouldbe.Drop the pencil, and withtheright hand pick upthe top edge of the paper, commence to fold towards yourself. To steadythepaper,putthe second finger cf thelefthand,on which the impression has beer1 taken,andput it-0.n tothe moistened part of the paper, just where the index sh,ould be. Continuefolding withthe righthand,creasethe paper in hali, and take out the second left finger. As far as you are concerned the effect is over. The paper is placed in the pack by the spectator directlyunderneath his card.The two arethen “
continued on page 52
At one of the shows of the 1948 Internati’onal Congress of Magicians atLausanne, I saw my friend R,en Clark presen! an excellentPrediction Card effect. The searchforperfection is always with us, and almcst at once I realised that a variation would result in the best Thought Anticipated problemtodate. Since my returntoAustralia I have used the item on :I number of occasions, and aiwaysmostsuccessfully.Combining ,a degree of visible effect withcompletely a straightforward procedure, I consideritmorestrikingandmore sensational than theBrainWaveDeck. Effect. From a BLUE backedpacktheperformer removes two cards and st.ands them backs outwardonaslotted wood strip.Thispackis thenplacedaside.Nowheasksaspectator to think -of acard,andthis personreallyhas an uninfluenced chmoice, and this is emphasised before askingthatthecardbenamed.Thiscard is removed fr,om a RED backed pack and placed in the slotted strip, face outwards. Again he requests anyone to think of a card, ,and, as before, the freely thought of card is removed and placed i n theslottedstrip.Stressingthatthespectators had a perfatly freemental choice,whichindeed wasthecase, and mustbeagreedwith,theperformerturns the stripround,and shows th,athe successfully anticipatedthetwocardsthat were thought of ! Required : Pack of bluebackedcards, in case. Twodouble-backedcards,blue/red. Pack of double-faced cardsincluding the joker, in case (same card front and back). Joker withred back. Standtoholdcards.Thisisastrip of ~voodabout 16in. long on which are two lengths of qu-arter round moulding piacedto make anarrowchannelor slot. Preparatm. The tv;o d.b.cards,bluebacks upperrnost,areplacedontop of thebluebacked pack.Thejoker with theredbackisplaced ton top of the pack of d.f. cards. I am sure that the working will becompletelyobvious to mrost, but I \vi11 mention a few points which help to enhance thc effect. Working. Of course, it is the d.b. cards which are placed in the stand at the outset. These 1na37 b e takenout,apparentlyatrandom,but I bc!ie\re it is mmoreefiiective to shuffle thecards so thatthe two d.b.cardsaresepar,ated,and to spread the cards faces to you. After little a deep thought the two d.b. cards are removed andplaced in thestandinthe first andthird positions.Afterthe nrsk cardhas been thought “
”
of, remove the red pack from its ca:e. The cards mustbe spread faces to theaudience whilstthe named card is found and removed, and naturally caremustbetakennot to disclose thefact that thecard is double-faced.This is placed in the stand in the secondposition,that is, between the t w d.b. cards. Againsomeone is asked to think of acard,andthiscardisplaced in thefourth positionin the‘stand. Nowa few words to build up the effect, but as the cards chosen by, the spec?tators wereobviously free mental choices, nota great demalof this is required. I usuallywind up the feat by addressing in turn the two people who thought ot cards. Madam, will you certify that youwerenotinfluencedin your choice of a card ? Yes ! And you,sir,didyouhave an entirelyfreemental ,choice ? Yes ? And,sir, was your card the ____ .of -- ? and yours, m d a m , the -of ? Yes ? the In beginning,beforeeither of youevenknewyou would be asked to think of a card, I placed those tu.obluebackedcardsinyourfullview.The thought-of cards are the -. of , and thr --- of -- . Let us look at my blue backed cards and see whether I correctly anticipated your thoughts.” Here, the stand is turned round, showingthat yet? were correct. To avoid complicating ,the description I have 11ot hithertgstatedthat bef,ore askingthesecond persontothink of 2 card, I point outthat I do notinfluence the choice inanyway. As if to illustrate how this might be done, I hold the cards, “
apparently faces up, in the right hand, in the position for the Hindu Shuffle. Now, a series of undercuts showsa different face card ea,ch time, and I say, Pleasenotice that I d.0n,ot ask you to think of one of these cards.”Thus, I direct attentiontothe face cardsbut incidentalcly between cuts, allow the red b,acked card underneath the pack to be seen. This isawell-known move. In doing this, itwould be unwise, to saythe least of it,tomentiontheredbacks,thecorrect misdirection lies in drawing attention to the visible faces. In conclusion, may I say that the only originality in theforegoing lies in the use of the principles involved for the particulareffectas “
continued on page 52
Magicalrestoratiofisarelegion,butmagical mutilationsarecomparativelyrare. I remember reading, years ago, about an apple which divided itself intwowhenitsshadowwasslashedwith a knife, but the apparatus was rather too cumbersomeforsuchashort-lived effect. Allwe require for Chopitup is apackofcards,apairof scidscrs, a preparedenvelopeandperhapsatry. Csnscientiousreaders of Pentagram mustby this time have. quite a collection of curious cm-elopes, and I .am sure they will be glad t.0 add anothvr to the series. I d
”
”
The effectis bestpresentedwhileahelper is thestage.To him theperformerhandsthe trax’, which contains the cards, scissors and ell\-elope. The pack of cards is then removed by the performer, who requests the helper to select a card. This card is openly placed in the en\-elope, and the latter sealed and dropped on to thetray.Thehelper is requestedtotakethe scissors and go through the motions of cutting an imaginarycardintofour pieces. Theperformer thenslits,opentheenvelope and tipsontothe traytour pieces of card whichwhenfittedtocether make up the card originally chosen. h a l l y , theenvelopeisvery slowly and deliberately tornintoseveral pieces. There is notrace of theoriginalcard. 0:)
Most performers will followwithamagical restoration of the mutilated card, and this is desirzble, if only to give the rest of thespectatorsa greater measure of participation, but I do not think I needdiscuss the ways andmeansforthispart of theroutine. Apart from rheforcing of the card, the only deception lies intheenvelope,theconstruction of which I willnow undertake. Fig. 1 shows the envelope before it is folded The portion of the lowerflaprepresented by theshadedtriangle ( A ) is paintedor decorated to match the backs of the cards used. When thisisfolded up andthe sides are follded over of one (Fig. 3) theenvelopehasthe,appearance containing playing a card. To complete the envelope,atriangularpiece of papershapedas irl Fig. 2 is g u m m d in the positionindicated by thedotted line In Fig. 3, andtheupperflap (B) is liberally trealted with gum(see shading), s o that whenit is foldeddownthegumcompletelycovers A. The lower side of triangle C is not gumrneci. 1117.
Toprepareforthe effect aduplicate of the card to be forced is cut into four pieces, and these arepiaced in the envelope.Afterthe‘cardhas
been forced, the performer retains the pack in his left hand. He picks up the envelope, places it on thepack,andapparentlyputsthe chosen card inside it.Inactualfact,he slips it betweenflap A and the front of the envelope, whence it passes back .on to the top of the pack, being ,gripped and retainedbytheleftthumb.Immediatelyafterwards the envelope is picked up in the right hand and turned so that the helper (who is on the performer’s right-hand side) can see the inside. He sees the faked portion of Flap A and takes it f,or the card which he has just chosen. The envelope is thensealed,andthrownonthetray while the assistant goes through the pantomime of cutting an imaginary card. At this point it might be borne in mind that somehelpersmight feel a jittle sheep.ish whenaskedto go throughthis farce.Theirdiscomfortcanbeameliorated by using suitablepatter,e.g., I hrope youdon’t mind. I know T’m crackers,butpeople in my conditionhave to be humoured. “
After this theenvelopeis slit open,thefour pieces of card are tipped son to the tray, and the helper is allowed to have a clear view of the insi.de. Finally, it is torn into several pieces and dropped on tothetray.Thehelperisaskedto piecetogetherthefour pie,ces of cardtosatisfy himself that they correspond with the card which he chose.
52
The evening of March25thsawasteady stream of magiciansmakingitswaytowardsthe Ballroom of the Park Lane Hotel, for it was here thatthe 1949 Banquet of the MagicCirclewas held. After thereception of guests by theirGraces theDukeandDuchess of Somerset,more than fourhundredsatdowntoadinnerthat mom,entarilytookawaythoughts of austerity.Afterthe Loyal Toast by the President, the big ceremony of the evening .t,ookplace. This was a Presentation to Mr.andMrs.Herbert J. Collings. ToHerberta gold dress watch and chain, and to his wife Hilda Dresden a Dinner Service. The President, in makingthepresentation,recalled some of the verymanythingsthatHerbert J. had d.one for the Magic Circle during his association kvith it from itsinception. I t wasagreatmomentfora wellbelovedartist, andforthe first timeone of the wittiest of entertainers was ata loss forwords. In proposing the toast of the Magic Circle .and N.A.M.S. the Duke of Somerset spoke of and outlined the achievements of the Magic Circle during the preceding twelve months. Thanks were accordedtothosewhohadmadeallthesethings possible, and a special mentionwasmadeofthe hardandvery efficient workcarriedout bythe Secretary, Mr. Francis White. The responsetothistoastwasmade by the Vice-President,DouglasCraggs.Douglasstarted of1 withapromise of wit. The promise was not kept,however,andafter(quiterightly)giving some advice regarding the use of rough and smooth cards,he(quite.wrongly) gibed at any need for
specialist societies. The remainderofthe speech \\.as tothe effect that magic is quiteallright so long as itis patronised by the Magic Circleand N.*\.M.S. ,4fter a presentation of some inscribed wands to Messrs.Donister,Forsyth,Shuter,Swaineand Turpin,guestsandtables were clearedfromthe tlwr in preparationforthedancingthat was to foliow . An hour of danckg and cabaret the began. Our main criticisms regardingthis is that it \vas too iong and toosameish. In alltheproerammetook oue h o w ; threeperformersused d k s , whilsttwoperformedthetorn and restored paper. T h k criticism in no way reflects uponthe the Individual performances, for Jeff Atkins brought colour (and the nicest presentation of the coins in glass that we have seen), Billy O’Connor made .a deck of cards do everythingbuttalk, whilst Paula Baird’s brilliant handwork with billiardballs was somethingtobeseen to bebelieved.HildaBertram(Mrs.Herbert J. Collings) opened the programme with a very neat performance of Chopin a Waltz, and Francis White compered. ‘ on with the Dance ” until From that point Midnight. We cannot conclude without a word of thanks to Stanley Kilburn and his orchestra, who played throughout the evening. I t was in all an excellentevening, and one that doesgreatcreditto all thoseresponsible for its organisation.Weshalllookforward t.0 1950 !
A Sonnet. H,estooduponthe well-lit stagealone, And listened tothecheeringand,applause ; The knowledge tha.t hisArt had been it’s cause, Filled him with pride, such as he’d never known. At last-his skill in magic hadoutgrown The efforts of all others--natural laws H e clearly disobeyed ; and, without pause,
Changed black to white, andmetalintostone. The law of gravity(submittedtohiscare) H e held toscorn ; and at his least command Tables would rise, unaided,intheair ; ,And thisbut at thelifting of hiswand ! The cheeringfades, ana witha stifled scream, Theyoung magicianwakens fromhisdream. . . -Don Maskell.
CHARLES W I C K S ’ S M E N T A L I S T S DREAM-continued from page 50 described. The creditfortheoriginalprediction effect belongs,to PaulCurry,although it was of that effect whichRen MauryKain’sversion Clarkpresented.The use of pair a of cards, a diouble-backed anddouble-facedrespectivelyis TheodoreDeLandidea.Bytheway, I cannot recall another example of double-faced cards with thesamecardonboth sides.
ROBERT T O T H I L L ’ S SHADOWcontinued from page 49
withdrawn,and with as muchshowmanship ,as possible that light hasmadetheappearance of theindex on theshadow oi thecarddrawnby the spectator. As a proof of this the selected card which shouldbelaying facedown duringthe opening of thepaper, is turned faceupwards. The index of both are identical. The impression on the finger will .last many hours, provided the finger does not become damp or used too much so that the impression wears off.
Efiect. A spectator receives an absolutely freechoice of acardfromapack of Jumbo cards.She.(we will supposeitisalady)tears the card into eight pieces, which are dropped into B handkerchief, held by its corners to form a temporarybag.Theladyretainsoneportion of the card. A card of wool orsilk,such asit sold forrepairingstockings, is also droppedintothe handkerchief,together with a needle. Whenthehandkerchief is shakenoutthecard is discovered to be sewn together, and is att,ached to the card of silk, while the needle hangs threaded fr:m theotherside. Method. Only tventy-six Jumbo cards are displayed,theseconsisting of oddreds and even blacks. Twenty-six duplicates are also used. Each of this is tornintoeight pieces, and then sewn together, leavirlg onepiece out.Thecards are folded tomakeacompactparcel,andeach packed is attached 10 a card of silk, a needle also beingthreadedon. ‘ Tl-1.e parcel is tuckedunder therows c;f si!k at m e end of thecard, so that it projectsabouthalf-ac-inch,andthe needle is pushed alongside. in Finally, the matching corner of the Jumbo card is tucked in along with thepacket. There wiii be twenty-six of these set-ups, and theyareaccommodated in apocketindex, similar to a cardindex,butlargeenoughtocontain the unaccustomed lcad.Thearrangement is one t3 thirteen of Clubs a i ~ dHearts on one side, and one to thirteell of SpadesandDiamonds ,on the other.Inthesamepocket is placedaDevil’s handkerchief.
Theroutine is quitesimple.Whenthelady has made her choice, she is instructed to fold the cardandtearit.Duringthis-’processtheperformerhas ampletimetolocatethe necessary card of silk,which is broughtoutundercover of the handkerchief andlaid on thefable,packet side down. If theaudiencecatchsight of itatthis juncture no harm is done. Thehandkerchief is held u,p bythe f,our corners,andthe pieces of cardaredroppedinto thedoubleside, f,ollowed bythe needle. Next the card of silk is placed in, i.e., into the open ’’ side of the handkerchief. It may be shown Casuallyboth sides, as the fingers hidetheprojecting portion of thepacket. Undercover of bringingoutapiece fo,r the ladytoretainas a check,thepacketand needle arepulled free of the siik onthecard,andthe iooae piece, previously inserted, is brought out and h.mded to thelady. Theworking is now over. The stitchedcard opened out as it is withdrawn from the handkerchief, bringingthe silk cardand needlewith it. Ali these maybe felt with thae lady,and if suitablepublicitymatterhasbeenstamped ‘on the silk cardthe cost of replacingit will beamply repaid. There is a certain amount of expense attached to thisitem, of course,andsomehardwork,but the effect it produceson an audience will by far outweighthese drawbacks.”
MODES FOR MENTALISTSNo. 4-THE GAP IN THE CURTAIN, published by Peter Warlock. (Price 7 / 6 ) . I am happy to review PeterWarlock’slatestaddition to his “A,Iodes for Mentalists” seriesbecause,once again, he has puhlished a first-rate mental routine, \\,e!l u p tothestandard of theotherthree of thi. series. I believe readers want reviews on the lines; description of effect, whether or notit is practical, if practical is i t reasonablyeasyto perform andlastly, how produced. In thiscase,thementalist writes threepredictions on a slate, each prediction beingcovered with a strip of cardboarduntilit is revealed as correct.One spectatornames a six-figure number,a second selects 3 colour, whilst thethirdandlast selects a patterna11 under \rery fairconditions.Thethreepredictions, each writteninadifferent coloured chalkjust before theselection,arethen shown t o be correct. It is a clever routine,forthe use of coloured chalk will even getconjurersguessing,andit uses,in thehandling of the slate, an entirely new principle. in Thepurchaser will need a few propsdetailed the Mss., hut i t is mostunlikelythathe will have
to purchase anything, as alltheitems,slate, glasses, chalk,cards, envelopes, etc., will probably be in his possession already. The preparation will takeabout a 1 1 hour, b u t oncemade upit willbe always read to \\ol-k and such a n effectis well worththislittletime. Themethod is directtothepointand involves no sleight of hand.Thereare several extremelysubtle pointsthat I would dearly like to mention, but to do so may gi1.e the secret away. The use of coloured chalk and thehandling of theslate is clever and con\.incing. This is not one of thosethings t h a t you can perform withoutalittlepractice.Theroutine will have t:) \)estudiedandthe sequence of moves mastered, I)ut as there are no involved manipulations this is quitean easy proposition.One evening tryingitout should have you ready for performance. The plot and outline of patterareincluded,andthe wholeis described in .a neatly produced seven page mlmeogmphetlmanuscript, \vithillustrations. Ifyoulikeconvincingmental effects performed untler apparently impossible conditions, this for is VOU. It has my wholehearted recommendation. GEORGE ARMSTRONG.
“
“
54 A WORD ABOUT BOOKS A N D ROUTINES-continued CONTROLLED MIRACLES, by Bill Simon (publi.hec1 by theBackRoomPress(Phoenix) 284 West 70 Street, New York 23, New York, U . S . A . , price $1). Thisexcellentcollection of someeighteensleights ~ n d effects is editedbyBruceElliottand is oneofa series; thisaloneshouldrecommend i tt o allreaders of thispaper. There is a n interesting foreword on to which is tacked some advice of S. LesHorowitz that is the recipeforperfectmagic. Thesleightsandstratagemsinclude“CutControl” the “Chinese Cut,” “Simon False Table Cut,” the “Jack Miller Card Change,” the “Grippo Grab,” “Elliott’s Card Change,”and a beautifulforcecalled the ‘‘Stah Force. ” Of these sleights we were veqimpressed \vith bothcardchanges.Inthetrick sectionthethings we likedbestwere‘‘DualDiscovery” (anitemthat could well have been putoutseparately). “Ten Fingers and a Silk,’’ “The Scarne Puzzle,” and the “Card in Hat.” “Smoke Screen” will find favourwith close quarter Ivorkers andfor those wholikecoinwork there is a verynice routine \\-ithfourcoins. Anexcellentfiveshillingsworth that \\-ill undoubtedly add a t leastone neweffect toyour repertoirewhetheryouarecardman,mentalistorJoe Soak,conjurer.Unreservedlyrecommended. TWENTY-SIX LIVING AND DEAD TESTS, by Teral Garrett (published by George Armstrong, F:nfield, price 5 / - ) . This is a well printedEnglishedition of amanuscript published in America in 1942. It is divided iutot\vosections.Thefirstdealswith someseventeen effects,deals\vith thattype of living and deadjest \!.hereby the mentalist discovers a dead name slip, i.e., re identifies a piece of card,envelopeorpaper,whilst the secondcoverssome nineideaswhereby the mentalistnotonlydiscovers a certainslip,etc.,butalso tlivines thedeadname.Inall cases theauthor,for reasons no doubt satisfactory t o himself, gives no creditforsource of origin.Whilst we are willing to agreethatcertain of thesetestshavetheir origin lost in the mists of timetherearecertainitems \\-hich can definitely be attributed t o certain authors or performers, as for instance “Dead Name Telepathy,” Il-hich is Annemamn’s “DeadNameDuplication.”In the first section,despitethesimplicity of many of the methodsdetailed,therearesome goodeffects. The secondsectionhasmorevalue as i t gives the ultimaterequiredby thespectator. Among the best methodsdetailed we wouldgivepride of place to the “Diacvlon” effect and “Dead Name Telepathy,” thoughthelatter is not really a “living anddead” test. We are surprised that the author has omitted one of the finesttests of all,andone so old thatitcan I)e found on page 223 of “Behindthe Scenes with the hlediulns. ” A verygoodpurchaseforthose m-ishing to acquireseveralworthwhilemethods of thisparticular type of effect. THE MAGIC WAND YEAR BOOK, 1948/49 (compiled and published hy George Armstrong, Enfield, price 5 / - 1 . Thiseditionconsists of some 9% pages of printetl r a t t e r , ant1\\-ithin the covers, as in thetwoprevious issues, thereare t o befoundallthosevarying pieces o f information that one so oftenwants,and on so many occasions has such a difficultyin getting. Names a n d addresses of dealers,publishers,magicalsocieties areallhere. Besides this dzta, there is ;t magical short story 1 9 7 Mr. W . S. Hartley, a new stvle of card index, ;I \duablechapteron adhesivesandcementsby Rill Rishop, se1.era.l comedy stuntsand gags andthirteen pagesof “Tricks of Trade. ” Some of thelatterare thingsthatshouldnot he missed.Altogetheravery good piece of work that is spoilt ( t o our way of thinking) bythepublication of long reports of out of date e\-ents.We refer t ot h e eightpagewrite-up of the 13ournemouthConventionwhich took placesomeseven
from page 53 months hack, and four pages to the CotsIvoId Assembly whichgoesI)acktlvelve months.Whilst suchwrite-ups may re\4ve enjoyable memories, the sul)ject matter has a 1 ready appeared. We feel that thisverv well printedandillustrated Ixwltlet will find a place-in many magicalhomes and we give it our fullrecommendation. THE MAGIC OF REZVANI (“La hIagie du Sorcier” ljy Maurice Sardina) . Atranslation by Dariel Fitzkee (pu1)lishedby SaintRaphaelHouse, San Rafael, California, U . S . A . , price $3.75). This Imok divulges to the reader the methods used by Medjid Kan Rezvani. It isdividedintotwo parts,thefirst of someforty-fivepagesdealingwith cards, \vhilst the second part of similar length is tlcvoteti to miscellaneousmagic. In the first part the author covers first of all, card sleights,many of whichhave that veryslightdiffer( 11ce lvhich makes.them peculiar to an individual. Of particular interest is the method of second dealing t1escril)ed; i t wouldseem that thisparticularmethod \ \ o d d enable the student to achieve a worthwhile second deal with far less effort than is generally needed.Somesixteeneffectsfollowthesleights,and though some willbe far from new t o Englishspeaking magicians, thefactthat Rezvani happened on such methods and effects without prompting makes his ideas all the more noteworthy.Weparticularly likedin this section the“thoughtcard fortndin pocket”andthe “cardinwallet.” Atthebeginning of the second part of the book, the“TomatoTrick” is described. I t is by this effect thatRezvani is best known and actually his more usual appellation is the“King of Tomatoes.” Some fourteen pages go towardsdescribingthis effect ,;vhich is based onthetheme of the“cupsandballs,and in the reading the figure of Rezvanicomes to life and onecan almost seehimperformingaroutinewhich couldnever be forgotten by layman or conjurer.Outstandingfromour own point of view in thissection of Buddha” in whichsomesmallsticks are the “sticks come to life and a chapteronmental effectsin which averyfinebook test is verycarefullydetailed. Mr. Fitzkeehasdone a remarkably good joh of \\.ark inmaking thecontents of this bookavailable tothemajority of magicians;hehas translated freely hut in thetranslation he has described the effects so thattheirworking is quiteplain. We recommend this book wholeheartedly for in thesedays of specialisation, thebreadth of its contents 1)lows like a coolbreezeacross m a.ritl desert of magical sterility. SELECT SECRETS by Dai Vernon (pu1)lishetl by 3Iax Holden, New York, price $1.50). This is actuallythethirdedition of a \vork that originally was produced mimeographed in form. It is a booklet that although containing only twelve items is of superlari\Fe calillre. Outstanding among theitems descrihed is the item“ToppingtheDeck,” i n \\-hichVernonlike the meticulousartistthat heis, describeshow a cardshouldbepalmedfromthedeck. Many in the searchforeffects will passover this very fine piece of technical advice much to theirfuture tli~advantage. There is an excellent table routine of l‘I~ollowmy Leader” and two finecard routinesunder the title of “Royal Marriages” and “Automatic Gambler.” Coins and silks are not forgotten, there I)eing a nicecopper and silversequence andan idea oi Downs using a special fake.The 1)ook finisheswith ;? description of “SnowstorminChina,”delightfulin conception and routining. The book has beeneditedby J . J . Crimmins, jun., and hehasadded a couple of items tothe previous ctlitions.The priceasked is ridiculously low and in gil-ing our unreservedrecommendation we hope that those who likegoodmagic willsee that a copy is soon in their hands. continued on page 55
55
Outside work is making heavier calls upon OLW time, and therefore, starting with this issue, all work regarding publication of the “ Pentagram ” will carried be out by my friend George “ Magic Wand,” of 11, Armstrong,, of the Monastery Gardens, Enfield, Middlesex. The style and policy of the “ Pentagram ” will remain unchanged, and I shall be glad if contributorsandpublisherswill note that all copy and items for review should still be sent to 65, Manor Road, Wallington. I am morethan grateful to George for taking on this churish task when he already has so very much to do regarding his own publications. The Magic Circle Social on March 26th (evening following theBanquet) wasone of the best we have seen. Every act was enjoyable, and new effects by Jimmy Orrin and Gil Leaney were much appreciated.Brim PulcCarthy’s actwasnot onlyoutstandingtechnically,but\\asa lesson in magic. He received andfullydeservedthegreat ovationth,at n a s accorded to him.Sucha show must have been a great comfort to that hardworking and seldom appreciated body, the Magic Circle Entertain.ments Committee. Magicians with gramophones may like ‘to get a recent PhilHarrisrecord ,called Deck of Cards (H.M.V. No. BD 1231). I t is the old story of theSoldier’sPrayerBook,and if you aren’taPhilHarris fan ” you will like this. If y o ~areaPhilHarris €an ” you will like the other side too. “
”
“
“
BOOKS A N D ROUTINES-continued
from p . 54
ROUGH AND SMOOTH POSSIBILITIES by Tan Hock Chum (publishedbyArcas, price 5 / - ) . Thislittle booklet commences withanintroduction l)!- IT’ilfrid Jonson, who after introducing the \\.riter wmarks that the use of rough and smooth cards should be used as a meanstoanendratherthanthe end.This of course is quitetrue,justasit is true of a n y other means used to obtain a magicaleffect. Theauthor isin little need of thisadvicefor in the ele\.eneffects described,the use of roughingfluid is a n invisible aidadaptedtoplayingandothercards so thatthemaximum effect can I)e obtained. Here ;ire a numl)er o f effects that could be obtained hy othermethods,butthe use of roughingmakes them far lessdifficult of attainment. Of particular mention are the adaptation to “Optica”(this has already been done b y a t least one magician ~t-eknob\.) n “livinganddead”test ant1 a
Peter Warlock’s
“
@
On the question of music, Oriental performers will appreciatetherecording of Dance of the Young Maidens from the young Rumanian composer Khachaturian’s Gayanah ” ballet. I n thissameballetcomesthe well known Sabre Dance.”This is realOrientai music in alively tempo,andshouldbea welcome changetothe hackneyed and puerile pseudo Oriental natterings of Tin Pan Alleycomposers. Ctonjurors hasstarteda new andvery worthwhile feature by Walter Gibson. It is a form of Annemania, and is entitled Gabbatha.” Walter in usingthiswordwhich TedAnnemann waswont to conclude his Editriviaregretsthat he is unaware of itsmeaning. Gabbath.a is abiblicaiword, andmeans pavement.’’ Anothermagazinemakesitsappearancein thiscountry. I t isthe “ Mete.or ” (wewonder whether the Editor found out the meaning of this word before he chose it !) Elliott, ,of Rotherham, is the Editor, and offers it as something different, insofar that it deals more with news of magicians ratherthandescriptions of tricks. Wetakethis opportunity of wishinghim the best of luckwith his venture. An anotherpage will befounda review of OUI‘ new effect Gap in the Curtain.” The theme of this is our own “ T8aped Slates,” but the method is different, and undoubtedly b,etter, as no fakedslate is used. Nextmonth we haveavery niceeffect byJohnHowiemaking use of the Jardine Ellis ring. “
”
“
“
“
”
“
“
”
“
“
pokereffectinwhich used. Theauthor, who to magical magazines, There are no snags recommended.
the principle of half roughing is through his manycontributions writes in a n easy manner. in the effects. Unreservedly
SIMPLICITY PREDICTION byRobertHarbin(published by the author, price 7/6).95, Marsh Lane, N.lY.7 After a sealedbox has been handed to a. spectator to hold, one of three newspapers is chosen. From this newspaper a headline is selected. The person holding the sealedboxisrequested to open it . . . youknowthe rest . . . inside is a piece of paper ; m which thementalist has correctly predicted the chosenheadline. This is a n effect that can be made or killed by presentation.Actually we thinkthatthe performer inhis recap. iswrong in stressing item four. Nevertheless, for the performerwho wantsan easy to \York, nothingto remember prediction effect, we think that he n,iIl like this one.
MODES F O R lVlEN‘l’ALISCTS”
No. 4 ??TheG a p in the Curtain” In 1948/9, the “Modesfor Nentalists” series\$‘erelisted a m o I 1 1 ; thesixteenoutstandingitems of the \-ear by JOHN MULHOLLAND,\vhilst“Mind out of Time,” No. 3 of the series won a “LinkingRing” ;\\.ard. No\\-comes “GapintheCurtain,’’ a triplepredictioneffectthat hrings two nen-principles intoplay. Capt. LeslieMay,who saw anadvancecopy, \\-rites to :-ay that it is the best of thefour.
Coloured
It’s all very well tobul. th:. latestbooksonmagic.butdon’tforget thatnotallthegoodbookswsrepublished in thepastyear.Here area few worthwhile work5 that vou shouldn’toverlook :.\nnt.mann’s PRACTICAL MENTAL EFFECTS, cloth f $6.50) 32/6 Eooth’s FORGING AHEAD IN MAGIC, cloth ($3.00) . . 15/Booth’s MARVELS OF MYSTERY, cloth ($2.50) . . . 12/6 R11~klt.y’~ CARD CONTROL, cloth ($10.00) . . . . 50/Downs’ THE ART OF MAGIC, cloth ($5.00) . . .. . . 25/Fitzkee’s SHOWM.\NSHIP FOR MAGICIANS, cloth ($5.00) 25/Gallltier’s MAGIC WITHOUT APPARATUS, cloth (37.50) , . 3716 Hilliard’s GREATER MAGIC, cloth ($10.00) . .. . 50/Holmes’s THE MAGIC ART, cloth ( ~ 2 . 0 0 ) .. , . . . 10/Hngard-Braue’s EXPERT CARD TECHNIQUE, cloth fa5.00) 25/Maskelyne-Devant’s OUR MAGIC, cloth ($5.00) ., . . 25!Rice’s ENCYCLOPEDIA OF SILK MAGIC, cloth ($10.00) . . 50/Sarhs’s SLEIGHT OF HAND, cloth ($5.00) .. .. . . 25/ANDHERE ARE THE LATESTONES ! Kaplan’s THEFINE ART OF MAGIC, cloth ($7.50) . , . 37/6 Tarhell’s VOLUME V, cloth ($10.00) .. .. . . . M/Sardina’s THE MAGIC OF REZVANI ($3.50) .. .. . . 17/6 \.’ernon’q SELECT SECRETS f $1 S O ) .. .. .. .. 716 Pleaseremitto Mr. Robert-onKecne, 301 NorwoodRoad,Southall, J ‘,llr ordcr to 11s andit will start on 3Iiddlc sex. He will “ airmail it.; wa!. imn~ediately.
.
”
FLEMING BOOK COMPANY, 728MADISON
“
AVE.,YORK.P.A.,
ROUGH AND SMOOH POSSIBILITIES ” By Tun Hock Chum
U.S.A.
PETER
The Magic Circle
WARLOCK’S
PENTAGRAM
A booklet dealing with the methods and publishdd on 24th of each month application of the modern principle,by one of the leading experts on the sub1 / 1 single copy ject. I t is recommended for advanced 1 116 per year post free magicians. Price S/-
Postags 3d.
Editorial Address: 65, Manor Road, Wallington, Surrey. Published by Geurge Armstrong,11, Monastery Gardens, Enfield, Mddx.
ARCAS Publications SYDENHAM 404/408 Croydon CONJURING BOOKS OLD AND LIST FREE
ROAD Surrey
HENRI DE’SEEVAH MMC.. HMS., TH.vi.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magifor his list of cianstosend used apparatus new and call at his and books, or studio :1, CLARENCE ROAD Hatbome, Birmlngham 17
FOR SALE
NEW. Let me know your wants FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX L.EARN HYPNOTISM.-ANYON,E can learn to HYNOTISE provided they know how” and ar: willing todevotealittletimetoprarTire. Practical lessons in THE WIZARD even. especially for the ENTERmonth, written TAINER, by S. E. (Dexterous) Dexter, V.A.F., I.B.M., ALSO MUCH GOOD MAGIC for Mentslists, Children’s Entertainers and Vents. Clnb Performers. Special section for 36 fully illustrated pages per issue. Subscriptions : 6 months, 1216; year, 241GEORGE ARMSTRONG, The MAGIC WAND PUBLISHING COMPANY, 11 MONASTERY GARDENS, ENFIELD, MIDDLESEX
*
Pnxsidrnt : His Grace the Duke of Somerset, D.S.O., O.B.E., I.P., D.L., M.T.M.C. Vice-President: Douglas Craggs, Esq., M.T.M.C. Museum :
ClubroomandLibraryand
St. Ermin’s Hotel, CaxtonStreet,S.W.1. Magical Theatre :
KingGeorge’s
Hall, W.C.
ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenue, Wimb!don Park, S.W.19 INSTITUTE
OF
MAGICIANS
13ranches in h n d o n , I’ortsmonth. IVakefield, Brighton and Detroit, U.S.4. The friendliest of magicalsocieties. No entrancefce,printctl club magazine, splendid lihrav. House, 296 Vauxhall London H.Q. Denison S.W.I. (one minute Victoria Bridge, Victoria, Station). Particulars from Oscar Oswald, 102 Elmstead .4venue Wembley Park, Middlesex.
m
OLD
NEW AND
MAGIC
LatestThinkMagician a A pocket Mind .. . .only 216 Readitg Effect “ Orrin’s famous Spide;’s Web, Card . . 301Trick COIN WANDS to produce a real‘coin 16/6 A few Sliding Glue Packs of Cards 8/9 Sendstamp for printed. lists of oldand new Magtc. SYDNEY de HEMPSEY 363 SANDYCOMBE ROAD, KEW GARDENS Ric 4238 SURREY
..
Every Advertiser’s goodsare Printed in England for
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners Becmtifully ( ‘ I ) ~ o I I ! . o ~ I ‘ i l l just I ~ I I ~ I I ~f ‘ )o lIo /)/ FY .? Stage Size, used by Treu-ey, etc.. 12 ins. \\hen c ! o ~ e d . Rainbow coloured, 22/6. PlainWhite,15/6. I m p o r t m t Hillts o n opening und d o : i j / q t ! l e f o l d s i ~ t J u d c n ‘ Trouhle \Yit13ooklet ; 80 illustrations . .. 2 / 9 CARD TRICKS BY STANYON Card Castle. Base 12 X l O & inchcs; G tiers of car(Is; 2 2 incheshigh: l,er?utifully nlatle, dou1)le cards, SO/-. Card Castlefrom Hat. 6 tiers;highgrade; 30/-. ‘Limit’ Diminishing Cards. \Vith :lack to match a n c l blackElxmised Stand, 30/-;(\vithoutStand, 25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. Giant Car3 Penetration. Genuine J u m h o (‘ards. 70/-. Giant Gard h Lamp Glass Penetration. ditto. 70/-. TrickPacks. Wizard (40 T k s ) , 6/-; Svengali 40 Tks) , 7/6; Quick Cut and Calculating, 7/6; Colour Change and Free Choice Forcing, 7/6. of MAGIC (Stanyon), 1900-1920,withtheDictionary Magic.3samplecopies,postfree. 3/3. Stanyon’s Famous Serials. Coins; Memory; Miscell. : Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls: Explan. Progs.; Chem.; Each 3/-. B O O K L B O O K S B O O K S It is o u r policy to keep every 1 ) o o l c !)11 conjurillg a n t l allied arts in stock. IVrite for free lists. Alost [ : . S . books ant1 allEnglishpul~lications in stock. Five Shillings equals one dollar-we pay postaf:c F’orci!p nnd P o l o n i d (au.qt(;n/ers p l r ~ u l s . w ~ ~ i dirvc/. t ~ 11.1 ~ ( J I Y ? supplied 3 1 A C I f ? t o t h p IT’O?iLJ) .*.ilrct, 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. I’ebepirouP : HAMpstead 0940
HERE ARE EXCELLENT BOOKS
PETER WARLOCK BY HERBERT WALKER
& SON
JAM GE R SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. TelephoneorTelegram : MORLEY 899 Address :-23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 years in thebusiness
fully endorsed by this Bulletin (PRINTERS) L m . w e w CROFT WORKS, WELL C R O F T , SHIPLEY. YOPKSHIRE
*
57
PENTAGRAM An independent monthly bulletin for all who wmt good magic
The Jardine Ellis ring trick, properly handled, is a gem of close up magic. The version about to be described is merely a variation, the main differencefrom other versions being that no assistance is required from the spectators. This version could, of course, be used as a repeat or extension of anyotherEllisringroutine. Requirements:-The ring with its attendant shell. A piece of tapeorribb,onaboutthirty incheslonghaving c? smallpellet ,of waxpressed on exactly at the centre on one side. If the tape is red,the wax wili never be noticed and you might e\.en getsomeideas forpatter! Presentation:-Standdirectlyfacing theaudience and holdtheringandshellatthetips of theleft fingers and thumb. Take the tape in the right hand and hold it aloft as you draw attention to it. Slmultaneous!ytilt the left hand backwards somewhat and allowthe solid ring to slide down the thumb, then return the left hand to its original position {see Fig. 1 ) .
Thread the tape slowly and clearly through the ring (actually the shell) making sure that the waxed side is outermost,i.e., n,ot in contact with the shell. Gather the ends of the tape in the right handandholdtherighthandabovetheleft hand. Allow the shell to sinkinto the left fist and let the solid ringmoveintotheshellagain. Pressthe solid ringfirmlyintotheshell and lift ringandshellawayfrom left handbyraising therighthand.(Figs. 2 and 3 show theactual arrangement). Bothhandsareobviouslyempty andthere seems tcbe no roomfordeception. “
”
Placethelefthandaroundringand shell and let bothendsofthetape fall towardstheaudience (Fig. 4). As youdothispullslightlyon thetape to free the solid ringfromtheshell. Withrightforefinger andthumb nip thecentre of thetapeatthe waxed portion,pullslightly back and up, then press the waxed portion to that part of thetapeimmediatelyabovethering (see X in Fig. 3 ) . If-ithoutapausemovetheright
58 hand, holdingthe solidring,downwardsleaving the shell hiddenin the left hand.Whenonly a little tapeshows abo1.e the left fist, stopand remove the right hand. Apparently you have merelytrazsferredthetapeandringtothe left hand (Fig. 5 ) . Hold the right hand below the ring. then raise
:tnd 101vc.r the left handuith a moderatejerk. The ring, being held by the wax alone (see Fig. 6 ) \\illdropfreeinto [he righthand. Thus aclear c u t penetratid11 has becr: effected. Thetapecan be takenbytherighthandandbothtapeand ring tossed to the audience if you so desire, leaving :he left hand to dispose of the shell.
Sitting by the fire reading,mytwoboysare A few coins are playing at guessing a game. l / - , etc.,andan used; 3d. piece, Id.,id.,6d., emptymatch-box.One of the coins is hidden in the box, by Alex,-that’s the elder boy, Richard it is. Richardcould tries to guess whichcoin nex’er guessccrrect ; Alex wasalwayscorrect; that’s what pclzzled me, as I watched from out of thecorner df my PIT. I knew that Alex wasa clever trickster I
;-he ends Ivith finger andthumb,and told us to \\.atclr, that he didn‘t open the ends to peep in.
Cine night, Alex carriedthisthing astagefura handful of iher.He took from his pocket coins and sorted o u i a ad., .id., Id., 3d., 6d., l / - , 2 -, 216, turning them all headup. Hesaid, Watchthis,”andemptiedthematchesout of rhe box, givirg it tc me, saying, Put any coin \*ou \\.ish intothebox, ivhen I turnaway.” I did so, ’iller1 he took the box in his hand, holding “
I ‘
Introduction. \i O:i AnotherPass ? Yes, that’s all but it really is in1,isible. I t was JeanHugardwho said in Xumber 4 of VolumeTwo (Sept., 1944) of his excellent / f z1;rclrd’s -ilil,yic A \ l o ~ z t h i ~that ~ it is easy to understand how anyone desirous of learning card magic, after prolonged a and \vain stmggle nith the intricacies of the pass, and firmly bclie\.ing ;IS he \\’as tolcl that success nithout it \\xsimpossible. ~vouldfillally decide that conjuring to stamp \vith cards \\‘as not for him andturn collecting orsomeother easier hobby.” He later produced with FredHraue his admir.able version o f ’ ‘ Thc Invisible Pass.” But the. factremains :hat his originalcontention was probabl37 right. “
M;ell,h.e managed to tell us-Richard and Ithevalue oft!le coin,and, also,the dateonit.
i looked at rhc dates on the other coins, think:ng that they mightbeallthesame,butthey
1va-e difierent. He sn;i!ecl, doing it over and over again for us. Then he: disc1osc.d the secret. In thecentre of tile match-box cov’:r hehadburned a hole,the size of a shilling,usingared-hotpokerfor that jc)b. Xext, l-le had C U I fromanotherboxthetop partto !it o\’er aildhide the hole. ,4lso, four jlin-head p a n t s of a x held the top cover in place, r e d y to be palmed off, allowing him to see which And, of course, he hadmemorcoin wasin3icie. ised the dates onthe different coins. 11.
A i l the so-called invisible passes be can only achiei.ed aftcr con.;iderable practice and el’en then their all-round invisibility is open to doubt. No\\. here is apassthat reaily isinlrisible yet c a n be pcAriormctl by the ham-fisted chaps ivho h:;\.e 1::arnt tile rudiments c,f the pass at some time
theircartersbuthave since given it up in fa\.our of c ) n e o f the many excellentsubstitutes (01’ pt~ssii,l~~ stanlpcollecting!). The onlyperson \\.l10 might set‘ this p ~ s sis onelying on the floor lo;)!;ing uy\\a-ds-aalld he ivould only infer it from t h p change o f b o m m cards. As dead drunks are ;lot norinally capable of making such inferences it m~safely be claimed that this pass is 1 0 0 ° { , in\*is;iblc. (Gce ! This is goingto he good ! ) . ill
59 Efiect.
The irlel-itable cardha\.ingbeenchosenand returned it 1s very soon available to the conjurer on the cop of the pack for him to produce in one of theman\’dranlatic 1vaJ-s o f Ivhich he is no doubt master. Requirements.
( a ) apack of cards. ( b ) ability to perform a pretty indifferent pass. (c) sL:ffic;ient enthusiasmtoread on. Presentation.
The cara has ixen chosen and while it is being shown around you natura!ly interest yourself elsewhere. Wander away glancing newspaper at headings 01; thetable,lookingatthecustomers’ ph9tographsonthe walls, pickingyourteethin the mirror . . . in other words adopting a casual air. Whilst thus preoccupied begin to play with the pack as follows: The pack is facedown in theleft hand, first finger at therightouter corner of thepack ( ” outer”meaningtheend awayfromthebody),second,thirdandlittle fingers along the right side, and the thumb resting alongthe left handside.This is in factthenormal starting positionfor thestandard pass and no doubtindi\-idualperformersvaryregarding theexactdetails.The left hand is waist high. The right hal;d approachesfrom aboxve, cuts oh about half the pack and rises again to about nine inchesabovethe left hand.Therighthandthen slaps its cards back on top of the left hand packet. This is repeated several times and is lyaried once or twice by dropping the cards from the right hand in small packets instead of throwing them in one. Thiscasualplaying with thecards(which is all it is) I call the siaphapp!. procedure. “
”
You are casually playing Ivith the cards in this waywhileequall-casuallyinterestingyourselt in ather things in theroom. ;%‘hen allha\-e seer. thecard,approachthechooser still playing with thecardsasdescribedandinvitethere,turn of the card i n this fashion, .And now will you pleasereturnyourcardanywhere you like.’’ Contrix-e tc; have the card returned when roughly half the pack is ineach hand. The card is, of course,placedontop of thebottomhalt (i.e.,the half in the left hand). TT’iflzouf (1tz.v chnrzge i r l t e m p o (this is theessence of the whole business)theslaphappyprocedure is continued two or threetimes. As you finish you remark, Well, your card might be anywhere now, in fact it i, mightn’tit:’’Indeeditmight,but nestling quietl5- CII top of the pack ! “
All that has happened is this. The moment the card was returned you inserted (yes, I’m sorry !) yourlittle finger to hold the usual break. At the same moment your right hand descended and rose againbutinstead of carryingawaythesame packet it took awaythebottompacket.Then without anychange of tempo (I mustemphasise this) the right hand slapped its packet back and ther!straightaway descended. to pick up half the packtocontinuetheslaphappyprocedureuntil you choose to finish. Thechange ,of holdwhen yoatakeawaythe bottom packet needs further a word. The momen,t the upper (right hand) packet strikes the bottompackettherightthumb goes totheleft inner(i.e.,near ‘the body)corner of thebottom pa’cket and the right second finger goes to the left outer(i.e.,awayfromthebody)corner of the bottompacket.Thebottompacketthen comes awayupwards(held by thethumbandsecond finger only) passingbetweenthe left thumband theold toppacket.Theremainingrighthand finger takehold of it at the top of the rise and the packet is promptly slapped back ,on the near bottom one to continue the slaphappy procedure. Further explanatory p i n t s .
This is nothing more than anordinary standard pass. Theinvisibility arises from thefact thatthepass is doneduringthe casualseparating2ndbringingtogether of thehands ar_d cards(theslaphappyprocedure). 1 am ashamed to say it is a case of the quickness of the hand deceiving the eve I You will find that this slaphappy procedure makes a bit of ,noise. V7ith a little practice you will find that you rather enjoy slapping thecardstogether.Thiscertainlyadds to the coverbutyoumustreducethe difference in noise between when the little finger is inserted and n.hen it is not. Practice will show you Lvhat I mean by this. of thispass is that it One of thejoys doesn’t mattw if you d,on’t get a clear hold of tile bottom packet the first time. If you fail just carry on slapping away until you do get a goodhold andthentakeaway thebottompacket. Again theimportant thing is not to alter the tempo. Conclusion. ,Although long,.n-inded in description there is nothing difficult aboutthisstall. Anyone who haseverplayedaboutwiththepasscanmaster this invisible one in no time.Andit is invisible. I use it.Why not ycui
60
(An Alternative Method.) Introduction.
It is suggested thatthe followingmethod of performing The Two Thoughts hasadvantages over that given in the PetrtLLgruwz for January, 1918. The effect is exactly as previously described-namely the performer removes from a spectator-shuffled pack now in his pocket the duplicates of two cards freely chosen from another spectator-shuffled pack ‘ l
”
Method.
Conclusion. The method appears to havethefollowing ad\-antages o\Ter that given i n the January, 1948, P c ~ ~ l i t r < ~ u ;lllli
Bothpacksare shuffled byspectatorsand replaced on thetable. A spectator is theninvited to pick up a pack,removeacardandpassthe pack to a second spectator whoalsoremovesa card.Theperformer collects thepackfromthe second speciatorandthe two volunteers concentrate on thcir cards and show them to other members of the audience. The cards are returned to the pack and brought (I use mySlaphappypass).The to the top secondpack is thentaken by any spectator who confirms that the duplicates of both chosen cards arepresentNethen gives thepackathorough shuffling so that even does he know not where On thetwo-duplicatesare. H e then places thepack in thc perfxmer’s right trouser pocket.
Dear Peter,
of a ( a ) there is notransferenceatthestart cardfromonepack to theother. regarding P ) there is no conjurer’s choice which pack the cards are to be chosen from. !c) there is no transfcrence back of four cards fromthe first pack tothesecond. of abreak ( 4 thethumbcountandholding are eliminated. is (e) the efiect (as opposed to themethod) slightly improved in that the performer does nct handle the second pack at all after both packs have been produced at the beginning. thedebit side the only sleight which vou have to performand\vhichnotiequiredin-the ,m-iginal \w-sion is thepalming of two cards.
using a stooge previously arranged to give a certainnumber.To do this he produces a die and rolls it on to thetable; he thenremoves a matchbox from hls pocket,emptiesthematches out on to the table dnd places the die in the box. The box is now passed to several people to shake and is finally placed in thecentre of thetable. \Vith the finger andthumbonlytheoperator (rememberedthistime)opensthe b,ox trayand thepredictednumber(ornumber to be used) is seen to betheuppermostnumber on thedie. “
Tho’ I’m only a child in arms in the realms o f Mentalism,ithasolienstruckmethatmentalists sometimes go thru’ a hellulla lot of troubleand complications to get anumberselected. If you havealoaded die you (ran get anumber in ;t reasonablefashion;but so many people in England DROP a die instead of ROLLING it,that it makesitratherchancy.Theother night I evolvedthefolloningideaandthought it might be sortieuse to youandtheothermembers of your cult Performer (sorry . . . operator) states he wishes to have a number selected purely by chancc ;lnd Ivithout giving anyone suspicion that he is “
In themeantime,withplenty of time and all thecover in theworld,theperformerquietly palms in his righthandthe two topcardsfrom the first pack and rqlaces the pack on the table. The performer puts his righthand in his trouser pocket, contri\Tes to get anycard from thepack that’s there over the twopalmedcardsandthen producesand displaJrs thecardsas described in the original efiwt.
”
”
ot theboxdoes is partitioned across :heHow. centre.The1tra~7 he partition notreachquite c.
up to the h i 1 helght of the tray to allo~va row of matches to be placedabove it.In one side of
61 thepartitionedtraya die is glued . . . NOT in the exacr centre please. . . . The number vou require is uppermost on the glued die. Withmatchlayerinpiacethebox is removed from the pocket and opened MOUTH OF TRAY DOWNWARDS,asthetray is withdrawnfrom t h e , b m , the matches will fall out on to the table givingthe illusion thatthey werecontained in the bottom of the match tray in the normal ,
fashion.Thetray is replaced in thebox STILL MOUTH DOWNWARDS and pushed in till it is slightlymorethanhalfwayin. You canmakea smallmarkonthebase of thetraytoeliminate guesswork. The idea of this is so that the assembly won’t notice the partiti,on when the box is turnedtraymouthupwards.The die is placed intothetray . . . forGawd sakemakesure you ?utitintheemptycompartment.Passthe box around to be shaken. Then take it from the shaker before theyhave a chance to openit at the wrongsidc(lest theyshake you too).Place theboxon rhe tableandopeniypushouttray exposingtheglued die and the number required. Bettermarkthetop of thebox on thefaked up sick. Well there it is, Peter. Seems natural,normal, ancl free from trickery to a layman, yet easy and beyond hazard to -the operator. I doubt if a trick of any variety demands any more attributes than that. Oh, bytheway, I’m thinking of a card . . . I’ll corlcentrate on it hard to-morrow morning beand ele\,en o’clock andperhaps you tweenten ivill phone me and tell mewhatit is? Semper,
\YM.
Very often,”says the magician, ~ v eclaim that if we had our time over again we should act differently in givencircumstances.Ontheother hand we might be inclined to the opinion that no matter what we do our destiny is already fixed.” \.cry smallsection of our Let us takejusta lives,introducean element of chance,and let us see \\.hat u e \vi11 see. Could I have the assistance of two gentlemen, please, each of whom will pursuea line of actiondecidedbypurechance? Here is a die with the usual six faces, and spots, one to six. Will you make a few trial rolls, please, to assureyourselves thatthe die is quite normal?Here also are six cards, onwhich are written sets of simple instructions. U’ill you examine the cards, and note that the instructions I will ask a disinterestedperson arealldifferent? on to mixthemthoroughly,and set themout this stand so that the fazes are hidden. Now you,sir, I \\.ant you to roll thedie,note thenumberonthetop,andcountalong to that card; you may decide for yourself which end JTOU will count from. Or, better still, we \vi11 ask som,eone in the audience to spin a coin. If it falls heads,’’ you mustcountfromtheleft-hand side, if tails,” count from the right. “
“
“
“
1-ou !1a\7e your card, sir? Heads?Thank J-OU. Cl’ill you please keep the instructions hidden while ourfriend rolls the die and chooses his card. You, sir, must also count from the left, an,d should vou arrive . - at- the same number, will 370u please roll again?It is essential thatyou each havea different set of instructions. You haveyourcardnow?Good.Toreturn to the first chooser.Pleasereadoutthe first instruction on your card. Look at the exact time on your watch, and add together all the figures.’’ Will you do that? For instance, if thetimehappenedtobe 7-24, thenyourtotal would be 13. Don’t tell us the number, just make a note of it. And your first instruction,sir? Countthe loose coins in yam- pocket.”Keep th,e total to Open vourself.Yoursecondinstruction,sir? a book at any page. note the number and add it tothe first numberyouhave.”Pleasedothat. Your secondinstruction,sir? Add your age to the first number you have.” Thank you. You have onemoreinstruction,sir? Add the number of your house to the total you already have.” -And your final instruction,sir? Thinkof a “
“
“
“
“
“
62 t\vo figurenumber,andaddit to >-our total.” Each ofmyhelpershasarrivedatanumber, purelybychance. M‘ill each of you reduce his number t.0 one figure, by adding the digits together. Here are ‘two packs of cards, the left hand one we will call heads,” and the right hand tails.” You have first choice,sir, and if our friend in the audience. will be so kind as to spin coin a again perhaps you will call? Heads? Thank you. Pleasecutthispack,cutitagain if you wish.And you, sir,pleasecutthis packas many times as you please. Will you stand, one on either side of the stage. I will askthisgentleman first towhisper his number to me, and then Z will count down to the card at that spot, without letting my other volunteerknowwhat the number is. This is th,e number, sir? Please take that card, and keep its face hidden. Now your number, sir? Is that the card: Pleasetakeit, and keepithidden. You are both satisfied that everything you have done, was arrivedat by chance? You areconvinced that if ~70uhad your time over again you
n.ould probably choose different instructions,and different figures? Then let us see \\hat \\re have arri\.ed at. Your card,sir, is3 TheTen of Clubs? And your’s, sir?TheTen of Clubs? Perhaps there is something in ,this Destiny business afterall? TG magician a this effect: probably explains itself. All that is requiredare six largish cards, each of which bears three simple instructions similar to those quoted above, all the cards being different, of course, a die (preferably a large one) and two rough and smooth forcing packs, each of n-hich forces the same card. If one pack has red backs and one blue, so much the better. The routine is a rest-cure for theperformer: it makes no difference tvhat numberstheassistants arrive at, he simply counts down in each pack to the number given, and he is on a force card. Theperformercould, of course,makesome kind of a prediction as to the card, but this would weakenthe effect: the fact that the names of the cards are usedmerely to illustratetheprocess of inevitability lends versimilitude to-but it isn’t 50 unconvincingasallthat.
A CATALOGUE OF BOOKS ON MAGIC ( i s s ~ e d!J?
CUPID’S CARDS. X card effect by StewartJames. (ObtainablefromFrancisHaxton,St. ,Anthony’s, NonsuchIYalk,Cheam, Surrey, price 5 / - ) . The working of Stewart’smind is ascunning as Jordan’s lvhen it comes tothe working out of some piece of intricate chicanery with cards. This effect is noesception,andalthoughbroadlyit is a spelling effect, i t is such a n effect with a difference,for despitemuchmixing of thecards,cardaftercard is speltoutin a straightforwardmanner. Before \vee\.er read through a n y of Stewart’s routines our goocl friend Francis I-Iaxton runsthroughthe effect; thereading t h a t follon-s increasesstilimore ouradmiration plus the feeling that magic on-esa greatdeal t o such a n originator. This is primarily for close quarter work andit getsandfully desenresourunreservedrecommendation. “ THE UNBELIEVABLE ROUTINE,” by Dr.J. E. Kemp (putjlished by Kemp Magic House, 2 0 2 , N . Western Avenue, Whittier, California, TT.S.A., price
l‘
theFleming Book CO., York,Pa., V.S..i, ) This beautifull5-produced catalogue,is, as reat.it.r..\\-ill notefromtheFleming Book Company’s ad\-ertisrmenton page 61 freeupon request. After a table of contents,there follo\vs a n esccilentessay APleafor Magical Literature, i 5 ~Mr. ~ Paul Fleming.Inthisessay, the author gi\-esall those reasons,with\\-hich an\-sound mindedmagician wilj agree,thatthereading *of hooks on magic is not 0111snecessary, but also profitable. Particuiar!!. does htstressthe need for a grounding i n the classics. It ia11 verysound,theonly flan. heing thefactthat 31:. Flemingattributesthe Annals of Conjuring IV M r . 5. H. Sharpeinstead o f S. \Z’rangel Clarke. Pagesse\’en to thirt\.--one in cl us\-^, list ( a t a rouyi: guess) some three huntlrGd and fiftl- receilt allcl standarc! \vorks onmagic.Againstthe t i t l c of each hook or pamphlet is appended a brief description of its contents,and in certain cases brief ‘‘ quotes of contemporary reviewers, -1fter this section, the reader finds somefour pages de\-otecl to a classified guide tc current Magical literature. From here until pa!y fifty-fi\.e the Fleming publications are described ii! detail \vith accompanving review. To conclude the .\rcas publications. f6r which the Fleming Cornpan!xresoleAmerican clist;il)utors, are ,gLri\.en a h \ . ( , p y r spread. TheFleming R u o k Companl-ha\-e sincetheir c o ~ n mencement sho\\.n that the!- are superlati\.e ~ J O O L rnakers in every sense o t the \ \ . o I c I . This tine cataloxuc iwautifullvprintet!on a r t paper anti ha\.ing nunlerog? illustrations, isin a trxtiition unsharcvl l)?. othei-+. feelsurethatthose, n-ho in thepastha\.enot Leen muchaffected to reading, \<-illon looking through thi. tine piece of \\-ark ha their imayination.; fired anl! trV ancl matle good a pre\.iouc 1 0 s ~ . Plr:cs:e ( t o 11’): fail to qbtain a copy. ”
I ‘
”
I ‘
”
2
“
”
$2.00).
This is a triplepredictionefiect based upon \vel1 triedmethods.The accessories are ferr- andel-erything depends upon the performer’s shorvmansllip. A weli detailetl presentation is given, lmt it is based on scriptum1references. \Ytilst we consider the t l k g up of theDivinitywithconjuringmay serve \vel1 those \\rho call themselves JIagiministers (ivhich, praise be, therearenone to our knowledge in this country), dispensingtn-erltieth century magicfrom a sacred pulpit. as a general 1)ackgrountl i t seems a matter of \-er\‘ 1 )at1 taste. In theacl\-ertisement for this effect. it is statetl that the.effect includes a gimmick.” Now a gimmick l)!- any other name is still a gimmick ant1 when the reader of a n ad\.ertisement describing a miracle effect sendshisnlonevand recei\-es in addition totheroutine, a spiral spring pad, \\-e thinkthat he is going to Ire disappointed to sal. the leastof i t . “
”
“
l ‘
”
63
For thelateness of theprevious issue, oursincere apologies. *A breakdown of linotype a machine atourprintersplustheinterventionof the Cotswold Assembly (which carried George -Armstrongatvay fromLondon) were thecauses. OnSaturday,May7th,RobertHarbin got a nice spot of publicity by means of radio.Inthe In TownTo-night feature hepresented his \.ersion of ‘ ‘ Sawing through a Woman,” f,ollowed by an impro\,edversion of theAbbottmethod. The Sunday Dispa,tch gave him a nice write”p on the following cla).. Rob was all booked for somepublicity like thissometime back,buta statement given to the Press at N.A.M.S. Exeter meeting regardingthe pole to polemethodinterfered. In this number will be found a letter from Billy XcComb. Before readers start telling us that there is little llew in this force of a die, we would like them to readthroughandnotethereally natural method of handling matchbox and die. IntheJanuarynumber of the “ Pen,tagram (published on the 20th of that month) we brought up a number of points regarding N.A.PI.1.S. Some three weeks laterAbracadabra followedthis up with certain criticisms. Now the oldest of British publications, the Magic Wand hasjoinedthe queue.Themaingrumble seems to be moneJ1, and it is comforting to know thatthematter of future financial policy vas considered at the Manchester meeting. For all this members of the Xagic Circle may weli ask when the Annual General Meeting arrives, what N.A.M.S. has done for magic as a whole for their own Society in particular.Theexpenses of thisparticularSociety caused through N.A.1I.S. are very high, possibl). nearly a couple of hulldredpounds. In return forthis one twentytwo line report of the Exeter meetingappeared in theDecember, 1948, Magic Circular, whilst in the current number a page and a halfis de\.oted to the Manchester meeting. This is allthatthemembersget. E\.en the bookre\iews, Ivhich couldbe \duable,are notsent to e\yery member. If they a-c required members “
”
“
”
”
“
”
must write to the Hon. Secretary. We have made the suggestion that a N.A.M.S. notice board should be placed in the Circle clubroom. On this memberscan be posted regndingthe latestinformationregardingN.A.31 .S. The suggestion has been adopted and we lookforward to seeing theideataketzngibleshape. We have had some nice reports regarding RobertTothill’s Shadow,”thatappearedin iast month’s issue. We feel sure that when Bruce Elliott reads the effect, he will think that the idea \\.as inspired by Nightmare Alley Gresham”s effect Nightmare Allez.” Such is not the case. -Actually Bob Tothill sent the effect across to Ted. -4nnemannforthe Jinx in the early days of thewar;enemysubmarineactivity wasbusyin the Atlantic at the time, and the original of “ The Shadow becamefoodfor fishes. We had a very nice tripto Cardiff at the end of -April, and appreciated the audience that on a Saturday evening turned up to hear a talk on that of illiterateconjurers-mentalism. favouritebutt \Ye were particularlygratefultobothJimmy Douglas and Tudor Brock who actedashoststo us. Pentagram ” Xvxt month, we hope that the \vi11 be aDouglasDexter issue. At themoment \ W arewaitingforoneveryimportanteffectto complete it. This wiil be an unpublished effect of DouglasDexter’s,contributedby his son,Kenneth Dexter. Besidesthisthere will beacontribution by S. H . Sharpeand a lovely cardpresentation byJohn Young called the Ghostof Curse.” This latter is one of the best “ story card effects that we ha\Te eller seen.Dexterwas a great artist, and to-day we know of no magician comparabletohim. It seemsanamazing thing, considering holy muchhedidandachievedfor I!IC MagicCircle., that in its clubroom there is not e\’t.!1 a photograph on t h c ivall. The next meeting of N.A.M.S. is to be held at Birmingham. It is scheduledfor a noted day in ICI~. EnglishHistory f h c . F-iTrl~ o/ . Y O P L ~ I I ~ /Perhaps this augurssomething ! “
“
“
”
”
“
“
”
t54
Coloured
Trewey Model
FLEMING BOOKS are “BEST BUYS”
Ilefllltitd/!/
:
SOME VERY RECENT ITEMS ! Tarbcll’j VOLUME V., 418 pages .. .. Ha>.’s CYCLOPEDIA OF MAGIC, 500 pages.rrpiintedmaterial Sardina-Fitzkec’s T h E MAGIC OF REZVANI, 96 pages .. Turnvr’s THE CARD WIZARD, 194 pagvs . . .. Vvrnnn’s SELECTSECRETS, 40 pagcs,rcvistd cd. . ..
501-
37/15 17/6
12/6 7/6
Ollr new 64-pagt. hook
c‘atalvgue i> free upon request (Address postal reqllc-st to York, Fa., as hclnu). Remittances shouldbe for\vard:d to Mr. Rnbertson Kecne at his new address: “ c’oRiverTslt. of Wight.” Your order will side..” Victoria Road, farrmuth, h? v,nt 115 h\airmail. anti t i l l 4 immcdiatel>.. post paid.
FLEMING BOOK COMPANY, 728 MADISON AVE., YORK. P.A.,U.S.A.
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians. Price S i -
Postage 3d.
ARCAS Publications SYDENHAM 404/408 ROAD Croydon GEORGE ARMSTRONG’S PREMONITION
PETER
”
(‘o:oll! l
.?
Ill
clo.;rt’.
The Magic Circle
WARLOCK’S
ih p(1blishvd onthe 24th of eachmonthand can he obtaineddirect from thepublishers for 1 ’ 1 per:ingk cop?.. .4nnualSubscription 12 post free.
BY: Magic Wand Publishing
Prc.
r).s.I)..o.R.E..
Co.,
11, Monastery Gardens, Enfield,
Middlesex. Manllscript-,forpublicationand book.; for r t view shonld be sent tothe: EDITORI.4L ADDRESS:
Peter Warlock, Rd.,Wallington,Surrey. HENRI DE’SEEVAH MM(’.. I ” , IBM..SSMC. THE FRIENDLY MAGICIAN invites all bona-fidr Magirianstosend for h i s list nt new and used apcmrattland books, or call at his 5trldio :l , CLARENCE ROAD Harborne, Birmingham 17
CONJURING BOOKS FOR SALE OLD AND NEW, Let m e know your wants LIST FREE FOR STAMPED ENVELOPE No Caller\ _ _ _ _ - -
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Duke of Somerset,
JP,
?I.I.?II.(’.
Vice-President: Douglas Craggr, Esq., b[.l.1\I.C. :
Clubroom and Librar). and Muwnm
St.Ermin’sHotel. CaxtonStreet, S.W.1.
PUBLISHED
65,Manor
\\-I)Fil
Hitct.9 o t l o p e t / i n ! / cItrtZ r-lo.qitl!l tic( ~ t d d . $~ t t c l c l f i c , / Troul,le \Yit E3ooklet : 80 i11ust:atioIls .. . 2 , 3 CARD TRICKS BY STANYON CardCastle. 13ase l:! S lO$ inchrs; ti tiers o f cards; ‘12 inches high; heautifull!- made, t1out)le car(!s, 50/-. CardCastlefromHat. 6 tiers;highgrade: 30/-. ‘Limit’DiminishingCards. \Yith !)acl< to nlatch a n d 1)lack El)onisetl Stantl, 3 0 / - ; (\\.ithout Stan(!, 25/-) ‘Find the Lady’; Giant size. 40/-; Ordinar\- Cards. 10/-. GiantCardPenetration.(;enuine J u m l ) o (’nrtls, 70/-. GiantGard & Lamp Glass Penetration. ditto. 70/-. TrickPacks. Wizard ( 4 0 Tks) , 6/-; Svengali 40 Tks) , 7/6; Quick Cut and Calculating, 7/6; C.olour Change and Free Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920, withtheDictionary of Magic. 3 samplecopies,postfree, 3/3. Stanyon’s Famous Serials. Coins; hlemory; Pvliscell. : Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls; Explan. Progs.;Chem.; Each 3/-. B O O K . LB BO OO OK KS S It is our policJ- t o keep everylwok : ) l 1 cc:ojuring a n t 1 allied a r t s in stock. \\*ritt# for free lists. >lost (-.S. books anti all Englishpublications in stock. Five Shillings equals one dollar-we pay postage r’or~i!lrt r r j ~ r l ( ‘ O ~ I I ~ I( ~ , u I. sIt Io t t t ( r s ~ / I I * ( I . * o w y i t t * d i t . v r t . II’v I I ( I I * C ,qII/j/tIieO AII--i(:I(‘t o thr II-ONLI, . ~ ~ / I I ~1890 c * COMPANY E L L I S S T A N Y O NA N D London, N.W.6. Road, West Hampstead, 76Solent ~ ‘ P I P / ) J I O I : P : H.L\JIpstead
PENTAGRAM
The
Corners
1 : ~ t ; t I i ~ ~ l ~ Ir l : / o l t r . ~
/CiSf
Ittlpoytutdt
tmnestll. belicvc. that thcre arc. no magic publications which giw. bo much for thc monrgac thc
ROUGHANDSMOOHPOSSIBILITIES By Tun Hock Chum
Trouble-Wit
Stage Size, t~setll)>. T:r\\.t.>,. t t c . , l 2 ills. Rainbowcoloured,22/6.PlainWhite,15/6.
\\‘c,
“
“
Cartridge Paper Stanyon
Magical Thratre :
King George’s Hall, W.C. Particular
Sccrctar:, :
FrancisWhite, 39 Alverston;! Avenu?, WimbledonPayk. S.W.19 INSTITUTE
OF
MAGICIANS
in 1.ondon. 1 ~ ’ n r t ~ n ~U.akefield. ~~~~th. Hrigllton and Detroit. C.S..\. The friendliest nf magical >ocietirbs. N o t.ntranct- [ c c . printed club mag.lzinc.. spletndid lihrary. London H.Q. Denison Housr. 296 Vauxllall Bridge. Vlctoria, S.W.I. cone nlintlte Victoria Station 1 . Particulars from Oscar Osuald. 102 Elm5teari 4 \ . ~ , n I ~ t ~\i’c.~nhlr,> P a r k Rlidcllcw,s. Hranchc.
JAM G ER SA Y S O N , MAKER OF HIGH-CLASS MAGICAL EFFECTS, gTAGE ILLUSIONS, ETC. Tt.lzphnne nt Trlegrat!~: MORLEY 199 .Acldrc..\ :
-
GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 year5 i n ttw 1lltsinc.s 23
requestedtoreturntothestage. He is hmdea first a white silk hancikerchiel andthen a length o i black felt v,ith tapedends and isrequestedtoblindfoldtheperformer with :hese t\vo pieces of materizl. This completed, The samespectator is a;l;ed to havethe selected cards returned to the pack, shuffle the latter and spread the cards face down on the table (the performer i1lcidental:y has taken up his stand behind thetableprior to orduringthe process of the blindfolding). The performer asks that the daggersbetakenfrom theircase andhandedto him.Holding them in his left hand,hequickly takes tht‘m one at a tinre with the right and stabs certaincardsonthetable.The first personis askedtorevealtothezudienccthename of his card . . . hedoes so and theperformerlifts ne daggershowingthatcardimpaled on its point ; this is successfullyrepeated with the remaining tv:o cards. Requirements. ( 1 ) Two new packs of cards.Thenrappers
of these were first care!ully remo\,ed b y steaming and piacedaside.Although apparently identical in back design, Douglas Dexter used at least four methods of distinguishing one pack from the other.Onemethod was toexposethe backs of onetothesun, so that a slightly yellow tinge \vas apparenttotheperformer.The secondwas to buy say a gross of packs: and choose one pack thathad a lighterprinting on theback(certain types of American cardshave this fault).The third was to use similartypes of cardshaving cliff erentfinishes, i.e., Air Cushionin onepack and ILTory fi&hin another ; (the late .Ralph Hull made use of this princi,ple forlocation purposes),indication o f difference in thiscasecould be noted by light reflectiox. Thefourthmethod wasaquestion of astandardmarkthroughout thepack.Theotherpzck was treated 50 thatit becamea reader deckwithsignals that were The preparing of this x-kible up to five feet. deck apartfrom gentlenessinhandling ( S O that ”
”
“
the pack
subtle. o f the
,4t “
”
looked ~ l e w ) did not ha1.e to be t o o this point it \\-ill he s e ~ nthat if o 1 1 ( 1
reader cards
”
is shuffled into the other
p;t~-k,it \\.ill sho\\. upfirst, not o n its r m d , ~ uwrkillg b u t o n ac‘cwunt o f its gcj~lcrnl back
differentiation.
y
The reader will find that whilst to the person I z I ? o ~ , I ~ ~ thespectator assisting \vi11 notnotice it. (2) One white silk handkerchief. ( 3 ) ,4 black (velvet or felt) bandage Ivith tapes. (4) -4 set of threedaggers(the case is of course optional but makes for general effec51-eness). ( 5 ) A dellice for switchin,c thepacks ‘7f cards. thisdifference is great such a difference exists,
67 The beauty about Dexter's switch was its cleanness-there \.vas 113 hesitancy-nosuspicion. Again let it be repeated this was only one methoci that he used (inour OR n opinion it is the best for thereaderbecause it canalwaysbe acco~nplished Ivithout detection \I hilst the performer is surrounded). To accomplish the switch which n a s performed in the action of removing the handkerchief from the inside pocket, Dexter made use of special a pocket. The illustration will servethereaderbetterasaguide than a long description. This pocket (really two pockets) consists of onewhich acts as a receptacle for the unwanted reader pack ; andtakesaform similar to the pocket that can be found in certain types of letter files. Thefrontandbackthough made of material si,milar to acoat lining arereinforced by cardbcard. The second pocket, tvhich holdsthe ncn-reader " pack,thehandkerchief and the felt bandage, is nothing more or less than a normalpocketactingasanappendage.Thedepth of thispocketshouldbeslightly greaterthanthclength of apack of cards,but less than thedepth of the receiving pocket.The pointaboutthisparticulararrangement is that whilst the coat is in a normalposition the receptaclepocket remains closctl. Directly, hen-ever. theperformer-makes a mo1.e tocvards thepocket (in such a manner the coat comes away from the b o d y ) , thispocket, h e c ~ ~ u sofc t h e weight of tlzc ( r v t i c l e s i r l tile rlppeldtcgc., autonlatically opens hccomingreadyforthereception of theunwanted pack. Whilstnormallyone clces nothaveapocket inthe !eft part of ajacketorcoat,Dexter hacl his pocketon this side,usingtheright handfor theswitch. "
"
"
Preparation. The " reader pack is first takenand resealed inside one of thewrapperspreviouslyremoved ; it is thenplaced on thetable(which shouldbecentre stage). Adjacent to it is then placedthe casecontainingthedaggers (or just thedaggers).Theblackbandage with tapes is then rolled and placedatthebottom of the pocketproper(seeillustration),thenon-reader packfacestowards theperformer'sbodybeing placed on top. The white handkerchief, also fclded, is placedbetween the pack and the outer part of the pocket (the position of all three articles is shown in theillustration).Thehandkerchiefshouldbe EO foldedthat two endsprotrude.
pointout its merits,replacesit in the case and places the case, lid open, on a table or chair right of thetablefromwhichhepickedupthesealed pack. By this time the cards \vi11 have been taken and the performer asks theassistantto return to thestage.Hecasuallytakestheremaining cards from the assistant pointing out that he (the assistant) has opened a new ,p.ack and aFproachedthreemembers of theaudiencewith a requestthattheyeachtake a card.Theperformeraddressesthethree selectors asking that they now l o o k at t h e cards theyhave taken ; he thenturns to theassistant .on theplatformsaying : '.' I would like you to blindfoldmeinno uncertainmanner." At this pointthe righlt hand gces to the left pocket, the actdon of entering the coat a1lon.s a full expansion of the extra pocket, andthereadercardsaredroppedintothis as the non-reader pack and the handkerchief are removedasone. The speed of thisswitchbecause of thatextra pocket is such thatit would afiteruards be said (should the question arise) that the cards never left the audience's sight. Wlith a normalpocketswitch,there is a l w a pa n impedance caused by the normai compression of the
"
Presentation. A spectator is first asked to assist. With his assent,theperformertakesthesealedpack frcn the tab!e, askshimtobreakthe seal and thel: allow any three members of the audience to take onecardeach.Whilstthis is being done the performer picks up thc casc containing the daggers.opensthelid,picksuponedagger to
SFIOVING TXE EE'E'EC T OF THE COAT AVAY FROM THE BODY. THIS ALLOWS SPACE 3'02 "REDER" CAlWS pocketmaterial.Thiscan'thappenhere. " This one first,"saystheperformer,as he hands tile handkerchief to theassistant. '43 hedoes so the performer, whoshould be justbehindthecentre table,turns half left ; theassistanttakesthe handkerchief and commences toblindfoldhim. The performer in an endeavour to help the speccontinued on page 71
68
I n ’f’lze Jlrcgic
I,T7urlLl
for I)ecemI)er, 1928, 1
described an effect called The Sharpe ScissxsProblem, whichsoon caughton,several variations being described in magazines and books, and also oe%g put on sale. The procedure was simpleandstraightforward : ,4n envelope takenfromthepockethadtheends slit open, aftertheflaphad beensealed,thusmaking a pa,pertube.This\\asslippedoverahandkerchief.Whiletheends of thehandkerchiefwere being held, the tube was cut through with a pair of scissors, butthehandkerchiefremainedundamaged. A verysimple trick sufficed to producethis pocketversion of SawingThroughaWoman. One side of the envelope had previously been cut across thecentre(Fig. l ) , this side beingkept underneath.Round nosed scissors wereused,to preventthemcatchingthehandkerchiefasthey cut through the upper side of the envelope only, the under blade being guided over the top of the handkerchief. A perfect illusion was created, and there was nothing left t’o find out. In one of the \rariations a length of cotton was threadedthroughacigarette with alongneedle. The cigarette was cutin twowithoutdamaging thecotton.The secret herewas to use apair of fairlyblunt scissors that were a trifle 1,oose at therivet.Thiscausedthemto press thecotton between thebladeswithoutcut.tingit,though theyseveredthecigarette. DouglasDextertookafancy to theoriginal effect, and wanted to include it in his‘ programme at Maskelyne’s. H e decidedtodo it inaway that would beclear m t o spectatorsinahall,the followkg being his procedure as describedinhis ownwords in aletterto me : “ I pick up a long manuscript envelope in one hand and a very long pair of scissors, just under a foot long to be exact, in the other. l then snip off the closedend of the emrelope, and lower intoita piece of satinribbonabout 2 feet long andnearlyasbroad as theenvelope,shcwing both sides of the envelope, so that it may be seen “
”
As readers \\-ill havenoticed i n last nlonth’s issue, \ve mentioned that this issue \\.oultl contain John Young’s “A >latter o f hlassacre” ( a card trick \\-ith one of thebestplots \\-e ha\.e seen ) . Even h!- c u t t i n g o u t hook reviews, the three Dcster items took all a\-ailable space. \A’e a r e t h e r t ~ f o wcompelled to hold JohnYoung’s item ()\.er until t h e July issue. I n this \vi11 appear
:hat the ribboil reall!. goes rightthrough.Then, holding the enlvelope in 2 horizontal position with theribbonprotruding a t eitherend, I cut it in hal\-es \\-it11 o f 1 r ’ slo\\-,deliberate a l t , the point c)f the back leg of the scissors showing below the lonw edge of the ernrelope all thetime.The t1t.o hallyes of theenlfelopeare thendrawn off 3rd the silk shonm uncut.” OR1 GINRL
VERSION
SLIT AT MCR OP ENVELOPE
DEXTER‘S VERSION The underleg of scissors
o e 8 between he r i b b o n and t o p side of t h e envelope
This is how it appearstotheaudience. Actuin the action of placing the envelope between the legs of the scissors. the underleg is slipped o f the en\dope andthe Setween thetoppart tlpper side of the ribbon. I do not think that Dexter’s 1-ersion has nppeared in printbefore. ;1!1~7
mouth, which blows out theflame.Thecandle is then placed back on to the right hand, which forthwithhands itto a spectatortoremovean,d examine. The performer then returns to the table, picks up theglasstubeinthe left hand, and, advancing to thespectator,takesthecandlefrom him anddrops it tothebottom of thetube, which is
taller t l x t n the rantlle by about 2$ins. He then, holding the tube by the foot in the left hand and making mysterious passes with theright,stands about the centre thestage. Slow music is playedandthecandle rises slo\vly in thetube till it is about half-way out, and then sinks down again. Once more, to the accompaniment of w i t a b k passes throughout,it rises. Thistime, when about an inch of it is above the top of the tube,theperformertakesamatchin his right handfromtheboxonthetable,andmakesa striking " movement in the air with it, whereuponitlights. H e thenlightsthecandleagain, blows out the match and throws it down-if passiblenearone of theaudience,who, if he examines it, will find it an ordinary match. Continuing the passes, the .performer causes the lightedcandle to rise untilit is more than threequarters of itslengthoutofthetube. H e then, takingthecandlt. in hisrighthand, removesit completely from t,he tube, blows it out, and, adI-ancing to the audience, immediately hands both tube andcandleforexaminatior,. CIf
"
continued on page 70
"
Making a Candle Light "-continued
70 from page 69
The following preparationsarenecessary.One end of a fine piece of blackglacecotton,sixteen incheslong,is tied to asmallblacksafetypin. T,o theother is tied ablackwoodenbeadabout half the size of apea.Thisbeadisimpaledby means of a hole through It, on a black pin which is inserted point upwards iln the edge of the waistcoat,just below the bmottom buttonontheleft side. Thesafetypin is fastenedbehindtheflap of the flies, about half-way down. Anotherblackpin, n,ot toolong, is pushedup to its head into a minute round piece of cork. The point of t,he pin is held for a moment with a pair of pliers,inagasjet,untilfairlywarm ; it is then pushed half-way into the side of the candle, just above centre its of gravity. As the wax cools it grips the pin. The candle is then stood in the candlestick, pin attheback.Totherear of thecandlestands the)hydrometertube. My tube is justover S incheshighoverall,and 13/ 16in. internaldiameter.Thecandle is 59in. 1,ong and13/16in. in diameter.Ithad to beveryslightlyparedaway atthebase,asthetube is slightlynarrowerinside atthebottom,owingtotheextrathickness of the glass there. I t is important that the candle shouldbeabletoslidefreelyupanddownthe tube,withoutbeinggripped atthebottom when droppedin. The si& of a b,ox of safetymatches is bent round into a little \tube like a cigar-band, and the edges glued together securely, striking surf.ace outermost.Thisisstooduprightonthe(table behind t,he box of matches. To perform : having l'it the cande, make a fen pzsses ,over it with the right hand, which is then lowered behicnd andtouchingthecandle.The fingers arethen closed so thatthe cork head of thepin is grippedbetweenthesecondandth,ird fingers. Thecandle is then raised out of the stick .andshownsuspendedtothehand. I t is thentransferredtothe left hand with a semirevolution similar ,to the changeover-palm witmh a billiardball, so thatthepin is broughtbetween theleftsecondandthird fingers whichgripIt, andtherighthandisthenremovedandwaved slowly in $he air,itsemptiness being apparent. The lefthandagaintransfersthecandletothe right, during which it is blown out, but this time itlaysalmost flat ontheright-hand fingers, and t h e left refaills i t s grip o 1 z t h e pi" arid wifhdrcLurs it. Without g i v i n g t h e spectatorstime to i-ealisc thatthecandle is not now suspendedasbefore.
the performer advances to them and requests someone to takethecandlestraightfrom his fingers. LAs soon asthis is clone, theperformer returns to the table, and picks up the tube in the lefthand, which dropsthe pinonthetable in theact of doing so. Meanwhile,theright hand finds theblackbeadandwithdraws it fromthe pin, holding it between the first and second fingers. These fingers arethenbroughtoverthe openend of thetube, which is thus heldfor 2 moment in a horizo.nta1 position, the left hand holdingthebottomend. Now, returnthetube to aperpendicular position,bring it close tothebodyand release the bead, which slides down to thebottom whmilethe performeradvances to theaudienceandtakes back the candle from the spectator. He immediatelyalloNsthecandle to slide down to the bottom of thetube. Owing to thesmailspace between the side of thecandleaqdthe inside of thetube,thebead is unable to passbetween them, so that,bygraduallymovingthetube away from the b,ody with the left hand the bead is pulledupandliftsthecandlewithit.A reverse movement naiturally lowers it. Whenthe candlleis out of thetubeaboutan inch on the second occasio,n, the right hand takes amatchfrcm ithe box, whichshould#havebeen left openandlyingjust in frontofthematchhos hand ; simultaneouslythe third finger tip ispusheddowninto$theband which is then broughta\\-ay ontheend ,of it.The first finger andthumbholdthematch so thatitshead is pressedagainst theband,andthe second finger is doubledbehindit.Byextendingthe secoincl finger sharplythematch is rub,bedagainst the bandandstrikes. T.his is covered bya " striking " movementmade in theair.Thecandle is then lit and raised asfaras possible. Theright handthenliftsthecandleclear of thetube, it is blown outandbotharmsareextended while advancing towards the audience. This movement draws the bead completely out of the tube, and it falls agains,t the trousers, where it is quite invisible. If, #however,there is any fear of it showing, the third and fourth fingers of the right handmayclipthethreadjustabove t,he bead whenliftingthecandleout of thetube,and retain it while the lefit hand gives first the tube and then the candle for examination. Slow, soft music, during the suspension of the candle to the fingers. and ,the subsequent levitation is more effective than patter.
It waswithdeepregret that we heard of the deaths of t\vo whowere weli known in Magic. The first was that of GordonPoweli.Although activelyretiredfrom li,agic andthecompany of magicians, up to the time of his death he took a
1-ery keeninterest in the affairs of the Magic Circle. He was thesixth member to j,oin that Society,and was a member of the first Committee. The other, who by his writings, was well knolvn to conjurers all overthisisland,was Bob
71 Edmanson, \\l10 died so011 after his arriva; in 5Li.itzerland. Both of thesemen \\.ere personalities, and those who knew them wiil be the poorer Tor theirpassing. We feel sure that our readers will like this issue ~ n dourthanks go to 211 thosewhowereable X help 11s onse\,eralsmallpoints. I n particular .\{.e should like to mention *the names of Dr. Nicholls Harvey,JimmyFindlay,HerbertNil:on, -4rthurI\-e\:andDr.Bowen,all of whom n.ere able to confirm certain essential details reqardingthe TripleStab effect. I t is a difficultmatter, ( a s has 11-elI lxenpro\-ed)unless notes are taken ar the time o f pel-formanc.e, f o r the ;bser\.cr (excepting the fact that he has a photographic: mind) to relate, i n propt!r seqzcelrcr, \\*hat he saw at that time : and so it came about, hadwitnessed the effect rhat eight of ThoseLvho an morethanoneoccasion,satround a table tryingto focus the point a t \\-hid1 Dexter /ir..st .O~owrllthe tluggers. Onl\.-by checkandcrosscheckdid we get thecorrectresult. From a N.A.M.S. review of Tan Hock Chuan’sbook,one of the reviewers (evidentlya pupil o f Colonnade College) finds that the d w t ~ c~ffec-t.sall oz/tstctr~dilrg,hut considers the price of‘ .-)l- i o o high! Our good friend,Norman Clifte, \\-ritesas fol:ows : Oneideayou may like topassonto \Tour readers.The ‘ Biro ’ minorhas come into zommon use, and costs a iittle under five shillings. I: comes iil fourdistinctcolours.Bypurchasing one each of red, greerl and blue, and exchanging the refills so that the redgoes in thegreen case. the green in theblue,andtheblue in the red, I have an ultra modern method of .using the {)ne aheadmethodforatripleprediction. The pens are displajred, in the appropriate order, with someprominence on thetableby using astand “
”
”
“
l ~
?
I‘
“Three White-Handled Daggers ‘’-continued
from page 67
;atorwiththisprocess:i.e.,holdingthebandage xhilsttheendsaretied,carriesout t1j.o opera:ions ; the first is to dropthepackontothe rable,andthesecond is toensurethata good :lo\\mward glimpse can be obtained under the bandagedhandkerchief. And now this one,” and with his righthandhe goes to the pocket again bringing out the black bandage. The 3znda;;ing finished, the performer t r m s front r,nce more and requests the assistant to take back thepackintotheaudienceandhavcthecards r.eturned : he is. told to shutflt. t h e cartls,bring thrm back ; t n t l spread them face do\\-n ()\‘er the :;thle 5.0 that a l l thebacks a r e exposed. The \\.henhe h:\?; xssistant is to tell theperformer t.wmpletedall thesetasks. \\‘hen he does s o the ?tbrformer r e q u e s t s thatthedaggers be hantletl t o Ilim ; h ? takesthem \\-it11 therighthandand passesthemtotheleft. (The assistant s h o u l d .;till be standing on the performer’s right.) Quicklytheperformer,withado\vn\vardglancr ander the I~Iindfold, notes t h e lllrrr stl*crll,
cc~mprisinga block of \\.ood \vith three holes boredtherein to holdthepens upright.” MauriceFogel rang us theothereveningand told us that he \vi11 soon have a publication marketedinwhichthere wi1.l be somesidelights on of more the Helliweil matter.Thisshouldbe thanpassinginterest. We hope that none of our readers missed Bruce Elliott’s effect ‘‘ Fate in ‘‘ Phoenix.” Even thoug-hthey ma!. notfancythe effectoutlined, they lvill, lye feel sure, be more than grateful for the remarkably fine force that he has originated. As we go to Press weha1.e news of the Magic Circle Festival of Magic ” bill attheScalain October.CertaintiesareDouglasFrancis,Jack le Dair, Claud Chandler, Tommy Cooper, George ;rimmond and .4li Bey. Possibles, Dominique and -4. N. Other. David Nixon will compere andJohnYoung wiH asusualsupplytheprologue. We have just received Devano’s Jumbo Rising Cards,and whi,lst we consider that whenthese packsare used acard effect ceases to beacard effect in the true sense of the word, we feel that we mustcongratulateourfriend on theproduction of a remarkably simmple but efficient piece of mechanism.Whilsttheprinciple is that used in the original Devanopack,theextraspacethat thecraftsmanhas to ‘play withhasresulted in a precisionpiece of work that was hardly possible \\it11 the original. Our only criticism (and De\,anDiswell av’are of thisj , is thequality of the Jumbo car& that he has been forced to use. Tt’hilst thesebear a bicycle ” back,they are certainlynotaproduct of the American Playing Card Company. Tht. Dayid De\-ant number lvhich \\-e mentioned some time back 11.ilI probably take shape i n Septelnht~r. “
He stands back slightl). from the table, us q1/ickly ~ t r l d drclnzuticdZy as possible, the right hand takes one dagg-er at a time and brings each point down on the selected cards.
The first person is askedto te,ll the audience the cardthat hechose. Thename beinggiven, the performernotesfromthemarkings,itsposition amongthethreestabbedcards.Repeatingaloud thename of the card, he quickly lifts the appropriate dagger shon7ing the first selector’s card impaled on its point.Thisprocedure is repeated u.ith thesecond andthirdcards. Inmany of his performances,certainlyatthe :\lagic Circle and magical societies, Dexter would, ask (remember the after taking the applause, blindfoldhadnotbeen remo\Ted) theassistant to pick up a number of cards from the table, square them, and hapd them to him (Dexter) face down. J<eeping- the cartls t h u s , ant1 \\-ithout [ I I ? J , possih i l i f y ( I / (111y siglzfiilg o y J Z ( I I Z ~Illivror rzttclclzmc.t1t, 11t‘ \\-ouldthen read the c - a r d s I’rom tlzc b o t t o n z , removingeachcard 2 s it \\.as named. This effect \vi11 be the subject of a future article.
Coloured
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners Rertutifully ( ’ o / o u r ~ ~ fI / ( /fist /,‘//il!lt~~:t* (‘olouvs StageSize, used I)y Tre\\ey, e t c . , 12 ins.\\he11 clowl. Rainbow coloured, 22/6.PlainWhite,15/6. /~,rportr~rct Hi1rt.s o n opel,iny ( m d clo*in!l tltP t ( d d . * i l t c l u d c ~ i Troutde Ii’it Uooltlet 80 illustrations .. . 2 j 9 CARD TRICKS BY STANYON Card Castle. Base 12 X 104- inchcs; 6 tiers of cards; 22 incheshigh; 1,eautifully made, cloul)le cards, 50/-. CardCastle from Hat. 6 tiers; high grade; 30/-. ‘Limit’Diminishing Cards. \5’ith pack to nlatchand 1)lack EbonisedStand, 30/-;(l\-ithout Stand, 25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards. 10/-. Giant Card Penetration. GenuineJunllmCartls, 70/-. 70/-. Giant Gard h Lamp Glass Penetration. ditto. Trick Packs. LVizard (40 Tks) , 6/-; Svengali 40 Tks) , 7/6; Quick (‘ut and Calculating. 7/6: Colour Change and Free Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920,withtheDictionary of Magic. 3 samplecopies,postfree, 3/3. Stanyon’s Famous Serials. Coins; Jlemory; Miscell. : Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Halls; Esplan. Progs.;Chem.; Each 3/-.
Audience-Tested Tricks and Routines ! XfJ nLrdto worr? about\vhrtht.r ih:, tricks in tt,ese booksarc workahlt, f o i ths vut!lors explain only feat$ whichtheythemselves have performed wirh success. Kaplan’.; THE FINE ART OF MAGIC. $0 o\ltst?nding trick3 androutines. matchltss a 5crit.s of Irssons,. 352 page5 . . 37,’6 Kaker’s MAGICAL WAYSAND MEANS, 64 featsthathelped t o makr AI Baker tamoll.;. 14T pages . . 1716 (.lark’s NITE CLUB ACT, thisnoted prrformrr’s blralltiftlll!. rolltinod Celebrated (‘igarettes. Ropt, Ko\.alca. Silks .. . .. S,uprenle 1716 Hooth’s MARVELS OF MYSTERY, excellentiternsfromJlr. 156 pages 1216 Rnoth’s polished night-club programme. (‘ollins’s A CONJURINGMELANGE, 52 originalfeat.- b!. thih well-known British conjurer. 256 pagci, amazing bargain 10/hlask~l!.nc-I)rvant’s OURMAGIC, inclllding 12 greatDevant anexcelled, tricks, 336 pages . . .. . 251-
THE VERY LATEST BOOKS ! MAGIC IN THE MODERN MANNER ( Y e g . e r ) . cl!)th, i5 ill.^ 36 tricks and rolltinvs h!. clever originator, last orlt , . 20/MAGIC (Ho-Yam). cloth, 200 tine ill., 39 workable tricks (man?. Chintsv ” 1 rnostl? with apparatrls. jllst ollt . 32/6 THE MAGIC OF REZVANI (S,arclina-Fitzkf,r). 96 pagt’s. clever n1atc:rial h?, a n outstanding Erlropean magician . 17/6 IT MUST BE MINDREADING ( A n d e r m ~ ) ,57 pagcs, excelup-to-daty lent treatlse 0 1 1 mental walk .. 10/Pleaseremitto Mr. Rnbc*rtson K t w w (new.pcrrnancntaddress). c o Riversidc. Victoria Road, Yarmol1th. Isle of Wight,and your order will tw fil1f.d prornpll!. froln thr Unitc,,l States, post paid. cop!. ot O I I ~ ncn’ 6 4 - p a g ~lmok cata\Vrite LIb direct for > - O I I ~ I o g ~ ~ c just . . <Jut. Postal rcqut.>t w i l l do. “
BOOKS-------~BOOKS--------BOOKS
It is our policy to keep every I)ook 011 conjuring and allied arts in stock. \%‘rite for free lists. Nest 1T.S. Imolts ancl allEnglishpulAications in stock. Five Shillings equals one dollar-we pay postage f ’ r , r c i ! p( o r 0 ( q ~ d ~c )r t .~v t o~w (i~ ~ r . q~ prwl.sf> ? w y i t c d i r t 1.1. li’r Jtuvo strpp?ierl M A G I ( ’ to t h r H-Oi~LiIt q i i l w 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. TP?ephot!P : 13AMpstcad 0940
frtsc,
FLEMING BOOK COMPANY, 728 MADISON AVE.,YORK.P.A.,U.S.A.
L
“
ROUGH AND SMOOH POSSIBILITIES ” By Tan Hock Chuan
A booklet dealing with themethods and application of the modern principle, by one of the leading experts o n the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM ROAD
404/408
Croydon
PETER
PENTAGR A M
*
lO/-;
Clubroorn
King George’s Hall, W.C.
POSTAGE 3d.
The Magic WandPublishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
HENRI DE’SEEVAH BIM(‘.. EMS.,IBA[., SSNC. THE FRIENDLY MAGICIAN invites all bona-fide Magicianstosend for his list of new and used apparatus or call at his and books, studio :1, CLARENCEROAD Harborne, Birmingham 17
INSTITUTE MAGICIANS OF Hranchrs 1-nndon. in I.’ort~n1outh. M‘akt+eld. Brighton and U(.troit. I..S.A. The friendliest of magicalsocietivs. X,, cntran(e f r ~ .printcd club magtzlnr. splrnclid library. London H.Q. Denison Honie. 296 Vauxhall S.W.1. (one rninlltr Victoris Bridge, Victoria, Station 1. Particulars from Oscar Oswald. 102 Elrnstead A Y ~ . ~ I I I . \i’clnl)lt,! f’clrl< B!i(ldi<~sr,s.
JAM GE R SA Y S O N OF HIGH-CLASS MAGICAL.
CONJURING BOOKS FOR SALE
i
MAKER
EFFECTS, STAGE ILLUSIONS, -
GEORGE ” JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser’s goodsare
:
Particulars from Hon.Secretar).
Surrey.
NEW. Let me know your wants FOR STAMPED ENVELOPE N o Callers ~ - - -
hlrwum :
Magical Theatre :
Manuscripts for publicationand books for rtvicwshonldbe s m t ot h e : EDITOR1:AL ADDRESS:
OLD AND LIST FREE
and Library and
St. Ermin’s Hotel, CaxtonStreet,S.W.1.
BY: The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
65, Manor Rd.,Wallington,
D L I ~ oF1. Somerser. .].P. Y . T . M . ( ‘ .
Vice-President: Douglas Craggs, Esq., hf.1.M.C.
PUBLISHED
CARD ROUTINE
A sprctatornanws a card. Hc is asked to take apack of cards from thetable,remove thrmfrom case andcountthem.faceup,on to the table. Ht: counts only 51 cards. The t v r y cardheisthinking of is not in the pack. IVithollt thrslightrsthesitationtheperformer removrs tht. missing card from his pocket. Surc-fire; No chancc of failure; blagician does nottouch cards atan\.time; No fake cards; Nn forct.; An>- cardcan be n a m t d ; No skill; Y O I Ican perform this tivr minlltesafter rc.ading thenratl).printrdinstructions.Booklet ot instructions-no card>. I I S ~ your own.
PRICE
r1.s.o.. o.B.E..
Peter Warlock, Surrey
AMAZING MENTAL
l’[-rsidc,nt : His Grace the
is publishedonthe24th of eachmonthand from thepublishers for canbeobtaineddirect l i l per singlecopy.AnnualSubscription 12 post free.
GEORGE ARMSTRONG’S PREMONITION AN
The Magic Circle
WARLOCK’S
ETC. Telephone or Telegram : MORLEY 899 i \ d d r t ~: ~ -~ GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 year5 i n thr h o h c . w 21
fully endorsed by this Bulletin
Published hy t!l. p r q r i c t o c P The Magic WandPublishing Company. 1 1 . h1onaStc.r). Gardens.Enfield. \Talker andSon (Printers:! Ltd.. \\.ell Croft. Shlple? Y3rkshit-t.
MidJlc-rs. andprinttd
by Herbrrt
*
73
PENTAGRAM An independent monthly bulletin for all who want good magic Julg 1949 V ! ,3 N&. IU
EDI‘lOK’S N O T E . - A f treerc e i v i n g his copy o j v l l r Douglas Dexter issue, George li3rautui rullg- us l o ojjerhiscongratulations on nrl outstur~dir~g mltrther. He meutioned Mr. S . H . Slztrrpe’seffectandhowwuyback i t 1 the a versiolt that allowed twerliieshehadworked thespectutortocutthroughtheenvelope. We w k e d the “ h o w ” ur1d o z e r thephonehedescyihed Itis versioll. B y the v z c r t morning’spost art’ lttrd ( L snntple elnfelopewhichsolved sonic o/ thc difflcztllies thatseemedapptrrerlf i r l the o‘r:rl Ltt’scriptiorl. T C ’feel ~ szlre t l w t wit11 tile choice o{ M r . Shrrrpe’soriginalversion, Douglas Ile.rtrr’.s improzretnerlt, the method to be descrihed urrd M r . L o g m l ’ s versiorl n muchneglect e d pj{eL-t will g o illto mall!! progrummes.-
P. W .
The Effect.---Taking an envelopethemagiciancutsawayeachend so that he has ineffect a flattenedtube. A three or fourfootlength of wide silk ribbon is thendropped inside thetube so thatanequalamountprotrudesateachend. Foldingtheenvelopeatthecentre,the magician then takesa pair of scissors, and, offeringthem to a spectator, asks him to cut through the folded centre of theenvelope. Thespectator doesthis, and the magician shows, by pulling back the cut edges, that the ribbon is severed. The magician’s hand now approaches the cut edges of the ribbon and pulls them upward, thus removing :he pieces from thecutenvelope,and shows the ribbon restored to one piece. The Requirements and Preparation.-One foolscsp envelope, preferably made from cartridge paper.Taking a sharprazcrblade,themagician makestwoslits x r o s s oneside of the envelope ; theseslitsareparaliel, andIllustration 1 shows
thcirrelativeposition.Alength of silk ribbon, not less than twoinchesinwidth, is taken,and fromit is cuta piecemeasuringinlengththe distancebetweenthetwoslits. A spot of seccotine is smeared across each end of this small piece of ribbon,thelatterthenbeingcarefullyplaced inside the envelope so that it adheres to the small portion of the envelope between the two slits. The illustration will makethisquiteplain.Priorto presentationthelength of ribbonisfoldedand placed inside theenvelope,theflap of thelatter being turnedin.Theenvelopeisthenplaced slit side downwards on a table. A pair of scissors should be beside the envelope or in the magician’s pocket. Presentation.-With the left hand the slit side envelope is picked up fromthetable, away from audience; first lifting the flap with his right hand fingers the magician then reaches inside and withdraws the length of ribbon. After placing this on the table the pair of scissors is taken and eachend of theenvelope is snipped off so that in effect the magicians has rz flattened paper tube. Holdingtheenvelope with his left hand in a verticalposition sufficient pressure is applied so that the paper bellies out and forms tube a (See llluslration 2 ) . The pcsition of the left hand is suchthatthe left thumbcan pressagainst so that pcrtion of theenvelopebetweentheslits, Ihe magician really has, though the audience areunaware of thefact two tubessep.arated by agap.Therighthandtakesoneend of ribbon and lifts it fromthetable. 1t is carried over and above the envelope and the lowerend is allowed ultimately to enterthe top end of the“tube emerging at the lower end. When an equal amount of ribbon is showinga,boveandbelow theenvelope,theuppermostend of theribbon ”
74 is released. The envelope is then folded over so thattheslitportionsareinside(SeeIllustration 3 ) . Taking the scissors, the magician approachesaspectator;thelatter is given the scissors coupled with request a that he cuts through the centre of the envelope and, of course, throughtheribbon. As hetalks to thespectator, the magician casually grasps the two ends of the ribbonsandpullsonthem.Thishasthe effect of makingcertainthatthecentre of theribbon proper forms a small bridge about an inch below thepartthatthespectator will cut(Illustration 3 ) . Thespectator now cutsthroughthecentre of the envelope and, of course, through the centre of theextra piece of ribbon.Whenthecut is completed, the magician moves the envelope away from the scissors held by the spectator. With the left hand holdingthetwoparts of theenvelope pressedtogethertherighthand fingers separate the pieces at the cut, sh,owing the pieces of severed ribbon. Reiaxing the grip of the left hand on the envelope, the right hand fingers go t.0 the envelope and in apparently taking the ends of the cut ribbon actually take hold of the centre of the original piece of ribbon; with slow a upward motion of thehandthis is removedfromthe pieces of envelope, these being crumpled and tossed aside (out of the audience’s reach, of course).Thelength of ribbon is thendisplayed completelyunharmed.
I
P.W . I am interested in this effect, because I originated asimilaronesomeyears ago. In my own version an ordinary sized letter envelope is used;after .the flaphasbeenclosed (but not stuck down), I cut with a sharp razor blade where indicated bydotted lines in theaccompanying illustration. These cuts, following the lines of theenvelope,are well nighinvisible,especially when theenvelope is closed. I first of all seal theflapdown,showitfreelyonboth sides and of scissors, trimeachend so then,takingapair that I haveaflattenedtube. Now witha very thinwand (I actually use a “Downs ’’ coin producingwand)thathasadab of wax attheend ”
I lift fromthetable a twelveinch silk, I push it into the open end of the envelope, out through the first flap, then under the second flap and thence through the other end of the envelope. With silk showing parttowardstheperformer,the scissors are now takenandtheenvelopecut as in the Dexterversion.Theadvantage of thismethod lies in the fact that the razor cuts cannot be seen.
75
E D I 7 ‘ 0 R ’ S iVOTE.-We had the occasion t o see Mr. Young perform this at the Dinner given bythe Magic Circleto M r . Hcrbert J . Collings. Tt‘itlz the generally paucity o f plot in card tricks, was one of the best it strzlck 11s that here story ” effectswe had seen. W i t ht h e object of includingthepresentationinthis number w e lost no time in approachingtheoriginator,who willinglyaccededto our request.It is astory for chillynights,whenthewindhowlsoutside and when glaring lights do not dissipate the full m y s f e r y of n glowing fire.Onedoesnot lreed t o be art expertcard-man t o achievetheeffect, though the technique employed must he faultless. I t isthetelling of the story that counts. Do you ever wonder why certain playing cardsareknownbycuriousnames ? TheFour q f Clubs, forinstance, is calledthe “ Devil’s Bedposts ” though the reason for this is obscure. The Nine of Diamonds is known as the Curse of Scotlacd,” but In this case there is good cause for its being so called. After the Battle of CullcdenMoor,theDuke of Cumberland-nicknamed the Butcher ”-Commander of the English forces, was resting near the battlefield in a house whic.h had beenused as an Officers’ Mess. H e was asked by one of his Officers forhisorders concerningthefugitivesfromthebattle, and he gave the order that they ,should all be killed without mercy.The Officer saidthathecouldnot carry out this order unless it weregiven in writing. TheDuke,‘however,had no parchment on which to write,but, finding aplayingcard half concealed bytheedge ,of thecarpet, wrote the fatalorderuponthecard.Thatcardhappened to betheNine of Diamonds-nowonder that it hasbeenknownever since asthe Curse of Scotland.” Wil! you find that card in the pack and make quite sure at the same time that there is only one Nine of Diamonds ? Thank you x7er-y much ! Thecuriousthing is thatever since theday of thebattletheNine of D,iamonds-whenseen by an Englishman-al~vays appears to be stained with blood. Indeed, the clean card you have just given me has now 2 large red stain upon it ! Has the card’s original positionundertheedge of the carpet any peculiar significance ? We dton’t knocy-but the odd thing is that the card always seems to fly Sack to that .positi,on. That’svery curious ! I suppose thatthatcardunderthe edge of the car,pet couldn’t be the Nine of Diamonds ? So it is-and theidenticalonewith thebloodstain I washoldinga few moments ago ! . . . thenthiscardin‘myhand ? The Eight Qf Clubs-for don’t forget you assured me that there was only one Nine o i Diamonds in the “
pack.Supposethat I cover the centre of t,his stainedcard with theEight of Clubs, you will agree that neither you-nor you, sir, can see the bloodstainuponthecard. That is notbecause thestain is covered by theEight of Clubs, but simplybecausethereis GO bloodstainthere at all ! However, whether the bloodstain onthe cardispureimaginationornot,the Nine of Diamonds will alwaysremainthe Curse of Scotland ! I‘
”
Well,there’s thestory.Themethodcanbe varied to accordwith your manipulaltiveability. In addition to the normal pack you will1 need two additional Nines of Diamonds each decorated with an identical blcoodstain in red ink. The stain shculd cccugy the centre of the cards and be of such a size that it is easily concealed by the first, second m d third fingers held across the centre of thecard.
‘ I
“
Secreteonestainedcardunder the edge of the carpet beforehand-no: as difficult a matter as it sounds if one chooses ,the ,ri,ght moment in a room crowdedwithpeople.Theotherstainedcard is placed in therighthandcoatortrouserpocket. While the assistant looks for the Nine in the pack, theadditionalcard is palmedreadyandadded tothe t0.p of the pack .as itishandedbackattenti,onbeingfocussed on the unprepared Nine held bytheassktantat this point.Whenthe unprepared Nine is handed to theperformerit is topchanged for thestainedcard,andsubsequentlythestainedcard is bottomchangedfor Gn indifferent card durir,g the misdirection afforded by the clixo\wy of theduplicateunder the carpet. The indifferent card-after being shown--is immediatelytopchangedfortheunpreparedNine sf Diamonds,and i,tis this latter cardthat is used to c<;verthestained Nhe. In showing the covered card first to a person on the !eft of theperfcrmer a11d then to one on the right, the two cards are ‘turned over in the hand -no apparentchangehavingtakenplace.The top-face down-stained card is now removed (and, if preferred, immediately top changed againforthe indifferent card)andtheunprepared Nine of Diamonds left forexamination. T h e indifferent card may be casually thrown face dcwnwards on to the )table beside the unprepared Nine in case anyone wishes t o examineit, and themisdirectiongives ample timefor theperformertoremovethetopandbottom(stained) cardsand,leavethepackforexaminationalso. In working,it will be found that the progress of the story gives ample cover for the Fxrious moves, and the unusual nature of the story leaves theaudiencewith 3 TricktoRemember.” “
76
I.IDl’TOR’S NOTE.--?’lzis is a “wunt-ad” our good f r i e l d Jinlmy Eslerhas test,which workedover U number of years. If wewereto W J Y ~ this ozlrs:.lale.s P O ~tl,i!;;l< tlrclt ilzsted o f ud7lertisements w e should tttrtz it illto (1 “Lizlirzg al1d Dead ’ ’ test using ctlttiltgs f r o m the “BiYths” a d “Deuths”coluntl~. 7‘lze effect irz eitllcvcuse is iufetlded for irltivlatepresentation. -P. 1l’. Effect.-A column of advertisements is shown, arid with apair of scissors theindividual advertisements are divided up. As they are separated they are dropped into a tray, the latter being handed to a spectator with the request that he allows those around him to first of all scrutinise theadvertisementsandthen roll themintolittle balls of paper. Taking a matchbox from his pocket,themagicianpushesforwardthedrawer and allows the matches to tumble out. The spectatorsare now askedtodroptheircrumpled ads. into the drawer of the matchbox. This done, the matchbox is given a shake to mix the pieces of paper. The drawer of the box is pushed open, andthemagicianremovesone of thecrumpled ads.Holding it between his finger andthumb heconcentrates and giveshisimpression of the contents.Thecrumpledball of paperisthen handedtoaspectator, who confirms thatthe magician is correct. This is repeated with another ad.andthenfinallythemagician,aftertaking anothercrumpledbail of paper, gives thefull detailsthatappear in theadvertisement. Prepare an ordinary matchbox by shortening the container by about half-an-inch.
The smallholes crumpling process.
Very few of us need to be told thatacard dropped horizontally will not turn over in its fall tothe floor. To get a facedown cardtoland face up is almost as easy, when you getthe knack,and it requires K O string of adjectives by eitherreader orwriter. To mymind,therecan be no certaintyina casualflutterdown if thecardturnsand twists at random, and I have found the single turn-over the easiest to controi. The directionsareforaright-handedperformer, with the pack in the left hand in the usual dealingposition. FurthestandingpositionI will assume that thecard is held at w.aist height,sayforty inches fromthe floor. Otherheightsmay needslight
angle adjustments. Take the unindexed carner of thecard betweenright first finger andthumb (thumb on top)and allow the oppositediagonai corner(furthestfromthebody) to dip to an angle of say 35 to 40 degrees. Then release the hold by both digits simultaneously. The direction of drop at the timc of release is shown in Figure 1 , andthecard glides down as in Figure 2. The actiondepictedshowsthatiheangle cjf drophas the effect cf forcing theleadingedge of thecard up ; ~ n doveras it nearsthe floor, enablingthe face down card to land faceup. It’s as simple asthat. Of course,thetechnicalexplanation (as if I knew) might make it sound much more cornplicated. It can also be done in d sitting position, bbt theaction is rather different. The hold is ihe
To theendattachthreesmallheadeddrawingpins,thiscanbedonequite effectively with gummed tape. The matches in the box at the time the effect is carried out will becorrespondinglyshortened. Three small Avts. from cut are the DailyTelegraph, one of which is committed to memory,theothertwoarejustnotedasregards class: Printer,Tailor,Insurance,Etc.Theseare rolled up intosmallballsandimpaledonthe points of thedrawingpins,rememberingtheir order. When in action, a strip of ten or twelve ads. are cut from the newspaper being used, these are dividedupandone eachpassed toanumber of spectators,theyareasked to check theads.for verification later. The matchbox is now tzken from the pocket, and it can quite safe!y be pushed forward and the matches extra.cted. Helpers are asked to roll their slips of paper into small balls and drop them into theopenedbox,whichyouholdforwardforthis purpose. C.lose box,shake,nip ; i duplicatefromthe box-end between the fingers, open box, and appear to withdraw one from the box; immediately hand to someone andsuitably d i d o s e what the naturp of tne advertisemerlt actually is. The last oneremoved is describedincompletedetail. in the slips are lost in the
77 same as before;thumbontopandcardparaliel with floor, but, say, twenty inches above the floor Hold the finger, which is under the card, perfectly still, and / u s f Ziff f h e t h z l u l h . The finger acts as thefulcrum,andtheturn-over commences ever; before thecard is released, and is completed ill the remainder of the fall to the floor (Figure 3 j . I 1
I
havefoundtheturnovercardfromthesitting position the simplerproposition to master. How to use the turn-over drop? The usualcard is chosen, returned and controlled to the top (run and jog shuffle will do) ; astraightforwarddealon to the floor and the chosen cardaloneturnsfaceup.There is no need to know the card. I n reverse;aforceorpeek,andhaveevery cardturnface up, exceptthe ,one selected. This gives alittlescope for suspense and climax. Rcttom or second dealers u7ill be able to deal any number face up. Mentalists may like to predictthat, “ The card you choose, the blank of darts, will f.all face up whilstall others will fall face down.” Or “ Phychic influence will causeyour card,” etc., etc. Four AceTrick-All acesface up,orface down. A face-upper can be dealt down and lost.” Theshycard,aqueen, hidesherface. A jokerwon’tface up tothings. Two packs-but why continue? You can find uses as well, if not better, than I can. Three comments:Dealing on to table, a even from twenty inchesabove, is notnearly so effective. There is little need to worry about the difference of angle-35 degrees and horizontalas all eyes should be directed to the cards falling onthe floor. A fairly new pack gives better results. ”
I
“
/ /I
‘.
\
The pcsition of the finger is rather imFortar!!, snd is illustrated in Figure 4. A trial will ;cbi: find b.ow quicklythethumbmustbelifted. I
STRICTLY MAGIC,” by Eddie Joseph (published by George Armstrong, 1 1 , AIonastery Gardens,Enfield, Middlesex, price 5 / - ) . Inthislittlet~ooklct of some twentypages,Eddie Joseph describes four obviously tested effects. The first, the Call of the a s t , is patterned on the lines of a Living and DeadTest,” 1)ut the dressinggives it more life (nopunintended).The methoddescribed by theauthor is excellentand Mr.Josephquotesthe opinion o f thelate ‘red Annemanregarding it. The secontleffect The Lliandering Bottle is the author’s version of the passepasse bottleand glass. Presentation and methodareboth good, and \v\ilst in princip!e we are against effects with a sccker finish, present the trick is a n exceptic:l. The RepeatSix CardTrick effect that follon-S isone of the best versions that w z have seen in print. IVith verylittlepractice,the magician has a reallyuwrthwhile cardeffect t o add t o his repertoire,for in this version,sixcardsaregenuinelycounted off, (if necessaryfrom a borrowed pack),by a spectator ; nevertheless the performerprovestimeandtimeagain that he takes three cards away still leaving six. The book!et concludeswith a version of the burnt and restored handkerchief. By way of a change a “
“
”
“
“
”
“
“
”
”
volunteerassistantholdsthe handkerchief whilst the burning and restoring process is going on. Illu~tra~ tionsarecontributed by Lamonte.Withone exception ( “ Controlled hliracles ” ) we think that this is one of the bestfiveshillingsworth of material t h a t we have comeacrossinrecentdays. All the effects described are not only practical, but to the experienced they spell entertainment as well. Every article required the reader. will have a t hand.Recommendedwithoutany reservation.
BI-CO ” (a supplement of Stuthard’s Trilby Deck. Putout by JoeStuthard, price 7 / 6 ) . As the Bi-Co part is an addition to the ‘‘ Trilby deck i t is necessaryfor the performer to have possession of this whichcan be obtainedcompletewith a printed and illustratedhooklet a t a cost of 21 / - (see rc\riewin Pentagram No. 3 Vol. 3 ) . Theaddition of the Bi-Co supplementmakesit possiblefor the holder of a Trilby deck to accomplish a series of card-backcolourchangesunder the spectators’ noses. Weknowthisnotfromreadingthe routineandhandlingthecards,but because we have had the pleasure of seeing Joe perform the effects with spectatorsallroundhim.The closing effect with the “
“
”
”
“
”
I‘
”
78 additionalcardsmakes i t possiblefor the back of the selected card to change colour and then for the backs of the whole deck t o change colour after which it can be left in the audience’s hands. From this point the performerisleftwith a stripperdeck. The necessary cardscometogetherwith a printed instructionsheet.The possession of a Trilby deck (basedontheSvengaliprinciple)plusthe Bi-Co supplement, will give tothose limitedinskillthe necessary backlground for many varied card acts. Unreservedlyrecommended. I ‘
”
. . .
THE GEN Nos. 1 and 2, Volume 5 (edited and publishedby HarryStanley, 87, WardourStreet, W.l, l / - per copy). It is notour usualpractice t o reviewmagazines, but this case makes for an exception. With a complete change in format and an enlargement of pagesize, HarryStanleyhasaddedanother glossy ” tothemany. Altogether theproduction runsto 32 pages,includingcovers,and of thisthere aresometwentypagesdevoted t o editorial,news and tricks.Therearemanysections,eacheditedby different magicians ; Theseincludeinthe firstissue,Lewis Ganson (manipulation), Douglas Francis (Chatter), Len Belcher (apparatus), A1 Koran (cards), Geoff. Robinson(laughs) , Wilfred Tyler(children’seffects), a n d WillDexter(Mentalism).In his editorialHarry Stanleyoutlines hispolicynoting that he will not encourage controversy. This we think regrettable for where progress is t o be maintained differences of opinion must arise. The whole magazlne is well printed on good quality paper ; besides a number of line drawings, photographs of the variouseditorsappear.Wehave onlyone criticism t o offer andthat is regardinp the illustrationsfor which the “ Art ” EditorTedElliott isresponsible.Whydoesthisillustratorwant t oa d d horrible looking men t o his illustrations. This is a commonfault of many to-lay, and in this country can be found in the drawings of Dennis and Lamonte. Theseillustratorsarecapable of givingwhat is wanted in a restrainedmanner,yettheyhavetointroduce these manikin abortions to accompany a sketch. Laurie is theonlyillustrator(inthiscountry)who seems t o add human beings in an appropriate manner. For perfectioninillustrationit is a pleasure t o lookback a t those old Magazines of Magic ” when thelate H. M. Elcock contributed. For later workTarbell and Hahneareoutstanding.Attentiontothisdetail would make the whole thingwhatthe publisherlikes t o call a class ” magazine. Allin all,it is excellentvalue formoney andtheeditors,contributorsandpublisher havedone goodwork on thesefirsttwoisues.Our congratulations go totheprinter as well, forhehas produced a layoutandtypethat is veryeasvonthe eye. “
“
“
GEORGEARMSTRONG’SPREMONITION ” (Pulllishetl 1 ) George ~ Armstrong, 1 1 , llonasteryGardens, Enfield,hIiddlesex, price l()/-). Some months ago, Etldie Joseph placed on the marketan effect entitletl Prc.monition.”Few effects (exceptthe “ De\xtlo RisingCxrtls) hrt\.c. gi\Ten rise to greater controvers!which has not been lessened l)>- ;L number of versions t h a t havesince been puhlished. George Armstrong’s method produces a similareffect, and as it was used I ) y him \m?; l m l c in the enrlv “ forties he haseveryright toputfor\\ ard this \wsion. The effect for thc IJenefit o f thoseunacquaintetl n.ith theatlvertiscments is as follows : A spectator is asl<ecl to name ;L carcl. Ilaving clone so thesame spectator is requested to pick u p a pack o f cards t h a t h;LS I)eenin sight ; hcis tocountthemantlstop \vhen he comes to his card. HE‘doesthishut finds thatthere areonlyfiftv-onecardsandthatthecard he thought of ismissing. The performertells thespectatorthat “
“
”
”
he had a premonition that he would think of that particular card, and so, before the performance he removed i ta n d placed itin hispocket.Accordinglytheperformer reaches into his pocket and withdraws the thought of card. The effect v.hich is brilliantis \vel1 describedin aI)ooklet of some eightprinted pages.Unreservedly recommended. A NEW THUMB TIE,” by Tom Sellers(published theauthor, 3Sa, DublinStreet,Edinburgh, price 2/6). For ingenious ideas \ve know of few that can equalTomSellers.Notonlyare his ideasingenious, but\\hat is more,theywork. Here Mr. Sellers has taken a classic effect and supplied the answer in a verysimpleantlsubtlemanner.In effect the magician has his thumbs tiedtogetherwitha piece of shoe lace, andyet despitethefactthatnothing is added or taken away, the performer can accomplish xvith ease the necessarywithdrawal of thethumb a t the appropriatemoment.Themethod would seem to be indetectable and foolproof antl we give i t our full recommendation. “
1)’
‘‘ THESPIRITSINTHE
HOUSE ,” b y T . H. (-hislett (published by the Goodliffe Press, 6, Colonnade Passage,Birmingham 2,price 2 0 / In suchavaluable contrihtiontotheletters of niagic we feel thatour oldfriend T. H. Chisletthas l~een1)acIly served hy his presentpublisher. Taking the dust jacket of this book first and forgetting the typographical errors, we read the publisher’sblurb that not onlyhasthe Joseffy Talking Skull ” been addedtothe repertoire of Mr. Chislett. but that it isdescribedwithin the pages of the book; With the memory of a recent article in Abracadalxa onthe origin of the BilliardBallTrick, we put such a statement clown t o similar ignorance rather than thinkthat i t is one of misrepresentation. It isignorance. however, that is dangerous, for the student aware of the hrilliance of Joseffy’seffect, may well buythis Imok on thestrength of such a false statement. \Vithin thehundredodd pages thatmakeupthe lmok Mr.Chislett tlescri1)es the wonderful show that heantl Mrs. Chisletthavebuilt up withintheir o\vn house.IVhilstsome may be critical thatmany oftl:e efkcts clescribetl are not possible unless conditions sirnilartothat given by Mr. Chislettareavailable, \ve \vould like to mention that \\.it11 theexception of a description 1)y Jean fiugartl, noIxtter tlescription of the “ Floating Hall routine hasappeared in print. In this routine, \vhich is Okito’s antl occupies thirteen pages, the puhlisher has not adtled c)ne tlraning to help t.lucitlate the letterpress. Mr. Chislettthroughoutthe \mlume is extremely nloc!est, antl pays f u l l trilmte to the sources from \\-hence hc ohtainetlhismaterial.Such effects as the SpiritPaintings,TalkingKettle, Tallting Vase, Talking Skull,arc tlescrilml\vith\.ariousatlditions by the author. IIe dsc; gives a numlwr o € effects o f a pseudo Ix!-chical nature. As a slightcorrection \ve \ v o u l t l like to :nention that Arthur 3lonroc. \vas responsilJe for .‘ \Too(looant1StanleS- Nortonforthe suspension o f ;L \vineglass froma silk ri1)I~on. ; i methotl of the rising cartls kno\vn as the “ Violet is ;LIS(> descril)etl, I m t thc tlra\.n.in;; of the “ release mechanism \vi11 prove of no use to those \\-ho \\-ish t o make u p this apparatus. We feel sure that many readingthis book \vi11 feel that they too \ \ w u l t l like to I,uiltl up a similar type o f she\\,, and \ve tlo not think that anything would please Mr. ; t n d Mrs. Chislettmore than to know this, It is in a11 a most readahle and \\orthwhile book, and we recommen.1 i t to 311 \vho are true students of magic.
.
“
I ‘
”
”
”
”
79 JOHN RAMSAY’S CYLINDER AND COINS,” described inminutestdetailbyVictorFarelli(pubprice 7/6. Distribution by lished by John Ramsay, Walter \landman, Electra Works, Reddings Lane, Tyseley,Birmingham). This is a papercoveredbooklet of some thirtythree pages, twenty-eight of these pages being concerned with the effect proper, Of theroutine itself wewill say straight away that this is a “ masterpiece o f magic formagicians.”JohnRamsayhastaken a classiceffect, The Cap andPence,”andbyadding \-cry. certain and subtle touches brought ittothe miracle class. \Vhereas in thepast most magicians have been content to make an object change place\vith the coins,oralternativelytosimplymake t h e coins vanish and then appear elsewhere, John has brought into being a variation that the reader must discover by buying the book.
Mr. Farelli,indescribingthe effect, hasnot been so meticulous a s ishisnormalwont.Ramsay’smoves are extremely individual and in a number of cases, a s Farelli mentions, they can be replaced by better known and easier alternatives.The beginnerreading the book (and it is n o t t o be supposed that beginners will not read it) mayexpectthealternativesto beplaced beforehim or at theveryleast t h a t mention of their published source be stated. This workwould have well stood a bibliographical section, for the “ cap and pence is a very very old trick. \Ve hope that \\.ith t h e puhlication of Ramsay’s ‘ ‘ Cup and Balls and the ‘‘ Cylinder and Coins we shallsoonbetreatedtowhat we think i s his greatest effect,his mutilatedandrestoredpaper. \Ye give our unreserved recommendation t oa n outstandingcontribution.
The inclusion of a George Braund effect in this month’s issue brings to mind that he is one of the hardest worked and hardest working conjurers today. Georgeis, in the finest sense, theonly Society magicianinthiscountry.Regularly playingnightclubs Iike theBagatelle and Lansdowne he has adopted a style and technique that puts him abovethenormalentertainer class. His is a case of personalityplusstraightmagic, an interesting point to note for those who think that buffoonery is the password to magical ( ? ) success. Next week we give atalkona five foot shelf of magic books.” Readers of the Jiv2.r will remember how TedAnnemannraisedthismatter inanearlycopy of his paper. Since thenthe output of booksonspecialised subjects has made it far easier lor the student to compose a working library which is of comparitivelysmallmaterial proportions. One bookthat we haveonlyjust a received, Scnrne o n Ttzrds is a mustforsuch collection. We feel this way because nearly every in conjurermakes use of playingcardsandyet the majority of cases he is completely ignorant of the rules and expressicns relating to card games. After the many routines that have been pubiished on Poker deals, we are more than grateful to read a complete expositicjn not only of the conventions of thegame, but alsothetechnicalexpressions used by players. Our hope as we write this is that a big drop is going to occur by Sunday, inthetemperature Table 17th July. ThisdatemarkstheRound LuRcheon Conventionto which we havebeen invited as a lecturer. The ide.2 of a Summer School of Magic is anexcellentone, the only fly in the ointment being that this year we are experiencing summer weather. A recent letter from Len. Mason, of Australia, gives the news that some films hetookatlast year’s I.B.M. Conventionnavebeendespatched to Jeff AtkinsforshowingatSouthport.Len
reporc; that they are very good, and we shall look forward to seeing them. Foranact of twopersonstoobtain a half hour’sfeature in aB.B.C.programmeforeight weeks in succession is somethingextraordinary. Sydneyand Lesley Piddington,however,have (mainly because of theirsensationaltriumphs in Australia) achieved this. I t is a matter of more than interestthat noclaimsforgenuinepsychic powers aremade. We wish that we hadmorespaceavailable for reviews. Lack of space has crowded out another tu-0 thismonth,namely, HeZZo Szlcker! byJackChanin(an excellent andauthoritive treatise onthethreeshellgame)and Maurice Sardina’s Rezwni-llrlngie. This latter is outstanding in continentalmagicalwitings. Francis Haxton has sent us along a very nice non-fakedcardversionof“Mindout of Time.” I t wili appearnextmonth. Additional acts i n the Alagic Circle Festival S h o n , are “D’Albert” and t h e ‘‘Harbins.” T h e B o s Office Manager tells us that tickets are g-oing
“
“
“
”
”
I‘
”
”
\.er!
”
\\.ell intlec-d.
M. Sardina (\\-hosenew hook ~ v have e referred to abo\-e) is undoubtedly the leading French l\.riter o n hfsgic to-day. Weare glad to henr t h a t ac:companit:d by Madamt. Sardina he \vi11 be \.isiting this country duringJuly.
Talking o f hooks reminds u s thzit our friend IVilfricl Jonson h a s just completed a translation o f a very fine French treatise on Mnemonics. Just as \\.e g o to Press \\-e havereceived t r a g i c news that o u r friend YIax Holden
the has We
pasred a\\-ay ilfter a long period of illness. knon. that all readers o f the‘‘Pentagram” will j o i n with u s in o u r espression of deep sympathy for Slrs. Holden andherfamily at this most troubled time.--P.\XT.
Coloured
AMERICAN BOOKS FOR BRITISH MAGI ! !
FLEMING
BOOK COMPANY, ., YORK. P.A., U.S.A.
728 MADISONAVE
‘‘ROUGH AND
SMOOH POSSIBILITIES ”
By Tan Hock Chum
Price S/- Postage 3d.
ARCAS Publications SYDENHAM
404/408
ROAD Surrey
EDDIE JOSEPH’S S T R I C TML A YG I C Follrotltstandingtricks of ENTERTAINMENT VAT.GE PLUS. Ikscribrd in nt:atl!. prodrlccd booklet, with twrlvr illrlstrations. Prke 51- ; postage 3d. GEOKGE ARMSTRONG’S PREMONITION On(* pllr, hasvr writes : “ Pleas’ --nd mt. 1:REMOKiTION. I have. secan it performed and t1;ink :hatit is REALLYWONriERFUL.” To st’e it is to bl!y it ! Pricc 10/- ; postage 3d. 26 I,IVIKiC & DEAD TESTS.. I n.. Trral (iaratt .. 5 3 DA1d.S. by JOHS KAMS/\Y”S C-U’I’S Victor Farelli 2516 THAKKS TO LEIPZ16. by’ Victor. Far& 10/3
*
WARLOCK’S
PENTAGRAM
A booklet dealing with themethods and application of the modern. principle,by one of the leading experts on the subject. It is recommendedforadvanced magicians.
Croydon
PETER
THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield Middlesex.
is publishedonthe 24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1 / l persinglecopy.AnnualSubscription 12/post free.
PUBLISHED
BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscriptsforpublicationand rcview should be sent to the: EDITORIAL ADDRESS:
6 5 , Manor
books for
Peter Warlock, Rd., Wallington,Surrey. HENRI DE’SEEVAH MMC.. B”I r m . . SSRK:. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for hislist of new and used apparatus and books, or call at his studio :1, CLARENCE ROAD 17 Harborne, Birmingham
CONJURING BOOKS
FOR SALE
The Magic Circle President : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Museum :
ClubroomandLibraryand
St. Ermin’s Hotel, CaxtonStreet, S.W.l. Magical Theatre :
KingGeorge’s
Hall, W.C.
ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenu,?, WimbledonPark, S.W.19 INSTITUTE
OF
MAGICIANS
13ranchcs in Lnndon, Portsmouth, Wakefield. Brighton and Detroit. U.S.A. The friendliest of magicalsocicties. No entrancefee,printcd club mag,lzine, splendid library. London H.Q. Denison House, 296 Vauxhall Bridge, Victoria, S.W.1. (one minute Victoria Station). Particulars from Oscar Oswald, 102 Elmstead Avcnlrc Wembley Park, Middlesex.
JAM G ERSA Y S O N
MAKER OF HIGH-CLASS MAGICAL OLD ANDNEW. Let me know your wants EFFECTS, STAGE ILLUSIONS, ETC. LIST FREE FOR STAMPED ENVELOPE Telephone or Telegram : MORLEY 899 N o Callers -__
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser’s goods arefullyendorsed Publishrd by theproprietorsThe
Trouble-Wit
“ ” Trewey Model Cartridge Paper Stanyon Corners B e u u t i f u l l y Coloured it1 just Ziuil!/)ow (,’oIour.s Stage Size,usedby Trewey, etc., l 2 ins. when closed. Rainbow coloured, 22/6. PlainWhite,15/6. Importunt Hirrts on opetring und d o s i n g the jolda included Trouble \Vit Booklet . 80 illustrations .. . 2/9 CARD TRICKS BY STANYON Card Castle. Base 12 X 104 inches; 6 tiers of cards; 22 inches high;beautifullymade,doublecards, 50/-. Card Castlefrom Hat. 6 tiers; high grade; 30/-. ‘Limit’Diminishing Cards. Withpack tomatchand blackEbonisedStand, 30/-;(withoutStand, 25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. Giant Card Penetration. GenuineJumboCards, 70/-. Giant Gard & Lamp Glass Penetration. ditto. 70/-. Trick Packs. Wizard (40 Tks), 6/-; Svengali 40 Tks), 7/6; Quick Cut and Calculating, 7/6; Colour Change and Free Choice Forcing, 7/6. MAGIC (Stanyon),1900-1920,with theDictionary of Magic. 3 samplecopies,postfree, 3/3. Stanyon’s Famous Serials. Coins; Memory; Miscell.; Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs;Balls;Explan.Progs.;Chem.;Each 3/-. BB OO OO KK US B O O K S It is our policy to keep evezy 1)ook 0 1 1 conjuringand allied arts instock. IVriI-e for free lists. Most U.S. books and allEnglishpublications instock. Five Shillings equals one dollar-we pay postage k’oreifyn rind Colonialcustovlers ~ I E U S P w r i f c dirvcf. 1 l . p h u v c supplied N A G I f to the II’OIiTlD st’rrce 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, N.W.6. Telephone : HAMpstead 0940
MAGIC,” byHoYam(WilliamNoyah).A new book of 39 brilliant,showyfeats, ‘chiefly of the Orientaltypeand using apparatus ; audience-tested.Cloth, 137 pages, 200 handsomephotoillustrations ... 32/6 “ MAGIC IN THE MODERN MANNER,” by Orville Mejrer. Thirty-six tricks and routines by this ingenious originator a n d performer. including Linking Rings (49 pages), Cups and Balls (16 pages),BulletCatching (14 pages), Card Tricks, Mental Mysteries, Novel Magic, etc. Cloth, 181 pages, 75 illustrations, ... .. . ... .. . .. . 20/just published “THE MAGICOF REZVANI,” by Sardina-Fitzkee. Sleight-of-handandapparatustricks \vjth Ivhich Rezvani has puzzled the best-informed conjurers. Soft l)oards, 89 pages, 49 illustrations, new ... ... 17/6 “ IT MUST BE MINDREADING,” by George Anderson. More than a score of effective, *,vorkable feats, plus information 011 ho\v to ans\ver dificult questions. Soft boards. 57 pages, 7 illustrations, excellent .. . .. . ... ... . .. ... . . . 10/“ OVER THE COFFEECUPS,” by MartinGardner.After-dinnertricks,withmanykinds of objects. 34 pages, 100 illustrations .. . ... 5 / Soft hoards, Pleaseremitforthese and any other magicbooks t o Mr. RobertsonKeene, ‘‘ Riverside,”VictoriaRoad, Yarmouth,Isle of \Vight, and yourorder will he filled promptlyfromtheUnitedStates,postpaid.Write us diwct for your free copy of our new 64-page catalogue, justout. A postalrequest \vi11 do. “
Magic WandPublishingCompany, Walker and Son (Printers)Ltd.,
Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 years in thebusiness
by this Bulletin
11, MonasteryGardens,Enfield,Middlesex,andprintedbyHerbert Well Croft, Shipley,Yorkshire.
*
81
PENTAGRAM An independent monthly bulletin for all who want good magic V ! .3 &&I.1
augudLt 1949
Anti-Gravity effects alLLays intrigueme.Some timestheytouchrealmagicaswitnesstheuncovered levitation, Maskelyne, Aga, Kellar call it whatyou will. Onelovelylittlemiracleinthis class is the adhesion of cards to the hand. Those \\.h() h a v e by them a copy of Roterherg’s N e w Ern CurJ Tricks \v:ll find within its pages an early method ofachievingthis effect. Weknowone performerintheMidlandswhomakes a miracle of thisalmostparlourtrick,infacthepresents it so well that the first time we saw his presentation wewere almostfoxed. I n almosteveryversion of the effect afakedkeycardisnecessary, one of the most effective being the one described by BurlingHull in SealedMysteries. The Gffect has,however,beenmuchneglected and the only comparativelymodern versions areHerbert Milton’s Personal Magnetism in Volume Eight of Naldrett’s Csollected Series, andEdwardVictor’s MagnetisedCards ” in More Magic of the I f n n d s . Regardingthelatter, my old friendthr. late Edward Brown had an excellent unfaked card method which has not been published. The merit of the effect to be described lies more in the presentation than the method. It was designed formydaughter,thisbeingsomething that gave me the advantage of seeing it performed ratherthanperformingit myself and visualising its effect from within. The Effect. Takingapack of cards,the conjurer deals some sixteen seventeen or haphazardlyontoatrayortable.Showing both his hands to beemptyandplacingthempalms to the audience side by side and thumb to thumb he gently lowers them on to the backs of the cards. A slight pause and then both hands cowle u p together with the whole stack of curds adheriltg to them. When they reach the point \\-here the faces are parallel to the audience the performer pauses for asecond or two andthenthe two hands separateandmove left andrightrespectively, half of thecardsadheringtoeachhand.The “
“
”
left hand is turned palm upwards whilst the right is first turnedpalmdownandthenback tfo the origin,al position. The cards in the right hand are now allowed to drop one at a time on to the peris then called tothe former’stable.Attention left hand. It is shown thatthecardsadhere whilst thehandisheld in any positison. Finally it is brought so that the cards face the audience and taking one card at a time from the adhering masseach is scaled on totheperformer’stable untilfinallyonecardisleft.This is takenand afterbeing flicked with a snap of thefingers is dropped on to the table. The Preparation. Twofakedcardsare necessary and these are made in a similar manner to the one described by Herbert Milton in the effect to which we previouslyreferred,i.e.,eachcard has affixed to its back a small black pin bent a t right angles. Thearrangement is suchthatthe pincanberaised or lie flush with thecard.In Herbert’s version the card was backed with material sirnilar tothat used onthetop of the performer’stable. A similarproceduremaybe adoptedhere,butasitis necessary in using two cards that these cards shall not be disturbed I founditbettertomakeupa simple tray in whichtworecessed parts of thesurfaceheldthe requiredfakedcards(seeillustration).
The whole of thetrayandcards werethen coveredwiththesamematerial, ( a thinvelour clothwas used),andwithout,anylinemasking the position of the cards it was completely camouflaged. The reader should note the angle at which the cards are positioned. (To those readers cvho haveabentforcraftsmanshipinageneral sense many different schemes of colouring or coverillg will suggestthemselves.)Prior to presentationthecardsareplacedface down inthe recesses with the pins flush with the surface. With a pack of cards at h m d the performer is ready for the : Presentation. Theconjurertakesthepack of cards mentioning at the same time that he wishes to showhow easily a magician can overcome the laws of gravity. Forthis,” he says, I will useone,two,three, f o x , ” and so onuntilhe has counted, apparently haphazardly sixteen cardsontothetray. Actu.allythemethod of placingthecardsdownisimportant. In the first placesuchplacingmustbedonewithfirmness. In consequence as the performer says .‘‘ One,” he dealsthe first cardon to thetray so that it lies left of the left hand cacd’s pin, the next card goes to theright of thispin,thethird to theleft of therighth.andcard’spinandthefourth tlo the right of the same pin (see illustration). “
“
Thenextfourcardsaredealtagainfromleft to right, but this time each is laidinadiagonal position(see illustration),andinsuch a manner
thatcards 2 and 4 slipunderthebentpinand raise itintoaverticalposition. Thethirdgroup of four cards are dealt in a diagonal manner (see illustration) whilst the last four (this number
82
couldbeIncreased so that the total comes Up to seventeen,eighteenornineteen)inatrulyhaphazardmanner,theonlyqualification being that t11t.y should be equally distributed. With the cards spread on, the tray the performer is all set. His two hands are raised to shoulderheightand carefullyshownbackandfront.Withpalmsto the audience and the tip of each thumb touching theother,thehandsarecarefully loweredon to thecards.The pins are now engagedbetween thetips of the first and second fingers of each hand, and at the same time the rest of the hands pressdownon to thebacks o f thecards.There is a slight pauseandthenbothhandsareraised together,thecardsclinging to them.(With,out making up the effect in its entirety just attach two bentpins to acouple of cardsandtrythisout in front of mirror. a You will appreciatethe effect).Theyare held fora momentfacingthe audience and thenthe hantls separate. (If the ctrrtls l ~ c heell ~ ~ e IItid out LLS directed there i s ; 1 o po.ssiljilit:,l of any cards fallil1g m tlze harlds mote f r o m errch o t h e r ) . The conjurer’s gaze
([7xI(Ly
follows the movement of the left hand and when each arm is almostfullyextended,thelefthand turns palm upwards, the cards apparently resting on it.Theconjurerthenturnshisheadtothe riSht. The righthandthenshows thatthecards clingin any position.Whilstheisshowingthis theperformermust so position himself thatat theconclusion of thisdemonstrationtheright hand is directly above the table he is using. The cardsare heldwiththeirfaces to theaudience oncemore andbyslightly releasing thehand pressurethecardsareallowed to drop.Practice will provethattheycan bereleasedone at 2 time.This will leavethefakedcard still gripped by the first and second fingers. This card is dealt with in the following manner: the right hand thumb comes across and presses on its face whilst at the same time the two fingers gripping the pin release theirgrip,the first finger thenfolding backthepinintoaflushposition.Thecard is thendroppedfaceupward on to thetable.The whole affair is seemingly unsuspicious and takes a fractionofasecond to accomplish. The performer steps forward so thai he isnow slightlyin front of and to the right of his table. H e showsthatthecards in thelefthand will adhere whilst the hand is in any position. Then, with thecardsfacingtheaudienceheremoves with his righthand a cardat .a time fromthe mass adheringtotheleft.Theyare scaled face upon to thetable.This is doneuntilonlytwo cardsareleft ; theyarethepincardandone other.Thepincardisthentakenandtheleft handthumb comesacrossslightly,holding the unfakedcardin position. The righthand,as it takes thefakedcard,knocksthepinflushand in a similarmannerthattheothercardswere scaled sends it face upward on to the table. The right hand now approaches the left, takes the unfakedcard, gives ita flickwith the first finger ofthelefthand, showsitback andfrontand drops it on to the table.
83
EDI‘I‘OK’S N O T E . - l t is a pleasure t o introduce intothe“Pentugram” a n effect b y one w h o is so wellknowtl t o all who visit tlze Magic Circle Clzchroom,every M o n d a y evenitzg ( w e believehe retuYi1.s f r o m holiday t o f d f i l thisengugement), wlzcre this contributoractsthepart of H o s t . N e w members are welcomed and made to feel at home.Guestsfromoverseasareintroducedand w r a l l t t o become menlhers O H the spot. It is iwteresiitzg t o thil1k hack and wonder how W C munaged before the e m of Sin Emons.-P.T.TT.
This is an effect in which the method adopted is intendedprimarily’forimpromptu work ; because of thearticles used andthelackofany externalsthosewho witness it will talkaboutit for many moons to come. The conjurer, when pressed to perform a minor miracle in the house of someoneheisvisiting, requests the loan of a small needle and some reels of colouredcotton(therearevery fewhouses wherethese will notbeforthcoming !). From off alength of eachreel,theperformerbreaks cotton measuring approximately nine inches. One of the present company is requested to choose one of thelengths.Takingthe piece of cottondesignated with his left handandatthesame time showing,thatnothing is concealed,thecottonis lifted fromthetable.Therighthand nowpicks upthe needle, greatcareagainbeingt.akento show the audience that nothing is concealed within the hand. Both hands are now lifted quickly and momentarily placed behind the performer’s neck. Thehandsarewithdrawnandtherighthand holds t h e needle KO\\. thre,adedwiththeselected coloured cottort. The left hand is of course empty. Themethod is extremelysimple.Priortothe intended performance the conjurer takes six small needles and threads them with six lengths of differentcolouredcotton. I suggest that the colours be :--White, black (I know that strictly speaking these arenotcolours, but they will befoundin any lady’s workbox), yellow, red, blue and green.Thecotton,afterbeingthreadedthrough the eye, is slightly balled up and the six needles in anorderknowntotheconjurerareinserted under the performer’s coat collar (see illustration). That is ail the preparation. The presentation is onewhich asithasbeen mentionedbefore is forafamilygroup.When called upon, the conjurer in his most gracious way asks if he may borrow a few items from a sewing basket. The request will possibly be answered by someone thrusting into his hands a box in which cottons, silk skeins, darning wool ,and needles are entwinedtogetherinonegloriousmixture.From
thecontents,theperformer selects aneedleof similar size to the duplicates that he ha,s threaded. Then as many reels of colouredcotton that will match his duplicatesareremoved.The pieces of cott,on are broken off and laid in a line on the tabie.One is chosen andtaken,atthecentre with the left hand.Therighthandtakesthe needle.Both handsare nowraised andasthey passbehindtheperformer’shead,theleft hand fingers roll the piece of cottonintoaball(this process canactuallybestartedonthebeginning of theupwardmovement)whilsttheright hand adoptsone of twocourses. If there is acarpet at the back of the performer, the needle is allowed floor. If to dropbehind his backandontothe there is no carpet, it is jabbed into the coat. The righthand now locates the necessaryneedle and with a quick upward and downward freeing movementit is removed. As thecoatcollarcomes backintoplacetheball of cottonisleftunderneath it. The right hand now comes forward with thethreaded needle.
The needle, if dropped, is picked up surreptitiously at a later stage. Concluding note : The wholeprocessisalmost (from the audience’s point of view) instantaneous. I t is essential, in view of the fact that many quick needle threadersareonsale,tolettheaudience see that the hands are really free from any fakes. Olderreaders will rememberthatwaybackin the twenties, Harold Comden placed on the market an effect in whichaneedlewasinstantaneously threaded. I t is doubtfulwhetherthe piece of apparatussuppliedcouldhaveduplicated Mr. Emons’ effect.-P. W.
84
szu#a&..3Eact01216 EDI’I‘OR’S NOTE.-.hlal1y readers will have see,! Frmlcis present this very clear cut effect f o r he performed it utthe zrery slcccessful. “ R o u ~ t l Tab12 O n e Il(1.y Comferitioll m l i l also 011 the occtrsioll of the cllisit of MonsiezlvandMadame Snrdi,lcL to the Mugic Circle.-P. W . The idea for this effect germinated from a very fineroutinemarketedbyPeterWarlockentitled Mind out of Time.” I liked Mind out of Time very much, but the use of thegimmuck ’’ did not appealtome. WithMentalPersuasionthere is no preparation, ana allycardsmaybeused. Requirements : Two unprepared glass tumblers, twounpreparedpacksofcards. Effect : The two glasses standontheperformer’s t.able, about twelve inches apart. Behind them are two packs of cards. The performer picks up one of thepacksandfansthroughthe cards, faces towards him. H e then takes two cards from the pack and drops one in each of the tumblers, with backs oi thecardstowardsthe audience.Thebalance of thepackhereplaces on the table. Picking up the second pack he advances towards a Spectator. He,theperformer,statesthatheis aware of theorder of thecardsinthis second pack and that he will endeavour to have the spectatorthink of acertainnumber. I n .otherwords he will use mental persuasion. Gazingstraightintotheeyes of thespectator the performer asks him to state a number, requesting that the number be not too high for it would prolong the effect unduly. Whatever number is stated the performer counts downto thatnumberinthepack,holdingthe faces towards the spectator and taking the card at that number, drops face it out, in the first tumbler and in front of the back out card. Thisprocedureisgonethrough withasecond spectator, but here you can introduce an effective ”
“
”
impression,which is used by PeterWarlock in his Thinkas I Think.”Whenspectatornumber two states his number the performer exclaims No, sir ! That is not thenumber I haveendeavoured to persuade you to think of. Will YOU please try again ? Whatever number he gives the second time, the performersays.Right,”*and proceeds tocount to that number in similar a manner to that adopted for spectator No. 1. The card being dropped face out in tumbler No. 2. The performer can now take the respective pairs of cardsfromthetumblers,turnthemoverand show that he impressed the spectators to give him thenumberat which theduplicates lie in the second pack. Method : All you need to know is the two cardsatthe top of packNo. 2. Theseareremoved fromPack No. 1 and placedface out in the two tumblers. “hen theperformerpicksupthesecondpack and advances to Spectator No. 1 he thumb counts off thetop of thepackthreecards.Duringthe counting these are pushed off as one and counted as such. Thefaces of thecardsareuprightandfacing thespectator.Whentheperformer comes t.0 the numberone less thanthatstatedhedragsback thetopcard of thecountedcards with his left thumb and thus it turns up at the selected number. This move is more fully explained in my NonsuchCardPrediction ’’ which appeared - in an earlier number of The pentagram. Afterthecardhasbeen placed in the first tumbler the counted cards are returned to the t,op of the pack. Thus when the performer approaches spectator number two he thumb counts two cards. Theabove move is repeated, attherightpoint, thecard is removedandthepairsare shown to match. “
”
“
f l a x BoIben 1884=1949 On July 3rd, after a long period of (to illness, William Holden Maxwell give Max Holden his baptismal name) Boston, died. Born in Mass., he started his professional career an at early age. H e was expert an hand shadowist, and older readers will remember his act with Tess, his Wife. Whilst we never had the opportunity of seeing him since helefttheseshores, we hadcorrespondedagreatdeal. I n 1942 he published
our littlebookon Slates,” and when the Pentagvunz was started noonecouldhave been more helpful in trying to boost its sales. Despite his illness, which overshadowed the of his life, his letterswere lastfewyears always ch.eerful and full of interest. A great name, a great man. To Tess, his wife, who was a monument of help and inspiration to him, to Bill his son and his family, we extendourdeepestsympathy. l‘
85
c&we.a! thisideawhenfoolingaroundin I hitupon anattempttoeliminatearathergbviousslitenvelopefromamental effect. I don'tsuppose foroneminute that it is new, and probably it is mentioned somewhere in the "Tales of Hoffmann" (or in oneoftheJinxeswhich I haven'tgot), h u t j u s t i n case it is ne\\--here it is. The performer writes his predictions on a blank card of visiting-card size. One side of the card is, therefore, seen to be covered with his writing and theothel side is thengiventoaspectatorto initial. The performer can, in fact, write on this cardA will choose " _ _ B will choose " C will choose (say)thethree of clubs, and if handledcarelesslyit will appear as if the card is f d l y made out. The spectator should not be giventime to study this writipg in detail, but merely shown it quickly before the card is turned over for him to initial. The spectutor then places thispredictioncard (initialledsidetowardshim)in an envelope (he can provide the envelope himself, or, if you like, theprediction-card itself canbeproppedup in full viewallthe time). The performerthenproceedstonotedown, onanotherblankcard(handed to him bythe spectatorfroma pile of cardsonthetable)the numbers,ortowns, m- what-have-you, called out by theaudience. I use three " prophesies " in this effect :--a town, a four-figure number, both freely cal1,ed out, and the third prophesy is of playing a card " forced " by a " rough and smooth " pack. After noting down the genuinely called-out town andnumberonthe " Check " card,theperformer completes this card by adding the third (and forced) prophesy. He does this before getting the card " chosen "-a simple enough thing to do under guise of a recap " of the first two choices. So far there has been nofunny-business.From the spectator's point of view, a " prophesy " card hasbeenmadeoutinfull view-initialled, and put on one side in thecare of amember of the audience.A " check " cardhas also beenmade outfor two of the prophesies-and theaudience know that this card is above board, because their representative himself pickeditoffthetable and handedittotheperformer.Theonlythingthe audiencedon'tknow,atthisstage, is thatthe third prophesy has also been entered on the check-card. The performer now picks up the R and S pack, .and,in so doing,obtains possessionofasecond check-card, which he fits over the now completed first one, so that th,ey appear as one card. (Peter 9 ,
9 ,
~
"
Warlock has a clever way of doing this in " Think as I Think," but it can also be done by palming the. second cardout of apocketwhilegettinga pencil. ) This secondcheck-card is already made out as fully as is possible, i.e., it (like the prophesy card) bears the writing : A will choose " - " B will choose " C will choose thethreeofclubs. Theperfa-merthenproceedsto get his card . ' chosen," and appears to enter this on the checkcard.Infact,hemerely fills upthe two blanks opposite A " and B "-with the result that he now has two fully made up check-cards in his lefthand.Theaudience knows of the existence of oniy one. Now comes the only real " move " of the effect. The performer turns both these check-cards over as one, on his left palm ; initials the back of the one uppermost, and hands it out to another spectator-retaining the second check-card in his hand, writing-sidedownwards.With thiscardpalmed in his left hand,theperformer now asks for his prophesycard.This is extractedfromits en9 ,
"
\,elope h y t h c ]
"
.$p+c f u t o r , \\-h(> vprifies his initials
andhandsit to theperformer-whotakes it in his right hand and puts it, writing side downwards, into his left handand o;ler thepalmed card-so that both cards are a s one. The trick now is done. With the spectator standing at his right shoulder the performer calls attention, yet again, to the initials on th,e back of theprophesycard,andhethenturnsthiscard slxvly and deliberately over to reveal the prophesy on the other side. In fact, he turns over both th,e cards as a " double-lift,"andwhatthespectator reads is the- writing on the second check card. Theperformerasksthespectator to readout theprophesies aloud, one byone,and these are checked bytheholder of the first check-card, which has already been handed out to the audience. One practice run through with this method .will show that it is virtually foolproof, but if you want to make it a hundred per cent safe, I suggest th? " roughed and thevisitingcardsusedcanbe stick together. smoothed " tomakethem If youhaveanyfearsthatthe first spectator will takeapreliminarypeek atthe unfilled-in " prophesies," youcancoverthem(orrather theirblankspaces)over withgummedstrips of paper,andhavesimilargummedstripstomatch on the secondcheck-card.Thesegummedstrips shouldbestuckdown at oneend only, SO that theycanbeflickedopenbythethumb in order to write the " prophesies " underthem.
86
To thoseinterested in the offerings of magical magazines the following bunch of words may be of passing interest. Regardless of howwonderfullyotherspraisea magicmagazine,naturallymy *affecti,onfor said periodical is tempered by the amount of material published that I c m and will use. Thereare moreabsorbingarticleswritteninother fields if I only desire to read for amusement or escape. Tricks .that I read that I decide I can use, whole or in part, go on file. Thissystematicrecording has a value which I do not remember ever having seen expressed. By comparing the number of tricks listed fromallthemagazines receivedlast year, I can instantly tell which one was the most 'valuable. By checking the number of tricks filed from that magazine last year with the number filed the year previously tells me if that magazine is improving ornot. Dariel Fitzkee gave the Pentugram nice mention in theJuly Genii. Of the 6 trickshespokeof, 4 werewith cards. The statement wasalsomade that the Perzt~1grnnz has a strong leaning towards mental effects. Thatsounds like ratherrestricted material, and is misleading tc onenotper3onally acquainted with the contents of Pentugram. Variety is mostwelcome in a magicmagazine, anda test of thatcanbemade withthis filing system. I t mustexist if I canarrangearoutine using tricks exclusively from the magazine tested. A Pentllgrum routine might be : 1 . UntyingSympathy - Douglas - Sept. '47, p. 85. 2, Prisoner In Silk-Giraud-March '48, p. 41. 3. MeltedCurrency-Douglas-June '47, p. 62. 4. Lesson In Banking-Keene-Nov. '48, p. 9.
5 . Turn Down anEmpty Glass-Warlock-May '48, p. 60. 6. Thanks To Marlo-Warlock-June '48, p 65. 7. Word Sense-Gayton and Warlock-Sept. '47, p 86. 8. Re-covery-Douglas-Aug. '47, p. 75. 9. Welcome-Chuan-June '47, p. 61. This routine ties together nicely in several respects. The silk so freely ( ? ) selected and untied by a volunteer in 1 is the silk that isused in 2. The coins thatappear in 3 areadded to more to work 4. Thenumber forced bymeans of acard in 3 is still usedin 4. Thedeckused at 3 is thedeckused at 6. The bag usedin 4 isused again in 6. After 2, the glass is placed aside, and it is apparentlythesamepneyou use at 5 asrefreshment for the volunteer. You pour yourself a glass and drink so that he knows it is alright and Coca Cola in place of Guinness. Havingdestroyedthe deck in 6 youare at a dead end, so the break is necessary to go to something else-books in 7. A magazine is prepared for both 7 and 8. Magazine is wrapped in a piece of the newspaper in 8 that is used in 9. Message onnewspaperreadsGoodnightor That's all, folks. If onewishedabitmoretime anddidnot adhere strictly t'o the Pentugrunt, one might start with Silks from Newspaper as described on Page 219 of Rice's Ewyclopediu of Silk Magic. Follow with Baker's Dyeing Silks. Continue with the routine to 3, at the conclusion of which you work the Miser's Dream to procure the necessaryadditionalcoins.
Criticism.--We are well aware of many of our faults and failings, but we took great exception to Goodliffe's remarksinAbra.,No. 185, in which we wereaccused of partisanshiptoone publishinghouse. Goodliffeconsidered that we didnotshowenoughenthusiasmabout his latest publication, Spirits in the. H o u s e . As readers will know, we commiseratedwiththe writer, our friend Mr.Chislett, on his choice of a publisher, and instanced the misleading statement regarding the " Joseffy Skull " on the dust cover. Nothing couldbetterproveour case thanthe following letter which we received from Mr. Chislett immediately f,ollowing publication July the of P e n t u g r w l :-
Birley Croft, Curbar, Derbyshire. 5 Aug., 1949. Dear Peter, I should be glad if you could find room in next one or two comments month's Pentugrmz for regarding your review of " Spirits in the House, " intheJuly Penlugrunz. First I entirely agree with all you say about the mistakemade in claimingthat Joseffy'sskull is exphined in thebook. As soon as I received my first copyandreadthat onthedustjacket, I immediately wrote to the publishers and said that shouldnothave been on. I said that Joseffy's
method was entirely different to Abbott’s, and that I hadneverwrittento Joseffy in my life. If I had seen beforehandwhat was tobewrittenon thedustjacket,that would havebeenomitted. Regarding the absence of illustrations to the FloatingBall,” I wanttobefairto thepublishers. Had I published myself, it as I had intended doing so at first, there would have been no illustrations ; and I never suggested to the publishers that it could be illustrated, as the description is given in such detail that it should be quite easytofollowwithoutthem. Also regardingthe Violet risingcard, I sentthepublishersthe only diagram I had of the “ release ” mechanism, which was suppliedtome by Mr. Violetwhen I purchased the effect from him. But I believe that anyone who is capable of makingupthe outfit would be able to understand how the release works fromthetextandthediagram.But if anyone who hasboughtthebook,and is in any difficulty about any item in it, will write direct to me I will bepleased tohelphim in any way I can. wishes, Best sincerely, Yours “
“
”
“
”
T. H. CHISLETT. I t is certainlynot.our business, but we think that the publication in Abra ” of the letter Mr. Chislettmentionswouldhavedonemuch good and certainly have saved us certain criticisms and, what is far more important,alargeamount of space. “
The Piddingtons.-It would seem that the greatest sin that the Yiddingtons have committed is thattheyhavebeen successful. To theirvast public,throughthemedium of the,Radio,they have steadfastly reiterated the fact that they make no claim to have,supernormalorsupernatural powers. They present the act as a thoughtprovokingentertainment,and sign off with the phrase, You are the Judge.” Such welldeserved success’ hasnaturallystirredtheminds of thosewhocannotbearthethought of anyone else attaining success. And so we haveaPress exposure by those who do not wish to givetheir propernames.MadameZomahwantstoseethe Piddingtons work, so that shecantell thenl how ! And now Helliwell, with his theydotheiract Aide deCampDavidMarlo,istryingto do a ” Fogel on them.We like to thinkthatthe Piddingtons’success is part of thesmallrepay,merit fortheghastlythreeanda-halfyears that Sydney spent in Changi Camp. “
”
The Genii-Orben Poll.-Article 11. on this matter appears in the July issue of the G e n i i . If it proves nothing else, itshows that the majority of conjurersareasbumble-headedastheyare bumble-fingered.Sizeofbook, like size of act, would seem to be the indication of top of the poll list ofthe voting, (2reuter Mugic headingthe thirty-seven greatest books in magical history,
whilst HowardThurstonheadsthe list of the forty-one greatest magicians in history. Stanyon’s .\lagqic and “ Serials ”, whichwithout any argumentwhatsoevercontain a wealth of information that cannot ‘be so easily found elsewhere, are not in the list, whilst Hay’s comic Cyclopediu of <\Iugic comes up to twenty-eighthplace.Among thegreatestmagicians,Kellar,who,according to all reliable contemporary reports, was the greatest magicianAmerica hasproduced, polls 451 votes to Thurston’s 841. DavidDevant, whowithout any doubt has never had an equal, polls 59 votes, whilst rvIiss Dell O’Dell just tops one of the great performers of this century, Karl Germaine. Chung Ling So0 just gets in the bottom of the list with 5 votes, whilst Willard the Wizard arrives in place 26. FrancesIrdand has \fell said, “‘ Magicians don’t have to be Crazy ! Visitors.--No two more charming visitors have come to our.shores than M’sieur andMadame Sardina.Duringtheirstay in Londonit was a great pleasure to meet them and talk of magic and otherthings. On July 25th (one of thehottest days of theyear)both visited the Magic Circle clubroomtowitness a special Mondayevening showorganised bytheMondayEveningHost, Sid Emons. After the show the visitors witnessed 2 demonstration of the Japanese Mirrors. Contributions.--This month’s effect, Shape of Things to Come,’’ is contributedbythat wellkl?own B.B.C. Air Ccrrespondentand commentator,CharlesGardner. Weregrettedthatthe effect didnot make se of acrystal, so that we could have appropriately entitled it Scryemaster. ”
“
“
”
The first number of the new volume will bring acompletedescription of LouisHisted’sfamous Jiffy Slate,” Tho’se ~ 7 h o have witnessed D’Albert’sact (he holdsthe Music Hallrights) M-ill remember it well. Withfair goingthenext number wilI bededicated to DavidDevant.The receptionaccorded to our Dougl?sDexter issue has beenaccompaniedwithrequestsforsimilar numbers. We have therefore decided that we will, during the course of the next twelve months or EO, deal with some lesser-known conjurers. Two that we have in mindare Medrington(wehope that Mr. Molewill help us here), whosework we only had the pleasure of seeingononeoccasion,andHowardSpencer(here we shallneed the help of Mr. .Goodship, who we kncw was one of his pupils). The Magic Circle.-On 31stAugust aprogramme of magic will begivenonTelevision by Herbert J. C,ollings, Brian McCarthy, Billy O’Connor and ,Chris. Charlton (we have put them in order of appearance). Douglas Craggs will irltroduce theacts.Thisprogramme, we understand, was a quick fill in for the Piddingtons, who on that day will be appearing in variety at Swansea. “
88 AMERICAN MAGIC MAGAZINES! Do you need back numbers(complete files, single volumes, or odd issues) of The Sphinx, Conjurers’ Magazine, Linking Ring, Genii, Hugard’s Magic If so, let us tell you what Monthly, Jinx, or Phoenlx? we can supply from our enormous stock of used magic journals, and a t what prices. BOOKS YOUR LIBRARY MAY LACK! Annemann, Practical Mental Effects, cloth, 319 pp. Bobo, Watch This One, cloth: 124 p ~ ... . ... Booth, Forging Ahead in Magic, cloth, 134 pp. ... Buckley, Card Control, cloth, 219 p.m. ... ... Collins, A Conjuring Melange, cloth, 256 p.p. great bargain Downs, The Art of Magic, cloth, 334 pp. ... Fitzkee, Showmanship for Magicians, cloth, 187 pp. Hilliard,Greater Magic, cloth,1,006pp. ... Holmes, The Magic Art,cloth: 235 pp. ... Hugard, ModernMagicManual, cloth, 345 pp. ... Hull, ModernBilliardBallManipulation, complete,boards Kaplan. The Fine Art of Magic, cloth, 352 pp. ... Rice, Encyclopedia of Silk Magic, cloth, 520 pp. ... Tarbell, Volume V. cloth, 418 pp. ... ...
32/6 15/15/50/10/-
25/25/50/10/-
17/6 20/37/6 50/50/-
Please remit for theseor anyother magicbooks to Mr. Rohertson Keene, c j o Riverside, Victoria Road, Yarmouth, Isle of \Vight, andyourorder will be filled promptly from the United States, post paid. Write us directapostalrequestforyour freecopy of our 64-page catalogue.
FLEMING
BOOK COMPANY,
725,rMADISONAVE.,YORK.
“
P.A.,U.S.A.
ROUGH AND SMOOH POSSIBILITIES ” By Tan Hock C h u m
PETER
Coloured
B O O K L BB OO OO KK SS I t is our policy to keepevery I)ooit on conjuriny and allied arts in stock.List of 1,000 items,7d. Five Shillings equals one dollar. F’orci!yn c o l c l Pohniul cu.5to7t1ers plea.^ wrilt. d i r e c t . 11‘~ 11u1.e s,upplied ML4C=I(’ to t h e II’OJtTCTlIl .~itrc.t. 1890 E L L I SS T A N Y O NA N DC O M P A N Y 76 Solent Road, West Hampstead, London, 7 ’ r l e p h o ~ e: HAMpstead 0940 WARLOCK’S
PENTAGRAM
Manuscriptsforpublicationand reviewshouldbesenttothe: EDITORI.4L ADDRESS:
SYDENHAM 404/408 ROAD Croydon
I l
HENRl DE’SEEVAH MMC.. BMS., IRM., SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magiof cians to send for his list new and used apparatus and books, or call athis studio :l, CLARENCEROAD Harborne, Birminghlm 17
A
complete non-technical treatise enabling anyonetogiveaconvincingentertainment genuineHypnotism. Ready about 1st week September. Price 10/- ; postage 3d.
STOOGING AROUND By Joe Stuthard A controversialbookexplainingthecomplete of thismost actandmanymoreideas cessful Music Hallartiste,withtheaccenton ENTERTAINMENT and COMEDY. Ready middle of September. Price 5/- ; postage 3d. Fromthepublishers : THE MAGIC WAND PUBLISHING 11, Monastery Gardens, Enfield, Middlesex.
*
books for
Peter Warlock, 65,ManorRd., Wallington,Surrey.
ENTERTAINING WITH HYPNOTISM By S. EdwardDexter. of
CONJURING BOOKS FOR SALE SIIC-
OLD AND LIST FREE
CO.,
Trouble-Wit ’’
CARD TRICKS BY STANYON CardCastle.Base12 X l O & inches;6tiers of cards; 22 inches high;beautifullymade,doublecards, 50/-. CardCastle from Hat. 6 tiers; high grade; 3 0 / - . ‘Limit’DiminishingCards.Withpack to match and black EbonisedStand,30/-;(withoutStand,25/-) ‘Find the Lady’; Giant size, 40/-; Ordinary Cards, 10/-. Trick Packs. Wizard Pack and 40 Tricks, 4/9; Svengali’ Pack and 40 Tricks,6/6. Colour Change Quick C u t andCalculating,7/6; and Free Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920, withtheDictionary of Magic. 2samplecopies,postfree,2/2. Stanyon’sFamous Serials. Coins; Memory; Miscell. ; Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls; Explan : Progs; Chem; Each 3/-.
A booklet dealing withthe methods and is publishedonthe 24th of eachmonthand canbeobtained direct from thepublishers for application of the modern principle,by 1/1 persinglecopy.AnnualSubscription 12/postfree. one of the leading experts on the subject. It is recommended for ,advanced PUBLISHED BY: The Magw Wand Publishing Co., magicians. 11, Monastery Gardens, Enfield, Middlesex. Price S/- Postage 3d.
ARCAS Publications
“
Trewey Model Cartridge Paper Stanyon Corners Beautifully Oolouretl iu ftrst Z C n i l how (11olours Stage Size,used by Trewey,etc., 12 ins.whenclosed. Rainbowcoloured,22/6.PlainWhite,15/6. Importcmt Hints on operling and clo.sirrg the folds included TroubleWit Booklet ; 80 illustrations ... 2/9
NEW. Let me know your wants FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
N.W.6.
The Magic Circle Pxesidmt : His Grace theDuke
of Somerset, D.S.O., O.R.E., J.P., M.I.M.C.
Vice-President: Douglas Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Errnin’s Hotel, CaxtonStreet,S.W.l. Magical Theatre :
King George’s Hall, W.C. :
ParticularsfromHon.Secretary
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
-
BOOKS - BOOKS BOOKS George Armstrong’s Premonition pp. 10/3 Eddic Joseph’s Strictly Magic pp. 5/3 TeralGarrett’s 26 Living K Dead Tests S/3 John Ramsay’s Cups & Balls. Cloth . 2516 Victor Farelli’s Thanks to Leipzig! . . 10/3 Koran & Lamonte’s Mastered Amazemznt 10/3 Tricks of the Trade 2/7 George Armstrong’s Bohleno’s Mysteries. Prize winners . . 10/3 TH3 MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. TelephoneorTelegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 yearsinthebusiness
Every Advertiser’s goods are fully endorsed by this Bulletin Publishedbytheproprietors
The Magic WandPublishing Company, 11, MonasteryGardens,Enfield,Middlesex,andprintedbyHerbert Walkex and Son(Printers)Ltd., Well Croft,Shipley,Yorkshire.
*
90
Most readers of this bulletin are familiar uith StanleyNorton’s effect whereina wineghssis suspended from a silk ribbon. A beautiful effect and favourite a of the late Douglas Dexter. Dexter, when presenting magic at a Society show, would often introduce a seri,es of anti-gravity effects andafterperformingtheStanleyNorton suspensionwouldfollowupwiththis,whichwas his version of a Percy Naldrett effect. Effect. On the conjurer’s table rest a table knife and wineglass. a Taking the latter with his left hand, the right hand picks up the knife, the blade of which is restedagainsttheside of the glass. The lefthandleaves go of theglassandthe latter is seen tlo beclingingtotheknife. The position of thehandholdingtheknifedoesnot have to be static for the conjurer moves it about ineverydirection. The lefthandis now outstretched, palm uppermost, and the right extends over to it d,epositing the glass on the palm. The knife is taken away and all can be examined. Requirements. A length of very fine butstrong silk (the type now being put out by Ken. Brooke is ideal providing the glass used is not too heavy), a lead weight,withastaplecountersunk, the heaviness of which will havetobefoundbyexperiment, therulingfactorbeingthe weight of the wineglass. One wineglass as light weight in as possible. A tableknife.Oneotherthingwhich makesforbetterperformancebutatthesame time is notstrictlynecessary is atubeofsoft materialforthe weight tomovein. Thistube, closed a t the lower end, is fixed inside the performer’strousers and runs downtheleftleg. Preparation. The lead weight is first fastened to one end of thethread(we will assumefor the moment that the conjurer has a length of, say, four feet which is far more than his requirements) and the weight is then dropped into the tube, the free end of the
threadthenbeingtakenthroughthefabric of theperformer’strousers by means of a needle. Thisfreeend is now lied to the(top fly button. If this has been carried out properly there should, with thenormalperson, be aboutfour inches of thread outside the performer’s trousers at the top (seeillustration 1 ) . Thisisinsucha posikion that it is an easy matter for the first finger to be inserted.Withthewineglassandknife on the table the conjurer is ready for the Presentation. Immediately after finishing his previous effecttheconjurerinserts his first finger inside the thread; he pulls it awayfromhisbody (the weight, of course,keeping at tension)and when it is amatter of acouple of inches, thethumb goes inside as well (see illustration) . The lefthandcontinuestotravelforwardand comes overthemouth ,of the wineglass. The glass is lifted in this manner whilst the right hand takes the knife and rests the blade under the thread and againstthatside of the glass that is nearestto theconjurer.Theknife is so held that it is p u s h e d against the glass. an In opposite direction,theweightis pulling. The left hand now l’eaves the glass and this is the only part of theeffectthatcallsforcare.Thethreadmust be allowed togently slide awayfromthe finger and thumb and settle round the glass. Once this is donethe glass canbemovedforwardor backward(according to whethertheperformer eases thepushingmovement of theknife)and also laterally. To finish the effect thelefthand is he!d outstretched. The right hand now deposits the glass on the palm, the fingers of the left hand closinground thebase of the glass andholding ittightly.Theknife now travelsupwardstaking thethread with it. So thattheknife doesnot have to do all the work in freeing the thread, the lefthand movesdown atthesametime. Once the thread is free, the weight carries it back to its originalhidingplace.
The tube, of course,prevents any likelihood of the weightfallingtothegroundshouldthe threadbreak. As ameasure of protectionshould the perfsormer decide not to use the tube a length of strong fishing line slightly lessin lengththan is thethread,isattached to a safetypinwhich fastened to thetop of the left hand side of the conjurer’s trousers, the free end then being attachedtothe weight.Should thethread just afterthepoint of release decide to break,the fishing line will preventthe weightfallingon to the ground.
91
Here is passage a in Sir Walter
Sc~tt’s
introduction to Guy Mannering which might be
taken as a prophecy of how David Devant would end his daysaboutahundredyearslater.The actualconjurerreferredtobyScottisnotmentioned by name ; and The At1nals of Conjuring provide noclueto his identity,despiteClarke’s carefulresearch and attention to detail. According to Scott a widely-known conjurer, who died in all probability during the first 29 years of thenineteenthcentury, was struck down with paralysis two yearsbeforepassing away.WasScottrelatingpastfacts,ordid his imagination penetrate the future ? I t is true thatDevant’s affliction developedgradually and that he was not stricken in a flash during a public performance like the conjurer mentioned by Scott. But broadly speaking the ending of these two lives tally. This is whatScottwrote :‘ One of themostremarkable believers in thatforgottenand despisedscience (astrology) wasalateeminentprofessor of the art of legerdemain.One wouid havethoughtthataperson of thisdescriptionought,fromhisknowledge of the thousand ways in which human eyes could be deceived,tohavebeen less thanotherssubject to the fantasies of superstition. Perhaps the habitual use of thoseabstrusecalculations,by which, in manner a surprising to the artist himself, many tricks upon cards, etc., are performed,inducedthisgentlemantostudythe combination of thestarsandplanets, with the expectation of obtaining prophetic communications. He constructed a scheme of his own nativity, calculatedaccordingtosuchrulesofart as he could collect fromthebestastrologicalauthors. The result of the past he found agreeable to what hadhithertobefallenhim,butintheimportant prospect of the future singular a difficulty occurred. There were two years, during the course of which he could by n.0 means obtain any l
I t must be as long ago as 1922, when, at his house at Belsize Park, we first went through this effect in frontoftheMaster somehalf-dozen times. Strangelyenough we couldnot(inthose days)adaptourselves to the slowerpresentation that Devant preferred and the result was that the effect wasshelved until 1938 when for a matter of some two years it became a favourite effect in
exact knowledge, whether the subject of the schemewouldbedeador dive. Anxiousconcerning so remarkable a circumstance, he gave the schemetoabrotherastrologer, whowas also baffled inthesamemanner. Atoneperiodhe found the nature, or subject, wascertainlyalive; at another, that he was unquestionably dead; but a space of two years extended between these two terms,duringwhichhecould find no certainty as to his death or existence. The astrologer marked remarkable the circumstance in .his diary, and continued his exhi,bitions invariousparts of theEmpireuntil the period was about to expire, during which his existence hadbeenwarrantedoractually ascertained. At least,whilehewasexhibitingtoa numerous audience his usual trick of legerdemain, the hands, whose activity had so often baffled the closest observer,suddenly lost theirpower, the cardsdroppedfromthem,andhesankdowna disabled paralytic. I t this state the artist languished for two years, when he was at length removed bydeath.It issaidthattheDiary of thismodernastrologer will soonbegiven tothe public. Thefact, if trulyreported, is one of those singularcoincidenceswhichoccasionally appear, differing so widely from ordinary calculation, yet without which irregularities human life would not present to mortals, laooking into futurity, the abyss of impenetrabledarkness,which it isthe pleasure of theCreatoritshould offer them. Were everything to happen in the ordinary train of events, the future would be subject to the rules of arithmetic, like thechances of gaming.But extraordinary events, and wonderful runs of luck, defy the calculations of mankind, and throw impenetrabledarkness on future contingencies.” The foregoing was written in January, 1829. Yet there seems to benorecord of any conjurer of the period dying under the circumstances related. Perhaps some other reader of Pentagram can provide a clue.
Jinx, ” our miscellaneous programme.Inthe underthetitle of the Jest of Gratoulet,” we described one version, a version that from certain points of view has advantages over the method to described. be However, from experience in workingbothmethods we prefertheone to be described. l‘
l‘
The Effect Three silks of contrastingcoloursaretaken one at atime by the conjurer and tied together. Supposing that the colours are sepia, orange and tan,theorange silk shouldbe tied between the othertwo.Thesilksarethenrolledintoaball, care being takenthattheaudience see thatthe handsareotherwiseempty. An elastic band is nowplacedaroundtheballandthelatteris dropped into a brandy glass; in order that nothing cantouchthe silks from below or above a small table mat is rested on the rim of the glass, whilst another is placed under the foot. A long strip of black paper is taken; it is shown on both sides and thenfolded widthwise andthen lengthwise. It: is momentarilyplacedinsideaglass whilst the conjurer takes a box of matches and with his right hand fingers removes one match which he strikes. The box is placed on the table by the left hand which thentakesthe tissue bythefoldedend. Thematch is appliedtothe,otherend,after which it is extinguishedanddropped.Suddenly there is a fiash and instead of a piece of burning paper the conjurer is seen to be holding an orange silk.Draping th-is latteronhistablehe goes to the glasscontainingtherolled bund1,e. The topmost mat is removed and then the silks. Removing the elastic band and at the same time takingcarethattheaudiencecan see that his hands are otherwise empty, the bundle is unrolled torevealtheorange silk missingwhilst inits place,completelyrestored,is the piece of tissue paper ! Requirements Six 1Sin. silks, saytwo.sepia,twoorange, two tan. A box of safety matches. A little preparationisinvolvedhere (som,e maythinkit
r/ 4 ,511~
rR//Ed
th+ way
4 9-r
unnecessary but I found that it helped considerably in smoothing what I considered a rough spot). The drawer is removed and it is shortened totwo-thirds ,of itslength.Thematches which arethen to be used for thepurpose of filling it are also shortened. !Some black flash paper. Some black tissue paper. One brandy, or large-bellied wineglass. One tumbler. Two elastic bands. Two round wooden table mats. A cigarette box used for holding 100 cigarettes. A chairservante.Theonethat I used was simply made of silk on a wire frame. Its onlypurpose is toactas a bag and its presenceiseasilycovered byhavinga silk hanging ,over the back of the chair.
P,reparation. The tissue paperis first takenandcut SO that. the conjurer has some pieces measuring 30in. bysin. At about twoinchesfromeachenda round holeqin. indiameter is cut.Theends of the paper are now rolled inwards until the nearest edge of the hole is reached.One end of the sepia silk is pushed through the h,ole and a knot tied. In a similar manner the tan silk is attached totheotherend af the tissue. Starting withthe tansilk, silks and tissues are rolled intoaball carebeingtakenthat no portion of the tissue is exposed. When the rolling is completed an elastic band isplacedroundtheball. A piece of black flashpaper is now cut, size Sin. by 3in., andtoeachend of this,withtheaid of alittle seccotine orrubbercement, is attachedalength of tissue measuring llin:by 3in. Theconjurer thus hasacomposite stripmeasuring 301in. One of theorange silks now comes infora littlepreparation;to onecorner is sewnasmall bead.The silk isnow placed flat onthetable, beadcorner to the left of conjurer.Thecorner nearesttotheconjureranditsdiagonalopposite are now rolled in tvowards thecentre of the silk until rope a of silk about liin. in width is: obtained (to stop the silk moving about it is best to have some heavy object handy).The bead end is now takenabout 2in. inwardsandthen upwards(seeillustration)andthelength of silk rolled into ball. a The ultimate effect behg thattheend t.0 which thebead is attached will protrude.Theballed silk is now wedgedinto that part of the matchbox left vacant because of the shortened length of the drawer. Whenallthesepreparationsaremade,the conjurer placesthecigarette box on the table so thatthehingepart of the lid lies paralleland nearer totheaudience.Insidethebox is first placed thematchbox completewithwedgedsilk. The box should be in such a position that the end containing silk is furthestfromaudience.The piece of tissue-cum-flashpaperisthenfoldedand placed on top of the matchbox and the lid of the cigarettebox closed. Theball 'of silk is placed behind the cigarette box and the two mats placed on top in such a position that in picking them up the silk bundle can easily be clipped against and lifted with them.Thechair withthe servante is left of thetabIeandonits se.at is placed the
93 brandy glass. Onthetable beside thecigarette box is placedtheotherglassand someelastic bands,Thethree silks areplacedoverthechair back.Thus set theconjurerisreadyforthe Presentation. The silks are taken from the chair one at a time and knotted together b y their corners. Carefullytheyarerolledintoaball. At this pointtheconjurershouldbestandingmidway betweenthe tableandchair.Whentherolling procedure is complete, the bundle is held by the lefthand whilst theright goes tothetableand removes an elastic band which is adjusted around theball of silk.Takingthelatter with his left han,d theconjurerturnsquarterright,theright handtakingthemats-thumbontop, fingers underneath, the second and third clipping the silk bundle. I n liftingthematscare is takenthat they hang from the fingers so that the bundle has plenty of cover. The conjurer changes his position naturallyfromquarterrightto half left (he is goingtoplacethe silk bundlein his left hand in the glass on the chair seat, don’t forget !) As hereaches,oralmostreachesthehalf-left position thelefthandapproachesthemats. It apparently passes the silk bundle that is holding under the mats and into the right hand and at the same time takes the mats. n’hat actually happens is that the right hand releases its hold ‘on the mats and leavestheduplicatebundleof silks exposed whilst the left hand take:< the mats stillretainirng theoriginal bnll o f silksunderneath. The whole thing is most naturalandthe follow through takestherighthanddowntowardsthe glass whilst thelefthand rests in a most naturalway on (as the silks are dropped by the right hand) theback of thechair.The silk bundleatthis stage is released and it findsitsrestingplace in theservante.Therighthand comes upandthe left hand movesslightlyforward.Onemat is takenandplacedontop of thegiass.Theright hand now iifts the glass by the stem and the left hand places the mat has been it holding underneath. The conjurer now goes to the table and lifting the lid of thecigarettebox,heleavesthe formererect and removesthelength of black
E D I T O R ’ S NOTE.-Mr. Francis W h i t e will ,teed 110 introductiontotherenders of this or any other magiccrl publication. .4 performer w i t h a style of preseutatioltthattakeshim among ths front rajlk of pzthlic entertnilrershe REAL s o m e h o w( a n dw et h i n kt h a t h i si s tnagic) carriesouttheduties of Secretary of
tissue. This is carefullyshownandfoldedfirst inhalf widthwise andtheninhalf lengthwise. After which it is stood inside the glass beside the box. Therighthand now goesinto theboxfor the matches and in taking the latter by the rolled silk end twists theball of silk fromthe,opening so thatbythetimethematchbox is in view of theaudiencetheball of silk can beheld by the pressure of .thethirdandfourthfingersagainst the palm, the matchbox being held at the cavity end by the tips of the second finger and thumb. The wholebusinessisalmostinstantaneousand is far superior t.0 the ordinary method of using a matchboxfor a silk production.Thematchbox is now taken by the left hand and the first finger of therighthandpushesthedraweroutand removes match. a (Care: of course, must be taken regarding angles for at this stage a sight of the concealed silk intherighthand would be fatal).Thematch is struckandthe left hand places the box down and removes the tissue from the glass. It is held attheflashpaperend,the ‘open end, i.e., non-folded end, being ignited with the flaming match in theright.Thisdonethe match is extinguished with a nail snap and droppedontothetable.Thepaperburningthe conjurer moves cearer to his audience and indicating the silks in the glass passes the burning paper to his right hand so that his left can befree. (If the tissue iswell folded and it is held in a vertical position the burning shculd be comparitivelyslow. If theperformer finds that his movements have to be unduly hurried in order to effect the change-over from one hand to another, I suggest that the paper be folded l e ) ~ g - f h ~ again). i . ~ c The f a m e reachesthe flashpaper . . there is ccmpletedisintegrationand at the s’zme tIme holdingthebead in thecmner of the orange silk betueen thumb and second finger the remainder of the silk is allowed to drop. The effect to the audience is that of aninstantaneous change. The effect is nearly finished. The orange silk is draped onthetableand it only remainsfortheconjurertoremovethetopmat, takethebundle of silk out of the glass, remove the elastic band and show that the tissue, like the proverbialPhoenix,hasarisenoncemore !
94
The Effect.-The conjurer invites the assistance of asmallboy .. who is sh,own a small velveteen bag ; this is turned inside and out to prove both its innocence and emptiness. From the inside of thisbagtwo eggs are successively produced,eachbeingplacedinasmallbasketthat lies ontheconjurer’stable.Thebagisagain sh,own to be empty,andinafoldedcondition placedontheassistant’shand.Theboy,after certain by-play, is invited to look inside the bag and remove what he finds ; he does so, and mucli tohissurpriseremovesanotheregg.Takingthe bagbackfromtheboy,theconjurerproduces some seven or eight eggs, which he places with the others in thebreadbasket. At thispointthe conjurertakesone of the eggs and placingitin the bag causes it to vanish. After certain a amount of by-play, the egg is found on the boy’s back,from whence itisremovedandplacedin thebasket.
jurer so thathestands left of theformer whilst thetrick is inprogress. Theboy is asked if he has ever seenamagickitchen, andupon receivinganegativereply,theconjurerpicksupthe eggbag with his left hand,takingcarethat no disl’odgment of the three eggs takes place. This ismymagickitchen,and I can, by wishing,get anything that one usually finds in a kitchen. For instance,to-day I would iike to find an egg ! Firs: of all,however, I must showyou thatthe kitchen is e m p t y . ” The conjurer then, in the approved manner, shows the bag inside and out. When this has been accomplished the bag is left in the left hand and the conjurer says : “ Now, allyouhavetodo is to wish.”And,turning to theboy, Andyou’llhave to wish,too ! At this point the conjurer can introduce the by-play that is appropriateto his presentation,the ultimate result being that after showing his right hand to be empty, he reaches into the bag ; at the same timethe left handholdingthebagand eggs releases one of the eggs, which is takenbythe right hand, removed from the bag, and shown to theaudience.“It’sall so simple,” hecontinues. If we want another egg, we onlyhave to wish again.’’ More by-play,andanother egg is removedfromthebag. To theboytheconjurer remarks, ‘‘ Do you think that you could do this on your own ? Whatever the answer, theconjurer carefuily shows the bag by turning it inside out,andthenfoldsit first oneway andthen the other so that it becomes quite a small affair. At this point the usual business of placing the bag on the palm of the hand and allowing the part of thebag which is ‘occupiedbythe egg to slip between the fingers of the hand, which are opened forthispurpose. The boycan now beasked to place his hand on top of thebag,andbythis means assure himself and the audience thst nothing solid is contained in thebag ! Theboy is then asked to stand with his left hand placed chest high ; on this the conjurer places the apparNow, this is whereyouhave ently empty bag. to wish, and wish very hard.” At thispointthe conjurer casually places his hands in his trousers pocketswhilsthewatchestheboy.Hereagain there is excellent opportunityforby-play, especially if thehelperlooks at thisstage as though he is takingpartinatelepathycontest. “ Now, we have to see if your wish has come true. Is thereanything in thebag ? ” The helper may touchtheoutsideandfeeltheshape of the egg, and. of course, give affirmation. Whether he does so or not, the conjurer adds : Well,open thebag,very,verycarefully,and see what is inside.”Theboy doesthis,andwhilstallthe eyes of -the audience are cn the boy as he removes theeggfromthebag,theconjurer removes his handfromhisright-handpocket. In his hand he hasthe bund!e of rubber eggs still secured bythe eiastic band.Thelefthandthentakes the bag by its corner frcm the boy, the right hacd coming across and g-oing straight ilz!o tile hag.; “
”
‘ l
‘ l
TheRequirements--Oneeggbag. Three solid ( ? ) eggs ; thesecan, of course, be made of celluloid or wood. Seven (this number is arbitrary) rubber eggs. These articles, which during the war and immediately after were dificult to obtain, are now in good supply.Incidentally,themodernlatex productionsaremorenaturalincolour. One solid egg from which protrudes a small, sharp spike. One small oval bread basket. An elastic band. The Preparation.-The egg with the protruding point is placed in the left-hand jacket pocket. Should the performer be wearing tails this can go either in the left-hand trousers pocket or be slipped intoaclipthat is safelyout of sight.Themain point is that the conjurer should be in a position toobtain possession of itwith theminimum of trouble. The three solid eggs are placed in the secret compartment of the egg bag so that they will lie near the mouth of tile bag as the performer at a laterstagepicksit up. The rubber eggs are tightly packed together and secured by means of the elastic band.This spa11 bundle is newplacedin therighthand trouserspocket.The egg bag,foldedinsucha mannerthat it can bepicked upwithouthesitation, is placed in thebreadbasket, which stands to the front of the conjurer’s table. Presentation.-The conjurer asks for the services of a small male member of his audience, ; the is introvolunteer being easily forthcoming,he ducedtotheaudienceandplacedbythecon-
”
“
“
95 (See illustration.) The bag is left like this whilst the conjurer takes with his left hand the egg from theboy,atthesametimesaying : “ Well, you
allone’seggs intoonebasket. ” Therubber eggs all having made their appearance (they make abraveshowing in thebasket),theconjurer takes one of the solid eggs and with the aid of the bagintroduces anabbreviatedegg-bagroutine (actually length the of such routine is a individual matter for attention). At point the where conjurer the returns to the point having an egg bag and in a his hands, he tells the audlence that he wdl teach his assistanthowtoperformasimilarfeat of magic. The egg is placed in thebag w.ith the righthand.It is actuallyplaced in the secret compartment,thelefthand visibly grippingthe egg, the shape of which can be seen by the audience. Thebag is thenfoldedandplacedonthe boy’shand, whichshouldbeheldchesthigh. The conjllrer adjusts the bag with his right hand, and indoing so standsslightlybehindtheboy. I n thispositionhe is able withcompletecover, to secretly obtain the spike egg from the left-hand pocketandattach it totheback of theboy’s jacket. Now bevery careful-think that you wanttheegg to vanish-don’tmove about too much, otherwise you spoil thespell.”Thisinstructionprevents anyprematuredislodgment of the egg.Aftera few moments’by-play,theconjurer removes the bag from the assistant’s hand, opensit,and shows that the egg hasvanished. In looking for it the conjurer, holding the boy’s arm,turns him round so thattheaudiencecan see the egg. This, of course, brings forth an oralindication of ;ts presence. The conjurer and the boy walk right round so that once more they bothfacetheaudience.Thesituation is played out, and the egg finally removed from the boy’s back. ‘ I
see, that iswhatastrong wish cando ! The left hand nowplacestheeggbesidesthetwo ofhersinthebasket.Whilsttherighthandhas beeninsidethe bag, the thumb of this hand has slipped off therubberbandfromthebundle of eggs. Now the left hand comes a,cross, and, takmg the bag at the mouth, the conjurer informs his audience that they will try and get some more eggs. Theproduction of therubber eggs now takes place, and as the conjurer reaches the third he remarks : ‘‘ This is what is known as putting ”
First of all, at the conclusion of this the third volume of the Pentagram,” we would like to taketheopportunity of thankingcontributors, readers,anddealersfortheirsupportduringthe last twelve months. On the 21st of thismonth we move,and should like readers note to our address. It will be :24, WordsworthRoad,Wallington,Surrey. Readersmayrememberthat in theindexto Volume Two we gave several programmes of effects culled from previous numbers of the Pentagram.”Ourpublisher,Mr. GeorgeArmstrong,tells me that he is willing toawarda prize of cne guineasworth of books (of the winner’sselection)tothereadersending in the best programme ofA. Mental effects. R. Miscellaneous Magic. “
I‘
in which the effects have zppeared in the Pentagram.’’ Bobby Voltaire, playing again in Variety, got a nice write-up in theChannelIsles.Apparently he lit a GO-watt lamp in a ’plane flying at 2,000 feet ! Nextmonth,as we mentionedbefore, we Jiffy slate. shall publish Louis Histed’s Before that,you’llhavethechance of seeing D’Albert use it at the Magic CircIe Festival. Also in the same number is a very nice Colour Changing Thimblerouthe by PeterSutton. Eric Williams, uritingfromLedbury,sends us a nice local write-upregardingamentalact that he put on. He adds : Thanks to the Pentagrarn ’ forsome of the tests ’ referred of to-isn’t thisbetterthanthrowingbrickbats jealousyatthePiddingtons Weagreequite definitely. “
“
”
”
,
~
, ~
~
'
i ~
~
Coloured
SOME LOW-P,RICED AMERICAN BOOKS ! TheFleming policy of " one price throughoutthe world " brings you Americanmagic books at the exact Britishequivalents of theU.S.A.- prices($1.00 equals 5 shillings),postpaid. Please remitto Mr. Robertson Keene, c / o Riverside, Victoria Road, Isle of Wight, and thebooks will reach you promptlyfromtheUnited States.(Write us apostalrequestdirectfor free copy of our 64-page catalogue, a t t h e address given below). Hereare some worthwhile, low-priced books,bound in soft boards :Anderson, It Must Be Mindreading, 57 pp. new book ... . . . . . . . . . . . . 10/Annemann, Full Deck of Impromptu Card Tricks, 78 pp. . . . . . . . . . . . . . . . 9/Annemann, Miracles of Card Magic, 109 pp. ... 10/Christopher-Fetsch, Magic a t YourFingertips, 46 pp. . . . . . . . . . . . . . . . . . . 101Clever, Thoughts Wings Onward, 121 pp ... 10/Douglas, Patter in Rhyme, 26 pp. . . . . . . 31Gardner, Over the Coffee Cups, 34 pp., just out 5/Hugard-Braue. Sho,w Stoppers with Cards, 16 pp. ... . . . . . . . . . . . . . . 5/101Lorraine, P a t t x , 64 pp. . . . . . . . . . . . . Maly, The Celestial Agent, 30 pp. . . . . . . 10/ Marlo, Mar10 inSpades, 51 pp. . . . . . . . . . 10/10/Merlin,Anda Pack of Cards, 93 pp. ....... Rice,ThrutheDyeTube, 48 pp. . . . . . . 51Vernon,SelectSecrets, 40 pp. . . . . . . . . . 7/6
CARD TRICKS BY STANYON CardCastle.Base 12 X 104 inches; 6tiers of cards; 22 inches high;beautifullymade,doublecards, 50/-. CardCastlefromHat. 6 tiers; high grade; 30/-. 'Limit'DiminishingCards.Withpack tomatchand black Ebonised Stand, 30/-; (without Stand, 25/-) 'Find the Lady'; Giant size, 40/-; Ordinary Cards, 10/-. Trick Packs. Wizard Pack and 40 Tricks, 4/9; Svengali Packand 40 Tricks,6/6. Quick CutandCalculating, 7/6; Colour Change and Frec Choice Forcing, 7/6. MAGIC (Stanyon), 1900-1920, withtheDictionary of Magic. 2samplecopies,postfree,2/2. Stanyon's Famous Serials. Coins; Memory; Miscell.; Juggling; Cards; Orig. Tks.; Paper and String; H/Cuffs; Balls; Explan : Progs; Chem; Each 3/-.
B O O K S B O OBKOSO K S I t is O L i r policy to keepevery 1)ooIc o n colljuring and allied arts instock.List of 1,000 items,7d. Five Shillings equals one dollar. I.'oyri!!n (1t111 ('donid curqtower.s p l c a s p Yrritc ( l i l , c c . t . 1 I . p I I ~ ~sripplietl IY~ h'AC:I(' to t l l c II'OA'LD c v ' l l w 1890
ELLISTANYON AND CO!VI'ANY 76 Solent R y d , West Hampstead, L.ondon, N.W.6. I elephol!e : I-iARiIpstead0940
FLEMING BOOK COMPANY, 728MADISONAVE.,YORK.P.A.,U.S
"
ROUGH ANDSMOOH
POSSIBILITIES "
By Tun Hock C h u m
.A. PETER
PENTAGRAM
review should be sent to the: EDITORIAL ADDRESS:
Croydon
STOOGING AROUND By JoeStuthard A controversialbookexplainingthecomplete actandmanymoreideas of this most cessful Mnsic Hallartiste.withtheaccenton ENTERTAINMEKT and COMEDY. Price 51- ; postage 3d.
Clubroom and Library and
of
Magical Theatre :
King George's Hall, W.C. Particulars from Hon. Secretary :
CONJURING BOOKS FOR SALE SIIC-
OLD ANDNEW.Let LIST FREE FOR
No
me know your wants STAMPED ENVELOPE Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser's goods are fullyendorsed Publishedby
thc proprietors The Magic WandPublishingCompany, WalkerandSon(Printers)Ltd.,Well
Museum :
St.Ermin'sHotel, Caxton Street, S.W.1.
MM('.,
From thepublishvrs : THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
*
Vice-President: Douglas Craggs, Esq., M.I.M.C.
HENRl DE'SEEVAH R'LIS., IBM.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for his list of new and used apparatus or call athis and books, studio :1, CLARENCE ROAD Harborne, Birmingham 17
TWO OUTSTANDINGBOOKS. ENTERTAINING WITH HYPNOTISM By S . Edward Dexter. A complete non-technical treatise cnabling anyonetogiveaconvinciugentertainment genuine Hypnotism. Price lO/- ; postage 3d.
President : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C.
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
SYDENHAM ROAD
404/408
The Magic Circle
WARLOCK'S
24th of eachmonthand A booklet dealing with the methods and is publishedonthe canbeobtaineddirectfromthepublishersfor application of the modern principle,by l / l persinglecopy.AnnualSubscription 12/post free. one of the leading experts on the subPUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, magicians. Middlesex. Price 51- Postage 3d. Manuscripts for publicationandbooksfor
ARCAS Publications
Trouble-Wit
" " Trewey Model Cartridge Paper Stanyon Corners Beautifulljy C!oloured i l r fnst Kuirlbow ('ulours Stage Size, used by Trewey,etc., 12 ins. when closed. Rainbowcoloured,22/6.PlainWhite,15/6. Importunt. Hints on opeuing and cloxitrg t h e folds ilrclrtded Trouble \Kt Booklet ; 80 illustrations ... 2j9
FrancisWhite, 39 Alverstone Avenu?, WimbledonPark, S.W.19 TheDiscriminatingConjurer will send a stamp for
J. New
B. FINDLAY'S List of Bound Books.
FirbankHotel, Crescent Road, Shanklin, I.W. JAM G ER SA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 899 Address :GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 yearsinthebusiness 23
by this Bulletin
11, MonasteryGardens,Enfield,Middlesex,andprintedbyHerbert Croft, Shipley,Yorkshire.
*
.
ANTI GRAVITY EFFECTS .... Making a Candle Light .... .... A Matter of Som.e Gravity .... ARTICLES .... GoodlifTe Replies to Robert Lund .... Sawing a Woman in Halves .... .... RobertLund t.o Goodliffe .... .... A Bookplate for your Books .... .... Magical Magazines .... .... CARD EFFECTS .... EleventeenStoreyLeaper ..... .... I GiveUIpt ! .... .... .... An Ace Change .... .... .... Unskilful Skill ... .... .... Strange Harmony .... .... .... Thrustfully Yours ! .... .... .... Time Stitch in .... .... .... Shadow ! .... .... .... .... C hopitup .... .... .... .... Clwer Darn ... .... .... Slaphappy Pass .... .... Two Thcughts (secondversion) .... .... Three White Handles Daggers .... A Matter of Mas->acre .... Floored ! .... ..... .... .... Meutal Persuasion .... .... .... CHILDREN’S EFFECTS Lesson in Banking .... .... .... COIN EFFECTS The Disappearing Hole .... .... LIQUlD EFFECTS Watered Wine .... .... .... MATCH EFFECTS Passe Passe Matches .... ... .... MENTAL EFFECTS .On PencilReading .... .... .... A Letter from A1 Koran .... ....
.
.
.
.
. . .
61 81 22 37 38 46 86 4
11 26 29 33 43 45 49 51 53 58 60 66 75
76 a4 9 27 35 11 l
3
Turn of a Card (with playing cards) .... 19 20 Weird Junior Wire .... .... .... 25 Legerdebrain (with playing c&ds) .... Prevhue Plus .... .... .... 28 Contagious Luck .... .... .... 35 Man on Top of the Train (with playing cards) 36 Time Will Teli .... .... .... 44 Mentalist’s Dream(withplayingcards) 50 Guessing Game .... .... .... 58 Destiny .... .... .... .... 61 Material to a Matchbox .... .... 76 85 Shape of Things to Come .... ... MISCELLANEOUS William Selects a Number .... .... 60 Magic Circle Festival .... .... 3 I .B.M. Convention .... .... .... 6 Magic Circle Banquet .... .... 52 Magic Go Round .... 7 12 23 30 39 47 55 63 71 79 .86 NEEDLES. Over My Shoulder ! .... .... 83 NOTE EFFECT Fire Alarm .... .... .... 41 OBITUARY Xax Holden .... .... .... 84 PENETRATION EFFECTS Ringing the Needle .... .... .... 17 Thanks Ellis to ! .... .... .... 57 Sharpe Scissors .... .... .... 68 Super Sharpe Scissors. .... .... 73 Sharpe Extra Scissors~ .... .... 74 SILK EFFECTS ,4 b m i c Silk .... .... .... 21 Cream ofJest the .... .... .... VERSE The Magician Master .... .... 89 52
.
.
.
.
.
.
e a n h h , Armour. R .... .... Arrowsmith. G . E . . . . . Belcher. Len . .... Bill Bishop. .... Eoarde. . C . L . .... Eraund. George .... Dexter. Douglas .... Dexter. Will .... D m o v a n . .... .... Emons. S. . . . . .... Esler. James .... Fa1rthor.e. Robert .... Gardner. Charles .... .Giraud. Julcs .... Goodliffe .... .... Haxton. Francis ..... Howie. John A . M . . . . . James. Stewart .... Jonson. Wilfrid .... Keene. j . Robertson .... K x m . A I .... ....
.... .... .... ....
.... .... ....
.... .... .... .... .... .... ....
.... ....
.... .... .... .... ....
.... Lambie. Allan 58
29 Logan. C . E . 28 53 61 Lund. Robert .... 76 McComb. William .... 1 McCarthy. Brian .... 73 Jlaskell. Dcn .... 69 66 May. Leslie .... .... 19 44 Milton-Warlock .... S9 Xoffat. Peter .... Naldrett-Dexter 83 .... 76 Orrin. J . F ..... .... 35 Sharpe. S. H . .... 8.5 Stuthard. Jge .... 45. Sution. Peter .... 22 ’T s:: Hock (:huan 844337 Tothill. Robert .... 5. 7 \hJa!ton. Rq7 .... 1 86 Warhck. ‘Peter .... 11 FraiJcis White. .... 9 Wicks. C.harles .... 3 Young. Juhn
....
....
....
....
....
.... ....
.... .... 20
.... .... .... ....
....
....
....
.... .... .... .... .... .... ....
....
....
....
....
....
.... .... .... ....
.... .... ....
.... .... .... ....
.... .... .... .... .... ....
1-1 74 38 60 27 52 36 81 25
....
....
.... 17 51 .... 68 .... 4-1 .... 58 60 .... 35
.... ....
.... ....
....
21 .... .... ....
....
.... . .
49 26 33 46 50 75
awiam!! BOOKS. Principles and Desceptions
....
Mystery Gobak Card
....
....
5
Cups and
....
5
’s Routine
5
....
15
....
22 22
38
....
.... .... ....
....
....
38
....
....
53
....
55
....
....
62
....
.... .... ....
62
14 14
....
Balls-Ken Bro.oke.
Magic Feats
....
....
....
5
Loopknocker
Jamesophy ....
.... ....
....
5
Les Lie’s Hypnotic Handkerchief
Professional Magic for Amateurs
.... .... ....
15
Magic of Famous the
John Ramsay’s Cups and Balls
....
15
Band-it
....
....
22
TripleThreat.PokerDeal
....
....
22
Gap the in Curtain
....
....
22
Harbin’sSimplicityPrediction
23 47
Cupid’s Cards
54
GeorgeArmstrong’sPremonition
54
Tom Sellers’ New Thumb Tie
54
EFFECTS.
Fine Art of Magic
....
Impromptu Card Tricks Work that
! ....
Thanksi. .Leipzig to
....
15 Ladies Pink
....
....
.... .... .... .... .... ....
....
....
....
54
P.ossibilities
....
55
Catalogue of Books on Magic (Fleming)
62
Devil’s Whisper and its Development Collector’s First Annual .... Controlled Miracles Twenty-sixLiving
....
andDeadTests
Magic Wand Year Book Magic of Rezvani Secrets SeIect Rough and Smooth
....
....
54
....
....
....
77
Spirits in the H.Ouse ...
....
....
78
....
79
Strictly Magic
John Ramsay’s Cylinderand C.oins ROUTINES. Cash Spot So Fair Poker Deal
....
....
....
....
....
....
....
....
....
.... ....
The‘Unbelievable R.outine
38
78 78
Zingaree Blindfold
....
....
.... ....
Trilby
....
....
....
18
Harbin’s Dippy Magnet
....
....
31
Stanyon’s Card Castle
....
31
....
31
Harbin’sUncannyMatches
.... .... ....
....
38
Stanyon’s Stripper Pack
....
....
38
....
....
....
47
....
....
....
77
Devano Rising Cards ....
Jack Hughes’ Spirit Bell
....
.....
....
5
Harbin’s Firebowl
....
....
....
5
Bi-Co
....
....
1
PENTAGRAM An independent monthly bulletin for all who want good magic
Ckta0a 1949
V ? .4 NCr, I
Claude Chandler would have us believe that the good old fashioned slate now is an anachronism;whatever, an anachronism maybe in its own rights? My own feeling is t,hat the slate is too valuable a prop in magic lightly to discard and thatithasverymany years of honourable and useful service in front of it. When it bec,omes reaIly out of date itmay still be usefulto the magiciars of the new era who want to show what those quaint magicians did back in 1949, and to reproducethe effects and atmosphere of the fake seances of the 19th and early 20th century. No, my only quarrel with the slate as a conjuring prop. is :(a)The message cannot beseen too well whenused on the platfcrm owingto thespidery attenuation of the chalked writing; (b) It is usually necessarywhile the message develops to cover the slate or to put it aside. In real magic the message would - just appear. I have tried to remedy these defects with the Jiffy Slate, and, in doing so, quite naturally introduced a few defects of its very own. You will be able to judge. The Ji.ffy Slate, without cover, produces a message on both sides, or, if that statementis equivocal, with the sole cover ” afforded by turning the slate away from the audience fora second and back again. The Jiffy Slate looks like a slate. It is a slate. Its principal disadvantage is that itcannotbe it ctrn be viewed handled by theaudience.But from threefeet. Its second disadvantageis that itproducesbeautiful whiteblock capitalsofa spirits.” perfection far beyond thedreamsof You can read them at the back of the hall, but if vou think that a scrawly caligraphy is something that the spirits favour, well there is nothing to stop you. I really don’tthink that the spirits are so particular. In short, this is a slate for stage use “
“
and quick effect. It does not replace slates with flaps,locked or otherwise,used inintimate perf ormance. D’Albert who has held the Music Hall rights in this country since1945uses a gigantic Jiffy Slate in his Bookmaker Magical Act.” From a blank slate he magically produces the starters and the prices and gets the shock of his life when his Fips come cff. He gets extra deep letters by increasing the depth of the top and bottom margins of his slate and adequately covers this ruse by usingtheincreased space to advertise thename of the old firm.” You can look atthe drawings now, if you haven’t done so already. I ama man of magical ideas. Almost a genius. I freely confess it. But takes it a D’Albert to introduce design and finish into an idea like this and bring it to life. My first experiments wsre with ground glass and frames made of brown paper. D’Albert designed and made in wood theframe you see illustrated. The dimecsions are not vital of course, but a relative proportion has to be achieved between the overall size of the slate, its thickness, and the width of the wooden frame, so that the slate lookslike a slate used for chalking up or writing down.” And 110 french polish. I am afraid cce will have to look at the drawings again. The central insert has the Ace of Spades (say) on one side and the Three of Clubs (say) on the reverse, written on black paperin whiteblock capitals. White waterproof inkis thestuff. Thepaper cut-outs, two of them, are stuck to the s z ~ o o t hsurfaces of each of the two ground glass slides. A smear of seccotine along the extreme long edge of each glassis all that must be used. The completed masks siide up and down over the insert so that the writingis exposed or concealed at will. “
“
“
2 The ground glass surfaces form the outside of the slate. They can bewritten on as anordinary slate. If the surface appears too white the slightest trace of non-drying oil rubbed over will bring them to a beautiful state of blackness and the white letters will stand ,out boldly. There are two holes at the top of the frame to take fixing pins so that the frame can be dismantled when required to cha.nge the insert. Now a word about the paper. The paper used €orthecutout should be reasonablythin, but since the degree of blackness of insert and cut-out need tobe the same, the same paper should be used forboth purposes. Paper black on both sides can be bought. I did mine thehard way and used Indian ink on white paper, with the added burden of smoothing the paper after cockling. In operation the slide ,of the slate away from the audience is pushedalong with the thumb. It slides quite easily. Just a touch. I n my original version the same message appeared on both sides, The " Ace of Spades " - " Concentrate, sir, the spirits willwrite the name of yourcard on the slate.'' The slate was turned round and backagain and the message revealed. '' Sorry, sir, you really expected the message on the mother side, didn't you ? " Turningtheslateroundand revealing the duplicate message. A fullroutine wili appear in a laterpaper, but t,o conclude this article there is the question of Perspexto consider. Ground glass is perfect,
- - - -*: - - - __ I \
-
-
~
but liable to breakzge. Better have perspex while I gather,is sold in you are aboutit.Perspex, sheets which are reputedtobe 1-16in., gin., and $.in. thick. The dealers will cut you two pieces to size and you can frost one side of each piece by rubbing it down with fine sandpaper. Finally a word of warning. Buy your perspex first and make the frameto fit. I ordered gin. thickness and this turnedout to be 1-6in.,which with the double thickness and the insert was too thick for my frame. I had to start again and ordered 1-16in. I imagine that this thicknetss might have turned out to be a trifle thin and not solid enough to keep flat up against the insert. However, on delivery it was found to be as near to &in. as dammit.Verp sap.
--
LOUIS S . HISTED'S COMEDY ROUTINE WITH THE JIFFY SLATE. The props you wiil reqnire are :(1) A Jiffy Slate rcading the Ace of Spades (say) ,on one side and the Three of Clubs on the other. (2) A Roterburgcardchangingbox,to change an Ace of Spades put in it to a Three of Clubs withwhich it is loaded. If you want to exercise your virtuosity use a plain envelope and sleight of hand for this change. But for the lay audience giveme a changing box every time. There is nothing to do. (3) -4Forcing pack of 52 Aces of Spades. Let us start bv stating that all " jokes " are something held cut to the audience, and that the something " is snatched away just when the audience think it is within their grasp. Frustrated expectations. The " something " maybereal; a coin jerked away by a thread,oritmay be a picture in the mmd, as in the joke story, or it may be merely a play of words. This forms the basis of all magical " sucker " effects. If the joke is to roll the audience inthe aisles, something must be substituted for what was snatched away, something if possitile of universal interest. The ( I
3 something may be “ beer or sex ” if you want to be really low. The routine that follows is based on this idea of thejoke.Thefunny lines which will turn it into a riot you must supply for yourself. The performer shuffleshis pack of aces of spades and has a card selected to ensure that the selector has a perfectly fair choice of the card he wishes to draw.This isidentified w i h u t letting the performer into the secret and placed face down in the little brass box, whichis retained by the member of the audience. The performer then displays the slate back and front and spiels according to his ability and inclination Ion the subject of spirit writing. ( h e a t e r Alugic has a. nice piece about a French gypsy who caused a furore in Paris by automatic writing. You can lift that piece bodilv. In short,the spirits are going to reveal the name of the selected card. The slate is reversed m d backagain,and sureenoughthe moment is propitious. The spirits havedone their stuff, Three of ? ? ? ? Clubs The helper disclaims the aforesaid Three of ”
I‘
“
”
As a follow-on effect for Sid Emon’s Over My Shoulder or as an alternative for use under similar conditions, the old, but little known effed of completely filling the eye of a small sewing ileedlewith cotton,is useful. It is best to commence by getting your victim to thread the needle once in theordinary way, using about a yard of cotton. The correct length will be found by experience as this is dependent on the size of the needle eye and the number of pieces of the cotton it will take to fill the eye completely-if too short, YGU will run out of cotton before the eye is entirely full, which ruins the effect. The perf,ormer takes the threaded needle from the victim, commenting on the time he or she took to thread it once, turns his back for about thirty seconds then hands back the needle threaded a sufficient number of times to fill the eye so completely that it is difficult to move the bunch of cott,ons within the eye. The method is as follows :Slide the threaded needle to a position about eight inches from one end of the cotton. At a point about four inches from the needle lay both the long and the short ends of the cotton over the left firstfinger nail, keeping the cotton I. taut with the second finger andthumb.pig. Take the needle in the right hand and pierce both strands of cotton lving ‘over the finger nail, using
Clubs and informs the performer that the card he is holding in the box is the Ace of a es. “Le (of Sp.ades, says the performer. “ O.K! you wanted the Ace of Spades, ” and he turns the slate round revealing the Ace of Spades. “ But the spirits wrote the Three of Clubs, and the spirits are never wrong. ” The slide. has been operated and when the slate is reversed it is blank ! ! ‘’ But you say the Ace of Spades ? ” Operate the slide and show the reverseside isnow biank. Both sides are now blank ! I am getting confused. Whatisthecard in thebox. The Aceof Spades? Will you check that. The Three of Clubs? Are you pulling my ieg. So the spirits were right?” Do you mind if I check this with the pack;” Leaf through the cards face to you asthough you are looking for a particular card. You are quiteright,sir.Yourcard was the Ace of Spades. It must have been.” Leaf through the cards face to the audience and reveal a pack with nothing but Acesof Spades. ”
l t
“
l‘
”
the surface of .the nail as a guide for the needle. Next hold the aoint of the needle in the left hand, grasp the two points of impalement-“A” continued on page 7
4
In these days when our country seems to be either under-valued or devalued,itis a pleasant thought to know that the Mzgic Circle is the only Magical Society in the world. staging a successful week’s magical show inthe’ W’est End of -the Capital. Punctually at 7-15 after a spirited introduction by StanleyKilburn and his orchestra,John Young garbed most effectively as Mephistoplheles, rose from the depths of the stage and spoke his piece. Douglas Francisthen appeared with his well-known androutined act. The audience were in a fine mood and D,ouglas had a great reception. D’Albert followed and with his racecourse act brought a touch of novelty to the proceedings. His vanish of a small vent. figure in a flash of flame was something tobe seen ratherthan written about. Again a big response fromthe audience. GeoffreyBuckingham, fresh from his triumph at Amsterdam, then repeated t’he actthat won the prize for him over in Holland. Terrific applause. After this Jack Ledair (possibly our greatest veteran conjurer still working and working hard) put over an act that was 2.11object lesson in timing. He concluded with his well-known presentation of Lcuis Histed’s ‘’ Sugar and Sand.” Again an ovation and then George Grimmond took the stage.Neat, smooth and debonair, George presented the ring and nest of boxes and closed with an escape from a padlocked and boltedmetal boiler. This concluded the firsthalf of the programme, whichwith the excellent compering of David Nixon had gone with a great swing. After theintervaiDavid Nix,on announced D-omenique, and the curtains went back to introduce this young lad whose natural exuberance and amazing personality took the audience by storm. Domeniqueshould become an outstanding figure in the world of entertainment, butitis doubtful if he will retain that zest that is part of youth, a thing that brings to mind whatRichardStrauss remarked to Mahler, namely that the spontaneity of youth is worth ali the rest. Dmomenique’s highspot was his dagger effect and it was with regret that later in the week we found that because some moron fainted on the Tuesday evening, the Watch Committee aof the MagicCircle decided thztthe effect should be watered down. Domenique retired to the biggest hand of the evening. Whilst it was no easy task to follow an act that had been mainly a comedy one, it says muchforTommy Cooper that he not only did successfully follow, but that he too hadto respond with an encore. Tommy Cooper’s zaniisms left us gasping for breath. The act that followed (withall due respect) stood head and shoulders high above the acts that appeared in this programme. It was Claude ’
Chandler in tw.0 ventriloquial novelties. Here was the artist, perfect in technique and presentation and having thatright quality of restraint. We make the suggestion here and we shall make it in Council that Claude’a$houldappear next year presenting magic, for in recent yearsthere have been too few opportunities ,of seeing this immaculate artist at magical functions. Despite the applause there w,as no encore. To the strains of “ Scheherezade ” the curtains parted to reveal “ Swift as Lightning ” Ali Bey’s stage set. The audience sat back and enjoyed with gusto the production of silks from a jap box, the smooth sliding of the mirrors into position, the bangs and the flashes from the flash boxes. All, in fact, was happy as a marriage bell until-AliHey sat down on a settee whilst poor David Nixon had :o direct a long-winded mental routine. A quarter of an hour whilst people wrote down numbers, looked at ready reckoners (they looked at their watches as well for the hour was late!), switches of envelopes, Ali Bey (with a trueDunninger touch)putting on hisglasses to read the information passed to. him in a duster. We are told that itwaseffcct-ive. That may be, bnt one of the. objects of the Society is the ” Elevatior, of the Art of Magic.’’ On the whole an enjoyable showdespite the fact that the acts were Got assembled in the best order for a good balance. Magically we do not think that it reached the standard of the 1947 and 1948 Festival. The Stage Management was very good and the Festival Committee must be crongratulated on the production.
Flashback ! A
stands for Anderson
5
Effect. A few sleights with a white thimble are performed. The white thimble then changes in succession to Blue, Yellow and Red.The Redthimblevanishes andthe hands are apparently empty. The four thimbles are then produced instantaneously on the four fingers of the right hand. 2. Requirements. Four coloured thimblesWhite, Blue, Yellow and Red. These thimbles must nest firmly and yet be easily detachable. The brighter the colours the better. 3. Preparation. The ,Red, Yellow and Blue thimbles should be nested in that orderfrom top to bottom and then placed in the right coat or trousers pocket. The Whitethimbleshouldbe thumbpalmed in the right hand. 4. Method. (a) Preliminary Moves. The production (of the White thimble and the opening sleights with this thimble alone I leave toyou. My openingis simply to remark, “ What strznge things you keep in the air here at - - - - ,’’ and then reach high left and produce the white thimble on the Right first finger. Now perform a few sleights, as varied as possible, and I suggest you end with a handkerchief penetration. You maythen remark, “ Of course the thimble will just as easily penetrate the cloth of my pocket.” Saying this, either visibly vanish the thimble by a quick thumb-palm on the face of the pocket (that is what I do) or apparently place it in the left hand(actually thumb-palmingit in the rightj and rub the left hand against the face of the pocket. Show the thimble ’has vanished and insert the-righthandintpthe, pocket to collect it. (b) The Routine Itself. When theright hand is in the pocket get the nest of thimbles on to the secondfinger and hold it into the palm. Get the thumbpalmed white thimble back on to th? index finger and display the result of the penetration of the pocket. Two more sleights with the white thimble alone, and an acquitment, are now performed. This is essential to kill the suspicions of any whlo may suspect thatyou ,obtained anything from the pocket. The two sleights are :1.
(i) Facing left, rightindexextended with white thimble on it, remaining fingers palm, to in apparently place t h e thimble in the left hand, actuallythumbpalming it in the right. Show it gone from the left hand and reproduce it from the air or asyou please. (ii)Turnfrom left tlo right. As the hands cross the right second finger extends and leaves the nest ,of thimbles across the base of the second andthird fingers of the left hand, themouth of the nest being upwards. Point with the left i,ndex finger a t the righthand which still hasthe white thimble on the index finger. With the back of right hand the to audience vanish the thimble with a thumb-palm under cover of a throw. ,Recover the thimble and show both sides of the right ‘hand. You have now performed two sleights with the white thimble and the hands have been freely shown. The presence of the nest should not be suspected. Put in more sleights if you wish. For instance, immediatelythe nest is transferred from right to left you could apparently swallow the thimble and produce it from yourtummy orthereabouts.Then go on tothe sleight facing right. To continue. You are facing right with white thimble on therightindexandthe nest finger-palmed in the left hand.Turn back tothe left. As the hands cross,pick up the nest with the right second finger and keep it-back into the palm. Show theleft handempty. Nowfollows a standardand simple move which is rather hard to describe. Face left: left hand above, and palm to audience. Right hand bellow and back to audience. Righi hand approaches left hand and, when covering it momentarily, deposits the nest in finger-palm position previously described in left hand. Under cover of the right hand the left hand closes into a fist, turns back to audience and rises away from right hand. Right hand, still with white thimble on index, turnspalm to audience. You have againshown bothhands empty, barringthe white thimble, but in
6 the process have transferred the nest back tothelefthand. Nowwe are off onthe colour changes at last ! The first colour change. Apparently insert the white thimbleinto theleft fist from below actuallythumb-palming itin the right,Inserttherightindexintothe blue thimble, withdraw anddisplay.Hold this because you should get quite a bit of audience reaction here. The white thimble mustbe secretly transferredto thelittle finger. This is done bythethird finger picking it up fromthethumbpalm and momentarilypalmingitin the mainpalm of thehand.It is at once picked upby the little finger which remainsbentin to the palm. This transference must be made during the display of the blue thimble and under cover of a slight wave of the hand. The second colour change. This is on exactly similar linesto the first.Apparently insert thebluethimble intto the left fist, actuallythumb-palmingit, and bring out the yellow thimble fordisplay. I n the meantime the blue thimble is secretly picked up and retained by the third finger. The third colour change. This is again on similar lines t’o the first except that the yellow thimbleis collected and held in to the palm by the second finger. The concluding moves. Display the red thimble with the right index finger resting against the palm of the left hand. The left hand is wide open. The remaining thimbles are now concealed ton theother fingers of the right hand.Turntheright hand palm to the audience at the same time straightening outthe fingers so that the thimbles are concealed at theback of the
REZVANIMAGIE, by Maurice Sardina (publishedby Maurice Sardina, Paris) . This well printed and illustrated book of some 240 ‘pges comprises another series of effects, sleights and ideas by theIranian magician, M. K . Rezvani.The book commences wth a foreword byMaitre Maurice GarCon, who is a distinguished member of theFrench Academy. This is followed by a chapter of nearly seventy pages dealing withcardsleights andsubterfuges.Nearly all of these show thattouch of originality that not onlymakes them interesting but is sure is a very nice proof that they have been used.There index described for the Any cardfrompockets (readers who have “Conjurers will have already seen a translated version of this in the July issue). Chapter two of the book dealswithanumber of card effects and the Rising Card ideas and crystal reading device will make anappealtomany.This completes Part I. of the book and from then onwards it is devotedto miscellaneous effects, a large number of which fall intothe pseudo psychic field. There is a whole chapter on “Slates,”in which Rezvani offers some twists onexisting ideas and “ Radar Mental ” is a fine example of how with the simplest basic methods a resultant miracle can be formulated. Those who “
”
”
I
left hand. Both hands are apparently emptybutdo not hold this position too long. Turnthe right back t,o its previous position, i.e., with its back to the audience and the fingers curled into the palm. Close the leftfinger3 round the red thimble. Then withdraw the right hand sharplyat the same time thumb-palming the red thimble and keeping the left hand closed. Pointtothe left hand with the right index and then open the left hand to show the thimble gone. Without a pause reach up highleft and, picking up the red thimble from thethumbpalm,extend all four fingerst,o display all four thimbles. Thissudden production makes a strong finish. 5 . An AlternativePresentation. The routine as described above is exactly as I perform it. However you might iike to avoid the collection of the nest from the pocket and start with the nest already in pourhands. You will then needsome sleights in which the audience see only the white thimble but which can be done with the nest concealed in y m r hands. I leave you tothink these up ! But there are three ideas included above. Another idea would be Geoffrey Buckingham’s thimble jumping from finger to finger under cover of a handkerchief. 6. Concluding Remarks. This description is extremely long-winded but only because every detail has been explained. In practise the routine is shlort, snappyand effective. It is excellent not only for close-up impromptu use but also, with good lighting, f,or quite large audiences.
have a n enthusiasmfortelephonetricks will not be disappointed, for thereare some five methods given by which the perforker can work a telephone miracle, the mostpractical (inour opinion) being “ LaCarte au Telephone.” I t is an angle which we noted and communicated toJackPotter some eighteen months ago. “Le Grand Mystkre du Te16phone” reads very well, butthe iciea whilst not possibly published is not new and in practice unfortunately sometimes unsatisfactory owing to the technicalities of the telephone system. We know that when we were living in the Midlands Marice Fogel and ourselves tried this over Trunk lines satisfactorily, though over a short distance i t has been found impractical. Rezvani in realising the shortcoming does give a means for boosting the necessary signal. There is a nice mechanical “ spirit rapping device ’ ’ described. All inall a very fineand intelligent collection of ideas and effects. It is to be hoped thatan Engiish translation will not be too long in arriving so that all thoseunable to read the original but who enjoyed the freshness of ideas in The M@gic of Bezvani may continue their reading and education. Unreservedly recommended,
7
J%i!w@take part,and supporting him
Thishas been a busy month,and our difficulties have been increased bvthefactthat we have moved to a new house. Thingsare fortunatelystraightening outand we are catching up with some of our outstanding correspondence. The Magic Circle Festival is over and the next big Circle function will betheEdward Victor Complimentary Show at the Duke of York’s Theatre on Sunday, November 27th. We have been instrumental in persuading Maurice Fogel to
will be Lionel King,Sirdani,Arthur Dowler, Georne Braund and GeaFge Robey . A firstclass-sh.owushould result. On page eight will be f,ound an advertisement by Mr. Esler, who is now preparedtobindnot only volumes of the “ Pentagram ” but also any otherjournals that you may wish to keep. His workmanship is of the first quality,andinthe past he has been responsible for those very serviceable bindings of MagicCircle books.
ERIC DE LA MARE O N THREADING A NEEDLE-continued from
puge 3
inFig. 2-between therightthumband first finger the needleonce more, until the eye is fille& and slide them right lover the needle eye and along completely and the cotton within the eyebecomes the cotton, reducing the size of the loop “X” in too tight to move further without risk of breakage. Fig. 3 until it finally passes out. Complete the effect by severing the loop with scissors or burning with a cigarette end preferably Actually the positionnow, if studied closely, at point “A” in Fig. 4, which removes any clue will be found to bc as Fig. 4, which provides an as to the method and results in a needle threaded, endless loop without a knot. as shown in Fig. 5 , in about half-a-minute with Hold the needle in the right hand and pull the at least three more threads than can possiblybe cotton at point “K” (Fig. 4 ) in the direction inserted by any other method. shown and immediately point“A”hastraversed After showing, the ends of the cotton should theeye,the x e d l e isthreadedthree times. (If, be knotted to prevent accidental unthreading by at this point, the triple thread does not go through the recipient. If desired, the cotton can be passed the eye but slides down the .cotton, it is necessary through the performer’s card before knotting and to pull through the needle from the opposite leftas a publicity souvenir which isinvariably direction.) Continue to pullthe endless loop roundandretained. round through the eye, eadn revolution threading BOOKS AND ROUTINES-continued from previous puge MAGIC OF THE ANCIENTS, a George Johnsonpublication (George Tohnson, 24, Buckingham Street, Strand, W.C.Z., price 2 / 9 ) . Thisbooklet of some twenty-fourpagesisalltoo short.One feels that even ‘the most blase conjurer will findsomethingworthwhilewithinitsbounds,even if it is only the fact that the psychology of magichas progressed little during the last hundred and fifty years. A foretaste of the blooming bush can be fount, in The MagicalNqsegay ” circa1802, whilstin the Conjurer Unmasked ( 1790) we seem to have the basis of an E.S.P. effect. Most interesting of all is Pinetti’s description of the FlyingRing, ’’ a description which shows how the means of magic has hecome cyclic. One day a conjurer who;besides- being a publisher will also be a philanthropistmaypublish a bedside anthology. We hope that it will contain some of the magic describedin thislittle book and also that it will contain some illustrationssimllar tothat whi’ch bedecks the cover. More than all we want to see other “ pleasant‘ ” tricks like the “ Catching of the Woodcock.” Unreservedlyrecommended. ‘‘ GENIALIMPROBABILITIES,”byKendeCourcy (published by Goodliffe, price 6/-). Thisbooklet of some sixty-twopages is divide! Magic withCards intothreeparts.Thefirstpart contains somefiveeffects of which “ Ri-Ki-Ki-Poker is the bestinplotand effect. Part two is wrongfully entitled “ Magic of the Mind.”There arefour effects is a here andthe onlyone thathas a mentalangle re-vamped version of one of the many methods of Seven Keys to Baldpate.” The other three effects are The certainly psefdo pyschic and we particulars liked Devil’sKey wherein onepadlockisin sympathywith another. The third part “ Magic withAnything ” contains among its ten items a first class children’s effect “
“
’
“
”
“
“
“ Fiddled Furniture,” an unusual item “ Which Witch,” and an effective coin routine. Thewritercouldhavedone himself morejustice hadheomitted some of the patter that heapparently uses. Hisdescription of a production boxin a “ Silken CardDiscovery ” shows that he has overlooked John hlulholland’s “ Triangular Room on page 73, Volume 42 of the “ Sphinx.” Thebooklet is full of ideas, andany one of tks iteEs that we havementioned is worth more than the price asked by the publisher. ”
MILBOURNE CHRISTOPHER’S MAGAZINE TEST (releasedby Milbourne Christopher, price One Dollar). Milbourne Christopheris a natural magician and the effect under‘review is as natural a piece of magic as you will find. It is a book test freefromtiresome asking of numbers, throwing of dice or writing down of digits.Thestraightforwardness of itsplot is equalled by Mr. Christopher’s streamlining of an outmoded device. It is all so easy and what is more it is one of thosethings that is of real use. Excellentand recommended. NAPOLOGY,” “ HYPNOTISM ” & ‘ QUARTET ” (the two first are priced at 2/6 whilst the last costs 3 / 6 . Originated and publishedby Jack Yates, of 8 , Ripon Road, West End, Oswaldtwistle, Lancs.). All the cffects are card effects.Napology is a very simple and effective method of turning up quite a number of winning Naphands. . Hypnotism ” involves the vanish of a thought of cardunderthespectator’s nose so to speak, and its ultimate recoveryin a sealed is a eleightless method of dealenvelope. “ Quartet ing respectively winning hands of Pontoon, Brag, PokerandWhist.Thereare no shattering principles involvedin any of the effects, butallarepracticable, and in the hands of a showman could be very effective. We give themour blessing and recommendation. “
“
”
8
ENTERTAINING WITH HYPNOTISM TWO IMPORTANT FLEMING ANNOUNCEMENTS ! 1. “ We sharethe loss ! In general, we shall have to charge our British customers the exact British equivalents of American prices for the books they buy, onthe basis thatthe shilling is equal t o 14 cents. However,onFlemingBookCompanypublications, we are charging substantially less thanthedevaluation of thepound indicates.Our $7.50 books (Magic without Apparatus,andTheFineArt of Magic) will costyou 45 / - (not 53/6) ; our $5 .OO items (Our Magic, Sleightof Hand, Magic with Small Apparatus,andHugard Book Editions Nos. 1, 2, and 3) will cost 30/- (not 35/6) ; andourtwo $2.00 books (TheExpert at the Card Tableand A Conjuring Melange) will be 12/(not 1 4 / - ) . ”
2. Hugard Book Edition No. 3 (Vols. V. and VI.) is now ready for distribution. Superblyproduced (uniform withNos.1 and 2 ) , 232 pages, 218 sleights andtricks, 485 illus., 30/- postpaid. Please remitto Mr. Robertson Keene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight. Write us direct a postal requestfor your freecopy of our 64-page book catalogue.
FLEMING BOOK COMPANY, 728 MADISON AVENUE,
‘‘ROUGH AND
York, Pa., U.S.A.
SMOOTH POSSIBILITIES ”
By Tun Hock C h u m
1
Price 51-
Postage 3d.
~
ARCAS Publications SYDENHAM
404/408
Croydon
i
1 , l
THE MAGIC WAND PUBLISHING COMPANY 11, MonasteryGardens,Enfield,Middlesex WARLOCK’S
PENTAGR A
A booklet dealing with themethods and application of the modern principle, by one of the leading experts on the subject. It is recommendedfor advanced magicians.
l
PETER
by S. EDWARD DEXTER Whetheryou be professional oramateur,theoutlay of only TEN SHILLINGS will provideyouwith a sensational reputation making act, AND THERE IS NOTHING ELSE TO BUY. You can do it anywhere, any time. requireANYONE CAN HYNOTISE . Theonly ments are a knowledge of the technique and confidence. This book will give you both, for its clear, nontechnicallanguage takes you through everystage of this amazing science, teachingyou step by step how to apply the technique and how to stage an entertaining act. CONTENTS : IntroductiontoHypnotism. Waking Stage Experiments (ten amazing tests that are easy t o do) . Induction of Hypnotic Sleep (six methods) . Testingfor Hypnotic Sleep (and how to dealwith the Smart Alec). Awakening the Subject. Degrees of Hypnosis. Hypnotic Experiments (four amusing experiments for the platform worker). Post Hypnotic Expzriments (Post Hypnotic Cures and Experiments for, Stage Purposes). Giving aPublic Show (Full instructions on dressing the stage, suitable music, comedy situations, openinglecture, getting volunteers, etc.). Do’s andDon’s(animportantchapter). Questions and Answers (thetype you are likely t o be asked, withdetailed answers). Some Dangers of Hypnosis (thetype of things toavoid). A Short Bibliography (for those who wish to study the subject further). Price 10/- Postage 3d.
ROAD Surrey
A NEW BOOKBINDING SERVICE. Your “ Pentagram ” bound efficiently and neatly in good quality fabric. Titled linen appropriately gold. in
Returned to you, safely packe,d for 5 / 6 per Volume. OTHERBINDING BY ARRANGEMENT.
J . A. E S L E R, 99, DEVQN CLOSE, GREENFORTH, MIDDX.
is published on the 24thof each month and can be obtained direct from the publishem for 1 / 1 per single copy. Annual Subscription 12/post free. PUBLISHED BY:
The Magic Circle President : His Grace the Duke of Somerset, D.S.O.. O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and Museum :
St. Ermin’s Hotel, Caxton Street, S.W. 1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRESS:
Particulars from Hon. Secretary :
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey. HENRl DE’SEEVAH MMC.. BMS., IBM., SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to send for his list of new and used apparatus and books, or call at his studio :l, CLARENCE ROAD Harborne, Birmingham l7
CONJURING BOOKS FOR SALE OLD ANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
King George’s Hall, W.C. Francis White, 39 AIverstone Avenue,
Wimbledon Park, S.W.19 The Discriminating Conjurer will send a stamp for
B. FINDLAY’S List of Bound Books.
J. New
Firbank Hotel, Crescent Road,Shanklin,
LW.
JAM G ERSA Y S O N MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC. Telephone or Telegram : MORLEY 899 Address :23 GREENFIELD AVENUE GILDERSOME, Near LEEDS Nearly 30 years in the business
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietors The MagicWand Publishing Company 11 MonasteryGardens Enfield, Middlesex, and printed by Herbert Walker and Son (Printers) Ltd.,’ wkll Croft, Shipley, $orkshire.
*
9
PENTAGRAM An independent monthly bulletin for all who want good magic
E l ~ I ‘ l ’ O R * FOREI.I.ORD. S Gil isone of the most modest chaps 1 haveever m e t ; full of tiniivillgenergy, h e uotonly turns out some of the fi,le.st workmallshipthut is to be found i l l this or [ L I ~ Jo~t h e r country, Init lit1ds tiwle t o help ill f i l e nlosi pructicul wuys the Magic Circle. 111 hetweelltim:.s he performsdelightfdshows(in whichRernuvtl n111i Frankie Love11 ussisthim) utiu‘ l ‘ t l . i 1 c , t i A h C J I ) l C worlilwiliic: efiecis. The efject to h e described i s olle thntheperjormed at U speciuI S ~ Z O ’ L E ~ i,l hol1our of a fan2.021~visitor, nom’ cttllclr t l l t r ~ lM r . P m 1 Flemillg. That was way back i l l t h e sltnlmzv of 1918. By dillt of persisteut ~ ~ u g g i ~ (lil ~ g finally g m e me (atldthat, of course, menus t h e “I’entagmm”)permissionto p 11 h1i s h t 11c effect. P. W . ”
‘ I
There are many ways of performing the “ Rising Card ” effect, each originator of some particular angle relating to this effectseeing such origination asan improvement. Actually froma point cf view of effect it is dcubtful,uith perhaps the exception of the Hooker version, that any improvement hastaken place ; for afterall cards are selected, and if the performer is lucky they risz out of the pack. With the neat version ofthe Rising Cards introduced by Devano, conjurers have become exceptionally Rising Card conscious, and the effect is enjoyinga vogueunparalleled in its history. Nevertheless new methods or angles will arise. The method to be described is delightfully simple and disarmingly effective. Here isthe effect as seen byan audience. “
“
“
”
The conjurer introduces a pack of Jumbo Cards, a houlette to contain them, and two pieces of perspex whichfit the aforesaid houlette. All items are freely shown, after which
audience for a selection of one, two, three or as many cards as you wish torise ; these cards are returned to the p.ack, and thelatter is placed in the h d e t t e with one piece of perspex at the face, whilst the other is at the rear of the cards. Holding the houlette with the fingers of his hand, the performer commands the cards to rise. This they do as slowly or quickly as the performer wills. The requirements for the effect are :-
One pack ,of Jumbo cards. One houlett’e the icside measurement of which is enough to take the thickness of the pack plusthe thickness of the twopieces of perspex. Two piece; of perspex (Lucite in U.S.A.) of sufficient size to fit the h,oulette. One is unprep.ared .(apart from somelines being marked in pattern f,orm on its face), whilst the other has a rectangular portion cut away (see illustration). This cut-out portion is masked by lines similar in pattern to theunprepared piece. The articles are placed on the performer’s piece of perspex table so that theunprepared rests on top of the prepared piece. Thecards and houlctte lieon,oneside. Thusset, the performer is ready for the Presentation. - The two pieces of perspex are picked up by the right hand as one. Remarkleft ing twopieces cf transparent plastic,” the handtakesthe rear (.prepared) piece of perspex and tiltsit over so that the pieces are as shown in second illustration. At this point theyare slightly separated, the rear (prepared) piece being tapped against the front (unprep.ared) piece. Togethertheyare #replacedon the table, prepared piece underneath. The houlette is to shown, replaced, and the pack is handed “
10 spectat,or number one for the selection of a card. Supposingthree cards are chosen and looked at bythespectators. After this theperformer has the card returned to the centre of the pack ; from there either by means of a series 'of cuts or else a false shuffle the cardsare left atthe top of the pack. With the cards held face down, the pieces of perspex are picked upand placed on the back
of the cards ; the unprepared piece, which should be uppermost, is slipped away from the prepared piece and at the same time the hand holding the cards cantsthem back tow.ards thebody ; the other .hand is meanwhile placing t.he unprepared piece of perspex ,in front. In this state the cards and pieces of plastic are dropped into the houlette. " Cmomplete isolation," remarksthe performer, as with a coin he taps the plastic at the front and rear. Slipping his fingers into the small clips atthe base of the h,oulette, his thumb contacts therearcard of the pack throughtheopen rectangle. Fromthat polint thecards rise asthe performer wills. E D I T O R ' S FOOTNOTE. hlanufacturing and selling rights are held by Mr. Leaney; those who wish toperforvn the effect, but at the same time arezmable t o maketheir own apparatus,would d o well tocontact M r . Leaney,whocandothe job for them;hisaddressis: 21, Kenton Park Parade,Kellton,Middlesex.
Flashback !
11
Jufuz S -'& The trick which I beg to submit foryour consideration brings to memory two names which will ever be columns standing in the Fsorum of MagicalHistory-Douglas Dexter andHoward Spencer.
A recent issue of thePentagram was dedicatedto D,ouglas Dexter ; his manyattributes will therefore be fresh in. your memories. Whenever his name is mentioned I instantly recall his show atthe " Hall " in 1922 ; themannerin which he adapted a few simple effects so that theyappeared .asstage illusi,ons. Wiith the exception of thedyeing silks in a bowl,which I thought the weakest of thebunch, the entire act could be carried in a suit case.
Then DouglasDexter gave a lecture atthe Circle, andby one clever .amendment ,obviated allthe objecti,ons. Instead of a handkerchief he used a sheet ofstiff paper, so allowing the performer to hold the paper in one handand with theother cakh the egg as it rolled out, then placing it in the hat. For those whmose ,selfdimposed course of study has not included this classic, may I explain it consists in having, asstated, a piece of paper approximately 14 inches square. From the centre of one edge is suspended by thin thread a blown egg, thethread being of such a length thatthe egg hangs about one inch ab,ove the loweredge of thepaper.
When thecurtain roseonesaw a standard lamp, from whichwas drapedright across the stage a length ,of ,orange muslin, a similar piece being used for his turban effect. I n this he made three cuts, andthe material appearedto occupy the whole stage. Whopreviouslyhad thbought of using the colours j.ade, orange and .heliotrope for the SympatheticSilks ? Thenthere was the rising card, using sheet music-colourful in itself-and a green h,oulette supported by a wide green ribbon. Ymou may well guess there was a complete absence of pillar-box red.
If I mayinterpolate,itmay interest thmose who are sensitive to colour to know that W. H. Smith ,and Sons market a useful colour dial which should prove invaluable to the magician desiring to be one ahead of the (others. Proud possessors of Lang Neil's Modern Conjurer will remember the ingenious description for producing eggs from a handkerchief. I have not a copy, butas a boy I borrowed itfrom the PublicLib,rary.Evenat such an immature right up my alley, age, I felt the illusionwas for it was simple to construct and easy toperform. Came the great day when I tried iton the family. It was one of the few occasions on which I saw my fatherlaugh.He wanted to know why the egg didn't break when it fell into thehat.To appeasethis unconstructive criticism, I placed a handkerchief in the hat to lessen the suddenness of the egg stopping in its downward flight.Butas successive eggs were produced, he enquiredin a kindly m.mner how I preventedthe eggs hitting each other. So a gem was discarded from my programme,although I felt father might have chilled my enthusiasm to prevent my using his silk hat.
A hat is on your table or held by the charming assistant incrinoline or state of semi-nudity. Thepaperis held at the points marked X by bothhands. I n reversing the sheet toshow the other side, the top edge moves down toLtards the performer, thus lowerirg the egg into the hat. The paper is ,again turned by reversing the process, bringing the egg again behind the paper, which is ther, bent double by bringing together held the twoedges marked X, thesethen'being bythe left hand. If the paper. 1s brought to a horizontal position, the egg can be rolled out and
12 caught by the right hand, which places it in the hat.The moves arethen repeated ad lib, and if needs be,the conjurer relates how he went into an Oxford Street shop, etc., etc. Allwill agree, I think,that thims lis improvement, and characteristic of methods.
a titanic Dexter’s
Howard Spencer came from a different mould. Possibly he was at his best in a saloon bar,andyet, ,on the otherhand, agents had given him their best society bookings. His name was mentironed more often to me by laymen than that of any other magician. Furthermore, he did the type of trick th’at was talked about, because it was simple in design and miraculous in effect. No one could possibly forget a performer who merely said, Think of a card,”as he stood twelve feet away and fanned a pack ,of cards. The card being named, it was instantly produced from a glass of beer or seenon the roof of a dlistant outhouse. “
One of his much favoured items was to introduce half a dozen eggs, reposing in egg cups. One was chrosen forthe note or card in egg routine. The others were placed in a paper bag. After the requisite build up, the bag w.as crushed between the hands, the eggs havingvanished. HowardSpencermade the eggs by inflating t,oy balloons, white in colour, to a suitable size, The neck was then twisted and partially knotted. To describe this process defeats my literary ability, but if you are interested, experiment will no. doubt reveal the method. The egg cup, h,owever, greatly assists in preventing a precipitated denouement or prematureburst.On placing the eggs in the bag, the neckwas unravelled and the egg deflated. Smart Alecs will have correctly surmised that one egg was real and gowd ’elp the bloke in the audience whodid not select this for the card nonsense. By combiningtheideasrelated, we have a mystery ideal in almost every respect ; simple in ,plot, ,of thenon-apparatusorder, suitable for stage or drawing-room, children oradults,but perhaps a little difficult to work at a circus. By that I meanit would be inadvisable to havethe a.udience behind you, although side angles can be covered. Furthermore, it weighs no more than two ounces, .and occupies negligible space in the bag. Now that dealers are supplying excellent rubber eggs, thereis ‘no need to use balloons, and I h,ope the purveyors concerned will suitably reward me for the increase of business which will undoubtedly follow this article.
I commence by casually showing the hat and
then loading therein half a dozen lactic eggs, held together by a rubberband. Eggs are produced from the paper as previ,ously described. The producti,on over, they are transferred t,o a paperbag which is finally crushed to a small compass, thus proving the eggs to have vanished. If you favour refinements, the bundle can be switched for an emptycrushedbag, which is tossed to the lions. My plot for an audience of children isin the nature ‘of a ghost story. Would they like a ghost story ? Perhaps I’d better not, it’s rather late-oh,well, if you insist, but don’t tell mum, or I’ll beblamedfor you ,notsleeping to-night.
I once had a hen called Hettie. One day, for a joke, someone put a brass door knob in her nest. The silly girl thought she had laid a golden egg, and diedwith excitement. Now,whenever we cluck three times, she returns as a ghost and laysan egg. You’d liketo try her out ? Right. Wemust have a nest. This piece of paper will do beautifully. Fold in it two-ghosts must havedark. Are you p o d cluckers ? Come on then, Cluck, cluck, cluck. Well, what do you know ? Shall we make her lay another ? (As you open paper and reverse, do it ostensibly to show Hettie sitting ,on the nest, adding, I’m afraid it’s too light tosee a ghost,” or Look, she’s still on the nest ” ) . “
“
After producing the six, look at them in the hatand hesitate. You will undoubtedly receive an urgent request to show the eggs,which you do, placing fivein the bag. You will soon be reminded that Hettie laid six.Debatethe point for a bit, then look in the hat and find the sixth, place in bag and screw up the neck. In awed tones explain that as the eggswere laid by a ghost, they only remain visible for three minutes, andthey too then become ghosts.Green spot, clock strikes twelve, and hollow laugh heard off. The combination can be used for adults, although in this category I have only triedit on the type one refers to as Women’s meeting, when similar plotcanbe used. “
”
For sophisticated bods you must devise your own verbal accompaniment, but I break new ground by telling you what notto say :-Eggshellant, eggsactly, eggsasperating, hen-fruit, a profitable lay,bad-minded globulewith a sense of humour, yoke of an egg u y e white, this is not a peacock’s egg. On the other ,hand, it might be excusable to make subtle reference to egg powder and wingless chickens.
From a packet of post cards one is selected, and on the address side it is signed by the conjurer’s obliging collaborator as proof that it is not laterchangedforanother.
And he can’t message appeared, concluding, have changed it for another, for see, here is my signatureon thefrontandmy handwriting on theback.’’ All of which is good publicity.
Theperformer borrows a halfpenny stamp andfastens it in the correct place onthe card by moistening the four corners (i.e.,the cerltre of thestamp is not stuck down, the reason for this willbeseen later).
Needless tosay,the c.ard is forced. Any method may be used, but I prefer the .Rough-andSmooth Pack, for this can,be shuffledbythe spectator and handled entirely by him-it is the most indetectable non-sleight-of-hand “ force on the market, and is ideal for thisparticular trick.
Thecard is now turned over, andonthe reverse side a messageis written to any familiar spirit that the conjurer likes to claim as his own. The performer dictates the wording and the assistant writes it down, something like this : Dear Mr. Spirit, please tellme the name of the card I am now aboutto choose fromthe pack.”The post cardis then placed, address side down, onthetable.
“
”
Next a pack ,of cards is shuffledby the assistant, who is told to cut it wherever he likes, and then to note the card at which he cuts-this to be the card of his choice and the one that thespirit will laterreveal. Suppose itis the Queen of Diamonds. After an impressive pause to give the denizen of the other world time to “ do hisstuff,’’the post card is turnedover, but,alas, something has gonewrong-the signature isstillthere, but no message has appeared. The magician looks embarrassed ; must he register a failure ? Indeed no ! An idea germinates in his fertile brain, itdevelops-itbuds-itblossoms ! His face brightens, gone is the gloom. Why, of course, spirits will only manifest their presence i n t h e durk, and where is the dark place on a post card ? Surelyunder the stamp ! With a pocket-knife thestamp iscarefully levered up (being fastened only by the ccxners makesthis an easy job), and therebeneath it, plain for all to see, ‘is pencilled the words “ Queen of Diamonds. ’ ’
NOWfor the post card.Buy a threepenny packet and remove one of them, write thename of the forcecardin pencil, orink, 0.n the space that is provided forthestamp.Then cover it with a halfpennystampby moistening the four corners. Next cut one ,of the remaining post cards in half and retain only the right hand portion (i.e.,thaton which thestamped is fixed). Reassemble the packet of post cards, putting the prepared and stamped one at the top (stamp side uppermost), and covering thestamped part with the half card. Mask thecut edge of this by snapping an elastic bandaround the middle of the packet in such a way that it covers the edge of the half card.The packet will appear t,obe quite ordinary and unprepared, and can be handedtothe assistant for his signature without anyfear of the faked half being revealed. The signing is, of course, done on the left-hand side of the elastic band,and so goes on theactual stamped card. A halfpenny stamp is then openly affixed to what appears to b e the same card, but in reality is the faked half. The packet is turned over, and apparently this card just openly stamped is withdrawn, but actuallyit is the one beneath.The half cardis palmed off, andthe packet is thrown carelessly on the table (if any inquisitive person now examines them in the hope of discovering something incriminating he will be disappointed).
You can keepthecard as a souvenir, saysthe magician, and youmay be surethe proud ownerthereof will show itto his friends and give them a vivid account of how the spirit
Nothing remains to be done except to build u,p the sensational discovery of the spirit’s prediction under the stamp j,n as impressive a manner as possible.
”
“
”
Apparatus. 1.
A pack of cards from which the tens,
jacks,queensand kings have been removed, leaving 36 cards. 2. A circularcardstand with slotsfor six cards round .the circumference, each slot bears a coloured indicator in t,he clockwise orderBlack, Dark Red, Green, White, Yellow and Pale Blue. 3. A large die withsix sides bearing the numbers 2, 5, 6, 7, 8, and 1 1 . 4. A blafckboard. Effect (Without the Mum+- Jumbo). a. Performer goes into a trance and inserts six cardsinto the stand, whichis given t.0 a member of the audience to hold. The cards are back exposed andthe faces cannotbe read. b. Anothermember of the audiencemakes a “ free ’’ choice ,of a card by cutting the pack under a silk held by the performer, the member retains the topcard of thebottom half ,of the cut. c. Four other mem,bers of the audience select and retain cards in a similar manner. d.The performerreturnsto the stage and ask,s the five members inturn ,to call out the value of the,ir cards, which he writes on the blackboard thus :-76923. e. The die is presented to another member of theaudience, who is asked afterexaminingit to turn it over and ,over in his hands whereno one can see it until the performer, who has gone into a tranceagain, calls stolp.The figure on top of the die isthen called to the performer, whowritesit; say, 6, ,on the blacklboard, and multiplies the ,other num’ber by it, thus :76923 6
46 1538 f . The performer rubs out the first two lines so that the audience can c,oncentrate on the answer. Hethen asks the member holdi,ng the stand to read out the value of the cards is told tostartat the yellow inthe‘stand.He slot and proceed clockwise. To the amazement of the audience he calls cut 461538, the.number appearing on the blackboard. g. Everythingcanbe examined, and the fact,that only 36 cards usedverified. Method. The effect isself working except for forcing 76923 ‘on the five card selectors inthe manner indicated or some other way. I n a . the performer inserts cards (in the slots as follows :-Black-Ace, Red-Five, GreenThree, White-Eight,Yellow-Four,Blue-Six.
In f . the holder ,of ‘the stand is told to start at a differentco1,our slot for each possible value called in e., thus :2 called from the die then start at Black. 5 called from the die then start at Green (5 letters) . 6 called from the ,die then start at Yellow (6 letters). 7 called from the die then start at (Dark) Red (7 letters) . 8 called from the die then start at (Pale Blue (8 letters) . 1 1 called from the die then start at White. The mathematical basis of the effectis the cyclic nature of theproducts of 76923 thus :76923 X 2 is 153846,76923 X 5 is 384615. 76923 X 6 is 46 1538,76923 X 7 is 538461, 76923 X S is 615384,76923 X 1 1 is 846153.
U W h d &t Boa&, m d Zautine6, HUGARD’S MAGIC MONTHLY ; Book Edition No. 3 (Volumes 5 and 6 j . Publishedby the Fleming Book C h . , 728, Madison Avenue, York, PA., U.S.A., price 3 0 / byremi-ttance to Mr. RobertsonKeene, c/o Riverside, Victoria Road,Yarmouth, isle of Wight. Thispresent volume runs to some 232 pages,contains over twohundred effects and at aroughestimation five hundreddrawings. Thecontents represent magic at its bestandone is notconstantly remindedby a number ofmagical illiterates thatitsthe laughsyouwant.JeanHugard contribntes 5Onle sixteen routines and effects covering a largecanvas. On such a canvas i t is easy to visualise thisgreatveteran’s desire for perfection.Other contributorsinternationally known include Paul Currey, Dr. Jacob Daley, Dr. Jaks, George Kaplan, George Starke, MartinGardnerand ClaytonRawson, the last namecl being responsible for a dozen entertaining effects in which the lines show the mark of the novelist. It is extremely difficult fromsuch a large collection of worthwhile effect:’ t o pick outthose whichwe favour most. In re-reading through these volumes ztfter laying them aside for a while one gets a different persycctiveregarding an effect. Things thattookour fancy were ET. FlanklynTaylor’s “ Hallucination,” Clayt.Rawsnn’s “ Little Wonder ThoughtProjector,” Jean Hugard’s Watch Challenge,” Arnold Belais’s “ Test of the Fibre,” a veritable gem of visiblemagic, Abril Lamarque’s Santa Claus Returns,”the articles on stackeddice, “ Ball rYIagic,” by JeanHugard,and Dr.JacobDaley’s SaltTrick ” Eventhoughcards occupy a third of the volume, chere is something worthwhile l’or everyone Besides thetricks, sleights and dodges,there is a most interesting page in eachissue edited by Milbourne Christopher.Monthaftermonth he brings in a most refreshingmannerseveral new angles or ideas.Another mostinteresting page i s Fred 13raue’s “ Roundabout.” Here is a wealth of gossip, tips,opinionsallwittily writtenaildadding much to each issue. A new feature was addedneartheend of Volume 5 and that was a monthly review of books under the aegis of that well knawn magician John J . Crimmins; “
“
“
15 junior.These reviews show magical maturityandare a pleasure t o read. JeanHugardinfounding his monthlystartednot only with an id=, but an ideal. Never for one moment does he, in his offerings of good magic, fail t o keep his initialpromise. Therearetoo few like him and withGut irreverence one can add to one’s litany ‘‘ God bless Jean Hugard. If leanHugaIdhas done his work well so has his i]lust&tor Fraicis Rigney . Alargemeasure of praise must go t o the publishersfor theyhave produced a volume beautihlto 1-ead and handle. The binding is heavy and needs be for this is a book that will be taken fromand replaced on the magician’s bookshelf time and time again. ”
.
“ HELLOSUCKER ” by Jack Chanin(publishedby Chanin, of Philadelphia, Pa., U.S.A., Distribution by Goodliffe, 6 , Colonnade Passage, Birmingham, 2, price 10/-). This book of eighty pages represents whatthe author calls a n “ encyclopaedia of the three shell game.”This is nounderstatement for we feel after reading throughthatthere can be few, if any,points that the author has not covered. The three shell game in which aftertheoperatorhas placed a small p& under one of three shells and his audience are requested t o betonthe position of the pea is a more modem version of “ thimble-rig ” which had its pride of place at old time fairs. Mr. Chanin commences byinforming the reader of therequirements for the effect, i.e.,the composition of the pea t o be used, the type of shell, working sur-
Most interesting magical event ,of December will bethe television broadc.ast fromthe Magic Circle Clubroom. Actually it will become a piece of magical history. The acts, ten in all, have been well chosen, and it is h,oped tocatch the spirit of an actual clubroom session. One of the most enjoyable magical sessions we havehad was atHarryFletcher’s house onthe occasion of a party t,o that King of Svengali cards Joe Stuthard. A1 Koran was in greatform, BillyMcComb did his act whilst.the audfience supplied the patter, and Francis Haxton showed a devil of a card prediction. By the time t.his appears Joe will be in Montreal and working in his inimlitable way. We sha,llmiss him a lot and only hope that he willsoon bepayingthis country a return visit. After quotingthe Performer G.ood1iffe ’We in a recent number of hisweeklywrites: . . . . have always tried to give fairreports of shows based ontheir appeal from the layman’s viewpoint.” Surely if a magazine caters for magicians ,it should .baseits criticisms on the appeal to the magician. We should fail to renew our subscription tothe “ Gramophone ” if their critics treaked the reviiewing .of records in the Abra. manner.The 1.ay press can’well caterfor laymen’s views. Therehas been far too little outspoken criticism‘inmagic and with the exception ,oftwo efforts by an old friend of ours: one Motley plus the outstanding criticisms in the Jinx (Fifth Row, Centre Aisle) we canthink of “
”
“
“
”
face, etc. From herc he goes through the fundamental moves which fallintothe question of stealing and holding. Various subtleties arethendealt with includingamethod whereby the position of the pea is changed without using thehands. Among the suggested routines is one in character, the performer dressing for the part. Aswe have said before, Mr. Chanin seems to have covered his ground in a most thorough manner, and in hisexplanations he has added drawings in quantity so that the meaning shall be quite clear. This, whether the reader wishes to perform the “ shell game ” or not, is a book that he should have by him. TV,e only pity seems that the author used the title Hello Sucker ” for we can think of so many publications, which, after reading, the buyer would havethought such a title more appropriate. Unreservedly recommended. “ ENTERTAINING WITH HYPNOTISM,” by S. Edward Dexter (published by George #Armstrong, price lO/ ) Withinthe pages of thisforty odd page booklet theauthor, who is well known to English magicians, gives in very simple and concise language the methods whereby a state of hypnosis can be induced.He goes on t o show how, once the performer hasacquired the ability, hypnotismmay be used as aform of entertainment. It should be stressed thatthroughoutthe treatise, Mr. Dexter advises the reader who would essay these feats,to presentthem in agentlemanly manner.A short bj.bliography completes the book. All in. all a very intefesting and informative book and well worth the very modest price asked.
-.
few - examples. Next m.on,thwe are describing a method of slate writing with an ex,amined slate. Our hope is th.at it doesn’t clash with the “Diabolo” slate currently advertised in the States. Those who were present at our lectures in London, Birmingham, Nottingham and Leicester in 1947 will possibly recall the effect for we showed itthen. A demand for this partlicular type of effect made us decide ,to publish it. One of themanystrip cartoon favourites must be Flook of the Daily Mail.” This delightful 1,ittle creation can now be bought in two sizes. We can think of several ways in whichthese could be introduced into tricksth,at could be attractive to children and to their parents. The prices o f these toys are 5s. and Sl. Also for next mcnth’s issue me have a nice predict’ioneffect by Douglas. Francis making use of a child’s nurseryrhyme book. As the books maybe difficult to obtain Duggie has kindly passed ,along 30 of them as a gift to those readers whowish to use the effect. So just waituntil the December issue and$write. We should liketo draw readers attention to the factthat the Fleming Book Company are helping to bridge the magical dollar gap by giving a far better s t e r h g ratethanthat officially quoted. With the official.figure of 2.80 dollars tothe English pound and a lower rate in the open American markettheyare giving English readers a rate of 3.33. “
”
“
l
MAGIC’S GREATEST BOOK VALUE !
ROYAL ROAD TO CARD MAGIC ” By Jean Hugard & FrederickBraue
“THE
We honestly believe that nowhere will you find greater money’sworth per shilling of expense than in
HUGARD’S MAGIC MONTHLY BOOK EDITION No. 3 (Volumes V. and VI.)
:
Here is a book that EVERY magician should have. I t describes dozens and dozens of first-rate cardtricks a d gives explicit instructicns for every sleight needed to perform them. Chapters on, and tricks with, The Overhand Shuffle, The Riffle Shuffle, Flourishes, The Glide, The Glimpse: The Key Card, The Palm, The Backslip, False Shuffles and Cuts, The Double Lift and Turnover, The Pass, Miscellaneous Flourishes, Reverses, Hindu Shuffle, itlld other Controls, The Classic Force, Top and Bottom Changes, Stacked Packs, Complete Routines, Platform Tricks and a comprehensiveindex.
Here are 215 deights, tricks, and routines by such experts as Daley, Curry, ,A1 Baker, Kaplan, Meyer, and a host of others.Uniform with Book Editions Nos. 1 and 2, butlarger, 232 large(magazinesize)pages, 485 Rigney d1,awings superblyproduced. The price should be 3.516 (Americanprice, $5.00), butonour “ share the loss basis, we areasking only 30/-. On this same basis, our $7.50 Flemingpublications cost you 4 5 / - (not 53/6) ; our $5.000 publicationscost you 30/- (not 35/6) : our $2.00 publications are 121(not 1 4 / - ) . Oi course, we must charge for other American publishers’ books on the basis of one shilling equals 14 Jents. Please remit to Mr. Robertson Keene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight, for books wanted. Write us at address below for free copy of our 64-page book rAtalogue. ”
302 pages packed into a cloth bound book, with 121 :ilustrations bv Francis Rigney. Don’t delay, order &OW I !American price $4.00-28/6) Sent t o you carefully packed for 12/6 (Postage6d.) from
THE MAGIC WAND PUBLISHING COMPANY 11, Mo,nasteryGardens,Enfield,Middlesex
FLEMING BOOK COMPANY, 728 MADISON AVENUE, York, Pa., U.S.A.
I 1
“ROUGH AND SMOOTH POSSlBlLlTlES ” by Tun Hock Chum
A booklet dealing with the methods and application of the modern principle, by I one of the leading experts on the subject. It is recommended for advanced magicians. ~
Price 51-
Postage 3d.
ARCAS Publications SYDENHAM 404/408 Croydon
ROAD Surrey
PETER
’
TheMagic
WARLOCK’S
PENT A GRA is published on the 24th of eachmonthand can be obtaineddirectfromthepublishersfor 1 / 1 per single copy.AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscripts forpublicationandbooksfor review shouldbesenttothe: EDLTORI.4L ADDRESS:
Circle
Presidrnt : His G r w e rhe Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. KagicalTheatre
:
King George’s Hail, W.C. ParticularsfromHon.Secretary
:
Francis White, 39 Alverstonc Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
~~~
HENRl
DE’SEEVAH IQhlS., T13M.. SSMC. THE FRIENDLY MAGICIAN invites all bona-fide Magicians to sendforhis list of new and used apparatus and books, or call athi5 studio :1, CLARENCE ROAD Harborne, Birmingham 17 MM(’..
A NEW BOOKBINDING SERVICE. Your ‘‘ Pentagram efficiently and neatly quality linen fabric. Titled appropriately in gold.
”
Returned
to
you,
safely
bound in good
packed
for 5 / 6 per Volume.
CONJURING BOOKS FOR SALE
OTHER HINDTNG B Y ARRANGEMENT.
J . A.
E S L E R,
99, DEVON
CLOSE, GREENFORD, MIDDX.
*
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goodsare PublishedbytheproprietorsThe
“
STOOGING AROUND By Joe Stuthard
”
In this attractively prodrlccd booklet the authordescribes his complete music hallact that have ENTERand many more ideas is theact TAIUML‘NT asthekeynote.This that has kcpt music hall audiences laughing llr) and tlowa : hc country.It is unusual. I t is cczlain!!: ENTERTAINMENT. Is it ethical? To dt-cide that you must read it for yourself. Intllz words of Geoffrey Robinson y h o edited thc hook ar.d wrote the foreword, You will !earn lot a that is new. . . If you are a magiral student and what magician is not, this book should bein your hands-youwill add much to your store of knowledge.” Those who have seen the author perform his act will know thevalue of thematerial, no more thanthat. and we cansay
Price 5 / - (Postage 3d.) THE 11,
From the publishers
MAGIC
h1onas:ery
WAND PUBLISHING CO. Gardens, Enfield, Middlesex.
fully endorsed by this Bulletin
Magic WandPublishingCompany, 11, Monastery Gardens, Enfield,Middlesex, WalkerandSon(Printers) Ltd..Well Croft,Shipley,Yorkshire.
andprintedbyHerbert
*
17
PENTAGRAM An independent monthly bulletin for all who want good magic
Slate wdting‘ has always fascinated me, and to-day Istill consider that the finest methodfor. obtaining writing onanexamined (if necessarily bo*rrowed !) slate initialled 0.n both sides is that of Woodhouse Pitman’s (see “S,lates-A Learner’s Cours?,”Page 53, or The BestTricks with Sl,ates,” Page 5 1) . To those unfamiliarwith eitherbookthemethod, &ne that waspresented atthe Magic Circle GrandSeance in1921, consisted of apaper ,or light cardboardcut-out of th4e m.ssage beingpicked up on,m t o the slate by means of an adhesive.
I !‘eel sure ‘have been a fairly good seller. Again Abrxadalbra Jamboree,” I threw away at’the the main working principle of “ Gap in the Curkin,” and y e t agaiil nobodyssemed to worry to work it In anv way until I sold it as a routine. “
“
The presentmethod was ‘first used bythe writer at Garendon Hall in Leicestershire ,in 1944. It was not included in the lecture that I gave at Werd‘ord ,to the British Ring in 1946, as at that time I wantedtokeep it. tomyself.In’the issue of ‘‘ Abracadabra dated22ndFebruary, 1947, Jimmy Flowers, in describing an exoellenteffect, “ The Radar Card,” almost duplicated the. method, with the result that It w s demonstrated in my lecture Slates for Experts ” at the Magi6 Circle. in thespring of 1947 (see report Magic Circular,July,1947),and also at the AbracadabraJamboree in the autumn of the same My reasan for this preamble is that in year. describing the effect and method I feel certain that I may be givi:lg the method of a much-publicised effect that h,as hit theAmericanmagicalmarket In these last months, the ‘‘ Diabolo Slate,’’ and I da not wish anyone to think that the Garendon Slate was inspired by that descripti,on. ”
,
“
‘ I
”
There is ,o.neother pointfrom which one, I think, can draw moral. a This method was given away to possibly a.11 audience of at least two hundred and fifty conjurers. I haveneverheard of anyoneusingit.Had I m.arketedit,itwould
The Effect.--A slate is lexaminedand initialled on both sides. It is then either rested against some prominent object, hung fmm ribbons, or wrapped in a‘sheet of tissue paper.Ultimatelya message appears wittea across .either or both sid&’ of the slate. Description of Apparatus.-The- method is based on theWoodhouse Yitman method previously mentioned. Ail the present method achieves is to remove the messiness of the adhesive. Instead of a paper or light cardboard cutout, the name or words to appearontheslatearecut I used from verythin sheet iinplate(thecutout camefrom a wartime dried milk container ; this was veryeasy to cut indeed. If oneuses thicker metaf it is a .devil of .a .job to cut out the smaller pieces). The accompanying illustration shows what I mean.When thecutoutorcutoutsare .complete they are given a coat of dull black paint on each side, a.nd when dry, chalk is rubbed over one surface. Theslate consists of anormal date frame with two (piecesof blackened cardboard to formthe writhg surface. On the inner side of one of these pieces, two Eclipse magnets were fixed into position by means of adhesive tape. These magnets are not very thick aad only a very slight bulge resulted, giving a certain amount .of convexityto th.e surface.The illustration shows the position of the magnets. To-day one could obtain alnico magnets thinner than the “Eclipse,” with the result that by putting cardboard around the magnets, thus formingasandwich,the sides could be perfectly flat. “
”
18 In presentingthe effect thecutoutwould normally lie on the table, and, of course, the mere placing of the slate over it means that the cutout would cclme up against'the surface of-theslate and be retained therebythe magneticforce in that area.Thisunfortunately (un,less the performer likes to cover the noncbalkecl side of the cutout with felt or velvet) causesaslight " clang, " and I themefore used to have a sheet of tissue paper lying on the table one part of lit overlapping the cutout.The slate after examination was placed down on the tissue which was wrapped around it. Thecutoutcame up against theslate,but in b+ween it ana the surface was the tissue paper.
inthe following manner. On .the performer's table rests a sheet of newspaper, of sucha size that two siates could .be placed on it side by side. Equidistant from each are placed two cutouts, the unchalked surface being covered by newspaper so that it blends into thenewspaperbackground. After the slate is examined it is placed over one of the cutouts so that this comes up ,and adheres t.0 theunder surface of the slate. Thepart of the paper under the slate and the slate itself are now turned Over (thepaperbeing f,olded.in the process), the result beingthattheothercutout comes up to the/other surface. Slate with paper surrounding is now placed ,on ,top of, say, a tumbler while the spirits getto work, the paper is removed and thee messages sh,ownon both sides.
Flashback ! The -bundle w.as rested (cutout t.0 rear) against a table lamp. "hen the performer wished to show the message, the bundle was pick.ed up, and the tissue papergentlypulledaway, theslatethen being turned and the message displayed. This was made .possible (1) because of the softness of the paper which easily comes from un,der the cutout ; (2) the strength of the magnets, which easily kept the cutout in place.
C
stands for Cornus
I have mentioned the matter of two messages, one on each side of the slate. This is accomplished
From the
I. B.
Findlay Collection
EDITOR’SNOTE.Thelittlebooks’necessary joy this hffect are published by Messrs. Raphael Tuck P& Sons, Ltd.Generallytheycan be obtained in Woolworth’s Stores. T o save some readers the trouble, Mr. Douglas Francis made us a present of some fifty of the booklets. and these mill be available to the first fifty who send me a stamped and addressed envelope.
Effect.-The performer takes a pack of cards and a small book of Mother Goose Rhymes. Looking at a member of theaudience he hands him the booklet and takes from his pocket a pad and apencil. H e writessomething on thetop sheet of the pad, tears off the sheet, folds it, and hand it to the person holding the book. H e then approachesa member of the audienceandasks him to take a card, show it to the person with the book, and ask him to turn to the page represented by the number of pips (court cards counting as ten). Anothermember of theaudience is approached, and he is asked to take a card, show it to the person with ?he book,; this time he is to count to the word in the rhyme indicated by spots ‘on thecard.Whentheholder of the book indic a t s that he has found the word he is asked to handthepredictionslipstoanother member of the audiencc with the request that he unfolds, it. The holder of the book is now requested to name the word arrived a t by selection of the card. He does so. “ And now, sir, will youread aut the word I wrote on thepaper ? ” He does so, and of course theyagree The performer, if he sa wishes, is in a positiontorepeattheeffect, six more times ! Preparation.-This amounts toverylittle. the The littlebooklet is unnumbered, therefore
reader
will have to number eachpage, treating the This has the effect
.inside of the cover as Page 1.
of giving the reader ten pages that have rhymes and pictures on them. The pack of cards is then stacked so that the tens and court cards lie respectively a t the top and bottom, whilst. the twos, fours,sevens and nines are in thecentre.The pack can be casually fanned whilst like this. The key card, topcard should be a shortcard,or that will enable the performer to cutittothe t o p with the minimum.of effort. Supposing that the foursform the topmost part of themiddlestack, the uppermostfour should have a light pencil dot at each end on its when back so that bymeans of aquickglance, thecardsare fanned the performer knows the run of-the cards and where that run starts. With the pack t b s set, the performer is in a position to easily cause a spectator to take a ten spot (or itsequivalent), a two, afour,seven or nine ; because we think that a repetition of tens,being selected, looks rather bad we have. departed slightly from Mr. Francis’s original oral description. For thisending the performer will require another pack of cards which consists only of tens and court cards, a joker card being.placed on the face of thispack.Prior to. performancethis is placed in the performer’s )eft-&and jacket pocket. Presentation.-The performer takes the scratch padand writes on the topmost sheetthe word “ the ” ; this sheet is then tom off, folded, and handed .to spectator, who at the same time is given the book. The pack of cards is thencut, bringingthetens and court cards to thecentre, another spectator being approached with a request continued on page 23
20
Ea2 3 k l M 4 x ' a The methodsemployed to achieve the effect which follows are old and bold, but none the less effective. Thevariousangles of routineandpresentation have been taken care $of,and the result isaneat,straightforward platfmonn item, with maximum visibility. Twelve large cards and twelve large envelopes are h,anded into the audience. The ca,rds are either Jumbo playing cards, or design cards. Members of theaudienceareasked to seal the cards in thle envelopes, and to make sure that The the latter' b,ear no disttingu,ishing marks. enve1,opes are tlo be well mixed. One spectator next thinks of a number f'mm one to twelve, counts down to the envelopeat that number in the pile; and .places it on the top. The perfofmer takes the pile ,of envelopes back, but is carefulnot to disturb the order. At this stage he displays one. side of a slate, stating that h e has made a prediction ,on the other si,de. A spectator's initials are written, onthe blank side, and the same initials are written on the envelope, which is handed to a member of the audience, while t h e slate remains in full view. After a brief recapitulation, and checking of the initials, the envelope is opened, and' the card displayed. Whenthe slate is turned roun,d the prediction is found to becorrect. The explanation is as simple as the routine : The performer .has a duplicate of one of the cards akeady sealed in an envelope. Thisparticular design, orcardvalue, is entered on one side of the slate, and covered with the envelope, address side down. Now the whole set-up is reversed, and placed on a. table overa piece of chalk, which presses the envelope against the slate surface, and makesiteasyto pick up slate and envelope together.
After the cards have b e n mixed and sealed in the envelopes, the stack is taken back with the chosen one on top. One side of the shte is shown, and then the slate is laid on the stack of envelopes so that the righthandmay pick up the chalk and write the initials. The slate is immed,iately place,d aside, and t.he initials duplicated inpencil on the envelo,pe (i.e., the duplicate one which has beep left behind). All is 'now set for the finale. Shoulmd the envlelope be the wrong way up on the stack when this is 'handedback,it is a simple matter to show it and reverse it to match the 'one under the slate. Some performers may prefer to have the slate and enveltope projecting over the back of the table for easyhandling. A ,purist might object thatthe prediction is introduced rather late in the effect, but the patter for that, running somewh.at as angle allows follows :-" Had I t d d you, sir (to the chooser) prediction as, towhat aard that I hadmadea you would choose, youmighthavebeen influenced,subconsciouslyperhaps, in that choice ; I therefore, etc., etc." Such patter angles and their possibilities are of untoldvalue to the mentalist. There is, of course, n.0 limit to ,the number of cards used. Should the conjurer wish to use this item he couldhavea flap (]backed with an envelope) covering theduplicateenvelopeand prediction. He couldthenshowboth sides of the slate and causethemagicalappearance of the message, leavingtheflap and duplicate envelope on top of thestack.Theenvelopeglued to theback 0.f the flap would be perfectcover for its disposal. Ih this case a set of envelopes is made to match the size of the slate used.
T h e writer has always felt very strongly that mental effects should be accomplished without the aid of apparatus of any kind, and that theyshould be presented in a very direct and simple manner. n I other words, the performer should act in exactly the sameway as a genuinemind-reader wouid. The following effect, I believe, meets with these qualifications s o . far as ilt is humanly possible. Effect - Theperfonner explains that with demonstrations o f mind-reading, one of the greatest dificu ties is to eliminate the possibility of members of the audience being confederates, and
for this reason it is essential that everything should be left entirely to chance. He points out that the most obviousmethod toadopt in regardto a demonstration .of mind-readir,g, w,ould be to ask someone to think of aparticularthingandthen to divine what is in the person's mind. However, if this procedure were adopted the audience would quite justifiably believe that the whole thing .had been pre-arranged, and therefore this straightforward method cannot be adopted. The perf'o'rmer then borrows from the host or members of theaudience anydaily or evening
'
21 'newspapers, and wirh the owners' permisiion cuts from each newspaper the columns relative to advertisements. These columns are then further cut into individualads. so that .the performer is left with perhaps fifty or sixty different ads. relating to various things, such as articles f,or sale, cars, houses, births, deaths, etc. There is, of course, no limit to the nuriTber of ads. which may
P
A A C
D
........ .. .....
FLAP .BACK EDGE OF FLAP GLUED TO IKlm BOTTOM EDGE OF ENVELOFB . F R O N T TOP =E OF FLAP GLUED To TOP I=EDGE OF &CK OF ENVELOPE WHEN RE-ASSEMBGED
BowOM
be cut up, and theperformer, if preferred,may cut up several hundred beforehand which may be passed out f,or examination. T,o c,ontinue, the ads.areall well mixed upbymembers of the audience, and a volunteer is asked for, who is handed ten small envelopes, into each of which he is requested to place one advert. To eliminate the possibility ,of the volunteer being a confederate, he is either blindfolded while making his selections, oralladverts.areturned face down. This procedure makes it impossible for any specially marked or special ads. to be selected. The envelopes arethen sealed bythe volunteer an,d passed directly tothe audience for a thorough mlxing up. The perf,ormer is nowhere near the volunteer when the ads. are selected and sealed, and, in fact, does not know the subject matter of any one of them.. After mixing, the audience retains one envelope and the remainder are cut open and the ads. distri:buted amongst the 'audience, andare f,ound to beail different. The*e!ected envelope isnow opened by a spectator, who removes the enclosed advert.and who concentrates on the subject matter.The performer, wh,o meanwhile has ;be!en at the ,opposite side ,of the room, immediately divines what is dn theadvert. word by wrd----or just the general context.. This is left to the individual performer. Method.-Theeffectis accomplished without any sleight 'of hand, switching, palming, adding or subtracting,andthe. method is extremely simple
and cleari cut.It is produced by'means of a special fake envelope, which can behanded out for audience examination if considerednecessary. The envelopes, as will be seen from th,e dlustrati,on, have a secret compartment into which is inserted, prior ir, the performance duplicate. adverts, cut from ten issues of the same edition of any newspaper. To prepare thte envelopes obtain ten small wage packet type enve!o,pes and steam open all sections where gummed. Ten envelopes of a similar type are n,ow required from which flaps should be cut asper illustration. The flaps should nowbe glued to thebottom of the steamed-open envelopes, and the envelopes restored to their original condition by. re-glueing the seams. A duplicate advert. should nowbe inserted intothefrontcompartment of each envclope and the top f'ront edge of the flap should nowbe glued t,o itsmateon the envelope. These directions will bequite clear on referring to illustrations. The .normal way to insert anything into these envelopes is. to h,old the envelope with the addressside towards the floor, or possibly inclined upwards a little, and it impossible is for anyone ts see suspect the existence of the secret: flap. Theextra thickness also cannot be felt if th,e thin type envelopes ape used. The routine is exactly as stateduptothe point where the nine envelopes are opened, and at this stage the performr, always ready to save the audience any trouble, takes each envelope and with a pair of scissors cuts off the t o p edge. This procedure will allow the Adverts. placed inside by the volunteer to be removed or shaken ,out. The duplicate adverts. will remain sealed in their secret compartments. Next, taking the one particular envelope which has been selected, the performercuts off the bottom e d g e , and hands the envelope to a member of the audience,. The performer then retires to the other side of the room and the spectat,or is requested to nemove theadvert. from the envelope and concentrateupon its contents. Needlessto say,the perf!ormer should unobtrusively obtain this envelope at the earliest possible opportunity. Opcn~ngthle envelopes at the. bottom edgeswill only open the,secret compartments, and thus the spectator cam only remove one 'of theduplicate adverts. I do urge you tomake upan envelope as described, and you will be extremely surprised how difficult it is- to detect the secnet compartment. The beauty of the effectis, of course, that it is completely self-working. Note.--I have entitled tbe effect " Death from a Newspaper " because I havefound it to be very effective if the ten duplicate notices refer to death. ' T h e Daily Telegraph" andother newspapers carry notices .of this type.
22
" STOOGING AROUND " byJoeStuthard,(publishedby the Magic WandPress, price 5 / - ) .
In this booklet'' of nearly forty pages, our Canadianfriend,JoeStuthard, covers thematter of dealing with stooges. There is a n introduction by : " Forthe magician Geoffrey Robinson;hewrites who places 'entertainment'firstand keeps an eye on the box office, there is no doubtthat stoogescan be of the greatestassistance. " Thisviewpoint is posed to those who consider (as Mr. Robinson himself does) thatthe use of stooges bya magician is tantamount to cheating. His statement is truethat Box Office takeslittlenotice of ethicalbehaviour,for the eating of thispuddingaffords a proof.Wehaveseen Joe worknearlyallthematerialinthis book duringthe years that hehasbeenhere, and during that time he hasworkedsolidly.A thingthat can be said for few of his contemporaries. In reviewing this book, as we too do not like stooges, we prefer that the contents should beranked asentertainmentand divorcedfrom normal magical procedure.Therefore t o those who wish and havethe natural ability to present a comedy act making use of stooges, we wouldrecommend the purchase of this slimvolume, forinits pages thereis,in condensed form,awealth of experience,suchexperiencecoming from one who apart from putting over this type of act, is a first rate conjurer. '
Joe in the first chapters covers the matter of gettingandhandling stooges. Fromthere hetouches upon some eight routines, all of which play for laughs and at the same time give the audiencesomething t o look at. Finallyintheultimatechapter he details some five effectspossiblewithpre-arrangedorgently intimidatedstooges. " THOSE ENTERTAINING YEARS " by H. C. Mole (publishedbytheauthor a t 2/6. All proceeds from the sale of this book go t o the BritishRing Benevolent Fund or the Magic Circle Benevolent Fund).
Thefirstchapter of the booktakesus tothe North of Englandand we arebrought backmemories of the Argyle Theatre at Birkenhead.Later we have anecdotesregarding thegreats of thosedays,Devant De Bier, of Carlton, the " Human Hairpin," Van Hoven,andmany more* We read of Medrinton and Hammond, both of whom, with the writer, were responsibleforone of the bestbooks on conjuring, " The Magic of Tomorrow " (publishedin 1919, there are many items in this book that could well be revived). We read of showsgivenduring theFirst World War, in hospitals,inships.The authorthen switches back to the nineties and there is more reminiscence. Particularly interesting did we find thewriter's references to the time when as a Bank Manager he was quartered Hinckley, in. Leicestershire. Barwell, Burbage, and Earl Shelton were familiarnamesfor we spenttheearlypart of ourArmytraininginthese places. (We feel thatBankMpagers in thispart of Englandmusthave a special talentforentertaining, as we know of another a t Nuneaton,somefour miles away whowas the organiser of a well-known Midlands concert party). Twosets of verses conclude this most interestinglittlebook. " TWENTY TRICKS IN A MATCHBOX " by EdwardVictor, price 10/-. little A booklet with all the items required suppliedinamatchbox will give. the buyer a number of improm-ptu items of merit for close up performance. Mr. Victordoes not claimoriginalityforthe effects, but deserves greatcreditforhisingenuityinputting them before magicians in this manner. Every item is thoroughly practical and in company with Sid EmonsandMacWilson, I had the pleasure of seeing Teddyrunthroughthe whole twenty effects. It is a n excellentbuy and can be obtainedfromyourusual dealer or fromEdwardVictordirect a t 129, Clapham, Road,S.W. 9.
"
Mr. Mole is a veteran of magic, and when a veteran starts to write of .his experiences over a period of some seventyyears,theyoung magicianshouldbeprepared to sit back and listenforhe will hearaman talking wholivedin the goldenage of magic.
MAGIC
WITH
DICE
''
byEdward
Victor, price
5/-.
Mr. Mole is amodest man, and hiswriting Qhows that he is sincere.One feels that hereisaman not onlygrateful that magic can givehimpleasure, but also that in! his hands that pleasure can be conveyed t o others.
Hereagain Mr. Victorhasproducedaseries of some eight effects which can be accomplished with dice. Besides the routines, which quite frankly we feel might havebeenprintedinlarger type (we appreciate the author's desire for novelty), three dice are supplied. Againeverything is thoroughlypracticalandfuthermore little skill is required'inthe accomplishment of the effects. Thistoocanbeobtainedfrom a reliable dealer or from Mr. Victor direct.
The most interesting magical event in December will undoubtedlybethe televising of the Magic. Circle clubroom with ten performers going through their pet effects. This is a unique honour for .the Society. and one hopes that it will help in puttingmagic on the television map. With the opening of theSutton C,oldfield,stationonthe -17th December the field for visual entertainment is very much enlarged.
Phoenixnumber 191 carries avery clever subterfuge (the joint product of Paul Curry and Bill Woodfield) for obtaining possession of a mentally chosen card. Reading so much in certain conjuring magazines regarding the piugging 'of comedy in presenting magical effects to such an extent that serious presentationshouldbeavoided,reminds us of th,ose who are so insistent that the B.B.C.
'
23 ThirdProgrammeis ,of little use. The following words of Compton Mackenzie answering the latter group form a good reply to thosein the former .FOW
:-
have by initiatiye andhard work ? The same op:prtunities were there for all the other doubble acts of a mentalistic nature. 1.n any case,we believe thatthe Piddingtonshave increased the desire for thepublic to seementalists, and that many are getting work that they otherwise would not have had.
“We recognise that, thepeople must have their eomic pap, and no intelligent man or woman wants to deprive them of it, but when unscrupulops hacks of the popular press encourage the peofle ,to suppose that they are being injured by the existence of a programme designed for intelligent listeners these agents provoctrteurs of the Philistines shpuld be gagged, the ,editors who engage thesri muzzled, andthe newspaper proprietors who pay them branked. ’’
Wilfrid Johnsonhas a new booklet duefor publication. In fact, /we had hoped tohave a copy for review by the time these sheets went off to Press.
We still hear moans about the success oi the Piddingtons, abouttheir technique, and so on. Why don’t these people who dothe moaning realise that the Piddingtons have got where they
We will close by wishing our readers the very best of wishes for a peaceful and prosperous New Year :
Next mont-h we have a very nicechi,ldren’s routine ,by Jules Giraud, as well as a nice little item by our Singapore friend, Tan H.ock Chuan.
MOTHER GOOSE PREDICT10 N-continued from page 19
that he selects a card. With that great bunch of ten and court cards he cannot select anyother than one indicating a ten. This isshown t.0 the book-holder, who turns to that page. The pack is then cut again and fanned. This time a two, four, seven or nine spot hasto be taken. This, too, is shown tothe book-holder, who finds the word atthatnumber.The prediction isthen opened, the word in the book t,old to the audience, and of course the prediction checks. The two cards used inthe first place are not replaced in the pack, but if, in the case the number chosen of the first prediction., was (say) two, the performer decides that with the second prediction he will force the number four. Now the tenth word on Page 4 is Dellh” so this is written on another piece of paper, and again placed in safe keeping. As the performerapproaches the spectator for a @election of a card, he noticed the penci.1 mark on the topmost four, and makes sure than !one of the four groups is selected (if the reader has any qualms about his ability to have one of the four cards selected,. he can, of COL&%, use as an alternative a safer force, such as ’ an under-thehandkerchief force).This card is shown tothe ‘ l
book-holder, the pack cut,and one ofthetens or courtcards fokced: This willgive the desired word. At this stage theperformer says he will essay the effectonce mcre.Heturnsto another spectator,hands him the book and shows him Just place the what he requires tobe done. pack of cards in your pocket like this ”-the performer (with thanks td A1 Baker)suitsthe action to the words and ,places the pack in his lefthand pocket-“ and take any card you like from thepack.Don’t let anyone elsesee it,but 1,ook at it yourself, turn to the page represented by its number of spots in the book, and then count to the word represented by that number of spot-uite clear ? ’’ The performer now removes the other pack from his pocket and gives it to thespectator, who is directed to one corner of the room. The performer now writes on the scratch pad the word Cheese,” which is the tenth wmd ,on the tenth page. The spectator does as he is told and announces the word ; the prediction isunfolded, and for the third time the performer is right, “
“
The reproduction of the book cover of Mother Goose Nursery Rhymes ” is reproduced by kind perm‘ssi,on of Messrs. Raphael Tuck and Sons, Ltd. “
Can you tell fortunes? By VICTOR
FARELLI
Haveyouever been askedthe abo1.e question ? If you have,thisentertainingandconvinci,ng &rdtrick will provideyouwith the perfectanswer. The routin’eisdescribed complete with suggested patterand is embellishedIvith hints on Fortune Telling. Neatlyprinted in aneight pagebooklet,and a t a price that no-one can afford t o miss.
Per copy 216 ; postage 2d.; ,from
THE MAGIC WAND PUBLISHING 11, Monastery Gardens
....
COMPANY
Enfield, Middlesex
A
HOW TO STRETCH.YOUR
“THE ROYAL ROAD TO CARD
SHILLINGS !
MAGIC ” By Jean Hugard & Frederick Braue
“Youcan make a 14-cent shilling do l7 cents’ worth of servicebyinvestingin any orall of the tenfine magic books published by theFlemingBook-Company. Our “ .share the loss ” policy brings you our $7.50 boi>ks, (Magicwithout.Apparatus, and’TheFine A r t of Magic) a t 45s. (not 53/6) each ; our $5.00. books (Sleight-of-Hand,Our Magic,Magic withSmall Apparatus, and the Hugard Book Editions Nos. 1, 2, and 3)
Here is a book that EVERY magician should have. It describes dozensand dozens of first-ratecardtricks pad gives explicitinstructicnsforeverysleight needed toperformthem.
a t 30s. (not 35/6) each ; and our $2,00 books(The Expert at the CardTable,and A ConjuringMelange) For the books of other a t 12s. (not 14s.) each. Americanpublishers, we mustchargeyouon the basis of oneshillingequals 14 cents. The very latest Atnerican books are : Hugard’s 232 Book Edition No. 3 (Volumes V. and VI.), cloth, pages (84 by 11 inches), 485 illus., ($5.00),30/- ; The Card Magic of Le Paul, clgth, 220 pages, 313 illus.., ($8.50),S O / - ; Steele’s 50 Amazing Card Tricks, b d r d s , 64 pages, ($ZOO), 14/-. (The famousPAULFLEMING BOOK REVIEWSarefree t o ourcustomers. How toget these finely printedbooks. is explainedin our catalogue (pp. 54, 55) which will be sent free upon postal.request to our U.S.A. address). Pleaseremit to Mr. RobertsonKeene, c / o -Riverside,,VictoriaRoad,Yarmouth, Isle of Iwjght, . and books will beshippedpromptly from thisaddress : ’
’
FLEMING BOOK COMPANY+ 728 MADISON AVENUE, York,
“ ~
1
1
ROUGH AND SMOOTH POSSIBILITIES ” By Tan Hock Chuan
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on .the subject. It i s recommended for advanced magicians.
l
Price S/- Postage 3d.
ARCAS Publications SYDENHAM
404/408
Surrey
1
ROAD
Chapters on, and tricks with, The Overhand Shpffle, The Riffle Shuffle, Flourjshes,TheGlide,The Glimpse: The Key Card, The Palm; The Backslip, False Shuffles and Cuts, The Double Lift and Turnover, The Pass, Miscellaneous Flourishes, Hcverses, Hindu Shuffle, and other Controls, The Classic Force, Top and Bottom Changes, StackedPacks,CompleteRoutines,Platform Tricks and a comprehensive index.
302 pages packed into a cloth bound book, with 121 :.jlustrations by Francis Rigney. Don’t delay, order NOW ! (American’ price $4.00-28 / 6 ) Sent to you carefully packedfor 12/6(Postage 6d.)
from
THE MAGIC W A N D PUBLISHING COMPANY 11, Monastery Gardens, Enfield, Middlesex
Pa., U.S.A. PbTER
The Magic Circle
WARLOCK’S
PENTAGRAM ispublishedonthe24th of eachmonthand can be obtained Cect fromthepublishers for 1/1 per Lingle copy. Annual Subscription 121post free. PUBLBHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscriptsforpublicationandbooksfor to the: reviewshouldbesent EDITORIAL ADDRESS: .
President : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Dough8 Craggat h q . , M.I.M.C. Clubroom and Library and Museum.:
St. Ermin’sHotel, CaxtonStreet,S.W.1. MagicalTheatre
Particulars from’Hon.
W.C.
Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park,S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington,
surrey.
Croydon
:
King George’s Hall,
~~
A NEW BOOKBINDING
SERVICE. Your “ Pentagram efficimtly and neatly in quality linen fabric. Titled appropriatelyingold.
”
bound good
Returned to you, safely packed for 5/6 per Volume.
OTHER BINDII~G BY ARRANGEMENT.
J. A. E S L ER, 99, DEVON
CLOSE, GREWFORD, MIDDX.
*
--
HENR1 DE’SEEVAH “C.. BMS., IBM., SSMC. THE FRFNDLY MAGICIAN invites all bonadde Magicians to send for his list of new and used apparatue and books, or call at his studio :l, CLARENCE ROAD Huborne, Birmingham 17
CONJURING BOOKS FOR SALE OLD AND NEW. Ltt me know your wants LIST FREE FOR STAMPED ENVELOPE No C.Ilen
GEORGE
“
ENFIELD,MIDDLESEX
”
In this attractively produced booklet the authordescribes hiscompletemusichallact more ideas that have ENTERand many TAINMENTasthekey-note.Thisistheact thathaskeptmusichallaudienceslaughing upanddownthecountry.It isunusual. It is ce:tainly EKTERTAINMENT.Isitethical? To decidethatyou must readitfor yourself. Inthewords of GeoffreyRobinsonwhoedited thebookandwrotetheforeword,You will learn alotthatisnew. . . . If youare a magical student. and what magician is not, thisbookshouldbeinyour hands-yqy will addmuchtoyour store of knowledge. Those who have seen the author perform his act will knbwthevalue of the material, and. we cansaynomorethanthat.
Price 5 / - (Postage 3d.I
JENNESS
47 INVERNESS AVENUE,
STOOGING AROUND By Jok Stuthard
THE
From the publishem MAGIC WAND PUBLISHING
Every Ad-vertiser’s goods are fully endorsed by this Bulletin Publishedbythe
CO.
11, Monastery Gatdcns,~ Enfield, Middlqex.
proprietm The Magic Wand Publishing Company, 11, MonasteryGardens,Enfield,Middlesex,,andprinted Son (Printern) Ltd.,WellCroft. Shipby, Yorkshire. Walkerand
by Herbert
*
25
PENTAGRAM An independent monthly bulletin for all who want good magic
V&. 4
JVk.4
1950
Tucked awa.y in the MoneyMentalism ” section of Annemann’s “Practical Mental Effects” is JackVosburgh’s Pay Day.” Like many of the items in this section,it is quite impossible to perform in terms of English money, as it stands at present. As deals it in decimal coinagedollarsand cents-it looks as though it couldn’t be made toworkwithshillings and pence, and that’s probably the reason his sparklin,g effect 1s so neglected in England.Butafter a little .calculation I found that it c a n be translated into terms of our coinage, and after trying it out a few times I find it to be one of the few mental effects that lend themselves tz~humorous treatment. The description of the effect,whichf,ollows, is from Vosburgh’s text. This is a mental coineffect based on a mathematical system. On the t,able are three small coin envelopes, labelled respectively : Office Boy, Janitor, President. Also there are five differentcoins : A penny(Cent), nickel, dime, quarter, and half dollar. Three spectators are asked t,o participate, and each isgiven a small typewritten sheet or Card called a Salary Schedule.” While the performer’s back is turned, one of the three men picks up the three employee envelopes, mixes them well,selects aRy one for himself, and passes the c,ther two on to a second man. This person mixes the tu7.o remaining envelopes, selects either one, and hands the third envelope to the third spectator. “ Each man reads the 1,abel on his envelope and sees what employee he is tobe.Then he reads his salary schedule and sees which coin that employee is :G receive. Each of the three -men put,s into his envelope the coin designated in the schedule. The envelopes are pocketed orheld out of sight, and the performer turns around and faces thespectators. “
“
“
“
“
He takes from his pocket a fourth envelope labelled Income Tax, and into it he puts the two remaining coins. Pocketing this envelope, he looks at each of the three men and tells what job each holds and how much money is in his pay envelope. ’ ’ From here, let us discuss the effect as it would be presented with English money. First of all, the coins themselves. Theseshould b,e a penny, threepenny piece, sixpenny piece, shilling, and florin. Don’tmake the mistake of using a halfcrown if no florin is forthcoming, .or a h.alfpenny in place of a penny. On my set-up, only the coins I have named will work. Now the three W a r y Schedules.” They are all different, and are as follows :No. 2. No. 1. No. 3. President .. 6d. President . Is. President .. 2s. Office Boy6d. Office Boy 3d. Office Boy 3d. Janitor ..... Id. Janitor .... Id. Janitor ...... 2s. These are passed out, writing d e s down, so that no man knows what the cards of his neighbours say. The performer must remernber to which man each of the three schedules goes. Because of themathematical system involved, the twocoins left on :he table, after the other three coins have been put into the envelopes, tell the story. And therest of the trick is a table written upon the back of the ‘‘ Income Tax ” envelope held by the performer. Thistable is secretly referred to while placing the two remaining coins into the Tax ” envelope. Here is the table :NO. I . NO. 2. N.o. 3. 4d. .................... Boy . 6d.Pres. 1s. Jan. . 2s. 1s. Id. .............. Pres..6d. Boy. 3d.Jan. . 2s. Is, 3d. ............. Boy . 6d.Jan.Id.Pres. . 2s. Is. 6d. ............. Jan. . l d . Boy. 3d. Pres. . 2s. 2s. 6d. ............. J.an. . 1d. Pres. 1s. Boy . 3d. 3s. ............. :....... Pres.. 6d. Jan.Id. Boy . 3d. To read the table, add the value of the two “
“
”
“
“
26
Being one of those lazy people just about able todo a two-handed pass if accompanied by a widesweep of the arms (a.nd shouts of “ Fire from a Stooge in the audience, to act as misdirection) you maytake my word foritthatthis is no more and no less than the easiest card trick inthe worid. Butit’s not bad,for all that. Its beauty liesin the fact that the spectator does it all,andthe climax comeswhile he stillholds the pack. It differs fromthe Take-a-card ” type of effect in that you invite your victim to think of a card-novel, isn’t it ? Let’s get on.Haveyour spectator shufflehisown pack until he’s satisfied thatit’s mixed up.Then explain thathe is to deal the cards face up, holding the pack face up, until h.e comes to his card, which heis to gaze at whilehe ceunts five, then drop the rest of the pack on top.Then he is tocut the pack: To get these instructions clear in his mind,he runs through them while you direct him in a trial run. After he hasdealt a few cards youmight care to say : ‘‘ Imagine that the next card is the one you are thinking of. . . . You must look .at it, count five yourself, anddropthe pack on top. Now cut the pack so that your card is lost.” Twice, I’ve had the reply : “ But that W U S the card I’ve thought of ! so you see it’s worth while putting that bit in. Having made everything ciear, you now turn your back while the spectator goes through this routine.. If you think it’s rude to turn your back y0.u can go into another room, or have them cover you with the carpet-anything so long asit is obvimous that you can’t see the card theman gazes at. ”
“
”
JACK VOSBURGH’S
- WILL DEXTER’S PAY DAY-
coins left and readfromthistotal in the first column.Reading across fromthistotal you find the offices and the salaries held by the holders of schedules 1, 2, and 3. To Anglicise the effect further, I think a necessary step is to substitute ,other jobs for those of President and Janitor.” I n my own case, I make the three jobs fit the audience I am playing to. When performing to, say, news papermen, 1 would make president, office boy, and janitor,inthatorder,read edit,or-in-chief, copyboy, sweeper-up. Or at a British Legion show they could be translated into Service equivalentssay, Field Marshal, Sergeant Major, .and sanitary wallah. There is nolimit tothe changes you couldring on the three titles, so long asyou “
”
“
Whenall is done, turnround, invite the spectator to pick up the pack, hold it face up, and deal thecards slowly,face up, on toyour hand orthetable. As each card is dealt, you look at it, then look into hiseyes andshake your head, until at last you look at hiseyes and stop him. ‘‘ That is the card you have been thinking of ! ” you may safely tell him, and it will be. the card that follows Why ? Because its your locator. And what is your locator ? The card that was on the bottom of the pack when he finished his shuffling before the trick started. In other words, when he’s shuffled the cards, as the books say, to his satisfaction,” you must glimpse the bottom card, which isn’t too difficult, even for me, as the man is holding the pack, face.up, and you are looking at the bott,om card. “
The spectator goes Now what happens ? through a trial run, deals bottom cardtotable, others ,011 top of it, thus bringing your locator to top of the pack when he picks them up at the end of the trial run.Trialrunended, locator is stilI on top. YOU turn your back, spectator deals from face of pack until he seeshis thought-card, looks at it, drops balance of pack on it, THUS BRINGING YOUR LOCATOR IMMEDIATELY IN FRONT OF IT. And the eye-gazing routine ? That, of course, is because everything we look at leaves a briefimpression on the retina of the eye, and the card your spectator gazed at for five seconds has, of course, left a more visible imagine on his retina than those he gazed at merely in passing. Mind you,it’s a good jcb you have a locator card as well, because that makes it much easier.
-continuedfrom preeous page
remember tnem as No. 1, No. 2, and No. 3. My copy’ of Practical Mental Effects ” has copious marginal notes therein, and the one ,opposite to ‘‘ PayDay reads : “ Could do with If yours is similarly .marked, Eng . m m . ? ? you can cross outthe marginal query now and go ahead and do it. T.he novel thing about Pay Day” is that the applause isn’t overwhelming, but when the effect has sunk in, and the audience realise that you couldn’t possi’bly know which envelope, or wh.at sum of money, went to each man, yo~l’ll find that they’ll talkaboutitand trytodo it themselves. And if you’ve been casua’l about the c,oins, without stressing the value of each, they’ll have a real puzzler on their hands. ‘ I
”
”
“
EDI'I'OR'S N O T E . T h i s effect of iL1. Giraud's ' Z P I ~ L S desiglled f o r children's shows. Itgives scope f o r excellentcomedywithol{t arzy detratioll fro111 the magictll elenzellt.Properlypresellted tlzc col+rer 7 z a s L L I ~ item tlrttt willplay [or tenmilltltes, ntrtkinguse 01 articlesthat t u k r 11p ( I milzimunt of packing space.
Effect. The conjulrer remarks that he wishes totry a most difficult magical experiment ; for this he 11ii1 rcquire the services of four children and the loan of a lady's ring. All these being f,orthcoming, the ring' is placed for safekeeping in the folds of a handkerchief, whichis then handed to one of the temporary assistants whom we shall designate A . To ,the second assistant, B, an emptymatchbox is given, with therequest that they see that it is no more thanthe conjurer claims it to be. For the third assistant, C, a piece of paper is rolled into a cone and into this is dropped a shcrt length of coloured silkribb,on ; the top of the cone is folded over b.efore it is placedin the assistant's hands. The fourth child, D, is handed ;L toy pistol and placed on the right (performer's) near the edge of the platform. The remaining- children are then lined up so that they stretch across the platform thus :D (with pistol), C (with cone), B (withmatchbox), A (with handkerchief containing ring). The conjurer now takes a tumbler and covers itwith a handkerchicf, and positionshimselfon the left of the child holding thering. He then tellshis audience what hewill trytodo, which is this : D, on command, will press the trigger of the pistol, the resultant shot causing the piece of silk to fly into the empty matchbox and the ring to fly into the glass under the handkerchief. The child holding 'the handkerchief co,ntaining the ring is asked to hold one- corner with her free hand, and when she hears the shot to let go of that part containing thering. All being understood, the conjurer gets ail theparticipants, including himself, into linewith (the holder of .the pistol. On word of commandthe pistol is fired, the result being a mild explosion (it is a toy pistal of the cap variety), the ring vanishes, the glass vanishes, and whenthe cone is opened it isseen that the ribbonhasvanished. The opening the matchbox shows that no sirgle article has found its way inside. All the participants take part in a fruitless search forthering. Thenthe conjurerhas an inspiration ; he will make use of his emergency ring finder. Thus saying, he dismisses allthe children with the exception of the one who held (or, as the performer putsit, the one wh.0 lost) the ring. A parcel is removed from the table. Near the topit istiedwith ribbon or tape,and the child
is asked to undo this. This being done, the doth covering the parcel falis down, to reveal another similar parcel tied with another ribbon.This, too, is undone, and the procedure continues ad lib. or ad nauseum. Finally, the contents of the several nested parcels are revealed ; they are a glass (the missing one) and containing a small sprig of flowers. The child is asked to remove the latter, whenthg audience see that tied round the flowers is the missing ribbon, whilst tied on to this isthe missing ring.The assistant is asked to present the flowers, ribbon and ring to the lender. The Requirements. Two pieces of coloured silk ribbon twelve inches in length. One bottomless tumbler. Oneunfakedtumbler to match. Onedouble sheet of paper to make up the cone. One emptymatchbox. One cambric handkerchief with a ring sewn into one corner. One toy pistolwithnecessary caps. One handkerchief with a shape sewn into the centreto simulate the presence of the tumbler. A small bunch of violets. Several pieces of coloured h e n each measuring about eighteen inches square. Several lengths of tapeor ribbon. Preparation. First of all, the pieces of linen are taken and stacked into a pile. In the centre of the top piece a circle equal in size to the base of the bottot1lZe.s.~tumbler is marked with chalk and the pi,eces of linen are stitched together (see illustration 1 ) . In the centre of the circle a slit measuring
I)f
twoinchesin length is made in all the pieces of linen. Next, one length of ribbon is tied around the stalks ,of the flowers so that a loop is left that will hang down some two and a half inches belclw the lowermost parts of the stalks. The bottomless tumbler is now stood on the centre of the pieces of linen so that the slimt comes immediately beneath it ; the flowers are nowplacedinside the tumbler a!Id the l m p of r i b h g ?~lsl!r.dthr2ugh tht. slits SQ
28 thatitprotrudes the full distance allowed (see illustration 2 ) . The edges of the topmost piece of the linen are now brought up and around the tumbler and tied by means of one of the pieces of tape. All the other pieces of linen are similarly
placed around the glass (see illustration 3 ) . When complete, the wholeaffair canbe stmd upon a table ; the fact thatthere is a slight resilience where the tumbler is bottomless allows for complete masking of ribbon without any kind of wobble. The remainder of the preparation simply co,nsists in the laying out of the articles that are required on the table.
Presentation.
The children are first enveigled on tothe platform and the ring borrowed an,d taken with the right hand; this is placed under the handkerchief, at the same time the corner containing the dummy ring being carried to the centre, where it is retained and gripped between the folds by the free left hanmd, and then handed to one of the assistants ; the hand containing the ring is meanwhile withdrawn with the borrowed ring finger-palmed. " The next thing we require is a matchbox," says the perfor-
rncl-. Hisleft hand goes to his pocket f,or this i~ithoutresult, and so the right hand goes -to the pocket, leaves theringthere, and brings ,out the emptymatchbox.This is handedtotheboy for inspection. The piece of double paper is made into a cone, the ribbon dropped inside, the top folded over and handed to C (alternativelythe perforrner could use the method of envanishment described by Mr. Noakes in " Magical Originalities ' ' andHugard's Magic Monthly, NO. V., 1945). The glass is now covered with the handkerchief containing the fake, and here for the envanishment of the glass the performer has at leasttwo alternatives. M. Giraud uses a black art well for getting rid of the glass, but I feel certain that many perFornlers would prefer a direct steal from the shape into a pocket. +
The conjurer now standsin linewith the others, and gives the assistant with the pist'ol the orderto fire. The result is known, theconjurer, should heuse the double sheet of paper for the cone, having, of course, to takethis from the assistant and open itout.The situation of the lost ring is played out b.y the performer, and when he apparently remembers his emergency ring finder, he dismisses allbutthe one child. Whilst he is doing this his right hand goes to the pocket in which the borrowed ring was dropped, and it is held in a finger-palm position, the hand at the most convenient moment being withdrawn. He turns to the table, and with the left hand h,olding the top of the bandle, the right goes underneath andit is lifted. This hasthe effect ,of not only hiding the hanging piece of silk, but also of bringing the ring against it. The left hand releases its hold on the t,op of the parcel, the assistant being asked to und'o the ribbon which keeps the ends in place.Thisbeingdone,the ,outermost piece of linen falls down and around the performer's right hand, which it should be remembered is still underneath the bundle. The importance of sewing the pieces together ?illnow be apparent, for instea.d of what was the outermost piece of linen draping aroundthe performer'shand, andthus impeding- or showing anymovement he might make with thathand, he now has a solid (,or almost solid) surface the sarne size as the base of the tumbler apparently over his right hand. The left hand now steadies the parcel, as the assistant is requested toundothe second tape. Actually the parcel is tightly gripped,for at this moment the vital piece of work is done under cover of the draped cloth, the right hand pushing (the silk lo80p throughthe ring and thence engages the Former around th'e latter, giving the semblance of the ring being tied on silk ribbon (see illustration 4). The assistant goes on untying the tapes until he reaches the penultimate piece, andat this stage,under cover of the draped cloths, the performer pushes the ring and ribbon through the slit and thus into the glass. The und,oing o f the last piece of ribbon leaves the effect finished.
29
auwtic My reading has been very scrappy for years past, .and my memory is not so good now. I am NOT a performer for the past 20 years. H,owever, at odd times I d.0 mess around with odd items f,or my own amusement. Recently I was trying out a Triple Prediction-an ‘ ‘ oldie ”--and after a little thought the following seems to me to be not so bad.” There is a very weak point, in that repetition would have to be verycarefully chosen. The performer offers a choice of four or more NEW PACKS O F CARDS with seals unbrokenNO FORCE.Heurites a prediction on a small piece ,of paper and folds same-asks volunteer to call out a number between TEN and TWENTY. This number is written on the prediction ” and same immediately handed to thevolunteer with a request to retain but not open until instructed. Same procedure followed with tw,o further volunteers-these volunteers, IF THOUGHT NECESSARY, couid be chosen by audience. NOW7the chosen pack 1s removed from case BY ‘VOUNTEEKNo. 1. He is asked (to statehis chosen number-say, 15. Now count off, face down, fromthetop ,of the pack 15 cards (on to table), and place remainder aside-performer remarks To make things a little more difficuh (or any remark to account for the action). Instead ,of using 15 we will add together the digits 1 and 5, which makes 6. The volunteer is now asked t,o deal off fromthetop of the 15 cards, l , 2, 3, 4, 5 , and place the6th card aside. And now open the prediction,” whichwill state,
Yourcard will bethe King of Hearts.’’ The cards remaining in hand from the dealing should be placed ON TOP of the 5 d-ealt on to table, and all placed on top of the remainder of pack. The same procedure repeated with No. 2 Volunteer, whose prediction rea&, “ Ten of Hearts, and No. 3 reads Ten of Clubs. ” Procedure can, ‘of course, be varied to suit individual performer, but in this “ build up the emphasis is on NEW UNOPENED PACK, and AT NO TIME NEED THE PERFORMER TOUCH T H E PACK. All he need do is write the predictions, and DlRECT the VOLUNTEERS to dotherest. Remembering totakethevolunteers’ revelations in the same order they are given out. Weli, that’s the effect-the weak part is, of course, that it cannot (safely) be repeated to the same audience. but it iswell worth a trialas a publicilty stunt, etc. Thereis DEFINITELY NO CLAIM FORORIGINALITY. It is, of course, SELF WORKING,asall English packs are, I think (with the possible exception of those advertising proprietory goo,ds), originally stacked in .the same rotation, and from :he topthe 10th is King of Hearts, 1 lth 10 of Hearts, and 12th 10 of Clubs. You -will, of course, be conversant with the fact, also the “ ,oldie,” where the “ PREDICTIONIST (Shades of Wi1fri.d Johnson) has previous knowledge of the loth, 1Ith,and 12th cards from top.
EDIT‘OR’S hiOl’E. The followir1g verse, reproduced b y permissiotl of its Editor, appeared it1 the C‘hristmtrs Ilzlmbev of Ulster Magic ( f h e oficinl jot1rlull of t?Le [TlsterSocietlr of Magicions). It struck 11s immediatelyasthe best preselttntioll of the IZohhers l ~ j z d Sheep ” that w e had erzcowltered. T o those readers itlterested ill methodsother thutz theonedescribed, we would conlmetld them to “Phoetlix” Xo. ‘7 O Y ‘* Penfngrnm ” V o l . 1, N o . 7. P . W. All that can be desired ,of any magical effect is that it should entertain and perplex, and if this result can be obtained with a minimum of .effort, so muchthebetter forthe magician. Forthis purpose, the “ Case of the Baffling Burglars ” is ideal, for all that is required are two empty hats, seven small balls o f Eewspaper (or seven ping-
pong balls),andthe ability t.0 memorise the followinglines of rhyming patter :This is thetale of Farmer Bmwn, (A)Who lived not farfrom -town. (R) Two barns hehad-both emptystill, But soon he hoped them bothto fill With produce from his little farm, Where safe ’twould be from any harm. ( C ) His sheep, which numbered .only five, Werewhite and fat, and. seemedto thrive Upon the grass, so fresh and green, Which grew abundantly between The little barns-and every night They grazed and grazed till morning light. But one fine night, when all was still, ( D ) Two burglarsblack, ,named J’ock and Bill, W h o , looking fcr some place to hide,
“
“
“
”
”
“
“
“
“
”
”
“
”
”
30 Each ,spied a barn and crept inside. Then, wanting muiton on the cheap, Each softly whistled to thesheep, Who foolishly obeyed the call Andsoonwere captured, one and all. But Jock and Bill, theyhearda soun’ suspiciously like Farmer Brown ; And quick asthought, upon the green TheFarmer’s sheepagain were seen. A false alarm,and that was allSo once again the whistled call, And once again the foolishflock IVere gathered in by Bill and Jock. Another noise-too lateto fleeFor Jock and Bill could plainly see Tnatthey,alas,had come acropper,’’ ForFarmer Brown, complete with copper, Was coming fast across the green Where five fat sheep had lately been. ,4nd there they were, poor Bill and Jock, Each i s a barn \ \ i t h stoien flcck. Then Bill had quite an inspirationWhy not try prestidigitation ? He waved his hand, said magic word, And then astrangeevent occurred ; When Farmer Brown threw wide the door, H e saw there, stretched upon the floor, Just Jock and Bill, both sound asleep, But not a sign of st,olen sheep. The other door he opened wide, And quicklysearched around inside, But all he found-and all asleepWere five contended happy sheep. Localise, by naming any nearbycountry town. Show both hats empty, and place on table about 12in. apart. Place five balls in line between the two hats. Show two more balls, and place one in each hat. Commencing withright hand, lift one ball and place in hat to right, then with left hand place orie hall in hatto left, and continue “
Our first duty is to apologiseto our readers issues. for the lateness 9 f thisandourprevious A combination of circumstances has led to, this unhappystate of affairs. We sincerely hope that the February issuewill b e available by the 28th of that m.onth, while the March issuewill set up a record by being out before the due date of publication. Abracadabra has reached its fifth year of publication,a thing which quite rightly calls for congratulation from others besides its Editor, who ir, Issue Nc. 208, besides whacking the drum and blowing a fanfare or two, gives a strong sales talk to his own readers. Headds,after mentioning ‘ I
”
insimilar manner Ivitheach handalternating until a11 bdls are in hats (i.e.,4 in right and 3 in li.ft). continued on opposite page
Flashback ! D stands for D e Vere -.-.
...W
WODERN M A R V J ~ 9)~ H AT THN OPERETTA-1IOUBE.
-
U d e r tha title of “ Mo8ern MArvelR” IL very clever bnd en’oyable sntert;,lnurent waa given last night at the dperetta-Howu by M. de Vere, a conbow to an juror of no mean order, who made his Edinburghaudience for tbe fimt time.Possessed of great skill a8 a humorist, M, de Vere coatrived to give his redly perfect performances a mare than ordinaryinterest,and,duliny the wholeevening, sustained the athation of a largeaudience. The programme‘wasdivided into three arts, clenominatedmagical,myetical, and optic8 respectively. Under the f h t Lead M. de Vere showedsome of the most novel and astounding tricks;in a few seconds representation of a produced an artistic serpent bythe aid of two silk handkcrchiefs; dragi;“ed the stock in trade of B baby’s underclothing esta lishment from IL gent!emm’s hat, w!li4;hwas afterwards made t o yield a perfect garden of Howers and B series of Chinese lanterns fully trmmed. But of all the “marvels” the “cave and canary” feat ca.rriedoff the palm. Comin:; to ihefootliyh t3 with a live canary enclosed in a srnall ca?e and psrfectly freelfrom aids of any kind, Al. de Vere asiures his audicnce that hewillmakebothcageandbird injtantl dieappear, and cveu while he 3paWa the b i r l a18.d cagevanish intu space,le.+\ing the seame scene, which audience in bewildermext. forms part second, assumes t;, he hp exposure of 90called Apiritual seance,and ~;ndl~ubtedly i a 3, wonderfulspecjmn of experimentalphenomena.Miss IJily.adith ie an able assistantiQ this case, a d Miss Anmg JAonsd& as pianistefills up the intervafs withsome excellest Music.. The entertainment, which is (ndicatedof a very SUperibr Order, conclll:jes with a sedes Rf optical ictures, entitled the “ i’hantom Statues.
‘l’&
/877.
From the J. R. Findlay Collection
this bulletin, that his paper is not getting the competition it deserves. We should like to makeit quite plain that since we started the “Pentagram” we have never thought of competing with any paper which goes out of its way to cater not only for magicians, bur allrhose yho, by being members of societies c r purchasers of puzzles, CCLZZ fhenzselzfes magicinus.
In theJIa,rch issue of the Pentagram ” we shall startin serial form a publicati*on of Geoffrey Buckingham’s Billiard Ball routine which formed part of hisprizewinning act at Amsterdam last year. This should be of particular interest to those readers in America, who will have “
CONJURING WITH CHRISTOPHER,” lq- hfilImurne Christopher (published by Holden’s Magic Shops, New York, U.S.A., price two dollars fifty cents.) Jean Hugartl in his preface to this book truly book, us i n his p e r f o m u n c e s , U t , . writes : In this ( ’ h i s t o p h e r uses only wagic that i s entertainin!/. He ftns no tiltLe nor space f o r the technicalperfections so d e w to t h e heurt 01 t h e expert ’ but so borillg t o urdiences. H e r e he gives u s only g e m s of delightful of mayicians ttLa!/ic designedtobriyhtentheprogratnmes w h o adoptthem.” This (though webeg to differ with Mr. Hugard on the mat*of technical perfection being boring to an audiencej is well said, for inside the covers of this seventy odd page book, thelre are some sisty featsthat should have an appeal toanyconjurerwhatever his type of work. Mr.Christopher does not suggest thatthe effects call be performed with perfection five minutes afteir leading the instructiom (a. fact that nlay deter a number of our magical iliiterates from reading further). I n fact his prelude chapter 011 Practice ” summarises this nlatt.er with brevity by writing “ Each trick in this book could well bear a label ‘ Practice well before perfornling.’ ” The book proper is divided into seven parts;the fiwt is “ Intinlate Trickery ” in which a number ofclose our ownwayof thinking, up items aredealtwith.To the gem of this section is the ‘‘ Magic Mirror,” in which a small markedmirror vanishes andre-appears rlllder impossible corlditions. To the trick itself, the ;.uthor has added a sane background of dory telling. The next section is ‘( MoneyMagic ” and herein appear a. number of effects with notes and coins. ‘‘ The Two Rill Trick,” the “ Midas Touch ” and “ Bill on String ” are all charming pieces of cllicanery. Section Three deals with “ Rope Wizardry ” and besides actualtricks involvi,ngrope and in some cases rings alltlropes, the author passesonsome escellent puzzles. “ Conjuring with Cards ” comprises section four. ’‘ Card Call ” and th,e “ Card Revealed ” are two escellent !ittle mysteries inthis section. ‘‘ Ifental Magic ” comes next aud all these effects described show the merit of real performance. It may interestreaders to know in this respect that when talkingto our friend Rlaurice Fogel regarding a curlrent bookon mentalism, RIaurice sndd,enly said . . . ‘‘ Have you read Christopher’s book ? ” Wesaid “ Yes,” and without waiting for “
“
Maurice tc sayany mare, we added You mean the Action Test ’ 1 ” This effect stands out a mile not for its method (a thing whichafteT all is of slnall moment), andis worth not the price, but three times theprice of the book. Its directness combined with its visual appeal will take itinto many many programmes. The Best Seller Book Test ” and “ Card Reflected ” (a tariaticin of a JardineEllis theme) are also excelleat items. The last section dealing with tricks is “ Stage Magic.” The author in his first paragraph so truly says ‘‘ X trick does not have to be large to beeffective 011 the stage.”‘ If only some of our wonder workers with their monstrous boxescouldrealise this. F o r colour and effect we think thatthe “ Pop Through Promduction Flame ” take,s pride of place with ‘’ ,4 Hair Raising Illusion ” comingsecond. Theauthor concludes his book with a chapter on routining,andfromthe effects described in the book gives somefive programmeswhich bearouthis obserl-atiorls. This is a bookwe should have hated to have missed for its conciseness in descriptio,n carries with it the personalcharm of thewriter. Some of theeffectsare not necessarilynew, and a few have appeared in magazines, but that must not stop you buying a nlmt delightfuland worthwhile book. “
“
,
“ POKERISM,” by Jack Yates (published by the author a t 8 , Ripon Road,WestEnd,Oswaldt\tistle, Lancs., price 2/6). Whilst there is a touch of Stewart James about this routine, there iscertainly nosuggestion of plagiarism. T h s dealer deals fivepoker hands and the conjurer has th,e winning hand. One player drops from the game and fourhands art3 dealt. Again the conju.rer wins. With onemore droppingout of the game andwith a dealing of three hands, the conjur,er wins again. Finally,two players arel’eft (andin accordance with thestory,the player secretly changes his hand with the conjurer), who despite this manages to come throughwith a winning hand. Theroutine requires no skilland is free from any snags; however, thebettercard worker that you are, t,he better will be the effect that you can obtain. Recommended.
MAGIC G O R 0 UND-continued from opposite page
anopportunity of seeingGeoffrey in action at Chicago in May. In the February issue we have a nice little item by Dr. Jaks, who apart from many Phoenix ” choice items in the “ Jinx ” and the was responsible for the ‘‘ Supersonic Card Trick.” London will have twomagic Festivalsthis year. Besides the usual Magic Circle one in October, Harry Stanley is sponsoring anInternational week of magic at the Scala in May. Probably theoutstandingact will be Willane, whoin thelatter half of the programme will present a novelty that hill have to be seen to be believed. It is good to know that PercyNaldretthas made good progress and is back on his feet again. Steeped in thetradition of the goodold days, Percy isno diehard in suggesting that things are not what they were. Nobody has served the
Magic Circle better than he over the p.ast score of years both in the capacities of printer and Editor of the “Magic Circle.” He is now taking a well deserved rest, and to John Young (remember his ‘‘ Matter of a Massacre ”) we extend best wishes in his task as Editor of the Magic Circle’s official publicaticn. ~
BAFFLING BURGLARS-continued from previouspage
(F) Commencing; with left hand, remove one ball from hat to left and place on table, then with right hand removeone ball from hat to right, and continue with each hand alternating until five balls are again on the table. (G) Catnmencingwith right hand, lift one ball and place in hat to right,then withleft hand place one ball in hat to left, and continue witheach handalternating until all bails are again in the hats (i.e., 5 in right and 2 in left).
32
HOW TO STRETCH YOUR SHILLINGS ! You ’ a n make a 14-cent shilling do 17‘cents’ \\-o;th of service by investing in any or all of the ten fine magic books published bythe Fleming Book Company. Our “ share the loss policy brings you our $7.50 books (Magic withoutApparatus,andTheFineArt 01 Ivlagk) at 45s. (not 53/6) each ; our $5.00 books (Sleight-of-Hand,Our Magic, MagicLvith Small Apparatus, and the Hugard Book Editions Nos. l’, 2, and 3) a t 30s. (not 3 5 / 6 ) each ; and our $2,00 books (The Expert a t the Card Table,and A Conjuring Melange) a t 12s. (not 14s.) each. For the books of other American publishers, we mustcharge you on the I)asis of one shillingequals 14 cents. The very latest American books are. : l-fugard’s Book Edition No. 3 (Volumes V. and VI. ) , cloth, 23‘2 pages (84 by .l 1 inches), 485 illus., ($5.00), 30f- ; The’Card Magic of Le Paul, cloth, 220 pages, 313 illus., ($8.50), S O / - ; Stcele’s 50 Amazing Card Tricks, boards, 84 pages, ($2.00),14/-.(The famous PAUL FLERIING BOOK REVIEWS are free to our customers. How t o get these finely printed books is explained inour catalogue (pp. 54, 5 5 ) which will be sent freeupon postalrequest toour U.S.A. address). Please remitto Mr. RobertsonKeene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight, and books will beshipped promptly from this address : ”
FLEMING BOOK COMPANY, 728 MADISON AVENUE, Ywk, Pa., U.S.A. “
1
PETER
ROUGH AND SMOOTH POSSIBILITIES ” By Tan Hock Chuan
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM
404/408
Croydon
ART
ROAD Surrey
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., LONDON, N18
Telephone : TOT7742
Chapters 03. ar:d tricks with, The Overhand Shuffle, The Riffle Shuffle, Flourishes, The Glide, The Glimpse: The Key Card, The Palm, The Backslip, False Shuffles and Cuts, The Double Liftand Turnover, The Pass, :\liscellanems Flourishes, Reverses, Hindu Shuffle, ;Ind other Controls, The Classic Force, Top and Bottom Changes, Stacked Packs, C,nnpiete Routines,Platform Tricks and a comprehensive index. 302 pages packed into a cloth bound book, with 121 .jlustratlons by Francis Rigney. Don’t delay, order sow 1 (American price $4.00-28/6) Sentto you carehlly packed for 12/6 (Postage6d.l
from
THE MAGIC WAND PUBLISHING COMPANY 11, MonasteryGardens,Enfield,Middlesex
TheMagic
WARLOCK’S
PENTAGRAM
of Somerset, D.S.O., O . B E . . JP.. M.I.M.C.
ispublished on the 24th of eachmonthand canbeobtaineddirect from thepublishers for 1/1 per single copy.AnnualSubscription 12/post free. PUBLISHED. BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscriptsforpublicationandbooks review shouldbesent to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES 2,
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND LIST FREE
NEW. Let me know your wants FOR STAMPED ENVELOPE N o Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Circle
l ’ I n ~ - ! ~ l , , n t: His Grace:heDuke
will be glrased to send y o t ~ details of his verylatest effects and all. his old favonritrs in return for a stamped addressed envelop? (foolscap or octavo size please). WRITE NOW, TO
By a MAGICIAN who knows your requirements
0
Here is a book that EVERY magician should have. I t describes dozens and dozens or’ first-rate cardtricks and gi\-esexplicitinatructicnsfor every sleight needed to perform them.
JACK HUGHES
WORK
0
“THE ROYAL ROAD TO CARD MAGlZC ” By Jean Hugard SI Frederick Braue
Vice-President: Douglas Craggs,Esq., ClubroomandLibraryand
M.I.M.C.
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The Magic v Wand, Quarterly. E‘er copy 318 p.p. .4nnual subscription 14j6. The Wizard, 36 pages monthly. Per copy 211 p.p. 6 month, 1216, Year 24j-. John Ramsay’s Cups & Balls (Farclli) 25/6 Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran--& Lamonte) , 1013 Bohleno’s Mysterizs (Rohlen) l0/3 Thanks To Letpz!p (Farelli) 1013 George Armstronq’s Premonition 1013 Entertaining With Hypnotism (Dexter) 1013 Strictly Magic !Eddie Joseph) .. 5/3 Stooging Around (Stuthard) . . .. 513 26 Living & Dead Tests (Garrctt) . . 513 lamesosophy (Stcwart Jamrs) ., .. 513 Year Book 48/49 (few only1 . . . 5/3 Stunts With Stage Money (Lamontc) . 513 Tricks of the Trade (Armstrong) . 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fullyendorsed by this Bulletin Published by thepropnetcmThe
Magic WandPublishingCompany 1 1 M o n a s t e q Gardens Enfield,Middlesex, Son (Printers) Ltd..’We‘ll Croft. Shioley. Y’orkshire. Walkerand
andprinted
by Herbert
*
33
PENTAGRAM An independent monthly bulletin for all who want good magic
V ? .4 &A 5
9kth.mg 195u
9!0?1907-1942.
The clock ticks on, the years roll by, and yet strangely enough this man who gave in so short a time, so much to magic, looms larger than ever over the world of magic. The Jinx, which was far more than a magazine, will always stay as a permanent monument to him.Hiscriticisms, his witticisms and his effects all carry the mark of a man who is not just different, but unique. When, in 1948, I had the privilege of being asked to contribute the “ Annemann Parade ” to that year’s October issue of the “Linking Ring,” I did so with great trepidation, for I wanted to. be good, and it is not always possible to think and write to order. The fact that it received a Caryl Fleming award justified it as a tribute to one whose work I had so long admired. In the introduction to that contribution, I wrote tothe effect thatthe re-publication of Editrivia in book form would be one of the finest comments ever made on contemporary magic. TotheEditrivia I wouldadd .‘ Fifth Row, Center Aisle ” the most honest criticisms ever to appear in any magical journal. we make this This time, for the fourth year, an Annemann number.-P.W.
E D I T O R ’ S - ’ N O T E . Magicians to-day owe a deep debt of gratitude t o Dr. Iaks fov the very manyexcellenteffectsthat he has given to thematvarioustimes.Lastyear his “Superbofh iv sonicPrediction” was a bestseller America and here. All his ideasarecharacterised b y their subtlety. ;h. Iaksspecialises ill close-upandtable work.He has recentlyreturned from a trifi t o South America and in his owl?whrds “e1z:oyed doingmentalism on the ocearz !” P. W .
The effect is as follows :-After a card is selected from a pack, the drawer is.. after looking at it, requested :o write on a small tablet which themagician hands to him or her,the words, “ Whatismycard ? ” Atumbler filled with water is then brought forward and the drawer is requested to dropthe inscribedtabletintoit. Thousands of bubblesobscure the transparency of the contents. The glass is lowered to that the selector of thecardcan seeinside the bubblff diminisbinintensityandfinallydisap-
. . .
34 pear sg thatthe spectator sees written (apparentlyinthewater)the name .of thecardthat he or she chOse ! Themethod is charmingly simple, and is based on an idea of mine that appeared in Jinx, Page 404, entitled " Crystal-Vivo. " The reader will requiresome Alka Seltzer tablets, a small cellu1,oid disc nearly as large as the bottom of thetumbler,andapack of cards. On the celluloid is written in eitherink or penci,l the name of, say, the Ace of Hearts.The .disc is then placed in t,he right-hand pocket or in some placewhere it is easily and i,nstantly accessible. The Alka Seltzer tablet,together with.a pencil, is placed in a right-handpocket.The Ace of Hearts is placed ontop of thepack.Withthe tumbler of water at hand the magician is ready to commence. First of all, the Ace of Hearts is forced on the assisting spectator.Thetype of force used mustbe left to the discretion and ability of the performer. The mostimportant thi,ng, a s at all times when a card is forced, is that the spectator, who has heard of such th,ings, must be convinced thathehashadthe choice of 'any cardinthe pack.Theassistant, whilst theperformerturns aside, is requested to look atthecardtaken, remember it,andthen place itout of sight. Whilst, as.he is half turned to the audience, the magician is giving these directions, ,he obtains possession of the celluloid disc with his right hand. The necessary ch,ores having been carried out- by the. spectator, the magician turns round, and with his right hand (the celluloid disc will not interfere
with this)takesthetabletand pencil from his pocket and requests the spectat,or to write on the tabletthe sentence, " What is mycard " At this point the .left hand-picks up the glass of water and rests it on the right hand. It is held in such a way and at such a heigh,t that the assistant cannot look d,own into it. Thedropping of the tablet is requested. Immediately it enters the water it bubbles away like mad i,n a rather spooky kind of way.Finally,the whole tablet disintegrateiandthe water is clear. ,Whilstthe effervescence is going on the magician graduallylowers his ,hand until, when the effervescence stops, the spectator can lookrightdowntothebottom of the glass andreadthename of his card.The performer finally palms off the celluloid disc and placesdown thetumbler.Theoddsarevery much in favour of someone a t this point picking up the glass and.minutely examining it. Sometimes I varythe presentation. Instead of havingacard selected, I invi,te someone to this write downa questio,n on the tablet. Whilst is being dcone, I am.blindfolded. The spectator is requested to place the tablet on the table, and as he does so I-glimpse %he question. At this point I 'obtain possession of.P white-yellow celluloid disg (against the hand this 'looks flesh colour), and by means of a nail writer, either behind my back or underthetable(accordingtothecircumstances of the performance) I write a very, very brief answer to their question.. From that point onwards the procedure is as with the plaging card version.
I t was in 1940 thatTed Annemannseemed to like a routine of very old card effects routined in .such a way that it appeared t.0 exposethe secrets of card location, andprinted it in the Jinx page 500 as " Secrets for Sale." How often hasaconjurer been asked " Teach me a trick that I can do." .Theroutine was designed t.0 apparently show how " it was d,one." When t,he spectator began to think about it later he would realise that he hadn't a clue, though a t the time the 1,ocations'had seemed so logical. How often, too,haveyouhearditsaidthatitmusttake a considerable amount of time to attain the degree of efficiency in technique to bring about the card miracle. The f,ollowing routine od old tricks is designed to show the skill of the conjurer in controllingcards. An unpreparedpack is used.and therefore the routine can&e performed impromptu. Effect. A card is ch,osen, placed in the pack by the spectator, and shuffled. The pack being returned,
the c,onjurer, with excellent technical skill, locates thecardandbringsittothetopwithout.any appreciable movement of hands or cards. Taking this card and the three othersof similar denomination in the ,other suits, the pack is cut four times bythespectator,andthecards replaced. This time, all f,our cardsare brought t,o the top. The conjurer asks that a few cards be cut from thepack,andheexplainsthatbythe sight of the packet he is able to tell thenumber. He announces the number of the cards cut, and when counted he is acknowledged to be correct. It is now explained that palming (the most corlmon technical termknown tothelayman) must be perfect tobe effective. He takes the bsottom c a d , and palmsit in sucha way that thehandappears t,o beempty whenshown on both sides. The card is replaced on the bottom of the pack and finally shown. To illustrate how thismaneuvrecan beemp1,oyedhe apparently transfers a card into his trouser pocket,
35 Finally,toillustrateall these various techniques, he puts the pack aside and uses 'his transparentpack (invisible pack).Thisis shuffled in mime and an imaginery card is chosen from the imaginery fanned pack. I t is explained that as the card is transparenthecan see what it is, and names it astheThree of Hearts.Thecard is replaced, andthe spectatorentersinto the byplay by pretending to shuffle the imaginery pack. The performerpretend,sto takethe pack and locatesthe 18th card fromthe top. Withsuperb skill he brings it to the top of the imaginery pack and turns it over, mentioning it to be the Three of Hearts. He says he willnow palmit,and showing both sides of the hand, apparently palms and places it int,o histrouser pocket. To prove this, he takes ,out the transparent card and shows it,andthen replacesitin the pocket. A doubt is instilled inthe mind of thespectator, so the perf,ormer emphasises the fact it is thechosen card in the pocket, and t,o proveit he asks the speetator t,o remove it. Incredulously he does so, and t,o his astonishment he finds a real card,andit is the Three of Hearts. Method and Presentation. An unprepared pack is taken and shuffled, a card being removed and noted by the spectat,or. I t is explained that the card is to be replaced' by cuttingthe pack. In d,oing so, with theright hand, separatethebottomcard ,of the cut off portison at the 'thumb end. The easiest way is to cut the pack at the thumb end and lobtain a break, and then with thethumbtip pick uponeextra card from the lower part of the pack and keep a break between this card and the packet cut from thepack.The object 'of d,oing this is thatthis card can be easily and quickly dropped from this portion. It is thenfurther explained thatit is usual to replace the chosen card on the 1,ower half, which he is asked do, tothe right hand immediately comes over this lower half and the card held by the right thumb is dropped on to the ch'osen card. At the same time explaining that the card would be 'lost by completing the cut. Thc right hand, however, immediately moves am-ay. This m,ovement of explainingthe completing of the cut, when the card is dropped fromthetopportion,andthe movement aw.ay is performed instantaneously. The left thumb deals the dropped card ,on t.0 the table, and the performer asks the spectator to take the cards from his right hand and place the card on the table anywhere and shuffle the packet, but on nto account is he to show the face of the selected card. When these cards are returned, the bottom half is placed on top, so that *the position is now thatthe selected card is thetopcardofthe assembled pack.Thecardsare held by the two hands as if to make a pass, ;but the pack must be in full view, the topcard inparticular. A riffle ismade at the corner of the pack and a small movement made. It is explained thatthecard
has been located and brought to the t,op. The top card is revealed as the selected card. Let us assume that the t,op and chosen card is Seven of Spades. After it is shown it is replaced ,on thetop.The conjurer suggests that perhaps the control of more than eone card would like tobe witnessed. Turningthe pack faceupwards, four cards are slipped t,o thetop and the pack fanned with the right hand. The four sevens are raised halfway out of the fan. The last sev,en (Seven of Spades),thetopcard, has of course fourcards behind it. Raising these four cardsupwards with the left hand, behind the Seven cf Spades the five cards are squared, and immediately the remaining sevens are plucked from the fan on to the Seven of Spades, and the whole packet placed on top of the pack. It appears that the four sevens have Becn culled from their positions in the fan and placed on top of the pack which is now turnedlaces d.ownwards. Actually the frour sevens have four cards above them, and itis thesefourcards whi,ch are now dealt on to the table, and the pack placed to ,one side of them. Ask a spectator to cut thepackfour times, and to return one of the four cards each time, so that '
continued on page 38
Flashback Z
Em
E stands for Evanion 1
E N C O ~ E . June 22, 1905.1 '
+ * * The funeral of Henry E. Evanion, the old-time conjurer, who died at, Lambeth Infirmary on Sqturday, the 17th, takes place to-day(Thursday), starting from 12, Methley StreeP;, Kennington Park R%ad, at 10.30 a.m. Those.conjurers showing inLondon, . who can bethere, are cordially .invited to attend. - *They will be paying the last mark ' of respect to. one who. was- contemporary with Anderson, and is, perbaps,thefinal link with those working with the original Hermann. We know of severa$ $h0 will be at the funera1,Land. Houdini, who has all along taken. a great iriterkst in the deceased, intimates his intention . to 'be present. Evanion was c? big man. id his-day, and appeared before Royalty 0.n several occasions; yet he didn't-make the splorge'of it some of those who attend .at Windsor to-day m-ake, but?then. he. was only an Englishman and didn't understand the art of advertising. * ** ?: ! From the 1. B. Findlay Collection
36
This is an item with which A1 has had a great d,eal .of fun. 1 ’know that at Cheltenham last year the ,effect hit the audience so hard that one dealer, completely icoled byit, asked whether it could be marketed. This is rhe effect. The Oonjurer invitesthree members of his audienceto assist him, and they are designated -4.B andC.Onto a nearby table a penny, a half-crown and a ten shilling note are placed, after which the conjureris genuinely blindfolded. The conjurer acidresses A, saying, I want you to walk up to the table and pick up either the penny, the half-crowvnor the ten shilling note and place itinyourpocket.’’ B is instructed to choose either of the rernaini.13 pieces :i mmey and pccket it: whilst C hastotake what is left.The conjurer then proceeds to tell the audience u h o has taken the respective pieces of money. The effect is then successfully repeated twice more. Before detailing the method, I wouldlike tlo pause a while and point out to the reader that the effect deserves allthe presentation itcanget. If the performer treats the.effect in a cold manner and simply,announces that A has so and so, B, etc., the thing bemmes nothing more than a piece of parlourtrickery.Supposingthat in the pick up A has the half-crown, B the ten shilling note and C thepenny,the performer treatsthe pick up in a phych.ologica1 manner, thus :-“ You, sir (to A) deliberatelyavoided the largest amount of money-in fact, y o u thoughtthat m y immlediate reaction wouldshow this,but also that in that reaction my attitude would be that you had gone tothe extrem: andthat you wouldpick upthe penny.But you were wrong-you did not pick u p the penny, you picked up the half-crown and placedit in your pocket ! With B performer works in a similar manner, and C, of course, has no alternative. The method is delightfully simple, and spoiled ( ? ) only because the spectatmor A has to be a stooge. His part is delightfully easy,for all he has to do isto (providingtheeffect is being
performed three times) pick up his pieces of money in the foilrowing order :1st time-ten shilling note. 2nd time-penny. 3rd time-ten shilling note. The stage having been set and the perfcrmer blindfolded, A (inthe first case) when requested steps forLvard and takingthe ten shillingnote pockets it. B then comes forward and takes either the half-crownor penny, whilst C takes the remaining coin. Theperfsrmerthen commenceshis reading, and finishes (in speaking to A) and you placed the ten shilling note in your pocket--is that correct ? ’’ Now if I5 took the coin representing the larger amount, he replies, “ Quite right ! If E tcsk the smaller, he just says That’s right.” This, of cLur2e, aut3rnatically tells the performer which coins B and C hold. When the effect is repeated, the same cccling applies, so’that in the second attempt, if B takes the ten shilling note, A’s wordswill be “ Quite right,’’ whilst if hetook the pennyit wouldbe “ That’srighi.”Thethird rendering is simply a repetition of the first version. l here it is, something which despite the means is an effectivepiece of chicanery. Particularly so if it can be worked with other genuine blindfolded effects (such as ‘‘ In theBag ”), where the performer is a lone wolf and achieving hismiracles by individual efiort. Foremost in this class is a series of card lfocations that A1 has been workng, and with them fooling both lay and conjurer audiences. One final comment : When placing the pieces of money on the table see that the ten shilling note is folded, otherwise a rustle will bebound to result when it Is handled and placed in a pocket. As analternative to folding the note yourself (wh,en you are blindfolded)request one of the three spectators to step forward and fold the note, at the same time telling your audience why you are takingthis precaution.
This is my method of performing this classic, andthe direct effect appeals to a lay audience. Through essentially a close-up item, it is also admirablysuitedfor platform presentation in a reasonably small hall. The follmowing description applies to close-up conditions exactly as the audience sees the effect. Th,e performer borrows a finger ring and puts
it on the openpalm of hisleft hand. This is covered with a handkerchief, and the ring is picked Up throughthefabric and givento somebody to hold. A small tumbler is bonowed, and the spectator holding the ring drops it into the glass, keeping it covered with. the hanky.The performer now wraps a second handkerchief around the centre of a borrowed pencil, which is held at the
“
“
”
“
- 3
37 tends by two otherspectators. Assistant holding glass rattles it-ring is still there. Magician whips awaybothhankies simultan,eously-the ringis seen spinning on thepencil and the glass is empty ! Note that the spectator h,olding the glass himself drops the ring, and it may be heard t,o rattle right up to the second it is seen on the pencil. Actually the method is in many respects similartothestandard mann,er of performing the effect, and I lay no claim to originality atall. I do know, hcowever, that it is reallystartlingand thoroughly practical, because I’ve used it on hundreds of occasions. The presentation should appear to be impromptu, hut some preparation is necesssry. Attach to the centre of a handkerchief a sixinch length of strong chread, to the end of which istied acheap signet ring, and you are ready to perform. Borrow a ring, and have it put on left palm, Cover with hanky, secretly placing duplicate ring beside the borrowed one.Pick up duplicate ring through thefabricand give it to somebody to hold, the left handhaving meanwhile closedon the borrowed ring and dropped casually to the side. The ciupiicatc ring is now drcpped by
spectator into the borrowed glass, which he holds covered bythe handkerchief. Borrow a pencil and place it in the left hand, secretly threadingitthrough the ring. A b.orrowed handkerchief isnow wrapped aroundthe pencil, which is then held by a spectator at each end, and you are ready for the denouement. With assistant holding pencil o’n your left, and assistant holding giass on yaurright, smartly whip away the handkerchiefs and the trick is done. One ortwo tips-if a wedding type ring is offered, let the spectator hold the narrow part of your fake ring through the handkerchief. Make sure that thedepth of the glass is less than the length of thread.Instructyour assistants to hold everything tightly, and, during the surprise at the transposition, replace your handkerchief inyour pocket. Return individually the borrowed articles to their owners, and afterwards your audience will !-lot remember that rrevythirlg. was not bcrrowed. Weli, there it is, and I hope you’ll like itat least, it does work, I’ve proved it !
A few more weeks and the Piddingtons’ book (to be pubhhed by Stanley Paul) shouldbe on the bookstalls. Selling at 8/6, it tells the Piddingtonstory, including their experiences over here. I t particularises certain instances of conjurers doing their worstto get publicity by exposing magical secrets. I t was good to know that in one instance of such exposure, the magical society to which the exposer belonged, shot him out neck and crop. After their reccni broadcasts, the Piddingtons are off to the provinces, and will go across the borderintoScotland.Their first Londcn x;ariety date will be W,ood Green Empire, in April. W e are sincerely hcping that in confcrmity with our statement in the January number, this copy will reach you at a date nearer to the official publication date. Our publisher has suffered from a series of sr.t-backs which have thrown the whole of his prcductionout of gear. As we have mentioned before, the March number willgive the first instalment of Geoffrey Buckingham’s Billiard Ball routine. In the same number we have been most fortunate enough ’to obtain Gustave Southall’s impromptu BridgeWhist deal. Mr.Southall’snameis one that is of conjuring. known ail to th’e cognoscenti Whether he is working with cards or coins, his work and his ideas are superb. Also in the March
isme we have a rather different coin routine by a magician whosewritings are not seen so much as they used to be ; I refer to Harry Latour. Aprilwill be the month that we shall devote to A . C. P . Medrington. Lye hope that this may represent a modern trilogy, and include effects by his cne-time collaborators, H. C. Mole and Ernest Hammond. C3njurers are peculiar peoplein their assessment of . the worth of an effect. Your good conjurer is unmoved by its price. He knows thatthe secret of real conjuring lieswith the coI1jL!.rer, and that success cannot be obtained by extrrtneousdevices. On the other hand, the bad conjilrer assesses the worth of m effect purely on its cost, so that the half-crown effect must be used as a throwaway, whilst ,the five pound ab,ortion that 10,oks like d piecesawn off a pin table takes pride of place whatever its magical pretensions. It was with great regret that we heard of the passing of our old friend Chris van Bern. A brilliant mind that hadproduceda brilliant act, he had a liking for things that smacked of re.al magic and was agreat stud,ent of the occult. He will be missed by all who had the privilege of knowing him.
Tl’e s h o u l l l like to recorti o u r t h t l k s t o t h e ccutho,v 111ltl c t l s o tlle Editor o j “Ulster Mngic” for
prvnlissioll t o ueprillt thc]
clboTlc>
effect.
38
30/ 12/49 Dear Friend Peter, Hereis a 'cute effect fortheFentagram. Pointing to a n ivory statuette 'of Mi-10-fu, a Buddhist Saint, the magician saysthat " Mi-lofu, ,pronounced Mee-loh-foo) is the wisest of men. Havi,ng attained Buddahood, he sees all and knows all. T,o those who believe in him, he gives some secret knowledge and guidance in life. Now that 1 havetold you briefly of Mi-10-fu's wisdom, llet us put him to some practical we." The magi then gets a card selected freely from a shuffled deck. Any other spectatorthen comes forwardto .assist himtodemonstrate Mi-10-fu's power. The helper is madetosay, " I firmly believe in Mi-10-fu. Om hlani Padme Hum-0 Mi Lo fu-0Mi Lo fu." The magi now tells him that he must gaze a t Mi-10-fu, and must not say anything more except the name of the chosen card which Mi-10-fu wil,l reveal to him. The statuette is then put on his palm, and he is able to name the ,card chosen by the first spectator. T E C H NIQ UE F 0R SALE-continued
The pack is a rough and smooth fJorcingpack, for forcing one card, say, the Four of Diamonds. The ivorystatuettehasthe index of a card, the Four of Diamonds in this case, stuck on its bottom with transparent tape. When placed on a spectator's palm,thisindex will face him. Sh,ould any of your read,ers desire to get such a statuette just send me a ten shilling postal order and I will be pleased to send one to him by registered post. Just let me know at 51, Emerald Hill Road, Singapore, S. S. The latest copy of Pentagram to reach me is theDavid Devant number, which isvery good indeed. I am still waiting to read Peter Sutton's Thimble Routine in the next Pentagram. He performed thisat the meeting ,of the Malayan Magic Circle with great success. Withallthe bestwishes for thecontinued success of the Pentagram, Yours sincerely, TAN.
from page 35
the four sevens may be equally distributed the through,cut the pack. When this is done, pack taken is and the preceding movement made f,or the location of a card and the bringing it to thetop. Mention that the cards have been located andbrought to the t,op. Thetop four cards are placed face down on the table andsomeone is asked toturn themover.Th8ey are the four sevens. While th,ese fourcardsare being revealed, quicklycount eleven cards and bridge the 11th card [concave lengthways by squeezing the two long sides bythe fingers on one side and the thumb on th,e ,other.Whenthefour sevens are placed ,on the packthe bridged 'card is the 15th card down. It isstatedthat one must also develop the technique of assessing the number of cards cut. Holding the pack in the left hand fingers on one side, the thumb on the other, ask someone t.0 cut a few cards. I n mostcases the bridge will decide the number cut, whichwill be 15.H,ow,ever, feel f,or the bridge, and if less cardsarecut slightly spread that one andthe cardsaboveit, and quickly count them, usually a very small number. Deduct this number from 15 will give the number in the spectator's hand. It is suggested that palming has to be executed very expertly 'to be effective. During these remarks the bottom card of the pack is palmed, face to the palm, in the right .hand. Attention is n,ow drawn to the card at the blott80mof the pack whichi,s face upwards.Place therighthandon
thiscard, leaving the palmed card on it, immediately removing the right hand as if a card had been palmed from the bottom of the pack. Turn thepack face downwards. Now give an exhibition of the perfect front and back palm with the emptyrighthand.Don't overdo it,andfinally appear to replace the card on the bott,om of the pack. Ask if the card could b,eseen when it was palmed intherighthand. During'this, theleft little finger drawsback the bottom lcard in preparation for a glide. Therighthand now takes the second card fromthe bottom,the card supposed to have been previously palmed, and throws it face lipwards on the table. While the attention isdrawn to the card on the table, the packisturned face upwards, and. a break is obtainedunder the second card from the bottominpreparationfor a triple lift. Also the present bottom card is memorised,let us say it is the Three of Hearts. Take the face up card from the table and place it face upwards on the pack. I t is 'now proposed to explain how this manoeuvre canbe used toapparentlytransfer a card tlo the trouserpocket.Triplelift the three cards from the face of the pack, still keeping them face outwards, insert them half way into the trouser pocket. Then,turnthem, whilststillhalf way out of th'e pocket, face inwards towards the b,ody. The two cards n.ow towards thebody are allmowed to fall right int,o the pocket, and the outside one, which is still held by the left hand, is removed and placed .on top of the pack which has been turned face downwards. Simulate the palm-
39
HOW TO PERFORM MENTAL MAGIC ” by A1 Baker (published by Car1 W. ones, U S A . price $4.50) We always feel that A1 Baker should have started wrltingt Eooks a t an earlier age, for there are few of his like who, having the ability to design and prasent magic, can so describe it that the readercan well imagine the writerexplainingandteachingit. The present book sets out. to teach the reader the cor.rect manner of presenti’ng mental effects. It does not start byexpecting a pre-possession of knowledge; rather 011 the contrary,he goes to great pains to even describe certain terms thatare generally accepted. The book, therefore, becomes a shortbut complete course on this particular phase of conjuring. Inhis foreword, Mr. Baker offers advice that is excellentbothfrom a point of view of mentalism or straightforwardconjuring. H e writes : ‘‘ Any departure fromanapparently simple, direct, andstraightforward handlingis fatal.” Chapter one is concerned with Mr. Baker’s billet (or bill) switch andan effect making use of such switch. Switches are individual things, and most mentalists generally evolve a technique based on the more accepted methods. The writer’s switch is a very nataral one, and what is more there is no hand or fingermovement to be detected. Whilst the description does. not make the series of moves quite plain,. there are some excellent drawings that leave the reader in no,doubt as to the vaxious moves. The effect Bill-epathy which follows is excellent,but unfortunatelycan only be effective with U.S. bills. Chapter two concerns thecentretear.The method is good and dsceptive, butin our own view suffers from the fact that too much handling is carried out by the performer. W e know that with the normal centre tear,thereare sometimessome murderousexhibitions. This present method is a good variant; butis not a substitute.Thesubterfugeis followedby an effecq in which it is used. This effect “ Co-incidentally ” 1s slmllar in theme and method to a.prediction effect by Parrish. Chapter three details three methods whereby an assistant a t one end of the telephone successfully names a card or cards selected or thought of by a spectator. Onemethod may notbe usable inthis country (this.
CAN YOU TELL FORTUNES,” by Victor Farelli (published by Maison Franco Anglaise, obtainable from George Armstrong, Enfield, Middlesex, price 2 / 6 ) . There has not been a great deal of writingabout fortune telling-cum-conjuring. Howard Allbright is o t e of the few that has visualised its commercial possfbilities to the conjurer. I n thia printed booklet of some eight pages, Mr. Farelli takes a siff;lple card trick that appeared h ‘‘ Passez Mulscede (we feel certain that it has appeared elsewhere folr we used it ourselves in the fortune telling settingduring the War years)and gives it a dressing. The author describes the effect in his umal mannerand seems not only to cover all the weak points but also adds many observations regarding opportunities that may arise for enhancing the effect. As many are asked at varioustimeswhetherthey can tellfwtunesthis presentation may prove helpful.
TECHNIQUE FOP SALE-continued from opposite page ing of t’he top card, the front and back palm, and end by stroking the pocket entrance with the hand. Turn over the t’op card of the pack to show that the card has gone, place your right hand into the trouser pocket, and remove thecard nearest the body and throwit on the table. The appearance is that you have shown how to palm a card to the pocket. The card remaining in the pocket is the Three of Hearts. Offer to show how all these various forms of technique canbe appliedin one effect. Fan the pack and ask that a card may be select,&. As the card is about to be removed, throw the pack on thetableand mention you willuse yourtransparentcards so thathe willsee throughitall. Simulate thetaking of a packfrom the coat pocket, fanning them, ask him m t o take a card. He will enter into the idea, and pretend to take one. You state as the card is transparent you can see thatit is the Three ,of Hearts, the cardthat is actually in your trouser pocket. He will, of course, agree with you. Ask him to replace the card and shuffle the transparent pack. Taking the
packyou simulate the riffling of ,the pack and “ No statethecard is the 18th from the top. doubt, you can see it is so.” Y,ou remark : “ The pack is transparent.”Simulate the technique of bringing the card .to the top, turning it over, and apparently showing it t.0 be the Three of Hearts. Proceed with the apparent pa:lming of the card in the right hand, with thefrontand backpalm movements, ending with t,he stroking ,of the trouser pocket opening. Ask the spectator to name the card,he will mention theThree ,of Hearts. Put your hand in the trouser pocket and simulate taking out a card and show,ing it. The Three of Hearts,” you remark,and replace the supposed card in the pocket. Pretend you read from the expression on ‘hisface that the card he chose is not in your pocket. Ask him to nameit again, and request himto remove thecardfrom the pocket himself. He will incredulously place his hand in the pocket, ,expecting to find nothingthere. He will be surprised toreally find a card,andthe double punch comeswhen he findsit is actually the Threc of Hearts.
“
because of the telephone system). Theyareallcarefully designed andfree from the very many pitfalls that are a. usual accompaniment. to such effects. In Chapter four the author deals with a rather clever method of utilising mnemonics to obtain an excellent mentd effect. This is followed by a Bakerised version of Scalbert’s “ Seventh Card,” and a natural effect in which pencil readingand a nail writmareprettily linked together. Altogether in this chapter there are some twentyOf particularinterestarethe one feats or subtleties. envelope switch (so natural and easy that the ham-handed will ruin it in kicking it around), Pellet.reading (a finely routined three person “ read ”), the “ Dead Mm’s name ” (a livinganddead testj, “ Pulse of the People (a mental effect using cards),and “ Unconscious Clairvoyanceb” This latter has a true m a s k touch, and should be killing in effect. Though notstrictlyinthe “ mental ” section, the autho,r includes Jack Trepel’s version of the “ Mulholland ” bell. It is mostr ingenious. The book closes with an appendix in which Adrim Plate’r Mnemonic system(from Hatton & Plate’s “ Magicians’ Tricks ”) isre-printedwith acknowledgment. The book is well printed, easily readable, and runs to someone hundredandtwenty-six pages. Thereare nearly ninetyillustrations.An excellent book. “
“
40
I
I
THE LAST WORD ON BOOK TESTS ! All you’ll ever need PO know about BOOK TESTS, magazine tests,and similarfeats is explainedin great detail in . MainlyMental : Volume 11. by C. L. Boarde, whichhas just beenpublished.Here are dozens of amazingmethodswhichmostmagicians have never even dreamt of! All sorts of ways to force a book, a page, a line, and a word,or (if you prefer) to have a word or passage freely chosen and then discover what it is! Softboards,spiralbinding, well printedby offsetongood paper, 133pages l06 drawings, ($7.50), 53/-.
Qther Wqrthwhile American Books ! “ The CardMagicofLe Paul,” cloth, 220 pp., 313 illustrations, available in England only through us, ($8.50) m/“ Hugard’sBookEdition No. 3, ’V&. and VI,” cloth, 232 big pages, 485 illustrations,magic’s greatest book bargain . . . . . . . . . . . . 30/“ ,Conjuring with Christopher,” boards, 71 pp. 88 illustrations .cloth, . . . .256 . . .pages, . 181(I A ConjuringMelange,” 147 illustrations . . . . . . . . . . . . 12/‘‘ Magic with Small Apparatus,” cloth, 320 pp. 183 illustrations . . . . . . . . . . . . 30/“ Magic without Apparatus,” cloth, 544 pp. 226 illustrations . . . . . . . . . . . . 45/Pleaseremit to Mr. RobertsonKeene, c / o Riverside, Victoria Road, Yarmouth, Isle of Wight. V
~
1
l
*
CAN YOU TELLFORTUNES? By VICTOR FARELLI Have you ever been asked theabovequestion? If youhave,thisentertainingandconvincingcardtrick will provideyouwith tbe perfectanswer.Theroutine is describedcompletewithsuggested patter and isembellished withhints on Fortune Telling. Neatlyprintedin an eightpagebooklet, price that no-one can afford to miss.
Per Copy
11, Monastery Gardens, Middlesex
728, Madison Avenue, York, Pa.,U.S.A. “ROUGH AND SMOOTH POSSlBlLlTlES
PETER
”
By Tun Hock C h u m
~
l
Price 51-
Postage 3d.
ARCAS Publications SYDENHAM 404/408 Croydon
ROAD
WORK
ART
By a MAGICIAN who knowsyourrequirements 0
0 0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks madeup. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., LONDON, NI8 Telephone : TOT7742
*
Enfield,
The Magic Circle
WARLOCK’S
PENTAGRAM
A booklet dealing withthe methods and application of the modern principle, by one of the leading experts on the subject. It isrecommended for advanced magicians.
2 / 6 ; postage 2d., from
THE MAGIC WAND PUBLISHING COlMPANY
FLEMING BOOK COMPANY
1
is published on the 24thof each month and can be obtained direct from the publishem for 1/15. per-gngle c o ~ y .Annual Subscription 12/post free. PUBLISHED BY:
President : His Grace the Duke of Somerset, D.S.O.,O.B.E.. J.P., M.I.M.C. Vice-President: Douglas Cnggs, Esq., M.I.M.C. Clubroom and Library
and Museum :
St. Ermin’s Hotel, CaxtonStreet,S.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRmS:
Particulars from Hon. Secretary :
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to send. you details of his very latest effects and all his old favourites in return for a stamped addressed envelope (fnolscap or octavo size please). WRITE NOW, TO
JACK 2,
and a t a
HUGHES
EVSLYN AVENUE, COLINDALE, LONDON, N.W.9.
King George’s Hall, W.C. Francis White, 39 Alverstone Avenue,
Wimbledon Park,S.W.19
Magic Wand Publications The Mygic Wand, Quarterly. Fer copy 318 p.p. Annual ‘ Subscription 14/6. The Wizard, 36 pages monthly. Per kopy 211 P.P. 6 month, 12/6. Year 24/-. John Ramsay’s Cups & Balls(Farelli) 2516 . . 17/10 Convincing Coin Magic (Farelli) Mastered Amazement (Koran & Lamonte) . . 10/3 Bohlen;r’s Mysteries (Bohlen) . . 10/3 Thanks T 6 . -Leipzig(Farelli) . . 10/3 G e q e Armstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 10/3 Strictly Magic (Eddie Joseph) . . 513 Stooging Around (Stuthard) 5/3 26 Living & Dead Tests (GaGett) ..’. Jamesosophy (Stewart James) . . . . Year Book 48/49 (few only) . . . 513 Stunts With Stage Money (Lamonte) . . 5/3 Tricks of the Trade (Armstrong) . . 217 . )
CONJURING BOOKS FOR
SALE
OLD ANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers -
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
:{:
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Mocastery Gardens, Enfield; Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietm The MagicWand Publishing Company, 11, Monastery Gardens, Enfield, Middlesex, and printed by Herbert Walker and Son (Printers) Ltd., Well Croft, Shioky, Yorkshire.
*
41
PENTAGRAM An independent monthly bulletin for all who want good magic
om s
e
V ! .4 J!k6.
195U
As you may be aware, dear card enthusiast, the literature of magic abounds with P,oker deals, a game, alas, not so popularinEngland. On the other hand, the games of S,olo-Whist and Bridge are played extensively. So now would you like to seat yourself at a cardtable,take a borrowed (repeat, borrowed)pack of cardsand proceed to deal some marvellous hands at these games ? But first readthe general effect.
Another 'excellent way is to openly count the cards face up on thetableand jog the clubs slightly to one side, then sweep up the cards and strip ,ant thecards to thetop (see Wilfrid Jon$on's " But no,t to play,'' page 114).
The magician, say after a card game, 'brings the conversation round t.0 card sharpers and their skill in controlling certain cards. After makingsure the borrowed packis complete, he extractsIthe 4 aces to demonstrate his remarks. The Aces are shuffled intothe -pack andfour hands at S.oEo are dealt ; the performer gets the 4 Aces. He follows this by dealing an opponent a Whist hand which does n,ot contain a single trump.Finally he deals himself a Bridge hand containing all the t,rumps. A routine with .enough action to satisfy anycardplayer,or fellow magician.
Say a few words on various card games and mention the odds of getting more thanone ace in a deal and offerto show how.easy it is f,or a sharperto get allthe 4 aces.
Preliminaries. Seat yourself atthe cardtableand any pack of cards offered.
accept
It will be necessary, fust of all, to cull all thy cards of cne particu'lar suit,say clubs, and You may bringthem to the top of the pack. own method of doing this. I t is have your easily doneunder the pretext 'of c,ounting the pack to check if it is complete. One way is to injog the clubs slightly as you run .the cards from hand to hand. Then 'strip out the projecting cardsat the finish and depcs't of the pack. (See " The Lindake themontop Lend me your pack method "-Farelli's pages 15/16). "
"
So let us assume you have,the 13 clubs on t,op of the pack, .and you are ready to commence the routine.
1 . Fan thepack in the left handandtakeout any 3 cards together and plac,e them ion the 1.eft handside of thefan(top).Then remove any club (preferably a spot card) from theleft(top) of pack and place it on the bottom of the pack. Dbo thiscasually as you talk. 2. Openly remove the 4 aces by picking them
out of thle fanned pack and place them face up on the table. Close the pack butmark off and keep a finger break to separatethe f,our bottom cards from the rest of the pack. 3. Arrange Ithle 4 aces meticulously on the table using theright fingers.At the same time dropthe left han'd over yourlap momem tarily and deposit the 4 bottom cards (which contain a club and 3 indifferent cards) on yourlap. (These 4 cards are not needed in the routine which follows).
andstatethat owing to the particular method of dealing it is very easy in this game for a. cheat to get several diesired cards by using a s!mp!e
4 . Mention the game (of Solo
42 shuffle. Youdemonstrate by placing the 4 aces, face up, on ‘the bottom of the pack. Holdthepack i,n theoverhand shuffle position, with ,the left thumband fingers press onthetopand -bottom cardsand lift the rest of ‘the pack. Thumb two cards from the top of the pack on to these two cards and drop the rest of the pack on to the 4 cards. This action ‘takes but a couple of seconds. Lay the pack o,n the table and make one or two false cuts. 5. Demonstrate how cards are dealt a,t,,Solo ; in threes. Deal 4 handsas follows : Deal 3 cards singly, one on top of the ,other, to your 3 left, ,then 3 moreopposite toyou,then more to the right and 3 to self.
Replacethe cutand false shuffle and false cut the cards. D%ealout 4 hands as in Whist, the first hand to fall to th,e spectator on your left. (Be sure not to disturb or disarrangethecards). TaJk about ‘the ,odds against sucha deal, thenpick upthe spectator’s hand. Turn the cards over singly as you deal them‘hapazardly on the tableand show the hand does not contain a single club. 8. Sw.eep thehand
aside. Ask the spectator if heplays Bridge.Whatever the answer say “ Let me show you how tto get a grand slam with the suit we have just selecited.”
9. Assemble the 3 face down hands (any order,
but without disturbing the individual sequence). False shuffle and cut fairly and allow continued on page 47
Commenceanotherroundbutthistime you pretend to deal 3 cardson eachhand This is but onlyleave 2 cards each time. covered by spreading the cards in hand slightly and sliding off two cards instead of three. After this, deal anotherroundbutdrop 3 cards on each hand this time. Repeat with an,oth,er round of 3 cards eachhand.This timeit will be ‘seen that three o f ;the four face up acesfalltothe dealer. You now have 4 cards left in your hand. Deal !these one card to lea,ch handandthe remaining ace will also arrive in the dcealer’s hand. 6. Allow this sharpers’ trick to register. Adjust the dealer’s handbyturningthe aces face d,own but slip the A c e of Clubs to the bottom of the packet to join two more clubs already there.Dropthepacket in the ,left hand, and pick upany one of tbe lother hands 3 clubs at the face-check (whichallhave if youlike).Dropthepacketonthe 12 cards in the left hand. Now crimp ‘these 24 cards upwards. GatherupthIe oth,er two hands(anyorder)anddropthemonthe cards in hand. There will be a strong bridge inthe centre of the assemblled pack.Lay the pack i,n the centre of the table.
7. Mentionthegame ‘of Whist.Statethat the next best thing to having a gosod hand oneself, is to give your opponent a bad one. Say Let me show you what I mean.” Nod to a spectator on your 1,eft and ask him to imagine he is playing a game of Whist Say Suppose be first decide on trumps.” Reachover and apparc.ntly cut thecards ;:t random,actually at the bridge, when aciub \vi11 show. Call clubs trumpsandstate you will deal him a hand without a single trump. ‘ l
Flashback ! F stands for Field
JMEATRE k JVIACIC, NearCENTRAL
ROYAL
STAGE,
AQUARIUM.
.AAAAAAAAAAAAAAAAAAAAAAAAAAA4AAAAAAAAAA-AAAAA~
PROFESSOR FIELD’S +@GtRANDBP
Magical Entertainment. GREAT NOVELTIES c
A N D
STARTLING WONDERS, INCLUDING
PROFESSOR FIELD’S LATEST INVENTION, .I(TXE#b
“
GA I NT CARD FRAME.”
PERFORMANCES 3 TIMES DAILY, Admission - O N E SHILLINaBack Sealts
-
SIXPENCE-
GEAMIW~R’SPrinting Works, 24, Qate Street, High Holborn.
From
the
J. h’. Findluv Colle:ti
!
43
Eddie Joseph’s Let’s go for a Vacation,’’ ( “Linki,ng Ring”, October, ’49) is the best variation of the ‘ Dead Name Test ! that I kn,ow of, h,owever, herek an effort of my ownwhich I’ve found goes d,own very well. “
The requirements are : 1 Autograph Book. 1 short, hard pencil, sharpened to a point. (“ Mainly Mental ”). Theautograph book is handedtothe most prominentmember of the audience (Presiden’t of Society, Mayor, etc.).He is asked to imagine that heis some famous and well-known person, i.e., sportsman,artist, actcr, politician, etc., who is being asked {to sign an aut,ograph book; he is asked to turn to any blank page and to write his chosen ,name anywhere ,on that page andanyhow he likes, i.e., not necessarily horizontally, but diagonally,etc., if hewantsto. This done, youpatteron :to the effect that everybody has seen an autograph b.ook, ,the pages filled, higglety pigglety, with signatures;the V.I.P. is asked to add some more famous names on the same page as his chosen one, until the page is filled up with names, written in all directions.
Y,ou now take the book, “Let’s see whlo we’ve got with us t,o-night!” “ There’s .................... , ................., and .........:...... , etc. Well, we’re in good company!” etc. You now ask the V.I.P. to concentrateonvariousaspects ofIthe chosen name and build up, a la D’ead Name Test, ,to the final denouement of the full name. The spectator can, of course, show the other spectators (the chmosen name b.efore the other
EFFECT,-The hands are shown empty and a coil1 isproduced between the first and second fingers of the right hand and placed between the first finger and thumb of the left hand, edge on. Four coins are produced in this way and placed betnectn {thefingers of the left hand. The right hand is shown empty and the coin between the first finger and thumb is taken hold of by the tip ‘of the first finger and thumb of the “ split in two, making five in righthandand alll. The fifthcoin held between theright first finger andthumb multiply to four coins being run up on edge between the fingers of theright hand making eight coins in all. ”
names are ad,ded, and thus otherspectators can participateinthe revealing of different aspects of that name. Now, the be.auty of the above effect is this. After the successful conclusion of the test YQU get the V.I.P. to autograph and d.ate that page. As time goes on you arethe possessor of a unique “ ,objet-mentale,” ,each page being signed by some well-known citypersonality andthe ‘names ’ that he chose. You’ll find that spectators show a great interest in this, and pass the book around, flipping through thepagesand commenting on the signatures therein. The method, of course, is,the old idea of a fine-pointed pencil leaving a fineline at the beginning of the first name written. However, I always do a bit of ‘pencil-reading’ as the chosen name is written; justto makesure! I have, on occassions,used an idea of my ,own, it is this : during a previous test I obtain a sample of the V.I.P.’s handwriting(question on billet, etc.), the salient characteristics {of his writing are noticed and remembered. In theautographtestthe V.T.P. signs the fam,ons name and other spectators fill in the remaining names. A study of the handwriting reveals the chosennamle; this needs practice, ’however, and is only used occa$i,onally. The broken-pointed pencil gag can be used, of course, and .also Eddie Joseph’sidea, using boot-black ,or mascara on thetip of the pencil, but this ‘entails rubbing the page andis not wholly satisfactory as far as smoothness of routine is concerned.
The coins inthe left hand .are droppedinto a dish or bowl on the table followed by the four coins between the fingers of the right hand. The two handsare placed together palm to palm and a shower of coins run through thehands into lthe bowl. To accomplish this effect requires considerable. practice and the following sleights are necessary. The ability to hold .and produce coins, one at a time, from thecrutch atthe base of the first finger andthumb .of the righthand, also to be able to run four coins up between the fingers of the right hand edge o,n. contTnti4e.d ‘ori page
47
44
It will be *obvious tothe reader, thatthe principle difficulties in arr.anging the sequence for an ,eight Billiard B.all producti,on are :
A few prelimin.ary remarks regarding ithe properties used (i.e., the billiard balls and the h,olders) will not be out 'of place at .this stage.
(a) That as billiard balls must necessarily be a time, considerable produced one at ingenuityisrequired to evolve suitable moves for (completing the production, because there comes a period about halfway through the sequence, when one hand is fully ,occupied incontaining the balls already produced.
The best type of ball to use is undoubtedly that made of a fairly hard wood, provided a good enamel finish can be obtained. On the other hand, from the point of view 'of appearancethe ivorine or 'even real solid billiard ballsarethe best, although the former suffer from thefact that they do not make a very gomodsound when kn,ocked against each,other, whilst thelatterare ra'ther too heavy for some performers.
(b)That (theproblem described under (a) is intensified when the production of the lastballisreached,and a difficultonehanded production of some kind becomes necessary, if a graceful finish is tobe attained.
Fsor these reasons, therefore, many wouldbe perftormers of a n eight Billiard Ball production have " gat stuck " when .about half-way through the arrangement of the sequence, and have either given up in despair or else been satisfiedwith a final result that leaves much to be desired. At the end of this article I describe in detail my aown sequence $or the productimtof eight billiard balls which I have performed for nearly seventeen years ; it has, of course, been designed to suit my own style and to include my own particular sleights buteachindividud perf.or.merwill be able t.0 introduce the necessary alteratimons to me& his own requirements. Themainpurpose of describing my moves is, theref,ore, to provide helpful sug,gestions t~ enable myreaders to ,ov,ercome the difficulties described in the foregoing, when developing their own .act. The chief aim En designi,ng an eight billiard ball productimon sh,08uldbethe adoption, tothe fullest possible extent, of the " lone ball ahead '' principle.
F,or the benefit ofthlose who have not previously heardthis term, it simply means that as far .as possible, the performer has ,obtained possession of one more ballthan th:e one which is about t'o be produced. T,o put itanother way,itmeans thatthe performer is in the position of being 'able to produce two balls without (obtaining a further load. I t is within thle realms #of possibility tobe tw,o balfls ahead, or to be in the position of being able to produce three balls without recourse to a further load.
The mistake should not be made of attempting 'to 'use a ba,llwhichistoo large for the performer's hand, having in mind that the fingers arefully stretched when hmolding ftour billiard balls between them. The balls I use are only 2iin. diameter, but they are so in proportimon to the size of my hand that they appear to the audience tobemuch larger.
In my own sequence, I make full use of .the shell, and here a good fit lover the ball is essential.Ivorineisthe best material forthis most a fit useful piece ,of " apparatus," withwhich can be obtainled, such that the ball and shell can be turned wrong side to th,e audience without fear of deteclti,on. There is a tendency amsong magicians t,o-day to despise the use lof the shell, but in my (opinion no would-be billiard ball manipulatorcan afford to d,o this, because with the skilful useof the .shell many entertaining effects can be ,obtained such as are not possible by any other means.
It will be lobserved from the description of my own eight ball sequence that the h e l l is used to its fullest extent for the first half of the prois discarded ab,out half way duction, butit through, when it is no longer possible to use it effectively. The productilon, therefore, finishes with what can obviously be demonstrated as eight solid billiard balls, andto the uninitiated there should be no suspicion ,of a shell ball having been used. The best type .of Billiard Ball holder for allpractical purposes, is that described by Burling Hull in his treatise on Billiard Ball manipulation.This consists of a /tubemade lof some silken fabrichaving a diameter somewhat larger thanthebilliard balls, a.nd a length to suit the one number of balls tto be contained inany 'holder.My town holders are made of black si'lk george'ttewhich is of the righ't texture and very strong and durable. One end of thetube must have an elastic band sewn in, somewhat smaller
in diameter than the balls. For those performers wh,o wear a .dinner jacket,the holders situated under the edge .of the coat can bebacked by a strip ,of stiffcelluloid'or similar ma,terial, so that itonly requires a pressure ton theball in the holder, with the inside of the wrist,to cause the ball to be squeezed through the elastic band and dr'op intothe fingers, which should be curled under the ledge,of the coat to receive it. I n this way a ball can be taken out of the holder without the necessity of 'turning that side o f the body away from the audience.
In my ,owncase I always wear a tail c,oat andthusmy loads are obtained bythehand which isawayfrom ithe audience and consequently I dispensewith the 'celluloid strip. In the descriptimon of my own sequence whichfollows, it is assumed that the readeris familiar with the common terms referring to standard sleigh,ts, and, of cmrse, the usual abbreviations are used for right hand (R.H.) and left hand (L.H.).
Requirementsm. 8 solid billiard balls. 1 Half shell to fitclosely over any of the 8 balls. 4 Billiard ballholders as described above, one to hold 3 ballsand 3 to hold one ball each.
Sooaer or 1,ater it seems ;to fall t8o the lot of alleditors of magical publicatimons to apologise f,or their ignorance or carelessness in publishing witbout acknowledgment an effect already described or marketed. Ours is the plea of ignorance,and when we published in ourJanuary number an anglicised version of '' Pay Day " we were unaware thatour friend B.ayard Grimshaw hadthroughHarryde Seevahmarketed a similar version in 1946. ?Ve knowforcertain that Will Dexter was also un.awa.re of the f,act. In maki,ng ithis apology we ,h'ope that th,ose who intend tfo wlork the effect will take advantage of the fact that printed envelopes and tickets ready for the ,effe.ct c,anstill be supplied byHarryde S,eevah at the most moderate price of 3/6. Bythe time this issue appearsinprintthe Magic Circle Banquet will have taken place and $hatthe nextbigevent will bethe Festival of Magic that 'will be held in the customary first week 'of October. Plansare alreadyon foot to make this the one magical show of the year that cannot be missed.
Disposition. Thelarge holder sh,ould be pinned. so th+ it hangs dcown under the L.H. side of the jacket or coat tail (as the case may be) so that the bottom 'of the holder with the elastic band sewn in is levelwith the fingers when natural posi'tion. the arm is hanginginthe This 'h,older contains 3 balls, the middle one of which is fittedwith the shell.
One of ;the small holders containing one ball shcould occupy a similar position on the R.H. side. Theather two holders each containing one ball should be pinnedunder Ithe waistcoat so that the ballisas low towards the edge of the waistcoat as practicable. The remaining two b a l s are placed in the ,R.H. trousers pccket. Sequence of Production. Each move inthe following bears an i,ndex number for convenient reference.
The performer',s act should be so arranged thatjust pri'or to commencing the Billiard Ball produdion his right side isturnedto th,e audience,possiblyto lay something ,d,ownwhich has been used for the previous effect. This gives the opportunity of gaining possession of the first ball from theleft h,older and palmingit in the left hand. [ T o b e continued3
Duringthc February meeting of the Committee of Man.agement of NAMS, perhaps lone of the most interesting contributions was the display of posters and programmes fpom the Magic Circle museum. BothArthur IveyandFrank Fewings worked hard 'on *he ,Sunday rnorning so that the late getters up could feast their eyes on the relics of a past age. Particularly interesting were the posters of Cazaneuve and hisniece, a Robed-Houdin poster that was modern inconception and a programme of the Royal Command latter was a properformance in 1911. This gramme of " greats." Thefactthat it included Devant makes it a magical collector's piece. After the most interesting article on Evanion in a recent " ,Sphinx " it was plea'sant to find some more Evanilon memorabilia and also twomembers who had recollections of one of his last performances. Our belief 'thatthe Torrini-DeGrisy story was nothing more than a myth was recently shaken bythe 'sight of a cutting regarding the Comte DeGrisy.
MAGIC G O ROUND-continued from page 45
The greatestjinx of a trick is goi,ng tobe worked again, this time by Maurice Fogel.We refer of course to the Bullet Catch. I t is d’oubtf u l if anyone could sell it better, but one wonders how suchan effect tiesup with mentalism. In 4he modern version it is a risky business. Stanley Collins has sent us along a very nice “ transcendental contribution touching on his book test ” and it will appear in the May issue t,ogether with a typical Francis Haxtmon effect, “ Restless Choice.” Our friend Leslie May tells a ,nice story about a mentalist whmo rang his local exchange. ‘ Number,please,” replied to operator, to which the Oh, any number between,one mentalist added and ten.’’ “
Finally, here is a quite effective feat that we sawourdaughter use the other evening. The requirements are ‘one ordinary pack of cards and one pack ofJumb4o cards prepared as described by us ,on pages 20/21 Patterns for Psychics.” (This, as some will know, enables the magician to fan the pack $showingboth sides, and yet one of twelve cardscan be f,ound reversed).The twelve cards corresponding with the twelve reversal ” cardsinthe jumbo are now separated from the remaining cards in the small pack “
and placed on t’op!of this pack. With fhe Jumbo pack in its case ,or encirded with an elastic band the magician is ready. He mentions h,ow certain people and even .articles have a bond #ofsympathy c c Here is such an instance.’’ between them. The large pack is picked up first and fanned and. then placed back )in its case. The smaller pack is picked up, false shuffled, and approaching a spectator a bunch ,of cards (ac,tually the twelve!) is taken from the top of the pack and fanned in front %ofa spectator, who is asked to think of one card. The bunch of cards is now handed to him. The remaining cardsaretakenand dropped on the table, theJumbo p,ack being picked up. The spectator is .asked to rem,ove his th,ought of cardfrom thebunchand sandwich it between the other cards, face uppermost. As ,hedoes this thecard is noted by the magician. The Jumbo. cards are now removed from their case and fanned faces t,o the audience, the Jumb,o corresponding to the,thought ,of card being separated inthe prccess. The latter will of course haveits back t.0 theaudience. The spectator is asked to name the card he thought ,of (the thought mo’tif you willnotice is plugged all the time). When thi,s is done the fan is slowly turned round showing the card reversed.
“
‘‘ MAINLY MENTAL,” Volume 2 (published bythe author, Mr. C. L. Boarde, of 8012, l90 Street, Jamaica, New York City, U.S:A., price $7.50, obtainable through the Fleming Book Co.). Theenthusiasm combinedwith expert knowledge of the subject made the first volume of “ Mainly Mental,” a n essentialforthose whoviewmagic in a n intelligent manner. The painstaking thoroughness with which AIr. Hoardehad written his thesis not only brought forth eulogies from the magical Press, but cne’s magical appetite was whetted with the knowledge that there was more to come. Volume two dealswith Imok testsandhadthis particular phase of mentalism been under revie\v a year ago, \ye should have caxpressed our doubts as to whether this presentation of direct mind reading merited such ;L niche. The way, however, thatthe public in our own country has accepted \vith such great credulity the various book tests undertaken by the PiddiI@xm team causes us to revise our ea.rlier opinion. 1 3 0 0 1 ~tests, houmm, are merely a novel presentation o f telepathy, but iu that novelty are to be found some subtletiesnotto be applied t o more straightforward prcsenbtjuns,i.e., a billet test. ilk. Boarde does not set out to present an encyclopaedia of lmok tests, forwith a true understanding of what is R good mentnlistic platform he avoidsthose, so many,tests smell of conjuringand andthereare sometimes bad conjuring at that.Let us quotethe author’s o\vnwords : The reader Lvho hasmastered be able a n understanding of theinformationmaynot
t o claim complete and exact knowledge of book tests. However, he would be justified in believing that there isvery little indeed onthesubjectwith which he is not familiar orcapable of analysing to a satisfactory solution.” Section oneafter disc,ussing the book test generally covers a wide ground regarding thematter of forcingbook,page and line followed by a short .discussion onthematter of references. Section two deals \r.ith thestrict force,meaning thatthe method of apparent selection resolves itself intoone word (or line) in one particular book. Mr Boardefirst of all dealswith 1)ooks that have been specially prepared, after \vhich under the title of “ Aristeas Redivivus ” he tackles a t length many paxt is subterfuges in whi,ch markers are used.This a n excellentmonograph,fornotonly is thenatural handling of markprscovered, but also thetrick book, for specially aligningmarkers comes under consideration. Spinelxeaking (of lmoks) is covered, andthere is a beautifulmethod of switchingexplained. I n this sectionappears our own application of a card stab principle as a means of selection.Theprepared section concludeswith certain observationsregarding specially nade books. The unprepared part goes into methods. of forcing, using borrowedbooks as well as one’s own. The tying up of billets with books is also covered. The latter part of the section deals in a most comprehensive waywithfakedmarkers,andotherextraneousmeans whereby the force is brought to the hook.
“
Section three is entitled
“
TheRangingForce,”
47
'' I M P R O M P T U
S O L O - W H I S T - B R I D G E I D E A L "-continued
fiom page 42
a couple of straight cuts by spectator, but be sure there is a club on the face at the finish. Quickly re-deal the 3 hands, th.e third handto yourself. Thisaccomplished,sweep aside the first two hands and pick up-$he last hand. Turn over the cards singly and scatterthem face up. It is a full hand of clubs.
At the first opportunity quietly replace thefourcardsfromyourlap with the rest of the cards on the table and walk away.
CREDITS : To Fred Robinson, for the Solo D.eal. To Jake Stafford, fm the use of 48 Cards. To Wilfrid Jonson and VictorFarelli for t4heCutting.
H A R R Y L A T O U R ' S COIN MAGIC-continued from page 43
Thesatup of this routine isas followssmall hole Twenty-fivepalming coins havea drilledhroughthecentre. Florists' wire isrun throughthestackandbent or twisted so that the coins ,can be retained and at the other end a loop is formed so that the thumb of the left hand can be slipped in toit.Thisstack, with the Imp uppermost, is placed' in the coat pocket just behindthehandkerchief.
If this effect is ,used asan opening, eight .coins can be palmed in the right hand and transferred ,to the crutch between the base of the right first finger andthumb.The second finger goes underthe stack and draws 'the bottomcoinand slides it betweenthe first and second fingers. F,our coins are produced and placed edge on between the fingers of the left hand.The right hand adjuslts the coinsand 1,oads theotherfour from the right hand o'n top ,of the coin held between the first finger and thumb of t,he left hand. The first finger and thumb of the right hand takes h.old ,of Ifhe four coins that have been loaded on to 'the 'original coin held and opened rather like a book and without any hesitation the f,our coins
heldbetweenthe first finger andthumb of the right hand, shown as one, are run up between the fingers, edge on, making four coins in each hand. The coins in the left hand are dropped slowly into a bowl and then as the right hand starts to drop the coins, the left hand is placed on the lapel of the coat andthethumb goes through the wire h o p holdingthe stack andliftsit upwards and the stack rests in t,he palm ,of the left hand.Theright 'hand, n,ow empty,and the left hand with stack in palm are placed together over the bowl, a pull on the 1,oop and a slight rubbing movement,the coins will come 10,ose andare allmowed to fall into the bowl.
I should like to makea few statements re this routine. In holdingthe eight coins to start with, it is usual for me to tilt them down towards the palm which gives better cover than the usual meth.od. I make no claim for originality in (the methods used, but it is the application #ofknown methods thatmakes this routine different. By painting the 'top coin of the eight flesh col,our on one side will stop any flash."
B O O K S and R 0 UTI NES-continued from opposite page
i.e.,method whereby the mentalist knows into which group a certain word falls but either by means of trial anderroror some subterfuge that will helphim in estimating the position of the word. Part " A " of this sectionthereforecoversmeans .of marking books so that the mentalist is aided in his estimation of page. In thispart means of " keying " arealso discussed. Section " I3 deals with unprepared books, and besides actualmethods some excellent auxiliav subtletiesare provided. 'I
Section four, " PostFactum," is dividedinto two parts A and B, and dealsrespectively jvith methods applied to prepared and unprepared 1)uoks that do not fall underthe previousheadings. Mr. Bosrde hasagainproduced a. book that will nwrk on book tests ; i t sholvs becomo thestandard intelligence, a love of good magic andgreat knowledge. If magic survive. (and if mentalism falls it will not)this book \vi11 read as good in n hundred years'time as i t does to-day. 1TnI.eservedly recommencled.
FOR
SALE
Principals only Bred apply. 1
ONLY
NELSON PREDICTION L'sed. but
Cost $lW.(lO.
pills
In
( ' X C I I!(.nt
CHEST condition.
20q0 Import I)ut).. and 33:% Purchase Tax
1 ONLY
NELSON SECRET INVENTION t: .ting. !t'* perfor,nan(.c is h: t t u t h a n thc. ;dvertiscrl claims. XIo,, lmy),krt Duty, .:m1 33:,':, Purchas: T:s 0 S I . Y cqlr;p-ncmt cb-pccinliy dwignrd for tll:, ;!?intl~,~z.drr.
N: W . r:?(ratcd cnlv ior ('nst
i407.00. pltls
T h i s i<
it::.
Mered forsalebecausebusinessand otherreasons preventthe owner from raking advantag- of an offer to tourthe No. 1 Music Halls. The purchaserwillbe put in touch with the Agellt, if he wishes. Send off .rs to
'BOX N . l , c / o THE PENTAGRAM
THE LAST WORD ON BOOK TESTS ! All you’ll ever need t o know about BOOK TESTS, magazine tests,and simliar feats is explahedingreat detail in
Mainly Mental : Volume 11. by C. L. Boarde, just published.Here are dozens of amazing methods which most magicians have never dreamt of! All sorts of ways to force abook, a page, a line, and a word, or (if you prefer) t o have a word or passage freely chosen andthen discover whatit is! Available inEngland only through us. Soft boards, spiralbinding, well printed by offset on good paper, 133 pages, 106 drawings, ( $ 7 . 5 0 ) , a t ourauthorized “ the share loss price ... 451”
Other Worthwhile ‘Amet&an &ks
!
The Card Magic of Le Paul, available in England only from us, 220 pages, 313 ill., ($8.50) ... 601Hugard’s Book Edition No. 3, magic’s greatest bargain, 232 big pages, 485 ill. ($5.00), “ share the loss ” price . . . . . . . . . . . . . . . 30/Conjuring with Christopher, boards, 71 pages, 88 illustrations . . . . . . . . . . . . . . . 181Magic without Apparatus, unparalleled, 544 pages, 226 ill. ($7.50), share the loss ” price ... 45/Encyclopedia of Silk Magic (Rice), 500 pages, 1800 ill., ( $ l O . O O ) , at our authorized ‘‘ share the price . . . . . . . . . . . . . . . m/loss Please remit to Mr. Robertson Keene, c / o Riverside, Victoria Road,Yarmouth, Isle of Wight.
..
..
FLEMING BOOK COMPANY 728, Madison Avenue, York, Pa.,U.S.A.
CAN YOU TELL FORTUNES? By VICTOR FARELLI Have you ever been asked the above question? If you have,thisentertainingand convincing card trick will provide you with the perfect answer. The routine is described completewith suggested patter and is embellished with hints on Fortune Telling. Neatly printed in an eight page booklet, and a t a price that no-one can afford to miss.
Per Copy 2/6 ; postage 2d., from
THE MAGIC WAND PUBLISHING COMPANY 11, Monastery Gardens, Enfield, Middlesex
r
“
ROUGH AND SMOOTH POSSlBlllTlES ’’ Ey ‘Tan Hock Chuan
A booklet dealing with the methods and application of the modern principle, by one of the leading experts on the subjeer. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications 404/408 Croydon
SYDENHAM
ROAD Surrey
PETER
The Magic Circle
WARLOCK’S
PENTAGRAM is publishedonthe 24th of eachmonthand can be obtaineddirectfromthepublishersfor 1/1 per Lingle copy.AnnualSubscription 12/post free. PUBLISHED BY:
President : His GracetheDuke
of Somerset,
D.S.O..O.B.E., J.P., M.I.M.C.
Vice-President: Douglas Cragps, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscriptsfor publicationandbooksfor the: review should besentto EDITORIAL ADDRESS:
ParticularsfromHon.Secretary
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
I
ART
WORK
By a MAGICIAN who knows your requirements
0
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings,
JACK LAMONTE 28, WARWICK RD., LONDON, N18
Tc!ephone : TOT7742 ’
JACK
HUGHES
will be pleased to send you details o f his verylatest effects and all his old favourites in retnrn for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK 2,
HUGHES
EVEI.YN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW.Letme know yourwants LIST FREE FOR STAMPED ENVELOPE ~No Callers
Magic Wand Publications v
The Magic Wand,Quarterly.Fercopy 3/8 p.p. Annual suhscription 14/6. TheWizard, 36 pages monthly.Percopy 2/1 p.p. 6 month, 12/6, Year 24/-. John Ramsay’s Cups b Balls (Farelli) 25/6 Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & T,amonte) . . 1013 . . 1013 Bohleno’s Mysteries (Rohlen) Thanks To Leipz:g (Fal-elli) . . 10/3 George Armstrong’s Premonition 10/3 Entertaining With Hypno:ism (Drxter) 10/3 Strictly Magic (Eddie .Tosclph) . . 513 . . . . 5/3 Stooging Around Wnthardi 26 Living & Dead Tests (Garrctt) . . 5/3 Jamesosophy (Strwart Jarnvs) . . 5 0 Year Book 48/43 ifcw only) , 513 StuntsWith Staqc Money fT.amnnt?) . 513 Tricks of the Trade (Arnxtrnngj .. 2/7 ,
p -
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDD1,ESEX
From the publishers T H E MAGIC WAND PIiRLISHING CO., 11. Monastery Garden., Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin
Publishrdbythe
proprietc-o The Magic WandPublishingCompany, Walker and Son (Printers) Ltd.,
11, hIonnstery Gardens,Enfield,
Well (‘roft. Shipley, Yorkshire.
Middlesex, andprintedbyHerbert
*
49
PENTAGRAM An independent monthly bulletin for all who want good magic -.
V ! .4 &a. 7
9?&ecm sAit?&q
Up& 19.50
>ledrington, the son of 1,iverpol's chiet phutogmpher. was born in the year 1898. Hedied in 19.94. His likingfor magic began at an earlv age, and when onlyseventeen he had a book, " Magical Novelties," t o hiscredit.He was anamateur in ever?sense of the word ancl his predilection was fornon-mechanical magic. Nearlv every card manipulator to-day must rwe MedringtAn a dkbt for the prettv sleight he originated. whereby a silk is drawn1,nrktiards and forwards through t.he fingers whilst cardsare back or front palmed.He became a mamber of the Magic Circle in 1916 the headquarters then heing a t Anderton's Hotel, in FleetStreet.Henot onlyperformed at a numher nf Socials held there but also appeared at St. George's Hall in the Grand Seance held there in 1921. H P was a distinguishedperformer and in hismanner therc was to he found a kinship withDexter.
Hammond hledrington. H. C. llole, Ernest Jack le Dair were mainstays oi the old Northern Magical Society. and in companv with the two first named he produced a book,' " T h e Tomorrow," that \vas the first English Magic of nlaglcal puhlication t o beorderedinbulk by cableErame. This was way back in 1919. Although the searcher through a bibliographv will find a number of items against t h e name n f -Aietlrington. his best solo puhlication "S a " Dozen of Magic." His book on " Stagecraft (written withallhumility as a looker c m 1 contains excellent. advice whilst his hook on Datter r~~~~~~ is forgotten. He- was "11 most friendlytermswith Augelo Lewis. During theFirst World War he served as a Captain and the photograph here was a k e n at that period, He was a most superstitious individual and if the day were a Friday or i t was the 13th of the month he would not leave his house (his position as an agent on a very large estate allnwed him such latitude). It was therefore a strangething that awakeningonemorninghe toldhiswife that he didnot feel well. He alsoasked her whatdayit was. Her reply was " Fridaythe 13th.'' She left him to fetch a stimulent. On her return she found that during herabsencehehaddied. Inthis. issue,! have included three of hi:, owu published ideas. The Bones of Contention." Your All are good, though Choice," and " All Smoke." merthirty years old, the last named being found to-dayinthe programme nf one music hallworker. which I3esides this is an item of ErnestHammond's is of greatinterest as he and Nedrington used it war Dexter's luck in the twenties. I havealsoincluded BurntNoteeffect, as I knowMedrington v a s oneof those who had permission t o use it whilstDexter X\ SI alive. To conclude, aninstalment of GeoffreyBuckham'sBilliard Ball routine, which I am sure would have given great de!ight tn this lover of natural magic,
This a a s one of Dixter'sfavourite effects when performing for a small group. It dates from 1914. It vas an effect that provoked much correspondence in the Magic Circular. after a membcr of the Maqic Circle hadnot only liftcd the effect piecemeal, but atso had impudentlyper-
fcrmed it in front of an audience when Dcxter \vas present.Dexter'smain claim for originality regarding the effectwas the use of tweezer? f o r handling the note. The stxpe is set with two side tables, on the left h m d (from the audience's point of viclv) one
:jnd
best
~~~
~~
~
~~
~~~
50
A candle and candlestick, the two together being of suchaheight that when the candle is alight and th.e candlestick is rested on the table the flame wil be about level with the base of the clip a t the top of the stand. A pair of tweezers. A pair of scissors (these are placed in.a lefthand pocket). A box of matches. The preparation consists only of making a slit along the address side of one of the envelopes, thus :-
I
rests a metal stand having a small clip at the top (Fee illustration), a number of envelopes, a candle in, candlestick and a pair of tweezers. Theright hand table simply carries a standsimilar to the one onthe left handtable. The magicianasks for the loan of a tenshilling or one pound note; whilst this is forthconiing and the lender is makinganote of th? number, the magician picks up the envelopes and approaching a member of the audience, asks him to take two of them, and inspect them. After examinationthe spectator affirms thattheyare just what they are meant to be. Both envelopes, are then marked. One is sealed and without any possibility of exch.ange, placed against the'stand ontheperformer'sright.The sealed envelope is thentakenandplaced in the left-hand stand. The lender of the note is asked to fold it first in halves, th,en quarters, and just once more for luck. One envelope is taken from the table and taking the tweezers in his other hand, the magician uses them to take the note from the lender. The note is thenplaced ipside the envelopeand the flap sealed down, and placed in the clip in the righthandstand. Proof of thepresence of the note in the right-hand envelope by the magician lighting the candle and showing the silhouette of the note in theenvel~pe.He is, however, careless and whilst talking allowsthe flame to catch the envelope. Too late he realises his mistake. The envelope burns itself out, but all is well, for going to the left-hand envelope and cutting a part away, he reaches inside with the tweezers and brings out the note quite undamaged. The requisites for the effect are :Ab,out one dozen business-sized envelopes (the paper from which they are made should be quite thin). Two stands(asillustrated).
A piece of tissue paper(not flash paper) of similar size to a bank noteis folded SQ that it is one eighth of itsnormal size and placed inside this envelope. When the envebpes are placed on the table they are all facing inone dirction, and the flap side lies uppermost. Theslit envelope is placed at the bottom ,of the stack. Apsartfrom the positioning of the vari.ous items th,at is all the preparation. Before detailing the meth,od, I would like to mention that Dexter, just as he did with the card stabbing effect, would vary his methods, and that thepresentone is the one most often used. His othermethodsvaried in small details and were mainly concerned with the switching of the envelope. The present switch shouldbe all the more welcome for (so far as my limited knowledge goes) it has not been published.
G stands for (De) Grisy
c
To Managers of Theatre@ andMusic Halls.
WMTE DE GRlSY'S Unrivalled Entertainment
d Yaglc and \his Beautiful ENTRANCED QIRL as performed by bim with ;reat arrco~llsthroughEngland,Ireland, 'Scotland Wabr. Now Dieengaged. Addreas, 31, Qllbert-street,Oxford-ntreef London./$&d
From thc I. B. Findluy Collection
51 The magiciancommences by asking forthe lof a bank note. Thenote being proffered, the lender is asked to make a note of the number forfuture reference. Pickingupthe stack of envelopes with his right-hand fingers underneath,
thumb on top. the magician approaches a member of theaudience with therequestthathe will two top inspect two of them.Thussayingthe envelopes arethumbed d f an,d handedout. At thispointtheenvelopesarepassedtothe lefthand, this time the thumb goingagainstaddress side of the undermost envelope, i.e., the slit envelope. The left-hand now drops to the side. Incidentally, all this takes only a moment or two to carry out. The envelopes, being given a clean sheet, he takes them back with his right hand and requests.thatthe examiner initials them.The left thumb,inthe meantime, has surreptitously moved the slit envelope so that it projects about half an inch ov.er the rest of the envelopes. " This one first,' ' says the magician, as he brings up his left hand, whilst simultaneouslyhisright hand places one of the enve1,opes he is holding, address side up on top of the slit envelope; it is placed so that it is inalignment with all but the slit envelope (see illustration).Thespectator now initials the envelope. Theother envelope, also address side up, is nowplaced on top of it, so thatit is in alignment with the slit envelope, and initials added to that. " And now the other sides, please." At this point the right-hand thumb and fingers, with a slightoutward pull, take the two projecting envelopes at the point where they overiaptheothers (see illustration)andturnthem over together. The move is completely deceptive and a quick trial will convince you. Thus the topmost envelope, flap side uppermosts, and which is, of course, the slit envelope, is initialled o'n the flap side, and so also is the other envelope, which after initialling, thespectafor is asked to seal down. Takingthetwo envelopes a t hisrighthand finger tips, theyareseparatedfromthe remainder, and heldaloft.Themagicianreturns to his stage and droppirng the main batch of envelopes on a chair, he places the two initialled ones
against the right-handstand.The sealed one is now placed in the clip in the left-hand stand. The note is now asked for, the lender being asked to fold it into asmaller size. As he does this, the tweezers are taken with the right-,hand. Approaching the spectator, the magician takes the note with the tweezers, thenpicking upthe slit envelope with ,his left-hand, he takes it in such a way that it canbeheldflapdown.The Rap will not, of course, fall down because of the natural springiness of the paper, and so the magician moves the flap downwards with the note heid in the tweezers. The note is now inserted intotheenvelope,but is engaged in the slit and pushed through into the hand of the magician. The right-handpockets the tweezersin either the breast pocket or righthandpocket, whilst theleft-handbringsupthe envelope, m,oistening the flap, and then with h i s right hand pressing it dxown. The right hand tak.es theenvelopefrom the Jeft, a t thesame time, turningitround so thatthe flap side f&es the audience and slips it into theclip on the right-hand stand.This leaves the note in a finger palm position in theleft-hand.This lat,ter now' picks up the matchbox lying on the table, and with the aid of the right-hand, a match is extracted, ignited and the candle lit. The matchbox is then dropped into left-hand pocket, together with the note. The silhouette of the ,note i,n the envelope is now shmown (this is where the needfor a thinpaper envelope comes in), by lifting the'candlestick and h,olding it so that the flame is behind the envelope. He talks, andashe does this, and without looking a t what he is doing, places the candlestick insuchamanner,thatthe flame comes immediately beneath the edge of the envelope. He still talksand gestures tothe left-hand stand. FiEally, the audience make him realise what has happened, butfar too late, the envelaope is now abiazing inferno. (To the reader of the present day, I should like to say, that Dexter, who was a performer of dignity, did not as may be expected, treat this as broad farce. I n fact, so fine was his presentation technique, that on manyoccasions the actualhappening was takenasbeingunintentional!).The flames die outandthe magician, with his left-hand removes the scissors fromhis pocket. At the sametime he finger-palms the folded note out, but the audience don't see that. The scissors are passed to the right hand as the magician moves across to the left-hand stand, his left-hand 3 (fingws to the front) then remo,ving the envelope. The- folded note thus rests against the fiap side of the envelope. The envelope is turned over and helddownwards, theright-handthen right-hand cutting ,off a slice of wvelope.The drops the scissors into the same pocket fromwhich the magician now- takes the tweezers. Apparently he inserts these intothe envelope.Actuallyone point goes inside whilst the other goes outside und oaer the nole. The tweezers are now squeezed, Continued on page 53
52
Effect. Standing ontableare a silk hat, (a tray, a round tin of Three Castles ” or “ Gaold Flake ” cigare,ttes an,d an empty cardboard tube of a size t’o take the cigarette ,tin, andrather more than twice is length. Performer draws attention to the articles, and shows them one by one. He emptiesthe cigarettes from the tin onto the tray and pours them from !the latter into the hat, covering the hat with the tray. The ernfly tin is placed on the trayand colwed with the tube. A change now takesplace;tubeis rem,oved from “ empty tinand casually sh,own empty, but the tin is now full of cigarettes. Tray is taken from hat, and the hat shown quite empty. “
”
Requisites. Twotins,bothfull ,of cigarettes. One tin is placed in full view on table.This tin has its bottom blackened with lampblack,unknown to audience Under the tray-so that it can be picked up with it and secretly held underneath-is an oval fake exactly representing the inside of the crown of the hat. This should fit tightly into hat about 16 inches from .the crown. It can easily be made from a piece of tin cut to size and covered with whitesilk on one side with an imitation maker’s name in centre similar t9 that in hat, and theother side blackened to match b,ortom of tray. The ‘one used by ,the writer is simply cut from a cardb,oard box and covered with white glazed paper. The tube is prepared in the following manner. -4t the cenxre of lecgth, several black threads are stretched across to form an invisible division. The inside ,of the tube is also blackened.
Effect. Performerbrings ,ontwo packs ,of cards, a large bone paper-knife, a very small ditto ,and an elastic band, also a hatthough thismay be borrowed cor dispensed with. Pack No. 1 is shuffled andthe elasticb.and passed roundits c,entre. A spectator is invited to insert the smaller paper-knife into any part of this pack leaving about an inch projecting, when it is dropped into the h,at.
The second rin of cigarettes is placed behind the hat so that it is out of sight. To perform.
Show the tubeempty with the right hand, allowing the audience to see through it-the threads willnr,t 5e noticed. Place it behind hat over fake, at the same time the left hand removes hat to show it empty. Show visible cigarette ,tin (‘not exposing blackened botton~)and empty cigarettes from it on to the tray, which is first casually shown, black side of fake under being unnoticed by audience. Empty cigarettes from tray into h,at, and cov,er hat with tray, allowing fake to drop inside ; white side up, of course. Tube is now placed on tray, withsecond (full) tin ,of cigarettes secretly held through the sides at lower end, and left standing on tray.Empty tin is now tak’enand apparently slid throughtube a0.n totray.The noise it makes striking t,op of concealed tin through thread division exactly imitates $he sound it would make if it reached the tray in reality. Th,e tray isnow removed from hat, an’d performer pretends tobe palming cigarettes out 0.f same. This gives him a chance to fit the fake firmly into position, and ‘hands and hat can then be shown empty, or in “ stirring up the contents of hat with the magicwand ‘the fake can be pushed home. Now to finish trick, raise ,the tube by top edge and display the full tin on tray. First tinis held by thethread division, ,anad thetubemaybe casually shewn if top end isclose to perfm-mer’s coat,asthe black bottom of theemptytin will lomok like the cloth showing through the end of the tube. The tubemaythen be stood on thetable, as there is no fear of. anyth’ing falling or talking.” The visible tin is then opened and shown full of cigarettes once more. ”
“
Pack No. 2 is shuffled and a spectaltor invited t.0 push the larger knife into it. The pack is separa.ted at the point of insertion, and the two cards ab,ove and below this point ,are noted. Someone is requested to look at the pack in the hat, when the smaller knife is found t.0 be between two similar cards in this pack. All may be examined. Explanation.
Two packs are arranged inorder-preferably Thurstou’s arrangement, in which you add three
53 and changethesuitfornext card,e.g., if the order of suits is Clubs, Spades, Hearts, Diamonds, thethree cf clubs will be followed by the six of spades, the nine of hearts, the queen of diamonds, and again the two of clubs, etc. One pack should, however, becut so astomake thebottomcard differ in each pack. The first pack is falsely shuffled, an,d genuinely cut as often asdesired; therubberband placed round, the small knife freely inscrted and the packdropped in the hat or left with spectator. The performer, however, mustget a glimpse of the index pip of card at point of separation, e.g. the four of hearts. He knows from thi.s that the knife separatesthe four of hearts and the seven of diamonds, which follows it as per arrangement. Takingthe second pack, he can tell fairly accurately the whereab,outs of thme two cards fromthe bottom card-theywill, of course, be rogether-and by shuffling has n’o difficulty in bringing them to the b,ottom of the pack.The rest of the pack is thoroughly mixed, so that shouldthespectatcrscompare the order of the cards in the two packsthey willfind nothing suspicious. The two together are nowpassed to a point about twenty cards from the top and separated by
the libtlefinger. The spectat’or with thelarger knife is now asked to insert its point in the pack wherever he likes, the performer holding the pack in the left-hand (as though for “ the pass ”) and riffling the ends with the right hand. A slight overlap on the point of division will enable: the performer to “.force the position of insertion on thespectalor.This method, which was for sometirrieused by the writer, h.as,however, been irnproved upon by a suggesti.onmade by Dr. A . Lindsay Smith, in The Magic Wand ” forJanu.ary, 1917, fcr f,orcing a cut, which perfects the trick. In case readers have not seen this really excellent fcrce, it may be described as under :Proceed with riffling as above, and take care that kn,ife is inserted below the point desired. Simpiy caimly slide your t,op packetalongthe knife towards the person ‘holding it, and take the knife from him in thathand. At the same time drawing your .bower packer towards you.The effect is indetectible, .and 1,ooks exactly as if you had simply divided the pack at the point at which the knife was inserted,i.e., between,the four of hearts and the seven of diamonds. Q.E.D.” These two cards are now found to be separated in the first pack alone.
Effect.
Requirements. 1 pack of cards.
A pack of cards isgivento an .onlooker, to shuffle thoroughly, andthen to divide into two approx.equalparts. The onlooker is then invited t.0 place one half in each of performer’s inside breast pockets, first shown to be empty. The onlooker is then asked to call a number, njot exceeding (say) twenty. Number called is (say) fourteen ; perform.er then intimates that he will draw 14 cardsfrom either rightorleft-hand pocket, according to Ithe wish of the onlooker. This being made known, the perfcormer does as stated, but puts the fourteer,th card to one side, face downwards. The other 13 cards are replaced in the pocket and another person is invited to call a number and suggest the pocket from which that number of cards should be taken. This is done as before, the last card being put on t q of the one already lying on the table also face down. The Onlooker is then asked toringup a certain number and to ask for (Mr. Arthur Medrington) who instantly tells him the names of the two cards. (Although Medrington’s n.ame was Arthur, it was not the one he was known by .and this gave him a d u e to the reason for the call, and as he had beell primed f,or the occasion it never failed).
”
“
“
2 additiorLa1 cards (say S of Clubs and Jack of Hearts). Two inside brea.st pockets in c o d and two. in waistcoat. Preparation. Two cards corresponding with the duplicates are taken from the pack. One pair, 5 of Clubs and Jack of Hearts, are put into tile leht walstcoat pocket, 5 of Clubs nearer ,to the body. The second pair are put into right walstco,at pocket, this time the Jack is nearer to the body. Whenthe firstlot of cardsare being taken from the pocket, 13 really are removed from the coat pocket, but the 14th istakenfromthe corresponding waistcoat pocket and put to one side. The movement is k’ery simple if you slip the t.humb between the imer card and the body. The same procedure is gone through for the second and it doesn’t matter which pocket is asked for, as the required card is there for the taking. Burnt and Restored N o t e Effect-continuedfiorn page 51
this pressure, as they are withdrawn, bringing the notewith them (the intervening layer of paper dcesnet affect this). The note is then identified and the ernrelopechecked for initials.
continued f r o m p ! / ( < 44
( 1) Turn L. side to audience show R.H . empty. (2) Execute cross over palm while returning to original position R. side to audience, and show L.H.empty. (3) I n this position, and with L.H. almost at sh.oulder level, produce ball from behind L.H. (4) Turnfront to audience at sametime air followed by the " roll " throw ball into the between the two first fingers. (5) Place ball on closed .R. fist and ostensibly take it away with the L.H. but under cover of the L.H. let the ball sink into the R.H. where it is palmed.Nowmakea half turn t,o theleft, SO thatR.H.side is to the audience,hsoldhgthe closed L.H. up as. if the ball is contained therein. 44t the sametimethe R.H. with ballpalmed is allowed to drop naturally to the side. Make a squeezing movement an,d then gradually open the L.H. to show empty. (6) Produce ball from behind R. knee, at the same time gain possession of second ball and shell from L. holder and palm in L.H. (7) Throw the first ,ballintotheair for a short distance with the R.H. then trapsfer to the fingers of theL.H.at thesametimemakea smooth full turn of &heb,ody so that the L.H. side faces ,audience. Showthe R.H.empty. Tra'nsfer ball back to the fingers of R.H . at the same time make another full turn of the body so the R. H. side faces audience. Under cover of this move,executecross-overpalm with second ball an,dl shell. Show L.H. empty. T.he series of moves ,described under this number .are made ostensibly to show the palm of each hand empty, and the fact of having a second ball and shell palmed, is concealed by performing the cross over palm under coverof transferring the first ball from the fingers ,of one 'hand to those qf the other. ( 8 ) You are now R.H. side to audience with the' first ball held in tips of fir& finger and thumb of R.H. and second ball and shell palmed in R.H. The L.H. is held up ataboutshoulder level to as indicated in Section (7). showpalamempty Now transfer first ball to fingers ,of L.H. at same time glance. down at L. ellbow as if seeing something there. Produce second ball an,d shell from L. elbow, with first finger and thumb of R.H. As theR.H . ho1,ding theballand shell between first finger and 'thumb moves away from the ,elbow, place the first ball between third and fourth fingers of R.H. and immediately drop the L.H. to the side of the body. (9) Now with an up and down movement of
the R.H. roli the balloutfrombehind the shell with the second finger in the accepted manner. At the same time gainpossession of the third ball from the holder under the left side of the coat with the
L.H. During the wh'ole of the moves describedin Sections (8) and (9) the R.H. is held at ,approximately the same level as the L. elbow. This is important in view of what follows. ( 10) Acompleteturn of the body is now made, t'o bring the L. side toface the audience. I n ! executing this t,urn, theR.H. containing the half shell and two balls, must, of course, be kept back towards the audience, and this can be gracefully done by swinging the hand slightly downwards in a shallow arc across the body. At the finish of this move the R.H. will be held at approximately the same level asit was beforethe body turn was made, butthethumb will be towards the ,ground instead of uppermost. Care must be taken to keep the L.H. at the correct angle all through this body turn, in order to avoid exposing the palmed ball. ( 1 1) Raise the L.H. and point to the shell and two b4allsheld by the R.H. one after the other as if counting them. N,ow, with the finger an,d thumb of the L.H. takeawaythebaI1 held between the first and second fingers of the R.H., and atthe sa'me moment $the ball which was palmed in the L.H. should be ,allowed t.o roll toward the fingers, and pressed into the shell. The movement is continued, and with a slight turn of the body to the le& in order ta face the audience, the ball which has just been taken away from theR.H. is placedbetween thelips,and pressed right into the mouth with the palm 0.f the hand. Make a swallowing mot5on and then draw out the ball from the holder under the L. side of the vest. The effect of this laut series of moves is simply that a ball has been taken from the R.H., placed in the mouth, swallowed, and is reproduced from undet the vest. Actually, however, the performer now has another ball behind theshell and an extraone held in the mouth. This latter ball must be held in the mouth for about a minute, until the time comesfor its production, andthe balls m,us;t be of sucha size as to enable this to be done. In my ,own act, which is performed to music, this move is quite unsuspected, because I possess the faculty of being able to smile naturally with the ball in my mouth. For those who are unable to achieve this. however, an alternative suggestion is given at the end of this article. (Tobe continued)
55
Effect. Conjurerhasprotrudingfrom left sleebe a fancy silk handkerchief practically transparent, and left hand contains a pack of cards. Members of audience are asked to name their favouritecards. At each choice the handkerchief is drawn over the pack and the chooser asked to note bottom card through the silk and to hold one corner of the latter. As he does so the card is seen to change tothecard he ,announced as his favourite. He is asked to withdrawthehandkerchief by the corner held and see that the change has really taken place.
Soonafterthis issue comesout the second broadcastfromthe Magic Circle clubroom will take place. I$ willinclude_ the Magic Circle team andPaula -Baird primor to their departure for America,where afteran ‘opening show in New York, they will maketheirway to theS.A.M.I.B.M.Convention. TO addtotheInternational flavouring, Robent Harbin, who recently has had such a marvellous time in the States, will take part giving in all some eight minutes’ magic out of the total half hour’s broadcast. It is interesting to note that there is no menor, indeed, any part of the tion of France Continent. In our next issue we are fortunate in having a contribution from our friend C. L. Boarde called ‘‘ Mental Matchk. 1.t is an excellent plot quite off the beaten track, and in using it we have been mostpleasedwith the results. In the same issue from the pen of our friend Francis Haxton, comes ”
The evening of March 24th saw a steady stream of guests arriving for the Magic Circle Banquet. Prevailing conditions showed their effect .on this function for numbers were seventy below those of the previous year. I n theChair was thePastPresident, Mr. Herbert J. Collings, andhe, together with Mrs. Collings (Hilda Rertram), received the guests as they were announced. An excellent dinner followed andafterthe Loyal toast the Chairman, in one of those witty speeches thatare associated wi.th him,gave the t,oast ,of theNagic Circle and N.A.M.S. coupled with the name of HisHon,ourJudgeWethered. The latter, in replying, emphasised the solidarity of British magicians and of their working for one end.
Explanation. A pre-arranged pack resting on palm of left hand as for Charlier pass. When card is named, handkerchief is drawn from left sleeve which covers a stealthy riffling of index corner of cards with left thumb and the marking of the gap at the selected card. ’The Charlier pass does the rest. With practice anycardmay beveryquickly located by noticing the bottom card which gives a clue to the neighbourhood-of ,the card called for.
one of those excellent card effects for which he is I t is called ‘‘ Restless Choice.” For a later issue, we have a most interesting idea called “ Underground Journey ” from our friend Bob ‘Tothill. Wewere most impressed with the quality of the c,ontents of “ Routine, ” a hqouse magazine published by Ken. Brooke. In his editorial in the second number, Ken regrets that after publication of the sixth number (this to keep faith with those who havesubscribed)there will benomore. A great pity for either issue with its excellent rnagic is worth the 5s. charged for the six copies. Rather late in the day, but very welcome all the same, we have received copies of Oscar Oswald’s “ Magical Digest.”These are lighthearted publications but all ‘the same most entertaining.Conjurers, ventriloquists and puppeteers are all catered for.
so well known.
It fell to the lot of Mr. Francis W’hite, that beau ideal of Secretaries to proposemost wittily the toast of the visitors. I n reply Mrs. Eric Cuddon proved herself most a attractive after dinner speaker. Dancing followed, excellent music being provided bv Stanley Kilburn, and an excellent cabaret consisting of Spence and Davies, in a clowns’ act,JimmyRogerswithhisD,oves and Gil Leaney, assisted by Frankie and Bernard in a Human Pincushion.” The version of the cabaret was compered as only he cancompere, by Tommy Cooper. A most enjoyable evening excellently arranged. “
56
More “Share the Loss”
CAN YOU TELL FORTUNES?
We are ha‘ppy to be able to offer Britishconjurers five important3agicbaoks(in,,additiontothetenFlemingpublkations) on our Share the loss basis, which helps to lighten the burden 01 devaluation. MAINLY MENTAL : VOL. 11. (Boarde), a greattreatise on .book 133 p.p., 106 d I . , avadablc. and magazine tests. Soft boards, only from us ($7.50). not 53,’6, bat onl,. . . 45 /. M Y BEST (Thompson). a grand collertron of va1r;able ‘material. No. 102. Cloth, 384 p.p.. ill., availablt, see Fleming Review but 451 on1 from us ($7.50) not 53’6only ENCY8LOPEDIA OF SILK MAGIC [Rice), the world’s’ biggest book on thlssublect, see FlemlngRevlew KO. 136. Cloth ($10). not 70/-, bnt only THELIFEANDMYsTEiiIEs‘OF+~-IE~ELEBRATEDDG. 6‘ work mental on and (Alexander). 2nd ed. of well-known spiritualisticfeats,seeFlemingReview KO. I l l . Cloth. 165 P.D., ill availableonly fpom 11s ([email protected]), not 43, -, butonly .. 35/ENCYkLOPEDIA OF MENTALISM (Nelson) on work of theDunninger tvpe. Cloth, 108 _ p.9 only from 11s ($5.00), - . . available’ 301 not- %/g.- but only AI-L FLEMING PUBLICATIONS: Thh Fine Art of Ma.& (Kaplan) & Magic wlthontApparatus(Gaultltr), (3i.50). not 53,%, bnt 451:. Sleight-of-Hand (Sachs), Our Magic [Maskelyne-Devant), Mawc Nos. 1. HugardRookEditions with SmallApparatus(Dhotel). 4 Conjuring Melangc. 2 and 3 ($5 0 0 ) not 35/6 but 301(Collinsl and ‘Thh E x ~ e r t ’ a ; t h e Card’Tahlc.(Erdnase-Hoffmann), ($2.00),’ not 14/-, bui 12/-. Clre are sole authorized British distributors rrt THE CARD MAGIC OF LE PAUL, cloth, 220, pp., 313 fine ill. ($8.50) 601Please send orders to Mr. Robertson Keene, c,!o k’iversldc... Victoria Road,Yarmonth, Isle of Wight,and receive bookspromptlv trorn the U.S.’A.
By VICTOR FARELLI Have you ever been asked the above question? If youhave, thisentertaining znd convincing card trick \vi11 provide you with the perfect answer. The routine is described completewith suggested patter and is emhellished with hints on Fortune Telling.
-
Neatlyprinted in an eight page booklet. and at a price that no-one can afford to miss.
Per Copy 2 / 6 ; postage 2d., from
THE MAGIC WAND PUBLISHING COMPANY 11, Monastery Gardens, Enfield, Middlesex
FLEMING BOOK COMPANY 728, Madison Avenue, York, Pa.,U.S.A.
I
-
‘‘ROUGH ANDSMOOTH
POSSIBILITIES ’’
PETER
By Tan Hock Chuan
The Magic Circle
WARLOCK’S
PENTAGRAM
1’rt.siclc.nt : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C.
A booklet dealing with the methods and ispublished on the 24th of eachmonthand for can be obtaineddirectfromthepublishers application of the modernprinciple, by 1 / I per single copy.AnnualSubscription 12/postfree. one of the leading experts on the subPUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11,
magicians. Price 51-
Postage 3d.
SYDENHAM
Clrtbroom andLibraryand
Enfield,
Magical Theatre :
King George’s Hall, W.C. ParticularsfromHon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
ROAD
Croydon
Museum :
St. Ermin’s Hotel, CaxtonStreet, S.W.1.
Manuscripts for publicationandbooksfor review should be senttothe: EDITORIAL ADDRESS:
ARCAS Publications 404/408
Monastery Gardens, Middlesex.
Vice-President: Douglas Craggs, Esq., M.I.M.C.
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
-
ART
JACK HUGHES
WORK
By a MAGICIAN who knowsyour requirements 0
0
0
BROCHURES, LETTERPRINTED HEAPS and PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
t
JACK
HUGHES
EVELYN AkENUE, COLINDALE. LONDON, N.W.9. ~
CONJURING BOOKS FOR
~~~
SALE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
JACK LAMONTE
G E O R GJ E ENNESS 47 INVERNESS AVENUE. ENFIELD,MIDDLESEX
Telephone : TOT7742 I
Every Advertiser’s goodsare Published bythe
The M z i c Wand, Quarterll.. I cr copy 3/13 p.p. Annual subscription 14j6. The Wizard, 36 pages nlonthl~..Percopy 211 p p 6 month 1216 Year 241John’Ramsay’s C& 8’ Balls fFareilij Convincing Coin Magic iFawlliI . . 17/10 Mastered Amazement (Koran 8; Lan1nntc.r . . 10/3 Bohleno’s Mysteries (Bohlen) 1013 Thanks To Leipzig (Farelli, l013 George Armstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 10/3 513 Strictly Magic (EddieJoseph I Stooging Around (Shthardj 5/3 26 Living & Dead Tests (Garrhtt) ’.’ 5/3 513 Jamesosophy (Stewart Jan1c.s) Year Book 48/49 ( f c w 0nIS-J . . 5/3 Sttlnts With Stage Money ( I ~ a m o n t c ~ . .~ 5/3 Tricks of the Trade (ArmstronKI .. 2/7
in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO 2,
28, WARWICK RD., LONDON, N18
)t
Magic Wand Pu blicati,ons
w i l l h pleased to send you details of his w r y latest eff-ctsandallhis old favcltlrites
proprietc-s The Magic WandPublishingComnany, Walkerand Son (Printerr)Ltd.,
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. I
fullyen,dorsed by this Bulletin 11, MonastewGardens, EnfieldMiddlesex, Well Croft. Shipley. Yorkshire.
and printed byHerbert
*
57
PENTAGRAM An independent monthly bulletin for all who want good magic
The literature of Mentalism is replete with effects in which the performer reads the spectator’s mind or viceversa. Comparatively rare is the effect in which one spectator influences the thoughtsand actions of another. In the few such quite often the heavy hand of the performer is apparent. Here is an effect in which theperfotmer’s machinationsare, at least in the writer’s opinion, not so obvious. From the audience’sviewpointthe effect is as follows. The performer introduces two groaps of triangular shaped cards. One is white-backed and the otherblack-backed. It is shown that one white-backed and oneblackbacked card, when placed side by side, completed a diagram on the other side. Thus,the fifty white and black jigsaw puzzle pieces formed fifty different diagrams. Tile separate white and blacktriangularpacksaremixedand one of eachdrawnandmatchedtoshow the low possibility of completing a full design. This may be done several timestobringthepoint across. Then two assistants are called up. One is asked to draw a black segment which is placed aside, contents unknown. Then the other spectator draws one of the whitesegments,.contents also unknown, which is placed face down alongsidc of theblack. Now the performerpicks up a slate anddraws something cn it. It too is placed aside,
its contentsunknown. Now the performer calls theaudience’sattention that the probabilities of the spectators drawing matching segments is one out of fifty. However,theyhavesubconsciously so affected each other’s action that they have accomplished the deed. The pieces areshownandproved to havecompleteda design. Then,the performer calls the attention of the audience to the fact that he,beclairvoyantly aware of the completed design is one of twenty-five hundred.Then his slate 1s turned around.It is the same as the designcompletedby the two spectators ! Sixty pieces of blank cardboard, blankonboth sides, of the size. of 2 playing card,areobtained. On ten >f these full diagrams are drawn on one side. When completed they A diagonal are placed to one side. line is drawn each on of the remaining fifty. On one side of the diagonal line portion a of one diagram is drawn. On the other LL portion of a totally different diagram is drawn. This procedure is followed with all fifty.(By drawing different gortions of diagrams on each segmenr Lf. a particularcard we eliminate the possibility of a chance match when lec turingonthelongodds of twoseg wentsmatching). Now eachcard is cut inhalf along the diagonal line, exchhalf going into aseparate pile.
58 W-hen completed, the backsof one pile are coloured black while. the other-pile is left untouched. Now thecardsbearingfulldesignsaresimilarlycut and the backstreated in thesamemanner.Two completedesigns are to be ased.The remaining fulidesignelementsarestoredaway,tobe used when theperformer wishes tochangethese elements in another'pelformance to avoid the use of thesamedesignagain andagain. One of the designs,bothblackandwhite pieces areplaced under the flap of a card box or in one section of a changingdevice.Theblackportion of theremaining full design is placed on top of the black stack and the white segment on top of the white stack. These preparations completed the performer is ready for demonstration. The suitable introductory lecture is made. Then theblackandwhitepacks are introduced. Takingthe topcard of each,theperformershows howthese, in themanner of a jig-saw puzzle, makeacornplete de'sign. Theyareplacedaside. The black and white packs are individually mixed. Drawingacardfromeach at random,theperformer shows how difficult it is to get puzzle pieces that formacompletediagram.Thismayberepeatedseveraltimes to forcethepointacross. Then the call is made for the assistants. The first is. directed to draw a ca.rd from the black pack. Without looking at it he is to place it in the card box. Incidentally, this has been on the table, open and ready. Now the black pack is put aside and the whiteonetaken up.The remainingspectator is to draw one and place it unseen in the card box. The box is then closed and handed to one of the spectators for safe-keeping. The performer now picks up hisslate and draws a diagram. Naturally, this is the sketch whose elements were placed in the force section of the box. It is placed onthetable,orpreierablyhandedtotheother spectator with the instructions to hold the drawingagainsthisbody. Now theperformer completes therest of his explanatorylecture.Then thespectatorwiththebox is directedtoopenit and removetheblack and whitesegments. I t is shown that the parts form a complete design. The spectators have unconsciously affected each other's actions. Then the spectator with the slate isdirectedto turn it around. The performer has clairvoyantlvperceivedthe selected design !
Effect.
A deck of cards is giventoaspectator to shuffleandonreceivingthecardsbacktheperformer ribbon spreads them face up on the tablc. A volunteer is invitedtoplace his forefinger on any cardanddrawit clear of theothercards.
Foranother performance,theportions on top of theblack and white stacksare replaced from thereserve of complete design segmentsasare theforcesegments in thecardbox. The card box, by the way, should be one that locks after changingitscompartments. Commercial Manufacturing Rights Reserved.
H stands fer Henry
From the J . B. Findlay Collection
The gathers performer the up balance of the deck and has another card selected and returned to the pack. Thecard onthetable is turnedface down and a pocketknife,fountainpenor some small articlelaidontop.Theperformer now takes an
59 indifferentcardfromthedeck, shows it,and thrusts it into the side of the deck, allowing it to project. He now announces that he will cause the card on the table to appear as the card thrust in the deck. On removing the latter it is seen to be the card that was turned face down on the table. Whenthecardonthetable is turnedoverit ;S seen to be the second card chosen.
Method. Let us assume that the card drawn out of the face up spread is the Aceof Hearts.Thecards afterbeinggatheredtogetherare riffled anda volunteeraskedtocallstop atany time. The cardfacingthevolunteer is remembered.When replacing this top half, the performer executes the ‘‘ Master Move (seeStewartJames’ Mark of theReader,Pentagram, Feb., 1947). Thisdepositsthesecondchosencard, which we will assume is the Two of Clubs, on the bottom of the deck. The performer now shuflles the deck bringing the Two of Clubs to the top. The cards are now heldfacedowninthelefthand and the fingers engaged under the top card in readiness for executing the Paul Curry Turnover Change (See Hugard’s More Card f ~ ~ a r l i p u l u f i o l zNso, . 2 ) . With his right hand the performer removes a penknife, or fountain pen, from his pocket. With his left hand holding the deck, he turns over the ”
One of the words automatically forced by my .4 utlzology of Lonfe Poems which I published more
years ago than I care to remember under the title TRANSCENDENTAL BOOK MYSTERY, is the noun-adjective-pronoun ONE. If this word is to makeitsmysteriousappearanceona slate-and this seems to be one of the most popular presentations-an excellent plan is to make what appears to be an excusable mistake by writing the homophonous word WON and then correcting the error before the writing is exhibited. On being notified that the spellingshould be 0 N E, theconjurer replies : I am sorry that I have made a phonetic error ; youreallyshouldhave spelled the word for me. The mistake is easlly rectified, however. I haveonlyto cross outthe word justwritten and writethecorrectoneunderneath.”Suiting the action to the word, the conjurer with chalk in hishandtraces in the air a pretence of striking out the word he has just written and proceeds to writethecorrect word ONEunderneath.The slate at the conclusion shows the two words as in Fig. 1. Simple as it is, thislittleaddition en‘ I
face up Ace of Hearts lying on the table, and in doing so executes the Paul Curry change, which deposits the Two of Clubs face down on the table and places the Ace of Hearts on top of the deck. Thepenknife is dropped on top of thecard on thetable,ostensiblytosecurethecard,thereal purpose,however,beingtoprovidea reason for turning over the’card with the left hand while still holding the deck. A double lift is now made and the top two cards shown as one. In turning the cards face down on top of the deck and in one continuous movement the face card just shown is left on top of the deck and the Ace of Hearts drawn off the deck. Thiscard isnow thrustpartlyintothe side of the deck which is placed on the table. Performer now states he will cause the card on the table, the Ace of Hearts, to take the place of the indifferent card you have protruding front thedeck.Theprotrudingcard is removed- i~ show the transformatlon has taken place. The performer now states that as no card can be in two places at once, thecard on thetable mustalsobetransformed.Thespectator who selected the second card is now asked to name the card,whereuponthecard on thetable isflicked over to reveal that it is his chosen card-the Two of Clubs.
hances the general effect and for some reason or other, ensures a laugh. The sameideacanbe further elaborated. Have about 50 cardseachshowing a letter of our alphabet, vowels andcertain consonants being in triplicate. These cards, unlike the familiar Lexicons, mustbe perfectlysquareandhave thelettersinscriptinstead of in capitals. My intention in this paper is not to offer any suggestions for routine,-+ matter which every conjurer must determine for himself,-but merely to suggest an unexpected finish toa trick. Fromthispack of squarelettercards,the cmjurer offers to plck out, one by one, the letters of the chosen ( ? ) word. The cards as produced a little easel to show the arelodgedagainst wronglyinterpreted word as in Fig. 2. On being
60 apprised that the word, though sounding right is not the selected one, the conjurer, after a frown, appears to receive an inspiration and with a smile tilts the “ W ” card to make it stand for the Greek Epsilon and transfers it to the other end of the row as in Fig. 3. Here again a laugh is certainto follow.
The other of the forced words, viz., DEAR, permitseven more fancifulvariations. As, however, I want to add a few paragraphs on the subject of the book itself, I shall leave the reader to thinkround the pointers I havealready given and evolve for himself themanyamusing combinations that arc:possible with the word DEAR spelled with script square letters. No book which MIGHT possibly have a trick purposeshouldevcr be used by itself. In company with, say, two other books which should be well-known ones, the trick book is not likely to iall under suspicion. This, of course, raises the question, howis the use of the trick book to be forced ? Thereare several excellent and well known dodges, the bcst being that particular one
Continued from Page 5 4
Theballtakenfromunderthe L. side of the vest is held between the firstfinger and thumb of the L.H. and is now replaced between the 1st ana 2nd fingers of the R.H ., at the same time the ball behind the shell is taken away with the lower fingers of the L.H. and then palmed in that hand, as the arm falls naturallyto the side of the body. (13) Again raise theL.H. with this ball palmed and point to the 2 balls and shell in the R.H. as if counting them.Pause,andthen with a stroking movement, draw the L.H. across the empty space between the 2nd and 3rd fingers of the R.H. leaving the palmed ball behind in this space, as the L.H. is drawn across. (12)
which suits the whim of the individual conjurer. As a change, some of my readers may care to try a ruse which I have found to be entirely satisfactory for lorcing the selection of one of three books. To this end, I used three small gummed stickers each measuring lain.by 2in. and numbered respectively 1 , 2 and 3. These stickers which can be purchased from any good stationer,are stuck c m the inside of the front covers of the books, the trick one carryingNo. 2. The three books were displaye:l in a row against an easel, the trick book with No. 2 sticker inside it being the first from the left as aadien.ceviewed it.Standing behind the easel I asked someone like Caesar’s wife tosay which book should be used, number 1, number 2 or number 3. There was noambiguity about a request couched in these terms. Now if number 1 was suggested, I interpreted the meaning to be the first as a-tudiencesaw it. If, however, number 3 was the choice, I counted from m y left, a perfectly logical and straight-fonvard proceeding to be followed by anyone standing behind the books. The most favourable call, and happilythe most likely one, is for number 2. When this was given me I stacked the three books and after explaining that each had a numbered sticker on the inside cover, I handedthe threeto someone with the request that he turn to the inside cover of each and retain the chosen book, the one with,No. 2 sticker on it. As an example of intelligent and artistic employment of my TRANSCENDENTAL in a trick, I know of nothingbetter than TrevorHall’s ROUTINE excleverly conceived A SLATE plained on page 27 of the first and only edition of Masterpieces of Magic edited by Douglas Craggs and published by Arcas in 1945.
to the side of the body once DroptheL.arm more. (14)TheL.H. nowostensibly takes away theball which is held between the 1st and 2nd is fingers of theR.H.but actually the ball allowed todrop down behind the shell. Hold closed L.H. out towards the audience to give the impression that it contains the ball, then go through the movement of pressing the ball through the top of the head. Conclude this movement with a smart tap ontop of the head and simulta.neously al!ow the ball, which until now has been held in the mouth, to be pushed out between the lips. ( 15) Takethcballfrom between the lips with the L.H. taking pains to show it to be a com-
61 plete ball,andplaceitbetweenthe 1st and 2nd fingers of the R.H. As the ball is placed inposition, palm off the shell which covers the bottom ball,immediatelyallowingthe L.armtodrop naturally to the side of the body. The timing of this last move is very important, because a half turn of the body is now made to bring the R.H. side towards the audience. Immediately the L. arm is out of sight of the audience,dropthe shell into theprofunde. If the performer is wearing a dinner jacket, the shell can be dropped into the side jacket pocket as the L. arm is raised for the next move. ( 16) You now have four solid balls between the fingers of' theR. H. andthe .R.H. side is towardstheaudience.These balls must now be transferred to the fingers Qf the L.H. and it is very effective if this can be done in one movement by interlacing the fingers of the two hands and changing the balls fromone hand to theother in the process. Thismove is almostimpossible to describe,and difficult toaccomplish,and it is best for each individual performer to experiment. Personally, I haveneverbeenabletomakea satisfactory job of it,andhave to transfer the balls, one by one, but I have known some manipulators perform the feat with comparative ease, and with gratifying results. (17) The R.H. side is still towards the audience, andthe L.H. containing the balls- is held thumb uppermost,i.e.,palmtowardstheaudience. With the R.H. takethe ball from the 1st finger and thumb of L.H. and throw it up several times in theair, eachtime slightly higherthan thelast,the3rdtimethe ball is palmed asthe hand makes the throwing movement, and, of course, the eyes follow the course which the ball wouldhavetaken if thrown. The R.H. with the ball palmed, then takes the ball held between the, 3rd and 4th fingers of L.H. and puts it into the space between finger and thumb. As soon as this ball isin position but before the R.H. moves away from the L.H. make a half turn of the body to bring L.H. side towards the audience.Thisenablesthe cross overpalmto be executed so that at the finish of the body turn, the R.H. canbe held out showing the palm empty. While this turn of thebody is beingmade,the fingers of the .R.H. shouldbekeptcurledround thefront of the fingers of the L.H. in order to give the maximum amount of cover for the cross over palm. (IS) Withthe L.H. side of thebody still towards the audiencetake the ball fromthe 1st finger andthumband place it between the 3rd and 4th fingers. Pause,andthentheballwhich is palmed in the L.H. is rolled out into the space betweenthe 1st finger andthumb,bypressing the palmed ball against the top of the lapel of the coat,anddrawingthehand downwards. The move is performed with the body so placed .that the L.H. side lapel of the coat faces the audience,
i.e.,about 45 degrees to the audience.Under cover of this move, the R.H. which hasbeen droppednaturally to the side of thebody, now xemoves and palms the ball from the holder under the R.H. side of the coat. (19) Make a turn of the body so that R.H. side is towardsaudience.With R.H. (now palmmg 5th ball) take ball held between 1st fingerand thumb of L.H. and tap it against the other three, and then return it to its original position, placing it as low as possible in the crook of the finger and ;humb.Undercover of replacing the ball bring the palms of the two hands together in order to transfer the 5th ball from the palm of the R.H. to the palm of the L.H. Now turn the L.H. over so that it is back towards the audience and drop the R.H. naturally to the side of body. (20) Your L.H. is now backtowardsaudience, and thumb downwards, with 4 balls between the fingers and the 5th ball palmed.Withthe R.H. take awaythe ball held between the third and fourth fingers (i.e., the uppermostball) and ostensibly throw it through into the R.H. trousers pocket, but really palm itundercover of the throwingmovement. Put the hand into the pocket to take out the ball which youhaveapparentlythrown into it, but really takeoutone of the balls previously loaded there, and place it back between the third and fourth fingers of L.H., the other ball is kept palmed the whole time. You are now in a position to make two productions without resource to a further load, because, quite unsuspected by the audience, (if the foregoing moves have been executed correctly) you havea ball palmed in each hand. (21) Thenext two productions must of necessity be made with the R. H. and can be carried out in a variety of ways. They can be ostensibly caught in mid-air by rolling the ball from the palm to the tips of the fingers under cover of a catchingmovement.This move requires considerable skill to carIy out effectively, and if preferred, these two balls canbeproducedfrom behind the R. knee or L. elbow. Assuming the latter method is used, proceed as follows : The ball palmed in the R.H. is producedfrombehind the R. knee,andplaced between the thumb and forefinger of the L.H. next totheonealready in that position. As the ball 1s placed there, the L.H. is turnedoverunder cover of the R. H. and the ballpalmed in the L&. is transferred to the palm of the R.H. Drop the R.H. naturally to the side of the body. Thismovemustbe carefully carried out to create the proper illusion andtheeyesmustbe kept on the L.H. the whole time. The ball now palmed in the R.H. is produced from behind the L.elbow. (22) This ball is tossed up into the air several times and palmed under cover of the last throw. The eyes which have followed the final
62 false Lhrow should now look down towardsthe R.H. trouserspocket.Point tothepocketwith R. forefinger to indicate that the ball is in there, and then put the hand into the pocket, withdrawingtheremainingballpreviouslyloadedthere, keepingtheotherballpalmed. The ball which is openly withdrawn from -the pocket is placed on the L.H. at the base of the little finger, the hand being slightly tilted in order to retain it. (23) Youmust now producetheball which is palmed in the L. H. Undoubtedly the best move at this point is to roll the ball to the tips of the fingers, the hand being held at approximately hip level. To actasmisdirectionthe .R.H. is raised as high as possible, immediatelyfollowingthe placing of the sixth ball into it, as if to display the 6 balls in position. Your own eyes. should follow the movement of theR.H.asthe L.H. makestheproduction, following which you can look down at the L.H. as if surprised yourself that the seventh ball has arrived. If you are unable to performthefinger rollproduction,thenthenextbestmethod is to produce the seventh ball from behind the R. knee. (24) Toss theseventhballintotheairwith the L.H. turning slightly to the right at the same time, in order to bring the body more front face to the audience. Thenplacetheballbetweenthelips and ostensiblypress it intothemouthwiththepalm
of the L.H. but actually palm it. Make a swallowingactionandproducetheball which hasbeen previously loaded under theR.H. end of the waistcoat, keeping the original ball palmed. In producingthevestedball, squeeze it out of its hoider with the thumb and allow it to drop down between the third and fourth fingers, where it is held against the body. (25) TheL.H. now picks upthe two extra balls from the R.H., the first ball with the second andthird fingers andthe second ballwith the first and second fingers. (26) You are now R.H. sidetowards the audience with the L.H. palmtowardsaudience holding four balls between the fingers. R. H. backtowardsaudience with threeballs between the fingers and one ball palmed. Make a full turn to the right to bring L.H. side facing audience. In doing so the .R.H. must remain back to the audience and to do this gracefully must move in a shallow arc down and up. The L.H. can, of course, turn with the body and finish back towards audience. The production of the last ball is effected by allowingittodrop by its own weight and roll between thethumband forefinger, conclude by facing audience holding the arms outstretched to display the balls. (Th.e E n d )
In publishing the ‘ ‘ de Grisy ” cutting in the April issue, we presumed (a closer examination showing that we were wrong) in c o m p a q with some others that the date on the cutting was 1813, 6 date incidentallv that would have tied up very nicely with theRobert-Houdinstory. Thedate, however, is 1873, which gives us an entirely new ComtcdeGrisy. We feelsurethereader will be interested in the following letter from Mr. Victor Farelli :-
One otherpoint : was the berm “ Music Hall ” used its long ago as 1813? I think not. However, this also could be ascertained. As you are aware. Mons. Jean Chavigny, author of “ Robert-Houdin, Renovateur de la Magie Blanche,” has stated that Torrini (Comte de Grisy) was a figment of Robert-Houdin’s fertile imagination!For particulars aboutthis book, see my “ Paris Notes ” in the June (1947) issue of T h e Sph.inx (page125). Kind regards, Yours sincerely, V l C T O K FARELLI.. P.S.-According to the ” Memoirs,” Comte Edmond de Grisy hadtravelledextensively inEurope,butthe magician who advertised inthe Englishpaper claimed t o be knownonly inthe British Isles. The difference in spelling-a capita! “ D ” instead of a small one is r,ot without significance-V. F
London, 20th April, 1950. Pear Mr. Warlock. of 18th instantand Many thanksforyourletter enclosure. Thedateappearsto be 1873: not 1813. In that case, the advertiser cannot have been the original Comte de Grisy (Torrini) as acco;ding t o Robert-Houdinhe died some time before his (RobertHoudin’s)theatre was opened in 1845. See “ Memoirs of Robert-Houdin,” pages 157, 158 and 212. London (1942) edition. As the “Memoirs of Robert-Houdin” first appeared (inEnglish)in 1859, i t seems obvious that the advertiser was a conjurer who had read the book and who had decided to take the name of de Grisy. The approximate date of thecutting could be ascertained byanexpertexamination of the paper on which it is printed. If you thinkit worth while, perhaps you will get this done.
One of the treats of the month has been that of watchingEdelingperformthepaperbutterfly trick. Very old and very much neglected, so neglected that we only know of one magician, William Dawkes, who made a feature of it. Now of course that its beauty in the hand of a Master has been witnessed by every magical illiterate who cannot think for himself, we shall see a plague of paper butterflies. dangling on the ends of threads. We havejust remembered something,however. This effect requires quiteadeal of practice ; it
63
LES PRINCIPES BRILLANTS de la MANIPULby Er. Jacques GCry. 144 pages ATIONdesCARTES measuring nine and a half by six and a quarter inches. 86 photographs and diagrams. The technical term, “ principes brillants,” was coinedbyRobert-Houdin (circa 1878) and it was translated by Professor Hoffman as OrnamentalSleights. ” Hence, if I hadtobring out an English version of this remarkable work, I would probably call it Ornamental Sleights with Cards.” Anyther suitable title would be “ Juggling \I:ith Cards which adequately describes the contents of the volume in which only one card trick is explained. The Preface is by Jean Valton, the wonderful youngcardjuggler, now afull-timeprofessionalperformer, who won several prizes a t different International Cpngresses of Magicians held in Europe. The ‘Introduction by the author, an amateur magiclan, is mostrefreshing.Dr. G6ry franklyadmits that his book has not been written “ in order t o fill a lcngfeltwant,”andremarks : “ . . . . this monograph has no excu.se f o r its existence other than the >leasure 1 had i l b writing .it ! ” %hevolume is dividedintofourpartsandseveral sections.Considerations of space will not allow me to follow Dr. GCry’s excellentplaninmeticulousdetail, but the following paragraphs will give the reader a good idea of thecontents of the bookunder review. Four pages aredevotedtosuchsubjectsas How to Dress,” The Care of the Hands,” and Practice.” Various Two-handedFancy Shuffles aredealtwithin the following eight pages, and illustrated by ten photographsanddiagrams. Single-handed methods of cutting and shuffling come next.Eleven pages andnineteenphotographs. Part Two. Springing the cards from hand to hand -by bending them the in old way-nd allied flourishes. Six pages andsevenillustrations. The “ Cascade.” Various appiications of the John N. principle first made public by the late Hilliardin “ TheArt of Magic. ” (Se: Fig. 6 in that book, and Fig. 21 Gaultier’s in Magic without Apparatus ”) ._ Four pages andanumber of illustrations are required to explain them fully. Spreading the Cardson the Arm andCatching pages and themin the Air. No fewer thanthirteen the samenumber of illustrationsaredevoted to these ornimental sleights. PartThree. JugglingwithPackets of Cardsand SingleCards.Withoutadoubt,this is the mostnovel part of Dr. GQy’s book. and, to the best of my knowledge,nothing like i t haseverbeenattemptedin any language,eveninEnglish.Theauthorcommencesby explainingvariousmethods of tossingpackets of cards into the air and catching them in different ways. Two pages withoutillustrations. CatchingThreePackets.This was introducedby Jean Valton atthe first International Congress of Magicians, held inAmsterdam,in 1946, andcreateda sensation.Thisbrilliantjuggle isperformedmore or less as follows. Holdingthe left hand, palmupwards, lay about a third of the deck-lengthwiseacross the palm.Place the secondportion of thecardsonthe forearm, not far from the opening. of the sleeve Finally, lay the remainder of the deck on the forearm, abouttwo inches fromthe elbow joint. Toss the three packets (together) into the air, and catch them, one by one. with the right hand, commencingwith theportionnearesttothebody.Theright hand is held withitsbackUPWARDS,andit comes Dr. GCry down andcatcheseachpacketfromabove. emphasizes that the thumb is notused.(Bytheway, ‘I
‘ l
l‘
‘ I
this manipulation should not be confused yitp the: old one in which three coins are placed on’ the nght foreI attended the arm and caught with thathand). International Congress inParisin 1947, and I saw Valtoncatchthethreepacketsasabovedescribed. He was awarded the first prize for manipulation. The 1948 Congress took place in Lausanne, Switzerland, and .there, I amtold, he caughtfourpackets.Lastyear ( 1949), atthe second Amsterdam Congress, he used five packets,andDr. GCry statesthat Valton is now able tocatch six packets (!), butonly performs that marvellousfeatonvery special occasions. Thetwo following sectionsdealwithanother of JeanValton’sspecialitiesand d s e r e n t ways of balancingcards.Two pages andonephotograph. A fourth section. of three pages, illustrated by two photographs, deals with the BoomerangCard (or Cards)andseveral ways of catching them. Part Four. A lengthy treatise on Card Fanning. It ‘contains twenty-three pages and is illustrated by tweny-sixphotographsandseveralsmalldiagrams. It is probably the mostcompleteyetpublished, atany rate in French. Dr. G6ry’s Concluding.Section,consisting bf four pages, is of greatinterest.Inithe describes ‘a very novelroutine, devised byhimself,andexplains how certainorniinentalsleights,fansand flourishes maybe turned to practical account by the card magician. Unfortunately,inorder t o dojustice totheauthor, it would be necessary t o translate his text in full-about twothousand words-and I fear thatthe editor of thismagazinemightobject!
*
*
*
Thephotographs(withoneobviousexception)are reallybeautiful : hadthey beenprinted on art paper, they would havebeenmagnificent.Whilethesmaller photographs have certainly been taken to illustrate the book, i t seems t o me thatthe larger. ones-showing JeanValtnnin action-are reproductions of “ lobby cards ” used to advertise his public perfwman‘ces. Unreservedly recommended to all would-be card jugglers, especially if they can read French. Even withouta knowledge of that language, useful information is to beobtainedbyacarefulstudy of the photographs. As the edition is limited t o 620 copies.thisbook will soonbe acollector’sitem.Printedin 1949 by PaulEven, Metz, France. Price : One thousand and Sixty (1,060) French Francs by registered book post. Copies maybeobtainedfrom A. Mayette, 8, Rue des Carmm, Paris. -VICTOR FAREL~I. Magic GO Round-continued from opposite page
can’t be performed five minutes after reading the instructions and memorisinga fewlines of dirt from one of Orben’s books. So, optimistically we hope it will remain a classic. TheCarl JonesDinneron April 1lth at Claridges was a great occasion. I n his all too short speech Carl Jones brought the ghost of John Collins Northern Hilliard @to theroom.Stanley travelled up to . Tdwn on this occasion and had Paula thepleasure of seeing his onetimepupil, Baird, put over a charming and intelligent show. The Magic Circle “ E v ~of Departure to America-” show should be most interesting, and though we should like to have been present it just couldn’t be,
64
NOT 71/1 ($10) B U T 20/- ($2080)! Motivated in large part by the desire to offer our Britishfriendsamost extraordinary magicbook bargain, we have purchasedfrom Arthur Buckle?, author-publisher,the completestock of his major \vorks, CARD CONTROL and PRINCIPLES AND DECEPTIONS, which Lve are prepared to deliver, postpaid, a t 2 0 / - each, a mere 28 per cent. of the $10 (71I-) price a t which they have been selling ever since their publication. Both books, size 64- by 94 inches, are well printed on extra heavycoatedpaper,illustrated \vith a. greatabundance of exceptionally fine photographic halftcnes,andstoutlyand handsomely bound in black (simulatedleather; fabrikoidstificovers, Lvith gold-stamping on bothfrontand spine.Together,these books constitutean exceedingly thorough course in modern manipulation with cards, coins, and balls.
CARD CONTROL, pub. 1947, 219 pages, 297 photographic illus., card sleights and tricks by Allerton, Buckley,Cardinl,JudsonCole,andmanyothers. “ Superb ’’ (?!ulhoiland), ‘‘ Excel(Armstrong), Tops (Fitzkee) Most Authoritative lent ” (Thompson) , Outstanding (Goodliffe),and so on.Reducedfrom 711- ($10) to 2 0 / - . “
”
“
”
”
PRINCIPLESANDDECEPTIONS, pub. 1948,224 pages, 358 photographic illus., the only extensivetreatiserecentlypublished on coin andbilliard ball work (plus some extra fine card tricks) . “ Truly agreat book (Okito) , Magic it is ! (Armstrong), A wealth of material (Thompson), Most informative ” (Warlock), ‘‘ Good . . . good . . . good . . . good (Lorraine), “ Excellent (Mulholland) . Reduced from 7 l /- ($10) to 20/ ”
“
”
“
”
-.
“
”
”
(In addition, we have eighteen important books on the Fleming “ share the loss ” list. $7.50 books a t 431-, $5.00 books a t 301-, $2.00 books a t 12/-,and son o n ) . NOTE : Please remitto Mr. RobertsdnKeene,Riverside, Victoria Road, Yarmouth, Isle of \Tight ; books will be mailed direct from the U.S. Mr. Paul Fleming will be a t Cumberland Hotel, Marble Arch, London, W . l (where he may be addressed), from about July 15th t o August loth, prepared to purchase large or small colllections of secondhand, cloth-bound magic books.
FLEMING BOOK COMPANY, 728 Madison Ave., York, PA., U.S.A. “
PETER
ROUGH AND SMOOTH POSSIBILITIES ” By Tan Hock Chuan
PENTAGRAM
A booklet dealing with the methods and application of the modernprinciple, by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Pbstage 3d.
ARCAS Publications SYDENHAM
404/408
..
Croydon
ROAD Surrey
0
BROCHURES, LETTERHEADS and PRINTED PUBLICITY designed to please ! Special Jumbo Card Tricks made up. Advertising ideas, Copydrawings. writingLine
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manusoripts for publication and books for rev?<w should be sent to the: EDITORIAL ADDRESS:
Particulars from Hon. Secretary :
King George’s Hall, W.C.
Peter Warlock,
Francis White,
24, Wordsworth Rd., Wallington,
39 Alverstone Avenue, Wimbledon Park, S.W.19
JACK HUGHES
JACK 2,
U
The MagicWand, Quarterly. Fer copy 318 p.p. Annual sub.xription 14/6. The Wizard 36 pages monthlv Per copy 211 p.p. 6 konth, 1216, Year’ 241-. & Balls (Farelli) 25/6 John Ramsay’s Cups Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Larnonte) . . 1013 . . 1013 Bohleno’s Mysteries (Bohlen) Thanks To Leipzig (Farelli) . . 10/3 George Armstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 10/3 Strictly Magic (Eddie Joseph) . . 5/3 Stooging Around (Stnthard) . . 513 26 Living & Dead Tests (Garrett) Jamesosophy (Stewart James) . . Year Book 48/49 (few only) . . . 513 Ct*!n+s With Stage Money (Lamontc) , , 513 Tncks of the Trade (Armstrong) .. 2/7
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE
JACK LAMONTE
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Telephone : TOT7742 I
I
Manic Wand Publications
:‘ 2$;
OLD AND NEW. Let me know your wants FOR STAMPED ENVELOPE LIST FREE No Callers
28, WARWICK RD., LONDON, N18
and Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1.
will be pleased to send you details of his very latest effects and all his old favourites in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
’
*
Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroorn and Library
Surrey.
By a MAGICIAN who knows your requirements
0
His Gracethe Dake of Somerset, D.S.O., O.BE.. J.P., M.1.hI.C.
I’rc4lml :
is published on the 24th of each month and canbe obtained direct from the publishers for 1 / 1 per h g l e copy. Annual Subscription 12/post free. PUBLISHED BY:
I-
A RW TO R K
The Magic Circle
WARLOCK’S
.
I
From the publishzrs THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietcq The Magic Wand Publishing Company, 11, Monastery Gardens, Enfield. Middlesex, and printed by Ilcrbert Walker and Son (Printem) Ltd., Well Croft. Shibley. Yorkshire.
*
I
65
PENTAGRAM An independent monthly bulletin for all w h o w a n t good magic Juae
Didyoueverland up at a party wherethe hostess pins slips of paper, bearing famous people’snames,on the guests’ backs ? The idea being that the guests circulate in the company and by asking questions, i.e., sex, nationality, occupation, etc., have to guess whose name is on their backs. O.K., if you ever get mixed up in a “do” of that sort, you’re all set After the initial preliminaries you turnthe talk to E.S.P..” etc., and remark that of course you toparticipate in these it’s hardlyfairfor sort of things, because you can get ” the names bytelepathy,etc.Toproveit,anyspectator writes a famous name on a slip of paper (3in. X 2in. !) folds once each way, then lays it on table. .You suddenly realise thatperhapsthe slip is rathersmall, so youask the spectator to print thenameona larger piece of paper. You tear upthe smalier, folded dip, just in case you think I look atit, or anything like that,etc.,’’ andas yoa stroll away to let spectator re-write name you readthe torn centre that you stole. Right,larger na.me is pinnedonyourback, and you now go fromonepersontoanother, letting them see name on your back, getting each one in turn to concentrateon one particular aspect of that name-sex, nationality, occupation, etc. You are thus able to reveal each aspect in turn, graduallybuilding np tothe correct name. By the time that you’ve got six or seven spectators to concentrateon different aspects youshouldhave circulated round a good bit, so that nearly everyone present comes to see the name, and the final revelation of the complete name is appreciated by t5e entire audience. The second effect mes the torn-centre in the envelope ; it’s a fortune-telling stunt. Deck, set up in Si-Stebbinsorder ; 2 or 3 slips 4in. X 4 k . , folded Oilce each way. The pelformer indulges in a piece of numero“
“
“
195U
logical mumbo jumbo which is written around the paper,andthe resultant Fadicnumber ’’ is drawn attention to. Spectator writes any question on the blank centre of sheet, and this is folded and placed on the table. You now false shufile thecards,andplace these also on table. You have, at this stage, to get possession of the written information, so youmake any excuse to allow specrator to re-write information ; perhaps you forgot to le11 him to sign the paper, or L;) add his place of birth,etc.Anyway,youhand him a fresh slip t(J re-write information, tearing up firstpiece as in previous description. As he writes you walk away and read stolen torn-centre question (andanyotheradditional information that you asked him to add-mother’s first name, etc.).The second slip is tabled or placed in spectator’s pocket, etc. Yag can now give the cardsanother false shuffle if youwant,then place deck on table and ask spectator to cut three times r i t h left hand (!) (completing the cut each time). He isnow asked to cut of[ about a quarter of the cards(fromtop of pack),and to place them, face down, to his right. Then another small packet, frcjm rernainder of pack, beside the first packetcut off, and finally anothersmall pazket beside these two ; the remaining cards are placed to one side. You explain to him that the first packet represents the Past,” second packet represents the Present,” and third packet represents the Future.” He is askedto turn the topcard of each packetface-upon its packet. You now givea reading for the Past ” from the face-up card on Present fromthe first packet ; one in ihe face-up card in the Present ” packet ; and one for the “ Future from the face-up card on the (a-la Forbidden Wisdom ” ; third packet. “
“
“
“
“
“
”
“
”
66 Mainly Mental ; 20th Century Mind Reading Act,’’ etc.,andany previous information you’ve been able to garner.) You now ask him to concentrate on the question that he wrote. He is to place the three faceup cards. to one side andtotakethe new top c a r h ofCach packet (one from each) and to hold them in front of him in a fan,notlettingyou see whattheyare.But, of cou.rse, you do know what they are, because the face-up cards that you did the previous rea.dings ’’ from tell you what they are :“
”
“
“
the process (say it’s the 2 D’s.). Now, let’s suppose that the spectator’s lucky number is 8 ; you ask him to count down to the 8th ,card in the remainder of pack (the packet that wasplaced aside before the reacljngwas begun (see diagram on p. S ) , and to remove this card without letting you see it. Hut you know what this card is because sighted bottom. card of heap 3 is you key card, therefore 8thcard in remainderpacket is I< D . You nowproceed asbefore :-“ Court cardsare luckier than spot cards, therefore, if you’ve got a court card you’re assured of everythingturningoutas you hopedtheywould. (Vivc-versa if luckycardhappenstobea spotcar;!) . You were bornunder the sign of Scorpio, therefore, your luckiest suit is diuI ? 2 0 1 1 7 d S , but if you’ve got a lteurt it’snearlyas lucky. You go on like this, never saying, “You’ve got the K D’s.” but working it so that YOU finally tell him that his luckiest card is the K D’s. and if by any chance ( ? ) that was the one that was at his lucky number, he’s assured of a very happy existence a d will succeed in life, etc.! rhis leaves them bubbling over with joy!! “
”
ACE OF CLUBSISO EIGHT OF DIAMONDS&UEm OF HEARTS SO TOP CARD OB PACKRT SO TOP CAHD OF TOP C A R D OF PACKET IS FOUR OB HEARTS PACKET IS JACK OF IS TWO OF SPADES CLUBS
You explainthatthethreecardsheholas will answer the question he has in mind, because th.? way he’s acted in the past, the way he’s acting I ~ O W , and the way he will act in the future will combineto reveal the answertothequestion. Now, he drew a card from each pile; “ Past, Present, Future and you know what these are; you also know what question is; you don’t nunle these cards,you work like this :-say thatthe question is, Will I beableto go tomy son’s wedding?” (!) and youknow, thanksto Si-Stef, that he ho1d.s the 4 H., -7C . , and 2 S. O.K., you patter :-“ If you have 3 red cards your question probably deals with health; if you have 2 red and 1 black card its probably something about politics; if you have 2 hlack and 1 red it’ssomething to do with truuel.” Get it? Youcarryon in this manner,graduallyrevealingthatthecards (?) have revealed his ‘ thought-of ’ question and also that these cards hold the answer to that questim. There are endless combinations,courtcards and spot cards, suits, numerical values, and combinations of certain cards. You build-up in thisway till you come to a direct answer to the question. You never reveal that you know the exact question,you just makesurethatthe ‘cards’ givea good, direct and sympathetic answer to the question You now statethat the spectator’s ‘ Fadic Number ’ is a positive omen of good or bad luck, both in answer to thequestionand to himself generally. (Rememberthat youworked out his Fadic number at beginning of effect), You gather up the 3 heaps, sighting bottom card of heap 3 in ”
“
I stands for INGLEBY
--
From the l . B. Findluy Collection
Here is a contj-ibution you might use for the ‘ ‘ Pentagram. ’ ’ It is my arrangement of a wellknownefiect-the magicalarrangement of three coloured silks in a called-out order.Themagi displays a parcel in which, he says, are three silks -red, white, and blue-tiedin a certain order. There arc six possible arrangements-R, W, B.-W, B, R-B, R, W, W-R, B, W-B, W. R.W,R,B. Then he displays a stand and three cards of thecoloursred,white andblue.Onthishe arranges the cards in a required order. He thentakesupthe parcel and waves it overthe stand to develop a sympathy between silks and cards.”When the silks aretakenouttheyare “
seen to be tied in a chain with the colours in the order shown by the cards ! The three silks have their endsfastenedby tiny rubber bands in a continuous chain, and the first diagram shows a close-up of the same. Then these silks are wrapped up in a parcel withthe paired ends disposed as shown ; the order must be memorisc?. After the preliminaries of the effect have been gone through. up tothe displaying of thethree cardsonthestand,youhaveonly to notice the firs; and third coloursbeforeyoucoulddisplay the chain in the required order.Saythe colours are R, B, W-the end colours are then R and W. So you have to open the parcel where these ends areandjust pull upthetip of the redend,as red is the first colour. Thismerepullupsetsthe tied end, and the three silks will come out in the order required. From here the magician could go into Blends or any other effect wherein three coloured silks are required. Have been indisposed for about eight months, andfoundthe Pentagram ” very welcome. Thanksagain. Withall the best, Yours sincerely, TAN HmOCK CHUAN. “
”
“
was verypleased to see you Dear Peter,-I had published my two contributions. I had almostforgottenaboutthem.Theonly cornrnent I have had on my “ slaphappy pass ’ ’ is unfavourable ! So muchthebetter ! Do youremember how Annemann used to publish occasionally a page of Improvements ” ? I notice you don’t do this-maybe because most of youritems are so good alreadythat there is 110 room for ilrlprovement ! However, there are acouple of ideas that I consider well worth while, and am using. Hark back to the Pentagram of Auglst, 1947, Page 77, JamesDouglas’s Recovery.” Now my little improvement is this. Before beginning, fold tke mac,az:newit-? the duplicate Pover that you have fixed in the centre so that this cover appears to bz the norm21 autside cover. The xsgazinecanthen be displayed casually atthe start without anything untowardappearing. It is thenthe duplicLtte <.over that is tornaway. And atthe end the magazineyoudisplay is a ‘‘ Illustrated,”or nomal andquiteunprepared whateveryou use. It canthenbepresented to a member of the audience, and is bound to be the object of later discussions-(you know, “ but here i s the verymagazineheused,” etc. !). And as adra.wing-room trick it causesa great deal of comment, I assure you. “
“
”
“
Well, great credit gctes to James Douglas for this delightful trick. I wonder how manyhave passed it by ? And nbw Idea No. 2. Reference Sharpc Scissors on Page 68 of the June, 1949, Pentagram. The length of the slit need onlybea little greatex than the w i d t h of the ribbon you are cutting. Then when you are past the ribbon, the scissors can be shown above and below the envelope actually and deliberately cutting it. This verymuchenhancesthe illusion that youhave justcutthroughthe ribbon. Spectators notice this particular point, because I have heard it commented on afterwards. Incidentally, I use a spectator’s tic:!-a procedure of which you probablydon’t appTove ! I alsa use an envelope of ;1 letter thathas beenthrough the post in the normal W-ay, and I remove the letter at the beginning of the trick. It all makes things look normal, and incidentally the writing on the envelope helps to camouflage the slit (good old Army training!). However, this idea comes froin Annemann’s The Jinx 11. Card Unharmed Many and sincere congratulations on the Pentagram-you are producing a magnificent c811 keep it up ! I am magazine. I hopeyou the proud possessor of a complete file ! “
”
“
”
“
”
Yours sincerely,
PETER SUTTON.
68
MISE EN SCENE.” The Mysticologist andhis ‘ wife ’ are in thedrawing-rocm of their home, entertaininga gathering of friends,andasmay be expected, they are discussing magic, or maybe the weather -for achange. In a somewhat off-handed manner the hostess asks her knight-of-magic : Have you shown our yet ? ” guests that funny trick ’ of yours Whatfunny trick ? ” asks herhubby. “ The one you showed to Mr. and Mrs. Hocus the other night.Don’tyou remember ? Oh ! that stunt ! ” The trickster,(pretending to shake-off his wife) explains to the guests : Oh ! it’s nothing much,justa little idea the wife and I tried out for a bit of fun.” By this time the hook iswell baited,and everyone in theasylum insists on seeing that “ funny little idea.” And that’s just exactly what the performer so cunningly engineered. Somewhat reluctantly, but happy ,within, the ‘ host ’ condescends to show it, to please the gathering. Then, from a aear-by shelf or handy drawer, etc.,etc.(afterasearch ? ? ? ) hebringsfortha pack of. cards, in their case. The cards are removed and placed onthetable,theyare held together with an elastic band. “
“
“
”
“
“
Performerdoesnottouch.thecardsagain.
Next,heexplains that his wifewill assist him andthat she will retire toanother room, then, while he turns his bask, or leaves theroom,for that matter, any vohnteer !’S to takc: the pack and shuffle thecards.Then Fe is to select any one card, look at its face, memorise it,andthento shuffle itbackintothepackand replace the rubberbandaroundit.The performer, his wife, and no one else is to know which card is selected. Thus said anddone,performerturnsround facingagainandinvitesanyothervolunteerto take the pack to his wife in the other room. H e must not speak n word t o her or answer c : : y qztestions. This is done,and almost imrnediatelythevolunteerreturns with thepack of cards, still secured with therubberband,and places it on the table, according to instructions. Performer now recapitulates the proceedings, thusfar,and asksanvone to ta.ke upthe pack. He explains that he and the audience, joimly, will now count the cards aloud, and during this operation the spectator who selected the card must stop the person who is to deal the cardsas soon as the selected card shows .itself.
Tht. cards are then dealt-off, faces up, one by one, on to the ta.ble, and everyone joins in and counts aloud. Strangely enough, there are only 51 cards in thecoun-t,andthe selected card is notamong them. The performer enquires : Isn’tyourcard tilere ? The person who selected the card says, No.” Theperformer continues : In orderthat there should be no loophole for dispute about the identity of the selected card, later, will the spectator himself please name the card he selected, for all to hear. Someone is then requested to recall the good ladyfromher room, and she walks in with the selected card in hand. The trick may be repeated with similar success, but why ? “
”
“
“
REQUIREMENTS. Fourpacksof’cards with back-designs to match, also thr-ee small rubberbands to snap around three of t h e packs. These must look alike, for safety’s sake.
PREPARATION. Pack No. 1 . Arrange the cards in suit order, aces to kings. PackNo. 2. A well shuffled pack with a rubber band around it, but without the case. Pack No. 3 andPack No. 4. These two packs are sorted out and re-assembled to make up MISSING LINK PACKS.’’ two These packs consist of 51 cardseach,made up in amanner that any one card of the 52 in a regular pack, is found to be missing, from either the one or theother of these two packs, when thecardsare checked through. To make up these packs proceed as follows : Pack No. 3 zonsists of [he undermentioned cards from both packs, namely : The ace, 2, 3, 4, 5, 6 of clubs andspades. The 7, 8, 9, 10, jack, qucen, king of hearts, and diamonds, repeated. Pack No. 4 is made up of the remaining cards from bothpacks, namely : The ace, 2, 3, 4, 5 , 6 of heartsanddiamonds.The 7, S, 9, 10, jack, qucen, king of c:ubs, and spades, repeated. From .Pack No. 3, discard one ace of spades, aod from Pack No. 4 discard one ace of hearts. Shuffle these two packs thoroughly,and place a rubber band around each, to hold the cards securely. “
69 Next, take Pack No. 1, and No. 4, and leave them in the room to which your assistant will retire out of sight whenthetimearrives.Ona smalltable in that room, Pack No. 1 is spread out sc that your assistant can quickly get at any wanted card,withoutdelay.Pack No. 4, with itsrubberband in place, is left in a handy and get-at-able point, somewhere near the doorway. Pack No. 2 goes into one of the performer's favourite side pockets, secured with a rubber band. Pack No. 3 (witharubberbandaround It) is in its case and is left in a handy dreawer on the book-cse: etc., etc., in the roam \\here the company is congregated.
WORKING. When the right moment arrives, the performer introduces Pack No. 3, while his assistant retires toher room.Thispack is handedtoa volunteer to shuffle and to select a card mentally, then to replacethecardand re-shuffle the pack and to snap the rubberbandarounditagain. "
"
A secondvolunteertakesthepacktoyour assistant, who receives it through a small opening of the doorway.Your assistant stalls fora few seconds, andthenhandsthevolunteerthepack backagain, u c t z d l y Pack hlo. 4, hut that i s ~ i o ~ ' ~ ~ j affair. l i ~ ~ ' . ~
(' THE CARD MAGIC OF LEPAUL," byPaul le Paul (publishedby theAuthor, price inthiscountry & 3 andobtainable from the Flerning Book Co. See Ad. page 72) . Here is that rarity, a book on card work by a. professional cardman. Abook, too,that is a book in thefullest sense of the word. Stoutlyclothbound, it contains some t n o hundredodd pages of text accompanied by some three hundred and fifteen photographs. Thefirsttwenty-four pages of the book include acknowledgments, an introduction bv John Rlulholland, and a Preface by the Author. It is- terse, but it shows the mind of amagician, thus :" Skill is the primerequisitefor conjuring with cards-sooner or later anyone who hopes to gain recognition as an expert must master the technique of card manipulation ' ' , and " Mediocrity is outmoded. If Magic to hold its place . . . it must be expertly (lone . The book proper is divided into tmo parts, the first part being devoted t o sleights and flourishes, whilst the second is made up of card effects. does not describe LePaulin hissleightsection anythingrevolutionary,infact most of the methods given areadaptationsor improvements on standard sleights. This is almost as it should be, €or the groundwork of card magic has been well explored during the last generation. What, however, theAuthor does do is to convince the reader of the practicabililty of the sleights in question. In this range of sleights, the Pass, SideSteal,Palming Double Lift, Changes,False Dealing, Controls andFalse Shuffles arealldealtwith.
fs
The volunteer .returns and places the pack on the table. Once agaia, the performer recaps. The cards are dealt-off andcounted, andthe selected card is said tobe missing. The selector is thenasked to name the card he selected, to avoid arguments, for a11 to hear, etc., etc. MEANWHILE, your assistant sneaks close up, unobserved, of course, and listens in to hear the name of the missing card,after which she hurries back to her lair and takes the card named fromthespread-out of Pack No. 1 . (THINGS MUST MOVE XAPIDLY TO PREVENT SUSPICION). Someone is then asked to re-call your assistant, and she re-enters the drawing-room carrying a card, face down, which she deposits on the table. Once more,performerrecaps (during which timehegathers the packfromthe table and casually snaps the rubber band around it. Then, when all eyes and attention is concentrated on the missing card as it Is turned face up, the sly performer politely pockets that pack and switches it for the one in his side pocket, i.e., Pack No. 2. The extra card on the table must be disposed of as best asthe prevailing circumstances will permit,just in case somewiseacre asks ta look through the pack. (This 1s the only little difficul t y which may at:ise. ) '
Particularly did we like his bvttorn palm, diagonal left palm,left hand centre card steal, snap overdouble lift and genuine onehand fancy deal. The second deal described, though without doubt effective, is not a second " deal Withall these sleights the excellent grouping of thephotographs atthe side of thetext makereading and learninga simple process. The trick section commences with the excellent adviceregarding thefactthattheplot of anycard trick should be simple. This point is borne in mind in all of the effects that follow. The first three effects, " How close can you watch ? " " Deceptive Perception " and " Mistaken Identity ", in which red backed and blue backed cards are used, alltieup nicely together and further more add a little more to this phase of conjuring. " Quadruplicate Mystery '1, " Colour Segregation " and " ImpromptuTorn Card Effect areall excellentitemsfor close up work. Thereare a number of effects on the four ace theme, the handling in every case being free from involved methods. An excellent book which carriesarecommendation to all who love good card work. l ' .
' I ,
" CONJURING," by Wilfrid Jonson (published by Foyles of Charing Cross Road, W .C.2., price 2 / 6 ) . Here is a book of some ninety-six pages published by a lamous firm of booksellers for the consumption by those members of the public \vho wish to become conj urers. First of all we must congratulateour old friend, the Author, on his choice of sucha.simple but at the same timc allembracing title,and secondly onthe masterly way in which in sucha few words he has covered so largea field.
70 In the Preface, theAuthor gives the reader some excellentadvice, one piece of which is t o remember that you cease t o be a conjurer when you have finished your performance, for as he rightly says “ Nothing can bemore irritating to really intelljgent people than the conjurer who poses as a ‘ magician ’ andpretendsto be a man of mystery ccfter he has finished his act.” The book is divided into two-main parts, part one dealingwith “ Impromptu ” magx, whilst the second is given thetitle of “ Studied Mysteries.” Inpart one are some fourteen items, all effective yet employing near t o hand properties, whilst some twenty three items of amore elaboratenaturetakeupthe second part. There are no card items included for the simple reason that Mr. Jonson has a book entitled simply “ Card Tricks that will make a later appearance inthe Foyles Handbooks series. For the beginner this is an excellentbook,being both readable and informative. It teaches, magic which is thegreatthing. An excellent “ buy ”
“
”
‘‘ THEPIDDINGTONS,” by Russell Braddon(published by Werner Laurie, price 8 / 6 ) . This, a contemporary success story, is a neatly produced blending of fact with fiction. Russell Braddon, its author. writes graphically and well, andinthe beginning we are taken back to the war days when the Jap was taking all before him in the Malay Peninsula. We read of the meeting between Sydney Piddingtonand the author, of their separation and their later re-union in Changi P.O.W. Camp, and how a t this stage a telepathyact was born. (As this is primarilya book for the public a t large we arenot given the sources of inspirationthat helped totaketheact from Rhine symbols to the book teststage,infactthe credulous reader will have every right to assume that the phenomena writtenabout was genuine phenomena). Withthe success of the act, the first part of the book is ended, and the second begins with the capitulation of the Japanese and the return of Sydney Fiddingtonto ,Australia. It tells of his period of rehabilitation and of his meetingwith Lesley Pope (who later was to becpme Mrs. Piddington). It tells of their teaming up and successful debut on Australian Radio. Thethirdand final stage is thestory known t o most, of how this young couplecame t o England and with their series of radiobroadcasts caused notonly controversy,but how suchbroadcastsserved assteppingstones to stardom in variety. The book runsto over twohundred pages and is well produced and illustrated. We feel thatcertain criticisms of both conjurers and personalities could have been omitted,andthough Mr. Braddon seems to find our ways peculiar,such national peculiarities can be unwisely stressed, asinstancethe case of Parkin when he was once being barrackedduring a Test Match in Australia. We also thinkthat shouid have been a credit note (and such a credit did not need the revealment of thePiddingtonmethods)to those like Annemann andothers who have helped in the modus operandi of .this act.
‘‘ LELIVRE D’OR ” (compiled and published by Robelly: 13. Ruedu Grand-Marche, Tours,France. A limited edition of 312 copies) .
The compiler in his Foreword nut only gives his reasons forthe publication of this book butatthe same time tells his readers that there are omissions. As in the case of certain British and European magicians, the author would no doubt be advised by his contemporaries, we mustnot place the blame on him for some of theamazing oversights, the greatest of which is that of David Devant. Others of noteare Annemann, Douglas Dexter, Louis Nikola, Martin Chapender, Jardine, Ellis, Fasola, Hilliard and Sachs. Despitethese omissions, M. Robellyhas produced a most valuable work and one that will give more than a great deal of pleasure tothe serious student of Magic. Inthemajority of cases not only is a brief pen sketch of the personage included, but actual birth and death dates are added. Though we have not counted them there must be a t least some one hundred and fiftyreproductions of sketches,photographs and playbills, all of which add greatervalue to the work. Harking back to the matter of omissions, it would seem an excellent idea if,for the sake of comprehensiveness and more general representation, that asupplementbe issued. We consider ourselves most fortunatetohave acopy of this work and give it an unreserved recommendation.
JOHN RAMSAY’S TRIPLE RESTORATION, described in the minutestdetail by Victor Farelli (published by John Ramsay, price 6/-). Thisroutine is in printed forrlandrunsto some twenty-one pages. There are fourteen photographic illustrations. IVhen John Ramsay’s “ Cylinder and Coins routine was reviewed by us some little while back we expressed the hope thatthisparticularroutine would follow. Our wish has nowbeen granted. Let us say straightalraythat Mr. Farelli has performed an excellent job of work and has chosen the photographs well so that there is nothing that cannot be understood. ”
To thoseunacquainted with the effect, i t consists cl a trip!e restoration of torn paper, every action being carried out in a most deliberate way. Unreservedly rccommended. “ ALL CLEAR ” ENCHANTED -VASE (marketed by the originator, Billie Jones 8 , Clarence Street, Pembroke Dock, price 7/6). The effect that Mr. Joneshas gone out for is that of the “ Rope and Vase. ” This version is very much different insofar thatthe vase (or in the items supplied,a medicine bottle) is transparent. The idea is very c-ever andcertainly practical, andalthough,as we mentioned before, the secret device comes with a medicine bottle,it can be adaptedto almost anytype of bottleor glass vase. It ca.nbe performed a t very close quarters,andastest we quite safely handed the battle out for inspection by a friend of ours. If you !ike the description of the effect you should not fail to purchase it.
DOUGLAS HOQD’S “ CARD IN CIGARETTE ” (published by the originator and retailed by Ken Brooke a t Veroni House of Magic, Eradford, price 6/- 1. Mr. Hood in devising this special device for disp x i n g of the torn pieces of card, will tend to make the “ Card in Cigarette amostpopularitem this coming year. Our own advice wouldbe for the owner of this “ gimmick t o forget the cigarette part, and find some other means for producing a torn card. The device is easy to handle and is an excellent buy. The originator,anxiousto give the buyer everythinghas, in theprinted instructions supplied included .an excellent method (Jack le Dair’s) for switchitp the cigarette. ”
”
M. Robelly in this book of nearly one hundred and fifty pages has,with alove of magic and magicians, paid homage t o those magicians of thepast.In his task. he has been assisted by some sixty fellow Who magicians. LeLivre D’Or is really a magical was who ? ” “
71
First of all we start withapologies tothree friends, namely, C. L. Boarde,Francis Haxton, andStanley Collins. The first forthe omission of a letter in his name on last month’s cover, the second mistake for a in his excellent item Restless Choice.” If thereader will turn to Page 59, in thethirdparagraph in the left-hand columnhe willfind that. The performer now shuffles the deck bringing the two of clubs to the top.”This shouldread “ theperformer shuffles the cards leaving the two of clubs at the hottot)?.” Whilst we feel sure that those readers conversantwiththe Curry change were not foxedbythis, we would not like to let it pass without correction. The illustration accompanyingMr. Collins’s article showedcapital letters , these letters should have, of course, been in script. “
“
“
”
is TheChicagoS.A.M.-I.B.M.Convention now a thing of the past.Impartialandauthoritive correspondents on the other side of the Atlantic givetheinformation that Willane was the outstanding act in the International Nite show,
In earlier numbers of thePentagram,under the respective titles of “ The Thread in the Maze ” and IWestern 1248,” its worthy Editor and Mr. VictorPeacockdescribedmethodsas to giving information as to the name of a selected card over the telephoneby calling outthenames of a number of other cards. In presentingthe following,however, it shouldbe distinctly understood thatit is notpresented asan improvementon either of the foregoing, but simply asanalternative method which may be preferred by some, as it works automatically, and there is no chance of amistake occurring. “
Commence as in both of the methods with a pre-arrangedpack,but in additionthemedium mustbeprovidedwitha scribbling padupon which the names of the cards are already written down in their correct order. The pack 1s fannedforaspectator to make a free choice of card, and as soon as he has done so the cards are cut at a position two cards above the place from which the selected card was removed. Prior to being placed in the spectator’s Docket the chosen card is shown to the remainder
Dr. Stanley Jaks, the cream of the close-up ses sions, whilst our ownGeoffrey Buckingham stole the honours at the Educational lectures. Ourfriend,MauriceFogel, is now settliug down in New York and has spent some little time assimulating the American angleon professional mentalism. The pace wouldseem tobefaster, a factthat is not so easily apparentfromthe writings of American mentalists. Elizabeth Warlock has had many requests to publishher effect “ Linklater. In consequence this will appear in the July number, together with a coin andnote routine that we feel surethat you will like. It wouldseem that Charles Wicks’ Mentalist’s Dream ” has been one of the most workedeffects that we havepublished.From all over the world we havehad nice things said about it. ”
“
Just too late for review Scarne’s “ Quartet ” hasarrived. An excellent basic idea capable of many variations; get a copy as soon as you can.
of thecompany,and while this is donethe performerturns his back.This gives himample off thetopfour cover andopportunitytopalm cards of the pack. The remainder of the pack is then shuffled by anothermember of the audience andcutby a third.The magicianthen picks up the bottom half,andremarking, You maynot believe it, but your card has impressed itself on these others,” -deals the top four cards-which he has just palmed on, face down upon the table. Yes,” he continues, namethemto my wife in anyorderyou like, andshe will beable to psychically discover the name of the card in your pocket. ’ ’ “
“
“
As thecardsarenamed to her the medium takes a pencil and crosses them off the list before the her. As an experiment will show,assoonas fourth erasure ha.sbeen made,four successive names will be foand to have been scored out with agap betweenthe seqond andthird crossings, and the name of the card which occupies this position will correspohdwith the card which the sDectator Dlaced in his pocket.
ALMOSTUNBELIEVABLE BUTTRUE! Arthur Buckley’s CARD CONTROL and PRINCIPLES AND DECEPTIONS (described in last month’s Pentagram and Wizard) areunquestionablymagic’smostsensationalbookbargains.Finelyprinted, iavishly illustrated, and handsomelybound,these 71 / - ($10) booksare now available,from us only, at 20 / ($2.80) each ! FLERIING “ SHARE THE LOSS ” BARGAINS : A t 60 / - (not 71 / -) , Rice’s “ Encyclopedia of Silk Magic ”: a t 45/- each (not 5 3 / 6 ) , Gaultier’s “ Magic WithoutApparatus,”Kaplan’sTheFine A r t of Magic,”Thompson’s My Best,”Boarde’s “ Mainly Mental : Vol. 11. ”: a t 40/- (not 4 6 / 6 ) , Mayoh’s ‘‘ Magic by Ho-Yam ” ; a t 35 / - (not 43/-) , Alexander’s‘‘ Life and Mysteries of the Celebrated k.Q ” ; a t 30/- (not 3 5 / 6 ) : , F h s ’ s “ Sleight of Hand.” Maskelyne-Devant’s “ OurMagic,”Dhotel’s Magic nith Small Apparatus,Hugard’s Magic Monthly ” (BookEditions Nos. 1. 2 or 3 ) , Nelson’s “ Encyclopedia of Mentalism ”; at 12/- each (not 1 4 / - ) , Hoffmann’s “ More Magic,”Erdnase-Hoffmann’s “ The Expert at the Card Table,” Collins’s “ AConjuringMelange.” TWOAMERICANBOOKS : “ TheAmateurMagician’sHandbook,”byHenryHay, an excellent introduction to conjuring of allkinds,cloth, 319 pages, 219 illus. ($4.95), 35/- ; “ TheGreatHoudini,”by Williams andEpstein,a new biography of the famous “ escape artist,”cloth, 182 pages ($2.75), 20/-. WE BUY MAGIC LIBRARIES ! Paul Fleming will be a t Cumberland Hotel, Marble Arch,London. W . l (wherehemay beaddressed)fromaboutJuly’5th.to August loth, prepared to purchaselargeor smallcollections of second-hand,cloth-boundmagicbooks. NOTE.-Please remit to Mr. RobertsonKeene, c / o “ Riverside,”VictoriaRoad,Yarmouth, Isle of Wight, and receivebooks, postpaid,direct from the UnitedStates. “
“
mEM[ING BOOK COMPANY, 728 Madison Ave., York, PA., U.S.A. “ROUGH AND SMOOTHPOSSIBILITIES
”
By Tan Hock Chuan
I
PETER
WARLOCK’S
PENTAGRAM
24th of eachmonthand A booklet dealing withthe methods and ispublishedonthe canbeobtaineddirectfromthepublishers for application of the modern principle,by 1/1 per singlecopy. AnnualSubscription 12/post free. one of the leading experts on the subPUBJdWED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11. Monasterv Gardens. Enfield. magicians. Middlesex. ‘ Price 51- Postage 3d. Mannscriptsforpublicationand books for
ARCAS Publications SYDENHAM
404/408
Croydon
ROAD Surrey
~
0
WRITE
BROCHURES, .LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks made up. Advertising Copyideas, writing, Line drawings.
LAMONTE JACK 28, WARWICK RD., LONDON, N18 Telephone : TOT7742
HUGHES
will be nlcas-d to w n d you d-tails o f h’s very latest effects and all his old favourites in return for a stamped addresscd envelop: (fnolscap or octavo size please).
By a MAGICIAN who knowsyour requirements
~
to the:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK
A RW T ORK
0
reviewshouldbesent EDITORIAL ADDRESS:
JACK 2,
NOW,
TO
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD ANU NEW. Le: m? know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle Prrsident : HisGracethe Duke of Somerset. D.S.O.. O B E . . JP., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. Magical Theatre :
King George’s Hall, W.C. ParticularsfromHon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
I Magic Wand Publications Magic Wand, Quarterly. Fer copy I The Annual subscription 14i6.
proprietmThe
2/1 25/6 17/10 10/3 10/3 10/3
10/3 5/3 5/3 5/3 5/3 5/3 5/3
2/7
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Publishedbythe
3/8 p.p.
The Wizard, 36 pagesmonthly.Percopy p p 6 month 1216 Year 241John’ Ramsay’s CAPS &’ Balls (Fareili) Convincing Coin Magic (Farelli) .. Mastered Amazement (Koran--& Lamonte) .. Bohleno’s Mysteries (Bohlen) .. Thanks To Leipzig (Farelli) .. Geolge Armstrong’s Premonition Entertaining With Hypnotism (Dexter) Strictly Magic (Eddie Joseph) , . Stooging Around (Stuthard) 26 Living & Dead Tests (GaGett) ’.‘. Jamesosophy (Stewart James) .. .. Year Book 48/49 (few only) . . . Stunts With Stage Money (Lamonte) . . Tricks of the Trade (Amstrong) ..
Magic Wand PublishingCompany 11 MonasteryGardens Enfield.Middlesex,andprintedbyHerbert Walker m d Son (Printers) Ltd.. ’WLll Croft, Shioky. Y’orkshire.
*
73
PENTAGRAM An independent monthly bulletin for all who want good magic
E D I T O R ’ S N O T E . Thiseffect,astheinformed is basedontheprinciple readerwillrealise, described by Mr. Paul Curry in the “Phoenix” and “ Magic us a Hobby.” The present version hastheadvantagethatthe effectcan bc performed without the need for any gyrations by theperformer. A number of conjurersseeing theeffecthaverequestedfurtherparticulars. Because of thut, it is now being published. P. W . On the conjurer’s table, to the left, stands a little board in a stand. This board has four slots cutoutabout half wayfromthe topand each one andaquarter inches apart. Two pieces of cord, of different shades, arethreadedthrough these slots so that there are two loops one sideandfour ends the other. The performer shows the cords, and after placing them down he introducesthelittleboard. He pointsoutto the audience that both sides are equal in size and shape and then places it back in the stand. The cordsarethenthreadedthroughagain, but this time with the loops at the back of the board and the ends in front, nearer the audience. Again he picks up the board and shows the audience that there are two loops on one side and four ends the other side. With the two loops towards him, the conjurertakesthemand ashe pullsthem up towards thetop of theboard, be shows that one loop of cord has passed through the loop of the other.
length, twelve inches in width, and a quarter of an inch inthickness.This is fortheboardand musthave four slots cutout of it.Theseholes are one andaquarterinches in length, half an inch in width, and one inch apart. The measurements for the position of the slots will be best seen in Illustration 1, rather than explained by words. 3. A smallprojection to fit at theback of the as they are board Qn which to catchtheloops broughtup.This is fixed to one side of the board approximately two-and-a-half inches above the holes and between the second and third slots (See Illustrations 1 and 2 ) .
0
Requirements. 1. Two lengths of differentcoloured
silk cord (the colours I use and which show up well on a stage arered,and grey), each piece measuring about one and a half yards. These cords should, to prevent them from unravelling, have their ends whipped. 2. A piece of wood measuring eleven inchesin
Having dealt with the board, let usnow take itsholder.This is madefroma piece of wood twelve inchesby five andthree-quarter inches andhavingthe same. thicknessas that used for the board. To this base are attached two thicker 4.
74 pieces of wood. These are five and three-quarter inches in length, two inches in height, and about an inch in width, and are fixed at approximately two inchesfromeachend of thebase. Inthe centre of these pieces of wood are cut two slots, justlargeenough to holdtheboard. The board and its holder are now painted. I use cream for the board and the base of the stand, and red for the slotted uprights.
0 Preparation. There is very little to do really in the way of preparation,exceptto fix theboardon to its standandputthe cordsthroughtheirslots, making sure that the projection side of the board doesnotfacetheaudience. In writing outthe presentation I will be using the table to my left as I am left-handed. If you arenot,right-hand shouldbesubstitutedwhere I havewrittenleft.
detriment to either, but that you, as a magician, will trytodisprove that theory.The silk cords are then displayed, and having shown them you caneitherplacethem on a table,or as I do, drape them loosely around your neck. The next thing for introduction is the board which is picked up with theleft hand, the thumb facing the auclicnce andallthe fingers at theback, so thatas youturntheboardround to show the other side theprojection is between the second and thirdfingersandcannotbe seen bythe audience.Both sides are shownquitecasually and the board is then replaced in its holder in the
same position as b2fore. Thegrey cord is now taken and threaded through the two slots nearestthemagician with theloop at the buck of theboard. Similarly,the red cord is taken and threaded through the other two slots. Again the board is picked up with the thumb in continued on page79
Flashback ! J stands for JONAS
Presentation. The magician begins the effect by saying that scientistssay that itis impossible to pass one solid object through another solid object without
From the J .
B. Findluy Collection
75
Heavyprediction effects that dependupon locked boxes seem alittleunwieldy as regards purity of effect. The following principleenables exactly the same results to be obtained with the use of acouple of envelopes only-and thepredictionitself, of course.There are no fakesand no gimmicks. The effectis thenormalpredictionroutine : .a sealed envelope is deposited with a member of the audience before the show, or is placed in full view of theaudience before theeventpredicted takesplace. It neverleavesthesight of the audience; there are no switches of envelope, inner envelope, or contents of the inner envelope, no stooges, no thumb-writing, no carbon, and no surreptitiousskulduggery of anydescription. Thesecrethinges on a method of loadinga folded paper, card, or small envelope into another envelope imperceptibly. First of all,theenvelopes. Two are needed -outer and inner. Both are of heavy paper and are quite opaque. The outer should measure about 6 inches by 4 inches; inner envelope measures about 3 or 54 inches by 3& inches. Sizes a little larger or ver-y little smaller may be used, so long as the inner envelope fits easily intothe outer. The innerenvelope is sealed up-empty-in rather a special way. Thetop edges of the gummed part are moistened, but the lower edge, in theshape of aleter V, is left dry. On the inside tip of the V adab of rubbercement is placed,andthisedge is foldedback.Wherethe blob of rubber cement would register on the body of the envelope another dab of rubber cement is placed, so that when thetip of the V is folded downintoitsusualflatposition, the two blobs stick together. This should leave the inner envelope with a clear passage up beneath the flap. I t is into this passage that the prediction is inserted. I recommend that this inner envelope should be one of those on which theflap comes nearly down tothebottomedge of theenvelope,thus allowing much more cover for the folded prediction when it goes under the flap. Having preparedthesmallerenvelopethus, and having folded back the rubber cemented tip of the flap to stop itadhering,yet,tothebody of the envelope,placethesmallerenvelopeinto thelarger,whichisthensealedassecurelyas you wish. You may now part with the package to the member of the audience, or you may stick it on the ceilingoranywhere else where it will be prominently displayed and out of your reach.
After the event you are predicting has taken place, write your prediction, aud fold it very flat toaboutthe size of 2$ inches by 2 inches.Use thin, tough paper which will not readily crumple. If you use the wrong sort you are going to find yourself holding an envelopewithaballed-up wad of paper stuck half-way. To present : thepredictionmustbepalmed inthelefthand.The two envelopes are called for and handed to you. With a sharp knife, open the outer envelope and, after extracting the smallerenvelope, layit down.Taketheinner envelope in right hand, face of envelope to audience, and transfer itto left hand, in front of palmedpredictionslip. The slip is thenin a positionjust below thetip of theflap,andis pushed slowly under the flap with the left thumb. If youhave used an envelopewith a large flap covering most of the back, the prediction slip will be out of sight under the flap and you may show theenvelopecasuallyon both sides. If the slip is not quite out of sight, no matter, but don’t let the back be seen. Now take the paper knife again and slit along the top of your inner envelope, hold it out to a member of the audience, and request him to take out the slip inside. As he draws it out, your left thumb turns down the folded-back tip of the flap, and presses itdown, so thatit adheres to the rubber cement beneath it. So much for the working. You will find that the slip pushes up beneath the flap to such a position that it definitely appears to come from within the envelope when it is withdrawn. Pick the right shape of envelope and you
7
If youhave a thermometer handy, go and look steadily a t it for a minute or SO, andyou will see that the temperaturehas risen one - o r two degreeswhileyou have beenwatching it. One condition-you musttake anexact’note of the temperaturewhenyoustart,.andkeepyoureye on the gradations until the mercury, or the pointer, has moved up noticeably. Psychic stuff? Not in the least-the explanation is theobviousone : thatthetemperature really hus risen. At anyrate,ithas risen in the immediate neighbourhood of the thermometer if you have followed the one condition. To get close enough to a thermometer to read it accurately, the eye must be about a foot away. The temperature of the head at this proximity is enoughtosendthemercuryup several degrees, according to the existing room temperature. It follows, of course, that the colder the room,
the more will be the increase in temperature, andthe final reading, which.may beafterasmuch as two minutes or-evenmore of concentrated staring, will be a few degrees less than blood heat, which is 98.4 degrees Fahrenheit. The room temperature as I wr~tethis, is 71 degrees, so you can see that there is room for quite a rise there. I have found that those little round dial-type thermometersused in refrigerators-trademark Thermette ”-work the best for this little stunt. Mercurythermometers will work, but are slower to show the increase in temperature. One other point : you will probably be accused of breathingonthethermometer.To make this impossible, bend your head forward so thatthebreath is directed downwards. This, of course, will bringtheforeheadcorrespondingly closer to the thermometer, but your audience will, oddly enough, not attach importance to that.
On reading Francis Haxton’s delightful effect,
is a most useful change, and bears a family resemblance totheDown’schange.(“Art of Magic,” p. 7 3 ) . As the left hand turns over, and move S downwardsto dropthecard,the face card is drawn back bythethumb, while the second card is pushed out by the fingers, and dropped on to the table, chair, or floor, from a height of six inches or so. Personally, I find it much easier to hold the pack well down in the hand,andgripthe doublecardbetweenthe tips of thethumband second finger, so that only its left edgetouches the top of the pack. By straightening the fingers, and drawingbackthethumb,the two cardsare easily separated, and the face card brought snugly on to the pack. The latter is now casually cut to bring the reversed card to the centre. The performer states that he will transfer the card on the table invisibly to the pack, and asks whether the chooser wouldlike it to appear face up,or face down. The answer is nearlyalways face up.” If not,simply turnthe pack face up ! Spreadthepackand show thecard. Now requestthename of theotherchosencard,and show this to be the card on the table. Francis Haxton’s idea of removing a pencil, orother object, toplaceonthe face downcard may well be used here. This gives an excuse to place the doublecardon to the pack, while the righthandtakesthe article out of apocket. Littletouches like this helptomakeasmooth and effective presentation.
I was reminded of the following, which has been a favourite of mine for some time. It is basedon Louis F. Christianer’s My Favourite Trick,” described in his little booklet, N e w Alugical Conceptions, published byThayer in 1919. I have simplified the yvorking, and altered somewhat the effect, which is, that of a card transposition. Two cardsi are chosen, the magician requesting that one be red and the other black, so that they cannot be i mistaken for one another. These are returned to the pack and controlled to the top. The performer :places the pack behind his back, andasksthespectatorstothink of theircards, which he will try to find. He states that he can find one, butnottheother,andbringsthe two chosen cards to the front in his right hand, held as onecard,andfacingtowards himself. The pack is held in the left hand, face down, in dealing position. The magicianlooks at thecardfacing him,and if it is redasks who chose the red card,or vice versa. He then requests thename of the card, and places it (the double card) face up ontheface downpack,butoverlappingthe half its width, right edge of thepackbyabout and held on to it by the left thumb. It is shown to the audience in this position. The card is now apparently dropped on to the floor or table, face down, but actually it is changedforthe secondcard bythe following sleight, claimedas original byChristianer.This ‘ ‘ Restless Choice,” in the March Pentagram,
77
$ErLecl w a ’The Effect. The operator is blindfolded by two assistants from the audience and then ten or twelve design cards are chosen by members of the audience .and sealedinenvelopes.Three of these are chosen andnumbered by the two assistantsandthen as oneassistantconcentratesoneachcardin turn the operator draws the chosen design on an examined slate, under the close supervision of the other assistant. Properties. A set of designcards..Duplicatesof,say, ten of thesedesigncards. A packet of wage envelopes. A slate andchalk. A blindfold. set-up. (a) Threeduplicates of the design cards, sealed inenvelopesandinaknownorder,are placed in a stack under the slate which is at the back edge of the table. (b)The designcards,envelopes,blindfold andchalkareinposition on thetable so that they may be easily picked up. Presentation. I . Enlist the help of two assistants and place them on each side of you, facing the audience. 2. Demonstratethe efficiency of theblindfold and let the left-hand assistant tie it on you. 3. Pick up ‘theenvelopes and let the righthandassistantexaminethemand handout ten or twelve io the audience. 4. Pick upthecardsand passthemfrom hand to hand as you show them to the audience. Give them to the left-hand assistant, and tell him to hold the cards face down and spread them in a fan, so thatthe spectatorswithenvelopescan takeonecardeach. As he does this,take back thebalance of theenvelopesfromright-hanu assistant, and put them in your pocket. 5. Ask thespectatorsselectingcards toput themintheenvelopes which theyhold,without looking at the cards, and to seal the flaps. Impress on them that they must not look at the cards, as at the moment no-one must know which cards are chosen, so that there is no possibility of
anyonesignallingtoyouorlettingyou know which ones have been taken. Take back the balance of thecardsand placetheminyour pocket. 6 . Lettheright-handassistant collect the sealedenvelopesandaskhimtomixthem well and to choose any threeandplacethem on top of the others. 7. Takethe packet of sealed envelopesin your right hand, transfer them to the left, and ask if the chosen envelopes are on top. Ask the lefthandassistant if he has a pencil,and whilst he is getting one pick up the slate and stacked envelopes under it with the right hand, and put them over the stack of envelopes in the left hand, thus loadingyourthreeknowncards on top of the freely chosen ones.Coverthisbyaskingthe right-hand assistant where the chalk is, and when he gives it to you, return it to him together with the slate, to examine. 8 . Ask the left-hand assistant to number the three chosen envelopes, 1, 2, and 3, and then take them to the centre of the hall and stand with his back to the platform. As you make this request, hand him the three top envelopes. 9. Now briefly recapitulatewhathas been done,to impress theaudience with thefairness of selection. 10. Ask the right-hand assistant to turn you round, with your back to the audience and to then give youtheslateand chalk,’ first satisfying himself that you are notsecretinganythingin your hands. (There is no need to say what might be there). 1 1 . Holdtheslateaboveyourhead and directtheassistantwiththeenvelopestoopen Envelope No. 1, and to concentrate on the diagram on the enclosed card. With suitable hesitation, draw that diagram on the slate. Repeat with Nos. 2 and 3, havingtheassistant at your side clean the slate before you proceed with No. 3. 12. Remove the blindfold and turn to acknowledge the applause.
WILL D E X T E R ’ S K I S M E T Il-continued from page 75
can hand it to the audience to open and take out the slip for themselves. I would advise making the prediction a good solid one-don’t be content to predict the name of aplayingcard. Typeyour prediction, for preference; those members of the audience who know about thumb-writers and carbon paper will admit that you can’t type with a Swami gimmick.
News headlines, election of officers, prize winners names, results of raffles, number of tickets sold at the door-all thesemakebetter,more convincing predictions than “ The number chosen will be 82, and the cardwill be the aceof spades.” And please ! Don’t follow this up with the Die Box orthe Egg Bag,ortheaudience will think you are just a conjurer.
78
This is veryhandyforclose-up looks entirely impromptu.
work and
Theconjurer commences byrequesting the loan of a hat, a ten shilling note, a penny and a half crown. The hat is placed, crown uppermost, on the table, whilst the two coins are wrapped inside the note.Fearsomeoathsaremutteredandthenote is opened to show that the half crown has vanished.Thepenny is re-wrappedin thenote . . . . anothermagicspell . . . . thenote is unWdedandthepennyhas gone.Finally,the note is folded, placedunderahandkerchiefand handed spectator. to a The final pass, the handkerchief is pulled away to show that the note has vanished ! One of the company is requested to look inside the hat. He does so, and removes a foldednote,inside of which arefoundthe original penny and half crown. The requirements are simple, consisting of a ten shilling note, a penny and a handkerchief , in onecorner of which issewn a piece of folded paperequallingin size that of thenote when folded. This handkerchief is tucked into the conjurer’sbreastpocket.Thenote is thenfolded round the penny in a particular manner. The coin is first placed at the position shown in the diagram, and edge B is brought u p and the notecreasedalong thedottedline X X. This should mean that the coin is not visible. The note is now folded back at the points indicated by dotted lines Y Y and 2 2 (in fact, just like theusualcoinfold) . If thepacket were now tilted, the coin could slide out. To prevent this, theoverlappingpart is foldedover. A foldin the opposite direction converts the “ safe ” packageinto an “ escape ” package.Withthe note folded round the coin and the package in an is set for easilyget-atableplace,theconjurer the presentation. The loan of a hat (trilby preferably) , a ten shilling note, a half crown and a penny are called for. The lenders of1 the last three named articles arerequestedtomarkthem insuchafashion that they will know them. (The hat is taken and placed on the conjurer’s left, whilst this is being done) . Either immediately before, (for it makes no Werencetothehandling of thehat) , or immediatelyafter, possession of thepackage is It is held fingerobtained from its hiding place. palmed in the left hand. The note is now taken from the spectator by the right hand, and placed in the left hand over the package. The two coins are restedon thenote,thelatterthenbeing
wrapped around them in such a manner that this package is similar in appearance to the one containing the conjurer’s own penny. The two packets are held as one by the finger tips of the lefthand so thattheyappearas one(billet switchers will befamiliar with this subterfuge). The idea,” says the conjurer, isto pass this littlepacketfrom my fingersintothe hat which haveborrowed.’ ’ To accompanythe words, the packet held by the left hand is apparently placed intherighthand.Actually,thetopmostpacket is slid back, the right hand taking between thumb and second finger theunderpacket,i.e.theone containing the penny only. The packet comprising theborrowednoteand coins is fingerpalmed by the left hand. This which is the work of a couple of seconds, is not all for as an accompaniment to thelastpart of theconjurer’sstatement,the righthandknocksthepackageagainsta solid object to prove the presence of the coin ( S ) , whilst the left hand raises the hat a few inches from the table. The hat is replaced, the fingerpalmed packetbeing allowed toslide down inside. The real work is now finished. First of all, the packet intherighthand is openedto show thatthe half crown hasvanished. In re-wrapping,the note is folded in such a way that the penny will slide outandcanbepalmedaway.Thenote is againopenedto show that the penny has gone. Finally, the note in a folded state is placed under thehandkerchief,andthenfingerpalmedaway the corner containing the folded paper, simulating itspresence. Thespectator is askedtoholdthe handkerchief and the note ( ? ) . Theconjurer is readyforhisfinale. Note vanished and spectator is asked to go to the hat. He does so and, of course,findsthe borrowed noteand coins. “
“
Y
A
Z
Y
B
Z
I
79
We were most grieved to hear of the passing
of our oldfriendWoodhouse Pitman.He was a mostexcellent.conjurer and contributed some fine effects both tothe “Magician’ ’ and PercyNaldrett’s Collected ” Series. He was a close friend of theMaster,DavidDevant, and acted as his Manager (by a coincidence, the June number of the Sphinx ” carries a reproduction of a David Devant programme cover, dated 1913 givingthisinformation).Laterhe was totake out theDevant show ontour,and alsopresent “ What did he do with the Body?” at the Magic CircleGrandSeancein 1923. We havealways beenmostappreciative of thetips that he gave us inour youngerdays. Magic has lost a good conjurer and a Gentleman. It was a greatpleasure,duringa series of lecturettes, to hear Victor Peacock talk on ’‘ Children’s Magic.” Hisdemonstration of one effect was reminder a that conjuring as conjuring is still alive. As we read or scan, asthe case demands, the variousSocietymagazines, we feel thatthe “Magi” is one that beplaced at the top of the tree.OscarPaulsonnotonlydoesagreatjob as Editor, but he seems to set a standard that is ‘ l
l‘
aZUCVLd&SU&and% SCARNB’S “ QUARTET ” (publishedby t h e , Back RoomPress, New York,U.S.A., price one dollar. This is, of course, obtainable through the Fleming Book Co., see back page). Making use of averysubtlemathematicalprinciple, John Scarne has devised four self working effects. As the description comes to the reader he will without thesiightestbotherbeable to producethese effects within a short while after absorbing the details. “ Do as I Do ”, “ A Card The effects area Climax ”, atelephone effect and a prediction effect. Anyoneacquaintedwith the moreambitiouskind .of card work will be able to put the principle to greater .advantage. We have, ‘since receiving the routines from BruceElliott, used the “ Do. as I PO” inaslightly differentform,aform that will interestthepurchaser withoutany waydisclosing the principleinvolved. It is as follows :The conjurer has two packs of similar backed cards. Ontop of pack A is (say’) thetwo of clubs’and immediately underneath i t is the two of clubs taken from the other pack. The spectator is asked “ I would likeyou, Sir, to choose one of thesepacksfor me (notethe carefulphrasing !). If hetouches the pack withthetwoduplicatesontop,theconjurertakesit remarking “ Thank you, this is the pack you wishme to have ”. If thespectatortouchestheother,he is . . just pick told, ‘ That is the one that youlike it up Thisagainleaves the conjurerwith‘thepack .contain& the two duplicates.Spectator a.nd conjurer both shuffle theirpacks, the conjureractually false shuffling and retaining the duplicates at the top oi the gives thespectator a pack. A t thispointtheconjurer numberandtheyexchangepacks. A t thepointwhere therighthand comesforward,thetopmosttwo of clubs is palmed(singlehandmethodpreferably)and handed tothespectator,thespectator’scards when ”
lived uptobythe othercontributors.Talking of thegreatjob that of magazinesremindsus Jack Potter has, and still is doing in the “ Budget.’’ His contribution, “ PottersBar, ” is of greatvalue and would seem to merit a greater build-up than it usually gets. The ‘‘ Flying Sorcerers ” are gradually becoming acclimatised, and it was most interesting the other evening to hear Francis White and Geoffrey Buckivgham give social and magical data of theirstayin America. It was an experience, said Francis, after flying through what seemed interminabledarkness, to touch down at New York airfield to be greeted by Cardini, Bruce Elliott, Blackstone, Vernon and Paula Baird. The English party were very impressed with the close-up work that they saw in both New York and in Chicago. Next month we have the pleasure of detailingHerbert Milton’s “ Predicto.”This effectis the last word in card prediction, and one, which because of its straightforward effect and handling, will find a place in many programmes. In the same number we are giving a version of the cards across, that for simplicity (although skill is required), will be hard to beat. received have the palmed card added to the top. From thatpointtheroutine proceeds as detailedwith Mr. Scarne, with the exception that his method of counting is not adhered to, a two-handed pass being used a t a Iaterstage. in Mr. Scarnehas puta veryworthwhilenotion printandone(which at the verysmallpriceasked) should be in the hands of every reader of this bulletin. ELIZABETH WARLOCK’S LINKLATERcontinued from page 74
front and all the fingers at the back so that the audience will not see theprojection, andthe andience is shown that there are two loops at the backandfourendsinthefront.Instead of the bo,ard being placed back in the stand, the magician now holds it with his right hand straight in front of him,theloopsfacinghim.With his left hand he pullsthe loops down tothe lower edge of theboard(seeIllustration 3 ) , the grey cord being pulled by the thumb, and the red cord by the second finger. Still holding on to the red cord with the second finger,the first finger andthumbpullthegreycordoverthe red (see Illustrations 4 and 5. The hand has been omitted for thesake of clarity). This is achieved with first finger andthumb in thematter of split scconds and the cords are now lifted so that the p o k t marked as X is engaged on the projection. A’. this point, the hand slides and grips the grey cords and pulls the cords upwards, the final effect being that shown in Illustration 7.
HERE ARE BOOK BARGAINS ! Buckley’sCARDCONTROL,cloth, 71/- ($10), only but
219 pages, 297 ill.,not . . . . . . . . . . . .
hckley’s PRINCIPLES AND DECEPTIONS, cloth, pages, 358 ill., not 71/- ($10). but only
20/-
.
..
20/-
HUGARD’S MAGIC. MONTHLY,: B F K EDITIONS,, 1, 2 service publlcabons, Fleming and 3. These are prosoldat of publisher’s p f i t ,a n d duced without acent very a modest pailer’s profit. Universally recognised as extraordinary, money’s wortk.” Not 35/6 ($5). but only (on our share the loss basis), each . . . .
30/-
LATEST AMERICAN
,
.,
PUBLICATIONS
Hay‘s T H E AMATEUR MAGICIAN’S HANDBOOK, cloth, 319 pages. 219 ill., ($495) . . . . . . . . . .
351-
WilliamsEpstein’s biography, cloth,
.
201-
Berlaed’s BOOK OFROUTINES,softboards, 31 pages, 151 ill. (faJJo), just out . . . . . . . . . . . . . .
14/-
THE GREAT HOUDINI, new colourful 182 pages ($2.75) . . .
McAthy’sSMARTCOMEDY ($2.00), just out .
WAS HOUDINI WRONG
224
!Book 4).softboards, . . . . . . . .
.
.
.
40 pages . . . .!
.
14/-
c/oRiverside, Kcene, NOTE : Please remit to Mr. Robeitson booksdirect and receive VictoriaRoad,Yarmouth, h i e of Wight, from United States. Paul Fleming (Cumberland Hotel, Marble Arch,London, W.I., fromJuly 14th t o August10th) will consider purchase of used, cloth-bound magic books, y d will display al! Fbming putllications and other books on share the 1program.
0
FLEMING BOOK CO., YORK, PA., U.S.A.
728, MADISON AVE.,
‘‘ROUGH AND SMOOTH POSSIBILITIES
PETER
”
By Tun Hock Chuun
The Magic Circle
WARLOCK’S
PENTAGRAM
President : His GracetheDuke of Somerset, ’D.S.O., O.B.E.. J.P., M.I.M.C.
A booklet dealing with the methods and iS publishedon the 24th of eachmonthand lcan beobtaineddirectfromthepublishemfor application of the modern principle, by 1/1 per singlecopy. AnnualSubscription 12/post free. one of the leading experts on the sub1PUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, magicians. Middlesex. Price 51- Postage 3d. Manuscriptsforpublicationandbooks for
ARCAS Publications 404/408
Croydon
SYDENHAM ROAD
..
Surrey
0
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., LONDON, N18 Telephone : TOT7742
Magical Theatre :
King George’s Hall, W.C.
reviewshouldbesenttothe: EDITORIAL ADDRESS:
Particularsfrom
Magic Wand Publications ’
I
CONJURING BOOKS FOR SALE
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Wand,Quarterly.Fercopy 318 p.p. Annualsubscription 14/6. The Wizard, 36 pagesmonthly.Percopy 211 p p 6 month 1216 Year 241L’ Balls (Fareili) 2516 John * Ramsay’sC& Convincing Coin Magic (Farelli) . 17/10 Mastmd Amazement . . 1013 (Koran & Lamonte) Bohleno’r Mystenes (Bohlen) . . 1013 . . 1013 Thanks To Leipzig (Farelli) Geoge Actnstrong’s Premonition 1013 Entertaining With Hypnotism (Dexter) 1013 Challenge Instan: Hyp-otism & Mass Hypnotism . . . . . . 211Strictly Magic (Eddie Joseph) .. 513 . . 513 Stooging Around (Stuthard) 26 Living & Dead Tests (GaGett) . . 513 Jamesosophy (Stewart Jarnes) . . . . 513 Book Year 48/49 only) (few 513 StuntsWithStage Money (Larnonte) ’. . 513 Tricks of the Trade (Armstrong) . . 217 Fromthepublishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
.
JACK HUGHES EVELYN AVIGNUE. COLINDALE, LONDON, N.W.9.
OLDAND NEW. Letmeknowyourwants LIST FREE FOR STAMPED ENVELOPE No G l l e r s
Hon. Secretary :
Francis White, 39 Alverstone Avenue, ‘Wimbledon Park,S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
2,
Library and Museum :
St. Ermin’sHotel, Caxton Street, S.W.l.
will be pleased to send you details of his verylatesteffectsandall hisold favourites in return for stamped a addressed envelope size please). (foolscap or octavo WRITE NOW, TO
By a MAGICIAN who knows yourrequirements 0
Clubroomand
JACK HUGHES
WORK
ART
Vice-President: Douglu Craggs, Esq.. M.I.M.C.
Every Advertiser!’S goods are fully endorsed by this Bulletin PublishedbytheDroDrietmThe
Magic ’Wand PublishingCompany 11 MonasteryGardens Enfield.Middlesex,andprintedbyHerbert ’ and Son (Printers) Ltd., Weli Croft, Shipky. Yirkshire.
81
PENTAGRAM An independent monthly bulletin for all who want. good magic
V?& 4 N&. 11
EDITOR’S NOTE. It was wayback in 1921, that we firstsawHerbert Miltorz give a perforvnuI1ce of an origittcttiotl that was t o become farwlrrite w i t h card w o r k e r s irz generaland Leipzig i n particlrlur. The effect was, of “ Sympalhetic Clubs ”. All of course, the Herbert Miltolz’s work bears the mark of good :llillkitLg alld he has .all aptness for straightforward ~ 7 0 1 . .”. T+’e considerou.rselves most forilllmtein beillg uhle topresevtourreaders with this mirtxle card predictiotl effect.-P. 11,’. (I
1Xrtte
‘ l
The following close quarter prediction effect has been a pet of mine for some considerable time and is as straightforward and effective as the most fastidious performer could wish for.
EFFECT. A folded billet containinga prediction is placed in full view on the table. A pack of cards is introduced, openly shuffled and fanned towards aspectatorwitharequest to think of any one card. This card is openly removed from the pack and is kept face down in such a way that the performer is unaware of its identity.The billet is now taken by the spectator, opened, and the contentsreadaloudbyhimas follows :-“ YOU WILL THINK OF THE-of”, the card named being the identical card freely thought of. Note the following points :l . The pack can be freely shown back and front and openly shuffled. 2. Any card of the pack lnay be thought of-no forcing . 3.Performer need notactuallybeaware of the name of the card until the spectator reads the billet aloud. REQUIREMENTS. A special trick pack is employed enabling the performer to make very a subtle and simple
exchange of billets. If made up with care, it can be han;l.d quite frzely at very close quarters. The pack itselfis made up of 26 double cards. From the centre of the top card of each double card a rectangular portion is removed and the top card is pasted to the bottom card on three sides, leaving thefourthlong side open to formapocket in which a folded billet canjustbeconcealed. See diagram. To mask the cut-out portion most effectively chooseabluepatternbackwitha bold inner rectangular design. Thislatter,when cutout, should .leave amargin at both sides of the card of approximately inch. My own pack which is the usual English size-3iin. X 2iin. has a centre rectangular pattern 2in. X gin. This being removed leaves a margin at both sides of the card of pin., and when it is pasted by three of its sides to the back of an ordinary card, masks the cutout portion perfectly, and the card may be brought to as close as 12 inches from a spectator’s face without any fear of the faking being detected. The size of each of the billets is determined bythewidth of the margin.Each of my billets ZQin. is X liin. This,whenfolded into four, makes the size lain. X $in., and in this condition itcan be inserted and completelyhidden in the pocket. A word here as to the method of folding billet. See diagram.The first fold is along the line U b and the second fold along line c d . This leaves a knife-like edge to the billet and it is this edge which should be inserted first into the pocketfrom the cut-out side. Onthe billet is written the name of the face card inwhich it is concealed. Thus each double card contains a hidden billet on which is written its own particular prediction. The paper from which the billets are made should be of good quality and obviously not too thick. I use a good qualitypaperaboutthe same thickness as the paper usedin the production of this Pentagram ”, and when the whole “
82 pack is made up, there is no appreciable difference in the thickness of the pack and an ordinary one. The pack is assembledwithone half of the billets on the left side.of the pack and one half on theright side, thecardsbeingarranged roughly alternately. This ensures the thickness of the pack being kept even, no matter how much the pack is shuffled overhand.Asmall secret inkmark on theback of each card denotes tothe performer which side the billet is hidden.Adummyblank billet is now made up similar in appearance 'to the hidden ones. Thismustbekept in a flat folded condition and a good plan is to keep it in the case holding the -pack of cards.
PRESENTATION. Removepack anddummy billet from case. Show billet and leave it in full view on table. Run through pack showing both backs and faces and openly shuffle in an overhand manner. In showing at very close quarters,careshouldbe exercised here in not exposing too freely the side edges of thecards.Approachaspectatorandfanning the cards upright, face towards him, request him tothink of anyonecard.Takeyour timeover this, requesting the spectator to really concentrate hard on his card. The fact that only one half of a pack is being used is never suspected. Thento
enablethe rest of the audience to know which card he is thinking of, ask him to place his forefinger on the index. As soonas this is done, break the pack at this point and openlyremove the card,keeping its face awayfromyouand placing the remainder of the pack boxed up and face downonthe table. The removedcard is then I held face down by its left side, between thumb and first and second fingers of left hand, the thumb being on top. The side of the card contain '"g tce hidden billet is to the right. Reference to the accompanying sketch should make all clear. At this point remark " Well, there is the card thought of ", emphasising this with a slight 'wave of the left hand, " Here is the prediction ", picking up the dummy billet in the right hand. " It is obvious you have had your own free choice of any one of these cards ". Whilstsaying this, place the dummy billet on top of the card in left hand, partlyunderthe left thumb,foldededge to the right, and just alongside the hidden billet, leaving the righthand 'free to turnthe boxed up pack face up on the table and at the same time slightly spreadingthecards.Continue Now, I'll hold the card and you take the billet, open it and read aloud its contents ". At this point the right hand goes to slide the billet off the card, thumb on top of cardand first finger underneath. Left hand raises card to a vertical position face to audience, andunder this coverthe left thumbpushesthe billet partly into thepocket.Thisautomatically forces out the hidden billet at the side of the card, where it is gripped between right thumb and first finger and immediatelyhandedtothespectator. Thismove is the crux of the whole trick and shouldbe practised a few times in front of a I'
Continued on page 87
Flashback ! K
stands for KORNMAN
M=* XINO'S,
DAY AND .EVENING SCHOOL
centre. B - Dummy B f l l e t . - Hidden area of portion
LEATEER LANE.
Cut-out
A
Billet. Shaded denotes card pastea together.
PRO~ESSOBXOINHAN,
C
.\ I I
a
.
l I l
NATURAL MAGIC At the above Sohool, TEURSDAP; FEBE Sth, 1871. at 6 and 8 o'clock. ?he Experiments will consist of Wonderful Sdenhanical ehmges, 'Pranemutations, Subleties, Laughable Illusions On
1 l l l l l
l I
I F
a
Will give his Entertainment of
Uouble
I
b
TtlL uKE.AT.
Chinese I'r-action Trick, &c*, &c. Children Id. Adult8 At 6 and 8 o'olock .--..__
%i.
on Thursday, Feby, 9th, 1872.
__. - _. 'L m 1 . p r L @ a P r l o u r . 4 l, oor-vl
mbo.
Frorn the J. H. Findlay Collection
SEE YOU A T THE FESTIVAL OF MAGIC!
83
E1)Il’OR’S AVO‘rE. i.ast nzotlth i l l Magic ( h Rolrrtd w ew r o t e of thelate R. W o o d h o u s e Pitmatz.His is LL llumelittleknowllto preserltdny col)jlrrer.s, but throtrghout the of the ‘‘ Magiciat1 ancl mrlier volzrmes ,Vuldrett’s “ Collected ” serieswillbefound mnt1y colltriblrtiolls utlder his llctrne. -111 show ouigillctl toltclzes 1 1 1 1 ~ 1g o o d plot, the trick tu be 1 1 0 exceptiorl. W e were fordescribed beitzg tlct?afe e11ough t o se:: it worked by its originator ut the securld social of the Magic Circle we uftelztled.--P. FT’. “
”
”
In this effect the pxformer mysteriously reieaslsa solid metal ring which hasbeen tied on alrngtil of cord,while the ends of thecord are held by two spectators. The release is effectedwhile the ring andknotarewithin an examined bag, through. wnich the cord passes by means of holes in the sides. The ring is solid and about six inches in diaa mekr. One of the single rings of a set of C.hinese LinkingRings answersthepurpose admirably. ’The cord is of the soft silken kind, about one quarter of an inch ,thick. Though the details of the experiment take considerable space to describe, the secret maybegiveninavery feu7 words.Twocords areused;theaudience, however, is aware of the existence of one onlya piecefive feet inlength,-the second (and secretly employed) cord being half that length. The cords are,naturally, of the samematerial,each being supplied with metal tags at each end, similar to bootlace tags. For experimentalpurposesapaperbag can be used, but for. actualperformancethe writer considers a cloth bag preferable. His own consists of anouterbag twelveinchessquare, of blacksatin,andan inner bagor lining of red satin. The bag is kept stiff by means of an interlining of buckram, inserted in themaking. In order to conceal themanipulationa stiff-sided bag is necessary. The bag is quite simple in construction;as it is not intended to be turned “
”
Secref cord, bdled. metal ta$ tucked in
I
inside outthe lining is kept light in colour SO that the interior maybe inspected easily. In the centre of each side of the baga smallhole is made to permit the cord being passed from side to side. The holes are only just large enough to allowthe cord to bepassedthrough, the metal tags making this easier. Topreventfraying, the eclges of the holes are button-hole stitched. The performer carries in his right-hand trouser pocket a rather large papier mach6 key, or a large button-hookwith which to eventually withdraw the released ring, as will b.: seen later. The shorter cord is wound loosely into a ball, the outer tag end b2ing tucked into a convenient looptoprevent the cordfrom becoming prematurely unballed. The ball of cord so formed is piaced ,just inside themouth of the bag which lies onthe table, themouthbeingremote from spectators. Thelongercord is carelessly looped and laid on the bag with the metal ring on top, so that by inserting the fingers of right hand inside mouth ’of bag, with thumb on top, the whole of :he articles maybe picked up together. Thepresentation is as follows, themovernr-nts being explained as the “ stoq7 ” proceeds. ‘ ‘ If you are interested in the solution of poblems you will find this quite a knotty one. ’ ’ (Here performer picks up all the articles as above arranged,securing the balled cord against inside of mouth of bag, with the fingers). ‘ I use ametal ring (transfersit to left handand gives it tospectator),.‘ba length of (offers it similarly), “ and this cloth cord bag (bag is retained while cor? is examined). Please make sure ths! th? cord does not undo in the middle-it is a single cord, it has not been spliced at all-thank you.” (Receives it from spectator,passes it to right handandremoves bagfromright hand, retaining baZZed cord. The closing of the fingers naturally nxessary to hold longcord,makestheconcealment of the balled secret cord perfectly easy. Bag is offered with left hand to another spectator). The bag, at first glance, looks rather weird, doesit not?It doesnot turn inside out but you will be able, to examine it thoroughly in The inside is red? Yes, it spite of that. blushestothinkwhatsometimeshappens inside it.The outside “ looksblack ” becauseitcannot. Do .you find any holes in thebag? (Spectatorusually says, ‘*Yes,two! ” indicating the “ There arethree small holes in thesides). really, if youcountthislargeone.”’(Performer isreceivedin indicates mouth of bag.Thebag left hand, and as right hand comes over mouth of bag,the balled cord is secretly dropped into ”
”
”
“
“
84 it,thetucked-in tag end having previously been disengaged from the loop),. “ These holes in the,, sides of the bag enable me topassthecordright throughthebag. I place this end through here, into the bag. (Here performer passes end of longer cord through one side of bag-via the hole-and, placing hand inside, draws it half-w r y into bag, dropping the tag end in such a way that he can at once find it again, then, picking up end of b d e d cord withdraws it frommouth of bag. At thispointthe bag is held by left hand, fingers outside, thumb inside, theshortercordbeingslowlydrawnup between the side
of the bag and the left thumb,
thus unballing thecord.Whenallbutthelast six incheshavebeendrawn out,the cord is securely nipped against bag with the left. thumb toprevent entire withdrawal-which actwould, of course, ruin everything. V
Youwill notmind, ladies andgentlemen, if I just go overwhat has’ actually occured. As this is supposed to be a deep mystery we cannot be too clear on what is being done. A cord has been passed in here, andout here; a ring has been tied on the cord which re-enters the bag and the end,asyou see, passesouthere.Nothing could be simpler, as you have seen and examined everything. Now for the first time the ring leaves your sight because I drop it into the bag. (This is done, the visible part of shortcordgoing in also). Most of you will agree thatit is out of the question for me to remove the ring from the bagwithoutyourknowledge.(Thisremark is made by way of misdirectionastheperformer d.oes notintendto tryto do so). Butto make it quite certain. I will askyou,sir,toholdone end of thecord,andyou,sir, the other.(Two spectators seated close together). I will askyou to regard this cord as a sort of communication cord. If you pull the cordwithout just cause, I shall fine you 3%. And you, sir, if you pull your cord, you will stop the ’bus. You have all E.eard it said that one shouldnot let one’s left hand know whatone’s right handdoeth.That is why I now place my righthand in thebag. (Performersupportsbagall this timewith left hand,the stiffness of sides of bags, and its size prevents any view of interior on part of the assistants. Whilecontinuingthe story the performer without looking at the bag, cooly undoes with his righthandthe single knotandgathers into his handthe whole of theshorter cordquite an easy matter in actual performance-when all is collected thesupport of bag is takenby right hand,shortercordconcealedby fingers against inside of mouth of bag). You have heard of Jack Sheppard, have you not? He was the desparado who flourished about the same time grandfather, sir. He was the as your great champion jail-breaker of the world-I am referto your great ring to JackSheppard,sir,not “
End. nipped a8a1nst Inside ot bag by thum
The end of short cord, outside bag, is dropped,thdappearanceto audiencebeing that a long cord has been passed into bag and partly drawnoutatthemouth).Turningtospectator holding the ring the performer proceeds :“ You are still looking for holes in the ring,. sir, are you? Do you find any? No? That’s queer, there was a large one in the middle when I gave it you!” After the incident of the “mouth of bag,” some spectators are wise enough to say the ring has a hole in it, inwhich case the performercongratulates his assistant on beingvery Will you be good enough to tie the observant! ringontothecordwitha single knot? Tie it close up to the bag.” (Ring is thus tied on to the “
shortcord,closetooue elzdof securelyheld h y l e f t t h u m b ) .
it,i.e.,theend
I shall now pass the cordback into the bag, and push it out .of this exit on the other side.” (Performer puts end of short cord back into bag and picks up tag end of long cord that was left inside bag, and passes it through hole on opposite side of bag. The cord is carefully drawnout,care beingtakennot to pull so muchout that wouldcause the opposite endtomove;enough has to be left withing the bag to account for the twelveinches of cordon “
85 grandfather!Well,heboastedthatno jail could holdhim. At onetimethey tied him up in a cell justas we have tied this ring.Thiscord is the chainthey tied round his neck andthey passed out through holes in the1walls of the cell. The bag is the cell-itis a fearful “ sell!” Wardersheld the ends of thechain;youareone warder, andyouaretheother. (A nicesmile is given to each assistant). Yet, in spite of all these precautions, Jack gotaway.How?Oh,I’ll show youhow.The authoritiesoverlooked assistance fromtheoutside. I’m outside-outside the cell at any ratebut I’ve inside knowledge. A key was passed into the cell from outside. (Here, performerdrops bagor transfers support of it to left hand, and, without anyhurry,putsrighthandand concealedbunched-upcord into right-hand trouser pocket and withdraws key, leavingcordbehind, in pocket). They w e r e surprised when Jack came out! (Ring, nowloose in bag, is lifted outonward of key and heldout for one of the assistants to take). Of coursetherewasahue andcry.The wardersrushed to the cell, butthere wasno “
“
K o s t card players at sometimeorother have heard the Nine of Diamonds referred to as the “ curse of Scotland ”, but the reason why this veryordinarycardshouldbechosenfromthe pack of 52 and saddled with such an undignified pseudonym is not so well known. Authorities on thehistory of playingcards hold various theories on the subject and since all are equally interesting, some feasible opinions true or otherwise are givenbelow forthe benefit of those who may be interested. 1. According toDr.JamesHoustoninhis ‘‘ Memoirs of his Life Time ”, London, 1747, theJacobiteLadies of Scotland are stated to have nicknamed the Nine of Diamonds ‘‘ The Justice-clerk ” afterthe rebellion of 17 15 in allusion to Lord JusticeClerkOrmistonewho forhisseverityin suppressing the rebellion was called the Curse of Scotland .”. 2. Legend has it that the Duke of Cumberland after the Battle of Culloden (1746) used the back of the Nine of Diamonds to write out hisbloodthirstyorderfor the’ slaughter of the wounded rebels. 3. Some say the name refers to Sir John Dalrymple, first Earl of Stair, who was among those responsible for the massacre of “
prisoner; onlythechainswere left. Willyou please draw the cordrightclear? Andwillyou,’ sir, please examine the cell-and if you discever how Jack got away, you won’t tell anyone, will you! Thank you very much for your assistance.” -Yote.-The object of entirely withdrawing the cord is : first, to show thecord still intac$ second,ithasnoknot in it; third, that the bag is quite empty, and if thz idea of a duplicate ring has occured to anyone-peopleget these ideas nowadays-it will be proved groundless on examination of bagandwithoutpxformersaying anything about such an idea to the unthinking. This problem, the author hopes, will be found to be one of those self-contained items capable of beingworkedanywhere with theminimum of preparation,the essential points being the employment of subtlety and mis-direction rather than difficult sleight-of-hand operations. Footnote.-This effect was originally published in Percy Naldrett’s “ More Collected Magic ” and is reproduced here by permission of that publisher.
Glencoe in 1692. The reason being that the Dalrymple coat of arms contains nine lozenges or diamonds. 4. It is suggested that Colonel Packer who was in command of theParliamentarmy at diamonds or Dunbar, ( 1650) had some lozenges on his coat of arms, and he also is alleged to have been a curse of Scotland. 3. According to the “ Oracle or Resolver of Questions ” (1770) theCrown of Scotland had but nine diamonds and the Scots were never able to get more. Other theories crop up from time to time, but it is hoped that those’given will show how difficult it is to find a true reason why Scotland should be cursed by such an insignificant card as the Nine of Diamonds. Acknowledgment for the information in this article is given by the writer to the Authors of the following books :The History of Playing Cards ”, Rev. Ed. S. Taylor, B.A. 1865. Playing Card-History of thePack ”, W. Gurney Benham, F.S.A., F.R.Hist.S. 1931. “ The Story of the Playing Card ”, George M. Mackensie. “
“
86
Just overeightyyears ago, Robert-Houdin described, under the title of Mene, Tekel, Upharsin an effect in which a number of cards vanished from one heap and appeared in another. This effect was to alter very little during the thirty years that followed. There were admittedly variations in the method of abstracting and adding the necessarycards, buttothe audiencethe effect remained very much the same. The early part of the present century saw Nate Leipzig introducing a variant and a little later David Devant took the featand madeitintoastage illusion underthe title of the “ Triangle ”. Here note the difference for selected cards were made to leave one heap and appear in another. The accent in this version had been removed from the counting of a number of cards. Mr. Robertson Keene later was to publish a version of the “ Triangle covering every phase. Almost at the same time (perhaps inspired bya description of the “ Triangle ”) Zenswas workingon his ownwell knownversion of the cards across. For the last twenty years the accent seems to have been on the passing of cho.qeil cards from one heap to another. Thepresentmethod was arrived at after an evening’s discussion onvariousmethods of the cards across ”. Leipzig’s, Adams’s, Dexter’s, allcameunder discussion. The present writer even instanced a method by H. St. Clair Elliott, too long has remainedprinted, unthatforfar worked and possibly unread(thisappeared in Goldston’s “ Magazine of Magic ” circa 1919). On the way home Francis Haxton and myself still talked about this particular effect. The present method was a later development ; it is simpleand is intended forfairlyintimate work. First of all a spectator is asked to count off two heaps of ten cardsontothetable.He is also handed an envelope with a further request to placeone set of ten cards inside it.Theother heap is ribbon-spread and two cards are taken by aspectatorlookedatand replaced. Thisheap of cards is now turned face up and the envelope containingtheother set of cardsplacedon top. At the magician’s command the two chosen cards vanishfrom the lower heap.The envelope is opened and twelvecards arefound. Needless to say, the missing two cards are among them. The preparation is very simple and the only sleight required is the “ Curry ” Turnover Change (see Paul Curry and Oscar Weigle’s “ Something Borrowed, Something New ! ” and also Hugard’s ‘’ CardManipulation series) . Two packs of cards will berequired and also abusiness sized envelope. Shuffle one of the packs anddeal off “
”
”
“
”
the ten topcards.From the otherpackremove a similar ten cards and place on top of their .duplicates.Theseareplaced on -top of the first pack and ten cardsareremovedfromthebottom SO that the reader will now have a pack of fifty-two car+, the top ten cardsbeing followed by a similar set of ten. Two. of the ten throwout cards are placed underneath the envelope in such a way that they can be easily picked up with the latter which should in turn ’be placed near to the rear of the table that the magicianintends to use. Thus set, the reader is ready for the presentation. Thepack is picked up andgivena casual false shuffle that will either leave the top twenty cardsundisturbed or bringthem back.intothe sameorder.Whilsthedoes this he requests the services of a spectator whois gentlyshepherded to the right side of the table and is handedthe cards and requested to deal on to the table a heap of ten cards.Whenhehasdone this ask him to deal another heap of ten. There is a reason for two distinct requests, for many people when asked to deal two heaps will deal as though they were dealing handsatcardsandthusthe chances of success of the effectwouldbe jeopardised at the outset.Thecards at this point will be intwo heaps, one to the front and one to the rear of the table (this is the normal expectation as the spectator is standing at the side of the table when he deals). Picking up the envelope and cards as one they are half thrown, half dropped on to the heap furthest from the magician with a request Would you mind looking inside the envelope, make quite sure that it is empty, and then place that heap of cards inside ”. The sheeraudacity of this move is its salient feature, and there should be no suspiciorrin the spectator’s mind that any alteration has t a k n place in the heap of cards dealt by him. At this stage the other packet of cards is moved to the leftandthen the remainder of thepack is takenin--a casualmanner. It is held in the left hand,faces of the cardstowardsthepalm. To the same spectator, he requests as the right hand spreads the remaining heap of cards across the table “ I wantyou, Sir, to remove any .two of the cards, look at them,rememberthemand replacethem ”. The magician,during this operation, thumbcounts eight cardsfrom the top of the pack.(This is an action that calls for little subtlety as the attention of the audience is upon the spectator and the heap of cards), a break at this pointbeingheld bythethird finger of the left hand(this is in preparationforthe Curry move). Thecardshaving been replaced, the spectator isdismissed andthe right handgathers the “
Continued on page 87
87
The last few weeks have been more than interesting magically. A short visit to Jimmy Findlay’s has allowedus theopportunity of seeing some more Evanion memorabilia as well as many otherchoice collectors’ items. Here is the real collector. Onthe24thJulythe Magic Circle entertainedMr.andMrs.PaulFleming atHeadquarters. Later we had the privilege and pleasure of a visit from these distinguished visitors and were ableto spendawholeeveninghearing about magic and magicians in America. Last week in the dressing room at the Concert Artistes’ Association, HerbertMiltonshowed us
a new version of the ring and cord that would have delighted the heart of the late Jardine Ellis. It was a perfect effect performed so slowly as to kill any chance of chicanery. Herbert was telling me of a telekinetic effectwhich again is a Milton miracle. Wewere interested to read that the London Society of Magicians recently hadadebate,the subject of which was Are Magicians Complacent ? Ratherthansaythey were complacent we would say that those purporting to be magicians are plumb lazy, a fact easily borne out by watchingthemanyperformances seen at the average magical society. “
”
LESCOUSSINETS delaPRINCESSE(“TheLittle Sardina’s b-ook T h e Magic ot Rezvani, andto pages 34 Cushions of thePrincess ”1. By &I. K.Rezvani, theand 35 in JohnRamsay’sRoutinewith Cups and Balla. well-knownPersianmagicianf9r many yearsresident The quality of thematerial..containedinthebook of Paris,France, is guaranteedbythe ,$ommittee of the “ Club. des The bookcontains 103 pagesmeasuring about six Magiciens Bibliophiles , whose official seal, or ‘‘v1Sa’’, byfourandthreequarter inches. A11 artisticallydeis affixed to eachcopyof the volume. The Preface is signed folder with eighty-eight ( 8 8 ) loose s h e e t s P a c h by Dr. J. Dhqtel, author of U u g i c w i t h Sm.& seven by five and a half inches-is supplied. These -Apparatus, who explains why Rezvani decided to exby plain thetrickin suchminutedetail.Heassuresthe consist of ( A ) seventysketches-beautifullydrawn theauthor’s son-some of themalmost life size, and reader thatit is possible to nlastertheroutine inques( B ) eighteen plates of diagrams, etc., made by the tion, complicated as it is, by careful a study of the authorhimself.Inall,thereareovertwohundredandtextandtheaccompanyingillustrations,andthe preand diagrams, and, consequently, sent reviewer agrees. sixty ( 2 6 0 ) sketches this is the mostelaboratelyillustratedworkeverpubNumerousinscriptions-inbeautiful1Persianscriptlished* in any languages On ’INGLE routine* (Not add a quaint oriental touch to the appearance of the excludi.ng Maccarthy’s The Chamezeon Cupa a’1d volume. Unreservedly reconllnended to all magicians or JohnRamsay’sRoutine with (:up a n d Balls. who read French and to everycollector who wishes to Thetrickis Kezvani’soriginalversion of aform ofinclude an extremellyoriginal and noveliteminhis the Cups and BallsperformedinPersia by some Chinese library. itinerantconjurersabout 1912. Inthis version,two M. K . Rezvani, 81, Rue Putoutbytheauthor, bowls and a number of little packets of y t t o n wop,l, Erlanger,Paris’ (XVI), France, atthe low price of 675 French francs. Edition limited tF,352 copies. Or Sponge rubber, covered With red cloth ( cushions are used. (For fuller details, the reader is referred Fitzkee’s translation of Dariel MaUriCe VICTOR FARELLI. Chapter 111. In
‘
l
I _ -
HERBERT MILTON’S
‘‘ P R E D I C T 0 ”--continued
from page 82
mirror.Don’thurrythemove,butdoit in as An addedimprovement is to haveoneotheruncasualamanner as possible, andyou will besur-preparedcard in thepackandthename of this prised how indetectable the exchange can be card written on the dummy billet. If this unmade.Thedummy billet is left partly inserted prepared is, byany chance,thought of,or if the in the pocket andafterthecontents of the billet performer is proficient enough to forcethe are read out, the card is casually droppedfaceupthought of it in any way,then a. real miracle has on top of the face up pack, and the whole collected been achieved, as no switch of billets is necessary. UP. A:O?’E.-n~a?l2lfl~ctllri,l~alld seUi?1g. rights O ’ y p To prepare again for the effect, it is only lzelr: l,?) Herhrrt Afiltoll. necessary of course to remove the dummy billet and re-insert the real billet in its pocket. PETER WARLOCK’S CARDS ACROSS-continued frompage 86
tencards into aheap. A shortrecap. of whatupexecutes the Currymove, (a move which is hashappened,and ,We’ll just turn these cards ju.sf as simple to executewith ten cardsas it is wltn one).The left handmovesawayand the faceupand placetheenvelopeon top ”. AS this is said therighthand stretches for theenvelope,envelopecontainingthetwelvecards is placedon whilst the lefthand goes to the pileof tencardstop.Theeffect,fromthemagician’spoint of view, is finished. and in theapparent action of turningthem face “
88 NOT 45/- ($6.50) BUT 35/- ($5.00) \Ye areauthorisedby Englishcustomers
the publisher to offer our
MAGIC BY YO-HAM
WAS HOUDINI WRONG
ByWilliamMoyah at the special price of 3 3 / - (instead of 45/-, the British equivalent of the American price of $6.50). This is the book of original ‘ ‘ Chinese ” feats devised bytheauthor,andillustratedby him (a professional photographer)with sometwo hundred fine pictures. Cloth, 137 large pages 35/-
NOT €7 ($20) BUT QNLY €2 ($5.60) Englishmen and Americans alike are taking advan’S,,“ Card tage of thisremarkablebargain.Buckley Ccntrol ” and ‘ ‘ Principles and Deceptions never sold€or less than $10 eachuntil we purchased the entire stock and slashed the price to $3.00 for- prompt clearance. Here is an unparalleledbargain. Either book E 1 ; both books (which belong in every magrc library), E2. We cansupplyany worthwhileconjuringbookin the Englishlanguage.Pleaseremit to Mr.Robertson Keene, c / o Riverside,Victoria Road,Yarmouth, Isle of Wight,andgetthe booksfrom the U.S. Write t o the address below for free copy of our 64-page catalogue.
0
FLEMING BOOK CO., 728, MADISON AVE., YORK, PA., U.S.A.
“
ROUGH AND SMOOTH POSSIBILITIES ” By Tun Hock Chuan
I
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
The Magic Circle
WARLOCK’S
PENTAGRAM ispublished on the 24thof eachmonth and can be obtained direct from the publishers for 1/1 per Lingle copy. Annudl Subscription 121postfree. PUBLISHED BY:
The
Magic Wand Publishing
11 , Monastery Gardens,Enfield,
President : His Grace the Duke of Somerset, D.S.O., O.R.E.. J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and
Middlesex.
Magical Theatre :
King George’s Hall, W.C. Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock,
ROAD
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.l.
Co.,
hlanuscripts for publication and books for review should be senttothe: EDITORIAL ADDRESS:
ARCAS Publications SYDENHAM 404/408 Croydon
PETER
24, Wordsworth Rd., Wallington,
Surrey.
I
ART
JACK HUGHES
WORK
By a MAGICIAN who knowsyourrequirements 0
0
0
BROCHURES, HEADS and PRINTED PUBLICITY desE:dTE:i please ! SpecialJumboCardTricks made up. Advertising ideas, writing, Line drawings.
JACK LAMONTE 28. WARWICK RD., LONDON,N18 Telephone : TOT7742
c
1
I
I I
SAe &@C &de
will be pleased to send you details of his very latest effects and all his old favourites in return for a stamped addressed envelop? (foolscap or octavo size please). WRITE NOW, TO
JACK 2,
presents THE
FESTIVAL OF MAGIC
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE Nn Callers .
at the Scala Theatre, Tottenham CourtRd. Oct. 2nd-7th7 at 7-15 Matinee Saturday 2-30 Tickets obtainable from the Scala Theatre, Museum andPrincipalAgents
G E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
5731,
Everv Advertiser’s goods are fully endorsed by this Bulletin I
Publishedby
the proprietmThe
MagicWand Publishing Company 1 1 Monastery Gardens, Ehfield, Middlesex, and printed by Herbert Walker and Son (Printers)Ltd., ’ Weil Croft. S h i ~ l e ~ Y,CIrk!
89
PENTAGRAM An independent monthly bulletin for all who want good magic
Hereisthe effect : Onthemagician’stable rests stand a holdingthreered-backedcards. (Illustration No. 1 gives some idea of this). A pack of blue-backed cards is introduced and droppedoutermosttothe audihce intoa glass face.Withtherequesttoaspectator, whom we shall call Mr. A, that he stopstheaction of the magician when he wishes, the cards are removed one at a time fromtheface to the bxck of the pack. On being stopped, the card designated is placed, still facing the audience, in front of the first red-backedcardinthestand. The procedure is %repeatedwith two more spectators, whom we shallcall Mr. B, and Mt. C, andthecards of their choice are placed respectively in front of thered-backedcardsnumbers two andthree. A spectator is asked to stepforwardandremove the first pair of cards. He takesthem,separates tbem, and shows that the red-backed card, placedtherebythemagician,matchesthecard chosenbythespectator.Similarly,the second and third pairs of cards are shown to match. This deception was the prototype of “ Mind Out of Time”, and to some it would seem to have an advantage over that effect in so far as a spectator can actnally remove the cards at the ultimate stage.
elastic band snapped round the car;.&, the. rnagician would seem to have a blue-backed pack. The next thing to come in for attention is the Now look at illusstand which holdsthecards. tration 1 and you willsee that when thecards are dropped into the slots one-third protudes. At the same time it will be noticed that the centre of
blue (3). p S C . 9
slot ( v e l v e t lined) for elotted oardr
REQUIREMENTS. Onepack of cardsmadeupas
follows :Twenty-six cards fromablue-backedpack and twenty-six duplicates of these from a red-backed pack have half their backs treated with roughing fluid. When, dry, the red-backed cards are placedbackagainsttheirduplicateblue-backed cards so thatthe roughenedendscoincide.The pairs arethen assembled to formaset of fiftytwo cards,care being takenthatthe roughened halfsare allsimilarlypositioned.Whenthis is done, an odd blue-backed card is now placed facedownonthe exposed red-backed card; with an
Part o f red backed card o u t away t o synchronise with s l o t in stand
90 the card can be seen because of the qpenings. Let us studythe construction qt thestand; itisa simple affair, 102 inches in* length, and the height of the holderforthecard is 29 inches, the cutouts measuring 2in. X gin. Figure 2 shows. a section of thestand as seen from,thetop,and is bestmade bytakingthree pieces of verythin plywood, 102in. X !@in., cutting out three pieces in each Zin. X gin., $0 that they synchronise when placed on top of the-other. To assemble tp form a stand, eight interleaving pieces of cardboard or wood are glued as shown in Illustration 3. Before completing this however, the facings of the wood, which form the narrowslot, are coveredwith black chiffon velvet.When tlie pieces are glued together the effect should be such that if a playingcard is pushedintothisslot, it will " stay put " because of the velvet, but at the same time it can be pushed into the stand with the minimum of effort. Theuprightpart oftkie standis now fastened to the base; the method of fastening will depend upon your ability as a craftsman. PLEASE DO MOT FINISH THE STAND OFF IN PILLAR-BOA RED. Three red-backed cards are required and oneinch is cut fromoneend.Afterthis,take thethree cardsand place one ineach of the velvet-linedslots,pushingthemdown so that the top of the ca-d is level withthe top of the stand. With a pehcil draw on the card the position of the cpt-outinthe stand. Whenthis has beendonewith-thethreecards,takethem out andcutaway arectangularportion which will synchronise with the cut-outs in the stand. With some Indian inkblackenalltheexposededges of these cards, an'd with some matt black paint, A straight-sided paint the top of the stand. stemmed glass completes the requirements. (Incidentally illustratian 3 gives a false idea of the cut out card owing to the fact that the white border has been eliminated in reproduction.)
PREPARATION. Stand is placedonthetable p d initare placedthethreefaked red cards,one-thirdprotuding at the top and thus appearing to be just threeordinarycards.Thestemmedglasscontaining the blue-backed cards ( ? ) should be placed on a -tab@ to the right of. @e table' holding the stand. With thesethingsdone',themagician is now ready for hisPRESENTATION. Attention is called to thethreecardsinthe stand, the magician stating that the cards placed there are in some way associated with his appearancethereto-night.Threepersons are tied up with the cards and they are represented by those B, and C. As he oldmathematicalsymbolsA, looksacross at aspectator;themagiciantakes the supposedly blue-backed pack from the glass. " I would like you, if you are willing, sir, to be shown Mr. A ". The packafterbeingcasually is placed into the glass, roughened ends uppermost
andfaces(i.e.,blue-backedfaces)towards the audience. " From thisblue-backedpack I am going to take a card from the face and place it at the rear of the pack; I am going to continue doing this and I wantyoutostop me just when you like " Thecards, seemingly one at atime, but inreality,inpairs,are removed fromtheface of thepack by the second finger andthumb of the right hand, and placed at the rear of the pack (the v e q slightest of 'pressure of the second finger on the face card is sufficient to bring the two cardsup in .suchperfectalignment thatthey appear as one). On being stopped by Mr. A, the Continued on page 92
Flashback ! L
-
stands for LYNN TUESDAY, NOVEMBER a+, Y
,
BR LYNAPS ENTBRTAINMBNT. -
.-
Tbc mysterious doings of Dr. Lynn were nrommmc&
lnst evening, this geotlemanhafin&'' during his rho4
perioEl--of closing, stmgthuncd .his:'programme. W& several new .features, amongqt which- may be noted . h f ~
imitations of the tricks- of - spiritiabts,. by. sewing a m.an ta $c iron rings of ,a at'ool with bands of sopper wue, qfter wbich, in the ..presence of: a '.Cornmittce, &g8 m passed ."on:the !alon(s . hands and taken o f ft .his- coat i!, mmootd, and thcq replaced.; .;and this without theaid of ariy cabinet, a'c?oth beiirg held before the opera&-- for a fm minufes only. These tying featsare. being ppformed ud n a u s e q , but Dr. Lyon's is certainly amongst the clev.&crt Tbc Doctor's box trick, tw; .goes beyond those of his &m. prtitsrs, for we have three boxes,'& -made to fit within the other; those a d corded and Ibcked, and a m n is tied up in a couple 'of .rackr, but, an ttic bame, scrcohed . view,.he In 4 fen m0mmnt.q on being' contrives to peaetrate . the three shells, out of wbi& hc is takcn after tho necessary amount Ot tlncordillg and 'uniwking has .taken glace. Yet .Dr. Llnn'r mea pttracticn i s a .mystarbus cabinw, which is UimrcEd stailding in the centre af the stakp Into this an attendint w~llis,dnd the curtalnS being d r a q , the man is standing f a c i v l h e audicnce,'wben (he Doctor p r w d s .to cut-off one arm, -which ik carcfsllpearried oul and laid down ; then one' le is.ampu+ed,.and artled out to be laid on aghkir. .'Jot cimtont-witb this, the man's head is cut qff, and cirried bv the opZiPtor &tintothe hall, but onjp it :tO,disappkr out d the black &h in whkh it is-h&, m a d wgM npla on the W y , Wtnvcd . by the arm '8nd ,leg, which the man walb out- whole. T b illusion s i most compkte, and though. there. mag, h. a r~puldvc sound &bout tht dssciiption, the whole L go Qewrly .&njed' @utthat there is riothlng.offc~sivd.in it whatever, aarl:the curtain falls amidst abuddantopplruw, During the inte-vak, Dr. Lym%Italian band, consisting of 'tbree artists, who play upon the pleasant cornbiultion d in5trliraerits tfSc viblin, manddin, $nd guitar; pcttatrh souse cxccIfOnt &eratic music. ,
'
fe
+.
oiE+ft.
'
#"SINGULAR CHARGE OF ROBBERYp __e__
TO
en@
tctla. From the l. B. Findlay Collection
t n t t o n or
91
To DouglasFrancisbelongsthecredit for originating a very clever idea on the lines of the " BrainWave " effect, butwithoutthe useof doctored cards. The presentation, however, requireda rather bold manoeuvrenotsuitable for manyperformers. In thefollowingpresenmove which tation, I havetriedtoobviatethe has altered the general effect slightly. The impression giventotheaudience is that a pack of cards is borrowed and shuffled by a spectator who alsonames any cardinthepack. He is asked by the performer to take that card out of the pack and reverse it somewhere in the. centre of the pack. The magician now reaches into his own pocket andbringsoutacard casecontaining anotherpack of cards.Thecase is openedand thecardsremoved.Simultaneously,themagicianandspectatorspreadtheirpacks,andit .is found that the card freely named appears reversed in each pack. To show heactuallyanticipatedthespectator's choice, the magician turns over the card in hisown packand shows it hasastrangeback, provingthatheactuallyplaceditinthepack before the performance.
REQUIREMENTS. Theperformer'spack is enclosed inapreparedcardcase.Thiscasehashadthe bottom removed and two slips of strong paper gummed, one at each side. A pack. of cards is inserted in the case and the two slips pushed down into the centre of the cards to act as a slide or guide to receive a single playing card. The case, with the cards, is placed, with the cards facing outwakds, upside down in the right-hand vest pocket. In the left-hand coat pocket is another pack ot cards,facesinward,,setup inanindexto enable the performer to locate any card at will. If desired,thesemaybeCanadianStagcards which area trifle narrowandmakethetricka littleeasier.
To theranks of second, third, fifth and seventhcard effects comes amethod in. which six cards areused-the naming of the five unselec'ted ones giving the necessary information to the medium,. which possesses the advantage that m y six cards may be selected, the balance of the pack being placed aside. Since therequiredinformation is codedby means of the order in which the cards are named,
TO WORK.
Borrow a pack of cards and have the ow,ner any spectator shuffle them. At .the same time, ask him to name the. first card which comes. to hismind.Theninstruct him to takethatcard out of the pack and reverse it in the cpntre,of the pack. Meanwhile, there is ample time tosecure its ;duplicate from the index and palm it, back. to palm,' in the left hand. Ask him to lay h i s pack face down on the table. As hedoesthis,reachinto the rightvest pocket for the other pack. In doing so, slide the palmedcardintotheguidecreated by the two slips of paper. As the case is produced, press the card flush, whicli forces it into the centre of the cards. Slowly openthetop flap of case. You' may now eithertakeout'thepack yourself or allow thespectatorto do so; whilst you retain yourholdonthecase, of course.Thecase. is then slipped in the pocket. Have him hold pack for a moment as you, in turn, pick up his pack. You instruct him to spread 'your pack across the table face down, as you with his pack, duplicate hisactions. 'The two face-upcardsagree. It remainstoprovethespectator's choice was anticipated by the magician, and the card in the magician's pack .is reversed to show a strange back. The cards may be left lying around should someone care to inspect them. OF
Two
s l i p s o f paper
@mmed t o bottom of
Mottom of cdse removed.
cuse.
I
'
Side view showing section or ce8e. Cards are not shown.
itwill be a good plan if thereader follows the text with apack of cardsinhand.Thecards are first of all mentally divided into groups, thus : Ace CLUBS Two Group 1 Three Four HEARTS Group Five 2 Six
92 Seven
3
Group Eight SPADES Nine Ten DIAMONDS Group Jack
4
Queen The King receives specialtreatment,tobe describedlater. For thesake of clarity, we willproceed with six cards dealt from a pack before me as I write. SelectedCard : 3s. 9H, 7S, KH, KS, J H . The two lowest cards are first picked up and placed fuce up in the left hand, this leaves : 9H 7s in Hand KH, KS, JH on Table. The position of the selected card in its own particular group has now tobeconsidered. In this case it is third, therefore, the lowest card is again picked up and placed on top of the face Cards up cardsinthelefthand. Similarly, a two would be placed in the centre and an Ace at the bottom, the position is now : In Hand, 933, 7S, JH. OnTable, KH, KS. The lowest card, remembering thatHearts arehigherthanSpades, is againpicked up and placedin the position which corresponds tothe group position on thechart,in this case the bottomorextremeleft of the. face up fan, the position is now : In Hand, KS, 9H, 7S, JH. On Table, KH. Finallytheremainingcard is placedin the suit position, in this case third, thus : KS, 9H, KH, 7S, JH and the medium is ready to be telephoned. The cards,incidentally, are namedstrictly in. order after the packet has been turned face down. The medium is- equipped with a -small scribbling pad, ruledinto five sections thus, on which she enters the cards as named :
.
CLUBS
Afterthe five cardshave beennamedthe entries should read as under :
KS
HEARTS
DIAMONDS
7s
Correct
Remaining
Stack 10s
3C JC 9C 4C QH
6D 3H 7C 9H 8H
6H JD 9D QC 2s
6D 10H 6C 6H iOS 3H 5C J D 8D 3C JC 2H 9D 7C *4D
10H 5C 2H KH 3H
QC Q S 9C KH 9H 5H 2s QH 8H 4C
Having worked out the preceding examples, both the performer and medium should be ready for %he final stage, namely, when a King is selected. This is very simple. The highest curd is placedinthecorrectsuit position andthe second highest card isplaced at the bottom or extreme right of the face up fan. Having worked out the suit, thesecond highest card as it occupies thefifthspaceon medium’s padautomatically gives the value. Chosen Card KS AH
Remaining Cards 5D JS 8s 4s
Correct
Stack
JS 4s 8s Although the foregoing may seem rather lengthy and involved, if the reader will spend an odd hour with cards, pencil and paper, working out a few combinations for himself and decoding them afterwards, he will, I am sure, find just how easy it really is.
AE
5D
~~
continued from page 90
DIAMONDS
SPADES
Chosen Card JH 6C 8s 8D 3C AD -4D QS
~
SPADES
9H
.
PETER WARLOCK’S TRIGON 7
HEARTS
CLUBS
She now decodes the message as follows : the position of the, highest - card (KH) gives her the suit, therefore she scores through and writes SPADES. Theposition of thenexthighestcard (KS) which is first amongtheremainder,gives. thecorrespondinggroup,thereforeshewrites : SPADES Ace Two Three theposition of thehighestcardamongthe remainingthree is .third, so she crosses through the first and second names, leaving : SPADES AA.-. T I vvw Three In order thatthe readermaythoroughly graspthemethod, itis suggested thathe stack the fo,llowing examplesand check theresult, while bothpartiesshouldpractisethedecoding process.
KH 7s
JH
two cardsheldbythe ‘right-hand fingerand thumbaretaken at thenon-roughenedends by the left-hand second finger and, thumb and placed in the first slot of the stand. As the cards reach the, half-waymark,i.e.,thecut-out now shows part of the blue-backed face card, the left hand thumb now comes into play and pushqs ,down the fakedred-backedcard.Similarprocedures are repeated with the second and third cards. The stand now, to all intents and purposes, containsthreepairs of cards. Added to this is the fact that because the uppermost parts of the cards are not roughened, they can be withdrawn by a specator without any suggestion of adhesion. This is, of course, what happens and the pseudomiracle reaches its final cadence. ’
93
Some monthsagoIoverheard some small boystryingtopuzzleeachotherwith.various questions.One of thelatterinterested me very much, and the following little effect was evolved. The performer invites one of the children in his audience to helphiminamagicalspelling trick, and he hands his willing helper a slate with a piece of chalk. He asks the audience to name an animal with three letters (seeMagical Mentalia, " A Psychological Trick). The answer is invariably " C A T " . The helper is asked to write or print the word " Cat " without anyone seeing it. The performer then displays a lazge packof letter cards,' and invites another volunteer to mix them thoroughly. He then covers the cards with a large handkerchief, and explains that by magic he will make the assistant choose three cards to make the The volunteer cuts the cards word C A T. through the handkerchief and the next three cards aretaken.Theperformertakesthe first card " C-that's corand, looking at theslate,says rect,buthecarelessly shows ittotheaudience. It is actuallyan " h1 '' . He repeatsthesame performance with the second card, whichis an ' ' 0 ' ' and not an '' A ' ' , and finally with the .last card,a " Q," placingthecardsbackout on a stand. By this timetheaudience will beyelling its head off, andthereshould be plenty of byplay. In conclusion,thecards are turned rouhd, andtheaudience is " made " to see thatthe cards do actually form a '' Cat. ''
tration, that ,the letter, " M " should be so drawn that it makes two reasonable " ears ", and that the " 0 " should be much smaller than the,"" 0 " which forms part of the " Q '' . Thislast named should, as shown, completely fill the card.
TO PERF0R.M. Have the vital cards face upon the table and coverthem with thehandkerchief.When the remaining cards have been mixed, place them on top of the three and at the same time pick up the handkerchiefandshow.Placethepack of cards underthehandkerchief forthe reversein 'the thus usualmannerastheboycutsthepack, forcing MOQ. In placingthecards one at a time into the clips, see that the middle card, '' 0 ' ' , is placed as in the illustration (i.e., the M and Q cards overlap it). Thus, when the stand is turnedrounda good representation of acat is found. Build up' the effect with the usual showmanship; la the a Die Box, and disclose your rrs.sistant's success in the proper manner. "
"
"
"
REQUIREMENTS. These are simple. An ordinaryslate with chalk; and stand a as shown. This consists simply of an upright fixed to a square of wood. On ,the uprightare screwed threebulldogclips at equal intervals as shown in the illustration. A pack of Lexicon cards or preferably some larger cards wAh the three bearing the letters M, 0 and Q emphasised asshown.Lastly, a lgrgehandkerchief. It is necessary, as will be seen inthe illus-
This numberbringsto a close thefourth volume, and,again we shouldliketotakethe OpportuIiity of thanking all those who have contributed in any way whatsoever.Onceagain we have tried, and because of the excellent work of. ourcontributors, we have succeeded inplacing before our'readers a greatnumber of effects, in which apparatus, as apparatus, hasbeen conspicuous by its absence. Our friend Geoffrey Bucking-
U
ham, who scored such a triumph in America, made use of his Coin routine (see Pentagram Volumel ) , his Billiards Ball routine (inthis present volume), andthethreedartcardstab(seePentagram satisfying. At Volume 3). All this is very Harrogate during the 1.B .M. Convention, readers of seeing some present had the opportunity more " Pentagram " magic. Francis Haxton presented some of his excellent card effects, whilst
94 GustaveSouthallperformed his ‘ Impromptu Whist-Bridge Deal ” In the coming volume we have been promised a Leslie May-Ron (Tearing them Up !) . Baillie number, which%should be a,must for any mentalist. The Magic Circle Festival of Magic has proved a great success both artistically and financially. A full report will appear in next month’s issue. ~ythetimethisappearsthe Magic Circle Festival will be in session, and to’ the advertised list of performers will beaddedthename of Mystica,who, as we wnte, is appearing at Barcelona at the International Congress,whereit is expected that he will win the Grand Prix. In thispresent issue will befoundArthur Carter’s Mystery of the Sixth Card. ” In reading, the method. may seem involved. We therefore beg, if you find it. so, to re-read, for this method of signalling a chosencard.is devilishly clever. The placing of thecards in a natural manner is far better if the cards are dealt higgledy piggledy on the table rather than in a row. I n a Iuture copy of the “ Wand.” the same contributor ‘hasa slant on the presentation ,of the “ thirty card trick that is terrific. It is entitled Mass Hypnotism,” and we only wish we had it in the ‘ ‘ Pentagram. ’ ’ We are starting a collection of programmes, playbills (includingthose of magicalsocieties), and, like memorabilia, relating totwentieth century magicians. If any of our readers have such unwanted trifles lying around we shallbe most “
“
’
”
“
“ WHERE HOUDINI WAS WRONG,’’ by hlaurice Sardina (transla;t,ed from the original “ LesErreursde Harry Houdini Victor by Farelli. Published by George Amstrong, Price 2 0 / - ) . It was about two years ago that we hadthe pleasure and privilege of readinginmanuscriptform Mr. Farelli’s excellent translation of M . Sardina’s book, At the time we notonly expressed ourdelight at the contentmatterbut also atthe excellent translation. On the reception of the published copy our delight was increased because such an important work had received atthehands of the publisher andprinterthetreatment it merited. Dealing with the physical make-up, the book runs and tweoty pages into a matter of someonehundred ofwell printed art paper ; there are over thirty illustrations, a number of which are half tones.The book is a goldletteredblueclothcover. stronglyboundin All thosewhohaveread(andtherecan be few genuinely interested in magic who have not) the Unmasking of Robert-Houdin will welcome this book byafamousFrenchauthor. M. Sardinain .his introduction seeks not so much t o defend the Master of ModernConjuring(forasheremarkshisname; higher than ever,needs no defence) but rather to put right the “ un ”vitting ” mistakes of Harry Houdini. The bookcommenceswith a resume of Houdini’s rebuff byMadame W. E. Robert-Houdin,(something that Houdinicouldneverunderstand), of hisdealings with Evanion and of his growng venom against “
grateful to receive- them,and at the sametime pay any postage incurred. Linklater, whicLl appeared in ourJuly number, has had some nice comments, and it will also appear in the “Phoenix”. For an impromptu presentation, our friend Jack Avis has sent along the following, whichwe’ll call “ Linklater 11.” for index purposes. (We suggest that it will help if you have the original “ Linklater routine by you when reading. ) The two cords are placed side by side on the table ; theyform two letter U’s, thefourends point towards spectators. You takeapockethandkerchiefandcover thebottom of the two loops, leavingthefour ends in fullview. Under cover of t4ehandkerchief link thecords,‘pull linked section from hnder, and drop on top of handkerchief, the twist in the cords reinains concealed by handkerchief. Look at spectators, and remarkontheimpossibility of what they have just seen, etc. Now grasp the linked section of the cords between first finger andthumb of each hand,and grip the handkerchief at itslower left andrightcorners between third and fourth fingers, raise both hands from the table, a n i you will find the handkercief hangs like a curtain in front of the cords, the action of raising the cords will also take the concealed twist out of the cords. When this happens allow handkerchief to drop back to table, leaving the two linked cords in your hands. The lateness of this issueis due to circumstances outside ourcontrol, the corrected proofs going astray on their way to the printers. “
”
”
Robert-Houdin. Fzom this point we are taken throughthe “ Unmasking ” and wilder statements of Houdini,statements of opinion ratherthanfact,are torn apart and disproved. For his particular references the following effects (orautomata)aretaken; each forming, as they did in Houdini’s work, a ‘chapter The Writing and on its own : TheOrangeTreeTrick, Drawing Fi ure, The Pastry Cook oi the Palais Royal, the Cabalisjic Clock, the Trapeze Automaton, the Inexhaustible Bottle, Second Sight, the Suspension Trick, and the Disappearing Handkerchief. Besides thistherearetwochhpters ‘,‘ Events. in the Life of Robert-I-Ioudin ” andthe, “ Narrowness of RobertHoudin’s Memoirs ”. Theauthor showsonly too well that if the evidencepresected bv Houdini would not fit the bill indefamingRoQert-Houdin,suchevidence must be adjusted or faked to.prove that Houdini could pot bewrong. Mr. Farelli,astranslator,inhisusualthorough andpainstakingmannerhasleftnostoneunturnedin order thatthe readershallhaveacompletepicture bookproperasupplement has been and so, tothe added. No student of magic will bewithoutthisbook, for it is undoubtedlyone of the bestcontributions to the post-warmagical literature. It is hoped that those who look upon magic. purely as a technical accomplishment, will see fit for once to look back into the past. To all magicianseverywhere we recommend this mostinterestingwork.
SECOND COLLECXORS' ANNUAL, 1950 (published by James B. Findlay, Firbank " Private Hotel, Crescent Road, Shanklin, Isle of Wight. Price 5/3 postfree). I '
Unlike the first annual published in duplicated forin by Mr. Findlay, present the publication is printed. It consists of twenty-fourpagesand is boundinacardboardcover. It is a booklet that no magically-mindedpersonshouldmiss. After the briefest of prefaces, our old friend " Ptinos " " More Magazine History andin his g%e:?%icle deals with " The Boy Magician, " " Tp" American Magician " and the " Seven Circles. Next,under the heading of " Association Items," J.B.F. instances a most interesting bypath of magical CEllecting. This is fellowed by " A Chat on Ex Libris by that greatest of collectors, Stanley Collins. Inthismonograph'theauthornot onlytouches on design and peculiarities of book-plates but gives the would-be book-prater some excellent adviceinregard to its make-up. Did You Know?" Under this title Jimmy Findlay details some fourteen items of lesser-known facts regarding conjuring literature and follows it with an article ' The Chapbook . inConjuringLiterature."(Chapbookscovereda wide variety of subjects. They were usually made up of some twenty-four Pages )
THE 'KEN. BROOKE MARKED CARD N I ' BALLOON " (publishedbyKen.Brooke, of Veronl House of Magic, 160, Westgate, Bradford, Yorksf: price 5 / - complete with cards.. If, the " Yimka apparatus is purchased, the routine is supplied m t i s ) . Ken.Brooke quotesthatthe " Trilby " routine (reviewed above) in conjunction with the present, effect constituteshiscard act. Thisroutine ;S duplicated and runs, to about one thousand words. As in the " Trilby routine, the .author teaches thereadereverypointthat will help to make the effect remembered ,, byan audience. Althoughthe " Card in Balloon is no favourite of ours, we know full well that with the average audience it is a most effective 'item, and the particular presentation and handling in t h i s version is very goodindeed. Snagproof, it is unreservedlyrecommended.
SCALBERT'S MUSICAL MYSTERY the ScalbertBrothers, price lO/-).
(published by
"
A mosthandy glossary of book terms is followed byan articleon " Rarities,"by ChrisCharlton, the threerarest m'agazines being quoted. The Annual cbncludes with an excellent article on " Variety in Collecting," by J.B.F. Here worthwhile advice is offered to the would-becollector,advice that comes from one whose experience carries the worth and u w d of authority. Withthecertain knowledge that readers of this bulletinhave a love of magicoutsidetheacquisition and performance of tricks, we hope thatthey will, without fail, obtain a copy of this most excellent work. We feel equallycertaln that a readingand re-reading will setthemlookingthrough books,magazines and programmes with a thought that perhaps there is somehting in this " collecting " idea after all.
Thesetwomostingeniousmagicalbrothershave got togetherindevisingamethodforpresenting a musical thought transmission act.Twentycards, each of whichbears the name of adifferentcomposltioll printedonarepassed out to the audience. .A number of thesearechosenandthecards placedin front of the performer. His assistant: who id seated a t a piauo, thenplays,oneaftertheother,theselected mklgdies. Wewillnow quote from the . routine : " At no time does the performer speak or signal in, any way, except to readout. the nam? of thetune on the card after has it been played . That statement is perfectly true.The designers of thismysteryhavedeviseda mechanic41 method of signalling the chosen cornposition. Not content with one method, two others equally good aregiven. Needless tosay,thepartner atthe receivingendhas littletolearn.Let us alsc remark to those who havenopartner'able to play thepiand,thatthe name of the composition cah be announced, whistled or sung. Though the rauge of twenty to an experienced two person mental act seems small, a method to cover an extra twelve compositions will be supplied upon request. (Actually we can't think why it was included).The whole thingis diabolically clever initssimplicity,and is a veryworthwhilebuy for anyone wishing to present this type of effect tr,iih the minimum uf trouble.
THE " KEN. BRQOKG TRILBY ROUTINE (published by Ken.Brooke,VeroniHouse of Magic, 160, Westgate, Bradford, Yorks. Price 5 / -. No charge if " Trilby pack is purchased.Thechargeforthe '' Trilby " pack with the original instructionss is 21/-\. Thisparticularroutine is induplicatedformand runs to some fourteen pages. It is written in a sincere manner that leaves no doubt in the reader's mind that it' id efle~tivecard 'mdgic and it will dork one hundred per cent. The author is not content with a mere recital of thedescriptionand working of the effects in theroutinebutin a carefuland effective. manner makes theroutine a true letwon ip curd 7nap:r. Theroutine consists of three good effects. They are of suchcalibre that they will bringthe performer credit ,for being a clever,cardworker. Atthe end of theroutinethe performeris leftwith a n unprepared pack, an obvious advantagefor close quarter work.
If youpurchased a " Trilby " pack andhave for the moment put i t ononeside, you will, dearreader, bedoing yourself a disfavourinpassingbythisparticularroutine. We know full well that were Ken. Brooke to. denwn8trat.e the effects, youwouldbeprepared to pay a much higher price than that a t preseht demanded.
PETER
WARLOCK'S
PENTAGRAM is publishedon the 24th of eachmonth and can be obtaineddirect from thepublishers for 1/1 persingle copy. AnnualSubscription 121post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADD-:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
96 t
SENSATIONAL DISCLOSURES
Where Houdini Was Wrong by MAURICE SARDINA (Transluted by VICTOR F A R E L L I r Thisgreat work isundoubtedlythemost im portantcontributionto magicalliterature in the last half-century. It i s one that no magician should miss. Houdini,thegreat showman, the idol of magicians throughoutthe world, is condemnedin the mostdamningindictment that couldeverbepublished, It 'is not hisshowmanship that is condemned,for that is withoutquestion, but his integrity. We can do no better than to quote the author's own words : " There is the piece vehement,bombasticandmoralistic. I t is worthy of Houdini, who, havingaccumulatedanumber of unfoundedaccusationsagainstRobert-Houdin,twistedthe sense of documentsandtextstosuit his own needs,pretendedthatRobert-Houdinhadmadecertain claims that he had torefutethese alleged claims), made use of a falsified document-assuming that he not ( i n ordereasily hadnotactually falsified it himself-insults the Master forthelasttime,and covers him withunspeakable abuse ! And,inwhat a ' tone ! Hethendonsthecloak of amoralist,professesthepurity of hisintentions, to have givencredit where it belongs,distributes his blessings, and distributesblameandpraise,proclaims lays the results of hisresearchesbefore the only true jury, the great reading public, whom hehasdeceived, misled and mocked ina book of overthreehundredpages !" Why did Houdini first proclaim Robert-Houdin as his idol-even to the extent of purloining his name S Why didhe later attack the Masterwithsuchvenom ? Who falsified the document to " prove " hiscase ? Whobroughtthe art of conjuringout of thegutterandfair ground and made it aform of entertainment ? patronised by the most elite in the land Hereyou will find the whole fascinatingdtoryunfoldedinabeautifullywrittenbook that is so absorbing that, once started, you will beunable toput downuntil you havefinished. The book itself containsover 120 pages of artpaper,manyreproductions of oldposters,engravings in gold, and proand photographs and is bound in heavyblueclothcovers,stampedonfrontandspine tectedwithanarrestingdustjacket. I
. . .
i
l
Postage 6d.
Price 201-
from the publishers
THE 'MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. I
I NOT 43/- ($6.00) BUT 2O/- ($2.80) By buyingthe
"
complete stock of theJohn Cook-Arthur Buckley
Brown
The Magic Circle President : His Grace the Duke of Somerset, D.S.O.. O.B.E.. J.P.,M.I.M.C. Vice-President: Douglas Craggs, Esq., Y.I.M.C. ClubroomandLibraryand Museum :
St.Ermin'sHotel, Caxton Street, S.W.1.
GEMS OF MENTAL MAGIC"
Magical Theatre :
we are able t o offer this book (heretofore sold only at the published price of $6.00) a t t h e bargain price of E l ($2.80). Here are 32 up-to-date mental feats of various two experts, 132 beautifullyprintedpages, typesby handsomelybound in gold-stampedfabrikoid.Unfortunately, this " remainder " is not large, and we thereforesuggestpromptpurchase.
'' THE
FINE
ART
OF
MAGIC
:
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
JACK
"
George Kaplan's matchlessbook of uy-to-the-minute routine,should beinyour library,andthefeatsin yourprogramme.Superblyproduced in theFleming Magic Classic format, 352 large pages, 316 Frank Rigney illustrations, a t our ' ' sharethe loss " price of (not $7.50, 3 3 / - ) only 45/-. Please remit to Mr. Robertson Keene, c ,'o Riverside, ,VictoriaRoad,Yarmouth, Isle of Wight,and receive the books direct from the U .S.
HUGHES
will be pleased to send yorr details of his very latest effectsand allhis old favourites in pturn for stamped a addressed envelope 7foolscap or octavo size please). WRITE NOW, TO
JACIf $,
HUGHES
EVELYN AVI?NUE. COLINDALE, LONDOY. N.W.9.
CONJURING BOOKS FOR SALE L e t ' me know your wants OLD ANDNEW. LIST FREE FOR STAMPED ENVELOPE Eio Callers
--
FLEMING BOOK COMPANY, 728, MADISON AVENUE,YORK,PENNA.,
King George's Hall, W.C.
Particulars from Hon.Secretary
U.S.A.
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,> MIDDLESEX
Every Advertiser's goods are fullyendorsed by this Bulletin Published by the proprietoi. The Magic *a Walker
d P u b l i h h g Company 11
14% Saa (Piinten) L&..
'
onasteryGardens,Enfield.Middlesex,andprinted
kreh%oft. Shi~ky.YorkshihizI.
by Herbert
*
MENTAL EFFECTS
BILLIARD BALLS GeoffreyBuckingham’sBilliardBall Routine 60 54.44.
...
...
...
CARD EFFECTS (Impromptu)
...
A Christainer Conception
Automatic Prediction ... Imagethe on Retina ... ... Impromptu SolocWhisteBridge Deal Restless Choice ... Technique Sale for ... The Mystery of the Sixth Card
...
...
... ... ... ...
... ...
...
76 29 26 4l 58 34 91
CARD EFECTS (Prepared or Stacked) Bones of Contention ... ... 52 Bubble, Bubble ! ... ... ... 33 Across Cards ... ... 86 2 Comedy Routine with the Jiffy Slate ... Do as I Do-Brainwave ... .... 91 Hypnotic Multiplication ... ... 14 Missing Pack Link ... ... ... 68 Name Your Choice ... ... ... 55. Predicto ... ... ... ... 81 Psychic Post Card ... ... ... 13 Seeing by Phone ... ... ... 53 Tan Hock Chuan Sends Letter a ... 38 Tearing Them Up ... ... ... 65 The Gap the in Line ... ... ... 71 Trigon 7 ... ... ... ... 89 U p Cards. at and ’Em ... ... 9 I..
...
Autograph Hunter ... Automatic Prediction Death from Newspaper a ... Do as I Do-Brainwave ... Image‘ onzthe Retina ... ... Kismet 2 ... ... ... Mental Matchcic ... ... Missing Link Pack ... Mother Goose Prediction ... Pay Day ... ... ... Prediction Plus One ... ... Predicto ... ... Seeing Phone by .... ... Slately Telepathic ... Take it. o r Leave it ! ... ... Tearing Them U p ... ... The Book of OneWord ... The Gap in the Line ... ... The Mystery of the Sixth Card
...
...
...
... ...
...
...
...
..
...
...
...
11 27 93
CIGARETTE EFFECTS AlI Smoke
...
...
...
...
C O I N A N D NOTE EFFECTS Note A and Two Coins ... ... Douglas Dexter’s Burnt and Restored ... ... Note Effect ... Harry Latour’s Coin Routine ... ... Take orit leave it ! ... ... ...
AStory Ghost Tearing Them
...
...
FORTUNETELLING Up ... ...
...
...
...
... ... ... ... ... ...
... ... ... ... ... ... ...
43 29 20 91 26
75 57 68 19 25 20 81 ’53
77 36 65 59
71 91 67 73 94 3 29
POCKET TRICKS Ring o n Pencil ... ...
...
36
...
83
RING EFFECTS ’ ... ... Riddle of the Ring ... ... Ring on Pencil ... ...
‘ Jack Sheppard
... . 2 7 ...
36
...
67
... ...
17 1
... ...
13 76
...
5
SILK EFFECTS
...
Line of Silks
78
...
SLATE EFFECTS Garendon Slate Jiffy Slate
...
... ...
... ...
...
11
PSYCHIC EFFECTS Psychic Post Card ... ... Thermometer .... ...
...
65
THIMBLE TRICKS ChameleonThimblesAgain ...
EGG TRICKS
-er
...
52
49 43 36
..
MISCELLANEOUS EFFECTS ... ALetterfromPeterSutton ... Linklater ... *.. ... Linklater I1 ... ... ... ... O n Threading Needle a ... ... ... The Case of the Baffling Burglars
CHILDREN’S EFFECTS Story Ghost ... Riddle of the Ring Curiosity TheCat
...
Entertaining with Hypnotism ... ... Stooging Around ... ... ... Those Entertaining Years ... ... 49 4 20 Tricks Matchbox ain ... ... Magic with ... ... ... 85 Dice 55 Conjuring with Christopher ... ... How Perform to Mental Magic ... MAGIC G O R O U N D Can You Tell Fortunes ? ... ... 7 15 22 30 37 45 Mainly Mental. V01 2 ... ... 55 62 71 79 87 93 Les Principes Brilliantsde la Manipulation Card Magic of Le Paul ... ... FLASHBACK Conjuring ... ... ... ... 2 10 18 30 35 42 The ... ... ... 50 58 66 74 82 90 Piddingtons Le Livre D’Or ... ... ... A WORD ABOUT BOOKS & R O U T I N E S John Ramsay’s Triple Restoration . . . . Rezvanimagie ... ... ... 6 Clear All Enchanted Vase ... ... Magic of Ancients the ... ... 7 Douglas Hood’s Card in Cigarette . . . . Genial Improbalities ... ... ... 7 Scarne’s Quartet ” ... ... ... Milbourne Christopher’s Magazine Test 7 l e s Coussinetsde la Princesse ... ... Napology ... ... ... ... 7 Where Houdini was Wrong ... ... Hypnotism ... ... ... ... 7 Second Collectors Annual ... ... Quartet ... ... ... ... 7 Ken . Brooke’s ‘ Trilby ’ Routine ... Hugard’s Magic Monthly V01 5 and 6 ... 14 Ken . Brooke’s ‘ Marked Card in Balloon ’ Sucker Hello. ! ... ... ... 15 Scalbert’s Musical Mystery ... ...
MISCELLANEOUS ARTICLES Annemann. 1907-1942 ... ... InMemory of A C P Medrington ... Orchestra Stall. Row D. Seat 4 ... Curse The of Scotland ... ... Top Table.Ballroom.ParkLaneHotel ...
. . .
33
.
.
.. .
.
.
Arrowsmith. G E . . . . Avis. J . . . . ... Raillie. Ron . ... Belcher. Len . ... Boarde. C . L . ... Boughen. H .... ... Brearley. John ... ... Buckingham. Geoffrey Arthur Carter. ... ... Stanley Collins. ... De la Mare. Eric ... Dexter. Douglas. The late Dexter. Will ... Dickson. A A . ... Douglas. James ... Farel’li. Victor ... Douglas Francis. ... Jules Giraud. ... Hammond. E . ... Nicholls Harley. ... ... Francis Haxton. ...
.
... ... ...
...
...
...
...
...
... 43
...
...
... S . .
44 54 71
... ...
... ... ...
... ... ...
... ...
75’
26
... ... 63
... ... ...
... ...
...
...
...
...
Hiddleston. Samuel ... Louis Histed. ... 65 Stanley Jaks. I. ... 20 Percy James. ... 57 Koran. A1 ... ... Latour. ... 36 Harry 11 Leaney. Gil ... ... 60 Maxwell. Victor ... 91 Medrington. A C P . 59 Michaelson. R . H . . . . 3 Herbert Milton. ... 49 Southall. Gustave ... ... 76 PeterSutton. 29 Hock Chuan Tan ... 93 Tapsell. A .... ... Robert Tothill. ... 87 19 Vosburgh-Dexter ... 27 Warlock. Elizabeth ... 53 Warlock. Peter 76 Woodhouse-Pitman. R 13
94
.
... .
58
... ...
... ...
....
...
...
... ... ... ...
15 22 22 22
22 31 39 39
46 63 69 69 70 70 70 70 70
79 87 94 95 95 95
95
85 1
33 68 ... 36 ... 43 ... 9 ... ... 29 ... 52 55 ... ... 14 ... ... 81 ... 41 91 ... 5 67 ... . 38 67 ... ... 20 ... ... 34 ... ... 25 ... ... 73 17 78 86 89 ... ... 83
1
PENTAGRAM An independent monthly bulletin for all who want good magic
O k t d h 1950
Constant reader certainly must have noticed fromthe tricks which find theirwayinto these pages, that we arenothotforanycard effect which involves a lot of dealing orcuttinginto many piles. Therefor,thefactthatthis effect of FrankTaylor’s is seeingprinthere is proof positive that we think it is a good trick. The effect is a knock out as a trial will show you and it is quite efficient since with a modicum of fumbling around you are able to find two freely chosencards, identify one of them and so place both of them that when two packets are dealt out the chosen cards appear simultaneously. The method uses one of the most primitive devicesknowntomagic,namely andto wit, a red-blackseparation of the deck. 26 blacksand 26 reds. Havingseparatedthecards this wayyounextmakeyour set up which is certainlynotcomplicated. It is, 20 reds ontop of the deck-26 blacks andthentheother six red cardsonthebottom.That’sall.The rest is in the handling. We will‘ assumeyouhaveadeckarranged like this. Placeitonthetable.Have spectator A cut off asmallpacket of about eight or ten cardsfromthetop of the deck. He is then of tocut off a similar packetfromthebottom the deck. He retains his hold onthe center packet of cards which is left. Youpointout that after these cuts there is no earthly way that you can know the identity of the top or bottom cardinthepacketheholds.(This is true.) He is tolook at thetopcard of thepacket in his hand and to remember it. Next he is allowed to cut his packet as often as he wants to and to hold on to it for the nonce. You turn to spectator B and ask him to pick up the packet that was cut off the bottom of the whole pack. He is to cut this packet as often as he wishes and then to remember the top card of
this packet. He is nottocut this packet now, (you don’t say this) but is to pick up packets off the group which was cut off the top of the deck anddrop themonthepacket in his hand.He canmakemany little packets of this groupand finally dropthe remainingcardsontop of his packet. You then point out that you have not touched his cards at any time whichis true and that you will not touch them at any time, which is also true and is one of the most baffling parts of the effect to an astute observer. You turn to spectator A andaskhimto think of his card. You take the packet from him and fan it in front of you asking for his mental aid as youdo so. Here comes theonlydirty work. Fanthepacket in front of you and find the first red card in the fan from the right hand side, (from the face of the deck) cut it to the face of the packet. Now countthenumber of red cards and remember the last red card in the group and its number.It is thechosencard, but continue your count on into the black cards till you count to twenty and cut there finishing cut. You remember two things. The identity of the chosen red cardand its number.Subtract its number in the fan fromtwenty andyour work is over. Let’s say the last red card, the ten of diamonds, was the eighthcard.Subtract this fromtwenty andremember twelve. That’snothard is it? Hand the pack back to spectator A and ask both spectators to deal cards simultaneously, one at a time, face down. Theydo so. Youcount withthemwhilethey deal and in ourexample yo11 stop them when they have dealt twelve cards. At twelveyou saystop so that their cards arethenextonesonthe packets. continued on
puge 7
2
Without any possible doubt, Stewart James’ Miraskill is one of the greatest self-working card effects to have appeared in print. Apart from its own value, it is the ideal prelude to “ Out of this World ”. I would hesitate to say this present version is an improvement on the original, but rather point out that from the point of view of a mentalist using the effect as one of pre-cognition, thespectatorsaregivenconcrete evidence of the wonder-worker’s ability. The original effect will be found on page 147 of the “ Jinx,”andas I intendtogivethe amended routine in entirety,thereaderunacquainted with the effect will not need the original reference. Fromthe pack that is to be used, four black cards have been abstracted and are placed in theperformer’sright-hand jacket or trousers pocket. A stiff postcard,a pencil anda nailwriter or its equivalentare also required.The postcard is placed in an inside pocket, the pencil in thebreastpocket, whilst the nail-writer is already adjusted or easily available for fixing. The mentalist commencesbyrequestingthe help of two spectators;theyareseated respectively left and right of the table that he is using. One is asked which colour he would like--‘ red ’ or ‘ black ’. Wewill presume that the answer is ‘ black ’. (Please don’t write and tell me what I alreadyknow,that ‘ black ’ is nota colour!). The other spectator is asked to shuffle the pack. The postcard ispicked up and the mentalist commences to write; as he does so he looks at theotherspectatorsaying “ I am writing something connected with the future. For the sake of reference I am calling you ‘ A ’, and (as he turns towardsthespectatorwith the pack) yousir, ‘ B ’ ”. The writingonthe postcard isnow completed and reads “ A will have is then fourcards less than B ”. Thecard placedwriting side down at theedge of the table.Takingthe shuffled pack,the mentalist tells the audience that he intends to deal face of thc two cards at time a from the pack. If two blackcards aretogethertheyare given to ‘ A ’, if two reds to ‘ B ’ and if a black and a red, they will beplacedaside. Thecards are then dealt face up in this manner and the two spectatorsarerequestedtocountthenumber each holds in his hand. Whilst this is being done the mentalist’s hand goes to his pocket and obtains possession of the four black cards which hepalms,facestowardsthepalm of thehand. to state Thecounting completed he asksthem c A ’ howmanycardsthey respectively hold. probably replies ‘ sixteen ’ whilst ‘ B ’ says “
”
‘twenty’ (whatever the actual numbers there will be,because of thefour missing black cards, a difference of four between the two hands). The numbersarerepeatedaloudby the mentalist. Andnow, sir (this to one of the assistants) will you please read what I have written on the card?”The spectator picks up the cardand reads aloud the prediction. “ That pieceof fore“
Flashback ! M stands for M a c k e n z i e M u n r o INTRODUCING
CHARACTER SKETCHES (Studimd from &oturl LW&-
IMPERSONATfNG THE
WIT AND HUMOUR OF TnE
Scottisb Highlander Delineattons of the Pawky Humour of the Celtio MounWneoro, ‘ a n c l Chlvacterlstic Stories told In the Vernacular a t the exprnw d’the Children of the Mist, dovetailing experlmente In
ScottishSorceryand
Sleight-of-Hand,
Highland Second-Sight, &c. &c. PRACTICALLV EXPOUNDING
The Munro DOCTORING of Humbug.
MAGICALSEANCES
ARRANGED.
Sleight-of-Hand and Mechanical Spectacular Effects, suitable for Platform or Drawing-Room. From 15 Minutes to TwoHours’ Duration. Performances in Morningor Evening Dress ; or lh full Dress Highland Costume, as preferred. Magical Entertainments for Chiidren a Speciality. Distributions of Magical Confectionery;orPrlzes,Presents, Bon-Bons,&C., produced In a Magical manner for Distribution,provided by arrangement.
Ma- Conscience! ISN’T IT UNCANNY I ? From the J.
B. Findlay Collection
3 casting,’’remarksthementalist, “ some of you mayattributeto luck. I shouldjustlike to try it once more.’’ As he finishes thissentencehis right-hand comes away from the pocket with the cards and gathering up the mixed heap from the table, the palmed cards are added. “Just shuffle the cards again, please.” The assistant takes the cards and shuffles them. ‘‘ Mix them well, sir.” The postcard is picked up and on the blank side the mentalist writes :-
This time A and B will hold an equal number of cards. I feelcertainthat they will have cards each.
The card is folded, writing side inwards, and rested on the edge of thetable. Thecardsare taken from the. spectator (or if the mentalist feels that there is no chance of any error, the spectatorcanbe allowedtodo thedealing)andthe
Dear Peter Warlock, I wasveryinterestedinHerbert Milton’s “ Predict0 ” in the August “ Pentagram ”, and thought you might like to hear of an attempt of mine to produce roughly the same effect, but with different handling. In 1948 I was struck,. bythe “ Face Up Prediction ” of James. I did not know the working (nor do I now!), but the idea of spreading a pack face up for the choice of two cards appealed to me and so I set to, to work a method. I t took me exactly a week to prepare a pack of cardsforthe effect. Ea& cardhasasmall pocketontheback,into which is slid afolded billetbearingthecard’sname.However,this pocket is made from the card itself,no extra pieces being added. I will explain how I did this later. Each of the billets had roughing fluid smearedonitsoutsidesurface, as showninthe illustration. The cards can be shuffled and fanned without showingthebillets. Needless tosay,the top card of the pack is an unprepared one. Now for the working :
cardsaredealtintothevariousheapsagain. As there are nocards missing, each will havethe nu,mber will not be same number, but this knownuntilallthecardsaredealt. The mentalistdoesn’tconcern himself withthecounting of thered or blackpairs, but only with the discardheap, so that if at theend of thedeal, there areamatter of fourteen mixed cards,he knows that both ‘ A ’ and ‘ B ’ haveamatter of 19 cards each. At this point, if it is necessary forhimtoobtain possessionof thenail-writer, he recaps, pointing out the fairness of the conditions. He picks up thefoldedcard and opening it looks a t it as thoughcheckingwhathe has written. He asksthespectatorstocounttheir cards, and as they commence, he walks across to a spectator adding in the blank and appropriate spacethe figures ‘ 19 ’. “ Justhold that a moment, sir. ” When the spectators have finished countingtheircards,thespectatorwith‘ thecard is askedtoreadaloudwhathas been eachspectator written. He does so, andthen holdingcards is requested to name how many cards he holds. Climax! Theaddition of theactualnumbermeans more than it would seem, and afterwards (because of a numberbeingmentioned in the firstprediction)the impression is that ineach case, thementalisthasaccuratelypredictedthe actual number of cards held by the spectators.
The pack is spread face up on the table. The performer writes predictions on two blank billets. Two spectatorseachslide outa card
4 fromthespread,andthepedonner lifts each ,card and places it on top of the respective billet, so that the edge of the card nearest the performer is flush with the edge of the billet. The illustrationshowsa side view of this position. (By theway,thereshouldbea cloth on the table). Afterrecountingwhat has beendonethe performer reaches over to the first card, grips the edge nearest himbetweentheright thumband first finger which grips the billet as well. The second finger presses firmly on the centre of the cardandthecard is drawnalongthetable towardshim(theperformer). Thus, the billet in the pocket, by virtue of the roughing fluid and pressure of thesecond finger, remainson the tableasthecard is slid away.Theother billet is taken away under cover of the card. Thus the switch is made. Of course, the billet now onthetable is opened and checkedwith face upcard,and is correct.The sameprocedure is repeatedwith the other card. As to my method for making a pocket in each card, it is as follows :
Half split a card.Thenmakea transverse slit in the centre of, the card-through the upper ‘‘ peeled ” portion only. Now glue the “peeled‘’ portion of the card back again, leaving the ‘‘ pocket portionunglued. It soundsa long job,buttheprocess becomes quite speedy with practice. All the best, Peter Moff at. ”
(3.ar8 face up k
With this novel pack performer amuses himself as well asthespectators,and,the wiseacres also enjoy themselves at their own expense.
REQUIREMENTS. An ordinary pack of cards, four Jokers, and fourextracards, 60 cards in all,withbackdesigns to match. PREPARATION. The face of each joker is prepared to resemble one of the suits, one card for each suit. The four odd cards may be blanks, ordinary pip-cards, or, for extra fun, they may be blanks suitably illustrated in colours. In thelay-outbelow,thefourJokersare denoted bythe letters joh., jos., jod.,joc.,and the four odd cards by the letters B, C , D, and E. THE LAY-OUT. 10h 10s 10d 1Oc
B 3d 7s Jh joh 4d Ac 8s Qh 5d 2c C 3c 7d Js jos 4c Ah 8d Qs 5c 2h D 3h 7c Jd jod 4h As 8c Qd 5h 2s E 3s 7h Jc joc 4s Ad 8h QC 5s 2d.
9 s 6d Kh 9d 6c Ks 9c 6h Kd
9h 6s KC
The four extra ” cards are trimmed narrower.Thosecards indicated byheavytype are trimmed at the corners as shown in the explanatory diagram below. ( N O T E - T h e trimming should be done with tlrr “
L . ( L Y ~ S ’faces
down).
Now, gather the cardsfrom left to right (faces up) starting with the 10-of-hearts, top row, and finish withthe king-of-clubs, bottomrow. When stacked the 10-of-hearts is the top card if pack is held faces down. The ‘‘ very ” low-down for the fourextra cards is as follows. No gathering is withoutits troublesome elements, the wise-men, and they are subdued as will be outlined further on. The pack of cards is introduced,then, after executing one of those convincingfalse shuffles andgivingthepack several genuinecuts, so as not to disturb the arrangement, he fans the cards, far faces to onlookers, to prove thattheyare from set-up, notwithstanding the horrible doubts circulating in the wise-acres’ hat supports.
5 The performer explains, in twisted terms, thatthepack is acomplete one, but, unlike other packs, it is dividedinto foursuitsand made up of 53 cards,just like otherpacks, except that there is no real difference, etc., etc. (By this timethehook is well baitedforthe " average " wise-aleck whonever fails to introduce himself at the right moment). Thespectatorsare invited toname any one of the 53 cards,andsureenough, up goes the expected bunch-of-bananas, because our pal wants the Joker. Theperformer is ready,and asks, " What suit, Sir?" (you call him sir, to respect his mother). Somewhat surprised, but undaunted, the imbecile calls forHeartsand looks a bit silly when the performer cheerfully spells it out in the conventional manner, and everyone is happy. A t this corner trim the fourtens.These control the spelling of the four jokers, of the samesuitasthe relative ten.
Secondly,hemay spell A-C-E-C-L-U-B-S, then T-H-R-E-E-C-L-U-B-S, then F-O-U-R, then F-I-V-E, then S-I-X, then E-I-G-H-TC-L-U-B-S, then N-I-N-E, then T-E-N, then J-A-C-K andlastly,K-I-N-G-C-L-U-B-S.* (Note : The cards marked with * are turned up ufter the last letter of the) word clubs). When spelling out cards after this fashionin mixedorder-impress on spectators thatany card may be spelled-out in any manner. Theotherthree suits are spelled-out in the sameway, forthevaluesonly;when spelling them in mixed order then proceed thusly : HEARTS. -a-c-e-h-e-a-r-t-s-,-t-w-o-.* -f-o-u-r-h-e-a-r-t-s-, -f-i-v-e-,-s-i-x-. -s-e-v-e-n-,-e-i-g-h-t-. -j-a-c-k-h-e-a-r-t-s-, -q-u-e-e-n-, -k-i-n-g-.*
PACK FACE DOWN
Atthiscorner,trim the four jokers. These govern the spelling of thevalues only.
Top Card 10-of-hearts
A t this corner trim. 10h to spell Clubs Hearts K h ,, ,, Ks ,, ,, Spades 9c ,, ,, Diamonds
Next,aLadyor Gentleman, is askedto name either of thefour suits, whereupon the performer proceeds to spell out, in proper sequence,the 13 cards of the suit concerned, from ace to king, values only. Once again, another peace-loving onlooker is askedtonameasuit, and this time, performer, with one eye on his friend, puzzles him further, by spelling-out some cards by values only, while othersare spelled-out values andsuits,inprogressive number order, but not in proper number sequence, for example : Suposing ' ' clubs " is thesuit called for. The performer may do either of two things : Firstly,hemay spell A-C-E, then T-W-0,* then T-H-R-E-E,* and so on to the king.
This corner is without trimming and serves to keep you on the right path.
SPADES. (Same asfor hearts):. DIAMONDS. -a-c-e-d-i-a-m-o-n-d-s-, -t-w-o-,* -t-h-r-e+-.* -s-i-x-d-i-a-m-o-n-d-s-, -s-e-v-e-n-. -t-e-n-d-i-a-m-o-n-d-s-. -j-a-c-k-, -q-u-e-e-n-,k-i-n-g-.* In between each spell, approach some " troublesome ' ' person and ask him to ' ' cut ' ' the pack and look at his favourite card. Holdthepacklengthwise across thehand, your fingers and thumb guarding the ends of the pack, while the cut is made;this forces himto cutaboveone of theunroyalfamily cards. He must then take the top card, of the lower portion, Continued on page 7
6
Thisyear’sFestival of Magic wasnotonly an artistic success, but drew larger audiences than any of itspredecessors.Towardstheend of the week, business had to be turned away. Promptly at 7-15 theOrchestraplayed a shortintroduction,after which thecurtain rose ontheProloguedevised and presented by John Young. In this he was assisted by Leslye Nelson and Gordon Pearce. represented John the Joker and the close of his lines announced the first act, Frank Fewings and Barbara, who in the space of eight minutes presented a lovely routining of Silks Supreme, Coloured Plumes and Silks and Liquids. Away toa fine round of applause, VictorPeacockcamenextwith “ La T&e Mysterieuse ; thoughquite well presented,this version of Pepper’s “ Sphinx ”, neverachieved the eeriness that onehopedfor. The one and onlyArthur Dowler followed andbroughtthe firstwave of laughter.Excellentfooling as all magiciansknow. A changeintempo andPaula Bairdwitha most artisticpresentation of silks, cardsandbilliardballs.To finish thefirst half of theprogrammecameCingaleewithhisfastmovingact.Thiswasasplendidcapper.After an interval, the curtains went up on the Stavordale Puppets, an outstanding act that drew great applause.LenGazekawithhis Magic Carpet, brought a style all his own into the presentation of old favourites such as the card in balloon and magiccakemaking.Thisprovedapopularact and it was followed by Mystica,freshfromhis
recenttriump at theInternational Congress at Barcelona.Here was anact splendidinconception and presentation. Producing walking sticksthroughouttheact, Mystica started some cigarette and silk magic and finished with some card juggling B Valton. la His demeanour throughout was that of the happy conjurer and he charmedboththeconjurersandthelaypublic. A really great act, and not an easy one to follow. It was as well, therefore, that it fell to the lot of one of ourfinerartists,noneother than Claude Chandler, who presented his well-known act, “On the Bust ”. To finish the show came Reg. Salmon with his well-known illusion act . His final production, culminating in fluorescent effects, brought forth a great response from a well-satisfied audience. The whole show ranverysmoothly, and unlike the previous Festival, the running order of the acts remained constant throughout the week. Gil Leaney’sstagemanagement was thorough, as we who assisted well know,andthetenacts (two running some seventeen minutes) ran (apart fromtheopening night) inside two and ahalfhours. We mustnotforgettomention the work of DianeFoster,who,aidedbythe vocal efforts of Francis White and Peter Newcomhe, displayedthenumber of theacts, normust we omitthe well-merited presentation of a Magic CircleWand toPaulaBaird on the closingnight.
From our Singapore friend, Tan Hock Chuan, comesamost useful angleon George Blake’s ‘ 9ngleton ’ idea that appeared in ‘ Magic Go Round ’, December, 1948. (For the benefit of readers not having that particular issue,this is whathappens,anddespiteeverything, happens it every time! The pack is genuinely shuffled and dealt into four heaps;in thecourse of thisdealing,there is amisdeal so that one heap contains twelve cards,whilst that next to it contains fourteen. The heaps are then gathered upandfourhandsdealtagain,this time,however,withoutamisdeal. The result, as the reader will find is that one hand contains a ‘ singleton ’ card!). To return to our ‘muttons’! Tan HockChuan goes on tosaythathehas made use of theidea asa basis of afortune telling effect. Instead of anapparentor intentional misdeal, the cards are dealt to four :imaginaryplayers,thus
A X B C Duringthedealonecard is dealtinto the middle at point “ X ”. Thecardsaregathered up and dealt again. At the finish of the deal the fortune tellermentions that inoneheapthere will be a ‘ singleton ’ card with an interpretation for the person having his fortune told. For this interpretation the reader is referred to any book dealingwiththe meaning of cards and Albright’s Forbidden
”
D
Wisdom.
After we publishedStanley Collin’s “ Book of One Word” we received a letter from Stewart James, reminding us that the ideas given by Mr. Collins could also be applied to T. Page Wright’s ‘‘ The SupremeTest ” . The use of this book would give the words, “.Rows,” “Roes”
7 and Rose ” instead of.“One”and“Won,”and wouldcertainlybe helpful toaperformer wishingtoperformthe effecttwice beforethesame audience. Lookingthrough an oldcatalogue of De Vere’stheother day, we were struckby one effect that was prettyinthe extreme. It was called The MysteriousCardHouse ” and was described as follows :A H o m e i s built with seven playing cards o n “
t h e left side of thetableandapapercover placedoverit. A secondpapercoverisshown on the right side of the table, empty and placed Atcommand,thecardhousechanges from left side to t he m p tcyo v eor tnhrei g h tV. e r y effectiveand qztite incomprehensibleconsidering how very fragile the construction is. lOl6, Post Pricecompletewithinstructions frek 11I 10. As the cost of postage was a matter of 1/4,
would it seem that the purchaser certainly received quite a deal for his money. In the reviewing of our friend, Wilfrid Johnson’s Card Conjuring, weekly a contemporary,has producedthefollowing ‘ gem ’ : ‘‘ If he is akeenflaw-hunter he will regret the mis-spelling of dear old Hoffman’sname ”. We are certainly not flaw-hunters, but being interested in the classics of conjuringliterature, we regret the mis-spelling of Hoffmann. We canonlyassumethatthe editorial staff have a rather muddledbackgroundandareconfusing Professor Hoffmann with Charlie (Think a Drink)Hoffman.
Franklin V. Taylor’t Double Stop-cont.
from puge 1
Youdon’tknowthename of spectatorB’s card but you gloss over this and point out that there is no way that you could have known how far down his card was. Have himnameitand ask him to turn over the card after the twelfth. ‘ ‘ Hola,” you say, “ the ace of hearts!” Andnow you turntospectator A. I have readyourmind!Yourcard is theten of diamonds!” He turns it over and there is his card. Handled this way, you will find that people forgetthat you didn’t name bothcardsbefore they were turned over, so that the effect is completely impossiblewhen theytrytoback-track. The fact that you know where to stop spectator A makes it seem as if you must know the identity of his .card too. It wouldbe finicking we think,toseparate the deck into black odds and red evens and red oddsandblackevensalthough we suppose a scrupulous worker might do so in order to make the effect that much harder to reconstruct. InDr. Taylor’shandlingyou will realize
We should like totake this opportunity of calling attention to, the “ Sphinx ” Jubilee Book whichwill be issued in 1951. This is in addition to theAnniversary issue. We aresurethatthe majority of our readers have in their possession, the issue that marked forty years; it was a production thathas neverbeenequalled byany magazine, the photographs alone being well worth four or five times the amount of the magazine. Those who are not regular subscribers will find the name of the London Agent on page 8 . The Magic Circle will soon be moving to new quarters. It is an amazing thing, but during the various moves, larger accommodation has always been found,andyet,therealwaysseemstobe less room for the photographs and museum pieces. Wehaveheardfrom Leslie May thanRon Baillie (whoasaguest of theFrenchGovernment, is now painting merrily away in Morocco): has finished hispart of the Leslie May-Ron Baillie issue. We shall lookforwardto seeing this, forhere is asplendidpartnership of two fine mentalists. When Peter Moffat gets togetherwiththem,youhaveone of the finest psychic coteries in this country. We were sorry tosay good-bye (orrather au revoir ’) to Ralph Read and Elmer Eckam at the ScalaTheatreonThursdaylast.We feel certain thattheyandthe rest of the American party really did enjoy themselves during their too short visit.
when you have finished the trick, a few cuts will set up the deck for ‘‘ Out of This World ” . . . as good an effect as any on which to end a card routine since we know of none that can follow it without its being anti-climax. THE ABOVE PHOENIX BY
EFFECT REPRODUCED IS KIND PERMISSION OF PUBLISHER. BRUCE ELLIOTT.
FROM ITS EDITOR
Percy James’ Hocus Pocus Pack-cont.
THE AND
from page 5
and show it to his lady companion. ‘ This cures Aleck of his terrible malady, and, who cured him? PercyJames, Greylingstad, South Africa. +;-
*
*
The pack is ‘ riffled at the relative corner in order to bring the controlling card to the top, ”
by a single cut. The controlling cards are shown illustration.
in the
I
8 I
THE MAGIC EVENT OF 1951 !
NOT
The March 1951 issue of The Sphinx will be its Anniversary issue-commemorating 50 years of service to magic and magicians. Suitabl t o mark thisgreatevent,TheSphinxispublishing a Golden fubilee bookin addition t o agreatAnniversary issue. Thebook will retail f o r $5.00, but will beavailable t o subscribers(onourbooks December 31, 1950) a t a special price of only $1.00. Make certain we receive yoursubscription prior totheend of 1950 so youcantakeadvantage of thisgreat anniversary offer. Subscription 36 shillingsperyear
Bybuying
ENGLAND
A New Idea In MentalismChandu’s PSYCHOANALYSIS
II
Postage 3d. MAGIC WAND PUBLISHING CO.,
MONASTERY GARDENS,
11,
E N F E L D , MIDDLESEX
“ROUGH AND SMOOTHPOSSIBILITIES By Tan Hock Chuan
i
“
Price 1O/-
I THE
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the sub-
ject. It is recommended for advanced magicians. Price S/- Postage 3d.
ARCAS Publications SYDENHAM 404/408 Croydon
ROAD
.
PETER
”
the completestock of the John Brown Cook-Arthur Buckley
‘‘ GEMS
An entirely new idea in the presentation of Mental Magic, andanidea,,that is W fasciEating t o an audiencethattheyall want t o be Psychoanalysed Spectators think of objec& (positively n o force), and the performer psychoanalyses them and so discovers and names the objects being thoughtof. comes The routine, which is logical and convincing, t o you in neat a printed Ibooklet, complete with introductory lectune, description of the effect, complete instructions on how andwhat questions to ask and how to analysethem so that the word picture of the objectbeing thought of is built uptotheastonishing climax. Also instructions onhow t o preparethe few simplepropsrequired, andanimprompturoutine. SUITABLE FOR STAGE, PLATFORM OR INTIMATE SHOWS. CAN BE ONE EFFECT IN A ROUTINE-OR A COMPLETE ACT
WORK
By a MAGICIAN who knows yourrequirements
0
0
BROCHURES, LETTERHEADS PRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks madeup. Advertising ideas, Copywriting, Line drawings.
GeorgeKaplan’smatchlessbook of up-to-the-minute routineshould be inyourlibrary,andthefeatsin yourprogramme.SuperblyproducedintheFleming Magic Classic format, :52 large pages, 316 Frank Rigney illustrations, a t ourshare the loss ” price of (not $7.50, 53/-) only 451-. Please remit to Mr. Robertson Keene, c / o Riverside, ,VictoriaRoad,Yarmouth, Isle of Wight,and receive the booksdirectfromtheU.S.
II I
FLEMING BOOK COMPANY, 728, MADISON AVENUE, YORK, PENNA.,
WARLOCK’S
PENTAGR.A ispublished on the 24th of erchmonthand can be obtaineddirect from thepublishersfor 1 / 1 per singlecopy. AnnualSubscription I t / post free. PUBLISHED BY:
The Magic Wand Publishing Co.,. 11, Monastery Gardens, Enfield, Middlesex. Manuscripts for publication md books for review should be sent t o the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, surrey.
JACK LAMONTE 28, WARWICK RD., IDNDON, N18 Telephone : TOT7742
JACK HUGHES will be pleased to send you details of his very latesteffects andallhis old favourites in return for stamped a addressed envelope (faolscap or octavo size please). WRITE NOW, TO
JACK HUGHES 2,
OF MENTAL MAGIC”
THE FINE ART OF MAGIC ”
I
ART
($6.00) BUT 2O/- ($2.80)
we are able t o offer this book (heretofore sold only a t the published price of $6.00) a t the bargain price of 21 ($2.80). Here are 32 up-to-date mental feats of various typesbytwoexperts, 132 beautifullyprintedpages, handsomelyboundingold-stampedfabrikoid.Unfortunately, this “ remainder ” is not large, and we thereforesuggestpromptpurchase.
THE SPHINX c/o WILFRID JONSON, London Agent, 45, K I N G S m A D RD.,TULSE HILL,LONDON,S.W.2,
43/-
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wmta LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
U.S.A.
The Magic Circle President : His Grace theDuke of Somemet, D.S.O.. O.B.E.,J.P., M.I.M.C. Vice-President: D o u g h Craggs, Esq., M.I.M.C. Clubroom andLibrary
and Museum :
St. Ermin’sHotel, CaxtonStreet, S.W.l. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon. Secretary :
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
Magic Wand Publications The M& Wand Quarterly Fer copy 3/ 8 P.P. AnnualsubsEription 14/:6. TheWizard, 36 pagesmonthly. Per cor)Y 211 p P 6 month 12/6 Year 24jJohn ‘ Ramsay’s Cips &* Balls (Fafeili) 2216 Where HoudiniWas Wrong (Sardna) W 6 Convincing Coin Magic (Yarelli) . . 17/10 Mastered Amazement (Koran & Lamonte) . . 10/3 Bohleno’s Mysteries (Bohlen) 1013 Thanks To Leipzig (Farelli) 1013 George Armstrong’s Premonition 1013 EntertainingWithHypnotism(Dexter) 10/3 & Mass Challenge Instant Hypnotism .. .. . . 211Hypnotism Strictly Magic (Eddik Joseph) . . 513 Stooging Around (guthard) 5/3 26 Living & Dead Tests (Gakdtt) ’.‘. 513 Jamesosophy (Stewart James) .. . . 513 YearBook 48/49 (few only) 513 StuntsWithStage Money (Lamonte) * . . 513 Tricks of the Trade (Amstrong) . . 217 From the publishus THE MAGIC WAND PUBLISHING CO., 1, Monastery Gardens. Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Publishedbythe
pmprietcu The Magic Wand Publishing Company, 11, Monastery Cudens, Enfield,Middlesex, Walker 8nd SW (Printam) Ltd.. WellCroft. Shipley, Yorkshire.
and p d t d by H-bert
PENTAGRAM An independent monthly bulletin for all who want good magic
V ? .5 N&. 2
N
This is an effect that will be found to be most effective when performing before young children, and though there is plenty for the audience to see,’ there is little for the conjurer to carry. Effect The conjurer commences byremovingfrom whit appears to be a large windowed envelope, a slateanda piece of whitechalk;hetellshis audience that it is not ordinary white chalk, but it has a special magic allowing it to write any colour that hechooses.Takingtheslateheaskshis audience to nametheirfavouritecolours and as these are named,hewritesthemontheslate. When four have been written he turns the slatearound to show that hehaswrittenthe names of thecolours, buttheyareall in white chalk. His audience not being satisfied, he accordinglycausesthenames of thecolours to appear in theirappropriatecolours.Theslate is placed down and he takes from a table a sketching portfolio. Unfastening the tapes, he opens the portfolio out and removes a sheet of black paper which after being shown on both sides is replaced in theportfolio,amember of theaudiencethen beingasked to re-tiethetapesandtakecare of theportfolio. The slatewiththecolourednames is replaced inside theenvelope,andapacket of largecardsbearingpictures of flowersis shown and in afairmanner one card is selected.After a suitable story has been expounded regarding the magic powers of the chalk, the slate is removed andit is seen that some of thewordshave vanished; the envelope is also shown to be empty. The little girl holding the portfolio is told to open so and finds itand remove thepaper.Shedoes thatthe chalkshave re-assembled no.t in word form, but in such a way that the selected flower pattern is represented.
.
d 1950
The Requirements. 1. One slate with two perfect fitting flaps. 2. Oneenvelopetoholdtheslate;this is manufactured out of white paper and should look like an envelope with a window, i.e., the type of commercial envelope in which the contents carry theaddress.Instead of havingaflapthatfolds over, as in the case of a normalenvelope, the shape of this flap is simulated by appropriate lines drawn in Indian ink. On the front of the envelope is painted large a stamp for alternatively an ordinarystampcanbestuck on),an imitation postmarkthenbeingdrawnoverit. The final effect should be that when it comes to displaying theenvelope,itappears thatthe envelopehas been sent by post. The top edge of the envelope should not be as though they were cut, but rather as though the envelope has been torn open. 3. Some fifteen cards, each carrying the picture of a flower. This need notentail any in drawing on the reader’s .part, for the packets which seeds and bulbs are sold and which invariably carry a coloured picture of a flower may be cut out and stuck one on each card. The size of the cards should be the same as the slate flap. 4. A piece of white chalk. 5. The Portfolio. This needs special construction and requirements and I will come to all these in a moment. 6. Two pieces of black pastel paper slightly smaller in size than the portfolio. 7. A largeopaquehandkerchief. Preparation. One flap is taken and on one side is affixed a piece of paper corresponding to the paper used for theconstruction of theenvelope. Theother flap has one side covered with paper corresponding to the backs of the picture cards.
10 The .portfolio as I already mentioned requires special construction. It is responsible for the change of one piece of black paper for the other, and in such a way that the portfolio can be left with a member of the audience. The illustrations should help the reader. First of allthereader will require some sheets of thick cardboard. As this is for a trick, I don’t think that there is any need to make the portfolioverymuchlarger than tenby twelve inches (this, of course, is not in any way comparable with a normal sketching portfolio, but should the reader wish there is nothing to stop him making it larger). In consequence, supposing that this size is chosen, four sheets of the cardboard cut to this size will be needed. Join two of the pieces on thelongside by means of alinenhinge.This hinge, unlike normal a portfolio allows for practically no spacingbetweenthecovers when theyare closed. The coversthenhaveanother sheet of cardboard glued to each. Now at points A. B. C and D with the aid of a sharp knife make a cutout that will accommodate an eclipse magnet.
for the trick we have finished, and the reader is ready to pr5pare for actual performance. First of all suppose we decide that the flower to be used is a daffodil. A replica of the picture on the card is drawn on one of the sheets of black paper; the maincoloursare of course green and yellow. On theslateare now writtenthe following words,oneunderneaththeother in theirappropriatecolours(olderreaders will recognise this part of the effect as Sigmund Krumgold’s “Colour Blindness,” JINX, page 167), red,blue, yellow, green, andthe flap which is backedwithpaper similar to thebacks of the “ flower ” cards is placed over it so that the slate appears blank. On the other flap the words red and blue are written in their appropriate colours, spaces being left for yellow and green so that when the flap is shown at later stage it would appear that these colours continued on page 1 1
Flashback ! N
stands for Newrnann
Thc Evcnt oflhc Year! ME ONE. ONLY M D ORldlllAL
\ If the reader is careful in cutting he will find that the magnets, when placed in the cut-out, will be held tightly. After affixing a piece of black tape to the edge of each cover the outside and inside of thecovers are coveredwithpaper. Thepaper chosen for the inside should be patterned, whilst that ontheoutsideshouldbeplain. A piece of thin but not top pliable cardboard, measuring ten by twelve, is takenandit is placedinsidethe portfolio. At thepoints,which, when theportfolio is closed A, B, C and D would be opposite, four safetyrazorbladesareplaced andkeptin position by means of cellotape(Scotch tape). I suggest razor blades as they are always handy ; four pieces of thin tinned iron better. far are This piece of card is now covered on each side with similar a paper to that used on the inside of the portfolio. If, whenfinished,this piece of card is placed inside the portfolio, it will adhere to that part of the cover which holds the magnets. If the pattern of the paper has been chosen, it will not, without a very close examination be possible to notice that two hinged theportfolio is anythingmorethan covers. As far as the necessary mechanism needed
IMPORTANT NOTICE-PROF. NEWMANN WHAT LfADING WESTERN PAPERS SAY
ha3 been THEMINNEAPOLIS JOURNAL m d othcigreatdailiesstyle him “THE DEAK OF MENTALISTS.” Critics acclaim his performance as tllc most wonderful of the kigd ever seen anywhere. 5lanagers of rity theaters hail him as the gE.r.test Mentalist the world has ever known. After a long absence as a headline attrnction in dt? tbeaters, at the.largest salary ever paid a similar attraction, Big City Fcaturer he is returning tofamiliarterritory.His nre all included in the present performance, mnkrng this thc most Varied, Sensational, and truly Entertaining show of his 10% career. In presenting THE GREAT NEWYANN SHOW the local manager feels that he i. o f f e r i q you u n u s u ~ l l yhiplt class, educational amusement-a Quality Attraction th;:t deserves liberal patronage by alL lovers of clean-cut,up-todate, worth-while entertainment in this community. before the publicsince 1898.
AR Attraction for tbc EntiM Familv A Wormancc You Cannot Affordto Miss An Entwtalnmnt You Will NW Foor4E1
b o n d Al Oucstioa
America's GHaWt Woada Show NEW X E U E S 4 E W COMEDIES--.HEW FEATURES I
Chan&of P W r a m Niahtlv AN ATTRACTION O F QUALITY
TONIGI TI
(SEE THE OTHER SIDE)
From the J. B. Findluy Collection
I
have vanished, leaving the unwanted ones behind. This flap, paper-covered side showing through the window, isnow placed inside the envelope. Also into the envelope is slipped, in front of the flap, the slate and flap, the latter nearest the window side. After dropping the piece of chalk inside the envelope, window side up, is placed on the table. The picture cards with thedaffodil at seventh position are placed on a chair. The portfolio is opened, thethinflapwithdrawnandthe sheet of paper carryingthe picture placeddrawing side upon thecovernothavingthemagnets. The sheet of thincardboard is placedon top,andonthis is placed the blank sheet; it is placed so that it overlaps the edge of the cover. The magnet ” cover is foldedover andthetapes tied loosely into a bow. The portfolio is placed on a chair or another table.Theopaque handkerchief can be in the performer’s pocket. “
Presentation. The envelope is introduced and witha suitable story, the slate is withdrawn, and placed flap side up on the table; the chalkis also removed and the envelope without any comment placed against theback of thechaironwhichthe flower ” cards rest. Taking the slate and keeping the flap side towards himself, the conjurer asks for colours and commences to write--“ red, blue, yellow and green ”-in response to his request to the audience. The slate is turnedroundshowingthe colours written in whitechalk. As his audience seem to think little of his magic chalk, the slate is placed momentarily, flap side down, on top of the “ flower ” cards, whilst the conjurer picks up the envelope. The slate is lifted, leavingthe flap on top of the cards, and replaced inside the envelope. Laterit is withdrawn,showing the colours in ‘‘ colour. Attention 1s now drawn to the portfolio; if it has rested on a chair it is taken over, to thetableandthetapesuntied.Becapse of the slight overlap of the blank paper it is easy to lift the *‘magnet ” cover without attracting the flap. ‘ l
”
Effect. The Operator asks for the assistance of two spectators in order to undertake a mental journey the Underground on Railway of London. Spectator“A”beingseatedtothe left of the operator is asked to think of any place in London that has an Underground Station and any place of interest nearit.He is askedto write itona piece of paper which will eventually be passed to spectator B. ” While this is being carried out, B, seated to the right of the operator, is shown a glass full of pieces of paper on which are typed thename of oneundergroundstationoneach. “
”
To achieve this the fingers slide in between the paper and the cover. The sheet once removed is handed to a little girl who is asked to assist; she is requested to look a t both sides and place it back in the portfolio, close the cover and tie the tapes. Once the cover is closed the flap will be attracted and concealtheblank sheet, leavingthe picture sheet free. The pack of cards is picked up and the conjurer leafs through them showing the pictures totheaudience; in doing this he takes care of two things. The first is that he does not show the face of the flap ontop,and two, thatashe approaches the seventh card, he keeps theposition with his little finger, and cuts thepack atthat point thus bringingthe daffodil picture to the top.Holdingthepacketheremovestheopaque handkerchieffrom his pocket and in placing it overthe cards, turnsthelatterover(this is the usual “ under the handkerchief ” force) . A member of the audience is asked,to cut the cards, and in removingthecards he holdsfromunderthe handkerchief, they are again reversed, so that the daffodil card is on top. A member of the audience is asked to remove it, look at it and think of .the colours on it. The remaining cards and the handkerchief are taken back. The final stage is nearly reached.Taking the slate, theconjurer replaces it in theenvelopeoncemore written side away from window. A few words of Hocus Pocus, and the slate is removed together with the flap. The writing side is not yet exposed, and, in fact, the flap may want positioning. The envelope is accidentally ( ? ) dropped on the floor to prove its emptiness. Thespectator withthecard is asked tonamethe flower. Daffodil, ” remarks the conjurer, that would be mainly green and yellow. Heturnsthe slate round. You see what has (happened, the green and yellow chalk have disappeared.” The slate is placed down’and the little girl is askedtoopenthe portfolio. She does so and finds the sheet now has a drawing of the selected flower. “
”
“
These are checkedas such, byahandful being opened and read out. One of these is chosen from the glass, and is used as the departure station. The method of chance isusedin order to dispel any idea of collusion betweenthe spectators andthe operator. So that both spectators areaware of the departure station and arrival station and the place of interest to which they are going to visit, the two pieces of paper are exchanged and read. Theoperator shows a large scale map of the a Underground Railway system and taking window ” departure sign asks the spectators to think of‘ thedeparturestation.Theirthoughts
12 direct him to place it on the correct station. Then taking an arrival “window ” sign he asks them to think of theirjourneywithchanges, andthe operator is so controlled that he traces the journey
window sign over the and places the arrival correct arrival station. They are then both asked tothink why theywentto that Stationandthe operator reads their thoughts and explains the reason for the journey. “
”
Method. The method is simple. The departure station is forced, and the information of ,the arrival station andthepurpose of thejourney is obtained by means of a clip board. The forcing of the name is achieved by the changing glass principle explained in Peter Warlock’s (‘ Patterns for*Psychics.” The clipboard I use is ahome-madeone,
which is quite simple to make.Takea piece of thick cardboard 6in. by 4in. and lin. from the top cut out a rectangle of 3in. by 2in. and hinge this at the lower long side by a piece of paper. On the front, that is opposite to the hinge, paste by the edges a piece of good carbon paper, carbon side down.Overthispastea piece of artificial wood paper, place in press theand allow to dry. Trim the edges . On back, the similar paste a piece of artiiicial wood paper, press and allow to dry. When dry trim the edges, and with a razor blade neatly cut around the three sic!esof the hinged rectangle. The board will take a piece of paper 3Qin. by 2Qin. if a small bulldog clip is placed on the top edge and will also hold the trap door at the back. To obtainacarboncopy of thearrivalstationand place being visited, place a piece of paper on the trap door and close with the aid of the clip. When theboard is returned,the clip needs only to be moved near the top edge and the trap door will open and the piece of paper can be palmed. The presentation is the main thing. Also required is alarge scale map of the centre of the Underground ,Railway system and I use one enlargedfour times fromthemaps that are issued for the pocket.
E. U. BeM4X’d .
Effect The performerobtainsavolunteerfromthe audience and explains that he would like to attempt a demonstration of how it is possible for a person to directanotherperson’ssubconscious mind. He shows two identicalsets of cards,six in eachset and eachhavinga different design drawn on it.The volunteer is given oneset, while the performer retains the other and proceeds to askhimashort series of questions,such as might be used by a psychologist. Whenthesehave been answeredtheperformer takes one of his own set of cards, keeping the design hidden and wraps it in a piece of paper, which is actually an envelope which has been opened out to make a folder. Now tne volunteer mixes his cards and lays them out face down so that he does not know the order of the designs. He isgiven an absolutelyfreechoice of any one of the cards, and is asked to hold it against his body. At thesametime the performeropens outthe folder and removes the card from it. When compared they are identical. Required.
( 1 ) . Threeidenticalsets of cards.One of a filing these is prepared like the index cards in cabinet with small tabs projecting. The performer knows thesexards according to a numerical order
andthetabson Nos. 3 and 4 have a piece of match-stick glued onthebacktoidentifythem by touch. On No. 3 the stick is vertical, on No. 4 it is horizontal.Thespectator’scards are discreetly marked on the back so that the design on each is known.
(2). TheFolder.This is made of strong brown paper, and is similar to a business envelope opened out. A referencetodiagram will savea greatdeal of involvedexplanation. Briefly the folder is in five parts, back, two sides (each the same size as the back), two flaps, top and bottom. One side piece is double to receive and conceal the card inserted by the performer. The back is also doubleandcontainstheindexcardsintheprearranged order.
13 Routine. This is essentially thesameasgiven in the effect. The build up and questionsasked a t the beginning are all intended to create the impression that the performer is, as it were, ‘summing-up the spectator’smind,andpreparing to influence it. The folder is closed up with the top and bottom flaps outside, andthecard selected bythe performer is inserted in the double section of one of the side flaps. This double flap should be folded outside the single one. The folder is laid aside while thespectatormakes his choice. The performer knows immediately which design has been chosen. He opens thetop flap of thefolder, reachesinto the double section a t theback, and aided by the identifications on Nos. 3 and 4 withdrawsthe correct design. His finger andthumb hide the tab of course.
From a shuffled packthetopcard is taken and two small squares of stamp paper are fixed to its backone at each end.On one of these an obliging spectator writes his initials as a safeguardagainstanysubsequent substitution : the other piece of paper is left blank and unsullied. The initialled card is put into an examined envelope and sealed. It is placed insome prominent position, or given to aspectator to hold. A card isnow freely ( ? ) selected by the insertion of a knife in thepack,orbyanyother force ” method, and on withdrawing the initialled card from the envelope the name of the chosenone is found written in letters of blood (redink !) onthesquare of gummed paper which was formerly blank. So much for the effect, now for the preparation. The only requirements are two narrow elastic bands,threesmallsquares of gummed paper,anda pack of fifty-two cardsplusthe Joker.Cut this latter inhalf and retain one of the pieces (the other half can be thrown away). Take any other card and on its buck at one end on it write in red fastenthestamppaper,and ink thename of thecardthatyoulaterintend to force. Thispreparedcard is placedontop of the packwith the half Jokerover it so as tocover the writing. The packcan now easily be false-shuffled, retaining thecardandfakeat thetop.Havingdone this the performersays he will place two elastic bands around the pack asa proof thatthey will notbetamperedwith after the shuffle. The bands are adjusted in such a way that one of them just covers the cut edge of the half card,andtheother is puta little further up so holding it firmly againstthe to be pack : so arrangedthetopcardappears .quite inno.cent forthe redink label is covered “
Notes. There is no need to identify all the cards as Nos. 3 and 4 enable the others to be located. The excusefor the folder is thatit prevents the spectator from being consciously influenced by the performer’s choice. On thematter of construction : many ideas were tried outbeforethesimple construction of the folder was arrived at. One of these was the idea of havingthe third set of cards in a kind of card-from-pocket index inside the folder, but it proved too bulky, and necessitated a deep dive into the folder to producethebottom one. The reader of coursemay hit upon an improvement-but do not force the spectator’s choice. A force shouldneverbeemployed if there is anotherwayout. ”
‘ I
and out of sight. The pack can be safely handed to an obliging member of the audience with the request that he affixes the two stamp paper labels one at eachend of thetopcard (N.B.-Take care that he fastens the upper one in the same relative position as the red ink label which is underneath). Having done so he initials thelower label, leaving the other(which is on the half Joker)blank.Attentionshould now be drawn -to the fact that there is absolutely no other writing on ;he card apart from the spectator’s initials. The pack is turned over and the initialled cardpulledawayfrom the elastic bands leaving the fake half behind. Thisundoubtedly is yourcard ? ” enquires theperformershowing it5 back to the person whosigned it : he sees his initials and is satisfied, but he little realises that there is any writing at the other end for this is hidden by the conjurer’s cunning fingers. The card is placed in the envelope and given to the assistant to hold. In the meanwhilethe left hand which has retained the pack,still encircled bythe elastic, has palmed off the half cardandthepack is thrown carelessly onthe table, and the left hand goes to a pocket on that side in search df a knife leaving !he fake behind. All that remains is to force the necessary card by means of the knife and later find its name printed on the initialled card in the in ‘ psychic ink envelope. The knife force referred to iswell known, butforthesake of completenesshadbetterbe described. Runthroughthepack, faces towardsthe audience: ostensibly to show thatthecardsare all differentbut really to spot the force card : in squaring up the little finger is kept above the ‘ I
”
14 latter and it can then be brought to the top by the pass orbymerelycuttingthecards. The pack is again cut (or the “pass ” made) leaving the force cardabout sixteen fromthe top.The little finger of the left hand is kept upon it, and the knife is handedoutwiththerequestto insertitanywhere in themiddle of the pack the card beneath it to be the chosen one. This done the knife is gripped between the first and middle
fingers of the right hand and it will then be found easy to draw off only the packet of cards that is above the left hand little finger. The sleight is indetectable and, from the audience point of view, the pack has been quite fairly separated at the pointwhere the knife entered, whereas, in reality,ithasbeen slipped to the card thathas to be forced.
Effects which do not call for a high degree of manipulative skill arefrequentlypassedoveras unworthy of consideration bythepundits.This item belongs to the class in which the final result is entirely surprise, and the means of attaining it is easily possible under every circumstance. : your sister, wife, or Arrangewithanyone aunt for that matter, that they will always remember one card if called upon to do so, suppose we saythatthecardpermanentlyto be so remembered is the six of diamonds, their task will be : To pick out of any pack handed to them the card immediatelyabovethe six of diamonds.There are no other preparations. The success of the trick depends almost entirelyonthemethod of putting it over. This is how: At any time when handling the pack, contrivetomanoeuvrethe six of diamondstothe top. Ask someone to think of a card, quite freely; the chances of their thinking of the diamond card is remote, if they do, you can work a miracle, so there is no need to worry. Having thought of the card, you proceed: “I
am going to fan the pack in front of you, will you please pick out the card you have committed to memory, and gaze at it intently for ten seconds. Nowwill you please replace yourcard in the pack.” It is here that the only piece of manipulation takes place, and this is very easy indeed. I t is The Clean Slip ’’ described in Part Two of Farreli’s Card Magic ” used quite often as a force, but in this instance you use it to bring the six of diamonds on top of the lower half, which youmove slightly forward forthe reception of the “ thought of card. The top half is replaced, and the pack handed to theperson assisting in the effect, with the request thatthey will cut a number of times. When satisfied you ask them to pass the pack to your colleague, who up to this stage may not ’even know that you are doing a card trick, she may actually be in another room, but onbeingaskedto pick out the thought of card,cando so at once, remembering thatthe card thought of must be that which rests immediately above the SIX OF DIAMONDS.
Thelast issue saw two bad pieces of proof misreading ; they were to befoundinthe spelling of thenames of ourfriendsStanley Collins and Wilfrid Jonson. Congratulationsto Billy and June McComb on the occasion of the birth, of McComb junior. At a closed meeting of the Magic Circle on November 5th, KenBrooke entertained and inof the largest audiences that we structedone have seen for some time. Ken is undoubtedly the most dynamic of all demonstrators. His ” deck, a routine that handling of theTrilby was reviewed some time back, is something to be seen and remembered.Wehope that he will be back again ere long. On the following evening we had the pleasure of entertaining Charles Wicks, who
showed us one of the loveliest variations of Curry’s Out of thisWorld ’’ that we haveyet seen. Hishandling of this particular effect is also original. He also showedusZebrasilk ’’ a dazzling effect in more senses than one, for we found,(withthe silk supplied bytheGolden Gate ,Co.) that the closeness of the lines onthe silk helpedthe effect tobetrulymagical. He returns to Australia by air with a hope of meeting Tan Hock Chuan and some of the Malayan Magic Circle en route. Readers of this bulletin will hear with regret of the death of Harry Usher. . ‘It is many years since theUshersappeared in this country,but thenovelty and speed of their act is something not easily forgotten.
”
‘ l
”
15 Leo Tree, who has been working in Australia for some time, opens this month with a single person. mental act.Therecanbenobodybetter informed in mentalism than Leo Tree,andan outstanding mental act should be the result. The Piddingtons will be back in Australia and workin January.Fogelhas settled down nicely in the States, and when last heard from was workin Ohio. The November issue of " BandWaggon " had a very nice write-up of. Tommy Cooper, who is shortly to go into a new show at the London Hippodrome. We are looking forward to the receipt of the new edition of " Expert Card Technique " which has extra chapters by Dai Vernon and Dr. Jacob Daley . In December the Magic Circle moves to muchlargerpremises in EustonRoad.Forthe first time in its history, the Curator of the Museum,Mr.Arthur Ivey, will haveaseparate
" ROUTINBD MANIPULATION, PART 1," by Lewis Ganson.(PublishedbyHarryStanley,Unique Magic Studio, 87, WardourStreet, W.1. Price 15/-). This is astiff cover.edwell printed book of some hundredandtwentypages.Thepaper used is excellent and shows off well the photographs and drawings whichare used in profusion t o illustrate the writings. As was only to be expected,MajorGanson,after its hisexcellenttreatiseoncardmanipulationinall phaseshas inthispresent volume underthetitles of " Crazy Fans, " "Card Production Supreme,," and " Fan Finale " added postcrip,ts to the Expert Manipulation of PlayingCards . Theremainingnineteenitems of thebooks, however, aremostvariedin character ,fnd in the card group we have " How Right You Are ( a routinepreviouslypublishedinseparate form), A1 Kora?:s " Solo Aces ", the Author's " Gambler's,,Luck , " Readapack ";c " My NameYour-Name and Fred Rqpinson's Invisible Riffle Pass " and " Bottom Deal . Whilstthelastnamed item would requireagreatdeal of practice,theother carditemsare well withinthereach of aworthwhile conjurer. All areextremelyeffective. Descripfin of A1 Koran's I' TornandRestored Newspaper , a method which is simple in the extreme, andyet,atthe sametime allows the performer greatesteffect,andKen.Brooke's "'Cup andBall routinearetwostrongitems. T w o othercontributed items,HaroldBeaumont,'? ' ' Dice Routine ' ' and Harold G. Beaumont's Thought Prescient " are excellentineffect. " Matchic " and " The Smoking Clay Pipes " are two effects withaGerman MagicCircle background. " Production of Lighted Cigarettes " , ' ' The Multiplying Lighted Candles , The Walnut Shells an! Pea ", the " Eqg on Fan " and the " Chine?, Rings makeupthe re& of thebook.The " Ring routine is notable straight-forwardness for its and easy handling. Many of the effectswill be recognisedby readers of the " Gen ". Theauthor,in hispreface
roominwhich some of the very many valuable exhibits can be displayed to better advantage. This is our fiftieth number, and our thoughts travel back to those dayswhen we were still in the Army and we thought of starting the " Pentagram "; of the many letters we sent out and of the great help we received. . Wethink. of the firstissue with its six pages and its small pointtype, and of how,with the mounting of production costs, our hopes of increasing the size of the bulletin, decreased. There are lots of things that we would like to do.One was suggested by BillyMcComb, and it, will start soon. I t is thepublication of acompleteimpromptuprogramme. We meanimpromptu in the strictest sense. A programme of worthwhile magic (without cards) than can be assembled with ordinary objects. Theother is -the idea of Will Dexter and we will go into that at a later date. In conclusion we will take this opportunity of wishingall of 'our readersavery happy Christmas and Peaceful New Year. g
however, takecount of this,mentioningthefactthat quiteanumber of itemshaveappearedinprint,but that in each case they have been re-written and revised. Personallyin view of the low price of the book and the high standard of the material, we think the reader is mostfortunatetohavealltheseexcellentitems collectedtogether in one handy volume. If youlike good conjuringwiththe minimu?, of aqFaratus this new book by Major Ganson is amust " CARD CONJURING," by Wilfrid Jonson (published by Messrs. Foyles, of Charing Cross Road, price 2/6).
This well printed booklet, like its companion book, Conjuring," by the same' author, is excellentvalue. It runs to some 92 pages, is bound with board covers and carries an attractive dust jacket, on which appears the hand of Reg. Salmon holding a fan of cards. There arethirteennecessaryillustrations. "
The publisher has printed on the dust jacket, " If you can shuffle a pack of cards you can do card tricks, and this book will teach you how to do them properly. Theauthor gives you a collection of modem cardtricksfromwhich,with the abilitycomingfrom longexperience,hehasremovedall the d33iculties so as to make them easy for you to do ". These remarks are well borne out by the contents. Theauthorhasdivided his book into two parts, each partcontainingovertwentyitems.There is no attempt to take the reader into the intricacies of manipulation, but it is of interest to note howMr. Jonson hasendeavoured,withhisexplanations, to makethe reader a natural conjurer and such artifices as the crimp. glide,palmingand falseshuffling arenotonly given their full value, but have as corollaries effects that are worthwhile.Theconjurer who hasnotstudied card work in a specialisedway would indeed be foolish to overlqok valuable this little book. Thoroughly recommended.
16 WHERE HOUDINT WASWRONG By MauriceSardina
TEE LATEST
What morecan you askfor butapipe,a fire and a good book. Wecan supplythe book that will give you several hours of fascinating reading. The inside story on the Houdini-Houdinsensation. Read whattheysay : COLIN DONISTER,Librarian to The Magic Circle : “I consider it to be the bestbook of theyear.” WILFRID HUGGINS : . . . what a splendid piece of work ! In myopinion no English speakingconjurer canclaim ko be a worthy member of the profession unless he possesses a copy of thisinspiring bo2k.” PAUL FLEMING : . . . important an and necessary addition magical to literature. exceptionally well done.”
American Magic Books !
”
l
1 l
Price 20/Postage 6d. THE MAGIC WAND PUBLISHING CO. 11,
MONASTERY GARDENS,
ENFIELD, . MIDDLESEX.
A New Idea In MentalismChandu’s PSYCHOANALYSIS An entirely new idea in the presentation of Mental Magic. andanidea,,that is so fascinating toan audience thattheyall want to be Psychoanalysed ”. Spectators think of objects (positively no force), and the performer psychoanalyses them and so discovers and names the objects being thought of. comes is logical and convincing, t o you The routine, which in a neat printed booklet, complete with introductory lectum, description of the effect, complete instructions on how andwhat questionsto ask and howto analyse t h e m so thatthe word picture of the objectbeing thought of is builtuptotheastonishing climax. Also instructions on how t o preparethe fewsimple propsrequired, and animprompturoutine SUITABLE FOR STAGE ’ PLATFORM OR INTIMATE SHOWS CAN BE ONE EFFECT I’N A POUTINE-OR A COMPLETE ACT -~ ~~
11, MONASTERY GARDENS,
ROUGH
FLEMING BOOK COMPANY,
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the subject. It is recommended for advanced magicians. Postage M.
ARCAS Publications SYDENHAM
404/408
Croydon
ART
ROAD Surrey
0
BROCHURES, LETTERHEADS and PRINTED to PUBLICITY designed please ! Special Jumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., U)NDON, N18 Telephone : TOT7742
WARLOCK’S
PENTA G RA M is published on the 24th of archmonth and can be obtained direct from the publishem for 1/1 per single copy. Annual Subscription 12/post free. PUBLISHED BY:
PA., U.S.A.
The Magic Circle President : His Grace theDuke
of Somenet,
D.S.O.. O.B.E..JP.. M.I.M.C.
Vice-President: Dowlu Craggr, Esq., Y.I.Y.C.
Clubroom and Library and Museum :
St. Ermin’s Hotel, CaxtonStreet, S.W.l.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manusoripts for publication and books far review should be senttothe: EDITORIAL ADDRESS:
Particulan from Hon. Secretuy :
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
will be pleased to send .you details of his verylatesteffectsand allhisold favourites in return for stamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
By a MAGICIAN who knows your requirements
0
PETER
JACK HUGHES
WORK
0
728, MADISONAVE.,YORK,
ENFIELD, MIDDLESEX
AND SMOOTH POSSIBILITIES ” By Tun Hock Chum
Price 51-
!
On theFtemingBargainCounter
CARD CONTROL and PRINCIPLESANDDECEPTIONS. $7 value for (bothbooks) €2, GEMS OF MENTAL MAGIC f 2 / 3 / - valuefor €1 ACONJURING MELANGE ’(Collins), f1/8/- for 12/MAGIC BY HO-YAM (Mayoh), f2/5/- valnefor €1/15/Please remit to Mr. Robertson Keene, c!o Riverside Victoria Road, Yarmouth, Isle of Wight, and receive the books promptly from the UnitedStates.
~
Price 1O/- Postage 3d. THE MAGIC WAND PUBLISHING CO.,
“
SCARNE ON CARD TRICKS, a non-sleight-of-hand treatise by a great card expert,not to be confusedwithSCARNE ON CARDS games). Cloth, 320 pages, profusely (whichdeals chieflywithcard illus. ($3.00), 21/of variaMAGICALGEMS ( P a d Rosini), 50 tricksconsistingmostly tions and dodges used byRosini,butincludingsomefeats of Marlo, 67 pages Bamberg,Blackstone,Buckley, and others.Softboards, (%2.00),14/- : cloth ($3.50), 25/MATHMIRACLES (WallaceLee), along the lines of thelongoutof-print MATHKMAGIC b). Royal Heath. Cloth, 96 pages ($3.00), 21/SIXTY YEARS OF PSYCHICAL RESEARCH (Joseph F. Rinn), astounding exposures of fake mediums, mentalists, etc., by this veteran investigator. Cloth, 618 pages, ill. (05.00). 3 5 / EXPERTCARDTECHNIQUE (Hugard-Braue),agreat workinits third,enlargededition,with new chapters byVernon and Daley. Xmas, ($6.00), 4 3 / Cloth, 500 pages,illus.,promisedfor
JACK HUGkES 2, EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLDAND NEW. Let me know your rant. LIST FRE6 FOR STAMPED ENVELOPE No Gllers
G E O R GJ EE N N E S S 47 INVERNESS ASVENUE, ENFIELD, MIDDLESEX
King Geurge’s Hall, W.C. Francis White, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
Magic Wand Publications The MTgic Wand Quarterly€er copy 318 p.p. Annual subsdription 14;s. The Wizard, 36 pagesmonthly.Percopy 211 p.p. 6 month, 1216. Year 241JohnRamsay’s Cups & Balls (Farilli) 25/6 Where Houdmi Was Wrong (Sardina) 2016 . . 17/1@ Convincing Coin Magic (Farelli) Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 1013 Thanks To Leipzig (Farelli) . . 1013 George Armstrong’s Premonition 1013 Entertaining With H pnotism(Dexter) 1013 Challenge Instant d p n o t i s m & Mass . . 211Hypnotism Strictly Magic (Eddie Joseph) ’ ’ . . 513 Stooging Around ( a u t h a r d l 26 Living & DeadTests (GaAett) ‘;. 513513 Jamesosophy (Stewart James) . . .. 5/3 Year Book 48/49 (few only) . 5J3 StuntsWithStage Money (Lamonte) . . 5 / 3 Tricks of the Trade (Armstrong) .. 2/7 Fromthe publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Publirhedby
the proprietorsThe
Magic Wand Publishing Company 11 Monastery Gardens Enfield.bfiddlescx, Walker m d Son (Printers) Ltd.. ’Will Croft. Shipky. Ykhhin.
and prlnted by Herbert
*
PENTAGRAM An independent monthly bulletin for all who want good magic
In the following, Ron Baillie has designed the stage *” and Leslie May has placed the ‘ ‘ play ’ ’ thereon. “
Part 1. by Ron Baillie. There have been many effects published where the mentalist, is enabled to obtain infonnation by means of abook or magazineprepared with a sheet of carboncopying paper under the cover. As a result of experimentation, I have designedabook thathas one or two points to recommend its use in place of most others. The book that I use is one of the “Penguin” series; it has 122 pagesplusa few containing advertisements. I cutoutablockmeasuring 3) X 5 inches from the first 64 pages and fastened the cutoutportionbymeans of Cellotape(Scotch Tape) to a corresponding position on page 65, i.e. the right hand side of the book. Let me mention
,,._..-. -...., -..
. . . a -
-.
sheet of plain white of the block I placeda paper; this was also 3& X 5 and was also kept in position with cellotape. Because of the fastening it can easily’be exchanged,, Inside the front cover of the book I fastened a piece of writing carbonpaper,carbon side down, i.e. thecarbon side will rest against the sheet of paper on the block ” . The “ frame ” of the 64 pagessurroundingtheblock is now fastened, also by means of cellotape. to the front cover. “
The bookcan now be closed andhandled naturally,but when used asasupportforthe writing of a message ona billet, a copy of the writing will be made on the blank piece of paper fastened to the block ”. Don’tforgetthat a short hard pencil should be used for such writing. Finally the long edge of pages 65/66 is cut short so that when the book is riffled from left to right, the thumb starts at the short page and those pages from sixty-six onwards pass the thumb and appear to the audiencetobequiteordinary.Needless to say, no oral attention should be drawn to this state of affairs. If, however, the book is riffled from right to left by the left thumb it will end at the page holding a copy of the writing enabling the performer to glimpse same before closing the book and casually throwing it on to the table. “
Part 2. Leslie M a y now speaks :-
The following is the effect that I have evolved around Ron’s excellent fake book :-
that the holding of the pages in place with celloasthe tape is preferable toglueingorpasting block of paper is not stiffened as it would be by usingsuch adhesives. Whencomplete the book can behandledas an unprepared book. On top
Have the fake book on the table at the bottom of a pile of four. Use the top three and have oneselected for a book test. The unwantkdtwo are replaced on the table in front of fake book. At the conclusion of the book test throw down the book actually used on to the table, then casually reassemble the pile leaving the fakebook on top.
18 Then keeponthetopic of books and state that practically everyone at sometime or another it has secretly wishes to be an author, and that is possible, providing you can only assemble your thoughtsandreproduce themin thebuilt-up form of a story or novel, etc. Ask if anyonepresenthasever had such a desire; if somebodysays “ yes ” all well and good, if not, select either the person who helped you in the book test, or some ,other member of the audience. Ask and remember the name of the person whois to assist you. Ask thispersonto stand up and try and mentally form the outline of the form that their book will take. Say, “First of all, is ittobe astory of adventure,acrime story,anhistoricalromance, or what?”then, You had better jot down your thoughts in case some point is overlooked or forgotten ”. “
Hand the spectator a piece of paper that has either been on the table or in a pocket together with a pencil (see ante), and casually, and apparently as an afterthought, pick up the book and hand it to him as a support for the paper. “ NOW, sir, ” continue, “ inwhatcountry is theaction . . . inSunnySpain, ofthestorytotakeplace thefrozen wastes of Alaska,thequietcountry lanes of England, the hills of Scotland or the bustWhat lingside-walks of New York? ” Next, period, the present day, a hundred years ago . . . prehistoric days?’ ’
book, is suddenly taken with the fine quality of thewriting. Look downand quicklyassimilate the carbon copy of the notes made by the spectator.Then,without,hesitation,thumb with the rightthumb towardsback of thebookagain, carrying on with the oral digression on how the potential purchaser would act. The book is gradually lowered so thatthe audiencecan see the ordinarypages. It is then closed andplaced down. Now using theknowledge thathas been obtained from the carbon copy, plus the name of the spectator that was obtained in the beginning, build up a ‘ blurb ’ about that magnificent (say) historical novel by Elsie Drever entitled “Swords Continued on page 20
Flashback Z
L
0 stands for 0 0 1 ~
“
In eachcasegetthespectator to makea note of what he determines, and at the same time warn him not to disclose what has been decided and noted. Next, askwhattitle would be selected; this is also noted. The spectator is then told that having these facts noted, plus hisor her talent, it should not be difficult for agood story to be built up from these points. Get thespectatortofoldthepaperand point out that the basic points are known only to him or her alone and they must be kept a dark secretuntilthebookreachespublication.The book is casuallyretrievedandreplaced on the pile on the table. Invitingthespectatorto be reseated,talk aboutthe time when the manuscript will be finished; build up the picture of its submission to of awaitinghis apublisher,theanxiousperiod decision, the delight of hearing of its acceptance, etc.; of itsappearance on bookstalls; its slow sales because of an unknown author, but as peopleof discernmentdiscover its merit-( at this point pick up thefake book toillustrateyour words). First riffle through from the rear of the book allowing the audience to see the pages, then graduallyraisingthe book until,thepagesare abovethe eye level of thespectators,leavethe book open at the short page. Talk all the time of how the brocwser ”, when glancing through the ‘ I
1
FAKIR OF OOLUJ
Or, the Modern Frankenstein. HIII’LBTK
\VlTH
E
l 1,
MusicalIllusionaryIllustrations, ILLUSTRATING BEAUTIFUL HISTORIC PICTURES, Fro?):tlw J. R. F i t d l a y Collection
l
in .-l?ly pianist plays the correct tune, one of six, is being thought of. Tune seven or eight, which titles suggested by audience and a free selection made. -Yo stooges. (The most surprisedperson is the pianist .!) .
Method. Platformsetup
:-
Slips of paper, 2 in. X 3 in., folded once one way, twice the other; eight of these each have a number on them,thenumbers 1 to 8; these arc: foldedandplacedinasmallbilletindexwhich reposes in mentalist’s right trouser pocket (therefore you can get hold of a slip bearing any number from 1 to 8 inclusive) . 10 or 12 blank slips and pencil on table. Request the,assistance of any person who can play-.the piano.Seat.him at piano. Statethat you’re going to attempt an experimentin thoughtcontrol. Numbertheblackboard, 1-8, down the lefthand side (6 or 7 will do if there’s not room for 8 titles).
Ask theaudiencetogiveyouthenames
of
pop zda I tunes and explain that the pianist must know these tunes, so you ask pianist to play a bar or two of eachtune as it’scalled out; thisalso lets anyone in audience, who doesn’t know tune, a d , therealreason, itlets hearwhatit’slike, you know in cade you’re’not sure of the melody ! As each tpne is called out and played, you write : 1st title down on blackboard opposite a number tune goes opposite fig. 1; 2nd opposite fig. 2, etc., till you’ve got a list of 6 , 7, or 8 tunes on board. You now explain that you want one of these tuneschosen, that you will concentrateon the melody of that tune and attempt to transmit that “ However,’’ you add, melody tothepianist; if I were to ask someone topoint or whisper one of these tunes they would probably select the most popular one of the bunch or one which they prefer for their own personal reasons Now, I want the selection to be perfectly fair and free from any personal or popular prejudice, I want it to depend on chance alone.’’ You now show the blank slips and proceed to openly number them from 1 to 8, and tofoldthem;explaining as. you do so that these are 8 slips, numbered 1 to 8, that these will bemixed,onechosen, andthe numberon that slip will indicate which tune you will attempt to transmittothepianist.(Analternativeprocedure is to have the 8 slips numbered already and to givethese out for examination.) The slips Scre shown folded, and dropped into a hat, bowl “
c
or onto a table for a member of audience to mis. a You now eithertakehat toaudience,getting spectator to pick out one, or you ask a spectatorto come forward. and to choose one. You hold this slip, still folded in left hand. You face audience, A number has been selected,: ’ turn to spectator who selected slip and say, “ Would you like to change your mind, sir, or are you quite satisfied withyourchoice?” If hewantsto,hecan make another selection, the first-chsen slip being replaced beside others first of alland slips rehixed by spectator. You continue, “ I will open this slip, read the number on it, and then concentrate on the chosen tune indicated by that numTurn to pianist and say, “ I want you, sir, ber. to just relax, just let your eyes wander over the tunes written on the board in front of. you, then a blank. I relax;justtrytomakeyourmind will concentrate on the chosen tune and attempt to infiltratemythoughtsintoyourmind.Just rest your hands lightly on the keyboard and relax, close your eyes if you wish, just set your mind at rest.Variousnotes willcome intoyourmind,. don’t resist, just - let your fingers obeyyour thoughts and start playing, anything that comes into your thoughts; melody a will gradually develop, one of these 8 tunes; suddenly you will get the whole thing, one of these 8 tunes will to imbueyour whole mind,playit,don’ttry think aboutanything else, Justplaywhichever one of these 8 tunes comes into your head. O.K.?” Just give me time to read the chosen numthen ber and toconcentrate on that tuneand carry on. You now walk forward,openpaperslip, look at glance at it, as thoughreadingnumber, blackboard as though you were looking at tune written opposite that number, refold slip. Stand to one side of blackboard, half facing it, half facingaudience.Holdslipinleft hand, aboutchestheight, at fingertips. Casuallyput You now ‘ conrighthand in trouserpocket. staring at blackboard as centrate ’ on tune, though you were looking at one tune only. One, of these tunes is going to come into the pianist’s ! Pianist starts playhead, anyone, it’s bound to ing. As soon as you recognise the tune he’s playing (and as they’reall populur tunes,you’ll get it withinthe first 2 or 3 bars) you note which number is written before it on blackboard and righthandintrouserpocketwithdrawscorrect numberedslipfromindex.Thisslipis fingerpalmed in right fingers. Let pianist play tune for a fewmore seconds so that everyone recognises it, then, raising left hand and billet, say, “ Thank you, that’s enough ”. Yourright hand and palmed slip has come out of pocket by this time and is held in a natural position. “
”
“
”
20 Younow askspectator who selected slip, (whoyou usheredtbachairbesideblackboard after he selected slip), to take “ chosen ” slip, to open it, and to draw a large chalk circle round chosen tune to show audience that pianist was correct. However,as you go tohimyoudo a two-handed switch and hand him correctly numbered slip that you stole fromindex.Lefthand and .palmedslip dropstopocket- where slip is clumped. Spectator, of course, opens slip, reads nurn.ber, and rings correct tune on blackboard. Instead of spectatorringingtuneonblackboard, you can switch slips as you hand slip to a spectator in front row for him to open it, and to shoutout title of tuneopposite thatnumber on blackboard; this is, of course, thetune pianist played. You can now repeat effect, but don’t do it more than twice. 2ndPresentation (taking pianist intoyourconfidence). In this method you take the pianist into your confidence, but you don’t need to tell him much and his instructlons are very simple. You say to him beforehand, “ I’ll ask you to play two tunes, play the 3rd tune first, then the 7th the 2nd time. Don’t play them right away, muck about on the keyboardfora bit thengraduallystartplaying 7. Just the correct tune. Remember, 3 then listen to my patter, that will let you know how to go about it.” You don’thavean index this time, just 2 extra folded slips, one has a 3 printed on it, the other a 7. The one with the 7 is folded squint or hasthe cornersdog-eared or anyother method wherebyyou can distinguish it fromtheother. These two slips are in your right trouser pocket or at anyother concealed gat-atable place. Introductory patter as before. 8 slips shown marked 1 to 8. Folded,and mixedbya spectator as before. Two slips selected by audience or any spectator is called up to do this. These held together, in view, at left fingertips. Right fingers palm the two force ones and the slips in left hand are switched for the force ones. (You can switch 2 slips at atimequiteeasily, try it, just do an ordinarytwo-handed switch, but using two slips 2 slips now contogether instead of one.)The cealed in left hand are disposed of and the 2 force ones tossed onto tabke. A spectator is asked up [or you use the spectator who you got up before) and this spectator is asked to select one of the 2 tabled slips. If he takes, the dog-eared (No. “7” ) one you ask him to put it in his pocket or wallet. 3 oneyouask him to It he takes the No. put the remaining one in his pocket ! You patter as before, also giving same patter to pianist, but this time you state that the audience themselves cannot direct their thoughts to the pianist, their thoughts will weak too be scattered. and What you’regoingto do, you state, isto attemptto pick up their, thoughts and to direct them to the pianist. You’ll act as a radio relay station, picking up their thoughts and pushing them out much morepowerfully and only in onedirection, the I ‘
”
“
”
pianist’s. YOU now allow yourself to be genuinely blindfolded andstandup,front facing audience. Spectatorwith slip is asked to readnumberon it and to circle with chalk or point to that tune on blackboard, taking care that pianist and youris chosen.(Pianist self doesn’t see whatone canbeblindfolded or takenout of room, etc. You, too !). Youasktheaudiencetoconcentrate on chosen tune and to keep as silent as possible. The pianist, of course, does his stuff and the correct tune is played. The 2nd slip (No. 7 ) is dealtwith in same way o r you can patter to the effect that the first time let you get ‘ onto the beam ’ with the pianist, now that you’re on you’ll attempt a more difficult feat, doingitwithoneman’sthoughts. The spectator who has pocketed slip is asked to open it and to concentrateonappropriatetune, without letting audience know what it is this time. Tune played, etc. and you then ask spectator to ring with chalk the tune he was concentrating on; this, of course, is the correct one.Again, this, 2nd slip can be handed by spectator, to anyone in audience for them to concentrate on, this person acknowledging correctness at end of tune. It will be realised that, in this 2nd presentation, the pianist canglance at tunesonboard to memorise 3rd and 7th one. You can use a window-display stand to clip table in full billet in if youwant:itstandson view. You look at number, refold billet, clip it in stand and concentrate. When tune is played you get correct slip finger palmed and you get a perfect switch asyou removeslipfromstand for spectator to check. By not opening billet to concentrate number on you can make the testone of ‘ cltrirzwyunce ’, “
”
continued from page 18
of Sorrow’’, a breathtaking pulsating saga of the court life of Charles I, inwhich vivid descriptions of political intrigues and love affairs of the highest in the land and how, through the tireless efforts of ahumbleretainer, the enemiesof the Crown were unmasked. The effective build up should be quite simple to an efficient and experience mentalist. It is no more difficult than building up a sensational answer toa sealed question. And don’tforgetyou have been given this information to help you :The Author’s name. Title of Book. The type of Book. The period in which the story takes place. The country in which the story takes place. Added to this is the fact that because of the impromptu nature of the test, the spectator has no more idea ofhow he or she would develop thestoryand will readily accept the description you build up as being exactly what they intended to write about.
21
To my mindthe effect nearest togenuine mind reading possible with cards is the late Ted. Annemann’s One Thousand Dollar Test Card Location ” described by him in his book, Sh-h-h ! Jt’s .a Secret (English edition published by Messrs. L. Davenport & Co., the world known magical dealers) . “
”
There, would only seem to be one drawback and that is that there is only an S00,/, possibility of success. ‘ In Annemann’sownwords, “ Now I can’t guarantee this as. a 100yoeffect. When it does fail with me I immediately repeat it and so far I haven’t failed on the second trial ’’. The secret consists in the shuffling of a stacked deck by a spectator, that shuffling being so controlled by the performer’swords that the final result is a number of bunches of stacked cards throughout thedeck.Afterthepackhasreceivedits restricted shuffle the top card is removea, and in the retrieving of thedeckasighting of thebottom cardshould,bycountingahead in thestacking system iised, give the name of the abstracted card. Using this overamatter of years, I have achieved about the same percentage of success as that quoted by Annemann, but have always wanted some good form of excuse for the initial failure when it occurs. Now, in reading Royal V. Heath’s Retrospecs (see Phoenix ” No. 209) I have found what I consider to be the perfect cover-up. The main part of Mr. Heath’s effect is mathematical, but his most novel disclosure of the selected card(forthe discription of of Mr. Heath this, I humbly beg the indulgence and Mr. - Bruce Elliott, the Editor of the Phoenix for this lifting of material,but I consider it the most novel idea in years and ideal ”
l‘
l ‘
”
Ever seen a stage hypnotist? Remember how hepicked his subjects?He carried outa preliminary hand-clasping test or some such similar test with the entire audience, the people who couldn’t unclasp their hands weregood hypnotic subjects, therefore heused these people for his further demonstrations. It’squite logical toapplythe same sort of thing to mentalism,youhaveapreliminary test of the telepathic powers of the audience and use the people who did well in this for your further tests; here’s how You’ll need to get a batch of cards printed, or you can typewrite them ’if you want; I advise
for the conclusion of the effect under discussion) is as follows :Performerturns his backto the audiense and dons a pair of reading glasses hackwurds, i.e. l e m e s nt the btrck of the heud. As he does this he patters about the pineal gland in his head, which according to some way of thinking has been originally a third eye. The chosen card is now shown to the back of the head and peering through the third eye, the performer tells the audience its suit and value.’ ’ Now for the adaptation of Mr. Heath’s effect tothat of the lateTed.Annemann’s.Firstly, afterthe spectator has removed the top card, retrieve the deck and in reaching for the pocket, inwhich the spectacles have been placed, there is ampleopportunity for glimpsing the bottom card in the act of removing these same spectacles. The spectacles are withdrawn and the deck placed aside with faces of the cards down. At this point we come to the real reason for the combination of the twoeffects. The performer, after adjusting the spectacles over his “third eye” has the spectator place the selected card at the back of the performer’s head. The performer then names the card following the bottom card in the stack. It he is right so well and good, but if not, the spectator is requested to cut the deck and take another card. The cards are again retrieved and the new bottom card noted as the performer reaches into his pocket for a handkerchief. ‘ l
He removes the spectacles cmd calmly cleulrs themwiththehctldkerchief n u n replacesthem sclyillg. a t t h e stcme t i m e , I am afraid thatthey were n bit misty . . . visiotl was tlot too good ”. Thespectutor holds ~ r pthecard, nnd this t l a m i ’ is correctly disclosed.
you to get them printed, however,as they are kept by the spectatorsandmakean ideal publicity throwaway,becauseyournameandaddress is printed on reverse side. playing card size, or if Card is about you’re doing concert parties, etc., you’ll find that the promoter or agent will be only too pleasedto have the cards printed at his own expense if he gets a blurp on the back :These cards are in foyer of theatre and a card saying, Pleasetakeone ”, etc., or are handed outtopatronsastheyenter. If you’redoing a club,dinner or party show you handthemout yourself just before you staft or after your initial ‘ l
22 spiel about telepathy, .etc. Large slate and chalk is handy. Youmakeyourinitial spiel about mindreading, etc., then continue : . “ I n order to find out those of you here to-night who have the most keenlydeveloped telepathic abilities, andfrom whom I could get the most successful results in my later experiments, I would like youallto assist me inthe following test. As you came in the door to-night you were handed a small card bearing the title “ Telepathy Test ; would you all produce these and a pencil or pen to write with.” (If you’re doing a small show you just hand out the cards, and pencils if you can. ) ”
If any of you did not get a card would you find, just use any oldscrap of paperyoucan the back of an envelope, or else your programme. Ready?Right. I am goingto think of a number, I’ll make it simple, a single figure number: thatis,anumber between 1 and 10. I’ll write thisnumberonthisslate;” showslate,turnit towards you and draw a “ 7 ” on it, not letting spectators see it urd not letting it be obvious that you’redrawinga ‘ L 7 ”. Holdslate, writing towardsyou or place it,backout,onastand. Continue, I’m goingtoconcentrateonthat numberandattempttoproject my thoughts,to you. Now,on yourcards, in theblankspace NUMBER ”. I wantyou oppositetheword all to write any number between 1 and l0 which comesinto yourheads, ~ z tthis moment. Have you all finished? Right, I wasconcentratingon the number “ 7 ” , here it is on the slate;’ ’ turn ‘‘ 7 ”. Howmany of you slate, showing received and wrotedown thatnumber? Would those of you who did please stand up for moment? That’sright,yousir,andyou,etc., etc. Would you remainstanding for a few momentslonger please: my thoughts are being received very clearly to-night. Now, wouldthose of youwho arestanding please remain on your feet for a little longer andattemptto receive mynext thought. Any others who didn’t succeed the first time can also attemptthenexttest.This time I’m going to think of a colour, any colour, and again 1’11 write it down on the slate;” clean slate, turn it towards you, and write ‘ RED ”, againnotmakingitobviousthat “ RED ” is being printed. Now, while I concentrate on this colourwouldyou write downoppositethe word ‘ COLOUR ’ on your card, u n y colour that comesinto yourheads, now. All right?Here’s the colour I projected, ‘ RED ’ ”: show slate; How many of those standing received it? You, sir?andyou,sir,etc.,very good, we’re doing well. Wouldthose of you whodidn’t get the thankyou for colour ‘ RED ’ pleasesitdown, concentrating so well onthenumber (!) Would the successful ‘‘ receivers please remain standing for the last test. Now, for the final ‘ thoughtprojection ’ I am going to think of a geometrical 1’11 diagram,justa simplegeometricalfigure. draw it on the slate;” Clean slate, draw triangle, ‘ I
“
“
‘ I
“
”
holddiagramconcealedas before. I’m now concentrating and projecting mythoughtagain, will youpleasedraw, in the last space, the one oppositetheword ‘‘ DIAGRAM ”, any simple geometrical figure that comes into your thoughts. Done that? Here’s what I projected, a triangle’ ’ ; show slate; “ Which of you got it? You, sir? and you? Congratulations, you received all three of my projected thoughts quite clearly, you show quite a well developed telepathic sense ! Would you care to’come up here and assist me with my nexttest? I thinkthat we may be assured of exceptional results if you .do.” As you see, it’s just the old thought-projection effect, doneover.The extra. space a t bottom of card is for an additional test in case you get too many people with all three previous tests correct, I assure you that this is quite a commonoccurrence ! Additional tests are : a flower, ROSE; wild animal,LION.However, thjew’s ~o need t o rt.se t h e ps~vhologicnl forces, especit111y if ~ O I I ’ Yworkitzg ~ t o ti. large cLudit.m:r : jusL putdown u q f number, urty colour, etc.One or two people are boundto get all three- correct ! Doing it like this, you can do repeat shows using different numbers, etc. Slips of paper, cut to size, will do instead of cards if you’re going to do an impromptu show and haven’t got any printed cards, but it’s much better to use them due to the publicity tie“
UP.
You cando the effect i l l Y ~ P V Y S: ~ Spectators each write a number, you ‘ receive ’ a number, writing it on slate then showing. Repeat with colour anddiagram,thusprovingthatyouarc receiving the thoughts ’ of certain spectators more easily than others. Now, another thing, carry one or two cards with youalways, they’re perfect to usein conjunction with a nail-writer, one-ahead you know. I’ll leave youto work outyour owneffects c m this principle. I also work aone-ahead effect with these cards, using pencil-reading, it’s not difficult, try it. The spectator keeps one of the cards at conclusion of the one-ahead effect, preferably yours, which you’ve signed for him.
-AND
SO TO BED !
To all those overworked Mentalists who in consequence suffer frominsomnia and find the counting of sheep an inadequate cure, try something you are acquainted with and mentally construct a Si Stebbins set-up. Start with, say, the Aceof Clubs, go on visualising the four of hearts, seven of spades, ten of diamonds, etc., and you willfind that youhavedropped off into sleep, notonthe floor, longbeforethe final Jack o f diamonds. LESLIE MAY.
23
I was particularly intrigued with Peter Warlock’s Mind out of Time whenhepublished that fine and original routine and also by the clever adaption by Francis Haxton (see ‘ Mental Persuasion ” , No. l l , Volume 3 of the Pentagram ”) . Like Mr. Haxton, 3 wished todispensewith any kind of gimmick and also to ensure its suitability for inclusion in a strictly mental programme and eliminate any vestige of sleight-of-hand whatso ever.The following method resulted. The effectis similar to that described by Mr. Haxton with the exception that instead of one card being dropped into each of the glasses, a number designated by a member of the audience are used. The requirements are simple : they resolve themselves into four glasses capable of holding a pack of.cards, Stemmed glasses naturallylook better, but, fair sized tumblers will prove satisfactory, Twopacks of cardsare also required. Two of the glasses are placed about a foot apartandtheother two are placed about six inches in front. Picking up one pack of cards the performer leafsthroughthemandafteralittleapparent concentration selects two cards from different parts of the pack and drops them, back towards the audience, one into each of the front glasses. Taking the second pack, the performer requests a spectator to give him a small number s,ay between five and fifteen. Withthenumber @en, the perforrrier immediately counts that number of cards from the pack and drops them into one glass behind that in which the first card was placed,backoutward. A secondspectator is requestedto give anumberandthisnumber of cards is counted off from the pack and placed back outward, in the glass behind that in which the second card was placed. Placing aside the balance of thedeck,the performer asks the spectators in question to stand for a moment, and he draws the attention ,-,f allpresenttothe position of the two helpers And himself. If hehas selected themcarefully :hey should represent three corners of a triangle : Performer ”
l‘
*
”
*
*
*
Spectator 1 Spectator 2 He then goes on to point out that as a result )f this formation, parallel thoughtshave passed along the lines from the apex to the base, thereby influencing the selections of the spectators in a mannerunknowntothemselveswith the result :hat they have subconsciously arrived at a choice I f the very same cards as previously selected by 1
1
the performer. As proof, all the glasses are turned round so thatthe faces of thecardsare visible to the spectators and it is seen that the cards in the two front glasses matchthoseimmediately behind. Preparation. Take onedeck and divideitapproximately at the centre and place the two halves face to face. Remember the top card of each half. Presentation. The glasses are placed in position andthe unpreparedpack is picked up.The performer fansit faces towardshim and selects two cards which areduplicates of those twonoted inthe “ boxed deck.Donotrush this part,but appearto make an effort in determiningwhich two shallbewithdrawn.Dropthe two cards, back out, one into each of the rear glasses. The balance of the deck is placed aside. Pick up the ‘ boxed ’ deck (taking care that the audience are not aware that the cards face in two directioris) andrequest the assistance of a spectator,makingsurethathe is in a position (either to your right or left) to be noted as a triangle point later on, and also that he is on the side adjacent to the glass that will hold the duplicate of the card now held on top of thedeck. Requestasmallnumber and on its beinggiven count the number o f f ,face down You count aloud and when finished drop the small packet (which now has the previoustopmostcardon its face), backoutwards into the respective front glass. Whilstdroppingthepacketintothe glass the handholding the balance of the cards drops to the side and reverses thedeckunder perfect cover. A similar procedure is now adoptedwith the second spectator, and when the small packet is placed inside the glass, the balance of the deck is placed aside. All is now ready for disclosure of the matching cards. The performershould,whendrawingattention tothe triangle formation,lightlytouch on the subject of its use by the Greeks in the alphabetical letter DELTA.Althoughit is entirely irrelevant, it sounds good ! Finally,anotetothose readers who think that the card force is not practicable, I would like to draw their attention to the commencement of page 15 of the original issue of 202 Methods of Forcing , in which the late Ted. Annemann states how he was completely fooled by it when first he witnessed it. Credit for its origination is givento the late R. W. Hull, of Crooksville. I would like to saythatithas beenone of my favouriteand mostsuccessfuleffects of thepast years,and at no time has the method been questioned. ”
l‘
”
WHEREHOUD’INIWASWRONG By MauriceSardina What morecan yon ask forbutapipe,a fire anda goodbook. We can supply the book that willgive you several hours of fascinating reading. The inside story on the Houdini-Houdirisensation. Read whattheysay : COLINDONISTER,Librarian to The Magic Circle : “I consider it to be the best mbook,,of the year.” WILFRID HUGGINS : . what a splendid piece of work ! . In my opinion noEnglish speakingconjurercan claim to be a worthy member of the profeision unless he possesses a copy of thisinspiringbo2k.” .PAUL FLEMING.: . . . an important and necessary addition magical to Ilterature, exceptionally well done.’’
Price 2 0 / Postage 6d. THE MAGIC WAND PUBLISHING CO. MONASTERY GARDENS,
11,
The Very Latest Books EXPERT CARD TECHNIQUE ( Htlgard-Rrane), 3ro cdition, iust w t . incll~dine two additional chaDters bx- IlaiVrrnonand ‘Dr. . .. 431Daley,cloth,‘. 500 pages. 352 ill. ($6.00)‘ SCARNE ON CARD TRICKS, great book on non-sleifiht-of-hand cardmagic,cloth, 308 pages, 82 ill., 155 tricks ($3.00) 211PSYCHICAL RESEARCH (Rinn), cloth, SIXTYYEARSOF . .. .. , . , . .. .. 35J618 pages ..
ENFIELD, MIDDLESEX.
Some Noteworthy Fleming Bargains
A New Idea
In MentalismChandu’s PSYCHOANALYSIS
An entirelv new idea in the presentation of Mental Magic andanidea,)hatis so fasciftatingto an audience thattheyali want t o be Psychoanalysed Spectators think of objects (positively no force), and the so discovers and names the performer psychoanalyses them and objects being thought of. The routine, which is logical and convincing, collies t o YOU in a neat printed booklet, complete with infroducfory lectune, description of the effect, complete instructions on how and what questionsto ask and how toanalysethem so thatthe word picture of theobjectbeingthought of is built uptotheastonishing climax. Also instructions onhow to preparethe few simplepropsrequired, andanimprompturoutine. SUITABLE FOR STAGE, PLATFORM OR INTIMATE SHOWS. CAN BEONEEFFECTINAROUTINE-ORACOMPLETE ACT
.
Price lO/- Postage 3d. THE MAGIC WAND PUBLISHING CO., 11, MONASTERY GARDENS,
“
American Books for English Magicians
CARDCONTROL(Buckle!,),cloth, 219 pages, was 31/-, now PRINCIPLES AND DECEPTIONS(Rnckleg-), 224 pages. was il,‘-, now .. GEMS OF MENTAL MAGIC i h u c k l e ~ * );loth. , ‘l32 pages. was 43/-, now .. .. .. A CONJURING MELANGE ((‘ollins), c.l;,th, 256 pages. was X ) - , now .. . . . . .. .. .. t
PETER
By Tun Hock Chuun
-
11
Postage 3d.
ARCAS Publications ROAD
Croydon
A R TW , ORK By a MAGICIAN who lcnows yourrequirements 0
0
0
BROCHURES, LETTERHEADS and PRINTED PUBLICITY designed to please ! SpecialJumbo Card Tricks made up. Advertising ideas, Copywriting, Line drawings.
JACK LAMONTE 28, WARWICK RD., UHVDON,N18 Telephone : TOT7742
IPleascremit
to Mr. Hobertson Keene, c:o Riverside.Victoria Road, Yarmouth, Isle of Wight).
30;-
FLEMING BOOK COMPANY, 728, MADIWN AVE., YORK, PA.,U.S.A.
WARLOCK’S
Monasterv Gardens. Middlesex.
.
Enfield,
Manuqiptsforpublicationsndbooks revlew should be sentto the: EDITORIAL ADDRESS:
JACK HUGHES will be pleased to send you details of his very latesteffects andallhisoldfavourites in return for stamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK
HUGHES
EVELYN AVENUE, COLMDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NBW. Let me h o w your rants LIST FRB6 FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
theDuke
of Somereet,
D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglu Cnpy, Eaq., M.I.M.C. C,lubroom andLibraryand
Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1. Magical Theatre :
for
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
2,
The Magic Circle President : HisGrace
King George’s Hall, W.C. Particularsfrom
Hon. Secretuy :
Francis White, 39 Alverstone Avenue, WimbledonPark, S.W.19
Magic
Wand Publications
The M& Wand Quarterly Fer copy 31‘8 P.P. Annual subsiription 14j6. The Wizard, 36 pages monthly.Per col,Y 2/1 P.P. 6 month, 1216, Year 241-. John Ramsay’sCups L Balls (Farelli) 2516 WhereHoudini Was Wrong (Sardma) 2016 Convincing Coin Magic (Farelli) . 17/10 Mastered Amazement . . 1013 (Koran & Lamonte) Bohleno’s Mysteries (Bohlen) 1013 Thanks T o Leipzig (Farelli) 1013 George Armstrong’s Premonition 10/3 Chandu’sPsychoanalysis 10/3 EntertainingWithHypnotbv ‘(Dexter)’ 1013 8c Mass Chailenge Instant Hypnotum Hypnotism 21,;Strictly Magic (Eddik Joskph) ’ ’ 513 Stooging Around (guthard) 513 26 Living 8c Dead Tests(CaAett) ’ .‘. 513 . . 513 lamesosophy (Stewart James) . . Year Book 48/49 (few only) 513 StuntsWithStage Money (Lamonte) ’ . . 513 Tncks of the Trade (Armstrong) .. 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
.
’.l
Every Advertiser’s goods are fully endorsed by this Bulletin Publirhedby
12:.
THE FINE ART OF MAGIC (Kaplan), cloth, 352 pagw . 451,.. .. 301SLEIGHT OF HAND (Sarhs), cloth, 416 pages ., OUR MAGIC (Maskelynr-Devant),cloth, 336 pages 301MAGIC WITH SMALL APPARATUS (Dhotel),cloth, 320 pages
PENTAGRAM
magicians.
SYDENHAM
20J-
Not-to-be-Missed Books
A booklet dealing utith the methods and ispublished on the 24th of eachmonth m d can be obtained direct from the publiiers for application of the modern principle,by 1/1 per single copy. ‘Annli.1 Subrcliptian It/post free. one of the leading experts on the subPUBLISHED BY: ject. It is recommended for advanced The Magic Wand Publishing CO.,
404/408
201.
ENFIELD, MIDDLESEX
ROUGH AND SMOOTH POSSIBILITIES”
Price 51-
20/-
the propriotm The Magic Wand PublishingComprny, 11, Monastery Gardens, Enfield.Middlesex, Welker aad Soa (Printan) Ltd., Well Croft. Shipby. Yorkshire.
m d prlnted by Hubart
25
PENTAGRAM An independent monthly bulletin for all who want good magic
This fine effect was invented by Ralph W. Hull and in its original andrathercrudeform, is described in the “ Encyclopzdia of Card Tricks , page 294. - Later Cap€ain Trevor Hall introducedtheRough and Smooth ’ principle into the effect and published his vzrsion in his 7’estcL?rtellt o f K . PV. Hull, pages 67/69. I have revised the routine so as to overcome I considered ’I‘revor Hall’s onepoint inwhich version was capable of im rovement. Tzree in One ” because Hull called it the the effect contained three distinct factors : a prediction, thevanish of a selected cardfrom one half of the pack and its discovery in the other half. ‘I‘ltl> efjffect i l l its fitlal form is as follows :Two assistants are invited to helpandstand on the right and left of the performer.Between them is a small table, preferably with a cloth on it. The performer writes a prediction on, a small card, places itin an envelope, seals it and hands it to athirdmember of theaudience. A pack of cards is shuffled andthe assistant onthe performer’s left is asked to deal twenty-six cards on to the table.Theperformerexplainsthatas the Jokerhasbeenremovedthepackcontains fifty-two cards. The twenty-six cards having beendealt,the assistant is asked tosquare the packet upand place itonthetable.The performertakestheremainingcards and, remarks thatas the pack contained 52 cardsand 26 have been dealt from it, there should be 26 left, but to makesure thatthe pack is completehe will count them. He does so and there are is placedon found to be 26 cards.Thispacket the table in front of the second assistant. The first assistant (onthe performer’s left) is asked to think of any number from 1 to 26, and the performer takes the first packet of cards and commencestocountthem,askingthe assistant to stop him when the thought-of number is reached. The assistant, in due course, says, ”
“
Stop!” andtheperformer stops counting the cards, replacing the packet the on table. Supposing that the selected number is ‘ Eleven ’, the performer writes 11 ’ on small a card, This is the ‘ 11 ’ packet ”. Thiscar$ saying, is either laid onthetableor placed in asmall clip behind the cards. Theperformer now turnstothe assistant on the right and requests him to think of a number to count the from 1 to 26 andthenproceeds second packet in the same way. When the assistant calls “ Stop!” the performer stops counting and places the packet on the table and writes the number selected on a second card, this :n turnbeingplacedbehindthesecondpacket. ‘We will assume that in this case the selected number is ‘ 9 ’. Taking the left packet, the performer remarks, This is the ‘ 1 1 ’ packet, please note the name off eleven, and suit of the 1 lth card. He counts cards and asks the first assistant to note this card; this is done in such a way as to make it clear that the performer does not see either the face or the back of thecard.Thecard beingnoted,the packet is squaredupand shuffled and replaced onthetable.Theperformerthenasksthe first assistant whathewouldthink of Magicif the performerremoved the selected cardfromthe packet without touching it and then transferred it to the packet on the performer’s right and placed it nine from the top of that packet? The answer will probably be that that would indeed be magic! The performermakesapassover the cards but does not touch either packet and remarks that the miracle has been accomplished. He picks u p the first packet,remarking that if hehas been successful there should now be 25 cards only and the card selected shouldbe missing, “ I will therefore runthroughthecards, face up, and count them; if you see -yourcard, please stop face up me ”. Theperformerturnsthepacket 25 only and andcounts the cards.Thereare “
“
“
26 the chosenone is foundtobe missing. The second assistant is asked to take the second packet and count them over aloud and when he comes to the 9th card to deal it face down on the table, then to. cany on and complete the count. He .does this ,and finds that he has twenty-seven cards.The first ’assistant is now asked to name the selected card and then the 9th card is turned face up and found to correspond. The third and spectator is then asked to open the envelope read the prediction. He readsoutthename of the selected card. In. the above there are no suspicious moves and it is quite clear that nocardsarepalmed.The audienceresponse is invariablyeverythingthat a Magician could wish for. The Explanation. Two duplicate cards ‘are require?!, say, queen of clubs. One is roughened on thc face. One indifferent card is also rougherd on the face and two others are roughened on their backs; it is as, well that these last-mentionedcardsshouldhave relative values so that the performercan recognise themwith 10 of ipades. One of these ease, saythe9and car‘dsis placedonthe treated Qoeen of Clubs. Theother is placedonthe indifferent cardthat is ‘roughened on its face. The unroughened sides or of thefour Cards are polishedwithSimoniz some similar car polish, to accord with the usual rough and smooth ’ principle. The pack is then assembled as follows :The indifferent cardcoveringthe roighened queen of clubs is placed in the25th . position from the top, whilst the roughened queen is placed 26th. It shouldbenoted that in this position the ‘‘ slicked surfaces ‘are together, so that if the pack is dealt the cards move freely, but if their relative positions ,are reuersed, they will adhere and be dealt as one card. The 27th and 28thcardsare indifferent, the Processed pair being placed at 29th position, the Femaining cards in any order, save the duplicate queen of clubs which is placed at the 52nd position. Temporarily the top card. is transferred to the bottom so as to conceal the presence of the queen of clubs. The performer commences by writing his prediction Queen of Clubs ” on the card which is then sealed inside an envelope. The pack is now false shuffled so as to leave the set-up undisturbed with theexception that the bottomcard is restored to its proper position ontop of the pack.The first assistant is asked to deal 26 cardsHe does so andthe result of the deal is to reverse the order of the cards dealt so that the 25th and 26thcardsare left ontopwith their roughened surfaces in contact. Th.ey can therefore becounted as onewhenthepacket is later counted bytheperformer.Theperformertakes the remaining cards and in the pretext of checking the number,countsthemoutaloud.The first and secondcards are thumbed off into the the processed pair are right hand. and next thumbd of€ withpressure and placed undev the ’
two already held; the remainder of the cards are countedontop of those in the right hand. Misdirection is obtainedherebycounting the first three beforethe assistant onthe,performer’s right, and then turning to the left, p the fourth card is counted; the remaining cards’ arethen countedbeforethe assistant onthe left. The third card (really two) is fact that the pIaced below the first two cards in the right hand gives neither assistant the possible chance of seeIf the ing that there ismore than one card. processed pair wereusedin the 27thposition there is always that possibility. With the count cogcluded, the performer w h e n closing the packet reverse6 the position of the two bottomcards so thatthe “ slick surfaces are in contact and they will deal as two cardswhen the packet is nextcounted.The result of this count also leaves the duplicate unprocessed queen of clubs on top of the packet. This packet is placed down. and the firstpicked “
”
.
”
Flashback ! P stands for Pepper
EGYPTIAN H A L L , ‘L
The New -
”
and
“
The Wonderful.”
- - - .-~
__
”
‘ I
U B 1’
PROFESSOR PEPPER AND
T. W. T O B I N . Admission. FAUTEUILS,s/- STALLS,3/BALCONY, I/FAMILY SOFAS, 3 Seats:
AREA,2/-
ix
I/-
SE.ITS may be bon!xd a t 3I;tchell’s. Old I30r.d Street: Austin’s Ticket Office, S t . Jnn1e-i’ Hall ; br at the Box Oifice, Egyptian Hall, from 1 1 to 5.
N O C H A R G E FOR BOOKING.
From the J.B. Findlay Collection
27 up,the assistant beingaskedto select mentally any numberbetween 1 and 26 andtostopthe the cards. The performer, counts he as performer proceeds to count the packet out loud, the- top cards being, the processed pair come off as one : theremainingcardscounted are placed on top of these cards, so that when the performer is told to ' stop ', the processed queen of clubs willnow occupy'the selected position fromthe top. The packet is replacedron the table and the number selected written on a piece of card. .A similar process is repeatedwith the second packet andassistant. He stopstheperformer at ' 9 ' (say) and the cards counted off .are replaced on the remainder and the result of this count is toplace the duplicate queen of clubs atthe requirednumberfromthe top.Thispacket is not touched again by the performer. The second number -is now written ona piece of card. The performer piCks up the first packet and counting down to the selected number, w i t h o dr e v e r s i n g the order of the cards, asks the assistant to note the valueandsuit of thecard at that position. Whenthe selected. number is reachedthe two processed cardsareseparatedbytheperformer and thus it is the queen of clubs which is noted. The oards counted off are replaced and, as their order has n9t been disturbed, the processed queen of clubs is replacedonits partner's roughened back.Thispacketcan now be shuffled if care is tak.en toensure sofficient pressure so that the processed cardsarekepttogether. Thispacket isnow replacedonthetable and the business follows toperform the miracle of the transposition of the selected card. The packet is taken acnd turned face upwards,the cardsbeingcounted bytheperfonner;'ashe knowsthevalue of the card (see ante) which covers the queen of clubs, be applies the necessaryamount of pressurewhenthis card is reached and the pair come off as one. There are, of course, twenty-five cardsonlyandthequeen of clubs has disappeared! The second assistant isnow asked to count the cards in the second packet. The duplicate queen of clubs is ready in theninth (or other requiredposition)and is dealt face downonto the table,and,asthe processed pairhavebeen transposed andhave " slick " surfacestogether, theycountastwo.This assistant therefore finds isnow that he has 27 cards.Theninthcard turned up and found to be the selected card. The prediction is read and found to ,be coqrect. I have includedthe prediction of thecard to be chosenbecause both ,Hull andTrevorHall attached importance to this feature of the effect. For myself .I neverinclude this featurebecause it seems thatan intelligent observer will say " As hepredicted thecard,its selection must havebeenforced in someway ". I thinkthat the effect is improved by leaving this feature out, for the routine as described seems to preclude any possibility of a force. Butthat is onlya personal opinion. Many, I know, willdiffer from '
meon this point. As a point of' interest, Ralph Hull. did not use the ' rough and smooth ' principle in this effect. He moistened the duplicate force card on its face withsaliva,thuscausingthecard below it to adhere. TrevorHallcountedthewhole,packet at the commencement and his versiondoesnotinclude a count of the second packet of twenty-six. This I thinkwasaweakness. In this versionboth packets are counted andthelong business of counting the whole pack is avoided. This effect wasa brilliant conceptiop and,in cards my opinion, one of the finesteffects, W for close-up work that I know.. Believe .Ae, the effect on an audience is staggering. Editor's Note. It was my great friend Francis Haxton who,afterwitnessing this effect in His Honour's hands at Harrogate, told me how excellent it was. Since receiving the details of the effect I have used it a number of times but - placing of the haveadoptedanalternative duplicate card and its mate. . This placing automaticallybrings into playthe 27th 'card inthe second heap. The set-up of the cards. is as follows :Twenty-four cards Twenty-fifth card roughened on the back Twenty-sixth c a d is the force card and this is roughened on the face Twenty-fivecards Fifty-second card is a duplicate of the force card and is roughened on its face Fifty-third card is roughened on, the back The pack is false shuffled and the first twentysix cards dealt off as in the previous version, in fact in the handling of this first heap there is no deviation from the first method. With the remaining cards the procedure differs, and at the point where the performer mentions. that he has twenty-sixcardsremaininghe turns these cards face up and. starts counting them.one at atime fromonehand to theother. As the fifty-second and fifty-third cards are processed, these are dealt witha slight thumb pressure asonecard, theothercardsfollowing until the audience see that twenty-six cards have been deliberately counted.The hea.p is then.placed face down upon fhe table.Whenthe choice of anumber falls on this heap,the processed cards in being countedfrom thetopareseparated,thuswhen the count is completed and the cards replaced, the polished surfaces instead of the roughened surfaces will be together, and so whenthe final stage of the effect takes place, the spectator can pick up this pile and, count twenty-seven cards. WhenHis Honourand myselfwere together ht the recent MagicCircleTelevision broadcast, he assured me that this was an improvement. It is not putforward as such,butratherasan alternative more suited to certain types of presentation. Whichever way you do it, you have a really excellent and most mydfying, effect.-P. W.
28
I believe an honestshowmanisone of the greatest works of God. H e devotes his life towardsmakingothers happy.It seems to me that to lie down in the final sleep, knowing that he has done n o one ill, robbed no one,ground down no poor, nor taken bread from the mouths of babies, but through all his life has made men, women and childrenlaugh and forget sorrow, has lived .the best and fairest life wLLic3a person can live I think when 1 am sitting in h e evening of life laststand :’, an:!t:-e grim, relentless -at t i “ Old Man ” stands beckoning to me to make the lastshort jump-to takethe last bow and final
I have curtain call-and the world hearsthat passed on-that millions will remember me for tne help and pleasure I gave them, for the sunshine I brougni lnio their lives; forthe pleasant 1.ours the;.^ s p a - a.:;sy flea t ~ great e pain of Lheir, lives-grim struggle. --i o be rememberea lor havingbroughtforth smiles, instead of tears; joy instead of pain; it seems to me a goodly lifewell spent.The joys I gave will surely remain clear and memory would fondly bind in their golden charm.
“
waB ! ! ’ & Thisangle to the old Living andDead test was promptedbythecoriespondence in Bruce Elliott’s ‘ * Phoenix ”, on different methods of locating .a glass of waterfromamong half a dozen other glasses of water.‘ Requirements are : Two memo. pads, a packet of envelopes (I use wage env$opes),ablack pencil anda red pencil, two members of the audience, and that’s all-oh! you’ll need at least half a dozen people in the audience. Having got a member of the audience seated on each side of the stage, this is my patter :Would youimagine, please (tomanon that you’re giving a party,andthat right), you’re providing drinks for half a dozen guests? And would you, to show you really mean it-by D 0 really meanit,don’t you?” theway,you (He’llsay Yes if you’re serious enough aboutit) would you write with this black (Give pencil on half a dozen slips from this pad him one pad) . the name of thedrinks you propose to provide? One drink to each slip. if you Make itallthesamedrinkthroughout, like, or make it a selection of the most exp3ns:vP drinksyou can thinkof. It’s not costing you (Whilehe’swriting, with the black much ”. And would you, pencil, turn to man on left.) (red Mr. Left,takethis padand this pencil and write on one sheet $he word pencil) ‘ POISON ’ ? ” (There will bea little delay while Mr. Right thinks of and writes the name of his drinks. Mr. Left will have written his one wo,rd fairly quickly, so attention must centre on h’m while the otker rnan is writing his six slips.) Xr. Left has written his one word‘ POISON ’-in red pencil on his slip. Now, Mr.: “
”
“
“
”
“
”
“
“
”
‘ l
,
“
Left, if you want to be really bloodthirsiy,and a bit hammy, you could draw a skull and cross(This gives Mr. bones on your slip, as well ”. Right time to get his slips written. Turn to Mr. Rightand give ‘himabouta dozen envelopes; anyway, more than enough for his requirements.) i‘ Mr. Right, will you please put each slip. in an envelope and seal itup well?” (Turn to man on left. ) ‘‘ And will youputyour slip in an envelope, too?” (He’ll say he hasn’t an envelope to put it in, so hand him the rest of the envelopes-all of them-that you’re holding. ) Now, Mr. Right, will you take’ M:. Left’s envelope and mix it up with the ones you put your drinks into? Now you’ve got seven envelopes, haven’t you? Each containing a drink,althoughone of them’s got poison init? O.K., then mix them up again,anddistribute them to seven people in the audience . (Now address audience.) The position is that Mr. Right here has invited six friends to have a drink, and a seventh person to take a cup of cold poison. Don’t openyour envelopes yet -think of the shock if you’,ue got the poisoned one! Now I’m coming down there to ieewhat we candoabout it. Wedon’twanta poisoned corpse lying about the place; so I’ll take on any symptomstheremay be myself ”. (Go down to audience andfeelthe pulse of each person who has an envelope. When coming upon the r ( poison envelope, feel the holder’s pulse and continue :) D’you feel allright? You do? Good! I’ll be back in a minute ”. (Goroundall envelope holders before coming back to him,then continue :) YO~Jmay think you feel allright,but you don’t feel so good to me. Here, you fie1 VI^ “
”
“
”
“
“
29
F klight
pulse; I seem to have taken on your symptoms ” . (.He feels performer’s pulse, which slows down andthenstops.) You see?Yououghtto be dead. Now I’m dead, instead. Fine thing to do, kill the magician! Wish I’d neverstarted this ”. (Make thiS man announce that your pulse really hasstopped.) I thinkyou’ve got the poison there-better open your envelope and make sure . (He opens theenvelope, which containsthe POISON slip, sure enough. Performer makes him announceit,andreturns to stage.) So that’s what comes of serving up poison, you see. The moral seems to be that you. should havea magician there to protect you-and, by (Taking out diary.) (‘ I have a the way case any of youare number of vacantdates,in thinking of havingaparty . . . . Well, it was worth telling you, anyway ”. (Lay hand on shoulder of man who wrote the ‘ ‘ drinks slips, and continue :) ‘‘ And asfor Mr. Right,here, who so kindly invited six of you to have a drink-an expensive drink-with him, he wants me to tell you that he’ll be wajting for you six gentlemen by the bar afterwards, to redeem his I.O.U. slips andbuy you a drink ”. (Cross to Mr. Left.) While Mr. Left, anxioustomake upfor his vain bid to bump somebody off, will no doubtstanddrinksall round . That’s all. The envelopes? Half of them are identifiable by having the flap cut rounded or pointed, or by
pencil markinonecorner. It doesn’t matter who gets which envelopes. Both men must have different styles of envelope, and there is no suspicion that one identifiable envelope is forced. It will be remembered afterwards that each man had a bundle of envelopes from which to pick. The pulse-stopping is well-known among magicians, of course, but l would like to pass on beautifully a simple method which Graham Adams showed to me years ago. While the writing is being done on the slips, the performer takes his handkerchief from an inside breast pocket, mops his brow or blows his nose, rolls handkerchief into a balland stuffs it under his arm-pit instead of returning it to inside pocket. Then when the time comes tostopthe pulse, a gentle pressure of that particular arm to the side willslow and stop the circulation. Rave the pulse felt with a finger, not a thumb. There is a pulse in the thumb itself which cannot be distinguished from the patient’s wrist pulse. Finally : this may seem a simple, silly thing, butit’sfunny if the helpers are well-known characters, and it gets plenty of laughs throughout. Laughs are too few in the average mentalist’s repertoire, so give it a try. I’m finding itgoes down well; you may find the same. P.S.-I can well imagine William McC. making this into a riot comparable with his cod X-ray item.
In the December issue of the Pentagrum I read with great interest and enjoyment Ron Baillie’s Minds in Harmony and it broughtback to me the following musical item which I have worked for at least fifteen years. On a blackboard you have numbers down the left-handside,.from l to S. You also require a bowler hatand eight small cards.On each of the cards you write popular tunes called out by As each card is members of the audience. written upon you put it into a hat. When all tke cards arethusdeposited,aspectator is asked to hol-l the hat high up andshake it in order to You then dipin, taking one shuffle thecards. card at atime,andas each card is takenthe name of thetune is written on theblackboard from top to bottom. Thehat is laid aside and the assistant is now asked to sit down on a chair on the stage. A set of cards, post .card size, is thenshown. These are numbered from l to 8 , and the figures are as largeas possible. There is also anumber
marked in the index corner of each card. These cards are now fanned and a spectator peeks at a corner only. Noting the number, he concentrates on thetune corresponding to that number on tile board, When he feels he has concmtrated c n m $ he simply says, (‘ Right!” andat-that, t.1-e pianist x h o has been sitting blindfolded a: the piano, begins to play the selected tune. Rkhod. Any pianist is suitable, so long as he canstruma few bars of any popular songjazz number-Scot’s song-or one of type a applicable to your audience. If he is known to rhe audience, and not to you, all the better. You reqxest him to play the tune agreed upon when he hearsthevolunteer assistant saythe Right!” As the pianist is blindfolded, word and you do not ‘speak after the assistant has peeked at the post cards, the mystery is there. What really happens is that you n ~ u s have t fhe tune selected either by genuine choice or inference. In thelater instance you-appear to hear it called outand you repeat ( ? ) it,as for
“
“
”
“
”
“
”
”
“
”
“
”
l‘
“
”
30 example, “ Killarney?’ ’ . In sayingthenam? pf thetune, youlooktowardsone side of the Thank you auJience, and then simply add, and .write .itonacard.The deed is done. In manyperformancesonlyon about half-a-dozen occasions have I had to “prompt” any audience. is dropped The-rest is easy. Eachsmallcard into the hat exceptthe special one, whichgoes intothesweatband.The postcardsarefaked inasmuch as each inddx number is the same. By cnly peekingthevolunteerdoesn’t see the rest Of cf the cardwiththe large numberon it. course, shouldhe select the onecard on which the index nzrnber and the other number are the same,then you can allowhim to pullthecard away from the fan and retain it.
Thehat beingheldhighup, there is ample opportunity for picking out‘the right tune at -the right time. Supposeyourfakecardnumber is 4, then all you have to do is to bring your tune oct so that it is written ,against number 4 on the blackboard. When -t:?e pianist has successfully read the thoughts of the assistant andplayedovera few bars of the selecte‘d tune,youaskthevolunteer if it is correct. As hemust reply in the affirmaThank you!”and at the tive, you thensay same tirnz wh’p the blindfold off the pianist and take his (of her)hand so that he can-stand up in ‘front of the*audience.Then bow andthank ’the piahist, who walks off with no idea of how i i happened.
“ THEKEN BROOKEMETHOD FOR PERFORMING ‘ KUDOS ’ OR AS IT IS BASICALLY KNOWN ‘ T H E ’ PROBLEM OF THE THREE POKER (PublishedbyKen Brooke, 160, WestCHIPS ’ gate,Bradford,Yorks. Price 5 / - alone ; if .supplied with “ Kudos ’” 816 the two). All ’ of our readers will be acquainted,with.the principle of this fine effect t h a t is to be foundin magical literatureinmany disguises, andas is always the case, with a good effect, there is-always some little it slantorangle coming t o lightthatcanstrengthen withcertaintypes of presentation and turn it into an ibsoluble miracle. A slight drawback to the effect has always been the fact that the number of cardsor what have you remaining should be visible. This drawback, Mr. Broohe,inamostsubtlemannerhas eliminated,and,the keenestobserver after seeinga performance of the effect as describedwouldbe willing t o swear thatthe performe’r has no opportunity of counting, or even seeing the cards left over. The effect is presented as one of psychometry, and every detail of presentation has been covered in a manuscript that runs (.at a guess) to approximatefour thousand words. Certain angles for publicising the performer arebroughtinandcredittoothers is fully givenwhere i t is due. Needless t o say,,aswithother effects described by Mr. Brooke, this is complete a lesson inmagic.. Thosereaders who take myadvice and get . a copy of this low priced effectwill not only have nocause t o regret the expenditure, but they will also addamost baffling effect t o theirrepertoire.
(andquiterightlytoo !) to expose and unmaskthose who under the guise of mediums,mindreaders and soothsayers tradedonthecredulity of the everready to believe public. Thefactthat Mr. Rinnstarted hisivork a ta n earlyagebrought him- intouchwithmany whose names are almost legendry, the Fox sisters, Lulu HurstandStuartCumberland. In his many investigations and. subsequent exposures theauthor was assisted by hisgreatfriendthelate Harry Houdini, and-the book has,asub-titling of Houdini and I among the Spiritualists ”. Two salientpointsareb’roughthome tothe reader as he travelsthroughthe book.The first is thatthe‘presentation of the marvellous(from the point of view of. phenomenaalleged t o bepsychic) wouldseem to be greaterin.pastyears thanatthe present.This to a large extent is amatter of cause and effect, forwith the exposure andpublication of means forpresenting pseudopsychical’phenomena,those who traffic in it havebeenforced to abandonthe more physical side and suchitems as clairvoyance. Theotherpoint,and a point that is universal is that no amount of exposure A fraudulent will stem the belief of the credulous. mediumcaneven receive aterm of imprisonment ( i t hashappenedin thiscountry,and upon release, start uponhisorhertricks. I t isimDossible inthe spaceallotted t o give an adequate review of this mostinterestingandinformative bookwhichcontains many highlights of interest t o magicians, and especiallythose who areinterested inpsuedopsychics. Call for specialmentiondoescbme whenwe read of the muscle reading feats of WashingtonIrvingBishop, ofhissensationalcarriagedrive (a piece of publicity that wouldmakeheadlines to-day) and of histragicdeath. Rinn’sdescription of Paladino’sseances are also of greatinterest. Mr. Rinnwould seem t o beuniqueinhisfervour for tracking down and exposing the ,fraudulent,and one cannotthink of any counterDartin thiscountry. To all our readersinterestedinthepseudooccult we recommend thereading of thisillustratedand well bound volume of some 618 pages.
“
”
’
”.
“ PSYCHOANALYSIS ” by Chaaclu (published by George Armstrong, price lO/-). Inthisbooklet,Chandu,aDutchmentalist, detjils apresentationinwhichtheperformer,apparently by means of phychoanalysis is able t o read the mind of thespectator. The techniqueforacquiring the information within the spectator’s mind is not new, ‘ b u t the dressing and angle of presentation make it a worthwhile effort. Although in detailing the effect, t h a mentalist restricts the choice of the- spectator such a restriction could be removed and the range of choice increased. Forthose wholookforasomewhat different type of presentation we recommend this, effect. “ SIXTY YEARS OF PSYCHICAL RESEARCH ’’ by Joseph F. Rinn (publishedbyTruth SeekerCo., New York, price 35/-) . Sixtyyears of PsychicalResearch .is hardlythe correcttitle of this book ; abettertitlemfghthave been “ Sixty Years of PsychicalDebunking ’ for Mr. Rinnwithagoodknowledge of conjuringhassetout
“
“
,
SCARNEI ON -CARD TRICKS ” by John S a m e (published by Crown Publishers, New York; price 21/-) I n this stiff coveredbook of some 307 pages. Mr Scarne has detailed a matter of some one hundred and fifty-five card effects. As i t has beenwrittenforthe laymanrather thanthe magician skill has’ been removed and every effect. is self working. Whether maqicims in Americawill be grateful for such a wholesalegift of card magic tothe public a t large is a “
31
In our last issue, the combined efforts of our friendsRon Rajllie and Leslie Mayallowed us no roomto add our thanks for the fine number theyproduced. In fact,Jack of spaceforced us to holdoverone .ofLeslie’s contributions. This will appearin-theFebruarynumber.Thanks again,Ronand Leslie. The official opening of the newMagic Circle headquarterstookplace anJanuary2nd,and was publicised well in the press and also a television inwhich we, inselect *company of Trevor Hall, Gus Davenport, His Honour Erneit Wethered and Edward Victor appeared. The splendid work of FrancisWhite in welding the show together,plusthe work of Barrie Edgar as producer, is something that we shall not forget. In this new abode it would seem that the ‘ Circle ’ forthe first time has accommodation that enables its clubroom activities to be carried onwithout in any wayencroachingpponthe LibraryandtheMuseum. In the next number we are reviewing among other things three effects of Dr. Daley’s Stars of .which havebeenpublished in the Magic series. In the sterling equivalent of Americancurrency these routines would seem to be quite costly, and we know of many who will What, pay thirty-five shillings for a say, routine!” The samepersons will payneverthelesstwice orthreetimesthatamountfor some trick or the other that has been knocked up from plywood and paintedtolook like nothingon earth; a passingnovelty that will appear in due time at the annual sale of the society, guild or wtateverit is to which theybelong.C3ming back to the routines in questioa, and taking one Cards up Sleeve ”, wefind in particular,the a n effect, technically withinthe capabilities of those who are willing to give the necessary practice. Aneffect that, oncemastered,can be performed anywhere with any cards, and an effect that, well performed, will makeareputation for its perforiner. Talking of such effects as the Cardsup Cards to Pocket bringsto Sleeve and the our mind that the. passing of the final card in a truly mugicul way has never received the attention it deserves. Inourthirty oddyears of magic we have seen manysplendid versions of the effects mentioned, but this final card, though the quality- of its vanish may have been good,hasnot lived up to the standard of that part of the trick that preceded it. We are glad to welcomein this issue an effect of our friend Jimmy Findlay. from the pen Though his contributions as a bibliophile are well known,onedoesnot find enough of his Music, Maestro!” writiflgs in other directions. appearing in this issueis a nicepiece of Findlay magic thataddsto the stock of mental-cum’
“
”
“
musical effects. Wehavea promise from A1 Koran of a lovely ring an;d coinroQtine‘for a future issue. A1 is one of the greatest enthusiasts we know, an enthusiast whose enthusiasm is contagious, as those whowere present at his Magic Circle lecture on Card Technique .will know. It was a demonstration that will long be remembered. From our friend Eric de la Mare we hope toreceive shortl~7 hisfinely routined cone and ball cSectand also his capandpence routine. Will Dexter, who has now settled down in (we believe) his native City of ‘Nottingham, tells us tkat heis busy working on a novel. Wefeel all on the more grateful that withsuchabigjob hand he can have time to sit down and send us along an effect. The MagicCircle Festival of Magicwill take placea little later this year,the second instead of tk-efirstweekof October. The Festival Committee, with Lewis. Messent as Secretary,have already made a start with their preparations, and we shall look forwardtoa really great feast of ma (sic. FDr the third year there will bea Festival of M a g i in Sutton, and .for the third year, Francis VWte ’ will actascompere.The show includes Lionel King, TommyCooper,Raoul,Stavordale Puppets, Stanley Watson, Elizabeth, Warlock an3 ourselves. Tbe January -,Tiugi, which arrived this morning, still seems to us to .be the tops in Society magazines. The presentissue ha$ a cms-word puzzlefeature which shoyld prove popular with members. “
”
“
“
”
“
”
“
UZUaYd-Bdand-& continued from page 30
point outside this teview, nevertheless we felt a twinge when we saw effects like Stewart James’s “ MiraskiH ” so routined that even the normally necessary palming of cards is unnecessary. It is impossible t o detail the effects in question, butitcan be truthfully said thatthe cream of nonsleight of hand cat-d effects are within its covers, including a version of ‘‘ Out of this World ”. Effects however that deserve special mention are “ Quadruple Coincidence ” , “ The Spirit Card Trick ” “ The Great Poker .&monstration ” Power of Thought ” and “ Dead Man’s Hand ” (now named Wild Bill Hickock’s Hand). This last named effect is an exceptionally good party piece and during the War when working in a Mess,we used toget aterrific and ear shattering climax bygetting’ a fellow officer t o .fire a .45 blank a t t h e right moment. To the newcomer to magic here is a book that will be the Open Sesame t o subtle card magic, lvhilst to the more knowledgable a reminder 01 m a n y things noted andfoigotten. The book is profusely but unnecessarily illustrated, but we presume thatwith abookstallpublication the addition of something to the printed matter has a sales value. Well recommended. “
“
”
32 I
LOOK AT ‘THIS! An unsolicitedtestimonial
from KENDE
COURCY
“ PSYCHOANALYSIS ” is superb; I havealready worked .it and it has baffled everyone. Altogether, the effect is unusually good and, du2 to thc openin,g lecture (given in the book) the audience d o n.ot look upon it as ‘ just another trick To the practical mentalist, or eventothe magician who is looking for a second actfordinnerengagements,itshouldprovea God-send. And I’m personallygrateful that it issomethingright away from the ‘ pushbutton ’ class. In’other words, it won’t,be “ flogged to death ”. I.
See previous advertisements for description of the effect, or sendstampedenvelope for leaflet. Better still, BUY A COPY NOW.
10/- ;
YOU CAN’T AFFORD TO MISS! EXPERT CARD TECHNIQUE (Hugard-Braue), new edition, 431500 PP SCARNE ON CARD TRlCKS,great non-sleightfeats, 308 pp:‘ 21160 YEARSOF PSYCHICAL RESEARCH(Rinn), exposures, 618 pp. 351PRACTICALMENTAL EFFECTS(knnemann) ”319 pp. 451KEITH CLARK’S NITECLUB ACTfinerouti‘nes 64 pp. . . 251THEcEXPERT AT THE CARD T A B i E (Erdnase) ’ 218. pp. . . 121SHOWMANSHIP FOR MAGICIANS (Fitzkee), 1i7 pp. . . 351THE MAGIC ART (Holmes) great value 235 pp. . . .. 141ENCYCLOPEDIA OF CARD’ TRICKS (HLgard), 402 pp. . . 351MODERN MAGICMANUAL (Hugard) excellent 345 pp. . 251THE CARD MAGIC OF LE PAUL, 22b pp., 313’ill. . . .. 601MY BEST (Thompson) remarkable collection, 384 pp. . . 451MAGICBY HOLYAM (Mayoh),orientaleffects, 137 pp., 200 351-
::
.
GEMS OF MENTAL MAGIC (Buckley), 132 pp., was 431-,201-201(The abovebooks are all cloth-bound, except as noted) Please rkmit to Mr Robertson Keene c10 Riverside, Victoria the dooks promptly from the h a d , Isle of Wight, &d receive UnitedStatcs.
Postage 3d.
from thepublishers
FLEMING BOOK COMPANY, AVE., YORK, PA.,U.S.A.
THE MAGIC WAND PUB’LISHING CO.,
l
11, MONASTERY GARDENS, ENFIELD,
MIDDX.
“ROUGH AND SMOOTHPOSSIBILITIES By Tun Hock Chum
PETER
”
A booklet dealing with the methods and application of the modern principle,by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM
404/408
Croydon
ROAD Surrey
BROCHURES, LETTERPRINTED and PUBLICITY designed to please ! Special Jumbo CardTricks made up. Advertising ideas, Copywriting, Line drawings.
HEADS
0
JACK LAMONTE Telephone : TOT7742
+’
is publishedon the 24th of eachmonthand can be obtained direct from the publishers for 1/1 per single copy. Annual Subscription It/post free. PUBLISHED BY:
The Magic Circle President : HisGrace theDuke of Somerset, D.S.O.. O.B.E., J.P., M.I.M.C. Vice-President:Douglas Craggs,Ewq., M.I.M.C. Clubroom and Library and Museum :
St. Ermin’s Hotel, Caxton Street, S.W.1.
The Magic Wand Publishing Co., 6 11, Monastery Gardens, Enfield, Middlesex.
ndagical Theatre :
Manusoripts for publication and books for review should be sent to the: EDITORIAL ADDRBSS:
Particulars from Hon. Secretary :
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
KingGeorge’sHall,
W.C.
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic WandPublications
The MGic Wand, Quarterly. Fer copy 318 p.p. Annualsubscription 14/6. The Wizard, 36 pagesmonthly. Percopy 211 P.P. 6 month, 1216, Year 241John Romsay’s Cups h Balls (Fareh1 15/6 WhereHoudtnl Was Wrong (Sardina) 2016 Convincing Coin Magic (Farelli) . . 17/10 JACK HUGHES Mastered Amazement 2, EVELYN AVENUE, COLINDALE, . 10/3 (Koran & Lamonte) LONDON. N.W.9. . . 1013 Bohleno’s Mysteries (Bohlen) Thanks To Leipzig (Farelli) . . l013 G e q e Amstrong’s Premonition Psychoanalysis Chandu’s .. 1013 1013 Entertaining With Hypnotism (lbexter) 1013 Chailsnge .Instant Hypnotism & Mass CONJURING BOOKS FOR SALE Hypnotism .. . 211-513 Strictly Magic (Eddik Joskph) . ’ OLD A N D NEW. Let m e know your wants Stooging Around (guthard) LIST FREE FOR STAMPED ENVELOPE 26 Living & Dead Tests(Garrett) 5/3 513 No Callers Jamesosophy (Stewart James) .. . . 5/3 Year Book 48/49 (few only) . . ,513 G E O R GJ EE N N E S S Stunts With Stage Money (Lamonte) . 5/3 47 INVERNESS AVENUE, Tricks of the Trade (Armstrong) . . 2/7 From the publishers ENFIELD, MIDDLESEX THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield. Middlesex.
.
.:.
.
28, WARWICK RD., LONDON, NlS I
PENTAGRAM
will be pleased to send you details of his verylatesteffectsandallhisoldfavourites in returnforstamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
By a MAGICIAN who knows your requiremento
0
WARLOCK’S
JACK HUGHES
WORK
ART
728, MADISON
Every Advertiser’s goods are fu1,ly endorsed b y this Bulletin Published bytheproprietmThe
Magic WandPublishing ComDany. 11. Manastern Garden!. Enfield..Middlesex, Shioky. Yorkshire W d k a md Son (Priiterr) Ltd.: .WellCroft.
and printed byHerbert
*’
33
PENTAGRAM An independent monthly bulletin for all who want good magic
v!!.5 NB. 5 A few weeks ago, after a long illness, Arthur Sherwoodpassedaway. The moderngeneration must very much regret the fact that they had no chance of seeing his faultless’ and original work. Underthepseudonym of ArthurJames,he joinedthe Magic Circle in 1921, but it wasnot until-l924 that he appeared as a performer before the members. The occasion, “ FirstAppearance Night ”, was a closed meeting; strangely enough we gave a pianoforte selection as an overture for the threememberswho were toappear.Arthur Sherwood’sabilitycoupled with his originality earnedhimanovationfrom those present,and that night he joined the ‘ Greats ’ of Magic. He wasamodestand retiring soul, and his presentation had a delightful spontaneity.He was at his best in thedrawing room or concert hall.He disdained apparatusasapparatus,and in this particular respect his beautiful silk Simple ’ was his sequence ‘ Magic Pureand masterpiece. The effect which we are describing
formed part of a lecture thathegavetothe Magic Circle in1930. Init, the reader willsee how ‘Sherwoodwasalways two orthreemoves ahead of his audience. Apart from the cardboard tube which figures in the effect, and, which obviously is free from any chicanery (note, how always the silks are dropped into the tube) there is nothing to suggest apparatus as apparatus. We are greatly indebted to the Cquncil of the Magic Circle for permission to re-publish this very fine effect: Despite his many inventions Sherwood wrote very little, in fact this is the only effect of his to be described in exact detail. His ‘ Chocolate Box ’ effect that can be found in Greater Magic is an incorrect explanation of his original workirig. We had always suspected as much and a few days before we joined the Forces way back a full day with Arthur in 1942 we spent Sherwood and on this occasion he confirmed this fact. We greatlymournhis passing.
I have divided the effect into numbered paragraphs and in corresponding numbered paragraph have detailed asminutelyas possible the necessary moves and sleights.
FAKING AND CONSTRUCTION. Tube. This is acardboardtube 13in. high and 6in. in diameter. It is decorated on the outside with rings of coloured paper, three of which colours must coincide with thered,greenand purple silks used. Stretchedmidway across the inside of the tube are strands of thin black cotton mesh should forming a l&in.square mesh.This be fairly loose. Disc. This is made of a circular piece of three-ply wood 12in. in diameter.There is a hole in the centre to take a handle which projects of the discis a reel, at the back.Ontheback of cordwitha round which is woundalength ring at aneendtoenable it tobe pulled, thus revolving the disc. The handle contains a device for realising aload of two silks* Thefront of
REQUIREMENTS. A tube. (described later.) A revolving disc. ,> A flower vase Stand. Red,green andpurple artificial flowers. Large glass tumbler. Sixwhite silks, Min.square. red Three green Three purple Three Wand. 1,
1 9
2,
P,
l ,
34 thedisc is coveredwithsegments of coloured paper.Whenthe disc isrevolvedthesecolours a disc of white. shouldblendtogethermaking The apparatus is so constructed that the handle can be removed. Flower Vase. This is reversible andhas a diagonaldivision mid-way down so that either end will hold water. Stand. A standwith two armsprojecting, on whichthe silks are displaed. A flat disc about 7in. in diameter is fixe to the top to form a platform upon which the flower vase rests.
green silk on rodis knotted in the same manner and the knot concealed in the folds. On body. In right waistcoat pocketa green anda red silk folded inside a white silk.This ioad is hereafter called Load No. 3.
Flashback t
B
Q stands for Quigley
Stanley R. Quigley, M.M.C.
PREPARATION. On table.
Tube, tumbler and disc. Tothe portion of the handle nearest to the back of the disc is attachedaload of awhite and apurple silk.,Thisload(hereafter called Load 1) is of course concealed from view. On stand.Flowervasecontainingartificial of vase flowersinwater. In theundersection are concealed a red silk knottedby two of its corners in theform of aring;throughthis red aslipknot, silk is agreen silk, knottedwith thus forming a chain of two rings. The remaining two corners of this green silk are also knotted with a genuine knot. This knot is hidden in the It will now red silk which is loopedthroughit. be seen that the greensilk has two knots in it, one a genuine knot and the other a slip knot. Of course the'slip knot is made with two opposite corners and 'the genuine knot with the remaining two corners. A purplesilkknottedintheform the vase. The of a ringcompletestheloadin silks are placed in the vase in the following order: red and green(looped together), purple.This load is hereafter called Load 2. On onerod four whitesilks. On tlie other rod a green and red silk. One of the white silks on rod is knotted by opposite corners in the form a t therearand conof a ring,theknotbeing cealed by thefolds of the silk. This knotmust The not, of course,heprematurely,exposed.
* KO
SOClETY ENTERTAINER LIVINGMARIONETTES CONJURING VENTRILOQUISM CHAPEAUGRAPHK PAPER MANIPULATION
Was greatly enioyed"-Hackney 8 Kingsland Cjazette "An excellent progrimme "-Tunetham Herald "A first-clssa entertainment ''--CO-OP Wheatsheaf "The Lion ofthe show"-Club Life
"
From he J.
B. Findlay Collection
printedexplanation of the release mechanismappeared. but forthe sak? of completeness we s i l l describe it with the aid of the accompanying drawings (page 35,. Inside the handle a hole was bored for a : e n g h of some four inches. Nextan openinghalf an inchlong was madein the side of thestick in su-h a manner that it met the fourinchlong opening. h piece ofiron wire was now inserted into the hole at the end of thestick, pushed along until it came to theslit in the side where it was taken and bent into L shaped form. The end piece of wire, by reason of the half inch slot, could now by moving the vertical part of the L eitherbe Rush with the e,nd of thestickorprotrude half aninch.The mxnnerof release should now heeasily understood.The silks were rolled into a snlallbundleand placed under the stick as in D. A piece of black cotton made into a loop of such size that i t went round the handle,between the vertical part of the L and the endof thestick, whilst theotherpart of the loop went over the projecting piece of wire.Themovement of the wire towards the disc meant that the projection was withdrawn, the loop slippedandthe bundlefell. There are somewhoin readingthismay query the need for such a device and suggest that the handle couldrest on top of the bundle. both handle and bundlebeing picked up together and later, the bundle relased. The point one must not overlookis thr fact that at oneend of the handle you have a twelve inchdisc which might accidentally b+ moved and cause the handle to move, thus upsetting such a set-up.-P.W.
35 &JETHOD, A hatand alarge laid ona chair.
handkerchief are borro\\,ed and
MOVES
A N D SLEIGHTS.
1. ’This
handkerchief is hereafter called ‘‘the borrowed handkerchief. Come forward with purple silk palmed in righthand,andwand, also in right hand. In placing hat and borrowed handkerchief on chair,the bulk of handkerchief is left behind thehatand one corner allowed tohang just inside far side of hat. The reason for this will be seen in No. 8 . 2. KO moves or sleights. The tube may be safely shown, as thecotton mesh is invisible a t a distance of a few feet. 3. No moves or sleights. ”
Tumbler and cardboard tubeareexhibited.
‘The tube is placed over the glass, a white silk taken from rod onstandand dropped into tube. This silk is pushed into the glass (which is covered with tube) with the wand.The tube is removed and casually shown t o be empty.White silk is seen in glass, thus proving no obstruction in tube. The cover is replaced over glass. Thepurplering on outside of tube is tapped in order to transfer the colour tothe whitesilk. The white silk is pushed once againintothe glass with the wand andthe cover again removed. Thewhite silk is found tohave become dyed purple,and is placed on the rod with red and green silks. ’
The purple, green and red silks aretaken from rod, rolled up and placed in glass. The disc is picked up from tableand revolved, demonstratingthe blending of the colours.
The handle is removed from the disc, which is now used as a tray.Thetube is placed on the dise. The silks in the glass are emptied intothetube. The empty glass is placed onthetableandthe disc and tube placed on top of the glass.
Theremaining three white silks on rod aretaken and rolled into a ball and placed into the borrowed handkerchief. It is explained to the audience that thesewhite silks are about to be dyed the colours of the flowers, red, green and purple.
A
4. Remove tube with left
3.
hand and transfer t o right, which is still palming purple silk. Load purple silk intotube. Cover glass with tube,tap purple ring on exterior of tube withwand.Placewhite silk intotubeandpretendto push it into glass. Actuallypush loaded purple silk through mesh, leaving white silk suspended. Remove cover, showing whitedyedpurple. Place purple silk onrod. No moves or sleights.
6 . Pick up disc and in doing so allow handle t o pass
over the top of the tube, and at same time operate the release inthe handle, which allows the load (No. 1) t o fall intotube.The size of the disc prevents this move beingseen. Pull oncord at rear of disc, which revolves. 7. Take handlefrom disc and place it on table. Pick up tube a t t o p with finger and thumb of left hand and transfer to right hand, the right hand taking it a t opposite end. Pick up disc withlefthand an 1 place tube thereon, reversing the .tube in doing so thus allowing silks t o fallinvisibly on to disc. Care must be takento see that the silks arenot prematurely exposed. Pick upthetumbler containing purple, green and red silks, and pour into tube. Place empty glass on tableand rest disc andtubeontop. 8 . Call attention by pointing withwand, to the fact thatthe disc andtubeare isolated by reason of theemptytumbler.This provides asuitable attitude for obtaining load No. 3 from, the right waistcoat pocket wih left handand palming it. Plck up the three white silks from rod and make into a compactparcel.Thebestmethod of doing this is to place one silk over the left fist which conceals theload, place the second white silk (whichcontainsthe secret knot) on top,andthelast white silk on top of this.They can.now be folded over andmade.into a parcel similar tothat palmed. They are now ready for production a t a later period. LVhile rolling the silks up, exchange for the palmed silks (load No. 3) ivhich are now exhibited inleft hand. The three white silks are palmed inthe righthand. Pick up borrowed handkerchief from hat with right hand, and in doing so drop bundle of three white silks (palmed)intohat. Placeload No. 3 into borrowed handkerchief and twist ends, thus makinga sort of bag. I t is interesting t o note here the strategy of allowing a portion of the borrowed handkerchief to hang just. inside the hat (see No. 1 ) andthe loading of the silks intothe hat, which arenot required againtill move No.
36 METHOD, MOVES
EFFECT.
AND
SLEIGHTS.
34. The corner of the borrowed handkerchief being just inside the hat, allows of it being picked up naturallyand atthe sametime gives perfect coverfordropping the silks intothehat. rings on thetubeare tappedwiththewand,andthebag of (presumably) white silks is dippedintomouth of tube three times,once foreachcolour.
9. No moves orslelghts.
10. The flowers with the exception of the purple ones, aretouchedwith the borrowedhandkerchief. The ocassion t o touchthepurple flowers mustappear accidental. It can beexplained tothe audience that touching the flowersfixes the colours.
10. No moves orsleights.
borrowed handkerchief is opened, revealing 1 1 . The silks dyedgreen and red, the white silk being uncoloured. The silks are replacedonrod andthe borrowed handkerchief shown empty. This is casuallythrown on to the edge of thetube.
1 1 . No moves orsleights.The
9. Thered,greenandpurple
is lifted from the disc, revealingtwo 12. Thetube white and one purple silks. Thetubeand disc are placed on table. silks are replaced on thethree coloured
13. Thetwowhiteandpurple the rodwhichformerlyheld silks.
14. The flowers are removedfrom
factthatonlytwo of the silks are colouredbears outtheexplanation that the flowers must be touched t o fix the colours.
12. No moves orsleights.
13. No movesorsleights.
14. No moves or sleights.
the vase.
15. The water from the vase is poured into the tumbler on platformonstand. andtumblerstood
15, No moves orsleights.
16. Thepurple silk is takenfromrodandmadeinto aball.The silk is heldover the glass of water for a moment for the purpose of squeezing the dye intothewater.Theperforger changeshismind however and places the silk intothe borrowed 'handkerchief.This,presumably, is t o prevent the dyefrom staining hisfingers.
16. Rolluppurple silk and holdovertumbler.Change your mind and pretend t o place silk into left hand but palm it in right. Reach aver to tube, pick up borrowedhandkerchiefwith righthand a t same timesecretly droppurple silk intotube.Simulate holdingpurple silk inlefthandandpretend to wrap itinto borrowedhandkerchief. What really happens is,undercover of the borrowedhandkerchief takeupa corner of the handkerchief and push this into the centre, thus causing audience t o believe it is really thepurple silk. In effect it containsnothingbutthe bunchedupcorner.
17. The glass of water on thestand is now covered with thetubeandthe borrowedhandkerchief is heldover thetubeand squeezed.
17. No moves or sleights. The squeezing is supposed to transfer the dye into the water. When silk is insufficientlysmallcompass to be easily concealed in the palm, continue dipping movement andatthe same time takeoutthe purple silk which was previouslyloaded (No. 16) . Thepurple silk gives amplecoverfor the palmed whitesilk.
18. The white silk is now taken and dipped into tube and is extracted dyedpurple.
18. Withtherighthandtake
19. Thepurple
19. No movesorsleights.
silk isnow green and red silks.
white silk off rod that holdsgreen and red silks. Prepare t o swallow up white silk into palm of right hand by a gathering movement of the fingers and thumb under cover of dipping hand into top of tube.
hung on the 'rodholding
20. The borrowedhandkerchief
the previouslycolouredpurple white.
is now unscrewed and silk is shown t o be
21. No moves.or
21. The white silk is placed on rodcontainingother white silks. 22. Thered,
green andpurple silks areplacedin empty flower vase on tableinthatorder.
20. Therighthandcontaining palmedwhite silk is placedunder the borrowedhandkerchief andthe silk is then produced as if it were the purple silk turned white. Place the borrowed handkerchief on hat readyformovein No. 34.
the
sleights.
22. No moves orsleights.
METHOD, M O V E S
EFFECT. 23. The disc is now picked up,the
andbothare
placedon
vaseplaced top of thetube.
on it
AND
SLEIGHTS.
23. Raise front of disc with right hand, keeping bottom portion of disc on table. This move acts as a screen andmomentarilycoversthe flower vasewhich is standing on the table immediately behind the disc. Undercover of the disc the vase is reversed.The reversal of the vase is accomplishedimmediately the discassumesaverticalposition.Thevase is reversedby the followingmovementwhichmakes the operation p.erfectly natural and is indetectable. The left handapproachesthe vasewith the palm uppermost,thethumb being atthe rear of the vase.Thefingers and thumb grasp the vase about thecentre. It will be foundan easy matterto reverse the vase,leavingthehandina perfectly natural position to place the vasevisibly onto the disc. The reversal of the vasemustbedone close up behind the disc, otherwise angles will tell. The vase is now placed on the disc and both placed on top of thetube.
NOTE FOR PATTER. Intimateto audience that all the silks have now changedplaces, I.e., the coloured silks are now white and silks which were white are coloured. Explain t h a t inconsequence of thischangethere is astrongbond of sympathy betweenthem and that you now proposed t o provethis. 24. A
white silk now is taken from r.od and two oppositecornerstiedintoaknot,formingaring.
25. Thepurple
knotted in
silk is takenout of the flower vase, a ring t o match the white silk.
24. No moves or sleights,
is theone
whichwas
I t is presumed that this silk originallypurple.
25. No moves or sleights.
white silks onthe row is 26. One of theremaining knottedina similarmanner andtheother white silk is placed throughitandtiedinaknot,thus makingtworings,onewithintheother.
26. No secretmoves or’ sleights. It is presumed that thesewhite silks arethose whichwere originally red and green.
27. The red and green silks knottedtogetherareproduced from flower vase.
27. No secret moves or sleights.
28. Thegreen thevase.
vase, untie fake 28. \Vhile replacing silks in (slipknot) ingreensilk,leavingone tied but concealedinfolds of silk.
and red knotted silks are replacedin
29. The two white silks areseparatedandonere-tied, makingtwoseparaterings.
29. No moves orsleights.
3 0 . The green and red silks areseparatelyremoved
30. No movesorsleights.
fromvase,showingboth--tiedintoseparate
knot knot still
rings.
3 1. Thewaterand
3 1 . In picking up
red andpurple 32. The white silk is tiedthroughthe silks, forming a chain of red,white, andpurple.
32. No moves orsleights.
remainingtwo 33. Thegreen silk is tiedthroughthe whitesilks,,formingachain of white,greenand white.
3 3 . No moves orsleights.
3 4 . Thechain
9 4 . Roll silks so that greenis
flowers are replacedinvase and vaseplacedonplatformon stand.Thetubeand discareplacedon table.
of silks, white,green, rolled upand placedin hat.Hat silks inside.
Vase can now be
shown empty.
andwhite,are is shownwith
the tube .and disc repeat move as in No. 7. Reversing the tube allows the originalred, green (with secret knot)and purple silks (poured intotube fromglassinmove No. 7) to fall on t o disc. Theymust of coursebekeptconcealed fromview.
concealed and hold between thumband fingers of righthand.Turnto hatand pick upborrowedhandkerchiefwith left hand. Simulateplacingbundle of silks intohat, actually palming same, and immediately take b o d w e d handkerchief intorighthand to cover cot.cealed silks. Pickup hat with left hand, sho\ving silks insideThis is.possible because of move No. 8 .
38
l
EFFECT.
METHOD,
MOVES
The chain of silks, red, \vhite and purple are placed in tube, leaving red and purple knots exposed and hanging over side of tube.
8 3 . No moves or sleights.
The knot in the red silk is untied and one white silk is taken from hat, proving once again the bond of sympathy between them.The move is repeated with the purplesilk. The red andqurple silks are removed from thetube, shojving centre white silk still knotted in aring.
36. No moves or sleights.
The reJ. purple and \\.bite silks are placed comp!etely intothetubeandthe green band on the outside of thetube is tapped with thewand.The tube is lifted, revealing the red and purple silks untied and a ’green silk tied in‘aring. Go to the hatand produce last white silk tied in aring in sympathy with the green silk.
37. No moves or sleights.
‘‘ EXPERTCARD TECHNIQUE ’’ byJean Hugard and Freci Braue (Third edition published by George Starke,hewYork, price 42/-). This presentedition hasadded t o i t t\vo chapters by Dai Vernon andDr.Jacob Daley respectively dealing with Card Handling andthe ‘‘ Side Steal ”. In the former chapter the classic c2rd changes are dealt \vith together withamethod of card control and a changeoverpalm.Thesleights question are followed by The Periginating Pips and “ All Backs , a routine that readers of I-Iugard’s Monthly have already put to good use. Dr. Jacob Daley in his chapter dealswith the finer , points of the side steal, andthe technique whilst differing very little from the standard description does havethat verymarked difference which is a greataid in deception. Right hand steal,left handsteal and stealing with bothhandsare capably dealt with.Dr. Ddey witha final reference tothe sleight wisely completes his chapter with the \\+,darn of great experience,:‘please do not overdo i t ” . There is no alteration of textinthe rest of the book, neither is there alteration of illustrations. In value tothecard worker this work stands cheek to cheek with that never ageing classic the Expertat the Card Table andtoanyone professing aworth\\.bile knowledge or‘ \\hat Iiofzinser called the poetry of mzgic, it is anecessity. “ STARS QF MAGXC ” Series No. 7, by Dr. Jacob Da!ey (pub!ished b!. Stars of 3Iagic Inc., Nelv York). Thecard worker is extremely fortunate in having theopportunityto acquire three items from the repertoire of America’s great card Ivorker, Th. Daley. In every case the descriptions are clear and close-up photographs give thestudent a clear picture of Lvhat is going on.Theyare real lessons in magic. No. 1 ‘‘ THE CARDS UP THE SLEEVE .” (price 35/-) I t is a greattreatto come axvay from the more popular version of this effect andreturntothe older and classical version. In his version, Dr., Daley takes Ace toten of a suitand after. shuffling them intoan haphazardarrangement causes them t o leave his hand andtravel on,e a t a time up his sleeve in numerical sequence. From inside thejacketand a t thetop of the performer’s sleeve theyare removed (they do not as a contemporary revie\\- pointed out travel intothe “
”
,!>
”
I ‘
“
”
AND
SLEIGHTS.
performer’s pocket !). Inthe routineDr. Daley combines subtlety with good sleight of hand,andthough the moves are not acquired in amomept or two they are not beyond the capability of those who are willing toput in anumber of hours’practice. For a long \\ hlle we have wished t o add this effect t o our repertoire and have sought aroutine. Now inthis version we have found the very thing. Unreservedly recommended.
No. 2 “ THE ITINERANT PASTEBOAHDS ” price 2 1 / - ) . This routine ir a study based on the author’s method of making a false lift. ( I n some ways i t is rather like amethod of our own described in a very early number of thg ‘‘ Pentagram The point \\hichDr. Ilaley makes, and which we also made, is that with the method described there is no get-ready, and adouble,triple or quadruplelift can be easily made. The effect making use of the sleight is good, but a t one point conjures for conjurers. No. 3 “ THE CAVORTINGACES ” (price 21/-). .This is abeautiful effect making use of the Hermann pass. Dr. Daley makes certain thatthe reader in executing the sleight does so without noise, neither does he give the audience an indication that the parts of the pack are being moved.The ef€ect itself has for its background the Leipzig Ace effect, butthere is a smoothness in the handling that in our opinion makes the effect amystery ratherthan a clever feat o L legerdemain. Thehandling of thecards in the final st-.l.gesis delightful a.nd one completes the reading with t’x desire toaddthiseffecttotheir repertoire. Unrxervecl!y r x ~ m m c n d e t l “ KARD KUT,” by ‘ Hen ’ Fetsch. (An effect marketed hv theoriginator,and available from the chief American dealers, priceOne Dollar. This is a very nice close-up effect and no doubt, in thosecountries where table work is aspeciality, it \{-illform a useful addition tothe repertoire.Froma sheet of paper showing the designs of sixteen playin!’; cards. one is chosen. The paper is folded this ‘way andthat,andthe magician takes a pair of scissors : one snip. the paper is opened outandit is seen that the c,ut hasseparated the reds from the blacks, and l ’ ) .
39 supposing that the selected card was red, that thes red cards +re joined in a strange pattern whilst among the loose black cards, the chosen red cardis a stranger. This effect is easytodothough practice in folding is essential . Twenty sheets are supplied and more can be obtained a t a low price. An excellent ‘ buy ’. Tom Waterman’s “ SUCKER COLOUR CHANGING SILK ” (marketed by the Ken Brooke Magic Shop, 160, \Vestgate, bradford. Price 25f - post free. Those, and there can be few who havenot, seen Jack le Dair’s acthave seen this effect. I t involves the colour changing of a silk but hasa true ~rruyicul ‘ sucker ’ finish. Everythingthat is necessary comes to the buyer, and the description of the effect in which both George Hake and Ken Brooke participate is again a lesson inthe ‘ way you can’t go wrong ’. To be able to buy at so low a price an effect that is worthy of repeatedperformancebya magician like Jack le Ilair, is something that the general practitioner of magic cannot afford t o miss. Very,verygood.
George Blake’s “ SUPER PASSE COIN ” TRICK. (harketed by KenBrooke, Magic Shop, price 27/6). All mag~ciansworth their salt know of the quality of George blake’s magic. Whatever he touches becomes good andsubtle. Thispresent effect is mostdirect. Two metal cups are shown t o be empty, six coins being dropped into one. Hocus Pocus ! and one coin travels across totheemptycup. The magician keeps on repeating thefeatuntil ali of the coins have leftone cup and arrived inthe‘other. The apparatus, which is excellently made, is mainly responsible for the passing : there is no &all.for real dexterity on thepart of the performer. Those who havea Hair for coin manipulation may enhance the eKe-t with a few simple sleights. \\‘e feel, ho\\.ever,thatanyattemptat showy manipulation would minimise thefeat of coins passing. An excellent effect andan excellent secret that is well worthguarding. Again let us say that you cannot go lvr’ong in purchasing.
EachFebruary issue of the Pentagram has been dedicated to the memory of Annemann. This issue is no exception and we feel that in filling this number with the Arthur Sherwood effect we could find no better tribute. Thepast few weeks have seen two very pleasant functions. The first was the dinner given byTrevorHalland RolandWinder in honour of and on the occasion of a visit to this country of TomHarris, of Arlington, Mass. It wasa delightful evening and tookplace at the Olde Cock Tavern in FleetStreet, a Dickensian haunt. After the Dinner,therewasmagic is abundance contributed by Herbert Collings, Jack Salvin, Geoffrey Buckingham, Tom Hams, Frank Fewings,VictorPeacock, Dr. Bowen and ourselves. The second occasion wasthe British Ring Dinner at St. Ermins Hotel. Here again time was all too short.Theentertainment,thoughonthe long side, was verygood,and we were much impressed by the trueafter-dinnermagicand entertainment offered by Oliver Mackenzie. We have recently received from Messrs. De la Rue,thefamouscardmanufacturers,some samples of the plastic cards which they are manufacturing.Theyareratherhigh priced, costing $22 10s. for two packs. The experiencedcard handler willfind that a change of technique will be called for in certain sleights. Thecardsare extremely pliable and resilient; they can be rolled up underpressure and yet when the grip is relaxed, they will open out quite flat. The corners will notbreak easily aswithapasteboardcard and a corner crimp will stay put under preskure and act as a locator much in the same manner as a brokencorner willon apasteboard card.The cards are in short supply at the moment, though most of the larger stationers have a few in stock. In the short time that we have had at our dispozal to test thecards, we havenotfoundthatthey have any advantage over a good pasteboard. We are told that Helmut Schrieber put on some marvellousmagic in therevue that he
presented. We know that this will be of interest to Dr. Fries in America as well as all those members of the Magic Club of Vienna. Incidentally, Schreiber is working under the stage name of Kalanag, which translated meansthe ‘ Black Snake ’ ! Increased costs of production are hitting magic magazinesvery hard.Hugard’s goes up to 40 cents. Whirligig inwhichGeoffrey Robinson appears each fortnight goes into its second edition. Geoffrey, as you know, showshowone free effect is worked andthenperformsanother fromexplanation.The effects he explains are takenfromanationalexposeandareseldom tricks in the real sense of theword.However, it shows whqh canbe missed. Theother week heperformedthe effect of balancinga glass on aplayingcard.Notonly were the studio staff all agog but Geoff.received anumber of letters from magicianssaying thathe shouldnothave exposed such a goodeffect! In the latest number of the London Society of Magicians Gazette, our friend Francis Haxton under the title of “ Magical Topics writes only too truly anent magical societies in general Alreadythere is amovementon the saying : part of experienced and thiqkingmagicians to collect together outside magical societies, to discuss and profit byan exchange of magical ideas, because such opportunities are- not provided by societies . We know that Ron. Baillie’s Mindsin Harmony registered very strongly with our readers. Next month we have very a fine .mystery from this artist-magician entitled the ‘‘ Finger of Fate Incidentally,Ron., who has been painting throughout- the winter in Morocco, hasfounda newuse €or a ‘finger nail writer. ’ men are plentiful around ‘ThreeCardTrick Fez. Onthe first throw of thecardswhere the ‘ Sucker ’ wins, Ron. points to the Queen and at the same time makes a small pencil mark on the back of the card. He’s making money this way !
“
”
“
”
”
“
”
“
”
l’.
40
I
LOOK AT1 THIS! from KENDE
An unsolicitedtestimonial
COURCY
PSYCHOANALYSIS is superb; I have already worked it and it has baffled evewone. Altogether, the effect is UnuSudlY good and, due to thopening lecture (given in the book) the audience do not look upon it as ' just another trick '. To the practical mentalist,oreventothe magician who is looking for a second actfordinner engagements, it shouldprovea God-send. And I'm personallygrateful that it issomethingright away from the ' pushbutton ' class. In other words, it won't be " flogged to death "
I
English Books U
in Fine American Editions SLEIGHT-OF-HAND, bv Sachs.With the Hoffman books unhappily is nnquestionably the bestgeneral w y k on out. of,print,this con~unng, using bwth sleight-of-hand and apparatus. We'll neverhaveenoughwordsto shout th: praise of thisexcellent production of Sachs's Sleight-of-Hand (Sid Lorraine). Cloth, 416 pages .. .. .. .. ., .. .. .. 30/OUR MAGIC, by Maskelvne & Devant.Theart,theory,and practice of magic, bp,,twoexperts. "Themost valuable bookonmagic ever written (Mulholland). Uniform with Sleight-of-Hand in format. Cloth. 336 pages .. .. .. .. .. 30/-
THE LATEST AMERICAN BOOKS ! HOBBY MAGIC (Young). New cdlector's book, cloth, 207 pages 21 illustrations 251FABULOUS DESTINATIONS b o o t h ) . Travels:cloth, 239 pages, 17 illustrations 251EXPERT CARD TECM'IQUE (Hnpard-Braue); Clmoth, S00 pages, 352 lllustratlons 431SCARNE ON CARD TRICKS. 'Non-sleight 'feats;' cloth: 308'page:- .
".
'
See previous advertisements for description of the effect, or, sendstampedenvelope for leaflet. Better still, BUY A COPY NOW.
10/-;
Two Great
'
A/-
illus., bds., 77 pages 111CARD CHEATS (Moss). Sleights finely NOTE : Please remit to Mr. Robertson Keene, c/o Riverside, Victoria Road, Yarmouth, M e o f Wight, and receive the beaks promptly from the UnitedStates.
Postage 3d.
from thepublishers
THE MAGIC WAND PUBLISHING CO.,
SMOOTH POSSIBILITIES "
728, Madison Avenue, York, PA., U.S.A.
PETER
By Tan Hock Chuan A booklet dealing withthe methods and application of the modern principle, by one of the leading experts on the subject. It is recommended for advanced magicians. Price 51-
Postage 3d.
ARCAS Publications SYDENHAM
404/408
ispublished on the 24th of eachmonthand can be obtained direct from thepublishersfor 1/1 per bingle copy. AnnualSubscription 121postfree. PUBLISHED BY:
0
Vice-President:Douglas Clubroom andLibraryand
Magical Theatre : Particulars from Hon. Secretary :
King George's Hall, W.C. Francis White, 39 Alverstone Avenue,
Peter Warlock,
Telephone : TOT7742
JACK HUGHES
will be pleased to send
BROCHURES, LETTERHEADS and PRINTED PUBLICITY designed to please ! Special Jumbo CardTricks made UR. Advertising ideas., Copywriting, Line drawings.
you details of his verylatcsteffects and allhisold favourites in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK HUGHES I
I
I [
Museum :
St. Ermin's Hotel, Caxton Street, S.W.1.
24, Wordsworth Rd., Wallington,
+
Cmgga, Esq., Y.I.M.C.
Manuscripts for publication andbooksfor review should be sent to the: EDITORIAL ADDRESS:
lI
WORK
the Duke of Somerset,
D.S.O., O.B.E.,J.P., M.I.M.C.
Wimbledon Park, S.W.19
Surrey.
JACK LAMONTE 28, WARWICK RD., LONDON,N18 I
The Magic Circle President : HisGrace
The Magic Wand Publishing Co., , * l l , Monastery Gardens, Enfield, Middlesex.
ROAD
By a MAGICIAN who knows your requirements
0
WARLOCK'S
PENTAGRAM
Croyddn
ART
FLEMING BOOK COMPANY,
,
11, MONASTERY GARDENS, ENFIELD, MIDDX.
''ROUGH AND
'
'
2,
EVELYN AVENUE. COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your r a n t s LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Magic Wand Publications The Mzgic Wand, Quarterly. Fer copy 318 p.p. Annual subscription 14/6. The Wizard, 36 pagesmonthly. Per copy 211 pp 6 month 12/6 Year 24i.. John ' Ramsay's Chps &' Balls(Farelli) 25/6 WhereHoudini Was Wrong (Sardina) 20/6 Convincing Coin Magic (Earelli) . . 17/10 Mastered Amazemcdt ~ ~ ~ ~ ~ . . . _ , . 1013 (Koran & Lamonte) Bohleno's Mysteries (Bohlen) . . l013 . . 1013 Thanks To Leipzig (Farelli) George Armstrong's- Premonition 10/3 Chandu's Psychoanalysis .. . . 10/3 Entertaining With H pnotism (Dexter) 1013 Challenge Instant &pnotism g: Mass .. .. .. 21fHypnoti-m Strictly Magic (Eddik Joseph) . . 513 Around Stooging (Stuthard) 513 26 Living & Dead Tests (Gariett) '.'. 513 . . 5/3 Jamesosophy (Stewart Jam,es) . , . SI3 Year Book 48/49 (few only) StuntsWithStaae Money (Lamonte) . . 513 Tricks of thTrade (Arnlctronp) .. 2/7 From the puhlkhers THE MAGIC WAND PUBLISHING CO., 1, Monastery Gardens, Enfield, Middlesex. ~~
~
Every Advertiser's goods are fully endorsed by this Bulletin ..- -.
2
n
Walker a d Son (Printers) Ltd..WellCroft.
2
d p i z d - byHerber:
Shiokv. Yorkshira.
41
PENTAGRAM An independent monthly bulletin for all who want good magic
M ,1951
V ? .5 NB. 6
I
Fes-Batha, Maroc. December.
Dear Peter, -4nothernoteto let you know what’sdoing. I’m in Fesnow, an enchanting city, straight out o f the “ Arabian Nights . My studio is in the garden of theSultan’s palace, a lovely room with arched windows and mosaics onthe floors and walls; a river runs ~ r l l r l e u thestudio!Frommyopendoor I look out on to a tiled and roofed hioorish verandah, huge scarlet and blue creepers climboverthe verandah and droop down into the water below; beyond lie palm trees, cactus plants, orange trees and pomegranates. The trees arefull of singing birds, butterflies and whitedoves flutter about;trulya dream-like existence, this! In the evenings I sit outside a Moorish cafe sipping mint-tea, a willow tree trails in the river nearby, Arab musicfills theairand wisps of hashish smoke come drifting past; from where I sit I can see the House of the Magician in the Street o f the Clock ; more about this place when I visit you in England. ”
“
”
“
”
”.
Finger of Fate The mentalist squats on the floor, in front of him is a circular brass tray, a Moorish one, resting on tiny legs. Thespectatorsquats opposite the mentalist, on theother side of tray. Mentalist poursastream of silvery sandontothetray, thensmooths it downwith his flat hand till the tray is covered with a flat surface of sand about -;in. deep. Mentalist now is blindfolded and retires to acorner of room,standingwith his of a backtowardsspectator.Spectatorthinks design or Arab symbol and is then asked to trace this design in thesandwith forefinger of his right hand. He is to concentrateon this design for 10 seconds or so, thento smoothoverthe sandagainwith the palm of his hand, erasing the design, leavingthesandoncemoresmooth “
and unbroken. Mentalist now returns, squats cross-legged behind the tray once more, and concentrates. Slowly his righthandapproaches the tray, forefinger rigid;asudden dart downwards and his finger stabs into the sand;it moves slowly, then quicker; jerkily, then smoothly,grinding the sandfromunderneathit, until the exact (or nearly exact!) duplicate of the thought-of design lies there,traced in the sand bythewonder-worker’s finger! (Whew!) Well, that’s how I’d like to work it, selfcontained;only the trayandsand,butperhaps some hidden apparatusor gimmick; any ideas? What I did, of course, was to prepare a stack of blank visiting cards, about 20 of them,withan Arabsymboloneach. (Designs, etc. couldbe used instead. ) Theseare “ set-up in aknown order. Charlier false shuffle and cut, etc. Spread on ground and spec. slides one out. You pick upat placefromwherecardwaswithdrawn from (& la Annemann) , and peek at keycard as you lay cards aside. The effect is good, I think,andcapable of manyvariations,but I wzez4Zd like a self-contained methoddoingaway with the cards. I presented the effect with all possible accessories; incense smokingaway in acontainer on either side of the tray-table, flickering oillamps casting shadowsover the room,bags of incantations and mumbo-jumbo, untl my forefinger, the one that traces the design, commences to gZow in the semi-darkness!This, of course, is the old gag, usingthe deposit that remains if you burnthe striking-surface of amatchboxon a glass or metal surface. I carry somewithme all the time, keeping it on a small metal lid, off an ink bottle; this lid is wedged into a matchbox whichisin right trousers pocket. You justopen the box in pocket and dab forefinger into the oily motion with liquid on lid. A slight rubbing forefinger and thumb starts the glowing business. Indaylight, of course, youproduce srrzoke this way, as the glow isn’t seen in the light. “
”
”
42
An age-old effect, but witha twist tomake it appear different, plusastoryandpresentation which has provided me with a popular item in my repertoire for some long time, is my offering to you. rviay I first of all tell the story as I do to my eager-facedchildrenamongst my audience. " Children, in my travels I have visited many lands,and some timeago I was enjoying the colourful beauties of that ancient City of Baghdad. Whilst wandering around one of their quaintEasternbazaars I came across a wizenedold man thrilling agroup of dark-faced youngstersrecountinga story and holding their interest witha delightful model of anEastern temple. I have the verymodelhere, which you see fills one withexpectancyastowhat it will reveal. This old manremoved the minaret toppiece, as I am doing, and, taking the- column of glass, poured out its contents, which you see are lovely colouredbeads, into his darkand sinewy hands. There they were, all those brilliantly coloured beads, lit only by the rays of the strong sun. After allowingone or two of the little ones tohandlesome of them,hepouredthemback into the glass column. Pulling a strand of silken thread from his mantle, he wound this round his finger andputit in amongst the beads. He replacedthe topand set thecolumnintoits rightful place. Turningto those onlookers, he asked them to be very, very quiet and still . . . . you will follow their example,won'tyou? . . . . Next he removed a leather pouch from his cloak and with a crude piece of paper rolled himself a cigarette with the dried tobacco leaves which it contained.Theyfollowed his everymovement, but as I haven't a pouch I am going to use this ordinary cigarette with which we are more familiaroverhere.Placingthe cigarette into a beautifully carved holder, he placed it to his lips, lit the end and alternately puffed at it and cried to the skies toshower forth flakes of snow. For theretobe snow amongstall this heatwas in itself a miracle, but,strange as itmightseem, down came the snow. It fell all around that little temple and when the last flakes had fallen he laid aside his holder and cigarette andonceagain removed the glass column from its base, and after taking the minaret away, poured the beads again just as you see into his hands, onlytoreveal, here, a necklace made from the beads and silken cord." The temple is simplicity initself and is made from the largest sizeAlka Seltzer tube.Thecap is dispensed with and a minaret is shaped from a piece of balsa wood and used as a stopper.
Down the centre of the tube is fashioned a length of polished tin or mirror if you like. Thus we havevirtuallyamirrortube in miniature. On one side of thetube is thecompleted necklace, whilst ontheotherarethe loose beads. The length of silken cord is a piece of embroidery silk which is hangingthroughyourbuttonhole in your lapel. A cigarette-holder, which must be Oriental in appearance, is easily camouflaged if youtakea modern one and apply covering a of sticky paper, suitably puckering it as you apply it, and thendecoratewithposterpaints.The cigarette has been doctored by inserting one of those " Snow Storm " pellets obtainablefromjoke stores. There is a base to take the tube and a cardboard background designed accordingly. The beads (continued on page 44)
Flashback ! R stands for Redrnan
~ a o f e m ~ aRe.d,metn, i~ COMEDIAN, ILLUSIONIST, JUGGLER, COMICAL CONJURER. PLATE BASIN SPINNER & MANIPULATOR, ROCITER & VOCALIST.
Han, the Royal Aquariultl, etc., etc. '' The British Flag," graciollsljr accepted and ackuowledged by
I.ron, St. Ceorg 'S Hall, St. James's .+uthoc of our New National Paenl
HIS
MA~ES Tnr T YKING, H.R.H. Tnr PRINCSOF WALES, A N D OTHER
MIILMBLRS
O F THE R O Y A L F A M I L Y .
germs.
. .. .. .. .. .. .. ..
.. .. ..
..
E
S.
d.
~ o r t y - f i v eMinutes I I o Hour One 1 7 0 Ditto with Special Novelties I 12 G -One Hour and a Half 2 2 o Two Hours 312 6 These terms include most of the above kinds of Entertanmen'
..
....
PLATE
.. ..
.. .. .. - . .
..
& BASIN S P I N N I N G . ETC., BY
ARRANGEMCXT.
BAZAARS, C O N C E R T S , SOIREES, ETC.,ATTE?:~)!? o.
Fog &&S
Speci.1 Terms on behalf of Charities. and further particulars, hddress-
82, DUClIt STRBBf,
FERNDALE ROAD, CLAPHAM, S.VI.
From the J .
B. Findlay Collection
43
Here is acard effect of mine that maybe suitable for your readers. Hand a pack of cards to be well shuffled and tell the spectator to deal outa pile of cards, first dealingone face down, then the next face up,thenext face down, and so on.Afterhehasdealt ten cards, tell him to stop at any time he likes. Let us say that he stops afterdealingthelastcard face down. Tell him to take this face-down card and note what it is. Thenhe is to insert itanywhere in the pile he has made and hand all the cards to. you. (Should he stopata face-up card, tell him to take any card from the pack, note it and insert it anywhere in the pile dealtout.)Holdthecards under the table or behind your back and execute the following moves. Take the top card in the right hand, reverse it and push the nextcard below it.Reverse the two cardsandputthenextcard below them.
Reverse the three beforeplacing thenextone below them (this is just going through the moves for theSlop Shuffle .B la Sid Lorraine, butjust takingonecard at a time).Carry on until one card is left, whichgoesbelow the packet.Take out the cards, whichwill be seen tobea facedown packet.Thensaythatyou willshowhis chosen card., Fan off the few face-downcardsfromtop of pile and a: face-upcard will show. If this is the selected card, the effect ends there. If it is not, place the fan of cards below the pile andsay that youhavefailed. Now fan off theface-up cardsandplacethem below the pile. Palm off the first face-down card and ask for the name of the selected card. Then produce it from the pocket, remarking that it has beenin the pocket all the while.
Readers who areonthe look out foranovel and dramatic method of revealing a selected card suitable for stage presentation may like to try the following effect, whichallows the performer to put to good use any acting ability which he may possess. A card having been selected and shuffled back into thepack byaspectator, hi; attention is drawn to a small figure of Buddha which is standing in the middle of acardtable. “ Bythe aid of this image,” remarks the performer,. I shall endeavour to discover the card which you selected a few moments ago, whether or not I al;n ontherighttrack will beconveyedto me by whispersuttered bythe idol, ’to which myears I can are specially attuned, Before, however, make use of this sixth sense, I must sacrifice one of theother five-would youthereforebe good enoughto blindfold me, and place the figure in my hands. The performer-who during this diatribe,has been standing behind and at some distance from thetable,beingdulyblindfolded-requeststhe syxtator to cut the pack into three heaps. Now ”, heremarks while standingwith the lips of the figure against his ear, please be good enoughto pick up one of thepackets of cards. Ah! I distinctly heardthewordsPasHaki ’, which is Tibetan for ‘ put down ’, therefore your so would you be good card cannotbethere, enough to put the heap you hold aside and pick
upanother.That’sbetter. I heardthewords ‘ KasShaga ’, which means ‘ it’s here ’, so would you retain that heap and put the remaining one aside ”. The helper is then requested to take the chosen heapandspread the cards it contains backs up over the, table, and guide the still sightless magician to the rear of same. After further whispers the performer, afterdueshowmanship, places the buddha upon one card, which is found to be the actual one selected by the spectator. As the expsrience.d reader will havedoubtless realised by now, the effect is nothing more or less than the old stabbed card effect, described ModemConjurer ”, originally in Lang Neil’s with an up-to-date dressing, and without the need of sacrificing card a each time. The requirements are few and simple. 1. A small buddha, which may be purchased cheaply at a curio shop. 2. A pack of cardscontaininga short whichis marked insome distinctive manneron the back. 3. A large white handkerchief for blindfolding. The actual working may be dismised in a few words, as it is the showmanship which counts.
l‘
“
“
“
”
“
“
(continued
OTL page
”
44
44
SA! The following is not really amental effect, but it can be effectively introduced as an example of the “ Power of Thought ” I have always been fascinated by the depot SwingingRisingCards ” but effect called the thought it a pity that only one of the two ribbons attached to the card houlette could be held by a neutral spectator, the other ribbon being, through necessity, held by the performer or stage assistant. By using the following presentation a plausible reason is given for the performer holding the ribbon, also the plot is one that is unusual and will be remembered. The secret of the “Swinging Card Houlette” is not mine fo disclose, but it should be well known to readers of this bulletin. If thereaderhasn’t one in his pqssession itcanbeobtained at a I would like to nominal price fromadealer. make a note that if the reader uses this presentation, he will be well advised to repaint the houlette in quietershadesthan those associated withthe article as it is usually supplied. This is the effect : The performer requests the help of a gentleman assistant with a strongly developed will-power, and remarks that he would like to indulge in a friendly battle of will-power of plain cards of with him.Producing,apacket playing card size, he has the spectator select any one and write his full name across it in as large handwriting as possible. The signed card is then replaced in thepacket ofb!anks andthe whole lot shuffled. The houlette is now introduced and -thecards placedtherein.Theperformer now “
The handling of the apparatus is obvious and you will find thatby holdingtube a t topthe thumbcan cover the side of thepartitioned openihg that is required so that only the contents of one side will fall out. The hand lies along the tube so that it covers the contents hidden in case Angles ” ! of “
emphasises the extreme isolation of the pack, but remarks that he wants both the spectator and himself to keep in physical as well as mental contact with the cards and in particular the one that has been signed. Therefore, each will take one of the ribbons attached to the houlette. This being done the houlette is slowlyswung to demonstratethe complete freedom and isolation of the cards. The performer says that he will now indulge in a battle of wills and by power of mind over matter will compel the signed card to separate itself from the remainingcards, whilst the spectator is to exert all his ownwill-power to prevent such a thing happening. A signal isgiven bytheperformer and both bring their full power of will on to the unoffending card. But despite all thespectator’s efforts, the will-power of the performer is in the ascendent for slowly and deliberately the card rises from the pack. Thus demonstrating the ever compelling will of the performer and the fact that inanimate objects are subject to the power of thought.
To conclude,theperformer,afterremoving the card from the houlette, adds his own signature to it and asks the spectator to accept it as a souvenir of the occasion, remarking that although hehasconducted thatparticularexperimenton numerous occasions, to-night was the severest and closest battle of will-power hehadyet ,encountered.
If theperformer’s visiting cards are playing card size andprintedonone side onlythey are ideal for this particular purpose.
table, in suchamanner thatafckvard glimpse As thecards allowshim to view thetabletop. arecut,he quietly notes the position of the original top portion of the pack, on top of which rests the selected card;thus making it easyfor whisper ” asto whetherthe the buddha to correct heap is picked up, while the marked back of thesamemakes location eauallveasv when “
45
a-w % w e TheThree in OneCard When I first read Trick ” in Trevor Hall’s Testament of Ralph W. Hull, I formedtheopinion that it was the best Transposition Trick I had come across. My notes at the end of the trick read as follows :“ The factthata Prediction isused at all offers a solution-to the layman with an analyticalmind.Spectatorcansaythat “ he knewallthetimewhat the cardwould be! ” thus belittling theother effect of Transposition. Leave out the prediction and it will appear that m y card at any number can be transposed, NOT JUSTONE CARD’ PRE-DETERMlNED BY T H E PERFORMER.’’ ReadingJudgeWethered’s“RevisedVersion” in the January Pentagrant, I lookedeagerly for the revision as mentioned in my notes, but no! the prediction is still there! Hardly can one pick up a book on mentalism (of which predictions forma large proportion) withoutreadingexhortationstothe mentalist to shun conjuring tricks the as plague. Even further, to shun the use of playing cards. Not that I hold with the latter view, for some fine predictions andthought-reading effects can be carried out with the aid of cards, defining the
cards which will betaken or which havebeen taken, as the case mav be, but I do contend that any semblance of coijuring should be’ kept from mental effects and vice versa. I may, of course, bewrong,quitewrong, for who am I toassume that I may criticise such great constructors of magical effects asR. W. Hull, who has, through Trevor Hall, passed along so many masterpieces. Even so, and assuming that under certain circumstances it ,may be permissible to mix predictions with conjuring tricks, I further contend that the .prediction in this case is definite anti-climax. Onehas to show thatthe chosen card at a specified number, has disappeared from its position in the half pack in which there is one card less, and that it now rests in the other half pack at the very number freely chosen previously.
Our most pleasant surprise during this month was after hearing a knock and opening the door, to see noneotherthan Ran. Baillie. Wespen a verypleasanteveninghearing about magic in Morocco in gcneral and Baillie’s magic in particular.Weheard of the Casablanca threecard trickster whouses his feet instead of his handstothrowandmanipulatethecards.In this issue we .publish one of Ron’s effects that he sent us a month or two back, an effect with a plot that is ideal foraHallowe’en party. We also gotaslant on ( ‘ Double Stop ”~,aslantthat @vestheperformerthe identity of both cards, a slant that will appear in another issue. The Magic Circle Occult Committee have been busyduringthe last month.First of all, in one of the Demonstration Theatres at Guy’s Hospital, JimmyEsler,VictorPeacock,JackSalvinand ourselves presentedanumber of psychic effects that were accordedavery fine reception. Later in themonth, Lt.-ColonelHurtnellshowed to members of the Committee a filminwhichsome native magic (the egg bag, rods and beads and a ball production) was followed by a version of the
IndianRopeTrick.Thesameevening we ,had the opportunity of meeting the very much publicised Dutchpsychometrist,.PeterHurkus. He is a charming fellow and we .wished that his stayin,Englandhad been longer in order that we couldhdvespentmoretime with him. We are more than pleascd to publish the ‘ ( Magic of Colour in the last month’s issue. In the February issue of the Sphinx Wilfrid .Jonson pays a very nice tributeandmentionsa point that we overlooked.Thepoint in question was that Arthur Sherwood did not read books on eonj.uring. He set out for a desiredgoal and atia’ned . It without resorting to the laws laid down, even though unconsciously he obeyed those laws that make good magic.There are parallels to this in many walks of life, and one that most comes to mind is in respect of that veteran horticulturist, George Russell, creator of the Russell Lupins.Wequotefrom the “Observer” of Junelsth, 1950 : “ Some growers work to scientific principles. If Russell did so, heseems to have been unaware of it. He once had a copy
“
<
That in itself, so cleanly executed, ismagic indeed, and the effect couldvery well endhere, one knew all butto go further,andprovethat the timewhat the card would be, does, to my mind, detract from the splendid effect gained and is, indeed-anti-climax. I wonder if I am correct?
”
“
”
(continued on page 46
“ KENTARE ”, originated by KenBowell. (Marketed by KenBrooke, Magic Shop, 160, Westgate,Bradford, price 61- post free. Therehave been verymany versions of thetorn and restorednewspaper, andnodoubtthere will be very many more. Nevertheless it refreshing is to find inthispresent v.ersion a differentapproach and indeed a new method.Withappropriatepatter,(an excellent story is provided), the magician folds a newspaper and slashes throughthe edges with paper a knife.Thepaper is folded once more andagainthe paper is cut. Again i t isfolded andagain it is cut. Onecorner is now taken,thepaper is given a shake and it is- completelyrestbred. This couldfind a place in most miscellaneous actsand is idealforamagical compere. A t the price it isa gift !
THE RAMSAY, FARELLI TRILOGY.-There are two standards by which all booksonconjuring mustbe judged; the firstis to determinewhattheauthorhas set out t o do and the second is t o assess the measure of his success in the treatment of his subject. Although notdirectlyavowed,it is implicitin the writing of thesethree books thatJohnRamsayhas designedhis tricksmore to showhow conjurerscanbe“led up the gardenpath”thantoministertothe needs of, those with less guile. And right well does he achieve his purpose. In the ROUTINE WITH THE CUPS AND BALLS, a well-producedbook of IOI pagesprofuselyillustrated with actual photos of John Hamsay in action, the moves and subtleties ,of the inimitable John have been explainedbyVictorFarelliwith his usualpainstaking clarity. The routine might, I think, have borne a more apttitle, for it differs radicallyfrom the timehonoured classicin that it demands the employment of two cups only. Readers are told to start the’ routine with four small balls concealed in the right hand, but are not instructed how t o secure them in position. Such a minor omission meansnothing a t all toan experienced manipulator, but mightgiveaheadache to a resourceless amateur \vith no desire to commence hisperformancewith this verycleverroutine. My ownopinionis that the sixth chapter by giving an out-of-the-picture cofimonplaceness ta a brilliant series of moves, detracts from rather than adds to the l-alue of the routine by making a very doubtful climax. The verythoroughHistory of the Cups and Balls trick ( 2 5 pages)written by VictorFarellicallsforunstinted praise. I t shouldmakea special appeal tothe conjurer whosees in his a 6 something more than mere finger-flinging andthetreating of playingcards to a dressing of Zinc-steadate. There is also a Bibliography ( I I pages) which should !)e of more than passinginterest to an earnest student of conjuring. CYLINDER AND COINS.-In this 33-page pamphlet our author revealshis Conjuring for Conjurersmotifin no uncertainmanner.Right a tt h e co’mmencement of the book we rezd : “Theobject of which is to throw theexpertconjurer completely off thescent.”Further on : “This i s a feint to make the . . . . conjurers think that somethinghasbeenslippedunderthelid.” JohnRamszy in thisroutine with the familiar“pile o f mags” ancl a small piece of cork has evolved a. most
puzzling series of moves which ilicludes almost a treatiseon coin manipulation.Thetitlepage of this bookletinforms the reader that the manipulations are “described inthe minutestdetail by VictorFarelli .” Indeed theyare;andfurthermorethereare no felver than 47 actualphotographstoaccompanythetest, surely a record if the ample size of theillustratjons is takenintoaccount. The trick calls for expert handling; but, as the authorexplicitly suggests, many “sleights with which the reader is already fanliliar” can be, substituted for thosr Yea! Rut there is no substitute under explanation. for JohnRamsay’s gift of misdirection. THE TRIPLE RESTORATION.-The title more or less tells thestory. .A sheet of tissuepaper torninto four pieces, atter suffering further mutilations, becomes completelyrestored.There arethree differentrestorations involved ,inthetrick, all performed with that subtle touch that we associate with the work of John Ramsay. Ourauthor in thisparticular booklet wishes to assurr us that “as there is not a single ‘feint’employedfrom startto finish, itcannot beclassed as ‘conjuringfor conjjjjurers”.” I amsorrythat I cannot agreewith him here. I opine that this very subtle series of restorations is eminentlyabit of conjuringforconjurers, since it lacks the directness that must be the sine qua non oC allconjuringforthetiredmaninthestreet. The fact of TheTripleRestorationhaving no “feints” does notenterintotheargument forconjuring for conjurersrarelycallsfor“herringsacrossthescent.” I amnotdamningthis mostdeceptiveroutinewith faint praise; the planand working outare excellent and would, I am sure, rny.+tify th:? most r;ftentive conjurers’.” I am sorry that I cannot agree with ( ? ) club-room. It should be nOted that on page 16 the y x d “right” onthepenultimate lineshouldread“left.
STANLEY COLLINS.
MAGIC G O R 0 UND-continued
from page 45
ofMendel’s principles, but neverread it. . . . A rqgmber of theR.H. S. FloralCommitteeonce said, ‘ I ’do notknow which other lupirrspecies Kussellusedin his work, but from the range of colours I suspectlupinus lexiflorus, 1. lepidus, etc., have all played some part. To such analyses, Mr. Russell reacts with a look of gratification touched with mild surprise ’ .” It is with regret that we notice that Oscar Paulson has had to resign the post of editorship Magi ”, for his editorials have not only of the been entertaining but also have carried some very good moralsregardingconjuring. Wewish his successor the best of luck. “
Also with regret, a regret that mustbeshared bymany, is the news that “ BAT is to be discontinued. Lloyd Jones has done a marvellous in giving magicians worth-while job of work magic free from apparatus. ”
47
Somewhere in Volume 29 of the Linking Ring, in a Parade by Eddie Joseph, he outlines a transmission effect wherein one of threearticles is successfully discovered, after a selection has been made while the medium is out of the room. The article is merely pointed to,and is not touched in any way. The ,effect is excellent, but has the serious drawback of requiring the cornmitt-a1 to memory of thealphabet linked up with the initial letter of the articles with which the transmission is carried out.
I considered the item much too good tobe passed over lightly, and after some cogitation have worked it successfully many times by the use of a much simpler method. It occurred to me that Pentagramreadersmightbe interested in my method. First let me optline the possibilities : three common articles, of the type carried in the pocket, are taken by the performerand laid on a table, the medium need not see these untilshe comes into the room to discover which has been pointed to. Actually she need not come intotheroom,a member of the audience may take the articles to her, wherever she may be, yet she will unfailingly indicate the article chosen. The method is simple : and I have related it tothe length of thevarious items, in fact using this method, the number of items might be extended,but I havefound that the effect with three is in certain cases bewildering.
Let us suppose that the three items offered are: A wallet, cigarette lighter, season ticket case. In order of length these will be LONG wallet; MEDIUM season ticket case; SHsORT cigarette lighter. The medium only considers the length of the article, the article itselfis of no interest to her. Each performer will use his own method as to how these thingsareindicated, if I describe my way of doingthis, modifications suitableto each individual will be easily found.
If I ask someone to call the medium into the room, she knows that LONG is indicated. If I suggest that thk articles be taken to her, she knows that MEDIUM is coded here. If the SHORT one is selected I ask someone to ‘take the articles in hand, place them behind their back and wait for the medium to enter, as she does not see them at once, she knows that the answer is SHORT. No word is spoken by the performer after telling someone what is to be done. If the articles are chosen after the medium has left the room and she does not see them until asked to discover the selected one, the effectis verystartling,particularly if the medium has some acting ability.
I said at the beginning thatthe articles are freely offered and accepted, one must make small reservation here, naturally the performer will tactfully exclude those who do not differ distinctly in length. I havedone this many times, and no onehas ever suggested thatany restriction was placed on freedom of choice of selected articles,
MAGIC AS A HOBBY by BRUCE ELLIOTT
~
Bruce Elliott’s great compilation of tricksfrom T h e Phoenix, together with some new effects, at last printed in an Englishedition. 240 pages,clothbound. Price 12/6; postage 6d. from THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
4C8
I
THE SPHINX
i
I
l
1
~
i
SPEND S3 ANDSAVE S6/5s.
GOLDEN JUBILEE BOOK OF MAGIC \Vith the March issue, The Sphinx celebrates its Golden Jubilee. Suitably to commemorate this auspicious event, we are publishing the Golden Jubilee Book of Magic, 75 of the besttricksprinted inThe Sphinx during its lifetime . . . Tricks t o perform on the stage, platform, parlor or close-up . . . Tricks with every conceivable object . . . Tricks bysuch famous magicians of the past and present as : -41 Baker, Birch,Hlackstone, C,hristopher, Keith Clark, Dante, I.)evant, Downs, Uunninger, F u Nanchu, Goldin, (;\vynne, Harbin, Haskell, Leon Herrmann, Houdini, Hugard, Jarroiv, Kellar, Laurant, Leipzig, LePaul, Levante, Long Tack Sam, Mora, Reno, Tarbell, Tenkai, Vernon,Victor.
You can still takeadvantage of those amazing Buckley bargains, made possible because we bought the publisher's entire stock of these three fine books and are givingyou the benefit of our " luckybuy." CARD CONTROL, cloth. 219 pp., 297 ill.. was 71/-, now . . 20/PRINCIPLES AND DECEPTIONS, cloth, 224 pp., 258 ill., was 71:.. .. , . .. .. , , .. .. .. 201GEMS OF MENTAL MAGIC, cloth, 132 pp., was 43/-, now . . 201-
.. .
BOOKS !
SOME LATE AMERICAN
EXPERT CARD TECHNIQUE (Hugard-B'raue), great the card text .. .. . , , .. , , .. .. . . . ,431SCARNE ON CARD TRICKS, fine non-sleight feats .. . . 21/CARD CHEATS (Moss), finely illas. sleights, bds. . .. . . 111HOBBY MAGIC (Young), ncw collector's book . . . . 25:60 YEARS OF PSYCHICAL RESEARCH (Rinn), exciting expose 35/IRELAND'S 1950 YEARBOOK, 35 new tricks,bds. .. .. . . 13/,
Publication ORDER
THE
Date
YOUR
March
First
Note : Please remit to Mr. Robertson Keene, c10 Riverside, Victoria Road,Yarmouth, Isle of Wight,and receive the books promptly from the United States.
COPY NOW
SPHINX
c/o WILFRID JONSON, 45, Kingsmead Road, Tulse Hill:London,
FLEMING BOOK COMPANY, Yoik, PA., U.S.A.
728, MadisonAvenue,
S.W.2.
~~
PETER
WARLOCK'S
PENTAGRAM ispublished on the 24th of each monthand can be obtaineddirectfrom the publishers for 1 / 1 per single copy. AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts forpublication review shouldbesent EDITORIAL ADDRESS:
and booksfor to the:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
A GREAT NEW
BOOK
I
JACK HUGHES will be pleased to send you details of his verylatest effects andall his old favorlritcs in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK 2,
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE DLD ANDNEW. Le? me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
~~
~
~
~
~
~
~
~
_
~~
_
_
_
_
_
The Magic Circle i'r-csidt.nt: His Grace
Duke of Somerset, M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. thr
D.S.O., O.B.E.,J.P.,
ClubroomandLibraryand
Museum :
St. Ermin's Hotel, Caxton Street, S.W.l. Magical Theatre :
King George's Hall, W.C. ParticularsfromHon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The Magic Wand, Quarterly. Fer copy 3/8 p.p. Annual subscription 14/6. The Wizard, 36 pages monthly.Percopy 2/1 p p. 6 month 1216 Year 241John. Ramsay's Chps &' Balls (Farehi) 2516 Where Houdini Was Wrong (Sardina) 20/6 . . 17/10 Convincing Coin Magic (Farelli) Mastered Amazement (Koran & Larnonte) . . 10/3 . . 1013 Bohleno's Mysteries (Bohlen) Thanks To Leipzig (Farelli) . . 10/3 George Armstrong's Premonition 10/3 Chandu's Psychodnalysis .. . . 10/3 Entertaining With Hypnotism (Dexter) 1013 & Mass Cha!lenge Instant Hypnotism .. Hypnoti-m . . 211Joseph) ' , . 513 Strictly Magic (Eddie Stooging Around (Stnthard) 513 26 Living & Dead Tests (Garrett) 513 .Jamesosophy (Stewart Jarnes) . . .. 5;3 Year Book 48/49 (frw only) . . , 5/3 Stunts With Sraqc Money (Larnonte) . . 513 . . 2/7 Tricks of the Trade (Ammqtrons) From the publishers THE MAGIC WAND PIJBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. '
':.
49
PENTAGRAM An independent monthly bulletin for all who w a n t good magic
V ! .5 &JK7!h.
Up& 1951
Theeffectabout to bedescribedbringsinto playapack of cards inwhich there exists a certain arrangement. Therefore, to secure the best effect it is better to precede it withanother card effectinwhich at theconclusion orduring its performance the pack canbe switched in a naturalway.When presentingit ourselves we precede it with an effect in which a card has been forced (thiscard beinga duplicate of thetop card of the pack to beintroduced later), it is is shuffled backintothepackandthepack placed vertically in apocket which contains the other pack (this pack lies horizontally). The topcard is takenfromthe horizontal packand affirmed as the chosen card. The remaining part of the horizontal pack is taken from the pocket, the chosencardaddedtothe top, and the pack false shuffled. ?‘he readermust forgive theabovepreamble, but we wished to emphasise that the switch must be natural. Letus get downtothe effect itself, whichis baseduponavery old mathematical principle, and my friend A1 Koranmade good ust’ of it in an effect which won first prize in The Jlugic ll’and competition for the best mental effect some years back. The present effect, devised for small audiences, obviates certain features which I thought undesirable. First of all, thirty-six envelopes will be needed and so also will be thirty-six pieces of card. Such card may be the magician’s calling card. Taking twelve of the envelopes,thereader will haveto of a month on eachone so that printthename the twelve months of the year are covered. is to get someold Better than printing by hand calendars and cut the names of the months awayand stick themon to theenvelopes. The remaining twenty-four envelopes are similarly treated, so that when finished ,there will be three sets of envelopesdesignatingthemonths of the year. Next, twelve of the cards are taken
and on each is written “ Your Birthday Card is the Ace of Hearts . Thesecards are placed one in each of the first set of envelopes, the flaps being tucked inside, not stuck down, thus allowing the magician to use them for an Twelve more cards indefinite period of time. YourBirthdayCard is have written onthem the Nine of Diamonds and these are placed in The remaining the second set of envelopes. twelve cardshave “ YourBirthdayCard is the King of Diamonds written on them, and these go in the third set of envelopes. Make sure that the sets arekeptseparate.Think of the sets as 1 , 2 and 3. The pack of cards isnow arranged so that the topcard is acorner short,and this in my OWR case is a duplicate of acardforcedfrom a similar lookingpack. Thetenthcardfromthe top is the “ ace of hearts , the eighteenth card fromthe top is marked in arecognisable form near the edge. Withawhitemarginedpacka is small pencil dot will do. The marking repeated on the opposite side. The twentyseventh card is the nine of diamonds, the thirtysixth card is marked near the two opposite edges and finally the king of diamonds is placed in the forty-fifth position. With pack the thus arrangedit is placed in theright-handjacket pocket so that it lies on its long side. Aftertheshortcard has beenproduced as a chosen card, the pack is removed, placed on the table, the short cards being placed on top. Three members are invited to assist. Takingthe stack of envelopescontaining the “ birthday cards, themagicianapproaches the first and asks him his birthday month. Supposing that it is May , the magicianabstracts the May envelopefromthe first set and hands it to him, at the same time requesting him to place it inside his pocket for the time being. The second assistant is asked his birthday month and is ”
“
”
”
”
”
“
”
“
”
50 handed the envelope bearing the appropriate m0nl.h from the second set. Lastly the third assistant after naming his birthday month is given its namesakefromthethirdset. The eavelopes skor;ld be handled quite casually, and if the magician is fortunate enough to s’rike three peoplewhose birthday falls in thesamemonth he i 3 s an additional aid to his patter. The envelopes are placed down and the pack taken. It is given an overhand falsz shuffle that will notdisturbtheorder of thepack. (In this respxt 1 don’t think that there is anything better to use than either the shuffle given by De Manche in the Moderrz Conjzrrer or the old optical shuffle.) A cpec‘aior is askFd to cut the pack, and receiving it back the pack isgiven a few casual cuts, and finally th:. shortcard is cut to thetop so that the pack once more is in theoriginalorder. I am gohg to divide the pack into approximatelythree p a r k Here’sathirdforyou,sir. (The first as:’s:ant is given a bunch of cards from thetop of thepack.Althoughhandedoutcasuoff allythemagicianhas in theroughpush divided the pack at the first marked card, and the seventeencardsaboveit arehanded out.) And a third for you, sir. (The second assistant receives the eighteen cards above the second marked cards.) And perhapsyou will takethe remainder. ’ ’ (The remaining seventeen cards are given tothisassistant.) The position now is that each assistant has a heap of cardsin which thetenthcardisthat written onthecardintheenvelope that he has in his pocket. “ I wantyoueachtothink of a two-figure number,but it shouldn’tbegreaterthanthe nu.mber of cardsthat youhold. A third of a thatin pack is approximately seventeen-keep mind.Have youthought of yournumber, sir ? (This to the first assistant.) Keep it well in your mind andcountthatnumberontomyhand. This is done, and we will suppose that the number is fourteen.)Justtakethecardsand giveme those thatare leftover.”(Theunwantedcards aredroppedintoapocket.Themagicianmoves to the second andthirdassistantsin turn,and a similar processgoes on.) “You, sir (this to the first assistant), thought of thenumberfourteen . . . we are dealingin five . . . numerology . . . one andfourmake justcounttothe fifth cardandplaceitaside. I’lltaketheremainingcards. (This is done.) of Because of the counting of the cards, the ace hearts will b e the card placed aside. The second andthirdassistants are similarlyinstructed, and each assistant should now have placed on one side ;he card represented by the message on the card To in theenvelope thathehas in his pocket. conclude,eachassistant isasked toremove the cnvelopefrom his pocket,readout the contents, and turn over the card in front of him. It sounds as though the effect is rather drawnout,butthis is farfromthe case. It “
.
hasn’ttheadvantage of being impromptulike A1 Korna’s effect, but it hastheaddedadvantage of not stressing that anumber between ten andtwentymust be selected. All the assistant isasked for is a two-figure numbernotgreater . thanthenumber of cardshe holds.
Smeet S 2 m p 2~ ~ In i \ J ? r f j e s f and Putterrls f o r P.sychic.s, T descr bed a method of the Rising Cards thar had IIIXIY advantages. The nature of the set-up lookcd bit a complicated and rather Heath Robinsonkh, but the m2thocl was thoroughly practicalandactuallyveryeas’ly set up.The following version, however, bringsabouta similar serics of c f t ~ t sin a fartasier mamer and isbased upona method that I must have used some t:-.irty-two years ago. In those days I fittec! a piece of celluloid across the mouth of a straight sided glass. A small holewas made in this strip, .and through this a piece of cotton was taken and tied. The cotton was thentaken over the back of the glass andanchoredto an adjacentobject (seeillustration). It followed that if acard was continued on opposite page
Flashback ! S stands for Scoticanus By
Pt*W@~VI.
FOR SIX NIGHTS ONLY. f 7 Q ’ J * A T the b U N C i L ’ R O O M , Irswrcri, qn M O N P A Y t h e 12th of March. and ebery Evening during the W e e k ,T h eU N D E C E I V I N G EXI-IIRI’l ION, or D l S S E R T A T 1 O N . S on DECEPTION ; dikovering the
modcs of deceiving p+tifed by Jugglers, SJiglit-of-!undmen,Fortune-Tellers,andNaturalMagiGians, as difplayed in the exllibitiom of BrtRaw, Jonas, Kntterfelto, &c. a dibtavery never made to the world bekore ! wherein’ the feveral T r i c k s are tiril h e w n , and then laid open to the public, therebjpreventingtheir being Dupes to Sharpersand Gambkrs, by Cards or Dice, A moR RIOrioue thought I and golden opportutljty I Alfo, detetling the Frauds of Mounrcbanks,- Qack Dobors, and Lecturecs on pdyulation. T o conclude with a choice and ..vaff numerdus,Collc&tionof the ~ ~ ~ ~ M I R A DIS~ W L O U S covLnJ e a anCards, Money, noxes, &c, in‘ fuch a man. ncr, that every perfon in rile room w i l l be capable of doing them immediately by themfelwes. SCOTICANUS declares he wiiidi&e& moreDeccptions to his audience for tlw f ~ n d ladmittance money, than any performer would do for One Hundwd Guincalr. to atay angle pcrfon. ADMITTANCE T W O SHILLINGS each Perfon. T h e above performance has been acknowledged by thou. lands t o be che molt hunrit, ufeful, humorous, and entertaining piece of rcal novelty, that ever was prefented in p u b l i ~j acd w h a t thoufands mzf? live in total darknefs, i f they are able to fee and w i l l not fee that wrtricll has amazed ! e n l i y h t c ~ e d! edified ! and, givcti Tuch capital fatisfaAio:! aild inl‘truflions to every behc!der I 0 Tickets t o be bad a t the princi a1 Inns, Doors to be opened a t SixG‘Thc L c d r e o to begin a t Seven, and the Deceptions, with theirDifcoveries,at Eigllt. M. B, ‘I‘he room w i l l be genteetffitted u p for the r’eception of 2 falhionahleaudience, comfort;bly fcated roundwith covered.benche5, and fires kept duFing thc
exhibition,
From the I. B. Findlay Collection
51 brought to the top of the pack, and in the action of placing the cards inside the glass and in front of the celluloid strip, the top card was separated and allowedto go behind andfall so thatthe cotton was carried downtothebottom of the glass, a pull on the cotton would cause the card to rise.
the rear sectin. If the glass ispicked upand tension obtained on the cotton the three cards will them with the free rise as o ? : c , Approaching hand’ the sides of the face card are lightly gripped, the tension on the cotton being lessened so thatthe two cardsbehindfallback into the glass. Themove is repeated, and finally the last card comes up. If theperformer likes to havean off-stage as thougha lot assistant (and thoughitsounds of practice might be required to get the necessary synchronisation, I cansayfromexperiencethat provided the assistant can see what the magician is doing, and such an assistant has a little savvy,” only a few minutes rehearsal is needed), the last card can be made to jump from the glass into the performer’s hand, a simple jerk on the. cotton making this possible. “
Inthatmethod, of course, the glass being fakedhad to behandled carefully,and though on principle I am against havingthingsexamined, in the rising cards ” T alwaysthink that the container should not in any way be suspect. ’ ’ The present method allows for use of a borrowedpack and borrowed glass ; thelatter, however, must be either straight sided or bulbous like brandy a glass. Such glasses allow the cards to rise without any tendencyto fall sideways. Thefake used bythemagician is simply madefromalady’shairpin. It is shaped as in the above illustration, wkich shows it also clipped on to a glass. The cotton that is attached goes off at right angles once it is fixed. Incidentally,thoughsuch line is finer, don’t US? nylon,for this has not the limpnes; of cotton. In workin;, tke fake l i s underapack of cardsnearoneend.The glass is shown,tapped with the f i c g r s and placeddown. “ As you can see,’’says the magician, it wi!l just accomrnodatea pack of cards.”Thecards and fakeare picked up a; one and placed inside the glass, and at the same time the wire fake is slippxl over the sides and engaged. The length of the wirc sh.ould be less than the diameter of the glas:, and it shouldtake up its position in the rear halfof the glass. ’The cards are withdrawn, and the company allowed to take, say, three cards. Thes;t are placndin the pack and controlle-l to thy top. A little finger break is securedunder the three top cards, and in the action of placing the cards in front of the wire fake, the three cards drop :nt*> “
I 1
“
Everything in this effect depends upon natural handling. First of all, take a pack of blue-backed cards From the redand discard dozen a cards. backedpacktake their equivalents and trim the opposite corners of one so that you have a corner short. Now turn the red-backed cards face down, and see that the short card is at the bottom of the heap. Underneath these twelve rcd-backed cards place the balance of the blue-backed pack. The only other items that you will require are two stemmed glasses capable of taking the playing cards. These are placed on the table about a foot apart. Picking up the pack from the table the magician gives a cusuul spreadto the topdozen cards, rcmarking t k at whilst it is a common practice to havecards selected whilst the cardsare face down, this mystery is an exception. The pack now held in the left hand is turned face up, and whilst two members of the audience agree to assist, the right handapproachesthepack. The pack at this pointshould lie across the palm of the left band so that the topleft-handcorner is Pear the thumb whilst the bottom right-hand corner is near the basr of the little finger. The r‘ghthand comes over and grips thepack;the thumb feels for the short, and the left-hand li tlc fnger hclds a break. The right hand now prepares ;3 makc n number of running strip cuts. The left1- and t! I-& and second finger grip thecards a ’ h u t a ?uari.:-r wa37 down from the top, and tht. rig’?t-han-i thumb and firstfinger draw th2 cards underneath >wsv. thc break prt?zliou.sly held h!* 6-l
”
t h e left-hu?z(lli!tle filzgcr hcitzg trtkcn o71er h y t l w rig-ht-hglld thumh and third finger. A number oE strip cuts are made.thecards being turned so
tk-at the red back of thebottomcardshows, as the magicianaddressesthe two assistants-to-be, andwhenhe g:% to thebreak, i.e., whenhe continued on page 55
London, 9 April, 1951. Dear Mr. Warlock, I haveread your interesting article onthe late Arthur J. Sherwood which appeared in the March ( 1951 ) issue of The 31agic Circular, and I expectyou will be, surprised tolearnthat Sherwood’s success asa magicianwasdue,to a certain extent,toDavidDevant, whose pupil he was. Over twenty years ago, the Master him‘‘ rehearsed ” him in self told me thathehad some of his routines, including, I think, the Chocolate Box. Devant also informed me that,in spite of statements to the contrary, he had had very few pupils, althoughsomeunscrupulous individuals hadclaimedtohavetakenprivate lessons from him. Apart from Claude Chandler, R. Woodhouse Pitmanand the lateVincentDalbin (who all took out, at different times, the Devant show, or part of it), I know of only one, namely, Dr. 0. H. Bowen. Of course, thereareothers,and I amone of the few. Readers’of The O d i n Rings, published in London in 1931, may recall having seen an intimation to that effect on the title page of thebook in question. Beforestartingmycourse of lessons, I had alreadybeena full-time professional performer forthree years. Devantdidnotteach me any he newtricks-he said that I had plenty-but showedmehow topresentsome of those that I knew, or thought I knew. His fee was a guinea a lesson, and I consider that the twenty-five guineas that I paid was one of thesoundestinvestments that I evermade.
While on the subject of magicians and their pupils, I wish to take this opportunity of stating that there is no truth in the often repeated asserwlzo gave D m i d tion that ‘‘ I t w aLs e R o y De:tarlt his first lessous i l t magic.” (See Goldston’s Who’sWho,”pages 27 and 60). David Devant was born in 1868, and assuming that the late Eugene Powell was right, Servais. Leroy was younger than his supposedteacher, not having seen the light of day until 1875. See The S p h i u , July 1928, page 223). Devant said : 1,eKoy alrd I studied conj.uring me to together, but I was not his p u p i l . ” When associated with the Maskelynes, Devantgavemuchsoundadviceand practical help to the young men appearing at the Hall, ” including myold friend, the late Owen Clark.
In describing the following routine, full credit mustbegivento the two brilliantpredeGrant’s Slates and Aces and cessors, ‘ Supersonic.’’ I was greatly intrigued by both these grand effects, but both lacked what I consider the cssential forpresentingthem as serious mental tests. It was with this thought in mind that I devisedthefollowing routine. Briefly, theeffectfollowsonthe Same lines as Grant’s Slates and Aces, but instead of using 1 mountedablackboard cardsonasmallslate, on a stand and substituted large colour cards for theplayingcards.
A glance at thediagram willgive an idea of the set-up of the stand. Also, by using a little sxbterfuge it is possible to show the whole of the selected cards, which greatly enhances the effect. What the audience seeis a blackboard with the backs of six cardsshowing,thecardsbeing held in placebyastrip of white elastic. After an introductory line of patterbythe performer, he draws attention to the six cards on thc stand, by giving a number to each card, from one to six. He thenasksamember of theaudience to Concentrate on one of these numbers, but not to call it out. After due Concentration the
“
”
“
“
‘ l
Kindest regards, Yoursvery
sincerely,
V. FARELLI. P.S.-According to Will Goldston’s Who’s Who ’ ’ (page 59), Servais LeRoywasborn about 1860, andit ispossible that Powell made a mistake in his article, or, more likely, thatthe compositor was to blame.UnforWho’sWho is full of errors, tunately, andcannotbe rFlied upon.For instance, it is stated(onpage 77) that Ramases died of fact, I stopped in 1896, but,asamatter in the same hotel with him, for over a month, in Cairo,EgyptJ in 1920. And I methim here in Londonon more than oneoccasion in 1927.-V.F. ‘l
“
”
continued on opposite page
53 performer steps behind the board and writes the colour forced on the board. In this case, as illustrated, green.) Addressingtheaudienceonceagain heasks a spectator to name the number which he freely selected. Thenumberhaving been called, the c a d and performer removes the appropriate places it in position at the top of thestand. (The illustration shows No. 6 asthe selected card.) Careshouldbetakennottoshowthe face of thecardasit is removed. OJaanye ha/+ be-
n
,+/oa’greEhpodc+ Green-
The following effect canbeworkedalmost [underany conditions. Naturally, slightly differePtmethods of presentation will berequired to suit the conditions, butthemethodand basic principle of the effect remainthesame. Assuming that you are performing an intimate type of show, explain to your audience that your partner is going to attempt a demonstration of impulse writing. This \vi11 necessitate the borrowing of a pad< of playingcardsandthevoluntary assistance of amember of theaudience.Emphasisethefact thatthecardsare borrowed andthatyouhave neverhandledthem before. Then askyourvolunteer to mix the cards. Whilstthis is beingdone,a request is made for someone to escort your partner out of the roomout of hearing. This having been done, you explain that you wish to haveacard selected in the fairest possible manner. Ask your volunteertodealthe cards slowly down on to the table, and when any member of the audience shouts ‘‘ Stop the card he is dealingmustbeplacedonone side. ”
Whenthecard is in position thestand is difturned round showing that all cards have a ferent colour, and that the performer has successfully predicted the colour which was at the number so freely selected. A glance at the illustration shouldexplain the construction of the board and stand. The board illustrated shows six cards held in place,backs facing the audience.Each of these cards is coloured in two colours, one half being the force colour, in this case green, and the other half a different colour. At the back of the stand, fastened to a strip of elastic, and between the elastic and the board, is a half greencard.This is justa fraction wider than the other cards. It will be seen that it forms a kind of mask pocket, behind whichis placed the different colour of the selected card, the join being masked by the elastic band so that when the stand is turned round the whole of the greencard is shown. The illustration shows the bac:c of the stand, card No. G having bcen removed and placed in position at the top, the orange half going behindthe half card so that the whole card appears to be green. One last word, this is a grand mental effect, so please use it as such, and do not use it in an ordinary magic programme, when it becomes a ,mere trick.
Picking up the selected card, hold it in front of yourvolunteer,askinghim to get a clear mental picture of the card,after whichhe can place the card in his pocket. Thenaskhim if he willlend youasmall piece of paper,a visiting card, cigarette packet oranything which hasbeen in his possessionanything that he does not mind being written on. Having obtained the paper or what have you, give a brief summary of what hastaken place. Then explain that you require a panel of judges, one to escort you out of the room and the others to watch the demonstrationfrom the stage or platform, to make certain that no communication can possibly be made when your partner returns. Also invite yourjudges to interrogate the person who escorted your partner out of the room as to whether or not anything had happened that would indicate what had taken placz whilst they wcre out of the room. Induecourseyou leave the room, escorted bJ- oneof the judges, and in yourabsenceyour partner is recalled. contintted on pagc 55
A busymagicalmonth. Yortsnlouth onthe 14thforthePortsmouth and District Magical Society’s Annual Dinner, Hoffmann Memorial Lectureonthe24th, at the Magic Circle, and another lecture at Bristol on the 29th. The Portsmouth and District Magical Society’s Dinner was quite an occasion for us, for seldom have we in thespace of tenminutes shakenhandswith a pupil of CharlesBertram, a Daughter of BuatiLr de Kolta, a Stage Manager for Car1 Hertz,and a Cousin of thelateLouis N‘kola. Almost unbelievable, and during the dinner,withtheorchestraplaying some of the wal’zes of Joyce, wewereswept away witnnostalgic thoughts. A nice magical bill followed of thedinner.Theacts were Raoul,withone the nicest timedversions of thegiantfour aces (in this case fourjacks) we have seen, Francis Ha.xton with some faultless card work, Ossie Rae, and ourselves. Theafterpartybrokeup in theearlyhours withnomagic but a lot of reminiscing. To be televised or not to be televised. It of teleseems strangethat in theearlydays I mean the ’thirties, vision, and by that magiciansthought that here was their golden opportunitytobethe idols of theair. In a recent copy of the Genii, Bill Larsen,who is more far sighted than most, offers the opinion tk.at magicians’ chanceson television willcome whencoloured TV takestheplace of the more usualblack and whiteprojection. For ourselves. we can’t see it. Effective visual tricks are pretty few.Once atrick is done it cannotbe repeated for some time, and in this case, must paradoxically, it is thebettertrickthat go intostorage. The LinkingRings,Cupsand Balls, and theirlike,stand out in the memory and in a repeat performance the viewers’ eyes are on thetrickexamining it for a possible solution. Two-dimensional conjurerscannotprojectpersonality as in the case of their three-dimensional or movements that brothers. Little actions afford adequate misdirection in normal a performance fail toachievealltheirobject on the TV screen. It would secm that close-up work is most effective, providing that’t is good. work, but it needs some effort on tEe part of theB.B.C. ,4t
the moment, in most cases, the performer is compelled to adapt his effects to the need of the producer,for magicis one of the Cinderellas of entertainment.Camera workseems tobe most unimaginative, and little seems to have been learned from successful film technique. How we progress. The otherevening four of 11s were gathered round the fire and the talk was about coin magic.One of our number showed a n‘ce Horowitz effect andanother showed a similar trick almost as good. It came from Moderlz Mugic ! This started dive a for the bookin question and then a looking at the card effects. Just have a look at some of them yourselves, in case yourmemoryhas faded. Talking of M o d e m Magic brings to mind that a new copy of late^ Mugic ispromised forthis year.It is an American edition published by Puttons. Heartycongratulationsto the Sphinx onthe occasion of its Golden Anniversary. Though thc M-arch nutnbercommemorating the occasion is not such a fine souvenir as that which anniversary, it contains celebrated, the Ruby some excellent magic(notablybyOkito,Bob plus somevery HarbinandTanHockChuan) line articles byWalter Gibson, JimmyFindlay, Milbourne Christopherand David Bamberg. Costs of printing and also of paper are still rising and when we look at such a magazine as the Sphinx we realise what an expensive job it. ~ n u s tbetoproduce. In the Marchissue there Are nearlyseventyillustration blocks used, some t!wm being fullpage in size. Cardboa.rd is upandthe magician can expect further r s e s i n the prices of playingcards. An official c f aplayingcardcompany to whom we spoke ?;:e other day told 11s thatnot only hadthe material they were using reached a new level, but tkere was also thematter of increasing scarcity. \$:e advise you to buy thaw cards now. Talking of cards reminds us that so far we haven’t seen any effects touching on ( ‘ Canasta ”. And that also reminds us that De La Rue‘h Jre se!!ing ” Canasta ” sets which contain i-he finest English back pattern for readcr marking that we have seen. Quickest cement for a pt’rmancnt rope join . . . . Ka!sa woodccmen t.
A.B..C. TRIPLEDIVINATION,
particularroutine he hastakenthatgreat classic of mental magic, “The Problem of the Three Coins,” and haseliminated the one pointthathas always proved a weakness,namely, the means of picking up cards, r--li-ckes or whathave you in an endeavour tolocate t’l~ three articles.Quite frankly, when our friend Ken. I?:oolie camealongwith hisown version we thought
bv George Blake (a duplicatedmanuscript published - bJ- the Author of 9, St. Alban Rd., Leeds 9, a t a price of 5/-‘t. Readers of thisbulletin n,:lll dread>- beacquainted with the excellence of George Blake’s magic and \IT consider ourselves fortunate to have published hi5 lovely ‘speller’ effect in our very first issue. Inthis
“
”
55 8 0 0 K S and R 0 UTINES-continued from previous page that perfectionhad been reached, and in that routine, in n-hich playing cards were used it had, for Ken. too has found a way oi eliminating the weak feature. That particularmethod, however, meantthat playingcards I1ad to be used, whilst in this method they are eliminated (we seem t o be using that word quite a deal).The effect wasalways good inits basic form. GeorgeBlakehas now turneditinto a miracle. FLASH PAPER TIPS, byStuartRobsonandRalph \l‘. Reatl (published by Louis Tannen, 120 West 321~1Street, New York, U.S.,4., priceone dollar). This \vel1 printed booklet of some fiftyoddpages is a mine of information tothe magicianregarding that excellentaccessory, flash paper. Of particularinterestarethe generalcomments 0x1 the article in question. The reader is warned (and quiterightly) of the danger in being careless with something that is capable of greatdanger.Thereis
no exaggercttion in t5is advice as anyone may (and we have) been badlyburned eitherthrough carelessness or misfortune. Keeping in mind the advice given the reader is then takenthrough a number of chapters in which flash paperis utilised or used as a n aside in effects with cigarettes, cigars, flames, matches,money,cards, silks, in fact the whole paraphernalia of the modern magician. Of theitems given we liked particularly, “Melted Money,”“Goddess of Flame,” the “Flash Card Stab,” the “Fireproof Ghost,” “Rainbow Billiard Ball Production” (this is terrific in effect if you can get coloured flash paper)and“FlowerFlash.” These are just a few fancies of ourown.Thereis, however, no tloul~taboutthe magical effect of a flash during a magica! act, and IWfeel certain that at the low price aske:l felvreader: \vi11 abstain fromaddingthis bookle: totheirlibrary. -~~~ ~
SWEET SIMPLICITY 3-continued
from page 51
has only twelve cards left, hestrips o f f the topmost red-backed card (the corner short) and drop.; the remaining eleven cards on top,but retains a break with his left-hand little finger. A final cut at this break is given, leaving the short still on topand the eleven red-backed cards at the rear of thepack.Therighthand takes the pack, thumb on the faces of the cards and fingers against the backs. Again thehand is turned so that the colour of the backs is flashed to the audiI am going to remove one card at a ence. time like this (the face card, face to the audience, is removed by the left handand droppedinto the nearest glass),and I want you, sir (thisto first assistant)tostop me whenever you wish. Thecard at which you stop we shall consider to be ? ’ 0 1 4 ~ card-quite clear ? The mag:cian removes a card at a time and places each face outwards in front of the first card in the glass, until heis stopped, and this card is then placed face outward into the other glass. The procedure is similar with the second assistant, and th;: positionis such that there are twoblue-backed “
”
IMPULSE WRITING-continued
“
”
from page 53
Aft:r sitting atthetable she builds upthe atmosphere by asking the person toconcentrate, and slowly, as the message of the value of the card comes through, she writes onthe slip of paper the name of the selected card. Method.--I need not explain that the success o f this effect dependsuponshowmanship and comDlete fairness of thecondit‘ons. 1h e secret is quite simple, and depends upon the subtle method of silent coding. This is done by having on your pzrson thirteen pencils. I use four sets of three pencils, one large size, one half size, and oncl quarter size. Th.; :hree pencils of each set have differentcolours,2112se! red, yellow, blue and green. These sets are depositcd upon theperson, three red in the lcft trauserspocket,three yellow in the right ;rGvScr; pocket, three blue in the right coat: pocket and three green in the left coat pocket. These twelvepencils represent ace to queen. A-.
cards in one glasswhilst in the other glass there are a number of bluebacked cards backed with one red-backed card. The magician says to his audience, I think you will agree that the selection of thecards could not have been fairer, not taken from a facedown pack. (Here once more the remaining cards are turned face down in therighthand, and the top cards spread so that the whole packet wouldseem tobe red-backed cards,The small packet of cards in the other glass is takenand turned round so that the red-backed card shows and is placed on top of thecards in the right hand.) Thxefore don’t you thinkitstrange that I hold consists o f despite thefactthatthepack red-backed cards,thevery two cards that your choices fell upon were tze,o hlzle-bucked curds that 1 placed in thepack at the beginning ! ( A t ihis point the pack in the right !-)and Is placed down and the two blue-backed cards are removed andshown.) Trythis over carefully once or tw:ce, and I feel sure youwilllike it. As they are of different sizes thcy act as
an index and the pencil representing thevalue iseasily distinguished fromthe rest. The king pencil 1s 3 solitary black one, and this is placedin the breast pocket. The suit of the chosen cards is coded by the Ei;..rnber of judges asked on to the stage, one for cA:.bs, two for hearts,threefordiamondsand 1..,lr for spades. All your partner has to do when she returns is to note thcnumber of judges an6 the colour aild size of the pencilplaced on the table beside :he piece of .borrowed paper. The rest is showmanship ! As I have mentioned, this method is suitable for adaptation to any circumstanccs. I have used s , : y cards in place of playingcards, butas I 1 ke to borrow everything so that the effectis ptrformedunder test cond’tions I prefer to us(: playing cards.
7
- 7
56 '' THISIS
A GEORGE BLAKEROUTINE
I
"WONDERFUL," says ROBERT HARBIN !
"
The "A=B=C Triple Divination "
(It'saseasyasthat!)
He madethisstatementafterpurchasing BOOK EDITI'ONS NOS. l , 2 and 3 of Hugard's Magic Monthly, and continued: A delight to read,andgrand books to add t o one's library."
THEOLD EFFECT OF THE " PROBLEM OF THE THREE COINS " BROUGHT BANG UP-TO-DATE
If England's foremost magician feelsthis way aboutthisgreat series,maybeyou'dbettergetacquainted with itbygetting a copy of
Three Spectators freely take any three coins or articles, yet the performer can correctly divine all three choices! Anyone having Knowledge of the old methods will certainly " sit up and take notice " on witnessing this routine, where apparently NO CLUES REMAIN TOGUIDETHE PERFORMER: " df Hilliardhad ,,known aboutthis he would haveincludeditin Greater Magic-Ken de Courcy. The eff:c t in its basic form hasalways been gocdand I thought the limit had been reached when you c:me alongwiththisangle. Using thisroutine you have a miracle -Peter lVarlock. Undonbtedlythebest version I haveever seen "-Gus Southall. The A R C ' Triple Divination hasonefault.It'stoocheapat S/-. I will get far morecreditforthis effect thanforsome I have paid poundsfor "-"YOGI" (The0Speaker). LearningtheGreater Magic Version ' fair wore me out ', but I learnedyourrolltint, in notime "-Ron Spencer.
just published, with its l l i sleights,tricks, and routines with balls, cards, coins cigarettes, eggs. handkerchiefs, rope, thimbles and miscellaneous objects,including 17 fine mentalfeats. They are the brain children of Allerton, Christopher, Daley, Devant, Farelli, Gardner, Hugard. Kaplan, Ranson, Vernon. and other well-known professionals ar?d amateurs.
HUGARD BOOK EDITION No. 4 (Vol. VII.)
"
"
"
"
~
Puzzles Conjurers and Laymen Alike
5/1;
Handsomely produced (uniform with BOOK EDITIONS. XOS. I , 2, 3), with Bancroftbuckram cover, 128 big pages (84 by 11 inches) 18; which aretheequivalent of abollt,olOO pages of ordinarysize, drawings Francis by Rigney, a Fleming Service Publication (prodllccd without a penny of pltblisher's profit), American pric: $5.00, sent postpaid and duty free at the Fleming Share the Loss price of , . .. .. .. .. .. .. .. .. 30/"
ROOK EDTTIONS NOS. 1, 2, and 3 arestillavailable,though not in unlimited stock, andare still (as they were widely, pronounced when first published) thcyear's biggest book bargains , each 30/"
NOTE: Please remit for these orother books on magic to Mr. Robertson Keene, c/o Riverside," Victoria Road, Yarmouth, Isle of Wight, and receive the books promptly from the United States.
Good For Platform Dinner, Close-up Shows
"
Post Free
FLEMING BOOK COMPANY
George Blake 9 ST. ALBAN ROAD, LEEDS 9 PETER
728, MADISON AVENUE, YORK, PA.,U.S.A.
WARLOCK'S
PENTAGRAM is published on the 24th of e8chmonthand canbeobtaineddirectfrom the publishers for I!I per single copy. AnnualSubscription 12/postfree.
PUBLISHED
BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts forpublication review shouldbesent EDITORIAL ADDRESS:
The Magic Circle I'rr.sidcnt : His Grace the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggr, Esq., M.I.M.C. Clubroorn andLibraryand
Magical Theatre :
King George's Hall, W.C.
and books for t o the:
Particulars from Hon.Secretary
BOOK
THI'S, book does not teach the y d e r how to , a subject speak without moving his lips that has been dealt with in all other books on break new the subject. I t does, however, ground thathasneverbeforebeencovered in a book on ventriloquism. Herethereader will find the result of years as a profesof hardandpracticalexperience sionalperformer ; whenand how to use the comedymovementsforthegreatest effect, how to write your own dialogue, a mass of ideas for newacts with script outlines, invaluableinformation on the psychology of children,entertainingchildren,etc., etc And to cap it there is the complete script for an outstanding new Maurice Hu.rling act-not duplicated and sold for lO/- but just one chapter in a great new book. Price 10/- ; postage 3d. from the publishers THE MAGIC WAND PUBLISHING CO. 11, Monastery Gardens, Enfield, Middlesex.
JACK
HUGHES
will be pleased to send you details o f his verylatest effects and all his old favorlrites in return for a stamped addressed envrlnpe size please). (foolscap or octavo WRITE NOW. TO
TACK 2,
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS F O R SALE OLDAND NBW. Lut me know pour wants LIST FRBB. FOR STAMPENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
A GREAT NEW
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
Magic Wand Publications The Magic Wand Quarterly.Fercopy 318 ~ . p . A n n ~ ~ asrlb5c)ription l 14i6. The Wizard, 36 pages monthl>.. Per copy 211 p p. 6 month 12'6 Year 24;-. lohn' Ramsay's CLps h' BalJs (Fafellii 25/6 Where Houdini Was Wrong (Sardlna) 20/6 Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno's Mysteries (Rohlen) . . 1013 Thanks To Leipz'g (Farelli) . . 1013 George Armstrong's Premonition 10/3 Chandu's Psychoanalysis .. . . 10/3 Entertaining -With Hypnotism (Dexter) IOi3 Challenge Instant Hypnotism & Mass Hypnotism .. .. . . 211Strlctly Magic (Eddie Joseph) . 513 Stooging Avound (Stuthard) .. 513 26 Living 8( Dead Tests (Garrett) . . 5J3 lamesosophy (Stewart James) . . . 5/3 Year Book 48/49 (few only) . , . 513 Stunts With Stage Money (Lamonte) . . 5/3 Tricks of t h - Trade (Arnlqtronr) . 2i7 From the pttblishers THE MAGIC WAND PT'BLISHING CO.. 11, Monastery Gardens. Enfield, Middlesex.
Every Advertiser's goodsare fully endorsed by this Bulletin Publishrdby
the proprietcrs The Magic WandPublishingCompmy. 11. Monastery Gardens,Enfield, Son (Printers) Ltd.. Well Croft. Shioky, Yorkshire. Walkerand
Middlesex, and printed byHerbert
*
57
PENTAGRAM An independent monthly bulletin for all who want good magic
I use this a-la Just Chance ’’ tray, to switch envelopes, cards, etc. In a previous effect an unprepared duplicate of the magazine has been - - e audience handled,andat the conclusion of the effect the magazine is put by and apparentlypicked up later, in a subsequent effect, and held out traywise forthe collection of a sealed envelope. In actual fact itis the switcher magazine that is picked up and held out for the collection of the envelope, the envelope being switched in due course. (I use it chiefly for a version of The in Fabian’s T.N.T.”.) GrandNational “
2,
‘ I
”
‘ I
TYPE OF MAGAZINE. Find a magazine which has advertising matter on the back cover, preferably with a printed line running across the middle. This line disguises the slit made in the back cover, through which the card or envelope tobe switched falls. I use the ‘ Scots Magazine ”, whichis eight and a half by live and a halfinches in size. It contains 44 leaves (88 pages) and is about a quarter of an inch thick. This is the ideal size of magazine to
l
--
J
PREPARATION. Cut a slit with a razor blade through the back cover of the magazine at the middle, using the lineof printto disguise theslit. The slit should be about four and a half inches long. Now, with the magazine face downwards on the table in front of you, open the back cover to the right. Paste a thin but stiffishpiece of pasteboard to the inside of the back cover, the top edge being flush with the slit. Cut a piece of thin celluloid, slightly narrower than the pasteboard, and about two inches longer. Spread paste on the upper half of the inside cover, down to the slit (uot on tothe pasteboard), and laythe celluloid over this so that the extra two inches projects down over the pasteboard. Pastethe celluloid down on to the insideof the back covt’~,but leave the overlapping two icches frcc.
58 Now, spread paste over all this celluloid, the paper margin round the celluloid and in a quarter inch margin at the edges of the bottom half of the inner cover, but not over the .entire pasteboard. Paste the shaded portionin the accompanying drawing but not over the entire pasteboard: only about oneeighthinchround its edge, and don't putpasteunderthe projecting two inches of celluloid, but on top of it.
3
celluloid (and entire toppart of themagazine) will bend downwards in themiddle and, owing to the tension created, the cardboard part below the slit will buckle upwards in themiddle, thus opening the mouth of the pocket. Relax the pressure and the slit will close again.
USING. The envelope or card to be switched for the other one, is just put inside the magazine, between the faked cover an3 the page facing it : itis resting inside themagazine at thebottom end.Themagazine iie; face downwards on the table. The magazine ispicked up in the h j t hand, atthecardboard(orbotrom)end,and is held horizontally (backcoveruppermost of course), forthespectator to drop the envelope, etc., on to. The envelopeshould rest on theouter half of the magazine. The magazine is now transferred to the right hand, which takes it at the opposite end, and, as the magazine is tilted downwards, apparently letting the envelope slide down off the cover into thewaiting left hand, the rightthumb presses continued on page 63
Assuming that the inside of the back cover is page No. 88, fold the page on the left, page 87, over it, or just close the magazine and put it under pressure to dry. See what you've got? The pasteboard portion has formed a pocket with the unglued portion of the previous page, and the celluloid forms a slide into the slit which forms the mouth of this pocket. If you hold the magazine at the top end, back cover upwards, in the right hand, with the right thumb on top and the fingers spread underneath, and thcn press downwards with your thumb, the
THUHfl /'LE$Er
MA
c
From rile J. B. Findlay Collection
59
The wine glasses, like lone sentinels, standone at each. frontcorner of thetable.Thethree sheets of paperare placed together, folded and stood upright in one of the wineglasses.
A long while back in the ]inx I published an Papers.” ,effect under the title of ‘‘ Pagan l‘hough I know of anumber ofAmerican conjurers who have used this effect, it seems to have been passedbyoverhere. Perhaps the useof flash paper in the effect added to thedifficulty. Anyhow, here is the effect as I first visualised it, and when you have read it I think you will agree that withtheminimum of apparatus you have colour, action andmystery. The magician shows three sheets of tissue paper, one red, onewhite and oneblue.Qnthe table rest twowine glasses. The piece of blue paper is crushed into a ball, and the piece of white paper rolled around it, the whole lot being dropped into glass the on right hand side of the table. The sheet of red tissue paper is now crushed into a ball anddropped into the glass on the left. A tap ontheright hand glass with a muttered “ Hocus pocus,” the whitebundlethenbeingremovedandthe tissue unrolled to show that the blue paper has vpished.The whitepaper is thenmade into a ball againandreplaced in the right hand glass, which in turn is covered with a silk. More Hocuspocus.”The silkis removedfromthe right hand glass, showing thatthe white paper hasvanished.Theball of redpaper is now removed from the left hand glass and unwrapped to show the white paper, which in turn is unwrappedto show the missing bluepaper. The requirements are few, and consist of four sheets oftissue paperapproximately ten inches square. Two of the pieces arewhite,one is red and one is blue. Two wine glasses and an opaque eighteen-inch square silk handkerchief will also be needed. Toprepareforthepresentationone of the sheets of white paper is rolled into a ball and is placedbehindthe silk handkerchief, which is lcosely bunched upneartherear of thetable.
The pieces of paper are removed and shown separately, after which they are placed in a line across the table. The two glasses are then picked up,clinked together, and replaced. “ And this silk handkerchief. ’’ As hesays this lastthe right hand takes hold of the silk and ball of paper, raises themtogetheramatter of a few inches, and then releases his hold of the silk but retains the ball of paper in afinger-palm position. The sheet of bluepaper isnow picked up, crushed into a ball and then held by the left hand finger tips. Therighthandwith the white ball still finger-palmed takes the sheet of white paper. The ball of blue paper is now placed against the white, whichis rolled aroundit.This is accomplished with both hands, and in the action of giving the of papera final crumple,thefinger-palmedball white paper is pressed against the white and blue. Both are held at the fingertips as one. In the action of dropping the white and blue papers into the glass, the two balls are disengaged, the ball of white being dropped and the blue and white ball being retained and held in a fingerpalm position. The right handtakesthe sheet of red paper and in rolling this into a ball introducesthefinger-palmedball of blue and white paper.Thissurreptitiousintroduction calls for no skill, as the reader will find. The red ball isnow dropped into the left hand glass. The first part of the effect is now complete, and only requires theperformer’s individual presentation, To effect the final envanishment of the white paper, this is accomplished by the time-honoured convention of reversing the wineglassunderthe cover of the silk handkerchief.
Whilstonerather hesitates toplacebefore readersyetanotherversion of the rising cards, I feel thatthereare certain points about this variationthatare worthplacingon record. The effect very briefly is thata mentally chosen card rises from a pack that is isolated in a glass placedonaplate and coveredwitha bell jar. The means are possibly the oldest known in this effect, being none other than a length of hair and a dab of wax.
The requirements are as follows :A stemmed glass capable of accommodating a full pack of cardsand at the sametime allowingthem to tilt at a slight angle. 2. A pack of cards. 3. A small dab of conjurer’s wax. 4. A six-foot length of hair. (This is, of course, made up by knotting several smaller lengths together. Tying pieces of hair together is not too easy a matter owing to the natural resilienceof the hair.The way to.
“
PRESENTATION.
l.
*
60 be described will help to make it easier for the inexperienced. Taking the two hairs fix asmall that you wish toknottogether dab of wax to one of the ends and then take oneend of theother piece and press this againstthewax, so that the two ends lying side by side are now heldtogetherbythe wax.Withmatterthus,it will befounda compara.tively easy matter to make a knot. ) 5. A Bell Jar. 6. Some cellotape anda matchstick. 7 A patternedchinaplate,the recessed part being capable of accommodating the base of the bell jar. Thepreparation is straightforward.First of all the matchstick, or part of it, is placed on the plateatthe pointshown in theaccompanying of illustration,and it is kept in placebymeans
WATU
two small pieces of cellotape, one piece going lengthways over the match whilst the other goes across the width. The plate I use is of the willow patterntype,andthematchandcellotape seem todisappearintothegeneralpatternwhenthe plate is handled in a casual manner. It willnow be found’ that whenthe bell jar is placed upon the plate the matchstick raises the edge touching it about one-eighth of an inch. Oneend of the hair isnow fastenedby mpans of a- dab of wax to a rolled piece of paper, and then the ha.ir is wound round it two or three times. The piece of rolled paper is now attached to the underside of a chair by means of a couple of drawingpins (see illustration),the length of
\ \
PAfEA hairbeingtaken up andthrough the back ( I am assuming an open-backed chair).The free dab of wax end of the hair now has asmall piece of wax isnow stuck fastened to it.This to the base of the stemmed glass (see illustration)and this in turn is placeduponthe seat of the chair.
During the effect, the magician willwork on the left of his table,andconsequentlythe plate with the matchstick part to the rear is placed on the .left .hand side of the table, whilst the bell jar of is placedon the right handside.Thepack cards is placed upon the plate.
PRESENTATION. The pack of cards is picked up and the magician remarks that he wishes to try and showhls audiencea piece of magic inwhich themind First of all,” h’e says, overcomes matter. addressinganearbyspectator, I wish youta think of anycard in anormalpack of playing cards.” The spectator signifies that he has Now, sir,goinga stage thought of acard. further I want you to remove that card from the pack-don’tlet me see it, and then autograph it onthe face-here is a pencil.” Thespectator is now handed a pencil and also the pack of cards. After the spectator hastaken his card, the performer retrieves theremainder of the pack,and waits, headaverted,as the spectator writes his name across the face of the mentally selected card. After this cardhas been autographed, the performer has it returned to the pack, and in the way best suited to his own technique and presentation it is controlled tothetop. At this point the audience is reminded thatperhaps it mightbeas well to have the cardsthoroughly shuffled. For this purpose the cardsarehanded to another spectator, and at the same time the top of my card is palmed off (personally,asmany readers know, I use nothing but the single hand palm,a sleight which enables the card to b e taken as the pack is actually handed to the spectator. Such a sleight needs no stalling, and allows for speedier presentation), and the remaining .part of the packhandedtoanearby spectator. When the pack has beenshuffled it is taken back,thepalmedcardbeing added.The pack is held face down in the left hand,and moving across to the table and chair, take up the stemmed glass by the stem, tilt it showing that it is obviously empty, clink it against the side of the bell foot goes on jar andthen place it so thatthe ‘ I
I‘
‘ I
covtinued on page 63
61
1. Impromptu Changing Bag. The intirnate performer may use his innocent appearing pocket handkerchief with as much effect as the stage performer uses his ornate changing bag. It’s all in the folding. Beforeyou put the handkerchief in your breast pocket,openitout flat. Foldit in half, then in quarters. If youholdthehandkerchief byits tips, you willfind itreadyforuseasa changingmedium. ‘‘ bag ” by holding For example, open the three ends h your right hand, one in your left. A pocket is formedautomatically into which a small object maybedropped.Oncemorehold all the ends in one hand, then openthe bag by holdingthethreeends in your left hand, the fourth in your right. Another pocket is now available. Withyourhandkerchieffolded as described and with the four corners uppermost, put it into your breast pocket. Supposeyouwantto force a name,card, number,etc.Have five tiny slips of paper in one “ pocket ” of thehandkerchief.Takethe handkerchiefout bythe‘upper ends. Openthe in slips other “ pocket.”Havespectatorsdrop on which theyhavewrittennames.Bringyour “ pocket ” for selechandstogether.Openthe tion, only this time it’s the section with the prepared slips. Have a folded bill (you have memorized its serial number) in theconcealed section. Take out the handkerchief and have several borrowed bills folded anddroppedintheother section. ,4110~ a spectator to reachin quickly and pull out
a bill. Hecan onlytake the oneyouwant because you haveswitched sections. Reveal the serial number, via mentalimpressions for the climax. When returningthe bills remember to hold one back.
I read with very great interest Franklin Taylor’s Double Stop ’ ’ , g.ivenin the October I’entugruttr, and wonder if readers would be interested in the inevitable improvement. This consists of workingthe effect witha .straight-forward red andblackseparation;the twenty-six reds followed by twenty-six blacks. Thishas the importantadvantagethat now the set-up can be obtained by a genuine riffle-shuffle froma red-black, red-blackstack. The effect is worked just the same as before, except thatto set thepack to reveal the first spectator’s chosen card, the red cards left in the packaresubtractedfromtwenty-six instead of from twenty. A further point is that the operator need not watch the cardsashe shuffles, for provided he cuts the pack dead half-way in the usual fashion,
it doesn’tmatter if one or two red and black cardsare mixedin the centre after shuffling. Whenyou come to the dirty work andfanthe cards in front of you,cutto the first red card fromthe face of thepack as before, and when counting back to find the card chosen by the first spectator, ignore completely any black cards passed on the way. I’m afraid these notes must be read in conjunction with the effect described in the October the working issue, but I didnotwanttorepeat of the whole effect, as it would take too long. I havepreviouslyworked the similar effect wherethe twentieth cardfromthetop isfirst noted, obtaining the informationfromaprecedingeffect, but now I consider DoubleStop, beginning with a genuine shuffle, as near perfect asa trick can be.
“
2. Tear the Cards. Ratherthan discover the selected cardimmediately, .the magician hasthedecktorn in pieces and tossed in 8 felt hat. After, the pieces have been mixed, the wizard reaches in and part by part withdraws the proper pastboard. All you need for this later day miracle is a pack of cards and a felt hat. Previous to your performance, remove a card -anycard-tear it in quarters and put the four sections in one of the two inside creases of a felt hat. Have a card selected and replaced. Bringit to the top by the Invisible Pass (take a bow, Mr. Braue) or anyothermethod. Give the pack to a pleasant looking person. ‘ I want you to take the cards and tear them in four pieces and drop the pieces into this hat.” You demonstrate by taking off the top card (its back to the audience for it is the selected card yourember)and tearing it in four pieces and dropping it into the second crease of the felt hat. “ By the way, ” you add, picking up the hat, “ this wasn’t yourcard,wasit ? ” ..Youtake out the four pieces placed in the hat at the beginning. A denial, and you drop themback. Youholdthe crease containingthe selected card pinched between your fingers from the bottom, so that all the pieces dropped in by the spectator must go into theother section,
“
”
THE CONCERT VENTRILUQUIST and
Children’s the Entertainer, by Rlaurice Hurling (published by Magic Wand Publishing Co., price lO/-). Though there aluays seems to be a spate of books, pamphletsand manuscripts on magical effects, the ventriloquist seems less prone to the tvrittenword. Therefore this book is all the more welcome, fornot only does i t fill a want,but there must be many conjurers who addthis form of vocal misdirection t o their normal magical entertainment. TheAuthor is well known and experienced and this is shown in the way in which he gives details of routines that he has tried and found t o be practicable. Humour predominates which is of course as it should be, and whilst t h e w i t e r assumes a working knowledge of thetechnique, he is careful topointoutthat a successful ventriloquistmusthavea good technique. Tipsonwritingdialogue,pneumatic control of the dummy, noveltyangles are all dealt within the first part of the book, whilst the second part tackles the matter of the children’s ventriloquist. Age groups, child psychology andothermattersaredealt with. The book concludes with a0 complete act called ‘ The Doctor ’. Altogetherthere are some fifty pages \\.ell printed and anumber of (many of which we thought were unnecessary) illustrations. I t is bound \vith semi-stiff covers.
OurFrenchfriends should be grateful to M . Sardina for thistranslation, a translation of an excellent work long overdue. Thoroughly recommended.
AVEC UN JEU EMPRUNTE (Translation of Victor Farelli’s “Lend me .your Pack”) by Maurice Sardina. Author’spublication, price notknown. The or,iginal of the present translation is, in our own opinion, one of Mr. Farelli’s best books and though in comparison withthe technique described in many subsequent textbooksoncardwork,the methods described may seem more pedestrian to an advanced cardworker;they have much t o recornmencl them to those who have a limited time in which t o perfect a worthwhile and workable technique. Of such subterfuges we shouldlike to emphasise thepracticabilitv oi the method of “culiiI1g” attributed to Lindahl. Suchitems as the Pencil force are more thanworthwhile. The book, asmany readers will know, is divided into twomain parts,the first part beingdevoted to tricks that can be performed when standing whilst the second dealswith effects thatcan be performed when seated a t a cardtable.Thetricksareall effective and since the publication of the original book one is in position tostatethattheyhave stood thetest of time. M. Sardina’s translation keeps faithfully to the original text. Whilst thelast edition of this work in English ran t o some forty-eight pages, the French edition us- larger type and goes intomatter of some one hundred andtwenty pages.Linedrawingsreplace thephotographs used in the original.
HUGARD’S MAGIC MONTHLY. Volume 7 (published by the Fleming Book Co., price 30/-) . To say t o readers of this paper that the contents of this volume are superlative is not only unnecessary but rather like preaching t o the converted. Nevertheless as there may be a reader here and there that is unacquainted with Mr. Hugard’s most excellent journal, wewill repeat ‘ superlative ’. TheFleming Book Co., who in the past haveproduced thisparticular magazine in bound form incorporating twenty-four copies, have this time produced a volume containing twelve copies. The binding is excellent and unlike most English commercial bindings will stand up t o fireside ( a consideration in this climate) reading without buckling. Now a word or tworegarding actual tricks. Inthecard section, two efiects, t o our own \\ay of thinkingstandout aboveallothers. These are Dai Vernon’s ‘ ,411 Backs ’ routine and ClaytonRawson’s ‘ Blankety Blank Deck ’ (those who had the opportunity of seeing Mr. Clayton Rawson perform this in conjunction with ‘ Optical Illusion ’ deck a t the Magic Circlewill know how good this effect looked). Besides these two particularcard illusions therearetwenty more all fine in quality. Among the miscellaneous items we find a gem, (and a gem noted a t the time n-e first read it in theordinaryissue). This is the means for passing a borrowed ring on to alength of rope or string. 3lr. Hugard describes this on page 603 and gives credit to Ken de Courcey for the original inspiration. Some day (just as Gorge Blake did with his own ringon rope effect a t the recentUnique One Day Convention) a magician will perform this effect andthemultitude will remember where they saw it described and ,passed it by. We also like the ‘ Atomic Transposition . Hereagain is an effect that will not only be liked by thelay audience but also conjurers. Hand in hand with the tricks as tricks arethe regular monthly features that include Milbourne Christopher’scolumn (in which, in the manner of the rich scattering largesse, he gives the reader worth\vhile idea after idea), Book Reviews by John J . Crimmins junior,and ‘ Backstage Notes ’ by Frank Joglar. One hundred and twenty pages make up this present volume and though we have not countedthem w e arequitecertainthattheremust be a couple of hundred excellent illustrations to help outthetext. If you have not purchased Hugard’s Monthly in its more usual form, please get this copy to place (but You n-ill never not to leave) on your bookshelf. regret the purchase and you will addquite adeal t o your magical knowledge. Recommended without any seservation whatsoever.
We spent a very pleasant Sunday at Bristol recently, andafterourtalk we had the opportunity for quite a long chat with Judge Wethered. During this conversation we were shown two very in lovely ideas, one of whichwe hopetoprint the near future. It takes the form of a revised version of Paul le Paul’s ‘‘ Aces in Envelope.” On the way back we thought of the number of effects that lack climax in the accepted sense. Production effects usually fallinto such a category, and though much time, thought and labour
is given to improving such productions, the effect becomes cumulative andat times almost monotonous. Takefor example the production of a After the performer number of billiard balls. has produced two and stillgoes on wigglinghis fingers they expect him to produce another, and so on. With this particular effect Conradi Horster designed quite a stagey finish which seems tohave been overlooked. Onthe stage was 3. metal stand, which in effect consisted of two lines of metal that formed a miniature railway. At
63 MAGIC G 0 R OU ND-continued from previous page
+he finish of the production a ball at a time was placed at one end of the railway, and they rolled down an incline, described circles, . a d finally ,dropped into a top hat at the lower end. The hat Lvas lifted, and it was shown that the balls had disappeared and small bouquets of flowers (these were thrown outintotheaudience)hadtaken their place. Cuttingoutthe railway, we think that quite an effectivefinish mightbeobtained by droppingtheballs into a hatand changing them intobuttonholes of flowers.. Onmany an occasion we have commented on the fact that all too often the buyer of a trick places its measure of importanceon the price, sometimes even uponits size ! Only theother evening, whilst speaking at theWomen’sPress Club, the truth of our own findings was brought home verymuch.We were talking about telekinesis as a branch of psychical phenomena, and as an illustration we used Bob Harbin’s Uncanny Match effect. When you borrow a box of matches from a person seated nearyou and the impossible happens, such a thing is never forgotten. We werewith part of thegangtheother evening, and we were shown the new newspaper to flowers fake, which incidentally is a very clean job. We thought the effect of a newspaper changing into a bunch of paper flowers completely illogical, and suggested that sheets of coloured paper (or coloured tissue) would look much better. Ron Baillie, when submitting for your approval his Finger of Fate,’’ mentioned that he would like a good mechanical method for performing this effect, andthus eliminating the need for anything extraneous. Two of our readers came along with very similar ideas,and we shall print them in next month’s issue. Magic as a One of the best things in Hobby was Orson Welles’ masterly introduction. In view of his international repuiation we are still wondering why the English publishers cut this out. Paper prices (and printing prices) are still rising, andthough since the inception of this bulletin we have never raised the price byas much as a penny, itseems that increasedcost to buyer will have to come. If it does,and good notice will be given, we shall endeavour to enlargethe bulletin atthe same time, so that \t,ith extra price there will be extra contents. ”
I ‘
“
l ‘
”
BACK TO METHUSELAH-continued
f o p of
from page 60 f l z e c : I r d s h ~ l d; ! L t h e right iruld. The
arcornpanying illustration nowshows the position,and it should benoted,though the glass \~-ouldhav; to be turned to be otherwise, tha! F e blob of wax is in a position furthest from the rests on the ;...:?dience. Tht. right handthumb fo.3t of the glass, keeping it against thz barks of ::-.c cards. Thc left han3, relicved of its burden,
now takes the bell jar by the knob at the top, lifts replaces it. The it casually from thetable,and right hand noit. passes cards and glass to the left of the hand, both being- taken so thattheball left thumb comes on top of the waxblob, and in the passing action this isrolled off on to the back of the topmost card, i.e., the selected card, tke extreme tip of the thumb stillpressing down on the foot of the glass. Therighthand, free, picks up the plate, shows the front casually, and then turnsitover showing the underside. The so thatthe matchportion is plate isreplaced furthest fromthe audience. Therighthand now takes the glass from the left handand places it in a central position on theplate.Thepack of cards, wax bottommost, is placed in the glass, and in doing so it istilted towards the back. At thispoint the length of hair should berunning in an almost straight line fromthe chairto the in the best lighting conditions, glass ; it is, completely invisible. The bell jar isnow taken and placed over the glass, and allowed to rest ontheplate, and, of course, on the match. Therefore there is no pressure upon the hair. The magician steps behind thetableand moves across until such time that there is tension on thehair,i.e.,an inchmore and thehair would actually pull the rearmost selected card up. This action is now taken and the card rises. When it reaches the highest point that it will go the pressure against the hair is relaxed. Now because of the tilt of the cards towards the back of the glass, the card will not slip back but will remain in position, thus allowing the magician to move slightly left and at the same time addressthe chooser of the card, asking whether that is the card hethought of. After agreement, the bell jar islifted and thecards are removed by the right hand. In the action of placing them ‘n the left hand, the right-hand thumb nail scrapes -off the wax, allowing itto drop.The card is brought forward and handed out to the chooser, whoconfirms his signature across the face. The main point tobe brought home tothe ,cpxtators is the fact that the card is thotLghf of. M A G A Z I N E SWITCHER-continued from page 58
c?o;vn, opening the mouth of the pocket into which t’:e envelope slides.At the same time the duplic a f e envelopeslides out of the magazine into the left hand. NOTE. The Scots Magazine has glazedpages (art paper), thus the hidden envelop? slides out easily. For a magazine with rough pages, p s t ? s c x e smooth paper inside, and coat with it imizing p a p x , to allow the envelope to slip out freely. The magazine can bc chucked down after s;\yitching, back uppermost if you wish, for thc slit is never seen. “
”
h4c
THE SPHINX
TWO NEW AMERICAN BOOKS!
BOOK OF MAGIC \Vith the March issue, TheSphinx celebrates its Golden Jubilee. Suitably t o commemorate this auspicious event, we arepublishing the GoldenJubilee Book of Magic, 75 of thebesttricksprintedinThe Sphinxduringits lifetime . . . Tricks t o perform on the stage, platform, parlor or close-up . . . Tricks with every conceivable object . . . Tricks by such famous magicians of the past and present as : h 1 Baker,Birch,Blackstone,Christopher,KeithClark, Dante, Devant, Downs, Dunninger, F u Manchu, Goldin, Gwynne, Harbin, Haskell, Leon Herrmann, Houdini, Hugard, Jarrow, Kellar, Laurant, Leipzig, LePaul,Levante,LongTackSam, Mora,Reno, Tarbell, Tenkai,Vernon,Victor.
BOOK EDITION (Vol. No. 4VII) of HUGARD’S ,,MAGIC MONTHLY. This handsomely p d u c e d Fleming %Me Publication,” in a series that has received unstinted praise, contains 117 sleights,tricks, and routinesby the up-to-the-minute professionals andamateurs, such as Allerton,Christopher,Collins, Dale)., Kaplan, Vernon, and others. Bonnd in Eancroftbuckram, gold-stamped on frontand spine, 128 bigphges (84 by 11 inches) which areequivalent t o about 400 pages of usual ,$,e, 189 drawi:gs byRigney,Amyccanprice 55.00. sold on our money back guarantee a t our share the loss ” price of ., 301THE SPHINX GOLDEN JUBILEE BOOK ‘OF MAGIC.‘ A collection of 75 tricks and illusionsselected frompast issuesof The Sphinx. Feats by Devant, Kellar, Goldin, Leipzig, Houdini, Blackstone, Dante, Victor, Dunninger, Harbin, and other celebrities. Gold $5.00 351stampedcloth, 128 ,pages,manyillus.,Americanprice
Current
Some
Publication ORDER
Date
YOUR
NOW
THE SPHINX c/o
WILFRID JONSON, Tulse Hill,London,
FLEMING
45, KingsmeadRoad,
S.W.2.
PETER
WARLOCK’S
PENTAGRAM
~
A
GAGIC WAND-
PUBLICATION
I ’ $1
A GREAT NEW BOOK T H S ‘ b o o k does not teach the reader how t o spe& without moving his lips ”, subject a that has been dealt with in all other books on the subject. does, It however, break new groundthathasnever beforebeencoveredin a bookon ventriloquism. Here thereader willfind the result of years of hardandpracticalexperience as a professional performer ; when and how to use the comedymovements for the greatest effect,how to write your own dialogue, a mass of ideas for new acts withscriptoutlines,invaluableinformation on the psychology of children,entertainingchildren,etc.,etc And t o cap it there is the complete script for anoutstanding newMaurice Hurling act-not duplicated and sold for 10/- but justone chapter in agreat new book. Price 10/- ; postage3d. from the publishers THE MAGIC WAND PUBLISHING CO. 11, Monastery Gardens, Enfield, Middlesex.
Sellers
” ! . . . . . . . . .
. . . . . . . . .
211351-
. . . . . . . . .
201-
. . . . . . . . . . . . . . . . . . .
.
.
.
.
.
.
111-
m/-
.
Old Favorites !
BOOK
COMPANY,
The Magic Circle President : His Grace the Duke of Somerset, D.S.O., O.B.E.,JP., M.I.M.C. Vice-President: D o u g h Crapgr, Esq., M.I.M.C. Clubroom andLibraryand
Magical Theatre :
Manuscripts for publication and books for review should be rent to the: EDITORIAL ADDRBSS:
Particulars fromHon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to send you details of his very latesteffectsandallhis old favourites in returnfor stamped a addressed envelope (foolscap or octavo size please). WRITE NOW, TO
JACK
HUGHES
EVELYN AVENUE, COLINDALE, LONDON, N.W.9.
CONJURING BOOKS FOR SALE OLDANDNEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
2,
.
431-
728, MADISON AVENUE, YORK, P.A.,U.S.A.
ispublishedon the 24th of eachmonthand publishers for canbe obtaineddirectfromthe 1 / 1 per single copy. Annual Subscription It/postfree. PUBLISHED BY:
l
Best
Expert at the Card Table . . . . . . . . . . . . 12/Sleight of Hand (Saohs) . . . . . . . . . . . 301Encyclopedia of Silk Magic . . . . . . . . . . . . 601My Best (Thompson) . . . . . . . . . . . . . . 451Magic Without Apparatus . . . . . . . . . . . . . 451A Conjuring Melange (Collins) . . . . 121NOTE :-Please remit to Mr. RobertsonKeene (New Address) : Shalfleet House, Shalfleet,nr.Newport,Isle of Wight, and receive the hooks,postpaid anddutyfree,directfromthe UnitedStates.
March First COPY
“
Scarne on Card Tricks . . . . . . 60 Years of Psychical Research . Expert Card Technique (Hugard) Card Cheats (soft boards) . . Card Control (Buckley), was $10 Principles & Deceptions, was $10 .
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The M z i c Wand QnarterlyFer copy 3/8 p.p. Annual subsc)ription 14;s. The Wizard, 36 pages month]\. Per copy 211 p+. 6 month, 1216. Year’ 241-. Convmctng Cotn Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 10/3 The Concert Ventriloquist (Hurling) 1013 George Armstrong’s Premonition 1013 Chandu’s Psychoanalysis . . . . 10/3 Entertaining With Hypnotism (Dexter) JOf3 Challenge Instant Hypnotism & Mass Hypnotism . . . . . . 211Strictly Magic (Eddie Joseph) .. 5/3 Stooging Around Ktnthardj . . . . 513 26 Living & Dead Tests (Garrett) . . 5/3 Jamesosophy (Stewart James) ., . 513 Year Book 48/49 (frw only) . . . 5/3 Stunts With Stage Money (Lamonte) . 5/3 , , 217 Tricks of the Trade (Armstrong) From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex. ,
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsedbythis Publirhed by the proprietccz The Magic Wand Publishing Company, 11. Monastery Gardens, Enfield.Middlesex, Walkerand Son (Printem) Ltd.. WellCroft. Shinkv. Yorkshire
Bulletin and printedby
Herbert
*
65
PENTAGRAM An independent monthly bulletin for all who want good magic
u,d.5 L a . 9
June 1951
Outline of Method : Three paper-covered novels are used, each one having about 130 pages.One of these, the one to be forced,, should have a more highly-coloured cover than theothers. One of theothers is faked as described in ThePlot Thickens,” described in the December, 1950, I’entugrurll, and also contains information regarding the contents of the book to be forced. “
number between 1 and 130 is written down digits of this number are addedtogether and the resulting total gives the line to be counted to on the chosen page. 12
t o represent a page.The
You gain information of the pagenumber by ljse of the impression book ”, and this book l‘
also containsthe 128 possiblechoices of lines; therefore, knowing the chosen number you can instantly refer to the chosen line.
Preparation : Imagine that the gimmicked impression book hasthe impression block stuck to page 65. Pages 66, 67 and 68 have thin sheets of paper stucktothem.Written on these pages are the lines from the book to blank be forced, e. g., page 26 in force book gives line 8 onpage 26, etc.Write about 40 lines on each blank page : on page 66 write lines 24 to 64 from the force book, with the appropriate page numberprinted opposite eacb line. Onpage 67 writelines 65 to 105, and on page 68 writelines 2 to 23 and 106 to 129. The reason for this is that when a pagenumber between 1 and 130 is chosen, a number between 24 and 105 ismost likely. to be named. “
”
“
”
&ice O ? e S e g :
thebook, look at the impression of the written number and then refer to the line written opposite that number on the appropriate reference page. Working : Placethethree books on a table, first the unprepared one, on top of that the book tobe forced and on top of allthe impression book”. A slip of paperand a pencil stub lie nearby. A blackboard and chalk are at one side of the platform. l‘
A spectator is asked to assist : Would you giveme a book?” you askhim, pointing to the books onthetable.Nine times out of tenhe will give you the top one or the middle one. If he gives you the middle one, give it back to him and ask him to have a look at the contents. If he gives ~70uthe top one, take it and then ask for anotherone. If he picks upthe force one,askhimto look through it. l‘
If he picks up the unprepared one, take it from him and then place the two books you hold ‘aside. You chose that one?” you say, pointing to the All right, will you please one left on the table. look through the contents? How many pages has it?-About 130? All right.” Pick upthe slip of paper and pencil, start down to the audience, hesitate, look at the books left on the table, go back, pick up the impression book and lay the slip on it as you go towards the audience Wewant a page chosen in the book. again. Any page between 1 and 130. Would someone care to write down a number between 1 and 130 to represent the page?’’ A consenting spectator is handed the book and paper and pencil, and you turn your back as he writes. “ Would you sign Then fold your name as well?” you askhim. the paperup two or three times.” Thisdone, takethe pencil and pocket it, then the book in ‘ l
l‘
“
l‘
Now number resting book ”,
you see that if someone writes any between 1 and 130 on a slip of paper on thefront cover of the impression youjusthavetoturntothe middle of l‘
continued on page 71
66
wiee B&'& light-weight balls and the usual type of article which can be lifted by the stock levitators. Usedin place of magician's waxitwill mos. effectively cause cardsto adhcr: together or to anyothersurface, whether horizontal, vertical. or upside down. In conjunction with thin celluloid tumblers you can doan anti-gravit;; cffect by smearing a little round themouth of each tumbler. If you use a book test where page; must be stuck together temporarily and indetect-. you. ably, then this paste will do the jobfor Using a note book with the edge of the pag:, smeared with this stuff, you can do the sum trs: in my version where the spectator's sum isstuck to the cover of the book when closed. Smear zome on the finger an 1 thumb (a fairl",generous amountforthis)andrun a piece of string between the finger and thumb. The string w.11 stand up rigid for about six inches according toits thickness.
This is not a trick, not a routine, not a complicated gimmick, but just an idea that may be useful to you. It's certainly been useful to me. Wouldyou feellike spending two shillings if you read an advertisement something like this? : .-l 1,ONG-GI'A R D E D SE('RE'i' O F T H E E A S T N O 11,' IiE T.'EA IaED FOR T H E FIRST TIME !
Glrslrndn Jlngic Sl{pplitls w e prorfd to presell? t o mngicicl1l.s the crlrefrlll?'-g-lf,llrdel~ secret colloidrrl prepurrltioll ~ r s c db y tlze " c ~ l o ~ l d . : r wwrkers oj the E(t.st fret?? time in?nzenlovicll. '/'hisliiile-kl~owrl conlpolrrlti possesses rel?ltcvklthle p o w c r s , t111L.1 is preptlv:ld j r o m r(lrc E(rsterr1 herbs u11d mirlerr1l.s. Presclli-drly rt1ngicicLrl.s w h o ure prizlileg-etl to use ii C U I I r l o w duplicate the /Cuts of t h e Oriellidmystics, such as the itzstallt 1eTlitcltion 01' U I I ~small object .laid 011 the open fillgers, theperJorma11ct~ 01 !he Indian Rope Trick in rilillicctlrre, whereirl L L I ; esarnitzed piece of strirlg is ctrrrsed t o stalltl straight ~ r p011 comnlcrlld, clnc! t h e ger1rrillc. tlwetrdirrg of (I rreedlc whileOlilrdfolded. Urrt thisis riot ctll ! Grtsundu's 12ew tlisc o w r y cl111 also h c u s e d t o nzcrke a11y h o v v o w ~ e ~ l puck of m r d s illto 1 1 rough cllld snlootll p c k , ( 1 1 1 irnpronlptu book test call be performed with c L w y borrowedbook,the sum test C O I L be p e r fornwtl using U borrowed rlote hook, (1 pack o / cards h i d b y U spectator uguillst his owl1 forchead will, when renzoved, leave the clzosell cardutlheringthere, a11d munyother ntctrT1el.s c m beperformedwiththe aid of G U S ~ ~ I ~ L I I I ' S rniruculorts prepnratiotl, now nude u w ~ i l ~ l ~ l ~ ~ t o all nztcg-iciarls L I I I ~soldby (111 chemists, Ilclivdressers t11ld sulldriestnerl, u t tlle ?ric.e 0 1 Y'If'O .sHlr'l.Ix(;.s F O R * i (;E.*\-ERol-.Y S - P P L I .. o
~
r
/ !
continued on opposite page '1
Flashback ! U
stands for Underhill
l
It would beworth two bob if it would do all that, wouldn't it? All right, forget abeut Guzunda Magical Supplies and off with you to your barber's, where you may buyfor 2s. a decent-sized tube of PomadeHongroise,better known as Moustache Fixative. Buy the white kind, whichis labelled, " Blanc ", and which issemioddlyenough, transparent. Thismoustache paste, you will find, will take the place of Collodion-resin or otherLevitators, magician's wax, daub, and (in some cases) roughing fluid. It is quite transparent when spread in a thin film, and when rubbed on the fingers isinvisible and indetectable tothetouch. Yet it will levitate playing cards, pencils, wands,
1
From the J . B. Findlay Collection
67
While this little card trick is quite worth do& who stays withme .for itself, thepatientreader until the endwillsee that it also has a hidden purpose. A cardhaving been selected andreplaced, the performer shuffles the packand sprea-ls it in a fan with the faces of the cards towards himself. With anair of great concentration he p:cks out eightcards, one by one, wh:ch he PUIS, faces down,on thetable in two heaps of four. He closes the fannedpack and asksthe ckooser if the selected card was a red or a black one. Whatever the reply he picks up one of t t e keaps o f four cards and replaces it on the pack, saying, Weshall not want these then.’’The other four cards hetakes in his hands.Heturns one over, saying, ‘‘ That is not your card!” He does the samething with a second,and a third. He asks the name of the selected card and turns ovcr the fourth . . . . itis the chosen one. “
Thespectators, ob-serving thatthe fourcards were all of the same colour, ‘assum2 that the four discarded ones were of the opposite colour . . . but in that they are wrong. The four other cards were the four aces, which nowlie on the top o E the pack in readiness for your favourite card trick. Themajority of Pentugvunz readers will noi need to be told how todo it. The following paragraphs, then, are for the benefit of the
CLEVER DEVILS, T H O S E HUNGARIANS-continued
Use a very small quantity on the end of a piece ,of threadand you canthread a needle behind your back. Likewise, roll a littleroundtheend of your C. and R . rope to stop it fraying. Put a dab or two on the back of seveTal Treasury notes and do the Multiplying Note trick. Rub a finger on which youhave smeared a little paste on the back of a card and you leave theveryfaintest smear whichwill rub off with :another finger. Put a dab the size of a pinhead on a card and the next card will stick to it firmly until you slide them apart. Smear a thin film over the back of -a card and it serves as roughing fluid-but it has the advantage of rubbing off easilywith a handkerchief.
minority, to whom I will explain how I go about it personally.
I sight the bottom card, remember it,and shuffle it to the centre of the pack (zlill the top) with an injogged cardaboveit. I amprepared, then, for the classic force and, since I do not care a tinker’s curse ’’ if I force the card or not, I generally succeed. (Which, incidentally, is the secret of the classic force.) I do not care because, if I miss the force, I use the forcecard ” as a key card and have the selected one replaced beneath it, using for this purpose the sleight But Not To Play under which I described in the egotisticaltitle of the Jonson Undercut.” (All authorsare egoists but few admit it.) So, when I look through the pack I can pick out the selected card either because it was forced or because I know the cardabove it. I also pick out three other cards of the same colour, to complete one heap,and the four aces to make the other. ‘ I
“
“
”
I‘
Perhaps I should mention, forthe benefit of any .4hrncc1duhrcr subscribers who may have borrowed this issue, that the trick could also be used to put the four kings on the top of the pack, or even to put five cards there for a Nap Hand or Poker trick. [ T h e r i g h t s of tuzIr.sllitiorz arid rcproductiotl of this (wficlt-‘cIrc .sivicil>~t : ~ . s e r ~ t c d ]
from previous page
If you do a billiard ballroutine, a tiny dab on one ba1.l will enable you to balance anothci ball onit. If you use threads in any effect, ;I dab of paste willstick them lightly to the tabl: a chair-back, the scenery or even the celing until you wantto release them.For thc rising cards a pin-hea.d dab will pull the card upvertically, but won’t pull it far if the pull is at right-angles. A small dab will hold the fake coin inside your shell penny, and will hold coins together lightly. A bigger dab will hold the spare piece in the torn and restored tissue. Add a little applied with the finger and thumb willgive you a spiked moustache assharpas Charles Harrison’s. What other magical commodity will do that for you? Clever devils, thos: Hungarians!
68
The following effectwas evolved aboutthree yearsagoonaneveningwhen I was showinga few cardeffectsand wished to vary the type of effect. No preparation is necessary, it canbe performed quite impromptu but the effecton the audience far outweighs the simple means required to bring it about. Effect.-Two packs of cards are required, both of which may be thoroughly shuffled before comis nopreparationrequired. A mencingasthere volunteerchooses any pack and sights a card in it. Two further volunteers also maks selection; andthepack isshuffledonce more. Theperformer now hands vol. no. 1 the second pack with the request that he (or she) concentrateon the name of their cardand leaf throughthepack, faces towards them, remove his card and withouc showing it place it face down on the table. Whilsthe is doing this the performerstates that he will endeavour to read the volunteer’s thoughts and, leafing through the pack he holds, also removes a card, placing it face down on the table next to the volunteer’s card. This procedure is followed with the other two helpers. The performer now turns up eachpair in turn, showing thatthe pairs match in suit andvalue, t h u s proving that the volunteers’ minds have been correctly read. Explanation.-Itdoesnotmatter which pack is chosen, since there is no preparation.The
Prompted by
our Editor’s remarks (April no effect had touched on Canasta ”, I heresubmitacard trick which could prove an ideal overtureto game a of Canasta. Let us sit at thecardtablewithourpartner and two other players. The two packs we shall use are lying side by side, and there are the four jokers requiredfor the game. Weoffer to display a little-known fact regarding the game, so we handone of the packsout to be shuffled. On receiving it back we glimpse the bottom card and remember it. Now a player cutsthepackand we laythebottomportion across the cut, in readiness for the well-known Cut Force. Taking the other pack we quickly run through it and bring the duplicate of the force card to the Pentugvunz) that “
performer approaches the first volunteer and slowly riffling the cards invites his helper to stop him at any point he wishes. When he is stopped theperformerbreaksthepackand lifts thetop half towards thevol.,asking him to rememberthe card at the break. In replacing the top half, whichis held in his righthand,thumb at the bottom, fingers at the top, the middle finger presses on the face of the card and, twisting it to the right, causes the card to break at the lower end. Thus as the top packet is replaced, the bottomcard goes to the bottom of the pack. After the selections have been made you will have the three selected cards a t the bottom of the pack.This moveis knownas the Master Move by Joe Ovette and is more completelydescribed by StewartJames in the Mark of the Reader (Pemtugram Vol. 1, No, 5 ) . Performer now shuffles the pack, retaining the three chosencards at the bottom, then, noting the bottom card, gives the pack a complete cut. All that now remains is to build up the effect. As each volunteer removes his card from the pack and lays it face down on the table, the performer does likewise, commencing with the first and sighted card. The reader is advised to try this out. It is most effective on an audience.
top. Wetell our friend that Canasta beginswith the letter C, so we lay on the table a king. Next the letter A is represented byan ace. For the N we laydownaninespot.Wecontinue until the word Canasta is represented by a row of faceup cards, thus :King. Ace. Nine. Ace. Seven. Ten. Ace. We pointout thatthe letter S can also bea six spot, so we put a six below the seven. Also, T can be a two spot or a three, so we place these cardson the tableundertheten.However, we make sure that the three is a black three. The set-up now looks like this :King. Ace.
Nine.
Ace.
4 jokers. Seven. Ten. Ace. Six. Two. Black Three. Pack. (Cut and crossed)
69 Ferformer.
\Ve now announcetheremarkablefactthat if we total the values of all the cards on the table (counting the king as thirteen), we arrive at the number 53, which is also the number of cards in acompletepack, with ajoker. While this statement sinks in, we aregatheringthecards and placingthemon top of the pack, makingsure thatthe two spotandblack three are the ninth and tenth cards from the top. It isnow up to us to make a false shuffle and a few false cuts which do notdisturb the top stock. The pack, reading from the top is, eight cards, thena two spot,thenablack three, andthena duplicate of the force card in the other pack. Taking the four jokers, we make some remark regarding the powers held by the jokers over the other cards. For instance, as the joker is a ‘‘ wild card in Canasta, it can control the position of other wild cards, these being the deuces. Wenow wave the jokers overthepack and requestone of our friends to spell outWILD ”
It has been quite interesting in recent months to readthevarious articles thathaveappeared referring to the fee aconjurershouldcharge. The initiative was takenby Goodliffe, and in a very, sensible article headvocated fixing afair price and sticking to it.He also added lots of other things that made very good common sense. We think that in the main such advice was chiefly addressed to those living outside the Metropolis, where the local Merlin appears at many functions in the same vicinity, and where also bookers are in a position tocompare notes. Our Birmingham friend also added that he thought a presentdaystandardfora show was four guineas. We agree that sucha figure wouldbe a presentable standardforthebread-and-butterconjurer,but unfortunatelythereareonly too many whowill takea show outconsiderably below this figure. Here in Londonthere areverymany full-time and part-time professionals working masonic and otherdinnerfunctionsforthree guineas. It’sa sad state of affairs, but fellow artists who sing andplayinstruments at such affairs go out at thesame price. Fortunately,at the otherend of the scale there are those who know what the market will bear,and get themaximum figure. Suchperformers, who unfortunatelyare all too few, neverwork in the cheap class. Thereare some bookers who wouldneverlook at a low priced act, and the following story, which is quite true, illustrates this.
DEUCE from the top of the pack, removing one card for each letter. He does so and on the last letter turns up a t v o spot. We replace the spelt cards on top of the pack and false shuffle. Now let us try for another card usedinCanasta-yes, wewill spell out BLACK THREE. There is morefanningthepack with the four jokers, andthecard is spelt out by the spectatoras before. On the last letter, there is the black three. We replace the cards as before. Now, can our jokers find that coveted card, the red three? We’ll try. We spell from the top, T H E RED THREE, and on the last letter we turn the card over. No? Nota red three?Have our jokers failed? Wait,what is the card?It is (say)thefour of diamonds.Let us see whatcardyou cut to in this other pack. Well, well. The four of diamonds. CLIMAX. Shall now we enjoy a quiet game of CANASTA?
A fr’end of ourshada call, and was asked if he could put on a short cabaret act at a place quite near his home. On replying in the affinnative he was askedwhat his fee would be. He replied thatit wouldbe eight guineas. The line was not too clear, and the reply was interpreted (very fortunately for our friend !) as “ eighty andthe voice at the otherendsaid, “ Well, I don’t know whether we can go to that figure, we hadsomething like thirty-five guineas in mind.” I Ourfriend, quickontheuptake,answered, said ‘ eighteen,’ not ‘eighty.’ ’’ Many andmany a time bookers judge by the price they pay. ”
“
From the Be1iev.e it or Not ! Department comes the following quote from a dealer’s advertisement :“
”
‘‘ For many years magicians have striven to achieve the perfect prediction, that is, one where prediction is the BILLET or cardonwhichthe written is similar insize to the CONTAINER.’’ Now andagain we get very enthusiastic over some of the items that we publish, and when, in August, 1950, we published Herbert Milton’s ‘ Predict0 ’ we thought that such an outstanding effect would be widely used. For a single prediction of amentallychosencard it has no equal every and on occasion we have demonstrated the effect, theonlooker has been more than surprised when we have told him that
70 ithas been published. It is an effectwell up to the standard of Herbert Milton’s classic effect, the Sympathetic Clubs ’, and if you did overlook it at the time oralternatively shirked the chore of makingit up we hope you willlook back again to the issue in question. Looking back through the MagicCircle season of concerts, it has been pleasurable to note PcIl;fLcg:Yaul effects that not only have been worked but have been well received. Our friend Victor Farellihas forwarded the foilowing note regardingRobert-Houdin :-
THE ORANGE TREE On page 38 in “Where Houdini Was Wrong”, M. Sardina points outthat : “Robert-Hodin I I ~ Z V V stated Ih’ H I S HOOK thut I I ilr:*erlt.-d ~ the Orung-e Tree.” The book in question is the ‘ Confidences ’ ’ . Now if one requires some additional proof that the Master was careful notto layany claim to havinginventedevery piece of apparatus exhibited by him, all one has to do is to refer to the Comment On Devient French edition of where the following words aretobe Sorcier found : “
”
“AII moi.3 d~ juitIet do I’nnttCo 1845, s’ortrrit (111 Z’dai.3-Royd rtn thPa^tre xorts 10 n o t l r d e ‘ S o i r & o s Fa)rta.rtic/uPs.’ LP fondatour pr6svntu diwrses v x p ; r i ~ v t w . y. . . f”t?taicwt : l a xrrorrrl(* r u e . . . l’orunger t)wrroillPux . . . etc.” [Page 12 in t h e Paris 1882
edition).
Robert-Houdin continues : ‘‘ 1r.i j v tw’awitc?
Pt
t t j o . ~~ W ~ I ~ out-racqes P S
no puis
. . .
”
(VI, diro d’urnrrta~lc~ .$ut (Samepage).
A correct literal translation of sentence is :-
Peter Warlock’s
‘‘ TECHNICOLOUR
the above
FOLLOW THELEADER ” (Publishedby theoriginator, price 7/6.) This is an ingenious version of a,classical effect, beloved by card manipulators, p!us some surprising additions.Fornotonly do groups of red and black faced cards repeatedlychange places butthe backs of thecards confirm thetranspositions, a startlingfeat not possible in any other published version of the trick. In all sevenchanges take place. In addition, the Lvhole rout:ne has bezn made stage\\orthy Ivith the aid of wine-glasses to elevate the cards. Forthe performer of miscellaneous magic particularly, \vho desires to add a card item free from the customary take-a-card imploration,this t r k k will satisfy his requirements. Every move is carefully planned and patter suggestions are includedfor each stage of the trick. There is but one sleight and therefore little actual skill required, but the routine of course, as Lvith most good things, requires some rehearsal for smoothness of handling. It is trick a one may imagine Leipzig \\-ould have liked to do. GUSTAVESOUTHALL. I ‘
”
H e r e I stop w o r k s ”.
‘* ow11
cllltl L-(I)I
stly
more
110
(Lho1lt my
As the sentence does not sound well in English, Professor Hoffmann (whom, by the way, I know very well) translated it thus :‘‘ H e r e , h o w w e r , I u ~ l ~ . sp(1u.se, i urld mllst not he tempted t o oxptlt.’(1’c { t t toogreat lellg.ti1 uporl m y ~ U I illwlltiolls. I (Page 27 in the London, 1878, edition of ‘The Secrets o f Conjuring and Magic ”). ”
“
It will b e noticed that Robert-Houdin used the word OUVKAGES ”-mtaningWORKS-and not INVENTIONS. ( V. Farelli. ) “
If you have one of thos2 ‘ PeaCan ’ things here is an idea to tie up with the modern economic conditions. Have thecan filledwith waterin the usual way andthefakeadjusted. Borrow a ten shiiling or pound note, fold it and insert it in the can. Make the necessary steal and “ It’san kand the canto a spectatortohold. amazing t i ing ”, y ~ rcma:k, u but money gces I;k? water these days ” . . . . Just see for yourself!” The spectator turns down the can and, of course, the water runs out. Next month WC are featuring Ron Baillie’s Double Stoppered ”, a presentation based on Taylor’s Double Stop ”. It is very, very good indeed, for not only has Ron brought in the matter of knowing the second chosen card, but he h.as devised a plausible set of lines tocover variou; preliminaries. This magical enthusiast Daily Mail bad a very nice write-up in the the other day. His Lined Up in this present issue illustrates wellhisdirect attitude in mental effects. “
“
‘ I
“
“
”
”
STARS OF ,MAGICINC. SERIES No. 9 ‘ ROSS BERTRAMON COINS ’ (price eight dollars) In a brief note DaiVernon introduces thecontrilmtor t o this present series and in view of the fact that such an authority brackets his name with those of Sha\v and Do\vns makes one realise the stature of this Buffalo magician. In all there are some five ite-s, none of which req:-!ire exceptionalm?nipa!ative ability. The first is cal1e:l ‘ Rl!bdown ’ in \vhich a co:n first vanishes to ayyear u?!dc.: the other hand. Later another c,oin loses value under cover of a rubbing movement, the otherhandthen being l-fted t o sho\vhow the lossin value is represented b.\. three coins that ha\Te magically Zppeared. ‘ Double-Cross ’ i y the t:tle of the second effect and here after a transposition of coins held in the hands, one coin vanishes to joiu the other. Thethird item is called ‘ Passing the Half-bucks ’ and to our ownway of thinkingthis is the best effect amongthe five. Hereagain is a coin transposition but i t has an O’Henrv finish that makes it very refreshing.
71 B O O K S AND ROUTINES-continued
would count down to the eleventh line.” As you illustrate this with your book you let the impression block page flop over to your left and quickly memorise the line written opposite the number you got onyour impression device. There is no kwry really; there is plenty of time to get a good look at the chosen line as you illustrate what the spcctator isto do. Is thatquiteclear,sir?” you ask. ‘ All right. Will you open the slip and call out the name written there, just as a check.” ? l i s c‘one, you sayto the spectator who wro’e the number, That is your name, sir?” He acknowledges. “ Well, will you turn to the chosen page in your book,sir, add together the digits and count down tothat line ”, you tell the spectator with the book. When he getshis line, ask him to write it on the blackboard, but bcfore this is done you allox yourselfto be blindfolded and stand with your back to the board, or you can be escoltezl from t k e room. Tell the spectator to erase the writing after everyone has had a good look at the chosm line, and before you are brought back. Whichever presentation you use, now ask the audience to concentrate onthe line and slowly, besitatingly and as impressively as poss’ble proceed to reveal the line. The slip can, of course, be kept by the spectator. Addendum : If thespectator hands you the impression book first, wait to seewhich one hcchooscs when he is asked to take a second one. If he then picks up the force book, immediately pick up the slip of paper and lay it on your book, asking him to glance at the contents of his book.
from previous page
PorousPaw ’ in which a coinis rubbedthrough the hand, follows and finally we are treated to a rather unconventionalhandling of ‘ CoinAssembly ’. These routines, like the Slydiniones, are extremely individual for as we mentioned a t the beginning no great amount of manipulative skill is needed. Slow easy handling plus timing are quite obviouslyhIr.Bertram’s greatassets.He is obviouslyaman who lovesmagic and likes t o makeeveryitemmagical.Even if you have not such characteristics yourself, we feel that such individualinterpretaton is worthy of recording in \.our library. The treatise is very well produced in the usual style of this series. Some twenty-eight photographs by George Tiarger make clear any point mentioned in the text. As usual, (;eorge Starke does a capable job of the editing.
“
“
~~
R O N BAILLIE’S L I N E D UP-cor1tinuc.d from page 65
your left hand, and then, very openly an.i S ~ O W ~ Jtake ~ , the folded slip fromhim in your to the right fingers, holding it up. Walkback platform, keeping the slip in full view all the time, thenhandittothe spxtator ontheplatI wantyou to read the number on that form. slip and turn to that page in your book ”, you le11 him. We want a line chosen on that page, so we might as well just add together the digits of the pagenumberand comt down to the line Ivhich occupies that position. For instance,” you continue, if page 65 was chosen,you would 65 ”, here you open your open the book to page book tothe impressionblock and glance atthe pumber on it. A split second is all that you need. so that no-one gets a glimpse Hold the book up of the gimmickinside the book. You would then add together the 6 and S, giving 11, and you “
“
“
“
WRITING OF
THE CONCERT VENTRILOQUIST and
CHILDREN’SENTERTAINER By MauriceHurling
PETER BROUGH says : “ I would very much like to tell you how I enjoyed reading ytmr book. You haveshed’ a ’ n*bw light on the field ofventriloquism -the practised Ventriloquist will find a greatdeal to help him, but you also supply an excellent guide for the beginner.” This shows a shrewd appreciation of the contents of the book, for that is exactly its intention ; to provide the practised Vent. with a mass of new comedy material, ideas. outlines tor acts and even a complete word for word script of an outstanding new act, and at the same time to guide the beginner in the construction of Vent. scripts, when to use the comedy movements to the greatest effect, how best to open the routine for childretl, how to build up the confidence of a young audience or howto approach an adult audience. It is all here,packedin a neatlyprintedbookofover 50 pages, withnumerous illustrations. See Advertisement o n Back Cover
!
ENCYCLOPEDIA OF CIGARETTE TRICKS ”
“
By KeithClark This most complete of‘ all treatises on cigarette manipulation. which hastlnfortunately Deen out of print for s a n e )-ears, is now available in a new, enlarged edition. Compl-.tely revised, with two on up-to-date sleights. Cloth, 318 pages, more additional chapters than 300 photographic illustrations of theanthor’shandsexecuting .. .. .. .. 53/nearly 200 sleights, moves, flourishes
‘‘HUGARD
BOOK EDITION No. 4 (Vol. VII) ”
Superblyprodwxd . . . :!Itstanding material . . . would be a bargain at ten dollarsor more (Fitzkee);,, “ Wonderful ” ( I a r b i n ) ; “ A whale of a bargain ” (Crimmins); Worth many times the and so on. Cloth, 128 cost to any practical magician ” (Farelli); big pages (84 X 1 1 inches) tqnivalent to about 400 cjf ordinary size, I I i sleights, tricks, and routines .. .. . , , 30/(Werxommend buyingallfour “ book editions ”, which include Vols. I to VI1 of Hugard’sMagic Monthly.Comletesets will not long be available, since the stock of two of thefourbooks is running low. All fourbooks, S6,) ATTENTION. CARD WORKERS! You arr missing some good do own Hugard-Braue’s EXPERT CARD things if ~ O I I not TECHNlQUE (43/-), SCARNE ON CARD TRICKS (21/-) Buckley’s 71/-, now B/-), andTHE CARD MAGIC CARD CONTROL (was OF LE P.4UL (eo!-), allpublished within thepastfewyearsand all up-to-date. Please remit to Mr. Robertson Keene, Shalfleet Honse,Shalfleet, nearNewport,Isle of Wight.
PETER WARLOCK’S
I
Follow My Leader
+ Here is an effect ideal for close-up or platform
“
+
,
+
woJk. It is being currently used by Elizabeth Warlock, who willbepleased todemonstrate it if she is in your locality. Ratherthan praise our own wares, we will quote that outstandingcard worker, Gustave Southall, who says :“ It is a trick one may imagine Leipzigwould have liked to do.” PRICE 716
PETER WARLOCK 24,
FLEMING BOOK CO., P.A., U.S.A.
WORDSWORTHROAD,WALLINGTON, SURREY
728, MadisonAvenue,York,
PETER
O r Your
WARLOCK’S
PENTAGRAM ispublished on the 24th of eachmonthand canbeobtaineddirectfrom the publishera for 1/1 per single copy.AnnualSubscription 121post free. PUBLISHED BY:
A GREAT NEW BOOK T H E , book does not teach the reader how to ”, a subject speakwithoutmovinghislips that $a5 been dealt with in all other books on the =ubject. It does, however, break new groundthathasneverbeforebeencovered in a bookonventriloquism. Here the reader will find the result of years of hardandpracticalexperience as a professionalperformer ; whenand how to use the comedy movements for the gxeatest effect, how t o write your own dialogue, a mass of ideas for new actswithscript outlines, invaluableinformationon the psychology of children,entertainingchildren,etc., etc And to cap it there is the complete script for an outstandingnew Maurice Hurling act-not duplicated and sold for 10/- but just one chapter in a greatnewbook. Price 10/- ; postage 3d. from the publishers THE MAGIC WAND PUBLISHING CO. 11,MonasteryGardens, Enfield,Middlesex.
1
The Magic Circle HisGracetheDuke of Somerset, D.S.O., O.BE.. J.P.. M.I.M.C. Vice-President: Douglas Cragga, Erq., Y.I.M.C. I’rc,sidt*llt:
ClubroomandLibraryand
Magical Theatre :
Manllscripts for publicationand books for review shouldbesent to the: EDITORIAL A D D R S S :
ParticularsfromHon.Secretary
JACK HUGHES will be pleased to send you fulldetails of
THE DE LUXE “SU-TABLE” together with all his other effects inreturnfor a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE Let me know your rants OLDANDNEW. LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
I
Dealer
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic Wand Publications The Magic Wand, Quarterly. r e r copy 3/8 p.p. .4nnnal subscription 14/6. The Wizard, 36 pages monthly.Percopy 211 P.P. 6 month, 1216, Yrar 241-. (Farelli) , . 17/10 Convincing Coin Magic Mastered Amazement (Koran & Lamonte) . . 10/3 Bohleno’s Mysteries (Bohlen) . . 10/3 The Concert Ventriloquist (Hurling) 10/3 Georgc Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis l013 Entertaining With H pnotism (bexter) 1013 Chdenge Instant d p n o t i s m 8~ Mass Hypnotism .. , . 211Strictly Magic (Eddie Joskph) .. 513 Stooging Around (Stuthard) . . 513 Tests (Gakett) . . 513 26 Living & Dead James) .. . . 513 lrmesosophy (Stewart . SI3 Year Book 48/49 (few only) . . StuntsWithStage Money (Lamonte) . . 513 . . 2/7 Tricks of the Trade (Armstrong) From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin Published bytheproprietmThe
Magic WandPublishingCompany, 11, Monastery Gardens, Enfield, Middlesex, andpfinted Walker and SW ( P r i n t e d Ltd.. Well Croft, Shipky, Yorkshire.
by Nerbert
*’
73
PENTAGRAM An independent monthly bulletin for all who want good magic
One day in the summer of last year this writer was challenged bya columnist in the Irish Times to prove that the Telephone Card Trick was not done by having an accomplice at the farwith a list of four end of thetelephonearmed surnames for the suits and 13 names for the value of the card that happened to be chosen. It seemed that, as the result of a paragraph in the Irishman’sDiary ” , acertainauthor, J. B. O’Sullivan, had written to the diarist chiding him for swallowing such an old and easily explained the working, trick , atthe sametimegiving which, we were told, was to appear the next day. Up in armsto defend our art, we accepted the challenge, andat oncecontactedafriend,Jack Kinvan, professional magician-comic in histhird year as “ resident ” in Dublin’s Capitol Theatre. Tt was decided by us that the person who revealed the cardoverthe’phoneought to get the lion’s share of any resultant column, so Jack was given this part. That night we two gottogether in my lairin Clontarf and,after discussing theproandcon o f various methods, made up our minds to “ risk all and tell Quidnunc ” notonlywhat card !{.as chosen, but two others, word a from a magazine, and also the colour of a crayon pencil! Twodayslaterthe entire “ Diary was given over to the matter and it pleased us more Than somewhat to tell its befuddled scribe : That offer of $2,500to any charity if the items used inthe test were foundtobeotherthan ordinary still holds good, and a like amount shall be given to any reader who can give an explanation.Printthat!” So, if you, or you, would like to capture some free publicity, you know thatthe routine that follows has been tested’to that encl. “
”
“
“
”
”
“
”
“
We would get all confused if this wasgiven any verbosity, so here goes with some staccato moves ” : The deck is arranged so that only four words from the magazine may be arrived at. That is, the deck is given to the person to be foggilised, after a casual false shuffling as you prattle, and he is instructed to deal the cards on to thetableandstopwhenever he feels like it, and then to place the next three cards in a row beforehim, face up. If a court cardshows up, court cardsare theyarebrushedaside,as confusing ”. A new deal is made in these circumstances, and ;hree other spot cards are arrived at. The value of the arrangement go : 4, 6 , 3, Queen, 5, S, 9, King, 1. (Ace), 7 , 3, 10, Jack, whdethe suits are in thewell-knownCHaSeD sequence. It will be seen that with this arrangement the -tJords arrived at would be the 3rd word on page 46 (4, 6, 3 ) , ?-he9th word on page 58 (3, S, S), the 3rd wordon page 17 ( 1. 7 , 31, and the 10th word on page 73 (7, 3, 10 ) . Two of these pages are left-hand ones (46 and 38 j and two are right-hand ones ( 17 and 7 3 ) . Withthatmadeclear,lel’shave the complete routine,other aspects being deal; rvith as they cropup. First ihevictim of the hoax is given a postcardwith the ’phonenumberand namc of the party to be called later. ,A sealed envelope, suitably addressed, is also presented. after all is over thi.; is oFentd and is found to be an offer to pay 2,SOO to any charity if the itemsused arefound to be other than ordinary. (This is a readymade peg for a paragraph. ) “
74 As soon as the three cards are in a row before the selector, face-up, the third one is turned face down, wirh the instruction : " You've stopped on a 4 and a 6, so open the magazine at page 46. " The, third card is a 3, so count along the top line on that page to the third word ", you say, briefly showing the card and then placing it down, back-up. " Which of these two coloured pencils do you prefer ", he is asked,asyou offer hima choice of ared andblue pencil. He makes a choice , and is told to encircle the word with it, while the other is placed aside. You have noted that his word is one of those on a Zeft-hand page and that he has chosen the red pencil. He now rings your friend and opens the conversation any way he pleases; in other words, it is " left " to him (maybe I'm lazy, but I like to make things easy to remember). If it had beenaright-handpage,you'dhave told himtoask yourfriend " whatword I'm thinking of " . This opening gives the right-hand lead. A chart is in front of your friend tvith the words onit,as well aswhethertheyarcrightorleft be one of a words, so he now knowsitmust certain pair. But beforc proceeding, he says that he is failing to get any impressions and asks that the wordbe written down. If timeis taken to write it down, your friend knows that the pencil selected for the encircling of thc word in the magazine and now being usedto write the word is the red one. If the blue pencil had been chosen, you would have made sure the word was written down ( ' as an aid to concentration " ) before the 'phone had beentouched. Now, with the word beingproperlyconcentratedupon, things get clearer,andyour friend '' gets an impression of the first letter of the word.Thisproves, let us say, correct,and the whole word is disclosed, letter by letter. If that first impression is not correct, the other word of the pair must be' the one in the victim's mind. On the chart propped before your friend under each word is the four combinations o f three cards that will arrive at that word. "
"
Like this : 4 4 4 4
Clubs Spades Hearts Diamonds
PREVENT Hearts Diamonds Spades Clubs
6 6 6 6
3 Spades 3 Clubs
3 Diamonds 3 Hearts
While they run across in Chased '' order, the two combinations starting with black cards are at the top, for ease of location at a timewhenthe mind must work clearly. As soonas the wordhasbeendivulged,your friend listens carefully, and if thesuggestion is made to him by the victim that he. should try to tell the three cards, he knows that the first card of the three on the table is a black one. This is brought about by the operator (Hiya, Pete) placing a cardbefore thechaponthe'phone reading, " Ask him to namethecards. " If this first card is not brought forth, it means that the card is a red one, so your friend offers voluntarily to. try to tell what the cards are! Well, healreadyknows its valueandcolour, so they are given in two spasms. A guess is made at the exact suit, and here it's a 50-50 chance on being correct. "
continued on page 79
Flashback ! V
stands for Verbeck
MDLLE. DE M A R G U E R I T .
75
a
?’he pack is separatedinto oddsand evens instead of reds and blacks, the red kings are 1.4 cards of counted as eTreT1 cards.Thebottom thepack are stacked, the bottom 6 being e v e n cards in a known order andthe next 8 being odd cards in a known order. The deck is arrangedas follows :-Top 20 cards are e v e n , then 18 odd cards, then AC, 3H, S S , 7D, 9C, JH, KS, AS, ZC, 4H, 6S, SD, lOC, OH; the QH being the bottomcard of pack. You’ll notice that the suits rotate C, H, S,D, and that the AS is out of sequence in the odd stacked portion;it serves as a marker, separating the odd stacked cards fromthe even stacked cards onthebottom. Crimpthebottomcard ( Q H ). Two spectators are invifed up. Charliershuffle the pack as you explain that no two people thinkalike, some think of thing; in anartistic manner, colours, designs, etc., while othersthink in a more mundanemanner, figures, letters,etc. Studythe two assistants; whenever you get two thanthe people,one willlook more. ‘‘ arty arty type that you get the other.Tellthe impression thathe will be abletoconcentrate morestrongly on designs and tell the other that you think he’ll be able to concentrate on numbers ’,’, type more easily than designs. The we’ll designate A andtheother Cut the pack once or twice,finally cutting the crimpedcard to thebottom.Laypackontable. Ask A to cut off a small packet of about 8 o r 10 cards fromthe top of pack andthen a similarpacketfrombottom of pack.Pointout that you couldn’t know top or bottom cards of packet he holds (centre packet). Ask him to look at top card of his packet and to remember it, then to cut his packet as often as he wants to and to keep it just now. B ,” isnow told that youcouldn’t possibly knowtopcard of packet that was cut from bottom of thepack, heis asked to look atand to remember this card and then topick up packets off the group which was cut off from top of pack anddrop themon the packet in hishand,and then todropthe remaining cards on top of his tofan his packet.This done, you ask “ B packetinfront of him andto remember the numberthathiscard lies from thetop of his packet. (The easiest way for him todothis is to have him fan thepacket, faces to him; when he comes to his card he is to count it as one ”, thentokeepon fanning towards thetop of his two ”, three ”, etc., until packet,counting he gets to the top card of his packet.) ”
”
‘ l
“
s-t;
”
“
”
“
”
‘ l
“
“
You now explain that 4 , is toconcentrate on his card and ‘ B ’ ’ is to concentrate on the number his card is from top of his packet. Take A’s packet from him and explain that you’re thoughts going toattemptto pick up “ A’s andare going to remove hiscard, thenyou’re going to try to pick up “ B’s ” thoughts and are A’s card at the number B ’’ going to put 1s thinking of. Ask ‘ ‘ A to concentrate deeply on his card, fan the packet in your hand, find the first even card from the right-hand side (from face of deck), cutit to the face of the packet. Counr the number of even cards and remember th? las even card in the groupand its number. This is A’s card. Subtractitsnumber in the fah; from 20, add 1 , and the resulting number i: tht;. number ‘‘ B’s card liesin hispacket. Pull up A’s card and as you do so glance at the car2 that lies to its left (lowards the top of the f a n ) . this is the key card for B’s ” card; i.e., if it is, the 7D you know ‘‘ B’s ” card is the 9C. Teli .“ A that you think that you’ve got his 2nd turn to ‘‘ B ”, asking him to concentrate c m his number. Pull A ’ s card out of the f a c j and insert it at appropriatenumberfrom top cot your fan, i.e., if “ B’s ” number is ‘‘ 11 insert A’s card at the 11th position from top of your fan, therefore underthe 10th card from Do all this nice and slowly, top of yourfan. giving yourself plenty of time to do a check 03 the key card for (‘B’s” card, etc. Yor: remember (1) *4’s card, (2) B’s ” number, (3) “ B’s ” card. Hand the packet back to “ A and ask bo;l, Spectators to deal cards simultaneously, one at a time, face down.They do so. You count with them as they deal and when they’ve dealt carcis tothe chosen number (i.e., “ 11 ” ) you shout “ Stop!”. Turnto “ B ” and say, “ You, sir, thought of the number ‘ 11 ’, is that correct? ‘ “ B ’’ acknowledges this. You now turn t c ~ ‘ *A andsay, “ And you, sir, thought‘ of the Queen of Spades (i.e.), is that correct?” “ A acknowledges this. Well .then ”, YOU continue, “ will you please turn up your 11th carcand see for yourself that I placed it in the correcf position? This is done. Now, you turn t C . ‘ B andsay, (‘ I was ableto get ’ you: number much more easily than I expected,sir. I think that perhaps I might be able to cany the to name your experiment furtherandattempt card if you’ll concentrate well. Would YOI: “
“
”
”
”
“
”
“
”
”
”
“
”
“
”
”
I
“
.
,
”
‘ I
”
l‘
”
”
”
”
”
continued on page 79
Way back in the dark days of 1943, whilst we were at a pre-OCTUcamp, we glimpsed and were very much impressed by Walter Gibson's 91 Cent Miracle " that appeared in Phoenix No. 44. The fact that it needed a little memory work plus the need for converting U.S.A. currencyintoEnglishcurrencymay haveput a number of English magicians off learning a remarkably fineeffect. Wehavecertainlynever seenanyonepresent it.Here we haveadded somethingtothe Gibson version (as the wellinformed reader will see), and have also produced a n easy mnemonic for cutting out any intensive memory work. Because of the tables that appear at the end, we implore you not to pass this over withoutreading thoroughly. Only too often we have regretted laziness in reading when at a later date someone has shown us a dilly of an effect that was just as easily available to ourselves. As themain principle of the effectis unaltered, let us quote Walter Gibson's own preamble to " 91 Cent Miracle " :" Here is a feat of mental wizardry that probably has remote antecedents but was developed intosomething a dozen years agoby Jack Miller, thefamous GiantCardKing.Only recently our brain department heard of the Miller mystery and began working along similar lines. " Continuing, we will let Gibson describe the effect as he wrote it at the time :' ' Since three people are used and given wewill personal instructions by theperformer, Tom ", Dick and " Harry " to call ;hem kccp the participants straight. " You have three envelopes, each of a different colour, red, white andblue. These are laid on thetable withfive coins of different denominations, a penny, a nickel threepenny piece, a sixpence, a shilling and a half-crown (these are the English equivalents of the American coins mentioned).Withyour back turned,you tell each person to take an envelope at random or by agreementamong themselves, and then thefun begins. Speaking to Tom, the first man, you tell him that if he took the red envelope he is to put the penny in it. If he took the white, he is to put in the3d. piece. I f ' h e tooktheblue, he is toput in the sixpence. The envelope then goes intohis pocket. " With your back still turned,as it remains until the very end of the trick, you give Dick, the second man,certain choices asto coins accordThese are ing to the C O ~ O U I - of his envelope. "
"
"
"
"
namc.3in the accompanying chart (see post) and ;he fact that Dick has options begins to make the :rick intriguing. You go alongto Harry, thethirdman,and givechoices too, a pair for each envelope, as rtated in the chart. 'I hen for a pay off, you toss an extra choice to Tom,the second man. You say, ' Bythe way,Tom, if you picked up the sixpence, you can put it back and take the halfcrown instead, provided the half-crownisstill t'- ere. But you cankeepthe sixpence if you want, that is up to you ' . With all the envelopes in the pockets of the participants, and a coin in every envelope, you turnaroundforthe firs: remaining on the time, pick up the twocoins table and, after due concentration, you name the colour held by each man, and the particular coin illat his envelope contains." "
From that point Gibsongoes into the esplanation, a thing we shall come to in a moment or two. However, there wasone thing that from our own point of view slightly weakened this very fine effect, and that was that there was a physical connection between the performer and the two coins left over! With this idea in mind we devised a presentation overcome to this weakness. In commencing the effect, the magician emphasises the connection of colour and metal, of how there is an unconscious link between the two and how a person wth supernormal attributes can see theconnecton.Thethree envelopes and the coins arethen placed on thetable, and the assistance of three members of the audience requested. At thispoint, the magician mentions that in order to help his sixth sense, hewill deprive himself of one of his normal senses, the sense of sight. As he says this he removes a handkerchief from his pocket, folds it and has it tied roundhishead to form a blindfold. He then turns his back on the three persons and from that point carries on giving instructions as in the Gibson description. When the transactions have been completed, however, h e requests ~ 1 1 ~ o t 1 ~ ; ~ v member of the uutlierrct. f o pick lip fit,. tPtIo vemtrinitlg- coirls and take them as far as possible
from the table. " I do not ", says the magician, want them to interfere with the experiment ". Turning round, the magician asks unjr 0171' of the holders of the envelopes to step up, to placeone hand on the envelope in his pocket and one hand on the magician's hand,He is then told the colour of the envelope heholds and also the the envelope denomination of the coininside "
77 This is repeated with the remaining two assistants, afterwhich the blindfold is removed. I think the reader will agree that this presentation makes the effect very strong indeed. First of alltherequirements;theyare simple, consisting of three colouredenvelopes,apenny, a nickel threepenny piece, a sixpence, a shilling anda half-crown.Ahandkerchieffor blindfolding will also be required. Let us now go through the presentation bit by of the audience are bit. The three members invited to assist, and with his table in front of him,themagician lines themupon his right. The envelopes andthe coins are now placed in a row on the table. Whilsthe is doing this and the appearance of the his head is bentdown, shoes of the two nearest assistants (they willbe No. 1. and 2) areparticularlynoted.Look also at thethirdman's shoes, and shouldtherebe strong similarity with the other. two notesome distinguishing featurethatcan be notedbya downwardglimpsewhenapparentlyblindfolded. You mention the affinity between colour and metals and nominate your helpers respectively 1, 2 and 3. The handkerchief is thentaken(and please do not say this is being used in order that vou will not be able to see! Directly such a statement is made it puts an audience on its guard) , folded, and you are apparently blindfolded. Assuringyowself of a good downward glimpse, ayardaway movebackwarddiagonallyabout fromthetableand turnyourbacktothe assistants and the audience. Address No. 1 first, askinghimto choose any one of theenvelopesonthetable,or if the assistants wish, let them arrange the three envelopesamongthemselves.Whatever is done, themagician gives No. 1 the following instruction, and1 atthe sametimewarnshim andthe other assistants to carry out the instructions (which incidentally will have to bememorised) as noiselessly as possible :If youhavetheRED envelope,place inside it the penny. If youhavethe WHITE envelope, place inside it the 3d. piece. If you have the BLUE envelope, place inside it the sixpence. This assistant is thenrequestedtoplace his envelope in his pocket and the second assistant is asked to take his envelopeand choose a coinin this manner :-If you have the RED envelope, take the sixpence or 2/6. If you have the WHTTE envelope, take the coin of the lowest value. If you have the BLUE envelope, take the penny or the sixpence. ~
He,too, is requested to place his envelope in his pocket, and No. 3 is invited to step forward. His instructions are :If youhave the RED envelope, choose the3d. or the half-crown. If you have the WHITE envelope, choose the 6d. or the shilling. If you have the BLUE envelope, choose the 3d. or shilling. When he has pocketed his envelope, the second man is asked whether he would like another choice. He is told that if he picked up the sixpence he can, if he wishes, put it back and takethehalf-crowninstead,providing that coin is still there. (Ed. Note.-Actually, we think this can be omitted, for if the coins are changed, suchachangecannot be performedinaudibly andthus the audiencemaythink that sucha proceduremight afford a clue tothemagician. 'The onlytimeit would pay,to ourway of thinking,mightbewhenafterbeing given this choicesome smart Alec preteozds to change the coins. At the end of the effect hewould receive quite a surprise. ) At this point the participants are requested to sit down. The magician still has his backtothe " Perhaps another audience, but with the words, up the member of the audience would pick remaining coins and remove them, etc. " he makes a half turn, a slight gesture with his hand. Slight as this movementis,he is so placed that withoutactually facing thetable hectm see the vemuining t w o coi71.s 011 t h e t a b l e t o p . I t is these t w o coins thut tell him which nssistarlt has which e m e l o p e and also w 1 z i C - h coil].
The following list makes this quite plain :Gibson suggests that bysheer willpower one learns this list. Quite frankly, our memory needs some jogging and therefore we devised the following easy mnemonic. Instead of thinking of the coins as coins, theyareaddedtogether, the total number of pence in each case linking up the holders ofcoins and envelopes. Thus were the 3d. piece andthehalf-crown left on the :able, the total number of pence represented would be 33, and so theperformerwouldthink of the representative mnemonicfor this number, ' Mummy ' , and link it up with thewords following and whichin themselves give the key. So ' Mummy R (for red) e P (for penny) roves B (for blue) er T (for sixpence). 'S W (for white) i S (for shilling) ecracking ' . The coins are picked up and when this is ascertained by the performer he turns around, still blindfolded, to face his audience. He asks any one of the assistants tostepup, place one hand on the envelope In his pocket, and give the performer the other.Glimpsing down the blindfold, the shoes, etc., of the assistant are noted.
78 I€ itis
assistant No. 2, the magician knows that in the blue envelope. He is told this and dismissed. The second assistant is similarly dealt with. Coming tothethird assistant, the magician remarks, " Obviously you . . . . . envelope, equally it is have the obvious that I cannot with anycertainty know the coin itcontains.Place yourhandinyour pocket, let the coin slip out of the envelope and throw thelatter on one side. This time let me he hasthe6d.
iry and find the nature of this coin without think of it, please, etc." contact . . . just Finally and without any hesitation the coin is named. 1'0 solne, the idea of iden'.ification under the biindfold may not appeal. All right, just ask ille assistants tostepupin their original order. Finally, we sinccrcly hope that you willgive the effect a thorough i.ria1, far we feel certainthat you will be morc' ihan pleasedwith the rcsults.
Facts revealed by the knowledge of remaining coins Penny and 3d. .... Penny and 6d. .... Pennyand shilling .... Penny and 2/6 .... 3d.and6d. .... .... 3d. and shilling .... and 3d. 2/6 .... Sixpence and shilling Sixpence and 2/6 .... Shilling and 2/6 ....
( 1)
6d. in blue 3d. in white 3d. in white 3d. inwhite Id. in red 6d.in blue (1)Id. in red ( 1 ) 3d. inwhite ( l ) Id. in rcd ( 1 ) 6d. in blue
(1) (1) ( 1) ( l.) ( 1)
(2) 2/6 in red (2j 2/6 ipI red ( 2 ) 6d. in.blue (2) &l. in red , (7 - I ': 2/6 in blue ( 2 ) I d . in white ( 2 ) 6d. in blue ( 2 ) Id. in blue ( 2 ) 3d. in white (2)id. in white I
(3) (3) (3) (3) (3) ( 3) (3) (3) (3) (3)
l/- in white l / - in blue 2/6 inred l/- in blue l/- in white
2/6 in red l/- in whitc 2/6 inred l/- in blue 3d. in red
N for Nickel 3d. piece, -1 for Sixpence, S for shilling and M. for half-cron.n K represents red envelope, W thewhite envelope and B the blue envelope
P StandsforPenny,
-Sl:mber . of
'pence m a x o u n t left nn
table 4
Mnemonic far such nnmber
The First M a n
The Second M a n
= ARROY
It was with the deepest regret that we heard of the passing of Frank Chaplin at the age of only 37. We first met him during the War years, and found him not only a good conjurer but also one \vith anattractiveandcharming manner. We know that not only his fellow members of the Leicester Magic Circle, but all those who had the good fortuneto know him, willmiss him more To hiswidow and his family we than much. extend our own deepest sympathyand also that d . readers of this bulletin. Sad news also comes in regarding Herbert J . Collings, who at the time of writing is awaiting 2 major operation. His spirits arethe same as m e r and the latest postcard fromhimcontains some witty remark concerning his present state. We hope that he will soon be past the worst and well on to the road to recovery.
In this issue it is very pleasing tohave a contribution from Hubert Lambert. Hubert n.rites in a very nice strain. In a recent letter he mentioned that he thought the Pentugram a bit too " English in its presentation.Ah, well, well, Hubert,we'll always welcome a breath of Old Ireland. We nearlyadded '' Begorra to that, but on the best authority we have been told that such an expression is not used outside comic strips and music hall performers. It Is always a pleasure whenwe hearthat f ; c ~ ~ f ~ ~effects g m ~ are r t being used, and though to say so is rather like preaching to the converted n-e would, in case some new reader catches these words, like to emphasise that the effects we print are not only practicable,but need littlein the way of apparatus. The collection of such worthwhile material is not too easy; we hope regular "
"
79 readers will excuse this touch of immodesty when we mention that to date, seven Warlock or I ’ c ~ ~ t t ~effects ~ g r have ~ ~ ~ been ~ ~ televised andthat during the past MagicCircle season ten Warlock or Pentagram effects have been seen in the conccrts and banquet. It is alwaysamatter of interest to see a new sleight evolved. ’The otherevening the talk (and action) got around the to Curry Turnover Change. Harry Hickson, who was present, mentioned that he had never been able to p:.rform the sleight ashewanted it.To get a perfect effect he had evolved move, a which whilst givingthesame resalt was far simpler in action.Harry was good enoughtodemonstrate it quiteanumber of times and also agreed that we could publish the method. If you have never a used theCurryTurnoverChange youhave sleight coming to you that you will find of inestimablevalue.Curry’sownsleight, as those of who use it know, is wonderful a method changing a card in a natural way. AI Koran and FrancisHaxton use itto perfection, thelatter addingjusta little twist that makes the sleight evenbetter. Fewseem to know that in ‘ Some:hing borrowed, something new!’ there is a brilliant routine making use of this particular move. Difficulties regarding seating accommodation for Magic Circle concerts nextyearshould be
ironed by a suggestion we made which has since been adopted. It is that there shouldbetwo shows perevening,oneearlyandone at(say j eight-thirty. This, using King George’s Hall, will give accommodation for some thousand people. Recently we were talking to Eric de la Mare regarding coin magic. Eric’s knowledge combined with practical demonstration in this field is terrific. Talking to a coin expert recently we remarked cn the manner inwhich card effectswerelegion whilstnew coin tricks were rarities. Our friend laconically replied that the reason was very plain, for up to the present there were no self-working coin tricks. From the c o p o . v c t ‘ ? t t i come reports thatDr. Daley’s Cards up Sleeve isone of the finest buys of post-war years. Wedid ,hope to include in this issue a review of Willane’s new publication, the translated copy of Treborix’s book on Dice Stacking, but it has been delayed in the post. Those who saw his work atthe MagicCircle recently marvelled a t the control he showed over such pieces. We hope that the Englishcopy retains the oiiginal illustrations.
H U B E R T (“ L E P R E C H A U N ”) LAMBERT’S AFTER A N N E M A N N-continued from page 74
mentalist is ableto tell what it is b~7 Clairvoyance!”. To cap all, the desembodied voice asks : ‘‘ Why did you choose the red pencil?” Now thatit’s all written down, we are afralr! that it may scare some off as being too involve.? If so, it’s your loss, butthe few who do use it \vi11 savourthatnectar of performing a ~ i that satisfies every fibre of that supreme qoist,. the amateur mentalist. “
’The secondandthirdcards are now known from the chart. The first of these is given, piecemeal, in approved fashion. But, remember thatthirdcard wasreplaced face-down. No especial attention was given to its identity, just the value used to locate the word. So, the victim is askeddoes heknow what the last card is. He may say No . Toldto place his hand flaton thefac+down card, the ‘ l
R O N BAILLIE’S
“
”
DOUBLE-STOPPERED”-
continued frottt page 75
please remove your card and think really hard of its value?” You now slowlyname his card. Or perhapsyoumay like to doit this way : Suppose “ B’s card is the 9D. Patter to B as above, askinghim to concentrate first on the value of his card. Slowly reveal this. Then of the colour, redor black; ask him tothink a bit of a sweat, then mutter about, working up say that you can’t get it; try the suits; you can’t ‘‘ I’m get that either. Finally you give up. sorry , you say, “ Numbers are evidently your strong point, colours or designs I can’t get. Let’s try it this way,yourcard is a ‘ 9 ’, now it’s ”
”
”
I‘
‘ l
”
either red or black; if it’s red think o f rhe number 1 ’, if it’s blackthink of thcnumber ‘ 2 ’Right!” He concentrates. That’s much you’rethinking of ‘ 1 ’, better ”, you say, therefore your card is red. Correct?” He acknowledgesthis. ‘‘ It’s either a heart or a diamond ”, you continue. If .it’s a heart think of ‘ 1 ’, if it’s a diamond think of . 2 ’ . 0 .K. 3’ ’ He Concentrates. Two!‘’ you shout. “ A diamond,thenine of diamonds. Correct?” He acknowledges and you wipe the sweat frpm your brow. Idoa preliminarycard test Irith a duplicate deck and switch for the set-up ‘ ’ Double-Stop ’‘ deck at the close of this preliminary effect. ‘ I
“
“
l ‘
~
80 I
1
PUBLICITY
PETER WARLOCK’S
+ GLOSSY PHOTO REPROS
(Theatrical Standardloin. X Sin.) 12 for &l - 1 - 0 50 for $33 - 15 - 0. One Quality-TheFinestOnePrice-TheLowest LATEST PROFESSIONAL DISPLAY These beautifully finished PICTURES. your photographs are ENLARGED from original, FRAMED, LIGHT TO CARRY and have UNBREAKABLE MICA FRONTS with French or Plain Moulding.
Follow My Leader
+
+ +
U1ar.k & W h i t e
Hnnd coloured
Fl~Qlll rti
+ Here is an effect ideal for
€2 2 0 €l 10 0 16in. X 20in. €2 10 0 €3 3 0 20in. X 30in. ADVERTISING NOVELTIES. Special Ideas designed. ARTWORK. Letterheads.PrintedPublicity. Throwaways.
+
+
YOUR specific requirements \vi11 receive personal attention
close-up or platform wo;k. It is being currently used by Elizabeth Warlock, who will be pleased todemonstrate it if she is in your locality. Ratherthanpraiseour own wares, wewill quote that outstandingcardworker,Gustave Southall, who says :“ It is a trick one may imagine Leipzig would
have liked to do.” PRICE 7/6
PETER WARLOCK
JACK LAMONTE
24, WORDSWORTHROAD,WALLINGTON,
(Illustrator of Magic Wand Publications) 28, WARWICK ROAD, LONDON N.18 TOT 7742
1
PETER
SURREY O r Y o u r Dealer
WARLOCK’S
PENTAGRAM is publishedon the 24th of each monthand the publishersfor canbeobtaineddirectfrom t / t per bingle copy. Anaud Subscription 121post free. PUBLISHED BY:
The Magic Circle 1’1t~~idt~nt : His Grace
Vice-President: Douglas Craggo, Esq., Y.I.M.C. ClubroomandLibraryand
t
l
A GREAT NEW BOOK THI2,book does not teach the rf,ader how to speak without moving his lips , a subject that $as been dealt with in all other books on the =ubject. does, It however, break new ground thathas neverbefore been covered in a book on ventriloquism. Herethereader willfind the result of years of hardandpracticalexperience as a professionalperformer ; whenand how to use the comedy movements for the greatest effect, how to write your own dialogue, a mass of ideas for new acts with scriptoutlines,invaluable information on the psychology of children,entertainingchildren,etc.,etc is thecomplete s c r i p t lor And t o caitthcre anoutstaniing new Maurice Hurling act-not duplicated and sold for 10/- but juston(: r-haptcr in a great new book.
Price 10/-
;
postage 3d.
from the publishers THE MAGIC WAND PUBLISHING CO. 11,MonasteryGardens, Enfield,Middlesex.
1
Magical Theatre :
Manuscripts for publication and books for review shouldbesent to the: EDKTORI.9L ADDRESS:
ParticularsfromHon.Secretary
JACK HUGHES will he pleased t o send full detail5 fJf
I ~ I I
THE DE LUXE “SU-TABLE” together with a l l hi
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE OLDANUNEW. Le! m.: know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
King George‘s Hall, W.C. :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
I
the Duke of Somerset,
D.S.O..O.BE.. J.P., M.I.M.C.
Magic Wand Publications The M z i c Wand, (2ua;ierlJr. 1.er copy 3/8 p.p. .4nnr1al srlbsctiption 14j6. The Wizard, 36 pages Inonthly. Per copy 2/1 [>.p. 6 month. 1116, Year- 21/-. . . 17/10 Convincing Coin Magic (Farrlli) Mastered Amazenlent (Koran ?L Larnontr) . . 10/3 Bohleno’s Mysteries f Rolllm . . 1013 The Concert Ventriloquist fHurIing’; 10/3 Georgr Armstrong’s Premonition Chandu’s Psychoanalysis .. . Wypnotism :D:xter) Entertaining With Chailenqe [nsta:?. Hvprotisnl J: Mass Hypnoti-m Str!ctly Magic fFdrli.a Joscph) .. Stotying Around C’oltlrard) 26 Living Sr Dead Trsts (Garrrtt) . Jamesosophy (St,,w1;.t .Jamcs) ?r’t-ar R?ok 18/49 ( f e w nnlyl Stnnts With Staqt? Money fT-:tmontrI
’
Ttickc of th* Trade (!\rlvstrony)
From thc publishers THE MAGIC WAND ?l.BLISHING Molaqtery Gdrdens. Enfield, Middlesex.
11.
l
-
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the proprietrw The Magic WandPublishingCompany, I I , Monastery Gardens.Enfield. Walker and Son (Printers) Ltd.. Well Croft. S b d e v . Yorkshire
Middlesex. andpilntedby
Herbert
CO.,
PENTAGRAM An independent monthly bulletin for all who want good magic
V ! .5 NB. 11
+t
CardTricks which are dependentupon some mathematical principle are seldom suitable for the larger audience, but they are usually found very entertaining to a more intimate circle or to a few friendsgatheredaroundthecardtable.This is particularly the case where the mathematical principle is so well concealed as to present such an exceedingly baffling problem as in the following effect with a borrowed pack. Effect.-An assistant shuffles a borrowed pack ofcards, cuts it (LS rnan?r times as desired, and deals off 6 cards one at a time into a face down packet on the table. He peeps at ahd remembers the top card of the remaining packet, i.e., the 27th card, and loses it by cuttirzg that packef as ofteil ns he wishes. He thenreturnsthe 26 dealt off cards to the top of the bottom packet. The performer picks up the pack, divides it into four packets which he lays face down on the table, and then re-assembles the pack. Finally,theassistantagaindeals off26 cards from the pack and, after naming the card originally chosen, turns up the next, or 27th, card. Needless to say, this proves to be the selected card. Challenge.-At thisstage I invite mathematically minded readers to thmk out the problem for themselves. I shall merely add that it is necessary to work with a pack of exactly 52 cards and that, after the cards have been shuffled but before they have been cut, the performer counts the cards to satisfy himself on this score. He does this rapidly with the faces towards him and returns the pack to the table for immediate cutting without necessarily disturbingtheorder of thecards. No sleight of hand is involved, nor is any complicated memorization required. Others may proceed direct to the which is as follows :--
solution,
1951
Secret and Working.-Itis merely necessary, when counting the cards, to note and remember as key cardsthebottomcard of the pack and the c u d which is 26th fromthetop.Even if the spectators should suspect that one or more cards have been noted, the fact that the pack is immediately offered for cutting, and that later the selected card is apparently hopelessly lost by further cutting, goes far to dispel any such suspicion. When the performer picks up the pack for the second time, he does so with the face of the bottom card towards him. He leafs throughthe cardsfromthebottomupwardsandmentally counts them until he comes to one of his key cards. Let us also assume that thekeycards were the Queen of Clubs and the Three of Diamonds. Let us also assume that he hasmentally counted 18 cards from the bottom of the pack before he comes to one or other of these keys (say the Three of Diamonds), as the 19th card from the bottom. He lays these 18 cards face down on thetable (Packet A) and continues his count from 19 (the key card),up to 26. These 8 ,cards, of which the key is the bottom, he lays face down (Packet B) to the left of Packet A. No furthercounting is required, but he continues to leaf through the remaining cards until he comes to the other key (in this case the Queen of Clubs) and lays down this packet(Packet C ) , which includes the key as its topcard,totheright of Packet A. The final remaining cards(Packet D)are then laid down to the left of Packet B. The pack is immediately re-assembled by placing Packet C on Packet A, this combined packet on Packet B, and the whole of this on top of Packet D. The chosen card is now again 27th from the top. Further Subtleties. ( 1 ) The pack may be counted by the performer with the backs towards him. In this event,and assuming that the cards are counted by thumbing
82 them off one a t a time into the right hand, thereby reversing theirorder,theoportunity is takento in-jog, byabout an inch,the27thcard.This described as sleight of operation canhardlybe hand. It consists only of passing this particular card into the right hand so that it protrudes about an inch from the end of the pack nearer the body. By reason of the fact that the order of the cards is reversed during the count,the 27th card becomes the 26th car3 from the top after completion of the count. The pack isnow squared up and dropped face down on the table, the jogged card and the bottomcardbeingglimpsedduringthe process. (2) It also adds to the effect if the pack is again offered for cutting after the 26 dealt off cards have been replaced the on top. The performer commences to pick up the pack and, apparently as anafterthought,remarks : Perhapsyou would like to cut the pack again ". Of course, as he lifts the pack and then drops it back on the table,he has glimpsed the new bottom card. In this case, when he subsequentlyseparates thepackinto packets, he first searches for the card which was at the bottom prior to the final cut and treats this asthebottomcard of thepack.He shifts the cards below such card to the top of the pack at convenience during the operation of laying down the various packets.
Mathematicians who are interested -willhave little difficuityin arriving at " the why and the wherefore We shall not, therefore, waste further bpace in explaining this to those who are not interested.
".
Inclusion in Routine.-I personally preface this effect withonesuggested byTrevorHalland originated, I believe, by the late Edward Brown,' in which an assistant deals the pack into two piles, discards one and continues similarly until only onecardremains. By picking up the firsf twc discarded piles for the apparent purpdsa 'of assuring himself that neither contains a chosen card, the performer is enabled to sight the bottom card of each packet and ultimately to re-assemble the pack in such a manner that he already knows the cards situated 26th and bottom.
"
Presentation.-Assuming that the performer counts the cards with the backs towards him and in-jogs the card which becomes 26th from the top, the pack should be deliberately turned face up at the conclusion of the count with some such You might think that my knowledge remark as of what happens to be the bottom card is of some help to me. Please, therefore, cut the pack ". As the performer points to the bottom card with his right forefinger, his right thumb pushes home the already sighted in-joggedcard andhe a t once drops the pack face down on the table for cutting.
At the conclusion, it is a very simple matter to glimpse or crimp the bottom card of the top 26, and so be set with another key card for a subsequent effect of similar character. *Note byEditor : For-this purposethechosen card should be 22 from top of pack-see Secrets for Sale ", by Robert Tothill, in Jinx ", Page 500. "
Flashback Z W stands for Wingard
"
A suggested line of patter is to discourse upon the magic properties of the number 27, which is 3 X 3 X 3, and the fact that any card situated at such number in the first instance will sooner or later find its way back to the same position.
Stress shouldbe laid onthefact ( ? ) thatthe performer does not touch the cards, and it might be thought desirable that he turn his back during the process of dealing, noting the 27th card, etc., according to his instructions. He might also turn his back when cutting the pack into packets and re-assemblingit,although it is tobedoubted whether this actually improves the effect. Principle Involved.-The germ of theeffect is to be found under the heading of Superstitious Mentalism in Mental Cases with Cards ": by Warren Wiersbe. although the methods of working have been so adaptedand simplified as to create something entirely novel. "
"
"
From the 1. B. Findlay Collection
I
83
El)I'I'OiZ'.S NOTE ; I t ILUS oftelr becl1srlid tlwt the hest W C I t~o p r c s e w e the exc1usiT~e)le.s.s o f CI. trick i s topublishit. Li'hilst this i s r l ' l trlrr,it does seen1 thrct time t c ~ t dupLil1 peteffects~llld slrbtl:?tie.s are p~11)lished( ~ n dfew, seethe rerll ntrcgic it1 them.Sometwellty-six y e u r s (1x0, our frielld b'ictorPcclcockpuhllslzed itr " *l h i 1 ; \ l l ~ g iJl'(~11d ~~ whut w e still rotlsidcr to he the fillest arlti m o s t rlrctlrrld method for ntclkirrg- LI f d s e kllot. E Y E IzcLTle see11 w r y f e w use this nrethotl (ill ptcssillg, w e would m.elrtio11 thut the lute Edward Hrowll i t w ~ r i ( ~ b ltrsetl y i t ) rllld thoughtthnt it w u st i m e i! w c s re-published. buck w ew e r e slzowijlg. t h e Somelittlewhile ,methodto 11 small cornplllr?! of well-il1formetl mug-icimls. T h e y hcd ozlerlooked themethod hut ttfter sceillg the most tIatw(L1 w u y i l r which the mugicirLt1 npp(crel1fly tied (1 klrot, they w f e d it the hest method (1s yet. "
The effect is just that a knot is tied in a handkerchief;theknotdisappears when the hanclkerchief is shaken. There are several such knots, that are generally known, but to the knowledge of the writer, none exist that are at all natural. It never seems to be convincing that a simple and ordinary knothas been tied. In tryingto get this effect, the writer has discovered the method which is now described and which fulfils this condition. It has proved a difficult task to describe, especially as it does not lend itself readily to illustration.Consequently, I have resorted to the expedient of showing the various positions the handkerchief takes,by simple lines, and without showing the position of the hands. I rely on the context to do that. The description isnecessarily tedious as nothing has been omitted that will help in making it clear. It will be found well worth while to follow the description with a silkin the hand. When the moves are mastered, practise by tying a genuine knot,and the false knot described, alternately, getting the two as alike as possible. Method.-Use a fairly long silk handkerchief, and roll as is usual, for easy working. Allow the handkerchief to lay over both hands, the two ends hanging down from the hands (Fig. I.), the hands being about two inches apart and knuckles downwards. The handkerchief should rest on the forks
of the fingers rather than tbe palms, and the two thumbs should grip the handkerchief, by pressing on top of the handkerchief against the first fingers. The left hand hanging portion of the handkerchiefis thrown over therighthand, the hands turning inwards and slightly downwards, the third and fourth fingers of each hand pressing upon the centre portion of the handkerchief as though endeavouring to pull each side of the centre. The first finger of the left hand is extended at the same time and is curled round (from above) the portion of the original righthandhanging portion of handkerchief, at thepoint nearest the fingers of (If the fingers of the the righthand(Fig.11.). right hand are extended, this hooking process will be simplified. ) i t will be observed that this left finger makes a bight in the original righthand portion of the handkerchief.The object is to tie a false knot round thebight.The right hand is taken awdy from its position and the original left hand end of the handkerchief is pulled round the bight completely, and ~ l pthrough the loop that isstill held by the left hand.The left hand grips a portion of the original right hand end of the handkerchief, thelittle fingerpressing itagainst the hand. Pull the left forefinger which should still be hooked round a portion of the handkerchief, drawing the bight into the knotthat will be formed.Whenthe knot is tightening, withdraw the leftforefinger and theknot willbe formed (Figs. 3, 4, 5 and 6 ) . A pull at each end will cause the knot to disappear.
In Hugard’s “More Card Manipuiations No. 12’’ appeared an excellent description of Paul Curry’s TurnoverChange ” In good hands it is one of the finest moves possible forchangingacard in the process of turning it either face up or face down.Quiteanumber ofgood card workers in this country make excellent use of it though there are anumber of conjurers who cannot get that necessary smoothnesstomakethissleightone hundred per cent. To that number the method to bedescribedshould be an idealsubstitute. The principle behind the sleight is similar to the Curry Turn-over and consists in the changing of the bottom or top card of the pack for one lying on is made in theaction of thetable.Thechange turning sur h c ald face up or face down. At the conclusion of thesleightthecardpreviously on the table becomes the bottom (or top) card of the pack (according to the manner in which the pack was held). Mr. Hickson’smethod haswhat in some cases may be anadvantagebut onsome occasions will be a disadvantage, namely that the card previously on the table when retrieved by the hand holding the pack faces in an opposite direction to the remainder of the cards. Here now is the way it is done. On the table a card has been placed face down and the left hand holds the remainder of the pack thus : The faces of the cards are towards the palm and thetopmostjoint of thethird finger is inserted betwen thetopmostcardandtheremainder of thepack,the topmostjoints of the second and fourth fingers pressing against the ends of the top cards (this is of course similar to the hold in the ‘ Curry ’ sleight). By extendingthesecond, thirdandfourth fingers, thetopcard would of course be turned over. (Figure 1) The card to be changed lies face down on the table and the left hand approaches from the rear thus : (Figure 2) Now when the left hand is over the top of the lace down card the left hand thumb goes under the rearedge of thefacedowncard whilst the left hand second finger touches the front edge of the cardandprevents it sliding forward.Theleit of thecardbut hand simulatestheturningover what actually happens is that as the left hand rises slightly the left hand thumb pulls it up against the pack and at the same time the card held in position by the second, third and fourth fingers is released and allowed to fall face up on the table. The left hand moves backandthecardpreviously face down onthe table is now face up on top of the pack. Naturally, the pack is held at such an angle that this is not apparent to any onlooker. (Fig. 3) -4s with the ‘ Curry ’ changethe use of the hand not holding the pack should beengaged in (say) turning over another card. “
The bulk purchase of an odd lot of second-hand magical items at a society sale resulted in the evolution of the following children’s effect. A few cards belongingto that well-known trick The Baffling Bunnies ” werein the joblot ” and they have given me lots of fun with the youngsters when I presentedthetrick as a newitem in my programme. Readers who make it up will find it an excellent experiment in arepeat showwhere the children are familiar with the climax of sucker tricksandtheconjurer is greetedwith yells of ‘‘ We’ve seen this before ” . The routine is similartothe Baffling Bunnies withwhich the, reader is undoubtedlyalready aware. Four bunny cards are each covered in turn with three hatcards but onebundle is freely chosen. This packet is wrapped in a silk handkersat upon by ayouthfulassistant. chief and The performer then causes the rabbit to disappear from each of theremainingpackets in theusual manner,droppingthefour hat cardsintoa previouslyemptyopera hat. The usual climaxis anticipatedbytheyoungstersbutwhenthe silk parcel is unwrapped by the assistant the four cards G.O.N.E.”. The performer bearthe letters expresses surprise as heplacesthecards onthe stand but then he appears to have a bright idea. He picks up the opera hat, utters the magic spell and the four rabbits rise gracefully from the hat, bringing the effect to (let us hope) an unexpected conclusion. Requirements : Usual set of the Baffling Bunny ,Rabbitfrom Hat packet Cards with the removed and asimilarfourtotheotherthree packets substituted. Prepare four spare hat cards by covering hat ” with white paper and printingin largeletters G.O.N.E., oneletter on each card.Place these fourcardsbehindstand which “
“
“
”
“
”
“
“
”
“
Many years ago, Ireland’s “ Black and White mystery was a favourite with me but it possessed some disadvantages as far as my ownshowwas concerned so I “ dressed it ” up as follows. The performer relates a story something like this :A friend of mine and his good lady had the good fortune to win the first prizes for ladies and gentlemen at a whist driveveryrecently. When they went forward to collect their prizes, the husband was handed (a blackand white silk is displayed ineach hand) these. He looked rathersurprised “I thoughtthe first prize wassome andsaid, That’sright, whisky ”. Thechairmansaid, Black and White ”. My friend was very disgusted and got into a twist (Silks twisted together), and
”
“
is used fordisplaying trick and coverwith silk. Four cut out Rabbits are required and a fake painted black is made to hold these. This is a tin case of sufficient size totakethe cutouts comfortably but without too much side slip. The box is attached about an inch from the top broad side of the opera hat by means of a band of black clothstitchedtothetinthrougha fewholes punchedneartheedge. The caseis thus hinged to the edge of hat so that when hat is closed the fake lies flat but when hat is opened it folds back to lie inside thehat, hiddenfrom view. The folded hat can thus be shown quickly both sides and opened without suspicion. A thread isnow attachedtothe side of tinnearest hat,andthe rabbits are threaded in the usual rising card manner to rise as one. Suficient thread is carried over the side of hat with end tied to a small ring. “
”
“
”
Proceed in the usual manner, dealing three hats on to each bunny. Onebundle is freely chosen, and in the process of showing silk with both hands, isswitched forlettercardsbehindstand. The substituted packet (care being taken not to show the fronts) is wrapped up in hank and sat on by one of the juveniles. The rabbits are disappeared one by one in the usual manner, the “ hat cards being dropped in the previouslyshown “empty” opera hat.Careshouldbetakennot to interfere with threading.Takepacketfrom assistant or allowhim to unwrap same and show surprise at contents.Pickup hatand get finger in ring. Pronouncethe magic formula,pullthreadand cause rabbits to rise, take in left hand and separate to show the four arrivals. ”
The reader may prefer to make the rabbits rise I prefer the one by one, but this is up tohim. way mentioned.
*e pushedtheminto
his trouserspocket(Pocket shown empty), his wife having been therethe night before. The chairman then handed the lady her prize. She thought it was something nice and sweet like chocolates, but it was only a stick of rock. (Stick of rock shown, tapped,etc., to show solidity.) Very hard, as you can hear. Taking it, she wrapped it up in the tissue paper like this (Rock wrapped in paperandendstwisted),andthen placed it in her trousers pocket (Parcel placed in left trousers pocket and immediately removed). Oh! I beg your pardon, in her handbag I should have said (Parcel nowplaced in glass on table). This glass will do forthe handbag, and off they
86 James Douglas’s IT’S A GAME (continued)
went Home. V;hen my friendsarrived home the husband said, I nal.-e an idea ”. He was a conjurer of course and called out the magic words Rouge etNoire , and when he removed the silk handkerchiefs his wife got a shock (Display of check silk). His wiferecovered and broke the rock parcel saying It’s a game . (Draughtsmen released from tissue into glass). Requirements are : Black silk, white silk, draughtboard silk, two small sheets of tissue paper, a cylindrical piece of wood about six inches long (a piece of a brokenbroomhandle will do nicely) and about 1% to 14 assorted draughtsmen. A glass. Paint the piece of wood a light pink andthe ends white with the usual wavy linesin black to resemble a piece of child’s rock. A real piece of rock can be used if desired but it may become sticky in use due to handling, and the fake made wellwilllook the genuine article. Use enough draughtsmentomake a stack equal in length to the stick of rock and roll tightly in the sheet of tissue, twisting the ends to make a tight parcel. Place the latter in the left trousers pocket and the
draught silk in the top of right trousers pocket, after twisting it (the silk) into a spiral. T o P.~xform: Show the black and white silk.5, twist together and in placing in right pocket, make the usual exchange after showing pocket “empty”. M-rap the rock in the other sheet of tissue, tw~stlng the ends as in the duplicate parcel. Place in trousers (left)(Important, see Patter), exchange for duplicate and withdraw immediately realising your mistake ( ? ) . Place inglass. In conclusion board silk (pocket shown empty in show process) and break men parcel into glass. Further notes : If you are unable to furnish the necessary silks, black and white tissue would serve at a pinch.Prepare a white sheet withblack squares toresemble the board . The exchange could then be varied as per Sun and moon via mzkh box. The breast pocket can be used for the exchange of rock parcel, apparently leaving i t in full view, sticking out from pocket after switch. The reader willfind that the above routine can be performed under almost any conditions, surrounded if the occasion arises, and you never know.
About ten years ago a very eminent children’s entertainer told the writer that thesympathetic silks was unsuitable for presentation to“a juvenile audience. An attack of “magical cussedness ’ coupled with the belief that m ? ’ effect givm wrong presentation could be described assuch, resulted in the following, which has been used asan opener for about five years or so with great success. The silks, duly prepared, are placed in a gaily coloured box tied with ribbon,together with a postcardupon which is typedtherhyme which follows, the box being then zntrusted to a reliable member of the audience, who duly interrupts the performer’s opening remarks as follows : Mr. Carter!There’s a man outside askmg for you.” “ Well! How do you know he wants me? There’s plenty of other Mr. Carters.” “But he said he wanted Mr. Carter the nzug-iciml -so it t ? l l l . Y t be you.” ‘‘ Hmm! Looks like it, doesn’t it. IVhat did he look like?” Well. He had two ears, two eyes, a nose and a mouth!” (This line is always good for a laugh. ) “That doesn’t seemlike anybody I know. Did he leave any message? ’ No! He simply put this box into my hands and vanished. ’ ’ This novel method of introducing an opentrick is due to Mr. Wilfred Tyier. ing Incidentally,forthe assistance of the stooge
the dialogue is tfped on a label attached tothe ribbon round the box. After a bit of business about the rudeness of opening presents in public, and asking the Mr. X ” (the Vicar, children if theythink Superintendent or whathave you) wouldmind very much; the box is opened and the silks shown. Thisoperation, if handledrightly, will create a suspense whichwillsilence the noisiest audience, as the writer has proved on several occasions. 1 say,” remarks the performer, who c m have a moment, though-there’s a sent them?Just card in the box-with a rhyme on it. Shall I read it out? Very well. Here goes.” The effectis then performed to accompaniment of therhyme, which should,think, I beselfexplanatory. Hankies, Orange, Green and BlueWith pleasure now I send to you Use them for your magictricksCount them, and you’l! find there’s six. If tke count is fair and squarePut one of each upon a chair. With a knot, both firm and true-Tie an orange to a blue. In the way that you’ve just seenTie an orange to the green. If you say a magic spellYou’ll find the others tied as well. If another spell you sayYou’ll find the knots will fly away. At the conclusion of the routine; the performer remarks : Well, there’s only one explanation of fhclf-it’s MAGIC!”
“
“
”
”
“
”
l (
”
“
”
“
“
“
”
“
“
”
“
”
“
”
“
“
”
”
“
”
“
“
”
”
“
”
“
“
87
THE RECURRING CARD ” by George Blake (Marketed by the originator, 9, St. Xlban Road, Leeds, 9, price 5 / - post free). This is a very fine card effect afterthemanner of the ‘ Homing Card ’. The conjurer tells his audience that he wishes t o show them a trick \vithanumber uf blankcards. Howevera black cardpops up,and thoughit is takenaway,it persists in returning. X s :-? climax theconjurer is leftwithoneblackcard and t h e n picks uv the discarded cardsto show thatthey are also h l r c r k cards. IVith the instructions, \vhich inc.dentallv teach as well asinstruct, George Blake sendsyou the extra cards that vou will need. We conclude by saying that if you are amagician on, the lookoutforaclosingitem entailing nothing more than apack of cards,ordinary skill and effective presentation, here is the effect you want a t a tithe of its value. ‘ A TRICK FOR EDDIE CLEVER ’ by George Xnderson (sold in this country by Ken Rrooke a t 109, ThorntonRoad, I3radford. The proceeds of sales go t o Eddie Clever and for this reason purchasers are asked to pay \\.hat they can afford, but not less than 7 / 6 ) . GeorgeAnderson has become better known to the magical fraternityby reason of his book ‘ It must be Those who have read this valuable mindreading ! ’ contribution t o mental magicwill understand his angle of presentation which is tocutoutany ‘ move ’ or unnecessary piece of business. ‘ A Trick for Eddie C lever ’ is avery fine featin\\hichthree members think of cardandthementalist shows that he can read their thoughts. It is a straightfor\vard effect, there is noasking of questions and no sleight of hand
irivo1ved.- To get theutmostout of the effectgood presentationonly is askedfor.Apartfrom thetrick itself the introductory patter is alone worth more than the cost of the effect. Eddie Clever, who through illness, is incapacitated, has done and is stilldoingatremendousjob of magic uith his ‘ Hocus Pocus Parade ’ in the ‘ Linking Ring These magical supplements give moremagic each monththanany magicalmonthly andentail a great deal of work on the part of their editors. Please thereforeadd t o yourrepertoire and helpavery good scout a t t h e same time. ‘ A LETTER FOR THE CONJURER ’ byRertram of (‘lacton (Marketed by Ken Brooke, 109, Thornton Road,Bradford, price 5 / - ) . Uertram of Clacton is a professional entertainer of children,a workerwhosesqrvices areindemand year alter yr3r. In consequence: one realises that the tvealth oi cxyerience that makes ‘for success inthis field is bai’t. up on somethingmorethanthetrick itself. ‘ A i.-tter for the Conjurer ’ shows that experience and c’):lxrnsthe perambu1at:on o f a borrowed coin which ;IS a climax is found inside a nest of envelopes. The conjuring is of the very strxightforward type (and de:eFti\.e at that) and it is accompanied by some very ent”rt3ining business and lines. The properties are rt?most l i l and will addnothing to yourluggage,a shezt or tn.o of paper and some envelopes. In good handsthere is some ten or moreminutes of entertainment in thispresentation,and ‘ Time ’, as IVilfred Tyler rightly remarks anent children’s sholvs, ‘ 1s lioney ‘. very good ‘ buy ’.
Thismonth we have been having some very Tweiltygood fun with C . DudleyWhitnall’s Seventh Card ”, described in this issue. We think that this is one of the finestself-workingeffects that we have every struck. An apologyto ‘ Hen ’ Fetsch. In a previous number we published with his permissiontwo Magic atthe Fingereffects that appeared in tips ”. As we have had verymanyfavourable comments regarding these effects, we would mention that in the book in question,there are some thirty other effects, all of sterling merit. Major Leslie May has come across with a very nice idea called Double Deletion ” . It will appear in the next issue. In a letter he outlines a cute idea that mightbe called “ Mortmain 2 ”. The conjurer would have to have something comparableto a Thayer Rapping Hand, the very necessary board and his own assistant or stooge. the stooge is placed on the right of the magician and handedtheboard;thehand,after being examined, is placed on it. ,4 spectator is asked to or sits tothe left of the assist andhestands magician. He is handed a square of paper, asked to write down the name of some dead person, and when this is donehe is to fold thepaper.The magician takes this from him and switches the billet, substituting a dummy( in themanner of
the Dead Name Duplication), which is handed to anotherspcctator. Going to his pocket with the hand holding the palmed billet, it comes out a e i n with it. The billet is then unfolded, writing being keptawayfrom the audience and then placed underthe fingertips of thehand ontheboard. Over the wholelot a light silkis placed. The hand now starts moving as the assistant brings the mechanism intoplay.The movement stops and the magician moves across to the spectator holding thedummy billet. Taking this from him, he unfolds it and reads out the name he glimpsed on the paper placed under
.“
“
“
“
I .
George Blake wrote us a very nice note regarding Colour Sense of the Coins ”. Like ourselves, he realised the fineeffect that could be obtained and, using his own presentation, worked the 91 Cent Miracle a great deal duringthe Vi-ar years. His main point was that with the difficulty of obtaining different coloured envelopes, match boxes covered with different coloured papers Banks (the things some andreferredto as people deposit money in!) can be used. “
“
”
“
”
I
88
I
PUBLICITY + GLOSSY
PETER WARLOCK’S
Technicolour Follow My Leader
PHOTO REPROS (Theatrical Standardlain. X 8in.) 12 for $21 - 1 - 0 50 for g3 - 15 - 0. One Quality-TheFinest One Price-The Lowest LATEST PROFESSIONAL DISPLAY PICTURES. These beautifully finished from your photographs are ENLARGED original, FRAMED, LIGHT TO CARRY and have UNBREAKABLE MICA FRONTS with French or Plain Moulding.
+
Frumed Hand
+ +
coloured
+ Here is an effect ideal for close-up or platform
Black & W h i t e
+
16in. X 20in. €2 2 0 €1 10 0 20in. X 30in. €3 3 0 €2 10 0 ADVERTISINGNOVELTIES. SpecialIdeasdesigned. ARTWORK. Letterheads.PrintedPublicity. Throwaways.
+
YOUR specific requirements will receive personal attention
woTk. I t is being currently used by Elizabeth Warlock, whowill be pleased to demonstrate it if she is in your locality. Ratherthanpraiseour own wares, we will quotethatoutstandingcardworker,Gustave Southall, who says :U It is a trickonemayimagineLeipzigwould haveliked to do.” PRICE 716
PETER WARLOCK
JACK LAMONTE
24, WORDSWORTHROAD,WALLINGTON,
(Illustrator of Magic Wand Publications) 28, WARWICK ROAD, LONDON N.18 TOT 7742
PETER
SURREY Or Your Dealer
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand canbeobtaineddirectfrom the publishers for 1 / 1 per single copy.AnnualSubscription 12/post free. PUBLISHED BY:
A ’MAGIC
WIND‘ PUBLICATION
The Magic Circle President : His GracetheDuke
ClubroomandLibraryand
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.I.
The Magic Wand Publishing Co., 1 1 , Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publication and books for review should be rentto the: EDITORIAL ADDRBSS:
ParticularsfromHon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
of Somerset,
D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglm Craggs, Esq., M.I.M.C.
King George’s Hall, W.C. :
Francis White, 39 Alverstone Avenue, S.W.19 WimbledonPark,
A.-
I
*
A GREAT NEW
BOOK
THI2,book does not teach the reader how to ”, a subject speakwithoutmovinghislips that has been dealt with in all other books on the =ubject. I t does, however, break new groundthathas neverbeforebeencoveredin a bookonventriloquism. Here the reader will find the result of years of hardandpracticalexperience as a professionalperformer ; whenandhow t o use the comedymovementsforthegreatest effect, how to write your own dialogue, a mass of ideas for new actswithscript outlines, invaluable informationonthepsychology of children,entertainingchildren,etc., etc And to cap it there is the complete script for an outstanding new Maurice Hurling act-not 10/- but just one chapduplicated and sold for ter in a great new book. Price 10/-; postage 3d. fromthepublishers THE MAGIC WAND PUBLISHING CO. 11, Monastery Gardens, Enfield, Middlesex.
1
Magic Wand Publications I
JACK HUGHES will bepleased t o send you fulldetails of
THE DE LUXE “SU-TABLE” together with all his other effectsin returnfor a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR OLD AND NEW. Let
LIST FREE
SALE
yourwants FOR STAMPED ENVELOPE No Callers me know
GEORGE JENNESS 47 INVERNESS AVENUE, ENFlELD,MIDDLESEX
The Magic Wand,Quarterly.Fercopy 3/8 p.p. Annual subscription 14/6. The Wizard, 36 pages monthly. Pcr copy 211 p.p. 6 month, 1216. Year 241-. Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & Larnonte) 1013 Bohleno’s Mysteries (Rohlen) 1013 The Concert Ventriloquist (Hurling) 10/3 Georgt Amstrong’s Premonition 1013 Chandu’s Psychoanalysis 10/3 Entertaining-With H pnotism (Dexter) 1013 ChaJenge 1ns:ant Apnotism & Mass Hypn0ti.m 211..‘. 513 Strictly Magic (Eddie Joskph) ‘ ’ Stooging Around (Stuthard) 513 26 Living & Dead Tests (Car;&) ’:. 513 5 ‘3 Jnmesosophy (Stewart .Tames) . . . Year Book 48/49 ( f e w only) . . . 513 StuntsWith Sragc Money (Lamonte) . . 5f 3 Tricks of the Trade (Armstrong) . . 217 Fromthe publishers T H E MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this B2,lletin Pnblished bythc
plopric.rr-
The Magic WandPublishingCompany, 11. Monastery Gardens. Enfield. Middlesex. and printed byHerbcrt Croft. Sh;nlev. Yorkshire Walker and Son (Printem) Ltd..Well
*
PENTAGRAM An independent monthly bulletin for all who want good magic
S k p . . 1951 ~
M-ay back at the beginning of theyear AL clcscribed this routine and promised that we should have it for .the Pentagram.” We would h a w \\.illingly waited a great deal longer for we think and we know our readers will agree that A1 has routined threelittlemethods that could not 11.eli. stand alone, into an effect in Lvhich every idea that may en‘.er the spectator’s minc! as to thtx ho\\. is dissipated .as the effect progresses. l h t . requisites, from thv audience’s point view, arc ahandkerchief,a ring anda borro\vtci half crou-n. ?’h(. coin is placcd in the. ccntrc of thc hanikcrchicf and the ring, after being examined, is d i c t over thc ends of the handkerchief so that the coir; is imprisoned in the ccntrt.. 7’n.o spectators are invited to assist. Each takes tivo corners of the handkerchief CO that apart from the small bag formcd by the ring and thc coin wl!ichis uppermost, it is stretched out parallel tothe ground. Placing one hand under :hc hafidkerchief, the coin is apparently drawn through tht. ring. -I-he coin, which of course has been borron-e? is handtd to one of the spectators, Lvhich gives hin: a chance to examine it. Again the coin is placedin the centre of thc handkerchief and again the ring is slipped over the ends which are in turn held by the spectators. Once nwre does the coinpass throughthering. The spectarors are requested toexamine every article minutely. For thethird time the coin is placed in the centre of the handkerchief and the ring is sli?pe?. over the folds. For the third and last time the. coin passes through the handkerchief and you can leave The articles \vith the spectators for microscopic examination. ’The requirements for the effect are few. First of all a folding halfcron-n is required. Besides this tu.(-)rings arc.nccessar!-. These rings art’ the “
“
’ *
c.df
7 -
“
9 h O ? eS-
Lype that can be bought at stationers for us? in loose. leaf books. Theyare slightly smaller than a half crown and are hinged to open. One of these rings is taken and at the po’nt where thehalves meet solder is applied so that a solid r h g is formed. Better than solder is to have a smith weld the two %.nds. Thus you have tworingswhichlook alike though one can, at a moment’s notice, be opened. The disposition of these articles will be pcculiar to..he individual performer, but we suggest that the . ~ c ~ l i ring t l be in the waistcoat pocket, ~ c din the k f l : hand jacket pocket, and the / z i ~ ~ ~
“
”
90 tion,thelefthandobtains, in acasualmanner, the hinged ring from the left hand pocket. This is finger-palmed. The position now is that the conjurer has the hinged ring finger-palmed in the left hand and the folding coin finger-palmed in the right hand. Because of the size of these articles the hands can be very relaxed and no impediment is offered during thenext part of the effect. The right-hand goes under the handkerchief whilst the left goes on top. The coin is folded by the lefthand pushed through the ring and taken by the right hand which, under cover of the handkerchief, changes it once more for the borrowed coin. . This latter is tossed on to :hetable.Afterthe coin is released thering is left lying on the outstretched handkerchief. the ring and withthe The lefthandtakes remark Perhaps you'd like to have a look at the coin,"therighthandtakesthehandkerchief leaving the spectatorsfree. The handkerchief is tucked into the breast pocket as the conjuror steps up the coin andremarks up tothetablepicks perhaps y o d d like me to dq it again. Actually he has dropped the folding coin into his pocket and at thesame time, on a most beautifuloff-beat, switchedthehingedringforthe solid ring. The handkerchief is takenandlaidflat on thetable oncemore,theborrowed coin is placedin the centre the ends drawn up and the hinged ring slid over them and down to the centre. This time the spectators take the handkerchief by the corners so thatthe bag " part lies nearest to the floor. Placing his left hand underneath (this don't forget contains the solid ringfinger-palmed), he opens :he ring (the outstretched handkerchief covers all this operation) and in bringing it up and forward switches it for the solid ring. The coin now lies on top of the outstretched handkerchief. Solid through solid once more. " Give boththeringandthecoinanother examinationplease,"says theconjurer,andhe passes the solid ringto the right hand, handing this to one assistant whilst with his left hand (this containsthehingedring) he takes the coin and hands it to the other assistant. The handkerchief is taken away, this time with the left hand, and is tucked into the left jacket pocket, the hinged ring falling inside. What." says the conjurer, '' you want me to do it again." . . . And so taking all examined articles he performs a miraclefor the third and last time. The methodyou will allknow, or if you don't just turnup " Modem Magic." The performer make use of the coin fold. He does it in this way. . . . '' Look, sir . . . an ordinary handkerchief. Now let me havethe coin . . . thank . . . Looksir you.That goes in thecentre. (thistotheotherassistant) right in thecentre. At this point of course the handkerchief has been turnedbackpriortothefoldbeingmade. The handkerchief is now rolled and the spectator with spectators the ring is asked to slide it over. The
areasked to hold theends with the bag underneath. Placing his hand underneath, the conjurer removes the coin fromthe fold and allows ring and coin to'drop into his hand. These are brought out fromunderneathand once more handed for esamination.
Flashback ! X stands for X La Rue
"
"
"
..
91
The medium having been escorted to another room (as usual), the impossibility of ccmmmication with her (or him) excepi: by telepathic means is stressed. The Operator, who for the sake of brevity we A , ” introduces two will subsequently designate similar pieces of writing paper (these can of course be borrowed). Emphasising the freedom of selection he asks fora subject matter,i.e.,Place,number, adjectives, historical dates, names of things, etc. When a choice has been decided by the company present, the two pieces of paper are given together with a pencil one to each of two volunteers. “ A ” then requests that six of theitemsdecideduponbe called out, and as they are announced the volunteers are to write them down upon their respective pieces of paper. When this is completed A requests :hat either of the papers be placed in front of him and also that one of the six written items be selected andannounced.Hethen takes an india rubber and erases the item selected. Nex, he requests one of the spectators to take thesecond paper to themedium. He handsthe rubber over also. As soon as the medium receives the paper and rubbershe/he erases a line onit.Onbeing returned to the company it is found that the line erased corresponds to that erased on the original held by A.” Please note that there is no confederacy, the paper sent to the medium is not touched by “ A,” neither is it necessary to send a particular person or have the paper folded in any way. The secret method of codingthenecessary of the line is in therubber, which shouldbe cheaperkindandbearatradename.With the rubberplaced thus :“
“
“
”
The medium and “ A think of the upper left hand corner as No. 1, the upper right hand corner as No. 2,. the lower right hand corner asNo. 3 and :he lower left hand corner as No. 4. The position of the trade name decidespositioning. The only preparation consists of erasing Something prior to theperformancewithcorner No. 1 . Thisnotonlymakes the rubber look a more natural and innocent object but is also an the important part of the method of coding selected line. The rubber, prior to presentation is in “ A’s (say) waistcoatpocket, and is casually brought out and laid on the table before -the final selection of the word or line to be erased is made. If the first line is selected A ” merely uses the No. 1 corner to erase the word or y;ords. If the second line, corner No. 2 is used for the erasure. If the third line, corner No. 3 is used for the erasure. If the fourth line, corner No. 4. is used for the erasure. If the fifth, any other corner on the opposife side of the rubber. To do this in anatural mannerhe starts erasing with corner No. 1, lifts therubberas ;hough the job is complete, apparently notes that thejob is incomplete insome respect andthen uses another corner on the opposite side. If the sixth line is chosenhepocketsthe rubberand requests thatthe secondpaper be taken to the medium who then, for the purposes of the eflect, produces one of her own. The effect can be performed anywhere and a t any lime and .Lhefreedom of selection coupled with’he straightforward action that follows is most impressive and from the operator’s point of view a most inexpensive item as the only outlay is at the most two or three pennies. Needless to say the number of lines could be increased. Byusing all cornersontheopposite sideof the rubber, the number of items could be nine. By the introduction of otherrubbers,each bearing some little distinctive mark, it would b? possible to cover tens of items. The original rubber representing 1 to 9 would beplaced on the table, the operator sitting or standing with his hands resting in his pockets. If the necessary selection involves the use of one in his pocket, this could be withdrawn, finger-palmed. In the action of picking up the original rubber for the purpose of erasure, it would be child’s play to switch the rubbers, thenhandingout the duplicate for use by the medium. ”
”
“
92
On Page 46, of Hugard’s More Card Manipulations,” No. 3 , is described an excellent card trick,entitled, The Score Card Scores.” In Bulletin of Latest Sleights and BurlingHull’s Tricks,” Page 12, is described, so far as I know for the first time, the principle of the sliding key or force card. Further descriptions of this will be Sixteen Master found in Walter B. Gilson’s Card Mysteries,” p. 5 , and The Royal Road to Card Magic,” p. 93. Combining these we have a most effective routine. The presentation and W o r k i n g areas follows :The performer looks through the pack to find his favourite card, the Queen of Hearts.’’ l h e Queen is removed and stood up facing the audience, so that she may observe what is happening.” Twospectators are asked tochoose a card each, and to note who has the higher valuc card of the two. Commencing a Hindu shuffle the cards are returned when half the pack is shuff ed off, the lower value card first, and the higher card ontop of this.The two cardsare returned together, and not separated,in the pack. Continuing the Hindu shuffle the cards are brought to the top of the pack in theusualmanner, or thc performer may use whichever method of con rol he prefers. The magician now explains that he will cut the pack a number of times, which will lose the position of the cards, but will not separate them. A series of cuts are made finishing with the chosen cards again on top. The performerexplains that the Queen of Hearts has been following all this, even if we and knows just where the cards are, donot.’’The Queen isnow handed to each of the two spectators, who are asked to whisper the so as to help names of theircardsintoherear, I take it,” remarks the magician, “ that her. that is the first time you have ever whispered to a A third spectator now takes the Queen Queen! and is asked tothrust it face upwardsintothe pack, while the performer fans out the cards. While talking, and approaching the spectator, the top card is slid over to the right, clear of the other cards, which are then fanned out above it. When the spectator thrusts the Queen into the fan thecardsare separatedslightly,and the sliding ~ Queen. card underneath is insinuated L L ~ O Vthe The latter is only inserted half way into the pack, uhich isnow closed, with the Queen projecting face up. ’ The performer explains that, if successful, the Queen will have placed herselfbetween the two chosen cards. He requests the name of the card of higher value, andopening thc) pack bookwise “
“
“
“
“
“
“
“
“
”
with the right hand, shows very clearly that this card is, in fact, abovethe Queen. Facing right [he upper half of the pack is removed, and the top card (the second chosen card) is slipped on to the top of the lower packet, over the Queen. The h i t firstfinger points at the exposed card for a second or two, then the right first and second fingers clip the Queen and draw it away while the performer turns round to theleft.The name of :he second chosen card isnow requested, and the ~ o card p of the left hand packet is pushed forward ivith the thumb, and turned over with the first and second fingers, in the usual turn over flourish. he right hand now turns its packet face to audience again, and the two cards are shown around. A FOLLOW-UP As a follow up to this effect, a further item on somewhat similar lines may be performed. The his magician looks through the pack tofind other favourite card, the Queen of Diamonds, also TheQD isplaced a veryremarkable woman.. down beside the QH, so that both may see what is happening.” A single card is chosen, returned, apparently lost in the shuffled pack, but controlled to the top. Theperformer explains that it needs the two Queens to follow thecard when the pack is shuffled, and not merely cut! Thepackisthen held face down in the left hand, and the Queens placed face upwardsontop,fanned outtothe right. The spectator who chose the card is asked to take one of the Queens, and whisper the name of his card toher. While he is doing so the other Queen is allowed to go flush on top of the pack, and is then lifted off with the chosen card underneath (double lift). The first Queen is taken from the spectator and placed partly under the double card,both Queens being face up. “ Perhaps,” remarksthe magician, you hadbetter whisper Vour cardto the second Queen as well”-the cards are held out for him to do so. The spectator is now asked to take the pack and riffle it, while the performer thrusts the cards he holds into the centre, with the Queens face up. The cards are pushed inflush and the pack then fanned out,orspread, face down.The face of Queens show, with a card in between; this is removed and shown as the chosen card. “
”
“
“
NOTES In the first effect,and others of the type where TWO cards are located by thrusting a third card, or a knife, between them, I believe the cards should be returned to the pack together and the pack cut continued on page
95
93
In the November, 1950, Pentagram, Mr. J . A. Esler described an excellent two person card effect under the title of Semper Paratus ”: which is so good that one is almost certain to be invited to do it again,” and it was with this fact in view that the following was devised as a repeat. Assuming that the medium has left the room for the second time, thepack is ribbon-spread somewhat irregularly, face up upon the table and a card is freely selected. The performer then gathers up the remaining fifty-one cards a few at a time, placing them face down in his left hand as he does so, after which the selector freely shuffles his card back intothepack. Despite these rigid conditions, however, the medium successfully finds the card on her return. The secretis as simple as it is subtle. While the cards arebeing picked up afterthe selection has been made the performer searches for a ‘ ‘ key ’ ’ 1 . e . , a card of similar value and colour. thus if the chosen card were the Ten of Clubs, the Ten of Spades would be looked for: the Three of Heartsthe Three of Diamonds, and so on. As soon as the key is spotted itispicked up separately between the thumband secondfinger of theright
hand, this will cause the nail of the first finger to rest againsttheend of thecard. Drawing the nail back the fraction of an inch scrapes a fresh surface ontheedge of the pasteboard, readily visible to an eye that is looking for it-especially if thepackhas been used toanyextent.The spectator is thus at liberty to return his card and shuffle until domesday without destroying the evidence necessary for the medium to discover his card when she returnstothe room. All she has nicked card, note its todo isto locate the value and suit and proceed accordingly.
Effect. A packis freely shuffled by a spectator who is then invited to select a card.This card is returned to the centre of the pack and a handkerchief is placed over it. The spectator is asked to cut the pack at any point he chooses. H e does so andthetop card .of the lower half is turned over. Whatevernumber of spots are indicated by this card the number is counted down to and the .chosen card is discovered. Method. The pack is freely shuffled as stated :above. The performerspreadsthe cards face up to show how well mixed they are. In doing so he ,countsthecardsfromtheface until he notes a card whose value is the same asthenumber of ,cards counted. He remembers this number. Turning the cards face down the performer riffles the pack inviting a spectator to stop him at anypoint.The Master Move (reference Stewart .James’s Mark of the Reader,” Pentagram Vol. 1 , No. 5 ) is executed, bringing the chosen card to the bottom of the pack. The performer fansthecards face down statingthat the oddsare against the spectator being able to pick out his card even with sevcral chances.
The reason for this spread is to enable the performer to secretly count the number of cards he has remembered from the face of the pack and inclosing it, insert the left little finger to hold a break. As the handkerchief is placed over the pack thebreakistransferred to the left thumb.The spectator is now asked to cut the pack under the handkerchief, following which the performer makes the All Fair Force.” Thetop cardis now turned over andthat number of cards is counted downto reveal the selected card. Addendum. Whenspreadingthe cards face up at the beginning of the effect and counting, it is possible that the number counted wiil not coincide with the value of the card, even though you count through to 13. The odds can be reduced however by noting a card whose value is either a spot below or above the actualnumbercounted.Then when the card is turned over you can either include the turned up card in your count, or aftermaking your count turn over the next card, according to whether the card noted was abovc or below the actual number.
“
“
“
”
“
“
”
Inthe original version, Mr. Esler used the Six of Diamonds as a “ key,” and stated that the probabilities of its being thought of were remote. Ry using the Ace of Diamonds however, and makingthe selector a lady, the probabilities are greatly increased-in fact the reader will be surprised at thenumber of times it “ comes off.’’ ‘This is a pet psychological force of the writer’s which he has used for years. In this lucky event the cards are not touched by the performer at all, and he requests that the cards be replaced in their case, which supplies the medium with the necessary clue.
“
94
This is an underhank.forcebutithasa greater naturalness in the moves to commend it. The card to be forced is on the face of the pack. The performertakesthepack in his left hand between I he second, third, and fourth fingers on one side, the first finger at the outer end to steady the pack and the thumb on the other side. In placing the pack in the left hand the left thumb pulls down the bottom card slightly, formingabreak. A handkerchief isnow placed
overthecardsanda spectator is asked to cut them atany placehemaychoose. As he takes the toppacketaway the performermakes the Charlier pass thus bringing the force card to the top of ;he lower packet, whichis subsequently noted by the spectator. With this movethe whole procedure is as thoughagenuinecuthad been madeas indeed it has.
It’s funny howbig trees from little acorns grow.OnDecember 6th, 1940, we wrotea letter that waspublished in the ‘ Magic Circular.” In it we advocated (because of prevailing conditions) regional meetings of conjurers.Theletterbore fruit and soon starting at the home of Mr. & Mrs. Bridger Lewis, :-he ‘ Magical Wanderers began their existence. From these meetings there c2me into being the London Society of Magicians. We were reminded of this when reading the programme matter of the L.S.M. Festival and wondered, had our letter not been written, whether or not there would have been a London Society. Paul Curry’s Linked ” which first appeared andlatertook its place in in the “ Pheonix Bruce Elliott’s “ Magic as a Hobby was a lovely effect. Withtheidea of making it into amore stagey idea Elizabe’th . Warlockmade use of a board and stand and called it “ Linklater.” (You willfind this in abacknumber of the Pentagram and also inthe Pheonix ”). Inthe Genii ” aMr.Nyle A4ugustnumber of the Rothenbach describes a trick whichwouldnever have come into being without the two effects mentioned, and yet there is nota word of acknowledgment.Because it is so near to the “ Linklater effectin construction we notice that there is acharmingfootnote reserving all marketing rights for Mr. Rothenbach. Recently there has been quite a deal of talk about the trouble conjurers take regarding the set up for a desired effect. We feel certain that the prize must go to the lateHoraceSpencer.His brother incidentally is the Royal Academician whose pictures arouse so much .controversy. Horace would go to any length for the sake of an effect. On one occasion he was giving daily shows on Thames craft. As the boat neared the mooring stageor possibly alock,Horace would forcea card onaspectator. It wasaverycleanforce for the cards were fanned in front of the spectator was andhe was askedto f 12 ink of a card. He
then handed the pack and the card was found to havevanished. At this pointHorace wouldcall the attention of a boy sitting on the bank with a fishing rod. At this momentthe lad would start winding in his reel and there on the end of the line andhook was a fish. Horace would throw the boya shilling in exchangeforthe fish. The latter was taken sliced open and there was the missing card. Needless to say the boy was planted there each day with a special prepared fish containing the card that Horace intended to force. MauryFogel, Billy O’Connorandoursdves sattogether the otherevening talking about the Greats of the past.Though retrospective thipking can be dangerous as ;he memory is likely to play false, the fact that emerged from this conversation was that Percy Selbit had undoubtedly invented,adaptedorproducedmoreworthwhile stage illusions thananyone elsewecould name. Just think back and realise how much he did. . . . The Elastic Lady,” Sawing through a Woman,” The Man without a Middle,” (‘ The Human Pincushion.” “ Walking through a Wall,” The Masked Medium,” The Stick Rack,” The Spirit Paintings,” and so on. We know that many of thebases of these effectswere not the origination of Selbit, but he saw their possibilities andmadethem intriguing to the public. As a splendid example look how he took the principle tnat Jeans adapted and used in the Silver Hat andlateramediumistic effect. Selbit madefrom ,histhe Million DollarMystery.” All these were almostchallenge effects, effects which were not only well outside the scope of explanation by a lay man, but in many cases by those who read explanations of conjuring tricks. It is nearly thirteen years since Selbit died and so far nobody in this countryoranyotherthat we know has. taken stage illusionment one step further or producedevenonemysteryas intriguing and commercial as those that we have named.
J ’
“
”
”
“
”
“
“
”
“
”
“
“
“
“
“
“
“
“
”
95
‘‘ Tricks of a Trouper,” hy Jack le Dajr (published by ,r;oodlifie, price 7/6). Some readersmay think that it is rather late in the day to review a book published in 1946, but truth t o confess the publisher never sent along a copy a t t h e time. “ Tricks of aTroupe? ” is almost unique insofar that it details the actual effects successfully used by a \.ariety performer over a period of more years than we care to remember. Bound in semi stiff covers the book runs t o some sixty nine pages and contains some twenty odd effects or ideas. Eachand every effect isnotonly practical andentertainingbutthe results of so manv vears of actual working has streamlined each effect so that provided such an effect fits the reader he has a new and worthwhile item for his repertoire.Thefirsteffect to be described is Cigarette Making ” we have seen it as you have on many occasions. If i t were sold as a tlealer’s item vou n.ould pay more than t\\-ice the price “
tty
that is asked for the book. Thiswith “ Card and Cigarette,”the “ Miser’s Dream,” the S t o 9 Egg ant] Hmdkerchief ” andthe “ Giant Matches areall line stage effects. There are also others, like the Topical Torn and Restored Trick.” Mr. le Dair has madehis explanations very clear indeed, and where necessary illustrations have been added. We must not forget to mention thatTrevor H. Hall has written amostinteresting introduction from w k h we should like toquote :-“The secrets of Lvriting a readable magic book have much in common with the secrets of showmanship . . . . Ponsin,RobertHoudin, Hoffmann, Sachs, Devant, Gaultier and Nilliardallinfused their writings withthe endearing element of human interest, this almostboyishenthusiasm for conjuring, which put them into the most exclusive of all magical libraries, the books that a conjurer has by his bedside.” That is where my copy of “Trick S of a Trouper” will be kept. Need we add anything further. ‘ I .
NICHOLLS HARLEY’S M Y FAVOURITE CARD-continued from page 92
only. In some versions, thecardsareplaced in different parts of the pack, and then brought to.gether,withthe knife, or cardbetween.This in a sense is too impossible,’’ andthe spectators will assume merely that the cards are manipulated to the required position. In thetype of trick as described they wonder how on earth the card was placed in the right position, and no sleight of hand appears likely to help. In other words they have 1 1 0 explanation at all, for it is very unlikely that theywouldtumbletothe fact of thecards first being separated, and then brought together again! “
In the second, trick, I think, psychologically, to thrust the cards into the pack himself, rather than hand them to the spectator to do so, as the very impossibility of the latter might cause him to think of the cogect solution; whereas with the performer inserting the cards, he maywell get the credit for actually doing what he ptofesses-and that would be something very clever indeed! All this may sound far fetched and theoretical, but I am sure it is only by studying one’s tricks in this way, that the most can be got out of them. it is better for the performer
MAGIC GO R O U ND-continued from opposite page
This number brings us to the end of our fifth volume.Sixtynumbers . . . this means that we musthavetypedout about half a million words and drawn several hundreds of illustrations. None of this would have been possible however without the help of ourfriendswhohavesuppliedthe material, material which we know is being used to goodeffect. We must also thank our printers for their work and also a word of praise toJimmy Flashback items. We also Findlay for his thank him for putting our own feet on the collector’s path. To-day our collection of programmes, playbills and memorabilia relating to twentieth ,century magicians comes to oversevenhundred items. All this in a year! We still welcome those unwanteditems that you have cluttering up the home. “
”
It was with deep regret that we heard of the passing of Ellis Stanyon at the age of eighty one. We first met him in our schooldays on an occasion when we cycled to Solent Road (Dexter too lived in this road). It must have been somewhere about 1916 or 1917. A few years later he was to be one of our sponsors for enrolment in the Magic Circle. A most knowledgeableconjurer,and onewhose name will live through the medium of ‘‘ Magic, those fifteen volumes of marvellous information. Congratulation to Geoffrey Buckinghamon his winning of the Grand Prix in Paris. No conjurer could be a betterambassadorformagic from this country than Geoff. ”
96
A Great New Act ! KEN DE COURCY’S ZODIAC TELEPATHY HERE IS at\\-oper-on1IentalTelepathyactthatcanrankwith the hest in the fieltl. I t follon-s thetraditionalline,the medium being I)liI~tlfoltleclantiseated 011 thestage, while the performer passes among theaudience. Any objects handed to him from pockets orhand-bags areinstantly named by the metliura. But in the sensationalclimax it departs from thetratlitional, for the medium suddenlvstarts t o tell a l i t i y , \\.hose object has just Ileen described, events in her past and future life, ant1 as tha fascinating Horoscope Reading is unfolded the medium cc‘rrectly names the dateandmonth of thelady’sbirthday. Thefascination o f “HoroscopeReading” and “Fortune Telling” is \vell-kno\\-n, especially for the fair sex, and the. a c t make3 full use of this human \\.eakness for entertainment purposes. And it i y Entertaining, \\ ith a large E. 0
ANYONE canmasterthisactinoneevening,
pro\.itlr.tl, o f course. that they h n \ - e some itlca
of ho\\- to perform hefore thepublic.
Thereis NO COMPLICATED CODE TO LE.1RN;. andaltllough a code is usetl, it Is so cle\.er, and so simple, thatthe feu- \\-ords required canbemasteredin less than half-an-hour. 0 Thereare NO LISTS OF OBJECTS TO T,EXRN, yetalmost any ot!ject thatmight I)e hantletl or a lady’s hanclbag can T9STA1NTTAY })e named h y the medium. upfrom a man’spocket 0 The Mediun~ need ha\-e N O IINO\\’LED(;E 014- HOROSCOPES, !*et she can instantly give a con\-incing reading, correctl!- name the birth-(fate for an!- spectator, and clrau. their Zodiac Sign. .\l1 t h r . \vork is (lone I n , a \w-y simple “Prop”that is tull!- tlescribed aIltI illustratecl i n this \vel1 printetl I ) o o l ; ! t ~ . This “Proy“ can 1)e obtained from an!’ Stationer’.; shop ant1 easily atlnptetl, and it iy literall!. i n the “An!-one canmake i t ” class. 0
- PERFORM IT FORCHRISTMAS Price 12/6. Postage 3d. FromthePublishers. PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
BUY IT NOW THE MAGIC WAND
PETER
Peter Warlock‘s
0
Here is a11 eIfec.t itlrni lor close-ul) platform or nwrk. I t is being currently use;l l)!. Elizabeth Warlock, \ \ . h 0 will l ~ cpleased to demonstrate i: i t she is i n !-our localit!. .
Rather than praise our own wares, we \vi!l quote that outstandiIlg card \\wrl;er, ( ;uyta\-e 5outhall. who says :-
It is a trick one may imagine Leipzig would have liked to do.” PRICE 7 6
0 “
Peter Warloek 24 WORDSWORTH
ROAD, WALLINGTON, SURREY Or Your Iknler
*
I
The Magic Circle
PENTAGRAM
Technieolour Follow Rly Leader 0
WARLOCK’S
is published on the 24th of eachmonthand
canbcobtaineddirectfromthepublishers I / I per single copy.AnnualSubscription post free. PUBLISHED BY:
for
l’l:~~itl:~tlt : His Grace the h k e o f Somerset, D.S.O.. 0 . B E.. J.P., M.I.M.C. Vice-President: Douglas Craggo, Esq.. M . I . M . C .
12/-
ClubroomandLibraryand
The Magw Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Magical Theatre :
Manuscripts for publicationand books for review sllould besent to the: EDITOR14L ADDRESS:
Particulars from Hon.Secretary
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will bt. plrawd trt ;end fllll detail3 rpt
!.nLl
THE DE LUXE ‘W-TABLE” together with ail hi. other effect.; in rrturn trlr a stamp. \\.rite
IICI\V
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, CONJURING
N.W.9.
BOOKS FOR SA4LE
OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Gllers
G E O R GJ E N N E S S 47 INVERNESS AVENUE. ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road. London, N.W.l. King George’s Hall, W.C. ;
Francis White, 3 9 Alverstons Avenue, Wimbledon Park, S.W.19
Magic WandPublications The Mrgic Wand, Quartt.:l\,. Fer copy 318 p.p. .\nnrlal subscriptiotl 14j6. The Wizard, 36 pages Inonthly. Per copy 2/1 p.p. 6 tnonth. l l i 6 , \’ear 24/-. Conv~ncing Coin Magic cFarelli) . . 17/10 Mastered Amazentent (I
Every Advertiser’s goods are fully endors d by this Bulletin Publishedbythe
proprietmThe
Magic Wand Publishing Compuly, 11. Monastery Gardens,En: field, Middlesex, and prlnted byHerbert Walker and Son (Printers) Ltd.. Well Croft. Wnlev. Yorkshire
*’
CARD EFFECTS ... ... .... ... ... ...
Double Stop Miracle Miraskill
...
A Letter from Peter Moffat
Hocus Pocus Pack
...
Psychic Writing
....
...... ...
...
Euclid's Enigma
...
1
Colour Sense of The Coins
...
2
Ring. Coin and Handkerchief
...
3
...
4
... ...
13
...
...
14
...
...
...
21
...
...
...
23
Semper Paratus Discovery Occipital Occultism
COIN EFFECTS
of Ralph Hull's In One" ... ... Kiss Me Kate ... ... Whisper ofIdol an ... Arise Sir! ... ... ... RevisedVersion
Letter A from George Blake
"
... ... ... ... ...
Three 25
... ...
43 43
...
45
...
45
Sweet Simplicity I
...
...
...
49
Sweet Simplicity I1
... ... ... ... ...
...
...
50
...
51
...
...
59
... ...
... ...
61
Sweet Simplicity 111 Back Methusalah to
...
Cards the Tear
...
Double Stop
I..
...
76
...
89
MENTAL AND PSYCHIC EFFECTS Minds Two
...
The Plot Thickens
...
...
17
...
...
...
19
...
...
21
...
... ... ...
... ...
...
29
...
41
47
...
...
... ...
Finger of Fate
...
...
...
Music Maestro
12
...
Minds in Harmony Telepathy Test
...
... ...
...
Underground Journey
Supper with Borgias the
...
... ...
... .. *
Inter Nos. ThoughtTransmission
...
Supreme Colour Prediction
...
Impulse Writing Lined Up!
...
Double Deletion
11
23
...
...
...
... ... ...
...
...
...
...
53 65
...
...
...
...
91
...
...
59
...
52
PAPER EFFECTS ...
Pagen Papers Embryo in
PATTER
61
...
86
...
67 68
A
...
...
68
The Magic of Colour. A Complete Silk Act
33
...
...
...
73
The Knot that
...
... ...
The Card 27th
... ...
...
...
81
Magazine Switcher
Turnover Change
...
...
... ...
...
84
...
...
92
Impromptu Changing Bag ... " Clever Devils. those Hungarians
93 94
withPurpose a Paired Thoughts ... Canastrics ... ...
...
...
...
... ...
...
Anneman After
...
Double Stoppered
Trick A
......
My Favourite Card Your Cut
Number
...
...
...
All Fair Force
...
...
...
...
f
.
.
93
EnchantedChalkandMagicPortfolio Beads of Bagdad ... ... ...
...
9
...
42
Bewildering Bunnies
...
85
...
SILK EFFECTS is Not
...
UTILITY ...
... ... ...
..
I..
...
83
...
57 Cit 66
...
.
REPORTS. ETC ... Magic Circle Festival ... ... Flowers for the Living ...
...
6
...
23
...
...
52
AnentArthur
CHILDREN'SEFFECTS
...
Sympathetic " Rhyme
75
... ...
...
Semper Paratus Plus
"
Sherwood
...
FLASHBACK 2 10 18 26 32 48 56 64 72 80
MAGIC-GO-ROUND 6 14 39 31 45 54 62 69 78 87 94 BOOK REVIEWS. ETC (See under names)
.
15 30 46 38
54
62 70 87
95
...
...
...
...
...
38
Sucker Colour Changing
Silk
...
...
39 39
...
... ...
Kut Kard
George Blake’s Passe Passe Coins
...
Kentare
Cylinder and Coins
...
Triple Restoration
...
...
36
... ...
... ...
...
54
...
55
30
Concert Ventriloquist
...
...
...
30
Avec un Jeu Emprunte
...
. . . . . ....
62 62
30
Hugard’s Magic Monthly. Vol. 7
38
Technicolor Follow the Leaders ...
...
30
Flashpaper Tips
... ... ... ...
...
Expert Card Technique
... ... ...
Stars of Magic :l Cards Up Sleeve ... 2. Itinerant Pasteboards 3 Cavorting Aces ...
.
.
Arrowsmith. G . E. . . .
...
...
.
17 19 21 41
...
Douglas. J . . . .
... ... ... ... ... ...
Esler. J. A . . . .
...
Farelli. V .
Findlay. J . B .
... ... ...
Fisher. R . J .
Baillie. Ron Belcher. L.
Blake. G . . . . Carter. A .
... Dell O’Dell ... Dexter. W . . . .
...
... ...
... ... ... ...
... ...
... ... ... ...
... ... ...
15
A Trickfor
...
38 38
A Letter for theConjurer
...
...
13
57 65 75 ... 12 45
43 86 93
...
28 28 66
83 85 14 47 52
... ...
61
...
... ...
... ... ...
Gibson. W . . . .
...
...
...
...
Giraud. J .
...
... ...
Hickson. H
... ...
... ... 93 ... 68 94 ... ...
... Maxton. F. . . .
.
...
...
...
38
...
.
...
...
...
Fetsch. Hen
A-B-C Triple Divination
Recurring Card
...
...
46
... ...
Routine with Cups and Balls
15
Sixty Years of Psychic Research Scarne Card onTricks ...
...
Ramsay-Farelli Trilogy :-
DETAILS OF ITEMS REVIEWED ... Routine d Manipulations. Part I ... ... Conjuring Card ... ... ... Kudos (Ken Brooke’s Presentation) Psychoanalysis ... ... ...
...
29
67 76 9 84
Eddie Clever
Tricks of a Trouper
...
James Stewart Jonson. W . . . . Koran. A1. . . . Lambert. H. May. Leslie
... ...
Moffat. P .
...
...
... ...
... ... Raymond of Leeds ... Nicholls. Harley
Peacock. V. . . .
.
Sherwood. A ... TanHockChuan ... Taylor. F. V . ... Tothill. R . B . ... Tyler. W. . . . ... Warlock. Peter ... Wethered. E. ... Whitnall. C . Dudley Yates. J . . . . ...
46
46
... ...
62 87
87
70
...
...
...
... ...
... ... ...
...
...
95
2
92
... ...
...
...
... ...
... ...
... ...
... ... ... ...
... ... ... ...
... ...
... .*.
87
67 89 73 17 21 23 45 91 ... ... ... 3
...
... ... ...
...
... ... ...
83
52 53
... ... ... ...
33 43
1 ... 11 ... ... 42 2 49 50 51 59 76
...
... ...
... ... ...
... ... ...
25
81 68
1
PENTAG An independent monthly bulletin for all who want good magic C ? ? &
It has been said that Only the great tricks live.” The fact that the Cap and Pence has survivedvirtuallyunchangedsincethe 1635 edition of Hocus Pocus Junior justifies its place amongst the great small tricks of to-day. One very strong pointinitsfavour is that, whenworkedwitha match box drawer as a cover for the coins, it is one of the few effects which can rationally be worked anywhereasanapparently genuineimpromptu item. Like most other old effects the Cap and Pence has received its full share of attention in the spate of modernmagicalliterature andat leasteight recently published routines come to mind; my only reason for complyingwith the requestto add to these and write up my routine is that I found the effect *on a lay audience so clear cut and strong. Thenormal routine was too brief and failedto exploit the full possibilities. The routine which follows has been developed and thoroughly tested over a number of years and incorporatesseveralfeaturesnotfound in other publishedroutines. The use of atumblerasa display stand servestofocusattention andto increasethevisibility of this rather small effect. The use of adieorotherextraneousobject was eliminated as I was never able to find any logical patter to explain the inclusion of this in an otherwise straightforward coin effect. “
Requirements. Ten coins-pennies or halfcrowns-disposed five in each trouser pocket. A stack-in left trouser pocket-consisting of fivecoinssolderedorwaxedtogether.There is no need for these to pivot or for the stack to be hollowed out. A Brymay matchbox-in right trouser pocket --containinga few matches.
1951
A pocket handkerchief ; white if pennies are used,blue if halfcrowns. A tumbler with aflatishbase,height about 4in., mouth diameter about 2iin. A table with a cloth, or failing this, a folded newspaper. Effect. The routine comprises six phases as under :1 . The coins vanish from the hand and are found under the matchbox drawer on top of the inverted tumbler. 2. The above is immediately repeated. 3. The coinspassdownwardsfrombeneaththe drawerthroughthetumblerandtable. 4. The coins pass upwards through the table and tumblertobeneaththedrawer. 5 . The coins vanish from the matchbox slide and are found under the drawer. 6. The coinsvanishfromthedrawer andare found beneath the tumbler. It is not essential to work the complete routine and a shortened version, eliminating the tumbler, can start at 2 and finish at 5 . Routine. The five coins are taken from the left pocket, or, if desired, may be produced and dropped into the tumbler using Victor’s “Silver Collection’’ or a similarproduction. The coinsareplacedonthe table whilst the tumbler is wrapped in the handkerchief,thecornersbeingtucked.tightlyinside. The five coins arethentakenupandplaced on the base of theinvertedwrappedtumbler. The matchbox is removed from the pocket, the matches are tipped into the right hand, and the drawer and slide are tossed on to the table. The matches are replaced in the right trouser pocket and the five coinstherein arebroughtoutedge-palmed. Attention is now called to the components of themystery ; I usuallymention that “ thecoins
2 look like halfcrowns, they feel like halfcrowns and theySOUND like halfcrowns butthe audience have to accept my word for this as passing them ’’ for examination proved too expensive. - At the word SOUND ” the first move takes place. The right hxxl with its five edge-palmed coins grasps the tumbler low down near the table and spills the five coins fromthebase of thetumblerintothe left hand placed on the table to receive them.Simultaneously,therighthanddropsits five palmed coins on to the table under the tilted tumblerwhich is movedslightlybacktocover them. This will be recognised as a standard Cup and Ball loading move, which due to noise would normally be impossible with coins, but as in this case, the noise of the coinsfallingintothe left hand coincides with the coins from the right palm falling on to the table cloth or folded newspaper, nosuspicion is aroused.Repeatedperformances before “ knowall childrenhaveconfirmedthe efficacy of this aural illusion which the mirror cannot check. Note.-If the coins donotall go underthe tumblerduringpractice,checkthatthehandkerchief is tucked well up intothetumblerto leave adequate space for them. The left hand replaces the coins on the base of thetumbler.Therighthandpicks upthe drawer and shows how it just fits over the coins and replaces it on the table, meanwhile the stack is secured and held finger palmed in the left hand. The right hand takes the five coins from the tumbler and places them on the stack in the left fingers and also adds the drawer-opening downwards-between the left first finger andthumb. These are held thus whilst the right hand slightly moves thetumblerandplacesthe slide of the matchbox to the left of the table. The right hand then comes about six inches below the left hand andthe loose coins are allowed to slide off the stackintotherighthand. It will nowbefound thatbymovingthe left thumbdownwardsthe drawer automatically covers the stack. The hands are then shown palms up, the left containing the drawerwiththestackbelowandtherightwith the five coins. Phase I. The left hand places the loaded drawer on the base of the inverted tumbler and the right apparently replaces the coins in the left hand using the Downs Clink pass followed by the edge palm. The coins arevanishedfromthe left handandthe drawer lifted by the right hand to show the stack, the drawer being thrown on to the table to land open side up. The right hand, still with its edge palmed coins, picks up the stack and apparently throws it back into the left hand but it is the loose coins from the right palm which travel to the left hand,thestacktakingtheir place in theright palm. “
”
This switch, which is not difficult, is effected as follows. Thestack is lifted fromthetumbler by the right hand second finger in front and the thumbbehind,The first andthird fingers then replacethesecond finger whichbends ontop of thestack,Straighteningthesecond finger causes the stack to tip from the horizontal to the vertical plane and become firmly held on the back of the second finger bythe undersides of the first and and third fingers. Closing the fingers to the palm transfers the stack to the edge palm as the other coins leave the palm en route to the left hand. **The right hand picks up the inverted drawer,allowsthestacktodrop to the finger palm,and in replacingthedraweronthetable loads in the stack. The left hand places the coins onthetable. Phase 2. Explainthatasthe miraclethey havejust witnessed was rather sudden you will repeat it and will againpassthe coins underthematchbox, which therighthand lifts and placesonthe tumbler.(Actually I perform the load as paragraph **’ at this point, i.e., pick up and invert the box, load it and put it down on the tumbler). This repetition requires a very strong vanish forthe coins andthefollowing original sleight providesthis. The coinsarepicked up in the right hand between the second finger and thumb ; therighthandthenapproachesthe left hand, whilst thebodyturns slightly totheleft.The above is exactly similar to theTourniquet,but under cover of the left hand the same moves detailed for the Switch takes place, i.e., the 1st and 3rd fingers replace the 2nd which bends on top of the coins and the coins are again firmly held vertically between the back of the second finger and the undersides of the first andthird.The result is thatthe closed left hand, fingers towardsthe audience, apparently holds the coins and the right hand is visibly empty with the second finger rubbing the centre of the back of the left hand-the factthatthe coins are held attheback of the right second finger by the first and third fingers is completely hidden by the left hand.
Flashback ! Y M R . E. YOUXG
stands for Young
ASSEMBLY-ROOPILS, 8 Theobdd’s-road, Bloomcbury.
th’e unrivalled Illusronist and Monsieur KUJTACHE (pmnouncrd by the rogno;centl of all Europe the &(ut woridrrful Polyphonist lh the WorId) flrding, on their omit to London a!I the Theatres re.occupied beg leave tu invite the at! rentionof the tnrel1ect:lal Fuolic to :her perkctfulr, original dqwrirnenta in the Science o!Ventnloguism and Fen’s nf Bnchanuncnt, x t the trbore Rooms. on the Erenings of Wedmfsdny T h a i a y rnd Fridxy Ycbruary 14 1 > a:..d 14 19.39 D& (0 be o p h at half.p& 7, U) comzience at @ &cui,. &served SOPU. 18. ;Back &.‘and Gallery bJ N.B. Pnoate’Farnilier attended. Address, post paid, to Mr.P.Young, 6, WaterImroad uea: the Coya1 Yrctoriz Theatre. a
.t%d
/l,183.7.
From the J. B. Findlay Collection
3 The left fingers commencetowork andthe right hand turns back to the audience and drops to the side, palming the coins on the way. The coins are shown to have vanished from the left hand and therighthandliftsthedrawerandrevealsthe stack. Phase 3. The right hand apparently removes one coin from the stack-actually one is produced from the palm. This coin is passed to the left hand and the coin roll executed.Here is a use forthe old gag about Some people think money is made flat to pile up, others think it is made round to go round ; this is the only way I’ve found to make my money go round these days The left hand replaces the coin on the stack picks upboth coin andstack.Therighthand takesthese which automatically reverses them so that when placed down m the tumbler the single coin is beneath the stack. You now count one, two, three and press on the drawer to pass the coins through the table. The right hand goesbelow the table, jingles the coins,comes up and spills the coins on the table counting them as four. Apologise for your carelessness in notpressing hardenough, lift the drawer and the stack with the right hand, remove the singlecoinlefton thetumblerwiththeleft handand replace thedrawerandstack. The singlecoinintheleft hand is displayed. in the Tourniquet position ; the right hand adds the other four coins to it. Phase 4. Execute the Tourniquet apparently taking- the coins in therighthand.Placetherighthand below the.tableandapparently pass the coins upwards.Liftthedrawerwiththerighthandto show the coins havearrivedonthetumbler and placethedrawerintheleft handoverthefive loose coins. Theseare lined up by the left hand so that the drawer can be pinched to lift the loose coins in the same way as the stack is lifted. Phase 5. Explain that in order to eliminate any possibility of trickery, the coins will be vanished from the slide. Therighthandtakesthedrawerfrom
the left hand with the coins below-pinching tightly to prevent trouble with the bottom coinandthe left picks up the slide and holdsit adjacent to the stack. The right hand then pushes the stack into the slide with the drawer, depositing thedrawer uith the loosecoinsbelow onthe tumbler: the stack is blamed for any slight “talk”. The slide and stack in the left hand are shown to a member of the audience who is asked to confirm that the coins are really there and to wrap his handkerchief around your hand. The slide is held between the first finger at one end and the thumb at the other. I t will be found that the first finger will enterthe slide and support it and allow the thumb to bemoved,which,undercover of the handkerchief,permitsthestacktofallintothe right hand. This will be recognised as the normal vanish of aball or finger ringfrombeneath a handkerchief.Withthestackintheright finger palm,the handkerchief is pulled awayandthe coins shown to havevanishedfromthe slide. A spectator is asked to ascertain if they have arrived and on lifting the drawer finds the five loose coins. Phase 6. I explain that that is normally the end of the effect but to convince several people who appeared verysceptical when youcounted ‘‘ one, two, three and passed the coins throughthetable, you would like to dothatpartagainfortheir benefit but this time you will only count “ two ” and onlypass the coinshalf way. Takeupthe coins with the right hand and throw them together with the stack into the left finger palm. Pick up the slide with the right hand and place in thepocket.Therighthandthentakesbackthe stackfromthe left handand placesiton the tumbler, the left hand goes to the pocket and unloadsthe loosecoins and remainsinthepocket. The right hand covers the stack with the drawer. Count one, two ’’ lift drawerand stack with right hand, allow stack to drop tofinger palm position whilst throwing drawer on table, and immediatelylifttumblertorevealthe five loosecoins loaded at thecommencement of theroutine,the tumbler effectively concealing the stack held in the hand.
I t cannotbedeniedthat byfarthegreater number of thosewhoimaginethemselves tobe conjurers-I amongst them-have little confidence intheirability to forcea cardby thosesimple means first describedinprint by ReginaldScot. This must always be the case because the sleight cannot be practised in private as can other much more difficult feats of sleight of hand ; andthe
opportunityforconstantpublicperformance is available only to the very few. Furthermore, the average amateur or semi-professional labours under the disadvantage of being required to give many of his performances to a restricted circle of friends and acquaintances, most of whom are very much on the alert to take a card which shall really be their own choice.
“
”
“
”
”
“
4 For this reason, no apologies are offered for another contribution to the very large number of alternativemethods of forcingacard,none of which is wholly satisfactory. It is not entirely original since it is based on theSure-FireForce describeci in R . W; Hull’s “ More Eye-openers,” with which it is necessary to befamiliar in ordertoappreciatetheone major and one miner improvements effected in this new version. Effect. The pack is taken in the left hand in the usual position fordealing.Thecardsare pushed off thetopslowlyandone at atimeintotheright hand, eachcardgoingunderneaththecard or cardsalreadypushed off. Theyare held so that the audience has a full view of the backs ; and a member of the audience is invited to indicate any At card he wishes to select as it is pushedover. this stage the pack is separated into two packets. The left hand holdsallthecards below theone selected, whilst the right hand holds those already pushedover and formingtheupperpacketplus theselected card.Thiscard is about tobecome the bottom card of the upper packet, but still projectsfromit byabout half its own width. It is then taken by thefree thumb and first finger of the left hand and given to the person who selected it.
’
The Original Hull Version. The general effect wasmuch as indicated above except that, after the desired card had been indicated,itwasimmediatelypushedovercompletely under and flush with the right hand packet, this packet being then turned face upwards to disclose (apparently) the selected card as the bottom card of such packet. In fact, the card to be forced was originally thetopcard of thepack.Inthumbing thisfirst card over into the right hand, it was pushed clear of the second card and the latter was then pushed over on top of it. The third and subsequent cards were pushed over underneath the second card but into a gap formed between it and the original top card. It follows that the card ultimatelyselected also went into this gap and that, when the upper packet was turned over, the face up bottom card of this packet was actually the force card. The New Version. In this new and improved version, the somewhat awkward slipping of one card under another atthe commencement is eliminated,whilstthe selected card is actually changed for the bottom, or force,card of theupperpacketintheact of handing it out. We commence, therefore, with the card to be forced as the second card from the top of the pack. Theperformerfacestheperson who is tobeinvited to chooseacard and holdsthepackin a horizontalposition,i.e.,withitsbottomorface
card in all respects parallel to the ground surface. He slides the top card away to the right with his right thumb but does not allow it to clear the right hand long edge of the second card. He proceeds, with his left thumb, to push the second card over to the right and, as he does this, his right thumb slides back to the left carrying with it the top card until the latter overlaps the left hand long edge of thesecondcard. In theserelativepositions,the two cards together are again carried by the right thumb and fingers sufficientiy far to the right asto causethesecond, but notthefirst,cardjustto clear the right hand long edge of the third card. The third and subsequentcardsarethenpushed one at atime by theleftthumbintothegap betweenthe first and second cards : as the third card is pushed over, the right thumb draws the top card a little further to the right in order to cover the deception which is now in progress. So soon,however,astheabovedescribed movement commences to take place, the performer alters his position and also the general position of thecardsas seen bythe audience. Heturns slightly to the left and brings the whole pack into a position in which the person who is to choose a card has a full view of the backs of the cards. He is thus pushing the cards downwards into the right hand instead of from left to right. The moment now arrives when the spectator desires him to stop and to choose a particular card which is in process of beingpushedunderthe upperpacket.Heretheperformerseparatesthe packets by withdrawinghislefthand,andthe lower packet, to the rear and points with his left thumbtothecard which is apparentlyaboutto become the bottom card of the upper packet but stillprojects by at least half itswidthfrom that packet.He invitesthespectator to saywhether that is the card he wishes to choose and informs him that he may have the next or any subsequent card if he so prefers. In such case, of course, he merely brings the packets together again and continuesthemovement. Assuming, however, that the spectator is satisfied, the performer takes (apparently) the selected card between his left thumb and forefinger and hands it to the spectator. What actually happens is that the side of his forefingerengagesagainsttheedge of theprojecting card and pushes it home into the gap. As this card becomes flush with the remainder of the righthandpacket,thetip of hisforefingerthen engages against the face of the bottom, or force, cardand,assistedbyhisleftthumb,carriesthe forcecardclear. No attemptshouldbemadeto achievespeed of execution.Theperformer is naturallystanding in apositionfacinghalf left, andtheaction of takingandofferingthecard causeshim,againquitenaturally,toturnintoa half right facing position whilst advancing the left footand extendinggtheleft hand.Theright hand remains close to the body and does not move at all in relation to it.
5
As an earlyadmirerof Peter Warlock’s ‘ Mind Out of Time,” I was interested in the two versions using unprepared packs by Francis Haxton MentalPersuasion,”Vol. 3, No. 1 1 ) and Leslie May (“ Euclid’s Enigma,’’ Vol. 5, No. 3 ) . Not being a mentalist (or only very incidentally so), I felt that the effect would be more convincing fortheaverageaudience if theyhad first shuffled thecardsthemselves, andhad a choice ” of packs. The modification which I have evolved follows very closely on Leslie May’s with these additions. I assume that all readers will have the issue of the Pentagram ” with Leslie May’s article, so need not do more than describe the moves which I have added. The two packs of cards are lying on the tops of two of the glasses on the table. Taking up one of them (say a blue-backed pack), the performer turns to the audience, and, after the introductory patter, hands the pack to someone with the request that it bethoroughlyshuffled.Takingitback with the left hand, he remarks, Will you shuffle also this red-backed pack. He makes a left turn to the table, stretching out his right hand to take the red-backed pack. His left hand is holding the blue pack in the position for theCharlierone-handedpass.Immediately his left hand is hidden by his body, his thumb lets about half the pack fall back, and his first finger pushes it up so that the two halves are facing each other. Immediatelyturningtotheaudienceagain (and taking care tohold the blue pack so that only the one top card is visible), he hands the red pack to another member of the audience to shuffle. The position of the blue pack should still be as if one was going to make the Charlier pass, except that the fingers should come round to press against
it on the side towards the audience, and the thumb should press on the back card. As the right hand passes the red pack to the spectator, the left fingers andthumb slide thetopandbottomcards(the latter, it will be remembered, reversed) up about a quarter of an inch. This will enabletheindex corner of each to be glimpsed in a flash, the performer being careful to remember which is the top and which the bottom card. A well-smoothed pack is, of course,essential so that the cards slide up with the minimum pressure. This glimpsing can be done quite comfortably while the red cards are being shuffled, and takes only a second or two. If bothcardsare slid up simuitaneously, the narrow strip of face of the back card is hidden by the front one, or the pack can be tilted slightlybackwards,andthe two cards glimpsed consecutively. The blue pack is now allowed to relapse on to the palm of the hand, and held so that only the top is visible. The red pack is taken back in the right hand, and held in similarfashion.Holding them both forward, the performer invites a member of the audience to choose one. This is, of course, an equivocal choice, but as the audience does not know what the performer’s immediate intentions are, it is not apparent. Shouldthebluepackbechosen,theperformer says Very well. That is ~70urpack,and(suiting the action to the word) I shall place it on the tableforthemoment while I shall select two cardsfromtheother,” etc. If the red pack is chosen, he says, Good, I shallplacetheother which dotl;n for the moment, and from the pack you h-ave indicated-I shall select two cards,” etc. The perform2rthen proceeds exactly as in Leslie May’s version, using the boxedbluepack to force the appropriate cards on two members of the audience.
The unexpected, particularly if one is showing something to a fellow conjurer, often surprises to a greater degree than the effect itself. I have had ample proof .of this in the very simple item I am about to describe. Hunting through some odds and ends, I came across miniature a playing card : Jack of Diamonds.Justwhere it camefrom, or whatit was ’intended for I can only guess, but somehow having brought it to light, I felt I must try and
put it to use. I believe there is a volume devoted to effects with miniature cards. I have had several of these through my hands for binding, but have nevertroubledtoread any of the effects therein described. trust, I therefore, that this which follows has not been already set out in some form. The items required are few : a piece of newspapershin. X 43in.,.apack of cards,andthe miniature. Mine is as stated : Jack of Diamonds, your’s can be what you will.
( ‘ I
‘ l
“
“
”
“
“
6
Sharp on the clock hands reaching 7-15 , we gave the signal to Mr. Langman, and the curtain Francis W?,ite who acted as rose to introduce Master of Ceremonies for this annual week of magic. Francis made a magical appearance through the agency of a very simple but effective illusion designed and built by Gil Leaney. Away into the first act we had Jimmy Rogers, an ideal opener,workingexceedingly fastand presenting most colourful magic. Jack le Dair was next introduced and presented a nKmber of effects of his own that he published in ‘ Tricks of a Trouper ’. Most effectivewas his openingvanish of a violin bow and its subsequentrecovery.Thenextact was magic of a different source and we left Tarbell exercises for Bar-bell exercises. Joan Rhodes, the mightymannequin,witha most delightful and femininepresentation showedmost easilyhow it was possible tobreaknails, bencl strips of steel andtearup telephonedirectories. To close the first half cameRobert Harbin who duringthe weekwas neverinbetterform.After commenting with the cut and restored rope to end all cut and restoredropes hegave someitems that included ‘ Sawing a member of the audience ’ and Levitating a member of the audience ’. After short a interval, Paul Freeman, a veteran whose strongpresentation showed how evenasimple card effect could look miraculous opened the bill. His handling of assistants was a delighttowatch.Straightfromhiswinning of the Grand Prix at the Paris Congress came Geoffrey Buckingham. Commencing with his coin production he followed with his productionof fourteen billiard balls and then closed with his ‘ DancingThimbles ’. We nowwent intothe J. A. Esler’s Diluted Discovery-cont.
colourful act of Gus Davenport’s. He was assisted by his sister Wynne, and the act combinedsome of the highspots of Sylvestre’s Sunshade act and a lovely item of the late Cyril Yettman’s thatculminated in aproduction of lightedlanterns.This drew spontaneous applause on every occasion. As a breakfrom magic HarryWorth, a delightful ventriloquial act appeared. On each and every night he received an ovation, and as Francis Whiteappositelyremarked, ‘ It takesavent. to stopa magicshow ! ’ The Voltaires were the penultimateactand weremostimpressivewith themany electronic items that most readers will have witnessed. Particularly effective was the lighting of bulbs held by members of the audience. To close the show came Chris. Charlton assisted by Betty. ‘ A Lesson in Magic ’ showed onlytoo well thatlaughtercanjustas easily be engendered by situation as it can be by gags. Chris closedwith his vanishingBathingBeauty which as anyone who has seen it knows itreally looks sensational. A word of praise must go to Frankie, who in theabsence of DorothyHarbinsteppedintothe breach of assistant to Bob Harbin at literally a few minutesnotice. The show ranverysmoothly which is a tribute to Gil Leaney who stage managed. Francis White not only added little items of interest in his in-between act visits but he also built up the acts in themanner of areal Master of Ceremonies. Stanley Kilburn with his Orchestra were in splendidform.Altogetheritwasone of the finest magical shows we have witnessed, for it had somethingforeveryone.
from page 5
Fold the piece of newspapkr in the customary way when you intend to vanish a coin therefrom. I thinkthemethod is describedin Lang Neil’s book ; anyhow most whopractisemagic will be familiar with it. If you like you can dispense with the orthodox fold and make a slit at the lower fold, this passes unnoticed by reason of the print, however, as you like. Now, using another piece of newsprint, use some adhesive, not too hydroscopic, and affix the small card thereon leaving a flap of half an inch at top, trim the projecting paper all round,except for the flap at top, use this to attach the small card to the folded paper. The position forattachment will befound easily, if I tell you that when folded up it should match the newspaper, and when unfolded it should show the little card apparently lying on the opened piece of newsprint. This movement of concealment and disclosure should be covered by the folded short side of the paper.
This is whathappens : youexplain you are going to show a new way to vanish a coin, You borrow one ; when you introduce your little scrap of newsprintyou will quiteprobably see afaint smile of boredresignationonthelips of your watcher, but go ahead. With the printed back of the small card exposed you insert the coin, fold, and after tapping to prove its presence, allow it to slide into the palm. The packet is placed in some visible position andthehand containingthe coingoes intothe pocket to withdraw a pack of cards with a Jack of Diamondsontop.This is forced. Asking your watcher to retain his card for a moment, you open the packet ; in doing so the thumb quite naturally entersthepacketundertheattachedcardand turnsitover.You show this,asking : Would this by any chance be the card you choose ? ”as if it wouldn’t.That’sall. Theproduction of the coinwhich youvery conveniently dropped into the card pocket, I leave to you. “
7
OPUS THIRTEEN ”,. byEric C . Lewis(published by Goodliffe the Magician, 6, Colonnade Passage, Hirmingham, 2. Price 18/6. Thebook is dividedinto fivemain chapters.The hrst, ‘ ‘ MagicalMixture , consists of some eight varyingeffectsrangingfromasleight of handroutine \vith paper balls and a hat to the vanish of an electric fire. Of the eight items we particularly liked the paperballroutine,atrickwith a crystal and an item called “ Have a Go!”. Thislast is based on the idea of “ You Can’t Be\Vrong.”(See I’cIrttryrmL Vol. 1, KO. 9 ) but Mr.Lewishas brought i t up to the minute and has also given the reader a most excellentmethod forloadingafairsizedobjectintoaperspexjar.This item alone has a great value outside the use i t has been puttointhisparticular case. The second chapter entitled “ Cartomancy ” Jetailsthree effectsmaking use of playingcards.The is amethod of causingagiant rirst “ Harbinesque card t o rise, themeansbeingtheoutcome of one of RobertHarbin’sideas.The secondcalled ‘‘ -4 Card is aspectaculareffect that bearsasimilarity Fan-gle to aRobertson-Keeneidea, both methodand effect, but in the presentversion theauthorhasavoidedthe anti-climax that was presentintheoriginal.Thethird item, the “ Miracle PassingCards, is another version of thecardsacross,making use of differentcoloured backson the cards.Bythe use of onesmallitem and good routiningthereader is givenaversion that has a climax. Chapterthree is entitled ‘‘ Gadgets andevery itemdetailedamongthe six soundscompletelypractical. The thimble holderdescribed is about the simplest
inconstructiononecould wish forandyetit would seem to have every advantage. Chapterfour theauthor calls Magic Macabre ” andafterashort ir.h-oductiondescribestwo effects. Thefirst of these, ‘ . AfterAlan ”, is something that thelate Oslvald Williamswouldhaverevelled in.The presentation is one that could be carried out on a larger scale and would bringuptodate such an illusion as the “ Haunted \Yindo\v The second effect is a version of the floating skull, making use of the Zonlbie principle. To conclude, Mr. Lewis, under the title of Laugh, Children, Laugh!”, writessomenotes on the entertainmpnt of children, follolved bythreeoriginal effects. Not only is novelty struck in ef-lect but also in method. Hindu Slveets andthe GreatJamFallacy ” shouldprove firm favouriteswithanyaudience, whilst the concluding item, “ Destination Moon ” is an extravaganzathatmusthaveanappealtoallthose \\ horevelin strip cartoons and ’ ’ Superman ” comics. For the greater number of those who h2ve an interestinmagicthere is somethinginthisbookfor all of them. Sleight of handhas beenleftalongwith oneexception.Butafterthespate of booksdealing with this branch of magic, i t is rather a relief to turn overpages that sholv intentto deceive withoutthe need for someone to think of or take a card. The book and ten pages, iswell illusruns to someonehundred tratedandboundina servicablebinding. Havea ;o ! ’ ’ , ‘ ‘ Hindu Sweets ” and the ‘ ‘ Jam Tart Fallacy ” are worth far more than 181’6 each to the entertaining getting the magician, and it follows that you are remainder of the contents as a throwaway ”.
Congratulations to Frank Boynett for his winning of the BritishRingShield at Bourneto see a mouth. I t is quite a pleasantchange one hundred per cent. r)ltLg:ical act achieving this honour. This lastmonthhasbeenonefull of magic one of the most pleasant recollections beinga session with TrevorHallandRolandWinder. Let it be recorded that in a period of three hours not a pack of cards appeared on the table.
We have often wondered what qualities go to makea ‘ nark ’. Totheunitiatedthis is the person who whilst helping a performer tries either to kill or stealthe act.Duringthe Magic Circle Festival week we witnessed this odd behaviour on two occasions. The first being with Joan Rhodes. One of her assistants when offered a six inch nail and knowingthe trick bentit.Withsuch an accomplished show-woman, it mattered very little. On another evening, a person wearing a magical society badge tried some funny business with Paul Freeman. &Againexperience and showmanship got him out of dlfficulty. Weknow thereareplenty of malevolentmindedpeople aboutbut why do they do this?Itinvariably gives theaudience’s sympathyto th.e performer and in anumber of cases theymake fools of themselves. Another occasion and far worse than those mentioned was a Music Hall where an amateur magician got up and tried to spoil Gali Gali’s act. Magical Societies should not tolerate ,people like this.
”
”
”
”
”
In this issue we are more than pleased to publishEric de laMare’sbeautiful coin routine. We have been worrying, and we mean worrying, himforthisever since heshowedit to us some manymonthsback.Thosewho were at Bournemouthhadtheopportunity of witnessing iton more than oneoccasion. It needswork but the sensible magician knows too well that few things worthwhile are obtained without this requisite. In the Magic Circle Festivalshow,the new suspension effect of BobHarbin’s was theoutstandingnoveltyandhadmanyguessingand talking.Thepresentation wasathing of great enjoyment and we canthink of veryfewconjurersthat we have seen whocouldhandle the subject like Bob.
“
’ I .
”
“
“
”
“
“
“
Two big acts are heading westwards from the Xntipocles. Theyare.JohnCalvertand Maurice Rooklyn. Jlany readers will remember the latter’s astonishing virtuosity with billiard balls when he was over here in the late thirties.
K e n D e Courcy’s
PETER’ WARLOCK’S
ZODIAC TELEPATHY MANY, RIANY purchasers say, “ I bought this routine on ‘ spec ’, thinkingthatit 11-ould probably take tdo much study for us to i e a r n . Butnon-,with nothing more thanan evening’s practice, we h a w an act that we can perform anyn-here, at any time!” ANYONE can master this outstandingt\\-o-personMentalTelepathy Act in an evening, and they \\-ill be able to transmit almost any object handed up with NO OBJECT LISTS TO LEARN, ONLY NINE CODE \fORD.S, AND ALL THE IVORK DONEBYACLEVERBUTSIMPLE PROP. THAT CAN RE BOUGHT FROM 4NY STATIONERYSTORE ANDEASILYADAPTED. ,4nd besides describing objects, the Jledlum correctly names birth-dates and gives CONVINCING HOROSCOPE READINGS although she need have NO Once again, all KNO\\‘LEDGE OF HOROSCOPES. the work is done by the same simple prop. Don’t miss this. If youhave a wife ora girl friend you will beable t o perform thisactNEXT WEEK if you buy i t NOW. PRICE 12/6;postage 3d. Fromthepublishers
THE MAGIC WANDPUBLISHING 11,MONASTERY
GARDENS,ENFIELD,
* STAR * ISSUE September will bring the first big quarterly issue of THE SPHINX. To trick the section, the ten stars of the “ Stars of Magic ” contribute outstanding effects. If bought separately, these tricksalone would cost more than $25. You get this stellar bargain along with many other excellent tricks, superb a story Fred by Keating, and many other special featuresandarticles in the Septemberissue of THESPHINX. Subscripe to-dayto to get this issue.
be certain
THE SPHINX Subscription 36/- per year.
WILFRID JONSON 45, KINGSMEADROAD, TULSEHILL, LONDON, S.W.2.
CO., Middlesex.
MIRACLE SLATE For a long \\-bile magicianshavetried to find a method of performing the \\-ell-kn0n.n digitslateeffect uithout the need for switches and the like. This methodachieves that. TheEffect. Nagiciantakesaslate and writesa prediction,whichcoversoneside of the slate. He next takes an oblong of cardboardand placing this across the c e n t r e of the slate clips it into position. The audiencecan no\\- see the words “ TheTotal . . . . the piece of card,andbeneaththisthe performer’s initials.Theslate is turnedroundand on theblank side are recorded four sets of numbers given by members of theaudience. Thesenumbersin full view o f t h e spectuto.r.3 tt)tdIPd t r r r d ( q r p c c i . Supposing that the total is “ 271 1 ”, the slate is turned round and thecardboard removed.The full prediction . . “ The total will be 271 1 followed by the performer’s ixitials, is revealed. RobertHarbinwrites of it asfollows :“ Yocl really are a mostingeniousfellow.Fora longtimeIhavetried to deviseapredictionwithout previdusknowledge,withoutswitches,withoutimpressions,infactwithoutanytroublewhatever.Although Iwouldlike tohavethought of thismyself,allowme to give you full marks for the best and ,MOST PRACTICAL SELF-WORKING SLATE PREDICTIONYET.” A limited number will be supplied and they can be 24, WordsworthRoad, obtainedfromPeterIVarlock, lyallington,Surrey, price SO/-, postfree.(Cashwith order. ) ”
’ I ,
PETER WARLOCK’S
PENTAGRAM ispublished on the 24th of eachmonthand from thepublishersfor can beobtaineddirect 1/1 per singlecopy. Annual Subscription 12/postfree. PUBLlSHED BY:
The Magic Wand Publishing 11. Monasterv Gardens. Enfield, Middlesex. ‘
Co.,
Manuscripts forpublicationand books for review should be sent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for astamp. Write nowto
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9. CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle President : His Grace the Duke of Somerset, D.S.O..O.B.E., J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq., M.I.M.C. Clubroom and Library and Museum :
Hearts ofOak Buildings, Euston Road, London, N.W.l. Magical Theatre :
KingGeorge’s
Hall, W.C.
Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S. W. 19
Mani c Wand Publicatio.ns v
The Magic Wand, Quarterly. Fer copy 318 p.p. Annual srtbscription 14j6. The Wizard, 36 pagesmonthly. Per copy 211 p.p. 6 movth, 1216. Year 241-. Convincing Com Maglc (Farelli) . . 17/10 Mastered Amazenlerkt . . 1013 [Koran & Lamonte) 1013 Bohleno’s Mysteries (Bohlen) 10/3 The Concert Ventriloquist (Hurling) 1013 George Armstrong’s P-remonition .. .. 10/3 Chandu’s Psychoanalysis 1013 Entertaining With Hypnotism (Dexter) Challenge Instant Hypnotism S( Mass 211Hypnotism Strictly Magic (Eddie .Tos;:ph) ’ . 513 Stooging Around (Stnthardi .. . . 513 26 Living & Dead Tests (Garrett) . . 513 513 Jamesosophy (Stewart .Tarns) . . .. Year Book 48[49 (fern only) . . . 513 Stnnts With Stage Money Ilamonte) . . 513 Tricks of the Trade (Armstrong) . . 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
::
9
PENTAGRAM An independent monthly bulletin for all who want good magic
V!.6 NB. 2
The magician remarks that he has often been asked to explain the method by which the results in certain tricks are achieved, and he has decided, on this auspicious occasion, to demonstrate a lesson in magic. He invitestwogentlemento come forward, oneto act as hisassistant,andtheotherashis pupil. The assistant standson hisright, while thepupilstandsonhisleft.Twoenvelopesare handed to the assistant, who is asked to hand one of them to the pupil. Under the performer’s instruction, they remove thecontents of theirenvelopes,each of which is revealed to contain a length of coloured ribbon. The gentlemen place their envelopes undertheirleftarmpits, anddisplaytheribbons byholdingthem upby oneend.Thenthey double the ribbons in the centre and hold them at this point, with the two ends hanging. The performer produces a pair of scissors and cutstheassistant’sribbon atthe centre.The gentleman opens his envelope, and the cut ribbon is placed therein so that he can seal down the flap. The scissors arehandedtothepupil who repeatswhathehasseen.Thecutribbon is similarlysealedinhisenvelope and left withhim. The assistant is now asked to open his envelope and removethecontents. He findsone wholepiece of ribbon ; it is completelyrestored. The pupil’senvelope is opened,andhe is surprised to find that he also has been successful, for hisribbon is restored. He is complimented, with the assistant, on a fine show, and although, iike theaudience,theyarenonethe wiser, they will certainly remember their first lesson in magic. If the routine is performed as described here, the twoassistants andtheaudience willbelieve thatthe whole operationwascarriedoutonly under the performer’s direction, and that he himself took no part init.
The requirements are few : A roll of silk ribbon,aboutoneinchwide,obtainablefrom Woolworth’s. Cut three pieces, each about a yard long, off the roll, and one piece five to six inches long. Next take a one inch length ofSelo Tape, or sticking plaster, and lay it on the table sticky side up. . Attachoneend of theshort piece of ribbontothe tape,andthen double the ribbon over and attach the other end to the tape, leaving a sticky portion between the two ends. Turn the loop inside out so that the sticky portion is on the outside, and press it down into a thumb-tip, pressing the sticky portion on to the inside of the ball of the tip. The loop of ribbon will protrude from the tip, so pleat it concertina fashion and pack it down into the tip. This method of loading the tip makesfor easier preparation, and supersedes the old stitching and glueingmethod. Two envelopes are then required, one of which is faked with a double compartment. Long typeenvelopes arepreferable,astheribboncan be dropped in cleanly.Loadthe secret compartmentwith one of thelengths of ribbon and wet thetiponly of theflap and sealitdown to the back of the other flap.Thisfacilitates the opening when the two flaps are stuck down. Place one . of the other pieces of ribbon in the other compartment, and the final piece of ribbon in the unpreparedenvelope. Load the tip in the trousers pocket, with the scissors alongside. Place the genuine envelope on top of the fake one, and you are ready. Give the two envelopestotheright-hand gentleman, whom younameyourassistant.Insxuct him to take one (see that he takes the top unprepared one) and to give the other one to the pupil. The pugil is instrwted to place his envelope under his armpit and watch what is done. Instruct the assistant to open his envelope and remove the ribbon. This should convince the continued on p : g e 15
10
A longneglectedcardclassic,notdeserving such a fate is the Ladies' Looking Glass. True, four pairsof cards must be selected, but there is ample movement, no wasted time and no countingtocreatetedium. It gives the impression of exceptional card control especially to magicians unacquainted with the feat. There are a few ! Possibly the fact that with the Modern JMagic version it is necessary to perform the pass some eight or nine times may have resulted in its fall from favour. In Jean Hugard's More Card Alanipulations. Volume 1, an attempt was made to limit thenumber of passes ; but I felt the manoeuvre did not satisfactorily supplant the pass. My version completely elimmates the pass by making use of two original utility sleights, whose use is not restricted to this feat. They are :The Slip-out Location and The Over C I L ~ . The Slip-urlt Locatiorl is a method of bringing a selected card or cards to the bottom of the pack without changing the position of any other card. It wasfirst ' hit on ' nearlytwentyyears ago whilst practising a method of reversing a card in thepackfromRoyWalker's Card Mysteries. A description of itappeared in the then Plymouth Multum in Parvo " in Magicians' Club's organ 1934 or 35. A very similar sleight was described by Jim Merlin in a copy of the Budget a few years ago. The pack is loosely fanned with both hands for the return of the card(s). As it enters the fan it is gripped between the firstand second fingers of the right hand and withdrawn sideways until it is clear of thefan ; amatter of $ inchonly. The fan is then closed and the card will almost automatically find it's way to the bottom of the pack. A word regardingangles. If theaudience eye level is above the cards [i.e., when standing) the move can be made without any movement of the hands or body. But if the eye level is a: the same height or below the cards (i.e., when seated) then it must be covered by a slight swing of the bo3ytotherightandbyraisingtherighthand higher thanthe left.Unevenness of thefanned cards will do much to mask the movement of the card ( S ) . The Over Cut transfers a card or cards from the bottom of the pack to the top without disturbing the order of the rest of the pack. It is merely the reverse of the Dai Vernon Under Cut, hence the name. It also differs from the Vernon Under Cut in the way the cards are held. The pack is held in the left hand by the sides, betweenthe thumband the second andthird fingers,theforefingerrestinglightly a t thetop
edge ; the little finger should be free. This position is verysimilar to that adopted at the commencement of the Charlier pass and Hindu Shuffle. The right approaches and grasps the pack also betweenthe thumb and second and third fingers lower down the sides of the pack ; this also closely resembles the position adopted in the Hindu Shuffle. Therightthumbseparates one (or more) card(s) at the bottom of the pack and holds the break. This can be facilitated by the little finger of thelefthandspreadingthe half dozen or so bottom cards very slightly. continued on
page 14
Flashback Z 2 stands for Zeiss
.., ...,.. "
."
.-
"
l
F-
the 1. B. Findby Collection .
I
11
There is a rather unusual subtletyin this effect that I think will appeal particularly to students of forces, but first to the routine : Effect. From a newspaper the performer takes a double page of small advertisements. Many evening newspapers of the smaller page type carry such a set up. The double page is handed to amember of the audience, and he is requested to tear it in two, producing two separatepages,and to discard whichever of them he pleases. The performer illustrates this process by folding an odd piece of paper and tearing it in two. Againthespectator folds his single sheet in half, tears it and discards half. The process is repeated until the assistant is left withapiece of newspaperwhich is one sixteenth -the size of the single page. At this stage he is asked to read through the advertisements on this piece of paper. He is then to put the paper aside, face down. Theperformerexplainsthathe is carrying out an experimenton the volume of advertisements andpublicity in general.Histheory is that one of these advertisements will have been retained by thesubconsciousmind mo1e than the others. An attempt will bemade to recall it. Meanwhilethe spectator is to relax. Slowly the performer catches phrases from the advertisement until he eventually produces thegib t of the full announcement. Method. The method employed is rather cute, but itis the angle of approach that mainly concerns us. I feel that it is rather new, and will bear further investigation.
For the preparation, take the double page of newspaper andhavingmentallysubdividedeach pageinto sixteen, makeanote of some clearly worded advertisement, pretty well in the middle of each sub-division. Nexttakeasheet of notepaper, fold it in half, and subdivide each half into sixteen spaces. In the middle of each space, write in pencil theappropriate advertisementfrom the divisions of the newspaper. The working should now be obvims.In demonstratingthefolding,theperformermerely retains the part of his notepaper which corresponds to the part of the newspaper retained by the spectator, so that eventually he has the advertisement he is going to reveal. He glances at this and then discards it alongwiththe rest, so thatforthe finale he is ‘ ‘ clean ’’ . The patter about subconscious retention is, of course, a neat force which bears no resemblance to aforce at all. As thespectator had a perfectly free choiceall the waythrough,the audience is left with the impression that he actually chose one particular advertisement. Of course, a single sheet of newspaper could beused, andtherearealternativemethods of obtaining the information. For instance : the performer could keep a check on the tearing and get his required slip from a pocket index. That is up to each individual performer ; the method I have suggested is good and natural. The important thing to note is that people d o believe that they retain subconscious impressions, and therefore the routine is plausible. I believe it is a new angle, and a new ‘ force ’. At anyrate,bothare useful andcapable of development.
This is basedonavery excellent card trick publishedin m e of the lateEdwardBagshawe’s books. The original hadthedisadvantage of requiring confederate, a but the single handed magician will find the new routine an effect with a climax ’’ which will puzzle the most intelligent audience. A pack of cards each bearing the name of a well known film star is runthroughrapidlyand shown to be all different. The cards are cut and three cards are selected, and shuffled into the pack in turn by the choosers. The performer relates that this particular effect was purchased by him the day previously and although he had unfortunately left
the insiructions behind at the shophe had the urge to showitimmediately. He askstheirkind indulgence and hopes nothing will go wrong. The cards, which lie on a small tray from the commencement of the selections, arereturned to the performer and he states that hewill endeavour to extractthe selected cards. He appears toget confused andaftera few shuffles heboldlyannounces he will show another trick. At this moment an envelope marked URGENT is handed u p to him and excusing himself heopens it andextractsaletter which he
“
“
”
continued m page 13
12
In company,usually at sometime or other, the conversation turns to thesubject offootball pools andthe price of tobacco. The following routine, presenting nothing new,is ideal for such an occasion and should appeal to those who like ahundredpercent. effect withninety-nineper cent. self working easily prepared items. The performer, choosing the opportune moment,removes from hispocketapostalorder complete with counterfoil and an empty cigarette packet. A cigarette is borrowed,thecounterfoil is removed from the P.O. and the latter folded in quarters.The cigarette andthe folded P.O. are placed in the empty packet and when the packet is opened later the Y . O . has vanished and is e17c-ntually discovered in the cigarette. Requirements. Purchase two P. 0.S numbers followingeach other, and alter the last figure of one with Indian ink to correspond with the other. The altered P.O. is detached from its counterfoil which is discarded. The counterfoil from the other P.O. is attached to the altered P.O. by gumming the edges of theperforations. The unfaked order is rolled into a small tube and inserted in a cigarette from which a sufficient quantity of tobaccohas been removed. Obtain two empty cigarette packets of a popularbrand. Remove thetraysandcutaway the front of one leaving a little extra margin and glue this by the bottom and t w o sides to the inside and front of theotherpacket.This formsa secret pocket ( a la Windsor Dye Box) which with a little pressure on the sides will open as required. Replace tray and place the faked cigarette within. Working : At theopportunemomen; when the conversation is as described, remove the packet. Open slowly, gripping the cigarette through packet at bottom, and shake gently, remarking that you haverunout of cigarettes.Withtherighthand remove P.O.andlayonthetable,then borrow a cigarette. If you watch carefully before the trick
you should have no difficulty in selecting a gentleman with thesamebrand asyour own. As the cigarette is being sought casually turn the packet in your left hand over and push in the tray which you will remember is partly sticking out. Push it in far enough to make it protrude at the other end. This willailow the fake cigarette to roll into the curled up fingers of the left hand which holds this position while the right takes the borrowed cigarette. Carry therighthandunderthe packet and immediately it is out of sight produce the fake and place in left ear. ,4t thesame time drop the packet and borrowed cigarette into the right jacket pocket. Draw attention to P.O. and allow removal of counterfoil.Foldorder in quartersandleave on table while youremovethepacketagain from jacketpocket.Remove trayand casuallyshow, replace and holding the front side of packet facing you, place the folded order in the pocket, squeezing the sides to facilitate entry. The flap of packet (which I should have said has been slightly trimmed) shields this action. The cigarette is removed from behind the ear and dropped in the packet and the flap is closed (going into the pocket). The performer remarks that the only way hc can get areturnon his pool investments is by keeping his postal orders at home and making them appear in the.borrowedcigarettes.Suitingthe words thecigarette is broken and ?he contents proved ( ? ) to be the original P.O. The reader will find that a preparation called NOSO, whichis awhiterubbercement, is ideal for faking the P.0, A very little on the perforations willbe indetectable and any surplus can be removed by gentlyrubbing with thefinger after thefakedjoinhasdried.Incidentallyit is ideal also for ropefaking.Thetrimming of the flap makesthe closure of thelatterslightly easier to execute.
The passing of A1 Baker has left magic, real magic, very much the poorer. Like so many who havedevotedthoughtandtime in theperfecting and originating of magical effects, A1 Baker did not financially benefit in the way he should have done.Thelastgesture of American magicians in trying to amendthiscamealittle too late. A great pity that in thewaningyears of his life so many thingsstopped an enjoyment of old age. A1 Baker by his public and private writings will neverbeforgotten,and whilst in his books,
that marvelloushumour that was so deiightfully his own does not come into his own, his Letters to Harold ”, (all toofew of them) that appeared in the ‘ Sphinx ’ show the real A1 Baker. He was unique and it is doubtful ifwe have or have had his oppositenumber in this country. Aneminent member of the Magic Circle oncewrote that the late Edward Brown was the English A1 Baker, a statement that made one wonder whether he had read the works of the latier or really studied the former’s’work.Bothmen,outstandingintheir “
13 own work, both men unique in their understanding in their appreciation, knowledge and gifts to Magic. It was’one ofA1 Baker’s concepts that every trickhowevergood, had at leastonevulnerable spot. In hislastlettertoushe discussed avery goodcontemporary effect andnot only put his finger onitsvulnerabilitybutalso showed by using a subtlety how this weakness could be overcome.
A1 Baker lived tohelpothers.When Annemann as a youth commenced his life of city magic it was the Dean of Magic who made an early success possible. He will still help us in all his works that he has left behind. Mr. C. Dudiey Whitnall has already given us two very fine contribu‘rions dealingwithplaying cxrdmagic. In future issues of thisvolume we have some ‘ ring ’ moves that should please those of our readers who are interested in thisgreatest of all classics. We have also persuaded Mr. Whitnall to give a talk on the ‘ Linking Rings ’ at the Magic Circle on March ZGth, 1952. This should be an outstanding talk and demonstration. The talk still goes on as to whether the public want to laugh, whether they want to be mystified or whether they want to be mystified and laugh. There can be no fixed law. Only the great personalities (and this invariably means a known name) can **.vorkin thegrandstyle.Theyarefew.The trick of conjurershaveaconversationalmanner. The real funny men are very few and to our own
glancesihrough. He statesthatit is a message from the dealer from whom he purchased the trick he has just attempted, and begs permission to read it aloud as follows : Dear Magician, With reference tothecard trickwhichyou bought yesterday, I find you unfortunately left the directionstoworkthiscorrectlybehindonthe counter. I had an idea that you might show this at your performance to-night so I have taken the liberty of enclosing thethreecards which have been chosen this evening and trust everything will end satisfactorily. Your sincerely, A. D. Siever. Theperformerretorts, Isn’tthat nice of him,” and inserting his hand in the envelope removes threecards which areadmitted bythe selectors to be the chosen ones. The working of thetrick is simplicity itself and involves nothing more than the force of three cards,butthe letter and climaxliftsthe effect aboveallordinarycardtricks.Ordinaryplaying “
way of thinkingtheycould increase their own commercial valuebynotonlymaking people laugh but by usingefiects that were outstanding for whilst thegrandmannercanornamentthe trivial effect so that it ranks as agreatmystery, the ;rick alone with the comic conjurer has to be ouktanding. To-day we think the act that has the greater commercial value is one that is fast moving, has plenty of colour and can be worked if necessarily with the audience on all sides. The succession of surprises idea which goes very much against thegrain of- apurist, is comingintoits own in those places where a performer has :o obtain attention from people who have gone out with the main idea of eating and drinking or over drinking. Certain tricks of t-he messy sort are definitely out, for floors mustnot be spoilt.We were surprisedin reading an article the other day on the routining of a magicshow that thewritersuggestedamong other tricks, the Chinese Rice Bowls. Heaven help the performer who in a floor show spilt grains of rice or something similar all over the place. At Southampton on Saturday, the 10th November, and ‘the Unique One Day Get-together on the 1 lth, we spent an enjoyable time. Dealers offering at Southampton were quite good and we were impressed by Gil Leaney’s Square Circle productioncastle ( a giveaway at 50/-) and hiscard stab which is being sold far too cheaply at 5/-. Unique had a very fine clock dial in plastic and chrome, the setting device being just the last word. We were just a bit too late to see one or two of the stands, but two of the Carlos items are reviewed in this issue.
cards may be used but the use of names was to get awayfromtheideathatthetrick was a card experiment. Requirements. Pack of cardswith film star names and several -duplicates. Most of these are for repeat shows when variation of the force names is necessary. A small tray. Envelope with three cards,duplicates of thethree topcards of pack, and a letter worded similarly to that described. A friend is asked to bring in the envelope and contents attheappropriate moment,preferably from outside the room or hall where the showis taking place. Show cards all different, false shuffle keeping thethreeforcecardsontop,placeon trayand allow cut. Mark cut by placing lower half across the top portion. This is the usual strategem. Tell story of purchase and then allow three cards to be removed at “ Cut by removingtop part, thus forcingthethreecardsdesired.Don’tattemptto touch the cards unless absolutely necessary. Allow a shuffle by each assistant in turn. Make a pretence of being confused andthen build the effect to a successful conclusion when the envelope is handed to you and the contents are disclosed. ”
14 T H E LADIES LOOKING GLASS S A N S PASS-continued from page 10
The forefinger tip of the left hand now pushes the bottom half (3)of the pack towards the right hand as in the Hindu Shuffle, and the right hand removes that portion (B) andbrings it overand on top of the top half ( A ) . The cards separated by therightthumb are now allowed to drop on top of ( A ) while the thumbs and fingers change their grip to the other half of thepack,i.e.,lefthand now grips (B) while the right hand holds ( A ) and without pausingcutsthepack again, bringing ( A ) (withthe cards from the bottom of (B) ) once again on top of ( B ) . The Ladies' Lookillg C l u s s .
The actual effectis very similar to the Hoffmann version. Fourpairs of cardsarechosen and returnedbyfourmembers of theaudience. Theyreappear one of eachpair at the topand bottom of the pack. Workillg. 1 . 1st spectator is requested to select a card,
the pack isnow spread faces up towards him so that he may removeasecondcard of thesame value as his first choice,tohelphimremember. Performer, of course turns his head away at this stage.(Hugard. ) 2. Pack isfanned loosely forthereturn of the cards and by means of the Slip-out Location these cards and the card immediately below them are passed to the bottom of the pack. False shuffle to retain bottom stock. Position : Thebottomcard is an indifferent card, next two are the two chosen cards. 3. Repeat 1. and 2 for eachpair of cards chosen. been conPosition : Afterfourthpairhas trolled. Bottom card indifferent, next two are the last pair chosen, next, indifferent card followed by thethirdpair.Indifferentcard, second pair, indifferent card, first pair, remainder of pack. 4. Placesquared-uppack on the left hand or on the table, allowing audience to see that no breaks are held, without, of course, mentioning the
'' A n y Number Can Play
" ( A Carlos Exclusive. Marketetl h y tht. Carlos Studms, 68, NorthRoad, Brighton, price 'L1I - ) . T!?is is a mentaltelepathy \v!h cards which h+ as its prototype " Thoughtwaves . Two very nice Fubtleties come intothepresentversion. In effect, a number of cardsare handed outto any nurn1)er o f spectatorsup t o six. Eachthanks of a card. A number o f boards to whichplayingcards are atfixet1 arethenintroduced,the whole pack being representet!. Thesr are mixed, and through their
fact ; and state that the eight cards are hopelessly lost in the pack ; bat you will try by touch to cut the pack at each selected card. 5. Show bottom card to the person who selected the fourLh pair asking him if either of his cards is at the bottom. Show the top card repeating the question. 6 . ExecutetheOverCutbringingthetwo bottom cardstothetop of thepack.(One indifferent card and one of the selected pair). The selected pair willnow be at thetopandbottom of the pack. Now do one of these things :(a) Withoutrernovkg thesecardsaskthe next assistant (third) if his cards are at the top or bottom of thepack. You willnowneed to Over Cut three cards, or ( b ) Remove the selected cards and push them into the pack, or (c) Remove the selected cards and leave them on the table in pairs. See below. 7 . Repeat 6 for each pair selected. It is effective, as in the Hoffmann version, to apparentlyforgetthepair selected bythe first assistant. These can eventually be produced either by bringing them as usual one top and bottom, and gripping the pack firmly, throw it sharply upwards retaining the top and bottom cards, then moving thehandsmartly to rneet thepackapparently catch the two cards as the pack scatters ; or, and thisobviatescollectingthescatteredcards,Over Cut to remove the indifferent card, and place the pack in a Jumping Card Box (see Modern hlagic) causing the last pair to fly into the air. Regarding 6 (c) above. I eventuallyretain thecards in pairs at thebottom of thepack in readiness to perform the Triple Coincidence effect using the PaulCurryTurnover Change. I first saw thisperformed by Alex Elmsley. Of course oneor two other effectswillbe worked between these two, otherwise the fact that the same cards are usedwillbe tooobvious.
meriium the spectator indicates whether he sees his card. The name of the card is then given by the performer.Theroutinebringswithitthe necessaqhoards ancl instructions. Inthe notes on presentation we arerathersurprisedthattheauthorshaveomitted thegreater effect that could be obtained by the performeradopting a blindfold.The would-be purchaser \\.it11 this in mind will find that such a procedure will a d d totheeffectwithout any means for hardwork. A very good effect fordrawing room orplatform. For largerstage the performer could havesimilarboards nac!e u p \vith JumboCards.
15 Twin Minds,’’ by Garry (published by Carlos Studios, 6 8 , NorthRoad,Brighton, price 7 / 6 for manuscriptor uith the necessary twenty-onepatterned cards measuring 6 X 4, k l ) . The effect of this is t h a t kvhilst the mediumis a\vayfrom theroom, onedesign amidsttwenty-one is thought of 1)y member a of a committee.The performeris either escortedfrom thestageor placed in some position decided uponbythe Committee. Despite thisprocedure,the medium has immediate knowledge of the card. IVith the knowledge of how a mentaltelepathy teamrecently scored high marksfromthe public with asimilareffect, we don’t have to tell you that worked in theright way andmanner, such an effect asthis will creditthe performer and medium with genuine powers of telepathy. The method is very simple indeed,and one cannot see any real snag that might arise. I t is very good indeed,and for a husbandand Ivife, boy and girlfriendhereis a something that will give them a very straightforwardfeat of pseudotelepathy. Unreservedly recommended. “
UncannyHankies,’ by George Blake.(Marketed by George Blake 9, St. Alban Road, Leeds 9. Complete with all the necessary apparatus for L4 10s.). George Blake has done i t again, and we feel certain that this lovely effect will find its way into very many programmes this season. The effect is thatafterfour colouredsilks have ljeen tiedonto a length of tapeby a member of the audience,theydetachandthenre-attach themselves. The climax comes when holding the tape aloft the conjurerrequests the audience t o nameone of the silks. This done,the selected silk unties itself andfallsto the floor. Thisisrepeated withtheremaininghandkerchiefs. It is undoubtedlythislastpartthat gives “
~~
~
thetrickitsname, for it iscertainly uncanny tosee the silkscome away from the tape. Farbetterthanjust reading theinstructionsand handling the apparatus, which incidentally isvery well designed and incapable of goingwrong, we hadthe pleasure of seeing theinventor’ perform theeffect. It is a hundred per cent. visible and deceptivemagic, and we suggest that thoseinterested shouldmake an effort to getthere firstwith it. Unreservedly recommended.
ZodiacTelepathy,” by Ken de Courcv (published by (;eorge Xrmstrong, 11, MonasteryGardens,Enfield, price 1 2 / 6 ) . \I‘ithin a very nicely printed and illustrated booklet of some 19 pages, Mr. de Courcy details the method of achieving a novel type of two-person mental telepathy act. Besides the more usual effect of the medium gi\.ing the names of various articles handed to the transmitter,theact is concluded b various members of the audience giving their hjrtgday after which the metlium details this, together lvith a relevant horoscope. The reader would imagine that such apresentation would entail a great deal of memorisation on the part of both the medium andthe presenter. This, hon-e\-er, is not so. The whole routine could be learnt, ready for rehearsal,in a n evening by reason of the fact that the originator has added a subtlety that kills the normal hard work of such anact.This makes it o f great \value to those who are not full-time magicians, and have littletime to give to practice. Whilst the scope of such a routine quite naturally is limited, we feel certain that its merits inthehands of a sincere sho\vman could make i t a talked-of feature. To those \\-h0 in the normal course of show business ~ 1 horoscopes, 1 it is a. very natural lead in. The simplicity of the method is commendable, and the \\hole routine is unreservedly recommended. ”
~
JAMES DOUGLAS’S TWIN RIBBONS-continued
from 9
audience thateverything is fairand genuine. Meantimeget thetip withribbon ontheright thumb, and at the same time remove the scissors from the pocket. Instruct the assistanttodouble his ribbon exactly at the centre and then take it fromhim in thisstate.Handthe scissors tothe assistant, and place theribboninthelefthand with theloop concealed in thehand, with the thumb-tipalongside it. In thesamemove,bring up the loop from the tip, so that it projects above thehand. Ask the assistant tocutthe ribbon whereit is folded (i.e.,theloop)andthentuck theendsbackintothe fist, atthesame time removing the tip. Casually roll the ribbon round the left hand, as you instruct the assistant to open the envelopeto drop the cut ( ?) ribboninto it. Takethe scissors fromhimtoenablehimtodo
this, and place them in the right trousers pocket, leavingthe tiptheretoo.Droptheribboninto theenvelope and asktheassistanttosealdown the flap. Cross over to the pupil and hold his envelope while he removes the ribbon. Hand the scissors to him so that he can cut it in the centre, roll it up as shown, and drop it into the envelope. Seal the flap and return the envelope to his care. Instruct the assistant (with the unfaked envelope) to open it and show the restored ribbon. Turn to the pupil and casually take the envelope, open it (i.e., the secret compartment) and tip out theribbon,remarking, I see you followed my instructionscorrectly,sir. A l l I wish fromyou and your friend now is your word that you won’t tell anyone how we did it. Thank you.” “
READYDECEMBER -TON1 KOYNINI’S C A R D MIHiIC‘LES A NEIV AUTHOR - A NEW ROOK - .l NE\V APPRO=\E‘Il CAN’T SEE A comp!ete cardact, in thereputation makingclass, incorporating six Star Effects: e ACES HIGH o NOW THESUITS 0 PICTURE SENSE 0 ANY CARD ! 0 OUT OF THIS WORLD 0 REDSAND BLACKS Seven More Card Miracles GAMBLERS DELI(;HT :: A.B.C. DEALER .. KOYTNCII3ENCE :: T H E LAST CARD :: ANY NUJIBER :: Ek’ENS :: ONE PC)l7IK1I REVELATION And SVITCH IT - a fool-proof methodfors\vitchingpacks.
Price 7 / 6 ; Postage3d. THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens,
Enfield,
Middx.
16 ~~~
Ken D e Courcy’s
The Warlock pCMIRACLE”SLATE
ZODIAC TELEPATHY XIANY, MANY purchasers say, ‘‘ I bought this routine on ‘ spec ’, thinkingthatit would probably take too much study for us to learn. But now,with nothing more thanan evening’s practice, we have an act that we can perform anywhere, aat n y time!”. ANYONE can master this outstanding two-personMentalTelepathy Act in an evening, and they will be able to transmit almost any object handed up with NO OBJECT LISTS TO LEARN, ONLY NINE CODE WORDS, AND ALL THE WORKDONEBY .A CLEVERBUTSIMPLE PROP. THAT CAN B E BOUGHT FROM ANY STATIONERYSTORE .AND EASILYADAPTED. ,4nd besides descrlblng objects, the RiIedlum correctly names birth-dates and gives CONVINCING IiOROSCOPE READINGS although she need have NO KNO\VLEDGE OF HOROSCOPES. Once again, all ;he tvork is done by the same simpleprop. wife ora girl Don’t miss this. If youhavea friend you will beable t o perform thisactNEXT WEEK if you buy it NOW. PRICE12/6;postage 3d. From the publishers
THE MAGIC WANDPUBLISHING 11,MONASTERY
GARDENS,ENFIELD,
‘UNCANNY HANKIES’ They Untie When They’re Told! A featurc trick in any programme. Fonr handkerchiefs. tied upon tape, a - .. silk ~~
but
ThePerformeroffers to show the audiencewhathappenedandholds thetape in full view. Audiencecall outany choice of hanky (they may change their minds if they wish) and that handkerchief is seen tounknot itselffromthetapeandfall to the ground. This is repeated until all four silks have unknotted themselves inafreelychosen order. George Hake is still using the same apparatusafter 23 years continuous sho\ving. Uncanny Hankies ” is still a feature trick in his programme andcan beinyours. Silks,tapeandeverything necessary including six-page booklet of clear instructions and illustrations. 5 4 10 0 . (Only a limitednumber of sets will be sold). “
-
Sales are limited, andin conformitywith our policy and our undertaking to purchasers, no more will be sold in the following places for 18 months: Manchester, Southampton,Portsmouth, Derby and Bournemouth
A COMPLETEDESCRIPTIONAPPEARED I NT H E OCTOBER ISSUE Price 5 0 / - direct from
PETER WARLOCK 24, WORDSWORTH ROAD, WALLINGTON
CO.,
SURREY
Middlesex.
PETER WARLOCK’S
After many,manyrequests, (ieorgeBlakeReleases
remove themselves and then return to the tape. So far-more less orordinary maglc, READ ON.
Among those who now have this effect are ROBERT HARBIN, AL KORAN, FRANCIS WHITE, BILL McCOMB, JACKMORRISON, TOM HARRIS, JEFF ATKINS,BILLSTICKLAND GEORGEGRIMMOND
-
GEORGE BLAKE, 9, St. AlbanRoad,Leeds, 9. (Another (;eorge Slake Special. “ If it won’t Entertain, I won’t Entertain It.”)
PENTAGRAM is publishedonthe 24th of eachmonthand from thepublishersfor canbeobtaineddirect 111 per bingle copy.AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing 11 Monasterv Gardens. Enfield, Middlesex. ‘
Co.,
Museum :
Clubroom andLibraryand
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
books for to the:
Manuscriptsforpublicationand review should be sent BDITORI.4L ADDRESS:
The Magic Circle Prcsidcnt : HisGracetheDuke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President:DouglasCraggs, Esq., M.I.M.C.
KingGeorge’s Particularsfrom
Hall, W.C.
Hon. Secretary :
FrancisWhite,
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
JACK HUGHES will bepleasedtosend fulldetails of
you
39 Alverstone Avenue,
WimbledonPark,
S.W.19
Magic Wand Publications T h e Magic Wand, Quarterly. Fer copy 14/6. Annualsubscrintion
318 p.p.
THE DE LUXE “SU-TABLE” togetherwithallhisother effectsin returnfor Writenowto
a stamp.
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALB OLDANDNEW.Let LIST FREE FOR
m e know yourwants STAMPED ENVELOPE
N o Callers
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Mastered Amazement . . 10/3 (Koran & Lamontc) Bohleno’s Mysteries (Bohlenl . . I013 The Concert Ventriloquist (Hurlinn) 10/3 -. George Armstrong’s PremoniGon lob Chandu’s Psychoanalysis .. . 1013 EntertainingWithH pnotiFrn (Dexter) 10/3 Challenge Instant &pnotwn & Mass Hypnotism .. ., . . 211Strictly Magic (Eddie Joseph) . . 513 Stooging Around (Stuthard) .. 513 Tests (Car;&) . . 513 26 Living 8c Dead Jamesosophy (Stewart Jamcsl .. .. 5/3 Year Book 48/49 (few only) .. . 5/3 Stunts With Stage Money (Lamontc) . 513 Tricks of the Trade (Armstrong) .. 2’7 From the publishers T H E MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middlesex.
_Every Advertiser%-goods are fully endorsedby this Bulletin
p--
Poblishrd b\l t h c piopric.1r-% Thc \laRic WandPublishingCompany, Walker andSon(Printers)Ltd..
1 1 , MonasteryGardens,Enfield.Middlesex.andpdntedbyHerbert Well Croft. Shinlev. Yorkshire
.
17
PENTAGRAM An independent monthly bulletin for all who want good magic
V ! .6 &a. 3
Here is asomewhatdifierentcardprediction effect, suitable for either stage or intimate shows. Tencardsare displayed in a line uponastand (the writer’s is simply alength of woodwith a slot cut downthecentre,enablingthecardsto stand upright) the cards being placed alternately The reason forthis,” faceup and facedown. the performer remarks, will become apparent in a few moments.’’ A prediction is then written and handed to amember of theaudience forsafe keeping. Here,” remarks the performer, we have tencards whose valuesvaryfromacetoten, so in order that we maydecide whichwe shall use to-night, perhaps someone willgiveme a number between one and ten. Seven ? Thank you.” Theseventhcard Is thencountedtoo, and the remainder of the face-up cards reversed, showing that nine of the cards have blue backs. The prediction is thenunfoldedandfoundtobearthe words “You willchoose theonly red card.” On being reversed the selected card”is found to have a red back. The working dcpends on two subtleties, namelv : l . Ambiguity of Prediction 2. Alternative Counting although itis of course perfectly obvious that no switch of prediction can take place. First the cards, which i r e arrangcd from left to right as follows : Black Ace (Face Up) Black Four (Face Down’j Elack Seven (Face Up) Black Ten (Face Down) BlackThree (Face Up) Red Nine (Face Down) Red-Backed Eight (Face Up) I3lack Two (Face Down) Black Five (Face Up) Black Six (Face Down) “
“
“
“
A brief study of the arrangement will, I think, maketheworkinglargelyapparent.Theprediction having been written, the performer asks for a number IJetzeeerl oneandten ; after whichhe proceeds as follows : Sezlctt. This is the most likely selection, in which case count from the left to the right, which is shownto be theonlyred-backed card on the stand. Four. Exactlythesame,onlycountfromthe right instead. S i s . Countfromtheleft,thusarrivingatthe red nine. Exactly the same, but count from right. Eight. Here a further subtlety comes into use. Statethat as eighthasbeenchosen, the eight-spol shall be used. .\.irte. Exactlvthesame, using thenine-spot. 7’11 YL’LJ. In the rare event of such a low number’ being chosen, count from the right retjlozlitzg the first three cards and using fourth. Il’7vo. During continuous usage for many years of the one and ten force, I have never known anyone select the number two. Were thistooccur,should I simplyremark : Two from ten leaves eight ”, and use the eight. Rather feeble I admit, but up to the momentIhavebeenunable to devise a better solution. Perhaps other readers have ideas upon the subject ? In readingthroughtheabove, I see that 1. have omitted one small but important point, namelv that whenever the nine is the selected card, the remainder of the cards are turned f 1 1 c c u p the ninebeing afterwards shown to bch theonlyred cardpresent. E’i,zlc>.
“
“
”
18
I wanttodescribethreedressings for effects suitable for children’s shows. They are more particularly suited to the younger type of child havingplenty of colour.The first I call :The Magic Flower Maker The effect is very simple and easy to follow. Theconjurertakesacardboardtube whichis showntobeemptyandplacesasheet of tissue paper over one end, keeping it in drumhead position by means of an elastic band. Now a number inside, of pieces of coloured paperaredropped some lengths of thin wood or wire and some pieces of wicker wood. Theopenend is now capped with tissue paper in a similar manner to the other.
/ /
Now the magicwords
arespoken,thcconit. From out of thetubehetakesasmall wicker basket.This is placed on the table. His hand gocs inside the tubt. againandthis time hc withdran.s an artificial flower made from paper and wire. This isplaced in the wicker basket.Sevcral mort’flowers are produced which are also placed in the basket, making a very colourful little show. Though there is nothing out of the ordinary in the plot of this trick, it lends itself to a good story for the very young. We’ll run through the main points. First of all you require a ‘ Ghost Tube ’ made fromcardboard.This follows thestyle of thc original of Ernest E. Noakes (sec ‘ Magical Originalities ’ ) in so far that the inner cone at the narrow endis equidistantfromthe sides of the tube.There is of course noreason at all \vhy it shouldn’t be made up in metal, but this is a harder medium for some people to work in. A wicker basket round in shape is nest purchased (actually l am putting the cart before the horse, for it is essential to know the size of the basket before making up the tube) and the bottom cut away so that it can nest around the narrow end of theinnercone(see illustration). If thereader doesn’t wish to go to the trouble and/or expense of a wicker basket, a small bottomless flower pot could be made from cardboard and then painted. Nextanumber of paper artificial flowers art’ bought or made. If the reader can make these up so much the better as he can tailor them to exactl!. fit into the space provided. This space is of course that open part of the tube (the illustration shows this easily). One other thing is needed to complete the trick proper and that is a piece of wood six by six byoneinch.Aboutthecentreanumber of small holes are drilled. Into these holes the stalks ( ?) of the flowerswill beinserted. The block can be painted dead black or coveredwith black felt. The other accessories are some pieces of coloured tissue, pieces of wicker,some lengths of wire and two elastic bands. Prior to presentationthetube isloaded and placed loadenduppermostonthetable. The block of wood lies by its side. The pieces of tissuc are folded and placed in the tube so that they conceal the ghost tube formation. The pieces of wire, wicker and elastic bands are at hand. The pieces of paper are removed as the tube is picked upand shown to be empty.The load end is then covered with a piece of tissue which-is heldin place by means of an elastic band.The tube is againshownempty. ‘ Not even afairy jurer tapsthepaperandbreaks
19 inside ’ remarks the conjurcr. The pieces of tissue, \\.ire and wicker arethendroppedintothetube, or if the occasion permits a helper from the audience can perform this part of the ceremony. The open end is now cappedandthe magic spell recited. Breaking the paper with the fingers at the load end, the wicker basket (or flouw pot)is withclra\\-n and placed onthe block of ~ o o dso that the holes are central at the basc.. The flowers are no\\.withdrawn,eachstalkbeing inserted into a hole as it goes inside the basket. The second effect I call
The Magic Television Set. This is aproductionnumberanditsonly limitation is the size of the apparatus. The imaginative conjurer could get a great deal of fun from this dressing and rcw-mdelling of a standard piece of apparatus. On the conjurer’s table stands an object that to all intents and purposes looks very much like a Television SFt. It appears to have a screen and a couple of operatingknobs.Theconjurerinlro‘ So different ducesthis as his magic TV set. from the type oi set you may have ’, for this uses no electricity, neither does it have valves. ‘ These arethe works ’, and with thathe removesthe inside of the set which consists of a white rectangular tube, the cabinet being left an empty shell. The ‘ works ’ are shown and then this part is dropped back inside thecabinet. ‘ Eventhis part is free fromanyfunnygadgets ’. The cabinet is now lifted over the ‘ works ’ and also shown to be quite empty. After this it is replaced over the ‘ works ’ so that it appearsas it did atthebeginning. ’ Now ’, saystheconjurer(howoftentheysay that ! ) , ‘ Lvhcn I \rant to see my favourite television programmeitsvery easy . . . look,let meshow you ’. A number of pieces of card bearing the names of .procrrammes are introduced ‘ Justtake onefor me saystheconjurertoa child. ?’h0 latter does so and the conjurer takes it from him and sh0u.sit to theaudience. ‘ There, its Andy Pandy, this is how it works ’. The card is slipped intotheframc which outlinesthescreen. Puttmg his hand inside theworks,theconjurer Ivithdraws a model of ‘ -4ndy Pandy ’. ‘ Let’s’ try anoiher one shall W C ’, and so another card is taken which replaces the first card, and an appropriate production made. Finally, the card bearing ‘ Muffin the i\:lulc ’ is placed in front and to completetheproductionthc most famous of all TV pcmonalities is prodllceci. To the conjurer Lrith a little imagination this can prove a most popular item. According to the age and nature of the children so can little topicalities be introduced. U‘hilstsome of the load items may beexpc>nsivr. thc whole effect will be found ivorthwhile. The principle of thr. production is a form of square circle or in this case squared ‘ rectangle ’ and the accwnpanying drawing gives the ‘ how ’
’,
?’he actual load chamber whilst filling the works ’ part in length does not do so in depth, a factor that helps for a much better illusion as the front of the ‘ set is completely open.The load chamber should becovered with black felt or black ‘ flock ’ paper. ‘ Kettles ’ of New OxfordStreet can supply this. I have not givendimensions beEach causethey are onlyrelativelyimportant. will decide how big or small the ‘ set ’ shall be. Round the front of the ‘ set ’ a small frame to take the cards must be made. The cards should be made from a stiff card and the printing well done, so that when they are in place they give credit to the idea of a TV screen. Incidentally, the knobs on the front of the set should be movable and this can give the performer the excuse of bringing the set to life. The third effect deals again with flowers and 1 shall call it
The Flowermaker’s Scissors. The magician tells a story of the poor paper flowermaker who was imprisoned in Giant’s a Castle. Of how at all hours of the day and night he had to make paper flowers for the Giant. One day he pleaded for his freedom. The Giant, whose name was Magog, said that the flower cutter could have his freedom if he succeeded in a certain test. ‘ ‘ You have boasted of your great skill in making thcseflowers ’. (Actuallythepoor old man was not given to boasting but he didn’t like to upset the Giant). ‘ Now, my poor little man, let us see how clever you are. In this box-(and here the Giant took up a box like this)-I’m going to place some paper. First of all I must tip all this stuff out ’. (Somearticles are removedfromthe box). The Giant suited his actions to the words, and taking some beautiful coloured paper like this he placed it inside the box like this. (‘The pieces of coloured continued on page 20
20
Effect The performer states that he is going to show how a psychic operation is ca.rried out. The subject for experiment is representedbyacard which is signed at one end by a spectator and at the other end by the performer.Thiscard is placed in an examined box (representing the material shell) in aspectator’scare,andthebox is closed. An ordinary envelope is shownto be empty, sealed and placed in full view.Thisrepresentsa waste receptacle. The surgeon now makes cutting motions overthebox.Thespectatoropens theboxand find that the experiment has been successful. Only half of the card is in the box, still bearing theperformer’ssignature.Theperformertakes the envelope andcuts off thetop, withdrawing from within the other half of the card, bearing the spectator’s signature. The two halves tit to make onecomplete card. Requirements One pack of cards with, for instance, the two of clubsonthebottom of the pack. A duplicate two of clubs andarubberband&in. wide to go round the pack. A card box, envelope and a spot of wax. Preparation The duplicate card is cut into two pieces and one half is signed by the performer and placed in the hidden part of the card box. The other half of the card is placed on the bottom of the pack and rubber a band placed around the pack. The bottom of the pack now represents the appearance of a two of clubs. A small dab of magician’s wax is placed on an accessible button. “
”
PETER WARLOCK’S ‘TEENY
Performance Theperformer signs the complete card,and the spectator signing at the other end signs on the half card. The complete card is slipped fromthe bottom of the pack and by covering the end where the spectator’s signature should be. it can be clisplayed. It isplaced in thccard box.The half card is easily finger palmed off the bottom of the pack and the smallpiece of was is transferred to it’sface.Afterthe envelopehas beenexamined and sealeditis takenbackandthecard pressed onthcback of theenvelope kvhichis placedin full view. All is now ready for the operation kvhich is of course successful. When the top is clipped off the envelope, the fingers go into the envelope and thc thumb to the rear, and thehalf card seems to come from xvithin theenvclopc. The \vas is removed with ihe finger nail. Notes 1 . A doubleenvelopemay bc used instead of a card box. 2. The magician’scardmay be used instead oi playingcardsandmaybeprinted, oneend being marked Dead and theother end Alive . I do not knowwho originatedthe movewith a half card and a rubber band* butI first read it in Audley Walsh’s Open Minds in Practical Mental Effects reprinted from the Jinx ”. “
“
”
”
3 ,
“
“
”
”
“
* Margaret Illackay,
about 1920 (Ed.)
WEENIES’-continued from page 19
paper are placed inside the box). ‘ Now7, my good fellow, I shall place this box undermy pillow when I go tobed. If youcan, with your cleverness, make some flowers from the paper in the box, you shall be set free. If you fail you will be compelled to look at the Television for a whole week ’. Thepoor oldflower cutter trembled in his shoes at the thought of such a punishment. Then he thought of the magic thimble that he had seen upontheGiant’sdesk. Of courseyou can’t see it, becauseitsamagicthimble,just like this. At leastyoucan’t see it at themoment.Whenyou knowthe magicword itsa different matter, it appears just like this. (The children say the magic word anda thimble appears). Now fortunately the flowermaker too knew the magic word, and so, when the Giant was in bed, he crept along to the Giant’s study and found the thimble, after saying the magic word. Then to the thimble he chanted the following lines :Thimble,thimble, tell me quick, The secret of the Magic Trick. To which the thimble replied :-
Take some chalkandquicklydraw A Pentagram upon the floor, Touch each point and nod your head, Rub out the star and go to bed. NextmorningtheGiantawoke.First of all he blinked, for the sunlight shone in his eyes. Then heremembered theboxunder his pillow. Ever so slowly he picked it up, ever so slowly he opened the drawer. Great was his rage when he saw that the pieces of paper weregone and in their place were these beautiful paper flowers, so lovely that his ragepassed,andsendingforthepoor old flower-cutter he praised him for his skill and sent him on his way to freedom. This story poor, though it is, is for the very youngand requires little except adrawer box, some spring flowers, athimble and some tissue paper. About twenty spring flowers are placed in between the shell and the box proper and then a number of articles are placed in the box proper. (The choice of these is left to the individual). With the action of the story followed there is little more to say as the trick works itself.
21
The following effect, although requiring a little careful preparation beforehand, is eminently suitable for close quarterwork,and makes an excellent and an apparently impromptu item when performing to a few friends.
Effect A cigarette paper is eitherborrowed orproduced, rolled intoa small ball andhandedto a spectator to place on the centre of the toe-cap of theperformer’srightboot orshoe.Twoother spectatorsarethenrequestedtoapproachand kneel down, oneoneach side of performer,and to placethe fingers of onchand on eachside of the toe-cap, with strict instructions to note that the muscles of the conjurer’s right foot do not move duringthe effect. Someone is thenrequested to say Go ! whenever he pleases, and as soon as the command is made, the ball of paper is seen to shoot right off the toe-cap on to the floor, to the distance of a foot or more. The effect under such test conditions is truly uncanny. “
”
Preparation The effect depends upon the use of a very old piece of apparatus-the “plate-lifter,” but used in a peculiarmanner.Obtainone of afairly good length and Y P ) ) I O ~ ’ Pthe smaller bulb, leaving a long length of tubing, open at one end and a press bulb at the other. This, and a little careful preparatipn beforehand is all that is necessary. The right-hand boot or shoe is removed. The bulb end of the tube is thenplacedintherighthand trousers pocket and the tubing carried from the pocket, up over the top of the trousers and the pants. The end of the tubing is then taken down inside the sock as far as the instep and then forced
‘Presentation, George Johnson. Adaption, George Joyce. Do this.Secretly shuffle acard(queen of hearts)to thebottom of pack. Deal three cards, faces down, in a row, A, B, C, left to right. Continue dealing until, finally, the queen is left on top of ‘ A ’ packet-on your left. Turn all packets faces upwards. Take the top card of packet ‘ A ’ and place it face up a littlein front of thatpacket. Do the same with thetopcards of ‘ B ’ and ‘ C ’. (Should a top card be a court card, do not use as
through the wool of the sock to the outside. The boot or shoe is now put on again, and in tightening the lace, the extreme end of thc tubing is fixed in a position right at the base of thetongue,in such amannerthat when thebulb is pressedin right hand trousers pocket, a currentof air is forced overthetoe-cap.Thebootorshoemust, of course, belaced up in such a manner as to completely hide the tubing fromview. The ideal type of boot or shoe to wear for thc trick is the Derby but even with the ‘‘ Oxford style and a little ingenuity,thesame result can bc achieved.When oncefixedinposition and thf. boot or shoe lar‘qd up fairlytightly,theapparatusmay be carrled about, all day without any inconvcnitnce, and will always be found ready for use. The working of the effectnowneedsvery little explanatior;. The cigarette paper is produced and rolled into a ball. It should not, however, be rolled too tightly ; the looser the ball the better. It is thenhanded to somebody to place onperformer’stoe-cap ; theconjurer at thesame time placing his right foot forward and adopting a position as natural as possible with both his hands in his trouserspockets,therighthandgraspingthe bulb.The two otherspectatorsthen place their fingers (of one hand) on each side of the toe-cap. The force of the air is not strong enough to be felt by the two spectators assisting, and their presence their greatly enhances the effect. Shouldtheperformer find it unnatural to stand with his hands in his pockets, the bulb could very easily be fixed in position just underneath the coat on the right-hand side, in such a manner that, when the right hand hangs naturally at the side the fingers can press the bulb against the palm of the hand without any suspicious movement. “
”
”
itcould only count as a two spot. Just exchange thecourtcardforanycard in thepacket. It is better if the cards vary in the numbering of their spots). Turn your packets ‘ A ’, ‘ H ’ and ‘ C ’ faces down.. Pickuppacket ‘ C ’ and place on ‘ B ’, then the two packets on ‘ A ’. To the three visible cards in front of you add, just below these cards, fromthetop of your pack,and faces down,as many cards as will in conjunction with thespots onthe visible cardsbringthenumbers up to eleven. continued overleaf
22 CEORGE J O H N S O N ’ S BY THREE-continued from page
Foresample . Supposethecardsappearas fol1on.s :*A
B
ti spots Add 5 cards
49Spots Add 7 cards
C spots Add 2 cards
c.
1 otalthenumber of spotsonthecards in view. ( Ignore those you have placed faces down) . Intheesamplethe Eumber is 19. Dealdownto the 19th cardfrom yourpack.This will bethe queen o f hearts.
Whatevernumber is indicated by thetotal number of spots,thequeen of hearts will be at thatnumber when thecards in yourhandsare dealt. A l l theforegoing may bedone by the ladyto m:hom youshowthe trick-see prescntation. (This with theexception of ‘ placing ’ the queen to begin with-of course). Presentation. This is a trick wherein a iady can discover how she is regarded by a boy friend. Here is a well mixed pack of cards-will you take thepackplease. Will you now dealintothree heaps. Turn over each heap and place the facing card by itself in front of each heap. Change any I Lvant you to co11rt cardforanotherplease,as “
There are many effects in which the borrowed coin or treasury note is found in an orange or a lemon. Here is an unsuspected use to one capable of keeping three articles in juggling formation. There is noneed 10 bc expert--only a few turnsare nc.cessa@.
21
countthe . Y # U J f . Y . y o u maychangeanycard you wish. Satisfied ? All right, we canproceed. Now dealjust below thosc cards you have set aside, sufficient cards to make totals of eleven, counting the pips of the visible cards and to these numbers adding sufficient cards from your pack. (See prior instructions). Eleven is an odd number and odd numbers are lucky. I see your first card is a six spot, please adcl five cardsjustunderneath.Thenext,fourspots. Please add sevencards.Thethird, nine spots, please add two cards.What is thetotal of the first three cards you laid down ? Nineteen ? Will you please takethe pack anddealtothe nineteenthcard.Thequeen of hearts ? Thenyour boyfriendmustregard you as his QUEEN OF HEARTS.” “
Theexample given is merely tomakethe description clear-one hopes. The trick works in any case, whatever cards are placed in a rokv, as pertheinstructions. Remember that when the lay-out is madeas described, these cardsareno longer required exceptingforthepurpose of the‘ addition.Thecardsare allgatheredtogether at the end of the trick.
hearingthisyou simply waittill thc loaded orange is in either hand and imlnediately raise this hand high in the air and at the same time allowingtheother two orangesto drop tothefloor. Simply say We willuse this orange which was in my hand when our friend called ‘ Stop ’. Nothing could be fairer ” . “
“
The fact that thc chosen orange was not necessarily in your hand at the critical moment is neither here nor there,” as your audience had no notion what was about to happen. This is a smut force bringing a little lightness and variety into the effect. “
Suppcm the tray containing the fruit is brought on AFTER the loading has been done offstage-performer picks up three of the oranges and asks a person, sayin the front row, to say“STOP” ashe,the performerjugglesthe fruit.Opportunity for amusement comes here if the volunteer is too slowin calling out. Simplystop yourself and say Lookhere, old man,you’renot cooperating. I cametoconjure not to throwfruit intospact. as jugglers do.”That lets youout should you drop thefruit.Startagainand you will soon get thcb cease throwing call. On “
“
”
”
”
“
This force canbe used if youare working single-handed : theorange is preparedreadyto receive the coin or note. As you make your selection of the three oranges you have ample time to load up especially if the tray is piled up with say about nine oranges.
23
As it is unlikely that this issue will reach you beforeXmas,may we takethisopportunity of wishing our readers,contributors,publishersand printers a very prosperous New Year. This has been a most hectic month, and we’re beginning to hatethe look of aslatefor the ‘ Miracle ’ slate has kept us more than busy. Talking of slatesmakes us think of mentalism which which Harry brings us to the Himber Book Test Stanley is stocking at a price (we believe) of thirty shillings. All you who arementallyminded,and those who may not be so but want a good mental item intheirprogramme,pleasedon’toverlook thisbooktest. The moreyou know about book tests, the better you can build up this super effect. It must certainly have been a most expensive item to produce. Ken.Brooke, whois makingup an idea of ours called ‘ TrigonTwin ’ sent us alongthe finished article. We can not only congratulate him we very finely aon finished quite but job don’t know how he has achieved part of the effect. When we sentalongdetailsand a rough (and believe us it was rocgh !) model of the rhing we offered a suggestion or two for the make-up of the vital part.Ken.has gone about ten better,and
“
SCARNE’S MAGIC TRICKS,” by John Scarne by (’ro\\m Publishers, Inc., Ne\\. York. Price
( published
$2.95).
Some time h c l \ thesameauthor apt1 thesame publisher protlucecl “ ScarneonCardTricks,” which containetl 11 couple of hundred self \\,orking cartl tricks. I t \\’as a t)ookstallpu!)lication\\.ith a price that appareutly accorded \\ith the ethics of S.X.AL. and the .imericarl Societies.Thepresent hook is not concerned \\-it11 cards, a n c l a s a subtitle uses the \vords The 200 I)est tricks an\rone c a n (10.” There’s another c!ifference too. I n the card book, Scarne did give credit i n a limitetl \\.ay to the originators or performers of thetricksdescril)ed. The present book cuts outallthat kintl (11 onse sense, and not onecent. of recognition gi\ren is to the originators of many of the- effects tlescribetl. This is Scarne on Scarne ” \).it11 a vengeance. \\’hilst many of the,,effects are tlefinitely oldies , the files of the “ Jinx and other contemyoran- prrhlications ha\.e been raided and ra\ragetl so thattheman in thestreetcanhavethe zoo Ilest tricks thatanyone can do ” ! Anyho\\., we ~houldn’t I)e cynical, for the pu1)lisher in his note remarks that Scarne lives and breathes magic and \\.antsto spreatl the gospel. One has t o believe this, for after all to a man\\.ho, ;ts hispubli.;her also says, gvts upto a thousand 1)ucks for a n appearanceand a couple o f huntlred 1)ucks for a single lesson would look o n the ro\.alties of a Imok like this as mere chicken feed. “
“
“
”
“
Heing serious W C sav \mu \vi11 hxve t o havethis book,for in one volume .is collatessome really fine i’e?ts of \vorth\vhile ma ic. Some of it is much too good €or general pubfication. as, for example, the CentreTear BurntNote in En\-elope ” . ver“
’ I ,
“
we are waiting to know just how he achieved this
piece of work. The effect, so Ken. tells me,has proved a very good seller, and he is awaiting some more little plastic stands nrhich go with the effect. If you want, and we say this with all modesty, a prediction or coincidence effect with playing cards that will really stun an audience just write to Ken. for particulars. His address, as though you don’t know it, is :-log, Thornton Road, Bradford, Y orks. Our friend Leslie Mayis working on a complete issue for our February (Annemann) number. We have no need to say anything more for those who have been constant readersof this bulletin and the J i r l s know that Leslie has one of those fine and subtle minds. We are looking forward to hearing and seeing Trevor Hall give his Hoffmann Lecture onDecember14th. A fine magical mind and undoubtedly a fine magical treat.
To Bruce Elliott. We have the answer to the Orson Welles introduction to c as Hobby ,. be writing to you. News of the I.B.M. (British Ring) Dinner in February. A good date shouldmake for a good attendance.
sions o f Sefalaljia and so on. One thing x\ e do \\.ish is that inthe compilation some sort of order hat1 been :tchie\red, ; ~ n dt h a t coin tricks could have occupietl OIW section, and so on. ”
‘l
\Ireshouldimagine that this book mightrate a n Englishedition a t some later(late, \\.hicl1 is another reason why !wu shoultl buyit no\\.. You undoubtedly at some time or theotherperform \,emions oi some of the effects detailed, xnd nothing could be \verse than after snch a performanceto have it described l ) ? a lay purchaser of this l ~ o o k . The lwok is estremc.1~-\vel1 produced, ancl j t s generalappearanceand also thebinding, look to u s far 1)etter than those o f Scarne 011 Cards and Scarneon Card Tricks.” On n o x c o u n t fail to get hold of this inexpensive comp,?ntlium o f impromptu trickerv. ”
l ‘
“
“ THE NULLIFACTOR,” L: 3erivs of’ Card Effect5 based upon a single principle, b>+Ste\vartJames (published byFrancisI-Iaxton, ‘ ‘ St.r\nthon\-’s,” Nonsuch \\’alk, Cheam, Surrey. Price 5 / - ) .
A long \val- back Henr\. Christ clescribecl what ;blnemann caled the 203rtl Force. Idater Paul Curr!. cut out the necessary fake cartl, and no\\-Stewart James has come along \\,it11 another\.ariation. Mrit!1 thisvariatioll he has producetl some seven mysteriey all of \\.hicl] shoultl pro\.e effectix-e. Of these \ y e particularly like Ace Assembly ”, and Coincidence upon Coincitlence ” . Those who ha1.e follon-et1 Ste\\rart’s contributions from earliest times onward\\.ill certainly acquirti thislittle booklet. Those who are newcomers to magic \\-oultl c10 \\.ell tobuv thi. and so o1)tain an introduction t o one of t h e outstantling men of magic. “
“
I
TON1 KOWNINI’S
CARD MIRACLES TON1 KOYNINI, a ne\\. autherinthe magical Jieltl, 1)rings to ~ C I Usome fine card magic with a new approach. o f six star CAN’T S E F is a compl(~tecardact effects that is performed genuinely blindfoldetl. A spectator shuffles the pack, and the performer (I) tleals out all thecourtcartls, ( 2 ) separatesthesecourt cartls into suits, ( 3 ) runs through pack and places thecorrect ace on each])ile, ( 4 ) dealsthepackhaphazardlyintotuw piles, awl turnsthemover t o show one pile all redant1 theotherallblack, ( 5 ) instantly cuts to ;tnv cart1calletl for, ant1repeat:, as required, ( 6 ) conclu(des \ v i t h Paul Curry’s famous Out of This \I‘orl(l routine. I n atltlitioll to tlli.; sensationall~linclfoltlcard act, there are seven more fine effects, Gambler’sDelight, A.H.C. I h t l e r , Koyincitlence, The Last Card, Any Numl)er, Evens, and One P?und Revelation. And finall\,,there is Snjtch I t , twovery fine effects that st;trt off \\,ith a n ordinary pack, baffle the autlience, anti leave the performer with a stacked pack, f o r \\.hate\.er is t o f o I l o \ v . ”
“
HERE IS A BOOK YOU MUST HAVE Price 7 / 6 ; postage 3d.
No
MIRACLE SLATE MORI-
IS
Finland Bristol Manchester Loughborough Cambridge Bournemouth Southampton Derby Plymouth Haltimore Nottingham Scarborough Swindon Torquay UNTIL1953 What They Say A HC‘MDINGER ”-Jeff. Atkins. ‘‘ IT’S BRILLIANT, THANKS A MILLION -A1 Koran. A REAL MIRACLE ”--Billy McComb. Price 50/ - from PETER WARLOCK 24, Wordsworth Road, Wallington, Surrey ‘ l
”
“
FromthePublishers.
T H E MAGIC WAND PUBLISHING 11, Monastery Gardens, Enfield, Middx.
CO.
-
I
I
READ
PETER
THIS EFFECT
.-I spectator shuffles ;L pack of cartls ant1 cutsthepack any\vhere he likes. The cards ?.ither sick of the card freel\cut to are sulxwquentlv remo\red’ ant1 fount1 t o I1e thecards that the performulmd pre\-iously predicted. 11~.
This is 011e o f a series of card etfects lnsetl 0 1 1 a single move not pre\iously pul~lishetl, and in
THE NULLIFACTOR By
WARLOCK’S
PENTAGRAM is publishedonthe 24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1 / 1 persingle copy. AnnualSubscription 121post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publicationand reviewshouldbesenttothe: EDITORI.4L ADDRESS:
books for
The Magic Circle I’resident : His Grace the I h k c o f Sornersct, D.S.O., 0 . B E., J.P., M.[.M.C. Vice-President: D o u g h Craggs, Esq.. M.I.M.C. h
ClubroomandLibraryand
Magical Theatre :
King George’s Hall, W.C. Particularsfrom
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
Hon. Sccretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
STEWART JAMES Price 5 / - post free
JACK HUGHES w i l l bepleasedtosend fall details of
from
FRANCIS HAXTON “St. Anthonys’,” Nonsuch Walk, CheamRoad,Cheam,Surrey TfHEJ’ S.iY : (;EC)R(;E H I A K E : c,iplciscertailll!gootl
I ‘
>011
THE DE LUXE “SU-TABLE” his othcr together with all effects in retnm for a stamp. Writennwto
JackHughes, 2, Evelyn Ave., Colindale, London, N.W.9.
‘The Prin-
’ I .
~ - ~ I ~ R . ~ ( ’ X l ) X l J R.X . . :L CONJURING BOOKS FOR SALE OLD ANU NEW.Let me know your wants series o f effects all goc1tl and some LIST FREE FOR STAMPED ENVELOPE extremeli- so ” . N o Callers (:EORC;E .ARMSTRON(; : T just I)een tr>.ing this o u t , a m i i t i5 a \\.inner ” . “
Ila\.c*
GEORGE
JENNESS
47 INVERNESS AVENUE,
ENFIELD,MIDDLESEX
Magic Wand Publications T h i Magic WandQuarterly.Fer copy 318 p . p . .4nnual subsctription 14/6. TheWizard, 36 pages monthly. l’cr copy 2/1 p.p. 6 month 12/6 Year 24i.. Convincing Coin ’Magi: (Farelli) . . 17/10 Mastered Amazement .. (Koran & I.nmonte) . . 10/3 Bohleno’s Mysteries (Dohlen) . . 10/3 The Concert Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 10/3 Chandu’sPsychoanalysis .. . . 10/3 Entertaining With Hypnotism (Dzxter) 10/3 Challenge Instant Hypnotism & Mass Hypnotism .. .. . . 211Strictly Magic (Eddie Toseph) .. 5/3 Stooging Around (Stuthard) 26 Living & DeadTests(Garrett) 5513 /3
.:
Jamesosophy Jameslonly) . . Book (Stewart 48/49 (few 513 Year Stunts With Stase Money (Larnontr) ’ . . 5/3 Tricks of the Trade (Armstrong) From thePublishers THE MAGIC WAND PUBLISHING 11. Monastery Gardens, Enfield, Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin P11blisht.d bytheproprietmThe
Magic WandPublishingCompany, 11. MonasteryGardens,Enfield.Middlesex,andprlntedbyHerbert S h i ~ l e ~Yorluhiro. . Walker urd Son (Printers)Ltd.,WellCroft.
.
.
2/7
CO.,
25
PENTAGRAM An independent monthly bulletin for all who want good magic
1952
Harry Hicksonhas now goneto place a called Harwich,andhe will bemissed bythat select coterie of Surreymagicians. His work is alwaysstudded by alove of detail that makes Express for smooth and faultless working. Delivery (I hopethathe will like the title.for use in therope Ed .) is an ingeniousaid stretchingeffect.Withthis device themagician 1s free fromanychance of the rope becoming entangled. An additionalfeature is that the rope canbepreparedpriortotheconjurer’sleaving for the show. “
”
The illustration marked l shows the holder, the length of rope protruding being sufficient: aftertheholderhasbeeninsertedinto t h e right insidepocket,to go down the inside of the right sleeve to the cuff. I ‘
”
The second illustrationshows the fake when It consists of a shallow box openat one end.This is made from either stiff cardboard or verythin(sayonemillimetre) plywoodwhichmeasures five inchesbyseven. The surround which goes onthree sides is made bycuttingthree pieces of quarter inch square stripwood and then glueing them into the necessary positions. At intervals of one and three-quarter inches (this is assuming thatthe dimensions shown are kept to) some small notches aremade.Thesecanbe clearly seen in theillustration.Another piece of card or ply, five inches byseven, is takenandthis is hinged by means of linen tape to the box where shown. R’hen dry it isfoldedover and notches arecut to correspond with those in the sides of the box. You will alsorequire a piece nf thincard(or betterstill,celluloid)measuringfive and a-half by seveninches,and four elastic bands.
To prepareforthe effect, the box is first opened and placed on a table. Taking the twelve-foot length of rope, sufficient is allowed to go from the pocket top, down the arm to the wrist. Be liberalinthismatter, for it is better tohave a few inchestoomuch ratherthan not: enough.Thelatter course will meanstartingall overagain.Withthislength allowed for, the rope is folded backwards and forwards inside the box. I thinkthat this is quiteclear in theillust.ration. Whenthe box is full,the loose piece of card or celluloid is placedover the open part of
k
it is opened out.
The fake made to the size shown willallow the conjurer to stretch a rope to twelve feet.
the box and rope. Half an inchwill protrudeatthe side. The lid is now foldedoverand, keep-
iilg it downwithaslightpressure, loose card is withdrawn andthen e!astic bandsareplacedroundthefake cach engages in a set of notches.
the piece of three of the so that
Taking of? his coat,theconjurerdropsthe fake into the inside coatpocket, with the procontinued on page ,? i
26
Thisarithmeticalcuriositymightbeintroducedtoafamilygathering in somesuchterms as the following :" Theother evening,forwant of somethingbettertodo, I waswatchingmyyoung son as he did his homework. Among the arithmetical exercises setforhimwasthis. He hadto find thecost of 264 dozenarticles at $ / 9 per dozen. This is the way he set downhissum andarrivedatthe answer." (Fig. 1 . ) S. d. 7 9 264
48 47 158
Thinkingthatthisparticularcombination was amerefluke, I set myself amore complicatedsum,one to includethepounds. \T'hat would be the cost of 6 4 i dozen articles at C: 12 2s. Id. perdozenApplyingtheformula ,of my son tothisproblem, I gotthisresult, .whichis againcorrect (Fig. 2 ) :"
S
S.
12 2
d. 1
64& 48 448 732 6
Fig. 2
Fig. 1
" I worked out the sum in my own lengthywayand,to my amazement,found thatthelad's answerwascorrect.Thinking that he must have cribbed. the answer, I asked him how he had workedit out. He explained that he had simply multiplied the digits first by 6 andthenby 2. The & he explained by saying that 8 times nothing is &.
" The multipliers 60*,61&,624 and 63i could be used equally well. " There, my friends, you have a short cut to multiplicationsums; butdon't blame me if the results you obtain are not always what they shouldbe." Pairs of numbers of thiskindcanbeeasily found if one is mathematicallyminded. As a guide, I will add that the number of pence in the multiplicandmustalwaysbe 1, 5 or 9 andan even number of pounds must be carried from the shillings column to the pounds column.
that of Foreword.-The theme of this effectis my own " Taped Slates ", which I described Patternsfor Psychics ". Themethod, in however, is entirely different, and undoubtedlybetter,forthemechanicalslate is eliminated. Effect in Brief. The mentalistwritesthreepredictionsona slate. As eachpredictioniswrittenit is covered witha piece of cardboardthat is keptinplace by means of two clips. All these predictions concernnumbers,coloursandpatternsdecided uponbythreemembers of theaudience. The climax of the effect comes when the pieces of card are removed by a spectator and it is seen that the mentalist has been correct with all his prognostications.
Requirements. All thesethementalist will haveon hand; they are as follows :One slate (the larger the better). Three pieces of cardboard;theymeasurein lengththewidth of the slateandtheir width is approximately two inches. One stick of white chalk. One parti-coloured stick of chalk; this is madebytakingashortlength of red chalkandjoiningittoasimilarlength of greenchalkbymeans of adhesive tape. Six similar sized Bull-dog or similar clips. Twelve business size envelopes. Six pieces of white cardboard similar in size to a playing card.
"
20)205
44
S10 5
44
A visiting card. A pencil. A pack of cards consisting repeated forty times, together with twelveindifferentcards. A littleconjurer’swax. Six glasses.
of one card
Preparation. The six pieces of white card are.first painted on one side with red paint (poster paint is best). When dry hulj of the opposite side is also painted red; theremainingunpainted partsarepainted green,blue, yellow (ororange),brown, black and pinkrespectively.Needlesstosay,as an alternativetopainting,the pieces of cardcould be completed by glueing or pasting on the necessary coloured papers. The twelveenvelopeshave now tocomein for some attention.Theyaretakenand witha pencil the gummed edges are eased apart so that the envelopes can be opened out flat, thus :The ADD.RESS sides of theenvelopes are now pastedtogether, bu! pleasenotice thatthe flaps are opposite in direction (as in illustration).
(’/
‘\
The giasses are placed in line a across the mentalist’stable and againsteachone is rested oneoftheenvelopes;they are placed so that in each case if theflap were opened and thecard drawnoutthefullredsidewouldbeexposed. Just behindthe glasses is placedthedeck of cards(thetwelveassortedcardsbeingonthe face), and toitsleftthevisitingcardon which the figures 1 to 9 have been boldly written. This card is so placed that if the mentalist is working left of the tablethefigures will appear upside 1~owv1,
The pieces of chalkare now placedinthe right hand pocket (the mere binding of the tape preventsanyquestion of confusionwhenremovingfromthepocket), whilstthestrips of card and bulldog clips are placed on an adjacent chair. In amomenttheslate will beplacedupon the chair,too,butbefore.carryingoutthisaction, the men-i-alist writeslightly in pencilacross the toppart of theslate “ 1 = ” andthenacross the middle of the slate (the letters should be less in height than the width of the covering strip of card) 2 = Red ”. Underneath this, again usingthepencil,hewrites “ 3 = 8 of Spades (or wb.ichever card is repeated forty times in the decklyingonthe table). This preparation completed, the slate is placed on the chair, the mentalist being aware which end is which. “
”
The Stage Is Set. The mentalist,whilstwriting on theslate, works so thatthetable is tohisright andthe chair on which sundry items are placed, is on his immediate left. To the(mentalist’s).right of the table is another chair.
Presentation. The linesspoken italics.
When the paste is dry a slit in length the width of thepaintedcards is made acrossthecentre with arazorblade;thisjobdone,theenvelopes are, withtheaid of alittlemorepaste, made to look likeenvelopes again. Youshould now have sixenvelopes that can beopened on eitherside. Now insertone of theparti-coloured pieces of cardboard into the slit and it will be seen that if theflapononeside is opened 2 (say) blue card willbe showing,whilst if theenvelope is turned round and the other flap is opened a red card is showing. Havingmade these six envelopes,take theparti-coloured pieces of cardand placeone insideeach. To makequite sure whichside of theenvelopeshowsred,it is mostadvisable to place a small pencil mark somewhere on that side of the envelope. In all cases a very small dab of conjurer’swax is placedundereachflap so that it stays put and will not spring or fall open. “
”
by thementalist
are id
LadiesandGentlemen . . . throughoutthe ages man has forever tried to pierce that cwtain whichseparatestheunknownfromtheknown. Lifefromdeath,thefuturefromthepresent. Sometimes in the last phase his experiments are successfulandhefindsagap in thatcurtain. To-night, I too, wish to t r y w c h an experiment, and for this I shall require the assistance of three called for members of m y audience; they will be thispurpose “ Mr.Scarlett ”, “ Mr. W h i t e ”, and “ M r . Green ”. First of all, ‘‘ M r . Scurlett ” . . . would youmindactingthatpurt?
(Thistoa member of the audience . . . ashe says this the mentalist lifts up the slate from the chair with his left hand, whilst his right goes to his pocket and removes the parti-coloured chalk, keeping his hand closed overit. The slateis broughtup tochestlevel, the pencilled writing appearing UPSIDE DOWN to the mentalist and the right hand moving across into a writing position. At the moment that the right hand is covered by the slate, the right hand opens and taking the piece of chalk with his fingers so that onlythe
28 piece of RED chalk shows, it movesoutsidethe cover of the slate so that those near can see that the mentalist has a piece of red chalk held in his hand). I'oll ( L y e willi,rg to co-opeunte ? Y'll[ltlk yolc
TlcrJr mrrch.
(LPProPriute to goirlg t o 011 this s l r r t e .
dim
Il'itlL your prese write a
tl1i.s tat .;ix
piece of c l d k pswdo11ym, I figure tzumber
(Bringinkthechalk backtothe slate and keeping the latter at an angle of sixty degreestothefloor,thementalistsimply reverses the piece of chalk and in green writes in the normal way, i.e., FROM LEFT TO RIGHT, the letters and figures that the proper way up will appear as 3 = S of Spades. The fact that this has already been pencilled makes the accomplishment straightforward. The right hand now drops the parti-coloured piece of chalk into the right hand pocket, the slate being transferred to the right hand whilst the left hand takes a piece of card and one bulldog clip from the chair. After fixing the card in place with one clip at one side of the slate, the other is picked up and slippedover atthe oppositeside. As he does this the mentalist remarks) . . . .-l s i x figure Ilumher, sir, which irz u matter of seconds I thinkyouwillverhallyrepeat.Now,sir,just relax-let your p r e s e n t t h o u g h t s v a n i s h v e l a x and then telltheaztdiencethefirstsixnumbers thatellteryourmind . . . " 761057 " . . . pleaserememberthatrmmber, or betterstill,jot it. & m 1 1 . . . you aredoingthut ? . . . Thank y)lr. (It is importantthatthementalistMUST a forremember this number. This doesn't sound
midableproposition, but I know thatthereare many who cannot easily do this. The alternative, therefore, is for the mentalist to have another slate o r blackboard on the stage, and without asking the spectatortojot downthefigures,hetakesthe white chalk from his pocket and does the job himself so thattheentire audience will havethe numbers in front of them. ) N o w for a second helper . . . you,sir, tlzankyou . . I shall call you " M r . W h i t e ". Keeping your pseudonym in mind too, I shall use this chalk for you. (As he says this the mentalist, still holding the slate, swings it round so that the ,audience can see thatthe first (?) section is covered. This is done casually with the left hand
whilst the right hand goes to the pocket bringing .out the piece of white chalk. As he goes on talking to ( ' Mr. White ", the slate is swung back into writing position whilst thepiece of chalk is casually tossed a few inches into the air and caught again.) For ?IOU sir, I a m not at the moment giving you .nnv clueastowhat I am writing . . . youwill in n fewmomentstime. (The understandwhy
mentalist now writes from LEFT TO RIGHTwith white chalk over the pencilled lines which fill the centre of the slate, i.e., 2= RED ; the white chalk is droppedintotherighthandpocketandthe second piece of cardboard is now taken and with
the aid of two more bulldog clips is fastened to the slate so that itcoversthemiddlesection.The slate in this condition is then placed on the chair SO thatit restsagainsttheback.Theaudience can now see the first and second predictions 0 1 1 t h i s table there covered.) N o w illr. Il,'lrite (Lye sixetmelopes . . . I I Z I ~ O W tllclt y o l r I l u n l c . 110 itjell whut Lheyco.rstaitr . . . to yolr they 1111 w i l l trppear similar, I watz.t yot1 t o choose o11e elt"~'~>loPc?, "
l ' ,
hlrt ,tot w i t h U " snap " tlecisiolt. Cllulzg-e p u r rrtirld as much LIS you like brrt trltirncltely let y w r c/l;icefall 011 otte. I s tlrat quite clear ? (The
mentalistlooks at thespectator whilst hemakes H w e yozc )row decided ? J u s t up his mind-then) stop me as I tozrclz ymrr erwelope. (The mentalist starting from his left hand side, touches each envelopeuntil he is stoppedbythespectator.The selected envelope is then picked up and placecl on top of the glass against which it previously rested.) 1-011 ( w e quite satisfied with the freedonz of clloic-t.? Thank you! Now Ladies u n d Gelltlenlr~z-tlLe final testthis time with r' Mr. Green ". Y o u will play tlrut part ? T h a n k y o u , sir. (This to spectator picked
out by mentalist who affirms his wish to play this part). Thistimeuguillsomething-different . . . Mr. Scarlett " thozrgltt of some particular U set of I L ~ r m b w Y s . . . he w a s thing,namely asked t o dothis . . . " M . r . TT/ILite '' clzosr rrn emelope. E v e n nowhedoesnotknowitscontents, thus his decisiort was uastly different from " 1Ur. Scarleft's ". " Mr. Green '' will help me withsomethingfarremoved fr0.m either of the two previous experiments. At this point the slate "
is picked up by the left hand whilst the right hand goesoncemore to thepocketand closes again roundtheparti-colouredchalk. As in the first case it is withdrawn in the closed hand until the cover of theslateallowsthementalistto know which end is which. The green end is brought up overtheslate and, withoutcomment of course, showntotheaudience.Thementalistremarks) For " M r . Gree1.r " (reversingtheends of the chalk under cover of the slate he starts writing the numberchosen by the FIRST SPECTATOR, which thementalist has remembered.This of coursemustbewritten UPSIDE DOWN and in reverse and this is where the visiting card on the table comes in useful,aswithoutthinkingabout writing a number upside down, you have only to notewhatthenumbers LOOK LIKE UPSIDE DOWN & THEN COPY THEM. The = sign and the 1 arealready pencilled in, which makes for speed. The third piece of card is now picked up and placed in position by means of the two remainingclips. In thisstatetheslate is shown and placed flat on the seat of the chair, the long side paralleltotheaudience.) N o w " :\fr. GreeIl I a m g o i n g to ask y o u to choose o P A T T E R N . T h e ,lJ
find in easiest recognisahle patterns that one can p n n t i t y are playing- cards (the pack is picked up from the tablewith the right hand). If I asked L ~ l o u f o merely think of one of these (as he says this, the
bythelefthand,the righthandcrumplingthe envelope and allowing it to drop on the floor. The left hand now passes the red card to right hand turning it at the same time but so taking it that the othercolouring is notseen,i.e.,therighthand takes it so that the red half shows above the hand. It is thenplacedonthetable red side up.This, as a trial will prove, constitutes a natural sequence of movements). You see, sir,without hl107ili1~g it
mentalist deals from the face of the deck some ten of the twelve assorted cards) you might possibly he led to believe that in some psvchological Way yolr could he compelled to fix mind 011 one particzrlar pattern. The test I u m going touse of all I wantyoutoseat obviatesthat.First vowself liere (mentalist indicates chair by the side ?lour
of table. If the hall is fairly large where mentalist is working, the spectator is invited up IMMEDIATELY AFTER the slate is placed on the chair.)
”. If yoII had chosen this el~velope (here mentalist picks up nearest en~ o r chose r the colour ‘‘ ,recl
N o w sir, I am goiug to spread thecards face down
(don’tforgetthatthe audience has beenshown several different cards and there should never be any suspicion in their minds that forty of the cards aresimilar. The cards are ribbonspread in such a manner that the twelve bottom cards of the deck are coveredbytheremainder. The line of cards shouldbe at leasteighteeninches in length.) r r Mr. Greet1 ”, I want you t o place your right
r ~ h o ~ ’the l e cards . . . handaboutthrecinches that’s right . . . just there. X o w please let your hand move backwards a.nd forwards without To thisgelltleman. in the anyconsciouseffort. alrdiellce I u m g o k g t o tltrlld the slntc. (The slate is picked up and handed tosomeone in front. It is placed in his hands so that the top strip of card
coversthenumberprediction. The time that has elapsed between placing the slate on the chair and its removal makes this natural reverse indetectable) wrd I wunt him to say ‘‘ Stop ! ” whenever h e wishes. W h e n he says this I warlt you to let y o u r first finger fall on the card immediately below it . . . t h t is w d e r s t o o d ? Now,justkcepthe I ~ t r f l t lmoving . . . cc11d y o u , sir, s u y the word wlzell yozr wish ! (The spectator holding the slate
says stop and the spectator lets his finger fall on to a card). Just p u l l that card away frorjL the rest (the spectator does so, thementalistpicking up the remainder of the cards and dropping them into his pocket.) “
”
X o w T.cldies andGentlemen,letmequickly recap. . . . On theslatewhichyouhold,sir, T made a note of three things whichI saw through CL Gap in the Curtain of Time. The first thiflg that I wrote was a wlmber (md it was written for ozrr friend “ M r . Scarlett ” it1 ,red! . . . will y o z r please card-(Thespectatorwiththe removethefirst slatedoes so). N o w “ M r . Scarlef-t ”, will y o u please repent that six figrfre number thut y o u saw i n y o w mind . . . ‘‘ 761057 ” . . , andyou w h a t I wrote 0 1 1 the sir, will you. please read out thespectator ; the slate (“ 761057 ” readsout mentalist repeats this in a loud voice). I was right with your number. N o w sir, pleaseremovethe second card . . . M r . W h i t e ” choseanenvelope . . . inthisenvelopewas a piece o f col0 w e d card (as he says this the mentalist picks “
up the envelope from the top of the glass in such a way that when the flap is lifted the red card will show. Again with the lapse of time in placing the card on the glass and removing it, the position of the original flap is forgotten by the audience . . the flap is lifted and the red faced card withdrawn
.
velope,opensflap and slightlywithdrawscard, pushing it back into the envelope and then laying the latter on the table) you would. l l ~ 1 v aI z c d blue, i n thisone ornrlge and so o 1 1 (this ashevery quickly picks up and opens the envelopes one at a time and thttn placing them in a heap on the table. Theslightpullout of thecardshouldappeara natural gesture, and of course not more than half a card must show). Againsir, I say,without. knowledge of what you were Irltinzlctely choosillg y o u chose “ red ” . . . wJwt did I write on the slate for “ Mr. W h i t e .’’ ? (the spectator reads out ‘‘ Red and this repeated in a louder voice by the mentalist.) T h e secolzd ~ie7e1tlzrozrgh the gap was ”
correct ! Lastly our frielld here “ Mr. (;reell ’’ became f o r thzmoment an. automaton . . . his handplayingthepart of a. pelzdtllzltn tll(Lt wcls stoppedhythe gerltlemarl llolding theslate. Thr lastthing I sawthroughthetimegap was t h e putterlz of a playing card. Will yozr please remove the 1.ast strip of card and retcd what I ha-ze uyittcr,? (thespectator does so and reads 3 = 8 of “
Spades ”. Again the mentalist repeats Eight of Spades ”. N o w (to Mr. Green ”) will ! l o l l “
“
p l e r ~ . ~lift e ZLP the card o n whicll T o w fillger its n u n ~ c? . . . rl’]ze .stopped U I I ~ say aloud Eight of Spudes ! T h e thirdvision svas correct. Thank you very much, sir. (This to the spectator
on the stage.) Footnote.-The readermay well wonder why I havetakenthetrouble to make useof the slit envelope,whenadoubleenvelope andadditional pieces of cardwouldsuffice. Theobjections to thiscourse were ( 1 ) the envelopecouldnot,afterwithdrawingthe coloured card, beeasilycrumpled (having another card inside) and (2) the fact that on so many occasions there is unavoidable light at theback of theperformer,which,in the case in point, would silhouettethehidden card.Those were two of my reasons for originatingthepresentforce. To thosewho, at sometime or theothermight wish to use alternative forces, may I suggest that the Stanley Collins’s Poem Book offers an excellent choice fora chosen word or words whilst an indetectable method for forcing a colour, name or city, can be found in my own tumbler ” force in “ Pattern for Psychics ”. “
”
“
30
This is byway of being anaddendum to ArthurCarter’s One Red Card ”. It is an effect that Mr. Clarke has been working for some time.* It is certainly a most effective problem of coincidence. P .V ’. “
The Effect. A blue-backed pack of cards is shown to the audience.&Ared-backedcardwithoutitsface being shown is openly inserted into the blue pack which is thenshuffled. The top tencards at the face of the pack are then dealt face outwards on to a stand. Alternatively,theaudienceindicate which cardscan beplaced on thestandas the performer deals the cards face upwards on to the table.Thepack is slowly fannedandnoredbacked card is seen. Asking forany number from1to 10, andthis beinggiventheconjurer, aclip is placedonthe card. The remainingnine is seen that they cardsareturnedroundandit areallbluebacked.Thechosencardcarrying theclip is turnedroundand itis seen to bethe red card! The Requirements. 1 . A card stand as shown
in illustration.
cards which havebeen of thesame split and faced withcard
2. Tenred-backed
The twenty-first of December was aday of magical tragedy.Thatday saw the death of Harry Kaye and of Jimmy Findlay’s wife, Jean. We first met Harry Kaye at the Magic Circle way back in 1930. I n all the years we knew him be never changed. Always ready to help a fellowmagician,neverpushing himself forward, hewasamountain of strengthtotheBritish Ring, where after many years of tireless organisinghebecame,a few monthsbeforehis end, President. I t is difficult imagine to a BritishRingmeeting of any kindwithouthis presence,and we know that thiskindly-hearted NorthCountryman will bedeeply missed by all who knewhim. Whilst Jean Findlay was great not a attender of magicalfunctions,shewasknownto many of those who came in contact with Jimmy .
material as that covering the stand. (Actually,themost effective covering is to obtain some imitation wood-grained paperand use this. It is light,easyto apply,and thestandwhen finished does notlooklikeastage prop.)The backs of cards the roughened, faces the polished. These cards are placed face side out on the stand. 3. One red-backed card polished on the face, roughened on the back. 4 . Oneblue-backedcardroughenedonthe face and polished on the back, 5 . Theremainingcards in theblue-backed pack are polished. The Procedure (in brief). The red-backed card is taken and inserted in the pack next to the face of the roughened bluebacked card. The pack is then shuffled, care
being taken that the processed pair is left outside thetentopcards.Theselatterarethendealt outintothedivisionsonthe stand. Whenthe audiencehaveindicatedthecardtheywish,a small bulldog clip is placed over the card (actuallyoverthered-backedcardonthestand andtheblue-backedcard in front. Because of theside pieces of wood, the two cards will be perfectly aligned). The blue-backed pack of cards isnow taken,and with thebacksfacing theaudiencethecards are leafedthrough showing that there is no red-backed card in the pack. All the cards excepting that marked with the clip areremovedfromthestandandshownto have blue backs. Finally the clip is lifted, turned round,andit is seen that thechosencard is the red-backedone.
Shewasahelpmate who cannever be replaced. On behalf of allourreaders, we extendour deepest sympathy to Mrs. Kaye and Jimmy Findlay in this most sorrowful time. The foremostaim of the Magic Circle is ‘‘ The Elevation of the Art of Magic . All too seldom are we given enlightenment on this touching phrase, the general tendency seeming to be that of obtainingmoreandmore members irrespective of whether such members are interested in magic or whether they are likely to bemagicians. It was thereforesomething in the nature of arealtreat to attendTrevorHall’s winningHoffman Memorial Lecture u n December14th.Here was the finest magicallecture it has been our privilege to attend during our thirty yearsassociationwiththe Magic Circle. It was a splendid piece of scholarship attended with ”
impeccabledemonstration. Whydo performersunnecessarily handicap themselveswhenperforming? A couple of fairly recent instances are those involving genuine blindfoldfeats of card magic. A blindfold, so far as the general public is concerned, is a blindfold. The addition of extraneous articles in covering the eyes more is likely arouse to suspicion in theirmindsthatall is not as it should be, with the result that the genuine
blindfold merchant is possibly more suspect than a common Those who use nothingmorethan handkerchief. This is, of course, purely a psychologicalhandicap. The worst of the matter IS that, as the performer cannot see, he is definitely at the mercy of any assistant who may not play the game. January 24th sees the revival of a club-room wpper.Fromour knowledge of the arrangements,it will become anannualevent.
TONY KOYNINI’S CARD MIRACLES (Editedand published by George Armstrong, 11, Monastery Gardens, Enfield, Middlesex, price 7/6). This is a well produced little booklet of nearly thirty pages andcontainsamatter of thirteen effects. All of theseeffectsneed little more than apackorpacks of cardsand some areextremelygood. Of theirpracticability there is no doubt. ‘ ‘ Switch it, the first effect in the book, is a most effectiveitemwith anadditionalfeaturethatthe performer is left \vith a stacked pack that can be used for iater effects. For close quarter xvork it is an excellent item. “ Gambler’sDelight is oneofthoseroutines \\-here the performer deals o u t successively a number of \\inning hands foI variouskinds of card games.This is followed by “ A.B.C. Dealer ” lvhich makes a very nice cardtableitem. Can’t see! is acompletecard act inwhich the performer is genuinelyblindfolded. (As we havenoted e!swhere, \vefeel that in striving to make magic under harder conditions than are necessary, much effect could be obtained, \\ere limited sight available, is lost). Koyincidence, ” is a coincidence ,etFect Irhichhas as its basis of locationthe 26 cardlocation.Wedo feel that here the method of having a card selected and ultimately obtaining its value, is unnecessarily longwinded. The discovery of the card couldbefoundwith a muchsimpler and moredirectformula. The La: Card,” is in effect a version of Farelli’s “ Mystic Seven, but in thisversion, the performermatches any card drawnbythespectator, even though he is unaware of the value of thatcard.The following item, “ ,4ny Number,” is one of the bestin the book,andthough rather slow inaction,it is an effect to beperformed and remembered where the audience is small. “ Evens,” \rhich follows is also very good, and so too is the One PoundRevelation U hichconcludes the book. This last effect is out of the run of the other items for i t introducesaphysicalside of magic. All inallexcellentvalueformoney anda book \\,hich nofollo\t-er of card work shou!d pass by.
’‘ METHODS FOR MIRACLES ”
”
”
I ‘
”
“
“
”
“
“
”
Nos. 1 / 4 (Published by ii’illane, 408, Sydenham Road, Croydon, Surrey, price 3/6 each). No. 1 TheN’gaiDogRace. ” This is an excellentparlourroutine inwhich the performershowshis ability control to the minds of members of his audience.The basictheme is that of racingand in theeight pagesdevoted tothe effect, everypoint is punchedhome. No skill is neededfor its performance, but goodshowmanship is essential. No. 2 Edward Victor’s “ Ring Release from Cord and -4 SuperCardTransposition.” \\-hen we first heardaboutthisring release w.e thought that it followed the pattern of that described in Niller’s FiveRingRoutine.” It differsverymuch in methodand is avery finepiece of natural magic. 1i-e have proved its effectiveness on quite a number of occasions and it is an efi3ct that nomagicianshould pass up. Thesupercardtransposition is verynice, though i t follon-s conventional lines, and ifwe remember righly i.; similar to a Cardini effect. Xo. 3 . The iate E . G. Brown’s IVandering Card.”This is an effect that shouldbesold a t afar higherpricefor it is one of the finestmethodsdevised for the Cards.Icross.”Theeffect is that acard Thought of inabunch of sixtravelsacross toanother h n c h of six. Trevor Hall gave a very fine performance o f this effect during hisrecentlecture. It will become ne of the classics of magic. 50. 1. The late E. G. Brown’s “ Diminishing, Cards.”This,intherighthands,and we repeatin the righthands, is amostbeautifulmethod of accomplis!$ng this classic effect. \Yi:h indifierent handling andsubsequent~uutilation,it couldfailvery badly. For ingenuity and freedom from unnecessary steals i t appraaches perfection, and \re still remember Edward s.l~~s~:ixgthiseffect to us \\.hen he first conceived it. If J-ou callnothandlecards s t t t o ~ , t h l ! y , please leave this alone. “
”
’ I
“
“
“
H A R R Y HICKSON’S EXPRESS DELIVERY-continued from page 25
truding ropenearesttothe sleeve opening,and then runs the excess length down the sleeve. The fourth elastic band is now placedover theright handand slid just abovethe wrist. Thecoat is thenput on andtheend of the rope is tucked under the elastic band. The conjurer is now set for a performance of the trick with no misgivings. One final point.Theelasticbandroundthe arm szrvestwopurposes. I t keepstheend of
t h e rope in position until it is required and sCc:mdly, aftcr therope has been pulled and the end comes through the elastic band the performer is @en tactual warning that he has reached that point whcx-e he must use care. If you have used the Rope Stretching cffect and you havestrucksnags in the past, please make u p this little gimmick and note how 5 1 2 i ~ w f ~ 2 hthe 7 ropc C ~ ~ Paway. S “
”
PETER WARLOCK’S
TON1 KOYNINI’S
CARD MIRACLES
NO
TON1 KOYNINI, a nelv autherinthe magical fine cardmagicwith a new field, brings t o yousome approach. CAN’T SEF is a completecard act of six star effects that is performed genuinely blindfolded. A spectator shuffles the pack, and the performer (I) dealsout all thecourtcards, ( 2 ) separatesthese court cards into suits, ( 3 ) runs through pack and places (4) deals the packhapthecorrect ace on eachpile, hazardlvintotwo piles, andturnsthemover t o show one pile allred andtheotherallblack, (5) instant1 cutsto an!- cardcalled for,andrepeatsas require$ ( 6 ) conclutleswith Paul Curry’sfamous “ Out of This \l‘orld ” routine. 111 additiontothissensational Mindfoldcard act, thereare Seven more fine effects, Gambler’s Delight, x.R.C. Dealer, Koyincidence, The Last Card, Any SumlJer, Evens, and One P y n d Revelation. And finally, there is “ Switch It , two very fineeffects with an ordinary pack, baffle the that start off audience, and lea\-e the performer with stacked a pack, for \\-hatever is t o follom.
HERE IS
From the Publishers.
IN
WARLOCK’S
PENTAGRAM
of
-. spectator l shufflesapack
cards andcutsthe he likes.
Co.
PETER
READ THIS EFFECT
MORE
Finland Bristol .Brussels Manchester Loughborough Cambridge Bournemouth Southampton Derby Plymouth Baltimore Nottingham Scarborough Swindon Torquay UNTIL1953 WhatThey Say “ A HUMDINGER ”-Jeff. Atkins. (‘IT’S BRILLIANT, THANKS A MILLION ” -A1 Koran. “ . A REAL MIRACLE ”--BillyMcComh. Price 501- from PETER WARLOCK 24, Wordsworth Road, Wallington, Surrey
A BOOK YOU MUST HAVE Price 716 ; postage 3d.
THE MAGIC WAND PUBLISHING 11, Monastery Gardens, Enfield, Middx.
MIRACLE SLATE
packanywhere
ispublishedonthe24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1/1 per bingle copy.AnnualSubscription 121postfree. PUBLISHED BY:
The cards either side of the card he freely Cut to are subsequently remo\-ed-andfoundto he thecards thatthe perfnrmer had previously predicted.
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscriptsforpublicationand reviewshouldbesent B D I T O R I AALD D R a S :
This is one of a series of card effects I)asetl on a singlemove not pre\riously pul~lished, and in
books for
Duke o f Somenet,
D.S.O., O.B.E.. J.P.. M.I.M.C.
Vice-President: D o u g h Craggs, Esq., M.I.M.C. ClubroomandLibraryand
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
.,to the:
Particularsfrom
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
THE NULLIFACTOR
The Magic Circle I’rrsidrnt : HisGracethe
Hon. Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
By STEWART JAMES JACK HUGHES
Price 5 I - post free
will bepleased to send or^ full details of
from
FRANCIS HAXTON “St. Anthogys’,” Nonsuch Walk, CheamRoad,Cheam,Surrey THEY S A Y : (;EORGE BT,AI<E ciple is certainly good
;,
“
Jack Hughes, 2, Evelyn Ave.,
N.W.9.
The Prin-
.
(.;EOR(;E ARAISTRONG : ha\-ejustI)eer~tryingthisout,and
c --
together with all hisother effectsin return for a stamp. Writenow to
Colindale, London,
AHRACAUA13RA : . . . a 5eries o f effects all good aridsome extremely C O ”.
it is a \vinner
THE DE LUXE “SU-TABLE”
”.
“
T
1
Mani c Wand Publications v
The Magic Wand, Quarterly. Fer copy 316 p.p. Annual subscription 14/6. 211 TheWizard, 36 pagesmonthly.Percopy [).p. 6 month. 12/6. Year 24i-. Convincing Coin Magic (Farelli) . . 17/10 Mastered Amazement (Koran & 1.arnonte) . . 10/3 Bohleno’s Mysteries (Dohlen) . . 10/3 10/3 The Concert Ventriloquist (Hurling) George Armstrong’s Premoni:ion 10/3 Chandu’sPsychoanalysis . . . . 10/3 Entertaining With Hypnotism (Dcster) 10/3 Challenge Instant I-Typnotistn & Mass Hypnotism .. . . 21!.. 5/3 Strictly Magic (Eddie Joskph) Stooging Around (Stnthald) ., , , 5/3 26 Living & Dead Tests (Carrett) . . 5/3 .Jarnesosophy fStrwart .Tames) , , . 5!’3 Year Book 48/49 (few only) .. . 5/3 Stunts With Stage Money (Larnonte) . 5/3 Tricks of the Trade (Armstrong) . . 2/7 From the publishers CO’., T H E MAGIC WAND PUBLISHING 11, Monastery Gardens. Enfield. Middlesex. 2
CONJURING BOOKS FOR SALE OLD AND NEW. Let m e know yourwants L I SFTR E E FOR STAMPED ENVELOPE N o Callers
G E O R G E JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Everv Advertiser’s goods are fully endorse l by this Bulletin Published by the propnet-The
Magic WandPublishingCompany, 11. MonasteryGardens, IIn6ield.Middlesex. Walkerand Son (Printerrl Ltd., Well Croft. Shipley. Yoriohii r e
andprhted
by Herbs?
33
PENTAGRAM An independent monthly bulletin for ail who want good magic
U,&.6 &a. 5 To be confronted with all that Ted Xnnemann achievedinhis shortspan of life is tobeconfrontedwithsomethingthat seems impossibie. I t is to see unparalleledmaturityin a youth.It is to see the writings of a magician who was ahead of his time.Often I wonderabout th:. things he neverwrote, the ideas that must have seethed withinhismind and which hetookaway with him. With the up and coming conjurer of to-dayhisnamealreadybelongsto a legend. It is a name inmagicalwritings that must be betterknownthananyother.It is anamethat conjures up goodmagic and goodmagicians. EveryFebruary in company of ourcontributors we have made our little offering as a slight token of the debt that we ourselves owe to Ted -4nnemann. This month in oursixthvolumeour great friend Leslie May has come along with some magic asdelightfulasthat whichhewrote for thegreatest of allpublications,the JINX.
4
*
R. ANNEMANN, worldhned
Theodore ANNEMANN -en1
d
L’ --
.:e t performances
in the Empire >m will be his first in Chicago well as his first on a cafe floor. will appear only in the ten
Mental Telepathy 8.Plnnlnq in Le
EMPIRE ROOM
“Mental Telepathist,” comes Ihe Palmer House direct from all-sweeping seven-year series personal appearances sponsored the socially, financially, and litlcally great of both Europe i America.
Monday, Oct. 15th
lock show. d o r e Annemann is reputed to W the foremcst ex+nent of mental telt?pa:hy in the world. His mind read~ngachievements have caused hlm tc be called the “human OuijiBoard.’’ HB‘Is t f i e author of “The Bock Wlthout A Name“ describing his work.
L
Effect.
The performer says he would like to hold an election, and producesthreelittlefolders,each containingahumoroussketch of an imaginary parliamentary candidate. These three, after beingshown,areplacedaside. A spectator is asked to act as voter, and he is given a voting paper, bearing the three names, and asked to put a pencil cross against the candidate he favours, showing to two it other spectatorswhorepresentthetwoclerks atthe polling booth.Then,tokeepthe whole matter secret; he is to place a similar cross against each ,Qf the tworemainingnames. A further spectator is asked to step forward and pick up one of thethreefoldersreferredto above.
Whenthishasbeendone,the performer reads the mind of the first spectator and announces thename of thecandidatehevotedfor.This is confirmed as correct by the two clerks ” . Thespectatorholdingthefolder is askedto opensame, and it is foundthathehas selected the one bearing the picture of thecapdidate selected by the first spectator. Theperformerstatesthatthismayappear to be coincidence, but actually it is controlled and fore-ordained, and is so often the case with certainforeign elections, andtoprovethishe drawsattention to an envelope which has been eitherhung up or otherwiseexposedto view duringthe whole proceedings : openingthis he extracts a second envelope. and from th’ IS one a :hid, small enveltyx, whichwhen opened gives “
34 forth a cardstatingthatthe dicted thatthecandidate . on . . . (date).
performerhasprewill be elected
. .
Remarks. Althoughamentalitem,thiscan be presentedin a fairly lightvein, thus providinga littlelight reliefin a mentalprogramme. Requirements. ( 1) A votingpayer,bearingthenames of thethreecandidates,withaspaceaftereachfor insertion of a X ”, and a very fine pointedsoftpencil,or a pencil so sharpened that the lead will break at the tip when first used to write with. (2) Three folders,eachsimilar in appearanceontheoutside, withblankcovers.Inside, eachcontainsacartoon of an imaginaryparliamentary candidate with a caption giving his name Mr. HYAhl A . andpartyhe represents, i.e., MUG, “ The FREE FOR ALL CANDIDATE ; Mr. I. LOAFALOT-Vote for the man who will abolishwork ;’ andMr. T. POT,The Ladies’ Champion,The Man who will put a luxurytax on Bachelors. I n each case the cartoons are held inside the folders by means of staples. Each folder is secured by three staples-one at eachend and oneinthecentre ; theones at the ends are in exactly corresponding positions in all three folders. Thereis,however, aslight difference in the positioning of thecentrestaples.Ononefolder it is in theexactcentre, in thenext one it is slightly above ctntre, and in the third one, slightly below. ;Thisis not apparent to the audience, but when‘ the three folders are placedone on top of each other,slightlyoverlapping, so that the stapled backs of all three are visible, the performer can by a glance note which is which. (3) A nest of envelopes. Actually five envelopes are used.One large, two medium and twosmall. Of the two small sized envelopes one is made with a double compartment, so that two seperate predictions can be contained therein. This is placed in one medium-sized envelope and sealed. Oneprediction is placed in theunfaked small envelope, sealed, and placed in medium-sized one. Bothmediumones arethenput in large-sized envelope,which is wax sealed (foreffect) . Performer.mustrememberorder of envelopes and predictions, or One nest of only three envelopes can used, beinnermost, the smallest envelope beingconstructedasin Jinx ’ ’ No. 15, and also in “ Annemann’s Practical Mental Effects ” , Pages 155-6, and Peter Warlock’s ‘‘ Patterns for Psychics ”, Pages 29-30. Eachcompartmentholds prediction for a different candidate. “
”
“
Personally,inthisinstance I preferthe first mentionedarrangement of theenvelopes, as, in theevent of the correctprediction beingin the unfakedsmallenvelope,thiscanbe opened b>a spec tator. Working. Firsiiy,thethreefoldersare freely shown. thenplacedaside,slightlyoverlapping, so that position of staplesis easily noted. A spectator is thenaskedtoact as avoter, and is invited tostepinto an imaginary polling booth. He is given a boardon which rests the He votingpaper ; apencil is tied totheboard. makes his secret ‘ ‘ X ”, then shows it to the two polling clerks, and finally inserts an X ” against each of the other two names. Theperformertakesit,andby means of either the fine line left, or pencil breakmark ‘(accordingto which type of pencil wasused) immediatelydiscerns which namewas selected, and without hesitation hands it to one of the two ‘‘ clerks ”, saying, “ You had better take charge of this for a moment ” . The services of a furtherspectatorare now obtained,and youaskhim to pick up two of thefolders. You know by means of the pencil mark which candidate’s folder you want selected, and you know by means of the centre staple clue whichis the folder in question, so you force this bythe method used bythe lateTedAnnemann in THE YOGI BOOK TEST Page 67 of his “ PRACTICAL MENTAL EFFECTS ”, whichisas follows :-The spectatorpicks up two folders ; if heleavestheright one behind merely tell him to lay aside the ones he has picked If he up as they won’t be needed again. includestherightoneamongthetwo,ask him to h a d you one. If you arehandedthewrong onc,thankhim, pick up thebook first left and laythemaside. If hehands you therightone, just say Thank you ”, place itunder your arm, and tell him to lay the other one aside also. Now turn to the Clerk ” holding the voting paper, ask him to hold it aloft. (By this time the audienceshould have overlooked thefact you evcrhandled it afterbeingwritten on.)Concentrate,announcename of selected candidate. (If you like,ask for a round of applause in honour of the selected Candidate.)Next, disclose that the correct folder had been selected by theotherassistingspectator,andadoptingthe patter theme given above under heading “Effect”, open nest of envelopes. Unsealing largest envelope,reach in. and take out correctone of the second size. If it is theonecontaining small envelope withon.e prediction,give to aspectator to open and announce. If not, open correct compartment of other small envelope, take out correct predictionand give to a spectator toread. In theevent of the threecompartment envelope ” being used, open correct one and give prediction tospectatortoreadaloud. “
“
”
“
“
‘ I
35
There is nothing whatever new in the following effect except the combination of various ideas which appeared in Annemannpublications,enabling them to be incorporated in a “two-person” mental act. I also beg to think that the repetition of the effect as described below by differentmethods will assist in puttingany wily spectators off the scent, and alsobuild up in dramaticvalue.
Effect. The performerintroducesthemedium,who is escorted from the room by two witnesses, who remainwiththemedium. Theperformer produces a deck of cards, which is freelyshuffled andcut. A spectator selects a card, and then indicates any other spectator.The secondonetakesthedeckwiththe selected card shuffled back into it to the medium who, in thepresence of the witnesses, glances throughthedeck,selectsacard,and, accompaniedbythe witnesses, holdingthecardback gut, returns to the room where the performance is takingplace,walksstraighttotheoriginal selector of thecard,andsays, Youhavejust selecteda card, pleasenameit ”. He does so. She/heturnsthe card in her!his handround, and it is theselectedone ! The performerthensayshe will repeat the A voluneffect, underevenstricterconditions. teer is requested, who takesthedeck, turnshis back, shuffles it,cutsit; selects acard,then places it in his pocket without looking, at its face or allowinganyone else to do so. Prior to this, the medium and witnesses have againretiredtoanotherroom. The performerthenpointsout that in the first part of the effect, themedium had picked upthe consciousthoughts of thespectatorand so ascertained the card he had selecte3 and noted, but in thisinstancetheselectorwas not aware .of the identity of the card he had in his pocket, so he is requested to assist by saying to himself, The card is in my pocket ; it is close to me ; it i s nearto me ; I havehandledit ” , etc.anything on that theme, and this will enable the mediumtopenetratehissubconsciousmind. To assist,theperformertakes ho1.d of the spectator’s wrist, themedium andthe witnesses are recalled, and before their arrival the spectator is requested to ask her, when she enters, “ What card have I removed from the pack ? ” The mediumreturns,walkstoa few feet from where the performer and spectator are standing, gazes at them, and then, slowly, first colour, thensuit,andnextvalue,sheannounces + the “
“
name of the selected card this from his pocket, and to be correct.
; the spectator removes
the revelation is found
Requirements. An intelligentassistant. Two matchingpacks of cards. Preparation. (1) One of the packs is arranged in SiStebbins system and placed in right coat pocket. (2) Theremainingpack is madea FACE REVEXSE PACK as described by Annemann in “ IT GOES THIS WAY ”, publishedin the Summer (1933) Number of THE JINX ”, and is as follows :‘‘ -4 needleorpin is theonlytool, and at one end the suit indicator is scratched slightly. Spades andClubsare separated from their standard.The centredip of thehearts is lengthened,andthebottompoint of thediamondis cut off atrifle. When you fanthroughsuch a deck,have upwardtheuntouchedends. The tampered-with end, shows up muchquickerwhenamongthose left alone ”. Thispack,withtamperedendsallpointing one way, is placed in case andputeitheron a table or in pocketready for use. (3) Prior to theperformance,theperformer and assistant agree on ’ a means of identifying the person who selects the first card : elg., a certain positionmaybeagreed on, the performermay decidetostandbetweenthe fourthand fifth persons on theright of theselector,oralternativelytheper.formermay fix ononeperson and eventually apparently request this person to assist. ( 4 ) Theperformerandassistantlearnthe codedescribed in THEEYES HAVE IT ”, by 3. G. Thomson, Jnr., originallypublished in ’ ‘ TheJinx ’’ . andsubseqaentlyincluded in ’‘ Annemann’sPractical Ment8’1 Effects ” (Page 322). Thls code enables the performer to communicatesilentlywithhispartner by signallingwith hiseyes.Thecode is notcomplicated,andmay be learned in a few minutes’ time. It is rather too long in descriptiontoreproduce here, but I am sure nearly all readers of the Pentagram will have access totheabove.named volumz. “
“
“
I’
36 has it over-hand shuffled and cut. The spectator then removes a card ; he is requested to note it, andthen holdit close tohisbody in orderto prevent the performer glimpsing it. Actually, thisprocedurepreventshimreversingtheends. He is thenaskedtoindicate any other spectator who is to act as bearer of the pack to the medium. As soon as one steps forward, the performer hands himthepack,andasksthefirstspectatorto replacethecardin thepack.Theact of handing the pack to the second spectator reverses the pack, so that when the selectedcard is returned thetamperedend will bereversed, and the card iseasilydistinguishable by thoseinthesecret. The secondspectator is askedtoover-hand shuffle the pack and then take it straight to the medium. As soon as she receives itshelooks through the faces until she notes the reversed card. Eventhoughthe witnesses watchintentlythey will notdiscoverthesecret.Shethenbringsthe cardin, holdingit up,backto audience,looks round hesitantly at first, places the person decided upon bythe performeraccordingtotheprearranged plan, faceshim,askshimtonamethe card he selected, and then turns it round to show she has brought the right one. While this has been going on, the performer has had ample opportunity to switch the reverse face pack for the Si-Stebbins set up one, and no one shouldevernotice that the cards have been out of his hands for a second. Givingashortspielon the exactingconditionsheintendstoenforce forthe second selection, he obtains the services of a second volunteer. Idly shufflingthepack(actuallygivinga succession of quick cuts) he states that he wants thespectatortotakethepack,turnhisback, shuffle it, cut. it, remove the'top card and place same in his(spectator's)pocket; The procedure used here is that: described by DOLLAR Annemann in " THETHOUSAND TEST ,CARD LOCATION ",, andpublished by him in " Sh-h-h-h ! It's a Secret ". (The
Englishrights of which are heldby Messrs. L. Davenport and Co., the well-known Magical Dealers.) What actually happens is that the performer handsoverthepacksaying, " Mix them up ; give them a shuffle " . The moment the spectator starts shuffling, the performer says, When you havethemmlxed,squarethem upon yourleft hand. Are youready ? ' ' 'I hisisa most innocentway of hurryingthespectator.Whenthe reply " Ready " is given, you askthespectator tocutthepack,andplacethetopcard in his pocketwithoutlooking at it or lettinganyone else do so. Although the audience imagine that the pack has received a thorough mixing, all the pack has actually received is a few hacks anda rough shuffle. The complete chain has been broken up, but there are now a number of bunches of stacked cards throughout. The shuffle never separates thepackcardforcard.Then comes thecut. In astackedpackthebottomcardthenreveals the top card by counting one ahead in the system. And that is what the performer does as he casually takes the pack from the spectator and lays it aside. He then gives his little spiel about conscious and subconsciousminds.Instructsthespectator the howto " concentrate ", turnshimtoface audience,andtakinghold of his wrist stands besidehim. The medium,accompaniedby witnesses, returns and stands facing the spectator and performer. The spectator asks her what card he removed from the pack, and this question gives the signal for the performer to signal with his eyes the value of the selected card. The medium stands, apparently staring at the spectator in anendeavour topenetratethesubconscious.Actually, by reason of theirjuxtaposition, she is able to read the message the performer is signalling to her, and slowly and of the dramatically she announces the name hidden card.
This effect is based on the recently published THE NULLIFACTOR ", by StewartJames, who, like myself, is one of the original Jinx contributors.
be published for some considerable time(NOTE.-I do NOT receive commission for this ! ! !) Effect. The performer places a pack of cards on the table,thentakesfromhispocketahandful of coinsandlaysthemonthetablealso,arranging them in a row. Aftershufflingthepack,heinvitesanyone to cut the pack and turn the top half face up on the bottom half.
"
"
"
I makenoapologies for so doing,as it is presumed " The Pentagram " is read by knowledgeable magicians, and if there are any readers who havenotyetgotacopy of " The Nullifactor " I advisethem to procureonewithout furtherdelay,andaddtotheir knowledge, as I consider this one of the most worth-while ideas to
"
’ihevalue of the cardthus disclosed will indicatewhichcoin is to beremovedfromthe row and retained, i.e., if an 8 hearts was disclosed the eighth coin in the rowwill be used. Whenthis has beendone,thecardsare separatedatthepointat which they were cut, i.e.,wherethey areback to backandthefour top cards of the lower half removed and laid in a row, face down, on the table. A spectator is asked to read out the date on the selected coin ; we will imagineit is 1948. The four cards are turned over, and they are found to be an Ace, a Nine, a Four and an Eight, thuscoincidingwiththedateonthecoin.
Remarks. A similar plot was used by Edward Bagshawe in his CARD AND COINDIVINATION ”, published in Secrets of my Magic ’ 1 , by David Devant, but I think it lends itself very well to the NullifactorSystem. The utilising of the top face card when the pack has been cut, giving a good reason for the reversal, and thus helping to conceal the method used. ‘ I
all of thesame date ; these do not take long to collect. Whendecidingwhich coin is to be used, it simplifies matters by sayingthatacourtcard, if exposed, will countas ten. I t would look rather obvious if one produced exactly ten coins from the pocket,, so either have less, say eightornine,, and if thecardturned up is over that value just start at the beginning of the row again,orput downmore thanten coins, then spiel about thevalues of thecards and remove any coins over ten from the table. When one coin has been arrived at by means of the card value,this is separated, andthe remaining coins are casually replaced in the pocket, out of the way of any curious customers. As regardstherevelation of thefourcards bearing the date figures, these are placed in order on thetop of thepackwhich is false shuffled. When the time comes, the Nullifactor shift is made (vide instructions in THE NULLIFACTOR ”) and all is ready for the denouement. When the date cards are being removed and placed face down, one can put down three, hesitate,andtheysay, Yes, of course,all coins mustbearafour-figuredatenowadays ! ”-a smallpoint, but one thattends tomakeit look less “ pre-arranged ” ! ! I‘
‘ I
Working. The forcing of the coin is accomplishedby of variouscoins in thepocket havinganumber
Effect
.
A deck of cards is shown, shuffled and cut ; a spectator selects a card, looks at and remembers it. Theperformerthenfansapacket of envelopes, has one selected, places the card in it, letting the spectators have a final look at the card before it is finally pushed all the way in to ensure it has notbeenchanged.Theenvelope is sealed and handed to the spectator to hold. A book of some description is giventothe spectator, who is requested to give the suit of the cardhe selected,itsbridgevalue(i.e.,one for clubs, two for diamonds, three for hearts and four for spades) and toarrive at a page of the book by multiplying the value of the card by its bridge value(i.e., if the selected cardwas 7 spades,it would be seven times four, thus arriving at page 28). Page 28 is therefore turned to and the word on the page indicated by the value of the chosen cardnoted.In thisinstance theseventhword on the 28th page. The spectator is requested to noteandconcentrateon theword,andtomarkthepage for reference by inserting the sealed envelope between thepages at which thebook is opened(inthis case,pages 28 and 29), thento close the book,
and hold it to his forehead, strongly concentrating and endeavouring to impress the word upon the performer’s mental receiving apparatus. Theperformerhas difficulty in getting the thought,andeventually gives up, andasksthe spectator to announce the word aloud. The performer thanks the spectator, and says perhaps he -would like to keep the card as a souvenir of theoccasion. Theenvelope is opened,thecardextracted, and it is then seen thatthe selected wordis writtenacross it in green, apparently written by somespiritwavering hand,andtheperformer advances the theory that the spectator impressed successfully, but on the card instead of his mind. The spectator^ is given the card as a souvenir to retain, and, we hope, the performer receives applause, of which he says the spectator is entitledto amajorportion.
Remarks. This effect is based on an excellent force by Annemann and included in his 202 Methods of Forcing . This will be found on Page 15 of theoriginal Max Holdeneditionand on Page 21 of the English Edition (L. Davenport & C o . ) , andreads as follows :‘ l
”
38 ‘‘ Haveabout six letterenvelopes at hand, and card to be forced face down underneath.Spreadshuffleddeckfacedown andhaveany oneselected but notlooked at. Holdfacedowninright hand between first and second fingers. Have stack of envelopeswith card inleft. Fan envelopes, usingbothhands, andhave oneselected. C a r d , in righthand goes underfanfora second and is changed. Remaining envelopes andcard go intopocket. Card, still facedown, is placedinenvelopeuntiltime for disclosure. Cuteandsubtle.”. Preparation. Firstdecideon the pageandwordto be forced, andthen selectacard that will arrive at sameasdescribedabove ; in ourexample, it is 7 of spades.Suppose the wordtobeforced was MENACING (a word of threesyllables is best), writethiswordwithgreenink in as ghostly a handas possibleacrosstheface of thecard,commencing about half an inchfrom the lower left-hand corner and extending diagonally toabout un inch below theupperrighthand corner. Turn card over and make an easily distinguishable (to theperformer)mark onthereversesidecorrespondingwiththe finish of thewritingon the face. Placethiscardunderasmallpile of endopeningenvelopesontable. Have book handy, “
”
The performer introduces the subject of CLAIRVOYANCE, explaining that it an is abnormalfaculty of seeingwhat is out of sight, duetohighly developedmentalpower of deep insight, and that in the course of his career as a metaphysicist he has noted that, on an average, ab.out one person in ten has a latent clairvoyant power, whichonlyneedsdeveloping to become pronounced ; further, that whilst conducting previous experiments that evening ( ? ) he has found evidence of suchpowerexisting amongcertain members of the audience who have assisted him, andnominating onepersoninparticularasks him tobe so kindastoparticipatein a test. We will callthisperson A ” . At the same timehe, the performer, offers togiveademonstration of hisclairvoyantpowers,andobtains the services of twovolunteerswhoagreetoact as subjects ”. These we will designate as B and C Forthe purpose of the testheproducesa pack of playingcards,beingset a of easily rwognizable symbols, and packet a of endopeningenvelopes, of the size totakeaplaying card comfortably. The Performer mixes thecards,asks B” and C ” to cut the pack, then instructs A ’’ I I
,P
l 6
‘ I
“
‘ l
alsoapack of singleforcecards,i.e., 7 spades, or an ordinarydeckwithduplicate 7 of spades, ill position forforcing. (It shouldbeneedless toaddthatbackdesignsmustmatchthecard under envelopes. ) Working. Thisshouldbeeasilyfollowed. The 7 of spades is forceduponspectator. Everyoneisgivenopportunitytonotethecard. (Performershouldnot look at it or give any intimation that he knows what it is.) The selected card is held face down in the right hand as describedin Remarks ”, and is exchanged fortheduplicatefacedown 7 of spadesunder cover of the fanned envelopes. An envelope having been selected, the performer takes it, bendsbacktheflapandinsertsthecardface down therein. When it is inserted sufficiently so thatmark onback of card is alignedwith top of envelope,heraisesenvelope,andwithout drawingtoomuchattentiontothefact,allows allto see that it is stillthesame 7 of spades within. The card is then pushed all the way in, the envelope is sealedandhandedtoaspectator. Thenall is readyforthecarryingout of the effect as described at the commencement of this article. l‘
to take the pack, cut it, complete the cut, and to dealthreecards,onetotheperformer,one to B !’, and oneto ,C ”, UZZ facedown. He is then to place the remainder of the deck out .of reach. (Note.-Performer does not handle or peek ’ ’ at pack at all.) ,Removing an envelope from thepacket,the performer demonstrates how card a is tobe placedtherein,usingthe card dealttohim, so thatit is not seen byanyone,inviting B” and C ” to take an envelope each, insert their respectivecards,sealenvelopes, and placesame intheirpocket,theperformerillustrating step by step what is to be done; He then proves his claim abnormal to powers of penetration by reading the contents of the sealed and hidden envelopes correctly. (Pause for applause ! ! !) Turningto A ’’, theperformerreminds him that he, the performer, has similar a envelope inhispocket,andaskshimtoendeavour to identify the contents without use of any of the recognised senses. A has expressed his Whenspectator inability to do so, theperformersays that he issurprised,ashe was certain c ‘ A ’ ’ had a latentfacultyforthe visualization of hidden objects, butperhapsthatas people so often do l‘
“
‘ I
I‘
‘ l
‘ I
”
39
This eftect is the outcome of a chat between RonBaillie and myself of the possibilities of those two favouritesubtleties of Annemann,the stackeddeck andthe window envelope, and we dare tothinkourcombination of the two is original. Requirements. And Preparation. (1) Apacket of end-openingenvelopesone of which is made intoa window envelope. (For adescription of this see Page 149, ‘‘ Annemann’sPracticalMentalEffects ”) (2) A deck of cards, stacked in the SiStebbinssystem.Onecardtobemadeintoa “ short card ”. Priortotheperformanceonecard is removedfromthestackeddeck,sealed in one of the. envelopes and placed in the performer’s pocket. Wewill imaginethistobethe QUEEN OF HEARTS. So we look at thestackeddeck and find thattheQUEEN OF CLUBS is followed bytheTWO OF HEARTS. These will be ourindicators,andthe TWO OF HEARTS IS THEREFORE MADE INTO A SHORT CA.RD. The window envelope(fakesidedown of course) is placedonthe top of the packet of envelopes, the prepared deck is placed in its case, andall is ready. Working. Afterthethreespectators are selected, the performertakesthepack out of itscase,false
shuffles same(series of cuts), asks B ” to cut,takespack,handsitto C ”, who cuts also, and completes. Again taking pack, the A ”, and whilstaddressing performer turns to him CUTS SHORT 2H to top. A ” now cuts and Completes cut,2Hand$Care now about centre of pack, so when A dealsthethree cardsfromtopthere is nodanger of the two indicatorsbeingremoved. The performertakeshiscard, face down, and demonstrates how cardsaretobeplaced in the envelopes and sealed, USING THE WINDGW ENVELOPE FOR THIS PURPOSE. M;hen sealing,he is ableto see, through thewindow,theidentity of thecardwithin, so by countingahead in theSi-Stebbinssystem,he knows what cards are held by “ B and C ’ ’ , withouthavingtoresorttothepack for this information. In calculating ahead, he must remember that the QUEEN OF HEARTS was previously removed. After A hasfailed in hisattempt at clairvoyance, the performer reaches for pack and idlycutsthe 2H backtotopagain.Thisbrings QC tobottom.Spectator “ A ” thencuts,but before he can complete it the performer tells him to markthe cutby crossingit. At thesame time hedraws theORIGINAL, SEALEDENVELOPECONTAINING QH fromhispocket, which everyone takes to be th? one they saw him put in it.(Thisaction,properlytimed,takes attention away from what actually happens when the cut is crossed ”.) Thecardsatthecut are then shown and found to be the QC indicating a QUEEN, and the 2H, indicating a HEART, thesecoincidingwiththevalue of the cardproduced by performer. In theunlikelyevent of spectator ‘ c A ” havinga wild guess andnamingthe Queen of Clubs,theperformeropenstheenvelopeto see if he is correct, and then congratulates the spectator, calls for applause for him, and then draws attention to the proof of his own ability to discerntheabnormalmentalpowers of another person
! ” to issue. It is all Loroughly practicable magic with some very cleverslants. T!:os~ who missed seeing Rezvani atthe Harry Stanley Get-together ” in January rn‘csed seeing themostpoetical piece of magic that we have seen sinceOkitoperformed the FioatingBall ”. Wordscannotdescribe in full t k beauty of costume, the delicate handling of the tomatoes ”, theair of lovelyhumility ti,.atmadeatrickintoadream.Thesemonthly shows are withoutdoubtone of the few signs of magical initiative at the present day.The March functionbrings an amazing actfromthe Continent.
We hear that another magazine, and a glossy atthat, is duefor publicationverysoon.Running to thirty-twopages,withacover design in the Goids:on RIagaz’ne of Magic ” style, it will be calleratherimaginatively,the Magic Magazine ! Wbere the big Societies fail, the smaller coteriesflourishandproduce good magic. We have in mindseveral of these in Englandand Scotland.TheScotchcontingent of Leslie May, Ron. Baillie andPeter Moffat musthave some wonderful sessions in mentalism. Incidentally, .Ran. has sent us along one of the best ideas ever that we have seen for getting information in the impression manner. You’ll have it next month.
automaticallycarryoul+nactionwithoutbeing actually aware of doing so, so perhaps the power of crytesthesia, lying dormant the subin conscious, may beawakened and expressedby theaid of aphysicalaction. To thismeans,hetakesthepackandasks thespectatortocutthepack, at thesametime bringingallhisthoughtsto bear upontheconcealed envelope. Producing the latter, isit opened, and(say)thecard withinis the six ofhearts ; so thespectatorisfoundtohavecut thedeck ata six and aheart,theequivalent value and suit of the one dealt to the performer. Remarks.
“
..F.’rst of allaverybig
i..r,.si!c May for this excellent Y
“
“
I‘
”
‘‘ Thankyou
I‘
“
“
‘ l
“
”
”
“
“
”
“
“
”
“
”
40
HOUDINI
WHERE
WRONG
WAS
by Maurice Sardina (Translated by Victor Farelli)
‘
SPECIAL CHEAPEDITION
ECAUSE webelievethateverymagicianshouldreadthisgreat
book, we haveproducedaspecialcheapedition.Itisstill beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which instead of being heavy cloth covers is now soft boards. The saving is thus passed on to all thosewho, as yet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for ’‘ the latest tricks” you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot d o better than study this monumental work. Here you wiil find unfolded, step by step, the truth about Robert-Houdin’s great inventions, his “ Orange Trq$ Trick,” the “Writing and DrawingFigures,” “ The Pastrycook of the Palais Royal,” ‘ I The Obedient Cards “ The Cabalistic Clock::’ “ The Trapeze Automaton,” “ The Inexhaustible Bottle,” SecondSightAct,” *‘The Suspension Trick, and “ The Disappearing Handkerchief.” The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood.cuts and play-bilis etc., and in its 120 pages there are many hours fascinating reading. l‘
Price
716 Postage 6d.
(U.S.A. ~1.00)From the Publishers
THE MAGIC WAND PUBLISHING CO., 11 Monastery Gardens, Enfield, Middlesex ( T h e cloth-bound first edition is s t i l l available at 20/6 p.p.)
Peter Warlock’s
MIRACLE SLATE NO
MORE IN
Finland Bristol Brussels Manchester Loughborough Cambridge Bournemouth Southampton Derby Plymouth Baltimore Nottingham Scarborough Swindon Torquay UNTIL1953
What They Say “
“
A HUMDINGER ”-Jeff. Atkins
PETER
WARLOCK‘S
PENTAGRAM is pxblislled on the 24th of eachmonthand can be obtalneddirect from thepublishersfor 1 / 1 persinglecopy.AnnualSubscrlpiion 12/post free. PUBLISHED BY:
The Magic Circle President : His Grace the Dukc o f Sorncrsrt, D.S.O.. O.B.E., J.P., M.I.M.C. Vice-President: Douglar Cnpgr, Esq., M.I.M.C. ClubroomandLibraryand
The Magic Wand Publishing Co., 11, Monastery Gardcns, Enfield, Middlesex.
Magical Theatre :
Manuscriptsforpublicationandbooksfor review should be sent to the: EDITOR1 4L ADDRESS:
Particularsfrom
King George’s Hall, W.C.
JACK HUGHES THE DE LUXE
Hon. Secretary :
Francis White, 39 .4lverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
w i l l bepleased to send you full details of
Museum :
Hearts of Oak Buiidings, Euston Road, London, N.W.l.
Magic
Wand Publications
“SU-TABLE”
togetherwith a!l hisother effects inreturnfor a stamp. Writenow to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
(Koran & Laxonte) . . 10/3 Bohleno’s Mysteries (Rohlen~ . . 101‘3 The Concert Ventriloquist (Hurling) 10/3
IT’S BRILLIANT - THANKS A
MILLION ”-AI Koran “A REAL MIRACLE”--BillyMcComb CONJURING BOOKS FOR SALE
-
OLD ANL, NEW. Le: me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers -
Price 50 / from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
t
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Every Advertiser’s’goods are fully endorsed by PublishedbytheproprietorsThe
this Bulletin
Magic WandPublishingCompany, 11, MonasteryGardens, Enfield. Middlesex,andpilntedbyHerbeit Walker and Son (Printers) Ltd.. Well Croft. Shipley. Yorkshire.
*
PENTAGRAM An independent monthly bulletin for all who want good magic
9b-n B
a 9 6
‘‘C~atiagm Effect :
A spectator draws a diagram or writes a name etc., on a slip of paper. He passes to several other spectators, letting them see what he’s written, then he folds it and seals it in an envelope. Taking the envelope and asking the spectators to concentrate on the contents, you slowly reveal what has been written. Theenvelope is handedbackforopening andconfirmation.You don’t need totouch theenvelope;thespectatorcanholdit himself in his pocket; you can still revealthe orputit contents. Basic Method :
A carbon impression is used, but the beauty of thismethodliesinthefactthat, even if a member of theaudienceknowsaboutcarbon impressions,etc., you never, apparently, have an opportunity to refer to any “impressions.” A small pad is used, on which a carbon imression of the spectators writing is obtained. The pad is dropped into your pocket but it is dropped inside a hollow stack of envelopes. The envelopes are brought out of your pocket and one is given to the spectator tosealhisslipin,Whilethis is donethecarbonimpression isreadthrough a small “ window ” in the hollow stack of envelopes.
THE ENVELOPE “ SHELL ” Pay envelopes, end opening, about2$in. X 4in. Cuta“window” RIGHT THROUGH three of these, the “ window ” being same size as pad r
+2”7
Preparation : THE PAD. A pad of about 30 sheets of thinnishpaper is used, I make these myself. The sheets are 3in. X 2in. pounced, with apouncing wheel or sewingmachine,about bin. from one end. 30 sheets,thusprepared, are glued togetheralong the top narrow strip above the per€orations. The block of papers is then glued to a cardboard back. A sheet of carbon is firmly fixed to underside of third sheet from the top and a couple of dabs of wax fix the third sheet to the fourth.
2
L
I
34
If‘
Put one of these, address side down, on table, smear glue all over it then put another on top and press them together. Glue a thin sheet of acetate, s?ightly smaller than 23n. X 4in., on top of these. Glue a third “window” envelope on top of this :-
Finallyinserta‘piece of cardboardinto an ordinaryenvelopeandgluethisontop of the “ U ” shell thus completing the “ shell,” into which the pad can be dropped. Put two or threeunfaked envelopes on top. also flap sides U and put a band of paper round the stack. This and apparently encircles the envelopes, but it really doesn’t gorightroundthe stack; the ends being glued on either side of the “ window:”
%
Cut “windows” through some moreenvelopes, but cut them slightly wider than 2in. across and start cutting from the bottom of the envelopes :--
uhich
This faked stackis in your right jacket pocket. window!”next to body, ,‘‘mouth ” ,upwards. Pad is in right trouser pocket; short, hardish pencil in breast pocket. Working : Pad and pencil handed to spectator and he’s asked to write or draw something on it, to tear off his written-on sheet (the top one of course)and to fold it. Take the pad from himwhen this is done and drop it into your right trouser pocket. Take yourhandout of yourpocket. Ask spectator to pass his paper to several other spectators in turn. askingthemtonotethecontents.Whilethis is done,stand with yourhandsIntrouser pockets and, with the right hand tear off the top two sheets of the pad; this includes, of course, the one with the carbon fixed to it. (the perforations make the tearing-off a n easymatter).This leaves the carbonimpressionontopsheet of pad.Palm the pad,cardboard-back n e x t to palm. glued ends towardsfinger-tips. When several people have noted the contenls o f the paper ask the spectator w h o wrote it to take it againand to refold it. I t.vant you to seal it i n one o f these e~~velopes.” J G U tell him. and. s:i!.ing this. the right h a ! d aild the palmed pad COIIIS?~ o u t o f trouser pocket and goes t o jacket pocker. Drop the pad i n t o ;he i‘;tked stack a j J d bring th;‘‘ er;velopt.\ ‘’ o u t . holding theln up, il:rp sides “
4? .’
I
!
Glue these, ong at a time, address side down. on to the “acetate window” ones, until the depth is slightly deeper than the depth of pad :-
“
43 spectators. The carbon impression plainly is visible through the “acetate window” and a glance gives you all the “ dope.” (The pad is held inside the “ shell ’’ by squeezing the envelopes slightly). Pull one of the unfaked envelopesfrom underneath the paper band, pocket thestack, or toss on it the kble, and hand the envelope to the spectator. Reveal the contents of the sealed slip in your favourite manner. Alternative Method : Make a “ shell.:’ notepad instead of a stack -of “ shell ’’ envelopes.Size about 33in. X 43in. \This hasacardboard backbutnofront. The “acetate window” is in the cardboard back. There are five or six sheets of ordinary notepaper on the top of the pad and a sheet of white cardboard is incorporated under these so that you have a solid surface to write on Working : “ Shell ’’ pad in jacket pocket. Spectator seals his slip in an envelope that you give him. Proceed as in previous method but palmed pad is dropped into “ shell ” pad as you bring it out to record your “ impression ’’ onit. Scribbleanythingon top sheet of pad, hold it up, letting spectator see what you’ve drawn or written and asking him if thisconveysanything to him.You “ read ’’ the carbon impression through the “acetate window” as you’re holding the pad up. Tear off wrong “impression” and do a correct one on next sheet. A piece of razor-blade can be inserted into the cardboard backing of the small pad. A small flat magnet is fixed inside the top end of the recess in the “ shell ’’ envelope stack or in the “ shell ” notepad.Thus, when the small pad isdroppedinto the “ shell,” it is held firmly in place by the magnet. Lastly, here’s oneforthe “ wise-ones;”no carbon paper, an UNPREPARED pad is used for getting an impression!
Makethe small pads of thinpaper. Use a hard pencil. When the top sheet is written on an indentedimpressionisleft on thenextsheet.In yourtrouserpocket is a thumb-tip whichhasa small, hard pad of silk fixed to it (on the non-nail tip of thethumb); thispad iswell rubbed with graphite or plumbago. When spectator has written and torn off his sheet, takethe pad andputit in yourtrouser pocket. DON’T LOOK AT THE PAD AT ALL AS YOU TAKE ITFROM HIM AND POCKET IT.Takeyourhandout of yourpocketagain. Later, when the paper is being passed around or folded and sealed in the envelop, stand with yourhandintrouser pockets.Slipthumbinto thumb-tip, Hold padinright fingers, cardboard back to palm,andrub thethumb-tipbackand forwardsoverthesurface of the top sheet. The graphite blackens the surface of the top sheet but leaves theindentedimpressionwhite.Ditchthe thumb-tip and palm the pad. Proceed as before, dropping the pad into the “ shell.” A white impression of the spectators drawing or printing will be visible through the ‘’ acetate window.” Experiment with different typesof paper until you find the kind that takes the clearest “ indented impressions”Believe me, done thisway, you really will “ create an impression!”
The followinglittleideawill, I think,be of valuetocigarettemanipulators. I t enables the performer,whenextractinga cigarettefrom packet, a to obtain secretly a secondcigarettetoassisthim in hismanipulations.
UP with and fingers onright,pushthedrawer the left hand,. when the concealed cigarette automatisally comes into the ‘‘ finger palm “ position in theright hand. Afterpushinginthedrawer, the performer naturally opens top of packet with lefthand and extracts a fag infull view of the audience,thebending up of the top flap of the packet effectively concealing the duplicatecigarette in right hand. To theaudience,he has merelyopened a packetandextractedacigarette in the normal manner. A few minutes’practicewith a packet in the hands will soon convince anyone of the practicability of the idea. Whenplacing loaded packetontable beforetheshow,rest theupper portion ona match, this will prevent the cigarette rolling out andbecomingexposed.
Secret.
Take a twenty packet of cigarettes, the usual standard type, i.e., Pia-ers. Capstan, Craven A ”, etc.,and holdingtbepacketwiththe letteringthecorrectway up, pushthedrawer DOWN for aboutjust overa quarter of an inch, and in this space-L.4Y ’4 CIGL4.RETTE. It will befoundthat the performer can, aftershowinghis hands em.pty,tnkeheld of the packet, and by picking it up with the right hand -nearest the concealed fa: (too muchtroubleto write cigarette ” everytime !), thumb on left, “
“
NOTE : Youcanmakea very good and sensitive carbon ’’ paper yourself by rubbing all over a sheet of paper with a 4 or 5B pencil. When the paper is covered, rub the graphite smooth with a soft cloth. Prepare, in this manner, a large sheet of the paper that you make your pads with, then cut it X 3in. When you makeyour intoleaves2in pads, simply incorporate one of these “impression” sheets third from top, pencil side down of course, “
“
”
44
Recently I showed Peter Moffat my version of his very nice card effect, “ LEGERDEBRAIN,” whichappeared in Pentngrnm sometimeago. Peter liked it, so here it is, with his permission. Properties : Pack of cards, set up in Si-Stebbins order. 5 blankbusinesscards. A stout, opaque envelope. Pen or pencil.
EfEect and Method : Explain that you are going to attempt a most difficult test, that of reaching into the subsconcious mind of a spectator. “ This can’t be done suddenly,”youcontinue, “ I mustfirst work throughpreliminarytest of con.scious thought vibrations, each test being more complex than the last until complete conscious harmony is apparent.Thenandonlythen,can we attempt to probe the subconscious.” Pick up the pack and Charlier-shuffle it, saying, “ A pack of playing-cards is the ideal medium for tests of thisnature;it offers aselection of colours,numbers,designs andcombinations of these;thus we candeal with simpleorcomplex images.’’ As youpatter,illustrateyourremarks by fanning the cards to the spectators and showing red or black cards, four different designs (the suits), thirteendifferentnumbers, andcombinations of these(names of cards). Don’t makeperfectfans just spread the cards between your hands, cuttin; off portionstoillustratethedifferentsuits,etc. The spectators will neversuspectaset-uppack, afterall you’re showingthem that thecards are mixed! Lay the pack aside, pick up one of the blank business cards, explaining that you’ll start with the simplesttest,askingsomeonetothink of either red or black and that you’ll record your impressionsonthisblankcard.Printthe word COLOUR at the top of this card :]--COLOUR
I
and write DESIGN on it, then lay it, writing side up, on the tabled one. A choice of thirteen differentnumbers will be offered next, you continue, writing NUMBER onathirdblankcardand laying it on the previous two cards. If successful withthese you’ll beable, you thinktotrya combination of all these, namely the exact design and number on one card. Write EXACT CARD on the fourth. blank card and lay it, face up, on the other three. ‘‘ When I’ve reached the point of being able to read the exact card thought-of,” you continue, m I should be able to reach the subconscious mind of the person helping me. This card will be used to record the subcon.scious thoughts of this person.” Here you print the word SUB. CONSCIOUS on theremainingblankcardthen lay it, writing side up, on the others.
Ask someone to assist you; pick up the pack, Charlier-shuffle it once more, cut it, completing the cut,place it on thetable,askingtheamisting spectatortocut and tocompletethecut. This done,spreadthecardsface-down, in anoverlapping row on the table, from right to left. Ask the assisting spectator to slide one card out and, without him looking at it or letting trnyone see what card it is, to slide it, face-dofwnwards of course,intotheenvelope which you give him. Thisdone, ask him to sealtheenvelope then to putit in one of his pockets. As he doesthis, pick up all the cards that lie to the right of the placehetookhiscardfrom,then pick up the remainder placing these on top of the first lot and hand the pack to him asking him to mix them again (?!X As you do this, g!impse thebottom card, and.this, thanks toSi-Stebbins, tellsyou wh3t card issealed in theenvelopz.Memorisethe name of the envelope-sealed card. Ask the spectator to lay the pack, face-down on thetable.Pick up the five business cards again,holdingthemface-down in the left hand. “ Remember now,’’you say, “ First I’ll try to ‘get ’ a ~uluur,” picking up thetopbusiness card (the colour ” card) and holding it up in your righthand. “ Then a design,’’ you continue, ’taking the next business card under the COLOUR card then showing them both together. Then a nzmber,” addingthe next cardand showing. “ Then an e x n c t card,” adding the next and showing. “ Andfinally,theprevious tests being successful, I hope to record on the last cardsomething which exists in your subconcious mind.” As you say this,holdupand show the card in yourlefthand(the SUBCONSCIOUS card) then add it to the face of the others and, as YQU takethemface-down, in theleft hxnd and “
“
then tossit,writingsideup, on tothetable. if successfulwith thecolour, you continue, you’ll go ontoaslightlymoredifficulttest,that of recording one of four designs, i.e. Clubs, Hearts, SpadesorDiamonds.Takeanotherblankcard
45 square then1 up with the right you insert your lefr little finger betweenthebottomcard(SUBCONSCIOUS) and the others. “ First of all,thecolour,” you say,looking .directly at the assisting spectator, and making the “pass,” thus bringing the SUBCONSCIOUS card on tothetop.Withoutpausing,therighthand dropsthe five cards ontothetable thentakes the top card (apparently the COLOUR card but really the SUBCONSCIOUS card), and place it i n your left hand, holding it so that no one can see what word is written on it. The right hand t:l;tes the pen or pencil. The spectator is asked to think of either “red” .or “black” and to concentrate. Concectrating yourself, you apparently write your impression of the colour but really write, under the word SUBCONSCIOUS, the name of the envelopesealed card. ( W r z t g the name in full, don‘t printthenumeral).Placeyourcard,face-down. on the table, to the left. near yourself. The spectatoris now askedtoremovea card, of his thought-ofcolour,from the pack and to place it face-uponhisside of thetable,opposite your card. You explain that this is done for two reasons : 1. So thata check can be made at the conclusion of the tests, and , 2. To see if the tests are progressing favourably. Good,” you say as soon as you see what card he’s putoppositeyours, “ now we’ll trya design.” Taking the next face-down business card(apparentlytheDESIGNone,reallythe COLOUR one), you ask the spectator to think of eitherClubs,Hearts,SpadesorDiamonds.Pretending to write his “ design ” you write on your card the colour of the card that he placed face up o n the table previously. Don? just write RED (if it’s aredcard),write “ A bright red colour.” underliningtheword “ red.” Placethis card, face down, to the right of the first one on your side of the table. Ask the spectator to place any card, of his thought-of design, face-up opposite the one you’ve justputdown. “ Fine,” you say when you seeit, “ now fora number.” Ask him to think of anumber that canbeindicated by a playing-card (1-13), pick upthenextbusiness card(apparentlytheNUMBERcard,reallythe DESIGN card). Write your impresshn.” redly writingthe suit of thesecondcard he took. Do it likethis :- (Imaginehechosea Heartcard previously). Apparently find the “ number difficult. “ You think in anartisticmanner;the colour and design were fairly easy to “ get ” but numbersare moredifficult.Would you concentrate on whether your number is odd or even you ask him. “ That’s better,” you say and write on your card “ A very definite . . .” Stop writing. then ask him to concentrate on the number again. Muchbetter,” you say andwrite “. . . heart shapeddesign.”Placeyourcardface-downto 4
“
“
”
,”
“
theright of yourothertwoonthetable. Ask thespectatortoplaceacard of histhought-of denomination,faceup,oppositeyours. “ Perfect so far,” you say when he’s done this, ‘‘ now forthefinaltest at thisstage.” Ask him to think of a card and to concentrate on it. Pick up the next business card (apparently the EXACT CARD card, really the NUMBER card) and write on it the number of the card he placed face up a moment ago. Like this :- (Imagine he chose an eight). “ An even number. The number eight.”. Placethiscard,facedown, to theright of your other three. Ask the spectator to take his thoughtof cardfromthepackandtoplaceit,€ace-up. oppositeyours. “ Couldn’tbebetter,” you say, “ I think we’ll have no difficulty in getting a subconsciousthoughtnow.” The .spectator is asked to take the renaaicder of thepack andtodeal themquickly,one at a time into a face up pile on the table and to look at the cards as he deals. Turn your back as this is done.When he’s dealtthroughallthecards, turn round and continue. “ I n an envelope in your pocket is a card which you selected at the beginning. N o - o n c knows whzt this card is, not corzsciously anyway. But know you that there are 52 differentcards in thepack; you’ve been workingwiththecards andhave subconsciously noted that one ofthese 52 cards is missing. You weren’t consciousCy aware of this, but the name of thiscard is lockedaway in your subcon.ccioz~s. I want you please just to think about what we’ve done so farand while you’re doingthis 1’11 attempttoreachintoyour subconscious and will trytorecordthename of the missing card, the one that’s sealed in the envelope,onthiscard.”Here you pick up, apparentlytheSUBCONSCIOUS card, reallythe EXACT CARD card, and concentrate. On it write the name of the fourth card he’s laid on the table, then place your card on the table, face down, to theright of yourothers. Ask thespectatorto bringtheenvelopefromhispocket andto put it opposite the card you’ve just put down. Pick up the business card on the extreme left of the row (apparently the COLOUR card, really the SUBCONSCIOUS card), keeping it face down and saying, “ Remember now, first acolour,” pointing to the card in your hand. Drop it on the next business card then pick them both up, saying, then a design.” Drop these two on the next, pick upallthree,saying, “ Then anumber.” Drop these three on the next, pick up all four, saying, “Then the exact card,” and, dropping these four on the fifth andpicking up all five, conclude,“And finally,theSUBCONSCIOUScard.”Hold these five cards in your left hand, face-down, and square them up with yourright hand, secretlyinserting theleftlittle finger underthe top card. “
Ask the spectator to put his first card on the second, these on the third, then these on the fourth
46 and finally to drop all four on to the envelope. As he does this, make the “ pass ” thus bringing your five business cards into correct sequence, i.e., .lop bottom, to face-down, COLOUR, DESIGN. NUMBER, EXACT CARD and SUBCONSCIOUS. Drop your five cards on the table. Askthespectator totake the topcard of his face up pile and to place it in the middle of the table. Draw attention to the colour of it thzn ask the spectator totakethetopcard of you7 pile and to read aloud whal you wrote on it, thm to drop this card, face up, on his, so that ever,yone can see what you wrote. This is repeated with the next three cards; in every case you have written correct details of his thoughts! This done, patter as follows : “ Now, for the
first timelet ussee whatcard
Our last issue <wentto press early; ioo ear.y to record any expressionof an event that shattered the nation-the death of ourgracious sovereign King George VI. Our readers will join with us i n ourexpression of sympathytotheQueen,the Queen Mother and the remaining members of the Royal Family. God Save and bless the Queen! The late .King, when he was younger, was a lover of magic.Interestedbibliophiles will find thatSpitaridedicatedone of his “ Wizard’s Annuals ” to H.R.H.PrinceAlbert(as he then was). The CecilLyle HatTrick was specially originated by CecilLyle foraperformanceat which Prince Alb.ert was the honoured guest. From our friend Harry Hickson a note regarding his “ Express Delivery ” in the January P ~ n t a g r a m;
Refer to the second line in the second column,whereitsays, ‘ Take thetwelve-foot length of rope,’ etc. This. is a bit misleading, and I would suggest that it now read like this : ‘ Take the twelve foot rope and wrtrp it round the spare piece of cardboard or celluloid. It will then look like sketch below. The last bit is not wrapped, but left outfor use in the sleeve of the M3si.s jacket.’ ”
lies sealed in the envelope, the card which was locked away in your subconciousmind!”Thespectator is asked to tear open the envelope, to read out the name of the card therein, then to place it, face up, OP the table. “ Now!” you say, as dramatically as possible, “ wouldyou please readout,and let everyone see, what I wrote on the remaining card, theoneon which T recorded your subconscious thoughts!” Note ,: If working impromptu, using aborrow4 pack, sight and force a cardfor the ‘hbconscious” selection. Abehind-the-backforce is the most convincing. The forced card is envelope-sealed as before.
“
“ The whole is no,w placed in the open box and held there while the ‘ lid ’ is folded over; the lid thenholdstherope in place in the box and while it is in that position the loose piece of card or celluloidiswithdrawn. Because it is slightly wider than the box, the extra width of this loose piece provides a grip with which to withdraw it. The elastic bands can now be put around the whole box and they will hold it secure. The loose piece of celluloid may nowbe slipped under the bands on the outside.This serves only thepurposeof retaining it (where you want it) for the next time.”
.Ron Baillie’s excellent idea for obtaining an impression will nodoubt find itsplaceina number of routines where knowledge has to be secretly obtained. W e have two routines from Ron,bothexcellent,makinguseofgimmick. The first is a version of “ Fourth Dimensional Telepathy,” and the second a very lighthearted living anddeadtest. This latter effect should appeal to mentalist and straight magician.
A recent session at Francis Haxton’s with the Host, ‘GusSouthall,Ericde la Mareand HansTrixerbroughttolightsomedelightful Magic. A particularly near follow up of Hahns Trixer to Hahne’s “ Ring of Thoth” will appear in a future issue.
47
The following seems to me to be one of the mostobvious uses to whichanailwriter maybe put, and yet I havenotreadorheard of anyonedoing so. I meanusingitas proof thatno exchange has taken place when one has actually occurred. For a simpleexample, we will imagine that an emptyenvelopeplaced in acardbox is to beexchangedforonecontainingtheduplicate of avanished card.
in the When theemptyenvelopeisplaced box, the performerasks an assistingspectator for his initials, and writes same on envelope face. Apparentlythesameenvelope,stillbearing theinitials, is takenfromthe box later and foundtocontainthecard,theinitialshaving secretlybeenaddedto the face of the second envelope by means of the nailwriter.
The Third Collectors’ Annual ”, 1951. (Published by J. B. Findlay, Firbank Private Hotel, Crescent Road, Shanklin, Isle of Wight.) A mostinterestingaspect of theannuals which Jimmy produces, and undoubtedly will go on producing, is the fact that each one gets bigger in size without any deterioration of quality. This copy, which runs to some thirty-odd pages is verynicely printedonheavy art paper, the page sizebeing approximately 74in. X Ioin. The first article is by our old friend “ Ptinos ”, who gives some more magazme history, the magazines covered beiing “ TheAkarshani ”, the “ Impromptu Trixter ” . “ A ChatonLittle-knownEditions ” is a most informativebutalltooshortarticlefromthepen of Stanley Collins.GeorgeJenness,who asmany know specialises in Maskelyne memorabilia, gives a list of the many items hepossesses in his collection. Edgar Heyl, who readersmayrememberhadavery nice article on Medals andTokensinthe “ Sphinx ”, gives some informativenotesonConjurer’sMedals and TokFPs. “ Xndersonianain the CoIIection of AllanJamieson IS a list of items that makes one’s mouth water. Fromthepen of JimmyFindlay comesa short articleontheYorkshireconjurt;ThomasDenton,and also underthetitle of “ Variasomenotesregarding book jackets and many other items. To bringthisdelightfulcompilation to a close, George Johnson adds some random notes. Excellent reading whether you are a collector or not.
delightfully impromptu. The next guest, Cecil Keech contributes “ Ropan Silk ” which is one of the plums of thebook. The reason being that in the finale of this effect the originator has the mostlogicaland most deceptiveversion of the “ rope stretching ” effect that youwill ever find. An effective Dice routine with a good story is contributed by Dr. Geimer, and A1 Koran taking asthe basic effect, “ Hen ” Fetsch’s “ I n the Mind,” has added Lyons’s “ Mental Rescue and three other effects to make up a complete genuinelyblindfoldedcardroutine.Despitethe handicap that is imposed upon the performer, the effects, beingcumulative in effect, make foran amazingperformance.Thisroutinecould well have sold by itself at a price higher than the cost of the book. HaroldG.Beaumont (We’re notsure which one this is!) contributes a nice “ Quartet ” of effects and WillAylingstreamlinesanoldieunderthe title of “ Fashion Parade.” The guests depart and we turn to the author. His contributions cover routines with pocket knives, cards, coins, silks, a remarkably fine trick with an egg and a bag and billiard balls. To the last,hehasdevotedsomethirty pages and a matter of seventy photographs. Not since the monumental work of BurlingHull, has theenthusiast for thisform of manipulation been so well cateredfor.Everyneed,care ar,d t y p of manipulationistouched u p o n andhere again is something that quite easily might .h:\ve been sol2 as a separate publication. Lewis Ganson has well lived up to the reputation in this his third book. I t will make h i m many more friends for there is lit er all^^ somcthin~ for every type of magician. The book runs t o someone hudrecl ;IIICJ thirty pages. is printed 0 1 : art paper a t d curries :I w:.!ttt‘r o f w u p l e o f hundred iliu:;:r,>Lcions, m a i n l y phorographs. I f the price cha1yed were tilve pounds it would still he cheap. A t .l 8 , - it is ;l .\,w-J generous gift. E ~ c e l i m !
“
Routined Manipulation, Part 2 by Lewis Ganmn (Published by Harry Stanley, price 18/-). After “ Routined Manipulation Part 1 one expectssomething good to follow. The second part is more than a worthyfollower. I n fact we think it better than Part 1 . In thisbook, we don’tjust find acolicction oftricksbutratheraseries of clearly exp!sincd lessons. Although Lewis 6snson has been responsible for the main part of the book thcrd e e are a number of items collected from fellow magi-:1ans all of which reach a high standard. Let us take theseguestsfirst. Wilfred Baderconrributes a well devised thimbleroutine.Thedescription is excellentcovering some Mezn pages ;!*?cl b ~ i n ? accompanied by ;I matter o f s:)n:e t-vs;:;; photographs. . . A Chtlpier goes t o :<et?.Brooke ;1no 1 : ne gilxs hisversiol! o f tile C a p ar?d Penc;. L(>:<e:hciw.ith ;L cleanpretiiction ef!’cct. and eil’ect \\;l:ich is ”
:;:lv’:~?
I
.
”
48
\\TBERE
HO1JI)INI
WAS
WRONG
by Maurice Sardina (Translated by Victm Farelli)
SPECIAL CHEAP EDITION ECAUSE we believethateverymagicianshouldreadthisgreat book, we haveproducedaspecialcheapedition.It is still beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on, the binding, which instead of being heavy cloth covers is now soft boards. The saving is thus passed o n t o all thosewho, as yet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for ” the latest tricks” you would like to acquire some background knowledge of our great art, o r if you are already interested in the history of magic, then you cannot do better than study this monumental work. Here you will find unfolded, step by step, the truth about Robert-Houdin’s great inventions, his “ Orange Tree ObedientCards ” Trick,”the“Writingand DrawingFigures,” “ The Faf;ryFpok ofthe Palais Royal.” e!? “ T h e Cabalistic Clock::’ The Trapeze Automaton, The Inexhaustible Bottle,” Second Sight .Act,” ” The Suspension Trick, and The Disappearing Handkerchief.” The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading.
7/6
Postage6d. (U.S.A. $1.00) FromthePublishers THE MAGIC WAND PUBLISHING CO., 1 l Monastery Gardeus, Enfield, Middlesex Price
(The cloth-bound first edition i s still available ut 20/6 P.P.)
PETER
WARLOCK’S
PENTAGRAM
MIRACLE SLATE Although limited in output,has now travelled to Ireland, Finland, Belgium, France,Africa,Australiaand,United States. The following is part of a letter received from a purchaser.
(‘I feel inclined t o make the same r e m a r k s a b o u t your ‘ Miracle Slate ’ :as were made by the late Will Goldston concerning Brunel White’s Master Hat,’ i e. the best, the very best! Better method impossible.” (
PRICE
-
ispublishedonthe 24th of eachmonthand canbeobtaineddirect from thepublishers for 1/1 persinglecopy.AnnualSubscription 121post free. PUBLISHED BY:
The
Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publicationandbooks reviewshould be sent to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will bepleasedtosend fulldetails of
you
THE DE LUXE “SU-TABLE” together with all his other effccts in returnfor
a stamp.
Writenowto
Jack Hughes, 2, Evelyn Ave.,
N.W.9.
Colindale, London,
E2 10s. Od.
Post Free, from
PETER WARLOCK Wordsworth Road, Wallington, Surrey
24,
Publiuhedbytheproprietc-The
FOR SALE
CONJURING BOOKS OLD ANDNEW.Let
m-
know your wants
LIST FREE FOR STAMPED ENVELOPE N o Callers
--
G E O R G E JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle President : His GracetheDuke
of So:ncraet.
D.S.O.. O.B.E., J.P., M.I.M.C.
Vice-President: Douglar Cnpgr, Erq., Clubroom and Library and
M.I .hl.C.
Museum :
Hearts of OakBuildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon.Sccretary
:
FrancisWhite, 39 Alverstone Avenue, Wimbledon P x k , S.W.19
Magic Wand Publications The M&c Wand, Quarterly. Fer copy 318 p.p. h n o a l subscription 1416. TheWizard, 36 pages monthly. Per copy 211 p,p.. 6 month, l2/6. Year 24j-. Convtncrng Coin Magic (Farelli) , . 17/10 Mastered Amazement . . 10/3 (Koran & 1.amonte) Bohleno’s Mysteries (Bolllen\ . . 1013 T h e Conce-rt Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 1013 Chandu’s Psychoanalysis . . . . 10/3 Entertaining With Hypnotism (Dexter) 1013 Challenge Instant Hypnotism 5( Mass . . 21/Strictly Magic (Eddie Toseph, . . .. 5/3 Stooging Around (Strlthard) .. , . 5/3 Tests (Garrcttl . . 5/3 26 Livinz 8 Dead Jamesosophy (Stewart Janlcs) . ’ . 5j3 Year Book 48/49 (few only) .. . 513 StuntsWithStage Money (Lamonte) . . 5/3 Tricks of the Trade (Armstrong) .. 217 From thepublishers T H E MAGIC WAND PUBLISHING CO., 11. Monastery Gardens, Enfield. Middlesex.
Magic WandPublishingCompany I 1 MonasteryGardensEnfield.Middlesex.andprintedbyHerbcrt Walkerand Son iPrinters) Ltd.. ’Weil Croft. Shiplev. Ykkshire.
49
PENTA An independent monthly bulletin for all who want good magic
Editor’s Note Recently ( r s nztlny of yozc kno:il, t h t r i exct?lLent close-up per f o r m e r ctrnze o z w f r o m Holitrnd f o r a f e w d1ry.c. Orz the ezlcning o f his trrrizwl he came trlong t o our frierzd Fruncis Htrxton’s house, crnd z n c o n z p t ~ ~ zwith y FrtrncLs, (i2i.s Southall and Eric de h 7 P h e , LY sperzi nztrny hours zuutchiug Flans go through rl number o f routines.Ofthe effects thtrt he performedthateuening t w o sttrnd out in m y mind.Thefirst is /herersion o f theHirldn Thrend trick thot hc performed,whilst thp second is the e f f e c t io A E described. I t is deliqhff u l l y naturul mzd zmpromptu mtrgic that need.$ n o gimnicks; 0nl.y nssuredpresentntion. Fronr no~clo n we’ll Let H a m take over. The effect of this trick is not new and as most readers of the Pentagrnm will know it is well described under the title of the “ Ring of Thoth,” by Nelson Hahne in“M.yBest.” Though’ I used his method for many years I wasdissstis5ed becauseinborrowing a ring at random, I could not be certain that it would matchtheduplicste that I should use. I therefore set out. with the idea of obtaining the effecl and at the same time using no duplicate. The idea was consummated and the effect T POW use and which I am describinz for the first time here is the result. This is the effect as the audience see it. The magicianborrowsaring and also if possible a silk handkerchief. If thelstter is not forthcomingtheperformer uses one of his own handkerchiefs. The silk is pulled throughtheleft hand so that iis two ends hang rope fashion downwardsfromthe fist. The ring. is now placed between the first andssrond fingers rlear the knuckles and is visib!y puqhed intothe fist. The left,hand is nov opened and it. is seen that the ring haspenetratedthe silk and encircles it in the centre. Now T want vou to follow me with ;Irin2 and silk in your hands.
First of all the ring is placed on a table and and pulled the silk is taken by therighthand through the left hand once or twice. Finally it. is left in the left fist with the endshangingdown.
The back of the left hand should now be par-dlel withthe ceiling. The ring is now taken by the right hand and placed between the first and second. fingers of the left handneartheknuckles. You now explain that youwillpush the ring into the fist and it will pass through the silk and bec:,:m threaded upon it. As you say thi-,the ring is actually pushed into the.fist. Seemingly as an afterthought you remark, “ Well, perhaps it will be as well to see if the ring is not too small to pass over
50 the handkerchief.”You now openthe left hand and the ring is seen to be lying on top of the silk. You now takethe ringwiththeright hand againand visibly threaditontothe silk. You pull it down to the centre and appzar to be satisfied for there is no doubt that the ring can encompass the thickest part of the handkerchief. At this moment the left hand turns downward so that the thumb and first finger seize the silk about an inch abovethe ring (see illustration). Thespectators are given the chance of seeing that nothing is CORcealedinthe left hand.Theperformer, who at thispointhasbeenfacingleft, now a p p m n , l y takes the ring with his right hand fingers and pulls it downwards off the silk. At the p3me time he turnsright.Actuallyheonly sirndatesthe removing o? the ring, the turn o€ th: body allowing the left handfingers to screen the ring which remaim on thesilk. The right h:lnd moves away asthough itisholdingthering. This action must be practised so thclzi it really looks as thouzh the ring were being removed. The right hand now appxently places the ring between the first and secondfin,p,ers of ‘the left. hand, but actually under cover of the risht h:lnd. the left h:,nd thumb pushes the ring up so that it appears betweenthesetwo fingers. The illusion is perfect and without
Editor’s Note 112 t h c last wjouth’.s “ M‘trgic go Knzd~zd” Ii[ftrpoiogised f o r ( h e f t r l - t thtrt lack of .spnce did ]rot alloaf ZLS t o p1dblish in thnt p ‘ t r ~ t i c ~ lissur. m e f f e c t s b~ R o n . Baillie mnking use of the c’xcelleni i~npression pad ginzmirk ,+h:!/hr des!.ribed in that nu?rzbrr, under t htei t l e of / a 1 0
Cretrting ctn Impre.s.siozz.” 1‘17cp r o m i s e d t h e m f o r this issue and herc, t h e y ‘trre. T h e f i r s t , a s t h e trbo7ls title tells y o u , is c‘trllcd !T’”;A#?:l Thinkin T ” and is n (‘Living (2nd Dend” T e s t ifz <7 li,qhthetrrted m‘trn/zer. B e s i d e s the ftrkcd t’1z7relope .stark and cnrhon ptrd dgtnilrd i?? * ‘ Crentin(: arz lTmpression ” y o u will rer/z/ire ( I duplicnte zuzpreptrred pnd and pencil. “
There are 5 or 6 envelopes on top of the faked stack. One of these can be distinguished from the others.Agoodmethod of doingthis is to pick, fromabunch of envelopes, one whichhasa natural mark on either side; then pick out four or
five others which have no natural marks on them, or which allhavenaturalmarks, in a different position fromtheonethat you picked out first. These are on top of faked stack, the marked. or dif€erently marked,one on top. Set-up : Envelope stack in right jacket pocket. Pads and pencil in right trouser pocket. Working : “ We all have apet aversion to some person or other,” you patter, “ perhaps merely an acquaintance, orperhaps some well-known personality.” ‘‘ You sir,”youcontinue,turning to a nearby spectator, “ I’m sure that there’s someone that you can’t stand, someone who annoysyou considerably, someone you’d like to see dead!’’ “ Wouldyou care to print the name of this hateful person, or his or her profession, on a slip of paper?” you say to him,handing him thecarbon-padand pencil.
51
“Just print it quite slowly, putting all your hatred intoeachodiousletteras you print it!” Turn awayashedoes this.Askhim to tear of€ his written-on slip; to fold it. This done, ask him to show thename to nearbyspectators.Takethe pad from him and put itinyourtrouser pocket Proceed as in “Creating an Impression.” When several people have seen the name you’ve written,” you say, “ Will you take your slip again, refold it. then seal it in one of these envelopes.’- Take the envelope-shell from, jacket pocket and hold it up. thusglimpsingandmemorisingnamethrough “ window.” Drop the stack, “window” side down.. on your table. When spectator is refolding billei remove the top (marked) envelope from stack and give it to him to seal his billet in. There are some people however,” you continue “ Upon whomwewishno ill-will. Someone known only to ourselves, or known throughout the world, for whom we personally have a great admiration, orperhaps affection of abaserkind!“ Turntoanotherspectator, “ Yousir, I’m sure. have the greatest admiration, respect and worship for someone known to yourself or others. Would you care to print the name of this person, or his or her profession, on a slip of pziper?” Hand him the unprepared pad and pencil. “ Concenirate on this name,puttingallyourlovingkindnessinto each letter as you print it! Then tear it off . . . etc. . . . and seal it in an envelope.” Give him an envelope. Repeat with three or four others, getting them to write names of people they like. Ask another specistor tc collect the envelop~s andto mix them You c m , if you wish, after pocketingtheenvelope-stack,allow yourself to be “ see-down-nose ” blindfolded. Ask spectator to hand you an envelope, note if it is the marked one or not as this is done.Holditup,askingthe
spectators who wrote to concentrate on the names. Assume that the one handed to you is a “ nice name. “ What an aura of beautiful thoughts surround the name in thisenvelope!” you say, “ Surely no one could wish any harm on this person. This can’t possibly be the one that is hated!” Go on likethisforalittlelongerthenhandittoa spectator, asking him to open the envelcpe and toreadout thename. Rita Hayworth.” you repeat whenhe’s readitout, “ I harbour a few loving thoughts her for myself!’‘ Have this confirmed by person who wrote it as a a nice ” name. Continue, in this manner, with the others. W-hen you’re handedthe -‘hated ” name. (markedenvelope), take it,gasp, drop itonthe floor like a hot brick. What an aurs of horribk hatred surrounds this person!” You say, I wouldn’t be in their shoes for anything! Who said thatthoughtscouldn’tkill!” Go onlikethis, making it obvious that this is the hated ” name. Hand it to the person who wrote it( with a pair of tongs, if you wish!), askinghim to open it and confirm, NOT, however, telling you the name. I know it wouldbe a bit of an effort,” you sly to him, “ But do you think you could bear to concentrateonthisnamefor a little longer‘? Just think of each letter in turn.”
This routine is based on Annemann’s Fourth Dimensional Telepathy.” Properties : Faked stack of envelopes and carbon-pad. (See “ Creating an Impression ’ 7 . An unfaked duplicate pad. 2 large slates and chalk. A display stand, about gin. high (as used io displayprice-tickets, etc., i n shopwindows). A nail-writer or small stub of pencil. Preparation : Tear off the first sheet of the unprepared pld. Fold it once one way, twice the other, then open it out again. With a tiny dab of wax fix this opened billet to the middle of one of the slates. If anail-writer is used, have it in somegetatable place(youmaylike to waxit to theslate
or onto a stick of chalk). Or, if you don’t have a nail-writer, fix a tiny stub of pencil to one end of S stick of chalk then colour it to mach the chalk. Set-Up : Faked stack in right jacket pocket. The two pads, and a pencil, in right trouser pocket. On a table lie the two slates, the one with the billet on it lies “ face ” down, thus concealing billet. Chalk. includingfaked piece, is i n a box on table. T h t display-stand is ontable or i n some prominent position. You need one piece of information, the name of someone i n the audience. Working : Go to a p m o n in thc front row (well design-it? thisperson, “ A ”), hand him thecarbon pad and pencil. Askhim to writeanythree or four
“
“
“
“
“
“
“
“
You now slowly reveal the name or write it on a slate. Or you can get spectatorto write it on anotherslateandduplicatethenameon yours. If the name is a well-known one you’ve got plentr to build up on, or if its a profession, e.g. “Income Tax Inspector,” “ Bank Manager,” etc., you’ve got plenty to build-up on too. You don’t need to make this a humourous test if you’renot that W A Y inclined.
52 digit numbers on the pld and to concentrate on each digit as he writes 11. Proceed with the moves detailed in ‘‘ Creating an Impression.” ‘‘ When several people have seen the number, would you refold your slip of paper and seal it in one of these envelopes,” you say, holding up the faked stack of envelopes and thus glimpsing the impressionthrough the “window”; memorise this number.Hand him one of theunpreparedenvelopes from the topof the stack. Go to another spectator; take the unfaked pad from your trouser pocket and hand it to him, along with another unfaked envelope. Ask him to print any name on the pad and to concentrate on each letter as he prints it. He is then to tear off, to fold, to show several other people the name he wrote, to refold and thentosealit in hisenvelope.(This person will be “ B ”). Taking the pad from him, go to the spectator whose name youknow, handhimthepadand another unfaked envelope, asking him to draw a picture or diagram on the pad, to tear off, etc., etc. (This person will be C ’7. As he does tbis, go to “ A,” takehis sealedenvelopefrom him,askhimwhst his name is, and appx-en:-iy writehisname on his envelope. What you re2lly write is thename of C.” Go to B,” ask him hisname,pretend 10 writethisname on his envelope, but write “ A’s name instead. Go to C,” ask his name, pretend to wri’teit on his envelope, but really write “ B’.”’ Ask anyotherspectatorto assist you, give him the three envelopes (This spectator we’ll designate, “ Umpire.”) Stand beside the table, -‘Umpire nearyou.Explain that you’re going to ask the spectators to concentrate and will record your impressions of their thoughts on a slate. “Now who was the first person, the one who’s thinking of a number?” you ask. “ Yousir?”youcontinue. A acknowledges. ‘‘ What is your name again please?” When he gives his name. ask Umpire to give y m ‘‘ A’s ” envelope. (It’s got ‘‘ A’s nameonitbut,contains ‘‘ B’s”’ slip with aword on it). Hold ittoyourheadfora moment, then clip this envelope, name side towards spec’ators, onto the display-stand. ‘‘ Pleaseconcentrateonyournumber,” you ask ‘‘ A,” “ Centre your thoughits on your envelope;think hard.”Takethe shte with billet attached, keeping that side towards you, thus concealing billet (the “Umpire” should be some little distancefrom you). Tak:: thefakedhit of chalk o r pet the nail-writcron\/ourrightthumb. Stsrt writing your “irn?res4ons” on the slate, not letting anyone x e what you’re writing, of course.With thenail-writer or fake?.chalk,write ‘‘ A’s ” number on the billet attached to slate; you’re perfectly covered by the slatfc-. This done, still under cover of writingonslate,fold the billet.Pretend to be having some difficulty with “ A’s ” thoughts. scrabble about with the ch4k on the slate, rubbing ,>ut occasionally. Ask him to concentrateharder. “
”
”
9’
*‘
”
”
“
Write correct number with chalk on slate. Detach billet from wax and finger palm it in whichever hand you use for whichever billet switch you use. ‘‘ That’s it, I think,” you say, drawing a chalk line round or under the figures. Ditchthenailwriter if you’reusing one. Propthe slate up againstsomethingontable or justlayitdown, blank side to spectators. ‘‘ Now let us see if I’m correct,’’ you say, and, going to the display stand, you remove the envelope. Tear it opm, remove billet, drop envelope,namesidedown,ontable.Open billei, read it, memorise the narne on it, smile and nod, refold it and switch it for the finger-palmed one as you hand it to ‘‘ Umpire.” Ask Umpire to read out the number on it. Have ‘‘ A” acknowledge it. Turn your slate round and show that youwrote the same number. Rub out the number on yourslate. Ask the second person, “ B,” whathisname is again. ‘‘ Umpire” hands you envelope with “ B’s nameonit(it cont>i!ls “ C’s ” drawing) Hold it to your head for a second,then clip it onto disp!*;ystand.Asking B toconcentrate, prini name on slate. Repeat a y before, tearing opsn envelope. apparently confirrnifig your “ impressions,” really reading and memorising ,he drawing then switchir..? this billet for the one you’ve had finger-palmed all the time.Umpire wrdsout nameon ‘‘ B’s ’‘ billet and you show your slate. There are two alternative endings with C’s drawing (the envelope with ‘‘ C’s ” name on it really con:ains ‘‘ A’s total). I . Proceedasbefore,putting ‘‘ C’s ( ? ) envelope on display-stand, duplicating his drawing on yourslatethen switching billets, etc. 2. Tellthespectatorsthat“Umpire” would find it rather hard to exactlydescribeadrawing orally when he conlirrns your slate “ impressions,“ O Y , tell spectators that a drawing is much harder toconcentrateonthan iigures or letters. Ask ‘‘ Umpire totear up ‘‘ C’s ” ( ? ) envelope. then askhim to take the other slate and a piece of chalk, to Five it to “ C *’ then to resume his swt in theaudience. Ask ‘‘ C ” to drawthe picture he‘s thinking of ontheslatehewas given. YOLI duplicate it on your slzLe either before or after he draws on his. You can allow yourself to be blindfolded cr escorted o u t of the room for the duplic,.ttion business. all depending on theconditions you’re working U V C ! ~ . If you can’t find out the name of someone in the audience beforehand, ’;:)U can cut out the signir?g of the envelopes. U:.= 3 marked envelopes (mil-nicked, etc.). T r l this case, youproceed as before,but simply c!~oosethe envelopesyourself when you clip them. one at a time, onto the display stand. You’ll leavethe envelopewhich contains ‘‘ A’s ” totaltillthelast, of course.Havethe envelopes marked anyway, whichever method you use. then you’re all set to work it either way. “
”
”
”
”
“
”
”
”
”
53
A more suitable title for this card effect misht be PredictedCoincidence.” Itcanhardlybe claimed as original except inso far as the combinztion of a number of known devices, etc.. is used to bringabout a surprisingresultunderappsrent strict test conditions. “
Effect : The Performer writes 3 prediction on ;I pk:,; of paperandhandsthisto a memberof ill:: audience for safe keeping. An assistant examines and shuffles a pack o f caids. He is then instructed to take 1-he pack behind his back, to cut it a t random and to msrk the cut by turning over the upper packet and replacing it face upwards on the lower packet. In this condition.he dropsthe pack on thetable. Another pack. with an entirely difFer:n? coloured or designed back. is handed to him to h s examined and shuffled in similar fashiDn i:, th.3 first. He handsthis back to thePerformer, who immediately and in full view cuts this pack, turns over the upper packet to mark the cut and drops the pack on the table. The assistant, is now instructed to remove the facing packet from Pack No. 1 . and to reved the facedown top card of thelowerpacket. Ltt UF assume that this proves to bz the Four of Diamonds. He proceeds to revealsimilsrlv t k card at which Pack No. 2. has been cut and tI2T.i also proves to be the Four of Diamonds. Finally,thePerformerreminds hit; audience that he handed out a prediction before either p?c’c was shuffled bv his assistant and asks that it s)lr,~ll now be discloqed. The person to whom the wedi-tion was handed reads- “ Both p ~ k will s be cut at the Four of Di,anlonds.” Positively PO dunlicates, cards added. double backpd or faced csrds, threads, wax or girnmnichand the prediction is actually made before touchineither shuffled psck. Secret and Workhp : I almost blush to record th:lt this censxtional anddazzling (?, effect is produced bv c~mewh.,tf shadymeans, toyit. littlemore or less th:ln ‘! couple of m2rked pscks. The r-trds i n P.ck No. 1 . ;ire marked on their b ~ c k sand those in P,,lrk No. 2. on their edZes. I am guilty of some deception i n lesdins -:2.b’ readers to believe thatthe prediction is actu.111) passed outbeforePack No. 1 . is h3ndedto th: assistant. That is not quite the case; nor will the Performer be strictly truthfulin telling his au.dim% that it was made before either pack was shuflkd. Still. that should not cause him muck loss of sleep.
In the first place, Pack No. l. is handed to the assistant with the request that he counts the csrds with the faces towards him,thereby satisfying himself that it contains the correct number and denornination of cards. and then shuffles it as much as he likes, meawhile, says the Performer, he will make a prediction. Taking a pencil andpsper, hewritPs sloxly Both packs will be cutatthe The assistant should now have completed his shu3le and m.ty quite possibly have dropped the pack face,dowg on the table. If not, he receives a whispered instruction to do so. The Performer is apparently intent upon the completion of his prediction, but a casual downwards glance at the marking on the back of the top card informs him that it issay the Four of Diamonds. He completes his prediction accordingly, folds the paper and hands it out. “
”
Addressing himselfnow totheassistant. he picks up the pack and explains what he wishes h i m to do; viz., to face the audience, to put his hands behind his back, and so on; before actually placing thepack in the assistant’shands. In the a ~ of t so doing, and under cover of the assistant‘s body. asimplemovement of thethumbturns the top card over into a face up position. The subsequent cut and reversal by the assistant causes this card to become the top card of those facing downwards. Pack No. 2. is next introduced and handed to the assistant with the request that he counts the cards with the faces towards him and shuffles them as much as desired, i.e., just as he did in the case of the other pack. All that remains is for the Performer to take this pack and to cut off and reverse all cards above that which is shown by the edge marking to be the Four of Diamonds.
Notes Re Bask No. 1. I personallymakeure of a pack of L7.S. Playin? Card Co. Rider Back Cards which T h.lve marked according to the method described onpage 17 of R. W. Hull’s “ Eye-openers,” hut it i s not difficult to devise some system of markins for almost a n y design of back which can quickly be interpreted hy the Performer but which. is not t o o obvious t:) :tn:ym e else. Notes Re Pack No. 2.
My system ofedge marking------amodification of Robertson Keene’s Demon System was explained and illustrated i n the .llu!~i/1T‘n:zd Vol. XXIX. page 31 : but our Editor would no doubt be willing to reproduce. should there be any demand.
54 Additional Notes : The assistantisnot, of course,invited i n so many words to examine the cards closely; but the fact that he counts both packs with the faces towards him and then shuffles freely inevitably produces the impression that there can be no possible preparation.
It is not easy to ensure that. any desired movement shall be carried out exactly according to p!m when thehandsare held behindtheback. For this rcazon, care should be taken t.hat the assistant is properly instructed, and he should be watchedto seethathecarriesout hisinstructions without. mistake. In any other events some contretemps is almost certain to occur.
METHODS FOR MIRACLES. (Published by Willane, price 3/6 each). No. 6. EdwardVictor’s “ ElevenCardTrick )’ Here for the first time is a favourite eRec. of Edward Victor’sdescribed by Willane. Though T havenever seen it worked by Edward Victor I have seen Miss PaulaBaird use it onmanyoccasions with excellentresults. The effect is that the spectator is asked to hand the conjuror some eleven cards which he does. The conjuror counts therr. 2nd finds a differentnumber. Cards are addedandtakenawayandnever doesthe conjuror seem to have eleven cards. An excellent effect thatrequiresnotagreatdeal of skill. A trickthatonceaddedtothereperioire of the entertaining magician will stay in. No. 7. Peter Warlock’s ‘‘ A Matter of Design ” and ‘‘ Stickertime ” (reviewed by George Armstrong). Few readers will not be aware of the incredible effect of Dr. Jaks’ “ Supersonic Card Prediction.” Peter Warlock has gone not one, but half-a-dozen better in evolving this method using design cards, similar to E.S.P. cards. Ten cardsarebackout on asmallpivotedstand. Theperformerdrawssomethingon a slate, drops it into a bag and hands it to a spectator. Then a volunteer calls a number and the carda t thispositioninthestand is removed.The stand is swung round so that all the cards now face the audience, and the selected card is replaced,backoutinthestand.Thespectator with the slate holds it up so that all may see the performer’sprediction.Theselector of the card removes it from the stand, and it is the verydesignpredicted.Thespecialpointsto note are that the prediction is handed out before thecardisselectedandthespectatorhimself removes the card, for there are no fake cards,
The weakestpoint in the whole effect, and that requiring most care, is in the cutting by the Performer of Pack No. 2. It, is perhaps best to note,andobtain alittle finger breakabove,the desiredcardbeforeannouncinganyintention of cuttingthispack.Thisshould be done whilst turned half left, and engaged in pattering to the assistant. A halfturn is then madetowards the audience for the purposeof explaining what is nob intended, ailer which the pack is cut and the upper packet turned over without any hesitation. The force of the top card of Pack No. I . is. it? mostreaders well know,Henry Christ’s 203r:; Force as adapted by Paul Curry.
the full face of every card can be seen, and each onebearsadifferent design. This is an effect that no magician can possibly afford t o miss. For good measure there is “ Stickertime ” which is a clever double card prediction using packs of cardsthatmostreaders willhave aroundthehousealready,orcan veryeasily prepare. (P.S.-We fancy this should have been called “ Stickertape”). No. 8. EdwardVictor’s and ‘‘Card in the Aces.”
“
Sympathetic Reverse ’?
Two lovely effects of Edward Victor’s these. the first being one in which after two halves of the pack are faced they all go the same way . . .much more than that really but that is the main effect. The second effect “ Card in the Aces ” is a miraculous piece of card magicinvolving skill it is true, but not making any greater demand than a true apprentice should be able to comply with. The effect is as follows :The four aces are banded with an elastic bsnd and held by a spectator who has previously selected a cardfromapack.Thiscard vanishes and is found sandwiched in the middle of the aces.
‘‘ Blueprint for Bill-ze-Bub ” lb7 WJIP Dexter (Published by Holden:, New York, puic: one dollar twen!y-five cents (say 9/-), Some little while back, the wily Bill Nord put out a gimmicked piece of appsratus called Bill-zcBub. As itcameitwasagreatassetbut Will Dexter realised that it had a multitude of uses and hence the present mimeographedpublication of some nine quarto pages. Readers will obtain some idea of the COIItents if we quote the follobing :(Continued on Page SS)
From Hen *’ Fetsch we have received a charmingletterpraisingthe “ Miracle slate. Further than that he has passed on the routine that he is using and which he calls “
”
MENTAL EPIC ” The effect is this : Any person, with any book, magazine or newspaper,selectsa word and then concentrateson that word. The medium receives his thought waves and writes a word on a slate which is covered. The word isrevealed and when the cover isremoved theexactwordappearsonthe slate.-Youwill think of the word. . . . . signed, “ Hen Fetsch. This is how the audience remembers theeffect. Hereiswhathappens.Have themturn to any page and underscore, with a pencil, any five words withseven letters or under. This is explained by pointing out the fact that larger words arequite difficult to receive from persons transmitting them for the first time plus the fact they wouldbe too long to writeontheslate. After the words have been underscored, have the person think of the words one at a time. On about the third wordsay, “ That one is coming through with a definite signal.” Tnstruct the person to circle this word and concentrate on it only. You get the word, letter by letter, write it on the slate ? ‘? ? and cover it with board and clip. Havethe personcall out the four words he underscored and write them on the slate allowing “
”
(Continued f r o n page 54) l . Another Key to Baldpate. 2. Heacii;r?e Prediction. 3. Billet Switch. 4. The Pocket Mind 5. Living or Dead Test. 6. Another Reader. Living andDead Test. 7. BookTest. 8. Pick up in One Ahead. 9. To Stop a Watch. i0. C o u n : i n z by Clairvoyance. 1 I . Simple CardVanish. 12. Premonition. 13. Brainwave Deck Idea. 14. Poker Hand Deal. The writerconcludeswith a note onthe natural handling of thegimmick.Excellentvalue if you are interested in mentalism.
b‘ Prepossessed ’ by Ron. \Baillie (Marlkelted by Unique Magic Studios, price15/-). For the personwanting a most natural prediction effect, we advise him not to pass this by. Ron has taken hold of a weakness i n on5 aid to chicanery and used it as a means to an end i n a way that compels great admiration from those who think that magic is something more than a bundle of sticks. The routine comes complete with everything ready to work all nicely fitted into an attractive pocket carrying case at a low price of l S / - .
theaudienceto see the writing.Thenhavethe person call out theword he circles and transmitted to you. This you write on the slate. At this point go intoyourbuild-upand finally revealyour covered word for the climax. If this isn’t a perfect mental effect I will eat my hat.Everymove is logical andthe complete effect is direct.Giveit a try and let. me know your opinion. Thanks a lot, “ Hen ” and we know that those of our readers who have invested in our “ brainchild” will appreciate and use this very fine presentation. Back to the States goes that stalwart of magic, Tommy Vanderschmidt, who has promiszd a fine sleight of handroutine for a future number. Tommy sent us along a verynice write-up of the “Pentacle”club show at Cambridge.but by the time we couldget it into print it wouldbepast history. From all reports that we have heard, this unique society did put on anentertaining show thatbrought a variety of first class magic toa Universitypublic. Wearelookingforwardto rexdinz Wilfred which Tyler’s new book “ Playing with‘Magic we hope will see the light of day in time for the British Ring Convention at Hastings. Withrecent memories of Wilfred putting on an hour’s show for a party that we managed, we know that those who like to entertain “ Those horrors the Teeny Weenies” will have a mine of information of this (to them) all absorbing subject. ”
Methods For Miracles T H EN ’ G A I DOG RACE EdwardVictor’s R I N G RELEASEand SUPER CARD TRANSPOSITION N o . 3 E. G. Brown’s W A N D E R I N G C A R D N o . 4 E. G . Brown’s D l M l N l S H N I G C A R D S N o . 5 Peter Warlock’s GLIMPSE INTO T H E F U T U R E and TELESLATE No. 6 EdwardVictor’s ELEVEN CARD TRICK N o . 7 Peter Warlock’s MATTER of D E S I G N and S T I C K E R T I M E N o . 8 EdwardVictor’sSYMPATHETIC REVERSE and C A R D IN T H E ACES No. I No. 2
Postage 3d.
3/6 Each. From
THE MAGIC WAND PUBLISHING CO. I I MONASTERY GARDENS, ENFIELD MIDDLESEX
56
WHERE
HOIMDINT
WAS
\VRONG
by Maurice Sardina (Translated by Victor Farelli)
SPECIAL CHEAP EDITlON ECAUSE webelievethateverymagicianshouldreadthisgreat book, we haveproducedaspecialcheapedition.It is still beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which insteadof being heavy cloth covers is now soft boards. The saving is thus passed on to all those who, a s yet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for ” the latest tricks” you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot d o better than study this monumental work. Here you wiil find unfolded, step by step, the truth about Robert-Houdin’s great inventions, his Orange Tree Trick,”the“Writingand DrawingFigures,” The l?a:x-yFpok of the Palais Royal,” “ TheObedientCards ” TheCabalistic Clock::’ The Trapeze Automaton, The Inexhaustible Bottle,’’ ‘ I Second Sight Act,” “ The Suspension Trick, and I ‘ The Disappearing Handkerchief.” The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood.cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading. l‘
l’
‘ l
Price 1/6 Postage 6d. (U.S.A. $1.00) From the Publishers THE MAGIC WAND PUBLISHING CO., 1 l Monastery Gardens, Enfield,Middlesex ( T h e cloth-bound first edition is
PETER
The WARLOCK
available ut 20/6 p.p.)
WARLOCK’S
The Magic Circle
PENTAGRAM
MIRACLE SLATE
I
still
Although limited in output, has now travelled to Ireland, Finland, Belgium, France,Africa,Australia andUnited States.
ispublishedonthe 24th of eachmonthand canbeobtaineddirectfromthepublishersfor 1/1persinglecopy.AnnualSubscription post free. PUBLISHED BY:
I’residcnt : His Grace
And nolw from
“
Hen
”
Fetsch . .
Have been using your ‘Miracle Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem 1 have worked upon for years.” . . .
1j.Il.r
h:!
Sowcrwt.
Vice-President: Douglas
G a g g s , Esq.,
M.I .hl . C .
121-
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Manuscripts for publicationand books for reviewshouldbesent to the: EDITORIAL ADDRESS:
Peter Warlock, ,
.!IC
D.S.0.. O.B.E.. J.P.. M1.hl.C.
24, Wordswotth Rd., Wallington,
Surrey.
C.lubroom and Library and Must.u~n
:
Hearts of O a k Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George‘s H;t:l, W.C Particulars from Hon. Scecretary . Francis W i : . t c ,
.39 Alverstonc Avent:-, Wimbledon Pn:k, S.W. I9
“
PRICE
-
E2 10s. Od.
JACK HUGHES will be pleasedtosend full details of
~‘ou
THE DE LUXE “SU-TABLE” togetherwithallhisother effectsinreturnforastamp. Writenowto
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
Post Free, from
PETER WARLOCK 24,
Wordsworth Road,
Wallington, Surrey
Everv Advertiser’ Published bythrpropnetcmThe
CONJURING BOOKS FOR
SALE
OLDANUNEW.Letme know yourwants FOR STAMPED ENVELOPE L I SFTR E E N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Magic Wand Publications The Magic WandQualterly Fer copy 3/8 p . p Annual subsc)riptioll l j i 6 . The Wizard, 36 pages m o n t l ~ l \ .I’cr copy2/1 p.p. 6 month, 12/6. Y r a i 24j-. Convincing Coin Magic (Fatelli) . . 17/10 Mastered Amazement (Koran & I-anlonte) . . 10/3 Bohleno’s Mysteries (Bohlen) . 10:3 The Concert Ventriloquist (Hurling) ’ 10/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis .. . . 1013 Entertaining With Hypno:isrn (Dexter) 10/3 Challenge Instant Hypnotism 8: Mass Hypnotism .. .. . . 211Strictly Magic (Eddie Joscph) . 5/3 Stooging Around (Stnthardi .. . 5/3 26 Living L Dead Tests (Garrett) . 5/3 Jamesosophy (Stewart Jarncs) 513 YearBook 48/49 (few only) . 513 Stunts With Stage Money (Lamonte) 5/3 Tricks; of the Trade (Armstrong) . 217 From the publishers T H E MAGIC WAND PIJBLISHING CO., 11, Monastery Garden-. Enfield. Htddlrqrr.
57
PENTAGRAM An independent monthly bulletin for all who want good magic
U,&.6 &a. 8
Editor’s Note :This is Q very nice idetl thtrl /iulmy DougIus h m come dolzg zuith, nice bl7cnut7 ;;othing cozlld bc w o r e nrrtzlrnl f o r plncing insidr’ / r book than cr book- nark. I l ‘ c think that it z L w s Eddie ] a s e p h , m a ~ z ymoons (rgo published t y book-nztrrk idetI:in the jIN17C. l’his i s trio~zq 2 1 ~ 7difft’rtvzt ~ l i m s trnd d o z t ; ~ the . ~ f o r c e of at (enst t w o st2t.s of words or pari of Z L I : I T ~ S . Anyhow I,ot’.c hftrr 7c4nt its originntor har t o say trbozlt it.
1952
sidesmakingtwopredictionspossible. The ribbons are now stitched to form a tube with ihe fake inside acd threads protruding either end. Attach a
‘ ~ t l t 4 0
The followingideaoccurred to me whilst reading a book that contained R book msrk msdz from silk ribbon.Thisbook-markhad a telr near the centre and so when placed upon a page a word o r twobecamevisible t.hrougl1 thisunintentionalopening.Thus,with a bit of thought, T had the means for a word prediction on th:: linFs of “ Wordo,” but, making use of a more nstunl “ prop.” Realisivgits possibilifies 1 s,et to and made up my faked book-marker which I now propose todescribe. Taking two pieces of coloured ribbonapproximatelynine inches long and one and a half inches wide, a small slot measuring a quar’er of an inch by half an inch is cut from t,he centre of each ribbon. As it is essential that these slotsshallcorrespondexactly when one piece of ribbon is placed upon the other it is best to plare one ribbon on the other and cut both slots at thy same time wifh a sharp razor blade. A small piece of tin is cut about 1;. inches by 3 inchwide andthreadsareattached at its broad side with lenq’hs which are determined as follows. Place the tin piecewhich has to s!ide U? and down betwsen the two ribbons (later stirched round :o form t: tube) over the slot in ribbon and the threads ~ r : :cut +c) length to reach each end of the ribbon :.it :!c, oppnsite pole;, but with the top ~ n . 3S!Jeast $- inch longer. A piece of printed matter,later 10 be predicted, is cut f r n w :: h?’; and p s t e ? (?P the tin. This can be done bo:h
I‘
/ l \
I
’ \
;L+ I
I
‘& \
I
I
I
’L
‘e I
58 smallbead to the top end of thread and a small tassel to the bottom thread. A little pull on the bead will slide the fake from sight while a pull on the tassel end should bring the fake into the slot and if placed on reading matter in a book it will appear to be part of the type. The ribbonmarkershould be shaped at the end as shown in diagram. Borrowsomebooks select one with printing similartothat of fakeand allowaspectatorto
placethemarker at any page he wishes. Take the book and hand to another member of the audience at thesametime secretly pulling the tassel. The assistant reads the word or words in slot and yourprediction proves correct. A littie wrinkle may beincluded here. You can allowchoice of thepagesright or left of markertheribbon is aLtomatically turned over which ever side is used. The effect can be repeated using the other side of the fake with another book if desired.
On page 34 of his most excellent“Linking Ring Routine,” published by Louis Tannen, Jack. (Holdout King) Miller describes ;I method for removing a solid ring from a knotted loop of rope. Whether this is Miller’s own conception l am not sure for a few pages back a ring on rope routine of our own is given without any acknowledgment. The samebasicprinciple isinvolved i n the effect now underdescription but we venture to think that the natural method for the placing of the ring on the rope, plus certain additions a t the end of the effect, will make for greater deception. The ef-Xect from the spectators’ point ofview i s that, a large metal ring is slid;. ‘ p to a length of rope. the two ends of which are rtlen tied together. Without untying the ends the ring is removed from { h e loop.Atthispoint I would liketo mention that my fr’zndEdwardVictorhas recently published a s:milar effect i n the ‘‘ Mrijzods f o r MzroL-/t>.s*’ series, but the means for obtaining the final result are entirely different. so different in fact that I would recommend the purchase of Edward Vic’or’s routine so that the, alternative methods can be used in conjunction with one another. The reader will have at hand the requirements for this ef’ect. namely a six or eight inch linking ring and a piece of rope measuring about five feet i n length. The l c : t hand holds the ring so that it is paralIel w i t h the ground whilst the right hand holds t h e ropr: beiween the second and third fingers
about eightinchesfrom one end. the rest of the rope trailing on the ground. Both hands approach one another until the positionisreached that can be seen in illustration. At thispoint the ring is apparently placed over the right hand but what actually happens is thatthe righa hand thumb conies down inside thering and underneaththeshort piece of rope thathangsdownthus :-
Thethumb presses lightly againstthe tirst finger in order to stop any slip of the rope and the ring is swivelled over the right hand thus :-
8”
59 At the same time the right h:lnd turns so that ithas its back towardstheaudience. The left hand now picks up the lower end 02 the rope and thetwoends are tied together. From thepsrformer's view this is what he sees.
Now comes a most convincing move. The left hand drc-tps the knot and takes the rope at a point immediately above the ring thus :the right hand releasing its hold of the ring.
The righthand moves alongtherope to a l ! ~ : this (this is the performer's view.) The ring is no,\, turned so that it is side on to the audience whilst the right hand (not seen in illustration) holds the rope outstretched in this position.
The left hand thumb is at point X whilst the second finger is at. point Y. The righthand noM takeshold of the lower portion of the ring and gives it a quick tug, which if the left hand fingers and thumb stayed put would bring it to this point and at which the ring would stay. Immediately the pressure is felt, however, the left hand second finger slips out of its loopandwith a carrythrough attic)!? +h ring is apparently pulled ott' the ropz. Tr! thisoutand 1 feelcertain t h a t !.ou will ,like it. it needs practice but none o f the I ~ O V require any skill o u t of the ordinar!.
~ >
60
Editor’s Note :Thosewho were regular visitors at [lie Unique Sunday Shows,will regret the returni~ig of Tomlny t o the States. A smooth worker of the modern schoo2, we nre more than pleased to publish, with the very kind permission of Bruce Elliott, thisvery neat coin transposition that czppeared in P H O E N I X 2.7,:. IVe look forward to seeing him when he returns to this country. Here’s a trick which uses a n old move but has a fine effect. It canbe used as a drawingroom or table trick. The idea is that. inverted glasses covered wl h a blue and red silk respectively are exhibited. On the top of the glass on the lert 1s the re,d silk and a silvercoin(Halfcrown) whilst on top of th.2 glass on the right is the blue silk and a coppzr c 3 ; ~ (A penny).
placed over the left hand and of course over ihe coppercoin finger palmedthere. The silver coin is placed in the cenire of the handkerchief so thlt the arrangement is silver coin centre of silk, copper coinunderneath. Now the righthand come; Xrossand the first finger gripsthe c a p p x w i n ihrough the handkerchief, whilst the thymb of the samehandcomesdownonthe silver coin. The whole caboodle is now picked up and given LL little shakeasthough you hadimprisonedthe silver coin inside the silk. Actually the silver coinis on the outside facing you and hidden from !he a s 5 ence whilst the copper coin is safe inside! This is now placed in the left hand, the bottom of the “ bag ” being laid in the fingerpalm position and the corners of the silk hanging between the first finger and thumb of the left hand.
Each coin is wrapped up in a silk, and tnen put into theglasses that t.hey were sitting on. Withone o r two mumbledwordsthecoins change places. The copper coin is now in the red silk on the left, whilst the silver coin is in th.= blue silk on the right.
The corners are now taken by the right hqnd twisted a couple of times and then the “ bag ” is lifted off the hand leaving the silver coin fingerpalmed (this cannot be seen because you turn your hand inwards as you lift the silk “ bag ” away). The left hand takes the left-hand glass and turns itover(beingcarefulnottoexposethefingerpalmedcoin) and thesilk,apparentlycontaining the silver coin, is dropped inside.
All that. one needs for the ef’fect are a red silk andblue silk, two glasses, twopennies (one 0‘’ which is displayed whilslt the other isfinger-pslmzd in the left hand)and of coursethe silver coin which is displayed on the left hand glass.
The same move isrepeated with thecopper coin so that you are now left with a copper coin palmedinthe lefthand. To ditch this you take a pencil from your pocket leaving the coin behind. The pencil is used as an impromptu wand.
Attentionisdrawn to the silver coin on the left which is picked up along with the red silk by grippingthe coinby itsedge between the first finger and thumb of the right hand, a piece of ’hp silkbeing caught up bytheedge. The silk is
Hocus Pocus! Place the pencil down and pd!l the corner of the red silk, the weight, of the coin inside holding it down. The coin is left inside the glass and displayed. A similarprocedureisgone through wiFh the blue silk.
Certain types of audiences are very sensitive sucker effects and consequently do not react as one wouldexpect “ Here it is,” although falling into the catch your audience ” category, will be found to be agreeable and entertaining to any spectator who hates being led up the garden path. The plot is simple as it is old, but the routine is awinner nevertheless. The performer displayingasmall silk, tucks it into his left hand and CIUSZS it to vanishand produces it later from his previously shown empty
righthandtrouserpocket.He offers to explain how it is done and so as to make it easy for everyone to follow, he stateshe (will show thestages through which the silk travels before it reaches his pocket. He again tucks it into his left fistand again it vanishes to be produced from under the armpit, theperformersaying “ Hereit is.” He rept!=sts his previous actions and says he will send the silk a stagefurtherandproduces it, thistime from under the armpit bkneatlz the jacket. He vanisher; it again and this time ~ h o w sit has arrived behind
to
“
”
‘*
the collar of his coat at his neck. He repeats the vanish and thistimeshowing bothhands empty produces the silk slowly from his trousers pocket, and the audience are none the wiser. The requirementsforthis effect arethree smallsilksall of asimilarcolourandabout 6 to 9 inchessquare.One is secreted in thetop of the right hand trouserspocket in the usual mdnner. The secondistuckedbeneaththecollar oi’ the coat at t,he back of the neck. The third silk i; placed in the right trousers pocket at the bottom with one, of two short tubes made of cardboxd, celluloid or metal, just large enough to take one of the silks comfortably, and with an opening large enoughtoaccommodatethe finger-tip of the second finger. Thetubesare theusualones for vanishing a silk but as fingers difler in size it is as well to make one to fit your own digit. They may be flesh coloured if you wish but if the sleight is carriedout properlythetube is invisible. The second tube is placed in the top left hand waistcoat pocket in an upright position. The working of theroutine is as follows. Place the right hand in trousers pocket andslip the tip of second finger into open end of tube and bend the second finger into palm while forefinger and thumb remove the silk from pocket and display it hangingdownwards. .Show theleft hmd, slowlyturningitover, fingers wide apart,and then as the right hand approaches it to place the silk in between the left forefinger and thumb, the second finger of the right hand (with tube) bends towards the left palm and deposits the tube there. The left fingers curl around the tube, aria the silk between forefinger and thumb hangs just over the knuckles of the left fingers exactly as it did in the righthand. The righthand carelessly flourishes, and slowly turns out the righttrousers, pocket, then returns it but s.till leaves the silk at top of pocket. The silk in the left hand is now tucked into the tube until a small portion of one of its corners isstillslightly visible. The forefinger and thumb alternately assist in the insertion, the second finger finally stealing the tube and silk by quickly bending into the palm while the forefinger gives a few extra pokes. Kneadthe fingers and showvanish from left hand and say “ Here it is.” With these wordsplacetherighthand in trouserspocket straightening fingers as handreachesbottorn of pocketand a t the same timeplacethe left hand over the pocket, (i.e. outside) and press on the tube while the right fingers and thumb remove the silk whichis passed to theleft hand. The right hand thenentersthe pocket. again, gets thetube on second finger, ber,ds it to the palmand r e m o w the pocketagain to %howitemptyand 1 ~ t ~ l o .ifs sticking a u t .
Take the silk againfrom left hand inthe same position as in the beginning of routine, show the left hand again as before, pass the silk to left and load tubeinto left hand at, the sametime. Returntrouserspocket,bringingdown concealed silk, casually showing right hind as before. Tuck in the silk, into tube again, vanish by stealing on second finger and as you opzn left hand to show empty, quickly place right hand under left arm pit outside t:he coat and grip it there by prezsing lefc arm on it. Withoutpausewithdraw the silk betweensecond finger andthumb, lezving thetube behind,and thenplace the silk in the left h?nd saying “ Here it is again.”
As YOU place in left hand,put righi hand underlett armpit insert secondringer andsteal tube by bending finger as before. Plenty or cover byback of righthandandtheleftarm, makzs thisindectable a t three feet. Immediately raise left arm and point, to armpit where tube previously was,with the forefinger of righthand saying, “ Observethe1NVISIBLE HOLE.” Againtake silk in righ’: hand between forefinger ar,d thumb, show leftas before,place silk in IcEt,, and load tube. Repeat the vanish again as befJ,r.i=butthis time raise the coat on left side wit,h the IIOW empty lefthandandproducethe silk from t-ht arm-pit next to shir$. Repeat steal of tubs as before “ invisible hole.” R e again drawing attention to peat moves alreadyexplained to vanish silk and then as left hand is shown empty, call out “ Here it is,” tzmzizzg buck t o nztu‘icnce. Left hand commences to withdraw silk fram back of neck position WHILE righthand with tubedepasitsthe latter in the left. top waistcoat pocket and quickly removesthe second empty tubeon the second finger as before. The rightshouldremainclose to body after vanish and the turning of body, so that movement of the elbow is not perceptible. The righthand keeps dase to body after remmal of second tube as per:ormer faces front again. Plenty of misdirection is prov:ded by all eyes being drawn to the slow withdrawal of silk from collar position. Left hand shakes silk places in right hand again, and exac!ly thesame moves are carriedoutto vanish silk and then as left hand isshown empty this is emphasized by the fore-finger of right hand touching left palm. A right turn is now made and as thehands crosseach otherthe second finger ofright,handbendsintoleft palm and deposits tube there. Trnmediately the left hand fore-fnger indicates right p,Ahn EMPTY. Performer now quickly turns left. left hand with tube close to side. Right hand slowly withdraws the: silk previously in right pocket WHILE left hand 24nSPfW to the audience drops its loaded tube into left jacket pocket. The explanation of this effect hasbeen l02g and tedious butoncethe ideahas been grasped rtsardin? first and s e c o ~ t !\!anisha and productions the re9.t is automatic.
62
In both Franklin V. Taylor's original version of DoubleStop (" Phoenix '' No. 197, page 756 and " Pentagram," Vol. 5 , No. 1. October, 1950, page 1) and in Ron. Baillie's improvement ( ' b Pentagram," Vol. S , No. 8, May, 1951 page 61 ). it wasnecessary, when looking through spectator A's packet, to cut,at thefirst red card from theface of thepacket,thencountfromtheface of the packet and cut at. the 20th card, remembering the number of red cards and the identity of the last one in the group while so doing. One of these two cuts may be eliminated as follows :-
(a) If there is a small group of red cards on theTace of the packet. count these, remembering the last red c'ard in the group (the chosen card'). run through the black cards ignoring their number and continuecounting from the first of the next group of red cards at the back of the blacks until thelastcard is reached.Mentallysubtractthis number from 26. Suppose the remainder is 8. Run through the cards again but this time start to count on the first of the black cards until you come to 8. and openly cut the packet at this point. (b) If there is a packet of black cards at the face of the packet, r u n through-,ttiese, ignoring them, and start to count on the first r,ed card you come to. Memorise the last red card(the chosen one) but continue to count on into' the group of black cards at the rear of the red group until 26 is reached and cut at this point. If you reach the last card of the packet before 26 is reached. carry on with yourcountfromtheface of thepacket until 26 is reached. and cut at that point.
I n eithercase,all t.he red cards are brougilt together with the chosen redcardattherear or top of the red group. and in the correct. position for the final dual count down.
These notes should, of course, be read in COI-.junction with the efTect described i n the issues c?! " Pentagram mentioned above. "
The effect of this trick (and an!, other, i n volving a red black separat.ion) is greatly enhancec'. if the pack is first given a preliminary shuffle. The following false shuifles will prove useful :" Blue Ribbon Card Tricks," Samuel Berlanu. page 27; " Arthur Buckley's Red and Black Shuffle."
Card Control." Arthur Buckle),.. page 24; .' Buckley's Out of this World False Shuffle ancCut" and page 83, " A False Shuffle par Excel lance." "
" Card Magic of Le Paul. The," Paul Le Paul. page 169: Color Segregation." "
Hugard'sMagicMonthly," Vol. 8. No. 1, June, 1950, page 674; "Red-Black Riffle Shuffles." Vol. 8, No. 2, July. 1950. page679. " More RedBlack Riffle Shuffles," Vol. 8, No, 3, August 1950, page hF9, More Red-Black Riffle Shuffles," and " Marlo's Red-Black Shuffles," Vol. 8. No. 4. SepBlack Riffle tember. 1950. page 699. " Red Shuffles." "
'I
"
" Jinx, The." 1937/38 Winter Extra. page 274. Cardminded." Martin Gardner.
"Pentagram. The," Vol. 2, No. 2. Novembcr, 1947, page 13, "The Perfect False Shuffle for Out of this World." Peter Warlock. '' Seven Circles. The," Vol. 1, N o . 6. Septztnber, 193 I . page 10. '' Red and Black."
Sphinx.The."Vol. 46. N o . 1 . March. 1947. page 1 1. A False Shutfle." JerryMcDermott.
63
The location of a freely chosencardunder extreme test conditions has given many card workersmuchfood for thought. I n his remarkable treatise l ' h i r / y Curd M ~ ~ s / ~ r i Jordan, r.s in trackingthedovetail shuffle to its lair.produced someamazingexamples.andKaplan i n recent years making use of daub provides another worthwhile example. It remained however for that famouscardexpert Billy O'Connor to providea solution to the following problem :A spectator is handeda pack of cards with the request that he goes out of the room. shuffles the pack. takes any one card. looks at it and memxises it,replacesitwherehe likes i n the pack. shuff'les againand comesbacktotheroom. The cardsare thentaken by theperformerwho with due presentation unfailingly locatesthe chosen Zard. There is noexaggeration,andfurthermore greater acquaintance with the effect may allow the performer to locate the card even though the pack were behindhisback. Thereare no one way patterns, strippers or long or short cards and the pack contains fifty two different cards. That is a miracle and we owe Billy :L very great depth of gratitude for allowing us to publish this world beater i n our Junenumber. We shall call it " Discovery X." From our friend JohnJ.Crinmins,junior, comes the news that. Holden's are putting out the Jardine Ellis ring effect with a number of routines. Johnwasrathersurprisedwhen, i n a letter, we mentioned that the original Ellis set-up had never beenpublished.Ellis used not merely aringand d shell hzr/ C T ~ S O (I: split ring. At the beginning of theroutine theshellwasoverthesplitring. Tn view of thefactthat suchathingseems to be known to only a few of the cn~q:no.ccrnfiwe think that in the near future we'll publish the real Jardine Ellis " Ring on Stick " routine. Althoughnot so very unexpected it was a shock to hear that our friend Ralph W. Read had passed away.Whilsthereon his last visithe had Seen severely handicapped by thestate of his health,butqfew of us. when we wishedhim bon t-o?ccge thought that was the lasttime we should see him alive. Calvert's handling of his cigarette production and the old DancingHandkerchief (the latter we Imagineinspired by Blackstone) were real lessons i'n magic when we recently watched h i m at Kingston. Tt all goes to show that to be a good magician you should be an actor tirst. His '' Eyeless Vision '' will prove a baft'ler for magicians who go to see the show. We admired above all things his very humantouch in askingthesmall boy up to aid in the 1evitat.ion. In connection with the -effectcalled " Haley's Comet '' it was very nice to hear admiring mention of Howard Thurston.
Just in from Dr. Jaks, a very nice mental We alsohope number, which you'll see soon. that Bobby Bernardhasn'tforgottenthe nice slant on the coin change he promised. A fortnight away we have a most hectic sixteen hours at Bideford. A NewsBulletinprediction,a show. and a lecture. Wearrivetoolatefordinnerandshall leavethe next dayjustbeforelunch.Frances Irelandhas well said " You don'thave t o be Crazy!" us thatour old News fromAustraliatells friend Les. Levante is coming across this Autumn. JayPalmer wrote us tooto say that he will be playingaten week U.S.O. tour. We know th:lt ;I warm welcome will await both of these magiclans. Plansseem to be taking on a good shape for the forthcoming British Ring Convention at Hastings in September. One great change (and one most needed) in thenormalrun of the of the Annual programme will be the holding GeneralMeeting on the Fridayinstead of the usual Sunday. Sunday was a very bad day for such an important item. Many were trying to make up forlost hours of sleep whilst a number of othersweremakingpreparationsforthe homeward trek. From a Northern correspondentwe received a very nice souvenir menu card of the British RingDinnerrecentlyheldinEdinburgh.It is a most arty piece of work. According to this same friend, Leslie May and Lou Histed were the acts that brought a. spark of freshness into what was otherwise a rather jejune magical programme. To complete the files of a very good friend of ours, we U r g e n t l y require the following numbers of the " Pentagram " which are now out of print :c
Vol. 1 No. 3 (we could do withmore than one copy of this). \;ol. 2. No. 8 \:ol. 3 No. 7, 8, 9 and 12
If a n y reader has these copies for disposal \\.e shall be grateful if he \vi11 drop us a line. The ' Smoking Sailc,r ' gag has hecome s o popular t h a t our friends, Da\.enyorts are non. puttillg out the cigarettes ready f o r use at a vt.r-y moderate price. Leslie May reportshaving some good results \\..it11 Hans Trixer's ' Epitaph to Thoth.' If you haven't tried this out, get a ring and a silk and do so. Incidentally H a n s is off to South Africa this month and w e knony that all readers of the '' Pentagram " w i l l join with us i n \j.ishing h i m bon t q a g e to his ne\\- home.
64
HO1JlDIR’I \\-AS
WHERE
\‘‘HONG
by Maurice Sardina (Translated by Victor Farelli)
SPECIAL CHEAP EDITION T-
ECAUSE we believethateverymagicianshouldreadthisgreat
book, we haveproducedspecial a cheapedition.It is still beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which insteadof being heavy cloth covers is now soft boards. The saving is thus passed on to all those who, asyet,havenotreadthisgreatanswertoHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for the latest tricks ” you would like to acquire some background knowledge of our great art, orif you are already interested in the history of magic, then you cannot d o better than study this monumental work. Here you will find unfolded, step by step, the truth about Robert-Houdin’sgreat inventions, his ‘‘ Orange Tree Trick,’’ the “Writing and Drawing Figures,” “ The Fastrycookofthe PalaisRoyal,” ’‘ The Obedient Cards ’’ “ The Cabalistic Clock::’ The TrapezeAutomaton,” “ The Inexhaustible Bottle,’’ “ Second Sight Act,’’ The Suspension Trick, and “ The Disappearing Handkerchief.” The book is profusely illustrated n,ith photographic reproductions of rare old prints, photographs, \vood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading. ”
l‘
“
7/6
Postage 6d. (U.S.A. $1.00) From the Publishers THE MAGIC WAND PUBLISHING CO., 1 1 Monastery Gardeus, Enfield,Middlesex Price
(The cloth-bottnd first editim is still auailablr at 2016 / ) . D . )
PETER
The WARLOCK
WARLOCK’S
PENTAGRAM
MIRACLE SLATE Although limited in output, has now travelled t o Ireland, Finland, Belgium, France,Africa,Australia andUnited States and Sweden.
I
of eachmonthand canbe obtatned direct from the publishers for 1 / I per Lingle copy. Annual Subscription 12/post free. PUt3I.ISHED BY:
is I~,lbiished on the 24th
“
Hen
”
PRICE
-
22 10s. Od.
Post Free, from
PETER WARLOCK 24,
Wordsworth Road.
Wallington, Surrey
I*
Every Advertiser’s ”t~hlisht~lhy
the
MIIS~WIII
Particulars from Hon. Scuetary :
bc pleased to send
King
Gcorgr‘s
H‘t11, W.C
Francis W11:te, 39 Alverstone Avclme,
Wimbledon Park, S.W. 19
Magic Wand Publications
JACK HUGHES \t,i!l
:
Hearts of Oak Buildings, Emton Road, London, N . W . I . Magical Theatre :
for
Surrey.
“ Have been using y m r ‘Miracle Slate’ for over a month now ancl. I must say it’s wonderful . . . . the impossible made possible. It‘s the answer 10 a mental problem I have worked L!pon for years.“ . . .
(‘1nbroo:n and Library and
llanllscripts for publication andbooks lcvi(aw shollld be .sent to thr: EDITORi \ l , ADDRESS:
?4, Wordsworth Rd., Wallington,
Fetsch . .
: His Grace chc l h k e o f Sotnerbrr, I).S.O, O.RE., J.P., M.I.M.C. Vice-President:DouglasCraggs, Esq., M.I.W.C.
The Magic Wand Publishing Co., 11, IMonastery Gardens, Enfield, Middlesex.
Peter Warlock,
And now from
The Magic Circle l ’ r t ~ . i ~ l t ~ ~ ~ ~
J 01;
f l c l l details of
THE DE LUXE “SU-TABLE” together with all his other vtfvcts in return for a stamp. \$’rite n o w to
1l
Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Jack
CONJURING
BOOKS
FOR
S.AI,E
OLD AN‘U N E R . Let me know your wants LIST FREE . -.
FOR ?in
STAMPED ENVELOPE Callers ____- --
G E O R G E JES‘NESS -17 INVERNESS A V E N U E . ENFIELD, IL1IDDL.ESE:X
l goodsare
fully endorsed by this Bulletin
propric.tc-6 The Magic Wand PublishingCompany, 1 1 , Monastery Gardens, Enfield, Middlesex. and printed hy Herhert Walker and Son (Printers) Ltd.. Well Croft. Shinlev. Yorkshire
9
PENTAGRAM An independent monthly bulletin for all who want good magic
EDITOR’S NOTE :-I t is with n great deal o f pleasure that we present this ultinzate card discovery of Billy O’Connor. I t is an unfortunnte fact that he hcrs zurittem all too little (2nd we are fairly certain that this i s hisfirstpublished article in a magical nzagn.zine f o r sonze twenty years. H m . ing one o f the finest mtrgical brains, plus outstanding ability ns an entertainer, he has carried the same crct successfully f o r well over thirty years. H e isthe man who firstmade use of the short card ns a loctrtor, he produced o n e o f the lo.zrc?lie.stcut and restored ribbon effects. I n nm o l d AlA GIG ?VA4N D he described n delightf u l method f o r changilzg the colours of liquids. I f you don’[ nuant to look it up you’ll find it in t h e late , l 2 Baker’s “P& Secrets ” with -am ndded presentation. His “ lnstnnto ” pack trnd hiis “ IVallet ” trick are iust two perfect pieces of chicanery thnt he marketed, trnd i f y o u h d lived in the teedight of the Golden Ageo f mngic y o u would have seen n lot more. A good f r i w d , a good f ishermnn and (172 outstnndinq m ? Ticiqn. Once ngnn, Billy, mnny thnnks ! The effect to be described has been attempted by many conjurers. Of all the methods published untilnow,perhapsthebesthas been Charles Jordan’s Premo ’ in Thirty Cnrd Mysteries. Two things however were needed for the accomplishment of this feat, the first beingaseriesof dovetailshuffles and secondly a dealout of the cards to dixover which1 onehad been tracked down to itsDove-taillair. The method to be describeddoesnot suffer from sucha weaknes;. We are going on apsce however, for the newcomer to magic without a copy of Jordan’s book at hand, will notknowwhat we are writingabout.Here therefore is the effect. Theconjurer removesafull pack of cwds from its case, and handing it to a member of the
audience requests him to shuffle it, take it into the next room (or to the end of the hall), take a card from the pack, place it back wherever he likes and thenshuffle the packagain.Whenthisisdone, the pack is returned to the magicianwhounerringly findsthe selected card. The requirements are very simple indeed. The reader will require a pack of cards which first of all is assembled in like pairs, i.e. hearts with diamonds,clubswithspades.Theback of one card of thepairistreated with roughingfluid whilst the face of its mate is similarly treated. The pairs are then assembled rough side to rough side, to form a complete pack. As most packs OF cards are now produced to cater for Canasta fiends and two jokers are thus included, these cards too. can be mated.May I pausehereforamomentand offer a word of advice to those who havenot dabbled with the rough and smoothprinciple. There is, in the preparation of such a pack as this, agreat need forattentiontodetail if thebest result is to be obtained. It is not enough to take someroughingsolution,smear it overthecards andhopeforthe best.(Though it is notwithin thescope of thisdescription to give adetailed description of preparing roughened cards, we do recommend to our readers abook which undoubtedly gives the finest instruction in thismatter of preparingsuchcards.Thatrecommendation is Trevor H. Hall’s Nothing is Znzpo.ssible, published by Willane. However, if the reader does not wish to undertake such a task himself, Ken Brooke, of BradfordsuppliesthebestNu-ideaforcing pack that we have seen, and in this case, no doubt would be pleased to make up the specisl p ~ c kreqmsteri. He charges, I believe, a matter of 12/6). With the pack so prepared it can be szfely handed to a spectator for overhand shuffling without any fear of the pairs being divided. This is the presentation of the e k t .
66 The conjurer removes the prepared pack from its caSe andtakingittoaspectatorremarks “ Now, sir I want you to take this pack and shuffle it. (As he makes this remark he overhand shuffles thecards himself. Care is of coursetaken in choosing this assistant, for though a riffle shuffle wouldnot necessarily causeaseparation of the pairs, the mixing of what would amount to twentysix thick cards would call the shuffler’s.attention to the fact that the cards were not all they intended to be. Actually of course the mere placing of the cards into a pxson’s hands is enough to allay suspicion. The use of cards in a previous effect plus the co-operation of the same assistant would tell the performer whether an overhand or riffle shuffle would be intended). The spectator commences to shuffle the cards. “ Take the cards into the next room, carry on with the shuffling and then place the pack on a table or chair and lift up the topmost card of the p x k , look at it and renzember it.Then, sir, plqce the curd back in the f a c k wherever you like. shuffle thp, pack oncemoreand bring the cardsbackto me. Is thatquiteclear? Shuffle, look at a card, replace it where you will, shuffle again and brins !h? cards back, O K ? ”
The magician shows two slates. On o x si
The spectator carries out his task and the conjurer takes back the cards. He looks at the spectatorand then fansthecards faces towards himself. He leafsthrough, finding two separated cards of a pair, say the four of hearts and the four of diamonds. He immediately knows that one of these cards is the chosen card. “ Now, sir (to the spectator) will you please think of the colour of the card you looked at? Yes, I’m certain that it was a red card . . . correct?Thank you . . . Now sir, a little harder this time . . . the suit . . . I think that it is diamonds. . . .” (heretheperformer must anticipatethespectator saying no, should this guess be wrong. Invariably this anticipation is easy as the spectator’s expression is ahead of his speech. If theconjurer is wrong, he immediately corrects himself by saying, “ No, sir, it’s clear now. The suit is ‘ hearts!’ ”) Once having got the suit the reader is on the home base and he rerngves which card is correct and places itface down u p m thetable with the remark, “ I’m quite certain about your card now, sir, and have placed it upon the table. I want you to pick it up but before you do s3, will you please name it aloud.’’ The spxtztor do:s so, andthen picksup the card to show thzt thzconjurerhas been successful.
the drawing on one side of Slate A, that they i r e otherwise blank on all sidej. Slate A is now plazed. on top of B, the drawing rubbed out and A placed under B, the flap on B slate being allowed to fall. The slates are then held in a nearly verticd position and uponthename Charlie being shouted the rearmost slate is witharawn with the flap showing that the cpmk IISS rexrneci. “
b\L,
-
.
,
S’
I
l , (.’
c
-.
1 ~
?’
_ _
67 This slate A, is now rested once more upon slate B (which onits under sidehas now achalk “ spook ”) andthe picture is rubbedout.This time A is not placed behind B, but the slates are again lifted nearly to a vertical position, and slate B is then reversed, the cry of “ Clharlie ” made and thenthepicture on slate B is shown, care being taken of the flap on the underside. The picture is erased and slate A placed behind B, the second flap being allowed to fall. The spook is shown and rubbed out. The remaining picture on slate B, is produced similarly tothethird, i.e., thisslateisreversed behind slate A.
Effect : The performer hands a n envelope-sealed prediction to a spectator, asking him to pocket it. A pack of cards is shufled and the performer demonstrateswhat is to bedone. “ Holdingthe pack, face-upwards, behind your back, I want you to pull any card out of it, to turn that card facedownwards, to thrust this reversed card back into the middle of the pack, then to square up the cards neatly andto bringthecardstothefrontonce more,layingthem onthetable, stillface-up.” This you demonstrate, not putting the cards behind your back however. Righting thecard,that you reversedduring yourde,monstration, you handthe pack to the spectator todoas youaskedhim.After he’s reversed a card, as above, and has placed the pack face-up on the table, you ribbon the cards across the table, the face-down card showing up plainly in themiddle of thespread.The spectatoris asked to slidethiscard out, stillface-down. He is then asked to open the envelope that you gave him and to read out your prediction. “ You will reverse the six of hearts,”hereads. He is asked to turn face-up the face-do‘wn card on the table. It is the six of hearts. set-up : A double-facedpack is required,thecards being the same on both sides, i.e., a double-faced ace of spades, a double-faced two of spades, etc.. 49 such cards are required, eachonedifferent of course. Threeordinarycardsare alsorequired. thethreeneededtomake LID a full deckof 52 cards when addedtothe 49 double-facedones. One of the “ ordinary ” cards is a “ short.” Put one of the ordinary cards face-up on the table. On top of, it, face-down, put another ordinary card, this is the card which you name in your prediction. On top of these put the 49 double-facedcards.Lastly.thrustthe “ short ”
EDITOR’S FOOTNOTE-
This is n rJery easily handled routine. W e zuonder whether, instend of producing the final picture, it zuould n o t be more effective f o r the spook t o l e m e some message thatzuould indicnte that no further appearance could be ?node. Such a message could vary with the?nnnner nnd style of the performer from1 the mildly humerous t o the risque dirt of Orben, who CLUE understand was responsible f o r the “Bra” in “Abrncndnbra.” This mntter o f finality would stop the stnnrt (TZPC type from mnkinq Chnrlie ’’ tnnnifest himself crfter t h e f i f t h tinze.
ordinary card, face-upwards, into the middleof the pack. Turn the assembled pack over and place it in its case. Working : Remove packfromcase and layit “ facedownwards ” on the table. (The back of the top ordinary card making it appear to be a face-down pack). Handout yourprediction.Pickupthe pack and hold it in the left hand as for an overhand shuffle,but .with the “ faces” towardsthe spectators.Overhand shuffle thecards, faces ” to spectators, by pulling out a packet of about 26 or 30 cards from the middle of the pack, with the right hand, and shufflingthese off onto theface card of the pack. Repeat this shuffle several times, beingcarefulnot todisturbthetwocardsthat are nexttheleft fingers. (Thereversedordinary card and the “ top ” ordinary card). An alternative method of shuffling is to hold the pack “ face-up ” in the left hand and to Hindu-shuffle the cards by pulling out a packet from the middle and stripping these off onto the face of the pack. When you’ve shuffled the cards, square them up, still “ face-up,” and in so doing, riffle to the short card and hold a break, above it with the left little finger at inner end of pack. Tell the spectator what he’s to do (see “ effect ”), and demonstrate, without putting the cards behind your back, however. Like this : You pull a card out of the pack, apparently at random, but the card you pull out is the “ short ” ordinarycard;thelittle finger break making the matter easy. Reverse this card and thrust it, back-up, into the middle of the “faceup ” pack. Square the cards and then place them, “ face-up,” on the table. “ Thus we’ve reversed a card, selectedbychance, in themiddle of the pack,” you say, “ Is that quite clear?” As you say this, pick up the pack and run through it until you come to the card you’ve just reversed. Run through a few more so that everyone can see this reverse card in the middle of all the “ face-up ” “
6% ones. Becarefulthoughnottorevealthe ‘’ prediction-card ” that is reversed second from what is now the bottom of the pack. Turn the card, that you’ve just reversed, faceup in the middle of the pack again and, as you square-upthecards, insertyourleftlittle finger underit.Transferthepackto you righthand, taking-upand holdingthebreakwiththeright thumb at inner end. Drop the cards on the table and, as you do so, cut the cards by lifting off all thecardsabovethebreak an.d(droppingthese onto the table, then completing the cut by droppingthereston top of these.Thisaction brings the reversed “ prediction-card ” intothe middle of the pack and puts the “ short ” ordinary card onto the “ bottom ” of the “ face-up ” pack. Square-up the cards and hand them to the SPECtator. When heputsthembehind his backand “ reverses ” acardthecard won’t bereversed because they’re double-faced (silly isn’t it?!) When he puts the pack on the table, “ face-up,” you simply ribbon the cards so that the reversed card shows up in the middle of the spread. Push outthis face-down cardandthensquare-up the packagain,turn it “ face-down ” (theback of the short card shotwing on “ top ” of thepack) and place it to one side. Conclude as in “effect.” Get rid of, or switch, the pack at the first opportune moment. There’s just a chance, a very remote one, that the spectator will select and reverse the “ prediction-card ” behind his back. If thishappens, proceed as follows ; When you ribbonthecards
on the table and no reversed card shows up, pick upthecards saying, “ Are you quitesure you reversed one?” Under-cover of this, and squaringup the cards, riffle-off the bottom card (the “ short ”) at inner end of pack and secretly reverse all the other cards on top of it. When spectator says that he’s sure hedidas you asked,remark that you must have missed his card and proceed to deal off the “ face-up ” cards., one by one, into a pile on the table. When a reversed card shows up (it won’t be the “ prediction-card ” but the o k r ordinarycard,the “ prediction csrd is underneathit). You say, “ Ah, here it is, let us see which one you chose.”Double-liftthetop two cards, turn them face-up and replace them on top of thecardsheld in yourlefthand.The“prediction-card ” is now dealt off to one side and you fan through the rest showing them all “ face-up.’’ Pick upthetabledcards,drop them onto the others,turnthepackover,asbeforeandlayit aside.Youmaylike to trythis on yourbrother magicians, by reversing a duplicate of the “ prediction-card ” in anotherdeckandplacingthis deck in its case on the table instead of making a prediction. When the “ chosen ” “ brothermagicianreversed ” cardisturnedoverand named, remove the “prediction-deck” from its case, fanthroughitand show that you reversed a duplicate of the “ chosen ” card in this deck. Leave this deck on the table and watch them pounce on “ Brainwave ” deck! (Their what they think is a pouncingaffordsplenty of coverto switch your “ double-faced ” deck for an ordinary one, which is minus the forced card).
This isa card Predictioneffectalongslightly differentlines. Thefactthatthe magicianseems
inter.se here
”
itonthe
edgeof the table.(Incidentallyletme with a re,mark, thatthis is not in-
to have n’ Over the cards makes a most tended asanythingbuta drawingroom effect, and effectivepiece of deception. So far we havecomethough conceivably it mightbe made into a stage acrossnoconjurerwhohas given us acorrect trick, the necessary displaying of the cards would explanation of the means. Originally we intended call for the use of a stand or something similar.) to use it as a single prediction, but when showing A pack of cards is thenhanded to a spectator, it way back last October to Wilfrid Jonson in the with the request that he gives it a complete shuffle. Green Room at the Theatre’ a remark to Afterthis has been donethecardsaretaken back theeffect,that if it could be repeated itanddealtinto two heaps of twentymsix each. One come into the ‘lass, straight ’lade heap is given to the spectator withrequest a to do us repeat it and have kept it that ,way since. exactlywhat the magiciandoes, i.e. toribbon the isHere effect. twenty-six spread his cards the table, across the two spreads being parallel. “ Now, sir,” remarks TakingtheJokerora piece of paper,the the magician, “ I want you to push any one card magicianwritessomething onitandtheneither out of your line of cards. hands it into the keeping of a spectator, or places
69
are being dealt, the performer counts them as they
“Just turn it over and let’s see what it is.” The “ The ten of clubs.” The spectatordoesthis. magician now counts along his line of cards touching one card for each letter of the word in the card pushed out by the spectator. On arriving a t the last letter, he takes the card at that point in the spread and pushes it out of the line (still face down). “ Will you please read what I wrote on the piece of paper.” The paper is picked up and the spectator reads out, say, “ The King of Diamonds ” . . . . . “ Just turn over that card ” pointing tothecard pushed out fromthemagiEO andit is cian’sspread). Thespectatordoes seen to be the “ King of Diamonds.” The e,Ffect is now repeated if themagicianthinks that it is necessary. The requisites are simple. The reader will require a full pack of fifty-two cards (the Joker if it is included can be used for recordingtheprediction. Use a BB pencil and thc writingiseasilyerasedfor the secondand subsequentperformances). Two of the cards, say the king of diamonds and three of clubshavea small distinguishing mark that can be easily seen by the performer. Cards in use generally develop individual markings which can be utilised in this way. Knowing which mark represents which card the magician is set. Presentation. The pack of cards is removed from its case, the joker taken and the words “king of diamonds” written across its face. The prediction writing side downwards is theneitherplaced at theedge of the table or slipped into a spectator’s pocket. Accenting the fact that what he has written will have some bearing on some future occurrence, the pack .of cards is handed to a spectator with a request that he gives it a goqd shuffling. When the spectatorissatisfied, thecardsaretaken backand’ withoutamoveofanykindthecardsaredealt into two heaps of twenty six cards each. As they
fall,looksforthe card which he knows is the “king of diamonds.” He notes at what position it comes and in which heap, for this heap will be theone he takes.Suppose that the “ king of diamonds ” falls at anumber between ten and sixteen, i.e. itcanbetheeleventh,twelfth,.thirteenth,fourteenth o r fifteenthcard. If it does thisno further actionisnecesssryontheperformer’s part and straightaway with an instruction to the assisting spectator to do in a similar msnner, hesquaresuptheheapandribbon spreads it across the table. Let us suppose that the card actually lies in eleventh position. This means that counting from one end of the spread it will be the eleventh card, whilst from the other end it will be the sixteenth card.Now most readers will beaware thatthe spelling of each and every card in the p x k v x i e s between ten letters and fifteen letters. To be exact : 4 cardsspeltwith 10 letters 13 cardsspelt with 11 letters 14cardsspeltwith 12 letters 12 cardsspeltwith 13 letters 14 letters 5cardsspeltwith 4 cardsspelt with 15 letters A littlethought will show that if thecard selected from his spread by the spectator is in the ten card group. the cards are counted along from the eleven end, and after the final letter has been reached, the next card, the “ king of diamonds ” is turned over. If it falls in the eleven card group, a straight count will bring the “ king of diamonds ” out on the final letter. The question of a twelve card iseasily met, the performercountingfromthesixteenend,adding the prefix T-H-E to the name of the card and turning up the next card. A thirteen letter card is dealt with from the sameend, the prefix “ The ” beingaddedagain and the final letter revealing the predicted card. T o cover a fourteen letter word, and actually this should have come first, the performer, as the spectator pushes his card out of the spread, takes the end card on the sixteen side, and with it flips over the spectator’s card (To make everything fair it should be turned face un so that any idea of fast switchingcan be eliminated.) If the card pushed forward by the spectator falls within the fourteen lettergroup,thecard used by theperformeris either passed to the other hand and casually laid at the opposite end of the row, or it can be used as a pointer. If it falls in the 10, 11, 12, 13, or 15 group it is replaced quite obviously as the “ king of diamonds ” has now had its position changed from sixteenth to fifteenth position it can be easily counted. The fifteen letter card is again a straight count from the sixteen end, the next card being turned UP.
Nowthatthe
mainprinciplehas
been ex-
70 plained, the reader will see that if the card is at 12th and 15th position all spellings are covered by useof asimilarsubterfuge. In thesepositions,a pointer card is lifted from the twelve end and retained or placed attheother end if thecard contains ten or eleven letters or replaced, at the same end if it is a twelve letter word. Dzfnitely, but of course, casually placed at the fifteen end if the card contains thirteen letters, these cards being spelt with the prefix “ The.” If the “ king of diamonds ” falls into thirteenth or fourteenth position a pointer card is taken from thethirteenend, and replaced if the cardfalls in theten,eleven,twelve,thirteenor fourteengroup. If it is a fiftzen letter card, the pointercardisplacedatthefourteenend.This means for a ten letter card, a prefix and spelling from either end, the king of diamonds thus being the card falling at the last letter or the one following, eleven letters means spelling from the fourteen endwiththe prefix “ The.” A twelve lettercard means a straight spell from the thirteen end and the turning up of the nextcard. A thirteenletter or fourteen letter card can been spelt from either end, whilstthe fifteen lettercardhasalreadybetn looked after. This has been written with the original thought that the card naturally fell at this position in the deal and believe me time and time again it does. But if it does not, the performer, in picking up hisheap,eitherthumbcountsrequisite a number of cards that will bring the card to thirteen and fourteenposition.(Thisisthebestspelling position), and in the action of placing the cards on the table for the spread makes tho pass. Or what is very much simpler and what I do myself, makes a simple estimate of the number of cards that will
bring the “ force ’’ card to the centre of the packet, making a break at that point and ingoing down on to the table to make the spread, makes the pass at the same time. Now in spreading the cards the position of the “ force ” card is noted. Althoughthismay seem a very involved description, you will find that if you analyseit, most of itcomesdown to commonsense. The barebones might be summarised as follows :l . Havecardsshuffledaftermakingprediction. 2. Noteposition of “ Force ” card when dealing into two heaps. 3. Take heap with “ Force ” card. 4. See that “ Force ” card occupies l lth to 16th position either naturally or by passing a number of cards. 5 . If l lth and 16th position use pointer card from 16 end. If 12th and 14th position use pointer card from 12th end. If 13th and 14th position use pointer card from 13th end. Please don‘t read through this and say, there is too much to remember. If you cancount the number of letters in thename of aplayingcard the remainder of the effect falls into line in a most natural manner. The repeat of the effect, simply means exactly similar a procedure, the other marked card coming into play. Many readers will possibly think that it may be an advantage to have tactual recognition of the “ force ” cards. Ideal for thispurpose would be two corner shorts, opposite corners being used and thus after the cards have been shuffled, the necessarycardcould be locatedandbrought to the approximate centre of the full pack. Quite obviously in the deal that followed the necessary carcl would be in one of the positions ready for the performer.
The other day we sat back and thought of the wealth of ideasand effects that everyday were being offered to magicians by way of the magical magazines.Anotherthing that occurred to us, was the fact, so it seemed to us, that whereas some forty, thirty and even twenty years ago, one looked for the main and big magical advances in publishedbooks on magic,theinitiativewould now seem to have gone to the magazines. Do youremember the oldtype of note-case (used very much when this country first produced currencynotesduring the firstWorld War) the typebasedontheoldJacob’sLadderprinciple, with one ribbon one side and two the other. Old, you may say, but how old? Among the paintings of Leonardo da Vinci recently exhibited at BurlingtonHouse,thereis a pictureofaboy hol.ding such a novelty pocket book and tucked in one side is a small feather! To-day there is no doubt that membership of the MagicCircleoffersgreatervalue than any other Society in the world.With one of the finest
librariesconstantlykept uptodate,aseperate referencelibrary of untoldworth to the magical students,aclubroom giving facilities previously unknown, plus entertainments and lectures for the asking. Regarding the latter we have never understood why it is, that if the subject matter of a lecture veers a little way away from the discuss: or exhibition of tricks proper, the attendance is immediately thinned. This was brought home to us recently when we were present at a most excellent talkanddemonstration of theatricalmake-up. A merebandofenthusiastsisnot sufficient recompense to a member who has gone to a great des! of trouble and pain to instruct in something which every magician who aspires to platform performance (and how many don’t?) with a show that is all that it should be. The matter of make-up is an allimportantone.Twicewithlnthelastyear we haveheardaprofessionalperformerremark that they didn’t use make-up as they had a ruddy skin. Ye Gods! That a man could go through life constantly on the stage with the mere thought in
71 his mind that t i c sole purpose of make-up was to give just added colour. Magic seems to have been getting a fair share of TV thesedays. We still thinkthatit (TV) is a poor medium for magic. In the recent performance of “ The Gamblers,” the hands of our friend Francis Watts came over well, but surely the producer didn’tthink that adisplay of conjuring would give a card player the idea that theywere watching the shake-down sleights of a gambler. a mostenjoyBidefordGet-togetherproved able affair and it was nice to meet old friends like Stan Simpson, T o m Harris and Edwin, the latter proving himself tobeanexcellenthost. At his homeduringathree to five a.m. session heran through a delightfulchildren’s effect, whichwe wouldlike to havepublished, butunfortunately our own publisher beat us to it. I t is based on the +‘ Pussy in the Well ” theme and takes its place in a “ Devon Magic Circle ” edition in the “ Wizard.” Though he didn’t know it, for he had not had the pleasure of seeing him, Ed,win’s manner in presentingchildren’smagic is much akintoourfriend Wilfred Tylcr. Incidentally Wilfred’s new book on Children’s magic should, vis the Armstrong Press, just about make the Hastings Convention. The B.B.C. News Headline prediction that we did at Bideford, pulled in a great deal of publicity forthesponsoring Society. Inthatpart of a County where men are men and the chief topic of reported news concerns agriculture, it is apparently
noteasy to get a great deal of spaceforsuch a trumpery thing as magic. Nevertheless out of forty inche,s of columnspacespreadoverthree weeks, we managed to get thirty one inchesof it, including twophotographs. So muchforthoseconjurers whohavelittletimeformentalism.Asapoint of interest we maybepublishingthisparticular routine, which has some interesting points, which are as follows : 1 . The prediction is written in chalk on a double crown sheet of black paper. 2. It is something that can beseenbyeveryone. 3. The dignitary identifies his signatureonthe sheet as it is unfolded. 4. The prediction is seen, forthe first time, we believe, in the history of predictions,before the thing predicted comes into being. If you are interested drop us a line, and according to that interest shown shall we decide to place it in resiric-ted published form. We hope that nobody passed up Hans Trixer’s “ Epitaph toThoth.”Mr.Holland, we know demonstratedthis at Gamages. It leftthose who saw wanting to buy the effect, which he promptly sold in the form of April Pentagram. We are now making plans for the new volume of the Pe~zitrgrnm,a volume in which we hope to bringinto actual being ideas of expression that have been dormant since way back in 1946 when the bulletin was conceived.
“The Challenge Memory Ted ” by Will Dexter (Published by Unique Magic Studio, 1O / Thisis atestdesignedmainly for publicity use. To eachperson with whom hecomes in contact,the magicianallotsanumber which in everycaseis different. Thenumbersare long sometimescarrying as many asthirtyor forty digits, nevertheless a t any time in the future when the performer meets the numbered pcrsm, h:: csn without hesitation or reference repeat the number originally given. There is nothing difficult to be encountercd i n themethod given and a good evening’s work should put the would-be memory challe..,”oer at e9-x. In addition to tht: method for arriving attF.2 n e e s sary resuk Wi’l gives a m:ttter of 3ver a C ~ - J F Iof~ hundred “ name ” memory tags that will move of exceptional use. The routine concludes wish instructions as to the properpresentation of the .effect. Bill Nord’s ‘‘Bill-ze-Bub ” (Marketedby Holden’s Magic Shop, price 2 dollars 50 cents. In reviewing this we are putting the cartbefore the horse, for in the AprilP e n t a g r a m , we reviewed Will Dexter’s “ Blue-print forBill-ze-Bub.”a manuscript that gave a number of routines which showed how easily the gimmick supplied for this trick could be putto uses other than in the original routine.
The actual effect, “ Bill-ze-Bub,” is one where a number of bank bills (or notes if you are in this country)areborrowed,the lenders first of all foldingthenotes so that the numberscannot be seen. In thisstatetheyaredroppedintoahat, mixed around, each then being taken one at a time by a spectator, who is instructed to open the bill outandconcentrateonthenumber.The pxformer despite the fact that he is far removed from the bill in question is able to divine thes.pectstor’s thoughts. This is repeated with the remaining bills. The article that is gimmicked to do the actual dirty work is very nicely made, and nstural handlingcannotfailinproducinga very strong effect. If you get this effect don’tfail to set the Dextermanuscript.Withboth you h2ve a splendid means for producing some excellent effects in a most natural way. Bill Nord’s ‘‘ Private Eye ” (Marketed by Holden’s Magic Shops, price two dollars). An ingeniousfellow,thismanNordandit is more than a pity, that as it comes, this particular means for getting possession or rather knowledge of what a spectator has written on a slip of psper is not a practicalpropositioninthiscountry. In nearly every othercountry(thatshouldtantalise you!) this effect can be used with excellent effect. The mentalistwhoisinterested in collecting a completearmoury of theweapons of his trade must certainly get hold of it.
72
WHERE
HOUIDINI
WAS
WRONG
by Maurice Sardina (Translated by Victor Farelli)
SPECIAL CHEAP EDITION 7
ECAUSE we believe that every magician should read this great
book, we haveproducedaspecialcheapedition.It isstill beautifully produced, on heavy art paper, but because the type and blocks were already set it was cheaper to have some more run off, and cost has been saved on the binding, which insteadof being heavy cloth covers is now soft boards. The saving is thus passed on to all thosewho, asyet,have notreadthis greatanswer toHoudini’s “ Unmasking of Robert-Houdin.” If, as a change from the search for “ the latest tricks ” you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot do better than study this monumental work. Here you will find unfolded, step by step, the truth about Robert-Houdin’s great inze:;ions, his “ Orange Tre: Trick,”the“Writingand DrawingFigures,” “ The Fastry:pok ofthe Palais Royal, TpeObedientCards “ The CabalisticClock,” . “ The Trapeze Automaton,” Th: Inexhaustible Bottle,” Second Sight Act,” “ The Suspension Trick,” and The Disappearing Handkerchief. The book is profusely illustratedwith photographic reproductions of rare old prints, photographs, wood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading.
Price 7/6 Postage 6d. (U.S.A. $1.00) Fromthe Publishers THE MAGIC WAND PUBLISHING CO., 11 Monastery Gardens, Enfield, Middlesex (The cloth-boundfirst edition is still available at 20/6 0.0.)
PETER
The WARLOCK
MIRACLE SLATE Although limited in output, has now travelled to Ireland, Finland, Belgium, France, Africa,AustraliaandUnited States and Sweden.
And now from “ Hen ” Fetsch . . “ Have been using your ‘Miraclz Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
PRICE
-
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand for canbeobtaineddirectfromthepublishers 1 / 1 persinglecopy.AnnualSubscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing 11, Monastery Gardens, Enfield, Middlesex. Manuscriptsforpublicationand review should be sent EDITORIAL ADDRESS:
The Magic Circle President : HisGracetheDuke
of Somerset,
D.S.O.. O.B.E., JP., M.I.M.C. Esq., M.I.M.C.
Vice-President:DouglasCrapgs, ClubroomandLibraryand
Museum :
Hearts of OakBuildings, Euston Road., London, N.W.l.
Co.,
Magical Theatre :
King Grorge’s Hall, W.C.
books for to the:
Particulars from Hon.Secretary
:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
JACK HUGHES
Magic Wand Publications
willbe
pleasedtosend fulldetails of
you
The Magic Wand,Quarterly.Fercopy 318 p.p. Annual srlbscription 14j6. 36 pagesmonthly. Per copy 2/1 THE DE LUXE “SU-TABLE” TheWizard, P.P. 6 nlonth. 12/6. Year N j - . together with all his other Convincing Coin Magic (Farelli) . . 17/10 effects in returnforastamp. Mastered Amazement Write now t o [Koran & Larnonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 1013 Jack Hughes, 2, Evelyn Ave., (Hurling) 10/3 The Concert Ventriloquist George Armstrong’s Premonition 1013 Colindale, London, Psychoanalysis Chandu’s 1013 10/3 EntertainingWithHypnotism(bexter) Challenge Instant Hypnotism 8 Mass Hypnotism .. .. . . 211Strictly Magic (Eddie Joscplr) ., 513 CONJURING BOOKS FOR SALE Stooging Around (Stuthardi .. 513 OLD ANUNEW.Le? me know your wants 26 Living Sr Dead Tests (Carrett) . . 5/3 LIST FREE FOR STAMPED ENVELOPE Jamesosophy (Stewart Jarnes) .. .. 513 Eio Callers 48/49 ( f w only) .. . 5/3 Year Book StuntsWithStase Money (Lamonte) . . 513 Trade (Armstrong) . . 217 Tricks of the G E O R GJ E N N E S S From thepublishers 47 INVERNESS AVENUE, T H E MAGIC WAND PUBLISHING CO.. ENFIELD,MIDDLESEX 11, Monastery Gardens. Enfield, Middlesex.
N.W.9.
g2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
Everv Advertiser’s goods are fully endorsed by this Bulletin Publishedbvthe
Dromietcrrr . The Mamc Uland Publishing Company. I I , Monastery .Cardent, Enfield. Middlesex. printed and Wilker and Son (Printers) Ltd.. Well Croft. Shro!cy. Yorkshire
by Herbert
9t
73
PENTAGRAM An independent monthly bulletin for all who w a n t good magic
V ! ! .6
&U.
IU
aupY 1952
This effect which we know that you are going tolike is basedonthesameprincipleasPaul Curry’s lovely effect “ Linked ’’ which appeared first in thePha?nix and then inMagic as a H o b b y . Readersmay,rememberthat way back in July, 1950 Elizabeth Warlock described the version of a similar effect, whichsheentitled “ Linklater.” This effect touchedup slightly justover a year laterwas to appear (withmanufact$,uringrights reserved)in the Genii. Underthetitle ‘. United we Stand ” it had a patriotic motif that I should think made any real lover of his country, puke. Jack has been using this version fora long while and the only other requirement besides two differentcolouredlengths of corkls isapocket handkerchief. The cords incidentally should measure between four and five feet in length. First of all the two cords are placed upon a table top. Each is folded round to form a “U” as illustratedhere
O ? eS-g
Now thepockethandkerchief is takenand placedoverthecords so thattheendscan be plainly seen. Illustration two which shows a more advanced stage gives an idea of how the set up should be at this moment. Now under the cover of the handkerchief the twp loops are twisted. This illustration shows just how.
This twisting is onlypart of theaction for with a carry through the linked section is brought out from under the handkerchief as in this illustration :
74
The twist in the cords is of course, conccaled bv the handkerchief.Stop at thispoint and em~ a s i s ethe sheer impossibilty of what has taken place’grasp the linked section Of ;he cords between the first finger and thumb of each hand andatthe sametime grip thehandkerchief withther.-mair;:c - fingers.The handkerchief andcords are lifted as inthisillustrationand thehandkerchiefdown in front of t h e will cordslike a screen.Thetwistinthecords disappear for the weight Of the cords a s they hang bringsthem into the position shown in this illustration.
Last month you may remember we published our own effect which for want of a more ima9ineative title we called “ Precogspeller.” When Hans was over here we showed him the effect and also explained it to him. Now Hans,unlikeourself, is technical a purist.Providedsimplicity a of technique is kept, we don’t care a hoot what means we use to getadesired end. Hans,as, we said before does, and he jibbed at +h? ides of msrked, even though they might be nz‘ursl!y marked, cards. Anyhow, Hans liked the effect and when hereturned to Holland, he sent us his version, a variation that he had evolved during the air trip back to Amsterdam.Hereit is. The magician takes a pack of cards, writes a prediction on the face of a Jolter and hands the remainder of the pack to a spectator for shuffling. The packistakenbackandcutintotwo halveq andhe offers thespectatorthe choice of either half. “ As it is a matter of importance that both of us should have exactly twenty-six cards, perhaps we hadbettercount them,”saysthemazician. This is then done, the two packets of cards then beingribbonspreadonthetable.Thespectator now pushes out one card from his spread and Sup-
At this moment the handkerchief is allowed to fall,the fingers andthumbs of the hands keeping
their grip
On
the cord-
Penultimately, don’t
use a silk handkerchief,
for such things are not opaque enough. Ultimately, if you haven’t two pieces of cord at hand get a couple of lengthsofcottonropeandtryitoutright now.
posing that it is the Queen of hearts, the name 1s spelt along the magician’s spread, one card being used for eachletter. Wewill supposethatthe card indicated by thelastletteristhe Ace of diamonds. TheJoker isturned up to show that the magician correctly predicted this cardThe requisites for the effect is simply a pack of cards that contains a joker. Presenhtion and Method : The magician takes the pack face up and leafs through to find the Joker. As soon as he sights it he cutsit to theface of thepack.Atthe szme time he glimpses the card that follows the J o k r . i.e. the card which lies behind it. Using the pack as a writing pad, he writes on the face of the Joker the card that he has glimpsed and which €or ths sake of completeness wewill assume is the thre:: of diamonds. Now adoubleliftis executed an? the Joker with the predicted card behind is lifted with the right hand off the pack as one card, the left hand offering the spectator the remainder of , h e pack forshuffling. The ?WO cards thnt vere double lifted are turned face down. After this 117q b t m done the cards are tsken bsck with the P”t hand.TheJoker with thecardunderit should
75 now be held fingers underneath thumb on top and the pack in the left hand in a dealing position. The magician now raises the two cards in the right hand .giving a flash of the Joker and remarking, “ On this card I have written something CO;?cerning thefuture.” To accompanytheremark, the left hand first finger stretches out and the left hand moves across to point out to the Joker. For a moment the Joker is hidden and at this moment the card behind the Joker (the three of diamonds) is pushed on top of the pack, much in the manner that one accomplishes the push back false count. Immediately, without giving the spectator a chmce to read what is written on the Joker, but at the Same time allowing him to see that it is t?w JoRe7, this card is placed face down upon the table. The pack is now cut into two approximately equalhalves, the lower half being given 1-0 a spectator.Shouldyou wish however to give the helper a free choice of either heap, the following subterfuge fits the bill. Cut the pack in halves in the hand in a bookwise fashion. Ask the spectator which half .he prefers for himself. If he says the bottom. portion, fair enough, just let him take it. Should lie plumpfortheupperpart which of
No doubt many of youreadreports in the national press regarding my lecture the “Credulity of Man.” I n this lecture it was my object to show how most people b’elievewhat they want to believe and my emphasis was on how easily they could, in pursuance >“af.their-. belief, so .’. easily be deceived. The accent w a s on pseudo.psychical phenomena and my penultimate contribution took the form of a mock spiritual ‘seance. I was securely tiedto a chair and whilstso tied (a screenbeingplaced in front of me), various phenomenatookplace.Most of it was theusual kind of stuff like bells ringing, but there were a few novelties. one of which I now propose,to describe for I feel certain that it could be of use to a performer who at sometime ortheother m?y be calledupon to give apsuedo psychic demonstratio.?. incidentallythetrick tie .I usedwasthe Joseffy one that is very well described in “ The Art of Maeic.” Ceztaih preliminaries took p h - s before I was tiedup,and I intimated to the audiencewhat 1 intended doing. In this case 1 took a tumbler, and a. thiswas semi teststuff,had it examined. A bottle of milk was then opened and the contents poured into the tumbler to withim half a inch of the lip. A piece of cellophane with the aid of two piece of adhesive tape wasthenstuckoverthe mouth of the glass and fitiallp anotherlength of
course contains the three of diamonds., slip the top card on to the lower portion in the act of handing himtheparthe wishes. Quitefranklythereis little need to offer a choice, for after all thz czrds havebeenfreelyshuffledandplainlycut.Explaining that it is necessary that each should have twenty six cards, the spectator is asked to count the cards he has, the magician doing likewise. As themagiciancounts he remembersthatthe first card laid down is the three of diamonds that he has predicted. For the purpose of the effect, and as he has no mark to guide him he wants it in the best position, i.e. thirteenth.Therefore, when he reaches in hiscounting,thenumberthirteen,the card that follows is slightly jogged and the remainder of the cards countedonto it. Should the magicianhavemorethan twenty six, the number above. this is removed and added to the spectator’sheap. The reversetakesplaceshould thespectatorhaveagreaternumber.In picking up the cards the heapis casually cut at the jog thus bringing the three of diamonds into the thirteenth position. Thecardsare ribbonspread,the spectator pushesone cardoutand accordingto the value, the magician in themannerdescribed in “ Precogspeller ” counts along the row of cards.
adhesive tape was f;laced around the glass so that the overlappingends ‘held down the cellophane. The whole thing now looked like this :
The spectatorassisting in theoperationis finallyasked to initial the adhesivetape at all points where there are joinings. The glass is then left in full view until the seance is under way. In my own c ~ s at e this stage when it was required my daughter d$ew aside the screen that was shielding me from the audience and placed it on a table that was beside me and on which a bell and tambourine hadbeen,placed.The screen was now replaced and iq less that a minute it was again moved and though I was still bound the contents of the glass
76 had vanished, the idea being that the pseudo spirits had managed to penetrate the cellophane and drink the contents. The glasswasthenpassedforexamination and the checking of the sealing.
The requirementsare simple and few. They are :l
A half pintstraightsidedtumbler.
2 A sheet of cellophane measuring six inches by six inches.
3 Abottle
of milk.
4
A reel of adhesive (medical) tape, half-an-inch in width.
5
A Biropenfor
marking the tape.
6 A drinkingstraw. 7 A jar of vaseline. Although the preparation, which is done prior to performance,is ot asimpleorder every hing must be done most carefully. First of all lay the of? piece of cellophane flat upon a table top. Just centre a holeapproximately 3/16 of an inch is carefully cutout with sharp pointed scissors. If your womenfolk are interested in embroidery work borrow the special style of scissors that they use in applique work for they ara idsal for a job such as this. Now two strips of adhcsive are cut each measuring abouttento eleven inchesinlength across the cen re of ths cellophanc, place one adhesive side down thus-
Now cut the remaining peice Into two equal parts. One length adhesive side down is placed on the cellophane at right angles to the long strip on the side opposite to the hole. The remsining peice of tapehasa littlevaseline srnesre? over labout three inches of its adhesive surface and it is then plsced adhesive side down on the cellophane thus :
(The shaded portion in Fig. 3 is the part uuselined).
Fold the ends so that adhesive side is against adhesivesideand ;he cellophane is ready for packing. When the time comes for the performance the tapes are unfoldedandthe whole affairplaced cellophane uppermost on the tsble top near to the glass and milk. When thecellophane is shown to the spectator the small hole is invisible and it looks as though :WO pieces of tape have been Isid across thetop 07fe over the ot4.r. The glass is now filled with mi!k. The cellophane andtapes are takenand placed on top of thetumbler,the overlapping pieces of ta.pe beino pressed against the sides of the glsss. Another piece of tape is cut from the spool andl this wound round the glass SO thatitoverlapstheendsandthewholeaffair presents an appearance like that in the firct illustration.The spectatoris then handedthe biro pen and is required to initial the tapes at the part wheretheyjoin or overlaD. Thesmctator has donehisshareand takeshisseat. The tumb!er of milk is left in view of the audience. When the time comes, the aysistant places the glass on the table. In your inside pocket or on the table you haveplacedthedrinkingstraw. Immediately the screen conceals the ?Isss and yourself, free yourself and very carefully ease and fold back that portion. of theadhesivetape that has been vaselined. Take the drinking s'raw and push it through the hole in the cellophane, place your mouth to the free end oc the straw and drin'c the milk as quickly as posqible. When the?lassis empty,withdraw the strawandreplace it in i f s oricinxlposifioncarefullll fold theadhesivetape back intoits originalpo-ition.Reset yourself with the tie and allow the screen ' 0 he withdrawn. The glass can now be,taken and checked by the spxtator.
77
Ef€ect :-A half crown and a penny we taken hand is covered the first and second finger of the from a purse,each is shown and wrapped in a righthandbring the half crownintothethumb corn handkerchief of contrastingcolours.The palmposition, andthenthethumb brings Ithe are now shown to have changed places. penny into the position just occupied by Ihe half Both hands are shown empty after the efEect crown i.e. between the first finger and thumb. thus dispelling any idea the audience may have had Now grasp the penny through the hankerchief as to how the effect was obtained. with the left hand. Now allow the half crown to Preparation.-The itemsneeded are, a small faU back on to the fingers and from there drop it of contrasting coinpurse,twohandkerchiefs into the right sleeve. The left hand now wraps the colours,ahalf-crownandtwopennies(yes handkerchief round the penny and places it on the therearetwoafter all). Thepenniesshould tableto performer’sright. The performer now match as closely as possible, gestures with his right hand thus showing that it The set up is as follows. The half crown and is empty without mentioning the fact. one of the pennies are placed in the purse and this The penny on thetable isnow picked up is placed intheoutsidelefthandjacketpocket. and spun into the air with the performers left hand. The twohandkerchiefs and theremainingpenny Whilethisishappening the righthand isslowly are placed in the right hand trouser pocket. lowered and the half crownfallsintothe fin2er You are now all set to perform a little miracle. palm position. The move is now repe2ted with the Routine.-The performerremovesthepurse pennybeingheld in peeormer’brighthandand from hispocket and places the two coins fromit on half crownexchangedforitunderthehandkerthe table. At the same time he removes the two chief. hanks from his righthandtrouserpocket, finger The rolled uphanksare now on thetable palmingthepennywhile thehandisstill in the while theperformerrecapitulatesandallows the pocket, and places the two hanks onthztable audience to see that there is nothing in either hand. keeping the penny finger palmed. The left hand now takes the handkerchiefs one at a time, shakes them and zllows the audience to see The half crown is picked up between ths firs thatthe half crownand penny havechanged finger and thumb of the right hand and shown to places. While showing the half crown and penny, the spectators. (While showing coins always keep the righthand is broughtdown and the sleeved the back of the hand towards the spectator so that penny retained in the hand, picks up the two handno flash of the palmedcoin is given). Th? right kerchiefsandreplacesthemtogether with the hand is now brought up vertically in front of the pennv into the right hand trouser pocket. body, with the hand level with the face, thus the The other penny and!he half crown are repalmed coin faces the performer and the back of p l x e d in the muse and this is placed in the outside the hand the audience. The lefthand now takes lefthandjacketpocket. Thusautomstically rehold of a handkerchief and covers the right hand set’ting: for the next performance. withit. Now comes the crucial move and this ehmld I think the litfle time and trouble given to the learning of this effect will be well rewarded. be performed slowly and deliberately.Whilethe
STARS OF MAGIC SERIES VERNON ON MALINI Price €3-10-0 To the many interested in magic to-day, thr name of Malini is the name of a magical legend, yet all in all it seems only yesterday that we saw Max Malini performing his card stab at thn Magicians’Club. In a brief biographical sketch D 2 Vernon brings to the reader some interesting pieces of fact and fiction regarding this outstanding personality, and follows it with the description of threseffectsthatMslini performed. The firstis the “ Blindfold Card Stab.” Technically li?tle skill is required, and the knowledgeabl: resder a n d ’ x worker could put his finger on far better and- far moreconvincingmethods (toimtance ius! two. the Anneman Five Card Stab and the D x t e r Stx5),
for in this version thecardsarechained to the performer throughout the effect. The effect is tied up with personality and until we come to the time whTq outstsnding magical personalities are known to a wider public and +hemagical mimic c m corn2 into his own, magic that for its ideal accorn9li.hment is a matter of a single personality or its true ccpv though having historicalimportance mav havelittlebearingonthefuture of magic in general. The seeond etfect isacolourchange that is extremelvdeceptive whilst thefinal effect tobe dew-ibed. takes the form ‘ 0 9 coin vmish that dem2qds presentationratherthan&ill, Thereare eightpages of textandsome twenty onephotographs.
78
VERNON ON LEIPZIG Price €3 010-0
has been done by Bruce Elliott and George Kargcr.
In the nine pages devoted to Leipzig, Vernon after anotherbiographical sketchdescribessome four unpublished effects of the late Nate Leipzig. In this theconjuringascendsthe scale. Inthe
the latter alsobeingresponsible
first effect entitled “ Leipzig’s Opener ” the reader is introduced to a pleasant sequence that calls for smoothhandling. The description of thedouble lift used by Leipzig is of more than historic interest and we had our introduction to it when watching Cy Endfield work. Whilst few will agree that such a method l”s- not natural (and how manydouble lift movesare?)thegreatpointinitsfavouris that not only is there no “ get ready,” but there is no possibility of missing in the take away. The second effect “Leipzig’sAcrobats” is a beautiful transposition of two cards, so clean and so free from unnatural moves, an effect which i‘l a borrowed pack is used is the essence of real card magic. This effect is followed by Leipzig’s version of the “ Cap and Pence,” which in this form makes for table magic at its best. To conclude there is a most detailed description 6f the torn’ and restored cigarette paper that one feels certain cannot be bettered. In both of these supplements Dai Vernonposes for the photographs .ahd we can well imagine’ this greatesl o f ’a11 tbclihiciansperformingthe effects with thatfaultless.styl&’.that is his. The editing
for thephotographs which as usual leave nothing to be desired. We havementionedalittle way back aSout publishing personality magic. In this series which is now closing, we think of the Slydini Bertram and Malini sets as being personality magic i.e. if you have a similar form of physical expression to these artistes then their tricks (providing you also have the technicalability) are alsoyourtricks. The remaining sets are tricks forall those whc, with the aptitude will give the necessary practice and rehearsal. For thisreason we thinkthe price of the Malini very highindeed, for theknowledgeable. technician will add just zero to his stock of knowledge, In the biographical note, the description of theproduction of ablock of ice (a trick which Malini did on many occasions whilst he was here. and not always deceptively at that) will assuredly whet the reader’s appetite and he may ask why it was not included. Malini’s lovely vanish of a coin at a bar is another little item that would have mzde €or better value. Perhaps there are some, who when they resd what we have written will think that we are tryin2 to “ rib ” a grand effort in magic; such is far from being the case. We do feel however, that there are certain standards of cost for effects, that’s all.
The, last few,;weeks has seen the passing of two goodfriends of magic,BettramEvansand Jack le Dair. Bertram Evans was not only a pleasant perolder school but nc was the former of the mechanicalpowerb&ind ,the greatwatchand clock act of Gus Fowler. He had sqffered over a period of several months .and with the knowledge that his illness was incurable the final sleep must havecome as amercifulrelease. . When one realises that,>Jackle Dair had been working up to a few weeks ago, theuhews of his collapse came”as..a ,grpat shock.. Although in the early seventies; no member of an audience watching his act would have.placed him as an old m m for his actions,manner and performance were those of aman in his lateprime. Hehad an original streak that wa,s ever present in everything thathehandled,originalitythat was frei: From freakishness.Whenever in the future we think of thisgreattrouper we shallrememberthe vFry happy week WC spent with him last October during the Magic Circle Festival, of his easy entrance and his lovely opening effect with the violin bow. We shall think of his widow in the wings, helpins with the chocolate box trick, we shall think of the freshnessthat he brought to eachtrickhepresented. Aboveall we shallrememberhismodesty. In ‘‘ Tricks of a Trouper,” (published by GoodcliRe),
he gave magicians at large a number of the tricks. androutinesthathad stoodhim in goodstead throughhislongcareer(hestarted in 1902 in variety). To the,relatives of these two gentlemen of magic ,we extend the deepest sympathy. Coming back from Scotland recently and awaitingaconnecting trainat Stirling, we saw a notice that we have never in our lifetime seen exhibited on a station platform. It was not jur;t a printed bill, but an enamelled plate, very very old. and on it there was a warning to travellers regarding card-sharpers ! Recentreportssaythat Sydney and Lesky Piddington are packing up show business and settlingdown.Certainlythese young folkhsve goneplaces in thelastthreeyears,andhave in that time created more controversy regarding the means for achieving their results than any act since the time of the Zancigs. Newspaper comment was to the effect that they had been offered a matter of ten thousand pounds for the secret of the act, an amount which onlyproves the undoubtedvalue of some of Annemann’s contribution S to magic. Therearealot of people who consistentlv talk of the Art of Magic, and with the next breath put forward opinions that kill any idea that maoic is‘ an art. For ourselvesthough, we think that a magician may become an artist in his presentation of a conjuring trick, we can never see how a mere’
.
79 become a work of art.Theparticular reason for mentioning this is the fact that during the last few months there has been much t a l i of magic and magicalexposing on TV. So’me of this talk has come from people who would like to appear before the biggest audience in the woi-ld at any price, whilst quite a lot has been said by those who genuinely feel that TV can harm magic. Our ownmainobjections to TV as amedium for magic and many kindred acts is that two dimentionalprojectiondoesnotallowtheperformer to use his personality as hecould with a live audience and also that misdirection as it is: usually acceptedhasno place. Comingback to theArt question. One writer has commentedon the matter of exposure,deliberate or otherwisethrough the medium of the television set. If the exposure of a trick is enough to kill magic, then magic csn in no way be considered an art, fox: the means of 211 rxl arts can be shown, discussed and debated without the weakening of apublicopinion. In f ~ c tit is ratherthe reverse, for a discusion onthe means used by real artists is something to awaken reypect and admiration in the mind of one who ! S ml;fTvsre of the trials and tribulations of the true artist. irl Possibly the most amazinp percon&y magic to-day is Bill Larsen. Since his d ~ v oof collaboration with the late Page Wrioht he has shown himself tobeone of the world’s grelt -moicq1 enthusiasts. Way back in the thirties he founded the Genii which hasdone amwnificent iob of work. Since the close of the last war. he has d+Prnated his enthusiasm with a certain diw-untleness. We have however always believed in his sincerity.
Today when we see that every new Genii subc scriberbecomes a Fellow of theAcademy of Magical Arts andSciences, we justwonder whether the sincerity is there or whether Bill has his tongue in his cheek whilst the gobslops of magic wadeinwiththeirsubscriptionsin order to write F. A. M. A. and Sciences after theirname.Can’tyou visualise the small time egotist showing his parent the duckiest trick with a sawn off piece of pin-table,that he h,; just bought, and when thesaidparentafter the exhibition,remarks “ that’s one bloody awEul exhibition of conjuring, junior,’’ the youthreplies, “ Pop, that’s impossible, I’m a Fellow of the Academy of Magical Arts andSciexes.”Come off it, BiIl and face the facts ! For future issues two lovely routines Erom N l s HonourJudge Wethered,a lovely coinidez of Tan Hock Chuan’s (we’re using this in the O-‘-ober number), a very nice Poker Deal of Roy Walton’s, the “Ring ” moves ofDud!ey Whitnzll, a2 eFFe7‘ of Dr. Jaks that we have mentioned before ?:id a by Peter couple of first rate ideas for mentalism Moffatt. O n Aug. &h, 9th and 10th the Dutch Magical Union representing all the Dutch magical societiOs is holding a congress in the lovely city of Breda. As this is all part of a celebration held by Breda folk to mark the seven hundredth anniversary, the show of national costume and all that goes with it. shouldmake for awonderful aqair. The cost of obadmissionis 25/- and fullparticular.canbe tainedonrequest from : NederlandseMagische Unie, Meizersgrach? 484, Amsterdsm.
Effect :-One spectator thinks of number a between fifteen andthirtyandwritesthisdown. The performer shuffles a pack of cards and passas themone by one in front of another spnctztor. counting aloud. This spectator is asked to fix on a card in the first fifteen and remember the card and thenumber it isat. The pertcormer placr-S t h ? cards behind his back and state< rfi?.t he wi? c-deavour to read the spectator’s mind and trsn7fcr the chosen card to the number chosen by the first spectator. .’ The packisbroughtback to the front and the performer counts slowly down the pact. having the spectator who chose the card stop him at his number. This card is turned over to show that thy card has moved. With no fast moves of a n y kind. theperformercontinuesthecountand the first spectatorstopshim at hisnumber. The car.? is turned over and proves to be the selected one. Secret:-When the first spectator writes down his number, watch the end of his pencil and y m wi!l
invariably be able to te!l wha! number he writes. (Thisschemeis I believe dueto AI Baker and is very good).
lrickcan
When the pack is later placed behind the back, simply reverse thecardstoone less thanthis number by counting off from the top in the usual manner and then replace. Now cut the csrds and facethebottom half-finally turningthewhole packover.Commence to dealcards(from what was originally the bottom half of tht: pack) until stopped. Turn over the card a? which stopped a d simultaneously drop the hand to the side holding the pack and turn thepack over. The trick now completes itself. Notek-Some will want to obtain the firs? numSer by‘‘more certain ” methods, hut. a litt!e practice will convincethem that pencil readins isalmost fool proof. In the unlikely event ofbeing unable to read the pencil, the trick is still a ~ o o done if the spectator is asked to state his number.
TON1 KOYNINI’S
“DERBY”
HERE
I S a new approacht o card magic, a light-hearted entertaining routine-it might will keep the audience entertained, amused and almost becalled agame-that amazed for as long as you like to play it. IN EFFECT the performer chalks on the bar or floor, or marks out a “ race course ” with match-sticks or what you will. Having done that he lays the four aces-representing the horses a t the starting gate. Three spectators are invited to “ back their fancy,” and each chooses his “ horse ” and places his bet-suggested as a penny-on it. The performer is left with the remaining horse, and he places a half-crown on this, stating that the winner will take all. The spectators now shuffle the remainder of the pack, and the cards are handed to a fourth spectator who deals them face up on the table, one at a time. The three punters move their horses forward one move at a time as appropriate cards turn up, and the race runs its exciting course, sometimes one being in front, sometimes another. The performer, who might even be last up to the last moment suddenly finds his horse in front and past the winning post first. The race can be immediately repeated-as many times a s you like-AND THE PERFORMER WINS EVERY TIME, no matter what horse is left for him to back. NOTE THESE POINTS : Nothing more than an ordinary pack of cards is needed, apart from a piece of chalk or a f e n match-sticks t o always takes the last mark the “ course.” N O SKILL IS REQUIRED. There is no false shuffling or snitching of cards. The performer ace left, and never influences the spectators’ choice. The cards are shuffled by the spectators. A spectator does the dealing. In fact, the to an exciting “commentary#* on the race. performer has practically nothing to do and can devote his whole attention giving
ANOUTSTANDINGCLOSE-QUARTERCARDROUTINEDescribed PRICE
5/= POSTAGE 3d.
(U.S.A.
in a neatly printed booklet
75 cents)
From the Publishers
THE MAGIC WAND PUBLISHING CO., I I MonasteryGardens,
I‘
I The WARLOCK ‘I
1 .
WARLOCK’S
The Magic Circle
PENTAGRAM
.
l M,IRACLE.SLATE I Although limited in output, has now travelled t o Ireland, Finland, Belgium, France,Africa,AustraliaandUnited States and Sweden. ,
PETER
is published on the 24th of epchmonthand canbeobtaineddirect from thepublishers for 1 / 1 per bingle copy. AnnualSubscription 12/post free. PUBLISHED 13Y:
The Magic Wand
Publishing Co., Gardens, Enfield, Middlesex.
11, .Monastery
hlantlscripls for publicationandbooks review slloddbesent to the: EDITORI4L. ADDRESS:
-
for
Peter Warlock,
And now from
“
Hen
”
Fetsch
24, Wordsworth Rd., Wallington,
..
Surrey.
Have been using your ‘Mirxlz Slate’ for over a month now and I mustsay it’s wonderful . . . . the impossible made possible. It‘s the answer to a mental problem I have worked upon for years.” . ,
Enfield, Middlesex
President : HisGrace the I>lllir o r .C;onwrset, D.S.O.. O.BE.. J.P.. M.I.M.C. Vice-President:Douglas Crnggr, Esq., M.I.M.C. Museum :
Clubroom and Library and
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
KingGeorge’s
Hall, W.C.
ParticularsfromHon.Secretary
Francis White, 39Alverstone Avenue, Wimbledon Park,S.W.19
“
JACK HUGHES will be pleased to send l’ou f u l l details of
THE DE LUXE “SU-TAB-LE” together with all his other effects in return for a stamp. Write now to
,
PRICE
-
e2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
1-
1
!I ]I
l*
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Magic
WandPublications
The M g i c WandQllarterly. Fer copy 3/8 p.p. .4nnual s,uhsEriptioll 14/6. The Wizard, 36 pagesrnonlhly. Per .cop\! 2/1 p . p . 6 rnonlki I 2 / 6 Yrar 24;-. Convincing Coin Magi; (Falelli) . , 17/10 Mastered Atnazerrlcnt . . 10/3 fKoran & Lamonte) Rohle?o’s Myverizs fnohlrnr . . 10/3 The Conceit Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis . . . . 10/3 Entertaining WithHypnotist11 (Dcx-err) 10/3 Gha:lenge Instan! Hypnotism S; Mass Hvpnotism .. . , . 211Strictly Magic (Edrlic J o a e p h ) 513 StooSing ictlltllard) Around 513 26 Living & 73rad”Trsts (Garrett) . . 5/3 larnesoaophy (Cf-wart lames) 513 Year Rook 48‘1) f f r w nnly) . . . 5/3 Stage Money (Lamonte) . 513 Ctunts With Trade IAmmstrona) . 2/7 Tricks of the Front the publishers WAND PI’BLISHING C O , THE: MAGIC 11. Monactery Gar4enz. Enfield. M:ddlesex. ,
CONJURING
BOOKS
FOR S.4I-E
OLD ANL‘ NEW:. Le: m- know your want* LIST FREE FOR STAMPED ENVELOPE __ h0 Callers
GEORGL‘. J E N N F S S .I7 I N V E R N E S S AVENUE.
ENF!EI-II, X!DDI_ESEX
Every Advertiser’s goods are fully endorsed by this Bulletin published by thepropnetclThe
Magic Wand Publishing Company 11 MonasteryGardens,Enfield.Middlesex,andprlnted Walker and Son (Printers) Ltd.: Will Croft. SVoIev. Yorkshirc
by Herbert
*
81
PENTAGRAM An independent monthly bulletin for all who w a n t good magic
V&, 6 L a , 11
Uugud 1952
Pre1,iminary: Some fifteen or more years ago, whilst playing around withaset of LinkingRings which hzppened to include an additional singleringlarger in diameter than the oihers, I was lucky enough tohitupon som,e novel uses forthat ring, and incidentallyuponamostdeceptivemethod of apparently linking and unlinking the chains of two andthree permanentlylinkedrings. Atalater stage, in March, 1939, t o be precise, I contributed to an issue of “ The Magic Wand ” what I must now regard as a somewhft inadequate explanation in view of the fact that, to the best of my knowledgenootherpersonhas ever yetworkedthe moves. Havingregard totheconsiderable lapse of time, I have been persuaded that republication mightnotbeunwelcome ; and I am taking the opportunity to rewrite the whole material in what I hope will prove to be more intelligible language and also toadd somefurther moves withlarge sizerings as yet unpublished.
The Large Ring: The exactsize of any large ring, in relation tothe size of the ringsformingtheregular set with which it is used, is naturally of some importance. It is,however, sufficient to say tha:t it; diameter should be as srnsll as possible consistent with ability to slip easily over one of the regular single rings without pressure. I use a set of rings of the so called 10-inch s k e and, if I lay my large ringflat onthetable with one of thestandard single rings inside it so that the rings are in contact atone point of theircircumference, the space betweenoutside of the standard ring and inside of the large ring at the opposite point of their circumference measures of an inch. It is advisable to use afairlylarge size 7c.t of ringsbecause the smallertheirdiameter the larger will be the Large Ring in relation to them and consequently the greater the risk of detec:ion.
+
%ice U ? eS-9
Terms Used : Careful note should be taken of the meaning of certain descriptive terms andabbreviations used, as follows :“ Chainof two ”-Two ringspzrmanently linked together. “ Chain of Three”-Three rings permanently linked together in the form of a chain. “ LinkedPosition ”-That in which two or more linked rings are extended to the maximum possibleextentandclearlyappear to view as linked rings. “ClosedPosition”-That in which two o r more linked rings appear to the audience as separate and single rings. Roman Numerals-e.g. VI, refer to points o n the circumference of a ’ring as though they were hours on a clock face as seen from the audience. “Clock Twisted”-Assume that you are looking downwardsuponthechain of two, which hangs from your fingers in a linked position, the lowerringis“clocktwisted” when ithas b e m turned horizontally so far as it will go in a clockwise direction. “Anti-Clock Twisted”-The reverse of the above ; thelowerringbeingturned in i n anticlockwisedirection. Apparent Linking Q€ the Chain Q€ TWO : Standfacing half left.Yourleftforearm is almostparallel to theground,andyourhandis held palm upwards with the fingers pointing towards the audience. From thesehangwhat appearto bea few singlerings,butthetwo nearestyour finger tips, and alsonearest the audicnce, are actuallytheChain of Two in a closed position. The LargeRing is at thisstage incourse of examinakion by amember of the audience;and this you takefrom him between the first and second fingers of your right hand.
82 The move which you are now about to executeand which I havetermed)theTwistover Link, isalittledifficulttodescribe in words despite the fact that it isreally very simple,but the explanation may prove easier to follow if first I givearoughoutline of the effect and of the workingprinciples. Tomake everything as clear as possible theillustrationsonly show the chsin of two and the large ring. The latter is the twisted ring. The letters A and B representtheposition of the left and right hands respectively. So far as the audience is concerned, the effect is that, without ever relinquishing your right hand grip of an examined single ring, you link it to the outermost ring in your left hand and immediately hand out the two linked rings for examination. What actually happens is that, in ;he course of a twirling movement presently to be described, t h e LargeRing is passed clear? overthe rings forming the Chain of Two to take up a poTi'-ion third from you finger tips. Your first and second finger grip of t e Large Ring is at the same time switched for a thumb and first finger grip of 'one of the chain rings which latter is then pulled down intoa linkedposition andthe twolinkedrings handed out. Let us now resume at thepointwhere you had taken the Large Ring in your right hand. Carrythistowardsyour left hsnd which graspsitbetweenthumbandtwomiddle fingers a t apoint on itscircumferencediametrically opposite to the point where ic is held by your right so that the ring hand and lower your right hand is almost fiat against the other rings. In this position your left thumb and fingers hold it at XII and yourrightfirst iwo fingers at VI, second.finger being to the front, and first finger to the rear. (Fig. 1 .).
'h
of yourleft thumb preventsany con!;inuance of thismovement; and itthenchangestoafolding movement from left to right (view point of audience),uponahingeformed by thegrip of your left thumb and third finger. (Fig. 3).
As theringturnsover,your its grip to permit a passage but originalposition.(Fig. 4.).
tkuiil3 i-eieases then resums its
Your right hand, which throughout describes asmoothclockwisemovement,carries t h e nng over and behind the chain rings at V, this bcins assisted by pressure of your It,. +humb (Fig. 5 ) . Continuing the clockwise movement, your right hand reaches VI andat about this point, exchangesitsfirst and second finger grip of the LargeRingforathumband first finger grip of the nearer chain ring, which ring is at that. moment by relaxation of your left thumb and fingers, allowed to fall.(Fig. 6).
A
Carry this ring smoothly down into a linked position and hand out the chain for examination. 0
Nowimagine for a moment that, instead of being supported by your left fingers, all the rings are pierced at that pointfromfronttorear by a pin on which they can swing freely in (from the point of view of the audience), a clockwise or anticlockwisedirection.Considerthegrip of your left thumb and fingers to take theplace of such imaginary axis and commence torevolve the Large Ring round it in a clockwise direction (Fig. 2). Very soon, although allowed to slip off your leftfirsttwofingers, the position and resistance
The various stages set out above actually form one continuous movement which occupies about a second, but speed of execution is far from essential. A slow anddeliberate movementis much to be preferred and, if anything, looks more convincing.
Apparent Unlinking of the Chain of Two. Anybody sufficiently interested to master the linkingmovejustdescribed, willvery soon appreciate that something in the nature of a revers11 of the process can be utilised to give the effect of an apparent unlinking of two permanently linked rings.
83 Yourstance is the same as before,butth2 Large Ring is nearest to the finger tips of several ringshanging from yourlefthand. TheChain .of Two is .in possession of amember of the audience.Withyourrighthand,collectthisand transfer it to your left hand so that it hangs there from in a linked position. Once again I shall first give a rough oudine of the movement which follows, viz., a sliding and twisting motion of the lower chain ring in relation to its fellow, during the course of which thz cinin is closed and slipped through the Large Ring, :he latter being at once handed out for examination. To resume, you mustfirst make s u e t h l t thelowerchainringhas been anti-clock twkted, and then grasp it at Vi1 between you; right hr:t finger, on top, and thumb, underneath. Your left thumb presses firmly at XII on t.he LargeRing 7). and the upper chain ring. (Fig. A
.A
a
A
T Continuethiscombinedmovementuntil at XII the linking point reaches your left thumb and is pressed through the Large Ring to the rear. Your left thumb relaxes slightly to prrmit this pmsge andthen pressesforwardoniheLargeRing in general support ofthemovement. At thisstzge the two chain rings are almost in aclosed position. (Fig. 10). Actual movement of the original lower chain ring has now ceased but your right thumb a i d first finger continue the clockwise motion byesliding in contact with the motionlessringuntil at I11 you find that the Large Ring can be engaged between your right first and second fingers (Fig. 11). A
T
With your right hand, cxnmence to slide the lowerring roundtheupper ring in a ciockw;sl= direction (Fig. 8). As the linking point of the two ring3 reachys IX of.theupperring, you also start to fold the lowerringover on to its fellow; and whenthe linking point reaches XI the lowcr ring is approximately edge on to the audience-if indeed a ring can be said to possess an edge. (Fig., 9).
From
"
Relax your contact wit,h thechainringbut griptheLargeRing firmly and revolve this to about VI where it comes easily clear of the o t h x s and can be handed out. As in the case of the linking move, there i s 110 necessity forspeed. A smoothunhurried dockwise rnover~znt of therighthand iq the m?in requisite to produce convincing a i!lusiorl of unlinking one ring from the other. (To be continued).
THE PSYCHOLOGY O F CONJURING " ROBERT EDMUND BERNHARD
Jr., 1936
Then too, another popular misconception is that there is some particular benefit to be derived from being close to the performer while he is at work. A little thought would make it clear how wrong this notion is It stands to reason that the man who has the performer inview from head t o f o o tis far more dangerous than one who is too close to makea comprehensi\Te inspection. Yet people will still crowd close to the performer.
Of lesser importance, but still 1-ateworthy,is such a factor as timidity of the average audience. Timidity i s used by magicians frequently. It may seem unsporting. buthere is a typical example : the performer wishes to " force " a card. The easiest course would be'for him to go to a young l a d y and surreptitiously push the card into her hands. Then he asks her if she made a free choice. She timidly nods in the affirmative even if she realises that she has been duped. Why? Well, can you imagine a well brought up young lady attracting a lot of attention to herself by raising her voice and making a strenuous objection ? Of course qot !
84
Here is a delightful handling of th-, " Ellis .' RingthatJack showed us theotherevening. In effect it is rather reminiscent of " Ring of Thoth." The method entirely using the Ellis ring and shell makes for an insoluble mystery.
As the main mystery concerns the passing of the ring ontoa length of rope we will concern ourselves purely with the procedure and the particularly subtle move that is brought into play.
between his thumb and fingers. Actually however as he makes the slight turn to left, the left hand thumb pushestheringbetween the secondand third fingers so that as the hand is brought up and back of it is kept to the audience the position of the ring will be thus.
The requisites are as follaws :
1. The 2.
"
Ellis " Ring and shell.
A length of softcottonrope feet in length.
aboutfour
The shell and ring are taken from the pocket, the ring being passed for examination and theshell retained. On being taken back, the shell is slipped over the ring, or maybe if you work that way, the ring isslippedunder the shell. At thispointthe ring withshellabove it shouldbeplacedonthe of the left hand, so thatit lies upturnedpalm across theroots of thethirdandfourth fingers. The length of rope is now takenandone end threadedthroughthering.There is aright and wrong way to do this, andthe wrong waywill afi-ect a later move. The right way is to take the end of the rope, pass it under the ring and shell at the side nearest to your body, and then bring the rope up and over the shell and ring furthest from the body.Performerremarksthattheaudience have seen one way of threading the ring upon the rope.. He wouldlike to show them another. The ring IS apparently taken of€ the rope with the right hand. Actually, the right hand thumb and second finger take the shell at the side nearest the body, and withatiltingmovement it is ina fairly slow manner taken off the rope. At the same time the left hand is rotated towards the body so that the genuine ring still threaded onto the rope, cannot be glimpsed. A contraction of thethirdand fourth finger keep it easily in position. The right hand holdingtheshellthrowsthe latter into the air catching it on its return. There's nothing difficult in this and it adds to the illusion that the ringisgenuine in every respect. At the same time the left hand drops to the side. A slight turn is made left, the right hand holding the shell ring at the fingertips. The left hand now comes up to shoulder height and apparently the performer is simply holding'a length of rope
The shellring isnow takenandslipped between the. thumb and the rope, so.
in
The left hand closes into fist and as the left hand is turned the audience imagine that the left thumb pushes the ring that theyhavejust seen placedin the hand, into a positionactually held bythesolidring,andthus when thehandhas made a complete rotation that is the ring they see. The left hand is now brought in front of the body and the right slowly pulls the rinq and the ribbon away from the hand, leaving the shell fingerpalmed in the left hand. Ring and ribbon can immediately be passed for examination. Since seeing Jackperformthisandtrying itoverourselves, we havethought thata little touch that canbeadded is that when t'he le& hand is holding the ring at the back and from the audience's point of view the rope is draped over the hand, that a slight pull at one end' of the rope in apparentlyadjustingits 1engt.h gives added effect.
85
Theremustbemanymanymagicianswho have had the pleasure of seeing Bertram Millidge’s handling of the Jardine EllisRing.Starting with a modest routine way back in the thirties he has graduslly added and built up a sequence that is a thing of beauty anda joy to behold.In ‘the Autumn of this year Holdens of New York will be publishing the complete routine as used by Beriramto-day. Theprototype of the effect appeared way back in a copy of the “ Magic Wand ” ‘dated October 1938. Because we feelcertainthat manyhaveno access to that copy,plus the fact thata numbermusthavesimplyscanneditand passed it over, we are in view of the present reviving interest in thisclassicre-publishingit. It goes like this. The other day I found what I consider to be a novel way of using the Jardine Ellisring. Instead of a stick use a ribbon about three quarters of aninchwide and one yard long : my ringis twoinches in diameter. Place ?he ring and shell together on the middlefingers of thelefthand andthreadthe ribbonthrough to eitherside of thehand.The fingers of the hand are towards the audience the ribbon hangingdownhalfway.Pull theribbon backwards and forwards several times through the ringthenlever the shellwiththe thumb; the tip of the thumb pushes on the edge of the shell and so raises it to a nearly vertical position towards the fingertips.
At the same time turn the palm towards you and take the shell off the ribbon withtheright hand. Call attention to the fact that the ring is off theribbon,thenplacetheshelloverthering, which move will, of course, also cover the ribbon in the left hand.
Holdtheringandshellasone,lightlysupported by the fingers, thencontinuedrawing the ribbonbackwardsandforwards.Theimpression thus created is that the ribbon is under the ring while really it is running between the shell and the ring. Turnthe palmover andhavetheends of the ribbon held by assistants. Run the left hand back andforth acrosstheribbon,palm off the shell and leave the ring threaded. Leave the ring of theassistantsfor andribbon in thehands examination. It will be fairlyobvious thatthe effect can be repeated by reversing the movements and apparentlytaking the ring off theribbon. If the shell and ring are raised vertically on the palm the ribbon still between it greatly adds to the impression that the ring and ribbon are separate.
PLAYING CARDS WANTED, early period, curiousand unusual.Sendparticulars, priceCollectorHiddleston, 77, Ruskin Road, Carshalton, Sarrey.
The PencilTells!” (Originated by Harold Rouse and marketed by Harry Stanley, price lO/-). At quite frankly a ridiculously modest price, here is a delightful little mystery that can be used for close up or platformwork. A pack of cards togetherwithacolouredpencilishanded (0 a spectator with the request that ha marks one card behindhisback. Hehands theperformer who writes down on a piece of paper, the name of the card marked. There is no switch of pzcsor pencil and it is something that will when witnessed upset any preconceived theories as to the “How.” Excellent.
“No Egg? No Bag!” (Originated by George Blake and marketed by him at 9, St. Alban Road, Leeds, 9. Price 35/-). We first saw Cieorge perform this effect at a Unique show in May. We had our own ideas at the time, but after seeing the outfit and reading theinstructions we realise too well that George fooled us completely and what we thought was a clue,didn’tmean a thing.The effect briefly is thatthe performer hasa smallbag which after beingshownempty has four eggstakenfromit one at a time and these are placed in the trousers pocket. The eggs are placedback in thebag, whichisnotonlyshown tobe empty, but is dissected andthrownintothe audience for examination.Animpenetrablemysterywithfirst class entertainment value, it is for the discerning conjurer a remarkably cheap “buy.” “Mohammed‘Bey’s Routines for the Jardine Ellis Ringon Stick and Ring on Rope and two additional routines.” (Published by Holden’s Magic Shops, New York, price two dollars, 14/-). Enqlishequivalent The booklet consists of some eight pages (1 1 X 83) of text. plus some eight illuztrations. The firstroutinedescribes ’the passing of a ring onto a pzncil or wand. The hmdling isexceptionallyclean and clear cut an2 makes for a beautifulclose-uppresentation. The second routine makes for a more showy presentation and is as suitable for platform work as for a small room. The effect to the audience is that the ring is passed onto a loop of knotted rope. This rou‘ine ha.; the grester appeal for us, maybe because it gives a newer s!ant. The artful dispossl o f the shell at the end of the effect is a delightful and most natural piece of subtlety. Thethird item hasalreadyappzared in the Pentngraln being John Howie’s reless: of a solid ring from length a of silk ribbon. ‘A most effectivepiece of magic thatour rqsdeli; have alreadydiscovered. T o conclude we have an idea of Bill Nord’s making use of the Bill-ze-Bub gilnmisk to mz’ce a
steal of t.he ring and allow its natural introduction later in the routine. The Ellis Ring supplied at a small extra price by ourAmericanfriends is smaller in diameter than that which Davenports put out in thls country. We unreservedly recommend this very worth-. while contribution.
Nate Leipzig’s Card Stab ” by Victor Farelli ,(Published by the aathor. Obtainable fromDavenports,price 51-). Onceagain,ourfriend,Vic:orFarellihas taken much a discussed t,rick and with the thoroughness for which he is famed has presented a lesson to the student, a lesson in which no point is overlooked. The effect’as most of youwillknowis that wherein two cards are selected from a pack, noted andreturned.The pack is shuffled andwrapped knife in asmall piece of papzr.Takingasmall or dagger, theconjurorstabs the pack through the paper. The latter is torn aside and it is shown that the performer has been instrumental in plach; the knife blade between the two chosen cards. Althoughthebasicprinciples of theactuai stabis known,thecompleteroutineaddssomething to the literature dealing with this particular effect. For the student and practitioner alike it is a “ must ” at a ridiculously low price. Tony Koynini’s ‘‘ Derby ” (Pulflished by thc Armstrong Press, Price 5 / - ) Here in booklet form, is a very novel routine withcardsthat is idealforclose-upordrawing roomwork. The plot is based on theperlormer andhisassistantstakingpart in a hor,c e race, certaincardslaiddownrepresentingthe horses.. Needless to sly, the performer always wins. A very worthwhile “ buy ” at 1 very low price. Davenports Fromour good Criexis, Messrs. Davcnpr S we have receivcd a number of lists giving detail; ofmanycomparatively new items, as wc.ii as a number that have, for some time not been easily obtainable.Amongthethingsthatappealto us arethe Gen. Grant Coin Stitch (an item which incidentally we made m e of in our lecture,the “Credulity of Man”) and the new idea Evaporated Milk Jugs and tumblers. Alko to handfromthesamefirm is a ventriloquial script, entitled, “ Reprimanded.” If is a naval scena anda cornbinstion of old and new gags and lines should make this 2 most enter’aining item for those who engage in this form of voca! misdirection. The.price is 2/6. Reviews held overuntil next, month :Dr. Jak’s “ Multiball ” routine. BillSimon’s card book.
87
The passing of Frank Staff was a saddening thing.A grand comedian and agoodconjurer the loss of his sight was one of the many burdens that he had to carry near the endof his life. T h x e who were members of iheMagicCircleduring the years 1914 to 1940 will rememberihegreat amount of work that he did on so very many occmions. When in 1939 we were Entertainments Srcretsryandforthe first and only time staged for whai was. then the Grand Seance, a monster children’s show in the afternoon and the usual type of show in the evening, Frankdid a lovely skit with a performinghorse in theafternoonand a sketchintheevening. A wonderful.sense of timing with a wealth of acting experience made him a great entertainer. Fast on this piece of sad news came another, namely the death of Bill Bishop of the “Stage,” a journalist who had always been friend a of magicians.
It looks as though the Ellis ring trick is going have a new lease of life, what with
to theMohamed Bey routineand those which accompany it plusthepromised comp1et.e Millidge routine. As we mentioned a little while back, the real Ellis routine has never been published. Duncan Lorne Campbell togive Ellis his res1 nsme wasastrangeman.Originallydestinedforthe Army and awarded a D.S.O. in the S,outh,African War, he gravitated into entertainingasa professionbringing to it some very originalideas. The ringon stick trickwaspart of his regularprogramme as far back as 1910, when at times he worked in variety. He invariablyconcludedthe effect by passing onto the stick a number of larger rings. We must try and get thisfullroutine into the next volume for apart from the technical cona brilliant effect should be siderations such recorded in full. Another effect that seems to have been lost for posterity is the stud effect that Leipzig would occasionallyperform. As no doubt many of our readers do not know it, the effect was this : Leipzig would take a small stud and place it i n thebutton hole in his leftjacketlapel.With arms outstretched he would slowly turnround O R S ~ when it was seen that in some completely unaccountable manner the stud had jumped over thebutton hole in the right hand lapel, from whence it was then removed and offered for examination. It was a lovely piece of work t.hat Leipzig, so far as oneknows, never put onto paper. It definitely beat most of thosewho saw it,and quite frankly we were surprised that nomention of it. crept into the recent monograph on Leipzig b y Vernon.
G . W. Hunter must have taken a number of ideaswithhim.Incidentally we remember him giving a very goodrapidcalculationidea at the MagicCircle onone occasion, onethat is not too well known. It is a metlZlod foralmostinstantaneously knowing amultiple of 365i.e. the number of days in a normal year. Supposing that you are entitled to 1/2d. per day and you wish to know what this would amount to in a year. Just think of theamount in pence, add half that number to it and think of it as pounds. To this multiply the original amount by 5 and you have the answer thus :1/2d. equals 14 pence. Add
7 21 and think of this as pounds
Add
5 10
1/2 X 5 21
5 10
Some very nice reporis about Bobo’s work on coins that is going to be published by Car1 Jones are comingalong. It’s a book fo; workers of course. Next month we are publishing a card location that we have been tryingout. In bareboneform it’s just a card location for card location’s sake but we think we have evolved a dressing that makes it notonlyusablebutalso extremely baffling before a lay group. Starting in the October number and with the copy comingfrom the JimmyFindlay collection we are running a series of reproduced brochures, billheads and other memorabilia concerning “Ladies in Magic.” The first one will be Madame Von Etta, who when appearing at the Hippodrome in London gave the pioneer performance of the vanishing trunk andgirl, which hadjust been designed by Zelkaand Noakes. It was really a shop window stunt, many magicians being invited to witness the illusion which was going to be soldinlimitedquantities to anumber of top liners. Theapparatus was then placed on show and possible buyers were invited to look it over. Amongthoseattendingwas an illustrious name famous for his unusual originality, Quickly runningaruleover the apparatus used, he told the would be sellers that he didn’t think he would buy. About afortnightlaterthe effect duly appeared in his act! We hardly have to tell you that we shall not be publishing the “ Smoking Sailor ” effect.
88
I
I
TONY KOYNINI’S
DERBY ” A LIGHT-HEARTED, entertaining oard routine that will keep the audience entertained, amused and amazed for as long as you like to play it. The performermarksout a “ racecourse ” and places four horses (the aces) a t the starting gate. Three spectators bac! their,,fancy,andtheperformer takes theremaininghorse. Spectators shuffle the rest of the pack and one deals the cards in a face-up heap. The four punters move their horses up on the course as indicated by the cards dealt. The performer may even be last, right up to the last moment, but suddenly he is in front and wins the race. The routine can immediately be repeated-as many times asyou like-and theperformer winsevery time. The only requirements - a pack of oards and something to mark the course with (pencil and paper, chalk or even match-sticks). N o special cards, n o false shuf€lin$ (the spectators shuffle). N o skill required.
CompIeteinstructionsinneatlyprinted booklet. Price 5 / Postage 3d. (U.S.A. 75 cents.) from the publishers THE MAGIC WAND PUBLISHING CO., 11, MonastryGardens,Enfiel,d,Middlesex.
-
PETER
The WARLOCK
MIRACLE SLATE Although limited in output, has now travelled to Ireland, Finland, Belgium, France, Africa, Australia and United States and Sweden.
And now from
“
Hen
”
Fetsch . .
“ Have been using your ‘Mirack Slate’ for over month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
a
PRICE
-
g2 1 0 s . Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Every Advertiser’s Published by the proprietr-
A limited number only will be offered,
WARLOCK’S
The Magic Circle
PENTAGRAM
I
is published on the 24th of eachmonth and can be obtained direct from thepublishers for 1 / 1 per single copy. Annual Subscription 12/post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscripts for publicationand books for ‘ review should besent to the: EDITOR1 41, ADDRESS:
f’rvsitlcnt : HIS Cr.lcc the Dukc o f Somcrscr, D.S.O.. O.BE.. J.P., M.I.M.C. Vice-President: Douglar Craggs, Esq., M.I.M.C. C‘lubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C Particulars from Hon. Secretary :
Francis White,
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
39 Alvcrstonc Avenue,
Wimbledon Park, S.W.19
Magic WandPublications
JACK HUGHES will be pleased to send 1 . 0 ~ 1 full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for a stamp. Write now t o
JackHughes, 2, EvelynAve., N.W.9. Colindale, London,
The Magic Wand, Qualirll). Fer copy 318 p . p . Annllal s\lh,c.l i:l:iou 1.1,’6. The Wizard, 36 pagesmonthly. Per copy 2/1 p;p.. 6 mori!ll 12,’6. Year 24j-. Convlncmg Coin Magic (Farelli) , . 17/10 Mastered Amazcnwnt fI
.
CONJURING BOOKS FOR SALE OLD AND NEW. Let m e know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
goods are fully endorsed
The Magic Wand PublishingCompany, Walker and Son (Printers)Ltd..
.. .
at the price o f . 35/GEORGE BLAKE, 9, St. Alban Road, Leeds, 9.
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Wallington, Surrey
It
NO EGG?-NO BAG!
Stillanother entertaining intwlude by George Blake. A N ENTIRELY NEW EFFECT WITH ABAG A N D EGGS.WITHACLIMAXWHICH JUST COMPELS AN AUDIENCE TO SITUP AND TAKE NOTICEA N D TO APPLAUD AT THE FINISH. The performer repeatedly takes an egg from a shown empty Bag and places same in his pocket. The hand is repeatedlyshown emptythroughoutthe effect, until the audience has seen four eggs taken from the bagand placed inthe pocket, one byone. The procedure is reversed, the eggs being taken from the pocket and placed ir. the bag, and repeatedly the hands are shownempty during thesetransferences. YET, FOR KNOCKOUT A CLIMAX, THE PERFORMER NOT ONLY PROVES THAT THERE ARE NO EGGS AT ALL, BUT CALMLY SETSABOUTPROVINGTHATTHEREISN’T EVENABAG.ANDTHERE ISN’T, BELIEVE US! You’ll like this, and you’ll work it in every show. Can be used as an opener or at any stage of the act, or as an ideal Compere item. Comes toyou complete in every detail. Less than a minute to prepare, three minutes to present, ridiculously easy to perform, so that you can devote all your attention to presentation, in factone of those effects which is always included in my own act, and which confirms my aim in Magic, viz :“ If it won’t entertair. - I won’t entertain it. ”
by this Bulletin
11, Monastery Gardens, Enfield. Middlesex. and prtnted by Herbcrt Wrll C r o f t . Shi-l-v.
Ynrkshir-
*
89
PENTAGRAM An independent monthly bulletin for all who want good magic
Septem0a 1952
The effect is that theconjurerdiscovers h e name of a chosen card under seemingly impossible conditions.Itgoeslikethis : The pack of cards isoffered to a spectator with a request that he cutsitinto .three seperate heaps. The heap which constituted the czntre portion is indicated and the spectator is requested to look at the top card whilst the performer turns his backWhen it has been noted,the spxtator is further requested to shuflle it into the heap from which it was taken.The twooutsideheap; ar;: also shuffled by the helper and one is placed face upwards on.the face down centre heap whilst ihe remainingheap is placed facedownunderthe others. Finally the spectator is requested to shuffle cl11 the c;lrds together in any way he likes, place the pack behind his back, turn it over several times and hand it back totheperformer.During the whole time the spectator ha; bcen helping the performer fix had his bsck turned.The p;Iformcr turns round and ribbon spreads the cards on s withou; the table and i n one of two w ~ y discovers any questioving the name of the selected card. We have been ushg thisquiteadeal just lately and by emphasisingtheutterfairness of eachactionduring the effect, theridiculous way in which the performer proceeds is unnoticed, and to both lay public and magiciansalike the effect is seemingly unfathomable.Theinformedreader willbeonly too well awlre thatthebackground plot of the effect is to be found in theWikiki loc2ticn, ;1 description of w;~!ch willbc‘ounrl in Gibson’s Professional Mapic for Amateurs.” ‘The maFici:ln kpowing this effect however is completely put out. Df countenance when :The card takenfrom the centreheap i s shuffled into it. That when the ct-ntre heap is sandwiched any form of shuffle may be used. That at the penultimate stage, the spectator, beforetheperformerturns round. turns the pack over and o v e r before hlnding i t tothe pcrforasr. anc! then ‘-IS iht: “
cardsare taken they are strdightaway ribbon spread on the table. Having analysed the strong points, let us get down to themethod which is simplicity itszlf. Prior to performance or by means of a previous trick, one suit known to the performer is stacked in order. Supposing that the suit is spades. From Ace to King they should be brought to the top o f the pack, the Ace being the top card. The pack is given a false shuffle of any kind that willleave the top stock of thirteen cards intact after which about ten cards (no more!) :,Ire cutfromthebottomtothetop.The pack is placed upon the table and the spectator is requested to cut about a third of the cards from the top of the pack and place it to the right. He is then told to take :.he remaining heap and cut a rough!y similx amount from the bottom, placing this to the left, the centre heap being placed in its correct placebetween the topandbottomheaps. It is pointed cat that it is an absolute irnpossibllity for the conjuror to know the topmost c u d of the ctntre heap, a point on which even the most sceptical helperwillbe bound to agree. The iopmost card is looked atand then shut-iled bsckintoits heap. Now because of thefact that the upper part of the pack consistd c? the spade group a n d approximately ten other cards, it must follow that in cutting off the top packet the helper must have cut into the spa& stock, and of the spade cards top of the centre pxket, the lowest spade of those in thatheap mustbe thecard looked at.The remainingheaps are shuffled and placed respectively face u p over and under the centre heap. A further $hufflinn of the v ~ ! P va4. , in any manner willnoteffect the main fact that t h e !owzst snrlde card in the centre heap is tha selected card. whikt if the whole pltcket is turned over. ihe qmde a r d ope pip hiphcr than the highest value spade thst c9n b:: zeen i s also the selected card. so ,th!lt if the chosen card w:n the five of spades,the c1rd orioinally a t the bottom of the first heap was i-hz four of spldes.
90 If therefore the packis handed back after shuffling andthespreadonthetable reveals a group of spades that includes the latter part of_-the spade group, the performer knows that the spectator’s card is in this face up group and only looXs for the lowest card. Asking the spectator to hold his wrist his hand moves over the cards backwards and forwards finally droppinga finger ontothe ,chosen card. If however the cards show the lower portion of the spades group and with it a majority of face up cards, the performer asks the spectator to hold his wrist. ‘ Just think of the suit first please,’ says the con-iuror as he moves his hand backwards and forwards.(Atthesame time he has no:ed the
highest spadecardand knows thatthe selected card is onespothigher). The performer’s finger comes down on aspade card andpushes it forward. The spectator agrees that it iscorrect. ‘Now for the value.’ Again the performer’s hand moves and thistimethe finger fallsonacarddenotingthe d u e of the chosen card. Thereader willfind this trick very effective and also if he leaves out the turning over of ihe pack at the penultimate stage, an excellent means of breaking up a stacked pack, especially should he use theNikola system, where in looking at the small group of face up cards he has only ro (lotice that card whichisin the normal stack is nearest to the top of the pack.
E d i t o r ’ sN o t e . I t goesalithoutquestion [hot .some o f the f i n e s t close-up m a g i c i s t o be fou~zdwhen the little coterzes meet. R o y , w h o is a most ntrtura~ ztrorker, belongs t o such cr group w h i c h f o r the m o m e n t w e ’ l l d e s i g m t c b y rhe letters ‘ D.G.’ T h e e f f e c t w h i c h he i s d~.s~ * r i b i n g i st o nppecrr in tr book w h i c h the gro:tp i s publishing in t h e nectr f u t u r e ulzder the title C o m e A LittleCloser,’ t r book zd1hiL-h in the light of this prcr~iezoof ptrrt of i f s contents ~ L ’ E feel certtria you’ll eui.sh t o trcc/uire.-P. IT’. Effect 1 . Both sides of two knives are shown to be white. The audience is asked to choose one knii‘e and whichever is chosen is taken at the iinger tips of the right hand. This chosen knife is rubbed on the back of the open left hand and ihe ,colour changes to yellow. 2. The lefthandholdingthe white knife is then closed into a fist and the yellow knife pushed intoit.Thehand is thenturnedover,opened and the yellow knife shown to have changed red; the other knife is still white. 3. The redknife is thentaken i n theright handandbothsidesshown.The left hand with the white knife goes to the pocket while the right hand closes intoa fist overtheredknife. The white knifenow travels fromthe leftpocket to the right hand. The right hand is opened and the knifeshown to bewhite. The audience presumes the knife in the left hand to bered butthis is shown not to be the case because the knives have again changed places and the white knife is shown to .have returned to the left hand and the red knife to the right hand. 4. Both handsareagain closed over ;he knives and the transposition is repeated. The right hand is opened to reveal the white knife and the audience is asked what colour knife is i n the left hand. O n receiving the reply “ RED ” the hand is opened and the knife shown to be Green.
5. The vanish 0;‘ theRed knife is explained by stating that i; slipped into the pocket and both hands go to the pockets with che knives. The left hand comes out empty and the right hand brings out both the red and white knives. 6. The white knife is taken in thelefthand and thehand closed into a fist. The redknife is then pushed into the lower side of the fist and the white knife is pulled o u t from the upper side, this isshownwhite onboth sides and placed in -the pocket.The left hand is thenopenedandthe remainingknifealso shown to be white;this is rolled on the table or given for examination. Requirements In right trouser pocketOne unfaked knife, both sides white; One faked knife, one side white; one side yellow. I n left trouser pocketOne faked knife, one side white; one side green. One faked knife, one side white; one side red,. The rightand left handsbothgotothe trouser.pockets and bring out a faked knife which is shown to be white on both sides by one ol’ ihe familiar paddle moves. The white side of each faked knife can be roughened or nicked to make i t distinguishable by touch, or, the hands can be brought outof the pockets closed, heldupwith backs to the audience and opened slightly with the knives in the thumb palm position to allow the performer to check that the white sides are to ihe front, or if necessary to make ihe necessary reverse whilst lowering the hands. Routine 1 . Having shown the two knives to be white. ask the audience which shall beused and whichever knife is chosenis taken at finger tips of the right hand and rubbed on the back of the left hand still heldpalm up with its knife exposed. When the right hand knife is hidden by the back of the left hand it is turned over and brought out to show the colour has changed to yellow.
91
3. The redknife is taken at the ri ht iinrgertips and shown red on both sides; whi st this ;S being dorle the left hand goes tothe left pocket and exchanges the white knife for the knife already i n thepocket, the hand remainingin the pocket. Performer now states he will maketheknife .in the pocket change places with the knife in the right hand. The righthand is turnedoverand opmzd to reveal the white knife: the hand is then closed
a p i n , reversing the knife in the process. The closed left hand is brought out of the pocket and aftercheckingthecolour, as ,d.etaiIed earlier, 10 ensure the knlfo will show white when the hand is opened-the spectatorisaskedwhat colour the knifeis in thehand.On receiving theanswer “Red” the performer explains that theknives have againchanged places andthe knifein theleft hand is s h o m to be white and that the red knife is bsck i n {he right hand. 4. Statethat youwill repeatiheiransposition and close both hands reversing both knives. The right hsnd is openedto show a white knife andthespectatoraskedwhatcolour knife .is -in the left hand. On receiving the reply “Red” ’ihs knife is shown to be green. 5. Whilst explaining that thevanish of the red knife was accomplished by slipping it secretly intc the pocket, both hands go to the packets. The le€: hand leaves its knife in the pocket and comes outt:npiy, therighthand reverses its knife and also picks up the unfaked knife 2ndis withdrawn from the pocket showing a white and a red knifeThe audience believing the red knife has jus: been removedfromthe pocketwhen actually it is the white knife which was removed. 6. The unfakcd knife is taken in the left hand, the hand i5 closed to a fist and turned over. The red knife is shownredonboth sides m d is pushed intothelowerside of the left fist. The red knife is reversed in the hand, pulled out from the upper side and shown as white on both sides and placed in thepocket. To theaudiencethe effect is that the red knife has been exchanged for the white which was already in the left hand, but the left hand is’ now opened to sh.ow that the white knifeis still there and this knife can berol!ed on the tahle for examination.
APPARENT LINKING OF THE CHAIN OF THREE : If you have succeeded in iollowing ‘ihe explanation of theLargeRingTwistoverMoves for thepurpose of bringing aboutanapparent iinking and unlinking of the Chain of Two, you shouldexperiencelittle difficulty in applyingthe same principk t o the Chain of rhree. T h e state of affairs immediately prior to linking is that the closed Chain hdngs from your left fingers whilst the LargeRing is in possession of the audience. When taking the Chain rings intoyour left hand it is most important that they be arranged i n :in anti-clock twisted position. To do this, first hang the centre ring from your fingers. Turn the two end rings so far as theywill go .in an anticlockwise direction and then lift them together to
hangfrom your fingers. It is immaterialwhether or not youhave other rings in your hand but, .if so, the chain rings must obviously be nearer your finger tips. With your right hand, recover the Large Ring and proceed to execute .the Twistover Move almost exactly as described for the purpose of linking the Chain of Two. The only variation is that. in this case. theLargeRing is carriedover and behind three rings, whilst the ring which is pulled down into a linked position is the nearer ‘2nd :(in% of the chain. To all appearances, you have linked an examined ring to the nearer of a number of other single rings and, to emphasise this, you turn squarz on to theaudienceandextendthese two linked rings horizontallyacrossyourbody. I n caseyou
2. Whilst showingtheknife to beyellow on bothsides,close the left handat tliz smle ilillc reversing the knife. The yellow knife ispushed into the !eft hand behind the knife already there. The right forefinger rubs the back of the left hand which is then turned over and opened to show that the yellow knife has changed to red.
S
92 Jre unfamiliar with this piece of bluff, it must be explained that you have siezed the lower ring at VI with your right hand and that the actual upper ring of the Chain of Three (together with any other ringsbehindit) has been allowed to fallback against yourleftforearm. Of course, you maintain a firm left hand grasp at the linking point of middle and upper rings so as not to disclose this link. The next move-that of linking,apparently, two linked rings to the next ring behind them-is a n even more barefaced piece of bluff. First, release your right hand grip, allow the two visibly linkedrings todrop back inloiheir former position andagainturn half left. Next, with right thumb and first finger, take the upper of these rings a t VI-just a little nearerto you than the linking point-and execute a twirl vLry simwr to theTwistoverMove upon the fulcrum lormed by the grip of your left thumb and fingers at the linking point of centre and upper rings. You iinish this by pulling the ring down into a linked position In relation to the actual upperring of the chain, so as to exhibit ;L chain of three linked rings hanging from your left hand. Conclude by extending the chain horizontally before handing out for examination.
APPARENT UNLINKING OF THE CHAIN OF THREE : The initial position is similar to that for apparr;nt un!inking of the Chlin of Two except that, i n thiscase,theChain of Three hangs by an end ring from your left fingers immediately in rront of the Large Ring. The first step is to unlink (apparently) h e centre ring from the one above it, for which purpose you sieze the centre ring at VI1 between ;ight first finger, ontop,andthumb,underneath,and carry both rings through the Large Ring by means of a twirl identical to that explained in the case of theChainofTwoUnlink. As soon as your righthand grip is exchangedfor agrip of the L x g e Ring, pull it smartlydown and over the lower hanging ring. The positionnow, as seen by Ihe :lu:!icnc;, is ths: a chain of two linked rings hangs irom your left hand in front of oneormore single rings. You have apparently unlinked from the upper ring of such chain another ring which you are now :siving for examination. I n reality, the ringimmediatelybehindthe upper ring of the chain of two is linked to it, but has beenclosed andswitched for a single (the Large Ring) by the move just described. The next, and final, step is to u n l i n k (apparently) the remaining two visibly linked rings; and for this purpose the Large Ring must be brought back to itsoriginalposition.Transfer.therefore, all rings to your right hand whilst the Large Ring is being examined, and eventually take it back In yourlefthand.Then pass theother ringsback
intoyour lefthand i n ,Cront d€ the Large Ring. Should youbeworking-onlywith theChain of Three and the Large Ring, the latter is now in Its original position; but, should there havebeen other rings also in your left hand, it is a simple matter 10 rase the Lsrge Aing over themwith yourleft thumb and so be ready to use it again. The final unlinking move is, to all intents and purposes, a repetition of unlinkingtheChain of Two. Thesame twirl carriesthe lower ring :And the two upper rings through the Large Ring, and thelatter is carriedsmoothlydown .:And clearof thechain to be handed outa second iin~ealthoughtheaudience isnot to knowthis--for examination. Should you happen to possess two large iings, \ou can conmtnce with these i n position immediately behind the Chain of Three and avoid using the same ring twice. The exect ;S not enhancedandyouronlyconsiderationshould be whether or not it is dcsirable to make use o f iwo large rings i n your general routine.
LINKING TWO EXAMINED RINGS : Hanging from your left fingers are a number of rings. Theirorderandcomposition are of no importance save that the ring nearest your finger Lips muKt b~ the L-arse Ring with ihe KeyRing immediatelybehind. With q n u r r1gi-i; hand, fake theLarge Ring and hind it out i o i cxaminJtion. Whilst this Is i n progress, takethe Key in your righthand so that it hangs from the tips of your fingers which point towx-ds the audience. The slot, or opening, in the Key rests upon the fleshy part of your second finger Pip, which curls u p JUS[ sufficiently io Iconceal it irom view. Extend your righthand to iake: back the exanlined Large Ring. This is quite naturd because your left hand is fully engaged,but you must now pass theexamined ring intoyourleft hand so as to offer the other for similar examination. The rings in your left handare,therefore, tossed back into the crook of your elbow so : ! S ;a leave the hand free and one of the right hand rings is transferred to its finger tips.Thisshould logic3lly be thering whichwasnearestyour right finger tips. i.e., the examined ring; but, in the act of transfer your right fingers curl up to close upon the two rings 3:1d t h m re-extend. The .=ffectof ;his is to p2ss the Lalrge Ring over and behind the key; and it i: the latter which is ac;usl! transferred to your left hand, leaving the Large Ring in your right hand to bcpsssed .out .cor examination as though it were the other. Recover this from the audience and then proceed to link the two rings in any manner desired. EXAWIIIVATION OF 'TWO UNLINKED RINGS : At some stage in your routine you are about to unlink two rings, one of these being the Key and the other an ordinary single ring. All other
93 fi-oili ihe crook of (say) your left ClboN. m u these must -includeaLargeRing which ior plekrencealtnough not nccessarily, should be neaiest your hand. PrxLed wlcn y o u r unlinklngandextcnd .
rlligs hang
"
( 5 ) Again Lrmsfsr the otherLargeRing, making tive rings IIT jaw- rignt n m u ; (6) Apparantlytranstcr a sixthring .:irnilarly ; although, in i-act. you lakeihe Cnain of Twothroughthenearer of the Large Rings and leave this in your left hand (see below); (7) Againtransfer a LargeRing,making seven rings in your right hand ; (8) Transferthelastring. Inorder to work the switch of TwoLarge Rings for the Chain of Three as smoothly as possible, first make a break between the Chain and the rings immediatelybehind by insertingyourleft forefinger so that the rear three rings hang iron1 all four fingers and the Chain from your second, your thirdand fourth tingers only.Alsospiead fingers sc as to make a narrow V opening between second and third fingers. As you bring your hands together,theLarge Wings are heldbetween you; right thumb, on top. and first finger, beneath, and your right first and second tingers go into the V opening. This enables the Large Rings to be iaken between your left thumband first finger at the sametime as your right first and second iingers engageandcarryawaythe Chain Rings. Thelater switch of oneLargeRingforthe Chain of Two is workedsimilarly. It ismerely r;ecessary to ensure that theLargeRing is first held cleanly,andawayfromother rings in your right hand. between thumb and finger. When transferring the first ring, it should be carried away with a sweep of your right hand ~o the maximumextent possible : and thissweep should be repeated before bringing the hands together for each successive transfer.
94
‘Trilogy’ by JohnDerris(Marketed by Val Andrew, price 1 O/-). Here is a very nice.little zffect that will catch the mentalist’s eye and also see him playing ior hours with thegimmick that accompaniesthe trick. Briefly the performer writes aprediction and hands it to a spectator. A card is then chosen in fairmanner whilst anotherspectator is asked to merely think of acard.The climax comes when theprediction is notonlyright,butthe card thought of by the spectiltor is the same.
Hummer’s ‘ Mind Reader’s Dream ’ (available from Uniglue Studios. 87, Wardour Street. W . 1 . price 1 O/-).
Too often thesedays we haveto start this column on a note of tragedy. Once again it is our sad lot to record the passing of our friend H. C. Mole, whose name must be known toallour readers. An enthusiastic magician, and in his earlierdaysquiteacontributor totheliterature of magic, his ideas were both practical and worthwhile. To his relatives we extend the sympathy of our readers.
used at theFestival and, in consequence, ihose taking part are just making life a little harder for themselves.
Another sad piece of news was to hear of the serious and sudden illness of our friendArthur Dowler. It was ChrisCharltonthat passed this on to us for he and Arthur were both playing in Liverpool at thesametime. We will add to our own wishes for as speedy a recovery as possible those of our readers. Arthur is a tonic and in these days we want tonics. After a meeting of the Committee examining the Rules of the Magic Circle, we were privileged tohavetheopportunity of makingathorough inspection of theprops to be used in the “ Will, the Witch and the Watchman ” sketch in the forthcoming Magic CircleFestival of Magic. Made in an era in which laminated wood was restricted in use we cannotthinkthat we have ever looked upon better made apparatus. Just think of a large cabinet about sixby seven feet made of polished mahogany. The sketch shouldmakefora good piece of publicity. As actors and not conjurors are playing the various parts in the sketch, the result shouldalso be good from an audience’s point of view. Onethingremainsto be seen andthat is whetherthe effect can be extendedoutside jts period, or will it be a museum piece brought to artificial revival. The angle of committee a examiningthe apparatus,and then the sketch taking place, could provide a very good angle for a modern dramatist and we’d rather like to see the possibilities of such an effort. After looking at the apparatus we feel certain thatthe method used iu mtrin by J.N.M. is not the onethat will be
This quite frankly is an incredible effect, for a spectator merely thinks of a card and yet without any questioning by the performer the1 name of the card is divined.HowBobHummergot on the track of the idea we don’t know, but we have quitefrankly never hit such a clever idea in ;h: matter of retrljy locatingathought of card.
Afterour few words on TV and the Art of Magic we were not surprised when a few interested parties wrote to us pointing out the errors of our ways. Ourattention was called to ‘ Our Magic andtheoutpourings of Nevil Maskelyne on the matter of ‘ Art in Magic.’ Let’s break off here for a moment and say that we consider that well performed magic is justabranch of acting and that instead of simply bringing about an illusion with his voice and change of personality, the actor brings into being certainactions with hishands or pieces of seen or unseen apparatus which togethercreate an illusion. It is seldom that ne plays upon theemotions of an audienceto ;ihs extent of anactor in a well-written play. The reason for this is quite simple, namely that to date no really successful dramatisthas written the lines fora trick. Nevertheless the art ofthe magician is in the very essence the art of the actor. Now let us turn to ‘ Our Magic,’ a volume of great importance, but a volume (perhaps because it was in the main a pioneer work)that contains some of the most pretentious nonsense ever written. In partly replying toourfriends we’ll just quote one shocking piece of advice which if followed by a serious amateur might deprive the magical field of some beautiful work :-
~ ’ L P~ u r nzulzo is z ~ n f i t t ~fdo r oriqinml w o r k (trnd the context IPar*Ps thp retrder i z ;z I doubt thtrt b y this, originu! e f f e c t ufzd ; l o t g g
origintrl prese.vtntinn is intendrd) is unfitcud f o r prtrctising t h e A y t , trnd sko~/!ctx ~ ? ‘rc 711ort; ~~ upproprintr ctrl2ing.’’
The man who practices magic, if he is lucky.. may be an inventor. He may be a good inventor, but the chances of his being a good magician and a g o a d inventor are very high indeed.On the basis of the Maskelyne dictum the best actors are
95 those who write their own plays ; the best instrumentaliststhosewhocomposetheirownmusic ; theprimaballerinashould be her own choreographer,and so on. We could go o n for a long while tackling other points and we should be told that wewere ribbingagreatnameand a great book. We’re notdoingeither, for we certainly consider ‘ Our Magic ’ one of the greatest contriutions to themagicalbookshelf.Wehave never been prepared to accept a statement without doing a little thinking and we feel that when the matter of Art in Magicarises,there are too many who will acceptcertaindictawithoutdebatingthe matter.
PAUL FLEMING The Magician andHisCompanyin
An Evening of Magic “Ye shallhovemiracles;
aye, sound oner, too.”-Thomar
+
More.
MR. PAUL FLEMING MRS. PAUL FLEMING MR. WALKER FLEMING
+
Program Part I. HANDKERCHIEFS. 2 . IMAGINARY COLORS. 3. RAPIDTRANSIT. 4. T H EF L I G H TO FT I M E . 5. EASTINDIANMAGIC. kindThir beautifulandbewildering illusion is presentedthroughthe near of theinventor,Mr. Karl Germain, a graceful and b r i h m conjurer, with whom Mr.Fleming was arroeiated for manyyeare prior. to Mr. Germain’sretirementfromtheplatform. Thirriribleandgradualgrowth of the rose bush is one of the truly great achievements of modern magic 1. THEPHANTOM
Part XI. understoodthathir demonstrationsin (NOTE: Mr. Flemingwishesit wholly unrelated to “rpirits” or to Spiritualirm and Mind-Readingare super-normalmentalpower.Quiteapartfromthe possibility of theeriatence of genuineMindReadingandSpiritualism,thefactremainsth8t much that is fraudulent is being exhibited today under the guise of psychical phenomena. Mr. Flemingreproduces someof the best of thesemanifertations,presentingthemafterthefashion of the so-called mind-readerand spirit-medium but acknowledgingfranklythat they are accomplished by perfectlynaturalmeans.) 6 . TESTS I N MIND-READING. Mr. and Mrs. Fleming will exhibit severalstartlingfeatr in thoughttransference.
SPIRITCALISTIC MANIFESTATIONS. A Talk withtheLateMadame Blavatsky. b. AMessagefromtheSpiritLand. c. The SpiritCabinet. A reproduction of the famous dark seance of Madame Eusapia Paladino, the notorious Italianspirit medium. 7.
a.
Part 111. A FEATINMESMERISM. 9 . T H E DANCE O F T H E CARDS. 10. MONEY,MONEYEVERYWHERE. 11. MAGICAL COOKERY. 12. T H E HIND00 GONG. S.
An illusion which recalls theweirdandunbelievabletalesthat come possibility of human beings passing inviaibly out of India,suggestingthe through space. The audienceis asked to pay particularattentiontothe results brougkabout by the seventh stroke of theHindooGong.
Tnis brings us to the close of volume six, and onceagain we thank allthose who havemade possible ‘another twelve issues of thisbulletin. Looking back we feel that the standard of effects inthelastyear has been highenough to satisfy all of our readers. We know that everything that goes in these eight pages every month is practical, for in most cases we have seen the effect performed and worried and badgered the originator to release it. With volume seven we start with a bigger batch of worthwhilematerial than we have ever had before. Already lined up for the February (Annemann) issue number we have effects from Dr. Jaks, Will Dexter, Arthur Carter, Ron Baillie and Leslie May. From M. Treborix of France we haveone of the loveliest children’s effects of all time, the ‘ Three Ducks.’ In the October number there will be front-paged the ‘ Astral Coin ’ by Tan (Porous Glass) Hock Chuan. In the fileswe have items from Peter Moffat, Roy Walton, His Honour JudgeWethered, Robert(MethodsforMiracles) Tothill, A. Koran, the late Bruce Hurling, Francis Haxton,HansTrixer, Rev. G. E. Arrowsmith, J. A. Esler,LenBelcher,FreddyClarke. Tom Sellers and many, many others. Our good friend Paul Fleming sends us across the programme of his full evening show, together with hispublicitymatter. Theprogramme we thought you would like to see. We have had many reports of the loveliness of this evening’s entertainment, the best, perhaps. because it was across the dinner table, came from our friendTomHarris (of Massachusetts) when he was overhererecently.It is arepresentative programme as you can see, of magic in the grand manner.Some may say thatitis a programme alignedwith the old school. If it is, that is the reason for its success, for the men of a past generation hadthe way of presentingamagedy that combinedhumourwithdignity and skillwith deception.Amazementwithout effort. PUBLISHER’S ANNOUNCEMENT
W E regret to announce that rising costs of production and distribution force us toraise the price ofPentagram t o 1/6 (20 cents) per copy as from the next issue. The combination of the rise in the cost of printing, blocks forillustrations,envelopes(alone loo?;, morethan when we firstpublished Pentagram), postage (up by 50%) and general incidential expenses has long since made the publication of this magazine require a monthly subsidy. This cannot continue indefinately, so, much to our regret, we have to pass the increases o n t o you, ourreaders. However,with thenew, heavier paper that will commence the new volume, with new attractive layout,andwiththegreatamountof very fine material that Peter Warlock. has lined up for publication, we feel sure that readers will not regard the price of 6d. or even less (at three or four effects per issue) too much t o pay for a really first-rate routine.
96
NO EGG?-NO BAG!
TONY KOYNINI’S
Stillanother entertaininginterlude by GeorgeBlake. AN ENTIRELY NEW EFFECT WITH A BAG AND EGGS, WITH A CLIMAX WHICH JUST COMPELS AN AUDIENCE TO SIT UP AND TAKE NOTICEAND TO A P X A U D AT THE FINISH. The performer repeatedly takes anegg from a shown empty Bag and places same in his pocket. The hand isrepeatedlyshownemptythroughouttheeffect, until the audience has seen four eggs taken from the bag and placedinthepocket,one by one.The procedure is reversed, the eggs being taken from the pocketandplacedir,the bag, andrepeatedlythe hands are shown emptyduringthesetransferences. YET, FOR KNOCKOUT A CLIMAX, THE PERFORMER NOT ONLY PROVES THAT THERE ARE NO EGGS AT ALL, BUT CALMLY SETSABOUTPROVINGTHATTHERE ISN’T EVENABAG.ANDTHERE ISN’T,BELIEVE US! You’ll like this, and you’ll work it in every show. Can be used as an opener or at any stage o€ the act, or as an ideal Compere item. Comesto you completein every detail. Less thana minute to prepare, three minutes to present, ridiculously easy to perform, so that you can devote all your attention topresentation, in factone of those effects whichis always included in myown act, and which confirms my aim in Magic, viz :“ If it won’t entertain - I won’t entertain it. ”
A LIGHT-HEARTED, entertaining card routine thatwill keep the audience entertained, amused and amazed for as long as you like to play it. Theperformermarksouta “ race course ” and places four horses (the aces) a t the starting gate. Three spectators bac$ theirfancy,andtheperformertakes theremaininghorse.”Spectators shuffletherest of the pack and one deals the cards in a face-up heap. The four punters move their horses up on the course RS indicated by the cards dealt. The performer may even be last, right up to the last moment, but suddenly he is in front and wins the race. The routine can immediately be repeated-as many limes as you like-and the performer wins every time. The only requirements - a pack of cards and something to mark the course with (pencil and paper, chalk or even match-sticks). N o special cards, no false shuffling (the spectators shuffle). No skill required.
Completeinstructionsinneatlyprinted booklet. Price 5 / Postage 3d. (U.S.A. 75 cents.) from the publishers THE MAGIC WAND PUBLISHING CO., 11, Monasky Gardens,‘Enfield, Middlesex.
-
PETER
The WARLOCK Although limited in output, has now travelled to Ireland, Finland, Belgium, France,Africa,AustraliaandUnited States and Sweden.
“
Hen
”
.. .
WARLOCK’S
T
PENTAGRAM
MIRACLE SLATE
And now from
A limited number only will be offered, at the price o f . 35/GEORGE BLAKE, 9, St. Alban Road, Leeds, 9.
Fetsch
..
“ Have been using your ‘Miracle Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I h2ve worked upon for years.” . . .
I
Vice-President:Douglas Clubroom and Library
- E2 10s. Od.
King George’s Hall,W.C. Particularsfrom
Post Free, from
PETER WARLOCK
you
THE DE LUXE “SU-TABLE” together with all his other effects inreturn for astamp. Write now to
24, Wordsworth Road,
Wallington, Surrey
+
-
N.W.9.
CONJURING BOOKS FOR SALE Let me know your wants
FOR STAMPED ENVELOPE No
Callers
C E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX I
Every Advertiser’zi goodsarefullyendorsed
hblishwi by the
proprietr-
.
Magic Wand Publications
JACK HUGHES
OLDANDNEW. LIST FREE
Hon. Scrretary
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
Colindale, London,
and Museum :
Magical Theatre :
and books for the:
Jack Hughes, 2, Evelyn Ave.,
PRICE
Craggs, Esq., Y.I.M.C.
Hearts of Oak Buildings, Euston Road, London, N.W.l.
The . Magtc Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
will be pleased tosend full details of
Duke of Somerset.
D.S.O.,O.B.E.,J.P., M.I.M.C.
is published onthe 24th of eachmonthand can be obtaineddirect from the publishers for 111 persingle copy. AnnualSubacription It/port free. PUBLISHED BY:
Manuscriptsforpublication review should be sent to EDITORIAL ADDRESS:
The Magic Circle President : His Gracethe
The Magic Wand.Quarterl).. Ter ropy 318 p.p. .4nnr1al subwxiption 1-1/6. TheWizard, 36 pages monthly. Per copy 2/1 13.1). G InolJth 12,‘6. \;<.a1 24i-. Convincing Corn i\.!agx (FareIli) , . 17/10 Mastered An-lzente:lt (Koran & Larnonte) . . 1013 Bohleno’s Mysteries (Bohlcnl . . 10/3 The Concem Ventriloquist (Hurling) 10/3 George Armsttong’s Premonition 1on Chandu’sPsychoanalysis . . . . 10/3 Entertaining With Hypno:ism (Dexter) 1013 Cha.lenge Iwtant Hyp:lotlsm & Mass Hypnoti m .. .. .. . . 21/Strictly Mag’c (Eddie Josclph) 513 Stooging Around fSrvthardi .. 513 26 Living & Dead Tests (Garrdlt) . . 5/3 Iamesosophy (StfAwarl .Tav--q) . 5/!3 Year Book 48/49 ( ( , * v only) . . :’ . 513 Stunts With Stage Money (Lamonte) . 5/3 Trick. of the Trade (Armstrong) . . . 217 From the publishers THE MAGIC WAND PIJBLISHING CO., 11. Monastery Gardens. Enfield, Middlesex.
by this Bulletin
The Magic W’8nd Publishing Company. 11, Monastery Gardens,Enfield.Middlesex,and Walker and Son (Printem.)Ltd.. Well Croft. Sbiplav. Yorkshire
printed by Herhcrt
+
MENTAL AND PSYCHIC
CARDS Improved Sure Fire Force Mindout of TimeAgain
...
Diluted Discovery Ladies’ Looking Glass
...
Just Time in
...
One Red Card
...
By Three
...
A Strange Coincidence
...
Two by Two
...
...
It’s Date a
... I Do as You Do as I Do! Prestimentalation
...
Double Stop Discovery X
1..
Face Down Forethought
... ... ...
... ... ... ...
... ... ... ... ...
... ... ...
...
...
Cardthought
...
Sandwich Spread
...
... ... ...
Precogspeller Precogspeller. Trixer
...
...
... ... ...
5
Operation Psychio
S
Uncanny Force
...
... ... ... ... ...
...
... ... ... ... ... ... ... ... ... ...
... ... ...
...
The Magic T.V. Set
The Flowermaker’s Scissors
... ... ...
Gap Curtain the in
11
Election Selection
...
...
...
...
...
...
Deed
...
Impression
... ...
... ... ...
...
... ...
17
...
Within Word
21
By Thought and
30
Creating an
35
WishTul Thinking
36
Fourth Dimensional Thoughts
... ...
44
Let’s Chouse a Word
53
Persistent Ghost
...
62
Make Mine
...
65
... ...
67 74
...
74
...
79
...
89
... ... ...
18
Ring Ropan
19
Ellis Ring
... ... ...
... Milk
Coinjuration
... ...
20
... ...
21 26 33 37 37
... ...
41
...
51 57
...
... ...
...
...
75
...
...
9
...
... ...
49 81
... ...
... ... ... ...
...
...
25 73
...
613
50
67
...
RINGS Epilogue Thoth to
...
Out of the Loop
...
... ...
...
... ...
Linking Manipulation Ring
... Routine
...
... ...
58 91 04
85
ROPE Express Delivery
...
...
Loops Entwined
...
... ... ...
...
itHere
is!
......
...
...
...
...
...
12
... ...
...
...
...
60
2 1 0
...
...
77
...
...
26
MAGIC GO ROUND 7 12 23 30 39 46 55 63 70 78 87 94
...
...
90
...
Mystic Multiplication
1
FLASHBACK
KNIVES
...
... ... ... ...
SILKS
FIGURES
Knifed
...
Twin Ribbons
19
43
11
... ...
Pence
A Quick Return Cupro
...
...
... ...
...
...
RIBBON
COINS AND MONEY The Cap and
...
Linking Manipulation Ring
...
... ...
10
CIGARETIES A TipforCigaretteWorkers
Subconscious Publicity
... ... ... ... ... ... ...
CHILDREN’S MAGIC
The Magic Flower Maker
...
...
3
...
...
REPORTS Magic Circle Festival
...
...
...
6
Methods for Miracles-
REVIEWS
No. 6
7 14 23 31 47 54 71 77 86
...
Opus 13 “
...
...
Can Play!”
Any Number
... ... ...
Minds Twin Uncanny Hankies Zodiac Telepathy Scarne’s Magic
Tricks
...
Nullifactor The
... ... ... ... ...
No. 2 No . 3 No.4
... ... ... ......
Third Collector’s Annual
...
14
ChallengeMemory
Test
... ...
...
15
Bill-Ze-Bub
...
...
...
...
15
Eye Private
...
...
...
... ... ...
15
Stars of Magic :
23
Vernon Leipzig on
23
Vernon on Malini
... ...
... ... ... ...
...
7
... ...
...
... ...
...
...
... ...
... ...
...
... ... ... ...
31 31 31 31
Koynini’s
47
Trilogy
...
... ...
47
Mindreader’s Dream
...
6
Hickson. H.
73 84
Johnson. G.
......
... ...
...
...
... ...
...
41
Belcher. Len
... ...
...
Bernard.Bobby
...
... ...
Carter. Arthur
... ... ... ... ... ... ... ...
... ...
Arturo Avis. Jack Baillie. Ron .
Clarke. Freddy Collins.Stanley De La Mare. Eric Donovan. T . B . Douglas. James Esler. J. A .
...
Findlay. J . B.
...
... ... ...
...
...
...
...
... ... ... ...
...
...
...
...
...
...
Prepossessed
...
The Pencil Tells
Routined Manipulations. Part I1
... ...
Blue Print for Bill-Ze-Bub
Methods for Miracles-
No. 1
No.? No. 8
94
DETAILS OF ITEMS REVIEWED
... ... ...
50 51 67
“
No Egg! No Bag!’’
Leipzig’s Card Stab “
Derby
”
...
...
... 0 . .
May. Leslie
...
11
Millidge. B .
...
77
Milton. H .
...
17
...
... ...
30 26 1
...
5
... ...
5 22
... ...
54
...
54
... ... ... ... ...
... ... ... ...
54
...
71
...
77
...
77
... ... ...
...
Mohammed Bey’s Ellis Ring Routines
... ...
9 57 60
... ... ...
.
.
54
55
71 71
86
I
86
..L
...
85
... ... ... ...
...
...
86
... ... ...
...
86
...
94
...
94
... ...
...
... 25 31 ... ... 33 35 36 37 43 85 A
...
... 0’ Connor. Billy ... Potter. J . . . . ... Rasmussen. B. E. . . . Trixer. Hans Vanderschmidt.
... T. . . .
I
21 I-
P
...
... ...
... ...
...
...
. 1
62
20 79 49 74
60
...
...
Walton. Roy
...
Warlock. Peter
18 19 26 58 68 ... 3 53 81 9!
Whitnall. C . Dudley
...
93 75 3 9
PETER WARLOCK’S
PENTAGRAM ASTRAL COIN BY T A N HOCK CHUAN EFFECT : O N AN outspreadhandkerchiefaborrowed
shilling is placed near one corner, and two cards are placed on it so that it is covered from view. A jade bangle o r ring, about two inches in diameter, is then placed on top of the cards. The upper card is then taken by one corner and of thehandmoved to theoppositecorner kerchief,the ring being keptin place by the unoccupiedhand.Pattering tothe effect that the bangle hasthepower of withdrawingthe astral form of the coin, the ring is taken up and placed onthecardjustmoved away. Saying that this results in the disintegration of the coin, the card apparently covering the coin is removed andthecoin is no longer there.Whenthe othercard is lifted up,thecoinisseento Ee underit, havingbeen drawnthere by the magical power of the ring somehow !
METHOD : One of the two cards used is faked with a tongue” cut from a duplicate card, glued at the edge, and with a blob of wax as shown in thediagram.Theothercard is placedbelow the prepared card so that the ‘ l tongue ” is o n its face. Have cards face down.Witharing of some sort and a handkerchief you are ready to perform. (1
Borrow a small coin which could be marked, and place it near one corner of the spread-out handerchief.Thecardscould beshownquite freely if the thumb is kept over the ‘ l tongue ” of the prepared one. (Cards may even be scpc arated and replaced). Place cards over coin so thatthe waxed tip of tongue ” goes directly over it, and secretly press on the coin so that it sticks to the ‘ l tongue.’’ Introducethering with appropriate patter and put it on the two cards. With the right hand, just catch hold of the top card by the tip of the lower right corner
and, keeping the ring in place with a finger of the left hand, move the card to the opposite corner of thehandkerchief,thus moving the borrowedcoinsecretly away. Nowtaking u p the ring a few inches up and replacing it, re0 peating this a few times, make the remarks that the ring is drawing out the astral form of the coin. Then remove the ring and place it on the of other card. Patter further that the removal the astral form has resulted in the disintegration of the coin and turn over the card to show that the coin is no more under it. Now point to the other card with the ring and, saying that the (Continued on page 5 )
2
NOTA By J. A. ESLER
5
in 1919 I hit upon an idea for vanishing a coin from an envelope by having a perpendicular slit in the fold at the right hand bottom corner; as the flap is licked preparatory to sealing it down, a slight tilt permits a coin placed in the envelope to roll into thelinger palm. George Johnsonthought wellof the idea and illustrated it in The Magic Wand of that period. I have used it on and off ever since and can recommend it as a perfect vanish. I had always wanted to elaborate on the idea,and succeeded in making a trick fromit quite a number of years ago. Just recently at a gathering of conjurers I happened to show it. As I had to make some contribution to the magical :stock-pile, I did so with considerable diffidence, as up to that moment I had been quite bewildered by a multitude of seemingly impossible problems, most of which left me without a clue. I was even more bewildered to find that this simple little trick was at once acclaimed as being really worth while. Now if you are still interested, read on. Misdirection is a strong point here. I may mention that experience has taught me that it is better to have the slit in the envelope horizontal at the corner of the bottom fold. The items requiredare : an orange, with a suitableslit to easily take a half-crown, a ten shilling note, a tumbler, and of course, the faked envelope. Theorange can be anywhere; I keep mine in the hip pocket. I find this pocket grips the fruit betterand keeps the slit in a fixed position. You ask for the loan of the coin, having a duplicate finger palmed in the righthand. Ask the lender to note the date. Hold the coin visibly in the fingers and ask for the loan of a ten shilling note, while this is being sought, pick upthe tumbler in the left hand and apparently drop the coin into it. Even if you are not too good at this switch. the business of waiting for the note will distract from any suspicion of the exchange. The position at this stage will be : duplicate coin in tumbler, borrowed coin in finger palm. The note willbynow be forthcoming. the number duly noted; this is pushed into the tumbler on top of the coin. The right hand nowgoes quite openly to the hippocket, pushes the palmed coin into the slit, brings forth the orange which is impaled on atable knife and given to someone to hold. The note and coin are withdrawn from the tumbler, the coin wrapped in the note using the coin fold (Modern Coniu7er) tapped against the tumbler to prove its continuedpresence there. The wrapped coin is now placed in the envelope, with theslit corresponding tothe open end of the folded note. I t is hardly necessary to detail what follows. The flap of the envelope is licked. what I OMETIME
time the envelope is slightly tilted, the coin rolls freely like a charm into the lingers, the sealing is comoleted. enve1oDc in a position of - daced visidlity. I think I can stop here, the work of the performer is comolete. the actor now takes control and makes thddisclosure as he deems hest. Just one little point, there is a peculiar niceness growing up among conjurers which appears to cause them to be afraid to lick the flap of an envelope, this is just silly, there is no mechanical device in commonuse forthis purpose, and its perfectly correct to use your tongue. ~~~
~
"THE FEMALE OF THESPECIES No.1-VONETTA
. .
*S
From the James B. Findlay Collection
3
FULL STOP, DOUBLE STOP! By HUGH A. CARROLL N YOUR May, 1952 issueyou printed Jack Potter’s improvements and comments about Dr. IFrank Taylor’s effect titled Double Stop.” “
Possiblyyoumay wish to addfurther confusion to this effectby printing my simplified(?) version. Begin with an ace to king stack of diamonds, or of any other suit on top of the pack. The ace is top card and the king is thirteen down, of course. Casually undercut the pack, run five cards, injog and shuffle off. Undercut again holding a break, run cards and throw balance to break and place remainder of cards on top of pack. This is the regular Endrase top stock retaining shuffle. Five cardshave been addedontop of 13stacked diamonds. Repeatthe procedure acS youhave ten indifferent cards on top of the stack. If you do not care for all thiswork, begin with the pack stacked as stated. Place the pack on table and ask a spectator to cut about one.-third of the cards from top and place this packet about eight or ten inches to the right of the rest of pack. Ask the spectator to cut another third from theoriginal pack and place it between the two already on the table. Have spectator “ A ” look at the top card of the middle packet, remember itand shuffle the packet. Replace on table.
Have spectator “ B ” shuffle the packet on the lefthand end. This willbe the base portion of pack. Then havehim note thetopcardofthis packet and remember it. Havehimshuffle the packet on right hand end and place it on packet at left of middle packet. Two packets are now on the table. Pick up the “middle ” packet. which contains spectator “ A’s ” card. Fan the cards face to yourself and appear t o study them carefully. Actually look for the lowest diamond. Whatever its value add ten t.0 it. Let usassume a six spot is the lowestdiamond. Mentally count sixteen cards, beginning with the sixitself, tothe left and casually make a slight separation at that point. The left thumb is placed on the face of card at left of separation breakState: “ I think I have it,” or some similar remark as you look up at the spectator and at the same time casually make a cut at that point. The trick is completed in the usual way. If in counting t~ the left of the six spot there are notsufficient cards, continue counting from the right hand end to left until total is reached. T o insure havingsufficient cards in the packet, you should make certain that the middle packet is a t least as thick as the packet at the right of it. That is the reason for placing this packet next to the first packet cut off the deck.
SANDS O F GOB1 BY TAN HOCK CHUAN IS the humble opinion of the writer that this effective feat, commonly known as ItheTwonderfully Indian or HinduSand Trick,” is of “
”
“
Chinese origin. At thislate stage of magical knowledge it is passing strange to think that no correct explanation of the effect has appeared in print. This statement mayseem impudent and far-fetched in the light of the present age of magical enlightenment. Let me ask the reader to be patient and to readthe following explanation of the same effect as has been done by Chinese magicians for many, many years, before he forms any opinion. I believe that this is the first time the Chinese method has been revealed in print. The effect has been written up by a few magical writers like Goldston, Carrington, Ainslie so it is quite well-known to andHilliard,and magicians. Let me urgethe readertoturn to Hilliard’s Greater Mngic for the best account of
the methods usedwhichthougheffective are not the same as the Chinese method. A list of references is given at the end of thisarticle for interested readers and magical students. Now follows the Chinesemethod.Very fine sand is required forthis effect. The sand must imbewashed to be f r e e fromsaltandother purities. Separate it intothree lots andcolour them with dyes (say red, green and yellow). Dry them thoroughly and sift to free from coarse: particles and bits of wood, stone, etc. Put a pint of sand intoapanandheat up.When it is heated sufficiently, putinalump of hardwax about thesize of a walnut (a piece of tallow candle 13 inches long will do) and keep stirring the sand over and over so that every grain is coated with wax. Then allow the sand to cool and, if the preparation has been carried out correctly it is quite imperceptible to sight, touch and smell.
4 Sand prepared this way will not ball up even if it is squeezed fightly in the hand, yet when a fistful is placed in water, it will remain in the form of a ball, being kept in shape by aqueous p-I essure just as a soap bubbleis kept round by atmosphezic pressure. This simple and scientific stratagem renders unnecessary such clever devices as waterproof bags, waxed packages, glass balls, eggshells, gelatine capsules, etc. To perform, place the coloured sands in three smallcups or bowls. Have three white plates ready to catch the drysandsandshowup their colour. A metal basin, a pitcher of water and a small towel CL mpletes the set-up. This is an ezect which will be enhanced by allowing the audience to examine the props used thoroughly. Pour the water into the basin and, taking up a bowl, allow the sand to trickle in a stream into the palm of one hand.Just before placing the sand into the water close the hand into a fist and turning the fist over knuckles up, open up the hand in water and deposit the sand on the bottom of the basin. As mentioned before this handful of sand remains in a lump. Swirl the hand around to get rid of any grams of sand that stick. Take out the ha2d and dry it with the towel. Repeatthe process with the tworemaining colours, placing each ina different spot. The waterremains clear and these lumpsarequite visible to youwho alone have a direct view into the basin. You can stir the water around with the magic wand, takingcare to keep it to the side. The lumps of sand-keep their shipe, ready to be produced when required. Just place the hand over the required lump and scoop it up in the fist which is shaken to get rid of axcess moisture. Holding the hand with the back up or toward the audience, allow the drysand to run on to one plate which is held below it. Put thehandintothe basin again, swirl it around to get rid of the sand particles sticking to it and pick up another lump of sand for a repeat. I n the same way pick up the last lump. After the last colour has been produced, wash the hand in the basin, or you may scoop out the small amount of wet sand to display on a plate on a bowl. The water in the basin can nowbepouredback into the pitcher. It is quiteclearasthepreparation not only keeps the sand dry but also the dyes from running into thewater.
l. 2. 3. 4. 5.
References to the Hindu Sand Trick :Will Goldston’s “ The Young Conjuror,” Part 11, 1st Ed. Hereward Carrington’s “ Hindu Magic ” and “ Boys Book of Magic.” Arthur Ainslie’s “ Water Wizardry.” Major H. L. Branson’s “ Indian Conjuring.” J. C. Cannel’s “ Modern Conjuring for Amateurs.”
6. Okito’s articles on Indian Magic in the Sphinx for 1925-1926. 7. Joseph Dunninger’s “ Popular Magic,” Vol. 3. K J. N. Hilliard’s “ Greater Magic.” 9. WilliamMayoh’s “ Magic of Hoyam.” 10. Norman Hunter’s “ SuccessfulConjuring for Amateurs.” Note-The above references are not given as complete but are what I have been able to trace.
FROM OUT OF THE PAST A new and effective dress for magicians is being set byMr. Francis White,M.I.M.C.who is appearing at all entertainments this seasonin novel attire. The dress takes the form of a shirt insilver and scarlet buttoned tight to the neck andfitted with an elastic waistbandwhichisuseful for holding loads or fakes. Black dress trousers with dress shoes are worn, and the whole proves to be a smart combination of colour, suitable for performances at either adult or children’s parties. The new dress is especially useful for semiprofessional conjurers, whohaveonly a small margin of time to complete a change of clothing, and it also overcomes the worry of discovering whether or not aconjurer shouldwearevening clothes for afternoon shows. -The Magician, January, 1934.
AS KEN DE COURCY SEES THE MENTALISTS !
Didn’t expect ME did you !
5
FQUR CARDS = FOUR ENVELOPES BY EDMUNO ROWLAND ROM YOUR wallet or your pocket you F remove four plain wage envelopes. From each envelope you takea coloured card.Eachcard is a different colour : blue, green, red, or yellow. The cards are returned to their envelopes which are carelessly shuffled and thrown on to the table. They are not sealed. A spectator is asked to think of one of the four colours. As he does this, you deliberately pick up one of the envelopes. The spectator is then asked to think of a second colour, and you pick up a secondenvelope. (To avoid any possiblemlsunderstanding, you explain, the two which remain on the table arepicked up in your other hand and placed well out of thd way in your pocket). The spectator is then asked to name for the first time the coloursof which he was thinking. As each colour is named you slowly remove the corresponding card from one of the envelopes in your hand and throw it back on to the table. To conclude the experiment the empty envelopes in one hand, and the other two envelopes from your pocket in theother,are thrownon top of thecards on the table where anyone whowishes to examine themmay do so without any comment or attention from you. Now I find that this experirpentwillusually start an argument for somebody is bound to point out straight away that the result is not at all unusual or clever because you had even chances of picking the correct two coloursout of four by guesswork. But @is is not the case; it is easy to see that the spectator could have thought of any one of sixpossible pairs of colours (thereare : blueand green, blue andred,blueand yellow, green andred, green and yellow or red and yellow). Thechances of your picking outthe correct two colours by mere guess work, therefore, isonein six. In other words, theadds against it are greater than those against your picking only one colour correctly out of four! No doubt youwill be asked torepeatthe #experiment. Instead of doing this, persuade somebody else to try it.. It will often be a surprisingly long time before he accidentally picks out both the colours which are being thought of. The method of working this littlc experiment is simple, but subtle. To begin with, both the second envelope andthefourth envelopereally
contain twodifferently coloured cards instead of one.When thecardsarereturnedtotheir envelopes, therefore, the blue card goes intoone empty envelope,the green card goes into one which alreadycontainsaduplicatebluecard,the red card goes intoanother emptyenvelope, andthe yellow card goes into one which already contains a duplicate red card. The envelopes which are picked up from the table as the spectator is thinking of the colours are those which contain two cards. The other two envelopes aredroppedinto your pocket where you already have two empty envelopes. As the chosen colours are named the corresponding cardsaretaken from theappropriate envelopes in yourhand and thrown on to thetable. YOUarethen left holding two envel‘opes, each containing onecard. These are thrown on to the table with the two empty envelopes from your pocket.Anybody examining themnowwillnot know which was which, and will merely find that there are- four cards and four envelopes. There is one little snag, however,What are you to do if the spectator says that he has thought of blueand green, or red and yellow? In both cases t$e corresponding cards will be in the same envelope, and although there are possible waysof making it seem as though you are taking them out of different envelopes, none of themleaves the envelopes ready foracasual examination as in every other case above. What I usually do is this. Suppose that the spectator names the colours blue and green. I remove the blue card from theenvelope containing both the blue card and the green card, and the red card from the envelope containing both the red andthe yellow. I apologise for getting only one of the colours correct., and offer to try again. I take the envelopes containing the green card and the yellow card from my pocket (instead of the empty ones), and now I am ready to start again at the beginning. If the spectator then proceeds to think of the other two colours (red and yellow) I am forced to apologise again and offer totry a third time. Fortunately this has seldom happened to me, but at a third attempt you are almost certain to be right; only a very awkward person would think of either blue and green or red and yellow again. I
6
BOOKS T h e Yock (published by ValAndrews at 374, KingsRoad, .S.W.3., price 113 percopy.
Copies to be issued at irregular intervals). A ‘ yock ’ is apparently a show term for. a belly-laugh and the main intention of this broadsheet istotake over from where FrankLane finished with his ‘ Funny Talk.’ Catering for the M.C., compere, ventriloquist, conjurer, and in fact, all those who find it necessary to bring laughter ’0 their audience, it should find a ready sale.
EBective Card Magic (By Bill Simon. Edited by JeanHugardand published by Lon Tannen, New York, pricesix dollars, fifty cents. Co. or Available through the Fleming Book Unique Studios, London at an equivalent sterling amount. Let us start by saying straightaway that this is undoubtedly the finest and largest collection of card effects to be published in book form since the cessation of the war. We say this bearing in mind that one veryfine text book on card conjuring, “ Card Control,” by Buckley is in the main devoted to sleights. The book at presentunderreview, whilst bringing into action a number of new moves is primarily a book of card tricks for the intelligent card conjuror. There are six main chapters to the book, and to precede these there is a brief note of introduction by Martin Gardner, followed by a veryfine chapter on “ Observation,” by the author ; it not only awakens a number of worthwhile thoughts in the reader’s mind,but answers a lot of those questions which travel the rounds at one time or another. It is an impossible task in the given space to take the book chapter by chapter and describe each trick therein. We will mention first the sleights and their descriptions and then take what we consider to be the outstanding effects. First of all there is a method of card control that for simplicity and efficiencyis outstanding because it allows for delayed action. Then we come to a sleightwhichin the modernmanner of card conjuring is a mostworthwhile asset. It is a method of controlling two “ peeked at ” cards. There is also a very nice steal from a fan and the authorhas put thebuckle ’ count to some unorthodox uses and at the same time extended the armoury of the card man.Shuffles and cuts are also very practicably dealt with. Perhaps of the greatest importance is the chapter on the dealing of seconds. In it the strike method is detailed as it has neverbeen detailed before, and though we believe that itwill take the reader more than a few hours to have a complete command of the mechanics, the instructions should, if followed, prevent the learner from practisingin a faulty manner.
Coming to the tricks and leading in from the last mentioned sleight, we consider that ‘ Call 10, the Colours ’ is easily the outstanding novelty in the book.Unlikesomereviewers we like to run through card effects as we read them, and, where the need may arise, get a far better worker to run through a particular effect. In thecase of this particular effect we got young Tony Blitz who packs a lovelysecond deal, to giveus a performance. Quite frankly just to add this particular effect to one’s repertoire is worth all thetrouble of learning the sleight. Also in the second deal chapter is a slightlydifferentversion of Miller’s ‘ Danbry Delusion.’ The reader need not think that all the effects described need card conjuring of ‘ second deal ’ standard, forthereareanumber of fine feats baseduponverysimplemovesindeed, and in somecases no moves at all. In this class w e would call attention to ‘ Co-incidence ,’ a double card coincidenceeffectwith no clue totheonlooker. Other effects that we think veryvery good indeed are :Elevator Cards, Business Card Prophecy, Instant Reverse, ATouchingExperiment, Telepathy, Predict Switch, the Finger Stab, Trick with. a new Twist, Strange Card and Four Deep. In all there are some fifty effects, and wedo, regret that the publisher has not given a complete index. We feel certain that this is one of the books that will have a second and more editions and when this happens, we hope an index will be added. Dr. Jaks supplies the necessary illustrations that make for perfectunderstanding of the text. The book is very nicely bound in stiff covers an& in all carries some 181 pages. A real ‘must’ book. for all readers.
Dr. J a b Multiball (described byBruce Elliott, price three dollars from Holdens MagicShopz,. New York). This is a version of the sponge ball routine.. Those fortunate enough to be in America and hav-. ing seen Dr. Jaks use the effect in his lecture will need no worda of encouragement from me to urge, them to buy an effect, which we understand in Dr.. Jaks’ hands, is a miracle. In this effect small coloured cubes of sponge of latex are used. (So far as weknowthekind used for these cubes is oot easily obtainable in this. ccuntry). The main beauty of the effectcomes. at the climaxwhen a spectator opens his hand, whichso far as heknows contains merely five small balls and a cascade of some thirty or forty. little cubes hit the table. The effect comescompletewith full instructions and the necessary coloured balls. A closeup trick that willfind great favour with table: workers.
First. of allan apology toour readers and Ken de Courcy for the lack of acknowledgment and caption for the cartoon that appeared in the September issue. The heading above the cartoon, which we hope you’ll turn back to should be ‘‘ Ken de Courcy looks at the Mentalists,” whilst the caption underneath should read “ Is this where l get my billet changed?” And now for two recent major events, the British Ring Convention andthe Magic Circle Festival of Magic. Hastings proved an ideal venue for the 1952 convention and there can be few who went away dissatisfied. For ourselves, owing to rather heavy commitments we saw little of the events. In fact the only shows we saw were theCabaret at the Civic reception, the after Banquet Show and the Gala Show. Regarding the first, for a hall the size of the White Rock Pavilion, more spectacle was necessary and we apologise to our daughter for foisting upon her for performance a prediction effect which experience has now taught us is completely unsatisfactory for such an occasion. We hope that three new effects that we are passing on to her will afford complete atonement. Theafter Banquet Show though well conceived went on far too long. This was no fault of the producer, who was led into the belief that each person on the stage would give a one or two minute visual effect. With some of them making one trick last between eight and twelve minutes it’s no wonder that many in the gallery dozed right off. The spook showwhich our friend Maury Fogel presented was not suitable for the occasion. The Gala Show was not only slickly presented butit contained something for everyone. In a magical show it is not always wise to start with a comedy act, but the choice of Ken Brooke in this spot got the show away to a magnificent start. Lew Ganson followed with a delightful silent act to be succeeded by Frank Boynett pdasenting theact which won for the Shieldin 1951. Suzy Wandas with some impeccable back palming and superb showmanship received a great ovation at the end of her act which came next. Another continental act,JeanPaperman presented some delightful novelties in magic and ventriloquism. Fogel closed the first half with a mindreading act presented with that superb showmanship that is his.
The second half brought that lovely Dutch act, Albinio and Tiny, their final production of an immense pipe bringing not only surprise but a well timed finish to a beautifully routined act. Harold Taylor right at the top of his form presented his well known musical hall act. An extra act was included at this spot. It. was that of June McComb with her Magic Book. The Marelles closed the show with their Marionettes presented in a boisterous manner. Again we’have had to see the Magic Circle Festival from the wings. Opening with the Kinsons presenting some miscellaneous items that all seem to connect, Ming Chow with his oriental pickpocket act follows. This is one of the laughter items of the show. A break here and from the front of the house comes Michael Bailey to present a three minute rope routine. His fine appearance and manner will take him a long way. Lionel King with his famous card act brings down the house. To close the first half is the Maskelyne sketch, “ Will, the Witch and ther Watchman,” well presented by competent actors and introduced by John Brearley. Lasting half an hour it is too long by modern standards, and after ten minutes of the Witch and the Monkey going in andout of the cabinet, most of the audience couldn’t care less where the monkey is or where he should be. An interesting periodpiece nevertheless. The secondhalf of the programme opened with Horace King and Bettypresenting their crinoline act. Bobby Kimber with his well-known dummy “Augustus Peabody” then gave some beautiful ventriloquism. After a loud speaker introduction Pat Levyassisted by Diane gave a presentation of Zombie. Then came the magic act of the evening Fred Kaps (Mystica) to most of you. Since his last appearance in this country his presentation has improvedbeyond all measure and with Cardini and Viggo Jahn takes his place among the great manipulator entertainers of this decade. From the sublime to Donald Stuart who succeeded in making his audience rock with laughter. To close came Gil Leaney assisted by Frankie and Bernard. Something old of hisplus something new including a delightful toy train version of the Golliwog Ball. The show was ably compared by Peter Newcombe and the orchestra was under the expert direction ofSydney Jerome.
A SEUSATlONAL ACT AT LOW COST
BY RON BAILLIE PREPOSSESSED: That’s what. you’ll be with Ron Baillie’s prediction miracle. ENTIRELY ONE-MAN. NO STOOGES. NO CARBONS OR IMPRESSIONDEVICES OF ANY KIND. NO SECRET WRITING OF ANY KIND. NO GIMMICKS. JUST ENVELOPES AND CARDS USED. A word is formed, letter by letter, by the The audience. There i s no force of anykind. letters are suggested by the audiencethemselves and a word slowly comes into being; you do not influence their choice in any way and no-one knows what the word will be until the last letter is called. BUT THAT WORD IS THE WORD YOU HAVE PREDICTED ON THE SIGNED AND SEALED CARD. THERE IS NO CHANCE OF FAILURE.
ENTERTAINING WITH CONTACT MIND READING By S. Edward Dexter
THENEAREST THING TO GENUINE MIND READING C O N T A C T MIND R E A D I N G is a sixth sense, highly developed. that enables the performer to read other people’s minds without recourse to trickery o r any of t h e usual trappings of the mentalist.
You need only a clear understanding of the principles involved, n o assistants, stooges, properties or other apparatus.Youalonearereadyat any time to presentthis most baffling form of entertainment known. Suitable for public or privare shows, intimate o r stage, newspaper offices, scientific investigations, social gatherings - ANYWHERE I
Price 7/6 Postage 3d.
Price 81- Postage 3d.
(51.00)
T H E M A G I CW A N DP U B L I S H I N G
CO
11 MONASTERY GABDENS, ENFIELD, MIDDLESEX PETBR
The WARLOCK
I MIRACLE SLATE I Although limited in output, has now travelled t o Ireland, Finland, Belgium, France,Africa,AustraliaandUnited States rnd Sweden.
And now from
1
“
Hen ” Fetsch . .
“ Have beenusing your ‘Miracle Slate’ for over a month now and I must say it’s wonderful . . . . the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
WARLOCK’S
PENTAGRAM is published on the 24th of each month and canbe obtained direct from the publishem for 1 / 1 per binglecopy. Annual SubKription I t / post free. PUBLISHED, BY;
-
€2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
Clubroorn and Library and
Magical Theatre :
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRHSS:
Particulan from Hon
Warlock, 24, Wordsworth Rd., Wallington, Surrey. Peter
JACK HUGHES willbepleased
to sendyou
full details of
THE DE LUXE “SU-TABLE” togetherwith all his other effects in return for a stamp. Write now to
Colindate, London,
N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. L a me know your wants LET FRBB FOR STAMPED ENVELOP6 No Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l.
The Maglc Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Jack Hughes, 2, Evelyn Ave.,
PRICE
The Magic Circle I’tcridunt : His Gracr she Dlske o f Sonxrsct, D.S.O.. O . B E . , J.P.. M.I.M.C. Vice-President: Douglas Crs~gs,Esq., Y.I.M.C.
King Georgc’s Halt,W.C. Secretary
;
F rancis White, 39 Alverstonir Avenue,
Wimbledon Park, S.W.19
Magic Wand Publications The Magic WandQuarterly.Fer copy 3/8 p.p. Annual subsfription 1416. The Wizard, 36 pages monthly. Per copy Z/1 p m 6 month, 1216, Year 24/-. Convincing Coin Magic (Farelli) ,, 17/10 Mastered Amrzcmenr . . 10/3 (Koran & Lamonte) Bohleno’s Mysteries (Bohlen) .. l013 l0/3 The Concert Ventriloquist (Hurling) Geolge Armstrong’s Premonition lOl3 Chandu’s Psychoanalysis . . l0/3 Entertaining With H pnotism (Dexter) 10/3 Challenge Instant tfYypnotism & Mass Hypnotism .. .. .. 21/Strictly Magic (Eddie Joseph) . . 513 Stooging Around (Stuthard) . . 513 26 Living & Dead Tests (Ganett) . . 5/3 Jamesosophy (Stewart James) . . . , S/!3 Y e a r Book 48/49 (few only) . _ . Sf3 Stunts With Stage Money (Lamonte) 513 Tricks of the Trade (Armstrong) .. 217 From thepublishers THE MAGIC WAND PUBLISHING CO., 11. Monastery Gardens, Enfield. Middlesex.
__
Every Advertiser’s goods are fully endorsed by this Bulletin Published by the propristr-
The Magic Wand Publishing Company, 11. Monastcry Gardens, Enfield.Middlesex.and Walker .ad Son [Printen) Ltd..Well Cmft. Sh;dev. Yorkshir
minted by Herbert
PETER WARLOCK’S
PENTAGRAM THE PERFECT WINDOW ENVELOPE PETER WARLOCK
T HE USE of a window envelope as a means of
ascertaining the writing of a spectator upon a card is a subterfuge which has never been completely explored. Whilst both Bill Wagner and Jim Thompson have added their own particular quota to a first rate utility device, until we started using the method about to be described we have never been completely happy about the handling. It was in January of this year that we hit this particular idea and its christening (in conjunction with a slate effect) was in our “ Credulity of Man ” lecture. Briefly the effect from the audience’s point of view is that a perso.n writes something, unknown to the performer, upon a visiting card. This card is placed inside an envelopewhich is left in the same spectator’s possession. The knowledge of what has been written is immediately available to the performer. Those who have made use of window envelopes in thepast willknow full well thatone of the most necessary things has been that the card used should exactly f i t the envelope in which it is placed. In thismethodthereis nonecessity for this, and in fact whilst the size of the envelope is 4in. by 29in. the size of the card is that of the normal small visiting card, i.e. 3in. by lain.
Let’s get down to brass tacks. First of all YOU will require a packet of envelopes of a size similar to that just mentioned. From one of these, out of what one might considerthe address side, a window is cut. The measurements should be 3ain. by 2in. A piece of cellophane the size of the envelope is nowtaken. Withtheaid of a strong adhesive it is now stuck to that portion of the envelope surrounding the cut-out. The next step is to clip off, with a pair of scissors, the small flap of the treated envelope. Now take one of the remaining envelopes, and place it address side down on the table and bend back the flap; in it insert a blank visiting card similar to that onwhich the spectator will be asked to write something such as a name, etc. Place the faked envelope cellophane sidp down on top andthen place both envelopes on top of thorn remaining and then fold down the flap of the secondenvelope. If this is being done some time before the show is taking place,place an elastic band round the stack of envelopes. This is removed, however, immediately prior to performance. With a visiting card at hand you are ready for that partof the trick that demandsyour knowledge of the idormation written by the spectator. Pick up the envelopes with the left hand and thecard with the right. Go to a spectatorand ask him or her to write down a name, etc., on the card. As they take the card take from your pocket a pencil andhandthisto themalso. Tell them not to let anyone see what they are writing, but You to let you know whentheyhavefinished. now half turn away as they start to write. When they signal that they have completed the chore, turn round, take back the pencil and drop it back into the pocket then taking the card, writing side down, flip back the flap of the envelope containing the card and slide it into the faked envelope. Let them see that it goes right inside, and in doing this handle the card in such a manner that they also see that there is no funny business going on. At this stage the left hand will be holding the envelopes almost horizontally. Immediately thecard is inside, raise the left hand and as the envelopes reach an almost vertical position, the right hand takes the flap of the second envelope which contains the blank card and pdls it clear of the stack.
The performer folds this envelopeinhalf and hands it to the spectator asking him to keep hold of it until such time as the performer directs. Moving back to his table, the stack of envelopes is apparently casually placed down, actually the packet is turned over and the fingers of the hand push forward the faked envelopes so that it takes up a position at the rear of the stack shown in Figure 2. P
The writing on the card is, of course, visible. through the cellopha.ne and the performer can note it immediately.
We have mentioned the -placing of the envelopes on the table because at thispoint we pick up a couple of slates, and such an action is therefore justified. It is, of course, just. as easy to turn the packet over whilst holding it, the envelopecontaining the informationbeingsighted say in the course of passing the packetintothe other hand. As.a further point-of interest-,. the slate -effect that we carry on with is one1 described by ourselves in Best Tricks With Slates and S l a t e s , n Lenrner’s Course under the title of “ Cohesive Colours.” It is a version of Annemann’s very fine “ Club Slafe effect ” which appeared in Ssssh, It’s n Secret! One point we have added to the original method outlined (mainly because most of the effects in this lecture are supposedlytestcondition)is that the .corner .of each slate surface is. initialled in pencil, by aspectator. Quite anumberofpeoplethese days have heard about flaps and this nullifies. such thoughts when the effect is concluded. The reason for usingpencilbecomesobvious as .thetrick proceeds. If we are working the effect at close quarters, we prefer to use the method that we disclosed under the title of“‘ Pieces of Slate ” in the Phoenix.
ALL AT SEA WILL DEXTER RY THIS nautical variation of the Chinese Compass. Take two ten packets of Player’s Cigarettes and from each cut the lifebouy bearing the words “Player’s Navy Cut” which contains the portrait of the sailor. Stick the two discs back to back so that the letter “P” in “ Player’s ” on the back disc registers with the “P” on the front disc. Now you have, in effect, a version of the old Chinese compass.
one lends itself to a further effect.Inthis,when the disc is handed to the victim to try it for himself, he succeeds in sinking the sailor on the rear disc! This can be achieved by using a 20 packet as well. From it, cut enough sea and sky (you’ll have to join the bits up carefully as youwon’t cut enough out in one piece) to fill in the lifebouy on atenpacket. Cutoutthe portrait of the sailor, and fill in the gap with sea and sky. Now glue an unprepared disc behind this one, as above. From a third 10 packet cut the centre part of the lifebuoy, and stick it lightly over the faked disc with wax. Now,when the disc is handed to the victim, the sailor’s portrait isslid off between thumb and forefinger, so that when he turns the disc, the back pictureshowsnothing but sea and sky. Hehas sunk the unfortunate sailor, together with the two ships in the picture!
Hold the double-faced disc by the edges between thumb and forefinger of the left hand, with the forefingeroverthd in “ Player’s ” and the thumb against the “U” in “ Cut.” By turning the disc in this position the sailor’s head on each side is upright. Change hands, taking the disc again by the edges, but with the right thumb over the “R’’ in ‘‘ Player’s ” and the forefingerover the “A” in ‘‘ Navy.” Now, when the disc is turned the sailor at the back is standing) on his head when the disc is turned. By changing the hold, he can be made to appear lying face down or face up.
This effect might be done with the larger discs from 20 packets,’ if you can get hold of one of the old 50 packets, which used to show enough seaand sky to fill in the larger lifebuoy.
A larger version can be made, of course, by using the discs from two 20 packets, but the smaller
Anyway, it makes a change from the Chinese patter, doesn’t it?
11
A N IMPROMPTU TORN NEWSPAPERTEST EDMUND ROWLAND
T HIS IS an impromptu mental effect which
can beperformedanywhere at any timewithout any preparation or apparatus at all. All that you require are a borrowed sheet of newspaper (or a page from any fairly large periodical) and an interested spectator. You begin by tearing the paper into two, then both pieces together to four, again into eight, then into sixteen, and finally into thirty-two pieces. At the sametime,youask for some-one to call out any numberless than thirty-two. The bundle of torn piecesisimmediately hacded to this person who is asked to count down to the piece which is at that given number. When he has found this freely chosen piece of paper, he isasked to concentrate on whatisprinted on either side of it. As he is doing this, you slowly describe it to him in detail! The explanation is that the " freely chosen " piece of newspaperisforced. This ishowit is done in a very clean and natural manner. Imagine that the sheet of newspaper,before you begin to tear it,is divided into thirty-two equal rectangles.Any one of these can nowbemade to appear at nny given number after tearing if you use the followingmethod of tearing. This method depends entirely upon your keeping the chosen rectangle amongst the pieces which are held in your right hand after each tear whilst the pieces from the left hand are placed under or on top of them according to this table. It must, of course, be understood that it is only necessary to place the chosen rectangle in one of sixteen possible positions counting from the top, because the other positions, from seventeen to thirty-two c m easily be found by turning over the bundle of pieces and counting from what was the bottom).
c _
Required positionof thechosen piece of paper : from from the the top bottom
1 2 3 4 5 6 7 8 9 10 l1 12 13 14 15 16
32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17
When the Left- In otherwords, place hand holds these thepiecesintheLefthand on top ofthose Nos. of pieces, Right-hand thein place them on top of thosein after thethe Right-hand. In every other case,place them underneath.
0 1 2 1+ 2 4
1+4 2+4 1+2+4 8 1+8 2+8 1+2+8 4+8 1+4+8 2+4+8 1e2+4+8
You must therefore decide which piece is to be forced before you begin to tear the paper. Any of the rectangles could be used, but from the point of view of learning to do the tearingeasily and naturally the best one to force every time is that which is shaded in Figures 1and 2. This is the pieceof paper whichiseasiest to control, for it is automatically kept amongst the pieceswhich are retained in the right hand if these are given a quarter turn clockwise after each tear. This movement is shownby the directions and the sequence of the arrows in Figure 1.
a
3rd t e a r 2nd t e a r
Q
+ 1st t e a r
1st tear 2nd tear 1st & 2nd tears 3rd tear 1st & 3rd tears 2nd & 3rd tears lst, 2nd & 3rd tears 4th tear 1st & 4th tears 2nd & 4th tears lst, 2nd & 4th tears 3rd & 4th tears lst, 3rd & 4th tears 2nd, 3rd & 4th tears lst, 2nd, 3rd& 4thtears
1st tear
Each arrow shows the d i r e c t i o n of the tear from top to bottom withthepiecesheld a s i n 3 so thatthe chosen piece i s always amongst t h o s e h e l d i n therlGhthand.
12 Usingthis particular rectangiewillmean that(a) the contents of the chosenpiecewill not a l w ~ j s be something, such as part of a headline or a photograph, which is easily memorised by you and quickly identified by the spectator. This ir; a disadvantage which cannot be avoided, but you ought to be able to get some idea of the c m t e r l t s before youbegin thetear(as you are holding up the borrowed newspaper and showing it on both sides to the audience) or even as you are making the first tear. The given number will also have to beknown(d) before youfinish the first tear. But as this first tear, with the full sheet of newspaper, will naturally be difficult to do quickly and smoothly, the number need not even be asked for until the tearing is started. It will then be given to you after the paper is torn (once). Anyone trying to remember exactly what you did will tend to remember that the number wasgiven after the paper was torn (completely). To illustrate the method of tearing more clearly, Figure 2 (a) to (f) show what you would do if the given number was 12 or 21.
(b)
(c)
(e)
(0
After tearing,placetheoneleft-handpiece on top of the right-hand piece. The chosen piece is now 2nd from the top. or 1st from the bottom. After tearing, place the two left-hand pieces on top of the right-hand pieces. The chosenpieceis now 4thfrom the top, but still1st from the bottom.Aftertearing, place the four left-hand pieces underneath the right-hand pieces. The chosenpiece is still4thfromthe top, but is now 5th from the bottom. After tearins place the eight left-hand pieces on top of the right-hand pieces. The chosenpieceis now 12th from the top, but still 5th from the bottom.Aftertearing, place the sixteen left-hand pieces underneath the right-hand pieces. The chosenpieceisstill12thfromthe top. but is now 21st from the bottom.
Don't forget to givetheright-handpieces quarter turn clockwise after each tear.
a
T H E T H U M B TIE EFFECT WITH A BIBLIOGRAPHY OF THUMB TIE METHODS
0N
CHARLES HARRISON
MANY occasions,whenmagicians are discussing the MagicalClassics, such as the C u p and Balls, the Linking Rings, the Egg-Bag, Rising Cardsand similar effects one hears the ThumbTie also included. It maybe debatable whether or not this effectshouldbeincluded amongst the classics; but there is little room for argument that, compared with the effects named performers have above, not nearly so many featured the thumb tiein their programmes. nor has nearly so much been written about it as about the others. It isgenerallybelieved 'that rhe TenIchi troupe of performers introduced the effect into this country. It would be interesting to know how many' present-day magicians saw them perform it. Unfortunately the writer did not. Horace Goldin stated that he had performed it in his early days, having learned the method from Ten Ichi and then altered it to suit himself; but I have never met a magician who saw Goldin perform it in England. It was certainly one of the strongest effects in the repertoire of thelate Arnold de Biere; and earned for him greater kudos than manyof the larger spectacular illusions which he performed. Other well-known performers who have featured the effect are Robert Harbin, Howard de Courcy, The Great Levante, Voltaire andYettmah. Billy OConnor has a very wide knowledge of thumb tie methods although, in his stage act he uses only cards.
One may wonder why the Thumb Tie, which when well presented never fails to obtain from the audience a mostenthusiasticreception, has not been exploited by many more performers than is actually 'the case.Trying to find a reason one comes t,o the conclusion that theremaybe two main causes. The first is because, unlike the rest of the classics the real secrets of the best, and most successfulmethodsofperforming the feat have fully d e s c r i b e d in m a g i c a l neverbeen l i t e r a t u r eS. t a pr e r f o r m e r hs a v e kept their secrets to themselves, and the methods described in print are written by people who have never made a real success of theeffect. The use of fakes,thumb-screws, straps, tape, etc.,instead of cord or string asinthe originalTen Ichi method, and in the method of all those performers who have made this a star effect, seems somehow to detract from the appreciation of the audience. One may suppose that they are suspicious of the real restricting properties of these methods. Let us consider for a moment the basic effect. Like the Linking Rings it is actually an effectof Matter through Matter. Therefore unless the audience are convinced that the thumbs are so securely fastened that they cannot, by trickery, as distinct from somewonderfulskill,beseparated, and also that the hoops used are solid, then maximum effect is not obt.ained. This brings us to the second reason for lack of performers.
13 If one is to allow the thumbs to be tied so tightly that anyone, given a perfectly free opportunity of examining the tie will agree that the strings cannot be removed from the thumbs, one needs first of all to know the secret,. and then a considerable amount of practice, toacquirethe necessary skill together with genuine showmanship in order to “ sell ” the ,effect to maximum appreciation. How many -present-day magicians are prepared to put in the amount of hard worknecessary tothe proper -presentation of this effect when there are so many other wonderful magical effects which can be performed with far less effort and exertion. In the writer’s opinion, by far the best method of having the thumbs tied is to allow those tying them to do so so tightly that it is obvious that no slack is held in the string. Thento allow a thorough examination of the tied thumbs, with the ,offer that if any member of the audience can pull -the strings off the thumbs then they will have to b e tied more tightly. After that, when examined hoops pass on the arms the spectators are completely nonplussed. To the best of the writer’s knowledge this method is very lit,tle known and has never been described in print. Someday it may be published; but, until it is, those wishing t o gain more knowledge of thumbtie methods than they have at. present might like to consult some, or all of the sources of information given in thefollowing bibliography. A BIBLIOGRAPHY OF T H U M B TIE
METHODS ANDREWS, Max.-Sixteen Thumb Tie Gems. As farascan be ascertained this is the only book ever published dealing exclusively with Thumb Tie Methods. Asthe title indicates, sixteen tricks are explained but the author does not claim that his list is complete. 52 p.p. (7$ X 4 3 , 20 sketches, stiff boards, London, no date.
ANONYMOUS.-TAe Art of Modern Conjuring. Page 199, 1 photo. (page 203). Describes a method where the performer has his thumbs well greased with vaseline! London 1909. CANNELL, J. C.-The Secrets of Houdini. Page 169 et seq. Describes three methods with string. Five sketches. London 1931. DECRAMPS, Henri.-Supplkment h la Magie Blanche Dkvoilee. This is the first record of the trick we have been able to trace. Describes two methods. (a) With cord or string. (b) With faked ribbons. 35 pp. (Octavo) Paris 1785. GOLDSTON, Will.-More Exclusive MngiSecrets. This is one of thefamous locked book series. Four sketches and three pages explain the Yettmah method. “ Another method ” is also described and illustrated. 490pp. (93 X 76). Cloth bound. London n.d.(circ.1922). ca2
HOUDINI, Harry.-Magical Rope Ties and Escapes. Describes two methods illustrated by five sketches. 78 p.p. (7 X 4$). London. No date. 40.
HYLER.-The Sphinx. April 1945. Page “ Hyler’s Thumb Strap.” New York
SELBIT,. P. T.-The Sphinx. December 1938. Page 252. Inan article by Nate Leipzig, regarding Selbit, it is stated that, the latter used to perform theThumb Tie. No details are given. New York. STANYON, Ellis. - Magic, October, 1909. Page 7. London. No explanation of how to perform the effect, butan advertisement of “ a genuine and thoroughly practical professional method.” (Price 2/61. WALKER, A. H., & H. E. L - U p to Date Colzjuring. Page 132 et seq. London. No date. Two pages are devoted to describing two methods. (a) With metal fake. (Twosketches). (b) With prepared string.
OUT OF THE PAST Pauline, the French-American hypnotistnot a woman, but an affable, agreeable man with glittering eyeswhich pierce you through and through-is at present appearing in London Halls with a remarkable entelitainment. Young men invited to step up from the audience are sent into the cataleptic state, and perform all manner of strange tricks at the will of the mesmerist, who is careful to reject those who are not susceptible to
his influence. It is screamingly funny to see thirty or forty of them running about the stage chasing imaginary mice, and to watch one whobelieved himself to be the mother of a year-and-a-half old baby, nursing and smacking the “infant,” a robust youngster of some twenty years, who squalled in the shrillest of child tones with all the power of his strong lungs. The Magic Wand, June 191 3.
14
BOOKS MODERN COW MAGIC by J. B. Bob0 (Published by Car1 W. Jones of Minneapolis, price 45/-). Onecan wellremember the dayswhenone frequent complaint against American publications, was that books were a rarity, whilst manuscripts weremany. How much since those days in the twenties, has the pendulum swung, and how very manyfinebookshavebeenproducedby that country during the last fifteen years. The present book under review is no exception and the reader is presented with what on the title page is described as “A modern treatise of ways of concealing, producing, altering and multiplying coins fromthe empty hands, being the first complete explanation for so doing published since Down’simmortal classic offifty two years ago.” That statement is in the main true for J. B. Bob0 who quite obviously is a magician who loves magic has taken considerable time andtrouble in compiling a work which will certainly become the standard work on this particular form of conjuring for a number of decades to come. One thing comes home to one reading through such a tome and that is, that work is the only way to success with coin magic for the self working coin tricks are few. For that matter so are the plots of coin magic. As well as a multiplicity of methods for producing the effectsmentioned onthe title page, many, many routines and tricks are dealt with, and those whowish to take up this most fascinating branch ofmagic. have the wherewithal for a lifetime’s work. The history of coin magic has not been neglected andas well as acontribution by Bobo himself, Stanley Collins hasaddedachapterin which he describes the work of outstanding coin conjurers whoseworkhe has witnessed.Apropos of this there is a bad cross reference on page 322, where the nameofOswaldWilliamsisconfused withOwen Clark. Let’shope that the second edition will see this righted.
A big word of praise must go to Milton Kort, who has been responsible for a big section of the book. We have heardfrom our friendFrancis Haxton about this magician’s fine work, and we look forward to watching him ourselves one day.
Credit has been given as fully as possible to originators, but as two people wiIl invariably hit upon a similar idea, certain items bearing a comparatively latedatehaveearlier antecedents, as
for example, the Bob0 Switch on page 10 and the Bobo Coin Vanish page 27. Whilst the first seems to have common property on this side of the Atlantic for as many years as we can remember, the latter we certainly saw performed by that great artist, Allan Shaw, way back in the early twenties.
The book runs to some 353 pages, there are 116 coin sleights and 236 coin tricks illustrated withover 500, theEditor is JohnBraunand
Nelson Hahne has supplied the illustrations. It is bound in one of the most attractive ways we haveseen. A book for usebyeveryone who has a love for magic. Unreservedly recommended. ENTERTAINING WITH CONTACT MIND READING, by S. EdwardDexter. (Published by George Armstrong, price 7/6).
On the title page, added to the title are the words, ‘ A complete non-technical treatise on the Science of Contact Mind Reading enabling anyone to present a convincing telepathic Act.’ In the simplest possiblelanguage our friend Eddie Dexter has placed within the reader’s hands the complete means of producing an effect which isthe nearest approach to genuinementalism, Contact MindReading is far frombeingnew. Nevertheless it has alwaysbeenone of the most impressive forms of mental demonstrations. The late Alfred Capper made this the most talked-of feature in his act, and quite rightly so, for there is not the slightest evidence of trickery to be discovered. To those of you, whicheverbranch of conjuring you may be interested in, we earnestly ask you to read this booklet and to absorb itscontents. With a little practice youhavesomethingwnich on many occasions will prove a marvellous means of publicity.
FOUR LITTLE BEANS, by John Ramsay. (Published by the author, price 5/-). Those who had the privilege and pleasure of seeing Johnny perform this effect onthe closed circuit TV at Hastings will need no recommendation of ours to purchase the routine which is described inmeticulous detail by theauthor, and edited by Victor Farelli. Based upon the old marble trick that students will find in Sachs classic, Johnny, in the style that is all his own, has produced a version puzzling to both layman and conjurer alike. Straightforward in effect, direct but subtle in method, the close-up magician hasto consider this mostreasonably priced booklet a must.
15
0 NE OF the perennial controversies in magic,
is that surrounding the matter of covjaring for conjurers, or let’s lift the phrase a bit and call it magic for magicians. Ourfriend Bruce Elliott has just been carrying a torch for that type of magic. In the Phoenix, No. 266 he so rightly says, “ Magicwould be so incredablydull as not t o warrant an imbecile being i~terested in it i f there were only one kind of magic. Magic f o r magicians happens to be a narrow segment o f our art from which we personally happen t o get a lot o f pleasure. And why not? The main reason that most o f us got interested in tricks in the first place is becausewewere fooled at some point in our lizfes by a magician. A s onebecomesmore sophisticated and knowledgeable the tricks that can fool one become fewer and fewer. I f some bright- souls get plensure oui o f toncocting magic that mny very we22be boring t o a layman, but is baffling t o a sophzsticated magician we say more power t o those people. The only legitimate criticism that we think the hater o f magic f o r magicianshas a ri4ht t o -level, is i f , or when, n performer is foolish enough t o employ a trick that is designedt o fool magicians in front oflaity.” Although Bruce, according to the next paragraph, has said his last word on the subject for Some time, we would like to go a little further. Whilstwe are not of that school which thinks that Magic per se is one of the fine arts, we think as a branch of acting it can be brought to the status of anart.Onehas only to witness the work of Cardini for example to be assured of this. Though for instance Cardini has -an act that will register with the laity, the polished nature of his act, whilst not deceiving a knowledgeable magician, enjoys the respect of such a magician and at the same time gives him the satisfaction of knowing that he is witnessing the work of a great artist. The would-be magical artist is less fortunate in his choice of expressionism than many other wooers of Thespis. Ballet in this country to-day has achieved quite a following because it has produced a form of entertainment easily assimilated by a laity, which after an initiation has gone home to read about ballet and later gone to see more ballet with a greater understanding of what is taking place. Magic is on a different plane, for
magicians as a whole do not want the public to know the methods that they employwith the result that! an infinitessimal portion of the average public audience watching a magical show has any understanding of the fineness or otherwise of the work they are watching. We feel that it is not merely the matter of fooling (though there is a deal of satisfaction in this aspect) a fellow magician that matters most in the production of good magic, but rather, the matter of propounding and exploitation of an effect that is as direct as possible which will not only be acceptable! in every way to the laity and magici’ans alike, but at the sametime will earn the respect of the latter group and place the performer in the role of an artist. Casting aboutfor referencesrecently and wading through manymagazines, we havebeen struck by the terrible photographs that appear from time to time in which a group of conjurers is pictured. One willbe performing the Linking Rings, another holding up a piece of rabbit skin, whilst trying to get into the picture with a photo finish will be several other deadbeats with versions of rising cards, serpent silk and what haveyou. Nothing can degrade magic more in .the public eyes than such a pitiful pictorial composition, -and we often wonder what a magician would. think .if he saw a photograph of a group of musicians like Boult, Sargent, Beecham and Delmar posing for a picture each holding respectively a triangle, a tamboreen and a sidedrum! BOOKS Continued from page 14
ONE MAN MENTAL MAGIC, by Milbourne Christopher. (Published by Lou Tannen, price not known). In this well-produced and illustrated booklet, that delightful magician Milbourne Christopher presents the reader with five mental effects which are! linked up to form an act. The effects are called ‘ Guided Thoughts ’ where the performer wills the spectator todoa certain thing, ‘ Pin Pointed Image ’ a mind reading effect with a sheet of paper, ‘Out of Town,’ a new version of the ‘ Living and Dead ’ test, ‘ The Mentalist Solves a Murder,’ a nice stagy item and finally ‘ Super Psychometry,’ a title whkh tells you all. With a few properties that can be easily carried in a brief case, the reader has a most impressive and entertaining routine for drawing room or concert work.
PREPOSSESSED
A S E N S A T I O N A L ACT A T LOW COST
BY RON BAILLIE PREPOSSESSED: That’s what you’ll be with Ron Baillie’s prediction miracle. ENTIRELY ONE-MAN. NO STOOGES. NO CARBONS OR IMPRESSIONDEVICES OF ANY NO SECRET WRITING OF ANY NO GIMMICKS. JUST ENVELOPES AND CARDS USED. A word is formed, letter by letter, by the audience. There is no force of anykind. The letters are suggestedby the audiencethemselves and a word slowly comes into being; you do not influence their choicein any way and no-one knows what the word will be until the last letter is called. BUT THAT WORD IS THE WORD YOU HAVE PREDICTED ON THE SIGNED AND SEALED CARD. THERE IS NO CHANCE OF FA;ILURE.
ENTERTAINING WITH CONTACT MIND READING By S. Edward Dexter
KIND.KIND.
+ THENEAREST THING TO GENUINE MIND READING C O N T A C T MIND R E A D I N G is a sixth sense, highly developed, that enables the performer to read other people’s minds without recourse to trickery or any of the usual trappings of the mentalist.
You need only a clear understanding of the principles involved, n o assistants, stooges, properties or otherapparatus. You alone areready at any time to presentthis m o ~ baffling t form of entertainment known. Suitable for public or private shows, intimate
or stage, newspaper offices, scientific investigations, social gatherings - ANYWHERE i
Price 7/6 Postage 3d.
Price 8/- Postage 3d.
($1 .OO)
TEE MAGIC WAND PUBLISHING CO l1 MONASTERY GARDENS, ENFIELD, MIDDLESEX PETER
The WARLOCK
PENTAGRAM
MIRACLE SLATE Although limited in output, has now travelled to Ireland, Finland, Belgium, France, Africa, Australia and United States and Sweden.
And now from
“
Hen ” Fetsch
..
“ Have been using your ‘Miracle Slate’ for over a month now and I mustsayit’swonderful . ... the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
PRICE
- E2 10s. Od.
Post Free, from
PETER WARLOCK 24, Wordsworth Road,
Every Advertiser’s publishedby
the propnetam The
ispublished on the 24th of eachmonthand can be obtaineddirect from thepublishemfor 117 per ringle copy. Annual Sukription 181. post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex. Manuscripts forpublication review shouldberent EDITORIAL ADDRBSS:
and books for
Clubroom and Library
and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. Particularsfrom
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
THE DE LUXE “SU-TABLE” togetherwithallhisother effects inreturn for a stamp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9. SALE
OLD ANU NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No C.llen
Hon.Secretary
:
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Magic
JACK HUGHES will be pleased to sendyou of fulldetails
CONJURING BOOKS FOR
The Magic Circle I’rcsident : His Grace theD~rke ofSomerscc, D.S.O., O.B.E., J P . , M.I.M.C. Vice-Preaidcnt: Douglaa Cngga, Eaq., Y.I.Y.C.
to the:
G E O R GJ E BNNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Wallington, Surrey
c
WARLOCK’S
Wand Publications
The M& Wand, Quarterly. Z“er copy 318 p.p. Annual subscription 1416. The Wizard, 36 pagesmonthly. Per copy 2 / 1 p..p., 6 movth. IZ(6, Year 241.. Convmcmg Corn Magx (Farelli) . 17/10 Mastered Amazement (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) 1013 The Concert Ventriloquirt (Hurling) LO/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalyria 1013 Entertaining With H pnotism (&e;)’ 1013 Challenge Instant &pnotism & Mass Hypnotism 21/Strictly Magic (Eddie Joseph) ’. 513 Stooging Around (Stuthard) 513 26 Living & Dead Teats (GaGett) ’1. 513 Jamesosophy (Stewart James) . . . . 5 P3 Year Book 48/49 (few only) . . . 513 Stunts With Stage Money (Lamonte) . . 513 Tricks of the Trade (Armstrong) .. 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens. Enfield, Middlerex.
.
::
goods are fully endorsed by this Bulletin
Made Wand Publishing COZIIPUIY 11 Monutery Gardens Enfield, Middlesex. andprlntedby walker and son (Rinters) Ltd.,’ Whl Croft. Shioley. Yorkshire.
Herbert
4
PETER WARLOCK’S
PENTAGRAM THE BINDING RING DOUGLAS FRANCIS
Two sheets of black tissue of similar size. A metal bangle about three inches diameter. in A ktke made as follows : To a safety pin a small sauare of tin is soldered and on to this isaRii.utd.‘also by means of solder, a needle. It should look like this.
Thi 8 shows
I
needle are ~oaitioned on safety
The Set-up prior to presentation. One sheet of whitetissue andone
VOLUME SEVEN
=
shezt of
The relationship of bundle. o f tissue t o bottom edge of jacket The ball of black paper is placed in the right hand trouserspocket and the banglein the right hand jacket pcket. ( If the perfo&er is working in full evening dress, the fake holding the ball of white paper will have to be attached to the trousers and be concealed by the tail of the coat and the bangle will have to go into the right hand trousers pocket). The remainingtwosheets of tissue are now folded until they each measure approximately two and a half inches by three and three quarter inches. The sheet of white paper can either be placed upon a table or in the insidepocket of thejacket the performer is wearing. Presentation To the accompaniment of hisintroductory linestheperformerremoves the sheet of white tissue from his pocket, unfolds it. and allows the audience to see that he has zo/jring bzrf that sheet of pnper, in his hands. The patter used by Douglas is of the inconsequential tj’pe and allows time to turn the paper end for end as it is held by the finger tips at the extremecorners. From this
NUMBER THREE
=
I/6.
0
(20 CENTS)
DECEMBER 1952
18 point the action isbest denoted in stages :l. The performer tearsthe sheet down the centre. He turns half right and holding both pieces with the left hand he . . 2. allows his right hand to drop to his side and speaks to a member of the audience saying “Would you like me to tear thepieces again?” At this moment the right hand . 3. steals the ball of tissue impaled upon the needle, the actual take away being most natural 4. Whatever the answer fromthe spectator, the performer faces front again and the right hand comes up to the two pieces of paper and with the concealed ball of white tissue held against them they are tom again. 5. The performermoves to the prompt side of the stage and this time he turns half left and without letting go of the papers with either hand addresses a member of the audience near him this time saying “Would you likethe pieces torn again?” With the affirmative answer, the performer tears again remarking, “ I hope you don’t want confetti.” 6. The performernowmoves centre stage and crumples the torn pieces into a ban. The left hand moves away empty. 7. The ball of torn pieces isapparently placed by the right hand between the finger andthumb of the left hand. Actually theball containing the torn pieces is switched for the ball stolenfromunderthe jacket. (Some may prefer to make the switch earlier when the torn pieces are being crumpled into a ball). 8. “ All I want now,” says the conjurer, “ Is the Binding Ring,” and with these words his right hand goes to the pocketholding the bangle, releases his hold of the tom pieces and brings out the “ Binding Ring.” 9. The“BindingRing” is broughtinto contact with the ball of paper heldby the left hand and then hung upon the little finger of the left hand thus :
.. . .. .
.
. .
over littie fmger.
10. The ball of paperis then removedby the right hand and using both hands the ball is unrolled to show thatthe paper is completely restored. 11. The sheet of paper is crumpled into a ball again as the conjurer offers to show his audience. exactly how the feat is accomplished. 12. The ball of white paperisplaced in a finger palm position in the left hand. Incidentally Duggiepurposely did not use the wordpalm in connectionwiththis. His patter went on to say, I‘ The ball of white paper is held in the left hand like this.” 13. To make the explanation quite plain. the conjurer suggests that it is better to use a contrasting coloured paper andashe says thishis right handgoes inside his trousers pocket. takes hold of the ball of crumpled paper which is then finger-palmed, and then takes the folded sheet of black paper which is openly brought out of the pocket and then unfolded. 14. The black sheet is tom into a number of pieces which are then crumpled into a ball.
DEADLIER THAN THE MALE
...
No. 1. EMlLlE D’ALTON (Mrs. Car1 H e m )
A
From the J . R . Findlay Collccrion
19 15. As with the white ball the pieces are switched forthe untorn sheet thelatter being placed between the thumb and firstfingerof the left hand, so that the audience now see the ball of black paper, the apparently concealed ball of white paper and the “ Binding Ring ” hanging from the little finger. 16. To show how the featis apparently achieved, the two balls of paper are held together. 17. “ At this point,” remarks the conjurer, “ you take the Binding Ring.” With these words he appears to overlook the fact that the ring is still suspended from his finger and his right hand goes to the right hand pocket the torn piecesbeing dropped. The hand does not need to fully enter the pocket to achieve this. The ring catches his eye and it is taken with the right hand and the ball of white paper, touched. The ring is replaced upon the little finger. 18. The ball of white paper is unfolded and holding it by its corners the performer, facing risht. holds the sheet in front of his face and gives a little blow which carries the piece forward and downward in a gentle manner as the fingers release
their grip of the corners. Tht audience can see that the paper is free from preparation and that nothing is concealed in the hands. 19. The performer tells his audience of the difficulty of being left with the torn pieces and so once more he takes the “ Binding Ring ” from the little finger and touches the ball of black paper. This too is unfolded and this time facing left the sheet is held and disposed of in a manner similar to that of the white.
Final N o t e Talking this over with Duggie on the evening of the Magic Circle Supper, I made the suggesiion that instead of making the false move to k’.ch the Binding Ring,” the. pieces of black p::per should be retained whilst the sheet of white tismz is unfolded. The ball of black paper is th -n touched with the Binding Ring and as the latter hasnow served its purpose it is dropped back into the right hand pocket together with the ball of tom black pieces.Duggie rather liked it and suggested that it should certainly be added, and that he would like to try out this variant himself. “
“
”
THE ENCHANTED BASKET The Story Translated by Wilfrid Jonson Requirements Five cards with pockets as Figure 1. One card with pocket as Figure 2. Sixteen thin cards without preparation but slightly shorter and thinner than the above. Preparation Place flat down on the table, the card with Figure 2 pocket, containing three thin cards. On this, three Figure 1 pockets each containing three thin cards, one pocket containing one thin card and lastly the remaining pocket containing three thin cards. It is very important that thethincards do not fit tightly intothe pockets, and slide easily (fanning powder can be used to advantage). Manipulation There are evidently several ways of sho-ving the cards one by one to the audience when counting. Two different ways are used and are indicated by (A) and (B) in the text. (A) Show in the left hand with faces of cards towargs the audience and lightly form a fan of the six pocket cards.” (The nearest card to the spectators will be at the right of the fan). With the right hand take the pocket nearest the audience and count one.” Take one by one the next fourand count “two, three, four, five.” Keep them all in the right hand without disturbing the original order but make thefana big one. And moving the sixth card remaining in the left hand you count “
“
“six in passing it to the front of the fan which you now close. So only the last pocket has ”
changed its place.
(B) Show in the left hand, with faces towards the audience and make a small fan (the nearest card to the audience at the right of the fan) of the six pocket cards. With the right hand take the pocket nearest to the audience and count “ one.” Take one by one the next four, counting “two, three, four, five.” Keep them in the right hand in forming a large fan, but reversing the order in doing so; that is to sav the second card goes in front of the first, the third in front of the second, etc. And moving the sixth card remaining in the left hand, put it in front of the fan which you close. So all the cards are now
20 in the reverse order to what they were befoe counting. Cards which are discarded are always those at the back no matter whether they are thin cards or empty pocket cards.
Presentation Your packet of cards should be carried in a small basket. Monsieur Treborix has in mind a “ bourriche,” a type of basket that would be strange to most people in this country. The ideal article is a child’s gardening basket which can be obtained at most good quality toy shops or a large store. Once upon a time, farinthe country near Quackville, there lived a farmer who,they said, was bad, bad, bad (don’t they say that about all the men?) and his wife,who said she was good, good, good (as all wives say they are). And every week, on market day, the farmer went to town, taking a basketful of young poultry and bringing back the household supplies. One day then, when it was market at Quackville, the farmerset off, early in the morning, carrying six pretty little twin ducks to sell, all quacking one against the other. (A) And a poor old woman by the roadside called out : “ My good man, your ducks look very tender. It would be very charitable if you gave me one for my Sunday dinner.” The old woman looked so poor and so thin that you would think she had never eaten a duck in her life. The farmerhad pity and, in spite of the thought that his wife would give him a fine talking to that night, when she checked his accounts, he smiled kindly at the poor old thing and gave her one of his birds, saying, “ Here you are mother, and good appetite.” His good deed was at once repaid : “ I can do nothing for myself,” said the old woman, “ but I have the power to cast a spell for the benefit of whoever should willingly help me, as you have done. Go to marketand sell three ducks, but three only, and every week you will be rewarded as you will be to-day.” Without thought for a promise to which he attached little importance the good man pressed on and, arrived at the marketopened his basket. What a surprise : Although he had given a duck t,o the poor old woman he still had one, two, three, four, five, six to sell : (A). They were good and not too dear. He quickly sold one, two, three . . . but he remembered the old
woman‘s words, ‘‘ Three ducks only.” He stopped his sale, made his purchases, and set oft‘ for home. He had not gone far when the unusual weight of his basket made him open it. He realised then thatthe old woman had not deceived him in talking about a reward : hestill had one. two, three, four, five, six ducks as in the beginnins (.A). Needless to tell you that he was badIy received that evening, for his wifewould not listen to his queer story, and rolling pin in hand she gave him what for! Next week thefarmer went again, with the. same load.He soldone,two, three ducks and came back, bringing, besideshis purchases, as many ducks as he had taken (A). His wife, who had seen him off in the morning and counted his ducks, was so surprised that she forgot to scold him, but she resolved to w a t d closernexttime. And that is why, a week later, Lileging an urgent errand, she went with her husband to Quackville. As soon as they arrived he sold one, two,three ducks and went off to make some purchases, leaving the basket in her care. And of course, as soon as his back was turned, she hastened to open the lid, and observed with joy that the magic spell had done its work : again there were one, two, three, four, five,six (B). “ This isfirst rate,” she said, “ Why not profitby it. Since the basket always refills there is no need for so much fuss. I will sell three more, which will at once be replaced. My stupid husband willknow nothing aboutit and I shall buy a few things for myself.” No sooner thought of than done . . . at once she sold one, two, three ducks. But, vexation and botheration, in vain she opened the basket, looked again and again, there were no more,definitely, than the last three little ducks (A). “ Your trick is worthless,” she grumbled to her husband. “ That witch lied to you. She’s a thief.” He tried hard to make her see that it was proper to sell only th7ee ducks each week, she would listen to nothing, and the poor man, under the bantering eye of the gossips, returned sadly to the farm.
But a week later he set out again, alone, for, said his wife, “ I shall not go with you again. You disgracedme enough last time!” Enchanted by this agreeable decision he made his little trade with faithfulness and,asin allthe remaining weeks which God allowed him, he took that day six ducks (B), sold only three, and brought home six. And instead of many children, soon he had around him a great multitude of pretty little Quack-quacks.
21
THE ACI,D. TEST LESLIE MAY
E €?FECI':-The
performer obtains the services of a volunteer and hands him a small knife which heis to insert intoa previouslyshuffled pack of cards held by the performer.
Presentation :--Obtain the services of a volunteer and hand him the knifewhichhewill hold by the handle in the normal manner.
The volunteer notes a card below the point where the knife was inserted and is requested to remember same.
Remove cards from case, casually fan them towards audience, concealingthosenear top and bottom. Riffleshuffleleaving the twotwo of hearts in their originalpositions.
The pack is again shuffled and the performer offers to give a lesson in detection : fanning the pack with faces towards himself in one hand, he, with theotherhand, picks up the knifeby the blade, and peering at the handle states thathe can just discern the finger prints of the spectator, then gazing at the cards he removes one, which, he says, bears similar prints. This is shown and proves to be the noted card. Noting some apparent misbeliefamongst the onloqkers he then proceeds to prove the existence of the prints; taking a small dredger of powder from his pocket, he sprinkles same on faceof card; blowing it gently off, four outstanding finger prints are now visible. Remarks : Before proceeding further, I would like to say that the final finger print idea appeared a few years ago in a copy of the " Demon Telegraph," but I am sure that Messrs. Gus and George Davenport will forgive me for reviving it and in.corporating it in this routine.
Requirements :One pack of playing cards. One small knife or dagger. Oneduplicatecard with matching back to pack, this is prepared by having four FINGER :PRINTS " made on its face. I prepared mine by pressing my fingers on a violet-inked stamp pad, andthen pressing same on -to the playing card. One small dredger (a small salt cellerwill do) filled with a fine talcum powder. Preparation :Place dredger in right pocket; have knife in pocket or on table with pack. Wewill imagine our selected card is to be the two of hearts. The normal two of hearts is -placed on top of pack, and the marked duplicate near the bottom. Pack thenplaced in case and you are ready. "
Request the spectator to push the blade of the knife into pack. Separate at that point and request him to look at and remember thecard below the blade, stating thatthe oneabove is visible to you. He removes the knife and as you indicate the card at bottom of upper section, slip the top card (two of hearts) to top of bottom portion and this is the one he looks at, naturally holding it between his fingers and thumb in the act of looking at face. The card is replaced and you give it a genuine shuffle. Fan the pack faces to you and then hold it in your left hand. With the right hand pick up the knife by its blade and peer at the handle, then at the card, then at the knife handle and so on. Place knife down, take pack in both hands, faces still towards you, and still peering intently atthe cards, cut the normal two of hearts to top of pack. Still appear to be looking for matching prints, and finally remove the marked two of hearts, without showing face, and place it face downon top of pack. Give your little spiel about the identifying prints, ask the name of selected card, and then double Lift top two cards as one and show face of normal two of hearts to audience. Replace the two as one on top of pack, face down. Appear to seesomesigns of incredulity on the part of the audience and offer to prove your statement. Pick up top (marked) two of hearts with the right hand, keep back to audience, and place it in left hand, the fingers of which are bent upwards so that the face of the card is still concealed. Produce dredger from right pocket with right hand and sprinkle powderover the face .of card. Slowly straighten the fingers of the left hand, blowing off powder at sametime, bending the palm of left hand downwards so that the card becomes fully visible to the audience, with the finger prints distinctly developed thereon.
22
BOOKS ENCYCLOPAEDIA OF CIGARETTE TRICKS by Keith Chrk (Published by Louis Tannen, New York. Available from Fleming Book Co., at a price of 52/-. This is the second edition of an exhaustive treatise originally published some fifteen years ago. Well bound and with attractive stiff covers it contains some 304 pages. To this edition the author hasadded a feature that was missing from the first edition, namely the matter of the cigarette routine proper. One thinks quite rightly that Mr. Clark has takenthe firstfifteen pages of his work to deal with the cigarette itself (as regards history, etc.) and the growth of the cigarette act. This not only makes an excellent introduction to the book but it also adds to the would be student’s knowledge. The chapters in the book cover the following sleight phases :l . The principles of cigarette manipulation. 2. Throwing. 3. Vanishes. 4. Special vanishes and transformations. 5 . Sleeving. 6. Vanish flourishes. 7. Secret transfers. 8. Tonguing and mouth sleights. 9. Productions, reproductions and multiplications. 10. Loads. 11. Steals. 12. Production acts. 13. Presentations and routines. There is a great thoroughness in the description, a thoroughness which, hadtheauthor not made use of abbrevia+ions for many of the sleights would have added at a rough guess another hundred pages to the book. To the beginner thinking of introducing a cigarette routine into his act, this bookwillbe a teacher and father to him for every description in text is aided by a great number of photographs. The student of magic will have a gap missing on his bookshelf if he omits to obtain a copy whilst the practical worker has at a glance alternative methods in abundance. This all goes to show that the book is indispensable. Our friend Bruce Elliott has made a fine job of the editing, the only noticeable blurb being the note thatZirka appeared at the Casino de Paris in 1915. HUGARD’S MAGIC MONTHLY, Volume 8 (Published by the Fleming Book Co.), price 30/-. Sometimes I think that it is only when one picks up a bound volume of a worthwhile magazine “
”
that one realizes what a finebook has beenpresented over the course of the periodof that volume. This is a recurring thought when ever the Fleming Book Co. give us one of these very fine volumes. This, the eighth keeps step in quality with the preceding seven, quality not only of magic but of printing and binding. In the 132 pages we are given an incredible number of very fine feats and although as is usual with all contemporary publications there is a preponderance of card magic, tricks with handkerchiefs, coins, thimbles, matches, slates and the mind are all to be found. To attempt to pick out the best effect in such a compilation is not easily possible, but the two things that appealed to us were Marlo’s “ Grab it ’. and Scarne’s new top change. Throughout the volume Clayton Rawson and Milbourne Christopher are responsible for some: fine magicwith touches of novelty. In fact from the Christopher columns alone there is material forat least a couple of novel magical programmes. The maestro himself, Jean Hugard as usuaf takes a number of classical effects and adds just that little extra that makes for a great presentation, whilst Frank Joglar with no malice recitesthe tittle tattle of the magic world under the heading of “ Backstage.” Every so often Jean awards a Hu-gardenia for merit either in performance or service to magic and in this particular volume it is very pleasing to see that the first one goes to our compatriot Geoffrey Buckingham as a mark of esteem for the outstand-. ing lecture that he gave at the first combined SAMIBM Convention in 1950. We may be chided for not mentioning the names of more contributors but the standard. throughoutis so high .and ‘the ranking of thk contributors so good that this is hardly called for. If you have been foolish enough to have missed‘ taking this fine magazine in the past, start catching up by getting this fine volume at a bargain price..
THE PUPPET MASTER, The Journai of the British Puppet and Model Theatre GuiM, October 1952, price 3/-. The study of puppetry and the model theatre is a most fascinating one, and it is therefore only to be expected that a magazine of a society repre-senting these interests should be fascinating reading andit was certainly news to us that Papa. Haydn wrote five puppet operas. The magazine is finely produced, and Fred Barlow as editor has certainly performed a very good job of work.
23
The death of John Warren was not unexpected. To the present generation, he was little known apart from his work for the C.A.A. but in his time he had done many things. Before the First World War he was a regular performer at Maskelyne’s, in most cases presenting one of the manynovelties that were then being presented to the public. At one time he took out quite a large show on the road, but with the finish of World War 1, he ad.apted himself to the trend of that time and presented a smaller type of act. Calling himself the .‘ Silent Conjurer ” he kept up an incessant flow of patter during the whole of his act, which in the main consisted of a handkerchief production a la ,Stilwell followed by a version of the Dyeing Silks. As the white silks were pushed through a dye tube, the orchestra played the theme of a well known melody that linked up with colour. They emerged *dyedwith the colour indicated by the music. About a dozen silks were used all told. His other standby was the watch that vanished and appeared in a chosen tobacco box. He was a slow worker and whetherhe performed for children or adults he seldom varied his programme. We remember seeing him give a children’sshow on one occasion when with the addition of the tom and restored card in cigarette to the two previously mentioned ’items lasted forty five minutes, and believe it or not he held his audience aZZ the time. He added one little literary effort tothe bookshelf. It is called “ Where the Leather Comes from.” By courtesy of our friend, Victor Farelli, we reproduce the amusing label sketch that Marcel Laueau (“ Erik ”) has drawn.
From our good friend Hans Trixer we receive news that he is now well established in Southern Rhodesia. Clippings to hand tell us that he is well lined up for a prediction of the National Lottery Winners. The prediction is to be opefied on December 18th. The best of luck, Hans for a spectacular payoff! Congratulations to Will Dexter on winning tho annual award of Nottingham Guild of Magicians. With a fast moving act not usually associated
with one whose f o r t e is mentalism, he had a runaway win. From Jack Avis, who gave us that delightful version of the “ linked ropes,” we are promised a veryfine coin effect. AlexElmsleytellsus that he has not forgotten two brain busters with a 26th card location basis. The Magic Circle Telecasts are fixed for the1st and 2nd of January, 1953. The occasions will mark the opening of the new club-room extension. The line-up for the evening show as we write is Gus Davenport, Fred Castle, Brian McCarthy and ourself.There is a possibility of Jean -Poisson appearing as well. Last month we overlooked mention of the Magic Circle Occult Committee dinner which was held at the Escargot Bienvenu Restaurant. A most pleasant occasion and we give full marks to our hicnd Jack Salvinwho was responsible forthe arrangements. We take this opportunityof wishing readers, contributors, fellow editors, in fact every one a very, very Happy and Prosperous New Year.
24
I
MENTALISTS ! MAGICIANS!
I
This is what you hrvo beon looking for
THE UNIVERSAL MIND by R O N B A I L L I E A NEW AIPROACHTO MENTALISM, WITH A FASCINATING EXPLANATION OF “ HOW IT WORKS” “--- But how does mindreadingwork ? ” How many times have you beenasked this question by members of your audience o r by others who have heard of your capabilities ? Are you able t o give them a convincing answet, o r do you just stall themoff with a few hackneyed remarks about‘ thought waves ’ and ‘ concentration ’ and leave it at that? 4‘ THE UNIVERSAL MIND ” fills a long-felt want by giving you an extremely logical and convincing explanationas to how ‘mindreading ’ is possible, coupled with two effects to illustrate thetheory. And what effects! Firstly : a spectator writes down a letter of the alphabet, a diagram and a number. These you reveal, THEREARE N O FORCES, N O IMPRESSIONS, N O SWITCHES, NOWINDOW ENVELOPES OR SIMILAR DEVICES. Secondly : a spectator writes down anything hewishes o n a piece of paper. This can be a short sentence, a line of poetry, several place names-ANYTHING AT ALL ! He folds this paper, seals itwith a stamp-paper and signs it on the outside. This folded!sealed and initialled paper is placed IN FULL VIEW, in a prominent position. THERB ARE POSITIVELY N O SWITCHES, N O FORCES, N O IMPRESSIONS OR GIMMICKS O F ANY KIND. The folded paper is NEVER at any time out of the spectator’s sight. It can even be burned reveal what has been written ! Take if so desired. And yet, WITHOUT ASKING ANY QUESTIONS you our word for it, this is the most genuine andseemingly im ossible sealed message reading method to date. Only a sheet of paper and a pencil are needed for both &ch. There are no fakes or gimmicks. there is nothing more to make or buy. “ THE IJNIVERSAL MIND ” can be performed impromptu, under any conditions, to a small group of people, to a single person, o r to a larger audience. To anyone performing mentaleffects this is a MUST ! “ THE UNIVERSAL MIND ” comes to you in a neatly printed, fully illustrated booklet instiff board covers.
Price 12/6d. (postage 3d.) FROM T H E PUBLISHERS
THE M A G I C W A N D P U B L I S H I N G CO.
11 MONASTERY GARDENS, ENFIELD, MIDDLESEX
I The WARLOCK
PETER
PENTAGRAM
I MIRACLE SLATE I Although limited in output, has now ttavelled t o Ireland, Finland, Belgium, France, Africa,AustraliaandUnited States and Sweden.
And now from
“
WARLOCK’S
The Magic Wand Publishing 11, Monastery Gardens, Enfield, Middlesex.
Co.,
Manuscripta for publication and books for review should be sent to the: EDITORIAL ADDRESS:
..
I your ‘Miracle
Hen ” Fetsch
is published on the 24th of eachmonthand can be obtained directfrom the publishers for 117 per bingle copy. AnnualSubacriptian 18/port free. PUBLISHED BY:
“ Have been using Slate’ for over a month now and I must sayit’swonderful .... the impossible made possible. It’s the answer to a mental problem I have worked upon for years.” . . .
24,
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all hisother effects in return for astamp. Write now t o
Jack Hughes, 2, Evelyn Ave.,
PRICE
Colindale, London,
- E2 10s. Od.
Post Free, from
I
PETER WARLOCK 24, Wordswotth Road, Wallington, Surrey
I
N.W.9.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No Callerr
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
The Magic Circle President : His GracetheDuke
of Somerset, D.S.O.. O.B.E.. J.P., M.I.M.C. Vice-President: Douglar C r ~ l ~ g sEsq., , Y.I.M.C.
Clubroom and Library and Museum :
Hearts of OakBuildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
Magic Wand Publications The MGic Wand, Quarterly. r e r copy 318 p.p. Annual subscription 1416. TheWizard, 36 pages monthly. Per copy 211 p.p. 6 month, 12,‘6, Year 241-. Convincing Coin Magic (Farelli) . . 17/10 Mastrred Amazenlent (Koran & Lamonte) . . 1013 Bohleno’s Mysteries (Bohlen) . . 10/f The Concm Ventriloquist (Hurling) 10/1 Ceorge Armstrong’s Premonition lO/f Chandu’s Psychoanalysis . . 10/3 EntertainingWith H pnotism (Dexter) 10/3 & Mass Challenge Instant I-&pnotism Hypnotism .. .. . . 211Strictly Magic (Eddie Joseph) , . 513 Stooging Around (Stuthard) .. 513 26 Living & Dead Tests (Carrett) . . S/f Jamesosophy (Stewart James) .. .. Sb Year Book 48/49 (few only) .. . 5/3 StuntsWith Stage Money (Lamonte) . . S/f Tncks of the Tnde (Armstrong) . . 2/7 From the publishers THE MAGIC WAND PUBLISHING CO.. 11. Monastery Gardens, Enfield, Middlrex.
Every AdVerti8er’a goods are fully endorsed by this Bulletin %bliahrd by the
The yrdc W u d h W i i g C0~1p-y 11 Monastery Gardens En6eld. Yiddleler. and pdated W a l k md k. ( h b t o d Ltd.. ’Will Croft. S h i p b . Y’u&hii.
by Herbort
PETER WARLOCK’S
NTAGRAM THE BORGIA AFFAIR JAMES ESLER HOSE OF US who have only a passing knowledge of Italian history will have read of the sinister reputation of Cesare and Lucrezia Borgia, brotherand sister, during the fifteenth century. It is a tribute to the inventiveness of conjurers that they use any peg, provided it is sufficiently attractive, on which to hang a magical effect. My own interest in the item we are considering began with reading int Bruce Elliott’s Phoenix suggestions put forward by several well-known literary magicians fora satisfactory solution to the problem, whichwould rule outthe employment of a confederate. What is the problem? The periormer introduces six or sevenglasses or tunlb’ers, into each of which he pours a little water, hwing completed this, he explains to his watchers what he hopes to accomplish; telling the story of the playful predilection of the Borgias to “ speed the parting guest.” At this stage the conjurer leaves the room, having asked someone to add a further measure of water-supposedly a lethal dose-to one of the glasses. during his absence. On his return, he surveys the scene, takes the glasses one by one sipping a little from each, and leaving the last glass, the doped one, untouched. This was the problem as posedby Bruce Elliott, and the solutions offeredwere many and varied, but the difficulty of presenting what is a really first class effect without assistance remained a stumbling block, the most ingenious of the methods suggested leaving much to be desired. Being intrigued with the novelty of the trick, and the dramatic qualities which it possesses for presentation I have pondered it at frequent intervalseversince, and now for those whomay be interested, offer my own solution. As every magical effect has one weak point, 1 am bound to admit that such is not entirely absent here. I do not think, however, thatit strongly militates against success : anyhow you shall judge for yourself.
VOLUMESEVEN,No.FOUR
-
In my method I have found that only flat bottomed tumblers can beused. The accessories of which the audience are unaware are circular discs of glass about the size of halfpennies, one in each tumbler before you begin. In the process of pouring the water into the tumblers the glass must be held tilted so that the disc contacts the side of the glass, and must be placed down carefully in this condition, so that all the tumblers, when the water has been added, each have a glass disc in contact with the side of the tumbler. I tilt them tothefront,but anyone interested enough to experiment with the method will doubtless have their own notions as to the best way of settling the discs. Each tumbler is handled in the same way and the final position before leaving the room should be that each tumbler has the disc in identical position to its fellows. Now if one of these receptacles is taken up by someone who is without knowledge of the tell tale disc, and replaced without the same precaution employed by the performer the result will be that the position of the disc willdiffer substantially from the other tumblers. And it is here that I admit the weak point, to which I referred earlier. In this version the conjurer asks that during his absence someone will pick up a tumbler and add a little water toit, setting it down again inthe same place. There is nothing more to tell, the conjurer might suspect, but my lay friends have not yet arrived at the answer.
FOOTNOTEA s a suggestion f o r making certain that the glass isdefinitely moved 1 suggest thatthe magician tells the helper that he wants him to imagine that just behind him on a shelf (here the position of the imaginary shelf is indicated with a gesture of the hand) is an imaginary jar o f poison. Near t o the base of the jar is a small tap, The helper is instructed t o take the glass, place it under the imaginary tap, turn Latter and alLow theimaginnry poison t o run into the glass. B y these means the helper must move the glass. P.W.
I/6. (20 Cents)
- JANUARY 1953
26
YRUTNECHTEITNEWT JAMES DOUGLAS EDITOR’S NOTE :
JamesDouglas in this reverse twist on the Twentieth Century silks has produced something which with little trouble will make a very effective Though he, in the piece of platform magic. version described takes a story angle, the reader will realise that there is sufficient visual effect to use the effect in mimed presentation. The children’s entertainer on the other hand hasa nice variation on the stolen princess theme, and those “picture ” silks that you may have can be put to a mosteffective use.-P.W. HE PERFORMER displaying two red silks, tellshis audience that they represent two notorious criminals who spent a good deal of their time kidnapping famous personalities and holding them to ransom. He proposes to show one of their infamous exploits in which featured a well-known figure (local personality). The latter is represented by a white silk which the performer removes from a paper cone which is opened out, shown empty and returned to its place on a table set on one side of the stage. The performer continues his storywhile doing this and states that one day the personality was forcibly removed from his house (the cone) and so that he could not escape he was securely handcuffed between thetwo badmen. Herethe performer ties the whitesilk between the two red ones and then ties the two red together stating that the kidnappers, wishing to make doubly sure, securely handcuffed their prisoner and themselves together, and off they went to their hide-out. Another cone on the opposite sideof the stage is opened out and displayed. The *‘ string ” of silks is placed within, with some of the red left showing. The performer then explains that the prisoner had learned some magic during his l i e and suddenlythought of the magic formulae,andHey Presto, he suddenly vanished from the prisoner’s grasp. The performer jerks out thered silks and the white has disappeared. The cone is shown empty. Crossing to the other conethe white silk is removedwith the performer’swords, “You can’t keep a good man away from home!” Requirements : Two paper cones with secret compartment in each a la Tarbell. Two red and two white silks. One of the latteris placed in one of the secret compartments of one of the cones and its duplicate in the compartment proper.
The red silks are displayed and the white is tied between them a la “ Sympathetic Silks.” The reds are tied together at their free ends and the bunch is placedover the secret compartment of the other cone after showing its front and other side and then folded into position. Care is taken to push the white in first, using wand if necessary, and thetied “ends” of the two reds are left sticking out in view.
To execute the vanish, grasp conefirmly around the place where the white silk is situated. Grasp the knot joining the two red silks and jerk out quickly. The white silk is left behind and the cone is opened out to show its emptiness. Picking up the other cone remove the white silk from the secret compartment and finish.
-
THE FEMALE OF THE SPECIES N o . 3.
...
ANNA EVA FAY
From the 1. B. Findlay Collection
COLLECTED THQUGHTS LEN BELCHER
R EADERS are probably aware that I am fond
of taking old mathematical principles and and playing about with them in a search for new effects. In almost all of them there is some particular step which because it is unnatural, or seems to the spectator to be unnecessary, breeds suspicion, and thus rules it out for the discriminating performer. It seems fairly obvious therefore that if this step (since it cannot be eliminated) can be made to appear plausible and perfectly natural, we are well on the way to a whole series of fresh ideas. May I illustrate what I mean by detailing to you such a process? You may judge from the result whether the effort has been worthwhile. Everyone, I suppose, is familiar with the principle underlying the old “ Age Cards.” A number of cards bearing various ages are handed to a spectator, and from these he selects the cards on which his own age appears.
I suggest that the above set of designs might be used. They requirepractically no memorisation work as the designs from 1 to 7 are made to equal the number in qu estion, i.e. 1 is indicated by an oblong which looks like 1, 2 is made to look like an angular 2, 3 is atriangle, and 4 a foursided figure and so on. The extranumbers arebased on the preceding seven numbers, additional lines or some ornament being added.-P.W.
1 1E 3 3E 5 5E 7 7E Plus Another No. 1 1
2 2 7 6 3
4
2E 7E 6E 3E
Plus A No. 2
4 7
5 6
4E 7E 5E 6E
EXTRA 1E 2E 3E 4E 5E 7E 6E
Plus A No. 4
Reference to this chart willshqw thatthe first set consists of eight different designs, plus a duplicate of No. 1; set No. 2 has eight different designs, plus a duplicate of No. 2, and so on. The extrn set has only seven designs. Beforegoing any further let us follow the simpleprocess of tracking down any particular design-for instance, 7E. It appearsonthe first set (mental total of l.); it appears on the second (mental total, 1 +2); it appears on the next (mental total, 1 + 2 + 4); it also appears on the last (mental total l + 2 + 4 = 7, and in this case 7E).
The cards all have a numerical significance to the performer; he adds the values of the cards handed to him and thus knows the spectator’s age. It is virtually automatic : it is also very wellknown, and would not deceive a babe in arms. The inherent weakness, of course, is the use of cards in any case, coupled with the peculiar method of handling them. We arethus faced with two problems; first we must have a plausible excuse for the cards, and secondly we must make the handling of them seem natural. Now follows my solution. I decided to get away from the idea of age, and turn the effect over to the divination of a design : instead of having large cards, each carrying n number of designs I decided t o keepthedesigns one t o a smnll card, and t o have these designs in sets. I detail these sets here, using numbers instead of designs, in order to save time.
Take one more, say No. 5. It appears on the first (1)-not on the second (mental total still 1); it is on the third (total 1 + 4 = 5)- but not on the extra set, so it is No. 5. So much for the mechanics. Now for the camouflage. The order of the designs in any particular set is of no importance, but the order of the sets themselves is. The performer asks for four spectators to assist him, explaining that he wishes to carry out an experiment in multiple concentration. While the volunteers are coming forward he casually mixes the stack of designs with the false shuffle used for Jumbo Cards. The result is that the order remains undisturbed. He has previously fanned and shown the designs, remarking that they are the type normally used in experiments in telepathy where the designs are duplicated in order toobtaindata on such matters as frequency of occurrence. The sets are then given out to the assistants (pencil dots on the backs will help here) no attention being drawn to the number of cards each one has. The performer merely says it willbe easier to handle the designs if all are helping. This incidental ekplanation isnever questioned : if the cards are of a respectable size it is so obviously true.
28 The assistants are mentallyclassed as l , 2, 4 andExtra,andeach receives theappropriate set. Turning to the first, the performer asks-him to select one of the designs, and then to collect up any duplicate from the other three. As this collection ismadethe performer merely has to make his mental totals, and knows immediately whatthe chosendesign is, but he says nothing as yet. He instructsthe first helper to lay outthe chosen designs face up on a table while he, the. performer turns his back. Now allfour assistants are to concentrate on the design, and then put the cards out of sight. From now on it is largely a question of dramaticability;for instance the performer can pretend to be confused-he lookstheassistants over, and asks one of them to glance again at the design. Thenitis revealed-as if the confusion had been removed.
An alternative presentation is to have each spectator in turn choose one of the designs in his set, and collect the duplicates of it from the others. Under cover of writing the helpers’names down the performer keeps track of the four menta1 totals, andcanthus reveal all four designs.-A t r u b satisfying climax to a mental programme. A final glance at the sets of designs will reveal duplicates in the first 3 sets : these are necessary to account for the. patter angle, and of course they must occur in the sets shown or the mathematical basis will be disturbed. The detailing of this effect has perhaps seemed rather long-winded, but I was anxious to bring out a line of approach in devising fresh effects, rather thanto give abare description of yet another routine. I hope I have succeeded in my purpose, and I hope, too, that the readerwill have gained something more than a fresh programme item.
THUMB FUN FRANKLIN V. TAYLOR E HAVE a sneaky idea that this handling Dr. Taylor’s is due tobe one of the most popular effects we have runin a longtime. Needed are the Jardine Ellis ring, with the fake half shell on it, a handkerchief and a spectator. Holding the fake and ring as one, make it clear that your hands are empty but for the ring. Place the ring and shell as one, on the spectator’s thumb as shown in the drawing. As you put the ring and shell in place on his thumb, which should be pointed at the ceiling as in drawing, press down on the metallic ring, as with the other hand you remove your pocket handkerchief and throw it over the spectator’s thumb and hand.
Don’t press too hard. Just press firmly.
Next lift the shell of the ring, as you place your hands under the cloth. Leave the cloth over the spectator’s thumb, and leave the real ring in place, as in drawing. The spectator, oddlywill feelyou takethe shell off his thumb, but if he obeys directions and keeps his hand perfectly still he will not feel thereal ring whichremains in statu on his thumb. Show thefake shell to the spectator and patter, then vanish the shell, by the French Drop, and the instant it has disappeared touch the real ring on his thumb, through the cloth. Only then, onlywhenyou touch it will he feel the ring. Remove the handkerchief from the spectator’s hand with the hand which you have the fake shell concealed in, stuff the handkerchief back in your breast pocket getting rid of the fake as you do so, and withyour other hand take the ring off the spectator’s thumb. This leavesyouclean and your audience baffled. The effect is that you make the ring vanish and reappear onhis thumb under the cloth. Frank‘s patter story has to do with the idea thatheis going to hypnotisethe spectator into seeing something that is not true. Once he places the shell and ring on the spectator’s thumb and covers it with the cloth, he says that he is going to force the spectator to think that he isreally removing the ring. (This is when you take the shell away). Holding tlie shell up he pretends that it is not real, but the figment of the spectator’s hypnotised brain. Then vanishing it, heproves that
29 the whole thing is an illusion when the spectator finds the right ring back where it was. Experiment with just what degree of pressure to push the ring against the person’s thumb. Once you have found this, you will be in possession of what we think is a real honey of a close-up effect. It’s a quickie and should be done in an offhand manner, and w?thout any great amount of talkie talk since the whole thing doesn’t take more than thirty seconds to do. Dai Vernon has an alternative which removes any need for the minimum amount of skill that was neededin the above description. In Dai’s handling, the ring with the shell is placed over the spectator’s thumbandboth pressed in place as before. Next, the handkerchief is thrlown over the spectator’s thumb, and the performer removes the atthis shellshowing it as the ring.However, point, Dai does not vanish the shell but instead, shows it to the spectator and says, “You probably think I have removed the ring from your thumb,” but as he says this he deposits the shell in his pocket. “ Nothing could be further,’ he says as he drops theshell ring in his pocket, “from the truth.” As he says this he tapsthe real ring on the person’s thumb through the cloth of the handkerchief. This allows them suddenly to feel the existence of the at all.” ring. “ You see, nothinghashappened The performer has the spectator remove the handkerchief and see for himself that the ring has never left his thumb. The effect is that the spectator’s senses have been befuddled, and that he has seensomething take place that really never has.
EDITOR’S NOTE : The above e f f e c t with Dai Vernon’s addition is reproduced f r o m N o s . 26,7and 268 of thePhoenixbythekind permission of its editor, Bruce Elliott. One fival note, we have been using this e f f e c t and have found that by Keeping the real ring in the waistcoatpocket where it absorbs body heat, while the shell is carried in an outside coat pocket until required, means thatthe shell feels colder against the spectator’s thumb; an addedsensory advantage. KEN DE COURCY’S CONJURTOON
LET’S G O OUT TONIGHT
OUT OF THE PAST 36, Hmley Street, W . June 20th, 1906. T o the Editor o f the “Magic Circular,” Dear Sir, Willyou pardon me i f I makea few lemarks and suggestions with regard t o Membership o f the Inner Circle. I do not think sufficientadvantageis being taken of the unique opportunitywe have f o r establishing, f or tke first time in history of magic,adefinite standard by whichaspirants f o r qecognition may be judged. Otherprofessionshavediplomas, granted after examinations, which being andprofessional tests of generaleducation capabilities, stamp the possessor not only as a person properly qualified in his pofession, but also asagentleman of education. I do not think the ability to perform a few tricks is &cient t o give any person the right to be called a mgi-
cian; and more tharn t4.e memorisii of a few pres criptbm, in addition tu a superilcial; knowl&ge of anatnmy, w d d constitute anyone a dodbon In the latter case the governing bodies require, first o f all, proof o f general education, t o a certain point; secondly, proof of specific studies,continued ouer a certain period;and lastly, proof of knowledge acquired, as shown by passing examinations in general and speciaJ professional subjects. So, in a lesser degree WE might by a somewhat similar plan, make admission t o the Inner Circle a proof of pofessional Knowledge, and o f general education; a coveted honour t o the neophyte; the blue ribbon o f the profession, and a hall-mark of ability. Yours f aithf ully,
GE‘ORGE H E R S C H E L MogicCircular, Iuly Ist, 1906.
30
BOOKS THE MAGICIAN’S DIARYANDYEAR BOOK Edited and compiled by J. C. Fraser Smyth (Published by Penshaw Press) price 616. For many years many magicians have clamouredfor a special Magician’s Diary. Now they ,are being catered for. m e Diary proper is printed by Charles Lettswhich is sufficient guarantee by itself. The overall size is 5 $ X 3+ inches which means that each daily entry has more than an inch of space. Some thirty four pages in the front purvey information pertinent tothe magician. Hints and tips, information regarding magical magazines, etc. are all here. The cover can at a moment’s notice be used as a clipboard (this feature alone is worth the price of the whole diary to a mentalist!) Our only adverse comment, and it is one that can be easily put right with a second printing, is that greater care be taken in proofing for there are a numbet of typographical and other errors that might well have been avoided. We sincerely h o p that this venture will prove a success. There is a definite need for such a diary and the price asked is very reasonable indeed. DAVENPORTS. Fromour friends at 25, New Oxford Street, WC have received a further bunch of leaflets giving details of many old and some newlines. Foremost among the latter are Histed’s Pull-thru,and Amadeo’s ring on a ribbon. There’s a practical children’s vent. script by Bertram which at 2/6 is very good value. ‘Don’t Talk Shop’ (a vent. script published by Davenports of 25, NW Oxford Street, W.C.1. Price 216). This month we have received another well tested ventriloquial dialogue from our friends. Those who do not want the trouble of writing or searching for material willfind that this will undoubtedly meet their requirements. “IT’S EASIER THAN YOU THINK.” by Geoffrey Buckingham (published by H. Clarke & Co. (London) Ltd., price 26/-). This is a book of books for it has the power to appeal to every type of conjurer fromthe neophyte to the connoiseur. Geoffrey whose work must now be known to magicians everywhere has, as the main part of the work, detailed thefull working of the billiards ball, thimble and coin routines that make up his Grand Prix winning act. If this fulfilled no other purpose than putting on record the supreme achievement of one magician, it would be enough, for with these routines alone theauthor has done more thanthat; with meticulous and absorbing detail he teaches the reader these routines and such is the sincerity with which
he writes that one can after reading, truly agree with the title of the book, that it is easier than you think! Don’t by this run away with the idea that onecan duplicate the various feats after a few hour’s practice. Work is called for, but the careful study’ and work that Geoffrey has put into the routining makes the overall task one that is within the grasp of a worthwhile conjurer. Wewill repeat thathad Geoffrey done no more than describe the working of these feats he would have rendered a great service to magic and magicians. He has, however done more than that for in the 191 pages that make up the book, other routines and sleights are described together with excellent articles on loading and stealing, holders for coins, balls and thimbles and flourisheswith billiard balls and coins. Besides the routines that Geoffrey uses in his present act, two billiard balls, one coin and one thimble routine are added to the quota. The book physically is a finepieceof work. With pages of art paper measuring 94 X 64, about two hundred photographic illustrations and a very heavy cover the possessor has a work that will give dignity as well as utility to his library. Elizabeth Chat is responsible for the photographs, Wilfrid Jonson writes an introduction and there are delightful cartoon drawings in a very modern style, A most attractive dust jacket. We advise you to get a copy of the first edition before it is exhausted. “ S U C C E S S F U L CONJURING FOR AMATEURS ” by Norman Hunter (Published by George Newnes Ltd.) price M/-. This is primarily a book of tricks by which we mean that whilst it will tell the reader how the tricks are done it will not teach him how to get the most out of it. Neverthelesssuch a bookis of value to a great number of working conjurers for within its 380 pages there must be detailed the working of nearly five hundred effectscovering every phase of conjuring from pocket tricks to stage illusions, and let it be added employing the simplest possible apparatus. There are a plethora of illustrations (the dust jacket says 500 and we well believe it!) and Mr. Hunter who is an experienced journalist has made his explanations in a clear and concise manner. Those who remember the author’s many “ Magic Wand ” and contributions to the “ Magician ” know of his ingenuity and delightful way of taking old effects and giving them a noveI twist. Quite a number of suchnovelties will be found within the pages of the book, together with some quite valuable and unconventional ideas on magical accessories. The book is attractively printed and well bound and at the reasonable price demanded is a most handy book to add to one’s reference library.
As the old year died away we heard of the passing of our very good friend Neil Weaver. Founder of the Magic Circle, intimate friend of Martin Chapender he leaves a place not easily filled. He was a man mostsincere and always spokeashe thought. We last saw him on the occasion of the Dinner of the Magic Circle Occult Committee,an occasion when he made his last .officialspeech. God rest him. With the striking of Midnight on New Year’s Eve, memories of 1952 crowd in upon us. Most *of all the recurring pleasure of finding that there is a growing school of younger magicians whose techniqueis definitely of a very high standard indeed. Wethink of the beautiful card work of Tony Blitz, the lovely originations of Alex. Elmsley, the enthusiasm of John Derris, Bobby Bernard and Tommy Vanderxhmidt, the understanding of the better side of magic by Roy Walton. Weenvy the lovely coin work of Jack Avis. Above all we give thanks to those meetings Mare, Dr. Nicholls Harley, with Eric dala FrancisHaxton,Harry Hickson and Jack Avis where magic takes on new phases. We take our crystal and glimpse Hans Trixer successfully BOOKS (from page 30)
“THE CLASSICSECRETS OF MAGIC” by Bruce Elliott (Published by Harper and Bros. New York, price $2.95. Obtainable through the Fleming Book Co.) In his previous book, “ Magic as a Hobby,” Mr. Elliott initiated his readers into the fantastic world of modern conjuring by presenting them .with a number of ingenious and puzzlingeffects, which in the main had been culled from his own .publication for connoisseurs, the Phoenix. In this present book, thereader is taken many stages -further in his magical education and is made to realise that there is an art in the best of magic. Twelve effects,which in the opinion of the ,author canrightly be described as classics of magic ‘are taken, each being given to the reader in the -form of a lesson for that particular effect. It is only the extreme purist who may quarrel .with the author’s choices which are :(l) Location and production of a selected card. (2) The Smoking Pipes. (3) Production of a glass of liquid and the Rice Bowls. (4) The Paddle Trick. (5) The Four Aces. ( 6 ) The Miser’s Dream. (7) The Egg Bag. (8) Passing of coins or cards from the corners of a handkerchief. (9) Billiard Ball production. (10) The Razor Blades.
bringing off his headlining publicity prediction. We thank him, too, forthe sight of his lovely presentation of the Hindu Thread Trick. We stand once more at the side of the Scala stage and relive that beautiful ten minutes of manipulative magic performed by Fred Kaps; then we look once again at the mostpolished magic that in all our thirty odd years association with the Magic Circle we have ever seen, presented by so young a performer, to wit, Michael Bailey. This young man’s disarming manner is a true gift of the fairies. . Next month the Pentagram goes to twelve pages for a special Anneman number. The contributions will come from Francis Haxton, Jack Avis,Alex‘Elmsley, ArthurCarter,Fred Kaps, Hans Trixer, Brian McCarthy and others. A great budget of fine effects for less than the price of ten cigarettes. From most accounts, the evening Magic Circle telecast onJanuary 2nd, came oververy well indeed. The effects were not hackneyed and the cameras came in very nicely for close-up work. Of course we have yet to hear the opinions of the real critics (?) (11) Ambitious Card. (12) Cups and Balls. The author makes no claim to cover all the classics of magic, butrather, as the reader will soon be aware, he has takenthose effects on which he can write with the full authority of experience. Each and every effect is dealt with in a masterly manner and more than one (in somecases five) and versions of the effect is dealt withineach everycase.Some versions are forthe advanced student as for instance the Cy Endfield version of the slow motion aces. For special mention we would like to pick out this last mentioned effect, the Wally Dean glass production and subsequent version of the Miser’s Dream (reminiscent of marvellous Tommy Martin) and the Berg and Benson version of the Cupsand Balls. The book is very well produced, easy to read and chock full of illustrations commendably drawn by our friend Dr. Jaks. A cover has been added thatis curl-proof and a dust jacket in modern design adds to the general attractiveness. Mr. Elliott, who to-dayis undoubtedly one of magic’s outstanding and most readable journalists has added to his laurels with the writing of this most excellent manual. We shall look forward hopefully to a further volume, “ More Classic Secrets of Magic”!
32 I
I
M E N T A L I S T S ! M A G I C I A N S ! T h i s i s what you have been looking for
THE UNIVERSAL MIND by R O N B A I L L I E
A NEWAPPROACHTOMENTALISM, WITH A FASCINATINGEXPLANATION OF “HOW IT WORKS” ‘I-But how does mindreadingwork ? ’’ How many times have you been asked this question by members of your audience or by others who have heard of your capabilities ? Are you able t o give them a Convincing answer, or do you just stall them off with a few hackneyed remarks about ‘ thought waves ’ and ‘ concentration ’ and leave it at that? “THE UNIVERSAL MIND” fills a long-felt want by.giving you an extremely logical and convincing explanationas to how ‘ mindreading’ is possible, coupled with two effects to illustrate the theory.
And what effects!
Firstly : a spectator writes down a letter of the alphabet, a diagram and a number. These you reveal. THEREARENOFORCES,NOIMPRESSIONS,NOSWITCHES,NOWINDOW ENVELOPES OR SIMILAR DEVICES. Secondly : a spectator writes down anything he wishes on a piece of paper. This can be a short sentence, a line of poetry, several place names-ANYTHING AT ALL ! He folds this paper, seals it with a stamp-paper and signs it on the outside. This folded.sealed and initialled paper is placed IN FULL VIEW, in a prominent position. THERE ARE POSITIVELY N O SWITCHES, N O FORCES, N O IMPRESSIONS OR GIMMICKS O F ANY KIND. The folded paper is NEVER at any time out of the spectator’s sight. It can even be burned if so desired. And yet, WITHOUT ASKING ANY QUESTIONS you reveal what has been written ! Take our word for it, this is the most genuine andseemingly impossible sealed message reading method to date. Only a sheet of paper and a pencil are needed for both effects. There are more to make or buy.
RO
fakes or gimmicks. There is nothing
“ THE UNIVERSAL MIND ” can be performed impromptu, under any conditions, to a small group of people, to a single person, or toa larger audience. T o anyone performing mental effects this is a MUST ! “ THE UNIVERSAL MIND ” comes to you ina neatly printed, fully illustrated booklet in stiff board covers.
Price 12/6d. (postage 3d.) FROM THE PUBLISHERS
T H E MAGIC W A N D P U B L I S H I N G CO. 11 MONASTERYGARDENS,ENWIELD,MIDIPLESEX PETER
The WARLOCK
PENTAGRAM
MIRACLE SLATE
II
Still Available
PRICE
WARLOCK’S
- E2 10s. Od. Post Free
I
I
is publishedon the 24th of eachmonthand canbeobtaineddirectfrom the publishers for 117 per single copy.AnnualSubacription IS/post free. PUBLISHED BY:
The Magic Wand Publishing 11, Monastery Gardens, Enfield, Middlesex.
Co.,
Manuscripts for publication and books for review shouldbesent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
BmB BmB
r
The Magic Circie President : HisGrace
the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.M.C. Vice-President: Douglas Crngga, Esq., M.I.M.C. Clubroom and Library and Museum :
Hearts of OakBuildings, EustonRoad, London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
Forthcoming EventsFeb. 11 Concert. King George’s Hnll ParticularsfromHon.Secretary
:
FrancisWhite, 39 Alverstone Avenue, Wimbledon Park, S.W.19
A N D NOW
II
cc TRIGON
IS ’’
W R I T EF O R
FULL PARTICULARS
Il
JACK HUGHES will be pleased to send you fulldetails of
THE DE LUXE “SU-TABLE” togetherwith all his other effectsinreturnfor a stamp. Writenow to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
TO
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey I
CONJURING BOOKS FOR SALE OLDAND LIST FREE
NEW. Let me know your wants FOR STAMPED ENVELOPE No Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
Manic Wand Publications U
The MagicWand, Quarterly.Fercopy 3/8 p.p. Annual subscriptlon 1416. The Wizard, 36 pages monthly. Per copy 2/1 p.p. 6 month, 12/6. Year 24/-. Convincing Coin Magtc (Farelhl . . 17/10 Mastered Anlazement (Koran & Larnonte) . . 10/3 Bohleno’s Mysteries (Bohlen) . . 10/3 The Concert Ventriloquist (Hurling) 10/3 George Armstrong’s Premonition 10/3 Chandu’s Psychoanalysis . .. 10/3 Entertaining With Hypnotism (Dexter) 10/3 Challenge Instant Hypr.otLsm & Mass Hypnotism . . 211Joseph) .. . . 5/3 Strictly Magic (Eddie Stooging Around (Stuthard) 513 26 Living & Dead Tests (Garrett) .:. 5/3 Jamesosophy (Stewart dames) .. . . 5/?3 Year Book 48/49 (few only) 513 Stunts With Stage Money (Larnonte) ’ . . 5/3 Tncks of the Trade (Armstrong) .. 217 From the publishers THE MAGIC WAND PUBLISHING CO., 11. Monastery Gardens, Enfield, Mtddlerex. ~
.
Every Advertiser’s goods are fully endorsed by this Bulletin Publirhed by the proprietm The Magic WandPublishingCompany 1 1 Monastery Cudens, Enfield. Middlesex. andpdnted W* and Som (Rinten) Ltd..’Wdll Croft. Shipky. Yorhhim.
by Herbext
9
PETER WARLOCK’S
PENTAGRAM h THE December issue of the Sphins.
I
disagree with the words of Mulholland though he might have added that to hisgenius of devising tricks in written form, he alsoplaced on record through the medium of the j i n x , the finest contemporary criticism of magic and magicians that we know.
John Mulholland on page 172, W r i t e S, Annemann holds a unique place in magic. h i s name is known to more magicians to-day Since the inauguration of this publication W C than that of many of have,each year, devoted the February number to the most successful the memory of thisill fated magician. Last year, performers,yetalmostLeslie May, an early contributor to the J i n x , p Rone of thesemagicianseversawhimperform. pared a specialissuebyhimself, a noteworthy His fameinmagic isdue entirely to hisgenius achievement. This year we have spread ourseh:s in devisingclever ideas and to his ability to get and within the space of twelvepagesgiven you these on paper insuch a way that they had eighteffectswhich we think might well h:ivs universalappeal.” No fair mindedmagician will appeared in the jinx.
.’
TWO INTO ONE WILL G O ! BRIAN McCARTHY EDITBR’S NOTE :I.t‘t7 would say that practically every nzngicitrn in this cozlntry must have seen Major AfacCurthy work this effect either at a magical sncictp’ function 07 on T V . T o us it is one of the most original effects in natural magic that we have ever witnessed and despite the number o f times we have seen i t , full well knowing the working, so clean has been the handling that t h e illusion f o r us hcrs still been perfect. S o with t w o cnndles, n metal tube and sufficient rehearsnl ~ O Z hove L a miracle rxt vozu col?!?n~md.--P TA’ NNOUNCING that he intendstoholdup to ridicule the accepted postulates of mathzof matics, the magicianremindshisaudience the old formula. ” Two into one won’t go.” He then shows two candles and a tube, the tube being just large ecough to contsin one candle. He pushes one candle into the tube. Claiming that contrary to general belief “ Two into one wilt go,” ht? pushesthe sxond candle inside as well. He then pulls thetwo candles out of the tube, one after the other, and immediatzly gives the candles andtubeout for maminstion.The candles are h u n d to be ordinary whi!e the tube is of solid brass. and isnot expandable.
A
VOLUME SEVEN, No. FIVE
=
The reader will require twocandles of the eight to a pound size, a twolightcandlestick to hold the candles and a brass tube whose internal diameter is about one sixteenth of an inch greater thanthat of the candles to beused. Its length should be one and a halfincheslonger than the candle. The outside of the tube should be painted in a plain colour. As the type of candie mentioned is not always obtainable withplainends, rather than have a larger tube to accommodate the bulge, it is better to shave off the excess wax with the aid of a penknife so that in effect you will have straight sided candles. G‘enerd Remarks. Illustrations 1 to 13 sho ,v the views as seen by a spectator from thz front. 14, 15 and 16 show how the performer would set his hands, etc. The candles are labelled A and B for clarity. In the explanation which follows, the table used isassumed to be on the performer’s right, so that hefacesright during the presentation, most of the manipulstion b e i n g
I/6. (20 Cents)
- FEBRUARY 1953
34 accomplished with the left hand. Detailed Working. Thetube ispicked up with the right hand and dropped over a candle in the candlestick to demonstrate how closely it fits. It is lifted ofE with the right hand,and held as shown in Figure 1, with the tip of the index finger inside the end. The performer picks up candle A at the basewith the left hand, and slowlycommences to slide it into the tube. (See Figure 1). As it goes in, the right hand is gently raised a little. (See Figure 2). When the candle is nearly home, the right handdrops again as theleft hand is removed, the position at thismomentbeing as shown in Figure 3. The tip of the left first finger pushes the candle out of sightinside the tube. All the foregoing business of (See Figure 4). slanting the tube during the insertionmustbe done, so that when candle B is inserted, the slanting of the tube will not appear unnatural. Candle B isnow taken with the left hand, whichinserts itinto the end of the tube.(See Figure 5). It isnow apparently pushedslowly inside; actually, thetip of B is held against the bottom of A while the left hand slides along B as ifpushing it in.(See Figure 6 ) . (A cannot be pushed through as the right index finger stops it). During this movement, the tube is again tilted. (See Figure 6). W e n candle B is completely hidden by the left hand and forearm as in Figure 6, the right hand once more brings the tube horizontal. While it is doing so, however, the left hand commences to moveaway from the tube. (See Figure 7). Since the latter is tilted the withdrawal of the left hand allows candle A to slide down the tube (See Figure 7), and as the end of A slides back it protrudes, and is controlled by the left thumb and forefinger in such a way that when the tube is horizontal a portion is sticking out. At that point, the left hand leaves it, the exact effect at the moment being as in Figure 8. The end is then pushedhome.(See Figure 9). To sum up, Figures 5, 6 , 7, 8 and 9, show the entire operation with candle B. The object of all this is to make the insertion of B an exact copy of the insertion of A. When A was inserted a little piece was left protruding and finally pressed home; similarly when B is inserted, a little piece (presumably B but actually A) is left protruding and then pushed in. After pausing a moment and allowing the effect to be grasped the performer proceeds with the withdrawal of the candles. He first transfers the tubefromthe right hand tothe left,(See Figure lO), and slides the left hand slightly along the tube to bring the tip of candle B inside. At this moment, the left hand allows the rear end of the palmed candle, B, to rest against the stomach. (See Figure 14, which shows the performer's view from above). He then places the firstfinger and
k2 .-
35 thumb of the right hand at the other end of the tube ready to withdraw candle A. (See Figure 14). The left hand now moves in towards the stomach which later pushes the candle B insidethe tube, thus pushing candle A at the opposite end.(See Figure 15). The tip of candle A is seized by the right hand, which apparently withdrawsitfrom the tube.(See Figure 15, showing the performer’s view from above). Although A isreally t5ein.g forced out of the tube by pressure of B it should appear that the right hand is removing it without assistance. Candle A isplacedbackinthe cardlestick. It will be seen from Figure 11 that the above operation brings the left little finger on the end of candle B, and the tube at right angles to the left hand. As soon as candle A is clear, the left wrist is twisted to bring the tube vertical (see Figure 12), the bottom end of B being supported on the little finger. After placing A in the candlestick, candle B isremoved. To facilitate, the left little finger secretly lifts the end of candle B into the tube (See Figure 13). Candle B isremovedby the right hand and placed in the candlestick. h;otes on Mnnipulation.
1. The whole trick is performed while facing to the right, up to the point when candle A is removed from the tube. From a study of Figures 14 and 15itwillbeseenhowever, that the tube is turned towards the audiencewhileremoving A fromthe tube. This turning assists the introduction of candle B.
2. The moves arefar easier to perform if done slowly than if hurried and are just as deceptive. It is almostimpossible to get candle At.oslideback as indicated ir! Figure 7 ifperformed quickly. 3. The palm position of the candle is shown in Figure 16, the candle beingshownblack for clarity. It is held against the palm by the second and thlrd fingers and supported underneath by the little finger. 4. Considerable practice in front of n mirror isnecessary at first in order to get the angles right. The most difficuIt mistake to prevent is that of allowing the rear portion of candle B to droop down and show below the wriqt especially during the slidingpalm illustrated in F i g r e s 15 and 16.
It will be found that the support given b!. the little finger referred to above is a great help. Presentation and I’nfter (As used by the author). Thereis a certain well-Rnowr matlirmatical dogmn (tube placedoveronecandle to demonstrate close fit) that two into o m zsolz’t go. (Tube taken in right hand). This is offt73z quoted at us by our superiors (Candle A taken from Candlestick) with the most shameless a27 o f self-sntisfaction. (Candle A pushedinto tube). Let’s tnke themdown n p e g (candle B taken from candlestick), I s a y t h t tzoo into one .w/ill go!
(Candle B apparently pushed into tube. Dramatic pause). And what’s wzore, t w o (candle A pushed out and placed in candlestick) out o f one (candle B pulled out of tube and placedincandlestick) will come! And in case anyone thi~zksthtrt he is seeing double nlzd that fiiert? is r e c ~ i / y on111 one cnndle all the time (going down to the audience) will you, mndnm please re~~zoz’e fh!z,7m both and make sure they nre really t w o wholecandlesandnotjustone. (Givingcandles for examination. The tube is also given out for inspection). ALL right! (Receivingbackcandles) And the tube not expandable ? (Receiving back the tube). Thank yoz z’ery nzuch. Notes on Misdirection. 1. The articlesusedmustnotbeoffered for examination beforetheeffect.Theyshould b2 examined afterwards. The reason is that the “Wise guy”, if givennoleadbeforehand,willprobably think that the trick is accomplished by using one hollow candle into whichfitsthesecond or by using a tube whichissomeway expandable. By giving the articles out for examination afterwards? the performer proves conclusively that the “Wise guy”waswrong, and sincethemanipulationis completedby then, there remainsno thread on which to hang theories. If the articles were shown roundbeforepresentation of the effect, the possibility of the effectbeingaccomplishedby apparatus isprettywellruled out and thechances of theaudiencespotting the manipulation are enormously increased. 2. The touch that simply “ makes ” the trick is that of having the projecting end when pushinp in each candle. It isthe natural thing to do. Thc: effect ishardlyworthperforming if this detsil i; omitted.al-thoughitisbynomeans easy in accompIishment.
One of these starlit nights I’m going to get up in front of an assembled bunch of magical membership card bearing people and request that those willing to give up their business connections and all sources of income the profession of magic and allied arts and what it may bring them to stand. O n that night there will occur a sit-down strike likeof which has never been seen, that is in so far as adherence to the chairs is concerned. -JINX, page 348.
36
COLOURBLIND FRANCIS HAXTON
A LTHOUGH there are so many books
describing countless card tricks there are all too few of them 0 . ‘ use ior platform work ; it is for such work that I feel certain you will find the following effect to bemost suitable. Direct in its appeal and not requiring a lot of concentration on the part of the spectator, as is the wont of so msny card effects. Effect.
A pack of cards is removed from its case and fanned, backs to the audience, showingthem all red. Now turning the cards faces to the audience the performer counts off ten cards. He then asks a spectator for a number to be given between one and ten. On receiving the numberhecounts 04 the cards and shows the card at that number He then closes the packet anddropsit into a glass tumbler, with the backs of the cards to the audience. A card is selected by another spectator from a blue backed pack in a- similar manner and thiq packet is dropped into another tumbler.
The performer now states that no matter how the cards were mixed he would be able to find the card that was chosen, for, he goeson to s3y, at the same time taking the red backed packet from the tumbler and spreading the cards, “ You chose the onlybluebacked card in this redbacked packet.” This he shows by counting, and it is seen that the blue card is at the selected number. The sameroutine is gonethrough to show thatthe other spectator has similarly selected the only red backed card in the blue backed packet.
Method. Sin youhavenotexplainedwhat is going to happen,the suddenrevealment of a different colour backed card in each packet has an immediate response from the audience, a response that has pleased me so much that I have put this effect into my current programme.
You will require two glass tumblers, a pzck of red backed cards and a pack of blue backed cards. The preparation is very simple, all you need to do is to put a red backed card ninth down from the top of the blue backed pack and a blue backed card ninth down from the top of the red backed pack. The cardsare then replaced in their respective cases.
I
Prasenintion. First remove the redbackedpackfrom itscase and fan the cards face to the audience. This wili give y ~ the u opportunity of seeing whether the fanning has revealed any part of the back of the blue card; if .it has you just spread the cat& slightly to cover this and then turn the fanned backs to the audience. Now again turn the faces to the audience and say that you are going to count off ten cards. This you do and as you say “ ten ” you part your hands which are held about shoulder high and turn the backs of the cards half towards the audience. This should be done in an apparently casual manner. Its purpose is to give the audience an opportunity of seeing that you have red backed cards in eachhand. Now place the balance of the pack aside and ask for a numberbetween oneand ten. As you do this hold the cards in your right hand, fingers at the top, thumb at the bottom, the backs towards you. off one card, dropping the Now idly shuffle balance on top and at the same time spreading the cards faces towards the audiencesaying you are going tocount down tothe numbergiven. This gives you the opportunity of getting a break with the left fingersunder the top two cards as you close thefan, the topcard ofwhichis the blue backed one. At this point the cards should be at about chin height facing the audience. Say Numbersixisgiven.Push off the two top cards as one,from your left handinto your right, counting “ one.” Then the next card in front of these counting “ two.” As you takethe fifth card youpush thetopcard in your rizht hand back on to the left hand packetwithyour right thumb, where it. is retained with your left thumb. It is now in a position to be counted as number six ina perfectly natural manner. The spectator is asked to remember this card and you complete your count up to number ten and drop the p3cket backs outwards into one of the tumblers. A similar procedure is followed with the blue backed cardsand itonly now remains for the performer to show that in each case the spectators selected the only odd coloured backs in the packets. Note. After the first count, in my presentation, I count thecards again veryslowly to give the spectator an opportunity of confirming the position of his card. You can put everything into this part fortheodd colouredback is now at the freely selected position.
Stewart James gave a sweet reply to my request about “ What is a re-hash ? ” when it comes to writing tricks-“ A trick is NOT a re-hash if its entertainment value is improved, the method of working simplified, or the mystery deepened.”-JINX, page 345.
I
37
YOUR CHQICE JACK AVIS T H E EFFECT, whichismostdirect,goeslikz this : Two coins, a penny and a half crown are A spectator is wrapped in a handkerchief. asked which of the two coins he would prefer and according to his choice this is removed and shown by the magician who retains it, the handkerchief containing the remaining coin being left with the spectator. Hocus pocus and a transposition takes place; in the magician’s hand is seen the coin that was in the handkerchief. The latter is unwrapped and insideis found the coin of the spectatur’s choice! The requirements are few; they are two halfcrowns. a penny and a cambric pocket handkerchief. The sleights used are :l . Finger palmy Kaplan Coin Change, Fine A r t of Mngic.-or The De Manche Coin Change, ~ V o d e r ~ z Conjurer. 2. A coin steal to bedescribed later. The articles are disposed as follows :Handkerchief in outside breast pocket and the coins in the right trousers pocket. The working goes like this :Reach into the trousers pocket with the right hand finger-palming one of the half-crowns and bringing out the remaining two coins and placing them on the table. Takethe visiblehalf-crownwith the right hand and throw it into the left allowing it to slide into a finger-palmposition and follow up by throwing the penny on top of it. The left hand is nowextendedallowing the spectators to see that there quite definitely are two coins in the left hand. Brhg the left hand towards the right hand and apparently throw the twocoins into that hand. Actually the finger-palmed half-crown is retained, the penny only being thrown on top of the halfcrown finger-palmed in that hand. Again the spectators are allowed the sight of both coins. The left hand with its back to the audience is now closed into a fist and the half-crown held by the right hand pushed inside it, care beinq taken thst it does not chink against the other hzlf-crown. The pennv is then pushed ipto the left fist but in so doing the loweredgeisallowed to pass between the twomiddlefingers of the left hand which Prip it but allow it to protrude at the back of the hand.
I
~
~~~
~
~
~
.
-
-
~
The second, third and little fingers of the right hand are closed into the palm the fore-finger beingextended.Emphasising that the left hand contains a penny and a half-crown, tap the top of thele,tfistwith the extendedforefinger. At steal of the the same timeyouaccomplishthe protruding penny in this manner. As the forefinger taps theleft hand youwillfind that yourright middlefingers are in a perfect position to clip and remove the protruding coin. As soon as it is away move the right hand to the breast pocket to take the handkerchief. On the way getthe penny into a finger-palm position. Remove the handkerchief, shake it open and cover over the coins held in the left hand. As your left hand goes out of sight allow the two coins to chink thus fixing in the spectators’ mindsthat there really are two coins. The right hand fingers and thumb now grasp the coins through the handkerchief and theleft hand is brought out obviously empty. A spectator is then asked which coin he would prefer-in most cases he will say the “ half-crown.’’ Whateverhisanswer it is a matter of conjurer’s choice for the left hand now reachesunder the handkerchiefpretending to locatethehalf-crown by means of the milled edge. Your patter should support this 3ea. One of the half-crowns is now removed and placed on the table. Grasp the lowercorners of the handkerchiefwith the lefthand at thesame timeallowing the centreof the handkerchief to fall down forming a bag. Hand the handkerchief to a spectator to hold. The half -crown is taken by the r i g h t hand and thrown into the left hand a couple of times. The third time the magician goes to do this. switch the coins and close the left hand over the penny. Patter along the lines that the spectator wanted the half-crown but at the moment he has the penny. That matter however youwilladjust by means of a littlemagic, order the coins to change places-Hocus, pocus ! Your left hand is opened to revealthepennywhilst the spxtstor unwraps the handkerchief to find that he h25 the hslf-crown. Whilsthe is engagedon the latter taskyou dispose of the duplicate half-crownin vow ri7ht hsnd cost pocket. ~~
~~~~~~~~
~~~~~~
Magicians are like that, loyal to the last snap of a rubber band. They always can be depended upon to applaud, not when the trick is over, but when the pull goes. It is often difficult for the lay spectators to figure why the magus is getting a hand.-JINX, page 560.
I
38
POISON IN JEST PETER WARLOCK ROM that“delightfulpublication for theconnoisseur, the Phceniz” mergedan effect that has alreadybeensubjected to manyvariationsbothin I refer to thetrickinwhich,during plotandmethod. the magician’s absence, one of a number of glasses containing liquid has had added to it an imaginary shot of poison. The magicianreturns totheroomsnd is successful in locating the poisoned(?) liquid!
F
As I mentioned before there have been many va-.iations on this in the “ Phcelliz ” (Nos. 212, 215 and 267) andalsoour verygood friendJimmyEster. gave our readers an excellentversion in the previous number of the “ Pentagram.” In seeking OUT own solution we have been guided by two things : 1.
Theobviation of confederacy.
2. The directnessinthepresentation. Briefly the effect, which isintended for drawingroomwork, goes like this : On the magician’s table stands a OT shape is row of sixglasses(size immaterial). Intoeachaquantity of liquid is poured from a lug. The magician then introducesa : he mentions how Borgia motif Cesarewouldchoosethevictimand his sister Lucretia, administer the fatal dose. Two members of the audience are asked t o enact the main characters;themanis seated on the magician’s left, whilst the lady sits on hisright.Inkeepingwiththeplol, the magician picks up a small stone, and asks‘:he man to hold it in his left hand. The Borgias,” he mentions, “ were superstitious-theobject you hold, and which I don’twant you to release until I tell you, is an amulet.” To the lady is now given a small glass phial. It is quite empty, but the to imaginethatit recipientisasked contains a deadly poison. The magician now indicates that he is going to turn his back (if thought necessarv he can also be blindfolded) and he gives instructions that when it is impossible for is to fix his mind him to see what is going on, the man on one of the glasses and take it across to the lady. His task is then finished, and he can return to his seat in the audience. The lady is pour to some of the invisible poison into the glass from the phial, and then replacetheglassinitsoriginalpositiononthetable. So that the magician cannot be helped by noting the possible movement of one glass, allthe glasses aretobe shiftedforwardalittleand re-aligned.When thishas beencompleted,themagicianturnsround,andafter suitable dramatic play, locates the glass that has had the poison added.
I
The requirements are as follows : Six tumbler glasses (the type roughly illustrated can be ojtainedfrom Woolworth’s, and is ideal as it has anoctagonalbase). A roll of cellophane tape. An empty phial with a cork to fit. A small smooth stone (to represent the amulet). A large jug container t o hold s o n e water. Thepreparationis simple.Atthepointshown in theillustration,asmallsliver of cellophanetape is attached.Thisisbestachieved bv stickingonalarger piece and then cutting away and &en scraping off the unwanted pieces with the aid of a razor blade. Withthispreparationcomplete the set up for performance is simple. The sixglasses are lined up on thetablewiththeaddedcellophane at the rear, so that in effect you have six one-way pointers. The jug of water is to the rear of the table and the phialcorkedandtheamuletare inreach.
In presentation,theglasses are first filled withwater, the jugplaced aside,and thetwomembers of the audienceinvited to assist. Theman is seated left of the table and the lady on the right. The man is handed the amulet and asked toretainitinhishand, which means ‘that onlyonehand c u n be free to pick up the glass at
n laterstage.
The phial is picked up, uncorked, and handed to thelady, who will either takeitwiththerightor left hand the fact (emphasis must be laid upon that the phial is empty and confirmation should be forthcoming from the assistant). Again note that this
assistant o n l l ~ hasonehandfree.
Withthemagicianturningaway and his instructions being carried out as outlined in the effect it will be seen that the picking up, handing over and ultimate rep1acemen.t of the glass upon the table means thatthe g l a s mustbe givena complete turn SO that the cellophane indication on the selected glass must
be o t 1 theoppositesidetotheindicators on the f i v e r e m i n i n g g l a s s e s . That is the simple secret. The
fresh alignment of the glassesby the lady is notlikery to upsetthz pointersfor whilst eachpointermaybe shifted up to a matter of 30”, nonewill equal the full 180” whichtheselectedglasshassuffered. One last word.Don’t use stemmedglasses, for if taken by the stem, the slightest movement of the thumb and finger is sufficient to cause a turn of the glass.
And so we have friends of magic who are willing t o applaud lustily even at the drop of a gimmick, the wing-wise glance when a thread breaks o r an assistant isn’t on time. Likewise we.have would-be friends of any magician for himself alone, perhaps in thecase of professionals as asop to our amateur vanity.-JINX.
BURIED TREASURE Two Relative Key Locations ALEX ELMSLEY EDITOR’S NOTE.?Ye take this o p p o ~ t u n i t yof welcoming a Izew contributor t o our pages. In his description o f these two most excellent card locations, Alex. Eimsley, knowing that renders of this publication speak the same nzagical language, has confined himself t o bare descri$tion and instruction. A lovely close-up worker, Alex. is one of a youzger group o f nzagicinns who day by dny is taking advantage of the modern technique and with it producing something new in magic. j u s t recently he has been “ slaying ” mzgicians nnd laymen alike with a deliglztf ul vanish o f a cord from betweez two others. A description of this will be found in a forthcoming publication t o which we havealrendyreferred, “ Come a little closer ! ”-P. W . N RELATIVE key locations the position of two or more cards relative to each other is known, and it is upon the keys’ relative position thatthe location depends.Because of this, the -pack can be cut indefinitely by a spectator before the start of the effect. The idea of a relative key springs naturally from the idea of a buried key, in which the position of one card relative to the top of the pack is known. E f f e c t 1. The pack iscut several times, and then it is cut intotwo approximately equal packets. Two spectators look at the top cards of these two packets. Then each of the packets is cut, burying the two chosen cards. The magician looks through the packets, and cuts each of them.Now the spectators each dealfromtheir packet simultaneously, card for card, and each is told to say “stop” whenhe deals his own card. The two spectators stop at the same time. Method. Before starting, cote the bottom card, and the twenty-sixth card from the top of the pack. The ability to cut a pack into twenty-six and twentysix is a great help in peeking buried and relative keys. If you cannot do this, you must run through the pack as though to find the Joker and peek the key while doing so. Now the pack is cut indefinitely, and then it is divided into two packets, approximately halves. Thetop card of eachpacket is noted, andthe up eithsr of the packets arecut. Now pick packets, and run through it,looking for a key. and also counting the cards. Whichever key you find. cut it to the top of the packet. Now pick up the other packet, run through it and cut the other key to the top. If the number of cards you counted in the first packet is more than twenty-six, subtract twenty-six from the number counted, and cut the -resulting number of cards from the bottom of the
I:
second packet to the top. If the number counted is less than twenty-six, subtract it from twenty-six, and cut that number of cards from the top to the bottom. Now the two chosen cardsare at the same positions in the two packets, and the denouement is in your hands. It can happen that both keys are cut into the same packet. In this case, one of the chosen cards will be between the keys, and if two or three cards are between the keys, a little questioning will tell, youwhichis the chosea card. The other card is lost, but a suggested out is to take thepacket with the known card on top, and second deal in time with a spectator who is dealing fromtheother packet. The spectator stops when he comes to his card, and you produce the other chosen card on the same deal. E f f e c t 2. The pack is cut several times,then it is cut into three heaps, the top card of the centre heap is looked at. The original bottom heap is dropped on topof the centre heap, and the original top heap is dropped on top of both. The spectator deals the cards faceup on to atable, and magician stops him as he is about to deal the selected card. Method. Four keys are used for this effect,although two can be used with less freedom of preliminary cutting. Youmust note thebottomcard of the pack and every thirteenth card thereafter as you run through the pack “ to make sure that they are all there.’’ This is less difficult than it sounds, but a knowledge of theNikola system is a great help. The cards must be remembered in their order from the bottom of the pack. Nowworkthrough the effect until the point where the spectator is dealing the cards. Count the cards until one of the keys turns up, and then subtract the number at which it standsfrom thirteen. Nowlook outforthe nextkey in the order in whichyouremembered them. (Explanation : Suppose the keys, in order from the bottom of the pack, were the 1, 2 , 3 and 4 of hearts. When the spectator deals, the 3 of hearts isthe seventh card. Subtractibn from thirteen gives six, and youlook out for the 4 of hearts). Whenyousee this key, let the spectator deal as many more cards as the answer to your subtraction sum, and then call “stop.” The next card is the chosen card. (Explanation :.there are six cards between the 4 of hearts and the chosen card). You will find that you have plenty of time in which to do your calculations. If you do notwant to remember four key cards, note two cards thirteen apart at about the centre of the pack-. Now allow one cut of th? pa k before the start of the effect, asking whoever cuts to cut somewhere near the centre. Now carry on with the effect as before.
. . . the mutilated
Pigeon catching from mid-air, pigeon vanish from sucker box, duck production, and . parasol. At that point several persons of taste and intelligence walked out.-JINX, page 742.
I
FANTASY IN SILK FRED KAPS
N the performer’s table rests a small stand. On this stand (as seem intheillustration) rest three reels then break it off fromthe spool. The spoolisreplaced of coloured cotton. The colours represented are upon the stand and the magician allows the audience to see that he holdsnothingbutthe length of cotton. red, yellow and green. Now the length of cotton is placed over theleftarm, A member of the audienceisrequested to name and the right hand Picks UP the spool of green cotton two of the colours. Let us suppose that hesays, yellow and in the action from it the stand the and green. From the reel of yellow cotton a short length thumb slips inside the nylon loop. The spoolispassed of cotton is taken and then a similar lengthisremoved to the left harid (and, of course, at this stage of the effect from the green spoo]. Apart froin, the lengths of cotton your right side should be to the audience) and the ball thehandsare Seen toempty, neverthelesswhen the of silk is left hanging frorn the thumb of the right handpieces are rubbed together between the hands, instead of The right hand now Pulls Out a length Of cotton two pieces of tangled cotton: the magician has a yello:v from the green reelfrom did the that it red, and this is and green parti-coloured silk ! broken off. In this unrolling of thread with the second The production is basedupon an old PrinciPl?, bst reel, itisimportantthatthelefthand be held higher onlymakesa thanthe right, so thattheright hand comes down wit11 the use of two reels andtwocoloursno? new effect,butalsoaidstheperformer in actual handling. the Gotton. This allows n o possibility of a ‘ flash fronl Requirements are :ball the of silk hidden right theby hand. The is spool wooden Three hollow or now the replaced on stand. cardboard (see spools Now with one length of cotillustration). thumb the ton hanging from Three parti-coloured silks, hand right and5nger of the one red and yellow. one take the other length of cotred andone green, and ton by its end away from yellow and the green. Each point left thissleeve. (At small of these a silks has move comes a which is thread nylon sewn typically Fred Kaps). In to one corner. apparently taking the lengths, A small stand on which the of cotton higher with a spools are placed. fairly quick movement, the so that his artithe (Regarding coloured aresilks. There side left is towards the two ways of making these. audience. As he does this The first is of course, synchronising to have with the upquarters separatefour of the jerk ward hand. of the right .bundled colours sewn the together to is silk thrown right back of the hand. one form Possibly square. the to better the way is to obtain so that performer when the squares three of white silk can he position his finishes andthethen colour neceshand right the show palm the sary squares. to Information bundle audience, the on dyeing 2! silks will befound in Harold Rice’s firstof slik hanging atthe back.(This is a move thatrequires carefultimingandto those whomay feel. that theycanvo1un;e of Encyclopaedia of Silk Tricks.”Asimple means of both dyeing andpaintingon silkshasrecentlynot makeit with ease: the followingis suggested. Atthe been marketedby thefamous colourists, Messrs. Windsorpoint where the ’ength of cotton is taken fromthe left and Newton. Your local artshop will be able to give sleeve, both pieces are placed inthe left hand, which is youparticulars of tl1i.s orinformation may beobtained held palm to theaudienceallthe time.Actually, however, much in themanner of looped a billiard ball acquitdirect from Windsor and Newton, Ltd.-P.W.) To preparefor the effect each ofthesilks is so ment, astherighthand comes toand covers thelefthand, folded. using one of the standard fo!d;. so that it forms the bundle goes over the left hand, the left thumb coming a tight ball and the nylon loop projects. into the loop, as the lengths of cotton are taken from the -The yellow-green silk is now placed in the spool right* me right hand then moves away quiteempty. the i,eliow cotton,the red-yellow silk is placed From this. point the trick Continues much the same. P.W.) The !eft hand now comes up to the right under the i n the spool carrying the red cotton, whilst the remainlengths of cotton and then with a rubbing movement of placedinside thespoolcarrying ing red-greensilkis both hands the lengths Of cotton are At a green cotton. The spools are then set on the stand with POlIIt where a Small ball Of Cotton is held a slight movethe open ends to the back. The illustration gives you rolled ball of silk ment of the left handbringsthe a view of the stand with the s ~ o l in s position for performance. between the two palms.under The silk cover of both hands is slowly developed, and thus another silk and The magician asks his audience to name two of the another is born. coloursand we supposethat those given are red and In conclusion, we shouldlike to thank our friends green. hi’ith the knowledge thatthe red-green parti-Henk Vermeyden (EditorofthefamousDutch magazine, coloured silkisin thespoolcarryingthe green cotton, “ Triks ”) andFredKapsfor permission to translate an& pick up the spool of red Cotton and handling atthe publish this very nice piece of silk magic. fingertips pull out about a yard and a half of cotton and
0
Even the magicians don’t seem to be able to tell a good act from a bad one, or at least that is the impression given by their trade papers. The pages of a magical society’s house organ carries reviews of the shows put on by the variousmagical societies at their meetings throughout the country. According to these descriptions every act is a fine act. There is never a word of criticism expressed and these papers have the most hypocritical reviewers in print. It’s not that the reviewers don’t know better : they just don’t dare express anything that smacks of criticism. ,Anyone who dares to write an honest piece about the average magic show wouldn’t have a friend left the day after publication. Every act is “ a fine act.”-JINX, page 806.
41
JACOB’S ELEVATOR HANS T R I X E R HIS IS a lovely impromptu card routine that Tideas Hanshas evolved by bringingtogether the of Dr. Jacob Daley and Bill Simon, the former’s “ Jacob’s Ladder ” and the latter Elevator Cards.” Briefly after having shown and dealt the Ace, deuce, three and four of one suit on to the table, the conjurer makes each of three cards in turn show that it can pass from the top to the bottom of the pack and vice versa. The fourth card after beingplaceddeliberately into the pack,without any suspicious moves reverses itself. There are no difficult sleights in the trick, and though a second deal of one card is called for, it occurs at such an off-beatmoment that a most elementary dealwill not besuspect. This is the way it goes. Leaf through the pack finding the Ace, deuce, three, four and five of one suit and openly bring them out and place them on top of the pack. The only precaution to be taken is that the audience shouldnotbe aware that the number of card5 exceeds f o u r , as onlythisnumberfiguresin the trick as they see it; they should be in consecutive order with the Ace the top card of the pack. With this set-up and the cards held in the left hand the four top-most cards are thumbed ofF and turned over on top of the pack with the right hand. As thecards are shown the left hand thumb counts down two cards and a break is obtained and heldby the littlefinger. The face up cards cover this very nicely. The spread of cards is now closed and they are lifted off the packtogether with the two cards held above the littlefinger break.(The right hand incidentally takes the cards at the narrow sides much in the manner of the start of the “ Biddle ” count). The left hand approaches the cards and the thumb draws 03 the top card, whichis the four spot, on to the pack. It isof course still face up and it should overlap the edge of the pack. The wrist of the left hand now turns and the four spot is placed face. dnzevz under the cards held by the right hand. This very open method of showing the cards isrepeatedwith the three, deuce and Ace, the onlypoint to notice.being that as each subsequent card is added it is allowed to overlap the one before so that when the cards are turned face upwards the spectators can see the indices of four cards, the two extra cards being hidden behind the four spot. The risht hand turns themface upwards to show the indices and then still in a spread they are turned face down and placed on top of the pack. They are squared up and then the four top cardn +‘
are dealt, the petformer as he places them down saying, “ Four, three, deuce and Ace.” (By having the cards in a spread there seems a more legitimate reason for placing the cards on the pack, squaring To place a them upand subsequentlydealing. stock of squared up cards back on top of a pack and then dealing seems unreasonable). Actually, of course, the cards dealt are the five spot, and indifferent card, the four spot and the three spot, the deuce and Ace being left on top of the pack in that order. The pack is now dropped on top of the supposed Ace (actually the 3) ; lifting pack with Ace apparently at the bottom the performer taps the cards and then double lifts the two top cards showing that the Ace has apparently come from the bottom of the pack to the top. He turns the cards over on top of the pack and offers to repeat the feat. The top card (the deuce)isremoved and placed onthe table. The packis dropped upon the apparent Ace. Another tap with the finger and the top card is turned over to show that the Ace has travelled through the pack again. The Ace is now removed and placed face-up on thetable. The three spot is now second card from bottom. With the packstill on the table, the second card, apparently the deuce(really the four),is taken and placed on top of the pack. A tap with the finger and the right hand takes the cards in a position to make the “ glide,” turns the pack over and shows that the deuce has gone from the top to thebottom. The cards are turnedfacedown and the deuce apparently taken from the bottom (at this point the “ glide ” ismade and actually the three spot is taken) and placed on top of the pack. Another tap, and the pack is turned over to show that the deuce has found its way back again. The deuce is nowdiscarded and placed face-up next to the Ace. The indifferent card (from the spectator’s point of view, the “ three ”), is now taken and inserted into the middle of thepack. A tap with the finger and the conjurer shows that the three spot has travelled to the top. With a request to the spectator that he would like to see it repeated, second deal onecard (actually the four spot). keeping the three on top. Turn the pack face upwards and insert the dealt card facedown into the face up pack. “ This time,” says the conjurer, “ we’ll make it harder. Not onlywill it jump to the top of the pack but it will perform a somersault on the way.” The pack is turned face-down, flicked with a finger and the spectator is. shown that the three has travelled back to the top of the pack. faceup The three is now discardedandplaced next to the Ace and the deuce. The pack is held
THE PSYCHIC SEVEN ARTHUR CARTER OME TIME ago I set myself thefollowing problem. A member of the audience must bc asked to think of any card in the pack; a card would then be placed face down upon the table by the performer,whichwouldprove to be actual ! Impossible ! Yes, card mentally selected provided the spectators did not know in advance exactly what was being attempted. The fascination of certain cards waswellknown evenin the days of Robert-Houdin, and after due cogitation and consultation of statistics, the Seven of Diamonds wasdecidedupon as a suitable subject for the experimentinquestion. Indeed, one often gets it from anabsolutely “cold” start, but if the following presentation is used, it becomes almost a certainty. The pack is taken and ribbon-spread face upwards,allowing the Seven of Diamonds to show prominently, after which the spectator is addressed as follows :“ While my back is turned I should like ydu to think of one of the cards - which one is of course up to you. You may prefer a high cardsuch as a nine, ten, picture card or ace, on the other hand you may prefer a low card, such as a two, three, four or five. Then there is the question of colour-some people prefer black cards, others on the other hand do not; but, as I say, what you prefer is upto you. Take your time and when you have finally decided gather up the cards and shufflethem. Thank youverymuch.” It isnotsuggested that the above should ?X epeated word for word, but the gist MUST be (Idhered to, as the psychology is vitally important. The phraseology is such that the spectator’s mind IS discreetly steered off all cards other than the red sixes, sevens and eights, no3e of which-other than the seven of diamonds, are verylikely to be selected.
S
it.”--JINX,
On receiving back the shuffled pack, the performer states that he (will also think of a card, and after due cogitation, removes the seven of diamonds and places it face down upon the table. The helper is then handed the pack and asked to remove his card, and place it face down beside the other. One of twothingswillhappen. (a) He will fail to find it, in which case you have accomplished a miracle,(b) He will do as requestedand aithough they do not realise it-the audience have seen the end of one trick and the beginning of another. In the pages of Sh-h ! li’s n Secret the late The0 Annemann, describes a trickentitled : “ A Couple of Cards GetTogether ” and It is a variation of this experiment which is used as an “out.”Whileglancing through thepacktheperformer notes the bottom card which becoms a key. The spectatorisaskedtocutthepack into two piles and choose one of them. If he selects the one containing the key, he is asked to place his mentally selected card on it; if not the performer does the same with his, the helper using the other. Both packets are then cut separately, thus placing the key card above thespectator’s card. Both. heaps are then placed together. The performer now points out that they have each thought of a card, which cards are obviously widely separated in the pack. a f e w moments cog“ to get centration however, will cause them together to talk thingsover!“ Now for the first time the performernamesthe cwd cf which hs thought (i.e. the key card). The. helper now takes :he p x k sn;l deals the cards face upwards until the key card is reached. and upon turping over the r?ext 5nds it to be the very one he thought of! The principleemployed in theabovewas, T believe. originally due to Dai Vernon, but as h i r as I am aware this is the first instance of its being applied to a full pack.
I hope thatclassicremark of AI Baker’snever is lost. It came up theother day at lunch, when an advertiser wrote AI and told himhe shzuld have such and such, a greateffect,becausefivehundredother magicians had bought it. Baker replied,That’swhy I don’t want it. Becausefivehundred other magicians had bought pnge 246.
jACOiFS ELEVATOR--C&. from page 41 face down and the remaining card on the tzble (the five spot) taken and pushed into the pack nzsr the centre, care being taken not to riffle the ends inthe process and show the reversed ‘‘ four.” When the five spot is about two thirds of the way in, casuallyraise the pack and lettheSpectator
I
see the two pips so that the card would appear to be a “four.” The finger and thumb quite naturallv cover the index at this point. Push the card right home,placethepack face-up on table and then ribbon-spread the cards. One card willbe face down.Performthe normal spreadturnoverand there is the four spot reversed.
He took ten long steps t o the right,stealing his load on theoffside. turned right about face, made his production and next steal while taking ten more long steps in a westward direction, then right about face again, ten steps, steal, production, right about face, ten steps, etc. W e got the same sort of crick in the neck we get watching B tennis ball.-JINX, page 743.
E
HE PASSING of Arthur Dowler, was another piece of sadnews. One of the most likeable stage personalities we haveever met; a n n q who always had a goodword to say about every personheknew; a manwith anstural sense of fun both on and off the stage, he too was liked by everyone withwhom he came in contact. As an artist he had that superbsense of timing that many could envy.Wehavewatchedhim night after night prompt side, laughing as much at the end of the week as at the beginning. He will be greatly missed and to his widow and daughter we extend our deepest sympathy. With this issue, we hit our biggest numbertwelvepages - somethingwhich we should like to do every month, somethingwhich if every reader managed to get another reader we could do, It would allow the inclusion of W o r t h W h i 1 e material other than tricks. Therefore dear readers, if you can do a little crusading, both you and your friends will be the beneficiaries. A common and easilyunderstoodword to magicians, “Gimmick” the readers of “Advertiser’s Weekly” had a definition which opens up a n w sphere of thought. It is this :“ A gimmickis a scheme of merchandising and advertising and more particularly the special
theme or sales oiler to be advanced to the publia to impel purchase.” i n the January 3rd issue of Abrtz, that guardian of magicians’ morals (the man who took bothBruce Elliottand ourself to task for our printing of commonplace words), Goodliffe comes out with a trick involving a lady andher most intimate garment that almost sent a blush to our cheeks. It’s a trick that usedin the wrong place might easily bring the performer a clip on the jaw from an enraged fiance or husband. Practical Mechanics forFebruary gives a reply to the Institute of Magicians who have been protesting against the exposure of conjuring tricks in that magazine. It is a well worded answer and shouldgiveimpetuousminded individuals cause to think before making certain representations. It is well to remember that one writer to whom the magicalworld at large owes so muchwas the greatest exposer of all time. I refer of course to A r?gelo Lewis. Milton Kort,Dr.Jaksand Peter Moffat.There Nextmonth we shall have an e x t e n d e d Annemann issue withmagic by Milton Kort,Dr. Jaks,StewartJamesand Leslie May. There will also appear, “ Miracle Porous Glass ” which we think will appear in many programmes.
BOOKS FOURTH COLLECTORS ANNUAL, Edited and Published by J. B. Findlay. Once again our very good friend Jirnrny Findlayhas produced a mostworthwhilework. Running to amatter of thirty-two pages of art paper measuring 93 X 73 we feel that every collector(andforthatmatter everymagicianwho respects his art), will feel that his individual needs have been catered for. After a short preface, there appears an article by John Mulholland on the collecting of old apparatus which is followed by a continuation of GeorgeJenness’smonographon the Maskelyne family. In this article Mr. Jenness deals with books and book articles relating to the great Home of Mystery. A most interesting contribution comesfrom the pen of that able magical journalist Robert Lund.He takesforhis subject the writings of Dr. H. R. Evans. To colIectors of articles this is a most valuable contribution. Following this under the title of Varia,” the Editor gives some interesting tit-bits of information. “
All these precede the lengthy article written by Ptinos entitled, “ The Magic Circle; a short literary history.” In this most comprehensive piece of writing he takesthereader from 1996 until the present day through the many publications that the Magic Circle has undertaken. In the main course this deals with the A4tr .?;c Circular inits various phases. A most valuable article, which has been separately printed in a very limited edition. In a monograph on “ Specialised Books for Conjuring Bibiophiles,” Stanley Collins sets one’s mouthwateringwith the descriptions of some varieties in his own collection. The Annual is brought to a conclusion with a veryfine article by theEditoron “ Buatier de Kolta.” His mention of Mrs. Fairs (the daughter of de Kolta), brings to mind the fact that in one evening at Portsmouth we met this lady, a pupil of Bertram andarelation of Louis Nikola. It will be a long while before we hit so much historical magical association in the space of a few hours. We thoroughly recommend this well produced publicaton to all our readers.
44 M E N T A L I S T S ! M A G I C I A N S ! This i s what you have been looking for
THE UNIVERSAL MIND by R O N B A I L L I E A NEW APPROACHTOMENTALISM, WITH AFASCINATINGEXPLANATION OF “ HOW IT WORKS” ‘I--But how does mindreadingwork ? ” How many times have you been asked this question by members of your audience o r by others who have heard of your capabilities ? Are you able to give them a cotwincing
answer, or do you just stall them off with a few hackneyed remarks about thought waves ’ and ‘ concentration ’ and leave it at that? THE UNIVERSAL MIND ” fills a long-felt want by giving you an extremely logical and convincing explanationas to how ‘ mindreading’ is possible, coupled with two effects to illustrate the theory. And what effects!
Firstly : a spectator writes down a letter of the alphabet, a diagram and a number. These you reveal. THEREARENOFORCES, NO IMPRESSIONS, NO SWITCHES, N O WINDOW ENVELOPES OR SIMILAR DEVICES. Secondly : a spectator writes down anything he wishes on a piece of paper. This can be a short sentence, a line of poetry, several place names-ANYTHING AT ALL ! He folds this paper, seals it with a stamp-paper and signs it on the outside. This folded. sealed and initialled paper is placed IN FULL VIEW, in a prominent position. THERE ARE POSITIVELY NO SWITCHES, NO FORCES,N O IMPRESSIONS O R GIMMICKS O F ANY KIND. The folded paper is NEVER at any time out of the spectator’s sight. It can even be burned if so desired. And yet, WITHOUT ASKING ANY QUESTIONS you reveal what has been written ! Take qur word for it, thisis the most genuine and seemingly impossible sealed message reading method to date Only a sheet of paper and a pencil are needed for both effects. There are more to make or buy.
RO
fakes or gimmicks. rhere is nothing
“ THE IJNIVERSAL MIND ” can be performed impromptu, under any conditions, to a small group of people, to a single person, or to a larger audience. T o anyone performing mental effects this is a MUST ! ‘ l THE UNIVERSAL MIND ” comes to you in a neatly printed, fully illustrated bookletin stiff board covers.
Price 12/6d. (postage 3d.) FROM THE PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
11 MONASTERY GARDENS, ENFIELD, MIDDLESEX PETER
PENTAGRAM is published onthe 24thof rrch month and can be obtained direct from the publishers for 117 perLingle copy. AnnualSubrcription 181post free. PUBLISHED BY:
I MIRACLE SLATE
Publishing Co., 11, . Momwery Gardens, Enfield, Mlddlesex.
-
I’residcnt : His Grace the Duke of Somerset,
D.S.O.,O.B.E.. J.P., M.I.M.C. Vice-President: Douglas Craggs, Esq.,Y.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. MagicalTheatre
dE2 10s. Od.
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRBSS:
Post Free
Peter Warlock,
Forthcoming EventsMar. 7-Concert %Mental Magic-Jack Morrison 27-Annual Banquet Particularsfrom
Surrey.
m.8
Hon. Secretary :
FrancisWhite, 39 Atverstone Avenue, WimbledonPark, S.W. 19
24, Wordsworth Rd., Wallington,
m.
:
King George’s Hall, W.C.
The Magic Wand
Still Available
PRICE
The Magic Circle
WARLOCK’S
A N D NOW
I
TRIGON l9 ’’ W R I T E FOR
FULL PARTICULARS
II
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with allhis other effects inreturn for a stamp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
TO
Hypnotizm
PETER WARLOCK 24,
Wordsworth Road,
Wallington,
I
Magic Wand Publications TheMGic Wand, Quarterl).. rer ropy 3/8 p.p. Annual sub,criptiorl 1416. The Wizard, 36 pages nlonthlJ.. 1’cr copy 2 / 1 p , p . , 6 rvonth II 6 . Y ~ a r 21:-. Convtncrnp Coin Mapk (Fare!li) . . 17/10 Mastered Anlazentetlt (Koran Sr I.atrlontc-) , , 10/3 Bohleno’s Mysteries ( Bohlen \ . . 1013 The Concen Ventriloquirt (Hurling) 10/3 Georgc Armstrong’s Prenlonition 10/3 Chmdu’s Psychoanalysis . . . . 10/3 Entertaining With Hypno:ism (Dexter) 111/3 ChaJengc Instant Hypzotistn & Mass
Surrey
CONJURING BOOKS FOR SALE OLD ANI) NEW. Let me know your wants LIST FREE FOR STAMPED ENVELOPE No
Gllers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
..
,
.
. . 211-
Strictly Magic (Fddie J o s r p h ) .. Stooging Around (Stllthardi .. 26 Living 3 Dead‘ Tests (Garrett) . . Jarnesosophy (Strwart .Jarnos) . . .. Year Book 48/43 ( f e w only) . . .
5/3
Tricks
513 2./7
Stunts With Stage Money U.arnontc) of the Trade (Armstrong)
. ..
5/3 513 5:3 51’3
From the publishers THE MAGIC WAND PUBLISHING CO., 11, Monmtey Gardens. Enfield. Middlesex.
Every Advertiser’s goods are fully endorsed by this Bulletin
PETER WARLOCK’S
PE NTAGRAM FOREWORD Last year when l was in America with th? “Flying Sorcerers,’’ I had the pleasure of meeting nany ofthetop flight magicians specialising in close-up magic. Among them was my goodfriend Milton Kort,whonot onlydoessomeoutstandingwork,but also, as mostreaders of the “ Pentagram ” will know, wasresponsiblefor a verybig slice of the material in Bobo’s recentwork on coins. This efcct, “ Kortially Yours ” he showed Stewart jumes and myself whilst w e were at his house. I found itmostattractive, and it i s with Milton Kort’s Permission that X have written it up for Peter Warlock so that it m a y appear in the “ Pentagrum.” -FRANCIS HAXTON.
KORTIALLY YOURS MICTON KORT
THE EFFECT. A pack of cards (borrowed
if need be) ! is shuffled and a spectator invited to select a card, look at it and return it to the pack. The latter isshuffledagainafterwhich five cardsaredealt off for the spectator and another five for the magician. The spectator is now requested to pick up his five cards, hold this packet longitudinally between the thumb and the fingers, stack them into a small packet and then d o exactly what the magician doesThe magician takeshis five cards in a similar manner and carries out these actions : 1. Removes the top card, turns it face up and then places it underneath the packet. 2. Repeatstheseactionswiththesecond and third cards. 3. Turnsthe wholepacketoverholding the packet as before. 4. Removesthebottomcard(whichwill of course be face up), turns it over and replaces it underneath the cards. 5. Takes the top card and places it at the bottom of the packet. Thespectator having donelikewise,the on thetable magician nowspreadshiscards showingthattheyare all face down.The spectator on being requested to spread his cards in a similar manner, finds that four card areface down, whilst the middle card is face up. What is more, it is the card he has selected. The method is very simple indeed. After the card has been chosen and it has been returned
VOLUME SEVEN, No.
SIX
-
tothe pack,theperformer,inthe way best suited t o his own particular technique, brings it to the top of the pack. Five cards are dealt to the spectator (which means of course that the chosen card will be at the bottomof the packet when he picks up the cards), and thenfive more to the magician himself. Whilst the spectator is picking up his cards and the magician is explainingthathewants him t o carry out actions similar to those which he (the magician) will do, he secretly reverses the bottom card of his own packet. From that by lookingattheseries of point the reader, actions previously outlined, will find that the rest of the trick is automatic. When Milton demonstrated this effect, he had both Stewart and myself select cards. Sets of five cards were then dealt to the three of us and two chosen cards were then revealed. This latter version entails more work from the magicianand he will either be culling, shuffling or what have you, so arrange that the chosen cards are at numbers one and six at the top of the packet. Editorial footnote. It gives us a great deal of pleasure t o welcome another distinguished contributor to these pages. Thanks a lot Francis ! Cont. on page 50.
1/6. (20 Cents)
=
MARCH 1953
46
ANGLE ON MARLO PETER W A R L O C K A F T E R my very helpful friend,Francis Haxton ” trip returned from his “Flying Sorcerer a plot of a trick that he had last year, he detailed run into during asession with Ed. Marlo. It was an intriguing plot, but one which did not have afully satisfactory solution. Whilstplaying about I did find one method using an ordinary pack which brought a kind of solution. As a point of interest to the reader, though the effect is reallyamentalone, the approach was made from t h e card side and not the mental side. Strange to say the most satisfying solution which meets all the requirements,I achieved whilst approaching it fromamental angle. Thatparticular version I shall save for the nextissue. My main reason for writing up this particular~versionis thatduringhiscorrespondencewithStewart James, Francis mentioned the particular force I had made use of. Stewart, with that delightful attack that he has, added something else which made a completely new effect. It follows after this. In my effect, the magician writes something it and places it on the upon a slip of paper, folds table. A packofcards is takenand shuffled. Holding the cards in his dealing hand, the magician asks a spectator to think of a number.“As I deal these cards I want you to stop me at one before the number you have in your mind,” he continues.Veryslowlytheperformerdealsa card at a time face down into the other hand until heis stopped. When this happens the cards that have been dealt are turned face up, and the t o p card of the pack i.e. the card at the thought of number,dealt face down on top. The remainder of the pack is now turned face up and placed on top of the chosen card. The position is now that on the performer’s hand all the cards are face up with the exception of the chosen card.Thepack,withoutany move.is now turned over and placed on the table. Now of is reversed, allthe cards being course the position of the chosen card. face down with the exception T h e spectator is asked to open the slip of paper o n which theperformerwrote e’er rhetrick began. He does this and reads something to the effect that the chosen card will be the “ ten of hearts.” “ You thought of the number twelve” remarks the performer “is that correct.” thespectator agrees. Slowly the face down cards are dealtoff and at the same time counted. When eleven cards have been dealt a face up card stares up at the spectator. It is the “ ten of hearts ! ”
...
I
Theproceedure isverysimple.Prior to presentation. reverse the second card from the top of the pack at the same time noting its suit and value. Write the name on a small slip of paper, and after folding it in two. place it on the table. The pack is now taken and given a false shuffle that will, make certain that the top stock of two cards remain undisturbed. As you ask the spectator to think @fa number, thumb count the top three cards and get ready for what is really a false lift made under cover of a deal. What purports to be the first dealt cardis really (Continued on page 50.)
THE FEMALE O F
T H E SPECIES I S
.. .
HARRIET DREILINGER
HARRIET DREILINGER, U.S.A. American Academy of Dramatic Arts Graduate: appeared on Broadway in several plays. Appliesher acting knowledge and experience to her Magic. Past President of the Magigals Society. Wife of Sam Drcilinger and noted American collector. (From the James B. Findlay Collection).
Try to remember never t o borrow anything from the audience unless such be necessary to the working of a trick. For instance if you require B lead pencil ,sec to it that you have one. Don’t annoy those whom you should be entertaining. JINX,page 419.
I
ANGLE ON ANGLE ON MARLO STEWART IAMESI One thing leads to another.When I wasin the U.S.A. I had some meetings, all too few, with that eferyfine card worker, Ed. Marlo, whogave me U problemhe was working on. In addition to some solutions I have arrived at I also put the problem to a n exclusive gathering of magiciuns I havetheprivilege to attend. Arising out of this, Peter Warlock came up with a very nice force of a card at any given number. I passed this on to my wery good friend and master magical mind, Stewart Jarnes, u h o ironed out U point, added another prediction, here it is. FRANCIS HAXTON.
T H E MAGICIAN places two folded pieces of paper on the table pointing out that on each he has written a prediction. A pack of cards is takenand shuffled. A spectater is now requested to give a number, say between ten and twenty. Supposing that fifteen is given, the performer countsoff fourteen cards from the pack into hisfree hand, turns themface u p and then places the fifteenth card,face down ontop.Thereminder of the pack is turned qver and placed face up on topof the card at the chosen number: The whole pack is now turned over and placed down. The performers pauses and points out the fairness of everything . . the spectator merely named any number and so on. The cards are now dealt off until theface u p card is revealed. We’ll suppose that it is the ten of hearts“Thecard is theten of Hearts,the goes number.chosenfifteen.”Theperformer o n . . (‘Before I commenced I reversed two cards in the pack, one to denote the suit and the other the value of thechosencard.”Atthis pointtheperformerribbon-spreadsthecards showing the five of hearts (to denote the suit) andtenofdiamonds(todenotethevalue) . . will you reversed. “Onefurtherthing,sir please add up the values of the cards facing you togetherwiththenumberyouchose.”The spectator does so, making a total of forty. “I want you to read what I wrote upon those two pieces of paper ” . . The papers are unfolded and on one the spectator reads, ‘The total will be 40 ’ whilst on the other is seen, ‘The selected card will betheten of hearts.’ The pack of cards is now quite clean and ready for the next miracle. The effect is out of all proportion to the simple means and subterfuge employed. There
I
is asmallset up which is as follows. Second from the top the ten of hearts is reversed. The thirteenth to twenty first cards from the top are the nine to ace of hearts irlclusive, the nine spot occupying the thirteenth position. Reverse the ten of diamonds placing it about twentieth from the face of the pack. Thus set you are all ready for the word go ! Take two pieces of paper and on one write The totaI will be 40 ” and on the other “ The chosencard will be theten of hearts.”Fold the papers and place them on thetable. Pick up the pack giving ita casual false shuffle and then ask a spectator to give you a number between ten and twenty. We will suppose that, as mentioned under “ effect ” he gives you fifteen. Count off into the free hand four0 teen cards (actually you will have dealt sixteen a s one.)Turnthe as topmostthreearedealt packet over,deal off thefifteenth ? cardface down on top and then turn over the remainder of the pack, placing this on topof the face down card. The position a t the moment is that you have three cards reversed in the pack. The pack is now turned over and counted down, the performer reaches a face up card at the fifteenth position. It is of course the force of hearts.Removeitfromthe card,theten pack and replace the cards that have been dealt. Point out that you had control of the spectator’s mind, and hand him the paper on which the name of the predicted card apears. You go stillfurtherandribbon-spreadthecards,the two reversed cardsrepresentingthesuit and value being face up. Finally you ask him to add t o his original chosen number the values of the face up cards together with that of his chosen card. As any chosennumber between 12 and 21 will come to 40, you’re right again for you nowhandhimthesecondbillet which heis invited to open and read. You can, if you wish, cut the pack at the beginning and, by fanning, show that two cards are reversed, no more, no less. Thepackisnowcut so thattheten of hearts is second from the top of the pack. As a final note Stewart points out that the 5 prediction number canbealtered-between and 10 it will be 35, and between 12 and 24,42.
The printed stint makes exposing a minor factor in the life of any performer recalling to our mind the Wilsonian line from the Sphinx of January 1927, to wit : magic suffers more from lethargy and stagnation than from exposure. JINX, page 722.
I
THOUGHTS OUT O F PRINT DR. STANLEY JAKS T H E MENTALIST takes
a copy of the latest newspaper which he asks a member of the audience t o tear so that it is quartered. All the pieces are distributed to members of the audience,each being asked to concerltrate on the centreportion of thepapertheyhold.The mentalist then divines four of these thoughts, givings details of words, pictures,etc.The persons concerned are askedto remain silent for the moment. The reason is soon seen, for the mentalist, as a climax t o his experiment, locates As each one islocatedthe thefourpeople. truth of the mentalist’s statements is confirmed.
Once the information gleaned has been spoken aloud(and if thought necessary,written on a board) the finding of the four holders of the pieces in the most dramatic manner brings the effect to a climax. This canbe easily performed as an impromptu item with a borrowed newspaper. All that the performer need d o is to note the \rarying items thatoccuronthe page three of eachleading daily. Atthemostit meanslearning tn-enty items by means of memorising o r alternatively, for the lazy man, a scribbled key on a card could be made use of.
Themethodinvolves a principle which I don’tthinkhas beenusedbefore. W e will .assume that you have anEnglish newspaper consisting of five pages (theactualnumber is arbitory) which means thatif the paper is quartered there will be some twenty pieces. If as the ,quarters are torn they are placed one upon the other in sequence, the third, eighth, thirteenth and eighteenth pieces will all constitute part of the third page. Therefore, if inadvanceyou memorise those portions of the third page which of constitute, when torn, the centre portions the quarters, all that is necessary for a successful performance is t o know which members of the audience have thesepieces when the twenty pieces aredistributed.Thecareful fellowwill do the tearing and distribution himself, whilst the more successful one will see that the tearing and distribution is done by a spectator.
CONJURTOON KEN D E COURCY
The presentation is all showmanship, for the secret being simple makes little o r no demand upon the conjuring technique of the performer. 8
“WILL YOU DROP FIRST
I
\
1%
OR SHALL I ? ”
L
~
~~
~~
~~~~
~~
~~
~~~~~~~~
~~
The thing that hurtsmagic mostis the poor Magician.”Magiccan becomeone of the most amazingand interesting forms of entertainment o r i t can become one of the most boresome if not properly applied. How many times have I heard committees say, “We had a magicianandthat is enough. W e do not wantany more,” or, “We had a magician five years ago and are still trying to live it down.” The truth is, they never had a MAGICIAN, only someone who called himself a magician. JINX, page 638.
~
49
DO YOU REVERSE LESLIE MAY E D D I E CLEVER once produced an outstanding idea for the identificationof an envelope which he called “ The answer t o a Mentalist’s Dream,” and which was published in the Tarbell Course. This necessitated the purchaseof two types of envelopes,bothsimilarinappearance,but withdifferentover-lappingseams on reverse, which were easily recognisable to the performer. Difficulty occurred frequently in obtaining thetwosuitablekinds of envelopes,and I therefore sought a method in which borrowed, entirelyunpreparedenvelopescouldbeused, and in which crimped corners, nail marks and othersimilarsecretmeans of identification could be dispensed with. I Thiseluded me untilrecentlywhen re-readAnnemann’s Sh-h-h . . ! It’s a Secret ! and suddenly realised that the method, dependent upon the reverse back pattern of certain employed in his brands of playing cards, “ Eight-in-a-Row0Location ” could be adapted to borrowed envelopes. The best type to use is the ordinary square letter size envelope, and the simple secret is that the overlap of the gummed flap on the reverse acts the same as the markings on a oneeway deck ol’ cards, i.e. if one envelope is secretly turned upside down beforeplacing it into the remainder of the packet, the front or face appears quite normalbuttheperformercanimmediately distinguishitwhenhenotesthereverse side. It being .assumed that no writing of any kind is putontheaddressside,that beingblank in every case. The actual moves employed in the l ‘ Eightin-a-RowOLocation” are rather too blatant for close up work in this particular instance, although the principle remains the same. However,thosereaderswhocare to use this idea will find that the following methodsfor acardreversalcan,withalittlethought,be adapted for use with the envelopes.
“A NewKink for the Reversing of One Card.”-Annemann’s Sh-h-h ! It’s a Secret ! “The Genii” Cut-DeckLocation.”-Annemann’s Book Without a Name. My own method of reversing and presentation is as follows :O n table o r chair is a packet of ordinary envelopes, a packet of correspondence cards, or other plain cards-allthesamesire-that will comfortably fit into envelopes and a biro peno r pencil,in case spectatordoesnotpossessa
..
(PLEASE DON’T USE writing implement. BLANK PLAYING CARDS . THISIS A MENTAL EFFECT).
.. .
Exhibit the cards and the envelopes, if close t o a member of the audience near the front,; if on a platform obtain the services of two volunteers, one just to help seal the envelopes to ensure that you do not personally handle them, and for the other, ask for the services of a young man unmarried, but one either engaged o r hoping to be so in the near future, if such a one is not forthcoming, select someonewithaparticular lady fr‘end, thiscan be donedelicatelyyetinalightly amusingmanner.Havethispersonstand on your right, andask him if he would kindly write thename of theyoung lady of hischoice (the Christian Name is sufficient) on one of the cardsand place itinone of the envelopes. There is no need for him to conceal the name from you, in fact if you can’t glimpse it, just ask him what the Christian name of the young ladyis, as knowledgeofthis will add to the presentation later. up work, just hand them
Ask the other helper to stand on your Ieft, take a small number of the envelopes, say about ten or twelve, insert one of the blank cards in each, and seal them.Theact of licking or otherwise sealing the flaps allows you to note thattheseenvelopesare all the same way up ; when this is completed take the bunch of sealed envelopes between the thumb and forefinger of thelefthand, grasping them at the centre of the loweredge withtheaddresssides upDermost. Turn to the assistant on yourright, ask him to seal his envelope (this enables you to keep track of the overlapping flap end) and to insert it somewhere in the bunch you hold ; as you say this, you reverse your pile of envelopes by taking them between the forefinger and thumb of the right hand a t the toD edge and swingingyour right hand to the right so that he is now presented by what wasoriginallythebottomedge of the packet, consequently when he inserts his envelope, it will be reversed,i.e. the overlapping flap will be in a different direction to the remainder : If however,after sealing hisenvelope, he reversesitin any manner, do notreverse yours,buttakethem in theright hand, grasping or side and ofer them them by therightedge to him, this will cause him to insert his upside-down. (Continued on page 50).
DO Y O U REVERSE
When he has done this, take them from him, idly mix (Charlier shuffle). Flap side to yourself, noting that reversed envelope is not left o n o rtoo near top in order to prevent a too sudden revelation, and place pile o n table or chair, address side uppermost. Briefly recap what has happened, emphasise that no one knows which envelope contains the name of thelady of hischoice.(Don’t:draw attentiontothefactthatyou mixed them yourself). Then patter as follows:-“ I would like you to imaginethatyouare giving aparty,a big party, say your birthday party” (if you like you can ask the date of his birthday, and then give him a short astrological reading-any book of fortune telling, or some of the Sunday Newspapers will give youmaterialforthis).“You have a wide circle of friends, good true friends, but amongst them-one stands out-the Lady whosenameyouhavewritten on acardand of which is now somewhere in that pile envelopes.YouarementallypicturingthatGood. Now will you kindly help by imagining a little more, firstly that that pile contains all thereplies to yourinvitations,secondlythat each envelope contains a reply from a different person, and finally that each envelope is to you-by theperson addressed-addressed whose reply is enclosed therein.” (Get assistant to stand facing you, with his side to audience, you stand a few feet in front of him also with ~
I
-
yourside to audience. Give him the pile of envelopes t o hold-addressside up-in his left hand). “ Thepostmanhasjustdelivered these, eagerly you take them, there is but one thought in your mind, will that certain charming person be present at the party, pray her reply has not been delayed-so please take the envelopes oneatatimeinyourrighthand, gaze at the address side for a second, then place to the bottom of the pile.” (As he does this you watch for the reversedflap-immediately it appears, you say “ stop”-although you may not know it, your heart is beating faster-a feeling of joy, a thrill of pleasure flows through you, she has replied, there in your hand is the letter you longed for from (e.g.) E k e ! ” Take it from him (to prevent him noting the reverse) tear it down the edge, extract the card, and show it for all to see.
NOTES. (i) I havediscoveredthatinsomebrands of envelopes,whenabunchcontaining one reversed is riffled a t thetop edge, they wilI break ’* at thereversedone,inthesame mannerasapackcontainingashort” card. Readers may care to experiment regarding this. (ii) An alternative patter idea to ensure that each envelope is held well up by the assistant, enabling you to note the flaps without difficulty, is to say that he knows she is fond of a speciaI scented stationery, and he is to place each in turn to his nostrils in an endeavour to detect the perfume. ~~~~~
~
Dr. A. M. Wilson, he who published and edited the Sphinx for thirty years, once put into print a most biting remark, to wit : “ The shores of time are strewn with wrecks of failure in the magic game, the majority of whom had no adaptability or were wrecked on the rocks of sameness.” JINX, page 664.
ANGLE ON MARLO
three cards, two face down making a sandwich of the “ predicted ? ” card. Go on dealing o r to taking the cards with the free hand until told stop. Turn over the dealt cards, place the next card on top, turn over the balance of the pack placing this inturn upon theface down card and thenturnthewholepackover. The ultimute effect will be that the card you initially reversed will be at the thought of number whilst the curd dealt as
I
such will be two lower. Have the spectator read the prediction and then slowly count off the cards until you come to the “ predicted card.” The effect, apart from the fact that you have a reversed card in the pack is now complete. It was from this point that Stewartwent on and so with aslight break, and thanksto Stewart James and Francis Haxton,we’ll giveyou “Angle on Angle on Marlo.”
And ted. so, if you reader dear want make to your job a little Iess difficult, when it comes to When wereceived the details of the effect, the taking of the top card, turning it over and being bornextremely lazywe wonderedwhether placing itunderneath,simplydoubleliftand it was necessary to even reverse the card in the instead of one take two cards. If you’re superonthe second card, performer’spacket, or rather we wonderedstitious,youcandoublelift whether the turnover as such mightbeeliminathe effect will continue the same ! P.W. KORTIALLY Y O U R S
NOT
Amonthseemsto pass nowwithout The laziness ofmagicians to-day is shocking. magic sustaining an irreparable loss. Nothing could be worse than the present vogue Arthur Buckley is death‘slatestvictim andwithcertain conjyors who,‘whenpresenting his passing will be mourned by all those who that classic, the Twentieth Century” silks have a reallovefor magic. Whilst we never have snap fasteners sewn to the corners of the had the pleasure of meeting thisgreat manipulahandkerchiefs. Worse still, as we witnessed at tor our f r i e n d s, GeoffreyBuckinghamand a show last evening, when they have to fumble Francis Haxton have recounted on many occato snap the fasteners together. sions of the warm welcome that he extended to. t h e British parties when they visited the States. -Dan Vemon in “ Select Secrets” gives a to have escaped His books “ Card Control ” and ‘*Principles and delightful method which seems Deceotions” will remain the butchers. a s t w o o f t h e finest Alex. E m s l e y has exploratory fields f o r struckanotherversion manipulators.It was a of TanHockChuan’s coincidence that young ‘‘ AstralCoin ” effect, Tony Blitz, unaware of which you may rememBuckley’s death, showed ber,appeared i n our us on theMonday follow October issue. C o i n ing the receiptof the sad plotsare very hard to news, a delightfulverget and the o r i g i n a l sion of his “Separation” version and the one to effect. We hope that bedescribed should Tony willpublishthis merittheattention of for it contains oneof the close-up performers. most subtle switches we A delightfulevening have yet struck. a t home with Fred Kaps andhischarming wife The “Haunted House” we had a few days back. telecast brought extreme All being well he will be back in England in June. reaction. Like the Marx One of the g r e a t e s t Brothers, you liked the manipulators who can act oryouhatedit. There make m a n i p u l a t i o n was n o half way. All we effective on a stage, this k n o w w a s that Hall young man, who looks Place. Butley.pictured so good and who conjures so well, is destined c e n t r e page, was the for greatness. coldest spor in England o n t h e day in question, For the first time we are giving you an additional andourthanks g o to Annemann issue. In it are Elizabeth Warlock, who effects by four contribuAT HALL PLACE, BEXLEY so kindlystoodin for Reading from left to right :-Harry Taylor. Shan, Billy tors of the Jinx, plus a us at rehearsalsduring O’Connor. Peter Newcornbe, Francis White, Elizabeth delightfulcarditemby .the day. Warlock, Reg. Salmon. the Great Masoni, John Brearley. Milton Kort. (Reproduced b kind permission of Fox Photos Ltd.).
I
There seems to be a growing tendenq to decry the amateur among some of the professionals. This should not beone may learn something from everyone and anyone. In most sciences to-day, B great many of the most important discoveries are made by amateurs. JINX, page 119.
I
52
Uere it is-7he
World’s Gteutest Mu0 & Wife 7ele)uthy Act
Ken de Courcy’s AUTOMENTALISM l
THISISthegreatestManandWifeTelepathyAct devised to date. Therecomes a timeinalmost every magician’s life when his wife wishes to join him in his work. One day they see a Telepathy Act and they realize that this is just the thing. But when they come to study the complicated codes required to work the act they give up,forthey realize thatitrequiresmemory“plus.” A simple little gimmick, supplied complete with this printed book, cuts outall that hard work, and makes it reading the instructions. possible to work the act ten minutes after THE EFFECT. The medium is blindfolded and seated on the stage-covered with a sheet, surrounded b y screens, o r simply seated with her back to the audience to ensure that she cannotsee anything that goes on. Yet she is able instantly to name any card chosen from a pack (no force) and describe any object handed to the purformer. It is a slick and fast act. The act follows theclassical lines, yet remember, themedium has only to learn how to use the simple gimmick 8upplied-anyone can learn this inless than ten minutes. For this reason it even is possible to press an intelligent assistant into service at extremely short notice. There are N O LISTS O F OBJECTSfor performer or medium to learn. There is N O MEMORY WORK and the medium doesn’t have t o learn a single code word ! THE APPARATUS DOES IT ALL FOR YOU 1 There are NO ELECTRICAL OR SIMILARDEVICES, NO PUNCHED CARDS or other complicated gadgets, NO LIGHTS, THREADS or similarsignalling devices. It comes to you complete with a neatly. printed book of instructions and presentation, and that necessary “ something.”
Price 20/- (postage 3d.) FROM T H E PUBLISHERS
THE M A G I C W A N D P U B L I S H I N G CO. l1 MONASTERYGARDENS,
I The WARLOCK I
PETER
is published on the 24thof each month and can be obtained direct from the publishers for 117 perbingle copy. Annual Subacriptioo 181post free. PUBLISHED BY:
The Magic Wand Publishing Co., 11, Monastery Gardens, Enfield, Middlesex.
Still Available =
The Magic Circle
WARLOCK’S
PENTAGRAM
MIRACLE SLATE I PRICE
ENFIELD, MIDDLESEX
E2 10s. Od.
Manuscriptsfor publication andbooks review should be rent to the: EDITOR1 \L ADDRESS:
Post Free
for
Peter Warlock,
...
24, Wordsworth Rd., Wallington,
*e*
Surtey
.
DOUGLAS FRANCIS’S
TRIGON IS ” WRITEFOR FULL PARTICULARS
lI
‘STAB IN THE PACK’ An entirely new “ thought o f ” stabbing card discovery Complete with pack and accessories
1216 From DOUGLAS FRANCIS, 65 Norwich Ave. Southend-onsea, Essex
TO
PETER WARLOCK 24, Wordsworth Road,
Wallington, Surrey
t*
EveryAdvertiser’s
CONJURING BOOKS FOR SALE OLD ANU NEW. Let me know your wants LIST FREE FOR STAMPED ho Callers
the Duke of Somerset, D.S.O., O . B E . , J.P., M.I.M.C. Vice-President: Douplar Cragga, Erq., Y.I.M.C. (‘Illbroom and Library and Muspurn :
Hearts of OakBuildings, Euston Road, London, N.W.1. Magical Theatre :
King George*s Hall, W.C. Forthcoming EventsApl. 7-Concert 16-The Flying Cards Particulan from Hon. Secretary :
FrancisWhite, 39 .4lverstone Avenue,
Wimbledon Perk, S.W. 19
A N D NOW
II
1’residi:nt : HisGrace
ENVELOPE
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
goods arefullyendorsed
Manic Wand Publications The M% Wand,Qt!arterly.Fer copy 3/8 p.p. Annual subscriptlon 14/6. The Wizard, 36 pages monthly. Per copy 211 p p 6 month 1L/6 Year 24i-. Convincing Coin ‘Magi: (Farelli) . . 17/10 (Koran & Lamonte) . . 10/3 Bohleno’s Mysteries (Bohlen) 1013 TheConcm Ventriloquist (Hurling) ‘ ’ 10/3 George Amstrong’s Premonition l013 Chandu’s Psychoanalysis .. 10/3 Entertaining With Hypnotism (Dexter) 10/3 Chalenge Instant Hypnotism & Mass Hypnotism . . 211Strictly Magic (Eddie Joseph) .. .. 5/3 S:ooging Around (Stuthard) . . 513 26 Living L Dead Tests (Garrett) . . 513 .Jameso.ophy (Stewart Tames) . . . . 5/B Year Book 48/49 (few ‘only) . 513 Stunts With Stage Money (Lamonte) . . 513 Tricks of the Trade (Amstrong) . . 217 From the publishers THE MAGIC WAND PUBLISHING CO.. 11, Monastery Gardens. Enfield, Middlesex.
..
by this Bulletin
publirhed by the propridam The y u i c Waad Publirhig Compmy, I t , Monastery Gardens. Edeld. Middlere.. Walker and Som (Printem) Ltd.. Well Croft. Shipky. Yorkshire
and printed by Herbert
PETER WARLOCK’S
PENTAGRAM MIRACLE POROUS’ GLASS PETER WARLOCK HAT wonderfuleffect of Tan Hock Chuan’s Tmany Porous Glass must have been used by very of our readers. The version we are “
”
about to describe is not merely an atte,mpt to paint the lily but rather to get greater visual eflect. In this version the magician has at hand a straight sidedglass, a red silk and a yellowsilk (each eighteeninches square), a square of cellophane, some Scotch tape and an elastic band. First of all the red silkisplacedinside the glass and pushed down to the bottom. On top of it isplaced the yellowsilk and overthe top of the glass is placed the square of cellophane which is kept in place by means of two lengths of Scotch tape plus the elastic band. (Incidentally to facilitate the placing of the cellophane in position the pieces of Scotch tape are attached to the sheet of cellophane before the show commences).
The reader will require a straight sided glass (it is not essential that it should be straight sided, but the latter typemakes for easier and quicker handling), a red silk, a yellow silk, a strong elastic band, a square of cellophane which when placed over the mouth of the glass will give an overlap of an inch at the shortest point, a roll of Scotch tape, some strong black cotton, a needle and a spot of conjuror’s wax. Thread the needle with a length of cotton and pass the former through one corner of the red silk. Remove the needle and by tying the ends of the cotton ensure that you have a loop whichwhen drawn taut measures in length about three inches (see illustration). On the knot place a small amount of conjurer’s wax.
With the two silks tightly imprisoned the glass is shown on all sides. Holding the glass with the left hand the right hand touches the bottom of the glass and.with a quick motion pulls the red silk through the bottom of the glass. The glassstill containkg the yellowsilk is immediatelythrown out for examination. Let us say straight away t,hat the principle employed i n the original effectisusedhere. The only difference is in the dressing.
Across the square of cellophane fix two strips of Scotch tape at right angles, so that there will be about an inch and a half of taDe motruding at eachside.(Seeillustration). Tu& tie cellophhe over in order that the ends of the Scotch tape will the silks, the glass, notstick to the table.With cellophane and elastic band at hand you are all set. .
~~~~
~~
VOLUMESEVEN,No.SEVEN
-
I/6. (20 Cents)
-
~
APRIL 1953
54 Take the red silk by the corner which has the cotton threaded through it. It will be found that in picking up the silk the length of cotton can be easily crushed and concealed. The silk is pushed inside the glass in a zig-zag manner-this is most important-and at this stage the cotton is released and allowed to hang behind the glass. (The additional weight of the wax stops any chance of the cotton popping up and falling inside the glass). The glass is now taken with the left hand, the thumb of whichpres,ses the blob of wax against the side of the glass, whilst the right hand takes the yellow silk and slightly folding it pushes it into the glass on top of the red silk. The glass can be freely shown and it is then replaced on the table. The square of cellophane is taken, turned over and placed over the mouth of the glass. Its position should be such that when it is pressed down on to the sides of the glass the piece of cotton should be inthe centre of one side of the cellophane (see illustration), which means that only about an inch of cellophane covers the cotton at that point. The Scotch tape is pressed against the sides of the glass and finally the rubber band is taken and placed over the cellophane. The performer points out howwell the red silk is imprisoned, a piece of solid glass underneath it and another handkerchief and a sheet of cellophane above it. The left hand picks up the glass keeping thecottonand fingers to the rear. The first finger of the left hand disengages the wax fromthe glass so thatthe cotton hangs freely. The glass is then changed over to the right hand and during the process the right thumb and finger give the cotton a short pull, then grip it about an inch from the waxed knot. The left hand comes across, takes the glass at the side and then lifts it quickly. At the same time the right hand holding the cotton moves down bringing the red silk out of the glass down through the wedge of cellophane. The silk is then bunched concealing the cotton, whilst the glass, still sealed, is thrown or handed out for inspection and examination. One point if you thinkit worthwhile. Both silks can carry a cotton loop and it can be left to the audience which silk shall go into the bottom of the glass. The remaining silk, when it is picked up, hasthe cotton loop rolled inside it in the action of placing it into the glass. ( R I G H T S O F TELEVISION
THE FEMALEOF THE SPECIES S I MADAME PATRICE
MEMORIAM CARD
OF MADAME PATRICE WIFE OF C. LANG NEZL (From the James B. Findlay Collection)
PERFORMANCE RESERVED)
So far as the artistic end is concerned you don’t have to be a Michaelangelo either. All he got for his pains was his neck out of joint from painting the ceiling of the Sistine Chapel. Far from appreciating the really great things it seems that the show world delights in the mediocre. Most o f the stuff they feed them from the T.V.and movie screens is mediocre. Most artists are mediocre no matter how muchbuild up theygetfrom theirpress agents, There are few really outstanding artists in the world to-day and most of the big name artists are just fair to middling and that includes me.” David Bamberg (Fu Manchu) The Sphinx, page 23, vol. 52.
MENTALIST v. MARLO PETER WARLOCK THE previous issue of Pentngmm, two items, INMarlo Angle on Marlo and Angle on Angle on appeared. The inspiration of these “
”
“
”
effects was something told by Ed. Marlo to Francis Haxton on the occasion of the latter’s visit to the Unite,d States last year. Both of the effects deviated from the originalideawhich was as follows :The magicianwritessomething on a slip of paper which is then folded and placed on the table. A pack of cards is taken, shuffled and a spectator is asked to deal as many cards as he likes. As he deals he is to turn the cards face up keeping them in a pile. Finally whenhewishes he is to deal onecard face dozun on the upturned cards, the balance of the cards being placed also face up on tap of the designated card. The paper isunfolded; on it iswrittentheinitials or name of a card. Reference to the packshows that the card dealt face downbythespectator is. that named card. Now it is an interesting fact that the problem has so far been approached from the card man’s angle, and in attempting toobtain a solution, it has been necessary by means of a sleight or subterfuge, to exchange the card actually dealt bythe spectator for another card reversed in the pack by the performer. This of course has meant a subsequenthandling of the cards after the spectator has finished with them. To my own wayof thinking thatis a weak point. Marlo’sownversion made use of this method, as well as two methods that Francis himself thought up. A recentletter from Bob Parrish says that the solution of the problem has caused a good deal of lostsleep adding that when Paul le Paul was in town, they were up until 3 a.m. trying to achieve the perfect solution. He mentions a method of Rufus Steele’s that again means the transposition of two reversed cards and comes in with a similar method of his own. There is another weak point if the cards have to be transposed in separate portions of the pack, and that is that the spectator whendealing the cards f a c e up is almost bound to remember the card lyingnext to theface down card. At the climax of the effect, the card which takes its place will of courselienext to another mate. If, however, the effect can beperfectedwithavailable card technique (and here I am avoiding all use of faked packs) it can, despite the artificial manner of selection of the cards becomeperfectusing the technique of the mentalist. The requirements are :l . One pack of cards. 2. A small writing(scratch)pad. The size of the pieces of pap2r comprising it should measure (say) two and a half inches by two inches.
3. A pocketindex to holdeighteenfolded slips. It can be as simple as youlikeproviding the performer can locate the desiredslip. (In No. 1, Volume 1 af Pentagram I described an ideal billet index and this can easily be modified to meet the situation here). The preparation is straightforward. Shuffle the pack and deal off eighteen cards making sure that the five of clubs and nine of spades are not amongst them. NW on each of the eighteen slips of paper write the initials of the cards you have dealt (ringing them with pencil), making sure that the cards and the slips (which are now folded so that they measure approximately one and a quarter inches by half an inch) are retained in the same order. The five of clubs and nine of spsdzs are now placed in the stack of eighteen cards so that thefirstnamedistheseventh card and the katter the eighth. The stackis now placedface down under the remaining cards of the pack, the performerremembering the topmost card of the stack of twenty. The folded billets are now placed in the index all it being nece,ssary to knowbeing that their order follows the order of the stack. The index then goes into the right hand trouser or jacket pocket. A pencil and the pad should be at hand. To present the effect carry on as follows :The scratch pad is taken and on it theperformer writes “ 5 ” and “C.” Actually the writing should be done hurriedly and also the characters should be such that if the paper is turned the other way the result should be “ 9 ” and ‘‘ S.” A pencil ring is made round the result, the paper is folded to a size equivalent to those in the index, and in this state the billet is placed near the side and edge of table. Taking the pack it is given a false shuffle and asking a spectator to assist, it is shown that the cards are well mixed. As he turns the cards face up to show the spectator, the little finger of the left hand obtains a break above the remembered top card of the stack. The packis now closed and with the break held the cards are turned face down. “ I want you sir, in a moment or two, to take the pack and deal off some cards, like this.” Very sZoud?~(this slow dealing is most important for it makes certain that when the spectator is dealing him.self, the choice of his card is almost certain to fall within the firsttwelve cards) the performer deals off cards from the top of the pack. “ As you do this I want you suddenly to let your mind fix on on2 cord likethis and deal it face down,” (the performer deals one card face down on top of the face up cards), “ Then, sir, place the remainder of (Continued on page 56)
56 MENTALIST v. MARLO
the pack ontop so that yourchosen card is sandwiched.’’ (Again the performer illustrates what has to be done). At this p i n t the face down card used in the illustration is turnedface up, the cards on the table turned over and replaced on top of the pack which is then quite openly cut at the break and another false shuffle (if thought necessary)given. The cards are now handed to the spectator. The performer’s hands go to his pocket and the spectator starts dealing the cards. With his righthand in his pocket the performer keeps pace with the spectator going from billet to billet as eachcardis dealt. There is a fair chance that withslow dealing the spectator may stop ateither the seventh or eighth card. If he. does W,the trick is finished in this way :-
The performer withdraws his hands from his Picks pockets* His right hand up the billet opens it out and according to whether it is the seventh or eighth card holds it for a spectator to read theinzials hehas written. The spectatorwhodealtthecards is requested to turn over the pack and look at the c,ard hedealt face
down. It is, of course, that designated by the performer. If, however, the card is one of the others, the performer, at the moment the Spectator deals a face down card and places the remaining cards on top, has in his hand the necessary billet to denote that card. Hisrighthand onlywith the billet finger palmed is removed from his pocket and he reaches for the folded slip on the table. Heisready to switch the billet on a delightful off beat for remember that nobodyknows the name of the card. T h e billet taken from the table is slid back into the hand as it is brought upand the left handis removed from the pocket. “ I want to read what I wrote on this little slip of paper,” the performerremarks, and his left hand obviously empty comes to the right hand to apparently unfold the billet lying there; actually the billet from the pocket is opened so that it covers the billet takenfr0.m the table. The spectator is shown the writing, and the assisting spectator with cards the is invited to see which card he dealt face down,
If youdon’t like the idea of the initials working both ways, write the name of the seventh card and have a s,tack of nineteenbillets.
“Well, most of the “ mind-readers” I have ever encountered have been o f the music-hall variety, You know the Sort o f thing ; wo;Fing in pairs. The woman sits blindfolded, the man goes among the audience. “ What am 1 holding in my hand ? and so on. Then of course, there’s the fellow who works alone, makes you write questions on bits o f paper, and reads them from a sealed envelope : but he’s usually suchan obvious fake, that if you have an elementary knowledge of conjuring you can spot him,” Carter Dickson (John Dickson Carr) The Reader i s Warned, page 23.
KORTIALLY YOURS II JACK POTTER I have never met Milton Kort, we ALTHOUGH have corresponded for several years, and I know he will not mind if I attempt to “ improve ” his card trick which appeared on the front page of the March Pentagram. There were two features which rather worried me; the possibiliy of the spectator catching a glimpse of his chosen card during the moves, thus spoiling thegrand climax of the trick, andthe necessity for the performer to reverse the bottom card of his packet, not an easy thing to do when he is under close scrutiny. Both of these features havebeen eliminated inthe following version. In the original version, the chosen card was brought to the top of the pack, five cards counted off to the spectator, thus bringing his card to the face of the packet, and five cards counted off for the performer. In my version, it is necessary for the spectator’s cbosen card to be second card from the top of his packet which is easily accomplished.
After the two packets have been dealt as above, pick up the spectator’s packet under the pretence of checking the number and count them as follows. Saying “ One, two, three,” pass the top three cards one by one into the right hand.Spread the remaining cards in the left hand to show two cards left, saying, “ And two makes five,’’ and drop them ontop of thecardsinthe right hand. Repeat these moveswithyourownpacket offive cards to annul any suspicion that this is anything but a simplecheck onlthe num)bes of cards in eadh packet. The spectator’s cholsen card is now in position furthe following series of moveswhichwere publishedsome 20 years agobyPercy Abbott under the title of “ Do as I Do,” by Jay Dee. Full credit is due to“ Jay Dee,” whoever he may be. The spectator is asked to hold his packet of cards face down in his left hand, and to repeat the performer’s moves.
57 1. Removethe top card, turn it face up, and place it underneath the packet. You, however, using the excuse leave this card extended about that you are doing this to make things clearer for the spectators. The true reason will soon be apparent when you read further. Have the spectator keep his cards squared up. 2. Remove thetop card, butwithout turning it over, place it underneath the packet. You do this, but place the card under the main packet of cards, leaving the first card removed still extended.
v,
3. Remove the top card, turn it face up, and place it underneath the packet. You do this, but place the card extended beneath the first card that was moved. 4. Once more remove the top card, and without turning it over,place it underneath the packet.When doing this,you place this card directly beneath the two extended cards. 5 . Now comes the crucial move. If the instructions above have been carried out correctly, the position of the cards in your left hand should be as in the illustration. Youtellthe spectator this time to turn over the top card and replace it face up on top of his packet, but in your case, the left thum,b and first finger grip the three extended cards, C , D and E, by their edges, and the right hand holding the two cards Aand B, by their loweredges, withdraws them as one, turns them over, and drops them face up on the three cards in the lefthandimmediately squaring up the packet. 6. Finally, removethebottom card, turn it face up, and replace it at the bottom of the packet. You can now show your packet to be all face up cards. The spectator spreads his cards only to find that one of them is s,till face down. Ask him to name his chosen card, and then to turn over the face down card. Alternatively, you both turn over your packets, spread them, and the spectator finds a single card, his chosen card, face up among four face down cards, as in the original version.
“We’ve been asked from time to time why we don’t join magical societies. There are a variety of reasons, mostof whichwethink are cogent. But ofthose reasons, more anon. W e have before us as we write, a membership application to one of these societies. It’s no better or worse than any of the others. But there is one line that sticks in our craw. “ It asks, impertinently we think, what is the colour of the applicant. Tf that line and that qwstion belongs in an application for membershipin a magical brotherhood thenbrother the D.A.R. is right ! Bruce Elliott, The Phoenix, page 380.
...
MAGIC CIRCLE BANQUET PARK LANE HOTEL-MARCH NCE AGAIN thisoutstanding social evening in the British world of magic proved most 0cessful. With an attendance of four hundred SW-
members and friends the Ballroom at Park Lane Hotel was not too uncomfortably filled. The continent was represented by Fred Kaps and M. Loreau and the B.B.C. had twowell-known representatives inthe persons of Joan Gilbert and CharlesGardner. Owing tothe tragic death of Queen Mary it was not possible for the President, the Dukeof Somerset to be present and so at short notice the seat of theChairman was taken by Francis White. An excellent dinner was followed by four of the most entertaining speecheswehave had the pleasure of hearing at one sitting.MissEileen Murphy (one of the four women commentators at
27th, 1953
the forthcoming Coronation)very wittily proposed the toast of the Magic Circle, the response then being made by Francis White, who was never in better form. Later Charles Gardner, a magician as well as an AirCorrespondent proposed the toast of the “ Ladiesand Guests,”the res,pnse being made by Miss Joan Gilbert. Past President Herbert J. Collingsthen had of the pleasant duty of presentingsomebadges office and “Circle’’ w a n d s t o G e o f f r e y Buckingham andRoland Winder. Finally and verymuch to his surprise, Francis Whitewas presented with an inscribed silver cigarette case as a token of the appreciation of the very great service that he rendered the Society since his installation in office as Honorary Secretary. (Continued on page 38)
BANQUET A short break and the floor was cleared €or dancing. Stanley Kilburn with his orchestra was in excellent fettle and soon had magicians and theirhard tried wives and assistants forsaking magic for terpsichore. ThencametheCabaret which included items by Eddie Joseph, June McComb, Pat Levey,SidEmons, Francis Watts and the Colman Carnivalettes. From what was in the main, to those of taste, a welter of puzzledom
and butchery, there emerged delightful clowning by Sid Emons and some real magicby Francis Watts. The latter openedwith our own " Jest. of Gratoulat " and thenperformed a number of effects making use of borrowed articles. Back to dancing . . . the clock ticking on, Twelve o'clock and the end of a delightful evening with many thanks to those who were responsible, Dawson, King, to wit : Messrs. Mac Wilson, Leaney, Lovett, Newcombe and Smith.
~
BOOKS DICE DECERTIONS by Audley Walsh and Ed. Mishell (Published by Louis Tannen, New York, $2.00) : In the field of close-upmagic, effects withdicehavea placeoftheir own,as the present publication goes to show.In America particularly,andto a lesser extent on the Continent, dice and dicecups are commonplace things.Nevertheless, the accessories are knowneverywhere and theyhave theaddedadvantage of being SO very free from obvious trickery. The present book has five chapters, the first teaching thereadertherudiments of dicestackinginwhich rhythmic action plays such an important part. Chapter two goes on to teach some actual tricks, finishing with the change of four normal sized dice into one large dice, a nice finish to a routine. Chapter three gives a version of the Patriotic Billiard Balls, coloured dice and coloured dice cups being used. A version of Chink-a-chink which follows conforms to the usual formula.Thefourthchapter goes intothe moredexterousforms of dice control,andthe final chapter includes a colour Change of four dice that sounds excellent . The booklet which is very nicely produced, runs to thirty pages. Edited by Bruce Elliott,thereaderis assured thattheinstructions teach a s well as explain. The drawings made by Ed. Mishell, have the authenticity of the artist-conjurer for as Ed. Mishell explains in the preface,Audley Walsh insisted on hisbeing able t o accomplish the various moves befor: making the necessary drawings. A very good ' buy.
THE UNIVERSAL MIND by Ron Baillie (Published by Magic Wand Publishing Co., price 12/6) : Those interested in mentalism will need little encouragement from us to purchase this routine, devised by one of the finest magical mindsinthiscountry.Readers will remember his many contributions to this publication. In the ' Universal Mind ' Ron has produced an act which in) the hands of a capable mentalist will gain for him amost favourablereputation.The process ofthe methodemployed routine is directandtheprinciple quite new when i n action.Theaudience will, asthe author remarks, gather the impression that the performer is convincing them in a most logical manner how mind reading is possible.
Therehas been no attempt to produceahastily devised manuscript. Theroutine is nicely printedin a booklet which runs to some twenty-eight pages. Illustrations by the author cover every stage of the performance. This booklet carries our highest recommendation and it becomes animportantadditiontothemake-up of the mentalist. A STAB IN THE PACK by Douglas Francis (Marketed by the originator, price 12,6) : Duggie Francis has come up withadelightful idea for finding a thought of card by means of a knife stab. T h e effect is this : A pack of oards is shown all that it should be, namelyfifty-twodifferentcards, andalso a paper serviette of the kind used €or Bridge parties, i.e. one that carries the reproductions of many playing cards upon it, A spectator is asked to merely think of one card, after which the pack is wrapped inthe serviette. Theperfirst time former nowtakes a smallknife andforthe thespectatoris asked to revealthe card hehas inhis mind. Theperformer then stabsthroughthepaper, which is then torn away from the pack to show that the knife has successfully located the thought-of card. The effect comes complete with cards and serviettes, and 1s an excellent ' buy ' for the small amount asked. MESSAGE FROM HADES (A routine withall acces-. sories. A Jack Avis exclusive, price 7/6 fromall deaiers) : This isa most intriguing item which Jack spoke to us. about some months ago. A spectatorishandedasmall packet, and a pack of cards and four coloured counters. are placed onthe table.Witha f f l ~ c z - ~spread, ?~ the spectator is asked to take anyone of the coloured counters. and place it on any card he chooses. Suppose that it is the ?WO of clubs and the colour blue. The spectator is asked to undo the packet previously handed to him. He does s o and finds insidea small metal box. The ild of the latter being removed, a number of screwed-up pieces of paper are seen which are thenturned out on to the table. Touching each with the end of a lighted cigarette, end, all butone flash off. The one left unscathed i s opened and on it is found written in the chosen colour. the name of the chosen card.
Thereis little totroubleaboutfrom the point of' view of technique, and with the routine youreceive every-. thing you want, including a gimmick (an improved ver-. sion of the one first put out, Jack tells us) accessories. infact everything apartfrom some flash paperand a. pack of cards. A bargain at three times the price,
59
S OUR friend Wilfrid Jonson recently had cause to comment in T h e Sphinx, the parochial outlook of magicalsocietiesand/ortheir officialpublications is aninteresting, if notpeculiar,phase of magicallife (or existence) to-day.
A
This was brought home to us rather forcibly after l h e B u d g e t (official readingtheMarchnumberof organ of theBritishRing).Theeditor of thispublication in his allotted space weaves a theme on the virility of modern magic and goes on to cite instancesof society and other magical activities in support of his statement. It does seem to us rather a pity that two very important contributions of the past twelve months have been overlooked in this resume. The first is that of the successful revival by theMagicCircle of Maskelynne’s famous sketch, “ Will, the Witch and the Watchman ” on a grand scale and the second the series of shows at Victoria Hall, where month after month those interested in magic have theopportunities, QS well as the pleasure and privilege of seeing some of the most renowned International magicians.Theseeventsare of greatermagicalimportance than the noting of a performance of ‘ Evaporated Milk ’ in some rural retreat. We knowonlytoo well thattheediting of such a publicationisnosinecure:itisalabour of love, with a greatmanymorekicksthan ha’pence, andthat just as muchas he mustsatisfythe ego of mediocrityby printing for w b l i c reading the ln-lvate letters of mutual admirationfromJoeSnooksatJohnO’GroatstoJoe
It has been a very busy month. Of outstanding interest British magicians has been the visit (not yet concluded) of that great writer on magic, Dr. Harlan Tarbell.
40
At London Airport, it was rather ironic that the first person to spot this distinguished visitor was not a “Flying Sorcerer ’’ but Peter Newcombe. But, as Peter explained, hc hadduringtheprevious day attixed someseventy was photographs of Dr.Tarbelltomenucardsand possibly in the best position t o identify him. Atthe Magic Circlecomplimentarydinner tothis American guest, speeches were brief and witty, Goodliffe rising to full heightby means of a chair. O n the Monday following the dinner at Francis Haxton’s home, we and a few others wereable t o have a pleasant session with Dr. Tarbell. The Doctor’s version
Soak at Land’s End, so must he publish the reports of members of the society concerning their magical activities. His taskisunenviable.Nevertheless,comingback towhere we started, we thinkthatwhena survey of magicisbeingmade,amorecatholicattitudeshould beadopted,andthe real19 important magicalevents included. The sensitivity of professional magicians to criticism by other conjurers is amazing. After all we know that they are, each and every one, the world’s ‘ greatest.’ We well remember Dante before the war, after Stanley Nortonhadwrittenan excellentreview of his show, taking umbrage becausehis billiard ball work was not consideredbetterthanClementdeLion’s. The latest to takeoffenceisSorcar.Possiblythegreatest magial moneymaker in theworldto-day, thisyoungster from India (or is it Pakistan?) wants to be accepted by the Westernworld, andwiththatacceptancetobeequal to westernmagicians.Thatheis,withoutdoubt,the biggest magical act in his own country, is not enough, and we have a sneaking sympathy for one who by publicityandundoubtedly great a deal of hardwork, westernised to a certain extent his very large offering of mystery. Nextmonth we havefor :our delectation:AIex Elmsley’s delightfulversion of AstralCoin , andthe ultimate in that great classic, the ‘ Hindu Thread Trick by Hans Trixer.
of the “Rice Bowl ” effect is the finese we have ever encountered. It is a miracle to the audience. On the following Thursday, the M$c Circle had its annualclubroomsupperentitledthe Wizards’Meet.” A matey kind of “ d o ” where everyone let their hair down for the evening ; a good meal was followed by a brisk cabaret of five acts, the Great Lyle, Stanley Watson, Voltaite, Victor Peacock and ourself. On the 7thAprilthe I.B.M. dinner for Dr. Tarbell most unfortunately clashed with an Extraordinary General Meeting of the Magic Circle, a meeting for the adoption of new rules. A lot of work has gone into the production of a set of rules which are not only comprehensive in nature but set out toachieve a higher status for members of the society. If they are passed it can no longer besaid that anyone can become a member of the Magic Circle.
IMPORTANTANNOUNCEMENT Please Note Change of Address TEE MAGIC WAND PUBLISHING COMPANY 62 WELLINGTON ROAD, ENFIELD, HIDDLESEX
60
P L A Y I N G WITH MAGIC by WlLFRED TYLER SELECTINGthe right routine is importantbut it’s the PRESENTATION that counts ! You’ll find SPARKLING MATERIAL and all the SPECIAL ADVICE you need for SUCCESSin de1iF)ting ayoungaudience in,,Wilfred Tyler’slatest book,PLAYINGWITHMAGIC. Sincereley written by a SPECIALIST in the art, famous for his articles and books, lectures and shows on MAGIC FOR CHILDREN-Here’s a “ must ” handbook forpleasure and profit.
YOU’LLLEARN
MORE! PLAY MORE! EARNMORE !
THE OPENING of the act is dealt with in #reat detail, and countless readers will use the author’s theme of “The Land of Let’s Pretend,” in addition tooriginal opening effects and suggestions for adapting standard routines to this purpose. a complete lesson on how to build up entertaining PLOTS are covered in plots around youreffects, and somefine examples are given. PRESENTING “ STANDARD EFFECTS TO CHILDREN will save you countless pounds, for here,:he reader is shown how t o adapt what are normally considered “ adult effects to the entertainment of children. COMEDY. FUN AND LAUGHS are provided in profusion, as well as BY-PLAY with many standard and original props. THE FINALE is possibly the most Important part of the show. and included in this rection are the most complete instructions o n preparing “loads” ever written, together with spectacular routines for closing. DON’T MISS THIS BOOK A finely produced 112 page book packed with advice, ideas, tricks. buoiness bits and gags galore. Cloth bound with a gay dust jacket and illustrated with nearly ninety drawings and photographs.
Price 3010; Postage 6d.
THERE HAS NEVER BEEN ANYTHING LIKE IT ? THE N E W G I A N T S I Z E D
MAGIC‘ W A N D NOT a magazine butasuper giant-sized magic book, publishedin four quarterly parts, each part completein itself. NO news reports or similarmaterial that dates a ‘I magazine,” but CRAMMED FULL of worthwhile workable magic. Vol. 42 No. 237 issue contains 48 pages, 8 i by 11 inches in size, on super-quality cartridge paper, with stiff art-board covers, with contributions by : Jim Merlini, George Johnson, E. Brian Maccarthy, E. MalcolmDavison, Do$as Francis.HarryCarnegie, Graham Bailey, Roy Green, Hen ” Fetsch, Francis Haxton, Tom Sellers, Jack Lamonte, Melvano, Edmund Rowland, T. M. Irvine, Roy Cowl, W . C. Weber,Peter A. McDonald, Charly Eperny, George Pigott, Lawrenco, JamesB. Findlay, Tony Koynini, L. H. Slipper. The first Instalment of
T H E MERLIN1CARD SYSTEM (A new card system that will revolutionise card magic) NEARLYFIFTYFIRST-RATEMAGICALEFFECTS A COMPLETEMENTALACT . NUMEROUSNEWSLEIGHTS ARTICLESONSTAGECRAFT,COLLECTING,ETC.,ETC. Per copy 719 post paid. SUBSCRIPTION6 months l5/6 : One year 30/-
FROM THE PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, E N F I E L D , M I D D L E S E X Tricks of the Trade By GeorgeArmstrong 217 FromthePublishers THE MAGIC WAND PUBLISHING Co., 6 1 , WellingtonRoad,BushHillPark, Enfield,Middlesex. SENDSTAMPED ENVELOPE FOR GIANT BOOK LIST
“ MAGIC WAND ” PUBLICATIONS 719 TheMagicWand,quarterly,percopy p.p. Subscription: 6 months 15/6: year M/The Wizard, 36 pages monthly, per copy 2/1 p.p.Subscription: 6 months 1216; year 24/Playing with Magic (Cloth) By WilfredTyler 30/6 John Ramsag’s Cups and Balls (Cloth) By Victor Farelli 25/6 Where Houdini Was Wrong (Cloth) By MauriceSardina 2OlG WhereHoudini Was Wrong (Cheappaperedition) 7/9 Challenge Instant Hypnotism (Brochure) By GeorgeArmstrong !WAutomentalism I with apparatus) By KendeCourcy 20,’3 ZodiacTelepathy(completeAct) By KendeCourcy 12/9 The Universal Mind By RonBaillie 12/S Chandu’s Psychoanalysis By GeorgeArmstrong 10/3 Premonition By GeorgeArmstrong lord Bohleno’s Mysteries By HenryBohlen 10/3 Thank’s to Leipzig! By Victor Farelli 10!3 TheConcertVentriloquist By Maurice Hurling 1013 Mastered Amazement By Koran and Lamonte 10/3 EntertainingwithHypnotism By S. E. Dexter 10/3 Entertaining with Contact Mind Keading By S. E. Dexter 7 / 9 Toni KoIvnini’s CardMiracles By ToniKoynini 7 / 9 Derby By ToniKoynini 5,’s :?G Living nnd Dead Tests By T e r a l G a r r e t t 5/3 Jamesosophy By Stewart James 5/3 StrictlyMagic ByEddieJoseph 5/5 Stooging Around By JoeStuthard 5/3 StuntswithStageMoney By Jack Lamonte 5/3
*
The Magic Circle I’rasidc*rlt : His Grace the Duke of Somerset.
D.S.O.. O.B.E.. J.P.. M.I.M.C. Vice-President: Douglas Craggo, Esq., Y.I.M.C. Chbronrn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
King George’s Hall, W.C.
JACK HUGHES will be pleased tosend fulldetails of
you
THE DE LUXE “SU-TABLE” together with all his other effects in returnforastamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
Forthcoming EventsMay 16-Auction Sale 23-Concert Particulars from Hon. Secretary :
Francis White, 39 Alvtntone Avenue,
Wimbledon Park, S.W.19
N.W.9. DOUGLAS FRANCIS’S
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand
can bc obtained direct from thepublishersfor 117 perlingle copy. Annual Subscription 181post free. PUBI.ISHED BY:
The,Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manwcripts for publication and books for review should be rent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
‘STAB IN THE PACK’ An entirely new ‘ I thought of” stabbing card discovery Complete with pack and accessories
12/6 From DOUGLASFRANCIS, 65 Norwich Ave. Southend-on-Sea,Essex
CONJURING BOOKS FOR SALE OLD AND NEW. Le? me know your rantr LIST FREE FOR STAMPED ENVELOPE Nn
Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
I Every Advertiser’s goods are fully endorsed by this Bulletin m
PUBLISHED BY THEPROPRIETORS THE MAGIC W A N D PUBLISHINGCOMPANY. 62 WELLINOTONROAD,ENPIELD. MIDDLESEX AND PRINTED BY HERBERT WALKER SON (PRINTERS) LTD.. WVELL CROFT, SHIPLEY, YORKSHIRE
*
PETER WARLOCK’S
PENTA G R A M THE HINDU THREAD TRICK HANS T R I X E R OR the last few years I have performed the version of theHinduThread trick which 1 intend describing. Other descriptions of the trick can be found in Greater Magic, Sach’s Sleight of Hand, Elbiquet’s Textbook of Magic, AI Baker’s Pet Secrets and Kaplan’s Fine A r t of Magic. It was after reading the lask named book that I first became interested in the effect and my first. effortwasmostunsuccessful. Maybe at the time my knowledge of the English language did not enable me to fully comprehend the type of thread to be used; it was not until a little later that I realised thatthe correct texture of cotton is essential for a successful performance of the trick. As forthe first experiments I used a verynice machine cotton (which without any doubt contained a certain amount of glue) the trick could not work. With anatural disappointment I placed the Hugard’s Magic trick aside until onedayin Monthly I saw a note by the Great Jean himself thattheHinduThreadtrick(asdescnied by Kaplan) was a truly wonderful effect. I tried again. This time I had the right kind of cotton; the trick worked and after a weekof careful study (each evening I performed the trick a dozen times infront of a mirror). I gave a performance of it at the Round Tableof Magicians in Amsterdam. They were unacquainted with Kaplan’s book at thattimeandin consequence
F
hadn’t a clue as tothe meansemployed.Since that day I have never left the Hindu Thread trick out ofmy bag of tricks. After a couple of months of frequent performance I thought it a pity that the help of an assistant should be necessary. I always think that the introduction of a spectator into certain types of effects causes distraction from the centre of attention, the effect itself. Therefore I started playing around until I had formulated a routine of moves so that the effect could be worked without the help of anybody from the audience. Soon after this Al Baker’s Pet Secrets was published and I had another source of information regarding the trick. One thing in particular I did find was the superior method of winding the extra length of cotton. I therefore combined A1 Baker’s figure eight winding with Kaplan’s method of concealment. I left out the rolling of the broken pieces intoa small ball asKaplan describes. (I not only found this difficult at times but also dangerous). With a few more individual touches I finally got the effect I wanted and when in 1952, I came across to England, the Editor of this paper, Peter Warlock, showed how much he appreciated the trick. Later correspondence with Peter brought to light an idea of his which though so very simple makes the very first stage of the trick (the unrolling of the cotton) even cleaner. It is the ultimate product witb full credits given to everyone concerned that I now intend describing . . .
THE HINDU THREAD TRICK BAKER-KAPLAN-WARLOCK-TRIXER
VOLUME SEVEN, No. EIGHT
-
I/6. (20 Cents)
=
MAY 3953
62 Let it be first notcd that in order to get tho utmost out of this most deceptive c l o s ~ u ptrick. everything must be done veryslowly for every move ill completelycovered. The slightest suggestion of haste will ruin the ultimate effect. Let me add something else. The trick is most effective for children, only in this version it is advisable to have an assistant and use a greater length. say about three yards. The requirements, or rather requirement is a reel of tacking thread or cotton. Buy the cheapest you can find. It is thetype of cotton usedby dressmakers andtailorsfor tacking pieces of material together. The average cost in England is in the region of two shillings. As such a reel contains at least a thouend feet you are well set up for much practice and many performances. A very cheaptrick indeed! Please don’t try using any other type of cotton for experience has taught me that there is some kind of glue used in finished cotton that makes it springy and makes failure certain. The spool that youuse is approximately two inches high and about one inch in diameter. It seems redundant to add thatwhite cotton should be used for as Sach remarks in Sleight of Hand, “ Black is not very useful.” The preparation is the most important phase of the trick for providing that such preparation
THE FEMALEOF THE SPECIES ELIZABETH WARLOCK
...
is well done, nothing can possibly go wrong during performance. If there is lack of care in the preparation. youmayfinish the trick with a tangled ball of wtton, thus spoiling the effect. Firsttakethe spool in theright hand and bring it up in front of the face. Take the freeend of the cotton with the left hand and extend it so that about one yard of cotton is unwound from the spool. Release this length and again bring the left hand up to the spool. Take that part of the cotton and once more bringing the spool in front
of yourface,extend
theleftarm so thatinall you have measured off approximately two yards of cotton. (Theactual length depends of course on the length of your arm,but this means of measurement means that you always measure off thesame length every time). Don’treleaseyour hold upon the cotton with the left hand but wind itroundthe first and second fingers of the left hand intheform of a “figure eight.” As soon as you reach the reel carefully remove the “ figure eight” piece from the fingers, great care being taken that the loops are not mixed up. At point *‘ X ” fold the two short loops together, pleat the bundle carefully and fold inhalf again. Repeat thisand then wind thecotton comingfrom the reel three times around the bundle. The prepared bundle of cotton is naw pushed (after unrolling a little more cotton from the spool) into the hollow
part of the spool. You will find that you are now left with a yard of cotton coming from the centre part of the spool; this length is lightly wound upon the spool. You are now all set to give a performance.
63 Presentation :Remove the reel from the table
or pocket taking it withthe
thumband second finger of the right hand (see Fig. 5). In this manner
''7 the end of the spool containing the ball of cotton rests under the tip of the second finger. The reel should be held so that the audience can see that nothing is concealed in the palm or for that matter any other part of the hand. The left hand is also shown to be empty and the sleeves are pulled up slightly. This is alldone without comment, but the idea you are aiming at is to make sure that the spectators realise that youhavenothing concealed in the hands. Take the free end of the cotton with the tips of thethumband firstfinger of the left hand. Spread the other fingers and work only with these two digits. Similarly when the right hand is later broughtinto playuseonly the thumb and first finger for handling. While the left hand moves to the left in the action of unwinding the cotton, the right hand brings the spool about five inches beneath the chin. This allows you to obtain the correct measurement of the length to be broken off. . (Do not on any account bring the spool up to the mouth for though on occasions cotton is broken by biting, suspicion mi2ht be attached to such an action in this trick). A.s soon as vouhavemeasured off thecorrect length of cotton you prepare for the mostvital movein the trick.Perfecttimingmustensure the handling is natural. 1Jp till now the unwinding of the cotton has been that the palm of the right hand has been facing the audience, but at this point it now turns. At the same time the right thumb iy moved outwards and the reel is held between the tips of the first andthird fingers. It isonlyheldlikethis momentarily for the thumband secondfinger take over and the spool is then held by thesz digits. At thz same time the free end of thc cotton is dropped. (Fig. 6 gives an idea of this). You are nowready for the vital move which is in fact, the onlymove in the efTect. 'Ther= is r1o technicaldifficulty,it is the timing that makes or breaks it. Take the spool with the thurnl, and first finger of the l e f t h m d at ths same time the risht hand thumb relinquishes its hold. The right hand forefinger is bent inwards and that part of the cotton issuing from the centre of the spool is pinch-grippedin the fold of thisfinger. This grip must be quite tight for the left hand now moves away with the spool and the concealed ball
l6 iswithdrawn. If all theseinstructionshavebeen understood t h es m a l l b a l l o f cotton should a U t o m a t i c a 1 I y take up its position at the tip of the right hand first finger. The thumb comes down at this point, and the ball is held and at thesame time secreted. To Serve the purpose ofmisdirection your eyesmustfollow the movement of the spool, and therefore this part of the trick needs practice. Actuallyonly about four to sixinches of cotton are unwound as the left hand moves away, and at this point the cotton is broken and the spool placed on the table. The position is now that your left hand isemptywhilst from the right hand thumb and forefinger hangs a yard of cotton. The palm of the right hand is now turned towards the audience who can see that it isempty. It is then returned to its original position. The left hand now comes under the right hand and at a pointapproximately one inch from the fourth finger the cotton is gripped and broken. Bring the left hand away showing the long piece thenbring the left hand back tothe right and place this longpiecebeside the short piece. As the left hand comes up to the right, and the right hand thumb and firstfinger open out a little to receive the longpiece, the left hand thumb and finger give complete cover to the small ball which momentarily might be visible. The left hand now goesunderneathagain and breaks the cotton. These actions are repeated until the original length of cottan is broken into pieces measuring between three and four inches in length. They are held as in illustration 7. Remember at this point that one of the pieces has at its centre a small ball of cotton.
64 Move the hands together remarking that you will take one piece away. Bring the tips of the left hand thumb and first finger against the tips of the
right hand thumb andfirst finger, not tip to tipbut crosswise as in illustration 8, where for the sake of clarity the pieces of cotton have been omitted. Open the tips of all four digits slightly and pinch the ball of cotton between thethumband first finger of the left hand which is now moved away, the right handremaining stationary. Correctly performedtheaudience see you take one short lenygth of cotton from the right hand. The position now is that inyour left hand you have a length of cotton the centre of which has been rolled into a ball and in the right a number of short pieces. The left handis nowheld up palm outwards to the audience whilst the finger and thumb of the right hand commence to roll the short pieces into a ball. Remember please to use only the thumband forefinger for the rolling. When the process is complete you should have a small ball of cotton similar in size to that concealed in the left hand. Throw the little ball of cotton held by the right hand into the air a matter of a few inches catching onthe outstretched palm. Move it again into position between the thumb and first finger showing it very deliberately.
You now statethat youwill add the small pieces to the pieces you have left. To do this both so that once hands move towardsoneanother again they take up theposition shown in Fig. 8. As the right handthumband finger take the piece with the rolled up ball in the centre from the left hand, the ball of pieces is pulled backwards very slightly. The left hand is shownempty and the right hand turned so that the single piece and what appears to be the ball that was just added can be seen.
1
.
The left hand thumb and forefinger now take the lower end of the long piece and at the same time the right hand thumb and forefinger release their grip of the ball in the centre without letting go of the bundle of rolledpieces. The result is that the left long piece with the ball in the centre is now held by one end by the left hand. The right hand thumb and finger now take hold of the free end. Don’t pull the long piece taut but bring the hands into a horizontal plane so that anarc of cotton is formed with the small ball in the centre. Blow on the little ball in the centre of the cotton and move: the handsapart veryslowly. Haste at this part of the trick is unnecessary both from a poinf ofvi‘ew of effect and also that too sudden a pull on the cotton may prevent perfect unrolling of the ball. As you pull abwayslowly the little ball in the centre unravels and you are left with a yard of cotton stretchedbetweenthe hands, the latter beingheld palmstowardsthe audience, the little ball of loosepiecesperfectly concealed between the thumb and forefinger of the right hand. This is, in effect the end of the effect, though Kaplan gave a means for disposing of the tiny ball of broken pieces. My ending, however, is different. It goes like this :The right hand relinquishes its grip onthe end of the cotton that it holds and the whole length is allowed to hang from the left hand. Now with theright hand take hold of the short length of cotton above the left hand thumb andfinger and pull it downwards and over the left hand so that this end meets the lowerend. The right hand now moves towards the spool of cotton and in so doing the ball of pieces is rolled so that it is held by the tips of the first and second fingers.The spool is then taken as in Fig. 5, and in taking it the small ball of pieces is pushed home into the centre of the spool. The conjurer takes his bow with the spool held at the finger t i p of the right hand and the restored length of cotton in the left. I always like to hand the restored cotton to a lady as a lucky souvenir. I have taken a great deal of space to describe a version Qf an effectwhichtogetherwiththe three shell game and the Ellis ring has one of the finest plots for close-up magic.
. . that the very best audience a skilled magician can have is one composed entirely of magicians. The reason for this should be self evident. An audience of magical experts is bound to see theperformer’s feats in aproper light.Such an audiencewill very seldombeperplexed by what is exhibited, and will neverattach great importance to how itisdone.’Every member of such an audiencewill have hismindengrossed,almost exclusively, in noting the art with which the performer uses devices known or unknown, to produce an intended expert spectatorswillappreciatethe ’performance highly, no effect. If his performancebemeritorious,the matter howold,hownew,howingenious or howsimplemaybethetechnicaldevicesemployed.” Nevil Maskelyne I‘ O U T AIlagiC,” page VI.
THE ASTRAL COIN RIDES AGAIN ALEX ELMSLEY HE IDEA of this routine was given to me by Tan Hock Chuan’s effect the “ Astral Coin,” which appeared in the Penfagrat~ta few issues back. Effect. The magician is sitting at a table, two cards are shown and placed on the table. A sixpenny bitis vanished andappears beneath the cards. The cards are separated, and the sixpence travels from beneath one to the other. Finally the sixpence penetrates the table. Preparation. To a sixpence glue a short length of hair. The glue will grip the hair more firmly if you knot the end of the hair. Halfway down the side of one of the cards, make a small slit between the layers of the card. Into this slit put the other end of the hair, and glue it in, re-glueing the layers of the card at thesame time. The length of the hair between the card and the coin should be about half the width of the card. If you wish to try outthisroutine before going to the trouble of making up the fake property, you may make it up roughly with thread and Sellotape. Routine :At the start of the routine, the cards are held one in each hand, gripped by the tips of thumb and fingers at the middle of one of the long sides. The hands are palm upwards. The fake card is in the right hand and is being held by the side to which the hair is attached. In this position the sixpence hangs down behind the fingers, which are pointing upwards, and itis hidden by the fingers. The cards are twisted round by the fingers
T
to show them back and front. Then the card in the left hand is placed in front of the fake card, and the left hand carries both cards back onto the right palm, turning them so that the sixpence is beneath the cards and the fake card is above the other card. The cards are left on the right palm, while the left hand goes into a pocket for another sixpence and lays it on the table. The left hand then lifts thecards off the right palm, with the thumb above, and the fingers below, holding the faked sixpence. The cards are placed on the table, with, unbeknown tothe audience, thefake six-
pence beneath them. The side of the fake card to which the hair is attached should be towards your right. Now the visible sixpence is apparently placed in the left hand, using any vanishyoulike. The pinchvanish is very suitable. As the left hand crumbles the sixpence over the cards, the right hand comes back to the edge of the table, and laps the sixpence. The two cards are flipped over, on their right long edges, to reveal the faked sixpence. Next comes the second phase of the routine. The two cards are flipped over again to cover the sixpence. The left hand takes the two cards with the thumb at one end and the fingers at the other end and lifts them about a quarter of an inch off the table as yousay. “ Two cards and a coin.” Take the top card (the fake card) by the inner right corner with the right hand (Fig. 2.) ‘‘Suppose
---’ we only cover the coin .with one card.” As you say this the right hand, in a very casual manner, moves the card it holds about eight inches to the right and leaves it there. This card of course, takes the sixpence with it. Throughout this move, keep your gaze fixed upon the card in your left hand, acting as though the fake card was, for the moment of no importance to the trick. Slowly bring the card in the left hand down onto the table again, and rub it thereon, finally showing that the sixpence has vanished. Then use this card to flip over the fake card, from the left so that ii turns on its right edge and reveals the sixpence. The Now we enter upon the last phase. unfaked card is held in the left hand between the thumb above, and the fingers below. The sixpence is coveredwith this card, but you do not let go of the card. With the right hand you turnthe fake card over again, rotating upon its left edge, and as it comes down over theothercard, the other card is slid away to the left in such a manner as to convey that you are stealing the sixpence. “ Once more we separate the cards. Now, where do you think the sixpence is?” If you have acted your part alright, the spectators will plumb for the unfaked card. However you lift this card with the left hand to show that there is nothing beneath.
66 Oh no, I did that to see if you were watching. But you are quite right in thinking that the sixpence is not here.” As you say this a lot happens. You pass the unfaked card ‘into the right hand, which takes it betweenfinger andthumb at the inner right hand corner. It is then used to pick up the faked card. The left forefinger is placed on the left side of the faked card, to steady it, while the right hand slides the unfaked card beneath the faked card from the right.Because of the hair, this brings the sixpencebetween the cards. Continuing the action of sliding one card beneath the other, the right hand lifts both cards together by their inner right corners and turns them to bring their lower surfaces towards the audience, and their long edges into the horizontal. The sixpence is hanging between the cards and the edge of the faked card to which the hair is attached is upwards. In thisposition you pause a moment Fig. 3.1, “
Then, the left hand takes the cards by their lower left corners, and the right hand reachesbelow the table, picks up the lapped sixpence, taps it a couple of times against the underside of the table
in order to convey that it is at that moment being pulled through the table, and then brings it up and throws it on the table. Thecardsare dropped into your pocket as you bring out some change (the reason for the change 1s to distract attention from the fact that you are getting rid of the cards), you add the sixpence to thechange, and return it to your pocket-finis.
NOTES The handling is such that no suspicion is likzly to be attached to the cards. If however, someone wishes to look at the cards before you have got rid of them (and youshouldnot be in too great a hurry tq ditch the cards), justbreakthe hair. It takes only a couple of minutes to fix up another one. Playwith the fake. Thereare manymoves possible with it which I have not mentioned. For instance you can use the faked card to flipover the other card,and perform the Mexican turnover. You mayusethepresentation idea of the original Astral coin, i.e., you show a ring or other object, and wherever you put thering,thecoin follows. Throughout the routine, only one side of the faked coin is seenby the audience. At the start of the routine you may have the original sixpence marked, taking care that it is marked upon the sidewhich,with the faked coin,neverappears. At the end of the routine, the mark is re-identified. Don’t be frightened of the hair beingseen. I have performed this routine on a white table cloth, in front of magicians.Severalsaw the hair, but none connected it with the trick.
“The experienced conjurer knows that the secret of any good practical illusion is simple, and he admires itaccordingly. It is only the novice who scoffsatsimplicityandhankersaftercomplexities,becausehedoes not realise the amount of work that has to bc done to attain what he is apt to trcat with contempt, as being too siixple. Dearamateur,the bicycle is a simplemachine,asit is now. Butglanceback atthehistory of its evolution,andconsider! So it is with a goodillusion.” David Dcvant “ 0?0’AMagjc,”page 287.
BOOKS
‘‘ GRAND FINALE ” by Jack Chanin (Published by the author, price 3 dollars. Distributed in this country by George Armstrong). This book of some ninety-six pages deals with the silk act. The main aim is the production of silks,such productions beingheightened in the closingstagesby the introduction of items like the “ stack of fishbowls.” Mr. Chanin is concernedwiththepureside of magic and to bring about the necessary effects, the only apparatus that theaudienceshould see during theproduction of silks are the magician’s hands. In the main thz various routines described (and there are nine ir, all) commencewith the production of onesmallsilk from bare hands. The details regarding the handling of thisinitial
feat shouldwith a littlepracticegivethereader a miraculousproduction. From this smallbeginning the tendency is to produce larger and larger silks, until the performer finisheswith(say) a 12 foot square. Where thereare such extraneous production items as for instance the aforesaid stack of bowls very full details of handling are given, and I think the reader is left in n o doubt that heis reading the result of long experimentation and experience. For thosewhoessay a silkproduction and from our own point of view it is one of the most p!iaring things that a stage act can introduce, this book is most essential. Though the author makes no pretence about being a writer, he sets down in very simplelanguageeverything that thereader will wish to know.
Dr. Harlan Tarbell has now returned to the States leaving many pleasant memories behind. All of us, I think are more than grateful to Goodliffe for bringing to these shores such a wellknownfigure in the world of magic. We spent many hours with him finding him a kindred spirit in appreciation of natural magic. The photograph reproduced on thisPageshowshim in conversational moodwith Arthur Ivey a t the Complimentary Dinner given by the Magic Circle, on Sunday, April 19th. Servais
I
cepted as part and parcel of any magical function aud some excellent work is seen. The field of actual invention however, seems tobe much smaller despite what would appear a terrific o u t put of new effects that appear in so many magazines. The inventor on a large scale seems to be a thing of the past, and nobodyeither in this or anyothercountry has come forwardto replace such men as Oswald William, p. T. %&it and le Rov. Just think of effects such as the “Dizzy Limit,” “The Red Box and the Green Handkerchief,” “ Asrah,” “Sawing a Woman in Two ” (The Selbit version in our own mind is still the mosteffective and mystifying). “ The Elastic Lady,” “ The Man Without a Middle ” and so on. Most professional acts willtellyou that the big type of illusion is a thing of the past. If that is so, more’s the pity. The anonymous columnists and letter writers, those whothroughsomemisfortune have been denied a legitimate name seem to be getting under the skin of Bruce Elliott judging by his remarks in Phoenix No. 219. He goes on to say :‘‘ If the purpose of these columnar attacks of is to the poison penmail wehavebeengetting drive us out of magic, it can wellsucceed. The Phoenix was started because we thought it would be fun. It has been. It has continuedbecause enough people liked the kind of fun that we enjoy. But if this irresponsible kind of hatcheting continvears aeo ues we shall. what we would have a few ,~~ considered impossible, kill the Phoenix. We sincerely hope that this was a blue day for B.E. and that he didn’t mean that part about folding up the Phoenix, for in these days of so muchwordage anent those things that pass for magic, the Phonzi.r is a publication that does cater for the adult mind rather than the magical cretin. Leading on from Curry’s “Linked,”and the variations. that we have published, John A. M. Howie has come along with a nice routine with coloured laces that owes its origination to the first namedeffect. It will appear-in the nextissue. We have also persuaded Tony Blitz to write up his own version of the late Arthur Buckley’s “ Colour Separation ” e3ect. Those who have apenchant for really good card magic and at the same time possess a good technique will find this routine outstanding in dfect. ~
Talking of the Magic Circle brings us to the new set of rules. The Special General Meeting the a t which the draft rules wereplacedbefore members for their vote drew one of the largest crowds that we have yet seen at Headquarters. A rush from this meeting took us to the Cock Tavern in Fleet Street where the British Ring was staging a supper with Dr. Tarbell as Guest of Honour. A pleasant occasionwhichbroughtBarrie Edgar down from Birmingham to do a “spot” in the entertainment that followed the meal. Looking over the post war years, one notices more and more how variation of technique, is receivingmore than itsfairshare of attention whilst good magical effects take a lesser place. I n the field of micromagic, greater interest is undoubtedly being shown particularly by the cognoscenti.Close-upmagicsessions are now ac-
~
~~
L
PLAYING WITH MAGIC Iby WlLFRED TYLER SELECTING the right routine is important but it’s the PRESENTATION that counts ! You’ll find SPARKLING MATERIAL and all the SPECIAL ADVICE you need for SUCCESS in delighting a young audience. in ,,Wilfied Tyler’s latest book, “ PLAYING WITH MAGIC. Sincereley written by a SPECIALIST in the art, famous
I
~~~
~~
in size, on superquality c a r t r i d g e paper,withstiff a r t - b o a r d covers, with contributions by : Jim M e r l i n i , George Johnson, E. B r i a n Maccarthy, E. Malcolm Davison, DoyFlas Francis. Harry Camegie, Graham Bailey, Roy Green, Hen ” Fetsch, Francis Haxton, Tom Sellers, Jack Lamonte, Melvano, Edmund Rowland, T. M.Irvine, Roy Cowl, W. C. Weber, Peter A. M c D o n a l d , Charly Eperny, George Pigott, Lawrenco, James B. Findlay, Tony Koynini, L. H. Slipper. The first Instalment of
! PLAY MORE ! EARNMORE !
THE OPENING of the act is dealt with in sreat detail, and countless readers will use the author’s theme of “The Land of Let’s Pterend.” in addition to original opening efi‘ects and suggestions for adapting standard routines to this purpose. PLOTS are covcrcd ina complete lessonon how to build up entertaining given. plots around your effects. and some hne examples are PRESENTING “STANDARD EFFECTS TO CHILDREN will save you countless pounds, for here the reader is shown how t o adapt what are normally considered ”adulr ’’ effects to theentertainment of children. COMEDY. FUN AND LAUGHS arc Drovided in Drofusion. as well as .~~ BY-PLAY with many standard and original props. of rhe show. and THE PMALE Is possibly the most importanc part on preparing included in this secrion are the most complete instructions loada*lever writren, together with spectacular routines for closing. DON’T MISS THIS BOOK A finely produced 112 page book packed with advice. ideas.tricks. buarness bitsand gags gab%. Cloth bound with a gay dustjacketand Illustrated with nearly ninety drawings and photosraphs ~
~~
6‘
Price 301-; Postage 6d.
MAGIC WAND NOT a magazine but a super giant-sized magic book, published in four quarterly parts, each part complete in itself, NO news reports or similar material that dates a “ magazine,” but CRAMMED FULL of worthwhile workable magic. Vol. 42 No. 237 issue contains 48 pages, 84 by 11 inches
for his articles and books, l e c t u r e s and shows on MAGIC FOR CHILDREN-Here’s a “ must ” h a n d b o o k for pleasure and profit.
YOU’LLLEARNMORE
THERE HAS NEVER BEEN ANYTHING LIKE IT 1 T H E N E W GIANT S I Z E D
THE MERLIN1 CARD SYSTEM
I
(A new card system that will revolutionise card magic) NEARLYFIFTYFIRST-RATEMAGICALEFFECTS ACOMPLETEMENTALACT . NUMEROUS NEW SLEIGHTS ARTICLESONSTAGECRAFT,COLLECTING,ETC.,ETC. Per copy 7/9 post paid. SUBSCRIPTION6 months 15/6 : One year 30/-
I
t
F R O M T H E PUBLISHERS
THE MAGIC W A N D PUBLISHING CO. 62 WELLINGTON ROAD, ENP€ELD, MIDBLESEX I
___
~
MAGICWAND ’* PUELICATIONS TheMagicWand,quarterly.per COPY 7 / 9 p p . subscrlptlon: 6 months 1WG: year m/The Wizard, 36 pages monthly. per COPY 211 p.p. subscription: 6 months 1’318; year 241Playing with Magic (Cloth) By WIlfvv‘ ”wlrr W/8 John Ramsay’s Cups and 1 By Vlc Where Houdlni Was Wrong (010th) By MauriceSardina ZOiG Where Houdini Was Wrong (cheappapereditlon) 7/9 Challenge Instant Hypnotism (Brochure) By GeorgeArmstrong Zl/AutomentaYsm(withapparatus) By KendeCourcy 60/8 ZodiacTelepathy(completeAct) By KendeCourcy 1219 The Universal Mind By Ron Baillie 12/9 Chandu’s Poycho8naiysia BY GeorgeArmstrong 10/3 Premonitirm ByGeorgeArmstrong 10/:+ Bohleno’a Mysteries ByHenry Bohlen 10/3 Thank’s to Leipzig! By VictorFarelli 1013 The ConcertVentriloquist R V Mmlrlee Hurlinn 16/3
~~
~
__
l -
JACK HUGHES will be pleased tosend full details of
togetherwith a11 hi5 other effects in r e t t r r n for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
I Il*
_.
-I__-_-
l’lvsidcnt
;
Hi. Grac-c rhr I h k c nf Swnerscr,
V.S.O.. 0 . B E . . J.P.. M.I.M.C.
Vice-President:Douglas C r y l b Esq., M.I.M.C. Clubroom andLibraryand Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
I
KingGeorge’s Hull, W.C. Forthcoming E v e n t s May 16-Auction Sale 23-Concert
I
Particulars from Hon. Secretary :
you
THE DE LUXE “SU-TABLE”
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
N.W.9.
DOUGLAS FRANCIS’S PETER
WARLOCK’S
PENTAGRAM is published on the 24th
1. __, Entertaining with ConTict mind Rending By S, B. Dexter 719 Ton1Koynini’sCardMiracles BY Toni Koynini 719 Derby By Toni Koynini 26 Livinb and Dead Tests By T e r a l Q a r r e t t Jamesosophy By Stewart James StrictlyMagic BYEddieJoseDh Stooging Around .i/Y ByJoeStuthard StuntswithStage Money By JackLamonte 6/S
The Magic Circle
Tricks of t h e T r a d e Si7 By GeorgeArmstrong From the Publlshers THE MAGIC WAND PUBLISHING CO., 62. WellingtonRoad, Bush HillPark, Entleld, IUiddlesax. SENDSTAMPEDEXYELOPE FOP. GIANT BOOK LIST
‘1
I I
of eachmonthand
ran be obtaineddirect from the publishers for 117 perringlecopy.AnnualSubscription 181post free.
‘STAB IN THE PACK’ An entirely new
“
thought of”
s t a b b i n g card d i s c o v e r y
Complete with pack and accessories
1216
PUBLISHED
From DOUGLAS FRANCIS, 65 NorwichAV.. Southend-on-Sea, Essex
Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDR6SS:
OLD &U NEW. Let m e know y a u t r a n t s LIST FREE FOR STAMPED ENVELOPE N n Callcm - -.....
BY: The Magic Wand PublishingCo. 42 Wellington Road, Enfield Middlesex
Peter Warlock, 24, Wordsworth Rd., Watlington, Surrey.
CONJURING
BOOKS FOR SALE
GEORG.E JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
1
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED B 1 T E E ?ROPIlETOIS MAGIC W A N D PLlBLlSHWG COMPANY, S’? WllLLlNOTON ROAD, INPIELD. A N D PRINTED BY HEnBERT WALKER (L SON (mIN%’@RS)LTD.. W E L L C R O R I SHlPLEYaYORKSHIRE
MIDDL88EX
S
PETER WARLOCK’S
NTAGRAM LACED U P JOHN A. M. HOWIE S TAE I-’hu:?zis No. 123, Paul Curry described an eBect of his called “ Linked.” This delightful
IeE‘ect has received further treatment at t h hands of Elizabeth Warlock and Jack Avis (Pentagrnnz Vol. 4, No. 10 and Vol. 6, No. 10 respectively). All of these versions, while good, are, in my opina ion,too brief. The routine whichfollowsis close-up version requiring no cover other than the hands and using shoe laces in place of ropes. The final phase isessentially the “ Ropes, Fanand Silks ” effect with a twist on the tail. EFFECT : Two looped shoe laces become magically linked. This is repeated with an addition - a small ring placed in th’e hand becomes linked between the looped laces. The laces are then tied around a pencil, a borrowed finger ring is thrzsded on the laces and tied in position and the ring used previously is also threaded on the laces. Covering the rings and knots withhisleft hand, the performer removes the pencil with his right hand and spectator. hasthe ends of the pencilheldbya Removing both hands the knots are shown to have gone, the performer’s ring only being threaded on the laces. The spectator’s ring is revealed threaded on the pencil. REQUIRED : A pzir of shoe laces, preferably brightly coloured, two duplicate metal rings approximately one inchin diameter and 3 pencilwhichshould be borrowed if possible. One ring is in a pocket on the rightside. The dupkate issleevedin the left sleevebefore starting the routine. If sleeving is inconvenient the duplics’e rinz should be held on the leftsidewherzit csn b.. stolen,e.g. from a d i p under the jacket edge. METHOD : The three phases follow one another naturalIy but will be described separately for convenience. Phase 1. Show thetwo laces and fold each inhalf. Plwe one, doub!ed lace over the !eft forefinger and the other over the left third finger so that the four ends hang towards.the bsck of the hand. Havino shown that the laces are quite unconnected,half ~~
~~~
VOLUME SEVEN, No.
NINE
-
close the left hand. With the right fingers draw the middle of each lace back o n to the left palm, place one loop over the other then pull one loop through the other as showninFig. l. Grip loop X in the right fingers (right hand palm down) at the interlinked portion simultaneously putting the four left fingers downwards into loop X. With the right hand take the linked portion upwards as in Fig. 2, turning to the right as you do so. Make a rubbing motionwith the right
fingers then movethem to showthelaceslinked as in Fig. 3. Keeping the fingerpositionssteady, move the right hand upwards till the laces are drawn free from the left hand. Thus, in thisversion, the secret unlinking is done by the left second finger. Finally, take one pair of ends in each hand and show tha; the laces are definitely linked. Phase 2.
Hold both laces by one end in the right hand. Meanwhilelower the left armand recover the sleevedring (or steal itfrom clip)thenpinch it between the left first arid second fingers so t h a t it is almost at rioht anelzs to the fingers. Hold the left hand with its back to the audience and, reaching for the lower ends of the laces, guide ~~~~
l/& (20 Cents)
-
~~
~~
JUNE 1953
70 Take the duplicate ring from the right pocket, show it and then push it under the left fingers so that it is gripped on the left palm. With the right hand grip thelinked ring and draw it and the laces back and upwards so that the position of Fig. 2
both lower ends through thehidden ring (the metal are tagsmake this easy). As soon asthetags through. lower the right hand and drape the laces over the left forefinger as shown in Fig. h s t e n sibly to locate the centres of the laces. Grip the ring and centres of the laces in the righs hand so that the ring is kept hidden. Hold the left hand palm up and place the laces in positioo as before - see Fig. 5. Lower the laces and and ring to the left hand and half close this hand fo keep the ring concealed.
fk,
G.
THEFEMALEOFTHESPECIES Mrs. B O D I E - W I F E O F
. ..
Dr. B O D I L
From the 1. B. Findlny collectwn
is reached except that this time there is a ring between the laces and hidden by the fingers. Turn to the right and work the palmed ring as far down the left hand as possible till it is just held by the tips of the left fingers. Rub the right fingers and thumb together, then move them to show the ring linked between the laces as in Fig. 6. As this position is reached release the palmed ring and allow it to fall into the left sleeve. Draw
single knot, then have another spectator hold the pairs of ends.Borrow the first spectator’s ring and thread it over the laces from one end. Take a single lace from each end, tie a single knot and return the laces to the opposite ends from which they came. Thread the plain metal ring on to the laces at the opposite end to the other ring as in Fig. 9. Place your left hand over both rings and pull the pencil free with your right hand. The spectator’s ring is now free of the laces but keep this fa‘ct hidden and manoeuvre this ring so that it is gripped between the tips of the left second and third fingers and is pointing backwards towards you as in Fig. 10. Use the pencil to p i n t to the
the laces free of the left hand and hold as in Fig. 7 with the palms obviously empty - but do not comment on this fact. Phase 3. Unlink the laces and ring. Lower the left arm and recover the sleevedring then take a pencil from your pocket with the left hand leaving the ring in the pocket. Use this pencil if necessary but, if possible, use instead a pencil borrowed from a spectator who is wearing a finger ring-in the latter case return your own pencil to your pocket. Lay both laces over the pencil as in Fig. 8. While apparantly tyinggenuinely, actually tieone lace roundtheother, i.e. tie AA round BB with a
n
A
Frq. g.
1 1
~
f M .
l0
a
left hand and, while tapping the left hand with it to emphasise that the rings are securelytied up, steal the ring to the right hand by extending the right second and third fingers, gripping the ring and folding these fingers back into the right palm. o h i s move is identical in principle to the coin or sponge ball sleightwhereby a steal is made from a closed fist). Swing the pencil round and work it through the right fist so thatit passes through the concealed ring. Ask the spectator whether he would A prefer tokeep his own ring or have yours. He 6 will naturally prefer his own. Have him gripthe ends of the pencil. Say, “ Excellent - so I shall yours.” keep keep my property you while Remove both your hands to reveal the knots gone and your ring on the laces while the spectator’s ring is seen to be spinning on the pencil.
“ It hasoften been put forward asan argument against the proposition that acting is an art, that the actorcreatesnothing, andthat therefore he is notan artist in thetrue sense of the word. Such a charge cannot belevelledagainstconjuring.Thegood conjurer creates the story thathe wishes to tell hisaudience, andthen invents the meansofillustrating that story.Therefore, if there is anything inthe theory that an artisthas no claim to the name if he does not create, the conjurer has a better right to be called an artist than. an actor.” -“ Magic Made Easy,’’ by David Devant.
DOUBLEUPDISCOVERY NORMAN MACLEOD HE SPECTATOR is handed a pack of cards to shuffle and whilst the performer’sback is turned deals the cards into face up and face down heaps respectively. He is asked to choose either heap, remember the topmost card, reassemble the two heapsand cut them as many times as he wishes. Despite all this, the performer
T
when he turns round is in a position to locate the chosen card with infallibility. When we were first shown this effect we were greatly taken with the means to achieve t.he end. Straight away we will tell you that it is based upon the twenty-sixth card location principle. This is the handling :-
72 The performer hands the packminusany Jokersto the spectator askinghim to shuffleit. This being done the pack is taken by the performer and he shows the spectator what he requires done whilst his back is turned, namely to deal the whole pack into two piles. In thisillustrationhe deals two cards face down and two face up, the dealing taking the normal course. He notes the two face up cards whichwewill SUPPOS~ are the ace of diamonds and the two of hearts. The face up cards are then placed back on top of the pack followed 6 y the twofacedown cards. A: this pain: the spectator isasked to cut the packandthe performerturns away. The spectator signifieswhen hehas completed the deal and atthst p3int is asked to choose either pile. “ If you have chosen the face up heap,” says the performer, “ just remember the topmost card. If the face down pile, turn over the tap card and look at it and replace it . . .” Whenthis has been done the spectator is asked to place the face up pile face downwards on the face down pile and then cut the cards once, twice or as many times as he wishes. At this point the performer turns roundl then picking up thepack from the table, he fans the cards beforehimand at the sametime resspitulates that the spectator has done all thecutting and FhuSFling. With th? cards before him the nearest of the noted key cards to the face of the pack is cuf to the face of the pack.Wewill suppose of diamonds. Leafingthrough thatit istheace the cards, the performerlocates the secondkey card, the two of hearts and removes the two keys and the cards between, remarking: “ Just to make things a little easier, I should like you to tellme whether the card you looked at is amongst these cards.” If the spectator says “ Yes,” the remaining cards are placedaside and turning the cards in his handface down, the performerasks one more question, “ Was your card in the face up or face down heap.” If the answer is “ face down ” the performercommences to removetwo cards at a time from those held,placingthemface up
on the table and at the same time remarking, “ It was notlikethis,faceup.” Let’s make the matter of removingthetwo cards a littleclearer.Actually one card istaken from the top of the heap and one from the bottom. Almost like a double deal, but instead of the bottom card beingconcealed the spect,atorsees it removed. It really amounts to the bottom and top cards beingsqueezed and slid off together. The performer goes on doing this until he is left with two or three cards in his hand. If hehas three, the top and bottom cards are removed and he is leftholding one card and this card is the card looked at b y the spectator. The performerremarks at this point, “ With all the cards face up I am left with one face down card . . . what was the name of the card you had in mind?” The card is named and the performer turns it over. If, however, two cards are left, the bottom card will be the chosen card and, of course, the top card is dealt face up leaving the other oneintheperformer’s hand. We have assumed that the chosen card lies in the heap having the key cards at its extremes. If the card is not there, the remaining cards are taken and using the same method of removing the cards and ending up with two or three cards the same result will be achieved. If, however, the card was selected from the face up pile, when the performer finishes with t h e e cards in his hand, the topmost card of these three will be the selected card and the two cards under it are keptfacedown and discarded (when the card is chosen from the face up pile, the performer in discarding cards places them f a c e down, remarking, “ It wasn’t face down ”), the remaining cards being turned face up when it is named by the spectator. If onlytwo cards remain in the hand when the card was selected from the face up pile, the topmost card will be that selected. Despite this somewhat lengthy description, the evect is most straightforward, and the method for revealing the located card quite impressive for informal work.
“ A Man may study every work on conjuring or magicwhichhasever beenpublished,hemaytake lessons, workhardand achieve acertainmanual dexterity, butat theend of it all he may stillbe ignorant of what magic is.His knowledge of secrets willnothelphim to discover thatsecret.” -“ Magic Made Easy,” by David Dzvant.
WRITTEN ON TIME JOHN DERRIS EXPECT there are quite a largenumber of magicians who are possessors of the handsome Magician’s Diary completewith a pencil and clipboard in the backcover. I expect a large percentage of those magicians do not use the clip board owing to the difficulty in removing and reading the information without causing suspicion. This
I
same problem faced me and here wasmy answer which has served me in good stead and I hope will beuseful to you. Instead of using a piece of thin card as backing for the carbon, cut a piece of 1/32” celluloid measuring 1%” by 43” and a piece of typewriter carbon to the same size. Stick this to the celluloid
at one end withasmallpiece of Sellotape. Next cut yourselfasupply of paper strips measuring approximately 13” by 53”, and insert one of these between the celluloid backing and the carbon and push the whole intothe slit inthe back of the diary, the hinged end going in first so that about one inch of the paper projects out through the slit. Fold this down, close the diary, place in your right. breast pocket and you are ready for a little miracle. You are sitting at a table and you hand the spectator oppositeyou the diary and apiece of paper appo,ximatelythe same size.With the pencil draw an oval shape inthe centre of the paper so that the carbon insert is enclosed within the oval. You ask the spectator to think of a cardandto record his thought byprinting the name of the card in the oval. When he has done this ask him t a fold the piece of paper into halves then quarters and to tear it into many pieces and place the pieces on an ashtray. Whilst he is doing this yourelieve him of the diary withyourleft hand and in the act of returning it to your breast pockei insert the secondfinger of your left hand between the cover and the last page of the diary, near the top so that your finger actually comes underneath the folded flap of paper projecting from the carbon insert. As the diary goes into the pocket you raise this finger so that now the piece of paper projects outside th’e diary. You grip this between the first and secondfingers and under “ But thecriticisms of amateurmagicians,generally, more destructive criticim from arl amateut rnac.ician, in is constructive. There is a usvchological re?-on for this. So it is best notto listen tothevolunteercritic and his advice valuable.’’
cover of sliding the diary intothe pocketyou extractthe piece of paper entirely and crush it into a ball which is concealedinyour left hand. The hand comes out of the pocket and goes naturally to your lap where the paper ballis dropped. You are now at liberty to place the hands onthetable ifyou wish.Youhavebeen doing this all the while the spectator has been tearing up his billet!. If youwishyoumaynow ask him to burn the pieces so that no evidence is leftexcepthisownthoughts. This hedoes and you remove a pack of cards from their case and of times.Tellhimyou are cutthemacouple poing to remove one card from the pack offifty three and place it downon the table in front of him,beforeanythingelseisdone.You take the pack down below table level into your lap and in theact of runningthrough the cardsyou open of paper, readthe carbon impression, theball screw it up again and getkid;of it either in your to pocket or under your waistcoat. All you have do now is remove this card from the pack and place it down in front of the spectator. Askhim to name for the firsttime the card of which he is thinking, and after he has spoken ask him to turn the card over and then watch his facel. This item is very practical for I have personally done it many times at the coffee table for which it is ideal, so go and dig out your diary and give it a try. are valueless. A s a matter of factthere i s invariab!\v discussinp almost any performance of magic. than the-e going back into the critic’s ego. unlecs onehas reason to knowthat hi5 taste is sound -“ Showmanship for Magicians,” by Fitzkee. Daricl
P A W R U S COIN BOBBY BERNARD Effect COIN isheldbetween the first,finger and thumb of the right hand and pushed into the closed left fist. The left fistis rubbed with the right forefinger, and both hands are shown ta be empty. The coin has completely disappeared. Routine Whether this has been published before I do not know, but my apologies to all and sundry if C . Lang Neil’s it has (anyway I soldmycopyof The M o d e r n Conjzuer long a time ago). I always useahalf-crown for this effect.because the disappearance ofsucha large coincausesa great deal of bewilderment to the layman, I say layman becausedoing an effect of this type tQ magicians is awasteoftime. The left hand is closed into afist and heldin front of thebody, back of the fist upwards at about waist level. The half-crown is taken from the right hand trouserpocket, and displayedbetweenthe first finger and thumb of the right hand. The coinis
A
now pushed into the left fist with a small part of the coinleftprotruding. The protrudingpart. of thecoin is now pushedcompletely intothe left fistwith the right thumb. The position atthe momentis as follows. The thumb of the right hand has just pushed the coin completely into the left fist thus bringing the fingers of the right hand below the left,fist ready for the nextmove. The left fist is opened very slightly and the coin allowed to drop into the finger palm position, i.e. onto the slightlycurledfingers of the right hand, these fingers are now closed around the coin and the right hand turned back upwards with the forefinger extended pointing to the closed left fist. (You willnowrecognisethis part as awellknowncigarettemove). The next part of the routine is very important for timing, so do practise this carefully. In appearance all you are doing is rubbing the back of the left hand, but you are reallysleeving the coin, this isaccomplished in the followingmanner. The coin is resting on
74
BOOKS PLAYING WITH MAGIC ’’ byWilfred Tyler (Published by George Armstrong, price 30/-). The writer of this bookinhis introduction writes :“ Following the large success that Open Sesame enjoyed I have been approached many t h e s to write a book entirely on my own on the same subject.Whilstlecturing up and down the country on ‘ Entertaining Children,’ the demand has increasedwithrequests that some of the popular features of thoselecturesshouldbeincorporated as a permanent record of useful information. Thus wit.h chosen features from those lectures as a nucleus I commenced to frame the contents of this book.” There, therefore, the reader has the basic theme, and whilst a number of effects are described, the main task of the writer is to deal with certain angles that are importantto a children’s actas a whole. In particular he dealswith the important task of opening and closing a typical children’sshow. Inthelatter, he assumes that a production should finish the show and we think all other things being equal that this is as it should be. One chapter deals particularly with the presentation of standard effects and we particularly liked his version of the rainbow plumes which he entitled “ Hussar.” Other chapters covercomedy plots and a by-play. The book coverssome hundred and seven pages, has nearly ninety illustrations many of them photographic. Itis wellbound and printed on art paper. There is a foreword byBillStickland the popular secretary of the British Ring. For those who perforcehave to presentfor children this book is a “ must ” and at the price is very good value.
“
l
For sheer value, this wellproducedbook of some 152 pages will be hard to beat. Containing (at a rough estimate) some two hundred tips and tricks there is something (as we havewrittenin the preface) for every kind of magician whether he be close-up worker, mentalist, general practitioner or would be T.V. performer. The most important thing is that the average reader willhave at hand most of thearticles, required and his thanks to Milbourne Christopher willbe for producing so many attractive themes in which these articles can be used, Inall there are someninechaptersdealing with the following angles :l. Mental Magic. 2. Close-up conjuring. 3. Rope Wizardry. 4. MoneyMagic. 5 . HandkerchiefHocusPocus. 6. MagicintheCards, 7. Stage and T.V. tricks. 8. Novelty Magic, 9. Behind the Curtain.
Quite frankly it is difficult to list tricks in any order of preference for with few exceptionswe find that everythingdescribed has a good audience attack. Thinking in terms of stage magic, however, we would like to say that in our own opinion, that “ Silk from Smoke ” and “ Red Ashes Climax ” alone are worthverymuch more than theprice charged for the book. To illustrate the tricks, our friend Ted Elliott must have made some hundred odd drawings so that everything is quite clear. As we havesaidbefore,outstandingvalue.
“ The show should have gone on. People don’t usually appreciate value unless they pay for it. They paid this night to learn that no one, not even the very greatest in his line can do without constant rehearsing and practice.”-Report Servaisbyof show page Jinx, le Ray. 604.
PAWRUS CO1N-continued
l
from page 73
the ledge made by the curled 2nd,3rd and little right fingers. This is atthe momentexactlyin linewith the right sleeve. The right forefinger is brought forward over the left fist in a rubbing motion and on bringing the hand back, the coin is allowed to fly backwards into the right sleeve.
1
VARIED DECEPTIONS ” by Milboume Cluistopher (Publishedby Harry Stanley, price 151.).
“
The rubbing isperformedtwicemore and the hands are shown to beempty, thus proving the coin to havevanished. (I know this reads rather badly but I think thaton rehearsalyouwillsee exactlywhat I mean).
“ T h e secret hoarder is NOT amagician. He neverwillbeamagician fromthestandpoint of being an interestingentertainer.Thesesecretsaren’t so damnedvaluable. Thereare few of themthatcan’tbereasoned out byaman of fairly logical analytical ability. thing that is important is its It must be repeated again. The secret is NOT imEortant. The only favourableimpressionuponthemajority of the spectators -‘I Showmanship for Magicians,” by Dariel Fitzkee.
75
N THE May number of the Linking Ring there is a Columbus ‘‘ Hocus Pocus ” Parade. Following a most sententious piece of magical slush by a Mr. William Mark Taylor, Eddie Clever rather surprisingly comes forth with these words :-
I
“I wonder what theAmerican Medical Society would think of a doctor who wrote a book FOR T H E LAYMAN describing in detail how to perform a number of operations? I doubt if the medical profession would greet the books with peans (we quote it as spelt) of praise or the author with a pat on the back . . . even if the book did sell for a dollar or more . . . a dollar, ha . . . what price treason? This is just another knock added to those of the bar sinister boys at Bruce Elliott and Wilfrid Jonson. Why can’t these people grow up and see magic through the eyes of an adult. Don’t they realise thattheir own magical education came from books that were for public sale. Do they Bklieve that Hoffman, Sachs, Maskelyne and Devant wrote books with the idea that they should never reach the public. We can never believe that any book on magic, intelligently written has ever harmed magic, but rather it has achieved one of two things. Firstly ithas possibly brought a worthwhile newcomer into magic or secondly it has madethe reader more appreciative of the magician’swork. Just remember that ‘‘ Modern Magic ” appeared serially in a boy’s paper in the latter half of the nineteenth century, that Downs exposed Iiis coin act in a national publication and so-on and won. As we said before we were surprised to see Eddie Clever, for whomwe have a very great regard, writing like this. Surely he must know that the ‘‘ Hocus Pocus ” Parades which contain some
excellent material are read by those who are n o t magicians in any sense, but just people who are trick conscious and members of a huge organisation of Which possibly ten per cent. (and we think we are rating this percentage high) can in any sense be called magicians. These trick conscious cretins invariably do far more harm with their numerous public ,exposes than any bookstall publication. (Just to make things a little clearer don’t let it be thought thatthe remaining ninetypercent. of I.B.M. members fallinto this latter class. Far from it. Our assessment of the word magician means something more than a good conjuror). We have never been able to use the Pentagram as a news sheet for the very simple reason that it is published monthly and unlike some magazines we don’t like reporting events that have takenplacethreemonthspreviously.Starting on the 11th June, however, we have a column inthe “ Stage ” dealingwithmagicians. We shall at all times appreciate any news items that readers might consider merit publication. Neil Foster was allthat we heard he was. Lovely work. With a smile or two more and cultivated charm he could reach outand enter the Cardini class. One often wonders how many magicians are really interested in the history of magic.We say this for on the occasion of the Magic Circle Coronation week-end, Arthur Ivey, the Curator of the Museum,assistedby his wife, spent many hours setting out an exhi,bition of posters, programmes and various memorabilia. In all, out of the thirteen hundred membership, some foay or s t y came along. The trick conscious class,however, came along on the Saturday evening to see the tricks at the Gala show.
f
I
I do not hold the opinion that any man who can get up and do a few tricks-even though he
may do them well enough to entertain his audience--is necessarily a conjurer, because it is quite possible he may be an exhibitor of tricks. To say that a man who knows a few tricks is a ,tonjurer is like say!Fg that the man who knows ‘The Merchant of Venice ’ by heart is an actor.”-David Devant- Magic Made Easy. “
7 6-
I
, l
i
I
PLAYING WITH MAGIC! i.by WlLFRED TYLER SELECTING the rightroutine is importantbut it’s the PRESENTATION that counts ! You’ll find SPARKLING MATERIAL and all the SPECIAL ADVICE you need for SUCCESSindelifhtinga youngaudience in,,Wilfred Tyler’slatest book, PLAYING WITH MAGIC. Sincereley written by a SPECIALIST in the art, famous for his articles and books, lectures and shows on MAGIC FOR CHILDREN-Here’s a “ must ” handbook forpleasure and profit. YOU’LLLEARN
MORE! PLAYMORE!EARN
MAGIC‘ WAND
MORE!
Price 30/-; Postage 6d. THE
FROM
The first Instalment of
THE MERLIN1CARD SYSTEM (A new card system that will revolutionise card magic) NEARLYFIFTYFIRST-RATEMAGICALEFFECTS A CGMPLETEMENTALACTNUMEROUSNEWSLEIGHTS ARTICLESONSTAGECRAFT,COLLECTING, ETC., ETC. Per copy 719 post paid. SUBSCRIPTION 6 months 15/6 : One year 30/-
PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTON ROAD,
I
NOT a magazine butasuper giant-sized magic book published in four quarterly parts, each part complete in itself. NO news reportsor similarmaterialthatdatesa magazine,” but CRAMMED FULL of worthwhile workable magic. Vol. 42 No. 237 issue contains 48 pages, 84 by 11 inches in size, on super-quality cartridge paper, withstiff art-board covers, with contributions by : Jim Merlini, George Johnson, E. Brian Maccarthy, E. MalcolmDavison, Doyflas Francis.HarryCarnegie, Graham Bailey, Roy Green, Hen ” Fetsch, Francis Haxton, Tom Sellers, Jack Lamonte, Melvano, Edmund Rowland, T. M. Irvine, Roy Cowl,W. C. Weber, PeterA. McDonald, Charly Eperny, George Pigott, Lawrenco, JamesB. Findlay, Tony Koynini, L. H. Slipper. l‘
THE OPENING of the act is dealt yfth in great detail. and countless readers will use the author’s theme of The Land of Let’s Pretend.” in addition to original opening effects and suggestions for adapting standard routines to this purpose. PLOTS are coveredin a complete lessonon how to build up entertaining plots around your effects, and some fine examples are given. PRESENTING “STANDARD EFFECTS TO CHILDREN will save you countless pounds, fo: here,!he reader is shown how t o adapt what are normally considered adult effects to the entertainment of children. COMEDY, FUN AND LAUGHS are provided in profusion, as well as BY-PLAY with many standard and original props. THE FINALE is possibly the most important part of the show. and included in this section are the most,.complete instructions on preparing “loads” ever written, together with spectacular routines for closing. DON’T MISS THIS BOOK A finelyproduced 112page book packed with advice, ideas, tricks, businessbitsand gags galore. Cloth bound with a gay dust jacket and illustrated with nearly ninety drawings and photographs.
I
THEREHASNEVERBEENANYTHINGLIKE IT ! T H E N E W G I A N T SIZED
“ MAGIC WAND ” ?UBLICATIONS quarterly,percopy 719 TheMagicWand, p.p. Subscription: 6 months 16/6: year WThe Wizard, 36 pages monthly, per copy 2/1 p.p. Subscription: 6 months 1216; year 241PlayingwithMagic (Cloth) ByWilfredTyler S0/6 JohnBamsay’s Cups andBalls (Cloth) 25/6 By Victor Farelli Where Houdini Was Wrong (010th) By MauriceSardina 2016 WhereHoudiniWasWrong 7/9 (Cheappaperedition) Challenge Instant Hypnotism (Brochure) By GeorgeArmstrong 21/Automentalism (with apparatus) BvKendeCourcv 20/3 Zodiac Telepathy (complete Act) By Kende COUrCY 1219 TheUniversalMind By RonBaillie 1219 Chandu’s Psychoanalysis 10/3 By GeorgeArmstrong Premonition By GeorgeArmstrong 10/3 Bohleno’s Mysteries By HenryBohlen 10/3 Thank’stoLeipzig! By Victor Farelli M / 3 TheConcertVentriloquist By Maurice Hurling 10/3 MasteredAmazement By Koran and Lamonte 10/3 EntertainingwithHypnotism Bv S. E. Dexter 10/3 Entertaining with Contact-Mind iteading . By S. B. Dexter 719 ToniKoynini’s CardMiracles By ToniKoynini 7 / 9 Derby By ToniKoynini 5/3 26 Livinrr and Dead Tests By Teral Garrett 5/3 Jamesosophy By Stewart James 513 Strictly Magic By EddieJoseph 5/S Stooging Around By Joe Stuthard 5/3 Stuntswith Starre Money L Bya mJ ao cnkt e 5/3
ENFIELD, MIDDLESEX The Magic Circle
Tricks of the Trade By GeorgeArmstrong 217 FromthePublishers THE MAGIC WAND PUBLISHING CO., 62, WellingtonRoad,BushHillPark, Enfield, Middlesex. SENDSTAMPED ENVELOPE FOR GIANT BOOK LIST
l ’ t ~ s ! d c n !:
His Grarc the Duke of
Somerset,
D.S.O.. O . B E . , J.P., M.I.M.C.
Vice-President: Douglas Craggo, Esq., Y.I.M.C. Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
Forthcoming EventsMay 16-Auction Sale 23-Concert
JACK HUGHES will be pleased tosend full details of
you
THE DE LUXB “SU-TABLE”
Particulars from Hon
together with allhisother effects in return for astamp. Write now to
Secretary :
Francis White,
39 Alverstone Avenue, Wimbledon Park, S.W.19
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9. DOUGLAS FRANCIS’S PETER
‘STAB IN THE PACK’
WARLOCK’S
PENTAGRAM
An entirely new l ‘ thought of” stabbing card discovery
published on the 24th of eachmonthand ran be obtamed direct from thepublishers for 117 per dngle copy. Annual Subscription 181post free. PUBLISHED BY: is
Complete with pack and accessories
1216 From DOUGLASFRANCIS, 65 Norwich Ave. Southend-on-Sea,Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books for review should be sent to the: EDITOR1 4 L ADDRESS:
OLD AND N E U . Let me know your wants LIST FREE FOR STAMPED ENVELOPE N o Callers
GEORGE
Peter Warlock, 24, Wordsworth Rd., Wallington,
JENNESS
47 INVERNESS AVENUE,
ENFIELD, MIDDLESEX Surrey . 1 I Every Advertiser’s goods are fully endorsed by this Bulletin
.
PUBLISHED BY THE PROPHIETORS THE MAGIC W A N D PUBLISHINGCOMPANY, 61 WELLINGTON ROAD,ENPIHLD.MIDDLESEX & S O N (PRINTERS) LTD., WELL C R O m . SHIPLEY. Y O R K S H I R E A N DP R I N T E D BY HERBER? WALKER
PETER WARLOCK’S
PENTAGRAM THE RING BINDS AGAIN DOUGLAS FRANCIS HOSE who are regular readers willrecollect that in the December issue of the Pentagram there appeared an excellent presentation of the torn and restored paper effect under the title It was a presentation of the “ BindingRing.” that Douglas Francis had used in his professional patter act during the previousseason. Douglas has now come along with a sequel to the effect. He aptly titles it, “ The Ring Binds Again!”
T
At the finish of the routine described in the December Pentagram the magician retrieves the pieces of black and white paper; they are torn into pieces and rolled into a ball.A touch with the “ binding ring ” and the audience see that the torn pieces have changed into an egg! The hand holding the egg closes round it and the other hand takes the binding ring. A final tap on the closed hand from which a shower of black and white confetti is released. The hand is then fully opened showing that no trace of the egg remains. The method of achieving the effectis both simple and straightforward, and a trial willconvince the reader of the effectiveness of this addition to the routine already described. The requirements are as follows :-
l . Ablownegg that has beenfilledwith black and white confetti. The latter is best made by cutting black and whitetissue paper into quarter of an inch squares. The confetti is gently packed into the egg and the opening then sealed with a small piece of cellotape. The egg thus prepared is placed into the right hand trousers pocket, where it will in no way interfere with the working of the main effect. 2. Asmall saucer or dishwhichisplaced upon the table. That is all the additional preparation. Now let us deal with the working. At the conclusion of the “ Binding Ring,” the ringusedisplacedin the right hand trousers pocket. At the same timepossessionof the egg
VOLUME SEVEN,
No. TEN
=
is obtained with the right hand which palms it and then removes it from the pocket. The action must be carefully studied and it should be so timed that the hand emerges as the conjuror goes to retrieve the first sheet of paper. The taking of the papers gives additional cover. The pieces of paper are then tornand rolled into a ball. The left hand moves away leaving the paper ball at the fingertips of the right hand. The right hand apparently placestheball of paper in the left hand but actually the paper is retained and the egg is taken. instead. The right hand nowgoes tothe pocket for the “ binding ring ” and in taking the latter the ball of torn paper is left behind. The back of the left hand is touched twice with the “ binding ring ” and then opened to reveal the egg! The left hand closes around the egg and the right hand still holding the “ binding ring ” taps the latter against the closedleft hand. The ring is now dropped onto the table (or returned to the pocket) and the small saucer or dish is taken and held under the left hand which makes a squeezing motion (in actuality crushing the egg shell) and allows the black and white confetti to shower down onto the saucer. Thereare two additional suggestions. The first appertains when the effect is being used as a: closing item and conditions do notpreventyou from dropping confetti ontothe floor. This is the way it goes. As the closed hand holding the egg is tapped for the second time the ring is placed in the inside pocket and a small black and white fan taken and opened. The leftfist is fanned a s the confetti is allo,wed to escape. To heighten the effect, the performer makes his exit whilst a cloud of confetti is allowed to precede him. As an alternative to a fan proper, a nice touch would be to produce a fan of cards and fan the confetti with these. The second suggestion isfor the comedy magician. The presentation after the pieces of pamr have been picked follows the line of Cullpitt’s egg and silk trick. One of the special eggs now
I/6. (20 Cents)
=
JULY 1953
78 marketed is taken and instead of the usual contents it is filledwithblack and white confetti. Posobtainedandthe session of the holloweggis performer after tearing the pieces of paper works
“ The true skillof the magician is in the skill he exhibitsin influencing the spectator’s mind. This is not a thing ofmechanics. It is not a thing of digital dexterity. It is entirely a It is thing of psychologicalattack. completely a thing of controlling the spectator’s thinking. Control of the perceptive faculties has nothing whatever to do with it. Convincinginterpreting, tothespectator,what the sensesbring to him. insuch a way thatthe magician’s objectives are accomplished, is the true skill of the skilled magician.” Dariel Fitzkee ‘ Magic by Misdirection ’ page 33
them intothe egg. The trick proceeds on its usual lines but instead of the egg being broken to reveal the normal contents it is broken to shower forth confetti.
I
MARY MASKELYNE
From thc 1. B. FindLzy colleaim
HOLD A CANDLE PETER MOFFAT ERE is a twoperson telepathy stunt. The means for arriving at the ultimate effect are simple and so far asI know, new. The method hit upon quite by accident. Here is one presentation which is quite straight-forward. The telepathist sends his assistant out of the room escorted by a committee who keep her (or him)under observation throughout the test. Inside the room the telepathist hands out tothe spectators present a number of cards each of which carries a different design. One of these ischosen. A pad (which has beenborrowed if needsbe) isthen taken by one of the company to the assistant outside, and on this padshe duplicates the design chosen in the room. At this point let it be noted that :l . There is no elaborate code.
H
2. Assistant can learn her part five in minutes. 3. The padis totally unprepared (We’ve mentioned before that it could be borrowed).
4. Any spectator cantake the pad to the assistant. 5. The pad is handed to the spectator without any kind of move. 6. The assistant usesher own pen tomake the drawing. The requircmonts are simple :-. 1. Anunprepared writing pad.
2. A small piece of candle (preferably housed in a container). 3. A clean thumb! 4. Eight design cards or objects thatare easily identifiable. Morecan beused butthe effect gains little and at the sametime from the performer’s point of view becomes proportlonately more difficult. The preparation prior to presentation is for the piece of candle in its container to be placed in the right hand trousers pocket, the writing pad open at the first page on the table together with the design cards.
79 The assistant and performermust think of the designs by numbers. They must also visualise that certain positions on the padmean certain numbers. These numbers are as illustrated :Upper end
Is I 2 11
I
I
Open pad (the numbers indicate imaginary positions of Design Cards.
Lower end The presentation is very simple indeed. After the assistant has been escorted from the room, the telepathist picks up the stack of design cards and spreads them out on the table top. Whilst one of the spectators is deciding upon a given design his right hand goes to his trousers pocket and he gets a thin smear of candle grease on his right thumb. After the design has been decided upon, the pad is picked up by the thumb and finger (thumb on top of the pad) at the point which gives a number corresponding to the chosen design. He moves the
thumb very slightly at the same time pressing on the paper as he hands the pad to a spectator who is to take it to the assistant. Providing that the thumb is perfectly clean no mark is visible on the paper. When the assistant receives the pad she takes her pen (ink or biro) and draws a “ frame ” around the periphery of the pad. This is apparently to enclose the finished design that will draw next, but in reality she gets her information regarding the positioned number, for as the pen reaches the waxed part it will slip over the greased area. Directly she has the information she with due artistry draws the chosen design. At this point let it be said that too much grease will give the lady a deal of trouble for there will be no ink line at all, The pad is then takenback intothe room and everybody is happy. A final word or two. The most important “ move ” in the effect is the natural picking up of thepad. Therefore it ismost. importantthat no suspicion should attachto it. The best way to obviate such suspicion is for the performer to approachthe pad so thatthe desired point of contactonthe pad is in the required position. Therefore thetable usedshouldbe in such a position and of such a size that during the choosing of the design the performercaneasily move round it.
‘‘ There are some fine entertainers who use magic props in the sole service of comedy, but they are no more magicians than the clown with the breakaway fiddle is a violinist.” Orson Welles. Foreword to ‘ Magic as a Hobby.’
I
VARIATION ON CARD INCIDENCE PETER MOFFAT HIS IS a simplified version of “ CardIncidence ” that appeared in an early number of the Phoenix. The original method required :l. Sighting of the second card from the top of the pack. 2. Forcing of one pile of cards. 3. Running an evennumber ontotop of chosen card. The method to be described requires only the force of one heap and there is an even chance that the spectator handles the cards most of the time. The Effect. A spectator cutsthe pack into two heaps and magician and spectator each choose a card from their respective heaps. Both spectator and performer note their cards which are then re-
T
placed in the halves of the pack to which they belong. The pack is then re-assembled andcut any number of times. Spectator is then requested todealthe pack into two heaps. The pay-off comes when it is found that the two chosen cards occupy identical positions in each heap! The only preparation is to mark the back of one card with two small pencil dots. (One dot in the upper left corner and one in the lower right corner). Thesemarkscan be quite clear as the, handling of the cards prevents themshowingup.. The name of the card must be rememberedand for the purpose of description we shall assume that it is the seven of spades. The workingis as follows : The packis handed tothe spectator for shuffling. It isthetl. taken back and fanned so that the spectator can see the faces of t.he cards. This is accompanied
80 ’by the remark, “ I thinkyou can see that heap isnowplaced ontop of the performer’sheap. you havemixed them fairly well!” At the same The spectator then cuts the cards as manytimes as timethe performer notes the position of the hewishes. He then is asked to deal the cards face into two heaps, starting on his left and dealmarked card and if it is near the centre of the pack down he takes care when he has closed the fan of cards ing- into alternate piles,i.e. normal card dealing. to casually cut them so that the pencilled card will At this point all you have to watch is the pile be near to the bottom or top of pack. The pack is of cards on the spectator’s right, for your marked laid face down onthe table and the spectator card may or maynot appear in this heap. If it asked tocut the pack into twoheaps. The prodoes not appear the trick has worked itself and at cedurefrom now on is that the performermust the completion of thedealthetwo cards will have the heap containing the pencilled card and so occupy similar positions in each heap. perforce by “ force ” the spectator must have the other. If, however, it does appear in the right hand heap one card will have to be shifted from the top to the bottom of the heap. The simplest and most The performer explains that both he and the natural wayis to recap whathasgoneon.Ask spectator mustchoose a cardfrom theirrespecthe spectator to read out the name of the card you tive heaps, note its value and replace it on top of looked at, and also ask him to name the card he those same heaps. EGch picks up his cards. The chose. Tell him that he has handled the cards and performer locates the seven of spades and cuts it at this point you want him to deal the cards slowly to the bottom of the pack. Any other card is now wit.h you face up on to the table. As you say this removed, looked at and then its name apparently illustratetheactionby taking thetop card and noted on a slip of paper. Actually,however, the dropping it face up on to the table. Looking at him performer writes “ seven ofspades.’’ The card is to see that he has understood,the card isthen then placed on top of the heap which is rested on retrieved and casually placed at the bottom of the the table. The spectator inthe meanwhile has heap. also noted his card and replaced it. The spectator’s S “ It is your function. as a man who has both feet onthe ground, to develop ideas. This means you will take the little worthless brain-waves of others and add to each of them that important fillip that makes it workand that makes the idea Your Own. Of course once it belongs to you, you can make the most of it.’’ Pierrepont Finch, ‘ How to succeed in Business without really trying.’
t
~
ONE MORE CHANCE WILL D E X T E R HIS IS such a simple but convincing version of Just Chance ” that I have spent some hours going through all my books and magazines to make sure that it’s never been printed before. So far I’ve not been able to trace it to anyone else, which is surprisirig, because this seems to me to be the only logical way to offer this trick. The effect is the usual “ Just Chance ” (“Poor Man’sBank Nite ” in U.S.A.)routine. Three envelopes are shown; two are freelychosenby members of the audience,leaving the performer with one for himself, in which he fiinds a E 1 note, whiletthe other two are foundto contain “ So SoFry ” notes, or-as in my case-sixpenny postal orders. The requirements are : sixenvelopes, about 33 inches by 23 inches in size, a blue pencil about four inches long (not more), three sixpenny postal orders, a pound note (a well-wornone), a safety pin, and-a plastic thumb tip. That makes it obvious, doesn’t it? This is the set-up; the pound note is folded into a packet about one-and-a-quarter inches long
T
“
byhalf an inchwide. The end is folded over so t.hat it will fit into the thumb tip longways. Having folded the note and fitted it in the thumb tip, press it well in and slide it partly out and back again a fewtimes. This beds itto the curved shape of the thumb tip andensures it sliding out easily when required. Take the safety pin, and pin up the end of the cashpocketinsideyourrightjacketpocket, so that it holds the thumb tip upright nice and firmly. Make sure that the thumb tip can be withdrawn easily, but that it doesn’t wobble or fall sideways. Pop the thumb tip in this tightened pocket. Into the pocket proper (not cash pocket) drop the blue pencil. A long pencil might protrude, hence need for a short one. Sixenvelopes are used. Three havebeen sealed up (empty) and the sealed ends torn off and thrown away. On these three write the numbers 1, 2, and 3, with the blue pencil.Screw up each torn envelope and placethem so : No. 1 inleft trouser pocket, 2 in right trouser pocket, and 3 in leftjacketpocket. You willneedone of these
81 screwed up envelopes later, so remember which pocket each one is in. Fold the sixpenny postal orders to the shape of the folded pound note, and place one in each of the unprepared envelopes, which are now to be sealed up. This completes the set-up. Show the three sealedenvelopes and pass them, with the blue pencil, to a member of the .audience. Tell him to number each one with a 1, a 2 or a 3. He is then to get h c r other people to select an envelope each and return the odd one to you. At this stage the usual “ Change envelopes if you like,” patter can be used, of course. When you receive back the odd envelope, ask for the blue pencil back, and drop it into your right coat pocket. As thehand goes intothe pocket, the thumb slips into the thumb tip, which is withdrawn as the hand comes out. Have the victims open their envelopes firstafter assuring them that there’sbigmoney to be won in this-and show their sixpenny postal orders. Thentear off the end of your envelope, insert thumband forefinger, and withdraw the pound note from thumb tip, which is left inside the envelope. Screw up the envelope, with the thumb tip inside, and place it in the pocket containing -the correspondingly numbered balled-up envelope.
I
Takeout this envelope as an after-thought and throw it down.
I have the envelopes numbered for two reasons : (a) so that I can use a line of patter emphasising the psychological choice of a certain number, and (b) so that the screwed-up envelope taken from the pocket is “ proved ” if necessary to be the one I put there, and to be empty. It would be possible, I suppose, to tip the thumb-tip out of the envelope containing the postal order, but then the postal order would have to be tipped out as well, and I’m all for doing things the easiest way. As an extra method of performing the “ Just Chance ” effect, but without the thumb tip, I suggest that the method of using the table top as a cache, after the manner of the usual tray, could be used. I’ve done this once or twice, slipping the pound note under thestrut of acard table. I owe acknowledgement to the late Dr. Elliott, of ‘t Elliott’s Last Legacy ” fame, for that tip. His book advises it as a means of loading extra playing cards on to the bottom of a shuffled pack. There’s only one snag to “ Just Chance ” as a programme item : it calls for good patter and a logical explanation. It’s too good an effect to be thrown away on an audience as a mere gag.
“ You can only be a magician by putting on a magic show. You can only put on a magic show by getting an audience to come and see it. The bad news is that the dealers are selling more tricks whilst the theatres are selling less and less tickets. Orson Welles. Foreword t o ‘ Magic as a Hobby.’
INVULNERABLE PETER WARLOCK
A
LL of you know the stuntof covering a coin
As the handkerchief covers the disc slide the with a handkerchief and then pressing the crown forward and on to the cardboard. Then lightedbuttofacigarette againstit. As drapethehandkerchiefrounddiscandcoin. the metalactsasaconductor of heatnoharmThehandthatheldthedisc is nowremoved befalls thehandkerchief. We haveusedametal fromunderthehandkerchiefand, it takes the thumbtip to make this elementary physical fact handkerchief a t a point just below the disc and something like a trick, but recently we hit upon coin in such a way that the handkerchief is taut what we considerabetteridea.Allyouneedacrossthecoinwhichshouldbeuppermost. is a stiffish piece of cardboard cut to the size of Now take a lighted cigarette and press the butt a five shilling piece and also a five shilling piece against that part of the handkerchief which lies cambric and a handkerchief. above coin. the Repeat this and allow spectaa With the crown fingerpalmed in one hand, tor to do likewise. Uncover the disc and coin it and intheprocess fingerpalm thecoin.Hand offer thediscforinspection.Explainthat haspeculiarproperties.Takeitbackwiththethehandkerchiefbackand give a spectatorthe handthathasthecrown.Borrowthehand-disc as asouvenir. If youliketheidea,itisn’t kerchiefandcoverthecardboarddiscwithit.abadthought to have your name on the discs.
I
He (Jardinc? Ellis) said : ‘ If I wished t o write up some of my effects it would be impossible to infuse the air o f mystery that I create, or to explain my misdirection, and the reading would appear tame and absurd. You cannot profuce a violinist by correspondence, nor can you teach the art of presenting magic as a magician by that means. Letter from H. M. Renay to ‘ Magic Circular ’ page 72, Vol. 18
82
BOOKS “
Two Jardine Ellis Ring cm Ribbon Routines ” by BertramMillidge(publishedbyHoldens,Boston, price two dollars).
A longwhileagoourfriendBertramMillidge thought of the idea of utilising a length of ribbon with the usual Ellis ring. The basis of this idea was published more than ten years ago in The Magic Wand and later revived inthis publication. Time went onandthe routine wasextendedandtheresult of thisendeavour is explained in the booklet. The opening is strong indeed and with good handling thereadershouldstart off withamiracle. The three subsequent methods of ring passing through ribbon are nice arabesques and precede the introduction of split ring which gives the performer the advantage of bringing the whole routine to avery strong conclusion.
is oneupon The secondroutinestrangelyenough which the late Edward Brown was working a little while before his ultimate death. We feel certain that Jardine Ellis would have enjoyed this version. Itisinterestingtoknowthatthe use of thesplit ringhasnot died. As wehavementionedbeforein these pages, Ellis made use of the split ring, a fact that has brought forth sceptical comments from a number of British magicians who neither knew nor saw Ellis perform.Ratherstrangely, it also,andtimehas never permittedus totakeitup,broughtfromourfriend Dariel Fitzkee the assertion that a routine using the normal shell and a split ring had been described. As a final piece of information, the complete set of Ellis rings, i.e. normal ring, shell, split and the large rings with which he used t o finish his routine are in the possession of that great amateur of magic, Dr. 0. H. Bowen. We recommend this very fine series of effects t o our readers, for, with a minimum of work they will possess a series of baffling effects that will last them a1 lifetime. “
My Best Card Trick ” (compiled by Harry Baron, publishedbyRidgmountBooks,price 6/-).
Here in a very nicely printed little booklet of some thirty-two pages are some seven card tricks described by a number of well-knownmagicians. JackAvispresents under the title of the ‘ Lady Tells All ’ an effect which, in hishands, is a delightfulpiece of mystery. In ‘ Spectator’s Choice ’ Francis Haxton details a baffling prediction based on a Marlo plot. A1 Koran gives a typically A1 Koran effect ‘ Turnabout ’. The conjuror who is interested in less subtle mysteries will be rewarded by reading Joe Stuthard’s ‘ Card in Cigarette ’ routine. A master of the silent thumb count, it is only natural to find Gus Southall, under the title of ‘ Casting a Spell ’, giving the method making use of this subterfuge for an effect with which on so many occasions he has baffled fellow magiclans. The ‘ New Nudist Deck ’ by Edward Victor gives all the effect of themarketeditem,butleavestheperof cards. The former at the end with an ordinary pack final item in the book is ‘ Your Name-My Name ’ by Peter Warlock. Jack Potter gives an interesting glossary of the tricks of terms used in modern card work. Each described is worth the price of the book. “
Miracle Mix-up ” by Jack Yates (published by Jack Yates, 8, RiponRoad, West End, Oswaldtwistle, LziTCs., price S / - ) .
The main purpose of this card problem is for advertising. In theform of aletter,theconjurorgivesthe, recipient and would-be client certain instructions regarding the choosing of a card, and then after seemingly fair mixing in the pack, the recipient is able, by spelling the name of the sender, to locate the card. A mathematicar principlewhich is well disguised. Our own objection to the effect is not the means to the end, but the pcssi-bility that in the carrying out of the necessary instruc-. tions the recipient may make a slip and spoil the climax of thetrick. It is certainlyveryingeniousandone’ whicn calls to mind some of the clever pieces of 2alculation by Stewart James.
bb
100 Latest Tips on Tricks” by Milbourne Christopher (publishedbyLouTannen,NewYork,price two dollars).
Withinthespace of forty oddpages, Milbourne Christopherinthemost lucid mannerdetailssome hundred tips and ideas regarding tricks. Only too often it is the little piece of business that turns an ordinary actintoa successful and talked-of act. Onlytoooften some little gag can provide cover or misdirect during a move that otherwise would invite closer inspection. Whether you use cards, silks, billiard balls or any of’ the myriad things that form the make-up of the modern magician,youwillbecateredforbyourgoodfriend Milbourne Christopher.
‘6
Hugard’s Magic Monthly ” (bound volume 9, published bytheFlemingBook Co., 728, MadisonAvenue, York, Pa., U.S.A., price from Robertson Keene, The Cottage,ShalfleetHouse,Shalfleet,nearNewport, Isle of Wight, 30/-).
As we have said before it is only when one handles theboundcopies of amagazinethatonegetsatrue assessment of its value.All toooften(especially for busy people) the odd copy issometimes placed aside withoutthefullvalue of thecontentsbeingabsorbed. And so when we look through this bound volume of Hugard’s we realisethemagnificentvaluethat is offered tothe magician who likes his magic to be quality magic. Of the regular features we have Joglar (who by his style of writing and certain other idiosyncrasies we now think we havepinpointed to onewell-knownwriter), Milbourne Christopher, Farelli and Martin Gardner. These writers alone have contributed a bunch of material in turn newsy, novel, practical and encyclopaedic. There is aseries of articlesbythatace of coinworkers,Ross Bertram and a number of contributions by Jean Hugard himself. In the novelty class we give high marks to our own WillDexter forhis dressing of a ,spongeball routine entitled ‘ Big Chief and little Squaw. Paul Morris, AbriI Lamarque, Clayton Rawson and many others contribute some excellent magical ideas and effects.
is well catered for by John J.Crimmins The book reader junior, who regularly each month under the titleof ‘ Book Profiles ’ givesmostdetailedreviews of contemporary magicalliterature.
a3
MAGIC-GO-ROUND NE excellent piece of news is that our friend fact that such workers are more proficient than the Dr. Stanley Jaks will be visiting this country majority of those in this country who essay similar in August. Dr. Jaks is one of those very few type of magic. We feel more than proud, however, to have in this island one magician whose work in table performers who consider that the presentation of a trick is of equal importance to the that field is unique and uncopyable. We refer of c.)urse to Johnny Ramsay. Just recently we have technique of trickery employed. Some while back, Unique Studios put out in re-read several times this great magician’s ‘‘ Cups and Balls,” and “Coins and Cylinder,” and this country the Himber Book Test, which in the main was a clever and natural method of forcing “ Triple Restoration ” and witheachre-reading our admiration has grown. It is magic of a highly a certain word. Though the ideawas not new, individual order. As individual as themagic of for b0t.h Stanley Collins and T. Page Wright had Arthur Sherwood, Jardine Ellis or E. G . Brown. produced special books for forcing a given word, We sincerely hope that ere long Johnny will comthe delightful touch that Himber brought was the mit to paper the deiightful version of the torn and fact that one of the “ Ellery Queen ” magazines restoredeffect that we last had the pleasure of to it than was used. There was.however,more seeing as long back as 1947. that as thosewho have bought know. What was Coming-back tc> the representation of perlacking, however, a t the 61ne were companion formers in America (and magazines to go with the as we write this we are special copy. Americans thinking of Frances Ireland’s were not troubled about this, words in the current “Linkbut in this country the use of ing Ring”) this is a team a n American magazine, or a that would be new to magazine thathad an unAmerica : Brian McCarthy, familiar cover was not ideal. Billy OConnor, Edward However all those who like Victor, Voltalre Gus Southourselves are avid readers of all, A I Koran, Chan Canasta, crime fiction will know that Trevor Hall andKen Brooke. an Englishedition of the McCarthy’s unequalled Ball magazine started in Feband Silk work, Billy OConruary of this year. The first nor’s non-card act (seen four numbers were different unfortunately by too few in binding from the Amerimagicians), Victor with his can copy, but with publicath.imbles, Voltaires with their tion of the July number the sensational act, Gus Southall appearance of the magazine and AI Koran with close-up is almost identical withits Even the photographer got into the picture l effect, Chan Canasta’s American brother. “English Edition” also being omitted Left to right-Peter Warlock.Nelli Knps.Fred Ksps, psycho-magic, a lecturedeElizabeth Warlock, Ann Warlock. June Briggs. monstration by Trevor Hall from the cover. The magiwith Ken Brooke adding the comedy, would be for cian in this country is noiv in a position to use a American magicians t.he biggest thing since Pearl stack of magazineswhich are nowbecoming a Harbour Mrs. Ireland ! familiar sight to those who glance a t the bookstalls. Nextmonth through the efforts of our very The prophet, andfor that matter too, the goodfriendLeslieMay we bringyou a Scottish magician, seldom receives the fullest of honours in number. With the Edinburgh Convention just his own country. Too often the enthusiast in this around the corner this is appropriate. country is apt to accept the written word of others The line up for the Magic Circle Festival shows and to credit those in other countries with abi1it.y the biggest influx of continental magicians yet. It and technique w h i c h t h e y d o not possess. will be very nice to see Suzy Wandas working in We often think that P better i n t e r c h a n g e this country again. Finally, if youlike off trail of magicians between this country and the United mental items, and if you haven’t bought a copy of States would do much for the commoncause of the June Magic Wand, get it as soon as possible magic. From those who are knowledgeable and for Arthur Carter’s “Diaryof a Yogi” is worth every who have had the oppnrtunity of seeing some of penny of t.he 7/6 asked for the complete issue ! the American close quarter workers, we accept the
0
I
The line upfor the Magic Circle Festival in Oct. ahowa the blggest influx of Continental talent to date : SuzyWandas from Belgium, The Andreanosfrom France and the Nibereos and Compaens from Holland. David Nixon will return as compere. The English acts are Benson Dulay & Co., Terry Hall, Stanley Watson and Peter Warlock.
I
54
U
A NEW B O O K O N MENTAL MAGIC
I’LL READ YOIJR MIND BY A A G E D A R L I N G
THE LATEST book o f audience tested Mentalism by Denmark’sMasterMentalist is packed with material that
i s designed to entertain as well as
mystify an audience. Here are 56 pages of outstanding new material, fully illustrated, cloth bound and with an attractive jacket. The author believes in simplicity of method allied t o mystery and entertainmyt value, and here you will find comedy in such effects as Pin U p Girl Test ” and ‘‘ SpiritsTest,” Publicity with “ Telephotrix ” and other gems, and mystery and entertainment with all the I5 incredible routines. Contents :- lnstanto Book Test, Vibrato, Tele-Hypnosis, A Thriller, Telephotrix, Pin U p Girl Test, Suprema, Symbol Test, Suprediction, Figura, Numero, A Test of Spirits, Death’s Name, T h o U g h t Echo, The Marked Card.
Price 17/6; Postage 4d.
S E C O N D I S S U E OF T H E N E W G I A N T S I Z E D
-E MAGIC WAND OVER 50 BY 25 AUTHORS % .I
TRICKS
NEVER hasthe magical fraternity been offered such a bargain as the newgiant sized Magic Wand, packed with really worth-while material and every issue with several tricks that could have sold on their own for the cost of the whole lot. In the latest issue, No. 238, there is a wealth of material o n every aspect of magic from close-up material t o full stage acts. Contents:-Second part of the Merlini Card System, with 8 fine card tricks ; The Dream of Thimbles, a stage act by Charly Eperny ; The Diary of the Yogi, a mental card trick-without cards, by Arthur F. G.Carter; Triple Prediction, Cards and Cellophane Bag, and Transposing Silks by Tom Sellers ; Quads in Transit, a puzzle and a trick by Jack Lamonte ; The Talking Board, a ventriloquial noveltyby Frank E. Lindsey ; Professional MagicSomethingBorrowed,Card Fan Table,PocketHorticulture, byDouglasFrancis ; Miracle Pools Forecast, a stage mental effectby Raymond Maynard ; Stunts with Sticks to Silks by Roy Green giving 11 new tricks with this prop ;-but we haven’t space for more, for we could fill this page describing the contents
Buy a copy now and see for yourself how great is the value I Per copy 1/9d. post paid Subscription : 6 months15/6d. One year 30/FROM T H E P U B L I S H E R S
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, E N R I E L D ,M I D D L E S E X MAGIC WAND ” rUBLICAT1ONS TheMagicWand, quarterly,percopy 719 p.p. SUbSCriptiQn: 6 months 15/6: year m/The Wizard, 36 pages monthly, per copy 2/1 p.p. Subscription: 6 months l2/6; year 241PlayingwithMagic (Cloth) BY Wilfred Tyler 30/6 JohnRamsay’s Cups shd Balls (Cioth) BY victor Farelli 25/6 WhereHoudiniWas Wrong (Cloth) BYMauriceSardina20/6 WhereHoudiniWasWrong (Cheappaperedition) 7/9 I’ll Read Your Mind (cloth) By Aage Darling 17/10 Challenge Instant Hypnotism (Brochure) 21/ByGeorgeArmstrong Automentalism (with apparatus) ByKendeCourcy 20/3 ZodiacTelepathy (completeAct) By KendeCourcy12/9 TheUniversalMind By RonBaillie12/9 Chandu’s Psychoanalyria ByGeorgeArmstrong10/3 Premonition ByGeorgeArmstrong10/3 Bohleno’s Mysteries By HenryBohlen10/3 Thank’stoLeipzig! ByVictorFarelli lO/3 The Concert Ventriloquist By Maurice Hurling 10/3 MasteredAmazement By Koran and Lamonte 10/3 EntertainingwithHypnotism By S . E. Dexter10/3 Entertaining with Contact Mind Reading By S. E). Dexter 719 ToniKoynlni’sCardMiracles By ToniKoynini 7/9 Derby By Koynini 5/3 Toni 26 Living and Dead Tests By Teral Garrett 5/3 Jamesosopby By Stewart James 5/3 StrictlyMagic By FddieJoseph 5/23 StOOging Around By Joe Stuthard 6/3 StuntswithStage Money ByJackLamonte 5/3 “
EveryAdvertiser’s
Tricks of the Trade ByGeorgeArmstrong z/s FromthePublishers THEMAGICWAND PUBLISHING CO., 6 2 , WellingtonRoad,Bush H.11 Park, Enfield,Middlesex. SENDSTAMPED ENVELOPE FOR GIANT BOOK LIST
The Magic Circle President : His Grace the Duke of Someraet, D.S.O.. O.BE., J.P., M.I.M.C. Vice-President: D o u g h Craggs, Esq., Y.I.M.C. Clubroom and Librarvand Museum .: ~~
Hearts of Oak Buildings, EustonRoad, London, N.W.l. Magical Theatre :
JACK HUGHES will be pleased tosend full details of
you
THE DE LUXB “SU-TABLE” together with all his other effects in returnforastamp, Write now to
Jack Hughes, 2, Evelyn Ave.,
King George’s Hall, W.C. Forthcoming EventsOctober 5-10-Festival of Magic Scala Theatre Particulars from Hon. Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
Colindale, London, N.W.9. DOUGLAS FRANCIS’S PETER
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonthand can be obtained direct from the publishem for 117 per Lingle copy. Annual subscription 181post free. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordeworth Rd., Wallington, Surrey.
‘STAB IN THEPACK’ An entirely new “ thought of” stabbing card discovery Complete with pack and accessories
1216 From DOUGLASFRANCIS, 65 Norwich Ave. Southend-on-Sea,Essex
CONJURING BOOKS FOR SALE OLD AND NEiW. Let me know your wants LIST FRE6 FOR STAMPED ENVELOPE No
Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD,MIDDLESEX
goods are fully endorsed by this Bulletin
PUBLISHED BY THE ?ROPRIETORS T H E MAOIC WANDPUBLlSHINGCOMPANY, 62 WELLINQTONROAD.ENFIELD. A N D PRINTED BY HERBERTWALKER & S O N (PRINTERS) LTD., WELL CROPT, SHIPLEY.YORKSHIRE
MIDDLESEX
*
PETER WARLOCK’S
NTA G R A M HIS issue of the Pentagram is a Scottish Number containing material collected by our very good friend and contributor, Leslie May. W,e did hope that items by Ron Baillie and Peter Moffat would help to swell this issue to mon:sterproportions, but pressure of work in both cases just made this impossible and we look forward tlo having these contributions in a future issue. Without wasting words we will bring YQU thle fust effect by Leslie May, which is one hundred per cent pure Scottish in its approach.
T
YE BONNY BANKS LESLIE MAY (CLAN MACDONALD) Preliminary Remarks : HILST Englandhas butone bankissuing bank notes, i.e. The Bank of England, Scotland possesses no less than seven different banks each with their own individual issue of one pound notes (they have also those of a higher denomination but they do not concern us in this instance). The names of these banksare givenbelow together with the distinctive colouring of thein respective one pound bank notes; the immediate recognition of these colours is necessary forthe success of the later portion of the following effect. Commercial Bank of Scotland ............... Purple National Bank of Scotland ...................... brown Bank of Scotland ................................. Fawn Union Bank of Scotland .............Blue and Fawn British Linen Bank ........................ Dark Blue Royal Bank of Scotland ...... Bhe andWhite Clyddale and North of Scotland Bank Ltd. Light Blue with Fawn Centre A few minutes practice with notes will enable you to associate colour with Bank of origin. N.B. No notes to the value of ten shillings are issued by any of these banks. The Effect The performer collects anumber of various Scottish E1 notes from members of his audi,ence giving in exchange “ clean ” notes of a similar value. The collected notes arethen screwed into small ballsand dropped intoahat.The performer then removesthem one at a time and without lookingat them,but bysense of touch alone discerns the Bank of origin.
W
~~~
~~
~~
VOLUME 7, No. I I
-
The notes are once again screwed into balls anddropped back intothe hat. A member of the audienceselects one which is handed to the performer who divines the number which he then, for purposes of verification, writes upon a slate. N.B. It iswell realized that this effect can only be performed in Scotland, but this is a Scottish number.-L.M. The requirements are as follows :-
l. A clipfor holding six different Scottish notes, each of which has been screwed up into a ball. The notes are arranged ina known order and the clip is fastened under the coat in an easily accessible positibn. 2. A convenient hip pocket.
3. A slate on one side of which is written lightly in pencil the serial numbersof the notes held in the clip. The Bank of origin is also shown. 4.
A piece of chalk.
5. A hat.
6. Six clean new E l notes to begiven in exchange. I suggest that these be Bank of England notes to avoid confusion. Method and Presentation. Have the six new E1 notes standing up in the hat. Askmembers of the audience to bring out Scottish treasury notes of E l value and hold them above their heads (this prevents them noting the numbers). In yourselectionmake sure thatthe spectators from whom you take notes are scattered, which prevents any check up at a later time.
1/6. (20 Cents)
-
AUGUST 1953
86 Lookaroundforas many different bank issues as possible (see above under “ colour details ”), and with hat in your left hand approach your selection and hand out one new note for the note they proffer. As you take each note with the right hand crumple it into a ball and drop it into the hat. Carry on like this until all six notes have been exchanged. Now return to the stage, shake the hat to ensure that the notes are thoroughly mixed and place it on a table on your right side. Patter about the abnormal sense of touch that you possess and to prove it reach into the hat with the right handand remove a note, holding it between the thumb and finger so that the colour is not visible tothe audience. As you do this turn your head to the left. Carry the right hand behind your back and drop it into the hippocket, At the same time the left hand obtains possession of the first note in the clip. The two hands apparently go behind the back to open outthe balled up note, and if needs be the performer can turn sideways on to the audience so that they can see him perform this action. The bank from which the first note has been issued is then named and to prove that he is right, the note is then held up, so that the audience can see it. Again the performer should keep his gaze averted. The note is then screwed up into a ball again and placed upon the table near to the hat. The process is repeated with the remaining notes, so that at the end you have six notes screwed up into little balls on the table. At this point you have two alternatives. Firstly you can dropthe notes back intothehat,or better still you can walk away and request a spectator todo this, Whichever course is adopted another spectator is requested to remove one of the notes. Taking it at your fingertips, all you do is to note the colour which of course givesyou the Bank of origin. Appear to concentrate and then pick up the slate and chalk. With the knowledge of the issuing bank you have only to look for its appropriate number and write it upon the slate. The rest is pure showmanship. The bill is opened outand the number on the slate naturally agrees. A good piece of extra misdirection can be introduced in this manner. Place ih the clip at position number five, a duplicate note to that at number two or three. Let’s suppose that it is one issued by the British Linen Bank (Shades of R. L. Stevenson ! - P.W.) Mark this note around the border with little ink drops so that when rolled up a mark or two will be visible to the performer.
I
When the fifth note is removed from the hat it is exchanged as quickly as possible behind the back with the remark. “ This is too easy-it’s the British Linen Bank. I’ve had one already.” Bring to the frontand re-roll so that distinguishing marks will still be visible.With the numbers of both marked and unmarked notes on slate, you have a more puzzling finish, should either of these notes be selected for number-reading.
.
THE FEMALE OF THE SPECIES S I ALICE MACLAY
Have
Your
Xmas
Party A t
ALICE MACLAY’S
o-For Children of all Ages-c) Delightful and OriginalEntertainment Jntrdducing: ‘“ALICE in CONJURELAND” and “BOODLES” the CAT in MAGICAL NURSERY R Y H M E S Etc. “BIM.BO” The M O N K E Y . “THE MAGIC RABBIT” A Play. ‘‘SAFETY iIRST”.Novelty Item Teaching Children
Road Sensd,
in Athenaeum Theatre, Bucbanan Street, on FRIDAY, 29th., SATURDAY 30th. DEC. 1950 and WEDNESDAY 3kd. JAN. 1951. Admission- Adults 41. W 21.. Children
- -
0
31-
5.
11-
Booking Opens 13th. November at PATERSON’S 152 Buchanan Street,
-
Postal Bookings Accepted 0
800K
-
a
Reductions for
*
Pasties
€ANY
XxXIXXxXXXxXx:xxxxxx~
Doors Open
2p.m.
Performance Commences 2-30p.m
“ An artistshouldwhittleaway all that is superfluous to hismainthemeoridea. Even as an athlete is trained to fine down every ounce of flesh that would impede the free play of his muscles, so must a work of art be‘strained’ till nothing is left butwhat is essential. Therefore stabbing one card is effective,stabbling cards is over elaboration, it nay is upholstery.” J. N. Hilliard-“ Greater Magic,” page 243.
87
BEYOND BELIEF ROY SCOTT (CLAN SCOTT) WO packswith contrasting coloured backs T are : shuffled andone each is given to two spectators. They place them behind their backs and simultaneously they reverse one card in the centre. The packs arebroughtforwardand on spreading the packsface-down onthe t.able it is seen that the face up cards areidentical. Theni as a surprise climax, the cards are turned over and it is found that in addition the cardshave changed packs. Preparation. Similar cards are removed fromboth packs and placed face-up in the pack of opposite colour, second from bottom. Working : Have two spectators come forward and have them stand one on either side of you, quite close: Pick up each of the packs inturn and false shuffle2 Pick up one pack in each hand and extending both arms have both spectators cut off half the pack; and replace the cut. This move places thq “force ” cards in the centre of the pack. Bring both hands in front of the body, but at no time
I
“ Ouridealsareframed. thoughts.’’ of our
must the packs be brought t ~ g ~ ~ t h ~ r . Extend the arms again, but this time behind the backs of the two helpers. Have them take the pack in their own hands as you remind them that as they have cut the packyou do not know the cards at the top ofthe pack. Whilstyouare; talking, you have reversed the top pack of both packs. Thisis aneasymoveaccomplished by pushing forward with the thumb, and then pushing up and overwit.h the fingers. Askthem to take the top card andturn it face up (due to your unknown manoeuvre they are now turning thetopcard face-down again) and insert it, still face-up (as they think) into the centre of the pack. Whilstyou are telling themwhat to do you have stepped forward so that you have no chance of seeing thecards they turn face-up. When theyhave finished take one of the packsand spread it face down on the table. Show the hands empty before taking theother packand doing likewise.Work up to the climax, and then the double climax.
not according to the measure of our performances,bataccording to themeasure A. J. Balfour-“ The Foundations of Belief”
I
I’VE GOT YOUR N U M B E R ! ROY SCOTT
(CLAN SCOTT) Effect : deck is shuffled, and a spectator is asked to cut off half. This half is ribbonedon the table and the spectator is asked to touch six cards and without looking at the faces to withdraw them fromthe spread. Thesesix cardsarethen laid in a straight line on the table and the volunteer isasked to name his telephonenumber. On turning over the cards they correspond.
A
Preparation : Findoutthe telephonenumber of someone who will be attending your show. If you can find out the name and address you may excuse yourself a few minutes to look at a telephone directory and find the number without anyone being any the wiser. It helps if the victim is a stranger. Having found the number, stack cards in correct sequence at the f o o t of the deck. Try to avoidnumbers with noughts, but if they are present you may bring
in blank cards, jokers, face cards or leave the card in that position face-down at the conclusion.
Working : The cards are stacked at the bottom and are undisturbed by the false shuffle. Thespectator cufs the pack and you ask him to lay his half face down on the table. Holdingyourhalfinyour left hand, spread his half in a ribbon on the table, “ Will you please touch six cards. Just touch themand drsw them a little out from the other cards. That’s it. Don’tworry about looking a t the faces, just put them in one small pile. May I have them please? Thank you.’’ Duri-c the actions above. which are being carried out by the spectator you have been busy. With the aid of the right handyouhave thumb+ counted six cards from the bottom of the half you still hold and inserted the left little fingerin the As you ask if youmayhave thesid break. selected cards you are already reaching forward
88 andare picking them up by the ends between the right thumb at tahe nearest end and the foun fingers at the further end. Bring the right hand to the left. Without hestitat.ion drop the sixcards! on top of the cards in left hand and immediately pick up all the cards above the break. Move the right hand away and drop the cards it now holds on the t.able at the far right. There must be no pause inthelast few actions. To the audience you have merely taken the selected cards put them in the left hand and put the cards which were in the left hand on the table. Carry on immediately by pushing cards which. are still spread on the table to the right also. Now lay the six cards in your left hand deliberately-on the table face-down. (Make sure you lay these,
I
down so that the first number is on the spectator’s left. Think a minute and youwillsee thatthis often depends on whether the audience is all in front8or whether they are allround you). Ask for the victim’s telephone number. Normally lie will’ rattle it off so quickly that it is difficult to pick up. This is convincing. Ask him to repeat it more slowly. As he does so, touchl one card at each number he names. Then repeat; ing it once more turn up one card at each numbed and you’ve got his number. The moveused above must be credited to Annemann who published it in an early’ number of the Jinx. If youlive in some parts of the British Isles, fourand not six cards willdesigd nate the telephone number.-Leslie May.
‘(The expert of to-day takes his stand on the grounds that his one great object is to entertain his audience by deceiving them, and that any means that enables him to do that to the highest degree of perfection is legitimate. Therefore he does not hesitate to use special cards to that end. The only drawback to this method of working is the fact that such cards must be imperceptibly introduced and later disEosed of, or that the whole deck must be switched.” Greater Magic,” page 429.
NAE BOTHER AT A’ OLIVER MACKENZIE
(CLAN MACENZIE) Effect : FOLDED piece of paper containing a prediction is dropped into a hat and two books are given out to members of the audience. A pack of cards is then taken and shuffled, then being taken by another spectator to deal and stop any‘ where; he turns face upwards the next four cards ( i fpicture cards turn up they are discarded and tXe spectator Eeeps turning up cards until four spot cards are in view). All spots are then added to indicate the page of the chosen book. The digits of page number when added indicate line to arrive at. When the slip of paper containing the prediction is removed from the hat by a spectator it is found that the performer ’has correctly predicted the line indicated. There is little preparation. The cards are set up as follows :K, 4, 10, 5, 9, K, 6, 8, 7, 7, Q, 8, 6, 9, Q, 5, 10, Q, 4, 10, K, 5, 9, 6, 8, J, 7, 7, K, 8, 6, J, J, 9, 5, 10, Q, 4, J, A, 3, 3, 4, 3, A, 2, A, 2, 2, A, 3, Joker.
A
The cards in their case are then placed in the right hand jacket pocket. It will be seen from this set-up that all spot cardswith the exception of the bottom stock will total to 28, 29, or 30. In the right hand trousers pocket youwill require two sets of folded slips, one set for each book. Each slip covers the necessary lines on the necessarypages. A slip of paper of similar sizd but unfolded, together with a pencil will be necesd sary. As an aftert,hought youwill also have to1 take the two books with you. Presentation : Take the slip of paper, write something on it then folding it and apparently drop it into the hat. Actually it isretained in a finger-palm position and retained there whilst the books are picked up and handed out. The hand goes to the pocket for tha cardsand ditches the folded paper at the same time. The cards are nowremoved from the case and given a convincing false shuffle. After this a member of the audience is asked to deal off a card at a time until he thinks “ stop.” At this p i n 8
89 he st,arts turning up the fourspot cards. The conjurer turns his head away so that he cannot knowwhatcards are arrived at. The spectator -picksup the cards, adds the numbers together and’ takes the total across to eithe7 of the spectators; holding the books.Whilst thisis done the per-. former is standingwith his hand in his right hand trousers pocket. He watches thespectator with -the book. If the right hand page is used then tha number is 29. If it is a left hand page it is eitheq 28 or 30, but if the spectator goeson counting down beyond line 3 then it is obviously page 28. Theslipis immediately obtained from the miniature index and finger-palmed. In the action
1
I
of picking up the hat and crossing to the spectator: so that he can remove the prediction the fingerpalmed slip is quietly dropped into the hat. The reader will find this effect very convincing, for the fact that the performer seemingly has noknowledge of the page numberwillconfuse those who might think that such knowledge was a possible clue. If youmust go completelymental and you can find the audience who like this type of magic you can have a decent set of indices and a good memory or pigwn holing system like the “ Wikola,” then to throw outa dozenbooks ia “ Nae bother at ‘A.”
“ It is notwise to makeatrickappeartooeasy,especially in mind-readingtricks. In these,inwritinga sentence, the subject should be made to write one word a t a time, look the performer in the eye, with the head keptperfectlyparallel with the performer’s to makethethought wavestravelincoincidental lines and so on.” J. N. Hilliard-“ Greater Magic,”page 881.
YOUR ASTRAL IN 3D GEORGE PIGOTT (CLAN COWAN)
I
HAD been explaining to Angus about his astral body. “ You see you actually have two bodies4 the one we normally see and which is governed by the customs andetiquette of the times wg live in andtheother,theastral body, which is released only during sleep. This body, of course; knows no limitations but can in seconds travel to any part of the world, assume any shape and do many ;thingswhich normally ouchumanbody would find impossible to accomplish.” “ You mean you must be sleeping before the astral body is released?” asked Angus. He never was what you could describe as the brilliant type. “ Let me show you,” I said, “ will you close your eyes while I, with what limited powers I have, try to release your astral from your body for a moment. Just imagine I am holding it here a few‘ inches from theback of your head and imagine you can see me holding it. You will have to sort of look backwards to see it, OK? Now as long as I hold it here and you keep watching it, you will find impossible to open youreyes; that iswhild your astral is separate from your body. Will you try?” He was unaware, of course, that as long as he kept looking upwardsandbackwardshe could not open his eyes. It’s a physical impossibility and an old hypnotic trick. After about twenty seconds I gavehim a firm pat on the back of the head and said,“ There you are, as long as your astral is away from your body your eyes must be closed as in sleep.”
He adjusted his kilt more tightly around his knees andafter a moment’ssilence said, “ Are you trying to tell me at this moment,providing someone is sleeping, that there are astral bodies floating about all over the place?” ‘ I Yes,” I replied, “ but of course to normal: eyes they are invisible. It’s like going to see a 3D. picture. You have to have special glasses to see the picture properly.However I do have a pair. of glasses similar to the 3D. ones, except that they have no coloured lens. Thisis because there no colour inthis dimension. After all YOM are aware you don’t dream 3n colour.”
Youhave to explain everything to Angus, he’s so fa7 behind.
90 While speaking I got outthe glasses, or spectacles I suppose you English call them. I had cut them from a postcard to look similar to t.he popular 3D issue, but instead of the coloured inset or lens had put in a piece of thin copy paper and stuck cellotape on both sides of this to give a glossy finish. “ You,” I said to Angus, “have a look through these. Like 3D. it may take a second Qr two to get youreyesin focus but then you’ll see black shapeless forms floating in front of your eyes4 some quickly darting away, some floating down+ wards into nothingness. These, my friend are the astral spirits of people in all partsof the world but because youyourself are not asleep they appear merely as shapeless masses.” In amazement he admitted he could actually see these forms, little realizing they were in point of fact an optical illusion. “ That’s terrific,” he said, pushing aside his untouched, haggis, but drinking the whisky. “And I assume what we used to call dreams are really the release of the ast,ral spirit?” “ Correct and of course,” I said, “ this spirit knows no bounds, so let’s try a final test. I will try to set free your astral body and I want you to merely think of what form you would like this body to take, what country you would like it to visit and what action you would like it to do. To, get the right atmosphere 1’11 scribble on this piece
I
“
of paper a few shapeless forms to represent your other astral companions and midst these perhaps you’ll jot down your thoughts of what form you wouldassume, your secret destination and what youwould like to do, and this will help youto concentrate on these.” Since I had taken t,he precaution of scribbling my “ shapeless forms ” around the edges of the paper he was forced to put his thoughts in the the centre in readiness for my centre tear. “ Will you fold it now into four and having established the correct atmosphere we can now destroy the paper. Please close your eyes and imagine your astral is now leaving your body t o go on its travels.” By using my specialspectaclesplus the fact that with Angus having his eyes shut I could now read the torn centre, I was able to tell him he had assumed the shape of a dog and was now climbing up a hillside in China. He left me suddenly, fully convinced he had indeed been in strange company. In turn I wag very pleased with the success of the presentation and it could easily be adapted for more than one person. In fact it’s just the thing for the act. Only I wonder if, perhaps, I shouldn’t read so many of these novels by Dennis Wheatley about the astral world, for I’m sure it was next Thursday Angus said he was coming to visit me.
Men are seldom loud in applauding others, unless they feel themselves flattered.” Kenelm Digby-“ The Broad Stone of Honout.”
1
BOOKS “4-C” (Foresee) by George Blake and Raymond Maynard. Complete and ready to work. 20/-from George Blake of 9, St. Alban Road, Leeds, 9. This is a form of prediction most direct both1 in approachand method. It is something that would have delighted the heart of the late Theo Annemann and he would have revelled in theingenuity of the method employed. Briefly the mentalist asks a spectator to sign his name on a card and on this card a prediction
is made and placed aside. Three members of the audience (it doesn’t have to be three) but inmagic that’s the way it always goes), are requested tu name three different types of articles, place or thing and these are jotted down. When the signed card is turned over it is found that the magician has been successful in predicting all three choices. The outfit is complete with the necessary gimmick and most explicit instructions. The value is excellent and the method natural.
“ T h e man who cannot wonder, who does not habitually wonder, were he President of the MCcanique Celeste and Hegel Philosophy, and the euitome of all laboratories and observatories, with their results, in his single head -is b>t 7 nf spectacles, behindwhichthere is no eye.Letthose who have eyes look thfpugh him, then he, r1ny 3’3 .l-efll’.‘ Carlvle- Sartor Resartus.
l
91
The lecture demonstrattion given byDr. Jaks ing of TV though, by the time you read this it will was quite an occasion, and those whomissed this already have appeared in Abra, is the information {literally) “unique ” event missed some very tine thatthePopular Television Association of 78, lessons in thepresentation of magical entertainBuckingham Gate, S.W.I.. are preparingalist ment. of conjurers and magicians (they evidently know Once again it was proved that personality and the difference!),who are willing to appear on TV. cliann are worth more than skill alone. All that If youhaven’tseen the notice before. and vou are we had readaboutthis interested^ i&&n them polished table worker and mentalist wascon’ firmed. Once again Harry Stanley has shown j received the Mss. of a himself a rnaeical benej booklet dealing with ring factor. these Although as tricks. The material is typically “ Trixer,” which notes are written, the means that it is very British RingConvention good indeed. Our hope is just over a month is that its publication away, we still haven’t the will not be delayed too complete bill for the Gala long. show which this year will take place in Edinburgh’s When FredKaps was visiting us some little largest concert hall. One while ago he mentioned hopes that a professional that he was using a new illusion act may be forthcard stabbing effect. the coming for it is certainly brain child of Bob necessary. We are not Driebeek of the Hague. greatly enthralled by the A card is selected and in thoughts that big ma7ked after which it public presentationthere will be twoillusion acts is shuffledback into the pack. A sheetofnewspresented by non-professionals. Theillusion type paper is torninto twopieces, the packbeing of act is the hardest of allacts to present, forspread face downon one sheet, whilst theother seemingly dead pieces of apparatus have tobe is placed above the cards. Akniie is now taken, brought to life. Those who are hasty of criticism the paper stabbed and when torn away shows that of illusionists should try andattempt this kind of the selected card is impaled on itspoints.We work. shall be publishing this in our nextissue.We also, andthis willshock so many, will be Johnny Ramsey tells us that anoteabouthim in our “ Stage ” column brought the pundits of the publishing the index of volume seven at the same TV show.And talktime. B.B.C. down dn himfora 1
this
r
,
‘‘ What I do isn’t aAt 1‘: he insisted when I wanted to convince him itwas. “You know damn well it isn’tI just did it as B stunt. It’s not a fake-it’s a trick” I said, “ andjust am good as a trick as a 8OD.t. by M o z a n “Don’t kid me, damn i t ” he answered. There’s always that silly little shell that you ia as good as a sonata. y get rid of it. slip the ball8 in and out of, and that,Fh:
92
A NEW B O O K O N MENTAL MAGIC
I’LL READ YOUR MIND BY A A G E DARLING
THE LATEST book of audience tested Mentalism
by Denmark’sMasterMentalist
is packed with is designed to entertain as well as mystify an audience.
material that
Hers are 56 pages of outstanding new material, fully illustrated, cloth bound and with an attractive jacket. The authorbelieves in simplicity of method allied to mystery and entertainment value, and here y z u will ,fnd comedy in such effects as,,“ Pin U p Gif!Test and Spirits Test,” Publicity with Telephotrix and other gems, and mystery and entertainment with all the 15 incredible routines. Contents :- lnstanto Book Test, Vibrato, Tele-Hypnosis, A Thriller, Telephotrix, Pin U p Girl Test, Suprema, Symbol Test, Suprediction, Figura, Numaro, A Test of Spirits, Death’s Name, T h o u g h t Echo, The Marked Card.
Price
I7/6;Postage 4d.
II -
S E C O N D I S S U E OF T H E N E W GIANT S I Z E D
MAGIC WAND OVER 50 TRICKS BY 25 AUTHORS
NEVER hasthe magical fraternity been offered such a bargain as the new giant sized Magic Wand, packed with really worth-while material and every issue with several tricks that could have sold on their own for the cost of the whole lot. In the latest issue, No. 238, there is a wealth of material o n every aspect of magic from close-up material to full stage acts. Contents:-Second part of the Merlini Card System, with 8 fine card tricks ; The Dream of Thimbles, a stage act by Chatly Eperny ; The Diary of the Yogi, a mental card trick-without cards, by Arthur F. G. Carter; Triple Prediction, Cards and Cellophane Bag, and Transposing Silks by Tom Sellers ; Quads in Transit, a puzzle and a trick by Jack Lamonte ; The Talking Board, a ventriloquial noveltyby Frank E. Lindsey ; Professional MagicSomethingBorrowed,Card Fan Table, Pocket Horticulture, byDouglasFrancis ; Miracle Pools Forecast, a stage mental effect by Raymond Maynard ; Stunts with Sticks to Silks by Roy Green giving 11 new tricks with this prop!;-but we haven’t space for more, for we could fill this page describing the contents Buy a copy now and see for yourself how great is the value I
Per copy 7/9d. post paid Subscription : 6 months15/6d. One year 30/FROM THE PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX
I
The Magic Circle
Here’s the Prediction to make ’em think By GEORGE B L A K E a n d R A Y M O N D M A Y N A R D
“
1
1
Presidmt : H i s Grace the D u k e of Somerset,
D.S.O., O.B.E.,J.P.. M.I.M.C. Vice-President: D o u g h Crapga. Baq., Y.I.M.C. C.lubroom and Library and Museum :
4=C” (FORESEE)
Hearts of OakBuildings, Euston Road, London, N.W.1.
A Spectator signs a small card, onwhich the performer then makes his prediction.Performerthen calls forspontaneouswords,numbers, dates, celebrities, or for that matter, any items the performer wishes to dealwith.Thesearejotted o n achecking cardandwhenthe Prediction is read, by the spectator, hefinds,underhissignature, a 100 per cent. correct prophesy. THEMOSTSIMPLE & DIRECTAPPROACHTOTHISTYPE OF MENTALISMYETDEVISED “ Undoubtedly the most straight-forward method, and I like particularly the lack of preparation. Will roclc‘ an all-male after dinner audience back on its heels.”-Ken deCourcy. A methodthatworks itself, quick to setand leaves theperformer ‘clean’ atthe finish. Onecouldaskfornobetter method.”-Malcolm Davison. COMPLETE and READY TO WORK 20/-
Magical Theatre :
King George’s Hall, W.C. Forthcoming EventsOctober 3-Opening Concert October 5-10-Festival of Magic Scala Theatre Particulars from Hon
-
From GEORGE BLAKE, 9 St. Alban Road,Leeds
JACK HUGHES will be pleased to send you full detailsof
THE DE LUXB “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
PETER
Secretary :
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
9.
DOUGLAS FRANCIS’S
‘STAB IN THEPACK’
WARLOCK’S
PENTAGRAM
An entirely new “ thought of” stabbing card discovery
is published on the 24th of each month and can be obtained direct from the publishers for 117 per Lingle copy. Annual Subscription IS/post free. PUBLISHED BY:
Complete with pack and accessories
12/6 From DOUGLASFRANCIS, 65 Norwich Avc Southend-on-Sea, Essex
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publicatioo and books for review should be sent to the: EDITORIAL ADDRESS:
OLD ANL, NEW. Let me know your wanu LIST FREE FOR STAMPED ENVELOPE N o Gllers
24,
GEORGE
Peter Warlock, Wordeworth Rd., Wallington,
JENNESS
47 INVERNESS AVENUE,
Surrey.
ENFIELD, MIDDLESEX a
Every Advertiser’s goodsare fully endorsed by this Bulletin PUBLISHBD BY ‘IHE P R O ? R W O I B T H E MAOIC W A N D PUBLISHINGCOYPANY. 62 WPLLWOTONROAD, BNPIELD. AND PRINTED BY HaRBIIRT WALKER & S O N (PRINTIRS) LTD.,WELL CAO€TTI SHIPLEY, YORKSHIRE
MIDDlESEX
T
1
PETER WARLOCK'S
PENTAGRAM THEINCREDIBLESTAB BOB DRIEBEEK (AENIGMA) HEN our friend Fred Kaps wasover here during the summer or what passes as summer in this country of ours, he showedus a delishtful card stabbing effect. that was an origination of his fellow couniryman, Bcb Driebeek. We immediately wrote asking ifwe could publish and received an affirmativeanswer. Here therefore is a version of the card stab that packs a very powerful punch.
W
The conjurer has a card selected from a pack and the drawer isasked to outog~aph.it. The card is returned to the pack. A sheet of newspaptr is then taken and one half of it torn and placed upon the table. The pack is thenhandedto a spectator with a request that he shuffles the cards and thenspreads them haphazardly over the paper. The remaining halfof the paper is then taken and placedoverthe cards so that there is a sandwich of paper, cardsand paper. The performer takesaknife(and for extra effects he can be blindfolded) and brings the point down on the topmost sheet of paper. The paper is pulledaway and impaled upon the point of the knife is found the selected marked card. The preparation consists in doctoring the sheet of newspaper that is to be used. Take a full sized page and about f3ur and a half inches from the top (see il1us:rationI and two and a half inches from the left side pastz a pocket of paper mzasuring four by three and three quarter inches (this isalittle larger than a playing card). The ideal method of masking the pocket is to use a piece of paper €or it that carriesa dark picture. On the opposite of the sheet of paper place a pencil mark that shows the approximate position of the centre of ths pocket You wc.ill need asmall dage*er or knife: this should bein >'our inside pocket. The chair or prepared sheet of paper is placedona table. The presentation is as follows :The pack of cards is taken and a spectator selects a card which he initials or autographs. The card is returned to the pack and controlled to the -
VOLUME 7, No. I2
=
bottom. The cards are heldin the right hand so that the back of this hand is towards the audience and the faces of the cards towards the performer's body. The left hand now takes the sheet. of newspaperanditis then heldby both hands (see illustration) the secretpocketbeing on the side nearest to the performer.Bothsides of the sheet are shown and to do this the right hand momentariTy relaxes its grip on the corner and the left hand turns itroundand back again. Now comes the crucial move. The right hand moves in anarc
towards the bottom of the paper (see illustration). As the movement of the right hand is made and at that point where the right hand passes the left the right handthumb slips the selected card to the left and the left hand thumb at the same time slips it off the bottom of the pack. The right hand continues its journey and finally takes the corner of the paper (seeillustration). The chosen card is now clippedbetween the left thumbandthe paper and it is the easiestthingin the world to edge it into thesecretpocket. The performer looks over the front of the paper and as an afterthought remarks, I think this sheet is too large," then places the pack aside .for a moment and tears the sheet across the middle. Both pieces are then
1/60 (20 Cents)
"
-
SEPTEMBER 1953
94 shown on eachsidewithout comment. Just a point prior to the showing of the two pieces. If the card has not been pushed into the pocket so
that itjs completely covereddnd this can h a p p n -this IS the point where a complete coverage is made.
The prepared halt is then momentarily placed aside as though itnot. is needed and the unprepared piece placed on the table. Ask a spectator to help
One finalword.Don't make the pocket too small and increase your difficulties. W e have given the originator's own move It is a move for getting the card into the pocket. chat can be subjected by variation according to the ability of the performer. Well done (as we mentioned we saw Fred Kaps perform it), you have one of the most effective card effects suitable both for presentation on platform or in a room. Thanksa lot Boband congratulations onyour fine GrandPrixwinningactatthe Rotterdam Congress.
THE FEMALE OF THESPECIES IS
.. .
TALMA QUEEN O F COINS
.. LER i
*W;' ,.$
.
-. , *
you and hand him the pack with the request that he firstshuffles the cards and then spreads them haphazardly over the sheet of paper on the table. By this direction you force him to keep the cards within a small area. Take the dagger out of your pocket and then pause. for a minute. '' Look sir," you remark, " let's make it a little more difficult " and taking up the prepared sheet of paper you
place this pocket side down on top of the cards. The remainder of the trick is one of presentation for all you have to do is to stab the paper at the pencil mark and then rip the top sheet of paper away in a direction opposite to the secret pocket.
.
"~
kx-
...
From the J. B. Findluy Collection
l
95
ROUGE ET NOIR DR. DALEY poll taken at a number of British A RECENT Magical Societies on behalf of ourfriend GoodlifTe showed that too small a number of magicians were reading one of the few adult pubIications dealing with magic and magicians. We referto the Phoenix. Some while back its Editor, Ehuce Elliott gaveuspermission toreproduce materiaifromits pages, andthis,oncertain occasions we have done. The effect by Dr. Daley (which together with a similar effect of Dai Vernon’s we had the privilege of seeing some while back), is worth more than an annual subscription to any magazine and for that reason we are publishing itnowwith the hope that all our readers also tie uptheir allegiance tothe Phoenix and have at their disposal thealternative version by Dai Vernon. Dr. Daleyshuffles a pack of cards,fans through the pack, picks out and shows five black cards one of which is the Ace of Spades - and drops them onthetable. Next he fansthrough the pack, picks out and shows five red cards and drops them face down on the five face down black cards. A spectator is asked to mix the five red and five black cards, just by pushing the ten cards around until neither thespectatornorthe performer has any idea of the order of the cards. At this point the spectator isgiven a choice of red or black, and then pushes five cards at randomtothe estimable doctor.Dr. Daley then turns over the five cards the spectator has chosen for him and they prove to be all red, let us say, andthespectator whenhe turns his five cards over, finds to bis surprisethathehas selected nothing but black cards! And properly done this is the effect you will get from this subtle and lovely little nonsuch! Your only preparation is to have on top of the face down pack, from the top down, five indifferent low red cards and then the Ace of Spades. With thislittle blockon top of the pack -it is obvious that you can safelyshuffle the pack as long as you don’t hit the top six cards. Turnthe pack face upandfanthrough it saying you are going to select five, fairly low black cards. Bylow youmeantwos, threes, foursand fives. Run through the pack lifting up about halfway out of the pack, four indifferent low black cards as you come to them. Remember that you are going to use the Ace of Spades as yourfifth card, so use your judgment as to which black cards to jog upwards. Whenyouhavejogged the four, run to the Ace of Spades and in stripping out the four cards and the Ace. strip out the five red cards hidden behind the Ace.
These tencardsare casually shown as five, and the pack is turned over face down-and you drop all tencards as five, on top of the pack. False count, just! by pushing off the two top cards as one, then fairly counting two, three, four and five cards whichyoumiscall as five black cards. Square them up (nottoo neatly) andturn over the packet of six cards as five and flash the Ace of Spades on the bottom of the packet. Drop the cards back on top of the pack, again miscalling the cards as you deal off onto the table, five cards saying as you do so, “ One, two, three, four, five black cards.” Really these are five red cards. The block of black cards with the Ace on top of it is on top of the pack. Turn tlhe pack face up, fan through the pack as you did before, but this time jog upwards five low red cards. Rip them out of the pack and drop them face down on top of the face down pack, just as you didthe firstt,ime. Count them off fairly, square them up, just as you did the first time, drop them on top of the pack and deal them off on to the table. To the spectator youhaveshown five black cards and dropped them on to the table, and then fiver6d cardsanddealt withthese similarly. Actually thereareten red cards, face down on the table. Now have the spectator mess the cards around so that all track of tsheir supposed colour is lost.Give thespectatora choice of red or black. It isa magician’schoice for he has red Whilst he has been mixing the cards around you have had all the time in the world to count down five cards from the top of the pack and keep a break at that point with the little finger. The pack should be held in the left hand face down. Havethe spectator randomly choose five cards, and give them to you one atj a time, accepting them in the right hand face down. You have to make a switch at this pointbut everything up to this point is so seemingly fair, and since as far as the audience is concerned the trick is almost over at this point, you should have no trouble with it. The five red cards are held in your right hand with the fingers at the far end, the thumb at the near end. The pack is in your left hand, with tshe litfle fingerkeeping a break under the five top cards. At this point Dr. Daley uses a very Daleyesque bit of business.He rotafes his left hand a trifle so that the back of the hand is towards thespectator. The doctor bows a trifle
to the spectator and gestures with the packetin hisrighthand, saying, “ You havechosenfive cards whichyougaveme.These . . . . ” He gestures with t3e five cards and makes the switch in one continual motion as he brings the packet nearthe pack,bowsagain slightly and presses both hands against the chest, the back of his hand to the spectator, the face of the bottom card on the pack tothe spectator. Therighthand, after the switch, continues its motion upwards and with the back of thishand out’ward, the back of the little packetis towardsthe spectator. The cards held by the doctor are then turned over, the spectator following suit. If however,you are not born inthe Daleymould the alternative switchmay suit you betterandthis switchismade asthe spectatort>urns over his cards. This is the how of the switch. Just as the spectator begins to turn over his cardswe bring the right hand towards the left hand and weuse the left thumb to push the packet of cards to the right about half an inch. The packet in the right hand is dropped on top of this and as soon as the right fingers and thumb relax their hold they come down and pull out of the pack sideways the packet jogged to the right.
I
This allows us, as soon as the spectator has turned up his five red cards, to drop our five black cards on to the table and spread them. The function of the Ace of Spadesis an important one. The spectators seenothingbut a sort of indistinguishable mass of low red and black cards. Theone recognizable cardis the Ace of Spadeswhichserves asan unspoken guarantee that there has beennothingunderhand, like a switch of cards going on.
Editor‘s footnote : A thought occurred to us when playing with the effect regarding the switch at the conclusion of the effect which was to the effect that the Curry turnover change could be used to perfect advantage. As the spectator pushes out five cards fortheconjuror,thelatter with his right hand puches them into a neat stack. When the spectator is left withfive cards these too are stacked and the performer recaps. Withhis right, handhe turns over the spectator’s heap and with the left hand at the same time he turns over his own heap, the Curry change (which is no more difficult with five cards than it is withone!) is madeandyou have the perfect climax.-P.W.
“ A conjuror without an ideal is like a ship without a destination and as likely to reach p:rt.” S. H. Sharp - Neo-Magic.”
I
SPACE CONTROLLED ROY SCOTT ITHOUT doubt the most popular card effect WWorld.” in use to-day is Paul Curry’s Out of this Unfortunately it is often over“
worked, and is used by magicians who have little, if any skill, with cards. Beingunused toCard Magic they often useno misdirection and being slightly clumsy in handling leave the impression tthat the trick is not difficult and can be done by anyone. Ken de Courcy will bear me out when I saythat once, onboarda troopship, we were shown “ Out of this World ” bya layman. He had worked the method out after seeing it done once. So let’ssee ifwe can rectify matters. In an attempt to find a method of repeating the effect, I felt the weak spot was the stopping in the middle of the deal to switch colours. Most of the misdirection patter can be used once, but wears thin when used a second time. The method as is cheeky but effective. I donotthinkitis strong as the original, but is invaluable if ona return date you are asked to “ Do thatCard Trick again.’’ The stack is the same as “ Out of this World.”
Have a red and a black card on the table face-up. Handthe pack to the spectator and havehim deal face-down.Whenhe reaches about twenty, interrupt him and prevent him from dealing more than twenty-five. Takethe remaining cardsand holdthem intheleft hand.Askhim tosquare up thetwo piles he has dealt, but thismust be done in a definite order. One of the piles he has dealt will be correct but the other is not. It is this in, correct pile whichhe is asked to squarefirst. As he does so you estimate the number of cards he has dealt andwith the left little fingeryou pull down,by the corner, this number of cards from those you are holding, and hold a break. Do not try to be exact. Takethe incorrect cards from him as youaskhim to square the other packet. Drop these incorrect cards on top of those in the left hand.Immediately lift all cards (including those just added) above the break and put them onthetable with the right hand. By this time the spectator has finished squaring the other piIe he dealt. Have him lift these and ask him to deal his cards simultaneouslv withvour cards on to the indicators. Oncemgreyou&esuccessful.
“ By ‘ Good Effects,’ I mean those which are technically and artistically sound and by ‘ Poor Effects ’ the reverse. But the latterare frequentlypassedasgoodeffectspntoanunsophisticatedpublic, an! indeedmany writers on conjuringseem to encouragesuchcharlatanism.Theaudience,’saythese teachers,know nothing of magical devices, so why trouble to use methods designed to bewilder conjurors?’.” S. H. Sharp - “ Neo-Magic.”
97
RESULT OF THOUGHT ROY SCOTT Paul Curry’s Power of Thought W HEN was advertised, I, in common with half the card men in Britain began to think out “
”
methods. I got one which worked perfectly, and was disappointed when I learned from the original that my guess was wrong. Although the original is good I found my version had a few points which made it worth-while and I have used it continuously since then. Preparation. One pack is thoroughly shuffled. Another pack of contrasting colour is stacked in REVERSE order to the shuffled pack. i.e. the first card of the one pack is the last card of the other and viceversa. Working. Both packs are false shuffled and placed before the spectator whoisgiven a perfectly free choice of either pack. He is asked to deal these cards face down one by one on to the table and to stop whenever he wishes. (To speed up the climax and also to assist in the follow-up it is better if you keep talking whilst he is dealing, and tell him he may stop whenever he wishes AFTER about twenty cards are dealt). When he wishes to do so he stops dealing and turns face up the top card of those he has dealt on the table, remembers it, and then drops the cards remaining in his hand on top of those he hasdealt thus burying his card (still face-up) in the centre of the pack. He then picks up his pack and waits for your next instructions. You have another spectator come up, pick up the second pack and you ask them to deal cards in unison, each dealing cards face-up on to
I
their own pile, card for card. Make this deliberate, and slow, but notlslowenough to bore. Watch out for the face-up card in the first spectator’s pile. When it is near the top, slow down the dealing and when itappears on top of the pack call “ stop.” Remark how the cards which have been dealt are all different, and yet how remarkable it would be if thecard which the first spectator stopped at, was at the same position in the pack as its namesake in the other pack. Turn over the top ca,rdin spectator number two’s pack, and show this is the case. Everything is now ready for a repeat, although a little subtlety isneeded. Have both spectators remove the two cards which are faceup on top of the two packets they hold (the cards which have been dealt on thetable are also pushed aside meanwhile). This time the assistants reverse their respectiveroles. Hethat was last is now first. As before he deals cards on the table facedown and stops when he wishes, turns the card on top face-up and then drops the cards he holds on top of that. (Ifyouwere to attempt to finish t,he effect as in the first part you would meet with disaster. The reason forthis isbecause, due to the first deal having reversed the cards, the packets instead of being in reverse order asat the beginning are in identical order). Tell spectator that it,mightbe better if he could see what he was doing and have him turn his pile face-up. Once more the cards are dealt, this time A deals face-up and B face-down. This time when the face-up .cardis reached in B’s pile its twin is already facing spectator on top of A’s pile.
“The slogan, ‘ It is not thetrick,buttheman,’sounds conclusive, but it is not true;becausethough a beginner may fail with a good trick, an expert can never make a success of a poor one. The slogan should be, ‘ It is not the trick, orman, but the both.’.” S. H. Sharpe - “ Neo-Magic.”
I
A JOKER PREDICTION A W H U R F. G. CARTER time you are working with a Canasta NEXT pack-that is a pack containing two Jokers, try the following prediction. I think that you will be pleased with the result. At a convenient moment, locate the two Jokers and place one at the top and one at the bottom of the pack, then having provided yourself -witha pencil and scrap of paper on which to write the prediction, you are ready. Simply write upon the paper the words : “ THE JOKER,” not “ You will choose ” - the reasonfor this will become apparemt in a few moments. The paper is then folded and placed aside.
A spectator is then asked to cut the pack into three roughly equal heaps. This will result in one of the Jokers on top of one of the heaps, the second at the bottom of another, and a heap which contains no Jokers at all. This pilewe will call the null. The helper is then asked to freely choose any one of the heaps. If his choice lights on either of the “ Joker ” piles you are over the first fence; if however he picks on the “ null ” this is placed aside, and a second choice made from the two remaining piles,whichis also placed aside, the surviving packet being used.
90
The spectator is now asked to make a completely free choice of either the top card or the bottom card of the pilehe has chosen. It is of course an even chance that his selection will be the Joker,in which case you have accomplished a miracle, having predicted the card that would be chosen, without having touched the pack yourself once throughout the effect. If howeveryou are unlucky, the following “ out ” is used. The selector is asked to note the cardhehas chosen, and-leaving it in position, cutthe packet as many times as hedesires. “ Now,” the performer brightly remarks : “ Somewhere in bhe pack, I hope h that pile that you
I
have chosen, is a “ detective ” card, whose name I wrote upon that piece of paper you are holding, and that card has infallibly placeditselfnext to the card you chose. Will you please read out its name for all to hear.” Having read out “ the Joker ” the spectator deals through the packet he holds, and finds that what the performerprophesied has indeed taken place. ‘One small point; if the Joker was originally at the top, t,he packet is turned face up and the cardsdealt from the bottom. If the bottom, it is kept face down, each card turned face up as it is dealt,.
“ A thing to remember is that you cease to be a conjuror when you have finished your performance. Nothing can be more irritating to really intelligent people than the conjuror who poses as a ‘ magician ’ and pretends to beman a of mystery after he has finished his act. Wilfrid Jonson - “ Conjuring.”
I
BOOKS “I’ll READ YOUR MIND ” by Aage Darling (Translated by C. Steffensen and published by George Armstrong, price 17/6). Whilstmost books dealing with mentalistic magic are bent on giving new methods, the present book takes quite a number of well-known magical devices and clothes them with a presentation that makes for entertainment rather than boredom. The female angle is touched upon quite a lot, and there is no doubt that the use of lady assistants on a stage is of considerable value to the commercially minded magician. The use of pictures of women instead of such prosaic things as geometrical symbols must have a greater audience appeal when one considers the types and condition of audiences as a whole.
The well read mentalist will find nothing new regarding technique, but he will, I feel sure, find ideas concerning presentation that will justlfy his purchase of this interesting little book. Well bound in stiff covers the book runs to some fifty pages of text. The illustrations are by Jack Lamonte. DAVENPORTS.-From our good friends in New Oxford Street we have received a number of lists which in the main, feature effects which stand the test of time and in which in many cases have been off the market for sometimeowing to the lack of supplies of the necessaryrawmaterials. Q d t e a number of new items appearas well, including a very nice version of the Aqua Static Cone.
99
Our first afterthought regarding the recent British Ring Conventionat Edinburgh is that of the generous hospitality dispensed by both the Scottish magicians andthe civicauthorities. O u r second, is to thank Leslie May and Oliver Mackenzie for the most essential help that they of our B. B. C. gave usintheexecution prediction. Nothing we have attempted in this field before has brought such a wide response from the press both in this country and abroad. Again Leslie and Oliver, very many thanks ! In the “ Stage ” only a fortnight before the Convention we had commented on the number of women entrants for the Shield Competition andhadpredictedthatthedaywouldcome when a woman would win the Shield. We did not think, however, that it would take place “ Liz ” Warlock this year andthatourown would win the award, and that apiece of heavy luggage carried up to Edinburgh would have t o be brought back t o Wallington. At the Assembly Rooms the dealers’ seemed to have a rather raw deal regarding both accommodation and facilities for showing. Whilst we think they should have made firmer a stand and refused such accommodation it is a matter that the next Convention Committee must put right at next year’s venue, Brighton, for the dealers are a definite attraction and part of the backbone of a Convention. It will be a long while before the “ Ring ” sees such a colourful Civic Reception as that given at the Assembly Rooms by the Lord and Lady Provost, Sir David and Lady Miller. The robes of these two dignatories plus those worn by theEdinburghCouncillors leaves amost vivid impression in our memory of pageantry a t its best. On the dealers’ stands there was not a great deal of novelty to be founf; but itwas certainly pleasing to see ‘‘ Demonpicturesilksonce -more at the Davenports together with a number of other worthwhile items. Harry Stanley had a good seller in “ Hen ” Fetch’s l‘ Breaking the SoundBarrier,”andJackHugheshadsome inexpensive novelties that found favour. The public shows went on as usual, but it -was the close-up sessions and the “ Classics of Magic ” program,mewhichbroughtthebest
magic to the onlooker. Both the lectures given, one by Eddie Joseph and the other by Johnny Ramsay, were excellent and each drew a large audience. One conclusion must be drawn from both thisConventionandthatat Hastings in the previous year, is that a Headquarter Hotel is essential to achieve the real social atmosphert. Bclt we’ll forgetallthesethingsfor the moment and simply register the fact that for us the most important thing that happened to us at Edinburghwas the opportunity to meet again, Stewart James. It musthave been way back in the early forties, when we met Stewart at Birmingham.Hehadtravelledupwithourfriend Francis Haxton to a dinner given by the South Staffs. Society. We tal.ked into the early hours of themorningabout Freer and many other American magicians. When we met again we carried on the conversation from where we had left off and we are still doing it. The week following Edinburghwas for a few of us a continuation of a magifest. The Occult Dinner was a gastronomical and magical success. Though the first was assured as the choice of restaurant and meal was in the expert hands of Jack Salvin, we certainly did not anticipate seeing Jimmy Esler’s amazing book test ; this was a feat of mental magic thatquiteliterally knocked us for six. In the coming volume there is some very of Judge nicemateriallinedup,Twoitems Wethered’s we have had for some time and one of these, a version of Le Paul’s cards in envelopes will appear shortly. George Blake has promised a special numberinthenearfutureandthe other evening after watching Jack Avis work a delight+ful coin routinewe managed to get the promise of a special number from him. It seems impossible that another volume has been completed. Once again our very great thanks go to all those Who have helped to complete volume seven. One thing we would like t o call our readers’ attention to is the retractable pen that is now being marketed by the Biro Company.With of movement,the animperceptableamount actual ball point of the pen can be retracted os extended.Hereistheidealsubstitutefora non-writing pencil put out in an elegant form.
100 S E C O N D I S S U E O F T H E N E W GIANT SIZED
A N E W B O O K ON MENTAL MAGIC
I’LL REAID YOIJR MIND BY AAGE DARLING
THE LATEST book of audience tested Mentalis by Denmark’sMasterMentalist is packed wig material that i s designed t o e n t e r t a i n as well as mystify an audience. Here are 56 pages of outstanding new material, fully illustrated, cloth bound and with an attractive jacket. The author believes in simplicity of method allied to mystery and entertainment value, and here you willfindcomedy in such effects aslI“ Pin Up G’:! Test” and “ Spirits Test,” Publicity withTelephotrix and other gems,and mystery and entertainment with all the 15 incredible routines. Contents :- lnstanto Book Test, Vibrato, Tele-Hypnosis, A Thriller, Telephotrix, Pin Up Girl Test, Suprerna, Symbol Test, Suprediction, Figura, Numero, A Test of Spirits, Death’sName, T h o u g h t Echo, The Marked Card.
Price 1716; Postage 4d.
MAGIC WAND OVER 50 TRICKS BY 25 AUTHORS NEVER hasthe magical fraternity been offered sucha bargain as the new giant sized Magic Wand, packed with really worth-while material and every issue with several tricks that could have sold on their own for the cost of the whole lot. .In *latest issue, No. 238, there is a wealth of material o n e m y aspect of magic from close-up material to full stage acts.Contents:-Second part ot the Merlini Card System, with 8 fine card tricks ; The Dream of Thimbles, a stage act by Charly Eperny ; The Diary of the Yogi, a mental card trick-without cards, by Arthur F. G. Carter; Triple Prediction, Cards and Cellophane Bag, and Transposing Silks by Tom Sellers ; Quads in Transit, a puzzle and a trickby Jack Lamonte ; The Talking Board, a ventriloquial novelty by Frank E. Lindsey ; Prcfessional MagicSomethingBorrowed,Card Fan Table,PocketHorticulture, by DouglasFrancis;Miracle Pools Forecast, a stagemental effect byRaymondMaynard;Stuntswith Sticks t o Silks by Roy Green giving 1 1 new tricks with this prop!;-but we haven’t space for more, for we could fill this page describing the contents Buy a copy now and see for yourself how great is the value ! Per copy 7/9d. post paid Subscription : 6 months 15/6d. One year 30/-
FROM T H E PUBLISHERS
T H E MAGI’C W A N D P U B L I S H I N G C O . 62 WELLINGTON ROAD, ENWIELD, MIDDLESEX
The Magic Circle
Here’s the prediction to make ’ern think By GEORGE BLAKE and R A Y M O N D M A Y N A R D
4=C (FORESEE)
“ ” A Spectator signs a small catd, onwhich the performer thenmakes his predtction.Performerthencallsforspontaneouswords,numbers, dates, celebrities, or for that matter, any items the performer wishes to deal with.Thesearejottedonacheckingcardandwhenthe Prediction is read, by the spectator, he finds, under his signature, a 100 per cent. correct prophesy. THE MOST SIMPLE & DIRECT APPROACH TO THIS TYPE OF MENTALISM YET DEVISED “ Undoubtedly the most straight-forward method, andI like particularly the lack of preparation. Will rock an all-male after dinner audience back on its “ A methodthatworksitself,quick to setand heels.”--Ken deCourcy. leaves theperformer‘clean’atthefinish.Onecouldaskfor nobetter method.”-Malcolm Davison. COMPLETE and READY TO WORK 20/-
-
From GEORGEBLAKE,
JACK HUGHES will be pleased to send full details of
I’O~I
THE DE LUXB “SU-TABLE” together with all his other effectsinreturn for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
9 St. Alban Road, Leeds 9. PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and (-an be obtamed direct fromthepublishers for 117 perbingle copy. AnnualSubscription 181post free.
PURLISltED
Hearts of OakBuildings, N.W.l. EustonRoad,London, MagicalTheatre
:
King George’s Hall, W.C. Forthcoming EventsOctober 3-Opening Concert October S 10-Festival of Magic Scala Theatre a
Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue, Wimbtedon Park, S.W.19
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’ An entirely new ‘‘ thought o f ” stabbing card discovery Complete with pack and accessories
1216 From DOUGLAS FRANCIS, 65 Norwich Avc
Southend-on-Sea, Essex
BY:
The Magic Wand Publishing Co. 62 Weltington Road, Enfield Middlesex Manusrriptsforpublication and books Cor review should be sent to the: EDITORI4L ADDRESS:
24,
President : His Grace the Duke of Somerret, D.S.O..O.B.E., J.P., Y.I.M.C. Vice-President: D o u g h Craggs, Esq., Y.I.M.C. Clubroom and Library and Museum :
Peter Warlock, Wordsworth Rd., Waltington, Surrey.
CONJURING BOOKS FOR
SALE
OLD AND NEW. Le! me know your wants LIST FREE FOR STAMPED ENVELOPE Ein Callers
G E O R G E
JENNESS
47 INVERNESS AVENUE, E N F I E L D , F?IDDT.ESEX
AND PRINTED BY HBRBBRT WALKBR L SON (PRINTERS) LTD., WELL CROFT, SRIPLEY, YORKSHIRE
PAPER ... ... ...
CARDS
Full Stop, Double Stop ! ... Enchanted The Basket ... A C I D Test' ... ... ... .. ... Colourblind ... Buried Treasure ... ... Jacob's Elevator ... ... ...... The Psychic Seven Kortially Yours ! ... ... ... ... Angle on Marlo Angle on Angle on Marlo ... Kortially Yours (2) ... Double Up Discovery ... Variation on Card Incidence Beyond Belief ... ... I've got yournumber ! ... The Incredible Stab ... Rouge et Noir ... ... Space Controlled ... .. Result of Thought ... ... Joker Prediction .. ... *
...
... ... ... ... ...
... ... ... ... ...
... ... ...
...
... ... ... ... ...
... ... ... ...
... ... ...
...
...
...
3 19 21 36 39 41 42 45 46 47 56 71
79 87 87
93 95
. .
96 ...
...
. . I
91
The Binding Ring The Ring Binds Again Fun Thumb Laced Up
...
...
Yrutnec Hteitnewt Phantasy in Silk Miracle Porous Glass
IUNGS ...... ... ... ...
...
.
...
...
.'g 69
...
SILKS ... ... ... ...
...
...
...
...
16 40
...
...
- .
53
MISCELLANEOUS Sands of Gobi ... ... ... Perfect Window Envelope ... All at Sea ... ... ... TheThumbTie Effect .. Two Into One will Go . . .. The Hindu Thread Trick ... .. More Chance One ... ...
97
17i 78
.. . ,.
...
.., ...
...
MAGIC CIRCLE BANQUET
...
Report
...
...
...
...
57
MENTAL
Four Cards, Four Envelopes An Impromptu Newspaper Test The Borgia Affair ... ... Poison in Jest ... ... Thoughts out of Print ... Do you Reverse? ... ... Written on Time ... ... Hold Candle a ... ... Nae Bother at 'A ... ... Your Astral in 3-D ...
... ... ...
... ... ...
5 11 25 38
...
...
48 49
... ...
...
72
...
78 88
... ...
89
FEMALE OF THE SPECIES
... 1. Mdlle. Von Et,ta D'Alton Emilie ... 2. Eva ... 3. AnnaFay ... 4. Harriet Dreilinger ... 5. Madame Patrice Elizabeth Warlock ... 6. ... ... ... 7. Mrs. Bodie Mary ... 8. Maskelynne McClay Alice ... 9. ... ... 10. Talrna ..
MONEY Astral Coin ... Nota Bene ... Your Choice ...
... ... ...
... ...
...
2 18 26
...
...
...
46
...
.. ..
...
...
c-2 70
... ...
...
S4
...
...
... ...
78 36 94
OUT OF THE PAST ...
...
I
...
...
2
4
8
14 33 30
13 19
BOOKS 43 58 66 74 81 96 98
...
...
...
37
...
...
65
...
81
MAGIC GO ROUND 7' 15 23 31 43 51 59 67 75 83 90 99 CARTOONS
Invulnerable Pawrus Coin
...
...
... ...
...
...
...
...
73
Ye Bonnie Banks
...
...
...
...
85
Astral Coin Rides Again
... ...
...
4
29 48
.
BOOKS ETC REVIEWED Thz Yock ... ... Effective Card Magic Dr . Jaks’s “ Multiball ”
... ...
... ...
...
The Classic Secrets of Magic
... ...
6 6 6
...
... ... ... Entertaining with Contact Mind-Reading Four Little Beans ... ... ... ... One Man Mental Magic ... ... ... Encyclopaedia of Cigarette Tricks ... Hugard’s Magic Monthly. Volume 8 ... The Puppet Master ... ... ... The Magical Diary ... ... ... ... Davenport’s Lists ... ... ... 30 It’s Easier than you Think ! ... ... Successful Conjuring for Amateurs. ... Modern Coin Magic
.
... ... Avis. J ... ... ... Belcher. L . . . . ... ... Bernard. B . . . . Carroll. Hugh A . ... ... Carter.Arthur ... ... Daley. Dr . Jacob ... ... De Courcey. K . ... .. Derris. J . . . . ... ... Dexter. W . . . . ... ... ... ... Douglas J . . . . Driebeek. Bob ... ... Elmsley. A . . . . ... ... Francis. D. . . . ... ... Harrison. C. . . .... ... ... ... Haxton. Francis ... Howie. J . A . M . ... ... ... Jnks. Dr . S . . . .
...
58
...
... ...
58 66
Universal Mind Stab in the Pack
...
...
...
... ...
...
...
15
Message from Hades Grand Finale ... Playing with Magic ...
...
...
22 22
... ... Varied Deceptions ... ... Two Jardine Ellis Ring on Ribbon Routines
22
My Best Card Trick ... ... Miracle Mix-up ... ... 100 Latest Tips on Tricks ...
14
14 14
30
98 30 30
... L..
... Hugard’s Magic Monthly. V01. 9 . . . . I’ll Read your Mind ! ... ...
58
74
74
82
... ... ... ...
82 82 82
82 98
. I .
47
27
...
...
...
40
73
Kort. Milton ...
...
...
...
3
...
...
...
... ...
...
...
...
71
...
...
...
...
...
88 ... 21 49 85
... ...
...
...
10 80
McCarthy. Brian Macleod. N . . . . Mackenzie. 0. May. Leslie ... Moffatt. P . . . . Pigott. G . . . .
... ... ...
...
...
26
Potter. Jack ...
...
...
...
78 79 ... 89 ... 55
93
Rowland. E. Scott. R . ...
...
...
...
5 11
...
...
... 87 96 97
Tan Hock Chuan Taylor. F. V . Treborix ... Trixer. Hans Warlock. Peter
...
... ...
... ...
...
...
...
37
39
72
65
...
17 78 ... 12 ... 36
...
...
69
...
...
48
...
...
...
...
...
...
58
...
...
... ...
43
... ...
Dice Deceptions
42 97 ... 95 4 29 48
...
...
...
...
...
...
...
...
...
31
James. Stewart Kaps. Fred ...
... ...
...
... ... ... ...
.
... ... ...
...
Fourth Collectors’ Annual ...
...
...
45 33
1 ...
3 28
... ... ... ... 19 ... ... ... 41 61 ... 9 38 46 53 81
VARIATION ON LEPAUL’S CARDS IN THE SEALEDENVELOPE H I S H O N O U R EANEST WETHERED N Mr. Le Paul’s Card Magic there is contained a description of an effect called “Cards in the Sealed Envelope.” It will be found in Chapter 31. page 213. This was an original effectby Mr. Le Paul and I thought it a high light in his book. The version described by Mr. Le Paul was admirably suited for the use for which it was intended, as a close up or informal performance. There three factors in his description were,however, which I thought were capable of improvement if the effect was to be.used in thesort of show which I present. The d e c t in Mr. Le Paul’sversion is as follows :After performing four a acesroutine,a spectator is asked to mark each of the four aces. The four marked cards are inserted face up in the centre of the facedown pack which is then spread ribbon fashion across the table, faces up, so that the backs of the four cards inserted can be seen. The performer takes from his inside coat pocket a packet of letters and envelopes from whichhe extractsanenvelope which is stuck down and sealed. One end of the envelope is torn open by the performer and inside the envelope are found the four marked aces. The four reversed cards in the deck are found to be indifferent cards.The three points in this direction which I .desired to alter were :(l) Taking the sealed envelope fromthe packet of letters, etc., taken from the performer’s pocket. (2) The fact that only the performer handled the enveloue in which the four marked cards were found: a d (3) Finding the four reversed cards to be indifferentcards. This seemed to me tobe in the nature of an anti-climax. The lozical conclusion would be for the four aces sim$y to disappear from the pack. I therefore evolved a variation on this effect whicli I will nowdescribe. The -basic sleightused and the method adoptedto get the aces into the envelope are both as described by Mr. Le Paul in his book.
I
~~
~
~
>
VOLUME 8, No. I
-
Effeet-On the pexformer’s centre table stands a tumbler, a pack of cards and a packet of four business envelopes. These envelopes are made of stout brown paperandopen at one end. The envelopes used by me.are six inches long and four inches broad. Each of these envelopes is stuck down and sealed with red sealing wax and the whole packet surrounded by an elastic ban& Two assistants are required; one is seated on the right of the performer, with a smalltable near him, the other on the left of the performer. The performer takes up the pack of cards whichhe shuffles and asks the assistant upon his rightto call stop whenever he chooses He calls “ Stop.’” The performer team to shuffle and the two top cards at which the assistant stopp3 are removed from the pack and placed back upwards in the glass on the table. The same procedure is adopted with theassistant on the performer’s left. The four cards are then removed from the tumbler and it is found that th0 two assistants have chosen the four aces. The four aces are handed to the asdstant on the performer’s right, with a Biro pen or pencil, with the request to sign his name acrass the fa? of each card. The four cards so signed are then placed reversed in the pack, that is to say when the pack is fanned with the faces of the cards to theaudience, the four aces are seen in the packwith theirbacks outwards. This is done, as the performer explains. so that the presence of the four cards can be seen by everybody even at the back of theroom. The pack is closed and placed face outwards in the tumbler on the table. The performer thentakes up thepacket of envelopes and hands the packet to his assistant on his right. H e draws his assistanf‘s attention to the fact that each envelope is sealed. The elastic band is removed and the fourenvelopes are shown to be stuck down and sealed.The assistant chooses ono and the other three envelopes are discarded. The pack is taken from the tumbler and the reversed aces are seen still to be in position. The aces are then commanded to leave the Dack and to enter ~
~
~~~
I/6. (20 Cents)
-
OCTOBER 1953
2 the selected envelope. The pack is fanned and it is found that the aces have disappeared. The assistant is asked to examine the envelope and satisfy himself that there is no way of getting inside the envelope,not even for a postagestamp. He is then handed a pocket knife to enable him to cut the envelope open which does, and inside he finds thefour signed aces. These are displayed and the performer explains that, of course, signed cardscan no longer be used but that with the aid of magic he can get over this difficulty. The aces are touchedwith hiswandand it is then found that all four signatures have disappeared. M e t h o b T h e sleight for obtaining possession of thefour signed aces is as that described by Mr. Le Paulin Card Magic at page 61. Any similar method for obtaining the same result will prove suitable. It is an improvisedmethod of executing the Diagonal Shift. This leaves the four aces palmed in the performer's left hand. The pack is placed in the glass and the performer picks up the packet ofenvelopes. The method of preparingthe envelopes varies fromthat described by Mr. Le Paul insofar that the envelope in which the a m are subsequently found is not slit across the upper part of the back for the purpose of inserting the aces as described by Mr. Le Paul. An entirely different method is adopted. The envelope is placed in warm water so as to loosen the flap or turn-over at the base of the envelope which is then unstuck and opened out. The envelope is then dried, for whichpurpose it is placed between two pieces of blotting paper and ironed with a hot iron. The normal flap is then stuck down and sealed and the small flap, which has been unstuck at the other end. is then coated with rubber solution and a coat of rubber solutlon is applied to the envelope along that portion of the end on which the small flap will rest when turned back. Therubber solution will not stick to any untreated surface, butthe moment the treated surfaces are brought together wlth slight pressure they adhere and can only be opened with difficulty. In other words, the envelope is treated as if it were a self-sealing envelope. Two o!her envelopes in the packet are prepared as descnbed by Mr. Le Paul. That is to say. each has a piece of cardboard inside to stiffen it. They are stuck down and sealed, but on the address side of each of these envelopes a semi-circular flap is cut out as illustrated in Mr. Le Paul's book and lettered C and D. These two envelopes and the envelope with the adhesive end are assembled as described byMr. Le Paul but instead of theflap C of envelopeA, in Mr. Le Paul's description, goinp. into a .slit in the fake envelope, it goes over the treated portion of the small flap. Envelope B, is then placed on top of these two as described bv Mr. Le Paul. That is to say, t h e flap (marked D) on the address tide slips into the open end of the fake envelope. Placed in this position. the rubber solution will not adhere to the inserted flaps because they are not treated with solution. On top 'he
of these three envelopes is placed an envelope
which isnot prepared. A rubber band then encircles the packet. If the packet is then squeezed between the finger and thumb on its long side it will be found that thestiffened envelopes open out so as to form a sort of tube. leading into the intenor of the fake envelope, into which the four aces can be inserted. The four acw are palmed in the left hand and the packet of envelopesis lifted from the table by the right handwith the thumb underneath the lowerlongedge andthe Slight pressure is fingers on the upper edge. exerted to openthetubeandthe envelope is transferred to the performer's left hand. As the left hand takes it, the pressure of the left little finger on the palmed cards is released and its placeistaken by pressure with the third finger which keeps them in the palm. The 2nd. 3rd and 4th fingers are kept close together and are extended. If this is tried with cards in the hand it will be seen that the lower right hand corners of thecardsare now freefromthe fingers and as the packet of envelopesisplaced in the left hand, the rear portion of the tube, that is to say the lowerenvelope of the packet, p a w s under the cards which slide into the tube as the packet is taken between the thumb and fingers of ~~~
THEFEMALEOFTHESPECIES DELL O'DELL
~
~~~~~~
S I
...
From the J. B. Findlay Collection
3 the left hand,andthe
left thumb pushes them home. It is a matter of a split second only to insertthe cards. The envelopes are heldwith the unprepared envelope uppermost and it will be seen that the fake envelope projects about. 3 of an inch of the packet. This envelope is fromtheend partly drawn out to show that it is sealed. The effect of this movement is to clear the treated flap on the other end from the flaps on envelopes A. and B. The elastic band is then removed and the two envelopes at the rear are moved over and to the front of the'packet. This leaves the faked envelope on top of the packet as it faces the performer. The outermost envelope, the unfaked envelope, is handed to the assistant to-examine. As he does so the performer places his.thumb on the treated end of the fake envelope and...presses it down onthe treated surface below: One stroke of the thumb across this end seals it completely. This envelope is next placed on the table, attention being drawn tothefactthat it issealed. Envelopes A. and B., with the sealed sides uppermost, are then placed on the table ,with the other two, these are not examined, care being taken that the flaps on the backs of these envelopes in Mr. Le Paul's description marked C . and D. are not disclosed. The fake envelope is then forced on the assistant. I use a ,Straightbluff force. The other three envelopes are placed' aside. The pack of cards is take'n from the glass and fanned and it isseen that the four reversed cardsare still in place. The reverseside is shown and it isseen that they are in fact the four aces with the assistant's signature (apparenily). 'written across their faces. The pack is closed and the four aces ordered to vanish and trans€er themselves to the envelope. The pack is then re-fanned and the four reversed cards are found to have disappeared. This part of the effect is 'produced by the use of the rough and smooth principle. Four duplicate aces, with a signature of some sort written across the faces, are roushened on both sides with roughening fluid. Two indifferent cards are placed I
I
one on the face of the aces and one on the rear. One of these. is roughneed on the backwhich is placed onthe face of the aces and one is which is placed on the face of the aces and one is roughened on the face which is placed on the back of the aces. The other two surfaces of these two cards are polished. The four aces can be readily separated when the pack is fanned but when the pack is closed, and slight pressure is applied back and front, the six cards come of€ as .abunch-as one card. At the commencement of the effect this packet of roughened cards is on the top of the pack but after the diagonal shift has been executed and the four aces extracted, the pack is cut as it is placed in the glass which brings the roughened cards to the middle. After the aces are found to have vanished the pack is still retained in the performer's right hand as attention is drawn to the envelope. On his centre table is a pocketknife. As it is found difficult to open the envelope the performer turns to his right to reach for the pocket knife and in doing so;; changes the pack for another pack with four plain aces o n the top. This change can be effected, if-performing in evening dress, by the use of the pochette and profonde on .the right hand side, or, if performing in a morning suit, bv means of a topit vanisher fixed ins.ide of the performerk coat on his left side, the second pack being taken from the vest pocket on that side. The envelope is cut open and the signed aces'extracted and displayed. The performer shows them to the audience in his right hand, drawing attention to the signatures. He holds the pack in hims left hand. The four duplicate aces .on the top of this pack are pushedslightly to the side so as to overlap the pack by half an inch. Closing the fan formed by the four aces, h.e .-turnsto his assistant on the leftand places the pack on his centre table. I n doing so, he bottom changes the signedaces for the four duplicates without showing the faces of the cards to his assistant. He remarks on the difficulty of playing cards withsignedaces, touches them with his wand and the signatures are found to have disappeared.
" Magic is theapparent defiance of natural laws. Beforemagiccanbecomemagic,theaudience know that the thing the magician seems to be doing, is, in actuality, impossible." John Mulholland-"Quickerthanthe
must Eye."
I
DEAD RECKONING PETER WARLOCK EffectHE conjurer shows a slate on which are chalked four columns of ten figures, as shown in Diagram 1. A member of the audience is first asked to give the initials of someone whom he thinks to be psychic and these are written on the opposite side. the slate then being placed leaning against a boo; within viewof the audience. Four other members of the audience each volunteer a three-fisure
T
number, and these are wiitten on a second slate in the form of an addition sum. This slate and a piece of chalk are then handed to the volunteer who gave the first.number and he is requested to add the four sets together. The cllmax of the effect arrives when the first slate is turned round, foritis thenseen that all the numbers have been erased, with the exception of one digit ineach column. These digits agree with the total already given, the other figures hav-
4 ing been rubbed out by a ghost induced by the medium whose initials appear on the slate.
RequiremeChalk. Oneordinary slate. One non-locking flap slate. A fairly heavy book slightly larger than the flap of the slate.
m-As the ultimate number is
third of the way down thehalland asks for a second three figure number to be whispered to him as before. Suppose the second number to be “ 878,” this toois written onthe slate, the spectators again beinggiven the opportunity to seeit.Visiting g third person the magician asks for another number but thisis ignored and (in this example) the number ‘‘ 121 ” is written down, as ‘‘ 999 ” is required in every instance for the total of the second andthird numbers. The spectators donot see this last number being written as the slate is held out of their line of vision. -
forced, the magician writes down the figures ‘‘ 0 to “ 9 on the slate proper and then .rubsout all but, say, ‘‘ 2 ” in the first row, “ 0 ” in the second row, ‘‘ 7 ” in the third row and “ 6 ” in the fourth row. The flap i9 now placed over the figures and the four columns, “ 0 ” to “ 9 ” are chalked on the The number given by the fourth member simiand th* two vi&le sideThe book, the larly is ignored, theconjurer writing a number slates are arranged On the as in which, for the purpose of this total (2076), when the to added first give number will a total of 1077. Diagram 2. i.e.’ 952. ¶¶
¶¶
Y
The slate now bears the following figures :125, 878, 121, and 952. The firsttwo sets have beon given by spectators and the next two by the magic3anwhoensures that the desired total will be forced. Here comes the misdirection. The conjurer
now says, “ Four members of my audience have given me sets of three figures. I would Hke the first one, if he will, to add them for me.” He goes,
~
b
t
i
0
~
The rows of figures on the flap slateare shown tothe audience. Theinitialsare then obtained and, having been written on the blank side, the slate is momentarily placed, flap side down, on the table to the rear of the book. The latter is then picked up and opened to stand as a support for the slate, The flap isleft behind (completely screened by the book) when the slate is picked up to rest againstthe spine, with theinitials facing the audience. The conjurer goeswith the second slate to nme member of the audience in the front row, be md he asksfor a three-figure numberto Jvhispered to him. Suppose the given number to be ‘‘ 125,” this is written on the slate and the spectators aregiven an opportunity to see it. He then goes about one-
I
however, to the second volunteer but, apparently realising his error says - “ Oh, no, you are the gentleman whogave methe number 878.” He turns to the first spectator--“ You gave me 125.” This casually gives the impression that all the numbers are genuine. The first spectator now adds upthe figures and the performer makes the most of the climax.
“ Also try to eliminate, as much as possible, bringing people up on to the stage. It’s fine for once, but after three or four have come up it becomes boring to everyone.” David Bamberg-“Greater Magic.”
I
THE AEROPLANE CARD TRICK
A
CARD is selected and placed on top of the pack. The magician states that he will cause the card to fly to his pocket. A move is then made which apparently transfers the card to the bottom of the pack. Spectator sees this and callsthe performer’s attention to it. Thelatter however shows that the botom card is an indifferent card and for that matter so is the top card; after this the selected card is removed from the performer’s pocket. A card is selected by the spectator and placed on top of the pack without its face being seen and noted. Holdthe pack inthe left hand. Showing how he htends to make the chosen (but not noted) cardfly into his pocket, his right hand takes the top card and moves it towards his right hand trousers pocket with a flapping motion. Astbe right hand attracts attention a break is obtained under the two topmost cardsof the pack. The card held in the right hand is now replaced on top of thc pack and at this point he appears to remember that the spectator has not yet wen the card he selected. A triple lift (made easy by means of the b e a k already held) is made .and the face of the underneath card shown to the spectator. Because of the previous move where theperformer removed
only one card there should be no suspicion in the spectator’s mind regarding the fact that the performer now holds more than one card. The lift is done quickly and casually. The cards as one are now replaced on top of the pack in the left hand. With the right hand partially oovering the pack the left thumb.pushes the top cardover to the left finger tips and transfers it to the bottom of the pack. The right hand is intended to act as a mask At thls but the spectator sees the movemade. p i n t the performer says that ,the card has flown to his pocket. The spectator will not accept this statement and will say that the card is at the bottom of the pack. To disprove the assertion of the spectator the right hand picks up the pack and shows the face of the bottom card. The right a m lowers and the left hand now takes the top card and shows that this too is an indifEerent card.At this offbeat, the right hand perfoms a single hand. top palm whilst the left hand comes across and takes thepack away. The righthand now with the noted card concealed enters the right hand trousers pocket only to emerge with the previously palmed card at thefingertips.
Simulation is a form of pretence. In disguise, we have the principle of making one thing look like another and entirely different thing. In the misdirection of sense by means of simulation, we have the principle of giving apparent existence to things that do not exist, or presence to things that are absent.” Nevil Maskelyne-“ Our Magic.” ‘6
TWISTING THE TWISTER JAMES DOUGLAS
S
OME YEARS ago I ,was impressed by an effect, “ The Dishonest Customer ” which of those excellent books appearedinone written by Norman Hunter. Unfortunately I foundthefake described by theauthor difficult to make and also in practice the action was not so smooth as it should have been.With the same plot, which seems to have been comp1ete:y time to neglected, I applied a little thought and the present version which has proved a most successful and popular item in my own programme. This is theeffect: the performer borrows a hat from a member of the audience and suggests that it shaU represent a certain tobacconist’s shop. A packet of twenty cigarettes is then placedinside to representthe stock. A customer comes along and makes purchase a which results in the cigarettes being removed and covered with a nand-
kerchief. The performer continuing his story relatesthatthe tobacconist discovered that the coins he received for the. purchas were counterfeit apart from coppers amounting to fourpence. Thetobacconist, however,was a magician and when he discovered how he had been tricked he made p magical pass with the result that the handkerchief is whipped away to show that the customer was left witha box of “ Swan ” matches (gooC value for the fourpence!) whilst the stock was still in the shop. Here the performer reaches inside the hat and removes the packet of twenty cigarettes. The hat is then returned to its owner. The requirements are simple and are : Two packets of “ Twenty ” “ Piccadilly ” cigarettes (This sized packet is most suitable). A box of “ Swan ” matches.
6
One of the packets of cigarettes is emptied and faked as follows :--
That is the end of the preparation and to set up for performance, place the packet of Swan '* matches, the bird side facing the audience, on IZS long side on the table. A white cambrichandkerchief is now carelessly bunched in front of it. The packet of cigarettes with the shell over it is now placed in the right hand jacket pocket. To present,first of all borrow a hatand impress upon the audience that it is empty. The packet of cigarettes is nowremovedfrom the pocket, shown at the finger tips and placed inside the hat. In the telling of the story, take the shell from the hat leaving the real packet behind. Care must be taken that the bottom " of the packet must not be glimpsed. With the left hand pick up thehandkerchief and at the sametime drop the shell ouer the box of matches. The handkerchief is now shown on both sides and placed over the right arm. The left hand now takes. the " packet of cigarettes gripping it tightly so that the matches do not fall out. The packet is now covered with the handkerchief and the performer continues his story. At the point where he tells of the trickery of the customer the handkerthe fingersholding it chief is whippedaway, gripping the shellwhich is taken with it, leaving the box of matches in the hand, whilstwiththe attention of the audience on the matches the handkerchief-and shell are dropped onto the table or pushed into the performer's side pocket. All that remainsis for the performer to removethereal packet of cigarettes from the hat andhand the latter back to the lender. "
"
"
The tray isfirstremoved and set aside for the time being.Now take the cover and turn it over so thattherearpart facesyou. The seam where the cardboard isglued together isnow loosened by means of asharp knife. The main idea is to make a shell that will easily fit over the realpacketand the breaking of the join at this point allows it to be done easily. -New creases ar.2 now made and sufficient overlap will be found to re-glue at the rear of the shell which is now a nice sliding fit. The fakeiscompleted by glueing a flap to the top.
r-
'' In magic,speed in presentation is a most important point artistically speaking. There are someperformers who withhalf a dozen simple tricks can fill up a two hours entertainment. Others there are who can rattle off a score of tricks in as many minutes. Each class of performer, no doubt, thinks his ownmethod of presentation the best that can be devised. So it may be-for him." Nevil Maskelyne-" Our Magic
BOOKS MAGICIANS' DIARY & YEAR BOOK, 1954. Publishedby the Penshaw Press. Although through the course of more years than we care to remember, there has been an outcrq for a special magicians' diary, it was not until last year that the demand was met. The travail of its birth brought forth manyblemishes, typographical errors, wrong data, etc.We are therefore band, the publisher has produced with the aid of happy to see that this year with more time in Messrs. D e la Rue & Co., Ltd., an excellent product. The information in the front of the diary is most helpful. Of particular interest are the details regarding insurance of props and also variousrisks that may befall the wielder of the wand. There is a marginal index for each month and at the end of the diary part are a number of blank pages for jotting down ideas, patter and so on. All in a?l something that those interested in magic cannot afford to be without. MARTIN GARDNER'S MOTHE-R GOOSE MYSTERY. Published,.bylGeorgeArmstrong Price 7/6. Considering the fact that with this trick you get a book of Mother Goose Rhymes which is specially printed so as to allow for certain predictions,5"muchpafter'the style of the Stanley Collins's Book of Verses, the price of 7/6 is very reasonable indeed. The means for choosing the word and page are very clever indeed, one being based on a Stewart Jarnes theme. The effect is brief consists of t w o predictions and to these G o r g e Armstrong has added an extra
routine in which the book prominently
figures. Well recommended.
E ARE writing these few words after seeing Wand hearing thatgreat Wagnerian soprano Kirsten Flagstad. We have watched and heard a greatartisteand above all we hw: notedsomething thatapplies to all art whether it be aslowly as magic or as great as music. Thst something is restraint, or the ability of the artiste to _use art to conceal art. . the means for arriving at the desired result without any apparent exertion. Too often in magic one is all too aware of a performer’s cleverness for he makes no attempt to conceal it. Often in so doing he strainshis technique beyond its performinglimits and the result to say the least is manipulative c h a o S. Notice thefactthat we have written in italics, performing limzts. We knowonly too well that those whose interest in magic is pure, can, in practice sessions achieve far more than they ever will in public performance for the nervous factor evokedby thetrapand pings of theatre audience is something that is in most cases bound to havean effect on those who use manipulation as a means to an end. By the time these words appear in print the Magic Circle Festival of Magic will be a long way behind. It was a happy backstage and our prediction that the Compaens would prove the most novel act in theshow came true with the result.that they will open at the Dorchester this month for a four weeks’ engagement. A charming couple, we are pleased to reproduce a previously unpublinhed photograph on this page. Sometimeback OUT friend Goodliffe in his Abra editorial gave someexcellent reasons for the inception of sponsored TV. We were certain that it would bring more controversial arguments than it did. Actually we believe only Fabian, his part-
.
ner in crime, came up with any criticism. Our own feeling is that onlysponsored TV. will ever do any good for magicians, for however good the quality of the magicoffered, TV. producers as a whole never seem to be able to present it as it should be presented. Just before the Circle TV. ,show in October we .have memoriespf seeing a continental conjurer Cafe Continental . . bad background and bad camerawork killed the true illusionary nature of the entertainment forthe viewing public. The Circle TV.showwhich contained all the magical ingredients for a successful presentation was spoiled artistically because imagination was lacking. The novelty of TV is a novelty no more and if the highest standard a magical programme can reach is that in which no exposure takes place then there is no purpose to be achievedby T V presentation. Bad lighting predominatedthroughout and the background used could have been bettered in most Church huts.We are finding no fault with the magic or the magicians and we understand from well informed quarters that the O.B. Department of the B.B.C. considered it a great success. If they did we can only think that they have somespecial kind of monitor set with a rose coloured screen having special compensatory device for bad lighting, unimaginative camera work, breaks in sound transmission and uninspired production. TV.is not new, and its general background of instruction is the 2-dimensional cinema film. The camera man working for a film unit is a highly paid technician his pay reaching as high a figure as €150 per week. He doesn’t just sit behind a camera and press a button . he is responsible for lighting and other technical matters . . he is the he has imaginative producers right hand man a certain measure of artistry in him. His opposite number is required in TV.
..
..
.
...
NOW READY T H E T H I R D ISSUE OF T H E N E W G I A N T SIZaD
MARTIN GARDNER’S
MOTHER GOOSE MYSTERY
MAGIC WAND 47 TRICKSAND SlElGHTS BY 25 AUTHORS
An easy t o d o yet baffling book test. The perGoose former hands outabookletofMother Rhymes and a spectator selects a word and a page i n such afairmannerthatthe selection seems obviously t o be governed by chance, yet the performer can immediatelyname the word chosen (or he can predict it beforehand if preferred).
PLUS SEVERAL INTERESTING ARTICLES T H E M A G I C A L W O R L D i s raving about the now style Magic Wand, and if you havon’t alrordy seen a copy WO strongly adviseyou t o send for one now, boforo they go right out of print. Already the March issue i s fetching 12/6 or 151- a copy whom a copy can be found I The third (October) irsue contains so muchreally worth-while material that we cannotporriblylist it all here, but a lirt ofa few of the contributors will indicate the value of the contents: A. Brian Macarthy, Edwatd Victor, Jim Merlini, Ken de Courcy, the late Nelson Lyford Douglas Francis, Harry Latour, A. C. Newitt, Roy Green, W. C. Weber, Tom Sellerr, Charly Eperny, Jack Lamonte, Peter A. McDonald, Toni Koynini, etc. etc. DON’T DELAY-ORDER NOW I
This can immediately be repeated and a different word is chosen Added to the full prerentation of this baffling double effect is a triple prediction by George Armstrong, which rhows how the book of rhymescan be usedin other mental effects. Supplied complete with four page printed folder of instructions 8nd presentation, and the neatly printed book d Mother Goose Rhymes.
Per copy 7/9 post paid
Price 716 : Postage3d.
Subscription 36 months IS/&
One year 30/-
FROM T H E PUBLISHERS
T H E M A G I C WAN1 B ’ P U B L I S H I N G C O . 62 WELLINGTON ROAD
I
ENWIELD, MIDDLESEX
The Magic Circle
Here’s the Prediction to make ’em think
President : His Grace the Duke of Sotnerret,
By GEORGE BLAKE and R A Y M O N D M A Y N A R D
4 m C
D.S.O., O.B.E.. J.P., M.I.M.C. Vice-President: DouglasCngga, Esq., Y.I.M.C. Clubroom and Library and Museum :
(FORESEE)
“ ” A Spectator signs a small card,on which the performer then makes his prediction.Performer then calls forspontaneous words,numbers, dates, celebrities, or for that matter, any items the performer wishes to deal with.These arejotted on a checking cardand whtnthe Prediction is read, by the spectator, he finds, under his signature, a 100 per cent. correct prophesy. THE WOST SIMPLE & DIRECTAPPROACH TO THIS TYPE OF MENTALISM YET DEVISED “ Undoubtedly the most straight-forward method, andI like particularly the lack of preparation. Will rock an all-male after dinner audience back on its heels.”-Ken deCourcy. A methodthatworksitself,quick to setand leaves theperformer ‘clean’ atthe finish. One could ask fornobetter method.”-Malcolm Davison. COMPLETE and READY TO WORK 20/-
Hearts of Oak Buildings,. Euston Road, London, N.W.l. Magical Theatre :
King George’s Hall, W.C. Forthcoming EventsNovember 25-Supper December- Lecture : Majot Brian Maccarthy
Particulan from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
-
FromGEORGEBLAKE,
JACK HUGHBS will be pleased to sendyou fulldetails of
THE DE LUXB “SU-TABLE” together with all hisother effects inreturn for a stamp. Write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London, N.W.9.
9 St. Alban Road,Leeds PETER
9.
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’
WARLOCK’S
PENTAGRAM
An entirely new “ thought o f ” stabbing card discovery Complete with pack and accessories
is publishedon the 24th of each month m d can be obtained direct from thepublishen for 117 per unglecopy. AnnualSubscription 18 Iport free. PUBLISHED BY:
1216 FromDOUGLAS FRANCIS, 65 Norwich hve Southend-on-Sea, Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE OLD AND
Manuscripts for publicationand books for review should be sent to the: B D m m 1 . 4“LM U S S :
NEW.
Let me h o w your rant.
LIST FREE FOR STAMPED ENVELOPE No
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey. I
Callcn
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin PUBURI.0
BY Tlll ?RO?aIIIy)U THE L u O l C WAND ?UBUORMO COW?ANYe 62 WULXN-N ROAD,XNCIILD, AUD €WNTXD BY RXRBIRT W A L K U & SON (PRINTUM) LTD., WILL CROm’r S€lI?LXY, Y O R K l R l R 8
bilDDL88EX
EPITAPH FOR BROWN PETER WARLOCK FIRST MET the late Edward Brown in 1921; he was a shy soul then, but to the little group of which he was a member and which coneregated each Monday in the Magic Circle Club-room at Anderton’s Hotel his ability was recognised. As the years went by I was to realise that herewasone of the fewmen that I knew capable of making a conjuring trick into a feat of credible magic. Later we were to become members of a small cotcrie, the Society of Magical table with a few others, Research andacrossa a attempt to define the composition of true magical feat. We never succeeded but during the course of those meetings we did see some remarkable effects. Edward Brown died at the zenith of his magical career, and although not a lover of theatrical display, the eve of his passing saw him give the greatest public show of his life. It was afeast of natural .magic and one which those who were present at the Cripplegate Theatre will never forget. Edward Brown committed little of his work to paper. . . An item in one of Naldrett’s books, a thought reading effect in the ‘‘ Masterpieces of Magic ” series and “ The Three Guesses ” in the May number of the Sphinx, volume 42. That was the sum total of his literary output. The last named effect was based on Hofzinser’s “Everywhereand Nowhere.” It was great a favourite ofBrown’s butthe description in the Sphinx containedmistakes.anddidnotdofull justice to such a masterpiece of card magic. Brown as a magician like Ramsay and Sherwood was an individualist. . he adapted and originated moves tosuithis own personality and idiosyncrasies. Only a person endowed with similar physical characteristics and similar skill would be capable of achieving the same effect as Edward Brown who without any doubt was one of the six greatest magicians I have had the opportunity of seeing and knowing.
I
.
.
VOLUME 8, No. 2
-
The effcct to be described is based on “The Three Guesses” but because my own technique and stature in magic are that muchlesser than Edward Brown’s. it is more adaptableto performance invariedhands. I have found itto be most effective on all those occasions when I have performed it. On the performer’s table stand two stemmed glasses each capable of holding a pact ofcards. These glasses and a pack of cards are m fact the oniy properties thatare used. Takingthe pack the performer handsittoaspectator with the request that he s h m e s it well. It is then taken back and droppd back outward in the right hand glass. A lady is now asked to assist. . “ Madam ’* saysthe magician, “ I am going to remove one card at a time from the top of this pack. I want you’to stop mewhenyou wish.” The performer commences to remove a card at a timewithhis right hand then placing them face downwards on lis left hand.This is done untilthe lady says Stop!” ” Now, madam, only you and I shall see the card, andso I want everyone else. to close their eyes ” (this must be in the nature of a lighthearted request. With the modern run on Radio and TV games in whichsimilar requests are made,you willfind that actuallymost people will dothis for you). Thecard stopped at, is now turned round and both the lady and performer take note of it. Let us suppose it is the three of clubs. This card is then turned back towards the audience who are warned that they can now open their eyes.. The chosen card is .placedface downwards on those in the left handandthe remaining cards in the glass being taken out and placed on top, a little finger break being kept between these cards and the chosen card. At this pointthe magician remarks, “ I am going to lose the card you chose. madam, amongst the remaining cards of the pack ” and suiting the
I /a. (20 Cents)
-
NOVEMBER 1953
10 horizontal position), “and 1 wantyou tostopme me whenyou wish. . at that moment thecard I hold in my hand whenyousay ‘ Stop!’will represent your guess.’’ The performer continues to takecardsfromtheglass until he is stopped and the card held in his hand is placed back outwards in the l e f f handglass. Two other spectators are requested to similarly co-operate and their cards as they are chosen are placed to therear(that is nearest the performer) of the first card chosen. At thispointthe magicianpossiblyholdsanything from fifteen to twenty cards in his..left hand with thethree of clubs offset. The right hand now approaches the left .with the obvious intention of squaring the packet of :cards held there and as the cards above the three of clubs are grippedwith thethumb at the inner end with the remaining fingersgrouped around the outer end, the little finger of the right hand with thethumb crotch acting as a fulcrum levers the three of clubs into a full palm position, the cards on top being brought round so that they are held at right angles to the hand proper. The right hand moves away but beingmaintained.When all the cuts havebeen is kept at elbow height whilst the left hand containmadeandthe supply of cards exhausted, that ing thecards gestures towards thethree cards in left band glass. the maeician addine. “ So t,hew portion of the pack under the break is simply cut the to the top, thui making the chosen card thetopmost in the pack. To theaudience the action is a natural one of a series of cuts followed by one straight cut. The pack backs outwards is once dropped in the right handglass. “Now, madam,” says the magician, “ you chose a card, the name of which, we hope is known only to the two of us; that card has now been lost amidstthe others. However my purpose is to try and get three members of our audience tohazard a guess at which card amongst the fifty two is your card!” The magician indicating a gentleman in the audience asks for his do co-operation inhaving a first guess.“We’ll it this wav . . I shall remove a card at a time from the-glass,” (asthisissaidthe prfomer The righthand now comes across, tikes the cardsfromthe left handandthelatter removes the first card. which of courseis the three.exposed with the three of clubs palmed falls to the side. action to the words, either by means of a false. shuffle or series of running cuts, he sees that the chosen card is brought to the top of the pack.A note concerning this. As the bank of cards under the little fingerbreak is seldom likely to contain more than a dozen in number, my own procedure is tostripout with the right handallthecards above the break apart from say the top half dozen of the pack and then with this packet execute a series of running cuts, the fingerbreak position
..
..
of clubs and places it on the palm of his hand. It is roughly positioned so that the inner left hand
cornergoes into the thumb crotch. Another and another card is taken and these are placed on top of the three of clubs in such a manner that they takeupthe position shown in the first picture. The hand during this action is of course held in a
The unwanted cardsaredropped into the right hand glass with the remainder of the pack. The right hand at this stage now removes the three designated cards from the left hand glass and the left hand, care being takennotto expose the palmed card, comes up to receive them. The four cardsare squared as one and heldbacks to the audience. “ Threecards chosenhaphazardly ” remarksthe magician andas he says that he pushes off the two tomost cards one at a time with his left thumb the cards being taken in same order by the right hand thumb and second finger. The remaining two cards appear to the audience as one. The two cards are then replaced, a slight breakbeing held between these two cardsand those beneath. “Let us see whether the first gentleman was succe.ssful.”The two top cards are lifted as one and turned over to show the face of the under card (see illustration 3, which actually
11 shows the second card and not the 6rst that will be shown). It is the six of spades. “No sir, I am afraid that you were unlucky that is not the chosen card, it is madam?” The two cards are then turned over again andplaced behind the other cards. The magician now turns over the second card which is seen to be the ace of spades. Again the spectator is told that he has guessed wrongly. This cardis now turned over and placed behind the other cards but it is stepped to the extent of a matter of an inch or so. The next two cards are turned as one and apparentlyreveal the third guess as the King of Spades. The two cards as one are turned over and similarly placed behind the others. All the cards are now turned round and shown as in illustration four. The chosen card, the three of clubs, is immediately behind the King of spades. ‘‘Actually.” says the magician, “ all this is really an hallucination.” At this moment the cards are turned round backs to the audience andthen squared together. “The lady here thought that she selected the three of clubs, and 1can make you all think that too!” The left hand thumb pushes off the three topmost cards as one (illustration 51, turns them over and replaces them as in illustra-
...
hand thumb now pushes off the two top cards a s one as these are turned over and placedin an
overlapping position showing another three of clubs The two cards are taken as were the three and apparently turned over in the same way so that a position similar to that shown in illustration 7 is taken. Actually there is an important difference for as the cards arereaching the end of their turn the right hand thumb slides the under card, the three of clubs, forward and the topmost card takes up a position so thatit covers the. undnmost card. Pointing the card the magician says to the second gentleman. ‘‘ It Seems that you
The right hand now comes up to take the overlapping card away, but might have been lucky too!”
tion six. “ So really one of you gentlemen could just have easily guessedcorrectly!” The right hand fingers now take the outer end of the three cards andturn them longtitudinally over the remaining single card.As the cards cover this card,the topmost card is slid tothe position shown in illustration 7, and pointing tothis cardthe magician says to the first gentleman spectator, “We’ll consider you guessed correctly!” The card back outwardsis now taken with the right hand fingers and dropped into the left hand glass so that it tilts‘towardsthefront.Theleft
actually the right thumb knocks the top card. and the rearmost card of the sandwich into perfect alignment and coming back the two cards are removed as one leaving the single card, the three of clubs between the thumb and fingers of the left hand. These two cards as oneare now placed behind the first card that was dropped into the left hand glass. Finally the card in the left hand is turned round and the thiid guess is found to be the three of clubs. This card is dropped into the glass behind the others. The cards are now withdrawn and placed in the left hand the remainder of the. pack being taken from the right handglaw and placed on top of them. “ Actually as I said before it is realty a matter of hallucination for if I wish it they can all be threes of clubs.” At this point the magician makes a series of running cuts cutting from the topof the pack and showing each time the bottom card, which is the three of clubs. He continues this cutting to the point wherehe only has the one three of clubs left and this goes
12 on top of the pack. Just hallucination for once again you can see that they are all different.” The cards are fanned, the index of the three of clubs being hidden . . . “ In fact there isn’t, a three of clubsinthe wholepack.” Thefan isclosed. “ Perhaps you would like to look for yourself, sir!” As the cards are handed to the spectator, the top card, the three of clubs ispalmed in the right hand with a single handed palm.(If the reader hasn’t a mastery of this sleight may I suggest that he uses a two handed palm method before fanning the cards as he will find this a better moment than when he has to handthe cards over). ‘‘ In fact the only three of clubs belonging to that pack I placed in my pocket.” At this point the performer bends
I
forward slightly allowing his jacket to swing down. The right hand with the palmed card grasps the coat at elbow height and at the same time levers thecard inside thecoat (illustration 8). The left hand comes in totake the card from the insidepocket, but actually as you can seein illustration 9, the fingers of the right hand push the cardfurtherintothecoat whilst the left hand fingers dip to take the corner of the card. At this point the magician swings round and the left hand is shown a corner of the card being pushed into the pocket.With an upwardmotion thecardis apparently withdrawn and shown to be the three of clubs!
“ Tastes differ in magic as in other things; and I can scarcely hope that my views have always been palatable to all of my readers. After all, the most a reviewer has a right to ask is that his readers concede his honesty of purpose and absence pf bias. On this score I have been most fortunate : and I am grateful for the confidence my fellow-craftsmen have repeatedly expressed in the objectivity of my comments.” Paul Fleming-Preface to Volume 1 of the Paul Fleming Book Reviews.
THE “WANT AD.” TEST I LIKE PETER WARLOCK F ANY type, of test making the use of advertisements from newspapers entailsthe calm prospect of somebody having to cut out course of the those advertisements duringthe performance, it means a delightful waste of time without anyentertainment merit. Thislittle test which I have used for intimate performances over a period of a few years is direct and comparatively fast in action.
I
Several small envelopes of the ‘‘ pay ” type are distributed to members of the audience.Next a spectator is requested to take a plate containing a number of advertisements that have been cut from various newspapers, glance over them to see that they differ and then to ask each holder of an envelope to take one and place it in the envelope that he holds. The flaps of the envelopes are then to be stuck down. At his fingertips, but without calling attentionto the fact, in a direct way the magician collects the envelopes, asking the gentleman who so kindly distributed the advertisements to take one. He is also handed a slate and a piece of chalk. His next instruction is to tear open the envelope, remove the advertisement and look at it. In the meantime the remaining envelopes are handed to another member of the audience. The magician picks up a slate and asks the spectator
with the advertisement to concentrate his thoughts upon the largest word in the advertisement. “When you see a picture of it in your mind, sir, just say Right’!” With this affirmative given, the magician turns away from the spectator, picks up a slateand piece of chalk from the table, the spectator is asked to write on the slate the word he had in mind. As the spectator commences to write so does the magician. When both slates are turned round it isseen that the words are identical. Let’s try it again, sir.” The magician cleans his slate and places it on the table and then taking the slate held by the spectator he cleans that too, handing it together witli the chalk to another member of the audience. The spectator still holding the remaining envelopes is asked to select any one and give it to the gentlemanwith the slate. The magician takes his own .slate and chalk and asks the holder of the envelo,pe to open it. ‘‘Now sir, we’ll make it a little harder. I want you to look at the first and last words in your advertisement and fix yourmind on one . . . and please don’t change your mind when you have come t a decision.” The magician starts writing upon his slate and then having finished places it writing side down on his table. “ Now Rlease write onyour slate the word that you chose. The spectator does thisand shows itto theaudience. The climax
13 comes when the magician picks up his own slate and shows thathehas once again correctly duplicated a spectator’s thoughts! The requirements are few.They are :(l) An unprepared slate. (2) One .slate with a loose fitting flap. (3) Twenty small sized envelopes. (4) Two pieces of chalk. ( 5 ) Nine similar newspapers. (6) A plate. To prepare divide your envelopes into two heaps of eleven and nine respectively. Ten of the eleven need no further attention apart from being folded across their midriff and then straightened out.Intothe eleventh place an advertisement cut from one of the papers which has one word all the others. which in lengtheasilyexceeds Because of the pithiness of most advertisements there is little difficulty in finding a suitable one. This envelope now has a small pencil mark made at one corner and itis now sealed and also folded. Think of this as envelope A. The remaining nine envelopes are now folded across and straightened outandinto each is placed a similar advertisement, it being necessary for the magician to know the first and last word. The first word is now written on the s l a t e a n d c o v e r e d with t h e flap. I f t h e r ew o r d sc a nb e of similar length and if possible commence with the sameletter so much the better. Again there is seldom any difficulty in finding advertisements that fill this requirement. All these envelopes are sealed down. Lastly a large number of advertisements are. cut from one of the newspapers and placed on the plate. To actually prepare for the presentation of the effect the following isthe arrangement of the particular properties :The stack of nine envelopes together with both pieces of chalk are placed in the right hand jacket pocket. On the table is placed the flap slate, ff ap side up and on top of this the unprepared slate. By their side rest the pile of ten unprepared envelopes and the plate with the advertisements. In the performer’sleft hand trousers pocket envelope A is foldedover so thatits sizeis reduced to one half. The presentation is as follows : The magician picks up the packet often envelopes and distributes them; he calls attention to the plate containing the advertisements and has ’
a member of his audience look. them over and invites each holder of an envelope to take one, place it inside the envelope he holds and seal it
down. AS this is being done the magician stands with his left hand in his trousers pocket and obtains possession of the folded envelope which is finger palmed. Ail the envelopes being sealed, he comes forward taking the left hand from the pocket and with his right hand takes them passing them into his left hand so that they are right angles to that hand and comfortably cover the folded envelope. when all the envelopes have been collected,the righthandtakesthem back andintheact finger inside of doing SQ, inserts the second the fold of envelope A. In the actualtake away thisr finger runs up inside the fold, straightening the envelope out. It is a movement impossible to detect by the sharpest eye. The packet of envelopes is nowcasuallycut and the envelopes are fanned, the magiciannoting the position of the one withpencil dot, envelope A. Going to the gentlemen with the plate of papers he asks him totakeone envelope and forces envelope A on him. If any reader thinks that this may prove difficult the alternative is to take one and hand it to him or else give the envelopes a mixing that leaves envelope A on top, this envelope then being proffered. When hehas taken the envelopes, the magician remarks “ You will also want a piece of chalk and a slate.” As thesewords are said the right hand holding the stack of envelopes goes into the right hand pocket, ditches the envelopes that it holds and takes hold of the packet of nine and one of the pieces of chalk which are brought out.The piece of chalk is handed to the spectator, the envelopes then beiqg handed toanother on his immediate left. The spectator is relieved of his plate of advertisements which are placed upon the table, the unprepared slate then being picked up andhanded to him. The rest of this part is just build-up and showmanship and with the first piece of mindreading out of the way the rest ispurely automatic. The slates are The cleaned and one of the envelopes taken. magician writes the name of the last word on the flap of his slate and places it flap-side down on the table so that which ever word the spectator is chooses in his advertisement the magician covered by lifting either the flap with the slate or alternatively leaving the former on the table. Needless to say the remaining envelopes are retrieved.
“ Time and time again we have had o w u!cers inflamed by listening to soxe big, or not SO big-wig of magic complaining in just about these words . . . A h , if I had to do it all over again, I’d take any branch of the entertainment world rather than magic. Where does it get you? A lousy seven hundred and fifty a week if you’re lucky!’ Of course in most cases that problematical Seven hundred and fifty is gilding the lily a trifle, but let’sdisregard it for the nonce. It seems to us that this is the basest kind of ingratitude. These characters who moan about the fact that there’s no future in magic would in all probability have become coal heavers, salesmen, or piano players in houses of ill fame if they had not been fortunate enough to be born with a w:pd in their mouths!” Elliott-“ Bruce Phoenix The , page 420.
14
THANKS TO STEWART JAMES PETER WARLOCK
=
MAURICE SARDINA the right hand and the gimmick dropped inside in the action of movingback and placing it on the table near the cord. The cord and ring are then examined and taken back, the ringbeingplaced in sight on the table. Taking eachendwith the right and left hand respectively, the centre of the rope is lowered into the hat the ends being draped over the brim. At the fingertips the ringisnow takenand placedinside the hat.
HE IDEA of this little effect was inspired by the ring effect that Stewart’ used in Sefalaljia on page 471 of the Jinx. In the original version I made up, the gimmick responsible for the main part of the effect was static. My friend MauriceSardinamadea suggestion that made it more S U i t a b l e for impromtu
T
“
”
performances.
Though hidden from the audience it can be seen that the hands of the m a g i c i a n are tying a knot. Actually what done is is this ; the c e n t r e portion of the cord is pulled through the ring and part of it is engaged in the hook (illustration 2). The path of the loop continues upwards (illustration 3), and this loop is tied at point A in a single knot (illustration 3). “ Strange as it may seem to you, I have without movingthe ends of the cord tied the ring on to
The effectbriefly isthatan examinedring passes onto a length of examined cord or rope. The requirements are as follows :
A length of silk cord measuring four feet. One large curtain ring or bangle. A gimmickwhich follows :-
has to be madeup
as I
t
First of allobtain a small dresser hook or bend a stiff piece of wire to the shape of a hook. The straight part of the hook is then fixed in a small block of lead as in illustration 1
3t Actually the easiest way is to make a small mould, melt the lead and then holding the hook with a spanner pour the lead round it.
To present the effect have the length of cord and ring on your table. Possessionof the gimmick is obtained by the right hand. Youcommence by borrowing a gentleman’s hat. It is taken with
I
the cord so that the cord now passes through the ring!’9 remarks the magician. Taking the end of the rope marked X with his right hand and at the same time lifting the hat by the brim with the left hand he walks forward. The end X is now lifted above the ha! and at the same time the left hand moves down so that end Y runs through the ring and the hook. It is a disarming move for to the audience it simply appears that the rope has been taken from the hat. Placing the hat aside,the left handtakeshold of end Y and the rope is brought into a horizontal position. A little pull is given and the single knot disdves leaving the ring on the rope. Both ring and rope are then. handed out again for examination.
“ This type of over-enthusiasm seems tobespreadingthroughoutmagiclikeamiasma. Can’t a trick good or excellent; must it always be thebe-al!and end-all of existence? We predict orbook come out and be that if a book were to come out and be named ‘ Highly Mediocre Tricks , it would have as good a sale, if the material was good,as if it were called the most spectacularly, wonderfully, terrifically, gigantic hunk ofstug that ever came down the pike.” Bruce Elliott-“ The Phoenix ”, page 428.
HIS IS very much of a Peter Warlock number and.we hope that theitems described will appeal to our readers. Next month we are running a Jack Avis issue :which‘should have a very great appeal to those interested in close-up of thinking is magic. Jack to our own way possibly the smoothest all-rounder at close-up work in this country. Cards, dice and coins all seem to achieve little miracles when he handles them. The main items thathe is describing are three masterpieces of deception. We think we’ll give pride of place, however, to the card stab that he has included. It goes like this. Afte? a card has been taken by the spectator and then lost in the pack; the spectator cuts the pack as he wishes. Taking a knife the magician stabs the heap and brings up a number of cards impaled on the knife, the bottom one of which is the chosen card. Just let us add that there is no gimmick and it can be performed with a borrowed pack!
T
A great amount of credit must be given to Harry Stanley who with private enterprise has done so much to benefit the magical fraternity today. The shows that he has sponsored over the past few years at Victoria Hall have meant that many continental artistes have been seen by their fellow magicians over here. In particular we are more than grateful for theopportunity that it gave us to see such a fine artiste as Punx who in October gave a full eveningshow. He is one of the few conjurers that we have ever seen who for the period of his performance nearly persuaded us that he was a real magician. Again progress. On the 18th November the Unique Club took up residence at its new headquarters, the Shaftesbury Hotel. Looking ahead we have asked our friend Arthur Carter to assemble an Annemann number for 1954. Among the items thathe is going to publish is a card prediction that he showedus about two years ago. It’s a delightful item, and one with which he duly astonished Stewart James a few weeks back. Talking of Arthur Carter just look back at his “ OneRed Card.” Quite a number of magicians have mentioned that they have presented this using jumbo cards. The effect
wbether you use jumbos or normal sized cards makes luvely prediction. Davenports are putting’ out a fine utility gimmick that mentalists will like. It comes under the title of Bob Ostin’s Dice Trick and the outfit includes two dice, a metal pocket index as well as the natural looking object that does the main part of the work. The price is only 10/6 and when you get it you’ll thank us a lot. We hope that our’ good friend and publisher George Armstrong won’t Slip again and publish a trick with panties in the “ Magic Wand.” We have always looked at this old established magazine as being the citadel of dignity. Even if the tricks in question were good there would be little excuse. As it is they are of poor metal. Just recently we saw a query on the trick called the “ Mystic Thirteen ” an effect which is a copy cat of Herbert Milton’s “ Sympathetic Clubs.” Herbert never published or gave permission for publicatio,n of the effect.Actually when Leipzig was in England in the twenties, Herbert and Nate swapped ideas and effects, and as most Americans know, Leipzig used the “ Sympathetic Clubs ” in the States’. Somehow or another with due credit to Herbert Milton, a version somewhat like the original was described in the / i n x . Later a trick entitled “ The Emerald Mystery ” used the same plot. The “ Mystic Thirteen ” though keeping to the j i n x description seems to have evolved a cypher for Herbert Milton’s name that reads Adrian Smith and George Wetherald. Lewis Ganson’s latest “ Routined Manipulation ” work will be the largest to date. We understand that a limited number of copies willbe available by the end of the year. Stewart James will be missed by all those who had the chance of meeting him during his visit to this country. We shall always think of him giving his delightful performance of the “ Trick with the Tailor’s Dummy” in the manner of a verylazy conjurer. We shall always envy and admirethat mind of his which could produce such a remarkable idea as the “ Robot ” deck. a
.
16
MARTIN GARDNER’S
MOTHER GOOSE MYSTERY An easy to do yet baffling book test. The performer hands out a bookletofMother Goose Rhymes and a spectator selects a word and a page in such a fair manner thatthe selection seems obviously t o be governed by chance, yet the performer can immediately name theword chosen (or he can predict it beforehand if preferred). This can immediately be repeated and a dificrent word is chosen Added to the full presentation of this baffling double cfiect is a triple prediction by George Armstrong, which rhows how the book of rhymer can be used in other mental effectr. tuppliod complck with four page printed folder of instructions and prosontation, and thr neatly printed book d Mother Goose Rhymrr.
NOW READY T H E T H I R D ISSUE O F T H E N E W G I A N TSlZtD
MAGIC WAND 47 TRICKS AND SlElGHTS BY 25 AUTHORS PLUS SEVERAL INTERESTING ARTICLES
THE M A G I C A L W O R L D i s raving about the new sty10 Magic Wand, and if you haven’t already soon a copy WO strongly advise ou to send for one now, W o r e they go right outor print. Already the March isrum is fetching l2/6 or 151- a copy where a copy can .b found ! The third(Octobrr) iwue contains so much really worth-while ,material that we cannot porribly list it all here, but a lirt of a few of the contributori will indicate h ti value of the contents : E. h i a n MMCarthy, Edward Victor, Jim Merlini,Ken de Courcy, thelate Nelson Lyford Douglar Prancir, Harry Latour, A. C. Newitt, Roy Green, Charly Eperny, Jack Lamonte, W. C. Weber, Tom Scllerr, Peter A. McDonald, Toni Koynini, etc. etc. DON’T DELAY-ORDER NOW I
Per copy 7/9 post paid
Price 7/6 : Postage3d.
Subscription :6 months 1516. One year 30/F R O M T H E PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTONROAD, ~
BINWIELD, MIDDLESEX
~~
MAGICIAN’S DIARY &: YEAR BOOK 1954
Well bound, it compures favourably with any other pocket
. . . a ‘ must ’ for -ABRACADABRA everymugiciun.”
diary onthemurket
Over 200 pages. Complete l i s t s of Magical Societies, dealers,publications,booksellersandmagicalglossary. Thumb indexed diary, memo. and cash accounts and A to Z. Leatherette bound and gold address pages blocked HOW C A N Y O U GO WRONG
6,’6: Post 3d.
E’rom all dealers
The Magic Circle President : His Grace
the Duke of Somerset, D.S.O., O.B.E., J.P., M.I.Y.C.
Vice-President: Douplu Crass, Esq., M.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. MagicalTheatre
:
King Georgc’s Hall, W.C. Forthcoming EventsDecember 7- Lecture : Brian Maccarthy M.I.M.C. December 18-Concert Particulars from Hon. Secretary :
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
or in cuse of difficulty from
PENSHAW PRESS, CRAYS HILL, BILLERICAY,ESSEX.
I
II I
JACK HUGHES will be pleased to send fulldetails of
you
THE DE LUXE “SU-TABLE” together with allhis other effects in returnfor a stunp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
I
l I l
PETER
WARLOCK’S
PENTAGRAM ispublished on the24th of each monthand canbe obtained direct from thepublishersfor 117 per singlecopy. AnnualSubscription 181post free. PUBLISHED BY:
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’ An entirely new “ thought of’’ stabbing card discovery Complete with pack and accessories
12/6 From DOUGLAS FRANCIS, 65 Norwich Ave Southend-on-Sea, Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlasex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books for review should be sent to the: EDITORIAL A D D R W :
OLD ANI, NEW. Let me know your wuntr LIST FREE FOR STAMPED ENVELOPE No Callers
Peter Warlock, 24, Wordrworth Rd., Wallington,
Surrey.
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P U D ~ ~ ~. BI I D‘LPI mommms m m L U ~ I CWAND PUSLUIINQCOYPANT, 61 WXLLINOTON ROAD, INIRLD. AND BY X R B ~ T WALK= dr WN (mtmns) LTD., WBLL CROIT, S B I ~ . ~TORKSRIRE ,
LIIDDLIMEX
17
T H E H O L E IN THE TABLE JACK AVlS N THIS delightful close quarter effect designed for use whilst the magician is seated at the table, Jackhas brought into plaq a when added number of subterfuges which, together, are capable of giving the competent conjurer a veritable miracle effect. This is the way it goes :On the table at which the performer is seated rests a glass tumblerand a sheet ofnewspaper. The newspaper is taken and fashioned around the glass to form a shell that will completely cover it. thetopmost part beingscrewed together to stop any tendency it mayhave to unroll. The glass with its cover is now placed to the performer’s left ef the table. The magician then takes from his pocket two&ins,apenny and ahalf-crown.(in America a dime and a penny)respectively and places them side by side nearthe centre of the table. The covered glass is then placed over them. “ My intention” remarks the magician, “ is to cause one of these coins, either the penny (at this point the left hand tilts the top of the glass forward whilst therighthandtakesthe penny. holds itupand then replaces it). or the halfcrown to pass through the table !” This coin is similarly taken and replaced after which the so thatbothcoinsare glassis tiltedback coveredagain.Bothhandsareshown to be quite empty and one of the coins. letus suppose the penny, is chosen by the spectator. The right hand goes beneath the table, taps twice againstthe underside and thencomes up holding the pennywhichhas apparently passed completely through the table. The left hand now lifts the covered glass to show that only the halfcrown remains on top of the table! Retaining the penny in the left-hand the halfcrown is covered, once more the magician adding that he will endeavour. to. makethelatter coin pass throughthetable as well! ,The rieht hand
I
VOLUME 8, No. 3
-
[/a.
goes onca more under the table taking the penny with it. There is a slight pause. and’then the performer adds, “ Remember, I am going to try and makethe half-crown jointhe penny.” As these words are uttered, the right hand comes up again oncemoreshowingonly the pennyin the right hand. Two tapsareheard against the underside of the table followedby the sound of two coins falling into a glassL The left hand at the same time crushes the paper over the glass on top of thetable with the remark, “And the glass has gonetoo.” The left handsweeps the crushed paper out of the way and the right handcomes from under the table holding a glass that contains the penny and half-crown. That is the effect described in detail so that with aIl the points before him the reader will be able. to. see whenreading the explanation that every point of misdirection has been covered. The requisites are. few; they are : 1. A half pint size tumbler. 2. A penny and ahalf-crown. 3. A sheet of newspaper. 4. A shell half-crown with a penny that will lock into position when the shell is placed on it. One side of the penny carries the side of a halfcrown.(Though thisis not commonly stocked by dealers in this country this type. of shell and fitment canbe obtained to order. We shall be pleased to give the name of a mechanic, upon the receipt of astampedaddressedenvelope). Supposing that the performer is seated at the table the disposition of the various ar.ticlesis as follows : In the performer’s right hand waistcoat pocket isthe shell half-crown. In his left hand waistcoat pocket the penny that nestsinit. The two ordinary coins are placed on the right hand leg, with the penny nearer to the knee. The
(20 Cents)
-
DECEMBER 1953
l8 glass and sheet of paper are on top of the table.
Incidentally the positioning of the two coinson thehorizontal part of the leg is the work of a moment as the performer draws in to thetable. The effect as regards presentation goes like
Lis :The sheet of paper is taken, folded diagonally andthenwrappedaround the glass, so that a reasonable EUing cone results. It should not fit too loosely nor too tightly round the glass but the glass should be able to slide out without any PS-
The left hand moves forward and places the empty wne over the half-crown and asthis is done, the remark is made that actually both coins can be madeto pass through the table. The penny, still held in the right hand, now goes beneath the table again, and thii is a very importantpoint; the penny is brought into a finger palm position and on its journey the glass being taken and placed between the knees of the performer, mouth uppermost. This too is the work of a moment and should in no way interfere with the journey of the hand beneath the table. The hand continues on its way. Two taps are given on the underside of the table and then, as though for emphasis, the right handcomes up oncemoreshowing the penny and adding, “ Now, this is where the halfcrown joinsthe penny.”Quickly the penny is broughtinto a finger-palm position and as the hand goes beneath the table once more the halfcrown is taken from theleg. “ Hocus Pocus,” says
THEFEMALE OF THESPECIES I S sible hindrance. Havingcovered the glass it is of the table andthenboth placed totheright hands go to the waistcoat pockets each withdrawing the coins placed therein. Care must of course be taken that the penny is brought out the right side up. The two coins are placed literally side by side and lifting the covered glass it is placed over the coins. At this point the performer remarks to one of those near him, “ I want you to choose one of the coins, the penny.” and as he says this the left hand cants the glass away from him w h i the right hand takes the penny from under the glass holds it up for a moment or two the and replaces it, “ or the half-crown.”Again glass is canted, the right hand reaching underneath and taking thehalf-crown which is held aloft inthe same manner. The half-crown isapparentlyreplaced in the sameposition but actually it is placed on top of the penny and pressed over it so that the latter rests withinit. The lefthanddrops the glass into its original position. At this stage particular attention is drawn to thefairness of everything and in particular the emptiness of the hands.Whatever the choice madeby the spectator, it is the pennywhich vanishes and so, as the right handgoes beneath the table, the penny is taken with it from the knee. A tap on top of the glass with the left hand and a metallic tap from the hand under the table as the penny held is knocked against its underside. The table penny is now broughtfrombeneaththe balanced on the first fingertip. The left hand lifts the glass to show that only the half-crown remains. In a natural way the left hand moves back to the edge of the table andas it reaches the edge the glass is dropped into the performer’s lap. As. at this moment. all attention is upon the coins, !he misdirection is perfect.
.. .
PAULA BAIRD
Mirs W d is appring currently in the Chriaenan Magic and Fun Show at the Formne T h e a m
From the J. B. FindIuy Collection
19 the performer and the coins are dropped one -at a time into the glass. Immediately the sound of the second coin is heard, the left hand crushes the paper cone and the right hand brings up the glass from between the knees. As the two coins are emptied from the glass on to the table, the crushed paper is moved back to make room for it. This action does more than this for with a carry through movement the s,hell
half-crown and its .nested .penny are allowed - .to fall on the lap whilst the crushed paper is thrown over the left shoulder. In Jack’s hands this is o‘ne of the finest close-up sequences that I have seen and even if you haven’t a locking shell, just try out the effect using a spot of conjurer’swax on the innersurface of an srdinary shell.
“ The Art of Pantomime demands not only that gesture be emphatic but also that all unnecessary movements be eliminated. The magician should always remember that movement catches the eye and the mind follows the eve. The performer creates a series of focal pointsfor the audience’sattention and everything he does must aid in directing that attention to thesefocalpoints.” Leith Loder, ‘ To Pant or Pantomime.’ ‘ Sphinx,’ Vol. 40.
I
J
RARA AVIS JACK AVIS
I
N THE previous number of the Pentagram we described the effect of this miracle stab with the result that many readers either thought we were trying to exaggerate or that some ingeniously gimmicked pack was being used. There was no exaggeration and an ordinary pack, somewhat maltreated by the time the effect is finished, is the only requiremeat apart from a pocket knife. For the benefit of new readers let us describe the effect as the audience see it. A card is chosen from the pack, noted and replaced. The pack is thenplaced on the table and taking an opened pocket knife, the performer demonstrates that he proposes to stab the pack with the knife, bringing up a number of cards on the point. Actually the main point is that the chosen card shall be at the depth of the stab. “ If I choose the cards you might not think it so magical,” says the performer, taking the cards from the point of the knife and replacing them an the pack, “ so I will stab the pack at the point you wish; please cut the pack!’’ The spectator cuts the cards the topmost ones being placed upon one side. Taki,ng the knife once more the performer stabs the pack to a depth of about ten cards. Bringing the point of the knife upwards it is seen that the chosen card is the face card. The only requirements as we previously mentioned are a pack of cards and a pocket knife. T h e presentation is as follows : The spectator is asked to take a card, initial it if he cares, and return it to the pack. At this point the card is brought to the top. Tndividual methods will prevail here but whatever the method it should be one hundred per centeffective and deceptive for table work. Placing the cards on the table in front of him, the performer takes the knife from his pocket.
opens it and demonstrates what he intends to do. The point of the knife is brought down on the top of the pack so that when it is lifted about ten or a dozen cards are impaled on the point. This action has the purpose Qf actually making a hole caused by a knife stab in the topmost (and of course the chosen) card. The cards are removed from the poi,nt of the knife, replaced on top of the pack and the spectator is invited to cut the cards to the point where he wishes the performer to make a stab. Taking the cards cut off, the chosen one still being at the top, the performer asks the spectator whether he is satisfied or whether he would like to cut off some more. As this is said, the performer casually cuts the cards a couple of times. Actually he performs a double undercut which at the end of the second cut leaves the chosen card at the bottom of the packet. (For a clear description of this. sleight, if itis not already k’nown tothe reader h’eis referred to “ Cutting the Aces ” in the Stars of Magic series or to the “ A1 Koran ” number of The Wizam!). If the spectator does cut off a few more cards these go on top of those previously cut off and now held by the performer. With the spectator expressing satisfaction, the cut off cards in the performer’s hand are placed to the left of the remaining cards. At this point the performer should have his left side to the spectators. The knife is nowpicked up by the right hand , and as this hand comes up to the selected heap, the left hand shifts the unwanted packet tothe left. A movement of stabbing is made but the point .of the knife is not allowed to (See Illustration 1). The penetrate thecards. knife is lifted again and at the same time the left hand moves the unwanted packet. This time it takes it right off the table. The knife comes down on the heap. the point penetrating the topmost
20 cards. During the downmovement the left hand bottom palm the selected card by using either the in Gambler’s Palm described by Dai’Vernon in his five cardmental miracle in “Stars of Magic ” series Or the bottom COP “ off the Bottom ” described by MikeTannenin Phoenix No. 64.
beginning of the effect the cards shouldbehandled ~t similar manner. The performer should in no way try to place the card on the poht of the knife but rather h one clean action it should appear that the card is simply being taken off thepoint of the knife. Thanks to the preliminaries there is already a stab mark in the chosen card. The whole thing sounds audacious to a degree. but I have had the opportunity of seeing Jack work this on anumber of occasions before well-informed card men and also the uninitiated. In both cases the result has been one of pure magical deception. To my ownway of thinking the beauty of the effect lies in the natural way that the effectisbrought about with the minimum of skill and because of the positioning of the performer even the most difficult piece of technique, the bottom palm requires the minimum of cover.
The right hand comes up with a number of cards impaled upon the knife and at the same time in a casual way the cards in the left hand, apart ‘from the palmed card, are allowed to slide on to the table. (Illustration 2). As the knife comes into a horizontal position the left handcomesin to remove thefacecard. Actuallywhat itdoesis to bring the card palmed in that hand into view. (Illustration 3 and 4 show the process). Hereit shouldbementioned that when the performer is making a pmliminary stab at the “ Audiences don’t mind being deceived, the like it Every time they go to the theatre, they deliberately enter a make-believe world forthe expres purpose of L n g a b b l y deceived in some way. With definite psychological pre:i:editation, they not only d o not try to interfere with the deception, but actually endconsciously,aid the deception as much as they can. The SUEE~SS of their evening +rids upon it.” Leith Loder, ‘ An Approach to Misdirection.‘ ‘ Sphinx,’ Vol. 40.
SPIN CUT ACES JACK AVlS HIS Is a version of “ Cuttingthe use of therather which m&*‘ Spin Cut.”
the left andthen by slight upward pressure causes it to turnover and fd1 face up on thecards held by the left hand (Illustration 2 shows this. movement taking place). That is the spin cut which is Thisform of cut generally attributedtoNate nothing morethan an elementary flourish. In the Leipzigewasverynicely dealt with by Bruce effect to be described however, itisadapted, not Elliott under the title of “ A Lesson in Magic ” in for the 6rst time by any means, as a false. cut. In Phoenix No. 277. However,we havetaken afew this version, the perfomm leaves anumber of photographs which shouldhelp the reader to cards below that portion whichisleveredround whom the flourish may be new. Holding the pack (see illustration 3), with the consequence that the with the right hand as illustration 1, the left hand card turned overby the performer’s thumb will. forefinger presses against the corner of the pack instead of being a card near the centre of the pack and swivels the lower part of the pack round using will actually. be the original bottom card of the the right hand middle finger as pivot. These cards pack. In using this cut it is of course quite obgo all the way round and are allowed to fall into vious that the audienceshould not be insucha the palm of the left hand. The left hand thumb position thatthe lower portion of the packleft thencomes underneaththe bottom-most card of behind can be seen as the performermakes the cut. !hose cards hfld in the right hand slides it towards
T
Aces ”
showy
21 The set-up is simple. The four bottom cards of the pack reading from the bottom are three aces, a spot card (for example, say a seven) and the renaming ace. The pack is false shuffled and the performer then illustrating the normal spin cut by showing how each time a cut is mad& a different card is turned up from the centre of the pack. The pack is then false spin cut three times so that the three aces at the bottom of the pack are produced one at a time and turned up on top of the left hand pile from which they are then thumbed off on to the table, the original bottom half of the pack going back each time to the bottom of the pack.
False cut again pIoducing the seven spot and turning it up on the left hand heap. This heap is now placed upon those held in the right hand a
break being kept betweentheremaining ace and of pips the cards belowit.Mentionthenumber on the card and at the same time thumb count with the right thumb seven cards ho!ding the break at this point. The.left hand now deals off the spot-card and the pack is given a double undercut which has the final effect of bringing the last ace into seventh position from the top. “Seven Spots,’’ says the performer “Seven cards,” and slowly counting them off one at a time, the final card is found to be the fourth ace.
1
To be applauded by fellow magicians for a clever piece of misdirection should not be considered a compliment. Misdirection, recognised as such, has failed in its real purpose.“ Leith,Loder,‘ An Approach to Misdirection.’ ‘ Sphinx,’ Vol. 40.
I
DISPLAYEDDEXTERITY ANON
‘‘I
BELIEVE, and I apologise for differing from so manymagicians in so doing, that the inclusion of flourishes at the beginning of a formance of card effects can in no way be detn-
pev
mental to the performer’s prestige. On the contrary, it canonly establish a favourable impression in the opinion of the most sceptical and establish an atmosphere of sympathy, admiration, superior‘ity and confidence. Furthermore. these are no longer times when one can seriously explain a card trick as being due to somemysterious or supernatural cause. The discerning and incredulous spectators no longer allow themselves to be easily convinced by the phenomena of thought transmission or other telepathic means. But, faced with the mysteriouseffect of someincomprehensible trick there is only one explanation which furnishes are them with a reasoning behind whichthey happy to withdraw and whichsuffices to satisfy their self respect, and that is your skill. From the momentwhenyou have proved yourself skilful, any miracle is permitted you. they no longer seek to fathom it and donot resent be~ng mystified.”
Thus wrote Jean Valton and indoing so he has voiced something whichit isjust as well should be appreicated by card conjurers-notmanipulators, whoseskill is visually apparent as is a juggler’s. The advisability of the modern tendency to conceal any evidence of dexterity in handling a pack of cards is very open toquestion as a present day audience will explain everything somehow and for the sake of a performer’s reputation what more desirable cause is there to which they should attribute results than hisskill. The brilliant new sleights in the card conjurer’s armoury available for obtaining effects are legion but these. must, or should remain secret weapons for there is little point in achieving some amazing effect thereby if only a fellow card expert can appreciate the technique. The reaction of the audience is too often that it is only necessary to buy some trick pack that they may have seen advertised, abd equal the performer. The reaction of the lay public to such flourishes asthe“card sprine.” “ waterfall shuffle” and ‘‘ single-handed cut ” is more than favourable and the way he handlesthe cards tells the audience
that there is nothing that .Be ‘carinot.do with them. His parade of dexterity is.‘rewarded .accordingly.. Displayed dexterity is something that ..an. audience realise they do not possess, and which also cannot be bought across a counker. Card players in the audience can often surpass the overhand shuffle of a conjurer in speed. The same also goes for dealing, for in certain cases the conjurer is slowed down by counting, running or jogging. To these people the use of displayed dexterity places him therefore above themselves. Fancy cuts, counts, deals and lifts all can play their part I
especially when the trick, .from the point of’view
of.method, is practically self-working. Read what Buckley ,wrote about 1 such tricks : These things I admire only for the creative thsught necessary to give them birth and also the art involved in their presentation to maintain their secret. However., they are weak things on which to build the reputa-. tion of a conjurer magician because their strength is wholly in their secret, which is much too easily disclosed. When such a thing happens, often someon? will remark ‘ Why, that’s nothing, I can do it”’’ “
BOOKS THROUGH THE BARRIER ” Origination of Douglas Hood and obtainable from him at 56, Rocky Lane, Perry Barr, Birmingham, 22B. Price
12/6. Mr. Hoodin his advertisement tells us that this effect is a clean and utterly incredible prediction using the “ Supersonic ” or similar display stand. Believe usthat is no understatement this magician Hood has evolved a method for predicting one card outof a number which smellsof brimstone. In his introduction tothe description of the method he gives due praise to Dr. Jaks for the original “ Supersonic ” idea. At the same time he points out a weakness or two. Handled in the correct way we can see that the weakness has been overcome in ‘ Throughthe Barrier ’; whilst to an average audience the effectwell presented is exactly the sam’e, the difference is found when the performer is playing before a very acute type of mind or where he has to play a return date. Another advantage is thatto those c m jurors, mainly mentalists, who for some reason of their own think that playing cards should have nopart in a mentalist’s performance, Mr. Hood can supply either lettered,numberedorputtemed cards. The cards that the reader willreceive for hi’s mere twelve and sixpence are excellent value. Wewould consider that the idea and workmanship involved would place the cost at 52/6.
“THE CLASSIC SECRETSOF MAGIC ” by Bruce Elliott (English Edition published by Faber and FaberLtd., Price l0/6). Some time ago we had occasion to review in thesepages the original American edition of our confrere Elliott’s follow-up tu “ Magic as a Hobby.’’ At that time we wrote, ‘ In his previous book, “ Magic as a Holbby,” Mr. Elliott initiated his readers into the fantastic world of modern conjuring by presenting them with a number of ingenious and puzzling tricks, which,in the main. had been culled from his own publication for connoisseurs, the Phoenix. In this. present book, the reader is taken many stages further in his magical education and is made to realise that there is art in the best of magic.’ A further acquaintance with the bookhas helped to confirm that Bruce Elliott has, done much to !bring home to the neophyte the point that good conjuring demands a certain amount of work from the practitioner, andthat despite the evier persistent Lorelei that appears in dealers’ advertisements there are really worthwhile magical effects that can be mastered by the would be performer In a matter of minutes. The book is very tastefully produced, clearly printed, whilst the illustrations of our very good friend Dr. Jaks ’help to explain the text. Excellent value whether you are a newcomer to magic or just an expert. We look hope.fully forward to a further volume, “ More Classic Secrets of Magic.”
“ I believe there’s a n affinity between men and the machines they make. They make them out of their own brains, really a sort of mental conception and gestation, and the result responds to the minds that created them, and to all human minds that understand and manipulate them.” C. L. Moore-“.No Woman Born.”
23
T
HIS IS the Jack Avis number that we promised you and we feel certain that all of our readers will consider thatthe waiting has been well worth while. By the time this appears in print most of you will ’haveseen Jack working in the Magic Circle TV show with that smoothness that marks him out as oneof our three best all round close-up workers. With a bit of luck he will include “ Loops Entwined ” and also the coin penetration effect described in this issue. For his great help in giving us this number we once more say a big “ Thank you!” One of the most original conjurersthat we have hadthechance of knowingwas Norman Hunter, who i.s now residing in South Africa. In one of his many booklets he published a theme in which after a quantity of tea had been poured on to a plate and then returnedto its container, a date or name of a card appeared in lettersof tea on,the aforesaid plate. Although it was direct it was not until our good friend GeoffreyBuckingham recalled it in an article in the “ Magic Circular ” a short while ago that we realised how a good trick had been passed by.Since then we have seen it worked on many occasions with great success by our friend, Alfred Gabriel. Now Jimmy Douglas coma along with a lovely angle that gives a stronger effect since there Is no force of card or We shall publish thisin the what have you. January issue together with a very original idea of Herbert Milton’s, one, which incidentally we fancy you will all be using ere long. In the same number we shall incude Will Dexter’s invaluable contribution on that truly beautiful classic, the “ Butterflies.” During an eveningwith ArthurCarterin which he outlined the effects for bis Annemann issue, h0 showed us one of them, a gem of an idea that makes the “ Burnt and Restored Note ” trick an even greater miracle. One of the biggest happenings in magic over the past few weeks has been the acquisition of the Chri’s Charltonlibrary by the MagicCircle. In-
sured with Lloyds for E4,000 it gives the Circle with its existing items, one of the largest and most valuable collections in the world. In the Charlton library there are in all ’between eleven and twelve thousand items. The cataloguing and arranging is something that is going to give Colin Donister and Bert Pratt a big job of work. Harry Stanley is: showing a very fine piece of enterpz-ise with his Eisteddfodd of Magic that will take place at the beginning of February. Even if your interest is not inthe performing of magic, there seems to be a lot of prizes to be won in other spheres of magical activity. Magiciswellto thefore in the Christmas shows. HarbinandPaula Baird at the Fortune whilst Eric Mason (The Great Masoni) has a season at the New Theatre, Bromley. There is also an Archie Andrew season at the Finsbury Park Empire, in which Harold Taylor and Teddy Victor with hand shadows.w.iU be to the fore. We are missing the ‘‘Sphinx’’ rather badly and we wonderwhetherin our ownlifetime another glossywill arise in whichsuchfinely illustrated articles on things other than trickswill appear. The very fine book. Magical Bibliographies by Victor Farelli and with an Appendix by Jimmy Findlay is a must forall students of magical literature. With the bound edition selling at only 21/- we think the .price extremely low when taking into consideration the limited demand for such a work. Thereisanother edition selling at 12/6. Both can be obtained from that great bibliophile, Ji’mmy Findlay at Firbank Private Hotel, Crescent Road, Shanklin, Isle of Wight. Although this comes ratherlate, wewould remind ourreadersthat Victor Farelliis also doing a good job of work in helping to make more comfortable tbe life of that well-known French conjurer, Claudius Odin. Odin who is in his 85th year is infirm and very poor. Contributions which are allowed for under Exchange Control Regulationscan be .sent to Monsieur M. Sardina, 56, Avenue de Verdun, La Varenne (Seine), France.
“ Let us consider for a moment the humorous patter. I repeat, it is not necessary to employ humour ‘at all. It is merely ona medium. Be sensible about It. If you findyou can’t get along with collar buttons and cuff links, you can wear attached collars and buttoned cuff:,and be just as well dressed. It is no disgrace or mark of intelligence to be or not to be able t o tell a funny story. LeithLoder. “To‘Wit.’SDhinx,’ Vol. 40.
24
m
I
I
MARTIN GARDNER’S
MYSTERY An easy t o d o yet baffling book test. The perGoose former hands out a bookletofMother ,Rhymes and a spectator selects a word and a page in such a fairmannerthatthe selection seems obviously t o be governed by chance, yet the performer can immediately name theword chosen (or he can predict it beforehand if preferred).
SPECTATOR’S CHOICE by DOUGLAS FRANCIS
I
PROFESSIONAL STANDARD MAGIC FROM A PROFESSIONAL PERFORMER \
IF YOU BELIEVE, as the author does, that the ultimate aim of every trick is its performance before an audience, whether it be of one, or one thousand, then you cannot fail t o find within the pages of this booksomething to suit your fancy. The contents include seven outstandin mysteries rsnging from a super “ Rainbow Sponge B:!f Routine ’’ for the close-up performer, t o routines with Drinks From Nowwhere,” Glass Levitation magic with eggs, liquid, matcher, livestock and a little nifty for the mentalist.
This can immediately be repeated and a different word is chosen Added to the full prerentation of this baffling double effect is a triple prediction by George Armstrong, which shows how the book of rhymescanbe used in other mental effects. Supplied completr with four page printed folder of instructions and presentation, and thr neatly printed book of Mother Goooe Rhymes.
In addition thereis “This isMagic,” a complete magic act with standard props. and effects, beautifully routined t o get the maximumeffect. It’s an ideal after-dinner or cabaret routine, and has already been effectively used by several performers. A neatly printodbook, with 23 illustrations.
( I Dollar)
Price 716 ; Postage3d.
Price 7/6 : Postage 3d.
FROM THE PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 62 WELLINGTON EOAD, ENFIELD, MIDDLESEX
l
MAGICIAN’S DIARY dk YEAR BOOK
The Magic Circle
1954
I’resident : His Grarc the D u k e o f SofllCNCt.
D.S.O., O.B.E., J.P., Y.I.Y.C.
Vice--dent: Dolulu C n u r . EM.. Y.I.M.C. Clubroom and L i b k y a n r M u r i m :
‘‘ Well bound, it compares favourably with any other pocket diury on the market . . . a ‘ must ’ for every magician.” -ABRACADABRA
Hearts of OakBuildings, Euston Road, London, N.W.I.
Over 200 pages. Complete lists of Magical Societies, dealers, publications, booksellersand magical glossary. Thumbindexeddiary,memo. and cash accounts and address pages Ato Z. Leatherette bound and gold blocked HOW C A N Y O U G O W R O N G
6/6: Post 3d.
MagicalTheatre
:
King George’s Hell, W.C. Forthcoming EventsJan. 30-Children’s Party Feb. 6-Concert Particulan from Hon. Secretary :
Francis White, 39 Alverstone Avenue,
From all dealers
Wimblcdon Park, S.W.19
or in case of dificulty from
PENSHAW PRESS, CRAYSHILL,BILLERICAY,
ESSEX.
I
I JACK HUGHES will be p l e d to send full details of
poa
THE DE LUXE “SU-TABLE”
PETER
PENTAGRAM is published on the 24thof each monthand can beobtained direct from the publishersfor 117 per bingle copy. Annml Subscription 181-
PUBLISHED together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, EvelynAve., Colindale, London, N.W.9.
WARLOCK’S
port free. BY:
DOUGLAS FRANCIS’S
‘STAB IN THE PACK’ An entirely new “ thought o f ” stabbing card discovery Complete with pack and accessories 1216 FromDOUGLAS FRANCIS, 65 Norwich Avr Southend-on-Sea, Essex
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripta for publication and books for review should be rent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your want. LIST FREE FOR STAMPED ENVELOPE N n Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
25
CHRONOKINESIS JACK AVlS HIS is one of the most effective close quarter prediction effects that we haveseen.We have given it the title of “ Chronokinesis ” (timemovement or travel) with thethought in mind that inposing as a time traveller. the mentalforecast ist can give a reawn for hisabilityto future events. This is how the routine goes; to a person on your left you hand a sealed envelope. A spectator on your right is then handeda sheet of paper with the request that on it he writes something that he will choose and something which nobody else will know for the time being. “ T o helpyou in yourchoice there are,“ remarks the mentalist. “ three main divisions into which material things can be. divided, Animal, Mineral and Vegetable, therefore will you please choose a representative from one of these groups and write its name on the sheet of paper. Remember sir, that before I started I placed an envelopein the safe keeping of our friend over there; in that envelope are three pieces of coloured paper, they have a definite bearing on whatyou have written. Just fold the paper so that nobody else can even glimpse the word.” The paper is taken by the mentalist and torn into pieces which are burned upon a small metal tray. The envelope is then taken from the spectator on theleft, opened and shown to contain three pieces of paper, red, white and blue respectively. “ Strange as it may seem, whilst I was not certain o n which group your choice would fall. I was certain which word you would choose in eachgroup. Which groupwas it?” The spectator replies to the effect that it was in tht “veeetable group.”thereupon the mentalist remarks, “Blue for animal, red for mineral. white for vegetable.” and at the same time hands the white slip of pap-r to the spectator who previously held the envelop.
T
VOLUME 8, No. 4
-
with a request that he opensit noting what is written. The spectator on me right is now for the first time asked to tell the audience the word he wrote upon the paper. He answer!, “ Tree.” The spectator on the left is asked to read aloud the and straightaway word on the mentalist’sslip, comes the answer “ Tree !” The requirements are few and are as follows : Four pieces of coloured paper measuring 4 inches square. Supposing that youhave blue, red and white you will require one pisce of blue, one piece of red and two pieces of white. A pencil. Box of matches. A metal ash-tray. Bminess size envelope. Foldthe piecesof paperonceesch way (in the usual manner preparatory to the business of “ centre stealing ”) and your preparation is started. Fromthe folded pieces of white, red and bluz paper make a normal centre tear; retain this piece but throw the surround away. One piec? of white paper is left untouched. A small drop of glue or wax is placed on the side of the torn whit: piece and this is fixed to the inside of the envelope, the red and blue pieces then being dropped inside as well. Thus you have two loose pieces and one fixed piece of paper. The flap of the envelope isnow sealed down. To present, first of all hand the envelope to a member of the audience on your left p3inting out that the contents will have a direct bearine on something that will take piace a little later. Now take the piece of white paper and hand it together with a pencil to a member of the audience on your right. Ask that person to think of the three main groups, Mineral, Animal and Veeeinble and then to think of one subject in one of those divisions. When he has done so ask him to print the word onthe paper, fold itand hand itto you. The paper is then torn up in the usual way. the centre being retained in the left hand which goes
I /6. (20 Cents)
-
JANUARY 1954
26 to thelefthand
pocket to take out a box oi matches, the cen.tre slip being left behind. The box of matches is withdrawn and the, right hand removes a match,, strikes it and sets fire tothe pieces of paper on the tray. The spectator holding the envelope is now requested to ’tear open the top and look inside. He does this and you ask him what he sees. His reply is naturally “ Three pieces of paper, one red, one whi.te and one blue.” At this point the matchbox should be in the right hand, and it is passed once more ’to the left and the box is returned to the pocket where the slip of paper is taken in a finger palm position. Tell p u r audience that actually the envelope contains three predictions, one for each of the three divisions for strange as they may find it, it is easier to predict the actual word in each group rather than predict the group itself. You now ask the spectator which group he chose. When he replies, and we will suppose that he chose the vegetable group, remark that you wrote a word in the animal group on the red paper, mineral group on the bluepaperand vegetable group on the white. I n other words whichever his group is, it is always and must be the white paper. Take the envelope with the right hand from the spectator on the left and apparently allow all three papers to fall on to the left hand palm (actually the red and bluefallto join the whitepiece already there). Placethe envelope out of reach and spread the pieces of paper on the table in front of you. As though you have forgotten it, ask the spectatof on the right to name the group and then taking the white piece of paper and hand it to the spectator who previously held the envelope. “And now, sir (this to the spectator who wrote the word) will you tell the audience the actual word that you
I
chose in thatgroup?” The spectator answers, “ Tree.” “ Please (this to the spectator with the piece of paper) unfold the paper and tell the audience what I have written.’? The spectator does SO,reading out the word.“Tree.” Climax! When Jack passed on his notes for this effect we did think of one additim and that was that on the red slip of paper a word which could be both animal and vegetable could be written whilst on the blue slip a word representing egunlly minerrrl and animal could h written. Without thinking a lot. about the choice. of words let us suppose that on the red slip you have tht word, “ Grub ” and on the blue, the word “ Derrick.” The finish of the trick when the pieces are spread on the table would go like this : The red slip is picked up and passed to the spectator for reading. The performer remarks, “ Had you thought of somethinginthe animal group it would have been ‘Grub’.’’ The spectator checks. The blue piece is now handed out. “ If you had thought of something in the mineral group, it would have been a form of crane, in fact a ‘Derrick‘.” The spectator checks. “ But sir, you thought of something in the vegetnble group, and that word should correspond with the word on this piece of paper.” lf the chosen word was in the mineral group then the red paper remains vegetablewhilstthe blue becomes animal, the performer adding that the chooser would have thought of a person named “ Derrick.” Lastly if the animal group is chosen the red paper is used to designate vegetable and the blue mineral.
‘‘ I saw a Chicago performer recently open his routine with a positive miracle. He performed for an hour afterwards but none of his other tricks amazed me, for his opening trick was sol good; he could go nowhere S I Ibqckward ~ from that point.” LeithJust Loder-“ Routine Stuff ’
l
CHANGE FOLD HERBERT MILTON CLAIM no originality forthe fold in, the following effect, but I do claim originality for using it to reveal rather subtly the name of a chosen card. Effect-A card is selected from a pack and placed face down without its name being disclosed. A card, measuring roughly 4+ inches X 23 inches, is then introduced. The card shows signs of creasing in places and printed on it in capital letters, is the following rhyme : WITHOUT ANY MORE FUSS, WE CAN FOLD THE CARD THUS (See Fig. 1.)
I
This is handed to the chooser of the playing card with, a request to hold it between thumb and forefinger only and without any other aid whatsoever, to fold it so as to reveal the name of the card selected. This being apparently impossible of accomplishment, performer takes the card and holding it by its two long edges,between thumb and forefinger, slowly bends it in such a manner that the card creases itself in a rather surprising way, into a number of folds which automatically obliterate several letters of the rhyme, leaving the others to form the name of the card selected, in this case Ten of Hearts (See Fig. 3).
27 Preparation-The only preparation needed is the card shown in Fig. 1. This is made from a fairly thinbut substantial material.Somelittle care is needed in choosing the right type of card but experiments with various sorts will enable the reader to soon choose one giving the best results when the card is caused to automatically fold itself up during the course of the effect.Myown card is similar in thickness and quality to that used in better quality playing cards. The size is 45 inches X 23 inches. With ruler and knife lightly score the card along the vertical dotted lines at the various positionsshowninFig. 1. and then fold the card in the manner illustrated. Continue folding the sides inwards, concertina fashion, flat to the centre and then fold the whole downwards along the horizontal centre line. If done correctly the result is the shape shown in Fig. 3.
Working-Using any pack of cards, the Ten of Hearts is forced and placed face down on taMe without its namebeingdisclosed. The “ Rhyme Card ” is now introduced in a very slightly folded condition as shown in Fig. 1. It ishanded to the chooser of thecard with a request to take it between thumb and forefingeronly and using no other aid whatsoever (this isemphasised) to fold the card so asto revealthe name of the card selected. The average spectator will of course take the card by one corner between thumb and forefinger and under the emphasizedconditions, be unable to do anything with it. Performer now takes the card and holds it from underneath, betweenhisright thumb and forefinger, the forefinger tip at the middle of the top edge (point “a ” in Fig. 1.) and thumb tip at
B 1.
mom
2.
We now come to the lettering on the card. In experimentingwith the names of various playing cards, I find the T e n of Hearts lends, itself admirably to the trick. With theplain card folded as in Fig. 3. print in capital letters TEN O F HEARTS exactly as shown. Then open out the card flat and print in the rhyme as shown in Fig. l . incorporating in it the letters already used in the Ten of Hearts. It will be found, on opening out the card flat, that four of t.he letters in the TEN OF HEARTS (F. S . T. H.) auto,matically “ disappear ” to the back of the card (see Fig. 2.) and these are ofcourseignoredwhenprinting the rhyme in.
I
BAQ:
middle of bottom edge (point “ b ”). The two lines of the rhyme are then read aloud. The thumb and forefinger are now slowly pressed together and this causes the card to automatically close up until it assumes theshape shown in Fig. 3, revealing to the onlooker the words TEN OF HEARTS. The playing card is then of courm turned over and the name verified. Some readers maylike to experimentwith the names of other cards and other rhymes. It is not easy to incorporate the two lots of letters but if any reader happens to ch’anceon anything good, I should be delighted to hear from him.
“ There is no substitute for good tasteand consideration for others Disparaging remarks or aspersions about religion. abnormal addiction, sickness and ocner ‘nformities, to mention a few, should certainly be classified as conduct unbecoming as gentleman.” Leith Loder-“ To Wit.”
I
BOOKS A LIFETIME OF DECEPTION-bythe late not only as a veryfine card conjurer but as a very Major L. H. Branson (Published by Robed Halevividpersonality who at all timeswaswilling to Ltd.), price 1519. give the benefi,t of his experience to those in need. There mustbe quite a number of readers of In this book thosememorieswill be revived and once again the reader will be back in those this journal whowill have pleasantmemories of thelateMajor Branson. They willrememberhimtimes w‘hen everything,includingmagic, was less
28 effete than it is to-day. Of magic, as magic there is little in the book but in the course of some two hundred pages the author tells the reader how magic since his childhood not only influenced his life but also how it became his greatest asset. We read of his first meeting with that great Edwardian magician, Charles Bertram whoweek after week coached a willing pupil. We pass on toMajor Branson’s early days in the Army as a regular officer, and this to those of us who have played a similar part during emergency we get a glimpse of Army life as we never knew it. As one progresses through the book the pattern takes shape and it is easy to see how this gift of entertaining deception really did help the author; amongst many things it gave him great opportunities as a junior officer for appearing ,at social functions. Most interesting is his description of how, quite by accident, whilst waiting for a vacancy at the Quetta Staff College, he showed some card tricks to Miss Lila Field, the dancing mistress, and as a result after an audition before Sir Alfred, (the Mr. Alfred) Butt, he was booked to appear at the Palace Theatre in London. This was in 1913 and he used the professional name of Lionel Cardac. The tricks he did were those that he had learned from Bertram.
We go on to the first World War, the aftermathand more experiences.Most interesting is thefactthattheauthor was responsible for the the introduction of the odd shillings and pence scheme asan aidto charity. It is of special interest as atthe end of the year it was revived with good results in connection with the Westminster Abbey Appeal. After the First World War, Major Branson having toabandon hisArmy career through illhealth became a full timeprofessional conjurer until aturn of family fortunes. allowedhim full retirement. The occurrence of the SecondWorld War sawhim back as keenas,ever entertaining troops under the severestconditio,ns. The book closeswith some notes anent the Indian Rope Trick. An absorbing volumewhich has anespecial interes,tfor magicians; we laid it down wishing that it was but an instalpent in a welllivedlife and that more might follow. In last month’sreviewof Bruce Elliott’s “ClassicSecretsof Magic” weconmzittedthe sin o f omissio~z. The nmth line from the botfonz of page shouka? have rend, “there nre n o renlly nuorthwkiLe magicaZ etc.’ ’
A FINISH FOR THE AMBITIOUS CARD ROUTINE JACK AVlS T THE commencement of your ambitious card routine have acard selected but 1z9t looked at. It is taken and dropped into the right hand pocket. Another card is chosen, marked and this becomes the ambitious card which keeps on perambulating inthe pack. Wewill suppose that you have reached the penultimate stage of the routine and that the marked card lies second from the top. Holding the pack in the left hand double lift the two top cards with the right hand and show the two cards as one. Now place the two cards f a c e up into the centre of the f a c e d o w n pack. Push them in squarely but hold a break with the li,ttle finger abovethe two cards. Retaining the break the pack is turned face up in the left hand. At one point is will be found that the break is lost butastep will be formed, the cards previously above the littlefinger, protruding to the right. The right hand now comes in to square up the pack and this time the left little finger enters the pack im-
A
I
mediately above the step and of course under the ambitious card. In squaring up the pack the third finger enters; as well and the1 card immediately above it is pushe4 to the right where it isside stolen by the right h.and,which now takes the cards from the left hand and ribbonspreads. the pack f a c e u p on the table. One card lies in the centre of the spread, face down, and this will be taken €or the selected card. The magician now reaches into his pocket with the apparent intention of removing thecard placed there at the beginning of the routine. Instead, of coursa, the palmed card is taken out. It is now held face down a few inches above the reversed card in the spread. For the last time the ambitious card is; commanded to move and occupy the most prominent position. The left hand turns the ribbon of cards over showing that the chosen card has changed into another, whilst ,the card in the right hand is turnedover showing it to be the ambitious. card.
“ Many an amateur’s efforts have bcen enhanced by the very fact that for economic reasons he could not afford to buy all ‘ big ’ tricks and was forced to build his routine round the few pet effects he could afford.” Leith Loder-“ Just Routine Stuff.”
I
29
THECHINESEBUTTERFLIES WILL DEXTER N THE Pentagram for May, 1950, Peter Warlock wrote regarding Edeling’s performance of thepaper butterfly trick, with the commentthat now its beauty in the hands of a Master had beenwitnessed by everymagical illiterate who cannot think for himself, we could expect to see a plague of paper butterflies dangling o n the ends of threads. The plague hasn’t materialised, happily, perhaps because those magical illiterates who can t think for themselves haven’t been able to work out sufficient details. And asfaras myknowledge goes, this beautiful effect has received too little attention in print. So the following thoughts on its preparation and performance may be welcomed b y those who admire the trick. It was a Chinese performer, named Lu Chang .Fu, a resident in Germany when not playing over here, who taught me his method somewhere about 1930. He fanned the butterflies (already cut out, folded and strung up) from a small box, driving them back into the box at the end. Over the years, I have varied this metho4, and prefer to cut out the paper in front of the audience, while I explain what I propose to do. At the finish, I blow the butterflies right out into the audience and take my bow as they drift away. The Chinese Butterffies,” of course, is not a trick as much as a feat of juggling, and as such, certain problems of balance and proportion must be solved. I offer so,me practicable solutions below, but without claiming them as exclusive. All I know is that they work, where other methods 1 have tried have failed. “
5.
Tieeue e l i p e joined by ten inch thread,bthered t o fan by second ten inch thread,
The various possible methods of presenting the feat include :(a) Cutting out the butterfiies openly and working with them strung to the fan. (b) Having the butterflies prepared beforehand and working with them strung to the fan. (c) Butterflies prepared beforehand and placed in a box, the butterflies being strung to the fan. (d) As (c) but the butterflies tethered to the box. (e) Attached at some time to part of the head by means of some form of adhesive. The drawback with (d) is that thebox must be held inthehandallthe time. I prefer method (a), as this can be done without tables, etc., and the hands hold only the essentials. Apartfromtheactual performance of the trick, there are four problems to consider : (1) Size and weight of fan. (2) Thickness and weight of paper. (3) Thickness and length of thread. (4) Handling during the cutting out of the paper.
THE FAN
I have tried several shapes and weights and find that a large heavy fan is best. Mine measures 14 inches long whenclosed, and so opens to a semi-circle of nearly 28 inches when fully opened. It is satin-faced on both sides of the ribs, this making for weight without taking away frommthe flexibility. There can’ be few rules as to colour, but I think a plain colour with very little pattern 3. Pan
under left arm,two folded s l i p 8 held in l e f t hand.Thread pseaee’ betweeh, f i r s t and seaond fiogere a n d behind hand to fan. The by dotted lice.
2. Show8 how the paper is folded in r e l a t i o n t o t h e thread.
30 shows upthe butterfliesbest.
I use a black fan
with a small spray of branches and leaves
embroidered on in silver. THE PAPER Ordinary tissue paper serves well. The stationers usuallystocktissue paper incolours. I use the red colour, with Chinese characters painted on in gold. The paper is cut to oblong size, about 3+ inches by 3 inches, and is folded in the middle across the short width. The thread is anchored to these by a tiny slip of Scotch tape one-quarter inch square in the middle of the fold-outside the fold, of course. The Scotch tape goes one-eighth inch on each si& of the fold. THE THREAD Now here is a problem!Black cotton isno use for an audience seated nearer than twenty or thirty feetaway. “ Invisible ” thread ravels and snarls almost at once. Horse hair is too stiff and thick. Hair is ideal, if youknow any lady with hair a foot or more long. But the best thread 1 know is a French product, used I believe,by fishermen for some piscatorial rite. No thicker than a strong hair, this is trade-marked “ Racine Tortue Nylon ” Size 10, with a reputed breaking strain of half a kilogram. As half a kilo is something like three-quarters of a pound, I can see a rush for this stuffby all the Zombie enthusiasts. The makers are La Soie, of Paris. Similar stuff may be obtainable from other sources, but I havenr found any. Bert Linnell, of Nottingham, was good enough to put me on to this wonderful understood thread. Incidentally, I have never why every dealer doesn’t stock this type of line. The thread is first used to join together two pieces of tissue, by a piece 10 incheslong. A second piece, the same length, is then tied by one end to the middle of the first thread. The other end of the second piece is stuck to the fan by a piece of Scotch tape half an inch or more square. Thus, when the papers are secured, the thread has a “ Y ” shape, with a folded oblong of paper at each end of the upper strokes, and the fan at the end of the downward stroke. The larger square of b t c h tape is stuck on the fan about one inch from the edge in the middle of the arc. It will now be Seen that when allowed to hang down, the butterflies will be 14 inches;belowthe edge of the fan(half the length of the ioining piece, plus 10 incheslength of attaching thread, minus one inch over edge of fan). As this is exactlv the length of the fan. I use, it may be found a useful rule to make the total length of thread equal to the length of the fan. See illustrution 1 HANDLING BEFORE PRESENTATION The paper oblongs can be prepared well ahead. T find that they are safely stored, after threading-up, in small envelopes, the paper folded inside, and the thread led out and wrapped round the envelopes,which are thensealed. The end of the thread is then lightly stuck to the envelope by
the Scotch tape, over the wrappings of thread, and everything is secure. Beforegoing on the plaform, one of the strung set-ups is taken from its envelope, and the square of Scotch tape is stuck down on the fan. If this can be stuck on part of the pattern, such as a small flower, it is perfectly concealed, but if there is no suitable-bit of pattern, it can hardly be seen. The fan, closed, is laid on the table, if a table is used, with the papers on top of it and a pair of round-pointed scissom on top of thepapers to stop them blowing away. If no table is used-say in the case of a compere item-the fan and papers are held together by the left hand and the scissors are in the right coat pocket. When ready to perform, the fan is tucked under the left arm, and the papers are held in left hand, betweenforefinger and thumb. The left hand is thengentlyextendeduntil the thread i’s taut.The secondfinger of left hand is inserted under thread to keep any slack out of the way of the scissors. This is difficult to explain in writing, but easy enough to accomplish after a couple of trials. See illustration 3 The scissors are then taken and the cutting is commenced. The leftforefinger and thumb hold the two folded papers together and cover the Scotch tape that holds the thread on. Start cutting from the right hand edge and turn the paper as the scissorsadvance. Thus by twocurvingcuts. two complete butterflies are cut out. These should measure no more than twoincheslongandtwoand-a-half inches acrossthewings.Bigger, and they become over-heavy. When cut out, the butterflies are opened out, and the wings bent slightly so that looked at from the front, each butterfly appears like fig. 2 They are perfectly balanced and weighted by the bit of Scotch tape. The two butterflies are held in the left hand, and the scissors are pocketed. Thefan is now taken from under the left arm and omned by the right hand, always remembering that it must never be more than fourteen inches away from the butterflies. If youfindit’s further awaythan the length of your thread, better put the whole thine away,becauseyourthread’sbroken!However. this should never happen with reasonable handling, PRESENTATION This is my presentation, and T am quite prepared to believe that others couldimprove on it. but this is the method I’ve got used to. The fan is owned and held in the same plane as thce floor, at elbowlevel. The edgeofthefan points towards the left, hand, which holds the bvtterflies. The left hand raises the butterflies as far asthe thdeadwill permit. movesover the fan slowly, and drops first one, then the other butterfly on to the fan. Be careful not to let one butterflv drop and then leave it suspended while the other is still held. Drop the second one before the first has landed. or else lower the hand to less thsn ten
31 inches from the fan. In that case there can be a longer pause between dropping the first and the second butterfly., Lower the left hand to the side, look steadily at the butterflies, tilting the €an a little so that they can be seen by the audience, and then raise the fan to the level of the face-slowly, slowly, as though the balancing was a difficult feat. With a sudden breathing out, blowthe butterflies off the fan towardsthe audience. Now comes the task of keepingthe butterfliesfluttering in the air without making it apparent that they are tethered to the fan. This is done by the method of fanning them. The principal move is to keep the €an upright, the round edge upwards one end rib towards yourself and the other end rib pointing straight at the audience. The fanning is done from the wrist. A few brisk strokes give you the feel of the set-up, because oddly enough, the slightest variation in length of thread, size of butterflies, even of the warmth of the atmosphere and the direction of air curren.ts, makes each performance different from the last. Once the butterflies are fluttering over the edge of the fan, wider, gentler movements of the fan will keep them up indefinitely. If there is a steady draught, however slight, youmay have to follow them a little with the fan, but unless the door is open and aneast wind is blowing, this need not necessitate moving from one position. However, I think the feat looks more difficult and can certainly be made more graceful if the performer moves about as though following the butterflies,. And the left arm should be slightly extended as it does. though to provide balance-which indeed That could be called the principle move. But there are other moveswhich add to the routine. For instance, the butterflies can be allowed to sink nearly to the floor by turning the wrist holding the fan until the fan is horizontal, and lowering it. In this move stronger wrist movements give a faster movement to the fan to keep the butterflies at the length of the thread, and toprevent them dangling. A pretty move, if working from the floor of the hall, is to keep the fan. perpendicular to the floor and then to twist the curved edge towards the audience. The butterflies will then flutter out towards the audience, and can be slowly " chased " so that they almost alight on somechild's'head. But pick the child! No Giles's brats, or they will snatch the butterflies away! Those, then, are the three main moves: Fan upright, arc on top, and the butterflies stay above it; fan horizmtal, quicker movement, and the butterflies move up or down; fan pointed at audience, perpendicular again, and the butterflies fly away from the performer. Other moves could be adapted to each performer'sownstyle.
CLIMAX Music should be provided for this effect, and the orchestra leader or pianist must be advised that the.pitch of sound must increase as the butterflies.fly high and decrease as they fly low. The tempo should be increased as they speed up their movements, and decreased as they slow down. As the final movement of the m,usicis' reached, the butterflies should be at the side of the horizontal fan. Onthe final chord, they are caught on the fan by a scooping movement, again, easy to do but difficult to describe inwriting. Thefan dives under them in a curve, and isthen raised and held high. The only danger in thisisthat sometimes, without 'having practised enough, the performer may find that he has caught one butterfly and left the other dangling. I,€this happens, another quick scoop must be made to; catch the dangling one. But it will be found that this rarely happens, for the very good reason ,that after thirty or forty seconds of fluttering, the two butterflies tend to come together, due to the twisting of the joining thread. Go on long enough, and they will be firmly twisted together. Incidentally, if as sometimes happens, the .two butterflies twist together before the climax of the music, this can usually be overcome by changing hands with the fan,when the butterflies will untwist and then twist the other way. Because of this twisting of the thread, it would seem inadvisable to use the samebutterflies for another performance. Having caught the butterflies on the fan, my favourite finish is to blow them out into the audience, like this; they are picked up in the left hand, thethreadis rapidly looped around the right thumb, which holds the fan, and the Scotch tape is quickly peeled off. This done by a twist of the left hand. Special care mustbeused, as some brand of tissue paper will tear before allo-wing the Scotch tape to peel off. Personally, I found that more practice was needed for this move than for all the rest put together. The tape c o m a loose easier if the butterfiies are held opened out flat. Having detached them, I place them on the fan and blow them off it towards any child sitting in the front row. In taking a bow after this, keep the fan open in the right hand, extend the left arm to balance the extended right arm, but Keep the f a n moving. The thread willshow if the fan is kept still. There is one important proviso attached to presenting the Chinese Butterflies : Never show it where the overhead lights are unshielded and low, otherwise the thread shows up badly. Where possible, get in front of overhead1 lights. The thread is i m p s i b l e to see whilemovingwith the light behind it, but it may shine with a strong overhead front light.
-
3.2
C
P L A Y I N G WITH M A G I C A 8uperblp produced cloth-bound book that is a MUST for the ed props Cloth-bound material. entertainer children’s 30/Porkgo 6d.
1’11 R E A D Y O U R MIND Mental magic in thebest Annemann tradition, Packed with practical
SPECTATOR’S C H O I C E
Professional standard magic of the highest order. N o elaborate
Postage 4d
17/6
7/6
Postage 3d.
PUBLICATIONS Chrllenge Instant Hypnotism and MW Hypnotism
GeorgeArmrtrong 211Chandu’s Psychoanalysis George Armstrong I0/3 Gwrge Armrtrong’r Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 5/3 Tricks of the Tradr George Armstrong 2/7 The Universal Mind Ron Baillie 12/9 Bohleno’s Mysteries 10/3 Bohlen Henry Read1’11 Your Mind Aage Darling 17/9 Entertaining with Contact Mindreading S. E.Dexter 7/9 Entertaining with Hypnotism S. E. Dexter 10/3 Automentalism Courcy Ken de 20/3 Telepathy Zodiac Courcy Ken de 1219 John Ramsay’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli 10/3
Spectator’s Choice Francis Douglas Mother Goosa Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist aad Children’s Entertainer I0/3Hurling Maurice Jamtsosophy James Stewart Strictly Magic JosephEddie Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With Shge Money Jack Lamonte Suzy and the City Slickcrs Jack Lamonte Where Houdini was wrong Maurice Sardina ”
’9
edition)(cheap
Stooging Around Playing With Magic Magically Yours
7/9 7/9 513
513 5/3 10/3 7/9 5/3 7/9 20/6 7/9
JoeStuthard5/3 WilfredTyler 30/6 VerrallWass l5/6
FROM THE PUBUSHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, ENPIELD, MIDDLESEX I
I
The Magic Circle President : His Grace the Duke of Somerset.
D.S.O., O.B.E., J.P., Y.I.M.C. Vice-President: DOUR^.^ Cnnnr. &a.. Y.I.M.C. Clubroom andLibiary and- ku&m :
Hearts of Oak Buildings, Euston Road, London, N.W.l. ~
1
MigicalTheatre
:
King George’s Hall, W.C. Forthcoming EventsMar. 8 Lecture-Percy Press 27 Concert Particulars from Hon. Sscretary
FrancisWhite, 39 Alverstone Avenue,
Wimbledon Park, S.W.19
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishers for 117 per bingle copy. AnnualSubscription 181post free.
BY: The Magic Wand PublishingCo. 62 Wellington Road, Enfield
PUBLISHED
Middlesex Manuscripts for publication and books for review should be sent to the: EDITORIAL A D D R W :
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for astamp. Write now to
Jack Hughes, 2, Ejvelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE OLD ANI) NEW. Le m e know your want# LIST FREE FOR STAMPED ENVELOPE N e Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin
*
33 A
B
L
A
PETER WARLOCK’S
It doesn’t seen] possible that this is the eighth Annemann issue that we have put out. In each and every one we have tried to present our readers with magic that we felt A n n e m a n n would have liked and also magic that he wouldhavepublished inthe immortal ] i n s . This year, our friend Arthur Carter takes care of the whole issue. A great lover of mentalmagic
*****
those acquainted with the publications of the Arm-
strong Press will have found already some delightful ideas of this very thoughtful young man. “ On the Lap of the Gods,” is a card effect that you mu% try and assure yourself of the literally staggering result. We are beginning to evolve a theory that Annemann was a deliberate focal point inthe scheme of magic, so much so. that in Amsterdam on April 24th we are giving a..lecture entitled the “ Annemann Tradition,” which not only sets out to show what Annemann himself did for magic, but also how he brought from out of the fading light, effects of the generation preceding his own. And so once more we light our little candle.
ON THE LAP OF THE GODS ARTHUR CARTER ERE is a card prediction which really justifies its mange title. But don’t worry. At best you a good if may get a super miracle-at worst, somewhat drawn out trick, which I feel sure that you will like, especially after you have performed it a number of times and had a few lucky breaks turn UP. The requirements are few and simple. A pack of cards containingone marked card,in the writer’s case. the five of Clubs. The markmust not of course be too obvious, but atthe same time. must be SURciently plain to be instantly spotted by the performer while a specator is dealing the cards. The card should also be ink-marked on both of its long edges in order that its position in the pack may be apparent to anyonewho is looking for it. On a blank visiting card write “You will inevitably choose the five ofClubs” and seal same in a small envelope., which is thenplaced in a convenient pocket. You are ready.
H
VOLUME 8, No. 5
-
The presentation of the effect is roughly as follows Request a spectator to pick up the pack and mix up thecards thoroughly. In a case such as this. the word “mix ” is I think preferabe to “ shuffle ” which somehow seems to suggest trickery. It is small points such as these which make all the difference between a piece of magic and “ another card trick.” While this isbeing done, remove the envelope and toss it upon the table. When the holder of the cards has f i n i s h e d his m i x i n g ,t a k e a quietlookatthe p a c k w h i l e i t is still in hishands. P o s s i b l y , as has occurred t o t h e writer twice- the marked cardwill be
I/a. (20 Cents)
-
FEBRUARY 1954
ihe pack is whittled down until only one or two
~
Robert Houdin, Jnr., “The Jinx:’ page 759.
“To approach humour with m y degree of understanding. it is necessary todelineate the difference between comedy and tragedy. Contrary to the general wnception, tragedy is not alway8 n ‘tear jerker’ nor comedy a vehicle for slapstick actions and humorous qulps and witIicisms. The only real dtfference betweenthe two IS In the climax or ending of the story told.” Leith W-“To Wit.’’
35
THE PERENNIAL PHOE-NIX ARTH UR CARTER HAVE always had a liking for the burned and restored note effect, and during the last twenty years or so have tried out various versions, all of which have combinedto drive me to one conclusion-namely, the owner of the note. must receive back the actual note lent, otherwise disaster is sure to come sooner or later. On at least four occasions in my own experience I have had spectators either examine the note inquestionclosely,orbe requested by friends to make a carefulnote of the number; while I have also met no less than three people who have told me that they did not receive back the original from other performers. One-a lady, openlydenounced the performer, another lady who also realisedwhat had happened, kept silent. Thethird, a gentleman, although realising that wlnt hehadreturnedwas not his original property, was.completely baffled as to why such should be the case, PLAN V I L W OF STAND. and left the matter at that. The best version of thc effect which I think I have ever come across, was that of the late Douglas Dexter, described in the April, 1950, Pentagram, in which a borrowed and marked note is sealed in an envelope and burnt, and is afterwards reproduced from a second envelope which has been examined and sealed by a member of the audience. At no time during the entire eftect is the note touchedby the performer, the note at all timesbeing handled by tweezers. This, I believe, was Dexter’s main claim to originality. In any Oase, the entire effectwas one which, for sheer artistic simplicity would be hard to beat. The onlydefect from the writer’s point of view. was that a certain zmount of finger-palming and pocket workwasnecessary. In the version about to be described, which is exactly the same as Dexter’s in effect, all this is eliminated and the hands may be shown completely empty at any stage of the trick. Thz requisites are : 1 . A Special Stund t o hold the Envclnpa.5. As this is mainly responsible for the cleanness of the mows employed it will be d,escribed with some detail, although it is really extremely simple, and in EO waymechanical. The writer’sconsists of a single strip of inch square d,eal, eight inches long. In it are cut three deep parallel slots, reaching to half an inch of the two endls; these are one eighth
I
of an inch wide and one sixteenth of an inch apart. For the purposes of description, we. will call the slot at the front of the stand “ A,” the :middle one, ‘‘ B,” and the onenearest the performer “ C.” The stand should of course be attractivelycoloured, but not pillar-box red, plesuse! 2. A BlueEnvelope. This is unprepared. andis daced inslot “ A,” beingpushed to the right hind end. 3. A White Envelope. This furnished with the usualslit, and isplaced inslot “ B,” being pushed to the left hand end. 4. A Pair of Tweezers. These are placed in the breast pocket. 5. A Pair of Scissors. On table. 6. A Pencil. In breast poc ke’t. 7. Menns of firin Q the 1,7?hite Envelope. It is of course essential thst thecoloursof the envelopes t)e sufficientlydistinctive, ctherw5se there may be doubt as to whether the one containing (?) the money was: actually burnt. NOWfor the actual presentation. The magician commences by askin for-the loan of,either a ten shilling or one poun treasury n0t.e. On the Same being forthcoming, he is asked to mark it in Some distinctive manner, “ so that if he ever sees it again he will know it!” This “ line ” isalwaysgood for a laugh, and is handed a pencil for the purpose. The lender of the note is now asked to folditinhaIf, in half again. and i n half once more; the final packet being about olle and a half inches sauw-e. The tweezers are now removed from the breastpocket and the note received between their prongs. Th2 pencilisnow taken back with the left hand and replaced in the pocket, because, remarks the performer : ‘‘ That’s how I got it!” The magician now returns to his table, holding the notestill in the tweezers, high above his head during the journey and draws attention to the fact that the note never leaves the sight of the audience for a single instance. The white envelope is now picked up in the left hand and the no!e placedinside,beingpassedstraightthroughthe slit and retained at the back of the envelope with the leftthumb. The envelope is then sealed. T h e blue envelope is now removed from the
i
36 stand with the tweezers, andthe white envelope placed back on the ,stand into Slot “B,” the note o d y , being pushed into Slot “C” which retains it still in its folded condition, the envelope in which it was apparently placed screening it from the view of the audience. The blue envelope is now picked up with the tweezers and passed to a secondmember of the audience with the request thathe examine the same and seal it. It is then received back with the tweezers, and replaced in Slot “ A ” of the stand; the white envelope-still apparently containing the note is then removed, leaving the Blue examined envelope in position screening the nocte as its companion did a few momenb previously. During -thesemoves thehands may be casually showq empty; and when I say c a s u d y I mean casually, and not waved in the faces of the audience. The whiteenvelope is now set on fire, and after it has burned for a few moments. the flaming remains are dropped upon an ashtray and allowed to bum themselves out. After the resulting situation has been played up for a little, according to the type of audience andthe performer’s ability as a comedian, the hands are again shown empty-apparently by accident, and the scissors picked up in the right hand.
The left hand now removes both the envelope and the note from the s.tand,the left thumb clipping the note behind the envelop. The left hand now holdsthe. envelope about chin height, flap side facing the audience, the note still being concealed behind. The right hand end is thensnipped off, andthe scissors replaced upon the table. The right now picks up the tweezers, and these are apparently inserted into the slit end of the envelope. Actually one leg goes inside nnd the other goes outsideand over the note. The tweezers are now squeezed, and the note apparently drawn from the envelope, actually it comes from behind in the same manner that is sometimes used for producing a selected card, but the audience d0e.s not realise this. As soon a’s the note is clear, slowly lower the hand containing the envelope to waist-level, gazing fixedly at the audience meanwhile. This is an impressive ge5ture which will bring a good burst of applause. Step over to the lender of the note and request that he himself removes his property from between the points of the tweezers, and assure himself - and the rest of the audience that it is the actual note he originally loaned. (Commercial Manufacturing Rights Reserved by the Author).
“ Yes,” he went on, “ you are very intelligent, but you’re an amateur ; and the gulf fixed between the most dim witted pro. and the cleverest amateur is immeasurable. Certainly it’s important to think the right way, but like faith without good works, thought without technique is dead. Thought transference acrossthe footlights is onlyachieved by suggestion. By words loud enough and effects broad enough to get over to the bulk of your audience, you suggest to them the state of your mind ; you interpret your thoughts for them.” Nigel’ Fitzgerald-“ The Rosy Pastor ”
THREE MOREPOKERCHIPS ARTHUR CARTER HE PRO33LEM of the three poker chips-or counters, in English parlance, is undoubtedly one of the finest impromptu mental problems extant.There were occasions when Annemann, Mahendra and other leading mentalists convinczd their audiences that by means of it they genuinely read minh. But it possesses onerather serious defect, any slip-up on the part of the assisting spectators .while the performer has left the roomhowever slight, isfatal,andthere is no “ out!” After the writer ’had had two “ accidents ” of this kind, and two of the. victim& of successful performances had mmarked : “ m good trick, old man-but I suppose it’s mathemathl ”-orwords to that effect, the version about tob described was evolved. In it the dumbest of helpers would find it hard to make a mhtake, and although numbers are employed the method is by no means mat’hematical.
T
The actual effect is of course the same as in the>standard version. Three counters, coloured respectively Red, White and Blue are placed upon the table, and while the mentalist is out of the room, three spectators, Mr. A, Mr. B and Mr. C each pocket one. On hiB return the performer explains that in order to read minds it is essential to employ articles logically associated with one another, and accordingly introduces a pack of cards, by means of which he “divines” the exact choice of each of the helpem. The astute reader will I think, have guessed already that the secret lies with the cards, which are simply-but subtly prepared as follows :Thirteen of them are marked in some distinctive manner upon the back, these for the purpose of description wewill call “A”. A further thirteen are also marked distinctively, but slightly differently, these we will call “B”; the remainder are un-
37 marked. These we will call “C”. The pack is then stacked as follows : A. Nos. Oneto Thirteen. B. Nos. Fourteento Twenty-Six. C. NM. Twenty-Seven to Fifty-Two. The presentation is as follows. As soon as the three members have made their selections and the countersare safely hidden in their pockets,the magician returnsand proceeds to distribute the cards thus :l. The 13 “A” cards to Mr. A. 2. The 13 “B” cards to Mr. B. 3. The top 13 “C” cardsto Mr. C. 4. The remaining “C” cards he keeps himself. “ Now,” he remarks, “ each o f us is at the moment holding 13 cards, which is of nQ usewhatever, because when we begin to concentrate, our minds would all throw out the samevibrations. So once again I p r o p leaving the room. While I am absent I want whoever holds the RED counter to add six cards to mine which I shall leave upon the table.Further I want whoever holds, the W H I T E countertoadd less than six cards to those upon the table. Finally, I wantwhoever holds the BLUE counter to add more than six cards in the same way. This will ensure that each of us ends up with a different number of cards, and will r m l t in our thought waves each having a different vibratory wavelength. Is that clear? Very good. I will leave the r m . ” Assuming that the three spectatorshave done as requested, the mentalist returns, and continues :
‘‘ I do not of course wish to know how many cards
each of you hold, but I willnevertheless count mine.” This heproceeds to doby dealing the cards face down, upon thetable, as he does so he quietly notestheexact number of A ’’ cards in the packet by means of the secret marks upon the backs, let us suppose there are four, this reveals that Mr. A. has taken the W H I T E counter. The experiment is partially completed,. before the audience evenknow it has begun! “ Already,” he remarks, “I am getting vibrations, but they are veryweak, so I will try and intensify them by giving back some of the cards I hold to you.” This heproceeds to do, giving a card here, two cards there,and 60 on, apparently at random, under cover of the distribution. However, of “B” cards h0 is also countingthenumber that he holds finding (perhaps) six exactly. This at once tells him that Mr. B. holds the RED counter, and by a process of elimination that the BLUE counter rests in Mr. C’s pocket. From then on he may continue to hand out cards as he feels disposed, as allthat remains is to reveal actual selections with all the showmanship at hi8 command. All should now I think be clear but perhaps one ortwo examples may not come amiss : 4 “A” Cards. 8 “B” Cards. 19 “C” CardsMr. A. White, Mr. B. Blue, Mr. C. Red. 6 “A” Cards, 9 “B” Cards. 15 “C” CardsMr. A. Red, Mr. B. Blue, Mr. C. White. 18 “A” Cards, 6 “B” Cards, 20 “C” Cards.Mr. A. White, Mr. B. Red, Mr. C. Blue.
“ You’re obviously a perfectionist ; and perfect acting demands a perfect audience,which is a very rare th‘ There is great acting to be seen in London at the moment, thank God, but it’s the exception ; I’d prefer to see blooded theatricality than the sort of thing you’ll find in most West End theatres ; the would be highbrow or the bloodyplain suburban.’’ Fitzgerald-“ Nigel The Rosy Pastor ”
THE FATHOMING
OF A WORD
ARTHUR CARTER 0 The0 Annemann lies, I think, the credit for having
T
evolved the first absolutely unequivocal book test. I am of course refenring to hisfamousmagazine test described in “ The Book Without a. Name,” in which an absoutely unforced w o r d - o r for that matter a whole line, or if you happen t o be a second Chan Canasta, a complete page, could be revealed by the performer. In the version about to be described, three spectators eachmake an absolutely free choice of apage, line and word,while a fourth helper selects one of three novels. The mentalist has meanwhileselected a single wordfrom a dictionarywhichhewritesupon R large slate. Despite these stringentconditions however, the chosen words are found to be identical. The requirements are as follows : 1. A smalldictionary,thosesoldbyWoolworths, will be found admirable.
2. Two duplicate Novels, of roughly the same size as the Dictionary, and containing approximately the same number of pages. ”he dictionary and one of the novels must then be taken to a bookbinder,with the request that he re-binds one of the novels in the dictionary cover. 3. Twoother novels. 4. A large slate and chalk. One further item by way of preparation is necessary. Each of thenoveh are numbered res ively, one, two and three inside their front covers. c d u p l i c a + of the one enclosedinthedictionarycover,berng grven the number two. By thistime, the presentationshould 1 think be fairly obvious to an Annemam en.thusiad, or for, that matter an experienced mentalist. Assuming that the novel useJcontains about three hundred pages, a m m ber of theaudience is asked to name a number less
38 than this figure, sayonehundredandtwenty,a second person is then asked for a number from one t o twenty, and gives (sayfourteen. A thirdhelperisthen‘asked for a number etween one and ten; and selects (say) six. So far nothing could be fairer. Having shown the slate blank, the performer states thathealsoproposedtomakeachoice,inhis case a word, from a book which will give him the best possible selection, a dictionary, which he proposes to keep secret for the time being. The “dictionary” (?) is then picked up and deliberately opened a t page 120, the 14th line is counted down to, and the 6th word noted and written upon the slate, which isrestedagainstachairback,blanksidefacing theaudience. Uptothe moment no mention of the books to be used has beenmade. This is one of the strong points of $theroutine. Theduplicate of the“dictionary”has now to be forced,andwhereasthemethodusuallyemployed 1 Annemann, was the“takeit or leave it”principle,the following method, due to Mr. Stanley Collins, is I think far more subt.le.
b
The three books a r e placed in a line upon a tray, the required one occupying a position at one end. A member of the audience now freely chooses One, Two or Three.There isno equivoque used. In the case of OneorThreethebook is counted to, from the correct end. If, however, the choice falls upon I w o -themost usual selection, attention is drawn to the numbers inside the front covers, the helper being requested to return those bearing the numbers One and Three The page is thenlocated, the chosenline an& word counted to, and another miracle is accomplished. Since it has been proved times without number, that in experimmts of a mental nature, the audience cannot remember details unconnectedwiththe finaleffect, the average impression will be that the page, line and word, was made ulter the selection of the book, in fact the performer may if he wishesopenly’ state that such was the case. Finally, should the “line” number-as it sometimes will, be greater than the number of words available, the final word should be the one used, a further “proof” thattheperformerhadnoprevious knowledge of what the selection would be.
BOOKS “ SPECTATOR’S CHOIC%.” by Douglas Francis (PublishedbyGeorgeArmtrong),price 716: Within the thirty pages of this booklet, a professional magician, after a forthright introduction, details someseven practical effects followed by a well routined magic act. All th’eeffects are direct and call for little more than a knowledgeable technique. Their directness should prove their value with a public audience, and this, as Mr. Francis points out, is the only audience that pays you. We particularly liked the production of drinks at the finger tips, an item whichwould prove most suitable to a silent act. Good too, is the “ Crazy Cocktail Shaker,” an effect,easyto have made up andhaving the qualities.so necessary in a stage or cabaret act of to-day. The routined act, “ This is Magic ” is one much in the vein of the author’s “ On the Way Home,” for it makes no demands on stage setting. The performer enters, performs a multitude of magic and is yet able to exit without the need for the clearing away
of props. A decided bargain for themagician. who sets out to entertain in the commercial field. ‘‘MAGICALLY YOURS ” by Verrall Wass (Published by George Armstrong),price E/-. Verrall Wass dedicates this book of some 150 pages to all those magicians who prefer entertain-, ing the public to conjuring for conjurers. To achieve the many effects that he offers, the author seems to go the hard way, especially (in view of thefactthat he is preaching commercialism), in such an effect as the “ Nofors Card in Cigarette.” All in all there are more than forty effects detailed; they include; 17 card tricks, nine tricks with flowers, nine with silks and a number unclassified. For the magician who likes to make up apparatus and can be certain of always having a stage upon which he can perform, there are a number of origindities whichwill more than repay the cost of the book. For those whoseek their living on cabaret floor or by dinner dates, there are one or two items like “ Ardent Lovers,” that willfind a place. For the close-up worker there is nothing.
ON T H E LAP OF T H E GODS-continued from page 34
voque had to beemployed at all. The cards incidentally, wereshuffledbetweeneachselection, and the fact that this can be done is a real facer for any awkward individual who is out to catch the performer. A possibility which may appeal to some card workersmight be the employment of duplicates. Provided the card used were an incon,spicuousone, and the number did not exceed, say three or at the maximum four, the risk involved should not be too great; especially if the effectwere the last item presented, the additional cards being added at an earlier stage, prior to which the pack had been freely handled during the performance of other trick.s. The “breaks” would then be easier to come by, but in any case it isa matter for each performer to decide for himself.
The possibilities of this routine are really endless, and only depend on the ability of each individual performer insizing up the situation at any givenmoment. For instance, the writer once had the pleasure in performing it before those two great card men, Stewart James and Francis Haxton at the latter’s house. Stewart James was the dealer and the writer trusted entirely to luck-not touching the cards once throughout, as in fact it is someti.mesbest to gamble for high stakes. The first number given was “nine” and “mirabile dlctu” even this small number sufficed to “draw” the marked card. The remaining choices were “five” and “three” which left Stewart with the predicted card in his hand! Furthermore,on this occasion no form of equi-
39
The next issue of the Pentagram" will be contri.buted by Edmund Rowland .Those who have occasion 'to read magazines ahead will have noticed and enjoyed some ratherunusual e&& by this magician. You'll remember:, and will m, doubt have used, the papertear -effect in Pentagram No. l . Vol. 7 as well as the tricks with magazines that appeared in the ."Gen." A member of the Peutacle Club in those after war 'years when the Society was lacking in numbers, Edmund was one of the very few who helped to keep the University magical flag flying. Now a maths. master wuntry i n a North 'school he is able to give a little time to the origination of magical effects. One of the effects to be published shows how a commonly known trick w t h a sound principle can be used in a more subtle way. Just recently we have been giving alittlethought 10 the prrsentat~on ~t magic for &ldren. As a child we can well remembor the magical mrform a n e s that we witnessed and all in all we cannot remember any of the magicians emplo ing the :'na.mhy-panW' m e t h d of . . . I-...2.. . ' audlence approach that are in such common usage 10-day. Never dothe people seem to realise that all children, once outside the nursery, wish to have an adult mind. The sight of so much of this 'teeny w n y ' attitude is that it makes thcm despise, not only the magician, but magic. Also, great a deal of the reality of magichas been lost. The po ular rabbit has been replacedy! either a plastic cut-out or else by a piece of fur fachioned into a shape unknown toGodor man. Laziness is partly the cause of this, the , other part being the propagation of dogmatisms by those who . ~ -.",."(,!*"'ri-b., ~ ~~.-t * * ~ finding their own personality suited to such offerings wish to instil the same ideas in the heads of others. In thiscountry to-day there i are a few magicians who S c ialise in school work. We E i w them all and we know that the magic they @om is adult magic presented in 'I
!
an adult manner. One quite recently w s performing a t a very famous West of England Public School. His perfnnnance ended he received a great ovation. During the course of conversation with the Headmaster after the show he was shown a twelve month old copy ofthe school magaz~ne ~n which appeared a write-up of a show put on at the schaql by a l o d magical so c i e t y That article should have bcen published in i magazine in t h i S every mag& country, for it showed only too be platnly the faultsthatcan attributed to so many magical that societies and too many who attempt magic for the younger generation just haven't a clue! You may say, Yes, hui these are boys of an advanced age.' Believe us it doesn't only apply to them and the answer is given by instancing a magician we know who specialises in prep. school shows. He not only works adult magic for such occasions, but is also fortunate to have a daughter who is a bcretary at one. From her he gets the latest conversational between gen. these youngsters. At the moment it revolves atomicaround explosions, jet aircraft, space travel and horrible methods of death-dealing I It is very nice to think that one should a introduce touch of whimsy into a show, but rememberthat it is not the child or ' even :he adolescent thata re ctates suLh a thing to thz%!li "'Alice in Wonderland for example has given far more pleasure to theadult than the child. Only a few conjurers have the knack of producing a trick that has true magic allied to whimsicality. Charles Waller is one of the few. The basis of a true magic ' show whilst it ma be ignored and those who bymagicians * ~-S * d~dal . ~ haw * L . write * Y about J - maglc, is mvstery. To be appreciated by persons themystay must &!$rof easy understanding: it must be presented most directly; it can have humorous twists. it can be fantastic, but it mud be a myvieay. Pleaselet the children see more
1
.
,
~
I
'
1
@
2
of it!
'' Never again tell a man who talks poorly. to resort to Pentomime, as an 'out'. In attempting to follow such advice, that man is going down not up for he can most certainly develop prf& a y z h easier than he master this very demandmg art of pantonume." Leith Lader-" o Pant or Pantomime
ca:
40
? L A Y I N G WITH MAGIC Aruperblyproducedcloth-boundMental book that is a MUST for the children’s entertainer 30/Portage M.
SPECTATOR’S C H O I C E W REA YD OUR MIND magic inthe bestAnnemannProfersionalstandard magic of the highest order. No elaboratc tradition. Packed with practical marerid. Cloth-bound props required 716 Postage 3d. 17/6 ?ortage Id
MAGIC WAND PUBLICATIONS C:hallenge Instant Hypnotism andM u r Hypnotism
Armrtrong George C:bandu’s hychoandysis LGcorge Armstrong Bh r g e Armstrong‘s Premonition GeorgeArmetrong Blogic Wand Year Book 48/9 g GeorgeArmstrong 1‘ricks of the Trade 1 George Armstrong Ron Baillie 1’he Universal Mind Ikhlano’s Mysteriu Bohlen Henry I IIYour Read Mind Aage Darling S. E.Dexter Eintertainingwith ContactMindreading Lintertaining with HypnothRI S. E.Dexter ALukmentalism 1 Courcy Ken de I H i r e Telepathy Courcy Ken de ohn Ramsay’r Cups and balls Victor Farelli hanks to Leipzig ! Victor Farelli 8038R.2
!
21110/3 10/3 513 2/7 l2/9 10/3 17/9 7/9 10/3 20/3 l2/9 2516 10/3
Spectator’s Choice Francis Douglas Mother Goose Mystery Martin Gardncr Twenty-Six Living and Dead Tests Teral Garrett Ule Concert Vontriloquist and Children’s Hurling Maurice Entertainer Jamesosophy James Stewart Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With Saaga Money Jack Lamonte Suzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina 9’
9’
Stooging Around Playing With Magic Magically Yours
7/9 7/9 5/3
I0/3 513 5/3 10/3 7/9 5/3 7/9 20/6 7/9 Joe Stuthard 513 WilfredTyler Sal6 Verrall Wass 15/6
edition)(cheap
FROM T H E PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, ENWIELD, MIDDLESEX
The Magic Circle President : Hi8
Grace the Duke
of
PETER
WARLOCK’S
D.S.O.. O.B.E., J.P., M.I.M.C.
PENTAGRAM
Hearts of OakBuildings, Euston Road, London, N.W.1.
is publishedon the 24th of rmh monthand can be obtained direct from the publishersfor 117 per singlecopy. AnnualSabacription 18 I port free. PUBLISHED BY:
Somerset,
Vlco-Preddent: Dous1.a C m m , Rq., M.I.M.C. Clubroom and Library and Museum :
Magical Theatre :
King George’s Hall, W.C Forthcoming EventsMar. 2 7 ~ C o n c e r t April 3-Annual Banquet P . r t i c ~ l afrom ~ Hon. Secretary
Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19
The Magic Wand Publishing Co. 62 Wellington Road, Enfleld Middlerex Manuscriptsforpub1icrti.aand books for review rhould be sent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to .$end you full details of
THE DE LUXB “SU-TABLE” together with a11 his other effects in return far a stamp. Write now to
Jack Hughcs, 2, EvelynAve., N.W.9. Colindale, London, CONJURING BOOKS FOR SALE OLD AND N E W . Let me know your rants LIST FREB FOR STAMPED ENVELOPE Nn
Callers
GEORGE JENNESS 47 INVERNESS AVENUE ENFIELD, MIDDLESEX
e
# m - PETER
THE
"
*** **
WAR LOCK 'S
GIVE-AWAY" COLLECTING BOX EDMUND ROWLAND
HE PERFORMER produces a small box with
the lid should bc just large enough to admit one counter at a time. This is most important. You will also need twopieces of stiff cardvited to =move the lid and look inside. The box board or celluloid, cut into the shape whichis in Fig. 2. For a two ounce mustard tin, contains five coloured counters. Apart from theseshown it is quite empty and apparently free from any thesewill be. 2a incheslong and 2 incheswide. The slits in them must extend half way across and be trickery. The performer tips the counters on to the table as wide as the material from which the pieces are and turns his back (or walks away from the table) made. Slide each piece into the slit in the other so 80 that each of five spectators can pick one up that you now have a cross-shapedpartitionwhich willwithout the perthe box into four triangular former knowing compartments, as whichitis. The lid shown is then replaced, Figure 3. The corners of the and the performer pieces are rounded holds theboxbeso that they fit hind his back for the spectators to the snugly to bottom of the box, and the drop their counters partition shouldbthrough the slot in a fairly tightfit so the lid. @) &-) cc). &%G'). notwill that it jump He still cannot and up down as the moved box is about. know the colour of any counter as it is dropped into the box, but when they At the beginning are again t i p p d on of the effect the to the table he is partition is folded ableto return the flat,withoutbeing correct counter to l* taken apart, and each spectator. concealed in your -e waistcoat pocket. It nee The effect can be is secretly removed worked with any and slipped.into the one of a number of X U O W box when your back WlTL differentboxes, but is turned and the as the simplest method which I have tried works spectators are busilyengaged in picking up the just as well as the most elaborate, I willonly counters. You will not have to remove the lid to describe the simplest here. do this because the spectator who took it off to Any box of wood or or plastic can be see what was in the box should still be holding it. used if it is the right size. You can make a small You must replace it as soon as you can when you one from a two ounce mustard tin. This will be. have turned to the front again. two inches long, 1) incheswide. 2% inches deep. The box is then held in one hand behind your The counters will be ordinary tiddleywinks about back so that you can collect the wunters without g inch a m s s and inch thick;and the slot in beiig able to see which is which. But suppose that ..
T ita narrow slot in the lid. The box rattles when is shaken and the nearest spectator is in-
1
3
1
= t a l
VOLUME 8, No. 6
-
~
l/6. (20 Cents)
-
MARCH 1954
42 they are returnedinthe following order; blue, green, red, white and yellow. If the box is always tipped away from you, eachcounter will dropintothecompartment nearest to the spectator who has just returned it, that is, into the compartmentwhich is furthestaway from you. If the box is also given a quarter turn in a clockwise direction each timeacounter is returned, they will alsodropinto different compartments. This is represented by the successive views of the box in Figure 1. ThR last two counters can be dropped into the same end Compartment, and still be identified, because therelative sizes of the counters andthe width of the box ensure that the counters overlap, with the fifth on top of the fourth, unless the box has been vigorously shaken about since they were dropped. Fig. 3 shows what you will expect to see when youremove thelid. All that you need to know is the order in which the spectators returned their counters. Then the firstmust have had the blue; the second, the green; and so on. One important pointmust be emphasised a little more, however. This is that the dimensions of the box depend entirely on the size of thecounters which you wish to use. If the box is too large, It will only be possible to work the effect with four
l
counters instead of five, and this might easily suggest the method of working to one of your spzctators. If the box is too small, the counters will not @ways drsp intotheright compartments. This will be 'most confusing, and completely spoil the effect. This also means that the counters must all be the same size. If you wish to use a larger box and use coins instead of counters, you mustuse five pennies for example (with the head of a different sovereign on each), or fivesimi1,ar foreigncoins. This is hardly a disadvantage, however, for, if coins of different sizes could be used it would obviously be easy to tell which was which by the different noises they made when they were dropped. The depth of the slot in the lid is also critical, and you will be more certain of success in handling the box if it is made of thin wood-such as that from a cigar box. The thickness of the lid then ensures thatthe coins or counters drop straight down into the box and are not deflected to either side as they are pushed through the slot. For English pennies, the boxshould be approximately 3 inches long, 24- inches wide, and 3$ inches deep. The slides should be 32 inches long and 2&inches deep; and the slot in the lid should be l$ inches long and 1/12th of an inch wide.
A magicianhasnotonly to play his part as an actor;butsimultaneously, he has to give adequate addition to thesf,matters, he is attention to technical details which. involveconsiderable difficulty as arule.In often obliged to study his audience, and adapt his procedure to the requirements of the moment. Nevil Maskelvne--" Our Magic." ~~
A QUICK TURN OVER BOARD EDMUND ROWLAND FOLLOWING effect isone of those T HE which cannot be included in a purely mental routine, because it uses theratherobvious piece of apparatus &own in the illustrations. But it is quite suitable as a mental " quickie in an ordinary conjuring act. The performer h* a small board with numbersonboth sides of it. This is given to a spectator who stands at the performer's side and holdsthe baard by oppositecorners.The perdormer turns it over several times to show that the numbers are all different and not arranged in any apparent order. Various members of the audience are asked to choose any one of them and to add it to the number which appars in a corresponding position when the board is turned over. Everyone can then see that all the resulting totals are also *different. The performer then produces a sealed envelope and places it in the outside breast pocket of the spectator who is holding the board. Most of -it is left projecting from the topof his pocket, however, so that it canbe kept in full view. "
The performer takeg the board from the spectatorandasks him tothink of any oneofthe numbers on the side which is facing him. He turns theboard slowlyover and asks himto add the nu'mber which appears in the same position on the other side, and finally, to announce the total. When the spectator tears the envelope open, he isquite surprised to find thatthistotal has already been predicted on a small card inside it. This is the obvious method of presenting it, of course. The performer could blindfold the spectator and let him touch the board with the tip of a wand, or even get himto fire at it with one of those toy guns which shoot a wooden arrow with a rubber suction cup instead of a point. The secret is very simple, however; it depends once more upon the principle of the well-known " Chinese Compass." The board which I have illustratedis a regular hexagon with two " rings of numbers on each side. Theoretically there is no limit to the shape of theboard, provided it is regular, or to the number of divisions in each sector, but for "
43 simplicity and easy recognition of pairs of corresponding numbers, this particular boardis probably the best. The first illustration shows the obverseside of theboard;the second shows the reverseside when theboard is rotatedaboutthehorizontal axisA-B;andthethird shows the reverseside when it is rotated about the axis C-D. You will see that there are th7ee possible axes of rotation. If theboardis turned over about either of the axes A-B or E-F, the pairs of corresponding numbersproduce different totals : thus, 37+52=89 (about A-B) or 37+75= 112 (about E-F). But if theboardisturned over about the axis C-D every pair of corresponding numbers produces the same total : thus, in this particular case, 37+ 60, 59 + 38, 45 +52, etc.,=97. This is the total whichyou p#dict on thecard inside the envelope. At the beginning of the effect you are holding the board by the opposite corners C and D. Your assistant from the audience is then obliged to take it from youby the opposite corners A and B, or E and F, so that the board rotates about one of the axes which produce different totals as long as he is the one who is holding it. (In these illustrations I have assumed that he is standing to your left and that he has taken it by the corners A and B. I havealso assumed that each of you holds the board with the actual axis of rotation at that moment parallel to the floor. Thiscouldhardly be shown in the illustrations without making them unnecessarily complicated). I n taking it back from him, however, you again take hold of it by corners C and D as before. These moves are made quite naturally and should, therefore arouse no comment. Those of you who try the effect, and like it, may perhaps wonder if it ,might be possible to arrange the numbers so that a secolzd total could be found by holding the board by the third pair of opposite corners. Unfortunately, however, that is not possible, foritcan easily be proved to be mathematkally absurd.
But that should not prevent anyone who is at all interested in mathematical puzzles from getting plenty of amusement out of an easily constructed piece of apparatus.
I
\
A
" When we see a performer, who, with' the utmost assurance and self-conceit, starts off to present a new up' hismerit asan artist. He cannotpossiblyrealise effect in public,we need feel no uncertaintyinsizing his true position,northe natureof his responsibilities. He is confident of success,forthesimplereason that he does not understand how serious would be the result of failure.'' Nevil Maskelyne-"Our Magic.
A TOTAL MYSTERY EDMUND ROWLAND HIS mental item depends upon the useof a Tconfederate in your audience. This will probably be sufficient to have it rejected straightaway by anyone who thinks that there is something unethical about the use of a confederate in mentalism, or by anyone who has found that the
methods which do require one are often the clumsiest and most obvious. This particular method, however, can deceive even the type of spectator who suspects thatall mentalism is done with the help of a confederate, for the strict conditions under which it is per-
44 formed make it very difficult for anyone to see how a confederate could possibly be of any use to the performer. Even the-confederate himselfwillnot be able to say exactly how he has been able to assist him, because most of the actual trickery is still done by the performer-with the aid of a nailwriter. Nobody is likely to suspecthim of this, because the perfonner is the only person involved who does not appear to do any writing at all, and so there will not appear to be any need for him to do any other secret writing either. The effect is that you are given four or five numbers by different members of theaudience. (This is to avoid the possibility of merely using a number given to you by one spectator who could easily be your confederate). These numbers are added together by another member of the audience and thk total is used to determine a freely chosen page and line of text in a book test, for example. These will not really be freely chosen at all, however, for thetotal which is obtained isalways forced. Now it is obvious that, if the spectators were allowed to call out their numbers in turn, or write them on the sape paper or card, the choice of any of than might be influenced by those which had been given already by the others, and it would still be pssible for the last person to be a confederate who wouldmerelygiveyou thenumber which would produce the required total. To prevent either of these things happening, each spectatoris given a small blank card on which to write his number, and his name or initials. This will really make it impossible f o r any one else to h o w the number that he has chosen until all the cards have been collected and the numbers added together.
I
The method of forcing the total, however, is still verysimple. One of the spectators is a confederate who has previously been asked to sign or initial the card which he is given but not t o write any numbe7 on it at all. When thecards have been collected for you face downwards, you begin to call out the numbers for another spectator to write them in a column on a small blackboard so that they can eas.ily be added together. As you are doing this you must add the numbers together yourself in your head, and write the number which is needed to make them up to the required total on your confederate’s card with a nailwriter. If the personwho is helpingyou is not accustomed to writing with chalk on a blackboard, you will have ample time to make this calculation and to use the nailwriter whilst the attention of the audience is directed elsewhere. As each number is read out youask the person whose card you are holding if that was the number which was written on it. Of course he is obligedto say that it was, and, becauseyou are not asking any one to say whether that wasthe number that he actually wrote on the card himself, you are not expecting your confederate to assist you further by telling a lie. (I mention this because I find that, although the likely looking person is usuallywilling to act as my confederate and to keep it a secret afterwards, he is not as willing to lose integrity by telling a deliberate and outspoken lie). YOU should also try tq avoidleaving your confederate’s carduntil the last. If possible it should be next to the last, or even the one before that. Even a little point like thiswill help to direct the attention of the sharpest intelligence in your audience fromthe possibility of your using a confederate.
“ Looking at the matter fairly and squarely, one cannot help feeling that any presentation which leaves an impression of e$her indistinctness or over-elaboration has a very serious defect from whatever point of view it may Nevil be regarded. Meskelyne-‘‘ Our Magic.”
I
~~
THE PERFECT MIRROR ENVELOPE EDMUND ROWLAND
I
HAVE been interested inthedevelopmentofthe window envelope ever since I first read Annemann’s originalarticle in Jinx, number 9. It was‘,only natural,therefore, that I $ould be intermted inThe perfectWindow Envelopedescribed by oureditorin Pentagram for November, 1952. Unfortunately, however, I was still not happy about the actual use of a window envelope in my own routines. In the first place, I couldnever feel quite justified in using a packet of envelopes when only one of them was required. Even if I used more of them in other effects in the same programme, I could never feel that it looked at all natural to pick up the whole packet of envelopes in order to place a card in one of them, and to keep this envelope on top of the packet until the card had been placed.in it. I night say that I have often watched clerks prepanng bills and circulars for mailing but I have never
yet seen any of ,them holding a packet of envelo es and filling them one by one like that. In the seconx place, it is obvious that, although the envelope which is supposed to contain the card with the spectator’s writing on it can be left in the spectator’s possession, it is quite *is envelopeand impossible to removehiscardfrom return it to him, or to anyone else, unless some other method is used to switch them round again. And unless the card can be returned, there is very little point in sealing it in an envelope and keeping it. At the same time, I have always been interested in the use of a mirror for obtaining infonnation-as distinct from creating an optical illusion, Hewitt and Annemann, for example,described an effect inwhichasmall flat mi,rror was concealed in a packet of blank visiting cards. This was followed by another effect by Hewitt in which a small piece of tinfoil on theback of a playingcard
45 was used t o read the value of a?pthercardheldbya spectator. Then Bruce Elliott (in Ma ic as a Hobby ”) describedamethod of reading the vafue of a card by having a shiny convex headed paper!laying astener stuckinthemouthend of a cigarette; andsomebody (whose name I just cannotremember)showed me how it couldbedonewithnothingmorethan a square of shiny cellotape stuck on his finger tip. It was only necessary, therefore, t o combine the ideas
f: the mirror and theperfect window envelope t o produce the perfect mirror envelope.” At firs; I madeacomplicateddevice whichwould slide the mimor surface out of sight into the secret compartment of adouble-backedenvelope as soon asthe message had been read, but I soon discarded that for the following simple arrangement. All that is really necessary is an oblong piece of tinfoil on the outside of one ordinary envelope. Could anything be simpler than that ! The tinfoil is glued to the back of the address side
of the envelope, at the open end, as shown in the accompanying illustration. Anytype of envelopewilldo, if the flap is a big one, for this ensures that the area of tinfoil which can be used as a mirror shall. be as large as possible. You will probably find that you can cut away a little more of the back of the envelope to make this areaeven bigger withoutrunning the risk of sticking the flap to the enclosed card when the envelope is sealed. The tinfoil must be perfectly-smooth and shiny for it to be of any use as a mirror. But even the smoothest tinfoil will produce a distorted image unless it is carefully mounted on smooth paper, so the envelope also, must be of good quality,and fairly thick and heavy. The glue
which you use must be thin and evenly applied to the inside of the envelope. Any air bubbles between the tinfoiland the envelopewillalsoproducedistortion. To improve the surfacestillfurthes, -the tinfoil may be lightly and carefully polished with cotton wool, or even “ Duraglit ” wadding. As with “ the perfect window envelope,” the size of the card that you use is not important so long as it is big enough to cover the tinfoil. A little point to remember, however, is thatthespectator’swritingis likely to be found more easily by the mirror on a little card than on a big one. The envelopeis held nearlyverticallyinyourleft hand with the address side towards the audience. Your right hand brings the spectator’s card, with the writing side towardg the audience, into a position above the tinfoil and a little to the right of it, so that you can easily see the reflection of thewriting.Alittlepractice will show you what the necessary angles are foryou to do this successfully. It would also be advisable for you to be pattering to the audience as you are doing it, to account for any slight delay in getting the card into the envelope.
As soon as thetinfoilis hidden by thecard,the envelope can be turned towards the audience so that the cardcanbeshownslidingcleanly into it. Theflap should then be moistened with your fingertips instead of turning it backtowardsyouandbringingit toyour mouth, because rhat might make it appear as if you were trying to glimpse the writing on the card as youwere licking the flap. The sealed envelope is handed to the original spectator who looks after it until you have attempted to divine what was on the card. To confirm that you have done this correctly, you take the envelope from him and slit it open along the bottom edge. You then turn it over, and hold it lightly by the edges, so that another spectator may remove the card. If you de not call attentionto what you have just done, na-one is likely to notice that you opened it atthe bottom, nor to attach any importance to this even if they do. As the card is withdrawn, the writin on it will be facing the spectator and this will helpto firect his attention away from the envelope; but, in any case, the tinfoil will not be visible from that end of the envelope because it is glued undernea,th the top side of the envelope at the other end.
i
The shadedarea
is the tinfoil.
The point (A) of the bottom flap is cut away as far as thecurveddotted
line.
Thetinfoilmirror is, of course,moresuitable for reflecting the boldimage iven byasimplegeometrical design or a familiar word in printed capitals than for any lengthy message in long hand. It ia ideally suitable for revealinn the valueof a playing card from a borrowed pack, butt as playing cards can be glimpsed in so many morestraightforward ways, I would notadviseanyone to use them with a mirror envelope. The emptyenvelope is finally crumpledupinto ball and dropped into your pocket or your bag.
“It isn’t what you do, or even the way you do it, that matters, butwhat you make your audience think Annemann. you do.” “ The man who gives the public plenty of magic, but serves it up in such hot haste that his audience has no time to digest it, merely surfeits the spectators with that particular requirement without satisfying their other expectations. H$,occupies their attention more than enough, but does not entertain them as they rightly expect Nevil to be entertained. Maske1yne.-“ Our Magic.”
a
CLEAN CARBON EDMUND ROWLAND T HAS been said that British magicians do not like to use the clip board method of obtaining a secret copy of something written by a spectator on a slip of paper because a clipboard looks too much like a piece of conjuring apparatus. It can be used convincingly in a stage, performance when written questions have to be collected from a large audience, but in more intimate surroundings they would think it more natural to rest the paper on a smooth backed book or the pad from which it had been torn. This has led to the production of a number of specially faked books which are really clip boards in disguise. An excellent example of these was the one described by Ron Baillie in Pentagram for December, 1950. Unfortunately, however, none of these can be used again asan ordinary bookin the same routineand they canno,t be left lying about as safely as a clip board can, for anyone might pick up a book which you have been using and casually turn the pages over to see what it is about, though he might not want to examine a perfectly plain clip board. It wouldsometimes;be an advantage, therefore, to have a prepared book from which all traces of trickery could be, easily and secretly removed. Now it is easy to prepare a thin backed book by placing a sheet of carbon copying paper and a loose sheet of writing paper between the cover and the first page, so that an impression of the spectator’s writing is made through the cover and the carbon paper on to the loose sheet. But it is not very easy to remove these secretly, or to read the impression. Carbon paper is such flimsy and dirty material that you are certain to smudge the impression, or to mark your fingers or the pages of the book. If you try to keep the carbonpaper flat against the writing paper by gluing them together along one edge, you will still find it difficult to separate them secretly to read the impression. But if you use the following method of substituting a sheet of tracing paper for the sheet of writing paper you will find that your carbon copy is perfectly clean. All that you need to do is to fasten together a sheet of oil bound carbon paper and a sheet of good quality tracing paper by a narrow border of glue around their edges so that the carbon side of the carbon paper rests against the tracing paper. Place this under the cover of a thin backed. book withthetracing paper uppermost. An impression of anything written on a slip of paper rested on the book willnow be made the right z u n ~ ’ round on the inner side of the tracing paper, It can therefore be read without having to lift the
carbon paper and without having to turn anything over; the carbon cannot mark anything else, and the impression is not likely to be smudged. As the impression is not made in the normal manner, through the thickness of the carbon paper, anything whichwill strengthen the carbon paper and help to disguise it can be pasted on to it. If it is to be used inside a writing pad, for example. it can be backed with coloured blotting paper;. if it is usedinside a book, itcan be backedwith part of a corresponding page from a similar type of book.
2
W
47
TO show how it can be used, here is a simple effectwhich I ’have often performed : Enquire if any one in your audience would like a copy of the evening paper. Handthis person a newspaper which has been opened at the crosswordpuzzle and folded into about a quarter, or an eighth, of its normal size. Lend him a pencil as well, and ask himtofill in any clue,across or down.As he is doing this, pick up a slate a d . clean it. Then ask him to turn the folded newspaperoverand place it on the slate which you are holding like a tray. Walkacross to another spectator and ask him to take the newspaper for a moment while you finish your little experiment. After suitable patter and concentration youwrite the wordwhich the first spectator wrote in the crosswordpuzzleon your slate. The second spectator confirms that it is correct. The only preparation is a rectangular piece of “ clean carbon ” backed with thin black card-
board. This is hidden in the folds of the newspaper impression of the spectator’swriting.When the newspaper is lifted from the slate and handed to the second spectator, the carbon is allowed to slide out on to the slate. All that you have to do then is to read the impression and tqrn it over m that thO black side matching the surface ofthe slate is uppermost. The method of masking its edges will be obvious from Figure 3 when the area of the cardboard is shown a lighter shade than the slate. The chalk lines represent the squares of the crossword puzzle. The cardboard can be held to the slate by a dab of wax which wasalready on the slate to begin with. Alternatively it caneasily be held in position with the tip of the your thumb. “he newspaper is then returned tothefirst spectator to whomyoupromised it. If he reads it for a week,however,hewillnotdiscoverany trace of your trickery there!
so that it will take an
BOOKS “ FINALE ” by Lewis Ganson (Published by Harry Stanley, Unique Magic Studio, 14, Frith Street, budon, W.l.), price 301-. Let us comnlence by saying right away that “Finale” sets a new standard for magicaltextbooks.Regardin6 rt physically it comprises 254 pages measuring 6” X 9$ and is bound with a binding that will stand u p t o a lifetime of reference. Of photographlc illustratlons there must be hundreds, the art paper used showing thc-m off to their best advantage. In fact this IS a volume wlth an appearance which sells itself. Now .forthe contents. Thereareinall some ten sections : Anti-Grtvity Glasses,” “ Magi: with Coins,” Link$g,, Rings,” Magic with Dice,” Handkerchief Maglc, Magic with Sponge Ba!s,” “ Magic zf A1 Koran,” “ Miscellaneous Magic,” Card Magic and “ Card Magic by Manipulation." In the first section two versions of theanti-gravlty glasses are described by Lewis Ganson and Elizabeth Warlock, Lewis also adding a number of tips regarding various other presentations. Section two dealing with coins is noteworthy for the inclusion of a delightful coin routine by that phenomenal Dutch manipulator Fred Kaps. Despite its origin, this is aroutine well withinthe com ass of. those possessing reasonabletechnique. TheLinfing Ringssectlonis of first rate importance as itdeals with KenBrooke’s method of false counting the rings. We should think that there are few of our readers in this country who have failed to see Ken performing the Linking Rings and they, like myself, must have admired aqd envied the natural false count that he uses; here it is then described in detail. Ma!F with Dice covers two very nice6,eff”t”, Gerald KosLy’s HowMany?” and Ali Bongo’s DolaliDice.” Both routines will go into the programmz of those who specialt? in close quarter magic. In Handkerchief Magic we are FFeated to apersonallesson by Charlie Bdwards onthe DissolvingKnots.” The effect of this too highly, for. it has been one routine cannot be rated of themainstays of a workingprofesslonal’sshow for morethan fifty yearsWiththeever-growing need for themodernmagician to have a number of worthwhile ‘closequarter effects at hand, Lewis-Ganson has answered the need in &Ztion six bydescnbingthe necessaries, accessories and design that go to make up a most deceptive S onge Ball routine. d e nameof AI Koran needs nointroductionand the five routiips and tricks tt?t are contributed by him own. make upa Stars of Magic serles allontheir
Fornand restorednewspaper,asubtlevariation on a Gen’ Grant themewithtypicalKoran twists, a money trick, a complete routine with a lyndkerchief y d various odds and ends plus a version of Do as I Do , make up forty most satitfying pages of reading matter. “ MiscellaneousMagicconsists of some sixeffects. Fourare by Hans Trixer; the first it his miniature xersion of the cupsand balls, the second SilkenCanarywhich seems one _pf the most delightful ways of producinga si! handkerchief, a close-up quickie called “ Slot Machine andaversion of thepenetratingbilliardballthrough handkerchief.PeterBurtoroutinestheburntand restoredcremationpaperinamannerthatmakesatruly magical effect and John Lewis describes a method of the colour changing thimbles. The penultimate section dealing with card magic is notable for subtl~rsplendid version of Dai Vernon’s “ All Backs routine byAlexElmsley. So freefrom moves, s o straightforwardinpresentation, this, asour late Eriend Will Goldston would have said, is One of the plums of thebook.’ Besides this is a versiy of the cards to po+t by Patrick Page, Jack Chanin’s Card on Line,”theNicholasThought Casd,”BobbyBernard’s “ Educated Frog,:: Mary Kinson’s Fan See ” cardand Lewis Ganson’sBrainwavebyTelephone.” The concluding section of the book deals with split. and single cardmanipulation. It isclearlvdetailedand should prove of considerable assistanceto all those essaying this delightful work. And now a word abouttheauthor. Lewis Ganson hasperformedawonderfulfeatinproducingthecontents of the book. He has a knack of describing a trick in such a way that whilst no detail is missed he never bores with unnecessarypadding. It is noeasy task to watch another man’s trick and then relate the sequences and moves, butthismanGansonhaspatienceanda capacity for taking pains. When you buy the book vou’ll find that we have said quite a deal more about both the AuthorandthePublisheronthe vefy nice dustjacket A final. word of praise, and that that adorns the cover. is for theprinter,ourgoodfriend Harry Clarke,a to everymagician he magicianhimself,andafriend meets. He is also a first-class printer, and so he couldn’t do otherwise than print a first class book. We have written more than we usually write about booksthatcomeour way.We feel it w y more,,than justified. €or aswesaid at thebeginning,Finale sets a new standard.
!p
48
I
P L A Y I N G WITH MAGIC A superbly produced cloth-bound book that is a MUST for the
children’s entertainer Postage 6d. 30/-
I’ll READ Y O U R MIND
SPECTATOR’S CHOICE
Mental magic in the best Annemann tradition. Packed withpractical marerial. Cloth-bound
Professional standard magic of the highest order. No elaborate props required
17/6
7/6
Postage 4d
Postage 3d.
MAGIC WAND PUBLICATIONS Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s htertainer Maurice Hurling Jamesosophy James Stewart Strictly Magic JosephEddie Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With SCage Money Jack Lamonte Suzy and City the Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina
Challenge Instant Hypnotism and Mass Hypnotism
GeorgeArmstrong 211Chandu’s Psychoanalysis George Armstrong I0/3 George Armstrong’s Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 513 Tricks of the Trade Gnorge Armstrong 2/7 The Universal Mind Ron Baillie l 2 / 9 Bohleno’s Mysteries Henry Bohlen 10/3 I’ll Your Read Mind Aage Darling 17/9 Entertaining with Contact Mindreading S. E.Dexter 7/9 Entertaining with Hypnotism S.E. Dexter 10/3 Automentalism Courcy Ken de 2013 Telepathy Zodiac Courcy Ken de 1219 John Ramsay’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli 10/3
9’
9’
Stooging Around Playing With Magic Magically Yours
’,
edition) (cheap
7/9 7/9
513 I0/3 513 5/3 I0/3 7/9
513 7/9 20/6 7/9
JoeStuthard 5/3 WilfredTyler 30/6 Verrall Wass 15/6
FROM T H E PUBLISHERS
T H E M A G I C W A N D P I J B L I S H I N G CO. 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX
! 1
i
’
l
~
TheMagic
Circle
President : His Grace the Duke o f Sonrernet. D.S.O.. O.B.E., J.P.. M.I.M.C. Vlce-President: D o u g h Craggs. Esq., Y.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
King George’s Halt, W.C. Forthcoming EventsApril 3-Annual Banquet 12-Hoffmann Memorial Lecture 20-Concert Particulars from Hon. Secretary :
FrancisWhite, 39 Atverstone Avenue, Wimbledon Park, S.W.19
PETER
WARLOCK’S
PENTAGRAM is publishedonthe24th of each monthand from thepublishers for canbeobtaineddirect 117 perbingle copy. AnnualSubscription 181post free. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for rcview should be sent to the:
ElDITORI.4L ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will bepleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other inretnrn for a stamp. Write now to
effects
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9. CONJURING
HOOKS FOR SALE
OLD AND NEW
Le: m- know your wants
LIST FREE FOR STAMPED ENVELOPE Fit-
Callers
G E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P U B L I @ m D BY TU# PROPRIBTOPI 1 R X MAGIC WANDPUBLISHINGCOMPANY, 62 WELLINGTON ROAD, 1NIIELD, MIDDLESEX ANDPRlNTBD BY RORBBRT WALKBR & S O N (PRINTERS) LTD..WELL CROFT. SRIPLZY. YORKSHIRL
HE peaceful passing of our dear friend John Gambling on March 24th was also the passing of a tradition, for until a few months preceding his death John was performing the magic of a different generation. Parodoxically however, his performances seemed fresh, up-todate,andfullofnovelty.Weshallbe long in forgetting his last appearance before a group of magicians at the Unique Club, and how, despite his eighty odd years, he wowed them with his finalandunexpected production of a live rabbit. To the best of our knowledge, he was the inventor of the locking flap slate for magical usage, and the one made to his design in 1892 when he was twentyyearsold is one of our prizedpossess-with ions, for it was at the I.B.M. Hereford Convention that he handed it over to us. It is a beautiful and
T
unorthodox piece of craftmanship. It looks like genuine slate and the slate flap is backed with a 1901 piece of the London Times. Nothing gave us and everymember of the magical fraternity greater pleasure than the fact that hewas made President of the “British Ring” in 1952and was able to live throush and enjoyhis period of office. He didn’t write a great deal, but in the first volume of Percy Naldrett’s “ Collected ” series he contributed one of his favourite effects. It is honest-toGod magic of an honest-to-God conjurer and one which would well be worth revising by a conjurer who is not afraid to revert to a technique which to-day might be considered old fashioned. So, the permission of our goodfriendPercy Naldrett, here is-
GAMBLING’S “GOBLIN GOBLET” JOHN GAMBLING HIS effect has occupied a prominent place in my programmefor over two years; ifwell presented it never fails to puzzle and please. The principleis an old onebutthe method of To describe the working makes it entirelynew. experiment I cannot do better than quote part of a report from the Cambridge Daily News of 5th September, 1919 :-
T
“
Finally came ‘Gambling’s Goblin Goblet.’ which
‘‘ met with a most enthusiastic reception. The per.
former,addressing the whist players. asked if they of the mem“ bers replied that he would like some lemonade h ‘.claret. Thegoblet was thenproduced. It was B “plaincopper vessel about the sire of a glass I ’ tumbler. This was filled with confetti. But as “ t h e assistant did not care forconfetti, it was instantly changed to the drink asked for. Another ‘ I member, perhaps to puzzle the conjurer, asked “for sherry and lemonade, andin a second thiswas “produced. much to his surprise and delight. Then ‘*’smokes * were asked for. and the goblet at once “produced three fine cisws, with some matches P “moment later to light rhrm wirh.” “
** would like some refreshments. One
The drinks maybe chosen according to the class of audience you are entertaining; but I alwaysplay for safety, for I once tried to force
VOLUME 8, No. 7
-
whisky and soda upon a gentleman who happened to be a don-drinker and since then I have always used the drinks here named. The properties required can be made by any carpenter and tinsmith. I will describe mine ; first there is a folding box whichwhenopened out measures12” long, 6” wide, and 5r deep. Four copper goblets 4&”high, 3” wide at top, and tapering slightly to bottom. Two glasstumblers, a small Union Jack and some confetti. The only fake required is the ordinary shallow fake to fit in top of one of the goblets; a mushroom shaped knob in the centre of this tray, while concealed by the surrounding confetti, at the same time enables a sure grip to be obtained through the flag, when removing the fake from the goblet. The top of fake has some confetti glued to it. PRBPARATION-
Fill one of the goblets to within an inch. of the top with claret and lemonade, fix fake in top and sprinkle with a little loose confetti ; stand this in your box of confetti. Fill another gobletwith sherry and lemonade, and into another goblet put
1/6. (20 Cents)
-
APRIL 1954
50 WO cigars or two packets of cigarettes and some matches. Place box on table in front of a black art well large enough to take one of the goblets. Box should beplaced near side of table ; table should be to performer’s left. (The only time I go behind the table is when 1 load goblet with confetti). Place the other two goblets close behind the box ; the one containing the sherry being nearest to performer and just in front of well. The goblet containingthe smokes is furthest from the performer. The fourth goblet is stood in front of the box together with two glasses; the small flagis hanging over the edge of the box.
WORKINGThe performer having two volunteer assistants an the stage, says that he feels sure that they would like some refreshment, and of course gets a smile and an intimation that a drink wouldbe acceptable. “ Ah,” says the performer, ‘‘and what would you like?” At the same time going close to the gentleman, who we will call Mr. A, and whispering -“ What do you say to a claret and lemonade?” (This being the method I use for forcing the drinks and so far has always been successful. “ Yes ” says Mr. A, “Claret and lemonade.” By this time the conjurer has walked away towards the table, and pretending that he did not hear, he again asks Mr. A to name his drink ; this time Mr. A has to speak rather loud in order that the performer can hear him. This gives the audience.the impression that the gent has had free choice and that this is the drink he really requires.
Performer brings forward goblet and shows it to Mr. A, then takes it to the box and fills it with confetti, letting it run back into box again ; he fills it again but this time brings out the faked goblet containingthe claret. He offers this to Mr. A, who naturally declines it. Performer now covers it with flag, passes his wand over the top, snatches off flag together with the fake and drops both into the box. He now shows gent liquid in goblet and walks back:to table, and standing with table on his left, picks up one of the glasses in his right hand and pours out the drink and, looking towards Mr. A, lifts glass to level of his face as if about to drink, saying “ Your good health, sir ! ” Whilst all eyes are thus attracted to right hand, the left hand has fora second carried goblet behind box as if to rest it on table ; it is dropped into well and the other full goblet brought away in its place. Although this may seem a crude move to the reader with me it has always been successful. The audience have no reason to suspect that the problem is not finished, andare,asit were, caught napping. The move isof course to be made naturally and by standing close to the table, nothing could be more simple. Mr. A is given his drink.Theconjuror approaches Mr. B and asks him if he would like
a drink too, andquietly suggests sherry and lemonade (this is of course a contrasting colour to the other drink) more often .than not the gent falls in with thefun of the thing, andaftera certain amount of by-play as to the possibility of getting sherry and lemonade from this goblet, the wand is handed to Mr. B and he is asked to repeat the Spell. The drink iseveually poured out. (Goblet should now be in * ,ormer’s left hand held by first and second f ,ers only). The t a b l e is approached and box of confetti brought forward with emptv goblet concealed behind it, leaving the cigar goblet in view on the table, the audience naturally supposing this to be the goblet you have just used. Pretend to offer box of confetti for gentleman to take home-apparently change your mind and stand box‘oa one side, thus getting rid of goblet. Now in a casual way bring forward goblet from table, walk towards Mr. A, tilting goblet so that he may get a glimpse of contents, then ask him if there is anything else he would “ Let’s have a like. “ Oh, yes ! ” hereplies, smoke.” Performer looks surprised -more by-play with wand- and gentleman takes a cigar. As Mr. B takes his smoke he catches sight of matches. Ask him if he has all he requires, and he naturally asks for matches. With me, this plays fifteen minutes, and often when being booked, I have been asked by clients to include the “Goblet Trick.” I trustother wielders of the wand will get as mnch out of the experiment as I have done. I use the following patter. “After so ably assisting me this evening, I feel sure youwould like some refreshments. -Yes, I thought so.-Now sir, what drink would you like? (force claret and lemonade). I beg your pardon, sir, what? claret and lemonale. My word you do drink i n ---. Now sir, this ismy Goblin Goblet, and here is a box of mysterious mixture which has puzzled the most profound philosophers. Between ourselves it is really claret and lemonade. Imagination goes a long way in this experiment. Now sir, you take the goblet and gobble up the contents and fancy its a nice drink. What, you would rathernot have this? Well suppose we cover it with this small flag and pass the magic wand over thetop, so. Here we have a most wonderful change-genuine claret and lemonade ! “Your good health, sir. Oh, I beg your pardon, I thought the drink was for me ! Now sir (to Mr. B), perhaps you would like a claret and lemonade also? What’s that ! Sherry and lemonade ! Do you expect me to get that from a goblet which has just provided claret? Well, juit take my wand for a spell. Pass it over the goblet, saying Abracadabra ! There you are ! Now perhaps you would like to take the box home with you; well on second thoughts I had better keep it.Now, sir, is there anything elseyou would like? What! Smokes ! And from this goblet
51 too ! Verywell,work the oracle again with the wand. There you are,and you must have one ! The next requirement? Matches? too, sir Here they are and I hope you are satisfied, and that you will always have a pleasant recollection of ‘ Gambling’s Goblin Goblet ! ’ ” COMPILER’S NOTEMr. Gambling has proved once again the old
magical adage : “ It’s not what you do, etc.” The manner in which the changes “ forestall ” the audience, together with the element of surprise following surprise, is excellent magic. There are few conjurers, who, given a goblet and a boxof confetti, wouldevolvesuch a series of effects. PERCYNALDRETT
“ From time to time I hear magicians discussing the value of magic o r the cost of magic. If you see an effect you can’t use then any price you pay for it is too great. If you see a trick, o r move, o r sleight that you can use you can never over-pay for it. After all, once you learn a move-or effect it remains with you for life.” Bill Simon-“ Sleightly Sensational.”
RHODESIA REVERSE HANS TRIXER N THE May 1952 issue of the English monthly The Gen Bill Simon, the American author of that wonderful book for card lovers, “ Effective Card Magic ” described an unusual effect named “ Cards in Reverse.”
1
The novelty of the approach to the reverse of a card chosen out of three intrigued me and I set out to find a different solution. At the same time I have tried to make the effect even more puzzling -to the laymen and to the magician alike. Have I succeeded ? You will be the judge ! Here is the effect.-The deck is shuffledby the spectator and the magician deals the top three cards face down onthe table. (The magician does not cut or manipulate the deck in any way after the spectator’s shuffle.) One of thecards is chosenandlooked at. The magician in the meantime turns his back. Thethreecardsare then mixedand left on the table face down. The magician now turns to the audience once more and fans the cards left in his hands. (He shows both sides of thefan and proves the absence of any trickery in this way.” The three cards are inserted face down in the face down fan, whichis closed. The deckis cut once and left on the table. The magician then orders the three cards to assemble in thecentre of the deck, to reverse themselves orderingthe chosen card to take its place between theother two. Finally the chosen card is ordered to turn over once more so that it willbe face downbetween theother two cards. Now the magician says : “ You had three cards on the table. You did not chose the . . ., neither didyouselect the . . . but your choice was the . . .” While patteringthe magician fansthe deckoncemore. This time the backsof the
cards are towards the audience. In the centre of thefan two cardsare found to be reversed, They are the two cards first named. In between them is another card which proves to be the last card named : the chosen card. Before explaining this trick to you I want to draw your attention to the following points : A borrowed deck is used and the only manipulation required is a pressure or a two-handed thumb fan. The advantagesoverBillSimon’seffect (to my mind at least) are, l-the cardsare freely chosen, 2-the cards are inserted face down into the face down deck, and 3-the cards are named before they are shown. This last point is very strongas itseems that the three cards together are the same as the three whichwere dealtonthe table previously. is part of the Actually only the chosencard original three. Here is the handling.-After thespectator has shuffled thecardsthe magician deals three cards from top in a face down row on the table. While dealing the first card it is seized on the left outer corner-thumb on top, fingers underneath. In dealing this card a secret crimp is made, so the card is distinguishable to the conjuror. The next card is dealt without any chicanery. A short interval is made nowand the magician explains, that hewilloffer a choice from the ancient magical number “ Three.” In the meantime the next card from topis picked up by the right hand, thumb on the inner short side,fingers onthefarshort side.While pattering this card is bridged slightly and then dealt next to the others. The position isnow : -three cards on the table, one crimped, one bridged and one untouched.
52
(If an olddeck is used the principle of the ‘‘Imperfection ” may be used. A full description of the principle will be found in Marlo’s “ Marlo in Spades.” In this case no crimping nor bridging is necessary.) The magician invites a spectator to select one card. The moment the cardispointed at or picked up the magicianmakes a mental note of the c h o s e nc a r d and turns his back. The spectator isnowallowed to look at at the card. Then he is requested to replace the card onthe table andmix the three cards thoroughly,which prevents his looking at the other cards. Whilst his back is turned the magician turns over two cards of his deck. This should be about the sixth and seventh fromtop. It does not matter actually which cards are turned, but two cards near the top are preferred. Now the magician turnsfront againand makes a pressure fan, faces towards the audience. As soon as thefan isdeveloped the right hand goes alongthe topside of the fan withhis right hand fingers as if adjustingone or more cards. This actually is done to hide the exposure of the two reversed cards. The deck is now really adjusted so that the neighbouring cards cover the two reversed cards. This isall done with the faces of thefan towardsthe audience. The magicianremembers the namesof the two cards which stare into his face fromtheback.Thenheadjuststhosetwo cards so that they will not be showing if he turns thefan face down. The left of thetwocards may still be exposed as willbeseenin a minute. Thisadjusting business takes less than ten seconds, but it makes complicated reading, I know. Don’tlet this upset you, for an actual trial will prove how easy it is. While the fan is still facing the audience the magician picks up one of the three cards which are still face down onthe table. This must be the chosen card.You will find it easily. It’s eitherthe cardwith the bridge or the crimped one or the unprepared one. Anyway, pick up the chosen card and “ride along ” the back of the fan with the right inner cardbetween the corner of this card.Insertthe two reversed ones. Letthe card protrudeabout onethird in front of the deckand also about half an inch to the left. The card will now cover the index of the lowermost reversed card.
l
Turn the fan slowly face down while inserting thecard. Pick up the next card fromthe table and insert itaboutcentre of the fan without showing the face of thecard. The third card finally is inserted intothe left part of the face down fan. All three cards should protrude equally to front and left so that itis absolutely clear that they are not together. Close the fan and push the three cards home. Now cut the deck deliberately and place it on the table in front ofyou. Order the three cards to flock together andtapthe deckwithyour wand-ifyou are that kindof a magician. Then order the cards to reverse themselves and finally orderthe chosen card to liebetween the two others and reverse itself once more. Pick upthe deck saying : “ You did not chose the . . . (nameone of the reversed cards youglimpsed before), neither did youselect the . . . (the second card isnamed). Inthe meantimeyou pressure fanned the deck, this time faces towards yourself and backs showing to the audience. Youspot right away thetwo backs of the reversed cards and in between you see the chosen card. You continue your patter along these lines : Butyou selected the . . .” Rightawayyou turn the left hand holding the fan, so that you see the backs yourself. “
You find ( ! ) thetwo reversed cards with anothercard sandwichedbetween.Remove all three cards and throw them on the table so that the chosed card is showing.
The importance during the last part must be laid on the point, that you look for the reversed card. This will enhance the idea that youknew the names of all three cards before. (Justanotefor conclusion) After fanning the cards for the last time the faces are showing to the m a g i c i a n ’ S side while the backs are towardsthe audience. As soonasthe chosen card has been seen the left hand with the vertically held fan is pulled back so that the fan rests nearly against the left side ofthe chest. The magician then-looking down-sees the back asthe audience does and withoutexposing the chosen card he can remove the three cards. The climax then comes in throwing thecards down onto the table).
“ People who have reached the peak of their profesgions continue to practice, and learn, and improve. It certainly should not be too much to expect a mrgican to learn how properly to pyform his effectsbefore performing in public.” Bill SimonSensational.” Sleightly
53
TEA LEAVES JAMES DOUGLAS K E N T articles in The Magic Circl~lar has prompted me to describe another verconcerning the effect “Tell tale tea leaves’’ sion, which whilst using the same principle has to my way of thinking a more profound impression on the audience. The original effect, one of Norman Hunter‘s, is simple and direct and is briefly, the appearance of the figures in tea leaves of a previously borrowed coin. The coin was forced or switched and the date was previously written on the plate in flat white paint or white vaseline so that it “appeared” as far as the audience was concerned, “invisible” becoming “visible” when the dry tea leaves adhered to the tackyfigures. In m y version theplate can be handled by the audience, andan absolutely free choice of a card is made from an ordinary pack and yet the correct impression is accomplished by the performer. The points to note are, the performer does not touch the cards whilstfreeselection is made, the plate is used to carry the pack to the audience. The requirements are simple. Tea Cup with some dry tea leaves, about half full is sufficient, small Tea Plate or Saucer, a small pea of white vaseline and a set up deck -‘Si Stebbins’ or ‘Eight Kings’ etc.. and an elastic band. Stick the blob of vaseline to the cup, near the handle, rear side to audience. To perhmn---Remove cards from case. fan to show all different, false shuffle, and cut several
R
“
”
“
“
I
”
”
times, place cm plate, a b w spectator to cut and remove top card.Tell him not to look at card for the present but to reverse pack of cards to face up position and place his card face down in the centre so that it may be easily found later, snap band around, place cards on plate and hand to another s p t a t o r who is invited to bring them to theplatform. Seat the second assisant and ask him to place the cardsin his pocket; tako the plate from him in left hand, showfreely and pick up cup ‘with tea leaves in. Let some “run” out on to the floor and with the thumb pick up the vaseline from cup. This is easy and undetectable as forefinger is naturally through handle. Lay cup down andtakeplateinbothhandsfront side facing audience. Tellthe story of the “ fortunes predicted in tea leaves,” whilst doing so reverse plate so that bottom faces audience.. You willfind it an extremely easy matter to “write” the name of the chosen card on the plate. The figure and one letter to denote suit i’s sufficient, for example 3C. 2D and so on. Oh. 1 forgot, how do you know the card when *he spectator reversed the deck, you noted the bot*m card and the next in series is the chosen one. Having done thedirty wmk, pour some of *he tea leaves on to the plate, press! down lightly. re11 spectatorto remove cards from pocketand remove the “ reversedchosen card.” Throw the tea in the air and show the result to the audience In brief this is an adaptation of the thumb writer.
“ O n e of magic’s most profilic writers, Bob Otben, has contributedtremendoudy value of magic.” Sensational.” Sleightly Bill Simon-“
to the entertainment
I
I
DATED FLIGHT JAMES DOUGLAS H I S I S a ne f f e c t i v eC a r d andCoin c o m b i n a t i o n whichby the experienced operator,can be performedimpromtu. A pack of cards is thoroughly shuffled and a card is selected. A coin is borrowed and the spectator holding the selected card is asked to write on the latter the date of the coin which is now wrapped up in a small sheet of paper and placed in a wine glass. The selected card is taken by the performer and inserted in the centre of the pack which had previously been returned to its case and the flapleftopen.Theinsertedcard is leftpartly sticking out with its face anddatefacingthe audience, that is in a reversed position to other cards in case. The contents of wineglass then vanish by the
T
touch of a lighted cigaretteandtheperformer showing both hands perfectly empty, removes the cardsfrom case andadvancing to assistant, directs him tocutthecardsattheprofruding card.He lifts thisportionand discovers the coin whichwas originally in paper in the wineglass. Theperformerthendealsthefourcards lying beneath the discovered coin and holds them high up in his right hand backs to the audience. Thespectatorthenreadsdateon his cardand theperformer shows that thefourcards in his hand form the date on the coin. I will first describe the “ beginners ” routine which involves acouple of elementary sleights which most readers of this bu 11e t i n willbe familiar.
54
Previous to performance have say a Penny ofwhich you know thedate in the left hand trousers pocket. Place four cards corresponding to date on coin on top of the pack of cards in the reverse order, i.e., if date is 1947, place 7 on top of this a 4 then 9 and then an Ace. A small square of flash paper in right pocket. On table is wineglass,Cigarette and lighter or matches. Place the cards in the case and you are all set. To Perform-Remove cards and give a false shuffle retaining top stock. Allow removal of card from anywhere except top four. Crimp the bottom card of pack with the little finger of left hand by bending the corner a little downwards. Cut pack and place the bottom portion on top of pack. The crimped card is now approximately at centre of pack and next to the four “dated cards.” Place the pack in the case with edge of card with crimp visible up (to you). Leave flap open. Ask for the loan of a Penny and while doing so palm penny from left trousers pocket. Take the borrowed penny in right hand pretend to transfer, it to left and drop coin in glass. With right hand remove flash paper from right trousers
l
pocket and leave switched coin behind. Show p a p e r b o t h sides. Takeup glass. Allow spectator holding card to look at date on coin and write dateon face of card.Takethe coin andwrapit up in the usual paper coin fold. Allow it to drop into right finger palm and place “ the package ” in the glass. Take ‘the card from assistant with hand holding coin and pick up case with cards with left hand. It will be found an easy matter to insert card at the Crimp i.e., above the “ dated cards ” and allow coin to slip into pack behind it. Thecard provides adequate cover and actually assists the easy passage of coin. It will be found that coin rests about half way down pack in case. L e a v e card protruding. Light cigarette and touch off flash. Grip cards tightly at topand coin will be securely held in break. Show recovered coin andcards forming date. Show wineglass empty. The expert will find it easy to cull desired cards in a borrowed pack after sighting borrowed coin whichmaybe marked in his case and n o switch necessary. The final effect is the same.
“ Many magicians attempt to perform effects which require practice. If they refuse to practice (which is the only possible way to learn technically involved mover) then why don’t thev concentrate on the thousand;,of effects requirethat no practice.” Bill Simon-“ Sensational. Sleightly
THE MAGIC CIRCLE BANQUET HE 1954 Banquet at theParkLaneHotel, Piccadilly, proved to be a most enjoyable affair. As of always this social event gives onetheopportunity of meeting those members who hail from the country and make this one of the few occasions on which they travel to Town. Nearly four hundredsat down to a well served dinner. Speeches were nottoo long, the CommonSargeant of the City of London, Sir Anthony Hawke, wittily proposing theToast of the Society, the response beinggiven almost i n au d i b y1 by Douglas Craggs. One gathered that it involved some exciting magical adventures in the Midlands and Malaya ; in the latter place, a “ h a l f c u t ” c r o c o d i l e figured. F r a n c i s White, as only Francis White can, loosed a quick broadside of c u t t i n g w i s e c r a c k s i n succession before he bade the company rise and drink to “Our Guests.” A fine response to this Toast came from that distinguished broadcaster, Rchard Dimbleby. Duringa break in which the floor was cleared Ken Brooke intrigued, mystified and delighted a closely packed audience in the anteroom adjoining the Ballroom. At ten 0’clock dancing began to the music of Stanley Kilburn and his band ; it was short lived for the clock hands stood at ten twenty and
T
thecabaret (Someday a member of a magical society will find out thetrue meaning of this w o r da n dw o n d e r ! )w a s aboutto begin! Scheduled forthirty five minutes, it kept t o magical society traditionandran fiftyfive. In extenuation let us say that it had an exceptionally fine magical content whichwouldhave showed off to greater advantage with better stage management and presentation. It did howeverhave a theme and that theme was “ Light.” Claude Chandler who finely presented the “ Glost ” illusion associated with David Devant, wanted, and had to ask for, “ Light.” Bob Harbin with his sensational “ Out of this World 1’ illusion didn’t wantit and had to say so ! Paddy Victor used it for hisdelightful1 handshadows, and the Voltaires with their terrific act who closed the m a g i c a l p a r t of the show, prodcued it at will. A fine looking team of hoofers, the “ Gainsborough ” girls opened and closed the show. During the evening presehtations were made to Horace King, Peter Newcome and Leslie Turpin. The committee all did a fine job of work and we offer our thanksto them ; theywere MacWilson, Horace King, Bernard Lovett, Gil Leaney, Marchant and John Salisse.
55
MAGIC-GO-ROUND HEN, in the February issue we wrote relike myself to know that he has a Science Fiction gardingwhat weconsidered the wron&lnovel readied for publication. The title is “World tendency ofmodern children’smagic we in Eclipse” and the publisher is Peter Owen. never expected so many conjurers to agree with us The first weekin May is going to be a busy week. On the 3rd the Watford Society will hold their a n d SO few to disagree, and Yet suchwas the case, so for . once . in a time it looks as though we were ~~~~~l ~i~~~~ at Watford T~,.,,, ~ ~ 1 ( 1A. amaz~ on the right lines. ing Society for at this annual event more than 150 We have quite a numpeople attend, and yet ber of congratulatory the Society onlyboasts letters regarding Jack some 3@odd members. Avis’s “ Hole in the It has a percentage of Table,” and those who really good magicians have tried o u t t h i s that cannot be equalled effect will never leave by any other Society it out of their reperwe know in this countoire o f table magic. try). The 7th sees the It ‘had a very g o o d Supper sponsored by the British R i n g for reception f r o m t h e Les. Levante, whilst magicians who really matter lin America as the 9th will see one of well, and so too:did his those verysatisfying miracle card stab. Unique M a g i c i a n s ’ Club shows at Victoria It was with a great Hallswhich onlyHarry sense of regret that we Stanley knows how to heard of the sudden illstage. ness of “ Hen” Fetsch which meant that he April 25th saw me in would b e unable t o Amsterdam giving a keep the lecture dates lecture to some 300 which Harry Stanley continental magicians. hadarranged a t t h e There are quite a lot of Unique Studios. We nice things I wish to extend our own wishes say about this trip next our a n dt h o s eo f month but for the moreadersfor a speedy ment will be content recoveryand convalesin t h a n k i n g Henk cence coupled with the Vermeyden a n dh i s hope that his visit to Dutch colleagues for THE LATE J O H N GAMBLING theseshores will not t h e i r marvellous orbe delayed too long. ganisation and charming hospitality. Our publisher has a verynice treatise on ring We were most surprised quite recentlywhen tricks by Hans Trixer, who now, as most of our reading an article by Kaplan on Nate Leipzig, that readers will know, is resident in Rhodesia. When he attributed the invention of the Twentieth Cenwe saw Jack Lamonte. at the C.A.A. the other tury Silks to this very great magician. The date eveninghe told us that he just completed the given was 1910. Wewere surprised because we illustrations.Also on Holland : FredKaps goes have looked upon Kaplan asan informed authority to the Lido, Paris for five months commencing in Without in any way trying to detract from the May. veryfine work of Leipzig, credit for the initial effect must go to Devant who was performing the A lecture that we would like to hear again was effect at the turn of the century. A description of givenbyPercyPress at the Magic Circle on this method is given in “ Later Magic,” which was “Those were the Days.” It was worth theprice published in 1904. At the same time the trick was The following week oftwo year’ssubscription. o n sale using faked handerchiefs and advertisePercy also staged a show of magic at the C.A.A. whichwasvoted oneof the most entertaining mentscan be found in the very early copies of Stanyon’s “ Magic.” shows that hadbeen put on and further that it should become an annual event. Those who took It is excellent news to know that our friend part were Jimmy Rodgers, lack Crossbie, Michael Will Dexter returns to London at the beginning of Bailey, Fred B a r I o W, Margaret Newman and May. It is also good news to Science Fiction fans myself. PETER WARLOCK
W
I
PLAYING WITH M A G I C A ruperbly produced cloth-bound book that ir a MUST for the props Cloth-bound children’r marerid. entertainer Post8g.
6d.
m/-
SPECTATOR’S C H O I C E Professional standard magic of the highestorder. N o elaborate required
1’11 READ Y O U R MIND Mental magic in the best Annemann tradition. Packed with practical Postage Id
17/6
716
Postage 3d.
MAGIC WAND R?UBIC,€CATIONS Challenge Instant Hypnotism and M888 Hypnotism
GeorgeArmstrong Cbandu’s Psychoanalyrh George Armstrong George Armrtrong’r Pmnonition GeorgeArmstrong Magic Wand Ye8r Book 46/9 George Armstrong T r k k r of the Trade Gaorge Armstrong The Universal Mind Ron Baillie Bohleno’s Mysteries Henry Bohlen 1’11Your Read Mind Aage Darling Entertaining with Contact Mindreading S. E.Dexter Entertaining with Hypnotism S. E. Dexter Ken de Courcy Automentalism Ken deCourcy Zodiac Telepathy JohnRamsay’sCups and Balls Victor Farelli T h n k s to Leipzig ! Victor Farelli
~
~
21110/3 10/3 5/3 2/7 12/9 10/3 17/9 7/9 10/3 20/3 1219 25/6 10/3
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six living and Dead fytr Teral Garrett The ConcertVentriloquist 8nd Children’s Entertainer Maurice Hurling Jamemsophy James Stewart Strictly Magic Eddie Joseph Mastered Amaze, Mt Koran & Lamonte l o n i Koynini’r Card Miracles Toni Koynini Stunts With Strge Money Jack Lamonte Suzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina 9’
”
Stooging Around Playing With Magic Magically Yours
’’
7/9 7/9
5/3
10/3 513 5/3 l0/3 7/9 5/3 719 20/6 (cheap edition) 719 JoeStuthard 5/3 WilfredTyler 30/6 Verrall Wass l5/6
FROM T H E PUBLISHERS
THE MAGIC WAND PUBLISHING CO, 62 WELLINGCTON R.OAD, ENFIELD, MIDDLESEX
i I
The Magic Circle President : Hir
Duke ut Somerset. D.S.O., O.B.E.. J.P.. Y.I.Y.C. Vb-Preddent: DoUglU CmggD. E-.. M.1 .M.C. Cfabroom and Library and Muicum : Grace the
Hearts of Oak Buildingr, Euston Road, London, N.W.I. Magical Theatre :
King George’s
Hall,
W.C
Forthcoming EventsMay 15-Auction Sale 2.15 p.m.
l ~
Particulars from Hon. Secretary :
Francis White, 39 Alvetstone Avenue, Wimbledon Park, S.W.19
t+
PETER
JACK HUGHES
WARLOCK’S
PENTAGRAM is published on the 24th of r u b monthand CID b obtained direct from the publishers for 117 per cin~le copy. Annual Subscription 181port free. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscripts for publicationandbooks review should be wnt to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
Every Advertiser’s goods arefullyendorsed ?UBLIBRSD 111E BT
Pll0PR-W
will be pleased to send you
full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
CONJURING BOOKS FOR SALE OLD A N 0 N W . Le? me know your rants LIST FREE FOR STAMPHD ENVELOPE N o Callers
G E O R G E JENNESS 47 INVERNESS AVENUE. ENFIELD, MIDDLESEX
by thisMIDDLESEX Bulletin
1 R I MAGIC W A N D P U B ~ H M Q COUPANT. g2 W S L L M Q T O N ROAD. BNIIELD,
*
INTRODUCTORY NOTE N HIS admirable work on card magic, “ The Cardician,” Mr. Edward Marlo, after detailing
I
the routines ofseveraltricks, throws at his readers, in a chapter entitled, “ Some Challenging Ideas,” two plots without solutions. The first he calls, “ S p e c t a t o r Coincidence,” and in the our friend February i s s u e o f “ H u g a r d ’ s ” MilbourneChristopher gave his version of the effectwhich made use of faked cards. Inthe following issue of the same magazine Horace E. Bennett of Richmond, Virginia, came up with a method he had evolved. Mr. Bennett’s was certainly a fine trick but one felt that he had
departedfrom the original plot too.much to suggest thatthe trick was a solution. In fact Mr. Bennett himself admitted so in as many words.
Our own feelings towards the effect,were governed by the very thoughtful outlook of Marlo and we felt quite certain that in posing this problem a faked pack was not in hismind. We would therefore like to describe our own solution of the problem, which can if needs be performed with two borrowed packs of cards. First then is the plot as detailed by Marlo, to which we append our solution.
THE CARDICIAN’S FIRST PROBLEM PETER WARLOCK RED DECK is spread face up while a blue deck is spread face down. The spectator is asked to think of any card in the face up red deck. Now while he is concentrating on this card he is asked to remove any one of the face downcardsfrom the blue deck. Having done this, he next removes.the card he has been thinking of. Needless to say both cards are identical and the spectator has done it all.” Actually the details of the denouement are not clear for there is no indication ofhow the cardsare shown to be .similar. Knowing well some of the tendencies of card technique, we can think of many who would pick up both cards and place them on top of one of the packs.We are assuming therefore that at the end of the effect after both cards are .drawn from the two packs that the face down card is simply turned face up and it is seen to match the other card. Our method issimple and based upon a logical breakdown of the effect. Two things are apparent (provided unfaked packs are used). The first is, that the face up card is freely chosen, and the second that if the spectator really pushes any card from the other pack. then, unless he is
“A
VOLUME 8, No. 8
-
fortunate enough to strike the actual matching card, the card touched and withdrawnmust be changed for one which matches the face up card. Few card table changes.are fully effectiveor so they appear to us, with one outstanding exception, the PaulCurry“TurnoverChange ” andis upon this sleight that our own solution is based. The performer will require two packs of cards, In his one withred backs and one withblue. left hand pocket he has a card index to contain a full packof fifty two cards.Actually the backs of the pack in the index need not match either of the others thus allowing the useof borrowed packs, for the back of the card later taken from the indexisneverseen. With the index in place there is no other preparation. The presentation follows the plot previously outlined. The blue pack is removed from its case and is spread, not in a straight line but in the form of anarc, one end of this arcstarting at the middle of the left hand side of the card table and proceeding to the centre of the back of the table. The redbacked pack issimilarly spread face up atthe rightsideof the table. The performer stands both hands in pockets and the
1/6. (20 Cents)
-
MAY 1954
58 spectator is asked to think of any card then touch any face down card and slide it out from the face down spread. Next with the same card in mind, he isfurther requested to push the thought of card from the face up spread. Immediately the card is moved the performer locates its duplicate in the index, removes it and palms it in the left hand. The performer taking his time over this part, for slowness in action at thispoint isused in the patter to emphasise the impossibility of the feat, brings his hand out of his pocket and placing this hand over the face down cards on the right hand of table scoops up the spread adding the palmed card andatthe same time remarking to the spectator, “ I think, sir, you will agree withme that therewas no wayof your knowing which card you pushed out from this.” As this is said the cards are turned face up and the right hand moves in to fan the cards and quickly flash their faces. As the cards are closed the left hand little finger come between the added card and the rest of the pack so that it is in the “get ready ” position for the Curry “ Turnover Change.” The left hand drops to the side whilst the right hand scoops up the face up pack this time remarking, “but here sir the card you had inmindwas in don’t you think it rather strange that sight something like coincidence moved your hand and mind in each case and that the card you removed from the face down pack matches the one thought of and takenfrom the face up pack.” As the performer says the words “face down pack matches,” the right hand with thecardsitis holding is pointing to the face up card, and the left hand comes up and in turning over the face down card executes the “TurnoverChange” revealing the matched cards.
THEFEMALEOFTHESPECIES
IS.
MISS MAY HOWlE
..
....
fact
Prize Winner, I.B.M., Edinburgh, 1953
“ I want, dear Mr. Smith, to im ress upon you that ncting is the most important part o f magic. That ia e thmt many who call themselves m&ns hme never understood. A s one of the visual arts, magic only exiits
when it ispresented to a body of spectators, to an audience thst ie so ”y. when it is acted. Masterinp.the rcchnique pf mwic. the sleights and tricks with which the books are filled. $d : ignoring the acting of it, WiH rodtce a brofesaor dfconiurins but not a masician. Wilfridlonaon, Mr. Smith‘s Guide to Sleight 9f &nd
T H E CARDICIAN’S SECONDPROBLEM PETER WARLOCK H IS EFFECTis
calledby Marlo, “The Spectator’s Prediction.” It goes like this :“ The spectator writes down the name of any card he wishes on a piece of paper. The paper is never handled by the cardician. Thespectator himself isolates the pelletin a glass or on his person. Next a deck is spread face down and the samespectator pushes out any card. Later he opens his paper and reads out what he wrote. He himself turns over the card heselected andit proves to be theone originally jotted down.” Marlo adds to this . You think you already have an answer? “ Come now, if you think about it, it can’t be a forcing deck ! ”
T
. .
Now, first of all, this plot is not new in this country. In fact Jack Morrison has been performing the ultimate in this type of plot for many years. Jack, after spreading a pack face down on a table, asks a prominent member of the company present to think of his favourite card. This person i s not a stooge. Another member of the audience, again neither stooge nor confederate, is asked to push outonecardfrom the face down spread. The person thinking of the card is asked to name it, whereupon the memberof the audience who pushed the card out from the spread is asked to turn the face down card over. It is the same as the thought of card ! That is pure magic for the
59
performer never handles thecards after placing them on the table. Marlo, in describing this effect, reaches into the realm of the mentalist for the preliminary and seems to make out quite a meal of the method of obtaining the knowledge of what the spectator has written. Also in this problem he is more explicit, for at the end it is the spectator “himself” who turns up the card on the table. As a point in the presentation we should have thought it better for someone other than the spectator toread out what is on the billet for, after all, the spectator knows what he has written ; he doesn’t have to open a piece of paper to remind himself. Probably quite wrongly I am viewing the effect from a performing angle rather than that of the technician. The logical breakdown of the trick resolves itself into :l The knowledge of what the spectator has written. 2 That the card drawn from the pack must be subtly changed for that named on the paper or 3 With the name of the card known, that card must be forced from the face down pack. First things first, it would seem that in a card trick the simplest method available for obtaining the information about the name of the cardwritten on the pelletisby using a faked card case that carries a carbon at the back of one of it’s side. A full description of this will be found in “ Mental Bargain Effects ” by Annemann. The result which is well known to readers is that if when the pack is in the case a piece of paper is placed on top of the case, any writing made on the paper with a hard pointed pencil or ball pointed penwillbe duplicated on the faceof the card immediately underneath the carbon. Having knowledge of the card as the pack is removed from its case is only part of the trick. The reallydifficult part .is to conform with the description given by Marlo, which you remember goes on . . . “ next a deck of cards is spread face down and the spectator pushes out any card from the pack.” Now if at this point there is to be no monkeying with the card that the spectatorpushes out from the pack and as Marlo continues . . . “ Later he opens his paper and reads out what he wrote. He himself turns over the card he selected, etc . . . ” then quite obviousely unlessheis guided in his choice of a card, the pack must be a forcing pack. Equally obviously we can be sure, taking into account Marlo’s last few words, plus the knowledge that Marlo is an outstanding technician, that the use of an unlimited number of forcing decks is ruled out. Therefore, we come to two solutions, firstly that the spectator is guided in his choice the performer knowing the position of the card written on the paper (Milbourne Christopher suggests that the chosen card be
brought to a certain position from the top of the pack, SO that when the cards are spread it is easy to locate), or secondly the card drawn from the pack by the spectator is subtly changed by the performer before it is turned over by the spectator. Keep these alternatives in mind and go back to the point where the spectatorhas written the name of a card on a billet, an impression being obtained on a card on the face of the pack inside the case. The magician takes the cardscasually and as they fall into his hand he notes from the impression on theface card the name of the card written down. Now for ease in working the pack is stacked in a known order. With it is an easy matter to locate the card and hold a break above it as so much of the trick as is necessary is unfolded. The cards are casually cut bringing the chosen card to the top. At this point Mr. Christopher brings it to eighth position by running off that number of cards from the bottom to the top, the cards then being spread and the spectator physically influenced into touching that card. An alternative not by any means certain would be to crimp the bottom card. Cut the pack again and in spreading the cards give the selected card just that extra bit of room that would make for easy touching and withdrawal of the card. Having got the card to the top of the pack, however there are means of changing the card pushed out by the spectator at random. There is of course the one chance in fifty-two that the spectator may actually draw the top card and you haveperformed a miracle for the other cards can be immediately turned over and shown. Let us take one method of changing the card and still allowing the spectator to turn over the card. It is this: the spectator draws a card from the spread and leaves it on the table face down whilst he goesthrough the performance of finding the billet and opening it. Ashe does this the performer scoops up the rest of the pack, squares it and places it down again on the table. The face down card is now openly dropped on top of the pack. The pellet being opened and the name of the card read out, the pack is taken with the dealing hand and a second dealt which means that from thespectator’s point of view the card he took from the pack has been dealt ontothe table. Actually it is the chosen card waiting to be turned over.
For myself, I feel that the effect loses nothing by the performer turning over the card providing this is done before thename of the card is read aloud. The handling goes this way :The card is located in the stacked pack and brought to the top, the cards then being spread face down on the table. The spectator touches one card and draws it from the pack leaving it on the table. The remaining cards are scooped up by the performer with his left hand. He squares them up and with his third finger between the top card and the rest of the pack gets ready for the Curry Turnover. Taking a pencil from hispocketwith
60 the right hand (the fact that something-is held by the right hand gives the left hand an excuse for turning over the card) he points in the s p e c t a t o r ’S direction saying “ First of all you wrotethename of acardona pieceof paper which was folded and placed by yourself in your own pocket. The name of that card is known to you and you only. Secondly, from a packof cards you were asked to touch one and drawit from the pack. That card as you can see is the --of-(At this point thechange ismade). Will you please hand the pellet of paper to your neighbour
and ask him to read aloud the name of the card you wrote on the paper” . . . and then on to the remarks about coincidence. There are of course many alternative endings to the trick once knowledge of the card has been gained. Any good force would achieve good effect, and here I think I would rather allow another of thecompany to draw thecard rather than the spectator who wrote down the name of the card. T h e n at the endone c a n use the delightful Hofzinser sympathetic twist.
“ 1 would impress upon you the importance of studying all sieights with intelligence and regarding them purely as examples. First try them as I have described them ; then see if by some alteration you can make them more suitable for your own hands. Try to d o them also with objects other than those 1 have mentioned.” Wilfrid Jonson, ” Mr. Smith’s Guide to Sleight of Hand ”
HANDLING THE WINDOW ENVELOPE PETER WARLOCK OME TIME back in the last volume we wrote up an item which we entitled, “The Perfect WindowEnvelope.” It was a device that we foundquite useful and easy to handle. When Mr. Edmund Rowland came up with his idea of a reflector on part of an envelope andatthe same time pointed out the illogicality of picking up a stack of envelopes when only one was needed we were suitably impressed. Mr. Rowland’s idea is an excellent one, but looking at it from many angles one is struck by certain limitations. In the first place written nameswouldbedifficult to readbecause the writing will appear to the performer to have been written backwards. Secondly the handling of the card is such that an inobservant spectator may imply that the card istwisted round giving the performer a glimpse. Thirdly the en v e 1o p e , because of its preparation, must be spirited away by the performer. None of this is written with the idea of belittling the idea ofMr.Rowland’s but rather, b e c a u s e o f the observations made regarding logicality, we started thinking about the handling of the window envelope in the most convincing manner. We did get somewhere and though there has been little added, that little makes agreat deal of difference. First of all we have dispensed with the more usual type ofwindowenvelopewhichinvolves the use of an envelope that must be retrieved and kept by the performer at the endof the trick.
S
Gone too is any idea of the use of a stack of envelopes. In its place we have adoptedthe published but lesser idea of a pay envelope with a slit across what would be the address side of a a businessenvelope. This slit is made breadthwise about half an inch from the flap end of the envelope. That is all you require apart froma visiting card, which if necessary may beborrowed. Prior to using the device in a routine where it is necessary for the performer to obtain surreptitious knowledge of what a spectator has written, the envelopeisplaced slit sidedown on the table. In the performerspocketarea number of visiting cards or blank cards of a similar size. Takinga pencil f r o mh i sp o c k e t , the performerapproachesa spectator and taking a card hands it to him with a request that he thinks of a person, etc., and, writes it upon the card, then turning thecard face down. As he does this the performer turns awayandpicks up the envelope. H ‘ o l d i n g i t i n h i s left handhe approaches the spectator with the card, first takes backhispencil and then with the envelope slit side down against his hand andthe flap end towards the spectator, takes the card stillface downandveryslowly and deliberately slides i.t apparently into the envelope. Actually of course it passes through the slit on the underside of the envelope all that is with the exception of an odd half inch which positions itself in the equally odd half inch of the envelope above the slit. The flap
l
61
is folded over and the envelope back towards the to performer is brought up with bothhands shoulder level. With a q u i c kg l a n c e down towards the back of the envelope, the writing on thecardprotrudingfromthe slit is duly noted and simultaneously the envelope is folded in half, the card being on the inside, and in this condition it is handed to a spectator with a request that he holds it very tightly untilit is needed. This instruction is invariably adhered to for in the spectator’s mind he will at all cost try and avoid
your :having furthercontact with the envelope. He is very unlikely to be aware that in so doing he is effectively concealing the protruding card. When the time comes for the revelation of the name written on the card the performer takes the envelope in its folded condition steps back and unfolds it card towards him. The flap of the envelope is folded back, the card removed and handed to the writer for checking. The envelope is torn into pieces one tear coinciding with the slit, and dropped on the table or a chair.
“ I would warn you at this stage against doing so much practice before a mirror. When once you have made some progress with a sleight you should practice without the mirror in front of you, for there is a danger of becoming so accustomed to your reflection that you will strange when there is only an audience in front of you. You must remember also, that the mirror gives a view of your work from one direction only, while it will be viewed when you are perferming from many different angles.” Wilfrid Jonson, “ Mr. Smith’s Guide to Sleight of Hand”
“GIVE A W A Y COLLECTING BOX” JACK AVlS N THE ‘ Edmund Rowland ’ issue, the author described an excellent effect in which after a number of spectatorshad inserted various coloured chips that they were holding intoan examined box held by the performer behind his back he was without any undue trouble able to state which person had held each chip. Mr. Rowland as readers will remember recommended the use of a prosaic mustard tin suitably altered. Now theother evening Jack Avis came up with his version and handling of the effect. First of all he hadtakenone of those little plastic boxes that Davenports sell together with a plastic die, and had made a suitable cut in the lid of the box to admit one poker chip at a time. Regarding the little fake that is slipped into the box, he
I
~~
I
I
had reduced the height of this. Bestof all of Jack’s suggestions was, that instead of holding the box behind the back, the p e r f o r m e r s h o u l d drape a handkerchief over it lifting it ss the spectator came forward with his hand to drop the chip throughthe lid. This is not only very convincing but the performer is able to give the box the necessary turns in a most unsuspicious manner. Finally, though Jack didn’t mention this, if you have the box and the die plus the trick that goeswith it, you’llfind that using the handkerchief method it is justas simple to tell the spectators the colours of their chips without removing the lid.
~
Do youknowhow to bow, Mr. Smith ? There is a certain art in i t . A bow should be neither the wooden bending of $he hips, nor & obeisance of the whole figure, but a graceful curve of whole body accompanied by a n inclination ‘of the head. Go to the theatre and watch an accomplished actor bow. Go, if you can, and see the Russian ballet. More canbe conviyed by,’ bow than you havedreamt of in yourphilosophy.”WilfridJonson, “ Mr. Smith’sGuide to Sleight of Hand “
LMAGIC-GO-ROUND-continued from page 63 magical press as a whole, of the cancellation of the event. The illness of “Hen” Fetsch and the postponement of his lectures in London cbme asa great disappointment to all those magicianswho
I
l
had already.profited by his originations and were anxious to meet this man of charm in the flesh. By the time these words appear in print wefeel certain that he will have fully recovered and plans will already be under way for a definite appearance in the Metropolis.
62
“ SLEIGHTLY SENSATIONAL” by Bill’Simon (Published by Louis Tannen, price 14/-)
Those who read Simon’s excellent
book
Efectiue Card Magic know that here is one card
man who can .give a new plot or a new twist to an old plot that makes the reading of his effects worthwhile. In the present little book of some forty pages there are Some ten card effects and a bonus of three miscellaneousitems. There isalso a short chapter entitled “In General” which contains a wealthof commonsense adviceand from which we took some quotationsfor the previousissue of the “ Pentagram.” Of the card effects that Mr. Simon describes we like best, “ The Transposition ” (an effect with dice as well as cards), the “ Four Packet Shuffle ” whichis a very s t r a i g h t f o r w a r d version of Vernon’s “ Triumph,” and the“ Vital Prediction.” This last namedisbased on an idea of Curry’s and a number of versions withvariations appeared inthe previousvolume of this bulletin. The “ Miscellaneons ” section covers a sponge ball routine, a version of the ring on wand (or pencil) and a silver and copper transposition. All the effects show that the writeris a loverof good magic. We h a v ea l w a y sf o u n dt h a t any individualistleaveshisfingerprints on any effect he touches.Mr.Simon’sis that of what some might think is the unnecessaryreplacing cards back on top of the pack and then either turning them over or taking them off. Well printed and with adequate illustrations we consider the book excellent value. “MOHAMMED BEY’S ROUTINE WITH THE OKITO COIN BOX ” by S. Leo Horowitz (MohammedBey)Publishedby Holden’s Magic Shop and sold complete with box and all necessaries for 21/-
This is an item that all magicians who like a Mr. blend of subtelty and skillwillrevelin. Horowitz as his basis has taken the original Okito Coin Box, (which was, and in this version is quite a simplebrass circular box) andaround it has woven a web of some seven delightful mysteries. In the main they are penetrations, but there is a transposition which we let Jack Avis perform for us that isclose quarter magic at itsbest. There is also a delightful payoff at the conclusion of the routine where the boxisopened and insideis a little latex rabbit. Magicians will like the subtle manner in which the general awkwardness of the turnover of the box is eliminated and subtelty and little else achieves the desired -resuit.
This is a must for those who wish to add to their close-up repertoire. “PEN-I-PIN ” by John Derris (Marketed by John Derris, price 6/-)
You’llremember that sometimeback John Derris m a r k e t e d a very popular itemcalled “Trilogy.” This timehehascome up with a miracle penetration of an examined coin which takes t h e fol.1o W i n g shape. The performer removes from hispocket a parcel just large enough to hold a coin. Through various parts of the p a r c e 1 c o l o u r e d headedpins are stuck. Everything is shown quite fairly and the pins are slowly withdrawn. The parcel is opened and shown that its contents consist of a penny which is immediately handed out for examination. Very effective and recommended. “ POKER CHIP CHICANERY ” by AI Koran and Jack Avis, price 5/This again is a close-up effect of€the beaten track. Fivecolouredpokerchips are tipped out of a smallmetalbox and wrappedin a small piece of tissue which is then handed to a spectator to hold. One colour ischosen and presto ! the spectator opens the paper and finds that he only has four chips, the one of the chosen colour being missing. The box is then opened and it is found that the straggler has returned. Again very effective and recommended.
“ A MAGICIAN GOES TO DINNER ” by Ecldie Joseph (Published by Max Andrews, price 7/6) This is a booklet of sometwentypages touching on a field that has been much neglected. It deals with tricks of an extempore nature performed at the table by a diner. Devant devoted a chapter to this in one of his books and and so too has Martin Gardner. In all there are a score ofeffectsmakinguseof the thingsone would expect to find on or about the table or the diners . . . fruit, cigarettes, a bottle,rings,coins etc. The handling ineverycase sounds most deceptive and there is one itemwith an empty bottle that has heldspirits that sounds a dilly. We would say that every magician who wishes to increase his repertoire of impromptu tricks would wellprofitbypurchasingthisverymoderately priced booklet. Davenports. From these our goodfriends we some havereceivedmanylistswhichinclude attractive items.There’s a “ Demon ” ultra clip board which sounds a must for any mentalist at a modest price of lO/-, whilst Dr. Jak’s ’‘ Multiball and “ Four Blacks ” effects are throwaways at 5/- each.
63
MAGIC-GO-ROUND UR OWN little world of magic has become ful Viennese present some of his effects at a party poorer with the death of our friend and given by Henk. For our extra delight he showed neighbour,Sam Hiddleston. A man who us a genuine Hofzinser item. saw goodinevery conjurer, andfrom whom, even s o m e of t h e viler concoctions of King It is not our job to give details ahead of Qeorge’s Hall would simply evoke the words, “ It normal release regarding society activities unless specially asked, but we can say, speaking in generwasn’t so good” will be missed by the many who alities, that the layout for this years British Ring had the privilege of knowing him. His great interestwas in the collecting of playing cards, and Conventionshould make it the bestever. The over the course of several years he hsd amassed establishment of a .Headquarter Hotel, which experience has proved essential on such an occasion, a some finespecimenswhich he exhibitedon has, as most members know already been fixed. number of occasions at various functions. Gone too is On the “Ring” Laurie I r e l a n d the. Levante supand never again per at theHorseshall weseehim shoe p r o v e d a perform a sponge very jolly affair. ball routine, the Quite frankly we “Havana” deal s h o u l dn e v e r or hisdelightful have thought that version of “ Find Les Levante was the Lady.” f o u r t e e n years older than when The lotof the we last sawhim enthusiastic magon the occasion ical playboy can of his ‘Au Revior’ sometimes be a arranged by the strenuous one as w eo u r s e l v e s late Will Goldston at the Russell have found this H o t e l in1940. m o n t h . From Only a handful the datewhen we Amsterdam-April-Fred Taylor, Hens Trunk and Hcnk Vermeyden that were present went o v e r t o on that occasionwere at the Horseshoeand of Amsterdam until the time we are writingthis, that number three who performed in 1940 showed there has been a steady run of worthwhile events gr meetings that have engaged our attention. again on May 7th. They were Herbert J. Collings, Amsterdam proved more than magically interestBill Stickland and myself. ing ; for our chief part of the visit it showed us It is amazing how one enthusiastic magician how a magical lecture should be presented. Our is able to organise an event such as a convention good friend Henk Vermeyden, whose hospitality whilsthisconfreres, without .hishelp, are all at we feel we can never repay made certain that not sea. It happened at Cotswold when Wilfred Tyler only should we have the best conditions for went further afield, and now to-day we see an giving our lecture but also that it should be properly advertised event, the Bideford Convention flop at staged. It is a lesson that we shall take to heart, the last minute. This event was the result of one for at Brighton, in September, we are in charge of enthusiastic organiser,Edwin. We know that he t h e l e c t u r e s , in which J. F. Orrin and Gus had plenty of willing helpers, but it was his drive Southall w i l l t a k e p a r t . Coming b a c k t o that made a convention in the country town of Amsterdam, the visit gave us the opportunity of Bideford a possibility. It is said thatthe event seeing the KalanagandGloria showwhich, for died through lack of support, a thing we find hard dressing, teamwork and quality of magic certainly to believe for we know quite a number in London, has no equal in Europe, and judging by informed Bristol and Plymouth who were ready to support critics, nor America. What was a pleasant change the convention. It is particularly hard on those was to see a performer who had the sense to sell who seek to combine aholidaywithmagicand magic rather himself. book accommodation that has to be paid for. It is also a bad thing for the dealerwho, at very We also met Hans Trunk. All of our readers little profit to himself, is willing to set up a stand. will no doubt have read the very fine series that Particularly bad was the lack of proper announcehe wrote some years back in “Abracadabra,” and ment to registrants, either directly or through the it gave us a magical experiencein seeing the delight-
0
64
. _ o
.
P L A Y I N G WITH MAGIC A ruperblyproduced cloth-bound book that is a MUST for the children’s entertainer 301Postage M .
SPECTATOR’S C H O I C E
MIND
I’ll R E Y AO DUR
Mental magic in the best Annemann tradition. Packed with practical marerial. Cloth.bound 1716 Postage 4d
Professional standard magic of the highest order. N o elaborate props required 7/6
Postage 3d.
MAGIC WAND PUBLICATIONS Ch8llenge Instant Hypnotism and Mass Hypnotism
George Armstrong 21/Chandu’s Psychoanalysis George Armstrong 10/3 George Armstrong’s Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 5/3 Tricks of the Trade Gnorge Armstrong 2/7 The Univrrsal Mind Ron Baillie 1219 Mysteries Bohleno’s Bohlen Henry 10/3 I’ll Your Read Mind Aage Darling 17/9 Entertaining with Contact Mindreading S . E.Dexter 7 / 9 Entertaining with Hypnotism S. E. Dexter 10/3 Automentalism Courcy Ken de 20/3 Telepathy Zodiac Courcy Ken de 1219 John Ramsay’s Cups and Balls Victor Farelli 2Sl6 Than S to Leipzig ! Victor Farelli 1013
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s Entertainer Maurice Hurling Jamesorophy James Stewart Strictly Magic Eddie Joseph Mastered Amazement Koran & Larnonte Toni Koynini’s Card Miracles Toni Koynini Stunts With Sbage Money Jack Larnonte Suzy and the City flickers Jack Larnonte Where Houdini was wrong Maurice Sardina P’
9’
Stooging Around Playing With Magic Magically Yours
9)
7/9 7/9 513 l0/3 513 5/3
10/3 719 5/3 719 20/6 719
(cheap edition) JoeStuthard S/3 Wilfred Tyler 30/6 Verrall Wass l5/6
FROM T H E PUBLISHERS
T H E M A G I C W A N D P U B L I S H I N G CO. 6%WELLINGTON ROAD, ENFIELD, RIIDDLESEX
The Magic Circle President : His Grace the Duke of Somerser.
D.S.O.. O.B.E.. J.P.. M.I.M.C. VIc+President: Douglu Cram, Emq.. Y.I.N.C. Clubroom and Library and Museum
:
Hearts of Oak Buildings, N.W.1. Euston Road, London, Yagicrl Theatre :
King George’s Hall, W.C.
Forthcoming EventeJune 12-Concert July 16-A.G.M. Puticulara from Hon. Secmtary :
PETER WARLOCK’S
PENTAGRAM is published on the 24th of oath monthand can be obtained direct from the publishers for 117 per singlecopy. Annual Subwriptiolr 181 port free. PUBLISHED BY:
The Magic W8nd Publishing Co. 62 Wellington Road, Enfield Middlesex Manusoripts for publication and bookr for
review should be rent to the: EDITORIAL ADDRESS:
Francis White, 39 Alveretone Avenue,
Wimbledon Park, S.W.19
EveryAdvertiser’s
24,
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
JACK HUG= will be pleased tosend fulldetails of
you
THE DE LUXB “SU-TABLE” together with all his other effects inreturn for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9. ~
~~~~
~
~~
CONJURING BOOKS FOR SALE OLD ANI) NEW. Let me know your w m t r LIST FREE FOR STAMPED ENVELOPE No Callera
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
goodsare fully endorsed by this Bulletin
PUBLIOHED B 1 THE PROPLIUTORS THE MAUlC W A N D PUBLIBHINOCOMPANY. 62 WELLINOTONROAD,ENPIELD.MIDDLESEX A N D PRINTED BY HBRBERT WALKER & S O N (PRINTURS) LTD., W I L L CROIT, SHIPLEY,YORKSHIRE
*
THE OBEDIENT COLOURS THE LATEDOUGLAS " A variation of the ' Indian Sand ' trick was ~ e x t introduced (sundry and various pieces of coloured tissue paper in glases being used instead of sand). and MT. Dexter wasablr to pick out from a mass mixed in a glass bowl, a handful of pieces of any of the colours as they were chosen" Magic Circular. Volume 10 (1915-16) Page 173 HIS is an effectwith coloured paper pieces similar to the Indian Sand trick, but far more artistic andclean in its execution, the necessary apparatus being of small cost, and thewhole effect easily performed. The requisites are :1. Five ordinary tumblers of as large a size as possible. 2. Five china saucers also rather large. 3. A glass sweet or fruit jar with a cover. 4. Five lots of different coloured tissue paper (say red, white, green, blue and orange).
T
n
These pieces are made up from the ordinary sheets and each piece should measure about one inch by three quarters of an inch. It will be found that two sheets of tissue of each colour cut with a paper knife provide a sufficient quantity.
VOLUME 8, No. 9
-
DEXTER
A note regarding thejar. Thisshould be large enough so that the hand can move comfortably inside it. To prepare for the effect stand the saucers in a row on yourtable, and oneach saucer, a tumbler containing a number of the colouredpieces loosely dropped in, each tumbler, of course containing a different colour. (if the pieces are wellshaken
before being placedinside the tumblers it is amazing howfew ittakes to fill the glass.Lying on the table and just behind the rim of each saucer, is a small bundle of the coloured pieces, neatly stacked and tightly compressed together about half an inch thick; theyare kept secure by a strip of tissue round the bundle. A small length of fine florist's wire is run under the band, the ends fastened together, and a few twists given to the large loop thus formed close the package, the small upstanding loop forming a holder to be clipped between the fingers. To present the effect,pick up the glass jar, remove the cover placing it on the table. Standing to the left of the table empty the papersfrom each tumbler into the jar. Now replace the cover, and holding the jar on its side shakeit aboutand move it from side to side so as to thoroughly mix up the various coloured pieces.Whenthey are well shaken together, and present a pretty appearance from the outside, stand the jar on the table in front of the saucers and remove the cover. Invite someone to call out any one of the five colours. Directly one is given, pick up the saucer with the corresponding coloured package behind
1/6. (20 Cents)
-
JUNE t954
66 by inserting the right hand finger tips under the rim and allowing the wire loop of the bundle to come between the second and third fingers, about midwaybetween the first and second joints of same, which are then pressed together so clipping the wire loop between them and suspending the bundle at the back of the hand. Slide the saucer towards the left hand which picks it up, whilst the right, clearly seen to be empty, (but really holding the bundle at the back) is inserted in the jar. Directly it is in, the .package is allowed to drop on the loose paper pieces,when, under cover of burying the hand in the papers and stirring them round, the fingers obtain possession of the bundle, the thumb nail ripping off the paper band, and leaving it, together with the wire loop, in the jar. Bring up the hand containing the pieces from out of the jar hold it over the saucer, ask for the name of the colour to be repeated, and immediately begin to work the pieces from the hand dropping them onto the saucer and spreading them about as much as possible. Repeat this with one or ‘two colours, each time pressing down the papers in the jar so as to convey the immpression that there are less pieces inside the after each coloured handful is taken out.
I have obtained considerable effectwith this pretty little illusion, which besides being quite of the “light” order provides plentyof scope for humorous remarks, and is equally effective on the stage or in the drawing room. When performing in the latter, or when the carrying of the large glass jar has been inconvenient I have frequently taken with me on the tissue pieces and packages together with a paper bag. Then if a glass water jug, or flower vase of suitable size was not forthcoming, the paper bag has served as a receptacle for the mixedpieces.All the other properties are easily borrowed. The glass jar is worth getting as, however, as it costs only a shilling or two (Times have changed since 1916 ! P,W:) and gives an artistic finish to the effect. Editor’s Note. The type of jar used by the late Douglas Dexter I think of as a biscuit barrel, and these still of course can be easily obtained to-day. a search of shops dealing in antiques and secondhand ware may easily produce something worthwhile. In this age of plastic, there must be quite a number of containers that wouldeasily prove suitable and at the sametime be light to carry with no risk of breakage.-P.W.
Many performers of great repute scarcely include a genuine sleight from the the rise to the fall of the curtain. In some cases we have heard it uncharitably suggested that they never knew any. Be this as it may, these entertainers have doubtless discovered that the public does not want sleight of hand-presented as such. To the young magician therefore, the suggestion may be made, at least pay as much attention to presentation, coupled with misdirection, as you give to extravagant moves in sleight-of-handthat, in all probability, will never be of much service. “ Magic Wand.” Page 2 1, Volume 7
CHANGO ROY WALTON E are always pleased to have something from our friend Roy Walton, and this lovely little card transposition effect we have given the title of ‘‘ Chango.” We have left it as Roy wrote it and please takethecards in your hands and follow it with him. We know that you will like it as much as we did when he first showed it to us, some time back.
W T
WO packs of cards are required, one red and one blue, the blue having a slight arrangement using the Ace of Hearts and the King of Clubs from the red pack, and its own Ace and King of the same suits. Reading from the top of the face down blue pack thecards run-Red backed Ace of Hearts, Blue backed King of Clubs, about fifteen indifferent cards, Red backed King of Clubs. Place the blue pack back in its case and you are all set. To Perform-Remove the red pack from its case, and place it face up on thetable, do the same
with the blue. Say that you are going to use two easily remembered cards from the blue pack, run throughthe cards and remove the redbacked K i n g of C lu b s and the blue backed Ace of Hearts, placing them as you come to them on top of the pack, making sure that until they are placed there the backs of the cards are not seen. Place the squared up bluepackfacedown in the left hand. Reach over with the right hand to take off the two? top cards, the thumb being placed at the nearside end of the pack and the fingers at the far. Now lift off four cards by counting them with the thumb, do not hurry this, as you are supposed to be removing two cards and it would normally takea second or two.Place the rest of the blue pack on the table and with the now empty left hand pick up the red pack, which is left resting face down on the hand. Bring the right hand over to the left, and with the left fingers squareupthecards held there. Besides doing this separate the bottom card of the right hand
67 packet very slightly from the other three. Having done this,move the left hand away so that it is about eight inches from the right hand. Turn the right hand so that the face of the King of Clubs shows, and then, turningthehand back drop it from a height of about six inches face down onto the red pack. This dropping movement is almost immpossible without first separatingthe card as suggested. Turn the right hand to show the Ace of Hearts, (really three cards) turn the hand and reach over to pick the King of Clubs from the red pack. In actual fact when thetwohands come together you releaseone card from the right thumb, and come away fromthe pack, turningthe two
cards left in the right hand face up and placing them on the table. Cutabout a quarter of the red pack from bottom to top, and then cut it approximately in halfgiving the top half to a spectator to hold. Ask him to think of one of the blue ? backed cards face up on the table. Square these two cards up, andturning them face down place them in the centre of your half of the red pack which is also face down. Request the name of the selected card and spread your half to show that only one blue card remains, the other being in the centre of the packet he has beenholding. Either the selected card has remainedin your heap, or travelled to theother. Bothendings are reasonablyeffective.
“ I do not think,” said Mr. Sterling, “ that conjuring will eventually be looked upon as a mystery. Science presents far more wonderful effects than the conjuror ; the world has come to regard wonders asan every dayaffair. The magician of the future will have to be more of an entertainer. He will learn to please his audience by his methods of presentation rather than the mere creation of wonder. Mystery and the element of surprise will be helpful handmaids of the magician, but mystery alone, apart from the cleverest of showmanship, yill cease to ho/,d an audience.” Magic Wand. Page 90, Volume 7
A LETTER AT A TIME AN
EMAN-WARLOCK
HE way in which Annemann, by such simple and subtle means obtained such a fine effect as Magic v. Mindreading is a thing that has always fascinated me. The original effect as most readers will be aware is one in which the magicians discovers the position of a t h o u g h t of card by spelling its name and as a payoff duplicates the feat with another pack. In handling the original effect, as far back as 1938, I felt that I W o U 1d like to have a bigger choice for the selectionof the thought of card, and secondly that thecards should beshuffled. Many solutions can easily occur in stating these requirements, but one wanted to be free ofthe need for switching packs or similar chores. The result was that in the end I obt2ined an effectwhich suited me, and at the same time kept to the path pioneered by Annemann. The effect is as follows :The magician introduces two packs of cards, one of which can, if you are that type of magician, be a Jumbo pack. This latter pack will be thought of as pack B, whilst the other which has the lion’s share of the trick will be called pack A. Both packs should be in their cases. Taking pack A fromits case, the magician remarks that he wishes to indulge in an experiment in thought control. First of all he is going to ask a member of the audience to think of a card, but, as it is quite likely such a choice might be easy to guess, insomuch that peopie have a number of favourite cards, the magician proposes giving him
T
a batch of a dozen or so. At this point a number of cards are thumbed off from the bottom of the pack and are handed to a spectator with a request that he thinks of one only.When he has settled on a card he is to hold the cards face downwards and shuffle them, so t h a t e ve n he, will have no knowledge of the position of his thought-of card. This done he is requested to replace the heap of cards on top of the remaining cards of the pack and give the latter a complete cut. The packis nowpicked up by the magician who says, ‘now sir, you have a card in y o u r m i n d . Willyou please think of it as a name not as a picture . . . . think of i t a s a letter at a time . . . . ifit’sthe three of clubs, think T.. H . . R.. E . . E . . . . 0..F C . . L . . U . . B . . S . . . . O.K. ! ’ T h e m a g i c i a n places the pack b e h i n d h i s back. ‘ What I am going to do is to pick up your thoughts tactually . . . . myfingerswill think withyou.Remember your card’s position cannot be known to anyone.’ The pack is now brought forward and placed on the table. ‘ For the first time ’ says the magician, ‘will you tell the audience the name of the card you thought of? ’ . . . . The spectator does so saying, ‘ The two of clubs.’ ‘Please pick up the pack and for each letter in the name of your card deal off onecard. I will l e t t e r i t w i t h you.’The spectator takes the pack and as the magician spells cardsare removed, the final letter revealingthe thought-of card. This point is good for applause. Whenfinished the magiciancontinues.‘Actually sir, I tried another e x p e r i m e nt with you, for I actually projected the name ‘ Two of clubs ’ into
68
your mind. The proof is this pack (the jumbo pack is taken up) for you see I placed the two of clubs in exactly the same position. The cards are dealt off letter by letter the final letter revealing the thought of card. I have purposely been rather detailed in describing the effect in order thatthe methodis more easily followed. The requisites are simple. One pack of cards with the following duplicates :Two of clubs, ten of hearts, five of spades, Queen of hearts, five of diamonds, Queen of diamonds, seven of hearts, four of diamonds, seven of diamonds. Put nine cards in front of this stack and itwill be found that straightforward spelling of the first six cards will bring each of those cards out on the final letter. By adding the prefix ‘The ’ to the spelling of the final three cards, each of these will finish on the final letter. Nine cards are nowremoved from the pack proper, and two stacks are made of these nine cards, one of them being placed face down upon the table. On top of these nine cards eight cards from the remainder of the pack are placed. On top of this stack of seventeen a short or similiar type of ‘ key ’ card is placed and then on top of the eighteen cards, the remaining twenty-five cards. The remaining stack isnow placed under the pack, but the four of diamonds is juxtaposed with the seven of diamonds. There is an important reason for this. Reading from the top of the pack now with the cardsface down, you should have twenty-fiive mixed cards, then a short card, eight mixed cards, a stack of nine set-up cards followed by another s t a c k ofnine cards. The four of diamonds is the face card of the pack.
Another pack either ordinary sized or jumbo is required and this set-up counting from the top of the pack, with nine mixed cards, followed by the same cards in the same order as the stack of nine previously mentioned. With the two p a c k s in their cases you are ready to present. First of all the pack with the two stacks is removed f r o m its case, thecards being fanned to show that they are what they are meant to be. The nine cards at the bottom of the pack are now t hU m b e d off, and the reason for having afour at the bottom isnowobvious.If the stacks weresimilarly set-up ineveryrespect, another seven of diamonds would be staring the audience in the face. (Actually of course there could be a small bank of cards between the two stacks without affecting the working, but that is a matter of individual requirement). Thesenine cards are handed to the spectator and are referred the thumbing off is to as, ‘ abouta dozen.’If done casualy, this is easily permissable. The spectator now thinks of one of the cards, and having done so is asked to shuffle them. This shuffle from the layman’s point of view is a very strong point, and it should bewell accented in the presentation. As the shuffling is be ing d o n e ,the cards are once more f a n n e d and shown to the audience. They are then placed on the table and the spectator asked to return his cards on top and cutthe pack. From this point all that remains for the performer is a simple cutting of the pack at the short card behind his back. The thoughtof card is now in the correct position for revealment by spelling. The introduction of the second pack already set-up makes for a second climax.
Mr. Sidney Oldridge said, “ Presentation is greatly assisted by a genial presence. To me it is paradoxial for a purveyor of amusement to appear unhappy in a performance which he alleges is for the pleasure of others. There is infection in geniality, just as laughter is contagious ; therefore if you wish your audience to enjoy your show try to infuse this quality into it.” “ Magic Wand.” Page 169, Volume 7
THE 650 CHALLENGE PORTRAIT G. E. ARROWSMITH
I
T is not so much what you do as how you do it ” is an axiom that often applies to magic, and the effect that follows is a case in point. There is not much magic and no sleight-of-handits success depends mainly on showmanship, but if put, over properly it will gain far more applause than many much cleverer illusions. Here is the trick as the spectators see it. The d e m o n S t r a t o r issues a serious challenge, he undertakes to give E50 to any charity selected by the audience ifhe fails to accomplish his next “
psychiceffect, and incidentally, this is a genuine challenge and the sum involved might equally be E500 or even E5000- but the smaller amount sounds more credibleinthese days of financial stringency ! “ I propose,’’ says the man of mystery, “ t o secure a psychic photograph of any person in this auditorium whom youas an audience care to select, and if the likeness is not a true one I promise to pay E50 to the Banardo Homes, or some similar charity. But beforeyoudecide who is to be the
69 subject for this experiment I will set up the photographic apparatus that is to produce the portrait.” He then shows a frame about 10” X 8” in size, the back is removed and it is seen to be the regulation .article i.e. a sheet of glass surrounded by a narrow wooden border -a simple rectangular affair that is obviously above suspicion. The back has a piece .of white glossy paper (“ psychic sensitised printing paper” according to the performer !) fastened to .one slde and when reassembled this is next to the ,glass. The frame is shown to be empty -just a piece of blank unsullied paper within and nothing .else. In this stateit is wrapped in newspaper (“The spirits always work under cover of darkness ! ”) and propped against a chair, or put in some other prominent position. After this is done (not before) and incidentally, emphasis should be laid on this time factor, the audience selects one -of its number to undergo the psychic ordeal. The magician points out that no C O n f e d e r a t e S or stooges are employed, and the choice is not in any way engineered by him, and that is indeed the .case-until the person steps upon the stage he has not the remotest idea who will be the “ subject.” The person, whoever he or she is, is given the frame, still covered by the newspaper, to hold in both hands and is told to gaze upon it. After a few moments of this “ concentrated psychic projection ” the wrapping is removed, and, 10 and behold ! the formerglossy white paper is no longer blank and unsullied, a portrait of the very person who is holding the frame has taken its place, and what is more, the photo is acknowledged to be .correct by the victim himself and also by the audience when it is shown to them : and so Banardo’s Homes do not get the E50, and the performer retires to well merited applause (we hope). Before reading furthertryandthinkouta solution to the above magical problem bearing in mind that no confederate isused, thatthe performer has no previous information as to who will
lost.
partly
,
present himself for the portraiture, and that there is no switching of frames or other difficult manipulations. Have you discovered the secret ? N o ? Well, read on. I regret to say the solution is to be found in the category of tricks that are called sucker.” The portrait that is finally produced is a photo, or, better still, a painting of a human skull ! As all skulls are more or less alike the victim has to acknowledge that it is a correct likeness.Before removing the newspaper wrapping from the frame the performer leads up to the climax in this way : “ I must remind you that I undertook to produce a SPIRIT photograph and not an ordinary portrait. The spirits of course have a very penetrative sight, and they can seebeyond the veilof this mortal flesh, and so this is your appearance as they seeyou ! ” and there in the frame is the grinning skull ! If the1 build-up is skillfully worked the final effect is a riot for the climax comes as a complete surprise. Oh, by-the-way, how does theportrait get into the frame ? Well,you can use that ancient prop, the sand frame, or any other. stock apparatus that will change one picture for anotherthere are plenty of them on the market. Personally I use a frame provided by the Unique Studio (a free advert for Harry Stanley !) As it is a depot trick I must not d e s c r i b e it in detail, but the principle is verysimple : two flaps one with the blank paper and the other with the portrait, and these can easily betransposed with one hand under cover ofwrapping the frame in the newspaper. As to the skull, get an artist friend to paint it for you. Mine was done in water colour by an exhibitor to the Royal Academy and is most lifelike (or should it be death-like ?) ‘$
It is well t o remember that a move deliberately made with careful regard to misdirection will prove a thousand times more illusive than lightning-like rapidity which only goes to enlighten one’s audience in the wrong direction. If a spectator is morally certain that something happened-though he may not know what -the climax of the trick may be “ Magic Wand.” Page 185, Volume 7
BOOKS +‘MORE ONE MANMENTAL MAGIC” by MilbourneChristopher(Published by Lou Tannen, New York, .price 14/-) In thls little printed booklet, Milbourne Christopher details some seven mental effects ,which touch on mindreading and prediction.
Best of all seven would place the Magazine Test. which has already appeared as an individual item, The important thing is that in all the effects described, an entertainment angle has been devised which lifts the effect from a puzzle to a matter of general interest. There are some nice subtleties,
70 though in the item “ A Record Prediction ” we feel that the method used is very suspect and that a much easier and more deceptive solution could bedevised.Actually described asa “ routined @ental act ” the choice and order of items is left tothe reader. This is apoint that in a similar future publication or another edition might well be looked after, especially as in this case, the fourth item is recommended as being the finale. All those interested in mentalism will no doubt avail themselves of theopportunity of obtaining this publication, and profit by some of the angles expounded. “ ARTFULART AND BREATHLESSBRAINWAVES ” by Hubert (Published by the Authorandobtainablefromhim at 4 Tushmore Crescent, Crawley, Sussex, price Zl/-) This is not a book on magic, but is one that should prove of great interest to all who work in the professional or semi-professional field. The author now living in retirement specialjsed in school entertainment for a period of over thirty years, his presentation taking the form of lightning sketching, the memory feat, some juggling and a trick or two. It constituted a full evening’s show and wasseen at every famous preparatory qnd public school in this country. This is a fact that makes the reading of such a book so important for those whose business to entertain those of less mature age. Aman who can entertain at Harrow, Charterhouse, Repton, Rugby and Roedean, must have found the true secret of success for these are just famous examples where not only one visit but many were paid. So much drivel is talked about children’s entertaining to-day in magical magazines that it is heartening to read the words of a man who has treated children of all ages as intelligent people and given entertainment worthy of adults. Many older readers may remember, as we do, Mr. Leslie’s appearances at St. George’s Hall in 1920 when heproduced his ‘ Multiple Simultaneous Celebration’ act. In this he did six things at once,
first to listen to a member of the audience dictating proverbs from a book of well known proverbs, secondly to write down one of these as he is dictating the next, thirdly to memorise the order of five well known tunes picked at random from a list of a hundred, fourthly to play the tunes on a harmonica in the correct or reverse order, fifthly to draw any simple object on a blackboard using asan outline the words of one of the proverbs and finally to do a sum in simple arithmetic (addition of two or even three rows of figures, subtraction, multilpication or division) and with the figures written down by yet another member of the audience. If you like reading reminiscences and at the same time adding to your stock of knowledgeyou will like this cloth b o U nd , W e11 printed and illustrated book of Some164 pages. “ ALL FAIR ” A card and cigarette transposition originatedbyJackAvis.(Marketedbytheoriginatorandobtainablefromallaccrediteddealers, price 151- complete with cards, gimmick and everything except a cigarette. There is little need for me to tell readers of this bulletin that the name of Jack Avis attached to any magical idea means subtlety plus practibility. In this present effect Jack has taken as a basic plot the card in cigarette. Round the plot however he has added some delightful subtleties that make the trick more logical in conception and without anydoubt one hundred per cent more mysterious. The weakest part of the usual card in cigarette is always the switch of the cigarette. With this method that switch W i t h negligible practice is naturaland indetectible. We have seen Jack handle this and we have tried it ourand in selves. The vanish of the piecesofcard their place the finding of the pieces of tobacco is one of those beautiful surprises that only a man who loves magic could envisage. As with the very detailed routine, you obtain the necessary cards and gimmick. This effect is a literal throwaway at 15/-.
MAGIC-GO-ROUND-continued from page 71 a revival, and we canthink of few outside the realm of card magic, that has seen so much written about.it. Holden’s particularly with the Mohammed Bey and the Millidge routines have done much to help this wave of popularity. In a little while’s time we shall see our very good friend, Hans Trixer’s booklet on ring m a g i c , which touches to a great extent on the ‘ Ellis ’ ring. As we have already remarked,the Howie ms.is excellent and all beingwell we hope tostart
serialising this commencing with the July or Aug, issue. Touching on the Magic Circle again. In our stage column we were the first to mention the dates of the Golden Jubilee celebrations which will take place on April 28th,‘29th and 30thnext year. The headquarters willbe the St. Pancras assembly rooms which while seemingrather prosaic in name offer excellent accommodation for a London Convention.
71
T
HE fact that a good magician must be a good actor is never in d o U b t , but the attitude of magicians t o W a r dS a professional magical stage performance is most peculiar. This came to mind when reading a report of the opening night of a professional full evening show in which, reading between the lines, chaos reigned supreme, but the writer, being a magician and a very charming fellow as we have good c a U se to know added, “ We know that it isn’t fair to criticise the first night of a show etc.” Can any r e a d e r o f this bulletin interested in thetheatre ever remember reading a d r a m a t i ccritic’s r e p o r t of a straight theatrical showinwhich an excuse like this was made? Of course, he cannot. It is easily realised that a change of theatre each week can bring its hazards regarding lighting and music and because of this certain acts take infinite trouble to see that the possibility of such s n a g s are avoided by constant vigil. The fact however that a show does not runsmoothly is the faultof bad rehearsal, and it brings back the old story of the fact that whilst conjurers will practise they seldom rehearse. The vastly diminishing variety minded public in this country in exchange for the “ lolly ” they put up, expect, when they visit a variety house to see a show that has the finish and slicknesswhich is so adeptly ladled out by the film industry. How seldom, if .ever, they see anything approaching it ! In case you scanned that particular issue, and because we think there’s so much truth in it we’re quoting a paragraph from theeditorial of “Abra ” No. 435. “ To the ordinary laymen the only names in magic which mean a n y t h i n g at all to-day are Maskelyne and Devant andHoudini -all dead men. Some older chaps w h o r n o n e m e e t s remember seeing Chung Ling So0 and Lafayettealso dead. They don’t remember the name of one living magician-the nearest they get to it is ‘that chap I saw on television afortnight ago.’ This is not to say that magic isdead. but how many jugglers’ names can you remember, now ? Where we, in common, no doubt with fellows interested in rolling mills, textiles, stamp collecting, marbles, ping-pong, anda hundred other things, make a mistake in assuming that everybody has our singleminded enthusiasm. That comes from our con-
stant association, in societies, with fellows of like enthusiasms. Once in a while, it’s not a bad idea to take one’s head out of t h e s a n d a nd look around at what the others are doing.’ As a tailnote to this, in the S a m e issue of Goodliffe’s paper, there is a paragraph, regarding a newly formed magical society in which it states, ‘ Magic and only mapic is discussed.’ We can think of nothing worse. These poor deluded members no doubt have high ideals, but even in a specialised fraternal organisation there should be a catholic outlook. Actually of course they will seldom talk about magic, but rather about some fiddling conjuring trick or device. The following from the ‘ Magic Wand ’ Oct. 1916 under thetitle of ‘ Silent Code for Blackboard Reading etc.’ has a familiar and quite up-to-date note :‘ The conjurer has an ordinary electric,scurf pin attached to the usual pocket battery- the bulb endof the pin is faked to represent a button by covering a small ring withblacksilk, and this is pinnedonthedress coat to represmt one of the usual tuil buttons as illustrated. The battery is placed inside the left trousers pocket, and any play of theflexiblewiremay also be gulled intothe pocket.’ This present month will see a change in the Secretaryship of the Magic Circle. For nine years Francis White has held this post, a post far from enviable, as onlyhis brother councillors really know. During that period, the membership of the society has almost doubled and this increase has owed much to his personal efforts. To fill his shoes is no easy task and the nomination by the Council of Peter Newcombe, who during the past few years has been assistant secretary is a most happy one. Peter has those qualifications which are the necessity of a present day secretary, an easy manner, the ability to mix in any company, a ready wit and above all thetknowledge secretaryship. From John Howie, we have received a most excellent ms. dealing with an effect dear to his and many other magicians’ hearts, the ‘ Ellis ’ ring. During the past few years, no trick has seen such continued on opposite page
72
‘I
* WILFREO
P L A Y I N G WITH MAGIC I’ll R E A D Y O U R MIND Mental magic in the best Annemann A ruperbly produced cloth-bound book that is a MUST for the tradition. Packed with practical children’s entertainer required props Cloth-bound marerial. 30/Porkgo 17)s 716 Postage 4d
SPECTATOR’S C H O I C E
Professional standard magic of the highest order. No elaborate
6d.
Postage 3d.
MAGIC WAND PUBLICATIONS Challenge Instant Hypnotism and Mass Hypnotism
GeorgeArmstrong Chandu’s Psychoanalysis George Armstrong b r g e Armstrong’rPremonition GeorgeArmstrong Magic Wand Year Book 48/9 George Armstrong Tricks of the Trade Goorge Armstrong The Universal Mind Ron Baillie Mysteries Bohleno’s Henry Bohlen I’ll Your Read Mind Aage Darling Entertaining with ContactMindreading S.E. Dexter Entertaining with Hypnotism S.E. Dexter Automentalism Courcy Ken de Telepathy Zodiac Courcy Ken de John Ramsay’s Cups and Balls Victor Farelli Than S to Leipzig ! Victor Farelli
211-
l0/3 10/3
513 217 1219 1013 17/9 7/9 10/3 20/3 1219 2516 10/3
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert,Ventriloquist andChildren’s Entertainer Mnurice Hurling James Stewart Jamesosophy Strictly Magic Eddie Joseph Mastered Amazement Koran & Larnonte Toni Koynini’r Card Miracles Toni Koynini Stunta With Stage Money Jack Lamonte fuzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina S,
9’
Steoging Around Playing With Magic Magically Yours
7/9 7/9 5/3 i0/3
513 5/3 10/3 7/9 5/3 719 2016 (cheap edition) 7/9 ioe Stuthard 5/3 WilfredTyler 30/6 Verrall Wass l5/6
F R O M T H E PUBLISHERS
T H E M A G I C W A N DP U B L I S H I N G
CO.
612 WELLINaTON ROAD, ENFIELD, MIDDLESEX
The Magic Circle President : His Grace the Duke of Somcrrec, D.S.O.. O.B.E., J.P.. Y.I.Y.C. Vic.eF’msidant: Dowlu C N ~ , Y.I.M.C. Clubroom and Library and Museum :
&q.,
Hearts of Oak Buildings, EustonRoad,London, N.W.l. Yagial Theatre :
King George’s Hall, W.C. Forthcoming EventsJuly 16-A.G.M. Puticulan from Hon. Secretary :
PETER
PENTAGRAM is published on the 24th of r u b monthand CUI be obtained direct from the publishersfor 117 per single copy. Annual Subscription l a / post free. PUBLISHED BY:
JACK HUGHES will bepleased to vend you fulldetails of
THE DE LUXB “SU-TABLE” together with a11 hisother effects inreturn fora stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books far review should be sent to the: EDITORIAL ADDRESS:
OLD AND NEW. Le? m e know your rants LIST FREE FOR STAMPED ENVELOPE Ein Callers
Francis W hi te, 39 Alverstone Avenue, Wimbledon Pnrk. S . w . 1 ~
WARLOCK’S
24,
Peter Warlock, Wordrworth Rd., Wellington, Surrey.
~~
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
JOHNHOWIE’SROUTINES WITH THEJARDINE ELLIS RING PREFACE
T
HE ingenious magicaleffectknown asthe Jardine Ellis ring trick was being performed by the originator (whose real name incidentally was Duncan Lorne Campbell) as early as 1910. Unfortunately thedetails of the routin: used by Ellis (who died on February lst, 1923) havenot, so far, been published and magicians wishing to use the apparatus have, for the most part, devised theirown versions of the basic effect. As a point of interest the original apparatus used by Jardine Ellis(consisting of ring, shell, duplicate split ring and three larger rings) is now in the possession of Dr. 0. H. Bowen. As will be noted from the bibliography given at the end of Part 1, very little was published on the subject of the Blis ring trick prior to 1952. Since then, however, considerable interest has been shownin th,is particular effect and srveral performers have disclosed their own individual treatments of it.This bookprovi.des a furthtr
series of variations onthe basic theme and includes several novel andhitherto unpublished moves with the apparatus. I have avoided effects requiring the introduction of special rings, e.g. split rings, since most magicians possess thestandardapparatus only. In all of tKe routines described in this book my aimhas been towards definite effectwith the minimum of preparation and Secret manipulation. I should l i e to takethisopportunity of thankingJack Potter of WhitleyBay, England andMilton Kort of Detroit, U.S.A., both of whom generously gave me valuable assistance with the bibliographical data in Part 1. My earnest hope is that each reader will wish to add at least one item fromthis book to his repertoire of effects with small objects. JOHN A. M. HOWIE. Danven, Lancashire, England.
PART I
BASIC TECHNIQUE AND BIBLIOGRAPHY GENERAL NOTES ON THE APPARATUS The ring and shell required for theJardine ring.Should the shelldevelopatendency E l l i ring effect are well-known. Figure 1, gives a diagrammatic view of a section throughboth ring and shell. The size of the ring is usually about 1) inches in diameter (that used by the author being 1%inches inoutsidediameterand 1 and 7/32& of an inch in inside diameter) but various sizes may be encountered. Thus, the modzl currcntlyavailableingreatest numbers in the U S A . has an outside diameter of 16 inches and a n inside diameter of1, inch. The shell should fit looselyover the solid
VOLUME 8, No. I0
-
to jam on the ring, as it may doafter considerable use. it can usually be freed either byrup.ning the forefinger h l y aroundthe inner circumference of the shel1,while it is on the ring or by running the tip of a penknifeblade round between t h s outer circumference of the shell and the ring. To protect the ring and shell when not in use, and particularly while being carried in the pocket, they should be kept in a small cloth or leather case.
1/6. (20 Cents)
I
JULY 1954
74
H A N D L I N G T H E S H E L L S O AS TO REPRESENT T H E S O L I D R I N G When the shell alone is on view representing the “ ring ” it should be handled with the same casualness as if it were, in fact, the solid ring. The spectators, not knowing of the existence of the shell, will regardwith suspicion any obviously careful handling of what appears to be a simple ring of steel. I t is quite a simple matter ,to toss the shell into the air and catch it again without any risk of the wrong side k i n g exposed, thus : hold the shell asin Fig. 2, full face tothe spectators. Throw it upwards some 18 inches imparting a slight backward spin to it as it leaves the hand. This will keep the shell spinning in one plane and it canthen be caught as it descends. For complete safety, the catch, should be made by closing the hand completely around the shell.
an effort to “ prove ” that the shell is beyond suspicion-no such proof is required.
One further bit of business, due to Bill Nord, is worthy of note. When it is necessary to free both hands, the shell may be p1,aced in one eye after tfie fasliion of a monocle, until it is required again.
DISPOSAL O F T H E SHELL
F I G 1, Other simple flourishes may be indulged in, e.g. by holding as in Fig. 2, but letting the tips of the forefinger and thumb come together inside the shell, it can be swung round and round within the space formed at the fork of the thumb.
FIG 2 A discreet use of such flourishes assists in dressing up ” an effect, but they should not be overdone. Above allit should be remembered that there is no need to perform such flourishes, in
In theory, since the ring and its shell can so easiIy be shown as one at almost any stage in an effect, there would appeartobe no great need for actually disposing of the shell. To achieve the most artistic presentation, however, it is reconmended thatthe $hell be disposed of, particularly at the climax of an effect-specially so since the disposal is usually fairly easily accomplished. By so doing the hands are left free to make the most of the properties used. It should not be necessary to point out that such display should be carried out withoutostentation and that no comment should be made on theemptiness of the hands. In each of the effects described’ in this book the method of disposal considered to bemost suited to theparticular circumstances has been indicated. In general the methods of disposing of the shell can be subdivided as follows : 1. DISPOSAL IN A POCKET The disposal of the shell in a pocket can be very easily effected under cover of removing an article such as a miniature wand, rablbit’s foot, etc.,which is allegedby the performer to be necessary in order to help bring about the climax of the effect in hand. This principle applies to any pocket. Considering specific pockets, disposal can be effected in the side coat pockets and also in the hip pocket by placing the appropri’ate hand on the side or hip, just above the pocket, as a dramatic stance is taken, then, as the climax of the effect is revealed, the shell can ;be allowed to slide into the pocket. Another method of dis,posal in the side
75
pocket is that illustrated in Figure 3 - as the handkerchief is pulled away fromthe wand (or otherarticle being uncovered) thehand comes above the pocket opening, permitting the shell to be dropped therein. Disposal intheouterbreast pocket can be effected either directly from a thumb palm after the manner of the well-known method of disposing of a coin in this pocket or under cover of a suitable action such as the draping of a handkerchief over the left shoulder.
2. DISPOSAL BY MEANS OF A TOPIT" VANISHER The " Topit vanisher obtainable from most Magical dealers, is well-known and provides a very cleanandsubtle method of disposal since €he hand concealing the shell does not have to do more than move across thefront of the body. This movement should, of course, be made with adequatereawn otherwise undesirable attention will be drawn to it. "
This disposal is a complete one and is, therefore, unsuitable in those cases where the shell has to be easily recoverable for subsequent use.
3. DISPOSAL BY SLEEVING In viewof the size and shape of the object concerned, sleeving provides an excellent method of disposal. Various techniques are possible and this book. For exsunples will be found in completedisposal the shell must be recovered from the sleeve and dealt with by methods 1 or 2 above or 6 or 7 below. 4. DISPOSAL BY VESI'ING Thismethodislimited to those occasions when a vest is worn and, ideally, an elastic tension band,fittedacrossthe top of thetrousersand concealed by the edge of the vest, is required to ensure a secure grip on the shell.
5. DISPOSAL BY CONCIZALMEN" BETWEE,N SHIRT COLLAR AND NECK This method can only be used when, say, a rope or ribbon is used' and can be hung around the neck. Such disposal is, of course, only temporary. 6. DISPOSAL BY DROPPING TO THE LAP
This disposal, again only atemporaryone, can only be used when seated at a table. 7. DISPOSAL BY MECHANICAL,AID By th,is method the shell can be disposed of and regained when required without having to resort to pockets. The principle is simply to have a spring clip device fixed underthe edge of the coat. Fig. 4 shows one possi,blearrangement-a clip of the Bulldog variety with the finger grips extended by soldering theretostrips of metal as shown. One of these strips is perforated to permit ofthle clip being Sewn to the inside of the coat as shown in Fig. 5. Pressure from the heel of the hand on th,e outside of the coat opens the clip and allows the shell to be pushed into it by the fingers curling under the edge of the coat. The same device can, of course, beused to deliver the shell to the hand when required. It is as well to line the jaws of the clip with felt to prevent undue noise during the operation of the device. 8. DISPOSAL BY MEANS OTHER THAN BODYCONCEALlMENTS This coverssuch devices as servantes, wells, etc., and their use depends entirely on prevailing circumstances. In general, this type of disposal will rarely be found to be suitable. To be camtinued
I
" It takes years to master an art, be itpainting, writing, piano playing o r walking across a stage. Too many devotees of diablerie are ' helplessly fascinated ' by magic or their own cleverness. Totally innocent of any ofthe tricks of stage presence, they insist on exhibiting their alleged proficiency beforethe public." Robert Lund. Conjurors' Magazine-Volume 5
l
76
ADDENDA to GAMBLING'S GOBLETS HIS HONOUR JUDGEWETHERED
WAS very interested to read your reprintin the current Pentagram of Gambling " Goblin Goblets." I have presented this effactmany times before adults and children and it has always gone well. There was one feature in the original presentation which I did not like and that was the use of the woodenbox. This I thought clumsy and was confirmed in this view when I saw the effect presented at Cheltenhamsome years ago. Instead of the box I use a brown paper sugar bag ten inches high by seven deep and nine wide. In the bottom of the bag placedwas woodena insert made of three ply. This was the constructed in as shown quick It forwas makes as you secondand sketch. can see, divided four into compartments, A, B, C and D, theofwalls compartment A, DB and being three of inches whilsthigh has Ccompartment walls four a n d a quarter inches high. The last named is roofopenand ed over at the rear and forandthe the At bottom. ward of side placed C ais flap is by which hinged its own will weight fall and towards ade the rear and close bottom the is of C . of A piece tape however is prevents it falling too far. structure When with the placed is erior the bag inside the seen top view the from of bag shown the is in sketch 3. At the back of the bag on the outside a wire ring 29" in diameter is fixed three ins. from the bottom to thebag backing. This is fitted with a check spring which holds the ring flush with the back of the bag. The ring is so pivoted that it can be pulled down and project at right angles from the bag. The ring is large enough to holdone of the cupsmade of aluminium which measures 34" across the mouth and tapering to 2" at the base. Each is 4" high. One of these cups whenfilledwithliquid and placed within the ring holds the latter in place. Directly the cup is lifted the ring flies back flush with the side of the bag. In my own version I use five instead of the four specified by the late John Gambling. This is to provide an alternative for that first offered. I use (for adults) beer and cider. The first assistant howevermay be, an abstainer. If so, lemonade is suggested and the additional cup (No, 3) is used instead of cup 2 which contains beer.
I
Both cups, 2 and 3 h a v e t h e f a k e cups in position coveredwith confetti. The set-up is as follows :In the table is a black art well large enough to take one of the cups. At the back of the table is a bag servante whilstinside the bag, just above compartment C, is fixed a small bag which contains a duplicate of the handkerchiefused to produce the first drink. I use the duplicate handkerchief for the production of the second drink as sometimes I found it difficult to easilyfree the fake one, from first the after it wasinto dropped the bag. The use of a duplicate obviates t h e difficulty a n d easy placed working.is The bag on the table so that the C is at the side the well a n d the ring opposite the bag servante. Cup 1 stands alongside on the table. 2 with is filled Cupbeer with the fake in position in compartment A. Cup 3 is lemon-with filled with fake in position in compartment B. Cup 4 in the ringfilled and is with whilst cider cup 5 filled cigarettes matchesand com(or chocolates) in is Cpartment with the flap back.folded Compartment D i se m p t y . A liberal quantity of confetti is inside the bag. The working of the effect differs little fromJohn Gambling's description. Cup No. 1 is shown, filled with confetti, emptied and then whilst refilling is switched inside the bag for cup 2 (or cup 3 as may be necessary). Cup 1 is left in compartment D. The cup with the fake in position is covered with the handkerchief, the fake being removed and the handkerchief gathered upand dropped inside the bag. The beer (or lemonade) in the cup is now poured into one of the glasses, and, as this is raised as if to drink the assistant's health, the left hand holding cup 2 (or 3 is lowered behind the bag, and dropped into the servante and CUP 4 iS lifted OutOf the ring, which at Once flies back flush With the bag* The duplicate handkerchief isremoved fromthebag and after covering the CUP the second drink is (continued on page 79)
77
CHANGtNG COINS MYSTIC0 HERE is always a fascination in taking an old between the thumb andfirst finger-again showing trick and adding one’s own improvements to that the right hand is empty ! The right hand is it ; the followingissuch a case, and was held out for the florin and the thumb ensures that brought about by a few pensive thoughts on that this coin is in the centre of the palm, old favourite inwhich a penny and a florin change The right hand now passes palm uppermost beplaces whilst held through a handkerchief by two neath the held corner of the handkerchief in order it spectators. that may reach the centre. Fig. 2 shows this This method of permove k i n g made from it forming excels which as close seen be it will that it is remarkis comparatively easy up effect and foolproof.ably to The look the make move, vital on the f a c e s of those which is to allow the holding the handkerchief to on drop penny to the w h e n they realize t h e fingers of the right hand it change as has been has made the goes into centre ofto be believed. seen to be the handkerchief. It istoimportant study its The drops left hand illustrations the the and corner in order finger 1st the thatt o ensure t a k et h u m b a n d up, are held correctly. the through handkerchief, The preliminaries are the r i g hpenny. t The a hand; firstly two obtain split second afterfew wards, pushes U p t h e gentlemen’s large handwhich kerchieves should florin behind the pennywhere held it is by the lay a c r o s s your table ; secondly place a florin and left hand. From fig. 3 it next a penny to them ; will be noticed the that is lastly penny a second fold of the handkerchief this required, afIixed is to theseparates two coins ; your waistcoat this(or jacket is most as important inside) in the vicinity of it.prevents them talking. the r i g h t armhole, by The e x t r a fold i s not paper means of a clip and noticeable. fig. a (see safety pin 1). The right hand is now Ask a spectatorto assist withdrawn and s h o w n empty. The performer says “ Would you like to you and indicate he is to stand on your right side. As this is happening bend your right arm up and see the florin ? ” and immediately feels under the handkerchief with his right hand and brings out casually feel inside your jacket with the left hand. This action passes for an adjustment of the waistthe florin. coat and in the process slip the coin from its clip As he does this the left hand is turned over palm down the sleeve On the inside where it falls to the uppermost, the penny still beingheld. A change elbow. Remember it must be on the body side Of of hold now takes place ; the thumb is removed the Sleeve otherwise it would fall into the hand entirely andthefirst finger takes its place. The when the right arm is dropped to the side. handkerchief appears to beheld in so casual a At the completion of this move the hands are manner that the spectators do not suspect there is anothe coin concealed in it. Fig. 4 shows exactly still emptyand a point should be made of ensuring -not to obviously-that thespectatorsare aware how this hand is held. of this fact. The right hand now returnsthe florin to the Now reach forward with the left hand and take centre of the handkerchief apparently, but as the up the handkerchief, transfer it to the right which left hand assumes its original position-the thumb holds it about shoulder height. The left hand now once again holding the p e n n y- the florin is dropped into the left sleeve.If the left hand is picks up the florin and hands it to the spectator held fairly near to the body the folds of the handto examine. As he takes it, the performer’s right kerchief fall round the wrist and effectively conceal hand is lowered and the hand catches the penny this sleeving. The right hand is again shown to be which drops into the palm. It is concealed behind empty. the held corner of the handkerchief. The left hand takes the handkerchief and penny (continued on puge 79)
T
78
THE “GIVE AWAY” COLLECTING BOX AGAIN EDMUND ROWLAND
HE publication of Jack Avis’ version of this little effect hasprompted me tq give the details of three more simple methods which I have tried out successfully since I wrote my original article. Each of them can be used with the plastic die box which has already been mentioned. The internal dimensions of this par!icular box are 1% inch in each direction. The counters Q inch diameter in and inch are albut thick. The first method is really a development of into the original in which the boxwasdivided fourseparatecompartments by acardboardor celluloid fake. Butthecompartments have now been reduced in size until they have become nothing more than a narrow vertical slot at the bottom of each side. The necessary fake is shown in Figure 1. Mine is about 6/ls inch thick (so that the depth of theslots is about half the diameter of the counters) and is madefrom the same colour of plastic material as the rest of the box. It could therefore be fastened permanently in position at the bottom of the box with plastic cement, but then the pectators could only be allowed to look into the X from a short distance. I prefer to keep it loose in my pocket and to slip it into the box as I walk away from the table, or as I cover the box with a handkerchief In this case, the fake hasn’t to be a very tight fit, but, on theother hand, it shouldn’t be too loose. If it is made correctly it will stay in the box when the counters are tipped out, but it can be jerked out smartly
T
L
and palmed away when required. As the box is tilted and turned around thz first four counters fall into the slots. If the box is then returned to a normal upright position, the fifth counter falls on top of the fakebetween them. The fake should be made so that the slots are as long as possible and about 3 inch wide. If they are narrower than this, the counters will not fall nicely into them. You will also find that the box should be tilted at an angle of 40 degrees or more from the vertical.
The method will not prevent you from shaking the counters about before you remove the lid. They will still make plenty of noise without jumping out of the slots if the box is c,arefully sbaken from side to side. The second new method is merely this development carried to its logicalconclusion. In other words, the counters are kept quite separate without using anyfake at all, for the box is divided into “ compartments ” by coating the four interior sides of it with clear gum or mucilage, This will not be easily seen arnd it’will take about ’kdf an hour to dry. If the counters are dropped intothe box before this happens (and th’c box is tilted and turned around as before) each of the first fourcounters will stick to a different side; and if the box m i s then returned tothe normal upright position, the fifth will lie by itself at the bottom. If the bottomwas coated with gum you would find that the counters would not always bounce fromthebottomand stick tothe sides. You would probably find that more th4anone of thlem would be sticking to the bottom. Unfortunately this’ method makes it impossible for you to empty the original counters on t o your hand when they have been returned to the box. You will therefore need to have a duplicate set of counters concealed in your hand, or in thle handkerchief which you use as a cover, to begin with. If the box is not tipped over too quickly the loose counter‘at the bottom will fall on t o onie of the sides and stick there instead of falling out on to the duplicate set. The method also makes it impossible for the counters to be shaken about. But this difficulty could be overcomebys’haking the duplicate set of counters between the bottom of the box and the palm of your hand. The third new method is probably the b , s t method of all. I t was the result of trying to find a way of working the effect without having to tilt the box orturnit around. In this meth0.d the box can be left on the table and counters dropped into it whilst the performer’s back is turned. All that is needed is ashort narrow tube. Mine is a transparent plastic one about aninch long and 2 inchwide. It camefrom a French pencil sharpener which I recently bought .at Woolworths. Similar tubes are sometimes used as containers for certain brands of tablets and cake decorations, but, of course, the tube which you use needn’t be transparent and it needn’t be made of plastic. It is fastened to the bottom of the box immediately below the slot in the lid.Thi,s, can be done permanently with cement, or temporarily with a dab of soft wax. It needn’t come right u p to the lid, for if it did it would probably be seen when the lid was removed. But if the distance between the top of thetubeand the lid is too great the counters will not always drop into the tube.
79 The nanbwness of the tube causes the counters to fall into a neat pile at the bottom of the box in the same order as that in which they ‘are droppedthrough the slot. This is shownin Figure 2. At the beginning of the effect the counters are loose inside the box and can th,erefore be shaken about quite safely before the lid is removed to tip them out. Whenthey have been collected the performer can see the order in which they are piled as soon a.s he removesthe lid. They can then be tipped out again without bothering how they land. Alternatively the counters can be tippedontothe cuppedpalm of your hand straightaway and there will not be any need for you to look into the box at all, for if the box is turned 6traight over they will fall into a pilein the reversed order. Thiscan be seen in the moment before your palm is straightened out and the counters are allowed to slide apart. In another version of this method the tube
is fastened to the lid instead of to the bottom, but the bottom of the tube must be cut off first of all so thatthetube is open at both ends. The bottom end of it must then fit flush against the bottom of the box so that the counters cannot slip out of it and into box. It is easily hidden by the fingers of the hand which removes the lid. The counters can then be showninside the box at the beginning of the effect.When they are returned they again fall into a neat pile at the bottom. This is shown inFigure 3. If the lid is then removed very carefully the pile will not be disturbed and a glance inside the boxwillshow you the correct order. A slight shake will then upset the pile and the counters can be shown to be loose and separate inside the box before they are again tipped out. If the box is shaken carefully the counters a n bemade torattle without disturbing their original order. _
_
_
_
_
_
~
~
~
~
~
~
ADDENDA TO GAMBLING’S GOBLETS (from page 76) produced.The contents are now pouredinto the completingthe f ~ r f a c at e the bottom Of the bag* The following sketch gives an idea of the layout second glass. N~~ cup N ~ 4. is apparently Of the effect* Prior to the placed behind the bag, but really into the well as theotherhand lifts the bag to reveal what is One final note. As sometimessmallpieces of apparently the samecup, but in reallity cup No. 5 confetti areaptto fall intothe liquid, I use a standingonthe table. At the same time when coarse strainer when pouring the liquid into the once the cup is clear of the bagthe flap falls first glass. C H A N G I N G COINS (from puge 77)
The held handkerchief and coin is given to the .assisting spectator, who holds it between his finger .and thumb. Both your hands are now empty and there is only one coin beneath the handkerchief. The left hand is held up duringthistime to p r e v e n t the florin frommakingapremature appearance. A second spectator is now called for and as he comes forward theright hand picks up the second handkerchief, transfers it to the left hand which drops and so secures the florin from the sleeve. Again the same procedureis followed-the florin .and penny being held by the left hand beneath the handkerchief. The performer repeats his question about showing the coin, this time a penny, and re-inserts his right hand under the handkerchief. Strangely enough it is only rarely that a spectator does ask to see the coin on this second occasion so deceptive were the moves on the first occasion ; this feint must be made, however. The right hand merelyslips the penny up the left sleeve and comes out empty again. The handkerchief is then handed to the second spectator to hold. Still holding the hands well up, the necessary magic pass is made and the spectator on the left asked to examine hiscoin-it proves to be the
florin. That on the right is found to be the penny -which puzzles the assisting spectators more than anyone ! It is importantthat the left hand, or second spectator be asked to show his coin first as it may happen that amistakehas been madeon the second switch (it is not likely on the first) in which case you take the penny from him and show it to prove it i s a penny, and immediately repeat the move which makes the change correctly. Here a delicious situation arises, for as soon as the left spectator has receivedhis handkerchief and coin back, you ask the right hand spectator to look at his coin. He finds it is a penny also ! The audience will then clamour to see the other coin-but as.you have changed it-everything proves in order, and a florin is seen. The left hand’s final move is to drop tothe side and pocket the second penny. A few practice runs through will show you how sweet these moves are, in fact the first time they were tried out the effect was as astonishing to myself as to the audience. A word ofwarning-in of the fingerring. case youneedit-is,beware If you wear one either remove it or cover it with a piece of the flesh coloured sticking plaster to be foundinmost chemists’ shops, otherwise you may betray the presence of a coin in the hand when you least expect it.
80
COME A LITTLE CLOSER
EIGHT SESSIONS
OF
CLOSE-UP MAGIC
By TOMMY VANDERSCHMIDT, ARTHUR HOLLAND, BOBBY BERNARD ALEX,EMSLEY, ROY WALTON,TEDDANSON,JOHNDERRIS,JACK
AVlS
Edited by Peter Warlock Printed on art paper, 40 pagespacked with the tops in CLOSE-UP MAGIC with 20 photographs illustrating tricks with cigarettes, cards, coins, rings, etc.
Available from all dealers POST
-
=
6/=
4d.
In case of difficulty write to :-
P E N S H A WP R E S S , BILLERICAY
G R A Y SH I L L ESSEX m
I
MAGIC WAND PUBLICATIONS Challenge Instant Hypnotism and Mass Hypnotism
George Armstrong Chandu’r Psychoanalysis George Armstrong George Armstrong’s Premonition George Armstrong Magic Wand Year Book 48/9 George Armstrong Tricks of the Trade George Armstrong The Universal Mind Ron Baillie bhleno’s Mysteries Bohlen Henry 1’11Your Read Mind Aage Darling Entertaining with Contact Mindreading S. E. Dexter Entertaining with Hypnotism S. E. Dexter Automentalism Courcy Ken de Telepathy Zodiac Courcy Ken de John Ramsay’s Cups and Balls Victor Farelli Thanks to Leipzig ! Victor Farelli
21/10/3 10/3 513 2/7 l2/9 10/3 17/9 7/9 10/3
20/3 1219 25/6 l0/3
Spectator’s Choice Douglas Francis Mother Goose Mystery Martin Gardner Twenty-fix living and Dead Tests Teral Garrett The Concert Ventriloquist ard Children’s htertainer Hurling Maurice Jamesosophy Stewart Jamcs Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’s Card Miracles Toni Koynini Stunts With Stage Money Jack Lamonte Suzy and the City Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina 9’
‘9
Stooging Around Playing With Magic Magically Yours
7/9 7/9
5/3
10/3 513 5/3 10/3 7/9 513 719 20/6 (cheap edition) 7/9 Joe Stuthard 5/3 Wilfred Tyler 30/6 Verrall Wass 15/6
FROM THE PUBLISHERS
T E E M A G I CW A N DP U B L I S H I N G
CO.
62 WELLINGTON ROAD, ENWIELD, MIDDLESEX
The Magic Circle President : Hi8 Grace the Duke of Sornerret, D.S.O.. O.B.E.. J.P.. M.I.Y.C. Vice-President: D o u g h Cragpr. Erq.. M.I.M.C. ClubroomandLibiaryandMuseum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. MagicalTheatre
:
King George’s Hall, W.C. Summer Recess Particulars from Hon. Secretary :
Peter Newcombo 38 Ovsrdale Avenue N e w Malden, Surrey
PETER
JACK HUGHES
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishera for 117 per Jngle copy. An ualSubscription l a / post fke. PUBLISHED BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex Manuscriptsforpublicationandbooks review should be rent to the: EDITORIAL ADDRESS: 24,
for
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
will be pleased tosend fulldetails of
you
THE DE LUXB “SU-TABLE” together with allhis other effects inreturn for a stamp. Writenow to
JackHughes, 2, Evelyn Ave., Colindale, London, N.W.9. CONJURING BOOKS FOR SALE OLD AND NEW. Let me know your rantr LIST FREE FOR STAMPED ENVELOP6 N o Callers
G E O R GJ E ENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHEV BY T H E PROPRIETORSTHE MAOIC W A N 6 P U B L X ~ I N G ~ O M ~ N ~ , ~ ~ ? ~ ~ LROAD, L M GENFIELD. T O N MIDDLESEX A N DP R I N T B D BY HERBBRTWALKER & S O N (PRINTEKS) LTV.,WELLCROFT. SHIPLEY.YORKSHIRE
j
ANNEMANN INTERLUDE GUSTAVE SOUTHALL
I
N AN early “ ] i n x ” (and I am too lazy to get up and search for it), The0 Annemann described an idea which he considered “ a
reasonable betting proposition.” It consisted of allowing anyone to freely select three cards from a shuffled pack, and the operator would then bet that amongst rhe three cards would be either an ace, deuce or Jack. Whether Annemann was awareof it or not the game is known as “ Ace-deuce-Jack.” and in his book “%me on Cards.” John Scarne refers to it as a 10 per cent. certainty for the dealer. With this as a background I dressed up the presentation, alteredthe rules slightly, and gave it an additional twist to guaranteethe dealer 100 per cent. But first the general effect The performer explains that he intends to demonstrate a little gambling game, for amusement only, and to show his intentions are strictly dishonourable he will provide the necessary stakes. A quantity of pokerchips or counters are introduced and divided amongst the various spectators, and some retained by the performer. A pack of cards is genuinely shuffled by the performer (otherwise the ‘‘ banker ”), and spread face downwards on the table. The spectators are allowed in turn to draw out of the packany threecardsfrom different positions inthe spread. Before these are turned face upwards the banker offers “evens” that the three cards contain either an ace, deuce or Jack (or any three denominations chosen by spectator). This procedure is repeated with other spectators. If each spectator is encouraged to stake generously it should not be long before the “banker ” wins back most of his chips. It may eventually dawn on someone that the “banker ” is having the best of the bargain, and he will offer to take fhe “bank.” (If this proposition is not made, the performer can suggest it himself). He thereupon shuffles the cards, nameshisthreedenominationsand withdraws three cards. He wins, of course, and continues to
VOLUME 8, No. I I
-
win until he secures allthe generously and compels the with the same amount. Three sufficient.
chips, for he bets
‘‘ banker ” to cover
or four rounds are
working. Required : a-quantity of poker chips. A one way pattern pack. The pack should be of a fine pattern with the distinguishing oddness at the extremeedge of tides or corners. Set the pack with ‘‘evens ” one way, ‘* odds ” reverse. (CountQueens as “even.”) In this condition the pack may, of course, be shuffled overhand or table riffledproviding the relative position of the pack is not disturbed. If the shuffling habits of anyone present are known, he may be allowed to shuffle also. To present, shuffle pack and ribbon it on the table. Invite a spectator to name tbree denominations and withdraw three cards from the spread. As stated, the odds in his favourallow the banker to wincomfortablymost of the time.(When turning the three cards faces up turn them sidewuys. so as not to disturb the one-way arrangement, andreturn to pack. Alternately, if turned end for end pushthem together afterwards, and turn the three over together in the same way and deposit them on pack). When the spectator takes the “bank,” divide all the counters into two portions and give him one of them and retainthe other. Shuffle the cards and secretly note thebottomcard as you spread the pack face down and check with its back to get a clue to theway the ‘‘ odds and evens ” lie inthe spread. Name three “even ” cards, such as deuce, Queen, 10 spot, thenproceed to draw out three “odd ” cards. Obviously, under this ideal arrangement. you are bound to win all the chips ultimately. Naturally, at any timeyoucanchange your call tothree“odd ” denominations; thecourt cards conceal the princip!e fair!y well.
I/a. (20 Cents)
-
AUGUST 1954
82 If challenged you maytruthfullygive your Incidentally it is a good plan 10 have ready a word that thecards are not marked in any way. similar patterned pack with a contrasting coloured A little comedy m a y be introduced by havingback, also arranged. If the firstpackshouldhea telescopic rod with a flatpiece of metal solderedcome disarranged change it for thiswith thc on at oneend similar to a croupiers’pallet. remark “Perhaps a freshpackwillbringbcrtcr Produce this from your vestpocket, extend itand luck!” rake in the chips from the furthest spectator. ’‘ Matters of fact well proved ought not to be denied because we cannot conceive how they can be prform. ed. Nor is it B reasonable inference, first to presume the thing impossible, and then to conclude that the fact cannot be proved. On the contrary we should judge of the action by the evidence and not of the evidence by the measure of our fancies about the action.” Joseph Glanvill, D.D., F.R.S., Saducismus Triumphatus, London. 1681 ‘I
SHAM SHUFFLE GUSTAVE SOUTHALL URING a card demonstratlon 1 have found fingers straighten the cards against the little that nothing convinces a spectator so muchfingers. as the knowledge that the cards in use are What actually happens is that the R.H. porOn theother hand, constant tion(formerly the bottom half of pack) now lies genuinelymixed. ehuffling, either by performer or spectator can be intact in the centre of thepack, and theL.H. boring procedure. a portion (former top half of pack) merely divided is What is required is an occasionalgesture, by the R.H. portion. The whole action of theshuffle takes only something more than a cuf yet not so elaborate as a riffleor overheadshuffle, to retain thespectator’s three or four seconds, but is so disarming that a spectator would swear the cards are well and truly confidence. The quest becomeseven more difficultwhenmixed. With this as a foundation I evolved the it is desired to use almost the same movements for a false as well as a genuine shuffle. following : 1. To retain the top dozen or so cards, The nearest I have arrived at a solution to execute as stated. this ideal shuffle was evolved from a sleight 2. To keep Reds and Blacks intact for “ Out shown to me by my friend Jean Carles of Grass% of this World,”etc. Hold pack in L.H., and an accomplished close-up pdormer, whouses it riffle off all cards of one colour on to fingers of as a card flourish. But tirst the principle. R.H. Fan these in R.H. and immediately fan L.H. Take the pack in the L.H., backs to palm, cards.SweepR.H. portion into centre of L.H. riffle half the pack on to the fingers of R.H., as in fan.(be sure all the cards go into one division). the preliminaries of a riffle or waterfallshuffle. Bring cards to position as in Figure 3, but do not (It is imwrtant to bridge the top half of pack square. Grip cards at centre (right thumb on top, strongly huring this move). (Fig. 11) fingers underneath) and place the pack face down in L.H. Curl left little finger on top of R.H. packet, which is now in centre of pack, to form a break. Square cards and double cut at break. The cards will be in Red and Black order but the colours are reversedfromtheprevlous arranpement.
D
Bothpackets of cards are fanned widelyby pressing outwards with the thumbs.andinwards with the fingers with both hands. At this point it will be. noted that due to the bridge the cards in the L.H. fan will separate and stand up slightly in the centre of fan and create small gaps. Extend the L.H. fan forward alittle,bring the hands together and sweep the R.H. fan into the centre of the L.H. fan. The cards will slide in easily and smoothly.(Fig. 2.) The entire pack is allowed to fall and blend together asit is squared. (Fig. 3.) Both fore-
3. To retain complete order of pack, divide pack as before, sweep R.H. fan intq centre of L.H. fan. Withpack as inFig. 3. position, grip it at centre with right thumb on top and fingers underneath and place pack in L.H. As you commence
83 b square cards press inwards with the leftlittle finger on the projecting inner packet to bring the 4. exaggerated). jogged cards to theleft.(Fig.
‘I
The pack is now squared at top andbottom with the right fingers and thumb. The leftforefinger actS as a “stop an,d the packcan be tapped lightly at the top and bottomedgeswith the right fingers without interfering with the jogged cards (Fig. 5). Finally, as the left forefinger pressescards into crux of thumb, the inner packs is stripped out and placed on top, as in a casual cut. (Fig. 6.) As you do this insert tip of left little finger to form a break. Double cut, and thepackwill be in its former condition. ”
The urtnost extent of human knowledge is comparitive ignorance.” Andrew Crosse “‘The Wizard of Qvantock Hills,”
as
he lay dying. 1855.
PERSONAL TOUCH GUSTAVE SOUTHALL FTER shutiling a pack of cards which have been in use, the performer then lays it on the table and asks someone to assisthim. Ths spectator is instructed to remove from his pocket his loose change and select any coin. Taking the pack the performer asks, for the 6rst time, for the date of the coin. Then without any suspicious moves he proceeds to count out the date by dealing four heaps; if the date is 1948, he places one card in first heap, nine cards in second, four cards in third and eight cards in last heap. All this, explains the performer, should bring to light something of personalinterest tothe spectator. So he enquires of him his car number, house number, etc., but shakes his head doubtfully on learning these. Finally he asks his helper for histelephone number.If say,Central 6792hesays, “That is it!” and turns face up the four heaps to reveal pips on the Cards as 6792. workingThis, as may be guesstd, is intended for use as an intimate party stunt. First ascertain whowill attend, then look up and make a note of a couple of ’phone numbers. Select those with no noughts in them. During a previous trick run through the pack and injog four cards, to correspondwiththe ’phone number you intend to use, and cut them to the top of pack. If, as stated, the number is 6792 transpose them to form 9267with the 9 spot as top card.(Obviously you mustinjog th:m in reverseorder). When ready, shuffle the cards, but retain the top four cards. Selectyour particular victim and askhim to bring out his small change. As he prepares to do this you have ample time to thumb count 12 cards from the top of pack, lift them off slightly but retain the top card with left fingers and let it slip into the break. Immediately afterwards slip the next card from the top on to tz:
A
previous card justmoved. L a y thepach on the table. (The position now is that on top of pack is a 6 spot and under it is a 7 spot, the 11th card is a 2 spot and the 12th card a 9 spot). These moves will go undetected as the attention will be on the spectator at this point. When the spectator goes to examine his coins, most of whichwillbe of this century, you can suggest, from a distance, of course, that he use “ that half crown on the top or that shilling,” etc. State you would prefer him to choose a coin with no noughts in the date. When he is satisfied with his choice, pick up the pack, and give it a couple of false fan shuffles (described elsewhere) which will not disturb the arranged cards. Prepareto deal 4 heaps in a row. Instruct spectator tocallout eachfigure of the ddts separately.Suppose it is1938, the firstfigureis always a one so deal one card fairly as first heap, then 9 cards fairly as second heap. For the third heap hold back the top card (a 2 spot) and second deal the whole of the number called (in this cast a 3). For the last heap deal 8 cards fairly. Tell the spectator that you feel there is a personal link involved and enquire his car number. house number, etc., and finally hit on his ’phone number. Repeat the numbersslowly as you turn over the heaps to disclose corresponding numbers on the four cards
After lhonshas If a coin of the Iast century is proffered keep a break under the three top cards when dealing the second heap. Then deal the top card followed by the next two cards dealt as one card. Credit for the novel date count (used for another purpose) goes to Stewart James. The method can be used to reveal the four aces “ lost ” in the pack.Similarly for the discovery of a quadruple selection of cards.
84
If desired to dispense with the second deal the following. method may be adopted. If numberis 6792 bring cardstotop 2967, deuce on top. Slip or double cut top card to bottom of 11 cards andsliptopcard pack.Thumbcount
l
between. L a y pack on table. Proceed with heaps one, two and three, butfor last heap shuffle the remaining cardsinhandand bring bottom card to top. Finish as in first method. T h e first method, however, is much superior.
“ Magic is n \\Tholesome hobby. It provides an outlet for exhibitionists, offers a means of escape for introverts, and encourages good fellowship. But if your talents lie elswhere, if no one other than your mother has conunended y o u on your prowess as a Merlin, dont abuse this delightful form of entertainment.” Robert Lund. Conjurors’ Magazine, Vol. 5 .
I
JOHN HOWIE’S ROUTINES WITH THE JARDINE ELLES RING Continued from page 75
E X A M I N A T I O N OF THE APPARATUS BY THE SPECTATORS Sincemost Ellis ring routines are designed for close up presentation and the effects possible are, from the layman’s point ofview, so remarkable, it is only natural that the spectators should wish to satisfy themselves that the ring is a plain ring of steel and nothingmore.There are two basic procedurles for dealing with this situation. In this first case the ring, complete with shell, is introduced andthe choseneffectperformed. Since in most Ellis ring effects the shell is disposed of before the climax of the effect is reached, it is a perfectly safe procedure to offer the ring for examination at that stage. In the second case the ring, complete with shell, is introduced (care being taken to let itbe seen that only one ring isin evidence) then the shell is palmed off before giving the ring for examination. On the return of the ring the shell is silently replaced, then the eEect inhandcan proceed. A variation of the second case is to introduce the ring alone and give it for examination meanwhile secretly obtaining the shell (from a clip, the sleeve or elsewhere) which is thenaddedto the ring on itsreturn. The above applies mainly to individual effects. In the case of several effectsblended to forma routine a combin.ation of both procedures can be used. Thus, assuming that it is desired to perform “ Ring on Necktie,” followed by “ John Howie’s Ring on Pencil ” (both described later), the first effect could be performed without examination of the ring and at the climax of the effect the shell would be temporarily disposed of (in the sleeve). After a brief examination of the ring by a spectator, the shell would be retrieved, secretly replaced on the ring, and the second effect performed. With regard to examination of the ring following removal of the shell, individual of performers will, no doubt, evolvemethods “ palming o ff ” to suit themselves.However, for the sake of completeness, two methods are given here, the first being a direct method, the second incorporating a simple but useful flourish.
THE DIRECT PALM OFF This is probably the simplest method of palming off the shell. Take the ring ,and shell from the pocket so that the shell lies next to the fingers. Better still, show the ring and shell as as one them, keeping the back of the left hand towards the spectators, allow the ring and shell to swivel round so that the shell is next to the fingers. With the ring and shell positioned a t -‘tEeroots of
85
the second and third fingers, contract these fingers slightly and turn the left hand palm down over the upturned right hand. The ring alone will fall to the right hand as shown in Fig. 6. A single trial will confirm the simplicity of this procedure. dn thereturn of the ring it willusuallybe necessary to replace the shell upon it and this should be done silently and with the minimum of finger movement. The following procedure will be found to be simple and effective. Hold the ring pinchedbetweenthe right forefinger and thumb, thethumb being towards the floor as shownin Fig. 7. With the shell ,still held in the left fingerpalm bring the left hand, thumb upwards, in front of the right positioning the shellimmediatelyin front of the ring.Press the ringgently into the shell (an operation that can be. absolutelysilent) and fold the left fingersinward.When the shell covered ring is flat on the left palm, remove the .right hand, turn the left hand, palmtowardsthe spectators, and extend the leftfingers to display the ring on the palm as in Fig. 8. The whole action takes but a moment.
leaves the spectators’sight. At this stage the hand should, of course, be above thespectators’ eyelevel. I have dubbed this move the “ Howie Pick-up Move,” since it is a move of general utility and reference will be made to it later in the book. A throw to the right hand is now executed as follows : Turn slightly to the right and swing
r” FIG.7 PACM OFF USING THE HOWIE PICK-UP MOVE In this case start withtheshellcoveredring on the left hand as inFig. 8. Thehand should be pointing downwards SQ that the ring is clearly seen. Bend the left second and third fingers upwards and pressthemfirmly into the.combined ring and shell as in Fig 9. Raise thelefthand keeping it palm upwards and as the forearm approaches the horizontal. unbend the left second and third fingers so asto keep the shellina vertical plane. It will be found that the shellis automatically carried away from the ring as the left fingersunbend. At the completion of this movement the positionshouldbe as in Fig. 10. which shows the view from directly above. Done correctly it should appear that the ringnever
the left handin an arc over theupturned right hand letting the solid ring go to the right hand. By the end of the swing the left fingers, other than the forefingex, are bent in to the palm as shown in Fig. 11. Care must be taken to avoid the ring and shell striking each other but this is simply a matter of care and practice. The ‘‘ flash ” of metal allthe way over to the right hand makes this switch particularly effective. If desired the shell canbe pressed into the classic palm position so asto release allthe leftfingers but thisisnot essential. Now press the right second and third fingers into the ring and raise it in the same way as done by the left fingers earlier. Holding the ringin this position, offer it for examination. On regaining the ring hold it between the right forefinger
86
and thumb as in Fig. 7. and replace the shell (moved inthe -meantime to the leftfinger paim position) as described above under the direct palm Of€.
*
o(c
*
At this point a ruse due to Dr. F. V. Taylo: is worthy of note. In order to free both hands thl: combined ring and shell may be placed and held in one eye like a monacle. Thus; though th,e apparatus is not given for examination, this casual handling is such as creates a strong impression that the ring cannot be other than a simple metai ring beyond suspicion.
A WORD O N BASIC PROCEDURE Most Ellis ring effects are concerned with the passing of the ring on to a rod, ribbon, handkerchief, etc., and a procedure frequently suggested is to thread the ribbon, etc., through the combined ring and shell as a “ demonstration.” The shell alone is then removed thus enabling a magical penetration to be effected subsequ~ently. This
F \ G .\c3 TOP
VIEW
move made in a magical effect should have an adequate reason to support its being made and it is felt that the reason for the procedure described above is just not strong enough.
FrG. 11
F\& 3 procedurei whilst very easy to adopt, is in the be avoided. author’s opinion, one to Everyone knows the normal way of passing a ring on an article such as a rod or ribbon. W h y , therefore, waste time and, by implication, insult the spectators intelligence by putting the ring on Every only to remove it again immediately?
(To be
A further reason for avoiding the “demonstration ” procedure is that it forewarns the spectators as to the effect you areaboutto perform. A much better and more surprising effectis achieved if the penetration of the article by the ring is carried out without any previous contact between them. This desirable result canusuallybe obtained by careful routining of the preliminary moves-practical examples will be found in the effects described in Parts 2 and 3 of this book. continued)
BOOKS “ RlSt call t0 C ards’’ by StewartJames (Published by Harold Sterling of Michigan, U.S.A. price two dollars. English representative Fr,ancis Haxton, St. Anthony’sNonsuchWalk,Cheam, Surrey). Those who have had the pleasure ofseeing the author of this bookwork the effects detailed therein, will, we know waste no time in purchasing a copy. Altogether there are twelve effects with a pack or packs of cards none of which call for digitai skill or faked accessories. They are as follow :“ Mike and Ike,”the first item is a story trick based on a most ingenious principle that allows the magician to locate fourcardsunder seemingly impossible conditions. A second version of the plot make use of contrasting backed packs. “ SevenWonders ” the nextitem is a card puzzle that to us seemsa bit too complicated in plot. At the sametime the meansemployed to bringaboutthe desired end cannot but arouse admiration. “ The Name is the Same,” is a version of a ‘‘ Do as I Do,” credit being given by th,e author to ourselves forthe inspiration. Stewart’s method keeps to the effect (namely that the spectator and magicianproduce a similar card by spelling out each other’s names), and achievedwith far less physical effort. “ Matchimera ” is one of the gems of the collection. Performer and spectatoreach select and replace a card in the pack which later is halved. Onthe halves being dealtboth spectator’s and performer’s cardturnupat the same spot. A very straightforward plot with undetectable means. “ The Deckspert ” which follows is also very Straightforward. The plot isthatthe performer like a goodcardsharpercan e.stimate the cut. Here again the means are so simple and out of all proportion to the effect. “ The Flight of the Spelling Bee.” On 9 blankcardthe performer has a drawingof a “ Spelling ” Bee. A tap on the back of the pack and a chosen card can be spelled out. The spectator chooses a card and, the performer taking the “ Bee ” card shows him how to spell out the name of a card a letter at a time. The spectator fails, thereupon taking the pack the performer mentions thatthe spectator didn’t tap the packwith the “ Bee.” Doing thisthe spectator’s card is then successfully dealt. ‘‘A Girl’sBest Friend ” is a fineitem for closing a location routine, where one card is yet
to be disclosed. It takes the form of a story in which after several cards in a mixed order have been spelt out in proper order,thecard to be located is left in the performer‘s hand. “ Dateaser,” is a very nice way of revealing a chosen card. The performer places on the table besides the cards, a slip of paper bearing the dates OR which the trick was previouly performed. A card havingbeenselected and itis shown that the five dates have a hidden meaning for by substituting letters for the numbers they represent the name of the chosen card is spelled out. “Double Timein Spi-ritland,”is a definite improvement on Jordan’s “ Spirit,Mathematician ” and at the table would make a very nice item for use with miniature cards. “ The Square Deal ” and “ Coloracle ” have a certain similarity. In factthelatter is really a combination of “ Double Time in Spiritland ” and “ The Square Deal.” It is a mathematical prediction of the first order plus the fact that procedure is very much off the be.aten path. “ Improsonic ” the final item is a version of the “ Supersonic ” plot but using no faked cards and at the same timeallowing the spectator the free choice of a number. Looking through the twenty-eight pages which make up this book, we realise that Stewart James is ,a comrade in spirit to Jordan and Hummer. We know that whenyou get yourcopy of this very finelyproduced publication, whichwith its offset typeset givesa nostalgic whiffof the great Jiax. you will find at least one effect which you will use. and keep on using, and just as I blessed the day when I first saw ‘Stewaft’s “ Mih.askil1”in the Jinx, so youwill have cause to be thankful €or this little book, for here issuchstuff that magic dreams are made on. I t i,sa delight to the magical connoisseur. Effwith, the Riffle Count.” by Mark Weston.Publishedby theauthor at 5, Deakin Street, Lower Ince, Wigan, Lancs. Price 41-. Mr. Weston has taken a sleightandused it as a means for achieving a great number of m m ical effects. Many of these couldbeachieved by other means, but undoubtedly the point Mr. Weston wishes to bring homle is the catholic way in which the rifflecount can be used. We know that those who have based their card technique on Merlin’s “And a Deck of Cards” have alreadv realised the potentialities of this useful sleight. The .author of the present manuscript takes it to the uttermost stage.
88
EIGHT SESSIONS
COME A LITTLE CLOSER
OF
CLOSE-UP MAGIC
By TOMMY VANDERSCHMIDT, ARTHUR HOLLAND, BOBBY BERNARO ALEX.EMSLEY, ROY WALTON,TEDDANSON, JOHN DERRIS, JACK AVlS
Edited by Peter Warlock Printed on art paper, 40 pages packed with the tops in CLOSE-UP MAGIC with 20 photographs illustrating tricks with cigarettes, cards, coins, rings, etc.
Available from alldealers POST
-
=
6/-
4d.
In case of difficulty write to :-
PENSHAW PRESS, G R A Y S HILL m ESSEX BILLERICAY MAGIC WAND PUBLICATIONS Spectator’s Choice Douglas Francis Mether Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s Maurice Hurling Entertainer Jrmesorophy James Stewart Strictly Magic JosephEddie Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With %age Money Jack Lamonte Suzy and City the Slickers Jack Lamonte Where Houdini was wrong Maurice Sardina
Challrngo Instant tlypnotism and M a s s Hypnotism
, 1
GeorgeArmstrong 211Cbandu’r Psychoanrlyris George Armstrong 10/3 Gwrge Armrtrong’r Premonition GeorgeArmstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 513 Tricks of the Trade George Armstrong 2/7 The Unlvrrul Mind Ron Baillie l219 HenryBohlen10/3 bhkno’r Mysteries Aage Darling 17/9 1’11 Road Your Mind Entrrtainingwith Contact Mindreading S. E.Dexter 7/9 Entertaining with Hypnotism S. E. Dexter l0/3 Automrnklism Courcy Ken de 20/3 Zodiac Teltpathy Courcy Ken de l2/9 John Ramray’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli l0/3
P,
9,
edition) (cheap
7/9 7/9 5/3 l0/3 513 513
l0/3 7/9 S/3
7i9 2016 7/9
Stooging Around Playing With Magic Magically Yours
JoeStuthard 513 WilfredTyler 30/6 Verrall Wass 15/6
FROM THE PUBLISHERS
T H E MAGIC W A N D P U B L I S H I N G CO. 62 WELLINGITOR’ ROAD, ENWIELD, MIDDLESEX
The Magic Circle Prrsldant : His G r r r e 111e Ihrkr o f Sumcccct.
D.S.O.. 0 . B E.. J.P.. M.I.Y.C. Vlce-President: D0ud.a CnBBI, M.l.M.C Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King
Geotye’s Ha!l,
W.C.
Summer Recess Pmrticulars from Hon
Secretary
Peter Newcomba 38 Overdale Avenue NewMaldeSurrey
PETER
JACK HUGHES
WARLOCK’S
PENTAGRAM is published on the 24th month and can be obtameddirect from the publishers for 117 per h g l e copy. Annual Subscription 181YOSt
PtiHLISttED
free.
l3Y:
Publishing Wand Magic The Co. 62 Wellington Road, Enfield Middlesex Martllsrripts publication books and for review should be sent EDfTORI4L
ADDRESS:
Peter 24,
for to the:
Warlock,
Wordsworth Rd., Wallington, Surrey.
w i l l bepleascd to send full details of
)OII
THE DE LUXE “SU-TABLE” together with all his other effects inreturn for a stamp. Writenow to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9. CONJURING BOOKS FOR SALE OLD AND NEW. Let m e know your w a n ~ LIST FREE FOR STAMPED ENVELOPE No
Callers
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P U B L I S W O B? THE ? U O P R m O R S T H E MAOIC W A N D PWBLISHINO COMPANY. 6 2 WELLINGTON HOAD, ENPIELI). MIDDLESEX A N D PRINTBD B? HERBERT WALKER & SON (PIUNTERS) LTD.. WELL CROFT, SHIPLEY, Y O R K S H I R E
4th DIMENSIONAL POSTAL ORDERPETER WARLOCK and allows it to slide downover theplatform THIS IS. a !ittle effect off thebeatentrack until the lower end reaches the table top. It is and w h ~ kIt requmes some apparatus, such apparatus can be made up by even the most ham-handed member of the family. The effect goes like this :On the magician’s table can be seen a small pedestal. a rectangular cardboard chimney and a tray containingagrapefruit+a lemon, egg and walnut. The performer first shows that thz chimney just slides over the top of the pedestal and then removing it calls attention to thevarious articles m the tray. Fromhis pocket he now takes a postal order and asking a member of the audience to note that the number on the counterfoil agrees with the number of the he detaches the saidcounterfoiland leaves it with a member of the audience. Thepostalorder is rested against the pedestal. Thegrapefruit isnow placed on thelittle platform and then the cardboard cover is placed over it,but instead of as previously sliding it down over the platform it h rested on it (Fig. 1).
draft.
Now the lemon is taken and placed inside the tube and of course on top of the grapefruit. It is followed by the egg which is placed on top of thc lemon. Next comes the walnut. and finally the postal order is picked up, folded and dropped on top oP the walnut “ Now,” remarks the magician, “Let me show you a rather peculiar thing.” Takine the chimnev he gives - it a slight - turn ~
~~
~~
-
VOLUME 8, No. I2
-
apparent that all articles apart from the grapefruit must either have vanished or be crushed. At this point the chimney is drawn clear of the platform and only the gra&fruit is seen on the pedesta!, the chimney being shown empty and placed aside. Taking a sharp knife, the grapefruit is cut open to reveal within, the lemon. This too is severed and inside is found the egg. Finallythis is broken its interior, the over a glass to letfallfrom walnut. Wiping thelatter withacloth,it is handed to a member of the audience together with a pair of nutcrackers,this personbeingasked duly to see what is inside thenut.Thenut cracked a postal order is found inside, which upon being compared with the counterfoil proves to be that shown by the performer at the beginning of the effect. The requisites are few. They are :1. A smallplatform on a stand. The size of the platform should be 5 inches by S inches. 2. A cardboard chimney capable of slidiqg easily over theplatfom. One of the sides has a pocketformed down its whole length on the inside which can easily open without any assistance from the performer (see Fig. 2). 3. A real grapefruit, lemon, egg and walnut. 4. A latex lemon, latex egg and latex walnut. S. A &arp knife. 6. Two postal orders with all but the unit digit similar. The unitdigit in one case shou1.l case “6.” This may be “ 5 ” andintheother mean buying eleven postalorders on some OCcasions but as the poundage is the only thing you lose, it’s not much to pay. 7. A pair of nutcrackers and a glass tumbler. With assumption that the cardboard chimney anil thelittle platform have been made, the reader’sfirst concern i8 with thepostal orders. of Indian ink addastroke which Withaspot will alter the f i d digit “5” into a ‘‘ 6.” Then detach both counterfoils and with a spot of latex cement join the genuine counterfoil to the fake “ 6 ” draft.
I/6. (20 Cents)
-
SEPTEMBER 1954
90
Thenext step is to prepare the fruit. With the knife slice off neatly one end of the lemon, scoop out most of the contents and slide the egg inside. The sliced top of the lemon is now neatly attached either by means of pins or small slivers of cellotape Actually if the lemon is left to dry out a little an adhesive such as balsa cement can be used most effectively. The grapefruit is similarly treated only this time the lemon is placed inside. Oneother piece of preparationhasto be done and that is to carefully ease the walnut shell open separatingthe two shells and after place folding the genuine 6 " postalorderto the latter inside and glue the two s,hells together. To prepare for the effect, place. the pedestal and. chimney to the left of the table you are using whilst on tray,on the right are positioned the knife, tumbler, loaded grapefruit, latex lemon, egg and walnut. The fakedpostalorder is placed inside the performer's wallet. The prepared walnut is placed behind a crumpled cambric handkerchief near the rear of the table. Presentation.Finst of all call attentionto the small pedestal and cardboard chimney. Show that the latter can easily slide right over it and down on to the table. Remove the chimney and place it just behind the pedestal. The wallet is now removed from the pocket and after the postal order has been extracted i; is replaced. Have a spectator see that the number on the draft and that on the counterfoil agree ,and then detach the counterfoil and hand it to another spectator. Keeping the faked postal order withiil sight of everyone rest it against the base of the pedestal. The grapefruit is then taken and placed on the pedestal top and picking up the chimney and showing it to be empty, it is placed over the grapefruit in a way previouslydescribed and illustrated. Theflap inside, if properly made should fall inwards, of its own accord or at the most require a touch of the performer'^ finger. Intothe pocket formed by the opened flap are placed in turn the latex lemon, egg and walnut. Finally the postal order is taken from its resting place atthe bottom of the pedestal, folded in halves and then in halves agtain and also droppe3 inside the pocket. Placing his left hand across the top of the chimney the right hand gives it a dight twist so that it slides over the ped,estal top and "
I
ultimate The
down to the table. This actionautomaticaliy causes a closing of the pocket inwmuch that the top of the pedestal has been forced halfway up the chimney. Commenting on the fact that the walnut, egg and lemon are no longer in sight, the performer grips the pocket side of the chimney between his fingers and thumb and draws it up off the pedestal then showing the chimney to be empty. Only the grapefruit can be seen onthe pedestal. The chimney is placedaside. Taking the knife with the right handthe grapefruit is picked up with the left, shown to have an unbroken surface, and then, carefully severed with the knife and revealing the lemon. 'The knife is laid aside whilst the two halves of the grapefruit are placed on the tray and the lemon shown too, to have an unbroken surface. The knife is taken oncemore, the lemonsevered' to reveal the egg. The knife is again pl'aced down, the two halves of the lemon joining the pieces of grapefruit on the tray. The piece of cambric with the walnut (the latter being finger-palmed) ispicked up and the eggwiped dry. The piece of cambric isplaced down on the table and the egg passed to the hand which hasthe walnut finger-palmed.With the free hand the tumbler is brought to the centre1 of the t'abb and egg cracked against it. With each hand holding one end of the egg it is held over the glass opened out and in the action of allowing its contents to go ihtothe glass the finger-palmed walnut is released and goes with them. All that now remains to be done is to wipe the walnut with the cambric, hand it to a spectator with the nutcrackers, get him to open it and after removing the folded postal order inside see that the number agrees with the counterfoil. There are one or two points worthy of mention. The first is that if the reader likes to go t o a little more trouble, the chimney can be hinged at the sides and both at the beginning and end of its usage can be folded. The second point is that instead of a postal order a borrowed note could be used. This would call for a different technique insofar (providing the performer proposes to deal with that note only) that the note will have to be switched at the beginning and later loaded into a hinged walnut treated with adhesive in the performer's pocket. Thirdly, please in handling the latex egg, handle it like an egg.
result of shielding men from follv i s to fillworld with the
fools.
I
ONE OVER THE EIGHT JAMES ESLER ONE of his books, I cannot recall which, INadding Devant detxribes an indetectable method of a few cards to any number which have been counted on to the table by the person m i s t ing the trick. It is a perfectly natural move,
never ,suspected, most Pe~zftzgra~z~ivts will bc familiar with it, but for any who may have o w - looked it here is the procedure : ehe nerforlnor. holding the packinhis left hand preparatory '0 dealing, speaks to his assistant : Will you please "
9€
count on to the table a number of cards in this way,” he then proceeds to deal. off the pack. say three cards to illustrate his instruction, then cards justdealt,simulating regathersupthe placement, andhands the pack to his assistant. He has in fact, however, retained the three cards palmed in the right hand. Continuing his instructions to his helper, the conjurer directs him to : “ Count the cards as they drop on the table and stop where you like.” These instructions being duly fulfilledby the assistant, the conjurer by a sweep of his right hand pushes the uneven lot of cardstowards him with thefurther request : “ Square thecards up and place them in your pocket.” It is hardly necessary to informthz reader that the palmed cards were added to the pilein the action of pushing thecards across That is the barebones of Devant’s stratagem, an5
I
1 can vouch for the soundness of. the method, and here is a method of putting it to use in a manner which has a rather novel terminal point. Ask your helper to count SIX cards onto the table in the manner described, retain three adding them as you push the pile over to the assistant with the request that he placas them in his pocket, a t thisstage you take up a plain card and asking your assistant how many cards he has pocketed, and the replybeing SIX, you speak : “ Having six cards in your pocket I will write the figure 6 on this card, now the figure six has one quality not common to any other number, in that whenreversed ,in this way, it becomes a 9, will you be good enough to see if our reversing of the figure has in any way affected the number of cards younow hold? He counts his cards and, of course, finds nine!
The easiest person to deceive is one’s own self.
I
SANS FACON JAMES ESLER long long ago, I heard or read SatOMEWHERE, of a minor prediction effectwhich I trot out intervals when a few people are congregated together. It is quite puzzling and perhaps sume reader can give credit to the inventor, I cannot, mayhap it was never invented, it just happened Anyhow for what it’s worth here is the effect. You write a number on a scrap of paper fold it ,and lay it aside : now ask someone to think of a number, any number from one to nine : to double it : to add two : to multiply byfive : and then to subtract from thetotal arrived at, a number which you will state. The answer will be two figures, the first of which will be that which was thought of, and the second that whichyou predicted. The formula is simple : suppose you predict the figure 3, things proceed in this way :Think of a number ......... 6 Doubleit ..................... 12 Add 2 ........................ 14 Multiply by 5 ............... 70 Now you ask that a certain numb’er shall be subtractedfrom the totalthus arrived at, and this number must be the differencebetween the figure predicted byyou and 10. In the example we are considering 3 was the number predicted. 3 subtracted from 10 gives us 7. So you ask that
1
7 be taken from the unknown sumwhich your assistant has in mind, in this case 70 : 70 - 7= 63. Thus providing the correct answer : 6 thought of by your assistant, and 3 the number that you predicted. Now whatcan we make of this? My own application requires a pack of cards, in which the top few cards are arranged, regardless of suit, from ace to 5, these are palmed whilst the pack is k i n g shuffled by an assistant, and added on return as the pack is placed aside. This is done before the effect begins. Now youwillfind that if youmakeyour prediction 4 or 5 , andsubtract either of these figures from any figure thought of by someone. the difference can never be greaterthan 5 . So youask at the end of the calculations that the two numbers in the answer be subtracted from each other. Hand the pack of cards to the assistant asking him to count to the card standing at that number, to find th,at it corresponds. There is one exception when your helper selects the same number which you predict; you are a magician so asmall obstacle of this kind should present no difiiculty. I ignore the business of subtraction, and take the two figures as either 4 or 5. Anyhow if you think it worth while. I leave it to you.
The greatest of virtues is self-restraint.
l
92
JOHN HOWIE’SROUTINES WITH THE JARDINE ELLlS RING Continued fiom pale 86
RING ON STICK EFFECTS Display the shell covered ring in the left THE “DIRECI”’ RUNG ON WALVD hand as in Fig. 8, the wandbeingheldin the This effect is the culmination of a search for right hand. Execute the Howie Pick up ’* move a simple and direct version of the ring on wand as showninFigs. 9 and 1.0. Next grip theshell d k t . While bearing a certain similarity to Bill between the left forefinger and thumb then move “
Larsen Jr’s. ring on pencil effect themechanics are quite different. EFFECTThe performer dhplays a ring and a wand m such a way as to make it obvious that these are the only articles used. Showing the ring at the tips of the fingers qf one hand, the wandbeing held by the middle by the same hand, it is then carried under andintothe fist for a momem.. Suddenly the ring is seen to be threaded upon the wand, the ends of whichhavebeen in full view throughout. REQUIREMENTSThe Ellis ring and shell. A wand. METHODThe effect is brought about by a combination of the Howie “ Pick Up ” move and a subsequent “ steal ” of the shell.
the twomiddle fingers from inside the shell to below it and we thesefingers to push the sheii well up and away from the palm. The wand is now transferred to the left hand thus : lower the tip of the wand on to the near side of the ring thereby causing the ring to tilt upwards. Immediately push the wand through the ring and through between the left forefingers and thumb. so that the left hand is positioned central!? on the wand then close the left second, third and fourth fingersover the ring.Fig 12 shows the performer’s view of the wand tilting the r i q . Careshould be taken to avoidnoisewhen ths wand touches the ring and alm to avoid any undue pause just before the push through. Now turn the left hand palm downwards. It desired, the shell may be taken in the right hand for a moment then replacedbetween the left forefinger and thumb-this to give silent emphasis to the fact that m far there has been no contact between the “ ring” and the wand. Next extend the left second and third fingers and grip the shell between them (third finger 01: the spectators’ side) and, releasing the grip of the forefinger andthumb, fold the second and third fingers back so as to carry the shell out of sight. Under cover of thehand move the second and third fingers in relation to each other to bring the shell at right angles to the palm. Tilt the hand slightly toward,s the spectators so that the shell extends towards you as in Fig 13.
7 Withtheextended right forefinger point to each end of the wand emphasising that these will remain in‘view throughout. Statethat the ring
93
is held against the wand by the left hand-at this point tap the back of the left hand with the right forefinger as in Fig. 14 and steal the shell by txtending the right second and third fingers,using them to grip the shell which is then removed by folding t h e fingers back behind the right hand. This stealtakesbuta moment andisidentical with that used in the well-known vanish of a coin or sponge ball from the closed fist. Having made
F I G .14
the steal, lower the right hand to thesideand concentrate all attention on the left hand. Make a queezing motionwiththe leftfingers then spread them so as to grip the wand between the thumb and forefinger on one side of the ring and between the third and fourth fingers on the other. Finally slowly raise the left hand, palm towards the spectators, to Show the ring threaded upon the wand in Fig. 15.
n 6 3
FIG. 1 5
An alternative ending is to have the ends of the wand held by two spectators before removing your hand to reveal the ring upon the wand.
Disposal of the shell. Assuming that it is not required to continue with another effect requiring the shell, probably the best method isto the side pocket althqugh the “ Topit ” vanisher is also suitable. The following sleeve disposal is also worth noting : With the left hand held as in Fig. 15, use therighthand to spin the ring on the wand. This involves a Is’hort downward jerk ,of the right hand which gives perfect cover for the dropping of the shell into the upturned left sleeve from which it can be recovered at leisure. Adaptation t o otker Articles. Theabove effect can be performedusing 8 ribbon,rope, handkerchief, etc.inplace of the wand. Examples will be found later in the book.
JOHN HOWIE’S RING ON PENCIL TheHorowitzbooklet includes a neat ring Qn pencileffectbyBillNord.Since a special faked paper pad is required, however, the effect is limited accordingly. My version requires no special accessories, gives a clear viewof both ends of the pencil throughout the penetration and includes a “sound effect” as the ring “penetrates” the pencil. The method is based on anoriginal movefirst published in my ‘‘ Thanks to Ellis *’ effect . EFFECTA simple two fold screen is formed from any convenient small piece; of card or stiff paper and is impaled upon a pencil. A ring is placed behind thlsr screen as it stands on one hand. The hand is jerked upwards and the ring is h a r d to strike the pencil. On turning the screen to reveal the other side, the ring is seen to be threaded upon the pencil. REQUIREMENTSTheEllis ring and shell. A pencilwhich should for preference be a long one with a sharp point. A piece of thincardor stiffpaper-the exact aize is not of vital importance but 5 inch by 3 inch is convenient. A post-card or used envelope will prove satisfactory.
W
94
finger so as to keep the @hellin view. The relaxation of grip must be such as to allow tha ring to fall freely back on to the thumb. Fig. 17 shows the performer's view of the hands at the end of the upweep. The effect on the spectators should be simply that you have raised both hands keeping both ring. and card in full view. (Note : This version of my thumb move is rather different from the one given originally in '' Thanks to Ellis " and is considered to be an improvement). "
"
Now place the card between the left thumb and the shell-the dotted outline in Fig. 17 shows exactly how to place the card. With the freed right hand take the pencil from the breast pocket and as this is done,raise the left elbow. This natural movement has the effect of bringing the F I G . l7 left hand palm downwards and the ring to the tip -RERR Yl€Wof the thumb so that isit closethe to rear the of METHODcard as Shown in Fig. 18, which is a side view exposing the d a t i v e positions Of ring,shelland F o a ~small two fold screen by folding the card. Withthe leftlittle fingerpush the other card (or paper) in half across its length SO that half of the card round against the thumb as ina& half is about 3 inches by 23 inches. Forcc dicated in Fig. 18 then push the pencil from the the pencil point ashort distance thou& the spectators' Side right through the shell, and both centre of the folded card-this to facilitate the halves of the card (and also the hiddenring) as passage o f the wholepencil later. Havingdone this, place the pencil inthe breast pocket(this isshown in Fig. 18i'mportant). Now show the ring and shell as one and hold in the left hand as in Fig. 16-note that the xing and shell lie backincontactwith the'thumb. Hold the card in the right hand as shown. Raise bothhands U wards m indicated by the arrow S of the hands are towards the until the bac V t a t o r s andthe fingers point upwards. It is d m n g thisupwardmotion thatthe key move is made.
P
F I G . 19 -To?
VtEW-
%'ECTA7WtS _I_F
FG. 1 8 -SIDE; V t E W -
As the hands approach the horizontal re1a'; the grip between the left thumb and szcond finger slightly and, as the handscontinue upwards, mov? the tip of the thumb forward against the SeCO*K!
Withthe left thumb ease the ringsilently on to thepencil. Take the shell in the right hand, dip it off the pencil then, keeping it full face ;o the spectators, position thz card on thc upturned left hand in as Fig. 20. Stating thatwill you lay theunder ring the pencil actually lay it flat near the heel of thehand, then movethe right forefinger forward while the thumb pushestheshell backwithin the left sleeve ,as in Fig. 19. Place the right hand on top of the card as in Fig. 20. and give a short vertical shake whereupon the
95 ring will be heard to strike the pencil.
Holding both hands so that the palms are visible slowly rotate the pencil till the rear of the screen i s towards the spectators revealing the ring threaded upon the pencil as in Fig. 21.
FIG 21
Disposal of the Shell.
F I G . 20 Immediately grip the end of the pencil with the righthandand raise pencil and card about 12 inches above the left hand. Grip the point of the pencil with the left hand (the higher position helps to move the shell further up the sleeve).
The shell can be recovered easily by lowering the left arm after: which it can be replaced on the ring for a further effect or disposed of in a pocket as the ring or pencil is put away.
T o be continzted
BOOKS “EXPERT CARD TECHNIQUE” by Jean Hugardand Frederick Braue (English edition published by Messrs. Faber and Faber Ltd., price 42/-).
The present edition is a facsimile of the third edition that was published in the United States in 1950. It is without doubt the apotheosis of card trickery andits value to the card worker or would-be card worker is beyond price for within its 474 pages have been packed the finer sleights and subterfuges o f the World’s top-flight cardicians. When the third edition was published two additional chapters were added to the original edition; they were written by Dai Vernon and the late Dr. B l e y respectively. Vernon dealtwiththe finer points of card handling illustrating some of his points, by including his masterful “ All Backs ” routine whilst Daley the perfectionist deliberated on some aspects of the “ Side Steal.” The remaining part of the book covers every sleight and stratagem of card table artifice, adding to the sleights descriptions some of the most
brilliant feats of card magic devised by men l i k Miller, Horowitz, Rosini, McMillen, Vernon, Merlin and Zingone. Such a list of names -may appal the newcomer to magic but as an antidote tothis high-powered technique let us add that one chapter deals with effects that require no skill whatsoever, the means for accomplishing thc feats consisting of sublety and subterfuge well disguised. I t is hard to read through a book, even with a pack of cards in hand and pick out the best effect, for truth to tell there arc many ‘‘ bests ” according to the individual like of the performer. For ourselves, however, “ Solo Flight Aces,’‘ “ Mercury’s Card ” (A favourite of Dr. Stanley J a b ) “ Two-Six-Four’p and Miller’s “ Dunburi Delusion ” are eternal favourites. “ Expert Card Technique ” takes its rightful place among the great classics of magical literature. To any magician who essays the study of what Johann Nepomuk Hofzinser d,escribed as the “ Poetry of Magic ” it is a necessity.
WILL DEXTER’S IDENTITY PARADE This i s the ideal routine for the intimate show, for it is designed to get LAUGHS as well as t o completely baffle the audience. Half-a-dozen assistants are invited t o select one of their number as the SUSPECT,and this is done by dealing a well shuffledpack of cards. The man who gets the ace of spades is the SUSPECT, but he DOES NOT REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print a t each end. They then tear their slips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM i s taken t o each member of the IDENTIFICATION PARADE In turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE H O W HE DOES IT. As a check the victim selectsone of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show hiscards, and sure enough he holds the ACE OF SPADES. This routine comes t o you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The
Spectator Does All The Work-Without Knowing
“
How.”
Also included‘is a N E W PRINCIPLE in Mentalism thatcan be used in m a n y m o r eeffects.
PRICE 716
(1 Dollar)
Postage 3d.
MAGIC WAND PUBLICATIONS Spectator’s Choice Francis Douglas Mothor Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist and Children’s Entertainer Hurling Maurice jamaosophy Stewart James Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’s Card Miracles Toni Koynini Stunts With Slage Money Jack Lamonte Sury and the City flickers Jack Lamonte Where Houdini was wrong Maurice Sardina
Challenge Instant Hypnotism and Mass Hypnotism
George Armstrong Chandu’s Psychoanalysis George Armstrong Goorge Armstrong’s Premonition George Armstrong Magic Wand Year Book 48/9 George Armstrong Tricks of the Trado Gnorge Armstrong The Universal Mind Ron Baillie Mysteries Bohleno’s Henry Bohlen 1’11Your Read Mind Darling Aage Entertaining with Contact Mindreading S. E.Dexter Entortalning with Hypnotism S . E. Dexter Identity Parade Will Dexter Automentalism Courcy Ken de Telepathy Zodiac Courcy Ken de Jobn Ramsay’s Cups and Balls Victor Farelli Thanks to Leipzig ! Victor Farelli
21110/3 10/3 513 2/7 l2/9 10/3 17/9 7/9
10/3 7/9 20/3 1219 2516 10/3
S,
9,
Stooging Around Playing With Magic Magically Yours
,,
7/9 7/9 513
l0/3 513 5/3 10/3 7/9 5/3 7/9 20/6 719 Joe Stuthard 5/3 Wilfred Tyler 30/6 Verrall Wass I5/6
edition) (cheap
FROM THE PUBLISHERS
T E E M A G I C W A N D P U B L I S H I N G CO. 612 WELLIN6lTON ROAD, ENWIELD, MIDDLESEX
The M.agic Circle Preaident : Hir
Grace
the Duke of
D.S.O., O.B.E., J.P., M.I.Y.C. Dorub Y.I.M.C.
VfC+mdent:
Clubroomand
Lib-mud-
PETER
BM..
Museum :
Hearts of Oak Buildings, Burton Road, London, N.W.1. Magi4 Tbrrtre :
King George’s Hall, W.C. Oct. 23 Auction Sale
2030 p m . Puticulur from Hon. Secretary :
Peter Newcornbe 38 Overdale Avenue New MaldoSurrey
WARLOCK’S
PENTAGRAM
Somerset,
ir published on the 24th of rwh month and
beobtained direct from the publirhers for 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
CM
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex M8nuscripb
for publiution and book for
review should be rent to the:
EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
JACK HUGHES will k pleased to send you full details of
THE DE LUXB “SU-TABLB” together with a11 his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
N.W.9.
Colindale, London,
~CONJURING BOOKS FOR SALE OLD ANI) N EW. Let me know your wmtr LIST FREB FOR STAMPED ENVELOPE ~
No
C.llen
GEORGE JENNESS 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISRXD ay THE rmommm m e UAOIC WAND Puauwnw COMPANY, 62 WXLLINOTON ROAD, XNPIELD. A N D PRINT80 BT HE88.RT WALKSR & SON (PRINTERS) LTD., WELL CROFT, SHIPLET. YORKSHIRE
umrxesex
*
THEY’RE ALL JACKS! WINSTON H. FREER N MAGIC, as in Music, the listener’s attention I.familiar most easily gained through a recognized, proceeding. that the group feels they IS
can follow. Once they are firmly upon your trail, your unexpected departurefromthefamiliar process will leave them stranded, perplexed, and if the parallel to the off-beat in music is clever, we hope it will leave them pleased, or at least talking about you. Using the story that is repeated, with an improved method at each re-telling, easily builds up following in a group that is receptive to closeup magic. just now so popular in the States. The will leave them droll climax of thebuild-up laughing with you, and avoids the usual triumphant atmosphere that might cause them to tire of you, were you t o prevail over them openly, in each effort. Manywell-knownlay-down tricks maybe adapted to this presentation. The old Four Jacks challenge will soon get their grudging attention, and will serve as a sample of the build-up of admiration that may be obtained by this process. You start with the four Jacks held in a vertically overlappedcolumnin onehand, with three odd cards behind the next-to-top Jack, as illustrated in all the old books. Slide them all square together, and place. them openly on the face-down pack. Proceedwithyour story aboutthefour housebreakers, who, leaving one of their number (lay topJack aside, face up) to watch forthe constable on the beat, each took a different floor of the building t o ransack : Inserting each of the next three “ Jacks ” (really odd cards) into three different inner levels of the pack for each law breaker you mention. Finally, when the Lookouthearstheconstable approaching, he returns to the top of the building, gives a signal whistle, and, as you deal four cards off, face down on the table, the other three thugs are found to have rushed to the topof the building tn join him in making their escape over the rooftops! (Show all four to be Jacks).
VOLUME 9, No. I
-
NQW, evenif they conceal their contempt for your effort, you will at least havegained their willing attention, and you proceed. to repeat the story, 6rst lettingone of your spectators place the four Jacks openly on top of the pack to start. But youhave now turnedthe lower two-thirds of the deck face-to-face with the upper third, secretly, and as you lay off the top Jack, face up, in an identicalrepeat telling of the first story, you drop the hand that holds the pack at your side, turning the pack over in the move, and on taking the second “ Jack,” you actually take the odd cards from theopposite end of the pack and thrust them into the upper two-thirds of the pile in different places.Now thelookout hears the constable approaching, and you again reverse. the pack as you reach for the table Jack, slap him on top of the pack, and deal off four top cards, facedown as youdid to climaxyour first story. On turning these face-up. your watchers may he surprised to find that again,thefour law-breakers made their escape. over the rooftop! For those who are now curious about your up the four second method, you again set vertically-overlapped Jacks, and openly put three odd cards behind the next-to-top Jack, as in your very first set-up. This set ofseven cards you now square up, place on top of the topface-down-thin3 of the face-to-face pack, as it was left after the second story,and you repeat your first story a third time, but openly explain, by active illustration, how it was not the three remaining Jacks that you put in separate parts of the pack, but the three ODD cards that rested just above them, after the top Jack has been laid aside. You herewith layasidethese top three ODD cards. a d in that samemotion,you reverse. the pack secretly, and openly take the now odd top card, putting it intothe top two-thirds of the pack, explaining that it is NOT a Jack (they think it MUST be. one) but wa! really the first odd card, which you now flip over on the table, face up, t o emphasize your .account as you go along-
I/a. (20 Cents)
...
-
OCTOBER 1954
2 Sliding the second top card (here, again, they feel you have taken a Jack) in another part of the top tws-thirds of the pack, you remark that it, tie, is an ODD card, NOT a Jack (which thy are becoming more certain it is), and alip over another of the three oddI cards on the table for emphasis. Finally, the last supposed Jack is buried in the top part of the pack, the third odd card on the table flipped over, and you take up the Lookout Jack from the table to finish your story as in the second telling by secretly reversing the face-toface pack, replacing the top Jack, dealing off the four Jacks face-down, and declare “That is how this clever quartet always got safely away across the roof-tops!” This time+ your onlookers may turn over the four Jacks for themselves, and find them to be NOT a mixed lot and one Jack, but REALLY all Jacks, in spite of their suspicion of your having been confused in your handling of the cards! But you have a fourth and final surprise for them. . . Secretly correcting the reversed portion of the deck during the momentary excitement of this last denouement, you hand it. and the Jacks to them, and ask one of their number to run through the story just as you told it, apparently to see if he understands how to do it. Let him actually lay aside the three odd cards, and the Lookout card, and REALLY BURY the next three Jacks in the pack. Let him now return the Lookout card to the top, then deal 04 four cards facedown, and when they are convinced that he hqq NOT come to a successful climax, you openly assure them that the pack is an ordinary one, in “I defy the wisest
fact, not even your own, but :h borrowed one (you really HAVE borrowed it in advance from someone like Jack Avis), and you now assure them that the four cards now face-down on the table are all Jack’s, You will hear from this challenge, and without touching the four facedown cards-, you merely prove your claim by reminding them again that the cards are NOT yours but Bor707md cards. “ Wha loaned me this pack, by the way?” you inquire. . . Mr. Avis (or someone with his first mine among your onlookers), now admits ownership, and you say, “ Thank you, JACK “. . . . “Is there anyone else who doubts that these’ f&r cards are ALL JACK’S?” Two other methods of doing this, without sleight-of-hand, are : (1) Pick up four Jacks as one, and lay nil four aside, face up, as the one LOOKOUT JACK. Returning “ him ” to the pack will leave you set for your climax. Or (2) Insert SIX cards openly behind the next-to-top Jack in your vertical display column, as in your third telling of the story, but declaring that there are tk7ee extra ones used. The fact that you seem to reveal a bit of a swindle here blinds them to the extra swindle you are perpetrating, with SIX extra cards, instead of three, and enables you to do the fourth telling without having to use the face-to-face move you used in the second and third telling of the story. Still further methods are possible, but the working out of the(se I will leave to those who find this repeat presentation theme a good one with which to amaze their friends.
man in the world to turn a truly good action into ridicule.” Henry Fielding, “Joseph
1 Andrews.”
TRIPALTERATION WINSTON
H. FREER
N DOING a series of colour-changes, it il. I effective to build up your climax until you are using but *‘ONE ” card, bare-handedly, to achieve your effect. To show just ONE (?) turn it over, then back to reveal an entirely different card, without preparation, is approaching near to perfection in neat, clean-cut manipulative work, don’t you agree ? The much-practised back-handpalm move which has ‘so little practical usefulness under present day conditions, is all you need possess in skill. Pick up two cards as one, from the FACE of the deck; and, facing your mirror, hold these two facing the mirror also, held before you by their lower right-hand corner, preparatory to back-palming. Lower your right hand to your side, then back behind you in a smooth sweep, execute the back-hand-palm of the face card, and allowing
5# * +t m
pfs’
the rear card to be nipped between tile middle finger (marked X in Fig. l.), and the forefinger. The thumb momentarily moves to ;.he right., and as the card tilts towards the audience, Fig. 2, the thumb goes to its face-side, hdlding it, finally, between the thumb and middle finger. Fig. 3. Note that this card now conceals any sight of the corners of the back-palmed card, that might
3 otherwise show. Your audience has Seen you wave ONE card in air, turn it over to reveal an entirely different card. You now let this card droptothe floor, aiid your right hand simultaneously drops to your side, out of sight, while you draw the back-palmed card intothe right palm, ready to slip back ontothe back of the pack.Before executing the above change, it is effective to hold the card first taken on the table while someone marks the back border plainly with adark pencil. This mark will still be on the changed card. You now propose to tell how the change was accomplished! You show an odd card, and place it face down behind the next-to-front card of the pack. (They think you put it back-to-back with the face card). Now repeat the same moves as in the first change, buttake up THREE cards in a triple-lift, and back palm only the facing card, as you swing your hand down and back. Turning a bit to your right, you comment that the card Seems to have “ changed,” a’s they now see the other card that seemed back-to-back with the first, but you will note that the middle card of the three will invariably fan a bit and reveal itself, in this move, and you comment further that should they
ever try to fool anyone with t4is kind of stunt, they should make certain that this “ spreading ” does npt occur . . Just in the event that it SHOULD show, then, you remind them, all they need do is to finish turning over the TWO cards as you turned over the one, in the first changemove, Fig. 3, and their,audience will be perplexed to see that the front card has now changed to a still different one! Again you let these two visible cards flutter to the floor, and recover the backpalmed card behind your right hip, as before. This sucker denouement is good for a mystified laugh-, and is a satirsfying skilful sleight to perform, For a third effect, I now have an expanding card, with a contrasting card glued back-to-back with the smallest card that is to “ EXPAND.” I show this contrasting card; go through the very previous same “ swoop” move as in thetwo changes and show the.back, or small card that is to expand. Now I state, “ that in order that all may better see the result, I’ll hold it closer,” . . . and on bringing .the card to the, frontagain, in the reverse of the first swooping move, I let it expand, and the changed card is now seen, but four times its original size.
.
‘l Mr. Van Druten’s Holroyd family is not a company of witches, it is a bunch of amateur, and rather inefficient amateurconjurers. And \!ere is n o entertainer on earth who so quickly exhausts his charm as an nmateur conjuror.” Harold Hobson. Sunday Times.”
A MATTER O F HABIT JAMES DOUGLAS T h e effect has numerous variations and the
FEW months ago I made up the following effect for a compere friend of mine who has used it with successinmanyshows. The entertainer, displaying a twenty packet of Capstan cigarettes, boldy states that habits, characteristics, etc., of a smoker are revealed by the kind of cigarettes he mokes. For example if he uses Capstan he is invariably of the‘sealoving type and is usually a sailor. If he is of the austere, sincere kind -he is fond of Churchman (passing his hand1 over the “ Capst,an ” packet it is now changed -to a packet of the Churchman brand). If the individual is of the gay nature and likes night clubs, etc.. he usually smokes Piccadilly). The entertainer covering the Churchman packet with his handkerchief on the words “Night Life,”’ removes later it to reveal a packet of “ Piccadilly ” cigarettes. Continuing his tale he asserts that if the smoker is a conjurer he is usually playing around and xmokes “ Players.” The “ Piccadilly ” packet having been again covered with the: handkerchief for a brief moment is nowremoved to show a packet of “ Players,” from which the performer removes one cigarette and lights it with the remark “ I never get fayged out doing this.”
A
I
“
above could be improved upon to suit the performer. Requirements : A full packet of 20 “Players”. An empty shell minus the tray of “Piccadilly” will slide nicely over this. Glue a “ front ” of a a packet of “ Churchman ” to the rear side of the ‘‘ a l l y ” shell. Place a front of a Capstan packet over the Churchman. If you “ score ” the Capstan front vertically down the centre it makes much easier the colour change palm described later. Presentation : Have the handkerchief handy in side pocket. Hold the “ Capstan ” packet facing audience holding flap in position by gripping at sides. Pass the right hand over the flap and as right hand’ base of the thumb strikes left asideof “ Capstan ” front double it (at centre) and palm as in the card colour change.Remove handkerchief leaving flap behind in pocket. Cover Churchman ” packet twisting the “ Piccadilly ” side to front under cover of handkerchief. Finally on covering for th,e last time, steal shellaway leaving the ordinary packet of “ Players ” for own use or distribution whichever you prefer.
Art is not imitatian, but illusion.” Charles Readc,
‘l
Christine Johnstone.”
l
4
JOHN HOWIE'S ROUTINES WITH THE JARDINE ELLIS RING Continuedfrom page 95
PENETRELLIS This effect which is ideally suited to drawir-g room or similar conditions incorporates twounusual feature&. One is the useof a duplicate solid M g and the other is a novel means of attaching one ring and shell to a borrowedhandkerchief. This latter sublety permits of particularly clean handling of the properties used.
'.
\
\
\,X /
f
/
/
me&:
While a rod and ring are being examined a handkerchief is borrowed and displayed insuch a w a y as to make it obvious that nothing is concealed in either hand. The handkerchief is draped over the rod which is held in a simple stand. On meiving back the ring the performerplacesit under the handkerchief then pushes the latter aside to show the ring upon the rod. The ring is slid off the rod which is returned to the stand, still with the handkerchiefupon it. Again the ring is placed under the cloth then the handkerchief is pulled away to shaw the ring spinningupon therod. If desired everything can again be examined while the handkerchief is folded and returned to its owner. Reqdremenb : The Ellis ring and shell together with a duplicate solidring-these should be in the left coat or trouser pocket. A rod of any suitable material measuring approximately half an inch in diameter by 24 inches in length. A simple displayst,and for the rod-the type consisting of a plain base with two uprights as illustrated in Fig. 25 iB recommended. Method : Remove thetwo rings and shellfrom the pocket with the left hand having manoeuvred one ring with the shell on top of it into the fingerpalm position. With the other ring at the fingertips take the rod in the right hancl and request the Ioan of a gentleman's pocket handkerchief. When one is offered, give the lender the rod to examine and take the handkerchief by one corner in the right hand. Transfer the handkercbief to the left hand and, taking the ring in the right hand, offer it to another spectator for examination. Jokingly remark that since your property is being examined it might tx? as well to have a closerlook at the han kerchief! X-Ray View Spread the handkerchief with bothhands then throw it over the left. hand,turning this 'hand palm upwards whenhiddenby thecloth.With the left fingers pointing towardsthespectators reach forward with the thumb and grip that portion of the shell neareit to the finger tips. Raise
\
/
\
/ l'
\
!
\
\
'T-
\
1
\',
,R\\\
-
L
d
e-
\L
F I ~ 2. 2
the thumb so that the hidden ring and shell form a sort of " jaw " as shown in Fig. 22. With the righthand grip the middle of. that edge of the handkerchief nearest to the spectators (X in Fig. 22) and gently draw the handkerchief off the left hand. (Note : The handkerchief should be positioned so that the rear edges is at right angles to the forearm). At the {start of this movement hold
FIG. 23 the hands so that the upper surface of the handkerchief can be seen but, as the movement continues.raise the right hand to conceal the move
5 that follows : When the rear edge of the handkerchief has almost cleared the hidden ring close the left thumb against the iingers thereby trapping about half an inch of cloth between the ring and the shell. Press the ring and shell firmly together to ensure a secure grip on the cloth. Raise the right hand to the limit to show one side of the handkerchief then release the right hand and let the handkerchier drape down over the back of the I d t hand as in Fig. 23, which shows the relative positions of ring, shell and rear edge of the handkerchief. Now withtheright forefinger and,thumb pinch theclothonthe spectators’ side a little below where the handkerchief drapes over the left fingertips. Raise the right hand and the ring and shell will remainhidden and suspended as in Fig. 24. The above moves while appearing to be complex take, in actual fact, no more than a few seconds to perform. Hold the handkerchiefbetween thetips of the thumb and forefinger so that the handcan be seen to be empty then transfer it to an identical position in the left hand. Thus both hands are tactfully shown to be empty. Take back the rod in the right hand.
of the rod the rod passes through the hidden ring and shell (to facilitate this move twist the handkerchief so as tobring the ring and shell face on to the rod). With the handkerchief draped over its middle replace the r o d on the stand and have the examined ring thrown back to you. Stand behind the table onwhich the stand rests, display the ring, then place both handsunder the handkerchief and grip the looseringin the right thumb palm. Gently pull the trapped portion of handkerchief from between the threaded ring and shell then push the handkerchief together with the shell to the right then, with the left hand spin the threaded ring as in Fig. 25. Now di,spose of the palmed ring.
Disposal of the duplicate ring Probably the best all-round method here,is to use the right side pocket. Circumstances, however,mayprovidegood alternatives. e.g. behindsome object already on the table or to a “ Topit ” vanisher. Continue by taking the rod in bothhands and remove it from the stand. Hold it as in Fig. 26,and slide the ring to and frobetween the hands several times by suitably tilting the rod then apparently take the ring off at your right hand end. Actually you switch the ring and shell thus : As the ring approaches the right hand use this hand to raise the handkerchief slightly and, at the
The handkerchief is now draped over the rod -the details being as follows : Bring the end of the rod.down behind the handkerchief so that in moving the handkerchief along to the middle
6 same time,follow up with the left hand so that the handkerchief is gripped by the left hand as the ring slides under it. Press the handkerchief d,own on the ring and iihmediately move the right hand with the shell along and off the rod. The switch takes but a W n d or two. Replace the rod on its stand. As the left hand grips the handkerchief over the solid ring. the right thumb slides shell along
rd. Rear View Take the shell and, whilst facing left, spin it in the air andcatch again.Nowface frontand place both hands under the handkerchief. Grip the shell in the right thumb palm and take one of the rear corners of thecloth between the right fore fidger and thumb. Rest the left hand on the rod to steady it, then pull the handkerchief backwards to reveal the ring spinning on the rod as in Fig. 27. Immediately swing the handkerchief up on to the left shoulder and, inmoving the right hand downwards, dispose of the shell in the breast pocket. Carry the stand complete with rod and ring forward and place into a spectator’s hands while you take the handkerchief fold it and return it to the lender. NOTES-This is one effect in which examination of the apparatus is not only desirable but esse+ tial. There ils no loss if interest, however, due to the handling of the borrowed handkerchief. The tempo of the second phase of the routine should be much faster than that of the first phase,
FIG.
27
which is intentionally deliberate-aim to give the impression that the penetration could be done as often as desired and that the repeat is merely a casual encore. If desired the left hand can beusedin place of the right for the disposal of the dmuplicate ring and also of the, shell-usewhicheverhandgives the easier handling.
T o be continued
BIBLIOGRAPHY OF THEJARDINEELLIS The following list of references, arranged in chronological order, is believed, at the time of writing, to be a complete one. Reference L-THE
ROD A N D RING from
A Few Jardine EMis’ SeCreQ Jd.msan. (p. 10). Publishedby George Johnson, London, 1925. This booklet of Ell’is’secretsincludesadescription of the removal of the ring from a stick followed by the passing of the ring onto the stick. Only the basic secret and fundamental moves are given and tbf author acknoy; ledges that he hadonlyseenthe effect from the front. The only example. knqwn to this writer of a dealer’s instructions for the Ellis ring trick appears to have been based on the above description. Reference 2.-THE
(c
JARDINE ELLIS RING - B. A. “ Magic Wand,” vol. xxvii, No. 179 (October, 1938). A subtle handling of the shell permitting a clean cut penetration of alengthof ribbon is described. This effectwasreprintedunder the title Bedram lJlillidge’s Jardime Ellis; Routine in Peter Warlock’s Pentagram,” Vol. 6 , No. 11, p. 85 (August,1952). Millidge. ”he
RING T R I C K
Reference 3.-THANKS TO ELLIS-John Peter Warlock’s (May,. 1949).
‘‘ Pentagram
”
A. M. Howie. Vol. 3, No. 8, p. 57
Describes an effect wherein ring, a after being definitelythreadedonaloop of ribbon, isshakenfree in full view. Reference 4.-MOHAMMED BEY’S ROUTINES FOR THE JARDINE ELLIS RING ON STICK AND RING ON ROPE AND TWO ADDITIONAL ROUTINES. Edited by John J. Crirnrnins, Jr. Published by Holden’s Magic Shops, 1952. The two routines by Mohammed Bey ( S . Leo. Horowitz) give details of his methods for passing a ring onto astick(thiseffectincludes an immediaterepeat), and onto a loop of rope hungaroundtheneck. The additional routines are : J d m Howie’s Ring and Ribbon,” being a reprint of ‘‘Thanks to Ellis ” (see Reference 3), and Bill Nard’s “ Ring on Pencil ” in which the ringispassed onto apencilundercover of asheet of notepaperimpaleduponthepencil. Reference 5.-ELLIO’IT ON ELLIS - Bruce EIPott. “ Phoenix ” No. 260, p. 1040 (July 25th, 1952). Details the passing of a ring onto a silk handkerchief which is twined around the ‘fingersoforie hand.
RIN?
Reference 6.-ROPAN - Jack Avis. Peter Warlock’s ‘‘Pentagram Vol. 6, No. 11, p. 84 (August, 1952). A version of the ring on rape is described.
F. Grant. Reference 7.-ELLlS RING ON ROPE-U. M.G.A. Inc. Jkciure, p. 8 (October 13th, 1952). A ringispassed onto a length of rope while the middle of the rope is out of sight within the coat pocket, both ends of the rope remaining in view throughout. Reference 8.-THUMB FUN - Franklin V. Taylor. ‘‘ Phoenix ’’ No. 267, p. 1068 (October 31st,1952). A novel Ellis r ~ effect g in which a ring, taken from a spectator’s thumb undercover of a handkerchief, is magically passed back onto the thumb. Dai ‘Vernon’shandling of the effeot, indexed as Vemon on,Taylm m Ellis was givenin “ PY~mnix No. 268,p.1073 (November 144h,1952). The original effect together with Vernon’s F d l i n g was reprhted inPeterWarlock’s “Penhgram Vol. 7, No. 4,p.28 (January, 1953) together with an additional This latter idea,indexed as ideabyPeterWarlock. Warlock’s Thumb Tip was reprinted in “ Phoenix ” No. 276, p. 1105 (March6th, 1953).
Dr. F. V. Taylor’s own handling of the effect appeared in ‘‘ Phoenix ” No. 273, p. 1093. (January 23rd, 1953). A presentationidea for theeffect,devisedby Fred Keating and indexed as Gmmsd, waspublished in “Phoenix ” No. 284, p. 1137, (June26th,1953). THE RIBBON-Ham Trixer. Reference9.-RlNGING Goodliffe’s “Abracadabra h Vol. 14, No. 361, p. (December 27th, 1952). A straightforward penetration effect, the ring being passedonto a loop of ribbon,
m.
CONCEIT - Dr. J. Reference 10.-DALEY’S phoenix No. 274,p.1097 (February6th, 1953). Whilebasically a ring-on-wandeffect,there is a preliminary phase wherein the ring is vanished from the handandreproduced from a smallcardboardcylinder, previously shown empty. This effect is patterned after John Ramsay’swellknown Cylinder and Coins routine.
To be continued
BOOKS “ CONJURING” by J. ElsdenTuffsin the Teach Yourself” Books (Published by the English Universities Press Ltd., London). price 61-. Here is an unpretentious book of some 180 odd pages, adequately illustrated whichtells the reader how to set about becoming a conjurer. There are very many tricks, some having original twists, but particularly useful are the hints regarding presentation and the attention to angles when performing. There is a chapter at the end called the “ Little Things that Matter,” whichcould give rise to much controversy, for it is here that the author speaks of the amateur turning semiprofessional, the point where, for some, they cease to take large expenses and receive a small fee.Mr.Tuffs suggststhat he should start by charging a very small amount increasing such amount as he continues to improve. We feel that this is all wrong and that once a conjurer beco,mes known as accepting a lowfee, that low fee will stick. This applies particularly to those who specialise in children’s work in their own district. All in all the book is excellent value and one which should figure in quite a number of juvenile Christmas stockings this Noel. “
BOON.” A device for mentalists marketed by Eric Mason of Erith and obtainable from all dealers. -Price 216. The device is definitely an improved form of the Swamigimmick, andthe briefest trial will prove its great advantages over every nail-writer that wehave tried to date. We also hope Mr. Mason will market the holder that ’he Ghowed us
a few weeks back, which enables the performer to get the gimmick into position in a most natural way.
*
*
*
From Gamages we havereceived their new catalogue. Within its 64 pages, one can find most of the standard items and gimmicks advertised, as well as quite a number of novelties. “ WORLD IN ECLIPS,E” by Will Dexter (A Science Fiction novel published by Peter Owen Ltd.) Price 1016.
Whilst all our readers will know Will Dexter as a contributor to this and many other magazines, it is not all of themwhoknow that heis a journalist byprofession. This present book is his first incumion in the realm of the full length novel. The plot is straightforward and deals with a small band of people who are the only survivors of the human race, after a cosmic catastrophe whenan untried form of explosivesweptalmost all livingthings from the globe. It deals too with the inhabitants of another planet, Vulcan. I n these days when factual records all lead to the fact that intelligent life must exist in outer spac:e, Mr. Dexter’s novel is not so far fetched as those not innured to science fiction might think. There are some nice touches in the book, espezial.ly one which explains the “ Marie Celeste ” mystery. To those of you who l.ike Science Fiction here is an opportunity to add to yourexisting library a n exciting and unusual contribution by a magician.
8
WILL DEXTER’S IDENTITY PARADE This is the ideal routine for the intimate show, for it is designed to gat LAUGHS as well as to completely baffle the audience. Half-a-dozen assistants are invited t o select one of their number as the SUSPECT,and this i s done by dealing a well shuffled pack of cards. The man who gets the ace of spades is the SUSPECT, but he DOES NOT REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print at each end. They then tear theirslips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM is taken t o each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE H O W HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes t o you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The
Spectator Does All The Work-Without Knowing
‘‘ How.’’
Also included is a N E W PRINCIPLE in Mantalism that can beused in m a n y m o r eeffects.
PRICE 716
Postage 3d.
(1 Dollar)
MAGIC WAND PUBLICATIONS Spectator’s Choice Francis Douglas 7/9 Mother Goose Mystery Martin Gardner 7/9 Twenty-Six Living and Dead Tests Teral Garrett 5/3 The Concert Ventriloquist and Children’s Hurling Maurice 10/3 Entertainer Jamesosophy Stewart James 513 Strictly Magic Eddie Joseph 5/3 Mastered Amazement Koran & Lamonte 10/3 Toni Koynini’r Card Miracles Toni Koynini 7/9 Stunts With Srage Money Lamonte Jack 5/3 Suzy and the City Slickers Jack Lamonte 7/9 Where Houdini was wrong Maurice Sardina 20/6 9’ 9, ,, (cheap edition) 719 Stooging Around Joe Stuthard 5/3 Playing With Magic Wilfred Tyler 30/6 Magically Yours Verrall Wass l5/6
Chdknge Instant Hypnotism andMass Hypnotism
GeorgeArmstrong 211Chandu’s Psychoanalysis George Armstrong 1013 Gwrge Armstrong’s Premonition George Armstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 513 Tricks of the Trade George Armstrong 217 The Universal Mind Ron Baillie l 2 / 9 Mysteries Bohleno’s Henry Bohlen 10/3 1’11 Read Your Mind Darling Aage 1719 Entertaining with Contact Mindreading S.E.Dexter 7 / 9 Entertaining with Hypnotism S.E. Dexter 10/3 Identity Parade Will Dexter 719 Automentalism Ken de Courcy 2013 Telepathy Zodiac Ken de Courcy 1219 John Ramsay’s Cups and Balls Victor Farelli 2516 Thanks to Leipzig ! Victor Farelli 10/3
F R O M T H E PUBLISHERS
T H E M A G I C W A N D PIJBLIS1HIAiG C O . 62 WELLINGTON ROAD, ENFIELD, MIDIDLESEX The Magic Circle President : Hir Grace the Duke of Somerset.
D.S.O.. O.B.E.. J.P., M.I.Y.C.
VIcePreaident: Dooglu Cnma, Eaq., Y.I.M.C. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magi4 Theatre :
King George’s Hall, W.C. Nov. 16-Concert 20-Dealers’ Day Puticulan from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue NewMaldsSurrey
k
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and canbe obtained direct from the publishem for 117 perrjngle copy. Annual Subscription 18 Ipost free. PUBLISHED BY:
JACK HUGHES will be pleued to send you full details of
THE DE LUXB “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
CONJURING BOOKS FOR SALE
Manuscripts for publication and books for review should be aent to the:
OLD AND NEW. Let m e know your W U I ~ LIST PREE FOR STAMPED ENVELOPE
EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrey.
Colindale, London, N.W.9.
G E O R GJ E N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin P V B L I R X D BY T H E I’UOPAIBTORS ‘IRE MAGIC W A N D PUBLIEHINGCOMPANY. 62 WBLLINQTON ROAD, ENPIELD. MIDDLPSBX AND PUWTBD a y H P ~ B B R TWALKER e SON (Pnmnnd LTD.. WELL CROPT, SXWLW, Y o n K s H m E
*
ANNEMANN ASSEMBLY H A R R Y E. B U R N S I D E AND CHARLES W. C A M E R O N T H E FOLLOWINGhas
beenconceived andrecapturethe unusualanglehehad on Mentalism wntten as a sincere tribute to Theo and Magic, continued perusal of the ] i n x and Annemann. Annemann’s writings will conjure up many a new Whilst itisdoubtful if anyone couldever slant on magicin the Annemannmanner.
T E L E P A T H I CT W I N Therehas been a tremendousamount of material published on the“long distance telepathy ” theme and the version that follows, whilst involving a certain small amount of preparation, gives yet another workable method. EFFECTThe medium is led away under escort to another part of the building. A pack of playing cards, borrowed if desired, is shuffled by a spectator who then removes cards singly from the pack and drops them face up on a tableuntil requested to stop. Thefaceup removed cardsarethen gathered togetherand picked up by the spectator who places the balance of the pack aside. The cards held by the spectator are then mixed and on,e card is freely selected. This card is shown to the performer and to the audience. The chosen card is now placed face down on the table. The renzaindcr of the chosen grow areaeain to the - mixed andsentout medium. A few momentslater a slip of paper is brought back bv the SDectator whotook the cards out. The paper h& the name of the selected card written on it. Climax Number One ! The usual E.S.P. symbol cards are now shown, a circle. a cross. three wavy lines, a square and a five pointed star. One symbol is selected by a member of the audience and held up so that all present may know the chosen design. The performer now asks a spectator to bring back the medium, but requests him to thoroughly blindfold his Dartner before they enter theroom. The performer can be led out of the room before the medium enters or can be concealedwith-
VOLUME 9, No. 2
-
in the same room. The medium now makes a dramatic, if somewhat stumbling entry, guided by the escort, who places the medium facing the audience. Asking the audience to concentrate on the chosen design, it isslowly and correctly named. REQUIREMENTSA pack of playing cards and five large cards each bearing an E.S.P. symbol heavily outlined in Indian Ink. The size of these cards will depend upon where the effect is being performed. be Four coloured rubber bandswhichwill described later. Blindfold material, also described later. PRESENTA’TIONThe medium is introduced and then led away by two volunteer spectators. The pack of cards is then shuffled by a member of the audience who now draws cards. one at a time, and drops them face up on a table. The performeris quietly adding, mentally, thedenominational values of the cards, ignoring suits. Both medium and performer have a key total of 70. Jacks count as 11, Queens as 12 and Kings as 13. Casually stop the assisting spectator before he reaches the key total of 70 and then remark, as youremove the pack from his hands that : “Perhaps one morecard will do.” The performer himself adds a card of a value that will bring the total of face up cards on thetabletothe required number of 70. For examule, cards on the tablemay be, ignoring suits as follows.Ace,seven, jack, nine, three. queen, ten, four and nine. This assortment equals 66. The performer would then add a four spot of any suit to make a total of 70.
I/& (20 Cents)
-
NOVEMBER 1954
10
There should be no difficulty over the above as up till this point there is no cause for suspicion as no-one as yetknows thecardto b?selected. The balance of the pack is placed aside and the caiils on the table are mixed and then spread out face down. The assistant is asked to select one card, show it to the audi’enceand also to the performer. The card isnowplaced in the spectator’spocket or laid down, back uppermost on table. The remainder of the face down cards are now re-mixed by th? spectator and the performer gives him a rubber band to place around thz group of cards. Thecards are now taken out by a spectstor to the m,edium. The medium can tell the value of the chosen card bv auickly totalling the values of each card in the group and deducting. from 70. For example if the king of hearts is the chosen card then the mediumwillfind that the total of the cards brought. out by the spectatorequals 57. This deducted from 70 equals 13, the valw of a king. The suit is known by the colour of the rubber bandaroundthe cards. The performer has a small holder in his pocket containing four different coloured rubber bands. Red equals hearts, yellow equals clubs, blue equals diamonds andgreenis for spades. The name of the chosen card is written down by the medium 011 a piece of paper and sent back for verification. The five E.S.P. cards are exhibited and one is freely chown. The remainder can be hidden wherever the audience desires. Explain that you wish the medium to be thoroughly blindfolded before being brought back. Whilst a member of “
the audience leaves the room to bring the medium back the performer states that he can either b:: concealed in the same room or can be taken to another part of the building. It is, naturally, betterfor presentation if heremainssomewhere in the same room in order that he may be present to take his final bow with the medium. The method for passing the diagram chosen tothe medium is as follows.Depending on the blindfold sent out, the medium can tell the symbol chosen. White handkerchief equals circle.White handkerchief and a wad of cotton woolequals cross. Coloured handkerchief equals three wavy lines.Colouredhandkerchief and wad of cotton woolequals square and twowhitehandkerchiefs equal five pointed star. These materials arein the performer’spocketsin a knownorder. The symbols are memorized in the usual manner. Circle= 1 being 1 line. Cross= 2 being 2 lines. 3 wavy lines= 3 being 3 lines. Square=4 being 4 lines. 5 pointed star= 5 being 5 lines. Immediately on seeing the spectator with the blindfold material the mediumknows instantly the chosen diagram. This can be written down as an extra chcck point before the medium’s return. Throughout this routine tht performer can make the most of the fact that he wry seldom handles any of the items. The pres!o,ntationpoint of the medium’s blindfold entry can be made very dramatic and should hold an audience’s attention. With a little improvisation the entire routine can beperformed under anyconditionsandis entirely self contained.
Do you like card tricks,” he asked. I said “ No.” He showed me five. Somerset Maugham.
FANTASTIC FUMES The following close up effect is o n a subj,cct that was dear to Annemann’sheart-theWeird and Uncanny. The metbod is fairly well-known, having been used by Ron Baillie in the March, 1951. Pentagram and also by Will Goldston inhis “ Tricks of the Masters.” The story theme that follows, however, should build this effect into an unusual presentation that will be remembered. The magician states that for some time now he has beenextremelyinterestedin the Occult and all matters appertaining to the Supernatural. After a great deal of research he has discovered a rather peculiareffectdealingwith sympsthetic magic. “ If a native witch doctor wishes to produce rain he goes through the following ritual. “ A drummer beats a roll on the drums to
resemblethunder. The witchdoctorslashes the air with a blazing brand to imitate a flash of lightning andthen hesprinkles a few drops of water from a gourd o n to the ground. He firmly blelieves that what he has done on a smallscale will now happen on a larger scale.” As he finishesspeaking the magician withdraws a thin black plastic rod from a leather case and says. “ I amnot going to inconvenienc,eyou b y making something happen on a large scale but wlll perform certain actions and as a result of the Law of Natural Magic some peculiar result will occur, but on this occasion-in miniature.” The magician has by this time lighted a cigarette and is holding it in his left hand. Slowly he passes the end of the black rod through the thin swirl of smoke. Once, twice and a third time. Laying the cigarette in a receptacle he allows
l1 his hands to be seen empty with the exception of the rod. Suddenlyhepasses his right hand over the end of the rod and a thin spiral of smoke issues, apparently from the tip of the rod. The rod can now be handed for examination. SECRET-The abrasive side of a safety box of matches is burned in aglass or metal receptacle until anoily residue is left. This residue canbe carried as Ron Baillie suggested in his effect in a metal ink bottletop in yourpocket. A little
I
applied to the right forefinger andthumb and under cover of passing the hand over the rod the normal rubbing motion will produce the smoke. If anyone wishes to go to the trouble of fixing the little head of Skullocation to the end of the rod hewill have a really attractive close up " prop." A miniature wand as sold by the dealers will easily take the place of a plastic rod or even a thin piece ofwood carved into a rough totem pole would do.
" Lucre and applause are not necessary to him. If he were set down with the materials of his art on a desert island he would be quite happy. He would not cease to produce thebarber's pole from the mouth. To the indifferent winds he would still speak his patterand even in the lastthroes ,pf starvation would not eat his live rabbit or goldfish." Zuleika Dobson "-Max Beerbohm.
l
COINS OF CHANCE Remember Annemann's excellent force of one book from amongst several. The following is an adaptation of this principle but by using coins and byvarying the presentation slightly it has been made into a close up effect. Three different valued coins are lying on a table, say, +d.Id.and 3d. piece. The wizard extendshisclenchedfist and asks a spectator to holdhis wrist very tightly sayingnothing at the moment about the fact that in his clenched hand lies a duplicate of one of the three coins, say, the penny. The assisting spectatoris asked to pick up any two of the coins on the table. If heleaves the penny, point out that he liftedthe twohe free will, atthe sametime chose of hisown opening your clenched hand and letting the duplicate coin clink on to th'e coin on the table. CO-INCIDENCE OR? If, however, he picks up thepenny and the 4d. then ask liim to hand youone coin. If hegives "
I
"
you the penny,receivesamein the empty hand, again mentioning that he gave you that coin quite freely. As yousay this you slowly open the clenched hand and reveal the duplicate penny. Should he, however, hand you the jd. take it and drop it beside the coin remaining on thz table. State that he has retained one coin of his own free will,openyour hand andagain display your matching coin. An unnecessarily long explanation for a simple effect but experience has shown this to be a worthwhile routine for lay audi,el:ces. Naturally it is done once and once only.
*
*
*
CO-incidenceeffects are legion but the next routine is submitted because the conditions governing it seem to be so fairand above board that the final result is guaranteed to make the onlookers wonder wheth'er the old witchcraft lawshould have been repealed.
The work of the conjuror is so subtle that to the enthusiast it will have as much fascination as the unravelling of a mysterv has for a great detective;,and although all mv readers may not become brilliant performers, they will be Ftudents of conjuring . . " Magic Made Easy "-David Devant. least at
.
TRIPLEMIRROR Two spectators assist you, they stand one on either side: in front of you is a small tab1,e. Two packs of cards lie on the table and the spectator on your right picks up one pack, the second spectator picks uptheother pack. B.oth thorough!y mix their respective packs and you explain whatyou want them to do. Spectator A is to deal cards, one at a time, face down, andto stop whenever %e wishes. Spectator B is to deal cards in the same manner and in unisonwith spxtator A. He must dealas many as spectator A but once the first spectatorhas ceased to deal,then he canstop wheneverhewishes. Spectator A deals, say, 10 cards and then stops; spectator B also deals 10 cards and perhaps requested to lay the another 5 cards.Bothare
I
OF T H E MIND balance of thei,r packsaside. The performer stat.es that they themselves thoroughly mixed the cards, they had a perfectly fair choice as regards the number they dealt, they were not in any way influenced and that from start to finish he himself has not touched th,e cards, and yet . . when they turn over their top cards they are both the same. The conditions gov'erning this effect are so fair that the result appears to be a miracle. Requirements : Two packs of cards. one red backed and one blue backed. The redbscked pack is marked, in yourown system for preference. A set of card indexes containing a duplicate blue backedpack in your pockets. I know that the factthat you require to use a markedpack of
12
cards and card indexes may tend to scare many away, but I assure you that there is no speed required to extract the required card from the index andthe misdirection is more than s a c i e n t to allow even a non-sleight of hand performer to palm out and add one card to the spectator's pile. Presentation : Request two spectators to assist you. Place them one on either side. The table stands in front with the marked red pack and normal blue pack. ,Request the spectator on your rightto select a pack. If he chooses the red marked pack he becomes spectator A, if he takes the blue pack he becomes spectator B. Whoever has the marked pack becomes spectator A. Saying that one trained mind. can influence two untrained minds and that theirthoughts merely become a reflection of your own, you request them to thoroughly mix their cards, and tell spectator A to deal as many as he wishes, face down, one at
I
a time. He is to stop dealing whenever he wishes. Spectator B is told to deal as many as spectator A, but once A has stopped dealing then he can stop any time after that. When A has stoppedyou read the back of the top marked card. Pay no attention to the cards that B deals. Findand palm outtherequired card. When B hasstopped deaiing emphasize the fairness of the procedure, etc. Also the fact that you have not touched the cards, as you say this casually, and this must be done absolutely casually, push B's cards towards him, addingtheextra palmed card. As you do this, say, " Will youpick up andsquare your cards." Turn and look at A and request him to do the same, at the same time indicating his cards with your hand but not touching them. Request them to turn their top cards over.
Of all the tricks performed by amateurs, themost effective to a sm;ll audience are those which he does Magic Made Easy " - a v i d Devant. apparently on the spur of the moment.
I
JOHN HOWIE'S ROUTINES WITH THE JARDINE ELLIS RING Continued from page
6
RING ANDHAN'DKERCHIEFEFFECTS in Fig. 28. The recommended procedure is as fol-
RING IN THE KNOT This is a direct adaptation of the well-known effect in which a coinis vanished then found within a knot previously tied in a handkerchief (one of the many descriptions of this effect will be found the in " Greater Magic "-Hilliard, p.682). Using Ellis ring a humorous note can be introduced into the presentation as described below.
lows: display the combined ring and shell as in Fig. 16 then raise the left hand to obtain the position shown in Fig. 17. Take the shell in the right hand
EFFECTA ring is vanished and later shown to have passed withinaknot previously tiedin a handkerchief. REQUIREMENTSThe Ellis ring and shell. A handkerchief which may be borrowed. METHODBasic effect It is necessary to secretly separate thering and shell and then get the ring into the position shown
FIG
29
13 and place it aside, e.g. in the eye as a monocle o r hook it over a pen or pencil projecting from the breast pocket. Takethe handkerchief inboth hands by diagonaliy opposite corners and turn the left hand palm downwards to allow the ring to slide to the tip of the thumb and hence against the rear side of the cloth. Flip the handkerchief over to obtain the position shownin Fig. 28, i.e. the ring held between the two folds of the cloth. Now flip the hanging corners over as indicated by the arrow, thus forming a “ tube ” of cloth. Bring both hands togeth,er, simultaneously releasing the ring which will fall within the “tube’’ as indicated in Fig. 29. Now tie a single overhand knot in the handkerchief thereby trapping the ring within it.Finally vanish the shell in any suitable manner then allow a spectator to discover the ring within the knot. Humorous Presentation This is designed as a climax to a routine involving the passing of a ring on to a wand using a handkerchief as an accessory.P,roceed as in the basic effect up to thepoint where the knot hasbeen tied in the handkerchief. With the wand held by two spectators hold the shell on top of it with the left hand. Hold theknot in the right hand and put the knotted part of the handkerchief on top of the shell.
FIG. 30 -Top
\
VIEW-
Under cover of the handkerchief push the shell into the right thumb palm (both hands being held palm downwards). Now place the left hand on top of the knot to hold it in position and grip the corner of the handkerchief nearest to you with the right hand. With the left hand tap the hidden ring against the wan.d to confirm ‘its presence-the position is now as in Fig. 30-tfien remove the left hand and pull away the handkerchief. Do not look at the wand but immediately drapethehandkachief over the left shoulder, disposing of the shell in the breast pocket under cover of this action. Now with both hands held palms upwards gesture towards the wand. As you look at the wand register dismay at the non-appearance of the ring. Claim that you have no explanation for this surprising result and, taking thehandkerchief from your shoulder, drop it on a table. The resulting thud will attractattention. Have a spectator
examine the handkerchief and let him untie @e knot to reveal the missing ring which, you claim must have penetrated the handkerchief instead of the wand!
RING AND HANDKERCHIEF ROUTINE “his routine is a particular favourite of mine combining, as it does,maximumeffect with the minimum of apparatus. EFFECTWhile the ends of a borrowedhandkerchief are held by spectators the performer apparently rubs a steel ring on to it so that it is threaded thereon. The ring is removed and a loose knot is tied in the handkerchief after which the ring is apparently thrown, not only on to the handkerchief, but on to that part of it enclosed by the knot. A spectator unties the knot leaving the ring threaded on the handkerchief which is then tied arqund the performer’s hand, the ring being visible throughout. On shaking the cloth encircled hand over that of a spectator, the ring drops clean off and the handkerchief, still knotted, is immediately returned toits owner. Thus a very satisfactory climax is obtained with all the visible apparatus in the hands of the spectators. REQUIREMENTSThe Ellis ring and shell. METHODThe tliree phases of the routine will be described separately-in practice each leads naturally into thenext. Phase 1. This is a direct adaptation of the “ Ring of Thoth ” effect (see Ref. 15). Borrow a handkerchief and hold by one corner in the right hand. Display the combined ring and shell in the left hand then perform the Howie “ Pick up ” move reaching the position shown in Fig. 12. Thrust the corner of the handkerchief through the hidden ring and take the shell in the right hand (close the left fingers around the ring and handkerchief). Use the right second and third fingers to pull the handkerchiefhalf way through the left fist then turn the left hand palm downwards.
14
With the left hand pointing half right put the shell part waybetween the leftfirst and second fingers as shown in Fig. 31. Move the right hand so that it may be seen to be empty, take the shell. b.ack for a further briefdisplay then apparently replace it as in Fig. 3 1. This time, however, you actually allow the shell t o slide back within the right fingers simultaneously using the left thumb to push the solid ring outwards between the first and second fingers so that the ‘appearance is unaltered. Let the right hand fall to the side and, facing front, have the ends of the handkerchief held by two speztators.
FIG. 3 2
- REAR VIG‘dWith a grabbing ,action enclose the ring within the left hand then, after some kneading of the left fingers, remove the left hand to reveal the ring thread-d upon the handkerchief. NOTE-If desired, this phase of the routim may be repeated without using the shell thus : Temporarily dispose of the shell (e.g. to a clip) then perform Hans Trixer’s “ Epilogue to Thoth ” (Ref. 16) at the conclusion of which the shell must be regained in the rigkt hand. Phase 2. Offer to--attempt a more ambitious feat. Hold the handkerchief on the upturned left hand and bring the right hand over to “ remove the ring.” Actually leave the ring on the handkerchief closing the leftfingersover it as the right hand encircles the hqndkerchief just below the ring. Move the right hand along and off the handkerchief,
immediately displaying the shell as the ring. Place the shellaside (in the eye,over a pencilin the breast pocket, etc.), then tie a loosesingleoverhand knot in the handkerchief. Fig. 32 shows the psition just before the knotis tied.When the knot has been farmed loosely take particular care to ensure that the ring will be hidden by the knot before finally removing tfhehandkerchief from the left hand. Hold the handkerchief by on’e corner in the left hand so that the ring is facing towards the rear. Take the shell in the right hand-theposition as seen from the rear is now as in Fig. 33. Make thr?throwing motions of the right hand towards the knot and, on the third “ throw,” quickly thumb palm the shell and let the right fingei-tips just touch the knot. Immediately g i p the lower corner of the handkerchief in the right hand and twirI the hmandkerchief simultaneously tightening the knot. When th,e handkerchief comes to rest the ring will be visible within the knot as in Fig. 34. Hand the handkerchief to a spectator for examination.
-‘1.0.be continued
I
Don’t address your audience too often as ‘ Ladies and gentlemen ’; take it for granted that they are. T. Nelson Downs.
I
15
Y the time this appears in print, the B.M.S. Bannouncements Jubilee will be round the corner and will be forthcoming about thte
Magic Circle festivities in April. The venue for the main part of the affair is the St. Pancras Assembly rooms. Not aR impressive sounding, butabeautifulsuite of rooms and a first class nine hundredseatertheatre. When we say first class we mean it inevery way for theappointments, lighting, dressing rooms and seating accommodation leave nothing to be desired. The social event which we hope is going to be a success and the forerunner of many similar functions, is the ‘‘ British ,Ring ” Christmas Party scheduled to take place at th’e Criterion Hotel on Sunday, December 12th. Dancing to a West-end orchestra,fun and games, aCabaret(that is a cabaretandnot an endurance test), a sit down supper, all for the low price of 15/-. Our friend F.rancis Haxton, whose address is St. Anthony’s, Nonsuch Walk, Cheam, will be pleased to supply you with the necessary tickets. The Magic Circle has TV time on December 29th at 7-45 to 8-15.
Our very good friend Bob Driebeek (Aenigma) made a fine impression when he recently appeared for Harry Stanley at Victoria Halls, and although we were unable to see his show, we did have the chance of a little conversation on the following day just before he left for London Airport. It is an amazing thing that such a small country like Holland has made such prodigious strides in magic during the last decade. Whilst it certainly had a fine heritage in the name of Bamberg, to-day it is the home of continental novelty and skill. Whatever may be the thoughts of other magicians interested in Annemann, we think that the publication by the Phoenix of the fake Jinx in bad tasteand completely unnecessary. The magician without fault or some kind of viciousness is a comparitive rarityand, in the case of aman like Anneman, who in so little time gave so much to the printed chicanery sheet surely it is better to assess him as a magician only. As things go at present it wouldseem that there is a good chance of at least two Christmas magicaI seasons in the West End.
BOOKS “ 1dknti;tY Parade,” by Will Dexter (Published by Magic Wand Publishing Co. Enfield, price 7/61. Mental routines that are capable of mystical and laughable entertainment are very few, and Will Dexter is to be congratulatedon evolving from a “ crime in the audience ” type of theme, something that neverlags. Thereare somevery subtle twists described and it should prove a -popular number with all those conjurers who desire the extra mental item for their act. “ Magic Simplified ” by Harry Baron (Pub lished by Nicholas Kaye, price 8/6 net.). From Nicholas Kaye, who you may remember published the English edition of Walter ,Gibson’s book, “ Professional Magic for Amateurs,” comes a copy of Harry Baron’s “ Magic Simplified.” This is a bookstall publication designed to show how simple it is to become a magician, or rather how simple it is to learn to perform a number of conjuring tricks. Because
the writer is concerned with thelatter phase, I t neverseems to me that the exposure of mere secrets can ever do any harm. At the same time, there seems a tendency with such books to use more and more material forming part of the conjurer’s repertory that could well be left alone. In the present book we notice, Tan Hock Chuan’s “ Porous Glass,” and knowing Tan Hock Chum we should be surprised if he gave permission for its reproduction in a book intended for the general public. The book which contains some hundred odd pages, is clearly written and illustrated. The different sections of tricks covered asre, Cards, Close-up, Mental, Miscellaneous and Illusions. There is a chapter on showmanship and presentationand also a glossary and bibliography. The explanations are very clear and thexe should be little difficultyin the reader grasping the principles involved after a first reading. At the small price of 8/6 the secrets alone are excellent value.
16
This i s the id’eal routine for the intimate show, for it is designed to get LAUGHS as well as to completely baffle the audience. Half-a-dozen assistants are invited t o select one of their number as the SUSPECT,and this is donebydealing a well shuffledpack of cards.Theman who gets the ace of spades i s the SUSPECT, but he DOES N O T REVEAL THIS to you or the other assistants, for the cards are dealt face down. Each man then marks his thumb-print on a slip of paper-one print a t each end. They then tear their slips in half, keep one half and place the others in a heap on the table. Now the VICTIM is selected from the audience and the audience decide upon the CRIME. The VICTIM i s taken to each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE HOW HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes t o you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The Spectator
Does All The Work-Without Knowing
‘‘ HOW.’,
Also included is a N E W PRINCIPLE in M m t a l i r m t h a tcan be usod in m a n y m o r eeffects.
PRICE 716
Postage 3d.
(1 Dollar)
MAGIC WAND PUBLICATIONS Challenge Instant Hypnotism and Mass Hypnotism
GeorgeArmstrong 211Chandu’s Psychoanalysis George Armstrong 1013 Gaorge Armstrong’s Premonition George Armstrong 10/3 Magic Wand Year Book 48/9 George Armstrong 5/3 Tricks of the Trade Goorge Armstrong 2/7 the Universal Mind Ron Baillie l 2 / 9 Bohleno’s Mysteries Henry Bohlen 10/3 1’11Your Read Mind Darling Aage 17/9 Entertaining with Contact Mindreading S . E.Dexter 7 / 9 Entertaining with Hypnotism S . E. Dexter l 0 / 3 Identity Parade Will Dexter 7 / 9 Automentalism Ken de Courcy 20/3 Telepathy Zodiac Ken de Courcy 1219 John Ramray’s Cups and Balls Victor Farelli 25/6 Thanks to Leipzig ! Victor Farelli 10/3
Spectator’s Choice Francis Douglas Mother Goose Mystery Martin Gardner Twenty-Six Living and Dead Tests Teral Garrett The Concert Ventriloquist aad Children’s Entertainer Hurling Maurice Jamesosophy Stewart James Strictly Magic Eddie Joseph Mastered Amazement Koran & Lamonte Toni Koynini’r Card Miracles Toni Koynini Stunts With Stage Money Lamonte Jack Suzy and the City flickers Jack Lamonte Where Houdini was wrong Maurice Sardina ’9
9,
Stooging Around Playing With Magic Magically Yours
’,
7/9 7/9 513 l0/3 513 5/3 10/3 7/9 5/3 719 2016 7/9
(cheap edition) Joe Stuthard 513 Wilfred Tyler 30/6 Verrall Wass l5/6
F R O M T H E PUBLISHERS
T H E M A G I C WANI) PIJBLISIIING CO. 62 WELLINGTON ROA.D, ENWIELD,MIDDLESEX The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
’,
King Geor&’s Hall, W.C.
W*ARLOCK’S
PENTAGRAM ispublishedon the 24th of eachmonth and canbeobtained direct from the publishen for 117 per tingle copy. AnnualSubscription 181post free.
PUBLISHED BY;
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for rsview should be sent to the:
Dec. 18-Conczrk Particulars from H+
l
PETER
Secretary
Peter Newcornbe 38 Overdale Avenue N e w Malden, Surrey
EveryAdvertiser’s
BDITORI.4L
ADDRESS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrey.
JACK HUGHES will be pleased to rend you full details of
THE DE LUXB “SU-TABLE” together with all his other effects in rrtllrn for a stamp.
Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, . London, N.W.9. CONJURING BOOKS FOR SALE OLD ANI) NEW. Let m e know your rantr LIST FRG6 FOR STAMPED ENVELOPE G E O R GJ E ENNESS 47 INVERNESS AVENUE. ENFIELD, MIDDLESEX
goods arefullyendorsedbythisBulletin
PUBLlSHllD BY T n E PROPRIBTORS T H E MAGIC W A N D PUBLISHING COMPANY, 67 WELLINGTONROAD, IINFIELD. MIDDlESEX A N D PR-*@ BY HBRBIlRT W A L K B R & SON (PRINTERS) L’ID.. W e L L CROFT, SHIPLEY. YORICFHIPE
$
ERDNASE AND ALL THAT ROY WALTON HE three card trick is an excellent piece of Tinviting card manipulation, but if presented as a game members of the audience to find the lady, loses any magical effect that can beconveyed by a different presentation. Although the following patter is not clever, ithas the asset of being logically tied in with the manipulation of the three cards. For the technical details of the throw, one cannot do better than refer to the beauifully complete description in. “The Expert at theCard Table,” by Erdnase (Page 117). Whatever method of throw is used it canbe greatly increased in usefulness by learning to execute it with both hands. It is not necessary to use cards with an all overback design. unless the quality of throw requires it. The following presentation has the effectof causing a layman to accuse. you of using fake cards,and since they are not, itis a likeable comment. Req16remene: Threecards with the same back design, two of which have blank faces, and one a picture face, preferably a queen. description I t will be takenthroughoutthe that a good throw can be executed with the right hand. The three cards are held in the right hand in preparation for a throw, the queen being at the face. The p t t e r will be given first in its various phases, followed by the working details. Patter : (i) “Perhaps you have heard of ‘The Three Card Trick.’ Here is a short history of the game illustrated by means of these three cards. In the earliest version of the game they used three queens, and on one marked a cross, the one with the cross being the queen you had to find.” (ii) “ A littlelater theydecided thatths cross did not show up too well against the colourful background of the queen, and so used three blank cards, marking one with a cross-the one with the cross bein? the one you had to fid.”
VOLUME 9, No. 3
-
(iii) ‘‘ Still later they eliminated the cross entirely. and used just two queens and a blank card, the blank card being the one you had to find.” (iv) ‘‘ But in the modtrn version of the game, two blank cards and onequeen are used, the queen being the one you have to find.” (v) “ Let us play a couple of games to see how easy or hard it is to find the queen. First very slowly-the queen should be the centre card-but no, it’s here.” (vi) “ Now again, only this time I will not only show where the queen goes, but also one of the blank cards, so that if the queenis not here, it must be here. No! We’vemisseditagain-it’s this one.” (vii) “ The last time now, only to make it easy let’s see where all threecards go. A queen, a blank, a blank, the queenmustbehere. Well! I’ve lost it again-you know I never have found it.” Working : (i) Turn the right hand to show the qusen at the face, in so doing separate the top blank card from the other two, and fake throw it on to the table as the queen. Turn the right hand towards the audience again to show the queen, a d once more fake throw the blank card on the table to the right of the first one. Show in effect the last queen as you come to the part of the patter mentioning the cross, and drop it face down tothe right of those on the table. (ii) Pick up the extreme .right hand card (the queen) aiith the right hand, keeping it face down. Pick up one of the other cards beneath it. Turn the right hand towards the audience to show the blank card.andfakethrowit on to the table. With the left hand pick up the blank card already on the table and show.Replace it to the left of the card on the table, and show the remaining blank card in the right hand as you come to the point in the patter mentioning the cross. Replace it to the rieht of the two cards on the table.
I/6. (20 Cents)
-
DECEMBER 1954
18
(iii)Pick up the extreme right hand card in the right hand, and then the centre, card beneath it. Turnthehand to show the queen at the apposite point in the patter, and fake throw it on to the, right of the table. Turnthe right hand again to show,thesecond queen? Place it to the left of the card you have just thrown down. With the left hand pick up the extreme left blank card and show as you say, “ The blank card was the one you had to find,,” and replace it in the same position. (iv) Turn over the extreme left and right hand cards with both hands to showthem blank, and then show the queen in the centre. (v) Pick up the blank cards, one in each hand, the queen beneath the right hand one. Fake throw the queen on to the fable, and place one of the other c a d s each side of it. Turn over the centre oard attheappropriate point, and then reveal the real position of the Queen. (vi) Pick up one of theblank cards inthe right hand with the queenbeneath it. Show the
l
queen and fake throw it on to the table. Pick up the second blank beneath the card already in the right hand.Turn to showthe blankand fake throw it to the right of the card on the table. Place the remaining card atthe extreme left hand position without showing its face:. Turn over the centre card to coincide with the patter, and then the card to its left. Finally show the queen. (vii) Pick up a blank card ‘inthe right hand, and the queen beneath it. Show the queen and fake throw it on to the table. Pick up the second blank card beneath the card remainingin the right hand. Show the face of thel blank card and fake throw it to the left of the card on the table. Show the remaining blank card and place it in the Turn overcentre extreme right hand’position. card for conclusion of routine. Please pmctice the above moveswith patter, andthe timingwillbecomeobvious. It should be mentioned that every time a card is picked up by the right hand. it goes into the three card trick throw position.
“ Learning magic is like learning a second language. It is quite easy for anyone to memorise a few simple words or even a short sentence or two of a foreign tongue. It is verydifficult and lengthy to know another language really well, and unless one has a linguistic ability it is probably impossible. The same thing holds true in magic.” -John Mulholland “ Manic for Entertaining.’’
I
WILLIAM TO WARLOCK R€
THE HINDU NEEDLE TRICK Dear Peter, This isgoing to be a long Mter because, as you ‘know,when I take unto myself to brush up one of the cllassics of magic I go into thewholc As stunt in detail before I star.tworkingonit. regards the old NeedleSwallowing there were several considerations. First of all was it worth redoing? Well Houdinimade a sensation with it in somevery large theatresand even though needles have been effectively superc’eded by razor blade.s, I feel there is a space now for reversion to the original effect. Futhermore in the past performers have gone to great trouble toemphasise the more uncouth sbages of the trick such as showk g the mouth empty or perambulating the audience with oodles of needles thinly veiling the main effect and minimising the, eventualresult. Among the books in my library I found references in “ Tricks that Mystify ” page 37, “ Tarbell IV ” page 103, Booth’s “ Marvels of Mystery ” page 97, Stanyon’s “ Magic ” July, 1903, and a brief note in the “ Magic Wand ” to say the Needle Trick wasfirstseenin England at Bart’s Fair in 1787, done with 50 needles. In my file of “ The Jinx ” there appeared the most complete rendering of the needle trick but it contained all sorts of frills of presentation which, despite my admiration of anything thlat The0 Anneman produced,rather guided me into newfie’lds.Basically I felt it needed a newmethod allied to a cleaner presentation. So
here it is. The needles had to be. proved sharp. I got a block of balsa wood 4+ inches by 13 inches by 13 inches and decided that if you toldyour audiencethat this wassolid teak, one of the’ hardest woods in e’xistence, and showed that it was possible to plunge the needles into it by finger pressure alone and then flick them with a nail-file so they “ pinged,” that should convince them that the needleswere both sharp and made of st,eel. Now as to the length qf the needles, I bought packages of all ithe various sizes and finally settled on a needle which was 1%inches in length as being the most suitable. I usedeighteenneedles in duplicate. One set I threaded with the length of a needlebetweeneach and) knots on either side of each needle. This was a horrible job and took ages to do. As these threaded needleswerethe only ones whichwent into the,mouth I blunted the lot as there is little object in having them sharp since the climaxis whenyou pullthem out of your mouth threaded rather then when you trot into the audience to show they are dill sharp. A tinymeial bead is threaded onto the free end of the thread, two inch’es after the l’ast needle. This lengthiswrapped around the end of the bundle of needles resulting when you collect them inthzpalmof your hand in a “ point-eye-pointeye ” rotation. Now forthe gimmick proper. The balsa block has a portion carved out of the longedge
19 to fit an Eclipse magnet. This isgluedinplace and care is taken that the operating poles are flush withextremeedge. Thentake two slats of that very thin balsawoodyougetinmodel aircraft stores and glue them over the two adjacent sides of the block. This is a similar treatment to when you made Harbin's Tippler thing out of ABRA. When the lot is dry trim the edges with razor blade and rub the lot withveryfineglass-paper giving a bit more attention to the actual spot underwhich the two points of themagnet are hidden. You now shouldhave an ordinary looking block of balsawood'whichyoushould take care to keep clean by the simpleprocess of washing your paws before handling it. Balsapicks up hand dirt quicker than a clean towel.
Making your text-book advance" to the audience you cover the fact that the nxdle stunt you are about tc dc is a genuine Indian feat . . . that gets them very interested . . . all tricks from out of India are difficult and second cousins to the Indian Rope Trick as fiar as the lay person is cogcerned so they think you must be very clever. Next say it is very dange,rous and followthis up by tzak picking up theblock of balsawiththe introduction preparatory to stickingtheneedles intoit. Under the block of balsayouhaveyour roll of eighteen threaded needles right on the d g e spot where the points of the magnet lie. As you laytheblock on your left palm, use a brushing movement from the moment the inside edge touches the second joints of the fingers till it comes torest at the palmar mounts. This willdislodge the bundle of needles; from the magnetic area and cause them to remain free at the second joints of the fingers.Alsothemetal bead which the magneticfield has prevented from unwindingitself is now away from restriction. The needles remain"
"
"
ing stuck in a small black velvet pin cushion on the table !are taken out very quickly and stuck into the top of theblock. In thispositionth,ey are pinged " by a nail file. Do bhis right up close to the mike if there is one. The racket it makes is quite spine-chilling. Ratherafter the; style of bashing the saw for the sawing through, with a mallet prior to the illusion. As soon as you have pinged " the needles pull them out in clumps and lay them on your left palmbehindtheblock.Nowthemereaction of lifting the block from your palm with a rearward movement lifts all the sharp and separate needles and replaces thelm as neat as you like back on the table with the block.Picking up the threaded needles with your right fingers covering the wrapped thread you can wave'them about and finally deposit them on your tongue without anyone seeing the thread. Hold theminyourteeth with the winding portion of the thread inside the mouth and do a side to side turn pointing to them with your little finger pointing towards your mouth, the fingers closed into a fist and tb:: palm outwafds. This looks a lot moregentilethan a ruddy great point. If you have a spotlight operator who responds get the iris down to a thin point onthe mouth from themomentyouputthe needles on your 'tongue. Push themetalbead to the front of themouthwiththetongueandle,t th'e needlebundle slip downbetweenthetongue and teeth. Take a lei~gth of thread about the same length as that on the threaded set and bring on: end to your lips.With th:: left and right fingers and thumbs working in parallel bring the remainder of the thread up to the mouth the lips collecting the threads and the tongue pulling them into the mouth. After the tongue pulls the thread straight into the. mouth it proceeds to pack it ipto the tiaht cheek. Take care not to push out the cheeli otherwise the audience will get a good idea what'shappening. The beadis now broughtin front of theteeth and thea graspedby a pair of Spencer-Wells forceps. These are scissor-like things used by surgems and they have a couple of small teeth at the finger end which allows you to closethem and lock the object withinthc jlaws. Theseshouldonlycostyou about five bob and they save the ugly look of clawing the nezdles out of your mouth manually. Slowly draw the thread outand you'llfindtheneedlesbehave perkctly neither tangling nor ja,mming in any way. As soon as they are clear of the mouth swing thelength so thatit catchesthelight.Finally put out the left hand so that the needles fall over it and you lay it tall across your table for drying and refolding after the show. I'vedispens,edwith the glass of waterbit as being unnecessary and it only remains now to Suggest that as you start to remove the needles from the block into your palm you have music such as Rachmaninoff's " Preludein C Sharp Minor." (continued on Puge 23) "
"
20
DO IT BY .NUMBERS LESLlE MAY ESPITE the fact that mathematics obviously enter intothe scheme of things, I thought Sans Fawn byJames Esler, which appeared in last month’s (September) issue of The Pentagram,” a delightful little impromptu effect, and lost no time in putting it into use. In this connection, I am sure Mr. Esler will not mind my adding a couple of little ideas to his cunning application, as I think they aid to (1) conzeal the principle slightly, and (2) to bui!d up the effect. Firstly I wanted to avoid the giving of a Bpecific number by the performer for subtraction, so I arranged my deck of cards as follows, on top, readingdownwards five cardsfrom Ace to Five (perMr. Esler) and on bottom a SIX (my p r s dicted figure being FOUR). At commencement of effect, I produce deck, shuffle, keeping top stock and bottomcard in position, then ask spectator to cut and use the old dodge of X-ing the cut for future reference; I immed:ately startthe mathematical part of the business, which helps spectator forget aboutthe cutting business, I proceed as per last month’s article, but after having the figures multiplied by five, I say, Now let’s have a reduction this time, and leave theamount to chance.” I then ask spectator to rift up the upper portion of the cut and note VALUE of card facing him, adding, for
1)
“
”
“
“
“
”
“
misdirection that if itis a court card; we’ll consider it as ‘‘ ten ” to save complications, naturally it will be the SIX, and all is ready for the denouement. My second addition is the wording of the prediction in such a manner that the majority of the audience will leave with the impression that you actually foretold the volunteer’smentallychosen figure. This may wund exaggerated, but those readers conversantwith a similar bit of bluff in connection with the “ Brain-wave ” deck, as described by Bob Nelson on page 19 of “ The Linking Ring ” for January, 1942, will know that such procedure is sound and effective,especiallywhen the prediction is read aloud by a third party. My prediction is already in a sealed. envelope and is worded as follows :“ I predict that the answer to yourproblem will consist oftwofigures : The FIRST willbe YOUR MENTAL CHOICE and the S E C O N D will be my PRE-DETERMINED THOUGHT of 4. (FOUR).” (Sgd.) Leslie May. Despite the above, I think the effect can still be classified as impromptu, the deckcanbe borrowed and arranged in B second or two, and as for the prediction, I typeditwithseveralcarbon copies, andthushad sufficient for several quite otherwise unarranged de.monstrations.
JOHN HOWIE’S ROUTINES WITH THE JARDINE ELLlS RING Continued from Page 15
PHASE 3 Hiave the spectator untie the knot leaving thc ring upon the handkerchief. To obtainthe f i n d pemtration it is necessary to bring about an unsuspected exchange of ring and shell, the shell being apparently threaded on the handkerchief but, in fact, being only held against it by a fold in the cloth. This exchange is effected thus : Hold the handkerchief and ring on the upturned left hand as shown in Fig. 35. Two vital points must be noted at this stage : (a)The ring should be of the handpositioned so that onlyonecorner kerchief is on the thumb side of the ring, the other the ring and; (b) The ring three beingbelow should be at right angles to the hand and in lhe with the inner edge of the fourth finger so as to leave adequate spacebetween the ring andthz
further edge of the hand. These points are already illustrattedin Fig. 35. With the shell in the’ thumbpalmmovethe right hand so that it passes over the upturned left hand, the right fingers eve.ntuallyencircling the cloth at X-X in Fig. 35. As the two hands come momentarilypalm-to-palm grip the shelledgewise at the roots of the left fingers and, releasing the grip of thc right thumb, fold the shell across the left palm.Immediately this exchange takes place turn the left hand with its back towards the spectators and slide the right hand to the end of the handkerchief as in Fig. 36, whichshows the relative positions of ring and shell. Done correctly there is no risk of the shell and ring striking each other.
21 Now twn the left hand palm downwards and, with the right hand, stroke the handkerchief on the thumb side of the left hand a couple of times. Under cover of this stroking use the left forefinger to push that portion of the handkerchiefwhich passes over the shell down through the shell (the shell beingheld firmly betweentheunderside of the thumbandthe secondfin.ger). This " push through" is facilitated by the right hand, while stroking the handkerchief, also twists it somewhat to reduce its thickness. Next, retract the left forefinger and immediately pinch the tip of the protruding loop of cloth against the main part of the handkerchiefbetween the left thumband forefinger. Fig. 37 gives a diagrammatic viewof the position at this stage). Under cover of the right hand turn the left hand palm towards the spectators then stroke the lower half of the handkerchief with the right hand re'moving the ring in the process so that it ends up in the right fingerpalm. The description of this exchange of ring and shell has necessarilybeen long but, if studied carefully with the articles in hand, it will bel found to be quite straightforward and rapid in execution.
F ~ G36 . --R€AR
V I SW-
right fingers gently work the ring along the underside of the left hand until it is positioned in the centre of the left palm and between the handkerchief and the hand. When the tying is complete release the right bandandhold upthe left hand withitsback towards the spectators to display the knot to which youmay gesture with the right hand. At this stage you have the view shown in Fig. 38. If the solid ring is not fully covered by the folds of the handkerchief take this opportunity of quickly making the necessary adjustment. Next turn the left hand palm towards the spectators so that they obtain the view given in Fig. 38. WdGBGTtPb
HAYDKGKCt4tCF
Having given the spectators a briefview of the shell, apparently securely threaded on the handkerchief, turn the left hand palm downwards. Have a spectator ,tie the ends of the handkerchief together with adoubleknot at theback of the left hand while you grip your left wrist with your right hand. This position, apparently for support during the tying,covers a secret move-with the
TiunO
F\G.
37
From the spectators point of view nothing has occurred up to this point apart from the securing of the handkerchief to your left hand. Ask a spectator to hold his hand palm upwards and hold
22
your left handabove it. Make three throwing movements of the l& hand as you count, “ One, two, three.” Keep your fingers curved on the first two movements but, on the third, straighten the fingers, thus allowing the solid ring to be thrown on to the spectator’s hand as in Fig. 39-a highly surprising effect.
FG.40 Disposal of the Sbll. Hold the handkerchief hooked over the right thumb, the right forearm being vertical as in Fig. 40. Place the left hcand behindthe,handkerchief as shown in Fig. 40, a position which permits of the diqosal of the shell into the right sleeve, then immediately engage the left thumb inthecloth foop. Move the hands into the position shown in Fig. 41-both hands are thus seea to beempty while^ demonstrating that the handkerchief is still securelytied.Release the right hand and, with the left hand, return the handkerchief to its owner meanwhileregaining the shellintheright hand. The final disposal of the shell can then be effected as the ring istakenback and put into a pocket. To be continued.
FtG.
39
Follow up by removing the) handkerchief from the hand as follows : grip the knot with the right
hand letting the left fingers curve inwards naturally. Full upwards and forwards withthe right hand thereby freeing the shell which you grip at once in the left thumb palm.Straightenthe left fingers as soon as the shell is secure: and, with the right hand, removethehandkerchiefcompletely from the left. It is immediatelyobvious to the spectators, of course, that thereis no ring on the knottedhandkerchief.
To be continued
, FtG 41
7
23
BOOKS “MINDS IN CLOSEUP ” by Jack Yates (Published by Goddliffe, price 6/4. Within the thirty-two pages of this very tastefully produced booklet,. Jack Yates has detailed a number of very fine little mental items suitable for impromptu work. He starts off with “ Clip Line,” an item in which a newspaper cutting after suitable maltreatment has part of its contents divined .by the performer. The true beauty of this effectliesin the fact that any clue to the secret has been destroyed in the aforesaid maltreatment. The item that follows, “ Match Miracle ” is going to bel one of those things that Will become a perennial in closeup table tricks. The fact that it can be repeated makes forits strength. “Devil’s Die ” is a very
nice adaptation of a mathematical principle (as are most of these effects)whilst in “ Perfected the idea of the eternal “nine” Publicity ” we theme linked with an idea of thelateEdward Bagshawe’s. “ Astral Digit ” in the hands of a good showman could go places other than’closeup: So too could “ Merchant Mentalist ” whe
MAGIGGO-ROUND very pleased to have in this number W forERoyARE Walton’s version of the three card trick, by the time this bulletin lands in your home you will have had the opportunity of seeing ,Roy present the effect in the Magic Circle TV programme onDecember 29th. Thanks, too, to Billy McComb for his fine exposition of the Needle Effect . A great deal of credit must go to the EnterCircle in tainments Committee of the Magic obtaining, via the medium of the well-known journalist, clifford Davis, atalk,fromRonnie Waldman. Not only was the talk informative and entetrtaining but onerealisedin the way th.at all questions were answered, that the speaker understood all the trials and tribulations of TV from both the B.B.C‘s angle and that of the artiste or would-be artiste. Just over a year agowhenwritinginthe “ Stage ” we hoped that David Nixonwouldbe given a programme of his own.Since that time, mainly through the medium of “ What’s my Line ” he has become one of the best known personalities in TV. He has shown that a charming
r
rsonaltiy is thegreatest way of becoming a ublic favourite. InJanuaryour 1953wish becomes afactand Davidcommences a series of monthlyprogrammes.When we werewithhim at a party a few nights ago he gave us some idea of the programme layout. It soundedvery good indeed and we feel certain that this most charming magician will reap still more honours in the TV entertainment field. One of the mostinteresting plots that have come along in recent years is that concerned with the poisoned cup theme. Its origin the in Phoenix, manymethodshavebeenevolved,two of them appearing in thePentagram. Allhowever have hadacertain elemetnt of chance, or alternatively have demanded certain conditions. We think we have hit upon the simplest and most infallible method yet. It started out as a piece of mechanism and finally evolved as a most straightforward piece of chicanery. Details of the effect will be found on page 24 Finally may we take the opportunity of wishing all our readers everywhere a very happy and prosperous New Year.
T H E HINDU NEEDLE TRICK-Continued from page 19 Cuethisto fityour climax of drawing outthe So that’s the Needle Trick all wrapped up as needles threaded. I used to use this particular far as I’mconcerned. piece for the “ sawing in half ” and I can assure Regards. you it produces tension and, mounting excitement. Wm.
24 I
WILL DEXTER’S IDENTITY PARADE This is the ideal routine for the intimate show, for it is designed t o get LAUGHS as well as t o completely baffle the audience. Half-a-dozen assistants are invited to select one of their number as the SUSPECT,and this is donebydealing a well shuffled pack of cards. The man who gets the ace of spades i s the SUSPECT, but he DOES N O T REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print at each end. They then tear theirslips in half, keep one half and place the others in a heap on the table. Now the VICTIM i s selected from the audience and the audience decide upon the CRIME. The VICTIM is taken t o each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT KNOWING QUITE H O W HE DOES IT. table, and this As a check the victim selects one of the thumb-prints from the pile on the MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes to you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mystery and comedy out of this unusual routine. The only requirements-a pack of cards, pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). REMEMBER-The Spectator Does All Tho Work-Without Knowing ‘‘ How.” Also included is a N E W P R I N C I P L Ein Montrlism that can be used in many mora effects.
PRICE 7/6
Postage 3d.
(1 Dollar)
PETER WARLOCK’S
OF A BORGIA”
Half a dozen empty glasses stand on the table. One isindicated by a member of the audience and into it is poured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied. Whilst the performer’s back is turned a member of the audience wraps each glass in a piece of paper so that there is no possible indication of whichglass holds the milk. After thisthe same spectator moves the glasses around. The performer then turnsaround and with his buck to thespectator but in such a position that his actions can be seen by the audience, he requests that he behandedaglass at a time. With the build up of the poisoned cup theme, he dramatically stops theassistant and informs him that he, the performer, holds the poisoned glass ! Please remember these points :--
l The glassescanbe borrowed immediately prior t o the presentation. 2 There is nothing chancy like checking the weight of the glass and i t s contents. 3 There i s genuinely free choice of which glass the milk is poured into. 4 Nothing goes intothe glass withthe milk. S There are no magnets. 6 The pieces of paper used to wrap the glasses are taken at random by the spectator. not marked in any way. 7 If needsbe, the performer canbe genuinely blindfolded. 8 When the wrapped glasses are handed t o the performer his hands are empty.
They are
The routine complete with the little andmost inexpensive little accessory comesto you complete for-
12/6pst free from-
PETER WARLOCK, 24 Wordsworth Road, Wallington, Surrey The Magic Circle
PETER
President: Herbert J. Collings, Esq. Vice-President : Francir White, Esq.
PENTAGRAM L publlrhed
the 24th of each. month and can be 0)bin.d ditect from thepublishenfor 117 per ringle copy. Annual Sukcription 18 Ipost free. PUBLISHED BY:
C l d w ~and l b r u y and Yuwwn:
Hearts of Oak Buildingr, Euston Road, London, N.W.1.
W
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
Mad4 Tluatro: King George’s Hall, W.C.
Feb.5-Concert
lt*
WARLOCK’S
Y ~ u r c o i p t rfor publication md books fer rwww should be sent to the:
putlcol.m from Hon. Scntmy :
BDITORIAL ADDRESS:
Poter Newcornbe 38 Overdale Avenuo New Malden, Surrey
24,
Peter Warlock, Wordrworth Rd., Wallington, Surrey.
JACK HUGHBS will bp pleued to wndyou fulldetails
of
THE DE LUXE “SU-TABLE” together with dl his other effects inreturn
for a stamp.
Write now to
Jack Hughes, 2, EvclynAve.,
Colindale, London, N.W.9.
CONJURING BOOKS FOR SALE OLD AND Let me know your WMLI LIST FREE FOR STAMPED ENVBWPB
NEW.
G E O R GJ EE N N E S S 47 INVERNESS AVENUE, ENFIELD, MIDDLESEX
Every Advertiser’s goods are fully endorsed by this Bulletin BY TUE PUBLISHMQ ROAD, BNPIELD. PUBLIOHED
PROPRIBTORSTHE
AND PRPCI~D BY R
.
~
MAOIC W A N D WALKBR T a SON
COMPANY. 81 WXLLINOTON LTD., w e u mom. S ~ I I P L ~YORKSHIRE ,
(mmmo)
MIDDLESEX
*
m - PETER
WAR LOCK’S
*****
T H E D A N C E O F T H E SEVEN VEILS
E
COMRIE MACKAY making of a double-backer, the centre portion of FFECT. Performer tells spectator he will
endeavour to show him one of the mysterious and magical rites of the mystical East. He instructsspectator to select fromthe ribbon spread pack any one of the four Queens. Magician then states that with this Queen he will try and perform the Dance of the Seven Veils. The Queen is shuffledback into the pack, as, by the Sultan’s orders, she is not allowed to show hcrself and must at present becompletelymasked. Seven ordinary cards are shown and taken from the pack,each to represent a veil and spectator adds a further card, chosen by him from thefacedown pack, the identity of which is not known to eithep spectator or magician, and which is to represent the Queen’s yashmak. The eight cards are taken by magician and by running through them three times, discarding a card or two for veils eachtime and also showing thecards left, the magician is eventually left with two cards, one of which,hesays. is the last veil, the other being the “mystery” card-theyashmakof the now nearly nude queen. Placing one cad on each of the spectator’s palms the spectator chooses which willbe the last veil - a little amusing by play take place here - the yashmak and last veil is stripped leaving on one of the spectator’s palms a face-down card, which, the performer tells him, he willfind to be his originally chosenqueenthe card is turned over by the spectator who finds that it is indeed his original Queen, in so far as indices go-but otherwise she is completely (or practically) nude!!
REQUIREMENTS. An ordinary pack d card8 andfourextra queens, each of which are gimmicked so that the indices and borders of the queens remain intact but the bodies of the queens are replacedbya nude or semi-nude figure of a woman-each performer will have his own way of doing tliis, but it should be ensured that there is no raised surface on the card.Each queen can be split as in the
VOLUME 9, No. 4
-
the face then being cut out and the border being stuck again to the back - a centre portion of appropriate size of a nude figure can then be cut out an4 stuck into the vacant space. The backs of the fourgimm’icked queens mustmatch the ordinary pack. If the performer is prepared to force the spectator’s choice of a queen, then only one matching queen need be prepare& but I think you will find the resultant effect worth the trouble of preparing all the extra queens. PREPARATION. The four gimmickedqueens are placed into the left jacket pocket in any order which can be conveniently remembered by the magician. PRESENTATION AND ROUTINE Magician engages in opening patter as shown in “ EFFECT.” Pack is ribbon spread from right to left on table face up and spectator requested to chooseanyqueen. AS spectator picks this up finger or card is inserted under right hand end of ribbon and cards turnedover face down.Meantime left hand has palmed from pocket a matchins gimmickedqueen. Lefthand placed at left of ribbon and right hand at right, both hands sweeping cardstogether,left addingpalmed cardin process. Pack squared up and heldin left hand as for dealing, left little finger crimps inner right magician corner of bottom card, meanwhile patters as in “ E F F E a ” about queen not being allowed to showherself: cards changed to right hand preparing for Hindu shuffle-top card (gimmicked card) pulled off singly so that t t will be new bottom card; shuffle continues and spectator places his Queen in somewhere near middle - this is not picked up as in normal Hindu shuffle but bottom crimped card.is dropped upon it and shuffle continued. Commence overhand shuffle running seven cards, injog next and shuffle off making sure gimmicked queen atbottom arrives on top. then throwseven cards, up to injog, on t o p i n shufflingensure that middle portion
I/6. (20 Cents)
-
JANUARY 1955
26
containing regular queen and crimped card is dropped in bulk. Fan pack faces toward spectator centre of pack-apparently lost-only centre of pack need be fanned here. Continue, patter that seven ordinary cards will be chosen, each to represent a veil and deal the seven cards off top of pack, showing the faces and ask spectator if he is satisfied with those-normally he will assent. Then say that one furthe.r ordinary card is required to represent the Queen’s yashmak and that you will leave the selection of this card to him but that neither he nor you should know the identity of that card;have him insert a cardface-up (or a knife) into the pack and in taking that part of the pack above the cut make the slipforce bringing the gimmicked queen which was on top down to the cut. Have him take this card and without looking atit place it face down on theother seven cards. Again fan the pack saying that you hope he hasn’t by chance taken his Queen (regular); he ~ l lof, course, still see his Queen in the pack and as you bring the cards down from the fan casually locate the crimp and cut the pack there bringing the regular queen to the top. Place the pack on one side. Pick up the eight cards (seven veils and supposed yashmak, shufflesaying that you wish to lose the mystery card ” the spectator has just chosen and in shuffling bring it to the position fifth from bottom with the cards in face down position. Now say that the dance begins and the veils will be removed-here the performer can bring inany ingenious patter of which he is capable and suit it to the company he is in-hold the packet of cards in the left hand €ace-down in position for the glide. Bring left hand up and show bottom card, saying This is the first veil which the dancer retains ” an& turn hand down sliding out bottom card, not showing face again, and placing face-down on the, table in Slide off the next bottom card, front of you. without showing it-, place to one side saying, “The next veil she carelessly discards,” making your action appear careless and casual. Slide off the next card,after showing as with the first card, saying, This veil she also retains;” show the next card (fourth from bottom) saying, This one she retains as well-she is rather coy and believes in prolonging the suspense;’’ whilst pattering you have turnedhand down and executed the glide and drawn off the fifth card (gimmicked queen) and placed it facedown on table without showing it again as you have done with the other retained veils. Then say, “The next veil she discardsalive”and draw off just to keepyourinterest without showing and throw carelessly to one side the bottom c a d you have just previously glided back. ,Repeat the showing of each of the next two cards, sliding them off and saying theyarethe sixthand seventh veils which she is retaining. The last card say you’ll use as the Queen’s yashmak and won’t show it for thetime being. Pick up packet of six retained cards in glide position“
“
“
“
gimmicked quem is now thirdfrom bottom. Movements here are. similar to before and need not be described in detail-show first and retain, show SecondWhichyou sayshe is retaining but glide back and put down gimmicked queen; discard next-in all cases showing retaiked cards (or pretending to incases of cards glided back) and not showing discarded cards. The last card you again say you’ll U& as Queen’s yashmak and won’t show. Four cards left now - gimmickedQueen secon,d from bottom. Show bottom card as if retaining it and ask spectator to tell you what the card is (the magician does not at any time see any of the faces of the cards)-suppose it to be the Sevenof hearts-turningyo,ur hand down, say, “ Very well-we’ll put down the seven of hearts as a veil she’ll retain for the time being,” and as you are pattering glide back the seven of he.arts and put down the gimmicked queen. Discard the new bottom card unshown (actually seven of hearts) saying, “ That is the fifth veil she has discarded-the end will soon be in sight.” Fairly discard the next card saying, “ That is the sixth veil-allwill soon be revealed.’’ Gesturing with the last card left in your hand say to spectator. “This is the mystery card which we have called the Queen’s yashmak- for the first time I will let you see it-you are very privileged-you must try not to get excited.” Turn over card, whichwill of course, be an ordinary card; let us suppose it is the three of Clubs and say, “ You see, it is nothing after all - you really can never trust these women-theyre full of deception. Well, we’ll put down the three of clubs as the Queen’s yashmak,” and place it face-down on the table. Now pick up the last card in your left hand and the gimmicked queen in the right hand and put them behind your back and make motions as if shuffling them actually there’s no need to really change them. Bring them back to the front, still face-down, and say to the spectator, “ We’re going tq have a little game to see how good you are at ‘ Find the, Lady.’ Have the spectator extend his hands, palms up, and place a card face-down on each - keep a thumb on top of each card and retain hold of the spectator’s hand by placing your fingers underneath each of his hands, thus preventing any impulsive action on the part of the spectator in prematurely turning over either of the cards. An amusing bit of by-play m a y be ’had here - i.e. “ Surely you are familiar enough with the contours of a lady to be able to recognise which of these cards actually conceals the Queen-after all the last veil is very thin!’’ Should the spectator try to move his hands or fingers, as they often do, say “ M! she would not like you to be too free with your hands, sir, she is inclined to be ticklish!” You will find that the spectator nearly always hesitates over the choosing of a card so the foregoing by-play fits in quite easily. If hechooses Continued on page 31
27
THE NAME’S THE SAME LESLIE MAY WAS particularly intrigued by Gustave 1 Touch” Southall’s delightfulcontribution Personal which appeared in the August issue of “
the Pentagram, fur it is the type of effect which I love to perform; however, just to be contrary, I wanted to :- (i) eliminate the use of playing cards. (ii) broaden it sufficiently for display to a larger audience thanthat controlled by Mr. Southall’s plot, and (iii) (because I am a duffer at it), do away with any use of sleight of hand : The result is thefollowing :Performer displays two packs of cards,one a LEXICON pack,andtheothera series of Christian names (these are obtainable from Harry Stanley, Unique Magic Studios, and are of untold value for countless effects). Shuffling the Lexicon pack, psrformer requests any spectator to kindly assist him by removing any coin from his pocket and calling out the date shown thereon(restrictions regarding coins of the last century and thom with a nought in thedate apply as detailed !in Mr. Southall’s article). When date is announced, performer deals out four heaps of cards corresponding to same, i.e. if date was 1927, he would deal face down from top of pack, heaps of one, nine, two and seven cards. Picking up the pack of name cards he has a sum made of all or some of the figures comprising the selected date, and counting down from top of pack he removes the card at that number,and shows its face, we will imagine it 3s DORA, he turns over the four heaps of Lexicon cards, and reveals thatthe bottom or face cards spell D. 0. R. A. METHOD. Fromthe pack of name cards select oneof fourletters, preferably one with a vowel at the end, inmy pack,thereareROSE, DORA and NORA. We will select DORA for our demonstration;placethiscardtenthfromthe top of the names pack and place in case. You willneed actuallytwo Lexicon packs, but all you require from the second pack is one card,inthis case an A,” forinan ordinary Lexicon pack there are four A‘s,” 4 E’s,” etc., and you need five for this effect. Take your pack plus the extra card and arrange it as follows :- from top reading down-
“
”
“
“
“
“ D,” an “ 0,” any eight cards, an “ R,” and five “ A’s,”followed by the remainder of the lettered pack. This arrangement willcover any date of this Century called out (excluding those containing a nought), when cardsaredealt into the four piles as described above. I should mention here that both packs are false shuffled andcut by performer when first introduced. The pack of name cards is now exhibited, and to secufe the selection of DORA, the tenth card from the top, ’he juggles with the date figures as most appropriate.For example, if the date, was 1927 as given above, he asks for either the first two or last two. If the first two are chosen he says oneand nine make ten,andcounts to the tenth card, if the last two, he says two and seven are nine, counts off nine and turns the next card. Again, if the last two figures are not suitable the spectator is requested to announce the tota2 of the figures comprising thedate,and ‘in thisinstance the performer employs the procedure used by AI Koran in “ Magic Wand ” Mental Magic prize winning article some years ago(see also Arthur F. G. Carter’s “The Chest of the Koran”“ Magic Wand ” for March 1954), i.e. supposing the selected date is 1932 giving a total of 15, deal off 15cardsface down one on top of another, then say, “ Fifteen cards, one and five make six, count down tothe sixthcard, whichwill be DORA, and place aside, face down, for subsequent revelation. Further, if thelast twofigures of the date total eleven or over, i.e.1949, performer can request choice of first or last two figures, with the result that if last two are decided upon he adopts the procedure described above, or if the “ 19 ” is called for, he merely totals these and counts down to the tenth card. Although the performer has many variations to choose from in arriving at the appropriate name card the spectator is unaware of his intention and assumes the procedure adopted is the normal one. The reader may ask why I emphasise the use of a name ending in a vowel; the reason is that if a spectator handles the Lexicon pack subsequently he is not likely to notice the addition of one vowel card, but may easily spot the addition bf three or four consonants.
a
Then why can’t he apply his cleverness to earning an honest living ? ” Because the flaming amateurs have spoiled his line. Go down to Holborn and you’ll see them with their silly fat noses fiattened against the windows of the magic shop. They all fancy themselves as spare time magician’s. They’ve ruined it for the pros., dragged it down to the level of a kids’ party. Guy Cullingford--“ Conjurer’s Co6n.” l(
l‘
28
JOHN HOWIE'S ROUTINES WITH THE JARDINE ELLlS RING Continued from page 22
MISCELLANEOUS EFFECTS RING ON NECKTIE This quick effect which is inteuded for use on informal occasions, is a direct descendant of " The Ring of Thoth " (see Ref. 15).
EFFHolding ECT. one end of his necktiein
one hand, the performer holds a steel ring against thetie with the other. Suddenly the ring is seen tobe threaded upon the tie. REQUIREMENTS. T h e Ellis ring and shell. The performer must be wearing a four-in-hand type of necktie.
Using two free fingers of the right hand pull the tie through the leftfist till the left'hand is positioned half-way up the tie. Immediately move the left forefinger from below to above the tie which is thus gripped between the first and secondfingers. Place the shellbetween the left forefinger and thumb as in Fig. 42 (the fing at this stage ishiddenbehind the left fingers). Remove the shell for further display then apparently replace it but actually under momentary cover of the right fingers,slide the shellbackbehind the right fingers and squeeze up the solid ring with the left fingers so that the audience v'iew remains as in Fig. 42. Grip the tip of the tie with the right hand and move the tie nearer then further away from you several times bypulling on the tip. Whiledoing this cause the ring to rise and fall (exactly as if it were resting upon the tie) by alternately relaxing andcontracting the left secondfingerwhichis hidden by the lower portion of the tie. These two movementsshould . besynchronised to give the effect of the tie moving the ring up and down. Suddenly release the left hand completely and turning your right side tothe audience, extend the right hand to display the ring threaded upon the tie as in Fig. 43.
Flcl.43
FK,.
42
METHOD. Display the shell-coveredring as in Fig. 8. Perform the Howie Pick-up Move, then grip the shell as in Fig. 12. Take the tip of the tie in the right hand and transfer it to the left hand, pushing it through the hidden ring in so doing. Take the shell in the right hand and, if desired, spin it in the air and catch it again.
DISPOSAL OF THE SHELL. Whileholding the positionshown in Fig. 43 bring up the left hand and take over the hold on the end of the tie from the right hand. As the right hand 1eave.sthe end of the tie it is a simple matter to drop the shell into the upturned left sleeve. Remove the ring from thetie using the right hand then lower the left arm to regain the shell for replacement on the ring or otherwise.
29
TWO SUGGESTED ROUTINES The two routines that follow are included to indicate how effective sequences can be constructedfrommaterial available in the literature. Only brief outlines are given except where variations from the original are involved. 1. RING A N D ROPE This routine wasinspired by the following effects : (a) Ellis Ring on Rope-U. F. Grant (Reference 7). (b) A Trick Wrongly Named Sefalaljia Warlock (Reference 22). (c) Tannen's Ring, Knot and ,Rope (Reference 25). The performer'shandkerchief-covered!hand has replaced the pocket in the first eRect and the hat in the secondwhile an unprepared hanilkerchief has been made to fulfil the function of the prepared handkerchief required intheorigkal of the third effect.
-
EFFECT A ring penetrates a rope three times, a knot forming round the ring during the third penetration. REQUIREMENTS The Ellis ring and shell, a piece of soft rope (aboutfour and, a half feet long) and a pocket handkerchief. METHOD-Pba8e 1. Remove your handkerchief and drape it over the left shoulder.Display the shell-coveredring in the left hand and the rope in the right hand. Secretly get the solid ring on to the middle of the rope using the Howie Pick-up Move method as described my in Ring and Handkerchief Routine " Phase 1 (see Part 3). Hold the left hand shoulderhigh and cover it with the handkerchief, both ends of the rope hanging in full view. Display the shell in the right hand then carry it under the handkerchief. Drop the shell intothe upturned left sleeve andimmediately push up the solid ring. With the right hand grip the ring through the handkerchief from above then move the right hand to the right till the two ends of the row come into the left hand (which should be held so as to make it clear that it is empty). Keeping a grip on the handkerchief with the right hand, release the ring so that it swings downwards and can be seen to be threaded on the rope. Phase 2. Toss the handkerchiefin the air, re-catch it and again drape it over the left shoulder. Remove the ring from the rope with the right hand and reposit'ion the rope in the left hand so that the middle is held while the ends hang down. Hold the left hand so that it can be seen to hold nothing but the rope. Offer to repeat the effect more slow\y. "
Put the handkerchief over the left hand and carry the ring under the handkerchief then, using the well-knownSefalaljia " procedure, fix the ring onto the rope. Place the key loop over the kft thumb, take a grip on the handkerchief with the left thumb ,andforefinger then remove the right hand. Grip the " free " end. of the rope in the right hand then move both hands thus : Move the right hand tothe right and upwards; simultaneously move the left hand downwards so that at the end of the movementyour left arm ishangingdown at your side (this permits the shell to drop toyour left hand whichshouldbe cupped t o receiveit). Drape the handkerchief over the left shoulder and (with the shell thumb palmed with its " flat " side against the hand) grip the other end of the rope in the left hand. Gently pull the hands apart to dissolve the knot and reveal the ring once again threaded upon the rope. Phase 3. It is necessary a t this point to make a switch of the ring and shell-thisis done thus : Place both ends of the rope in the left hand and, gripping the ring with the right hand, release one end of the rope.Slide the ring up the rope towards the left hand. Apparently slide the ring right off -actually as the ring passes behind the kft hand (held with its back towards the spectators) grip the ring with the left third and fourth fingers and use the right thumb to lever upthe shell and immediately lift the shell away from the left hand. (Note-The slight pause required at the moment of switching exactly simulates the pause whichwouldoccur if the ring werereally taken off-try it with the ring alone first; actually take it off the rope and youwillobserve that a slight pause is necessary while thz left thumb changes its grip). Draw the upper end, of the rope upabout twelve inches and let it fall over the back of the main part of the rope and yourbody and grip it firmly between the left first and second fingers. (For an idea of the position at this stage, see the Tarbell Course in Magic, Vol. 2, p. 345, Fig 6). Place the shell between the left forefinger and thumbthen cover it with the handkerchief. Apparently wrap the shellwithin the folds of the handkerchief - actually use the time honoured coin through handkerchiefmove(seeHoffman, Lang Neil, etc.) whereby the shell is really brought tc the rear of the folded handkerchief. Press the handkerchief over the shell to confirm its presence then grip the handkerchief in the right hand over the shell and wave the handkerchief several times towards the rope. During this movementsqueeze the handkerchief with the finger tips and use the right thumb to pull the shell back into the, right thumb palm. When the sh.ell is secure make a final wave of the
30 handkerchief and, under ‘cover of this wave, let the loop of rope slip from off the left hand. The ring will appear ontheropeand securely tied within a knot (as is the Tarbell Course in Magic, Vol. 2, p. 346, Figs. 8 and 9). Toss the handkerchief in the air, catch it and drape it over the left shoulder, disposing of the shell inthe breast pocket atthe same time. Alternatively the handkerchiefmay beputinto the pocket, the shell being disposed of within its folds. NOTE : If desired the ring can be edge palmed in the thumb crotch so that the left hand can be held palm towards the spectators as in the original version. Due to the slippy surface of the ring the surest way to grip it is between the thumb on one side and the line of contact of the first and second fingers on the other.
2. A RING, A WAND AND A HANDKERCHIEF This routine isincludedprincipally to show how to introduce a touch of comedy-a factor all too often lacking in penetration effects. The basic ingredients of the routine are : (a) With Jardine Ellis ring-Roy Short (Reference 12). (b) Paquette’s Baguette (Reference 18). (c) Ring in the Knot-John Howie (see Part 3).
EFFECT.
A steel ring appearsto play pranks on the performerwhile he is introducing the properties for his effect, viz., the ring, a wand and a handkerchief. A successful penetration of the wand by the ringis then effected under cover of the handkerchief. On trying torepeat this, the ring vanishes, to be found within a knot in the handkerchief. REQUIREMENTS. The Ellis ring and shell and a wand. Also of great necessity is the ab’ility to act. The style of presentation is extremelyimportant-aim at giving the impression of being as befuddled asthe spectators wEen the unexpected occurs. METHOD: Phase l. Introduce the shell-covered ring and have the wand at hand.Hold the ring (plus shell)in the left hand. Borrow a handkerchief, receive it in the fight hand then place it in the left hand as in the
original ef€ect. Take the wandin the right hand and announce an effect using “ a ring ” (point to it with the wand), “ a handkerchief” (point to i t also) “ and a wand ” (hold up the wand then place it under the left arm). Make the necessarykeymovewith the ring and handkerchief then put the handkerchief (with ring now half-way along it) upon the left shoulder so that the ring is not seen. Display the shell (as the ring)using the right hand. Apparently pass the shell to the left hand but really retain it concealedin the right hand and immediately take the wand in the right hand. Emphasise that youwilluse nothing other than three articles-“ the handkerchief ” ( p i n t t o it with the wand), “ the wand ” (hold it up), “ and the ring ” (point to the left hand and open it as the tip of the wand reaches it). Register surprise at the disappearance of the ring then, after a short pause say, “ Let’s check again. Here is the wand (hold it up), the handkerchief (remove from shoulder with the left hand) . . . and . . . why there’s the ring (tap the ring with the wand) . . . I wonder how that got there.” Replace the wand under the left arm and remove the ring from the handkerchief. Phase 2. Now perform “ Paquette’s Baguette ” (Reference 18). Two courses are available here : if you wish to perform the effect exactly as originally described then, on removing the ring from the handkerchief, hold the latter so that in taking the Ting the right hand comes opposite the opening of the left sleeve and drop the shell therein-the ring on wand effect can then be done with the ring alone. If desired,however, the shell can be retained palmed during the preliminar‘ies then used pressed behind the handkerchief to aid the illusion that the ring is under the handkerchief when, in fact, it is not. In thi,s case you must, of course, palm away the shell before the climax.
wase 3.
m e r to repeat the penetration. Take the ring,secretly replace the shellupon it then perform “ Ring in the Knot ” as described in Part 3. Play up the registration of wonderment at the non-appearance of the ring on the, wand in line with the presentation theme beforefinally dropping the handkerchief on the table (or & accidentally ” on the floor if no table is available).
BIBLIOGRAPHY OF RING TRICKS LARSEN, JR. ON ELLI&Bill theperformer’s hand to thecentre
Reference 1l.-BJLL Larsen, Jr. MUM. Vol. 42, No. 9, p. 252 (February, 1953).
A particularly clean cut version of the ring on stick type of effect, no cover other than that provided by the handsbeingrequired. Reference 12.--wITH THE JARDINE ELLIS RING, No. 1 OF A SERIES-Roy Short. “The Magic Circular” Vol. 47, No. 522, p. 150 (February, 1953). An effect wherein the ring is passed magically from
of a handkerchief draped over his shoulder. It is interesting to notethatMr.Shortmakes the same point as is deak with in A Ward m Basic PIUcedum” and h’iseffectincorporatesaneatmethod of secretly introducing the solid ring over the handkerchief. Reference 13.-TWO JARDINE ELLIS RING-ONRIBBON ROUTINES-Bwtrarn Millidge. Edited by John 3. Crimmins, Jr. Published by Holden’s Magic Shops, 1953. L(
The first routine, entitled “ A Ring and a Ribbon,” has fivephases. The f i s t phase uses the shell as In Reference 2, the next three phases use the solid ring only and in the final phase the ring is secretly switched for a split ring to provide a strong c1ixn:x. In the second routine, entitled A Quick Ring Trick,” there are two phases, the shell being used in conjunctionwith the split ring thus enablinga surprising double penetration to be effected. Reference 14.-THE PAIGE ROPE AND RING RO-R. P. Psige. The Linking Ring, Vol. 33, No. 1.1, p. -58 (January, 1954). A steel rln g IS passed onto the centre of a ropeboth ends being in view at the time Refere- cc15-THERING OF THOTH - Nelson Hahne
from “ Smart Magic ’* by Ralph Hull and Nelson Hahne Published 1935. This ring and handkerchief penetrae tion effect depen ent on the use of a duplicate solid ring is listed because it is particularly suited for use with the Ellis Ring, the shell taking the place of the duplicate. Reference 16-EPILOGUE TO THOTH-Hans Trixer. Peter Warlock’s “Pemtagram”, Vol. 6, No. 7, p. 49 (April, 1952).
Describes a method for producing the effect of “The Ring of Thoth” using one ring only. RING AND STICK EFFECTS. Reference 17-H.ARNESED-Bill S i a “Phoenix”, No. 254, p. 1014 (May 2nd, 1952). A method for passinga nng, wrappedwithin a
handkerchief,onto .a wand - only one ring is used. Suitable as a“lead-in”effect to an Ellisringonwand sequence. Reference 18-PAQUE”TE’SBAGUE’ITE. 66Phoenix”, No. 271, p. 1-085 (December 26th, 1952). Similar in effect to Reference 17 but using a different method. W F ” S BASED ON “SEFALAWIA.” Reference l%RING, ROPE AND PIN (two versions). Tarbell, Comw h Magic, Vol. 3, Lesson 36, p. 81. This is a close up effect in which a ring is passed on to a bight in a rope, the bight being formed by securing the rope at twopointswith a safety pin. In the first versionahandkerchief is used as cover; the second version requires no cover. This effect, and the three that follow, are based on part of a reutine devisedbyStewartJamesentitled “Sefalaljia” and firstpublished ib the late Annemgnn’s “Jinx” No. 69, p. 471. Reference 20-TOM OSBORNE’S RING AND SPIRIT KNOT. Ta~blICourse in Magic, Vol. 3, Lesson 36, p. 83. In thisvariation on “&falaljia”,ahandkerchief is used as cover but the pin is eliminated, the ring being passed into a knot on the rope. Reference 21-FOURTH DIMENSIONAL SEWINGL. V. Lyans. A n m e m a d s “Jinx” NO. 100. In this version the ring penetrates a nbbon in which abighthasbeen formed bystitchingwhilebothends remain in full view.
“ Ah wish you’d giEe , n e a few tips like,” said one of the young men. “ Ah d o a bit at kids’ parties. Not up your street, of course ! “ Ah should think not,” said Lil. “H is is more of the ‘ Can’t-think-what’s.gone-wrof~g ’ variety. Guy Cdingford- Conjurer’s Coffin.”
The Dance of The Seven Veils
Continued from page 26 the three of clubs (he won’t know since it is .facedown)-move the thumb which is holding it and feel the back of the card with your fingers without removing itfrom the spectator’s hand and say “ Ah! you have chosen her yashmak-I can feel her ear-rings-obviously you want to see if she is beautiful and are not worried about her figureoh well, we all have our little idiosyncrasies-let me see, I believe you said that the three of clubs represented her yashmak?” When he assents, turn over the card showing it to be the three of clubs. Then say, “ Now the last veil is very flimsy and I really believe you could blow it away if you tried hard-justblow on the back of the card, sir.” As he blows (usually a fair puff) say, “ Oh! I say, sir, gently please-you’ll give the poor lady a cold inher spots.” Thenhave him name the this was the card again - “ I believeyousaid seven of hearts, sir? Yes?Well, if you’ll turn the card, over you’ll find that perhaps your breath is stronger than you thought. - I should be careful about blowingdownladies’necks in future!’’ Spectatorturnscard over and to his surprise sees the nude queen of his original choice.
Should he, however,choo.se the gimmicked queen, patter to this effect “ Ah! I thought your knowledge of thefair sexwould betray you in the end-despite my precaution of holding your hand obviouslyyou can stillrecognise her figure --of course, thelast veilisveryflimsy-I can practically see through it myself. Perhaps on second thoughts we had better remove her yashmak first and see whether shehas any wrinkles -we’ll leave her the veil for a few seconds to keep herwarm.” Thenpatterand proceed as before, feeling the back of the, card with your finger-tips to see that it really is ’her yashmak.During the resultant laughter (I hope! if not, change your friends!) pick up the main pack, palm off the iop card (regularqueen) and drop pack on tile discarded “ veils,”casually dropping regular queen As the amusement subsides, say, in pocket. “ Well, I don’t know what I’m going to do now I play strippokerwhen I playcards-unless you’ve spoilt the pack for m e , leaving the queen in that condition.” If the spectator does not of his own volition pick up the pack to look for his original regular queen patter so that he will look for it, only to find it missing, of course.
I
I
I
I
His hand went to his pocket and reappeared with a pack of cards. “ Shall I show you a few simple tricksto while away a wet afternoon ? ” Miss Milk shuddered involuntarily. Luckily the opening of the doors dispensed w,i,th the necessity for any response.” Guy Cullingford- Conjurer’s Coffin.” “
l
32.
WILL DEXTER’S IDENTITY PARADE This i s the ideal routine for the intimate show, for it i s designed to get LAUGHS as well as to completely baffle the audience. Half-a-dozen assistants are invited to select one of their number as the SUSPECT, and this is done by dealing a well shuffled pack of cards. The man who gets the ace of spades i s the SUSPECT, but he DOES NOT REVEAL THIS t o you or the other assistants, for the cards are dealt face down. Eachman then marks his thumb-print on a slip of paper-one print at each end. They then tear theirslips in half, keep one halfand place the others ina heap on thetable. Now theVICTIM is selected from the audience and the audience decide upon the CRIME, The VICTIM is taken to each member of the IDENTIFICATION PARADE in turn and, WITHOUT FAIL, he IDENTIFIES THE SUSPECT-WITHOUT K N O W I N G QUITE HOW HE DOES IT. As a check the victim selects one of the thumb-prints from the pile on the table,and this MATCHES the print of the suspect he has identified. The suspect is asked t o show his cards, and sure enough he holds the ACE OF SPADES. This routine comes to you in a neatly printed and illustrated book, with full presentation and patter leads so that you can get every ounce of mysteryandcomedy out of thisunusualroutine. The only requirements-a pack of cards,pad of paper, and a constable’s arm-band and convict hat (which you can make out of paper). Does All The Work-Without Knowing “ How.” REMEMBER-The Spectator Also included is a N E W P R I N C I P L E i nMentalism that can be used in many more effects.
PRIC 5 7/6 Postage 3d. (1 Dollar) The Magic Wand Pd ishing Co., 62 Wellington Road, Enfield, Middlesex
I
CCKISSOF .A, BORGIA” .
.
Half a dozen empty glasses stand on the table. One isindicated by a member of the audience and into it ispoured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied. Whilst the performer’s back is turned a member of the audience wraps each glassin a piece of paper so that there is no possible indication of.whichglass holds the milk. After thisthe same spectator moves the glaeses around. The performer then turnsaround and with his buck to thespectator but in such a position that his actions can be seen by the audience, he requests that he behanded a glassata time. With the build up of the poisoned cup theme, he dramatically stops theassistant and informs him that he, the performer, holds the poisoned glass ! Please remember these points :-l The glasses canbe borrowed immediately prior to the presentation. 2 There i s nothing chancy like’checking the weight of the glass and i t s contents. 3 There is genuinely free’ choice of which glass the milk is poured into.
4 Nothing goes intothe glass withthe milk. 5 Thereareno magnets. 6 The pieces of paper used to wrap the glasses are taken at random by the spectator.
They are
not marked i n any way. 7 If needsbe, the performer canbe genuinely blindfolded. 8 When the wrapped glasses are handed t o t h e performer his hands are empty. The routine with the little and most inexpensive little acceosory comes to you complete for-
12/6post free from-
PETER WARLOCK, 24 Wordsworth Road, Wallington,Surrey or from your favourite dealer
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library
and Museum :
Hearts of OakBuildings, Buston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. April 27th, 28th, 29th, 30thGolden Jubilee Celebrations Puticulan from Hon.Secretary
:
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each monthand can be obtaineddirect from thepublishersfor 117 per dngle copy. Annual Subscription 181port free.
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex ‘manuscripts forpublication
reviewshould
EDITORIAL
24,
and book for
be sent to the:
ADDRESS:
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
JACK HUGwill be pleased to send you full details of
THE DE LUXB “SU-TABLE” togetherwith all his other effects inreturn for a stamp. Write now to
Jack Hughes, 2, Bvelyn Ave., Colindale, London, N.W.9. BOOKS FOR SALE
.. .. ..
Tarbell Volume 6 Greater Magic Annemann Practkal Mental Effects Hugrrd Encyclopedia of CardTricks
701551-
461-
361-
G E O R G JE E N N E S S . 47 InvernessAvenue,Enfield,Middlesex
Every Advertiser’s .goods are fully endorsed by this Bulletin PUBLISHED BY 1 H E I R O P R I ~ O U ITAE MAOIC W A N D PUBLIBHINOCOMPANY, 62 WELLlNGTONROAD,UNPIEID. A N 0 P U m D 011 HllRSBRT WALK8R & SON (PRINTERS) LTD., W E L L CROITT,SHIPLPY,YORKSHIRE
MIDDLESEX
ANNEMANN ISSUE PENTACLE OF PAN HARRY E. BURNSIDE AND CHARLES W. CAMERON t o various fiction writers the general public have been initiated into the mysteries TofHANKS the Black Arts. The following effect takes
an old principle, gives it a new twist and using a
. ..
Satanical theme we have . . THE PENTACLE OF PAN “ In the practice of Black Magic the Occultist mustconstruct a fivepointed star, enclosed within a mystic circle. This design must be drawn with exact geometrical precision or the results will either be Nil . or prove highly - _dangerous to the practitioner. “Round the circumference of the Circle are inscribed either magical characters or, in certa’in cases, the Signs of the Zodiac. “ The Occultist, standing in the centre of this ageold device, now calls up a Denizen of the Other World or throughthe use of certain inhis cantationscommands unseen spiritstodo bidding. “However in the 16th century a noted sorcerer constructed a peculiar charm utilising the principles of the circle and pentacle. “ Having thus obviated all the arduous work involved in drawing the signs he was able to perform his magic in a much easier manner.” As hefinishes hisstory the magician withdraws a small case from his pocket and opening itheextracts a small black and coloureddisc. The base is in the shape of a circle and a five A pointed staris fastened tothe upperpart. brightly coloured stoneis embedded in each corner of thestar.Roundthe circumference of the circle are fashioned the Zodiacal characters. The magician explains that each stone represents a certain wish. The red one is for wealth. the white one for health,thebluestonestands for power. A green jewel indicates the fulfilment of anambitionandthe yellow stone represents happiness.
. . ..
~~~
~~
~
~~~
VOLUME 9, No. 5
-
A spectator is asked to choose a certain stone, to place his forefinger over the stone and to press 6rmly. Beforehedoes thisthe magician turns his back.When the spectator has carried out these instructions the magician says. then visualise “Should youchoosewealth with chests overflowing precious great stone of stones, gold and silver coins andallmanner valuable trinkets. Whatever you choose, please translate yourwish into a mental picture and concentrate very strongly. Now Sir, are you ready. take your hand away and turn the pentacle around once or twice.” The magician turns round and picking up the charm he places it to his forehead. Concentrating for a fewsecondsheproceeds to weave a tale around whatever the spectator’s wish has been, despite the fact that the wish is apparently unknown to the magician. When he has finished he asks the spectator to name his wish. The spectatordoes so and proves that the magician has in someuncanny manner divined his thoughts. The preceding routine is not one that can be accomplished i,mmediately. It does require a special piece of apparatus, but for those who can make or can have made for them the necessary “prop ” we think it will prove to he one of those miracles that makes a reputation. Credit for the original idea must go t o the magician Blackstone . . for those who are interested enough, page 60 of “ Blackstone’s Secrets of Magic,” will supply the original idea. We do claim, however, the Title, patter theme, routineand several twists tothe effect and to theoriginal idea. It is definitely not a pipedream, we have worked the effect as described on lay audiences andit hasalwayscompletelybewilderedthem.
..
I/6. (20 Cents)
-
FEBRUARY 1955
34
Many and varied have been the explanationsgiven
to us, but never yet has anyone divined the actual secret. The necessary apparatus is shown inthe sketches and should be constructed of wood or perspex (plastic). A black circular disc with the’ signs of the Zodiac inscribed aroundthe circumference. A coloured five pointed star, fastened tothetop surface of the disc. A hole is drilled in each corner of the star anda small quantity of luminous paint poured in. Next a colour& stone (obtainable from most “make it yourself ” stores), is embedded in the hole. A coat of clear varnigh is painted over the Stone.
STAR UPRAISED ON CIRCIS
c STONE
0 = HOG
DRILIED dc FILLED WrTH LUNINOUS FAIN3
Tell the story as described in the early part of theroutine. Ask a spectator to assist you, turn your back as you tell him to select a stone and to place his finger over the, stone. Tell him to press firmly and to concentrate as he does. Patterabout visualising great stone. chests, etc. and keep talking for, roughly a minute. The time required for the spectator to keep his finger pressed on the stone will vary with each piece of apparatus constructed and can only be found by experimenting. Tell the story as described in the early part toturnthe charm around several times.When he has done thisyou turn around and pick up the
I
.
charm. The method of picking upthe disc is rather peculiar but should be adhered to very rigidly as practice has proved this to be the best method of obtaining success. The righthand is cupped andthecharm picked up so that it rests at thefoot of the “ cup,” thumb being to the top. The disc ‘is gripped be,tween the curve of the little finger and palm of hand, in effect this makes a dark tunnel with the charm at the foot of the tunnel. Swing your hand up towards your forehead, turning slightly away from t’he spectators as you do SO. As the disc passes your eyesyouwill notice fogr glowing spots and one slightly darker spot. The darker spot is, of course the stone that the spectator pressed his finger upon. A glance at the pentacle before you pick it up will allow you to see the position of the various stones. Weave your tale around thewish that thestone represents and then ask the spectator to name his wish. There only remains one ortwo points to mention. The pentacle ,must be held against a bright light-, stones uppermost, to charge the luminous paint. You can dothis 10 or 15 minutes before you show the effect. The charm should really be lying on your table before presenting the effect, this will allow it to be exposed even further to normal lighting. You willfindwhenyou first try the effect that perhaps you will not be able to see any difference between the spots of light. Repeated practice will however, soon enable you to pick out the correct stone. Do not actually name the stonle,byweaving a story .around the wishyouwillfind that the spectators will afterwards credit you with reading their minds and will regard the stone pressing as so much fancy dressing. Have a small card printed giving the colour of each stone and the particular wish thatit represents, making it easier for the spectator to re,member the colour of the stone to be pressed. Tis said that words and signs have power O’er sprites in planetary hour, But scarce I praise their venturous part. Who tamper with such dangerous art.” Lay of the Last Minstrel. Dealers Manufacturing Rights Reserve.dby the Author(s). “
“ Mr. Parchment shook his head . ‘ Something simple perhaps ’ ‘ There is nothing simpler, but I’ll sell you something more difficult that you’ll think simple.’ ” “ The Curate’s Wand ” - Freedon Hughes.
I
35
TRANSFORMATIONSEXTRAORDINARY H A R R Y S. B U R N S I D E AND C H A R L E S W. C A M E R O N HE FOLLOWING item uses a borrowed, unForce, byyour own favouritemethod,the
Tprepared pack of cards and hasseveral surprise changes tinishing with a definite climax.
The most difficult part is t o explain the actual “modus operandi ” on paper as the sleights involved arenot difficultonly requiring a certain amount of practice and care in presentation. Effect :-Packof cards shutlled by performer andonecard selected. Thiscard is not shown but is placed. face down on table. fa= upand spread Pack is thenturned namesany card hands. Spectator between the that he sees in the spread and this card, say 5 of spades is pulled half-way out of the pack. Pack is then run through to End another two cards of the Same value, say, the 5 of diamonds and the 5 of clubs. Thesethreecards arethen withdrawn from pack and placed back. reversed. Stating that the unknown face down card on thetable is the matching card to the three reversed cards in pack, the performer turns the card face up. He discovers that he hasapparently made a mistake as the card is a King. Spreading the pack facedown on the table the threereversed cards, which were originally 5’s have now become three Kings.TheseKings are removed from the packand are mixed, together with thefourth King, by the spectator. Performer now turns pack face. up, cuts off half and spreads these cards fgce up along the table. The four Kings are taken from the spectators and inserted face down halfway into the face-up spread. Remainder of pack is cut, the cutis completed and these cards are laid aside. Flipping over the spread of cards on the table the four Kings have now changed to the four Aces. On spreading out the other portion of the pack the four Kings are found all together, reversed in the centre of the spread. The three 5’s whichcompletelyvanished in the early part of the routine are now producxi from the performer’s pocket. Everythingmay now be examined andthe cards will be found to be quite normal. The above is a correct description of the effect as it appears to an audience and if the explanation that follows is goneoverslowlywith the cards in handth3 whole. routine should be quite clear. Explanation . . The pack used is stacked as fOllOW5. . The top nine cards are,Four Kings face down, indifferent card face down and four Aces face up, next the remainder of the pack face down. Shuffle andcut, retaining the top stack of nine cards, taking care not to expose the face up Aces. (Perhaps it is unnecessary t o mention that the cards used should have white borders).
..
.
top card (King). This is placed aside unseen on table. Make sure that the remainder of stack is force to still kept on top of the pack.Theriffle the centre is as good as any or cut the pack and straight force one of the Kings, recutting the pack to bringremainder of stack back to top. Turn the pack face up and spread betwecn the hands (again keepingreversed cards hidden). Have the spectator name any card he sees, e.g. 5 of spades. Push this card half-way out of pack and holding the cards higher up, you, yourself look for any of the other two cards of similar denomination. In this case, say, 5 of diamonds and 5 of clubs: Also push these half way out of pack. Now lower the pack and show the three 5’s to the spectators. The reason for holding the packhigher is in case all four similarly valued cards are together as at the next stage youwish to give the impression that the card lying on table is thefourth matching ‘d. Square up pack with three cardsprojecting and turn pack to face audience. (See illustration A). Strip qut the three cards removing behind them the three Kings stacked on top of pack. Turn pack face down and drop stripped out cards face down on top. Position now, is t.hree Kings on fop of pack and three 5’s below them. Indifferent card and thenfour face up Aces. Push off the top card, a King, keeping it face down. Turn the pack face up, with the other handinsert this King, reversed into the pack about 6-8 cards from the bottom of pack. The spectator assumes this to be one of the just seen 5’s Turn pack faoe down and repeatthis move with the next card (also a King) inserting same 10-12 cards from face of pack. This also appean to be a 5. Turn pack face down again, double lift, showing a 5 spot card. RepIace carfls) on top of pack,
36 slide off top card:(King) and repeat the previous pack. moves, pushing it in about the centre of Turn pack face down,andassert triumphantly that the card lying face down on the table is the fourth matchingcard of the set inserted reversed into the pack. Turnupthis cardandspectators discover that it is really a King. Performer appears crestfallen and thed announcesthat he will require to bring a very strongconcentration of magical power to rectify the rnistakehe hasjust made. Ribbon spreadthe pack face down across the table with the exception of the top dozen cards (face up Aces) to reveal the fact that the three 5’s have vanished and that the three Kings are now face up in their place. Climax No. 1.
Keep a breakwith thethumb on the five bottom cards (four Aces face down and indifferent card which lies at the bottom of the pack). With theotherhandtakethefour Kings from the spectatorand bring thembeneaththe pack, at the same time release the five cards below the break, dropping them on top of the four Kings. Remove face up pack with right hand, leaving ninecards in theother hand. Place these nine cards face down on top of the face up pack. Undercut bottom half of pack and spread cardsfaceup along the table. Insert one at a time, spaced out, the four top cardsfrom the portion held in hands. K:ep these fourcardsface down as these are supposed to be the four Kings. Push them about half way into the spread. The instant the last card is pushed in, turn in hands and cut, comover the halfpackheld pleting thecut. Place thisportion aside face down. Flip over the spread and reveal that the four Kings have now become four Aces. Spread out the other half of the pack and show that the four Kings are now face up together, in the centre of this packet of cards. When performing this before lay spectators the invariable question at this point is . What happened to the fives? If, however, no-one asks, magician himsdf “ I n case you are wondering what statesthat. happen& to the three 5’s Here they ate in this pocket!” ProduCe them anddrop them on Remove the three Kings from the spread andthetable. handthem,together-withtheface up King on The foregoing explanation mayseem to bc table to the spectator. Ask him to mix these. four terribly involved but if you have the cards in your cards up, face down. While he is doing this, handsandtry outtheroutine youwillfind that it is quite straightforward. gather up the spread of cards and hold them face down. Palm off the three top cards and slipthem We should like to give credit to Joe Berg into your pocket. for it was an effect in hisbook “Hem’s New Turn the pack b c e up and hold it as in illusMagic” 1937, that gave us the idea for the above tration B. routine.
. .
...
“ How long is your programme to last?’ ‘I hadn’tthought,’ said Mr. Parchment, ‘ say half an hour.’ Mr. Verdi looked .solemnly at the curate. ’ Have. you ever watched a conjurrng show of an hour and a half?’ ha asked. Freedon Hu@hes. The Curate’s Wand”
-
INTER SPATIAL SORCERY HARRY S. BURNSIDE AND CHARLES W. CAMERON HE M,ENTALISTwithdraws Tcards. each in a sealed card them on the table.
.
two packsof and lays
case,
“ In days goneby. wizards and witches used broomsticks as a mean$ of transportation, Eastern magicians, of course, used Flying Carpets. “ Time, however, marches relentlessly forward and in these days of supersonic jets, wizards have been forced to discard their old.slow forms of transport. In theirplacethey now use two methods first Teleportation . usedby those
..
.
who are energetic enough to utilise the powers Of their ownmind.Second Matter Transference Cabinets being a lazy magician I use the latter method. “This method has one great advantage over broomsticks not only can you use it to travel to another place but you can go forward or backw a d in Time. It involves,however.,some little strain on the human frame, so I trust youwill forgive me if 1 use these playing cards to demonstrate and not myself.”
..
..
..
37 ‘‘Perhaps . . you, sir would hand me one of those packs of cards. This one sir, thank you.’’ Magician unseals the case and PrQceeds to q ~ t fairly e mix the cards and then requests the spectator to cut the cardsand to complete the cut. Holding the cards before the spectator’s eyes the magician riffles them and invites :thesxctator to merely think of one of the cards. Then he says . . ’‘You have se.lected a card, sir, ancl I propose to send this card into the future.” “ Would you, sir,” (turning to another spectator) “ name any number between, oh say, 1 and 25.” The spectator names, perhaps 25. “Right, sir, youwish this gentleman’s mentally selected card to be sent 25 years forward into Time.” The magician places the pack inside the t.he empty card case and lays them aside, saying as he does so. “ Nowwe have placed these cards into the first Matter Transference Cabinet. You do agree Sir, that you have mentally selected a card. You neither touched nor removed one.” The magician picks up the second card case and opening it he extracts the pack of cards. He now proceeds to, quite fairly, count off 25 cards, laying the 25th card aside on the table. “ You sir, are theonly permn here who knows the name of your mentally selected card and yet, ”heresir, 25 years ahead in Time, as illustrated by dealing 25 cards . . . is your card. Please name ‘it.”
Spectator does so and Magician turns over the card . . . it is the same card that the spectator has just named. Everything maynow be examined, you add nothing and nothing is taken away. Any pack may be cbosen by spectator at the ‘beginning, it makes no difference. Impossible . . not really . . don your space suits and read the secret. Requirements : Two packs of cards with card cases and a length of Sellotape. Each pack of cards contains a short corn,ered
1
card, shQrted at the top left and bottomright ’hand cofnefs (card being face down). Both packs set up as follows, indiffe,rent card, force card and short cornered card, followed by remainder of pack. Seal flap of the card cases containing the set up packs. Whichever pack is chosen by the spectator, unseal it and extract the cards. Shuffle them, shuffling the top stack of three cards into the centre of pack, taking care not to separate the three stacked cards. Hold the pack in front of the spectator, cards facing him and riffle the top left hand corners quickly, at the same time ask him to think of one of the cards that he. can see. AS your finger passes the: short-cornered card the pack will break for a second and the, force card will stare the spectator in the eyes and then the rest of the cards will riffle by too quickly for any others to register. Ask another spectator to giveyou a number between 1 and 25 and then replace. athe cards in their case. Pick up the second card case and opening it extract the cards. The followingmove,is one of Dr. Jacob Daley’s.Say thespectator has givenyou the number 25, hold the pack in left hand turn over thetop card, saying one, squareitwith pack, double lift and push the ca.rd(s) halfway over the pack, Pull out next card, saying two and lay it face up on tap of previously turned card. Carry on doing the same until you reach 24. Stop, look at spectator and say-“ Your number was 25 Sir, -please check the count.” Square the cards and count them again, :this time dealing them onto table until you come to the 25th card which will be lying face down. (This, of course, is your force card, which lay second fromthe top of pack at the beginning). Hold thiscard, face down ‘in your hand and turning to first spectator ask him for the name of his c.ard. Turn the card over and show thatithas arrived at the chosen number of yearsin the future.
“ A recent book on gambling tricks has been published ky S. W. Erdnase, under the title ‘ The Expert at the Card Table. It contains a chapter on legerdemain.” The Sphinx,” Volume I. Issue of Sept 15th, 1902.
I
I
TRANSPO THOUGHTS H A R R Y E. B U R N S I D E AND CHARLES W. CAMERON HE MAGICIANhands a card case to a and asks him to extract the cards T spectator. and to thoroughly mix them. Whcn this has been done the magician takes the cards back and spreading them between his hands, invites the spectator to select a card. Immediately the card has bee.n chosen the
pack is dropped on thetable and the magician asks the spectator to memorise his card, to replace it in the pack and to again thoroughly mix the cards. Whilst this is being done the magician says “ Please concentrate on your card and if your thoughts are strong enough they will actually influ,enix a msterial object.”
38 “ For example,” . . . . . He,re the magician takes a small leather folder from his pocket and lays it on the table. “ Now, sir, would you please name your card.” Spectatordoes so and names, perhaps the King of Hearts. He is asked to open the leather folder. . .inside there is a photograph of the magician and held between his two hands is a reproduction of the chosen card. This would makea good publicity effect as you can remove the photographand give it to the spectator as a souvenir. Needless to say, your name and address would be printed on thle back. The secret is fairly simple and has been used in variouscard effects in perhaps, slightly different ways. You will require the following articles. A pack of cards, a cigarette case which is feked, in a manner to be described later. Four photographs of yourself, in each of which you are holding a giant card. In effect, as described above, weuse the four Queens. Have your photographstakenand your advertising matter pfinted, if desired on the back.Nowyou are all set. T ~ cigarette B case. is feked as follows. A glance at the sketches will help to make things clear. On the back of the case fix, by means of a strip of Sellotape a small half-inch strip of strong cardboard, do the same to the bottom and also to the side where the catch of the case is. You will find that this set of clips will hold four cards qu‘itesecurely. Remove the four Queens from the pack and .place them, faces outermost under the three clips. ,
g
34RIP OF SELLOTAPG
A*
HALF INCH STKIP OF SICRONC) CARDBOARD
Put the case in your pocket and place each of
the small photographs in‘a cardboard or leather case.. Have these in different pockets in a memorised order.Yourfour Queensshouldalso be stacked in a known order. Lightly pencil dot the secondQuelen on the top left hand and bottom right hand corners on the back of the card. Hand the pack for shuffling and whilstit is beingshuffled, take out your cigarette case and lay it on the table. When thespectator has finished offer himacigarette at the same time taking back the pack in your lefthand. Hold the pack in your left hand and then casually lay the case on top of the cards to enable you to take acigarette. Close thecaseand as you takeit away your left hand fingers press on the hidden cards and draw them on top of the, pack. With proper timing this move is perfectly natural and as the cards are firmly held beneath the case you can handle the case quite casually. Lay your cigarette case aside and cut the cards, complete the cut and hold a break above th,e four Quee.ns. Spread the cards between your. hands and ask the spectator to take; one, timing the spre,ading so thatthe Queens arrivebeneaththe spectator’s hand. Whenhe takesone youwillknow the chosen card immediately, the key dotted Queen keying the position of each card. Drop the pack on the table, ask him to not0 his card and to replace it in the pack qnd then to mix the cards. Wit’hdraw the correct photograph and finish the effect as described. For those who do not wish to go tq the trouble of having photographs taken there areseveral. other vatiations. Have say, the Queen of Clubs in a miniature card stuck to the back of the visiting card. Place a Queen of Diamonds from a red pack, reversed in the centre of a blue pack in your pocket, Print the Queenof Heartsonthecigarette you ara smoking. Seal a duplicate, Queen of Spades in an envelope and place in your pocket.
BIBLIOGRAPHY OF RING TRICKS -continued from page 31. Reference 22-A TRICK W R 0 N G L Y NAMED Walaljia 111-Charb Nyquist and J. Thompson, Jr., “SEFALALJIA” - Peter Warlock. “ The Magic “Phoenix”, p. 108. Circuh’’, Vol. 46, No. 507, p. 32. MI!XXLLANEOUS RING A N D ROPE The middle of a rope if lowered into a hat leaving Reference 23-THE RING IN THE KNOT. The Tarthe ends in view. A ring is put into the hat and secured bell1 Ccnnse im Magic, Vol. 3, Lesson 36, p. 86. t o the rope by a knot. The rope is removed from the Suitable as a “follow up” to any effect in which a hat and the knot dissolved to reveal the ring threaded ring is passed on to a rope. A ring on a rope becomes upon the rope. embedded in a knot which forms apparently by magic. A variation making the effect capable of. impromptu Reference 24-RINGEWEddie Joseph, “The Linking performance was published by P&r W a r k k - M a d c e Ring”,Vol. 7, No. 7, p. 540 (September,1927) and Salrdimunderthe title “Thanks to Stewart James” in also Encyclopedia of Rope Trieks’’43tewart petea Wnrllock’s tagram" ram", Vol. 8, No. 2, p. 14 J m e s , p. 80. (November, 1953). Under cover of a handkerchief a ring is secured on Note-Further close-up variations on the original effect a rope by a double knot while both ends of the rope are can be found in : held by spectators. The first knot is untied and the Sefabljin JIrniar-Walter Giband Bruce Elliott, second can be shown to be a genuine overhand knot. b‘Phoenix”. p. 89 and
E.FFEcI‘s.
39
MAGIC-GO-ROUND NCEAGAIN we reacha February number and dedicate itto the memoryofAnnemann. This time two Scottish devotees of this shortlived genius give to readers of the Pentragram, some ideas which we know would have been welcomed in that unique journal of magic, the Jinx. Our contact with Annemann was that of correspondence, and we still everwonderhow one whodied so young managed to give so much to the magical fraternity in the courae of his lifetime. Quite recently what used
0
to be our favourite magical journal, devoted an issue to the more personal side of Annemann’s life. Some might have used the term muck raking in this connection for added as a supplement was the infamous fake Jinx evolved by two lavatory minded magicians. To us R magician is a magician and whether he be good,
bad or indifferent his private life. his deeds and misdeeds are things apart. Too oftencanlook at somevictim of misfortune’md truly say, There, but for the grace of God, go I. And so to thosetwo that havegiventhisnumber, two who think as I do, let us say Thank you!’ and pay
a little homage to a great magical mind, Time and time again we have in print and in conversationstressed the greathelp that the rightkind of music can give to a magical act. We had a fine illustration of this when recently watching a Magic Circle show. One of the acts, excellent in texture and containing some fine sIeights, sufferedalazyaccompaniment that w a s out of rhythm with the performer. The act looked slow and misdirection failed through the effect of thisslowness.Another act inthe same bill containingsome standardeffectswellworked,becameathing of life simplvbecause the scoring of the musicalaccompaniment led the audience along at a great pace. Into this issue we did hope to publish a..review of the Tarbell Course, volume 5. Space howevef is against us, but pending its appearance in the nextissue, let us tell those readers who have not already ordered a copy that this is one of the finest pieces of value for money that wehaveseensince ‘ Finale.’SenatorCrandall’s Cup and Balls ’ routine,could,easily in a Stars of Magic’ series,wellcommandthepricecharged for the the complete volume.
BOOKS PETER WARLOCK’S T H E KISS OF A B O R G I A
Published by Peter Warlock, price 2/6). INCE such a large number of magical effects consist of the identification of a selected article from among a number of others, be it one card from fifty-two, a deadname from livingones, or whathave you; itis refreshing to findnewgroundbrokeninthisdirection. Briefly, from six or more glasses one is freely chosen and filledwithmilk,which is supposed to representa deadIy poison, the remaining glasses are filled with water. While the performer either turns his back or leaves the room, amember of the audience wraps each glass in a separate sheet ofnewspaper so that the contents cannot be seen. The resultingpackages are thenmovedabout. Despitethesestringentconditions,however,whenthe performer returns he unerringly locates the glass of milk. In return for his money the purchaser gets a dupli-
S
BIBLIOGRAPHY (continuedfrom page 38)
Reference 25-TANNEN’S RING, KNOT AND ROPE -L. Tarmen. The Tarbell Course in: Magic, Vol. 2, Lesson 31, p. 344. A spectator’s finger ring is wrapped within a handkerchief held by the performer in one hand while a rope is held in the other. On striking the handkerchief against the rope, the ring penetrates the rope and is held in position by a knot which forms about the ring. RING T R I C K Pett~ Reference 26-THELATEST Warlock. “Tricks of the Mast-’’, Will Gold&p. 173. The performer holds a ring in one hand and also a loose length of rope stretched between his hands. A very singleknotistied inthe rope.Onthrowing thering towards the knot a penetration take place, the ring being threaded upon that part of the rope within the knot. Reference 27-RING OFF STRING - Tom’ SellwsDuplicated manuscript.
-
cated manuscript and a certain “ something.” The tyro will probably be disappointed, the experienced performer will probably curse himselffor not thinking of it first ,but the showman will welcome it with open arms. The secret incidentallv is somethingdiabolicallysimple,moreover the very nature of the items employed make it impossible ofdiscoveryby the assistingspectator.Before he obtained it, the writer made several attempts at solving the mystery, all of which’ were miles away from the truth. While an educatedaudienceshouldappreciate the Borgia theme, an alternative could very well be worked out for the man in the stryt, featuring,say, a master crook whotried to poison Fabian of the Yard ”; and children might be regaled with the story of a magician, who to regainhispower, had t o locateamagic drink from among a number of unmagic ones, and keeping this in mind, I highlyrecommendthiseffect toany discriminating magician. F. G.CARTER ARTHUR
A ring threaded on a string (or rope) is apparently made more securebytyingseveralknots. On pulling the ends of the string, however, the ring drops free. Reference 28--RING FROM ROPE - Milbourne CW&opher. “Hugard’s Magic Monthly’’, Vol. IV, No. 10, p. 301 (March, 1947). Aring is shownconcluslvely to be secured on a rope by a single overhand knot. The performer is able, however, t.0 pull the ring free from the rope leaving the knot unaltered. Reference 29-RING RELEASE - Jschimmd. (January, 1954x The urinciuleresuonsible for the working of (28) above is ;sed here to give a delayed action effGct, viz. a ring, tied on a rope, vanishes and reappears on a pencil or miniature wand held in the other hand.
KEN DE rnURcY’S The author takes the classic effect of the Coins Across,” and builds it into a really great routine. It’s one eternal weakness, the lack of a CLIMAX has been eliminated with a really startling climax that will leave the audience guessing-and talking. Three silver coins are wrapped in a handkerchief and placed on the left of the table. Three gold coins are similarly wrapped and placed on the right of the table. Amysticpass, and theleft-handhandkerchiefcontainsonlytwosilvercoins,which are re-wrapped.The right-hand handkerchief contains three gold and one silver coin, and these are also re-wrapped. Another mystic pass, and another coin is transferred, leaving but one silver coin on the left, and three gold and two silver coins on the right. The last silver coin is wrapped in the left-hand handkerchief, and the five coins are replaced in the other handkerchief. The lone silver coin vanishes, and the empty handkerchief is replaced on the table. A spectator unwraps the right-hand handkerchief, but in it he finds onlv three silver coins - the last one obviously having successfully travelled across. But he is unable to find the three gold coins. AND SO COMES THE CLIMAX-THE THREE GOLD COINS ARE FOUND IN THE LEFT-HAND HANDKERCHIEF, EMPTYONLY A MOMENT BEFORE! The other routine, SIMULKROSS, does not have such a startling climax, but it is i:teresting because coins pass simultaneously from each side. This too is a really outstanding coin routine and a gem ” of magic. Neither routine requires a prodigious amount of .skill, Merely practice with a d e s of clever and subtle moves that any magician of average abilitty c a m master in an evening. FO,RANEVENING’SPRACTICE-AND THE PRICE O F THIS NEATLY PRINTED BOOK (THAT IS ILLUSTRATED WITH 29 DRAWINGS)-YOUCANACQUIRE A REPUTATION MAKING CLOSE-UP COIN ROUTINE THAT THE ORIGINATOR SPENT YEARS IN PERFECTING. Price 5/-; Postage 3d. “
The Magic Wand Publishing Co., 62 Wellington Road, Enfield, Middlesex
I 661(ISS
OF A BORGIA”
Half a dozen empty glasses stand on the table. One is indicated by a member of the audience and into it ispoured a quantity o f milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied. Whilst the performer’s back is turned a member of the audience wraps each glass in a piece of paper so that there is n o possible indication o f which glass holds the milk. After thisthe same spectator movesthe glasses around. The performer then turns around and with his buck to the spectator but in such a position that his actions can be seen by theaudience, he requests that he be handed a glass at a time.With the build upof the poisoned cup theme, he dramatically stops the assistant and informs him that he, the performer, holds the poisoned glass ! Please remember these points :-1. The glassescanbeborrowedimmediately prior to the presentation. 2. There is nothing chancy like checking the weight of the glass and its contents. 3. There is genuinely free choice of which glass the milk is poured into. 4. Nothing goes into the glass with the milk. 5. There are no magnets. 6 . The pieces of paper used to wrap the glasses are taken at random by the spectator. They are not marked in
1
~
any wav. 7. If needs be. the performer can be genuinelv blindfolded. 8. When the wrapped glasses are handed to the perforlrer his hands are empty. “ The Showman will welcome it with open arms.”-ARTHUR CARTER. ‘‘ Your ‘ Borgia ’ routine is excellent and certamly the simplest way of solving the problem - 100% certain too.” -LEWIS GANSON
12/6post free from-
PETER WARLOCK, 24 Wordsworth Road, Wallington,Surrey o r f r o m your favourite dealer-
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre :
King George’s HHII, W.C. April 27th, 28th. 29th’ 30thGolden JubileeCelebrations Particulars from Hon. Secretary :
l+
Peter Newcombo 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24thof each month and can be obtained direct from the publishers for 117 per cingle copy. Annual Subscription 181post free. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex haxluscripts for publication and books for review should be rent to the: EDITORIAL ADDRHSS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
JACK HUGHES will be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects inreturnfor a stamp. Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Surrev.
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED BY THEPROPRIETORSTHEMAGIC W A N D PUBLISHINGCOMPANY, 67 WFLLINCTONROAD. E N F I E I D . MIDDLESEX AND PRINTED BY HERBBUT WALKER S O N (PRINTERS) LTD.. W E L L CROFT, SHIPLEY, Y O R K S H I R E
T H E SANDS OF TIME BOBBY BERNARD HEN Bobby first showed me. this intimate Weffect at Brighton I was struck by the novel me means of revealing a.chosen card. I was
many times as you l i e M) that neither you. nor nor any of our audience have any idea where the cardcan be. (This is done. The miniature doubly pleased when he said that I could have the hour glass is now handed to the chooser of the effect for the Pentagram. The only snag, from card whilst the performer picks up the pack prethe reader’s point of view. is that of obtaining the paratory to dealing the cards). I want you sir to necessary gimmick that makes the effect. turn the little time glass over and watch the sand The performerintroducesa fall. At the same time I intend dealing cards from pack of cards the pack. When the last gra’in of sand falls, I and a miniature hour glass. The one that Bobby has and the one in my own possession came from want you to say ‘ stop!”’(The assistant and pera jeweller’s in BurlingtonArcade.Therunning former each pursue their individual tasks. When time of thesand in theglass is approximately the word ‘stop!’ is uttered, the performer leaves twenty seconds and it is important to note when off dealing andpushes the card at that pointaway purchasing this little ornament. for such it is; to from the pack). see thatthe sand inside theglass flows freely and “ Now sir, at apoint where neither of us had any control a card was dealt; a shade earlier it does not stick. The spiel is then commenced“Ladiesand gentlemen long ago, moremight have been thiscard (here the performer years than you or I can remember, a magician shows the face of the preceding card),afraction of a second later it might have been this one (the stood before oneof the Rulers of Egypt; his name card following is then shown). Neither of those wasDedi and he performed wonders unequalled (A cards, I take it was, the one chosen by you. by any other of his kind. One of his feats connegative answer is received). What was the name sisted of divination using a quantity of sand. That don’t of your card, sir .the five of diamonds sand was carefully guarded through the centuries you think it rather strange and magical (here the by his descendents until a time came when it was divided into small quantities and placed in little performerliftstheface down card and slowly turns it over) that the sands ran out at the five time glasseslike this. (Here the performer lifts of diamonds!” up the miniaturehour glass). Notethe fineness The means for what to the lay audiences is of its texture. (The glass is turned over and the an undoubted miracle are very simple. The pack spectators see the sands run into the lowr part of used by the performer is a Svengali and with that the glass). The sand stillretains some of its magjCal power as the following demonstration and thedescriptionthere is nothing else to explain. The more adept may look for methods not will show you. ” “ A pack of cards. (The pack is picked up and involving trick decks, certainly a plan that saves a switch of packs should the performer intend the cards leafed through showing the faces). Now, to carry on with othercard tricks. A method sir . please give me a number between one and which is comparatively simple and needs a little fifty two . . twenty six. . . thank you. (Twentyskill in second dealing is to have a Iocator card, five cards are now dealt from the pack and the say a corner short in the pack. Thiscard is twenty-sixth is pushed across tothespectator). forced and initialled by the selector. After this Just take a look at it yourself and show it tothose it is replaced in the pack, the latter being shuffled. around you.Don’tletmesee it.(This is done Thisshumingmakesa very strongpoint.The and the peaformer turns hishead away). Now short is located and the pack openly cut. When perhaps you will replace it. (The card is replaced) the glassis turned over,seconds are dealt until and the,pack re-assembled. Cut the pack.sir. as
...
..
..
.. .
.
-.
VOLUME 9, No. 6
I/6. (20 Cents)
MARCH 1955
42
the word
Stop!” The top card is then pushed off, the preceding and proceeding cards shown and finally the chosencardturned over and proved to be the one iuitialled by the spectator.
I
“
The plot as I said before is delightful and experience has proved that it can maintain interest with a fair sized audience. Thank you Bobby on behalf of all our readers.
‘ I propose to append at the close of this work, a few of these tricks whfch will constitute a chapterunderthe title ‘ How to become a Wizard in a few minutes ’.’
Robed-Houdin-
The Secrets of Conjuring and Magic.’
I
POOR MAN’S LAST CARD PETER WARLOCK ANY M 00 N S ago there cam,e on the an effect called the LastCard,” MItsmarket chief attraction to many silmple minded “
folk who follow the paths of conjuring was that a piece of apparatus nearly large enough to produce a rabbit allowed the performer to add some sixteen cards to a pack. The plot, however,was onetoo good to gloss overand the following method obtains a far better effect and at the same time does awaywith some,thing that looks like nothing on earth. On the magician’s table stand three stemmed glasses. At their side are a sealed envelope and a pack of cards. The sealed envelopeispicked up and placed in a prominent position, attention being called to the fact that it will not be touched of thefeatto be attempted: is untiltheend reached. The pack of cards is then taken and a spectator is requested to give it a thorough shuffle. When this is complete the performer extends his left hand and further asks that nine cards be dealt upon it face down. These nine cards are counted off with their faces to the audience in threes, each three going in one of the glasses, backs to the audience. Two glasses arethen eliminated according to the spectator’s choice, the cards being removed from these glasses. Two of the three cards in thethird glass arethen removed, one each k i n g placed in the remainingtwo glasses. Again the spectator eliminates two glasses and as they are eliminated, the glasses are turned around to show the faces of the cards. The envelope isnow takenand the endtorn off. From the inside a playing card is removedandshown to the audience. The card in the third glass is now turned round andit is seen to match. The requirementsforthis effect, which has proved most effective in practice, are simple; they are :A pack of cards, three stemmedglasses, the conventional double envelope; a duplicate of one card int’he pack, say the four of clubs: a double faced card representing on one side say the ace of diamonds and on the other the queen of clubs. The preparation is simple. First of all the duplicate four of clubs is placed inside the second
partition of the double envelops and the two flaps are sealed together. Tbedouble faced card is then placed inside the normal compartment, care being taken that the respective sides of the card are remembered in their relation to the outside of the envelope. The envelopeis now sealed, and for the sake of effect a large blob of sealing wax is placed where the flap joins the envelope. From the pack proper the four of clubs, ace of diamonds and queen of clubs are removed and placedon top of the pack. With th*eglassesin a row on the table and the envelope and pack of cards beside them the performer is all set for the presentation. The envelopeisfirstpicked up andwith a remark that the contents represent the shape of things to come it is plaoed in a prominent position. The pack of cards is then taken with the left hand and as the performer looks round for a likely shuffler, the three top cards arethumbcounted and a break is held with the little finger prior to palming these cards with the right hand.The right hand nowcomesacross and in taking the cards from the left hand, the right hand gets the three top cards into a palm poiition, holding the remainder of the packbetween the fingers and thumb. The left hand at this point makes a gesturetowards the would-be shuffler and moving forward, the left handtakesthecardstohand them to the spectator whilst the right ’hand drops to the side. The cards are thenshuffled and the spectator is asked to deal nine cards face down on tothe performer’sleftpalm. As ’he remarks, “ May I have the remainder of the pack?” the right hand comes up and over the left hand and takes these cards by the thumb and fingertips, at the same time allowing the three pal,med cards to drop. The left ’hand, now free, takes the remainder of the pack and drops it into a side pocket. The action is logical. Moving back to behind the table so that the glasses are in front of him, the cards held in the right hand are raised so that their faces face the audience. Counthg off from the back of the supposed heap of nine cards, three cards (actually of course theadded cards) are taken with the left hand, and then turned over as thev are plaod in
43
the left hasd glass so that now they are backs towards the audience. Three more are similarly counted and placed in the centre. Finally two cards are counted off from the remaining six and the four cards as one being taken as three cards and placed in the right hand glass, backs outward to the audience. The position is that three cards, covered- by the double facer and duplicate inthe envelope, are in the left-hand glass, andit is this glass, which, by elimination must be left, whilst the cards in the centre and right hand glasses are removed and placedaside. The beauty, however, lies in the fact, that despite the conjuror’s choice, used to attain this means, the spectator is asked to use the same method of selection when finally deciding upon a glass the second time, for at this
point it is of no import at all which glass is chosen. With the final choice made and the two un-
wanted glasses turned round so that the faces of their contents can be seen, the performer takes up the envelope. If the card remaining is one r e p resented by one of the sides of the double facer hle must be careful to see that the envelope is turned round so that when the card is removed the correct side faces the audience. This is the only real care needed and in consequenc the only other item to attend to is that the right tear be made and the correct compartment be available without any fiddling. The card removed from the envelope isnow inon,e of the dropped in front of thecard unwanted glasses and then the chosenglass is turned around to reveal the duplicate.
‘The most elementarv rule of a conjuring entertainment is to arrange the programme after the manner of the feats exhibited in bygone day: on the stage of Nico1et:‘de plus fort en plus fort-i.e. always to make each trick more surprising than the last. Robert-Houdin-‘ The Secrets of Conjuring and Magic.’
I
A TWENTIETH CENTURY CARD JAMES DOUGLAS HAVE been playing around with the idea of a ‘chosen card vanish with a piece of ribbon, and reproducing the latter with card adhering to it between two previously shown, separate silks. The idea of concealing the ribbon and card, duplicates of those vanished, between thetwoapparently separate silks, originated from a method used in one of Tarbell’s books and was I bel,ieve, a dewlopment of one ofA1 Baker’s routines. I think mine is an improvement on both,as no special tables or unusual moves are necessary. A “ Good Night ” banner is employed and lies ready for use in the usual way, that is withthe double flap facing the audience. Tie a piec’e of coloured ribbon (about 12 hches by 14) between two 24 inch silks. At the centre of the ribbon, stick a piece of “ Sleek ” plaster wrong side to ribbon, that is leaving the adhesive side facing upwards. Fix a duplicate of a card to be ‘ 1 cannot suppose that any conjurer would forone Robert-Houdin-‘ audience.’
forced to this adhesive side, It can be easily removed later if required. Pleat the ribbon each side of the card andplace under the flap of banner. Take one of the top corners next to the corner tied to ribbon and arrange each silk so that they lie on top of the banner and appear separate. To the audience, the silks look as if they are a little distant from each other andhanging over the edge of table. The arrangement is similar to the “ tied together three ” of the sympathetic silks.
To perform. Force the card, wr.ap the duplicate ribbon around it, Vanish by the paper cone or as youprefer. Previous to this the silks are lifted one in each hand by the ends lying on the table to an almost perpendicular position and’ then brought nearer to each other before replacing on table. Show vanish of card. and ribbon and pull smartly on side corner to show result.
moment dream of employing confederatesa:I-]ongstth4 The Secrets and of Conjuring Magic.
44
THE THOUGHT RECORDER LESLIE MAY PERFORMER instances the various TofHE devices atnd inventions to date that arecapable recording sounds, pictures, etc., briefly
Frankie, Thinking
tracing through from the original phonograph to the modern wonders of wireless,television and the tape recorder. Hte then introduces hisown invention and greatest achievement of them all, a machine capable of recording thoughts. This resembles a toy mangle,having two rollers turned, by a handle. Attached to each upright pillar of th,emachineis a short length of flex terminating in a small handle or plug. Also used is a sheet of specially prepared (?) sensitized paper, cut to a size that can beeasily f e d into the machine.
TO dtemonstrate, the performerobtains the services of a volunteer who is asked to glance over a series of pictures of famous film stars, and thlen to secretly select one. The performer takes the sheet of paper, initials, or marks the corner in some way, and feeds it into the #machine,just sufficient for the rollers to hold it. The spectator is instructed to pick upand
hold, the two small handles atthe end of the flexes, grasping one in eachhand,and atthe same time to silently but intensely think of the chosen star, and. to repeat continually to himself, I am thinking of ... . . . . . of . . . . . . . . I am thinking of . . . . . . . . etc. etc. Theperformer now turns the handle of the machine,and the marked paper slowly passes through it, and asit emanates from the other side, printiing (or type) is observed upon it, and on being finallyremoved,(say AVA GARDNER was selected), the following (or something similar) appears on the sheet: I am thinking . . . . .. Ava thinking of, I can picture, of her AVA ThinkINGAVAGARDNER, will she and Frankie, will . . . ._.. the bullfighter . . . . . . thinking LOVELY, I am thinking Hard: thinking, Ava, Shape, see again, lucky
I am thinking of AVA GARDNER
The performer exhibits this, asks (as if he didn’tknow) if that is the star selected, and showshow this delicatemachine has picked up boththe conscious and subconscious thoughts of the spectator and faithfully recorded them. The machine is merely the old-fashioned Bank-Note printing machine.” The manner in which it is decked up to resemblesomething scientific can be left to individual ingenuity. The most essential things are the attachment of two wires or bits of flex with small handles attached.
“
The paper usedisany ordinary paperthat can befed into the machine, but f o r effect, it should be produced from a most carefully wrapped folder, and each piece be wrapped in, or placed under a sheet of cellophane. Themark placedon it, must, of course, be identical with the mark already placedon the prepared shleet hidden in the machine. This hidden piece, has already got the typing on it, the great thing being that the information must be on a similar style to the above,i.e. irregular in alignmlent, and also insequence, it apparently being a record of conscious and subconscious thoughts intruding on each other. The name is forced in any method suitable, but the more straightforward the force, the better for this type of effect. The names of film stars is only one idea. Views can be used, and if, say at a dinner, the performer has previousknowledge of who will attend, he can often find one particular scene, in a bunch of local views that will tie up with someone whowill be present, and incorporate on the paper quite a few facts that he is certain will come in the persons mind when they select and concentrate on that particular scene. This is an effect that can be adapted, in many ways; there is only one thing I ask, please don’t use piaying cards.
45
SURPRIZE HARRY E. BURNSIDE AND CHARLES W. CAMERON PACK of cards is shuffled and one card is Aselected-memorised andthen shuffledback into the pack. The mentalist cuts the cards and deals one cards face down on to the table. He states quite firmly that this card is the chosen card. The spectator turns the card over and denies that it is the one that he chose. The mentalist picks up the card and lays it face up on the top of the pack. He again, statles that he is sure that this is thecardthat the spectator chose. Upon the spectator again denying thisstatement the mentalist lifts the card from the pack. Holding it between his fingertips he brushes it against his sleeve.Suddenly thecard visibly changes to another card of different value. Once moE, however, the spectator states that this is still not his chosen card. Appearing confused the mentalist states that if they will forgive his mistake he will show them another effect. Suddenly as though a thoughthad just occurred to him he swiftly riffles the cards, holding them close to his ear. Then he asks the spectator to name his card. The spectator replies, “ Five of spades.” ‘‘ I thought so,” the mentalist replies. “ NO wonder I failed, this pack is short of one card. There are only fifty-one cards here.” Laying the pack aside he picks up the card case and opening it holds it upside down, a card falls from the case to the table. I t is the fiveof spades. The case is empty and the packmaybe thoroughly examined. Thereare onlyfifty-one cards in the pack, thereare no duplicate cards. There is nothing to addand nothing totake away. The requirements forthis effect are simple and consist of a pack of playing cards and a bottle of, “ It’s a Pip” fluid, which is obtainable from your ,magical dealers. First, using the fluid, change the five of clubsintothe five of spades, have thison top of your pack and above it have the genuine five of spades. Place the pack in the card case and you are now ready to bewilder the multitudes. Open the case and take out the cards, leaving thle top card (genuine five of spades) in the case. Close the card case and lay it aside. Shuffle the pack, retaining the top card, and, then
force thiscard, using your favourite force. The side slip is probably as good as any and better than most. Have the carcl returned to the pack, shuffle, controlling the f o r d card to the bottom. Cut the pack, pulling a section from the ce.ntre andplace them on top. Liftthe top card, and drop it face down on the table. State firmly thatthis is the card thatthe spectator chose and ask him to turn it over. You are holding the pack face down and whilstyou are talking your right or left hand fingers are running over the face of thebottom card (the f a k d five of spades). This naturally removes the extra lines that were painted on the card, turning it back again into the five of clubs. The spectator, having turnedthe card face up, statesthatitis not his chosen c a d . You appear crestfallen, pick the card up and lay it, face up on the face downpack. You say that you are positive that it isthe,comect card. The spectator will again deny this. As you are talking you prepare for a double lift. Double lift ,and hold’ing the two cards as one, thumb on the left long side of card(s) and finger tips on the right long sidle of card(@, brush it quickly, up and down your jacket sleeve. Snap the card quickly, allowing it to turn over, releasing the grip held by the fingers and now holding the edge of the card(s) between thumb an& finger. The card will have changed value. We cannot remember whosemove the above is and are themfore unable to give credit for if. Follow it with the two cards in your hand and the knack will soon be acquked. . The ,spectator will again h o k slightly statethatthh is not hiscard. bewildered, and say that if they will forgive you, you will show them another effect. Shuffle the pack, stop, and then riflethe cards past your ear. Ask the spectator the name of his card and saying that the pack is short of one card, lay it aside and pick up the c a d case. Open it and allow the five of spades to fall on to the table. Everything maynow be examind. The card case is empty and the pack is In order. All evidence of your “ skullduggery ” has been removed.
46
BOOKS The Tarbd C o u x s e 9 Volume 6 (Published by been marketed such as A1 Koran’s Word in Lou Tanner, New York, price 10 dollars). Thousands ’’ and Blake’s Uncanny Silks.” One thoughtstruck us in reading andthat was the Because of a larger amount of British delightful angles that Gen Grant has evolved, material in this volume there is little doubt that many of which appear here. His Bombay Ropes it will be dubbed the English Tarbell. Once andRings with a slightly different handling again our verygood friend Haran Tarbell, with gone into our own repertoire. have permanently Bruce Elliott as editor has brought off a tour de In the silk section, Jimmy Herpick’s knot release force for those who require a book dealing with which Fred Kaps showed us some time ago and more than one phase of magic. the Tarbell-Rice dissolvo silks are musts ” for There are in all someelevenlessons dealing those who like knotting effects with silks. with the following subjects :In the card section our friend Francis Novel Ball Magic, Unique Card Effects, Haxton has two nice card, effects which are most Novelty Magic, Rope Magic, Mind Reading effective and Palhina’s Wherizit, despite the fact Mysteries, X-Ray and Blindfold Effects, Silk and that it uses a fake card, is diabolically cunning. RopePenetrations, Escapes andSubstitutions, For those who want an effect that has great SpiritTiesand Vest Turning, Modern Stage humorous possibilities we recommend unreservedly Magic, Stage Productions. McLemore’s StopGo.” Thereare in all somelevenlessonsdealing To complete a budget of grand tricks Fred charged forthe complete volumeandamongst Keating writes on Magic as Theatre ” an essay these wewould mention two, namely Crandall’s worthy of attention from all those who*ish to Cup and Ball routine and also his version of the SixCard Repcat.There are many items that haveimprove the standzard of their own performance. “
“
“
“
”
“
”
”
“
“
“
ONLY THE MAGIC CIRCLE COULD GIVE SUCH VALUE The Acts appearing during the Jubilee Celabrotionr
INTERNATIONALGALAPERFORMANCE
...
will include-
Rrtdag, April 129
Milbourne Christopher.AdeandTrue Duval. Holden. KalanagandGloria Fred Kaps. Li King Si. Jay Marshall. David Nixon. Jimmy Rogers The Voltaires.
INVITATION TO A SEANCE Thursday, April 129 Robert Harbin. Maurice Fogel. Claude Chandler.
‘‘WITCHCRAWT Paula Baird.
”
Jack and Frances
Salvin.
Peter Warlock
Thnrsdag, April 28 Elizabeth.
‘‘ABRACADABOROUGH
”
Marjorie Fletcher.
Shan.
Elizabeth Warlock
Saturday, April 30
John Hayward. Claude Perry. Michael Bailey. John Salisse.
Larry Barnes. John Peake.
Jack Delvin. Alex Elmsley
ADDITIONAL ATTRACTION Lecture by Milbourne Christopher, on Thursday, April 28th : “ NEW WAYS TO DECEIVE.” (Frances Ireland in the chair)
All this and much more c m be yours to remember for ever. Register NOW before it’s too late : John Sulisse, Flat 8, 20-21 Marylebone High Street, London, W.I., und enjoy four unforgettuble days at
The Mugic cir,/eGOLDEN JUBILEE
CELEBRATIONS
HE PAST month has been a goodone for Toff thle Magic Circle and certainly no better send to the Golden Jubilee celebrations could have h,appened than that of the, visit of H.R.H. the Duke of EdinburghonMonday,February 28th. His interest was apparent in all that happened, and! we who had the pleasure of presenting tricks for his pleasure could neverfind a better audience. ,This visitcoincidedwith the completion of the new decorations, decor'ations inspired by a very fine architect, d.xorations too that give a truly magical surrounding to those who follow thepaths of accredited chicanery. The telecast on March7th, based on a competition between LondonandtheRest seems, judging by lay opinion, which after all is the true opinion, to have been the best Magic CircFe TV show to date. Certainly it brought a number of novelties to the viewers. Wle would like to record, our own thanks here to Bob Harbin who on the day of the show brought along a lovely little PeckingBird made. by Guy B'ert which at the last minute we substituted for the small one with which we had been rehearsing. It was quite a thrill to hear Jay Marshall's voice on the phone on the day following his and Francis Ireland's arrival in this country. Jay told us that whilst he is over here he will try and put out an edition from here. A little later we were to meet this charmingand talented couple at the special luncheon party sponsored by the British Ring. Although, Jay because of his contracts over here was unable to perform his act, we did have the pleasure ofseeing Frances Ireland present some magic and chapeaugraphy that included some very novel angles.
Another Americam visitor will soon be arriving namely Dai Vernon, a name to whom much homage hasrightly been paidin this country. We know that when he lectures at Victoria Halls on May lst, he will have one of the mostenthusiastic audiences that he could wish for. It is a great pity that many magicians whohave not aquainted themselves with Vernon'sworktend to think of him as a card worker. A study ofhis " Harlequin actand " Select Secrets " should prove that his genius has entered many magical fields. "
By the timethis is in print the Golden Jubilee celebrations will be just around the corner and we shall look forward to seeingonce again that great artiste Ade Duval, who so kindly accepted our invitation to appear in the Gala Show. The last time wesaw Adeperform was at the old Magicians' Club. It was at the time hewas working his beautiful silk act, but on this occasion he did a couple of small effects presented with the skill of a great conjurer allied to the art of a good actor.
Other acts in the showwhowillbenew to Magic Circle members are Holden whose performance of that classic, the needle threading trick leaves one breathless, Jay Marshall, Milbourne Christopherand Li KingSi,whose beautiful TibetanAct members of the BritishRingsaw at Brighton. The showing of the Scarnefilm " Cheating and Gambling should provemore than attractive for those who did not see it when it went the rounds somefive years ago. A double showing will allow all the niceties to be appreciated. There will also be a lecture by Milbourne Christopher, and to add to the publicity there is theunique achievementof Kalanag whowith Gloria and some seventeen assistants will charter a special plane so that he can appear in the Gala show.All in all it is doubtful if at any time so much has been offered to the follower of magic for so little. This is occasion to when the ladies are beingcatered for . . . Sightseeing tour, Hair Styles and Fashion Parades are just a few of the things that will be for them an antidote to magic. "
BOOKST R Y M E F I R S T F O R THAT
ENGLISH O R AMERICAN BOOK YOU REQUIRE-OLD
OR NEW
TARBELL, Vol. 6 in stock, 70/Lists on request What Books do you want?
JENNESS, 47 InvernessAvenue ENFIELD
48
The author takes the classic effect of the “ Coins Across,” and builds it into a really great routine. It’s one eternal weakness, the lack of a CLIMAX has been eliminated with a really startling climax that will leave the audience guessing-and talking. Three silver coins are wrapped in a handkerchief and placed on the left of the table. Three gold coins are similarly wrapped and placed on the right of the table. Amysticpass, and theleft-handhandkerchiefcontainsonly two silvercoins,which are re-wrapped. The right-hand handkerchief contains three gold and one silver coin, and these are also re-wrapped. Another mystic pass, and another coin is tmnsferred, leaving but one silver coin on the left, and three gold and two silver coins on the right. The last silver coin is wrappedin the left-hand handkerchief, and the five coins are replaced in the other handkerchief. The lone silver coin vanishes, and the empty handkerchief is replaced on the table. A spectator unwraps the right-hand handkerchief, but in it he finds only three silver coins - the last one obviously having successfully travelled across. But he is unable to find the three gold coins. AND So COMES THE CLIMAX--THE THREE GOLD COMS ARE FOUND IN THE LEFT-HAND HANDKERCHIEF, EM,PTY ONLY A MOMENT BEFORE! The other routine, SIMULKROS, does not have such a startling climax, but it is i?teresting because coins pass simultaneously from each side. This too is a really outstanding coin routine and a gem l 3 of magic. Neithcr rouflne requires a pdigioue amount of skill. M& p c t o is with a series of clever and subtb movm that any magician of averpge abilitty c a m madw kr an FOR AN EVENING’SPRACTICE-AND “E PRICE OF THIS NEATLY PRINTED BOOK (THAT IS ILLUSI’RATED WITH 29 DRAWINGS)-YOU CAN ACQUIREAREPUTATIONMAKINGCLOSE-UP COIN ROUTINE THAT THE ORIGINATOR SPENT YEARS IN PERFECTING. price S/-; Po&age 3 d.
e v -
The Magic wand Publishing Co., 62 Wellington Road, Enfield, Middlesex
PETER WARLOCK’S
ccKISS OF A BORGIA”
Half a dozen empty glassesstand on thetable. One is indicated by a member of theaudience and into itis poured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water ir emptied. Whilst the performer’s back is turned a member of the audience wraps each glassin a piece of paper EO that there is no possible indication of whichglass holds the milk.After thisthe same spectator moves the glarses around. The performer then turnsaround and with his back to the spectator but in such a position that his actions can be seen by the audience, he requests that hebehanded a glass at a time. With the build up of the poisoned cup theme, he dramatically stops the assistant and informs him that he, the performer, holdr the poisoned glasr ! Please remember these points:l . The glassescanbeborrowedimmediately prior to the presentation. 2. There is nothing chancy like checking the weight of the glass and its contents. 3. There is genuinely free choice of which glass the milk is poured into. 4. Nothing goes into the glass with the milk. 5. There are no magnets. 6. The pieces of paper used to wrap the glasses are taken at random by the spectator. They are not marked in any way. 7. If needs be. the performer can be genuinelv blindfoldd. 8. When the wrapped glasses are handed to the performm his hands are empty. “ The Showman will welcome it with open arms.”-AR”UR CARTER. Your ‘ Borgia ’ routine is excellent and certainly the simplest m y of solving the problem - 100% certain too.” -LEWIS GANSON “
12/6 posS fee from-
PETER WARLOCK, 24 Wordsworth Road, Wallington, Surrey or from your favourite dealer
The Magic Circle Premident: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. and Museum :
Clubroam and Library
I
l
Hearts of Oak Buildings, 6u8tOn Road, Madul Theatro :
PETER
London, N.W.l.
PENTAGRAM published ou the 24th of o.ch month and can be obWned direct from (h0 publbbm for 117 per singlecopy. Annual Sukuiptiw IS/-
PUBLISHED
po8t free. BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
April 27th, 28th, 29th, 30thGolden Jubilee Celebrations Poter Newcornbe 38 Overdale Avenue New Malden, Surrey
T
U
King George’s Hall, W.C. Putfculan from Hon. Secretary :
WARLOCK’S
kwnurcsipb for publication and book for review should be sent to the:
EDITORIAL ADDRBSS: 24,
Peter Warlock, Wordrworth Rd., Wallington,
THE DE LUXB “SU-TABLB” together with .I1 hia other effects in retun for a stamp. Write now to
Jack Hugher, 2, Bvelyn Ave., Colindale, London, N.W.9.
Surrey.
Every Advertiser9: goods are fully endorse1d by this Bulletin WBLI8H.D
BY
m ?ROPRIBTORI
1-
HAOIC W A N D FWBU881NG COMPANY. 02 W I L L I N O m
d
lndroduction
Aon
LTHOUGH my friend, His Honour Ernest Wethered has entitledhis contribution “ Variation the ‘Taped Slate’.” He has added something more than a variant. It must be nearly three years ago since he demonstrated the means that he describes. and it must be almost as long when I received the
manuscript.Althoughthehandling is aligned to my own effect “ Taped Slate,” the methods can be applied to any similar means where “ one ahead ” is
the rule. The similarity in effect of “Mental Epic” to “Taped Slate” makes this very worthwhile for those who have bought or those who intend to buy.
-
VARIATIONS ON THE ‘TAPED SLATE’ H I S H O N O U R ERNEST WETHERED HE “Taped Slate ” was the title given by Peter Warlock to an effect described by him in Patterns for Psychics, pages 17 ff. I considered this effect, when I read the description, to be one of the besteffectsWarlockhad everinvented,and I am still of thesameopinion.Theperformerattemptedtopredict in advancethe choicemade by three of his audience and wrote hispredictions on aslate, each prediction being covered with a piece of adhesivetape or plaster.Thethreemembers of the audience, in duecourse,madetheir respective selectionsand in eachcase the performer’sprediction was found to be correct. In The Pentagram for January, 1952, Warlock published another routine on similar lines under the title “ Gap in the Curtain,” which dispensed with the use of a mechanical slate used in his original effect. This latter routine is ingenious but I have not tried it out. The effect which I have been performing now for sometime with very considerablesuccess is a in variation on the original effect as described Poftertls for Psychics. This version, to my way of thinking,hadone weakness. Themethodofperforming it was an adaptation of the ‘‘ one ahead ’’ principle and it was necessary for the performer to to ascertain from his first twoassistants the choice they had made before he made his next prediction. In the routine which I adaptedthisweakness was eliminatedandnoquestionsare asked throughout. As seen by the audience the effect is a s follows :Theperformer secures the assistance of three members of hisaudienceandenquires if, for the purposeofthis experiment. he may addressthem
T
VOLUME 9, No. 7
-
respectively as Mr. A. Mr. B and Mr. C (or Mrs. or Miss). Hethenannouncesthathe will endeavour topredictinadvancethe choiceswhichthey will subsequentlymake and he proposes to writedown thesepredictionsbeforetheirchoices respectively. are made. For this purpose he uses a slate which h e divides with whitechalk into threedivisions. From a box of chalks he takes a blue chalk and announces that he will write his prediction of the choice which Mr. A. will make, in blue chalk. This he does in the first. divisionon theslateand thencovers the prediction with a strip of cardboard coloured blue, three inches in breadth, which he clips to the side of the slate with a bulldog clip. A, is then handed a book and asked to open it where he likes, to run hisfingerdowntherighthand page andstop on anyword when hefeelsanimpulse so todo,the performer saying that he will attempt to control his choice of the word at which he stops. The assistant does this, is asked to close the book and is handed a slip of paper and a Biro pen. He is asked to write the word clearly and distinctly on the slip, fold it in four and place it in an envelope which the performer hands him forthepurpose, seal theenvelope and mark it ‘* A.” The services of a fourth member of theaudience is secured,to be “ t h e holder of the envelopes.” Thisgentlemantakes possession of the envelope which is at no time touched by the performer. The performer then makes his second Drediction. with regard to the choice to be made by Mr. B, and writes this in the second division on the slate in pink chalk, which is covered with a second strip of card-
I/6. (20 Cents)
-
APRIL 1955
50 board coloured pink. Mr. B. is then asked to think of a number of four figures and having done so, is handed a slip of paper with the request to write the number on the slip, fold it in four, place it inthe B.” secondenvelopewhichhesealsandmarks Possession of this envelope is taken by the holder of the envelopes. The performerthenproceedstomakehisprediction with regard to the, last assistant, if possible a lady,whoisaddressedasMrs.or Miss C . This prediction he writes in the third division on the slate in green chalk and covers it with a third strip coloured green.. The slate is then placed on an easel on his table.Miss C isseatednearanothertableandthe performer shuffles a pack of cards and spreads the cards ribbon-wise across the table requesting her to drop her finger on any card which she chooses. This card sheisasked to withdraw from the spread but not to look at it for the moment and to place it in thethirdenvelope which sheseals andandmarks C.” The strips of cardboard are in turn taken from the slate and it is found that the performer has predicted correctly the word chosen by A, the number selected by B. and with regard to C , it is stated that the card she will select will be say, the four of Clubs. The holder of the envelopes opens the envelopes in turn and verifies thecorrectness of the performer’s predictions with regard to the choices made by A and B and on openingtheenvelopemarked “C,” it is foundthatthecard placed there by Miss C, was the four of Clubs. That in short, is the effect and now here is the method of performing it. Patterns Reference to Warlock’s description in for Psychics will show that the general lines of the routine are verysimilar to Mr.Warlock’s butthat it has been altered in several material respects. The slate used is a mechanical slate as described by Mr. Warlock, that is to say, it has a sliding panel which covers two-thirds of one of its surfaces and accordinglycaneithercoverthelowertwothirds orthe upper two thirds according to which way it is slid. In thethirddivisionontheslate,underneaththe panel, is written in greenchalk “ C = the four of Clubs.”Thepanel is then slid downto coverthis predictionand the, slateappearstobeblank.In order to disguise the presence of the ridge formed by thetop of thepanel,awhitechalkline is placed along this edge. At the start of this experiment this mark is covered by thethreestrips of cardboard which are held in place by one of the bulldog clips. The first two strips are removed and the third one is heldinplace by theperformer’sleftthumb so that the chalk mark is still hidden from the audience. From his box of chalkstheperformertakes awhitechalkand,turningtheslatetowardshimself he removes the.green strip and pretends to draw the line across the slate with his chalk in the position wherethechalkline is alreadydrawn.Theslate can then safely be turned towards the audience as the top of the slide is covered by thewhitechalk. “
Thechalklineblanketsthe edge. A secondchalk line isdrawn half way between thislineandthe loweredge of theslate so that the slate is divided into three portions. Takingabluechalkfromhisbox,inthefirst toplefthandcorner of theslatetheperformer writes A = . . . . .” and states that he proposes to makeaprediction of the choicethat will laterbe made by Mr. A. He turns the slate towards himself so that the audience cannot see what he writes and writesanything,itmattersnotwhat, in theupper corner of the first division, covers what he has written with the blue strip and fixes this in place with one A. a book from of the clips. He thenhandsMr. which he chooses a word. This book is an ordinary book which must have a good firm cover and it must have its paper jacket on it. Insidethetopflap of thejacket is pasted a piece of carbonpaper of themostsensitivetype available the printing side of the sheet being uppermost.Overthiscarbonsheet is placed a sheet of paper which isfixed in position with gum or paste. of thejacket. This pape,rshould matchthecolour Theresult is toformasort of pocket inside the jacketwhich is closed atthetop end but open at is slid a sheet of itslowerend.Inside,thispocket stout typewriting paper of such breadth that it will slide easily inthepocket.When pushed homethe sheetmustprojectoneinch below the edge of the pocket. The jacket is then replaced on the book, the projectingedge of thetypewritingpaper is folded back against the inside of the cover, and the flap of thejacket is foldeddownandcoversthe whole of the turned up strip of paper except a small portion at theinner side. Thisdescription may seem alittle complicatedbut if it is read with a book in hand, which carries a jacket, I think my meaning will becomeclear.Therough switch annexed may help. “
\
Cdrbm i n s i d e
P
Projectin2‘ slip o f paper, men beat upwards the s l i p i s covered by the f l a p except at inner end.
51 This book canbefreelyhandledand even if the cover is openedtheturned-inedge of thehidden be slip of paper appears, on a casual inspection, to aportion of thejacket.Thepocket is completely hidden between the jacket and the cover. his wordand Mr. A. opensthebook,selects thenclosesthebook. He is handedaslip of the thinnesttypewritingpaperobtainable, which correspondsroughlyin size tothe hidden slip. It is indicated to him that he could use the cover of the book as a writing pad. This should not be stated in express terms but can be indicated clearly if the percoverand former places thestrip of paperonthe He hands both to Mr. A, as he hands him the pen. isaskedtowritethewordclearly,preferablyto print the letters, as later “ It will be necessary for the word to be seen from all parts of the room.” Havingdonethis, he is askedtofolditinfour.The performer then takes from, his table a packetof large size pay envelopes. These are made of brown paper and open at one end and the size which I use are six incheslong andfourinchesbroad.The aremade mustbe paper of whichtheseenvelopes fair!y stout.Placingthepaperinsidetheenvelope, Mr. A. seals it and marks it “ A,” and hands it to of the envelopes. The performer is the holder holding in his hand several slips of paper similar to A. One of these theone which hehandedtoMr. will be used by Mr. B, and on it he will write the number selected by him. The performerretrieves of paper the book from A. and placesthesheaves on the cover of the book. He proceeds to explain to Mr. B. that he is going to ask him to think of a number and he will then be requiredtowriteitonastrip of paper,foldit in four and seal it up in an envelope in the same way that Mr. A. has sealed his slip. T o assist Mr. B, to understandtheproceduretobeadopted,theperformer illustrates what is required by folding one of As he preparesto thestripsinhishandintofour. do this he slips the second finger of his right hand underthetopcover of thebookand presseshis finger on the edge of the hidden slip, which he pulls freefromthe pocket and,holdingtheslip,draws thewholepacket of papers off towardshimself. In so doing he draws the hidden slip completely out of the pocket in the jacket; the hidden strip concealed under the other papers in his hand. He then draws this slip from under the others and it is with this slip B. shouldfoldhis thathedemonstrateshowMr. paper in four. On this slip the carbon has recorded theword chosen by Mr. A, andastheperformer folds this into four for the edification of Mr. B, it is an easy matter for him to read the chosen word, but he is careful to prevent anyone seeing its presence on the slip. That is thereason why this slip should be is made of fairlystouttypewritingpaper.There then no chance of the word being seen through the paperastheperformerhandles it. As hefoldsthe paper in half he folds the word inside and then folds
thedoublepaperacross,thusfoldingthe slip into four. He thenstraightensoutthis slip andthen placesitwiththeother,papersonthetableas he proceeds to make his prediction with regard to Mr. B’s choiceinpinkchalk.Thechalk used forthis purpose has two ends to it. One end is composed of blue chalk and the other of pink chalk. The method for thispurpose is of makingdoubleendedchalks described by Warlock in The Gap in the Curtain in The Pentagrum for January, 1952. As the performer takes this fake chalk from his boxonly thepinkend is seen by theaudience. As soon as he gets this chalk behind the slate he reverses theendsandinthe seconddivision of theslate writes A = chatterbox ” (or whatever the word may is then be which A, hasselected).Thisprediction coveredwiththestrip of cardboardcolouredpink. B, is then asked to think of a number of four figures andhavingdone so, is handedone of the slips of paper on the performer’s table, together with the Biro pen and asked to write the number on the paper, fold it in four and in due course place it in an B.” envelope which he is to mark I must now explain the nature of the packet of envelopesused by theperformer.Thispacketconsists of about tenenvelopes. Thetopone, which A., is notprepared, but istheonehandedtoMr. immediately under ‘this envelope is a faked envelope which consists only of the address sideof an envelope matching the others in colour but made of thinner paper, on the inner sur face of which is fixed a sheet of carbonpaper which covers the whole of the underneath surface except a band of a quarter of an inchallround.This fake is thenattachedtothe end of another envelope by a strip of paper to form a hinge. This envelope is re-inforced by the insertion of a piece ofstiff cardboard to make it a rigid and firmwritingsurface. The hinge is a slackhinge so as to leave sufficient space between the carbon face and the back of there-inforcedenvelopeforthree envelopes to be inserted. The next sketch will make this arrangement plain. “
”
“
“
Re-inforced
envelom
,Three
g
envelopes.
A
carbon sheet on u n d e r s i d e
When the three envelopes are inserted, with their address sides uppermost the fake envelope is folded back on top of them and the whole assembly is then placed ontheremainingenvelopesinthepacket. The whole packet is surrounded by a rubber band,
52 which lies, not across the centre of the packet, but across its upper end. To resume the narrative, when the slip is handed t o B to write his number he naturally requires something in the nature of awriting pad to enable him to write. For this purpose he is quietlyhanded the packet of envelopes and a slip of paper is placed on the top of thepacket for him to write. The result is that as soon as he writes the number on the paper, the carbon transfers the number on to the uFpermost of the three envelopes placed under the carbon. One reason foranchoringthefake envelope with the carbon side to the re-inforced envelope by means of the hinge is to prevent the fake from inadvertently s1ippi;lg and disclosing the presence of thecarbon. B, thenfolds his HavingwrittenhisnumberMr. paperinfourandtheperformerreachesforand obtains possession of the packet of envelopes and extractsallthree envelopesplacedunder thecarbon fake. To facilitatethis it is as well if thesethree envelopes,whenplaced in position,are allowed to project three eights of an inch beyond the top edge of thefake.Ontheuppermost of theseenvelopes the carbon has written the number selected and the performer is careful to see that in removing the envelopesthisfact is not disclosed. Theperformer places the envelopes o n thetop of thepacketand lower of thethreeto Mr. B. with thenhandsthe the request that he places the foldedpapertherein and marks it "B." The third of the three envelopes he then hands to Miss C . Inthemeantime,hehasnotedand memorised the number written on the upper envelope of the three which is placed,numberdown, on the packet of envelopes which in turn is placed on the table. The performer having noted the chosen number pretends to write his prediction with regard to Miss C's choice in the third division of the slate. H e announceshe will write this in greenchalk. From his box of chalkshetakesanotherdouble endedchalkwhichhaspinkchalk atone end and green at the other. Only the green end is disclosed, but reversing the chalk the performer writes on the third division of the slate " B = 9999 " (or whatever thenumbermay be). Then, bythepressure of his twothumbs,hemovesthepanelupwards, which
l
covers thetop section of the slate and revealsthe predictionalreadywritten in green on thelower third of the slate. This prediction is covered with the thirdstrip of cardboardcoloured green.The slate is then placed on the easel. The card selected by Miss C. is forced. For the purpose of this force the pack used is one of Ralph Hull's " Nu-idea " forcing packs. This pack consists of 26 cards with 26 duplicates of the four of Clubs arranged in pairsontheback of the indifferent cards, the faces of the fours of clubs and the backs of the indifferent cards beingroughened andthe oppositesurfacesbeingpolishedwithSimonizecar or leafed polish. Thispackcanbefreelyshuffled through, so long as gentle pressure is maintained on thebacks of thecards, withouttherebeingany chance of theduplicatefours of clubsbeing disclosed. This pack is ribbon-spreadacrossthetable and Miss C. is asked to let her hand play across the backs of the cards until she feels an impulse to drop her finger on one of them. When she does this, she is asked tomaintaintheposition of her finger and the performer pushes from the spread the card upon which her finger rests. Tn doing so, he separates the so pushes outthefour of clubs. The pairand cards are left on the table without beingdisturbed. There is areasonfor this which willbe explained so selected by Miss C . is placed in later. The card the envelope which she already has, without looking at it, sealed up and the envelope marked " C." rhe denouement can then be worked up as the performer thinks fit and in due course it is demonstrated that each of his predictions is correct. As a final touch,going to thetabletheperformer lifts thecardsabovethe place from which Miss C. selected her card to show that if she had stopped one card short she would have cut (say the nineof hearts) or if shehadgoneone cardfurtheron shewould have cut (say the five of diamonds). Only where she did cut was the four of clubs. I hopethereader will beabletofollow this description. A gooddeal of carefulpreparation is necessary to produce this effect but the trouble taken iswell worthwhile. I haveperformed this effect now to manyaudiences of different typesand the effect is just terrific.
Therefore, let us discover what most impresses an audience, and present those effects with as much intensity, deftnessandfaultlessexecution as possible.Andremember that in doing so we shall be quite jktified in getting the maximum effect with the minimum of labour. Douglas Dexter - The Psychology of Deception and its Effect upon Audiences.'' 1918 "
l
THE GHOST O F PASCAL A
CORVELO FEW YEARSago I needed an effect with received. a small slate which I could use at the table, withA spectator is zlllowed to examine a small sla:<:,
out getting rid of a flap. After much experimenting
I finally developed themethod I am going to describe now, and with which I have always been well
the size of a playing card and is then asked to mark it with a white pencil (the kind they use for photographs).After thatthe slate is placed in a small
53 envelope which is sealed and the address side signed by the assisting spectator and, during the time of the experiment, kept in his possession. Three other spectators write now a numoer on a business card and the numbers are added by ri fourth spectator.Theresult is not yetannouncedbuthe keeps a note of the total. The mentalistthentalksaboutthe ghost of Pascal, whom he will try to raise, and if he succeeds in that, the ghost will write the result of the addition on the slate. Atthepleasure of the performerthe ghost is willing to co-operate (did you expect slimething else) and when the envelope is opened,on of the theslate is writtenwithchalk,the.total numbers. Of course you are interested how the trick (pardon, experiment) works. Well, I use a principle that is very old, but still not much used with slates, viz. the impression method. You needamall slate, the size of aplaying card which you can make from a piece of cardboard A whitepencil,apen and someblackboard-paint. (notaball-point)ablottingpad,and lastly apayenvelope. The pay-envelope is carefullydpened Ion all sides, whichisverysimple if youplacethepoint of a lead pencil between the glued sides and roll it
I
along. On the inside of theaddress side youwrite in mirror writing very heavy in chalk the result of the addition (the total of the numbers is of course to its forced). Then you restorethepay-envelope normal form and you are ready for tbe presentation. Afterthespectatorhas inspected andmarked the slate you place it in the envelope which is sealed. Ontheaddress side thespectator signswithyour pen, his name, and as soon as this has happened you hand him the blotting-pad and ask him to blot it well. By this manoeuvre he himself prints the writing on the slate. Now you see why you cannot use a ballpoint, because you must have, a reason for using the blottingpad. As you have already read that the result of the addition is forced we don’tneed to goover that, becauseyoucanuse your ownmethod.After the addition is made, the envelope is cut open and the spectatorreceivesthe slate, which slides out of the of envelope, andthespectatorsseethattheghost Pascal has written the total in a very spooky writing on the slate. The envelope is thencasuallyplaced in the pocket. of coursealso Instead of anumberyoucan force a card, design, colour, etc.
. . . the magician’s hands, like those of the painter, sculptor or musician are merely the vehicle which conveys to theworld the resultshehasproducedbyusinghis brains. ThevdispIaythetechnique, but the actual result is due to his mental ability. For that reason :kill of hand is nothing in comparison to activity of mind. Douglas Dexter - The Psvchology of Deception and its Effect upon Audiences,” 1918
I
A LETTER FROM ROY E. SHORT Dear Peter Warlock, I was most interested in the effect entitled ‘‘ Take a Bow, Jack Avis,” whichyoudescribed inthe latestGansonbook F i m l e . I do notsubscribeto Pentagram so have not had a sight the item you atYour tributetoJack Avis,underthe title of Choice,” but from your remarks in F i d e it would -appear that a considerable amount of sleight of hand is required. Liking the plot of this item I have evolved the following method of working, which has been “ not-wanting.” No tested fully andfoundtobe sleight of hand, as such, is required nor is there any need for prepared or faked coins. So, thinking that you mightbeinterested in myversion, here,then is M Y CHOICE. The effect is exactly as you describe in Finale. REQUIRED : 2 pennies, 1 half-crown, 1 pencil, 1 full size handkerchief. PREPARATION : The two pennies are, in the lefthandtrouserpocket.The half-crown in right handtrouser pocket. The handkerchiefmaybe in T h e pencil in the outside breast any pocket. pocket. “
PRESENTATION : (1) Removethe handerchief fromthepocket and lay it out flat on the table. (2) Bothhands go to thetrouserpockets,the hand lays the half-crownalongside therighthand right hand coming out first with the half-crown (this allowing just that extra fraction of time for the left hand to finger palm one of the pennies) and the right corner of the handkerchief. Meantime the left handhas fingerpalmedonepenny and comesout with the second penny showing at the fingertips. (3) As thelefthand lays down the visible penny atthelefthandcorner of thehandkerchief the right hand goes up to the outside breast pocket and removes the pencil. (4) Handthe pencil toanonlooker, saying, Will you be good enough to take this pencil, sir,” your left hand picks up the penny and places it on thecentre of thehandkerchief and, withthe fore finger resting onthecoin,continue and be good enough to mark this coin in any way you desire. Make a cross, initial, etc.” ( 5 ) Therighthand nowpicks upthehalfcrown and places it down on the handkerchief near “
“
centre as the left hand removes themarkedpenny and replaces it at left hand corner of handkerchief. The half-crown is also marked. (6) Take back the pencil in right hand, transfer ittolefthand whichplacesit in outsidebreast pocket, a t the same time as the right hand picks up the marked half-crown and replaces it by the right hand corner of the hank. POSITION : Atlefthandcorner of handkerchief is themarked penny. Marked halfcrown is at righthandcorner of handkerchief. The second penny is finger palmed in left hand. Pencil replaced in outside breast pocket. (7) Lefthandpicksupthe penny andthrows it into the right hand, held palm up ready to receive it. The pennyisthrown so that it lands across the base of the second and third fingers. The left hand pick up the half-crown and this also is thrown into the right hand, remarking, “ So we have a penny and a half-crown.” (8) The righthandnowturnsoverand apparentlydepositsthetwocoinsintothe left hand which is now seen palm up with the silve,r and copper coin therein, as you continue, both of which have beenmarked.”Actually youretainedthepennyin therighthand fingerpalm anddroppedonlythe half-crownintothelefthand to jointhe finger palmed coin already there. POSITION : Right hand back out with marked penny finger palmed. Left hand palm up with duplicate penny and marked halfcrown in view. (9) The righthand picks up thehandkerchief at left hand corner and drapes it over the left hand. Under cover of the handkerchief the left hand jingles the coins so that all can hear the coins are there, and then the left hand is turned palm down and the, hand holds the two coins, pointing down, between thumb and index finger. (10) Theperformerasksanonlookertoname one coin(naturallyit is “ Conjurer’sChoice ” for the procedure is always the same it being the penny As yvhich is takenfromunderthehandkerchief). theonlookernames his coin, the right hand goes underthehandkerchiefandimmediatelyputsthe marked finger palmed coin from the right hand into the left hand, in the fingerpalmposition. andthe lefthandthumbpushesthehalf-crownintothe right hand finger palm and the right first finger and thumbtakethe penny fromthelefthandandthe right hand is withdrawn from handkerchief. POSITION : Left hand coveredwith handkerchief and holding the marked penny in finger palm position. The righthandhasduplicatepennyheld in view at fingertips and the half-crown concealed in fingerpalm. (1 1) Therighthandputsthe pennydownon tothetableandthentakesthehandkerchieffrom the left hand, holding the coin (which the spectators think is thehalf-crownbut which is actuallythe markedpenny)through thefolds of .the cloth. The left hand holds the cornersof the handkerchief which “
hangdown,thenthehands are lowereduntil they are about six inches from the table withthehandkerchiefstretchedbetweenthehand parallel to the tabletop. The righthandthenreleases its hold of the cointhroughthecloth so thatthethudof the coin in the handkerchiefisheard asit strikes the table. The right first finger is placed on to the coin through the cloth, on the table, and the onlooker is requested to take hold of thecorners of thehandkerchief which you are holding in your left hand. (12) Therighthand picks up thepenny from the table. It is held with the first and second fingers ontopandthumbunderneathand is thenthrown into the open palm of the left hand. It lands with an audiblesmackandtheleft fingersimmediately close onthe coin. You say, “ I havethepenny, here,”’andyouopenthelefthand showing the half-crown.’’ penny “ and you have the (13) As youremark onthefactthattheonlookerhaspossession of thehalf-crown,theright hand first and second fingers and thumb removes the penny from the left hand palm by taking it with t h e fingers on top and thumb underneath; held thus the. penny is actually not visible, from front when held in this position, being effectively hidden behind these two fingers. (14) Thistimewhenthepenny is apparently thrown into the left hand, the penny is retained in thesamepositionbutthethirdandfourthfingers is propelled straighten out so thatthehalf-crown into the left hand. The left hand fingers immediately close on the coin. (15) The righthandgoes uptothe outside breast pocket to remove the pencil, which it does b y grippingitwiththefirstandsecond fingers going behindpencil andthethirdandfourth fingers in front of the pencil. The finger tips arealready in the breast pocket and the coin is droppedinto the pocket and the pencil lifted out. Nowthethirdandfourth fingers press on the pencil SO that it pivots round and is held now with first and second fingers to front and third and fourth fingers to rear. The thumb presses on rear of pencil’ and holds it firmly. (16) At this stagethetransposition is complete. Tap the left hand with the pencil and open the hand showing themarked half-crown. Tapthehandkerchief with the pencil and ask the onlooker to open outthehandkerchiefand of coursehefinds the marked penny. Thus all is accomplished and you a r e left absolutely clean ” at the finish. Incidentally it maybe of interest tonote that I do not use the conventional finger palm grip but the coin is retained in theusualpositionby the pressure of the third finger only instead of the usuaI’ second and third fingers. This gives mefulluse of the first and second fingers and is of course vitaf in the throw-change in moves (13) and (14). Hope this is of interest. Sincerely, ROY E. SHORT. “
A STUDY IN SMOKE ARTHUR CARTER . R I G H T L Y or wrongly, I have always felt that the use of a slate or s1ate.s should be avoided if possibletoproduce aspiritmessage,asthemere sight of suchobjectsimmediatelyproclaimstointelligent members of the audience the nature of the final result to be achieved; thus leaving them free to devote their entire attention to fathoming, if possible the method used. If however, by employing unfamiliar objects, one can contrive to produce a me,ssage where no message is suspected u t ull, the effect produced is extremely good. Effect : The conjurer, having showntwowhite chinasoupplates,proceedstothoroughlyblacken the inside of one of them by smokingitoverthe flame of a candle. The doctored plate is then placed brimtobrim with theother,and both are placed upon the table. Ontheplates beingre-opened it is foundthat thedate of a selectedcoin, a chosen numberor similaritemhasappeareduponthesurface of the smokedplate. Requirements : Astutereaders will probably havealready guessed thatthemethod used is an adaptation of our worthy Editor’s “ Willow Pattern Plate ” effect the plates in this case. being unprepared white china ones. Prior to the performance, the inside of one of them is thoroughlyblackened as described,after which the performer writes the desired message upon thesmokedsurface with thetip of hisfinger, the chiefsnagbeing thatone is practicallylimitedto a four figure numberorsimilarshort item on,account of the smallness of the superficial area avail-
able. Thepreparedplate is thenplaceduponthe table, the unprepared one being nested in it. With a candle in an ornamental candlestick, and thenecessary means to force whateverit is desired to produce, you are all set for thePresentatiou : The performerpicksupboth plateswithhisrighthand,andmomentarilyholds the with the inside of the blank one facing the audience. Without showing the concealed or message ” plate,heturnsbothover,eachhandtakingone or12 plate and cliking it against the other, the blank being in the right hand. The conjurer now turns so that his lcft side is facingtheaudience,whichbringsthe inte:ior of the clean plate into view. The left hand, or “ message ” platemaynowbethrownintotheairand c-aught, the procedure being repeated with the other plateintherighthand.Theperformer now turns and faces the audience, nesting the plates as he does so, the “ message ” plate,beingnearesthisbody. Both are now placed in an inverted position upon the table,whilethecandle is lit. Thetopone of the pair, the clean one, is now taken and smoked as describedandthe “ message ” plate placed upon it withoutshowingtheinside. Both are now replaced upon the table, “ message ” plate on top. When it is required to reveal-the message, the plates are picked up and held in both hands against “ rressage ” plat: beins theperformerschest,the is thenremoved nearesthisbody.Thetopplate withouttheinsidebeingshown,thus leaving the message staring the audience in the face. “
“ It is because ninety nine people out of a hundred can only think of Magic in terms of ‘tricks’and have probably only seen ‘exhibitors of tricks’.that they do not realise the Art that lies behind the proper presentation of them. How can thev be expected to do so when they have never been fortunate enough to see a real Artist in Magic, and probably derive their conception of Magic from the performances of mere tricksters who refer in public Douglas Dexter-“ The Magic Circular:” 1927. to their effects as ‘tricks’ or even ‘swindles’.”
MAGICIGO-ROUND
IN
A RECENT copy of the Phoetlix there is somethingjusttoogoodtomiss,and so by permission of JayMarhall we’ll pass it on to those of seeing it. who have not had the chance We’llquote-“ Hereisanotherlittle gem of nonsense.Wemaybeable to print it right in the middle of this page and have it go unnoticed for a was decade or so. Let’s hideithere.GeorgeCoon the firstone we ever saw do itandhehadto be coaxed. . . ‘ Here,youdoacardtrick, George.’ Georgeborrowedapack of cardsand saidshyly, ‘I can’t do much sleight of hand, but I do have a couple of mechanicalcard tricks.’ As hesaidthis he took the deck in his left hand and riffled his thumb overthecorner of thecards. His righthandwas ’
turningasthoughwinding upaclock; thesound and action produced a very funny illusion of winding up a mechanical deck of cards. He repeated the riffle until his pack was fully wound.” The Magic Circle Golden Jubilee is now history and many magicians who appeared are looking forward to theInternationalCongress in Amsterdam which takesplace at theend of Augustandthe British Ring Convention at Southport in September. Judging by the present appearance of suggested plans we think that Southport may well live up to preceding Conventions, if notsurpassthem.Hardesttask of all is to bring new faces into being and see a true international representation.
56
ANNEMANN’S MENTAL BARGAIN EFFECTS A BARGAIN, WHOLE
THESEELEVENREPUTATION-MAKINGMENTALMIRACLESAREINDEED AS MUCHASORMORETHANTHE FOREACH HAS SOLD IN THEPASTFOR COLLECTION
NOW printed in a fullyillustratedbook, these elevenmentalmiraclesnumber be in the repertoire of every mentalist. put out by Annemann, and should
some of the best ever
30th CENTURY TELEVISION : A spectator thinks of anythinghecandraw, and ishanded a cardand pencil for his sketch. The performer takes a card and pencil to the opposite side of the stage, and draws something on it. There is no exchanging of cards and the spectator’s card never leaves his possession. Nothing else is written. Yetwhen bothcards are turnedround,theyhaveidenticaldrawings,
~
’
THE MODERN MINDREADER : This effect alone sells for more than the price of the new book, and is one of thefinestone-manquestionansweringactsconceived.Spectatorsjotdownpersonaldata,questions,etc.on cards,whichtheysealinenvelopes. The envelopes are collectedandimmediately the performertellswhathas been written or answers the questions. Each is verified and both card and envelope are handed back to the writer before the next question is dealt with. No clumsy dummy questions or similar devices. No chemicals or liquids, no lights or windowenvelopes. THE NEW DOUBLE TELEPATHY ROUTINE : Both a spectator and
Other great routines are DIABOIU) .PELLET READING - question written on paper, sealed in envelope and burned, yet performer answers question. B Y m C WRITING - two cards or slates shown all four sides and numbered, yet still a spirit message appears. EYES OF THE UNKNOWN - performer is able to read and visualizewritings in the dark. COINCDENCE - spectator and performerselectcards,whichturnout to be identical. PENETRATINGVISION - severalblankcards,spectatorwritesquestion or message on oneandmixes it withothers.Cardswrapped in handkerchief,yetstillperformercantell message or answer question.Terrificimprompturoutine. IMPROMPTUMINDREADER A nameiswrittenon a piece of paper whichis torn in pieces and burned.Performerisabletospellthenamealoud. GETIT - in a darkened roomthreespectatorseachremove a card from the pack. Theperformer is able to namethechosen card. Seemjnglyimpossibleconditions.
I
From the publishers
Price 7/6; Postage 3d.
The Magic Wand Publishing Co., 62 Wellington Road, Enfield, Middlesex ~~~
~~
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hell, W.C.
June 1 lth-Concert Puticulars from Hon. Secretary :
Peter Newcombc
38 Overdale Avenue New Maldcn, Surrey
Every Advertiser’;
PETER
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased to send you full details of
is published on the 24th of each month and ran be obtained direct from the publishen for 117 per ungle copy. Annual Sukcription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
together with a11 his other effects in return for a stamp.
hamscripts for. publication and books for review should be aent to the: EDITORIAL ADDRESS:
Peter Warlock,
24, Wordrworth Rd., Waliington, Surtev-
Write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
goods arefully endorsed by this Bulletin
PVBLISRED BY TRI! P R O P R I m O R S THE MAGIC W A N D PUBLIBBHINQ COMPANY, 62 WELLINOIONROAD, I N O I E L D ~MIDDLESEX A N DP R W T S D BY HR-T WALK‘IIR & S O N (PIIINlWW) LTD., W E L L CUOm, SRWLXY, YOIULEIHIRRe
COMPLIMENTS O F DIA VERNON
THE
I.MPACT of Dai Vernon upon magicians in this couutrycannot be estimated in words. His consummate skill combined with immeasurableartistry musthave broughthome to many the mediocrity and meretriciousness of much that passes underthe nameofmagic. Too few are
aware that his publications extend outside the Stars of Magic series and Select Secrets and because of this we are publishing three delightful Vernon effects whichappeared inthe Phoenix. The first is entitled :
1-2-3 CARD is selected and replaced in the pack. The magician goes through some concentrating and pretendsto be in sore straits. Finally, as though attempting to get out of a tough spot, he says :,-‘‘I’m afraid that I’ll have to ask your pardon.” Hethenrunsthroughthe pack and throws out an ace, deuce and three of any suit. For the purpose of the description we’ll assume that it is hearts. He shows theace, deuce and three and counts them off in such a way that the spectators are sure that there are three cards and also that they know what thecards are. Thecardsarethen placed down upon the table and he drops his role of false humility. “ You selected a card, and to date I have failed to findit. I shall attempt a complete impossibility.” He gestures at the three cards. ‘* I willgive you a completely free choice of these three cards If you choose the ace, the ace will vanish and inits stead will appearyour card. Ifyou choose the deuce, the deuce will vanish and your card will appear. Ifyou choosethe three, the same will happen.” The performer now lets the spectator deliberate. It is a completely free choice. You can allow the spectator to select a number mentally and then offer to let him change his mind. Whichever card is decided upon, the requirements are fulfilled. The indicated card be it ace, deuce or three, vanishes andthe chosencardis found in its place. To achieve the effect the most you’ll need is a double lift and a false count. Evenifyoucan’t
A
.. . .
VOLUME 9, No. 8
-
perform the false count thateveryone is doing; the push off, you can still perform this typical piece of Vernoniana. Once you have the mechanics straight in your mind the effect is equally straightforward. The thing we like best about it is the boldness of telling the spectators what you’re going to do and then going ahead and doing it! Here is the method. First of all the chosen will cardmust be located. Anysimplemethod suffice because the end result is the revelation not the location. Let’s say for the sake of argument, and since you are going to look at the faces of the pack anyway, that youusea locator card. You know either the top or bottom card of the pack after is has been shuffled. You have a card taken and cut the card into thepack under or over the known card. Cut the pack a few times as you brood about the impossibility of what you are going to do. Make it look as though you were lost and don’t know what the hell the chosen card was. Get your brainstorm and run thefaces of the cards towards you whilst you throw out the ace, two and three of a suit. In doing this you find the selected card on topof the locator and cut it in to the top of the pack, then turning the latter face down in the left hand as though for dealing. You are now all set. Get a break under the chosen top card which for simplicity’s sake we will say is the Joker. Pick up the ace, two and three from the table and drop them on top of the pack being certain to see that you pick them up out of arithmetical order. Now turn the three cards over and arrange
I/& (20 Cents)
-
MAY 1955
58
.
them in arithmetical order . . 1 . . 2 . 3. Turn them face down and push off the top four, that is 1. 2 3 and the Joker. Put the pack to one side. The four cards which the audience think of as three are now taken in the left hand as though for dealing. Turn the top card over and show it. It is the ace. Turn it face down and place it at the bottom of the little packet. Now do the same with the two. The three is now turned face up and then turned face down. The position of the cards in the packet are now (from the top) three, joker, ace and deuce. The packet is now turned face up and apush off false count is made s h o w i n g t h e positions of the cards as three, ace and two from left to right. Place the three to the right so that the order is again ace, two and three. The little packet is now closed up and dropped on top of the pack. Pausingforamoment to emphasise what he intends doing the top three cards of the pack are now dealt face down upon the table. To the audience you have apparently dealt the ace, two and three, but really the order is joker, ace and deuce. The three is now the top card of the pack. Thereare three alternatives from this point on. The audience have a choice of ace, deuce or three. In each case the procedure differs although it is hardly necessary to point out that the change of the three to the selected card is something in the nature of a bonus. If, however, the ace is chosen as the card to change, you push the card which they think is an ace slightly forward towards them and have them put a finger on it. The pack at this stage is held in the left hand with the right hand hovering over
. ..
I
it. You should have no difficulty, no matter how fumble fingered you may be, in palming the three from the top of the pack. In one motion reach out and place your hand with the palmed card in it on top of the right hand card which they think is the three but is really the two. Pick up the two and slap it on top of the ace which they think is the deuce.Pick up the three cards which the spectators think are two and put them on top of the pack. Turn over the two top cards and show the two and three. Have them turn over the card they have had their finger from the beginning and they find their chosen card staring at them. If they choose the two, you pick up the card at the right which they think is the three and drop it face down on top of the pack. Then double lift and show the faceof the three. Reach outand pick up the other two cards. Flip them over. (The flip is just so they will lose track of the order of the cards). The ace now stares at them as well as the chosen card. The mise en scene is that the three is staring at them in your hand whilst the ace and chosen card lie on the table. If, miracle of miracles, the three is chosen, the pack is placed to one side (heaving a sigh of relief). The three cards are then picked up, backs to the audience, and slightly fanned. You speak to this effect, “ You could h a v e taken the ace (this is thrown down face up on the table) or the deuce (also thrown down) but instead you did precisely what I knewyouwould do, you chose the three.” This card is then turned over and placed on the table so that all can see it is the chosen card.
“ 1 believe that there would be more amateur conjurers if the old method of teaching conjuring could be swept away.” Made Magic Devant-“ David Easy ”
I
JUST INJOG DAI VERNON OU REMEMBERwhatagorgeous effect MacMillen’s plunger Acesgave ? Betyou stopped it after having fooled fora while because of the necessity of the care in setting it up in front of the spectators. You had to weave the aces into the pack with a card between each. No matter howwellyou did !it, it was clear to the audience that you were being over careful. In this handling-of Vernon’s you are ascasual as can be. Result? The effect is ten times better. The whole arrangement is set up in the simplest kind of jog shuffle.It’s so simple that not even the most timorous should fail to try it. No Erdnase complexities at all. Get a pack and follow along. Bring the four aces on top of the pack and hold the pack in the
Y
left hand ready for an overhand shuffle. Undercut half of the pack and then run one card, injogging it. Shuffle off the rest of the pack as innocently as you can since you are doing nothing untoward. Undercut at the injog which adds a card on top of the aces.Nowwith the stranger card on top of the four aces in the right hand packet you are set for the simple run. The other half pack is in your left hand. Run one card injogging it so that it sticks back towards you for half its length. Run the next card square on the pack. Then injog the next card, the next one square on the pack. This is repeated in all some five times and when completed the remainderof the pack is shuffled off on to the left hand packet. You are now all set. Turnthepack overwith the bottom card
59 facing the audience and let the spectators see that some cardsprotrudefromthe pack. Theone facing them will be an indifferent card, then two aces followed by two indifferent cards. If you fan the five cards so that only the three indifferent cards show, you can stress the fact you have left some cards protruding from the pack. At this moment you are ready to perform the “ Plunger ” Ace trick. Just pushing the packet of five upwards will cause the first ace to appear at the top followed by four cards. A push through from this end causes the next to appear and so on. You will be interested in some of Dai’s comments on the handling of the pack. Hold the pack in the left hand with the cards projecting out of the base. Grip the pack at the top between thumb and finger and wiggle the five cards a little to free them of binding. Next with the cards still stuck out of the pack, pull them towards you so that they stick out of the base of the pack projecting to the right at about a thirty degree angle. Next straighten them out so that they are in line with
I
the pack. The point of this manouevre is to make sure that the five cards aremost of their length out of the pack and this is an easy and clean way to do it. Next move the left hand hold on the pack from the top to the base and belly the pack i n wards towards your palm by pressure on the sides, by your thumb and fingers. Holding the pack in this way place the projecting block of cards on the back of your right fist and press downwards. The block goes through the pack and forces an ace into view at the top of the pack. Turn the pack around in your left hand so the base is now at the top. Press the block again. Each tme you repeat a new ace will appear. And of course, if after the arrival of the fourth ace you push it back into thepack keeping a break, all you have to do is to cut above the break and you have the four aces back on top of the pack, ready for any other ace chicanery that you have in mind.
“ Perhaps the art of conjuring may be compared to a vast fairy-land, full of pretty surprises that await a discovery. It is impossible to give a complete guide to this wonderful land, because explorers are always finding fresh delights in it, and no one knows the whole country thoroughly.” David Devant-“ Magic Made Easy ”
AL’N AND DAl AGAIN DAI VERNON HEN A1 Baker and Dai Vernon in the long ago, merchandised a cardeffect they dubbed “AL’N AND DAI” the effectnever got the reception it deserved for it had a spot in it where it was necessary to palm a card. Knowing that most magicians would rather buy a new box trick than palm a card, Dai worked out a nonpalming method that should give this little classic a new lease of life. Effect : Two cards which have been delegated to act as finders, let’s say the deuce of clubs and the deuce of spades, are removed from the pack anddropped face up on the table. The pack is then spread, a card is selected and replaced back in the pack. One deuce is left face up on the table as the magician removes a card from the top of the pack and, holdins it back up, asks the spectator to pick up the other deuce. The card in the magician’s hand is placed facedown on top of the face up deuce on the table, the spectator then being requested to drop his deuce face up on the face down card. In effect, a face down card is now sandwiched between two face up ones.
W
1
60 T h e performer now lifts the sandwich and says, “There is no way that I can know the identity of your card unless I look at the face, is there ? ” As he asks this he lifts the three cards as one and shows them to the spectatoras in the following illustration :
The spectator sees his chosen card between the two other cards, but the performer names it incorrectly, saying, “ There’s no earthly way I could k n o w y o u r card is the ten of clubs, is there ? ” The spectator assures the performer that the card is not the ten. The card between thetwo deuces is now removed and placed onthetable face down and the two deuces having failed in their duty as finders are placed in the pack. The performer is nonplussed to say the least. He says, “Your card is nottheten of clubs ? That’s odd,” and turns over the card on the table to reveal the fact that it is the ten of clubs. The performer muses : “ I felt certain it was the ten, but I must fall back upon my magic now . . ” and then he ribbon spreading the pack backs up, he shows that his magic is ever present for there in the centre of the ribbon spread is one
I
card face up and that card is the card selected by the spectator, which a moment before the same spectator saw sandwiched between the two deuces. No palming, no difficult sleights, no nonsense, and yet a terrific effect. Whilst going through the pack to locate and extract the two deuces notice and remember the name of the top card of the pack. In this example it is the ten of clubs. Now have any card selected and bring it second from the top of the pack, i.e. immediately under the ten of clubs. Push one of the deuces towards the spectator and ask him to pick up the other. This gives you all the time in the world to prepare for a double lift. Place the double lifted cards face down upon the face up deuce and ask the spectator to drop his deuce face up on the two (?) cards. You then pick up the three cards. The situation is now back to the first illustration, the cards being s p r e a d t o a s s u m e this appearance. In arranging this sandwich, press the tip of the middle finger lightly against the back of the back up card that is visible.Move this card away from you about an eighth of an inch (this ensures that the spectator can only see the thickness of one card). If you buckle the packet slightly there is no earthly chance that the extra card can be detected. Lift the s a n d w i c h s o that the face of the selected card is showing and miscall it the name of the card that was at the top of the pack. We are now back again to illustration 2. When the spectator assures you that you are in error, turn the packet in the left hand, so that the two deuces are face up and as you seem to be puzzled, put the ball of your thumb against the bottom of the deuce of spades and begin to push away from you, at the same time press the ball of the right middle finger tip against the back of the visible back up card. Push this way until the back up card is protrudingfromthe sandwich and theother cards are squared up. Pull the projecting card away and place it on the table face down. The other squaredup cards (with the reversed card hidden between them) are cut into the pack which has been waiting face up to your left. Complete the cutas you brood aboutthe iniquity of the trick having gone wrong, and then turn over the card on the table. They have just seen it to be their card and now it is the card you said it was. Ribbon spread the pack and show the selected card face up in the face down pack.
“The amateur should bear in mind that all sleight of hand is only a means to an end, and that if that end can be reached in a more direct way sleight of hand is of no value to him.” David Devant-“ Magic Made Easy ”
I
61
LET’S PREDICT A CARS) HANS TRIXER m H I S , asthe title denotes is a prediction ; similar effects have been described but I feel certain that many readers willfeel that the basic sleight used has certain advantages. The effect is very simple and straight forward. A card is placed faced downwards upon the table, after which a spectator is requested to name any card he wishes. The card on thetable, when turned over, proves to be that named by the spectator. To present the effect the performer will require to master the basic move which in action has an affinity with the Curry Turnover. As I have never been able to master this move to my own satisfactiona sleightwasevolvedwhich, from my own point of view, is superior to the Curry move insofar that it is completely noiseless in execution. The .card to be changed lies on the table in front of you, the longer side parallel to yourself and the audience. It is to be changed for the card on the bottom of the pack which is held in the right hand with a similar grip and positioning that would be required were the performer intending to make the standard form of glide. This hand, the right hand is now lowered to the table about two inches in front of the face down card (i.e. near to the .audience). The hand now starts to move back towards the performer’s body and apparently turns over the card lying on the table. Actually, however, the fingers of the right hand gripping the pack execute the first movement of the Kelly Bottom replacement (see Tarbell Course) holding the pack however in the position already described. As the hand comes towards the performer, thebottom card, which is now hinged away fromthe pack leaving an opening of about half an inch, is slid underneath the card lying face down on the table. The packiis now slowly turned face uppermost and the bottom card will appear to be that which was previously lying face down on the table. To com-
1
plete the move the right hand fingers push the bottom card in the direction of the right thumb, them releasing it so that it falls on the table as the hand holding the pack moves away. In the beginning the reader will find the move a little difficult. Practice, however, will prove its advantages, chief of which is the complete lack of a get-ready move. With the basic move described I will now describe the handling of the whole effect. First of all, one card isremoved from the pack and placed face down upon the table. It is important to remember its suit and value as there is a fifty two to one chance that the spectator may name that card and without anymore adoa miracle has been accomplished. With the card face down, the spectator is asked to name any particular card that comes to hls mind. When he has stated the name, fan the pack towards yourself stating that in most cases anothercard is named. Whilst looking through the cards note the position of the card named by the spectator, and also remember the name of the card immediately in front of it. Cut the pack leaving the chosen card at the bottom. With the pack held in the right hand ready for the turnover move, remove the top card with the left hand (this holding of a card in the left hand gives a logical reason in a moment or so for the right hand which is holding the cards, to turn over the card lying face down upon the table). Turn up the card held by the left hand, stressing thefactthat many a time this is the card chosen by the spectator. However, as you are a magicianyouknew that this would be the odd occasion and therefore you placed the. .....of... ... face down uponthe table. As this is said, the turnover is made, revealing the named card. ~~
“The am:lteur must take care that his performance does not degenerate into a mere exhibition of manual dexterity, or of an ingeniously contrived piece of apparatus.’’ David Devant “ Magic Made Easy”
~
l
MAGIC O F ROY JOHNSON A JARDINE ELLIS RING ROUTINE N RECENT years, no “ classic” has enjoyed a revival such as that of the Jardine Ellis Ring. The variations possible with this incredibly simple “props ” aretoo numerous to mention here, but one cannot fail to give credit to Bertram a new? Milledge, of Nottingham,forstarting approach to this effect with theintroduction of the length of ribbon.
I
1 am not a “ purist ” by any means, but it does distress me to see what is virtually a miracle, (e.g. The passing of the ring on to the ribbon) ruined by the performer immediately plunging his hand into a pocket to dispose of the shell. Again, I do feel that providing the shellis handled intelligently, it seems a pity to use it only for this one effect, and judging by articles appear-
62
ing in this and other publications of late, others of the fraternity have the sameidea. However, I do think that the final part of the following routine is sufficiently different to claim your attention-but if you dear reader, thought of it first then please forgive me ! Let us then proceed with
With the right shoulder towards spectators, the left hand is held with palm to audience and the shell, which is held between right thumb and forefinger,is slid up the ribbon to the position shown in figure 1.
REQUIREMENTS:-
These are The Jardine Ellis Ring and Shell, eighteen inch length of 8” ribbon, full length pencil or a small wand. SET UP :-
Pencil is upright at rear end of inner breast pocket. The shell is on the ring which is held at right hand finger tips, and the ribbon is held in the left hand. ROUTINE
:-
Commence with the classical Ring on Ribbon, which when completed leaves the shell palmed in the left hand. Having allowed the spectators time to realise the effect, the left hand removes the pencil from the breast pocket-meanwhile dropping the shell into the right hand sleeve (via the armpit) where it falls to the elbow which is held casually bent. The pencil is now threaded through the ring and a spectator is asked to hold the ends firmly. Holding one end of the ribbon in each hand, you now perform the penetration knownas the “ Snap-Away Follow Up ” described in vol. 3 of “ Tarbell Course,” (page 298) and again on page 576 of “Rice’s Encyclopedia of SilkMagic” vol. 2. Discard the pencil and again thread the ribbon through the ring, whichis then secured to centre of ribbon by means of a bow. The move of secretly pulling one end of ribbon through the ring is now performed, so that when the ends of ribbon are pulled gently apart, the ring falls free to the floor. Hold the ribbon in left hand and allow right hand to fall to side, so that the shell falls into the hand where it islooselyheldin the finger-palm position. Simultaneously step over to wherever the ring has fallen, so thatonefoot is directly behind same. As right hand apparantly picks up the fallen ring, it actually flips this beneath thepreviously positioned foot, whichmay (depending on the shape of your foot !) require lifting a fraction at the front end, and as the body straightens up, the shell is pushed forward into view--us the ring ! The ribbon should nowbe draped over the left hand, the centre being trapped between thumb and forefinger as in figure 1.
I
Pause momentarily so that the spectators are quite clear that the “ ring ” really is threaded on the ribbon. Close left fingers over shell and the fingers which hold it, and immediately allow the right hand to fall to your side-uctuully carrying the shell with it ! Do not change the position of shell until the hand is resting at side, for if you do the sleight will be detected. This sleightwillof course berecognised as one of the most convincing of coin vanishes, but as the’ ring is threaded on to the ribbon the effect is possibly even more effective to the layman. But to get back to the routine-Raise the right hand to grasp the end of ribbon “A,” and under cover of this action the shell is transferred to the finger-palm position. Slowly pull theribbonfrom left hand, and when it is completely free-open left hand to show that the ring has vanished ! Gather up ribbon into right hand which disposes of it and the shell in right hand pocket. Myown “patter” is now to the effect that, although the ring has disappeared it hasn’t gone very far, although if the floor hadn’t been there it might havegone for miles ! ! (A “gag ” which Francis White has used to good effect I believe) ! Immediately step back to reveal the ringresting on the floor.
63
T
HE MAGICCIRCLE Jubilee Celebrations are now history. That the event was a success there is littlareason to doubt. Quite rightly the proceedings started on lower notes and led up to a great climax. There were many highlights, some of them the result of short term planning. Worth far more than the registration fee was the delightful and informative lecture, ‘ New Ways to Deceive ’ given by Milbourne Christopher. There was the y o u t h fu 1 s h o w ‘Abracadaborough ’ engendered by our own suggestion that the youth of the Magic Circle should be invited to stage a show. There was the Gala show which has had no equal in Magical Society history. Entrusted with the production of an outstanding bill, our main purpose was to bring new acts to Magic Circle members. It was also necessary to see thatas many visual acts with a minimum of audience participation were present. The result brought the following new acts to the Magic Circle stage : Milbourne Christopher, Ade and True Duval, Holden, KalanagandGloria, Li King Si, Jay Marshall, Rezvani and the Grand Prix winning act of Elizabeth Warlock. Every artiste was in top form and with the slick stage management of Gil Leaney and Bernard Lovett, it seemed impossible that this was an unrehearsed one stand, but rather the final night of a week’s show. There were many presentations to the Circle including a lovely silver water iota, made by Kalanag, at the conclusion of his act in the Gala, an appearance for which he and a company of some thirty members had travelled by air from Munich. Magic however, was to continue with the cessation of the Jubilee festivities and thanks to the initiative of Harry Stanley a lecture by DaiVernon was staged at Victoria Iiall.In all theremust have been some three hundred magicians present and for three hours they watched a master at work. Many present like myself had followed the writings and observations over a course of many years. On that day we divorced ourselves from suppositionand we engagedwith reality. We satand
watched the greatest natural magician of this century. Wefeel certain that many echoed Lew Ganson’s words, at the close of the lecture when he said thatafter watching Vernon performing the marble trick, his first thought was to pack up magic and turn to something easier. Later that day a few of us were to hear and watch Vernon until nearly four o’clock the following morning. We witnessed miracles performed in an effortless way with the most common objects. We saw card work unlike anything that we had seenin this countryor,for that matter, from visiting magicians from overseas. This was magic. Harry Stanley made one mistake with the morning session. He did not charge enough. The t r i c k s themselves w e r e well worth t h e price charged, butthe value of the advicegiven by Vernon was incalculable in terms of money. Vernon always calls to our mind the names of Malini and Leipzig. One of Malini’s most publicised feats was the production of a solid brick or alump ofice.Fewsawhim do it. Our friend Eric de la Mare many years ago concentrated quite alot of time and study on the brick trick and many readers may remember his performing this some years back in one of the Magic Circle Televisionshows.Eric’s production is a double one, for after one brick has been produced another follows. We hesitated for many years before asking whether we might have permission to publish the routine. We have,however, summoned up courage, and the effect completely illustrated with photographs will appear in the next issue of the Pentagram.
FOOTNOTE-ASthese p r o o f s g o b a c k t o our printers it is with the deepest regret that we hear of the sudden death of Victor Farelli. A full appreciation will appear in the June issue.
ANNEMANN’S MENTAL BARGAIN EFFECTS THESEELEVENREPUTATION-MAKING MENTAL MIRACLESAREINDEED A BARGAIN, SOLD IN THEPAST FOR ASMUCHASORMORETHANTHEWHOLE COLLECTION
FOR EACHHAS
NOW printed in a fullyillustratedbook,theseelevenmental miracles numbersome of the best ever put out by Annernann, and should be in the repertoire of every mentalist. 30th CENTURY TELEVISION : A spectator thinks of anything he can draw, and is handedacardand pencil for his sketch. The performer takes a card and pencil to the opposite side of the stage, and draws something on it. There is no exchanging of cards and the spectator’s card never leaves his possession. Nothing else is written.Yetwhen both cards are turnedround,theyhaveidenticaldrawings,.
THE MODERN MINDREADER : This effect alone se!ls €0: more than the price of the new book, and is one jot downpersonaldata,questions,etc.on of the finestone-manquestionansweringactsconceived.Spectators cards,whichthey seal in envelopes. The envelopes are collected and immediately the performertellswhathas been written or answers the questions. Each is verified and both card and envelope are handed back to the writer before the next question is dealt with. No clumsy dummy questions or similar devices. No chemicals or liquidz, noliohts or windowenvelopes. THE NEW DOUBLE TELEPATHYROUTINE : Both aspectator andthe performermerely think of playingcards, and eachwrites the name of his card on a slip of paper which is tossedon to thetable. The performer removes a card from the pack, which he places bv the spectator’s slip, and the spectator removes any card but the one he is thinking of and places it down. The cards and slips are now checked : the performer has located the spectator’s card, and the spectator has located the performer’s card. 3lENTAL MASTERPIECE : Certainlyone of the greatestmental card routineseverconceived, A spectator thinks of a cardandwrites its name on a slip of paper which he immediately places in his pocket for later checking. The performertakes up a pack of cardsandplaces one cardface down on the spectator’s hand. The spectator himself turns up the card, and it is the very one he is thinking of.
Othergreatroutines are DIABOLO PELLET READING - question written on paper,sealed in envelope and burned, yet performer answersquestion. PSYCHIC ‘FVRITlhTG- two cards or slatesshownall four sides and numbered! yet still a spirit message appears. EYESOF THE UNKNOWN - performer is able to read and visualize writings in the dark. COINCIDENCE - s y c t a t o r and performerselectcards,which turn out t o be identical. PENETRATING VISION - severalblankcards,spectatorwritesquestion or message on one and mixes i t withothers.Cardswrappedinhandkerchief,yetstillperformercantellmessage or answer question.Terrificimprompturoutine. IMPROMPTUMIND READER A name is writtenonapiece of paper whichis torn in pieces and burned.Performer is ab!e to spellthename aloud. GETIT - ina darkened roomthreespectators each removea card from the pack. The performerisable to name the chosen card. Seeminglyimpossibleconditions.
From the publishers
Price 7/6; Postage 3d.
The Magic Wand Publishing Co., 62 Wellington Road, Enfield, Middlesex The Magic Circle President: Herbert J . Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library
and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Madcl1 Thratre :
KingGeorge’s Hall, W-C June 1 lth-Concert Partlcularr from
Hon. Secretary
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24th
i JACK HUGHES w i l l be pleased to send you full details of
of each month and canbe obtained directfrom the publishers for 117 per h g l e copy. AnnualSubacription 181post free. PL‘HI.ISHED U Y :
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlerex
together with all his other effects in returnfor a stamp.
publication and books for review should be sent to the: BDITORI.41. ADDRESS: Maliuscriptu for
Peter Warlock, 24, Wordeworth Rd., Wallington, Sutrev.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
T H E U L T I M A T E 3 CARD PREDICTION DR. NICHOLLS HARLEY HE three c a r d prediction effect was first described, so far as I know, by R. W. Hull in hisbook “Eye- Openers,” under thetitle “Hull’s Marvellous Card Prediction.” I advise anyone who contemplates performing this type of effect to read his description for its great detail and the many points of presentation given. Since then a number of authors have described further routines. The following are examples. 1 AI Koran, “ The Magic Wand ” vol. 35, No. 211, p 98 (October 1946.) 2 Jack Yates, “Abracadabra” vol. 12, No. 309, p 358 (29th December 1951). 3 Verne, ‘‘ Phoenix ” No. 84, p 340 (18th May
T
1945). 4 Peter Warlock “The Gen” vol. 10, No. 9, p 251 (January 1955). 5 E. H. Hopkinson ‘‘The Magic Circular ” vol. 49. No. 545. D 70 (Januarv 1955).
__
Over the years I performed the effect, basically as described by Hull, but gradually various alterations crept in, and my favourite routine now is that to be described. Its virtues are that it is suitable for platform or close up performance, there is no preparation, and technically only moderate skill is required. The card worker could perform it rightaway, but rehearsal will be needed to obtain smooth and easy working. The requirements are a pack of cards, three blank visiting cards in an envelope, and a pen or pencil. Three spectators are invited up to assist, and I shall refer to them as SI, S2 and S3. SI and S2 are placed on the performer’s right, and S3 on his left. S3 should be seated, the other two may sit or stand. The envelope, anditscontained visiting cards (referred to from now on as V.Cs.) is handed to S3, who is asked to take outthe cards and see that theyarequiteblank. The packis handed to S1 to shuffle. The performer now gives his introductory talkabout the possibility of seeing into the future, not toolong, but enough to excite -.
VOLUME 9, No. 9
-
interest. Threepoints shouldbe stressed. First, that three cards are going to be chosen, each in a different manner, to make things more interesting. Second, that beforeeach card is chosen the performer will write down what he thinks that card is going to be ; and third, that on each occasion the packwillbeshuffledby the helpers before thcy choose their cards. You may also point out,if you wish, that cards are used not so much as playing cards, but as symbols which are easily visualised. The pack is now taken from SI and fanncd out to show the cards wellmixed. This enables you to glimpse and memorise the second card from the top. If preferred the third card may be memorised, and then a doubleundercut performcd transferring one card t o the bottom of the pack. Now ask S3 to hand you one of the V.Cs. and place it on top of the pack in readiness to write the first prediction. Look at S1 and “study” him closely for a few moments, then write at the top of the V.C. the figure “ I ”-.Roman numerals being used-and underneath “you willtouch the,” :.t the same time reading out what you are writing. The V.C, is held on top of the packwhileyou move up closer to SI to “study” him again, making sure that he and S2 seewhatis written on the card. Finally move back and write down the name of the glimpsed card. Ask S3 for the envelope and place the V.C. inside, back to the audience, explaining that you do not wish to show as yet whet youhave written, as it would spoll the climax later on. Return the envelope to S3 and ask him to sit on it, or place it in his pocket. This will prevent him from lookinginside. The glimpsed card, second from the top, is now forced on SI using the Christ top turnover force. Explain that youwill turn over cards 0.1 top of the pack until SI wishesyou to stop by touchingthe next card.The top card isturned over on to the pack, and then the two top cards are lifted asoneand slidback to overlap th2 inner end of the pack by an inch or so. The now
1/6. (20 Cents)
-
JUNE 1955
66
top face down card is slid forward and turned face up on the two projecting at the back. This is continued until S1 stops you by touching the next face down card. The injogged cards are now slid forward flush with the pack, fanned out, and taken into the right hand with the remark that SI could have stopped you on any of these, but actually he chose the next card, the top one of the face down packet, which is thumbed forward for him to take. He is asked to look at it and place it in his pocket. You remark that if successful,this is the very card whosc name you have written down ! The pack is now handed to S2 to shuffle, and on its return the top card must be glimpsed. Do nDt hurry over this. There is plenty of time while “ studying ” S2 and while obtaining a second V.C. from S3. Various methods are describedin the textbooks, see, for example, Hugard’s “ C a r d Manipulations ” No. 5 , p 136 to 139. Next place the V.C. on top of the pack as before, and write the figure I1 at the top. Look at S2 again and let him sze what you have written. l hen step back, convert the figure I1 into I11 by adding one stroke, arid underneath write “ you will take the” followed b y tht: name of the card you have glimpsed. While writirlg you apparently read out what is on the card but actually say, “ No. 11 youwill choose the ”-and then finish writing. The V.C. is now placed in the envelope which is again left with S3. Turn to S2 for his choice of a card. Hold the pack face down in the left hand, and grip the ends from above with the right thumb and fingersin pgsition for riffling.Riffleslowly and ask S2 to insert hisfingerwhere he wishes a card chosen. C j t the pack very openly at this point and hold the top half facing S2, at the same moment turn the left hand over and push the top card (now u-lde--neath)over the side of the packet sufficiently to se: the index, and point with the forefinger to th; fase card of the right hand packet, just touching it.; edge. Say to S2, “ would you prefer to choose this card ” (the face card) “ or this one ? ” turning th.:Icft hand over again and indicating the top c x d , which has now been drawn back flush with t k rcst of the packet. Meanwhile glimpse the face card in the right hand packet in the usual way by bending the cards between fingers and thumb. The top card in the left hand is nearly always chosen, b;lt whichever it is, remember it. The cover for glimpsing this card is perfect, and nobody should h3vc any inkling that you know what it is. Make sx:re, without saying so of course; that everyone I’ .a!iszs the choice of card really is free. S2 places t * ccard in his pocket, and the pack is reassembled with the previously glimpsed card still on top. Turn now to S3 and palm the top card, preferably by the one hand palm (see Hugard’s “ Card ?\Aznipulations’‘ No. 1, p 2, and Buckley’s “ Card Contyol”p 69) for descriptions of this sleight. H m d him the pack for shuffling, take it back and rt?la,:e the palmed card as you ask him to give y ~ ) uthethird V.C. Drop this onthe pack and
“ study ” S3, then say, “ I will write No. I11 you will take the,” actually write “ I1 ” and under this “you will choose the.” Look at S3 again, and then write down the name of the card taken by S2. Place the V.C. in the envelope between the two already there, so that they are in order I, 11, 111, and return the envelope to S3. The last card is now forced on S3 by the place back move, which has been described many times. I do not know who originated it, but I perform it as follows. Ask S3 to name a number, say up to 25, not to prolong things too much. Meanwhile the two top cards are pushed over the edge of the pack as one and held there with the left thumb. S3 names his number, say it is 10. The cards are counted off face to the audience (hence the double push off which conceals the top card) one in front of the other, until the count of 9. At this point, as the hands come together, the top card in the right hand packet is pushed over on to the top of the pack by the thumb, and the 9th card is taken away. These cardsare dropped on tothe table and the next card taken off. Explain that you do not wish anyone to see this card, and ask S3 to put it in his pocket without looking at it. The work isnow over and you recapitulate briefly what has happened. Ask S3 to remove the three cards from the envelope, look at No. I and read what is written on it. S1 will quite often give an audible gasp ! He is asked to remove the card from his pocket and show it. The audience will applaud at this point. S3 now reads out the card marked 11, and S2 shows his card to the audience who will applaud again. The climaxis approaching and should be made as impressive as possible. State that nobody yet knows S3’s card, and invite him to read out what you have written for him. Finally askhim to hand you the card from his pocket, and show it as dramatically as you can to the audience. The above has taken a good deal of description, but the six basic steps may be summarised briefly as follows.
1 Write prediction for S 1. 2 Force card on SI. 3 Apparently write prediction for S2, actually write that for S3, the card previously glimpsed. 4 Card freely chosen by S2 and glimpsed. 5 Apparently write prediction for S3, actually that for S2. 6 Force card on S3. This is my favourite routine, but I do use one variation whichis a useful alternative. The pack is stacked, preferably in the Nichola or some similar system, and the card that is to be forced on S3 is in a clip under the right side of the coat. Here the one ahead principle is used throughout, (Continued on Page 67)
67
NO CLUE SPECTATOR LOCATION FRANCIS HAXTON HIS effect is so named since the moves are direct and in k e pe i n g w i t what h you are supposed to do.
T
EFFECT A pack of cards is thoroughly shuffled and handed to the performer, who leafs them through, inviting a spectator to touch any card and peek at it. Following this he is to take the pack in his own hands and shuffle the cards. The pack is once again handed back to the performer, who taking the cards in his left hand throws a handkerchief over them and invites the spectator to cut the pack at any point, through the handkerchief. This upper half of the pack is drawn away and the card at cut is turned over and shown to be the chosen card. METHOD The pack is genuinely shuffled and fanned through for the spectator to make his choice by touching the back of any card. When he has done this, you ask him if he is sure it is the card he wants. This little hesitation gives you the opportunity of crimping the bottom right hand corner of the chosen card, between the middle fingers of each hand, which are under the fan of cards being offered for selection. When thecardhas been p e e k e d at, you immediately close the fan and hand the cards to be shuffled. On r e c ei vin g the cards back you square them and the position of the crimped card will be apparent. Hold the cards in the left hand. between the thumb on one side and the middle, third and little fingers on theother side, the first fingerbeing across the top to control the cards.
You will see that the cards arein the position for the one hand cut. Your left thumb should be placed at the crimped card and as the halldle-chief is thrown over the cards onehand cut is made to bring the chosen card to the bottom of the pack. Now the spectator cuts the pack under cover of the handkerchief. You then perform the ALL FAIR FORCE (see Pentagrum Vol. 5, No. 12) which brings the chosen card on to the top of the lower packet, where it is when you bring the cards from under the handkerchief, to show that the spectator has cut the pack at the card of his choice. Just to complete Francis’s verynice card discovery we’ll repeat for the benefit of those new readers who may not have the copy of the Fentngram giving the ‘All Fair Force ’ a description of this very handy subterfuge.
‘This is an under the handkerchief force, but it has a naturalness in h a n d l ni g that should commend it to the perfectionist. The card to be forced is on the face of the pack. The pack face down is taken from the right hand by the left hand between the second, third and fourth fingers on one side and the thumb on the opposite side, the right finger at the outer end keeps the pack steady. In taking the pack, the left thumb pulls down the bottom card slightly forming a break. A handkerchief is now taken and placed over the pack and a spectator approached with a request that he cuts the cards through the handkerchief wherever he wishes. As he does this and takes the top packet away, the performer makes the Charlier pass (the force card being the bottom stock for this purpose) and brings the card to be forced to the top of the packet held. This card is then noieil by the spectator.’
-
ULTIMATE THREE CARD PREDICTION (Continued from page 66) andthe first card is not forced. The routine, in 6 Palm card from under coat totop of pack and force on S3 as before. outline, is as foUows. 1 Apparently write prediction for S1, actually And now a few final comments. In this effect write that for S3 (card under the coat). details of technique can obviously bevaried greatly to suit individual performers. Slips could be used 2 Card chosen by S1, and its name discovered instead of visiting cards, folded, and dropped into from the stock. a tumbler. The actual word written can be altered 3 Apparently write prediction for S2, actually but I am sure that some different wording should that for S1. be used on each of the three cards, a psychological 4 Card chosen by S2, in a different manner to point which increases the all over effect. I f you Sl’s selection, and discovered either from the stock know the initials of S3, initials could be used inor by glimpsing. stead of numbers onthe cards. And finally, as 5 Apparently write prediction fur S3, actually this is a mental effect, please. do not use any fancy moves, flourishes, shuffles or cuts with the cards. that for S2.
68
TWO THINK AS ONE H A R R Y E. B U R N S I D E and C H A R L E S W. CAMERON NCE MORE a “long distance telepathy ” effect andonethat, if presented with the proper amount of showmanship, will completely bewilder the audience. The medium is, as usual, led away under escort. The mentalist hands an unopened pack of cards to a spectator and requests him to break the seal and to extract the cards. He is told to thoroughly mix the cards. When this has been done he is asked to deal out 16 cards in theform of a square on the table. Remainder of pack is now pocketed by spectator. The assisting spectator, or any othermember of the audience, is asked to lift any card and to show it to the audience. The card is then replaced and the mentalist, after requesting that his partner be brought back, stands in front of the audience in any position that they may choose. From start to finish he has not handled nor, if desired, even looked at the faces of the cards. If the latter be the case then the medium is, of course, not reading his partners mind but that of the spectators. Upon the mediums return he goes straight to the table and, after due concentration, picks up the correct card. If the cards have been dealt out face up then the medium can practically name the care immediately upon entering the room.
0
2
I ..................................................................
.....
.....
-
. .;.......................................... ............
. “ “ “ . . I ”
4
SKETCH A
3
”...
SKETCH B
Audience c)90.83cB9aQ3~tbWw
1 Extreme left
3 Right Centre
2 Left Centre
4
Extreme right
SKETCH C
TABLE Chair 1
TABLE
TABLE
b 4 2
3
TABLE Chair 4
The mentalist may be watched as closely as the audience desire because he does not give any signals nor make any movement once the medium has entered the room. Credit must go to the Master Magician . . . Annemann, for it was one of his effects in his immortal Jinx that guided our minds along the road that led to the evolving of the above effect. The effect in question was “ Thoughts in the Air,” Jinx No. 14. Requirements-Anew, u n o p e n e d pack of of cards, a table and a chair. The required code is simple and is as follows. Sixteen cards are dealt out in the form of a square. Both magician and medium h a v e mentally broken the large square of 16 into 4 S m a 11e r squares, as indicated by 1 2 3 4 in sketch A. The four cards in each of the small squares are coded 1 2 3 4 (always coding clockwise). Any card chosen can now be coded by means of two signals. First the particular small square in which the card lies is coded by the mentalist’s position in front of the audience. A glance at sketch B should make this part clear. Next the number indicating the actual card itself is given by means of a chair code. (Contiuued on page 69)
69
“
UNPREDICTABLE PREDICTIONS” PHIL WYE
0 titled because of the ultimate ending of the effect is not known, but the card is predicted just the same. I was “ shaken ” when I saw C y Endfield do the original effect, but have since found itinvariably works under certain conditions. When performing it recently, spectator failed to select the right card, and I have to quickly devise an alternative ending to “ save face.” It bears a certain resemblance to P et e r Warlock‘s “ PreCog Speller.” The effect isthat acard is predicted, the whole pack is spreadout face up, and aspectator is asked to push out any card. Under these conditions, p e r f o r m e r i s shown to have predicted selected card. That is the ideal condition. The alternative procedure is that one or more cardsare pushed out of the spread-name of chosen card is spelled out, and predicted card turns up on last letter. First the psychological angles on the original effect, which is best performed on the ideal type of amiable, good-natured onlooker after you have shown your prowess with one or two other effects. A card is glimpsed, written down as your prediction, and cut to approximately centre of pack. With no indication of your intentions, cards are spread out slowly on table face up, stressing the factthat youwant all cards to be seen. Try to arrange matters so thatcardsarespread with glimpsed card veryslightlymore exposed, and directly opposite spectator’s right or left hand. Ask him to push out any card (stressing this
S
TWO THINK AS ONE
strongly) and make an indicative movement of the hand directly above where the glimpsed card lies. Ask him to use whichever hand is nearest to your predicted card. In themajority of cases, the spectator, acknowledging the fact that it matters little which card he selects, takes the line of least resistance and pushes outthe predicted card. When this happens, and it does frequently, make the most of it by a short “ build-up ” before disclosing name of predicted card. Now supposing spectator pushes o u t the wrong card. Quickly assess the number of letters in the name of this card. Assuming it has twelve letters, cut your glimpsed card to this position from top ofpack. Now finisheffectbyspelling out value of card pushed out, and disclose force card and prediction. Alternatively, you can have three cards pushed out, one of these selected, and spelling out name of this card. This method gives you plenty of time for counting twelve cards away from predicted card. Also, if thecard chosen should have thirteen letters, one of the discarded cards can be put on top of the pack, thus putting card in correct position for spelling to. It sometimes happens that the cardnext to the predicted card is pushed out (this maddening thing often happens when I try to force a card and I utilise this to advantage in the same way). Give thema choice of the card above or card below the pushed outcard.Arrangematters so that predicted card is left. Do try this out-I think you will like it.
(Continued from page 68)
When thespectator first comes forward to assist, he is asked to sit down at the table -when he has chosen his card and held it up so that the audience may see it, the mentalist thanks him and asks him to return to his seat in the audience. As he says this the performer courteously assists the spectator to rise by easing his chair back and then .casuallyhe pushes the chair forward and thus codes the second part of the required key. The chair code is as follows-Chair level with table but not pushed under - 1. Chair slightly tilted to right - - 2.
Chair slightly tilted to the left - - - 3. Chair pushed in flush with the table -
- - - 4.
Sketch C illustrates the code. The above effect could be worked into a very nice article test bysimplyhavingtwo spectators collect various articles from members of the audience, e.g., keys,coins, cigarettes, matches,pens, etc. These are then placed on the table in four lines of four, and byusing the method just explained, the medium could tell the particularobject the audience were concentrating on.
“ Where the juggler is in the true sense a ‘ stylist ’-and there seems no reason whatever why h e should not be 0ne-h can use the poetic glamour of rythmic gesture to entrance the audience with art 8 s well as raise their admiration deafness.” by his S. H. Sharpe-“ Neo-Magic ”
70
WHAT ARE YOU PLAYING? G . E. ARROWSMITH E X P E R I M E N T S inpsychic phenomenaaremany and varied,.”says thementalist to hisgullible is audience,” but I am going to attempt one that different from the average test, and it will, I hope, convinceyou of thereality of thosediscarnateintelligences that often play an active part in our every day life He thenproceedstotietogethertwounsullied slates, first markingthemforfuture identification. They are given to someone to hold. A pack of cards is next introduced, but, instead of thefamiliarredand blackpips,eachcardhas thename of amusicalinstrument-violin, ’cello, bassoon,cornet,piano, etc.-printed upon it. This pack is introduced as a complete orchestra. A volunteer is asked to step forward and the cards -re given to him to shuffle. “ Now,” says the psychic demonstrator, “ I want you to select one card, and whatever instrument it denotes shall be the one wewill use in our experiment.”
The volunteercutsthepack;removesthetop card, and shows it to the audience (let us suppose it has “ TROMBONE ” printed upon it). “ Yourjobisgoingto be a ‘veryresponsible for by selectone,” continues the genial performer, ing that particular card you have voluntarily undertaken to playatrombonesoloinourinvisible orchestra.Nowthisistheimportantpoint,you yourselfshalldecide what piece you will playbut you will keep the name of it to yourself andnot let me, or anyone else know the title of the musical composition that you have in mind. While you areplayingyourimaginarytrombone my invisible discarnate intelligencer will be watching your movements, and from them he wili be able to discover what you are playing, and, as proof thereof, he will writeitdownonone of thosetwoslatesthatare beingheldbyyonderobliginggentleman, andon the other slate he will write the name of the instrument you are wing in your solo performance. Ladies and Gentlemen, to makethis experiment more if my exciting I ampreparedtoissueachallenge psychicpowerfails tonamecorrectlywhatthis gentleman is playing I will give E50 to any deserving “
’
charity he cares to name-even pens to be himself.”
if that charity hap-
The challenge having been accepted, the volunteer soloist is made to stand facing the audience, and he acts the part of a trombonist (if there is such a word!) one hand holds the invisible instrument to his mouth, and the,n, puffing out his cheeks and working hisotherhandtoandfro,hegoesthroughthe actions of a player who is performing on that queer lookingmusicalcontraption.Needlesstosay,from of view, hecutsaridiculous theaudience’spoint figure, andhisanticsarecalculatedtoprovokea good deal of merriment. Afteraminuteor two of thisabsurdmiming the performer says, “ By now my discarnate intelligencershouldhavediscovered the name of theinstrument you are supposed to be operating and also I stand to what you areplaying. If hehasfailed lose f50,so this is a critical moment for me. Please untie the slates.” When this is done, on one slate is written TROMBONE ” andontheother - haveyou guessed it?-“ YOU ARE PLAYING THE FOOL.” Shrieks of laughter from the audience, and complete collapse of the volunteer instrumentalist!
“
There is verylittletoadd.Theslatesareprovidedwiththeusualloose flap whichhides writing until the final revelation is made.
the
The instrument card is forced by any of the one hundred and one methods that are available. And the volunteer? Well, care should be taken in makingthe selection fornoteveryone is going toappreciatethehumour of thefinalsituation! However, if theperformer,duringhisshow,has suffered at the hands of some interfering member of the audience-one of those horrible “ funny men ” volunteer to help and then steal the magician’s thunder by doing their best to spoil the trick -here is a grand way of scoring off him and keeping him silent for the rest of the evening. But a word of warning.Please do not trythis psychicexperimenton a Bishop, or anyotherdignitary, for quite frankly, they will not be amused!
“ And why not Magician? Let us avoid pedantry and be as euphonious as possible, We do not call an actor a ‘player’ or a chiropodist a ‘corn-cutter’? Let us see that Magic in our hands is an Art, that we may prove it is so to the carping critic. Let us above all, remember that Art i9 R& a thing separate and apart, it is d y the best way of doing things.’’ Douglas Dexter-“ The Magic Circular,” 1927.
I
N our previous issue we made mention of the fact that Eric de la Mare’s brick production effect would appear in this number. Because of many things this could not be, but this pleasure for readers will mean they will have to wait for the July issue which will be a Malini number. Dai Vernon has now left these shores and an aching void is left amongst those who eat, drink and dream magic. To those with magical integrity, his advent and work have meant an adjustment of technical standards. His advice and logical reasoning brought back only too well the utterances of David Devant. There never will be anadequate wayof thanking Dai Vernon for his patient and exhaustive treatises regarding the effects that he presented. It wasverynice to hear such a great artist giving so much credit to other magical workers and his oft repeated admiration for Johnny Ramsay must have been balm to all those who hold this mighty atom of a Scot in such high esteem. Let us thank too, IIarry Stanley for without his enterprise and organisation there would have been no Vernon. Without his persuasiveness there might have been many who thinking of Vernon only in terms of card work wouldhave
I
stayed away from the lectures and missed the most magical performances of the great classics that we have seen. If you suffer from very dry hands andperform the cups and %alls, theroutine used demanding classic palming, substitute for the usual cork balls piecesof rolled Plasticine. (This can be obtained in a variety of colours). You will find that this is ideal for handling. Once again .we’ll remind readers that the fastest drying adhesive for joining two materials, wood, silk, rope, etc., is Balsa cement. Although of little use in a rope routine where two ends have to be joined during the course of the routine, a permanent joint such as required in an extra loop can neverbe equalled by rubber cement. Once joined with Balsa cement two ends can never be separated. Dr. Harley’s three card prediction described in this issue is an ideal item for intimate. Regarding the place back move he mentiohs, we are certain that credit should go to Francis Haxton.
BOOKS ConjuRING TRIX, by Hans Trixer (Published by George Armstrong, price lO/-net) In this booklet of some forty pages, Hans Trixer has added quite a deal to the existing material dealing with Ring magic. In all he describes some eight effects, three of which make use of the Ellis Ring gimmick whilst the remaining five are concerned with borrowed rings. The first effect is a versionof the ring on stick we had the pleasure of seeing performed by that great artist Freds Kaps. It is delightful magic. The ring on string next to be described is a follow up which serves to heighten the general effect. Using borrowed rings, there are versions of the ring on and off stick, a follow up to Hahne’s Ring of Thorh” a nice version of Stewart James’ ring on ribbon effect and a poor man’s “ Flying Ring.”All are fully practicable, all require little more than average skill to produce the maximum effect and they are really magical in effect. The author concludes his all too short treatise with a description of a visible ring on wand using +‘
an Ellis ring. Nicely printed, special commendation must go to Jack Lamonte, who has designed one of the best covers we have seen on a magical booklet. No reader of the Pentagram should miss this publication. With it the recent series of ring effects in this magazine by John Howie make up a most informative and worthdile contribution to that particular form of magic. Douglas Hood’s “ SUPERCHANCE.” Marketed by Douglas Hood, price 12/6. In this effect, Douglas Hood has produced a very worthwhile version of “ Just Chance,” and whilst, to the best of our knowledge, the means used have been previously described, the purchaser receives some very nicely-printed “ Sorry ” Cards all ready for performance. For these alone the outfit is well worth the price asked. Mr. Hood, with the usual care that he takes when describing an effect,leaves no point uncovered in his. instructions. An excellentbuy.
72
I
THE BOOK QF THE YEAR
ConjuRING TRIX by EANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you. If, on the other hand, you prefer tricks with borrowed rings, then this book is still for you. In its forty odd pages there are described and iilustrated three miracles with The Jardine Ellis Ring, and six outstanding effects with borrowed rings. The Ring on Stick, The Ring on String, and Visible Ring on Pencil are effects that will leavea close-quarter audience gplping with amazement. We know that TheJardine Ellis Ring,is employed for all three but they d o not. and the handling is so perfect that they will never suspect that things are not as tiey seem. In thesection with Borrowed Rings, there is also a Ring on Stick routine, together with two methodr forgetting The Ring off Stick. The Ring o n String and theRing o n Silk are also accomplished with borrowcd rings, as ir The Flying Ring-normally an effect requiringextremely expensive apparatus. but now requiringjust--. ring, a safety pin anda rubber band.
That is the only apparatus required for any of thew effecta. apart from the Ellir Ring for the first three dccts.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have. PRICE lO/- ; postage 3d. FROM THE PUBLISHERS
THE , M A G I C WAND PUBLISHING C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
e MAGIC
WAND
George Armstrong
... 719 ... 21/... 1013 ... 1013
Ron Baillie
... 1013
Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism M w Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Routine)
GoorgeArmstrong‘s
George Armstrong
Premonition ”
(Mental Routine) Extra Sensory Perfection
Routine) (Mental
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
... 1219 ... 1013 ... 1719
S. Edward Dexter ... 719
Entertaining with Hypnotism S.EdwardDexter Identity Parade (Humorous mental routine)
Will Dexter
The Magic Circle Prcrident: Herbert J. Collings, Esq. Vice-Preeident : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Road, London, N.W.1.
Huston
Magical Theatre :
King George’s H a l l , W.C.
Summer Recess .
Puticularr from Hon. Secretary
Poter Newcombe 38 Overdale Avenue N e w Malden, Surrey
... ...
1013
719
PETER
PUBLICATIONS Automentalism (Complete act,with apparatus)
... 2013
Ken de Courcy
Dubbelkrosr & Simulkross (Coin Routines)
Ken de Courcy ... 513
Zodiac Tolrpathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
... 1219 ... 2516 ... 1013
Douglas Francis
...
719
Martin Gardner
... ...
719 513
...
1013 513
Mother Goose Mystery (Mental Effect)
Twenty-SixLiving & Dead Tests Terel Garrett The Concert Ventriloquist and Children’s En*ertainer Maurice Hurling jamesosophy (Card routines) Stewart James Etc., Etc.
...
WARLOCK’S
PENTAGRAM
JACK HUGHES will be plewd to s n d you full details of
is publishedon the 24th of arch month and canbeobtained direct from thepublhherr for 117 perbinglecopy.AnnualSubscription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with ell his other effects in return for a stamp,
hanoscripts for publication md hooka f o r review rhould ba seat to the: EDITORIAL ADDRESS:
Peter Warlock, Wallington,
24, Wordsworth Rd., Surrev.
Write now to
Jack Hughes, 2, Eivelyn Ave., Colindale, London,
N.W.9.
Every Advertiser’: goods arefully endorsed by this Bulletin
7
TAKE THREE PETER WARLOCK
T
HOUGH aspectatorhas
to assist the performer with this card trick, he doesn’t have to take a card! The pack is removed from its case and placed on the table. A spectator is then invited to shuffle the cards, replace them face down on the table and cut the pack into three approximately equal piles. One of these piles is chosen and theremaining two returned to the card case. Taking the heap chosentheperformerribbonspreads these cards asking the spectator to push out any three cards. When hehasdone this the performer removes three visiting cards fromhis pocket, places them on the table, and once again troubling the spectator he hands him a pencil,he asks him to note the nameof each card on one of the visitingcards. When this has been accomplished, the three. cards still face down are returned to different parts of the packet. The visiting cards are turned writing side down and mixed by the spectator. One of these is chosen and without looking to see what is written on it the performer places it upon the pile of cards and taps it three times with his first finger. “Just look at the name on the card and tell me what it is,” saystheperformer to thespectator.Thelatter looks at the card and possibly reads out, “Ace of Clubs”. “Believe it or not, sir, with a continuation of the ‘3’ motif, when I tapped the pile of cards three times your cardvanished withthe intentionof joining the cards you discarded and whichwere replaced in the card case. Just see for yourself.” At this point the performer turns thepile of cards on the table face up and ribbonspreads them. The selected card ismissing. Carefully removing the remaining cards from the cardcase, the performer ribbonspreads them face up across the table. Near the middle of the spread one card lies face down. “Just remove that card” says theperformer to the spectator. He does so and on turning it over finds that he holds themissing card, the“Ace of Clubs”. Now whilst there are very many ways in which the above result could be accomplished, my chief thought has been that of allowing the spectator .-
-
.
VOLUME 9, No. 10
..-
-
__
._
a free handlingofthe cards until the actualclimax of the trick. As a table trick, one can impress so many times ona spectator thatbe sbded the pack, be cot the cards into three heaps and so on. With this thought in focus, a gimmick was brought into play, a gimmick whosetask is to place the necessary card face up in a face down pack packet of cards. It is easily made from a strip of tin which equals in width the inside breadth of the card case you wiU be using. This strip of tin is first bent into this shape :
and then, with a pair of pliers pinched in so that it lookslike this:
This piece of shaped tin is now cut so that it exactly fits into the cardcase. With a pack of cards and some visiting cards plus the cardcase and gimmick and you are almost ready for the presentation. It is important that one of the visiting cards can easily be identified from the printed side. That is a matter for the individual. Any form of marking used should be subtle even thoughthespectatorhaslittleopportunity for This marked visiting card IS closeinspection. placed on top of a dozen or so undoctored visiting cards which are slipped inside the performer’s wallet. .-
l /a. (20 Cents)
-
.
.
JULY 1955
74
One card, say the “Ace of Clubs”, is removed from the pack and is slipped inside the tin holder which in turn is pushed inside the card case. If the gimmick has been made correctly thecard will takeup a central position. About half a dozen cards are now removed from the remainder of the pack. This incomplete pack is divided into halves each half being placed inside the card case with the card in the gimmick dividing them. Because of the abstraction of the six cards from thepack proper, it willbe found that all these cards can be slid out of the case without any chance of disturbing the anchored “Ace of Clubs”. The flap of thecard case is now tucked in and with a pencil in a convenient pocket the performer is ready to commence. Presentation. Seating himself at the table, the performer twas to a spectator on his left asking for assistance. At the same time the card case is picked up, the flap opened and all the cards with the e x c e p t i o n of the one in the g i m m i c k , a r e allowed to slide out.The performer keeps the open end of the case towards himself so that there is no possibility of anyone spectator glimpsing the anchored card. The pack is passed to the spectator who is asked to give it a thorough shuffle. Whenthis is completed he is further requested to cut the pack into three approximately equal heaps. At this point, though it doesn’t matter a Tinker’s Cuss which heaps are .eliminated, later the performer has to force one of the visiting cards upon the spectator and therefore it is preferable that a similar form of selection be adopted here. “Just touch two heaps”, says the conjurer, and the spectator oblingingly does as he is told. The untouched heap isplaced to one side, andthe performer takes these two heaps assembling them into one pile, turning them over and ribbonspreading them across the table. The purpose of this, without any audible comment, is to show that the cards are all facing the same way and that no one card is face down. The cards are now gathered up and replaced in the card case so that theanchored card not only goes amongst them, but also that itis facing the reverse way. The card case is now placed down this time the spectators beingallowed to see inside the case. The third heap of cards is turned face up and ribbonspread to show that every card is different. With a finger flick the spread is turned face down and the spectator asked to touch threz cards which are the11 pushed out of tile spread. The renaining cards i3 the spread are now gathered U? into a f x e down pile whicll is plased near the edge of the table. At this point the conjurer removes his wallet and taking oat the packet of visitin2 cards, counts off three, oils at a time, ia front of the spectator. The effectof this willbe thatthe marked card which was on top of the packet is now the bottom card of thc pile of three. The remaining visiting cards are now replaced in the wallet and the pencil taken and handed to the spectator.
“As I name the cards that you have chosen from this pile (the performer indicates the pile near the edge of the table) I want you to record veiy briefly their values on the three cards I have given you. One name to each card.” The performer now picks.up one of the cards with his left hand brings it over to his right, looks at itand names it. At this point he allows his right hand to drop a little so that the spectators can see the face of the card. The spectator having written the initials of the card on the top visiting card, places this aside and the conjurer takes one of the remaining cards with his left hand once again bringing it across to the right and placing it behind the first card. Again he names it and the spectator writes. Again the right hand drops a little so that the index of the second card can be seen. And now the performer speeds up the tempo. “And thirdly,” taking the remaining card with his left hand, “the ‘Ace of Clubs’.” His action this time differs slightly for he brings the third up, glances down at it, and whatever it may be miscalls it the ‘Ace of Clubs’. He places it behind the other two cards so that they just kill the index. If the action of picking up these cards is perfectly natural, there should be no suspicion in the minds of the spectators that there has been a miscall. In any case at this point they have no knowledge of what is to come. The three cards in the conjurer’s hand are now turned face down and taking the pile of cards near the edge of the table, and keeping the faces down, the performer takes the topmost card of the pile of three (this is the miscalled card) and pushes it halfway into the middle of the pack. The second card goes halfwayin a few cards above it whilst the third also halfway in a few cards below it. The packet is now turned face up and the spectators have a sight of three cards protruding from the pack. The face of the one they see is, of course, the first card called. The packet is now turned facedown and three protruding cards pushed into the packet which is squared up and placed once more near the edge of the table. The spectator is then asked to take the three visiting cards, turn them writing side downwards, and mix them, so that neither he nor anyone present can have any idea which card bears the name of a particular card. When he has done this the conjurer takes them and places them side by side on the tabls. “Now, sir,” says the conjurer to the spectator, “will you touch two of the cards.” If he touches the two unmxked cards, the performer is well away, for these two cards are taken and placed aside. If, however, the msrked card is included, the untouched card is placed aside and the spectator asked to lift one of his hands froin the cards he is touching. This works to the conjurer’s advantage each way. If he frees the marked card, the conjurer says, “Thank you, let’s placethe other one aside.’’ (Continued on txzne 79)
CONTROLLED THOUGHT HARRY E. B U R N S I D E AND CHARLES W. C A M E R O N HE magician asks a spectator to assisthim and requests whoever comes forward to seat himself at a small table. He gives the spectator a pack of cards and tells him to thoroughly shuffle them. When the spectator has mixed the cards to his complete satisfaction, the magician tells him to cut the pack into three heaps. Next he requests him to select one of the heaps and to push it slightly forward. He is then told to selectany card hewishes from thechosen heap. He is asked to look at and to memorise his chosen card and to lay it face down on the table. The other two heaps are then picked up and shuffled together. The chosen card is now placed on top of these shuffled cards and the remaining heap is placed on top. The pack is now shuffled and cut and then laid aside. The magician points to one ofhis jacket pockets and tells the spectator that this is the pocket that is going to be used in a moment for the culmination of the effect. He tells the spectator to take the value of his card and to add to it any number between 5 and 25. Next he is asked to divide his answer by two and finally to add any number between 1 and 10. The magiciannow asks him to announce hisanswer. The spectator names the result of his calculation and the magician promptly says “T hadan idea that wouldbe the answeryouwould arrive at. Please putyourhand in my jacket pocket and remove the envelope that you will find there. Please also satisfy yourself that there is nothing else in my pocket.” The spectator removes the envelope and is told to tear it open. Upon opening the envelope, he finds a duplicate card to the card that he so freely chose. From start to finish the magician does not touch the cards and at no time does he look at the faces of the cards. Properly presented, this isreally a verybewildering trick and has fooled not only laymen but has puzzledseveralmagicians.
T
You will require a pack of cards, marked in
I
your own system, a set of our old friends . . . the invaluable card indexes and twoenvelopes. The card indexes are placed in your trouser pockets and the two envelopes are placed, one in either outside jacket pocket. The envelopes require a certain amount of preparation, but it isvery simple and consists of painting around the. gummed part of the flap with rubber cement and also on the part of the envelope that the flap is gummed to. These envelopes,once the solution is dry are placed in yourpockets,flapsbeingupwards. Please do not shudder as so many magicians do when you realise that a pack of marked cards and card indexes are used. You willfind as you read on that there isplenty of time for you to read the marking on the back of the card and all the time in the world for you to find and palm out the duplicate card. Have your assistant seated at the table, give him the cards to mix. Tell him to cut the pack into three heaps and to push one heap slightly forward. Nexthe is to look at and to memorise any one card from his chosen heap. This card is then laid, face down on the table and the spectator is asked to pick up the other two heaps and to shufflethem together. Whilsthe is doing this,youhaveplentyoftime to read the back of the marked chosen card. Immediately you have found out the name of the card walkslightlyaway from the spectator and, as you are talking to him, place your hand in the appropriate pocket and palm out the duplicate card. Casually place your hand in either the right or the left-hand jacket pocket, depending upon the position of the palmed card. Slip the card into the envelope and press the flapdown. You willfind that the envelope is now securely sealed. Carry on with the ‘Mumbo Jumbo’ regarding the numbers and then finish the effect as described. You will find as we have mentioned that you have plenty of time to find the chosen card and to place it in the envelope.
“To be applauded by fellow magicians, for a clever bit of misdirection should not be considered a compliment, Misdirection, recognised as such, has failed in its real purpose.” AnApproach to Misdirection,Volume 40. The Spinx. Leith Loder.
76
RETURN TO MARLO HARRY E. BURNSIDE A N D CHARLES W. CAMERON
I
N PENTAGRAMNo. 6, Vol. 7, appeared Peter Warlock’s excellent version of “Angle on Marlo”. In the same issue Stewart James came forth with an additional brilliant idea which predicted in advance the“thoughtof”number by means of two reversed cards. Francis Haxton evolved another subtle version under the title of Spectator’s Choice, published in “My Best Card Trick”. In Pentagram No. 7, Vol. 7, an effectcalled Mentalist V. Marlo, by Peter Warlock, gave yet another version. The basic idea behind this effect is extremely intriguing, and the two versions that follow have been evolvedthrough experimentingwith the variations givenby the above-named gentlemen. Effect. Prediction is written and given to spectator, followingwhich a packof cardsis shuffled. The cards are turned face up and several cards are counted off the pack, showing, without drawing,undue attention to the fact that the cards are all different.When theJokerappears,it is thrown on to the table and the remainder of the pack (approx. 30-40) is then handed to the spectator, He is requested to mix the cards and then to‘hold them face down. He is asked to deal cards face up onto the table. He is told to stop whenever he wishes and to dealthe next card face down uponthe face-up Joker on the table. These two cards are placed on top of the face-up portion which has been held by the magician. This portion is now cut, losing the two cards inthecentre of the heap. The heap of cards is spread out face up until the reversed card beside the Joker appears. This card is removed and laid face down on table. The prediction is now read out and a spectator turns the card over and finds that it agrees with the prediction. This first version is based solely upon the fact that practicallyevery pack of cards nowadays has two Jokers (care must be taken in choosing a pack as certain packs have two differently-coloured Jokers). The set-up is very simple-pack face up. Top card being an indifferent one, face up. Second card is force card, face down then Joker, face up, followed by remainder of pack also face up. The second Joker is inserted about 12-13 cards away fromthe prediction (force) card. Prediction is written and given to a spectator to hold. Shuffle cards, keeping bottom three cards in position, alsotry to retainthe second Jokeras near to original place as possible. Pack is now tvrned face up-secure a little finger break under first three cards anddeal them off as one card onto
palm of other hand. Continue dealing cards off m top of these card(s). Deal until you arrive at the second Joker. Throw this cardontothe table, faceup. Balanceofpackisnowgiven to spectator (they can be ribbonspread face up across table which emphasizes, without calling attention to it, that all the cardsare different). Spectator is asked to shuffle these cardsthen, holding themface down he is told to deal cards, face up onto table, stopping whenever he wishes. When he stops he is told to deal the next card, face down, on top of the Joker (the Joker being face up). These two cards are then picked up and placed on the face-up small group held by magician. At this point cardsin magician’s hands are asfollows :-top card face down-being the spectator’s chosen card, underneath this is the face-up Joker, followedby a small group of cards, face up; second from bottom of this group reversed is your prediction (force) card. Cut these cards and complete the cut. Recap, what has happened-prediction written-held by spectatorbalance of pack shuffled. Card freely chosen and nowlyingreversed in face-up group of cards, next to Joker. Cardsare now spread face up between the hands until the first reversedcard shows This islyingimmediately above a Joker. Half remove the face-down card and show a large part of the Joker. This should register subconsciously in thespectator’s mindthat all is fair. Card removed and placed face down on table. Prediction is now read and the card is turned overby a spectator. Close up group of cards and replace on packthis leaves you with a reversed card (being spectator’s actualchosen card). This you can dispose of by shumng cards and reversing the card by any of the well-known sleights intended for this purpose. The secondversiondepends upon sleight of hand and has the advantage of leaving the performer absolutely clean. The pack can be examined immediately by the spectator and yet all is fair. Effect. As before. Set up-Pack face up-second card reversed, being force card. Pack shuffled, retaining bottom two cards. Pack turned face up and top two cards are dealt off asonecardonto palm of hand. Continue running cards off singly until spectator tells you to stop. Hand him the balance (try and have at least 12 cards from the pack before being stopped). Retain face up, in hand,the dealt-off group. At the bottom of this group, reversed, is your predicted card. Take care not to expose this card. Balance is shuffledby spectator who holds cards face down. He is asked to deal face up any number of cards, stopping whenever he wishes.
Once he has stopped he takes the next card, face down,and places it still face down on the group held in magician’s hand. Allow him to notice the face-up card below his chosen card, say in this case the Queenof Spades. Cut groupof cards and justbefore completing the cut, obtain a little finger break under the card above theQueen of Spades.(This card is, of course, the spectator’s card.) Close up thegroup then side slip palm the spectator’s card from the group. I
t
Turn the face-up group facedown, in the same motion transfeming the cards to your other hand and adding the palmed card to the top. At this point recap what has happened, then fanthe cards face up, one card and only one will now be reversed, immediately above the Queen of Spades, which wasthe spectator’s checkingpoint. Prediction is now read outandthespectator himself can remove the reversed cardand willfind thatit agreeswith the prediction. Cards may now be examined and the performer can relax.
“After all the real art of misdirection is to so time and routine the act that all need for misdirection is apparently eliminated.” An Approach to Misdirection, Volume 40. The Sphinx, Leith Loder.
ROYAL QUADRILLE HARRY E. BURNSIDE AND CHARLES W. CAMERON WAY back in August 1949, in the “Wizard”, Volume 3, No. 29, Al. Koran had a very wonderful item under the title of “Cut a Suit,” based on the Vernon undercut and VernonSlip Cut. The routinefollowing was actually worked out before Roy Scott-who is our Jack Potter of the North, drew attention to the Al. Koran effect. The details of the basic sleight involved are also given in Buckley’s “Card Control”, page 78. Also required is a double lift and jog shuffle-but for completeness the necessarymoves are described in full. Effect. Performer shuffles a pack of cards and produces one at a time the four Jacks. These are returned to the pack and each finds the Queen, King and Ace of his respective suit. The Queens, Kings and Aces are removed from thepack and the pack ribbonspread showing thatthefour Jacks have apparently vanished. Pack is re-assembled and fanned to show that the four Jacks have reappeared but are now reversed. Preparation-Simple and easy to remember stack of the top 16 cards. Remove from the pack all the Jacks, Queens, Kings and Aces. Place the balance of the pack face down on the table and assemble the court cards and Aces as follows. Top CardJack of Spades Face Down. ,, Diamonds ,, Clubs Hearts A;; of Hearts Y9 King of ,, Queen of ,, Face c p . ofAce Clubs Face Down. King Y, Queen 9, Face c p . Ace of Diamonds Face Down. King of Diamonds
A
9,
¶ ,
9,
9,
Face Up. Queen of Diamonds Ace of Spades Face Down. King of Spades Face Down. Face Up. Queen of Spades This packet with the face-up Queen of Spades at the foot of same is then placed on the remainder of the pack and you are allset. If you wanta check at this point spread the pack and you will find a face-up Queen at positions 7, 10, 13 and 16 from the top of pack. Stage 1. Undercut half the pack,injog first card of the undercut section and shuffleoff the remainder. Undercut at the injog and throw on top, bringing you back to original set up. Flip over the first card-the Jack of Spades. Repeat the above moves, three times producing in turn the Jack of Diamonds, the Jack of Clubs and finally the Jack of Hearts. Jack of Spades, Diamonds andClubs are dropped on the table as produced but the Jack of Hearts is retained FACE UP on top of the pack when produced. Stage 2. Hold the pack in the left hand in the dealing position-face up Jack of Hearts on top. Bring the right hand palm down over the pack, thumb nearest your body and obtained a break with the right thumb on the top three cards. This will expose the face-up Queen of Hearts to yourself (only as a check point, being nearest your body and the break hidden from front and sides by left and right hands). Now with the left fingersunder the pack undercut half the pack and slide them under the arch of the right hand, covering the face-up Jack of Hearts. Replace the left hand to its former position and undercut to the break still held by the right thumb. This brings into view the face-up Queen of Hearts and this packet of cards is also slid under the arch of the face-down right hand. The Jack of Hearts
78 has found the Queen of Hearts and if you flip the entire pack over the King will now be looking you in the face. Obtain the same break on the King only with the right thumb-you right hand again in the same position-and repeat the double undercut move. This brings the Aceof Hearts into view. Stage 3. Double lift the Ace of Hearts (beneath thiscard is the face-downJackof Hearts). and hold thesetwo cards as one in the palmdownwards right hand.The Aceof Hearts isfacing audience-be careful not to give a flash of the Jack of Hearts. With the left handturn the face-up pack face down-flip over the top card-the King of Hearts which also reveals the Queen of Heartsand push these two cards off the pack with the left thumb under the Ace of Hearts (with the Jack of Hearts concealed beneath). Square up the group of cards and turn them facedown and place aside meantine saying “Ace, King andQueen of Hearts”. Stage 4. Now pick up the Jack of Clubs and repeat exactly the same moves in stages 2 to 3. TheJack of Diamondsand Spades being treated in like fashion. This leavesyouwith a heap of 16 cards face down on the table. The audience
being under the impression (if you have got away with it), that only the Ace, King andQueen of each suit are there. Now the balance of the pack can be fanned or ribbonspread on the table and no Jacks are visible. Gather upthe 16 cards which have been produced and addthem to the pack. Cut the pack and complete the cut. Now spread the cards out face down to reveal the four Jacks face up, having once more returned to the pack. FINAL NOTES.-As Al. Koran emphasized in his routine of “cutting a suit”-speed is the keynote of this routine-once the moves and sequence are familiar. The complete routine can be worked in two and a halfminutes.Also if the undercut moves are made ina sliding fashion without separating the groups of cards too much-the appearance of the face-up Queens is a nice point. In spite of the repetition of moves-there is an interest point for the spectator in watching the : build-up of the Court sequence. A certain amount of care-is required to avoid prematurely exposing the face-up Queens but otherwise everything is quite straightforward.
“I reiterate, the magician is an actor playing the part of a magician. In his case, however, it is not so much a case of ‘getting into character’ as itis letting the character get into him. Unless he does a costume act, the average magician should not try to be someone else, but himself at his best, but temporarily possessing magical powers.” An Approach to Misdirection, Volume 40. The Sphinx. Leith Loder.
BOOKS CY, ENDFIELD’SENTERTAININGCARD MAGIC. Part 1. Described byLewis Ganson, published by Harry Stabley, price 12s. 6d. To those who read the “Phoenix”,the name of Cy. Endfield was known before he arrived in this 1952. This knowledge, country way back in however, gave no trueindication of his capabilities. These we soonfound out when at the Unique Studios and Victoria Hall he demonstrated some of the most delightful tricks in which the handling was superb. Most of all, because his general background is a most imaginative one, eachtrick that he presented washeld together by an entertaining story with adult content. In the present book under review, the first of three parts, there are some six effects plus descriptions of three veryworthwhilemoves. There has been no attempt to economise on illustrations and in all there are nearly sixty photographs accompanying the text. The book beautifully printed by Harry Clarke, and bound in a stiff cardboard cover, is a definite “must”for all those interested in magic with playing cards.
In Chapter one, entitled “To Lighten the Burden”, Cy. Endfield givesa great deal of practical advicewhich iffollowedby the reader should allow him a mastery of the contents in the shortest space of time. Chapter two contains a trick “TWO to Divine”. The plot is that two cards used after the manner of a water diviner’s rod locate a chosen card. Chapter three coversin detail Endfield’s handling of the “Curry Turnover Change” and the “Multiple Card Pass”. In Chapterfour, a trick “Conjure Bones” has a West Indian magical ritual setting and is delightful for its simplicity of plot. “Blackie is with us” takes up chapter five. Blackie well known to Americans is the Mountie who always catches his man and in this effect he is represented by the Ace of Spades, whilst a quartet of crooks are the four Jacks. After various permabulations of the cards, Blackieis found face up amongst the four face-down Jacks. To those whohaveseenCy.performhis “Cards to Pocket” effect chapter sixwill contain the cream of the book. for in this chapter he describes his version of this great classic. Twelve
79 pages and some thirteen photographs go to the making of this outstanding item. Although the move associated with the name of Elmer Biddle has been described in more than one magazine, we have never seen such a detailed description as that which appears in chapter seven, whilst in the following chapter in a trick entitled “The Escape of the Musketeers”, the author puts it to good use. For those who do not wish for skilful card tricks, chapter nine is a bonus. A magazine test is describedwhichisself-working and at the same time one hundred per cent mystely. The fact that i t is used by Dr. Stanley Jakes puts the hall mark on this contribution.
In conclusion there is an appendix in which the followingbasic card sleights are dealt with :Single-handedsecond deal; EndfieldSlip Cut; The BestOverhandShuffle; The Buckle Count; The False Count; Jog Control.
I think from the rather rough outline the reader can well visualise that the contents represent outstanding value. Quite frankly there is within the covers of this sixty-four page book magic withcards on which the assiduous student could gain a great reputation. It ismagicoffine order with all the rough edges removed by a man who is an expert. We shall lookforward with anticipation tothe publication of parts 2 and 3. ~~~~
TAKE THREE-Continued from page 74 Themarked visiting card writingside still downwards is placed on the pile of cards and the conjurer taps itwith the pencil three times. “Believe it or not, sir, those three taps hadthe magical effect of causing the card whose name is written on the visiting card to disappear from the heap.Let’s have a look. Read aloud the names of the card.” With these words the visiting card is passed to the spectator whilst the pileof cards ispicked up, turned over and ribbonspread across the table and the spectator, after naming the card, sees that it is missing. “Well, sir, there is onlyone place it can be”
I
~
~
and with that the left hand takes hold of the card case near the bottom so that through the cardboard the edges of the gimmick can be felt and gripped. His right hand thumb and fingers take the cards inside the case firmly, so that there is no chance of the reversed card being retained by the gimmick, and withdraws the cards from the pack. They are ribbonspread face up on the table showing that one card liesfacedown. The spectator is asked to remove this and turn it over. To the greatest of his surprise, if you have carried out your part of the proceedingssatisfactorily, he finds that it is the missing card.
“A little analysis will show you that, peculiar as it seems, a comedy situation without its little element of tragedy can have very little comedy in it. . . “TO Wit”, The Sphinx, Volume 40. Leith Loder. .77
I
MAGIC-GO-ROUND hen Jay Marshal1 was over here we had a most interesting discussion one evening anent the Hooker Rising Cards, that fabulous trick which has madesuch interesting reading in the past. We well remember just before the War writing to John Mulhollandregarding this trickand putting the case that a duplicate set of apparatusmightbe made in this country for performance in a specified place, the secret and the working being entrusted to two reputable and- knowledgeable magicians. Somewhere we have John’s reply which strange to say did not damn the suggestion. The incidence of war drove away any chance of implementing the idea. The effect has not been p2rfomed for many years. Neither too has Miltiades 111. Jay, during our diasussion,threw s m x new light on t\e origin of the trick and we are wondsriag wktlzer t h e will help in tyacing an English version. Just as w2 finished writing the above words we heard with the greatest of regret that Willane had died. During his short stay in magicwecame in contact with him quite a deal and we can think of fewmagiciansconcernedmainlywithstage performance who have retained such enthusiasm for
W
novelty in magic. Once Will had an idea he was never content until he had got somebody working on the gimmick and then.putting it into rehearsal. Money was the last consideration, for healways wanted the best.One has only to consider the thought and work that went into his “Inebriate” act to realise that every point of presentation had been studied to produce the maximum effect. When I was arranging the Gala shoe for the Circle Jubilee, I asked whether there would be a chance of having his act in the bill. He told me then that he had finished with that particular act and was working on a comedy conceptioa in which a Hammond Organ played a large part. Willzne did mus3 far magic whens he started the Arcas publications. Though books played a large part in the initial venture, his publication of the “Methods for Mitacles” seriesoffered a poor man’s “Stars of Magic” series to the magician who wanted effects that were not self-working. The title of this series came from a book that he had from myself way back in 1951. A man who loved magic among many other things in life, he will be sadly missed by all who knew him.
I
THE BOOK QF THE YEAR
ConjuRING TRIX by HANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplirhed with The Jardine Ellis Ring, then this book is foryou. If, on the othor hand, you prefer tricks with borrowed rings, then this book is still for you. In itr forty odd pages there are described and illustrated three miracles with The Jardine Ellis Ring,and six outstanding effects with borrowed rings. The Ring on Stick The Ring on String. and VisibleRing on Pencil are effects that will leave8 close-quarter audience&ping with amazement. We know that The Jardine Ellis Ring, is employed for all three but thoy do not, and the handling is ro perfect that theywill never suspect that thingn are not m tdey W m . In the rectlon withBorrowed Rings, there is also a Ring on Stick routine, togethor withtwo methods for getting The Ring ofF Stick. The Ring on String and the Ring on Silk are a180 accomplished with borrowcd rings, as is The Flying Ring-normally an &en requiring extremely expensive apparatus, butnow requiring Justring, a nafety pin and a rubber band. That is the only appsratue requiredfor any of these effects,apart from the Ellis Ring for the fimt three effccu
.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have. PRICE lO/-; postage 3d. FROM THE PUBLISHERS
THE MAGIC WANDPUBLISHING
COMPANY
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I-
cc MAGIC
WAND % PUBLICATIONS
Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Routine)
George Armstrong’s
George Armstrong
‘‘Pramonition
(Mental Routine)
”
George Armstrong
Extra Sensory Perfection
(Mental Routine)
Ron Baillie
The UniversalMind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
S. Edward Dexter S. EdwardDexter
EntertainingwithHypnotism Identity Parade (Humorous mental routine)
...
WillDexter
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. : Hearts of Oak B u i l d i n g s , E u a t o n Road, London, N.W.1. Magical Theatrs :
ClubroomandLibraryandHussum
King Goorge’r Hall, W.C. Summer Recess Oct. 3 to 8-Festival of Magic
Putfeulam from Hon. Slurtaxy :
Poter Newcombo 38 Overdale Avenuo Surrey New Malden,
... 7/9 ... 21/... l0/3 ... 1013 ... l0/3 ... l2/9 ... 10/3 ... 17/9 ... 7/9 ... 10/3
Automentalism (Complete act, with apparatus)
Ken de Courcy
Dubbelkroso & Simulkross“(Coin Routines)
Ken de Courcy
Zodiac Telrpathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francis
Mother Goose Mystery (Mental Effect)
Martin Gardner
Twenty-Six living & Dead Tests Terel Garrett The Concert Ventriloquist and Children’s EnQertainer Maurice Hurling Stewart James Jamesosophy (Card routines) Etc., Etc.
7/9
PETER
WARLOCK’S
PENTAGRAM publinhed on the 24th of o u h month and can be obtaineddirect from the publbhan for 117 per sing10 copy. Annual Subocription 1 S/p a t free. PUBLISHED BYt U
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex bbanudpts for publication a d books for
roviow rhould k sentto EDITORIAL ADDRaSfr
the:
Peter Warlock, Rd., Wallingtm, SUrreyl
24, Wordrworth
T
BY rp PPOPUI.K)P~ nss AXD RM.D m
u a c
W WALZPI
a
PVBLIDIO -011 1-(
... 513 ... 1219 ... 2516 ... 1013 ... 719 ... 719 ... 513 ... 1013 ... 513
JACK HUGHBS wiIl be pleased to wnd you fulldetails of
THE DE LUXB “SU-TABLE” togother with all his other effects in return f o r a r t m p .
Write now to
Jack Hugher, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertieer’s goods are fully endorsed by this Bulletin nmusnno
... 20/3
O U Y A ~ . os wmmmQIon ~ O A D .XSWNLD, -SIX LTD., YIL -o=. SWUT. T O -
-
.
THE IDOL WHISPERS AGAIN ARTHUR CARTER N our eternal chase after novelty. all of us I Working. Now for Ponsin’ssubtlety, which think tend to overlook the fact that the giants until Hugard andBraue publishedtheir monuof the past knew as much as us of the present mental work: “ Expert Card Technique ” lay forgeneration. The subtlety on which the effect about gotten for over a century, and evennow-as far to be. described rests upon is over a hundred years as I am aware-this is the iirst application of it. It
I
old, being originally described by Ponsin in 1853. and which-since he did not claim to he the inventor mayhavebeen old eventhen. In fairnessto the present however, it must be statedthatthe basic idea is linked up with two items described by myself in previous numbers of the Pentagram. The clever piece of showmanship of receiving whispers from an image washoweveroriginally due to .Toe Ovette.
Effect. A spectator genuinely thioks of MY card he likesinthe pack, after which thepera small figure of a formerdrawsattentionto Buddha. The spectator is now requested to pick it up and-holding the same against hislips, whisper the name of his mentally selected cardinto its ear. The performer then receives the image from him and, standing with the lips of the figure againsthisear, states that it, in its turn will whisper to him the name of the card of which the helper is merely thinking. After a few moments cogitation he picks up a pack of cards runs through the same and places one card face down upon the table: the selector being asked to treat his card in the same manner. Strange to relate. he fails to find it. It is we will suppose, the Five of Diamonds. The tabled card is then turned over revealing-the Five of Diamonds! Well, that is the effect, as simple anddirectas could be desired, and although there is an element of risk, a suitable ‘‘ out.” which detracts littlefrom the h a 1 effect is provided. Requirements. 1. A small Buddha or other idol. 2. A pack of cards. Both items are unprepared.
VOLUME 9, No. I I
-
is simply Lip Reading. The performer. after handing the figure to the spectator, simply takes up a position from which he can watch the lips of the latter while framing the name of the card. Lip Reading-like Pencil Reading, is something which cannot be taught it can only be tried, but a few attempts with an intimate friend will convince the reader if itspracticability.Incidentally, it is as well to place the “ whisperer ” with his back to the remainder of the audience, as should the humour of thesituation overcome him,the impressions received will be somewhat “ blurred.” Now it is of course possible, that sooner or later, either the performerwill make a mistake, or an awkward individual willdeliberately place another cardupon the table: in which case proceed as follows. Hand the pack to be s h a e d , and on receiving it back “ glimpse ” the bottom card. Thii is your key. Request thespectatorto place thecardhe removed on top of the pack, and give the cards a cut, which of course places the selected card immediately below the key. The performer now drops his card on topthe pack, and the helper cuts a second time. The spectator is now asked to hold the pack against the lips of the image, in order that it may whisper the to two-and obviously widely separatedcards, to place themselves together. “Now,”remarksthe performer, “for the iirst time I am going to name thecard which the Buddha whispered to me, it is th-here he names the “key” card)-I do not propose to touch the cards myself. therefore will you be good enough to
I/6. (20 Cents)
-
AUGUST 1955
82
deal them face up until this card is reached (the spectator does so) now will you be good enough to ,.name the card of whichyoumerelythought. Thank you. Now, if the Buddha’s commands have beenobeyed the next card should be the one of whichyou are thinking.” The spectator turns it over and finds that such is indeed the case.
If desired the “ out ” can be deliberately presented as the second stage of the effect, assuming that thefirst has beensuccessful, and while the “ whispering ” is in progress the performer may turn his back, thus check-mating members of the audiencewhomayhavesuspected the method employed in the first case.
Magicis the pretended performance of those things which cannot bedone. The success of a magician’s simulation of doing the impossible depends upon misleading the minds of his audiences. This, in the main, is done by adding to a performance details of which the spectators are unaware, and of leaving out others they believe you have not left out. John Mulholland . . . Magic for Entertaining.” “
“
TRIGON SEVENTEEN PETER WARLOCK HIS effectwasfirst demonstrated at one of the Zodiac Magical Society’smagical evenings. Despite the complete lack of rehearsal it achieved its purpose satisfactorily. Three packs of cards are introduced, two of thembeing handed to members of the audience with an accompanying request that they shall be well and truly shuffled. The third pack is placed face card to the audience in a stemmed glass. Approaching the first spectator whom we shall call A, the pack he is holding is taken from him and a handkerchief thrown over it. The spectator is requested to cut the cards through the handkerchief, and with the performer taking away the unwanted portion of the pack, the cards cut off are wrapped inside the handkerchief and handed back to A for safekeeping. A similar procedure is carried out with the second spectator B. Returning to the platform the conjurer requests a third spectator C , to think of any numbetween oneand fifty-two. HE IS NOT TO TELL THE PERFORMER THAT number, but rather, as one card at a time is removed from the face of the pack inside the glass and placed at the rear of the pack, he is to stop the performer one card before the number he has in his mind, so that were he thinking of eleven, he is to stop the conjurer on the tenth card. This is done and the performer gets readyfor the climax. He asks A to unwrap his cards and looks at the card at the face of the cut. Let suppose us that it is the Three of Hearts. B is told to do likewise andhe too finds that he has cutat the Three of Hearts. Thetrueclimax comes however when removing the card from the face of the packand showingthe card at the position indicated by C , this also proves to be the Three of Hearts. A triple coincidence effect indeed! Requirements. One Rough and Smooth Forcing pack, the force card being the Three of Hearts. Two packs of cards each of which has a
T
locator card correspondingto the force card in the rough andsmooth pack. Two opaquehandkerchiefs. The patterned ones used came from Woolworths. One stemmed glass capable of holding a pack of cards. Preparation. The glass is placed centrally on the performer’s table, the three packs of cards and the two handkerchiefs being adjacent. Presentation. The performer indicates the three packs, fanning each in turn finallyplacing therough andsmooth pack into the glass face card to the audience. The two spectators A and B whom he chooses should be situated right and left of the audience respectively. Taking thetwohandkerchiefs and throwing them over the left arm, the two packs of cards are picked up and given to A and B respectively. Each is asked to shuffle his pack and satisfy himself that it is exactly what it purports to be, namely a conventional pack of cards, Theperformerhas moved so that he is between the audience when he says this, and when he is satisfied that A has shuffled the cards to everybody’s satisfaction or rather, at the moment where, were the shuffling prolonged there would be a dead spot, he approaches A and takes the cards face down from him. The locator Three of Hearts is immediately located, and may I emphasise that whichever kind of locator is used it must present no difficulty in location. On thisoccasion as the effect had been putinto theprogrammeonly a few hours before I arrived, I usedthe broken corner dodge,whichallows for myself a faster location than the more ordinary corner short. With the card located the pack is casually cut bringing the locator card to the top and the performer, says to the spectator, ‘ I feel certain that you will agree and at the same timeassuretheaudience, that there cannot be any way in which I can know the position of any particularcards in this pack.’ Whilst speaking he gives the pack a casual over-
83 hand shufflewith the faces of cards welldown, and brings the locator card to the bottom of the pack. As he does this he looks all the time at the spectator who agrees orally with the statement made. The pack is placed upon the palm of the left hand. The right hand takes one of the handkerchiefs from the left arm,and in placing itand draping it over the left hand, the latter turns the pack over so that the face card is at the top of the pack. Spectator A is now asked to cut the cards under the handkerchief, and asking him to retain his cut the performer moveshis left hand away turning over the unwanted portion of the pack at the same time. This he drops intohis pocket. Then taking the handkerchief and the cards beneath it from the spectator, the performer wraps the handkerchieftightly around the cards. In turning the cards about in the process the spectator loses track of the original position. I do not know whom to credit with this additional sublety to the under the handkerchief force, but remember that my friend Francis Haxton passed it on to me about five or six years ago. Going to B, asimilar procedure is carried out, so that each spectator now holds a bundle of cards wrapped within the folded handkerchief, the face card of which in each case is the Three of Hearts! Returning to the platform, a third spectator is
invited to assist. “ I wantyou to think of any number between one and fifty-two, though because of time, I hope it may be not higher than of I shall thirty. Fox eachnumber youthink remove one card from the face of the pack placing at the rear. When I reach a card at a number immediately preceding the thought of number stopme. So that were youto think of eleven, stop me at ten. Is that understood?” The spectator answers in the affirmative. The conjurer now commences to remove the cards in pairs, i.e. he takes an indifferent card and a force card behind it each time placing them at the back of the pack. Quite obviouslywherever he is stopped the card immediatey below that card willbe aThree of Hearts. When the necessary signal is given the cards are left for the moment and A is asked to unwrap his cards and look at the face card. “ I want you,” says the conjurer as he does this, “ to bear in mind that youshuffled the pack and had a completely free choice of cut . . . is that so?’’ Again an affirmative answer. The conjurer repeats this with B. Both of course reveal the fact that the face card is a Three of Hearts. “ That may be coincidence enough, but don’t you think that this is a little more than coincidence?’’ As these final words are said the face card of the rough and smooth packis taken awayrevealing the third Threeof Hearts !
“ Because magic depends largely upon psychology and i n order to make use of that subject, the first thing to remember is to be natural or be yourself. That really is hard to do for, in magic, there seems to be an all compelling urge to adopt gestures, mannerisms and even a tone of voice which are unnatural.” John Mulholland “ Magic for Entertaining ”
...
A CARD MIRACLE DOUGLAS DEXTER
FOREWORD N those early days when I first became a member of The Magic Circle, Douglas Dexter proved at that time that artistry in magic was a personal thing and not just something that went with the trick. Everything hetouched hadthat meticulous thought andcare which madethe difference between a trick and a feat of magic. In the effect to be described, originally published in one ofmy friend Percy Naldrett’s books, and now reprinted withhispermission, Dexter shows the finesse that cancome to the handling of a three way forcing pack. The technique used for changing the pack may, in these days of bashing things out, seem to date a little, but it serves to make many of us think how much many modern magicians have slipped back. Whereas, Hoffman writing in ‘ Later Magic ’ in 1904 was describing the
I
latest positioning of pockets and commenting that “ the magician, of the 20th century in this, as in many other directions has improved considerably upon his predecessor of the last generation,” it is sad to think that the two generations following, have, in the main made little advance at all. The use of subtle pocket work is to - day the prerogative of a very few, those using it finding what a great aid it becomes in their work. The two changes of packs described by Dexter, one of whichwas at that time quite standard with many performers, wereusedbyhim at timeswhenperforming the blindfold cardstab,a trick in whichhevaried the procedure time and time again. With this brief note we’ll leave you to enjoy reading and later we hope performing acard trick which is truly a miracle. P.W.
84
HE results obtained by the use of a forcing pack do not always justify the risks which are incurred by its employment. One has only to refer to the innumerable card effects described in the vas: collection of books, pamphlets, and magazines on the subject, to find that the explanation of many of them begin with the words, “ A forcing pack is used,-” but no advice is given as to the introduction of such a pack, or the care required for its safe concealment throughout the experiment. To use a forcing pack for concert or drawing-room work in one card effect only, or even the first of several, is simply courting disaster. It must be cunningly substituted for an ordinary pack previously used in one or two effects and handled, if possible, by one or more members of the audience, and it must be as discreetly withdrawn afterwards. An audience is always suspicious of the performer’sown pack, innocent though it maybe. Unwilling to admit that there is anything they cannot understand, they murmur amongst themselves, “ A trick pack, I expect.” Someeven, from a book, or some bungling performer, have learnt that there is such a thing as a pack with the cards-or most of them all alike! One must be prepared for requests from such people to examine the pack. The following,however, is an illustration of the correct use of a forcing pack, and, I think, justifies its employment. After exhibiting one or twoeffectswith an obviously innocent pack, the performer, adopting an impressive manner, states that hewill attemptan experiment with certain forces over which he has only partial control, and that therefore he cannot guarantee success. He requests a member of the audience who is a card player to shuffle the pack, and, while this is being done, he asks forthe willing co-operation and assistance of another member of the audience, such volunteer being invited on to the platform. Having obtained from him the admission that he is in an impartial observer, and that he will not mind doing a little running aboutfor the performer, heis handed pack and requested to deal it out on the table in separate heaps of three cards at a time; as many heaps as he likes, but six or sevenissuggested as being enough. He is then requested to pick up-while the performer turns his back upon the table--any heap he likes and to take these three cards down and distribute them among any three members of the audience. Meanwhile the performer collects the rest of the cards from the table and finally, with apologies, turns his back once more on the audience, while he asks those who have the cards to hold them up for all to see. The performer, having faced round again, shows his assistant a number of plain white cards, one of which he is asked to select and initial. This is then dropped into a borrowed hat or large bowl together with a piece of pencil. The spectators holding cardsare asked to concentrate on them for a moment, and the assistant is then asked to remove the card from the hat. Scrawled across the non-initialled side are found the names of two of the cards. Professing some disappointment that
T
the experiment is not a complete success, the performer says he willtry to finish it another way, this time aided by the transmission of thought. He requests the assistant to blindfold him, then to take down the pack for the cards to be replaced, including the one whose name is still to be discovered, to shuffle thoroughly, and finally to spread out the cards face down all over the table. The performer thenmoveshiswandmysteriously about over them, eventually resting one end lightly upon one card. He then, after a mental effort, “ reads ” the name, and immediately lifts up the wand with the card adhering to the end and facing the audience, and it is seen to be the one he has named. Whipping off the blindfold he bows to the applause which should surely follow such a feat. For the working of this effect three packs are required: a forcing pack of three cards, 17 of each, and two ordinary packs to match. To avoid needless repetition I will refer to these packs as A, B and C . The first pack A is quite unprepared and should be used in one or two previous card effects, which should be of such a nature that the cards are freelyshown, handled and shuffled. B ‘is the forcing pack consisting of three cards repeated throughout 17 times, e.g. Queen of clubs, six of diamonds, seven of hearts. For this pack a pocket is made consisting of two broad strips of black elastic sewn together in the shape of a T, and with the three ends so formed sewn to the cloth of the left trouser leg midway between the side and back of the thigh, and slightly tilted towards the left. In this the pack is gripped securely, but may be instantly removed. If the right position is obtained for this it should be just opposite, and a trifle higher than the mouth of the left profonde. Pack C has the Queen of clubs, six of diamonds, and seven of hearts removed from it. Of these the first two are discarded entirely, but the seven of hearts has a small mark made on the back of it. This mark should only be just large enough for the performer to distinguish it easily; a slight extra shading by means of ink insome part of the pattern in the four corners is usually sufficient. Pack C , with the prepared card in it, is tucked into the left waistcoat pocket. A dozen or so plain white cards, large visiting card size, are also required. Onone of these is scrawled in pencil, “ Queen of Clubs, Six of Diamonds.” This card is placed writing down on top of the others, which, together with the pencc and the performer’s’wand, are placed in readiness on the table. A small pellet of wax on the underside of a waistcoat button, a folded newspaper, a small tray and a hat or large bowl at hand complete the requirements. Having prefaced the experiment with a few remarks on the lines already suggested, hand out pack A to a member of the audience to be shuffled, and ask for your volunteer assistant. Before he comes up take back the pack in the left hand, and as he reaches the platform stand him on your left and turn slightly towards him while you ask him, first, if he will for the satisfaction of everyone,deny all knowledge of what you are
85 about to do, and, secondly, if he will mind doing a little running about for you. During this conversation the left hand hangs by the side and is thus hidden fromthe audience, andample time and cover is afforded for A to be dropped into the profonde and B abstracted. Instantly turning to the table the performer moves it slightly forward and places the packthereon. He then asks his assistant to cut the pack and to deal out three cards together from the top face down on the table, then to deal the next three in another place, and so on six or seven times. The wand may be used to indicate the different places on the table and also to keep the cards in the assistant’s hands held near the table top and face down, so that there is no possibility of them being mixed up, or having their faces disclosed. Having done this the performer takes the rest of the cards from him and then says that he will turn his back towards the table, and that, while so standing, hewould like the assistant to pick up one of the heaps of three cards, look at them, and take them down to any three members of the audience he likes. While he is in the audience the performer gathers up the cards from the table and replaces them, packet by packet, on the bulk of the packheld in the left hand. He then offers to turn his back again while the three cards in the audience are held up for all to see. As soon as he has turned round the right hand lifts out pack C from the waistcoat pocket, while the left moves across the front of the body with pack B, towards the right inside breast pocket of the coat, intowhich B is dropped, while C in the right hand is carried out tothe right and held there fora moment at arm’s length. By this time the cards inthe audience shouldhavebeen taken down, so the performer faces the audience and quite naturally and unostentatiously lays the pack on the tray. He then picks up the visiting cards and fans them out for one to be selected by the assistant. Immediately closing up the fan he palms off the top card and asks the assistant, having seen that both sides of his card are blank, to replace it on the rest and then to pick up the pencil from the table withwhich to initial it. Meanwhile the palmed card is replaced in the usual waywhile squaring up the pack. It is then held out for the assistants initials to be written on. The two top cards are then lifted slightly, but heldtightly together as one card, and turned over to show once more the blank side of the intialled (3) card. In tuning the two cards back again the under one is slipped back on to the pack by the right finger tips in the manner of the familiar card change, while the top one is moved away, initialled side uppermost, and dropped into the hat, if possible so that it falls reversed, with the writing side uppermost.
I
The performer then quicklythrows in the pencil and covers the hat with the foldednewspaper or a borrowedhandkerchief. After the necessary concentration, anda slightpause for dramatic effect, the hat is handed to the assistant, who is asked to remove the card and to read out the names. As hedoes so the spectators holding those cards are asked to acknowledge them. Finding that only two cards have been named, the conjurer, working up to the climax as impressively as possible, asks the assistant to blindfold him, to hand him the wand, and then to take down the pack on the tray and have all three cards replaced and the pack shuffled. He is then asked to bring back the pack and to spread the cards out, backsup, all over the table. While this is going on the performer transfers the wax pellet to the end of his wand, and, standing behind the table, locates the marked card amongst the others while moving his wand about over them. Then, pressing the waxedend of the wandon to the marked card, he announces the name, and hearing that it is correct-which it must be-he lifts up the card on the end of the wand and shows that he has not onlycorrectlynamed the card without sight, but has discovered it without touch. There areone or two points to which I should like to call attention: 1. The changes from pack A to B, and from B to C are made right at the beginning of the experiment, and almost before anything has happened. From this point onward, the- conjurer should lay great stress upon the fact that he does not handle the cards at all, but that all the handling and dealing of the cards is carried out by the gentlemanwhoisassistinghim.Owing tothe lapse of time and the numerous distractions which occur after pack C is put on the table it will be found that the majority of the audience are quite convinced that the performer nevertouches the pack throughout. 2. The method of having the forcingpack dealt in heaps of three, each of which must consist of the required cards, and then allowing a free choice of any heap, completely negatives any idea of pre-arranged cards, even should such a suspicion arise in the mind of anyone. 3. During the exchange of packs B and C it is extremely unlikely that anyone will look at the performer at all, as all attention is drawn to the cards held up by the three spectators. 4. When the third card, the seven of hearts, isshuffled into pack C, there is, of course, the marked duplicate already there, but the chance@ against this being discovered are practically nil.
“ Another point i n being agreeable is never to offer to show a trick unless you have been requested to do so provided, of course, you are known to the group to be a magician.” John Mulholland ‘‘ Magic for Entertaining ”
...
86
HE ADVENT of ChanningPollock at the Palladium has shownmagicians in London, that there isnoset formula fora truly successful magic act. Twicewithin a matter of months, we have had the pleasure of seeingtwo American magicians take big billing at the greatest varietyhousein the country and prove starsin their ownrights. One looks forward totheday when a British act can play the same house in a similar spot with similar success. A point of interest because ventriloquism is so often allied with magic, is that whilst magicians in this country withveryfewexceptionshave failed to hit the highspots because of their allegiance to tricks, the vents. through a variety of means have established themselves as household favourites. Until now space, or rather lack of it, has not allowed us to give a full appreciation of the late Victor Farelli. Farelli was a character in magic, a friendly soul and one whose grounding was in the old school which allied skill to tradition. He was a man of strict conventions and he had not reached that easy stage of conversation when everyone is addressed by their Christian names. I can think of very few magicians who addressed him by his Christian name, and he in return kept to this same rule. I can remember how, only a few days before his death he suprised Dai Vernon in this respect. Few magicians in this country had seen him perform, and though I knew him over the course of very many years, I only saw him perform one trick and that was at my own house. The subject of the ‘ Repeater ’ watch trick had arisen, for it was one that always took my fancy. To my surprise, Farelli produced from his pocket a beautiful repeater watch, and then showedme how he made use of it. Taking a pack of cards he asked one of the company to select one and without looking at itto place it in hispocket. The purpose of this experiment he told the spectator is to make that card leave your pocket without my touching itin any way. Thecards were then placed aside and heremoved the repeater watch and the chain attached to it from his pocket. He asked the spectatorif he had in his possession such a watch, and then proceeded to show him how at each hour of the watchchimed. The watch had other properties; it could find out the name of a
chosen card. The spectator was asked to listen and with a coding of one chime for clubs, two for hearts, three for spades and four for diamonds, the watch indicated a suit. The value of the card was then ascertained in a similar way, and supposing the net result was the nine of diamonds, the spectator whohad the card in hispocket was asked whether that werecorrect.Havingby this time forgotten that the original proposition was that the card should leavehispocketwithout the performer touching, he fell into the trap by removing it himself and confirming that the watch had quite correctly indicated the card of his choice. The true climax came of coursewhen Farelli added that he has succeeded in his original intention, namelymaking thecard leave the spectator’s pocket without touching it in any way. Onehadto admire Farellifor his great thoroughness in his writings, and though, because of his love of detail, manywellversedinmagic found such meticulousness rather irritating, Farelli did the right thing in assuming thatthe reader in attempting to follow the description of a trick started from scratch. There was nothing slipshod about Farelli, and his various writings stand as excellent models for other writers on magic. We should like to draw our readers’ attention to the new address of Oscar Oswald. It is 7, Duke Street Hill, London Bridge, S.E.l. Elizabeth Warlock came back from Amsterdam with the biggest bouquet of flowers we have us whatan “Out of this everseen.Shetold World ” act we had missed in being absent when our good friend Fred Kaps won, for the second time, the Grand Prix. Thecongratulations of everyone will go to this great Dutch magician who, as we wrote so very many yearsago, has every gift thata greatconjurer needs,good looks, natural charm and great skill. He deserves all the success that has come to him and we hope it will not be long before we see him once again in this country. The advance B.B.C. TV programmes show that in the fieldof popularentertainmentthat every attempt willbe made to compete with the much advertised Commercial programmes which are imminent. Among the many seriesof programmes planned, it isgood to see that every other Friday has been reserved for an all magical
BOOKS LOUIS TANNEN’S NEW CATALOGUE. Published by Louis Tannen, New York, price two dollars. We have yet to lose our youthful enthusiasm for magical catalogues, and the one recently received from that well-known American dealer, Lou Tannen, is enough to wet the most jejune appetite. Quite rightly the producer compares its contents to those of Aladdin’s Cave, and with such an easy ‘ Open Sesame ’ the means of exploration are simple. To my fellow countrymen theirare of Exchange many enticements, whichbecause Control regulations are beyond our reach. The contents cover every phase of magic from the smallest pocket trick to the largest illusion. It is finely printed and illustrated and there are in all some 560 pages. Particularly interesting to readers of the ‘ Magic Wand ’ publications is a section dealing with “ Tricks of the Trade,’’whichwas originally published by George Armstrong in the “ Magic Wan Yearbook ” and is now reprinted here by his permission. This is a two dollarsworth that will possibly give many more entertainment than plenty of books costing double that amount of money.
ANNEMANN’S MENTAL BARGAIN EFFECTS. Published by George Armstrong, price 7s. 6d. net. This is an English reprint of an excellent booklet of mental effects by the late Annemann. In allthereare someeleven items, andnodoubt most readers of this bulletin have a copy of the original. If they have not we recommend the purchase of the present copy for they will receive so much for so little. JOHN HOWIE’S ROUTINES WITH THE JARDINE ELLIS RING. Published byGeorge Armstrong, price 12s. 6d. net. It was when I received a copy of this beautifully produced booklet that I realised what value
MAGIC-GO-ROUND-(Continued)
programme under the direction of our good friend David Nixon. Let us hope that with only magicians in the show some attempt willbe made to keep the hands of the performers in view or, for that matter, anything which for reasons of effect should not leave the picture.
had been given to our readers when the contents appeared in serial form. Page sizes are 11 in. by 8 in. and in all there are some 43 diagrams illustrating the various moves and accessories. For those interested in ‘ Ring ’ magic, and who isn’t, this is a must.
SHOW BUSINESS AND THE LAW by E. R. Hardy Ivamy,Ll.B.,Ph.D.PublishedbyStevens and Sons Ltd., London, price 25s. Few artistes are catholic minded, their main effort going into their work. The result too often is that in matters of business they are likechildren. In particular their knowledge of the laws relating to show business is, despite their everyday dealing with contracts of one kind or another, slight. The exception arises when the legal interpretationis enforced. In this well written book of some one hundred and ninetypages,the author, has collected and collated, the many interpretations of the law in its relation with the many phases of showbusiness. Every type of contract is dealt with, stage, music hall, circus, TV, film and radio together with the minimum rates of pay for employment. There is a section of the book which deals with licensing, whilst another concerns itself with Sunday entertainments. Of particular importance is a chapter which sets out the relationship betweenmanagement, audience and third parties. As will be fully realised the matter of copyright and its infringment has not been omitted. To a professional artiste this book is a necessity. It forms interesting reading and most detailed index shows that the contents cover any question that a contracting artiste would wish to ask. Case Law is fully quoted and to complete the volume a table of thestatutes covering the whole of showbusiness is given. To those who are professional, to those who intend to become professional and to those whose business it is to dabble in entertainment we recommend a copy of this very worthwhile book.
With a bit of luck the publication of this number and the Southport Convention may synchronise. Once again Bill Stickland has brought from Overseas threeactsthat willbenew to I.B.Mers, Septembre, Arland and leBas.Whilst we haveseen theartistic work of the first two named, the Irish boy will be new to us too.
88 ~
~~~
THE BOOK OF THE YEAR
ConjuRING TRIX by HANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you. If, on the other hand, you prefer tricks with borrowed rings, then this book is still for you. In its forty odd pages there are described and illustrated three miracles with The JardinsEilisRing, and six outstanding effects with borrowed rings. he Ringon Stick The Riw on String, andVisible Ring on Pencil are effects that will leave!a E u a r t c r audience &ping with amazement. We know thatThe Jardine Ellis Ring. ir employed for all three, but they do not, and the handling is EO perfect that theywill never ruapect that thingr are not as they seem. In the scction withBorrowed Ringr. there ir 8190 a Ring on Stick routine, togethor with two methods for getting The Ring atl Stick. The Ring on String and theRing on Silk are also accomplirhed with borrowcd rings, am is The Plying Ring-normally an effect requiring extremoly expensiveapparatw. butnow requiring jUUt-8 ri ,a safety in and a rubber band. W-
a.
apparatus requiredforsny of these effccta, apart from the Ellis Rindfor th.
ynlfirst three effccu.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have. PRICE lO/-; postage M. FROM THE PUBLISHERS
TI1E M A G I C W A N DP U B L I S H I N G
COMPANY
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
MAGIC WAND Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism& Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Routine)
GeSfge Armstrong
George Armstrong*s‘‘ Premonition
PUBLICATIONS
... 719 ... 21/1 ... 1013
Automentalism (Complete act, with apparatus)
S.Edward Dexter Entertaining with Hypnotism S . EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
Clubroom andLibraryand
Museum :
Hearts of OakBuildings, N.W.1. Euston Road, London, Magical Theatre : King George’s
Hall, W.C. Oct. 3 to 8-Festival of Magic Scala Theatre
?utlcularr from Hon. Secretary :
Poter Newcombe 38 Overdale Avenue N e w Mslden, Surrey
... ...
...
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francis
Mother Goose Mystery (Mental Effect)
Martin Gardner
Twenty-Six living & Dead Testa Terel Garrett The Concert Ventriloquist and Children’s EnCertainer Maurico Hurling Jamesosophy(Card routines) Stewart James Etc., Etc.
719 1013 719
PBTER
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
...
Ken de Courcy Victor Farelli
George Armstrong
Extra Sensory Perfection
Entertaining with Contact Mindreading
... 2013
Zodiac Telepathy (A complete act) Ken de Courcy John Ramsay’s Cups and Bails (cloth bound)
... 1013 (Mental Routine) Ron Baillie ... 1013 The Universal Mind (Mental Routine) Ron Baillie ... l2/9 Bohleno’s Mysteries (Prize-winning) Henry Bohlen ... 1013 1’11 ReadYour Mind (cloth bound) Aage Darling ... 1719 (Mental Routine)
Ken de Courcy
Dubbelkrosr & Simulkrosr (Coin Routines)
513
... 1219
... 2516 ... 1013 ... 719 ... 719
... 513 ... 1013 ... 513
WARLOCK’S
PENTAGRAM publimhcd on the 24th et r u h month and can be obtaineddirect from tho publhbrn for 117 persinglecopy. Annualsubscription 1S/post free. PUBLISHHD BY: U
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlerox Zianurcripbforpublication and baab for rovirr should be wnt to the:
EDITORIAL ADDRBSS:
Peter Warlock, Rd., Wallington,
24, Wordrworth
surrw.
JACK HUGHES will be pleucdto fulldetails
rend you of
THE DE LUXB “SU-TABLE” together with allhis other effectsin return for a stamp. write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London,
N.W.9.
MAX MALINI ERICDE LA MARE 1923 until 1932 1 was resident in the Hill F ROM . Statlon hotels of Nuwara Eliya and Kandy in Cevlon. These towns arecomparativehealth resorti and a large percentage of the visitors in those days were either W o r 1d travellers or residents of the Far East who could not afford the time to visit Europe and had come there forhealth reasons.
I was performing frequently in c 1 U b S, lodges, lounges and bars, and almost invariably someone from Hong Kong, S h a n g h a i or Singapore would introduce himself and tell me about a conjurer named Malini. Many of these stories were obviously the u s u a l layman's exaggerated descriptions of a conjuring effect but I found the description of certain items recurred with great regularity. All of these were card effects.
hard for a drawingpin to enter and a common ceiling board Lunumadillawhich is a timber little harderthan balsa wood and suited hi purpose admirably, as the card really stayed put ! The third most common feat was the vanish of a chosen card and its revelation by a similar card planted well ahead of the show in some impossible place usually a roomMalini had ' never ' entered.
i
:
I never met any reference to his celebrated card stabbing routine and his button biting trick was only m e n t i o n e dt w i c e . G e n e r a l l y the only remembered items which publicised him were from his impromptu performances and not from his set show.
1
i
/ l
The most frequent tale dealt with part of an ambitious card routine in which Malini repeatedly pushed the top card off and replaced it as second with one hand (See Buckley's ' Card Control ' page 88, ' A Different Top Change') and showed it to have returned on top. The secondeffectwas the card on ceiling or wall. Malini used two methods for this-wax for mirrors behind bars and a pin for the ceiling. He used to get into trouble over this becausehe refused to differentiate between teak wood which is common for ceilings and is too
VOLUME 9, No. I?,
-
Dai Vernon confirmed this aspect of Malini, i.e., that hecouldgive Houdini points on obtaining and maintaining publicity. His sole object was to publicise Malini as a magician and he did this so successfully that the fact that much of the material in his shows did notwarrant his great reputation was overlooked. The mere fact that he was the Great Malini, his murder of the English language, and his grand manner invariably left the laymen satisfied and wanting more despite time-killing it is some of the mostextended possible to imagine and to some of the effects
1/6. (20 Cents)
-
SEPTEMBER 1955
description for The Pentagram.
I will add that I have worked the effect many hundreds of times u n d e r very varied conditions and I know of no trick which gives more satisfactory audience reaction and ultimate publicity. being little more than mediocre.
To see Malini ambling about [a Hotel dining room or lounge wasan education. Spinning a plate. vanishing a tumbler, levitating a knife, producing a coin from a roll etc., were all minor miracles in his hands. As part of his reputation builder Malini used many devices which can only be called ' stunts '; they were not tricks in the ordianry se%of the wordinasmuch as they were impracticable for ordinary use. Nevertheless he considered them wellworth the effort and went to an inordinate amount of trouble to bring them off. The most notorious of these was his production of a brick froma hat. This appears to have beendone on relatively few occasions with no set method. As a full sized brick will not fit into a hat, Malini used a half brick, a lump of concrete. a granitesett or block of ice. It was not until 1937 that news of this Malini effectreachedme and at that time the magicalproduction ofa brick had been in my repertoire for some ten years.
It had come about bystages. In my early days I had been very impressed bythe Birmingham buskers' hat loading andhad seenguineapigs, pigeons and cabbagesused. I had developed a guinea pig production of my own of which I was very fond. In Ceylon I made an arrangement wlth the local Pasteur Institute which kept some thousand guinea pigs, to trade in my pig when it got too large. Despite this, guinea pigs were a certain amount of trouble to look after and when I found a rat snake had swallowedmy pig just before a show and was unable to get out of the cage owingto the bulge, I decided to look for some other equally effective load. After using a coconut for sometime I decided on a brick as being simultaneously the most incongruous and incompressible object. I was influenced inthis choice by Ellis Stanyon who at that time had a favourite expression to the effect, that with proper misdirection anyone could palm a brick! Whether anyone else will consider this effect to be worth whileremains to be SW, butin deference to Peter's persistence here is a detailed
THE EFFECT The performer, with an assistant from audience, commence to play '' Heads and Tails " with a coin in a hat. The performer then undertakes to pass the coin under the hat magically but on lifting the hat a glass of milk is found. The performer explains thatthis is not verydifficult and with practice one can even palm a brick; the hat is then lifted and a brick is shown to be beneath it. The performer explains that the only real difficulty about this is in finding a hat large enough to take a brick. The hat is placeddown and wben lifted again a momentlater a second brick is found. The bricks are knocked together and proved genuine. THE REQUIREMENTS In the tropics where washable coats are worn even for dress wear, attached fakes are a nuisance. and as braces are practically unknown I began to attach all fakes to a belt; these then hang correctly for any coat. When Buckley published ' Principles and Deceprions' I remember my annoyance at finding that he too had "invented" my belt technique and my patent holders for balls, coins and cards. A belt can be worn satisfactorily in this country in addition to braces with dress clothes, by making slits at the side seams of the trousers to allow the belt to be passed through and buckled in front of the stomach before buttoning up the trousers. Fakes as used in the Buckley book are then usable
- ..
YOU WILL THRILL A S D I.4RVEL AS YOU WATCH THIS WONDERFUL >lOSAHCH OF MYSTERY
91 without the necessity of attaching them to various suits and without the weight of the loads distorting the coat. The requirements for the routine areas follows :1. A good quality one inch leather belt with buckle (not friction grip!). 2. Two brass holders for the bricks. 3. One holder for the tumbler with ring for snap hook on belt. The drawingshows incomplete detail the make up of the brick holders and also the tumbler holder. 4. Two bricks with a screw inserted. Again the accompanying illustration shows the correct positioning. A standard brick is nine inches long and for a 7+ hat requires to be shortened to seven inches. This lopping off is not sufficient to be noticeable. 5 . A coin. 6. A soft felt hat with the sweat band stuck or sewn down. The reason for this is to prevent the coin from slippingdownbetween the sweat band and the side of the hat. l. A newspaper.
State that possibly his first introduction to gamblingwas that old fashionedpastimecalled ' Pitch and Toss.' Taking the coin and spinning it you remark that you will show him a new way of playing it, a way incidentallywhich is much fairer. Drop the coin in the hat shaking it around and then invert the hat so that the coin falls on the newspaper. The hat is kept over the coin. Go on to state that as it was your spin it is naturally hiscall.Whatwill he have, ' Heads or Tails?' The assistant makes his call the hat is lifted and he is shown whether he is correct or not.
At this point move the assistant behind the table, youmovingslightlyright but at the same timekeeping as closetohim as possible and slightly to his rear. Againyouplace the coin in the hat but this time you point out that it is the assistant's spin and your call. As he goes to carry out the necessary manoeuvre your left hand reaches under the coat and with a slight rocking movement pullsthe glass of milk off the rubber holder. The left hand comes down from under the coat, the glass of milk being shielded by the hand :and the *,assistant's body which, as it should beremembered,is in close proximity to the performer. At the point where the hat has been placed crown downwards on the T H E PREPARATION table with the coin beneath it you call ' heads ' or ' tails,' reach out with the right hand lifting the The loads are set on their respective holders, hat to check whether you have made a correct or the accompanying photograph No. 1. showing incorrect call. The hat is passed to the left hand the positions they should occupy. which is raised at the same time so that the glass of milk goes inside the hat. This is more or less It is suggested that should the anglesbe a standard ' cup and ball ' load. After taking the disadvantageous to the performer only m e brick coinwith the hght hand looking and registering be used. With the jacket slipped on, the paper and .. -..I_ the reaction of hat in hand and being either right or coin in pocket, the I wrong, it isplaced performer is ready at the edge of the to p r e s e n t the table. The right effect. hand comes back to t hlee fatn d THE PRESENTAgripping the load TION through the hat The newspaper carries it away and is laid on the table places it crown the hat then going downwards on the on top of it crown taW b l iet.h uppermost.At this experience W it h point you should be l- 4'4 t h i S method of standing squarely BRICKHOLDER' affixing the glass, behind the table. its detachment and n The assistance of a subsequentloading s p e c t a ti os r the reader will find requested and being the great superiority forthcoming he is over the more usual positionedclose to t y p e of rubber you on your left. covered load, with He should face the the necessity of audience and be TUMBLER HOLDER. disposing of the slightly in front of EXPANDING TO 23 OR TO SUIT TUMBLER procover before you. .
7
m
92
duction. The coin is now takenandafter performing a flourish such as the coin roll with the left hand, the right hand grips the glass through the topof the hat andcasually lifting both from the table slightly movesthem toanother position. This emphasises the apparent emptiness of the hat. Pointing out that you have done nothing very magical so far, explain that you will now perform a most difficult feat of magic by making the coin pass invisibly from your hand to underneath the hat. The coin is vanished by any desired method, but I suggest that the most spectacular method for this occasionis the conventionr.1vanish from a fold in the trousers, the coin being stolen and retained by the left hand. When the effect of the vanish has been fully assimulated by the audience the coin is surreptitiously disposed of in the left coat pocket.
p ’ -. A
Stand close to the assistant and ask him to make a call ofwhetherthe vanished coin has arrived underthehat “head” or “tail.” As he makeshis decision, possession ofthe first brick is obtained from under the coat by the left hand, whilst the right l i f t S up the hat disclosing the glass ofmilk.Express surprise at the unexpected result and with an action of hands and hat similar to that used for the load of the glass ‘ofmilk, load brick No. 1 inside the hat, then, with the right hand place the hat with brick on the table, the left hand taking the glass of milk and offering it to the assistant. The trick to all intents and purposes has reuched its d i m . Patter as desired and keeping close to the assistant f r e eb r i c kn u m b e r 2 w i t ht h e left hand. The hat isnow lifted to disclose the brick and again with a similar set of actions the hat comes from the right to theleft and the second brick is loadedinside. The full effect of the appearance of the brick is allowed to register on the audience before the right hand takes the loaded hat preparatory to placing it crown down upon the table whilst the left lifts up brick NO.1. Show it to the assistant allowing him to notice that it is a genuine brick and not something made Of rubber or papier mache. With the remark that.“ The only difficulty aboutthistrick is to 6nd a hat large enough to accommodate a brick,” take UP the hat and brick No. 2 with the right hand and bring the
?3 brick No. 1 in the left hand across the opening of the hat. Photograph No. 3 shows how No. l brick is held and because it has its wide side across the narrow side of No. 2 brick in the hat, the latter is completely concealed, as the performer goes on to say, “ You can see this one is almost too large for this hat.’’ Care must be taken in carrying out this
strategem that the surfaces of the bricks do not meet and ‘ talk.’ Carefully handled, this piece of subtlety is perfect in misdirecting the minds of the audience. The hat, care being taken that the load cannot be glimpsed, is placed back upon the table, whilst the brick first produced is placed alongside. After suitable remarks the second brick is produced.
PREDICTION O F PTAH HARRY E. BURNSIDE A N D CHARLES W. CAMERON HE MENTALISThandsa heavilysealed envelope to a spectator and asks him to initial the envelope,back andfrontand if hewisheshemayplacesomesecretindentification mark anywhere on the envelope. The envelope remains in the possession of the spectator whilst the mentalist explains that he has placed a prediction inside. The prediction has been written on one of hisbusiness cards. When the time comes for the prediction to be disclosed the mentalist requests the spectator to produce the envelope. He is asked to guarantee that it has neverbeen out of his possession, that it is still sealed and initialled and that he can still feel the card within. He mayeven hold the envelope against a strong light and see the outline of the card sealed inside. Taking the envelope the mentalist holds it at hisfingertips and tearing it open allows the card to fall to the table. Now . . . if you are showing this to your fellow magicians watch their eyes as they strain to detect either the ‘ switch ’ or the method of disposing of the duplicate prediction. Deliberately you tear the envelope open, tearing it down the sides and showing that it isperfectlyempty . . . And . . . so areyour hands. Needless to say the card lying on the table has the correct prediction written on it. Method. The envelope is our old friend, $he double sided envelope. Take an envelope and also the front portion of another envelope. A thin trail of rubber cement around the edges of the front portion (first cutting a very thin sliver from the edges). Slip this front portion inside your envelope, the thin sliver cut away will .make this easier. Carefullypress the edges together . . . first dropping one of your own business cards between the genuine envelope and the extra portion. (Going into the secret compartment.) Now seal the envelope and place ‘ blobs ’ of sealingwax over the flap. Have a spectator initial it. When the time comes to produce the prediction have the correct prediction written on another one of your cards. Palm this in your right hand. Take the envelope, first having the spectator feel
T
the card within. Tear open the end or better still open the envelope with a letter opener. Under cover of the envelope transfer the card from the palm of your hand and press it against theenvelope. Holdboth togetherwith the left fingertips and turn the envelopeupsidedown. Squeeze the ends to open the envelope and allow the card to fall to the table. Wait . . . then tear the envelope open, show it to be empty, crumple it up and dropit in your pocket. One of Annemann’s stunts would work perfectly here. Prepare an envelope as describedabove and place it in your pocket. You also have in the same pocket a genuine envelope containing one of your cards, the envelope being sealed with sealing wax. Remove the genuine envelope and hand it to the spectator to initial. When he has done this suddenly say, as though a thought had just struck you . . . “ No, wait,something has altered. I wrotetwopredictions. I thought that this would be the right one but I have just had an intuition.’’ Take the envelope from the spectator, crumple it up and drop it in your pocket. Remove the faked envelope and allow the spectator to initial it and to retain it. Later you take the crumpled genuine envelope, bearing the spectator’s signature, tear open the end, remove the card and then tear the envelope completely open. Crumple it up again and drop it in your pocket. Most prediction effects have a few day’s grace before they are required to be performed, so you to do the shouldhave ample time in which ‘ necessary.’ When you come to do the actual effect work it as described.Whilstthe spectators are reading your prediction you crumple up the envelope and casually drop it in your pocket and switch it for the genuineenvelope. Apparentlyasan afterthought youthrow the envelopeback on to the table.Saynothing but watch their faceswhen someone picks it up later to examine it. A small point, but one worthremembering is to draw a smallcircleon the flap of the envelope. This will ensure the spectator intialling in the identical spot in both cases.
94
HE MOST intersting piece of journalism T dealing with magic during the month of Augustis an article entitled ‘ GeorgeMelies
andthe Film of Fantasy.’ It appearedin ‘ The Times ’ on August 31st., and the writer, unnamed, in a matter of a thousandwordsshows that not onlydoesheunderstand the Kinema,but also magic. We mustgive a big vote of thanks to our friend Eric de la Mare for this Malini issue of the PENTAGRAM. Those who have had the opportunity of seeinghimwork the brick trick, know full well the truly shattering effect that it has upon an audience. For those who like close quarter magic we hope they will use the effect and will not postpone the working of it because of the need for makingup the necessary fakes. The photograph of Maliniwhich appears on thefront page and which was used by him in Ceylon on a brochure is, we believe, the last photo of himself that he used for publicity. Malini, as many older members of the Magicians’ Club mayremembercame to this country in the twenties and appeared on more than one occasion for the late Will Goldston. Herbert Milton had a number of interesting sessions with this legendry figure and can relate many anecdotes concerning him. Our friend Jack Avis has just put out a pretty little method for a carddiscovery which he entitles ‘ Sorcerer’sSerpent.’ It is basedupon a secret which is so very very simple but one which it is impossible forthe beholder to discover. Selling at 6s. you’llfind it on display at your favourite dealer. Roundthetabletheother evening Francis Haxton cameupwith a couple of variants on ‘ Take Three ’ whichwepublished a couple of months ago. He has promised us both of them for a future issue. The ‘ Budget ’ certainly looks a lot brighter in its new cover. It was at the A.G.M. at Brighton we raised the matter of making this little journal look little more contemporary, and it is a source of pleasure to see the idea carried into effect in such a comparitively short space of time. Bobby Voltaire who has taken over the Editor’s..job has done..quite a job of work and has certainly succeeded in letting members of the ‘ Ring ’ have their magazine on time.
Just as we are ready to send back this proof to the printers, we hear with great regret of the passing of Rufus Steele. It will be a great blow to those whohave a fondness forcard magic for Steele was amanwhocouldtake his rightful place as oneof the leading authorities on card table magic. It was from Dorny that we heard the sad news. Speaking of Dorny or rather listening to Dorny is to have a great deal added to the overA first class all picture of American magic. raconteur we found that afourhour session passed almost in a flash. With the first number of the new volume we have from Hans Trixer a delightful version of the needle threading trick in which the mouth is not used as a receptacle for the needles. When readers go through the routine they will, we feel sure, find that rather than diminishing the overall effect, the handling givenby Hans for the two methods he explains, tends to make the effectevenmore mystifying. The needle threading trick, properly presented, as those who have witnessed Holden’s fine performance.of the effect, is just as suitable forthe stage asit is for intimate work. In the same issue we also have John Derris’s version of the trick in which a copper coin held in one hand changes place with a silver coin in the other. The inspirationfor this effectis that classicof dear old Johnny Ramsay.John’s method which is perfect in effectmakes it easier for those whose qualifications are more pedestrian. AtSouthportthe dealers allreport excellent business, even though there were few novelties on show.Onedealer’s ad. on the backpage of Abra has made us read it many times, as it would seem that, provided one can give the ,audience the necessary mental outlook, a new ,phitse of magic is opened up for the budding wizard. Called “ Unbelievable ” the trick is a version of the cut and restored rope. Priortothe cutting, the ropeis marked with an identifying tell-tale mark. Later the rope is restored, and truly “ unbelievable ” as it may sound, thetell-talemark hasvanished ! Now just think of the possibilities with this new type ofmagic . . a cardcan beselected and marked, torn into pieces and later restored without the mark ! A pound note, after the number has been noted, can be destroyed and later another
95
THE MAGIC CIRCLEFESTIVAL OF MAGIC Scala Theatre, October 3rd-8th HE most pleasant thoughtthat strikes one after seeing this year’s show is’that the Committee responsible have not fallen intothe trap they made for themselves last year when nearly every act demanded audience participation. This year there is plenty of c o 1o u r andthe slightest of duplication. After the stirring overture by Sydney Jerome and his Orchestra, John Young satanically attired speaks a witty prologue. Vanishing in a puff of smoke,theMaster of Ceremonies, Dornytakes the stage. Used as we are in this country to rapid compering, the quiet styleof this exce 1l e n t raconteur makes a welcome change and the audience are soonunder this American charmer’s spell.We shall neversee a cigar again without associating it with Dorny. The first act to take the stage is that of Ram DasandKim.The oriental mysterieswhich include theSun and Moon, Paper Butterflies and Zombie are all smoothly and effectively presented. The stage is well set and the show is off to a nice start. Next to appear is Elizabeth Warlock. Calling her presentation ‘‘A Magical Rhapsody ’’ and using cards, paper and silk she works up to a fast finish with a streamlined version of the Tambourine trick using a vast number of silks instead of the more conventional ribbon. The production of a silken Pagoda from the tambourine at the finish gives the act a nice climax. Terry Hall next takes the stage and after using his famous dummy Mickey Flynn as an opener he brings onLennythe Lion, a most marvellous dummy and a fine line of patter and effects. Here is one of the greatest technicians of all time. Add to that qualification a clean attractive personality and YOU have a ventriloquist earmarked as a top of the bill act. It is customary for the non-magical acts on the openingnight to receive great ovations. To-night was no exception. Back to magic and Tonny van Dommelin, the attractive looking Dutch manipulator. In a gambling House setting, Tonny did the most wonderful
things with dice, cards and poker chips. He had a nice running gag of producing glasses of beer. This is an act that must be seen. The Great Masoni and his company close the first half of the show. This is a Chinese presentation that includes some nice traditional effects well presented . . theSmoke Vase, the Chinese Rings, Bowls of Gobi and a fine vanish of Shan at the end. Opening the secondare Juanand Avril, a musical act with plenty of colour and black light sequence. The well known TV personality, David Berglas follows, and presents that delightful combination of cigarette production, pickpocketing and prediction. This is another casewhere personality means so much toan act.David’s complete ease of working, his natural mannerisms and skill leave no doubt as to whyhe is one of the popular magicians of to-day. We have already seen Shan helping the Great Masoni, but now she performs the Memory Test. She performs it with a manner that is unequalled andnomatter howdifficultmaybe the item namedshenevergoes wrong.The act owes a great deal to the presentation of Eric Mason. It is a winner every time. The act whichfollowsisonewhichmany have seen on TV, a medium which has never done it justice. It is the act of Albert Burdon and Company and it is one of the funniest cod acts we have ever seen. This was the show stopper of the evening. Mireldo, the French illusionist closes the bill. Plenty of noise and fire all presented in a continental manner c o n c l u d i n g with a “ Sawing Through” which has to be seen to be believed for evenknowing the method one isled todoubt whether the trick can be achieved in that way. It would be unfair to conclude withoutgiving great credit to Gil Leaney and Bernard Lovett for the Stagemanagement and also the attractive settings.
MAGIC-GO-R0 W ND (continued)
illusionists of this century. The price is 151In closing this volume,maywe take the opportunity of thanking all those who have helped to makeupthe contents. In trying to present tricks free from boxes and fancy pieces of apparatus we plow a fairly narrow furrow, and it gave us a great deal of pleasure when Francis Haxton talking anddemonstrating at Southport, made reference to so many tricks that had appeared in this little journal.
T
note with an entirely different number returned to the borrower. No doubt such tricks willfollow the release of this exclusive and breathtaking idea. From Arc0 Publications we havereceived a copy of Will Dexter’s book on Chung Ling Soo. To do full justice to the contents we shall wait until the nextissue, but in passing we would like to say that no student of magic can afford to be without this pen portrait of one of the greatest
.
THE BOOK 8 F THE YEAR
ConjuRENG TRIX by HANS E. TRIXER (Foreword by Peter Warlock) IF YOU have ever been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you. If, on the othor hand, you prefer tricks with borrowed rings, then this book is still foryou. In its forty odd pages there are described and illustrated three miracles with The Jardine Ellis Ring, and six outstanding effects with borrowed rings. T h e R t w o n Stfck. The Ring on Striw, and Vtrible Ring on Pencil are effects that will leave a clorequarter audience --tag with amazement. W e know that The Jardine Elltr Ring. tr employed for all three, but thordo not. and tbe handling ir ao perfect that theywill never rurpect that thinpm are not ar they Hem. In the section with Borrowed Rtngr, there is also a Ring on Stick routine, tosethor wtth two aethodr for getting The Rtns dt Stick. The Ring on Sttiw and the Ring on Silk are also accompltrhed wtth borrowcd r i m , W 10 +he Plying Ring-normdli an effect requtring extremelyexpenrtve appamtur. but now requitins jut--. ring, a safety pim and a rubber band
That tr the only apparatus required fo+ny o f there &ear, ap.ct from the lllir Rinrlfor the
fint three effccto.
Finely printed, with a striking board cover, and illustrated with 34 drawings by Jack Lamonte, thie is a book you must bare. PRICE lO/-; postage M. FROM THE PUBLISHERS
THE &MAGICWANID P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
MAGIC WAND” PUBLICATIONS Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Routine)
George Armstrong
(Mental Routine)
George Armstrong
George Armstrong’s ‘‘ Premonition ” Extra Sensory Perfection
Routine) Ron (Mental
... 719 ... 21/... 1013 ... 1013 ... 1013 ... 1210 ... 1013
Baillie The Univerral Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling ... 1719 Entertaining with Contact Mindreading
S. Edward Dexter
...
...
719 1013
Will Dexter
...
719
EntertainingwithHypnotism S. EdwardDexter Identity Parade (Humorous mental routine)
The Magic Circle President: Herbert J. Collings, Esq. Vice.President : Francis White, Esq. Clubroom and Library
and Mureurn :
Hearts of Oak Buildings, Euston Road, London, N.W.1. &deal
Theatre :
King George’s H a l l , W.C. Oct. 3 to 8-Festival of Magic Scala Theatre
?uticulam from Hon. Socrotary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
PETER
Automentalism (Complete act,with apparatus)
Ken de Courcy
... 2013
Ken de Courcy
...
Dubbelkross & Simulkross (Coin Routines)
Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cup8 and Balls (cloth bound)
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francis
Mother Goose Mystery (Mental Effect)
Martin Gardner
Twenty-Six Living & Dead Tesb Terel Garrett The Concert Ventriloquist and Children’s EnLertainer Maurice Hurling Stewart James Jamesosophy(Card routines) Etc., Etc.
513
... 1219
... 2516
... 1013 ... 719 ... 719 ... 513 ... 1013
...
513
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleued to rcnd you full detail8 of
is published on the 24th of each month and can be obtained direct from thepublishers for 117 prr Angle copy. AnnualSubscription 18 Ipost free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects in return for a stamp.
hatluscriptr for publicationandbooks roview should be sent to the: EDITORIAL ADDRSS:
24,
tor
Peter Warlock, Wordrworth Rd., Wallington,
Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London,
N.W.9.
THE NEEDLE TRICK H A N S TRIXER Editor’s Note. All of Hans Trixcr’s contributions to magical literature show the desire for quality and straightforward effect. Many will remember his very fine version of the broken and restored threadtrick and nonewhosaw Fred Kaps handling of this version at the Magic Circle Golden Jubilee TV performance.will forget its truly magical qualities. The Needle trick is a perfect follow up to thebroken and restored thread and Hans has done a great deal in avoiding the
THIS classical . .,’. maglc . . effect-often said to be Houdinl mventlon (although this is most S
uncertain) has suffered many degradations by improvements. In spite of razor blades and small electric light bulbs. I believe the original idea of using ordinary sewing needles is still the best. I rememberhavingseen as a kid-I must have been no more than 10 or 11 years of age at that time-the needle miracle performed by a Chinese looking performer on a stage in a big music hall. Not having been stung by ,the magic (spelling) bee yet, I wasimmensely impressed. proof that I remembered the feat throughout the years. I still maintain, having tried it with success, that the Needle Trick isfit for big theatres, provided proper lighting is available. The dangling pieces of polished steel show up in a concentrated spot light so well that the effectis a spectacular one, even in a big show. The only thing I never liked about it was the highly unaesthetic handling of putting the needles intothe performer’smouth.although I know of magicians who have the personality and manners to put this over in a less offensive manner (at least to me) than most. To overcome this drawback Mr. Trunk, the deanof Vienna’s wand wielders, invented years ago a version in which the needles never were put into the mouth. Everything was done with the performers hands. Hisversionwaspublished first in the serializing of his MagicalMemoirs in theGerman Die Magie and subsequentlyin book form. Englishmagicianswereputintouch
VOLUME 10, No. I
use of the mouth as a repository for the needles and thread without sacrificing any of themain effect, i.e. the magical threading of the needles. Weknow that this is a trickthat many Pentagram readers will add to their repertoire for it has the advantage of being equally suitable at close quarters or on a well lit stage. To our good friend in Southern Rhodesia we say on behalf of our readers, ‘ Thank you very much!’
with this method and presentation through the pages of Abracadabra whenTrunk’sbookwas serialized by the translation of Henk Vermeyden of Amsterdam. Hans Trunk’s idea greatly of a little appealed to me, although he made use cushion tailors often used to keep pins and needles handy. This called for the use of a table which I wanted to avoid. After someexperimenting I worked out the following method for the Needle trick, which can be done without any tables, chairs and the l i e . Everything necessary is carried on the performer’s clothing. This variation of the classical effect was evolved about four years ago and described in the Dutchmagicalmagazine Triks. Sincethen it has served me on many occasions and, as I mentioned before, in big halls with a seating capacity up to 600 people. As you will see presently some advance preparation of the performerisnecessary in the first described version. If I can help it I like to do my tricks without having to stuff my pockets full of paraphernalia or any oLher advance preparations. Thinking of a simplifiedmethod to perform the Needle Trick suddenly gave me the idea, which I have described in the second version. In this version no previous set-up is necessary as you will see and above all, the trick can be performed without a jacket, something all magicians in less temperate climates will greatly appreciate.
I/6, (20 Cents)
OCTOBER I955
2 Let me tell you first how to prepare and set up the necessary ingredients for the Needle Trick, whichwill cost you no more than a shilling or about 15 cents. Buy two packets of sewing needles, which usually contain a selection of different length needles from sewing to darning which makes the effect all the prettier. Besides this you need only a reel of cotton, not unlike the cotton used for the Hindu Thread Trick of whichyoumay care to find my version in a former issue of the Pentagram. The same kind of cotton-i.e. ordinary doubled cotton without the addition of glue etc.-is required, whitebeing of course the best colour.
second lot and thread the nylon or flesh coloured cotton through it. This you make into a loop which should be about one inch and a halfin diameter. (Figure I .)
Let me just mention, that nylon is by far preferable to cotton asit tends tostand open almost by itself and so make the execution of one of the vital moves of the routine easier. With this preparation of the required articles finished you are all set for the fixing-up of your show.
For the first version you also need a short piece of fishing tackle made of nylon, being colouress. In case you have no nylon handy, a short length of pink or flesh coloured cotton will do about as well as any other. Take about 8 or 10 needles from each packet and separate them into two equal lots. One lot you are going to prepare, the other needles are ready for use. Take a piece of the white cotton (about 3 foot long) and thread one of the needles from one lot. Make a single knot on top of this needle, so that it can’t move along the thread any more. This needle should be about three inches from the end of the cotton. The remaining needles(seven to be almost exact-at least if you are using eight in total) are also threaded on to the cotton and each one secured with a single knot. The needles should be at irregular intervals-This prepared lot of needles should last you a very long time and many shows. For the first version of the trick to be described you also need one more preparation. For this you take one of the needles from the
The prepared string of needles is folded as follows: Seize one of the end needles in the left hand. Place the next needle in succession next to it and see that the loop of cotton between those twoneedles lies nicelyaway from them. Repeat this folding until all eight needles form a neat little package with all the loops over them. (Figure 2.) Place one of the two ends next to the loops and stroke them nice and flat. Then fold them back over the needles and fold them up again, so that they cover about 2 / 3 of the needles. (Figure 3.) The other free end of the cotton is now wound around the completed parcel and the ultimate end of this cotton is placed between the points of the needles. You willnotice that the other free end will stick up from the package due to its greater length than that of the loops. The completed package should look like Figure 4. This is about all the preparation you have to do after each show. Be careful to make this package neat, because on it depends the correct unfolding of the needles at the climax of the performance and with this the success of the effect. Here now is the set-up for the show. The parcel of needles is pinned behind your left lapel.
3 The seven unprepared needles of the second lot go behind the right lapel, and the needle with the loop also is placed behind the right lapel, not against the front part of the jacket but against the rear side of the lapel itself. Preferably also a bit higher than the rest of the needles so that there can be no mistake about the location of the loopneedle. And with this, plus the reel of cotton handy, you are all set for THE FIRST NEEDLE TRICK Show the cotton and tear off a piece of about the same length asthe cotton of the prepared parcel of needles. I usually perform the Hindu Thread Trick first and commence the Needle Trick with the restored piece of cotton. After having shown the three foot length of cotton this is placed across the left palm, centre of the cotton right on the middle of the palm. The left arm is heldslightly bent andthe cotton is clearly visible all the time. With an appropriate gesture the right hand is shown empty and after that the cotton is transferred from left to right eventually occupying the same position in the right hand, i.e., across the right palm with the free ends at about equal length. The left hand now goes behind the left lapel to get a needle. Your face (and your patter) explain however, that you can’t find what you are looking for. In the meantime the left first finger and thumb secretly remove the parcel of needles. The left hand is removed from the lapel and the parcel is dropped from the fingers to rest across the roots of the fingers, whereit is to remain for quite a while. Without interruption the piece of cotton is transferred from right to left again and the flat hand, with the cotton across, is tilted slightly towards yourself to hide the package of needles. Hold the left hand naturally and do not try to hide anything in an obvious manner; it is not necessary. Immediately the right hand goesbehind the right lapel and finds one of the needles. This is shown and the left hand is moved upward a bit until it is about the height of your face. Place the needlewith the pointed end between the utmost tips of leftforefinger and thumb and display it, while the right hand goesbehind the lapel to remove a second needle, which is placed next to the first one in the left hand. Repeat this business fairly quickly until all your needles have been produced, with the exception of the loop needle. The needles, of course, are displayed in a neat little fan and the left hand (still with the cotton across the palm and the secret package along the roots of the fingers)ismovedslightly from the wrist to catch the spotlights on the needles and make every effort to show them. Finally you reach behind the lapel for the last needle and in removing it you insert the tip of
the thumb into the loop, which should bedead easy. This last needleis displayed in the right hand as all the foregoing ones and in placing it into the left hand the fan of needlesisclosedin a sweeping movement of the right finger tips. Without interruption all eightneedles are seized by the thumb and first finger of the right hand and the whole parcel is held nowby those fingers. Raise the right hand with its bundle and straighten the fingers of the left hand at the same time. Now bring the free end of the package under the centre of the cotton and lift it off the left hand. Raise the right hand holding the parcel horizontal. The cotton should hang over the needles with the free end of the cotton at the same height. Grip the hanging cotton with the thumb and first finger of the left hand about four inches under the needles and start winding the doubled cotton around them.Due to the small diameter of the parcel of needles and the length of cotton this would take some time before all the cotton is wound around the bundle. But if you do it fairly quick and make one or two remarks whichyou can, I suppose, gather from any of Orben’s last 25 books, you should beready without boring your audience too much. Please remember, in the meantime, that the loop of nylon stays around the tip of your thumb (which is quite a different thing from a thumb tip) all the time. When only an inch or so is left, the remaining cotton is placedbetween the point of the needles to prevent unrolling of the parcel at any future embarrassing moment. Nowcomes the crucial move, which is no move at all if you can manage to forget ail you know about magicandmagidian: and magical movements. After having shown the’ little cottonsurrounded bundle in the right hand, you toss it into your left hand, which does not evenclose over the received parcel. The funny thing, due to the nylon loop, is, thatthe original packet of needles hangs in your right palm, suspended from the thumb. If you turn during the tossingmovement a little bit to the left, that first package of needles is nicely hidden behind you right palm. No need to stick the thumb up or bring the hand into convulsions to prove it isempty. Just hold it natural and point lightly to the left hand. If you do this all like you would do it with a single parcel of needles, you are doing all right. If, however you try to convince yourself, that you have two bundles one of which has to be hidden, youmayrest assured that your spectators will know as well as you do. Assuming the parcel is safely in the left hand, freely shown to anybody interested, you blow on to the bundle just to kill time. After having noted, apparently, that your magical air conditioning has been effective you bring both hands together and
4
at the tips of the fingers you grasp one free end of the duplicate parcel with the thumb and first finger of the right hand, while the same fingers of the left hand take charge of the other free end. A short pull in an outward direction by both hands makes the parcel untie itself and youwill notice, at least if you have followed my instructions of folding the needles, that the parcel will unroll perfectly and a string of cotton with the needles threaded onto it is dangling between your hands.
1
5
The duplicate is safelyhanging inside your right palm and you need not worry about it. If you like taking risks and living adventurously you may conclude like I often do: Turnto the right and bring your right hand up over the height of the shoulder, at the same time giving a short sharp jerk with the right hand kind of backwards. This makes the duplicate parcel of needles fly around the thumb and it lands on the back of your hand. Old timers mayrecognize this move.Before the war there was a little wire loop in (dealers) existence whichwasflesh coloured andhad a little hook attached to it and which was used to make a pocket watch disappear from thebare hands. I believe this thing was the original idea behind the Stilwell silk ball. In the above versionwith the needles no rubbing movements of both hands is executed but the parcel is just swung around the thumb. Properly timed in the upward movement of the right hand it is guaranteed indetectable. To round up the performance the free dangling string of needles (the left hand has been removed in the meantime) is lowered into a little receptacle on the table and the looped parcel is slid off tha thumb the moment the end of the long string is put away. This leaves you clean and at the same time you are sure the string of needles will not be messed up and can be prepared for the next show without untangling an unholy mess first. Now for the secondversion of the Needle Trick.
THE LAST NEEDLE TRICK This is even more speedy in performance as all the needles are removed at the same time, and singly. Here the set-up is quite different and you neeed only the string of needles, prepared exactly as before. No loop-needle is necessary here.
In addition you need the little folder in which the needles come. The preparation is as follows. Push the eight needles (unprepared) into the centre of the folder. Now lay the prepared parcel on top of it and close the folder. (Figure5). With this you are ready for the performance. After having torn off your cotton you hang it over the left elbow, not over the palm. The ends should again be about equal. Remove the folder from your pocket. The flap should now open to the left.Push the flap open with the right thumb and press it down with the left one. Open the top and bottom flaps of the folder with the right thumb whileholding the folder tilted slightly so that nobody can look inside.Bring the left thumb over the duplicate parcel and pull away the entire folder with the right hand only, in the position shown in Figure 6. Turn to the right and raise the hand to show the contents of the folder. The duplicate bundle rests (again) across the roots of the fingers of the left hand while the whole hand makes a pointing gesture towards the folder in the right. The left hand isheldflat and the needles just lie on the palm. Turn front again and bring the hands together. Placing the open folder with the side flap over the duplicate parcel of needles. Remove all the needles from the folder with right thumb and first finger at the eye-ends. Drop the folder on the floor or on a nearby table of chair. Under no circumstances put it into a pocket, as youdon’t want to arouse suspicions by putting the left hand out of sight. Place the needles between the thumb and first finger of the left hand and fan them out as in the first version. Seize the cotton now with the right thumb and first fingersand hang it over the needles which remain in the left hand. Close the .fan and make a parcel as described before.
n I
k
When the parcel is finished and the ends are safely tucked between the points of the needles, it is taken up by the right hand and displayed. Then follows the tossingbusiness as in the first method, only the parcel from the right hand is retained in this hand as itcan not hang. Don’t let that worry you though, because if you do it as youwould doit with a singleparcel(see the sermon above) you are quite safe.
5 While blowing on the parcel of needles in the left hand the right thumb manoeuvres the duplicate bundle in a position parallel with the right second finger. Oneend of the parcel should be at the root of this finger. By bending the finger slightly the whole parcel is pinchedsecurely and connot fall during the following concluding manipulations and operations. Seize the free ends of the cotton as described in the first version and separate your hands while standing facing your audience. The bundlewill undoitself and the threaded needleswill make their appearance. Thehandsare held(slightly curled fingers !) with the palms towards the
spectators, but due to the position of the duplicate packet along the second finger of the right hand, only a spectator lying on the floor right at your feet would be able to see this parcel. This kind of concealing by the way I saw for the first time in 1947 from John Ramsay when he did somecoinmoves,whileholding a cigarette in the same hand. Well, there you are. A complete book almost, about the needle trick. Try them both and find out which one suits you best. Always work with your fingers as far open as possible, which enhances the effect tremendously.
SALUTE TO JOHN RAMSAY JOHN DERRIS T THE recent I.B.M. Convention at SouthA the port, Jack Avis, Roy Walton and myself had privilege of seeing John Ramsay perform many of his close-up classics at a session in his room early one morning. As we sat there ‘‘ Johnny,”in his slow and deliberate manner, fooled heck out of us with his cups and balls, rope routine, coins in the hat (with a newtwist that caught us right off our guard), and his copner and silver transposition and many others. Needless to say it was a wonderfulexperience and our own personal highlight of a grand convention. lCESTfTJG F U R I N 0
PENNY SIDE TOWAFfDS AUDSE2JCE
After the convention, it washis routine of copperand silver that setme thinking along similar lines and after pushing the idea around in my head for some time and playing late at night with a handful of coins, I eventually worked out the following routine. Some of youwhohave seen “ Johnny’s ” routine will recognise in mine similar characteristics, but do not think for one moment that I have tried to emulate his routine; this is just my own handling of a close-up classic, the copper and silver transposition, and in presenting it to you here I salute the man who in my opinion richly deserves the title ‘‘ Mr. Close-up Magic’”-John Ramsay,from whomcame the inspiration which led me to this effect. The magicianremoves from hispockets a
copper andsilver Coin which are held at the fingertips. He asks the spectator “ If I could make this copper coinchangeplaceswith this silvercoin, would that be a good trick.” The spectator answers that it would and with a wry grin the magicianmerelyexchanges the twocoins quite openly, so that they are in opposite hands. Remarking that perhaps it was a little too easy he offers to do the effect differently. The silver coin isplacedbetweentheteeth and the copper coin istossed into the left hand. The silvercoin is removed from the teeth and heldin full view at the fingertips of the right hand and the spectator is asked to keep his eye on the silver coin. Slowly itslides out of sightbehindthefingersonly to slide into view from behind the fingers of the left hand ! The magician then looks back at his right hand and slowlythe copper coin slides up from behind the fingers. He then showsbothsides of eachcoin and as hethrowsthem onto the table bothhis hands are seen to beempty. No tricky or quick moves and everything is done in a slow and deliberate manner a la John Ramsay. Interested? Wellread on. You require for this effect a nesting florin and pennyset. This iscomprised of a shellpenny and a florin with a penny on the reverse side. The florin justfits into the shellpenny so that the
6 back of the florin, the penny side, fills in the open side of the sheli penny, and when the set is locked it can be handled quite freely as a, single coin. It is with this that you achieve the above effect and the handling is as follows. In the right trousers pocket you have the shell penny and a genuine florin. In the left trousers pocket you have thefake florin. Casually reach into each pocket with your hands and remove the copper shell and the fake florin, finger palming the genuine florin in the right hand. The left hand coin is heldwith the silver side towards the audience and the right hand coin with the open side towards the performer, both coins being held at the fingertips andat approximately eye-level. Ask the spectator if it would be a good trick if you could make the copper coin change places with the silver coin and he will answer in the affirmative. You then merely change one coin for the other. Copper coin is now held at the left fingertips and the silver coin at the right fingertipswhilst the genuine florin is still in the finger palm. REAL FLORIM BEHMD
FROrnHTIPS ElEADY
TO BE PUSHED UP BV TBMB
favourite switchwhichyouwilluse; my own choice is the Bob0 switchdescribed on page 10 ofBobo’s “ Modern CoinMagic ” and I have found this ideal for this effect. The copper coin in the right hand is gripped between the first and little finger with the other fingers coveringthe coin and the open side of the shell towards the performer. You now remove the silver coin from your teeth with the right hand with the four fingers on top of the coin and the thumb below, so that the palmed copper shell just overlaps the silver coin. Hold the silver coin at the fingertips at eyelevelwith the thumb behind the coin and the copper shell gripped between the silver coin and the fingers. The left hand isheldin the same position but the genuine silver coin is not visible; it merely rests on edge on the palm. Relaxing the pressure on the right thumb allow the fake silvercoin to slowly slide down behind the fingers until it drops into place in the copper shell.Press the fake coinhomewith the right thumb and then look at your left hand as you slide the genuine florin into view with the left thumb. Hold it at the fingertips then look back at your right hand as you slide the copper shell into view (which now has the fake florin safely nested in the back) and you are now able to twist the coins at your fingertips so that both sides can be seen. PESTIN0
I Y
m R m PEmm
SIDE TQIWAFDS P E R F O I W R
mm’APEmY SHELL m
POSITIOM PRIOR .TO C M =
y OPEN
SIDE TDWARDS PERFOlWER
Say that you will do the trick a little differently. With the right fingers place the fake silver coin between the teeth with the silver side facing the audience and then allow the copper shell in the left hand to fall onto the outstretched palm of that hand. Pick up the coin with the first finger and thumb of the right hand, show itto the spectator and then toss it into the left hand closing the lingers over the coin as it hits the palm. In doing this you have switched the copper shell for the genuine florin that was held in the finger palm. Genuine silver coin is nowheld in the left fist whilst the shell copper coin isheld behind the fingers of the right hand. You may have your own
THUMB SLIDES TOP CMN
D m INTO SRELL PEN= NESTS W O TOGETEIER de THEN PUSHES THEM IllTO VTGW
The hands are dropped to table level as you toss both coins onto the table, making sure they do not hit each other as the unnatural ring would give the game away. Both your hands are empty and there isnothing that will explain your miracle. You have done it again !
BOOKS CATALOGUE. Gamages conjuring department have
recently issued new catalogue of some sixty four pages. It shows that this old established house is building up a department that was once so flourishing and which as a result of the War became almost non-existent. To Harry Baron must go a great deal of the credit for this. Most of the items in the catalogue are
standard dealer effects carried by this house. The catalogue is nicely produced in digest size and is well deserving of the modest shilling asked for it. ‘ ABOVE SUSPICION ’ A Jack Yates Creation, (published by Jack Yates at “ Glednhoon,” Garden Street, Accrington, Lancs., price 5s.) I am beginning to feel that Mental Magic is becoming a magical Frankenstein and taking up
l too much attention in the creative field. Jack Yates who has produced some delightful mentalistic ideas comes up with yet another method for resolving the name of a thought-of card. The ingenuity let it be said is well worth the reader’s five shillings that he asks, but in all sincerity the method though both subtle and indetectable has too many intermittent phases before the climax of the trick is reached. The principle behind this means of discovery is as I have previously remarked subtle and indetectable and well worth having as a shot in the locker on that odd occasion at the card table when one wants a trick that cannot fail. ‘THERIDDLE’ OF CHUNGLING SO0 ’ by Will Dexter (Published by Arco Publishers Ltd., price 15s.) This book as the author writes in his Introduction has been written with the desire to showtwo things; the first a modest testimony to a great magician and the second to refute many of the sensational stories that have assailed Chung Ling Soo’s name since his tragic death. The first chapters of the book deal with death of So0 at the Wood Green Empire. Then using theflash back technique the birthplace of Billie Robinson is settled as New York, the date, April 2nd, 1861. Starting his working days as a metal worker he later at the age of nineteen abandoned the profession of Tuba1 Cain for magic. In those early days he was known simply as Robinson the Man of Mystery his programme consisting of magic, spiritualism (?) mind reading etc. He got his first break in 1887, whenwith the additional aid of ‘ Dot ’ Path, he produced for the first time in the States the ‘ Black Art ’ principle. Even at this date Robinson was working as an oriental
under the name of AchmedBen Ali. Robinson soon went over to Kellar acting as stage manager and chief mechanician. Later he was to join Alexander Herrmann not only in the capacity of mechanician but also playing a part on the stage. In 1899 Robinson and Dot left the Herrman show and for some while worked a double act. It was the advent of Ching Ling Soo, a genuine Mongolian magician that turned Robinson’s thoughts to the matter of working on an oriental act, and in 1900 under the title of Hop Ling Loo he opened not too successfully at the Folies Bergeres in Paris. A London booker seeing the show, and ignoring the accident that had marred its climax after suggesting a change of name and Prince Fee Lung supplying that name which afterwards stuck to him, booked Robinson in at the Alhambra, London. From that engagement he never looked back, his success being well proved by the countless imitators of the act which immediately sprang into being. From that point the reader is given the highlights of this great magician’s career returning once again to the matter of the Gun trick which robbed him of his life. The opinions put forward by Goldston in his ‘ Sensational Tales of Mystery Men ’ are examined and found wanting. They are, in the writer’s own opinion simply sensational opinions put forward to titivate the palate of an ever jaded public, magical or otherwise. Will Dexter mustbecommended on the excellent job that he has made-of this all absorbing story. It is one that should notbe absent from the library of any contemporary magician.Well produced, excellently bound and having a number of half tone plates it represents excellent value for the modest sum of fifteen shillings.
MAGIC-GO-ROUND N THE near future we are going to present to I extraordinary. you a version of the Rising Cards that is truly It is the brain child of one who is known to a smallish circle of magicians and who seems to be treading a less conventional path in his approach to certain plots. In this particular trick a card selected and marked by a spectator replaced in the pack, the latter then being shuffled by the spectator. The pack is then dropped into a transparent plastic houlette and the chosen card rises. The principle used is most ingenious and those who have seen it have already tried several alternatives using the main idea.
Once in a while one-sees a master showman taking the oldest tricks and presentingmiracles. Richiardi junior falls into this class. At Finsbury Park Empire some weeksback we witnessed a stream-lined presentation of a trick which we had never seen in over forty years of watching magic.
It was the Vanishing Lady of De kolta’s. Whether he was working fast or slow, Richiardi had his audience intrigued and entertained. One regretted that the performance was not longer for when this performer closed with the Robert-Houdini suspension using a broom as a prop for the lady’s arm itwasvery obvious that the audience wanted a great deal more from this very likeable South American. The G.O.M. of Magic, Jean Hugard has once againbeenin hospital undergoing an operation, whichin the opinion of hismedical adviser has provedsuccessful. He is now home and undergoing a magical convalescence, for this great enthusiast, despite the fact that his eyes have to remainbandaged insists on dictating notes and letters. We know that the good wishes of all who owe so much to this great performer and writer willwish a true bill of health in the shortest possible space of time.
8 ~
~~
A NEW STYLE MAGIC BOOK
JOHN EOWIE’S ROUTINES WITH
THE JARDINE ELLIS HING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collection of Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE
WORLD’S GREATEST POCKET TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL T .
Now at last the author has described the FULL TECHNIQUE of the Jardine E h Rmg-GENERAL NOTES ON THE APPARATUS,HANDLING OF THE SHELL SO AS TOREPRESEm A SOLIDRING, DISPOSAL OF THE SHELL (eight mcthodr). EXAMINATION OF THE APPARATUS BY SPECTATORS, THE DIRECTPALM-OFF, THE HOWIEPICK-UP MOVE, and A WORD ON. BASICPROCEDURE: Havmgmastered the handhng of the ring-which is reallyverysimpleindeedwhentheseprecise and fullyillustrated instmctiom are followed the reader is introduced to some of the ‘fleanest and mostbaffling r?,t+ines everdevisedwith this pro?. RINGON .WKK EFFECTS-there are three, The Direct Rmg on Wand m which the rmgjustseems to malt * on to the wand. ‘‘ Ring on Pencilwhich is a wonderful close-U routin5,in which the audienceactually hear the ring penetrate the pencil, although the p&former’s hands are in full view all the time: an% finallyPenetrellis ”-a close-up or platform effectwhich seems quite i . ~ ~ ~ s i b l r yet the ring TWICEnetratesthe wand or stick RING. AND rANDKERCHIEF.EFFEqS&there aretwohere, ‘‘ Ring i n the Knot.” in which the ringisvanished, and then appears tledwlthlna knot that wasprevlouslytled m the handkerchlef.and the Ring and Handkerchief Routine,” whichisacomplete routine of threeseparate effects,each one more baWi?g than the previous one. routine at close quarters, inwhich the ringpenetrates MISCELLANEOUS EFFECTS-ther: is. the Ring y Necktle,”aterrific the necktle, andthentwo completq~outmes, -g and Rope in which :be ring penetratesa ropethree times,a knot forming round the pranks on the performer. ring on the thirdpenetrationand A Ring aWand and aHandkerchiefinwhichasteelringapparentlyplays BIBLIOGRAPHY-kor those intereited, there is a comprehensive bibliography of the Jardine Ellis Ring Trick from its invention, to date.
And now a word about the Book itself, which is in a new style for Magic Books, the same page size as The Magic Wand, with large clear illustrations by the author, and bound in red ‘Antelope ’ fin€& boards. MAKE SURE OF YOUR COPY, BY ORDERING NOW
12/6 ;postage 3d. ($2.00) FROM THE PUBLISHERS
THE MAGIC W A N D PUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
Cwrge Armstrong’s
‘‘ Premonition
”
(Mental Routine) George Armstrong
Extra Sensory Perfection
Routine) Ron (Mental
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. Edward Dexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine)
Will Dexter
The Magic Circle President: Herbert J. Coilings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and
Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre : King George’s H a l l , W.C.
Nov. 23-Annual Supper Scala Theatre ?utlculan from Hon. Secrotary :
Peter Newcomba 38 Overdale Avenue N o w Malden, Surrey
Every Advertis&
Automentalism (Complete act, with apparatus)
Ken de Courcy
... 21/-
Dubbelkross & Simulkross (Coin Routines)
... ...
Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Ken de Courcy
1013 1013
Victor Farelli
... 1013
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
... ...
...
1219 1013 1719
...
...
719 1013
...
719
PETER
Douglas Francia Mother Goose Mystery (Mental Effect)
Martin Gardner Twenty-Six living & Dead Tests TereiGartett The Concert Ventriloquist and Maurice Hurling Children’s EnCertainer Stewart James Jamesorophy (Card routines) Etc., Etc.
... 2013 ... 513 ... 1219 ... 2516 ... 1013 ... 719 ...
719
... 513 ... 1013 ... 513
WARLOCK’S
PENTAGRAM
JACK HUGHES willbepleased to rend you fulldetails of
published on the 24th of each month end can be obtamed direct from the publishen for 117 per wnele copy.AnnualSubscription 18/post free. PUBLISHBD BY:
THE DE LUXE “SU-TABLE”
The Magic Wand PublishingCo. 62 Wellington Road, Enfield. Middlesex
togetherwith all his o t h a effects in returnfor a stamp.
is
hanuscripts for publication and books tor review should be rent to the:
EDITORIAL
ADDRESS:
Peter
Warlock,
24, W o r d s w o r t h
Rd., Wallington,
Write now t o
Jack Hughes, 2, Bvelyn Ave., Colindale, London, N.W .9.
Surrey.
goodsare fully endorsed by this Bulletin
*
~~~
~~~
T H E NEW I N T R U D E R JACK AVlS ACK, WHO IS so prolific withworkable worthwhile ideas came up with this lovely Jversion of the ‘ Blue Intruder.’ If you like handling cards you’ll like this. The magician brings forth his deck of cards. With the exception of one blue backer, they have all red backs. “For the moment I am going to lose the blue backedcard,” says the wonder worker, and momentarily placing the deck behind his backhe brings itforwardface up. Then fanning thecards ,in front of the spectator he requests, “Just touchone card.” The helper obliges. We’ll suppose that it’s the nine of diamonds. “ Remember,” says Robert-Houdini Junior, as he turns the pack face down and starts runningthecardsfromhand to hand, “that I showed you that I had one blue backed card in the deck.” At this point in the run he has reached the blue backer! “Don’t you thinkit a trifle strange that it was the one card in the deck that you selected?” As these words are uttered, the blue backer is flicked face upwards to reveal its face which truly is the nine of diamonds. All thatyou’ll require is a deck of blue backed cardsandone blue-red double backer. Atthe commencement of the effect, the double backerlies on top of thedeck, blue side uppermost. Like that you start the trick. deck faces down The conjurer fansthe showing that all arered backers with the exception of the topmost card. When the conjurer remarks, “For the moment I am going to lose the blue backed card,” he places the pack behind his back, pauses momentarily, and then without doing anything to the cards at all (i.e. the double backer is not removed from the top of the deck) the deck is broughtforward again, the decksimplybeing turned face up before it is brought to the front. Be careful however that the onlookers do not get a flash of the blue side of the double backer!
VOLUME 10, No. 2
-
Placeyourself infront of a spectator. ask him to empty his mind of all conscious thought and to point at any card he wishes. Actually the cards arefan spreadbetween the hands, care beingtaken thatthe bottom cards, thedouble backer, is aligned with the card above it. The spectator points at a card, which once again we’ll suppose is the nine of diamonds. As he makes his selection, the left hand fingers push the double backer across the underside of the fan. “You are quite certain that youwould like this on receiving an card,” says theconjurerand affirmative reply breaks the pack at that point, the right hand fingers taking the double backer and retaining it under the cards it holds. The position now is that the right hand now holds a packet of face cards with the double backer at the bottom, whilst the left has a packet with the selected curd on top. The right hand packet is now placed on top of the left hand packet which means that the blue side of the double backer is against the face of the chosen card the nine of diamonds. The deck is now turned face downwards and held in the left hand. Mentioning the fact that he showed one .blue backed card before thetrick commenced, the conjurer starts running the cards fanwise from the left hand into the right. When he reaches the blue side of the double backer he pauses and breaks the pack at that point. The cards above the blue back naturally are taken by the right hand whilst the remainder with the blue backer on top are in the right hand. Now because Of the previous manoeuvre, the bottom card of of the right hand packet will be the nine diamonds. Without any apparent effort, this card is slightly outjogged and the left hand at the same time outjogs to a greater extent the double backer. The two packets should look something like this.
I/a, (20 Cents)
-
NOVEMBER 1955
10
ObTJGGGS3 OUTJOGGED
The right hand nowmoves in and using the right hand fan apparently places the edges of the
cards under the outjogged blue back and flips it over. Actually what happens is that the outjogged nine ,of diamonds goes under the edge of the double backer and as the fan is brought across the face of the cards to the left both cards are turned over as one, the selected card falling on the face of thepack. It is in effect a form of Mexican Turnover without the take away of one card. With practice the illusion is perfect, an additional factor inthedeceptionbeing that the card under the nine of diamonds ‘is the doublebacker with red side uppermost. To conclude the effect, the double backer and the card above it are double lifted and turned over, the double backer then being taken away and dropped into a pocket, whilst the chosen card with its normal red back is left on top of the pack.
THE LUCKY RING PETER WARLOCK THE Percy Naldrett Collected Series I T 0made some three contributions. Two of these, “The Willow Pattern” and the “Hatpin” have “
”
well proved worthy of improving with the advantage of experience. The third item was called the “ Silver Shoe ” and a recent glance at this teenage effort convinced me that it was also worthy of revival even though the earlier method could well stand improvement. The plot which is simple goes like this :A silver painted horseshoe is shown and also a length of pale blue ribbon. Next a wedding ring is borrowed anddropped into a glass.Asking two members of his audience to assisthim, the length of ribbon is threaded through the two topmost holes in the horseshoe and each assistant is ,given one end to hold. Over the shoe, which hangs from the centre of the ribbon, an opaque handkerchief is placed. Now taking the ring from the glass the performer wraps it in a piece of paper. The latter is flashed off and no trace of the ring is left. Removing the handkerchief from the horseshoe the missing ring is found safely threaded upon the ribbon between the twoholes of the horseshoe. The requirements are few. 1. Thehorseshoe of course needs contructing and a glance at the accompanying illustrations will help the reader in this very simple task. This illustration shows that the shoe is made from two pieces of plywood measuring approximately 3 / 16” in thickness. One piece is cut out to the shape of a horseshoe, the necessary seven holes being made
in the appropriate places. The other is a duplicate, apart from the fact that the top hole should be circular and measure one inch in diameter. The two pieces of wood are glued together and when dry and sandpapered are given a coat of silver paint.
SECTION OF SECOND PIECS OF WO@O SHOWING ROUND INSTEAD CF RECTANGULAR HOLE 0
2. A length of quarter inchlightblue satin ribbon, seven feet in length. 3. An opaque handkerchief. 4. A good quality bottomless glass tumbler. 5. A sheet of flashpaper. 6. A cigarette lighter. 7. A duplicate plain weddingring. As a note before dealing with the preparation side it should be mentioned that the horseshoe can be made up from pieces of thick cardboard, a form of manufacture that may appeal to those who are not woodworkers.
11
Preparation.
Thisamounts to very little. The opaque handkerchief and glass are set on the table adjacent to the horseshoe which should have the side with the faked hole nearest to the table top. The lighter is placed in the right hand trousers or jacket pocket whilst the piece of flashpaper cut to a size for the usual fold vanish is folded and placed inside the left hand waistcoat pocket together with the duplicate ring. The length of ribbon is draped across ,the table. The table should be to the left of two chairs which are placed about nine feet apart. Asking for the loan of a wedding ring the performer takes the bottomless glass with his left hand. The bottom is cupped by the fingers but care should be taken that the holding of the glass does not look unnatural. It will be found that the second, third and fourth fingers will comfortably cover the opening whilst the thumb and first finger encircle the base of the glass. The ring being forthcoming, the performer takes it with the fingertips of his right hand which is clearly shown to be empty. The ring is then lowered to a position about two inches above thelip of the tumbler and then dropped so that it strikes the inside of the glass near the bottom. The ring of course then falls intothe waitingfingers of the left hand. The illusion is perfect if the ring is dropped as stated. The conjurer movesback to his platform and the left hand moves the glass backwards and forwards allowing the ring to rattle against the sides of the glass. This piece of byplay over, the right hand comes across and takes the glass which is placed upon the table, the left hand falling to the side with the ring fingerpalmed. The horseshoe is now taken by the right hand and shown on both sides, care being taken to cover the faked hole. With the faked hole side nearest to his body the conjurer passes the horseshoe across to the left hand. It is passed in such a way that the faked hole goes over the ring. Let me make this clear. The end of the horseshoe with the faked hole goes over the base of the fingers of the $eft hand which should be held horizontal with the ground at elbowheight. The recess in the horseshoe allows a quick positioning of the ring without any attendant fumbling. When the ring is positioned inside the hole it will be found that by inclining the shoe so that the top part is nearest to the audience, the ring will stay quite safely inside the hole. Actually, however, there is little call for doing such a thing and for safety’s sake, I suggest that a slight left hand finger pressure be exerted against the edge of the ring. The right hand has a reason for passing the shoe to the left, for as the left hand takes it the right, now free takes one end of the ribbon and lifts it from the table. The assistance of two members of the audience is now requested and on arriving on the platform they are seated right and left in front of the performer.
The conjurer now threads the ribbon through the two top holes of the horseshoe, and then holding the ribbon on each side about a foot from the shoe, (the tautness of the ribbon caused by the weight of the shoe making this a safe procedure) he approaches the assistant on the left requesting him to take the end of the ribbon on that side with his right hand. This done he moves across and requests the right hand assistant to hold the right hand end with his left hand. The ribbon at this point should be fairly well stretched and almost horizontal. The positioning of the hands of the assistants with the ribbons makes certain that under normal conditions there is no possibility of their seeing the back of the horseshoe. Taking the handkerchief from his pocket, the conjurer shows it on both sides and then drapes it over the shoe. “ Perhaps,” he says tothe assistants, “ it would be better were you to stand and give the audience a better view of the trick.” As he says this he still retains his hold on the handkerchief. Gripping the ribbons at about a n inch from the shoe (as shown in Figure 2) with his third and f o u r t h f i n g e r s , t h e t h u m b
SECWXG HOW HAhQKERCHTEF & SHOE ARE HELD SO THAT SUFFICIENT SLACK IS CUTAINED TO RELEASE R I N G l%OM SEMIFIXED POSITION.
and the first finger of each hand grip the ends of the shoe. As the two spectators rise, the ribbon held by the performer is allowed to slacken and the top of the shoe is tilted towards him so that the ring falls out of the hole and takes up a position on the ribbon midwaybetween the holes. The movement is simple and unnoticeable and by the time the assistants have risen to full height and once again pulled the ribbon taut the main part of the trick is complete. The conjurer’s left hand then goes to his waistcoat pocket taking both the ring and the flashpaper, the former being brought into a fingerpalm position onthe way out. The performer should stand well to the left of the assistants at this stage. The flashpaper is passed to the risht hahd and the leh goes to t6e table and takes the
12
bottomless glass in just such a way that it took it at the beginning of the trick. The glass is moved backwards and forwards so that the duplicate ring rattles and then the glass is turned over and the ring allowed to drop through from the palm on to the flashpaper. The glass is then replaced upon the flashpaper. The glassis then replaced upon the table whilst bothhands assist in parcelling the ring in the paper using the standard fold so that it willslide out when required. The right hand
holds the packet at the open end and the ring is bangedagainstsome hard object. After this the ring is allowed to slide into the curled right fingers as the packetispassed to the lefthand,which holds it at the fingertips. The right hand with the duplicate finger palmed goes to the pocket for the lighter, ditching the ring in transit. A flick on the lighter, a flash of the paperand thenwith the removal of thehandkerchieffromtheshoe and ribbon the conjurer is safely in port.
VARIATION ON A THEME TAKE’ THREE FRANCIS HAXTON OU WILL remember a few numbers back an Y item, ‘ Take Three ’ whichwas a re-shaping of an older trick we had published way back some fifteen years ago. When the usual crowd of usweretogether atEricde la Mare’s, Francis came across withtwo or three versions of the effectwhich suited hisownstyle. Francis was concerned about the miscalling of one card and each of hisefforts endeavoured toremove that particular blight from what he agreed was a good card plot. The following he considers to be something approaching the ideal method and certainly in his hands it appears perfectly deceptive. Theperformer takes a pack of .cardsand ribbonspreads it face up across the table or floor. Without spoken comment this action is designed to show that the cards are all facing one way. The finger comes under one end of the pack and turns over the cards into a face down position. A spectator is asked to indicate what he thinks isthe centre of the spread andondoing so he is further asked whether he would like those on the right or left of his finger to be placed aside. Accordingtohisanswer approximately half the pack is taken from the spread, squaredupand placedfacedown at the left hand side of the remaining spread. “ Now sir,” says the conjurer to hisvictim, ‘‘ will you now point at three cards in that line of cards?” As the spectator does this the conjurer pushes each one out of the spread, turning it face up in the process. “ On each of these cards ” (the spectator is handed three visiting cards) “ I wish you to write down the name of the cards you have chosen, one on each card. The spectator does this and the conjurer takes the cards from him turning them face down. He mixes them, asking the spectator to choose one. “ Now sir, the cards you chose are going back into this packet, but whereas all the cards in the packet will stay face down, these you have chosen will be face up.” Holding
the packet in the lefthand, the right hand takes the cards one at a time and pushes them into it, then squares the packet. This packet is now placed on the table and the packetontheleftis taken and handed to a spectator. The spectator who wrote on and selected a visiting card isasked to turn it over and read what is written on it. Wewillsuppose that it is the four of clubs. The packet with the reversed cards in it is ribbon spread facedown and only two face up cards show, neither of which is the four of clubs. The person holding the other packetisasked to runthrough the cards heis holding. He does so and findsone card reversed . . . the four of clubs! Allyouwill require is a pack of cards and three visiting cards one of whichis capable of recognition after the writing has gone on its blank side and it has been turned over.Alternatively a sheet of papercan be torn in three the edge pattern giving the necessary clue. With the visiting cards at hand the pack of cards on the table and a pencil in your pocket you are all set to go. Pick up the pack and give it a strip shuffle before ribbon spreading it face up across the table. Let the fact sink in that all the cards are face up, and then flick the cards over so that they are all face down. Now ask the spectator to point at what he thinks is the centre of the spread. Break the pack at this point and then gather up, square and place to the left those cards which are not required immediately. From the remaining cards he is asked to point at three, and these ,are taken from the spread by the conjurer and turned face upwards. “ You had a fairly widechoice,” the conjurer remarks as he gathers up the remaining cards, turns then face up fans them before the spectator. This packet of cards after being squared up, is now placed face downwards onthe table. The visiting cards are
1.3 taken, the marked one being undermost, and with the words “ Just place the initials of each card on one of these visiting cards . . . here’s a pencil,” these items arehanded to the assistant. The conjurer ti, speed up the trick and to give himself a chance of not standing idle picks up the cards and states aloud their names, the spectator placing these names on the cards. The three cards are then placed down on the table. The visiting cards .are turned over and mixed, and the marked card is forced equivocably on the spectator, whois asked to keep the card writing side down under his finger. (A point occurs here, that in this version, if the conjurer had a means of identifying each card as 1, 2, or 3, the selection of the visiting card could be free.) The packet of cards is then taken face downby the left hand and the right hand, taking care that the third card to be picked up will be the force card, take the remaining two .and inserts them face up in the face down packet. The third card, whose’ name is written upon the visiting card, is then taken and pushed into the
packet.With a differencehowever thatat this point the conjurer resorts to the DiagonalPalm Shift, and as the right hand takes and replaces it upon the table, the left hand with the force card palmed drops to the side. The right hand now takes the packet that was put aside at the beginning and passes it face down to the left hand which at the same time adds the face up force card. Casually the performer does a Hindu Shuffle. He has already set the pattern for this at the beginning of the trick and this time it achieves the purpose of leaving the force card at about the centre of the packet. This packet is now handed to another spectator. The trickis all overbar the shouting. The spectator turns over the visiting card and reads out the name on it. The packetonthe table is ribbonspread and the chosen card has vanished. Finally the unwantedpacketis run through and there is the missing card face up in the face down spread.
VARIATION ON A THEME TAKE THREE-AGAIN Dr. STANLEY JAKS GOOD FRIEND Stanley Jaks has come 0UR upwithyet another variant on the ‘ Take Three ’ theme, one that has a mental flavour plus an added individual touch. The effect is like this : The mentalist writes a prediction whichis given to a spectator with a request that he places it in his pocket until it is asked for. A pack of cards is then removed from its case and handed to a member of the audience for shuffling. When this is completedhe is to deal three cards face ,down upon the table. The remainder of the pack of cards is placed aside and giving the spectator three blank cards or pieces of paper, this person is requested to write the names briefly one on each piece or card. These record cards are now turned face down, mixed andone is chosen. On being ,given thename of the card, the mentalist takes the original and writes the initials of the spectator .on the back of the card in the white margin. The three cards are then pushed back into the pack, the latter then being replaced inside the card case which is given to another party to hold. The person holding the prediction is asked to :remove it from his pocket and read it aloud. The message is to this effect, “ The card selected will
be the (say) three of diamonds and it will be found reversed in the pack,” and sure enough when the spectator removes the cards from the case and the cards are ribbonspread he finds the three of diamonds with his initials on the back duly reversed. The method is most straightforward and intended for usewhere the performer ascertains ahead of time the name of someone inthe audience who will assist him. On the white margin on the back of the ‘three of diamonds, the performer writes this person’sinitials. This card becomes the face card of the pack when it is placed inside the card case, and later when the cards are withdrawn this card is left behind, the mouth of the case being turned away from the audience so that nobody is likely to catch a glimpse of the inside. The remaining part of the trick follows on the lines of the original “ Take Three,” one card being miscalled as the three of diamonds, andlater the card upon which this name has been written is forced on the spectator. After the cards have beenpicked up and their names given to the writer on the cards, they are replaced on the table in a row so that when the timecomes forthe initialling on the back, the conjurer doesn’t have
14
to pick all the cards up again to sort one out. When the three cards are pushed back into the pack the latter goesback into the case withSome faces the opposite way to the force card anda slight tilting of the case makes sure that this card inside finds its way into the centre of the pack. With the reading of the prediction and removal of the cards from the case and subsequent
ribbon spreading face up, the trick is complete. readers may point out that the pack contains another card with initials on the back. In viewof the fact that the climax comes with the face up ribbon spreading and with one stranger initialled back showing, there is little need for worry.
PEEK DECK PREDICTION MAURICE S. HOWARTH PEEK DECK isused,with a nalrow force A oncard on top of the deck. Write the numbers three visiting cards, 1, 2, 3. Then put them in the breast pocket. Takeout the deck, false shuffleleaving the force card on top. Take the visiting card nearest to the outside of the pocket, look at it, say “ Number one,” actually it is the card marked No. 3. Onit write the force card; the visiting card is then dropped in a tumbler. Mr. No. One is allowed to peek a card. Move to Mr; No. Two, take out the visiting card from the breast pocket nearest to the body, say, “ Number two,” actually it is No. 1. On it write the card justpeeked. Drop card in tumbler. Let Mr. Two peek a card. Move to Mr. No. Three. Take the remaining card from breast pocket saying “ Number three,” actually it is card No. 2. On it write the card peeked by Mr. No. Two. Drop it in the tumbler, if possible between the cards already there, if it does not go between, don’t worry. Tell Mr. No. Three you want him to take his card without letting anyone see it or seeing it himself and he is to put it useen in his jacket pocket and to keep his hand on it. Riffle the cards asking him to say stop, using the slip force, he gets the narrow force card and
puts itinhis pocket. Ask Mr. No. One to take the tumbler and to name his card, ask him to take his visiting card out of the tumbler and read what is on it. Same with Mr. No. Two. Then ask Mr. No. Two to takethe remaining card from the tumbler and to read it loud and clear, then ask Mr. No. Three to show the card in his pocket to the audience. FINIS. I do appreciate the error in showmanship in having the so called spotlight on the assistants at the denouncement, but the point of not touching the tumbler and cards is very strong. The tumbler I use is a shallow whisky glass, the visiting cards are dropped jogged into it. Also the numbers on the cards are made quite large, so that there is no difficulty for the assistant infinding and taking out his numbered visiting card. I appreciate there are many methods by which the triple card prediction can be done, setups,deckswitch,etc., but the peekdeck does seem to havebeenneglected, for such a clever deck. I’ve beenusing the peekdecksince it appeared in Pheonix and I think, used carefully in a routine such as this, the deck is a wonderful tool for our card armoury.
ADDENDUM FOR “THE NEWINTRUDER” UST before receiving the proof of this issue of the Pentagram Jack Avis came up with a nice Jfinish for the “ New Intruder ” which appears on page 9. Let us suppose for a moment that you have reached that stage in the trick where the chosen card has been shown and the double backer lies underneath. There is also a packet of cards in the right hand. These go underneath the other packet so that the conjurer holds the complete pack with a face up card on top and the double backer red side ut>permost immediately beneath it. The conjurerhaving proved the point that the
spectator picked out the only red backed card in the pack, double lifts and turns over the face-up cardandthedouble backer as one so thatthe blue back of the double backer is now on top. The double backer is taken off and placed on the table, and with the words “ We’ll k e e p this stranger card out of the pack and replace the red backed corresponding card,” the conjurer palms the topmost card of the pack (the selected card), then placing the balance of the pack on the table and, reaching into his pocket, withdraws the selected card. The doublebacker is now taken and dropped into a pocket and the pack i5 komljlete.
15
MAGIC=GO=ROUND WASwith a great deal of pleasure that on ITapurchased bookstall the otherday wesaw and then a modest priced reprint of The Road
to En-Dor by E. H. Jones. This book, nowwith an introduction by that great escaper Eric (Wooden Horse) Williams tells of one of the great escapes of World War 1. More interesting to magiciansis the fact that Jones’sfellowescaper was Group-Captain C. W. Hill a Member of the MagicCircle. As this givesbyitselfnomagical qualifications it is as well to add that he is a very goodmagician and his last public performance for the Circle was at a Charity Festival p e r f o r m a n c e which I organised just before entering theForces inthe early forties. His appearance in the show which was held at Rudolph Steiner Hall was appropriate as the Charity in question was the R.A.F. Benevolent Fund. The tale of the escape has an interest for magicians insomuch that part of the means used for the escape involved pseudo spritualistic phenomena. The book which is entertaining and excellent reading for all members of the household is published by Pan Books Ltd., at the price of 2s. Jack Avis tells us that ‘ Sorcerer’sSerpent ’ has proved a most popular item and that he has in hand for the dealers soon a veryniceversion of ‘ Take Three ’ that cuts out any hard work and besides which brings in a point of handling that by itself would justify whatever price he cared to ask for the routine and gimmick.
Looking through the list of MagicCircle Lectures for 1955-1956, three greatly take our ’ by Alex fancy.They are ‘ Don’tlookback Elmsley, ‘ From Cover to Cover ’ byGeoffrey Robinson and ‘ Take a Trick ’ by Lewis Ganson. We feel certain that in both of the first two there will be some delightful debating points whilst Lew Ganson, will demonstrate in justsuch a perfect manner that hedescribes tricks in the ‘ Gen ’ moves, tricks and subtleties that are the delight of conjurers when they assemble in numbers. It is often said that magic is not a draw. In cities there maybe a certain amount of truth in such a statement. In the suburbs we feel that this is not so. We have had good proof of this recently for at Wallington we organised a Festival of Magic in aid of a local charity, which though playing in a comparativelysmall hall was instrumental in raising one hundred pounds for charity purposes. Michael and Valerie Baileygotaway to a flying start with the first edition of ‘ Focuson Hocus ’. As ‘ Mr. and Mrs. Magic ’ we feel certain that the present contracted series of six items will be well extended. Congratulations for one of the finest pieces of magical TV we have seen. On twooccasionsrecentlywhenvisiting a music hall to see a conjurer we have met between acts, that delightful inventor magician Eddie Joseph. Eddie has had a great deal of worry on his mind lately owing to the rather severe illness of his wife. We hope that bynowconvalescence has proved successful in putting her back on her feet again.
THE MAGICIAN’S TEN COMMANDMENTS By DOUGLAS D E X T E R 1.-Never tell your audience what you are going to do unless you have already done it. And never let anyone In your audience even think he knows how some feat is accomplished. 2.-Never disclose a secret, method or principle either intentionally or otherwise, to anyone who is not a magician. 3.-Use dexterity in manipulation as a means to an end and not the end itself. 4.-Do not insult the intelligence of your audience. 5.-Be suave, graceful, polished and commanding. 6.-Find your weakest spot and strengthen it as much as possible. 7.-A short programme well presented is worth far more than a long one poorly handled. %-Remember that your services are worth just as much as they can command. 9.-Let nothing be done except according to the first principles of Art. To reveal Art and conceal the Artist is the aim of all true Art.
lO.-Aft is not a thing, it is the product of what you do. Do not try to be greater than your Art. Try to be greater than you are.
~~
A. NEW STYLE MAGIC .BOOK
JOHN HOWIE’S ROUTINES WITH
THE JARDINE ELLIS RING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collectionof Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE
WORLD’S GREATEST POCKET TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL EFFECT.
Now at last the author has described the FULL TECHNIQUE of the Jardine Ellis R i n g a E N E R A L NOTES ON THE APPARATUS.HANDLING OFTHE SHELL SO AS TO REPRESENTASOLID RING, DISPOSAL OF THE SHELL (ught methods). EXAMINATION OFTHE APPARATUS BY SPECTATORS, THEDIRECT PALM-OFF, THE HOWIEPICK-UP MOVE, andA WORDON BASIC PROCEDURE. Havingmastered the handling of the ring-which isreallyverysimpleindeedwhentheseprecise and fullyillustratedinstructions prop. are followed, the readerisintroduced to some of the ‘Fleanest and mostbafflingr?,utineseverdevisedwiththis to ‘ melt ’ on to the RINGON STItZJC EFFECTSthere are three, The DirectRing on Wand in which the ringjustseems is a wonderfulclose-up routinqh which the audienceactually hear the ring penetrate the pencil,although wand; ‘‘ Ring on Pencilwhich the performer’s hands are in full view all the time;and finallyPenetrellis ”-a close-up orplatform effectwhichseems quite impossible yet the ring TWICEnetrates the wand or stick RING. AND g A N D K E R C H I E F . E F F E p e h e r e are two here, “ Ring i n the Knot,” in which the ringisvanished, and then Ring and HandkerchiefRoutine.’’whichis a complete aDDears tledwlthln a knot that was previously tled m the handkerchlef. andthe roatine of threeseparate effects, eaihone more baffljfg thanthe previousone. MISCELLANEOUS EFFECTSTtherz is. the Ring ?? Necktie.” a terrific routine at close quarters, in which the ringpenetrates the necktle, andthen two.complete,Foutrnes, f i n g and Rope in which the ringpenetrates a rope three times, a knot forming round the ranks on the performer. ring on the third penetratlon and A Ring a Wand and a Handkerchief ” inwhich a steelringapparentlyplays BIBLIOGRAPHY-ior those interedted. there is a comprehensive bibliography of the Jardine Ellis Ring h i c k from its invention, to date.
And now a word about the Book itself, which is in a new style for Magic Books, the same page size as T h e Magic Wand, with large clear illustrations by the author, and bound in red ‘ Antelope ’ Wish boards.
MAKE SURE OF YOUR COPY,BY ORDERING NOW
12/6 ;postage 3d. ($2.00) FROM THE PUBLISHERS
THE MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental George Armstrong’s ‘‘Premonition ”
(Mental Routine) George Armstrong
Extra Sensory Perfection
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
S. Edward Dexter
IEntertaining with Hypnotism S. Edward Dexter denti ty Parade (Humorous mental routine)
Will Dexter
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom8ndLibrary
and Museum :
Hearts of Oak Buildings, BustonRoad,London, N.W.1. Magical Theatre :
King George’s Hall, W.C.
I
Puticulam from Hon. Secrotary :
Peter Nswcombe 38 Overdale Avenue N e w Malden, Surrey
... 10/3
... 2013 Ken de Courcy ... 513 Zodiac Telepathy ( A complete act) Ken de Courcy ... 1219 John Ramsay’s Cups and Balls (cloth bound) Victor Farelli ... 2516 Thanks to Leipzig! (Card Magic) Victor Farelli ... 1013 Spectator’s Choice (Miscellaneous Magic) Douglas Francis ... 719 Mother Goose Mystery (Mental Effect) Martin Gardner ... 719 Twenty-Six living & Dead Tests TerelGartett ... 513 The Concert Ventriloquist and Children’s Entertainer Maurice Hurling ... 1013
...
Stewart James Jamesorophy (Card routines) Etc., Etc.
...
Armstrong GeorgeRoutine)
Routine) Ron (Mental
Automentalism (Complete act, with apparatus)
Ken de Courcy
... 211-
Dubbelkrors & fimulkross (Coin Routines)
1013
.:. 1013 ... 1013 ... 1219
... 1013 ... 1719 ... 719 719
PETER
...
513
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased to send you fulldetails of
published on the 24thof o u h month and the publirherrfor 1f7 per ungle copy.AnnualSubscription 18 /post free. PUBLISHED BY:
THE DE LUXB “SU-TABLE”
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex
togetherwith all hisother a stamp. effectsinreturnfor
i5
can be obtaineddirectfrom
hanuscripb forpublicationandbooks reviewshould be rant to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordsworth Rd., Wallington,
Writenow
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
POKER R O Y WALTON
R
OY WALTON, who is one of the most fastidious magicians we know, gave us this Poker deal a long while back. A copy also went to our friend Bruce Elliott, but certainly up to this date it has not appeared in ‘ The Phoenix.’ In effect a pack of cards is shuffled and placed in the centre of the table. A number of hands of Poker (from two to ten inclusive) named by the spectator are dealt without any manipulation of by the performer to the pack. Thehanddealt himself will always be the winning hand! A stacked pack is responsible for the effect and it is for the performer to decide how it shall be brought into play. Once however it is inhis hands, a convincing false shuffle is given and after the number of hands has been asked for and the answer giventhey are dealt around the table by the performer. Generally the number named will be four, but as previously mentioned you will be covered for any number of hands from two to ten. This is theorder of the pack when face down:Five of spades (Top Card), king of spades, nine of clubs, king of hearts,jack of diamonds. queen of clubs, ace of diamonds, queen of hearts,nine of spades, three of spades. three of clubs, ten of hearts, two of clubs, two of diamonds, two of hearts, jack of hearts, five of hearts, ten of spades, four of hearts, ace of hearts, three of diamonds, four of spades, seven of hearts, nine of hearts, jack of clubs, eight of diamonds, eight of spades, four of diamonds, six of diamonds, ten of diamonds, nine of diamonds, queen of diamonds, six of clubs, three of hearts, fiveof diamonds, six of spades, two of spades, six of hearts, five of clubs, queen of spades, eight
VOLUME 10, No. 3
-
of clubs. ace of spades, ten of clubs. king of diamonds, seven of spades, seven of diamonds, seven of clubs, eight of hearts, king of clubs, ace of clubs, three of spades, four of clubs (bottom card). Now let us examine the hands that are dealt as a result of this particular set-up. If two hands, the performer holds:Kmg of spades, king of hearts, queen of clubs, queen of hearts and three of spades (two pairs). If three hands hewillhave:Nine ofclubs. queen of clubs, nine of spades, ten of hearts, and two of hearts (deuces are wild, so that this makes three of a kind). If four hands are dealt up comes the following: King of hearts, queen of hearts, ten of hearts. jack of hearts, and ace of hearts (Royal flush). Five hands will give the performer this: Jack of diamonds, three of spades. two of hearts, ace of hearts, and jack of clubs (with deuces wild three of a kind). Si hands give the following to the performer: Queen of clubs, ten of hearts, ten of spades, nine of hearts, ten of diamonds (threeof a kind). Seven hands: Ace of diamonds, two of diamonds, three of diamonds, four of diamonds, five of diamonds (straight flush). Eight hands: Queen of hearts, jack of hearts. nine of hearts, queen of diamonds and queen of spades (threeof a kind). Nine hands: Nine of spades, ten of spades, eight of spades, six of spades, Sevenof spades (straight flush). Ten hands: Three of spades, ace of hearts, ten of diamonds, queen of spades, and ace of clubs (one pair).
I/a, (20 Cents)
-
DECEMBER I955
18
THANKS TO EVERYONE PETER MACDONALD N VOLUME 8, No. 2, of Pentagram was an effect called Thanks to Stewart James dealing with a penetration of a ring on to a cord. This effect, as far as I know, started off as an impromptu effect using a handkerchief, borrowed ring, length of string and a safety-pin. A version appeared in Professional Magic for Amateurs some years ago. Peter Warlock‘s article set me thinking about impromptu versions again, and after some experimenting I produced the following presentation which dispenses with any cover and provides adequate misdirection. Procure a piece of string several feet in length (mine is just over three feet) and thread one end through the upper button-hole of the jacket and the other through the next lower button.-hole, leaving the bight on the inside of the coat. Figure 1 shows what I mean. You can now point out that the audience neverloses sight of either end.” Push the left index and second fingers through the bight (Figure 2). Now pass the bight through the ring and over the secondfinger. The position is now as shown in Figure 3. You will now have to look at Figure 4 to follow the move. Draw out a bight from the length of string lying between the ring and the left side of the second finger. Using this bight as though it was a single strand, tie a single knot round the length of string whichlies along the base of the index finger and disappears down the space between the thumb and first finger. The right fingerswiththe assistance of the left thumb, can perform this operation quite successfully.
I-
“
“
”
”
“
”
“
This has all been done with the left hand slightly cupped so that the audience cannot see what is going on. You tell them you are just trying an experiment in the fourth dimension and it might blind them if they were to see what was going on. Tell them you are nowgoing to tug at the string and pull one end free from the button-
hole. You will make sure that they see it all the time. Warn them not to lose sight of the end. Imagine that the string is divided into halves at the point where it is tied to the ring. One half is looped round the second fingerand then through the ring; the other leads straight from the knot to the buttonhole. This half, the one marked “A” on Figure 4, is the one you gently tug free from the button-hole. As you do this, turn the left hand over so that it can grasp the lapel of the coat at the left side. The free end now hangsdown from the left hand, appearing from between the thumb and first finger. Place the right hand under the free length of string and clip it between the thumb and firstfinger of that hand so that the free end hangs down the back of the right hand.
Now grasp the ring in the right hand tugging a little so that it comesaway from the left hand. Place the right thumb on the knot so that it will not untie and, closing the right fingers round the ring, hold it alongside the left hand which is still gripping the lapel. Now comes the crucial move. The right hand has to move away to the right and the left hand
19 pulls the lapel away to the left, thus exposing the inner lining of thejacket. This looks as though you have merely tugged the jacket back to jerk the string from the button-hole. The stringisleft hanging from the right hand in the position shown in Figure 5. The ringis, of course, retained in theright hand whichnow has one end of the string hangingdown from each side of it. This movementis quite deceptive if done smoothly andit looks perfectly natural. Whatreally happens, of course, is that the end of the string which wasleftinthe button-hole istugged out, round the second finger of the left hand, and through the ring. It hangs quite naturally at theend of this movement and themisdirection of openingthe coat and moving the hands apart makes it impossible for the spectators to see that the endis reallypassing through thering and out againin the time-honomed manner. The position at thisstage,therefore,is that the string is running throughtheringwhichis concealed inside the right hand. The knot is loose and if the left hand now takes hold of the nearest hanging end of the string, and the right hand slides the knot free,thering can beallowed to slide gracefully down to the centre of the string between the two hands.
The illustrations will show the various moves better than I can describetheminwords. As in all these effects, it is of great advantage to find a cord whichwillrunsmoothlywithoutbinding. When you have tried the moves once or twice and know them sufficiently well, do them in front of a mirror and notice how the eye is distracted by the opening of the jacket at the psychological moment. If your eyes follow the right hand when performing, the misdirection is even more potent as the audience will follow your glance.
SYMPATHY IN COLOUR TONY BLITZ HE NUMBER of Britishmagicianswho have had the chance of watching Tony Blitz at workmustbecomparativelyfew. Long before he arrived in London, I had been told by Stan Simpson of this young magician’s expertness with cards. When he did arrive in the Metropolis his work met with immediate acclamation for he was a natural card handler sure of his sleights and himself. Just as suddenly as he appeared so he went away -and it must be more than a year since the Magic Circle clubroom and its occupants set eyes upon him. This trick in his hands was a brilliant piece of card strategem and I asked him to write up for me a couple of years ago. It requires some work, but for those who like to tackle the task feeling that it is an effect that could suit their style it is something which will give both their audience and themselves a great deal of pleasure. The effect stems indirectly from Arthur Buckley’s ‘ Colour Separation ’ (Thirty Card Problems) and is a close quarter table effectutilising a straight pack with two Jokers. Tbe Effect. The performer picks up the pack and openly separates the red and black cards. The packet of black cards with a Joker on the face is
T
placedface upin front of the performer, the packet of red cards without the addition of a Joker is also placed face up upon the table. Taking the packet of red cards and counting them, six are removed one of them being selected by a member of theaudience.This card is then changed into a black card. Next the remaining five red cards are caused to change into black cards. The sixblack cards are placed one side of the table and sixred cards are dealt fromthe packet and placed on the other. These two heaps magically change places. The sixred cards are placedaside andthe sixblack are shuffled into theredpacket.When the packet is fanned it isseen that all the cards in the packet are now black! To conclude,thesupposedlyblack cards on the table are ribbon spread and it is seen that they have changed to red cards! Method. Pick up the pack and with the facestowardsyourselfopenly separate the reds from theblack. In thissorting a little more is done, for the make-up of what appears to be the packet of red cards, is, when it is placed face up on the table, a mixture of reds, Joker and blacks
20
arranged as follows:Topmost face up card . . . One red card. Second card from top . . . One of the Jokers. Next six cards are black cards. Finally comethe remaining 25 red cards so that in all the performer has 33 cards in this pile. In placing the packet upon the table the top eight cards are stepped slightly, so that when later they are picked up an easy break can be obtained. The remaining 20 black cards with the other Joker as the topmost card are flashed quickly and placed on the table well away from the packet of red (!) cards. As he does this the’performer adds . . ‘. The 26 black cards and a Joker will not be usedinthis little trick.” This packet should be close to the nearside edge of the table. The packet of red (?) cards is taken and keeping the top eight cards squared the remaining cards are casuallyfanned so that theaudience can see that thepacketconsists of redcards. In closing the packet a breakis obtained and held by the little finger underneath the eight tsp cards. This packet is now false counted as 26 cards the block of eight cards being pushed off as one, the r e m a i n d e r going on top. This move can be best made if the hands are swung towards the right as the count of ‘ one ’ is made. At the end of the count when the pack is turned face down the six black cards will be on top of the packet followed by the Joker and the remaining 26 red cards. The cards are nowshuffled and during this process the performer runs six red cards to the top of the pack. These top sixred cards are turnedoveron top of the pack and clearly shown. They are then turned face down and dealt singly into a pile on the table. As the sixth card is about to be dealt, the performer deals a second so that the top card of thesixis a black card. In placingaside the cards held in the hand, the top red card is slipped to the face of the packet. These cards are placed face upwards on the table. Taking thesix cardsthat were dealt, they are casually mixed face downwards the performer keeping track of the stranger black card which is then forced upon a spectator by one of the many forms of equivoque. Without revealingthe fact that it is a stranger card it is placed to the front of the remaining five cards. The purported packet of red cards is now taken face downbythe left hand. This action happens as the performer emphasiseswhat has taken place. The right hand casually comes across o n to the pack and withthiscover a break is obtained with the left hand little finger under the top five black cards. The right hand gestures towards the card chosen by the spectator and at the same time picks up the five red cards from the table. Asking the spectator to turn over the card spectators heselected,the attention of allthe being directed to this action. At this moment the five red cards in the right hand are topchanged for the five blacks on top of the packet.
.
The right hand touches the turned up black card with the five cards held in his hand, and then slowly turning them over he shows that they have apparently changed colour in sympathy. The six cards are turned face down and left on top of the table. At this point on top of the packet there are five red cards above the Joker and a casual shuffle or side steal adds another making six. With both hands aiding in squaring the packet, a break is obtained and the five top cards are palmed off by the right hand which goes to the six black cards picking them up and at the same time adding thefivepalmedcards. The position reading from the top of the pack is now:Five red cards, six black cards, one red card, the Joker and then the remaining red cards. Well to theleft of the table deal off into a heap the top five cards (red, but imagined black) up the sixth card, a black one being turned face to act as a ‘ leader.’ To the right of the table five cards (imagined red, but of course black) are dealt into a similar heap, and then the next card which is a red card isturnedfaceup and placed as a ‘ leader ’ of the red heap. Casuallyshuffle or slipthe top card, the Joker, to the face of the packet of the cards you nowhold,the cards thenbeingleftintheright hand so that the Joker faces the palm. The left hand nowtransposesthe ‘ leader ’ cards of each packet. The same hand now turns over the left-hand packet and shows that the cards havefollowed their leader. Now comes a very critical move. The left hand reaches across the body and turns over the right hand packet of cards showing that they ‘ leader.’Simultaneously too havefollowedtheir with this movement the right hand which is holding the packet of cards with the Joker at its face deposits it face up left of the packet of black cards and Joker, whichuptillnow has stayed on the table doingnothing, As theleft hand turns the packet of six cards over, the right hand picks up the packet of black cards and Joker. Now this may sound from the point of view of deception an impossible move, but readers will have to take my assurance that thefocussing of attention on the turnover of six cards coupled with the factthat the packet leftbehind by theperformer looks the same (owing to the fact that a Joker stares them in the face)makes it indetectable. With the packet of black cards and Joker in theright hand, the left hand comesin and then keeping hands and cards well away from the table the packet isgiven a casual shufflewhichalso brings the Joker to the top of the packet. Leaving the packet of black cards face down in the left hand take up the six red cards with the right and display them by spreading them on top of the packet held. In theaction of closingthis spread and taking them away the face down Joker is taken off behind them. The cards kept face up to concealthestolen card at theback are then
21
slipped into the jacket pocket. At this stage, the performer has 20 black faced cards face down in his hands. The six black cards are now taken and shuffled into the packet of black cards (supposedly red). A riffle with the thumb and all the cards are shown to be black. Finally reach into the pocket and remove the six red cards leaving the Joker behind. Fan these six cards and wave them over the packet lying face up on table with the Joker on top. A mystic curse and a spread bf cards in this packet shows them to be all red with the exception of the Joker o n top! Tony adds that the sleights used, can, with a little thought, be replaced by others. At the same time he emphasises that whilst speaking about the
sympathy that existsbetween similar coloured cards there is ample time to execute the necessary sleights. He also adds that the Joker subtlety may be eliminated by dispensing with Jokers and placing the heap of black cards face down instead of face up at the commencement of the trick. The thing that many readers will baulk at is the change of packets. Quite frankly I have seen Tony do this effect on many many occasions, and believe me, the attention, even though one knows that a switch is about to take place, automatically goes to the left hand which at that particular moment blocks out the movement of the right. Thank you Tony for a very wonderful routine.
MIRRORSLATE LEN BELCHER HIS IS DESIGNED for performance with two effects, followed by the method. performer and medium, and I shall describe Effect 1. The medium leaves the room. The performer takes a slate into the audience and has spectators write down any numbers theywish. These same numbers are added up by another spectator. (No switches!) The pedoimer then
T
cleans the slate thoroughly and hands it for inspection. He now leaves the room while the spectator takes the slate up to the stage, calls the medium and thengoes back to his place. The medium adjusts a previously examined bag over his head, takes the slate, and writes the total of the addition on it.
22 Effect 2. The medium again leaves the room, while the performer takes the slate into the audience and asks for any names of living persons to bewhispered to him. The spectators seehim write these down as each one is given. Finally the name of any dead person is whispered to him by a spectator who again sees it written down. The slate is again thoroughly cleaned, handed for examination, and given to a spectator to take upto thestage. The performerleavestheroom and themediumiscalledin. The bag isonce more adjusted over his head and then he first of all describes the person who gave the dead name and finallyrevealsthe name itself,writing iton the slate for all to see. Method. The slate employedis a modification of a slatedescribed in Best Tricks With Slfrtes (PeterWarlock). The originalslate had a sliding flap on top of thefixedslatesurface,the frame beingconstructed so that theslidingflap wouldmovesideways to reveal a slip containing information required for a book test, for example. In the modified slate, the sliding flap movesup and down, and maybelocked in eitherpositionby means of a simple ball and spring catch incorporated in each side of the frame. (See drawing.) To commencethe demonstration, theflapis in the ‘ up ’ position. The numbers are written on this flap, one under the other, leaving just sufficient room at the bottom for a spectator to writethe total. The space thus leftisthe part of the flap
whichslidesdown into the frame, carrying the total with it. When cleaning the slate, the performer slides. theflapdown,leavingthe total unharmed. The. slateisturned to facetheaudiencewhen suffi-. cientcleaninghasbeen done toconcealthe fact that the flap has moved. The slate may be: examined as it automatically locks. The medium,using a fake blindfold, simply slides the flap up with both thumbs, makes a false, start, erasesit (and alsotheoriginaltotal!) and. then writes the total clearly across the slate. The slate is thus set for the second test. The: performerwritesthelivingnamesundereach other, leavingroom at thebottom for the dead name, wherethe total waswritten at first. The slateiscleaned as before (the dead namenow being hidden in the frame). However, before cleaningtheslatetheperformer marks twoletters of the dead name with his thumb. One nick indicates a row in the audience, two nicks indicate the person in the row. (Many pre-arrangements are possible here.) The mediumisthusenabledtodescribe the personwhogavethe dead name, and finally to ‘ false start ’ writethename on theslate-the enabling him to erase the original writing. The operation of the slate is simplicity itself as there are no catches to adjust and the necessary movement and position of the hands are quite natural.
SKRYERING MAURICE S. H O W A R T H HEODD titleisderived from “ Town Skryer” by Orson Welles and “In the Ring” by Dr. Jaks, both taken from “ The Phoenix.” Both the above effects let the assistants into part of the secret of the trick during the action of the effect, and depend very much on the co-operation of theassistants. If thesegentlemen can be squared beforetheshow,you are on velvet.We all know what Anne.nannsaid on thesubject of using squared assistants. Requirements. Force deckindifferent card on the bottom. My deck is a 9 H. all alike with a 4s. at the bottom. Signet ring. Midget cards 9 H. and 4 S . Tumbler of water. Preparation. (a) Cut index of 4 S. from midget card and gluethisbehindthestone or main face of the ring. (b) Attach the midget 9 H. to the bottom of the tumbler with clear Durex tape, so that the card can be seen through the water. Two assistants one eachside of stage both
T
gentlemen being stood, you won’t keep them long. Spread thedeck on the table, pick up gimmicked tumbler ask Mr. Right to touch one card in the spread when he has got one ask him to look at it, but not to show to the audience yet. Ask Mr. Left to look into the tumbler as though it is a crystal and to imagine he can visualise a- playing card in the depths of the water. Ask him if he has got one, look himsquarelyintheeyes as you ask him, just so he won’t hedge. Then ask him to name it. Whenhedoes.TellMr. Right to show his selected card. When he does you breathe easy. Place tumbler back on table. Pick up the deck. Reverse fan it so that the only card indexes that can beseenwillbethose of the bottom card the 4 S . Ask Mr. Left to think of a card that he can seeinthe fan, fingerthe fan as if indicating he could think of any card. Orson Welles says give the gent a broad wink as you ask him to think of: “ One card he can see inthefan.”Askhim if he has got on one,tell him to keep in his mind.
23 Take ring off finger after putting deckin pocket keeping faces hidden. Place ring on back of right hand making sure it is right way up to read index 4 S . Tell Right to look in stone of ring as if it was a crystal and to name a card he sees there. When he names it quickly turn to Mr. Left asking if that is correct. He of course, will reply in the affirmative.
The effect is very strong for the work done and couldn’t be more direct. The only thing it is not for the meek; and feel you must take the bull by the horns when performing it, indeed to me it is a party piece rather than something to perform at a paid booking just in case it doesn’t click. Magicians get the force deck part and then are all at sea when you come to the fan force.
It is always of interest to note how the straight theatrical performance can create atmosphere seldom if everachieved by a variety performance. Whilstwatching ‘ Bell, Book and Candle ’ and being literally spellbound by the truly witchlike performance of Joan Greenwood and her Siamese cat Pywacket, as they were bathed in the firelight, it was Eric de la Mare who leaned across and commented on the fact that this was the setting for a quarter of the tricks in the JINX. Incidentally we have had some very nice comments regarding the fine Malini issue that Eric gave us. A11 his friends wiIl be sorry to know that he is in hospital at the moment. If there were an annual prize offered to the individual who had, through his own artistic and financial efforts, helped to raise thestandard of magical technique we feel certain that it would go to Harry Stanley, for in written form in the “ Gen ” and in stage presentation at Victoria Halls, he has gone to endless trouble to show embryonic magicians the best in magic. We call to mind the January 1st show at Victoria Halls. To have as we did, Channing Pollock and Marconick in the same billwas a feast for magical gourmets. Whilst Channing Pollock’s marvellous act has now been seen by most magicians, the sight of Marconick’s newest presentation was the perogative of those who visited the last International Congress at Amsterdam. This young man using silks, which because of their intangibility are hardest of all manipulative objects to handle, offered so many novelties in the course of a few minutes that one was left virtually stunned by delightfully restrained virtuosity. Never since we saw Arthur Sherwood present his “MagicPureand Simple ” for the first time some thirty odd years ago have we witnessed such faultless magic with silks.
Another year has flown away, a year which has been fruitful for magicians in this country . . . they have seen three acts completely new to them, Jay Marshall, Ade and True Duval, Rene Septembre and Channing Pollock. Theyhave had a fine lecture by Milbourne Christopher and a whole series of demonstration and lectures by that greatest of allnatural magicians, Dai Vernon. Goodliffe also brought over Dorny. Sorcar stayed eight weeks in Paris. So far as we know no English magus thoughtit worth a special trip to see this much vaunted show. Comments from well informed Continental sources were far from favourable and in many cases scathing, particular stress being laid upon the number of effects which had been borrowed (?) from the world’s greatest illusionist, Kalanag. Just to hand is the Ireland Year Book for 1955,which as usual is full of good things. The main difference in this particular issue is the inclusion ofeffects and ideas from British magi. Billy McComb contributes a complete act, whilst effects from the pens of Jack Avis, John Derris, Roy Walton, Bobby Bernard and Frederica will be found. Marlo comes up with still another version of the evergreen four aces. It was very nice to hear from our old friend ArChie Byford the other day. He sentus along hisveryclever effect ‘ Psychoma ’ whichisnow obtainable again from the dealers at the modest price of 5s. 6d. If you are not acquainted withtheeffect it goes like this . . . Five folded cards without any visible distinguishing mark are handed to a spectator. On opening the folders he finds that each carries inside a differentdesign. One is freely chosen by the spectator and under seemingly impossible conditions ‘the performer is able to divine the design selected.
24
A NEW STYLE MAGIC BOOK
JOHN HOWIE’S ROUTINES WITH
TEE JARDINE ELLIS RING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collectionof Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE
WORLD’S GREATEST POCKET TRICK PUBLISHED FOR THIS WONDEVUL EFFECT.
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN Now at last the author has descnbed the FULL TECHNIQUE of the Jardlne Ell~sRmg-GENERAL NOTES ON THE APPARATUS,HANDLING OF THE SHELL SO AS TO REPRESENT A SOLIDRING, DISPOSAL OFTHE !SWELL (eight methods), EXAMINATION OFTHE APPARATUS BY SPECTATORS, THEDIRJXX PALM-OFF. THE HOWIEPICK-UP MOVE. andA WORD ON. BASICPROCEDURE,. Havmg mastered the handhng of the ring-which is really very simple.indeed when these precise and fully illustrated imtructionr are followed, thereadet is introduced to some of the ,$leanest and m-ost bamng r y t m e s w u devisedwith this prop. are three The Direct Rlng on Wand in which the ring. just scems to melt ’ oa to the RINGONEFFECTS-there wand. “ Ring on P e a d .whit91 is a wonderful closcdp routh$,in which the audience actually hear the rmg penetrate the pencil, dthougb the &former’s hands are in full view all the time; and finally Penetrellis ”-a close-up or platform effectwhich seans quite impossible -yet the TWICE r’ etntss the wand or stlck +%G. AND &%JOKERCHIEF. E F F v e h e r e are two here, ‘‘ Ring the Knot.” in which the ring is va.nishpd, and then appears tied mthm a knot that was prmously tmi m the handkerchld, and the Ring and Handkerchief Routine,” whch IS a complete routine of threeseparate effccts. each one more b a p thanthe preyiqys one. MISCELLANEOUS EFFECTFthcr. is. the kmg Necktie. a terrific routine at close quarters, in which the ring penetrate# the nocktle, and then two.complete,~outmes, Rmg and Rope in which e!,t ring penetrates a rope three times, a knot forming round the ring on thethlrd penetration, and A. Ring, a Wand anda Handkerchief inwhich a s t d ring apparently lays ranks on the p e d o n ? ~ . BIBLIOGRAPHY-for those mterested. there IS a comprehenslve bibliography of the Jardine EUis kng $rick from its invantmn.
‘9
to date.
And now a word about the Book itself, which is in a new style for Magic Books, the same page size as The Magic Wand, with large clear illustrations by the author, and bound in red ‘Antelope ’ finish boards. MAKE SURE OF YOUR COPY,BY ORDERING NOW
12/6 ;postage 3d. ($2.00) FROM THE PUBLISHERS
T H E MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
e MAGIC
WAND” PUBLICATIONS ... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
GeorgeArmstrong’s
Ken de Courcy
... 21/... 1013 ... 1013 ... 1013 ... l2/9 ... 1013 ... 1719
Premonition ”
(Mental Routine) George Armstrong Extra Sensory Perfection
Routine) Ron (Mental
~
Automentalism (Complete act, with apparatus)
Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining withContact Mindreading
Dubbelkross & fimulkross (Coin Routines)
Ken de Courcy Zodiac Telepathy (A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Douglas Francir
Will Dexter
The Magic Circle Prerident: Herbert J. Collings, Esq. Vice-President : Francir White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Buston Road, London, N.W.1. U d a l Theatre :
King George’s Hall, W.C.
I
I
...
1013
...
719
PETER
Martin Gardner Twenty-Six Living & Dead Tests TerelGartett The Concert Ventriloquist and Children’s Enaertainer Maurice Hurling Stewart James Jamesosophy (Card routines) Etc., Etc.
is published on the 24th d r u h month and can be obtained direct from thr publkben for 117 per ungk copy. Annual Subscription 181post free.
BY:
The Magic Wand PublishingCo. 62 Wellington Road, Enfield Middlesex hmnuscripb for publication .ad books fer roview should be sent to the:
Puticulan from Hon. Secretary :
Poter Newcombe 38 Overdale Avenue Now Malden, Surrey
EveryAdvertiser’s
S13
... 1219 ... 2516
... 1013
...
719
;j;
... ... 1013 ... 513
WARLOCK’S
PENTAGRAM PUBLISHED
...
Mother Goose Mystery (Mental Effect)
S.Edward Dexter ... 719
IEnttrtainingwith Hypnotism S. Edward Dexter d ant ityParade (Humorous mental routine)
... 2013
EDITORIAL ADDRBSS:
Peter Warlock, Rd., Wallington, surrey.
24, Wordrwarth
JACK HUGHBS 6 1 1 be p l e d to mend you full details of
THE DE LUXB “SU-TABLE” together with all his other effects in return for a stamp. write now to
Jack Hughes, 2, Evtlya Ave.,
Colindale, London, N.W.9.
goods are fully endorsid by this Bulletin
*
PARTI-PIECE PETER WARLOCK HIS EFFECT is for those who like visual T whilst . primarily magm. The plot isverysimpleindeed and designed for silent presentation the addition of speech will not detract. The audience see the performer holding two lengths of silk ribbon. One piece is green and the other yellow. Right at his finger tips he rolls them together leaving himself with a tightly rolled bundle of silk ribbons. A wine glass is picked up and the bundle dropped inside. A puffof smoke towards the glass and the ribbon isnow withdrawn but instead of twopieces, the performer holds a length of ribbon parti-coloured green and yellow! I am going to explain two methods of accomI plishing the effect.When I saytwomethods, had better qualify such a statement for actually the variation in the descriptions only applies to the final phase of the trick. The first version isintended for those who make use of a table containing a well. Many will rise upin indignation at the thought that any modem magician should resort to such a device, but I havenever hadanydoubtsthatthisaid subtly usedcanbe of the greatest’ benefit to a magician who takes the trouble to design a table incorporating one or more wells. One has only to think of the ingenuity displayed by His Honour Judge Wethered in this direction. The Judge’s tables look like every-day objects quite free from anykind of chicanery. Nevertheless adjustable wells are at his command. (For a full description of this type of table, the reader is recommended to read Seeing is Believing by Trevor Hall, or The Magic Circular Volume 29, page 53 and The Magic Circular Volume 33, page 93.) Leaving out any detailed explanation regarding the well and assuming that the reader has such means at hand, let us detail the requirements. 1. Two lengths of one inch green silk ribbon each measuring 30 inches in length. 2. Two similar sized pieces of yellow ribbon. 3. A plastic knitting needle 3/16 inch in diameter. 4. SomeBalsacement, paper, etc. 5. A stemmedglass.
VOLUME 10, No. 4
-
Preparation. First of all one length of green and one length ofyellow .ribbon arecutinto two equal sued pieces, and then using some of the balsa cement these four pieces arejoined by their edges to produce one parti-coloured piece measuring almost sixty inches in length like Figure 1.
1 FIG 2 Next a length measuring two and a half inches is cut off from the knitting needle and around one end, the remaining length of green ribbon is fixed with eitherthe balsa cement or someseccotine. It should look like this Figure 2. A small paper tube is now made to slip over the free end of the knitting needle piece. It should consist of more than one thickness so that when complete itis rigid and will not easilyfold. Figure 3. flk
h&. 3
FIG.
4
A length of thin tin (of the kindused for makingtobacco tins airtight) is next required. You will want a piece measuring 3 inches by p of an inch.This is thenplaced a shade over three inches from one end of the green ribbon, the free endthen beingoverlapped and sewn into place so that the tin is covered. (Figure 4.) With a similar sized piece of tin, the same theend of the partiprocess is camedoutat
I/6, (20 Cents)
-
JANUARY 1956
26 coloured ribbon. The result of this willbe seen when each piece of ribbon is wound into a tight roll, for the final bending. over of the metal strip within the silk will prevent any unrolling. Three inches is now cut away from the length of yellow ribbon. The piece of parti-coloured ribbon is then taken and the free end (i.e.,*the. end without the metal strip) is stuck to the paper tube. The reader should nowhave the component pahs of the gimmick and these should look like Figure 5 .
vi&5 To prepare for the actual presentation of the effect, the length of parti-coloured ribbon is rolled around the paper tube and slipped on to the piece of knitting needle, the length of green ribbon trailing from its fixed point. If the performer intends using this as an opening trick he can come on the platform holding the green ribbon and the yellow. If however it is to be usedduringsome otherpart of the programme, the ribbons and gimmick can be laid on the table in such a manner thatthe roll of parti-coloured silk is hidden. Assuming thatthe trick is used as an opening effect the conjurer holds the gimmick and trailing green silk between thumb and first finger in his left handas shown inFigure 6, so thatthe gimmicked portion is well concealed. The length of yellow ribboncan also trail from the left hand, the end being clipped between the second and first fingers of the left hand. The glass should be placed left of the well. The table should also be left of the performer. Presentation.
With the right hand shown to be empty, the yellow ribbon is taken from the left hand fingers and displayed at the finger tips. The holding of the yellow ribbon must conform to the holding of the gimmick and the attached green ribbon in the left hand. The right hand moves across and brings
the yellow ribbon behind the trailing green, so that the lgtter covers it. At the same time, the top part of the yellow ribbon is turned down so that the yellow ribbon is shortened by about twoinches. Grip the yellow ribbon against the green with the thumb andfingers of bothhands as sh’own in Figure 7. Commence to wind the ribbons into a roll. When you reach the ends, the piece of concealed tin prevents any un-rolling and the right hand moves away leaving the roll of green and yellow silk held by the tips of the left hand first finger and thumb, as shown in Figure 8. You are facing full front at this point and carefully showing the right hand to be empty you then turn slightly left. As the arms accordwith this movement, the roll of silk ribbon should be end on to the audience and at this point the right hand comes in and takes the ribbons and gimmick so that the roll of green and yellowsilkribbons are covered by the fingers whilst the part-coloured roll for the first time is exposed. The left hand is shown empty, and then with one follow through action, the right hand passes backwhat appears to be the roll of green and yellow ribbon to the left hand. Then reaching down ontothetable for the wineglass, pick it up and drop the particoloured ribbon inside. Actually as the left hand takes the roll of parti-coloured ribbon, the right hand movesaway carrying with it the rolled up green and yellow silk ribbons on the piece of knitting needle. They are easily finger-palmed and as the hand moves down to the table, the gimmick is ditched in the action of taking the glass. All that remains is for you to bring the effect to a dainty finish. Should the reader not decide to use a well, it is obvious that if the effect is to be brought to a proper conclusion, (i.e., the handsempty apart from the glass and its contents) that an alternative method of ditching the green and yellow ribbons must be sought. I would therefore suggest that the performer’s outside breast pocket be used. In order that the process shall beeasy a length of whaleboneshouldbe stitched inside at the top so that a large and permanent opening is formed. To disguise this opening a small piece of white cambric is sewn at the edge to simulate a handkerchief in the pocket. With this carried out and the point in the trick arrives where the parti-coloured roll has been passed to the left hand by the right, the latter with the gimmick finger-palmed gives the left sleeve a little tug to emphasise the fact that nothing apart from the roll of silk ribbon is held by the left hand. This tug is made at such a point that when thehand pulls back, the gimmick is positioned immediatelyabove the breast pocket and at this moment it is released and allowed to fall inside.
*
*
*
*
*
27
IKE-NEWSPAPER-PREDICTION HANS TRIXER HE METHODof this forecast wasworked TDwight out on the 4th of November, 1952, the day D. Eisenhower waselected President of the United States. And as a trick-sorry, a mental effect-must have a name, I called it the “ Ike Newspaper Prediction.” The effect does not differ from other predictions, but the method is extremely clean and easy. No difficult switches are involved and the preparations are nil. Before I tell you all about it I want to thank Peter Warlock from whom I borrowed the idea of sealing the envelope between sheets of glass, which makes a nice showy display in any shop window. Let me finally tell you, that this prediction is no pipe. dream, but that I (successfully) performed it here in Rhodesia last year. First stage of the prediction (the writing and closing of the forecast). Requirements: Some 10 or 12 of your business cards, a matching envelope. (Most business card envelopeshave ,no gummedflaps, which saves time in opening the forecast and speeds up presentation when the climax comes.) A normal sized envelope, some sealing wax, a couple of gummed stickers, 2 sheets of glass 7 X 10 inches and a reel of transparent Scotch tape. Preparations : Lay the business cards all facing the same way and take them into your left hand printed sides up. Reverse the second card from the top and you are set. The position of the stack of cards is as follows : Top card printed side up, 2nd card printed side down, the remaining cards printed sides up. Performance : Step into a newspaper office and have about four people handy to sign and seal the envelopes as witnesses. Show the stack of business cards after you have decorated a table with all the paraphernalia described in the preceding paragraph. Ask one of your witnesses to write his signature right across the top card (that is the printed side of the business card.) Let him use his own pen and if he uses some fancy coloured ink so much the better. Now ask everybody to stay away from your table a bit and tell them what you are going to do. That you are going to predict the headline of a certain day, the outcome of a lottery (as I did it), the weather, the stock exchange or whatever you want. In the meantime bring your little finger of the left hand between the 3rd and 4th card from top, preparing for a triple lift. After looking at the signature on the top card and making sure the ink has dried you simply turn the card over (actually three cards as one) and sit down to write your prediction on the back of the
signed (?) card. What haveyougot to write? Well, that is something novel in prediction, because the copy you put down is some kind of life insurance for youincasesomebodywouldbe so cheeky as to open the prediction before the fixed date. Here is the copy I wrote (while shielding the writing with the free left hand, so nobody could peek at the prediction) : “ I, Hans E. Trixer, predict today, the ...th day of .................,1956, that this prediction will be opened by a person who is not entitled to do so, before the ...th day of .....l.. ..........l95 ., the day, officially fixed for the opening of this forecast. Therefore I deposited to-day a sealed letter containing the REAL prediction at the post office. The letter is for the disposition of the Editor of this newspaper. signed : Hans E. Trixer.” As soon as you are ready, you slip off the card containing your forecast and slip it into the business card envelopewith the prediction side towards the flap, i.e., the side, seemingly signed is towards the address side of the envelope. Tuck in the flap and give the envelope to one of the witnesses to write his signature on the address side. Hand another witness the normal sized envelope and let him put the small envelope into the bigger one. Let him seal the envelope and sign it across the flap. Ask a third person to sign the front side of this envelope and give a fourth witness the sealingwax to seal the flap of this envelope. Now let somebody place the sealed envelope between the sheets of glass and stick onfour gummed stickers, whichyouhavesigned once more. Wind lots of scotch tape around the sheets and over the signed stickers and everything is 0.k. See that a civic dignatory is one of the witnesses and hand him the glasses asking him to arrange for their safe deposit. That completes the first part of the prediction. I told you that this is sure fire in every respect. Write something on another business card, put it into a small envelope and this one into a big one. Address the big one to yourself but forget to put on the sender. Now send this letter per registered mail. When the postman comes to you, you do not accept the letterand force thepost office to keep it for one year. (They can’t send it back, because there is no sender.) In case the prediction is really opened beforehand, they will find your prediction was correct. YOU maygo to the post office then with one of the witnesses and claim the letter which is opened as described below and contains your real forecast. This mayseem driving things too far, and possibly it is in a civilizedcountry. but in this
28
hinterland of Africa,where the people are a bit wild, it may be all right.-(Whether postal conditions are the same in this country I am not sure P.W.) Nowwe come to the second stage of the prediction (the opening and checking). Here youneed again about twelvebusiness cards, plusone extra card of the samesize but of your cards blank on bothsides(sticktwo together withsomeglue).Besides this youneed the card with the firstwitness’s signature and a pocket knife. Preparations: Write all the information you remember about the closing of the prediction on the double blank card. When,where the prediction was made. Who was present and who signed whichenvelope.Where the predictionwaskept during the intervalbetweenclosing and opening. I n fact write down all you want to say about the. prediction. If you have filled the one side of the double blank card repeat the copy on the other side, so you get a card with the same information on both sides.(You may-formisdirection-use a different kind of ink as you used for the prediction.) Now write the actual text of the prediction on the signed card, which you have kept all the time. seeto it that the writingressembles as much as possible the fake prediction, so when one of your witnesses happens to get a glimpse of one of the cards he will not notice a switch, because the cards look alike. Your opening line should read in any case : “ I, Hans E. Trixer, predict to-day, the ...th day of .. ........... ..... 195 ., that : .... .. Now for the set-up of your cards. This timeyouholdthestack of cards with the blank sides up. On top of the stack you place your “ note-card ” and second card from the top is the real prediction with the signature side downward.Let’srepeat for goodmeasure. Top card (doubleblankwithnotes on both sides),second from top: actual prediction with signed side DOWN, third till last card blanksides up. Put this stack with a rubber band around it into your coat pocket and see that four chairs are on the stage, but NO table. Performance: After the curtain rises you enter with your nicest smile. Start your patter and suddenly interrupt yourself as if looking for words. Extract the stack of cards from your pocket and from now on refer to your notes as often as to the possible so that your audiencegetsused cards. This has got nothing to do with bad showmanship. A prediction is not your every-day business and this cannot be a rehearsed act. The more it looks like an impromptu stunt the better. Anywaygetyourcustomersused to referring to your notes,because that isimmensely important (for you.) Get the four witnesses on the stage and put them on the chairs comfortably. (The most dangerous persons far from you !) See that one of the newspaper people has the M
edition of the headline with him for checking. Now give one of the people (sitting on one of the outer chairs) the sheets of glass. Let him check his signature. Take the sheets from him and show them to the other three people.(Seeminglyyou do that so that nobody is forced to rise and run around.) Give the sheets back to thefirstperson and give him your pocket knife also. Lethimopen the Scotch tape and take the sealedenvelope from him. Refer to the notes to seewhosignedtheenvelope and let the people check the signatures. Let them check the seal and givetheenvelopeoncemoreto the firstperson. (Always refer to your notes !) He is a bit helpless already with the twosheets of glass on hislap. but as thereis no table on the stage, he MUST keepthem.(Actuallyyouomitted the table so there is no possibility for you to put the stack of cards down when the climax comes, and you just forget about putting the stackback into your pocket.) Now lethim open the bigenvelope. In the meantime you get your little finger under the second card from the top of the stack. Take the small envelope from him and tell the people that this contains the prediction. “ Before we open it however, I want to have the signature checked.” to seewhosigned this Refertoyournotes envelope and let the persontelleverybodyhis signature was not forged. Now take the envelope into your right hand on top of the stack of cards, so that the flap side is uppermost and will open towards your left hand. Flip open the flap with the right thumb and draw out the business card with your left thumb and forefinger. The card will go right away on top of the stack. “ My prediction reads ......_.. but no ......... this card wassigned as well.” Turn the (now) three cards over as one and turn to the person who signed this card. Push it a bit off thestack and have him check his signature. As soon as he has said ‘‘ yes ” move your hand towards him and he willseize the card. Let him read the prediction and check it with the actual newspaper. Keep the stack of cards in your hand until the curtain goes down. That’s it. It reads a bit complicated, I am afraid, but actually there is nothing to it. If you handle the opening of the prediction as describedyoumay be sure nobodywillever say you had the card touched-as I can prove by a newspaperclip.Because one of thewitnesses opened all the cellophane tapeand envelopes, everybody will be convinced the last envelope .was openedbyhim as well (so don’tworry to tell them the truth.) In casesomebodyshouldhaveopened the prediction beforehand the opening of your registered letters is handled as described above. And please don’t forget to fetch the registered letter the next day, you will save the Postmaster General a lot of trouble.
29
VIBRATO COMRIE MACKIE OMRIE MACKIE who has had such a yen for mental magic during the past few years showed me a lovely little two person item in between tricks at one of Harry Stanley’s sessions. This is how it goes. The medium is escorted from the room and the performer tells how a person’s thoughts are tied up with his own personal vibrations. He offers to illustrate this fact and asks thata gentleman present having a visiting card with him shall be ready to help. This person is asked to think of any card in the pack, and as a check take it from a pack which the performer offers him. The card is dropped into another person’s pocket without .anyone, apart from the chooser, seeing its face. The spectator is then asked to take his visiting card outside to the medium, who takes it from him and holding it between her hands attempts to pick up the vibration of its owner. The card is handed back to its owner and the medium writes something on a pad which she hands tothe spectator, then .returning to the room with him. The performer stresses the conditions of the feat and then he asks the gentleman with the card in his pocket to remove it and show it tothe company. We’ll suppose that it is the ‘ ten of clubs.’ “ The ten of clubs . . . is thatthe same card that you thought of and removed from the pack?’’ The spectator replies in the affirmative. *‘ Will you please read out what the medium has written on the paper.” The spectator reads aloud, “ From the vibration that I receive I would say that you would think of the ten of clubs?” I feel certain that any mentalist will like this feat which can be performed quite impromptu for there are no gimmicks involved. All the conjurer wants is a pack of cards, an assistant who can write and a spectator with a visiting card. The only preparation needed beforehand is the stacking of a pack of cards in your favourite order. With the cards thus arranged in the case and the assistant at your side you are ready for the :Presentation: First of all the conjurer, telling his audience that he wishes to show them a strange feat of mental magic, asks a member of his audience to escort his assistant intoanother room. With this done, a spectator close by is asked whether he has a visiting card handy. This is a very personal kind of trick, the performer tells the spectator, and there is nothing more personal than a visiting card. By this time, if the spectator has one on him he will have produced the card and the performer takes it and places it on the table. The spectator is then asked to think of any playing card he wishes, and so that there cannot be
C
any doubt in anyone’s mind at a later stage in the experiment, the conjurer takes the pack from its case and asks the spectator to remove his thought of card as the faces are shown to him. Passing the cards one at a time from left hand to right the conjurer keeps a break at the point where the spectator abstracts his card. In one way or another, the card above the abstracted card is glimpsed, and knowledge of the thought of card is obtained. The easiest means is of course by a direct cut and a sight of the bottom card. Alternative and more subtle ways can easily be found. With a knowledge of the card, the pack is placed aside andthe spectator is asked todrop the card he holds into another spectator’s side pocket, without anyone glimpsing the face of it. As this is being done the conjurer idly picks up the visiting card which as you remember has been lying on the table since the spectator handed it over. At this point the conjurer thinks of the face of the card as a clock face, only on this clock face there are thirteen and not twelve hours, as shown in the illustration.
’6
5
4
With this thought in his mind the performer prepares to nail nick the card. If the thought of card is a ten then the nail nick goes at ten-0-clock. There is an added proviso, for not only the value of the card must be given but also its suit. One nick at the value position will mean either spades or hearts, these being the most common selection, whilsttwonicks mean clubs or diamonds. The differencebetween red and black is that with a spade the nicking is done from the front of the card whilst the red is done from the rear. One nick goes against the number, the second one, if necessary going in the centre of the card. Now the selected card in this case is the ten of clubs which means that as the conjurer picks up the visiting card and handles it in a casual fashion, he makes one nick from the front at ten-oclock and another in the centre of .the card. The
30 result willbetwo quite easily determined raised ridges on the back of the card. The visiting card is then replaced on the table. The card having been dropped into the spectator’s pocket the spectator who loaned the visiting card is asked to take it to the medium. When the latter receives it, she has noneed to do more than glance at it and see that it is the right way up. Fromthat point she can, without looking at it, determine by tactual means the card indicated. She should capitalise on this to the greatest degree by looking at the spectator whilst she appears to fathom his thoughts. When she has found the necessary nail nicks and knows the name of the card, she smoothes the raised surface
down in handing the card back to thz lender. She then takes her pad and pencil and writes, “ From the vibration that I received I would say that your card is the ten of clubs.” She folds the paper hands it to him and asks him to escort her back into the room. The conjurer, stressing the conditions, asks: the spectator holding the thought of card to remove it from his pocket. The ‘ Visiting Card spectator is asked whether that was the card he thought of and withdrew from the pack. The answer is in the aflSnnative. The pay-off comes. when the spectator holding the paper is requested to read out what the medium has written down.
CASTING THE FUTURE H. A. ADAMS Note. We have always tried to plug that lovely sheet the Phoenix for whether you want thelatest American news or the latest gen on American close quarter workers you will never be a disappointed. Upto number 300 we had reciprocal arrangement with Bruce Elliot regarding items published in Pentugrum and Phoenix. When Jay Marshal1 was over here, the agreement was continued with the new management. This item to be described comes from The New Phoenix, No. 334. This is an intriguing copy for in it besides effects thereare detailed descriptions of three Marlo Ace effects. If you want something better than a good crossword puzzle to chew on, get a copy and read these three descriptions: Whether you get down to theirsolution in theMarlo manner is of little moment for in the first March issue, the modus operandi will be published. In the meantime here is a very nice intimate table trick. In effect the performer successfully predicts the names of four cards that four spectators select from a borrowed shuffled pack and as a climax, a prediction involving colours and also one involving numbers are also proved correct. There is no preparation involved. Just make sure that the pack you will use contains 52 cards plus a Joker. This Joker is what you will use to write your predictions on. A pair of dice is also involved. Naturally a force is involved. It is based on a variant of the old principle that when two dice are rolled out the totals of the top and bottom numbers will always be fourteen. Routine. Have the pack shuffled andthen handed to you. Explain that you will remove the Joker and write six predictions on it. As you are looking for the Joker note and memorise the first card on top of the pack, and also the 14th, 28th and 29th cards from the top of the pack as they
would lay if the pack were face down. Now throw the Joker onto the table, close the pack up and place it face down on the table. Then tell the first spectator to write his initials at the top of the Joker, second spectator to write his initials below first spectator’s, third spectator below second and fourth below third. This is thepoint where you state you are making six predictions. Opposite thefirst spectator’s initials you write the name of the first card, whilst against the 2nd, 3rd, and 4th spectators’ initials you put down the names of the 14th, 28th, and 29th cards respectively. Right at the bottom of the card you add two further predictions, They are :l. The first spectator’s packet will contain four more cards than the fourth spectator’s packet. 2. The first spectator’s packet will contain two more red cards than there are bluck curds in the fourth spectator’s packet. Naturally you place the initials of the spectators against the spectatorsinstead of calling them by numbers. Now takethe dice from your pocket and hand them to the first spectator. Turn your back and ask him to roll the dice on the table and leave them laying. He is to total thetwo numbers on the top of the dice and then to silently count down one at a time that number of cards from the pack into a face down pile on the table. This has the effect of putting his predicted card at the bottom of the packet. We’ll suppose that the number in the pile is nine. The first spectator is now asked to pass the pack to the second spectator and he is to look at the two bottom numbers on the dice, total them and count that number of cards from the pack intoa face down pile. As thetotal of the top numbers wasnine obviously, because of the 14
31 principle, five willbe thetotal of thebottom numbers and when five cards are counted off into .a pile, the second spectator’s predicted card will be on top of his heap. The second spectator now hands the pack to the third with the added request fromthe performer that this time he, the third spectator, must add the numbers on top and those .on the bottom together then counting that number of cards ontothe table in front of him. This number will be fourteen and the third spectator’s predicted card will come out on top of his heap. ‘This complete, the third spectatorhandsthe remaining cards to thefourth spectatgr. It has the 29th card which has been predicted for him o n top. All the predicted cards are on top of their respective heaps with the exception of the first pile. As it is necessary to get the first spectator’s card on top of his heap a ruse must be employed. You say to him that something tells you that he has miscounted and to make sure will he count
thecards silentlyagain onto the table. This of course has the effect of reversing the order of the cards and bringing the predicted card to the top. Each spectator is now asked to peek at the top card ofhis packet, remember it andthen shuffle it into his packet. When this is done, the second and third spectators are to hand their packets to the first spectator,thefourth spectator keeping his. cards. In this manner the first spectator will always hold twenty-eight cards whilst the fourth spectator will hold twenty-four. For the first time since you handed the cards and dice over you turn round and face the spectators. The Joker is turned over and each is asked the card he peeked at. Then they are shown the card and the predictions, of course, are right in every case. Finally because of the beautiful principle utilised so well by Stewart James, when the two packets of cards are checked it is found that the colour and number prediction agree.
The conjurer must never disdain publicity and the Newspaper Headline prediction of Hans Trixer’s in this present issue is an effective means for so doing with the minimum of accessories. In 1952, Hans collected some very good publicity in Rhodesia and before us now we have the cuttings from the Sunday Mail and the Rhodesia Herald. In the next issue we are going to follow up thisparticular prediction with one of our own. With the title of “ Journey Into Time ” we made use of it predicting aRadio News Summary at the Edinburgh Convention of the I.B.M. in 1953. Altogether at the time .it resulted in nearly a hundred news clippings, including one ortwo banner headlines.Wefeel certain that readers may be able to make use of this as well. This year sees theGolden Jubilee of the Variety Artiste’s Federation. One result of this will be a souvenir booklet available to the public
at a moderate cost. Init willbe a number of articles dealing with various phases of the variety profession. We have been asked to take care of title of “ A the magic side and so underthe Magician in the House ” an attempt will be made to show the changing faceof magic duringthe past fifty years. It will show how the big show, partly through changing f a s h i o ns and partly because of theatre economics, has tended to disappear. One has only to count up the really big shows playing nationally or internationally and they total very few. There are Kalanag, Levante, Richardi junior, Dave B am b e rg , Blackstone, Calvert. With a terrific amount of work, expense and enthusiasm, these men of mystery plough a lonely furrow to-day. Another “ Focus on Hocus ” show comes on the air on February 22nd.
A NEW STYLE MAGIC BOOK
JOHN HOWIE’S ROUTINES WITH
THE JARDINE ELLIS nINC HERE IS a wonderful, new style magic book, that brings to the reader the greatest collection of Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE WORLD’S GREATEST POCKET TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL EFFECT.
Now at last the author has described the FULL TECHNIQUE of the Jardine Ellis Ring-GENERAL NOTES ON THE APPALRATUS,HANDLING OFTHE SHELL SO AS TO REPRESENTASOLID RING, DISPOSAL OFTHE SHELL (eightmethods). EXAMINATION OFTHE APPARATUS BY SPEtXATORS. THE DIRECTPALM-OFF, THE HOWIEPICK-UP MOVE, and A WORD ON. BASICPROCEDURE: Havlngmastered the handhng of the ring-which is reallyverysimpleindeedwhentheseprecise and fully illustratedinstructions ever devisedwith this pro?. are followed, the reader isintroduced to some of the zleanestand mostbafflingr?,utines to melt ’ on tothe RINGONSrI5.K EFFECFS--there are thzee, The DirectRing on Wand in which the ringjustseems wand; ‘‘ Ring on Pencilwhichis a wonderfulclose-up routimm which the audienceactually hear the ring penetrate the pencil,although “-a close-up or platform effectwhich seems quite impossible the performer’s hands are in full view all the time; and finallyPenetrellis yet the ring TWICEenetrates the wand or stick RING. AND &ANDKERCHIEF, E F F E F e h e r e are two here, “ Ring i n the Knot,” in which the ring isvanished, and then appears tiedwlthln a knot that wasprewouslytled m the hhndkerchlef, and the Ring and Handkerchief Routine,” whichis a complete routine of threeseparate effects.each one more batilifg than the previous one. is. the Ring .Necktie,” a terrific routine at close quarters, in which the ring penetrates MISCELLANEOUS EFFECTS-the: Rmg and Rope m which the ringpenetrates aropethree times, aknot forming round the the necktie, andthentwocompletqfoutines, Ring, a Wand and a Handkerchief ” in which a steel ring apparently plays pranks on the puformer. ring on the third penetration, and A BIBLIOGRAPHY-for those interested, there is a comprehensive bibliography of the Jardine Ellis Ring Trick from its invention. to date.
?e
And now a word about the Book itself, which is in a new styIe for Magic Books, the same page size as T h e Magic Wand, with large clear illustrations by the author, and bound in red ‘ Antelope finishboards. MAKE SUREOF YOUR COPY,BY ORDERING NOW
1216 ;postage 3d. ($2.00) FROM THE PUBLISHERS
T E E MAGIC WAND P U B L I S H I N GC O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X cc MAGIC
WAND” PUBLICATIONS
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
George Armstrong’s ‘‘ Premonition ”
(Mental Routine) George Armstrong
Extra Sensory Perfection
Ron Routine) (Mental
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohien 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading
... 719
Automentalism (Complete act, with apparatus)
Ken de Courcy
... 21/... 1013 ... 1013 ... to13 ... 1219 ... 1013
...
Dubbelkross & Simulkross (Coin Routines)
Ken de Courcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramray’s Cups and Bails (cloth bound)
Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
Martin Gardner
Twentysix Living & Dead Tests TerelGarrett The Concert Ventriloquist and Maurice Hurling Children’s EnCertainer Stewart James Jamesosophy (Card routines) Etc., Etc.
S. Edward Dexter ... 719
IEntertaining with Hypnotism S.Edward Dexter dent ityParade (Humorous mental routine)
Will Dexter
?he Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francic White, Esq. Clubroom and LIbrary and
Museum :
Hearts of Oak Buildings, London, N.W.l. Euston Road, bladcd Theatre :
King George’s Hall, W.C. Feb. 27-Lecture, Geoffrey Robinson “ From Cover to Cover” Puticulan from Hon.Secretary
:
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
+c
...
1013
...
719
PETER
...
... ...
...
719 719 513 iO/3 513
WARLOCK’S
JACK HUGHES
PENTAGRAM is
... 513 ... 1219 ... 2516 ... 1013
...
Douglas Francia Mother Goose Mystery (Mental Effect)
1719
... 2013
published on the 24th of each monthand
can be obtaineddirectfromthepublishersfor !l7 per cingle copy. AnnualSubscription post free.
18/-
BY: The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
PUBLISHED
forpubfiiutionandbooks review should be sent to the: EDITORIAL ADDRESS: kanuscripts
THE DE LUXE “SU-TABLB” togetherwith all hisother a stamp, effectsinreturnfor
!or
Peter Warlock, Rd., Wallington,
24, Wardsworth
will be pleased to rend you fulldetails of
Write now to
Jack Hughes, 2, Ejvelyn Ave.,
Colindale, London,
N.W.9.
Surrey.
Every Advertiser’ goods are fully endors :d by this Bulletin WBLISHB’D BY TkU3 PROPRIBTORSTHE MAOIC W A N D P U B L B H M O COMPANY, 62 WBLLINOTON ROAD, W P I E L D . MIDDLESEX AND PRINFED BY HEQBERT WALKER & 80N ( m m ) LTD.,WELL CUOFT, SHIPLEP. YORXBRIRL
*
JOURNEY INTO TIME
THE EDINBURGH RAD10 PREDICTION PETER WARLOCK ITH THE thought in mind that on a number of occasions readers may require a precan beusedeffectively for dictionthat publicity purposes I am explaining one that I have usedmost successfully on a number of occasions. I think I am right in saying that 1 was the first magician to make use of a headline prediction in this country. There was nothing in the wayof a pioneering effort about this, for America had led the field in this particular phase of mental magic. My own effort was immediately after the war, and the method that I used and later published in the ‘Linking Ring,’thougheffective, did not fully satisfy me. In 1948, at the British Ring Convention at Bournemouth. I used a method which I had evolved, and one, which for the time being, I do not wish to publish. This had somevery strong points but necessitated the preliminary part of the prediction being done publicly. My mind had always revolted at the idea of using a, prediction written on a microscopic piece of paper contained in a box large enough to hold a pair of shoes, and so with each of the predictions I havementioned I had tried to get away from such a drawback. In 1949 I was struck by the thought that for purposessuch as these what one wantedwas a prediction which,when unfolded, couldberead by a number, i.e., say a piece of black paper, a deal of poster size. I gave thematterquite consideration and at the same time thought how very good it would be if the prediction were seen by the audience prior to the eventwhichwas forecast, taking place! Quite obviously this wrote off theusual newspaper headline, but it made allowance for something even better-a radio news summary !
W
VOLUME 10, No. 5
-
With the definite plot in mind plus the idea of using a very large display sheet for the prediction I settled down to work on the idea, but it was not until 1951 that I put it into effect, the occasion being a demonstration of psychic magic by members of the Occult Committee of The Magic Circle at the Medical School of St. Thomas’s Hospital. As predictions are meant to beused sparingly I put it aside, not using it until May, 1952, at Bideford. It was used there to help the Devon Convention with publicity and it did not fail. Bill Stickland who was in the audience was very impressed with it and it was agreed to use it at one of the succeeding Conventions. And thus it came about that at the Edinburgh Convention in 1953 it was used on the night of the Civic Reception and through the medium of the Press helped to launch this particular Conventionwithsound publicity. Most interesting was the manner in which a number of papersaccepted the fact thatitwas a genuine prediction and not a clever trick. Bill Brown that indefatigable talkerand columnist made quite a feature of it in a Sunday paper adding that . . . “ there are more things in Heaven and Earth, etc.” Let me explain exactly what happens. A week before the prediction is scheduled to take place, a local dignatory or Press representstive is asked to co-operate andin order that everything shall be in order a number of witnesses shall be present. The magician or his representative takesfrom a case a large envelope. Fromthe inside he removes a peculiar looking object. This object consists, so he tells the onlookers, of a folded sheet of black paper held prisoner between two sheets of transparent plastic. The pieces of plastic !are fastened at/the edgeswithmedical adhesive tape, all joints being sealed with sealing
I /6, (20 Cents)
-
FEBRUARY 1956
34 wax. One of the sheets of plastic has aa opening cut away. The whole think looks something like Figure 1.
v/ WAY
S Ss€& over ends tape of adhesive tape indicates B indicates hinged f l a p
One further thing and that is a large white label is attached to the black paper and coincides with an opening in the plastic. This is quite clear in the illustration. There is an addition tothe label. By means of a small piece of cellophane, a square of paper one and a half inches square is affixed so that it forms a hinge. Later a mark will be made on the label at the point where, when this little hinge is laid flat and sealed, such mark is concealed. The performer or his representative stress the fact that so that there is no possibility of substitution, the sheet of paper must be marked in a way that will prohibit such a thing. First of all the local bigwig is asked to signhis name on the exposed part of the label, and then whilst the magician or his representative turns his back, make a secret mark beneath the hinge, then sealing the latter into position with a piece of adhesive paper which is given to them. With this done the whole thing is replaced in the large envelope, the flap of which is stuck down, seals being placed across the joints and signet rings applied. The envelope, in this condition, is placed in safe custody with the further request that on the night of it shall be brought to the performer at The great night arrives. On the stage a few minutes before a news bulletin is due to go on the air,the performer stands. On his left there is a radio set and with about four minutes in hand he commences his spiel. With a minute and a half gone he asks fortheewelope. The seals are checked and it iso,pened, the plastic container being removed. Cutting away the tape and seals,
the sheets of folded paper are taken.out,the signer on the label being asked to check his signature. He is then asked to tell the audience the nature of the secret, mark under the hingedflap. He does so and the performer asks him to tear away the flap and confirm the fact that such a mark is there. This is done, and without the folded sheet of paper leaving the audience’s sight it is unfolded. On the inside, written in chalk, are five predictions. The sheet of paper is tacked to a blackboard by means of drawing pins. The time should nowbe 45 seconds off the hour. Quickly the performer reads aloud each prediction and then he switches on the radio set to full volume. There should betime for the fade out of the item preceding the news bulletin. The announcer’s voice comes through . . . ‘ This is the o’clock news, etc.’ As he reads the various headings in the summary, the performer scores them through with chalk on the large sheet of paper. Needless to say each and everyone is correct.
The Explanation Begins. The reader of this bulletin is well aware of certain things relating to the modus operandi of the headline type of prediction. Two main courses are open to him. The first is a clever substitution of a sheet of paper, or an envelope or some similar container containing the actual details of (say) a current newspaper headline, for the similar object that has been left in safe custody some days or weeksbefore. The other is the introduction, or apparent introduction of a paper bearing the headline into some container which has been left insafecustody for a similar period and to which there would seem no form of access. Into this last class we have that colossus of mental mediocrity, the Prediction Chest with its outsized fake key. In the prediction to be described there is no switch, but the prediction is added in a rather novel way. Before describing the actual apparatus, let me say something about the items to be predicted. When I first got the idea of using a Radio News Summary, 1 had in’ mind the matter of recording these items on tape, doing all that was necessary regarding the technical side of the prediction and within a matter of some 20 seconds, reproducing the tape via means of an amplifier as the actual broadcast. There is little need for me to point out to the reader the very many snags that could arise were such a course of action taken. It was then that I realised that I was wasting time for in this country the reader will find that apart from the last minute introduction of some national or international disaster or urgent event, the seven o’clock news, is almost a repeat of the six o’clock news, whilst the ten o’clock is a repeat of the nineo‘clock. Quite
35 often there is little alteration over the course of the four bulletins, only the minor happenings being dropped from thelater ones. With this knowledge it was obvious that if I could so time my prediction for either seven o’clock or ten o’clock, all the details that I required would be available an hour earlier. If the reader is using it as a newspaper headline prediction then he has all that he wants hours before the opening of the prediction paper. Now let us deal with the make-up of the prediction paper itself. First of all youwill require some sheets of black pasting paper. Takeone which should measure 16 inches by 24 and crease it and fold it as in Figure 2.
Obtain a piece of tin sheeting and cut a piece measuring seven and three-quarter inches by five and three-quarter inches.See that it is well flattened and place it on that part of the paper I have shaded. Another piece of black paper is cut to the size shown in the drawing and applied to the protruding tabs withglue. These are stuck tothe paper around the tin plate so that the latter is trapped within a pocket. When the glue has dried, the nature of the paper kills the overlaying tabs and to all but a close inspection, the reader has one sheet of black paper. This sheetis now re-folded, care being taken that the section of the paper containing the sheet tin lies at the back of the packet. A piece of corrugated cardboard isnow cut to exactly the same size asthe folded rectangle of black paper and as shown in Figure 4.
The resultant rectangular packet should measure approximately eight inches by six. Incidentally the side pieces should come over first and care should be taken that the folding is even all the time, so that a perfect rectangle of black paper results. Now open up the paper, keeping in mind that part which is shaded in Figure 3.
Four segments are cut away, each being of such a size as to accommodate a strong bar magnet of the Alnico type. Their thickness should be no greater than the corrugated card. Alternatively if the performer has to resort to a thicker magnet, then the corrugated board must be built up to the same thickness as the magnets. With the rectangles cut away to hold the magnets, the latter areinserted and a piece of the black pasting paper is taken and glued around the corrugated board so that the magnets are kept in p s tion. In fixing the black paper tothe board an attempt should be made to produce a semblance of the folded sheet of paper. When the gimmick is dry, a piece of white paper measuring nine inches by four is pasted to it so that it looks like Figure 5.
36 is pulled down. When this is complete he is asked to seal the hinge in place with a piece of sellotape or adhesive tape. The whole thing is now slipped inside the large envelopewhich inturn is sealed and left in safe custody and the added instructions that it be broughtalongon the night.Youcan breathe freely until the nightyou intend undoing the prediction.
Further, with the aid of a piece of cellotape or gummed paper tape, the little hingedpiece of paper is added. Most of thepreparation is done. You will however require twopieces of talc, celluloid or thin perspex. Actually I use talc. These pieces should measure 10 inches by 8 inches. From one piece a windowmeasuring three inches by seven inches is cut away. Its relationship is with the label on the gimmicked cardboard so in cutting it away see that when the various items are placed together they are in register. With this chore completed and some adhesive tape at hand you are ready for the final preparations. Place the non-window piece of talc on the table and on top of it the black covered gimmick, label side uppermost. On top of this with the window in alignment goes the talc with the window. If youhave a stapling machine, staple the edges of the talc together at each corner and also at the sides. This helps tostop anybulge.Pieces of adhesive tape are thenplacedalong the sides as shown in the first illustration. Finally the points where the adhesive tape overlap are sealed with sealing wax. You are ready at this stage for handing over the prediction, the only extra accessory being a stout envelope large enough to hold it. With these items and some sealing wax, you enter the room where the men of integrity are gathered to assist you.
First of all the head man is asked to write his signature on the label. This done,he isfurther requested totake the packet and make a secret mark, which will be covered when the little hinge
Now your preparations for the night in question. First of all youwill require a blackboard and easel. This should be on the performer’s left. Into the blackboard near the right hand top corner are stuck four or five drawing pins. Actually you only require two, but in the excitement there is a chance of dropping these fiddling little things and there is no time to be lost in the indignity of pickingsomething up from the floor. A table should be centre stage.
You also require a copy of the current Radio Times ” (or if a headline prediction the necessary newspaper) a piece of chalk and a pair of scissors. These last two items are slipped into the right hand pocket. For the radio prediction there should be a reliable radio set on the stage. This should be to theleft of the easel. On the right of the stage a chair should be available. “
An hour before the opening phase of the prediction is due to commence, switch on the radio in a roomwell apart from the main hall where the prediction is to take place. As the News Summary is about to come up, stand by with a pencil or pen and paper. Have a spare pen or pencil right at hand in case ink runsdry or a point of lead breaks. Mark your sheet of paper 1, 2, 3, 4, and 5. You don’t want to overload this prediction. Immediately the announcer starts, listen intently and write down briefly but legibly the content of each headline. Switch off the set and take the folded sheet of paper that contains the sheet tin.Open this paper out and preferably with chemicalchalk or alternatively by damping an ordinary stick of chalk (both prevent smudging when the paper is re-folded) print on the paper in large letters the items concernedgiven by the announcer. Now refold the paper once more into a rectangular packet. You should not have taken more than five or six minutesover this so that between now and your appearance you have nearly 50 minutes to kill.Relax for half-an-hour and then take hold of the “ Radio Times.” Slip the folded piece of black paper inside between the last two pages, as shown in Figure 6.
37 which should flankhim on the left. He casually flicks the folded portion back so that the whole thing lies flat, the folded black paper protruding slightly at the back. If the reader thinks that there is attendant risk through this visibility then I suggest that he has a blackcoveron the table. Actually as the attention of the audience is never focussedupon the table, I wouldn’tworryvery much about this point.
Then fold the rest of the magazineover so that it looks like Figure 7.
The gentleman with the prediction is invited on to the stage and seated on the performers right. He is asked whether he has it safely with him and also whether it has been out of safe custody since it was handed over.
After satisfactory replies the envelope istaken from him and he is asked to verify the seals. Taking the scissors the envelope is cut open and the contents removed. The helper is shown the contents and isaskedwhether there has been any alteration.Again a negative. The envelopeisplaced aside and then taking the scissors once more the performer cuts through the talc and adhesive tape on one side. Through this openinghereachesin and withdraws the contents.Withtheremark to the helper, “ You can see that this was quite a transparent but strong container,” the performer passes the talc envelope to the helperwith the right hand whilst the left hand places the gimmick on to the table positioning it immediately above the folded sheet o f paper protruding from the Radio Times.
Audience
Youhave now made all thearrangements necessary and you only await the dock hands coming up to the time you appear and take over on the platform. Walk on to the stage or platform holding the RadioTimes with the right hand.Thatpart of the folded black paper which protrudes from the cover is thus well hidden. The action of holding is a natural one, much as one carries a book. The performer receives attention and possibly applause which he acknowledges and at this point he places the Radio Times and its contents on to the table,
The talc envelope is then taken back and also placed aside. “ As you no doubt are aware,” says the performer, “ the atmosphere is filled with electronic waves. This little magazine . . . ” (The performer turns half left, his body coming between the helper and the table, stoops silghtly and with his right hand he takes hold of the “ Radio Times ” whilst the fingers of the left hand come down firmly on the edge of the gimmick. The “ Radio Times ’’,is pulled away and the gimmickliesalmostperfectlyalignedwith the folded paper, the pull of the magnets on the tin making this move an easyone. There musn’tbe the slightest hesitation and as the right hand moves away the paper, and the body turns front, the left hand follows it, taking hold of the paper on the left side so that the action appears as though both hands picked up the “ Radio Times ”) “ . . . gives just a slight example of how many things fill the air. One thing that this phase of science has brought us is the hour to hour happenings spread throughout the world. I have attempted to predict much ahead of time what certain of these happeningswillbe.”(Whilstspeaking the performer has idly turned the pages of the paper. He places the paper aside.)
38 in the company of to take care of this prediction that I madesome . . . daysago.”(At this point the performer once more turns half left, again killing the viewbetween helper and table, and with both hands takes hold of gimmick and prediction onthefolded sheet. The right hand goes to the right corner nearest the audience whilst the left goes to the left corner furthest from the audience. The right hand second finger presses in .against the long side whilst the thumb performs a similar action on the short side. Similarly the left hand finger andthumb react against their respective sides. The result is that this pressure brings about perfect alignment of folded paper and gimmick in a fraction of a second and both paper and gimmick are picked up and, in turning front, tothe the label side of the gimmickiskept audience. The right hand covers most of the side of the gimmick and fake and the performernow turns half left and addresses the helper.) “ First of all sir, will you give the audience your word that this is the same signature that youaffixedsome days ago.” The answer is in the affirmative. “ Secondly, sir, you made a secret mark, hiding it with this little flap . . . will you please tell the audiencewhat formthatmark took?”The helper tells. “ Now, sir, (the performer tears away “
This gentlemanhere
. . . , etc.,wasgoodenough
the flap) is that the same mark?” Again an affirmative reply. The performer now turns full front and at this moment there should be about a minute in hand. Holding the flap of the folded black paper at the back he allows the labelled gimmick to go to the rearasthe sheet is thenopened out. The effect ismost deceptive and there isno fearthatthe gimmick will fall off. The sheet is now pinned to the blackboardand the performer points to his various predictions enumeratingthemone at a time. He moves across to the Radio Set and switches on the sound. Then comes the fade out of the programme preceding the delivery of the news and then the News Summary. Quite obviously if you are doing a newspaper headline prediction youwillneed a copy of the current newspaperand not a copy of the Radio Times. The reader willhave to excuse the long windedness of this contribution, but it was essential that no point of importance should be omitted, and from my own point of view in a magic undertaking such as this, every point in preparation and presentation is vital, for the publicity prediction is something that cannot be fully rehearsed.
SILKS AT THE FINGERTIPS PETER WARLOCK ILK MAGIC, always one of the most fascinating as well as being the most colourful phases of magic, offers fewer plots but greater problems than most branches, for a handkerchiefhas not the tangibility of a coin, card or billiard ball. This little essaywasbrought about bynecessity. At the opening of an act I wished to produce two 18 inch silks one after the other a t the fingertips. When produced they were to be free to handle, i.e., I did not want them anchored t o lengths of cotton or thread. With a great deal of experiment I managed to get exactly the result I required.
S
The audience see the performershow his hands to be perfectly empty. First a purple handkerchief appears at the finger-tips of the right hand and this is followed by the appearance of a green handkerchief at the left hand finger-tips. Without any more ado, the handkerchiefs can be used in any routine.
The Requirements. Twosilk handkerchiefs 18 inches square. Somenylon thread. Preparation. Take a length of nylon thread measuring approximately 18 inches in length and knot oneend to a corner of one of the silks. Repeat the process with another length of thread and the remaining silk. Each free end of the thread is now made into a loop that will slip comfortably over the performer’s thumbs. Under the lapels of the performer’s jackets two small pockets are made. (See illustration No. 1). With these chores out of the way, the silks are folded and accordion pleated so that the length of thread hangs free. Each bundle of silk is placed in one of the pockets under the lapel. If the folding has been carried outcorrectly, the slightest pull on the thread should take the whole handkerchief clear of the pocket. The loops at the end of the thread are placed over the relative thumbs of each hand. (See illustration 2.)
39 Presentation. The performer enters and clearly shows his hands to be empty. Both hands are nowheld parallel withthe ground, the right hand above the left. The left hand now makes an anti-clockwise circular motion around the right hand whilstthe latter makesa similar motion around theleft. (This obviouslyis better for a mime rather than a patter act.) Now with the first three revolutions the right hand fingers make certain that they do not engage in the thread which hangs from the left thumb passing across to the lapel. Withthe fourth motionhoweverthe right thumb engages under the thread and the silk pops out of the pocket and is caught by the right hand finger tips. At thesametimetheleft hand is lowered and the looparound the thumb comes away without anyhelp from the performer. The silk just produced is placed over the left arm, and in a similar manner the second silk is produced.
*
*
*
*
*
MAGIC-GOdROUND CHEERY letter from Jean Hugard gives us the news that Keating recently appeared in conjunction with the well known actress Cornelia Skinner at the Phoenix Theatre in New York. Miss Skinner entertained with her wonderful character sketches whilst Keating interspersed her offerings with magic which included the Vanishing Birdcage, SnowStorminChina, the Egg Bag aIid the Needle Swallowing trick. Originality of presentation made these classicsnew to New York theatregoers. Broadway critics well noted for their ruthlessness in reviewing were high in praise of Keating’s work. It is likely that when the present season is finished this twoperson show will go on tour. The Annual dinner of the Order of the Magi proveda delightful affair ineveryway. It was good to meet those many stalwarts of the North and better still to see some in action. At the after dinner show in which the South was represented by Francis Haxtonand myself, GrahamAdams excelled himself with hismost entertaining presentation of the GiantMemory feat. Leslie Lester making a dash from the Hulme Hippodrome was in great form despite the untheatrelike conditions. There was a two person mental actthat gave great promise for thefuture.
A
The stay overnight at Jack Morrison’s not only provided us with lavish hospitality but also allowed us an inspection of his wonderful collection of books and apparatus. In the next issue of the Pentagram we shall be describing Bob Bridson’sRising Card trick whichwe mentionedsome issues back. We are also (in -view of the many requests that we have had regarding this type of act) describing a two person mental and psychic act in which the maximum effect isobtained with theminimum of effort. In fact the type of act for husband and wife who have little time to give to codes. On the strength of Leq. Levante’s description we arelookingforward to seeingVirgil’s act. Judging by the circuit that it is working it should arrive in London in the near future. lecture at Those who missedLewGanson’s the Magic Circle missed a magical novelty as,well as some excellent magical instruction. After demonstrating and explaining the tricks presented, Lew had projected onto a screen, a number of c o l o u r e d photographic transparencies which showedeverymove and phase of the trick in question.
~~
A NEW STYLE MAGIC BOOK
JOHN HOWIN’S ROUTINES WITH
THE JARDINE ELLIS HING HERE IS a wonderful, new style magic book, that brings to the reader the greatest collectionof Jardine Ellis Ring routines ever published.
THE JARDINE ELLIS RING IS ACKNOWLEDGED TO BE THE WORLD’S GREATEST PO-T TRICK
BUT NEVER BEFORE HAVE COMPLETE INSTRUCTIONS BEEN PUBLISHED FOR THIS WONDERFUL E F F ” .
Now at last the author has described the FULL TECHNIQUE of the Jardine Ellis Ring-GENERAL NOTES ON THE APPARATUSHANDLING OFTHE SHELL SO AS TO REPRESEm A SOLIDRING DISPOSAL OFTHE SHELL (eight methods) EXAMINATION OFTHE APPARATUS BY SPECTATORS, THEDIRECTPALM-OFF,THE HOWIEPICK-UP MOVE. and A WDRD ON. BASIC PROCEDURE, Havmg mastered the handhng of the ring-whichis really very simple.indeed when these precise and fully illustrated instructions are followed, the reader isintroduced to some of the ,pleanest .and most bamlng r$pnes everdevised.with thisprop. RINGON SrI(Z,K EFFECTS-there are threeThe Dmect Rmg on Wand in which the ring lust seems to ‘ melt ‘ on to the wand* ‘‘ Ring on Pencil which is a wonderful close-;p routin5,in which the audience actually hear the ring penetrate the pencil. althougb close-up or platform effectwhichseems quite impossible the perfoper’s hands are in full view all the t k e ; and finally Penetrellis ”-a wand or sttck. yet the rmg TWICEetratesthe RING. AND i$?NDKERCHIEF. E F F v v h e r e are two here. ‘‘ Ring ,“ the Knot,” in which the ring is vanished, and then appears tted wlthtn a knot that was prmously tted m thehandkerchlef. and the Ring and Handkerchief Routine,” whichis a complete routineofthreeseparate effects, each one more bafK.l;, thanthe previous one. MISCELLANEOUS EFFECTS-therz IS. the %g 29 Necktie.” a terrific routine at close quarters, in which the ring penetrates b p and Rope in which t,?e ring penetratesaropethree times, aknot forming roundthe the necktie andthen two completqfoutines ring on t h i thirdpenetrationandA R i d a Wand anda Handkerchief inwhich a steel ring apparently lays ranks on the performer. BIBLIOGRAPHY-;or those inter&ted, there is a comprehensive bibliography of the Jardine Ellis Trick from its invention. to date.
Ling
And now a word about the Book itself, which is in a new style for Magic Books,the same page size as The Magic Wand, with large clear illustrations by the author, and bound in red Antelope ’ finish boards. MAKE SURE OF YOUR COPY,BY ORDERING NOW
12/6;postage 3d. ($2.00) FROM THE PUBLISHERS
THEMAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
e MAGIC
WAND
Mental Bargain Effects Theo Annemann Chrllenge Instant Hypnotism 81Mars Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental
Armstrong GeorgeRoutine)
George Armstrong’s ‘‘Premonition ”
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’r Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining withContact Mindreading
S. Edward Dexter
IEntertaining with Hypnotism S. Edward Dexter dentity Parade (Humorous mental routine)
W ill Dexter
The MagicCircle President: Herbert J. Collings, Esq. Vice-President : Francis White,Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, N.W.1. Euston Road, London, Yadcal Theatre :
King George’s Hall, W.C.
Mar. 28-Concert at TheAssembly Rooms, St. Pancras Town Hall Puticularr from Hon. Secretuy :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
... 719 ... 2119
Automentalism (Complete act, with apparatus)
... 1013
Zodiac Telepathy (A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
... 2013
Ken de Courcy
...
Victor Farelli
Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’r Choice (Miscellaneous Magic)
... 1013 ... 1219 ... 1013 ... 1719 ... 719
... 2516 ... 1013 ...
719
Martin Gardner
... ...
719 513
Twenty-Six living a Dead Testa TerelGarrett The Concert Ventriloquist and Children’s Entertainer Maurice Hurling Jamerosophy (Card routines) Stewart James Etc., Etc.
... 1013 ... 513
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishers for 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
JACK HUGwill be pleued to send you full details of
THE DE LUXB “SU-TABLB” together with all his other effects in return for a stamp.
hanuscripts for publication rsd b o e b for review should be rent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrev.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
Every Advertiser’s goods are fully endorsed by this Bulletin T m PROPRIBTORI THE MA-C WAND I U . U B R W N Q AND PRINTBI) DY HRI&BERT WALKER L WON (-l=)
R I B L I S R E D BY
513
... 1210
Douglas Francis
Mother Goose Mystery (Mental Effect)
... 1013 ... 719
PETER
Ken de Courcy
Dubbelkross & Simulkross (Coin Routines)
... 1013
(.Mlcntal Routine) George Armstrong Extra Sensory Perfectlon
Routine) Ron (Mental
PUBLICATlONS
COHCANY, B2 WILLINOTON ROAD, ENPIULD, LTD., WBLL O I O R , IHWLPY, YOIUU-B
M!IDME6EX
*
PUZZLE FOR WANTONS JACK OME little while back we mentioned the three Marlo effects in “The Phoenix,” the solutions of whichwere to be published in theearly part of March. One of theplots(andin each effect only a straight pack was to be used) meant thatthe conjurer removed thefour aces from the pack. In one bunch they were returned to thecentre of the pack and thenwithoutany fiddling they were foundspreadthroughout the pack. There seemed to be littlebreathtaking, however advanced the technique, for the climax meantthatthespectatorhadtolookthrough the whole run of cards to see what had happened. It was a good puzzle. Jack Avis, utilising the basic procedure, has come along with an effect that gives a true climax and one that can be appreciated by a group rather than an individual. Very deliberately the four aces are removed fromthe pack and placed face down uponthe table. Cutting the pack into two packets the aces are placed on top of one heap and the remaining heap is placed ontopto reform the pack. A muttered “ Hocus Pocus ” and then spreading the pack faces down thefour aces arefound spread through the pack face up ! The requirements. One pack of cards and a moderate amount of card sense and skill. Preparation. See. that the four aces are well spread throughout thepack. Method. Taking thepack the conjurergives it any effective false shuflle that will ensure that the aces remain spread throughout the pack. (Alternatively the aces can be together at the beginning, a series ofrime shuflles scattering them throughout the pack. Holdingthecards face up inhis left hand, the conjurer commences to run them into his right, stopping when he arrives at the first ace. Therighthandremainsstationeryholding the cardsthathave been passed to it, whilst the left hand drops slightly displaying the ace at which ithasstopped.Thecardsshould beheldwell into the heel of the hand as shown in figure 1.
nws
S
VOLUME 10, No. 6
-
Now comes a move that is described by Buckley in “ Card Control.” The left hand thumb runs off the first two cards as though preparing for a double lift. Into the gap goes the left thumb as shown in Figure 2.
With the cards well gripped by the fingers, the heelof the hand releases its hold and the cardsinthe left handpacket are now turned face down, and in the apparent action of placing the ace face down on the table the thumb pushes off the card above it, theace being retained on the face. Now at this atage remember you have a face down heap in the left hand and a face up packet inthe right. As the left hand packet is swung back to the right and turned face up to continue
I/6, (20 Cents)
-
MARCH 1956
42
the abst:action of the remaining aces the Ieft hand fingers press against the ace, swivelling to the side from the pack. They do more than this, they see that the side nearest thethumb is lifted from the pack. In factthe moveis in someways comparable to the “ Kelly Replacement.”
face up. The action is comparable to opening a book. Thusthe ace that was at thebottom of the left hand packet now lies face down under the cards held in the right hand, which grips it against the packet. This process is now continued with the remaining aces so that when four cards lie face down upon the table, the four actual aces are all reversed in the pack. The pack is now cut into two heaps. The cut should be made from the part of the pack nearest to the performer so that he can see where he is cutting. Too casual .a cut mightmean that one of the face up aces could be exposed. On one half of the cut the four face down aces ” are placed, the remainder of the pack beingplaced on top. Themuttered “ Hocus Focus ” andthe pack is spreadshowing the face up aces scattered throughout the pack. The performer should work left side to his audience whilst making the essential moves. Like this he is free from angle effect. 66
Now asthe left hand comes across and reachest‘le right handpacketthecards in the right hand go above the bottom ace whilst at the same time the packet in the left hand is turned
ACES IN THE ASCENDANT DUDLEY WHITNALL FFECT : -The Performer shuffles and cuts a psck of cards. He turns the top cardface up andshows it to be an ace. Turning it face down again, he deals it face down on to the table and then undercuts a packet of about twelve cards from thc pack, which he drops face down on top of the ace. Againheshufflesand cutsthe pack.Once more tilc top card proves to be an ace and is similarly dealt face down to the right of the first ace packet. Another small packet is undercut from the pack and laid face down on top of the second ace. Repe:ition of these moves results in the discovery and burialunderpackets of cards of the third :md fourth aces. In the case of the fourth ace, the vv.holeof the balance of the pack-some twelve or thirteen cards-is dropped onit after cutting. Thc position nowis that there is a rowof four face down packets of cards, each with an ace .as the bottom card. Findly, the performer turns the top cardof every p a d e t face up to show that the aces have ascended to the top of their respective packets. PREPARATION :-Very little, except to cull the four aces to the bottom of an already shuffled --and, if thought fit, borrowed-pack. The type of person to whom this effect has any appeal is unlikely to experience much difficulty here. METHOD :-The pack is taken in the right hand in the !1sual p9;ition for an overhand shuffle except that i; i; ‘;-.l, at the ends, between thumb and second fiagc: mly and that the plane of the
E
cards is more nearly parallel to the ground than at right angles to it. The cards are thumbed off intothe left hand in the usual manner until a quarter or less remain. At this point the bottom card-one of the aces-is drawn or run by the left third finger tip on to the cardsin the left hand, and isfollowedby onecardrunfromthetop. The next card is run and injogged and the balance thrown on top. The pack is then undercut at, and including, the injog and this undercut thrown on top. As a result of this shuffle andcut, oneof the aces has been brought to a position third from thetop, whilst leaving theother three aces undisturbed. The top card of the pack is now shown to be an ace by means of a triple lift and, after turning face down, is apparently dealt onto the table. The packet comprising roughly a quarter of the pack which is dropped on top of the ace (?) is actually cutfromthetop of the pack, but by theold Erdnase false cut to lose the top card only. The abovemoves are repeatedtwice to discover and cover the second and third aces (?). For the last shuffle and cut, the ace is drawn off first, to be followed by one card run and one injogged, etc. After cutting and discovery, etc., the remaining packet of some twelve or thirteen cards is cut by undercutting all but the top card before the whole is dropped on top of the last ace (?). ACKNOWLEDGEMENT : -The basis of this effectis to be found in “ Double Rise,” described on page 139 of Bill Simon’s “ Effective Card Magic.” The remainder is an original development of that effect.
43
THE LADY AND THE TRAMP A N ACT FOR TWO PERSONS
PETER WARLOCK ANY a time I have been asked to recommend publications to those who want information regarding two a person mental routine which required a minimum of practice on the part of the female part of the act. The two items that I haverecommended invariably havebeenAnnemann’s En Rapport andThompson’s Moonlight Madness. Way back in the forties we wrote up a two person thought reading act for book a “ Methods for Miracles ” the manuscript of which washeldby Willane. The main purpose in this was to use a one ahead system of coding in the various tests used. Later we were to see a similar routine put out in mimeographed form, a truecase of telepathy ! The routine about to be described is one in which the presenter of the act tells the audience that his partner has a psychic sense which covers various phases of mental phenomena. Because of its detail it willbe started in this issue and concluded in the April number. The tests used cover telepathy, extra sensory perception and precognition. At the conclusion I intend to detail items whichcouldbe added should the performance timebe tooshort.Therunning timeof theact under normal conditions should be approximately seventeen minutes. Each item will be dealt with as a complete trick.
1. The opening of the act. COLOURS AND NUMBERS The stage is set asinthe accompanying diagram :-
The presenter of the act makes his appearance and briefly acquaints his a u d i e n c e with the possibilities of mental phenomena. The lady a sistant is next introduced and seated on thechair marked “X.” In her hands she carries a large envelope. Three volunteers to help with the experiments are requested to step upon the stage. They should be stationed on the performer’s right. Their attention is called to three coloured handkerchiefs on the table, say one red, one green a n d one yellow. The spectator nearest to the performer is asked to look at the colours, change his mind as much as he likes but finally fix on one and pick it up. When he has done this he is asked to look at the numbered chairs. Again he is asked to do some thinking. Thistimeheis to look at the his mind as much as three numbers, change he likes, settle on one and seat himselfon that chair which bears hischosennumber. We will suppose that he chooses the red handkerch i c j and sits in chair number two. The second person is asked to choose one of the remaining handkerchiefs and also onc of the remaining numbers. He too takes his handkerchief and seats himself upon the chosen chair. In this case we will suppose yellow and chair number three. The third spectator has no choice but takes the remaining handkerchief which is green and sits in the empty chuir ; in our example number one. Taking the large envelope from the Psychic Lady, the performer tells his audience that she has already been successful with the first test. He slits the envelope open and withdraws a large card on which is written in equally large letters :-“ The person sitting on number one chair has the green handkerchief, the person on number two the red, whilst the one on number three has the yellow.” Well presented, despite its simplicity, this first test can be most effective for there is colour and a certainamount of action. The means for accomplishing are very simple.
l
E A
*WASTEPAPER BASIU3T
B e
.TAB=
E.
C.
.BLACBOARD &
EASEL
D. .*CHAIR R ) R LADY CHAIRS NUMERED 1,2 and 3 FOR COMMITTEE
The chairs marked 1, 2 and 3 have number cards attached to them by tapes.
First of all the numbered cards attached by their corners to the chair backsshould measure twelve inches square. If they are covered with cellophane they will look better, the glossgiving them a professional finish. Besides the three coloured handkerchiefs the performer will require some large envelopes. They should vary in size so that two can be nested in the third. A duplicate of the largest is now taken and a double envelope made. A similar procedure is adopted with the second size envelope. Three
44 pieces of cardboard or stiffish paper are next required. These should be of varying sizes in order that they may fit comfortably into the envelopes. On the smallest piece print in large letters (using a dark crayon or Indian ink), (Number 1 Set) The person sitting on number one chair has the red handkerchief. The person sitting on number two chair has the green handkerchief. The person sitting on number three chair has the yellow handkerchief. On the middle size piece print a similar message, but this time :
This combination is the most common, judging by experience.
On the address sideof the middle sized envelope, print : (Number 5 Set) The person on number one chair has the red handkerchief. The person on number two chair has the yellow handkerchief. The person on number three chair has the green handkerchief. On the address side of the smallest envelope, print :
(Number 2 Set)
(Number 6 Set) The person on number one chair has the green handkerchief.
The person sitting on number one chair has the yellow handkerchief.
The person on number two chair has the yellow handkerchief.
The person sitting on number two chair has the green handkerchief.
The person on number three chair has the red handkerchief.
The person sitting on number three chair has the red handkerchief.
The smallest sized envelope is now nested into the middle sized envelopeso that the address sides correspond and finally these envelopes are placed inside the free compartment of the double envelope where here too the address sides correspond. The largest envelopeisnowsealed down and the lady has it with her offstage. The performer should memorise the order of the articles against the envelopes or alternatively have a small “ key ” handy which will give him the information without any stalling.
On the largest card print : (Number 3 Set) The person sitting on number one chair has the yellow handkerchief. The person sitting on number two chair has the red handkerchief. The person sitting on number three chair has the green handkerchief. The smallest card goes intothe smallest envelope which is then sealed down. The middle sized card goes into one compartment of its respectiveenvelope, and finally the largest card goes into one compartment of the large envelope. The envelopes now come in for attention. On the address side of the largestenvelope print words to the effect that : (Number 4 Set) The person on number one chair hasthe green handkerchief. The person on number two chair has the red handkerchief.
The person on number three chair has the yellow handkerchief.
The three handkerchiefs lie on the table. Presen tut ion.
The lady is introduced. As shemakes her entrance holding the envelopeshe must make quite sure that it is held quite casually against her body so that in this position it isimpossible for any memberof the audience to glimpse the printing on the address side. Sheisseatedand then three members of the audience are invited to assist.Theycome up on to the stage or platform and are grouped on the performer’s right on the right hand side of the stage. ’Ihe first one is asked to take a handkerchief and then choose a chair. The odds are in favour that he’ll take the red and go to the second chair. The two other spectators then take their respective handkerchiefs and chairs. By the time that the second spectator has taken his seat the performer should have in mind the position of the message in or on the envelopes.
45
With the third person seated, he moves across t o the lady and relieves her of the envelope keeping the blank side towards the audience whilst the positioning of the assistants on the stage makes it impossible for them to see therear part of the envelope. He tells them that the lady has already accomplished the first test successfully. If the layout of colours and numbers is number four set, all the performer has to do is t o slowly turn the large envelope round and allow the audience to read the message. If number five set, keeping the printed side of the large envelope towards him, heslits open the envelope and removes from the correct compartment thesecond size envelope. The large envelope placed is printing side down on the table and the envelope just withdrawn is turned round. If number six setis required, the smallestsizedenvelope is removed and the message on its address side shown.
With all this carried out the performer apparently concentrates upon the drawing, and without any word being spoken between performer or lady, thelatter successfully reproduces the spectator's drawing on the blackboard. The technique of this test is extremely simple, the wholeeffectbeing brought about by careful thought regarding the positioning of the various people taking part.Look once again at the layout of the stage and note the relative position of the blackboard. If the lady isled to the blackboard by her right hand, she is compelled to pass alongside the drawing board lying on the table. It iswhilst doing this that she glimpses down the sides of a normal blindfold, or alternatively a trick blindfold could be used which would allow her even fuller vision. We'll take it a little further. The following illustration shows the positioning of performer, lady and spectator at the time when the last named is drawing on the drawing board.
To obtain number one set we have again to go to the smallest envelope this timehowever
not showing the printing but slitting it open and revealing the card inside. For message number two the appropriate cardis removed from the compartment of the middle sizedenvelope a similar process being adopted for number three set which appearsonthe largest card in the compartment in the largest envelope. May I suggest thatratherthan leave the envelopeslying on the table thata fairly large paper basket be at hand into whichthey can be deposited. .POSITION OF SPECTATOR AT DRAWING BOARD B. eP0SITIOI OF PEAPDRMER
A.
The Second Test A MATTER OF DESIGN
The lady is blindfolded and she stands at the right hand corner of the platform. A member of the committee is asked to go tothe table. Onit rests a drawing-board to which a sheet of paper is tacked with drawing pins. The persormer tells his audience that he now wishes to demonstrate a feat of telepathy. The performer is facing his audience as he talks and his back is towards the spectator at the drawing board. A gesture of his left hand however towards this helper accompanies the request that he draws on thepaper with the pieceof charcoal pencil at the side some pattern or geometrical design It may be as complicated as he likes. The spectator is told to inform the performer when he has completed the task. When he has done so, the performer asks him to hand the lady a pieceof chalk and then to guide her to the blackboard. When she has beenplaced in a position where it iseasy for her to write, the spectator is to bring the drawing he made to the performer.
C.
.POSITlm OF LADY.
Dotted lfnes i n d i c a t e the path OP Lady towards blackbonsa.
Whenhe informs the performer thatthe drawing is complete he is brought to the front of the stage on the performer's left, the latter still keeping his gaze averted from the board. " Now, sir, I want you to guide the lady to the blackboard . . . . just give her this pieceof chalk as well. (The performer takes a piece of chalk from his pocket, and places it in the spectator's hand). The lady, who is facing front, apparently to co-operate in this part of the routine, extends her right hand. This is quite natural for it is nearest to the spectator. The spectator also quite naturally takes hold of her hand and this means thata complete turnabout results, for the spectator has to move over to the right side of the stage and in guiding her towards the blackboard a quick glimpseof the drawing is made and remembered.
46
The lady, with her back towards the audience, takes up her station in front of the blackboard. The spectator then takes the drawing board and brings it to the performer. Holdingthedrawinginfront of him and not allowing the audience to see what the design comprises, the performer appears to concentrate. (This doesn’t mean that heavy theatricals are called into play, justappearto be in deep thought). The lady commences to draw, and she indicates that she has completed thetask by saying, “That is the picture I appearto be receiving.” At this point, after the lady has moved aside and the full drawing on the blackboard is revealed, the performer turns round thedrawingboard showing thatboth pictures coincide. The performer then places theboard down so that it rests against the legs of the table . Theprops for this effect are really few, a drawing board that will take a sheet of paper measuring sixteen inches by twelve, some drawing pins, charcoal pencil, and blindfold. In many cases the easel and blackboard can be found where one is performing. For the exceptions aportable artist’s easel andablackboardmade from fibreboard make for light gear. The Third T e s t THEQUINTUPLETS
The performer thanks the spectator helped him and asks him to be reseated.
who
Another test is proposed. A pack of blue back cards is handed to the lady whilst the performer keeps for himself a pack of red-backed cards.At this pointa small stand which has beenlying flat uponthetable is erected into position, It is slotted to receive five pairs of playing cards. The lady fansthecards in front of her and withdraws one which the performer takes and places face outwards upon the stand. Spreading the red backed cards on atraythe performer now approachesthe first member of the committee and asks him to touchthe back of onecard.Thiscard is pulled out of the spreadandwithoutits face being shown it is placed back outwardson top of the first card given to the performer by the lady. This procedure is repeated four more times so that finally the performer has on the stand five cards of the lady’s choice and five chosen by various members of the committee. The climax comes when each pair of cards is shown to match. This is a revised version of “ Rhinegold” which published in “ The Phoenix” about seven years ago. In fact a sight of that particular trick might make the reader substitute it for this version.
Requirement8 : One red backed pack of cards. One blue backed pack of cards. Five double faced cards,the same pattern must be on each side. A tray. A stand to hold the cards. This may be made from any material but undoubtedly perspex or lucite are preferable. The illustration here gives an idea of how the stand should be made.
Preparation. Supposing the five double facers are as follows :-twoof clubs, fiveof hearts, eight of spades, Jack of diamonds and ace of clubs. Remove their mates from the blue backed pack and then get hold of some roughing fluid. Place thedouble facers on the table and completely roughen one side, When dry turn the cards over and half roughen the other side. Each of the five cardsfromthe blue backed pack is now roughened over half the face. When dry the half roughened side of the double facer is placed on its half roughened mate so that the two portions of roughing correspond and the two cards may be handled as one. These five pairs of cards are now replaced in the blue backed pack and their names memorised by the lady. The faces of all the cards in the red backed pack are treated with roughing fluid. Both packs of cardsare replaced in their cases and with thetrayandstand at hand you are ready for the presentation. Presentation. Thespectatorwho helped in the previous test and the lady take the seats they occupied at the beginning of the act. Picking up both packs of cards,the blue backed cardsare removed from their case andhanded to the lady. The case is placed aside andthenthe red backed cardsare withdrawn, the case again being dispensed with. Placing the stand in an upright position onthe tablethe performer commences to describe the scope of the test to be carried out, namely one of controlled coincidence. The faces of the red backed pack are casually shown to be different and then the pack is spread upon the tray which in turn is placed upon the table. “ Please hand me the first card,” says the conjurer to the lady, and she removes one of the pairs fromthefan by the
roughened end. The conjurer takes it at the other end with his left hand, then passing it to the right and places itinthe first compartment of the stand. The tray is now taken and the first member of the committee is asked to touch the back of one card. This card is slid from the spreadand without theface being seen is placed back outwards against the card taken from the blue pack. This process is now continued with the remaining four sets of cards. The tray is ,placed aside and the blue backed cards are taken from the lady. Picking up the first set of cardsfromthe stand, the performer says that the chance of the spectatortouchingthe mgt,e ,of thecard chosen
One must congratulate Virgil for obtaining such a fine write-up in theLondon“Times.” Sorcar too seems to be getting tasty write-ups in the local weeklies. We knew that this self styled “ Greatest of theGreats ” would have to play London at some time and as we go to press we hear that he is taking one of London’s theatres, theDuke of York’s for ashort season. If you have not yet seen Richiardi junior please repair that omission should he come your way for here is one of the truly great magical showmen carrying on a family tradition. Kalanag is still breaking records on the continent and as these words appear in print he will possibly be on his way to South Africa for yet anothertourinthat country. ArnoldFurst, who was in London for a couple of days told us of the long review he wrote for the Genii respecting thistruly greatest ofallmodern illusionists. Arnoldwho is like a whirlwind decided that in those few hours at his disposal he was going to see Virgil at Cardiff, Richiardi at Portsmouth and Channing Pollock at the London Hippodrome. Just to hand is a new book from the Armstrong Press, “ Sealed Vision,” by our good friend Will Dexter. It was a long while ago when we saw the manuscript and wrote a forward and it is good to see it in solid book form. For those interested in various methodsof blindfolds that allow limited or unlimited vision, at the price of 17/6 this is a must and we’ll go into greater detail next month regarding the individual contents.
by the lady is fifty-two to one. It could happen by chance that he might match the card, but the lady made certain, she controlled what is known as “ coincidence ” and made the spectator touch the mate of the first card. Here the conjurer separates the- cards, turning round what appears to be the card from thered backed pack, but which, because of the roughing, is actually any card from the red backed pack with one of the roughened sides of thedouble facer clinging to it.The two cards, one red backed and one blue backed are shown to match. The cards are then dropped on. to the table, As each set of cards is taken, the performer builds up the odds against mere chance, To be continued.
One of the most pleasant afternoons and evenings that we have spent recently was in the company of Tonny van Dommelen, whose manipulations with coins or poker chips are a delight to watch. A thing that invariably occurs to us on such an occasion is themanner in which thes.e lovely peopIe the Dutch have become the foremost exponents of continental magic and whilst all praice goes to the individual, a great tribute must be paid to Henk Vermeyden who with his great flair for the true theatre has tended and nurtured these magicians and helped them to win their success. All this reminds us that Fred Kaps will be in America this month. He will appear for the Foreign Press Club and after appearing in the Ed Sullivan TV show will go on to Chicago before returning home to Holland. Henk Vermeyden will travel with him. From our favourite comic magical magazine we read of the recent death of Hofzinser at the age of 75. Next month we shall expect a report on the sudden closing of Maskelynes Theatre. The film, “ Melies the Magician,” first televised on January 3 1st and repeated on Tuesday, April 3rd was most interesting showing as it did some of the early Melies films and also a reconwhich struction of theRobert-HoudinTheatre was acquired by Melies in 1888. It seemed a pity that inone magic sequence circa 1896, thatthe Lloyd production of candles at the fingertips was introduced.
48
I
I ~
A NEW CLOTH
SEALED VISION
BOUND BOOK
BY WILL DEXTER LIVEMAGICIANS on thelook-out for first-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by Will Dexter, for ,jt is a standardwork on allthat is bestin Blindfold effects srd*d&thods.
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, as well as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolcis, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck. Yet in every case the performer has clear straight-ahead vision, whilrt there is nothingmessy (such as dough) or unsure in the methods. The second section describes eight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that canallied be to the use of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensationai publicity stunts that theseblindfoldmethodscanbe used for.Thereisthe BlindfoldDrive, Blindfold Clrcle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LET OTHERS BEAT YOU TOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6 : postage 6d. ($2.50) From the Publishers
TIIE M A G I CW A N DP U B L I S H I N G
COMPANY
6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X
I
cc MAGIC
WAND” PUBLICATIONS ... 719
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Armstrong George Hypnotism Chandu’s Psychoanalysis (Mental
Armstrong GeSfgeRoutine) George Armstrong’s (‘Premonition (Mental Routine) Georgs Armstrong Extra Sensory Perfection Ron Routine) (Mental Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining - with Contact Mindreading S. EdGard Dexter Entertaining with Hypnotism S. Edward Dexter Identity Parade (Humorous mental routine)
I
The MagicCircle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
1
Clubroorn and
Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. NaricaI Theatre :
King George’s Hall, W.C. April 18-Concert King George’s Hall ?articulrrs from Hon. Secretary :
Peter Newcomba 38 Overdale Avenue N e w Malden, Surrey
I
Automentalism (Complete act, with apparatus)
Ken deCourcy
... 211-
Dubbelkross & Simulkross (Coin Routines)
... 1013 ... 1013 ... 1013
Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound)
Ken deCourcy Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic)
... 1219 ... 1013 ... 1719 ...
... ...
Douglas Francis Mother Goose Mystery (Mental Effect)
Martin Gardner Twenty-Six living & Dead Tests TerelGarrett The Concert Ventriloquist and Children’s Eneertainer Maurice Hurling Stewart James Jamesosophy (Card routines) Etc., Etc.
719 1013 719 I
PETER
WARLOCK’S
PENTAGRAM
I
post free.
BY:
... 25/6
... l0/3 ... 7/9 ... 7/9 ... 5/3 ... l0/3 ...
513
THE DE LUXB “SU-TABLB” together with all his other effects in return for a stamp.
hanuscripts for publication and books for review should be ment to the: EDITORIAL ADDRESS:
Peter Warlock, Wordsworth Rd., Wdlington,
5/3
... 12/9
JACK HUGHES
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
24,
...
will be pleased to send you full details of
is published on the 24th of each monthand can be obtained direct from the publishers for 117 per single copy. AnnualSUbrcriptiOn 18 /-
PUBLISHED
... 20/3
_SUWCV. ___ Every Advertiscr’d goodsare fully endorsid
Writenow
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
~
PVBUIHPD BY TYX PIOPRIRORS
m1 M A a c
WAND I
U
B
~
COMPANY, Q e2 WILLMOTON
by this Bulletin ROAD,LNPIILD.
MIDBLB~IX
A
T H E LADY AND T H E T R A M P A N ACT FOR TWO PERSONS
PETER WARLOCK (Continued from previous issue)
ITH THE conclusionofthethird test, The Quintuplets,’ the cards are gathered up and placed inthewastepaper basket. The audience is then prepared for the fourth test which we call CAUGHT THOUGHTS a visiting card Each spectatorishanded bearing a number corresponding with the number of the chair on which he or she is seated. To the Psychic Lady is given a piece of wood to act as a writing surface. Attached to this board by means of a length of string is a pencil. The performer explains that the Lady will endeavour to send a specific thought to each of the three assistants. Whether they will be successful in accurately receiving thoughts only time can tell. Thecard bearing the number ‘ 1’ isnow takenfromthe assistant occupying the relative chair and handed to the Lady who takes the pencil and writes something upon the card. When the writing is completed the presenter takes the card from her and turns tothe spectator No. 1. “On this card the Lady has written a three figure number. I am telling you this so that your mind can channelitself. Both of us will concentrate on this number when I give the signal word, ‘Ready!’. The number which then flashes into your mind I want you to state aloud . . . . 0. K.!” The assistant signifying that he understands, then awaitsthe signal word. During the short pause, the card held by the presentor is dropped into a glass bowl which rests on the table. With the signal word given, theassistant answers with a number which forthe sake of description we’ll imagine is 379.
W‘
VOLUME 10,
NO. 7
-
The assistant is now handed a piece of chalk and is asked to write this number near the top of the blackboard. When he has done this and the piece of chalk is taken back, he is thanked for his assistance and guided towardsthe rundown or steps. From there he thentakes his place once more inthe audience. The card is now taken from thesecond assistant and handed to the Lady. Again takingthe pencil she writes something. The cardis now taken back by the presenter whoafter looking at it tells the second assistant that on it is the name of a city. rhis card too isdroppedintothe bowl and once more a similar procedure is gone through,the second assistant naming the city that comes into his or her mind when the signal word isgiven. We’ll suppose thatit is “San Francisco.” The piece of chalk is handed to him and he writes underneath the first assistant’s number the words, ‘‘San Francisco.” The chalk is taken back fromhim and his helper is also returned to the audience. The final phase of the test is to come. The third assistantis relieved ofhiscard which is given to theLadywhooncemore writes. It is takenfromher by the presenter, who, after glancing at it, drops it into the bowl. “ This test,” says the presenter “ is the hardest of all. Up till now theLadyhas projected two thoughts with thehope that the helpers who were here might be successful in receiving them. Thistimeshe hopes to control more thanthe mind. This pack of cards (At this pointa pack of cards is taken and the faces fanned to the audience) is arranged in an order known to the Lady. I am going to spread them face downwards on this tray
l/6. (20 Cents)
APRIL 1956
50
and hold it in front of you. Place your hand aboutthree inches abovethecardsatone end ofthe row. When I say “ Ready ” move your hand along the row still keeping your hand above the cards. Don’ttry to anticipate, but when youappearto receive some impulse allow the first finger of your hand to touch the card immediately beneath it. Is that fully understood? ” With an affirmative reply, the presenter, gives the signal word, and the assistant moves his hand acrossthecards. Suddenly his finger falls upon one,and thiscard, still face down, is pushed of the pack out of thzspread.Theremainder is gathered up and placed aside. Leaving the tray momentarily with the assistant the presenter now writesonthe blackboard immediately under the name of the city a large question mark. “ Just slip the card in your pocket for the moment, sir” says the presenter to theassistant,and with this the tatter is relieved of the tray which is then placed laside. Followingthisthe writing board is taken from the Lady and replaced on the table. “ I want you now sir, to go to the bowl and take fromit the cardmarked No. 1.” The assistant moves across to the bowl and takesthecard numbered l . “ The Lady ” says the presenter “ wrote something upon the card for the assistant seated in Chair No. 1. He was to make an attempt to receive this number when ittook theform of athought.Thenumberhe gave was 379 ! Please read out whattheLadywrote upon the card ? ”
The assistant reads out. “ 7 h e thought I want “ The Lady,” remarks the presenter “ was successful with the first assistant,” andthen moving tothe blackboardhescores through the number 379 with the piece of chalk
bowl and reads aloud, “ I shall w ~ l lyou to touch the buck o f the three of spades.” Turning to the blackboard the presenter scores through the words, ‘ Three of spades.’ Climax. I have purposely given a deal of space in the description of this test in orderthatthemain pointing is present when it comes tothatpart dealing with presentation. The handling and action throughout is most natural and the final climax is a good applause winner.
The requirementsFour large visiting cards. A glass bowl large enough to hold three visiting cards sideby side.
A piece of chalk (This is already to hand).
A rough and smooth forcing pack, the force card of which we’ll suppose is the ‘ T.hree of spades.’ A writing board with pencil attached.This board is subjected to certainpreparation which we’ll describe underPretmration.
Obtain a piece of fibre board measuring seven inches by nine. You’il also want a piece of wood veneer, the kind which is mounted on paper so that it can be used for lining walls etc. A piece of this is cutto the same size asthe fibre board. Half way downits length acut is made with a sharp knife. (See Figure 1). The veneer is now glued on to thesmooth side of the fibre board a space being left as shown in Figure 2.
you to rccritle is 379 !”
“ Now, sir, takethe card numbered 2. In thiscasetheLady projected inthoughtform the name of a city. The recipient translated this “ San Francisco.” Please read out thoughtas what is written on the second card ? ” The assistant reads aloud. “ ‘My thought for you is San Fruncisco.” Againthepresenter scores throughthewords, ‘San Francisco.’
‘‘ Your test,” says the presenter to the third assistant, “ was the most difficult and your card lies in the bowl. The Lady tried to will movement in your case. Will you please remove from your pocket the card you touched and for the first time allow us all to see it? ” The assistant removes thecardfrom his pocketand we’ll suppose that it is thethree of spades. With the chalk the presenter now writes on the blackboard. “The three of spades.”
‘‘ Finally, sir, remove the card marked No. 3 romthe bowl and read what theLady wrote fupon it? ” The assistant takes the card from the
Here in effect you have apocket, a pocket whose edge is almost invisible if the job of glueing has been efficiently carriedout.Atthe end of the .board, oppositeto the pocket, a small hole is drilled. This is to take one end of a piece of string the other going to the blunt end of a pencil. Onthe blank sides of two of the visiting cardsatone end,thereader using Indianink, prints in reasonablylarge letters, “ CARD No. 3,” Takingtheothertwocards he numbers these respectively CARD No. 1 and CARD No. 2.
51
On thesame side asthenumber on one of the No. 3 cards, the message, “ I shall will you to touch the Thrtte of spades ’’ is written in pencil. This card, writing side uppermost, is tucked into the pocket of the writing board so tkat just writing over half an inch of it protrudes.The board is placed pocket side uppermoston the table the rough and smooth pack in its case being placed ontop of it so thatthe projecting part of the card is hidden. The three remaking visiting cards are placed on top of the card case whilst the bowl lies close to it on the table. Present:I tion
The numbered cards are taken and handed to the assistants. Those seated in the audience near t o thepresenter will also be able to see that there are numbers on the cards. When the cards have been distributed,the presenter turns back to the table, his left hand taking the board and the pack on it with his left hand. His right hand comes across and takes the card case, placing it on the table, and at the same time his left thumb comes across over the projecting piece of card hiding it. Theboard is then tilted pocket side away from the audience and handed to the Lady. The card numbered ‘ one ’ is taken from the first assistant and handed to the Lady who rests it upon the board. She pretends to write and when thepresenter moves across to her t o takebackthecard she simply removes the Number three card from the pocket and hands it to him. He takes it, numbered and written side away from the audience, and drops it numbered side uppermost into the bowl. The distance and position of the table from the assistants on the stage makes it impossible for any one of them to see the number on the card. Now the build-up takes place, the first assistant namingathree figure number.Additional effect can be obtained by the presenter, after the assistanthasannouncedathree figure number, saying, ‘‘ I am afraid that you’ve got one figure wrong, will youtry once more? ” Thenumber given is thenrecordedon the blackboardand helper dismissed. As he writes, the presenter stands between him andthe bowl so that once again
there is no chance of thenumber on the card being glimpsed. If, however, the reader likes to play safe, thecardcan always be dropped number side down. The second card is taken and the Lady starts writing. This time she actualls writes not upon the second card but upon the number one card which she retained. She gives the number statedby assistantnumber one. Thiscard is thentaken the bowl. by the presenter 2nd droppedinto Incidentally the bowl should be large enough to accommodate the cards side by side. The second assistant nowreceives (?) his thoughtandafter he has recorded it upon the blackboard. he takes his seat. Thethirdcard is thentakenand handed totheLady. She simply slips it into the pocket, pushing it right down 5 0 that it is completely hidden and then writes on the second card the “ City ” thought. This is taken by the presenter and dropped into the bowl. Thenature of the final test is explained, thecard case being takenandthe forcing pack removed. The faces of thecardsarecasually shown and then the tray is picked up and the pack ribbon-spreadacrossits surface. Theassistant touches the back of one card and this he places in his pocket, the remaining cards being picked up and replaced in the case which is then dropped onto the table. Inthe pick up of the cards it as is best todo this in suchamannerthat many faces as possible can be glimpsed. The rest is purely presentation, the climaxes being arrived at as previously described.
THE RIDDLE OF THE NUMBER This,thefinalphase of theroutine, is a prediction of a chosen telephone number. The means for accomplishing it are extremely simple. At themomentatesthas been concluded which has left thethirdassistant still upon the stage. Thank him andask him to be re-seated. Explain to the audience that the Lady has shown themfour phases of mentalphenomena.Now comes a most important test, a test of prophecy. As the presenter speaks he picks up a slate and piece of chalk and hands them to the Lady who quickly writes something onthe slate. Glancing atit thepresenter places it writing side down upon the table. Four London telephone directories are then introduced andone is chosen by theassistant, the three unwanted ones then being placed aside. The assistant is furtheraskedtoopenthe directory chosen wherever he likes and finally two telephonenumbers are chosen which are written upontheblackboard by the presenter. Atthis pointthe assistant is asked one final favour, namely to go down into theaudience and approach any member of ithe wishes. This person is to decide which of thetwo chosen numbersshall
52
betheone to be used. Whateverthe choice the slate is picked upto show thatthe Lady has been asaccurateinprophecyas she has in all the remaining phenomena. Requirements
One slate with loose fitting flap. Four London Telephonedirectories (Never carry these unless you canhelp it forthey are very weighty.Most places you will visit in the London area will have them. For those outside the London areahowever I think it better to bear the weight and that these massive tomesshould beused ratherthanthe spindly efforts which are so often to be found in smaller cities.
A special little gimmick which we’ll describe underPreparation
Do you remember an effect that aroused quite a lot of popularity before the War. I think it was called ‘ Wordo.’ It consisted of a little mask carryinga hole. The idea was that this mask, after being placed on a page, was moved about until the spectator told the conjurer to stop. The word showing throughthe hole was one predicted by theconjurer.The ruse was simple, merely that a small piece of printed paper was glued behind the hole in the mask. Inthe second volume of “ Mainly Mental ” C . L. Boarde gives some space to this subterfuge andit is one of his versions that is used here. Take a visiting card and cut from the centre a rectangular piece of such size that in length it measures thelength of the telephone exchange and ntlmber and in depththree numbers. Now take a small piece of cardboard and with a piece of sellotape hinge it at the position shown in Figure 4.
On to the underside of this flap paste a piece cut from a telephone directory so that when the flap is down two numbers can be seen clearly as shown in Figure 5 whilst the top and bottom of the adjacent numbers can also be visible. Nowonthe slate proper write the lower number, and to make it easy for the Lady place the flap on top and write on it in large pencilled figures theuppernumber.The slate, flap side uppermost, is placed on topof the fourdirectories and providing that there is room these should be placed at the right hand side of the table. If not, a n extra chair should be brought into play and used as a resting place for these articles.
The little card is placed inthe presenter’s pocket. The piece of chalk should be theretoo. If wearing tails use the waistcoat pocket, if dinner suit, inthe right handcoat pocket.
Presentution.
The presenter outlines the test that is to take place which is to prove the illimitable powers of the Lady. He takes the slate and chalk and hands it to her. Slanting the slate towards her she writes over the pencilled letters and figures the first telephone number. She retains the chalk whilst the presenter, who takes back the slate, glances at it for effect, and then places it on the table flap side down. Just a word here. So that there can be an easy pick up of both slate and flap if need arises, and after all it is an even chance, the bed of the slate shouldoverlapthe edge of the table very slightly. One other point. If the flap has to be left behind, and let me mention it at this point that there is nobody other than the presenter and the lady on the stage at that time, it is impossible for it to be noticed unless the audience is positioned in such a way that they can look down on to the table. If such is the case rather than any attemps at trying to match the table I suggest that the side of the flap that is likely to be exposed should be covered with white paper and that at thepoint where the slate is placed down a few sheets of
53 similar sized paper should be placed haphazardly. This method of concealment by exposing can be -more effective than most attempts at matching.
thing I have to ask you and that is to return to the audience andapproach any member of it. Will you do that please? ”
The telephone directories are taken and handed to the assistant with the request that he choosesany one. When he hasdone this, the three unwanted ones are taken and replaced either upon the chair or table.
The assistant steps down and walks up to a member of the audience. To this person the presenter says, “ On the blackboard we have two numbers, yours shall be the final choice!Which one shall be the ultimate and which one shall I erase and forget? ” Thespectator indicates and taking a handkerchief, the unwanted number is rubbed out. “ One number remains . . . FLAXMAN 2740. Taking the slate and either keeping or losing the flap, he holds it in front of him, with the writing sideexposed. “ Orie number from hundreds of thousands; don’t you think it a little more than strange that the Lady has proved her powers of prophecy ! ” The slate is then turned round and the number is revealed.
The assistant is then asked to open the directory wherever he wishes. Whilst he is doing this,the presenter has removed thefakedcard and the piece of chalk from his pocket. “ You’ll want this piece of chalk in a minute,” he says to the spectator. “But now in front of you, you have a book containing many thousands of names and numbers. This little piece of cardboard wlll help as a guide in your choosing one or two of those numbers. You’ll notice (and at this pointthe presenter takes the directory and places the card upon it, thehinged part being folded back allowing the assistant to see that up to three numbers just fill the small window) that three numbers just fill this little window. Just choose a column, sir?” As this issaid the hand holding the faked card movesaway from the page and the little flap is allowed to drop. At the same time the fingers of the hand cover the window. The assistant indicates a column and the presenter places theca r d at the top so thatthe window is in line with the numbers. “As I move the card down, I want you to stop me whenever you wish.” The assistant says, “ stop ! ” and with the card held in position the fingers moveaway from the window. “ How many numbers can you see?” the assistant is asked, and he answers “ two.” “ Will you tell us what they are? ” The assistant says aloudthetwo numbers he can see. “Will you write them on the blackboard please.” The assistant moves across to the blackboard, the presenter still holding the book. The numbers are written uponthe blackboard. When this is completed, the presenter slips thecardinto his pocket and closes the directory placing it aside. The reason for keeping thebookopen is that should the assistant fail to keep both the numbers in his mind the presenter can look at the book and remind him. The task of the presenter is to dissociate the means of selection fromthe ultimate effect. He thanks the assistant and then says : “ Sir you have chosen one telephone directory from a number. That directory was opened at any page by you and then in the fairest possible mannertwo numbers were chosen. These YOU have written upon the blackboard. One final
That concludes the routine and if well presented should bring far more kudos to the Lady than she deserves for each and every test is really a one man effect, the handling giving credit to the female partner who can learn all she wants to know in less than half an hour. At the beginning I mentioned that the routine could be lengthened by adding other standard or published effects. Such lengthening would only arise where the performer wasgiving a fairly lengthy show and in which this phase would help to fill up the time. The effects most suitable are:“ The Giant Memory test ” (This of course does involve some work onthe lady’s part, but well and speedily presented it is something that always makes a talking point with an audience. “ The Prophetress ” (Patterns for Psychics) This is a prediction effect that could be substituted for the telephone test described. Actually the effect could be the same, the conditions even more stringent. As described, the need for a screen to place around the medium is essential. “ Mental Epic ” or “ Taped Slate ” could be used asan alternative means for presenting “ Caught Thoughts.”
With a special type of audience a psychometry test based on the well known item of Annemann’s would be effective and again for such an audience “ Seven Keys to Baldpate ” has points to recommend it. Any of the items from “ En Rapport ” could also find a place though in these the part of the medium means a litlle more learning and concentration.
54
MY CHOICE PETER WARLOCK AY BACK on page 37 of Volume 7 of the Pentagram, my good friend Jack Avis contributed a very nice coin item which he titled, “ Your Choice.’’ Since that time, liking theplot very much, I have played around with anumber of versions. In each and every one, simplification of workingand elimination of unnecessary moves has been the aim, and in the method to be described, there is, strangely enough, no sleight of hand at all. In fact it almost becomes a self working coin trick. The Eflcct This remains the same as that described by Jack,but if you haven’t the necessary copy of the Pentagram handy, we’ll give it briefly. A two shilling piece anda penny are borrowed, each being marked by the lender. They are pIaced togetherunder cover of a handkerchief which with its contents is held at the fingertips. One of the spectators is now asked to state whether he prefers copper or silver. According to his answer one of the coins is removed fromunderthe fold and held in the hand. We’ll suppose that it is the penny. The handkerchief containing the florin is now droppedinto a glass. With amuttered, “ Hocus Pocus,” the penny changes into the florin which is returned to the lender, whilst the person who loaned the penny is asked to take the handkerchief and retrieve his property. Requisites Oneflorin. A cambrichandkerchief. A stemmed goblet. Preparation The florin is on thetable and just above and concealing it lies one corner of the handkerchief. The goblet is placed near the front edge of the table. Presentation The left hand takes the handkerchief andcoin as one from thetable,the coin is settled into a finger palm position whilst the right hand comes across and takes the handkerchief. This is done in acasual idle fashion,andtheperformer goes on to ask for the loan of the two coins stressing upon the would-be lenders the need for marking them in such a way that they will easily recognise them later. With the coins forthcoming, the handkerchief is replaced onthe table. The left hand takesthe penny at the fingertips whilst the right takes the florin. Each coin is balanced upon the second finger of each hand asin Figure l . The performer demonstrates to his audience a littleknownfact, namely, that by allowing the edges of the coins to lightly touch each other a clearringing sound is produced. The real purpose
W
of this by-play however is to lettheaudience see that only two coins are in play, for whilst this. is being done the finger palmed florin is perfectly concealed. Having demonstrated this curiosity, the thumb slides the penny back onto the fingers. so that it covers the palmed florin. The florin in the right hand is now tossed on top of the penny and the left hand drops slightly so that the two coins can be seen. (Figure l ) The left hand comes acrossand with the thumb undermost and the first and second fingers. on top thethree coins are lifted from the left hand, and as they are brought up to shoulder height the florin belonging to the spectator is pushed towards the left whilst the performer’s florin lies hidden behind the penny as in Figure 2.
The left hand now takes the handkerchief and the right hand places the coins within its folds. Actually, immediately cover is afforded by the handkerchief, the hidden florin is pushed forward so that the coins are in the position shown in Figure 3. The left hand grips them all throughthe handkerchief in this position and the right hand comes fromunderneath genuinely empty.The choice of acoin is asked for,and according to what is namedtheperformer either leaves or takes it away for actually he must reach under the handkerchief and apparently withdraw the florin. Actually when his right hand goes under and into the folds he takes his own florin and the penny, the latter being hidden whilst the former is shown. The actual position is shown in Figure 3. / --
55
The left hand now dropsthe handkerchief .and coin within it into the glass goblet, allowing the coin to strike the glass through the nandkerchief just before it goes in. The left hand comes across to take the florin -from the right and this manner of take is important. At theactual moment thatthe left hand reaches the right the latter is almost palm uppermost, whilst the left hand fingers ‘point down as in Figure 4. The left hand thumband second finger grip the edges of the exposed florin,bnt simultaneously the right second finger slides the penny forward
so that it lies immediately under the half crown. The left hand, moving a little to the left, maintains the position of holding the coin at the finger tips, whilst the right hand moves away and picks up the goblet by the stem. With amuttered incantation, the left hand is raised and held so that the penny is seenheld by the thumb and finger, the florin being perfectly concealed. Momen?arily placing down the goblet, the penny is taken by the right hand whilst the florin drops back into a finger palm position. All that now remains is for the lender of the florin to remove the handkerchief fromthe goblet and find inside it his original piece of money.
JOKER TRANSFORMATIONSEXTRAORDINARY H E R B RUNGE N PENTAGRAM, page 35 of Feb. 1955 issue, is a fine trick by Harry S. Burnside and Charles W. Cameron. I liked the plot but when I practiced it by myself I found that it wasn’t very convincing for me to bring the kings on the top of the pack andstrip them out with thecards that the spectator had pointed out, and that were half way out of pack. So here’s what happened. The top nine cards are, four kings face down, indifferent card face downandthenfour aces face up followed by the rest of the pack face down. Force one of the kings-put it on the table face down nearone edge. Fan the pack face up so thespectatorcantouch any card. Let us say the card touched is the ten of hearts.Take it out and lay it on the table in front of you. Holdthe pack up so they cannot see what you aredoing now, then remove still another ten spot and place it face down on top of the one already on the table. Find still another ten. Lay this face down on top of thetwoalready there. Nowfanthroughthe pack and find the joker. Place this on top of thethree tens-all cards face down. Now hold the pack face downinthe left hand, pick up the four face down cards (the three tens andthejoker)and place them on top of the pack, face up. Before you do this however, you get a little finger break with the left little finger under the top three cards of the pack. These are the three kings. With the four cards now face up on top of pack you are going to show them one at a time to the audience. This you do as illustrated and described in Tarbell Course, Vol. 5, on page 117, and is the trick called “ Ed Marlo’s Simplex Aces.” Show them then, a ten, another ten, then another ten, and then the joker. Then remove the joker and place it on table face up.
I
Place the three tens into the pack, reversed them according to the original text. Tell them that the three reversed cards match the selected card. (Face down near edge of table). The card is now turned over and it is a king ! Put the joker on top of the pack, face up. Ribbonspreadthecards face down, revealing the three face up kings. Take them out and give them to the spectator. Tell them that the joker helps out a lot but you will put him away forthe timebeing. Get a little finger breakunderthe topfour cards. (The threetensandthejoker).Takethejoker plus the top three tens and hold them as one card, the joker facing out towards spectators, and place it into the right trouser pocket. Have the four kings mixed by the spectator. Then continue as in the original text, getting the required cards on top of the four kings. Cut of the bottom half of the pack, ribbon spread it and insert thefour kings (they think) into this half, as explained in text, face down. Square up this half and turn the cards face down. Get thejokerfromyourpocket and leave the other three cards (the tens) behind. Place the joker on top of this half face up, ribbon spread this half on the table, and show the kings are now all’aces. In the meantime, cut the other half in your hands ; this brings the kings to the centre, face up. Turn this packet face down, put the joker on top face up. Ribbon spread the packet thus showing kings in centre and also face up. Tell them this all happened due to the influence of thejokers. When they ask about the tens--bring them out of thetrouserpocket and show. Our patter goes to the effect that the joker is a wonderful card and helps us to get out of many difficult situations.
56
A NEW CLOTH BOUND BOOK
SEALED VISION
BY WILL DEXTER LIVEMAGICIANSonthelook-out for first-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter,for it is a standardworkon all that is bestin Blindfold effects an3 hethods.
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine t o fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described n o less than fifteen fake blindfolk from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck. Yet in every case the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough)or unsure in the methods. The second section describeseight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can dbe i e d t o t huse e of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.ThereistheBlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery,etc., and in addition a fullstage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’TLETOTHERSBEAT YOU TOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6:postage 6d. ($2.50) From the Publishers
T H EM A G I C
WANI) P U B L I S H I N G C O M P A N Y
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X cc MAGIC
WANIb” PUBCICATWNS
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental Armstrong Routine) George George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection (Mental Routine) Ron Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. EdwardDexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
... 7/9
... 21/... ...
10/3
... ... ...
10/3 12/9 10/3
...
7/9 10/3
1013
... 17/9 ...
... 7 / 9 I
The Magic Circle President: Herbert J. Collings, Esq. Vic6-President : Francis White, Esq. Clubroom and Library
and Museum :
Hearts of O a k Buildings, Euston Road, London, N . W . l . Magical Theatre :
King George’s Hall, W.C. June 9-Concert King George’s Hall ?utlculan from Hon. Secretary :
Peter Newcombo 38 Overdale Avenue N e w Malden, Surrey
PETER
Automentalism (Complete act, with apparatus) Ken de Courcy Dubbelkross & Simulkross (Coin Routines) Ken deCourcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramray’s Cups and Balls (cloth bound) VictorFarelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic) DouglasFrancis Mother Goose Mystery (Mental Effect) MartinGardner Twenty-Six living & Dead Tests TerelGarrett The Concert Ventriloquist and Children’s Entertainer Maurice Hurling Jamesorophy (Card routines) Stewart James Etc.. Etc.
... 20/3 ...
5/3
...
10/3 5/3
... 12/9 ... 2516 ... l0/3 ... 7 / 9 ... 7/9 ... 513 ...
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased townd full details of
you
is published on the 24th of arch month and can be obtained direct from the publisherr for 117 per h g l e copy. Annual Subscription 18 I post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
together with a11 his other effects in return for a stamp.
hanuscriptr for publication and books for review should be rent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordrworth Rd., Wallington, Surrey.
A N D ?1INFIID BY HBRBPRT W A L K P R & SON (FRINlXRd
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
LTD., BRIDGE WORKS, S I K L E Y ,Y O R K S H I R E
N.W.9.
A BOW TO U. F. GRANT PETER WARLOCK HOSE conjurers inthis country who had the privilege of seeing Gen. Grant’s film that was brought over by my friend Mystic Craig, sawsomedelightfulpiecesofdeceptivemagic. One that took my fancywas a trickwith a miniature nest of boxes and a coin. One point in the handling did not appeal to me, and playing about with the boxes the followingshowylittle routine was evolved. The conjurer requests a spectator to lend him a shilling. The date is to be noted and a mark of aome sort madeupon the coin so that future identification is madeeasy. The same spectator is then handed a smallpiece of tissue with the further request that he wraps the coin into a little parcel. Taking the wrappedcoinwithhisright hand finger tips, the conjurer, with his lefthand, takes from a hat a smallcircular box. The coin in its wrapping is placed inside and a lid is placed on top. The box isplaceddownmomentarily whilsttheperformerpicks up a handkerchief. The box is then placed beneath the handkerchief and given to the lender of the coin to hold. At this stage it isplain to the audience that the performer has nothing concealed in either of his hands. “ I have another box in the hat,” he says “ and I would like you to hold this in your other hand.” He then reaches insidethe hat and removes a similar box which he hands to the lender. The performer now introduces what he calls a lucky coin. It is a penny.Wrappingthis in a smallpiece of paper heplaces it upon a tray, asking someone with a lighted cigarette to apply theburningend to thepaper.Thereis a flash and it is seen that there neither paper nor penny upon the tray. “ Just give the box you are holdmg to your neighbour for a moment and sec what youhaveinside the boxinwhichyourshilling wasplaced. The spectator removes the hand-
T
VOLUME 10, No. 8
-
kerchief and opening the boxfinds that inside there is the performer’s penny wrapped in paper. He is now instructed to open the other box. He does so and finds inside another box. On this being opened still another box and with a repetition a fourth, which upon being opened reveals a small parcel. With this unwrapped the spectator finds his original shilling ! Requirementr.
Some flashpaper. Two similar looking pennies An opaque handkerchief Two smallnests of boxes, the smallestof whichis capableof holding a shillingwhen wrapped in paper. One hat A metal ashtray Preparation. so that they Cut twopiecesofflashpaper measure two and a half inches square. Another pieceis cut measuring two inches square. Wrap one of the larger pieces around the penny.
Now take the outer box of one of the nests and inside it place the wrapped‘penny.Then replace the lid. This box is then placed underneath one corner of the handkerchiefwhich can be looselybunched on therighthandsideof the table. On the left of the table is placed the hat. The ashtray is placed inthe centre of the table.
I /6, (20 Cents)
-
MAY 1956
The second nestisdealt with in a manner known to allthosewho saw the film. All the boxes are removed one at a time, and then the lids are nested and so are the boxes. This nest of boxes without lids is placed inside the hat. The nest of lids is then placed b;.hind the hat. Finally the lucky penny is placed in a pocket and the pieces of paper remaining, the smaller on top are placed on the ashtray. Presentation.
The spectator is asked for the loan of a coin and whilst this is being brought to light and marked, the performer takes thesmaller piece of flashpaper, handingit to the spectator with thefurther requestthathewrapsit aroundthe coin. The little parcel is taken at the fingertips of the right hand whilst the left goes inside the hatand removes the nest of boxes.Very deliberately the parcel is placed inside, and then, the right hand quiteemptyreachesdowntakes hold of all the lids as one and places them on top of the nest of boxes. Because of the perfect fit, it appears that one lid has been placed on one box. The latter is now placed at tkke front of the table. The righthand now takes the handkerchief and box concealed underthecorner.Thehandkerchief is draped over the left arm as in Figure 1.
The box is retained in a fingerpalm positionin the right hand. Taking the other box from the table with the right hand, the performer apparently places it behind the handkerchief. Actually what he does, immediately his right hand is out of sight is to push the nest of boxes into his left sleeve whilst the right hand travels forward taking the handkerchief in its trail. See Figure 2.
Theaction is most deceptive andthe left hand fingers take hold of the centre of the handkerchief andthe box beneath it. The left arm rises slightly to allow the nest to settle down to the elbow. The performer walks forward and gives the handkerchief and box beneath it to the spectator who loaned the shilling. With the words “ I have another box inthehat,”the left hand reaches inside thehat.Thisaction achieves its objective by allowing the nest of boxes to slide down the left sleeve into the performer’s hand. The hand is now removed from the hat holding the box, which the spectator is asked to hold in his other hand. The performer now takes his own penny from his pocket. Thelarger piece of flashpaper left is alsotakenandthecoin wrapped inside, using the conventional coin fold. The little packet held by the right hand is wrapped against the table top and then the left hand comes acrosstaking what appearsto be the complete package. Actually all that is taken is the covering, the coin sliding into the fingers of the right hand which without any pause reaches down and picks up theashtray. The latter is held so that it covers the coin and as theemptypackage is placed upon the tray, the coin inthe right hand is pressed upwards and allowed to strike the bottom of the tray. To the audience this piece of audible misdirection gives evidence that the coin is still within the wrapping. A spectator with a cigarette is asked to place the lighted tipagainstthepaper.There is a flash nothing being left onthetrayitappearing that both paper and coin have disintegrated. Still holdingthetray in his right hand, the spectator is asked to abandontemporarilyone box whilst he unwraps the handkerchief and sees what is inside the box he has been holding. Of course he finds the performer’s penny, wrapped in paper, and this is taken back on the ashtray and placed on the table, the duplicate coin being left underneath. Finally the nest of boxes is opened and inside theinnermost is foundthe missing shilling piece !
59
THREE DICE-FIFTY
TWO CARDS
ROY WALTON HE conjurer places three dice and a pack of cards upon the table. ‘Whilst my backis turned,’ he says to a spectator ‘ I wish you to pick up one of the dice, roll it and note the number uppermost. Count down the pack until you find the card represented by that number, look at it, replace it and then on top of it place the cards youhave dealt off from thetop of the pack.’ The spectator does all this, and then without turning round, the performer extends his arm behind him and asks that the pack be handed to him behind his back.
T
The spectator isgiven further instructions. He 1s to roll the other two dice, and then to group the three dice together so that if the performer turns round no clueisoffered as to whichdice was thrown first. This is done and the performer turns round placing the pack on the table against the three dice. ‘Which was the diceyouthrew first? ’ is the question to the spectator, and on it being pointed out, the diceis taken by the performer and dropped into his pocket. ‘Just total up the topmost numbers on the twodice remaining, numbers which I think you’llagree cannot have been known to myself.’ The spectator does this and is then asked to count down to the card at that number from the top of the pack. At that number the spectator finds the card he originally chose ! This is a neat pieceof almost self-working card chicanery that Roy has passedalong.All you’ll require is a pack of cards and three dice. Have the pack shuffledandplaced upon the table. Now bring out the three dice from your pocket and place them alongside. Turn round and make the request to the spectator that he rolls one of the dice noting the uppermost number. We’ll suppose that it is ‘three.’ He now counts down to the third card, noting it and by reassemblage
leaving it in the same position. Extending his arm behindhim, the conjurer now takes the pack and whilst giving the further instruction regarding the throw of the remaining two dice, he actually counts off the eleven top cards of the pack into his free hand. In the processthey are reversedin order. These eleven cards are then placed on top of the pack. With the remainingtwodicethrown and all three grouped’ together. the conjurer turns round. All he has to do is to note the total of the uppermost numbers onall three dice. He has a key number which is tugelue. If the total number of spots 07 the dicecome to this total he does nothing further other than place the pack he isholding upon the table. If the total is above twelve a number of cards representing the differenceis transferred from the top to thc bottom of the pack. Should the total be less than twelve a numberof cards representing that difference is transferred from the bottom to the top of the pack, the pack then being placed on the table. The firstthrowndice is then taken and dropped into the pocket.With the total left the card will automatically turn up at that number. Naturally a good thumb count is called for, but in view of the fact that immediately he turns round the performerisaware of the number hewishes to move, and has adequatetime to stall for the count as points out the impossibility of his knowing the original number doesn’tmake this a verydifficult task. If the transfer is from top to bottom, there is really little need to transfer the cards. They can bepalmed off, the same hand taking the first throwndice and then ditching dice and concealed cards in the pocket.
A LETTER FROM FRANCIS HAXTON 5th May, 1956 Dear Peter, I have just been going through the effect ofJack Avis’s in the Current Pentagram entitled PUZZLE FOR WANTONS. With my usual difficulty and misunderstanding the instructions another method of working this effect has occurred to m e and one which for my part I would find better. It also eliminates the method described of reversing the ace.
60
You proceed as in the Pentagram up to the point wherethe left hand runs off the ace and the card under, in other words, the Double Lift. Now instead of turning the pack over and pushing out the topcard with the thumb, you do this. There is a double lift ( I don’t know where I read it) which with theaid ofthe left fingers which are holding the two cards down, you push up the cards with the left thumb and continue to do so thus turning them completely over and face down on the face up packet. Actually they protrude slightly over the side of the packet when the move is completed. Now you start to turnthe packet face down, but when you have the pack at right angles to the table your left thumb starts to push off the top cardand the fingers of the left handto draw t h e under and ace card back on to the face of the pack. When the card has been pushed a suffici‘ent amountoff the pack it is placed on the table, face down. The packst in the left hand is then broughtback to the right hand packetand you continue to look for and place out the remaining aces in the same way, You will see from this that theaction of apparently dealing the aces on the table automaticallyreverses the aces in the pack. I do hopeyou can follow all this, I have only writtenas I have thought, without any attempt at a proper description. All the best, Yours,
FRANC I S HAXTON
AGAIN THE DEADNAME PETER WARLOCK HIS version of the “ Dead Name Test ” which has received quite a deal of attention when I have used in my “SweetSimplicity’’ lecturehas a few points whichwill interest all those who like this brand of divination CUM telepathy. The effect quite briefly is that after a spectator has written down the name of a dead person on a slip of paper which is folded and handed to another spectator for safe keeping, facts are given respecting the dead name and finally the name itself is revealed by the mentalist.
T
Requirements and Preparation.
Three slips of paper measuring approximately three and three quarter inches by two and three
quarter inches. Each slipis taken and folded first in half widthwise and then twice lengthwise. This is a standard fold well described in Annemann’s “ One Man . Mental and Psychic Routine.” When the folding iscomplete run the nail well along the edges. The reason for this is that with the slipwhich is to be handed to the spectator, a well creased paper makes him automatically use the same folds when he is asked to refold.Ifhowever, the folding is sloppy hemay fold it insomeocherwaywhich may well prove embarrassing to say the least. One of the folded billets is now unfolded and thatpart which is the inside iscoveredwith a good -adhesive. It isrefolded and allowed to dry under pressure. Whencompletely dry, the
61 performer has what appears to be another billet, but whichinrealityis a thickpieceof paper easilyhandled and which cannot unfold. This sticking of the paper is by no meansessential but it doesmake for veryeasyhandling at a particular stage of the effect.
The remaining billet folded is placed in the left hand trousers pocket. One other thing isrequired and that is a fairly soft leadpencil,say 2 or 3B with a cap which carries a rubber eraser in the top. This pencilwith the coverover the point isplaced in the outer breastpocket. On the table there should be a pack of cards in its case. With these preparations made you areready for the presentation.
to the spectator. First ofallhe takes back the pencilwithhisrighthand,replacing it in hisbreastpacket. The right hand now takes the spectator’s billet at the fingertips. As he holds it hegestures towards the spectator with this hand saying, “ On this little slip of paper,sir, you have written a name . . . . a nameofsome fairly famous or perhaps infamous person. I am not at the moment greatly interested inthat name, but rather I wish you to think of when he lived and what he did. I intend to try and receive those thoughts. For themomentthisgentlemanover here I wish to act as a referee.Wouldyou hold this slip for the moment.” At this point the mentalist switchesthe billets so that a member of hisaudience on hisleftisgiven to hold the blank billet whilst the paper written upon by the spectator is held in a fingerpalm position in the right hand. Any method of switching,providing that it isdeceptive,willsuffice. The switch I use myself isdescribedin “Patterns for Psychics.” It is a hand to handswitch and well handled is completely deceptive. Ifhowever the performerintendsusing a singlehandswitch, naturally, unlessheisleft handed, the extra billetwillhave to be on the right side and stolen from that position. The left hand now takes the glass by the stem, and as the performerremarks, “On this other slip of paper, I intend to note the thoughts I receive from you,” the right hand comes up and iscuppedwhilst the solidbillet in the glassis tipped out on to the palm of the right hand as shown in Figure 2.
Presentation. The performer tells his audience that he would like to show them an experimentintelepathy. For this he will make use of two slips of paper. At this point hegestures towards the glassand taking the topmost billetremoves it withhis left hand. It isunfolded and thensaying that he wishes a spectator to write upon it the name of somepersonwhoisdead, but whoseworkis still alive such as an artist, musician, poet, writer etc., he hands it to a member of the audience who is seated in the front. Without pausehe takes with his right hand the pencil, removes the cap, places it on the non-writing end of the pencil and hands it to the spectator. The timing of this action must be such that the spectator has no chance to use his own pencil or pen. Whilst the spectator is writing, the performer turns away, and without turning round asks whether the spectator has done as he wasrequested. When the answer is in the affirmative the spectator isasked to refold the paper. Ashe has turned away, the performer’sleft hand has gone to his trousers pocket and obtained possession ofand fingerpalmed the third billet. This hand with the billetisnowwithdrawn as the performergoes
The thumb pressesdown on the solidbillet andslides the spectator’s forward. Again the move is most natural and there is not the slightest reason for anyone to think that a switch is being made. l he left hand replaces the glass upon the table and coming up to the right hand aids the latter in unfolding what to the audience is another piece of paper but which in reality is the spectator’s paper. Thelefthandleaves the unfolded paper held by the righthand, and taking the cards in the card case from the table brings it up to act as a writingdesk.Theright hand places the paper on top of the card case but allows the solid slip to go underneuth where it is held hidden by the fingers of the left hand. The righthand now free goes to the breast pocket and removes the pencil.
You will also require a liqueur or champagne glass. Into this glass before commencing the effectplacefirstofall the prepared billet and crosswise on top of it one of the unprepared billets. (Figure 1)
62 By now the performer has noted the name written uponthepaper and with, we hope, sufficient knowledge of what this person has done helookstowards the spectator who wrote the name. First of all, sir, I want you to think of the period when the dead man lived. To make a case we’ll suppose that he has written “ Dickens.” “ I get the impression, sir, that you are thinking of the nineteenth century ! . . The performer writes at the top of the paper “ 19th century ” . . . “is thatcorrect? . . . Thespectator answers in the affirmative. The performer starts writing again. He puts down the word, “ Writer,” but to thespectator he says . . . “ You have in mind a painter. Am I right?” The spectator will certainly say “ No ” “ Funny ” says the performer, but that was the impression I got. Never mind, sir, I’ll try again.” With this the pencil is’ turnedroundandthe apparently wrong information e r a s e d . What actually happens however is that the word “ Dickens ” written by the spectator is rubbed out leaving only the words, “ 19thCentury ” and “ Writer ” ubon the slip. Now at this point depending upon his skill as a psychologist and the ability to lay the right bait, the performer can either play safe by writing in his own handthe words “ Charles Dickens,” and finishing the effect, or alternatively he can tryand get the name of a work of the dead man. By forcing a quick choice using the formula, “ Now sir, think of something that he wrote,” said very quickly the odds are in favour of “ Pickwick Papers”or “ Christmas Carol ” coming up in a case ilke this. A judicious
piece of fishing before writing it down will help the performer. If successful howeverhe has turned quite a good effect into something that will never be forgotten by the spectator. Whether or no, the name of the dead person is written down, the pencil is returned tothe breast pocket, whilst the left hand replaces the card case on the table with the solid billet underneath it. The paper held by the performer is folded once and handed back to thespectator who wrote the original name. “ Don’t look at it forthe moment, sir, because forthe firsttime I am going to see and read out from the paper over here (at this point the performer steps up to the person holding the dummy billet andtakes it from him) . . . . the name you wrote down in the first place. Unfolding the dummy bilfet and opening it out,the performer at first sightseem to have it upside down, for he turns it around (this is an effective touch) so that he can apparently read what the spectator wrote. The performer looks up and says . . . . “On this piece of paper you wrote the name Dickens.” . . . . I also asked you to think of one of his works. Wha? was that work, sir? The name of the work is given.Willyoupleaseread out everything that I have written on that slip of paper? Thespectator reads out . . . . “ 19th Century . . . Writer, PickwickPapers, Charles Dickens.” Apure case of telepathy I think, sir,” says the performer.
.
BLUFF CARD STAB RAVELLl AVELLI who is a young Swiss student, showed this very effective version of location by card stabto Jack Aviswho was good enough to pass it along to the Pentagram with Ravelli’s permission. It is an individual handling and although requiring llttle skill needs assurance. Hesitancy will kill the effect ‘and possibly expose the method. Let Ravelli tell the story himself. I have played about with many knife forces and have tried inserting knives all around the pack. Although many of the moves described have their points, to me many of the actions are unnaturaland with the object in mind of attempting an easy and natural location or force the method to be described was evolved. When I have shown ititsappeal has been apparent to magicians and laymen alike.
R
The effect is brief. A spectator takes a card from a pack, looks at it and replaces it in the pack. A second spectator is handed a knife and he is asked to push itintothe pack at any spot he wishes.When the pack is seperated at that very point the chosen card lies above the knife. Requirements.
A pack of cards
A knife. Presentation
The two spectators you intend using you should beplaced right and left respectively. There should be nobody behind you !
63 Show the cards and then approaching the spectators on the left force him to take a known card. The purpose of this force is to obviate a glimpse which would otherwise be necessary. Ask the spectator to look at thecardand rememberit. He is not to show it to the other spectators. The pack is now fanned and you ask him to replace the card. To allow this the cards are seperated near the centre the spectator’s card going on the lower portion whilst the remaining cards go on top. In this processhowever you have inserted the little finger beneath the chosen ( ?) card and this break is maintained as the pack is closed and squared up. The packis kept in the left hand with the fingers naturally held against the right side whilst the thumb lies along the fore-edgekeepingthe pack well squared. Addressing yourself to the spectator on the right at the same time handing him the knife. Tell him he may insert the point of the knife anywhere in the pack and in so doing he will automatically find the card chosen by the spectator on the right. Now a word or two regarding the insertion of the knife. It should not go into the pack less than ten cards from the top or bottom. The reason for this will aparent later. If the spectator should stab the pack at such a point, it is best to say, ‘ No, I am afraid that you are wrong, try once more.’ (Actually it is seldom that this is likely to happen). With the insertion of the knife there are three alternatives. 1. The knife can go above the break. 2. It can gobelow the break. 3. It can enter at the break (This last alternative has occurred several times). Let us take case 1. In this case you ask the spectator with the knife to lift it slightly. As he does this you grab thecards above the knifewith the right hand. The hold is important, the thumb being at the inner right corner whilst the second thirdand fourth fingers at the outer end of the pack with the firstfingerlying alongside the second finger
above the left side of the pack. Ask the spectator to move the knife a little higher so that the knife is about three inches above the break. At this point you bring the cards up leaving the spectator holding the knifesome few inches above the pdck. Now comes the vital partof the effect.You look towards the spectator saying, ‘You will agree that I separated the cards at the point whereyou stabbed the pack .. . . is that correct? He will answer in the affirmative. As you say this you have turned the packet in the right hand so that the bottom card faces you. No glimpse of this card must be caught by any of the spectators. Look towards the spectator on the leftsaying, ‘Would your card be the . . . . of .. . . (Naming the force card). Apparently you are naming the card that you are looking at. Your right hand turns down again and the packet of cards cut off goes down ontop of the remaining cards. At this point the spectator will undoubtedly say ‘Yes.’ Synchronising withthis the right thumb picks up the cards above the break adding them to the packet. The hands separate again the lefthand placing its packet to the leftof the table whilst the right hand moving towards the right of the table turns over its packet exposing the force card. The timing of this adding ’ action is most important and smoothly performed there is no suggestion that anything has been lost or added. You have confirmed by your action that cards chosen by the spectator has been found by his colleague. Incidentally in the turnover of the packet, it is the first finger pulling upwards which makes for a smooth revealment of the faces of the cards. In the second case the difference is that after the cards have been lifted, the right hand thumb taking care of the break, the cards underneath the selected card are released and not added. Of course if you are very lucky the spectator achieves the miracle for you.
BOOKS “PASTEBOARD PARADE ” by Jim Merlini (George Armstrong, price 7/6).
and fair shuffling of the pack seeming to preclude any order of the cards. “ Siamese Coincidence ” which follows sounds excellent. A “ Speller ” trick
64
I
I
SEALED VISION
BY WILL DEXTER LIVEMAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as conlbmed Mentalists will welcome this latest book by WillDexter,for it is a standardwork on allthat is best in Blindfold effects and methods.
A NEW CLOTH BOUND BOOK
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, as well as being eminently practical. In the seventy odd pages there are described n o less than fifteen fake blindfolris, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over theeyes and heavy cloth bags placed over the head and tied round the neck. Yet in everycase the performer hasclear straight-ahead vision, whilst there is nothingmessy (such as dough) or unsure in the methods. The second section describer eight more blindfold methodsusing unfaked blindfolds such as aurgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to the use of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.Thereisthe BlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
Thebook is finely printed, fully ilhstrrrted, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket YOU TOTHE USE OFTHESESENSATIONALEFFECTS DON’T LETOTHERSBEAT Price 17/6 :postage 6d. ($2.50) From the Publishers
PUBLISHING COMPANY
T H E MAGICWAND
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X cc MAGIC
Routine)
George Armstrong’s
George Armstrong
@‘ Premonition ”
Routine) Ron (Mental
Baillie
The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) HenryBohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. Edward Dexter Entertaining with Hypnotism S. Edward Dexter Identity Parade (Humorous mental routine)
Will Dexter
Prerident: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
’ ~
~
Clubroom and Library and Museum :
I
King George’e Hall, W.C.
July 13-Annual General Meeting H O ~ .
... 2013 Ken de Courcy ... 513 Zodiac Telepathy ( A complete act) Ken de Courcy ... 1219 John Ramray’r Cups and Balls (cloth bound) Victor Farelli ... 2516 Thanks toLeipzig! (Card Magic) Victor Farelli ... 10/3 Sptctator’s Choice (Miscellaneous Magic) Douglas Francis ... 719 Mother Goose Mystery (Mental Effect) Martin Gardnsr ... 719 Twenty-SixLiving 8 Dead Twts TerelGarrett ... 513 Ken de Courcy
... 211... 1013
Dubbelkross & Simulkross (Coin Routines)
... 1013 ... l2/9
... 1013
... 1719 ... 719 ... 1013
...
The Concert Ventriloquist and
719
PETER
Maurice Hurling Children’s Enkrtainrr Stewart Jamea Jametosophy (Card routines) Etc.. Etc.
... 10/3
...
5/3
WARLOCK’S
PENTAGRAM published on the 24th of owh month .ad direct from tho p u b l l r h . ~for 117 per ungle copy. Annual Sukaiption 181post free. PUBLISHED BY:
U
JACK HUGHBS will be pleued to mend you full details of
c m be obtained
THE DE LUXB “SU-TABLB”
The Magic Wand Publishing Co.
Yadcal Theatre :
from
Automentalism (Complete act, with apparatus)
W
I
Hearts of Oak Buildings, Euston Road, London, N.W.l.
Puticu1.n
... 719
... 1013
(Mental Routine) George Armstrong
Extra Sensory Perfection
The Magic Circle
PUBLICATIONS
WANI)
Mental Bargain Effects Theo Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental
Secretary :
Peter Newcornbe 38 Overdale Avenue New Malden, Surrey
I
62 Wellington Road, Enfield Middlesex hanuscripts for publication and books for review should be rent to the: BDITORIAL ADDRESS:
24,
Peter Warlock, Wordaworth Rd., Wellington, Surrey
together with all his othw effects in return for a stamp. Write now to
Jack hug he^, 2, Evtlyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goods are fully endors d by this Bulletin IN ROAD,INIIELD.
MIDDLESEX
A
A SIMPLIFIED NEWSPAPER TEST EDMUND ROWLAND N PENTAGRAM for November, 1952, under the tltle of “AnImpromptuTorn Newspaper Test,” I described a method of tearing a borrowed sheet of newspaper into 32 pieces so that one particular piece, which had been briefly memorised duringtheactual tearing, could be made to appear at any given number from the top of (he pile. Several magicians have since told me that they liked the effect, but all have agreed with me that the tearing of the paper was rather slow and difficult to do successfully unless they were working at a large table. I was therefore pleased when I recently discovered a method of simplifying the tearing and of speeding up the whole effect atthe same time. Instead of tearing the paper into halves. then intoquarters, then into eighths, and so on, itis merely folded smaller and smaller, and then the folds at the edges of the resulting bundle are all cut away together with a pair of scissors, so that you still finish up with a pile of separate pieces as before. A spectator isthenaskedto count down to the piece which is at the number he has chosen and, when he has taken it out, you proceed to tell him what is printed on either side of it.
1-
As some of you will not want to turn up the original description before you read any further. or will not have thatparticular copy of Pentagram at all, I had better describe the rest of this simplified version as if it was an entirely new effect. As soon as the sheet of newspaper has been borrowed you make a quick mental note of the main contents of the rectangular portion which is shaded in the following illustration. This can be done as both sides of the paper are being shown to the audience, or as you are waiting for someone to come forward to assist you. It is this portion of
VOLUME 10, No. 9
-
the paper which you are going to force. At the same time you ask for someone to call out any number less than 32. The paper is then folded into a half, then into a quarter, again to an eighth, again to a sixteenth. and finally to a thirty-second of its original size. The exact order ‘and positions of these five separate folds are indicated by the heavy lines in the illustration. They are easy to remember if the main part of the folding is done with your right hand, and if the paper is always given a quarter of a turn clockwise after each fold is made. Each of the folds canbe made either upwards or downwards; in other words, if the half which is nearer to you is kept in a plane which is parallel to the floor, the other half(which is nearer the audience) can be folded either on top of it or beneath it. Which of these is actually done as each fold is made will determine the position of the chosen portion in the final pile. It is only necessary, of course, to place it in one of 16 possible positions from the top, because the other positions, from 17 to 32, are found by turning the whole pile over and counting from the bottom. The folding must therefore be done according to the instructions in the following table. This is not quiteas complicated to understand and follow as it might appear at first, and there is no reason why you shouldn’t have a copy of it hidden behind something on your table for easy reference. Those of you who have tried the original method of tearing will find that this table is similar to the one which I gave for that, but I think you will also find that the folding and the final cutting of all the folds together with scissors can be carried out more easily, more neatly, and more quickly than the separate tearing.
I/a. (20 Cents)
-
JUNE 1956
66 If this is to be the position of the chosen piece of paper from the top 1 bottom,
24 21 19 17
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
32 31 30 29 28 27 26 25 23 22 20 18
the outer half must be folded back on top the of innerhalfduring the following fold(s)
1 2 1&2 3 1&3 2&3 1,2&3 4 1&4 2&4 1,2&4 3&4 1,3&4 2,3 &4 1, 2, 3 & 4
CUBIT EDMUND ROWLAND HIS IS a kind of divination effect with numbered cubes. The apparatus consists of three cubes, a simple stand on which to arrange them,anda four-sided cover or chimney which fits around them. These are shown in Figure 1, and the cubes are shown separately in Figure 2. The tops and bottoms of the cubes are blank, b u t each of the other sides bears a singlefigure. One side of each cube bears the figure 0, and the remaining nine sides bear the rest of the figures from 1 to 9. Thestandhasa shallow recess into which the cubes can just be fitted side by side, and there isa thin upright piece of wood at each end of this recess to hide the figures at the ends of the row. When the cover has been dropped over them the numbered faces of the cubes are effectively hidden so that nobody can possibly know which figures are facing the audience. The apparatus is given to a spectator who is askedtoarrange the cubes on the stand in any order he chooses to form a three-figure number. Some .of the audience might suppose that he has a choice of something like 899 (that is 999-100) different numbers, but a little calculation will show you that he is really limited to a choice of 216 (that is 9 X 6 X 4). The exact range of choice need not be mentioned, of course, for the fact remains that it is still too large for anyone to discover the exact arrangement of the cubes by mere guess-
T
work.
In spite of this, you are always able to discover the number whichis facing the audience evenwhen the cubes have been covered by the chimney, and to reveal it in any way that you choose. The secret depends upon the factthat the cubes are not completely coveredevenwhen the chimney is in position, though even if the audience realises this they are not likely to attach any significance to it, for it is only the tops which are visible and these are completely blank. The cubes have been made very carefully, however, so that they arequite identical except in one very small respect. In each case they have been cut so that all the edges and corners are quite sharp or pointed except for one corner at thetop of one of the cubes, two corners at thetop of another, and three corners at the top of the third which have been slightly blunted or rounded with a file or some fine sandpaper. To the casual observer this small amount of preparation is not noticeable and only the person who knows what to look for can make any use of it. The way in which it can be used to tell youthefigures on the fronts of the cubes is indicated in Figure 2 where the rounded corners are heavily marked for clarity. Suppose that you are standing behind the cubes and facing the audience. If the cube which has only one rounded corner is in a position which makes this the front left-hand corner, the figure which is facing the audience is 0. If it is the front
67 right-hand corner, the figure is 1; if it is the back right-hand corner, it is 4; and if it is the back lefthand corner, it is 7. A glance at the rest of the illustrations willshowyou that the positions of the other,two cubes can beeasily spotted in a similar manner if you imagine them turning in a clockwise direction. For example; if the arrangement is the one which is shown in Figure 3, the number facing the audience mustbe 620, which is also the number appearing on the cubes in the stand in Figure 1.
n2.
The onlydifficulty, therefore, is theactual manufacture of the cubes. They must be cut from very close-grained wood, and given a thin coat of hard enamel if this isneeded, so that the grain of the wood does not show and suggest a method of detecting their relative positions. The best material from which they could be made would be solid plastic, but this would probably make them more expensive. On the other hand, they can be made as small or as large as you prefer, but it is obvious that they must be treated fairly carefully and not thrown about, or you will soon find that all the corners have been accidentally chipped or blunted, and then you will not be able to work the effect at all. For this same reason the chimney and stand should fit together fairly well so that theywill help to protect the cubes when the apparatus is being carried in your case. I think youwiil agree that this is rather different from the usual type of divination effect with coloured rods or pencils, and I hope that you might prefer it to the usual “ think-of-a-number ” problem which calls for a certain amount of meaningless calculation on the part of the spectator. In this effect the spectator’s part is quite simple and straightforward, and there is also very little for you to remember-or forget. Manufacturing and Selling rights reserved by Edrnund Rowland.
RIGHT FROM LEFT EDMUND ROWLAND T ISN’T often that one comes across a mathematical effect which lends itself to comedy, but here is an amusing item which can be used in almost any kind of show. It is quite impromptu and requires no amount of preperation at all. A number is written on a slate, and someone is asked to divide it by any number which he cares to think of between 5 and 10, and to concentrate upon the remainder. Although you cannot possiblyknow the number he has chosen, you promise to reveal the remainder in a rather novel way. As he is busily working out the division you pick up a rectangular piece of plain paper, fold it twice in half (from top to bottom, and from side to side), and then proceed to tear it as shown in the first illustration. Instead of dropping the pieces onto your table or the floor,they are given to another spectator to hold. The reason for this will be obvious in a moment. When the pattern which you have torn is half opened out, the result is a figure 0, as shown in
I
the second illustration, and this you announce as the anumber on which the spectator is concentrating. But wait a moment. He is shaking his head, and even beginning to smile, as if you have made a mistake. “ I’m sorry,” yousay. “ Isn’t that the number you are thinking of? Oh yes, of course; I haven’t opened the paper out completely.” As you are saying this you open it out to form a figure 8, as shown in the third illustration. But the spectator is still shaking his head, and probably laughing at you. With some apparent embarrassment, for you have really been caught this time, you fold the figure in half down the centre to form a figure 3, as shown in the fourth illustration. But even this is wrong, and by this time most of the audience are amused. The only thing that you can do is to throw the paper away and go on to something else. “ There doesn’t seem to be anything else left,” you say. The mention of there being anything left, however, seems to suggest a way out of your predicament. “ I really am beingcareless,aren’t I ? I seem to be forgetting what I am doing. I’m
68 supposed to be telling you what you had left whenyou had finished the division. So let me see what I had left when I had finished my little bit of paper tearing.”
A
You immediately turn to the spectator who has been holding the torn pieces and you ask him to open them outand count them carefully onto your hand. He does this very willingly (because he has been wondering what he was supposed to do with them), and finds that there arefour separate pieces, as shown in the fifth illustration. And now it appears that you are finally correct, for the first spectator turns the slate to show that this was the actual remainder to the sum. In the final round of laughter and applause (?) which follows,you collect your slate (and the piece of chalk) and proceed to your next effect. The secret is simply that the number which you . write on the slate is 508 because the remainder when this is divided by 6, 7, 8 or 9 is always 4 and cannot be anything else. The papertearing really works itself, so unless you have been unlucky enough to pick on someone who is quite hopeless at arithmetic, you have nothing at all to worry about.
MULTIPLE ADDITION EDMUND ROWLAND IGURES OF FOO, whichwas put out by Jack Hughes some time ago, is one of the best mathematical effectswith apparatusthat I know. I was told about the effect before I saw it performed or advertised, and I began to try to discover a method of working it at once. When, later on, I finally learned the original method I discovered that my own was rather different. Quite naturally I prefer my own, for although the performer is required to do a little calculation before he knows the final answer, it will still fool anyone who knows the original, because none of the chosen figures appears in any definite order in the answer. As the original effect has been on sale for some time, I do not think that any harm can be done ifmy method is published now. The effect, of course, is thataspectator is given several flat strips of wood with a different column of figures printed or painted on both sides of each. He is asked to arrange them in any order, by fitting them intoa corresponding number of slots in a simple stand, so that an ordinary addition sum consisting of several large numbers is formed. (I prefer to use cardboardstrips which can be easily clipped across a’ small blackboard, and I use fourstrips with six figures on each side-though the number of strips and the number of figures on each can depend on the individual performer.) The spectator is finally asked to add the numbers together. Although he might be able to do this very quickly, you are always able to announcethetotal before hehas finished, and apparently without giving more thana casual glance at the arrangement of the figures.
F
As the left-hand column can be chosen in eight different ways, the next one in six, the next in four, andthe last in two, there are actually 8 X 6,X 4 X 2, or 384, different ways of arranging them all, and a corresponding number of possible totals. The figures on both sides of the strips which I use are shown below, and this illustration can also be taken to represent two possible arrangements. The two different answers are therefore shown underneath as well.
3
4 5 3
72
The figures in each column appearto have been chosen quite casually but as a matter of fact you will find that the total of any separate column is exactly six times the fourth figure from the top. It follows from this (and it might be a little sur-
69 prising to some of you) thatthetotal of any possible arrangement of all the strips is always six times the whole number on the fourth row. Thus, thetotal of the first of these particular arrangements which I have illustrated is six times 5367, and the total of the second is six times 7562. All that you have to be able to do then is to glimpse the number on the fourth row and multiply it quickly by six. Thiscan be done under cover of writing the answer on a separate blackboard, but it is an added advantage to be able to do it mentally. You will find that this is not too
difficult, for you have only a four-figure number to remember. It is not necessary, of course, for the figures which give you the clue to the total to be on the fourth row; they could just as well be onany other. They are not very likely to be detected by anyone because the only column of figures which produces a multiple of six in the ordinary process of addition is the one on the extreme right. The other separate totals are increased each time by the addition of the tens figurewhich is carried forward from the right.
EDMUND ROWLAND N " 202 Methods of Forcing " Annemann described a type of box which made it possible to know the number of spots on the top face of an ordinary die which had been shaken inside. The secret was a loose flap whichwas just big enough to prevent the die from turning over on to another face. This gaveme the idea for my DIVIDEDDIE BOX whichwas published in The Wizard for September, 1954. This particular box was made by soldering a semi-circular metal " flap " inside the lid of a round tobacco tin so 'that the whole box was divided into two separate compartments. If the lid was puton so that the die was shaken about in the deeper compartment it could turn over quite freely, but if it was put on so that the die was shaken about in the shallower one the number on top when the lid was removed was bound to be the one which had been on top when the lid was put on. A small disadvantage, however, was that no one could be allowed to catch a glimpse of the inside of the lid. When I was clearing out some old tin boxes from my workshop recently I realised that an even better die box with a flap could be made (without any soldering at all) if one happened to have the right sort of boxes available. Both the outside and the inside of this box can be shown quite naturally, and no one need suspect that it is anything but an ordinary box. Yourequire two metal boxes of the type which have straight vertical sides and a separate sharp edged lid which comes more than halfway down the side of the box when it is properly on. Unfortunately, most round boxes seem to have eithera bulge on the bottom half (to catchthe bottom edge of the lid) or a lid with aturned over rim (like the average tobacco tin) and you will see in a moment why neither: of these is suitable. I suppose that something could be done by trying different lids and bottoms together, but the box which I am using at the moment was made
I
from two rectangular tins which once contained Horlicks tablets. Take one of the lids and cut a circular hole, about half-an-inch in diameter, at the centre of it. Then push it ontothe bottom of theother box. If you are lucky it will not be either too loose or too tight. If it is too tight you might ease it a little with some emery paper. If it is too loose you might try the effectof making one or two small dents near the edge from the outside with a blunt nail and a hammer. Now,since each lid would normally come more than .halfway down or halfway up the side of the box, it follows that, if the bottom lid is on as far as it will go, the top lid will be only partly on (Figure l), and, if the top lid is on as far is it will go, the bottom one will be only partly on (Figure 2).
The real bottom and sides of the box can therefore be thought of as a moveable flap. A die in the box in Figure 1 willbe able to turn over quite freely, but in the shallower box in Figure 2 it will be able to move only a little way up and down without turning completely over. In actual use the die is shaken about several times in the box in Figure 1 to show that different numbers come to thetop each time. But before the lid is removed when the die has been shaken freely for the last time, the bottom of the box is pushed up into the top lid by pressing with your middle finger through the hole in the bottom lid.
70
The box is thus made slightly shallower, as in Figure 2, and when the die is shaken again you are able to announce the number on the top before the lid is removed, or the number can be used in some other effect. The main part of the box can be pushed down into the bottom lid at any time before the top lid is replaced.
The box is therefore self-contained, and there is little danger of the flap beinglost. The inside of the lid and the box appear quite normal, and the outside can be freely shown if the hole in the bottom lid is covered for a moment with your fingers or thumb. It isjust the sort of thing to carry around in your pocket.
BOOKS ‘‘SEALED
VISION ”
by Will Dexter (Published by George Armstrong, Enfield,price 17/6) The annals of successful magical publicity are replete with descriptions of blindfold drives, blindfold messages deliveries and even blindfold walks. In this well printed and illustrated book of some 70 pages, that able magician and journalist, Will Dexter, by dividing ,his subject into four sections, describes the most important phases of seeingwhilst apparently blindfolded. Partone deals with methods in which the magicians can see through the bandaging, whilst Part Two gives variants of bandaging allowing fora downward glimpse.Amongst the 20-odd methods explained there are many originalities. Part Three takes into account subtleties which help in the exploitation of “ sightlessvision,” whilst the closing chapter, after dealing with the blindfold drive, letter delivery and cycle ride, gives a suggested programme for stage use. To complete the book an appendix of suggested effects culled from books and magazines are noted with the appropriate references. is unreservedly Excellent value, it recommended. Three Scarne publications have just come to hand; they are “ Scarne on Cards,” “ Scarne’s Magic Tricks ” and “ Scarne on Card Tricks.” These three editions have been putout in this country by Messrs. Constables and retail at 35s., 12s. 6d. and 8s. 6d. respectively. Whilst the original American editions of the two books dealing with tricks have already been reviewedinthesepages at one time or another, “ Scarne on Cards ” has not. This book does not touch on conjuring in the true sense, though it has a large section dealing with “ cheating.” This by
itself should commend its reading and digestion by any card conjurer for it does givehim much of the true technique of card cheats. Its many photographic illustrations show typical “ Gambling House ” supplies which include marked cards, peek mirrors, holdouts, etc. The remainder of the book is taken up with descriptions and rules of modern card games. Again one feels that for the card conjurer this is animportant section. So very many card conjurers that we knowhavenoaffinity for card playing, and yet at the same time, card games have quite a tie-up withmany card tricks. One has only to think of the many Poker routines that have appeared both in books and magazines, and yet there appears among mostEnglish conjurers a complete ignorance regarding this International card game.Because of this particular factor, I know that some years back when listing a necessary list of books that wouldserve the modern magician as a working library, “ Scarne on Cards ” was included. Its choiceprovoked from Dariel Fitzkee a criticism that it didn’t deal with magic. Neither forthat matter does a book on stage make-up but it contains a source of knowledge that a catholic minded magician who aspires to greater things than performances in back parlours, should have by him and certainly need at some time. This book appears to be the American edition with an English binding. It is a worthwhile book with a vast amount of informative writing. The two books on tricks are produced in smaller form than their American forebears. “ Scarne’s Magic Tricks ” contains over 200 effects. All of them are easy to perform and none require any special apparatus. The book dealing with card magic contains some 75 effectsmost of which have aristocratic parentage. They have been simplified and streamlined so that any kind of skill is unnecessary.
71
MAGIC-GO-ROUND T is always very pleasant to have a complete issue of thePentagramfrom the pen of one writer. Actually this is the second timethat Edmund Rowland has performed this feat and I know that my own thanks are coupled with those of our readers. The next issue is alsoa one-man effort the contributor being that well-known personality, Bobby Bernard. Bobby whose ‘ gen ’ on close-up magic and pocket tricks fills me with amazement always seems to come up with some excellent slants on tricks which are capable of being given a story theme. Altogether he has 10 items in the next number and its our betting that we’ll see at least a couple of them on TV before the Pentagram has been published a fortnight. It wasvery nice alittle while back to have the pleasure of meeting thatgreatphotographermagician, George Karger. AtEricdela Mare’s on one of the few fine afternoon’s of this Summer we sat with a fascinated group getting the lowdown on so many American magicians we have heardaboutbut never met. Laterthatday we went along to the complimentary dinner given to Paul and Mrs. Fleming and some fellow American at the CoraHotel. Leaving out the matter of the meal it was a delightful evening, in which magic wasn’t taken too seriously. During his very short stay in America, Fred Kaps greatly impressed the people who really matter.Although handled rather badly by the production staff in the Ed. Sullivan show, his true charm and outstanding qualities brought the right kind of show people to him and the right kind of enquiries. Some few weeks back we received a copy of “ Ibidem,” Canadian a publication produced, directed andretailed by P.HowardLyons who counts the coin at P.O. Box 561, Adelaide P.O. Toronto,Ontario,Canada.Itretails at 50 cents a copy and is published approximately quarterly. We have now received the first five issues and for the sum of two dollarsfifty cents they represent for the intelligent magician one of the finest ‘ buys ’ in magic that we have come across in recent years. In the issue following the Bobby Bernard number we are running two effects from this delightful publication. One is an unpublished E. G. Brown effect and the other is a trick with a plot based upon it. In these days for the purchase of a publication which is published abroad, the reader will have little difficulty inobtaining the necessary sanction for the export of sterling from his local
I
bank manager who will then arrange a mail transfer to pay for the magazine or magazines. Despite what magicians may think about their own craft, it is fairly patent that the variety profession as a whole does not regard it so highly despite the big partthatithas played in show business over the past 60 years. In. the Jubilee V.A.F. Television Show, notone magician was represented. The British Ring Convention is not so far aheadand this year the attendance at Brighton looks like .beating all previous records. The gala show contains some gnteresting names and the Grant film, twice the length of the one shown last year at Southportcontains some 24fine visual effects. Coming back to magazines, how many readers of this paper are members of the Society of American Magicians? N.U.M. the monthly publication of this Society has, during its six years of publication under the fine editorship of Milbourne Christopher been built upto become an outstanding magazine in which news, informative articles and some truly excellent magic take their place. At the moment a series of first-class closeup routines called “ Top Secrets of Magic ” by J. G. Thompson, junior is being serialised. As many as 27 photographic illustrations go to the description of one effect. Thisalone gives the reader a a first rate lesson from a first ratebrain. Again payment could be made direct to America for this service and those interested should write to the Vynn Boyer, National Secretary, 93, Central Street, Forestville, Connecticut, U.S.A.We only wish that the two largest magical societies in this country had magazines comparable to those by the two largest American Societies for certainly to-day amongst society publications there is nothing to touch either the “ Linking Ring ” or “ M.U.M.” Asfor some of the smaller societies over here who putout a monthly publication, were it not for the fact that we well know their members as being enthusiastic and good magicians, we might, fromtheFourthForm style of writing think that we were reading areporton a society for the propogation of adolescents. Channing Pollock now onaEuropeantour should be getting better weather than we are having over here now. Italy, the Riviera, Scandinavia and Belgium will all have the pleasure and privilege of seeing this outstanding magician. No doubt after his date in Belgium in early October, magi in this country will have once again the opportunity of seeing his beautiful act.
72
SEALED VISION
BY WILL DEXTER LIVE MAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter,for it is a standard work on allthat is bestin Blindfold effects and methods.
A NEW CLOTH BOUND BOOK
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine t o fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolds, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck. Yet in every case the performer has clear straight-ahead vision, whilst there is ndthingmessy (such as dough) or unsure in the methods. The second section describeseight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to the useof blindfolds, the property plot, stage setting, psychological approach to the audience and so.on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.ThereistheBlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEATYOUTOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6 :postage6d. ($2.50) From the Publishers
T H E M A G I C WAND P U B L I S H I N G C O M P A N Y 6 2W E L L I N G T O N
R O A D , E N F I E L D ,M I D D L E S E X
MAGIC WAND e PIUBLICATIdDNS Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass George Armstrong Hypnotism Chandu’s Psychoanalysis (Mental Routine) George Armstrong George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection (Mental Routine) Ron Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. EdwardDexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and
Library and Museum :
I
I
Hearts of Oak Buildings, N.W.I. Euston Road, London, Yagical Theatre :
King George*s H a l l , W.C.
Summer Recess ?utlcolan from Hon. Secretary :
Peter Newcombc 38 Overdale Avenue New Malden, Surrey
I
... 7/9
... 21/.., l0/3 ... 1013 ... 10/3
... l2/9 ... 10/3 ... 17/9 ... 7/9
... ...
10/3
7/9 I
PETER
Automentalism (Complete act, with apparatus) KendeCourcy Dubbelkross 81Simulkross (Coin Routines) Ken deCourcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramray’s Cups and Balls (cloth bound) VictorFarelli Thanks to Leipzig! (CardMagic)Victor Farelli Spectator’s Choice (Miscellaneous Magic) Douglas Francis Mother Goose Mystery (Mental Effect) Martin Gardner Twenty-Six living & Dead Tests TerelGartett The Concert Ventriloquist and Children’s Eneertainer Maurice Hurling Jamesorophy (Cardroutines)StewartJames Etc.. Etc.
... 20/3 ...
5/3
...
10/3
... 12/9 ... 25/6
... 7/9 ... 7/9 ... 5/3 ... 10/3 ... 513
WARLOCK’S
JACK HUGHES
PENTAGRAM
will be pleued to send you full details of
is published on the 24th of each month and can be obtained direct from the publbhen for 117 per single copy. Annual Sukription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE’
The Magic WandPublishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects inreturnfor a stamp.
hanuscripb for publication and books for
review should be sent to the:
EDITORIAL ADDRGSS:
Peter Warlock, 24, Wordrworth Rd., Wallington,
I
Write now to
Jack Hughee, 2, Evelyn Ave.,
Colindale, London, N.W.9.
surtw.
Every Advertiser’s goods are fully endorskd by this Bulletin PUBLISHED BY THE PROPRIBTORS THX M A U C W A N D P U B W Y M Q COMPANY, 67 WPLLIWQTQN ROAD, ENPIELD, MIDDLESEX AND PRl?Jl’BD B1 HEUBPRT WALKER (L #ON (?RINTERd LTD., BRlDQE WOnKS, 8IIPLEYs ‘IORKIRIRB
T H E BOBBY BERNARD ISSUE
I
WAS very proud when Peter Warlock approached me sometimeagoand asked me if I would contribute a complete issue of the “ Pentagram.” It is with a mixture of that pride coupled with pleasure that I place before you a varied budget of magic. All the effects have been
fully tried and tested and each has that novelty and clarity of effect, so important in the presentation of close-up magic to a lay public, who, with a surfeit of televisionmagic, require all effectsthey see to have a simple and straightforward plot.
ETHEREAL COINS
T
HE transposition of two coins has been featured in many variations over the past half century, ranging from the silver and copper transposition in “ The Modern Conjurer ” down.to a version ofmy own in the ‘‘ Triad ’’ I recently contributed to “ Abracadabra.” With few notable exceptions most of these transpositions have taken place using cover such as a handkerchief, but I think that it would be generally recognised that such transpositions without any form of extraneous cover achieve a greater impact upon the onlookers. In this version which I have used over a number of years the handling of the coins atall stages is clean and deliberate. The time taken for the effect is about thirty seconds. First of all the performer removes from his left hand trousers pocket a half-crown and a penny. The coins are well displayed on the left hand and it is plain that there are only two coins. The coins are then tossed upon the open right hand and the left hand is seen to be empty. “ Two coins and an empty pocket,” says the performer and accompanies the words by pulling out the left hand trousers pocket. He flicks it to prove its emptiness and then pushes it back again. The coins are now tossed back on to the left hand. “One coin goes into my pocket and the other into the right hand.” No mention of which coin goes into either hand or pocket is made at this stage and so to the audience. the destination of the coins would seem immaterial. The thumbof the left handrests upon the two coins and then turning thelefthand uppermost
VOLUME 10, NO. I0
-
over the right hand palm the .penny is allowed to drop, the half-crown being retained. The coin in the left hand is now placed in the left hand trousers pocket. The left hand now takes the penny from theright hand and with the words. “ I merely toss the penny into the right hand and it vanishes,” the action is suited to the words, the right hand fingers closing round the coin.When the fingers are opened again, however, the coin is still there. Looking rather puzzled, the performer repeats the action a couple of times and still the penny remains. He does it once more and with the fingers of the right hand closed round the coin he extends the right hand asking a member of the audience to touch it. Upon opening the hand, the penny is seen to have changed into a half-crown. The left hand then removes the penny from the left hand trousers pocket which once again is shown to be empty. Now for theexplanation which I hope will not disappoint you. First of all the pennyshown at the beginning of the effect is entirely freefrom guile. The same, however, cannot be said of the half-crown, for this coin is backed with a penny. First of all the half-crown used should be in a mint condition so that the tails side can easily be distinguished by touch. To the heads side the penny is a a e d by a metal worker. If, however, you don’t wish to go to the trouble of having a faked coin made up. a good alternative isto get two matching pennies and polish the head side of one with “ Chromit.” a chromium-plating compound easily obtainable at
I/6. (20 Cents)
I
JULY 1956
74
any ironmongery store and whichgives a true silver effect. If this is done it will be necessary to nick one side of the prepared coin, so that as the coins are withdrawn from the pocket the performer knows whichside is which. With the faked coin and a matching penny in the left hand pocket you are ready for the presentation. As described in the effect the two coins are removed from the left hand pocket and shown as a half-crown and a penny. After the pocket has been shown and they rest once more upon the left hand the thumb presses down upon them. As the left hand comes across and turns over to drop the penny (?) on to the right hand palm the faked coin is released pennyside uppermost whilst the real penny is retained in the left hand which then goes to the left hand pocket. The left hand now takes the coin from the right hand positioning it naturally on the two middle fingers. Now comes the only real move in the trick. As the left hand turns over to drop the coin into the right hand, the left
hand little finger is raised slightly, so that the edge of the coin rests against it. This combinedwith the turnover of the left hand causes the coin to turn over completely so that when it arrives on the palm of the right hand it is still penny side up. To the audience, however, it would appear that the coin has fallen naturally and in this way they will have seen both sides. The fingers of the right hand close round the coin but despite theconjurer’s muttered spell it fails to vanish. This is repeated twice more unsuccessfully. Finally the left hand places the coin into the right hand in such a way that the coin falls naturally silversideup. A spectator is asked to touch the right hand and then the fingersare opened and the half-crown is shown. Finally showing the left hand to be empty, the performer puts it into his left hand pocket and withdraws the penny. The twocoins are then replaced in the pocket all ready for another performance.
FUN WITH FLASH STRING
F
LASH STRING which has the appearance of strong white cotton cord although easily obtainable in America and on the Continent is not in easy supply in this country. Many readers will remember Fred Kaps using it with goodeffect at the Magic Circle Golden Jubilee T.V. show. When ignited, like its younger brother flash paper, it disintegrates in a flash of flame. Having had a fairly large supply I have been using it for a number of items some of which are appended below. FLASH GIPSY THREAD. Instead of using cotton or thread as is usual in the many forms of the Gipsy Thread Trick, a length of flash string is taken. With a patter theme anent the Indian magicians and how it is said they hypnotise their audience into the belief that they are performing such miracles as this (here the performer goes through his favourite Gipsy Thread routine) inwhich matter is broken up and then restored, the performer at the conclusion rolls the string into a compact ball and then showinghis hands to be otherwise empty touches it withthe end of a lighted cigarette. There is a flash and the string vanishes leaving no trace. “ As I said at the beginning,” remarks the performer, “ the whole
thingis done by hypnotism. There neverwas a length of thread, there never was a miracle . . . . it’s all illusion ! ”
COIN IN BALL OF WOOL The tired old effect of the coin in the ball of wool can be given a new lease of life by using flash thread instead of knitting wool. First of all take about two yards of flash string and dye it with a bright colour, using as a dye one of the many waterproof inks on the market. Just dip the length of string into the bottle and after it is saturated remove it and hang it outdoors to dry. The dyeing will not in any way affect the flash properties of the string. Using the string to make up the ball, and with the standard metal slide for getting the coin into the centre, the performer proceeds. When the ball is produced it is passed to a spectator with a request that hefeelswhether there is anything inside the wool. His answer will be in the affirmative. Now instead of the business of the spectator unwinding the wool, the ball is placed on a plate and touched with a lighted cigarette or match. The string disappears leaving the borrowed coin lying on the plate.
BLACK AND WHITE
M
ANY years ago, that verygood friend of mine Eddie Joseph marketed an effect called “ Red and Blue.” (This can still be obtained from the dealers.) Whilst not wishing to reveal the method used in that version, the following is a method used to make the effect even
more brain busting. With the outfit, the faked disc has an additional preparation. On one side it is covered with black “ It’s a Pip ” liquid this allowing to beshownmost carefully at certain stages of the effect. It allows for a very cunning change, for instead of placing it in the hand when a change
75 of colour is required, it is placed within the fold of a handkerchief. As the thumb and finger of the right hand go to place it under this cover, with a rotary movementtheyremovethe black covering allowing a subsequent revealment in whichyouthe achieve a very miraculous change from one colour to another.
When treated at thebeginning the fake disc can be safely handled by members of the audience who have no chance of accidentally removingany of the “ It’s a Pip ” liquid owing to the fact that disc is recessed.
M I N I T U R E SLATE SUPREME
T
HIS IS yet another addition to the many miniature slate routines so beloved by many close-up performers in this and other countries. It is a showy means of getting a message upon a seemingly blank slate. Two miniature slates are required. Instead of the more usual flap, a piece of black flashpaper is cut so that it fits loosely into the frame of the slates. (If black flashpaper is mobtainable, the whitevarietymaybe painted with Indian Ink.) Now the name of a card to be forced iswrittenwith a piece of pointed chalk uponthe surface of the slate, the piece of black flashpaper being dropped on top of it. Withthe two slates, a sheet of white flashpaper and a pack of cards in its case, you are ready to go ahead. First of all the card is forced and the pack returned to its case. Next the two slates are shown, the fingers of the hand holding the flap slate, keepingthepiece of flashpaper inposition. The two slates are then placed together, the flap slate going on top. Both slates are then wrapped in the piece of white flashpaper and they are placed upon the card case which is stood on its end. A lighted cigarette or match is now placed against thewhite flashpaper, it not only flashes off but also ignites the flap, which also disinte-
WRAPPED SLATES PLACED ON TOP OF CARD CASE ENSURING EASY
I I
grates, so that the message is left on the topmost slate. Removing the slates the performer slides them apart with the words, “ And written between the slates is the name of your card.” The action must be such that it appears that the one on which themessageiswrittenis underneath rather than on top. The reader will find by experiment that there are manywaysinwhich the messagemay appear to beinside, but thisseeming-barefaced method with no attendant moves is quite effective. Remember, too, that both slates were shown completely blank before the trick commenced!
BEWILDER-RING
T
HE OLD masking principle of a piece of paper stuck over the mouth of a tumbler so that when a flat object is placedupon a piece of matching paper or felt and covered with the inverted tumbler, the object appears to have vanished, is something that has appeared in many a boy’s box of tricks. It is an excellent principle nevertheless and in giving it Gome careful thought I am going ‘to describe three effects making use of this principle. Instead of the usual tumbler I use a fairly heavy chromed ring one and a half inches in diameter. It has a nice feel and its weight makes it a useful accessaryin other ring tricks. I have quite a number of these rings by me and shall be pleased to supply any reader who cares to send along sixpence to cover postage.
EFFECT NO. 1. THE CONTRARY COIN. A small mat of bold design is displayed and placed on the table. At its centre a sixpence is placed and over it is placed a ring on top of which rests a square of cardboard. To dispel any suspicion that anything has happened to the sixpence the performer removes the piece of card from the ring. “ Watch very carefully,” he says, and removing the sixpence, hereplaces the card on top of the ring. The coin is now vanished and uponlifting the card it is seen to have returned to its original resting place on the mat, inside the ring. The working is straightforward. At the commencement of theeffect,the mat lies on the table near the front edge. The ringwhich has a piece of matching material a&ed to it as shown
76
n
W in the illustration is placed to the performer’s right. On top of the matching paper a sixpence is placed and then on top of the ring is placed a piece of cardboard one and a half inches square. After showing the mat the performer places it down immediately in front of him and then taking a sixpence from his pocket he places it at the centre of the mat. The card and ring are then lifted as one and placed over the sixpence.Affecting to notice that one of the company is suspicious that something has already happened to the sixpence, the performer removes the piece of card. Owing to the matching paper whichnowcoversthe original coin there appears to be no change in the situation. Actually, however, one coin is above, and one under, the matching paper. The sixpence on top is removed and placed on the table, the piece of cardboard being taken by the fingertips and rested once more on the ring. Vanish the coin either by sleeving or aquitment and then lift the card and ring together and show that the sixpence has found its way home.
EFFECT NO. 2. THE DEVIL’S MINT. In this the mat you are using should be coveredwith several thicknesses of whitetissue paper, whilst the matching paper stuck to the underside of the ring should be white flashpaper.
At the commencement the ring is to the right covered with the small piece of cardboard. A sixpence is placed on the mat and then ring and card are placedover it. With the uttering of a magic spell the card isremovedshowing that the coin has apparently vanished. Actually, of course, it iscoveredwith matching flashpaper. From the pocket the performer now takes a small piece of flashpaper which has beencrumpled into a ball. He places it on the paper in the centre of thering. Taking a lighted cigarette he touches off the ball of paper with it. There is a flash of flame and right in the centre of the ring appears the sixpence and everything is left ready for examination.
EFFECT NO. 3. INVISIBLE COIN. In thiseffectthepieceofmatching paper attached to the ring is shaped in crescent form. The accompanying illustration gives an idea of this.
TUCK TO THE OF
&*tK
\UNDERSIDE,
With the mat in front of you and the faked ring with the square of card on top on your right, place a sixpence on the mat and cover it with both ring and card. A removal of the card reveals the actual sixpence because of the cut out in the disc of paper. Now by replacing the card and moving the ring forward with a lifting action the coin is hidden under the crescent of paper. A reversal of the process will cause the coin to appear.
SIMPLICITY SPELLER ANDIKG the spectator a pack of cards, the magician turns away. The spectator is given instructions to shuffle the pack. When he is satisfied that the cards are truly mixed he is to cut the pack wherehewishes, note the card at the face of the cut, remember it andreplace the cards on top of the remainder he is holding. He then hands the cards to the performer who has now turned to face the spectator. The performer gives the pack one cut, and then holding the pack flat on his outstretched right hand he asks for the first time the name of the card looked at by the spectator. Dealing off one card for each turned over letter of the named card,thecard after the full name has been spelt proves to be the card looked at by the spectator.
The whole effect stands or falls by the use of a simple subterfuge, a subterfuge which must be played out in a most casual manner by the performer. First of all the pack is handed to the spectator with a request that he shuffles it, cuts the pack and looks at and remembers the bottomcard of the cut. “ Don’t do any of this until I turn my back,” adds the performer. Withhis back turned, the performer takes the spectator through the drill again firstsaying “ Shuffle the cards,” and waiting for affirmative confirmation that this has been done. “ Now just cut the pack where you like and look at the bottom card of your cut,” then adding “ just replace the cards on top of the remainder.’’ With
77 a due allowance of time for the spectator to do this, the performer then turns round and faces him saying at .the same time, “ Have you done all I asked you ? ” The timing of the turn is most important and it must be so done in order that the spectator does not have time to completely square the pack before it is in sight of the performer. Average replacement even when neatly done will give a definite line along the edge of the pack which indicates where the top half of the cut was replaced. The pack is now taken from the spectator and the performer estimates that depth of the cut, a thing which is not quite so difficult as it sounds. Now either by means of the riffle count or approximation, the performer cuts off a number of cards from the top of the pack so that some thirteen cards lie above the selected card. For the first time the spectator is asked for
the name of the card he noted. With the name given the performer now has to spell it out with thirteen or fourteen letters. The ten letter cards, like “ two, of clubs ” are spelt out with the prefix “ the ” being added the chosen card following the last letter. Eleven letter cards also have the prefix “ the ” added and the chosen card falls on the h a 1 letter. Twelve letter cardsare spelt straight and then the thirteen and fourteenth cards are double lifted. Thirteen letter cards are self working. Fourteen letter cards are a straight spell with the chosen card falling on the final letter whilst in the case of fifteen letters the “ of ” is omitted and the chosen card follows the final letter. The estimation of cut is an invaluable aid well worthy of the practice it demands. Put in an hour’s practice working out the relative distance of cut from the centre of the pack and you will be surprised with the results.
UTILITY ALTAR LIGHT Y EN. GRANT’S veryweirdeffect ( J Light ” has always fascinated
“ Altar me andfor many years I sought a method that would enable me to present it with no thought of angles. At the same time I did not wish to use extraneous apparatus that would clutter up the effect.
The ultimate effect I obtained allows the performer to transpose a lighted flame from %ne candle to another using the simplest of properties. It is visual magic capable of being appreciated by the very youngest in your audience. The properties you require are as follows: 1. One Everlite Candle (these are obtainable from the principal dealers). 2. Two small holders for the canldles. These can be obtained at most good class stationers. 3. One white candle to match the Everlite. 4. Two clear glass tumblers. The ones I use are four inches in height, two and threequarter inches at the mouth and twoinches in diameter at the base.
One of these tumblers is unfaked but the other has a small hole one-eighth of an inch in diameter drilled through the side one inch from the base, as shown in the illustration.
SHUNINQ P OSITI ON OF HOIE IN SIDE
Now the set-up for the effect is like this. First of all place the Everlite candle to the right of the table and the unfaked one in its stand to the left. Behindthe Everlite candle is placedthe faked tumbler whilst behind the unfaked candle goes the ordinary tumbler. Taking a match the performer lights both candles and allows them to burn for about twenty seconds. As they burn the performer takes hold of the glasses, one witheach hand, showsthem mouth on to the audience and then replaces them mouth downwards on the table. The faked tumbler should be placed so that the hole it to the side. With the glasses replaced upon the table, the performer blows out thelighted Everlite candle and then picks up both glasses. The lighted ordinary candle is covered with the unfaked glass. Don’t have the flame so near to the top (or rather bottom of the glass) that the heat is likely to crack it.
78
As the ordinary candle burns it willuse up the oxygen in the glass and finally it willgo out. If the timing has been carried out inrespect of the Everlite candle, this should light up at the same time, the small hole in the glassallowingsufficient intake of air and thus making certain that oxygenline is always present. It wants comparatively little tryout to ascertain the degree of uniformity between the two candles.
Well, Peter, that’s it and I hope that you and your readers like the ideas. I have deliberately refrained from giving any definite patter scheme for each trick as I feel that each reader who takes own a fancy toany of theseeffectswillhavehis of patter to go withthem.
COLORFUSO PETER WARLOCK HIS little effect is appropriate to this issue forthe idea was patternedfrom Bobby Bernard’s “ Sands of Time” which we published way back in March, 1955.
T
What you’ll need are two packs of cards, respectively red backed and blue backed, an opaque handkerchief, andthe miniature hour glass. Remove a similar card from each pack. Let us say that it is the ten of clubs. The blue backed card is placed second from the top of the red backed pack, whilst the red backed mate is second from the face of the blue backed pack. Both packs are then replaced in their respective cases. The handkerchief and miniature hour glass are placed on the table. At the beginning of the presentation the packs of cards are removed from their cases and placed on the table. Thecardsare fanned both faces and backs being shown, care however being taken to prevent the backs of the odd cardsbeing glimpsed. Because of their positions in the packs this is a matter of little difficulty. Next the red backed pack is given a riffle shuffle that makes certain that the two top cards are left undisturbed. Similarly the blue backed pack is shuffled so that the two face cards keep their place. At the completion of the shuffle the latter pack is then turned face upwards and with the cards at such an angle that the face card cannot be seen by the audience, a double undercut is made leaving the red backed ten of clubs as the face card. The pack is then turned face down and placed on the table. Picking up the handkerchief it is draped over the blue backed pack which in the process is turned over. A spectator is asked to cut the cards through the handkerchief. As the spectator grips the cards through thehandkerchief
and makes the cut, the performer turns over the remaining cards withwhichheis left and withdraws them from the cover of the handkerchief then dropping them onto the table. The spectator is then asked to wrap the handkerchief round the cards he is holding and retain them forthe moment. Handing the hour glass to another spectator, the latter is asked, when the performer gives him the word “ Go ! ” to turn it over and allow the sand to run. When the final grain of sand has fallen he is to say “ Stop ! ” Whilst it is running the performer will deal off cards one at a time from the red backed pack. Taking the red backed pack in a dealing position and keeping the backs of the cards so that they cannot be seen by the audience, the word “ Go ! ” is given and the performer commences to deal the cards in a face up pile. The top card which is a red backed card is dealt straight but after that the performer deals seconds until the spectator says “ Stop ! ” At that point the blue backed ten of clubs left on top of the pack is dealt face up in front of the heap of cards already lying on the table. “ Now sir,” says the performer to the holder of thecards in the handkerchief, “ I am going to cause the card you cut at to change places with this one . . . I’ll just say “ Hocus Pocus,” and you’llsee them change places.” The performer says “ Hocus Pocus” but nothing isseen to happen. He repeats the spell and again no result. “ Look sir . . . there is something strange about this . . . may wesee the card you cut a t ? ” The spectator unwraps the handkerchief from around the cards, and finds that he too has cut at the ten of clubs. “ What a coincidence,” remarks the performer, “and not only thatforthe trick has actually worked. For you sir have the red backed ten of clubs” (At this point the performer takes the packet of cards from the spectator and turns over the card showing theback) whilst I have on the table, the blue backed ten ! ”
79
MAGIC-GO=ROUND IRST of all, a big “Thank you” to Bobby Bernard for bringing along such a varied budget of workable items. It is no easy job to sit down and write up a whole issue of this bulletin. It entails quite a deal of hard work and also the giving to the many pet ideas which have proved their value to the author. We know that those who have access to flash string will soon be putting into effect the two ideas that Bobby has come up with, whilst the old masking principle takes on a new era of life by using it in conjunction with a ring. Secondly, we’d like to apologise for the mistake made when describing Roy Walton’s effect in the May “ Pentagram ” . . . Three Dice-Fifty Two Cards.” Paragraph five should be amended to read “ if the the total is above twelve a number of cards is transferred from the bottom to the top. Should the total be less than twelve, a number of cards . . . is transferred from thetopto the bottom.” Very sorry Roy. Congratulations to Lew. Ganson, Ken. Brooke and Harry Stanley for their work at Miami. From all reports to hand it was unanimously agreed that the new type of lecture presented was a pattern that could well be adopted by all those trying to teach magic by way of lecture-demonstration. It is a matter of personal pleasure that when arranging the lecture sessions for the Ring Convention at Brighton that we persuaded Lew to repeat his successful Miami performance. As well as the slides that he will use for illustrating the various tricks described, he will bring along some beautiful photographic colour transparencies which give a fine picture of the Miami Convention. Kalanag is once again breaking records in
F
South Africa, and we hear that from there he is to go to South America. Here is the only illusion act to-day which is truly present twentieth century in -make-up and presentation. So many illusionists practising to-day have not left the days of the “ twenties ’’ behind them. Some are even reminiscent of Mafeking night. All this reminds us that Sorcar with his relatives and nicely painted scenery and props. seems to have left us. One hopes that it will not be too long before Kalanag reaches the States and American audiences have theopportunity ofseeing a magicshowwhich brings to the stage a productionthat has a Hollywood flavour. We feel that when quite recently, Arthur Leroy, without seeing either Kalanag or Sorcar, wrote an article weighing up the merits of one against theother would have been well advised to wait before sticking his neck out too far. After all there is a great difference in putting one’s real name to an article rather than use a smear pseudonym as for instance “ Eaton Hope.” When we read the description of “Outer Space,” Ken Allen’s trophy winning trick we thought the plot sounded a little familiar. If you have a copy of “ Patterns for Psychics ” turn up ‘ l Trigon ” and if you substitute E.S.P. cardsfor ordinary playing cards you can save yourself a matter of a couple of bucks. From Edwin of Bideford we have received quite a big list of items that he is retailing. Many are manuscripts of American origin very low priced indeed. The list which runs into some twenty-six pages may be obtained by sending a letter with a stamp to him. The address is 31 Clifton Street, Bideford, Devon.
BOOKS Annemm’s Club Act of Magic. Jinx Programme
No. 1. Published by the Magic Wand Publishing Co. by arrangement with Holden’s Magic Shop, Boston. Price 5/-. Those without copies of the Jinx or the original programmes taken from it should welcome this present publication. This particular programme details some seven effects with a running time of twenty-five to thirty minutes. The seveneffects are as follows : A Cigarette Rolled by Proxy Orville Meyer Henry E. Dixie The Dixie Cigarette Vanish Jacob Stiesel The Itinerant Pound Leslie May Election Selection
Seven Keys to Baldpate Annemann The Acme Thought Card Pass Annemann-Daley TheTorn Deck Location Julian F. Proskauer Everything needed for the act goes easily into the conjurer’s briefcase. In theoriginal programme “ Election Selection ” did not appear. It takes the place of “ A Matter of Policy,” a trick pertinent to American politics, and one whichcould not be applied in this country. We take it as a compliment that Leslie May’s effect from the “ Pentagram ” should take its place. Atthe price offive shillings this represents exceptionally good value.
80
A NEW CLOTH BOUND BOOK
SEALED VISION
BY WILL DEXTER LIVEMAGICIANSonthelook-out for first-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter, for it is a standardworkonallthat is bestin Blindfold effects and methods.
Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described n o less than fifteen fake blindfolds, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the headand tied round the neck. Yet in everycase the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough) or unsure in the methods. The second section describeseight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to theuse of blindfolds, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethodscanbe used for.ThereistheBlindfoldDrive, Blindfold Cvcle Ride, Blindfold Letter Delivery, etc., and in addition a fullstage programme of reputation making blindfold effects.
in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEATYOUTOTHE USE OF THESESENSATIONALEFFECTS Price 17/6 : postage6d. ($2.50) From the Publishers ‘Fhe book is finely printed, fully illustrated, bound
T E E MAGICWANI)PUBLISHINGCOMPANY 6 2W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
MAGIC WAND ’ PUBLICATIONS Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism Armstrong George Chandu’s Psychoanalysis (Mental Armstrong GeorgeRoutine) George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection Routine) Ron (Mental Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’s Mysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. Edward Dexter Entertaining with Hypnotism S. EdwardDexter Identity Parade (Humorous mental routine) Will Dexter
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Madcal Theatre :
King George’s Hail, W.C. Summer Recess
?articulars from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
... ...
1013
...
1013
...
...
1013
...
... 1219 ... 1013 ... 1719 ...
... ...
.
719 1013 719
Automentalism (Complete act, with apparatus) Ken de Courcy 20/3 Dubbelkross 81Simulkross (Coin Routines) Ken deCourcy ... 5/3 Zodiac Telepathy ( A complete act) Ken de Courcy 12/9 John Ramsay’s Cups and Balls (cloth bound) 25/6 Victor Farelli Thanks to Leipzig! (CardMagic)Victor Farelli ... 1013 Spectator’s Choice (Miscellaneous Magic) 7/9 DouglasFrancis Mother Goose Mystery (Mental Effect) Martin Gardner .. 7/9 Twenty-Six living & Dead Tests TerelGarrett ... 5/3 The Concert Ventriloquist and Children’s En8ertainer Maurice Hurling ... l0/3 Jamesosophy (Card routines) Stewart James ... 5/3 Etc.. Etc.
...
... 211-
PETER
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
... 719
.
I
WARLOCK’S
PENTAGRAM is published on the 24th of each month and be obtained direct from the publishers for 117 per single COPY. Annual Subscription 181post free. PUBLISHED BY:
can
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscripts for publication and books for
review should be sent to the: EDITORIAL A D D R W : Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrev
.
JACK HUGHES vi11 be pleased to send you full details of
THE DE LUXE “SU-TABLE” together with all his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED BY THE ~ O p 1 ~ ”RE R SMAGIC WAND PUB-IN0 COMPANY. 62 WELLINGTONROAD, ENIXELD, MIDDLESEX AND PRINTED BY HBRBBRT WALKER L SON(PRINRRS) LTD., BRIDGE WORKS, SHIPLEY, YORKSHIRE
DIVINATION OF TWO MENTALLY SELECTEDCARDS THE LATE EDWARD G. B R O W N
I
N A PREVIOUS issue of the ‘ Pentagram ’ we have extolled the virtues of, and regretted our somewhat belated sight of P. Howard Lyons’ trulyremarkable publication Ibidem. In the fourth number there appeared an effect of the late Edward G. Brown’s which carried the above rather prosaic title. Though I did not see Edward Brown perform this himself, I did see Trevor Hall use the effect in one of the finest magical lectures I havehad the privilege of attending. It does not seem possible that nearly nine years have passed since Edward Brown quietly slipped away from this world. Duringthatlong period little of his work hascome to light. True, the late Willane ’ and the published his ‘Diminishing Cards ‘Thought of Cards Across.’ Brown committed little to paper, mainly I think for the reasonthathe never considered an effect complete. One of his favourite effects, the ‘Ring, Glass and Handkerchief,’ had manyversions. I know that on one occasion when I was visiting him a few years before he died that he showed me quite three variants of the effect. His mind was comparabletoVernon in the attempt to achieve effect with the simplest, but notthe easiest means. To TrevorHall,in the closing stages of his short life, in a series of letters. he gave the details of many of his effects. The publication of those letters could be one of the greatest events in magical history. In forthcoming issues of the ‘Pentagram’ we intend publishing a few of Brown’s effects. They will include his version of the ‘Cups and Balls,’ two versions of the ‘Ring, Glass and Handkerchief,’ his ‘ Cut and Restored Rope ’ and a version of ‘Follow the Leaders’ with unfaked Jumbo Cards. At this moment we will say our thanks to P. Howard Lyons for allowing us to publish the present effect from Ibidem.
VOLUME 10, No. I I
-
The magician announces that he wishes to have some cards mentally chosen. He adds that were he to offer a free choice, it is highly possible that certain cards like the ace of spades or the queen of hearts might be chosen. Thecards, therefore, will be selected from a mixed pack. Two spectators are then asked to think of a number and when he runs the faces of the cards in front of them they are to think of the card that happenstofall at that number. Once again he wants to be fair, and as certain numbers like seven and fourteen are so commonly thought of, the numbers chosen by the spectator should b e chosen a t random. He will do it in this mannerSpectator ‘A’ is asked to shuffle the pack, take off a small packet of cards and replace the talon on the table. Spectator ‘ B ’ is then given some of A’s packet byA. Meanwhile the performer has turned his back to these spectators. Each assistant counts his packet of cards, remembers thenumber of cards he holds and places them in his pocket. With a signal that this has been done, the performer turns and faces the assistants. Taking the talon of the pack from the table the performer approaches assistant A. He stresses that he keeps in mind the number of cards in his pocket and further to note the card at that number as the performer shows the cards to him. With the cards held in the left hand and taking the topcard with his righthand he holds it in front of the assistant. “ If the number you have in mind is ‘one,’ think of this card.” The cardis then placed face down upon the table. The next card is taken and shown as “ two ” to the spectator and then placed on top of the first card. The process is continued right through the talon of cards. The magician squares up the cards on the table and goes through the same process with assistant B.
I/a. (20 Cents)
-
AUGUST 1956
82
Jrhroughout the showing of the cards the performer takes care to look away from the faces of the assistants in order that no help may be obtained by facial hint. Remarking that now the cards have been noted mentally there is little need to remember the numbers nor keep the packets of cards in their pockets. Therefore he allows assistant B to replace his cards on top of the pack, which is then handed to A so that he too can replace his. The pack is then given a complete cut. The locating of the cards follows. Requisites. One pack of cards. Preparation. Nil. Presentation. Follow the procedure exactly as it has been described. Whilst you are showing the cards keep count of their number.Subtract this number from fifty-two. The resulting number, which we’ll suppose is twenty-nine, will be your key number. Now after the cards have been mentally selected and B returns his packet to the top of the pack, the top card must be glimpsed. A then places his cards back on top of B’s and the pack is given a complete cut. Taking the pack the magician looks for the card he glimpsed and upon finding it, cuts the pack at that point bringing .itto the top of the pack. Remembering the key number 29, the performer subtracts this from fiftydwo, which leaves him with the number 23 (assuming that a straight pack with no jokers is used). Thecard chosen by A will now be the twenty-third card from the top of the pack, and B’s twenty-third from the face of the pack. To the description given in Ibidem. Stewart lames adds a teasing note. He writes:
’‘ I would think it would improve the effect and s p e d the routine by having an unknown number of cards discarded at the start. I do this by having a number of cards secretly discarded so that I have no idea what the combined total of the cards in talon plus A’s and B’s is. The method is the same if one glimpses the key card, counts the cards in the deck after the return of A’s and B’s cards and then subtracts the original number of cards he counted from the resulting number. For example. You counted thirty one cards whilstshowingthe cards in the talon. After the cardsare returned and you have cut the key cardto the top, you count as you run through the cards finding that you have forty-two. It means that your key number for finding the respective cards at the topand bottom of the deck is eleven. Younow happen to know that the spectator discarded ten cards at the start, but for heaven’s sake forget it. “ I have discovered a method in which it is not necessary to know the number of cards discarded, it is not necessary to glimpse the face of any card at any time, it is never necessary to know how many cardsare in the talon plus the A packet plus the B packet because no subtracting is necessary at any time. It is still perfectly impromptu.” Well, Stewart has certainly a fine l o c a t i o n which onehopes will see the light of day.One which apart from mere acquisitive tendencies, every serious lover of card magic would like to seein published form. Let us hope that we shall not have to wait too long. Stewart, whose talent covers the whole gamut of the magical field, has published too littleduring the past two years. Always one is anticipating those books which were to follow ‘ First Call to Cards,’ books which contained some ‘ out of this world ’ ideas with objects other than pieces of pasteboard. Again let us hope that the wait is not too long.
THE WICKS THEME PETER WARLOCK HEN my Australian friend, Charles Wicks, described so very many years ag: in The Magic Wand his fine “ Lost Time theme, he gave magicians something that is a rarity, namely a short act requiring readily available properties and yet with these properties offering an audience something which meant a little more than their standard presentation. Few magicians (in this country at anyrate) seem to have made a feature of it, and yet, especially for those who sometimes are called upon to give a lengthy entertainment, it formsa very worthwhile ten-minute spot. Kenneth Kirk is one performer we associate with the trick, andinthe “ Abracadaborough ” revue at the Circle Jubilee. a mimed version was presented.
W
In Magic us Hobby a close-up version will be found. To those whomay not be acquainted withthe theme it is this. The performer notes the time by his watch. and then for example cuts a piece of rope noting the time and action on a slate. Milk is poured into a beaker. This too is noted and so areanother couple of actions. The slate is placed down writing side away from the audience. Finally the minute hand of the watch is pushed back to the time when the performer commenced these actions, the result being thatall the performer’s actions are nullified, the rope being found restored and so on. Finally the slate is turned round and
83 it is seen to be just as blank as it was at the beginning. Quite recently we have used the theme for platform work, trying to get the maximum dramatic effect with the minimum of apparatus and effort and we feel certain that it is something that could wellbeusedby others. This is effect as seenby the audience. The performer tells of how he had a dream. He will describe what happened. An invisible clock. He gestures towards the centre back of the stage. As he says this a ticking is heard which gets louder so that it forms a background to his speech. The clock strikes ‘ Three ’ .and going to a table on his right he lifts a handkerchief from a stemmed glass revealing a pack of cards with the ace of spades as the face card. The handkerchief is placed on the table and the cards are removed. They are fanned and all are shown to face the same way. The pack is now cut and one half is turned over and riffle shuffled into the other half. Allcardsare then shown to be mixed backs and fronts with the ten of hearts (say) as the facecard.Thecardsare replaced in the glass which once again is covered with the handkerchief. Picking up a slate which rests against the table leg and taking a piece of chalk from his pocket, aftertaking a look at the imaginary clock he writes, “ 3.1 Cards.” The slate is replaced against the table leg. From the sametable he picks up two separate loops of rope. Undoing the knot on one,he passes it through the other, re-tying the knot so that the two loops are entwined. The ropes are laid on the table alongside the glass. Taking the slate again, he looks centre back stage and writes, “ 3.3. Ropes.” Moving across to a table on his left, he draws the attention of the audience to two stemmed glasses. In one there is a red handkerchief and in the othera yellow. The red handkerchief is shown tocontaina red ball whilst the yellow containsa yellow ball. The red ball is wrapped inside the yellow handkerchief and replaced in one glass. Next the yellow ball is wrapped inside the red handkerchief and returned to the other glass. The slate is taken again and after looking centre backstage, underneath the other writing goes, “ 3.5. Colours.” The slate is placed down. Finallyattention is called toastack of four wooden bricks. All look the same, but when they are turned aroundit is seen that they arenumbered 1, 2, 3 and 4, respectively. No. 1 is the topmost brick. These bricks are then re-stacked, numbers away from the audience so that No. 4 is at the top and No. 1 at the bottom. On the slate after looking at the imaginary clock is recorded, “ 3.7. Numbers.” The slate is then placed against the table leg, writing side away from the audience. Going to the backcloth, the magician apparently pushes back the minute hand of the clock. AS this hand would appear to reach ‘ 3,’ three chimes are heard and the ticking stops.
At this moment the stage set looks exactly as it waswhen the performer commenced. Now he shows the effect of retracking into time. The handkerchief is lifted from the glass and once again the ace of spades faces the audience. Thecards are removed and all shown to face the same way. The ropes are picked upand shown to be two separated loops. The yellow handkerchief once more contains the yellow ball and the red too has its mate. The bricks are turned round andonce more seen to be stacked in their original order. Finally, the slate is picked up and shown to be as blank as when the presentation commenced.
Requirements. 1. A pack of cards consisting of twenty-six ordinary cards and twenty-six double facers. Fortunately these can now be obtainedfrom British dealers tomatch standard British packs. 2. Three stemmed glasses. All should be the: same size and capable of accommodating a. pack of cards. 3. Three eighteen-inch silk handkerchiefs. One mauve, one red and one yellow. 4. A set of red and white ropes. 5. Three billiard balls, two yellow and one red. 6. A set of four specially prepared wooden bricks. Thepreparation is comparatively simple. The bricks are best solid, though preference goes to the reader and also for their size. Each has a hinged flap so that it looks like the illustration.
The bricks are so made that the complete movement through 180 degrees changes the 1 to a 4, the 2 to a 3, the 3 to a 2 and the 4 to a 1. The handling of the bricks we’ll deal with later. The number on the brick proper must be in a reverse position to that on the flap. 7. A specially prepared slate. This slate has a movable flap fitted as shown in the follow.ing illustration.
84
hinged part of the flap in each case is at the top of the brick. The bricks are turned so that the numbers cannot be seen by the audience. The slate is next taken and three lines are drawn lengthwise, one covering the flap hinge. The flap is turned and three more lines are drawn so that withthe flap flat in either positionitlooks as shown in the illustration.
In place of this special slate the more usual type
of flap slate could be used but it necessitates losing or adding a flap. 8. A means for reproducing thetickingnoise of clock. the A tape recorder is undoubtedly best, the volume control being adjusted according to the phase of the trick. Needless to saysomeonewillbe required to work this and also sound three chimes by using a metal gong. Tape recorders are commonplace these days and if the performer has not one of his own a friend will no doubt oblige. In recording the ticking, make certain that a good-sized clock isused. An ordinary dinner gong will give good chimes. 9. A piece of chalk. 10. Two tables. Preparation. It is assumed that one table which will be called “A” is to go on theperformer’s right whilst another, “ B,” is on his left. On table “ A,” near the front edge, is placed one of the stemmedglasses. Init is placed the pack of cards, the twenty-six ordinary ones at the front and the double facers at the back. The face card should be the ace of spades. Over the cards and glass is draped the mauve handkerchief. Just behind the glass are placed the two ropes. They are separate, and each is knotted to form a loop. On the table “ B,” at the side nearest to the per€ormer and midwaybetween the frontandrear !edge, are placed the other stemmed glasses side by .side. The yellow ball is placed-in the centre of the ,yellow silk and both are placed in the first glass. Similarly the red ball and silkgo into the other glass. The blocks with the numbered flaps cover’mg the numbers on the bricks are stacked into order on the same table. This means thatthe
The slate is rested on its width against the right hand table when the stage is set. The piece of chalk goes into the right hand pocket with the extra yellow ball. With the assistant in charge of the tape recorder and thechimes and the tables setupon the stage you are complete and ready for presentation.
Presentation. Phase 1. With the striking of the clock, the performer lifts the mauve silk from the glass, places it on the table and removesthecards. He fans the pack showing the faces, and noting the point where the double facers meet the ordinary cards, breaks the pack at this point. The front half of the pack is turned over and the cards are riffle shuffled or woven, so that the ace of spades becomesthe rear card. Care is taken to leave a double facer at the front. The cards are fanned once more and shown to be mixed. The left hand holds the cards and the right picks up the glass. The pack is then dropped inside. The left hand drapes the handkerchief over the glass and under its cover the glass is turned, bringing the ace of spades to the front and also because of the double faces, making the remaining cards face the same way. The glass is replaced on the table. The performer looks at the imaginary clock, picks up the
85
slate, shows it to be blank apart from the ruled lines, and writes “ 3.1. Cards.” The slate is replaced and the chalk is slipped back into the pocket.
original stack stood. In so doing the flap is allowed to hang by its own weight so that it takes up the position shownin (A). Then as the left
Phase 2. The dealer’s instructions (Unique Magic Studio or Tannen’s supply these) make for no difficulty here. Again the recording of the time and ‘ Ropes.’ When the chalk is replaced in the pocket, however, possession of the yellow ball is obtained and it is palmed. Phase 3.
L
Keeping the yellow ball palmed, the two silks and balls are removed from the glasses. The red ball is taken and in the action of placing it beneath the yellow handkerchief a standard change is used to leave the palmed yellow ball in its place and the red ball is palmed. Silk and covered ball are then replaced in the glass. Similarly when placing the yellow ball under the red handkerchief this is changed for the red ball. The hand containing the palmed ball once again goes to the pocket for the chalk, ditches the ball and withdrawing the chalk writes the necessary note on the slate.
A S I T HANGS DO’JYN
hand goes to take it away and place it upon the table the third finger pushes against the flap bringing it against the underside of the brick (B). The
Phase 4. The bricks are turned round showing the numbers. The stack is shifted to the left of the table. Taking the brick with the figure 1 on it and taking care that no movement of the flap can take place it is shown that the remaining sides are blank. The block is now held quite naturally as shown in the illustration so that the flap side is covered by the hand. FlNGERPUSHING FLAP AGAINST UNDERSIDE OF BLOCK. RIGHT HAND
NOT SHOWN.
brick, now with the number 4 on the side furthest from the audience and the blank side of the flap underneath is placed on the table. The same moves are carried out with the remaining bricks. The action is noted upon the slate. When this is placed against the table leg the flap is allowed to swing across so that the slate is now devoid of writing. The imaginary clockisnow adjusted and the ticking stops. All that remains for the performer is to show that with the retracking of time, everything is as it was before. The performer apparently turns the brick over and places it on the table at the place where the
Selling and manufacturer’sright of changing blocks reserved
86
BROWN STUDY T. S. RANSOM HE method to achieve the effectof E. G . Brown described in this issue as a “ Divination of Two Mentally Chosen Cards,” was worked out by T. S. Ransom and his colleagues. Ransom, using a similar theme, has come along with a most deceptive version. Once again our P. Howard Lyons, Editorof thanksaredueto Ibidem, for permission to re-publish the description and method.
T
With a patter introduction similar to that used in the original Brown effect, the performer introduces a pack of cards. It is placed face down on the table. Turning his back, the performer makes a request to spectator A, that he shall cut off some ten to fifteen cards . . . ‘ about one quarter of the pack.’ He is to shuffle this small packet, replace one or two back on the remainder of the pack should he so desire and finally note the face card of the packet. Anotherspectator B, is requested to cut the remainder of the pack still lying on the table. He is to complete the cut,and then like spectator A, he is to cut off a small packet, shuffle it, replace a few should he wish and then like the first spectator remember the face card of the packet. Now spectator A replaces his packet of cards on top of the talon of the pack lying on the table, B puts his cards back on top of A’s and then a final instruction is given that the pack shall be given a complete cut and squared. The performer turns round and picking up the pack. Fanning the cards in front of him he removes two cards. One he places in front of A and the other in front of B.
‘‘ I believe,” he says, “ that I have been successful in reading each of your thoughts relating to the cards you looked at.” To A, “ For the first time will you name the card you had in mind ? ” Supposing that the answer is “ Ten of clubs,” the card in front of A is slowly turned over and it is shown to be the ten of clubs. Similarly the card in front of B proves to be that which he remembered. Requisites. One pack of cards. Preparation. It is necessary to have at the top of the pack a group of sixteen cards. These cards can be formed of a group of say the court cards
and the aces. There is no need to remember their order. Presentation. The cards are placed down upon the table. Should the performer feel thatit is necessary a false shuffle that will not disturb the top stock may be effected. The same goes for a false cut. With the instructions given to the first spectator the first cut willbe somewhere amongst the top sixteen cards, which remember are not looked at but simply shuffledby the spectator. Whether he replaces any or none the position will be unaltered so far as the means for ascertaining the cards at a later stage. The card he thinks of is the face card of this packet. Spectator B now gives the pack a complete cut which has the effect of bringing the remainder of the original ‘ key ’ stack to the centre of the remaining cards. B now cuts off a portion of the pack, and with a similar procedure he thinks of the face card. A’s cards nowgo back ontop of the talon which means that as the pack now stands, there is a large group of ‘ key ’ cards and somewhere farther down the pack a small group of ‘ key ’ cards and under them the remainder of the pack. B’s cards go back ontop ofA’s and the pack is given a complete cut. Now the run of the pack instantly reveals the two cards. All the performer has to do is to look for a long run of ‘ key cards. The card at the end of the run nearest the face of the pack will be that noted by A, whilst B’s will be the first card above the group. There is only one danger spot in the effect and that is where spectator A, trying to pull a fast one, replaces nearly all the cards retaining a few, so that at alater stage, the performer might well plump for the larger group. Ransom suggests that rather than be definite about A’s card, one should fish whilst naming A’s card. Myown attitude would be that of nut turninground whilst the selection of the cards is made. I feel that the fairness of the procedure is such that the direction of operations, say from a fair distance, which a full knowledge of what is taking place, is preferable to being completely inthedark regarding the possible outcome of the effect.
*
*
*
*
*
*
87
T
HOSE who missed the TV debut in this
country of Victor Borge, failed to see and hear one of the finest pieces of adult entertainment screened by the B.B.C. It struck us that apart from those international professionals who are members, that the whole membership of the magical societies in this country, were their essence to be distilled could not provide one quarter of an hour (letalone the three-quarters provided by Borge) of such fine entertainment. The undeniable beauty of a great artiste is his appeal to all ages. When Jay Marshal1 appeared at the Palladium (and the same goes for Channing Pollock) he was takentoheart just as much by the teenagers as by those of more mature years. These men are fewin magic. They comprise the great international magicians whether their act be small or large. Few English magicians have the capability.Perhaps the outstanding example in post-war years was the ill-starred Peter Waring, whose sophistication and presentation carried him to great heights.
In the previous issue we wrote up aneffect called ‘ Colourfuso.’ When showing this toour good friend Jack Avis, he thought that though the plot were good it could be bettered by showing the back of thecarddealtfrom the pack. We fully agree with him, and to those who might like to try out the effect in the new form the procedure is altered as follows:At the commencement of the effect and assuming that you are going to deal from a red-backed pack, a blue backer is placed at the face of the pack, the force card corresponding with a duplicate red backer in thebluepack being on top of the pack. The pack of red.-backed cards is fanned showing the faces of the cardsto the audience. The backs too are shown, taking care that the back of the face card is hidden. When the hour glass is turned over and the cue to start dealing given, the performer deals seconds retaining the force card at the top of the pack. When the order to stop comes, the deal is discontinued and the force carddealt in frontof the other cards face down. Thus the back of the card is allowed to register with the audience. The
dealt cards are taken and replaced on the balance of the pack which is still held by the performer. Keeping the cards face down, the performer with his free hand turns over the card on the table showing for the first time its face. Casually he places it at the face of the deck and with the covering of the original blue-backed face complete he turns the pack so that the face of the force card can be seen by the audience. As he reminds his audience what hastaken place, the thumb riffle counts the two face cards ready for a double lift. Saying that hewill attemptto make the known card change places with the unknown one held by the spectator, the two face cards are now double lifted and slid into the centre of the pack so that half of the face of the force card can be seen. With the words ‘ Hocus Pocus,’ the proface. Nothing truding card (?) is tappedonits happens. This is repeated. Again no visible change. Thespectator is then asked to look a t the card cut by him and he finds that it matches the card protruding from the pack held by the performer. The spectator turns over his card and finds thatit is a red backer. Slowly the pack is turned round showing the apparent back of the protruding card. Finis. Brighton, as we write this is a shade over five weeks ahead.The programme and the arrangements would seem to offer tremendous value. The lecture sessions alone are well worth the registration cost. It is heartening to think that nowhere else in the magical world do members of a magical organisation get so veryvery much for so little. The opening night show is our own responsibility and repeating in the sixty-minute show part, the format recently used at the Magic Circle in a ‘ Skulk of Sorcerers ’ we shall have one spot where four magicians do just one effect each. We are very proud to have as one of these performers Johnny Ramsay who will perform as only Johnny can, his devilishly deceptive Torn and Restored Paper.” Dominique, that terrific French personality, is holding sway at the Lido, and Channing Pollock continues to captivateContinentaland Scandinavian audiences. “
*
*
*
*
*
y
88
LIVEMAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by Will Dexter, for it is a standardwork on allthat is bestin Blindfold effects and methods. Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, aswell as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolds, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck.Yet in every case the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough)o r unsure in the methods. The second section describes eight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to theuse of blindfolds, the property plot, stage setting,psychological approach to the audience and so-on. Finally, in part four are described the sensational publicity stunts that theseblindfoldmethods can be used for.Thereisthe BlindfoldDrive, Blindfold Cycle Ride, Blindfold Letter Delivery, etc., and-in addition a fufstage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEAT YOU TOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6: postage 6d. ($2.50) From the Publishers
TEE M A G I C WAND P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X “
MAGIC WAND’9 PUBLICATIONS
Mental Bargain Effects The0 Annemann Challenge Instant Hypnotism & Mass Hypnotism George Armstrong Chandu’s Psychoanalysis (Mental Routine) George Armstrong George Armstrong’s ‘‘ Premonition ” (Mental Routine) George Armstrong Extra Sensory Perfection (Mental Routine) Ron Baillie The Universal Mind (Mental Routine) Ron Baillie Bohleno’sMysteries (Prize-winning) Henry Bohlen 1’11 ReadYour Mind (cloth bound) Aage Darling Entertaining with Contact Mindreading S. EdwardDexter Entertaining with Hypnotism S . Edward Dexter Identity Parade (Humorous mental routine) Will Dexter
... 7/9
...
211-
... 10/3 ... 1013 ... 10/3 ... l2/9 ... I0/3 ... 17/9 ... 7/9
... l0/3
... 7/9
1
I
I
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and
Library and Museum
:
Hearts of Oak Buildings, Euston Road, London, N.W.1. Madcal Theatre : King George’s Hall, W.C.
Summer Recess ?articulws from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
Automentalism (Complete act, with apparatus) Ken de Courcy Dubbelkross & Simulkross (Coin Routines) Ken deCourcy Zodiac Telepathy ( A complete act) Ken de Courcy John Ramsay’s Cups and Balls (cloth bound) Victor Farelli Thanks to Leipzig! (Card Magic) Victor Farelli Spectator’s Choice (Miscellaneous Magic) Douglas Francis Mother Goose Mystery (Mental Effect) Martin Gardner Twenty-Six Living & Dead Tests TerelGarcett The Concert Ventriloquist and Maurice Hurling Stewart James Children’s Enbertainer lamesosophy - . (Card routines) Etc., Etc.
... 20/3 ...
S/3
... 12/9 ... 2516 ... 10/3
... ...
7/9 7/9
... 513 ... 10/3 ... 5/3
WARLOCK’S
PENTAGRAM
JACK HUGHES will be pleased to send you full details of
is published on the 24th of each month and can be obtained direct from the publishers for 117 per single c09y. Annual Subscription 181port free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
T h e M a g i c W a n dPublishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects inreturn for a stomp.
Manuscriptsfor publication and books for review should be sent to the: EDfTORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
A N D PRIEITED BY HERsERT WALKER & SON (PAINTBRS)
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
LTD., BRlDQE WORKS, SHIPLEY, YORKSHIRE
A
!
b
w
PETER WAR LOCK ‘S
*****
THE CHAIN OF SILKS MARCONICK LTHOUGH Hollandoccupies quite a small
A ofpartherof magicians the European continent, inthepost-war
the progress years has proved that ofaUcontinendnations &eisthe step withmodemtimes, onlyonecompletelyin whilst in complete contrast is France, a.countrv which so many years back played sucha large pait in the teaching of western magic, and yet to-day, witha few notableexceptions,isstill thinking technicallyinterms ofmagic of theEdwardian
p
Perhaps the greatest assetthat the Dutch possess istheability to harnessgrace and technique so that the ultimate result showsno jarring note. One thinks of it particularly with Fred Kaps and Van Domellen. Marconick, who is a newer arrival in the International field,has it, too. Not only a delightfultechnician, but Marconickindeaiing withsilkhandkerchiefsshows a touch of genius which has proved that this seemingly exhaustible field is really illimitable. One must not forget to add some words of thanks to Harry Stanley who ontwo occasionshasbroughtMarconickacross to appear at Uniqueconcerts. On his second appearance on the first day of this year, there was also in the bill Channing Pollwk. Rarely has one had the opportunity of seeing two such great acts performed by such young magicians. The effeet to be described is. to me, typical of Marconick’sapproach. It issomething that may be used as a flourish or as part of a trick. The magician shows three ditferent coloured 1.) silks looped into a chain ofthree.(Figure
.:::
fY *
2 VOLUME 10, No. I 2
-
I/6. (20 Cents)
-
SEPTEMBER 1956
90
Quite plainly the looped yellow handkerchief passes through the looped green and red. The magician’s hands move apart and instead of having three looped handkerchiefs he now has them tied in a chain as shown in Figure 2. Requirements. Three eighteen-inch silks, one red, one yellow and one green. The modernconjurer with his sleight of handand his flashy props has ceased to be amagician-he has become ajuggler. No one thinksthataprestidigitator pulls a rabbit out of a hat through super-natural ability, but many people believe that an Oriental fire-wa!cer can walkover hot coals due to some occult power. If not,
Prepmtion. Tie thesilks by their corners to make a chain as in Figure 2. Now take the handkerchiefs and lay them flat on a table like this. Ends A and B of the green silk are tied with a slip knot (Marconick uses the word ‘ schuifknoop ’). My own preference, and one that makes for easier handling, is to use a breakaway type of knot. Twowhich are ideal for thepurpose are NelsonLyford’sdescribedin The MagicWand, Volume 43, No. 242, page 73, or in The Tarbell Course, Volume 1, page 369. Next the ends C and D of the red handkerchief are similarly tied together. The ends of the yellow handkerchief E and F are now passedrespectivelythroughtheloops formed in the green and red handkerchiefs and are then tied together in a slip (breakaway) knot. The silksshould now appear like Figure 1. To the audienceyouhavethreeintertwinedloopedsilks forming a chain. The genuine-knots are well hidden by the folds of the handkerchiefs. The silks having been shown, the hands hold the green and red handkerchiefs near the knots so that the yellowhandkerchiefhangsdown,the thumb and fingers of the hands slip the knots free and at thesametimetheymove outwards in a brisk manner the result being that the chain of silks automatically appears. The pulling of the so chain also breaks the knot ontheyellowsilk that when the chain is displayed only two knots remain, namely those which are necessary to make the chain. Our thanks go to Henk Vermeyden for allowing us to offerthis translation of Marconick’s effectwhich appeared intheAugust number of TRIKS. then how does he do it ? The conjurercan’tgiveany logical answerbecauseits not worth his time to go through the trouble and danger involved in learning firewalking. So the fire-walker continues to be real a magicjm because people believe heisgenuine. Memoirs of aSwordSwallower ”-Dan Mannix. ”
OPEN INTRUDER ALEX ELMSLEY THE November, 1955, issue of Pentagram there was a version of theBlue Intruder by INJack Avis, involving a pleasant turnover switch. It occurred to me to combine this with a presentation idea which I first met in Marlo’s Cardician, underthe title of the “ Open Prediction,” and which Marlo credits to Paul Curry. Here is the result of this distinguished ancestry.
Effect. The performer has a red-backed pack of cards. He takes one blue-backed card, without
showing its face, and inserts it into the red pack behind his back. Now he holds the pack face up, and deals cards onto the table, turning them face down as hedoes so. At any card inthe deal a spectator stops him, and this card is dealt face upwards,withoutshowing its back. The rest of thepack is then dealt, and at theconclusion of the deal the back of every card except the spectator’s choice has been seen, yet the blue back has not appeared. Sureenough,the card chosen by the spectator turns out to be the blue intruder.
91
instructions for which I reproduce here altered as necessary. The pack is picked up and held face downwards in the left hand. Start running the cards fanwise from the left hand into the right. When you reach the face up nine of diamonds, pause and break the pack at that point. The cards above the face upcard naturally are taken by the right hand whilst the remainder with the face up card on top are in the left hand. Now because of the previous manoeuvres, the bottom card of the right hand packet willbe the double backer. Without any apparent effort, this card is slightly jogged to the left, and the left hand at the same timejogs to the right, to a greater extent, the face up nine of diamonds. The right hand nowmovesin and using the right hand fan apparently places the edges of the cards under the jogged nine of diamonds and flips it over. Actually what happens is that the jogged double backer goes under the edge of the nine of diamonds and as the fan is brought across the cards to the left, both cards are turned over as one,the double backer falling, blueside up, on theback of thenine of diamonds. It is in effect a form of Mexican Turnover without the take away of one card. With practice theillusion is perfect. To conclude the effect, the cards in the right hand are placed under those in the left hand. The double backer, blue side still showing, is removed from the pack and placed in the pocket containing the complete blue pack. The double backer is left in the pocket, and the blue pack is brought out as though the blue intruder had been added to it. You are now clean.
Routine. In addition tothe red pack, you need a blue-red double backer. At the beginning of the trick, I prefer to take the double backer from a complete blue pack, and to drop the blue pack into a pocket. Be that as it may, you show the double backer as a blue card,and tell the audience that no-one, not even yourself, is going to see its face, yet, and that you are going to bury it in the red pack behind your back. In fact, behind your back, you turn over the double backer and place it on top of the red pack, red side upwards. Bring the pack forwards and hold it face up. Begin to deal slowly by taking the face up cards and turning them face down as you deal them onto a table. Explain that youwill deal through the pack like this until you find the blue-backed card, but that whileyou are dealing you want a spectator to call stop at any time. When you are stopped at a card (suppose it is the nine of diamonds), place it face up on the dealt pile of face down cards without showing its back. Ask the spectator who .stopped you to remember this card. Meanwhile, casually turn the undealt packet of cards in your handface down, so bringing the double backer tothetop once more. Continue dealing cards face down onto the pile on the table but now, of course, their faces are not seen. The first carddealt is the double backer, which goes blue side down on downward in the left hand. Whenthe deal is finished, point outto the audience that they have seen the back of every card in the pack except the chosen card, yet the blue card has not appeared. Nowyou perform the' @witchfrom .Jack ,Avis'New Intruder, the
~-
~~~~
~~
I
us.
'' I enjoyed that mailbag trick especially," she told "
My ,husband can do several ffiings like that." I asked politely. Oh, no, he's dead," was the astonishing answer.
'' IS your husband a magician ? "
~-
But he comes back in spirit form. It's simply unbelievable what he can do now. Did you Rave to dematerialise yoursy)f to escape from thatbag ? she askedArthur. Memoirs of a Sword Swallower "-Dan Mannix. "
STILL TAKING THREE ALEX ELMSLEY this time last year there were a series A BOUT of versions in the Pentagram of a trick called Take Three." The effect was the transposi"
tion of a chosen card from one packet to another. The principle involved was that of forcing a card that was not there. This was done by having three cards touched by spectators. The magician looked at these cards and called out their names, which a spectator wrote down on visiting cards. In fact the magician miscalled one card, naming instead a card which was already reversed in the middle of a packet of cards held by a spectator. The appropriate visiting card was then forced, and the transposition shown to have taken place. Although I liked the principle, I did not like
thebusiness of writingdownthe names of the cards. Here are two versions of thesameeffect, and using the same principle, in which only a pack of cards is used. Routine 1. Before starting, run through the pack and bring to the top two cards of the same colour and value, for example the fives of hearts and diamonds. Slip one card, say the five of diamonds, to the centre of the pack, and keep a break beneath it. Advance to a first spectator, and ask him to touch a card, as you fan the top half of the pack. When a card is touched do not show it, but just jog it forward for about half its length.Ask a second spectator to touch a card somewhere
92 around the middle of the pack, and force the five of diamonds. Jog this card forward as you did the first. Ask a third spectator to touch a card in the bottom halfof the pack, and jog this card forward also* Close UP the fanned Pack, the three 10gged cards together and place them On top Of the pack, taking a break beneath the SKOnd card (the force card) as you do so. from Say, " Three cards havebeenchosen the pack," and to illustrate apparently count off the three chosen cardsfrom the top of the Pack. In fact, take the first two cards together as one, count the next card On top of the firsttwo and the next card, which is the five of hearts, on topin of all. As you gesture with the counted off cards, take a break beneath the top card of the pack, by pushing it forwards slightly with the left thumb and bringing the left little finger beneath its edge. Now return the counted off packet of cards face up to the top of the pack. (I have assumed that like mostpeopleyou normally holdthepack in your left hand.) Your left little finger is holding a break beneath the five top cards of thepack.Pick up these cards togetherwiththe right hand, fingers at the outer end of the packet and thumb at the inner end. With the left thumb pull the face card of the packet, the five of diamonds, face up onto the top of the pack, naming the cards as you do so. Pull the next card face up onto the five of diamonds and name it, and finally put the three remaining cards held by the right hand, as one, on top of the pack, again naming the card. As these three cards go as one on top of the pack, take a break beneath them with the left little finger. Turn to any spectator and say, will you (name the card showremember the -of -" ingon top ofthepack). Then take the top three cards as one into the right hand. Display the next card that shows on top of the pack and ask another spectator to remember this card. Then count this card on top (i.e. on the face) of those in the right hand. Displaythefive of diamonds, and ask a third spectator to rememberthis card. You will notice that the attention of the audience is being directed all the time towards the hand holding the pack, and away from the multiple lift in the right hand. Replace the cards inyour right hand on top of the face up fiveof diamonds, square up the pack, and then lift off the top three cards. Since the fourth card is face down, the cards will break naturally beneath the top three face up cards, but you ifwish you may riffle the cards off with the left thumb. The third of these three cards is the fiveof hearts whichyouhaveswitched for the five of diamonds, while the five of diamonds now reposes face up second from the top of the pack. Place the three cardsin the right hand, still face up, on your table, letting them spread lengthwaysslightly, but taking care that onlythe value and not the suit of the five of hearts is seen. Now (6
pass, cut, or shuffle the top quarter of the pack in your hands to the bottom, and place the pack face down on the table. Pick up the packet of three face up cards, turn them face down, and shuffle them, keeping track, however, of the five of hearts. Lay them face down in a row on the table, with the five of hearts in the middle, and ask a spectator to touch any one of the cards. If hetouchesthefive of hearts, pick up the other two, turn them face up, and thenpick up thefiveof hearts and place it face downbetween the others saying, The chosen card goesreversed &emiddle.'' If he touches one of the other cards, pick it and ask him touch UP, turn it face card. If he again does not touchthefive,pick up the card he has touched and place it face UP on the first card touched. Then pick UP the five and place it face down between the two face up cards, saying " The last card goesreversed in the "
If thesecond card touched is thefive,pick it UP and Place it without comment face down on the face up first Turn the last card face " up and place it on top of the other cards, I have assembled the cards as YOU pointed to them* I want you to watch the card in the Whateverhashappened younow holdthe three cards, with the five of hearts face down between the other two face up cards. Spread the cards lengthways until you can seemost of the index of the bottom card, but cannot see any of itspips. If YOU now turn thethree cards over, the index, but no pips, of the five of hearts should bevisible. (If the bottom face UP card is an ace Or a court card, You cannot use it in this way to gauge the permissible timount of spread*but must estimate the 'pread*) Show the half-hidden red five to the spectator whom you asked remember to the five of diamonds, saying, The five ofdiamonds was your to card, wasn9t it ? " Whenheassents,askhim cut off about half the pack which is lying on the table to give you the cut off half, and to place his hand onthe remainder (inthemiddle of which thefive of diamonds isreversed). Turn the three cards so that the five is again face down, place them on top of thehalf pack that has just been given to you, and cut them into the middle. Spread the half pack as you emphasise that the card is face down between two face up cards, and obtain a break up the packet beneath the five of hearts. and side slip the five to the top or bottom of the packet. Now order thefive of diamonds to fly from thepocketyou are holding to the packet beneath the spectator's hand. Spreadyourpacket toshow that the card betweenthe face up cards has vanished, and askthe spectator to spread his "
93 packet himself, whereupon he will find his five of diamonds reversed. Note. Instead of using two cards of the same colour and value, the old dodge of using a seven as an eight of the same suit, the index of the seven being hidden by your fingers as you hold it halfway intothe pack, or in this case, half-way between the other tw.0 chosen cards. Routine 2. The last routine depended upon forcing a cardthat was not there. This second routine was developed with the object of giving a free choice of a cardthat was not there. The object was not achieved, but it was approached. The effect is much the same as that of Routine 1, but instead of three cards beingchosen, the magician takes out the Jack, Queen and King of any suit. So, here wego:Suppose that you are going to use the Jack, Queen and King of Spades. Before you start, get the Queen and King of the suit of the same colour (in this case Clubs) to the bottom of the pack, the Queen on the bottom and the King above it. Now run through the pack, taking out the three Spade court cards, and placing each card as you come to it on the face of the pack. Arrange them in order, Jack, Queen, King, with the King at the face of the pack and the Jack on the face of the Queen of Clubs. While arranging the cards (the pack, of course, is face up) get a break below the King of Clubs, so that after the cards have been squared up, youmay lift off with the right hand all five court cards. The five cards are held by the right hand from above, thumb at their inner ends, fingers at their outer ends. With the left hand turn the rest of the pack face down, and take a break beneath the top card with the left little finger. Bring the cards which are face up in the right hand over the pack as though tosquare them upfurther,and pick up the cardseparatedfrom the pack by the break beneath them. You now have six cards in the right hand, though apparently only three. From the top these cards are, the King, Queen and Jack of Spades, the Queen and King of Clubs, and a face down indifferent card. With the left thumb, pull the‘King of Spades, still face up, onto the top of the pack. Name it and display it. On top of the King, pull the Queen of Spades, and name and display that card also. Finally, with the right hand, place the remaining four cards as one on top of theQueen. Name off and display the Jack of Spades.Nowpick the top three cards, which are the face up Jack of Spades and Queen and King of Clubs, and place them on your table, letting them spread lengthways slightly. On top of the pack you now have a face down card and then the face up Queen and King of Spades. Cut these three cards to the bottom of the pack. Nowbegin another cut, at the centre of the pack, by sliding the top half of the pack aboutan inch to the right. Then with the left
fingers at the bottom of the pack, push the lower of the two reversed cards (the King) to the right until it is levelwith the jogged top half of the pack, Now continue tocut the pack into two halves, the right fingers at the outer end and thumb at the inner end of the top half reaching down to grip the reversed King and bring it to the bottom of the top half. The two half packs are now placed separately on the table. Ask a spectator to name the King, Queen, or Jack of Spades. Under normal circumstances the Jack is the least likely to be mentioned. The likelihood is decreased here by its being at the face of the face up cards on the table. If, however, it is chosen you must descend to the conjuror’s choice and say, “ And will you name another? The cards you name are going to act as guardians for the third card, which I shall reverse between them.” WhentheKing or Queen has been reached, either by choice or elimination, you know which of the two half packs on the table has the chosen card revqrsed at the bottom. Cutthat packet towards a spectator, so bringing the chosen card to the middle, and ask the spectator to put his hand on the packet. Pick up the three court cards and turn them face down. Remove the Club equivalent of whichever card waschosen, and turn the remaining cards face up again, taking care that the Jack of Spades covers the suit of the card behind it. Place the removed card, apparently the chosen card, face downbetween the two face up cards, and then spread them all lengthwise so that they can be shown without revealing their suits. After showing the cards so, square them up and put them, with the outer cards face up, on top of the remaining half pack which is on the table. Suppose that the Queen of Spades was chosen, The Queen of Spades will now be in the middle of a half pack which is in the care of a spectator. On top of the other half pack are the Jack of Spades and King of Clubs face up, with the Queen of Clubs face down between them. At the bottom of the half pack is the face up King of Spades. Cut the half pack, bringing the Jack and King of Spades together. Recap. to the audience that thechosenQueenisreversedbetween the King and the Jack, and then command the chosen card to jump from packet to packet. Spread your packet carefully, stopping when you come to the reversed Jack and King of Spades and show that the Queen is no longer between them. Take care not to reveal the reversed King of Clubs, which is hidden by the face down Queen of Clubs. Ask the spectator to spread his packet, so revealing the Queen of Spades, and while he stares at it astounded, take the opportunity to right the reversed King of Clubs in your own packet. Note. The routine can, of course, be done with other cards than court cards. However, I believe that court cards givethe least chance of anyone noticing that the two face up cards in your packet reverse their order at the same time that the card between them vanishes.
94
BOOKS THE HINDU CUPS. Eddie Joseph (published by Max Andrews (Vampire) Ltd.), price 10s. There can be no gainsaying of the fact that the. Cups and Balls trick is the greatest classic of magic. Despite its great antiquity and the common basic plot, the scope for the individual performer is almost limitless. One can think of great performers of the feat . . .Laurie Ireland, Dai Vernon, Fred Kaps, Ken Brooke and Johnny Ramsay, and we understand that Johnny Paul has a version that is breathtaking in its technical brilliance. The late Dr. Daley, too, brought this fine feat into the miracle class by hisvery deliberate handling. In the non-European form Reszvani has a version that is a piece of magicalpoetry. The magical practitioner that puts his heart and soul into mastery of the feat has one effect that will never stale in a lifetime. The present book written by one of our most thoughtful magicians, a man who has contributed so much to the many aspects of the feat describes in this very well produced book, a table version of the effect using the type of cup in vogue in eastern countries. Eddie Joseph inthisseries of lessons disdains for table use the more conventional ball usedby the Hindu Jadoowalla, replacing it with an article far easier to handle for the type of manipulation demanded. The basicmoveswould seem to demand no great amount of practice, and yet at the same time the general routining throughout makes for a deceptive and surprising series of climaxes. Mr. Joseph concludes his treatise with a description of the conventional Hindu presentation in which twelve to fifteen balls are used. No student of this fine feat can afford to miss this publication, whilst to thosewhohavenever essayed its performance there is an offering by a first-class magical brain that will add a never-tobe-forgotten trick to their repertoire.
THE JINX PROGRAMMES. (English Editions published by George Armstrong by arrangement with Holdens Magic Shop. Price 5s. each).
Five booklets go to make up theseseries. Each one sets out to give the reader a complete programme. Number One presents a Club Act of Magic. Some eight effects,none requiring any special type of property go to the making and routining of a thirty minute act suitable for a Lodgemeeting entertainment. Number Two is a one man mental act. Again this is intended to run for about thirty minutes duration. In place of an effect truly destined for American audiences an item by Leslie May, “ Election Selection ” takes its place. Number Three is entitled a Magical Club programme and forms an excellent alternative programme to that detailed inthe first programme. The closing item, one by Keith Clark has been a firm favourite with that delightful magicianFrancis Watts for some twenty years. Number Four-“ No Card ” MysteryAct. Another thirty minute act in which the most common consort of the magician is conspicuous by its absence. Number Five-“ No Code ” Telepathy. The lightest act of all to carry, for apart from a slate everything can be carried in the pockets. For the young magiwhosewife or girl friend wants to appear in an eaqy two person telepathy routine, this is a “ must.” Each and every one of the programmes contains first classmagicaleffects.Eacheffect has good entertainment value and above all little cost is involved in obtaining the necessary properties. Skill in the exceptional sense is neverneeded. Whilst each programme runs longer than the generally accepted time for such an entertainment in this country, pruning can be carried out without killing the overall value of each act. The publisher has done an excellent job of work in bringing to British magicians these most informative and helpful booklets. At the low cost of five shillings each no reader unacquainted with their contents can afford to miss them.
95
MAGIC-GOmROUND OF ALL our thanks to Alex. Elmsley for FIRST letting us have three typical Elmsley card approaches. The twentieth Convention of the British Ring has come and gone. Its majority (from the Convention viewpoint) willbeheld at Scarborough next year. Of this year’s convention the highlights were few. On the other hand there were fewer weaker spots, and in all a good time was had by all. It was a pity that such a poor roomwas used for the showing of the Grant Film. Indian Summer conditions and lack of good air conditioning tended to maketheonlooker sleeper. It was not to be expected that the Gala show would surpassthe previous Brighton show which still stands in our own opinionasthe best Gala show the British Ring have staged. Nevertheless there were some fine acts. T o n n y van Dommelen, El Wido, Devolyn and Irene, J o h n n y Giordmaine and Haakon Edeling were outstanding. We do hope that at no future show shall we hear afemale magician use the word “sweat.” Bad enough from a man, but from a woman almost unbearable. Great credit however must go to Bill Stickland who, year after year, manages to get so many truly new International acts for this big show. Few people realise how hardatask this is.Fewrealise the personal expense he goes to in visiting the continent and contacting these artistes. The oompetition though having fewer entries than in the past fouryears brought nothing breathtaking. Geoff. Gregson undoubtedly stirred the audience with his presentation of Rinod’s “ Diabolical Wand ” and his Poodle production, whilst as was to be expected Lou. Histed made easy work of the originality prize. He also, whenreceiving the award made the wittiest speech of the convention. Both of the lectures wereexcellent. Lew Ganson, fresh from his Miami triumphs gave a delightful presentation of theRinod effect and followed it with some nice visual magic in which he was capably assisted by Ken. Scholes. Stanley Thomas despite the bad time for such a lecture (Sunday morning) b r o u g h t home to a large
I
audience the beauty of ancient magical Graftsmanship. The dealers didn’t have agreat number of new things to offer, but items which struck our eyewere the Table Tennis effect (of Orrin’s we believe) demonstrated by George Davenport, the silk production basket demmed by Harry Stanley and the “ Beacon” effect of Edwin’s. Ten minutes for a public demonstration is hardly enough for any dealer to display his wares. It was good to see the Benevolent and Welfare Fund benefitting from a number of sources and the total derived from the flower stand, the morning service and New Era must have been quite appreciable. Overseas visitors were more plentiful than WC have everseen them. A large contingent from Belgium brought many new faces. America as usual sent us its Ambassador of goodwill in the person of Craig, whilst it was a great pleasure to meet Tom Hawbecker (one of the National Deputies of the S.A.M.) and Mrs. Hawbecker. Australia never misses with Charlie Wicks and a newcomer fromthe Antipodes was Percy Boden. Henk Vermeyden who looks younger every time we see him had with him a number of Dutch magicians, and his production dice number which he showed in theI iternational Show,is proving a great seller botd in this country and on thecontinent. The close-up sessions organised by Francis Haxton must have been the best presented yet. We missed many faces including those of Freddy Carter, Voltaire, Ken. Brooke and our old friend Donald Forsyth. We had several enquiries whilst we were at Brighton regarding the publication of “ Peter Warlock’s Book of Magic.” Actually due for publication about June, the printing strike held things up. The publisher tells us thatit should be on sale about the middle of October. John Howie has promised us a special number in the near future. This very thoughtful magician hasdonea great deal of good for magic, his “ Ellis ” ring contributions being a fine contribution to ring magic.
There was a dime museum in Philadelphia near the old Chinatown section that featured a magician who kept the kiddies amused while their fathers went in to see the
round the Beautiful U n e p e d Models. I hung mag1c;m . . . Memoirs of aSwordSwallower”-DanMannix.
Stagemagic itself, unlikeknife-throwingandfireof danger;butthere eating,containsverylittleelement is one classic trick which has killed at least a dozen performersinthe two centuries of itsexistence; a bullet
bearing a mark put upon it by a member of the audience, is fired by avolunteerand i s apparentlycaughtbythe ! magician-between his teeth William Lindsay Gresham.
“
~~
“
I
I
LIVEMAGICIANS on thelook-outforfirst-ratepublicity stunts, as well as confirmed Mentalists will welcome this latest book by WillDexter,for it is a standardwork on allthat is bestin Blindfold effects and methods. Will Dexter-magician, journalist, author, editor-has collected here the best blindfold methods using all principles from genuine to fake blindfolds, and extremely ingenious they are too, as well as being eminently practical. In the seventy odd pages there are described no less than fifteen fake blindfolJs, from simple paper bags placed over the head, to leather masks, coins and sticking plaster over the eyes and heavy cloth bags placed over the head and tied round the neck.Yet in every case the performer has clear straight-ahead vision, whilst there is nothing messy (such as dough) or unsure in the methods. The second section describes eight more blindfold methodsusing unfaked blindfolds such as surgical sticking plaster, thick pads over the eyes, reflectors, etc. Part three deals with subtleties that can be allied to theuse of blindfolda, the property plot, stage setting, psychological approach to the audience and so-on. Finally, in .part four are described the sensational publicity stunts that theseblindfoldmethodscan beused for.Thereisthe BlindfoldDrive, Blindfold Cycle Ride, Blindfold Letter Delivery, etc., and in addition a full stage programme of reputation making blindfold effects.
The book is finely printed, fully illustrated, bound in black cloth, with title lettered in silver on front and spine, and wrapped in a striking dust jacket DON’T LETOTHERSBEATYOUTOTHE USE OFTHESESENSATIONALEFFECTS Price 17/6: postage 6d. ($2.50) From the Publishers
THE MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E - N F I E L D ,M I D D L E S E X
A THIRTIETH CENTURY MENTAL EFFECT.
II
I
The MYSTERY of TEE THREE COLOUREDBOXES The audience see three smallish attractively decoratedcoloured boxes onthe mentalist’s table. One is white, one black and one green. The actual size is 3in. X 3in. X 2in. Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green. On a large visiting card, the mentalist writes something. Thecard is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to namea three-figure number which is noted. Two more messages are similarly written and placed respec-
tively in the black and green boxes. Mr. Black choosing a City and Mr. Green a playing card. The pay off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case the mentalist has correctly forecast their particular choices. Completely mechanical in working thus leaving the mentalist free to make the most of his showmanshi “ The Mystery of the Three Coloured Boxes,” made o n c to order, comes complete for €6 OS., post free. Made only to Order
P E T E RW A R L O C K , 2 4W O R D S W O R T HR O A D ,
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroam and
Library .ad Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. bladcal Theatre * .
King George’s Hall, W.C. MAGIC FESTIVAL 15th-20th
October
?articulan from Hon. Secretary :
+
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WALLINGTON R O A DS, U R R E Y
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publbbm for 117 persing10 copy. A n n u l Subodption IS/port fme.
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscripto for publication and books tor review should be sent to the: EDITORIAL ADDRBSS:
Peter Warlock, 24, Wordeworth Rd., Wallington, SurreyI
JACK HUGHBS will be pleased townd full details of
you
THE DE LUXB “SU-TABLE’ together with all hfr other effects in return for a stamp.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goodsare fully endorsed by this Bulletin PUBLISHED W THE PROPIWY’QRS TElE MAOlC WAND PUBU8UMO COMPANY. 62 WELLWOTON ROAD, HNPIELD. MIDDLESEX AND PRINTBD BY RPRSPRTWALKER L SON (PRW’IXRS) LTD., BRIDQE WORKS, SHIPLEY. YORKSHIRE
TAKE THIS RING JOHN DERRIS OHN’S contributiontakestheformof a “quickie” utilising a length of cord and a Jmetal ring. First of all the length of cord has a loose knot tied at the centre. In the process of making this knot the centre of the cordis lowered on to the table taking up a position.which is made clearinthe figure 1. A .handkerchiefisspread over the knot and each end of the cord is held by a spectator. Removing a small metalringfrom his pocket with his right hand John places it in the left hand. It is squeezed and vanishes. When the handkerchief is lifted from the cord, the ring ‘is found tied within the knot in the cord. The reader will require the following items in order to present the effect :l . A lengthof silk cord measuring approximately three and a half feet. 2. Twometalringsone and a half to two inches in diameter. The matter of weight is rather important, and the reader will find that the type of ring sold with the English Jardine Ellis Ring effect ideal for the purpose. 3. An opaque silk handkerchief two feet square.
The presentationcommences with the performer taking from his pocket thehandkerchief which he places on the table t o his left. Next the cord is produced and this is laid across the centre of the table. Finally the right hand goes t o the pocket and appears to bring out just one ring. Actually, however, the performer has one ring between his thumb and first iinger, whilst the other is finger palmed, resting against the fingers at an angle of ninety degrees. Figure 2 shows an exposed view of the hold. Pointing out to thr spectators that there is more than one way of threading a ring on a length of cord, the performer instances the most obvious method by taking hold of the cord about nine inches from one end and lowering it through the exposed ring, its own weight allowing it to pass through the right hand and the concealed ringuntilthe position shown in figure 3 is taken up. The right hand retaining the concealed ring uponthecord releases the free end,then pulling the remaining part of thecordthrough the visible ring, which is then dropped on to the table. A loose knot is now formed with the cord. So that the audience are given the impression that both hands are playing a part in the making of this knot, the left hand passes its end through a thrown loop so that a loose knot is formed. A
With the exception of the two rings, the items
can go into any of the performer’s pockets. The rings however, unless the performer is left-handed must be placed in a right hand pocket.
VOLUME I I, No. I
-
I/6. (20 Cents)
-
OCTOBER I956
2 glance backwards at theillustration accompanying the effect showshow it shouldlook. The right hand with the ring concealed within it retains its graspupontheend,but because of the move that is to take place in a moment or two the little a strong grip finger of the same hand maintains near the end. This grip is such that if the remaining fingers of therighthand were taken away from the cord, the cordwould still be held.
be very casual. There to theassistantsmust mustn’t appear to be anything purposeful about the procedure. The main part of the effect from the performer’s viewpoint isalmost complete. Taking the ring from the tablewith his right hand and using the “tourniquet” or some similar feint, he appears to placeit in his k f t hand, really retaining it in the right. The left hand closes into a fist and is held above the centre. of the handker-
Relinquishing the left hand end of the cord the handkerchief is picked up at the centre of one side and spread over the loop. At the same time with the cover afforded, therighthand fingers relinquish their hold on the concealed ring which slides down the cord into theright side ofthe loop. Asking a spectator to take the right hand end of the cord, another person is asked to take the left hand end. In picking up this latter end, the alteration in plane of the cord allows the ring to slide adtomatically inside the loop proper. The handling of the cords and thehanding of the ends
chief. A squeezing movement is made and then thehandis opened showing thatthe ring has vanished. The right hand then takes a corner of the handkerchief and whips it away fromthe table, letting the spectators see that the vanished ring is now safely knotted on thecentre of the cord ! One final note. As a heavy metalringis necessary and it has to fall some little distance on to thetabletop,it isimportant to see that a covering is used sufficient to deaden any noise.
THE CLOSE-UP SLATE TEST PETER WARLOCK
Let’s take the effect first in case some readers are unaquainted with the original.
and one side of the slate is covered with different letters. The otherslate istaken and thisis similarly dealt with. (In Annemann’s description he covered all sides of the slates, but the additional two sides are time stealing). The chalk is placed down and taking a duster the letters are erased from both slates which arethen placed one on top of the other. The card written upon by a member of the audience is now removed from the envelope and theperformerreadsitaloud.Nowtakingthe slates apart the name of the dead person is seen written upon one side of one of the slates.
Two slates are shown to be perfectly free from guile. A member of the audience is asked to write on a business card the name of some deadperson. Thiscard is placed in an envelope which after being sealed is rested againstsomepromlnent object. One slateand a piece of chalk is taken
The effect is very clean in working andthe theme can be that matter created cannot be destroyed, that the letters written though erased, still exist to provide a bond between thoughtand matter.
F T E R reading Annemann’s “Club Slate Test” in “Sh Its a Secret,” I used it a greatnumber of times, always finding it most effective. To me the only snag was the need for a flapand mainly with a special type of presentation that had to be given at the Society of Psychical Research, I lighted on a method which gave the same effect as that of Annemann’s but at the same time obviated a flap.
A
...
3
The Requirements. Two unprepared slates. Both should have fairly smooth surfaces. The kind I use are the non-locking Wandman. A pay envelope large enough to take :A visiting card. One stick of ordinary chalk. One pieceofspecially prepared chalk. This is thepreparation.Takeonepart of methylated spirit and one part of Stephen’s Gum ‘(Mucilage). Just pour them into a small glass and then taking half a stick of chalk drop it into the horrible mess. Leave it for about an hour then remove it, wipe away any surplus mixture and keep this piece of preparedchalkinatesttube which contains slight moisture. Acouple of drops of water is enough to keep the chalk in perfect condition. A duster (actually a piece of silk). A small box with a hinged lid. Preparation. Cut away part of the pay envelope to form a window envelope. This envelope, window side down, goes on the table to the right. On top of it is placedthe visiting card whilst tothe left of these articles go the two slates one on top of the other. Inside the box goes the pieceof chemical chalk and also a piece of unprepared chalk. The duster can be placed in the pocket. Presentation. The two slates are picked up and shown. It is a good idea that they should not be too clean and thus to an obliging spectator you say, as you remove the duster from the pocket, “ would you mind, sir, making sure that they are quite clean.” In this way you have the slates in the hands of a spectator who may examine them to his heart’s content. At the same time you do not have to use those shocking words, “will you please examine the slates ! ” Whilstthe slates areout of yourhands,ask another spectator to write downthedeadname onthecard. Ask him, when hehas finished writing, to hold the card writing side downwards for,“ThoughI myselfplay little part in the phenomenon that is about to take place, it is as I do not seewhatyou have written.” wellif Bringing the envelope forward, the spectator pushes it inside. The action of sealing the flap gives theperformertheopportunity to glimpse the name written. The envelope, window side away fromtheaudience is now rested against some article of prominence in the room where it can be seen by the whole company. Taking back both the slates and the duster, all are placed uponthetable,theperformerthen opening the lid of the box and apparently removing a piece of chalk. Actually he takes bothpieces, theordinary piece beingheld at the fingertips whilst the faked piece is finger palmed.
One slate is picked up and supposing that the name glimpsedwas “VIVALDI” (This was the actual name I had at the S.P.R.) theperformer starts writing three lines of letters with the surface of the slate towards him. On the first line with the ordinary chalk he writes a set of letters. Now .as he comes to the second line he switches under the adequate coverof the slate, the pieces of chalk and now on this second line writes the letters forming the given name, in this case VIVALDI. He spaces them well, and as he writes he will find that the writing given by the chalk is practically invisible, but after a few seconds it comesup pure white matchingtheordinarychalk letters. Now again switching the chalks over he altarsthe letters forming the chosen name by adding lines or curves. In this case the V becomes an M, the I an E, the V an N. Nothing is done to the A. The L becomes a D and the final I a T. The following illustration analyses the make up of ordinary and fake chalk on the slate.
9 0 &ad
nkd/ir/e
/ r k C of
ffidrcace
ordmrry c W 4
The third line is composed of letters made with the ordinary chalk. Fewnames indeed there are which with the addition of lines or curves cannot be altered. If the name given is a short word, like SHAW, a word which does not lend itself easily to impromptu alteration, it is better to space the letters well so that ordinary chalk letters can go in between so that you wouldhave asa result B I S F H L A 2 W P. This would fill the line and destroy the name formation. Withthe writing completeon this slate, it is placed on the table and the other one picked up. Onone side, using theordinarychalkthe performer writes three lines of letters then placing this slate on top of the first. The piece ( ? ) of chalk is replaced in the box and the lid closed. In accordance with the necessary patter theme, the duster and first slate are taken with the left hand. Carefully showing that one side is blank andtheothercontainssome letters written in chalk, the duster is taken in the right hand and all the letters are erased from the slate which is then placed down on the table. The second slate is also shown to have writing only on one side. Now comes thecritical part of the trick. The slate is held by the left hand, long sides parallel with the ground, The whole of the writing on the slate can beseen.As the right hand approaches with the duster the free end of the slate isswung in slightly and the duster starts to erase the first line of letters. As it gets near to the end the slate is swung in so far that the surface cannot be seen at
4
all. The duster continues its work and comes back along thesecond line. What happens here however is that only the ordinary chalk is erased, the letters made with the the prepared chalk staying “ put.” Thedusterthen movesalongthe third row of letters erasing them. The duster is dropped on to the table, whilst the slate held in the left hand is dropped on top of the other slate. A rubber band is snapped around them and they are given to a spectator to hold. The climaxis near. Thepay envelope is opened andthe cardremoved.The name is readaloud. Finally theband is slipped from the slates and it is found that the chosen
name is written on one surface.
A few words. The handling of the slate when cleaning is the most important part of the trick. Just try cleaning a slate and you will find that it is the most natural thing in the world to turn it in as you clean. The process however must not be jerky. Don’t use anything else but silk for cleaning. Any material that is slightly abrasive will tend to erase the letters made in prepared chalk, which whilst using theformulaforwhat is generally called “ ChemicalChalk,” gets away fromthe filthy smelling Carbon Tetrachloride.
THE DIGEST BOOK TEST PETER WARLOCK HE EFFECT of this book test could hardly be more straightforward. On a business card a ,member of the audience writes a number betweenone andahundred,anotheranumber between one and twenty anda third anumber between oneand five. Anotherspectator takes this card together with a slate, chalk and a chosen book, goes to theend of the hall or corner of stage. He looks up a page represented by the first number, a line by the second and a word by the third. When he has found the word at that point he writes it on the slate. Everything so far including thenumbers onthecardhas been done without the performer having had the opportunity of obtaining any information. Asking the spectator with the word on the slate, to hold the latter in front of himself and concentrate upon the word, theperformer takes another slate andaftera moment’s pause starts writing with a pieceof chalk. The writing complete, the spectator is asked to turn his slate round and show the word. The performer turns his slate round as well and it is seen that both words are the same. The effect in the main depends upon a rather subtle switch of the card used for the numbers. I say subtle, foratno time does the performer handlethecardonceithasgone to thefirst person for the one to one hundred number. Requirements. One slate measuring approximately nine inches by seven inches. This means that the bed of the slate should be about sevenby four and a half inches. This is best made up. Quite an easy job using thin ply for the bed and stripwood for the frame. One flap to fit the slate. This should be made of sheet tin (iron) and painted with blackboard paint to match the bed of the slate, One larger unprepared slate. Some pieces of chalk. Two large business cards.
T
Four magazines of different sizes. One however should not measure less than eight inches by eleven. There are plenty of “ glossies ” about this size. This particular magazine is prepared as shown intheaccompanying illustration. Four openings are cut at the points shown andin them securedby sellotape (Scotch tape) are fixed fourstrong magnets.
Now with all these items at hand you are ready to prepare the stage for the test. On one of the business cards (actually a larger card could be used) put down in a column the numbers 1, 2 and 3. Now against each of these numbers place anumbercomparablewiththe choice given to the audience, i.e., against 1, place say 67, against 2, 15 and against 3, 5. Alter the slant of the numbers so that it would appear that more than onepersonhad written them. Now take one of the magazines and look at page 67, line 15 and the fifth word in that line. Remember that word and make quite certain that you do not forget the book that it came from. Stack the four books in a pile with the faked book on top andtheone with theremembered word in it, second from the bottom. Now place the business card, written side downard on the small slate bed and on top of it place the flap. The other business cardwiththenumbers 1, 2 and 3 in acolumn goes on top of the flap. The larger slate, chalk and books are close at hand.
5 Presentation. Pick up the card and taking a pencil from your pocket, ask a spectator immediately to your right to place a number between 1 and 100 against the figure 1. Tellhim that heisnot to letyou see what he has written. When he has completed the task ask him to pass the card writing side downwards to another member of the audience who is to write the number between 1 and 20, against the figure 2. He in turn passes it to the third person who places a number between one and five against 3. (If the audience is small it is suggested that one person places allthreenumbersonthecard). Now come forward with the faked slate asking the third person to drop the card writing side down upon it, for as the performer adds, “ it is most importantthatin no way should I haveany access to information written on the card.” The slate with the card on it is placed upon the table and another spectator is requested to come forward and assist. The four books are taken and and the position of the performer as he handles them is that the slate is on a table immediately to his left. With the spectator onhis right he counts off the books from right hand into left which has the effect of bringing the faked book to the bottom of the pile and the book with the remembered word second fromthetop.Therighthandtakesthe top two books leaving an unfaked and faked book in thelefthand.Anequivocalforce is used at this point, the performer making certain that the twobooksinthelefthand are eliminated first. They are placed down across the slate as shown in the illustration.
h The action must be casual and with two books leftintheright hand, the top one is passed to the left so that the one to be forced is in the right
hand.Withthespectatortakingthisbook into book his possession, thelefthandholdingits moves downand picking upthe two resting across the slate moves away and of course takes the flap andthecardabove it away with the faked book. All threebooksare placed upon a chair. To thespectator on the stageand to the audiencetheperformerhas never touchedthe card on the slate. Taking a piece of chalkand also the slate, the performer gestures towards the card and instruct3 the assistant to go as far from him as possible, read what is on the card apply it to the book and write the result upon the slate. The effect from the performers’ point of view is almost finished. He has only to write the remembered word upon his slate to complete the effect.
A few points. Make certain that the spectator assisting is not sitting with the writers of any of the numbers. Don’tuse it with too intimate an audience or in too small a room. It is designed for a platform show where conditions are favourable. If you know the names of certain people in the audience an additional effect may be obtained by writing on the back of the prepared card the initials of somebody you will ask to come up and help you. In this way preface the effect by turning to thisperson and asking him whether he will help you in amoment or two. With the affirmative answer ask for his initials and write them on the back of the card which you intend passing out for the numbers. Needless to say the card between the flap and the slate bears similar initials upon the back. Make certain you retrieve the card from the helper. Perhaps the most definite way is after having written the word on your slate, you place it against a chair back or something similar. You then say, “ you, sir, have written upon your slate, a word arrived at by the choice of three numbers written down by these three gentlemen here. Have you got the card with those numbers?” He hands you the card, and holding it with the left hand, gesture with the right, saying, “ even had I known the numbers, I could not have hazardedyour choice of book could I ? Now sir, turn your slate round and let us see the word you wrote.” The left hand has placed the card upon the table.” It is the word . . . . . .” says theperformer, “and you can see that I was completely in harmony with you forthat isthe same word that I wrote on my slate.”
..
.
DESIGN0 PETER WARLOCK HOSE who visited the I.B.M. Convention at 1952 (itdoesn’tseem all that Hastingsin time ago) may remember that Russell Swann who was over here at the time had a great deal of fun with the chemical ink which fades. Difficult to get over here for a while, it is now obtainable
T
from dealers. Offering a great number of opportunities for gags, hereisalittle effectwhich is suitable for after dinner work. On the performer’s table are a white silk handkerchief, two small bottles of ink,one red and one black, a pen and a pack of cards. A card is
6 selected from the pack and the conjurer tells his audience that he hasjustfounda newway of divining the name of a chosen card.It is donewith the aid of coloured ink and even a member of the audience can do it. Therefore the chooser of the cardisasked to trythismodernmethod of determining chosen cards. “ First of all, however, there is one thing we must know, and that is the colour of the card, whether it is a red or black.” The spectator says that it is a black card. “ Right,” says theperformer, “all youhave to do is to spread this handkerchief flat on the table (the action is suited to the words) dip this pen in the black ink and shake it on to the handkerchief. something peculiar in the make up of the pen will cause the ink to form into the name of the card you chose.” The victim dips the pen in the ink and shakes it on tothe handkerchief the result being no more than two or three blobs of ink. “ You don’t seem very successful,” says the conjurer, “ so try again.” More ink, more blots ! Taking the bottle of ink with hisrighthand, the conjurer tips the table towards the audience so that they can see the result of the application of the ink. “ Look sir, I don’t think that it is due to any deliberation on your part but quite frankly we don’t seem to be making progress ; just keep the name of your card in mind and leave the rest to me.” Atthispoint where the spectator is dismissed, the performer shows both sides of the handkerchief to thespectators,thenclosing his left hand into a fist he pushes the inked silk into it with his right hand fingers. Now sir, just tell me the name of your card? ” Supposingtheanswer is the “Ten of Spades,” the performer withdraws the silk from his hand showing that the blots have disappearedand in their place are written the words, “Ten of Spades.” Theworkingrequireslittleexplanation.The necessary bottle of ink duly corked, another bottle containing red ink,two twelve inch white silk handkerchiefs,ahandkerchiefcolourchanging fake and a pack of cards. One of the handkerchiefi is prepared by painting with black paint the name of a black card upon it. Wewill keep the ten of spades in mind. The
best type of paint for this kind of work is sold by Winsor and Newton. It is easy to apply and once onthematerial will standupto washing. This silk is now tucked inside the changing tube which is dropped into one of the easily accessible right hand pockets. The other silk is tuckedintothe breast pocket whilst the bottles of ink, pen and pack of cards are on the table. The pack may be prepared or unpreparedaccording to theindivof idual, but the sober fact remains that the ten spades hasto be forced in the most natural manner. Presentation.
Force the ten of spades upon the spectator who youintendshall assist you. Lethim rerain the card of his choice and drop the remainder of the packintoyourpocket at the same time getting on the possession of thecolourchangingfake right hand second finger. The hand comes out of the pocket, the tube being easily concealed. Reach up to the breast pocket andremove the unprepared handkerchief. Place it on the table and have the chooser of thecard on your left. Instruct him regarding the ink and after he has told you that the card is black remove the red inkpot from the table. He now spatters ink over thehandkerchief, and holding the black inkpot with the right hand the table is tilted to show the damage. This is a good comedy situation.Thetable islevelled andthe inkpot replaced, the helper taking his seat. With the fake still held on the right hand second finger pick up the handkerchief, the left hand taking one corner so that thedamage is visible to the audience. Don’t hold it to long in case the fading commences. In running the silk through the left hand fingers release hold of the fake so that it is held inthe left fist, and then with the second finger of therighthand commence pushingthe damaged silk intothe left fist. Don’t allow the other silk to expand over the hand, but when the damaged silk is completely in the tube and a steal of the fake has been made with the right hand, ask for the name of the card. As it is given allow the silk held in the left hand to expand and then open it out with bothhands, showing how the blobs of ink have formed the name of the chosen card.
A N ANGLE ON CLIPPO PETER WARLOCK HOUGH the thought must have occurred to anumber of people we cannotremember seeing Clippo worked in this fashion. It is for use with a two person act. The performer takes a yard long strip of paper, the whole length of which has been prepared with cement and powdered, and holding the strip high allows it to hang from his left hand. The assistant who is left of the performer holds the bottom of the stripwith her left hand. With a pairof scissors
T
in his right hand, the performer cuts through the strip about six inches from the bottom. Thissmall strip which is heldby the assistant is passed by her to the left hand. More cuts are made so that finally with the addition of the piece left in the performer’s lefthandthereare some six pieces held by theassistant.Taking these pieces and apparently trimming the ends, the performer holding one end allows the paper into one completely restored strip.
7 The effectlooksa miracle andthe only thingthe necessary is that theassistant when placing the papersinher left hand should see that they are kept in alignment. If they criss cross too much,
performer will have to do some shaping up unless he wants a restored strip of paperthat staggers alongits length.
-
HE main magical event of this month was TheMagic Circle’s Magic Festival at the Scala. It proved a better money maker than the one of 1955. The magical content was small. Starting with Leslie Lester, who with fast (in some places too fast) card and cigarette manipulations completed his stint with the s t a c k of tumblersproductionala Booth. Albert le Bas, new to the Circle butnot to I.B.M. members, started the comedy ball rolling and for this purpose used theburnt and restored treasury note, aerialtreasury and a nice silk production.June went through her usual “ Strip a trick ” routine, adding as makeweight, a dogproduction effect of the late Arthur Ainslie’s and the “ Cremation ” illusion. Bobby Voltaire, abandonning his usual electrical act, brought more comedy with another treasurynotetrickand some small magic, the whole accompanied by a torrentof broken English. To close the first half of the programme, Milton Woodward with his “ W o n d e r Bar ” brought colour, movement, many drinksand of course, more comedy. The pace and ease of thisact showed its undoubted booking value. The curtain up on the first act in the second half. Rhoda Diane, aglamorouscartoonest, deserved a better spot for this most refreshing novelty act. Back to the laughs again with Pat Hatton and Peggy. Also back to the cut and restored rope and the the first sword impalement. A good vaudeville act, but the magicians were still waiting for some magic. Next, A1 Koran with undoubtedly the slickest mental act in Britain to-day. Good magic which registered well, but A1 should be far more careful in his treatment of ladies on the stage. To close the show came Les Andreor and partner, giving much the sameact which they had performed only a matter of days back at the British Ring Convention at Brighton. Mechanical pieces deftly used, but the sight of yet another sword impalement problem sent one magician friend of good taste from the theatre muttering “ Ichabod.” To complete the record, Billy McComb compered.
T
The first-night audience seemed to appreciate and enjoy the show though there were no showstopping acts. One missed the truly mysterious as well as the easy style of the Dutch manipulative school. On Wednesday, the 31 st October, we shall watch RudiIlenteattempt the HoudiniWater Torture Cell escape. It willbe presented ina passage way under the Hearts of Oak Buildings. We wish this young student the best of luck and hope that the evening will not be too cold. The next issue of the “ Pentagram ” bring readers a delightful. close-up coin effectof John Derris’s. Simple to handle and with a very good finale, it should be a must for table top workers. The Brown item in volume 10 has brought some interesting sidelights onthe effcct. Dai Vernon, Alex.Elmsley and Jack Yates have all added subtleties and possibilities which make for easy location of two mentally chosen cards. Whilst so often we hear magician lecturers bemoaning the treatment they have received when visiting magical societies, our own reception and the hospitality we have received has been all that one could desire. We have delightful memories of Leamington earlier this year, and last week a trip to Bournemouth and a talk .and demonstration was all the more enjoyable because of the way we were looked after. A special vote of thanks to our hosts, Mr. and Mrs. Laurie. For the second year we are staging a magic show in Wallington, in aid of a most deserving charity. Ourthanks go to theartistes coming along. They are A1 Koran,TheGreat Masoni, Shan, Harry and Marjorie Fletcher, Michael Bailey, John Salisse, Alfredand Cecilia Gabriel and Gil Leaney. The following week sees another magical show not many miles away, namely at Cheam, where our friend Francis Haxton is staging a show, the proceeds of which will go to the S.P.C.C.
ANNEMANN’S FAMOUS JINX PROGRAMMES 1
THIS series of five magical and mental programmes has been specially cornpiled for the magician who wants ready-made professionally routined acts of the highest order. They contain seven t o eight effects each, and run for 20 or 30 minutes, according to thespeed of presentation. Each act is fully routined; there is an outline of the act, full list of the requirements-most of which will already be in the possession of the average magician, a suggested opening
1
No. 1. Act Club
address and patter outline for the effects. Each effect is fully described and. where necessary, illustrated. so that even a beginner could produce a first-class professionally routined act with but a few evenings practice. The average Cost of providing the props for these acts wousd be 20 to 30 shiilings each, but despite this low cost the routines are full of entertainment value and visual appeal.
No. 3. Programme Magical Club
of Magic
This magical club programme, like No. 1. is suitable for club or dinner This programme of magic runs for about 25 minutes and theprops can be carried in a brief case. It opens with one of the most beautiful cigarette pro- shows and private parries. A flash cut and restored ribbon opens the act and is duction tricks conceived, this cigarette immediately being vanished by the follow-d by a terrific cardroutine,asimplebut effective card in balloon cleanest of all methods. A routine with a pound notefollows. the note vanish- (without theusual expensive props ), a beautiful pound note andlemon routine ing and appearing in the most unlikely places. The act runs through a humorous and a final closing number by Keith Clark. Everything could be carried in a item by Leslie May, a baffling mental or psychic item by Annemann and Dr. brief case except the last item you will therefore need instead a small suit cmc. Jacob Daley’s great Thought Card Pass t o a final card trick that will amwe, but theweight will be very light. baffle and intrigue the audience.
No. 4. “No Card ” MysteryAct
No. 2. MentalClubAct
‘ 1
1 1
mental act that can be carried in a brief Here is a one person 30-minute case, and ranks with the best. Seven super mental effects demonstrate rnindreading, sympathy, the ability of the performer to tell when a spectator is telling a lie, a great impromptu newspaper test,atriplecoercion effect, a baffling living and dead test and the final demonstration of Extra Sensory Perception.
No. 5.
‘‘No Code” Telepathy
This two-person routine utilises no codes at all. Its running time is about 30 strate pseudo telepathy between two people, and are‘foutined SO that the !:a minutes and the ne:essary props can be carried in the pocket. I his is a terrific builds up to the grand climax of Annemann’e great l houghts in the Air boon to themarried magician who, after an evenings practice can walk in any- routine. where, without case o r bag and go rtraight into the act. The six effects demon-
Each routine is described in a neatly printed and fully illustrated book Price each S/-. Postage 4d.
l
l
Magicians who prefer not to use card tricks in their acts will PO for this one, for as the title implies, it is a 25-minute act with not a single card trick. The total carrying weight is about six pounds. The classical cigarette opens and is followed by a novel visible cigarette vanish. A lovely coin routine of Ottokar Fisher’s is followed by an amusing and unusual production. Three more off-the-beat effects are followed by Annemann‘s sensational Blackboard Mystery which brings the act ton grand climax.
THE MAGIC W A N D PUBLISHING COMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
A THIRTIETH CENTURY MENTAL EFFECT.
The MYSTERY of THE THREE COLOURED BOXES The audience see three smallish attractively decoratedcoloured boxes on the mentalist’s table.One is white, one black and one green. The actual size is 3in. X 3in. X 2in. Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green. On a large visiting card, the mentalist writes something. The card is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to namea three-figure number which is noted. Two more messages are similarly written and placed respec-
I
PETER WARLOCK, 24 WORDSWORTH ROAD, WALLINGTON, SURREY PETER
The Magic Circle clubroom and Library
Particularr
Iron, Hun
Secretary :
Newcombe 38 Overdale Avenue N e w Malden, Surrey Peter
published en the 24th of each month and be obtained direct from the publtehcrs for l17 per Eingle copy. Annual Sukrigtion 181-
IS
can
and Museum :
Hearts of O a k Buildings, Euston Road. London, N.W.1. Marical Theatre . King George’s Hall, W.C.
WARLOCK’S
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
I
tively in the black and green boxes. Mr. Black choosing a City and Mr. Greena playing card. The pay off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case tile mentalist has correctly forecast their particular choices. Completely mechanical in working thus leaving the mentalist free to makethe most of his showmanshi The Mystery of the Three Coloured Boxes,” made o n t to order, comes complete for f 6 IOs., post free. Made only t o Order
p a t free.
I
PUBLISHED BY: The Magic Wand Publishing Co.
62 Wellington Road, Enfield Middlesex
hanuocriptr for prbliatiom and book fer review shodd be sent to the: EDITORIAL ADDRE3SS:
Peter Warlock, Wallingtan,
24, Wordsworth Rd., Surrev.
]ACK
HUGHES
will be pleased to wnd you full details of
THE DE LUXB “SU-TABLE” together with all hi8 other effeetr in ruturn for a stunp. write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser% goods are- fully endorsed by this Bulletin PUBLISHED BY THE PROPRIETORS T H E MAGIC WANDPUBUSHINOCOMPANY, 67 WELLINGTONROAD,ENPIELD.HIDDLBSEX A N DP R I N T E D BY HBRBBRT WALKER & SON (PRINTERS)LTD.,BRIDGE W O R K S , SHIPLEYIYORKSHIRE
1
TH.E JOJAMAJO CAP AND COINS MYSTERY JOHN DERRIS
HE ORIGIN of the cap and coins trick is somewhere in the early days qf commercial magic and recent research on my part to uncover its beginning has been fruitless. George Davenport marketed the effect before the war and since 1946 has sold an improved version which is still available to-day. The style of manufacture is reminiscent of Brema and it is possible that the first model was made in his workshop, but I have found no evidence to substantiate this possibility.
T
The basic effect is very simple. Three pennies and a small brass cap are shown and the coins are stacked together and placed on thebackof the hand and covered with the cap. The magician taps the cap with his finger and a coin drops on tothe tablefromunderneath the outstretched hand. Upon lifting thecap onlytwocoins are seen, the cap being empty, proving that one coin has actually penetrated the hand. This straightforward effect was performed in this manner for many, many years and as far aswe know the first man to give any thought to developing this fine trick into a routine was that master of the closeup art.Johti Ramsay. When he first showed his version it hadmany knowledgeable magicians worried for they were unable t o detect the usual gimmick, such was thecunningofhisroutine. The next man to give new life to the cap and coins was my goodfriend Jack Avis andhis version is full of typical Avis subtleties which are, as with John Ramsay’s routine, designed to fool the magician possessing knowledge of thegimmick. After Jack came a routine by that brilliant Dutch magician, Marconick ; this was published in “The Gen” and once againmany clever ideas were evolved around this simple piece of apparatus.
VOLUME I I, No. 2
-
The principle used in this, my own version of the effect, was employed in a slightly different way some years agoby myself, but 1was not very enthusiastic about the handling at the time so the idealaydormant until recently. The effect is briefly as follows. The magician uses a glass cap tumbler, a pockethandkerchief,thebrass and four pennies. The four coins are shown quite freely on both sides and one at a time are placed into the cap. The cap containing the four pennies is laid in the middle of the handkerchief which is held between the two hands. Holding the handkerchief over the tumbler the magician says that he will cause one coin to leave the cap and pass right through the handkerchief. At thispoint a coin is seen and heard to fall into,the tumbler and on lifting the cap only three pennres are left. The four coins andthecapare again shownquite freely.
Atthe beginning of theroutinetheitems used are set up in the following way. The pocket handkerchief is pushed inside the tumbler which restsupsidedown on the table, whilst the cap
I/6. (20 Cents)
-
NOVEMBER 1956
10
containing four loose fitting pennies is on top of the tumbler, coins uppermost. The gimmick coin is held in the classic palm in the right hand with the penny side of the coin away from the palm(1). With the right hand pick up the tumbler and toss the cap containing the coins into the air and catchtheminthe left hand ; thenreplacethe tumbler on the table. Taking the cap in the right hand you tip all the coins out on to the table and place the empty cap open side uppermost behind
the pile of four coins. As you mention that you use just four coins for the trick you pick up one of the pennies with the right hand, move towards the open left palm and as you do so you tap the coin against the side of the upturned cap causing it to ring (2). The coin is then tossed into the left palm so that it falls roughly into the classic palm position. This processis repeated with the remainingthreecoins,ringingthemeachtimeagainst the cap and tossing them into the left hand. As the fourth coin is thrown into the palm you then tip all the coins into the right hand, retaining one of the pennies in the classic palm in the left hand. The three coins have now been added to the fake coin which has been palmedintherighthand, and to all appearances you have just transferred the four coins fPom hand to hand.
The coins are then bounced a couple of times and picked up by the lingers and spread into a
fan as you again stress, “just four coins ” (3). The fake coin is at the top of the fan and nearest to theperformer.Picking up the cap with the left hand and holding it open side towards the performeryou place thefake coin intothecap pressing it home with the left thumb. As you do this the hands areheld in front of you at shoulder height. The remaining three coins are also placed in the cap one at a time in the same way, and the cap is then held in the right hand and shown to the spectators. It is then placed back on top of the upturned tumbler, coins uppermost. With the coin still palmed in the left hand you pick up the tumblerand with theright hand you takethe corner of the handkerchief and pull it from the tumbler which is ?hen replaced on the table. The handkerchief is held by the two corners between thehandsandthenthrownoverthe left hand, palm uppermost ; as this is done you shake the coin palmed in the hand to the fingertips where it rests. The cap is now taken from the top of the tumbler and placed on the handkerchief so that it lies directly over the coin which is underneath (4).
With therighthand you turnthetumbhr over so that the mouth is uppermost and as you lean forward to do this it is quite natural to place the left thumb on top of thecap,throughthe handkerchief, to preventitfrom sliding off the on top you palm. But as youplacethethumb
press the cap hard between thumb and fingers so thatthe coinunderneaththehandkerchief is is wedged inside the bottom of the cap. The cap is then placed with the handkerchief on the table alongsidethetumbler.The h a n d k e r c h i e f is straightened out and then heldby the hands at theleft and righthand sides andlifted off the table and held, so that the cap is positioned over the tumbler. Stating that you will make one coin leave the cap and pass through the handkerchief you pull in opposite directions with the hands and this causes the wedged coin to be ,released from
(5).The its hiding place and to drop into tumbler the handkerchief with thecap is laid onthe table again and the cap is lifted and shown to be empty and the three remaining coins are spread and then picked up one at a time and dropped singly into the tumbler. All four coins are then tipped fromthe tumbler into the left palm and from the left palm they are tipped into the right palm in the same way as at the beginning of the routine. You finish as you started ;with four pennies, the cap, the tumbler and a handkerchief, and at the end, you have made magic.
BROWNWAVES ALEX ELMSLEY HE METHOD of havingacard chosen wherein aspectatorcuts off some cards, counts them to arrive at a number, and then remembers the card at that number in the rest of thepack,has always been very popular with mathematicallyminded magicians, if not with their audiences. Edward Brown took this further by doing it to two spectators at one and the same time. By kickingtheidea arounda bit, I have found two versions, working on slightly different principles from Brown’s. Brownwave No. l. This is acard discovery of thetype which has been called an “ interrelation ” discovery, the reason being thatthe magician does not know where either of the chosen cards may be, but he does know that there is a certain relation between the positions of the cards. By doing various things with the pack this relation can be changed to suit the magician. The commonest revelation used in this type of location is to divide the pack into two packets and to show that the two chosen cards are the same distance down, one in each packet. By correct presentation the magician can give the impression that he knows thepositions of both cards, instead of neither. Routine You muststart with afullpack of cards. Hand them out to be shuffled, and ask two spectators each to take some of the cards. Suggest a third of thepack or less each,andparticularly ask them to cut off different sized packets, as you do not want to risk them both having the same number of cards. The remainder of the pack is returned to you. Ask both spectators to counttheircards secretly, and to remember the number they arrive at. Then show cards from the top of the packet you hold one at a time to the spectators, asking them each to remember the card that he sees at his number. Do not alter the order of the cards in counting.
T
When you have counted out twenty-six cards, ask the spectators if they have seen their cards, which they should have. Then cut your packet at this point. If, however, you have less than twentysix cards, you must cut sufficient cards from the top of thepacket to thebottom to makethe count up to twenty-six.
Now ask one of the spectators to take both theirpackets,and to shuffle themtogether. Cut your packet as exactly in half as you can manage, and have thespectators’cards replaced inthe middle of your packet. Mathematics being what they are you must now take the bottom card of the pack and push it into the middle or the trick will not work out. Atthisstageyou mayif you wish, false shuffle, or pass the time in any other way to which you may feel inclined. Then divide the pack in two by counting out twenty-six cards onto the table, reversing theirorder.Thetwo chosen cardsare now the same distance down in each half of the pack, and you may reveal them as you think fit. One possibility is as follows. When you arecounting off and reversing twenty-six cards, do so with thepack face up, takingthecardsfromthe face, andaskthe spectators to watch for their cards. On reaching twenty-six, ask if either of the cards has been seen. Onespectator will say, “ yes.” Hand him the counted off cards, and hand the other spectator the remaining cards. Now have both spectators deal cards in time with each other from the tops of their packets, but while one spectator is to deal his cards face down, the other is to deal his cards face up, and is to shout “ stop ” when he sees his chosen card. When he shouts “stop,” ask the first spectator to name his card, and then to turn over the card at which he was stopped. Climax.
12
Brownwave No. 2 In this routine the magician really does find bothcards. It involves an interestingprinciple, for although it is a key card type trick, no key cards are used. Instead, all the work is done by holding a break. If, however, you dislike breaks, you will find that the routinecan easily be adapted to the use of two crimpedcards,one atthe bottom of the pack, and one thetwenty-sixth card in the pack. Routine As in the last trick,you must use a full pack. Also, when you start, you must have a little finger break right in themiddle of the pack, i.e., beneath the twenty-sixth card. You may get this break by any means which appeal to you. Thus, while toying with the cards you may cut the pack for ‘a perfect weave, check the accuracy of the cut by startingthe weave, andthenapparentlychange yourmind about shuffling and reassemble the pack with a break between the halves. Be this as it may, you have a break in the middle of the pack. Ask a first spectator to cut off some cards-youmay suggest athird of the packor less. Thisdone,lookaroundfor a second spectator to assist you, and while looking around, cut your cards at the break. When completing the cut do not square up straightaway but first take a new break between the cut packets.
Ask the second spectator also to cutoff some cards, and you may again suggest a third or less. Anyway, you must finish with morecardsthan either of the spectators. Now ask both spectators to count their cards secretly, and then to put them into their pockets. While they are counting, hold your own cards so that youcan see thebreak. It will probably be nearer to thebottomthantothetop of your packet. If, however, it is nearer the top, again cut at the break and take up a new break between the cut packets. Explain to the spectators that you are going to show them cards one at a time, and that each is to remember the card lying at his number. Start showingcardsfromthe top of thepacket you hold, without reversing their order. Count yourself as you show the cards, and when you come to the break, remember the number of cards above it.This is your key number which is going to locateboththechosencards.Dropthebreak, andcarryoncounting. When you come upto twenty-six, ask if both spectators have seen their cards, and then cut the cardsat this point,i.e. put the twenty six cards counted off back beneath the remaining cards. As in the last trick, if there are
less than twenty-six cards, cut or shufle sufficient make the cards from the top to the bottom to count up to twenty-six.
Now you are all ready to finish and you may throwinafalse shuffle. Remember when you looked to see whether your break was nearer the top or bottom of the packet 2 If all was well then, you are going to discover the first spectator’s card first. If the break was nearer the top,and you had to cut your cards, you are going to discover the second spectator’s card first. Hand your cards to the appropriate spectator and ask him to deal them down onto the table. Count the cards to yourself, and call “ stop ” as he is holding the card at the position corresponding to your key number. This ishis card. After he has beengiven a moment or two to recover from his astonishment,ask him toretain his chosen card, to drop his remaining cards on top of the dealt cards, and then to passthese cards to the other spectator. The other spectator is also to deal cards onto the table, andhis card is discovered in the same manner, by calling “ stop ” when you reach the key number. Ecstatic cries from the audience of “ Mmm,” “ Seen it,” “ I’m afraid I must go now.” Collapse of magician from brain fatigue. Magician’s wife calls on the editor of the Pentagram with a horse whip. Escape of editor, standing on top of a train making predictions.He is knocked off by a low bridge and dies muttering “problems.” As many wills arefound as there arehopeful legatees possessing Dr. Jaks knives. Civil war. End of civilisation as we know it.
Notes In No. 1; instead of cutting the cardsyou are showing thespectatorsat twenty-six, and subsequently placing acardfromthebottominto the middle, you may cut at twenty-five, and place a card from the top into the middle, for example with a slip cut. In both routines instead of counting right up to twenty-six (or twenty-five if you are using the suggestion in Note 1) when it is obvious that both spectatorshave seen theircardsquite early on, you may stopthecountearlierand cut. Then spreadthecards while saying that you cannot know where either of the chosen cards are, and mark off sufficient cards from the top to make your count up to twenty-six (or -five as the case may be), square up, and cut these cards to the bottom. In No. 2 you may find it simpler while showingthecards,instead of holding a little finger break, to jog all the cards above the break about one tenth of an inch to the right. and to keep an eye on the jog while counting.
13
THOUGHT ON A MENTALLY SELECTED CARD JACK YATES N THIS effect the spectator after shuilling the pack, cuts off about a third of the pack. Out of the performer’s sight he counts the number of cards he has cut, drops them into his pocket and then, supposing that the numberhe holds is fourteen, looks at the fourteenth card from the top of the remaining cards. Before taking the cards from the table the conjurer suggests that in case he, the performer, might be accused of making some calculation, that thehelper cuts off a portion of talon from the bottom. Now taking the remaining cards, the conjurer glances through them with the appar-
I
ent objectof trying to find the noted card. Actually he counts the cards and supposingthe total comes to twenty-four.Thisnumber he subtracts from fifty-two givinghim a key number of twenty-eight. Now with the appropriate patter that will make the action casual, the helper places the cards he cut from the bottom on top of those held by the performer.Thisautomaticallyhasthe effectof bringing the chosen card to the key number, and with this information the performer can reveal it as he wishes.
TUMBLEJACK JOHN DERRIS OT A NEW trick, not anew sleight, but anew card flourish that has not theslightest chance of making magical history. Every magician has his favouriteselection of card flourishes which he displays from time to time and usually he is very reluctant to adopt and practice any new ideas that are published. So, happy in the knowledge that no magician is going to use this flourish and I have an exclusive on my hands I hereby describe to you-Tumblejack. Holding the pack in one hand the magician deals off the top card with the finger so that it tumbles over and over onto the table landingface up or face down according to the whim of the magic maker. Useful for dealing one or a number of cards to a spectator in the course of a trick, for use by honest Black Jack dealersor forimpressing newly joined members in your magic club with your undoubted ability with the pasteboards. Thedrawing shows how thepack is held and here is a graphic move for movelaccount of the
finger breaking execution of this almost useless flourish. The short sides of the pack are held in the right hand between the thumb and thesecond and third fingers with the long side of the’cards nearest the performer. The cards are face down and the pack is held from underneath so that the hand is palm uppermost. Pressure is exerted with the holding fingers and thumb so that the pack is slightly bridged. The first finger curls around the far side of the pack and rests on the top card. This finger slides the top card until it is overlapping the pack by approximately The fingernow snapsthe card downwards using the edge of the pack as the point of leverage maintaining the pressurewith the thumb and fingers as you send the card tumbling away from the pack. By judging the distance from the pack to the table you can make the card land either face up or face down and with practice you can deal the cards rapidly so that they fall one on top of the other. Selected card is,say, seventh from the top. Six cards are dealt one at a time face down onto the table but theseventh card falls onto the packet and lands face up-the selected card. A note on a variationof handling. If you allow the first finger to fall on the top card so that it is positioned off centre, the card will not somersault from the pack but will spin away from the pack in the same as when a card is “ boomeranged.” Thisenablesyouproject the card to a greater distance than with the tumbling method. Get your cards out, contort your fingers and then go back to sleep.
a”.
14
BOOKS “EVERYBODY’S BOOK OF MAGIC” by Will Dexter (Published byArc0 Publishing Co. Ltd., Price 10/6) There are many thousands of books dealing with the varying phases of the magic art. In the main their field has been concise and limited. Will Dexter’s bookbreaks new groundhowever,for good journalist as he is, he aims to interest both laymen and magicians without theneed for cluttering their minds up withdescriptions and explanaof tricks tions of tricks. In factinthematter proper there are only ten in the book, the contributors bearing quite hallowed names. The narrative might be likened to a journey, for in the main serves it the purposeof making the reader a traveller touring the realm of magicdom,. He soon learns that the true secrets of magic are not the mere means, but something that is part of the magician himself, and armed with this knowledge at an early stage he is better able to view the changing aspects of the picture of the magical world unrolled before him.
He learns what a“ Gimmick ” is to amagician, he finds that the underlying secret of mindreading is applied psychologymixedwith a dash ofelementary conjuring. He makes his first visit to the Magic Circle clubroom and becomes acquainted with the International Brotherhood of Magicians. He is confronted withlists ofdealers and magazines and finds that whichever part of these blessed isles that he chooses to reside, the Magical Society is omnipresent. He is introduced to the personalities of magic ; the performers, inventor5 and even editors of magazines. Whether the pen pictures aretrue ones, he will soon find out for himself, for by the time that he has finished readingtheabsorbing contents he will have decided that he must become an inhabitant of this precious country instead of being a sightseer. More than merely interesting, this book is a ‘‘ Must ” for every magician, For the record, page page size 6 by 9 inches cloth bound, one hundred and eighty pages.
HE publication in a previous issue of the late duplicated thefamous feat of Iioudini’s, “ The Edward Brown’s “ Discovery of Two MentChinese Water Torture Cell ” illusion. Our report ally Selected Cards,’’ brought us quite a deal in The Stage will antedate this by many weeks, of correspondence, including aletterfromthe but we should like to pay a tribute to the sincere Professor himself, DaiVernon.With his permanner in which this youngster of ninzteen years mission we hope in a f u t U r e number of this presented a most sensational feat. Those present bulletin to publish his handling of this mathematical were mainly press, and as far as we could judge problem. In the meanwhile we publish a version there were only a matter ofhalf a dQzen Circle by Jack Yates andalso two ideas of Alex. Elmsley. members present. They included Francis White, Whilst Jack has kept a purely mathematical format,Peter Newcombe, Michael Baileyand JohnSalisse. Alex.,by natural handling, has disguised the The weight of thewater in the tankfor this mathematics involved. All the methods are prac“ Upside Down ” escape was one ton, and the chief tical and will p l e a s ethosedevotees of card concern of the presenter was whether the glass in location exercises. the tank would stand up to thepressure. All went Just a note too on the John Derris item. The well however, and the press gave this lad a terrific Jojamajo cap and coin mystery is one of those reception when he emerged safe and sound. Flash rarities, a close-up trick that can be used with a bulbs flashed andcameras clicked. Hadit not considerably larger audience. Thehandling is been fortheprecedence of war news onthe clean all the way through and calls for little skill. succeeding day, “ Rudilante ” would have garnered We are certain that this version will give new life a terrific press. tothe inexpensive gimmick required to achieve Another interesting Circle event, which so far the effect. we have not seen reported, was the occasionwhen Congratulations to “ Rudilante ” the young a group of International Boy Scouts made a visit. medical student who on Hallowe’ensuccessfully This was aspecial night arranged by Eric Franklin,
T
is and in the main the Circle members present were those who took part in the show, a show which was “ bang on ! ” from the word go. Giving their best were HerbertJ.Collings,Francis White, Michael Bailey, the Editor and Stanley Thomas. We are very interestedinacquiring Jordan material. Apart from the specialissues of Jordan’s tricks put out by Annemann and his books, there must be quite a vast amount of Jordan material in manuscript form in this country. To ourknowledge Stewart James has a vast collection, but not
complete. If any reader has any material outside the books and Annmann issues, we should be more than grateful if we could have a sight of the items for private duplication. Not so far in the future, one’s thoughts will go to the next I.B.M. Convention which is to be held at Scarborough. The Grand, whichwillbe the Headquarter Hotel should prove an excellent venue, for its accommodation in theway of public rooms exceeds most of those which have been used in previous years.
‘‘ POSTHUMOUS INFLUENCE” G. E. ARROWSMITH
ERE is an original routine with a standard prop which has proved to be effective for a close-up audience. As seen by the spectator this is what happens. A photo frame that contains the portrait of any well known deceased magician (or, for that matter, of anyone else) is introduced as an article that is endowed with strange magical power-the influence of the former miracle--worker still pervades it, and enables it to do theimpossible. “ Don’t take my word for this,” says the genial performer, “ secing is believing, so let me convince you by a simple little experiment. First of all we will remove the photo from the frame.” He suitstheaction to thewords,and the audiencecan see thattheframe is undeniably empty. He then hands out a dozen or more paper slips and asks each holder to write the name of any animal-the number of letters not to exceed half a dozen. These slips are thenfolded and placed in the performer’s side pocket after someone has removed its contents and satisfied himself that it is empty. A pack of Lexicon cards is next shown and thoroughly shuffled. Someone drawsone of the slips from the performer’s pocket, having a perfectly free choice. Says the Magician, “ Obviously I cannot tell what animal is recorded on your paper, you do not know, none of the audience knows, and, what is more, we won’t know until you unfold it and read it out. Butthisframe, owing to theposthumous influence of its former owner (who, you will remember, was a famousmagician), this frame, I repeat, does know, and will reveal it to you in a miraculousmanner. Wewill put thispack of Lexicon cards in contact with it, and wrap a silk handkerchief around both,thus.Now wewill place the folded slip on the package, and allow a few momentsfordeepbreathingandmental concentration ”-pause-‘* That is sufficient. If our experiment has been successful we will find that the magic frame has drawn from the pack the actual letterswhich will spell the nameof your chosenanimal.Pleaseopentheslipandread what is on it, The word C A T ? Tbank you.” The handkerchief is removed, and, sure
H
enough,insidethe previously emptyframeare three letter cards C A T. The secret is simple-a sand frame (a most useful prop of Prof. Hoffman vintage) butstill obtainablefrom a magical dealer,)andacoat pocket-a side one for preference- that has been converted into a double pocket on the “changing bag” principle. Into one of its divisions a dozen folded slips are loaded each containing the word C A T. A haudkerchief, knife, keys, or-what-have you, areputintheother division, and in due coursetheseareemptied out by thevolunteer assistant,theperformer obiigingly holding the pocket open for him, and, by so doing, making it impossible for him to draw from the wrong division. This explains thefcrcing of theword. Incidentally I claim originality for theidea of using a coat pocket as achanging-bag, although I expect my claim will be challenged immediately by a score of other magicians ! As to the sand frame. I have had one of these by me for many years but have seldom used it, for it seemed to me to be an unconvincing prop. The weak partaboutit istheinability to open the back and so prove its emptiness. But the method employed inthepresent effect overcomes that difficulty. To set the frame first insert the photograph and behind it place thethreelettercards.With the sand out of sight, and the photo visible, it will appear to be a very ordinaryarticle. To empty the frame the backis turned towards the audience, and, by thesame movement, it is reversed so causing the sand to function. The back is opened slightly and the photo removed, leaving the cards in place, but on turning the frame round they will now be invisible owing to the sandscreen. To the audience it will seem that you have removed the photo by opening the frame and then have shown it to be unmistakably empty. Further explanation is superfluous. The whole success of the effect depends on those two invaluable qualities-showmanship and cheek, and when you come to think of it,those priceless ingredients form the greater part of most magical marvels ! Geo. E. Arrowsmith, M.I.M.C.
ANNEMANN’S FAMOUS JINX PROGRAMMES HIS series of five magical and mental progrnmmee has been specially com- address and patter outline for the effects. Each effect is fully described and. Tpiled for the magician who wants ready-made professionally routined acts where necessary, illustrated, so that even a beginner could produce a first-dass of the highest order. They contain seven to eight effects each, and run for 20 professionally routined act with but a few evenings practice. The average Cost or 30 minutes, accordingto the speedof presentation. Each act is fully routined;of providing the props for these acts would be 20 to 30 shillings each. but of entertainment value and visual there is an outline of the act, full list of the requirements-most of which despite this low cost the routines are full will already be in the possession of the average magician, a suggested opening appeal.
No. 1. Club Act of Magic
No. 3. Magical Club Programme
This magical club programme, like No. 1. is suitable for club or dinner This programme of magic runs for about 25 minutes and theprops can be carried in a brief case. It opens with one of the most beautiful cigarette pro- shows and private partics. A lash cut and restored ribbon opens the act and is ductiontricks conceived,thiscigaretteimmediatelybeingvanishedby the follow.-dbyaterrificcardroutine,a simple but effective cardinballoon cleanest of all methods. A routine with a pound note follows, the note vanish- (without the usual expensiveprops ), a beautifulpound note andlemon routine ing and appearing inthe mostunlikely places. The act runs through a humorous and a final closing number by Keith Clark. Everything could be carried in a item by Leslie May, a baffling mental or psychic item by Annemann and Dr. brief case except the last item you will therefore need instead a small suit case, Jacob Daley’s great Thought Card Pass t o a final card trick that will amuse, but the weight will be very light. baffle and intrigue the audience.
No. 4.
No. 2. MentalClubAct Here is a one person 30-minute mental act that can be carried in a brief case, and ranks with the best. Seven super mental effects demonstrate mindreading, sympathy, the ability of the performer t o tell when a spectator is tellingalie,agreat impromptu newspapertest,a triple coercion effect, a baffling living and dead test and the final demonstration ofExtraSensory Perception.
No. 5.
‘‘No Card
”
Mystery Act
Magicians who prefer not to use card tricks in their acts will go for this one for as the title implies, it is a 25-minute act with not a single card trick. The‘total carrying weight is about six pounds. The classical cigarette opens and is followed by a novel visible cigarette vanish. A lovely coin routine of Ottokar Fisher’s is followed by an amusing and unusual production. Three more off-the-beat effects are followed by Annemann’s sensational Blackboard Mystery which bringsthe act to grand a climax.
No Code ” Telepathy
This two-person routine utilises no codes at all. Ita running time is about 30 strate pseudo telepathy between two people, and are‘foutlned EO that the a !: minutes and the nesessary props can be carried in the pocket. This is a terrific builds up to the grand climax of Annemann’s great l howhts in the Air boon to the married magician who, after an evenings practice canwalk in any- routine. where, without case or bag and go straight into the act. The six effects demon-
Each routine is described in a neatly printed and fully illustrated book Price each 5/-.
THE MAGICWAND
Postage 4d.
P U B L I S H I N G C(PMPANY
6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X
~
~
~
~
~
~
~~
~~
~~
A THIRTIETH CENTURYMENTAL EFFECT.
The MYSTERY of TEE THREE COLOURED BOXES The audience see three smallish attractively decoratedcoloured boxes onthe mentalist’s table. One is white, one black and one green. The actual size is 3in. X 3in. X 2in. Three members of the audience are nominated respectively Mr. White, Mr. Black and Mr. Green. On a large visiting card, the mentalist writes something. The card is folded and placed inside the white box and the lid placed on top. Mr. White is then asked to namea three-figure number which is noted. Two more messages are similarly written and placed respec-
I
Made only t o Order
PETER WARLOCK, 24 W O R D S W O R T H R O A D , W A L L I N G T O N , SURREY
The Magic Circle President: Herbert 1. Collings, Esq. Vice-President : Francis White, Esq. Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre *
King George’s Hall, W.C. Dec. 18-Christmas Concert
Particulars front Hon. Secretary :
Peter Newcornbe 38 Overdale Avenue New Malden, Surrey
l+
tively in the black and green boxes. Mr. Black choosing a City and Mr. Green a playing card. The pap off comes when Messrs. White, Black and Green remove the lids from the boxes and take out the cards, for in each and every case the mentalist has correctly forecast their particular choices. Completely mechanical in working thus leaving the mentalist free to make the most of his showmanshi “ The Mystery of the Three Coloured Boxes,” made on& to order, comes complete for €6 lOs., post free.
-~
PETER
WARLOCK’S
PENTAGRAM
JACK HUGHES will bepleased to sendyou full details of
is published on the 24th of eachmonth and can be obtaineddirect from thepublishers for 117 per singlecopy. Annual Subscription 18/post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
togetherwithall his other effectsin return for a stamp,
Manuscripts for publication and books for reviewshould be sent to the: EDITORIAL ADDRESS:
Peter Warlock,
24, Wordsworth Rd., Wallington, Surtev __-- - -
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser9; goods are fully endorsAd by this Bulletin PUBLISHED BY T H E PROPRIETORSTHEMAGIC WANDPUBLISHINGCOMPANY, 62 WELLINGTONHOADIENFIELD.MIDDLESEX A N DP R I N T E D BY RERBERTWALKER & S O N (PRINTERS) LTD., BRIDGE W O R K S , SHIPLHYIYORKSHIRE
EDWARDBROWN’S
HANDKERCHIEF AND GLASS TO H A T Twomatchingcoloured silk lady’s handkerchiefs, size about ten inches square. An opaque foulard, size at least eighteen inches square. Two small glasses,size abouttwoand a quarter inches top diameter and three inches tall. Brown used a Pony glass with the wisecrack that it was so called, “because it only contained enough to make you a little hoarse.” An unbreakable “ Crystolac ” tumbler of toughened glass -not plastic-is obtainable which although slightly larger thanthe above, suits admirably, the rim at the base facilitating the The Effect penetration.This rim, however, is not essential and Brown did not use a glass with a base rim. A hat is shown and from it are extractedthe ingredients Of the mystery, a These Crystolac tumblers are unbreakable glass, a lady’s silk handkerchief and and a foulard. and can be thrown about on a stone floor. They Thehat is inverted to demonstrateits emptiness will break however, if they happen fall flat and is placed crown down on the table. mouth downwards thus creating an internal presThe performer explains that he proposes to sure which exerts a bursting effect and in this case place the lady’s handkerchief in the glass and then the glass disintegrate$ into a fine powder and an pass these two articles magically into the hat. To amazing complete vanish of a tumbler occurs ! preparation preclude any possibility of trickery the items are identified by enclosing in the handkerchief a ring borrowed from a spectator. The audience is given Tuckoneofthe lady’s handkerchiefs well the choice as to whether the articles shallpassdown into each glass and Place both glasses inthe seperately or all together and to please everyone hat with the foulard between to stop any ‘‘talking.” Presentation the performer undertakes to do it both ways. Take up hat, with left hand remove the foulard The glass containing the lady’s handkerchief and drapeover the left arm. Remove 1 lady’s hand0 with thering inside, covered with thefoulard, kerchief then one gIass (No. 1) and place on the visibly penetrates the crown of the hatand is table. If desired, slip the other glass (No. 2) under recovered from within. the left fingers holding the hat and inconsequentially invert the hat to imply emptiness. Place the hat on The threearticles are then caused to disappear the table, crown down, and commence the effect individually in sequence, first the ring thenthe handkerchief and finally the glass. Once again the by takingupthe glass (No. 1) fromthe table, spreading thelady’s handkerchief over the top and glass and its contents are immediately recovered borrowing a finger ring. The owner of the ring from the hat, drops it intoa well made by tucking the handkerRequirements chief into the glass but the performer should take note of the ring so that he can describe it later. A howler or operahat.The effect can be The remainder of the handkerchief is then tucked worked with a softhat butthepenetrationas in toenclose the ringand half fill the glass. Ensure Phase 1 is not so good.
T
HE HANDKERCHIEF and glass to hat is probably the best remembered of the late E. G . Brown’s brilliant sleight of hand adaptations of classical apparatus effects. It is di5cult to give a definitive description of any Brown effect due to changes resulting from his constant striving for perfection, but, whilst he had other versions of as this effect, he retained thisparticularroutine now described to the end, so presumably he was satisfied with it as were his numerousadmirers who saw him perform it.
VOLUME I I , No. 3
-
116. (20 Cents)
-
DECEMBER 1956
18
that the otherhandkerchief in glass No. 2 occupies a similar volume and also that the handkerchief andringare wedged intothe glass sufficiently to out when the glass is inverted. tightly so as not fall
Phase 1. Penetration of glass through base of hat The glass is now placed on the left hand held
Starting position for penetration and vanish. Glass held in left hand.
palm up in the same position as for back palming acoin.Thefoulard removed fromthe left arm and, held by themiddle of one side, is drawn over the glass from the front until the middle of the side being held canbe gripped in theleft thumb crotch. This will result in the glass being in the centre of the foulard in one dimension and in the other approximately one third will be behind the glass and the remaining two thirdswill be hanging down in front. Raise the front of the foulard and show that the glass is still there. Let the foulard drop again and flick the glass through the foulard; during this move the left second and third fingers bend in to the palm under the base of the glass similarly to the commencement of the coin back Palm*
i I
I i
Underhandkerchieffingerstakeup this position. After hat is placed ontop andpressed down with the right hand, glass is caused to slide through fingers of left hand and take up position shown by dotted lines.
This leaves the glass gripped between the tips of the first and fourth fingers, but no change in the position of the glassis evident to the audience. Tilt the left hand slightly upwards so that thelevel of the first and fourth finger tips is slightly above the level of the knuckles of the second and third
fingers curved into the palm. (This aids in getting the maximum possible traverse of the glass during the penetration). Turn half left and place the hat crown down on top of the foulard covered glass with the right hand.Now effect thepenetration by pushing down with the hat and causing the glass to slide down between the left fingers. The extent of the downward movement is accentuated by the left fingers being pointed upwards to commence with and dropping slightly during the slide. The glass apparently penetrates the base of the hat. Practice in front of a mirror will allow an effect equal to the piston and table method to be obtained. If a trilby hat is used it is necessary to place the right hand inside the hat and push against the insideof the crown and the effect is not as good as when a hard hat is used as this can be held by the brim and pushed down.Thepenetrationterminates with the hat resting on the second and third knuckles below the foulard covering the left hand.
Left 2nd and 3rd fingers enter glass and left hand drops to side, the glass beingretainedbetweenthefirstand second fingers.
Lift off the hat with the right hand, lower the left hand and simultaneouslystraightenthe left second and third fingers which will enter the glass, (Figure 3.) (It is tofacilitatethisandtoavoid nipping the foulard in the process, that is necessary to have the glass as near to tips of the fingers as possible duringthepenetration.)The glasswill now be gripped between the tips of the first and second fingers and be completely concealed by the foulard. Replace the hat in the left hand gripping it between thumband fingers abovethefoulard. (Figure 4.) Remove glass No. 2 from the hatwith the right hand and place it on the table. Turn the hat with the right hand, re-gripping iton the opposite side of the brim with the left hand, so that thebottom now faces theaudience.Snapthe bottomand show thatthere is noholeinthe crown. (Figure -5).
19 ( 1 ) Vanish of the ring The right fingers dive into the handkerchief in the glass and appear toextract the ring without removing the handkerchief from the glass. Place the glass on the table. Describe the imaginary ring from the details noted earlier and apparently transfer it to the left handand vanish it from there.
Hat taken in left hand whilst rightremoves duplicate from hat.
Now snatchthefoulard hanging below the hat from the left hand and show no hole in that either-this automatically loads glass No. 1 into the hat ready for Phase 2. Place the foulard in the. right trousers pocket, thehat on thetable and take up theglass.
(2) Vanixh of the lady’s handkerchief The lady’s handkerchief is removed fromthe glass by the right hand andthe glass placed down. The left hand is closed intoa fist and held with thumb side up : the handkerchief is placed centrally over the fist and the centre is tucked in to form a well similar to the thumb tip cigarette vanish. Whilst the handkerchief is tightly gripped in the left hand the four corners and finally the remainder are tucked in. The result of this is a tight little bundle about the size of a pigeon’s egg. Whilst the tucking 1s being completed the left hand is turnedfirst horizontally and finally vertically with the thumb down. Duringthe final tucking movement the bundled handkerchief is allowed to extrude from the rear of the hand between the first and second fingers. Thelast tucking movement is made facing half left ; the right hand is held vertically, palm towardsthe audience, the first finger doing the tucking and the hand being obvio-dy empty. Now with one continuous movement the right so thatthe back is towardsthe handrotates audience, the right second and third fingers called extend up behind the left handtakethe handkerchief, and bend down intothe right palm and hold it there 1 there is no need to palm it. The left handturns fingers towardstheaudience, appears to pulverise the handkerchief and vanish it ; the right hand whichwas just before shown empty dives into the right trouser pocket, stuffs the handkerchief into the top corner and draws out the foulard. The left hand takes up the glass from the table.
(3) Vunish of glass A. Left hand Instructions
Position of left h:nd
tr right to show
as hat is tapped N o hole m the crown.
This is the end of the first part of the effect and the performer is left holding the glass No. 2 with the lady’s handkerchief inside and the audience believed the borrowed ring to be inside that. Phase 2 V a n i s h of Ring. Handkerchief and Glass individually The second part of the effect consists of again passing the three objects into the hat but this time they travel separately.
The glass is placed on the left hand in a similar position to that detailed in Phase 1 for the penetration andis again covered with thefoulard,the middle of one side of the foulard being again gripped in the left thumb crotch. This time whilst the foulard is being arranged over the glass, the left. second and third fingers bend in under the bottom of the glass so that the glass is gripped between the first and fourth fingers and is resting on the backs of the second and third fingers. (Figure 6). If the left fingers were now straightened the glass would be back palmed with the base of the glass in the same position as a back palmed coin. This is where a rim on the base of the glass helps, particularly if any perspiration is present. As the hand is horizontal the back palmed glass points vertically downwards.
Under cover of handkerchief, left hand fingers take up this position, right hand giving support.
B. Right hand Instructions Therighthand with the fingers spread is placed palm down flaton top of the foulard covered glass in the left hand. The right fingers now close together and trap a small portion of the foulard between the first and second, and the third and fourth fingers. The effect of this is to maintain the shape of the glass-similar tothedisc in handkerchief-andthe glass could now be removed without the audience noticing its departure.
Right hand dropsto side, handkerchief coveringglass.
The left hand drops to the side which brings the glass parallel to the floor at the back of the hand, the portion gripped by the fingers, whilst not perfectly back palmed dueto its width, is entirely concealed by the hanging foulard which is still gripped in the left thumb crotch. Pause here C, The Vanish of the C&zss Turn half left. The momentarily. foulard is gripped by the right hand as B. Raise the right handabout two inches and simultaneously The following now occurs with asimultaback palm the glass with the left hand. neous movement of both hands. The right hand approaches the left hand which rises slightly and the fingers bend up to a more horizontal position ~ H A N D K E R S F I I E F with the result that the back palmed glass points verticallydownwards, Exactly at this pointthe 3rd & 4th thumb enters the glass pushing in the foulard and F‘INOERS de 1st FINGER
Glass allowed to drop unseen to this position.
The right hand now drops the foulard which of the glass andthe it is holdingintheshape effect of this is that the foulard seems to collapse and the glass to melt away.
\ r 1 Left fingers raise glass to position shown whilst right hand thumb-entersglass and fingers and thumb take both glass and handkerchief.
21 rips the glass between the first finger and thumb and takes it, giving it an inconsequentialshake whilst attention is focussed on the left hand.
pick up the bat tipping it to show the arrival of the glass and place it in the left hand making the glass in the palm on the turn and taking the hat between the left fingers and thumb.
Right hand throws glassand handkerchief into left
Therighthand now swings thecorners of the hand. This is the performer’s view. foulard between the left thumb and fingers. The glass comesin an invertedpositioninthe palm of Reach intohat remove glass No. 1 with contthe left hand with the four corners of the foulard ents with right hand and place on the table. Drop hangingovertheback of the hand towards the the foulard with contents into the hat ;place down audience, effectively concealingtheglass whichis thehat. Pick upthe glass, show andreturnthe now securely in a bag in the left palm. Turn right, borrowed ring.
THE FOUR CARD PACK JOHN DERRIS T IS no idle boast when I tell you that I have
I
had more reaction from laymen with this trick I have ever thananyother close-uptrick performed. The effectisreally a combination of two existingcard tricks-Dai Vernon’s “ The Travellers ” and AI Baker’s “ Vanishing Pack,” for features from both these wonderful items of card magichave been incorporated, but the routine is, as far as I know, original. The success I have had with this effect is due entirely to the straightforward presentation which culminates with an extremely strong climax ; in short, it is the ideal layman’s trick. This is the effcct : Themagician shows thefour aces andthe pack. T h e cards are fanned and the four aces are inserted into different parts of the pack which is then shdied and cut. The magician then tells the spectator that he will cause some of the aces to travel to different pockets of his suit and he would like the spectator to watch very closely to see if he can see them actually leave the pack and pass to the pockets. The pack is riffled and the magician removes one ace card from his inside breast pocket. The pack is riffled again and this time he removes an
ace card from his trousers pocket. Picking up a handkerchief he says that he will cover the pack andtry to detectthelasttwo aces in thepack with hisfingertips. Reaching under the handkerchief he removes a card which is shown to be a third ace card and reaching under a second time he removes a cardwhich is shown to be the fourth and last ace. He goes on to say that the spectator is probably wondering why it is so easy for the magician to locate the aces in the pack under the handkerchief.Actually, hesays, it is quite easy for in his pack there are only four cards and as he says this the handkerchief is shaken to show that the pack has completely disappeared. All that is left is the handkerchief and the four aces on the table. Believe me, the look on the face of the spectator when you shakethehandkerchief to show that the pack has vanished is worth all the work I’ve ever put into magic. Now for the work that goes on behind the scenes. Other than the pack of cards you require two duplicate cards of two of the aces. This may be the point of departure for many purists but in my own opinion the effect fully justifies the use of duplicates. Still with me? Good. Then let’s go on. The four aces are on the table, with the handker-
22 chief, the pack is in your hands and the duplicates are in your pockets. For the purposesof description let us say that the two duplicates are the ace of spades and the ace of hearts.Theformer is in your right trousers pocketand the latteris in your left breast pocket of your coat. The pack is fanned and held in the left hand and with the right hand you pick up either the ace of hearts or the ace of spades and push it halfway intothefan of face up cardsnearthe left hand side of thefan.The next ace to be a duplicate of picked up is the other card which you have in your pockets, andthis is pushed into the pack in a similar manner approximately halfway from the edge of the fan. ‘lhe remaining two aces are also pushed into the fan so that they are equally spaced from the other cards. The fan is closed with the aces still projecting and you now perform the multiple shift to bring all the aces to the bottom of the pack. If you are not familiar with this useful sleight may I refer you to Dai Vernon’s description in his trick “The Travellers ” published inthe “ Stars of Magic” Series, or a1t e r n a t i v e l y Ed Marlo’s handling of the move in his book “ Marlo in Spades.” With the four aces now on the bottom of the pack which is held in the left hand younow lift the top card of the face down pack with the right thumb and then double undercut the pack so that the top card is transferredfrom top to bottom. The pack is now shuffled and cut so that the bottom five cards of the pack are not disturbed, and it is then turned face up and fanned ensuring that the aces are not revealed to the spectators. You state that as the pack has been shuffled it is now impossible for you to know the exact position of anyoneparticular ace ; thefan is then half closed from the right and then with the left thumb you slide the bottom card to the left as you split the pack in two and place the packet in your right hand on top of the packet in your left hand. This brings the four aces immediately to the bottom. Needless to say this is done with the faces of the cards towards you so that the spectators do not see the aces. The pack is turned face downwards and held in the left hand with the right hand on top.The right thumbruns twocards off the bottom of the pack, the left little finger holds a break and the right hand is removed. Stating that you will make an ace pass to your breast pocket you riffle the top left handcorner of the pack with your left thumb at the same time making a throwing motion towards your coat pocket with your right hand. Asking if the spectator saw the card pass you reach intothe pocket with the right hand and remove the duplicate ace of hearts. You tell the spectator that he now has a second chance to see if he can spot the card passing to the pocket and this time you inform him that you will make the card travel to the right trouser pocket. Again you riffle thecorner of the pack with the left thumb and make a throwing motion
with the right hand toward the trouser pocket, turningthe body to the left so thatthe pocket faces the audience. As you turn the body the left hand holding the pack moves back until it is positioned just over the left jacket pocket and as you remove the ace of spades from the trousers pocket you allow the pack to drop into the left coat pocket, retaining your griponthebottom two cards below the little finger break. The ace just removed from your pocket is placed on to the table and at this stage the cards held in the left hand come into sight again. These two aces are held high in your hand so that they appear as a full pack ; the only thing to watch is that you keep the backs towards the spectators and do not reveal the sides of the cards. The handkerchief is picked up from the table and thrown over the left hand holding the “ pack ” and the cards are held upright so that the outline of the top of the cards is seen through the handkerchief. The leftfinger and thumb hold thecardsnearthe top so that when they are removed the shape of the “pack ” is assumed by the fingers. Stating that you will locate thelast two aces in the pack with your fingertips you reach under with your right hand and remove one of the aces, show it, and place it on the table. You reach under again and remove thelastcard, retaining the shape of thecards with the outstretched left finger and thumb. You now patterabout being able to find the aces so easily and as you tell the spectators that you have only four cards in your pack you take a corner of the handkerchief with your right hand and make as if to throw the pack in the left hand intotheair. As the handkerchief floats towards the floor you take hold of the other corner with the left fingers, shake it, fold it intofour and place it on the table with the four aces. Well there it is-believe me, if you bother to try this on laymen you will be well rewarded in satisfaction. One or two observances and historical notes. Although in my own opinion, the trick is excellent it does have its limitations, and many of you will have realised this in reading the routine. The one thing against it, is thatit is not angle proof. Performed for group a of spectators directly facing you there willbe notroublein ditching the cards without attracting attention to the move ; but if you have spectators situated either side of you, you can be sure that some of them will see your arm movement as the cards are droppedintothe pocket. The misdirection of removing the ace from the trousers pocket as you ditchthecards isvery strongbutthere will be some people who will catch the move, so remember, the trick is only suitable for performing to small groups of spectators and you must ensure that they aresituated directly infront of you. I learned my lesson with this trick when I performed it at a close-up session at one of Harry Stanley’s Sunday Shows. Under these conditions with people almost behind you it was madness to
23 attempt the trick and all I gained from the event was e x p e r i e n c e - w h i c h made theattempt worthwhile. Another point. I hope that you will not let the use of duplicates turn you away from this routine. Remember that that the pack is perfectly “
straight the whole time, enabling you to perform other card effects in a routine and finishing with this effect. I waswhollyconvinced that the duplicates were justified the day I showed the routine to a magician at a convention and he afterwards complimented me on my palming prior to producing the aces from the pockets.
MIND AND PATTER”
A piece of some moment by Arthur Writis When Mr. Peter Warlock said : “What about giving me something for the Pentugrum ? ” C little thought that he meant money. But as I hurriedly returned the slim volume to his bookshelf I did ponder upon the possibilities of an article in his august publication. Or if not the august one, the September one. . . .
*
*
*
*
*
My theme. would be, I think, Mirth in Mentalism. There is a place for Mental Magic and it is a place not far from here. To the average layman (no reference intended to Mr. A1 Koran-I wouldn’t want to cross His Nibs) to the lay adult, I repefit, the only true and worthwhile magic of 1957 is going to be the Magic of the Mind. I have made this prediction before, and forall I know it stands still sealed in a jam-jar below the Wombwell Penny Bank. Now as I see it-through two layers of cottonwool and oneof dough-the strength of Mentalism lies in the plain fact that the best mysteries are those simplest in effect. Those that seem natural, “ everydayish,” a continuation of Life. And if in real life there is a place for Laughter and for Tears, why thereforeshould Mentalism be the grim and almost unrelievedly sober thing that so many gentlemen have made it? I say almost. True, I’ve seen some Book Tests (for instance) which really were quite laughable. Those of you seeing Lucille and Eddie Roberts will know immediately that those unwritten traditions of profound seriousness are not essential ; that brilliant Act is a fine example of Humour overlaying Solid Mystery, of Magical Principle allied to Variety Technique. It left me, if not starry eyed, at least dough-eyed. And owners of the “ XRay Eyes ” will know exactly how I felt. (N.B. Don’t think, will you, that the application of a little Comedy is going to make yourwork automaticallyeasier? This is muddled thinking unequalled even by the young Smithfield butcher who thought hesaw a great future forhimself just by gazing at his Gristle Ball. You can of course eschew . . . . pardon me ! That’s the last time I type on tissue paper . . . you can ignorethehumorousapproachandinstead play maurice fogels. Mr. Fogel on-stage sweats and staggers prodigiously and is completely satisfying, perhaps the
greatest thing of his kind in this country, but if you have not the Grand Manner you’dbewelladvised to enliven your few items with grating of gags and a leavening of laughs.) Let us look at an illustration, deftly produced with a few quick strokes of my typewriter. Let us look, moreover, at the sweetusesof the Swami feke. For more years than I care to remember (To Clear : Giant Memory Test, lO/- as new) this little aid was used simply to predict a single number and sometimes a single alphabetical letter. Some adventurous magician, thinking to alteror, at anyrate, improve upon this, took to predicting t h r e e figures and, sometimes, three letters. And this comprised its dreary history, with not a laugh in a cartload. (It takes a lot of Swamis to make acartload). (It takes alot of anything to make a cartload-P.W.) (Thank you -A.W.) There enters now a certain Mr. George Braund upon the scene. Uniformed for War and based in the Middle East, he gave to this brief effect both sense and humour. “ What’s the girl’s phone number? ” he asks a fellow officer. “ Er . . . . Cairo 2234 ” is maybe the other’s reply. “ Funny,” says George, “ I’ve got that one too.” And dropping his cigarette packet onto the table he shews them the number pencilled in one corner ! Now there’s an effect. There’s an effect, I say. The strong comic angle-man finds to his dismay that his secret is shared by others--ensures an entertained, an interested, an amused and bemused audience who would otherwise perhaps have paid scant attention to a simple, meaningless prediction.
*
*
*
*
*
All this, and more, was to be the subject of my Article on the place of Mirth in Mentalism. If you would readme further on this topic I am easily persuaded, but it must be done quickly. I am an old man now and I don’t see too clearly (it’s that damned dough !) butinto my twenty-four years I have tightly packed thrills, experience, laughs and a clean shirt for Weekends and assuredly some of the things that I have learned must be of use to some of you. All replies in a plain envelope sealed with diachylon.
24
T H R E E B . . O O K S I NO N E
ANNEI1IANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH
I I
ANNEMANN’S “MASTER MIND” CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONE MANMENTAL AND PSYCHIC ROUTINE isa professionally routinedmentalactthat runs according to speed of presentationandthe effects included, from ten minutes to half an hour.Thesix effects described make one of the finest mental routines ever conceived, andcan be cut down tothree reallysensationalitems for theshorter show. I t is a strictly ‘One Man’ act,there is no cumbersome apparatus, no assistants, no confederates. A brief case will cany allthatisrequired,but I O U could travel with the necessary itemsallreadyinyour pockets if preferred. Thementaland psychic tests are presented in aroutinedorder,and inclnde some of Annemann’s choiccst billet methodsand effects. Ideallysuitedasaclub,privateparty, television ornightclubact. ANNEMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favomite card routine for newspaper offices. and intimate gatherings. Withjusta pack of cardsthe performer presentsa w r i e of five stunning prediction effects that leaves the audiences gasping as each one in turn eclipses theprevious one. No skill is required,andtheactcan be learned andthoroughly practiced in an evening. ANNEMANN’S MENTAL MISCELLANY is a collection of six off-beat ideas in mentalism that are typical of theauthor.The treatise one on Pencil Rcading-to the man who uses thembe worth many times the price of the book. on the Mirror Reflector andthe
I
AS USUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 12/6 Postage 4d.
I
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVEANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemann Secrets now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places htween’ the pcrformer’s and sycctator’s pockets. STOP-A freely selected card, lost in thepack,is found atanumberthoughtof. THE POUND NOTE ANI) THE CIGARETTE CHALLENGE-Marked cigarettee in performer’s mouth,number of note a written down by spectator-notc: openly burned-and then found in the cigarette-the best everroutineforthis effect. IMPROVED REMOTE CONTROL-With red and blue packs the performer proves hc can controlanother person bymakingthem pick anycardhe chooses, while ata distance. MENTALMONEY-Three pound notes borrowed andfoldedtight, one is chosen, theperformer reveals itsnumber. NUMBER PLEASE-A Telephone Book Test in which the performer reveals bothname and number. SENSITIVE THOUGHTS-A sensational card trick. with two packs and two spectators. THE CARI) DOCTOR-Spectatfir selects card which is initialled,cornertom from card,then initialled card torn into pieces, pieces vauish and card IS found back in the pack, minus its corner. SLATES AND ACES-Performer andspectator write names of the aces on two slatcs, spectator rubs out three on his, the spirits’ rub. out the same three aces from the performer’s late. POKER PLUS-Performer deals three face down hands of Poker. SecGnd hand shown tobeat performer’s. Then p e r f o m d s hand shown again, and it beats thc second. Third hand shown to beat performer’s. Then performer’s shown again, and it beatsthethird. most unusual card Terrific effect! THOUGHT IN PERSON-A routine. A MENTAL HEADACHE-Another typical Annemann card routine with mental a twist. And, of course, a full description of .. a most useful GIMMICK.
ASUSUAL-A
FINELY PRINTED BOOK
Price 7 / 6 Postage Pd.
THE MAGIC W A N D PUBLISHING COMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle ,
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
l ~
Clubroorn and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.l. Magical Theatre *
KingGeorge’s Hall, W.C. Feb. 5-John Salisse’s Choice Particulanhorn
Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM
]ACK
HUGHES
will be pleased to send you full details of
is published on the 24th of each month and can be obtained direct from thepublishers for 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together’ with all his other effects in returnfor a stamp.
hanuscripts for publication and books for review should be sentto the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London,
N.W.9.
Surrev.
Every Advertiser’; goods are fullyendorskdbythis
Bulletin
PUBLISHED BY THE PROPRIETORSTHEMAGIC W A N D PUBLISHINGCOMPANY, 62 WELLINGTON ROAD, ENPIELD.MIDDLESEX A N DP R I N T E D BY HERBERT WALKER & S O N (PRINTERS) LTD., BRIDQE W O R K S , SHIPLEYIYORKSHIRE
*
CASE FOR CARDS A SERIES BY S T E W A R T J A M E S 1 EIGHT DICE A N D A C A R D SPECTATOR is handed a dice cup containing four green dice and four red dice. The magician turns his back while the volunteershakes and throws the dice on the table. He groups four dice of one colour, adds the numbers uppermost and covers these four with the cup. After shuflling a pack of cards, he notesthecard at this number from the topof the pack. ate Being informed that these picks accomplished, the magician turns round and up the pack. holds itbehind his back for a moment and then returns it to the spectator. The cup is lifted and the magician places the four dice Ofsquare. One colour1 One at each corner Of an imaginary The remaining dice are distributed so that one occupies each side of this square. The cup is placed at the centre. Care is taken in moving thedice that the original numbers rolled remain on top. According to thenumber uppermost, that many cards are dealt from the top of the pack beside each die and the die is placed on top of its pile each time. When the eight piles have been completed, the pack is placed face down on the This sounds dice cup.
A
The magician asserts that if the spectator will turn the top card of the pack face-up it will be the one he noted-and itis so. Tbe method can be best explained by giving example. The spectator roUs out the dice and groups thegreen ones. Numbersuppermost on these four dice may total fourteen. He covers them with the CUP, from shufaes thetop. pack and say notes card the We will thatthe itfourteenth is the jack of diamonds. When the magician turns around to take the pack, he quickly notes andtotalsthenumbers uppermost on the four red dice. Perhaps it is ten. With the pack concealed from view behind his back, he shifts eleven cards-one more than the total of thenumbersuppermost on thered dice-from face to top of pack. Follow through as explained in the effect and the card noted by the spectator Will be the top card Of the pack* ridiculously simple but I can assure has you it that puzzled some keen minds.
2 T H O U G H T S IN MOTION LACK is given a written prediction to keep You impress the spectators with the fact that gives no clue as to the actual numbers selected in his pocket until later. Gray writes a number this would be impossible to know in between 1 and 10, On a slip ofpaper.Hesec-andthatit retlycounts off that number Of cards, reversing advancewhatthisnumber would be. them as he does so, from the top of the pack, Count off thisnumberofcards, reversing notes the next card and replaces the counted -cards on top of the noted card. them as you d o so, and give Black the next one to White writes a number on a second diu. betplace in his pocket. (’) w e n 10 and 20, counts off thatmany c&ds in Gray thrusts a knife in the pack which is cut at that point. The top card of the lower half is the Same manner, notesthe next and replaces the counted cards on topof the noted card. his card. (3) Gray and White give their slips to Black who m i t e deals the cards oneat a time face down subtracts the one number from the other and anounces the difference aloud. on your extended hand. At your command, he
B
VOLUME I I, No. 4
-
I/6. (20 Cents)
-
JANUARY 1956
stops and turns over the card he is about to deal. It is his card. (4) The prediction is read and it names the card that Black has in his pocket. THE PREPARATION
Suppose the Joker isto be predicted. Arrange ten cards inthe following order : Joker, any card, a six, a seven, an eight, a nine, a ten, a jack, a queen, and a king. The Joker is on top. The suits do not matter.Place these cards on top of the pack. 1 You might false shuffle. Probably the easiest is a Hindu Shuffle with the cards face-up. 2 The card given to Black will be the original top card of the pack-the Joker. These cards are also reversed in the counting and replaced on top. The card now on top of the pack will be the card noted by Gray. Remember thenumber of cardsyoucounted off which was the difference ,between the selected numbers.
3 Thetopcard of the pack is slipped to the lower half as the cards are seperated. This is described as " To ' Slip ' A Card " in. Modern Magic 4 Subtract five fromthe value of Gray's card, add this to the number of cards counted off in (2) and you have the position of White's card and can tell him when to stop dealing. EXAMPLE
Gray chooses 7 so he will have noted the jack. White selects 12 and his card may be the two of hearts. The difference between the numbers is 5 which, after your count, leaves the Joker in the possession ofBlack and the jack on top of the pack. Work the " slip " on Gray. In showing that he (?)hasstabbed at the very card he selected, younoteits value and subtract 5. You always subtract 5. As the value of the a jack is 1 l this leaves 6 to add to 5-the number of cards you counted at (2)-which informs you that White's card is 1lth from the top of the pack.
PRODUCTION OF A CRICKET BAT J. A. HOLLAND AVING occasion recently to give a short performance at the local Cricket Club Dance, I pondered upon ways of introducing a touch of topicallity intotheact. My hands being to small for the multiplying cricket balls, the one effect which kept recurring to my mind was the production of a cricket bat as a finale. The following notes may be of value to conjurers faced with similar bookings. My type of act is light, I carry all props in a top hat,the stage being furnished with simple dignity by a table and a chair. Furthermore for the show in question I was not using an assistant. Thesefactors precluded the useof a steal from behindthetable or froman assistant's back. I was thus left with having to body load the cricket bat. To make things worse, thebatproduction for obvious dramatic reasons had to be thelast action of the performance-I planned to produce small silks from nowhere, large ones fromthe small ones, finally a 36" square silk from which, with appropriatebanddrum roll, I materialised the cricket bat. Luckily I could enterfromthe rear of the stage down three short steps, the stage in this case being the end of the dance floor, not raised above the floor level. The four piece band was to my left and slightly to my rear. The audience was seated aroundthe wallsof thedance floor, the nearest some five feet in front ofme. Angles were therefore awkward. I took the precaution to see the layout a week before the act, and noticed that lighting was favourable in that it would not shine from behind the silk handkerchief.
H
The remainder of the act was to consist of cut rope, thimbles, and a tornand restored card effect, all necessitating body loading or pocket work. This then was the set up : conditions noteasy ; an exciting challenge. There were two problems involved. First a workable place of concealment that would not hinder ones action or render movement unnatural. Second, ease of access-a quick steal without the clothes becoming rumpled and misplaced was essential.The steal furthermore, must involve nounnatural movements. I found that for my height (6' 2") a size 4 boys bat was suitable, and looked full size when brandished by the end of its handle. The first difficulty was solved as far as I believe possible by concealing thebat on the left f r o n to ft h eb o d yw i t h( a n d this is the important part) the handle pointing downwards. A double breasted jacket is essential for this, and the trousers require braces and some form of belt. Removing thecoatthebat is inserted handle downwards and flat side against the body, down the front of the left leg. By experiment I found that itwas easier to steal when the bat was between the trousers and the pants. An additional aid to stealing is to cover therubber handle withcellophane. This is vital to success, otherwise the rubber acts as a very effective brake, and ruffles the trousers upon the bat being withdrawn. With the bat so positioned the belt is adjusted to give light support to it, (trial and error gives the required tension here) and the coat replaced
27 over the bat. The general feeling at this stage is one of being stark naked except for the cricket bat. It seems impossible that its outline cannot be seen beneath the clothes. As a matter of fact it can, but if the bat is now twisted slightly anticlockwise so that the handleend lies along the inner left thigh, and in addition the bat pushed down until the worst of the bulge caused by the business end of the bat is masked by the breast pocket, the presence of the batis undetectible even at close quarters. Admittedly it still feels the size of Nelson’s Column, but this is where acting ability helps. It is necessary to learn to move normally withtheload. All rehearsals should be carried out with the bat in its hiding place and the performer should practice the stage turns andbusiness thus loaded. Where (as in my case) oneenters down stairs, these must present no problem. One must also be prepared for the accidental dropping of props, and being able to pick them off the floor gracefully. I found for this purpose that to bend the right knee whilst the left leg remained straight but swept backwards enabled dropped articles to be retrieved gracefully and quickly. As mentioned in the introduction,I performed this on the level floor without footlights. If any reader is contemplating the production on araised stage with footlignts he would be well advised to rehearse on site beforehand.Theadditionalupward light might show the handle of the bat as a slight bump. especiallywhen walking across the stage, anda little imagination will makeone realise that this is highly undesirable. The second difficulty, that of the steal, was very much easier than the actualconcealment. Let us supposewe have reached the momentwhen the 36” silk, or better still two silks fastened at the top, has been produced. The silk is held in front of the chest the left hand endbeing between thumb and forefinger of the left hand. The hold onthe right hand end is importantand is as follows : the silk is gripped between the ball of the thumb and the lowest joint of the back of the forefinger. The hand is given a half turn towards the body. Thus the silk is curved round the back of the hand and the second and third fingers are left free for the dirty work. Having displayed the silk in this way the left
hand swings outwards towards theright whilst the right hand moves across the body towards theleft apparently to display the different pattern on the reverse side of thedouble silk. Thusthe right hand has ample cover to enter the jacket and to grasp firmly the bat between the second and third fingers, some support being provided by the other fingers. Stay motionless for a second then let the left hand swingback and when it is halfway across the body (and not before) raise both hands outwards, apparently merely lift the silk for further display and an applause cue. This action masks the slow but firm withdrawal of the bat diagonally upwards towards the right and it is concealed behind the silk,held entirely by the fingersof the right hand round its base whilst the handle end is behind the lower left hand corner of the silk. This is the cueforadrum roll fromthebandwho should be so placed as to see this manoeuvre. Finally in one movement the left hand drops to the lower left hand corner of the silk, grasping both silk andhandleandthe silk thus pulled across a diagonal forms a triangle. The bat is still concealed by the silk. The hands now move away from the body and the bat sweptfromthe silk upwards to the left, held by the end of the handle in the left hand, whilst the right hand carries the silk upwards to the right. It is a good plan to condition the audience to this upwards and outwardsmovement of the hands in previous conclusions of tricks. There is then nothing suspicious in the action when required, providing it is done smoothly. The bat must not be snatched. I have described this effect at some length in the hope that I will have eradicated some of the stumblingblocks that could otherwise hamper initial attempts. The secret is confidencein the concealment and the ability to be undeterred by the presence of the load during previous tricks. The appearance of a solid bat from nowhere and clear of all tables and other helps is a big climax and I found that few people seriously considered the possibility of my having carried it around on my person when discussing it afterwards. As regards the effectiveness of the steal, even the band said they failed to see where the bat came from.
SIMPLIFIED DIVINATION O F TWO ENTALLY SELECTED CARDS DUDLEY WHITNALL ONG AGO when I wasvery young, I was greatly intrigued by my first experience of a mentalmystery. I wasinvitedby my nursemaid to think of a number. Then I was directed to subject this number to a complicated process of
L
addition, subtraction, multiplication and division, with a final direction to “ to take away the number you first thought of,” whereupon followed the incredible revelation of an answer known only to myself. Sensation !
28
Many yearslater,somebudding magical geniusdiscovered that something of the same process could be utilised for an effect with a pack of cards. By countingcardsdealt singly intoa face down pile up to a given number, at the same time inviting the mental selection of the particular card counted at the number corresponding with the number of cards contained in a small packet previously removed from the pack, by replacing the pile on top of the pack followed by the packet first removed and counted, he found that he was eliminating the number thought of and bringing above the selected card merely that number of cards he had himself dealt into the pile. Perhaps the most remarkable feature of this discovery is that he should not have advertised it in themagical press as “An EntirelyNew Principle. No Sleight of Hand. Canbe Worked RightAway.”’ He may have done. And so we come to the late Edward Brown’s effect as described in Pentagrum for August, 1956, the firstrealadvancefromtheoriginal version and its variations in that two cards are mentally selected by different persons and eventually discovered by asomewhat similar process of mathematical misdirection. Strangelyenough, however, Edward Brown appears to have stoppedshortaf realising that the most direct method of achieving this result is by an arrangement of cards at thetop of the pack to deal with one selected cardandan arrangement of cards at the bottom of the pack for the second selected card. Itremains to be seen whetherornotthe noteregarding a simplified method evolved by Stewart James indicates a solution on the above lines. Meanwhile, I offer the following as an original and simplified development of the basic effect.
*
*
Hand a pack of cards to any member of the audience with the request that he shuffles it and then remove a few cards, say not more than five. Explain that, to avoidsuspicion of arithmetical methods, you intend to use a pack containing an unknown number of cards. Ask him to hand the pack to another spectator, to whom I refer hereafter as “A.” Ask “A” to remove at random a packet of not more than about a dozen cards and then to hand the balance of the pack to any other spectator, hereinafterdesignated as “ B.” “A” is to countthenumber of cardsin his packetand remember that number, but he must not tell you or anybody else. Ask “ B ” similarly to remove apacket of about the same size or less, to pass the balance of the pack to yet another spectator and similarly to count and remember the number of cards in his possession.
Ask the last mentioned spectator to give the talon a final shuffle and then hand it to you. Explain now, if not previously, that you wish two cards to be mentally selected by two different members of the audience ; that you also wish to avoid any chance of selection of cards likely to come readily to mind, and that you are adopting thisparticularmethod of selection inorder to ensure that it shall be completely at random. Address “A” and explain that you propose to show cards to him one at a time ; that you wish him to count them silently and to remember theparticularcardshown on thecountcorresponding with the numberof cards in hispossesion. He is notto makeany sign but, to save time involved by showing too many cards, should stop you whenever he considers that you have shown enough. Illustrate this by dealing a few cards in themanner to be described and have thepack shuffled yet again before proceeding. Takethepackinthelefthandasinthe normalmanner for dealing. Lift it to eyelevel and, with the left thumb, push the top card into view. It is important, and should be stressed, that you avert your owngaze. Lower the hand, and the pack, to a horizontal positition, and transfer the card to the right hand. Continue similarly,with the next andsubsequentcards,eachone being passed in turn to the right hand underneath the card or cards already passed, and silently count the number of cards so passsed. Let us assume that “A” ultimately stops you when you have passed 15 cards into your right hand. Remember this number as you replace the packet on the bottom of the pack. Now address yourself to “ B ” and request him to select and remember the card to be found insimilarfashionaccording to thenumber of cards, known only to himself, in his own packet. Proceed in exactly the same way, counting to yourself the number of cards passed, but this time they are passed into the right hand on top of each other. Let us suppose that “ B ” eventually stops you whenyou have passed 12 cardsintoyour right hand. Remember this number as you replace the packet on top of the pack. Extend your hand and ask “ B ” to replace on top of the pack the packet originally taken by him. Turn to ‘‘A” andask him to do the same. On this occasion, however, thetip of your left little finger presses against the edge of the pack so that a tiny break is automatically taken below “A‘s ” packet. Address yourself to the audience generally, explaining that you are now about to attempt the difficulttask of divining thecards which have been mentally selected. Whilst so engaged the pack is, apparently given a casual cut or two. In fact, “A’s” packet is here transferred tothe bottom by means of a double undercut.
29 You now know that “A’S ” card is 16th (15 plus 1) from the bottom and that “ B’s ” card is 13th (12 plus 1) from the top of the pack, and it only remains to exploitthis knowledge tothe utmost advantage. The pack is face down in the left hand with the right hand on top. It is a simple matter to riffle off, with the right thumb, 15 cards from the .bottom and to hold the break with the left little finger. Address yourself to “A” and, under cover of assisting the mental effort (?) by lifting your right
hand to the forehead, glimpse the index of the 16th card whilst proceeding, “ your card, sir, is, I think, a black card. Yes. It is a spade. It seems to be of medium value. I fancy it is a seven. No. It is a six. Yes. The Six of Spades. Is that right. Thank you.” Turn finally to “ B ” and divine his card in like manner. In this case the pack is first turned face up in the left hand, and 13 cards then riffled off to enable a glimpse of the 13th card from the top.
TWO MORE MENTALLY SELECTED
CARDS JOHN P. HAMILTON TILL yet another version of the E. G . Brown effect first described in Ibidem. First of all after the pack has been shuffled, the magician asks that a small numberof cards be cut off from the pack so that an unknown number of cards will be used. Twospectators,Aand B respectively, are askedeach tocut off a small packet of cards whilst the performer’s back is turned. They are to count the number of cards they have taken and then slip them into their equally respective pockets. Turning rpund and facing them, themagician mentions that each has a number in his mind, a number represented by the cards they cutoff from the pack ; numbers quite unknown to him. Addressing A, theperformer says, “ I am going to show you the cards one at a time and I wish you to note the card appearing at number the designated by the cards you hold.” With the pack held for dealing, the cards are are removed one at a time, each being shown to the spectator and placed on the table. When say twenty havebeen counted inthis way, the performer remarks, “ I feel certain that you have seen the card at that number.” The spectator assents. Now the known number of cards lying on the table are picked up, placed under the talon held in the left hand, and a break kept between the two packets with the little finger. Turningtothe secondspectator,thecards are now removed but not placed on the table. Instead as each is taken from the top of the talon it is placed under the one previously shown, so that the order is maintained. I count the cards until I reach the break, thus obtaining knowledge of the
S
total number of cards in the talon. If the number of cards above the break is few, I continue until about fifteen cards has been shown, checking with thespectatorthat his cardhas beenseen. The cards held by the right hand are now replaced on the talon held by the left hand, and we’ll assume that the total in the taloncomes to thirty. A is nowasked to take the cards from his pocket and replace them on top of the pack. B is requested to do the same, but between his packet of cards and the remainder of the pack, a break is held with the little finger. The right hand comes across,takesthebreak,and allows thebottom card of B’s packet to fall on to the talon, so that assuming that there were nine cardsabovethe break before, there are now eight. Now double cut the pack so that B’s packet of eightcards goes to the bottom of the pack. The cards are now placed on the table. Atthispoint I realise that I have madea mistakein so much thatthe spectators’cards should have gone back into the pack and not on top. I seek to remedy the situation. A is asked to deal from the topof the pack the numberof cards he originally had. B is asked to do likewise. “ Now sir,” I say to A, “ I want you to cut a few cards from the top of the pack, replace the counted cards and then replace the portionoffcut ! B is told to do likewise. The cards mentally selected are now ready to be revealed as you wish. B’s card now lies topmost in the pack, whilst A’s is seperated from it by the number of cards in the talon, so that with thirty cardsinthetalon, A’s card becomes thethirty second from the top.
30
LES CARTES A LA MANCHE A PLAINT BY
STAN LEY COLLINS HE classical CARDS UP THE SLEEVEis withoutquestionone of thealmost perfect examples of cardconjuring. Its plot,unlike that of most conjuring tricks, is logical ; it calls for no troublesome and irritating participation by the audience ; it is as effective in a theatre as in a Drawing Room and what is most important of all it can be repeatedoverand over againwithout fear of detection if handled by a man who knows his business. In view of all this, it is to be deplored that the trickhas been entirelymisapprehended by English conjurers and writers, and made into an illogical absurdity instead of a delicate gem of card artistry.
T
I think we may with safety agreethat Charles Bertram was the conjurer who popularised, even if he did not originate, the illogical perversion of passing cards fromhis hand into his trouser pocket instead of to the vest openingunderarmpit as demanded by the classic presentation.Sophists will argue that a conjurer can surely pass cards from his hand into his trouser pocket if he is so minded : of course, he can ; he can pass them into his right shoe or behind his ear, but that would NOT be The Cards Up The Sleeve. To pass the cardsintothetrouserpocket,quiteapartfrom the indelicacy of the thingparticularly when ladies are in the audience, is to miss the point of the effect entirely. This is no trick for the ham-handed amateur : it calls for brains, perfect misdirection and excep tional skill. Let me cite only two of the many mistakes thatare almostinvariablymade. A common procedure is to show that the right hand contains nothing and then, after palming off the desired number of cards, to transfer the stack to the right hand merely to prove that the left hand hasnothinginit. On page 86 of theModern Conjurer these instructions aregiven :-“ Immediately after palming the six cards, return the other six from left intotherighthandandshowleft empty.” One of our leading authors in Conjuring has written :-“ . . . he squeezes up the cards leaving
the six inaposition to be palmed off. . . and shows therighthand empty. Henow transfers the cards to the right hand, palming the six and takingtheremaindermomentarily between the fingers and thumb of the same hand, while showing the left empty.” Why must the left hand be shown to contain nothing when immediately after the stack of cards has to be taken by it? If a man cannot devise somethingmore logical thanthatto cover his “ steals,” he should leave the trick to more competent hands. Then we come to the pas4ng of the last card or cards. Usually some highly suspicious fast flourish or other unnatural handling entirely different from anything that has gone before, offends the eye and seldom deceives. The onlooker should reasonably be led to imagine that he sees exactly the same procedure as has been followed throughoutthe trick,aproblem calling fora deal of thought and tentative patience, I admit, but one by no means impossible of solution. Camille Gautier gives no fewer than seven different moves for this last pass, none of which, however to my perverse way of thinking, is satisfactory. I have been privileged to witness one, only one truly artistic presentation of this beautiful old classic ; it was done by that superb artist,l’homme Masque with a presentation and handling of this very difficult trick that was irreproachable.
I have no quarrel with the man who passes cards from his hand to his trouser pocket or to any other part of his attire ; the gravamen of my contention in this paper is the absurdity of calling such presentation a THE CARDS UP THE SLEEVE.
To conclude, let me refer you to what Camille Gautier has written on page 226 of his delightful book LA P R E S T I D I G I T A T I O N SANS APPAREILS, or tothe translationby Jean Hugard (MAGICWITHOUT APPARATUS)on page 210.
31
BOOKS “MINDS IN DUPLICATE ” by Jack Yates (Published by Goodliffe, price 6/6).
sonmentalism,eachandeveryoneof which fulfils the requirements previously mentioned. Numbers, E.S.P. cards, playing cards and The American mentalists and in particular the late Thee. Annemann set stage fora new typeof money take their respective places and help to twopersonmental act. Its tests needed no elaborProducemost effective results. Best in thebook, ate coding, thepartner atthe receiving endhadfrom Our Own Of thinking is an item “ She little to learn.factit was an ideal formatforHasthe Number,”a“total” divination that leaves the mentalist, whose partnermarried or otherwise nothing to chance and has a strong register* “Astral Headline ” also reads well and so does a wished to take a part in an act with a minimum version of “ Just Chance ” entitled, “ Money and of work and a maximum of plaudits. theMedium.”Altogether this well printed and In this present little booklet, JackYates with illustrated thirty-two page book is excellentvalue, due acknowledgement to the sources of his ultimate each of the three items we have picked out being bworth the price asked for the nine items. inspiration presents some nine items of two per4
iIS most pleasant to”have commencing in this issue a series ofnew card tricks by Stewart James.Altogether twelve itemsgo to make thecomplete run and as usual, Stewart brings into play some very subtle ideas in card magic. Regarding the first item in which the coloured dice are used, a version struck uswhen reading the manuscript that would help to kill any suspicion of mathematical reasoning for their are always those who, with a photographic mind and eye, take a trick backwards, and, if it is of the self working variety, arrive at the correct method. As well as the dice, the performer has a box to hold them. This box is the familiar one wherein the dice can either be shakenand altered or alternatively where only lateral movement is allowed. Walter Wandman put out a nice version of this before the war, and there have been quite a number of versions described, one quite recently in this bulletin by Edmund Rowland. The performerturns his back as in the original trick and the spectator is asked to choose either colour dice,place the set inside thebox, shake them, take off the lid and note the number, and with this numberlook atthe card at that position in the pack. He is then to place the box down and replace the lid. The performer turnsround,andnotesthe topmost numbers of the other set ofdice.We’ll suppose they total fifteen. He subtracts this number from twentyfour, leaving nine. Taking
IT
the pack behind his back, he moves’ ten --cards (one more than the number in his mind) from the bottom of the pack to the top, then placing the cards on the table. He removes the lid from the dice box, removes the dice and places them in the formation detailed by Stewart. Theunused dice are thentakenone at a timeandplaced in the box, the lid being replaced and the box given to thespectator to shake. It is takenandturned over, the lidremoved and dicewhich have only been moved laterally show a total ofnine. They are removed and also placedin position. From that point the trick proceedsas described by Stewart. Way back in August we wrote anent the impact of Victor Borge on TV adding that with the International professionals excepted, the distilled essence of all the magical societies in this country could not stage a quarter of an hour’s entertainment equal in merit to this great artist. Our friend Francis Haxton, who in passing failed to see this outstanding show, writes andatthe same time misquotes in the December “ Budget,’’ defending Magical Societies. We’ll stick to our original point. Borgewill come into his own with his two and a half hour’s show in London very soonand only the early corners will manage to get tickets. Can yousee the non-professional talent of the magical societies filling sucha hall with their own supporters, let alone the public !
T H R E E B O O K S IN ONE
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S “MASTER MIND ” CARDACT
ANNEMANN’S MENTALMISCELLANY
ANNEMANN’S ONE MAN MENTAL AND PSYCHICROUTINE is a professionallyroutined mentalactthat runs according to speed of presentation andthe effectsincluded,fromtenminutes to half an hour. The six effectsdescribedmakeone of thefinest mental routines ever conceived, and can becutdown to threereallysensationalitems f o r the shortershow. I t is a strictly ‘OneMan’ act,there is no J ou couldtravelwiththenecessary cumbersome apparatus,no assistants, no confederates. A brief case will carry all that isrequired,but in a routinedorder, and includesome of Anneitemsallreadyinyour pockets if preferred. Thementaland psychictestsarepresented mann’schoicdstbillet methodsand effects.Ideallysuited as a club,privateparty,television M night clubact. ROUTINE was theoriginator’s favourite card routine for newspaper offices and intimate ANNEMANN’S “MASTER MIND” CARD gatherings. With just a pack of ca;rds the performerpresents a wries of five stunning predictioneffects that leaves the audiencesgasping is required, andtheact can be learned and thoroughlypracticed in an evening. each one in turneclipses the previousone.Noskill ANNEMANN’S MENTALMISCELLANY is a collection of’ six off-beat ideas in mentalism thatare typicalofthe authorThe treatise 021 the Minor Reflector andtheone on Pencil Reading-to the man whouses them-canbe worth many times the priceof’ the book.
AS USUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 12/6 Postage 4d.
ANNEMANN’S INCORPORATED STRANGE
SECRETS
CONTAINING
TWELVEANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemann Secrets, now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between the performer’s and spectator’s pockets. STOP-A freely selected card, lostinthe pack, isfound at a number thought of. THE POUNDNOTE AND THECIGARETTE CHALLENGE-Marked cigarettee in performer’s mouth,number of anote writtendown by spectator-noteopenlyburned-and then foundin the cigarette-the best everroutineforthiseffect.IMPROVEDREMOTE CONTROL-With red and bluepacks the performerproves he cancontrol another person by making them pick anycardhe chooses,while ata distance MENTALMONEY-Three pound notes borrowed and foldedtight one is chosen, the performerrevealsitsnumber.NUMBER PLEASE-A Telephone Book Testin whichtheperformerreveals both nam; and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs and two spectators. THE CARD DOCTOR-Spectator selectscardwhichisinitialled,corner tomfromcard,then initialledcard tominto pieces,piecesvanishandcardisfoundbackinthe pack, minusitscorner. SLATES AND ACES-Performer andspectatorwritenames of the aces on two slates, spectator rubs outthree on his the ‘spirits’ ruboutthesamethree aces fromthe performer’s late POKER PLUS-Performer deals three face down hands of Poker ’Second hand shown to beat performer’s Then performer’shandshownagain and it beats the second. Third handshown to beat most unusual card perforker’s. Then performer’s shown again, and beats it the third. Terrific &e&! THOUGHT IN PERSON-A routine. A MENTAL HEADACHE-Another typical Annemann card routine with mental a twist. And, of course, a full description of a mostuseful GIMMICK.
ASUSUAL-A
FINELYPRINTED BOOK
Price 7/6
Postage 4d,
THE MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum : Hearts of Oak Buildings,
Euston Road, London, N.W.l. Magical Theatre *
King George’s Hall, W.C. Feb. 5-John Salisse’s Choice
I
Particulars born Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of eachmonth and can be obtaineddirect from thepublishcmfor 117 per singlecopy. Annual Subacription l 8 / post free. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Ranusuipts forpublication and books for reviewshouldbesent
EDITORIAL
to the:
ADDRESS:
Peter Warlock,
24, Wordsworth Rd., Wallington, Surrev
.
]ACK
HUGHES
will be pleased to send you fulldetails of
THE DE LUXB “SU-TABLE” together withall his other effectsinreturnforastomp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale,London,
Every A d v e r t i s e d goods arefullyendorsQdbythisBulletin PUBLISHED BY THBPROPRIETORS“HB MAOIC WANDPUBLISHINGCOMPANY. 62 WBLLINOTONROAD,ENFIELD. MIDDLESEX A N DP R I N T B D BY HERBBRTWALKER & ION (PRINTERS) LTD., BRIDGE WORKS, SEIPLEY, YORKSHIRE
N.W.9.
*
33
THE BIG SQUEEZE J O H N DERRIS
T
HE CLASSIC effect of passing a coin through a finger ring whilst wrapped in a handkerchief has, through the years, brought forth scores of ingenious methods from students and professionals of magic. The effect isbold, easy to follow and ideal for working under most conditions. andcan truly be called one of the classics of close-up magic. The method I .am aboutto describe is, I believe, the only presentation where the spectator sees the unfaked coin actually pass through a borrowed finger ring without any covering whatsoever. If this trick weretobe sold on the market the description would be a dealer’s delight, for his advertisements would read-” Remember, an unfaked coin actually passes through a borrowed linger ring without cover of any kind impossible!” First, a brief outline of thefull effect. A silver and copper coin are shown and placed into the centre of a handkerchief. A finger ring, which can be borrowed, is slipped over the four ends of the handkerchief and pushed up to the coins. The handkerchief is turned over, and the four corners are held bytwo spectators so that the coins can be seen through the small hole where the handkerchief passes through the ring. The magician points out that only one of the coins can be seen andthat he will turn them around through the handkerchief so that the other coin is visible. This is done and the spectators look through the hole and confirm that they can see the other coin. One of the coins is now selected and without any covering the magician pulls the sides of the handkerchief and the coin literally jumps through the ring on to the handkerchief. It can be immediately picked up by a spectator and checked as being genuine. The handkerchief is turned over and the spectator feels that there is only one coin left
VOLUME I I, No. 5
-
inside the handkerchief. The ring is removed and returned toits owner andthe handkerchief is folded back to reveal the other coin which is tossed on to the table . . and everything is clean. No doubt you are interested, so I will proceed to the handling of the routine with no further delay. The requisites for performing this effect are a silver andcopper nesting set of coins, a duplicate coin, a finger ring, a matchbox and a small rubber band. For readers not familiar with a nesting set of coins, let me explain. It is generally composed of a shell penny and a two shilling piece with a cut down penny on the reverse side. If the shell penny and the florin are pressed together theyfitsnugly one inside the other. the penny back of the florin completing the reverse side of the shell penny. From this you can see that by nesting the two coins together one of them is made to vanish completely. An expensive but very useful piece of apparatus. You prepare for the routine as follows. The penny and florin parts of the nesting set are on the table with the handkerchief andthe borrowed finger ring. The .small rubberband is slipped around the outer shell of the matchbox, the inner tray being discarded, so that it is about half-aninch from the end, and this is placed in the left trousers pocket. You are now ready to begin. With a duplicate florin finger palmed in the right hand you take a pocket handkerchief and throw it over your left palm. The fake florin is picked up from the table with the right hand and transferred to the left hand where itis held between finger and thumber through the material. (Figure 1.) Next, the penny is picked up and transferred to the left hand andsituated directly over the florin: The whole hand is now turned over so that
I /6. (20 Cents)
.
-
FEBRUARY 1957
34
handkerchiefwhichis uppermost. (Figure 3.) AS this move is done you press the two coins together so that they lock as one.
the coins which are still held through the material. As the hand is now palm down the florin will have dropped into the shell penny under cover of the turnover.
the handkerchief drops over
The spectator is invited to slip the four ends of the handkerchief through the finger ring. This is done and finally the ring is pushed right up to the coins (Figure 2). Thehandkerchief is now turned over again so that the coins lie on the left palm and can be seen through the opening in the
Two spectators are invited to hold the ends of the handkerchiefwhich is stretched out like a table with the openinguppermost. You ask one of the spectators to look through the opening and tell you which coin can be seen. As he does this your left hand goes to your left trousers pocket and the second and third fingers of that hand are inserted into the matchbox cover.With the left thumb you roll the rubber band toward the end so that it slips over the two fingers. The hand is withdrawn from the pocket and the fingers with the rubber band around them are curled so that it is not visible. When the spectator hasnamed thevisible coin you then tell him that you will turn the coins over through the handkerchief so that he can see the other coin as well. The left hand goes underneath the handkerchief and the thumb slips under the rubberband so .that it .isheld open wide enoughfor thecoininthehandkerchief to slip through. As this is beingdone you reach over the handkerchiefwith the right hand containing the palmed florin and under cover of the hand this is dropped into the handkerchief so that it goes through the rubber band underneath. (Figure 4.) The rubber band is now released and it pulls the material into a small aperture immediately above the coin just added. You remove the hands and ask the spectator to look through thering again and tell you if he can see the second coin. This he does but of course he is not looking through the ring but the rubber band whichholds the handkerchief in the same manner as the ring. He now names one of the coins but the choice doesn't really matter to you, for it is the silver coin which will penetrate the ring. If he names silver, you go right ahead and make the silver coin jump
35
through the ring and if he names the copper coin you do exactly the same telling him at the climax that the selectedcoinis left inside the handkerchief.
With the spectators holding the four corners of the handkerchiefyou grasp the sides of the handkerchief between your two hands, tug slightly and the coin will be squeezed through the rubber band. (Figure 5.) The coin is given to a spectator for examination, the other coin left in the handkerchief is now grasped from underneath and the spectators drop the corners. As you turn the handkerchief overto showthesinglecoin left inside you ensure that the ring is pushed right up tothecoinwithyourfingers so that the rubber band is covered. When this coin has been felt you turn the coin so that it is face on to the spectator and with the right hand you slide the finger ring off and return it to itsowner. To prevent the rubberbandfrom sliding into viewyouhold it with the left thumb behindthecoin. The left hand is again turned over and one corner of the handkerchiefispulled so that the rubberband slides over the coin. The coin is removed with the right handand the rubberbandunderneath is allowed to drop to the floor. The spectator may pick up the nested copper coin but it will always stand a casual examination. In mostcasesyouwillfind that they are more interested in the silver coin. And there, my friends youhave an effectwhichwill spin the heads of the laymen and make a fewmagicians think as well. In April’s t h r i 11i n g episode I will describe to you an excellent twist on the above effect originated by Eric de la Mare. Because of certain reasons some ofyou will not perform “ The Big Squeeze ” but withEric’s idea on this effect, I guarantee that you will be working the routine the moment you read your April’s Pentagram.
CASE FOR CARDS STEWART JAM ES No. 3. THIRD SIGHT EOPLE often speak of the five senses. From time to time we hear of a sixth sense. Certain scientists claimthat there are actually many more. Practically every person has heard of second sight. You intend todemonstratesomethingnot so well known-third sight. You place one card to the side face-down. A spectator freely selects two cards. Another card is removed from the pack by you. These three cards designate, in a manner to be described later, the number three. The original face-down card is revealed to be a three. THEMETHOD Place any three-spot to one side face-down. After the pack is shuffled, take itback and fan the
P
cardsface-down.Permita spectator to remove two cards side by side. If they are both of the same value, he returns oneanddraws another. After memorizing them, they are returned to the pack side by side. While he was looking at his cards, you glimpsed the face card of the pack. By executing the Hindu Shuffle as his cards are returned, you know the card immediately above them. As you lookthrough the packto remove another card, locate your key and note the selected cards. You will discover one of three things: 1. One card will be a three-spot or will have the value of a multiple of three.
36
2. The value of one card subtracted from the value of the other will give three or a multiple of three. 3. The value of one card added to the value of the other will give three or a multiple of three. Phase 1 (A). When the value of one card is three: Remove a three-spot from the pack. Tell the spectator youwillnow have himselectone card from the pair he noted. The familiar ‘ conso that the three-spot jurer’s choice ’ isused appears to be freely selected. Show that the card you removed before his last selection was a threespot. More remarkable, the card removed before any selection was made was also a three-spot. Ask the spectator to select the highest or lowest valued card. You know the cards so you twist his selection to suit yourself but wording the request in this manner does not reveal the information you possess. Phase 1 (B). When the value of one card is a multiple of three: Suppose one card is a queen. It is considered as having a value of twelve. In this case you remove a four-spot. Force the queen as you did the three-spot in (A). Have the spectator remove that many cards from the pack, twelve, and deal them in as many piles as indicated by the value of the card you just removed, four. He now
counts the cards inanypile and there are three. Just as many cards as there are spots on the card you removed before any selection was made. For a six or nine you would remove a two or three. Phase 2 (A). When the value of one card subtracted from the value ofthe other is three: The ‘ conjurer’s choice ’ is not needed. Simply remove a three-spot, havehim subtract and conclude as in Phase 1 (A). Phase 2 (B). When the subtracted value is a multiple of three: Remove acard whose value when divided into that subtracted valuewillgive three, as in Phase l (B). Phase 3 (A). Whenthevalue of one card added to the other is three: Remove a three-spot, have him add and conclude as in Phase 1 (A). Phase 3 (B). When the value of one card added to the other is a multiple of three: Remove a card whosevaluewhen divided into that added value will give three, as in Phase 1 (B). Do not let this lengthy explanation discourage you. In actual practice, the values of the cards themselves will suggest what is to be done. I havemerely tried toshow that regardless of what cards are selected by the spectator, the result of three may be obtained.
No. 4. DEALING WITH THE UNKNOWN SPECTATOR thinks of acard. A second spectator thinks of both a card and a number. You place the first spectator’s card at the second spectator’s number, and predict the location of the second spectator’s card before asking a single question and without looking through the pack. THEMETHOD Black and White will serve as names for our assisting spectators. Black thinks of any card and places it in his pocket. (Example: Joker.) White shuffles the pack, thinks of any number-Iess than 15-and notes the card at that number. (Example: Ace of spades, seventh card from face.) Have Black place his card on top of the pack and bury it with a single cut. You arehandedthetopcard of pack after the cut. (Example: Eight of diamonds.) Show the cardtothe spectators and, with a pencil, write “ 18 ” on its face. Return to. pack and have it single cut again. Ask White tofan the cards with the faces towardhimandcut so that his card (ace of spades) becomes the bottom or face card of pack. He is asked to shift its position so once more it is at the thought of number. (Seventh from face.) Explain that you do not know exactly where, but for the time being it is somewhere out of the way near the bottom of the pack. Step over near Black. Tell him that you will
A
remove the cards one at a time from the top of the pack, allowing him to see each one as you do so, but he is to make no indication of the fact should he see the card of which he is thinking. The pack is held face-down in the left hand with the thumb on top and first-finger underneath. Show the top card and place it beneath the pack but between your first and second fingers. The next card you show goes on top of the first and this is continued until eighteen have been transferred. Black expects that youwill stop when you come to his card and willbelieve that you have failed when you deal on. Remove your first finger and allow the pack to come together. Say, “ I receive a strong impression that you have seen your card and I have dealt past it.” Do not wait for him to confirm this statement. Hold the pack to your earand riffle one corner. “ An extremely odd thing has happened. Kindly take the pack, ask White what number he is thinking of, deal off that many cards from the face and the last card you deal will be the card of which you are thinking.’’ After this proves to be so, have the pack handed to White. Ask him to look at what you wrote on the eight of diamonds but not to disturb the position of any card in doing so. When he says that you have written 18, have him count to the 18th card from face and there is his cardthe ace of spades.
37
TRIGON TWO PETER WARLOCK FFECTS of coincidence, when straightforward and free from intricasies, are always effective. Trigon Two is no exception. Originated in 1943, many copy versions have seen the light of day.Though described as a playing card effect (the normal pack giving a great range of design) E.S.P. ‘ Letter ’ or patternedcards could be just as easily brought into play.
E
As the audience see it The magician’s table is set centre stage. On it in a line facing the audience stand three stemmed glasses. Beside the glasses lie two packs of cards, one red andone bluebacked respectively. Seated right and left of the stage are two members of the audience. The magician picks up the blue backed pack. He casually fans the cards so that the faces may be seen by the audience. A casual shuffle is given. To the assistant on the right he says:“ I am going to deal cards one at a time from this pack face down upon the table. At any point in the deal I want you to say ‘ Stop!’ ” The action iscarriedout,and the cardstopped at by the spectator, without its face being shown, is dropped back towards the audienceinto the .right-hand glasson the table. Saying that hewishes for another choice, the dealing is carried on until the assistantstops him again.This time the chosen card, without its face being seen, is dropped into the centre glass. A similar procedure is adopted for athird time and the chosen card goesback outwards into the left-hand glass. At this point the remainingblue backed cards are placed aside and the red backed pack is picked up and handed to the assistant on the left. He is asked to mix them thoroughly. When this is done he is further requested to deal the cards face down upon the table stopping and placing aside a card wheneverhewishes. This is doneand the magician takes the card and withoutshowing its face drops it back outward in front of the blue backed card in the right-hand glass. The assistant with the red pack is asked to repeat the procedure twice more, the cards placed aside beingplaced respectively in the centre and left-hand glasses. The performer points out the fairness of the whole procedure, the matter of coincidence being strongly stressed. Taking the two cards from the right-hand glass he turns them round,separates them and shows their faces. Theymatch!Needless to say the cards from the centre and left-hand glasses are also shown to be perfect pairs! The Requirements Although a certain amount of preparation is required, the effect isalmost self-working. This
allows the magician’s capabilities as a showman to be exploited to the full. The requirements are as follows:1. Two packs of bluebacked cards. 2. One pack of red backed cards. 3. Three stemmed glasses eachcapable of accommodating playing cards. The glasses should not allow too much side-play. A point regarding effects where different colouredpacks are brought into play, not only have different colours but also different design. To prepare for the effect, some roughing solution will be required. The redbackedpackis taken first and the face of every card is treated. Twenty-six cards are now removed from one of the blue backedpacks and back of each is roughened. When the solution onthese cards has dried, each card is turnedover and moreroughing solution is applied this time to haZf the face. Twenty-six cards of similar value and suit are now taken from the other blue backed pack. The backs of these cards are roughened over half their backs. When the solution has dried, the blue backed cards are paired, with the roughened halves in contact witheach other. (See illustration.) Eachpair of cards shouldbe free from
BACYOF T H 6 CAtD HALF (WGhYNED
roughingon the face, but completelyroughened on the back. Thus if the two cardsare held between finger and thumb a1 the roughened ends, both cards may beshown as onewithout any possibility of either caxd slipping. Held at the other end, a slight rotary movement of thumb and finger in opposite directions will cause the cards to fan. The blue backed pairs are now assembled to form a pack of fifty-two cards, care beingtaken during the assembly that the inside roughened parts all face the same way. The pack is ready for use.
38 The Set-up Three stemmed glasses in a line on the table, the blue blacked and redbacked cardsadjacent. The Presentation The volunteer assistants are seated right and left respectively andtheperformer picks up the blue backed pack and overhand shuffles the cards in acasualmanner.He mentions thematter of coincidence. Duringthe shuffle, care mustbe taken so that there is no splitting of the pairs. The fact that the cards are only half roughened means greater care in this respect. The shuffle does allow the audience without any comment from the performer,to see that the cardsare different. To stress this point still further, the cards are fanned facestothe audience just before the dealing is commenced. Theright-hand assistant is now told by the performer that the cards will be dealt face down onto the table, andthat he, the assistant may stop the performerwhenever he wishes. (At this point the performer shouldbe certainthat the thumb pushing off the cardsfrom the packwill have the halfroughened ends beneath it.) Thedeal is nowmade, the cards coming away in pairs. When stopped by the assistant, the selected pair, as one card, is placed back outwards in the right-hand glass. Thenormaltakingand placing of this pair means that the roughened ends are at the mouth end of the glass. The procedure is repeated with two more cards (?). The
remainder of the bluebacked cards are dropped on top of those already dealt upon the table, the whole heap, thenbeing takenanddropped well out of harms way in the performer’s pocket. The redbackedpack is thenhanded tothe left-hand assistant who, after mixing the cards, is asked to deal them one at a time stopping whenever hewishes. Thecards thus designated are placed respectively in front of the blue backed cards in the right-hand, centre and left-hand glasses, inevery case without their faces being shown. The red backed cardsare taken fromthe assistant andaddedto those dealt. As with the blue backed cards, they are picked up and placed in a pocket. All is now ready for a treble climax. The performer, with his left hand, removes all the cards from the right hand glass. The backs are still kepttowards the audience and he makes certain that the cardsare well aligned. The right hand approaches the left andtakes hold of the cards at the non-roughened ends. The cards are tuned round, the right-hand fingers making the necessary rotary motion so that the cards will fan showing two identical faces, for the roughened face of the red backed cardadheres to the roughened back of the bluebacked card. The cards at this point may be separated and shown back and front. The same procedure is now repeated with the two remaining glasses.
BOOKS “THE CHINESE LINKING RINGS,” a newroutineby Sydney Twinn.Price 7/6. Published by and obtainable from theAuthor at 55, WarringtonCrescent,London, W.9. In this nicely produced booklet of some sixteen pages, the author presents his reader with a nine ring routine of the ‘ Rings.’ The effect is cumulative, the routine starting with the linking of two rings and finally linking all the rings. The use of ornamental figures has not been despised, and used, as they are here, in moderation, one feels that they could do little otherwise thanaddto the entertainment value of the feat. In addition to the text a folder of drawings adds to theinstruction. To those whowish to add to their repertoire an effective presentation of the Linking Rings, a presentationrequiring considerably less practice than many which have been described, this booklet is a worthwhile proposition. The inclusion of the name of a metal working firm who is willing to make a set, or any special rings to a magician’s requirements is a most useful appendage.
“GOLF BALL ROUTINE,” by Sydney Twinn.Price 5/-. Published by theAuthor. The routine described by Mr. ‘Twinn is almost anact in itself and using the patter given, one wouldimagine that it wouldrun for a matter of some ten minutes. Manipulative golf ball magicmakes up the first part of the routine. In this there is materialisation, vanishing and colour changing. In the second part a cone and a Square Circle gimmick representing a SummerHouse are brought into play. There is also a veryeffectivepiece of visual magic, where, after the performer’s pocket hasbeen pulled inside to show its emptiness, it returns of its own accord. Well printed, clearly described and carrying fourphotographic illustrations, the reader gets good value for his small outlay. “ I N C O R P O R A T E D STRANGE Theodore Annemann. English SECRETS,” by edition by Gmrge Armstrong.Price 7/6. This new edition is most welcome, and though most readers of this bulletin are bound tobe
39 familiar with the contents, to the newcomer in magic, one must stress the fact that within twenty pages of this well printed book, are described in all sometwelve first-class effects in which everyday irems figure. In addition the most natural gimmick for switching small objects finds a place. Before publication in book form, Annemann sold many of these effects at prices muchhigher than the cost of the book itself. In particular one callstomind, the first item, “ In~to-Transpo,’~ a card itemwhich, if well performed,canmake a performer’s reputation. For the platform worker, “ Slates and Aces,” which though we have used it ourselves, we have never seen any other magician work, is a fine applause getter. Recommended without any reservation. “ ANNEMANN’S ONEMAN MENTAL AND PSYCHIC ROUTINE,” by Theodore Annemann. English edition by George Armstrong.Price 12/6. Altogetherin this book of thirty-four pages, there are three sections. The first part consists of the routine proper in which some six items make
up the act. Of these the Telephone Drama, a billet effect which has been a shattering feat in the hands- of MauriceFogel stands out as the finest item. Eachand everyitem has its merits and amongst them we would particularise “ Telepathy Plus,” again a reputation maker. Part two is the “ Master Mind ” Card Act. Originally described in brief form in “The Sphinx” of Doc. Wilson’s days, greater detail in description will be found. It is a series of predictions in which the only accessories are a pack of cards and some billets. It is afeatthathas been strangely neglected, and yet for intimate workwhere the true miracleisrequired here is something worth three times the cost of the book! Part three is a miscellanyinwhich among other things pencil reading is touched upon. Also there is a brief note regarding the “ Spirit Pencil ” which the lateRalphRead introduced to the magical fraternity. If you have never had or seen a copy of this Annernann classic repair the omissionwithout delay.
MAGIC G O ROUND 0 news is better than that the New Phoenix is well in production again. The latest issue to hand, a Houdini numberis certainly someA thingthatnostudent ofmagicshouldmiss. London number of this adult magazine is scheduled some time in the near future. Next month we shall come up with an Edinburghnumber compiledby that good friend of magic John Howie. Five items of really practical little apparatus magic offer great value. The British Ring Banquet was a most successful function. Held this year at the Rembrandt, food was good, speeches were short and there was plenty of time for dancing and cabaret. The appearance of that greatartiste COCOperforminga version of the vanishing tumbler which he first saw performed sob sixty yearsback wasof historicinterest. Harbin came across with a delightful version of the egg in bag using a small glass of water instead of the more usual egg. It is an effectwhich has been in mind for a long while, but Bob got the rightsolutionquite by accident whilst returning from a telecast show near Manchester. Talking of Bob Harbin reminds us that next Octobershould see thepublication of his new book (intended for youngsters) ‘ How to become a’,Wizard.’ He showed us the illustrations which for qualityaresomething new in thehistory of magical textbooks. Published by the Daily Express who were responsible for ‘ Paper Magic ’ we predict colossal sales for this primer of magic.
N
By the time this is in print the Vernon book should be incirculation.Onemustcongratulate Harry Stanley and his team of Lewis Ganson and Harry Clarke for giving to the magical fraternity such a great book at such a moderate price. Not since Hilliard’s ‘Art ofMagic ’ can one recall a publication which offers so much of thetrue secrets of magical technique. Bestwishes to June and Harbin when they make their appearancein the one and half a hour’s all colour magic show which is being organised in the States by our good friend Milbourne Christopher.Milbourneplansa visithere duringthe course of the next month or so. None will forget the fine lecture that he gave at the Magic Circle Jubilee in 1955. The British Ring dinner to be held at Bristol on May 21st promises to be a most friendly function. We shall travel downwith Francis Haxton to take partin the after dinner entertainment. Speak to laymenofmagic on TV and most will tell you that the lastLondon-Amsterdam exchange was the best yet. Two items which stood out seemed to be Stanley Watson’s ‘ Cane to Birdcage ’ and Marconick’s ‘ Silks on Rod.’ Ask the layman however, the best trick they have seen on TV and nine out of ten will plump for the ‘ Substitution Trunk.’ Wewere sorry to hearthat EsmeLevante has been far from well again and hope that she will soon be out of hospital.
40
THREE BOOKS IN ONE
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S ‘‘ MASTER MIND” CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONE M A N MENTAL AND PSYCHIC ROUTINE is a professionallyroutinedmentalact that runs according to speed of the finest mental routines fromten minutes to halfanhour. The six effectsdescribedmakeone of presentation and the effectsincluded to’ threereallysensationalitemsfor theshorter show. I t is a strictly ‘OneMan’ act,there is no ever conceived, and can be cutdown cumbersome apparatus, no assistants, no confederates. A brief case will carryallthat isrequired, but l o u couldtravelwith the necessary itemsall ready in y o u pockets if preferred. Thementaland psychictestsarepresented in a routinedorder, and includesome of Annemann’schoicustbillet methodsand effects.Ideallysuited asa club,privateparty,televisionornightclubact. ANNEMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favourite card routine f o r newspaper offices. andintimate gatherings. Withjustapack of cardsthoperformer presents a serie of five stunning predictioneffects that leavestheaudiencesgasping as each oneinturn eclipses the previous one. No skill is required, andtheact can be learnedand thoroughlypracticedin an evening. ANNEMANN’S MENTALMISCELLANY is a collection of six off-beatideasinmentalism thatare typical of theauthor.The treakisc on the MirrorReflector andtheone on Pencil Reading-to the manwho uses t h e m - a n beworth many timesthe price of the book.
ASUSUAL-A
FINELY PRINTED AND ILLUSTRATED BOOK
Price 12/6 Postage 4d.
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVEANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicert Annemann Secrets now collected toogetha and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between’ the performer’s and spectator’s pockets. STOP-A freely selectedcard.lost mthe pack. is found ata number thought of. THE POUNDNOTE AND THECIGARETTE CHALLENGE-Marked number of anote writtendown by spectator-noteopenly burned-andthen found tn theugarette-the cigarettee in performer’smouth, and bluepacks the performerproves he cancontrol another best everroutineforthis effect.IMPROVEDREMOTE CONTROL-Withred JIEXTAL MONEY-Three pound notes borrowed and folded tight, person bymaking them pick any card he chooses, while at a distance. one is chosen, the performer reveals its number. NUMBER PLEASE-A Telephone Book Testin which the performer revealsboth name and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs a n d , two spectators. THE CARD DOCTOR-Spectator torn Intopleces,plecesvanishandcardisfoundback in the selects card whichisinitialled,cornertornfromcard, then initialledcard pack, minusits corner.SLATES AND ACES-Performer andspectatorwritenames of the aces ontwo slates,spectator rubs outthree on his, the ‘spirits’ rub outthe same three acesfromthe performer’s !ate. POKER PLUS-Performer dealsthreefacedownhands of anditbeatsthe second. Thirdhand shown to beat Poker.Second hand shown to beat performer’s. Then performer’shandshownagain performer’s. Then performer’s shown a g a i n , and beats it the third. Temfic effeht! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-Another typical Annemann card routine with a mental twist. And, of course, full a description of a mostuseful GIMMICK.
ASUSUAL-A
FINELYPRINTED
BOOK
Postage 4d.
Price 7/6
T H E M A G I C WARW P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Libran and Museum
is published on the 24th of eachmonth
1
Euston Road, London, N.W.1.
.
King George’s Hall, W.C.
Mar. 25-Both Sides of the Camera Particulars trom tton. Secretary
*
1
’
I
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with all his other effects in return for a stamp.
mirllusaipts for publication and books for review should be sent to the:
Peter Warlock, 24, Wordsworth Rd., Wallington, I
Surrev
.
Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s P U B L I S H l D BY
you
fulldatdbd
from
EDITORIAL ADDRESS:
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
JACK HUGHEiS will be pleasedtosend
and the pubhhers for 117 per single copy. Annual Subscription 1 8 Ipost free. PUBLISHED BY:
can be obtaineddirect
Hearts of O a k Buildings, bf8gical Theatre
WARLOCK’S
PROPPIXTORO
A N D C.IN¶TD BY HERBERT WALKER B: SON (PRINTERS)LTD.,
BRIDGE WORYI, SRIPLEY,YORKSHIRE
MAGIC O F THE E D I N B U R G H MAGIC CIRCLE N OCTOBER, 1956, TheEdinburgh Magic ‘Circle held a week-end of magic to celebrate the tenth anniversary of itsformation. I was honoured in being asked to give one of the lectures and when, during the week-end, I suggested a special number of the “Pentagram” comprising items contributed by members of the E.M.C., such items were freely offered. About the contributors-all arenoted for their original ideas. Roy Scott isthe present Secretary of the Circle, having previously held most of the offices therein including that of Presi-
dent. Charles Cameron is the present VicePresident, while Harry Burnside, a former Secretary and President, is the Hon. Treasurer. Leslie May iswell-known, particularly for his work in the field of mental magic-during the above-mentioned week-endhe gave an excellent talk on Annemann-the Enigma. I am grateful to the above for their generosity -with their permission I have added notes to some of the items.
JOHN HOWIE.
THE SUBSTITUTE ROY SCOTT HAVE always believed that it is better to have a reputationthan to have publicity. In ‘ The Substitute’ it is possible to gain both. You not only perform a nice piece of magic, but leave behind the means to have it discussed in your absence. Whenyou are asked to perform at a houseparty, ask your host to provide a brand new pack of cards and to keep them in the sealed wrappings until you arrive. Ask for the pack as soon as you are on and do this as your first card trick. You must stress that, whilst bought on your instigation, the pack has not yet been handled by you. Break the seals, remove the jokers, etc., andlay them aside. Askthespectator to look for the ten of spades and to note its position from the top of the pack. In doing so the spectator deals the cards to find the ten of face-up on the table but fails spades. In counting to notethe position of the missing card he also discovers thatthere are only 51 cards. You reach into your pocketand remove a sealed envelope. You remark that you knew thatto
I
VOLUME I I, No. 6
-
the ten of spades would be missing and, so that you could carry on, have taken steps to make good the omission. Ask the spectator to open the envelope. Inside he finds a ten of spades with the same back design but, across the face are typed the words: “ This card has been substituted by . . . ” and signed in ink. Thiscardis now added to thepack which, being complete, is ready for your other effects. Notice how the typing precludes the theory that it is the card from the pack and the signature in ink disposes of any ideas regarding a rubber stamp. The beauty of theroutine lies in leaving a complete pack with your host. He willuse it whenever he plays whist, bridge-or pontoon. His guests, on receiving a marked card in their hands, are bound to enquire the reason. The answer cannotfailto give creditto you. Your reputation is being built up inyour absence. In case you are wondering how it isdone here ismy method. When you first askyourhost purchase a pack suggest (don’t insist) a store
I/6. (20 Cents)
-
MARCH 1957
42
from whichhe can get a pack. Then buy one yourself from the same store. Youmaybelucky and buy an identical pack,although youwon’t know this until you are ready to perform. The different procedureneededshould the packs differ ismentioned later. Packs made by the same manufacturerare stackedin the same order and it is on this fact that the first method is made (e.g., the top card of a New Bond pack is the three of diamonds and the bottom card the ten of spades, with one of the Jokers on the face of the pack). that In the following routine it willbeassumed this pack is used. Open your pack when you reachhome and, removing the Joker, ensure that the next card is the ten of spades. Remove the ten and write your messageon the face of thecard. Place the ten inan envelope and seal it securely. Remember the back design. If you were lucky and find that your host has an identical pack. take it from him and break the seals. Remove the extra cards and the Jokers. In removing the Joker at the face of the pack, double lift and with it remove the card urderneath (10. S.). Hand out the pack and, as you place the extra cardson !the table. side-steal the ten of spadesinto yourpalm.Whilst the spectator is dealing you reach into your pocket, leave the ten behind and remove the sealed envelope which you place in full view. Your work is over. Whathappens if the pack is not identical?
Themethod is as easy but not so convincing. Whilst holding the pack before removing the Jokers, glimpse the card under the Jokerat the face of the pack. It is also good policy to do this in the first verion to make sure the stack has not been altered. Assuming this glimpsed card is the ten of spadesyouvisibly write the following message,without letting the audienceread it at this point, on the face of the Joker: “ This Joker hasbeen substituted for the ten of spades . . . ” Double lift, removing the glimpsedtenwith the Joker, and palm off the ten as you place the Joker down. I prefer the Buckley Throw Change, throwing the Joker face-up. The writing isseen but, before it can be read, the left handreaches out andturns the card face-down. The ten is palmed until the deal is started and, as you return the pen to your pocket, the ten is also left behind. Scotsmenwill like the factthat this pocketed card is added to their ownpack. In the first method their ownpack is complete and, in the second, theyhave a stranger card whichshould prove useful . Completely divorced from the above there is another interesting pointabout the NewBond pack. Whilst one joker is on the face of the pack, the second joker is inserted amidst the rest of the pack near the bottom. Most packs nowadays have two jokers but I doubt if the public realise this. The possibility of using this position as a force of the cards on either side might be worth exploring.
NOTEBY JOHN HOWIE Since the first method has such a powerful climax it is desirable to increase, if possible, the chance of providing oneself with a card matching the pack provided. This is easily done by having several envelopes with cards corresponding to
several back designs. Sincemostpacks are made with a choice of two colours for the backs, I would suggest at least two duplicates to cover one design and two colours. If you can afford it (!) you may care to provideyourselfwith four duplicates to cover two designs each in two colours.
CLANNISH ROY SCOTT TACKED packshavealways a wide appeal but their main drawbackis the difficulty of remembering the stack. When the stack is one of principle and not of a fixed sequence there is a greater chance of its beingmemorised and used, which is one of the reasons for the popularity of ‘ Out of this World.’ Thebeauty of ‘ Clannish ’ is that you can use the stacked pack you normally use or the cards can be in no recognisable sequence. PREPARATION Should your pack be set up in the Si Stebbins, Hammond or Eight Kings stack, no other preparation is needed. If not, stack them as follows. The 1st and 27th cards must be of the same colour and value. Similarly the 2nd and 28th, the 3rd and 29th and so on throughout the pack until the 26th and 52nd are reached, i.e., the lst, 2nd and 3rd
S
being 6D, 5C, KC the 27th, 28th and 29th would be 6H, 5S, KS. PRESENTATION The effect is self-working except for one wellknown sleight in the final stages. Thisportion maybeeliminatedwithout detracting overmuch from the effect. Give the pack to a spectator and tell him what to do. “ Cut the pack as often as youwish.Now count off 26 cards into one face-down heap. Place the remainder of the cards face-down beside those you have just dealt and you now have two heaps, each containing the same number of cards.” Due to the counting, the first 26 cards dealt have been reversed in the dealing. Thus the twin of the top card in one heap is the bottom card in the other pile and vice-versa.
43
Push one pile aside for the momentand concentrateon the other. Pick up this pile. Cut off about half and drop themface-down onthe table.Takethetopcard of those inyour hand, show it aroundand place it face-up ontop of those face-down cards you have just cut off on to the table. Drop the cards in your hand on top of the face-up card whichisnowsandwichedin the half of the pack." Mathernaticiarw may cure to reason outthe pmirion twre. Bring the discarded pile forward and place yourtwo piles side by side. Now dealfrom the top of both piles simultaneously until you come to your face-up card-then stop. Now for the sympathy. Turn over the card still face-down at the top of the heap you previously placed aside. It nmtches-colour and value." DurinA) this dealthere are two altermtivesfwu-14p or fwe-down. Either way is effective so d o n ' t lead. l / they are deult face-up,and the number cut is odd, you will find twins appearing halfw q . tlmmgh. Use this as a strong point. I f they W C dealt face-down make sure that you turn over both sets as soon as they have been dealt to show t h m the f a e s do not match. Before we go further give me a small number-Five?-right.Pick up one of theundealt piles. Turn it face-up and deal off eight or nine cards in a row face-up. Now I'll take this other undealt pile and deal these cards singly on top of yoursface-down. Thereare now eight pairs of cards, the bottom of each pair face-up and the top cardface-down, you said five-we have dealt eight pairs. Let's turn over the cards. Notice that the last three pairs do not match but these five are pairs." "
"
"
Thislastdeal is notquiteautomatic.The first deal, which is by the spectator, is fair, all his cards being face-up.Yourdeal is straight-forward for the first five-the number selected. Here you pause andmakethe passbefore continuing the deal. There are so few cards it is easily done. Naturally the last three cards will not now match.
If you prefer, omit the asking for a number and have all the eight cards dealt out in identical pairs -But make sure you show the remainder do not match. Again the pass will be useful in destroying the sequence. Those who normally use the Nicola stack will be sorry that it is not suitable for this routine. ~NOTEBY JOHNHOWIE While trying out this effect (and I can vouch for its effectiveness), I evolved an a1:ernative endingwhichmaybe of interest. This alternative requires no skill and maintainsthesame general procedure established in the first part of the effect. The methodfollows:Perform the firstphase exactly as described above up to the point where coincidence has been established between the card reversed by the spectator and the corresponding card in the other pile. At this point there will be four piles on the table: two face-up pileswithmatching cards showing and two undealt face-down piles. Request the spectator to take one of the facedownpiles,give it a complete cut and replace it. Havehim repeat this with the other face-down pile.Nowhavehim turn overthe topcard of each face-down pile. Obviously one of two things will happen, viz.:( I ) These top cards will match, colour and value. If this occurs, play up the coincidence strongly and turn over the next two or three pairs of cards to show that none of thesem'atch. This climaxoccursmore often than onewouldexpect at first thought-since the piles arearranged in reverse sequence, a cut in the middle of each pile gives a high probability of matching cards being brought to the top. (2) The top cards will not match. When this occurs,astrong climax i s still possible as follows: Take the top cards from the spectator as you remark that you will demonstrate an even more remarkable coincidence. Place these two cardsface-up beside the face-up piles but place each card beside the pile opposite tothat from which it came, as shown in the diagram. Now ask the spectatorto continue dealing cards from the face-down pile face-up on to the face-up piles but, for maximumeffect,havehim turn his left-hand card over before the right-hand one. After each deal point out that no relationship exists between any of the fourface-upcards. A point will be reached, however, when his left-hand card will match, in colour and value, the card on the extreme left. Have himpause at this stage then turn over his right-hand card-it will match the card on the extreme right! Thus, using the cards shown in the diagram, when the ace of spades is dealt from pile A, the corresponding cardfrom pile B willbe the five of hearts.
44
E. S. P. EXPERIMENT HARRY E. BURNSIDE AND CHARLES W. CAMEROW HE FOLLOWING item has, we hope, caused a certain amount of cogitation amongst our fellow magicians. Broken down basically itismerely a test of ‘ telepathy ’ between two persons neither of whom is in direct contact with the otherduring the demonstration. The material used is very simple and consists of five small cards each bearing an E.S.P. symbol and a small leather wallet to contain them. THE EFFECT The mentalist introduces his partner whois then led away under escort to another part of the building. The mentalist now asks for the assistance of a spectator and hands him the wallet containing the E.S.P. cards. He emphasises to the audience that from that moment onwards he will neither handle the cards nor will he even approach the spectator who is assisting in the demonstration. The spectator is asked to extract the cards from the wallet and to show them to the audience. He is now asked to mix them and then to lay them down, face up, on the table, The spectator is now asked toconcentrate and then finally to select one symbol. The chosen symbol is shown by the assisting spectator tothe audience. The mentalist without touching the cards or going near the spectator is led away under escort. A member of the audience goes to the room in which the mentalist’s partner is waiting and brings him back to the audience. After the usual concentration the medium either names the selected symbol or draws it on a slate.
T
METHOD
The method is relatively simple and is out of all proportion to the effect obtained. It is based on a principle extremely difficult to break down, namely the principle of optional termination. The symbols and code number are as in the following table:-
Circle @ 1 Cross 2
m
=
Wavy lines 3 Square U 4
Pentacle
*
5
l . If the circle is chosen the mentalist asks the spectator to mix the cards and leave them lying face up on the table. 2. If the cross the cards are to be mixed and turned face down on the table. 3. Three wavy lines chosen are coded by asking the spectator tomix the cards and to replace them in the wallet and to throw the wallet on the table. 4. If the square is chosen then the cards are put in the wallet and then placed in the spectator’s inside pocket. 5. Should the five pointed star beselected then the cards are mixed, placed in the wallet and are taken out to the medium. This last choice makes the effect a 100% miracle as the cardscan be looked at by the medium before returning to the audience and the selected cardcan be withdrawn and heldin the medium’s hand before entering the room, From the medium’s point of view the code used could not be simpler. Immediately upon re-entering the room a quick glance in the direction of the table gives the clue to the chosen card. The glance at the table is, of course, done unobtrusively and the medium does not even require toapproach the table. If desired a fake blindfold can be used but this does not really require to be used. We have tried this out on very many occasions, both on lay and magical audiences and can assure readers that it is 100% simple, direct and extremely baffling to an audience. The strong point of the above routine is that the mentalist does not handle any of the items and does not appear to be sending or leaving any codes or clues to the medium.
A NEEDLE MATCH MAJOR LESLIE MAY M.B.E. HERE IS on the magical market an intriguinglittle effect called “ Needle-Off ”; it is extremely popular,owing to its low price (2s. 6d.) and ease of working, therefore I hope our editor will notobject to publishing my routine, which I venture to think enhances the original effect considerably. I am not at liberty to give away the secret of
T
“ Needle-Off ” so if this interests you, the expenditure of 5s. at your favourite dealer will provide you with two sets andfull instructions how to accomplish the advertised effect. If you already possess a set, then it will only cost you a further half-crown in order to perform this extended routine.
45
Each set as supplied by the dealers, consists of one faked, and one matching unfaked, needle; place the two faked ones together in one packet, discard the two unprepared needles, or give them as a present to a lady of your choice and in return obtain a packet of two ordinary needles, with same sizeeyes as your fakes, but either shorter or longer. Next, obtain a reel of thread of a thickness to go through the eyes of the needles without too much difficulty, a nice brightly coloured thread, if possible, for the sake of effect, and you are all set. PRESENTATION Obtain the assistance of two gentlemen from your audience and announce that you would like to conduct a little competition to discover which of them is more adept at a simple domestic job like threading a needle. Draw attention to the two packets and ask each volunteer to take one, remove one of the needles from it, and place it in the lapel of his jacket for the time being (this prevents the man withthe fakefromexamining it too closely). Next, request the assistance of a lady to act as adjudicator; give her the reel of thread, ask her to step forward, break off about three-and-a-half to four feet of it, lay the reel aside, and hold the thread by the exact centre. Give oneend of the thread toeach of the male volunteers, and say that when you call “ Go,”they areto remove the needle from the lapel, thread it, and slide the needle uptothe centre, the first one reaching that position being declared the winner. Experiencehas proved that a considerable
amount of fun can be got from this, and its up to the performer to capitalize on any amusing situation that may occur. After completion of the race, thank and dismiss the Lady, ask the men to still keep hold of their respective ends of the thread. Commiserate with the loser, congratulate the winner and say that despite his speed, howmuch more expediplace tiously threading or unthreadingcantake with the aid of magic, and that you would like to demonstrate this; cover the centre of the thread and the two needles with a handkerchief: Give the winner the privilege of nominating a needle, either the short one or the longer of the two, irrespective of whathe states, place your handunder the handkerchief, say “ one, two, three!” and remove thefaked needle vide the instructions provided with the purchased effect. The winner’schoiceis,however, interpreted as follows: If he names the faked one, say you will demonstrate with that, and then present him with the other one still threaded, as a souvenir. If he names the ordinary one, say you will present him with that and you will remove the other by magic. In either case, you keep the faked one, and he is left with the normal one on the thread to retain. If he had won with the unfaked needle, its most appropriate for him to be allowed to keep it. There may not appear to be a lot of magic in the above, I admit there is not, but properly presented, I can assure the reader thatmore genuine entertainment can be got from this routine thanfrommanya far more expensive effect.
IT’S ON THE CARDS MAJOR L E S l l E MAY M.B.E. FEW years ago, whilst visiting Dublin’s fair city and enjoying the company of that King of the Leprechauns, Hubert Lambert, I purchasedaratherunusualand attractive pack of purely Irish playing cards. The backs had a most attractive shamrock design,whilst on the faces, the values were shown only by the normal indices, the entire centre of each card bearing a delightful photo of some Irish beauty spot, historic building, etc.,with the name of same printed below, thus there were 52 different photos of interest. In viewof the shamrock motif I used the pack for fortune telling demonstrations, but later
A
thought that surely the unusual faces couldbe turned to advantage, and eventually the following routine was evolved. Probably the reader is already saying “ This is no good to me as I don’t possess such a pack,” well the Irish pack discovered by me is not essential, as long as a pack of a similar unusual nature is found irrespective of its geographical origination. Such packs, I understand, exist in many places, and the interested reader whowould like a somewhat different and novel effect in his repertoire will surely take the trouble to discover one. I know, suchpacksarefairly common abroad,
46
and our editor, Peter Warlock, has told me of a Spanish pack bearing similar pictorial reproductions, he once came across. For the benefit of those unable to locate a pack of this description, some suggestions asto conversion of an ordinary pack will be given at the foot of this article.
Emphasising the absolute fairness of the mental and physical selections, the lady is asked to, turn over the card she took, and it is found to be of the same value and suit as thought ofby first volunteer and to bear the pictorial representation of the place name on the billetselected by the second helper! REQUIREMENTS
EFFECT (The figures in parenthesis indicate the various moves,etc., used, and willbeso detailed at the end.) The performer displays a card case, containing, he says, a rather unusual pack of cards and gives a brief description without actually showing them at this stage. He next draws attention to a glass bowl containing 52 folded slips of paper-each bearing the name of one of the places of interest depicted on the cards, and invites a member of the audience to open oneor two at randomand confirmhis statement; these are refolded, replaced and the volunteer is requested to thoroughly mix them. The assistance of three further volunteers is obtained. If they are seated in, or near the front row of the audience on the same level as the performer, theycan remain in their seats. If possible they should be two gentlemen, one on the performer’s left, one on his right and a lady seated in the approximate centre. The person on the left is requested to think of any suit in a pack of cards, then of the value of that suit (this prevents the “ clever one ” thinking of the Joker!!), not to disclose his mental selection -at present but to record it on paper for subsequent display;for this purpose heisgiven a piece of paper anda pencil, andasan afterthought the card case for use as a rest on which to write legibly (1). He is then to fold and retain the paper, while the performer casually retrieves the case and lays it on his table. Next, the bowl containing the name slips is taken to the assistant on the right, who is requested to remove any slip, and hold it, unopened, in his hand. Finally, the pack of pictorial cards is removed from its case (2), the backs and faces briefly displayed, the Lady assistant then being requested to kindly select one, not to look at or disclose its face at the moment, but to place it face down on her lap, with her hands resting upon it. (3.) The performer briefly recapitulates what action has taken place, steps to first volunteer (on left) takes his folded slip, holds it alofttoenableall to sec it, then hands it back; walks to volunteer on right, takes his folded slip, holds italoft also whilst recapitulating, drops his arm to side, turns to volunteer 1 asks him to stand, open his slip, and read out the name of card he mentally selected; as this is being done, he returns second slip to volunteer 2, and after first Spectator hascompleted, No. 2 is also asked to stand and read out the place name on the slip he freely chose. (4.)
(i) A pack of cards similar to that described above. This is arranged in Si-Stebbins or other suitable system enabling the performer to locate any card secretly and instantaneously, and then inserted in acard case fitted with Annemann’s “ Mental Masterpiece ” or “ Perfected Mental Masterpiece ” (R. W. Read’s improvement). The complete case may be purchased from a magical dealer. A small piece of paper on which to write, and a short hard pencil. A description of Annemann’s Mental Masterpiecewillbe found on page 10 of Annemann’s MENTAL BARGAIN EFFECTS, recently republished in this country by George Armstrong. (ii) A glass bowl containing 52 folded billets, each bearing a different name from the picture pack. (iii) A set of pocket indices, containing not cards, but billets, being a duplicate set to those in the bowl, and folded in an identical manner. Each billet bears the place name associated with the particular card in the pictorial pack and are placed in the index according to the playing card value, i.e., in my Irish pack, the THREE OF CLUBS bears a photo of KILKENNY CASTLE, therefore the slip bearing the name KILKENNY CASTLE is placed in the compartment of the index normally allotted to the THREE OF CLUBS, and so throughout the 52 billets. METHOD (1.) By means of the MENTAL MASTERPIECE Case, the name of the mentally chosen card will automatically be recorded on the receiving medium INSIDE the case; the use of a short hard pencil ensures this being legible. (2.) In the act of removing the cards from the case, the performer notes, and memorizes, the name of the card secretly recorded vide (1) above. (3.) Whilst exhibiting the unusual faces of the cards, the performer locates the card whose identity he learnt at (2) above and brings itto either top, bottom or whatever position he wishes in order to force it upon the lady assistant. This force he then carries out. The nature of the force used I will leave to the individual performer, all I ask is, NOTHING COMPLICATED, PLEASE! (4.) Whilst recapitulating performer locates appropriate billet from index and finger palms it; takes card billet from first volunteer with other hand, holds it aloft, and then returns it. Walking to second volunteer he takes the name billet from him, holds it aloft in a similar manner, but does
47
not immediately returnit; he lowers his hand, .and at same time asks first Spectator to stand and .read out name of mentally chosen card; this is sufficient misdirection for the second spectator’s slip to be exchanged for the one taken from the index, and it is this that is handed to the second assistant to open and read. Performer meanwhile dropping original billet into a convenient pocket. SUGGESTIONS In the event of the reader being unable to locate a pack such as described above the following suggestions may be of use:- (i.) Obtain sheets of transfers (such as children use to stick on the back of their hands, etc.), ob some subject such as flowers, animals, etc., and transfer one to the face of each card.
(ii.) Type or print in block letters on the face of each card a short statement as to the significance or portent of that particular card. (The ladies will love this, but even if a card is black, still make it a cheerful reading.) (iii.) For male audiences, have the name of a race-horse on each card. (A patter theme regarding the tie-up of cards and racing in gambling will help to make this appear logical.) (iv.) For the appropriate class of all-male audience a “ Wolf ” pack can beused - each scantily clothed lady on the cards beinggiven a Christian name--or nickname. I am sure other themes will come to the mind of the intelligent reader. LESLIEMAY.
CASE FOR CARDS STEWART JAMES 5. THE WORLD’S GREATEST TATEthat youwill make anyone a wonder worker in one easy lesson. The volunteer shuffles the pack and hands it to a spectator to select a card in a manner to be explained.
S
Taking back the pack and dealing a card for each letter in the words I AM THE WORLD’S GREATESTMAGICIAN, the volunteer is as surprised as anyone when the card at the final letter is the selected one. THE METHOD
Be sure the pack contains exactly fifty-two cards. The spectator shuffles and deals two facedown piles containing twenty-six cards each. He removes one cardfromeach pile and turns them face-up on the table. From either pile, he deals cards on each to equal their value. Face cards are considered as ten.
Suppose a five and a nine turn up. Five cards are dealt on one and nine on the other. The pile from whichthe cards were dealt is placed facedown to one side for the time being. The total number of spots on the two face-up cards are fourteen and so he notes the fourteenth card from the face of the remaining pile. The king of hearts perhaps. This pile is dropped face-down on the first, the remaining sixteen cards from the table squared up and dropped on topof all. The noted cards is now the twenty-eigth card from the top of the pack, regardless of what cards were turned face-up, and it will spell outas explained. A trick of this nature lends itselfto topical presentation. When I did itat one of the club meetings, I used the words THE LONDON SOCIETY OF MAGICIANS. In this case, the noted card appeared after the last letter.
6. VIDA PACK SPECTATOR deals the shuffled pack in any number of piles, from two to twelve, a card at a time. He gathers up the piles and hands thesquaredpack to youwho are standing with your back toward him so as not to see what he did.Glancing quickly over the cards, you pick out one that bears as many spots as there were piles dealt.
A
THE METHOD Prepare by having six face cards on top and six on the bottom in any order. Riffle shuffle without disturbing them and then give the pack a genuine cut. The spectator may single cut again before he deals. When you take the pack back, simply count the groups of face cards. The number of groups tells you the number of piles dealt and you remove a card bearing that many spots as your reason for looking through the pack.
48
T H R E E BO.OKS IN 0N.E
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S “MASTER MIND ’*CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONE MAN MENTAL AND PSYCHICROUTINEisa professionally routinedmentalactthat runs according to speed of presentationandthe effects includedfromtenminutes to half an hour.The six effects described make one of the finest mental routines ever conceived, and can becut down to’three reallysensational items forthe shorter show. I t is astrictly ‘One Man’ act,there is no cumbersome apparatus,no assistants, no confederates. A brief case will carryallthat is required,but J O U could travel with the necessary itemsallready in your pockets if preferred.Thementaland psychic testsare presented in aroutinedorder,and include some of Annemann’s choiccst billet methodsand effects. Ideallysuitedas a club, privateparty, television ornightclub act. ANNEMANN’S “MASTER WIND” CARD ROUTINE was theoriginator’s favourite card routine for newspaper offices and intimate gatherings.Withjusta pack of cardsthe performer presentsa series of five stunning prediction effects that leaves the audiences gasping as eachone in turn eclipses theprevious one. No skill is required,andtheactcan be learnedandthoroughly practiced in an evening. ANNEMANN’S MENTAL MISCELLANY is a collection of six off-beat ideas in mentalism thataretypjcal of theauthor.Thetreatise on the Mirror Reflector andtheone on Pencil Reading-to the man who uses them-canbe worthmany times thepnce of the book.
AS USUAL-A
FINELYPRINTED AND ILLUSTRATED BOOK
Price 12/6 Postage 4d.
ANNEMANN’S I N C O R P O R A T ESDT R A N GSEE C R E T S CONTAINING
TWELVE ANNEMANNMIRACLES-AND
A MASTER
‘c
GIMMICK”
THIS COLLECTION comprises some of the choicest Annemann Secrets, now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between the performer’s and spectator’s pockets. STOP-A freely selectedcard.lostinthepack,isfoundatanumberthought of. T H E POUNDNOTE AND THE CIGARETTE CHALLENGE--Marked cigarettee in performer’s mouth,number of anote written down by spectator-note openly burned-and thenfound in the cigarette-the besteverroutineforthis effect. IMPROVEDREMOTE CONTROL-With red and blue packs theperformerproveshe can controlanother person bymaking them pick anycard he chooses, while a t a distance. MENTAL MONEY-Three pound notes borrowed and folded tight, one is chosen, the performer reveals its number. NUMBER PLEASE-A Telephone Book Testin which the performer reveals both name and two spectaton. THE CARD DOCTOR-Spectator and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs in the selectscard which isinitialled.corner tom from card,then initialled card tominto pieces, pieces vanish and cardisfoundback pack. minusitscorner.SLATES AND ACES-Performer and spectator write names of theacesontwo slates, spectatorrubsoutthree on his, the ‘spirits’ rubcutthe same three aces from the performer’s late. POKER PLUS-Performer dealsthreeface down hands of shown tobeat Poker. Second handshown tobeat performer’s. Then performer’s hand shown again, and it beatsthesecond.Thirdhand performer’s. Then performer’s shown again and beats it the third Temfic effect! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-Anothir typical Annemann caid routine with a mental twist. And, of course, full a description of a most useful GIMMICK.
ASUSUAL-A
FINELY PRINTED BOOK
Price 7 / 6
Postage 4d.
THE M A G I C WANED P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre . King George’s Hall, W.C.
May 7-CONCERT Particulars from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
JACK HUGHES
PENTAGRAM
will be pleased to send you
is published on the 24th of eachmonth
and can be obtaineddirect from thepublishersfor 117 per single copy. Annual Subscription 181post free. PUBLISHED BY:
THJ3 DE LUXB “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
togethrr with all hlr other effects in returnfor a stomp.
full dstailr of
Manusuiptsfor publication and books for review should be sentto the: EDITORIAL ADDRESS:
Write now to
Jack Hughes, 2, Bvelyn Ave.,
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrev . I -
Colindale, London, N.W.9. I
Every Advertiser’; goods arefullyendorsed
by’this Bulletin
PUBLISHED BY THEPROPRIETORSTHEMAOlCWANDPUBLISHINQCOMPANY, 62 WELLINGTONROAD,ENPlELD,MIDDLESEX AND PRINTED BY HBRBERT WALKER & (ION (PRINTERS) LTD.. BAIDOH WORKS,SHIPLEY,YORKSHIRE
+
ERIC’S D E LANIGHTMARE DESCRIBED BY JOHN DERRIS N THE February issue of “ Pentagram ” I described to you my version of the coin through ring effect called “The Big Squeeze ” and I promised to give you an original twist on this routine by my friend Eric De La Mare; first of all let me tell you how this idea was conceived. After performing my version for some time I showed it to Eric, who shares with me a love of coin magic, and jokingly he said that he was too poor to perform the effect with a nesting set of coins; he then reached intohis pocket, took a handful of ordinary coins, a handkerchief and a ring and worked out what he called the pauper’s method of “The Big Squeeze.” He agreed that it would be fitting for this second version to be published immediately afterthe first and so, on Eric’s behalf I describe to you his method. No fake coins are required, just a silver and a copper coin, a match box with a rubber band, a handkerchief and, of course, a finger ring. The match-box with the rubber band around the outer shell is set as described inthe first version and placed in the left trousers pocket. The two coins are picked up fromthetableand shown, held between the finger and thumb of the left hand as in Fig. 1. The handkercbicf is picked up in the
I
position as this is done. With the right hand you grasp the remaining coin through the material and the handkerchief is pulled forward away from the left hand and then laid on the left palm so that the single coin in the handkerchief lies directly over the other coin palmed in the fingers-Fig. 2.
The two coins are then picked up as one and held infront of you as youstate-two coins in the handkerchief. As this movement is made you turn both coins over so that the rear coin is covered 3. The finger by a fold of the material-Fig.
right hand and thrown over the left hand allowingthe lower coin to drop into the finger palm
VOLUME I I, No. 7
-
I/6. (20 Cents)
I
APRIL 1957
50 ring is now borrowed and the spectator slips the four ends of the handkerchiefthrough the ring which is pushed right up to the coins-Fig. 4. If
required the spectator can feel the two coins inside the handkerchiefthrough the materialprovided the magician holds the fold covering the coin outside the handkerchief with his thumb. The handkerchief is now turned upside down so that the coins hang underneath and the material is opened to reveal the small aperture where the handkerchief passes through the ring. At this stage the four corners are held by two spectators, and you can safely removeyourhandsallowing the coins to hangunderneath the handkerchief. You invite one of the spectators to look through the small hole and tell youwhichcoin is uppermost. As he does this your right hand goes underneathtosupport the coins so that they maybe seen more easily but in actual fact the right thumb is working the outside coin from the folds of the handkerchief into the right palm-Fig. 5. At the
same time the left hand goes to the left trousers pocket and picks up the rubber band as described in the first version. When the spectator has named the visible coin yousay that youwill turn the coins over so that he may see the other coin. You then add the coin that you have just picked up in your right hand overthehandkerchief so that it drops on top of the hole whilst the left hand goes underneath, opens up the rubber band and allows both coins and ring to pass through. The handling is the same as described in last month’sissue. When one of thecoins has beenselectedyou merely pull the sides of the handkerchief and the uppermost coin just added will jump through the rubberband.Removal of the ring and the disposal of the bandare the same as inthe first version. Well, there is Eric’s version and I think you will agree withme in saying thatits virtues of straight coins andimpromptuhandlingmake it veryfine indeed. To Eric I say thank you for a veryclever thought on this new angle of one of the classics of close-up magic-grr-r-r-r!
THE LITTLE MAN PETER WARLOCK HIS IS a slate trick for children. The effect is straightforward. The conjurer after showing three slates to be blank on both sides, numbers two of them, one and two respectively, then placing them number side towards the audience in a small stand. Adjacent to the stand is a small house, and in this house there lives a little man whowill help the conjurer with this trick with the three slates. Picking up the third slate, one of the audience is asked to give him the name of an animal. “ Now,” says the conjurer, “ I’ll write the FIRST LETTER of that word on this slate, and strange and wonderful thought it may seem, the little man will leave his house, rush behind SLATE NUMBER ONE and draw the SAME LETTER. Just watch the slate, the little house and myself all AT THE SAME TIME.”
T
Now immediately the conjurer puts chalk to the slate in order to writethe first letter of the animal’s name, the door of the house opens and stays open.About fiveseconds after thewriting is complete, the door closes. “ Did you see the little Man?” a s h the conjurer. The answeris, of course, in the negative. “ Well,” continues the conjurer, “ He left his house and drew the letter on the slate!” At this point slate numberone is turnedroundand on it the letter drawn by the conjurer has been duplicated. “ Look, we’ll go a bit further this time and you seewhetheryou can seehim.Don’t forget he movesvery quickly, but youmight just see his red coat.” The slate is cleaned, re-numbered and replaced in the stand. Now the conjurer writes on the third slate, the full name of the animal. Similar business as
S1 before with thedooropeningand shutting and when the slate is turnedroundthefull word is written on it. Finally attention is drawn to slate number two. Taking the third slate and cleaning it,the conjurer makes a comical drawing of the animal. There is,of course, the opening and shutting of the door and thenthe completion of the trick when the third slate is turned round and a similar drawing is found on it. With young children in particular the visual side of the effect, i.e., the opening and shutting of the door in the house, brings forth many imaginative qualities and there will be many who will see the flashing red jacket of the little man who isn’t there. The Requirements Three school slates of identical size. One loose fitting flap, which obviously will be common to all the slates. Chalk . The Little House.This maybe as plain or elaborateas youwish. The principal feature is the door which is so constructed that it may be opened by a pull on a thread and closed when the pull is relaxed. The most reliable idea I have found is shown in the following sketch:-
A pull on the thread makes the counterweight rise, and when the pull is relaxed, the counterweight causes the door to close. A stand to hold the slates. Again this is a matterfor simplicity or elaboration. Nothing is gained by being elaborate in this case andthe following illustration shows a stand whichfulfils all the requirementsneeded, i.e., the slates are
heldfirmly and there is nochance of the stand falling one way or t’other. It is hardly necessary to say that the choice of animal is hardly a choice in the true sense of
the word, and before commencing his preparation for the performance, the animal decided upon is that beautiful and intelligent citizen, the Cat. The three slates are then placed in a row and thinking of them as One,Twoand Three, the additioxm shown in the following illustration are made firmly with chalk.
The flap isnow takenand placed over the written side of slate number one. This slate is placed on slate number two and finally both slates are placed on top of slate number three. The table usedby the conjurer must have a fairly large surface. Acard table will do and it should be placed in this position the stand for the slates and the little house being set uponitas shown:-
The motivation of the door is best done by an assistant off-stage. Actually the thread used for activating the movement as it is carried across the table surface and down one of the table legs, can be so fixedby means of a small staple at the bottom of the leg so that even in a room it can be used by an assistant either concealed behind a screen or simply seated as part of the audience. The movement of the hand holding the thread is very little indeed. With the stand and house set on the table the slates with a piece of chalk placed on top are put down just in front of the stand.
52
hwlmtation The slates andchalk are takenfrom the table by the left hand. Slipping the chalk into his pocket with the right handand then tilting the slates towards himself, the conjurer with his right hand removes the topmost slate which, remember, has chalked on its surface the two letters and is covered with the flap. The writing on the surface of the second slate is concealed from the audience because of the simple fact that the surface is tilted awayfromthem.The first slate, fingers keeping the flap in position, is shown on both sides. ‘‘ This we’ll call slatenumber one,’’ says the conjurer, and then placing this slate flap side undermust on the two slates heldby the left hand.His right hand goes to his pocketremoves the chalk and on the uppermost slate he writes a large ‘ 1.’ This slate is now taken off the stack leaving the flap behind on top of the second slate. Handling must be natural and slate Number 1, care being taken that the writing previously concealed by the flap is notglimpsed, is placedinto the stand on the side nearest to the little house. The second slate with the flap covering the drawing is shown on both sides and it is placed on slate three flap side undermost. This slate is marked ‘ 2 ’ and similarly it is taken away leaving the flap on slate three. The second slate is placed in the stand alongside slate number one. Now, chalk in onehandand slate in the other, the conjurer gets the word cat from a member of the audience. There is no need to go to the trouble of some kind of force, for bysuggestion the word willbe forthcoming. The conjurer tells of his little friend in the little house and how when he, the conjurer drawsanythingupon the slate, this little man will do the same on slate number one. cc Just watch!” he says. To make it easy for him we’ll use the first letter of Cat,’ and with thatremark the conjurer startsdrawing a letter ‘‘ K on the non-flap side of the slate. At the sametime the assistant in charge of the thread moves it so that the door opens in the house. The conjurer’s mistakewith the initial letter of the animal’s name will bring forth jibes from his audience who will also have seen the door open. ”
”
The conjurer apologises and asks for correction. “ C ” they will tell him, and so the “ K ” is crossed out and the letter “ C ” placed in one corner of the slate so that it is comparable with the letters madeon slate number one. “ There,” hesays, “ my little friend has copied what I have written on the slate.” As this is said the assistant allows the door of the house to close. Never at any time does the conjurer give any conscious attention to the opening and closing of the door. Slate numberone is now takenfromthe stand, turned around and it is seen that the writing on it agrees with that which the conjurer did on his slate. “ Let’stry it once more,”and then placing slate number one on top of the slate he is holding (the flap on the latter beingundermost and held in place with the left hand fingers),he takes a handkerchief from his pocket and cleans off the letters. Then he turns it over and cleans off the ‘‘ 1.” Finally he places slate number three with its attendant flap on top of the original slate number one and then cleans off the letters on its surface. This slate isthen lifted leaving the flap behind and with similar handling to that used with slate number one, it isplacedinthe frame alongside slate number two. This time the full word “ C-A-T ” is drawn on the slate and the conjurer tells his audience that if they watch very, very closely indeed they may catch a glimpse of the little man’sred jacket. Believe me someone will see him and the cry will be taken up by all thosewho do not wish to be thought good viewers. Needless to say after the dooropening and closingprocess has been repeated, the slate in number one position is turned and it is seen that the little man has written the full word “ C-A-T.” To complete the effect and without changing slates, the onemarked “ 1 ” beingplacedaside, the conjurer makes the drawing of the animal whilst the door opens and ultimately closes. When slate number two is turnedround theconjurer’s drawing is seen to be duplicated.
CASE FOR CARDS STEWART JAMES
ALIAS SPECTATOR notes a card in the pack at a number unknown to you. He selects a second card, spells out its name by dealing a card for each letter, and the first card turns up at the conclusion of the spelling. THEMFITHOD Get any king to the top of the pack and retain it there during a shuffle. Place the pack face-down
A
in front of a spectator and have him cut off a few cards. He removes the topcardfromeach pile and places them separately face-down on the table. (He will thus get the king and an unknown card.) The rest ofthe pack is squaredandhe may shuffle if he likes. Slide the unknown card toward him. He is to note the value only, pick up the pack and memorize the card at that position. Thecard may be
53 a five, andthe two of diamonds maybe at the fifth position from the top. Adding the values of both cards on the table -five and king (1 3)-will give him 18. Dealing one card at a time, eighteen cards are counted off and the eighteenth is turned face-up to one side. This may be the king of spades. The other seventeen cards are returned to the top of pack. Ask the spectator to imagine that the card he noted in the pack (two of diamonds) is a criminal. The better to hide, he has chosen an alias at random. (King of spades.)
To show how useless it is to try and remain concealed, have the spectator spell king of spades dealing a card for each letter. The next card is turned over and it is the two of diamonds. Experimerutwillprove thatitmatters mt what the one original card may be as long as the other is a king, the noted card willalways be thirteenth from the top after the deal. Use the familiar spelling of any card by twelve or thirteen letters. Turn over the cardon or afterthe final letter as required.
PREDESTINACETION 0 U START to do what appears to be one Y of the standard Four Ace tricks but it presents a surprise or two before the climax is reached.
THEMETHOD Secretly shift the jacks to the top of the pack as you openly place the aces in a row face-up on the table. Deal one card(ajack) face-down oneach ace. Continue with a second and a third. Turn each ace face-down on top of its packet. Place one of the packets of four cards facedown on top of the pack and false cut. A spectator names any number between five and thirty. Supposetwelve is named.Count off twelve cards, one at a time and face-down. Deal the next five cards in a row face-down. The spectator freely selects one of the five cards, notes what it is and returns it to the top of the pack. Place the twelve cards and another ace packet on top andfalse cut again. The four cards that are left, after the selection of the one from the five, are left on the table for a time. Count off the spectator’s number (twelve) and place the next card to one side face down. Replace the twelve cards back on top, the third ace packet on top of all and false cut. Again count off twelve and place the next card face down beside the first. Replace the twelve cards back on top, the last ace packet on top of all and false cut. Againcount off twelve and place the next card beside the first two. Replace the twelve cards back on top and then the four cards that were left
after one had been selected. False cut and hand the pack to a spectator. Say, “ We require just onemorecard, will you kindly count to it?” He deals off twelve cards, places the next card beside the three you dealt but does not look at it. This time drop the pack on top of the twelve cards.Thespectator names his card. Youknow thatit is automatically the thirteenth cardfrom the top so you arrange the spelling as in “ALIAS.” Deal a card for each letter and show his card at the conclusion of the spelling. The spelled card is placed on those dealt and the thirteen cards are returned to the top of the pack. Say, “ And here we have the four aces.” Turn face up the card that the spectator dealt. It will be a Jack. Look at him as if it was his fault. Momentarily appear undecided, then pick up the pack and deal three cards from the top in a face-downrow. Continue ,three times more 60 that you have three piles of four cards each. Force the centre pile. Youmighthavehim place hishands, oneonone pile and one on another. If hedoesn’tcover the centre pile, pick it up and turn the cards over so as to reveal the aces. If the ace pile is one of those covered, have him lift onehand. Shouldhe lift the handfrom on top of the aces, pick them up and reveal. Whenhekeeps the aces covered, havehim place the other hand on top as well. Remove the twouncovered piles and havehim turn over the aces himself. Now turn over the three cards that are facedown beside the jack and disclose that they are the other three jacks.
TELE-COINCIDO PETER WARLOCK I R S T of all the magician calls the attention underneath it D concealing the number 2.” of the audience toastandon which rest a A telephone directory is thenhanded to a number of alphabet cards. He goes a little further member of the audience. Whilsthe is looking
F
and shows that underneath eachthere are two other cards,onealsobearing a letterand the other a number. For instance here is a letter “ B ” and
“
”
“
through it to see that it is a genuine directory, a tumbler containing dozens of pieces of folded paper is taken into the audience. Several specta-
54 number being omitted. These pieces of paper are now folded crosswise and crosswise in the opposite way,the fold being left in a springy condition (something akin to aspring flower). This “ springiness ” is an integral part of the force.
tors are requested to take one each of these folded slips, open it out and read the number written on it. At the same time the magician points out that the slips of papercarrynumberscorresponding and equal in number to the pages of the directory. The person holding the directory is now approachedand heis askedtodrawoneof the folded slips. He too is requested to look at the number upon the paper, butfurthermore isto turn to the page in the telephone directory represented by thatnumber.Another member of the audience is asked to give a number from one to four. This number decides the column that shall be used and with this information the holder of the directory is asked to state aloud the name of the subscriber at the top of that particular column on the chosen page. We’ll give an actual example from aLeicester directory which we have used, GREY, T. E. The magician now removes from the main part of the stand the letters with their appropriate “ letters ” and “ numbers ” placing them on the top shelf of the stand so that they spell out the chosen name and initials. The name of the subscriber’s exchange is now askedfor,and with the reply “ SYSTON,” the top cards are removed one at a time revealing the word, “ SYSTON ” underneath. Saying that the coincidence has already exceeded his expectations, themagicianwonderswhether he can achieve ultimate success. He says that he’ll take a chance, and asking for the number of the subscriber, he is given the answer, 861450. Removing the letters forming the word “ SYSTON,” the number beneath is revealed as 861450! The Requirements The reader will have no doubts that this effect is brought about by means of a force, and may think that I have glossed over some detail in describing the selection of the numbered page. Simplicity of method and handling gives this perfect force. Therequirementsarea large sized tumbler (if working with aLondonTelephone Directoryone would require a pint sizedglass), and a piece of thin celluloid or acetate cut to such a size that it forms a transparent partition inside the glass. On say, onehundred pieces of paper measuringapproximatelyone inch square, numbers from one to a hundred are written, the force
of Another hundred similar sized pieces paper are taken and on each the force number is written. These pieces too, are folded similarly and then dropped into one partition of the glass, the vari-numbered slips going into the otherpartition. The paper should be pushed down so that a space of about three quarters of an inch at the mouth of the glass is free from paper. Now, if the reader, having madeupthe necessary fake has it in hand, he will find that if it is held as in the illustration the pressing of the celluloid partition to one side, the glass being held at the fingertips, only one set of papers is offered toa spectator. The interesting part is that the flexibility of the celluloid allows it to conform to the shape of the glass. The need for “ springiness ” in the papers is now apparent for when the celluloid is moved, the papers on one side of the partition compress easily whilst those on the other side expand. Apart from the faked tumbler and papers the requirements are:1. A stand like that shownin the illustration. Myown measures fifteeninches by twentyfour. With a strong hinged strut at the back, four lengths of wood were glued to the front to make shelves for the cards. 2. Two packs of “ Lexicon ” or lettered cards. 3. A pack of numbered cards. 4. A local telephone directory. The page which the magician has decided to force should contain aname at the top of the third column which consists of either a four letter surname plustwo intials or a five letter surname plus one initial. Taking thename already mentioned, “ T. E. Grey,” which fulfils these requirements on page 31 of the Leicester telephone directory we have loaded one of the partitions in the glasswith ahundred duplicates of this number.
We now go a stage further. On the table we place thenumberedcardsrepresenting his telephone number, to wit 8, 6 , 1,4, 5 and 0. On top of these in relative order go the lettered cards, S, Y, S, T, .O and N, andfinally on topof these go the lettered cards giving the subscriber’s name, G , R, E, Y, T, .and E. These sets of cards are placed in their correct alphabetical order on the stand (see illustration) triple sets of cards and numbersalso being set in their appropriate positions. Quite obviously apart from the top letter it is immaterial which cards gobeneath the one which shows. When complete the stand and cards should appear as shown in theillustration.Notethat an extra “A,” two extra “ E’s ” and an “ S ” are included. With the stand set on the table, the force glass alongside and a local telephone directory at hand the magician is ready.
The Presentation The magician talks of coincidence andthe partit plays in one’s life. Theattention of the audienceisthen drawnto the cardsuponthe stand and it is pointed out that under each lettered card there is anotherletteredcard,and beneath the latter a card bearing a number. The telephone directory is handed to a member of the audience with a request that he assures both himself and the audience that it is really a copy of the currentlocal directory. Taking the force tumbler and holding it in such a way that the varied numbers are exposed, the members of the audience are asked to take a few slips, satisfying themselves thatthere is no limitation of choice. Changing the glass over totheotherhandthe celluloid is pulled the oppositeway and the slips now exposed are the ones bearing the force number.
Approaching the holder of the directory, the magician requests that he takes just one slip opens it out and notes the number on it. Further he is to turntothat numberedpage inthe directory. Another member of the audience is asked to give a number from one to four. The answer will either be “ two ” or “ three.” If it is the former number the holder of the directory is asked to ignore the first two columns and look at the third noting the subscriber’s name at the top of the column. If “ three ” is the answer, there is no equivoque. The spectator having found the name and readit aloud, the magician removes the appropriate sets of cards from the stand, placing themin the name order on the top ledge. Nowhere is apointworth noting. If it is possible to find a name with wariance in spelling please use it. For instance in the present case, “ Grey.” In removing the cards, the letters G, R and then A are taken. With this last letter, the assistant should stop the magician telling him that it should be E and not A. Such a casual mistake instils in the minds of the audience To that the selection is one of purechance. counteract the possibility that the assistant may not notice the mis-spelling, the magician has under the letter A, the same letter and number card that would be placed under E in this case. With the placing of the cards on the top ledge the effect is virtually finished and it only remains for the magician to build up the necessary suspense before revealing first the exchange and then the actual number. Before leaving this effect, I would like to point out that if the performer wishes to make use of a wider range of names there is nothing to stop him. By having two sets of cards on the stand, the choice of toporbottom of a columnmightbe offered. In such a case the namewouldhave to commence with a different letter.
BOOKS THE OLDEST DECEPTION,” Publishedby Car1 W. Jones, U.S.A. Price $4.00. (Distributed in GreatBritain by Goodliffe, Price 30s.) The sub-title of this book CUPS AND BALLS IN THE ART OF THE 15th and 16th CENTURIES reveals the beliefof the learned author and the late publisher that the Cupsand Balls trick is “ TheOldest Deception.” I, personally, am not so sure of this: I am certain, however, that in his fine folio volume DAS BECHERSPIEL which was published in Dusseldorf in 1954, my good friend Dr. Kurt Volkmann has very patiently compiled an unusualanderudite work that cannot failto charm the serious student. This work, translated by Barrows Mussey, is now available to English readers, thanks to the .enthusiasm of the late publisher. It reproduces no fewer than 23 15th and 16th Century engravings
i6
and woodcuts,nowalmost priceless, in each of which a performance of the Cupsand Balls is depicted. The accompanying text is a painstaking masterpiece that only a true lover of his subject could have prosecuted. Of particular interest is the fact that most of the early prints and engravingswhich are reproduced in this bookshow the old trick being performed with only two cups. In the highly imaginative Peter Breughel engraving, THE FALL OF THE WIZARD HERMOGENES, 1565, however, we see the trick being clearly performed with three cups. At this point I wouldhave it clearly understood that no tricks are explained: the work is for the ever-growing family of students of conjuring history and collectors of memorabilia. Stanley Collins
56
T H R E E B O O K S I NO N E
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH “
ANNEMANN’S MASTER MIND ” CARDACT
ANNEMANN’S MENTALMISCELLANY
&
isaprofessionallyroutined mentalactthat runs according to speed ANNEMANN’S ONE MAN MENTAL ANDPSYCHICROUTINE of the finestmentalroutines to half anhour. The six effectsdescribedmakeone of presentation and the effectsincluded,fromtenminutes It is astrictly ‘One Man’ act,there is no ever conceived, and can be cut down t o threereallysensationalitemsfortheshortershow. cumbersome apparatus,no assistants, no confederates.A brief case will carry all thatis required, but)ou couldtravelwith the necessary itemsall readyinyour pockets if preferred. Thementaland psychictests are presented in a routinedorder, and include some of Ann+ mann’schoicestbillet methodsand effects.Ideallysuited as aclub,privateparty,television ornightclubact. ANNEMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favourite card routine for newspaper offices. and performerpresentsaseries of five stunning predictioneffects that leaves the audiences gaspmg gatherings. With just a pack of cardsthe as each one inturneclipses the previousone. No skill is required, andtheact can be learnedand thoroughlypracticed in anevening. ANNEMANN’S MElNTAL MISCELLANY is acollection of six off-beat ideasinmentalism thatare typical of theauthor.Thetreatise on the MirrorReflector andtheone on Pencil Reading-to the manwhouses them-can beworth many timestheprice of the book.
intieto
AS USUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 12/6
Postage 4d.
ANNEMANN’S INCORPORATED STRANGE
SECRETS
CONTAINING
TWELVE ANNEMANNMIRACLES-AND
A MASTER
‘‘ GIMMICK”
THIS COLLECTION comprises rome of the choicest Annemann Secrets now collected together 2nd printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between’ the performer’s and spectator’s pockets. STOP-A freely in thepack, is foundat a numberthought of. THE POUND NOTE AND THECIGARETTE CHALLENGE-Marked selectedcard,lost cigarettee in performer’s mouth,number of a note writtendown by spectator-noteopenly burned-and then found in the cigarette-the best everroutineforthis effect.IMPROVEDREMOTE CONTROL-With red and bluepacks the performerproves he cancontrol another person by making them pick anycardhe chooses,while at adistance.MENTAL MONEY-Three pound notes borrowed and foldedtight, one is chosen, the performerreveals its number.NUMBER PLEASE-A Telephone Book Testin which the performerreveals both name and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs and two spectators. THE CARD DOCTOR-Spectator selects card whichisinitialled cornertom fromcard then initialledcard tom into piecespieoesvanish and card is foundback in the pack,. minus its corner. SLAi’ES AND ACES-Perfokerandspectator write names of &e aces on two slates,spectator rubs outthree on hs, the ‘spirits’ ruboutthe same three acesfrom the performer’s late. POKER PLUS-Performer deals three face down hands of Poker.Second hand shown to beat performer‘s. Then performe& hand shown again, anditbeatsthe second. Thirdhand shown tobeat performer’s. Then performer’s shown again, and beats it the third. Temfic effect! THOUGHT IN PERWN-A most unusual card routine. A MENTAL HEADACHE-Another typical Annemann card routine with a mental twist. And, of course, a f u l l description of a mostuseful GIMMICK.
ASUSUAL-A
FINELY PRINTED BOOK
Price 7 / 6
Postage 4d.
T H E MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
I
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
Clubroom and Library and Museum :
Hearts of O a k Buildings, Euston Road, London, N.W.l. Magical Theatre
King George’s Hall, W.C. May 27-MENTAL MAGIC (Sld Lawrence)
Particularsfrom
Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
I
I
PETER
WARLOCK’S
PENTAGRAM is publiahed on the 24th of each month and
can be obtaineddirect from the publirhornfor 117 persingle copy. Annual Subscription 181postfree. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscriptsfor publication and booksfor review should be sent to the: EDITORIAL ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington,
Surrev.
Every Advertiser’s goodsarefullyendorsed
JACK HUGwill be pleased to send you
full details of
THE DE LUXB “SU-TABLE” together withall his other effectsin returnfor a stamp. Write now to
Jack Hughes, 2, EvelynAve.,
Colindale, London, N.W.9.
by thisBulletin
PUBLISHED BY T H E PROPRIETORS I R E MAOlC WANDPUBLISHINOCOMPANY, 62 WELLINGTONROAD,ENFIELD, MIDDLESEX AND PRINTED BY RERBERT WALKER SON (PRINTERS) LTD., BRIDGE WORKS, SHIPLEY, YORKSHIRE
*
NO GUESSING B O B DRIEBEEK
A
T HENK ‘VERMEYDEN’S,Bob Driebeek
showed three forms of magical divination. Two of these were in the mechanical Class, whilst the third Bob was good enough to pass on to the Pentagram.
The effect is brief. There are three round coloured sticks and a metal tube with a screw top. Taking the tube and unscrewing the top, the conjurer turns his back to the audience and holding the tube behind his back and giving the lid to a person nearby he asks that any one of the coloured sticks be picked up, dropped into the tube and the top screwed on. The remaining two sticks are to be taken by the person anddroppedinto his pocket. When this is done the conjurerturns round to face his audience. “ You have,” he says, “ placed the red stick in the tube and the yellow and blue ones in your pocket.” The divination is. of course, correct. When Bob first performed this, there were 3 few who thought that he had, after the insertion of the stick into the tube, obtained a glimpse of the remaining sticks which were standing on a nearby table. With these suspicions aroused he offered to perform the effect again. So the tube was unscrewed, the stick removed and the same procedure adopted. This time, however, be handed the tube to a spectator, then correctly divining the colour of the stick in the tube. That is the effect with no trimmings, and many of you will already have the gimmick necessary to achieve this baffling littlefeat. It isthe Bill Tube! Besides the conventional bill tube, youwill requirethree sticks of chalk. The sticks should not be the customary type which one sees in the
VOLUME I I , No. 8
-
stationer’s shopbutratherthe cylindrical type which can be bought in most art shops. If the reader cannot obtain these, ordinary chalk will do equally well, but the sticks I have mentioned look more like coloured cylinders. Having obtained three different coloured sticks of chalk and with the bill tube at hand, the procedure for the first part is as follows. First of all the top is unscrewed from the bill tube and is placed with the sticks of chalk on the table. Showing the tube and stating what he wishes done. the performer turns his back to the spectator and holding the bill tube with his left hand,month towards the spectator, he asks him to choose any one of the chalks and drop it into the tube.Then he is to take the cap and screw it on quite firmly. When he has done this the performer eases the inner tube slightly and as he turns and brings the tube in front of him with his left hand, he notes the colour of the chalk which can be seen easily through the opening at the base of the tube. In the act of placing the tube on the table, the inner tube is pushed upand the performer announces which chalk is inside and which are in the pocket. With the repeat of the trick a slightly different procedure is adopted. After the chalk has been inserted in:o the tube, theconjurerturns round. retaining the tube behind his back for a moment. During this very brief period, his second finger nail scratches against the side of the chalk through the opening. Then thetubeis closed and without bringing it in front of him a spectator at the side is asked to take it. The hands then come to the front and in accentuating the fairness of the procedure, the performer gestures with both hands. At the same time he notices the colour of the chalk on the nail. Finale.
I/6. (20 Cents)
MAY 1957
TRIPLE MENTAL COINCIDENCE RAVELLI S R E E PEOPLE, namely the magician and two spectators, each think of a number and remember the card falling at that number. Although such numbersappearto begoverned by chance, the cards thought of, impossible though it may seem, are identical! Method. Though the effect calls fora long description itsaction is easily understood. First of all you need a pack of fifty-two cards and two spectators. For the purpose of the description let us call one the right and the other the left spectator. Hand the pack to the left spectator for a thorough shuming. When he has done this stretch ouz your left hand in order to receive the pack. At the sametime turn away yourhead, so that in effect you stand with your back to the spectators and cannot see what goes on. Now ask the spectator on the left to cut off about half the pack and take it.Thenearer he cuts to exactly half the in a easier yourwork later. If the packisheld position similar to the ‘ mechanic’s ’ grip you can tell without looking if he has taken approximately half. If the amount should be much less ask him to takea few more.Thegrip youhave on the pack should prevent him taking more than half. Now without moving ask the spectator on the left to hand to the spectator on the right some of the cardshe holds. There is a rider to this and that, is that the cards should not be divided exactly; one inust have a thick heap and the other a thin one. When the right hand spectator has taken his packet each is asked to coun: in a silent manner the number of cards he holds. When this has been done they are to slip ihe cards into their pockets. At this point explain that each has a number in his mind, a number achieved purely by chance. The procedureyouhave adopted, you go on to explain, rules out favourite numbers which might result in the two spectators having the same nuaber in their minds. Furthermore, it is impossible for you to know either number. Turn to the left hand spectator with the cards whichwere left in your hand, you explain that you will show him these one at a time, numbering them as they are shown. He is to remember the card whizh falls at his thought-of number. With the pack held face down in the left hand, the right hand removes one card at a time, shows it to the spectator then places it face down on to the table. At the sa’ne time he counts each card. At the end of the counttheperformer knows not only the the numkzr of cards heldby the two spectators (for to achieve this hehas only tosubtractthe number oE cards dealt from fifty-two), but he has also reversed the order of thecards so that the card which was at the top of the pack is now at the bottorx and vice versa.
T
Now at this point in showing the cards to the second spectator, the one on the right, it is necessary that he thinks of the same card and to achieve this it is necessary to reverse one less card than the totalnumber. As youhave reversed all the cards, an adjustmentmustbemade. Let us give an example. The number of cards that you have counted on to the table is twenty-nine which means that the two spectators hold twenty-three cards between them, and to achieve the force on the second spectator, twenty-two (one less) cards must be reversed. You have, therefore, reversed the order of seven cards too many. These seven cards lie now on top of the packet, bat their transfer to thq bottom of the packetwill adjust thematter. Perhaps the easiest way to achieve this is to run them off singly in an overhandshuffle, but any other method arriving at the same result will do. The second supposition is that the number of cards taken by the first spectator maybe smaller than the number to be reversed. Suppose that the spectators hold twenty-eight cards betweenthem, whichmean3 that youhavetwenty-four in your packet. This means that twenty-seven cards have to be reversed, and as you are holding only twentyfoclr this means that three cards must come from the bottom to the top of the packet. The means of doing this either openly or underhandedly are nwnerous. When the cards havebeen transferred from either bottom to the top or topto bottom, the effect is as good as finished. At this point, however, where the cards have up and the necessaryadjustment beenpicked made, stress that you can neither know the number or the card in the left hand spectator’s mind. The cards are now shown in the same way to the right hand spectator, but when say two-thirds havebeen dealt askthe spectator if youhave passed his number. If he says “ Yes,” drop the remaining cardson top. This helps to speed up the trick a little. Both spectators will now have the same card in mind. Tell the spectators that the cards in their pockets are now of little consequence.Pick up the cards lying on the table with the right hand. Stretch out the left hand and as the left hand spectator takes his cards fromhis pocket, take them face down in this hand. Now place the cards in the right hand on top of those in the left hand and extend this same hand towards the right hand spectator who, having little choice, places his cards on top and thusmakes up the full pack. Square up the pack and place it on the table. Explain that before you started this ‘experiment,’ you, too,hada number inyour mind. It
59
was . . . . . (naming a number which is one greater than the number of cards which remained after the spectators had taken their share. Thus if you had twenty-four, you name twenty five). Slowly deal off twenty-four cards ontothe table and then deal the twenty-fifth placing it near the front of the table without permitting anyone to get a glimpse of its face. Stress the fact that the card, because of its position, cannot be exchanged. Explain that the numbers of the spectators were governed by chance and that in view of what you said previously it wouldseem unlikely that they could be the same. “ My number,” says the contwenty-five. May I ask your jurer, “ was numbers?” (These are given, say, as 18 and 10.) “ Thus,” says the conjurer, “ we have three numbers, 10, 18 and 25. All are different and each thought of a card at that number.” (This is not quite in accordance with facts, but nobody is likely to query it.) To the first spectator: “ Youhad thenumber 18. What was the card you thought of? ” We’ll suppose that the reply is the ten of spades. “ Thank you, sir, . . . . and you, sir, had 10. What was the card you noted? ” The second spectator rather amazed will give the same card, the ten of spades. Then say, “ I, too, had a number in my mind. It was 25 and the card of which I am thinking is still lying at the front of the table. Willyou please turn itover ? ” The spectator does so and to his amazement finds the ten of spades. Additional notes. When dealing thethought
of card glimpse it at the same time and thus be ahead of the spectators before they name the card. The spectators may write the names of their cards on a slip of paper, folding them and leaving them in full view. By some this might be thought a more telling finish if the writing on the slips is read aloud at the penultimate stage of the trick. To shorten the proceduresomewhat,should the reader think it too long, any number of cards may be used providing the total number is known. thirty-six cards. For instance I sometimesuse These are easily available after a standard four ace effect where sixteen cards have been used and then placed aside. I have already mentioned that with the second spectator’s choice it is unnecessary to go through all the cards. With the first spectator this cannot be doneas the performer mustknow the total number of cards held. However, I do use a subterfuge which obviates or seems to obviate counting all the cards. When I turn to the left hand spectator and explain what I want him to do, I count off five cards, instancing that were his number five he is to think of the fifth card. I then place these five cards underthe packet, retaining a break. Then instead of counting the cards on to the table I count them from hand to hand. When I reach the break I ask the spectator whether he has seen the cardat his number. With an affirmative answer, I simply cut the cards under the break to the top of the packet and add five to the counted number thus arriving at the total number of cards in the Dacket.
CASE FOR CARDS A SERIES BY STEWART JAMES THE HOODOO CARDS WRITTEN prediction isgiven to a member of the audience to retain. (1) After the Joker is tossed to one side, the pack is shuffled (2) and dealt in four face-down piles, a card at a time. A spectator slides the Joker into any pile and removes the card either above or below it. (3) Letting no one elsesee his selected card, he places it on any heap. Any two of the remaining three heaps are placed on top of it. The remaining heap is cut by a second spectator who notes the top card after the cut. The large heap is dropped on this small heap and the pack is cut. (4) A third spectator removes any number up to a dozen cards from the top of the pack and places them to the side. He does the same, with the same number of cards from the bottom. ( 5 ) He looks at and remembers the card that is now on top and gives the pack a single cut. You quickly fan through the pack and remove three cards in a group. ( 6 ) The centre card of the group is the first card noted.
A
The total value of the other two cards is the same as predicted. Counting on to the number predicted, there is the second selected card. The dealt off cards are left on the table but the two packets, placed to the side by third spectator, are returned to the pack (7) and the predicted number is counted again. There is the third selected card. THE METHOD. Secretly get four 3’s on the bottom and four 10’s on the top of the pack. (l) The number on the prediction is 13. (2) Riffleshuffle,leaving thetopfourand bottomfour cards undisturbed. Conclude with a false cut. (3) Thismethod of selectionleaves thirteen cards in the pile. (4) False cut. (5) These two groups are kept in separate piles. (6) The first selected card will be the only card between a 3 anda 10. Shift all the cards below this group of three to the topof the pack. (7) One packet is returned to the top and the other to the bottom of the pack.
60
BROWNWAVES-NO LOOKING m
1‘WO
ELMSLEY
ALEX
spectators eachthlnk of cards lying at freely chosen numbers. The performer reads their minds and names their cards. The cards are shuffled beforehand and the performer does not look through the cards. The Method. Start by dividing the pack exactly in half, and give half to each of the two spectators taking part. It is best if you can get a break beneath the twentysixth card of the pack before starting so that you canjust cut the pack in two at the break. Otherwise, deal the pack into two. If you deal in twos and threes, the deal is speeded, and also it is less obvious that the pack is being divided exactly in half. Ask the two spectators each to shuffle their cards and then to cut off a number of cards and return the rest to you.Askonespectator,whom you will call A, to cut off more than half of his packet, and the other spectator, B, to cut off less than half his packet. This is not absolutely necessary, but it makes things simpler foryou later, and is quite logical on the excuse that you do not want both to cut off the same number. When both spectatorshavemade their cuts,takebackthe remainder of A’s cards, an then the remainder of B’s cards, put B’s remainder underneath A’s keeping a break between them with you left little finger. Squareup, and while squaring sight and remember the bottom card of all. This is the card which B will choose. It can easily be sighted if you square the cards at the left fingertips, so that they are in a vertical plane,faces to the left (B, of course, should be to your right). Ask both spectators to counttheir cards secretly and to remember the numbers they obtain. While they are counting, you appear to give your cards a casualshuffle. In fact, you transferyourcardsto your right hand in the positionfor an overhand shuffle, talung the left little finger break with the right thumb. Run the cards above the break singly into your left hand, counting them to yourself, and when you reach the breakthrow the rest of the cards all together on top. Remember the number of cards youhavecounted as yourkeynumber. Because of the way you limited the spectator’s cut, the number will be quite small. You will find that this shuffle can quite easily be doneby touch ‘
alone, without loolungat the cards. Now tell A that you will shou r him the cards one at a time. and vou want him tc1 remember the card that lies‘at hiinumber. Take the cards from the top of your packet, show them to A, and then lay them in a pile on the table, face down. Their order is thus reversed.Asyoushow the cards, count aloud. Carry on showing the cards until you haveshowntwenty-five.Say“Youshouldhave seen your card by now--do you remember it?, Pick up the counted cards, and replace them on top of the remainder. Ifby chance you haveless than twenty-five cards in your packet, count out all the cards youhave,pickthemup, and cutsufficient cardsfrom the bottomtothetoptomakethe number up to twenty-five. Turn to B, and askhimalsotonote and remember the card at his number. Show him the cards as you did to A, counting aloud. The heap into which the cards are dealt on the table should be alittlescattered.When youcometo the card which lies at the key number which you remembered earlier on, deal it so that it is a little further to the right in the heap than the other cards. This card is A’s card. Deal on up to about fifteen, and then say, “You chose the smaller number, so you should have seen your card.” Pick up the dealt cards, taking care not to let A’s card go square with theothers, and replacethemontheremainder. Square up and take a break under A’s card as you do so. You can simply sight A’s card at this point, I prefer to continue along these lines: “You are both thinking of cards, and the onlyevidenceoutside your minds as to your cardsare the packets you cut off. I want you to destroy that evidence by returning thosepacketsto the restof the pack.” Cut off the cards above your break with your right hand and hold out the cards in your left hand for A and B to drop back their packets. Square the cards in you left hand by tapping their inner ends with the back of your right fingers. This action is quite natural, but it tilts the right hand so that you can sight A’s card on the face of the right hand packet. Then drop the right hand cards on top of the rest, and put down the pack. Go into the usual pangs of mindreading, and name the two thought-of cards.
30th CENTURY PROPHECY THE MENTALIST
PETER WARLOCK
takes from either his pocket or his table two visiting cards andon onea member of the audience is requested to write his name. On the other side the mentalist says that he proposes writing three shortphrasedprophecies for three different members ofhis audience.
He will designate them respectively ‘A,’ ‘B’ and ‘C.’ With the writing on the card complete it is placedinside an envelope the flap of which is folded over but not sealed. This envelope is rested in an upright position against a glass standing on the table.
61
The three members of the audience ‘ A,’ ‘ B ’ and ‘ C ’ are noted. ‘ A ’ is asked to think of a colour, and then state his thoughts to the remainderof the audience. This colour is noted by the mentalist on thesecond card.’ ‘ B ’ is asked to think and then state a fourfigure number. This, too, is written upon the card. Finally ‘ C ’ is asked to think of any city in the world and when he has made his choice known to the audience this, too, is added to the card. Momentarily placing thecardonthe table, the mentalist picks up the envelope and going to the member of the audience who signed his name upon the first card, asks him to take it from the envelope. He is asked to check that it is his signature upon the card. With this agreed he is asked to look at what the mentalist wrote on the opposite side. Taking the card on which ‘ A,’ ‘ B ’ and ‘C’s’ choices were written, from the table, the mentalist says to his audience :“ ‘ A ’ with a choice of anycolour chose you orange. Whatdid I write onthecardthat signed ? ” The answer from the assistant holding the card is “ Orange.” This mode of question and answer is successfully continued with the remaining two choices. The Requirements. Two similar sized visiting cards. Two similar sized epvelopes. A pencil. A glass. The envelopeused helps agreat deal with the trickery and is prepared in this manner :-
Firstly cut away the back portion of one of the envelopes and shape it as in Figure 1 so that it conforms with the shape of the front portion. Now slip a piece of cardboard inside the other envelope and with a razor blade make a slit as shown in Figure 2. One side of the cut-outback is now lightly coated with seccotine or office pasteand then slipped through the slit in the envelope so that it aligns with thenormal opening in the envelope. Figure 3 showsboth frontandrear viewof the completed envelope. When dryit willbe found that if a visiting card is placed inside the envelope opening it will automatically emergethrough the back of the envelope. Just a slit across the back of an envelope can never make this clean in handling. The slit will show, of course, onthe address side, but this side is never really shown to the audience. However, if the reader wishes to conceal it there is an easy procedure which I have
adopted. In making the envelope I use as the shell, one which has been through the post. The necessary slit havingbeen made which will go through part of the name or address, I rule a blue pencil line along the slit and the remainder of the address, then addinganother addressmaking it appearthattheletter hasbeenforwarded to another address. With the two cards, envelope (flap uppermost), glass and pencil on table the mentalist is ready for the presentation.
The Presentation. The cards and pencil are taken with the left and right hands respectively. The mentalist steps into the audience and handing one of the cards and the pencil 10 a spectator asks that the latter’s name be written on one side. Taking back card and pencil and returning to the piatform he tells his azdience that he proposes writing down three prophecies. On the side opposite to the signature he writes : ‘ A ’ will choose . . . . ‘ B ’ willchoose . . . . ‘ C ’ will choose . . . . Plenry of spaceineach case shouldbe left after the w a d ‘ choose.’ At this point the performer should be standing to the left of his table, andwith the words, “ These are my three prophecies ”; the pencil is placedin the breast pocket ;ind the ‘ prophecy ’ card is taken by the right hand, which then reaches out for the envelope. The envelope and card are then brought across to the left hand going on top of the blank card. ’The right hand takes away the signed card, leaving the envelopegripped by the left hand thumb on fop and the fingersunderneath. With a remark, “ For a minute or two I’ll leave this card in the envelope,” the right hand holds the card aloft and then taking care that the signature side is uppermost, the fingers holding the cardflipopen the flap of the envelope and slide
the cardintoit. Actually the card goesthrough the slit and underneath the blank card. With the added remark, “ I’ll place the envelope here,” the
62 right hand fingers turn downthe flap and slide the envelope from the left hand, leaving the two cards behind. The cards are automatically squared and with this action a turn to the right is made and the envelope, flap side to the audience, is rested against the glass. In his left hand the mentalist now hasthe blank card on top of the ' prophecy ' card. To the audience he just has the blank card. Theyare casually turned over as his right hand goes to his pocket f9r the pencil. Three helpers in the audienceare requested and are dubbed A, B and C . Each in turn is asked to think respectively of a colour, numberand city andas these choices are named aloud the mentalist writes their choices in the appropriate spaces on the signed card. The pencil is replaced in the pocket.
Now comes the essential move of the trick and smoothness is a necessity. The right hand comes across and takes the two cards as one from the left hand. They are held thumb at one end and first and second fingers at the other (see Figure 4). The pressure of thumb and fingers is sufficient to give them a concave form. As they are held thus, the mentalist says, " Here are your three choices," and then apparently the left hand takes the card (?) and drops it upon the table. Actually the left hand takes the blank card whilst the ' prophecy ' is allowed to spring back from the thumb into a palm position. The right hand drops to the side and the left hand picks up the envelopeand brings it across the body. The right hand with the palmedcard comesto meet it. As the envelope is takenon
top of the palmed card the flap of the envelope is at the fingertips end of the hand. Also in the take, the cardshould automatically slide throughthe slit on the underside of the envelope. The mentalist is now in a position to go to the member of the audience who signed the card and then open the flap exposing one end of the card (see Figure 5). He does this, allowing the spectator to remove the card, and slips the envelope inside his pocket and returns to the platform. The spectator holding the card is asked to check his signature and note what the mentalist has written.
Taking the blankcardfrom the table, the mentalist picks it up and remembering the itemsthat havebeengivenhe apparently reads these from the blank card. In each and every case the mentalist is correct. One closing detail with reference to the choice of colour, a detail that can heighten the effect and make it appear that the mentalist has truly psychic powers. Suppose that the colour given is ' Red.' Instead of writingjust this commonword,the mentalist writes down a shade of red, like crimson or vermillion. When the closing phase of the trick is at hand, the mentalist says, " Our friend A was asked to think of a colour; he named ' red.' When I made my choice I saw that colour, too, but it was a definite shade of red, it was crimson; that was the colour you had in your mind, sir? " And then giving the chooser no time to reply he asks the holder of the signed card to read aloudwhat is written on the ' prophecy ' card-" A will choose crimson."
WANTED PENTAGRAM -Index to Vol. 1 ; Index to Vol. 2 ; Vol. 3 No. 1 ; Vol. 6 No. 10 Please advise me if you can supply me with the above issues in Mint, or near Mint condition, I will give a Five Shilling Book voucher for each item in good condition.
GEORGE ARMSTRONG 62 W E L L I N G T O N ROAD, ENFIELD,MIDDLESEX
I
63
BOOKS “ THE DAI VERNON BOOK OF MAGIC,” by Le* Ganson (Published by Harry Stanley, 14, Frith Street, W.l. Price €2/5/-, De Luxe edition
.f3/10/-).
To LewisGanson has fallen thehonour of .writing a book dealing with the magic ofthe greatestnatural magician of this century, Dai Vernon. It is a task in which hehas surpassed himself. It is a task which when completed needed a publisher with imagination, a publisher willing to shoulder the cost of hundreds of photographic illustrations, a publisher who would stint nothing in order that onebook on natural magic published i n this country could become a classic of all time. And so our thanks go as on so many other occasoinstoHarry Stanley for making the working material of this great artist available to all those who follow the muse of magic. The pellucidness of Lewis’s explanations is a byword and therefore the clarity of description and explanation is never in doubt. In all there are some twenty-four chapters, only two of which are not devoted to tricks as tricks. They are the first two in the book. One is entitled “ Background to a Legend ” and is a most interesting biographical note on Dai Vernon, the magician who has become a legend in his own lifetime. The other called, “ The Vernon Touch, is a mostimportantchapter because it shows and allows the reader to understand Vernon’s mental approach to a trick. To review the book chapter by chapter could provetedioustothe reader. It would be just as difficult for a reviewer to find ‘ high spots ’ for the overallstandard of effectis so high that every chapter would qualify in this respect. We shall, therefore, take the classic effects first. In order these are, Vernon’s handling of the Han Ping Chien coins through table, theThree Ball Transposition, Cups and Balls, Expansion of Texture,Ball,Coneand Handkerchief, and the Thumb Tie. When Vernon was in Europe several hundreds of magicians both in this country and on the Continenthadtheopportunity of seeing the miracle quality of these non-apparatus effects and their explanation shows to a marked degree how much the Vernon touch is applied, for in each and
every one nofinger-flinging skill is called for; neither could it be desired. The magician in each and every case goes out to prove that .he is a likeable deceiver and in so doing covers all his tracks so that the deception is complete and natural. Thirteen photographs and fourteen pages of description alone go to Vernon’s presentation of the Cups and Balls. Every point is made clear and the reader isgiven an unforgetable lesson in the greatest of all classics. Many readers maywellsay that such tricks demand a degree of skill beyond the average devotee of magic. Our answer would be one of negation. Vernon’s magic involves no digital gyanastics, for he has approached each feat with the object of simplifying the technique. Practice is necessary, of course, but ‘it is practice of sleights and subterfuges that are well within the reach of those who wish to go forward in magic. There are verymany tricks, however, that come within the easier category. The “ Seven Card Monte ” the adaptation of “ Clipped,” Martin Gardner’s cigar vanish, “ Coin on Knee,” “ Mental Spell,” a miracle spelling trick, “ One up and One down,” arz good examples. Thereare tributes to other artistes and one must particularise the description of the Leipzig ‘* Card Stab,” Paul Rosini’s “ Impromptu Thimble Routine.” the last trick originated by Dr. Jacob Daky, Charles Miller’s delightful and deceptive move for use in the “ Cups and Balls,” and Welsh Miiier’s “ Cards and Matches.” There are somenice tips on knots anda version of the six card repeat that is not onIy miraculous in effect but should bring a new lease of life to this much abused trick. The lessons that one learns after reading throqh this great book of magic is that the good magician must himse!f be and that natural handling cannot be equalled by mere skill alone. Bouquets to the publisher, the author,the printer (our good friend, Harry Clarke), George Bartlett, the photographer, and above all, the ‘ Professor “ himself, Dai Vernon, for this book of a century. With more than two hundred pages, two hundred photographs, allon art paper, the book has a binding that will last and serve you a lifetime.
F O R SALE As I am thinning my collection of books, I have a number, many in mint condition, for sale. A list may be obtained upon request from-
PETER WARLOCK.
I
2 4 WORDSWORTH ROAD,
WALLINGTON,
SURREY
I
64
T H R E E BOOKS IN ONE
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S “MASTER MIND’’ CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNBMANN’S ONH MAN MENTAL AND PSYCHIC ROUTINB is a professionallv routined mmtal act that runs according to speed of presentationandthe effects included,fromten minutes t o half an hour. The six &ectsdescribedmakeone of the finest m e d a l routines mer conceived, andcan be cut down t o threereally sensational items f o r the shortershow. It is a strictly ‘OneMM’ act,there is no
cumbersome apparatus, no assistants, no confederates. A brief case will carryall that is required, but JOU couldtravelwith the necessary itemsallready in yourpockets if preferred. Themental and psychictests are presented in a routinedorder,and include same of Ann+ xnnnn’s choicestbillet methodsand effects. Ideallysuited asa club,privateparty,,televisionornightclubact. ANNBMANN’S ‘“ASTER WIND” CARD ROUTINE was thooriginatm’s favourite card routine far newspaper 05ces and intimate grthuings. Withjust a pack of cards the performerpresents a wrica of five stunning predictioneffects that leaves the audiences gasping U each one in turn eclipses the previous one. No skill is requind, and the act can be learned andtharoughly practicedin an evening. ANNEMANN’S MENTAL MISCBLLANY h a collectioa of six &-best ideas in mentalism that are typical of theauthor.The on the Mirror Reflector andthe one on Pendl RSrdinp-40 the man who uses thembeworth many times thepnce of the book.
AS USUAL-A
FINELY PRINTED AND ILLUSTRATED BOOK Price 1216 Postage 4.
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVE ANNEMANNMIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemann Secreta now collected together and printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between’ the performer’s and spectator’s pockets. STOP-A freely is foundata number thought of. THE POUNDNOTE AND THECIGARETTE CHALLENGE-Marked selected card, lost mthepack, cigarettee in performer’s mouth,number of anote writtendown by spectator-noteopenlyburned-and then foundin the cigarette-the best everroutineforthis effect.IMPROVEDREMOTE CONTROL-With red and bluepacks the performerproves he cancontrol another MONEY-Three pound notes borrowed and folded tight person by making them pick any card he chooses. while ata distance MENTAL which the performer reveals both n& one is chosen,the performer reveals its number. NUMBER PLEASE-A Telephone Book Testin and number. SENSITIVE. THOUGHTS-A sensational card trick. with two packs and two spectators. THE CARD DOCTOR-Spectator in the selects card which is ~nltlalled, corner tom fromcard,theninitialledcardtomintopieces,piecesvanishandcardisfoundback pack,minusitscorller.SLATES AND ACES-Performer andspectator writenames of theaces on twoslates,spectator rubs outthree on his, the ’spirits’ rub out the samethreeacesfrom the performer’s late. POKER PLUS-Performer deals three face down hands of handshownagain, anditbeatsthe second. Thirdhand shown to beat Poker.Second hand shown to beatperfomxr’s.Thenperformer’s performer’s. Then performer’s shown again, and it beats the third. Temfic effect! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-Another typical Annemann card routine with a mental twist. And, of course, a full description of a mostuseful GIMMICK.
ASUSUAL-AFIISELY
Price 7 / 6
PRINTED BOOK
Postage 4d.
THEE M A G I C W A N D P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
TheMagic
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubrootn and Library and Muscwrn
Hearts of Oak Buildings, Euston Road, London, N.W.1. Magical Theatre . King George’s Hall, W.C.
I
Particularstrom
%
PETER
Circle
Hon. Secretary
.
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
WARLOCK’S
JACK HUGHES
PENTAGRAM is published on the 24th of eachmonth can be obtaineddirectfromthepubiisherefor 117 per single copy. AnnualSubscription post free. PUBLISHED BY:
and
manuscriptsforpublication and books for review should be senttothe:
ADDRESS:
Peter Warlock, 24, Wordsworth Rd., Wallington, Surrey.
EveryAdvertise&goods
pleased to send you full details of
181-
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
EDITORIAL
willbe
THE DE LUXB “SU-TABLE” together with a l l his other effects in return for a stamp. Write now to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
are fully endorsed by this Bulletin
PUBLISRED BY T R E PROPRIETOR8 I R E MAGIC WAND PUBLISHING COMPANY, 62 WELLINGTON ROAD, E h F I E l D . MIDDLESEX AND PRINTHD BY RERBERT WALKHR & SON (PRINTERS) LTD., BRIDQE WORKS, SRIPLEY.YORKSHIRE
*
THE PRISONERS
I
PETER WARLOCK acetate solution near to the finished painting for N VOLUME 6 of Tarbell is described a trick
by that prolific originator ‘Gen’ Grant entitled “ The Bombay Ropes and Rings.” Tt is a modernised form of the classic “.Grandmother’s Necklace ” but the touches in it make it an attractive effect for adults and children alike. Somehow the handling, excellent and straightforward though it was, did not appeal to me and after having a special set of wooden rings made, several experiments in handling led to the method to be described. On those occasions when I have used it the audience, whether magicians or laymen, have liked it. The Effect. Two lengths of silk cordand six wooden rings are introduced. Four of the rings arepainted yellow and two blue. On thetable rests an opera hat open. The two lengths of cord are held together and the blue rings are threaded upon them. The rings are now lowered into the hat and on each side of the blue rings are now threaded two yellow, so that the blue rings are imprisoned between the yellow. The magician requests a spectator to nominate one of the colours. We’ll say that the colour is blue. With a ‘ Hocus Pocus ’ the ropes are withdrawn from the hat to show that whilst the yellow rinzs are still threaded upon the cords, the blue rings have penetrated them and remain in the hat. The effect is colourful and suitable for either adults or children. The Requirements. T w oy a r d sa n d a half lengths of coloured silk cord. Six wooden rings. The ones that I have are three. inches in diameter and have a hole in the centre threequarters of an inch in diameter. The thickness of the rings, which allows them tostand edgewise, is half an inch. These rings were cut from half inch plywood and then two were painted blue and four yellow. With regard to painting, should you have a local firm who are able to stove enamel (this means that the paint is baked on) get them to colour the rings and you will have a really first-class job. (One warning word, should this be done. Never bring any
VOLUME I I, No. 9
-
it will soften it wherever it touches.) One opera hat.
Presentation. We’U assume thatthe rings are stacked in a pile, blue at the top, yellow beneath, at the front right-hand corner of the table, that the hat opened andmouth upwards is centre table. and finally the two lengths of cords lie side by side across the table. The topmost ring is picked up and banged down against the rest as the magician remarks, “Some coloured rings” . . The two lengths of cord arethentaken by the left hand, between thumband first finger, one being passed tothe right. The hands are held high and the audience can see two separate pieces of cord, although the magician adds, “ and two lengths of silk cord.” The right hand passes the cord it is holding across to the left hand which remember is already holding one end between the first finger and thumb, and it is taken between the first and second fingers. The right hand now strokesthe cords in a downwards direction and when about six inches from the lower ends takes the cords in exactly the same mannerasthe oppositeends held inthe left hand. The cords are then brought up into a horizontal position, care being taken that the cords are parallel to one another and do not cross one another. Figure 1. (This and the following move, as owners of the Tarbell, Volume 6, will know, follows Grant’s routine). The ends of the cord held by the right hand are now passed to the left,
l/6. (20 Cents)
.
-
JUNE 1957
66
so that the end between the right thumb and first finger goes together with the opposite end held by the left hand between the lefthandthumband first finger, whilst the right hand end of the other cord goes together with the left hand end held Sy the first and second fingers. See Figure 2.
“Two of therings I shallthreadontothe cords . . . the blue ones,” says the conjurer, his speech and demeanour pointing the fact that they willbethreadedover the ends held by the right left hand. During its movementdownwardsthe hand h position the endsof the cords so that now one end is held between the thumb and first finger whilst theother is movedover so that is held between the first and second fingers. The left hand movesup andtakesthe twoends as shown in Figure 4.
9
With the ends firmly held by the left hand fingers, the right hand runs down the cords with the first finger between them and on reaching the centre loop gives a good tug, whichwithoutany comment shows the strength of the cords. The right hand releases its hold and the cords dangle down from the left hand. A t this point the reader may well think that there has been unnecessary changing of ropes from hand t o h a d . Believeme, this is not so. The hundling from the audience’s point of view allows them to see that there are two separate cords and that these two cords are free fromany preparation. With the remark “ And a hat,” the right hand so that picks up the hat from the table, turns it the inside may be seen by the audience and then replaces it mouth upwards on the table. The left hand now lowers the lowerends o f the cords into the hat so that they just touch the bottom. The two ends of the cord heldbetween the first and second fingers are taken by the right hand, between thumband finger, whilst the left hand is lowered slightly so thatthe relationship exists between hands and hat asshown in Figure 3.
The right hand takes the first blue ring from the table, places it over the two ends, then releasing it and taking the ends of the cords in a vertical position allows it to slide into the hatand, of course, free of the cords. The second blue ring is handled in the same manner,but directly it has started its waydown the cords, the right hand separates the two ends it isholding so thatone end is held between the thumb and first finger whilst the other is taken by the first and secondfingers. The ends are now passed to the left hand, the right end held between thumb and first finger going with the left hand end held similarly, and the right hand end held by first and second finger joining its left hand mate in the same position. The left handheldabove the hat moves the cords up and down a little as though allowing the rings to settle. “ And now to make these two rings complete prisoners . . .” the magicianremarks, and at the sametime takesthe twoendsheldbetween the left hand first and second fingers, and drapes them over the right hand side of the hat whilst the left hand drapes its ends over the left hand side of the hat. The four yellow rings are now picked up by the right hand. Using both hands they are banged against one another. They are then replaced upon the table. One yellow ring is nowtakenby the right hand and the left hand lifts the ends of the cord on the right side of the hat. The right hand slides the ring onto the ends of the cords, and then the left hand takes hold of the ring, whilst the right hand takes the ends of the cords. The left hand does not allow the ring to drop but takes it down thecordsand when it reaches the centre inside the hat it is stood upright on its broad edge
67 and at the sametime the two blue discs are positioned similarly alongside it, as shown in Figure 5.
of the rings, and seeing that the cord is concealed at the rear, shows the cords running through the
rings. Figure 8 shows the rear view, the cords being hidden from the audience. The handling is repeated with a second yellow ring, so that now there are two yellow rings on the rope. The right handends of the cordsareonce more drapedover the right side of the hat, and then, using the right and left hands in an opposite manner, the two remaining yellow rings are threaded on to the left hand ends of the cords.
6 If the reader looks down into the hat now, he will see two blue rings free of the cords with the cords passing overthem as shownin Figure 6. Nowif the hat is tilted so that the audience can see inside it, all the rings will roll and at the same time theexposed cords between the two sets .If yellow rings will roll with them and be concealed by the blue rings in the centre, as shown in Figure 7. As though to allow the audience a better view of the position, the magician reaches into the hat and with thumb and fingers outstretched takes hold
The trick is now about to come to fruition. The rings are replaced in the hat and the ends of the cords allowed to drape over the right and left hand sides of the hat. Two spectators are invited to assist; one is requested to hold the right hand cords, the other those on the left. A colour is nominated. Whatever the choice, the blue will be freed whilst the yellow remain on the cords. With this fact stated, the holders of the cords are asked to pull on the ends they are holding. A ‘HOCUS Focus.’ The yellow rings remain m the cords, the hat thenbeinglifted and the blue rings allowed to fall on to the table.
68
SIMPLEX COIN TRANSPO RAVELLl THlS IS another transposition of twa W ELL, coins, an effect which has beenoffered in such a great many variations duringthe past decades. l’his particular version of mine was born when I tried out Bobby Bernard’s “ Ethereal Coins ” which appeared in Pentagram in Bobby’s issue back in July, last year. While trying out this effect only in idea, as I had no double copper/silver coin at hand, it occurred to me that I could duplicate the exact effect and movements without the use of a faked coin. The handling of the coins remains at aii stages clean and deliberate. The effect is suited for impromptu work at any time, when you want to do a small trick without any preparation whatsoever. I am completely aware of the fact, that my working may not appealto everybody asit is a rather unusual approach which needs some boldness to put over. Yet I hope that it will be liked by some readers, and 1 can assure you that, provided there is suitable misdirection, the trick will appeal to and puzzle laymen. First of all the performer removes from his left trouser pocket a half-crown and a penny. He shows the two coins, and shows his pocket empty. Then he puts the copper coin into the pocket again, and the silver coin into his right hand. The spectator guesses now if the silver coin lies heads gr tails up. Whatever his guess,he certainly will be surprised when on the opening of the performer’s hand, instead of the silver coin, there is the copper coin, which seemingly has changed places with ;he silver coin, which is taken out of the pocket which once again can be shown empty. Now for the explanation of the exact working. Take out the two coins from the left trouser pocket. There are really only these two coins, and that is what I particularly like about this effect. If you prefer you can substitute the left jacket pocket for the trouser pocket. Thc two coins are well displayed on the left hand, and then tossed upon the right hand,andthe pocket shown empty. Then the left hand takes the copper coin and puts it into the left pocket. When the hand comes out of the
pocket, show itto be empty, pickup the silver coin, show it and toss it into the right hand, which closes immediately. So far nothing unfair has happened. Now in order to make everything perfectly clear, you recapitulate what has happened. You say, “ Remember, I have put one coin into the pocket . . .” (Do not mention at this stage the denomination of the coin, as this will give emphasis at a wrongtime).Whenyousay this, reach again into theleft pocket, take out thecopper coin at the extreme finger tips, show it for a very short moment, and drop it back into the pocket. This is what you appear to do, in reality, the coin is slid back into finger palm position, and taken out again secretly. You continue to say, “. . . and the other coin into my right hand . . .” Here you open your right hand, pick up the silver coin with the left hand, between the finger-tips andthe thumb, show it for a short moment, and throw it back into the right which closes immediately. Ask the spectator, “ Can you tell me whether the coin is heads or tail up.” Upon his answer open the right hand and say “ Right ” or “ Wrong ” according to his guess being correct or wrong. Take up the coin again with the left hand, and throw it again into the right hand whichcloses immediately. Actually here you do a throw exchange, throwing the finger palmed copper coin, and retaining the other one. This is a standard move which 1 do not need to describe. It will be found in Bobo’s iModern Coin Magic under the name of the Bob0 Switch. Again ask the spectator whether the silver coinis heads or tail up. Whatever his answer, slowly open the right hand, proving there is silver coin at all. Do notworry at all about the finger-palmed coin in the left hand. If your handling has been correct, nobody will have any suspicion concerning the left hand. You can even pick up the copper coin with the left hand, or turn it over on the right hand. Then very slowly reach into the left pocket, and bring out the silver coin at the finger tips, proving that the coins have changed places. And there you are.
CASE FOR CARDS A SERIES BY STEWART JAMES
HEDUZ
Y
OU ARE able to predict a card and a number by apparently knowing in advance where a spectator will cut the pack.
THEMETHOD. Place the ace of diamonds and the two of clubs to one side face-down. Also remove three cards, without stating the number, and drop them in a hat. During this preparation, you have
secretly shifted the two of diamonds to tenth from the top of the pack and the ace of clubs to the nineteenth position. Relate how some gamblers, as a result of long practice, can cut off the exact number of cards they desire. Ask a spectator to name some number between ten and thirty and then try to cut off that many cards, no more and no less. He does and counts them one at a time which
69
will reverse their order. Congratulate him if the number is at all close. Wewill say thatthe spectator hascut off twenty-four cards. State that by no normal means could you know in advance how many cards there would be.Askhim toreturn two cards for the first digit and four cards for thesecond digit in this total. The order of these few cards is reversed again as they are counted back on the pack. Have him drop the rest of the cards in the hat. Turn over the two of clubs and the ace Lyf diamonds so that they represent 21. The cards in the hat are counted and there are exactly 21 !
Remark that one card is an ace and the other is a club. The top card of the pack is revealed to be the ace of clubs ! Any number from 20 to 29 inclusive will leave the spectator with 18 cards to drop in the hat with your three. The ace of clubs will automatically be on top of the pack. Any number from 10 to 19 inclusive will leave the spectator with 9 cards to add to your 3 and the two of diamonds will be on top of the pack. In this case, reveal your prediction cards in ace and two order, indicating 12, and in two and diamond order to represent the two of diamonds.
THREE IN COUNCIL HAXTON-AVIS-WARLOCK
Francis started the ball rolling by saying, ’‘ I’d like you to look at this effect.”
up card to the bottom of the pack and immediately underneath the chosen card.The pack is then given a straight cut bringing both cards tothe centre. Finally the pack is ribbon-spread and the chosen card is found lying immediately above the face up card.
A card was selected, say the five of diamonds, and returned to the pack. Jack, at Francis’s direction, then cut off thetop halfof the pack and placed it on Francis’s left hand. It was cut again and the top card of the cut turned face upwards. The noted card was then lost in the packet and this part of the pack was replaced on the remaining cards. One more cut and the cardswere spread. The noted face up card was about the centre of the spread. “ Just look at the card above it,’’ said Francis. Jackdidand it was thecard originally selected, the “five of diamonds ! ”
Jack came up with a slight variation of method. After the card was selected hehad it returned to the pack and brought to the top. Then he cut the pack, completing the cut, keeping a slight break between the upper part of the pack and the seiected card. Thetop card was now turned face up.All Jack then did was a slip cut taking the face-up card to the break and immedialely on top of the selected card, the packet under the original topcard was then replaced on top. With a spread of the cards, the selected card was found to be lying under the face-up card.
Francis then went over the method which was as follows : After the selected card has been noted, it is returned to thepack and brought to the bottom using the pass. A bit of false shufflingdoesn’t pack is affect the position of thecardandthe placed on the table or floor. The top half is cut off and placed on the magician’s hand, the spectator then being asked to cut the packet and turn over the top card. We’ll say that it is the ten of clubs. The packet is then cut by the magician, using the double undercut so that the face up card now lies at the bottom of the packet. Holding the packet with the right hand and lifting up the other packet with the left, the magician, in the act of placing the right hand packet on to the left, uses the “ Kelly Replacement ” move bringing the face
Being extremely lazy I came up with the least effortless version. After the card has been selected and returned to the pack it is brought to the top of the pack which, after a false shuffle is placed on the table. “ Please cut the pack and put the top half aside . . . Now turn over thecard you cut at.” The magician picks up the half which has the face up card on top, double undercuts the packet bringing the face upcard to the bottom of the packet, and then replaces this part of the pack ,on the half lying on the table. The selected card now lies immediately beneath the face up card.
HERE were three of us drooling around with a pack of cards . . . Francis Haxton,Jack Avis and myself.
T
Whichever way you like to try you’ll find the effect clean and good.
70
THE MATHEMATICS O F THE WEAVE SHUFFLE ALEX. ELMSLEY EDITOR’S FOREWORD. One feels oneself fortunate Indeed to have the opportunlty of publlshlng this mostinformativearticle.Thosewhohave seenAlex. Elmsley’s card work duringthepastfewyears will knowhow muchthoughtandcarehehasputinto evolving the most deceptive card effects makmg use of a perfect wmve shuffle. To watchAlex. casuallycutthe pack into exact halves and with equal casualnessweave shuffle the pack is a lesson in itself. It will be good news to those who visit Scarborough for the British Ring Conventionin September, to know that Alex.willbegiving alecture-demonstration.It is entitled ‘‘ Low Cunning ’’ and we know that it will be a most profitable session €or all those who attend.
This article is for mathematicians W ARNING. only.The many excellent tricks using the weave shuffle depend, with few exceptions, on the simplest of its properties. I am going to deal with some of the more complicated and lesser known properties, most of which are useless to the magician, who is practical only, and I am writing primarily for thosewith an interest in mathematics quite apart from their interest inmagic. OUT-AND-IN WEAVES. Provided that we have a pack containing an even number of cards, there are two chief forms of weaveshuffle. In the form in which it is used by most magicians the pack is divided in half, and the halves are interwoven card for card in such a way that the original top and bottom cards remain on top and bottom. This is called the “Out-weave” since the top and bottom cards remain outside the rest of the pack. It is also possible to weave in such a way that one card goes below the original bottom card, and one card goes above the original top card. This is called the “ M-weave,” since the top and bottom cards have gone inside the pack. The basic properties of these shuffles are as follows, assuming that we are using a pack of fiftytwo cards. Out-weave. After one shuffle, cards in the top halfof the pack move todoubletheiroriginal position less one (e.g. the 10th card becomes 19th). Cards in the lower halfof the pack move to double their original position less fifty-two. After eight shuffles the pack returnsto its original order. In-weave. After one shuffle, cards in the top halfof the pack move todoubletheiroriginal position. Cards in the lower half of the pack move to double their original position less fifty-three. After fifty-two shuffles the pack returns to its original order. After twenty-six shuffles the pack has reversed its original order.
Both In- and Out-weaves. One shuffle brings together cardsthat were twenty-six apart (hence the usefulness of the weave in combination with twenty-six-key-card-type locations). Thisabout summarises what is generally known about the weave, and more than covers 211 that most magicians need to know. So, aux armes, mathematicians, and forward into the darkness. THE ODD PACK AND WEAVE. This is a basic concept in working out many of the properties of the weave. Suppose we have a pack containing an odd number of cards. We make an “ Odd-weave,” by dividing the pack in half to the nearest card (i.e., one ‘ half ’ has one more cardthan the other ‘ half ’), andthen weaving so that the top and bottom cards of thelarger ‘ half ’ areretainedontopand bottom. Now, we can take any card as a reference cardand reckon the position of othercards by counting from the reference card. If a card is at a position No from the reference card before the shuffle, and at a position N, after the shuffle. n, = 2n or nl = 2n - P where P is the number of cards in the pack. What makes this result important is that it is true even if to get no or n, we count round the ends of the pack, i.e., from the reference card to the bottom card and then straight on from the top. This can be seen simply by doing an odd-weave, when you will see that one cardgoes outside either the bottom or the top card and thuscomes between them if we are counting round the ends of the pack. The top and bottom cards can thus be treated ;IS neighbouring cards in exactly the same way as any other neighbouring cards in the pack. The pack as a whole can be treated as an endless belt, and it is of no importance what particularcardshappen to be at top or bottom. It follows that if an odd pack will come to a definite order after a certain number of weaves, it will come to that order even if the pack is cut in between each weave. For example, by discarding one card from a pack of fifty-two, we get a pack whichwill return to the same orderafter eight shuffles despite repeated cutting between shuffles. EQUIVALENT ODD PACK. This last example introduces another point. Suppose we do an out-weave with fifty-two cards. Thetopand bottom cards remain ontopand bottom. It would make no difference to the final order of the cards if we removed the bottom card before shuffling, cut so that the top ‘ half ’ contained twenty-six cardsandthe bottom ‘ half ’
twenty-five cards, wove retaining the top card, and then replaced the bottom card. But the shuffle would then be an odd-weave with a pack of fiftyone cards. In other words, the change in the order of a pack after an out-weave is the same as the change in the order of a pack containing one less card after an odd-weave. We can express this by saying that an even pack out-shuffled is equivalent to an odd pack of one less card. In a similar waywe can show that an even of packin-shuffled is equivalent to an odd pack one more card. For example, we know that a pack of fiftytwo cards out-shuf€ied return to thesameorder after eight weaves. Hence, the equivalent odd pack of fifty-one returns to the same order afte~ A pack of fifty-one is also the eightshuffles. equivalent odd pack to a pack of fifty, in-shuffled. Hence a pack of fifty cards will return to the same order after eight in-shuffles. RETURNING A PACK TO THE SAME ORDER. Suppose we have an odd pack of P cards, and that it returns to its original order after S shuffles. First consider a card, whose position froma reference card is originally no, and which moves to n,, n,, etc., in successive shuffles. After one shuffle n, = 2n0or 2n0-P After two shuffles n, = 2n,, or 2n, - P = 4n, minus the largest multiple of P less than 4n0 = 4n0-X2P After three shuffles n3 = 8110 -X,P After S shuffles ns = 2s no -XS P . . . . (l) Thepack returns to the same order after S shuffles, and therefore no = ns .. * (2) no = 2Sn0 - X S P ...no = no-XS P ...no(2s - 1) = XS P ...no(2S- 1) = XS . . .. (3) P Xs, although unknown and varying with no, must
be an integer, and this last equation must be true for all values of no. Considering no = 1, 25- 1 = xs P This means that 2s - 1 must be divisibleby P. We can see from equation (3) that this makes & integral for all values of no, so it is a possible solution of the equation. Thus, an odd pack of P cards return to the same order after S shuffles if 2s - 1 is divisibleby P. An even pack, in- or out-shuffled,will return to the same order in the same number of shuffles as the equivalent odd pack. In a similar way to the above, by substituting for equation (2) nR = P - no, we can show that an odd pack' of P cards will reverse its order after R shuffles if 2R l is divisible by P. An even pack reverses in the samenumber ofshuffles asthe equivalent odd pack. If, however, the even pack is out-shuffled, the top and bottom cards will still be in their original positions, i.e., these two cards do not reverse, though all the other cards in the pack willreverse. Solving the Shufle Equation.-Pack of 2" cards. A pack containing a number of cards equal to a power of two is a special case. Thus, 2" cards, out-shuffled, are equivalent to an oddpack of tX- 1 cards. These will return to the same order after S shuffles if 2s - 1 is divisible by P= 2"- 1. The obvious solution is S= X, so 2" cards retain their order after X out-shuffles. Similarly, we can show that 2" cards reverse their order after X in-shuffles. For example,a piquet pack contains thirty-two cards. An ordinary pack from which in the course of a gambling demonstration you have discarded the fourRoyal Flushes, also contains thirty-two cards. Thirty-two is two to the fifth. Therefore either of these two packs will return to their original order after five out-shuffles, and will reverse their order after five in-shuffles. (To be continued)
" 101 MAGIC SECRETS," by W ill Dexter (published by Arco Publications, Ltd., price 9/6). There are two types of magic books. The first more useful for the true magic student is where the author acts as a teacher and does his best to make his book a series of lessons. The other is i n the Goldston genre and resolvesitself into the explanation of the ' how.'WillDexter's latest book falls into the latter class and all in all offers excellent value to those whowish todo tricks rather than become magicians. Well over one hundred effects are explained not with a multitude of words but with a series of excellent sketches and brief captions. The formula is much like the well known book of Dum's but
the drawings and choice of material arefar superior in every way. Tricks range from impromptu table effects to more ambitious stages numbers. As value for money it represents one of the best ' buys ' that we have seen for many a day. The diversity of the contents and their accompanying clarity of explanation should prove their value to all practical magicians for most of us in our reading tend to overlook a number of effective items and this book has taken for its context more than a hundred all of which have proved their effectiveness. A word of praise toStanLane who from WillDexter'snotes and sketches has produced a most practical book.
-
+
72
T H R E E B O O K S I NO N E
ANNEMANN’S ONE MAN MENTAL & PSYCHIC ROUTINE TOGETHERWITH ANNEMANN’S ‘*MASTERMIND’’CARDACT
ANNEMANN’S MENTALMISCELLANY
&
ANNEMANN’S ONEi MAN MEiNTALAND PSYCHICROUTINE is a professionally routinedmmtalactthat runs according to speed of presentationandthe effects included, from tenminutes to half an hour. The six effects described make one of the finest mental routines ever conceived, andcan be cut down tothree reallysensationalitems for theshorter show. I t is astrictly ‘OneMan’ act,there is no cumbersomeapparatus, no assistants, no confederates. A brief case will carryallthatisrequired,but JOU could travel with the necessary itemsallready in yourpockets if preferred. Thementaland psychic testsare presented in aroutined order, and include some of Annemann’s choicest billet methodsand effects. Ideally suited as aclub,privateparty, television ornightclubact. for newspaper offices and intimate ANNBMANN’S “MASTER MIND” CARD ROUTINE was theoriginator’s favourite card routine series of fivestunning prediction effects that leaves the audiences gasping gathesings. Withjusta pack of cards the performer presentsa as each one in turn eclipses theprevious one. No skill is required,andtheactcan be learnedandthoroughly practiced in an evening. ANNBMANN’S MENTAL MISCELLANY is a collection of sixoff-beatideas in mentalism thatare typical of theauthor.Thetreatise on the Mirror Reflector andtheone on Pencil Readmg-to the man who uses t h e m - c m be worth many times the price of the book.
ASUSUAL-A
FINELY PRINTED ANDILLUSTRATED BOOK
Price 1216 Postage 4d.
ANNEMANN’S INCORPORATED STRANGE SECRETS CONTAINING
TWELVE ANNEMANN MIRACLES-AND
A MASTER
“
GIMMICK ”
THIS COLLECTION comprises some of the choicest Annemmn Secrets, now collected together s.nd printed in one volume. INSTO-TRANSPO-Without sleights two initialled cards change places between the performer’s and spectator’s pockets. STOP-A freely selected card. lwt m thepack, IS found atanumberthought of. THE POUND NOTE AND THE CIGARETTE CHALLENGE-Marktd cigarettee in performer’s mouth,number of a note written down by spectator-note openly burned-and then found im the cigarette-the best everroutineforthis effect. IMPROVED REMOTE CONTROL-With red and blue packs the performer proves he can controlanother person bymakingthem pick anycard he chooses, while at a distance. MENTAL MONEY-Three pound notes borrowed and folded tight, oneis chosen, the performer reveals its number. NUMBER PLEASE-A Telephone Book Test in which the performer reveals both name and number. SENSITIVE THOUGHTS-A sensational card trick, with two packs and two spectators. THE CARD DOCTOR-Spectator selects card which isinitialled,cornertom from card,then initialled card torn into pieces, pieces vanish andcardis found back in the SLATES AND ACES-Performer andspectator write names of the aces on two slates, spectator rubs out three pack, minus itscorner. three face down hands of on his, the ,spirits’ rub outthe same three aces from the performer’s late. POKER PLUS-Performer deals Poker. Second handshown to beat performer‘s. Then performer’s hand shown again,anditbeatsthe second. Third hand shown to beat performer’s. Then performer’s shown again, and it beats the third. Terrific effect! THOUGHT IN PERSON-A most unusual card routine. A MENTAL HEADACHE-hother typical Annemann card routine with B mental twist. And, of course, a full description of a most useful GIMMICK.
ASUSUAL-AFINELY
PRINTED BOOK
Price 7 / 6 Postage 4d.
T H E M A G I C WANID P U B L I S H I N G C O M P A N Y 6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X PETER
The Magic Circle IS
published on the 24th of each month and
can be obtained direct from thepubhhorn for 117 per single copy. Annual Sulmcriptlm 181-
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W. 1.
PUBLISHED
Magical Theatre *
King George’s Hall, W.C.
Summer Recess
]ACK HUGHBS
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
Particdarn trom Hon. Secretary :
WARLOCK’S
i
togethrr with all hlr other effects in return f o r a stamp. Write now to
ADDRESS:
Jack Hughes, 2, Bvelyn Ave.,
Peter Warlock, Wordsworth Rd., Wallington, Surrev ---- 7 -~
pleased to mnd you full detdlr of
THE DE LUXB “SU-TABLE”
blanuscxipts for publication and book for review should bo rentto the:
24, I
past fmo. BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex EDITOR1 4L
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
willbe l
Colindale, London, N. W.9. I
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLISHED BY THE PROPRIETOR8 THE HAOlC W A N D PUBLISHINGCOMPANY, 67 WELLINGTON ROAD, E h F I E L D . MlDDLlEEX A N D P R l N T l D B7 HERBERT WALKLIR (t ION (PRINTERS)LTD.,BRIDGE WORKS, SHIPLEY,YORKIHIRE
*
CASE FOR CARDS A SERIES BY S T E W A R T J A M E S HOLIDAY FROMREASON WO CARDS are magically transferred from T one pile to another. Nothing is used but the cards and there isno palming. THEMETHOD The pack is held face-up in the left hand. The Jokerhas been secretly reversed on thebottom and you know the card third from the bottomsay the seven of diamonds. Slowly riffle the outer left corner of the pack with the thumb until told to stop by a spectator. Cut at that point by lifting off the cards above the break, with the right thumb at the inner end and the second finger at the outside, and turning the right hand over so that these cards are face-down. Have the spectatorlook at the topcard of this packet butnot remove it. Turn therighthand over and replace the packet, but as you do so press against the noted card with the ball of the right second finger and twist the inner end of the card to the right. At the same time you will find it possible to tilt this inner end so that the cards remaining in the left hand go between the spectator’s card and the rest of the packet so that it becomes the bottom card of the face up pack. The movement is covered by the quite natural position of the right hand. This was sold many years ago by Joe Ovette as“The Master Move,” and is described in Volume Three of the TmbeZZ Course as “ Kelly’s Bottom Placement.” I have never heard of anyone else doing it with the cards face-up. This makes it appear even more fair and increases Its usefulness. Hindu Shuffle, withoutdisturbingthe four cards at the bottom, andhavethespectatorcut off and place to one side about two-thirds of the pack. Turnthe remaining cards face-down and count them one at a time. Deal from the bottom and turn each cardface-up.
VOLUME I I, No. 10
-
Ask the spectator to remove his card and the Joker if they show up. He will not see them. A second spectator is asked to remember the number of cards counted. Make the glide shortly after you startdealing. As soon as the seven of diamonds turns up. deal all the remaining cards (3) as one, with the exception of the glided card. Conclude your count with it. You will recognize this as Stanley Collins’ four card vanish move. In this case youwill have two morecards than you appearto have, one cardis reversed although the back andfront of every cardhas apparently been seen, and the faces of two cards have not been seen at all. Pick up these cards, turn them face-down and give them a single cut. Ask the spectator to do the same with the remaining cards so that you do not even know the position of the one formerly at the face of the cut packet and noted by the spectator. Pretend to remove the spectator’s card from the larger packet andthrustitintothesmaller group. Actually you have nothing at all. Repeat this bit of make-believe with the Joker. Notice that some of your onlookers appear rather dubious. To convince them (?), pretend to remove the Joker again and make a great show of turning it over before you put it back. Declare that it is now not only reversed but face to face with the selected card. The spectator fansout the cards anddiscovers that this is so. A count reveals that he also has two more cards than before; just what he rhould have if you had done what was pretended.
I/6. (20 Cents)
-
JULY 19n
74
SYNCHROMAGIC
A
FREELY selected card is revealed and two others are predicted under fairer than average conditions. I will describe the effect and method at the same time.
THE METHOD Consider the queen of hearts and ten of spades the cards you wish to predict. Write their names on separate slips of paper and seal each in a separate envelope. The latter envelope is marked so you can quickly tell which predicts thespot card. Unknown to the audience, you have six cards in p u r right trouser pocket, facing your body, and reading from the face of the packet they are in the following order: ten of spades, ace of diamonds, two 'of clubs, four of hearts, eight of spades, and queen of hearts. A spectator names any number between10 anA 35. If it is over 24, he is given the marked en ,,elope to write his number on and retain. If under 25, he gets the other one. Mentally subtract his number from 48 and write it on the outside of the remaining envelope. Place it somewhere in full view. As an example, hemay name 28. While he writes it on the marked envelope-the one containing the ten of spades prediction-you write 20 on the remaining one. Have himshuffle the pack (actually only 46 cards)andcount off 20 cards. It is always the smallest number that is counted off at this time. Place these 20 cards in your pocket facing the same way as the rest of the cards and on top, or farthest from the body. The spectator removes any card from the remainder of the pack. Say it is the nine of diamonds.
Reach in your pocket, shift the ten of spades to second fromtop of thecards therein, and triumphantly produce the ace of diamonds. By touch alone, you have apparently located a card of the same suit asthe selected card and after they were well shuffled. Youwill realize that this was easy because you knew the order of the four face cards in which the four suits were represented. The value of any card may now be indicated by the correct combination from these four cards. This was explained by Charles Jordan in Ten New Impromptu Card Tricks as The Spirit Mathematician." In this case you remove the eight. Added to the ace already displayed, this gives you the value of nine. Take the remaining cards from your pocket and drop them face-down on the ace and eight. Always place these cards on top of the indicator cards. The 26 cards on the table are placed on top of all. The spectator deals the cards one at a time until he comes to the 28th. (The number he wrote on the envelope.) This card he removes and retains. You square the pack by dropping the uncounted cards on top of the others and have a second spectator count tothe number 20 (the number on the second envelope) and remove the 20th card. The predictions are read and the cards checked. The highest number is always counted first when the predicted cards are removed. If the spectator names 24, you give him the marked envelope and write 24 on yours. His card will turn up first in the counting. "
THIMBLEKIN BOB DRIEBEEK HIS IS a nice follow-up for a thimble peneT tration through a silk. When have performed your favourite routine with thimbles and you
after one of those has penetrated the silken handkerchief, you then offer to repeat the trick. Place the thimble on the extended right first finger. Drape the silk over the thimble and with your left hand steal the thimble. Do not try to male a correct thumb palm but j u s t t a k e the thimble off and everything is all right. Pull the silk towards yourself until the tip of
the right first finger is under the centre of the silk. Stap a moment and then pull the silk further in the direction of your mouth while your eyes are fixed on the top of the first finger. Just before the hem of the silk leaves the extended finger the thimble is placed into your mouth. Be careful it does not click against your teeth. As soon as the empty finger is exposed you show both hands unmistakably empty. The thimble has gone.(Smile and say: Cheese.)
75
Now for the re-appearance: with the right hand you reach intothe air . . . nothing. Once more . . . again nothing ! Cover the empty finger as in the beginning and pull the silk towards yourself. At the moment the finger comes free you push the thimble out of your mouth with the tongue and seize it withwith left thumb and first finger.
As the right first finger makes its reappearance from under the silk empty, you look slightly embarrassed and place the with silk its centre once more over the extended finger. Now you finish with the generally known penctration in placing the thimble on the finger the silkbetween the finger and thimble.
FINISH FOR FOUR ACE R O U T I N E A. W. ROOTS FTER your favourite Four Ace routine, A push the four aces backin the pack, red aces anywhere, black aces on top. False shuffle. “
”
Turnup and show the black aces ontop. Allow aspectatorto take out the red aces and keep them for a moment . Push the black aces in the pack and control them back to the top. False shuffle. Have one of the red aces returned as the shuffle is made and control this ace also to the top. Now on top, red ace, black ace, black ace. Continue the false shuffle-run the top two cards and throw these back on top of the pack; undercut half, injog, shuffleoff, undercut threequarters holding break at injog, shuffle to break and throw on top. Order now from top is black ace, red ace, black ace. Undercut half the pack and have the last red acereturned; injogging,shuffling off, etc., fetching this ace finally on top of the stock of three aces. Spread the pack in the hands, break under the top four cards, double-undercut to bottom and lay the pack down on the table. Point outthatthe aces are now lost in the pack-the spectator’s red aces and the performer’s black aces. Take the pack in the left hand and undercut half from bottom in right hand.Laythis righthand half down for moment and take it again in the right hand, face downwards in the side-glide position. Blow on this packet and turn the hand
over showing a black ace on the bottom. Lay the left-hand packet down to one side; turn the righthand packet face down, side-glide the bottom card with the right fingers and the left hand withdraws the second card from the bottom, face down, and lays it in the centre of the table. “ One black ace ! ” you say. The right hand lays the pack face down on the left hand, and the left hand little finger forms a break above the bottom glided card. The right hand undercuts half this packet above the bottom card and lays it face down to the right of the tabled card. The remainder in left hand is laid tothe left of the tabled card. Pick up the right-hand heap again in the right hand, in the glide position, blow on the packet, turn it up and show the second black ace. The hand turns down again, the left hand pulls out the second card from the bottom and lays it below the firstsingle card on the table; the right hand drops its heap to the Zeft of this card. Now on the table-two heaps of cards with twosingle cards to their right. The audience believes the single cards are the black ones. Hover the right and left hands over the packets and say, “ And please name the colour of your aces !” The spectator says “ Red ” - straightaway change the position of handsand flick over the single cards showing a surprise change into red aces. Finish by turning over the packets revealing the black aces.
THE TAPED SLATE PETER WARLOCK
T lished HIS was originated in 1944 and first pubin 1946. Among its staunchest sup-
ment. In the description, however, I will keep to the original idea of tape.
portersand users I can mention HisHonour Ernest Wethered and Will Dexter. Each in using the effect has departed from the original idea of using adhesive tape to cover the predictions and instead use pieces of card held in place by bulldog clips. This is a much more satisfactory arrange-
The Eflect Taking a school slate and a piece of chalk, the mentalist by drawing two parallel lines divides the surface intothree parts. In thetop section he writes in green chalk a prophecy for spectator ‘A’;
76 then picking up a wide piece of adhesive tape and covering the message. ‘A’ is then asked to think of a colour and name it aloud. Supposing that it is “ Yellow ”; the mentalist picks up another slate and writes on it “ A . . . Yellow.” A prophecy is now written for a second spectator ‘ B,’ but this time in red chalk. This too is covered and ‘ B ’ then names a number which comes to his mind. This also is recorded on the other slate. Finally a prophecy is written for a third spectator ‘ C ’ in yellow chalk which also is covered. Mentioning the fact that in the first two cases the predictions were made only a short while before the spectators took part, the third prophecy will take a different form. Spectator ‘ C ’ is handed a pack of cards with a request that he shuf€les it and asks his neighbour to take any card. A sealed packet is then introduced with theremark, “ I sealed this packet two hours before I entered this hall.” The packet is placed in a prominent position. When the card has been chosen and its value givzn to the audience and mentalist he adds to the writing on the untaped slate, “ C . . . (say) ace of diamonds.” Lifting up the taped slate and removing the first tape it is seen that the prediction of A’s colour was correct. And the same with B’s number when the second tape is removed. Taking away the third tape, written in yellow chalk is seen the message “ C reversed at (say) 6 p.m.” The sealed packet is now undone and from it is removed a Jumbo pack of cards. When it is fanned both back and front one cardis seen reversed . . . it is the ace of diamonds !
The Preparation A special slate isnecessary for the effect. If the reader can obtain two silicate slates, i.e., slates where the writing surface is thin hard board, half his job is done. If not with a slate frame available, he will do better to make the whole jobfrom scratch. With the former assumption and with a request that the illustrations be studied, the slates are dissected and the grooves that hold the slate bed widened allowing for the accommodation of three thicknesses of the writing surface. One of the pieces of silicate is cut across one third of its length and this piece is glued to the uncut piece of silicate (Figure 1). When the glue hasdried,the
2
TUICSNES5
LIA6GbWTW
3 two-thirds length is laid ontop of the recessed is re-assembled piece (Figure 3), andtheframe round the two sets of silicate. Be careful in using glue during assembly to see that none of it gets on to the silicate.
4 When the frame is dry, the two-thirds piece of silicate can be moved from its initial position to the bottom of the frame, an easy movement of the thumb bringing it back to the position shown in Figure 3. In this position and this is the position it finally takes up in the trick the whole surface is flush. Figure 4 gives a side view of the slate. Chalk lines are now drawn, a reference to Figure 5 showing their position. That is the slate,
CYALK LINE W Y L Y A 1 MGIWIWB WILL
nt
-wow
l
5
IN
‘b’
a job which totheaveragehandyman is one of simplicity and contains no pitfalls. Reverting back toHisHonourErnestWetheredand Will Dexter, both the slates usedby them were larger than the usual school slate. The next piece of preparation has to do with the playing cards used. The packhanded to the spectator consists of four banks of the same twelve cards in the style of Audley Walsh’s “ Magician Dream ” pack. From the Jumbopack duplicates of these twelve cards are taken and treated with roughing fluid on both sides. Twenty-four more Jumbos are taken, twelve being roughened on their backs and the other twelve on the face. These treated thirtysix cards are assembled now in this manner: one with a roughened back is placed face down on the table andontop is placedone of the original twelve roughened on both sides face up. On top of this is placed face down one of the cards with a roughened face. This process is continued until the whole thirty-six cards are assembled. Of the remaining cards in theJumbopack, eight are placed aboveand below the stack of thirty-six cards. For easy indentification when the pack is fanned f m e s to the audience a small pencil mark of identification is placed on the rear card of each set of three, telling the mentalist which card is sandwiched face up. A little more preparation, with the consolation that when all these matters have been attended to you are set for a long while to come. Get hold of some sticks of white, green, red and yellow chalk. Have a small box to contain them. Sticks of green red and yellow chalk are takenand broken into halves. One of these pieces of green chalk is now joined to a similar length of red chalk by means of a length of adhesive tape (see Figure 6). Two pieces of red and yellow chalk are similarly treated. Place the faked pieces inside the
6
I
box together with two unfaked pieces of white and green chalk. Before presentation you will require looking slate similar inappearance tothe preparedone and three pieces of adhesivetape two inches in width. Place a rubber band round the Jumbo pack and then seal it inside an envelope. This packet will lie on the table together with the two slates.
The faked slate comes in for a little attention. On the lower part of the slate proper, i.e., the part with theappendage ;write in yellow chalk “ C REVERSED 6 P.M.” Adjust the slide over this so thatthe slate appearsblank except for the white chalk lines. Incidentally the slate should lie faked side down so that the lines are not seen. Easily at hand are the pieces of tape the normalsizedpack of cards andthe box containing the chalks. The Presentation Thefaked slate is taken, the “ lined ” side being kept away from the audience. Holding it in the left hand, the right hand takes a piece of white chalkfrom the box andappearsto writelines across the slate. The audience have seeming proof of this when you turn it round showing the lines that actually were there beforeyou started. The white chalk is placed down and the stick of green chalk is taken. Saying that you intend writing a prediction for spectator ‘ A,’ casually toss the piece of green chalk into the air and catch it. There is areasonfor this. The spectators see a piece of green chalk and nothing else. When they see you handling another piece of coloured chalk later on they will take it that this too is just as unprepared. With the green chalk in view of the audience, write ‘ A,’ and then turn the slate so that the surface is hiddenfrom the audience. Writeanother word which can be any word. The chalk is dropped into the box and one of the lengths of tape is picked up and placed across theframeand slate, covering the message. It is essential, should youuse tape, that the adhesive surface should not be allowed to touch the slate surface. It must be stretched across the frame and leave the surface of the slate free. asked to name any Spectator ‘A’ isnow colour, and when he does so you take the other slate and with a piece of white chalk record it as previouslymentioned. With the remark that youwillnow write a prediction for another spectator ‘ B,’ but this time with red chalk, you reach into the chalk box and remove the piece of red-green chalk, masking the green part with the fingers and allowing the red part to beseen. Takingthe ‘ taped ’ slate and keeping the ruled side towards you, reverse the chalk you are holding endfor end, andinthe second space write in green “A . . . Yellow’’ (the colour named by ‘ A ’). The chalk is returned to the box, care being taken that no green chalk can be seen by the wary eyed spectator, and the second length of adhesive tape picked up and placed over the second (?) prediction. ‘ B ’ now names a multiple number and this is recorded on the unfaked slate. The last prediction. Taking the piece of redyellow chalk and showing it as yellow, you write in the third space in red “ B . . . 4567 ” (the number given by B). After replacing the chalk into the
box thesamehand stretches forward to pick up the third length of tape, whilst the thumb of the hand holding the faked slate, slides the slide part upwards, so that all the predictions are in the correct position. The tape is then placed over the third prediction and the slate is placed in a standing position against a chair back or some similar rest . The pack of cards is taken, fannedand handed to ‘ C ’ with a request that he shuffles the cardsand asks his neighbour to take any one. When this is done,thecard isnamed andit is recorded on the unfaked slate as “ C . . . ace of diamonds ” (the chosen card). Theunfaked slate should nowbe placed so that it too rests against some object and the writing can be seen by the audience.
The faked slate is picked up, the top tape is removed, and the first prediction is foundto be correct. The middle tape is also removed. The second prediction is correct! Finally the third tape is taken off to show the message, “ C . . . Reversed 6 p.m.” Ripping open the envelope the pack of Jumbo cards is removed, the rubber band is taken off and fanning the cards faces towards the audience you leaf through the pack until you find the group of three the middleone of whichis the reversed duplicate of the chosen card. Split the roughened assembly allowing the back of the duplicate to be seen. Then slowly turnround the packand the face of the duplicate card is apparent.
MATHEMATICS O F THE WEAVE SHUFFLE ALEX. EMSLEY Continued from June issue
SOLVING THE SHUFFLE EQUATION IS prime. In addition to the case of a pack of 2x cards, there is one other case when a an immediate solution of the equation is possible. This is when P is a prime number, then 2P-1-1 is divisible by P. This is Fermat’s theorem, a theorem in the theory of numbers. Applied to the weaveshuffle equationit means that when P is prime, P cards will return to their original order in P-l shuffles. Incidentally, this is not necessarily the smallest number of shuffles necessary for the cards to return to their original order. For example, fifty-two cards in-shuffled are equivalent toanodd pack of fifty-three. Fiftythree is a prime, and therefore fifty-three cards returntothesameorder after fifty-twoshuffles. Hence, fifty-two cards returnto the sameorder after fifty-two in-shuffles.
p
SOLVING THE SHUFFLE EQUATION Generalmethod.This is the quickest allroundmethod. It uses the binary system,which would take too longto explain here, so I shall assume it is known. Express P (which of course is odd) in the binary system, and write it down. Write it down a second time underneath, so that the final ‘ 1 ’ of the lower expression of P comes under the farthest right ‘ 0 ’ in the upper expression. Add the two together. If you get nothing
but ‘ l’s,’ stop right there.Otherwise,write P down again under the sum with the final 1 ,in l? under the farthest right ‘ 0 ’ in the sum. Again add. Carryon until youget a sum containing nothing but ‘ l’s.’ The number of ‘ l’s ’ in the final sum is the necessary number of shuffles to bring P cards back to the original order. For example, eleven in the binary system is 1011. Going through the procedure described, we have 1011 1011
l10111 1011 10001111 1011 100111111 1011
1 1 1 1 1 1 1 1 1 1 There are ten ‘ l’s ’ in the final sum, so eleven cards return to the same order after ten shuffles. Note that weget thesame result fromthe last section, since eleven is a prime.
79
To find out how many shuffles are necessary for the cards to reverse their order, we write P down each time with its final ‘ 1 ’ under the ‘ 1,’ excluding the final ‘ 1,’ furthest to the right in the sum, or expression of P, above, until we get a sum of theform 1000 - - - 001. The necessary number of shuffles is one more than the number of ‘ 0’s.’ It is advisable to solve for S before trying for R, for although there is always a solution for S, there is not always a solution for R. When there is, of course, S = 2R. For example, with eleven cards as before1 0 1 1 1 0 1 1 1 0 0 0 0 1 There are four ‘ O’s,’ so eleven cards reverse their order in five shuffles. STACK TRANSFORMATIONS Suppose, in an odd pack of P cards, we have a set of cards stacked a apart, counting downwardsthroughthe pack. As we shuffle, the distanceapart of the cards in the stack becomes successively 2a, 4a, 8a and so on. Suppose after X shuffles, the distance apart of cards in the stack (which is 2xa) is less than P but greater than half P. Ifwenow count in the opposite direction, 1. 2. upwards through the pack, the distance apart of cards in the stack isP-2xa. This maygive an interesting transformation of one stack to another. At each transformation the order of the cards in the stack reverses. With an even pack, the calculations are made as for the equivalent odd pack. For example, fifty-two cards out-shuffled are equivalent to an odd pack of fifty-one. Therefore, a stack of cards seven apart in a full pack will move in successive out-shuffles through the following distances apart 7, 14,28 or 51-28 =23, 46 or 51--46=5. Thus a stack seven apart becomes a stack five apart after three out-shuffles. There were two transformations, so the stack is in its original order. If after shuffling, the distance between two cards of the stack has to be countedround the ends of the pack, there will be an error due to the fact that we are using an even pack. Other transformations with apack of fiftytwo out-shuffled are :10 to 11 in two shuffles, reversing their order. 11 to 7 in two shuffles, reversing their order. Any multiple of three to itself infour shuffles, reversing their order. With fifty-two cards in-shuffled we get :10 to 13 in two shuffles, reversing their order. 11 to 9 in two shuffles, reversing their order. 7 to 3 in three shuffles, retaining their order. 3 to 5 in four shuffles, reversing their order. “
”
The 10-13 transformation means thatcards ten apartcan be brought together by four inshuffles. Here, incidentally, is a poker deal which uses the 7-3 transformation. ROYAL FLUSH DEAL Take out the four royal flushes from the pack, and arrange them in the pack as follows :The cards of one flush at positions 2- 4- 6- 8-10 The cards of one flush at positions 7-14-21-28-35 The cards of one flush at positions 9-18-27-36-45 The cards of one flush at positions 5-17-29-41-46 You can now have any number of hands suggested by a spectator, shuffle and deal that number of hands, and get for yourself a royal flush. When the number of hands is named. you make the number of in-shumes shown below, and then deal normally. For two hands, shuffle not at all. For three hands, shuffle three times. For four hands, shuffle once. For five hands, shuffle twice. For six hands, shuffle four times. For seven hands, shuffle not at all. For eight hands, shuffle twice. For nine hands, shuffle not at all. For ten hands, shuffle three times. Thesame flush that is set to come out on seven hands turns up after three shufflesset for three hands. THE CONSTANT STACK Suppose,in anodd pack, P=ab. We can stack a set of ‘ b ’ cards ‘ a ’ apart through the pack, so that by dealing out ‘ a ’ hands of ‘ b’ cards each, all the stacked cards will fall in the same hand. Taking any card of the stack as a reference card, the position from it of any other card in the stack will be a multiple of ‘ a,’ i.e., No =xa. After one shuffle, N1=2xa or N 1=2xa-P =2xa-ab = a (2x-b) In either case, N, is also a multiple of ‘ a,’ i.e., the ‘ b ’ cards are still stacked ‘ a ’ apart through the pack after one shuffle, and hence after any number of shuffles. The cards will not, however, be in the same order in the stack. For example, suppose we discard all the diamonds from a full pack, leaving 39 = 3 X 13 cards. We set these up in the order clubs, hearts, spades, clubs, hearts, spadesand so on throughout. We now have three separate stacks of thirteen cards, three apart. If after any number of shuffles (with cuts in between, if you like) we deal the cards into three hands, each hand will consist of a full suit. To be concluded
80
*
l
A SELECTION ON
THE LATEST B O O K S
THE GREATER MAGIC LIBRARY
Conjuring’s greatest clasic, now available in 5 separate volumes, with a total ofpages. 1,000 21/volumeper Price Postage 9d. ABBOTT’S ENCYCLOPEDIA OF ROPE TRICKS 128 ‘ double size * pages and every conceivable rope trick. The new enlarged edition. Price 21/Postage 7d. SCIENCEMAGIC By Kenneth Swezey A fine 182 pp. cloth-bound book with masses photographs of illustrating hundreds of fascinating chemical and science tricks. Price 16/Postage l/-
DOING MAGIC FOR YOUNGSTERS By Bert Easley
THE DIA VERNON BOOK By Lewis Ganson NO need to extol the virtues of this great work. Price 45/Postage 1/4
GRAND DECEPTIONS By Alexander Klein The World‘s most spectacular hoaxes, fuses and frauds. Fascinatlng! Price 21/Postage 1/1
PLAYING CARDS HISTORYANDSECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition!
ENCYCLOPEDIA OF CIGARETI’E TRICKS By Keith Clark The only worth-while book on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 1/2
Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks ’ to performatthe dinner table. 182 pp. Cloth bound, masses of photographs. Price 16/Postage l/EFFECTIVE CARDMAGIC By Bill Simon
Includes also the full text of Eric P. Wilson’s classic, THE ART OF CON- A cloth-bound book of182 pages of JURING TO CHILDREN. 128 pp. first-rate card magic by one of America’s top card men. Cloth. Price 25/Price 47/Postage 8d. Postage l/-
*
*
MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everything you need to know about escaping from handcuffs. 112 pp. Board covers. Price 60/Postage 6d. NICK’S TABLE TRIX By Nick Trost A well illustrated manuscript publication of tricks for thecardtable and the author’s fine Ring and Rope Routine. Price 7/Postage 3d.
Write for our full Book List containing hundreds of Titles
*
T H E MAGICWANDPUBLISHINGCOMPANY 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
~
~~
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom andLibramand
Museum :
Hearts of Oak Buildings, Eiuston Road, London, N.W.1. Magical Theatre *
King Geotge’s Hall, W.C.
Summer Recess Puticulan from Hon. Secretary :
+
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
Every Advertiser PUBLI8HED B 1 TXiE PROPRIB? A N D PRINTID BY
PETER
WARLOCK’S
PENTAGRAM is published on the 24th of each month and
JACK HUGHBS will be pl~predtownd full dot& d
you
from thr publi.hrrm for 117 per single copy. Annual Subsuiptioa I S / p a t free. PUBLISHED BY:
THE DE LUXE “SU-TABLB”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
together with a11 hb other rffccta in ntuxn f o r a stamp.
can be obtaineddirect
Bsanuscripb tor publication and books fur review should b. sent to the:
BDITORIAL ADDRHSS:
Peter Warlock, Wallington,
24, WoFdsworth Rd.,
write now to
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
Surrey.
2d bv this Bulletin TON ROAD,PNIIEID.
MIDDLESEX
i
THE HANDCUFFEDCARDICIAN HANS T R I X E R ERE IS a card trick with a most novel angle, an angle which can be most impressive with H a lay audience. It is a modern version of an old effect, but then as is so often the old will seem to be new. With a disclaimer that he is comparable to the great Houdini, the conjurer tells his audience that he will endeavour to show them a card trick under the most difficult of all conditions, namely with his hands securely fastened together with a length of rope. First of all a card is freely chosen from the pack, returned, and the pack is shuffled by a spectator, the cards being left in his hands. After his hands have been securely tied together the performer retrieves the pack from the spectator and succeeds in making thecardappearin his (the performer’s) hands. Let me commence by saying that the trick is extremely easy. Do not however make the mistake of freeing yourself fromthe restraining tie for this would spoil the impression thatyourhands were truly imprisoned. The requirements are few. They are :1. A pack of cards (these may be borrowed). 2. A length of string, rope or tape. This latteris placed beforehand intheouter rigt-hand coat pocket . Presentation. Take the pack and ask a spectator to select a card. Suggest that it be marked and as it is, at the conjurer’s request, returned to the pack, secretly crimp one corner. The pack can now be handed to another spectator for shuffling without any possibility of the chosen card being lost.
back the pack from the spectator and noting the crimped card cnt it to the top of the pack. The second way is tofan thecardsinfront of the spectator, and with the words, “You can see for yourself that your card is still here,” leaf through the cards until youcome tothe crimped cards. Keep a slight finger break and leaf through the rest of the cards and then in the action of turning thecards face down execute a turnover pass so that the chosen card is on top of the pack. With a preference for the single hand top palm the card is palmed off in the act of handing the pack to the spectator whilst the hand containing it goes to the right-hand pocket for the rope which is removed and handed to another spectator. Place both hands behind the back in a folded position, as you remark that you wish him to tie yourhands together behind your back. “Like this,” you say and turn round with your back to the audience. In the brief interval, however, you have removed the cardfromthe palm with the free hand and pushed it up into the sleeve where it is hidden. The spectator now securely ties the performer’s hands together, and when the tying is completed the performer once again turns and faces the audience. “Just give the cards a cut and place them in my hands,” says the performer. The spectator does as he is told and in a matter of seconds the performer allows the pack to drop to the ground whilst the card is retrieved from the sleeve. Immediately the performer asks the spectator to name his card. This is done and with a remark, “ Please take from my hands the card I am holding,” the spectator does so to find the selected card in his hand.
When the pack has been shuffled either of two procedures may be adopted. The first is to take
VOLUME I I , No. I 1
-
I/6. (20 Cents)
-
AUGUST 1957
82
DOUBLE SURPRISE JACK AVIS recent English issue of The Phoenix,” IAllNNo.THE 345, I described an effectwhich I called Fair Surprise.” The basis of the routine is “
“
an original handling of a card switch. This switch is of general utility and to further demonstrate its usefulness the following routine is being offered. Preparation-nil, sleights required, top card reverse and an original card change. Routine. A card is selected and controlled to thetop of the pack.Thiscard mustnowbe reversed. The following procedureis simple and in keepingwith the effect. The left hand holding the pack is placed behind the back and your patter runsas follows : “ Without evenlooking at !the cards I will try to divine the name of your selected card.” You strikea pose of deepconcentration and whilst in this meditative mood your left thumb is busy pushing the top card over the side of the pack and flipping itfaceup.You now remark pack and flipping it face up. You now remark that somehow the spectator’s thoughts are not reaching youand so youmust adoptanother method to locate the chosen card. At this point the pack is broughtfrom behind the back and fanned faces towards the audiencein the right hand, being careful not to expose the top reversed card. On completing the fan the left hand appears to be adjusting a few cards in the fan but infact the left thumb is busy drawing the reversed card to the left where it is gripped by the tip of the right thumb on the extreme right edge of the reversed card. At this point tell thespectator you will attempt to locate his card by merely running your finger along the top edge of the fanned cards. The left forefinger now approachesthe top left-hand
side of the fan from the rear, and moves along the edge of the fan until you reach the centre. Here you stop and make some remark about how sure you are that this is the selected card, and pull a card from the centre of the fan. Of course the spectators can see that you have made a mistake and tells you so. You act surprised, turn the card to face yourself and say This nine of hearts is not your card? As you sure?” As yousay the last fewwordslook at the spectator and at this point the left-hand drops behind the fanned pack and slips the wrong card behind the selected card whichyou areholding. by the tip of your right thumbandtakes in its place the reversed card. The exchangehavingbeen made the card which you apparently removed from the centre of the fan is placed face down on the table. This card is, of course, now the selected card but believed by the spectators to be the wrong card. You now patter to the effect that mind reading and your sense of touchseem to have failed you and therefore you must resort to magic. Whilst saying these fewwordsyouhavesquared up the pack, retaining it face up in the left hand, being careful once again not to expose the reversed card. Cut the cards once, bringing the reversed card to the centre. Orderthe spectator’s chosen cardto reverse itself inthe pack. Fan the pack face up and reveal the reversed card. Ask the spectator to name his selected card and with a flourish turn the reverse card face up, only to find that it is the nine of hearts, the card which should be on the table. The tabled card is turned face up and now found to be the selected card thus bringing the effect to a satisfactory and magical conclusion.
SIMPLICITY TWO PERSON PREDICTION PETER WARLOCK T THE conclusion of one or moreeffects Whilst she is writing the mentallist stalls by makwhere the mentalist’s partner has given some ing some remarks regarding this particular phase of mentalism. Reaching behind the screen the proof of her psychic powers, and for this purpose has been isolated behind a threefold screen, the mentalist takesthe slate with the initialled side performer informs his audience that he wishes to outwardsand rests it against the edge of the conclude his demonstration byshowing theproscreen. (Fig. 1.) phetic powers of his assistant. A slate, after being Three spectators are now asked to take part. initialled with chalk by a spectator, is passed with The first designated A is asked to name the first the chalk to the medium behind the screen. She is four-figure number which enters his head. We’ll asked to write three predictions for three spectasuppose that it is 1360. On a large slate or blacktors who will be called A, B and C respectively. board the mentalist now writes A . . . 1360.” The
A
“
83
next spectator, B is then asked to name any city in the world. With the reply ‘ York,’ on the blackboardunder A’s selection goes, “ B . . . York.’’ C is then handed a pack of cards with a request that he shuffles the cards and requests his immediate neighbour totake one. Before thecard is exposed to the audience the performer picks up a large envelope andhanding itto spectator C relieves him of the remaining portion of the pack. The slate is now picked up and turned round. On it in the medium’s writing is seen :A . . . 1360 B . . . York C . . . Reversed The slate is placed down, the sealed envelope being taken and slit open with a knife. From it is removed aJumbo pack of cards whichwhen fanned reveal, reversed in the pack, the card held by C’s neighbour! The Requirerzzerlts. The inherent weakness of the effect lies in the factthat the performer’s assistant is behind the screen. This weakness, however, is overcome providing that before the prediction, certain tests are carried out which necessitate this isolation of the assistant. The requirements are few. They are :One reasonably large slate with a well fitting flap. A blackboard on easel (or another large slate). Two packs of cards, one ordinary size and one Jumbo as described in “Taped in that Slate.” TheJumbopack,as trick, is sealed in a large envelope. Before the performance takes place the followingwords are written onthe slate by the assistant :A ... B . .. C . . . Reversed
The flap is then adjusted into the slate frame writing side downwards. The slate now appears to be blank on both sides. The set-up of the articles should be slate on table, flap uppermost, piece of chalk and packs of cards adjacent. Blackboard or large slate leftof stage. The Presentation. Taking the slate and chalk fromthe table, the performer, after casually showing it,asksa spectator to write his initials on the non-flap side, the flap being held in position as he does this. Moving back, the slate and chalk are passed behind the screen to the assistant, who first removes the flap and rests it against the leg of the chair on which she is sitting and then makes as much noise as she can with the chalk writing a number of words on the slate surfaceproper. Asking if she has completed her prophecies and receiving an affirmative answer, the performer takes the slate from her, and keeping the side with the spectator’s initials towardsthe audience places it on the ground, allowing it to rest against the edge of the screen. Immediately the slate hasbeen taken from her the assistant picks up the flap and rests it on her lap with the writing side uppermost. The three helpers are nowchosen and A is asked to name afour figure number.When the assistant behind the screen hears the performer writing the number on the blackboard, she writes the samenumber as noiselessly as possible after the letter A, though as the performer is writing at the same time there is little chance that her writing could be heard. B is requested to name a city and again as the performer writes, the assistant fills in the same word after B. Her task is now complete with the exception of one little thing. Being as careful and noiseless as she can she places the flap, writing side outwards against that edge of the screen where the slate rests. She places it so thatit aligns as closely as possible with the slate (Fig. 2). The regular sizepack of cards is taken and handed to C, who in turn shuffles it and asks his neighbour to select any onecard.Attentionis called to the sealed packet which is handed to C , the pack held by him being taken back and placed on the table. The spectator with the card is asked to name it and on the blackboard, against C , the name of the card is written. Now for the climax. The performerbends down and with thumb at rear and fingers in front takes slate and flap as one. Too much pressure must not be used, otherwise there will be a click as the flap comes into contact with the slate. The very slightest of pressures combinedwith a sideways movement will show that this can be easily accomplished after adequate rehearsal. The right hand has been used for this and immediately the
84
SIX IN A ROW CORVELO IS a mentaleffect for close quarter H ERE work which can be most effective. First of allthe mentallist removes fromhis pocketa sealed envelopewhich he places in a prominent position on the table. Next he introduces a writing pad which consists of sheets of paper perforated so that six slips may be torn from each whole sheet. Now in each of the six divisions a spectator writes his initials, and then with a request for the names of (say) six film stars the names given are written one on each of the perforated slips. The whole sheet is first tornfromthepad,the same spectator whowrote his initials beingasked to write his signature across the back of the whole sheet of paper. The main sheet is then torn along the perforations and the six resulting slips laid ‘ Star ’ names down on the table.One is freely chosen and turned over. On it is written, we’ll suppose, ‘ Bing Crosby.’ A spectator is asked to unseal the envelope placed on the table at the beginning. He does so and removes from inside a card on which is written . . . ‘ I predict that the chosen name will be Bing Crosby.’
The secret lies in the note pad used. It can be easily madeup by a local printer or bookbinder. It consists of a number of sheets perforated at equal distance so that six slips may be torn from one main sheet. The topmost sheet a strip measuring one inch in width is cut away (see illustration). On the sheet under the narrow sheet write in each division, the name ‘ Bing Crosby ’ or the name of a star who is inthe news.Now take an elastic bandand place itaround the pad (in the style of ‘Out to Lunch ’1, so that it covers the shortened division. With a card on which you have written, ‘ I predict that the chosennamewillbeBing Crosby,’ sealed in an envelopeyou are ready for the presentation. First of all take the sealed envelope and place it in a proininent position on the table. The pad is now introduced anda spectator requested to scribble his initials right of the elastic band on each perforated slip. Now ask for the names of six film stars making sure that one of those offered is Bing Crosby. Subtle approach in the mentalist’s invitation should always bring in the‘ force ’ name. If picture house has a star in the film use this, as its topicality willensure it being given. As soon as the six names have been given and written on the six slips, turn the pad so that those near may see that the names are all different, and then turning thepad oncemoretowardsyouremove the elastic band and tearoff the second sheet and place it writing side down upon the table. The note pad is dropped into the left-hand side pocket. The assisting spectator now writes his signature across the whole of the page and then the performer tears off the perforated slips keeping the film star names unseen and mixes them. A choice of one is made by the spectator and the others are gathered up screwed into a ball and dropped into the pocket. Leaving the chosen slip writing side undermost, theperformer asks the spectator to open the sealed envelope and read what the performerwrote beforethe commencement of the experiment. He does and the slip on the table is slowly and deliberately turned over showing that the performer was successful in his prediction.
SIMPLICITY T W O P E R S O N PREDICTION-Continued from page 83
performer hasregained full height, the left hand comes in to hold the left-hand side of the slate (a natural action). Thethumb of thishand, which should be in contact with the flap, eases it into complete alignment and allows itto fit intothe slate frame. The performer is nowready to reveal the predictions. Slowly heturns the slate round. The first two cause for no comment other thanwonderment. The
third still needs confirmation. Taking the envelope from C, the person with the card is asked to hold his card aloft so that it can be seen by everybody including the performer. Tearing open the envelope the Jumbo cards are removed and fanned as in “ Taped Slate,” showing that in the final prediction the prophetress has been equally successful.
85
MATHEMATICS O F THE WEAVE SHUFFLE ALEX. EMSLEY Continued from July issue THE RE-STACKING PACK We know that fifty-two cards return to their original order after eight out-shuffles. During these shuffles thetopand bottom cards never move, and two more, the eighteenth andthirtyfifth, change places in each shuffle. The remaining forty-eight cards can be considered as lying in six chains, each chain comprising eight positions. A card at any of these positions will move through each of theother positions inits chain before returning to its original position after eight shuffles. If we place four cards of the same value at alternate positions ina chain, after two shuffles each of the four cardswill have moved into a position previously occupied by one of the others. For example, one chain is 2-3-5-9-17-33-14-27. If we place the four Jacks at 2, 5, 17, and 14, after two shuffles there will still be Jacks at each of these positions. Hence, if we place fourcards of the same value at alternate positions, in all the six chains, we shall have arranged twelve sets of four cards in forty-eight positions in such a way thatafter two shuffles, every one of the forty-eight positions will be occupied by a card of the same value as was originally at that position. If the remaining four cards of a kind go on top, eighteenth, thirtyfifth, and on the bottom, each of these cards will be in exactly the same position after two shuffles. Thus wenow have a stacked pack which, disregarding suits, returns to the same orderxter two out-shuffles. Here is an example of such a stack :J-D 10-D 4-S Q-H 9-C
The suits have been so arranged that, apart from the twos, after two shuffles the position previously occupied by any card will be occupied by the card of the same value which is next in the suit order Clubs-Hearts-Spades-Diamonds. The twos will always be in the same positions. It will be seen that the cards fall into three groups of sixteen, separated by the twos. The suit orderin each group of sixteen is the same. Dividing each group of sixteen intofour sets of four, each set contains four cards of different suits. The orders of the suits in the second and third sets are respectively the reverse of the order in the first and fourth sets. Thecard values fall intofour classes, each comprising three values. The division of the values among the classes is, of course, arbitrary, but in the stack given above the classes are 3-7-5, 4-8-Q, 5-9-K, and 6-10-A. The values in any one class are always found inthe same positions inthe groups of sixteen. It hardly needs saying that you canobtain other restacking stacks from this stack by interchanging cards of one value for cards of another value. AFTERWORD This article has not exhausted the properties. of the weaveshuffle. I have mentioned veryfew of the principles applicable to tricks-as I have said before, those principles are mostly the simple principles. Also, I must admit, there is one principle which I have kept back for purely selfish reasons because, although it is not simple, of the good audience tricks that can be based on it. Nevertheless, I hope that I may have increased some people’s knowledge of the weave, whether they be purely mathematicians, or whether they are intent on learning all they can about a pack of cards, in the belief that all knowledge must some day prove useful. 5-S Q-D 8-C 6-H
J-H 10-C 5-D J-S
2-c
J- C 9-H 6-S
2-H
3-c K-H 10-S 3-D A-D 8-S
4-H K-C 9-S 4-D Q-C 10-H 3-H A-C 9-D 3-S
2-S
7-c
5-H A-S 7-D 6-D Q-S
8-H 5-C K-S 8-D 4-C A-H 7-H 6-C K-D 7-S
2-D
86
I NEVER USE CARDS ER1K PADT T LEAST this is what the conjurer tells his A audience. But when placing some apparatus on the table the audience spots a big size playing card at the performer’s back, just under his coat. “ I neveruse cards because I don’t like to bore you with that sterotype magician’s question: have a card,” explains the wizard once more and turns around to pick up his die box. Again a murmer is heard because a giant card is peeping from under his coat, but . . . this time it is a different card. Seemingly the magician never is aware of the untruth of his patter. “ Everybody does card tricks, that’s the reason I don’t.” So says the magi and turns around once more, just to give the audience opportunity to see thecardprotrudingfromunderhiscoat, and this time it’s a third different card. When his act is over and he turns around to leave the stage . . . there is no card at all. For a gag-magician this will be a fine trick. If you are performing as “ Mystic the Mystery Mixer ” you had better leave it out. The requirements for this gag are simple to make. Gluethree giant cards together asinthe
RITING well in advance of the British Ring Conventionwith the knowledge that these words may appear in print after ithas closed, can arouse interesting speculation. From the point of view bf stage presentation our interest lies chieflyin the thought of seeing the Italian magician Sitta. Appearing with a Chinese presentation and a stage name of Chun Chin Foo we look forward to seeing some of the delightful effects that hehas described both in ‘ Triks ’ and ‘ Magia Moderna ’ the well produced Italian magical magazine. We are also interested in what the competition will bring forth. I n this latter connection we hope that the standard will be higher than that of the past two years. It is always inexplicable to us that anyone can enter a competitionwith an act which not only is under rehearsed but is also lack-
illustration. Makea smallholder on which the cardscanturnandsolder a safety-pin tothis holder. The whole thing is pinned underyour coatand all youhave todo is toturnthe “ apparatus ” a quarter turn when desired.
ing in outstanding characteristic. The idea of attention to stage setting( and after all this a competition for stage magic) is too often conspicuous by its absence, a factor which is in direct contrast to the acts which participate in the Dutch competito a tions where so many competitors have gone great amount of trouble to make the stage attractive, and where the spectator before the performer’s entrance is greeted with either the promise of novelty and /or an expression of good taste. In the recent Convention at Zwolle, ‘ Flip ’ Ronaldo, whose first prize-winning act we had seen in embryonic form way back in April used a gramophone record motif and all his tricks utilised records or the gramophone. The inspiration for stage setting which involves very little expense and trouble can be inspired quite easily by looking into
87 the window displays of the bigger andbetter stores. Go to the Magic Circle on a Monday evening where week after weekmembers appear on the stage withwhat is intended to be a magical act. In a number of cases thought and rehearsal has gone into the finished product, but in the majority few tricks have been takenand without any thought of routining or even whether they fit the performer’s personality they arethrown at the audience. Our good friend Kalanag is gaining still more laurels in the international field of entertainment. After a tour, outstanding in its success, of Africa and South America, he is, as we type these words resting in New York before flying on to Canada where on August 30th he will present his show in a special theatre at theGreatCanadianNational Exhibition at Quebec. Afterthis engagement he will go back to the United States and play Boston, Detroit,and Chicagobeforeplaying a season at Las Vegas. Afterthata six months’ tour of the Far East is contemplated. Wellknowing that the attraction of this greatest of all illusion acts inevitably results in an extension of contract, we feel that the Far East will keepKalanag away from Europe for far longer than the six month period mentioned. Many of you, nodoubt,like ourselves are looking forwardtotheInternational Congress which commences on August 27th next year. The headquarters of the Congress will be at the Sophia Rooms, a lovely building which is just outside the ‘ Ring ’ only a stone’s throw away from the Opera House. For the ladies who attend the shopping centres in Kaerntner Strasse and MariahilferStrasse are only a fewminuteswalk from the Sophia Rooms. Attheheadquarters things of material comfort such as food will be available so that the minimum of time shall be wasted on comparative triviality of eating. For ourselves we shalllook
€orward to the days outside the Congressperiod when we visit the Schoenbrunn Palace, the Prater, the ViennaWoods and St. Stephens. To see the places associated with Haydn, Mozart and Vienna. To attend a performance at the greatest Opera House in the World. To eat in comfort the dishes for which the Viennese are so famous. The magical event of August was the marriage of Gerry Larson to ArtBaker, or as Herbert J. Collings wittily put it the marriage Art and Beauty. Present at the reception were leading personalities in British magic and representing America were Jack Kodell, George Boston and Cy Enfield. A truly jolly atmosphere prevailed and though this was the married couple’s first acquaintance with British magicians en masse we know that theywill return to these shores again. With the sudden death of Lewis Messent, the Magic Circle has been robbed of one of its finest workers. Lewis who was a most modest and retiring type, was responsible for the Festivals of Magic at the Scala Theatre from the time that Freddy Shuter relinquished the position of Festival Manager. of genuinekindness Tactful,diplomaticandfull workers.Lewiswas a modest and retiring type, was responsible for the Festivals of Magic at the Scala Theatre from the time thatFreddyShuter relinquished the position of Festival Manager. Tactful, daplomatic and full of genuinekindness no artiste appearing in the bill ever had just cause for temperamentalbehaviour.We shall misshim very much. Incidentally for the benefit of those visiting the Hastings areaduringthe holidayseasonwe would like to mention that our old friend Roland Spray, whounable to follow his normal occupation of sign writing owing to eye trouble has now opened a Magic Shop at 110, Bohemia Road, St. Leonards-on-Sea.Wewishhim success with this enterprise.
WANTED THE JINX-Summer Extra 1936 and No. 129 in the original Annemann editions only. THE BAT-Nos. 53 and 73. CONJURERS CHRONICLE-Vol. 8, NOS. l , 2, 3, 6 ; Vol. 9, NO. 3 ; Vol. 10, Nos. 1, 3 ; Vol. 11, Nos. l, 2, 3 ; Vol. 12, No. 2 ; Vol. 13, No. l. CORNISH PIXIE-Vol. 1 (1943)Nos. l , 4, 5, 6, 8, 9. (NOTE : Thismagazine startednumberingfrom No. l again,in1944.1943 EDITIONS ONLY ARE REQUIRED.) S T A T EC O N D I T I O NA N DP R I C EW A N T E D
GEORGE ARMSTRON6 62 WELLINGTONROAD,ENFIELD,MIDDLESEX
*
88 ~~
A SELECTION OB’
T H E LATEST B O O K S THE DIA VERNON BOOK
THE GREATER MAGIC LIBRARY
Conjuring’s greatest clasic, now available in 5 separate volumes, with a pages. 1,000 total of Price per volume 211Postage 9d.
*
GRAND DECEPTIONS By Alexander Klein
By Lewis Ganson The World’s most spectacular hoaxes, No need to extol the virtuesofthisimpostures, ruses and frauds. Fascinating! great work. Price 451Price 21/Postage 114 Postage 111
ABB0TI”S ENCYCLOPEDIA OF ROPE TRICKS
PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition!
128 ‘ double size ’ pages and every The new conceivable rope trick. enlargededition. Price 21/Postage 7d.
Price 351Postage 114
SCIENCEMAGIC By Kenneth Swezey
AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks ’ to performatthe dinner table. 182 pp. Cloth bound, masses of photographs. Price 161Postage l/-
A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price 161Postage l/DOING MAGIC FOR YOUNGSTERS By Bert Easley
ENCYCLOPEDIA OF CIGARE’ITE TRICKS By Keith Clark The only worth-whilebook on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 112 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everything you need to know about escaping from handcuffs. 112 pp. Board covers. Price 601Postage 6d.
NICK’S TABLE TRIX By Nick Trost textfull theIncludes also of Eric P. A well illustrated manuscript publicaWilson’sclassic, THE ART OF CONA cloth-boundbook of 182 pagesoftionof tricks forthe cardtableand JURING TO CHILDREN. 128 pp. first-rate card magic by one of the author’s fine Ring and Rope Cloth. card America’s top men. Routine. 1 Price 251Price 471Price 71Postage 8d. Postage l/Postage 3d.
*
EFFECTIVE CARDMAGIC By Bill Simon
Write for our full Book List containing hundreds of Titles
*
T H E MAGIC WANID P U B L I S H I N GC O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
is published on the24th of each monthand can be obtained direct from the publishem for 117 per single copy. Annual Subscription 181post free.
Clubroom end Library and Museum :
Hearts of O a k Buildings, Euston Road, London, N.W.1.
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex knnusuipts for publication and books for
Magical Theatre . King George’s Hall, W.C.
Summer Recess Particulars horn Hon. Secretary :
Everv Advertiser PUBLISHED BY T H EP R O P R I P T ’ A N D P R I N T E D BY
24,
S
JACK HUGHES will be pleased tosend full details of
you
THE DE LUXE “SU-TABLE” together with all hb other effects in return for a stamp.
review should be senttothe:
Write now to
ADDRESS:
Jack Hughes, 2, Evelyn Ave., Colindale, London, N.W.9.
EDITORIAL
Peter New,combo 38 Overdale Avenue New Malden, Surrey
l k
WARLOCK’S
Peter Warlock, Wordsworth Rd., Wallington,
Surrev . goods are fully endor ed by thisBulletin
S T H E MAOIC W A N DP U B L l S W l N OC O M P A N Y , 67 WELL: CRBBRT WALKER (t SON (PRINTERS) LTD., BRIDOE W C
:TON ROAD,INPIBLD.MIDDLESEX <S, SRIPLEY, YORKSHIRE
j
P R E D I C T E D M E N T A L SPELL EDWARD MARLO FFECT : Magician successfully predicts the outcome of a mental spelling process. Above effect is based on ideas using the Mostellur spelling system from the Phenix issue NO. 58 of April, 1944, and that of Ed Marlo’s SECOND PRESENTATION from Hugurd’s Magic Monthly forJanuary, 1956. Whilenot actually using the Mosteller count spell principle it does utilize the two card deal during the spelling process. 1. The set-up of 12 cards, from top down, is as follows : The A-6-9-J of Clubs, the 4 and K of Hearts, the 8 andQ of Spades, the 4-5-7-Q of Di-monds. On first glance it would appear obvious that ;.lybody could spot such a set-up; however, the handling is such that it will not be seen in the above order during the performance of the effect. At the same time the stock is such as to be easily rememberedthusmaking it asimple process to re-set as per the procedure in the performance of the effect. 2. The Gimmick-This consists of a playing card folded in half, then slit on both sides, about half-inch fromthetop across its widthbutnot entirely across butrather of sufficient length so that later three billets, on each side, can be inserted ino the slits. The billets are originally 2in.by lfin. then later folded into a lengthwise or rectangular strip of one inch by three eighths. The billets are inserted into the slits, three in each side, then the card is stapled on both sides so as to give tension or grip to the billets it is supposed to hold. The Fig. 1 shows the gimmick completed. 3. On the six billetsyou write the following sentence. “You will think of the ,” then fill in the names of the following cards on each6C-JC-KH-QS-5D-QD. In the Fig. 1 is seen the order of the first three billets and the remaining three billets are folded and, of course, on the other side of the gimmick. All you need to remember is 6-J-K-Q-5-Q and disregard suits except perhaps in the case of the Queens you would make a mental
E
VOLUME I I , No. 12
-
picture of which is which but this is not any real problem. 4. A pen or pencil should be one of the props plus some extra billets, folded as the ones in the gimmick, in the left coat pocket. The gimmickitself can be in the right coat pocket or trouser pocket preferably. The deck should have the 12 card set-up on top of deck also the bottom card of deck is crimped. With deck in case and all props handy you are ready to perform as you face audience.
5. Removedeckfrom case and give it an overhand shuffle as follows. Undercut half the deck and in drawing off: the first cards you also draw off the bottom crimped card with the result as the shuffle is continued fairly your stock is already marked off by the crimped card abovesame. Finish by cutting at crimped card to bring it to bottom of deck and stock again is on top. 6. Say, I’m going to give you some of these shuffled cards and I want you to further shuffle them.” Here you thumb over the top 12 cards and hand them to spectator for shuffling. Place rest of deck on to table. 7. While spectator is shuffling the cards you remove paper and pencil, then state you will write a prediction on the billet. Open up the billet and write, “You and I will think of he same card.” Fold billet, then place it to your left. The pencil is left on the table to yourright.
I /6. (20 Cents)
‘I
-
SEPTEMBER 1957
90
8. Afterspectator has sufficientlymixed the cards you tell him to fan the cards in front of his eyes and to think of any one of them, then he is to close up the cards and shuffle them again. 9. While spectator is following your instruction in Step 8 you casually pick up deck and run nine cards from top to bottom of deck thus bringing crimped cardtenth from the bottom. Place deck back on to table. 10. Take the packet of 12 cards from spectator and say, “ I will also think of one of these cards.” Here you seem to be deciding as to which card you want to think of but instead you are actually re-setting the cards back into their original order.Thisis very easy asthe suits run in C-H-S-D orderand each set is arranged to run numerically higher; therefore, clubs is A-6-9-J, Hearts is 4-K-, Spades S-Q, Diamonds is 4-5-7-Q. Once you have reset the cards you give the packet a false shuffle to retain the order. The following shuffle is convincing and easy-Run 3 and throwRun 3 and throw-Run 6 and throw-Run 3 and throw-Run 3 and throw-Run 6 and throw-the cards are back in original order. Just remember the whole as 3-3-6-3-3-6 and you’ll have no trouble. 11. Drop the packet on top of the deck, then have spectator cut deck. You say, “ Just once more,” andat same time reach over and cut at crimp to bring it to the bottom on completion of cut. Nine cardsare now above the stock of original 12 cards. 12. Pick up deck and tell spectator youwill deal off a card at a time from top of deck and that as you do so he is to spell the name of his thought of cards mentally. Each card you drop, of course, will represent a letter of the card and he is to stop you when he mentally reaches the last letter S of his card. 13. You are holding deck face down in left hand as for dealing. The right forefinger lifts off top card at inner right cornerinthefamiliar double lift method except here only a single card is taken. The card is carried to the table and resting its face against thetablethe right thumb presses downwards on the card as the right forefinger moves upwards slightly with the result that the corner of the card seems to snap off the tip of right forefinger. This action is importantforall cards as will be seen. 14. Continue taking single cards off the deck in the above manner until you have taken off nine. Every time you take off a card from here on has to be two cards takenas one until spectator calls stop ! Of course, he might call ‘ Stop ’ after the first nine cards if he had thought of either the A or 6 of Clubs; however, from this pointon you will have to deal off two cards as one until he calls a halt. 15. As you go along you also keep the count so that you will know exactly what set or pair of cards have to be on top. Needless to mention that the sets spell with 10-11-12-13-14-15letters. Sets
that spell with 10 and 11 letters are all club cards, the 12 letter cards are the 4-K of Hearts, the 13 letter cardsare 8-Q of Spades while the 14-15 letter cards are all diamonds. You willfindhow easy it becomes to remember not only which set you have been stopped at but also which card of the two is actually the top one because of each set the under or second card is higher in value than the top one. As an example suppose spectator stopped you as you reached the count of 14. You know that set 14 and 15 are diamond cards so 14 is a diamond pair, the first pair, also they run in numerical sequence of 4-5-7-Q; therefore 14 is 4 and 5 of diamonds with the 4D being the top card. It isnot at all complicated once you grasp the idea. 16. For sake of getting to rest of the effect let us assume you have been stopped at the twelfth count. You know this is the Heart pair and that 4H is topcard.Hand the deck to spectator and say, “ I’m thinking of a card and you are thinking of a card. You do not know what card I’m thinking I’m thinking of but I willtellyou. of the Four of Hearts-What card are you thinking of‘?’’ 17. Nowif spectator gasps out, “ That’s the card I was thinking of-the Four of Hearts,” then you have accomplished a miracle because all you do is tell him to turn over top card to reveal the Four of Hearts. Next remind him about the billet on whichyou wrote something before all this happened. Have him open the billet and read out, “ You and I will think of the same card ” for the climax of the effect. 18. If the spectator should say, “ I thought of the King of Hearts,” then you quickly say, “ I thought of the Four of Hearts-would you please turn over the top card?’’ As spectator isbusy turning top card you casually place right hand into trouser pocket and remove KH billet from holder. Finger palm billet, then remove your hand. During this you have instructed spectator to place aside your Four of Hearts and now you again ask him to name the card he is thinking of. After he repeats its name instruct him to turn over the top card of deck. 19. As attention is on spectator’s card your left hand reaches for the tabled billet and in transferring to right hand does the UTILITY SWITCH so that right hand actually tosses the KH pellet on to table as you say, “ On this slip of paper I wrote something before we began this experiment. Would you please open it and read it aloud. Spectator, of course, reads, “ Youwill think of the King of Hearts.” During this pick up pencil from tableand replace in pocket also getting rid of palmed billet. As one can see the effect is short and to the point, it is the little details that take time to describe. To follow are several other thoughts on the PREDICTED MENTAL SPELL.
91 SUGGESTION No. 1 : 1. Instead of using the deck, only the twelve card packet can be used. In this case the whole procedure is exactly identical up to the point where the performer is apparently going to think of a card. 2. At this point the cards are re-set but the four club cards are brought to the bottom of the packet. This is so that now you can give an illustration of how when you place a card from top to bottom he is to spell his card and stop you only after you have .placedacard on the bottom of packet for the letter S in his spelling. 3. To clarify the thing for him you demonstrate by saying, “ Suppose you thought of the Two of Clubs you would spell a letter for each card I place on the bottom. Transfer three cards, one at a time, spelling T-W-0, then stop and say, “ That would be for the two.” Continue by saying don’t forget the ‘ of ’ as you transfer two cards for the letters 0-F. Finish by spelling Clubs in the same manner and at the same time emphasise that he is to stop you only after the letter S has been placed to the bottom and not before. 4. Needless to say during this demonstration you are set to do the effect. Openly transfer one card at a time from top to bottom until 10 cards have been transferred but from this point on two cards as one are transferred from top to bottom until told to stop.
5. Needless to say the effect is concluded as in the first instance. An observation-I think that using the full deck fora mental spell is better than using a packet in that these packet affairs usually have the flavour of self-working automatic spellers. Anyway one should decide for himselfwhich he feels is the better procedure for himself. SUGGESTION No. 2 : 1. In case one wants to dispense with the gimmick but retain the prediction of ” We will both think of the same card ” idea why then it is only necessary to go back to the original system of merely forcing a spectator to think of one of six cardsthat you show him slowly off the top of deck. Needless to say, these cards spell with 10-11-12-13-14-15 letters so as soon as you know the number you can name the card you thought of and later have the prediction read. SUGGESTION No. 3 : 1. Retaining the 12 card packet and prediction idea without the gimmick you could proceed as follows: After you re-set cards you write on the slip, “ We will both think of the same card ” but make it appear, but not conclusively, as if you are writing down your own card. 2, When it comes time toname your card you open billet and at same time say, “ I thought ” naming proper card. Conclude of the *the effect but also point out that your thought and his thought were closely allied.
SUGGESTION NO.4 : NOT WITH A PREDICTION. 1. The six card set automatic spell can be extended into nine cards providing you have the 7-8-9 cards to all spell with 15 letters. Alsoonly 8 cardsare placed above the set of cards. This means that instructions should be given not to stop themental spell until the card on letter S joins those dealt on to table. You will then have to ask for the name of the card, then proceed by picking up either the deck proper or the tabled packet. Now the actual card can be shown on top by either a single or double turnover this depending on the position of the named card. You will readily get the idea of the process involved if with an 8 card stock over the set-up the spectator should stop you on a 15 letter card. This means four 15 letter possibilities distributed 2 and 2 on each section of deck. SUGGESTION No. 5 : Again not with Prediction. 1. In this case the deck can be shuffled, a card thought of but it has to be named before spelling to it; however, it is interesting in principle as one will see. 2. Deck having been shuffled you must force spectator’s mental choice to one of three cards. This can be done as you show him top three cards quickly, then slow up and say, “ Too Fast.” Now show next three slowly, etc. At any rate each time restricting his choice to among three cards.
3. Once youknowwhich set of three he made his mental choice from youshuffle enough cards on top to make the first card of the three as the twelfth one down. 4. Ask for spectator to name his card. No matter what his card is you must assume it is the first one of the set of three possibilities. Now you add or subtract the necessary number of cards so as to bring that first card to come out on the letter S.
5. Let us suppose he said his card is the Seven of Hearts a 13 letter card. Set that first card so it will be the thirteenth card. 6 . Now spell the cards dealing them face up as you do so. If the 7H shows up on the last letter S you have done all right.
7. If it does not show up on the letter S you look up and ask what was the card at same time do a double turnover of the top two cards of the deck. If the 7H shows you are O K . If it doesn’t, turn it face down, then take top card and say, “ I forgot to do this ” as you snap card. Turn it face up and it has to be the 7H if your restrictions to a mental choice of three cards has been correct. I call this also a good “ ESTIMATION OUT.” Have used it since 1948.
92
EXTENDED MENTAL SPELL EDWARD MARLO FFECT : A card thought of is spelled to mentally and on last letter performer is stopped. Card is named and performer shows correct mentally chosen card. This is a further development of the Suggestion No. 4, extended spelling, from “ Predicted Mental Spell.” 1. Set-up.-A crimped card 9th from bottom of deck. In other words, 8 cards below the crimped card. On top of deck the following nine cards are arranged, from top down-
E
6C-KH-AC-8S-4H-7D-3D-QS-8D 1 2 3 4 5 6 7 8 9 2. To work.-Removedeck from case. Give it a couple of straight cuts finally cutting at crimp to bring crimp to the bottom. Now run off 8 cards in an overhand shuffle. This brings deck back to original set-up as in the Step 1 above. 3. Show thetop nine cardstoa spectator asking him to think of one. You can show him the cards one at a time or take off all nine, fan them, tell spectator totake histime. This last is good for those whomay know something of spelling effects. 4. Return the nine cards to top. Get a break undertop card and Double Under-cut ittothe bottom. Next overhand shuffle as follows-Run 2 and throw-Run 2 and throw-Run 3 and throw. Now give it a couple of straight cuts finally cutting crimped card to the bottom.
5. You are now set to spell out the spectator’s mentally selected card but you must remember that the card he stops you at-the last letter S -this card is always tossed ontothe dealt off packet before you ask for the name of the card. 6. Here is the procedure.-All you do is count the cards as he mentally spells. If he stops you at the tenth card you naturally toss it on to the tabled packet. Pick up the tabled packet as this has the two possibilities in clubs. Also remember that the top card of the dealt packet is always the lowest in value of the particular set. Inthe case of the 10 count the one, or ace, is top card of packet but if he names 6C you do a Double Turnover. 7. If the count is 12 when stopped the top card of dealt packet will be 4 H followed by KH so proceed as in the case of Clubs. 8. If the count is 13 hold the deck in your hand because 8s will be on top of dealt card but the QS will be top card of deck. In this case you will note no double lift is necessary in either case. 9. If the count is 15 again hold the deck. If 3D is named it is top card of dealt packet. If 7D is called it is top card of deck but for the QD you do a Double Turnover. 10. A few trials will show how easy it is to remember the sets and howtheylie. It becomes an easy matter to disclose the mentally selected card.
BEHIND THE SCREEN PETER WARLOCK
It
N THE effect “ Two Person Simplicity Predicion ” I mentioned the need for having some other item or items in which it wasseemingly necessary for the medium to be isolated behind a screen. The effect to be described is one of them. The medium is first seated on a chair behind the screen. A spectator from the audience is invited to assist and when he reaches the stage he is seated on thechair B (see diagram of stage layout). In this position he is well isolated from the medium. Two packs ofE.S.P. cards are introduced. (Each carries five patterns repeated fivetimes.) One is handed to the medium behind the screen, whilst theother,afterthe faces have been shown, is in ribbon-spread face downwards on thetable front of the assisting spectator. On a small table to the right (performer’s) of the screen is a small perspex (lucite) stand.
The spectator is asked to look at the spread and to fix his mind on the back of one card. “ In a moment I want you to withdraw that card, but before you do so, my assistant will hand me one from the pack she is holding.” The performer places his hand round the screen and comes back with a card held by his fingertips. The face of this card is not shown and it is placed back outwards at one end of the perspex stand. “ Nowsir,’’ to the spectator . . . “ just push the card you have in mind out of spread.” The spectator does so and the performer picks up the card and without showing its face places it back outwards on the stand on top of the medium’s card. This process is repeated with four more cards, so that there are five pairs of cards on the stand. The climax arrives when the performer turns the cards round and shows that each is a matched pair!
93 The Requirements
The requisites are very simple, just two packs of E S P . (or similar patterened cards) cards,and a perspex stand. One pack of cards is now roughened on the faces. From the other pack five cards are removed .and these are roughened on their backs. Supposing that these five cardsconstitute two crosses, wavy lines,asquareandapentacle,take five similar cards from the pack and pair the sets so that the roughened back of each pair is outermost. These ten cards are then placed on top of the pack from whichthey have been removed. Place a rubberbandaround each packandput them together with the stand on the table at the right of the screen. The Presentatiort
The spectator from the audience being forthcoming he is seated inchair B. Before this, of course,the medium has been placed behind the screen. Say that you wish to show how thought can be anticipated and that for theexperiment you will use two packs of patterened cards. With this you hand him the pack in which all the faces of the cards have been roughened whilst theother is handed to the medium. Come back to the specta-
tor, take the pack from him, remove the rubber band and call attention to the fact that the pack containsanumber of patterns each of which is repeated a number of times. Don’t say how many patterns or how many times each is repeated. Spread the cards face down on the table in front of him. Tell him that you wish him to think of one card, but before he discloses his selection you will take one from the medium. At this point your hand goes behind the screen and the medium hands you the two topmostcards of thepack which you take and handle as one. Then, without showing the face of the card (?) places it (?) at one end of the stand. The spectator is now asked to push the card of his choice out of the spread. He does so and taking it at the fingertips, but not allowing either assistant or audience a chance of glimpsing its face, you place it on top of the two cards handed out by the medium. This process is similarly continued until five cards have been dealt with. The first set of cards is taken with the right hand, squared with the left, and then turned over faces to the audiences. The cards are then separated andbecause of the roughing onthe face ofthe spectator’s cardandthe roughing on the back of the pair handed out by the medium only two cards are seen and these match. The process is continued with the four remaining sets.
SMALL, MEDIUM A N D LARGE PETER WARLOCK N THE performer’s table three envelopes are displayed. Oneisnormal business size, the second is slightly larger than a Jumbo pack. The third is very large indeed. Close by is a pack of cards and a glass containing a numberof folded slips of paper. The performer speaks of the power of prophecy and draws attention to the three envelopes. The pack of cards is then picked up, and cutting off a few of the cards he handsthem to a spectator whom we shall designate as A, with a request that he merely thinks of one. The remainder of the pack is handed to anotherspectator, B, who is asked to shuffle thecardsandthenrequesthis neighbour to take one, look at it and remember it. With his left hand the performer picks up the glass from the table, whilst the right reaches inside and removes about a dozen slips and distributes them a few at a time to members of the audience,
0
asking them to unfold them and note that each bears a different name of a town or city.When they have done this they are asked to re-fold their papers and drop them back into the glass, at the same time the performermentions that in all there are over two hundred slips each bearing a different name. With one hand held over the top the glass is given a shake and then removing the hand, a thirdspectator, C, is asked to withdraw one of the slips, to open it and note the name on it. Withthesechoresout of the way theperformer picks up the theme of prophecy . . . how three choices have been made . . . the first person onecardfrom say half-a-dozen . . . the second person with a choice from the remainder of the pack . . . and finally one town or city from many hundreds. Turning to A, the performer askshim to name thecardin his mind andthenslittingopenthe
94
small envelope he removes a similar card; the first prophecy is correct. B is asked to name his card and taking the second sized envelope and slitting it open a Jumbo pack is removed. It is fanned and it is seen that the card selected by B is the only one reversed in the pack. Finally C is asked the name of the town or city that he has in his mind. Supposing thatthe answer is Norwich, thethird envelope is openedandfromit is takenalarge folded map, which when unfolded bears a caption ‘ YOU WILL SELECT ’ in large letters at the top of the sheet and running from it a slender length of red ribbon the end of which is stuck to the sheet and arranged so that it encircles the city of Norwich. The Requirements 1. A pack of Jumbocardstogether with ordinary size pack as described in “ Taped Slates.’’ 2. A pint size changing glass as described in “ Tele-Coincido.” 3. A large map of the British Isles. . 4. Six playing cards with similar back pattern to the ordinary size pack. Supposing they are :Six of hearts, Ace of Clubs, Queen of hearts, Jack of diamonds, Nine of spades, seven of spades. 5. You will then require three double faced cards of the following values :Six of hearts-Ace of clubs Queen of hearts-Jack of diamonds Nine of hearts-seven of spades. 6. A specially constructed envelope, details of which appeared in Jinx 15. The letterpress describingit is as follows. The illustrationsshould make it quite clear: -
Place three letter envelopes before you and a pair of sharp pointed scissors. Envelope No. 1 is untouched but the sides and bottoms of envelopes 2 and 3 are trimmed so that only the address side remains. Place these twopieces in front of you and apply adhesive at those parts which are shown shaded. Where the dotted line is shown this means adhesive on the underside. Into envelope 1 place the first double faced card. Now place 2 on top of 3 and between these two place the second double facer. Two and 3 are theninsertedintothe envelope 1 and the whole assembly is allowed to dry under pressure. When dry you have what in appearance is an ordinary envelope, but actually one having two secret com-
partments. The third double facer is placed in the envelope proper and the flap is turned over and sealed down. Two points of mention. The first is. that you must be certain of the positions of the cards inside, and secondly that none of the adhesive gets on to thecards. Now that the. envelope is sealed, consider the position. If the left-hand end is trimmed to the depth of one eighth of an inch only the first double facer can be allowed to slide out. Cutting the right-hand side in a similar manner means the exodus of the second card, whilst for the third, slit the top and only the third card can escape. 2. You will require a larger envelope to hold the Jumbo pack and an even larger one for the folded map. The Preparation Part of thishasalready been dealt with in detailing the method of making the faked envelope. The rest resolves itself into the following :You willrequire about150slipsof paper measur ing twoinchesby one. On 75 write the names of dif ferent towns and cities of the British Isles. Fold each slip first widthwise and then lengthwise. On the remaining 75 slips write the word ‘ Norwich.’ These slips are similarly folded. One set of slips goes in one side of the changing glass, whilst the others go in the other side. On the map of the British Isles, paste a piece of white paper and on it paint with a blush ‘ YOU WILL SELECT.’ Now takea length of narrow red ribbon and some sellotape. By means of the latterfastenone end of theribbontothemap under the words, ‘ You will select ’ then running the ribbon down the msp and with the end encircling the city of Norwich use an additional piece of sellotape and fix it in &.ace. Thejumbo pack suitably set upis placed inside the second sized envelope and the map is foldedand placed in the largest envelope. The envelopes are placed in 8 row resting against something so that they can be seen easily. The pack of cards with the extra six on top is placed on the table alongside the changing glass. The Presentation Draw attention to the three envelopes. Pick up the pack of cards, fan them and then run off the top half dozen, handing them to spectatorA. Askhim tothink of one cardand then handing the remainder of the pack to B ask him to shuffle them and ask his neighbour to take one. When this has been done, retrieve the cards and place them in your right-hand pocket. The changing glass is then picked up and a rapiddistributionof some dozen slips made to spectators from the non force compartment. Have theslipsre-foldedanddropped back into glass.
95
With the hand over thetop,the glass is then shaken in true cocktail fashion, and then with a -tilt over of the partition so that only the force slips maybe taken, thethird spectator is asked to remove one slip, unfold it and look at the name of the town or city on it. Directly the slip has been taken, release your hold on the celluloid partition and reach in the non force side and take hold of a number of the slips and scatter them among the audience. As far as you are concerned the effect is now complete. A names his card, and taking a pair of scissors from your pocket you takethe small envelope.
Bearing in mind thecard chosen, you snipthe appropriate side and then allow the duplicate card to slide out into your hand. The first prophecy is correct! B’s neighbour is asked to name the card he drew from the pack. Hc does so and slittins the second envelope open, theJumbo pack is withdrawn, spread and the duplicate of the chosen card is shown reversed. Finally the chosen city is named by C and the third and largest envelope is opened and the map withdrawn, showing that each and every prediction is correct.
MAGIC G O ROUND When these words see the light of daythe British Ring’s Twenty-first Convention will be a thing of the past. Two well-known Pentagram contributors, Alex. Elmsley and John Howie will have lectured and have added something more to the magical vocabulary. We shall have judged the measure of Scarborough asa Convention venue and already the wheelswill have been set in motion for the Twenty-second Convention at Eastbourne in 1958. Though even as these words are written, it seems a time ago the magical events of August were the marriage of Gerrie Larsen to Art Baker and the supper given to them in their honour by the British Ring at the Cock Tavern in Fleet Street. At the show following the supper we saw for the first time the ‘ Shrinking Head ’ illusion, which, we believewas marketed some time before the World War (second not first! ). The presenter told his audience that during the past week hehad presented the effect three hundred times at a local fair. After this, the three hundredand first, we felt sorry that we missed the chance of seeing the first performance. In the July issue of the ‘ Linking Ring,’ Bobby Bernard straining at the scrag end of magical gossipfor his column, ‘ London Bobby Bernard Reporting ’ concludes his July contribution with : “ English magicians are raising the hue and cry over the many famous names publishing magic books for the lay public:Peter Warlock, Will Dexter, Harbinand others. The reply of the authors is ‘ It can’t hurt magic.’ Whom do they think they’re kidding?’’ Perhaps we’re growing oldand not getting around as much as we should for we’ve heard no melodramatic cry nor have we seen the hue. For Bobby’s information, quiteanumber of I.B.M. members are wondering why a non-member of the British Ring, and so far as we know a nonmember of the I.B.M., should be writing a column in a magazine which we always understood was written by the members for the members.
-
Incidentally Bob Harbin’s book due for publication in October and entitled, ‘ How to become a Wizard,’ carries the best black and white illustrations that we’ve seen in a magic book. Primarily intended for the young aspirant to magical honours, Bob has taken a great deal of trouble to use simple methods, methods which can give the experienced magician little cause for worry. Last minute name in the Scala ‘ Magic Festival ’ was Milbourne Christopher, the new President of the S.A.M. It was a lucky chance that a visit to Europe enabled him to fulfil this date. Milbourne seems always to preserve the eternal quality of youth both in his outward appearance and his enthusiastic approach to the evolution of new tricks and ideas. This is exemplified in his monthly column in Hugard’s Magic monthly. In his new capacity as President of the S.A.M. we wish him a happy and successful term of office. It has been a real pleasure during the past few months meeting Claud and Daisy Leslie from Australia. Claud, who is a septuagenarian can take you back to the turn of the century and retail stories of the original Dante, Leroy, Thurston and Jean Hugard. Assistant himself to Czerny he knows his theatre and this much longed for trip to the Mother Country has been a grand experience for both him and hiswife. He sailed back on August 12th. We wish them a calm sea and prosperous voyage. It was good to see David Nixon looking fit and well after his successful season with Winifred Attwell at Brighton. David tells us that “ It’s Magic ” comes back on the air soon with some 10 scheduled shows. Our talk with George Boston at the Larsen reception was all too short. As readers of ‘ Inside Magic ’ know, George knows the magic business from A to Z . And talking of America, Sis Gabriel is lucky enough to have three months in New York and roundabout. Her vivacity and ability to keep a party goingwill be missed this year at Scarborough.
* MAGIC
96
A SELECTION OB?
THE LATEST B O O K S
THE GREATER LIBRARY
THE DECEPTIONS BOOK KIein Alexander By Lewis Ganson The World’s most spectacular hoaxes, NO need to extol the virtues of this impostures, and frauds- Fascinating! great work. Price 21/Price 45/Postage 1/1 Postage1/4
VERNON By
Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages. Price per volume 21/Postage 9d.
DIA
ABBOTT’S ENCYCLOPEDIA OF ROPE TRICKS
PLAYINGCARDS HISTORY AND SECRETS OF THE PACK
128 ‘ double size ’ pages and every conceivable rope trick. The new enlarged edition. Price 21/Postage 7d.
By W. Gurney Benham pp. Dozens of beautifully coloured illustrations. A few only, in mint condition! Price 35/Postage i / 4 196
SCIENCE MAGIC By Kenneth Swezey
AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘sciencetricks ’ to perform atthe dinner table. 182 pp. Cloth bound, masses of photographs. Price la/Postage l/-
A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price 16/Postage l/DOINGMAGIC FOR YOUNGSTEW ByBert Easley Includes also full the text of Eric P. Wilson’s classic, THE ART OF CONJURING TO CHILDREN. 128 pp. Cloth. Price 25/Postage ad.
*
*
EFFECTIVE CARDMAGIC By Bill Simon Acloth-boundbook of 182 pages of first-rate card magic by one of America’s top card men. Price 47/Postage l/-
ENCYCLOPEDIA
OF CIGARETTE TRICKS By Keith Clark The only worth-while book on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everything you need to know about escaping from handcuffs. 112 pp. Board covers. Price 60/Postage 6d. NICK’S TABLE TRIX By Nick Trost A well illustrated manuscript publication of tricks for the card tableand the author’s fine Ring and Rope Routine. Price 7/Postage 3d.
Write for our full Book List containing hundreds of Titles
*
THE M A G I C W A N D PUBLISHING C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
is published on the24th of each month and can be obtaineddirect from the pubbhazs for 117 persingle copy. Annual Sutucription 181post free.
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road. London, N.W.l. Magical Theatre
King George’s Hall, W.C.
Saturday, 9th November, 2-30 p.m. AIJCTION SALE Particulars horn Hon. Secretary
*
;
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
Advertiser’s Every
WARLOCK’S
I
PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex hanuscripts for publication and books for review should ba sent to the: EDITORIAL ADDRIiSS:
Peter Warlock,
24, Wordsworth Rd., Wallington,
JACK HUGHES will be pleved to rend you fall detaita of
THE DE LUXB “SU-TABLE” together with all hia other effecta in return for a rtarnp. Write now to
Jack Hughes, 2, Bvelyn Ave.,
Colindale, London, N.W.9.
Surrey.
goods are fully endorrs’edBulletin by this
PUBLISHED BY T R E PROPRIETORS T R E MAOlC W A N D PUBLIBHINOCOMPANY. S? WPLLINOTONROAD,PNPIELD, MIDDLESEX L S O N (PRINTERS)LTD.. BRIDGE W O R K S , SRIPLEY, YORKSRIRE A N DP R I N T E D BY RERBERTWALKER
j
THE
“
DOLLIS” COIN VANISH JOHN DERRIS
HIS IS an extremelyeasy and a beautifully clean vanish of a single coin accomplished with the aid of a wand. Its use is obviously in a coin routine where a wand is not out of place and itis in this role that I have foundit ideal. Holding a wand, the magician shows a coin and places it on his left palm. The wand is now heldby the left hand whilst the righthand is shown quiteempty; the left fist is turnedback uppermost. With fingers opened wide the right hand removes the wand from the left hand. The wand is touched to the back of the closed hand which is opened to show that the coin has vanished -it can be reproduced if so desired. Truthfully, there are no fast or unnatural moves; it can be performed slowly and casually and it is extremely deceptive. Here’show. You canuse a standardwand,black with white tips, but personally for close-up magic I use a white plastic chopstickwhich is square instead of circular. The vanish is easier with this type of wand. Halfway along the length of the wand place a small pellet of waxof the same colour as the wand (in this case, white). Now proceed as follows. 1. Hold the wand in the right hand and show the coin to be vanished, held between the thumb and finger of the same hand. Lay the coin on the palm of the left hand (Fig. 1) and point to it with the tip of the wand. 2. The wand is now laid casually across the left palmalsothe coin so thatthe wax spotis directly over and in contact with the coin. Do notmakea move out of this; you have merely transferred the wand to the left hand so that you can show the right hand empty. As the right hand is raised and shown the left fingers close over the wand and coin so thatthe wax spotis pressed firmly against the coin. 3. The left hand now turns completely over so that the back of the hand is uppermost and the
T
VOLUME 12, No. I
-
left arm is raised slightly. With finger wide apart, the index finger and thumb of the right hand now graspsthe wand projecting above the lefthand. The left fingers are in a relaxed position asthe right hand removes the wand in an upward movement. Because of the wax spot the coin clings to the wand and emerges from the hand as the wand is removed. Fig. 2 shows the position clearly from the performer’s view-the coin is just leaving the left hand. Althoughtheright fingers are wide apart the action of the coin leaving the left hand is completelycoveredby the right palmwhich coincides with the position of the coin on the wand. 4. The upward movement is continued until the lower end of the wand is clear of the left hand. Do not make any movement whatsoever with the left fingers-just keep them in their relaxed position as if they were still holding the coin.
1/6. (20 Cents)
-
OCTOBER 1957
2
2 5. Withthe wand and coin a f h e d held in your right hand, touch the back of the left hand with the tip of the wand, then open to show that the coin has vanished. If you now wish to get rid of the coin altogether you can place the wand down on to the table behind a silk or similar object or you can place it in your inside jacket pocket. Either way, because the coin is still attached to the wand, you can perform these actions very cleanly and with-
out any suggestion of hiding anything. Alternatively you may like to reproduce the coin. In this case, whilst you are opening the left hand to show that the coin has vanished, you work the coin free from the wand in your right hand. Then, with your open left hand palm up, you gesture with the right so that this hand passes over the left. At this momentyou drop the coin from the right hand into the left. Immediately the left hand closes and turns back up. Touch the back of the hand with the tip of the wand and thenopen to show that the coin has returned. If you wish to finish a coin routine by vanishing a number of coins it is possible to use the move described by waxing the coins together then proceeding with the vanish as with a single coin. The principle of this vanish can also be used for sponge balls in the following way. Instead of using a plastic wand you must use a wooden model but with one end tapered to a point; a conductor’s baton is just the thing. The sponge ball mustbe madefromamaterial of an open texture. The ball is placed in the left hand which is then closed. The wand is pushedthrough the fist so thatit penetrates the ball. The right hand is shown empty and the wand is removed from the left fist with the ball or balls impaled thereon. Although this ball vanish may read very well I warn you that it is quite a tricky thing to handle for a lot depends upon the type of sponge you are using, also the necessity for a wand with a sharp end. I mention it, for it maybe of someuse to you but the principle, used for vanishing a coin, is entirely practical and I recommend it unreservedly.
T H R E E CARD ROUTINE A. W. ROOTS PECTATOR shuffles. Take pack in left hand.Crimpthebottom card-and drawa packet from middle of pack and start Hindu shuffling this packet on top of remainder. Audience calls “stop” anytime, stop here and deal off top threecardsof left hand packet to three persons, A, B. C. Drop right hand cards on left hand packet. Undercut half the pack and have thethree cards returned to top of left hand heap and drop right handheapontop.Cut fairly, then to and includingcrimp. Selected cardsare now ontop of pack. Riffle-shufflemaintaining top stock. Turn the pack face-up and leaf through a few cards. Get a break nine cards from face of deck. Close the spread and double-cut the nine cards to top of deck. Turn pack facedownandribbon spread on table.
S
Point out that the cards are lost somewhere in the 52 cards-wave hand over ribbon and with eye countto eleventh cardfromtop ofdeckflick this card face-up. Push it to table centreone of the spectators will claim it. Scoop ribbon UPHold pack in left hand in overhand shuffle position, undercut half with right hand and hold out left hand-spectator returns his discovered card face-up on left hand packet. Shuffle off right hand packet fairly on this card. Ribbon deck face down again. Wave hand over ribbon again, count with eye totenthcardfrom face-up card at centre-run finger along and flick this card face-up. Another spectator will claim this card. Leave it face-up in deck at its original position. Nowtwo face-up cards in deck. Scoop pack up.
3 T H R E E CARD ROUTINE-Continued
from page 2
Hold pack in left hand and start running off with right hand until first face-up card is reached -toss it out-run to second face-up card, leave it on top of left hand heap and lay down cards in right hand. Left hand thumb counts two cards as right hand picks up the first face-up card which was tossed out earlier. Hold this card by the ends, layit on the face-up card(s) on left hand packet and pick this card(s) up. Actually top card of the packet is now face-down below this card. Lay the two cards (3) in left hand still face-up and take off top card during covering patter. Return this card below theface-upcard in left hand. Thus the third selected card is now face down between the
two face-up cards. Hold these cards in right hand, pick up a packet in left hand and with thumb of that hand flick over its top card to show for moment, then turnit face down again. (This is not really necessary, but I use it because card men I know sometimes think a glide move is used here and showing of topcard getsrid of that idea.) Lay the face-up cards on this face-down packet. Pick up other tabled packet, turn face up to show bottom card casually, drop it on face-up cards. Lay pack down. Ask for name of third card. Wave hand over pack and ribbon show last card face down between the other face-up selections! ~~
M Y SEALED MESSAGE READING ROUTINE GER MOT0 IRST of all I distributea number of plain business cardsand request members of the audience to write some simple question on these pasteboards. A number of pay-envelopes are handy and these are stacked as follows: First of all flaps are opened and all envelopes are placed one on top of the other address or writing side down except the top two. The topmost envelope, containing a blank card, is placed on the next one with the address side up, but the flap is
F
tucked inside the second envelope fromthe top. This gives the opportunity to place a card seemingly in the top envelope but in fact it goes into the second one. The questions having been written I ask aspectatortohand me his card with the written side down so that I can not see what his question is. “ I’ll show you how to place the card into an envelope correctly,” I explain, and taking the card appear to place thecardintothetop envelope. As you now know this card goes into the second envelope from the top.
Thetop envelope is pushed forwardand handed tothe spectator to seal. However this envelope contains the blank card. Next each spectator receives an envelope from the bottom of the stack in which the cards are sealed as explained by the mentalist. While this is going on I turn my back so that 1 cannot see what happens. In the meantime there is sufficient time to open thetop envelope and read the question therein. Thiscard is placed under a sheet of blotting paper on the table as I place the remaining envelopes on the table. The other envelopes are collected-the envelope containing the blank card going at the bottom of the stack. I take the top envelope and place it against my forehead. The question is “ read ” but actually you say aloud the question already known to you, answer it as well and then open the envelope to convince yourself the question was correct. After the spectator has confirmed the question and the answer to be correct (we hope) you offer to give him his card back “ and as a souvenir I will place my signature on your card.” Sit down at the table, write your signature and blot it, lifting one corner of the blotting paper only. Under cover of the blotting paper you switch the cards and read the next question. After this procedure thecard is handed back to the spectator. The signature on the first card was written while my back was turned. Certainly, this is the one-ahead system, with the advantage that the spectator gets his own card back before the next card is read and answered. You can go on until you have the blank card (the last one) under the blotting paper.
4
FACE U P CARD AT NUMBER A. W. ROOTS HIS effect is well known-this is my method. pack Fan face-down. Selection made, returned-hold break below selected card at centre of pack. Takethe pack in right hand transferring break to right thumb. Drop in left hand all cards below break. Side glide bottom card of right hand packet with third finger. Ask for anumber upto (say) fifteen. Say ten called. Push off top card of left hand packet and turn it face-up with left thumb. “ Watch for your card.” Push the face-up card under the right hand packet but leave it protruding. Actually it goessecond frombottom owing to glide of bottom card. Push off next card of left handheap,turn face-up, push under right hand packet (this time actually onbottom below glided card)andcontinue pushing off cards face-up until there are ten
T
face-upunderthe packet. Spectator’s card has not been seen. Lay down remainder of left hand heap. Take face-up cards from beneath right hand packet in left hand and square glided card with rest. Laydown right hand heap. Turn packet of ten (?) face down and buckle is not amongst count “ Ten cards and your card them! ” Lay last card below rest. Spectator’s card is now tenth from top of this packet and face-up. Ask spectatorto point to one of the two tabled packets and drop the packet in handon same. Hand in this packet. Ask for his number again and have him count down to his card. Personally, I find it better not to havehim name value of his card as in normal way.
A WARLOCK’S PREDICTION PETER WARLOCK ERE IS a practical prediction effect suitable for large stage work. Many of you will have seen A1 Koran make use of an adapted version in T.V. work. A standon which rests a card with alarge ‘ 1 ’ on it is seen on the performer’s table. A blackboard and easel are close at hand. The numbered card is takenfrom the stand revealing acard beneath numbered ‘ 2.’ On the one in his hand the performer writes, with a piece of green chalk, a message and withoutshowing the audience what he has written he replaces the card back on the stand. A member of the audience is now requested tostandupandtonameacolouraloud. When he has done this the mentalist writes on the blackboard “ A- (say) Mauve.” The second and indeed a third board are similarly taken and respectively written upon with red and brown chalk, whilst two other members of the audience act as representatives B and C. The spoken thoughts of these two spectatorsare also written upontheblackboard that the three below those of A.We’llsuppose selections by the spectators are as follows:A-Mauve B-San Francisco C-Three of hearts The boards are now taken from the stand and the writing beingrevealedproves that in every case the performer has been accurate with his predictions.
H
The Requirements This is an apparatus trick and requires care in manufacture. First of all let me state that the cards used are in effect blotting paper holders, a sheet of white paper taking the place of the more absorbent kind of paper. Withcoloured chalk writing on a white surface, such writing shows up far better on this white surface than it does on a slate. To make up these pads you will first require nine pieces of stout cardboard measuring 12 by 10 inches. (This size is arbitary but I am giving the size of the boards made upbymyself.) Four of the boards should be faced with a quality paper. Now from the centre of the four faced boards cut a circle of cardboard three inches in diameter. Four pieces of thin celluloid, four inches square are now taken and affixed to the unfaced side of
-
12’
----t
DOTTED L I N E S SUOW POSITION OF CELLULOID U N D E R ADUESIVE T A P E
5
these pieces of board SQ that each completely covers the cut out circle. The easiest way and at the same time cleanest, is to use sellotape. This is shown in Fig. 1. Nov to construct the padsproper. Those numbered ‘ 1 ’ and ‘ 2 ’ are quite straightforward. Some fairly thin leather is required for the corner pieces. Sixteen pieces are required in all and the shapeto whichtheyshould becutis shown in Fig. 2.
SWAPE MMWDNS OF LEATHER.C O U E L
Preparethree of the unfaced boards with corners and then at the centre of the backs of these boards affixwith paste asquare of white paper 34 inches square. With a brush and some Indian ink paint on the squares of paper the numbers ‘ 1 ’ and ‘ 2 ’ respectively. With a coating of adhesive over the backs of these cards (except, of course, where the square of paper with thenumber appears) they are applied squarely to the non-face side of the faced cards and allowed to dry under pressure. Pads ‘ 1 ’ and ‘ 2 ’ are nowcomplete
I
~~
I
~
5 L1 0E
POSITION O F
-
DOTTED LINES CLEfMSENf POSITION OF CClLLULOlD W I N D W POSITION OF NUMW5RS
glued to the top and bottom of the unfaced side of the faced board whilst the third piece forms the slide. So that it shall not protrude at either end, four inches are lopped off. Near oneend of the slide a drawing pin is inserted (see illustration) and on the other side, white paper is pasted on and the numbers ‘ 1 ’ and ‘ 2 ’ painted upon it. The slide is nowplaced into the channel formed by the other twopieces of card and the positions found for the extreme movements of the slide i.e., to change through the celluloid window the number ‘ 1 ’ to a ‘ 2.’ A slot is now cut in the leathered cornered card to allow for the movement of the slide and drawing pin. Nowwith the aid of glue the complete card is assembled and with the slide at the position shownin the illustration a slight pressure on the drawing pin headand lateral movement to the right will cause a change of number on the card (Fig. 6). There is nothing really difficult in constructing the card. Patience is all that is necessary.
bACK OF PAD WUEN FINISHED
(Fig. 3). There is little difference in the construction of pad number ‘3,’ this difference is in the two topmost corners where the leather holders are enlarged so that pad number ‘ 2 ’ can nest. (See Fig. 4.)
WOW
I2
PAD
IS NESTED IN
2
I
S L I T TO
PIN WEAD
-
POSITION OF
Finally the stand onwhich the cards rest. Here again the illustration tells a better tale than a multitude of words. It is best made in five-ply wood; it has an easy fitting flap to match the back of the stand. The flap I have is made from stout cardboard.Thestandcan either be finished by painting, or covered with veneer. (Fig. 7.)
OF FAD ILLUSTlCATlON SUOWS PAD INCOMPLLnYJ NUWE COLNERS
The construction of pad number ‘ 4 ’ (this has to play the role of twopads) is moreintricate. Remember that youhave onefaced card spare and also a spare card with affixed corners. Between these two pieces of card a slide has to move so that either a ‘ 1 ’ or ‘ 2 ’ can be seen throughthe celluloid window. For thispurpose the ninth board is taken and cut lengthwise into three pieces (see FigS), the two outer pieces being
F L A P W H E W EXACTLY FITS S T A N D b I5 PAINTED TO MATCH BACK O F STAND
6 The remaining requirements are three sticks of chalk, one an ordinary stick of green, the second half green, half red joinedwithadhesive tape, whilst the third is halfred and half brown similarly joined. You also need a means for forcing a card in a most direct manner. I use a straight forcing pack with an indifferent card on the face. There should be little need for me to add that the one ahead system is used and that the last ‘ prediction ’ is a force.
manner. Standing left side to the audience the pad is taken with the right hand. The left hand tilts the pads and flag forward (see Fig. 9), and the right hand continues with a downward movement placing board number ‘ 1 ’ behind the flap. To the audience it wouldseem thatboard numberone has been placed at the rear of the visible board.
The Preparation Into the unfaked padsslip suitable sized pieces of white drawingpaper. On the number three sheet write in brown chalk: “Number three will choose the (name of force card).’’ Now board number two is nested in board number three and in this condition bothboards maybe handled easily asoneboard. A sheet of paper is now slipped into the faked board and cut with a razor blade, allowingspace forfree movement of the drawing pinhead. To further conceal this slot a line is drawn across it in green chalk. Fig. 8 shows how, when the message is added, this line forms a mere flourish. At a distance of three feet, the slot is invisible.
SHOWING HOW CUALK M A U DISGUISES S L I T WHICH tN TU15 D R A W I N G IS EXAGGERATED IN WIDTH
The boards are now set up as follows: First of all fit the flap into the stand and then place on top of it,number side facing the audience, pad three, which remember has pad two nested inside. On top of this place the faked pad with figure ‘ 2 ’ showing and finally ontop of this the unfaked pad number ‘ 1.’ At hand you have the chalks in a box, blackboard and easel and forcing pack. The Presentation Pad number ‘ 1 ’ is taken with the left hand and the piece of green chalk with the right. On this pad the mentalist writes any message he likes. When he has finished the chalk is dropped into the box and the pad is placed back on the stand in this
A spectator is now asked to think of a colour and then name it aloud. When this has been done, the mentalist writes on the blackboard with green chalk: “ A . . . Mauve ” (or the given colour). The green chalk is replaced in the box, and the faked pad removed with the left hand whilst the right takes the stick of red and greenchalk from the box. Makecertainthat in picking up the chalk the red part is visible to the audience and at the same time say, “ For my second prediction I shall use red chalk.’’ At this stage the mentalist, whilst apparently writing the second prediction, turns the chalk end for end and in green writes on thefakedpad theprediction for spectatorA,i.e., the colour. The chalk is replaced in the box, care being taken that the audience is allowed no sight of the green end of the chalk, and the pad apparently replaced on the stand in a similar manner to the first pad handled. The difference lies in the fact that only pad number three with its nested number two is tilted and the faked pad goes between these and the flap. The second spectator is now asked to name a city . . and this is written on the blackboard. The two nested boards are now taken whilst the stick of red-brown chalk is picked up with the
.
7 right hand. On what appears to be board number three, but which because of the nesting is board number two, the mentalist writes the second person’s choice in red chalk. The pack of cards is now taken and a straight force made with a third spectator. The nested boards are replaced on the stand on top of the faked board and the name of the card taken is then written on the blackboard. The pack is droppedbackinto the mentalist’s pocke!. The trick is complete and all the boards above the flap are removedby the mentalist. Holding the boards in front of himwith both hands, the mentalist recapitulatesand at the sametime his right hand thumb presses against the head of the drawing pin and moves it to the right so that the number on this board changes from ‘ 2 ’ to ‘ 1.’ “ Before this first gentleman namedacolour I wrote something on board number one for him.’’ The board is turned round and it is seen that the
performer has been successful with his first prediction. The board is nowreplaced on the stand writing side to the audience. The right hand movesover to the nested boards, which are in the left hand, and comes to rest underneath them. At the sametime the left hand, which for the moment has kept the nest in alignment, releases its pressure allowing the real padnumber two to slide into the )righthand; Immediatelypad number two is free the right hand turns it round andshows that the second prediction is correct. After this has registered with the audience and been replaced on the stand, the third pad is turned around showing thatall three predictions are correct. For the record this effect was first performed at the Leicester Magic Circle in the Autumn of 1945.
BOOKS “ WHAT’S NEW IN MAGIC ” by Walter B. by Nicholas Gibson(Englisheditionpublished Kaye, price 15/-). The ability to express themselves concisely, is a gift that is not enjoyed by all magical writers. Walter B. Gibson has beenwellblessedby the fairiesfornot only are his explanations concise but they show an enthusiasm for magic, an enthusiasm that cannot fail to infect the reader. In this present book, Mr. Gibson has taken in all some eighty-odd feats of magic for the delectation of his readers. He is catholic in his choice and though, perhaps, as is always natural, there is a preponderence of card effects, there are items that will be fitted to every kind and type of magician, though let it be saidthatto the well read or experienced conjurer there is little that is new or unpublished. Like that master of explanation, Will Goldston, Mr. .Gibson believes that good illustrations can tell a story more graphically than countless words with the result that illustrations, too numerous to mention, help the text and leave no reader in any doubt regarding the working of the trick described. Nobody can fail to praise such a publication but one feels that it is rather a pity that the English Editor seesfit to paint the lily by stating in his ‘ Foreword ’ that:“ I venture to state that if the reader takes the trouble to learn the sleights (and they are not difficult) he willneed no further knowledge (the italics are ours.-Ed.) on that subject t o establish himself as a ‘ card man ’ in the truly professional sense.” Such statements in a book written primarily for the laypubliccan givenothing but a false
impression, and we can see the aspirant for magical honours who may use this excellent book as his bible being a little deflated whenhedoescome into contact with not only professional butalso first-class amateur ‘ card men.’ Excellent value, this well bound and well produced volume will make an ideal Christmas present for your wife to give you. “ TWENTY-FOUR ROUTINES WITH ‘RUSS’ WALSH’S RUBBER TOP HAT,” by ‘Hen ’ Fetsch. No price given. It wouldbe an easier proposition to review the present publication if we had one of the rubber tophatsabout which the present booklet is devoted. Accepting the fact thatthehat which sells at tendollars in America lives uptoits description the routines by ‘ Hen ’ Fetsch should enablethe owner to produce some surprising results. The hat, a full size one, is made of latex rubberand therefore easily compressible. With this excellent aid,our good friend, ‘ Hen ’ has written up a series of some twenty-four items all of whichhave the typical ‘ Fetsch ’ touch,and those who had the privilege of seeing him at Harry Stanley’s know that such a touch makes a commonplace trick into a magicaleffect. Tarbell has supplied some excellent drawings and though descriptions are brief they are clear. ‘ Russ ’ Walshwho has given the magical fraternity some nice effectswhichhavestood the test of time, seems to be on another winner here. He pays a very nice and well deserved tribute to ‘ Hen ’ Fetsch on the title page. For the practical workerwefeel that there is a worth of material having its use with either children or adults.
*
I
-
-
8
A SELECTION O F
THE LATEST B O O K S
THE GREATER MAGIC LIBRARY
Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of1,000 pages. Price per volume 21/Postage 9d.
THE DIA VERNON BOOK By Lewis Ganson No need to extol the virtues of this great work. Price 45/Postage 1/4
*
GRAND DECEPTIONS By Alexander Klein The World’s most spectacular hoaxes, impostures, ruses and frauds. Fascinating! Price 21/Postage 1/1
ENCYCLOPEDIA PLAYING OF CIGAREITE TRICKS HISTORY SECRETS AND By Keith Clark THE PACK The only worth-while book onthis By W. GurneyBenham 128 ‘ double size ’ pages and every subject. 304 pp. cloth-bound Fine conceivable rope trick. The new 196 pp. Dozens of beautifully book, enlarged edition. coloured illustrations. A few only, m Price 52/6 mint condition! Price 21/Postage 1/2 Postage 7d. Price 35/Postage i / 4 MODERN SCIENCEMAGIC HANDCUFF SECRETS By Kenneth Swezey AFTER-DINNER FOR MAGICIANS SCIENCE A fine 182 pp. cloth-bound book with By DickNorman masses of photographs illustrating By Kenneth Swezey Everything you need to know about hundreds of fascinating chemical and Hundreds of ‘-science tricks ’ to perescaping from handcuffs. 112 pp. science tricks. formatthe dinner table. 182 pp. Board covers. Price 161Cloth bound, masses of photographs. Price 601Postage l/Price 16/Postage 6d. Fustage l/DOINGMAGIC NICK’S EFFECTIVE FOR YOUNGSTERS TABLE TRIX CARDMAGIC By Bert Easley By Nick Trost By Bill Simon A well illustrated manuscript publicaIncludesalso the full text of Eric P. Wilson’s classic, THE ART OF CON- A cloth-bound book of 182 pages of tion of tricks for the card tableand author’s fine Ring and Rope JURING TO CHILDREN. 128 pp. first-rate card magic by one of the Routine. Cloth. America’s top card men. Price 71Price 25/Price 47/Postage 3d. Postage 8d. Postage l/ABBOTT’S ENCYCLOPEDIA OF OFTRICKS ROPE
*
CARDS
Write for our full Book List containing hundreds of Titles
*
T H E M A G I C WAND PUBLISHING C O M P A N Y 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Librarc
and Museum :
Hearts of Oak Bulldings, Euston Road. London, N.W.1. Magical Theatre
King Georce’s H ~ l l ,W.C. 27th November-
ANNUAL SUPPER Particulars trom H o n . Secretary .
*
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
JACK HUGHES
PENTAGRAM is publishedon
the 24th of eachmonth
and
r a n be obialneddirect from thepublishers for 117 per Lingle copy. AnnualSubscription l8l-
PUBLISHGD
post free. BY:
EDlTORIhL
Peter Warlock, Rd., Wallington, Surrev.
together with a11 his other
effects in return for a stamp.
for
ADDRESS:
24, Wordsworth
you
full details 01
THE DE LUXE “SU-TABLE”
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication andbooks review should be sent tothe:
will be pleased tosend
Writenow
to
Jack Hughes, 2, Evelyn Ave.,
Colindale, London, N.W.9.
Every Advertiser’s goods are fully endorsed by thisBulletin PUBLISHED BY T H EP R O P R I E T O R ST H EM A Q l CW A N DP U B L I S H I N GC O M P A N Y . 67 W E L L I N G T O NR O A D .E N F l E l D .M I D D l E S t X A N DP R I N T E D BY HERBERT WALKER & S O N (PRINTERS)LTD.,BRIDGE W O R K S . SHIPLEY,YORKSHIRE
9
A FRED LOWE NUMBER RED LOWE is a lover of natural magic. The prelty boxes and silk screened cutouts have little place in his magic life. He took up magic some twenty years ago. and all the items he has published have the quality of straightforwardness inplot and technique. The present three items are more than welcome.
F
The cup and ball routine’is something quite different. and can appeal equally in a room or on a stage.
In the main Fred presents either a two or one penon mental act, at the same time never neglecting sleight of hand and close-up magic. North of England magicians know him well as he lived in the Liverpool area for many years and was a most active member of the Mahatma Circle of Magicians. Two years ago hemoved south and took up residence near Portsmouth. Wherever there isa gathering of magicians, Fred will endeavour to be there.
RAINBOW CUP AND BALLS
A
FRED LOWE BOUT nine years ago Roy Bensou published As we know, the Cups and Balls (with three a very effective routine in “The Phoenix.’’ cups) can become a little confusing to a lay
The routine employed asmall bowl and sponge balls and was. in effect, the cups and balls withonly one cup. I liked the routine from the first reading and used it in a ‘‘G d y ” Act from 1949 onwards. Bruce Elliott included the trick in his “Classic Secrets of Magic” and this popularised it to some extent.
VOLUME 12, No. 2
-
audience and Benson’s routine certainly made the effect very clear-cut. In fact I began to think that the effectwas alittletoo simple andthatthe moves, although not seen, could be worked out by the astute spectator. Thus-ball apparently placed in left hand disappears and appears under the cup. A second ball apparently placed in left hand dis-
I/a. (20 Cents)
-
NOVEMBER I957
10
appearsand now thereare two balls under the cup. The knowledgeable layman (and the great educational medium of television is increasing the number daily) assumes thattheball whichwas vanished from the left hand remained in the right hand and from there was introduced into the cup. I had the chastening experience recently of having most of the moves of the c.ups and balls explained to meby alayman whilst wewerewatching a television performance of the routine. It was as a result of this reasoning that the following routine was devised, and even experiencedperformersmayfind the movesdifficult to follow when watching a performance. The simplicity of effect has been retained and the use of three differently-coloured balls is a change from the usual. The effect Performer shows a cup and three balls-red, yellow and blue in colour. The yellow ballis vanished and appears under the cup. The red ball is thenvanished and joins the yellowunder the cup.The blue ball then vanishes andjoinsthe other two under the cup. All three balls are placed in the pocket. The blue ball jumps fromthe pocket under the cup. Blue ball is replaced in pocket and the redballjumpsfrom pocketunder the cup. Red ball is replaced in pocket and the yellow ball jumpsfrom pocketunder the cup.Finally performerstatesthathe will makeallthreeballs jump from pocket under cup but when cup islifted there is one large ball colouredred-yellow and blue. Properties required A cup-one from a set of cups is ideal. I use a large heavy brass cup with a mouth diameter of threeandone-quarter inches. Sixsponge balls (two yellow, two red and two blue). I use balls of oneandone-quarter inches diameter. The balls must be very compressible and I have found the best sponge for the purpose is the very light nylon sponge which can be obtained at any chemist or largestore.Unfortunately the colours are pastel shades and I found it necessary to dye the sponge. ‘The dyeing is simple. Obtain some “ Dylon ” make dyes and use a veryconcentrated solution -about a quart of boiling water to one dye. Put the sponge in the solutionand leave for a few minutes-it takes the colour quite rapidly. A wand. If possible not a black wandwith white tips. A large sponge ballmade up of the three colours used. Simply stick pieces of sponge together and cut the ball to shape. This ball must be cut to a size which will allow it to stick in the top of the cup.
Routine As I perform the effect in “ Gilly ” style a fez is worn and the fez is used in the routine to obtain
and discard some of the balls. I will describe the routine exactly as performed and append one or two suggestions for those who would not want to use a,fez. The properties are set as follows. Three balls -yellow, red and blue, on table covered by cup. Wand on table. A yellow ball and a red ball are tuckedunder the shirt collar at the back of the neck. These ballsare touchingeach other with the yellow ball on the left. A blue ball is in the fez--1 frequently have the fez on the table with the ball inside and place the fez on the head before commencing the routine. Donesmoothly the ball will not fall out. Large ball is in the right jacket pocket. Take cup in left hand and wand in right hand. Rattle wand inside cup saying, “ The oldest trick in the world-one brass cup. Nothing inhim.” Replace cup on table clear of the balls. Move the three balls in turn with the tip of the wand saying, “ Three little balls-theyellow, the red and the blue.” (Obviously this patter is given with a “ Gilly ” accent but it needs little change if working “ straight.”) Placewandunder left arm and take yellow ball at right fingertips saying, “ The trick is to make the yellow ball vanish and ,gounderthe cup.” Place the yellow ball into the left hand (use the same movement which you use when palming in the right handlater).Take wand from under arm with right hand and tap the left hand. Look at the cup and tap the top of the cup. Replace wand under left arm and lift cup with right hand. Say, “ Ah! He has not gone.” Look at left hand and slowlyopen the hand revealing ball. Say, “ Sorry-Iwill try himoncemore.” Apparently place ball in left hand, palmingin right hand. Take wand in right hand and tap the left hand. Smile and open the lefthand saying, “He has gone.” Replace wandunder left armand lift cup with right hand, look inside cup and say, “ Not there.” Replace cupontable saying, “ Where has he jumped to-Ah! I feel him.” In replacing the cup on the tableintroduce the palmedyellow ball under the cup. Reach behind neck with right hand and take the two balls from under the shirt collar. The red ball is concealedby the finger tips and the yellow ball is visible. Say, “ Ah! there you are.” Place yellow ball on top of cup. At this point, although you have not yet done what you promised (viz., made the ball vanish and go under the cup,youhave done onepass and, more important, have conditioned the audience so that they do not knowwhat to expect. Also at this point there is no suspicion that a yellow ball has been loaded under the cup because even the astute spectator will reason that the ball produced from the neck was the one vanished. The position is now thus: Yellow ball concealed under cup. Yellow ball on top of cup. Red ball concealed in right hand. Say, “ I will try again.”
11
Take yellow ball from top of cup with right hand and apparently place into left hand, fingerpalming in right hand.Take wand fromunder left arm and tap left hand. Show left hand empty and replace wandunder left arm.Takecup in right hand with the fingers near the bottom (mouth). The back of the hand should be towards the audience and the thumb on your side of the cup. Liftcupand reveal yellow b a l l - d o this slowly to avoid suspicion that youmaybe dropping a ball from your hand as you lift the cup. Pick up yellow ball with left hand and as you do this turn the right hand so that the top of the cup is pointing towards the audience. As the left hand moves up from the table holding the yellow ball it passes between the audience and the right hand and at this moment you release the two palmed balls from the right hand continuing the turn of the cup until the cup is mouth upwards. Replace cup mouth upwards on the table. Take yellow ball from left fingertips by the right hand and hold the ball up saying, “ At last the yellow do what I tell him.” Apparently place yellow ball in the cup, fingerpalming in right hand. Do this quickly and casually. Pickup red ball with right hand saying, “ Now the red ball.” Apparently place red ball in left hand, palming in right hand. Take wandwith right hand and tap left hand, showing empty.Replacewandunder left arm. Take, cup with right hand slowly turning the cup mouth towards the audience and allow the red and yellow balls to roll slowly out. Cover the balls with the cup. Say, “ Now the blue ball.” Take blue ball from table andapparently place in left hand, palming in right hand, Take wand in right hand and tap left hand. Do not neglect this bit of business because at this stage you will have three balls palmed in right hand and the handlingof the wand is good misdirection. As the balls are very compressible they can be held tightly by the third and fourth fingers of the right hand. Show left hand empty andreplace wand under arm. Say, “ The blue ball has gone under the cup.” Lift cup with right handand say, “ Not there. Where has hegone.Ah! I feel him-inmy tarboosh.” Replacecup over balls on table. With left hand take fez from head with hand on top of the crown and hold fez upside down in left hand. Put right hand inside fez and relax the right hand allowing the balls to expand, then retain the blue ball (which will be nearest the thumb) and drop the red and yellow. Pick up the other blue ball between right first finger andthumband bring handawayfrom thefez. Replace fez on head with left hand. This reads long but only takes a moment and to the audience you have simply produced the blue ball from your fez.
Take blue ball at left fingertips and hold it close to the cup. Speak to the ball saying, “ Now, no more tricks from you-I want you to go under the cup with your two brothers.” As you say this pick up the cup with the right hand. Replace the cup and introduce palmed blue ball. I favour an upwardthrowmove here to avoid interference from the other two balls as you introduce the blue ball. This “ upward throw ’’ moveis that used when loading a ball between two cups in the classic cups and ball routine. Vanish ball from left hand and lift cup showing all three balls. Replace cup on table introducing the palmed blue ball. Take the wand with the right handand separate the three balls on the table with the tip of the wand. Place wand on table. Pickupblue ball and place in right jacket pocket-tuck the ball in the small ticket pocket which most suits have inside the right side pocket of the jacket. Now take the yellow ball and place this also in the right side jacket pocket-just leave it in the bottom of the pocket. Now take the red ball and apparently place in the same pocket but finger palm in right hand. Say, “ The blue ball will jumpfrom my pocket under the cup.” Lift cup with right hand and show blue ball. Take blue ball with left hand. As you do this let the cup tilt with the top towards the audience and allow the palmed red ball to roll inside the cup. Replace cup mouth down on table with red ball concealed beneath. Take blue ball into right hand and place in pocket-before releasing it pick up the loose ball in the pocket, which will be the yellow ball, and finger palm itas you bring the handfrom the pocket. Say, “ The red ball will jump from my pocket under the cup.” Lift cup with right hand revealing the red ball. Pick up the red ball with the left hand and introduce thepalmed yellow ball with the drop move. Place the red ball in the pocket and palm out the large multi-coloured ball, compressing it small in the finger palm. Say, “ The yellow ball.” Lift cup with right handand reveal yellow ball. As you pick up theyellow ball with the left hand allow the large palmed ball to roll into the cup. Replace the cup gently on the table, mouth down. The ball will stick in the top of the cup. Place the yellow ball in the pocket. Say, “ AlI three balls will jump together.” Lift cup and say, “ Not yet.” Drop cup back on table to dislodge ball. Claphands together and lift cup revealing the large ball.
12
Comment8 and furtber Wggestio~ Although this description is lengthy the routine is not long in performance. None of the moveswillgive anytrouble to anyperformer reasonably competent in the craft. Anyone who wishes to work theroutine straight ” and dispense with the fez will have to work out another method of obtaining the second “
blue ball and disposing of the yellow and red. One way would be to have a small box to contain the properties.This could be on the tableandthe cup, wand and balls taken from the box to commence the routine.The box could then beused instead of the fez to effect the necessary change of balls. Of course, a dignified performer would always wear a bowler hat and usehis umbrella as a wand!
BAG IN THE EGG FRED LOWE
WE
MUST all agreethat novelty and surprise plays a big part in the audience appreciation of amagicalact. Before television many people saw magic onodd occasions with often long intervals between performers. In those days even the regulartheatre-goer saw only a small fraction of the magic which almost everyone sees today via television. Because of this it is becoming increasingly more difficult to have novelty and surprise in one’s act. One of the best ways of overcoming this problem is to use well known effects in a different way. The surprise will come when the effect does not progress on the expected lines. I am sure this is the reason why the following presentation of an old effect has proved very successful in my own performances.
trimmings to use for the “ hole ” in the egg. Simply cut a small circle of the silk, about the size of a penny, and attach it to the egg with two or three dabs of Melrose. This is far preferable to painting on a black “ hole ” because (a) the effect is strengthened when the audience seeyou remove the “ hole ” before breaking the egg; (b) at close quarters it really looks as if the bag is inside the egg. Do not be tempted to use oneof the fake eggswhich contain an imitation yoke. I cannot, and have never seen, one of these eggs “ broken ” realistically. A handkerchief vanisher of the pear shape-elastic pull type. This is fixedwith the elastic anchored at the back of the trousers, the elastic then runs through a safety pin just over the left side pocket of the trousers and the container remains in that position when not in use.
Effect Performer shows asmallblackbagandan egg. He states if he places the egg inside the bag, the egg will vanish. He places the egg inside the bag and goes through the usual business but the egg has not vanished. He trys again without success. He then says that perhaps he has the thing the wrong way round and will try to vanish the bag inside the egg. Holding the egg in his hands he apparently tucks the bag into the egg because he is able to show his hands empty except for the egg. He then reveals the secret by turning the egg around and showing that the egg has a hole and that the bag is inside the egg. Performer now confesses that he has not told the truth about the secret, in fact dare not under Union rules. He removes the “ hole ” from the egg and breaks the egg into a glass.
Routhe Have the egg inside the bag. Display the bag and reach inside producingthe egg. State that you will place the egg inside the bag, from there it will vanish and go into your left trousers pocket. Place the egg inside the bag. Take the bag in the right hand. Feel in left trousers pocket, look surprised and remove hand. Transfer bag to left hand, then remove egg frombag with righthand.Repeat these moves but when placing the left hand inside the lefttrouserspockettakethe vanisher inside the pocket. Remove the hand with the vanisher, take bag in left hand and produce the eggwith right hand. Say that you will try to vanish the bag inside the egg. Holding the hands together the egg is held by the right third and fourth fingerswhilst the right first and second fingers tuck the bag into the vanisher. Say, “ Thebagis now inside the egg,” and as you say this move the righthand away with the egg at the fingertips. Turn the egg so that the black patch can be seen and at this moment release the vanisher.
Requirements Small black silk bag, about seven inches by five inches. Use an old silk dyed black. Keep the
13 Now " confess " to the audience thatyou have tolda lie andthat you havenottoldthereal secret, etc. Slowly peel off the black patch from the egg. During this make sure that the audience see that both hands are empty except for the egg. Break the egg into a g l a s s 4 0 not rush this. Look a t audience and say, " Of course, this is a very expensive trick. Every time I do it I lose an egg and a bag ! "
comments You may, 'of course, dispense with the vanisher and simply tuck the silk into the right fingerpalm, disposing of the silk when picking the glass from the table. Thiswould, however, weaken the effect because the best time to show the hands empty is immediately after apparently tucking the bag into the egg.
PASSE DICE STACK FRED LOWE P TO a few years ago not many people in this country had seen dice stacking. Today most conjurers have seen dice stacking and manyclose-up workers canperform the feat. It is undoubtedly interesting to watch but there is a shortage of routines using the principle.
U
To make the following routineunderstandable to those who have not seen dice stacking it may be as well to give a brief description. Performer uses a dice cup and four dice. Holding the cup inverted, i.e., mouth downwards, he picks up the first die from the table with a flicking move. By moving the cup from side to side (still inverted) with an even rhythm the die will remain in the cup. The other dice are picked up similarly -the cupis slid alongthetableandstopped suddenly.On lifting thecupallthe dice are in an uprightstack.Thiscan be done with two, three,four, or more dice. Fulldescriptions of how to stack dice are given in " Shoot the Works " by Ed Marlo and Dice Dexterity " by Audley V. Walsh.
This sequence is repeated twice more so that the left hand cup reveals four black dice stacked. The three white dice are then picked up with the other cup and left covered. The remaining black die is vanished and on lifting the right hand cup is seen to bein the middle of the stack of white dice.
Properties required Two dice cups, six black dice and three white dice. One of the cups is faked and has a magnet in the base.Allthe black dice areloaded with metal.
"
Effect Performer shows two dice cups and eight dice. Five are black dice and three are white dice. Performer then demonstrates how dice can be stacked. He then places three white and one black diceina row and picks them up with the cup, leaving the cup on the right side of the table still covering the dice. The other cup is shown empty and placed inverted on the left side of the table. The right hand cup is lifted revealing only three white dice. The left hand cup is lifted to reveal the black die. The black die is picked up with the cupandcupreplacedontable.Performeradds anotherblackdietothethreewhitediceand On picks up allfour with therighthandcup. lifting this cup the black die has vanished leaving again three white dice. The left hand cup is now lifted and two black dice are seen stacked.
I cannot give exact measurements of the cup because this depends upon the size of dice used. Myown cups are straight sided andmade of leather. Assuming that thedicetobe used are threequarterinch size thefakedcupshouldbe made with an inside depth of three inches plus the extra space needed for the magnet and a thin false bottom. When four dice are stacked with this cup the top die will be- touching the top of the
14
cup and if the cup is lifted reasonably gently the die will be attracted by the magnet and held in thetop of the cup. The unfaked cup should be made with the same outside measurements as the faked cup. Themouth diameter of the cups should be three times the length of the dice used, or slightly less. Thus with threequarter inch dice the mouth diameter of the cup should be two inches approximately. Loading the black dice with metal can be done in several ways. I drilled out some of the spots on each face and inserted short lengths of metal rod, afterwards repainting the spots. This is rather labourious and I see no reason why all metal dice could not be made. The amount of attraction the magnet should have for the faked dice is governed by the following factors: (a) It must be sufficient to hold the die in the top of the cup when the cup if lifted from the stack; (b) A slight shake of the cup should be sufficient to overcome the attraction of the magnet and allow the die to fall into the fingers.
Routine Before commencing unfaked cup is on left of table with a black die beneath thecup (cup is mouth down). The faked cup is to the right and the other five black dice and three white dice are on the left rear of the table. Lift both cups simultaneously, one in each hand.The die concealed under theleft cup is pressed against the inside of the cup by the left fourth fingerwhich curls beneath the cup as the latter is lifted. Left cup is replaced and you then use the right (faked) cup to demonstrate dice stacking. Use three white and one black dice for this demonstration and always pick up first a white die. Then lay out the four dice in a row and pick
them up with the cup, the first die picked up being the black die. Leave the stack covered by the cup and state that the black die will go to the other cup. Lift right cup with the right hand and reveal only three white dice stacked. With left hand place the three white dice in a row and whilst doing this. shake the right cup slightly and dislodge the black die-curl the right fingers beneath the cup to catch the die. Replace right cup near the white dice. With the right hand lift the left cup revealing. the black die. Pick up this die with the cup and whilst shaking the cup allow the palmed die to shoot up inside the cup. Replace the cup on the table with the two dice stacked beneath. Repeat the complete sequence by adding another black die to the row of white dice, picking up the stack and passing the black die to the left cup. To the audience two black dice have now passed across to the left cup. Repeat the sequence twice more and lift the left cup showing four black dice stacked. Place the left cup down to one side of the black stack. Right hand stiIl has a black die finger-palmed. Take the right cup in the right hand and pick up the three white dice, loading in the black die after picking up two of. the white dice. Leave cup on table covering the stack. Take the remaining black die and apparently place in left hand, palming in right hand. Pretend to throw the die from the left hand through the right cup, then lift cup revealing the stack-the black die will be next to the bottom of the stack. Throughout the above description the expression “ picking up ” the dice refers to the method used in dice stacking of picking up dice from the table with an inverted dice cup.
BOOKS MAGIC MINE No. 1 by Stewart James (Published by Harold Sterling, Royal Oak, Michigan. Price unknown). Any publication by Stewart James is something of an event and something that those who talk the same magical language as myself more than welcome. Those who purchase this book will be well rewarded for in easily mderstood language are arranged some dozen effects all of which bring into play some subtlety or idea which typifies the originator. The first item, ‘ Silversion ’ is a subtle variation on the old classic the ‘ Coin in Bottle.’ In this case, however, the performer using a sealed milk bottle containing water succeeds in evolving a practical method inwhich a borrowed and marked coin manage to get inside without damage
to seal, bottle or coin. The effect which follows, ‘ Cheerio Glass ’ is a good platform effect in which a glass of milk vanished from a paper serviette covering to appear in an empty hat. Squaring the square is a nice item for the mathematically minded, the kind of item forRotary or similar ‘ Do’s.’ Another item having a mathematical flavour is ‘ Count of Monte Cristo.’ Colourful because of the Poker Chips used and effective because the performer achieves an excellent prediction. The item which follows, is for me and I think many others a gem. Entitled ‘ Double Ring Ceremony ’ and evolving in eflect from the ring effect which Stewart described originally in ‘ Sefalaljia,’ the performer causes two rings (borrowed if needs be) to pass on to a length of cord, rope or ribbon, both ends of which are in view of the audience.
15
.Just as the original ring effect became subject to variation, this too will be adaptedand become .afirm favourite with close-up workers. In its form as described the reader will have a first-class .platform effect, simple in method and working and one which leaves no room for explanation in the minds of the audience. Indian Giver,’ an effectusing three eggs is another grand platform effect which would make ideal children’s entertainment whilst ‘ The Gofar Bail ’ also a platform trick involving the use of a rubber ball and two tubes offers one of the most mystifying transpositions that can be envisaged. ‘ Astral Dagger ’ is for the after dinner show. Two drinking straws, free from any preparationafter being placed in an examined tube are magically cut In halves with the ‘ Astral Dagger,’ ‘ Let the ChipsFall ’ shows how thatold classic, the ‘ Patriotic Billiard Balls ’ can be revamped when plastic cups and coloured poker are substituted. ‘ Unwritten Predictions ’ is for the mentalist and takes thehard work out of second dealing. ’ Slatest ’ another mental effect brings into play an idea seldom used and builds up a very nice prediction. Closing the book, Stewart offers ‘ Hotelepathy ’ a platform effect full of entertainment value and making use of that seldom seen prop, ‘ Attaboy.’We feel certain that after reading this item and realising its potentialities, there will be a steady runon this very valuable and ingenious piece of apparatus. Recommended unreservedly and wholeheartedly. “ SANTA’S WORKSHOP ” by Amalfi (Published by GoodlNe the Magician, price 10/6). In the literature of conjuring, books dealing with that highly specialised branch, children’s magic are comparative rarities. Because of this a new addition is always welcome.
Mr. Tunnah, who uses the nom de plume of ‘Amalfi ’ has a streak of Waller in his magical make-up and this shows togreat advantage ten excellent effects that he details in this publication. Because it gives the book its title we would well commend “ Santa’s Workshop ” tothe notice of all readers on the look-out for an excellent production finish. There is something fairylike in its conception . . . Santa Claus’s workshop is built up in the form of a small house . . . there is the sound of “ Jingle Bells ” being played in a mysterious manner by a musical box . . . Santa himself makes his appearance from the chimney of the workshop and later from inside a vast production of presents can be made. Delightful magic especially for small children. Then there is “ Novelty Cracker ” in which after pulling the cracker apart a lighted Christmas tree is produced . . . magical stories, “ The PopInn ” and “ The Xmas Sledge.” Items with a measure of illimitable humour like “ A Xmas Photograph ” and “ Holly, Mistletoe and Ivy,” whilst “ Turkey Trouble ” gives that necessitous “ sucker ” trick in a new guise. Additional pieces like “ Christmas Bell,” Memory Test for Children,” “ Decoration Paper Tear,’‘ and “ Song Session,”all add to the generous measure given and to conclude the author gives some excellent and practical advice on the painting and colouring of various props. To the conjuror who likes to make pieces of apparatus, he will find a wealth of inspiration in this book. As additional information, for those living in or near London, may we mention that Kettles, in New1 Oxford Street (next door to Davenports), is a gold mine for those whowish to get carboard tubes, boxes, fancy papers, etc.,whichtheywillfind of great use in making up some of the excellent ideas of Amalfi. “
Excellent value.
MAGIC-GOlROUND CTOBER saw the Annual Magic Festival of the Magic Circle at the Scala Theatre. The greatest commercial success ever we understand though the show was more than pedestrian when we saw it onthe opening night, the outstanding spots being the non-magic acts. Our greatest admiration was for the stage managers who with little time to make advance preparations made the stage sets most attractive. For artistry in presentation on the night in question we would pick out Esme Levante, Milbourne Christopher and Robert Harbin. We felt that the last two named could have used materialthathadnotalready been seen by many through the medium of TV.
0
Talking of TV reminds us that Piet Forton, winner of Micro-magic prize at the Zwolle Convention and who many magicians in this country met when he visited here, starts a TV series in his native Switzerland. Table magic will be the order of the day. We’ve a lot to thank Fred Lowe for in providing this issue. Regarding Fred, we’ve heard nothing but praise for his close-up magic organisation at the recent Portsmouth Day of Magic. The difficulties of presenting table magic to a large audience are too well known for us to comment upon them, but Fred seems to have arrived at a formula whichwithefficient organisation is the answer to the question.
16
A SELECTION O F
-rf THE LATEST B O O K S THE DIA VERNON BOOK By Lewis Ganson of this No needtoextolthevirtues great work. Price 45/Postage 1/4 PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition! Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks ’ to performatthedinnertable. 182 pp. Cloth bound, masses of photographs. P r i e 16/Postage l/-
GRAND DECEPTIONS By Alexander Klein The World’s most spectacular hoaxes, impostures,rusesandfrauds.Fascinating! Price 21/Postage 1/1 ENCYCLOPEDIA OF CIGARETTE TRICKS ByKeithClark Theonlyworth-whilebook on this subject. 304 pp. Fine cloth-bound book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everythingyouneed to knowabout escaping from handcuffs. 112 pp. Board covers. Price a/Postage 6d.
*
*
THE GREATER MAGIC LIBRARY Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages. Price per volume 21/Postage 9d ABBO’IT’S ENCYCLOPEDIA OF ROPE TRICKS 128 ‘ double size pages andevery conceivable rope trick. The new enlargededition. Price 21/Postage7d. SCIENCE MAGIC By Kenneth Snezey A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price la/Postage l/-
Write for our full Book List containing hundreds of Tities
*
T H E M A G I C WAND P U B L I S H I N G C O M P A N Y
I
T H E MAGIC W A N D No. 253. (Vol. 46, Part l)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks by Len Belcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS--. colourful $imble routine by Edwar! Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” “Just. Chance effect. THE SHOWER BATH ILLUSION by JayPalmer-saucy and surprising. THE DISrate. MAGIC FOR MAGICIANS COVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only 7/6 : Postage 7d.
4iEOR4iE A R M S T R O N G 6 2 W E L L I N G T O NR O A D .E N F I E L D .M I D D L E S E X
I
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
I
Clubroom and Librarv and Muwum :
Hearts of Oak Buildings, Euston Road, London, N.W.1.
Ibagicd Theatre .
King George’s Hall, W.C.
13th JanuaryLECTURE BY ALEX ELMSLEY Pdculars trom Hon. Sacretary
L
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
l*
I
I
PETER
WARLOCK’S
PENTAGRAM m i published W the 24th d each m r t h and tan be obtained dinct from the publimhen for 117 per single copy. Annual Sukaiptkr l a / port free. PUBLISHED BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex h n w r i p b forpublication and book for review rhould be sent to the:
EDITORIAL ADDRGSS: 24,
Peter Warlock, Wordsworth Rd., Wallington, Surrcv
.
Wanted by George Armstrong Any of the “ C. T.J(otdan) Series of Magical Effects.” Complete inenvelopes if possible. Also want many U. F. Grant and Grantand Menge mimeographed items. Sort out thoseold unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goods are fully endorsed by this Bulletin PUBLIIRID BY IIII PROPI1ETORI TXI MAQIC WAND PUBLIEHINO COMPANT. 62 WVILLINQTON ROAD, INFIILD. UIDDLEEEX W O I K I , IXIPLXY. YORK8RIRVI A N D Pn.TwTBD BY H E R B 3 3 2 WALKXI h I O N (PUXNTERI) LTD., BR&l
j
A
PETER WAR LOCK ‘S *
**
A COIN FANTASY FRED KAPS
I
N THIS well routined effect, that great Dutch magician, Fred Kaps, hasadded skill to a marketed effect the result being a delightful and entertaining coin sequence. The effect. First of all the performer produces four silver coins which then travel invisibly and singly from one hand to a glass held in the other. The coins are then removed and wrapped inside a silk handkerchief which is placed inside the glass. Placing the glass behind a small screen, another screen is shown and placed some distance away. A magical gesture and glass, silk and coins vanish from behind the screen toappear behind the second screen. Requirements. Four silver coins, a glass, silk and the fake for the ‘Transpo Glass’ effect (Unique Magic Studio. As the latter is a proprietory effect quite obviously we cannot explain the working, the reader having the effectwill follow the present explanation with ease. We hope, however, that those unacquainted with the working of this excellent marketed item will have the necessary enthusiasm to purchase it for whether used in the present routine or as originally intended hy John Rice, its originator, it is an excellent effect. The price, incidentally, is very moderate . . . twenty shillings !) Preparafion. Open one of the screens and stand it on the table. It should be openedonly partly. On top of this screen place the second one which should be folded. Behind the standing screen place the fake which should be completely hidden. On top of the folded screen place the glass. The silk you intend using should be in your left breast pocket and the four coins in a get-at-able position on the body. Presentation. First of all get possession of the coins in the left hand crotch position. Reach into the air and
VOLUME 12, No. 3
-
produce the coins one at a time. As each coin is produced it is placed between the fingers of the right hand it la billiard ball production. After the fourth coin has been produced and placed in the right hand, the coins are displayed. The left hand then moves across and the coin held between the third and fourth fingers of the right hand is taken between the left hand thumb, first and second fingersedgewise. The coins between the third and second fingers and second and first fingers are similarly taken. Atthis point you should be standing with left side towards the audience. The left hand fingers now appear to takethefourth coin whichis held between the Erst finger and thumb of the right hand, but actually as soon as the left hand screens the right hand the fourth coin is moved into a thumb palm position so thatasthe left hand moves away, with what to the audience, is the fourth coin the right hand appears to be empty. The performer now steps towards his table and with his left hand places the three coins in a stack upon thetable, so that they cannot be seen by the audience. The right hand takes the glass from thetop of the screen. It is held as shown in Figure 1.
I/a. (20 .Cents)
-
DECEMBER I957
18
Taking one coin from the table with the left hand the performer makes a throwing motion towards the glass held in the right. Actually the coin in the left hand is palmed in the classical manner and right thumb moves out a little allowing the palmed coin to drop inside the glass. The right hand changes its grip and turning the glass over,the coininside is apparently dropped into the left hand. As the glass is brought over the left hand the curled fingers of the right hand catch the coin whilst the palmed coin in the left hand (apparently the one dropped from the glass) is displayed and tossed into air and then caught. The visible coin is dropped into the glass which is now held in the right hand as shown in Figure 2.
The left hand takes another coin from the table and another throwing motion is made towards the glass. Again this coin is palmed and the coin held concealed in the right hand allowed to fall. The right hand now tilts the glass and allows both coins to fall onto the fingers of the left hand. At this stage the left hand has three coins, one in palm position and two on the fingertips. The hand should beheld fairly high. The left hand thumb pushes the twocoins forward and displays them and then drops them into the glass. This time the glass is passed across to the left hand which holds it by the rim whilst the right hand takes the third (and last) coin from the table. A throw movement, palm and a release of the coin palmed in the left hand. The third coin has arrived! Now in trans-
ferring the glass from the left hand to the right, the performer turns right and at thesametime brings the coin palmed in the right hand to a back palmposition. The screening of the right hand by the left hand and the glass gives excellent cover and the position is shown in Figure 3.
Note that the glass should be gripped by the thumb and fourth finger allowing perfect freedom for the remaining fingers. With the left hand feign to take the final and non-existentcoinfrom the table and make a throw towards the glass. Jerk the right hand sharply and release the clipped coin which should tumble over the side of the forefinger into the glass. Show the left hand to be empty and on to it pour the four coins from the glass. Replace the glass on top of the screen and remove the silk from yourbreastpocket. Drop thecoins onto the handerchief and gather the corners together to form a bag. Taking these corners, the silk and its contents are dropped inside the glass. The glass is now placed behind both screens and fake, and after showing both screens and placing them well apart, the effect proceeds upon the lines laid down in the instructions. Quite obviously the performer builds up the effectby makingfirst the coin and then the handkerchief pass invisibly.Remove the silk and its contents from behind the screen without allowing the coins to chink against the glass, for until the last you intend to make the audience think that only the silk and coinshavemovedacross.Unpack the coins and count them one at a time onto the table, then placing the silk back inside your pocket. Finally order the glass to make its invisible journey and finish the routine in accordance with the dealer’s instructions.
ABOUT TURN! HUGH SCOTT
T
HE SECRET reversal of a card in a pack, never seems to have brought to light methods otherwise than those most obvious. With the sleight about to be described, Hugh Scott,whose pack handling is impeccable, has
given us a methodwhich is simple in operation and perfect in deception. The purpose of the sleight is to secretly bring the top card of the pack to the bottom and at the
19
same time reverse it, one hand only beingused for such purpose. Take a pack of cards in the right hand. The pack is held at the narrow ends between thumb at the inner end and first, second and third fingers attheouter end. (See Figure 1.)
Thetop card is the three of spades and in the action of either placing the pack on the table or on the palm of the left hand you are going to bring the three of spades to the bottom so that it will lie face-up. The ball of the right hand little finger presses against the corner of the three of spades and moves in towards the body a little so that the top card is bridged slightly. (Ifyou are used to using the single hand palm, the movement of the little finger at the start of this sleight is in an opposite direction to that employed in the palm.) The little finger continues moving and the top card is levered to one side. (See Figure 2.)
The movement continues and in unison the little finger presses downwards, the second finger well wrapped around the end of the pack presses upwards and the firstfinger touching the top of the pack pressesdownwards. The effectof this combined operation is that the three of spades is automatically reversed at the bottom of the pack. As the movement of the fingers takes place the hand is not stationary but is moving either towards the table on which the pack is deposited or towards the left hand which receives the pack. Let it be emphasised that this is a most straightforward sleight and one which can be mastered in a short time. Its uses are innumerable. Thank you very much, Hugh Scott.
ADDITION TO THE
BRAINWAVE''
" PETER WARLOCK
HEN,THROUGH the columns of the JINX, Paul Fox and Dai Vernon gave to the magical fraternity that gemof mental magic, the ' Brainwave Deck,' there was a general usage,which,inmany hands suffered from lack of finesse. In using this effect myself I have made one little addition which has proved its worth many times. This addition has meant that when the faked pack is withdrawn from the case a face card is seen on the apparent face of either a redbacked or blue-backed p-ack. Readers using this particular pack will know that without any addition, the cards would be backs uppermost at the top and bottom of the pack, a blue backer in one case and a red backer in the other. Not ideal when the audience surrounds you. The means of achieving this extra piece of business involves no skill on the part of the per'former, the card case in which the pack is housed
W
being responsible for the addition or subtraction of one card at either end of the pack.
The illustrations will help you to understand the construction of the casewhich is best made from two empty cases. First of all dissect the two cases. Now with the aid of some thin strong cardboard andthe necessary parts of the dissected
20
cases make up a card case that will have a flap at each end (Illustration 1). The depth of the case should be capable of accommodating nearer sixty than fifty-two cards. The second stage is the fixing of a small cardboard flap by means of a linen hinge at each end of the case (Illustration 2). When
SEmoNhL the hinges have been coated with seccotine place a pack of cards inside the case and allow everything to dry under pressure. After the time allowed for drying, empty thecardsout of the case. To prepare fos the presentation with the assumption that you are using a blue and red backed ' Brainwave Deck ' and that your blue backers are black cards and the red backers red cards, load a redfaced card inside one flap and a black-faced card in the other, then sliding the pack inside. So that the pack will be set ready for correct withdrawal, the red-faced card inside the flap should be in front of the topmost blue-backed card. To facilitate sliding the pack intothe case without the chance of fouling either of the hinges,
the card case should be opened at both ends and a thin slip of card twice the length of the case, slipped inside as a guide for the pack. When the pack is inside. the case, remove the long strip of card and then close the flaps of the case. A small pencil mark should be placed on the flap to show which side is whichwhenitcomes to the withdrawal of the pack. When a card has been named by a member of the audience the case is opened at the appropriate end, the pack withdrawn and the effect then being proceeded with in the usual way with the advantage that the pack from all angles will appear to be a normal pack. Should the performer make use of a pack of Aviator or Bicycle cards one extra refinement is that in making the case part of a blue case and part of a red case are used in constructing the faked case. The pack lies in the right hand pocket and before asking for the name of thecard,it is removed, the hand concealing the side of the case, As the card is named it is placed on the outstretched palm of the left hand in such a manner that the outside colour of the case matches the backs inside. Many maysay thatin this addition I am ' painting the lily ' (actually most would incorrectly quote than I am ' gilding the lily '). In my humble way I shall contradict such folk for the present addition wasevolved through necessity during the war years when performing conditions meant that one had to strive for perfection at all times.
PERSONAL PREDICTION PETER WARLOCK
T
HIS IS an effect which appears to be entirely impromptu. Actually, like most so-called impromptu effects, there is some advance preparation.
The effect. A pack of cards is shown, fanned, shuffled and cut and placed upon the table. Taking some visiting cards from his wallet, the mentalist writes in ink upon the topmost one the name of a card. The audience is given a sight of the writing and the card is then placed writing side down on the table. A spectator is now asked to deal a card at a time from the pack stopping whenever he wishes. Supposing that the card stopped at is the nine of diamonds the visiting card is turned over to show that written uponitarethe words, ' Nine of diamonds ! '
The requirements. Twenty visiting cards. Thirteen of these have the name and address of the presenter printed on both sides, the remainder are printed on one side only. A pack of cards which consists of four banks of the same thirteen cards. A fountain pen filled with the type of ink which is visiblewhen written but quickly fades away. Preporation. On each of the thirteen double-faced visiting cards thementalist writes in ordinaryink the names of each of the cardsconstituting the prepared pack. These visiting cards, writing side undermost, are now arranged in reverse order to the cards in the special pack. Under this stack of visiting cards one of the ordinary visiting cards is placed printing side uppermost whilst the remaining six cards are placed on top of the stack printed side upper-
21 most. If the stack of cards is now shown there should be a blank side at the bottom and printed there side at the top. If thecardsarefanned, should be a series of printed sides. Viewed from either side thecards present no peculiarities. At this stage thecardsare either banded with an elastic band and/or slipped inside the appropriate compartment in the mentalist’s wallet. The special pack in its case isdroppedintothe performer’s right-hand jacket pocket. The pen should be in the left breast pocket. Presentation.
Removing the pack in its case from his righthand pocket the cards are withdrawn, false shuffled, casually fanned to showdifferent faces and after beinggiven a false cut placed face down upon the table. The stack of visiting cards is then removed from the wallet and taking the pen, the mentalist writes the name of a card upon the topmost card. The pen is placed down and the card lifted fromthe stack, the audience allowed a glimpse of the writing as the mentalist shakes it as though helping the ink todry.This is a perfectly natural action and helps in the evaporation of the ink. The cardis now placed writing side down on the table. Pointing tothepack,the mentalist asks a spectator to deal slowly one at a time the cards face uponto the table, stopping whenever he wishes. The slowness of dealing which is emphasised serves a treble purpose, i.e. :1. It gives the deal.er the opportunity of seeing that the cards are all different. 2. It prevents him dealing more than thirteen cards. 3. The stack of visiting cards is held in the left hand,the right hand on top. This must be a casual positioning. However as each cardis dealt,the right-hand thumb pressing against the inner ends of _the cards releases a card at a time in unison with the dealing of each card.This means that with the stopping of the dealer, the release of one more card will mean that such card has the same name upon it as the card stopped at. A break is held and a double-handed pass made bringing this card to the top of the packet.
With the necessary card on top of the packet, the right handtakes hold of itandthe hands separate. Dropping the remainder of the visiting cards into his left hand pocket, the mentalist gestures towards the selected cardandthe visiting card lying on the table. He stresses the freedom of choice saying, “ Before you started dealing the cards I wrote a prediction on this visiting card . . . the prediction was the name of the card which I felt certain you would stop at. I am seldom wrong in such matters.” Ashe utters tfiese words he
flips over the visiting card on the table with the card held in his right hand. Actually he performs the Mexicall Turnover and changes the card on the table with the one he is holding. The deception in this case is aided by the fact that at the conclusion of the sleight he is holding a perfectly normal visiting card, for by this time the ink will have faded, whilst face up on the table with writing showing and its second face concealed lies the faked visiting card. Finally the visiting cardis taken from the table, and holding it in such a way that its second face cannot be glimpsed the spectator is asked to read the performer’s prediction. A point or two. When placing the first visiting card on the table give it a slight longitudinal bend so that it presents a concave upper surface. Secondly see that the table is covered with some kind of material. These two things help in the accomplishment of the Mexican turnover sleight. If thereader dislikes the idea of using the speciai ink two courses are open to him. He can use m empty fountain pen and pretend to write upon the card or alternatively he can dispense with ink and use a dummy pencil forthe writing. In both cases the strong point of showing writing upon the card before the cards are deait is ‘ out.’ Two alternative methods might appeal ‘to certain performers. In the first we’ll suppose thatthe ‘Ace of diamonds ’ is the topmost card of the pack to be used. Taking a visiting card the mentalist writes on it : ‘ You will stop me at the Ace of diamonds.’ The card is then placed upon the table or better still slipped into somebody’s pocket. The pack is then takenand either shuffledby the performer keeping the ace of diamonds at the top or alternatively the ace of diamonds is palmed off, and a spectator asked to shuffle thepack, the ace being added as the pack is taken back. The mentalist then asks the spectator to stop him as he deals the cards one at a time onto the table. The mentalist now starts dealing seconds, and when the spectator stops him he pushes the next card, i.e. the ace of diamonds, off the top of the pack allowing ittodrop face down uponthe table. The spectator is now asked to read what the mentalist wrote upon the cardat the beginning. He does so. ‘ Now, sir, just turn over the card at whichyou stopped medealing.’ The spectator again does as he is told. Climax! Theother method is ,similar in procedure except that rather than rely upon skill the mentalist uses a rough and smooth forcing pack. He deals two cards at a time until he is stopped, and then the topmost card, i.e. the force card, is pushed off the top of the pack and allowed to drop face down upon the table.
22
TRIPLE TELEPHONE TEST TOM SELLERS
T
HE PERFORMER has a spectator freely select a card and place it inside his pocket. Nextthe same personselects an article and finally he is handed a piece of paper on which is written down a number. The helper is then requested to telephone your psychic partner and ask the name of the article, the name of the card and the number on the paper. He does so and in each and every case receives the correct answers. Preparation. First of all both performer and helper must know the arrangement of a set-up pack of cards. Si Stebbins or Nikola System suggest themselves. Also the following numbers mustbeassociated with the following articles :1. KEY. 2. PEN. 3. MATCHES. 4. RING. 5. CIGARETTE. 6. WALLET. At the other end of the telephone the partner musthave written down the two numbers 2997 and 29997. Presentation. Take the pre-arranged pack and spread the cards face up on the table. Allow the spectator to touch any card hewishes, and with a choice made we’ll suppose that its position in the arrangement is 33, i.e. the thirty-third card from the top of the pack. Keep this number in mind and now remove from your pocket or pockets the six articles for which you have numbers. Supposing that with a choice of one the spectator chooses the ring, keep the number ‘ 4 ’ also in your mind. Take hold of a scribblingblock and pencil andat the same time tell your helper that you wish him to take part in an addition sum. You start off at the top of the pad by writing down any unit followed by the number opposite to the selected card ,followed by the number indicating the article chosen. In this case as an example is would be 1 3 3 4. Under this you ask your helper to write down any four figure number.
He does so and then taking the pencil you write below a four figure number whichwhen added to thepreceding line willbringeach number to ‘ 9.’ This alternation of helper and yourself coupled with the ‘ nine ’ addition is repeated twice more so that the following might result :1 3 3 4 Any unit followed by card and ‘ ring ’ number. 5 2 1 8 Written by spectator. 4 7 8 1 Written by performer and giving a ‘ 9 ’ total. 6 1 2 4 Written by spectator. 3 8 7 5 Written by. performer and giving another ‘ 9 ’ total. 5 6 2 4 Written by spectator. 4 3 7 5 Written by performer and giving yet another ‘ 9 ’ total. 3 1 3 3 1
When this total has been arrived at ask the spectator to subtract from it the number 2 9 9 9 7 whichwillgivehim the number 1 3 3 4. This number you write upon another piece of paper and hand to the spectator for safe keeping. The spectator is then asked to phone your assistant, and his or her first question is ‘ What was the total of the sum? ’ With the number 3 l 3 3 1 given as an answershe subtracts the number 2 9 9 9 7 from it leaving the first number of the sum, i.e. 1 3 3 4. Withthis number before her she has all the .!information that is required. She takes the two middle numbers first and checking with her card key tells the spectator that first of all he chose the -of -(the card at the thirty-third position). Secondly, noting the unit digit which is ‘ 4 ’ she tells him that the article he chose was a ring. To conclude she tells him that the number written upon the paper he is holdingis 1 3 3 4. Incidentally, the number 2997 held by the psychic partner will apply when the position of the card is amongst the first ten. The performer then starts the sumwith a threefigure number and at completion there will be four figures.
TOM SELLERS
T
HE PERFORMER places two packs of cards in their cases upon the table. One is chosen and placedaside. From the other, one card is freely chosen. When the pack that was placed aside isremoved from its case, one card
isseenreversed. chosen card !
It is a duplicate of the freely
Requirements. Two packs of cards and a one-wayforcing
23
Preparation. Take one of the ordinary packs and supposing that the one-way forcing pack consists of all nines of diamonds, reverse this card and replace the pack inthe case. Fromtheotherordinary pack remove the nine of diamonds. It will not be needed. Place this pack in your left jacket pocket, faces towards the body. Havethe forcing pack ‘in its case.
complete the cut. Tell the spectator to hold out his handand ontoit you deal six cards, the remaining cards then being placed into the left hand pocket alongside the other pack. Stand the cards in an upright position so that the two packs cannot be intermixed. Takethe six cards from the spectator’s hand and deal them in a line across the table top. Ask him to indicate one and when this is done gather up the remainder anddrop these toointothe left hand pocket. Leave these cards behind but bring the ordinary pack out and place it alongside the face-down card.
Presentation. Take the two packs in their cases and place them upon the table. Have one pointed to. If it isthe forcing pack, place the other near to the front edge of the table stressing its importance at alater time. If theordinary pack is pointed to the same procedure is adopted. Remove the forcing pack from its case and lay the case aside. With the pack held in the left hand ask spectator to cut off a packet of cards. This portion is thentaken with the right hand andthecardsin the left hand placed on top to
Pick up the case that lies near the edge of the table and ask spectator to remove the cards and run through them until he finds one card reversed. He does so. ‘ And the name of this card? ’ says the performer. ‘ The nine of diamonds ’ is the answer of the spectator. Lifting up the other pack, the conjurer fans the cards in front of the spectator. ‘ You might have selected any one of these cards. Don’t you think it strange that you selected the :duplicate of the one I reversed? ’ With these final words the conjurer turns over the face-down card on the table and reveals that it is truly the nine of diamonds.
pack. The back pattern of all these cards should be similar.
MAGIC-GO-ROUND Marvin Roy still continues at the Lido andhis closing item, the electric bulbs from the mouth, almost thirty feet in length, hits the customers very hard. When we were with David Nixonashort while back he was full of this act, which had been one of the many he had seen whilst on a short trip to France. Incidentally, David is to be congratulated on abandoning at short notice the explanation of simple tricks that he was going to teach his viewing public. The amateur spot which he introduced instead has proved its worth. Though we have missed a couple of these programmes we did have the pleasure of seeing Paul Gain present his very nice version of the soup plates and handkerchief. This young man from Selby has a very polished style and we shall always remember the act that he put over in the British Ring Shield Competition at Brighton in 1956. A very nice mental item that appealed to us was the snooker ball divination in Buckley and Cook’s mental book. A1 Koran came up with a version of the effect on TV the other evening and it scored very well. We are still trying to find out a little more abouttheInternational Congress at Vienna in 1958. Apart from the advance leaflet which came out in the beginning of the year there seems to be littleinformation available. It is good to know that Hans Trixer will be there, taking a holiday
from Rhodesia, and there is a chance that “ Lefty ” may bring over Jay Marshall. Whilst in his writings concerning Kalanag, Arthur Leroy has always struck us as trailing one foot in the gutter, we never expected from Bob Lund the kind of review that appeared in a recent edition of Hugard’s. Supposed to be an impartial appraisement, ill tasted American humour is allowed to show in things like the criticism of Kalanag’s speech, whilst Gloria, Kalanag’s beautiful wife is subjected to description that ill becomes the writer. Kalanag’s show which to-day is unequalled and which at the moment is playing to packed audiences on the Continent gives the lay audience uptodate entertainment. Fromthe Leroy-Lund side we hear of the introduction of sexy situations and we can only conclude that Kalanagthought (possibly fromacquaintance with wartime G.1.s and American horror comics) that such things were partand parcel of the American way of life. Wemustapologise for theextremely late appearance of the last issue of ‘Pentagram.’ The printing blocks went astray in the post. The printer was waiting for them, and we were waiting for him to delivertheissue to us. By thetime it wasdiscovered what had happened the issue was very late, and then of course we had to get new blocks made.
*
24
A SELECTION OE‘
THE LATEST B O O K S THE DIA VERNON BOOK By Lewis Ganson No need toextolthe virtues of this great work. Price 45/Postage 1/4 PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenham 196 pp. Dozens of beautifully colouredillustrations. A fewonly, in mint condition! Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of‘-science tricks ’ to per182 pp. formatthe dinner table. Cloth bound, masses of photographs. Price 16/Postage l/-
GRAND DECEPTIONS By Alexander Klein The Worlds most spectacular hoaxes, impostures,rusesandfrauds.Fascinating! Price 21/Postage 1/1 ENCYCLOPEDIA OF CIGARETTE TRICKS By Keith Clark The onlyworth-whilebook onthis Fine cloth-bound subject. 304 pp. book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS ByDickNorman Everythingyou need toknowabout escaping from handcuffs. 112 pp. Board covers. Price 60/Postage 6d.
*
*
THE GREATER MAGIC LIBRARY Conjuring’s greatest clasic, now available in 5 separatevolumes, with a total of 1,000 pages. Price per volume 21/Postage 9d. ABBOTT’S ENCYCLOPEDIA OF ROPETRICKS 128 ‘ doublesize’ pages and every conceivable rope trick. The new enlargededition. Price 21/Postage 7d. SCIENCE MAGIC
By KennethSwezey A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks.
Price 16/Postage l/-
Write for our full Book List containing hundreds of Titles
*
TPIE M A G I C WANID P U B L I S H I N G C O M P A N Y
T H E MAGIC W A N D
I
Part
46,
(Vol. No. 253.
1)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine withcards. Two apparatus tricks byLenBelcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful thimble routine by Edwarf Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a “natural” “Just Chance effect. THE SHOWER BATH ILLUSION by Jay Palmer-saucy and surprising. THE DISCOVERY O F A MENTALLY SELECTED CARD by Arthur Carter-asusual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
GEORGE ARMSTRONG -
6 2W E L L I N G T O NR O A D .E N F I E L D .M I D D L E S E X
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
Clubroom and Library aod Museum :
Hearts of O a k Buildings, Euston Road, London, N.W.1. Magical Theatre :
King George’s Hall, W.C. 6th FebruaryCONCERT
I
I
II
WARLOCK’S
W a d e d by George Armstrong
PENTAGRAM is published on the 24th of each month and ran be obtained direct from the publisbm for 117 par single copy. Annual Subscriptioa 181post free. PUBLISHED BY:
Any of the “ C. T. J(otdan) Series of Magical Effects.’’ Complete in envelopes if possible. Also wantmany U . F. GrantandGrantand Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for review should be sent to the:
Particulars trorn Hon. Secretary :
EDITORIAI.
Peter Newcombe 38 Overdale Avenue
*
PETER
ADDRESS: Peter Warlock,
Rd., Wallington, Surrev - .-
Georqe Armstrong
24, Wordsworth
New Malden, Surrey L
62 Wellington Road, Enfield,Middx. I
Every Advertiser’s goods are fully endorse2d by this Bulletin PUBLISHED BY T H E PROPRIETORS T H E UAOlC WANDPUBLISHIN0COM?ANT. 62 WELLING: CON ROAD,ENPIXLD. MIDDLESEX A N D PBINTXD BY E E R B I R T WALKER L S O N (?RINTERS) LTD., BRlDOE W O R K # , SZiIPLEY, YORKSHIRE
j
~
~-
A SCARF CALLED MOEBIUS ROY WALTON OY commencesby taking from one of his pockets two card cases containing red and bluebackedpacksrespectively;they are placed side by side on the table in front of him. From another pocket he removes a handkerchief which he unfolds and refolds, finally placing it to one side of thetable. He tellshisaudience that thehandkerchiefhas fourth dimensjonalproperties and offers to give them just one illustration of the seeming miracles it can achieve when used In conjunction with two packs of cards.
R
The handkerchief at this point is taken and again unfolded, but this time it is spread over the twopacks of cards;beforethey are completely coveredone of thespectators is asked to state whether he prefers red or blue, and according to thischoiceone of the packs is liftedfrom the allowed to cover table, the handkerchief then being the remainingcaseand its contents.Wewill assume that the bluebackedpackhasbeen removed, and opening the case Roy removes the contents,showingbothbacks and fronts to the
spectators. He then turns to a spectator and running the cardsface-up from hand to hand asksthat one be chosen and that when the choice is made. the card shall be removed and marked on its back either with pencil or pen by the chooser. After the card has been marked it is returned to the pack,.the latter then being replaced within its case which inturn is placed under the handkerchief.Explaining that toproducethis particular effect, the handkerchief must be handled in a certain manner, Roy takes hold of it at each side and see-saws it acrossthecardcasestwo or three times.Thisactioncompletedherefolds it and returns it to his pocket. Addressing the spectator whoremoved and initialled the card, Roy recaps, pointing out that from a face-up packof blue backed cardsthe spectator chose and initialled one card. He then takes the case containing the blue backed cards, opens it and removes its contents. Running them face-up fromhand to hand, the chooser of thecard is asked to see whether hiscard is still present. With an answerin the negative,Roytakes the case holding the red backed cards and after removing them starts runningthemface-downinfront of the spectator.Facesdown,facesdownwith one exception . . . the cardchosen by thespectator. which is seen to befaceup.Anysuspicionof a duplicate card is dissipated when he is allowed t o withdraw it from the remaining cards and check the initials upon its back. This most effective piece of true table magic calls for the use of the following articles:1. An opaquehandkerchief or small scarf measuring not less than eighteen inches square. 2. A card case appropriate to a blue backed pack of cards. 3. T w o packs of blue backed cards.
4. A pack of red backed cards. 5. A specially made card case constructed so that it can appear to be a blue or red container at the performer’s will. It is constructed like this :-
First take two card cases appropriate to a blue backed pack and a red backed pack respectively. The first chore is to cut off the flaps. Taking the red case, the top and side are cut away and then glued and fixed in position on the bottom and side of thebluecase. Finally the twoflaps are hinged at the appropriate ends.As,whensuch a case is placed on a plane surface only three sides can be seen by an onlooker, it follows that a mere turning over of the case can produce a blue or red backed container. Before he is ready to perform the reader must set upthe varying properties. The handkerchief in,a folded condition goes into the breast pocket, then inside the genuine blue case fifty-two blue backed cards. These consist of two similar banks of twenty-six cards. Each bank iswellmixed, but both have a similar sequence. Into the faked case go fifty-twocards; twentysix of these are blue backed making up the complement of the twenty-sixdifferent cards in the genuine case, the remainingbank of twenty-six cards have a similar sequence but are red backed. The blue backed cards are placed on top of the redbacked cards, the complete pack then being placed in the faked case in such a way that when the blue side of the case is uppermost and the flap opened, a small part of the topmost blue back can be seen. After placing both the cases and their contents in his pockets the reader is ready to go ahead with the presentation of “ A Scarf called Moebius.” First of all the two cases of cards are removed from the pockets and placed sde by side on the table. The faked case,red side uppermost, lies to the right of the table (see earlier illustration) whilst the genuine case is alongside of it on the left. The handkerchiefisremoved and unfolded whilst its properties are discoursed upon. Refolding it and placing at the extreme left of the table the performer calls attention to the card cases. Taking the handkerchief with the left hand it is allowed to unfold and is draped over the card cases.Before they are completelycovered,however, the spectator is asked to choose either ‘ red ’ or ‘ blue.’Whatever the answer the performer interprets it to his own advantage, by leaving the genuine blue case and cards beneath the handkerchief, whilst under the cover of the latter, the faked case is picked up by the right hand, turned over and brought out to be shown as the blue case. The performed now opens the flap and withdraws the pack. Because of the parti-coloured make-up of the pack, it is of great importance that there should be no spread of cards as they are withdrawn. A tip to the reader in this respect, is
that if hegives a slight push on the flap at the opposite end withhis little finger it will help materially in allowing the pack to emerge as a solid unit. The empty case is now dropped on top of the handkerchief and the performer starts running the cards face down from hand to hand showing the bluebacks.Whenhereaches the twentieth or twenty-first card in the run, heraises the cards so that thefaces can beseen by the spectator. With no stop in the running of the cards and with the backs now facing him he continues to the end of the pack and at the conclusion, in squaring up the cards, separates the pack into two portions casually making a complete cut at the blue backed card immediately above the bank of red cards. Now the pack reading from the top card consists of one blue backed card followed by twentysix red backed cards and twenty-five blue backed cards. Turning the pack face up again and running the cards from hand to hand the spectator is asked to make a choice of one card. The choice must be made to fall within the range of the bank of twenty-fivebluebacked cards. The spectator then removes the card of his choice and,places his initialsupon the back.Whilst he isdoing this the performer makes in effect a half-pass so that withtheexception of the top card the whole of thepackisreversed.At the momentwhen this moveismadethefocus of attention is upon the spectator who is initialling the card. When the card has been initialled it is taken from the spectator and pushed into the bank of red cards and naturally because of the half pass made by the performer the spectator’s card isnow reversed amongst the red backers. The pack, which to the audience appears to be face down, is now replaced insidethe card case, and holding this inhisleft hand and lifting the left hand side of the handkerchief with his right hand the performer apparently places the faked card case to the left of the genuinecase, then allowing the handkerchief to fall back into place. Actually,however, he reverses the fakedcase bringing it red side up and places it to the right of the genuine case. To aid in the ultimate deception, the genuine case is pushed to the left. The cover allowed by the handkerchiefallowsthesemoves to be performed without the slightestsuspicion being aroused in the minds of the audience. The mechanics of the effect are complete, but the effect is not. Taking each side of the handkerchief with his right and left hand, respectively, the performer see-saws it across the card cases two or three times and thenlifts it, refolds it and places it back into the pocket. Picking up the genuinebluecase, the performer remarks as he opens and withdraws the pack inside, “From this blue backed packof cards, youchose and initialled one card . . . it was a choice made whilst the faces of the cards were in
‘
front of you and therefore there,wasnowayin which I could influence your decision.Willyou tell me if you can still see your card in this pack?” With these words the cards are slowly run from hand-to hand so that the faces can be seen quite clearly by the spectators. When therun is complete, the performer is given a negative answer. “ Now, sir,” says the performer, “ I think you will have to admit the strange properties contained in this ‘ Scarfof Moebius ’ . . . for with its use I caused your card to leave the blue backed pack and arrive. amongst the red backed cards in this case.” The faked case is now opened andthe pack, now with red backs uppermost, is withdrawn. “ For the first time you seethis pack of red backed cards.” To accentuate the word ‘ red ’ the topmost card is removed and placed at the bottom of the pack. It is done most casually and it serves the double purpose of covering the reversed blue backed card atthe bottom and making it seem
27
that all the cards in the pack face one way. “ Will youpleasesay aloud the nameof the card you chose and initialled? ” . . . ” The three of hearts.” Running what appears to be a red backed pack from hand to hand one card is seen reversed and staring the spectator straight in the face. It is, of course, the three of hearts. It is partly withdrawn from the pack, the latter being brought up in front of the performer’s face whilst he completes therun of the cards. (Care, of course, mustbe taken when nearing the end of the run that there isno chance of the reversedbluebacked card second from thebottombeingglimpsed by the spectators.) The pack is then squared up, brought backs down again and the spectator is allowed to remove the three of hearts and confirm that the card is in fact the one he originally chose, for his initials are clear upon its back.
TELLING THE COLOURS TOM SELLERS
T
HE THEME of this trick is old indeed and apart from magazine and book contributions many ideas dealing with it have been marketed at prices ranging from fifty cents to three dollars. It is a natural thought to simplify matters and whilst I have already given one version in one of my many booklets, an entirely different angle of approach is used in the method to be described. The effect is simple. Three spectators each pocket a card carrying a colour. You, without seeing them, take the cards, telleach spectator the colour of the card in his pocket. Requirements. Three cards each carrying a coloured spot. Supposing that the cards are black, one can carry a white spot, another a red and the third a blue. Place these in your inside pocket. A card which has the signs of the Zodiac, letters and numbers. It is shown in Illustration 1. This goes inside your wallet. Forty-two coloured counters; seven red, fourteen white and twenty-one blue. These are placed inside :A small cloth bag to hold the counters. A small glass or crystal ball. Put this in your outside jacket pocket. The Method. Ask three members of your audience to assist you. As they step up to the table take the three cards carrying the spots from your pocket and place them face up on the table. Tell them that you will turn away, and when you do each is to take one of the cards and place it in his pocket.
Turn round again and picking up the cloth bag you look at the spectators, mentally counting them from left to right as 1, 2 and 3 respectively. Now remove one red, twowhite and three blue counters, placing them in front of spectator No. 1. Tell him that you will turn away and when
you do so he is to pick up all of those corresponding to the colour of the card in his pocket and return the unwanted ones to the bag. When he has done this you turn round and place in front of the second spectator two red, four white and six blue counters which you remove from the bag. He is given similar instructions to spectator No. 1. Finally, with again similar instructions, the third spectator has placed in front of him four red, eight white and twelve blue counters.
28
Wenow come to the actual divinaticn. Take the bag and remove the remaining counters from it. Separatethem into their respectivecolours, placing them in small piles. As you do this secretly count them and the resulting total willbe either 25, 26, 27, 29, 30 or 31. With the remark that youwillconsult the Oracle, throughthecrystal, youremoveyour walletfromyourpocket and take out the card bearing the signs,lettersandnumbers. This is
placed on the table and the wallet is returned to the pocket. Bring out the crystal ball and place it on top of the card; then look into it. All you do is to note the appropriate number and the three lettersfollowingitin a clockwisedirection. For example should the number be 27, ‘the1,ettew following it are R.B.W., which indicates that the first person has a red card, the second a blue and the third a white. As a table trick I find it particularly effective.
COLOUR AND NUMBER PREDICTION TOM SELLERS
E
FFECT. The conjurer takes a small slip of blank paper, folds it up and places it on a small tray on his table. From his pocket he now removes four pencils, one red, one black, one blue and one green and they are placed beside the folded slip and all covered with a handkerchief.
todisplaythe cards thetricktakeson a better appearance. It you haven’t you’ll have to improvise one with a folded newspaper. A small tray. Four coloured pencils. A slip of paper the same size as those that Nine cards numbered from one to nine respecwillbeplaced inside the slots. On the outside a tively are now introduced and one is freely small blob of magician’s wax is affixed. selected. Next a free choice of one of the coloured pencilsisgiven.Reachingunder the Preparation. handkerchief the performer takes the folded slip The folded slips that go in theback of the and handsit to the spectator who did all the No. cards willhave to beseentofirst.Oncard choosing. He isaskedtoopen it and when he one four foldedslips are insertedin the slides. does so finds on it the chosen number written in Each carries the figure one written in a different the chosen colour. There is no force ! colour and slipped into the appropriate slot. This procedure is gone through with differing numbers with the remainingeightcards. The cardsin numerical order are placed along the stand. Have C a handkerchief, the pencils and the extra folded slipnearby. The trayrestsonthetabletop.
”PI Diwl A
9
Requirements. Nine cards as illustrated. Each carries a number on the front. The backs, which are not shown, have four small slides allowing a folded slip of paper to be inserted. If you have a stand
Presentation. Pick up the slip, fold it and place it on the tray towards the front, wax side uppermost. Show the pencils and placethemalongsidethefolded paper. Now unfold the handkerchief and drape this over the tray, pressing it down on the waxed part of the foldedslip.Point to the numbered cards and have one freely chosen. Emphasise the choice by picking up the card. With the card in your hand, ask for a choice of colour, and now handle the number card so that the righthand obtains possession of and fingerpalms the folded slip in a natural manner as the other hand takes the card away and replaces it upon the table. With your left hand lift the corner of the handkerchief and with the right reach down as though to take the folded slip, really bringing forward the palmed slip. The left hands picks up the handkerchief (and, of course, the original slip) and pockets it. Hand out the slip and have the contents checked and verified.
29
MY BILLET SWITCH
T
HE SLIPS of paper that I use measure three by twoinches. For usethey are folded once widthwiseand twice lengthwiseso that a billet liin. by +in. results. I prefer that the slips are cut from a fairly stifiishkind of paper with the result that when the folded billet is fashioned there is no tendency towards bending. The procedure for the switch is as follows :The mentalist has concealed in his left hand ablankbillet. It isheldbetween the top joint and the base of the second finger. (See Figure 1.) The left arm hangsdown at theside.Assuming that a spectator has written something on a billet, he is asked to refold it. The mentalist takes back the slip with his right hand, holding it at the tips of the second finger and thumb. He holds it aloft so that without any needfor comment it is obvious that thereisnothingconcealedin the hand. As he does this, he emphasises what has been done; i.e., that a spectator has noted some person’s name on a slip of paper. As he says this, the right arm drops to the side and he mentions that he wants another spectator to act as referee. He advances to another member of hisaudience and as he stands in front of himheraisesbothhands. At a point where they are about an inch and a half apart (Figure 2) the thumb of the right hand pulls back the spectator’s billet into the secondfinger
M ‘ agc i).
“ CHIP-TEASE ” (J. N. J. Price 6s. from your favourite dealer. The articles used in this very effective closeup penetration are a short length of red with a die affixed at each end and twodifferentcoloured pokerchipshavingaholeboredthrough the centre. At the commencement the two chips are on the rod and the magicianshows that it is impossible to remove either or both without taking off one of the dice. After the apparatus has been examined, the spectator selects one of the chips, say green. This chip after the die at the end has been removed is slipped on the rod after which the die is replaced and the green chip is a prisoner. Dice, rod and chip are then coveredwithahandkerchief, the spectator holding both dice through the temporary cover. Picking up the other chip which we’ll suppose is white, the magician reaches under the folds of the handkerchief. ‘ Remember,’ he says,‘green chip on the rod, white in my hand.’ His hand comes away from the handkerchief but instead of holding a WHITE chip he now holds the GREEN chip and when the handkerchief is removed the
grip whilst the thumb of the left hand pushes the dummybillet forward, almostatthesametime, the dummybillet is gripped at its rightside by thethumbandsecondfinger of therighthand (Figure 3). The hands hold this positionfor a few seconds in front of the spectator before the billet is handed tohim. If the readerwillonlytrythisswitcha few times I know that he will find it invaluable. spectator sees that the WHITE chip is now on the rod.Onceagaineverythingcanbeexamined. Here is another worthwhileadditiontothe pockettrickworker’srepertoire,andall for the absurd sum of six shillings. Dice, chips, rod plus the very necessary something come to you packed incellophane in an attractive envelope.We’ve seen the originators work this and obtain miraculousresults. The simplicity of the methodplus the carefully prepared instructions ensurethat you, dear reader, can do the same. An excellent buy ! “Perfecto Prediction,” by Tom Sellers (marketed by Supreme Magic, price %a . .).
Here is a very niceself contained item for the mentalist,thislatestbrainchild of that prolific originator, Tom Sellers. The effect is direct, indeed. An envelope is introduced inside of which lies a piece of paper or card on which is written a prediction. A card isnow quite freely selected from (if necessary) an examined and shuffled pack. Nevertheless the mentalist is right. Good routining and a gimmicked subtlety make this miracle possible. At the priceaskedyoujust can’t go wrong.
30
WHAT’S IN A DEAD NAME PETER WARLOCK
T
HIS IS my favourite billet test. Ever since Annemann published the “ Dead Name Test ” in Thayer’s “ Trick of the Month ” Club series, I have played around with the plot. One variation I published in Plans for Deception andanother in a copy of the Linking Ring. In each of these and also in the present contribution I have tried to overcome what I consider an inherent weakness of the original effect, namely that the slip on which the mentalist wrote could not be handed back to the spectator who wrote the name on the original slip. This method I have used for a number of years and I doubt whether I shall ever change for any other. From the spectator’s point of view, everything is fair, there is no fumbling and it is one of those heaven-sent opportunities for the mentalist who is a good psychologist, and who after obtaining the primary information, is capable of building up such a picture, that the person who wrote the name is converted to the fact that the mentalist is truly reading his mind.
The Ejject. On the mentalist’s table stands a wine glass containing two folded slips of paper. The performer, after a brief preamble, draws attention to the slips. One he removes, unfoldsand hands together with a pencil toa spectator with the added request that firstly he or she, clears their mind of any extraneous thought andthenconcentrates on the name of some famous person who has died, preferably someone like an artist, poet, writer or musician. In fact someone who has left a lasting legacy to mankind. This is the trend of the mentalist’s patter. The spectator writes, and having written is asked to refold the paper and handback the pencil to the mentalist, who in turn takes the folded slip. He holds it with his right hand so that it can be seen by all his audience. “ On this slip of paper a name has been written, a name to evoke memories. I am going to askthe lady (or gentleman) who wrote this name to build a picture round it and then I am going to visualise that picture. Until the end of this experiment because of the vagaries of the human mind, I would like you, madam, to actasa custodian of the slip.” The slip, still folded, is then handed to another spectator. Turning to his table, the mentalist takes the wine glass and tilts out the other folded slip on to his palm. “ On this slip of paper I intend to record the impressions I hope to glimpse in the writer’smind.” The slip is then opened andthe mentalist removes the pencil from his pocket. “ First of all, madam, I wish you to think of the phase of work connected with the person
whose name you wrote on that slip . . . Ah, yes.” The mentalist scribbles on the paper. . . . “ You are thinking of music . . . is that correct? ” It is acknowledged by the writer. “Now then the period of the music . . . . classical, romantic or modern? ” The mentalist writes again. “ It is romantic.” Again this is affirmed. “ Now please try to think of somepiece of musicwritten by this person . . . just a few lines of melody . . . I have the name now.” At this point the mentalist refolds his slip and hands it to the spectator who wrote the name, then turning to the custodian of the original slip he takes it in his hands and unfolds it remarking, “ And now for the first time let us see the name that was written.” He looks down at the paper and then says, “ Madam, the name you wrote on this slipe was that of Beethoven. Will you please open out the slip you hold and read all that I have written ? ” The spectator opens the paper and reads aloud . . . “ Music . . . romantic . . . Ludwig von Beethoven.” The Requirements. Three slips of paper folded into billets as described in “ My Billet Switch.” One pencil carrying an eraser at one end. A wine glass. These articles are disposed as follows : Pencil inouter breast pocket, two folded billets in the wine glass which is placed on the table. The third billet is in the left hand trousers pocket. The Presentation. The mentalist calls attention to the slips inside the wine glass. One is removed .and handed toa spectator together with the pencil. The mentalist explains what is required and whilst the ‘ dead ’ name is being written on the slip, his left hand goes ina casual fashion to his left hand trousers pocket and obtains possession of the billet, finger palming it as explained in the “ Billet Switch.” With the writing completed the spectator is requested to refold the paper. Moving towards her (or him), the mentalist first relieves her of the pencil and then the folded slip. With the patter already given the mentalist, in turning to another member of the audience who is to act as custodian, switches the dummy in the left hand for the billet in the right, the previously described billet switch beingused. The original slip is, of course, left in the right hand and the latter drops naturally to the side. The mentalist moves across to his table, and at this point comes the touch which makes the effect so clean, a touch, too, which obviates pocket work. The left hand takes hold of the stem of the
31
wine glass by the finger tips and with the raising of the right hand, the glass is tilted so that the slip wine glass by the fingertips and with the raising of inside the glass falls quite naturally on to the performer’s right palm. The right thumb pulls back the slip and then, after the wineglass has been replaced upon the table, the left hand comes unhurriedly back to the right, and the spectator’s billet is opened out whilstthedummy from the glass is fingerpalmed. The left hand holds the opened slip and the mentalistglimpses the namewritten. The right hand goes to the pocket for the pencil, the billet being retained in the fingerpalmed position until the completion of the effect. Should the mentalist find when he first looks at the billet that he has it so that the writing is upside down and difficult to take in at a glance, his best plan is to allow the left hand to drop and so adjust the paper, as the right hand goes for the pencil. As mostpeople tend to print, rather than write, such difficulty is seldom experienced. With the name in mind, the mentalist starts building up the necessarypicture. Taking our original example, ‘ Beethoven,’ he commences by writing the word, ‘ Music ’ but keeping it clear of the spectator’swriting. He starts to writesomething else, and then as though correcting himself,
says, “ No, that’s not right.’’ He reverses the pencil end for end, and rubs out the spectator’s writing, leaving on the paper only the word, “ Music.” He carries on from there putting down the period of the music.With a fair summing up of the spectator’s mentality, he may be able to pinpoint an actual work by the composer, and certainly should have a chance of classifying the choice of work such as Symphony, Concerto or Sonata. The work, such as Symphony, Conecrto or Sonata. The mentalistdoesn’thave to go so far, but if well schooled in the arts, it is surprising how far one can delve into a person’smindwith the very slightest of suggestions. He adds one more impression, finally adding the name. If the spectator has simply given the surname, the effect is still better if the full name is given. With the writing completed the slip is refolded and handed to the original spectator. The dummy slip is taken from the spectator and opened. Now for another telling touch. With the slip opened out, the mentalist glances at it and appearing to have the writing on it upside down, he turns the slip round. This is most convincing. The mentalist reads, apparently from the slip, the to open her slip and the powers of the mentalist name written by the spectator. The latter is asked are proved without any shadow of a doubt.
BOOKS “Magic 100 New Tricks,” by Bruce EHiott (Published in England by Messrs. Faber and Faber, price 15s.). The great advantage of a Bruce Elliott book is that it is written by a true journalist rather than a magician seeking to explain the manoeuvres and subtleties of his art. Those who are readers of the PHOENIX willhave already digested the main part of its contents in magazine form, but as we always think that book publication seems to improve the status of a trick published in a magazine, we feel certain that such readers will discover in this digest a number of magicalgemswhich they may have overlooked at a previous date. There are eightmainsections to the book. They deal respectively with close-up tricks, tricks with currency, ring, rope and silks tricks, selfworking card tricks, card tricks requiring skill, the ‘ Expert at the card table,’ mental magic and routined magic. As this is a book intended for the general public there will be many of our readers who will regret the publication of many of the subtleties stemming from minds of magicians like Slydini and the late Dr. Daley. It is a nice tribute to British magic to see John Howiewell represented with items like ‘ Ghost Thimble ’ and ‘ Reward.’ Whatever your taste in magic you’llfind somepleasingitem to take your fancy for Elliott is a connoisseur and
much like Annemann he was choosey as to what went into the PHOENIX. “Modem Magic Manual,” by Jean Hugad (English by Messrs. Faber and Faber, price 20s.).
Magicianswouldhave an eternal task in attempting to repay their indebtednessto that G.O.M. of magic, Jean Hugard. Few practical magicians write with such clarity, fewinwriting so easily show that magic is something more than the matter of learning a fewtricks. The present book is no exception. First published in America nearly two decades ago. It says a great deal for the quality of the book that today it reads just as freshly as it did then. The ‘ Modern Magic Manual ’ will be to the present-day magician what ‘ Modern Magic ’ was tothemagician of thenineteenthcentury, for Hugard’s purpose much like Hoffman’s is to give the reader a coverage of the overall field of magic. Actuallyheachievesmore than Hoffman, for in the mam this is a book of natural magicwhere the pretty mechanical toylike tricks are conspicuous by their absence. Well bound and illustrated, containing nearly of teaching, no four hundred crowded pages magician can afford to leave this book out of his working library.
*
32
A SELECTION OF‘
THE LATEST B O O K S THE DIA VERNON BOOK By Lewis Ganson N o need to extol the virtues of this great work. Price 451Postage 1/4 PLAYING CARDS HISTORY AND SECRETS OF THE PACK By W. GurneyBenbam 196 pp. Dozens of beautifully coloured illustrations. A few only, in mint condition! Price 35/Postage 1/4 AFTER-DINNER SCIENCE By Kenneth Swezey Hundreds of ‘-science tricks * to perform at the dinner table. 182 pp. Cloth bound, masses of photographs.
GRAND DECEPTIONS By Alexander Klein The World‘s most spectacular hoaxes, impostures, ruses and frauds.Fascinating! Price 21/Postage 1/1 ENCYCLOPEDIA OF CIGARETTE TRICKS By Keith Clark The only worth-while book on this cloth-bound subject. 304 pp. Fine book. Price 52/6 Postage 1/2 MODERN HANDCUFF SECRETS FOR MAGICIANS By Dick Norman Everythingyou need to know about escaping from handcuffs. 112 pp. Board covers. Price 60/Postrrge 6d.
*
Price 16/-
PoeffaOe l/-
THE GREATER MAGIC LIBRARY Conjuring’s greatest clasic, now available in 5 separate volumes, with a total of 1,000 pages. Price per volume 211Postage 9d. ABBOTT’S ENCYCLOPEDIA OF ROPE TRICKS
12* ‘ size ’ pages and ~ ~ ~ ~ ~ ~ trick’ ~ ~ b $ inew t ~ p e Price 21/Postage 7d. SCIENCE MAGIC ByKennethSwezey A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Price 16/Podage l/-
Write for our full Book List containing hundredsof Titles
TEE MAGICWAND
*
*
PUBLISHING COMPANY
T E E M A G I C WAND No. 253. (Vol. 46, Part 1)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks by Len Belcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS--. colourful $imble routine by Edwari Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” “Just Chance effect. THE SHOWER BATH ILLUSION by Jay Palmer-saucy and surprising. THE DIS= COVERY OF A MENTALLY SELECTED CARD by Arthur Carter-ar usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, feature8 and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
GEORGE ARMSTRONQ
6 2 W E L L I N G T O N R O A D . E N F I E L D ,M I D D L E S E X
The Magic Circle
I
President: Herbert J. Collings, Esq. Vice0President : Francis White, Esq. Clubroom and Library and Museum :
I
I
Hearts of Oak Buildings, Euston Road, London,N.W. 1.
WARLOCK’S
PENTAGRAM is publirhed on tho 24th d erch nath rad can be obtained direct from tho pebhbom for 117 per single copy. Annual Su&ri)lJa le/port fro.. PUBLISHfiD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publiatiw and bookm f a
Magical Theatxe :
King George’s Hall, W.C.
15th Ma:fhMancunian Magic ’’ PutiCUhrS
PETER
review should be mnt to the: EDITORIAL ADDRESS:
trom Hon. Secretary :
Pater Newcornba 38 Overdale Avenue N e w Malden, Surrey
24, l
Peter Warlock, Wordoworth Rd., Wallington, Surrcv.
Wanted b y George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in en. velopes if possible. ,4180 want many U. F. Grant and Grantand Menge mimeographed items. old unused ‘manuscript’ Sort out those items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goods are fully endorsed by t h i s Bulletin PUBLISHED BY T R L PROPRIETORS TRE MAO1C W A N D IUBLl6HIIPO C O U I A N Y . 61, WIIUIWOTON ROAD, ENllllLD. MIDDLESEX A N D PRINTED BY HERBERT W A L K E R & S O N (IRINTZM) L l p . . SBIDOEWORK$.IHIPLEY.YORKSHIRE
DIABOLO’S COIN VANISH DIABOLO (Russell Sharp) DIABOLO is the stage name of a n American, Russell Sharp. Married to a n lcelandicgirl soon after the war. he took up residence in Iceland and there practises as a professional magicbn. supplementing his income with Science fiction writing for American magazines.-Editor. T was way back at the first I.B.M.S.A.M. Convention that I first had the honour of watching your great close-up performer, John Ramsay. Though I had derived much pleasure from watching many of the British team in action and had rhapsodised over your Mr. Buckingham’s wonderful lecture on manipulation, it was the superbly individual magic of this little Scotsman that stirred my blood and though I never shall have the slow adroitness necessary to perform his intriguing “ Triple Restoration ” the lesson that I had in his room at the Sherman Hotel was an unforgettable piece of teaching and something that gave me a new slant on the beauty of close-up conjuring. Did I just mention “Triple Restoration.” I should have coupled this with an equal masterpiece, the “Cylinderand Coins.” It was thelatter effect which gave me the slow motion vanish that I now describe for Mr. Warlock’s readers. Fromthe spectator’s viewpoint. ,the magus holds a coi between the tips of his right hand irst finger. The hand is almost horithumb and ! zontal with the ground. The left hand approaches with palm to the audience. The fingers point ceilingwards. The coin is taken by the fingers of the left hand closing around it. There is no movement of thelefthand at all. Slowly the right hand moves a little to the right and in a natural manner point towards the closed fist of the left hand. The left hand is now opened and it is seen that the coin has vanished. Try this with a coin the size of an English penny or half-crown. The coin and your hands are the only things you require.
Look at the illustrauon. This is the position of thehands just before the apparent take-over of the coin. As the left hand fingers close over
I
VOLUME 12, No. 5
-
the coin. the left hand first finger presses against the edge of the coin. With a continued downward movement in closing the coin takes the position shown in the next picture.
2 The coin is completely masked by the 6ngers of the right hand, and as the left hand moves a few inches away, as though carrying the coin, the second finger of the right hand presses against the coin and the first finger eases its hold so that the coin is gripped now between thethumband second finger. The right hand finger now points t o the closedfist. Everything has been donein a most deliberate manner. a manner which must be maintained as the left hand is turned back of the hand nearest to the floor and then thefist is slowly opened revealing the vanish of the coin.
I/6. (20 Cents)
-
FEBRUARY I958
34
From the manner in which the coin is held in the right hand it can with the slightest of movements be transferred to either a thumb palm or finger-palm position. Those familiar with Mr. Farelli’s write-up of
Mr. Ramsey’s trick willsee thattheadaptation has changed what was a self working vanish, i.e. the coin fell into position to an aided vanish. Just try this out in front of a mirror and I guess you’ll be pleased with its natural deceptiveness.
A STRANGER RE-VISITS PARADISE PETER WARLOCK HEN “ Greater Magic ” first appeared, Bill McCaffrey’s “ Prizewinner ” was one of the outstanding card feats described. Though in this country it seemed to receive scant consideration (judging by the watching of performances) from magicians in this country, it was to form the basis more than ten years later for effects in the “ Premonition ” tradition. In 1955, Gilly Davenport marketed an effect of mine called ‘‘ Stranger in Paradise,” and those who have used it have been good enough to tell me how effective it has proved. In this effect, the appearance of one selected card as a stranger in a pack took on a new lookin so farthatit was the only card missing from its home pack. m-
Wishing to present this effect some little while back when at a friend’s house where borrowed cardshad to be used the following version was quickly devised. The Eflect. Two packs of cards (in their cases), one red backed and the other blue backed, are introduced. A spectator is requested to slip the blue backed pack into his pocket whilst anotheris asked to remove the red backed cards from their case and give them a thorough shuffle.
When the shuffling is complete the red backed cards are retrieved by the magician. Holding them in his right hand faces towards the audience, he asks one of the company to give him any number between one and fifty-two. Deliberately counting off thecardsone at a time until he reaches the card at the chosen number he removes it and rests it against a glass standing upon the table. We’ll suppose that it is the seven of hearts. The person having charge of the blue backed cards is now asked to remove them from their case and dealing them face up is to count down to the seven of hearts inthe blue backed pack. This helper goes on through the pack finding that he has fifty-onecards and thatthere is tu) seven of hearts. Finally the magician turns round the original seven of hearts and it is seen that this is the missinghlue backed card. Then from his inside pocket the performer takes an envelope which, on being opened, reveals a red backed seven of hearts!
Requirements. Two packs of cards, one red and one blue backed. Also a glass for the chosen card to rest against. Preparotion. Supposing that we keep to the idea that the seven of hearts is the “ stranger.” Remove this from the blue backed pack and also take out the Jokers thus leaving fifty-one cards. Replace these in the blue case. From the red backed pack remove any one card, the seven of hearts and the Jokers. Replace the pack in its case. Place the seven of hearts in an envelope and slip this in your inside coat pocket. Place the red backed card on top of the blue backed seven of hearts and rest them on top of the red card case. On top of these cards and the case place the blue backed cards in their case. The two packs in their cases are nowplaced on the table with the glass adjacent. Presentation. Pick up both card cases from the table with the left hand. Move across to a spectator on the right and with the left thumb push off the blue backed case, the right hand taking it. Be careful to keep the two cards on top of the red case in alignment. Tell the spectator to slip this case into his pocket, and as the action of taking and handing the case is gone through the left hand drops to the side and the little finger comes in between the cards on top of the case and the case itself. Apparently pass the case from the left hand to the right but in actuality as the right comes into position the two loose cards are palmed in the right hand which at the same time takes the case and passes it to another spectator who is then requested to takethe cards from the case and shuffle them thoroughly. The performer takes the case fromthespectator and slips into his left hand pocket, the right hand with the palmed cards has dropped to the side. When the cards have beenshuffled, the performer takes them with his left hand andas he moves back to his performing spot passes them to the right hand letting the two palmed cards fall on top of the pack.
35
The right hand at this point is holding the pack by the narrow ends between the thumb and fingers. The left hand moves across takes the cards on the long side whilst the right hand moves round and the left hand deposits the pack on the right hand so that the cards lie face down on the palm with the thumb on top. The left hand stays put for the moment and in that moment the left thumb triple lifts the top three cards and moves them over the left edge so they overlap the rest of the pack by about quarter-of-ana inch. Now using both hands the cards are fanned with the remark, “ You were good enough to thoroughly shuffle this red backed pack of cards . . . I want your help still further . . . I want you to give me a number between one and fifty-two. Nineteen. Thank youvery much.” Thefan of cards is closed but in closing the cards the stack of three cards is kept positioned and so with the number given, the counting commences. The right thumb as the left hand comes in pushes off the top three cards as one and the left hand takes them asone card. The next card is taken in front of the three, the performer counting two.” The next card goes across as “ three,” but at the same time the left thumbunder cover of thetake pushes across the rearmost red backed card. (This method of false counting is a great favourite of Francis Haxton’s and was first des cribed by him in “ Nonsuch Prediction ” which was published in this magazine some 12 years ago, a fineeffectwhichis still as effective to-day as it was then.) “
a
Now at this point the magician has a bunch of four cards in his left hand with a blue backed seven of hearts at the rear. He continues counting off the cards from the right to the left hand and as
he pushes off the eighteenth card with his right thumb and it is taken in front of the batch held by the left hand, the false count move is repeated and this time under cover of the take the bluebacker is left behind the cards held by the right hand. With the count of “ nineteen,” the blue backer is pushed off by the right thumb and taken by the fingertips of the first and second fingers of the left hand. The packet of cards held by the right hand is placed on the table and then the blue backed seven of hearts with face towards the audience is stood against the glass on the table. The cards in the left hand are then added to those already lying on the table. The gentleman with the blue backed cards is now addressed. “ Sir, please remove the case of cards from your pocket. I wishyou to take the cards from the case (performer takes case from him and drops it into pocket) hold them face up and counting carefully note the position of the seven of hearts in the blue pack.” The spectator counts through finding fifty-one cards but no seven of hearts. Picking up the red backed cards from the table, the performer with the backs of the cards towards the audience leafs through them at the same time saying . . . “ From this red backed pack . . . one card was freely chosen . . . don’tyou think it something more than a coincidence, that the choice fell upon the only card that had been removed from the blue backed pack.” As this is said the seven of hearts is turned round to show its blue back. “ And of course to make quite certain that there could be no confusion, I placed the seven of hearts from the red backed pack inside this envelope.” As this is said the left hand removes the envelope from the inside pocket. It is opened and the red backed card removed and shown.
VARIATION ON A THEME ROY WALTON
T
HE EFFECT : Any card is named and placed in an envelope which is sealed and in turn placed in the performer’s pocket. The twin of this cardisthen removed fromthe pack, initialled in pencil by a spectator and returned to the pack. A muttered hocus pocus and it is found that the initialled card has vanished from the pack. When the envelope is taken from the performer’s pocket and slit open it is seen that the initialled card has joined its mate ! Requirements. Two business sized envelopes made from stiffish paper. One pack of playing cards. A pencil. ~~~
Preparation. One of the envelopes is taken andabout a. quarter-of-an-inch down on one of the short sides a tear is made so that ingress into the envelope can be accomplished without unsealing the envelope. The width of the tear should be about an inch wider than the width of the playing cards being used. This envelope is sealed and placed in an inside pocket (preferably left side) with the torn part nearest the top of the pocket and away from the body. The other envelope unsealed is also slipped into the pocket together with a pencil. The pack of cards is in the jacket pocket. Presentation. Remove the unsealed envelope from the
36 pocket and also the pack of cards. Ask a spectator for the name of any card. Run through the pack and find this card, splitting the pack at that point and so dividing the cards that the face card of the left hand packetis the card named. In turning down this packet and apparently placing the chosen card face down on the table do a “throw change ” leaving an indifferent card on the table. Replace the right packet on top of left and double undercut bringing the chosen card to the top of the pack. The card on the table is now picked up and wthout being shown, sealed inside the envelope, and the latter is then placed inthe pocket alongside the torn envelope. It goes in between the envelope and the lining nearest the body. Now remove the twin card from the pack, have it initialled, place it on top of the pack and false cut apparently bringing it to the centre. Actually the twin cards are now on top of the pack. Add a false shuffle for full measure and then palm off the top twocards. After a brief
but suitable interval, reach into the pocket with the hand which has the palmed cards and in the act of removing the envelope which has the tear push both cards through the opening so that they are well and truly inside. Remove the envelopefromthepocket and place it tear side down on the table. Pick up the pack, leaf through it showing that the twin of the card has vanished. Pick up the envelope and tear it at theendwhich already has the tear on one side. Allowthe spectator to withdraw the two cards and at the sametimeconfirm that the initialled card is really there. It isessentialtouse stiff paper envelopes otherwise there is a tendency for the envelope to buckle when the performer attempts to insert the cards. An extra aid is the insertion of a small length of matchstick just beneath the tear so that in a plane opposite to the sides of theenvelope the sides of the envelope are kept apart.
A PRETTY SILK FLOURISH JAMES DOUGLAS ‘0eighteen-inch or twenty-four-inch silks of contrasting colours are required for this effect. Throw one over the right shoulder and twirl the other ropewise. Execute the tie over wrist knot without letting go of the ends on the left wrist. This is a well-knownflourish and should not require description. Nowremove the silk from the shoulder and tie a similar knot on the right wrist.
T”
The move that follows is a little hard to describe but if the reader follows it with the silks in his hands he should have no difficulty in understanding.
The protruding end of each silk is grasped by the opposite end and each silk is then slid off the hands on to the portion of its mate held by the opposite hand. The bundle supported by holding the ends in each hand is then thrown in the air in a perpendicular manner and as it descends the lower ends are caught by the right and left hands, i.e. one end in each hand.
Without pause the two hands are separated and a knotted silk is left in each hand. Though requiring very little practice this flourish has been productive of muchapplause, applause farout of proportion the little work entailed.
37
MAY I BORROW A BOOK? PETER WARLOCK
T
HE NUMBER of book tests where the mentalist is able to borrow a book from his host are few. At the time I first used this (way back in 1942) it was, to the best of my belief, unique in so far that no conditions were imposed regarding thechoice of word or words that the mentalist ultimatelydivines. It is an ideal effect for impromptu performance. ‘The Eflect. The mentalist (assuming that he is working in a house rather than on a platform) asks for the loan of a book. After receiving ithe glances through it and tells his audience the number of pages it contains. With the supposition that the number is two hundred and fifty, he requests that a number not greater than that be given him by a member of hisaudience.Let’s suppose that the number given is “ forty-two.” The mentalist turns to this page which he mentions is flanked by page forty-three. “ You have the choice of both these pages” he informs his audience, casually .showing those near him that hehas opened the book at the pages mentioned. He then places the book, still opened, page side down on the table. A member of the audience is invited to assist and with his help forthcoming the performer takes from his pocket a visiting card and a pencil. To the assistant he says :“ I want you to stand with your back to my table directly in front of the bookwhich I shall t u n over so that the selected pages forty-two and forty-three are uppermost. By putting your arm behind you you are in a position to touch the surface of either page. I shall give you a pencil and when I have walked to the furthest corner of the room and I giveyou the signal, I wantyou to draw a small circle, like this (here the performer draws a small circle on the visiting card), on either of the pages.”
The mentalist nowplaces the spectator in front of the book and then hands him the pencil. Next he walks away and when he has reached the furthest point he tells the spectator to make the pencil ring on one of the pages of the book. When it is apparent that the assistant has completed his little task, the mentalist walks up to him and asks him for the return of the pencil. With it the mentalist starts writing on the visiting card. When he has finished he folds it in half and hands it to a member of the audience. The mentalist now motions the assistant to his seat, then picking up the book.
“ Ladies and gentlemen,” he goes on, “ a borrowed book . . . two pages selected by one of you . . . a marking made in the dark . . . also by one of you.” The book is now handed to a spectator with a request that he looks at the word or words encircled by the assistant’s pencilled circle and reads them aloud. The result maybesomething like this :“e . . .c a s e . . . ~ ” “ And now,” this to the spectator holding the folded visiting card, “ will you please read aloud what I have written?” The spectator then reads out “ e . . . c a S e . . . W!”
The Requirements. Any borrowed book. A joke pencil that will not write. A Nail Writer. A Visiting Card. The Preparation. Nailwriter in position on thumb, visiting card and pencil in pocket. The Presentation. The performer asks for the loan of a book and with this forthcomingthechoice of page is asked for and the bookisopened at that point. Should by chance there be a blank page, ask for another selection, at the same time giving the reason. Those nearest the performer are allowed to see that the book has been opened at the page number given, and before placing the book on the table it is raised so that the pages are shielded from the audience. At the sametime the assistance of a member of the audience is requested by the mentalist. There is a little more to it than what I have said. As the performer shows the pagestotheaudience he notes and remembers the wordimmediately above the thumbtip. As hebrings the book into an uprightpostion he rings a circle round it using the nail writer. If the word is short he includes the final letter or letters of the previous word and also the first letter of the followingword.Don’t try and rush this. As the assistant walks forward the book is placed still open, pages down upon the table. Taking the visting card and fake pencil from hispocket and using the patter given in the “ effect,” the performer, holding the pencil near the point, appears to draw a circle on the visiting card. Actually it is the nail writer which does the work. The card is slipped into the pocket and the
38
pencil is handed to the spectator whilst the performer walksaway.When the assistant has performed his brief task, the performer takes back the pencil and sends the assistant back to his seat. Once again, using the nail writer technique the performer writes on the card the letters he circled and memorised. The card is folded and handed
to a spectator whilst the pencil is slipped into the pocket. The effect nears its climax. The book is handed to a spectator to read out the word or words circled; the other spectator with the visiting card reading out inconfirmation the mentalist’s correct divination.
ECENTLY Goodliffewrote an editorial in countless societies throughout the breadth which he gave thought to the spawning of of this country. Nobody woulddeny the good fellowship of any magicalsociety, nor for that matter the pleasure gained from meeting those of a similar interest, but unfortunately in many cases the smaller society aims, perhaps unconsciously, at a lower standard of performance. On the other hand don’t let it be thought that the largest society maintains, all the time, the highest standards. A visit to The Magic Circle Theatre on a Monday evening is sometimes only for the staunch hearted for there, despite its enormous library, its excellent lecturers and the example set by so many of its members there are some who take the stage without the necessaryclue. The magicalsociety in one phase must have a bad influence on magic, and this is the phase, namely that a bad magician can have an audience and what is more an audience whowill overlook every fault because they think that the performer is doing his best. If it is their best, then what the worst is like we don’t know. Quite recently we sat through ten acts, three of whichwerewell up to standard. Of the other seven we would say little, but with the many textbooks dealing with stagecraft and presentation we fail to understand any adult performer coming on to a stage with one loaded table and then during the performance placing used articles on the floor!
will be ready by the end of this year. Both of the books should be excellent ‘ buys.’
R
Both the Vernon Card Book and Tarbell Volume Seven are under way. Lew Ganson, now a civilian is immersed in the former whilst Doe. Tarbell writes saying that he hopes volume seven
Whensomewhileback we gave a talk on magical literature at the National BookLeague, we instanced the Vernon Book of Magic asan outstanding example of magic and publishing. We also had a display of books on magic and this particular volume had pride of place. In our own opinion it stands on its own and yet we have heard magicians say that there is nothing new in it. What do some people want? We think that we have read most of what Vernon has published. We have read his lecture notes and seen the famous manuscript. Nowhere in these has hishandling of the effects described been equalled. Congratulations to Larry Barnes on the production of his play the “ Gimmick ” at the Related Arts Club in Park Lane. The story of a magician and magicians, it brought to light the histrionic talent of Bobby Bernard. His performance, according to the reports we have seen, took firstclass honours. We can think of no other nation which, like Russia, seeks to encourage the bestamong its people. Whether the fieldbe that of art, music, sport or science, the standard always aimed is the best. One development which has just come to our notice through the medium of our good friend Horace King, is that there is in Moscow, ready for opening, a School of Variety. At this school the various types of estrada (variety) acts are taught and coached. David Chitashvili who toured this
39 country last summer and who will never be forgotten for his handling of the appearing and vanishing bowl of water will be one of its professors. In this capacity he will teach theart of illusion. The age limit for entrance into the school is thirty.
Kalanag continues to get first-class notices during his Continental tour. A performance at Copenhagen before Prince Knud andthe Prime Minister brought much treasured letters expressing the pleasure that this master of mystery had given to the writers.
BOOKS “ROPE ETERNAL,” or the d y six ways to restore a rope. By Dariel Fitzkee. Published by Louis Tannen, New York, price ........This is a reprint of an old book. It is concise and clear in explanation and has the typical Fitzkee analytical approach. Following a succinct preface, the author classifies the cut and restored rope effect into a number of methods and from those methods, singly or in complement, he shows thatall cut and restored rope tricks are stemmed. To the well informed magician there is little, in fact nothing new, and whilst he may not have applied the pro-
cess of analysis given in the text he will be aware of most resultant possibilities. At the same time as a reference book it is commendable. For the student of magic it is a necessity for within the scope of the fifty odd pages comprising the book, there is information that would take him many months to collect and collate. As in the “ Trick Brain,” Mr. Fitzkee shows that by interchangeability and adoption of certain methods new rope tricks can be evolved. That this is true he illustrates with three examples. Unfortunately from the general public’s point of view, whatever the method, unless it is so bad that the secret escapes, there is only one trick in which a rope is first cut and then restored. Well recommended.
THE BRITISH RING BANQUET, CABARET & DANCE Nearly two hundred members and their ladies cameto the Grosvenor Hotel inLondon on Sunday, March 2nd, for the annual British Ring Banquet. Many had travelled considerable distances. Among these were FreddyandMarian Carter from Huddersfield, Tommy and Phyllis Rowe from the Swindon area, Arthur Culpin and Elizabeth from Staffordshire, Eddieand Molly Dexter from Southport, Wilfred Tyler from Sheffield,Jeffery and Catherine Atkins from Southampton. The members and guests were received by this year’s President, Les. Levante and his wife, Gladys. Les. Downham, better known tomany as Marzinni, played the part of M.C. and Toastmaster in excellent style. The meal was excellent andthe speeches short.Afterthe Loyal Toast by the President, Edward Graves of “ World Fair ” proposed the toast, “ The British Ring,” the reply being made by the President. The second toast, the “ Ladies and Visitors,” brought forth a deal of wit from the proposer, Freddie Carter, and an equally good reply from Catherine Atkins. The dinner over and the floor clear, dancing started to the music of Robin Richmond with his Electric Organ. At a little after ten o’clock came the cabaret. Opened by Gerry King, a new face
at a magical function, a literal whirlwind of manipulation with cards, thimbles and cigarettes was presented. A skilful act but the speed at which the performer worked gave his audience little chance to appreciate exactly what he was doing. He was followed by John Wade, an experienced concert party artiste. Comedy patter was attached to the Rigid Rope, Turnover Candle, Thimble multiplication and Percy the Penguin. A break from magic with Clifford Stanton who well might be called the man with a thousand faces. Incredibly quick facial disguise plus witty lines made this act a show stopper. To bring the cabaret to a close came Paul Arland, the Merry Angler, who during the past month has been appearing at the Embassy Club. Many will have seen Paul’s act through the medium of television. If they have, they have missed something most important, the gleaming gold of the many fish that he produces from space, handkerchiefs, glasses, etc. A very novel act which well merited the acclamation it received. During the evening it wasverynice to see David Nixon arrive after completing his weekly stint on “ What’s My Line.” A very pleasant evening indeed, with everyone praising the organisers and saying, “ Here’s to the Next Time !”
40
ANNEMANN’S
EN R A P P O R T is the only requisite, and you can begin the moment you EN RAPPORT is Annemann’s supreme effort to give the arrive! fraternity a practical and easily learned two-person routine of telepathic oddities. EN RAPPORT is the EN RAPPORT has been audience tested.You have ONLY complete programme of its kind offered, and has probably seen many typescrip te1ep:thy acts advertised been developed over a long period and little by little in the past. The inventor thinks it good. is You refined through actual performance to the nth degree of ‘. think it has been tested, and buy. Then you find that showmanship. it is impractical in actual performance.‘, As a contrast Annemann performed this act as a repea!,” show EN RAPPORT is designed to fulfil the need of advanced following normal bookings of his one man mental amateurs and semi-professionals. Fromstart to finish act on no fewer than 53 occasions over a period of just the routine can be well learned in two evenings. From over four years, earning fees ranging from the equivalent then on it is strictly a matter of presenting the act before at the time of from f20 to f70 per performance! an audience to gain the confidence necessary to a proEN RAPPORT runs approximately forty minutes for the fessional standard performance. fullact, and afterthe introduction tests are made to EN RAPPORT is NOT a question answering act, nor is ascertain if conditions are right for telepathic communiit a telepathic act of the type which requires many cation. The routine continues with cards, coins, notes, months of arduous study and rehearsal. This modern names, dates and pictures. The various effects are Annemann routine is for the many who perform but surrounded with drama and all phases of abnormal occasionally yet want theultra of professionalism. It mentality are shown. has been arranged for presentation before from as few EN RAPPORT is now published as a finely printed and as five people to as many as 500. In the drawing room, fully illustrated book with illustrated board coversat the club or on the stage! produced in the usual first-class Armstrong manner. EN RAPPORT is NOT an act of apparatus, Forty Price 12/6 Postage 6d. minutes of mystery are carried in a briefcase, and the FOR THIS COMPLETE TWOmPERSON ACT act can be shortened to as little as ten or twelve mystery; DEMONSTRATING EXTRASENSORY packed minutes for the shorter show. No at location preparation is needed. You ask for nothing. An audience PERCEPTION AND TELEPATHY. From your Local Dealer, or direct from ”
“
“
”
“
”
“
G E 0R G E A R M ST R 0N G
62 Wellington Road, Enfleld, Middlesex.
T H E MAGIC W A N D No. 253. (Vol. 46,Part 1) Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks by Len Belcher-THE CYLINDER O F HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful thimble routine b y Edwarf Victor. Also by Edward Victor-Three Card Sleightr. SHEER CHANCE by Peter Cavour-a “natural” “Just Chance effect. THE SHOWER BATH ILLUSION b y Jay Palmer-saucy and surprising. THE DISCOVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gcprdon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, feature8 and articles complete a FIRST RATE ISSUE.
Price for this massive book-only 7/6 : Postage 76.
GEORGE ARMSTRONG
-
6 2 W E L L I N (G T O N R O A D , ENFIELD, M I D D L E S E X
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Muaeum :
Hearts of Oak Buildings, Euston Road, London, N.W 1. Magical Theatxe :
King George’s Hall, W.C. April 3 r c l ~
Doctor’s Orders
”
Particulan from non. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM i@ published on tho Mtb of e8ch m r t h md can be obtained direct from tho pubbbon for 117 per single copy. Annual S o b u d p t t a 181peclt free.
PUBLISHBD
BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex h a n u d p b for pabliatioa and bookm for review should k sent to the: IGDITORIAL ADDRBSS:
Peter Warlock,
24, Wordrworth Rd., Wallington, Surrey.
Wanted by George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in en0 velopes if possible. Also want many U. F. Grant and Grantand Menge mimeographcd items. Sort out those old unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goods are fully endorsed by this Bulletin ?UBLIIHBD BY T H X ?ROPIlIXTORI T H X HAOlC WAND W B U I H I I I O COY?ANY. W W N I W O T O N ROAD.XNIIBLD.
UXDDLXUBX
THE MAGIC OF JAPAN DIABOLO (Russell Sharp) Phase 3. Whilst Russell Sharp tends to think dons mechanicallines as witness hispresentseries of articles in *‘Abracadabra,” he has been gmd enough to send us a couple of items with no mechanical associations. One, a coin vanish we publishedlast month, the second is the present effect which is a glorified version of Snowstorm in China.”-Editor. “
OR A TRULY oriental touch in a magic programme I guess there’s little to touch Snowstorm inChina ” (actually it’s a Japanese trick therefore my title!). To get a certain completeness and lengthen the trick the following routine came into being.
F
‘I
Effect. Phase I . The magus shows five sheets of coloured paper. They are placed together and torn across several times; finallythey are squeezed into a ball. The ball of paperisthendroppedinto a. narrow glass goblet. Taking a fan and gently fanning the goblet, the ball of paper rises and falls. The fanis placed aside and theball of paper tipped out into the magus’s hand. Showing his hands to be otherwise empty, the ball of paper is unfolded to show the pieces of tissue restored. Phnse 2. ‘The pieces of paper have a quarter of their length torn away from them. These quarters are pushed into a glass, a jug of water is taken and some of the water poured on to the paper in the glass. Taking a chopstick with the right hand the sodden papers are lifted fromthe glass the left hand taking hold of them and squeezing out the surplus moisture. The chopstick is placed down, andthefanis taken again, used to fan the left hand, and from it a stream of vari-coloured serpentine pours on to the floor. When all the serpentine has flowed from the hand which is shown to be empty, the paper is picked up from the floor.
VOLUME 12, No. 6
-
From the serpentine, strips of different colours are torn, crumpled, and dropped into the glass of water. Once again the chopstick is taken by the left hand and the sodden pieces removed. Once again the left hand takes them, squeezes them. Once more the chopstick is placed down. the fan taken. The left hand is fanned and from it a cloud of squares of coloured paper emerge completely filling the stage !
Requirements. 1. One large Japanese folding fan. 2. Ten sheets of tissue paper each measuring ten inches by eight. Two are red, two blue, two green. two yellow, and two purple. 3. A small coil of serpentine (mouth coi1.-
Ed.). 4. Some large sheets of coloured tissue paper. 5. A glass jug containing water. 6. A narrow glass goblet. It should be approximately twelve inches high. Alternatively a straight sided lamp chimney could be used. 7. A length of hair or nylon thread. The exact length can only be arrived at by experiment. 8. Two chopsticks or thin wooden sticks. 9. Some Scotch tape.
For the ‘‘ snowstorm ” effect the large sheets of tissue will have to be taken and cut into pieces measuring approximately three-quarters-of-aninch square. The best way isputthe sheets together andfold them several times andthen using a very sharp pair of scissors cut through as many thicknesses as possible. (This has been well described by Dai Vernon in his priceless book “ SelectSecrets,” and the actual “ Snowstorm ” effect follows the procedure laid down by him), I guess you’ll find the pieces stick in wads and so just place them in a cardboard chocolate box.
I /a. (20 Cents)
-
MARCH 1958
42
X-
/
n
The Preparation. First of all place five of the colour sheets of tissue on one side. Theseare pieces thatthe audience see first of all.
3
The papers in this state are placed inside the inner breast pocket so that the bundle is furthest from themagus’s body. The goblet is placed on the table (the table should be on the performer’s left). The fan, in a closed state, is placed just in front of the goblet. This set-up now accounts for everything that takes place in Phase 1. Phase 2 concerns the change of paper to serpentine. The articles concerned are the chopsticks, the coil, the jug of water and the glass. Take the coil and with the aid of a small rubber band affix it to one end of the chopstick (illustration 4). This
43
method allows for a quick release and gives no complications. This chopstick is placed at the rear of the table on the right of the magus so that the end with theserpentineattached is hidden from view. With the glass and jug on the left-hand table all the preparation for the second phase is complete.
Preparation for Phase 3. Let’s take the words of Vernon : “ Assemble the stacks of small squares so that when pressed together they are about an inch thick. It does not matter how irregularthe edges, it is not necessary for the papersto be squared up. These stacks are placed in the centre of asquare of tissue about five inches by five inches and the fourcorners are brought up around the package and screwed down close tothecut papers. The resulting tail is thencut off fairly close andto prevent the package from opening when handled, a piece of transparent Scotch tape is stuck over the twisted part which will hold the package securely. “ With a razor blade, cut two slits along the side of one of the folds in the package and push the second chopstick so that it will hang securely near one end. The stick is now placed nearby the other stick so that this package is hidden by the table top.”
With this done you have completed allthe preparation for the three phases of the trick. The Presentation.
Tell your audience that you will show then1 some oriental magic, and thsn let the whole thing speak for itself with a background of music.
Show both hands clearly empty and remove the papers from the inside pocket with the left hand. As the left hand takes the papers it closes over the ball of paper attached to the sheets. Bring the folded sheets in front of the body and holding them at shoulder height, turn the left hand so that the palm is seen to be empty. At the same time the right hand comes across and takes the pieces at the right-hand side. The ball of paper is now nearest to the performer’s body. Using the fingertips only, open out the sheets. The right hand takes a sheet at a time from the left hand and as each sheet is taken it is placed behind the sheet of red. Finally the left and right hand separate, the left hand taking away the red sheet which should now be the one nearest to the audience and places it behind the others. The position of thepapers is now as it was at the beginning. The papers are now torn into halves and then quartered. The pieces are screwed into a ball. All this is done as much as is possible with the fingertips so thatthroughoutthe procedure the palms can face the audience and be seen to be empty. Now you will have a ball of torn papers to which is stuck a ball of untorn papers. In the final stage of screwing up the torn papers, bring the ball of untorn paper to the front. Hold both balls as one between the thumband first finger of the right hand. Don’t forget that attached to the untorn papers is the length of hair!The right hand apparently places the ball of screwed up paper into the left hand where it is taken at the fingertips. Actually in the process of passing the papers the ball of torn papers is torn away from the untorn ones and fingerpalmed as the movement is made. The right hand then moves down and takes the goblet and when it is raised to shoulder height the ball of papers held in the left hand is dropped inside it. The right hand reaches down for the fan. (Don’t forget, you’ve still got a ball of torn papers fingerpalmed !) The fan is opened and the goblet held to the left of the magus as the fan comes into action. With the fanning the left hand moves forward slightly andthe ball of paper rises. It is allowed to sink and then to rise again and finally to sink. The fan is replaced on the table, and then the left hand tilts the goblet allowing the ball of paper to fall out into the right hand which, still keeping the original torn papers palmed, holds the untorn ones at the fingertips. The right hand moves forward allowing thehairto break away from the paper ball and at the same time the goblet is replaced on the table. Both hands assist in opening out the papers and showing that they are restored. End of phase 1. The right hand holds the papers and the left tears off about a quarter of their length. The right hand crumples up theremainderand in this crumpling the ball of torn pieces is screwed up with them. The unwanted pieces are then thrown
44
offstage. At this point the magusisholdingjust five small pieces of paper. He places them inside the glass and taking the jug of water pours some more into the glass. The chopstickwith the coil attached to it is picked up with the right hand. In the taking the hand completely conceals the coil. the left hand comes across takes the other end of the stick and pulls it from the right hand which has the effect of allowingthecoiltoslidefrom the stick and the rubber band to expand and drop unnoticedon the floor. The stickisusedto stir the papers around and thenitispassedback to the right hand which, with its aid, lifts the sodden paper from the glass. The left hand takes the paper at a point just over the mouth of the glass and removes it from the end of the stick, then squeezing out the surpluswater. The motion of squeezingmustbe accentuated, for then the performer drops the stick and takes the paper fromtheleft hand and still continues the squeezing. At this point he gets the sodden papers into a crotch palm position. They are apparently passed back to the left hand, actually however, the coil is taken by the left hand the palm position being held. The right hand picks up the €an again and fans the left hand. The fan is placed down and the right hand still having the wet papers palmed reaches inside the left fist and starts
pulling at the centre of the coil. Once the movementis started the serpentine willflow from the hand. When it has all been released the left hand is opened and shown to be empty. The right hand picks up the serpentine and both hands take part in bearing of differentcoloured strips. These are finally taken in the left hand whilst the right hand places serpentine and sodden pieces on the table in front of the fan. Oncemore the performeris clean, simply holding a number of strips of coloured paper. Finally to phase three, the “ Snowstorm.” The strips of papers are crumpled and dropped into the water,oncemore the righthandtakes a stick, but this time the stick with the package on it from the table. Precisely the same moves take place so that finally the right hand holds the sodden strips and the left hand has inside the package of small pieces.Astheright hand goes for the fan, the pieces are dropped, the presence of the serpentine concealingthem. The fan ispicked up opened out. The left hand turns its back to the audience and thefingersbreak and loosen the packaging. Fanning immediatelybelowthe hand a terrific shower of coloured paper is produced. Once the “ snowstorm ” is started, fan as hard as possible so that the pieces will scatter in a wide direction and, in fact, seem to fill the stage.
SILVER TO COPPER PHOA YAN TlONG
T
HE PAPER fold for vanishing a coin has received quite a deal of treatment from may sources. One thinks of Gus. Davenport’s lovely vanish described in “ My Best Closeup Trick,” and there have been excellent contributions from Jack Chanin, and also from Ed. Marlo in his recent book, “ CoiningMagic.” It was, however, Edward Victor and Joe Stuthard who first Eut forward the idea of changing one coin for another, and the followingeffectdoes just that, namely changing a silver coin for a copper coin. The handling and method of fold are offshoots from a Jerry Andrus coin production effect which appeared some time back in, I believe, the Genii. Verysimple, the effect takes this form. The performer shows a small rectangle of paper on bothsides. A silver coin is now placed on the paper which is folded round it in a most deliberate manner. The performer taps the contents of the package with his small wand or pencil and the evidence of genuine metal within is unmistakable.
Squeezingthepackage and thus breaking the paper, a copper coin is forced through the opening, and the paper dropped upon the table for examination. The original silver coin, can, should theperformerwish,bereproduced in a manner that the conjurer dictates. The requirements are simple :1. A copper coin (a penny). 2. A silvercoin (a half-crown). 3. A piece of paper measuring four inches by six. 4. A pencil.
It is advisable that the table at which the conjurer works should be covered with a cloth. The absence of this may make one of the coins ‘ talk ’ during the routine. The preparation consists in taking the sheet of paper and creasing it in four places as shown in illustration 1. The pencil should be in the outer breastpocket, the copper coin is palmedinleft
45
hand. The silvercoin and thepiece of paper lie o n the table. The performer is seated.
until it isstopped halfway. The right hand now takes the folded paper as in illustration 17 and the left hand takes the pencil from the table and taps Presentation. the paper (illustration 18),so that the spectators can hear the sound of metal inside. The pencil is The paper is taken as in illustration 2, so the inside folds are uppermost. The copper coin is replaced on the table (or it may be replaced in a 'concealed by the paper which, as youwillnotice,packetwhere at the Same time the palmedcoin is between the first second the maybe disposed of). The packet is then folded as left hand. The right handand takes holdfingers of the Of paper and pulls it through the fingersreversing it. Once in illustration 19 and placedagainst the side of a more it takes up a similar position in the left hand glass (illustration 20). A Hocus ~ C U ''S and but this time inner folds are nearest to the hand taking the paper it is squeezed so that it is broken (see illustration 3). It is in this way that the paper is placed on the table, the hidden coin being left and the copper coinmakes its appearance, the underneath it at the pointshown in illustration 4. paper then being dropped upon the table. Now you can see the reason for having a cover on the table. The pencil is taken from the pocket by the right hand. It is placed on the paper in the position shown in illustration 4. The left hand then takes the upper end of the paper (illustration 5 ) and as the right hand moves the pencil forward slightly the left pulls the paper towards the performer so that by the time the pencilisclearof the paper (illustrations 6 and 7) both sides 8 of the paper have been seen and by the slight movement inthe the showing the copper coin has takenup the position shown in illustration 8. L "
-
,E) l
The silver coin is now picked up and placed centrallythein fold shown in illustration 9. The folding of the silver coin within the p a p e r n o W takes place. Illustrations 10, 11,12 and 13 show the course of this. Illustration 11 is included to show the viewpoint ofthe spectator. Notice how, the silver coin during the folding is shifted slightly to the left, so that when the paper is folded aroundboth coins they occupy the positions shown in illustration 14. G r i p p i n g the copper coin throughthe paper the package is tilted as in illustrations 15 and 16 the silver coin falling intothe left hand palm, and almost simultaneously the left hand thumb positions itself as shown in illustration 16 so that with the right hand leaving go of the package, the copper coin slides down inside the paper
\+-
\ I
12
19
20
46
FOUR WHITES BRIAN GLOVER
A
FEW YEARS back Dr. Jaks released to the magical fraternity an excellent close-up effect called “ Four Blacks.” At a later date Alex. Elmsley, through the medium of Harry Stanley, brought out a variation called “ What card?” It was the study of these two effects that brought into being “ Four Whites.” Efject. The magician hasacard selected by the simple process of having a spectator cut the pack. The card on top of the cut is not looked at, but its position is marked by reversing thecut off portionontop of it. Four cards, white on both sides are shown and are counted on to the table. Two of the four are selected and placed aside for thetime being. Now the card selected is looked at and it is taken and placed face down between the remaining two white cards. On pronouncing the mystic words “ Hocus Pocus,” the seZected card is shown to be blank, whilst the missing pips are discovered on the undermost white cards!
Requirements. 1. A pack of cards. 2. A duplicate of any card in the pack. We’ll say it’s the seven of diamonds. 3. Adouble backer to match the pack. 4. A blank card with matching back. Initial Preparation. First you must prepareacard of normal thickness which is blank on one side and the seven of diamondsontheother.This is best made by splitting the two necessary cardseither in adry or wet state,thedry splitting will give you the better surface (actually all the cards mentioned by Brian can be obtained to match Aviator cards.Ed.). The regular seven of diamonds is now treated with roughing fluid on its back whilst the blank-face card is roughened on the face.
Set-up. The main part of the pack is placed face down on the table. The blank-face card is then placed face up on top and on top of it goes face up the roughened seven of diamonds. This brings the two roughened surfaces together. Three all white cards plus the blank one side and seven of diamonds the other are set up in the order prescribed by Dr. Jaks. Presentation. The pack is taken and fanned face up, care being taken not to disclose the reversed cards. It is thenturned face down, and a spectator is invited to cut the pack anywhere he wishes. This done,the face down cut at which he has cut is indicated by the performer, and to mark its position the cut-off portion is turnedface up and placed on top (The Henry Christ force). The four white cards are then shown to be blank on all sides as in Dr. Jak’s method. Twoare selected from the four. If the selected pair includes the fake card, they are stacked together, fake card on top. then reversed and placed in a prominent position. T,he remaining two all whites are placed together in fan formation near the pack. If the choice falls on the other a change of patter covers the equivoque so that the same result is obtained. At this point the conjurer says that the selected card will be noted for the first time. He takes the pack and fans through it until he reaches the first face down card.Thankstothe double backer this will be the two roughened cards. The two cardsareturned over as one to show what appears to be the seven of diamonds. It is turned face down again and this time only the top card,the blank faced card is slid off and then placed between the two white cards. The routine is then brought toa successful conclusion as detailed in the “ effect.’ ’
CALL THAT NUMBER PETER WARLOCK ‘UCH water has flown under London Bridge since theday when JohnNorthernHilliard presented his famous telephone effect to the magical fraternity. A truly miraculous effect which never seems to have been used as much as it should. There have been many alterations in the manner of coding the name of a selected card, but few in which the clear cut effect of the originator has been maintained. Many years back, there was an excellent article in the Sphinx dealing with the methods and subtleties employed for the pur-
M
’
pose of obtaining the effect of card telepathy by telephone. The excellence of many of the methods was marred by the fact that the enquirer had to code thecard by a series of remarks. Myown experience is that the simplest sentence can lose shape from the time that it leaves the performer’s lips to the time when it is apparently repeated by the helper. Wishing to use some form of the effect in a programme of mental and psychic effects given to
47
:a Summer School at Loughborough College a few years ago I made use of the &st of the two methods to be described. The second method I made use of at the H.Q. at which I was stationed during the War. The effect is similar in each case, namely that a spectator is handeda pack of cards with the request that he shuffles it and asks his neighbour to select any one card. Whilst this is taking place the mentalist has informed his audience that he proposes a demonstration of long range telepathy, he acting as the transmitter of the thought, whilst his wife, some two hundred miles away will endeavour to receive it. The mentalist asks to see the card selected and then taking back the remainder of the pack, asks the spectator to ring his (the mentalist’s) home number, ask to speak (in this case) toAnn Warlock, telling herquite simply that an experiment is being conducted in which her help is required. When the exchange has connected the number, the answer fromthe telepath is that the experiment concerns the matter of a playing card which she envisages as the . . . of . . . The name of thecard given agrees with that chosen by the spectator. The secret lies in the fact that the spectator is restricted in his choice. The pack used consists of four similar of thirteen cards. The cards used by myself are :Ace of clubs Two of hearts Three of spades Four of diamonds Five of clubs Six of hearts Seven of spades Eight of diamonds Nine of clubs Ten of hearts Jack of spades Queen of diamonds King of clubs. One set of thirteen is taken and shuffled into a well mixed order. The remaining threebanks arethen assembled in asimilarorder. The four banks are then assembled toforma complete pack. An ordinary pack with similarbackpattern is alsorequired.This pack is placed horizontally in the left-hand jacket pocket. The prepared pack is placed in a case and dropped in the right-hand pocket. The Presentation. The prepared pack, in its case, is taken from the pocket andaspectatorisaskedto help. Removing the pack from the case, the mentalist gives the cards a casual fan and then hands the pack to the assisting spectator with a request that he shuffles the cards and then has one selected by another spectator. The performertakesback the remainder of the pack and drops it into his pocket so that it takes up a vertical position. Whilst this has taken
place he has explained what he intends doing. Now he looks at the chosen card. If it is a CLUB or HEART he refers to his assistant by Christian name and surname (in this case Ann Warlock). If, however, it is either a SPADEor DIAMOND, then it is Mrs. Warlock. If the card is black, then the spectator is asked to take the card with him when he goes to the telephone. If the card is an Ace, two three or four, the spectator is told to ask in his own words the name of the cardthat is being thought of. Now the spectator cannot go wrong on this. With this form of address plus the use of either Christian name or Mrs. the assistant knows that it is one of two cards. To make certain of theactualcard, she says to the person, “ To help me get an accurate picture willyou please look at the card you are holding.’’ The spectator’s answer resolves her problem and she names thecardthat has been thought of. If the card is a five, six, seven or eight, the spectator is asked to tell the assistant at the other end that her help is required in an experiment. The word experiment will not be forgetten. Once again using the same methods, the assistant arrives at the correct answer. If the card is a nine, ten, Jack or Queen, the performer tells the spectator that the assistant is capable of producing automatic writing, so will he please ask her to write down the name of the card that is being thought of. Once again using the same procedure the medium names the correct card. The thirteenth card is the real humdinger. Should the king of clubs be chosen, the mentalist just asks the spectatorto ring the number, say nothing and wait fortheother party to speak. Explain that your wife is expecting the call at about this time and will be at the other end of the line waiting forthe call. Incidentally whilst the spectator is phoning, the mentalist removes the ordinary pack from his pocket in a casual way and drops it on the table. Method 2. This method which I used in my Unit on a few occasions calls foran internal switchboard. Whilst a pack of fifty-two different cards could be used I preferred to keep to the four bankset-up. The switchboard operator is told beforehand that during the evening he will be asked for a call to the mentallist’s home. In this case the number was Enterprise 1604. The numbers I told him would range from 1604 to 1616. Whichever numberhe was given he was to ring 1604, but before passing the call to the spectator at my end of the line he was to tell mywife thenumberthathad been requested. All she hadtodo was to check this number against the list she had.Thishardly called for a list as 1604 represented the Ace, 1605 the two, and so on until 1616 was the King. This method is absolutely foolproof and ideal for use in an hotel.
48
ANNEMANN’S
EN R A P P O R T is the only requisite, and you can begin the moment you arrive! EN RAPPORT has been audience tested. Youhave probably seen many typescrip teleptthy acts advertised in the past. The inventor thinks it is good. You “ think ” it has been tested, and buy. Then you find that it is impractical in actual performance.,‘ As a Eontrast Annemann performed this act as ,,a repea), show following normal bookings of his one man mental act on no fewer than 53 occasions over a period of just over four years, earning fees ranging from the equivalent at the time of from E20 to f70 per performance! EN RAPPORT runs approximately forty minutes for the fullact,andafterthe introduction tests are made to ascertain if conditions are right for telepathic communication. The routinecontinues with cards, coins, notes, names, dates and pictures. The various effects are surrounded with dramaandall phases of abnormal mentality are shown. EN RAPPORT is now published as a finely printed and fullyillustrated book with illustratedboard coversproduced in the usual first-class Armstrong manner.
EN RAPPORT is Annemann’s supreme effort t o give the fraternity practical a and easily learned two-person routine of telepathic oddities. ENRAPPORT is the ONLY complete programme of its kind offered, and has been developedoveralongperiod and little by little refined through actual performance to the nth degree of showmanship. EN RAPPORT is designed to fulfil the need of advanced amateursand semi-professionals. Fromstartto finish the routine can be well learned in two evenings. From then on it is strictly a matter of presenting the act before an audie?Fe to gaip the confidence necessary to a professional standard performance. EN RAPPORT is NOT a question answering act, nor is it atelepathicact of thetype which requiresmany months of arduous study and rehearsal. This modern Annemannroutine is forthe manywho perform but occasionally yetwant theultra of professionalism. It has been arranged for presentationbefore fromas few as five people to as many as 500. In the drawing room, at the club or on the stage! EN RAPPORT is NOTan act of apparatus.Forty minutes of mystery are carried in a brief case, and the act can be shortened to as little as ten or twelve mystery; packed minutes for the shorter show. No ‘‘ at location preparation is needed. You ask for nothing. An audience “
”
“
Price 12/6
Postage 6d.
FOR THIS COMPLETE TWO-PERSON ACT DEMONSTRATING EXTRA-SENSORY PERCEPTION AND TELEPATHY. From your Local Dealer, or direct from
G E 0 R G E A R M S ‘l’ R O N G
62WellingtonRoad,Enfleld,Middlesex.
T H E MAGIC W A N D No. 253. (Vol. 46,Part 1) Three complere routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine withcards. Two apparatus tricks by Len Belcher-THE CYLINDER O F HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful thimble routine by Edwatd Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a “ natural ” ‘ I Just Chance ” effect. THE SHOWER BATH ILLUSION by Jay Palmer--saucy and surprising. THE DISCOVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM KNOWS by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
GEORGE ARMSTRONG 62WELLINGTONROAD.ENFIELD..MJDDLESEX PETER
The Magic Circle President: Herbert J. Collinps, Esq. Vice-President : Francis White, Esq. Clubroom and Library and M u s e u m :
Hearts of Oak Buildings, Euston Road, London, N.W 1. Magical Theatle :
King George’s Hall, W.C. ~
~
May 3rd-
Annual Banquet
Particulars trom Hon. Secretary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
I
WARLOCK’S
PENTAGRAM is published on the 24th of each month and can be obtamrd direct from the publishersfor 117 per single copy. Annual Sukription 181post free.
BY$ The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
PUBLISHED
kanuscripts for publication and books for review should bc rent to the:
EDITORI.4L ADDRBSS:
Peter 24, Wordsworth
Warlock, Rd., Wallington,
Surrev.
T
Wanted b y George Armstrong Any of the ‘ l C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U F. GrantandGrantand Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to:
George Armstrong 62 Wellington Road, Enfield, Middx.
goodsare fully endorsed by this Bulletin THE HASIC W A N D ?UPLl8RIRQCOY?ANT, W WELLINGTONROAD, H N P I P l D . MIDDLPSIX AND PRINTED BY BiIRBERT WALKIR (L SON (PR1-S) L I D . , BRIDOP W O R K 8 , 8HiPLEY, TORK8RIRE
*
MAGIC SQUARE TELEPATHY PETER WARLOCK
0
NLY in recent months have I discovered the
applause getting possibilities of the “ Magic Square:’ and could kick myself for not having used it before. It struck me that with a two person mental theme, the effect could be even greater andthe following was devised. The assistant who is also a psychic wonder is either taken from the room or placedin such a position thatshecannot have any knowledge of the preliminaries. The presenter of the act approaches a member of the audience or one of a committee upon the platfonnandasks him to think of a number between forty and one hundred. “Keep the number in your mind, sir.” Addressing his audience the performer harks on the antiquity of the Magic Square and turning a blackboard over shows an example. The blackboard also has a skeleton square drawn upon it. Coming back to the spectator who thought of a number between forty and one hundred, the perfdrmer tells the person that he wishes to try out a most difficult form of telepathy between the spectator and Madame X. ‘‘ You, sir, have a number in your mind. a number between forty andone hundred. Here are a number of cards carrying drawings of magic squares from themake-up number of forty to onehundred. As I run these in front of your face, sir, I want you to remove !hat opposite to the number you have in your mind; don’t let anyone see it, but concentrate onthe numbers in the square.” As he fans the cards for the selection, the performer turns his head away from the spectator.. From the time of the taking of the card until the medium steps up to the blackboard. the presented says no word, yet nevertheless at lightning speed the medium completes a magic square in the skeleton frame. the number being comparable to that thought of by the spectator.
VOLUME 12, No. 7
-
The Requirements. The requisites are simple and there are no unseengimmicks. First of all,and this takes a little time, you will require a matter of sixty-one blank cards (blank playing cardsare ideal). on each of whichis drawn in ink a magic square starting with 40 and finishing with 100. The other necessities are three pieces of chalk, a blackboard. an easel and a table. The table should be on the right (Performer’s) of the stage and the blackboard and easel in a central position. If the spectator assisting is one of a committee he should be placed on the right of the table. Preparation. On one side of the blackboard make two sixteenfigure skeleton magic squares. The one on the right hand side should be Elled in to give the basic square of 34 thus :-
S
11
14
I
13
2
7
12
3 1 6
9
6
5
4
15
10
This square will give the total of 34 on the vertical. horizontals, diagonals, any four adjacent squares and also the corner squares. It is the one given in Annemann’s “Book Without a Name.” and necessary calculation is based on his working with an added simplification. The sixty-one cards are assembled in consecutive order starting with 40 at the face of the pack and finishing with I00 on top. The three pieces of chalk are taken; one is left as it is, one has a quarter of its length broken off whilst the third has half its length removed. These pieces should be either in the presenter’s pocket or in a box on the table.
I /a. (20 Cents)
-
APRIL 1958
so ,
Now let it be said straightaway that the presenter does the real work and with certain information given, information that is coding in its most elementary form, all the medium has to do is to note the basic square and when completing the chosen square to add, with four exceptions, the same number (which can never exceed sixteen) to the figures in the basic square. The excepted squares are those carrying the numbers 13, 14, 15 and 16. Finally, the medium should carry a spare piece of chalk. Method and Presentation. Supposing that there is already a committee on the stage, one of their number is seated right of the presenter whilst the others take care of the medium during the preliminaries. The presenter explains how he wishes to conduct an advanced feat of telepathy using one of the committee as the sender of the thought. The conditions are stressed including the fact that no verbal communication shall take place after the helper has given the necessary ‘ ready ! ’ to the medium. The Magic Square on the blackboard is indicated. The medium is either escorted from the room or taken behind a screen by two members of the committee. The assistant on the right is asked to think of a number between forty and a hundred. Next, so that he can concentrate on the Magic Square of that number, he is asked to take the card bearing that numbered square. To allow for this the presenter picks up the pack of cards and liefs through them in front of the assistant. When the necessary card has been taken the pack is cut at that point and the presenter glimpses the bottom card whichwillbe one higher than the chosen number. Immediately the presenter subtracts from this number 34, then diving the result by4. This may result in an answer with nothing over, with one over, two over or three over. Let us quote four examples: Chosen number 58. 34 subtracted leave24 which divided by 4 gives 6. Chosen number 59. 34 subtracted leaves 25 which divided by 4 gives 6 and 1 over. Chosen number 60. 34 subtracted leaves26 which divided by 4 gives 6 and 2 over. Chosen number 61.34 subtracted leaves 27 which divided by 4 gives 6 and 3 over. Now the result has to beconveyed tothe medium in the easiest form. This is how it i s done with an age old principle. Imagine that the table is divided into nine squares. Counting the numbers like this.
FRONT OF TABLE 1 2 3 4 5 6 7 8 9 Now, if after the chosen number has been noted and the main result arrived at, i.e. ignoring for the moment any amount of one, two or three over. The pack of cards is placedcasually on the table at the numberindicated. It isplaced squarely, i.e. parallel to either edge. Now obviously the plan only allows for nine numbers whilst anything up tosixteenmaybeneeded. Therefore if the pack is replacedin a diagonal position on those parts of the table indicating 1 to 7, these numbers willcome up to represent 10 to 16. This can be noted by the medium in the briefest possible time. Now regarding the matter of one, two or three over. This issignalled by the sticks of chalk. If there is one over, the unbroken stick is placed on the easel rest, if two the next shortest piece and with three the smallest. In the presentation, the assistant after taking the card and the pack having been placedupon the table, the presenter using no words but by gesture (the assistant has been told of this in the preliminaries) indicates that he (thepresenter)will stand aside whilst the medium is recalled. or The presenter either stands wellback leaves the platform and the medium approaches the blackboard. Don’tforget that she carries an extra piece of chalk. As she passes the table she notes the position of the pack and remembers the number indicated.Reaching the blackboard she sees whether there is any chalk on the blackboard rest. According to what she finds she prepares to go ahead with the Magic Square. All she does as she fills in the figures in the Skeleton Square is note the corresponding figure in the basic square at the side. To this number she adds the main figure given, i.e. witha main figure of 6, she would place in the skeletonsquare 14 in the square corresponding to 8 in the basic square and so on with the exceptions of those squares in the basicin which the numbers 13, 14, 15 and 16 appear. To these she adds the main number plus the remainder, i.e.if she has been signalled 6 by the table and 3 by the chalk she adds 9 to the numbers 13,14,15 and 16.That’s all there is to it and the better arithmetician the medium is the more miraculous the effect will appear. On the average it will be found that the average chosen number lies between sixty and seventy so that no involved feat of addition is called for. When the Square isfinished the presenter turns round, asks the assistant to name the chosen number. Then as quickly as possiblehe tots up the verticals, horizontals, diagonals and all adjacent squares showing that each and everyone gives the chosennumber. Finally as a bonus he points out that the number at each corner comes to the required number as well.
ANENT “ABOUT TURN
” JACK AVIS, ALEX ELMSLEY, ROY WALTON, JOHN MESSENGER N PAGE 18, No. 3, Volume 12 of the PENTAGRAM we publish a lovely move of Hugh Scott’s for reversing the top card of the pack and at the same time bringing it to the bottom. The Professor himself, Dai Vernon, wrote to say how much he appreciated it and the other Saturday those who find in magic the calories unobtainable in ordinary food gave some thought to the possibilities of the sleight in question. First of all Roy. As a finish to an ‘All Backs ’ routine. At the close the pack should be face up in the left hand with one face down card on top. Right hand moves over to take the pack and gets ready for the ‘ About Turn.’ Hands go down towards tabletop,the sleight ismadeand as the hands ribbonspread thepack, a face up pack is seen. Roy carries on. Line up secretly a Joker at the top and bottom of the pack. Double lift the top two cards turn over, and leave face up on top of pack. Let’s say the card exposed is the ten of hearts. Right hand take pack in a get ready position, turns first palm upto show Joker at bottom of pack. As the pack is turned face down and placed on the left hand palm the ‘ About Turn ’ is made a which should jolt the spectator whonowsees Joker face up on top of the pack whilst a turnover of the pack with the right hand shows that the ten of hearts is at the bottom. Alex suggests that if a card is jogged out of the centre of the pack, the sleight can be executed just as easily. John comes up with this. At the topand bottom of the pack have duplicate cards, say the ten of spades. Double lift two topcards which show say the ace of spades. Turn down and deal face down the ten of spades on to table leaving ace of spades on top. Now take pack in right hand in a get ready position. Turn over pack to show bottomcard,the duplicate ten of spades. Left hand removes this card and places it down face up on table. The right hand turns pack over and places it on table at the same time executing ‘About Turn ’ move. The pack is then cut into two halves, the top half being placed to the right of the bottom half. Pick upthe face up ten of spades and place it face down on the right hand heap. Place on top the left hand heap burying the card in the centre of the pack. Tell your audience that with a mere spread of the cards you will cause the ten of spades to turn face up in the pack. The cardsare spread anditis seen thatthe ace of spades is face up, whilst the card they thought of as the ace of spades is really the missing ten of spades ! Now Jack comes along with these two. A card is selected and brought to the top of the pack. With the pack held in the left hand riffle the left hand side of the pack with your thumb at the same time asking the spectator to call ‘ Stop ! ’ when-
0
ever he wishes. At this command, cut off with the right hand all the cards above the break retained by the left thumb. The right hand should hold the cards in aget ready position for the ‘ About Turn.’ Flipupand over thetopcard of the left hand portion and at the same time ask whether you have been stopped at the chosen card. Replace the cards in the right hand on top of the face up card and at the same time execute the reversal move so that the selected card now lies face up on top of the shown face up card. Announce that you will cause the wrong card to change to the selected one. Lief through the cards until you come to the face up selected card. Stop and make certain thecard underneath is not exposed. See the spectator acknowledges the correctness of the card. By means of the Downs change throw the card below the selected card face down on the table. Replace the right hand packet on top of the left. The cards at this point are face up and the selected card is face up on the bottom of the left hand packet. Cut the pack bringing the reversed card to the centre. Take the card from the table and explain that what the audience saw was merely an illusion, they only thought they saw the chosen card. Turn over the card you are holding and prove the truth of this statement. With the pack held face down push the wrong card face up into the centre of the pack at the same time jogging it tothe right, and then in manner indicated by Alex. making the ‘ About Turn ’ in the action. Ribbonspread the pack and reveal that the wrong card has changed into the chosen one. Now Jack has an angle on the Magic Thrust. Double lift the two top cards showing say the ten of hearts. Turn down on top of pack and deal off top card leaving ten still on top of pack. Spread cards and have one selected. Square pack and cut for return of card to the centre. The right hand packet in the act of being placed on top of the selected card undergoes the ‘ About Turn ’ move so that the reversed ten of hearts goes face up on top of the selected card. Pick up the face down card from the table, look at it and with the words, “ I want you to place this card, the ten of hearts, face up in the pack wherever you wish. To make certain that I cannot control your actions take the cards behind your back.’’ The spectator is handed the cards behind his back but in the covered action the left thumb reverses the top card so that it is face up. Tell the spectator to turn the top card over and just push it into the pack just wherever he likes. When he has done this take the pack from him and ribbonspread the cards. The ten of hearts is reversed. Ask for the name of the selected card and then ask the spectator to take out and look at the card lying beneath the face up card which is, of course, the chosen one. Thanks a lot, Jack, John, Alex. and Roy !
52
TWO READ A BOOK PETER WARLOCK AY BACK in 1942 I remember writing up a two person book test called The Hand isGuided.” The principle employedwas one that had been little used though Zancig at one time had managed to get ten dollars a time for it. The effect I have mentioned meant a great amount of spade work, and though later it was marketed by an American with no credit to this writer, recent months have sent me back toit and in going back I have simplified the preparation without losing any of the effect.
W
“
First of all in any book test, I feel that the audience should never have reason to think that what is taking place is a feat of memory, i.e. in many cases a performer asks for a number to be given and a book is opened at the page bearingthat number, the performer then detailing particulars of the chosen page. The spectator could well give the performer credit for havingmemorisedthe contents of each page. Book tests as I see them should indicate a telepathic approach, and in such case where a number is requested and then given a book should be chosen, its title being unknown to the perfurmer. In this effect(offered as phase of telepathy between spectator and medium)whichisvery straightforward a number between six and a hundred is requested. The presenter notes this number on a slate whichisthen handed with a piece of chalk to the medium who sits facing the audience. The presenter indicates to a member of the audience a pile of popular magazines. “ Sir,” he says, “ I want you to look over and then remove any .one of those magazines.Don’t let mesee which one has been taken and please don’t let the lady here see, either.” The assistant takes one of the magazines, the presenter looking away. In fact the best thing is to have the magazines in a pile on a chair or table and both presenter and medium well to the front, thus there can never be any idea in the audience’s mind that anything is glimpsed. “ Now you have taken a magazine . . . . I want you to open it at the page number that has been freely given . . . . first of all look at the page heading . . . . concentrate on this and see whether the medium can pick up your thoughts . . . .” This is done and the medium gives details of the page measurement, heading. “ Now, sir, a harder test . .‘. . take the words at the corners of the page. First of all the top left hand corner . . . . (the medium starts writing on the slate), next the right hand corner (more writing), the left hand bottom corner and the right hand bottom corner (more writing by the medium).
The medium is asked to turn round the slate she is holding. On it printed in chalk and reading fromleft to right in twolines appear (say) the words “ DELIGHT . . . REALLY HAPPEN TOO.” The spectator with the book is asked to read out the words he noted. They are . . “ DELIGHT, REALLY, HAPPEN and TOO ! ”
Requirements. Nine sticks of chalk. Ten similar magazines of the Digest size. Ninemagazines of the same size but all different copies. A large slate or blackboard.
Some paper, pen, sellotape and patienoe.
Prepavtzrion. The books that I use are Ellery Queen magazineswhich run to ninety-sixpages. The performer is, therefore, concernedwith a matter of ninety pages assumingthat he ignores the first five or six. Remove the covers from all but one of the magazines and with a spot of adhesive rebind the similar magazines insidethe differentcovers. Thus though appearing to have ten different magazines the contents of each are identical. Now make up some paper tubes that will fit over a length of chalk. About four rollings of paper willgive quite a stiffish tube (see illustration 1). Making a note of the circumference
pieces cut some of paper of the same length. You will require nine tubes and nine pieces of paper. These papers willrepresenttenpages of the magazine. The firstwillcover 6 to 15 and SO on. The information neededis the titling atthe top and the four extreme words on each page. The
53 format on each piece of paper gives all this information, which is printed in small lettm like this :-
The lengths of paper are now taken, adhesive applied and rolled around the tubes. To keep the writing clean sellotape (Scotch tape) is used to ,cover the writing. The sticks of chalk are now pushed inside the tubes which should allow about half an inch to protrude. The matter of keeping the tubes positioned is one for the individual. First of all the sequence is important, i.e. the presenter must be able to place his hand on the needed information without hesitation. Therefore the following suggestions are made. The first is to have two holders, one ,whichwill take four pieces, and the other five, these holders being slipped into the right and left trousers pockets, respectively, or to have a box on the table whichwill allow the easy extraction of the necessary piece. The following illustration in which the chalks can stand upright meets the case.
The slate and books should be either on chair or table, the chalks being easily getatable.
Presentation. The medium is seated facing the audience well to the front of platform. Books and slate are picked up by presenter, the books being placed at the rear of the table which should be behind him. A number is asked for and being given, the presenter goes to either his pocket or box and takes out the piecewhich carries the information relative to that particular page. He writes the given number in large figures on the slate, and this with the piece of chalk is handed to the medium. She holds the chalk between the left hand, thumb and second fingers and in that position she can easily revolve it and note the contents of the titling and the chosen line. Remember that at this stage she already has the infermation though no book has been chosen ! The spectator is directed to choose one of the books and from then on until the close of the effect the total result depends on the showmanship of the presenter and his assistant.
PIN POINTED SLATES PETER WARLOCK HIS IS a slate writing effect which has been a standby with me for many years. Not only has it mystery, but in the handling there is great scope for a humorous presentation. prior to the commencement of the effect, the performer has two assistants from the audience seated right and left of him, respectively. The Eflect. The performer picks up a stack of three slates and a stick of chalk. Passing them from right to left hand one at a time and showing them to be blank, he adds that as he has no wish to confuse his audience hewillshow each carefully on boththe
T
sides. Taking the topmost slate heshows both sides and then with the chalk, marks a large ' 1 ' on one side. Turning slightly left the performer asks the assistant that side to raise her foot slightly. The slate is then placed blank side down underneath it and she is asked to rest her foot on the frame. The next slate is similarly shown and on one side a large ' 2 ' is chalked. This slate, also blank side down, isplaced under the foot of the right hand assistant. The third slate after being shown is replaced on f i e table and the chalk slipped into pocket.
54
From the table the performer takes a newspaperanda pin. Going across to the left hand assistant he hands her the pin and then holding the newspaper infront of her asks herto push the pin into the paper wherever she likes. When she has done this the performer turns right and asks the assistant on that side whether the pin has punctured a word on the reverse side or just struck a blank space. Onthe assurance that it has impaled a word, the assistant is asked to note the word and remember it. The newspaper is folded and replaced upon the table and the third slate picked up, whilst the right hand takes the chalk from the pocket. The performer remarks that on slate number one. he will, with a little psychic aid, have written in chalk the chosen word. In order to do this he will make use of the third slate. On this slate he draws with the chalk a pentacle or some similar magical sign and then holds it out above the slate under the left hand assistant’s foot. Asking the assistant if she notices anything happening to the slate under her foot, she will, in all probability, reply inthe negative. ‘‘ Then,” says the performer, “ you must co-operate a little more and remember that all the time we are attempting to get the chosen word written upon the slate beneath your foot.” Removing the slate from beneath the left hand assistant’s foot,theperformer shows that whilst there is a chalked message upon it,the message reads . . . ‘‘ The Chosen Word.” “ That wasn’t what I wanted. We must try again,” says the performer, and cleaning the slate he replaces it under the assistant’s foot. To the right hand assistant he says, “ Now, please, think very hard indeed of the word.” Once again a pentacle is drawn upon the third slate and once more is it held above the left hand slate. “ I feel certain,” says the performer, “ that we have been more successful this time. Would you mind (this to the left hand assistant) picking up the slate and seeing whether we have yritten upon itthe word in this lady’s mind? ” The assistant does as she is told and on lifting the slate finds that it bears the message, “ Look on the other slate.” “ That I feel certain we shall have to do,” remarks the performer, ‘‘ but before you lift up the slate (this to the right hand assistant) would you please tell the audience the word in your mind.” The assistant does so and with the supposition that the word is ‘ delighted,’ she picks up the slate from beneath b c foot and finds written across it the word ‘ de; I&ed.’ After he has obtained the necessary applause, but beforc he dismisses his assistants, the performer renarks that he would like to obtain one more message. Takingone slate and holding it crosswise across another, the slates are separated revealing written upon one, the words “ Thank you ! ” The performer turns to each assistant and remarks. “ That final message is for you both.”
The beauty of this effect is that the set-up is easy. The requirements are few. First and foremost you’ll need three similar sized slates and two flaps common to all the slates. The slates that F. have used for nearly twenty years were made by Walter Wandman and being precision made and assembled are ideal for the job. The only other requisites are a piece of chalk. a newspaper, some pins and some one-inch squares of cardboard. The Preparation. We’ll allocate the letters A, B and C respectively to the three slates. On one side of slate ‘A’ is written in chalk, ‘ THE CHOSEN WORD,’ whilst on the reverse side go the words, ‘ LOOKON THE OTHER. SLATE ! ’ Each message is now covered with a flap andthe slate is placed down with the first message uppermost. Slate ‘ B ’ is now taken and on one side the word you intend to force from the newspaper is written in large letters. We’ll keep to the word. ‘ delighted.’ This for the moment is placed alongside slate A with the message uppermost. Finally on slate ‘ C ’ the words ‘ THANK YOU ! ’ are written. The slates are now assembled into a stackSlate ‘ B ’ is placed on ‘ C ’ with the edges in align,ment and then ‘ A ’ is placed on top of both but it is allowed to overlap. If this slate were in align.ment the lower flap would fall on to ‘ B.’ The messages in order going down are as follows :Slate A-Upper: THE CHOSEN WORD Lower:LOOKON THE OTHER SLATE. Slate B-Upper : DELIGHTED. Slate C-Upper : THANK YOU! The slates in this formation are now placed on the table to beused and alongside goes the chalk. The newspaper comes in for a little preparation. It has already been assumed that the force word, ‘ delighted,’ is to be found near the centre of the back page of the paper. Take one of the pins and push it through one of the square of cardboard. On the side of the cardboardnearest ot the point of the pin a coating of seccotine is given. The pin is now pushed through the rear sheet of the paper so that it impales the force word. As the pin comes through, the gluey side of the cardboard will come in contact with theinner side of the rear sheet. Allow this to dry. The paper can be folded with the protruding pin in the inside fold. Another pin is pushed through the top corners of the paper. In this way two things are achieved. The first is that the pin can be found in an instant and the second the folds of the paper are kept steady. With the paper as well as the slates and chalk on your table you are ready for the presentation.
55 The Presentation. With the assistants placed in chairs respectively right and left, the stack of slates istaken from the table with the left hand, the right hand taking the chalk. As the chalk offers no impedance theright hand assists in raising the slates to a vertical position and in this position they are fanned blank sides towards the audience. Care, of course, must be taken to see that the two flaps on. slate ‘A’ are held in place. Taking slate ‘ A ’ away with the right hand and still keeping the other two slates in an almost vertical position, you turn it round so that both sides can be seen. The slate isthen placed on top of the other two slates, which at the same time are lowered to a horizontal position. In the replacement the message ‘ LOOK ON THE OTHER SIDE ! ’ should be uppermost. Allthe slates are now brought into alignment so that the flap falls on to slate ‘ B.’ This, of course, covers the force word, ‘ DELIGHTED.’ Turning slightly left, chalk on the uppermost side of slate ‘ A ’ a large figure 1. Moving towards the left-hand assistant and lifting off slate ‘ A ’ from the stack and keeping it canted at such an angle that neither the assistant northe audience can glimpse the message on the underside, place it under the left-hand assistant’s foot. At this point the underside of the slate carries the first message to be revealed, whilst the uppermost side is covered .with a second flap. Facing the audience again show slate ‘ B ’ in manner similar tothat used with ‘ A,’ i.e. itis shown on both sides and then placed message-side down on the message side of slate ‘ C.’ On this slate you write a large figure 2 and it is lifted off (the flap previously covering its messagenow covering the message on the slate ‘ C,’ and placed message side hidden under the right-hand assistant’s foot. The third slate is replaced flap side uppermost a n the table and the newspaper is picked up, the pin being withdrawn from the corners allowing it to open, the rearsheet with the projecting pin being held nearest the body. The paper should be held upright in this manner: the folded edge of the paper with the right hand, the left holding the open side, thumb of the left hand against the rear sheet, first and second fingers of the left hand between rear sheet andthefrontpart of paper, whilst the remaining two fingers hold the front sheets. Approaching the left hand assistant, you hand her the pin and holding the paper in front of you (this cuts off the vision of the right hand assistant) ask the assistant to push the pin through the paper. The chances are that the pin will go through the most central part of the paper. That, however, is immaterial. Immediately the pin has been pushed home, the first and second fingers of the left hand do a scissors action which has the effect of opening out the newspaper to the extent of three inches.
The result of this movement is that the pin pushed through by the assistant is taken forward by the front sheets and out of the rear sheet leaving only the prepwed pin showing on the rear sheet ! This action can be done as you turn to the assistant on the right, who is then asked to note the word impaled on the pin. When the assistant has done this the paper is refolded and placed on the table. Now comes the accumulation of messages. The third slate, which remember has a flap on top is picked up and on its upper (flap) surface is chalked a mystical sign. The slate is held above the one imprisoned by the left-hand assistant’s foot. Bending down you pick up this slate, which please also remember hasa flap on top. Itis picked up and the first message shown. Dissatisfied with the result you make a remark to the effect thatanotherattempt willbemade, and place slate ‘ C ’ (held by the left hand) on top of slate ‘ A ’ (held by the right hand). The left a handholdsboth. The same handthentakes handkerchief or duster and erases the pentacle sign on slate ‘ A.’ The right hand now takes this slate, turns it over (keeping a grip on the flap) and places it under slate ‘ A,’ the left hand fingers taking a grip on both slate and flap. Now the figure 1 on slate ‘ A ’ is erased and then this slate is turned over but replaced on top of ‘ C ’ so that the flap covering the second message falls on to the upperside of slate ‘ C.’ Slate ‘ A ’ now has a large figure l chalked once more on the uppermost surface and then, message side hidden it is replaced under the left-hand assistant’s foot. Holding slate ‘ C ’ which now has a flap each side of it, you chalk once more the pentacle and hold it above the left-hand slate. This time ask the assistant to pick upthe slate and see what is written upon it. (This action and the fact that the right-hand assistant also handles the slate beneath her foot give the audience the impression thatthe slates are handled freely by the assistants all the time).With the message ‘ LOOK ON THE OTHER SLATE ! ’ you ask the right-hand assistant to first name the word she looked at. When this is done she picksupthe slate and shows the correct word written upon it. After the left-hand assistant has showed her slate you take it from her quite casually and place it under slate ‘ C ’ at the same time bringing the slates into alignment and allowing the flap on the underside of ‘ C ’ to fall on to slate ‘ A.’ With the applause coming at the successful conclusion of the effect, you tell the two assistants that you wish to obtain one final message. Placing slate ‘ C ’ across at right angles to slate ‘ A ’ you approach the right-hand assistant and ask her to place one hand underneath the other on top of the slates. When the slate is lifted the final message is found and the two assistants are dismissed.
56
r
ANNEMANN’S
EN R A P P O R T is the only requisite, and you can begin the moment you arrive! EN RAPPORT has been audience tested. You have probably seen many typescrip te1ep:thy acts advertised in the past. The inventor thinks it is good. You “ think ” it has been tested, and buy. Then you find that it is impractical in actual performance.,‘ As a Eontrast Annemann performed this act as ‘‘a repeaf, show following normal bookings of his one man mental act on no fewer than 53 occasions over a period of just over four years, earning fees ranging from the equivalent at the time of from E20 to E70 per performance! EN RAPPORT runs approximately forty minutes for the full act, andafterthe introduction tests are, made to ascertain if conditions are right for telepathic communication. The routinecontinues with cards, coins, notes, names, dates and pictures. The various effects arc surrounded with dramaandall phases of abnormal mentality are shown. EN RAPPORT is now published as a finely printed and fully illustrated book with illustratedboard coversproduced in the usual first-class Armstrong manner.
EN RAPPORT is Annemann’s supreme effort to give the
~
~
~
fraternity practical a and easily learned two-person routine of telepathic oddities. ENRAPPORT is the ONLY complete programme of its kind offered, and has been developedoveralongperiod and little by little refined throughactualperformancetothe nth degree of showmanship. EN RAPPORT is designed to fulfil the need of advanced amateursand semi-professionals. Fromstart to finish the routine can be well *‘ learned *’in two evenings. From then on it is strictly a matter of presenting the act before an audience to gain the confidence necessary to a *‘ professional ” standard performance. EN RAPPORT is NOT a question answering act, nor is it atelepathic act of the type which requiresmany months of arduous study and rehearsal. This modern Annemann routine is forthe many who perform but occasionallyyetwant theultra of professionalism. It has been arranged for presentationbefore fromas few as five people to as many as 500. In the drawing room, at the club or on the stage! EN RAPPORT is NOTan act of apparatus. Forty minutes of mystery are carried in a brief case, and the act can be shortened to as little as ten or tFelve mystery; Dacked minutes fortheshorter show. No at location preparation is needed. You ask for nothing. .An audience
Price 12/6
Postage 6d.
FOR THIS COMPLETE TWO-PERSON ACT DEMONSTRATINGEXTRASENSORY PERCEPTION AND TELEPATHY.
From your Local Dealer,or direct from
G E O R G E A €&.MS T R O N G 9 62 Wellington Road, Enfleld, Middlesex.
THE M A G I C WAND No. l) 253. (Vol. 46, Part
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine withcards. Two apparatus tricks by Len Belcher-THE CYLINDER O F HOFFMANN and ORANGE SQUASH-idem1 for the concert platform. PARTY FOR PAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful $timble routine by Edwari Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” ‘‘Just Chance effect. THE SHOWER BATH ILLUSION b y Jay Palmer-saucy and surprising. THE DISCOVERY OF A MENTALLY SELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Werton, THE MEDIUM KNOWS by Gcvrdon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6: Postage 7d.
GEORGM ARMSTRONG 6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E . SE - X ~~
PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq.
is published on the Mth of each meath and can be obtsined direct from the publishers for 117 per single copy. Annual Subscriptloo 181 post free.
Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W 1.
PUBLISHED
King George’s Hall, W.C.
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
BY:
The Magic Wand Publishing CO. 62 Wellington Road, Enfield Middlesex
Magical Theacxe :
Particulars horn Hon. Secretary .
WARLOCK’S
Manusmpts for publication and books for review should b. sent to the:
I
EDITORIAL 24,
ADDRESS:
Peter Warlock, Wordrworth Rd., Wallington, Surrcv.
Wanted by 4eorge Armsfirong Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U. F. Grant and Grantand Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Arnmstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser’s goodsare fully endorsed by this Bulletin I
PUBLISHED BY T H E PROPRIETOR8i T H E M A O l C WAND P U B L I I H U O COMPANY, 62 W E L L I N G T O NR O A D ,E N F I E I D .M I D D L E S E X A N D PRINTED BY HERB@RT W A L K E R & S O N (PRINTBRS) L m . , BRlDGe W O R K S . SHIPLEY.YORKSHIPF
+
m - PETER
WAR LOCK’S
* ** **
T H E A L L E R T O N MASTERPIECE GUSTAVE SOUTHALL
HE recently recorded death of the American
T
close-up artiste,Bert Allerton, recalls the trick, which to many of us, will always be associated with his name. Glowing appreciations of it appeared in Max Holden’s column in ‘ Tops,’ the ‘Sphinx,’ ‘Linking Ring ’ and ‘ Genii ’ from 1940 onwards. Here is one of them : ‘‘ Bert Allerton had the lads worried. . . . one of his effects where he hands someone a pack of cards to shuffle then wraps the pack in a piece of newspaper. A table knife is taken andBert asks the spectator toname any card inthe pack. A stabinto the wrapped packand there on the knife point is the card named. This is one I’ll dare you to solve ! ” Many years later Holden referred to theeffect a number of times and I was able to collect a few dozen references from other sources. The accurate butambiguousaccount (Holden once impressed that he was forced to be evasive after the LarsenWright team had continuously solved the miracles described in his columns) must have had card enthusiasts the world over agog. Here then are the reactions of one of them with the hope that they may be of interest. This is the method I worked out (which turned out to be quite different from the original when it was published). Meanwhile much brooding aided by additional scraps of information which filtered through (remember there was a war on atthe time!) suggested several clues. Theywere: (a) The order of the cardswas known hence a pre-arranged pack. (b) That as thespectator was allowed to shuffle the pack, a switch of pack. (c) The newspaper: evidently a guide for estimating. (d) The table knife: to afford a reflected glimpse. Eventually, when I had solved the matter to n1y own satisfaction I included the trick in my lectureswithout disclosing the method. Due credit was given to Allerton and I added a sleight which may perhaps justify thisarticle apart fromits tribute to Allerton.
VOLUME 12, No. 8
-
The Requirements. (1) A pre-arranged pack, Nikola system recommended with the position of each card associated with a number from 1 to 52. (Si Stebbins or Eight kings arrangement will act as substitutes but the Nikola system is preferred.) (2) In place of the table knife a large nail file, the plated broad end acting as a reflector. The rounded partnear tlie point end is sharpened to a knife-lie edge and both sides of the file are smoothed on stone. (3) A piece of Air Mail paper instead of a newspaper, the measurements about 33 by 6 inches. For Practice. False shuffle the pack and place it on its long side on the table top with the faces of the cards to the left. With the other hand drape the paper lengthwise over the upper edge and tap the lower edge on the table to straighten the top edge. Now think of any card in the pack. Before you do this, however, judge the exact centre of the pack (not a very difficult matter) and make a small dot or puncture with the sharp edge of the file. Calculate whether your thought-of card is in the top or bottom half of the pack. If in the top half divide this in turninto two portions by making another dot exactly midway in this part at approximately thethirteenthcard. Needless to say this narrows the search considerably and should the ,thought-of card be at the twentieth position quite obviously it is midway between the thirteenth and twenty-sixth dots! Should it occupy the sixteenth position then it lies midwaybetween the thirteenthand twentieth card. (Naturally these remarks similarly apply if the card is in the lower part of the pack.) In actual performance after the necessary practice all the dots may be omitted but it is as well to retain the marking of the centre position. After the first few attempts it will be found not at all difficult to judge accurately and separate the pack at the actual card so that it is either
I /6. (20 Cents)
MAY 1958
58
immediatelybelow or above the blade. If, however, it is second from the top of the under packet, the top portion is laid aside and a double lift made to show the card on top of the lower half. If, however, it is second from the face of the upper portion, the lower portion is laid aside and the glide performed with the upper portion held face down. (This was the procedure adopted by Allerton.) Quite naturally a glimpse is first obtained by a glance at the reflection of the index in the broad end of the file which projects at an angle from the inner left corner of the pack. To avoid double lifts and glides I tried several ideas and eventually settled on the following: When inserting the file judge the location of the card as already described. If, in the heat of the performance there is any doubt make sure that the file is inserted beZow the card named. A leeway of as much as eight or nine cards can be overcome. For this the pack is held in theleft hand, dealing position, with the broad end at the inner left corner. As the paper is stripped off the reflected index is glimpsedby bending up the cards above the blade. With the right fingers and thumb turn the pack into the left hand so that the point of the file is to the left and grip the ends of the file between the left thumb and little finger to hold it securely. Meanwhile calculate how many surplus cards lie above the file. Quare the pack and place the tips of the right fingers on top of the pack with the tip of the thumb at the inner break caused by
the depth of the file. Thumb off and count the surplus cards (hold the pack lightlyas you do this). A line of patter such as “ This is called by the Bullfighter the moment of truth ” will cover the slight pause necessary. Insert the left little finger into the flesh break. Take the right hand away for a moment and make some gesture. Bring the right hand palmupwards and then bringing it down towards the pack let the broad end of the file lie between the tips of the first and second fingers and press the third finger tip well into the break at the rightside of the pack. Slide the right hand forward as you bear down with the left little finger on the cards immediately under the new break. This will retain the few surplus cards which lie between the file and the chosen card as the righthand moves forward and carries the file onto the new face card of the upper packet. The right hand immediately turns over and reveals the chosen card with the file, held by the right fingers, lying straight across it. Althoughgenerally it isnotgoodpolicy to repeat a trickimmediately,invariably an encore willberequested for thisone. In which case the cards are already set up and noneis out of place. A final word regarding Allerton. Some years agohe heard that I wasinterested in his work and although I was a total stranger to him, he took the trouble to write to me, care of Fred Braue. He mentioned that he hoped to visit England in the near future and hoped that he would see me then. Unfortunately his visit never materialised.
IMPROMPTU STRANGER
T
HE performer shows a deck of blue cards that he places into a glass. He also hands a red deck to a spectator. Magi then transfers a card from the back to the face of the blue deck, one at a time until spectator calls stop. The card at the point of stoppage is removedand placed face outward in another glass or face up on the table. The performer requests assistant to take the red deck and count the cards and stop when he reaches the duplicate of the card removed from the blue deck. On counting the cards he finds only 51 and the duplicate missing. Performer spreads out his blue deck, then says that there was one stranger among them. He turns over the single face up card that spectator stopped at and it is a redbacked card.
Inspiration for the above came from an effect of Peter Warlock’s “ Stranger in Paradise.” Our method uses no trick cards so that both decks can be examined at the conclusion of the effect. All that is required is a glass large enough to hoId the cards and yet small enough so that the deck does not go all the way to the bottom. 1. At any opportune momentsteal a card from the red deck to the bottom of the blue deck, then cut this card to second from the top of the blue deck. 2. Show the blue deck and place it backs out into the glass. Now pick up the glass and turn it around so that the cards face the audience. Keep the glass in the left hand so that left fingers cover the bottom of the glass. See Fig.1
59 Deck in glass. Lower index almost visible.
6. Continue the action until a halt is called at his request. Here ask if he is sure that he wants to stop now, etc., as you go into the pre-build
-
\
TI
I
Right fingers remove the cards that below the red backer.
L€FT #AM COVERS PORTION
N o 7 %Q
U S f W7
l7 tlCU o P fbCK
Fig. I 3. The rightfingersremove the back card and transfer it to the face of the deck as you say: “ While I remove the cards and transfer them in this manner, I want you to stop me at any time you wish.” By this time you have transferred the first blue card tothe face of the deck. 4. As the right fingers go to take the second card the right thumb pushes the red card down into the glass for about a half inch or more. The result is as in Figure 2 which is a side view of the situation. 5. The right fingers and thumb at the same time remove the second card and transfer it to the face of the deck. Continue transferring the cards by lightly taking the cards at the top end with the right thumb at back and first and seGond fingers in front of the card asit is removed and transferred. The pushed down card, of course, remains at back all the time. You are indulging more or less in a very easy form of second deal.
Fig. 2. up. Very casually say : “ Very well, then, this willbe the card,” as youremove the red backed card from the back and place itin another glass or face up on the table. 7. Have a spectator go through hisreddeck counting and looking for the duplicate of the card he stopped at. Naturally he will not find it and end up with a count of 51 cards. Conclude the effect as performer’s ability will allow. 1st note: Several thoughts occurred to us that perhaps it might be a good idea to have the blue duplicate in the red deck so that spectator actually finds his card but of course he assumes it to be a red backed card. Here perhaps you can point out there are two STRANGERS IN PARADISE. Could be a transposition of some sort. Anyhow, here is food for thinking about. 2nd note: For an unknowledgeablelay audience you can get the same effect using a glide or second deal in the hands by merely holding deck at bottom and pushing card down as in the glass effect. This is to be considered only if the glasses are not available.
THE REVERSE STACK
60
appeared in our method of working.Eddieused his ideas in a routine he put out called Staggered, whichisworthusingandthosewithfiles of the Indian Digestwillfind other ideas of histhere. My own routines were published in Pentagram as “ Result of Thought ” and “ Clannish.”Glenn Gravatt in his Final Selection has a routine similar to “ Clannish ” under the title of “ Super-Divino.” There is also a different idea in Ibidem, which is worthy of a closer look. So much for the principle. In trying to eliminate the snag already mentionedone automatic mathematical feature came to light.Unfortunately for me, thefinestuse of this knowledge is in a mentalroutine. I dislike mentalism, and not wishing to descend the ladder, I pass it on to my poor cousin-the mentalist. EflRt.
The pack is divided in two. A card selected turn up at the identical positioninthe other heap. The mentalistthen makes a prediction. That another set of twins will appear-their names-the position at whichthey will appear. (You are advised to read “ Clannish ” in the March, 1957, issue of Pentagram for a more of the completedescription of thefirstphase effect.)
in one heap has its twin
Prepcaration. A packisset HammondStack.
gp in the Si Stebbins or the
Presentation. After the pack has been cutand/or false shuffled it is handed to a spectator whoisasked to count off 26 cards. This is done face-down on to the tableand thus reverses their order. The 26 cards dealt off are then passed over to a second spectator to hold. The first spectator then places hispile of 26 cards face-down on the table. He makes a simple cut placing the cut-off portion to the right. The top card of the bottom portion is turned face-upand placed, still face-up, on top of the face-down upper portion, the lower portion is then placed face-down on top of the face-up card. The first spectator then lifts his 26 cards. Both spectators now have 26 cards face-down in their hands, but the first spectator has a card freelyselected face-up in his pile. Both spectators are then asked to deal cards in unison face-down. When the faceto up card isreached the mentalistasksthem pause. The top card of the second spectator’s pile is turned over and shown as a twin. The TWINS are laidaside and are not included in the future calculations. The mentalist maintains that another set of twinshavemoved themselves into identicalpositionineitherpile. He predicts their name and position. The spectators again deal the cards, this time face-up so that they may see there are no other twins at other positions. At the predictednumber a pause is made before turning over the predicted twins.
Let’s go back and see how the mentalist gains the information he needs to make his prediction. As the cards are being dealtby the two spectators simultaneouslyface-down into separatepiles he counts the number they deal BEFORE they reach theface-upcard.(Whenthisface-upcard is reached, its twinis also turned face-up and both these cards are set aside. Do NOT include them in the figure you count.) If the number dealt in each pile is ODD, have thespectatorspick up thecardstheyhave just dealt and replace them on top of the cards they are holding. The twins will lie as the centre card in the piles they have just picked up and replaced. The easiest way to calculate the number is to add ONE to the number you have counted and divide by TWO. Using the first set of twins as a starting pointyoucannow calculate ONWARDS in the stack and determine the name of the cards which will turnupinthepredictedposition, e.g., the number of cards dealt in each heap is 15. The pre8. The Twins are black dictednumberwillbe sevens. The predicted cards (in the Stebbins Stack) are Black Fives. If thenumberdealtineachpileisEVEN, have the spectators place the cards they hold on top of the cards theyhavealreadydealt.SUBTRACT this EVEN number from 26 and divide byTWO. That givesthenumber for prediction. Again the first set of twins are used as a starting point but this time you calculate BACKWARDin the stack to find rhe predictedcards, e.g., the number of cards dealtin each pile is12. Subtracted from 26 gives 14 which divided by 2 gives 7 as the predicted number. The Twins are RED THREES which makes the predicted cards Black Eights. The remainder of the cards may be quickly dealt if desired to show there are no other twins in position. This is also the reason for dealingthe cards face-up in the second part of the effect. Naturally for thesamereason the cards must be dealt face-down in the first portion. Additionally you may wish to name the first set of twins by telepathy. To do so you make a glimpse. The best time to do this is when you ask him to cut the portionheisholding. Take the cards hecuts off. Turn round, hand these to an interested spectator glimpsing the bottom card as you do so. After the card is turned face up it is replaced on those cards held by the interested spectator and the bottom portion isreplaced by the first spectator all whilst your back is turned. Due to your glimpse you know the twins as the face-upcard is oneahead in the stack you are using. SYNOPSIS Part One 1. Pack stacked. 2. cut. 3. 26 cards counted off.
Q1 4. Remainder cut. Top card of cut on top of upper
half face-up, lower half placed on top. piles dealt simultaneously. 5. Both 6. Stop on appearance of face-up card. Twins shown. LAID ASIDE.
Twins
Part Two 1. Cards secretly counted in stage 5 above. Odd Number 2. Put Dealt portion on top of held portion in each pile.
Even Number 2. Put Held portion on top of Dealt portion, in pile. each
3. Add one to number.
3. Subtract from 26.
4 Divide by two and
4. Divide by two and predict this number. predict this number. 5. Calculate ONWARD Calculate B A C K5. from twinin part one WARD from twin in for predicted card. part one for pre6. Deal off simultanedicted card. ously and prove both 6. Deal off simultanepredictions. ously and prove both predictions. PS.-Readers of the Linking Ring will notice the similarity between my “ Result of Thought ” in Pentagram, 1953, and Phantini’s “ Thought Power ” in the Phantini Parade, 1957. I have no doubt .that Phantini reachedhis results independently and hope this article will bring out more routines of the Reverse Stack.
SCREENED THOUGHTS PETER WARLOCK RIMARILY a drawing room efiect, this can, during the course of a lecture on psychic magic be usedin a fairly large hall. I remember on one occasion Eric Cudden, presenting it most successfully at the Society of Psychical Research. It is based on that beautiful effect of Vosburgh Lyons’ “ Mental Rescue.” The Eflect. Two ladies whom we will call ‘A’ and ‘B’ are invited to sit at a table, ‘A’ on the left and ‘B’ on the right. In front of each assistant is a stack of envelopes. ‘A’ is handed a pack of cards with the request that she firstshuffles the cards and then cuts them into two heaps. She picks up either heap and deals five cards from it. ‘B’ takes the remaining heap and does likewise. The rest of the pack is picked up and dropped into theperformer’s pocket. The attention of the two assistants is now directed to the twopiles of envelopes. Each is requested to place their cards one into each envelope. They are not to look at the cards and they are not to seal the envelopes. When this has been done, each is requested to pick up an envelope and without allowing the other to seeitlook at the card inside and memorise it. Whilst all this is taking place the performer looks away. Both assistants are now requested to place the envelope each is holding on to the four envelopes in front of the other, so ‘A’ places the envelope with her chosen card on the four envelopes infront of ‘ B,’ and vice versa. Both helpers are asked to mix the envelopes in front of them. The performer now takes the envelopes in front of ‘ B.’ He also asks ‘ B ’ to stand a
P
moment. Fanning the fiveenvelopesin front of her he tells her that the other helper ‘A’ noted a card in an envelopewhichis one of the five he holds. “ Do you think, madam,with certainty, that you couldpick out the envelope containing that card ? ” If theladysays ‘‘ Yes,” she takes one envelope and the performer continues, “ Madam, do you think withone hundred per cent. certainty youcould picture the card chosen by ‘A’ ? ” This time the answerisinthenegative, so the mentalist continues, “ Madam, I will help you . . . .” Quickly he removesthe four cards from the envelopes he holds and places them face upwardsuponthe table top. “ Now, Madam, does that help you ? ” The lady will be bound to say ‘‘ No.’’ The mentalistgives her a lastchance. “ Madam, justremove the card you havein the “ Would you envelopeyouhold.”Shedoesthis. say with certainty that you are holding the thought of card ? ” The answer will either be negative or indefinite.With this thementalist turns to ‘A’ saying, ‘‘ Madam, you thought of one card . . . think of it now as a picture . . . first the colour . . . you are thinking of red . . . am I right ? ” This is acknowledged. ‘‘ Think of the value . . . a nine . . . a rednine . . . now the suit . . . hearts or diamonds . . . you are thinking of thenine of hearts . . . Is that correct ? ” The correctness is acknowledged by ‘A’ and ‘ B ’ is asked to sit down. ‘A’ is asked to stand and taking her envelopes the mentalist fans them in front of her face saying, “ Will you please take these envelopes in your left hand, just walk across to the corner of the room and when I give a signal I would like you to take any one of those envelopes withyour right hand? ” The mentalistgives the signaland ‘A’ takes an envelope. “ Now, Madam, place that one aside and
62
take another.’’ The mentalist sbys, “‘Retain the envelope in your right -hand and ,place thk others aside. I think that by strange chance. I have located the enve1o.p containing the card thought of by ‘ B.’ ” ‘ B ’ is asked to think of the colour, etc., of the card she looked at and the mentalist divines the name of the chosen card. Finally ’the assistant ‘A’ is asked to removethe card- inside the envelope that she isholding.Only too truly it proves to be the card thought of by ‘ B.’ The Requirements. A regulation pack of cards. Ten envelopes. The Prepw-don. Take five of the envelopes and make a light pencil mark on each one. It is preferable touse manilla envelopes as the texture helps to conceal a small mark. These five envelopes are placed on the right side of the table. ,The unmarked five are placed at the left. From the pack of cards remove five cards whichyoumemorise. These five cards are placed in the right-hand jacket pocketfaces towards the body. The remainder of the packis placed in its case and this is also placedonthe table. The Presentation The two assistants beingforthcomingthey are placed ‘A’ to the left and ‘ B ’ to the right of the table. The, card caseispicked up, the cards removed and handed to ‘A’ for shuffling and cutting. The cards case is dropped into the right-hand jacket pocket and then the five memorised cards are taken into a palm position by the right hand and the hand is withdrawn. With the cards cut into two heaps ‘A’ is asked to make her choice and deal off five cards. The halfpack not usedby ‘A’ is picked up with the left hand as she deals. The cards are passed to
the right hand which. adds the five palmed cardsStressing the fairness of what has taken place, you pass this packet of cards to ‘ B ’ with a request that she too deals off five cards. With the ladies havingfive cards each the remainder of the pack is taken and ,dropped into your pocket. Now the assistants, without looking at their cards, place each in one of the envelopes in front of them. Naturally the fivewhichgo inside the marked envelopes are the five memorisedones and with a changeover of one, card from eachside ‘A’s’ fivewill contain one stranger housed. in a marked envelope whilst the. stranger in ‘ B’s ’ will be the unmarked one among the four marked ones. Picking up the envelopes in front,of ‘ B ’ after theyhavebeenmixed, the assistant is asked whether she thinks that she can pick out the envelope containing the chosen card. More often than not the answerwillbe in the negative. If, however, she answers “ Yes ” let her take the envelope she wants.Whether she does take an envelope or not you ask her whether shecan divine the name of the card looked at by ‘ A.’ To help her the cards are removed from the envelopes and laid on the table. The sight of the faces not only reveals the stranger which is ‘ A’s ’ card, but it also shows which card is missing, which will be ‘ B’s ’ card. You can now divine the name of ‘A’s ’ card and then after seating ‘ B ’ and asking ‘A’ to stand, you pick up the five envelopes of ‘A’ and fan them so that you can note the position of the marked envelope containing ‘ B’s ’ card. Place the cards, still fanned, into ‘A’s ’ hand. ‘A’ isasked to remove one envelope. If the first one taken is the marked one, then a miracle has happened. If not she is asked to place it aside. She continues untiI she takes the marked envelope and at this point she is stopped. You then first divine the name of the card chosen by ‘ B,’ and then show that the envelope contains that card.
MATHEMATICS O F T H E W E A V E SHUFFLE ALEX ELMSLEY
T
HOSE whowere interested inthis article may like to make the following corrections of errors and misprints (whichwerelargely, I fear, due to my writing). JUNE PENTAGRAM. Page 70, Column 1, Sectionheaded “ Out- and In-Weaves.” Line Para. 2, Line 4 : Change “M-weave” to “ Inweave.”
Column 2, Sectionheaded Weave.”
“
The Odd Pack and
Para. 1, Line 12 : Change - “ No” to Line 13 : Change “ NI’’ to “ nl ”
“
no”
14 : Change “ 2n ” to “ 2n,” Line 15 : Change “ n’ ” to “ nl ” and “ 213, ”
“
2n ” to
63 Page 71, Column l , Section headed “ Returning a Pack to the Same Order.” Line 18 : The left hand side of the equation should be in the form of a fraction, No (2’ - 1)
“
Line 10 : Change “P-2xa”
i.e. ” to “P-2xa’’
Column 2, Section headed Stack.”
“
The Constant
Lines 8, 9, 10 : Change “ No”and “ no ” and “ nly’respectively.
P Column 2, Line 3 : The left hand side should be 2s-
Line 8 : Change ‘‘ 1.2.” to
1
P
JULY PENTAGRAM. Page 78, Column 1. Para. 1, Line 1 : P is prime.” Para. 3, Line 1 : General method.” Each of these phrases should form part of the heading immediately above it. Para. I , Line 2 : Change 2x to 2x” Line 4 : Change 2 P-1-1 to 2p-1 -1 ” Page 79, Column 1, Section headed Stack Transformations.” Para. 1, Line 7 : Change 2xa ” to 2xa “
“
“
“
”
”
“
“
“
“
“
”
Line 13 : Change
“
N ” to
“
“
N1 ” to
nl”
In going through the article checking for errors, I realised that in many places the way in which I set the article out was unnecessarily confusing. You might find it worthwhile to mark the following passages whichcontain important results which have been rather submerged. June Pentagram, Page 70, Column 2. Odd Pack and Weave.”
“
The
Last paragraph. Page 71, Column 1, Lines 7 to 12. Column 2, Lines 8 to 12. Also, in case there is any doubt, the stack set out in the August Pentagram should be read across from left to right.
BOOKS ‘ Famous Magicians of the World,’ by Amold Furst, published by the Genii Publishing Co. as a memorial to Bill Larsen, price two dollars.
This excellent book of some fifty-two (unnumbered) pages is a mostwelcome item tothe magician who is interested in the overall magical picture. Too little time in thepasthas been devoted to the programmes of the great magical entertainers. J. F. Burrows produced one booklet dealing in all too brief a manner with the programme matter of many greats and not so greats whilst Max Holden went a little better. We must be more than thankful to our good friend, Arnold Furst,for detailing, and we mean detailing, the programme material of the following large scale acts: Kalanag, Dante, Fu Manchu, Virgil, Chang, Blackstone, Lee Grabel, Ormond McGill, Sorcar and Richiardi, junior. His descriptions of the items making up the respective entertainments are clear and free from partiality. Our appetite is whetted at the thought of the acts which we have not had the opportunity of seeing. The book is lavishly illustrated including some beautiful coloured photographs of the Kalanag show. It is certainly a must for all collec-
tors and for every magician whose interest does not lie wholly in his own performance. In reading and taking in the overall picture of any one of these bigshows, the realisation of the vast amount of work entailed is achastening thought to the smaller time magician who sometimes rebels at the small chore of preparation entailed in his modest offering. Unreservedly recommended. ‘ IT’S STRICTLY COMEDY,’ by Johnny Geddes (published by Millars Exchange Mart, Dundee, price 6 / - ) .
Though mimeographed this booklet is well produced. Aiming at situation comedy for which he is well known, Johnny Geddes has, within the confines of some dozen pages, detailed some fifty pieces of comedy business opposite to the magical entertainer. To read a comedy item in cold print is not the same as seeing the idea in action, but there is no doubtthat many of these items are good for belly laughs when handled by the right performer. If you have a yen for ‘ funny business ’ as against ‘ funny patter ’ you will be well advised to invest the small amount required.
64
ANNEMANN’S
EN RAPPORT is the only requisite, and you can begin the moment you EN RAPPORT is Annemann’s supreme effort to give the arrive! fraternity a practical and easily learned two-person routine of telepathic oddities. EN RAPPORT is the EN RAPPORT has been audience tested.You have ONLY complete programme of its kind offered, and has probably seen many typescrip telepathy acts advertised been developed over a long period and little by little !F the past. The inventor thinks ’* it is good. You refined through actual performance to the nth degree of think it has been tested, and buy. Then you find that showmanship. it is impractical in actual performance.,‘ As a Eontrast Annemann performed this act as ,,a repeaf, show EN RAPPORT is designd to fulfil the need of advanced following normal bookings of his one man mental amateurs and semiprofessionals. From start to finish act on no fewer than 53 occasions over a period of just the routine can be well ‘‘ learned in two evenings. From over four years, earning fees ranging from the equivalent then on it is strictly a matter of presenting the act !:fore at the time of from E20 to E70 per performance! an audience to gala the confidence necessary to a proEN RAPPORT runs approximately forty minutes for the fessional standard performance. full act, and after the introduction tests are made to EN RAPPORT is NOT a question answering act, nor is ascertain if conditions are right for telepathic communiit a telepathic act of the type which requires many cation. The routine continues with cards, coins, notes, months of arduousatudyand rehearsal. This modem names, dates and pictures. The various effects are Annemann routine is for the many who perform but surrounded with drama and all phases of abnormal occasionally yet want theultra of professionalism. It mentality are shown. has been arranged for presentation before from as few EN RAPPORT is now published as a finely printed and as five people to as many as 500. In the drawing room, fully illustrated book with illustrated board coversat the club or on the stage! moduced in the usual first-class Armstrong manner. EN RAPPORT is NOT an act of apparatus. Forty Price 12/6 Postage 6d: minutes of mystery are carried in a brief case, and the FOR THIS COMPLETETWO-PERSON ACT act can be shortened toas little as ten or twelvemystery; Dacked .the shorter show. No at location DEMONSTRATING EXTRASENSORY = - . ~minutes ~ ~ ~ for preparation is needed, You ask for nothing. An audience PERCEPTION AND. TELEPATHY. From your Local Dealer, or direct from ”
”
”
~
~~~~~~
“
~
G E O R G E A R M S ‘l’ R O N 6:
,.
62 WellingtonRoad,Enfleld,Middlesex.
T E E MAGIC WAND 46, No. 253. (Vol.
Part 1)
Three complete routines with THE THREE SHELL GAME by Eddie Joseph. THE FOUR FOURS CARD TRICK by Gerard de Bodt-a beautiful four-phase manipulative routine with cards. Two apparatus tricks byLenBelcher-THE CYLINDER OF HOFFMANN and ORANGE SQUASH-ideal for the concert platform. PARTYFORPAMELA by Jack Gittings-the first part of a great new series for the Children’s Entertainer. RAINBOW FINGERTIPS-a colourful $imble routine by Edwarc! Victor. Also by Edward Victor-Three Card Sleights. SHEER CHANCE by Peter Cavour-a natural” “ Jurt Chance effect. THE SHOWER BATH ILLUSION by Jay Palmer-saucy and surprising. THE DISCOVERY OF A MENTALLYSELECTED CARD by Arthur Carter-as usual first rate. MAGIC FOR MAGICIANS by Mark Weston, THE MEDIUM K N O W S by Gordon Prunty, WARRANT FOR THE ARREST by Peter McDonald, and many other effects, features and articles complete a FIRST RATE ISSUE.
Price for this massive book-only
7/6 : Postage 7d.
G E O R G E ARmSTRONa 62 WELLINGTON ROAD. ENFIELD,
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W l , Magical Theatle :
King George’s Hall, W.C. Summer Recess
Pnrticulare tront Hon. Secretary :
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
nR I D D L E S E X
WARLOCK’S
Wanted b y George Armstrong
PENTAGRAM is published on the 24th of each month and can be obtained direct from the publishers for 117 per single COPY. Annual Subscription 181post free. PUBLISHBD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manuscripts for publication and books for review should ba rent to the: EDITORIAL ADDRESS: 24,
Peter Warlock, Wordsworth Rd., Wallington, Surrey.
Any of the “ C. T. J(ordan) Series of Magical Effects.’’ Complete in envelopes if possible. Also wantmany U. F. Grant and Grant and Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx. i
Every Advertiser’s goods are fully endorr sd by this Bulletin TRE U A O I C WAND PUBLISHIIIOCOMPANY. W W E L L I N G l O N ROAD.ENPIEID. MIDDLESEX AND PRINTED BY HEILBERT WALKER e SON ( P R I N ~ R S ) LTD.. BRIDGE W O R K S . S H I P L E Y . Y O R K S H I R E
+
“ l GOT A HORSE” GUSTAVE SOUTHALL 0 STARTLING originalityisclaimed for thefollowing,noris it likelywith the title taken from Prince Monolulu. the plotfrom Harlan Tarbell and the sleightsfromJohnny Scarne. Some small differences may be of interest. In place of Tarbell’s forcing pack, any cards are used; in the case of Scarne, a glimpse, a miscall and a predictionwhichcannotbeshown at the climax are eliminated (incidentally. the pellet switch mentioned but not explained here will be found in Scarne’s “Think a Card ” soldby Davenports. The sleightaloneisworthmany times the half-crown that George asks for it). First the effect. With every card in a borrowed pack representing a racehorse the performer successfully places bets on the winner in each of three races. Requirements. A packet of cigarette papers. A ballpoint pen. preferably the type with a retractable point. Preparation. Write “ two of spades ” (or any card easily recalled later), on one of the cigarette papers, roll it into a pellet and place it together with the packet in the left-hand coat pocket. Working. Take the shuffled pack and commence :“ I wantyou to imagine that thisisDerby Day and all the horses are represented in this pack of cards; fifty-two runners in fact. Obviously the odds vary. Favourites such as a King (show) bring modest odds offive to one, outsiders, say five or six spots (show) bring sixty-six to one.” As you spread the cards face up in front of the spectators,locate the two of spades and casually cut it to the top of the pack, then place the pack face down upon the table. Place the left hand in the coat pocket, pick up the pelletsecreted there and press it firmly between the middle joints of the second and third
N
VOLUME 12, No. 9
-
fingers. Then take hold of the packet of cigarette papers, bring them from the pocket and toss the packet into the centre of the table. With the right hand remove the hall point pen from the pocket and lay it downalongsidethepacket ofpapers. Then proceed, “With all these horses we should havethreeraces.”(Withtherighthandcut the pack into three portions in the f o w of a triangle. the top portion of thepack at therear of the table.) Turn to the spectatornearestnumber one heap :“You maynotfollow thehorses,sir,but please oblige me, take the runners and pick out a gee-gee in the first race. Merely think of one of the horses you would like to win.” Pick up the packet of papers with the right hand and place it over thehiddenpellet. Now extract a paper, rest it on the packet and pretend to write the name of a card.Actuallyscribble what you like on the paper which is then rolled into a small ball with the right fingers and then dropped on to thetableintheplacepreviously occupied by the number one packet. “ Please hand me the horse you have decided upon.” Take the chosen card and rest it face up on top of thepellet.Request the spectator to retaintheremainder of “the field” for a few moments. If the card selected is a high card say “Just as I expected . . . odds of five to one;” if a high spot card “ twenty to one for that one.” Turn to the spectatornearestnumbertwo heap. Repeat the instructions for him to pick up his “ stable ” and choose a winner. Again take a cigarettepaper to make a “bet” butthistime write on the paper the name of the cardlying before spectator number one. Roll the paper into a small ball and place it on the table in front of spectator number two.Askhim to giveyou his selection which again is placed face upwards on the second pellet and retain the rest of the cards. You continue, ‘‘ Of course, not all horses are selected on form. Many punters leave it entirely
I/a. (20 Cents)
I
JUNE 1958
66
to chance and some evenpickthem out with a I willhave a pin. Let meshowyou.Butfirst small bet .” Extract another paper, this time writing upon it the name of the card lying in front of spectator number two. Roll the paper into a ball and apparently place it upon the left hand which is held flat for that purpose. Actually as the right hand turns as though to drop the pellet on to the left hand, the pellet is rolled by the right thumb to a position between the middle joints of the right second and third fingers,whilst the lefthandis opened flat the right thumb and forefinger move the previously concealed pellet to the palm of the left hand. During this move the right hand has retained the ballpointpenwhichinno way hinders the operation described. This hand now spreads the third packet of cards in a line face down. Retract the point of the pen and hand it to a spectator immediately in front. Askhim to stab, or rather pushany “ horse ” unseen. This is done by the spectator. Meanwhilewith the rightforefinger and thumb deliberately pick the pellet off the palm of the left hand and hold it so that it is quite apparent that no sleight of hand takes place. With the left hand scoop up the line of cards in such a way that the known card, the two of spades is on top of the packet. Hold up the pellet inthe right hand remarking, “ I expect exceptional odds with this one . . . at least one hundred to one.” Meanwhile still holding the small packet you approach the face down card chosen by the third spectator. You apparently turn it face up but actually perform the
Curry “ Turnover ” moveswitching the two of spades for the unknowncard. Do this without looking at the cards. Immediately place the pellet held by therighthand on theface of the card. Then, either place the packet of cards you are holding on one side or hand them to someone to hold. Remember you still have the ball point pen in the righthand and also the concealedpellet carrying the name of the second card. Focus your attention on spectator numbertwo. As you lift his card casually with the left hand, the right hand goes underneath to take the pellet and place it on top of the card. Actually at this point you make the Scarne switch previously mentioned substituting the concealed slipfor the one bearing the name of the first card. The wholethingisdonemost casually as you recall the odds on this ,particular card. Turn to spectator number one repeating the moves, so that you are leftwith the first paper concealedwhilst now on each card there is a paper carrying the correct name of each card. The holding of the ball point pen in the right hand is a considerable aid in disguising the necessary moves. Use the pen now to centre the pellets on each card then returning it to thepocketwhere the extra paper is disposed of. Finally request the three spectators to pick up their respective pellets, unravel themand check whether all your bets have been successful. Before a male audience on the eve, or the day, of a big race meeting, this particular effect will be of great interest.
SYMPATHETIC COINCIDENCE EDWARD MARLO HE PERFORMER removes a card from the blue deck and places it into the card case without showing its face. A spectator now hands any red card from red deck to performer. This card and the one performer placed into the case are identical in suit and value. Inspiration forthe following method came from a similar effectby Peter Warlock in which the cards were gimmicked. 1. Have blue deck shuffled and on its return hand out red deck to be shuffled. 2. While red deck is being shuffled you quietly reverse the bottom card of the blue deck. Take the blue deck into right hand, from above by the ends, as you wait for the red deck. 3. Take red deck face down into the left hand and at the same time get a slight break under top card of the red deck.
T
4. Ask spectator which deckyou should use, the red one or the blue one? As you say “ red deck ” your right hand deliberately comes over to touch the red deckwith the bluedeck. During this momentary meeting the red top card is stolen to under the blue deck. Immediately the right hand moves forward as you say, “ or the blue deck?” 5. Regardless of the choiceyouplace the reddeck aside and turnthe blue deckfaces to yourself. Note the name of the bottom card and remove its duplicate from the blue deck. Assume this card is the IOD. Place this card, without showing its face, into the card case. Point out that you are making this selection before proceeding any further. 6. Spread red deck face down and ask spectator to push out any card that he wishes. While giving these instructions you have picked up the
67
blue deck again. Thumb count three cards off the bottom and cut these cards to the top. You will have the red card under the double back card. /Impromptu double backer. / Get a break under the red card that is below the impromptu double backer thus the left fourth fingeris holding a break under the top three cards. 7. When spectator has pushed out a card from the red backed deck, you pick itupand hold it face down in the right hand. Nowsay : “Are you sure you want this card?” Next place the red card on top of the blue deck .as your right hand points to the red deck and you say: “ Remember you could have any one ,of these cards.” 8. Right hand returns to the blue deck as you start to say : “ Now lets see, you gave me the IOD,” as right here you turn four cards face up as one. Continue by taking the face up IOD into right hand and show its back as you say : “ From
the red deck.” In other words, the whole sequence of ,actions are covered by the complete patter line : “ Now let’s see, you gave me the ten of diamonds from the red deck.” 9. Tell spectator to remove the blue card youpreviouslyplaced into the card case to conclude the coincidence. 10. While spectators are commenting on the effect you quickly cut the top three cards to the bottom to bring the red card to face of deck. Take deck with right hand from above after first getting a break on the bottom card. Break is maintained by right thumb. With left hand scoop up the red deck as the right hand rests at right end of spread to sort of aid in the scoop up.Needless to say that as the two decks meet, the bottom red card from the blue deck is added to the top of red deck. Place red deck aside and all you need to do is right the bottom card of the blue deck to clean up and have both decks examined.
A TIP FOR THE CARD IN CIGARETTE RAVELLI (SWITZERLAND)
The following method is the one to use for obtaining a good result. It takes the minimum of time and the finished cigarette looks neat and free from any preparation.
the cigarette. As it is not glued or fastened to the cigarette paper this is an easy task taking about a couple of seconds. The effect of this is to leave the cigarette open at one end to the extent of about half an inch. Now take a round pencil and place it with the left hand, tip resting on the table. The right hand holding the cigarette then places the open part of the cigarette over the pencil and continues to press downwards which has the result of pushing the tobacco out of the cigarette paper. When you consider that there is sufficient space in the cigarette tube to contain the article to be produced, remove the cigarette from the pencil and with a razor blade cut off the unwanted portion of tobacco. The object for production, tightly rolled, is now gently pushed inside the cigarette and to complete the job, either the filter is replaced or, alternatively, part of the tube of tobacco that was removed.
The type of cigarette needed is that which has a white paper filter. NOWwith a pair of fine tweezers, or failing that, a pin or the points of a pair of scissors, grip the filter and remove it from
The whole job doesn’t take more than a couple of minutes and the finished product is as neat and tidy asthe remaining cigarettes in the packet.
HE VANISH of a card or a note and its subsequent appearance inside a cigarette that the performer is smoking alwaysseems to be a popular effect but I sometimes shudder at the way in which many magicians prepare a cigarette for such a purpose. The most popular method seems to be that of rolling a cigarette between the hands until the tobacco inside is sufficiently loosened and allowing a quantity to be withdrawn, the card or note then being pushed inside the tube that is formed. Unless time and great care is takenin such preparation the resultant cigarette invariably looks as though the cigarette has been carried around in the trousers pocket for a week or two.
T
ACE ELIMINATION RAVELLI (SWITZERLAND) HE EFFECT of this trick, namely that of handling. I doubt if there can be
1‘
card is not new at alf. But in most versions one out of four aces changing to a selected to date the efkt has been accomplished by a m plicated false counts, double lifts and endless
a more direct handling than the following which still har a very good effect upon laymen as a trial will show. The only mal oleight used in the trick is a change which, if I remember rightiy, has appeared
68 some time ago in this magazine. Here is the actual working :Secretlycutany ace to the bottom of the pack. This is simple enough. Have any card selected. Have the card returned insuch a way, that the lower half with the Ace (suppose it is the Ace of Hearts), falls on top of the selected card. There are many ways of doing that, e.g., the Hindu Shuffle. (Personally, I prefer a different way but this will not be familiar to all readers. I riffle the pack looking for an ace and getting a break below any ace which lies about in the middle of the pack. I retain that break during the selection, and for the return I fan the pack and separate the pack at the break. This is a very direct and fair handling.)Nowyou openly declare that for this trick you need the four Aces. Take the pack, face against you,in the left hand and fan it into the righthandlooking for theAces.When an Ace appears you separate the hands, so that the ace lies as the first card of the left-hand part. Show this ace, turn the hand over and push this ace face down on to the table. Proceedsimilarly for the other aces.Whilelooking through the pack you may hold them in such a way that the spectators see the faces of the cards too. One of the Acesyou arrive willbe the Ace of Hearts. Just
herethe procedure is a little different for you. Make sure that the spectators don’t get aware that the selected card justliesbefore.Separate the hands with the Ace the same way as before, showing the ace on the left part. During this the right fingers move the backmost card, the selected one a little to the left, the left fingertips just holding this card, but actually resting on the back of the next card. Now the left hand in the act of turning back and putting the Ace on the table picks up the selected card from the right part on its way and it is this card which is actually put on to the table. If done correctly this is absolutely invisible. Then proceed to look for the remaining aces. When all the four aces are on the table, put the pack aside and have a spectator take the four aces into his hands.Normallytheselectedcardshouldlie as the second or third card. Suppose it liessecond. Have the spectator hand you the bottomace. Flash it and put it into your left hand. Have him hand to you the top ace. Proceed the same way. Have him hand to you again the bottom ace. Then askhim if he has paid attention and if he can name without looking at it the fourth ace still being in his hand. Whateverhesayshavehim turn over the card, which will be his selected one staring him into his face.
A TIP FOR THE SYMPATHETIC SILKS PETER WARLOCK ‘ATCHING a dear old gentleman perform that classic, the Sympathetic Silks, I was intrigued by thetrouble he hadin first picking up the silks. Nothing was wrong with the routine proper, but the clumsiness of the initial taking of the silks destroyed the smoothness of the performance.
W
If memorydoesn’t fail me I believe that the late Ned Proudlock, in his excellent routine, suggests using bulldog clips to hold the sets of silks. Though effective and free from any form of breakdown, simpler methods could be devised.
The method, if one can call such an elementary device, a method, to bedescribedallows a perfectly easy pick-up and at the same time there is nothing for the performer to get rid of or worry about. Naturally the use of any anchoring or holding device only applies when the effect is not an opening item, for in such case the performer would be .well advised to make his entry holding the silks. All that are needed are two elastic bands, the kind measuring about half an inch in diameter.
Each set of three silks is taken and at a point about six inches from the ends they are folded and a band,slipped over the folded part like this :-
The ends of the silks are then brought back so that they now appear like this :-
2 Bothsets of silks are then either laid over a chair back or placed upon a table.
69 When the time comes for the performance of the effect the left hand takes the handkerchiefs untied set between thumb and first finger, tied set betweenfirstfinger and secondfinger. As the handkerchiefs are lifted, the right hand comes over to apparently steady the silks.Actually a slight pull is given to both sets with the result that the
silks straighten and the elastic bands shoot off and fall unnoticed to the floor. So simple is this procedure that I feel others may have used this and, perhaps, even published it. For myself I haveneverseen it used or described. It is,however,recommendedwhen the occasion demands.
PSYCHIC CARD PETER WARLOCK N THIS effect the mentalist shows how a dormant sixth sense of the spectator may be awakened. Withthe plot the same in eachcasetwo methods are given. The first requiring no skill in theacceptedsense,whilst the second calls for reasonable card handling.
I
The mentalist commences by stating that he would like to illustrate the use of a sixth sense and for that purpose willuse a pack of cards. From these he has one selected and shuffledback into the pack by a spectator. He takes back the pack and drops it into his jacket pocket. “ Do you believe,”hesays to the spectator whodrew the card, “ that a sixth sense will enable me to find your card?” If the reply is in the a-ative, then the mentalist remarks that the spectator must be a believer in matters psychic. If in the negative, the mentalist tells the spectator that he will prove the matter beyond all doubt. Placing his hand into his pocket he withdraws one card, keeping its back towards the audience. “ What was the card you looked at?” he asks the spectator. With the spectator’s reply given he turns round the card he is holding and shows that it is the card named ! The rest of the pack is then removed from the pocket and the chosen card is shuffled into it, the pack then being cut into three, approximately equal, heaps. Addressing the spectator who drew the card, the mentalist remarks, “ My finding of your card was due to something inherent in me . . . the same qualities lie within yourself and so I want you to find your own card . . . here are three small heaps, one containing your card, number one, number two and number three (as this is said each heap is indicated).Willyou let your choice fall on one and name it please?” The spectator chooses, say, heap No. 2 and the mentalist picks up the remaining twoheaps,places them together and runs through them faces towards him. “ You’re right, sir, in choosing the centre heap for your card isn’t amongst these.” The fan of cards is now turned allowing the audience ,to see the .faces,
“ Let’s go a stage further; in this heap there are somewhere between fourteen and twenty cards . . . try and visualise the position of your card and give a number at whichyou think it lies.” Supposing that the spectator answers “ Twelve.” Taking the centre packet the performer deals off eleven cards and then turning over the twelfth card shows that it is the selected one! The card is replaced and the three heaps are assembled and casually shuffled and cut. “ Having shown what a fine sixth senseyoupossess, I amgoing to ask you to go a step further by tellingme at which position you think your card is now lying in the whole pack?” Supposing that the answer is “ Twenty-four,” the mentalist counts off twenty-three cards and then turns over the twenty-fourth showing that it it is the selected card! The spectator is right once more ! METHOD No. 1.
This is the simple way. The Requirements. An unprepared pack of cards. A rough and smooth forcingpack to force say the seven of diamonds. The backs of these cards must match those in the ordinary pack. The Preparation. Place the seven of diamonds in the ordinary pack on top of the pack and place the pack in its case. The rough and smooth forcingpackis placed in a horizontal position in the right-hand jacket pocket. The Presentation. Remove the cards from their case and after a false shuffle force the seven of diamonds upon an obliging spectator. The force usedmustbe sure fire and casual. Let the spectator take the pack and shuffle his card back. The pack is then taken and placed inthe right-hand jacket pocket in a verticalposition.
70 Stating whatyou propose attempting, the right hand goes to the pocket and removes the top card of the forcing pack which, of course, will correspond with the chosen card. After the correctness of the card has been established the forcing pack is withdrawn from the pocket, the seven of diamonds being replaced on top, and the pack is given a casual shufflewhichwill not cause the roughened pairs to separate. The pack is then cut so that a force card is on top. Holding the pack in the left hand, the right hand removes about a third of the pack and places it to the right of the table. Next another third is taken and placed centre table, the remaining portion in the left hand being placed to the left of the table. In the cutting a sliding action should be achieved so that in each and every case a force card is at the top of each heap (and, of course, occupies alternate positions through each heap). The choice of a heap by the spectator is immaterial, but the unwanted heaps aretaken, placed together and fanned. You then look through them and afterwards show the faces to the audience. Whatever number is given, provided it is within the range of the number in the chosen heap, yousimply arrange the count so that the force card is at the chosen number. If it is odd, it simply means counting off each and everyone of the cards whilst if an even number comes;the first two are counted as one and from then on the counting is every card. The cards should be counted from hand to hand and under each other so that the order is retained. When the chosen card has been shown it is replaced upon the remaining cards in the heap and those counted off are placed on top. The two piles are then assembled, casually shuffled and cut. With a force card at the top, it matters little what number is given by the spectator for using the same formula the force card will turn up at any number apart from fifty-two, and even this can be covered if you like to add a Joker and make this the bottom card of the pack throughout the course of the second part of the effect. METHOD No. 2. To my own wayof thinking the fact that no faked pack is used makes the effect stronger. The Requirements. One pack of cards with a short, or similar locator, card. Suppose that the card in question is
also the seven of diamonds. The seven of dia-
monds is on top of the pack whichis placed inside its case. The Presentation. Remove the pack from its case and shuffle, retaining control of the locator whichis then forced on a spectator who is asked to writehis initial upon the face. He is handed the pack and asked to shuffle the chosen card amongst the others. The pack is then taken back and as you talk to the spectator you locate the seven of diamonds, openly cut it to the top and then once more shuffle the cards, retaining the seven of diamonds in that postion. The pack is dropped into the jacket pocket andthe spectator is asked to think of his card. You place your hand inside the pocket and withdraw the top card which, of course, is the chosen one. You then remove the remainder of the pack from your pocket, place the chosen card on the face of the pack and do a double undercut, leaving the chosen card on top of the pack which is then shuffled, the position of the top card being maintained. As the cards are cut into three heaps, the top card is single hand palmed.When the spectator names the desired heap, as though to confirm it you bring your right hand over the heap, and lift it slightly from the table, at the same time saying, “ This then is your choice (the heap is replaced and the palmed card is allowed to fall on won’t require these.” The two top), so you unwanted heaps are picked up, placed together and fanned as before. This heap is then placed aside. The spectator then gives a number and by second dealing thetop card is retained until desired, whilst the remaining cards are dealt face up. This point alone makes the effect stronger than in method No. 1. The card is produced at the given number. The spectator is handed his card for checking and also the remaining cards. He is asked to shuffle them together once more. Taking back the cards you tell of the more advanced stage of the experiment; the short is located, brought to the top, and the pack is placed on the table. k i t h the number between one and fifty-two given, seconds are dealt once more until the desired number, and the chosen card is reached.
BOOKS
‘EnRapport ’ by The0 Annemann (English edition published by George Armsttang, price 12/6). Many, many years ago, the fate The0
Annemann finding through practical experfence
that a worthwhile deceptive two person mental and psychic routine could be developed without the use of alaborate codes wrote the booklet now undef review* In the Pmfam he wrote:“At least 95% of those who buy magio book8
follow magic in an amateur or semi-professional manner. Their performances are intermittent and they seldom, ifever, have the desire or opportunity of performing on the professional stage. Their shows are limited to clubs, homes, private parties and audiences of the intimate sort. It is forthelatter type ofshow that this routine has been published. The wives and sweethearts for the most part will be the ones on the receiving end of the show and will have but a minimum to learn to be able to present an intimate act of professional calibre. The very same act for which the writer has received up to 200 dollars for a singleeveningin private homes or clubs.” The justification for such an act has been seenwhen the Piddingtons wereover here for
they, despising code and utilising simple conjuring technique alliedwith subtlety, established a reputation that has neverbeenexceededby any mental act in the post-war years. The routine givenis intended to run for a period of thirty to forty minutes. It takes in its stride telepathy and prophecy. Truethere is a code of a simple sort but it is one that can be learned by an intelligent person in an hour. With the still greater interest being shown in mental magic this is a ‘must’ for the mental worker who isnew to magic and to whom this work of Annemann is unknown. Whilst the seriesofeffectswillnever make the participants an Eddie and Lucille Roberts team, good presentation willleave an indelible impression on lay audience.
MAGIGGO-ROUND Thanks once again to Harry Stanley, magicians inthiscountry have had the opportunity of seeing that greatest man of magic, Dai Vernon, in action. When we sawhim at Portland Hall, our regret was that the letting terms of the theatre did not allow him to give all that he desired for the meeting had to terminate at 10-30. In those hours during which he demonstrated his extraordinary talent, one witnessed not only the finest technical accomplishments, but also how much difference a relaxed approach made for truemagic. To catalogue the items presented would mean nothing more than a record of what he did, but we must mention three things which stood out above all others (that of course is from own viewpoint). They were the six-ring routine,the ‘Jumping Jack ’ routine using the Tenkai change (this will be found in the Dai Vernan Book of Magic) and the use of the top change. Those who knew him will greatly regret the death of Lionel King. None of the modern generation sawhim work anyactbut the one in which he presented the ‘Nap Hand ’ trick in such an effective fashion. Older magicians whose minds can remember the early twenties will recall the delightful act in which he gave impressions of a number of amateur conjurers. One of these will always stand out for it was an impression of the conjurer whose patter hadbeen influencedthrough reading the ‘Book ofArtemus.’We first met Lionel King at the house of a school-friend, Leslie Harris. LeslieHarris’s father was an excellent entertainer at the piano, appearing on numerous occasions at St. George’s Hall. We feel certain that the year was 1919 for bath Lionel
King and Leslie Harrishad returned from a Rhineland tour where they had been entertaining the occupying forces. At the Vernon lecture it was very nice to run into Piet Forton, the young Swiss magician. Piet is spending a vacation in this country and taking in as much magic as time permits. From him we had a first-hand reportonthe Hilversum Convention. In the July issue of the Pentagram we are publishing an excellent sleight of Jack Alvis’s which has a use for all card workers. We also have for a future issue some excellent mathematical material from Edmund Rowland. This reminds us that a long while back we would get down to writing up the routine of Jardine Ellis’s which was his own presentation of the Ellis ring. Partly laziness and partly so many things to do have always prevented attacking this in the way wewouldwish, but let’s ho e it willbecome a New Year resolution that wil be kept. We hear excellent reports of Goodliffe’s, Tom Harris’s and Harry Robinson’s appearances at the S.A.M. Convention. Interesting was the fact that Goodliffe we understand was working a new apparatus effect of our own, which strangely enough we haven’t a copy. Thc current issue of Ibidem carries a delightful effect of Alex. Elmsley’s which should prove advantageous both to card worker and mentalist. Alex. has also come up with some nice ideas in Russduck’smostenthusiasticpublication ‘Cardiste.’ In this newest of publications, more mental material is promised, and if this is up to thestandard of some. of the poker stacks it
P
should be most worthwhile.
72 THE WORLD’S LARGEST MAGIC BOOK
T H E MAGIC W A N D Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now on sale MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle-including a clevervestturning stunt. PARTY FORPAMELLA byJACKGI’ITINGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together withsuggested presentations for standard props, patter, tips, routines, etc. M Y MAGIC by BRIDGER LEWIS gives.you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE byCLE’JTIS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than SS, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature card routine for the mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards
to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator’s pocket, and says which spectator itis, and tells the other spectator howmany cards he originally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title imphes, but It IS beautifully routlned and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card isreversedin the pack single handed. This new sleight will have many usesin card magic. SUPER MEMORY IN CLOSE-UPby ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routine for the children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. A card, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the items just named! Easy to make and do!Also aTOPCHANGE stunt ‘for the card enthusiast, anda CARD PREDICTION using a slate in a new and novel way. And as much more fine material again, whichwe have not the space to list here. Atotal of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.
Price: 7/6, Postage 7d. For this Giant (8+ X llin.) Book.
GEORGE ARMSTRONG 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free PETER
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W l.
PENTAGRAM is publirhedon tho 24th of each month and can be obtained direct from tho publishers for 117 per single copy. Annual Subaeription 1 SI. post free. PUBLISHGD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
Magical Theatre :
King George’s Hall, W.C. Summer Recess
Particulars from Hon. Secretary :
Peter Newconbe 38 Overdale Avenue New Malden, Surrey
WARLOCK’S
Manuscripts for publicationandbooks review should be sent to the: EDITORIAL ADDRESS:
for
Peter Warlock, 24, Wordrwwth Rd., Wallington,
surrcv.
Wanted b y George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.’’ Complete in envelopes if possible. Also wantmany U. F. Grant and Grant and Menge mirneographed $ems. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser! goods are fully endorsed by this Bulletin I
PUBLISHED BY THP PROPRIETCb Ral THE MAOIC W A N D PUBLIOHINO COMPANY. 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX AND PRINTED BY HERBRUT WALKER & SON (PRINXURS) LTD., BRIDDQE W e R K S , SHIPLET, YORKSHIRE
PETER WAR LOCK 'S
SILK
*
IN A LOOP MARCONICK
T
HE MAGIC of Marconick is always sheer delight and we canthink of no magician who has added so much to the wealth of silk magic. Atthe moment Nick is working a delightful cabaret act in Continental night spots. His quiet unassuming manner serves to enhance the silken poetry of his act. The interlude to be described is primarily an opening item. To some it will seem a flourish but if you care to try itout you willfindhow effective it can be.
from one end, the remainder of the rope being allowed to trail. The left handis lifted and the right hand comes across and takes the free end of the rope. Both hands move apart and the rope is displayed horizontal to the ground.
The Effect. The magician holds a piece of ropein his hands.Just a piece of rope. A loopis formed and then a knot thrown into the rope. Much more than a knot, however, for in the knot is tied an eighteen inch silk. The Requisites. A piece of cotton ropeaboutfour feet in length. One brightly coloured eighteen inch silk. Preparation. First of all foldthe silk into a zigzag fold and place it around the centre of the rope. Fig. 1.) Now resting silk and rope on a table roll the ends of the silk in towards the rpe so that finally you have a small bundle of silk. You will find that if the hand releases its hold the silk will automatically unroll, so if you wish to make your preparations ahead a small clip should be placed around the bundle. That is the preparation. Presentation. Supposing that the clip hasbeen removed and you are ready to go into the effect. The rope with the bundle is taken in the left hand. the second. third and fourth fingers closing over the silk so that it is concealed. Now because of thenature of the material it will easily slide along the rope, therefore the rope can be easily handled and it is suggested that it should be held at about six inches
VOLUME 12, No. 10
-
The right rehiquishes its hold and the left handis left holding the rope with the silk still concealed.
I/6. (20 Cents)
-
JULY 1958
74
The right hand comes across and taking the end of the rope protruding from the left hand pulls it through the silk and hand so that just over half the rope is beneath the left hand. The right hand then pulls up the centre of the rope.(See Fig. 3.) Note how the rope runs over the left hand firstfinger. The free end of the rope, i.e., the end opposite to that held by the left hand, is now taken by the right hand, brought around the free end of rope and placed between the second and third fingers of the left hand. (Fig. 4.) Now
in one continuous movement the following things happen : (1) The right hand drops slightly, the second and third fingersmaintaining their hold of the end of the rope (Fig. 5); (2) Which has the effectof forming a single knot and (3) The loop is allowed to slide from the hand whilst the left hand fingers relinquish their hold on the silk. The combination of these actions is such that -as the loop falls it is reduced in size, the silk automatically expands and the finished effect is shown in Fig. 6 .
CLIPPED PREDICTION BRlAN GLOVER
A
MUCH used Annemann principle, is the three compartment envelope.’ This has beenused in manyeffectswhichbring about a strictly limited prediction. A description of the envelope can be found in any of the following :‘ The Jinx,’ page 72. Peter Warlock’s ‘ Patterns for Psychics,’ page 29. ‘ Pentagram,’ Volume 12, page 94. I am now about to describe an alternative for this faked envelope which has served me very well over the past few years. Requirements, Preparation md Set-up. First youwill require a faked bull-dog clip used in the marketed effect known as Bob Ostin’s ‘ Dice Prediction ’ which is sold by Davenports. In my own opinion the gimmick is worth treble the price asked. The gimmickedbillet is sealed with a piece of sellotape. Secondly, three predictions covering your triple limited choice. These are written on sirnilar sized billets, folded and also sealed with sellotape. The third thing you require is a saucer. Perhaps a strange thing to use instead of a more con-
ventional plate, but the reason will be given shortly. Fourthly three nineinchlengths of cotton, joined together as shown in illustration. The table that you use is now set up as shown here.
cOTT9N A77ACtdEb 7 9 KGlK E D d E OF TA 6 s W m l D&WcEJGQIN
Notice that the three single knotted ends of the cotton are affixed lightly to the sellotape sealing the billets, i.e., the knot is inserted under the sellotape whichis then stuckdown.Needless to say the billets are in a known order. In the illustration so as to help the explanation I have lettered them A, B and C. The specialclip previously mentioned is threaded on a piece of cord which is attached to two chairs, the clip hanging in the centre. These chairs are on the right of the stage.
Perfurmance. The performer first of all indicates the billet held inthe clip. He then goes intoan effect in which an ultimate choice of three objects, cards or what have you are arrived at. These items are takencare of by the billets in the saucer. Now carefully stressing the fact a complete freedom of choice is to be made, one item is chosen. Turning to the table the mentalist allows the left hand to go to the saucer. The left thumb is placed
on top of the desired billet, whilst the remaining fingers of the left hand grip the saucer and carry it forward, canting the rear edge slightly towards the table, see illustration. Thanks to the pieces of thread, the unwanted billets gently slide off the edge of the saucer to lie on the table top (nowyou’ll appreciate why a saucer is used for its natural concavity is an aid to this manoeuvre). As soon as the unwanted billets are clear of the saucer the left thumb is taken off the billet and moves to the front edge of the saucer. Whilst this is all taking place do not glue your eyes on the saucer. After first getting the preliminary position with the merest glance, the taking of the saucer from the table should seem unimportant. Walk over to the clipped prediction bringing the saucer immediately under the clip. Make the necessary action with the clip and then walk over to a member of the audience asking him to remove the sealed billet from the saucer, open it out and read howyouhavebeensuccessful in your prophecy. Thanks to Mr. Ostin’s ingenuity it would seem that you never touched the billet at any time during the effect.
THE CENTRE DOUBLE LIFT JACK AVIS
T
HOUGH the title mayseem somewhat odd, the sleight that I amaboutto describe is not only practical but extremely deceptive. It was back in 1950 when I first developed it and A1 Koran was the first magician to see it in use. Since that time it has been used more or less exclusively and had it not been for the fact that it is beginning to go the rounds, having already been described in two Continental magazines, I feel that I should claim my own rather grown-up offspring. With a pack of cards in your hands you will find it easy to follow. 1. Hold the pack in your left hand as in a dealing position. 2. With the left thumb riffle down the outer left corner of the pack. 3. Stop ataboutthe centre or at whatever point the effect in hand demands. 4. Reach over with lyour right hand and place the right thumb into the break made by the left thumb. 5. Once the right thumb isin position allow the required number of cards, possiblytwo or three. depending on whether you intend making a double or triple lift, to escape from the left thumb.
6. As soon asthe cards are released the right forefingerisplaced into the break formed below the released cards. 7. You are now able to grip the released cards between the right thumb and forefinger and withdraw them from the pack. 8. As the cards clear thegack, they are turned face upwards and placed between the left thumb and secondfinger tips which now should extend above the pack. If you are doing this with a pack of cards in your hands, you will see that the change of position is automatic and calls for no gymnastics. 9. The cards are held wellaway from the top of the pack, and the hold forms, in effect, a cage which prevents any displacement of the cards. 10. After displaying the card(s) they are flipped face down on top of the pack, the top card then being removed and used as desired.
The same technique may be used for removing two or more cards from the rear edge of the pack and it is a suggestion that different methods be experimented with so that a personalised handling is developed.Used for the right tricks this sleight as I have said before is most deceptive.
76
STAB IN THE DARK PETER WARLOCK F ALL the card classics the most telling are those with a clear cut effect.Some represent straight-forward conjuring at its best, whilst a few give scope to the mental or psychic worker. One of these is the blindfold card stab. Many versionsinvolve a number of cards being selected which, when the performer is blindfolded, are unerringly stabbed with the knife that he holds. The present version, a very simple version indeed, is only concerned with the losing and find-, ing of one card. The total effectwe have found always telling, the discovery of the one card being a true climax. The patter thememakes it a psychic effect.
0
The magician picks up a pack of cards which he casually shuffles; he talks of sixth sense and how he would like to try an experiment. He takes a knife from the table : it should be of the stilletto type and interesting to look at and handle. (The one I use at the moment is a Spanish product and is a miniature Toledo sword.) “The ancients were very learned when they sought truth in the breakingdown of metals, for evenwithin this sword there is a strange power, a power beyond scientific analysis.Wouldyou mind, madam, taking this sword and pushing it into this pack of cards?” At this moment the magician hands the knife to a lady in the audience and fanning the pack of cards allows her to push the end of the sword into the spread. “ Madam, wouldyou like to enjoy the prerogative of your sex and change your mind? No ! . . . Verywell just look at the face of the card above the sword and then kindly autograph it for me; incidentally don’t let me get a glimpse of the card !’’ The lady is handed a pencil so that she can write her name across the face of the card. Before she commences writing, however, the sword is retrieved and slipped into the outer breast pocket. The magician then walksback to his table as the lady writes. He faces front and says, “ One thing that I wish to impress upon you all is that the lady allowed the sword to find a card. My purpose now is to show that under seemingly impossible conditions the sword will find it once again. But first we must lose track of the card. Madam I want you to put the pack into complete confusion by thoroughly shuffling the card you have autographed with the rest of the cards . . . give the pack your very best shuffle !” The lady shuffles the pack and the magician steps forward first taking the pencil back, followed by the pack itself. “ Madam, I still require your assistance so will you please step this way.” The lady walks to the table with the magician. Placing
the pack upon the table top, he then picks up a piece of cotton wool saying, “ Wenow approach the most critical stage of the experiment for I have to fit myself to be responsive to the sword. I have to develop an extra sense! To achievethis, one sensemustgo, and theeasiestis sight. Madam, will you tell the audience whether this pad of cotton wool cuts out all light!” The pad islightly placedacross the assistant’seyes and after an affirmativereplyisremoved. “ Thank you !” There is a slight pause as the performer takes a foldedsilkhandkerchiefonwhichheplaces thecotton wool. He liftsthem to a positionwhere pad and handkerchief cover his eyes. To the assistant he says, “ Will you please tie the ends of the handkerchief at the back ofmy head?” This is done. “ Ladies and gentlemen, remember what has happened. One of fifty-two cards has been decided upon by this lady who found that card with this sword.” As this issaidtheright hand removes the knife from the pocket. “ Through the medium of the sword I intend to find that card again.’’ Turning his head in the direction of the assistant he adds, “ To make my task as easy as possible will you cut the pack into three separate heaps.” The assistant carries out the request. “ Have you done that?” says the magician.With an affirmative reply, he extends his hand holding the sword. “ Please guide my hand so that the point of the swordtouches one of the heaps.” The assistant “ No response,”says the magician, doesthis. “ Just remove that heap and place the point on another. Far better, justremove the remaining heap.” The magiciannow starts scattering the cards with the point of the sword and when they are spread all over the table hefinallyencircles them from above and lets the point of the sword fall and impale one card. He says, “ Madam I am beginning to get an impression of a pattern, is your card a red card? . . . it is . . . good . . . a heart . . . the nine of hearts . . . that is correct? . . . and is there a card on the point of the knife?” Again an affirmative. The sword is lifted so thatthe face of the impaled card, whichis the nine of hearts, can beseen by theaudience and atthe sametime the magicianwhips off the bandage covering his eyes. The lady is allowed to confirm that the card on the point of the sword is the one that she autographed.
The Requirements. A pack of cards in which,say, the nine of hearts is a short card.
A silk handkerchief large enough to bandage $he magician's head. A pad of cotton wool measuring seven inches by three and a half inches. On one side of this is glueda piece of white cardboardthe size of a playing card (see illustration).
A knife of the stilleto type. A pencil.
The Preparation. The short card is on top of the pack which is placed on the table together with the silk handkerchief, pad of cotton wool and knife. The silk handkerchief should be folded ready to makea 'bandage and the cotton wool pad should be cardboard side undermost. The pencil is placed in the outside breast pocket. A chair is placed on the right-hand side of the table.
The Presentation. As in the description of the effect I have given a very detailed presentation, here I shall give just the bare bones of the means employed. First of all you pick up the pack of cards and shuffle them, faces towards the audience but maintaining the short card on top. Near the end of his preamble, the short is brought to the bottom of the pack, the palm of the hand covering the short card. The pack is held in the right hand whilst the left hand takes the sword from the table. This is handed to a lady in the audience. The right hand now fans the cards it is holding and under cover of the spread the bottom card is slid along the fan so that it is positioned almost below the right hand side of the fan. The lady inserts the point of the sword into the pack and with the assurance that she is satisfied with her choice, you remove the cards below the knife with your left handand at the same time square the cards above the short card which now becomes the bottom card of thetop half, and apparently the one above the knife. This is a sure fire force based on an Hofzinser force and one which I have used
for over thirty years, although the first time I mentioned it in print as a single hand force was in 1946. Since then, in factquite recently, Jim Thompson gave quitea space to it in his Top Secrets of Magic. The packet with the card facing her is handed tothe assistant and with a request that she autographs it you hand her the pencil and the remainder of the pack. Take back the sword and slip it into your breast pocket. When the cards have been shuffled the pack is taken back and also the pencil. The pencil is dropped into the pocket and as you ask the lady to further assist you, the short is located and the pack is openly cut, bringing the short card to the top. Believeme, the openness of this action is proof against suspicion. The assistant returns with you to his table, the cards are placed down and the pad of cotton wool is picked up. In order to test the opaque quality of the wool by placing it over the assistant's eyes, the pad is taken so that thenon-cardboard side rests against her face whilst the card is covered and masked by your hands. The pad is then taken away and retained by the right hand whilst the left hand picks up the folded silk handkerchief from the table. The cotton wool pad is laid upon it and when handkerchief and pad are lifted they are brought into such a position that the piece of cardboard goes across the bridge of your nose. However tightly the bandage is now tied the cardboard allows you perfect down the nose vision, which covers the whole of the table top. The assistant cuts the pack into three heaps and you note where the top portion of the pack goes. Taking the sword from your pocket with the right hand, the assistant places the point on one of the heaps. As it would be poor psychology to find the card in the first heap indicated by the assistant, should the guiding by the assistant take the point of the knife to the heap which has as its topcardthe one autographed, you take care to guide the assistant so that it goes to another. This is no difficult task, for remember the word ' Guide ' has been used. When the point of the sword finally rests upon the heap containing the chosen card and the two other heaps have been removed from the table, the cards are scattered around thetable top, whilstyou keep track of the autographed card. The sword is now encircled above the cards, ultimately falling and impaling the chosen one. I should like the reader to note that in describing the use of the blindfold there has been no suggestion that itisbeingused tostopthe performer seeing, i.e., I have heard magicians say, Now so that it is impossible for me to see what is taking place, etc. . . . I'll allow you to blindfold me!" This type of statement is something like a challenge and so truly serves its purpose in sowing the seeds of suspicion. "
78
COME NINE EDMUND ROWLAND HIS is more of a puzzle than a proper trick but, asthe solution to it depends on a simple catch whichvery few people will discover for themselves, it is something which can beenjoyed by everyone around youeven when some of them have already seen it. All that you require is four square cards (or tablets) with the four figures 1, 2, 3 and 4 written boldly on both sides as illustrated. (The reason why the figures, and figure 2 in particular, should be written rather than printed or stamped will be obvious in a moment.) The object of the puzzle, you say, is to arrange all fourcards (or tablets) in a row to make nine.” To make your meaning clear ( !), demonstrate that, by adding thefour numbers together, you can make a total of 10 by arranging them like this, for example,
T
victim to get “ a total of 9 ” by a similar arrangement. But, as a matter of fact, the solution does not depend upon a process of addition or subtraction at all; so he will eventually tell you that the puzzle cannot be solved. (To carry the deception a little further, you mightevenshowhim that, by turning a figure 1 around to make a minus sign, you can get a total of 19 like this
or a total of 10 again like this
“
or a total of 8 by arranging them like this
and so on.) The correct solution, when you are ready to show it to him, is as follows.Simply turn each figure 2 around to make a capital N (with many kinds of printed figure 2’s this cannot be done convincingly), turn a figure 3 around to make a capital E,- use the remaining figure 1 as a capital I and then-arrange the cards to make “ NINE ” like this
and so on. This suggests, without your actually stating it, that you want your
BACKS
ODD O R EVEN? EDMUND ROWLAND
T
HE working of this little item depends on twothings. First of all on the fact (too obvious for most people to notice), that a rectangular card can be turned over in two dif-
ferent ways (either from side to side or from top to bottom) and that the effect of turning it over in both ways insuccession is merely the same as turning it around or upside down. And secondly
79
.on the fact that when a number like 608 which is even is turned around or upside down it becomes a number like 809 which is odd. Prepare six rectangularcards like those which are illustrated below. Each of these has a threefigure number printed on one side only.The backs are blank or, if the cards are madefromblankfaced playing cards, they can carry some sort of “ reversible ” design. To get them in the correct order for the trick, .arrange them face-up in a straight line on the table with the third card from the leftshowing the number 608. Then gather them up on top of one .another fromleft to rightand turn the whole packet over FROM SIDE TO SIDE. In performing the trick, deal them face-down on the table in front of a spectator. Explain to him that each card bears a number on the other side.Some of these are odd and the rest, of course, are even. Both ofyou are going to choose just one card each and the two numbers on these willbeaddedtogether. This willproduceeither an odd or an even total. Ask him which he would like it to be. Then point outthat you had better be allowed to choose yours fmt because it would be easy for you to choose a number which would producethe kind of total hewants if he chose his number first (for you probably know the position of each of the numbers and would, therefore, be able to tell whether he had chosen an odd one or an even one). Yet, when each of you has chosen a card, you turn both of themover to show that the total
of the two freely chosen numbers is the kind which he asked.
for
To produce this result, the card you choose for yourselfmustalwaysbetheonebearingthe numbers 608 or 809 (which is the third from the left youwillremember),andyoumustalways turn the spectator’s over first (to see if his number is odd or even), and you must always turn it over FROM SIDE TO SIDE. Then, if he wants the total to be odd and has chosen an odd number, you turn your card over FROM SIDE TO SIDE aswell (to get an odd total of 243 + 608, 185 + 608 or 597 608). On the other hand, if he wants the total to be odd but haschosen an even number, you turnyourown card over FROM TOP TO BOTTOM instead (to get an odd total of 314 809 or 732 809).
+
+
+
Similarly, if he wants the total to be even and has chosen an even number, you turn both cards over FROM SIDE TO SIDE (to get an even total of 314 + 608 or 732 + 608), but, if he has chosen an oddnumber, you turnyourowncardover FROM TOP TO BOTTOM to get an even total of 243 809, 185 + 809 or 597 + 809).
+
In other words, if his chosen number is the same as the total he is wanting (that is, both odd or botheven), you turn both cards over FROM SIDE TO SIDE. If it is no the same (that is, one odd and one even), you turn his card over FROM SIDE TO SIDE. If it is not the same (that is, one FROM TOP TO BOTTOM. Apart from the slight trouble of remembering this simple rule, the trick moreor less works itself.
TURNED OVER FROM SIDE TO SIDE
TURNED OVER FROM TOP TO BOTTOM
80
THE WORLD’S LARGESTMAGIC BOOK
T E E MAGIC WAND Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now onsale to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator’s pocket, and says which spectator it is, and tells theother spectator how many cards he originally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title implies, but It IS beautrfully routlned and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversedin the pack single handed. This new sleight will have many usesin card magic. SUPER MEMORY IN CLOSE-UPby ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you aHat Production routine forthe children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. Acard, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the itemsjust named! Easy to make and do!Also a TOP CHANGE stunt forthe card enthusiast, and aCARD PREDICTION using a slate in a new and novel way. And as much more fine material again, whichwe have not the space to list here. Atotal of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.
MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle-including a clevervestturning stunt. PARTY FOR PAMELLA byJACK GITI’INGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations for standard props, patter, tips, routines, etc. M Y MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE byCLE’ITIS V. MUSSON willbe for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than €5, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature card routine forthe mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards
Price: 7/6, Postage 7d. For this Giant (84 X llh) Book.
GEORan ARMBTRONG 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free PETER
The Magic Circle
PENTAGRAM
President: Herbert J. Collings, Esq. Vice-President: Francir White, Esq. EIubroom and Library and M-rn
U publubod on fk M& d u c h nrtb .ad cam bs obtained diroct from tho prbikhn for 117 per shale copy. AM^ S a k c r i . U a 181-
:
port h . .
Hearts of Oak Buildings, Euston Road, London, N.W 1.
PUBLISHBD
BY:
The Magic Wand Publishing Co.
MagicalThcattc :
62 Wellington Road, Enfield Middlesex
King George’s Hall, W.C. Summer Recess
kaauscriph for pabliutioa and bmlu for review rhould k wntto tho:
?.rticularr from Hon. Secrotary :
EDITORI.4L ADDRESS:
Peter Newcornbe 38 Overdale Avenue New Malden, Surrey
K
WARLOCK’S
Peter Warlock,
24, Wordrworth Rd., Wallinpton,
surrev.
Every Advertiser’
l
Wanted b y GeoFge Armstrong Any of the “ C. T. J(otdan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U. F. GrantandGrantandMenge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield,Middx.
goods are fully endoried by this Bulletin
I
R I T H E MABIC WAND WPLmRRIQ ‘COMPANY. 6? WELLINGTON ROAD, HNFIPLD.MIDDLHSEX A N D PIIINTXD BY HERPHRT W A I X E R L SON (PRll*¶%RS) L=., BR100B WORKS. SRIPLET. YORKSHIRE
*
A
PETER WARLOCK'S
**+*e
THANKS TO MOEBIUS EDMUND ROWLAND Fasten all three strips together by their ends DON'T remember who it was who first described the idea of tying three coloured ropes with cellotape to make one long strip. Then give one end of this a twist (as if you were making one together in a circle so thatanyone of the of the bands of paper for the Afghan Bands effect) knots could be secretly untied to show that the ropes had been tied together in the same order as and fasten the two ends together to make an endthat in which a similar set of ropes had been tied less band. Then fold this carefully at tLc t h e 2 by a spectator, but this is a paper version of the joins and. at the same time, carefully flatten it out same thing. (My original reason for making itin so thatit will just fitnicely inside the envelope. paper was merely that I wanted to include it in an The method of folding and flattening should be act consisting entirely of paper magic, but another clear from Figure 1. reason for using it is that it is easier to carry a Three slits must now be made with a sharp Of paper in an than to carry a box* knife of thewith edges the envelope so or to borrow a hat. in which to hide the circle of that, near when itthree is sealed theof folded paper band ropes.) inside it, the three folded joins between two adjacent colours will just project through them. Suppose that a spectatoris going to be asked to arrange the colours green and yellow in any The appearance of the finished article is shown in order he likes. (Heis going to have a choice of Figure 2. (This side of the envelope must always six different arrangements, of course.) Then you be turned away from your audience, of course.) will need three similar strips of coloured paper: one red. one green, and one yellow. These strips
I
red.
yC'LOW
FtCURE
F~~UQGI
.
may be as broad as you like but thelength of each must be slightly less thanthe width of the envelope which you are going to use-and this, of course, may be as large as you like.
VOLUME 12, No. I I
-
2
.
Now, as soon as you know the sequence of colours chosen by the spectator. you can open the envelope at the top, at the bottom or at one end by cutting off the edge of the envelope and the edge of the fold in the paper band together with a pair of scissors and take out the long paper strip
I/6. (20 Cents)
-
AUGUST 1958
82 to show that the colours on this are arranged in exactly the same order. For example, if he has chosen the order yellow, redand green, youwill cutthe envelope open at the end and, at the same time, cut ‘away the join between the green and the yellow parts of the band. If the slits in the envelope have been made rather longer than the width of the paper band, you can now withdraw the strip from the envelope quite easily with one hand whilst your other band holds the envelope open at the end and, atthe same time, grips thestrip looselybetweentwo
fingers so that the folds in it are straightened out as it is withdrawn and so that only one colour emerges at a time. Instead of having the joins in the band projecting through slits in the envelope, you can, of course, make the band so neatly and exactly that it will fit tightly inside and not tend to slide about. The envelope may then be opened in the more normal fashion-with the blade of a knife. If you pretend that you cannot do thiswith one quick slicing cut, it will then be possible for you to cut through the band with the knife at the same time.
A MASTER SPELLER EDMUND ROWLAND
T
HE ABOVE title has been used several times in the past to describe spelling effects with playing cards. In this particular case the word “ master ” is quite appropriate, however, because it is a spelling effect with a pack of Lexicon cards and four of the “ Master ” cards which are used in the game of Lexicon to represent any letter that is needed to complete a word.Unfortunately only one Master card is supplied with each pack so, if you cannot beg or borrow three more from someone else, you are going to have the trouble of making three from blank-faced playing cards for yourself. (Of course, I don’t want to suggest the alternative-that you don’t perform this effect at all!) Fortunately the Master card designdoesn’t have to be copied very expertly because the cards are not going to be handled by anyone but yourhelf. (The best way of making them is to trace the design on to tracing paper, transfer this to the face of the card by means of carbon paper and then go over the design on the card with a fins pen or a thin brush and some Indian ink.) Before I go any further I had better point out that the whole effect is not intended to be taken very seriously ! The trick depends on forcing a four-letter word. Suppose you decide to force the word WEST. (Ifyou are limited to using the cards in only one pack of Lexicon cards, you will find that the choice of possible four-letter words is rather restricted-because only a few of the consonants are duplicated and because with some of the fourletter words which can be duplicated the letters can also be rearranged to form a totally different word.) Take out a W,an E, an S, and a T and stick each of them and a Master card back to back. Then, to forcethe wordWEST, arrange the following cards on top of the pack. First of all,
any four letters which cannot be arranged to spell a four-letter word (for example, L, 0, R and H); then four more (for example, B, D, F and G);then the duplicate letters W, E, S and T; then four more letters which will not spell a four-letter word (for example, 2,E, N and E); and then the rest of the pack in any orderat all. Finally put the four Master cards close together near the middle of the pack so that you can find them fairly quickly. To perform the effect, give the whole pack a false shuffle so that the cards remain in the same order. Deal the first four cards whichwill not spell a word to spectator A, the next four to spectator B, the next four (which are W, E, S and T), to spectator C and the next four to spectator D. Before you deal any cards to spectator E(! ), ask if anyone who has already been given some cards is able to arrange them to spell a four-letter word. Unless spectator C is either very dull or half asleep, he will soon say that he can. (If one of the others says that he can as well, you had better take a quick look at what he is doing-or elsehave second thoughts about trying to be an entertainer !) So take back the cards from the other three spectators and return them to the pack. Explain that you are now going to reveal the word that spectator C has chosen (?) by taking four more cards from the pack and arranging them in a rowwith their backs tothe audience in a small stand. Ask spectator C to concentrate on the first letter of his chosen word. As soon as he looks as though he mightbe doing this, take a card from the pack and place it in the stand with its back towards the audience. Repeat this for the other three cards. It doesn’treally matter which four letters you take but suppose- you choose p, Q, R and S. You are now going to show that your word is the same as the spectator’s. Turn the first card around and say, “ The first letter in your word is
83 P.” Spectator C will immediately deny this, of course, and you will probably get your first smile from the audience. “ I’m sorry,” yousay. “ But just a moment. Everyone knows that in playing Lexicon you are allowed to use a Master card to represent any letter that youneed to complete a word. So, if youdon’t mind, I will replace this letter P with the Master card.” As you finish saying this, you put the letter P back in the pack and in its place in the stand put the Master card which has the letter T at the back. now^ you probably get a laugh from the audience. You then turn the second card around and say, “ The second letter in your word is Q.” More laughter from the audience when they find that it isn’t. But wait! “ Fortunately there happens to be another Master card in the pack so, if’you don’t mind, etc., etc.,” and you replace the letter Q with the Master card which has the letter S at the back. Again there willbesome more laughter from the audience. Repeat this with the remaining two letters so that youhave four Master cards in the stand
instead of the four correct letters in the chosen word. You try to explain that you have really succeeded in spellingthe word correctly, of ccurse, but spectator C and the rest of the audience are obviously thinking that youhave tried to fool them with a simple catch. “ Butjust a moment,” you say. “ Perhaps you wouldn’t mind telling me what your word is.” “ It is WEST,” says the spectator. So you solemnly take a small compass from your pocket“ That explains it then. I’m afraid that you are all facingin the wrong direction. According to this, you are all facing East. Now, if only you had been sitting on the other side of me,youwould have seen at once that the word in the stand really is correct.”
As yousay this, you turn the whole stand around to show the word WEST on the backs of the Master cards. Collapse of audience (?) and end of trick. But believe it or believe it not, h a your audience will think that you have done something clever.
TWOIFOLD LOCATION EDMUND ROWLAND
E
VERYONE must have noticed at some time or another that there is more than one way of folding a rectangular piece of paper from top to bottom and from side to side into a quarter of its original size, but no one except a magician (or a secret agent perhaps), would think of attaching any significance to such a trivial thing. It was about six months ago that I first thought of using the different methods of folding asa means of secretly distinguishing one folded billet from another by mere touch.
Now this, of course, is a case in which a few illustrations can be worth much more than several words of detailed explanation so I would suggest that you look straightaway at the billets illustrated in Figure 1. Notice first of all that each of them has been drawn with the creases at thetop end and the right-hand side. This is also the way in which any one of them should be held before you try to feel which one it is. Then notice that the first fold can be made either from top to bottom or from side to side. Notice also that either fold or both of them can be made either so that the two opposite edges are brought exactly together or so that one of them slightly overlaps the other.
To avoidhaving too many illustrations and too much detailed description, Figure 1 shows only those billets in which there is either no overlap at all or in which the overlap is produced by only one of the two folds. This gives us 10 different billets all of which, at a casual glance, lookexactly alike, however,because none of them is folded more than twice and becauseeach fold has been made at right angles to the other and to. the edges of the paper. But let us seehow they do differ from one another so that any one of them can be recognise& by feeling the creases and the sharp edges. (a) In numbers l to 5 the double fold which tends to make the billet spring open again is a t the right-hand side of the billet: in numbers 6 to 10 it is at the top end. (b) In numbers 1 and 6 the four sharp edges at the left-hand side and the bottom end are flush together without any kind of overlap: in all the rest two of them overlap the other two. (c) In numbers 3, 5, 7 and 9 this overlap is produced by the first fold and is, therefore, at the bottom end of the billet in numbers 3 and 5, and at the left-hand side in numbers 7 and 9. In numbers 3 and 7 the two overlapping edges are
84
between the two shorter edges: in numbers 5 and 9 the two shorter edges are between the two longer ones.
As an example of the way in which some of them can be used in an actual effect, suppose that youhave the sixpieces of paper illustrated in
6)
l0 B
6
I
0
(d) In numbers 2, 4, 8 and 10 the overlap is produced by the second fold, and is, therefore, at the left-hand side of the billet in numbers 2 and 4, and at the bottom end in numbers 8 and 10. In numbers 2 and 8 the two overlapping edges are behind the two shorter ones: in numbers 4 and 10 they are in front of them. I
2
Figure 2. Each of these is shown to your audience who are asked to remember the sixdifferent designs that are on them. As soon as each paper has been shown, you fold it into a billet using, in turn, any six of the different methods of folding already explained. (To helpyou to remember which is which, you should notice that the design 4
3
. FIGURE
BY producing an overlap at both folds instead of at only one (that is, by combining 2 or 4 with 3 or 5 , and 7 or 9 with 8 or lO), it is possible to get eight more different billets. The ten that are illustrated here, however, ought to beenough for anybody.
Q
6
a. on paper I is drawn with one line only, that on paper 2 with two lines only, that on paper 3 with three lines and so on.) Then, when all the papers havebeenfolded and shaken about in a hatthem to mix up, you
85
can quickly pick out any design as it is called fop or, more easily, you can immediately identify the design on any billet which is picked out by a spectator and handed to you behind your back.
Once you have grasped the principle on which the effect is based, you will probably be able to think of other effects along similar lines for yourself.
EDMUND ROWLAND
0
N PAGES 127-8 of “ Scarne’s Magic Tricks ” there is a simple mental item called “ Watch-it”. In this a spectator is asked to look at the face of his watch.
First of all he is to add together any two numbers which are exactly opposite each other and announce the result. After a moment’s concentration you tell him the two numbers which he added together. This is easily done because there are only six pairs of numbers to choose from, so you have only six different totals (8, 10, 12, 14, 16 and 18) to remember and, if you are given any one of them, you can soon discover by inspection the two numbers which must have been added together to produce it. Then, when the spectator has done two or three of these additions, youaskhim to choose another pair of opposite numbers but, this time, to subtract the smaller from the larger and not announce the answer but merely concentrate on it. Almost immediately you tell him what this number is. This again is very easy to do because the difference between everypair of opposite numbers is 6. But, as he has just hadit impressed upon him that the result is always different when opposite numbers are added together, he will naturally tend to assume that the results will still be different when he is asked to subtract one number from another.
As I have already said, the trick is only a simple one. It can be made rather more effective, however, by using, instead of the relatively few numbers on the face of a watch, the several page numbers of a fairly thick magazine. But first of all, I would like to explain how the first part of the trick with the watch can be done by using a simple calculation instead of by having to visualise all the possible pairs of numbers and relying on a process of trial and error. Suppose that we call the larger number a and the smaller number b. Then you know that a - b= 6. Suppose you have been told that a + b = 14. By adding together these two equations (a - b = 6 and (a + b = 14),youwillfind that 2a= 20 or a = 10. Then, if a = 10 and a b=14 (or a b=6), b=4.
+
+
Now look at the way in which the pages of a magazine are numbered. Any single section book (one that is made by stapling or stitching together a single pile of double sheets), can be used but the one I am looking at now happens to be “ Radio surely be the commonest Times ” whichmust periodical there is. It has 48 pages. Remove the wire staples which hold it together and look at the four page numbers on a fewof the double sheets. There are two consecutive page numbers, of course, on each halfof a double sheet. Call the sum of the two page numbers on the right-hand half X and the sum of those on the left-hand half y. Then, for every double sheet, X is greater than y, and X - y is different (as with a + b for the numbers on the face of the watch). But X + y is always thesame: with “ Radio Times ” it is actually 98 which is 96 + 2, or 2 more than twice the total number of pages. In other words, if the number of pages in the magazine you happen to using be z,is X + y=.2z + 2. Suppose, therefore, that you have asked someone to choose any double sheet from a “ Radio Times ” and mentally to add together the two numbers on the right-hand half and the two numbers on the left-hand half. First of all, askhim to subtract the smaller total from the larger and tell you the answer. Suppose he says that it is 52. You already know that X + y=98 so, by the same kind of reasoning which was used above for the numbers on the watch,you can quickly discover that 2x = (X + y) + (X - y) = 98 + 52=150 and, from this, that x=75. Then, since X + y=98 (or X - y=52), y=23. Noweach of these numbers X and y is the To find out sum of twoconsecutivenumbers. what these are, add 1 to each answer and divide eacMnew result by 2. Thus, from y = 23 and x=75 Yod will find that the four page numbers on the chosen double sheet are 11 and 12 (because 24 + 2 = 12) and 37 and 38 (because 16 + 2=38). Do this once or twice again letting the person who is choosing the numbers see that his. answer which he is givingyou is different each time.
86
Then ask him toadd together all the four page numbers on any other double sheet and concentrate on the answer. You can immediately tell him that he is now thinking of the number 98 because youknow that this must always be the answer. Alternatively, if you have asked him just to addthe odd number on either halfof a double
sheet to the even number on the other, you can immediately tell him that heis thinking of the number 49 because this is half of 98. Thus, with the double sheet used in the example above, 11 + 38 = 12 + 37 = 49. It will also be obvious that a magazine can beusedin this way to provide an impromptu method of forcing a number in any kind of trick.
THE CARDS RISE PETER WARLOCK
T
HIS EFFECT was first used by me at a Magic Circle Show on October 7th, 1931. Reporting the show, Tom Donovan wrote the following :“Some finished thimble work introduced the act, the remaining contribution otherwise consisted of a baffling version of the rising cards. The pack wasgiven into the hands of the audience, and three cards chosen and marked; the pack having been returned to the performer, the marked cards were inserted therein by the audience, and the pack placed in a glass standing upon a glass tray, both articles having been previously examined. At the word of command the marked cards rose and were at once handed tothe audience for identification.’’ Let me add to the description the following :1. Both be packmay and glass
With the help of illustrations I will explain exactlyhow the threads are arranged. When I speak of thread, I exaggerate for, as little strain is, placed upon the hook-up, strong cotton or Silk0 can be used.
borrowed.
2. There isno force of cards. 3. Nothing is attached to either cards or glass. 4. The cards may rise at any speed. 5 . The final card can be made to jump from the glass into the performer’s hand. 6 . There is no involvedmechanism that can fail the performer at the last minute. There is a drawback and that is that an assistant is required. Actually it is possible to dispense with the assistant but if the performer is compelled to do the assistant’s job, then he will lose all mobility and the effect will suffer very much. The Set-up. The effect has been given so we will discuss the method. The means for arriving at the effect are simple indeed. Glass, tray and cards are rested on achair seat and it is an ingenious arrangement of threads plus assistant which brings about the effect.
D OFF S I STANT D U W I N G PINS ?USUED IN
AT
THESE POINTS
At points A and B (underneath the chair seat),two drawing Pins are Pushedhome. Two more drawing pins are now taken and these are inserted behind the top chair rail at points C and D. Next take a mediumsized rubber band and fasten to its side the end of the length of thread (don’t break it away from the reel-for the time being !). Now holding the rubber band at a point between C and D, take the thread over C round behind A and B, and up and over D, finally breaking it at this point and attaching the free end to the opposite side of the rubber band. By reason of the elastic the thread should be maintained in a taut position. Now take the glass you intend using and placing it first on the tray and then both on the seat of the chair take another piece of thread and tie it at points E and F so that it crosses the top of the glass. Finally a long length of thread (this is governed by stage conditions), is taken and one end istied to the centre of the piecewhich
a7 runs from E to F. The free end of the long thread is now taken through the back cloth or alternatively if this is not possible through an anchored staple and then into the wings. With these details given the principle should ‘be apparent, and now all that is necessary is for the assistant to be stationed at the free end of the .thread with a full knowledge of what he or she has to do. The assistant is the keystone and wrong handling can mar the ultimate effect. Forthe record the assistant I used when I first presented -this effectwas Colin Donister, the indefatigable Magic Circle librarian. We rehearsed the handling once at my home and on the night everything was as smooth as a whistle. ’The Presentation. Pick up the glass in your right hand and the pack of cards in the left. The first finger of the righthand snaps against the glass, causing it to ring. If thought necessary the glass can be handed out for examination. The pack of cards is handed to one spectator with a request that he thinks of one card, removes it from the pack andautographs it. He is asked to pass the pack along and two more spectators in turn choose cards ina similar manner. Whilst this is taking placeyou step back, pick up the tray and show it and then place the glass upon it. Both are placed on the chair so that the threads take up their position over the mouth of the glass (see illustration). With the third card chosen, you relieve the third chooser of the pack.
are added to the top, a left little finger break separating them from the remainder of the pack. Walking across to the chair you appearto drop the pack into the glass, just that and nothing more. Actually, however, as the cards are placed in the glass the three separated cards go behind the cross thread whilst the balance of the pack goes in front. The offstage assistant must be in a position to see exactly what is going on so that he relaxes his hold on the thread as the cards go in, thus allowing the offstage thread to go down with the three autographed cards. At this point a pull on the thread by the assistant will cause all three cards to rise at once but only the face cmd of the three will be seen, and from the mdience’s point of view only one card has risen. That iswhat happens. Just read on. On the given word of command the assistant pulls either slowly or quickly (he must avoid any suggestion of jerkiness), causing all three cards to rise at once. When the card has risen threequarters distance out of the glass, the assistant stops the pull. You then approach the pack and with the thumb and secondfinger grip thetop corner of the front card. When this action is seen by the assistant he immediately releases the thread allowing the two hidden cards to fall back into the rear section of the glass. The card held by you is now handed out for a check. The second card is treated in a similar manner.
The three cards are then returned to the pack any by means of any standard indetectible sleight brought to the top from whence they are palmed off, whilst the pack, supposedly containing the three autographed cards, is handed out for shuffling. Upon its return the three palmed cards
The rising of the third card can be treated in a different manner and with a command forits appearance the assistant gives a quick jerk on the thread which has the effect of making the card jump from the pack about two feet, at which position you catch it.
Congratulations to the Dutch school for their performances at the F.I.S.M.Vienna Congress. Van Domelen, the Grand Prix most of us have seen on a number of occasions but up till now only those lucky enough to see Peter Pit when he was playing cabaret over here have seen something more than the abbreviated act that was televised intheHenryHall show. His version of the “Dancing Cane’’ is almost unbelievable andit must have helped a great deal in obtaining a first prize. He will be seen at The Magic Circle Festival which commences at the Scala Theatre in October. Strange to say the “ Magic Circular ” announce-
ment of artistes did not carry, what to some, is themost essential information, thedate of the show. Of Holland, we would like to mention that the September number of Triks ” that splendid magical magazine published by our very good friend, Henk Vermeyden, is a British number and containscontributions from Hans Trixer, Leslie May, Francis Haxton, Alex. Elmsley, Roy Walton and Edmund Rowland as well asa mechanical piece of our own. Two items had to be held over ; the brainchilds of Jack Avis and John Derris they wil be published in a later issue. And now for Eastbourne !
THE WORLD’SLARGESTMAGIC
BOOK
Edited by G E O R G E A R M S T R O N G No. 254. (Vol. 46, Part 2) Now on sale MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks wiih cards, common objects, dice, numbers, etc., all based upon amathematical principle-including a clever vestturningstunt. PARTY FOR PAMELLA byJACKGI‘ITINGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations forstandard props, patter, tips, routines, etc. MY MAGIC by BRIDGER LEWIS gives,you the terrific B.L. EGGS FROM HAT ROUTINE. Whetheryou are a born comedlan or a naturally stralght performer you’ll nct be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you donot need to buy expensive propsfor thisone. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return tothe pack reversed. Andthere is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE byCLETTIS V. MUSSON willbe for you if you haveambitions to be an illusionist. This stage filling illusion can be made for less than f5, is colourful, baffling and entertaining. THENAME IS MINE by PAVO is areally different type of DeadNameTest, ideally suited tothe Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a featurecardroutineforthe mentalist. Two spectators pocketanumber of cardseach. One spectator selects a card from the pack, and one returns his packet of cards
to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch,names the number of cards in a spectator’s pocket, and says which spectatorit is, and tells theother spectatorhowmanycards he originally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title imphes, but it 1s beautifully routmed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routineforthe children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name number, a colour and book title. These are noted and tossed into a box. Acard, which the performer has previously written on, is then removed from another box and given to aspectator for checking. It lists allthe items just named! Easy to make anddo! Also a TOP CHANGE stunt forthecard enthusiast, and a CARDPREDICTION using a slate in a new and novel way. And as much more fine materialagain, which we have notthe space to list here.A total of 35 tricks and routines, plus miscellaneous articles. We aresorry,butNo. 253 in now OUTOFPRINT. 254 before this, too, follows Rush you orderforNo. suit.
Price: 716, Postage 7d. For this Giant (84 X 11h) Book.
GEORGE ARMSTRONG
6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and M u m m :
Hearts of Oak Buildings, Euston Road, London, N . W 1. Magical Theatre :
King George’s Hall, W.C. Week commencing, 20th OctoberFestival of Magic at the Scala Theatre. Putieolan tram Hun. Sccretmy
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
PETER
WARLOCK’S
PENTAGRAM Uth of c8ch month and can be obtmned direct from t!10 publblers for 117 per single copy. Anowl Subecriptk. lU/pat PUBLISHED BY:
in publirhed on the
fne.
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex k a n u d p t s for pabhtioo and books for review should k r o t to the: EDITOR1 4L ADDRBSS:
Peter Warlock. 24, Wordrworth Rd., Wallington, Surrff
.
Wanted by George Armstrong Any of the “ C. T. J(ordan) Series of Magical Effects.’’ Complete in envelopes ifpossible. Also want many U. F. Grant and Grant and Menge mimeographed items. Sort out those oldunused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 WellingtonRoad,
Enfield, Middx.
h
PETER WAR LOCK ‘S * *
*
QUICK TOT EDMUND ROWLAND
T
HIS IS another of my methods of working the effect in which you are apparently able to add together several large numbers at lightning speed. It is not for me, of course, to say if it is any better or worse than the four or five other methods which I have originated during the past few years, but I do think that it is an interesting one. In an earlier method, called “Addendum ”, which was published a couple of years ago, I used the well-known principle of figures adding together to make rows of nines, but, to avoid the usual procedure in this of having only half of the numbers provided by the audience and the other half by the performer, I arranged for all the numbers in the addition to be chosen by a spectator by cutting a long line of figures on an endless band of gummed paper into several short strips. This was done, the performer was careful to explain, not for his benefit but to speed up the effect and to lessen the amount of mental effort required of ihe spectator.
FtGuR,E
I
In both of these respects the method whiFh I am aboutto describe nowis somewhat simdar.
VOLUME 12, No. I 2
-
Thereisoneimponant difference,however. In the earlier method the figures were written side by side in a long row: in this present method they are written above one another in a long vertical column. This, unfortunately, does mean that there is now a greater risk of someone noticing that alternate pairs of figures add to nine, but it also means that there is no longer the need for the performer to secretly add an extra group of figures of his own to those obtained by cutting the endless band. The actual band of figures thatis used is shown in Fig. 1. The complete column of figures (which could not be shown in the illustration), is as follows: 4,5, 0, 9, 6. 3, 8, 1, 2, 7, 6, 3, 0,9, 2, 7,4,5,8.1,0,9,6,3,4,5,2,7,8,1.Fromthis you will see that there are thirty figures in all and that the total of alternate pairs (of 4 and 5, of 0 and 9, of 6 and 3, etc), is nine. In performing the actual effect, a spectator is asked to cut the band at any point between the figures to make it into one long strip. This is then cut up into six equal strips each containing five different figures. The spectator is finally asked to stick these six strips side by side on a blackboard to form a straight-forward addition sum containing six 5-figure numbers. Now, although there are 30 different ways of cutting the band to make a single strip, there are only 5 different ways of cutting it into six equal shorter strips. But, in addition to this, there are 6 different waysof choosing the strip to make the first column of figures on the left, 5 ways of choosing thesecond strip, 4 ways of choosing the third& so on. The total number of different arrangements which can be madefromthe endless band is, therefore, 5 X 6 X 5 X 4 X 3 X 2 X 1 which is 3,600. In spite of this you are able to call out the answer (from left to right or from right to left), as quickly as anyone can write it down as soon as the strips have been stuck in position and with little more than a “casual” glance at the actual sum.
l/6. (20 Cents)
-
SEPTEMBER 1958
90
The method of doing this can be explained mosteasilyby referring to the twoexamples in Fig. 2. (To make the explanation as clear as possible, the pairs of figures which make two rows of nines are bracketed together in these illustrations but this, of course, is something which is not done during an actual performance).
t-'rr,unRE
t/ .
From this youwillsee that the example in Fig. 2a is equivalent to 603459 + 199998 = 2603493, so that the answer can be obtained, without the trouble of carrying out the actual addition,
bywritingdown the unmatchedfigure in each column, subtracting 2 from the one at the extreme right and putting 2 in front of the first figure at the left. You will be able to do this quickly and correctly if you follow these four rules. (1) The first figure in the answer must always be 2. (2) Look at the figure at the top of each column in turn. If it is odd, this is the figure which must appear directly below in the answer: if it is even, the figure in the answer will be the even figure at the foot of the same column. (This follows from the fact that the upper figure in each pair which make nine is even.) (3) Subtract 2 from thefigurewhichyou obtain in this way in the last column on the right and use the result instead of that figure in the answer. (4) If the figure at the top of the last column on the right is even and the figure at the foot of this column is 0 (as in Fig. 2b), you will have to borrow 10 from the next place to the left in the answer before you can subtract 2 to get the last figure. But be careful then to remember that this will reduce this second figure from the right by 1 : thus, the correct answer in Fig. 2b is 2936088 as shown, and not 2936098. After a certain amount of practice you will find that the working can be done very quickly without any hesitation.
PECULIAR PATIENCE JOHN A. M. HOWlE
N
0 ORIGINALITY is claimed for the plot of this sequence which is identical with that entitled " A Surprising Solitaire " in Ralph Hull's '' Eye Opener The main features werefirstshown in Hull by Dr. Leo Levi, of Vienna. I have modified the spelling bee climax to the sequence and, finding the whole relatively unknown among magicians while registering well with laymen, consider it worthy of detailed description. Taking a shuffled pack of cards you offer to demonstrate a novel form of Patience game. Phase One. Assuming that Spades is the suit to be prophase three, duced by the spelling inthelater remove fromthepack: Any ace, otherthan spades, the two and three of spades and the four of either clubs, hearts, or diamonds. We'll assume that you have the ace of hearts and the four diamonds. Laythecardsface up in the following order :
".
-
3s 2s
AH
6 2 4
4 D 8 (2) (1) You point out that you have removed an ace, a two, a three and a four . . . the suits are immaterial. Now place opposite each of these four cards, a card of double the value as shown in (2). Note that nunc of these double valued cards belong to the spades suit. These eight cards constitute the initial layout. State that the object of the game is to get rid of all the cards in hand by simple addition. For ease of working deal with the pairs in the following order :(a) The " 4 of diamonds " pile : since 4 plus 8 equals 12 you place a Queen (12) on top of the eight (all cards face up throughout this phase. Now 4 plus 12 equals 16. Since the maximum possible is 13, i.e. a King, 16 is treated as 3, i.e. 3 over 13 thus a 3 is placed on the Queen. Continue placing
91 the cards out in this way until a King is dealt and then place all the cards on top of the 4. Plecmse note that rw spades are used in making up this pile.” (b) The two of spades ” pile. The same addition technique is used but note . . . ONLY THE ‘‘ SIX ” IS A SPADE. This stack will be : 2S, 4, 6s. 10, Q, A, 3, 5, 7, 9, J. K. (c) The “ Ace ” pile. Use the same addition method but note . . . THE 8, 9, Q and K ARE SPADES. This stack will be: A, 2, 3, 4, 5 , 6, 7, 8S, 9S, 10, J, QS, KS. (d) The “Three ” pile. Again use the same form of addition. There is no need to remember which cards have to be spades since the formation of this, the fourth pile,is automatic. This stack will be: 3S, 6, 9, Q, 2, 5S, 8, JS, AS, 4S, 7% 10% K. You thus end with four piles with a King on top of each and you show that this phase of the Patience game has been successful. Assemble the pack by picking up the piles face up thus: The “ ace ” pile, followed ‘by the “ three ” pile, then the ‘‘ two ” pile and finally the ‘‘ four ” pile. Turn the pack face down. Phase Two. False shuffle and false cut so as to leave the entire sequenceunchanged. In this phase the cards are dealt face down. Deal the top thirteen cards thus :1 2 3 4 5 6 7 8 9 10 11 12 13 Show the face of the next card-it will be a ‘‘ three ”. Place it face down on top of the third card in the layout. Place the next three further on, i.e. on card number 6, and continue placing at intervals of three round and round the layout until a card is dealt at position thirteen, then stop. Show the top card of the pack to be-it will be a “ two ”-then place in position two and continue placing to positions four, six, eight, ten, etc., until a card is again dealt to position “ thirteen ”. Again show the new top card-itwill be a “ four ”, and place it at intervals of four until all “
the cards are dealt, the final card falling on position ‘‘ thirteen ”. The second phase of the “ patience ” game has come to a successful conclusion. Re-assemble the pack by placing pile on pile two, both piles on pile and so on. Phase Three. You now offer to show a remarkable feature of this form of “ Patience ”. Spell A-C-E by placing two cards one at a time from the top to the bottom then dealing off the third card face up and showing that it is the ace of spades. Repeat the process with T-W-0 and the card dealt will be the two of spades. ALWAYS TURNUP ON THE LAST CARD OF THE SPELL. Continue through the pack to K-I-N-G and the full suit of spades willhavebeen dealt in sequence. (As a point of interest this result is due to the fact that the letters used in spelling the words “ ace ” to ‘‘ King ” add to fifty-two, thus after the spell the pack is returned to its original order.) To conclude, run through the pack, and, taking the cards in threes, throw them face-up on to the table. They will appear as three aces, three twos and so on up to the three kings. This run through should be done with rapidity. A Presentation Idea. Whilst the versiondescribedusing normal cards registerswellwithlaymen, the following addition ensures even greater interest, particularly with male spectators. Obtain a “ Wolf deck ” or one of the new German “ Pin-up ” girl packs. In the German pack there are three Jokers. These should be on top of the pack.
Hold the pack faces down as you make your opening remarks. Comment that ‘‘ Patience ” is considered by many to be a boringgame. This, you claim, isonlybecause of the cards used. ‘‘ With these, (flip the three Jokers face up on to the table one by one), “ Patience ” can be quite interesting! Place the Jokers aside and proceed with the routine as described above.
DECIMUS EDMUND ROWLAND
T
HISISthe sort of thing that I like to do between a couple of proper tricks. I find that it helps to separate one trick from another and also provides a little comic relief in a programme whichmight otherwise be too completely mystifying and rather heavy to digest. It is merely a slightly elaborated version of an
old match stick puzzle, but I find that the different method of presentation tends to make it look like something new and also makes it easier to show to a large audience. In its original form youwouldneed a blackboard and some large dummy match sticks fittedwith sharp pins to make them stick on to it.
92 Figures 1 and 2 represent the two sides of a square sheet of paper on which there are a number of thick black strokes. These must be made in
K
8
exactly the same positions shown in the figures. With a dressmaker's wheel or the needle of a sewing machine (without any thread in it), perforate the paper along the dotted line. This is to make it easy for you to tear off the narrow strip at the side. In presenting the effect, turn the paper over and over toshow that there are five strokes on each side-making a total of ten strokes altogether.
Then say that, strangely enough,it is still possible to see ten evenwhenoneof the strokes is removed. As youfinishsayingthis,tear off the narrow strip at the perforations and hold this up tom toshow that one of thestrokeshasbeen away with it before you crumple it up into a ball and throw it away. Then turn the rest of the paper over and over as before as if to show that there are still ten strokes on it. Everyone in the audience, however, can plainly see that there are only nine. To prove that you are right (and that they aro wrong?), fold the paper from top to bottom along the line X-Y and hold it up to the light so that everyonecansee,nottenstrokes, but the word TEN in block capitals!
Cu8ullf
3
No more words
of explanation should needed.
be
A SIMPLE PRODUCTION EDMUND ROWLAND
T
HIS IS an effectwhichdoes not take long either to describe or toperform.What happensis that a spectator isallowed to feel at each page of a magazine (and even encouraged to piercethem as many times as he likes with a large knife or skewer), whilst you are holding the magazine at arms length. Then, when he is satisfied that there cannot possibly be anyxhing hidden inside it, you quickly tear the maga-
ct4uec
4
.
zine in two and produce a solid-looking metal tray from amongst the tom pages. As you can imagine,
this usually produces a gasp of astonishment. For there does not seem to have been any part of the magazine in which the tray could have been concealed. PA5TE WUEPE
SbMOED
The preparation of the magazineis quite simple, however. Any large one can be used, and only one copy of it is required. Open it at the centre pages and remove the wire staples which hold it together. Without dis-
93 turbing the order of the pages, divide the magazine into two equal sections and staple the pages in each half together again, as in Fig. 1.
right hand on the tray to allow it to drop from the upper half of the magazine to the lower.
Place the tray upside down between the two sections and then carefully paste these together round their edges, as in Fig. 2. When the magazine is opened out flat, the tray can now slide freely from one end to the other. Close it with the tray in the back or righthand half of it, and it is then ready for use.
In presenting the effect, pick up the closed magazine and show both sides of it. Stand with your left side turned towards your audience and have the spectator who is going to assist you facing you (so that his left side is turned away from -them). The tray has been sealed in the magazine with its top (or concave), surface towards the back so that, if the magazine is in your right hand with your thumb against the front cover which is facing the audience, the tray will be hanging quite naturally by its rim from the tips of your fingers through the thickness of the back pages, as in Fig. 3. (The spine of the magazine should be parallel to the floor, of course, so that you are holding it by the opposite Iongeredge.) As younow turn down the pages one by one from frontto back with your left hand, the spectator is easily able to feel each of them with his left, or to pierce any of them with a knife or skewer held in his right, without obscuring the view of the rest of the audience. At any time after you have passed the first pair of pageswhich are pasted together atthe edges,you can slightly release the grip of your
Then, when the rest of the pages have been felt or pierced in turn, take the magazine and hold it in both hands with the back cover towards the audience. Quickly tear it down the centre and produce the tray from inside. If you have not already told the audience that you areaboutto produce something from the magazine, the sudden appearance of theshiny metal tray will be quite unexepected. The same method can, of course, be used for the production of a plate, a gramophone record or a slate. If possible, however, you should try to arrange for it to be something which you require for your next effect so that you can have a sufficientlygood reason for producing it in such an unusual and illogical fashion.
EDMUND ROWLAND
T
HIS IS a method of magicallyrevealing a freely '' selected number by means of a number of matches hidden between a couple of shallow trays. From the point ofview of your audience it will be similar to the effect in which a quantity of confetti is poured on to a plate and then immediately tipped off again to show that some has become stuck to it to form the name of a playing card. The use of a few matches instead of confetti, however,seems to have two possible advantages. One is that, by using matches, you avoid the sort of mess which can be made by scattering confetti; 'the other is that, to some bb
extent, the spectator does have a perfectly free choice. First of all I shall describe the preparation of the apparatus and then explain the way in which it is used. Apart from a couple of small shallow trays, you require twenty-seven matches, a little glue (or Copydex), and a pack of numbered cards. (Instead of the trays you can, of course, use a couple of plates or even a pair of slates without a flap.)
94
The appearance of the first or bottom tray is shown in Fig. 1. To beginwith, nine matches are
please. This second tray is then placed upside down on top of the first. The only other preparation that remains to be done is to decide on a method of forcing four cards (a 2, an 8, a 10 and a 17), from the pack of numbered cards. (I don't think that I need to describe such a method for the readers of Pentagram.) Let me jump forward, therefore, to the momentwhenyouhaveforcedthese four cards on to an unsuspecting member of your audience who is just about to choose one of them in a perfectly free and open manner. Fromthat point onwards the handling of the two trays depends on which particular number he finally chooses.
stuck in position to form the word TEN. the tray is then turned around (so that the word TEN is upside down), and eight more matches are;scattered loosely around and between those already in position so that, with the letters of the word TEN being upside down and not arranged too neatly, the tray just appears to have a few matches scattered loosely upon it.
FIGURE
2.
The appearance of the second or top tray is shown in Fig. 2. From this it will be seen that the
Ftc.uUE
3
.
remaining ten matches have been stuck in position to form the word TWO. The placing of this lot of matchesmay be doneas neatly as you
If he chooses the number 2, you explain that you have a number of matches concealed between the two trays and that you are going to get them to reveal the number which has just been selected. You then pick up both trays together and shake them about as vigorously as you like so that the loose matchescan be heard jumping about between them. Then take the top tray off and turnit towards your audience so that they can see that some of the matches have become stuck to it to form the word TWO.
If he chooses the number 8, shake both trays together as before but, whenyou separate them, keep both of them turned away from your audience (so that no one gets a glimpse of either the word TWO or the word TEN), and allow all the loose matches to fall on to your table or into someone's lap. The person who counts them will then find that there are just eight and no more. If he chooses the number 10, follow the same procedure as for the number 2 but secretly turn both trays over under cover of shaking them so that the tray which was at the bottom is now on top. Then take this tray off and turn it towards your audience to show that some of the matches have become stuck to it to form the word TEN.
Finally, if he chooses the number 17, do not disturb the matches at all. Just remove the top tray and carry the other to a spectator so that he may count the number of matches on it for himself. (Be careful, of course, to try to avoid the sort of personwhowill want to move the matches about with his finger as he is counting them or he will soon discover that some of them are actually stuck to the tray.) In each case, whatever the chosen number is, the trays are returned to their original position on top of each other before you proceed to your next effect.
95
THE “ T I P ” ROUTINE RAVELLI, SWITZERLAND assume every reader of this magazine knows the old stunt of apparently placing a coin on a table in order to give a tip and the coin has vanished though it is heard to knock against the table. Some time ago somebody showed me a follow up for this which he told had appeared intheold Phoenix. I amnot ina position to clear that up, anyhow out of these basics I put together the following routine which has served me very well for some time. I like it because it is perfectly impromptu. Some words concerning the presentation. It is not advisable todo theroutine really when seemingly to tip. But therearealot of other possible presentations. A way I often use is to remark to a friend “Don’t I owe you still a shilling ? ” Before he can answer anything, you have placed the coin on the table where ithas vanished. Remark, “ Oh, I am sorry ! ” and push thecointowardthe spectators, where it again vanishes. Look at the spectator and say, “ Oh, I don’towe you anything ? You would not have got anything, by the way ! ” and here the coin vanishes for the third and final time. The preceeding will sound very funny so now here is the actual working. 1. Display the coin on the right hand, which .is held palm up. The coin is very near the fingertips in position to be gripped between the index and the little finger in the familiar palm. Look at the coin and then seemingly take it away with the left hand. This is done in the natural following way. The left hand approaches, the left fingers going below the right fingers, the left thumb going on top of the coin. Seemingly the left hand draws off the coin. During this bothhands turn inwards. The left thumb only slides over the coin which is retained between the index and the little finger. Remember that you are not going to do a clever magic sleight. Thespectators do not await magic at all. You just take the coin in a natural way after having made sure that it is a shilling piece. Reach forward with the left hand andputthe fingertips on the table. The right hand just drops to the table where it is, that is very nearthe edge. Apparently the coin inthe left hand is released on the table (which should not have acloth or only a very thin one). Actually the right hand slips off the thumb which has gone on the edge of the coin in the meantime, and lets it click against the table. If you time the move well and look at the place where the coin is supposed to be the illusion is perfect. Move your left hand away turning it over at the same time and casually showing its emptiness. Everybody will stare at the place where the coin should be and amazed to find no coin.
I
2. After the effect has been registered well, it, only lift off the right handwithoutturning moving it backward to display where the coin is. Say, “ I am sorry,” and apparenty push the coin forward with the right hand to the place where it just should have been. Actually you leave the coin where it is and only slide the hand forward. If you press your fingertips just before the coin firmly on the table, lower your wrist as much as possible and move your hand forward, theillusion once again is perfect. The coin is always hidden by the right arm. When your right handhas reached the spot, lift your right hand a little, and turn it a little, but keep your elbow low to cover the coin. Then move the arm backward toits original position, the hand lying naturally on the table and covering the coin which lies behind the fingertips. Lean backwards ina content manner only to let the spectators discover that they have not got anything this time either. 3. Lift again your right hand to display the coin, but do it in the following manner this time. Turnit over half way to the right. so thatit standsonits edge and move it a little forward and to the right. This allows the coin to be seen. Move the hand backwards the opposite way and close the hand. Actually the coin is either shut up your sleeve orshutontothelap whatever you prefer, advantage being taken that the coin lies in a perfect position forthat. This time clearly lift the right arm off the table and hand the coin to the spectator. The spectator is this time convinced that he will get it, and is astonished to get again nothing while you say your final line. The Chunge Climax Suppose you really owe somebody that that shilling. Do theroutinethe following way. Before takingthe shilling out of your pocket, deposit 12 penny pieces neatly in a pile on your lap. The pile must not stand as it is too risky but the coins lie in a row overlapping each other so that they can be picked up easily and noiselessly. Now do theroutine exactly as describedabove. After the coin has vanished for the second time while you are sitting back in a contented manner your left hand moves casually to the table top, the misdirection being perfect. Then pick up the coin with the right hand, actually lapping or sleeving it, look at the closed hand and say, “ Oh, I understand, you do notwant such great amounts of money in one piece as this is too dangerous to carry around. You prefer small change. As you wish . .” Here the coin in the right hand is apparently transferred to the left hand which opens below the cover of the right hand similar to the familar transfer change so that the contents of the left hand cannot be seen prematurely. The empty right hand is casually taken away, and the 12 pennies poured onto the table.
.
96
THEWORLD’SLARGEST
MAGIC BOOK
T H E MAGIC W A N D Edited by GEORGE ARMSTRONG No. 254. (Vol. 46, Part 2) Now on sale to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch, names the number of cards in a spectator’s pocket, and says which spectator it is, and tells theother spectator how many cards he originally held but returned to the pack! A SILK PRODUCTION by YVEF COOPER is just what the title Imphes, but it IS beautlfully routmed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card isreversed in the pack single handed. Thls new sleight will have many usesin card magic. SUPER MEMORY IN CLOSE-UPby ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you a Hat Production routine for the children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number, colour and book title. These are noted and tossed into a box. Acard, which the performer has previously written on, is then removed from another box and given to a spectator for checking. It lists all the items just named! Easy to make and do! Also aTOP CHANGE! PREDICstunt for the card enthusiast, andaCARD TION using a slate in a new and novel way. And as much more fine material again, whichwe have not the space to list here. A total of 35 tricks and routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you order for No. 254 before this, too, follows suit.
MATHEMATICS, MAGIC AND MYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objects, dice, numbers, etc., all based upon a mathematical principle-including a clevervestturning stunt. PARTY FOR PAMELLA by JACK GI’ITINGS continues the outstanding series for the children’s entertainer, dealing this time with SILK PRODUCTIONS, together with suggested presentations for standard props, patter, tips, routines, etc. MY MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return to the pack reversed. And there is a useful article by E.V.also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLETIlS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can bemade for less than f5, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is a really different type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature card routine for the mentalist. Two spectators pocket a number of cards each. One spectator selects a card from the pack, and one returns his packet of cards
Price: 7/6, Postage ?d. For this Giant (84 X llh) Book.
GEOR6:EARMSTRONG 6 2 W E L L I N G T O NR O A D ,E N F I E L D ,M I D D L E S E X
Annnal Subscription (4 issues) 40 post free
The Magic Circle President: Herbert J. Collings, Esq. Vice-President : Francis White, Esq. Clubroom and Library and Museum :
Hearts of Oak Buildings, Euston Road, London, N.W 1. Magical Theatre :
King George’s Hall, W.C. ‘l Ring Up The Curtain ”
Putieularr from Hon. Secretary :
Peter Newcombe 38 Overdale Avenue N e w Malden, Surrey
F
PETER
WARLOCK’S
PENTAGRAM in published on tbo Iltb of each month and can be obtainod diroct from tho publishers for 117 per sing10 copy. Annual Subouiptiea 181post h . . PUBLISHBD BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex Manwcripts for publication and baob for r e v i o r should bo mnt to thc EDITORIAL ADDRESS:
Peter Warlock, 24, Wordowotth
Rd., Wallington,
Wanted by George Armstrong Any of the ‘l C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U. F. Grant and Grant and Menge mimeographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
Surrev . Every Advertiser ’S goods are fully endoried by this Bulletin PUBLISHED BY T I I B PUOPRIETURE TEtE MAOlC WANP P U B L I S W ~ H SC O M P A N Y , 62 WELLINGTON R O A D , PNFlELD, MIDDLESEX AND P n w m D BY EBRBERT WALKER SON (PRINTZSS) L=., BILIDGP W O R X S , SRIPLEY,YORKERIRE
FLIGHT OF THE BLUES FRANCIS H A X T O N
S
Method. The two glasses are on the table about 12m. apart. Behind the left glass is a red back pack with the duplicate card, .blue back, say the 4 of Clubs, second from the top.
'TANDING on the performer's table are two glasses, stem glasses for preference. Just behind the two glasses are two packs of cards, one red back and the otherblue backs. Taking up the red back the performer fans the cards to show them as all red backs and then with the backs to the audience, counts off tencardsand places them backs out in the glass on the left, his left.
The blue backed packis behind the righthand glass and is quite innocent except that the top card is the 4 of Clubs.
Picking up the blue backed pack he fans this likewise to show they are all blue backed, as indeed they are. Now he asks for a spectator to call out any number between one and ten. Holding the pack in his left hand with faces towards the audience he counts off the cards into his right hand asking the spectator to note the value of the card at the. number he called out. When the ten cards have been counted out, the performer drops themintothe glass on his right, and places the rest of the pack down on the table.
Picking up the redbacked pack the performer states that he will count.off 10 cards. Holding the cards in his left hand, backs towards the audience, he thumb counts two cards and pushes them with the left thumb into the right hand being careful not to disclose the there are really two cards there. Continuing and successively he counts on top of these 9 more cards, places the balance of the pack down and cutting the small packet to bring the blue card to the middle, he places them in the left-hand glass.
The performer now commandsthe chosen card from the blue packet to travel invisibly across and join the red packet in the other glass. The blue cards are now takenfromtheir glass and counted back into the glass when it is discovered that there are only 9 cards and that the chosen cardhas vanished fromthe packet. The cardsaretakenfromtheother glass, fanned with the backs towards the audience, when it is seen that there is a blue card among the ten red cards. It is found to be the chosen c a d . Requirements. Two stem glasses. Two packs of cards, one red backs and the other blue backs. Oneextra blue card.
VOLUME I 3 No. I
-
Now he picks up the blue pack and holding them in the left hand, faces to the audience, he asks for a number between one and ten. Say he is given 6. Thumb count two cards and push them off as one into the right hand. The next card is pushed off andtaken in front of the first card and so on up to the point where you are about to take the 5th card, as you do this the right thumb pushes the top and force card, the4 of Clubs back on to the pack so that'it. is thenthe next card pushed off as number 6. This move is explained in Brian McCarthy's Slow Sleights, or earlier still in Stanyon's Magic. Continue on to 10 cards andplace the balance of thecards down. I should have explained that it is necessary to keep a break in the packet of 10 cards just above the chosen card so that you can cut the chosen card to the top of the packet, then drop them in the left glass.
I/& (20 Cents)
-
OCTOBER 1958
2
All that now remains is that the chosen card is named and you take out the blue packet, hold them face down in the left hand and count them taking the cards fromthebottom of thepacket with the fingers of the right hand turning the card up, showing it to the audience and dropping it in the glass. Continue up tothe 7th card. As you go to take the 8th card you perform the Stanley Collins false count.
the card (?) in the glass with the others, finally flicking anddropping in the last card which is counted as the 9th.
With the fingers of the left hand you draw back the original 8th card and with the thumb and second finger of the right hand you take the top two cards as one, show the face-the chosen card will be behind the card you are showing-and drop
This effect has taken some time to explain due to my explaining for the benefit of the not so well informed moves which the card man will be familiar with, but I hope he will not have been bored too much ploughing through these explanations.
It only now remains for the performer to take the red packet of cards out of the glass, fan them and show that the chosen blue card has travelled across and joined them.
REVERSIBLE KNOTS EDMUND ROWLAND
A
LTHOUGH this is one of my favourite routines with a short length of unprepared rope, it is actually a combination of four knots or flourishes which ought to be quite well known bythemselves. The only part of itfor which I can claim any credit for myself is the way in which these have been blended together into one continuous routine. You beginby tying a loose reef knot (or square knot) at the centreof the rope-apparently without letting go of the ends (Figs. 1, 2 and 3). Next, whilst a spectator is holdingtheends of the rope, you divide this reef knot into two separate overhand knots (or thumb knots), Fig. 4. Then you take back the ends from the spectator and shake both of these knots from the rope. The rest of the routine is the same thing done in reverse (hence the titles : Reversible Knots). That is, you throw two overhand knots backon to the rope, you bring these together to makethe original reef knot and, finally, you shake this out to finish as youbegan-with a plain unknotted length of rope. The moves which are needed to produce these effects should be fairly clear from the illustrations and the brief description which follows, but I must point out thata certain amount of individual practice and experiment will also be required before you can perform themsuccessfully. I think I can safely assume that you will already know the old effect of tying a knot “ without letting go of the ends ” (the one in which you secretly change your grip on one end of the rope undercover of dropping it fromaroundyour wrists), for it has been described in most of the elementarybooks of tricks. You will easily get
the reef knot, therefore, by tying another single knot on top of the first in a similar sort of way. From Figs. 1 and 2, however, you will see that, if the first knot is started by taking the right-hand end of the rope behind your left wrist and then bringing it in towards your body, the same end of it mustbebroughttowards you andthenback over your left wrist again before you begin to tie the second knot. If you do not do this, you will find that you have tied a granny knot-which will make it impossible for you to continue with the rest of the routine. The two different moves should be clear from the two different illustrations : from each of these starting positions your right hand follows the direction of the arrow before you drop theloopsfromyour wrists and secretly change your grip on the right-hand end of the rope. At this point it is important that thetwo knots should be tied rather loosely. They will keep their shape (and also enable you and your audience to see what you are doing), if the rope is fairly stiff or if you use new carpet-braid instead of rope. If they are not tied loosely, you will find it difficult to do the next move. In this, whilst the ends of the rope are being held by a spectator, you putyour right hand through the top part of the reef knot in the direction of the arrow in Fig. 3 and get hold of the bottom loop at point X. If you now withdraw your hand (and the bottom loop), you will find that you have the result which is shown in Fig. 4. (I don’t know who invented or discovered this little flourish but it is described in The Ashley Book of Knots-published by Doubleday, Doran and Co., of New York, in 1944 and by Faber and Faber, of London, in 1947-and I have never come across it anywhere else.)
3 To untie both of these knots at the same time inone easy movement you have merely toput your left hand through the loop in the left-hand, knot, and your right through the loop in the other,
gested in Fig. 5 is, once again, a method with which you will no doubt be familiar for, like the effect of tying a knot without letting go of the ends, it has been described many times elsewhere. The other method (whichis more showy but just as easy to do-but I haven’t illustrated it here because I haven’t asked for the permission of the people concerned), is Tony Lopilato’s Double Knotter which you will find on page 326, however, of Volume 5 of the Tarbell Course. The two knots are brought together again into an ordinary reef knot by dropping one of them completely through the loop in the other. (At this point it will probably be necessary to rearrange the positions of the resulting loops a little whilst the ends of the rope are once more being held by the spectator.)
so that you cantake back the ends of therope from the spectator who has been holding them and drop theknotsfromaround your wrists. They will automatically untie themselves and disappear. They can be brought back on to the rope in two differentways. The one which I have sug-
The final effect (of magically untying the reef knot) is merely a slight variation of the well-known Chefalo Knot. Instead of threading the right-hand end of the rope through the knot, you put your left hand through the loops and bring the righthand end of the rope back with it. You will then find that the rope is once more free from knots. That brings the whole routine to an end. It is quite a short one, of course, but rather neat and effectivewhen properly performed. I hope that you like it-and use it.
QUEENS AND WATER ROY WALTON
F
OUR QUEENS and fourindifferent cards are alternatedand placed on top of the pack. The Queens penetrate the indifferent cards and rise to the top of the pack. The Method. (1) Show thefour Queens and place them face down on top of the pack. (2) Ask aspectator standing or sitting in front of you to extend his left hand.Dealface down on to his hand the Queens, but as you reach the third o.ne look directly at him and ask if he would also kindly extend his right hand.Under cover of this mis-direction a second is dealt on the third Queen. The position at this stage is three Queens covered by an indifferent card on the spectator’s left hand, and a Queen on top of the pack. (3) Deal four cards from the top of the pack on to the spectator’s right hand calling them indifferent cards. In actual fact only the top three are indifferent, the bottom one being a Queen.
(4) The eight cardsare now alternated and placed face down on top of the pack. In doing this most of the faces are shown, and it rests with the performer to act casually so as not to draw attention to the ones that are not. The first ‘card is taken from the spectator’s right hand, the second from the left, and so on : all cards going on top of the pack. The order for showing the eight cards is: show - don’t show - show - show - show show - don’t show - show. The order of cards reading from the topof the pack should be : Queen - Queen - Queen - Indifferent card - Queen. ( 5 ) The effect is now brought to a conclusion by dealing the Queens face up on to the spectator’s left hand, a second being dealt on the fourth one. The left hand is used because better angles are offered. Please do not let the two second deals frighten you from this effect, they are adequately covered, and a second card take is just as suitable as a polished deal.
-
a
THE POSTMAN ALWAYS .RINGS ONCE LESLIE MAY
A
SPECTATOR is given 10 slips ,of paper and acorrespondingnumber of envelopes. In each of five of the latter he seals one blank slip of paper. Taking the five remaining slips, he writes the name of a male acquaintance on four of them and the name of a lady friend on the fifth, these five slips are also sealed, each in a separate envelope. The ten envelopes are mixed thoroughly by the spectator and handed en bloc to the performer. Performer now puts himself in the place of the spectator in the act of receiving and opening his morning mail, aided by Extra Sensory Perception,pointingout how suchan accomplishment can aid in eliminating unwanted missives, such as accounts for unpaidbills, Income Tax returns,etc., and also distinguish whether actual lettersreceived are from mere acquaintances or close friends by mere handling of the sealed letters. Throwing the letters on the table, hepicks up five,which he says containunwanted accounts, circulars, etc., as represented by the blank slips, and without further ado tears them up, unopened, and casts them aside. .(A small waste paper basket assists in keeping the stage or room tidy.) Glancing over the five remaining, he picks out four and says : “ Oh yes, these come from the “ Yes, Francis boys ”, opens and reads in proof, Haxton wants a free PASS again ”, “ Here’s one from Harry Stanley, I MUST give him the GEN on Magic! !”, etc., etc., these four being disclosed, he, -then with a look of anticipation on his facesays “ Now I have plenty of time to read my letter fromthatdelightful young lady Deb Sharp (or whatever name iswritten .. therein), and gives sealed letter to the spectator to open and show for verification. This resolves itself into three mysteries :(i) The elimination of the five blank pieces. (ii) The separation of the sexes, and (iii) The divination of the lady’s name; the last should come as a complete surprise to the audience who will think the segregation of the sexes completes the effect. The Requirements. One packet of envelopes.
A pad of blank paper, i.e., a scribbling block thathas same appearance both sides, i.e., no covers. On one side fasten (glue or paste), at the corners, a piece of carbon paper to underside of outermost sheet so that anything written on top sheet will be duplicated on the one beneath. (Don’t have carbon come to bottom of sheet in case it shows-about three-quarters of the way down will suffice.
The Working. Havepad on table carbon side down with packet of envelopes and pencil. Take off the top sheet of paper, tear into five equal strips and have spectator seal one in each of five envelopes. . Next, tear another sheet off pad (sameside);, tear into five slips asbefore-have him write name of a male friend or acquaintance on each of four slips (giving him the pad carbon side down) as a support to write on, when this is done, take back pad, throwing it on table and reversing it in the process; give him packet of envelopes and ask him to seal one slip in separate envelopes and seal, take them from him as this is done and casually nick each with thumb nail in an identical spot, i.e., bottom right-hand corner. When this is completed, return the pad tohim (carbon side up this time), lay remaining slip on top and ask him to write thename of a young lady who is constantly in his thoughts thereon, give him an envelope to seal the slip in and at same time take back the pad from him, When he has sealed the envelope take it back with freehandand thumb nick in a different location to the other four marked envelopes, turnand place padontable while you ,reach for other sealed envelopes and glimpse name now duplicatedon second sheet. Givetheten envelopes to thespectator to mix thoroughly while you briefly recapitulate what has taken place. From then-it’s just a matter of presentation. Pick outandtearupthe five unmarked envelopes, eliminate the fourmale names by means of corner nicks, open and disclose. Finally pick up remaining envelope and announce name therein, have it opened and verified; a nice final touch is to take slip, fold it carefully and get spectator to place it in his wallet for safe custody.
5
If you can decide beforehand who you will request to assist you, try to find out, if you don’t already know, if he has a particular lady friend (presuming he is single, of course), and ascertain .and memorize her address and telephone number (if any). In the event of this lady’s name being written down you can seize theopportunity of providing a sensation by not only divining the name, but -the other details of the chosen charmer that have not been written down at all. If you posess clip a board, use thatas follows : Under the clip have two layers of paper, each consisting of a sheet of five perforated slips; top five aretorn off and inserted asblanks .in envelopes, next five are written on and the female
T
HE EastbourneConventionhas come and gone. Few will disagree that it was one of the finest staged by the British Ring. One feels that it matters a great deal more to have a thoroughly sociable gathering with occasional human lapses rather than an over-organized machine with no faults to find. Slydini was as we wrote in the programme ‘ incomparable ’ and for the first time was saw a British magical audience give a standing ovation to a lecturer. Those who went to the lecture given by Mr. Richard Blore of Leichnersthefamousmake-up firm, showed at least that they were interested in a better presentation of stage magic. Some excellent advice was given and, we hope, heeded. Eddie Joseph, with a lecture L Deluding the Senses ’, gave away some delightful material which showed a true sense of magic and misdirection. Those who saw his ring release from silk will be glad to know that it will be published in the ‘ Pentagram ’ (at a later date). On the surprise ’ side, DiaboloandDeb which veiled theidentityofFrancisHaxtonandyour editor was the best kept secret of the year. One dealeraskedafterthe evening show whether he had seen theIcelandicact, replied thathehad missed the evening show but had met the couple
name glimpsed in the usual manner. If no impression device is available, the effect can be done quite impromptu, but without final disclosure of the lady’s name. All that is needed are envelopes and paper. Have the five blank slips sealed, then, tearing the next sheetinto fivepieces, use theancient dodge of the male names being written on the slips with two rough edges and the female name on the slip bearing a smooth and a rough edge (a la old living and dead presentation); slips can be mixed face down, or folded and you mark envelopes accordingly as spectator inserts slips. Actually any methodto achieve the result can really be used - AFTERALL, IT’S THE EFFECT THAT COUNTS!
at his stand during the afternoon. R.I.P. It was great to meet, once again, Hans Trixer (though actually we had had a session before the Convention), andto see his delightful close-up working. From Hans we have some nice material including his two tumblers through the coat, the vanishing mini-skull, a version of the ‘ Travellers ’ and the ‘ Cards up Sleeve ’. We’ll have to. make this a special issue.
If theCraigCardini film was a disappointment, this great little guy made up for it with his films of Jack Miller and- the Omaha filmwhich gave a showing of the Sundmans and also Senor Maldo.
At the Civic Reception, Sitta was as immaculate as ever and Horace King and Betty introduced us to a new act in the Russian manner. With the addition of LesGirlsthis was the bestCivic Reception Cabaret that we have seen. Whilst the Shield Competition touched the bottom at times, theMicro Magic Competition having its send-off fortheZina Bennet Trophy produced some clever and thoughtful magic.
6
BQOKS Corinda’s ‘THIRTEEN STEPS TO MENTALISM ’, Parts 1 and 2, Price 10s. each (Published by Corinda’s Magic Stwdio.)
part.
To the best of our. knowled,ge.this .is the first time in the present decade that a. writer has taken the subject of mentalism and attempted. to analyse the various parts that. .go.to the making of the whole. Let us take the two booklets.one at a time. Step one deals with the Swami ’ gimmick. Various types of nail atfachhents for svrreptitious writing are detailed. The succeeding section deals with the necessary technique to give.the best effect. The advice given here is excellent and apart from tips on adjustingthe gimmick various aids to enhance the ultimate effect are detailed. 6
Tke final section gives twenty-four tricks, makinguse of the gimmick.Althoughdescribed briefly are easily understandable. Many of the effects are reputation makers in the right hands. Step two gives the reader information regarding pencil .reading, lip reading, sound reading,. touch reading, and muscle reading. Much of the material will be new to the average conjurer and therefore to havesuch a collation of material a t hand hewouldbewelladvised to purchase. The ‘ Steps ’ are consecutively numbered, well printed and illustrated. Step two finishes on page 54 and withelevenmore booklets to follow the purchaserwould,when the 13th part has been published, have an excellent guide to the whole art of mentalism.
MAGIC Cl CLE FESTIVAL PETER WARLOCK
0
NE came away from this showwith the feeling that it was one of the best to date. More than that, it contained certain acts which hit the high in magical artistry. Stanley Thomas as‘Lao Tang* complete with his daughters assisting openedthe bill-oriental and pseudo oriental magical to a background of Ketelby culminated in a production of a stack of fishbowls. It was a colourful act that acted as a good hors d’oeuvre. RobertO’Connorworking his father’s card act followed. Good appearance and effective work, but where thepatter well suited Billy it didn’t suit Robert with the result that the act neverseemed to come to life. The next act gave a rest from magic proper for it was noneotherthanHarryCorbett with his hand puppets, ‘Sooty’ and ‘Sweep.’ A lovely act that made children of us all. and The music of ‘ Bewitched,Bothered Bewildered ’ meantonlyonething-Channing Pollock.Youallknowthe act by now.There were minor changes, however, including a beautiful production of the first silk and dove. One of the truly great acts of magic that welldeserved the ovation it received. To close the first half of the show, Benson Dulay with his company of ladyassistantand stooges. Anact with some mystery and a great deal of laughter. The second half opened with a hoofing act performed by two girls and though the compere
gave their names we have fortunatelyforgotten them. Peter Pitt, the young Dutch winner of the StageMagic prize at Vienna then proceeded to, give to the dancing cane a virtuosity that we had not yet witnessed. Hisact concludedwith a multiple production of liquor bottles. He was followedby Claudine whopresented not only some delightful magical novelties but gave the stageitsmostcolourfulandartisticdressing during thatevening. Outstanding was the magical production of herassistant ‘Stevens * andthe change of toy bricks into a pekinese dog. The penultimate actwas that of Jay Marshall. The cod production of a bowl of water, the serpent silk, linking rings and ‘Lefty ’ were all there in an act that proved the smash hit of a grand evening. A greatartistandone to be envied, for how many can walk on to a stage with empty hands and get such a vociferous reception. Closing the bill was Randi who in turn performed a peculiar version of thesubstitution trunk, the Kellar tie, vanishing radio and straight jacket escape. Our thought was that amore professional straight jacket might have been used and despite the assurance that it had come from a place where such things are used it looked too much like a magical depot item. Bob Andrews proved an excellent Master of Ceremonies and Sydney Jerome with his orchestra provided excellent musical accompaniment.
7
THE BIABOLO STORY PETER WARLOCK
‘M
AGICAL hoaxes are rarities and because the ‘Diabolo and Deb’ act was one that provedmost successful I think it only rightthatthe full details should beplaced on record. Those who attend the British Ring Conventions will know that one of the biggest surprises of the oneat Brighton in 1956 was Francis Haxton and myself performing a burlesque mime “Sisters” act. The success of this encouraged us to present another number thefollowing year at Scarborough. The make-up was much the same but instead of a mime duet we had a four-voice item, both France a n d myself having a large talking photograph of Goodliffe and MysticCraig respectively. Afterwards, having finished with the animated photographs I passed them on as souvenirs to the two people they represented and I believe that Goodliffe had quite a lot of fun with his own photograph in America this year. Inthemonth following theScatborough Convention I thought of a terrific hoax that could be played uponthosewho were going to be present at Eastbourne. An entirely new and fictitious act had to be created. The name had to trip easily on the tongue and of course it had to be an actoutside the British Isles. Quite obviously it had to come from a country where magicians ‘were rarieties. We gotthenameandthe idea was launchedwithaparagraphin the January copy of theMagic Circular. (‘InandOut of Town’-Peter Warlock.Theparagraph was as follows :“ Until amonthagotheonly Icelandic magician we had heard about was Baldur Georgs. It was through the international magical grapevine that the news came to our notice that an American magician had, after leaving the U.S.A.F., marriedayoung Icelandic girl and settled in Recjavik. Hisname is Russell Sharpand his interest in magic arose during the latter war years after seeing anumber ofwell-known magicians performonthe U.S.O. circuit. Since we heard this news we have had the pleasure of receiving a letter from him, and from this we learn that he and his wife, working under the name of ‘ Diabolo and Deb’ havebroughtinto existence a full eveningshow of stage magic which has proved its popularity wherever it has been performed. Keeping in the main to good visual magic he has added several original items and we understand that some of these may be published in the near futureinthis country. Bothheand his wife intend visiting this country in the autumn of l958 for apart from the possibility of appearing professionally in this country they wish to visit The
Magic Circle and also take in the British Ring Convention.” That. was the groundbait.AlreadyFrance and I had agreed that he would be Diabolo and I would be thefemale. assistant, Deb. Notice the matter of publication of effects. As it was necessary for this character to be: known and read about tricks and a lot of them ‘written under his name werenecessary. I reckonedthat about sixteen items published between March and the Convention date. wouldsuffice. It wouldhavebeen of little use running them ‘ina monthly magazineand apart fromtwo items in the ‘Pentagram ’ fourteen effects were written. up, and after swearing Goodliffe and Fabian to secrecy,.theywere published at fortnightly intervals in. ‘Abracadabra ’ under the title of the ‘ Deceptions of Diabolo.’ All were were written in a,brash manner for it was the full intention to make this character a true bighead. Two items couldhave beenrecognised. One a silk vanish which I had used on a few occasions and a glass penetration which dated from 1944, andalthough little usedwasgiven in 1948 to a Nottingham magician. In February we broached the matter to our good friend and colleague Bill Stickland and after giving him the full details he agreed that it could beaGala‘show item. Apart from our families only three other people werein the know. 7 hey were Seff Atkins, Tommy Rowe and Percy Naldrett . The next thing was to get the act into being. We had agreed that to help the disguise, domino masksshould be worn.Theact was to open completely ‘straight ’ but was to go haywire after an initial ‘ accident.’ As ‘a band-call was out of the question (ifwewere to keepthe secret up until the last moment) the act had to be ready t o go on.and be played with theminimum of trouble. And so after quite a deal of discussion we agreed to end on a short mime number-‘ Anything you can do I can do better.’ It fitted in with the plot of the act for in thefinal trick the female assistant scores
8
THE WORLD'S LARGEST MAGIC BOOK
T E E MAGIC W A N D Edited by GEORGE ARMSTRONG
NO.254. (Vol. 46, Part 2) Now on sale "ATHEMATICS, MAGIC ANDMYSTERY by MARTIN GARDNER gives you five first-rate tricks with cards, common objec& dice, numbers, etc.,ali based upon a mathematical principle-hcluding a clever vestturning stunt. PARTY FOR PAMELLA by JACK GlplTINGS contimes the outstanding aeriea for the children's entertainer. dealing this time with S I W PRODUCTIONS together with suggested presentatiobil €or stan&rd props, patter, tips, routines, etc. MY MAGIC by BRIDGER L&WIS gives you the terrific B.L. EGGS FROM HAT ROWINB. Whether you are a born comedian or a naturally straight erformer you'll not be able to avoid getting laugh upon faugh if you w e this item. It's ideally suited to adult or children's shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get intoclosed a and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buyexpensive props for this one. For good measure A NEW CARD TRANSPOSITIONcauses a signed card to vanish from a sealed envelo' and return tothe packreversed. Andthere is a use& article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLE'ITIS V. MUSSON will be for you if you have ambitions to be an illusionist. This stage filling illusion can be made for less than f S , is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is areallydiEerent type of Dead Name Test, ideally suited to the Seance Room or the Intimate Show. KOYNINI'SSEVENTEEN by TON1 KOYNINI isa featurecardroutinefor -the mentalist. 'ITwo spectators pocketanumber of cards each.Onespectatorselects a card from the pack, andone returns his packet of cards
to the pack. All'with the performer's back turned. The performer then n m e s the selected card, finds the card by the sense of touch,namesthenumber of cards in a spectator'socket,andsays which spectator it is, and tells the o g e r spectatorhowmanycards he originally held but returned to the pack! A SILK PRODUCI'ION by TRAVERS COOPER is juat what the, title implies, .but. it is beautifully routhed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTffiTR W. ROOTS .is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives you aHatProductionroutineforthe children's entertainer, packed with laughter and surprises, but using on1 standard props which you probably already have. (You's need an Evaporated Milk Jug, an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describer a fine prediction.Threespectatorsnameanumber, colour and book title.. These are noted and tossed into a box. A card, whlch theperformerhasprevlously written on, is then removed from another box and given toaspectatorfor checking. It lists allthe items just named! Easy to make and do! Alsoa TOP CHANGE stuntforthecardenthusiast,andaCARDPREDICTION using a slate in a new and novel way. And as much more fine material again, which we have not thespace to listhere. Atotal of 35 tricksand routines, plus miscellaneous articles. We aresorry,but No. 253 innow OUT OF PRINT. Rush you orderfor No. 254 beforethis,too,follows suit.
Price: 7/6, Postage 76. For this Giant (8+ X llin.) Boolr.
QEORLGB) A R M S T R O N G
6 2 WE,LLINGTON R O A D , E N F I E L D ,' M I D D L E S E X Annmal Subscription (4 h u e s ) 40 post free
The Magic Circle President: Herbert J. Collingo, Esq. Vica-President : Francir White, Esq. Clubroom and Library and Mureurn :
Hearts of Oak Buildings, Euoton Road, London, N.W 1. M y i d Theatre :
King George's Hall, .WC. Saturday, November 22nd " Ring Up The Curtain *'
Putkulur from Hon. SIcretrry :
Peter Newcombe
38 Overdale Avenue
N ew Malden,
Surrey
Everv Advert3ser PUBLIGRED BY TR8 t E O P R W n
PETER
WARLOCK'S
PENTAGRAM h publirhod m tho u(h d 88Ch month and can be obhind dinet Lrom tbo pubkhom for 117 por siaalo uopy. Annual 5uburiptiorr 161post b.. PUBLISHED
BY:
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex h a n u d p t s for pabhtioc und bwah f o r
mvirw should k sont to theEDITORIAL ADDRESS:
Peter Warlock,
24, Wordswocth Rd., Wallington,
Wanted b y George Armstrong Any of the " C. T. J(ordan) Series of Magical Effects." Complete in envelopes if possible. Also wantmany U. F. GrantandGrantand Menge mimeographed items. Sort out those old unused 'manuscript' items and I will buy for cash or allow generous credit in lieu. Send lists to :
George Arrnsstrong 62 Wellington Road, Enfield, Middx.
PETER W A R LOCK ‘S * *
t
iP
THE GLASS THROUGHCOAT HANS TRIXER
A
T EASTBOURNE Hans duly intrigued and mystified a host of conventioneers with this very lovely impromptu miracle.
The effect is simple indeed. The performer borrows a hat, a coat and a glass. The coat is spread out on the floor and the glass placed underneath it in a central position. Theshape of it canbe seen and this shape is covered with the hat. Upon the word of command the glass penetrates the coat and is found nestling safely under the hat. The requirements are just the three articles mentioned. All may, in fact should, be borrowed. for after all this is an impromptu effect. The glass shouldhave straight sides andshouldn’tbe too heavy. Presentation All the articles are indicated by the performer and taking first the jacket he opens it out so that the inside is against the floor. Then agreat pretence is nlade of straightening it out and the sleeves are doubled back.
Next the glass is taken and placed on its side underneaththe coat at acentral position. The shape of the glass is clearly visible to the audience and the performer withdraws his hand. The hat whichshouldbe of thesoft trilby type is takenby the left hand andit is placed crown downwards over that part of the coat which covers the glass. The performer releases his hold of the hat and bothhands are free. He explains that he proposesmaking the glass penetratethe cloth of thecoatandappearingunderthehat, something possible to a magicianbutimpossible to the cleverest scientist.
VOLUME I3 No.2
-
Placing his right hand beneath the coat and steadying the hat with the left hand he m o w the former hand as though assisting the gislss to make its passage through the cloth of the coat. ‘The left hand leaves go of the hat and comes back to the rear edge of the cwat taking hold of the edge. At the same time the right hand leaves underneath part of the coat and also takes hold of the rear edge. Now with the come-back of the right hand the fingers take hold of the edge of the glass and carry it withthem so that the ginss is under the coat. It is gripped by the second and third fingers thus leaving the thumb and first finger completely free. As the glass is taken the performer takes care not to disturb the hump of cloth in the coat so that when a little laterthehat is removed it would appear that the glass is still underneath the coat. ‘The glass is nearly through !he cloth.’ remarks the performer and all that is necessary is a slight shake. Here the performer raises and lowers the rear edge a few times and then reaches forward with his left hand which takes hold of the hat by the crown and passes it across to the right hand which takes hold of it beneath the thumb. The position of the hat is that the thumb of the right hand is on top of the brim, whilst the lower side of the brim rests upon the rear edge of the coat. The magician seems surprised that with the removal of the hat the glass is qot visible on top of the coat. ‘ Let’stry once more,’ he adds, and then bringing the hat back slightly with the right hand he has plenty of cover to load into the hat the glass gripped between his fingers. The hat is placed downagain over the hump in the middle of the coat and the same actions carried out. i.e., the left hand steadies the hat whilst the right goes under the coat. However this time there is a great differ-
1/6. (20 Cents)
-
NOVEMBER 1958
10 ence for when the right hand comes back to the rear edge of the coat and the hat is lifted there lies the glass on top of the coat.
In the description we have described the effect using one glcass only. If small ponv glasses are used there is nothing to prevent two being used, the technique employed being the same as
for onebut in duplicate. One point has to be borne in mind and that is that a small ridge of coat should makea division so that after the production of the first glass on top of the coat, it is left there and the second one deposited on the other side of the ridge noiselessly. Lack of precaution could cause the glasses to touch one another and “ talk.”
STRICTLY STRAIGHT RUSDUCK W a y back in February, 1957, Rusduck started the ’ Cardiste ’ which in his own words symbolised a rnagazine dedicated to the m of cardistry. In an editorial paragraph he wrote : ’ Cardiste ’ will contain only such eflects as are coincident to card table routine for which playing cards were originated, designed and intended.There will be rare reference ro the ‘ You lose-l fird ‘it’ type of eflect. Rrlsdmck, who recently ltmi a bod bout in hospital, but whose condition is daily imp-oving, has specialised for inmy years in stacked p a c k routines ar:d particularly where such stacks affect card ploy. W e f e dthat many of our readers may also be inierested and for that reason and also so thatitmuy bring to some the knowledge of a magazine that was outside their ken, we are, with Russ’s permission, publishing ’ Strictly Straight.’ One final thing. Magicians are seldom card players and for that reason they tend to think that their own lack of knowledge regarding Bridge, Poker and suchlike games is on a par with that of their non-magical friends. Poker is becoming a mucl? more played gume in thfs comtry thanit ever I Y ~ and , with a look through the Poker section in ‘ Scarne on Curds ’ he should be well set ro make himself the gambler supreme withthis convincing demonstration.
Cold-Decking Circle ? ” I replied, “ Eddie, you and JIM THOMPSON have certainly done a thorough job in identifying the name of Rusduck with stacked decks. Every time I do an effect, everybody is looking for a ‘ set-up.’ I want you to know that I’ve reformed. As a matter of fact all my deals are now STRICTLY STRAIGHT! Let me show you what I mean.”
HILE AWAY a bit of your spare time in reading over this little bit of “ Cold-Decking ” deception. I am indebted to LYNN SEARLES and his gem, “ T H E STRAIGHT ,GAMBLER,” for the inspiration of this effective ,dealing routine. I have changed the set-up, the handling, varied the climax, and added additional progressive effects tothe original routine. The patter background fortheSEARLES “ Straight Gambler ” is superb, andit is earnestly recommended that you obtainthe manuscript sold by ABBOTT. On with thestory: While visiting EDDIE CLEVER recently, we got to talking about dealing effects, and Eddie said, “ Russ, what’s new in
So I proceeded to deal out four hands in the same manner, turned over the dealer’s hand and said, “ See, Ed, STRICTLY STRAIGHT ! ” “ WOW! ” screams Ed. “ Where are those cards coming from, Russ? ” I replied, “ Well since you’re making me do it the hard way, I have to take them where I find them-Bottoms-Seconds -Middles-and even from the top if necessary.” “ I’ll try again, Ed, so watch my fingersvery closely.” I again gathered up the hands as before (Winning Hand First). “ How many hands, Ed? ” “ LET’S TRY THREE.”
W
I took the 01’ family deck out of my pocket and proceeded to give it a good rapid riffle shuffle (thoroughly false). I then dealt out five face-down poker hands in the approved manner. Turning over my hand (dealer’s hand) I said, “ See what I mean, Ed?-STRICTLY STRAIGHT.” Eddie says, “ Whoa, slow .down a bit Rus.s. That looked like a pretty fast stock shuffle to me. Now suppose you put the rest of the cards back in your pocket.” I returned the unused cards to my coat pocket. “ Now gather up your dealt cards.” I placed the winning hand on my palm, and gathered up the remaining hands in the order dealt, placing them on the winning hand I held. deal Continued Eddie : “ Nowlet’sseeyou out the cards without any of your fancy shuffles, and also, DEAL ME OUT! ” I said, “ You mean deal FOUR hands? ” “ That’s EXACTLY what I mean,” he replied.
Three hands dealt-Result : Dealer’s HandSTRICTLY STRAIGHT.
11
I know I’m being ‘conned,’ ” says Eddie, the gimmick. Watching your fingersdoesn’t help any, either.’’ “ Keep going, Russ-1’11 figure this if it takes all night.” “ Like to go for two, Ed? ” “ Might as well, Russ.” Cards gathered as before-two hands dealt -Result: The usual STRICTLY STRAIGHT. I gathered the two hands and continued: “ By this time you should be convinced that this is onthe level, so 1’11 continue with the effect I wasgoing to showyou in the first place. I deal ONLY a STRICTLY STRAIGHT Poker Dealand as a matter of fact, I’ll even spell it out for you.’’ I dealt out five hands in the orthodox manner (face down) spelling S-T-R-I-C-T-L-Y out S-T-R-A-I-G-H-T P-0-K-E-R D-E-A-L, one letterfor each card dealt, with a slight pause between words. As usual, the dealer’s hand showed the inevitable straight. Eddie sighed, “ Well Russ, I admit I couldn’t catch anything wrong. Let’s assume that you DID actually deal STRICTLYSTRAIGHT as you allege. What would happen if you dealt STRICTLY CROOKED? ” I gathered up the hands in the same manner as before, and dealt out five face-down hands. “ In that case, Ed, I’d still deal STRICTLY STRAIGHT. I’d see that everybody got a straight (turning over the hands in order dealt), “ But I’d be tempted to make mine a STRICTLY STRAIGHT FLUSH (turning over Dealer’s Hand) of Royal Vintage! ” Said Eddie, weakly : “ Hocus my Pocus, Russ, that sure is a doozy. I admit I couldn’t catch anything underhanded, but I can’t seem to get it out of my head that you must be using one of your “ Cold Decks.” I replied, “ Eddie, I can see you’re a real gone skeptic. Since my reputation as a ‘ Cardiste ’ is at stake, I’m resigned that the only way to convince you that the deal was STRICTLY STRAIGHT. is to let you handle the cards yourself . . . .” I gathered upthe hands in the usual order (dealer’s hand first) and handed them toEddie, saying, “ Suppose YOU dealout five face-down hands starting with me.’’ “
’‘ but I can’tfind
Eddie dealt outthe five hands and I said. Let’s see what you dealt yourself.” Dealer’s hand turned over-“ Just an ace-high singleton --YOU couldn’teven open with THAT hand, or evenbuck a lowpair-THAT should convince you that the cards aren’t set up.” I then continued, “ Nowlet’ssee what you dealt me.’’ (Turn over first hand dealt.) “ Well, Ed, you won’t believe this-but even when YOU deal-I’m still STRICTLY STRAIGHT ! ”
I once more gathered the cards in the usual manner (winning hand first) and handed them to Ed, saying, “ Now, Ed, I’m going to convince you that I ACTUALLY DID get cards from the top or bottom as needed. I want you to deai out five poker hands, and whenyou take YOUR cards, getthem from the TOP O R BOTTOM as you desire. Suppose you deal your hand face-up so we can both see how you hand is building up.” Eddie dealt as directed, taking cards for the dealer’s hand from the topOR bottom AT RANDOM, and placing them face-up on the table. If you ever saw suspense mounting, you can imagine the culmination abuilding as the dealer’s hand finally-and DEFINITELY filled in to produce the inevitable STRICTLY STRAIGHT ! “ I quit,” sighed Eddie, weakly. “ What’s new in Cold-Decking Circles, Russ? ” THE WORKING A set-up of 25 cards. Remove every 5 , 6, 7. 8 and 9 as well as any Royal Flush from deck. From Top to Bottom: TOP: 9 - (K) -(A) - (10) - 9 76 - 9 - 6 -6 8 - 9 - 7 5 -7 8 - 8 - (J) - (Q) - 8 5 - 7 - 5 - 6 - 5 BOTTOM Cards in ( ) must be of the same suit. Suits otherwise disregarded. Deal as directed aboveCards are dealt face-down except as stated. Dealer’s or Winning Hand is ALWAYS picked up first, then the remaining hands in the order dealt. Cards in hands must not be disarranged.The EIGHT PROGRESSIVE DEALS must be dealt in the ORDER GIVEN. This is a beautiful and entertaining routine if properly rehearsed and presented.
FOOD FOR THOUGHT LESLIE MAY Coincidence of ideas in magic are never so rare as many think, and the following eflect by my good friend Leslie May is a case in point.
W a y backin 1953, Harry Baron, who! then intended putting out a booklet with the title, ‘M y Best Mental Trick,’ asked Leslie for m originul
12
contributiora As a result ‘ Food for Thought ’ WQS originated and forwarded for publication. Circumstances arose including publication difiulties which prevented the publication of the book. On (he 23rd April, 1955, an eflect, ‘Food for Thought’ was described by that well known and respected writer Jmk Yates in ‘ Abracadabra.’ Apart from the title the eflectwas similar and much of the method, too. Subsequent correspondence proved that both writers had conceived the SAME plot, TITLE ond a deal of the method without any kind of collaboration, and as Goodiiffe wrote in his weekly, The whole thing is mother one of those amazing coincidences.” Leslie asked us to add thislittlepreface in cme either he or ourselves should be accused of plagiarism. ‘I
H E following is my favourite original mental eflect because it is unusual in theme, provides entertainment as well as mystery, and above all, has a particular appeal to the ladies of the audience.
T
Eflect The mentalist shows six cards, each one bearing the name and picture of an item of food, i.e., FISH, as each is exhibited, the ladies present are asked what they associate instantly with that particular item, e.g. CHIPS,as each association is .announced, it is written on a slate or large cardboard, so that eventually six such associated ideas are on view. A gentleman from the audience is then asked to seal each food card into aseparate envelope, and then to mix them so that there is no clue as to the contents. Next the services of a lady who is fond of cooking, and who considers herself to be a good cook is obtained, and the mentalist explains that he is convinced she possesses qualifications above the ordinary in that connection, and her fondness for culinary arts has produced a sixth sense, which he would now like to prove, exists. The gentleman is asked to pick an envelope, although the contents are unknown, the lady is requested to name what associated word from the slate or board she considers is applicable to the card which the envelope contains, and the figure J‘ONE ” is written against that item. A second envelope is now selected, and again the lady nominates her mental choice, the figure “ TWO ” being written against same, and so one, until all the six envelopes have been dealt with. The mentalist again says that he is convinced the lady has a strong mental power of recognising the aromas, etc., of even pictures or mere names of. articles of food, something like the “ Bisto Kids ” on a fourth dimensional plane and in proof the six envelopes are opened in the order chosen,
and in every instance, the correct associated word has been selected. Remorks The method is only the old “ one behind,” with some slight variations, but never mind about that, it’s the effect that counts. Requirements Six cards, of approximately playing card size (for reason given later) each bearing the name and picture of one of the following :CHEESE, FISH, EGGS, APPLES, DUCK, BEEF.
A packet of envelopes of a size to take one of above. A slate and chalk, or a large piece of cardboard and black crayon. Presentation The six cardsare shown and their associations obtained and written on slate, as described under EFFECT. Only one association is written in respect of each card. The most frequent responses are as follows: CHEESE-bread, onions or macaroni. FISH-CHIPS. EGGS-bacon, ham. APPLES-pears, pie, jam or tart. DUCK-green peas. BEEF-steaks, carrots. The above having been completed, the gentleman volunteer is requested to insert a card into an envelope. This is where a bit of trickery is introduced, for although care is taken not to exhibit them in that order, the initials of the objects on the cards comprise the first six letters of the alphabet, i.e., Apples, Beef, Cheese, Duck, Eggs and Fish, and as a card is inserted in an envelope, so mentalist takes same, and nail-nicks envelope in a manner enabling him to tell contents immediately. The services of a lady having been obtained, she is seated on the right of the mentalist, gentleman onthe left, thelatter havingmixed the envelopes thoroughly, hands them to the performer who holds them aloft for all to see, he then displays them in a fan to the gentleman who freely selects one. The gentleman holds up the envelope and the lady announces what she thinks is associated with it, her choice being restricted to the six names on the slate, andthe mentalist chalks “ ONE ” against that particular word. He then takes the first envelope from the gentleman and places it on
a table or a convenient vacant chair; next, he again offers the gentleman the choice of one of the remaining five envelopes, but this time he forces the one appropriate to the selection the lady has just made, i.e., if she stated the FIRST envelope brought the word “ ONIONS ” to her mind, M. would then force the envelope containing CHEESE. L. is again asked what sheassociates with secmd envelope and, presuming sheannounces JAM, then, M. notes envelope containing APPLES and forces that on G.; this procedure is carriedoutuntilall six envelopes have been utilised, six associations named and identified as to order by numbers. (See laterremarksabout methods of forcing applicable.) In some cases, as noted below, a slightly different procedure may have tobeadopted for the denouement, but, experience has proved that generally,the envelopes willbe “ one behind ” rightthrough, i.e., thecorrespondingto No. 6 lowest, and reading upwards from that, Nos. 1, 2, 3, 4 and 5, M. in this instance, drawsattention to fact that No. 6 (?)envelope is on top, andreverses order by counting each, one on top of each other, this brings what is apparently envelope No. 1 to top, but it is really that corresponding with object No. 6 on slate, so he inserts little finger of right hand under this last envelope and under cover of turning towards slate, makes the pass and brings this envelope to bottom of stack, which brings them in corresponding order to their allied objects on board. Hence reason fornot having “ food cards ” toolarge,inordertomakepass easily. There is plenty of cover for performing this action. Instances may arise where theprocedure is slightly complicated by the fact that the food card due to be forced somewhere through the effect is theone freely chosen in the first instance, this, however, is easily overcome, and an example, with procedure, is given below:G. takes FISH. L. calls GREEN PEAS. M. forces DUCK. L. calls JAM. M. forces APPLES. L. calls CHIPS. The FISH cardis already taken,so let G. have a FREE CHOICE, and in placing this envelope down on the first three, make a slight “ step ” to enable this point to be noted instantly. L. calls Steaks. Say G. takes EGGS. L. calls ONIONS. M. forces BEEF. L. calls Bacon. G. takes CHEESE (last card). Cards now read from bottom up :-
FISH. DUCK. APPLES. EGGS. BEEF. CHEESE. Should read, from Bottom up :DUCK. APPLES. FISH. BEEF. CHEESE. EGGS. Pick uptop three envelopes above ‘‘ step,” say here are Nos. 6, 5 and 4, indicate numbers on board and in so doing, make pass to brings “eggs” to bottom. Count them on table, thus bringing them in correct order. Pick up remaining three envelopes, hold them in a rough fan-shape in left hand,takeFISH envelope, with right hand, say “ No. 3,” drop this on first three, and as you dothis slide APPLE envelope to left with left thumb, remove it with, right hand,droponothers saying “ Two,’’ and throw “ DUCK ” envelope on top, calling this No. 1. Envelopes are now in their correct orderfor revealment. Don’t worry, this move is quite deceptive and convincing. This has been my favourite effect for mixed audiences, and I am releasing it for first time. Some readers may prefer to use their own moves for the required mis-counts, that is up to them; as I emphasised before, IT’S THE EFFECT THAT MATTERS. The following are my suggestions for methods of forcing :1st selection from six cards-FREE FROM FAN.
CHOICE
2nd selection from five cards-FAN FORCE. 3rd selection from four cards-“ No. between 1 and 4.” 4t h selection from three cards-Elimination force (see YOGI BOOK TEST, page 67 of PRACTICAL MENTAL EFFECTS, by Annernann). 5t h selection from two cards-place envelope to be forced under spectator’s Right hand, other under Left. Tell him to lift one hand and construe accordingly. 6th selection from one card. If the mentalist likes, he can present the lady who assisted him so successfullywith a small diploma certifying as to her supernormal culinary powers; this diploma, of course, discreetly bearing the performer’s name and address !
14
THE DIABOLO STORY (CONCLUDED) Now although the idea blossomed early it was late in the year before we really got down to act. France. luckv fellow. managed to have a triD to New Zealand i n d Australia ik June, and it W& near the end of July before we really got things under way.Suddenly the thingtookshapeone evening when, at the Haxton’s house, 1.suggested trying the opening withmusic. There was a pile of ten inch “ seventy-eights ” on the table and the bottom one was “When the Saints go Marching n.” We tried the opening once more and for the first time it came to life. Fromthenon tw,) or three times a weekwe went through most of the act which was made up in this routine :Orchestra playing as stage curtains open. Deb (that’s me !) is in immaculate lady’s evening dress on left of stage holding a large card with the name ‘ Diabolo ’ displayed. France, immaculately clad in ‘ tails ’ and masked. enters and card is placeddown as I take first his stick which is placed on stage to form table base, his hat which goes on top and then gloves whichgo into hat. From his pocket he takes a packet of cigarettes, offers me one which in mime 1 decline at the same time indicating that I would prefer flowers. Additional mime indicates that he can smoke. He takescigarettefrompacketand 1 light it.Then blowing smoketowards the cigarettepacketit changes into a bouquet of flowers. This I take and place in the hat. Then he ties his scarf around his neck and pulling onbothends the scarf penetrates his neck. Scarf taken and also placed in hat. Now in the true Channing Pollock manner he pulls a silk from a flower on my dress. Ashe displays it I take holdof a length clf rope. He starts to roll the handkerchief in his hands and as it disappears I shake a knot into the rope and the missing silk is seen in the knot. France takes hold of the silk and pulls itfromtheknot.Unfortunatelyandmostnaturally as hishandcomes back, he hits the table on the right with disastrous results. It goes crashing to thefloorand as the die goes with it a large spring snake leaps into the air.Moretragedy,for in his distractedmoment his foot has gone inside the large die on the floor. I right the table, pick up the snake and throw it off stage. With plenty of mime two cards reading ‘ The Educated Snake ’ and ‘ Fantastic Die’ are removed and placed out of sight at the back. Seeing that Diabolo is still in trouble I get hold o f the die and in pulling it off his foot take, without apparently noticing it, his shoe as well. There’s a heck of hole in his sock. All is well again and going to the card stand I takeand hold aloft a cardbearingthewords ‘ Enchanted Petal ’ The card is placed down and I hand Diabolo a fan and with plenty ofmime
indicate his carnationbuttonholefrom which I pluck a petal, show it and place it upon the fan. As Diabolo commences the Sterling egg trick I walk off-stage returning when the egg is almost full blown. In my left hand I have a real egg, and as I go to take the blown egg off the fan with both hands, I break the egg so that it drips from my hands. At thispoint we are set forone of the biggest laughs and gasps for I wipe the egg and shell on my dress. Failure, but we arenot daunted. The next card is picked up. It bears the words ‘ Salt to you ! ’ Handing a salt pourer to Diabolo, he takes it and pours a small quantity into his left fist. The usual vanish takes place and by this time I am offstage. The reproduction is about to take place. The right hand reaches out and grabs for the salt, thz left hand drops to the side and from the sleeve pours Salt and Salt and Salt. So much so that I wheel onto the stage a Hoovercleaner in full blast to clear the floor. Finally about a thimble of salt is produced from the right hand. Ready for the finale. The card ‘ Magical Gardening is shown by Diabolo, the reason for this being my going offstage tostart the tape recorder. To the musicof ‘ Tea forTwo’ we show first the flower potsand then the cones. The cones are placed c n thepots and a typical ‘ Botania ’ twist given as the cones are placed on the pots. I watch Diabolo as he raises hiscover revealing a flower growth about ten inches high. I go to my side of the stage and start raising the cone. Up and up it goesand I iabolo holds the cone as I get a chair to stand upon. Finally the cone is removed revealing a tall flowergrowth. At this point there is the cue for the mime and the act ends. The fact that the act was most successful gave us agreat kick. Thoughthere musthavebeen very few present who recognised me (a good wig and a ‘ Masked Ball” domino taking care of this), France, whose mannerisms rather than his makeup wasrecognised by quitea few.Thisin no way spoiled things. We had shaken a large core of those present who were glad to be fooled by such a hoax. We playedonly at the evening performance for we felt certain that anappearance in theafternoon would have killed the surprise forthe majority. Only as the evening performance started did Paul Graham the Stage Manager and Geoff. Robinson the compere know thetrue identity of ‘ Diaboloand Deb.’ Our thanks must go to both. To the first for making our stage easy to use and to the second for announcing the act without a completely straight face. Despite the fact that manyhave toldus that theywish to see theact again, our own feeling is that it is a ‘ oncer.’ It was good fun.
15
We were sorry to say ‘ Au revoir ’ to Les and Gladys Levante. During the time that he has been in this country, Les has been ceaseless in his activities to help magic and magicians. His work for the British Ring before the war was responsible for a great change in the Convention outlook. We wish, and we know you will join us, him the best of everything when he returns to his native heath. Just before he sailed he spent an evening with us in company with Gladys, Esme and her husband George Hunt. We heard of magical adventures in China, Siberia and in factalmost everycountry where entertainment can be organised. We heard some delightful stories regarding great tricks including the Substitution Trunk,that perennial which the public always welcome. The Stuthardsare onceagain in circulation and Joe the other evening was telling how, on the same evening as the telecast of The Magic Circle show from the Scala he appeared on Channel Nine and as usual gave a Svengali deck the works. (At this point just let meremindyou that Jay Marshall with ‘ Lefty ’ was the star of the Channel One show). The following day Joe was at his agents, Fosters, and was introduced to a caller. The latter on hearing Joe speakremarked : ‘‘ Why,you’re the guywho did the card tricks last evening on I.T.V.” Joe affirmed this and the caller went on . . “And I guess I liked your earlier spot on B.B.C. with the hand puppet but I had a hard job recognising you later with your toupke off! ”
As the Stuthards have come back, Slydini and Jay and Frances Marshal1 have. All grand people, each adding something to magic and our knowledge of magic intheir own particular way. To Slydini we say a particular ‘‘ Thank you ! ” for one very important thing he told us regarding the handling of the cups and balls. It has added since then a great deal to the effect. Every magician must have felt extremely sorry for Randi, when during the telecast of the Circle show he found himself in trouble with his vanishing radio. It had itsfunnyside for never
have we seen a conjurer kick a piece of apparatus when it failed to work. The assistant hasto be congratulated in covering up the complete failure of the effect from the viewing audience. As we write this we are recovering froma strenuousbutatthe sametimemostenjoyable week-end at Leeds. We travelled up there to take part in the Leeds Magical Society Night of Magic. A truly wonderfulcrowd they proved and the public show staged at the Civic Theatre certainly was very much to the liking of the audience who paid to see the show. We were the guests of Bill and Margaret Bailey and great hosts they proved. Bill who is as great an enthusiast of sport as he is of magic enthralled us with cricket and other sporting anecdotes. After the show there was quite a party at Paul Gaines’ house and Claude Perry who was in great form proved a grand laughter-maker.
Once again the Circle Festival, despite a very costly cast hasproved a financial success. This seems to prove that magic still is a draw toa certain section of the public. Even on the opening night apartfrom the unused Press tickets (one hundred and fifty of these were issued) there were not a great numberof vacant seats. At Eastbourne this year, the first performance of the British Ring Gala was exceptionally well attended and in fact watching the show from the back of the stalls there seemed to beveryfew seats vacant. Never let anyone say that ‘ Magic is dead! ’
If you collect playing cards you’ll be pleased to know thata special Icelandic pack (I know you’ve read about Diabolo and Deb, so please don’t think this is a gag !) can be obtained from Mr. Baldur Georgs at a price of 7 / - or one dollar. Beautifully designed with a booklet giving historical details of the characters illustrated on the cards it is a very low priced buy. The cards come with either blue or red backs and Mr. Georgs’s address is P.O. S09, Reykavik, Iceland. The recent easing of currency export restrictions shouldn’t make it difficult for you to send the few necessary shillings to Iceland.-P. W.
16
T E E MAGIC W A N D Edited by GEORGE A R M S T R O N n J No. 254. (VoI. 46, Part 2) Now on sa !e MATHEMATICS, MAGIC AND -MYSTERY by MARTIN GARDNER gives you five first-ratetricks with cards, common objects, dice, numbers, etc., all based uponamathematical principle-including a clever vestturningstunt. PARTY FOR PAMELLA byJACK GI’ITINGS continues the outstanding series for the children’s entertainer, dealingthistime with SILK PRODUCTIONS, together with suggested presentations forstandard props, patter, tips, routines, etc. M Y MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whether you are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you do not need to buy expensive props for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return tothe pack reversed. And there is a useful article by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLETTIS V. MUSSON willbe for you if you haveambitions to be an illusionist. This stage filling illusion can be made for less than f 5 , is colourful, baffling and entertaining. THENAME IS MINE by PAVO is a really different type of Dead Name Test. ideally suited tothe Seance Room or the Intimate Show. KOYNINI’S SEVENTEEN by TON1 KOYNINI is a feature cardroutine for the mentalist. Two spectators pocket anumber of cards each. Onespectator selects a card from the pack, and one returns his packet of cards
to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch,names the number of cards in a spectator’s pocket, and says which spectator itis, and tellsthe other spectator how many cards he originally held but returned to the pack! A SILK PRODUTION by TRAVERS COOPER is just what the title implies, but it IS beautifully rout~ned and is an example of perfect magic. THE WESTON PINKIE REVERSE MARK by WESTON is for card enthusiasts. A card is reversed in the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS byPETER McDONALD gives you aHat Production routine forthe children’s entertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’ll need an Evaporated Milk Jug. an ordinary Funnel and a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name a number. colour and book title. These are noted and tossed into a box. A card. which theperformer has previously written on, is then removed from another box and given to aspectator for checking. It lists allthe items just named! Easy to make and do! Also a TOP CHANGE stunt for thecard enthusiast,anda CARDPREDICTION using a slate in a new and novel way. And as much more fine material again, whichwe have notthe space to list here. Atotal of 35 tricks and routines, plus miscellaneous articles. We aresorry, but No. 253 in now OUT OF PRINT. Rush you order for No. 254 before this. too, follows suit.
Price: 7/6, Postage 7d. For this Giant (84 X 11in.) Book.
C: EORUGE ti.Kns[S‘I’U,dDNG 6 2 W E L L I N G T O N R O A D , E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free I
The Magic Circle
I
is published on the 24th of each month and can be obtained direct from the publishers for 117 per L-in& copy. Annual Subscription 18;past free. PliHLISHED BY:
:
Hearts of Oak Buildings, Euston Road, London, N.W 1.
l‘
WARLOCK’S
PENTAGRAM
President: Francis White, Esq. Vice-President : Claude Chandler, Esq. Clubroom and Library and M u s e u m
PETER
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
Monday, February 2nd Lowet Cunning ” A!ex Elmsley
Marlurcriptr for publication and books for reviow s h o l l l d be sent to tbe.
hrtlcolars tronl Hon. Secretary .
EUITORI.4L
Peter Newcombe 38 Overdale Avenue New Malden, Surrey
ADDRESS:
Peter Warlock. 24, Wordswotth Rd., Wallington,
Any of the C. T. J(ordan) Seties of Magical Effects.” Complete in envelopes if possible. Alsowant many U F. Grant and Grantand Menge mimeographed items. Sort out thoseold unused ‘manuscript’ items and I will buy for cash or allow generous credit in lieu. Send lists to : l‘
George Armstrong 62 Wellington Road, Enfield, Middx.
Every Advertiser‘
I
P U B L l S H E D BY T H E P R O P H l E l O R S T H E MAGIC \ \ ‘ A h D PUBLISHING COMPAKUY. b? W E L L I K G I O N kCAF’r ENFIFID.MlDD1ESI.X A N DP R l N T E n B” WERBERT WALKER S . S O H (PRINTPRE) LTD.. BRIDGE U O P h E . F H I l ’ l € Y . Y O R K S H I R E
AUTORING ESCAPE EDDIE JOSEPH Editor’s Foreword
F7
HEN, onbehalf of the British Ring. I asked my friend Eddie Joseph to give a lecture at theEastbourne Convention andhe said, “Yes!“ I knew that those present would have placed before them some delightfully subtle ideas and effects. With the title of “ Delnding the Senses” Eddie gave away some first-rate magic one of the items being that which he now describes. I t is a lovelyeffect mainly because of its extreme simplicity and it was with some trepidation that in the role of host I asked whether I could publish it. There was no hesitation in Eddie’s reply and in good time he not only wrote up the necessary details butalso supplied the photographs which add to the story. This is the first contribution that we have had from Eddie Joseph and it is our sincere hope that it may be theforerunner of equally effective items inthe future.Thanks a lot! The Effect Two metal rings-a large and a small oneare tied, in the centre of a lady’s head scarfby means of a double knot. The scarfisthen held. by its corners, inthe left hand with the rings suspended in the middle.
You now asksome obliging spectator to nominate a ring. By the simple action of shaking the scarf the chosen ring escapes from its knotted confinement leaving its companion behind still tied inthe centre. Operation For best effect doNOT use pure silk but thekind of scarf you get at Woolworths. The reason, as you will realise yourself after trial, a certain degree of friction is helpful when tying the false knot. Silk, Nylon and Rayon arefar too slippery for this particular work. I do not intend to imply that silk is completely unsuitable and if you prefer it then just ignore my advice.
VOLUME l 3 No. 3
-
My scarf is 24” square. The rings are S’ and 34’’ in diameter. The accompanying photographs are delayed action shots of my hands to help the explanation along. (a) Thread the two rings on to the centre of the scarf as in Fig. 1. Note particularly that the
Fig. l
corner in the left hand is passing between the first two fingers. The third andfourth finger of the same hand is bent over the part of the scarf at that point. (b) The right hand now places ‘its corner in the crotch of the left thumb. Study the position of the scarf, rings and fingersin relation toone another. See Fig. 2 . (c) The righthandis now passed through the larger ring as well as the loop formed by the scarf and the corner extending from the left fingers is clipped between the first two fingers of the right. This is shown in Fig. 3. (d) Having got hold of the corner you pull it straight in towards yourself. However, as you
I /6. (20 Cents)
-
DECEMBER 1958
begin to pull,curlthe second finger of the left hand against the portion of the scarf directly under it. Now asthe right pulls inthe scarf corner the left second linger acting as a sort of a
(f) Hold the scarf by the corners as in Fig. b. Note only the left hand is used. The right hand a t this stage hangs by your side.
(g) You willnow be working up to the climax. Ask some spectator to nameone of the rings. I t makes no difference which one he names because by shaking the scarf only the larger ring win drop off. You can see this in Fig. 7.
Fig. 2
hook pulls its point of the scarf outward. I n other w o r d s the two hands move in opposite directions. Note Fig. 4. The second fmger of the left hand is inside the bight which is formed automatically a t this point. The view shown here is deliberately
Fig. 4
However, in the actual presentation the right hand is held about a foot or so below the rings. The left is raised and then the rings are shaken. The large ring will drop out automatically and is caught by the waiting right hand below. The small ring only remains inside the genuine single knot.
Fig. 3
exaggerated. In actual presentation you do not expose this necessary secret move. This is best done by pointing the second finger of the left hand downwards. Stand before the mirror and you will soon learn the right angle of execution. Study Fig. 4 in conjunction with Fig. 3. (e) As faras
the spectators are concerned
you have so far merely tied the two rings together
by means of a single knot. Now follows the next move which is an honest one. Tie a genuine knot at this point as shown in Fig. 5.
Fig. 5
Actually you employ the “conjurer’s choice”
ruse when you ask them to nominate a ring. If they
choose the large, well you will have fulfilled their desires. If on theother hand should the choice fall on the smaller ring . . . then . . . you still
19 appear to satisfy by retaining the small ring on the scarf.
want both todrop then pass yourhandthrough both.
In practice-whichever ring you wish to release you must pass yourhand through that particular one when tying the first knot. If you
Personally I prefer to work the trick the way I have described it. I know you will like it when
Fig. 6
Fig. 7
you see what itlookslikein
operation.
THE ETERNAL TRAVELLERS HANS TRIXER
H
ANS was good enough to send us this effect on tape some iittle while before theEastbourne Convention. The plot is based upon Dai Vernon’s “Travellers” but with the difference that no extra card is brought into play. go We had the opportunity of seeing Hans through the effect and not only is it very deceptive, butthe technique required should be well within the range of all those who study and practise card magic. Let us repeatthattheplot is that of the “Travellers”andfor thesake of those who. unfortunately, may not be acquainted with the original, the effect is as follows:Fourcards such as aces orfour kings are removed from the pack andplaced upon the table. If needs be they can be initialled by spectators. The cards are then openly returned to various on the performer’s comparts of thepack,but mand vanish one at a time each being found in a different pocket of the performer’s coat. This is the handling which Hans gives the trick. T o start with the performer’s coat should be buttoned.Thereshould be a glass on the table. First of all run through the pack and remove the four aces. Fan the remainder of the cards faces to
the audience and then insert the aces one at a timein various parts of thefan. Close the f a n andthen with a single cut perform one of the many multiple shifts so that the four aces are left on top of the pack. At this point it is wise to d o what Vernon himself does, namely to fanthe cards faces towards yourself and check thatin making the shift, no ace has been taken away inthecut. If such has happened thatodd ace will have to be brought to the top. Close the fan and take the cards with the right hand in such a manner that you are in a position to carry out a single handed palm of the topmost card which is one of the aces. Pass the pack to the left hand and a t the same time execute the single handed palm with the right hand. of thecoat The righthandholdsthelapel whilst the left hand undoes the coat button and then you turnfullright pulling thelapeland allowing the audience to see the inside of the jacket and, of course, the inside jacket pocket to which theattention of the audience is drawn.
The performerstates that already one ace has left thepackand amved in his righthand pocket and to emphasise this the left hand holding the cards points towards it. With these words therighthand relinquishes its grip on thelapel
20
.and-goes inside the trousers pocket then coming out slowly a d showing the card that was previously palmed. As you carry out this ,action youhave ‘turned. s3 thatyour right side is towardsthe ‘audience. The left hand is hidden ‘bythe performer’s body and with the attention of the audience on the right hand, the left hand thumbs off the top card of the packinto the. left hand jacket pocket. The ace you have apparently withdrawn from the right handpocket is droppedintothe glass which stands on the table. The right hand now takes the pack from the left hand and giving the cards a slightriffle, the left hand, after being shown empty, goes tothe left hand pocket and slowlyremoves the second ace. This too is dropped into the glasswith the first ace. The right hand which it will be remembered is holding the packet now single hand palms the top card in the act of passing the pack into the left hand and with the remark that the next card mustnotbe impeded the right hand with the palmed card goes into the right jacket pocket, leaves the palmed card behind and removesany odd items such as a cigarette lighter which might be there. After riffling the cards with the left hand you reach into the right hand pocket with the right
’
,hand after showing it to be empty and remove the third card. This too goesinside the glass. As this third stage is being carried out turn :the packet of -cards in the left hand so that they lie face up. The right hand now takes the pack thumb on onenarrow side and the other four fingers on the opposite side, so that you are positioned for the more modernversion of the ‘ glide ’. You should now be standing half left. The left hand firstshownemptymakes a movement inside the right hand side of the coat andtowards the inside pocketwhilst the right hand near to the edge of the coat levers away the top card as in the “ g!ide ” or “ Master move ”. The right hand mwes towards the lapel and the topmost card well separated from the rest of the pack goes under the lapel whilst the right hand holds the latter. The left hand turning down slightly grabs hold of the levered card and pushes it into the inside pocket. The right hand continues todrawback the jacket and the left hand withdraws the last ace slowiy from the pocket. With this final move good timing is essential and it will be found that there is no need to rush the actions, smoothness being the thing to achieve.
THE TURNCOATS PETER WARLOCK
N
OW andagainone comes across an effect to which no solution canbefound, nevertheless fromthe original idea one may evolve an effect which can prove new and deceptive. Some while back I wanted a solution to the following problem:The conjurer introduces two packs of cards, ‘one with red backs and the other with blue. Each is ribbon-spread face upwards on the table. A is asked to choose acard fromthe face-up blue backs, whilst B decides on a card in the face-up of the red backers. Each slides his cardout spread.The cards are gatheredupandsquared ineach case andthe chosen blue backer goes into the face-down blue backers face up. Similarly the card chosen from the red-backed pack. Both packs are given a magic touch and then ribbonspread face down. In each case there appears to be no change for the card chosen from the bluebackedpack and whichwas returned face up still appears face-up in thespreadandfor that matter so does the card selected and returned to the red-backed pack. The difference has yet to be
shown for when the cards arewithdrawnand turned over, the card in the blue-backed pack has a red back’whilst that in the red a blue back.. That was the problem and with provisos that no faked packs were used it was passed out to a number of knowledgeablecard menin this and other countries. Notonecameup with a solution. For that matter I had no solution either but delving among the wreckage the following effect came into being. Eflect
The con~urer introduces two packs of cards. One has red backs and the other blue backs. Each is fanned, shown backandfront,squaredand placed face down on the table. Taking the bluebacked pack a spectator is asked to stop the performer as he cuts the cards in Hindu shuffle style. The card stopped at is noted and placed face up upon the table. The blue-backed packis placed face down onecard being taken away and placed down in front of it to indicate the colour. A card is similarly chosen from the red-backed pack and
21 the sametreatment given. The position at this point is that the main portions of the two packs lie side by side with a chosen card and a marker card in front. Thecard chosen: fromthe blue backed pack is now placed, still face up, on the facedowncardsand the pack isgiven a single cut bringing the chosen card to about the centre. This pack is then turned face-up the marker card indicating thecolour backs. The other chosen card and pack are dealt with in a similar manner. The spectators are asked to well remember their cardsand observe a strange case of sympathy. The two marker cards are changed over. “ With ,this change of cards, gentlemen, strange as it seems, your chosen cards follow . . . just watch!” Spreading the blue-backed cards face up one .card is seen face down. It is a red-backer! The red-backed cards are ribbon-spread. face-up and one blue-backer is seen face down. When the redbacked is removed from the blue-backedcards and turnedover it is seen to bethat originally chosen from the red backed pack and when the blue-backedcard is taken and turnedover that is the card originally chosen from the blue backed pack! Requirements One pack of red-backed cards. One pack of blue-backed cards. Twodoublefaced cards. One we’ll imagine is seven of diamonds/ace of clubs, the other four of hearts/two of diamonds. Preparation From the blue-backed pack remove the seven of diamonds and the ace of clubs. From the red-backedpack remove the four of hearts and the two of diamonds. Place the ace of clubs and the two of diamonds aside. They are not wanted during the course of the trick and if left in the pack might cause the performer embarrassment. Take the red-backed four of hearts and place it in a face-up position at the bottom of the face downblue-backed pack. Under this card place any blue-backed card face down and then under this card place the double facer ace of clubs next tothepackand seven of diamonds showing as bottomcardand finally one other blue-backed card which acts as the true face card. Reading now from the bottom of thepackyouhave an indifferent cardfollowed by thedouble facer (seven of diamondslace of clubs), an indifferent card, the red backed four of hearts face up and thebalance of thepack.Withthered-backed cards the set-up fromthebottom takes similar form,the exceptions being the values of two cards. It is as follows: An indifferent card,the -double facer (four of hearts, two of diamonds, the four of heartsbeingthe face card i f . the first card is removed-), an indifferent red-backer, the blue-backed seven of diamonds face up followed ’
by the balance of the pack. . Both packs in this condition are returned to their cases. Presentation Both card cases are placed on the table and thenopenedand the packswithdrawn.Taking the blue-backedpack the cards are pressure or finger fannedaccording to their condition and the audiencecan seefirst faces and then blue backs. Needless to say there is little need for me to mention that in such a showing care must betakennot to expose either the reversed card or the double facer. The pack is squared and in the squaring a slight break is madeand held between the bottom card and the rest of the pack and when the pack is squareand immediately before, placing on the table a double undercut is made so that the erstwhile bottom card becomes the topcardand the face card is theseven of diamonds side of the double facer. The red backed cards are taken similarly shown and in the act of squaring and replacing on the table by means of the double undercut, the bottomcard becomes the top card and the face card the four of hearts side of the double facer. Taking the blue-backed with his right hand and holding it face down, the left hand comes in as foraHindu shuffle and strips off the cards from the top of the pack in small packet. When the spectator commands “ stop,” the performer simply turns the packet he is holding in his right hand face-up and shows the spectator the face card the seven of diamonds. This is a very bold force but mostconvincing to alayman. At the sametimethat the right hand turns over its packet revealing the seven of diamonds side of the double facer the left hand turns face-up the cards it is holding and the packet in the right hand is placed face upon thosein the left hand, the double facer then beingslid off and placed on the table, the remainder of the pack being turned face down and placed just behind it. As an afterthought the left hand takes the cards lifts them from the table and the right hand slides off the bottom indifferent card and places it just in front of the chosen card. Acard is similarlychosen from the red-backed pack the subsequent handling being as with the blue-backed pack. Each of the chosen cards is placed on top of its own pack and a straight cut is givenineach case to bring the chosen card and, of course, the face-up bottom card to the centre. Each pack is now turned face up, the odd face down cards denoting their positions. The pointer cards are changed about and the packs ribbon-spread with the result that the only cards contrary to the usual runare the chosen cards, the red backer being in the blue pack and the blue backer in the red pack. Though in reading it may seem a little complicated the handling is very straightforward and the ultimate effect most convincing.
22
A NEW PRINCIPLE FOR THE “SYMPATHETIC SILKS” FRED ELINK
I
N this version of the “ Sympathetic Silks ” all the silks can be shown separately. Four silks measuring twenty-four inches square are required. As there is no switch of silks two could be of one colour and two a contrasting colour. Two of the silks require special preparation. Supposing that two of your silks are green and two yellow, first of all take one of the green silks and one and a half inches from one corner, sew to it a small bone ring measuring about half an inch in diameter.The ring is now bound round with the same colour silk cotton as the silk. Now take the other green silk and one and a quarter inches from one corner attach by means of threadasmall sponge ball measuring threequarters of an inch in diameter. That is all the preparation needed before setting out your table €or the commencement of the trick. Lay the silks on the table in this manner:First of all the two yellows so that they hang down over the front of the table. On top of these two silks place the silkwith the sponge ball attached. The end with the sponge ball is nearest to the back of the table. Finally place the handkerchiefwith thebone ring on top of all three and again theposition of thering is nearest to the back of the table. Presentation Pick up all four silks by theircorners with the left hand. They should be taken in such a
manner that the ring on the topmost handkerchief is completely shielded. The right hand approaches the left and taking hold of the corner of the green (ring) handkerchief with the first and second fingers it is drawn awayin an upward direction from the left hand. As it does so the right-hand thumb moves againstthe ring. The silk i s well displayed and then coming back to the left hand the right hand (with the ring clipped between first finger and thumb), slides the ring over the corner of the next green silk. i.e., the one with the sponge ball attached. This silk is taken too in an upward direction and in the upward movement the second finger helps in pushing the ring over the spmge baff. Theresult is that both silks are,in effect, secretly knotted together and at a later stage can be handled quite freely without any fear of accidental separation. The two green silks are placed over the left shoulder with the knottedcorners of course out of sight. The two remaining yellowsilks after being shown separately and displayed are tied together with a false knot, a false knot that can easily be shaken loose. Holding one of the yellow silks by its corner and allowing the knot to be seen, the performer gives a slight shakeand the silks become separated, the lower silk fluttering to the. ground. Placing the silknow held with the right hand over therightshoulder, the same hand reaches across andtaking hold of acorner of one of the green silks pulls it away bringing with ittheother greensilkwhich appearsto betied securely to it.
MAGIC-GOIROUND T’S been a busy month and we typethese notes much later than they qhould be typed. This will be the last copy to be printed by our present printers,Herbert Walker and Son and for what they have done in the past we thank them. It was good tohearthatour old friend Roland T. Smith is well on the road to recovery. A constant Monday nighter at the Magic Circle, he has beenverymuchmissed by all those who
havethe courageto meetings.
face up to these weekly
Instead of painting those rather ornate props which you may use from time to time, try covering them with Fablon ”. This plastic sheeting whichcomesinmany patterns, some particularly magical with stars on coloured backgrounds and delightful candy stripes iseasily applied, doesn’t chipand is washable. Mostcommonly sold in 18” width, it ispossiblenow to get it in widths “
23 of a yard. At
some time you may want to make up a ghost tube in a hurry and unless you are a hnsmith, you’ll have tomakeitincardboard. Whilst the outer tube is dead easy the truncated cone formation that goes inside can be the devil of atime waster in making up. To help you “ Sifta ’*salt comes along in a loveiy conical package, which, when the ends are removed gives you a cone with a periphery of ashade Over three inches diameter and an apex of two inches diameter. We have had some very complimentary things saidregardingthe Diabolo ” act,and “
Francis Haxton and myself are most appreciative of such compliments. The last performance of the act took place at theCircle on November the 22nd. and the second house performance pleased us just as much as it did the audience. There was a difference fromtheoriginal. We includedthe radio cabinet vanish based on a T.V. presentation and the finish was faster the flower growth never stopping. It was good fun and a good ending to a great hoax. In April we are giving a lecture that we have entitled the “ Annemann Legend ” at the Circle. Its main intention is to pay a tribute to this tragic man of magic and we should welcome any unpublished information that might be in some of our readers’ possession. Stewart James’s “ Case for Cards ” which appeared serially in these pages is now obtainable in booklet form at the moderate cost of 51-. For those who are newgeaderswe recommend this fine little collection of card effects from the man who is the legitimate successor to Jordan. From Davenports the latest lists arrive and there seems no end to new tricks. Gamages send along a new catalogue running to some 64 pages and listing all thestandard items. It is pleasant tothinkthat thanks to Harry Baron this well-known store has brought back to life its magical department. To us it brings back nostalgic thoughts of our schooldays some 40 years when, on a Wednesday afternoon,inthewinter, we would skip either football or hockey and take a tramcar to Farringdon Street and walking past Bleeding Heart yard and turning into Hatton Garden would reach the side entranceto Gamages. Inside we would goand wander around spending much time and possibly little money in the magic department which then was quite sizeable.Big apparatus was displayed in those days and the catalogue covered all phases includingstage illusion. We can remember well the Conradi Vanishing Lamp which seemed to be a constant and never disturbed feature. Books of that era were different dealing more with direct effect ratherthansubtlety.The house magazine of Gamages, the “ Magician ” month after month
brought some really workable novelty fromthe pen of that prolific writer,Robertson Keene. Priced only sixpence what wonderful value it was. From there we might wander along High Holborn into Hamley’s where upstairs the magical departmentwas housed. There was aVictoriantouch here and one sawin actual fact the counterparts of those period pieces described in “ Modern Magic ” . . . the Card Lyre, the Demon’s Head andornatetables with trapdoorsand pistons. LaterHarold Comden was totake his place as demonstrator at this branch and sell innumerable “ Topits ’* and other items of his thoughtfulness. From there to Davenports, or perhaps to Ludgate Hill where Hamleys had yet anotherbranch where a most engaging Mr. Wheeler officiated. An afternoon in Wonderland for then we looked upon our magic withoutthe cynicism thathas developed with the passing years.
In November the Circle Annual Supper was a wonderful evening and it gave all those present the chance of seeing those great Russian artists, LidyaandUri Mazhuchin whose performance was immaculateand whose water vanish had most if not all of the company completely fooled. At the beginning of March, Tuesday the 3rd to be exact, we shall be presenting a Night of Magic at Wallington, the proceeds from whichwill go to the “ British Ring” Benevolent and Welfare Fund.The bill is shaping verynicely and if Wallington is nottoogreat ajourneyfor you we hope to see as many magicians as possible at the show.
If you are looking for a delightful effect for an older children’s type of show, get the December issue of the “ Gen ” in which Wilfred Tyler describes his owneffect, “ Startime ’’. When quite recently we had the privilege of being in the Chair on the occasion of Wilfred lecturing at the Circle, he demonstrated this effect and I think that everyone in thetheatre was greatlytaken with it. A good plot with showy but not unnatural props it could form an effective part of a n y platform act. Now and again one has an idea for an effect, makes up a model publishes the working details and yet nobody seems to take it to heart. It was thereforeratherpleasant to see, some eighteen years after publication in “ Designs for Magic ”, somebody make use of “ Sawing Through a Doll ” and to wit no lesser person than “ Sooty ” aided andabetted by that delightfulpuppeteerHarry Corbett. This, of course was at the Circle Supper where Harry was the guest of honour. Congratulations toour friend E. Jackson Laurie who for the second time has been elected President of the Wessex Magical Association.
24
THE WORLD’S LARGEST MAGIC BOOK
T H E MAGIC W A N D Edited by G E O R G E A R M S T R O N G No. 254. (Vol. 46, Part 2) Now on sale to the pack. All with the performer’s back turned. The performer then names the selected card, finds the card by the sense of touch,namesthenumber of cards in a spectator’spocket, and sayswhichspectator itis, and tells theotherspectator howmanycardsheoriginally held but returned to the pack! A SILK PRODUCTION by TRAVERS COOPER is just what the title Implies, but it IS beautifully routmed and is an example of perfect magic. THE WESTON PINKIE REVERSE by MARK is reversed in WESTON is forcardenthusiasts.Acard the pack single handed. This new sleight will have many uses in card magic. SUPER MEMORY IN CLOSE-UP by ARTHUR W. ROOTS is a simple but effective method for presenting the Giant Memory Feat as a close-up or bar stunt. ROUND THE DEPOTS by PETER McDONALD gives youa HatProductionroutineforthechildren’sentertainer, packed with laughter and surprises, but using only standard props which you probably already have. (You’.ll needanEvaporated Milk Jug,anordinaryFunneland a load of silks!) TRICKS AND SLEIGHTS by TOM SELLERS describes a fine prediction. Three spectators name number, a colourandbook title. Thesearenotedandtossedinto a box. Acard,whichtheperformerhaspreviously written on, is then removed from another b.ox and given toaspectatorfor checking. It lists allthe items just named!Easy to makeand do! Alsoa TOP CHANGE stuntforthecard enthusiast,anda CARDPREDICTION using a slate in a new and novel way. And as muchmore fine materialagain, which we have notthe space to list here.Atotal of 35 tricksand routines, plus miscellaneous articles. We are sorry, but No. 253 innow OUT OF PRINT. Rush you orderfor No. 254 before this, too,follows suit.
MATHEMATICS, MAGIC AND MYSTERY by MARTINGARDNER gives you five first-rate tricks with cards, common objects, dice, numbers,etc., all based uponamathematical principle-including aclever vestturning stunt. PARTY FOR PAMELLA byJACK GITTINGS continues the outstanding series for the children’s entertainer, dealingthistimewith SILK PRODUCTIONS, together withsuggestedpresentations for standard props, patter, tips, routines, etc. MY MAGIC by BRIDGER LEWIS gives you the terrific B.L. EGGS FROM HAT ROUTINE. Whetheryou are a born comedian or a naturally straight performer you’ll not be able to avoid getting laugh upon laugh if you use this item. It’s ideally suited to adult or children’s shows. Also a very novel item in THE TAPED BOX in which borrowed objects mysteriously get into a closed and taped box. HAND MADE MAGIC by EDWARD VICTOR describes his beautiful FLYING SALT routine, and you donot need to buyexpensiveprops for this one. For good measure A NEW CARD TRANSPOSITION causes a signed card to vanish from a sealed envelope and return tothe packreversed.Andthere is ausefularticle by E.V. also, on FALSE COUNTING. THE QUEEN OF THE RIBBON CAGE by CLETTIS V. MUSSON will be for you if you haveambitionsto be an illusionist. This stage filling illusion can be made for less than f5, is colourful, baffling and entertaining. THE NAME IS MINE by PAVO is areallydifferent type of DeadNameTest,ideallysuitedtotheSeance Room or the Intimate Show. KOYNINI’SSEVENTEEN by TON1 KOYNINI is a featurecardroutineforthe mentalist.Twospectators pocketanumber of cardseach.Onespectatorselects a card from the pack, and one returns his packet of cards
Price: 7/6, Postage 7d. For this Giant (84 X llin.) Book.
GEOItGE AItMSTttOXG 6 2 W E L L I N G T O NR O A D ,
E N F I E L D ,M I D D L E S E X Annnal Subscription (4 issues) 40 post free PETER
The Magic Circle President: Francis White, Esy. Vice-President : Claude Chandler,Esq. Cluhroom and Library and Museum:
Hearts of Oak Buildings, Euston R o a d , London, N.W 1.
PENTAGRAM published on the 24th of each month and can be obta~nrd direct from the publishers for l17 per :.ingle copy. Annual Subscription 181post free. PI.;BLISHED BY: IS
The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex
Monday, February 2nd “ Lower Cunning ” A?ex Elmsley Particulars
Hon. Srcretary
~ ~ O I I I
hnnuccnpts for publication and books for reviow shorrld be sent to the.
,
Peter Newcombc 38 Overdale Avenue N e w Malden, Surrey
M
WARLOCK’S
Every Advertiser’
EDITOR1 91.
ADDRESS:
Peter Warlock, Rd., Wallingten,
24, Wordsworth
Any of the “ C. T. J(ordan) Series of Magical Effects.” Complete in envelopes if possible. Also wantmany U F. Grant and Grantand Menge mimcographed items. Sort out those old unused ‘manuscript’ items and I will buy for cash o r allow generous credit in lieu. Send lists to :
George Armstrong 62 Wellington Road, Enfield, Middx.
I
P U R L l S H E l ) BY T H EP R O P H I E 7 0 R ST H EM A G l C U ’ A b T , P L B L 1 6 H I b GC O M P A N Y . 67 W P I L I N G 1 O N R O A F r E N F I E I D . MIDDLESEX A N DP R I N T E D BV HERRERTWALKER & S O H (PRINTERS) L’Il7.. ER1DC.E M O H h S ,S . M I I l E I , Y O R K S H I R E
,
OlNE IN THREE JOHN DERRIS
T .
HIS is an excellent effect for opening a card routme and it is in this rolethat I have used it for manymoons. It wasevolved at a time when I wanted to use a series of card effects involving the use of four cards of the same value and I tried to find a good way of producing four like cards. After playing around with many ideas for doing this I settled on the routine I am about to describe to you. Effect : The magician shuffles the .pack. cuts it a couple of times and then has a card selected by the spectator who places it to one side withoutlooking at its face. The pack is then handed to the spectator with the request that he shuffles it so thoroughly that it is impossible to know the position of any one card. This is done and the pack is returned tothe magicianwho states that behind his back he will try and locate a card to match the unseen selected card lying on the table. For example if the selected card were a seventhenyousay that you will try and find in the shuffled pack another seven. This is done and the magician brings forward a card and lays it face down on the table; he says that he is not absolutely sure that he has the right wouldallowhim card so perhapsthespectator to have asecondchance. The spectator agrees, (what else can he do!) andthe magician brings forth another face down card which is laid alongside the first. Yet again he expresses doubt as to whether he is correct and asksfor a further chance. and again he brings from behinda face down card which is placed alongside theother two on the table. The pack is placed to one side andthe magician asks the spectator to point to one of the cards on the table. When this is done it is turned over and is seen to be an ace; the spectator then turns over his selected card and it is also ad ace-a miraclecoincidence! Looking
VOLUME 13 NO. 4
-
1/6
rather wry the magician say that he was fooling for all the cards on the table match the selected card -theremainingtwo cards are turned over and they too are seen to be aces, a triple coincidence. From hereon you are ready togointoanother card effect involving four like cards. Routine : Just a pack of cards and a load of audacity are requiredfor this stunner. From the pack remove the four aces, place any one on top OP the pack whilst the other three are placed up the left sleeve and held in place with an armband or elastic bandaroundtheforearm. The cards should be face down. To perform,pick upthe pack, false shuffle and cut leaving the ace on top of the pack, then cut or make a pass and forcetheace on the spectator instructing him not to look at the card but to place ,it face down on the table. Then hand him the pack and ask him to shuffle thoroughly and hand it hack to you. This he does and you place the pack behind your back and inform him of your intentions. As you are doing this the pack is held in the left hand and the right fingers reach into the left sleeve,remove the three cards under the hand and add them to the top of the face down pack. The rest of the trick is now pure bluff. You make pretence at having some difficulty in finding the cards but remove them one at a time from the top of the pack and lay them in front of youon the table. All you have to donow is to have the spectator select any one of the three aces on the table, turn it over and on looking at his selected card he finds that they match. Then watch his face as you turn the remaining two cards over and he sees that all four match-a really goodstart to any card routine that involves hardly any work on your part.
(20 Cents)'
-
JANUARY 1959
26
THE “MEFFCOINVANISH BRIAN GLOVER coin flourish I am describing was originated some six years ago. Whenever I have used it. it has been the cause of favourable comment from laymen and magicians alike.
THe
cupped. The left thumb enters thegap between the right thumband fingers, bringing the right thumb into the left thumb crotch. The left fingers now of course hide the coin from view.(See Figure 2).
The coin to be used should preferably be a large one i.e. comparable to a half-crown in size. The coin is held in the right band, between tips of the thumb and middle finger. The position of the performer at this stage is as follows:With the body turned half left the right arm is extended across the body, so that the right hand
Figure 2 When this stage is reached, the following action takes place:-
Figure 1 is tothe left with thethumbsquare viewers.(See Figure 1).
on to the
The left handapproachesfromaboveand apparently take$ the coin, with the following action :Left hand above right, back towards audience, the thumb lowermost whilst the fingers are slightly
The right thumb slides the coin in an upward direction, this causing it to pivot about the middle right finger-tip and assume a position lying horizcntal along thenail of the middle finger. The right third finger now comes forward and rests on top of the coin, thus gripping it between the third and middle fingers. (See Figure 3 for a rear view of this position). With the coin held thus, the right hand now revolves in a clockwise direction using the right thumb as a fulcrum. This action brings the back of the right hand towards the audience, with the coin concealed from view.
21
Figure 3
Figure 4
At the same timethe left hand rotates so that thefront of the clenched hand faces the audience. which brings thetip of the right forefinger at the back of therightthumb. (Figure 4). The right fingertips are now unfurled showing that the coin has vanished andtoadd emphasis the right forefinger is trailed horizontally across the displayed left palm.
The coin can now be reproduced at the right fingertips either from behind the right knee, left elbow or wherever fancy dictates. Whenperforming this flourish, the various actions shouldbe executedslowly and gracefully so thatanair of studied casualness is added to what can prove a most bewildering vanish.
COLOUR-NUMBER PETER
WARLOCK
THE. a
bers of theaudiencehave been summoned assist. on thestage or platform.
Bearing in mind that particular fact, this effect is one to commence a mental act once four mem-
Let us takeitstage by stage first of all describing how the stage is set. A small table is placed on the platform more to the O.P. side, and, on its right (that is the performer’s right) is placed a chair. Left of the table are three chairs arranged in a row with six or seven inches separating them. To the back of each chair is fastened a large card bearing a number. The chair nearest the table carries ONE, the one left of it TWO and that on the extreme left. THREE. On the table rests a smallish box tied with ribbon and beside it three tumblersinarow. Each tumbler has
modem mentalist’s acthas been helped quite deal by various television presentations insofar that it has conditioned the great maioritv of people to the needs demanded b y t h e menialist, which among many things includes audience participation, and so. whilst the ordinarytype of conjurer would find the request for some members of the audience to step on the stage and assist a very bad opening gambit, such is not the casewith B mentalist and whilst in the case of the former, the audience might well be irritated hy the necessary stall, the latterwill have a sympathetic hearing.
~
to
~~
~
28 inside acoloured silk handkerchief; the colours are mauve, yellow and green.
Effect: The mentalist requests the services ol four members of his audience to act as a committee onthe stage. When they come up, they are shepherded tothe performer’s right. To onehe says, “Sir (or madam as the case may be) I want you to .keep your eye on this llittle box; so perhaps you’ll sit here” (indicating chair on right) Addressing one of the three remaining assistants, he asks him or her to fix his or her mind on one of the numbers on the chairs, take any one of the handkerchiefs from the glasses, and then seat him or herself in the chair bearing the chosen number. This having been done, the second assistant is addressed and he or she is asked to do likewise. Finally thethird assistant takes thethirdhandkerchief and seats him or herself in the third chair, With these preliminaries out of the way, the performer turns right and addressing the spectator seated right of thetableand at thesame time lifting the little box from th,e table asks himto undo the ribbon, remove the lid and then remove a piece of folded paper which has beenfastened down with sellotape. This the assistant does. “Just open out the paper and read what is written upon it,” says the mentalist. The assistant reads out, “ The spectator who chooses chair number ONE will take the YELLOW handkerchief . The spectator choosing chair number TWO will choose theMAUVE handkerchiefwhilst the spectator on number THREE chair has the GREEN.” This prediction proves to be correct and makes an impressive start to the act.
Requisites. 1 Three cards measuring twelve inches by twelve. One has a large figure ONE painted on it, another TWO and the third a THREE. So that they can be attached to the chairs easily, tapes should be fixed at two adjacent corners. 2. Three glass or perspex tumblers.
3. One mauve, one yellow and one eighteen inch silk handkerchiefs. 4. Somesheets sellotape.
of writing paper, anda
green reel of
5 . A small box. It measures three inches by three inches and its height is only one inch. It is bottomlessandhasa flushfitting lid. It ismost simple to make, allthat is necessary being a length ofwoodmeasuring in widthone inch and in thickness onequarter of an inch. Four pieces measuring two and three quarter inches in length are cut and glued toforma three inch square.
The lid can be cut from plywood or hardboard. When sandpapered down I suggestpainting the box with cream paint. When the paint is dry get hol,d of a few feet of half-inch red ribbon, cut off two lengths of nine inches. Now with the aid of a strong adhesive, stick one end of one piece to the centre of the bottom edge of one side of the box. The other length is similarly fastened at the if both bottom edge of the opposite side.Now free ends are brought up over the lid they can be tied into a bow so that the box and lid are apparently tied securely together with the ribbon.
6. Besides the box,you’ll also want six squares of sheet tin or strong thin cardboard cut three inches by three. Theseare painted with dull black paint on both sides, and, as an afterthought, so too is the inside of the bottomless box! Preparation. Take the sheets of writing paper and a pen. Cut somepieces of paper measuringsix inches by six.You’llneedsixsheetsin all. On the first sheet write the message:The spectator who chosc chair number ONE will also choose the MAUVE handkerchief. The spectator choosing chair number TWO willalso choose the YELLOW handkerchief whilstthe spectator on chair number THREE has the GREEN.
On the second sheet goes:The spectator whochooses chair number ONE will also choose the YELLOW handkerchief. The spectator choosing chair number TWO will also choose theMAUVE handkerchief, whilst the spectator on chair number THREE has the GREEN. Sheet three takes the following:The spectator whochooses chair number ONE will also choosethe GREEN handkerchief. The spectator choosing chair numberTWO will also choose the YELLOW handkerchiefwhilst the spectator on chair number THREE has the MAUVE. On sheet four:The spectator whochooses chair numberONE will also choose the YELLOW handkerchief. The spectator choosing chair numberTWO will also choose the GREEN handkerchief whilst the spectator on chair number THREE has the MAUVE. Number five sheet comes up with:The spectator whochooses chair number ONE will also choose the MAUVE handkerchief. The spectator choosing chair numberTWO willalso choose the GREEN handkerchief whilst the spectator on chair number THREE has the YELLOW.
29 And finally sheet six with:The spectator whochooses chair number ONE will also choosethe GREEN handkerchief. The spectator choosing chair numberTWO w,ill also choose the MAUVE handkerchief, whilst the spectator on chair number THREE has the
YELLOW.
Prediction:Number l--ONE-Mauve (M), TWOYellow (Y),THREE-Green MAY Number 2 4 N E - Y e l l o w (Y), TWOMauve THREE-Green. (M), YOU
MAKE Those six predictions cover all possible eventualities. Each paper is folded into halves and quarters so that a packet approximately one and a half .inches square is the result. Keep track of the various papersand fix each bymeans of sellotape to the central part of one of the six metal orcardboard squares. The sellotape should be fixedinsuch amannerthat whilst itholdsthe folded paper securely in place, a pull on the paper will free it without anydifficulty. When all the pieces have been folded and stuck totheblack squares, makea small white pencil mark at the corner of each square showing the numbered prediction fixed toit.Then take the six squares in a numerically consecutive ordered stack and slip them into the right hand trousers pocket with the sixth predictionnearest to the body. With the box on the table together with the three glasses and handkerchiefs and the numbered cards tied td the back of the chairs you are all set forthe presentation.
Presentation. Invite your committee of four on to the stage. Ask one to sit on the right of the table and keep hiseye on the box; and then turn to the nearest spectator and ask him to choose a number on a chair and then a colour. At this point your right hand rests casually in your right hand pocket. We’ll suppose that he chooses the SECOND chair and the YELLOW silk. Ask him to take the silk and siton the appropriate numbered chair. Ask the second spectator to choose a chair number and a colour. We’ll suppose that his choice falls on number THREE and MAUVE. At this point the th,ird spectator will be forced to sit on chair number ONEandtakethe remaining silkwhich is GREEN. Now, even before you address this spectator, your right hand has located the square in the pocket which! gives the prediction covering ONE-GREEN, TWO-YELLOW,and THREEMAUVE. It i s the third one from the audience. In fact so that there is nochance of forgetting the line-up the addition of mnemonic sentence will be of assistance thus:-
Number 3 4 N E Green (G), TWOG A Y Yellow (Y), THREE-Mauve. Number 4-0NE-Yellow (Y), Green (G), THREE-Mauve
TWO-
YOUR GREAT
Number 5-ONE-Mauve (M), TWOGreen (G), THREE-Yellow MAGIC Numb,er 6-ONE-Green (G), TWOMauve (M), THREElYellow GAME Thus the complete mnemonic is MAYYOU MAKE-GAY-YOUR GREAT-MAGIC GAME. With the location of the square carrying the correct prediction, the mentalist addresses the remaining spectator saying, “Perhaps, though there is little choice, you will take the remaining handkerchief and sit on the vacant seat.’’ Withthe taking of the third silk the performer’s right hand has been withdrawn from his pocket together with the necessary square which is heldin a palmed position so that the folded paper is not on the side adjacent to the palm.The performer turns half left and taking the box with the left hand lifts it from the table in such a way that nobody near can see that it isbottomless, it ispassedto the right hand which comes up, and as the box comes on to theright palmthesquare of card or tinplate is lined up with the sides of the box. There is nothing difficult about this in the least, but in making the necessary movements, angles must be studied so that those seated on the platform cannot see that the right hand carries anything before it takes hold of the box. This means that the action shou1,d be carried out slightly to the rear of the line of spectators on the stage. With the boxdeposited on the Right hand, the performerallows it to sit on the palmand pointing to it with his left hand firstfingerasks the spectator on his right to undo the ribbon and rem,ove the lid. He turns slightly right for this purpose and with the lid removed the performer pauses and as he offers the box to the spectator (Turn to Page 30)
30
SMACK, DAB IN THE MIDDLE BRIAN GLOVER
I
N the November, 1955 issue of thePentagram ,(Volume 10, No. 2) Dr. Stanley Jaks described under the heading of “Variation on a theme Take Three Again” an appealing routine with a mental slant. Under this present heading I am describing a faked card case which makes the retention of the proposed reversed card, and the placing of it in the centre of the replaced pack 100% certain. The fakedcard case can also be used in numerous other effects of a similar nature. (I use it in a torn and restored card effect in, which the selected and mutilated card is later found, minusthe corner held by an assisting spectator, reversed in the centre of the pack).
RD
Preparation A card case is taken and a tab cut as shown in Figure 1. The backing card and case are cut along the lines AB, BC and CD leaving a tab which can be hinged along AD.
A small length of sellotape is now taken and it is secured to the tab as shown in Figure 2. Note that it is heldsecurelybetween the cut backing card and the card case back proper, so that the adhesive side of thetape is facing towards the inside of the case. The tab and the sellotape are nowpushed throughthe aperture, so that the sellotape is now inside the case, and adjacent to the back of the case. The card to be reversed is nowplaced inside the case and fixed to the tape and tab as shown in Figure 3.
the cardto bereversedisleftstuck to the rear part of the case. Incidentally during the removal of the pack from the case, it matters little whether the audience see the back of the case as owing to the presence of the backing card the tab is well camouflaged. When the point has beenreached for the cards to be returned to the case the procedure is asfollows:-
Performance The cards are tipped out of the card case into the waiting left hand but thanks to the sellotape,
The case is held in the left hand, with the left forefingerpressing on the tab. This action brings the reversed card to the centre of the case so that itis an easything to place the remaining cards into the case and atthe sametime bring the ‘reversed’ card, smack, dab in the middle! Figure 4 shows, by means of the arrows the direction taken by the cards and the way that the sellotape is disengaged from the reversed card and the tab brought in alignment with the rear part of the card case, as the pack finally rests inside.
Colour Number-from Page 29. with a request that he takes away the folded paper, gets a firm grip upon the side of the box with his right hand thumb thus preventing any movement of the base of the box. The piece of paper being removed andopenedandthe reading aloud of the contents brings the effect its desired end. To those who make this effect up, they are welcome to a tip that could improve the mechani-
cal technique. This improvementis to insert a couple of reasonably strong magnets into opposite sides of the box. Actually of course,in viewof the size of the box this means building two sides round the magnets. The poles of the magnets should come to the base of the boxsides.Now provided tinplate, i.e. tin coated iron is used for the squares, immediately the right hand brings (Continued on Page 31)
The remainingpart of the pack is now inserted inside the card case,keeping the ‘stuck’ card pressed against the rear side of the case.
31
T
HE winter months whirl by andbeforeone can say “Knife” the Buxton Convention will be upon us. May we add a word of thanksto all who sent us Christmas cards. Each succeeding year our collection seems to grow larger than ever, and there seem to be few nationalities not represented. Those who remember the performances of Chung Ling So0 will never forget his presentation of the twentieth century silks, in which two handkerchiefsweretied together and placed upona slender standand athird waspushed into a decanter. The firing of a pistol producedthe magical and highlyvisualeffect of the silk vanishing from the decanter and re-appearing visibly tightly tied between the silks onthe stand. I don’t think that the effect was confined to So0 for 1 have the feeling that I also saw Horace Goldin use thesame effect. That’s by the way. The effect as described hasdroppedinto obscurity although I knowthat my old friend Charlie Harrison used it quite a lot in his Rajah Khan act andwhat is more he nowdescribes his version in the December number of the ‘LinkingRing’. Whilst the reproduction of the third handkerchief between the two tied on the stand follows a conventional pattern, the devise for causing the vanish fromthe decanter is truly delightful in its simplicity. We rememberCharles tellingus about this many many years ago, and thought then what a wonderful means he had devised for obviating the use of a catgut loop with its attendant fiddling. If you are apparatus-minded see that youdon’t miss reading this tib-bit of mechanical magic. How merciless can television be if the camera is not just right. We viewed aperformance of A1 Koran in company with somenon-magicians the other evening; there were the usual ‘Ohs’ and ‘Ahs’ until he started a versiorl of ‘Do as I Do’ in for two which the Curry Turnoveraccounted changes of the helper’s cards whilst a third made use of the Mexican Turnover. The camera came in with a close-up shot and whilst up till now they had marvelled, the lay portion of the onlookers simultaneously andwithout any inhibitions said aloud . . . “ He’s changed the card for theone he’s ho1,ding.” Thefactthattobe up-to-date youshould present something truly old has never been better
exemplified than to-day when quite a number of stage and cabaret performers are cashing in with presentations of the Broomstick version of the aerial suspension. It must be almost one hundred and twenty years ago when this trick in its original form was astandard ’item amongst nineteenth centuryillusionists. Quite obviously the coming of Aga. Maskelyne levitation, andAsrah, with their true forms of levitation put the suspension under the counter. To-daythe pendulum has swung the other way and when Abbott marketed his Super X suspension and Winston Freer had a oneman suspension there was an appreciation, mainlybecause of changing stage conditions, for a static form of levitation. To-daythechance of seeing a magician perform a true levitation effect is a rarity. There is, of course, the superb work of Kalanag in this respect and Richiardi Jr., and Calvert when he was over here used the Aga. If a trick like the aerial suspension can come back into favour and seem in modern audience’s eyes a miracle, there must be many other old and almost forgotten effectslyingready to be dusted and presented. One trick whichwe have neverseen presented and one which we feel could be a great success in good a performer’s hands is the inexhaustible bottle, and we mean bottle, not kettle or cocktail shaker. Then there was the effect whichMaskelynecalled “The Spirits are Here”. Simple principle of counterweights and a plot which had possibilities of both magic and humour . . . . the cascade od cards . . . . the glass lined trunk . . . . a terrific hat production, and so on, and so on. It was a great pleasure to look at some of GeorgeArmstrong’s magicalbooksand memorablia the other evening. A magnificent collection of books with anumber of editions of “HOCUS Pocus”as well as a non-listed third edition of Scot. Prints in quantity withstandard framing. An enviable collection indeed, which like most collections, needs great houseroom,
Colour Number-from Page 30 one of the squares near the underside of the box two sides of it will be attracted by the magnets and itwillbe retained in position without anywork from the performer’s hands. The handling overall will be far neater.
A NEW GIANT-SIZED MANUAL
PATTERNSPETERFOR PSYCHICS
By WARLOCK. is placedin an unsealedenvelope and rested This beautifully produced giant-sized manual (S3 against a glassin full view. Three spectators by 11 inches) contains twenty of the most cherchoose a colour, four-figure number and any city ished effects from Magic’s most fertile brain. Not in the world, and these are noted down on another only is the author renowned for his originality, but card. The spectator who signed his name removes also for his performing ability, as evidenced by the cardfromthe envelope and checks his sigthefactthathe won the British Ring, I.B.M. nature and turns over the card, Meanwhile the Shield with one of the most outstanding acts that performer reads from his card the thoughts he has has everbeenpresentedin this competition. If noted down, and each time the spectator confirms proofwereneeded of thePRACTICABILITY that the predictionis correct. It’s as direct as and ENTERTAINMENT VALUE of the effects that, and there are no stooges, carbon impressions originated by Peter Warlock, this is it! or such-like methods. This book deals with five distinct types of mental PIN POINTEDSLATES gives an unusualeffect effects, demonstrating: Coincidence, Prediction, in that three slates are plainly shown to be blank Mental Telepathy, Spirit Slate Writing, Extra on all sixsides,yet upona wordbeingchosen Sensory Perception and Movement of Objects. under very fair conditions, it appears as one of a TRIGON TWO is one of the most beautiful series of four separate messages upon the surfaces Coincidence effects ever conceived: The performer of the slates,building up from an apparent misdeals a pack of blue backed cards and stops three take to the finalclimaxwhichensuresapplause. timeswhen requested by a spectator, and each Under the heading ‘Movement’ is a most unusual time p1,aces the card stopped at back out into a CARD RISING effect, that willbe of interest to stemmed goblet. Another spectator now takes a conjurers as well as mentalists, and might be said pack of red backed cards, shuffles them and himto be worth more than the price of the book on its self deals themon tothe table, stopping three own. A borrowedpack of cards and. borrowed times and placing a card aside each time, whenglass may be used. Three cards are freely chosen ever he likes.These cards are placedback out and signed (no force of any sort), replaced in in the three glasses, in front of the other cards. the pack and the pack is placed in the glass, which Each pair of cards are removed, in turn, from the is rested upon the seat of a chair well. away from glasses, andare shownineach case to be an the performer. In spite of these impossible identical pair. Coincidence indeed! conditions the three cards rise one at a time, and the last card can be madeto jump out of the glass. In 30th CENTURY PROPHECY the author is There is no switch of pack or glass, and no cards certainly ten centuries ahead of his time in what is are added or taken away from the borrowed pack. conceded to bethe most direct triple prediction These are but four of the twenty fine effects in this onecould wish for.A spectator signs his name great book-spaceprevents us from describing across theback of a card, the performer writes them all. three predictions on the other side, and the card Illustrated with Drawings by George Hill and Peter Warlock, Finely printed in the usual Armstrong manner and bound in strong Antelope finish boards. POSTAGE 6d. ($250). PRICE 151- : From the Publisher : G E 0 R G E A R M ST R 0N G 62, W E L L I N G T ORNO A E DN . F I E LM D .I D D L E S E X . THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,Libraryand Museum: Hearts of Oak Buildings, Euston Road,London,N.W.l. Monday,February 2nd “LowerCunning”Alex Elmsley. Particularsfrom Hon. Secretary: PETERNEWCOMBE,
38, Overdale Ave., New Malden,
*
Surrey.
AdveI Every
PETERWARLOCK’S
PENTAGRAM is publishedon Ahe 24th of each month and can be obtained direct from the pub:isher for 1/7 per single copy. Annual Sub. lS/post free. Published by GeorgeArmstrong, 62, Wellington R&., Enfield Middx. Manuscripts for publication & books for review shouldbesent tothe Editorial AddressPeterWarlock, 24, WordsworthRd., Wallington
Surrey.
ser’sGoodsare
WANTED BY
GEORGE ARMSTRONG
-
Any of the“C. T. J(ordan) Seriesof Magical Effects”. Complete in envelopes if possible. Alsowantmany U. F. GrantandGrantand Menge mimeographed items. Sort out those old unused manuscript items and I will buy for cash or allowyougenerouscredit in lieu. Send lists to *
GEORGE ARMSTRONG
62. Wellington R$., Enfield Middx.
*
fully endorsed by this Bulletin ~~
Publishedby theProprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. AndPrintedbyCentralPrinting Co. (Chas. Sowden)Ltd.,Burnley, Lancs.
__
0
SUCKER SILVER
ALEX ELMSLEY
0
LEX, makinghimselfcomfortable, took a half a crown from his pocket and went on to say :-
A
“If. you take half acrown and place itintothe left hand, then squeezingit, strangely enough side it emerges from theother lookinglike a penny.” The actions are suited tothe words, for the left hand after being shown empty and closed into a fist has the half crown pushed in a t one side only to emerge as a penny on the other.
The left hand is closed and he:d back uppermost, the penny still partly exposed. A slight movement of the hand causes the half crown to appear on the left side of the fist.
!
“Once the audience realises that you have two coins you might as well stop performing.” The left hand is turned palm upwards both coins being seen, “so before pushing out the half crown you must push in the penny.” ...
. ;;i’ . . ,,.c
i
Lefthand is turned back uppermost, the halfcrown and the penny both beingseen. The right hand fingers nowpush the penny into the left fist.
Alex. continued, “to do that, in addition to the penny you need a half crown.” The penny is place down infront of the performer and the right hand reaches into the trousers pocket for a half crown which is brought out and displayed. “ Before you commence, placethe half crownin the left hand.” This is done. “Of course, you must notopen the hand, otherwise people will see the half-crown.”
Now the penny is taken and pushed into the left hand fist, part of it remaining visible. The left hand is then opened showing that the half crown has vanished. “Also you mustn’t letthe half crown appear from the! bottom of thehand before the penny has beenpushed in.”
VOLUME 13 No. 5
“Another thing you have to he carefu! about is making certainthatthe coins don’t clink together.” At this point the left hand moves slightly so thatthe coins clink together.
L ; ~
I
“
crown came out the other side.” The halfcrown istaken away and dropped into a pocket. “That still leaves the problem of what todo with the penny. I think that the best answer is to change itinto a half a crown..” The left hand is then opened to show that instead of a penny it now holds another half crown!
’
j
l -
Remember you have pushed
a penny into your fist and a half
1/6
(20 Cents)
-
FEBRUARY 1959
34 For the performance of this delightful close-up coin routine, the would-be performer will require apart from a mastery of the necessary moves, two halfcrowns anda penny.These coins, priorto the commencement of the routine, are placed in the performer’s right hand trousers pocket. The opening phase: The performer’s hand goes into his pocket, takes into a thumb palm position the penny whilst one ol the half crowns is held at the finger tips and brought from the pocket. The hale crown 1s dropped on to the left hand palm at the base of the forefinger (see illustration 1). The left hand moves from left to right to display the coin. With the openingwords of the routine: “If you take half a crown, etc.”, the right hand comes across over the left hand and taking the half crown between the tips of the thumb and forefinger drops thethumb-palmed penny ontothe left hand fingers. Followingthrough the left hand moves down and turns over so that it is back uppermost, the coinbeing finger-palmed, and then the hand forminga fist. At this stage the thumb-pal,med coin is dropped and held. The half crown is now momentarily rested onthe left handthumb just touching the crotch the forefinger of the right hand keeping it in place. It nowseems that a forward ‘movement of the right forefinger pushes the coin inside the fist, but this is actually what happens. The tip of the forefinger presses on the centre of the coin and with a forward and downward movement causes it to swivel right round the left hand thumb, then coming to rest, and being gripped by the right hand thumb. If you look at illustrations 2 and 3 (the left hand has been opened more than it should tic to allow the photographs tobe taken) you will s::e the passage of the coin and its ultimate position kripped by the right hand thumb. The left hand now moves away from the right and coin gripped by the right hand thumb is transferred to a proper thumb-palm position. The right hand fingers tap the back of the left hand and by means of a manoeuvre with the left hand fingers the penny is pushed to the left so that part of it is visible on the left side of the fist. It is essential that a grip b,e maintained on the coin with thelittle fingerotherwise it(the coin) may jump out of the hand. With the words “To dothat, etc.”, the left hand, still cl,osed, is turned palm upwards, whilst the thumb-palmed coin in the right hand is allowed to fallintoa finger-palm position. The penny is taken from the left hand by the thumb and forefinger of the right hand. It is displayed, placed down in front of the performer and the left hand opened and shown to beempty. With the words, “To do that, etc.”, the right hand goes to the pocket and takes and brings out at the fingertips the other half crown, the original
halfcrown still being retained in a finger-palm position. Now at this point the performer accompanying the words, “Before you commence, etc.” apparently places the visiblehalfcrown into the left hand.. Actua’ly he thumb-palms this coin, to prevent any question of ‘talk’ with the one already finger-palmed, the left hand closing to simulate the take. The left hand is then turned back uppermost and the penny is taken from the table and pushed halfway into the fist. The left hand is then opened showing that only
a penny is held. The right hand coming in to take the penny, repeats the move used in the initial phase, i.e. the thumb palmed coin is dropped, the left hand movingdownwards and turning overwith the halfcrown inside it. Once more the penny is pushed half way into the fist. Repeating the manoeuvrepreviouslymentioned the halfcrown is allowed to protrude from the opposite side of the fist (illustration four). This accompanies the phrase, “Alsbyoumustn’t let the halfcrown appearfrom the bottom of the hand before the penny has been pushed in.” The left hand is now turned palm uppermost and opened, the right hand thumb and forefinger siaying the half crown to prevent it falling, whilst the 1,eft handthumb pushes the penny into the palm of the left hand.The right handthumb and fingermeanwhile position the halfcrown at the base of the second and third fingers of the left hand. Now the two coins on the left hand are apparently tossed on to the right palm. Actually, however the half crown is retained in a finger-palm position in the left hand and only the penny falls on to the other half crown in the right hand. The coins are displayed oncemore. At this point the left hand is backuppermost and it closes into a fist. The right hand now places the half crown it holds on the left hand side of the fist whilst the penny is pushed halfway in on the other side. A move is now made of pushing the penny into the fist but actually the move originally used (illustrations 2 and 3) comes into play andthe penny comes away gripped by the right thumb. Accompanying the words, “Another thing you have to be, etc.”, shake the left hand so that the half crown inside the hand moves and strikes the edge of the half crown that is partly visible. The Ieft hand is now turned palm uppermost and reaching across with his right handthe performer removes the visible half crown and places it in his pocket atthesame time disposing of the finger palmed penny. With the words, “That still leaves the problem, etc.”, the left hand is opened to reveal the presence of the other half-crown!
35
DOUBLE DOUBLE AN OPENING ROUTINE FOR A MENTAL ACT PETER WARLOCK
D
URING the past year this routine has more than proved its worth. The first part was the result of a conversation with Dr. Stanley Jaks whilst the latter phase is the trip1.e extension of an Annemann effect. As the presentation carries the effects, I feel that it is better to describe the requirements and then give the complete presentation.
TheRequirements: 1. One rough and smooth. forcing packwith the force card being the three of hearts.
2. A form of brainwave deck made up as follows: Takean unprepared pack of cardsand apply roughing fluid to the backs of every card except the two Jokers. Now take the rough and smooth forcing pack and ribbon spread it face up on the table. From the pack you have just treated, place aside all the cards that are duplicated in the face-up spread of the forcing pack. Now pair these twenty six cards off back to back with the remaining twenty-six cards. The pairs are then assembled to form a pack and in doing so the order of the cards should be thesame as that in the forcing pack. Turn these cards down and face down on the topmost card place one of the Jokers. The other Joker is then taken and this is made the face card of the pack. Now if this pack is fanned there will be a Joker at the face and one at the rear, and if the conjurer is looking at the back of thecards he willsee the complete run on odd cardsin the forcing pack. When the fan is closed it can be handled as an ordinary pack insomuchthata back is seen at one end of the pack and a face card at the other. Think of this as pack number one and replace it in its case. 3. Two packs will be required tomake up this pack. First of all remove the following cards from each pack. Two of clubs, ten of hearts, five of spades. Queen of hearts, five of diamonds, Queen of diamonds. Sevenof hearts, four of diamonds, sevenof diamonds. Stack these nine cards in just that order with the two of clubs face down and the others following underneath. Now tha following cards are also removed: Ten of clubs, ace of hearts, four of spades, sevenof spades, nine of diamonds, three of dia-
monds,eight of spades, King of diamonds, eight of diamonds. One set of these nine cards is now stacked ten of clubs face downwith the others in ascending order on top so that the topmost card is the eight of diamonds. The remaining duplicates are stacked in a similar order, the top card being the two of clubs and the bottom card the ten of clubs. Now to assemble the pack. Take any nine cards and place them on top of the two of clubs stack. Under thelatter place the eight of diamonds stack, then under these place nine indifferent cards, one of which should bethe three of hearts, and finally under these the stack of eighteen duplicates. Reading from the top of the pack this should be the make-up:Nine indifferent cards; Stack-Two of clubs to seven of diamonds; Stack-Eight of diamonds to ten of clubs; Nineindifferent cards, one of which is the three of hearts; Eighteen duplicates of the twostacks-fiftyfour cards in all. One thing more, place two small pencil marks on the back of the eight of diamonds atdiagonally opposite corners, so positioned that when the pack is fanned one can be noted by the performer. Cali this pack ‘Number Two’ and before replacing it in its case reverse the three of hearts. 4. One ordinary pack which is set up as follows:Remove the cards which duplicate the two stacks in pack number two. Arrange these cards in the same order. Now on top of the two of clubs.stack placenineindifferent cards. Underthe ten of clubs place another nine indifferent cards and then sandwiched between the two stacks goes the remainder of the pack. Think of this as pack number three and replace it in its case.
5 . Three envelopes. Preparation. Take each pack in its case and place them one at a time into the three envelopes, making certain that you know which one is in which. Seal the flaps of the envelopes and on the address side write inlarge letters, ‘Pack number One’, ‘Pack number Two’ and ‘Pack number Three’, thus identifying the contents inside.
Priortothe showcommencing, approacha member of the audience, preferably someone well
36 known, and ask him to take charge of the envelopes until you make your appearance and ask for them. You also ask him to write his name across the flap of eachenvelope. Place the forcing pack in its caseupon table and you are all set for the:-
the
Presentation. After a brief introductory effect, the mentalisttells his audience that before he came upon the stage he had certain cards taken from three packs, each was replaced in a different way, the packs werethen returned to their cases .and the latter sealed inside envelopes which after beingsigned and sealedwereleftwith Mr. X in .the audience. Mr. X is asked to stand andthe mentalist says: “ You were the gentleman who was kind enough to place his signature upon the envelopesandmindthem until now,is that correct? :The spectator assents, and with this assent the ,effect on the audience is that not only did this gentlemando just what you have said butthe innuendo is that the taking of certain cards and their return to the packs before they were replaced in their cases and finally the envelopes was also done by a member of the audience. It was this lovely angle that I have Dr. Jaks to thank for. The spectator with the envelopes is now requested to step upontheplatformandhe is seated on your left. Ask him to indicate another member of the audienceto assistyou and with such further help forthcoming seathimon your right. Open the case containing the forcing pack. Removethepackanddropthe case into your ,pocket. Ribbonspreadthepack face uponthe table and ask the spectator on your right to touch onecardwithout consciously thinking of any particular card. When he hasdone this askhim if he is satisfied that the choice is free. When he assents, ask the spectator on your left forpack number one. Rip off the envelope andthrow it bff the stage. Ask the audience to remember that .one card was taken from each pack and replaced in a particular manner.Removethe pack from the case, droppingthe latter onto the table. Casually show the pack back and front and then fan the cards so that the duplicates of the indifferent cards in the forcing pack are facing you. Breakthepack atthe point where you see the duplicate of the card touched by the spectator on your right and separate itfrom its roughened mate. “One card reversed . . what was thename of thecard you touched? The ace of spades . . . don’t you think it more than a coincidence that the card taken from pack number one and replaced in a reversed position is also the ace of spades?” At this point the reversed card is withdrawn fromthe packand shown to be the matching card to the one touchedby the spectator.
The reversed card is now replaced in the pack and the latter dropped into the left hand pocket. The forcingpackisthenscooped up, and addressing both the spectator on the right and also the audience, the mentalist remarks, “You may all think that your good friend here was influenced in somepsychological wayinmakinghischoice. I want to try the experiment once more but this time there willbe no confusion of faces (at this point the pack is fanned faces to the audience). I want you sir, to touch one of the backs of the cards when they are spread in front od you.” The pack is ribbon spread on the table face down and the spectator, with a signal from the mentalist, touches the back of one card. The mentalist pushes it out of the spread and gathers up the remainder of the packwhich he drops into his pocket leaving just the touched card face down upon the table. The spectator onthe leftisasked for pack number two. To the audience the mentalistsays, “In this pack too, there is a card reversed.” He rips away the envelope, throwing it off-stage, and thenremoves the cards from their case. He fans the cards showing one reversed, back to the audience. He turns the pack round so that theycan see the face. “Three of hearts . . . willyou (this to the spectator on the right) pick up the card you touchedand show the audience its face!” The audience then see that the touched card is also a three of hearts. The spectators are thanked and the three of hearts which has been slightly withdrawn from the packheld by the mentalist is pulled out of the pack, rev,ersed, and replaced in the same position it occupied before. Now comes the second part of the routine.
To the spectator on the right, the mentalist says, “For the moment, rather than try and anticipate your thoughts I wish to showyou an experiment in telepathy. I want you to think of a card. If however I say that and your choice falls on a commonly thought of card some may say that I guessed rather than read your mind, therefore I wantyou to take about half this pack of cards. (At this point the performer fans the pack towards himself and cuts off the bottom eighteencards. then handing them tothe right hand spectator). As I turn away I want you to fan these cards in front of you and thgink of just one. Keep it well in your mind. Tell me when you’ve made a decision.” When the assistant tells the performer that he has thought of a card, he is further asked to turn the cards face down and mixthem. The performer turns roundandfanning the cards cuts at the pencil dotted eight of diamonds.ccJust replace yourpacketback in the pack.” The spectator replaces his cards so that they are sandwiched between the two banks of eighteen stacked cards.
37 The pack is momentarilyplacedupon the table. “You sir, merely thought of a card. I am going to reach into yourmindand find out just what that card was, more than that I am going to place itin a particular part of thepack.” The pack isnowpicked up by the performer whogoes on to say, “I want you to think of this card not as a picture, but rather as a word, in other words were the card the ace of clubs I want you to think of it asA.C.E. O.F. C.L.U.B.S. just a letter at a time. Start thinking when I say ‘Ready!’. The pack is placed behind the performers back with one hand andthe other reaches behind, removes thetop card. and without showing its face brings it forward. “Here” say the performer, “I think is your card, but as I told you I intend doing just a little somethingmore.” The card is taken behind the back and simply replaced on top and then the pack is brought forward and placed face down on the table. “Now, sir, for the firsttime I wishyou to tell the audience here the name of the card you thought of?” We’ll, suppose that the spectator says the five of diamonds. Nowyouknow that this card isin the stack nearest the top of the pack.
Pick up the pack and slowly and deliberately count off one cardfor each letter of the name of the card and the five of diamonds will turn up on the final letter. Hadthecard beenin the top stack and been the seven of hearts, four of diamonds or seven of diamonds, the spelling would have had to hav,e been prefixed with the letters T. H. E. If the card had been in the lower stack the cards would have been counted off from the face instead of the !op. The same rule for the 7th, 8th and 9th card In this stack also applies, i.e. the prefix ‘THE’ must be added to the spelling. You will get your applause at this point. Then to the right hand spectator, “You choose a card freely from a big batch of cards. If I told you that I made you think of that card, would you believe me?”The answerwill be in the negative. “Let me prove it,” says the mentalist, and he asks the spectator on the left for the envel.ope marked ‘3’. Ripping away the covering he removes the pack from its case and counting off exactly in the same manner as he did before he turns up the thought of card on the final letter!
ERIC’S ACES ERIC DE LA MARE
T
HE other evening, as it so often does, the talk got around to the Four Aces. It was Harry Harley who reminded usof a most straight forward method devised by Eric way back some five or six years ago. The effect is as straight forward as one could wish. The magician takes the four aces and deals them face down on the table. A spectator is requested to designate any one and that ace, (we’ll say that it’s the ace of diamonds), is turned face up, noted, andturned down again. Ontop of eachaceare now dealt three cards face down. The magical commandand when the piles of cards are turned over all the aces are in the pile of the designated ace, the ace of diamonds, whilst none are seeninany of the other heaps. The only requirement is a pack of cards. Now the initial part of the trick is dependent on the switching of four aces for four indifferent cards. With the passing of time I would not like tobe positive about this initial stage inEric’s hands, but I am reasonably certain that he used a strip out method of adding four card on to the backs of the aces. A good description of this strip out method is given by Kaplan on page 97 of the Fine Art of Magic. Anothermethod of adding the necessary four cards is described by Simon in Effective Card Magic, page 108, whilst on page 13
of IBIDEM No. 12, Alex Elmsley in “1,002 Aces’’. (a trick which has a certain affinity with this older method) givesyet another means for, ineffect. switching four aces for four indifferent cards. Let us assume at this stage that the aces have beenculled from the pack and placed on top. Actuallyhowever the position is that there are four indifferent cards on top of the aces. These four indifferent cards are dealt in a row on the table. A spectator is asked to choose any of the aces and as this choice is asked for the left hand holding the pack has dropped to the side and with a break between the topmost ace and the remainder of the pack, the performer gets ready for that move of all moves, the ‘‘Curry Turnover”. With an ace decidedupon by the spectator, the performer apparently turns over the card, but inreality changes it for the topcard of the pack, which we’ll suppose is the ace of diamonds. The right hand pushes thecardforwardand then turns it face down. “ So that’s the ace you want . . . sir! The performernow has an indifferent card on top of the pack followed by the three remaining aces.
He apparentely casually cuts the pack a couple of times but in reality does a double undercut thus bringing the odd card to the bottom of the pack and leaving the three aces at the top.
38 On top of the chosen ace, the performer deals off the three aces, then three indifferent cards on thetouch to each of the other three piles.Only of showmanship is now needed to make the aces pass from the three piles to the chosen fourth. I think it wouldbe harderto finda more straight forwardmethodthan that. Everything seems so fair. Coming back to the strip-out addition, we’d like to add just one other method which has an affinity with that described by Simon. Taking the pack’ in his right hand and holding it face up the performer starts running cards off into the left hand one on top of the other. As he reaches the fourth card (in this particular case where four indifferent cards are needed on top of the aces) he holds a break with his left hand finger-
tip. He runs the cards until he comes to the first ace which is taken and apparently placed behind the cards held in the left hand. It is placed so that the lowerleft hand quarter iscovered. At least that is what it looks like, but actually it is slid in between the four rearmost cards and those on top, the pressure of the left hand fingeretip adjusting itself so that the position is held. Still running the cards from right to left, the aces are all removed and take their placesbehind the firstace. Now in one move the cards in the left hand are turned overby the right hand and placed on the table. whilst the left hand first finger pulls the two sets of cards it is holding into alignment so that as the pack is moved away from the left hand only the face of the top ace can be seen. The set of cards is then turned down and dropped on top of the pack.
B O O K S THE SYMPHONY OF THE RINGS by Lewis Ganson (Published by Harry Starrley). Price 15/-. The title above is the title of the booklet, but the frontispiece carries the true title namely “Dai Vernon’s Symphony of the Rings”. On the night when the Magic Circle made a presentation to Dai,Mr.Magicperformed just two effects, the cards to pocket and his six ring routine with the linking rings. I had seen during my lifetime many fine‘ring’ routines but never anything quite like this. All the way throughit showed the hand of the great artist, that touch of masterly restraint which by the avoidence of the clashing and rapid movement so commonly associated with this feat, produced as an end product a masterpiece of true magic. In explaining the routine, LewisGanson in his usual accomplished manner has utilised sixteen pages of text and some thirty photographs. Moves like these are comparableto silk knots when it comes to explanation.. Nevertheless Lewishas painstakingly made up his mind that nothing shall be missed. We know this because we have learnt the routine andthough at times,evenwith the rings in hand,one or twomovesseema little difficult to follow,aclose attention to the script
will put you on the right road. Only near the end of the routine does the routine call for that little something extra in the way of handling, and even that little extra is well within the scope of any but the truly ham-fisted. It is a routine that aims at smoothness and allows for graceful presentation. Let us quote Lewis, “ . . . handle the rings as though they were precious objects, so that any sound they make as they come together is a musical ringing tone.” Thereare two great classics of magic that everymagicianworthy of the title shouldknow how to perform, they are the “Cups andBalls’ and the“Linking Rings”. In the DaiVernon Book of Magic, the maestro took the former and presented to all those who read the book, a routine that would last them alifetime. In this preknt booklet he has routined the best of the ‘ring’ moves to give each reader and student a masterpiece of magic that requires no alteration and no improvement, at a price which should be three times greater. Once again magicians must thank Harry Stanley for letting them have a sight of this great classic. A word of thanks too toHarryClarke for the printing.. ‘THIS BOOK IS .A MUST’.
MAGIC GO ROUND {from page 39).
lecturer, there is nothing to tell the reader the true content of the lecture. What a changefrom a decade ago whenlectureswere not onlyfully reported but separate supplements of lectures were issued and distributed to all members. In response to our request for any information regarding Annemann, we had a bumper response from our friend Leslie May and in thanking him may we still repeat that any unpublished item of information youmay have we shall bepleased to receive.
In the current number of the ‘Magic Circular’ there is quite a fair photograph of Jean Hugard receiving a ‘Magic Circle’ Wand. Round him are grouped DaiVemonandTony Slydini as C l 8 Greenmakesthe presentation on beha1,fof the Magic Circle. In the same issue there is an all too brief report of a lecture by our old friend Jimmy Orrin. In the space of thirteen lines, though there is plenty of laudatory praise for afine
39
N
EVER have we felt sorrier for the professional magician thanthis winter. F O has ~ been a bad enemyin all parts of the country and apart from its effect on travelling and transport generally, it’s not a good thing for one’s health. As we write this the British RingAnnual Dinner is only a f,ew days away. Tickets have gone well and we look forward to seeing Borra in action once again. The Circle Banquetisn,ot too far away on a day when the Magi lads will be in action with their Golden Jubilee celebrations. We’ve had some very nice comments regarding Eddie Joseph’s ring release which reminds us that he has just released a new version of the ‘Calendar at the Fingertips’.. It is called “Living Calendar”, and those of you who at some time or another may have wanted to use this staggering memoryeffect in your act but have been daunted by the thought of memory failing at the crucial momentwillbe morethan assuredwith this present method for Eddie has eliminated all the hard work and introduced a presentation that not only takes care of everythingbut addsa little more interest tothe proceedings. It only costs 5 / - and is available from your dealer. Reading through that cheerylitt1,emagazine, The Magical Gazette (official organ of the London Society of Magicians) we came across the report of a lecture givenbyBobby Bernard. It was a talk and demonstration of close-up conjuring and near the end of the report we read, “(the lecturer gave) . . a very welcome bit of advice on how to push your ‘Masonic’ fee up from fiv,e guines to twelve guineas by playing both ends against the middle. I€ youweren’t there, you won’t know whatthat means.”Nowwewerenot thereand in consequence are still intrigued by the phrase of “playing the ends against the middle.” What interests us most is the fact that a ‘Lodge’ date is wiling to pay twelveguineas for anact. With the general and overall increase in dining f,ees plus thelack of desire to raise duesmore than theyneed be. after-dinner entertainm,ent is falling more and more into disuse. We certainly cannotthink of any occasion apart froma Ladies’ Nightwith the average Lodgewhen twelve guineas would b,espent on a magician! Whathappenstoalltheold tricks? During the past couple of weekswe have been confined indoors and it has given us the chance to catch up withsomereading and also to look back at
magazines of the thirties and early forties. There was some delightful stuff produced and yet somehow most of those tricks must have gone into the limbo ol forgotten things. Is it just that despite the fact that a magician has bought a trick, and though finding it successful, has just got bored with it and put it aside? Certainly atthe magical society auctions one sees quite a lot of good workable effects coming under the auctioneer’s hammer. Maybe its just thata choosymagicianbuys a trick thinking he can use it and then much to his disappointment finds that it’s not his cup of tea. Recentlyin the ‘Stage’, Mandrake wrote a long letter refuting ithe idea putforwardin a previous issue thatthe large scale magicshow hadhad its day. (In all fairness it wasmeant to apply to this country and not to the continent where a show liketheKalanag showcan break all records for any continental theatre it goes to). Mandrake, whose modern version of the old Aerial Suspension has given him quite a deal of publicity, starts on a world tour, and we know that magicians everywherewillwishhimwell.When it comes to talking of “Variety” and whether it will die or flourish , it seems that the answer is notin the hands of the variety acts. When times were goodin variety, with rare exceptions the profits taken wereneverploughedback into the theatre with the result that to-day the decor and furnishings of many of the smaller variety theatres in this country makes them little more than upholstered closets. The onset o€ the super cinema with its phshy furnishings and its atmosphere of escape helped to steal the younger generation from the theatre in the immediate post-war years, whilst the cheapand nasty type of nudeshowhelped to kill off the regular family patrons. Thenthe entertainment in the box, the ‘Telly’,meant that without stirring furtherthana comfortable armchair MaandPa couldwitn,essentertainment which, though at times, meandered from the meritorious to the meretricious, they certainly viewed. even in two dimensions, entertainment that aimed a bit higher than many of the variety houses that abound. Now itlooks as though a newpolicy may be found, namely to keep going the few bigger and better variety houseswithbigger and better shows. Not a change of programmeeveryweek, but a production that will have a pantomime run. In factthe experiment has already been started in the Midlands. (Turnto page 38)
A NEW GIANT-SIZED MANUAL
PATTERNS F,OR PSYCHICS By
PETER WARLOCK. is placedin an unsealedenvelope and rested This beautifully produced giant-sized manual (S3 against a glassin full view. Three spectators by 11 inches) contains twenty of the most cherchoose a colour, four-figure number and any city ished effects from Magic’s most fertile brain. Not in the world, and these are noted down on another only is the author renowned for his originality, but card. The spectator who signed his name removes also for his performing ability, as evidenced by the cardfromthe envelope and checks his sigthefactthathe won the British Ring, I.B.M. nature and turns over the card, Meanwhile the Shield with one of the most outstanding acts that performer reads from his card the thoughts he has has everbeen presented in this competition. If noted down, and each time the spectator confirms proofwereneeded of thePRACTlCABILITY that the prediction is correct. It’s as direct as and ENTERTAINMENT VALUE of the effects that, and there are no stooges, carbon impressions originated by Peter Warlock, this is it! or such-like methods. This book deals with five distinct types of mental PIN POINTED SLATES gives an unusual effect effects; demonstrating: Coincidence, Prediction, in that three slates are plainly shown to be blank Writing, Extra Mental Telepathy, Spirit Slate on all six sides,yet upon a word beingchosen Sensory Perception and Movement o€ Objects. under very fair conditions, it appears as one of a TRIGON TWO is one of the most beautiful series of four separate messages upon the surfaces Coincidence effects ever conceived: The performer of the slates,building up from an apparent misdeals a pack of blue backed cards and stops three take to the finalclimaxwhichensures applause. timeswhen requested by a spectator, and each Under the heading ‘Movement’ is a most unusual time places the card stopped at back out into a CARD RISING effect, that willbe of interest to stemmed goblet. Another spectator now takes a conjurers as well as mentalists, ‘and might be said pack of red backed cards, shuffles them and himto be worth more than the price of the book on its self deals themon tothe table, stopping three own. A borrowedpack of cards and borrowed times and placing a card aside eachtime,whenglass may be used. Three cards are freely chosen ever he likes.These cards are placed back out and signed (no force of any sort), replacedin in the three glasses,in front of the other cards. the pack and the pack is placed in the glass, which Each pair of cards are removed, in turn, from the is rested upon the seat of a chair well away from glasses, andare shownineach case to be an the performer. In spite of these impossible identical pair. Coincidence indeed! conditions the three cards rise one at a time, and Jn 30th CENTURY PROPHECY theauthor is the last card can be made to jump out of the glass. certainly ten centuries ahead of his time in what is There is no switch of pack or glass, and no cards conceded tobethe most direct triple prediction are added or taken away from the borrowed pack. onecould wish for. A spectator signs his name These are but four of the twenty fine effects in this across theback of a card, theperformer writes great book-spacepreventsus from describing three predictions on the other side, and the card them all.
THE MAGIC CIRCLE President:FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of Oak Buildings, EustonRoad,London, N.W.l. Monday,20thApril Lecture: By PeterWarlock,M.J.M.C. “ THE ANNEMANN LEGEND ” ParticularsfromHon.Secretary: PETER NEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser’s
I
PETER WARLOCK’S
PENTAGRAM
is published onthe24th of each month and can be obtained direct from the publisher for per single Sub. Is/- post free* Published by GeorgeArmstrong, 62, Wellington Rd,., EnfieldMiddx.
~ ~ ; u I s ; ~fs“h‘oGb1t2t’t ~$ “,mEs Editorial AddressPeterWarlock, 24, Wordsworth Rd., Wallington Surrey.
Goods are
fdlv endorsed bv -~
I
WANTED BY
GEORGEARMSTRONG
“c.
of the T. ~ ( ~ ~series d ~ of~ ) , Complete in enMagical velopes if possible.Alsowant U. F. GrantandGrantand Menge
,::
b”U”y””f”0drin
~~~~~~1 allow YOU generouscredit Send lists to
-
lieu.
GEORGE ARMSTRONG
62, Wellington Rd., Enfield Middx.
this Bulletin ~
.._
Publishedby theProprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. (Chas. Sowden)Ltd.,Burnley, Iancs. AndPrinted by CentralPrintingCo.
*
LE THOUGHT WAVE JACK AVIS
THE
effect is the discovery of twomentally chosen cards.
Routiw. Ask foP the assistance of two spectators. Wewill designate them Mr. A and Mr. B. Hand A a complete deck of 52 cards and ask him to shuffle them and then remove about a third of the deck, handing you the remaining twothirds. Spectator Anow splits his third into two unequal parts and hands one of the packets to B. Instruct both A and B to count the cards in their packets. While this is being doneturn away so that itwill not be thought youare trying to glimpse the number of cards held by your assistants. When both A and B are aware of the number of cards they hold turn and face them, and explain that you want each to select a card in a manner that will your having any Of the tions. This You willachievebyusing the Secret number each is thinking of.AskA to watch the cardsas you deal them faceupwards on tothe table. When you deal the card at the position that corresponds with his secret number he is to remember this card as hisselection but make no sign that he has in fact made a selection, he must allow you to carry On dea’ng. To give an spectator A counts his packet, he has eight cards. So, he would note and remember the eighth card you deal down.
deal until you reach twenty-six, stop, pick up the d e a l cards, turn them face downwards and place them below the cards you are holding. Have spectator A replace his small packet of deck, cards on top of the deck. Squareupthe crimp the bottom card. Hold out your right hand and receive spectator B’s smallpacket of cards. Replace these cards below the deck held in the left hand, square up deck and again crimp the bottom card. Hand the deck to spectator A and have him cut the cards a few times. Take back the deck and ribbon spread it across the table, making sure you can see the two crimped cards. To locate the two selected cards, first locate the crimped Start countiog to the left at the first card past the left hand crimped card, turn the twenty+ixthcard and it will bespectator B,s card. Next count the cards between the two crimped this is your key number, Starting with the first card past the right hand crimped card and moving to the right, to your key number, then turn up the next card which will be spectator A,s card
.
The above is the basic routine forthe selection When dealing the cards face on to and location of the chosen cards. The presentathe tablefor A to make his selection deal exactly which is most important With thistype of twentysixcards,then stop. Makesomeremark effect. must beleftto the i n d i v i d ~ l . about being sure he has made a selection by now, pick up the twenty-six cards, turn them face down Note : After the spectator has cut the deck and place them below the cards you are still holdand before ribbon spreading it, note the position of ing. You may if you wish false shuffle the deck the twokey cards. If these are close together if the keys at this point. as oncarry explained however, above, have a large number of cards between them, cut Turn tofacespectator B and give himthe the deck once yourself. This will putthecards in same instructions that were given to A.Again correct order.
VOLUME 13 NO 6
-
1/6
120 Cents)
MARCH, 1959.
42
THE CARD WORK OF CRAHAM ADAMS
M
Y first meeting with Graham Adams wasin
the year 1931, when onthe 30th January, under the Chairmanship of Douglas Dexter, he gave a lecture to Magic Circle members which was called simply, “S. W. Erdnase-His Book”. It wasan outstanding eventin thatyear of the Circle’s history and as a permanent record there is, in the library, a full copy copiously illustrated with first class photographs, the work of one of Graham’s fellow Order of the Magi members. That is going back a long time, but the thing that struck me so forcibly at the time was the tie-up of entertainment with skill. So manywho dabble with cards sooften turn into merepuzzlers, but always, with Graham skill goes hand in hand with
mystery. It is a great pleasure to puton record this present compilation which so exemplifies the attributes of Graham.The articles are not the product of 1959 for theywerein fact all written between the years of 1927 and 1940. In brief and non-illustrated form most of them appeared in Wilford Hutchinson’s excellent “Conjurer’s Chronicle”. Intended for book publication they have nowbeenedited by GeorgeArmstrong and illustrated by JackLamonte.Those readers who require good entertaining card magic, which necessitates some, but not illimitabl.e, skill,are well catered for. Read on the first instalment. PETER WARLOCK.
THE TRIANGLE my opinionone of the most beautiful card 1canN beexperiments is David Devant’s “Triangle”; it performed in any large theatre, in a small hall or in a drawing-room,and everyone can understand what is going on. My objection to this effectwas the difficultyingetting the prepared cards. “Steamboats” wereeasyenough tostrip and glue together again; other cards did not take so nicely to the treatment and after a time the pack looked shabby and one had to start again.
I am lazy in manufacturing things like these, and until Edward Bagshaweplaced the cards on the market some years before the late war it was impossible to obtain them.Duringa periodin Army Concert Party (in the War before the last) when cards werenot too plentiful, I decided the illusion hadto be performed by sleight-of-hand. Here it is. THE EFFECT All readers will know of “The Triangle”. The plot is themain thing. A pack of cards is shuffled and placed on a small table while a male member of the audience is invited to assist the conjurer; he is seated at the table. The pack is again shuffled and the assistant counts 26 cards face upwardson the table. He shuffles theremaining cards, cutting themand placing the cut‘ portions face to face. A piece of ribbon about eight yards in length is handed to the assistant. He finds the middle of theribbonand winds.it about his face toface packet of cards. One end is given to a lady in the audience, on the right; the other end to a lady on the left. This is the “Eternal Triangle”-two ladies and a man.
The conjurer then takes the remaining26 cards (those just counted on to the table) hands them to the lady on the right of the audience, placing the cards face down on her open right hand. He walks away and asks the lady to look through the cards and think of one card, to square them up and hold them out on her hand as they were given to her. The performer then takes the cards to the lady on the left of the audience andasks her to do likewise. As each lady hands back the packet of cards the conjurer asks her to will her card to leave her hand. pass along the ribbon and enter the packet held by the mere man. The packet of cards is handed to theassistant. Each lady is theg asked the name of her card and the assistant is asked to deal the cards face-up on to the table, counting them as he does so. He finds that the two selected cards are missing. On unwrapping the ribbon from around his cards and searching among them he finds two extra cards, and they are the two chosen cards.
So much for the effect. It is, to all intents and purposes, that of our late Master, David Devant. THE REQUIREMENTS Eight yards of ribbon and two packs of cards of the same make,back design and condition. THE METHOD Take a new pack of cards and give it a thorough shuffle. Thencount twenty-six cards from the pack. From the other pack sort out the sametwentysix cards. These packets we shall call “A’’ and “B” respectively.
43 One of the remaining packets is called “C”. The fourth packet is discarded. Packet “A’ is placed on “B”. Any two cards from “C” are placed on packet “A”. This pack of 54 cards is placed on the table. The packet ‘‘C’’ is in the left-hand trouser pocket. “A” and “B” can be false shuffled very easily. First run the two top cards. Then run the others a few cards at atime uniil nearing the middle of the pack. Then run the cards singly until past the middle of the pack, after which they can again be run in small packets. This leaves the cards in their packets with the two odd cards on the bottom of the pack. Ask the assistant tocount twenty-six cards from the top of the pack on to the table. Then he is to cut the remainder about the middle and place the cut packets face to face. He is handed the ribbon and wraps its middle portion about the face to face packet. Hand the ends of‘the ribbon to the two ladies. The packet of cards in the ribbon is packet “A” with the two odd cards. Take packet “B” to the lady on the right of the audience andplace it on her outstretched hand. Ask her to think of one of the cards in the pack and walk away whi:e she looks through the cards. She is then to offer you the cards as she received them. As she hands you the cards she is to think of hercardand “will”it to join the cards in the ribbon. Repeat this with lady No. 2. In taking the cards fromher palm packet “C’’ from the left-hand pocket, face of cards to the palm. (Figure 1). Take the cards fromher in the right handand place them in the left hand, across the palmed packet. as youaskher to “will” her card to join
those in the ribbon. (See Figure 2). Now make the “Hellis Change” to switch the two packets. Thischange ismade as follows: The right hand apparently takes packet “B”, thumb at back and fingers at front, to place it on the table. As the hand covers the cards packet “B” is palmed in the right hand. (Figure 3). The right handthen movesslightly to the right and grips packet “C” between the thumb and fingers, as shown in Figure 4, and this packet isimmediatelyplacedon the table as youaddress the assistant. The workis now over. Each lady names her card and the assistant is requested to deal the cards (packet “C”) face-up on the table, counting them as he does so. There are, of course, only 24 cards, and the two mentally selected cards havevanished.While he is thus counting, casually dispose of the palmed packet in the right trouser pocket. The assistant then opens his packet and counts 28 cards, and amongst these he finds the two mentally selected cards.
NE PLUS ULTRA
E
RNEST NOAKES, in his “Magical Originaling the selected cards by touching the fingertips of the selectors. ities” (1914), described his method of performing A. Roterberg’s “Ne P h s Ultra” from The conjurer then calls: “The first card is the “New Era Card Tricks’.’ four of hearts and it is the fifteenth card in the I liked the of the Ernest Noakes pack.’” The Committee Of tW0 Count the cards face upwards on the table, hold UP the fifteenth version, but did not like the idea of dealing four card which proves to be the four of hearts, replace heaps of four onthe table, although I usedhis method until about 1920. the square then upand it pack. No 2 is the Ace of Spades and is the 32nd card. THE EFFECT No. 3 is the Ten of Clubs and is the 21st card. No. of Clubs is the 26th card No. 4 is is the the Seven Two of Spadesand and is the loth ca&. In this versionvery little skill is required, the effectdependingchiefly onshowmanship. Only card is discovered five cards are selectedbymembers of the audience; pack Each named by the performer.at the position in the they are replaced in different parts of the pack, whichisshuffled and given to twomembers of the THE METHOD audience. It is best tohave these two seated at a The five cards are forced. The performer can table in the middle of the room or on the stage, either have the five cards on the bottom of the pack the performer mixing withtheaudienceand findand force them straight away, or thepackcanbe
44
shuffled .(keeping the bottom stock in place), after whichthe first card is forced. Thentheremaining cards are forced, with a! brief and casual shuffle in between each force. Ii use the latter method. Instead of taking the cards back in the same order:Take No. 2 first. Then No. 4. Then No. 3. Then No. 1. ThenNo. 5. In collecting the cards, when approaching No. 2, make a break with the little finger of the left hand, about two-thirds down from the top of the pack, fan the cards from the left hand into the right. Whenfive cards from the end of the fan (i.e. from the break) grip all those above the: five cards in the fork of the right fore-finger and thumb, the five cards being held by the main packet above and the second, third and little fingers underneath. (Figure 5).
The sequenceiseasy to remember:-five, four, five, four, nine. The performer who can thumb-count can dispense with the last fan, having number five replace his card at the previously made break, close the pack and in doing so quickly thumb-count nine cards from bottom of right hand packet on to the replaced card, holding the break above these nine cards. This is the method I use myself. Make the pass at the last break, or shuffle off the top cards. False riffle shuffle and hand the cards to the committee. Then go into the audience and apply your powers of showmanship to the discovery of the cards. They will be in the following order:No. 5 is the 10th card. No. 1 is the 15th card. No. 3 is the 21st card. No. 4 is the 26th card. No. 2 is the 32nd card. As the committee count the cards face-up on to the table, have them show the appropriate card, replace it on the pack and then replace the dealt cards on top. This method hasthe advantage over the others of being short, leaving the time for the performer to discover the cards and, after all. the effect is in the discovery, isn’t it? 8 8 8 8 8 88888888888888888888888888888888~88~SD8~888888888888888888888888.88
(A LETTER FROM JOHN P. HAMILTON continued from Page 55)
Lift or tilt the cards in the right hand, including the five cards, and the spectator places his card on the packet in the left hand (where the break was held, (Figure 6 ) . Close up the cards, pushing the five cards into the left hand and immediately make a new break above the five cards with the left little finger. The remainder of packisclosed up over the break. (Figure 7). Then go to spectator No. 4, fan the cards as before, separating four cards from the end, immediately abovethe break. Number four replaces his card at the break, the pack is again closed and a new break is made above the fourcards. Repeat, separating five cards, and have number three replace his card. Hold break above the five cards. Repeat, separating four cards, and have numberone replace his card. Holdbreakabovethe four cards. Repeat, separating nine cards, and have number five replace his card. Holdbreakabovethe nine cards.
to have the black card from the bluedeck jump over into the red deck and the red card from the reddeck jump over into the blue deck. In other words they are going tochange places. You explain that in order to accomplish this it will be necessary to place the decks close together, in fact on top of one another. You then place the face-up “Red” deck on top of the face-up “Blue” deck. Here is where big hands help. Pick up both decks and with your left thumb riffledownward along the corners and stop whenyou hear the corner short clickby. Obtain a break beneath this card and hold the break with your left little finger. It isnecessarynow to “pass” the cards below your left little finger to the topof the double deck. Youdo this by performing the Hermann pass as you turn the double deck face down and spread it across the table.
You spreadthe cards out until the face-up cards show. You then realize that you have failed in yourendeavour. However,youend triumphantly when you show that though the faces didn’t change the backs did. Yours sincerely, JOHN P. HAMILTON.
A LETTER FROM
JOHN P. HAMILTON Dear Mr. Wariock, I have just received the December issue of the “Pentagram” and read with interest the card problem you posed and your fine solution of it called “The Turncoats”. I have a solution to itwhich I am herewith submittingandas you stated theproblem was presented to several card men you probably have a solution similar to the one I have evolved but here it is anyway, for what it’s worth. The effect really leaves the spectator puzzled and I have had them grab the cards and look them over, trying to find the answer. What I like most about the effectis that the spectators are in the darkabout whatyou are attempting todo until the finale. THE EFFECT One spectator selects a blue deck of cards, another spectator selects a red deck of cards. Each spectator mentally selects a card in his respective deck. Each selected card is returned to it’sdeck, face up. Both decks are ribbon spread face down and the cards that have beenselected from each pack are still seen to be face up. When the cards are turned over it is seen that the face up card in the red deck now has a blue back while the face up card in the b h e deck now has a red back.
THE ROUTINE Two decks of cards are in their cases. One deck is red backed and the other blue backed. One spectator is asked to select a deck. The other deck is placed before the second spectator. The performer removes the blue cards from their case and ashe spreads the cards backs-up in front of the first spectator he says; “The usual way to have a card selected is back up but then you don’t know what card you are getting, so for this effect I will spread the cards face up and have you name any one that you see here in the fan and we will use that one.” Theperformer suiting his actions to his words turns the deck face-up and when the spectator names a card, thatcard isslid out of the fan on to the table face up. The deck is then squaredupand placed face downnext to the selected card which is face up. The same procedure is now followed through with the second spectator. The situation nowis that there are twodecks of cards face down on the table and each has a selected card face up ‘on the table next to it. Each selected card isnowpushed into the centre of it’s respective deck, face up. Each deck is now turned face up. The performer now explains that he is going to have the selected cards
leave their respectivedecks andappear in the other deck,in other words change places. He explains that in order to do this he must place both decks together. As he says this he picks up the red deck and places it on top of the face up blue deck. He now turns the two decks face down and ribbon spreads them across the table. The two face-up cards are seen amongthe face5down cards, but alas! the performer has failed for the face up blue card is still face up in the blue deck while the face up red card is still face up in its red deck. The performer thinks for a moment andthen says : “I bet I know whaa happened. Instead of the whole of the cards changingplacesjusthalf of them exchanged places. In other words the faces of the cards didn’t change places but the backs did.’’ On examination this proves to be true, for the card that was selected from the blue deck nowhas a red back and the card that was selected from the red deck now has a blue back. One pack of red backed cards. On0 pack of blue backed cards. One pair of large hands will help. The so-called “Blue” deck consists of 26 red cards with 26 blue cards on top. The 27th card from the top in the “Blue” deck is a corner short, i.e. the top card of the red section. The “Red” deck consists of 26 blue cards with 26 red cards on top. Pick up the“Blue” deck and spread few a of the top cards so that the spectator sees their blue backs, explain to him that you could have himselect a card sight unseen but forthe purposes of this experimeht you would like him to select a black face card, i.e. a Club or a Spade from this deck. You then turn the deck face up and fan the cards at the bottom of the deck and ask him to name any black card that he sees. Thus he will name one of the red backed cards which occupy the bottomof the d F k . When he names it you will slide it up out of the deckon to the table. Thensquareup the deck and place it facedownnext to the selected card. Pick up the “Red” deck and follow the same procedure with the second spectator but have him name a card with a red face i.e. a Heart or a Diamond. Attention is now called to the selected cards and each is placed face up into it’s respective face downdeck as you explain that this will make it easy to locate the cards again. As each card is placed into it’s deck it is placed in about thirteen cards from the top, or less. You now turn both decks face up on the table as you explain to the spectators that you are going (Continued on Page 44)
46
B O O K S “PATTERNS FOR PSYCHICS” byPeter Warlock, 2ndrevised edition (Published by George Armstrong, price 151-). Most of the books on mentalism-especially those from the U.S.A.--contain at best an idea or two. If you find a complete routine that can be performed without considerable alteration, you’re lucky. If you find two tricks worthperforming as they stand, you’ve got a prize. The rest of the book is usually worth little as practical material. How, then, can we assess the value of a book like “Patterns for Psychics’’,by Peter Warlock? This is a book that contains not one, not two, but at least half a dozen out of its twenty tricks that are absolutely first-rate without altering a single idea. Andthemore thoughtful reader maywell develop twice as many successfultricks than a mere half dozen. These “Patterns for Psychics” are the nearest thing to genuine mind-reading that you’ll ever come across. Take, for example, two in particular which I have been using for twelve years-“Trigon TWO” and “The Taped Slate”. In brief, “Trigon Two” enables the magician to duplicate exactly and without effort a number of cards selected at random by the audience. P r o p ? Gimmicks? None-except for two packs of cards, three stemmedglasses and a bottle of roughing fluid. The clever and unusual application of this last-named item enables the magician to perform a pure miracle. “The Taped Slate” makes possible an astonishing three-phase prediction on a simply prepared slate. No doubtful moves, no difficult manipulations, no possibility of failure. Now: these two are not only brilliant and baffling tricks, they are infinitely more than that. They can be performed singlehanded in the fullest sense of the word. Nobody ig invited to leave his seat and come up to assist in the mysteries. And that, tome, is the hall-mark of good magic. Pickingalmostanywhere in this invaluable book,onecan find acompletemental routinevaried, unusual, baffling, entertaining-from which to build a full act. And, if you pickjudiciously, you need never ask for the assistance of a spectator
onthe stage. Think of the value of that. There are no awkward pauses, no difficult assistants, and no possibilities of anyone whispering“stooge’’. The magician is on his own, whether on the platform or in the drawing room, and performs his miracles without having to depend on the goodwill or intelligence of a nervous assistant. I do not know whether Peter Warlock designed the book with this specially in view, but it is the factor that for me, makes “Patterns for Psychics” a priceless source of fine material - material designed to appealtothe intelligent spectator, material to send theaudience away thinking: “There must be something in this mind-reading.’’ In this new edition the bookis of more practical format. The tricks can be conned without turning back to a lost illustration or a previous reference. The large-sizedpages make for much easier reading than did the late ARCAS edition. Better still, the author has been able to edit the book more efficiently. The book is divided into six chapters: Outlaws of Coincidence (two items); Patterns for Prediction (eight items); Mental Telepathy (five items); Slate Writing (one item); Extra Sensory Perception (three items); and Movement (one item). The divisions are rather arbitrary; for instance, only one itemcomesunder “Slate Writing”, but there are outstanding slate tricks under other headings. And I would take exception to the phrase “Mental Telepathy”. After all, what other sort of telepathy is there? For me, the highlights are “Trigon Two” and “Taped Slate”, together with a wonderfulbillet force in “Tele-Coincido”, a clever,clever faked envelopein“30thCentury Prophecy” (which I have found of great value in a coin transposition I am now working), Peter Warlock’s own startling billetreadingeffect,“What’sin a DeadName,” and a very crafty blindfold in “Stab in the Dark”. “Patterns for Psychics’’is a book that just had to be written, in order to make complete the bibliography of mentalism. Andas Annemann nevergot around to writing it, it could not have had a better author than Peter Warlock. WILL DEXTER.
TRICK REVIEW “ELIZABETH’S FANTASTIC JOKER” Marketed by Elizabeth Lucas of 24, Castle St. Portchester, nr. Fareham, Hants. (Price 30/-). The effect of this trick is direct as you could wish for. First of all a pocket wallet is placed on the table in full view. You mention that it contains a Joker and one other card. A spectator is then asked to think of and name any card in the conventional pack of playing cards. With the name of thecard given andwithout anyfancy
moves the wallet is opened and together with the Fantastic Joker isdiscovered the card named by the spectator. The trick comes to you with everything including quite a nice pocket wallet. Besides the original instructions Fred Lowe contributes two routines so that, in all, the purchaser hasthree methods covering various phases of the trick, at his disposal. Always agood trick withanymagician,in the right hands this could be an “Out of this World” Brain Buster.
47
T
HOSE who were members of the Magic Circle
way back in theAndertons’days will be pleased to know that a “Those were the Days!’’ SupperandEntertainment willbe held atthe Windsor Castle restaurant, Victoria, on Saturday, May 23rd. O:d memories should berevived and a good time had by all. Tickets, price 18/6 each, are available fromEdwin Brittian, to all those whose membership dates from pre-1935, and also their ladies. Wehope by thetimethatthe date comesroundour old friend Edwin Brittian will be really fit and well. The past couple of months have seen him undergoing great agony with a most persistent attack of sciatica. It was nice to meet again, Len Mason of Rose Bay, Australia, who made a fast business trip to this country before going on tothe States. Len hopes to be across to next year’s British Ring Convention where he will have the opportunity of meeting all those friends he made on his last visit. The Chicago combinedS.A.M. I.B.M. convention looks like being something really to remember. There’s talk of a meeting of all the living Greater Magic Card Stars and in place of those who have departed, the election of contemporary card men to take their place. Shoot the question at a knowledgeable cardman to name the Greater Magic card stars, and few will come up with the complete list, perhaps because one or two names are associated less with cards than other branches ofmagic. Standing for the next National Presidency of the S.A.M. are two American magicians wellknown to English magi, Tom Hawbecker, oneof the hardest workers S.A.M. has ever hadandDr. Zna Bennett, the I.B.M. Welware worker.
A word of warning.Sometime back when we were writing up Diabolo material we gave a version of the “Snowstorm in China’’ in which we advocated the use of coloured tissue. The warning is to the effect that it shouldn’t be used on a dance floor forthecombination of waterand runny dye in the paper can cause a stain on the floor which only a sanding operation can remove. Today the use of hardboard as a substitute for plywood in magicalapparatus is proving its
worth. With hardboard, however, there is a need to seal the board before applying paint. If at any time you have a spot of emulsion paint left over. dilute this with ten parts of water and you’ll find that an application of this to the hardboard will effectivelyseal it. At a show that we staged at the Midland Bank Magical Society the other evening, there was much admiration expressed from the artistes taking part (Michael Bailey, John Salisse, Francis Haxton, George Getting andTonyCrabbe) at the new stage. This is situated in the Smoking Room and a ton of money has been spent in making it perfect in every way. With a Victorian proscenium which has a place in contemporary shows,doub1,e trach curtain runners whichallow foranimmediate swing round of back cloth plus the very finest in lighting. it gives every aid to the performer. The County of Gloucester owes much to the ReverendMichaelSeacome for bringing into its boundariessome firstclassmagic. He hastwo shows planned for this season. One in April with Stanley Thomas. Geoffrey Buckingham, Eric Williams and John Todd and Jill, with ourselves also trying to keep themagical flagflying, and another in June when Michael and Valerie Bailey, John Salisse and Francis Haxton will be among the many artistes taking part. Michael very much wanted the Diabolo act, but Francis and I have put that behind us. ~mmmmmmmmmmammmmmmmmmmmmmmmmmmmmmmmmmmmmm~mmmmmmmmmmm~~mmm~mmmmmmmmm~~
m
ELIZABETH’S FANTASTIC JOKER 0
!
3
Effect AnySpectatorcanname NO othercard thanthe ONLY card in Walletwiththe JOKER Opinions Experts of the :
Peter Warlock-“A real Brain Buster” I Fabian ‘Ab“’-“Most Impressive” 5 Davenports-“Unbelieveable” Fred Lowe-“Cleanest Ever” American : 3 Ferguson-“This .Grand Effect” Holden’s-“Stunmng”
E 3
m
m
3
3
i m
m :
m m m m 8 m
m m
PRICE COMPLETE PP 30/ELIZABETH LUCAS (nee Bell) 24, Castle Street, Portchester, Nr. Fareham, Hants. : 8
~~~mmmmm~mmmmmmmmmwmm~mm~mmmmmmm~mm~mmmwmmm~~mmmmmm~mmmmmmm~mmmmmm~~~
A NEW GIANT-SIZED MANUAL
PATTERNS-PETERF O R PSYCHICS
WARLOCK. BY is placedin an unsealedenvelope and rested This beautifully produced giant-sized manual (84 against a glassin full view. Three spectators by 11 inches) contains twenty of the most cherchoose a colour, four-figure number and any city ished effects from Magic’s most fertile brain. Not in the world, and these are noted down on another only is the author renowned for his originality, but card. The spectator who signed his name removes also for his performing ability, as evidenced by the cardfromthe envelope and checks his sigthefactthat he won the British Ring, I.B.M. nature and turns over the card, Meanwhile the Shie:d with one of the most outstanding acts that performer reads from his card the thoughts he has has everbeenpresented in this competition. If noted down, and each time the spectator confirms proofwereneeded of thePRACTICABILITY that the prediction is correct.It’s as direct as and ENTERTAINMENT VALUE of the effects that, and there are no stooges, carbon impressions originated by Peter Warlock, this is it! or such-like methods. This book deals with five distinct types of mental PIN POINTED SLATES gives an unusualeffect effects, demonstrating: Coincidence, Prediction, in that three slates are plainly shown to be blank Writing, Extra Mental Telepathy, Spirit Slate on all sixsides,yet upona wordbeingchosen Sensory Perception and Movement of Objects. under very fair conditions, it appears as one of a TRIGON TWO is one of the most beautiful series of four separate messages upon the surfaces Coincidence effects ever conceived: The performer of the slates,building up from an apparent misdeals a pack of blue backed cards and stops three take to the finalclimaxwhichensures applause. timeswhen requested by a spectator, andeach Under the heading ‘Movement’ is a most unusual time places the card stopped at back out into a CARD RISING effect, that will be of interest to stemmed goblet. Another spectator now takes a conjurers as well as mentalists, and might be said pack of red backed cards, shuffles them and himto be worth more than the price of the book on its self deals themon tothe table, stopping three own. A borrowed pack of cards and borrowed times and placing a card aside each time, whenglass may be used. Three cards are freely chosen ever he likes. These cards are placed backout and signed (no force of any sort), replacedin in the three glasses,in front of the other cards. the pack and the packis placed in the glass, which Each pair of cards are removed, in turn, from the is rested upon the seat of a chair well away from glasses, andare shownin each case to be an the performer. In spite of these impossible identical pair. Coincidence indeed! conditions the three cards rise one at a time, and h 30th CENTURY PROPHECY theauthor is the last card can be made to jump out of the glass. certainly ten centuries ahead of his time in what is There is no switch of pack or glass, and no cards conceded tobethe most direct triple prediction are added or taken away from the borrowed pack. onecould wish for. A spectator signs his name These are but four of the twenty fine effects in this across theback of acard,theperformer writes great book-spacepreventsus from describing three predictions on the other side, and the card them all. Il!ustrated with Drawings by George Hill and Peter Warlock. Finely printed in the usual Armstrong manner and bound in strong Antelope finish boards. PRICE 15/- : POSTAGE 6d. ($250), From the Publisher : G E 0 R G E A R M ST R 0N G 6W 2 ,E L L I N G T ORNO A E DN , F I E LM D .I D D L E S E X . L
PETERWARLOCK’S
THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of Oak Buildings, EustonRoad,London, N.W.1. Saturday,March14th Concert at King George’s Hall. ParticularsfromHon.Secretary: PETERNEWCOMBE,
38, Overdale Ave., New Malden,
*
Surrey.
is published On the 24th Of each month and can be obtained direct from the pubIisher for ‘/7per singleEffect rel="nofollow">’. Magical if possible.Also Complete inmany en. velopes want Sub’ 18/-Post free. U, F. GrantandGrantand Menge by George Amstrong, mimeographed items. 62, WellingtonR&,EnfieldMiddx.
249
Wa’lington
GEORGE ARMSTRONG 62,Middx. Enfield Wellington Rd.,
Goods are fullv endorsed this bv Bulletin -
‘in lieu,
allowyougenerouscredit Send lists to *
Editorial AddressPeterWarlock,
Surrey.
Every Advertiser’s
WANTED BY GEORGEARMSTRONG of the “c T J(ordan)series of
PENTAGRAM
Y
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. AndPrintedbyCentralPrintingCo.(Chas.Sowden)Ltd.,Burnley,Lancs.
*
TWO IN TIME PETER WARLOCK
l. CIGARETTES TO FLOWERS HE EFFECT is very brief but colourful. The magician takes from his pocket a packet of twenty cigarettes, opening the packet he removes one, places it in his mouth and lights it. Blowing a puffof smoke towards the packet of cigarettes, thelatter instantly changes into a bouquet of flowers. The requirements. Some cardboard, sellotape and a packet of twenty cigarettes, Players Churchman or whatever you smoke. You'll also want fifteen first quality, repeat first quality spring flowers. The ones that I used in a model I made up for a friend came to him from Lou Tannen in New York,but I have no doubtthat English dealers will supply some well up to this standard. From the cardboard (and this should strong be but not too thick) make up a shape as shown in Figure 1, using sellotape to act as a binder. The hinge of the piece that hangs down is also made from sellotape.
T
A small hole is cut in the back of the box. The purpose of this is to run the strings of the spring flowers through so that they be secured at the back. Now completely dissect the outer casing of the cigarette packet so that you have a separate front. back and twosides. Gluethe two sides to the corresponding sides of the box you have made. Glue the back to the back of the shape, taking care to cut a hole which coincides with the other hole and finally on the flap glue the front of the outer case, but in applying the glue see that the topmost three-quarters of an inch is free from adhesive. as shown in Figure 2.
PAKT /S & @ L E
2 From the' inner casing cut away the flap and part of the back. This is then glued on tothe back of the box so that when the apparentcigarette packet is intended to be closed the flap is tucked into the gapbetween the packet front and the flap, as shown in Figure 3. The size approximatesto cigarette packet.
the size of the
VOLUME 13 NO. 7
Take your fifteen flowers and placing the fifteen strings together fasten them with a small piece of sellotape so that they become attenuated. ~~~. ~
-
1/6
(20 Cents
-
~~
APRIL, 1959
towards it. At the same time the left hand fingers release their grip on the flap and the flowers inside automatically push it forward and down, and the bouquet appears.
LINE OF SILKS We’ll suppose that in the course of a silk trick like the twentieth century the performer is left with a line of knotted silks, saymauve,yellow and green. The audienceisasked to note that the yellow is in the centre. Gathering the siiks up the performerthrowsthem into theairandas they come down and are caught the yellow is now seen to be one of the end silks. Requirements. Three different coloured silk handkerchiefs, saymauve,yellow and green, and two small bar magnets. 2.
in this condition they are taken through the hole from the front of the box to the back and secured with yet another piece of sellotape. See that about two inches of string is inside so that when the flowers expand they formquitea solid bunch. Incidental:y, whilst you are passing the strings through the back, the flowers should be held in a bulldog clip. Hold the flowers and remove the clip andthen bringing up the large flap, take the packet flap and tuck it in as previously described. Youwillfind that the packet remains closed without any chance of it accidentally opening. Having tried this, open the flap, place a loose cigarette inside and reclose the flap. Place the packet in your left hand pocket and a lighter in your right hand pocket.
Presentation. Removethe cigarette packetfrom the left hand pocket, taking care to well cover the back of the packet where the strings are held by sellotape. With the left hand fingers pressing down on the flap (i.e. the large flap) open the top of the packet by lifting the small flap, and withdraw a cigarette. Place the cigarette in the mouth, retaining a grip on the packet with the left hand. The right handtakesthe lighter and lights the cigarette. The lighter is replaced. The left hand comes up to shoulder height and you blow smoke
At one corner of the mauve silk sew one of the bar magnets. Do the samewith the green. To the opposite diagonal corner of the mauve silk tie the yellow silk with a reef knot and then taking the end of the greensilkwhich contains the magnet tie round the opposite end of the yellow silk a single knot so that with a reasonable pull the yellow silk can slide out of the knot.
Presentalion. Younowhave the three silks in a line, mauve,yellow and green. Hold the magnet end of the mauve in the left hand, and the nonmagnetend of the green silk in the right hand. Thus the silks hang naturally between the hands with the yellow in the centre. Draw attention to position of yellow silk and as you do so raisethe right handand bring it towards the left so that the magnet in the green silk comes into contact with the magnet in the mauve silk. Let the left hand grip the silks at this point, the right hand releasing its hold on the green silk. The silks are apparently held bunched in the left hand. The right hand is displayed and comes in totakethe silks. Actually asit takes them the right hand pulls on theyellow silk, releasing it from the knot of the green silk. The silks are thrown into the air and asthey come down and are caught their order is seen to have changed.
THE CARD WORK OF CRAHAM ADAMS THE “WHISPERING” TRICK
T
HIS trick is very 1,ittle known and was described in Hoffman’s “Card Tricks” (1889). Professor Hoffman said it is of Spanish origin and that itcan only be shown to one person at a time. I have been showing this to many audiences for years and never fail to get plenty of laughs with it, and that is what is needed these days.
THE EFECT Here is the effect as I do it. An assistant is selected from the audience; one who is likely to help the performer. He is given a pack of cards to shuffle. He thenselects onecard, which is shown tothe audience. The conjuror announces thatthe result of the experiment can only be
51
announced in a whisper,owing tothe fact that sound waves interfere with the hypnotic influence. The card is replaced in the pack, the performer shuffles thepack, places itbehind his backand removes onecard,atthesametime mumbling somethingtothe assistant. As the assistant can make neither head nor tail of this the performer whispers into his assistant’s ear “The Name of the Card.” The card in the performer’s hand is then shown to be the selected one. Another assistant is chosen and the same thing happens, but this time the first assistant is asked to concentrate and whisper the name of the selected card, and this he does successfully. The third time the audience are asked toconcentrate on the card, and they are able to name it correctly.
THE METHOD Inthe first case thecard is an ordinary selection; it is brought to the top of the pack and glimpsed. At the sametimelook atthebottom card of the pack and whisper to the assistant, “The
ANY CARD
I
HOPE this effect will suit the reader as it has been a favourite of minefor a long time. It is my method of presenting “Any card called for, produced from thepocket.” ArthurLloyd“TheHumanCard featured this for years andmade income from this one effect alone.
Index”, a verygood
I remember buying the pocketindexes from Waite of Manchester, “asused by Herbert Brooks,” and it became a craze during the war to produce meal tickets, seasontickets,pawn tickets, ration cards and fourteen days leave tickets from the trouser pockets of a khaki uniform. Billy O’Connor, Tom Fagan and others did the effect without the cardboard fakes; Arthur Buckley wrote up his version in a manuscript. In presenting this to my usual Clu6 or Drawing Room audience, I present it as a feat of memory. Here are twosystems for locating the selected cards.
FIRST METHOD First with the “Si Stebbim” set-up. The pack is divided into four groupsof thirteen cards:-
next man will receive the five of spades (or whatever the bottom card is), whisper that card to him when I tell you.” Stand away and say aloud, “Is that right?” He will nod his head. Then show the card he selected. Getanother assistant and force the bottom card. This card is whispered to him by assistant numberone as the performer produces itfrom behind his back. (It was brought to the top of the pack after rep’acing.) The third time,have the card selected and replace and bring it tothebottom of the pack. Mumble to the assistant anything that cannot be understood, and as you again whisper the “name of the card”, place your right hand. containing the pack, over his left shoulder. As you do this show the bottom card to the audience and attract their attention by tapping the face of the selected card with the forefinger of the right hand. The audience will see this and will be able to announce(in a stage whisper) thename of the card. Produce it from behind your back as they do so. Try this out at your next show.
CALLED FOR 1st Group A.C. 4.H. 7.s. 10.D. K.C. 3.H. 6.S. 9.D. Q.C. 2.H. 5.s. 8 .D. J.C.
2nd Group 3rd Group 4th Group A.D. A.H. A.S. 4.c. 4.D. 4.s. 7.H. 7.c. 7.D. lo.s. 10.H. 1o.c. K.D. K.S. K.H. 3 .c. 3 .D. 3.s. 6.H. 6.D. 6.C. 9.s. 9 .H. 9 .c. Q.D. Q.H. Q.S. 2.c. 2.D. 2.s. 5.H.. 5.D. 5.c. 8.S. 8.H. 8.C. J .D. J.H. J.S.
The first thing to learn is the whereabouts of each complete suit. You know the suits are arranged club, heart, spade and diamond. In Group 1 are the A.K. Q. J. of clubs, so we call it the Club Group. In Group 2 are the 10, 9, 8 of clubs. In Group 3 are the 7, 6 , 5 of clubs. In Group 4 are the 4, 3 , 2 of clubs. Group 2 we call the Heart Group, it contains the A, K,Q, J, of hearts.
52
Group 3 is the Spade Group. Group 4 is the Diamond Group. In presenting the effect theright-hand pocket will hold Group 1.
coat
The right-hand trouser pocket will hold Group 2.
The left-hand trouser pocket will hold Group 3. The left-handcoat pocket Group 4. Shouldanyone call fora club, immediately think of the Club Group,which is in the right-hand coat pocket. Should it be the ace, king, queen or jack, it will be in that pocket. The 10,9, 8, in one group forward. The 7, 6, 5, in two groups forward. The 4, 3, 2, in three groups forward. The samemethod of counting isused for hearts, spades or for diamonds. The only thing now is to produce your cards. Learn the order of your cards both forward and backwards. e.g. Forwards: Ace, four, seven,two king, three, six, nine, queen, two, five, eight, jack. (Eachcard three forward invalue). Backwards: Jack, eight, five, two, queen, nine, six, three, king, ten, seven, four, ace. (Eachcard three back in value). After time a this recitation becomes mechanical. Placeeachgroup of cards in your pockets, faces of the cards to your body, and when a card is called:First locate the group pocket. Put your hand into the pocket and should the card be in the first six, recite the order of the cards to yourself, picking up each card until you come to thedesired card. Then take out all those cards, showing them as one card. Should the card called be in the last sevenRecite your order backwards,taking.the whole packet in your hand, but counting the cards off with the thumb until you come to the desired card. Leave this cardonthe face of theremaining packet, remove the whole packet with the card on the face, and show as one card. In each case, replace thapacket of cards (apparently one card) and you are ready to produce the next card.
SECOND METHOD The second method uses the“Eight Kings’’ set-up. He= again the pack is divided into four s o u p s of thirteen cards each:-
1st Group 8.C. K.H. 3 .S. 10.D.
2.c.
7.H. 9 .S. 5 .D. Q.C. 4.H. A.S. 6.D. J.C.
2nd Group 3rd Group 8.H. 8.S. K.D. K.S. 3 .c. 3 .D. 10.H. 1o.c. 2.s. 2.H. 7.D. 7.s. 9.D. 9.c. 5 .H. 5 .c. Q.S. Q.H. 4.D. 4.s. A.C. A.D. 6.H. 6.C. J.S. J .H.
4th Group 8 .D. K.C. 3 .H.
lo.s. 2.D. 7. c . 9.H.
5.s.
Q.D.
4.c.
A.H. 6.S. J .D.
The usual mnemonic can beused to remember “EIGHT the order of the cards in eachgroup. KINGSTHREE-TENedTWO save (SEVEN) NINETY-FIVE QUEEENS FOURone(ACE) sick (SIX) KNAVE”. Group 1 contains the 8,2, Q and J of clubs. Group 2 contains the 8, 2, Q J of hearts. Group 3 contains the 8,2, Q and J of spades. Group 4 contains the 8, 2, Q, J of diamonds. Group 1 contains the K, 7 and 4 of hearts. Group 2 contains the K, 7 and 4 of spades. Group 3 contains the K, 7 and 4 of diamonds. Group 4 contains the K, 7 and 4 of clubs. Group 1 contains the 3 , 9 and Ace of spades. Group 2 contains the 3, 9, Ace of diamonds. Group 3 contains the 3 , 9 and Ace of clubs. Group 4contains the 3 , 9 and Ace of hearts. Group 1 contains the 10, 5, 6 of diamonds. Group 2 contains the 10, 5 and ,6 of clubs. Group 3 contains the 10, 5 and 6 of hearts. Group 4 contains the 10, 5 and 6 of spades.
So it will be seen that the suits are divided into groups in the following order-8, 2, Q, J - 10, 5 , 6 - 3, 9, A - K, 7, 4. PATTER
It is a simple matter whichever arrangement you careto use, and wellworthpractising. I present it in the following way!:“Ladies and gentlemen, a feat of memory with apack of cards. I’llshufflethem. (False shuffle and false cut). “ I will glance through the pack and attempt to memorise the fifty-twocards. We’ll takethe
S3 first thirteen cards. I’ll look at them and you may look at them. And you sir, I would like you to see them. (Run them before the eyesof a spectator). And now sir, as you have memorisedthose,I’ll place them into this pocket. Youhavean easy task to memorise thirteen, but I mustmemorise
fifty-two. The second thirteen is a little harder for me, but it will be easy for youmadam.”(Show the second thirteen to a lady, then place them in your pocket. Repeaton the same lineswith the third and fourth packets and then carry out the effect, but don’t prolong it!)
THE BOOMERANG CARD
E
VEN in the days of Robert-Houdin “The BoomerangCard” was popularand exhibitions weregiveninwhich a card was thrown into the air, returning totheperformer who caught it in his hand, in the pack, or cut it with a pair of scissors. The late Tom Fagan madea speciality of this, catching the card in the pack in between two other cards, the names of which had been called out by the audience. He taught this to me in 1922, when hs had justbegun to perform it, butas no two performers should use the same thing in the same way. I have hand:ed it in a different manner.
THE THROW Hold a card by the middle of the short/end, between the thumb and second fingers of the right hand, the index fingerresting on the corner as shown in Figure 8.
Drawbackthe wrist towardsthe body and then extend the arm sharply at an upward angle of about 45 degrees and release the card, throwing it a yard or two.However, asthecard leaves the hand it is necessary to give it a spinning motion with a backward jerk of the hand and a “return” movement, similar to that which one gives to a
child’s hoop. If this is done, when the card reaches the end of its course, its inclining plane revolving on its own axis in the air, will cause it to return to its starting point, where it can be caught.
THE FIRST METHOD.
The first method is quite open. The pack is shuffled and two cards are selected.Allow the assistants to have thepack in their possession when making their selection. The cards are replaced and brought to the top and the pack is again shuffled, the two cards being retained on the top. Another assistant is asked to make a selection and to retain his card. The twoselected cards, resting on the top of the pack, are brought to the centre by the pass. They are divided, the bottom portion of the pack, with one selected card on top, being gripped by the fork of the thumb and the second finger; the top portion, with the other selected cardon the bottom, being held by the fork of the thumb and the tip of the thumb, so that the pack may be opened like a book. See Figure 9.
The third selected card is taken in the right hand and thrown into the air by the “Boomerang Throw.” As it returns it is an easy matter to catch it in the book-like pack. The pack is immediately allowed to close andthe rest of the experiment follows naturally. Turnthe packover and the three selected cards are found together, the “Boomerang Card” being between the other two:-
54 “Ladies and gentlemen, the ace of spades is somewherein thepack, restingbetweentwo cards, although I have no knowledge of the selected cards. The ace is between the nine of diamonds and the six of clubs. Are they the cards youselected? They are, thank you!’’
THE SECOND METHOD In this method theconditions seem impossible. It may be conjuring for conjurers, but the method is practical. Two spectators each peek at a card and they are immediatelygiven thepackfor shuffling. A third spectator selects a card. This is thrown and caught between the other two.
Twopacks of cards are used. One isprearranged in your favourite system and the other is sorted into twopocketindexeswhich are placed one in each trouser pocket. The first spectator cuts the pack and looks at the card cut to. The second spectator doeslikewise, and in each case the tophalf is fairly dropped on top. In each caseyoudiscover the card by noting the card on the bottom of the top half as it is replaced. Immediatelyhandthe pack tothe second spectator for shuffling, and then ask him to pass it to a third spectator for him to remove a card. This will give ample opportunity for thetwo duplicate cards to be removed from theindexes and palmed. As the pack is recovered the two palmed cards are placed on top, brought to the centre and divided as a1,ready explained. The rest you know.
P E T EWRA R L O C K ’ S
Under this title wepresent a newlowpriced utility device that gives the following effect :Taking a piece of verystiff paper, the conjurer forms it into a rectangular tube. The audience are then allowed a view of the tube. Three twelve through each end inch silks are tucked inside and once again the tube is turned end sides on allowing the silks be to seen through each end. The “ Wham!” the paper is flippedopen and shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used for the production or change ofsilks.Remember the following points ?1. Completely self-contained. 2. No tricky angle work.
3. Nothing to add
or take away.
4. No threads or flaps.
5. No body work. 6. Always ready. 7. The price makes it
a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
PETER WARLOCK,
24, Wordsworth Road, Wallington, Surrey or from your favourite dealer.
MAGIC GO ROUND - Continued from Page55 One of the most delightful events we attended recently was the Press Club ‘Magic Circle’ evening. As official guests were the Magic Circle President, Vice-President, Secretary andtheEntertainments Secretarywith their respective ladies whilst the McCombs, TommyCoopers, Berglas’s andWarlock’swere the guests of theDailyMirrorT.V. correspondent, Clifford Davis. There were excellentspeeches from David Ensor, the Chairman, and Francis White. The show which followed the dinner, and was lapped up by a most responsive audience was.givenby June Merlin, Billy McComb,David Berglas, TommyCooper and
Peter Warlock whilst Cligord Dads was an expert compere. We’re writing this on the eve of the British Ring regional lunch at Leicester. The rain is pelting down and we’re hoping that it’sgoing to be a little better for the run upto Leicester tomorrow. The last time wewent to “The Bell’’ at Leicester, for a lunchwas on thefirst occasion of Zina Bennett’s arrival in this country. With Francis Haxton and myself there travelled Vakil who hadcomemanythousands of miles to see magicians in this country. On this trip we take a visitor that has travelled even further, namely, Len Mason, from Australia.
55
F
ROMHans Trixer we’ve received a most comprehensive report of the first South African Convention which took place at Johannesburgon Easter SaturdayandSunday. Organised by the Transvaal Magic Circle, Hans says that it can be summed up as a “tremendous success.”
Magicians travelled from so far away as Cape Town(onethousand miles) andRhodesia.On the Saturdaymorning in the Technical College Hall some seventy conventioneers were welcomed by the President, (who was the driving force behind the whole affair) of the T.M.C.Official.delegates were introducedand telegramswere read. After this the firstshowwasstagedinwhich among others Pat Levey (remember his lovely version of Zombie at the Scala) and Jack Yates, a Yorkshire lad,took part later.CaptainSaunders gave a twenty minute lecture on the history of The Magic Circle and our friend Hans gave the audience the Hindu thread trick, Slydini’ Paper Ballsover the Head and some card effects. Hans then goes on to say that the buffet lunch which followed the show was the best he had ever sampled at a magicalconvention and when we think how much he has travelled and how many conventions he has attended this certainly means somethingtothe epicure. The afternoon saw a public show staged for the children from orphan, ages. The highlights were thecompere,Tony Lotter, Stan Chatfield (who many of youmet at Eastbourne last year) andthe“Mad Professor Swanepoel.” Saturday evening meant the Gala showwith expert and excellent compering by Jack Yates. Dudley Smithopened with a card act inwhich only Jumbo cards were used. The Pollock influence was noted in the second act ofJimmy Wilsonwho apart fromdoveproduction showed that with his addition of general magic experience should take him right to the top of the magical profession. There was a spot of ventriloquism and the firsthalf of the showclosedwithsome pleasing sleight of hand and the first showing of some black light effects presented very stylishly by Wally Radford, or rather as he was billed. “Palmetto.”
The second half opened with some delightful comedy by Bob Roberts, and Rodriguesfrom Cape Town closed the bill with a grand Chinese act. Sundaymorningwasleft free so that conventioneerscould do as theypleased. The afternoonsaw an organised coach excursionallowing all who wished to see the beauty spots of Johannesburg. After tea there was a not soseriouscom, petition which was won by ‘Professor Swanepoel.’ Mention must not be forgotten of a lovely colour filmshown to the conventioneers by Rodrigues. It portrayed the Ritual dancers of Cape Malay and what most interested the magicians were the intricate sword dances that were incorporated into the dance routines. In the evening a dinner dance took place which was interrupted by two short speeches and a short lecture by Hans entitled ‘Magic for the Underpaid’ (so-calledbecause of its non-apparatus nature). The evening concluded with a magical cabaret in which magicians from all over the Union took part. Hans concludes by giving special praise to the performance of Colin Holtman who gave a most impressive and spectacular mental act of about ten minutes duration. It includedFetch’slovely slate prediction and the ‘Seven Keys to Baldpate.’ With the success of this initial convfnwn there seems little doubt that more will come ill this great country. Becausdof the distances .to be travelled large scale participation is not easy, but the spirit of goodwill and comradeship, H m s says, was as good as one wouldfind anywhel:: in the world. Thank you Hans! It’s good to know that Tarbell haspaid 01 another visit and that London has had an opportunity of hearing and seeinghimgive one of his famous lectures.
Those whomissed the opportunity of seeing the films shown by Harry Stanley in London and provincial centres missed some great magic. (Continued on Page 54)
EDDIE JOSEPH S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your ownshells, should you prefer the genuine item instead of the present-day plastic variety.
I F YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, butthere is no reason at all why you should not master them all. NOTHING is left to the imagination, for in this section alone there are no less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyouhavemastered them, but even this is done for you, with Three completely baff;ing and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has tenphases of baffling moves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirelynew to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or how a spectator may challenge you, he can 26 fine illustrations by Jack Lamonte make everything is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE ASA THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
G E OARRG MES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: FrancisWhite,Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of OakBuildings, Euston Road,London, N.W.l. Saturday, June 13th C O N C E R T King George’s Hall. ParticularsfromHon. Secretary: PETERNEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser’s
l
I
PETERWARLOCK’S
PENTAGRAM
W ANT’ED
is published on {the 24th of each month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington R&., Enfield Middx. Manuscripts for publication & books for review shouldbesent tothe Editorial AddressPeterWarlock, 24, WordsworthRd.,Wallington Surrey.
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many items by C . T. Jordan, U. F. Grant, Grant & Menge, Ovette, etc., etc. Only originals p’ease, and not typed copies, I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62, WellingtonRd.,Enfield,
Goods are fully endorsed Bulletin this by
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, Lancs.
*
Middx,
SEE HOW IT RUNS! PETER WARLOCK
T H E p?ssing, of thesalt
from hand to hand m m b l y IS a very nice piece of visual magic. The trick, as a trick using salt (for the passing of loose tobacco must go intothe same category) originated so far as I know, with the very versatile and inventive magician, Fred Cullpitt. It is and in his excellent little book, “ Laughter that the first reference willbe Legerdemain found to this trick under the title of “ The Flying Salt.” The method makes use of the conventional thumbtip. Actually, Cullpitt seemsmorepleased by finding an additional use for thethumbtip than for the effect of the trick. Since that time the number of variations devised must be countBss, only my friend Jack Potter knowing exactly how many.
into the air with his right hand, the fingers close and from the fist cascades the vanished salt. REQUIREMENTS
One eighteen inch white silk handkerchief. A small salt shaker that pours easily. A gimmick made as follows :-
”
The effect to be described and one which I am using has as a means for transfer something going back further than Cullpitt’s idea. I t was in 1921, that OswaldWilliams after seeing an effect of to use, in exmine whichheaskedpermission change passed on a method for transferring invisibly, some sand poured into one hand, into the other. I t was a clever idea and later he published the method in the Magic Wand.” “
The effect is as follows:The conjurer showing both his handsto be empty, removes his handkerchief from his breast pocket with the right hand. He drapes it over his left fist and pokes it down into the fist forming a small pocket. Therighthandtakes from the table a saYt shaker and the contents are allowed to flow into the pocket the in handkerchief. When the shaker is empty it is replaced on the table. Now without any suspicious moves the handkerchief is slowly removed from the left hand, all trace of the salthaving vanished. The handkerchief is quite clearly empty and so too areboth hands. Reaching ~
VOLUME 13 No. 8
.. . .
-
First of all go along to your local handyman’s stores and see if they keep the Welpac series of screws, tacks, etc. They are supplied in small transparent phstic containers, andthe size you require is that which has on the label ‘‘ F. B. Drugget Pins.” When you’ve got this, take off the cap and empty out thecontents. Across the bottom of the container, which is a bright red, paint either with flesh coloured paintor cover with flesh covered adhesive tape. Now at thetop of the container on opposite sides make two small holes. You’llnow require some florist’s wire. Cut off a length measuring about three and a half inches and takilg one end through each of the holes, make a loop that willallow your thumb to pass easily through. When the loop is the correct size twist the free ends around the wire so that the loop is secure tothe container. The essential thing is that the thumb can pass easily in and out of the loop. The accompanying illustration shows how the fake appears:“
”
The gimmick is nowfilled almost to the top with salt, and this amount is then poured into the -
116
.
- ~.__
.-
-
(20 Cents)
-
~
~
__
MAY, 1959
58
saltshaker. In this way all thesalt now inthe shaker can be vanished. Takethe silk handkerchief, fold itin four and place it in the outsid,e breast pocket so that only a corner shows. The gimmick is then slipped in behind it, the top of the loopcoincidingwith the protruding corner of the handkerchief. With the salt shaker on th,e table, whichshould be to the right of the performer, the performer is set for the
handkerchief and then taking one corner with his right hand fingers,slowlywithdraws it from the left hand, letting it beseen that thesalt has vanished.Both hands display the handkerchief and then thehandkerchiefispassed to theright hand, where it isheld by onecorner. With easy positioning the right hand turns allowing the palm and fingers to beseenwhilstthefakecontaining the salt hangs behind the corner of the handkerchief like this: -
PRESENTATION
Sho,v both hands to be empty. The right hand reachesacross the body to take thehandkerchief from the breast pocket. The fingers come in front and thethumb taking the handkerchief at the rear engages inthe loop of thefake.The fake should not do more than hang from the first joint of thethumb.Thehand moves upwards taking both handkerchief andfake. The right hand is held at rightangles tothe ground and the left hand takes the handkerchiefanddisplays it The fact that the right hand is at right angles to the ground completely conceals the fake which hangs now from the right thumb. The-handkerchief is now draped over the left fist, and the right hand first finger pokes it down into the left fist. At this point, the conjurer shouldbe standing halfright tothe audience. As he nowgoes to pick up the salt shaker, which remember is on the table on his right, hemoves left side on to the audience and in the fraction of asecondbeforehisright hand moves away from the handkerchief totakethe shaker,the left hand fingers take through the handkerchief the gimmick offthethumb of the right hand. The right hand now takes the shaker and the performer faces his audience but the position of the left hand isheld so that the gimmick is inthefolds of the handkerchiefnearest to the performer. Thesalt is now apparently poured into the handkerchief, but really intothefake. As the pouring is done the performer takes the shaker upand down, thus adding tothe effect. When the shaker is empty, it is replaced upon the table. The right hand now flicks an imaginary grain of salt off the top of the handkerchief. This is repeated. Actually what happens is this. With the firstflick, the performerdoesnothingmore thanthat. With thesecondflick,however, the thumb of the first finger enters the wire loop and giving a half turn apparently flicks a grain of salt to the left sideof the audience. Thenturning slightly more his right hand comes at right angles to the ground and the left hand releases its hold on the fake and the right hand moves away the gimmick hanging from the right hand thumb, the fingers of the right hand being slightly apart. The fake is well covered. The performer blows at the
Theright hand returns to its previousposition and thehandkerchief is taken back by th,e left hand. Now reaching intotheair,the right hand fingersintheaction of closing into a fist, grasp the fake and at the same time see that the wireloopisdisengaged from thethumb.The right hand turns, allowing the salt to pour on to eitherthefloor or a plate. At the conclusionof thepourthegimmickis thumb palmed inthe right hand and in the action of apparently dusting the salt from both hands with the handkerchief thegimmickiscovered and taken away. Handkerchief and gimmick are replacedin the breast pocket.
LET A
MAGICIAN SELL YOUR
BUSINESS FOR YOU
CLEMENTS & CHAMBERS CONSULTANTS BUSINESS TRANSFER
AND SPECIALISTS
OFFER AN ETHICAL,NATIONWIDE. AND FIRST CLASS SERVICE.
- . . .. _
HUNDREDS OF CASHCLIENTS WAITING T O BUY. _ .. .. _
145, FLEET STREET,LONDON,E.C.4. (Over the Cheshire Cheese)
Fleet Street 7666-0685
59
THE CARD WORK OF GRAHAMADAMS MY F A V O U R I T ET R I C K most conjurers appreciate the idea of Ience,THINK showing the working of atrickto theaudiand leavingthoseladies and gentlemenin state of bewilderment. It is the imp in us, and itwillalivays bring the required laugh from the aforementioned bewilderment.
likelihood of myfinding it. I willlose them altogether by mixing them up again,and place the pack into the empty pocket, so.
;L
I saw DeBiere and +hislittle black bag time after timewithout tiring, and each time felt that I\had my money's worth. I must have seenhim nearly a hundred times, yet knew that he had his tongue .in his cheek at least half the time he was working ; I fclt that with the three things he was doing at the time he accomplished more than whenhe toured his ten tons of apparatus. I do not think it is taking a liberty with the audience, and I am sure they enjoy the explanation as much as we do in giving it. This little experiment is of the explanation order, and, as is usual with my effects, gets through a fairamount of time with as little apparatus as possible. PATTERANDPRESENTATION
The conjurer comes forward witha pack of cards, shuffling them and talking to the audience. Ladies and gentlemen, I feel generous this evening, and as the Conjurers' Union and myself have had a little altercation I am going to let you into all their secrets. "
"
With me, a secret in my mouth, . . . islikeawild bird put intoacage, Whose door no sooner opens, but 'tis out.'
A much more clever man than I wrote that. butthere, he wasn't a conjurer. Anyway, you arethe recipients of the secret, and all I ask is that you keep the peace-I mean the secret-and you will be able to mystify the income tax collector and persuade him to waitawhile.Tellhim thatas the National Debt is seven thousand millionsyou are notgoingto let a little amount like one pound seven and eight-pence worry you. All you require for the trick is a pack of cards and two hands, here are my hands, they call them farm hands. By the way, I always use an empty pocket as well, and as my own must be about the emptiest in the room, I shall use one of my own. "
I would like three of you to each take a card, note the name and then place it in the pack somewhere,where you think there willbe the least "
I placemy hand alongwith thecards,the object being to try and find the selected cards and bring them to light. Your card, Madam,was the three of hearts, I will'find it like this. Yours, Sir, wastheten of diamonds, and yours was the ace of spades. and here it is. "
Now I will show you all just how to repeat it foryourselves. Take the wholething as I did it. I shuffledthe pack,had mypocket examined, then I hadthree cards chosen and placedback intothe pack. I shuffled thecards, placed the packintomypocket andout came the chosen cards. "
We'll try again. Will you take a card, and will you, and you ? No, I don't wish to see them, If you but let everyoneelse have agoodlook. remember, I shuffledthe cards last time, but to show you that it doesn't matter, take the pack and mix themalltogether, just as you like. "
Giveme the cards ; I place them inmy pocket. Now here'sthe secret ; I think of what you are thinking, andas I knowyou arethinking of thefour of clubs, I find it like this ; and the other two I pick out just likethat-they are thc two of clubs and the ace of hearts." "
EXPLANATION
The foregoingis the eff,ect andpatteras I give it, and I hopeyou l'ike it. Now for the explanation. All that isrequiredis a pack of cards and threeduplicates.Supposingforthemoment that the three cards are: Four of clubs Two of clubs Ace of hearts
and the three cards to beused in the first phase are : Three of hearts Ten of diamonds Aceof spades
60 The top cards of the pack will be: Three of hearts Ten of diamonds Aceof spades Four of clubs Two of clubs Aceof hearts Four of clubs Two of clubs Aceof hearts First of all bring the cards to the middle of the pack and force ;he first three.Have them replaced on the top of the six stacked cards, false shuffleandbringthe “ stock ” back tothetop of the pack. Place the pack into the pocket, which
hasbeen previously examined. Produce the three chosen cards, show them, and bring out the pack, leaving behind the three duplicates which are on top of the pack. The rest is easy. Force the three cards from the top of the pack, allow the audience to shuffle them in the packasthey please, take the pack, replace in the pocket and produce the three selected (duplicate) cards. Sometinm I just have six cards on the top, and allow a free choice of the first threecards, bring them to the topand producefrom the pocket, leaving the three duplicates behindand then produce the last three cards in the same way as I have described above.
YOU DO AS I DO HIS effect is a great favourite these days. This T my version andit should present nodifficulty to students of magic. It will appeal to those whoremember the work of the late NateLeipzig and NelsonDowns. THEEFFECT
This is what happens. Twopacks of cards of the same size, one with red backs and one with blue backs, are used ; or twoborrowedpacks of different back design. Thereisno preparation. Bothpacks are shuffled by an assistant who returns one pack to the performer. The conjurer asks him to spot a card while the pack is riffled before his eyes. Thisdone, the performer places the packon his open left hand. The assistant is asked to riffle his pack for the performer to peek at a card and then to place the pack on his own left hand, just as the performer has done. The conjurerthentakes the packfrom the assistant with his right hand and asks the assistant to likewise take his pack.The performerlooks through the pack he is now holding, removes the card he just looked at and holds it face down. He then asks the assistant to declare his card. ‘ ‘ Six of spades !” (or whatever it is). The performer holds up his ownselected card for all to see ; it is the six of spades. Coincidence !
Willyou please take your own six of spades from your pack,” continues the performer. The card cannot be found, and the performeris then seen to beholding the two sixes, onered backed and the other blue backed. Magic! “
THEMETHOD
Thefirstmove takes place when thecards are riffled before the assistant. Make a break with
the secondfinger of the left hand(Figure 10). When the right hand riffles the cards this break causes the necessary pause which forces the assistant to sight the card at the break (Figure 11). Insert the tip of 1,eft second finger into the break and push upwards and outwards with this finger. The straightening movement propels the chosen card into the right palm, as shown in Figures 12 and 13. By means of this “ Slip Palm the right hand takes the sighted card and drops to the side, the left hand holding the pack.When the assistant riffles his pack for you to note a card merely pretend to do so. ”
Now take the assistant’s pack in the right hand,adding the palmed cardto the top,but taking care that the differentl’ycoloured top card is not seen. The assistant takes your own pack.
Fan the cards, keeping thetopcard concealed against the palm of the left hand,and sight this card.Find the duplicate andbringit to the top of the pack, which may now be safely turned backs up. Double lift the two topcards, holding them as one. is After the spectator’s declaration of the name
of his card hold up the two cards as one, showing that, bychance,younoted the very same card fromhis pack. Now have the assistant run through the pack he holding, notbut willhe find hisFinally, card. spread the two cardsand showthemback and front.
A NEW “SPELLING B E E ” WITH A SURPRISEFINISH
OST conjurers are familiar with the Spelling MModern Bee with thirteencards, as described in Magic”-but here we have a great “
”
“
Thecardsarethensquared into a pack of thirteen cards and held face down, i.e., the jack is the top card.
improvement. PATTERANDPRESENTATION THE EFFECT
The effectis as follows : Thethirteencards are face down and the performer spells out each letter separately, at the sametime transferring one card from the top of the pack to bottom, i.e., 0-N-E one, moving three cards from thetop of the pack, then, on saying the word “ one ” turn up the card at the top of the pack (really the fourth card) and it is the ace. The performer next spells T-W-0 and the deuce appears. The cards are then handedtoa spectator whoisrequested to work the trick.He spells outT-H-R-E-Eand it is a failure. The conjurer patters, takes the cards from him, spells outT-H-R-E-Eandthe three-spot appears. The cards are again handed to the spectator who spells outF-0-U-Rand again it is a failure. Theconjurer showshimhow to work it and spells F-0-U-R, and the four-spot turns up. The cards are handedto spectator who spells F-I-V-E and again has a miss. The conjurer correctly spells F-I-V-E. The cardsare againgiven to the spectator who gets six right,but seven proves adud, likewise eight and nine, but the spectator gets the ten, jack and queen right and is getting confident, but the last card in his hand proves a big surprise. I think my readers will appreciate this effect for drawingroomwork or smoking concerts, as it offers undoubted scope for comedy. THEPREPARATION
I n addition to twelve cards, ace toqueen, you will require a card with STUNG ” printed in bold type in place of the king. The cards are placed face up -in the following order: -
Getting a spectator to the stage, askhim: What is a Bee?” Of course, he knows it is the industrious insect onefinds in a CrossWord Puzzle. Has heever sat on one ? No-if he did hewouldbe stung. ‘‘ I have another bee here, it is a spelling bee-may I introduce it to you ? Yes!Well,here it is-the cardsarrange themselves so thatin spelling out their names they answer to them. Here’s the idea-0-N-E.” The performer transfers one card from the top of the pack to the bottom as each letter is spelt out, then, as he says the word “ One ” he turns up the card at the top uf the pack (this is really thefourth card) and it is the ace. This card is laid aside on the table. He then spells out “ T-W-0, two,” and the deuce is turned upand laid aside. Handing the cardstothe spectator who is requested to work the trick, he (the spectator) spells out T-H-R-E-Eandit is a failure. (He will actually beholding thejack). This card is replaced on top of thepacket,and the performerpattersto the effect that the spectator is not holding the cards right, or he is not rolling his “ r ” in Three. The conjurerthen spells out T-H-R-E-E, and the three-spot is turned up and laid aside. The cards are again handedtothe spectator who spells out F-0-U-R, and again he proves a’failure. There is scope for patter here. “
Thewrong card(actually the eight) is replaced on top of the pack and the conjurer again takesthecards, spells F-0-U-R, andthe fourspot turnsupand is laid aside. The cards are handedtothe spectator whospells F-I-V-E and again he has a miss. The conjurer spells F-I-V-E and turns up the correct card.
l‘
Jack, 7, 5, Ace, 4, STUNG, 3, 2, 10, 9, 6, Queen, 8.
Continueworking as detailed above,complaining that when the spectator has a failure he isnot putting enough “ vim ” into it, or isnot passing the cards from top to bottomwith sufficient flourish, etc., etc.
62
P E T EWRA R L O C K ’ S
“THE
SILKBOY”
Under this title we presentanewlowpriced utility device that gives the following effect :Taking a piece of verystiff paper, the conjurer forms into it a rectangular tube. The audience are then allowed a view through each end of the tube. Three twelve inch silks are tucked inside and once again the tube is turned end sides on allowing the silks to be seen through each end. Then “ Wham!” the paper isflipped open and shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used for the production or change ofsilks.Remember the followingpoints :-
1. Completely self-contained. 2. No tricky angle work. 3. Nothing to add ortake 4. No threads or flaps.
away.
S. No body work. 6. Always ready.
7. The price makes it
a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
24, Wordsworth Road, Wallington,
PETER WARLOCK,
Surrey
or from your favourite dealer. Finally,on production of the queen, the spectator hol’ding the lastcard facedowninhis hands, is asked by the conjurer what card he has in his hand. Naturally, he says “ The king,’’ but on turning the card over finds it is not the king, but STUNG!” “
The last line of the patter is: it is called a Spelling Bee.”
“
That is why
NOTES
For alternative finish thecard could have printed onit “ Blank,” “ Sold,” or “ Wrong Again,” thepatter being altered accordingly. ,If desired, when the spectator proves a failure witheight or nine, the performer could pretend to stop the trick, saying it is not worth while, but finallydeciding to have another try. You will particularly note that the card Stung ” never turns face up inthe working, and you will therefore appreciate the value of the Key. It is sincerely hoped that the reader will not broadcast this Key to all’ and sundry. “
Onefinal point, whena card spells out correctly,it is laid aside,when it spellsincorrectly the wrong card is replaced on top of the packet. This effect can be transformed into an excellent stage routine by using Giant cards.
Magic Go Round
-
(Continued from Back Page)
backsimilardiscussionstookplace at the Open House of the S.A.M. Parent Assembly. It should prove an interesting evening. We’ve got our own ideas of the worst disaster that has befallen magic. It’s not TV, but as magic addicts comprise a small ,proup and life’stoo short to go round antagonising people unnecessarily, we’ll just keep quiet. One of thenicestcompliments we have had recentlycamefromAmerica,whereacolumnist wasgoodenough to describe the Pentagram as an Englishversion of the Jinx. If suchisthe thought, then the complimentshouldbepassed on to the many contributors that have helped in keeping this smallbulletingoing during the past thirteen years. And to you, dear readers,don’t forget that we alwayslike to have any newsitems. Apart from these notes, we have a column in the Magic Circular ” and also in M.U.M.” ‘ I
“
The influence of Vernon is noticeable regarding theclassics. It mustbe many years since so many setsof cups and balls and Chineselinking rings were purchased by magicians. Years ago in aCircleauction sale, the highestbid for a good set of rings might have been twenty shillings. On May 9th, a fair set brought thebids up tothe three pounds mark!
63
HE past month has been more than interesting T because of an activity in magic that one doesn’t generally expect at this time of the year. First, there was a delightful week-end at GloucesterwithMichaelSeacome and his wife, Mary.Michaelisbecomingquite famous in the Gloucestershire area for the fine magic shows that hestages. As a resulthe has raised quite a deal of money for various goodcauses. The show that we took part in was mounted on the stage of the Winifred Cullis School, a new building in very contemporary style. The stage itself is something that might be envied by many municipal enterprises. First classlighting,good curtaining, and plenty of room around and back stage. Apart from ourselves Stanley Thomas, JohnHayward,Eric Williams, John Todd and Jill, Brenda Marshwithjuggling,Cis and Alfred Gabriel and Geoffrey Buckingham took part. An enthusiastic audience left no doubt in the artistes’ and organisers’ minds that they fullyenjoyed a showwhichpresentedalmost every facet of the magic art. The followingweek-endsaw the arrival of Doc. Tarbell and the Magic Circle Banquet. Doc. just arrived in time to seat himself at the festive board. Congratulations should go to the banquet committeewho,this year not only arranged for an excellentmeal’, but presented a cabaret that left nothing to bedesired. The music,this year, supplied by a band under the direction of Alfred Gabrielhelped in maintaining a spirit of jollity throughout the evening. The following Sunday at the Francis Haxtons, Doc. Tarbell held forth on many phases of magic. Heshowed us some very colourfulitems and to helpfill out the magical stint,Francis himself, Jack Avis,George Getting, Elizabeth Warlock and I went through a number of items for the Doc’sbenefit. The following Tuesday saw the Doc. this time at the Magic Circledelivering a most instructive and informativelecturedemonstration to a large number of magicians. Particular interest wasshown in his item with three different lengths of rope which most casually handed all became the same length. Based on an idea of Hen Fetsch’s we feel that this will go into many repertoires Thenext night we werewith Francisand Doc. again at the Circle, this time to see the pro-
gramme of films presented by Harry Stanley. For an hour and a half we were thoroughly entertained by the performances of Vernon,Slydini,Marconick,KenBrooke and LewisGanson. There were many lessonstobe learnt from the films, and in particular, the d.elightfu1 close-up items of KenBrookeserved as wonderfulillustrations for the would-be television close-up worker.Theaccompanyingmusicplus the wellthought-out commentary of Harry Stanley, gave a very professional finish. We must praise too the work of Lewis Ganson, who is responsible for the making of the films. If the opportunity affords, no magician worthy of his salt should miss these fine colour films. When these words are in print, the combined S.A. M. -I.B. M. Convention will possibly be underway, and there will undoubtedly be a contingent of magicians from this country to take part in one of the biggestmagicalconventions of alltimes. Thereis a rumour that there willbe a Dutch contingent, which may include Henk Vermeyden, FredKaps, Marconick and Bob Driebeek. If this is the case, then this will be a great attraction, for it seems that the Dutch boys have something in.theway of magicwhichnoothernation has to-day. The concert at Conway Hall of theLondon Society of MagiciansonMay 8th, brought before a magical audience for the first time, Frank Brooker,performing the Channing Pollock act. There are few cases on record, apart from family legacies, where a professional magician has given another magicianhis act, lock,stock and barrel, but here was such a case. Channing hot only gave the acttoFrank Brooker, but hecoachedhim aswell. ForFrank, appearing as the final act, it must have been a great ordeal, an ordeal, which apart from certain lapseswhich quite obviously were the result of nervousness rather than lack of rehearsal, hecame through with flying colours. We feel certain that when he has run through the act a fewmoretimes, Channing Pollockwillbe proud indeed of his very hardworking pupil. At the Magic Circle, we notice that on June In the 8th there isprogrammed a debate, opinion of this House,Televisionistheworst disaster that has befallenMagic.”Sometime “
(Continued on Page 62)
E D DJI O ESEPH‘S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME
THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THE PRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your ownshells. should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would be an acknowledged expert at the Three Shell Game, but there is no reason at all why you should not master them all. NOTHING is left to the imagination, for in this section alone there are noless than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER isdealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyou have mastered them, but even this is done for you, with Three completely baff:ing and completely different styles of routines that are thoroughly described.
THE REGULARROUTINE has tenphases of baffling moves, THE RILER is a routine with a NO LESS THAN 24 MOVES are then described different slant and tons of entertainment value; and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work Youtell an entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITHA SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THISBOOK,YOU CAN ACQUIREA REPUTATION SECONDTO NONE ASA THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. PETER WARLOCK’S
THE MAGIC CIRCLE
PENTAGRAM
President: Francis White, Esq. Vice-Pres.: Claude Chandle;., Esq. Clubroom,LibraryandMuseum: Hearts of Oak Buildings, Euston Road,London, N.W.1. Next CONCERT will be held on December10th Particulars fromHon. Secretary: PETERNEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
i s published on
I
,the 24th of each month and can be obtained direct from the publishe; for 1/8 per sing!e copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, WellingtonRd.,EnfieldMiddx. Manuscripts for publication & books for review should be sent tothe Editorial AddressPeterWarlock, 24’
Surrey.
1
WANTED MANUSCRIPTS-If you can help me complete my manuscript files I shall bz most grateful. I still want many items by C. T. Jordan. U. F. Grant, Grant & Menge, Ovette, etc., etc. Only originals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
I
GEORGE ARMSTRONG 62. Enfield, Middx. Wellington Rd.,
Every Advertiser’s Goods are fully endorsed Bulletin this by ~~
~
~~~~~~
~~
~
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. AndPrintedbyCentral Printing Co. (Chas. Sowden)Ltd., Burnley, Lancs.
*
MARKET HARBOROUCH TO DERBY HAXTON
- WARLOCK
N the 30thMay, Francisand I travelled by 0 ' to Derby, where we were to join Wilfred tram Tyler, and go by car to Buxton, where a meeting of the British Ring ConventionCommitteewas taking place. Market At Harborough, both Francis and I had had our fill of the '' Observer " and " SundayTimes " respectively, and we started thinking about magic.BetweenMarket Harborough and Derby we tackled two problems which I had put forward, and this month here are two variations that Francis proposed. In all we hadabout ten methods using various subtleties.
T H EF I R S TP R O B L E M BASIC EFFECT
METHOD NUMBER
1
Commence by having the two packs of cards shuffled and placed on the table. Now have a card selected from the blue pack, returned, shuffled and then it is secretly brought to the top by your favourite method.Thispack is thenhanded to the spectator. Any card is now selected from the redbacked cards by the second spectator. The first spectator is now invited to deal his cards face down in a pile on the table. Obviously, the first card dealt willbe the chosen card. At any time whilst the dealing is going on the second spectator who has by now chosen the card from among the red backs calls stop and places his card on to the dealt blue cards, followingwhich the remainder of the blue cards are placed on top of the tabled packet.
For this effectyouwill require two packs of cards, one having blue backsand the other red backs. Both of these packs may beshuffled and replaced on the table. The performer picks up the b h e pack,hasacard selected from it, returned and shuffled into the pack.This is thenhanded to the spectator, whochose the card. A card is then selected by another spectator from the red backed pack. The spectator holding the red backed card is now invited to call stop at any time helikeswhilst the blue cards are being dealt. When hecalls stop heplaces the red card he is holding on to those cards dealt on to the tabk, followingwhich the remainder of the blue cards are dealt on top or placed on in onecomplete packet.
You now pick up the pack and fan the cards face down in the right hand, being assisted by the left hand. This enables you to pull the bottom card of the fan (which is the chosen one) by means of the right fingers along underneath the fan to a position just above that held bythe redcard, (this readers will recognise as the Super Supreme Force). The fan is broken at this point and the cards in the right hand, which will be that section above the red card, are now turned up to show the chosen card, whichisseen to be next to the red card.
The cards are now picked upby the performer and fanned, when it is found that the red card has been placed into the pack at the position occupied by the chosenblue backedcard ; thus showing,apparently,that the second spectator called the first spectator to stopon hischosen card.
The effectwith this method is the same as above excepting that when thecardhas been chosenfrom the blue backed pack and returned, it is immediatelyhanded tothe spectator to shuffle and the performer does not take the pack back until the conclusion of the instructions given to the spectator.
METHODNUMBER
2
To enable this to bedone you will require a short card in the blue backed pack, this card you force andthen allow spectatornumber one to shuffle it back into the pack. Youdo not, of course, know the position of this and in fact do not obtain control of it until’ a later period in the effect. Thecard chosen from the redbacked pack byspectator numbertwo andthe procedure of spectatornumber one dealing thecards from the bluebackedpack into onepile is the same asabove. Spectatornumbertwo calls stop and places his red card into the blue deck which is then assembled. You now pick up the assembled pack, rifle to theshort,and chosen, cardandcut this to the bottom. The effect is now completed as described in Method Number 1. X
X
X
Thefollowing effect arose out of our consideration of the basic effect and really might be described asavariationfor it doesnotfollow exactly the conditions of the basic effect. However, for those who are interested I will describe it. EFFECT
The blue and red backed packs are required as in the first method. The performer hasboth of the packsshuffled and placedon thetable. Picking up the redpack acard is chosenfrom this by a spectator, the blue backed pack is then laid face down ontheperformers left hand and the spectator holding the chosen red card is invited to place it on top of the blue pack. When this is done the red card is cut into the blue backed pack. The performer now hands a paper knife to another spectator and invites him to thrust the knife into the blue pack at any place he so wishes whilst the performer is rifling the pack. This he does, whereupon the performer breaks the pack at that point to show the card that he has been stopped on, The packetwhichwillnowbe in his right hand is returned to the talon of the pack and the wholeis squared up. The pack is now fanned and the red card and the blue backed card next to it are removed and shown to be the two chosen cards. METHOD
Both the redbacked and blue backedpacks are totally unpreparedandmay bethoroughly shuffled. Place the blue backed pack on your left hand face down. Have a red backed card chosen from the other pack and placed on top of the blue cards. Younowdoubleunder-cut the red card into the pack which leaves it at the bottom. Now have a card selected fromamong the bluebacks by rifling and allowing aspectator to insert a knife at any point. Break the pack at this point, holding thetop section in you right hand with the fingers at theouter end andthethumb the inner end of the packet.
Show the card at this point, but in replacing the card on top of the rest of the pack you execute the Master Move,” which will bring the chosen card directly underneath the red back card at the bottom of the pack. Cut the pack and spread the cards on the table. Youthenremove the red backed card whichwill readily showamong the blue backs together with the bluebacked card below andturn them face up to show that the two chosen cards have come together. “
THE SECOND PROBLEM The problem as originally posed was this :Three members of an audience each select one card each, which, after noting, is returned to the pack, the latter then being shuffled. The pack is placed on the table and covered with a handkerchief. Each selector of acard respectively gives the performer a sixpence, penny and a florin. The coins are vanished and when the handkerchief is lifted from the pack it is found that the coins have found their way to the pack, the sixpence lent by the first chooseris lying on top of hisselected card, the penny on the second card and the florin on the third. There is a method but we preferred to use the basic plot from which with many deviations we arrived at the following effect :On the performer’s table stand four stemmed glasseseach large enough to contain a playing cardbut instead of pips or pictures each card bears a square of colour. Onesquare is red, one blue, onegreen and one orange. The performer addresses himself to a spectator. “ Sir,” he says, “ will you please think of the card with the blue square as your card. To help you, I’ll giveyou a disc of the same colour (a large poker chip). So that you won’t lose it, here’s a small envelope you can keep it in. ” Three other spectators are respectively asked to allocate the three remaining coloured cards and they too are givencoloureddiscs and envelopes. The four cards are th,en removedfrom the glasses, turned faces from the audience, mixed and then placedone in eachglasswith its back towards the audience. Each spectator hording the coloureddisc is now asked to seal it inside the envelope that accompanied it. Theenvelopes are collected by the performer, whomixesthem and fans them in his hand.Toa spectator who has playedno part in the proceedings, hemakes a request that hechooseoneenvelope andthen indicates one of the cards. When this isdone the chosen envelope is clipped to the chosen card. The same spectator is requested to make a second choice of both envelope andcard, again the chosen envelope being clipped to the chosen card. Thisprocedureisoncemore repeated, and the fourth envelopeis then clipped to the l’ast card.
67 Now turningtothe first spectatorthe performer stresses the freedom of choicewith the spectator. You, sir,hadthe colour blue in yourmind, don'tyou thinkit wouldbe a little strange, if the envelope attached to the blue card (at this point one of thecards isremovedfrom one of the glasses) should prove to contain a blue disc? ' ' Taking a pair of scissors, the performer cutsa sliver from the top of the envelope and turning it overallows a blue disc to fall from it. Thisprocedure of finding theappropriate discs attached to the correct cards is repeated with the other three cards. "
REQUIREMENTS
1. Eightthin
poker chips, two blue, two orange (or yellow), two red and two green. 2. Some very small square envelopes. The kind I mean are smaller than pay envelopes, the square type. 3 . Four stemmed glasses.
the chip inside the envelope, sealing the flap. The cards are removed from the glasses turned backs to the audience and mixed, the cards then being repl'aced one at a time inside the glasses. Now the envelopes are collected and alsomixed. A fifth spectator is asked to designate acardand envelope. As the selectedenvelopeis taken with the left hand the remainingones are placedon the table, the right hand taking hold of the clip. Now as the left hand with the envelopecomes tothecard with the purpose of attachingit by means of a clip, the poker chip is allowed to roll to the side so that when the clip is applied to the envelope and card, the poker chip should be held by the clip. One thing more, the envelope should pratrude over the top of the cardbyabouta quarter of an inch. Now the picture shouldlook like this : -
4. Four very small bulldog or springback clips. 5. Fourcards specially prepared. PREPARATION O F CARDS
Obtain some blank faced cards with a back pattern, pokersize preferably. Next find some cardboard thicker than the poker chips you are using and cut a piece to the shape shown in the accompanying illustration. Its overall size is equal to the size of the blank faced cards and the cutout is of such a size that it will accommodate quite comfortably the poker chips you intend using. Glue this piece of cardboard betweentwo of the blankfaced cards.Finally, onone surface, paint a square of colour. One square is blue, one red, one-orange (or yellow) and-one green. Youwill require a pair of scissors. THEPREPARATION "
don't
Thecards in the glasses are indicated and the first spectatorhandedachipappropriatetothe first card, together with an envelope. Thisis repeated with three other spectators. Each places
theI re-
Now the spectator who had the blue " cardandchip is addressed. Takingthepair of scissors and removing the blue card, still back to the audience-from the glass, the top of the envelope attached is snipped off, the card is turned and the poker chip in the 'lot to fall out into the glass. From the audience's point of view it has fallen from the envelope attached to the card! The card is then turned round to show that colour matches the chip. The procedure is the repeated with the remaining "
"
Into the slot in the blue '' card place one of the blue poker chips. Take the remaining three coloured cardsandinto their slots place their complementav chips' The cards thus prepared are PTaced 'lot One in each Of the glasses. The clips lieone beside each glass and the chips and envelopes areeach in a pile at the right of thetable.The scissors are also on the tavble. PRESENTATION
A similar procedure is adoptedwith maining envelopes.
"
you Naturally, havehave to coloured cards. You coul'dhavenumbered cards or representations of playing cards. In fact, you don't evenhave to haveglasses, a simpleform of slotted cardstand wouldmake the handling very easy indeed.
68
THE CARD WORK OF GRAHAMADAMS ON T H EA R M
THECARD
this move some years ago when Iof DISCOVERED practising an older sleight, wherein theback the arm is shown to the audieoce, and quickly shown again,the audience believing theyhave seen both sides of the arm. In this version the arm was held, first in front of the leg, then turned up and held in front of the body. In this new version the audiencesee both sides of the arm, and both the back and palm of the left hand,and furthermore,it is done very slowly and deliberately.
I have shown ittoprobably half-a-dozen conjurers, all of whom are well read and know a lot of magic, and they had never seen this curious fact before, and two of themweremedicalmen. THE PREPARATION
I use a Woo& red indelible pencil to write on the arm in the following manner, and to get the positions correct do just as I say: "
"
Firstbarethe left armto above the elbow, the arm, with the hand palm upwards, and pointing straight in front of you, is laid on the table ; with a fountain pen or pencil make a line straight upthearm, from the middle of the wrist, as shown by the dotted lines in Figure 14. Using this fine line as a guide, write the name of acardinlettersabout one inch deep. The writing shouldbe about eight inches in length. This is all the preparation that is necessary.
THECARD
THEROUTINE
Suppose the ace of hearts has been forced on a spectator. Then bare the arm, the arm pointing down and the back of the hand to the audience. Then bring your arm up to angle of ninety degrees to your body,straightoutfrom your shoulder, back of the hand still to the audience, the fingers well open. Bend your arm from the elbow until the back of your hand comes just in front of your chin, the palm of the hand to the audience. You have now shown both sides of your arm and no writing is yet visible. Swing the arm down in front of your body,back of the hand to the audience, and ask the name of the selected card. When youare told Aceof hearts," wipe the arm with the right hand, once up and down, then repeat the name of the card, raising the left arm and at the sametime turning the palm to the audience and bringing thearmtoa horizontal position so that the name may be read. The right hand, wiping the arm again as you announce the name of the card, acts as a cover for this move. "
I N THECIGARETTE FIRSTMETHOD
N this method of The Card in the Cigarette Iyears nochange of a cigarette is made,and some ago I used to use it for a ten shilling note "
"
in cigarette routine. The reader willno doubt be able to use it for that purpose if desired. THEEFFECT
The effect is that a corner is torn from a selected card,anddroppedintoan envelope, which is burnt in a candle flame. A cigarette is borrowed and partly smoked, and when torn open the missing corner is found therein. It exactly fits the remainder of the selected card.
THEREQUIREMENTS
A duplicate card. A match-box of the Bryant and May drawer type (this may be borrowed). A packet of cigarette papers, an envelope, a candle and a candlestick. If the envelopeisused it maybe set alight with a match, and the candle may be left out. Or the envelope can be omitted, in which case a pair of forceps will be required to hol'd the torn corner in the candle flame while it is burning. THEPREPARATION
Tear a cornerfrom the duplicate card, suppose it to be the eight of hearts. Roll up the cor-
69 ner at its narrow end into as small a compass as possible. Then roll it in a cigarette paper and seal it. Trim the ends of the paper, and you will have a small packet aboutaquarter of an inch in diameter and one-and-a-quarter inches long. Keep this in either the left-hand jacket or trouser pock,et. The duplicate card is placed in the left vest pocket, face outwards and torn corner downwards; it is kept there out of the way and may be introduced at any part of the programme. The envelope is on the table (presuming you are workingwith the envelope, and without the candle ; it is more convincing to burn the corner openly,butittakesa longtime to burnthat corner-even with the candl’e). THEROUTINE
When about to perform the effect, force the eight of hearts, and when the assistant is showing the card to theaudience, turn your back, and with the pack in the left hand, face to palm, add the duplicate card by taking it from the pocket. This adds the torn card to the top of the pack. Turn tothe audienceoncemore,make the pass, bringing the torn card to the middle of the pack. Ask the assistant to place his card face down on the pack, and not to give you a chance to see its face. Tearout the right-hand bottom corner of the card-as near to the duplicate tear as possible. Give thecornertothe assistant, asking him to place it in the envelope, which is thento be sealed. Whilehe is doing this, rifle the cards, the torn portion of the duplicate acting as a “ short ” card makes abreak ; makethe pass, which brings the duplicate card to the top of thepack,andthus getting rid of the newly torncard. Place the packon the tabre. Feel in your pockets, and ask for the loan of a box of matches. At the same time take the small
roll in the left hand, lengthwise across the fingers. Take the matches in the right hand (if none are forthcoming, have a box in readiness in the righthand jacket pocket). Bring the right hand to the left andpush open the box. As you do this, push the rolled-up corner intotheouter case of the box-into the space. just vacated by the end of the drawer (as in David Devant’s handkerchief production). Take a match and strike it on the box, placing the box on thetable, leaving it open and the roll still inside. Set fire to the envelope ; seeing that it gets well alight and turning the envelope about to burn the corner. Drop the ashes on to the floor or on to a tray. Then ask for a cigarette. Casually, show the hands empty, without remarking about the fact ; takethe cigarette and place itinthe mouth.Pick up the match-box, take a match and light the cigarette,, closing the box, which pushes the roll into the left hand. Toss th,e box on to the table. After a few puffs at the cigarette, remove it from the mouth, between the fingers of your right hand.Then pretend to examine the cigarette. Place it in your Ieft hand over the roll, and flick the glowing end away. Hold the cigarette in view andtearit into two about equal portions, placing the portion held in the right hand into the left, on the other side of the roll ; press the three pieceswell together, holding them well up so that everyone may see the pieces ; then start totear the paperand tobacco away, dropping the bits on the floor and letting loose pieces of paper hang over like flower petals. Draw outthe corner, open it out, and take the torn card from the top of the pack and fit it together, a complete eight of hearts. So much for the first method,which takesthreeto four minutes to perform.
THE CARD I N THE CIGARETTE SECOND METHOD
USE this method in conjunctionwith atorn 1 pack. The pack is torn in two, the pieces are dropped into a hat and the portions of a selected card recovered therefrom. THEPREPARATION
I prepare for the effect by tearing a card in half, onehalf is inserted in a cigarette. The following is the way I have found best: Empty all the tobacco from a full-size cigarette, press or flatten out the paper to remove any creases. Cut a piece of thin white note-paper the size of a cigarette paper, roll this into a tube and place this tube inside theempty cigarette. Roll
up the half card, place this inside the tube, then fill theends with tobacco, pressing the tobacco level with a match and trimming it with scissors. Youwill find that this cigarette will stand more handling than one prepared by the usual method. Theother half of the card I place in my righthand trouser pocket-. The cigarette inmy lefthand trouser pocket. T H E ROUTJNE
A pack of cards is torn, the pieces are thrown into a hat and from this hat I take the correct pieces to assemble cards that were previously selected.
70
PETER
“THE
WARLOCK’S
SILKBOY”
Under this title we present a newlowpriced utility device that gives the following effect :-
‘Silkboy’ can also be used production or change of silks. the following points ?-
for the Remember
1. Completely self-contained. 2. No tricky angle work.
Takinga piece of verystiff paper, the conjurer forms it into a rectangular tube. a view The audience are then aIlowed through each end of the tube. Three twelve inch silks are tucked inside and once again the tube is turned end sides on allowing the silks to seen bethrough each end. Then “ Wham!” thepaper is flipped open and shown slowly and deliberately on both sides. completely vanished! The silks have
3. Nothing to add or take 4. No threads or flaps.
away.
5. No body work. 6. Always ready. 7. The price makes it a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
PETER WARLOCK,
24, Wordsworth Road, Wallington, or from your favourite
Then I palm from my pocket the half-card, and going to a spectator with the hat in my left hand I place my right hand into the hat and bring out a handful of half-cards and ask a spectator to take a piece and see if the cards are really torn. Withthethumbpush forward the palmed halfcard (that has been added to the top of the handful) so that he will take it. Drop the remaining pieces back into the hat. From the left-hand pocket get the cigarette, holding it across the fingers of the left hand, and hold the hat by the brim, also in the left hand. This, of course, conceals the cigarette. Ask thespectatorabout the genuineness of the tear, ask him to “ keep the piece ” for a time, then borrow a cigarette. (In these daysit is a nice gesture to hand to the spectator a cigarette from your case, in exchange for his). Should it beofferedfromsomeoneon your right, take it in the right hand and hold it aloft, and should it be of the same brand that you have prepared you are ‘‘ on velvet as they say. With the cigarette in your right hand, transfer the hat to that hand, andwith no hestitation walk to someone on your left and give the prepared cigarette to him and ask him to smoke it. ”
Take the hat in the left hand and drop the borrowed cigarette in among the half-cards.
Surrey
dealer.
Light the cigarette for the spectator and then ask the name of the half-card. Askth,e spectator to tear open the cigarette, take the half-card from each spectator, fit them together, andthat is another version of “ The Card in the Cigarette.”
LET A
MAGICIAN SELL YOUR
BUSINESS FOR YOU
I CLEMENTS & CHAMBERS I CONSULTANTS BUSINESS TRANSFER
AND SPECIALISTS
OFFER AN ETHICAL,NATION
WIDE, AND FIRST CLASS SERVICE.
- . . .. _
HUNDREDS OF CASH CLIENTS WAITING TO BUY.
-. ..
* _
145, FLEET STREET, LONDON, E.C.4. (Over the Cheshire Cheese)
FleetStreet
7666-0685
I
71
TRANGE at this time of the year one seems to Sthroughout have seen-moremagic and magicians than the wintermonths. BobHarbin is backfrom the West Indies looking remarkably well, and we understand that these sun splashed islands havedone the world of good for Dolly’s health. On June 17th at Shoreditch Town Hall. we find ourselves onthe samebillwith Bob, Gwen Voltaire, AlanAlan, Eric Mason andShanand DavidBerglas ina MagicCircle Festival show. Though one might think it the wrong time of the yearfora bigmagicshow, we understand that tickets are selling very well indeed. A sense of magic.On the waybackfrom Derby we spoke to Francis Haxton regarding this. Therearemany in magicwho can perform a number of tricks proficiently, assemble quitea pleasant act, but lack something which should be inherent, namely a sense of magic. It is something hard to define, and yet it must be the difference of the magiccoming from the heart rather than from thehead. It is somethingwhichdoes
“MAG WI A CN D ” AUTHOR TJTLE Price Club Act of Magic (Complete Act) ... Theo Annemann 5/6 EnRapporh (Complete 2-person Act) The0 Annemann 13/0 Incorporated Strange Secrets ... The0 Annemann 8/0 Magical ClubProg. (Comp. Acij’ .., The0 Annemann 5/6 Mental Bargain Effects ... The0 Annemann 8/0 MentalClub Act (Comp.’Act:j’ . , . Theo Annemann 5/6 “No Card” MysteryAct (Comp. Act) The0 Annemann 5/6 “No Code” Telepathy (Comp. Act) ... The0 ‘Annemann 5/6 One Man Mental Psychic Routine ... The0 Annemann 13/0 Challenge Instant Hypnotism . . . . . . G . Armstrong ... 21/6 Chandu’s Psychoanalysis (Mental G. Armstrong 10/6 routine) Premonition (Sensational Card Routine) ... G. Armstrong 10/6 ExtraSensory Perfection (Mental Routine) . . . . . . Ron Baillie ... 10/6 The Universal Mind (Mental Routine) Ron Baillie ... 13/Enitertsining the Modem Child & Competitions for Children . . . . . . Betram of Cl’ton 6/6 Bohleno’s Mysteries Sensational effects Henry Bohlen .. 10/6 1’3 Read Your Mind (Cloth, very . . . . . . . . . . . . . . . Agae Darling 18/2 good) Automentalism (2-person act, with props) KendeCourcy 20/6 Dubbelkross & Simulkross (Coin Routines) . . . . . . . . . . . . Ken deCourcy 5/6 Zodiac Telepathy (Complete 2-person act) . . . . . . . . .Courcy . . de . Ken 13/8 Entertaining with “Contact Mind S. E. Dex‘er ... W O Reading . . . . . . . . . . . . . . . Entertaining with Hypnotism (3rd Ed.) S. E. Dexter ... 10/6
...............
..................
GEORGE
not demand serious presentation as onemight think, for both David Nixon and Michael’ Bailey, who bring such delightful humour to their presentations, have a sense of magic to a marked degree. The arrival of KO in this countryhas produced the best press notices of a magical act for many years and it issomething of more than a novelty for an illusion act to play the full second half of a circus, especially in such vast arena as Wembley.On Sunday,June 28th, an informal party isbeingheld at the MagicCircleheadquartersand Kiowillbe the guest of honour. HoraceKing, thatgreat protagonist of Russian magic,ismaking the necessary arrangements. Buxtonshouldprove an ideal convention venue.Never,do we think,has so muchspace been available for the dealers, and the “ Playhouse ’’ theatre shouldprove an ideal hall for their demonstration. Given good weather as well; for Buxton,the highest town in England, is a jewel’ set amongstsome of the mostimpressive English scenery, a goodtimeshouldbe hadby one and all.
PUBLICATIONS AUTHOR TITLE Price IndentityParade (Humourous mental routine) . . . . . . . . . . . . Will Dexter ... 8/0 Sealed Vision (Blindfold Stunts) (Cloth Bound) . . . . . . . . . . . . Will Dexter ... 18/2 John Ramsay’s Cups & Balls Victor Farelli.. . 52/8 Thanks To Leipzig! (CardMagic) ... Victor Farelli .. 10/6 Spectator’s Choice (Misc. andan act) DouglasFrancis 8/0 Mother Goose Mystely (Mental Effect) Martin Gardner 8/0 Twenty-six Living and Dead Tests ... Teral Garrett ... 5/6 Routines withtheJardine Ellis Ring J. A. M. Howie 13/2 Case ‘for Cards (12 fine card tricks) ... Stewart James ... .5/4 Jamesosophy (Card M.agic) . . . . . . Stewart James ... 5/6 The Nullifactor (Card M.agic) . . . . . . Stewart James ... 5/6 Manual of theThree Shell Game ... E. Joseph ... 13/2 Strictly Magic (MiscelIaneous Magic) E. Joseph ... 5/6 Toni Koynini’s Card Miracles ...... Toni Koynini ... 8/0 Derby (Close-up Card Routine) ... Toni Koynini ... 5/6 S untswithStage Money . . . . . . . . . Jack Lamont ... 5/6 SuzyandtheCitySlickers (Close-upTrick) . . . . . . . . . . . . Jack Lamont . . . 8 / 0 Pasteboard,Parade (Comp. card act) ... Jim Merlini ... 8/0 Where HoudiniWasWrong (Cloth. 120pp.) . . . . . . . . . M. Sardina ... 20/9 Where Houdini WasWrong (cheappaperedition) . . . . . . . . . M. Sardina ... 8/2 S’ooginp Around (Magic & Laughs) ... Joe Stuthard ... 5/6 ConjuRING TRIX (Tricks with Rings) Hans E. Trixer 10/6 Playingwith Magic (Cloth 112pp.) ... Wilfred Tyler 30/9 PatternsForPhychics (M.enta1 Magic) Peter Warlock 15/6 Magically Yours (Cloth, 150 pp.) ... Vera11 Wass ... 15/10
ARMSTRONG
62, WELLINGTON ROAD, ENFIELD ROAD, MIDDLESEX.
E D D I E JOSEPH‘S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS, HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a fewevenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there areeven instructions for preparing your own shells, shouldyou prefer the genuine item instead of the present-day plastic variety.
I F YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, but thereis no reason at all why you shouldnotmasterthem all. NOTHING is ;eft tothe imagination, for in this sectionalone there are no less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act will be easywhenyouhavemasteredthem,but even this is done for you, with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has ten phases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these havenever unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirely new to the conjuring profession. with baffiing moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces.Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 12/6
6d.Postage
($2-00)
From the Publisher :
G E OARRGMES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of 0a.k Buildings, Euston Road,London, N.W.1. Next CONCERT will be held .on February3rd Particulars from Hon. Secretary: PETERNEWCOMBE.
38, Overdale Ave., New Malden, Surrey.
PETERWARLOCK’S
PENTAGRAM is published on ,the
24th of each month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington Rd., Enfield Middx. Manuscripts €or publication & books for review should be sent tothe Editorial AddressPeterWarlock, 24, WordsworthRd.,Wallington
WANTED MANUSCRIPTS-I€ you can help me complete my manuscript files I shall be most grateful. I still want many items by C. T. Jordan. U. F. Grant, Grant & Menge, Ovette, etc., etc. Only origina!s p’ease, and not typed copies. I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62, Wellington Rd., Enfield,Middx.
Publishedby the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, Imcs.
P
m
h
PETER WAR LOCK 'S
A
* ***
SILKEN LOOPS PETER WARLOCK
THIS is an effect that will be liked by those who are looking for novelty in silk magic. The magician takes a yellow silk and tying two ends together to form a loop places it over his left arm. Another handkerchief, a purple one, is removed from the breast pocket and the opposite ends of this are also tied toform a loop. The loop of yellow silk is now taken by the right hand whilst the purple is held by the left. Both loops are definitely separate. A s;ight tossing motion is made by the right hand and the yellow silk leaves it and isvisibly1.inked into the purple loop. The requirements are few; they are, two purple eighteen inch silk handkerchiefs. andone also wantsome yellow of similar size.You'll nylon thread, a safety pin and some lead shot. Preparation. First of all takeone of the purple silks in the left hand by one corner, allowing the remainder to hang down. Now, four inches from the corner you are holding, cut through the silk with a pair of scissors so that in your left handyou are left with a triangle of purple siik, the apex end held in your left fingers. Take a needle and some purple cotton and after gathering the lower part of the silksew.it so that you have a piece of silk like illustration 1.
-. ~-
~
~
VOLUME 13 No. 10
This will act as a fake corner tothe other silk. The other purpye silk is now taken and to the extremetip of onecorner the nylonis attached. The best wayis to thread a needlewith the thread and run it through the silk ast the corner. Once the needle and thread are through, remove the needle and knot the thread, afterwards cutting away any surplus thread. The length of thread that you will require attached to the corner of the silk can only be found by experimentation for the simple reason thatit will depend upon your physical build. Start off with thirty inches and make any adjustment necessary. The free end of the thread is fastened to the safety-pin.
The yellow silk now comes in for some treatment.With some similar coloured silk makeup two 3 t l e bags then filling them with lead shot so that inall you hme aboutanounce inweight. Each of these little bags is now stitched near to two diagonally opposite corners of the yellow silk, like illustration 2. Whi'st the yellowsilkisplaced on the table prior to your performance,the purple silk is pushed into the outer breast pocket, the corner with the thread attached to it protruding. The other end of the thread is now fastened inside the front edge of the rinht hand coat Docket so that the thread passes upwards to the silk in the breast -pocket. Now take the extra corner of silk andfplace it in front of the threaded corner of the purple silk in the pocket. It must be so positioned thatboth corner and silk can easily be withdrawn from the pocket as one and that there should be no suggestion of fumbling. Thetakemustbe completely clean and to the audience appear that just a silk handkerchief has been removed from the pocket. PresentaBon. The yellowsilk is takenfrom the table the diagonally opposite weighted ends being taken one in each hand. The handkerchief
___
-
_ _ ~ _ _ _ ~ ~ _ - ~ ~
l/ 6
(20 Cents)
~~~~
-
~
~
JULY 1959
74
is given a twirl or two so that it becomes ropewise, in fact the more like a rope the slicker the effect when in action. The twoweightedends are now tied together and the silken loop with theknots nearest to the floor slid onto the left arm. (Those who are already ahead of me will realise bynow that this is a version of the Bohleno rings on silk. . and they’re right). Now the right hand moves to the breast pocket andtakesseparate corner and Letting ithang vertically purple silk as one. for a moment of two, the left hand now comes in andtheopposite ends of the silk are seemingly tied together; actually one end is tied to the separate piece of silk. The left hand movesaway and the silken loop is displayed by the right hand which holds it in such a manner that it does appear to be a genuine loop of silk. The right hand now places the purple silk into the left hand so that it takes up the position shown in the two succeeding illustrations :-
thumb hooks the thread at point X. The following illustration shows the position of the thread and the way it passes over both thumbs.
You’re nearly ready forthe kill, re-position the threaded corner so that instead of being between the first and second left fingers it is held between the tips of the firstfinger and thumb of the left hand. Make a preparatoryaction of throwing with the right hand, then wham! Do all these things at once :1 . Release your hold on the yellowsilkwith the right hand. 2.
W
’
The right hand now takes hold of the topmost part of the ye1:ow loop and passes it off the arm and over the purple loop so that it is now held in the position shown here.
Move the right hand to the right making certain that the thumb keeps its engagement with the thread.
3. Release the threadedend of the purple silk which is held at that moment by the left hand first finger and thumb.
The result will be that the threaded end of the silk will pass through the yellow loop, coming to restin the crotch of the left hand thumb.whikt the weightin the yellow silk willallow it to fall inside the purple loop so thata complete link is made. P:ea,sedon’t think that youwill do this to perfection the first time. Once howeveryouhave acquired the knack and synchronisation of the throw, everything willcomeeasily. Try not to tense up when making the throw. This will make you jerky in movement and might result in breakage of the thread. and in this effect . . . . no thread . . . . no trick. Now in showing either by means of words or he intends doing, the right hand raises the silk, and of course the thread, and allows the left hand thumb to hook it so that it passes ever the base of the thumb and inside the crotch of the thumb. Almost at the same time the right i n mimewhat
Before we forget . . . once the loops are linked, the right hand takes the purple ends from the left hand holdingthem high. He thenproceeds to untie the ends of the purple silk allowing the yellow loop to fall onto the table.
75
THE CARD WORK OF GRAHAM ADAMS A CARD DISCOVERY H E R E is an effect that I usedmany years ago. About 1934 or 1935 I presented it at “The Order of the Magi” in Manchester. where it baffled members present. Sincethen the idea has been bandied aboutandithas evenbeenused for a “cod” thought transmission effect. THE EFFECT. A new pack of cards is opened, the packis shuffled by the performer. a card is freely s,elected and returned to the packwhichisshuffled again and then handed to a spectator for him to shuff:e. While the spectator isshuffling. the performer announces:- “You selected (say) the seven of diamonds”.(Naming the selected card).
THE EXPLANATION. The pack is a brand new pack of cards and they are not tampered with in any way, and there is no force. American cardsare set up in packs i l l suits. usually a black suit. next a red, then a
black and lastly a red. Notehow thecardsare se; and use a pack made up in this fashion. Open pack, discard the joker, and with the cards in the left hand prepare for the r8:e shuffle. Run throughhalf the pack. Then, taking one halfin the right hand and one in the left hand, riffle the cards together, making the shuffle proper. This places 26 red cards on top of 26 black cards. Ofer the cards for selection, allowing the assistant to take any card in the top 26. After he has noted the card allow him to replace it in the bottom ha:f of the pack andsquare the cards up. With the pack in the left hand, prepare for the riffle shuffle again. Riffling the black cards slowly, the selected card being red will show up clearly; note the card, halve the pack and complete the shuffle. Handthe pa.ck tothe assistant to shuffle ashe pleases. and announce the name of the selected card as described, or reveal -it in some other method that maybe preferred.
THE CUT CARD REVEALED HERE is an idea for performers who use Erdnase’s Crimp Cut Location. It eliminates that one chmce in six of being wrong.
THE EFFECT A pack of cards is shuffled, the spectator cuts the pack. looks at the cut cards, replaces the cut and then cuts the pack again. The conjuror knows the card and he can reveal it as he desires.
former. It is easy to see if the cut is made at thc desired spot.
If it isn’t?
THE METHOD Here I must introduce Mr. Erdnase again, for in his book. under “The Player without an Ally”. on page 110, Crimping for the Cut, he says you may put a convex or concave crimp, or both, into the cards and the packets may then be squared up evenly. (See figures 15 and 16). The spectator will invariably cut atthe crimp, and if the performer has, previouslyglimpsed the bottom card of top packet (or top card of bottom packet) he is ableto conclude the trick as required. The chances are about five in six in favour of the per-
Billy O’Connor realised that the prelarranged packcouldbeveryuseful. So did TomFagan. A number of our performershavingseenBilly
16
GRAHAM ADAMS’ CARD WORK
- (Continued).
and Tom, used the same methods. One bright lad even went to the extent of using Billy’s whole act. gags and ali. That was some twelve yews ago. There is the old “Eight Kings” set-up, or the Si Stebbins arrangement. Again, there is the vastly superior LouisNikola system. I alsohave an arrangement of my own.
That’s the secret of the cutting. Get to know your pack, each card by its number. False shuffle. cut and put in the crimp-Tra-la-la. Should they not cut at the right place, estimate the number of cards and “fish”; A cherry coloured card? Yes. A heart? Yes. The four of hearts? Right. Try it out-it’s
easy, if you know your pack.
ERDNASE ON MENTALISM HERE is a little item of interest to the Mental Experts, which I trust theywilllike. On page 167 of. “TheExpert at theCardTable” (Erdnase), under heading “D”, it says:“
METHODS OF DETERMINING A CARD THOUGHT O F ”
“Thiscunning and absolutely unfathomable stratagem must have beendevisedby an individual of Mickavelian sublety. The deck is heldin the left hand face down and the cards are taken OR in the right hand and held face to the spectator. Eachcard is countedas it is taken off the deck, and theright hand packetis kept well squared up, so that but one card remains exposed to view. “As the cards are exposed thehands are parted some little distance, and the action of drawing the cards is made uniform, neither rapidly nor slowly.Now the operator looks covertly into the eyes of the spectator, and he seeswith surprising distinctness that they follow the movements of his right hand in taking off and exposing the cards. The moment the eyesrest or l.ose their intensity. the performernotes the number of the card, but continues the drawing off process. Shortly, asking if a cardhas been thought of, he closes up the deck, and counts to the number and produces the card at will.” For those who havenota copy of “ The Expert ” at hand I have given this explanation in full, and although I picked this one out of the book a good many years ago I present it in a different way today. Here weare:-
“Ladiesand gentlemen. I shall nowpresent an experiment in mind reading, and although I do not claim to be an adept in the art, I have managed to obtain an understanding of its fundamentals and shall demonstratethat, under favourable conditions, I can read the thought most prominent in the mind of a willingsubject.Wouldanylady or gentleman give my ability an impartial test?” Show the assistant to a seat, side-ways on to the audience, with the light full on the face, so that the eyesmaybeclearlyseen. As the assistantis seated and the performer is standing, the assistant mustlookupwards. The cards are heldin the left hand and passed in front of his eyes at a distance of about two feet. The right hand takes the cards one at a time, but instead of keeping them in that hand they are placed underneath the cards in the left hand. Note the slackening off of the intensity of the assistant’s look; this will occur after four or five cards have passed. Say: “Have you decided on a card, sir?” Should the answer be, “Yes”, you are all right. Shouldthe answerbe “No”, youare still all right, and say:“Wewill go throughit again .” What is happening is this. The pack is falseshuffled and genuinely cut. But the pack is our old friend the “Eight Kings”, “Si Stebbins”, “Nikola”, or any other not too obvious set-up. As you pass the cards you are reciting to yourself the names of the cards. Watch the eyes and you know the cards. By the way. the introduction is from Erdnase. page 194.
A CARD COMBINATION T O find somethingreallyaway from every-day card effects is becoming a rather difficult task, when each one must be practical.
that they are lost onan audience, or just to be shown to a couple of friends. In combination, however. they make a good comedy effect.
Here is a little combination of twoeffects which, when separated, are so quickly terminated
The first part of the effect is a colour chmge or card change that Stanley Collins showed to me
many years ago, during the first World War. At thattimehe waswith theFourthArmyHeadquarters, and Stanleywasassisting Capt. Elliott and Nat. D. Ayer to produce a Revue. The other portion of the effect is based on Houdini’s Torn Card experiment, described by T. Kelson Downs in “The Art of Magic.”
THE STANLEY COLLINSCHANGE For the card change the double lift is employed,two cards beingshown as one, when suddenly the wrong card appears as the right one. Hold the two cards as one in the following way:-- The right hand first and second fingers hold the two cards by the left-hand bottom quarter, on the face of the outer card which faces the audience. The right thumb is at the back, pressing slightly in the hollowbetweenthesetwofingers. The third and fourth fingers of the right hand rest on the back of the rear card, assisting in holding the two cards as one. The remainder of the pack is face down in the left hand.Figure 17 shows the audience view, and figure 18 shows the rear view. Hold the right hand with the fingers upwards and the card facing the audience, as shown in fig. 17. The second and third fingers snapthe front cardbackto a horizontal position, leaving the selected card facing audience. See figure 19. whichshows the back view. This is a sort of “finger snapping” movement. and willsoonbe grasped after a, few minutes practice.
The part played by the left hand is to lift the first card away from the right hand while making a natural move. The fingers of the left hand tap the front and the back of the card that is being shown, the performermaking somesuch remark as-“Your card, sir? No? I thought it was! (the SnapChange is nowmade) Ah, that’s it” On the last expression the right hand snaps the card away forthe changeandthe left hand takes it away on the back of the pack as shown in Figure 20. So much for the change.
HOUDINI’S TORN CARD TRICK This trick dependssolely on the ability to perform the two-handed pass. Here is the effect as I do it. A selected card has the top right-hand quarter torn fromit; the card is initialled, yet while being held between the outstretched palms of the assistant it changes to another card, which just goes to prove that “seeing is notalwaysbelieving.” The only preparation is to tear the right-hand top quarter from a card, place the quarter under the card and this mutilated card in the middle of thc pack. A card isselected and the right-hand top quarter is torn away. The card isplaced on top of the pack for a moment, “So thatit may be initialled”. The torn quarter isplaced under the mutilated card as it is placed on top of the pack. The right hand takes a pencil from the pocket and the assistant initials thetop card-he thinks he initials the selected card, but the performer has made the pass before getting the pencil, bringing the previously mutilated card from the centre of the pack to the top. Thetopcardand corner are given to the assistant and he is asked to hold the pieces in his hands. “Of course,youwouldknow your own card?” “Yes”. “The nine of diamonds?” “Just fit the corner to the card and hold it up so that all mayseeit-and having seen it they don’t believe it”. Of course, thecard proves tobeanything but the nine of diamonds - or whatever the selected card was.
THE COMBINATION Combine the two effects like this:right-hand top corner fromthetopcard pack and tuck it underneath the card.
Tear the of the
Have a calrd selected from the middle of the pack andthen replaced. Makethe pass,which brings the sel.ected card to the top and the secretly torn card to the centre. Announce that youwill cause the selected card to come to the top of the
78 GRAHAMADAMS’
CARD WORKS
-- Continued
pack. Double lift the top two cards and, holding them as oneinthemanner described forthe Stanley Collins Change, announce that this is the selected card.“Yourcard, sir? No? I thought it was! (make the snap change) Ah, that’s it.’’ Take the card after thechange, tear the quarter from it, tucking the cornerunder the cardand placing it back on top of the pack “for initialling”. Make the pass. bringing the secretly torn card to
the top, have it initialled and then hand it to the spectator, together with the torn quarter, for holding between his hands. Now finish the routine as described above, and there you are. To locate the torn card for the pass, just riffle the cards with the right fingers and the torn card will act as a short card and stop the run. Insert the little finger and you are ready for the pass.
(To be continued).
THE “Linking Ring”, always so perfect in presentation, certainly boobed in theJune issue! Elizabeth Warlock instead of Elizabeth Hammond was shown on thecover as onewho was makingthe Chicago trip, whilst inside an alltoo falmiliar photograph of Slydini was captioned with ‘George Jayson (Jason)’. Th,esame issue also brought a Magi-ministers ‘Parade’, consisting in the main of standard tricks. the accompanying patter involving the Trinity’. Now perhaps I’m a strange guy forto me there isnothingbut profanity when a priest takes the holiest of words and allies them with the mediocre rubbish that some are prepared to call magic, and I cannot believe that inany country that acknowledges Christianity it is necessary for magic to be presented in the pulpit or its equivalent. True itwouldseem that many of these American Magiministers are strongly slanted towards evangelism, and perhaps because I read “Elmer Gantry’’ whenyoung,I’mbiassed against these jingoistic peddlers of spiritual In this perticular compilation, the emotions. greatest profanity is a posed photograph of one of their number caught in the midst of a linking ring routine. a painting of Christ visible in thebackground. I have. in my time in these islands, met many many priests who havefound inmagic a great hobby. which has given great pleasure not only to themselves but allsoto those who at their entertain-
ments,haveformed their audience. All of these men with faith in themselves would never need or think of bringing into their strict teaching of Christianity the wherewithal of conjuring. The British group who visited Chicago czrtainly seemed to have had a first-class time and AlexElmsley is fortunate enough to extend his stay until September. Corinda reports excellent business. Francis White, as usual, proved the ideal compkre for the International show and besides this acted as anexcellentambassador for magicians in this country. We are always amazed when a magician with a big collection of tricks tells us how many he has
accumulated.Only the other dayTravisWills was tellingus that his collection of tricks alone touches the eight-hundred mark. This, as he puts it. simply represents buying twenty tricks a year for some forty years andneverd,isposing of any of them. Besides this he has a collection of some two-thousandone-hundred and thirty books and magazines.Whilst we might well touch the book and magazinenumber the tricks we’ve bought during our magical lifetime of some forty-odd years wouldn’ttouch the fifty markand yetwe alwaysseem to belooking for storege room. It was very nice to hear from George Johnson He dropped us a line regarding the cigarette packet
79 MAGIC GO ROUND (Continued) tc flowersitem that we publisheda little while back. His note was to tell us that George Munro in the pre-First WorldWar yearsused to sell a matchbox to flowereffect. Though the effectwas simply achieved it would not be possib1,e to make it up with the spring flowers marketed to-day, as they are far too large forthe purpose. About a dozensilk spring flowerswere fastened by their strings to oneend of a matchsbox drawer. With the flowersheld the drawer waspushed into the cover of the box about a quarter of its length, the flowers taking up the remaining three-quarters space left inside the cover. The drawer was filled with matches andthe box placed on theperformer’s table. Theperformertookthe boxwith his left hand, then extracting a match with his right. The matchwas struck and, say, a cigarette lit. Now with the actual closing of the box, i.e. pushing the drawer into alignmentwith the cover, the spring flowers automatically expanded completely covering the box. George Johnson suggests that a small pointed hook be affixed to the outside of the box, so that when the flowers had expanded the resultant display of flowers could befastened to the performer’s button-hole.
We hope that you like the silken loops idea in this issue.You’ll have the chance to see it in action at Buxton, where we shall be lecturing. We shall also be including a few other silken ideas that should prove novel to British Ringers.
PETER
The ‘Silkboy’whichweadvertised a little whilebackseemsto have proved its popularity. Certainly wehave foundit mostuseful and by using only a very slightly larger model find it the best trouble-free vanish for three eighteen-inch silks.You’llsee this too at Buxton. June proved an interesting month.Kio
was Circle A delightful Reception for him onthe 28th. evening in which we had the pleasure of meeting Jac Olton again, and Celeste Evans for the first time. As we shall be travellingwestwards on Saturday. Juiy 18th, it looks as though we’ll meet her T.V. spot. There was the ShoreditchTown Hall Circleshowwhichprovided a true Festival or’ Magic. at Wembley and there was theMagic
PercyPressseemsverybusythesedays, and apart from countlessengagements for magic and Punchwork he is currently taking part in the shooting of a film,which at the moment has the title,‘EveryNightSomethingAwful’. A skit on an ENSA wartime show, it includessuchwellknown personalities as Dora Bryan, Alfred Marks and Dick Bentley. Besides giving technical advice. for in the film there is a conjurer played by Reginald Beckwith, Percy has a nice spot where he does a Galli Galli act.
WARLOCK’S
Under this title we present a new lowpriced utility device that gives the following effect :Taking a piece of verystiff paper, the conjurer forms it into a rectangular tube. The audience are then allowed a view through each end of the tube. Three twelve inch silks are tucked inside and once again the. tube is turned end sides on allowing the silks to be seen through each end. Then “Wham!”thepaper isflippedopen and shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used for the production or change ofsilks.Remember the following points :1. Completely self-contained. 2. No tricky angle work. 3. Nothing to add or take away. 4. No threads or flaps.
5. No body work. 6. Always ready. 7. The price makes it a ‘must’.
IT’S ONLY 7/6 Complete (No Silks)
PETER WARLOCK, 24, Wordsworth Road, Wallington, Surrey or from your favourite dealer.
E D DJI O ESEPH‘S Latest and GreatestWork THE MANUAL OF
THE, T H R E E SHELL GAME
THE MOSTCOMPREHENSIVEWORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. half of these HERE IS another in the series of George IF YOU MASTERED only moves you wouldbe an acknowledged expert at the Armstrong’s Giant Sized Manuals, uniform in style Three Shell Game, but there is no reason at all why with John Howie’s ROUTINESWITH THE you should not master them all.NOTHING is JARDINEELLISRING and Peter Warlock’s left to the imagination, for in this sectionalone PATTERNS FOR PSYCHICS. Possession of there are no less than 60 finedrawings by Jack this new manual will open up for you an entirely Lamonte to augment the text. newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a FRUSTRATING THE CHALLENGER isdealt feweveningspracticewill enable you to present with in a special chapter, and there are moves and some of the most baffling moves and routines ever suggestions here that will really tickle your fancy. devised. ROUTINING THE MOVES into a complete act willbeeasywhenyou have masteredthem, but THE PRINCIPLESandRUDlMENTS of The eventhisis done for you, with Three completely Three Shell Game are thoroughly discussed before you learn a single move, and there are even instruc- baffhg and completely different styles of routines that are thoroughly described. tions for preparing your ownshells, should you prefer the genuine item instead of the present-day THE REGULAR ROUTINE has tenphases of plastic variety. baffling moves, THE RILER is a routine with a differentslant and tons of entertainmentvalue; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probablythemost in the minutestdetail.Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertainingstory and illustrate it and are entirelynew to the conjuring profession. wi:h baffiing moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
GEO AR RG MES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: Francis White, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,Libraryand Museum: Hearts of Oak Buildings, N.W.I. EustonRoad,London, ParticularsfromHon. Secretary: PETERNEWCOMBE.
38, OverdaleAve.,NewMalden,
*
Surrey.
I
Every Advertiser’s Goods are
I
PETERWARLOCK’S
PENTAGRAM
W A N-T E D
i i published on ‘the 24th of each
MANUSCRIPTS-If you can help m( complete my manuscript files I shall bc most grateful. I still want many item! by C. T. Jordan. U. F. Grant, Gran R: Menge, Ovette, etc., etc. On11 originals please, and not typed copies I will allow generous credits ir exchange, or buy for cash,
rhonth and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. lS/- post free. Published byGeorge Armstrong, 62, Wellington Rd., EnfieldMiddx. Manuscripts for publication & books for review should be sent to the Editorial AddressPeterWarlock, 24, WordsworthRd.,Wallington Surrey.
fully endorsed by
GEORGE ARMSTRONG 62, Wellington Rd., Enfield,Middx,
this Bulletin
PubIished by the Proprietor.GeorgeArmstrong, 62, Wellington Road, Enfield, Middx. AndPrinted by CentralPrinting Co. (Chas. Sowden) Ltd., Burnley, Lancs.
*
PETER WAR LOCK ‘S
* ***
__~___
~
THE KEY OiF FORTUNATO
PETER WARLOCK TO KOLAR must go the credit for originating an effect in which the performercould decide unerringly and without visual aid, which of several keyswould openalocked padlock. It took the imagination of Anneman however, in “Book Without a Name” to come up with a title that has stood the test of time,“Seven Keys to Baldpate”,and with the title he presented a method which today is still as good as many that havehit the market since that date. The trick in its accepted form cannot be considered ideal entertainment because of the waste of time involved whilst a number of people, (any numberup to seven!) each take a key andone after the other test whether such key will or will not open apadlock presented to them by the MilbourneChristopher was, to the performer. best ofmy knowiedge, the first magician to come up with a presentation that ignored these prelimiilaries and gave a version of the trick in which a number of spectators were invited to take keys one of which would open a padlocked box containing a sum of money. Withoutlookingup the. actual reference I feel certain thatMilbourneadvocated the use of Stewart Judah’slovely method. the “Keys Of Judah”.. Now although the method here is excellent, and up to a certain point, foolproof, I am allergic to reliance on mechanism if it canbe avoided. It was with this thought in mindthat the following routine and method were devised. The presentation to bedescribed makes the “Keys to Baldpate” effect into a stage or platform presentation.
-
_
~~
VOLUME 13 No. l1
-
_
1/6
Four members of the audience are seated left of the performer. On his table is a simple stand (See illustration 1) to which are clipped five small enve!opes. Each envelope bears a different number, the numbersrangingfrom 1 to 5. _
~
(20 Cents)
-
-
AUGUST, 1959
82 ThePerformer lifts fromthetablea small transparentplastic box. A length of coloured ribbon (illustration 2) twice encircles the box and through two rings at the ends of the ribbon a padlock keeps them together. Holding the box so thattheCommitteeandthe audience can see, the performer points out that locked inside the box is a E5 note. The box is placed on a chairand then the attention of the audience is drawn to the five numbered envelopes clipped tothestand. “Each of these envelopes contains one key . . one of the keyswill open the padlock which keeps lockedthe box which I have shown you. (To the committee). Eachone will have a choice of one envelope andthechance of the E5 note. I shall in no way try to influence your choice.” Each spectator in turn is asked to name the envelope that he or she would like and according to their choice the envelope is removed from the stand and handed to them. When four envelopes have been chosen and only one remains clipped to the stand, the spectatorsholding them are asked to open them, and remove the key contained inside. Each then in turn tries his key in the padlock, but none succeeds in opening it.Takingthe final envelope and handling at the fingertips, the performer cuts off one end and allows the key inside to fallontohispalm.Handing this key toone of the Committee, he asks him to try the key in the lock. Needless to say, it is the one key which opens it!
The Requirements : 1. A padlock together with five keys that will open it and another five that will not. 2. Some pay envelopes measuring 2$ inches by 3 inches. I don’t think that you’ll be able to buy envelopes thisactual size. Those I use have been cut down from slightly longer envelopes. 3 . A transparent plastic box. 4. A length of ribbon. 5 . Two small metal rings. 6 . A simple stand to hold the envelopes. It consists of a base twenty inches long with two holes drilled one inch from each end to accommodate respectively two twelve inch lengths of quarterinchdowel rod. The only other requisite is a inch strip length of one - eighth byhalf of wood, whichwhen setting upthestand is attached at each end to the tops of the dowel rods by means of criss-crossed elastic bands. If the woodworkisgiven a coat of matt flat black paint it looks quite respectable.
-
1-
. ._. In describing the effect I don’t think I have stressed enough thefactthereare no suspicious moves and in particular that as each envelope is removed from its clip it is freely shown on both sides. When thespectators remove their keys from the envelopes nothing else is left inside.
83
7. Fivesmallbulldog clips to hold the envelopes in place. 8. A pair of scissors. Preparation : Check the length of ribbon needed to go round the plastic box both ways, thenhavea ring sewn to each end. Place the f5 note in the case put onthelid, bind the ribbon round bothways and then snap the Padlockthrough both rings SO that the only wayof opening the box is by unlock- but ing the padlock.
Take five envelopes and the five keys that will not open the lock. Into each envelope place one key. There is aparticular position for each key, namely at the flap end lying crosswise across the envelope. Seal the flap of eachenvelope,but before allowing the glue to set take the keys that will open the padlock and insert them in the flap (as in Illustration 3) Don’tallow the gum to set against the key for all you require is a small pocket to hold it in place; there should be easy freedom of movementwithout the possibility of the key falling to either side. On the face of each envelope is chalked anumber with charcoal stick. (Alternatively, numbersfrom office calendars canbe cutoutand affixed). The envelopes are then + clipped totheupperstrip of wood. Illustration four shows the position of the envelopes as seen by the performer. The stand holding the envelopes is placed on the performer’s table whichshouldbealmost centre stage, There should be one chair immediately to the left of and slightly in front of the table. and well left of the table, and to the front of the stage or platform are four chairs to accommodate the four helpers from the a(Ud’ lence.
The Iocked box at the commencementis placed upon the table adjacent to the stand. The scissors are dropped into the right hand pocket.
’
Presentation The four helpers are invited upon the stage a d seated onthechairsleft of the table. The performer thentakesthe plastic box from the tableand shows that notonly is it padlocked that it also contains a g5 note. The box is then placed upon the seat of the chair adjacent to the performer’s table. The attention of the four helpers is drawn to the envelopes, and in stating that eachenvelope contains one key, the performer is perfectly truthful. The first helper isasked tomakea choice of the number. We’ll suppose thathe decides uponnumber three, the centre envelope. The performer asks him whether he (or she)is quite satisfied with such a choice and allows a last minutechange of mind.When the helper has affirmed his or her choice, the left hand of the performer removes the cl.ip whilst the right hand takes hold of the envelope in such a manner that the ball of the thumb rests on and covers completely, the top of the key held in the pocket of the the following verseThe left hand carries away the clip and drops it into his left hand pocket whilst the right hand turns the envelopeover thus allowing both sides to be seen. remarking, “This, then is your choice!’’ The right hand returns to its original position so that the coveredkey is nearest to the performer. Now inonecontinuous action, the right hand thumb slides the key upwards from the pocket, turns the envelope down so that it is paralllel to the floor and places it onto the upturned fingers of
84
the left hand, whichin turn takes the key,now separate from the envelope and the envelope itself. The performer moves across to the spectator who chose the envelope and in this action the fingers close over the key in the envelope being held between thethumb and firstfinger. Illustra,tion six shows the twopositions. The spectator takes the envelope and the performer moves backto the stand. A second spectator is asked to nominate an envelope. The left hand, which remember, has fingerclipped the keystolen from the firstenvelope, takes hold of the club whilst right hand takes hold of the envelope in the samemannerthatthe firstenvelope was taken. Now the left hand removes the clip anddropsthisandthepalmedkey into his lefthand pocket. In handing the envelope to the secondspectator the procedure adoptedis the same as with the first spectator. Carry on in exactly the same way with the third and fourth spectators, so that you are left with just one envelope on the stand, and one key in the left hand. Let the spectators open their envelopes and unsuccessfullytry to open the padlock. Nowpleasepay attention to the handling at this final stage, handling which is very clean and cannot allow any suspicion t o . arise in the audience’s minds that you do more than you appear to do. At this point the left hand still has the odd key takenfromthefourth chooser’s envelope. Left hand comes upto remove clip whilst right hand takes the fifthenvelope ashehastaken those before. The clip and key are dropped into the pocket and the envelope shown on both sides.
Whenhowever, the hand returns to its original position and the keyis nearest to the performer, the left hand c o m a in and takes the envelope first finger tip on the top edge, thumb against bottom edge (illustration 7). Quite obviously there is only an envelope and nothing concealed in the hands, though naturally nothing is mentioned regarding this. “This is the envelope you left for me . .(ahe says this the right hand comes in and taking it by the lower corner between thumb and first fingertip, holds it up. He then passes it back to the left hand which this time takes it at the positionshown in illustration 8. The thumband fingerpress on the extreme end of the key in the pocket and also the key insidetheenvelope. The right hand reaches into the right hand pocket for the pair of scissors comes out and then slicesaway theend of the envelope opposite to that held by the thumb and forefinger of the left hand. The scissors are dropped onto the table and without comment the right hand is shownempty andbrought across under the envelope. The left hand tilts the envelope over shifting the grip of the thumb from the key in the pocketandontothe key inside the envelope.When it is insuch a position that the keyin the pocket is in a vertical position it will fall behind the envelope and onto the palm of the right hand. To the audience it is exactly as though the envelope were tilted and a key fell from within it. Naturally the pressure of thethumb on the key inside the envelopeprevents this falling as well. The left hand places the openedenvelope on the table and then advancing toone of the helpers onthe stage, the performer asks him to remove the key from his palm and see whether it is theone which opensthe paidlock. It does!
THE CARDWORK
CRAHAMADAMS
OF
ACCOMPANIED BY THE JOKER SOME years ago Carruthers, of the Order of the Magi, performed a very pretty little experiment, trick, effect or what you will, with four aces. Don’tsmile, it was not the usual four-ace trick. He used four aces, all long cards, and he gave me permission to use it. I didn’t, until a few years later, and then in S different way. One difficulty was in getting the pack cut so thatthe four aceswere “long”. However, on reading Page Wright’s “NoteBook” I founda little tip of Frank Lane’s which he described there. This is a piece of thin celluloid, cut slightly larger
than the cards to beused. It makes an excellent long card, and isundetectable. Try this out and you will like it and use it. The only move required in my routine is the Charlier Pass, used as a flourish. The Charlier Pass is easier to use this way than as a magical sleight, when it is the quickest and one of the most invisible of call the millions of invisible grasses ih existence. The “Cards up the Sleeve’’ is used as an introduction, and I shall not attempt to describe that here as everyone has his ownpet method.
85
Then off we go; “Accompanied by the Joker”:
PATTER AND PRESENTATION “ Ladies and Gentlemen. The American poet, Bret Harte, wrote a little thing you all know abouta“Heathen Chinee”.
“Ah Sin was his na,me: And I shall not deny In regardtothesame Whatthename might imply, and child-like. But his smile itwaspensive “Now Ah Sinplayed a friendly game of Euchre withtwo Yankeecrooks in agamehe did not understand. You all know how the Chink won andthecard sharpers turnedhimupside down. “In the scene that ensued I did not take a hand, But the floor it wasstrewed Like the leaves on the strand With the cards that Ah Sin had been hiding, In a game he did not understand. In his sleeveswhichwere long He had twenty-four packs, Whichwascoming it strong, Yet I statebutthe facts. That for ways thataredark, And for tricks that are vain The heathen Chinee is peculiar, Which the same I am free to maintain. “Now,LadiesandGentlemen, I’m nota heathen Chine-and I haver no ‘cards bp my sleeve, but I willshowyouhow to send them there! Here are the cards. Watchthem go, one at a time.” (Holding the cards in the left hand, flick and produce the cards singly from under the coat at the left shoulder.)
‘‘ Here they come, another, and another, two more, here’s a bunch.” (Etc., etc. Finish production.) “This life is like a game of cards, Which mortals have to learn; Each shuffles, dealls, and cuts the pack, And each a trump doth turn.
Some bring a high card to the top, And some will bring a low; Some hold a hand quite full of trumps While others few can show.
In playing some throw out their trumps, Their winning cards to save. Some play the king, some play the deuce, But manyplay the knave. Some play for money, some for love, And some for worldly fame, But not until the hand’s played out Can they count up the game”. (During this recital there is plenty of opportunity toproducetheappropriate cards, this of course at the discretion of the performer). “You see the game’s the thing, and what does and a joker! it matter if occasionally one holds-four aces
“Here they are, four aces accompanied by the joker”. (The four aces with the joker under them have previously been placed in the pack with the celluloid fake on top of them. A cut at the fake will now bring the fake to the bottom of the pack and the ace to the top. Therefore proceed as follows: Makethe Charlier Pass (single-handed cut) and deal off the firstace. Cut again, bring thefake on top of the aces in the middle of the pack, and immediately cut agalin, bring another ace to the top and deal it off. Repeat this until all four aces have been produced, “accompanied by the joker”. This looks like a very clever pieceof manipulation, for, apart from the continuous single-handed cuts, the performer has produced the four aces and the joker while apparently cutting at random). “ We’ll lose these in the pack, placing them indifferent parts, like this! The ace of hearts here, and lose it like this. The ace of spades here, and it is lost. . h o t h e r ace goes, and another, followed by the joker, until they alre all lost.
(Use the celluloid fake as a guide. Cut the pack-single handed as usual, bring the fake to the bottom and place the first ace on top of the pack. Cut again ‘losing’ the ace. Another cut, and so on, until the four aces alnd joker have apparently been lost in the pack. Really theywill all be together with the fake on top). “And here we have - four aces accompanied by the joker.”
Repeatthe whole productionagain - this time the joker willcome out first - and then apparently lose themin thepack again, butdo not produce them again until the eighth line in the following verse-
86 GRAHAM ADAMS’ CARD WORKS
-- Continued No other hand in all the world, Can greater solace bring, Than that sweet hand I held last nightFour aces and a King-
“Last night I held a little hand, So dainty and so sweet, I thought my heart would surely break So wildly did it beat.
Accompanied by the joker!”
THE SLEEPY CARD THIS one was shown to me by the late Douglas Dexter. He was responsible for a number of good things, which could only be described as magic, and this one, in his hands, was a little gem. THE EFFECT Someone takesacard;the performer says: “There’s a sleepy card in the pack. The nine of hearts--funnyyoushould havetaken it. We’ll put it to bed.” The pack is held in the left hand, face down, and the nine of hearts is placed on the bottom of the pack and slowly, without any move of the left hand it is tapped square with the pack with the right forefinger. The pack is turned face-up, exposing the card. The performer points with his right forefinger to the nine and says:“He’s too hot. We’ll cool him down.” Takingthecard at thebottom of the now face-uppack in his right hand he fans the nine, saying: “Now he’s too cold. We’ll cover
himup” The oddcard is buriedin the pack and the pack, still face-up, is cut, bringing the nine to the middle. Then, turning the packface-down the performer proceeds: “He’s so cold he needs blankets, so two cards, one oneach side of him, will turn over to make himwarmer.” The pack is fanned until two face-up cards are found, withoneface-down card betweenthem. This card is removed; it is the nine. THE METHOD The explanation is very simple, yet the sima pack of cards with plicity is its mystery.Use white borders. Reverse the bottom card of the pack and the card second from the top. Have a card selected from the face-down pack, taking care not to expose the face-up cards. Whatever it is, refer to it as the Sleepy Card. Place it beneath the pack,slowly tap it home, turn the pack over and carry on with the patter; the trick just works itself.
SIMPLICITY SHOW this as a thought-readingeffect will have a puzzler.
and you
THE EFFECT Three cards are selected, each one in a different way. The first is takenfromthepack while the performer is looking intothe eyes of the selector. The second whilst the performer’sback is turned on the selector. Each of these keep their cards, and the methods of selection seem to preclude any possibility of the performerinfluencing the selection. The thirdcard is selected by the spectator sighting a card in the pack as it is riffled before his eyes. The pack is immediately given to the third spectator to shuffle and hold.
also holds up his card. No. 3 is asked to hold up the pack and his card is named.When the selector agrees, the conjurer exclaims : “ Yes, I thought so, because I am holding up that card”whichheimmediatelydoes.
The performer points out that Nos. 1 and 2 hold their cards and No. 3 holds the pack.
THE METHOD. There is nothing here to present any difficulty. The threecards a’re, of course, forced. The first card is forced by the normal fan-force, while the performer looks into the spectator’s eyes. Forcing the next card, behind the back, is just as easy and ismerely a matter of confidence and practice. The third force, by the glimpse and side steal is knownby all conjurors. This 1.eaves the card palmed andthe pack is immediatelyhanded to the spectator.
The performer names the first card, after due concentration, andthe selector holds itupfor verification. This is repeatedwith No. 2, who
There is nothingin itbut presentation, and yet it brings more applause and recognition than other winners that cost a whole heap of E S. d.
(To be continued).
MAGIC CIRCLE FESTIVAL OF MAGIC This year’s Festival not only brought a very colourful and varied presentation of magic art but it gavea very large audiencethe opportunity of seeing the superb artistry of the Marvyn. Roys and Sitta. The former with their almost ballet-like act inwhich the general motifwas magic with electric light bulbsmadeone easily understand whytheywere picked by Ed. Sullivan for his Moscow presentation. Sitta costumed as the imperturble Chinese magician, did much of what we had seen him do before and in justsuch an immaculate manner; the silks which change into beautiful imitation water lillies is a piece of magical poetry and something exclusive which we hope stays that way. The two acts mentioned were well supported by the remainder of the company, all of whom well merit individual praise. Opening was Horace King and Betty (Korolyov) with fast moving magic and a fine music score. There was Rahnee Motie,a
PETER
“THE
slim, but busty fire eater, Jackie Flosso with gags, fooling Saveen with ventriloquism and Gogia Pasha. Leslie Lester opened the second half with manipulative magic consisting of card and cigarette production plus a very effective presentation of the diminishing cards. Then there wi~s Eddie Schuyer and assistant witha delightful ,novelty act. JohnDanieland companyclosed the show with an eye popping vanish and re-production of aduck plus a great lay public foolerversion of the “Sawing Through”John Wade proved an amiable compere, whilst Sydney Jerome and his orchestra supplied the music. An enjoyable showwhichmight little more humour in it.
have had a
The Directorate responsible for the Festival, Michael Bailey, Norman Cooper and Gil Leaney are to be congratulated on their offering.
WARLOCK’S
SILKBOY”
Under this title we present a newlowpriced utility device that gives the following effect,:Taking a piece of verystiff paper, the conjurer forms it into a rectangular tube. The audience are then allowed a view through each end of the tube. Three twelve inch silks are tucked inside and once again the tube is turned end sides on allowing the silks to be -seen through each end. Then “ Wham!’’ thepaper -is flippedopen land shown slowly and deliberately on both sides. The silks have completely vanished!
‘Silkboy’ can also be used production or change ofsilks. the following points :L
for the Remember
1. Completely self-contained. 2. No tricky angle work.
3. Nothing to add
or take away.
4. No threads or flaps.
5. No body work. 6. Always ready. 7. The price makes it a ‘must’.
IT’S ONLY 716 Complete (No Silks)
PETER WARLOCK, 24, Wordsworth Road, Wallington, Surrey or from your favourite dealer.
E D D I E JOSEPH‘S LatestandGreatest Work THE MANUAL OF
T H E T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLES andRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparingyour ownshells, should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, but there is no reason at all why you shouldnotmasterthem all. NOTHING is left to the imagination, for in this section alone there areno less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER isdealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyou have mastered them, but even this is done for you, with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has tenphases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; N O LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirelynew to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunl.ikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECOND TO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
G E OARRGMES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubr.oom,LibraryandMuseum: Hearts ofOa,kBuildings, Euston Road,London, N.W.1. ParticularsfromHon. Secretary: PETERNEWCOMBE.
38, OverdaleAve.,NewMalden, Surrey.
PETERWARLOCK’S
PENTAGRAM i ; gub!ished
on {the 24th of each month and can be obtained direct from the publisher for 1/8 persingle copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington Rd.,EnfieldMiddx. Manuscripts for publication & books for review should besent tothe Editorial AddressPeter Warlock, 24, WordsworthRd.,Wallington
Surrey.
WANTED MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many item! by C. T. Jordan. U. F. Grant, Gran1 & Menge, Ovette, etc., etc. Only originals please, and not typed copies I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62. WellingtonRd.,Enfield,Middx.
*
PublishedbytheProprietor.GeorgeArmstrong, 62, Wellington Road, Enfield,Middx. AndPrinted by CentralPrinting Co. (Chas.Sowden) Ltd., Burnley,
Lsncs.
THE MAGIC BOWL OF BUNG H0 HUBERT LESLIE T H E name of Hubert Leslie is known at every famous school throughout the length and breadth of theseisles. Some readers may remember a review of his book, “Artful Art and Breathless Brainwaves”, a book in which he told of his experiences as an entertainer at many many public schools. This present contribution is not a trick but a little interlude which like the late OswaldWilliams’ “JigsawFaces” is morethan acceptable in a programme of magic. The apparatus consists of a large cut-out of a bowl. The first photograph gives the appearance as seen by the audience, whilst the line drawing shows that it is hinged at AB and CD whilst from D to the lower edge a saw cut is made. Now if the part ADB is bent backwards the part DE can be moved roundon the hinge to formthe pattern shown in figure (4). Any reader interested in having the effect madeupmight like to contact Mr.Leslie at 4. Tushmore Crescent.Crawley. Sussex. The bowl when the necessary cutting has been madeand hinges have been added is painted to give the effectshown in the first photograph. It should have a small base so that it can easily stand on the performer’s table. ...
..
The patter then goes as follows :Long years ago in Old Cathay, (Or China, its it’s called today), There lived, as some of you may know, That Gay Philosopher. Bung-Ho. The Laughing Sagethey called him then, The merriest of mortal men; Andfromthat day and ever after Bung-Ho has been the God of Laughter. This is the Master’sMagicBowl. CoveredwithChinese rigmarole, Mysterioussigns of incantation Painted on it for decoration. It says: “Let Laughter ease your pain, Make life a joy - and keep you SANE!” The Bowl, you’ll note, is filled with Wine, If offered some, you must decline! Cast it aside. you do not need Strong Drink this Oracle to read! (Here bend back the top part along the line AB, at right angles to the lower part).
90
Then make the Cabalistic Sign And Magic Power shallthine! be And, as a proof that this is true, Behold! The Bowl breaks-thus-in two!
And thus rejoins itself to show The laughing face of Bung-Ho! old (Complete the movement to the right, so that the two halves fit together).
(Here slowly bend the left-hand half over to the right on the “hinge” CD).
A ROUTINE FOR THE SUPER BILL HEAD TUBE The Revd. MICHAEL
SEACOME, M.I.M.C., I.B.M.
T H e performer borrows a 101- note. It’s number is noted down ona visiting card. Note is folded into a small roll and enclosed by a rubber band. (This is doneunderthe eyes of the spectator). Performer holds the folded note with a pair of tweezers for all to see and then, placing the note in his left hand for a moment he lights candle a on his table. Note is ignited and disappear in a flash. Performer immediately reaches to his table and exhibits a small brass tube with a cap secured by a small padlock. Spectator. after examining the tube, unlocks the cap and finds the borrowed note inside.
REQUIREMENTS 1 Super Bill Head Tube. (Unique Studio of Magic). 1 visiting card. 2rubberbands (smallestsize). 1 small bridge pencil. 1 candle in a candle stick. 1 box of matches. 1 pair of philatelist’stweezers. Supply of flash paper.
PREPARATION
(1)
TheFaked Note A piece of flash paper cut the same size as a 101- note should be folded to resemble a note folded 1/32nd of its size.(Severalshould be prepa’red at the same time).
The finalresult should be acompact roll which can be pressed and moulded into shape with the fingers. Enclose with a rubberband (doubled). Atouch of water colour paint will complete the preparation and give it the appearance of a r e d note similarly folded. (2) The Match Box This should have a ledge of thin card-board stuck on the underside, protruding approximately two-fifths of an inch, sufficient to hold the faked note.
(3) The Bill HeadTube A small piece of thin card should overlap the slidingsection of the maintube (2” X l”). This will ensure that the note will not jam when the tube is shut after loading. The card should have some short message or compliment written on it, e.g. with thanks. or. with the compliments of ............ performer’s name, or New Year Greetings, etc. Anything suitable to give a logical excuse for its inclusion in the tube.
SET UP
I n my opinion this excellent miniature illusion should be made as visually attractive as possible. Therefore I attach importance to the dressing of the effect.
91 In my own presentation 1 use an occasional table with a white velveteen cord cloth fringed with red. On thetable I have a small ornamental Victorian clock base in gold and covered with red velveteen cord. The object of the stand is to provide a convenient base to deposit the small objects usedin the routine-in effect a sort of Victorian miniature display tray. A small tray could do equally well. On the tray shouldbeplaced the following articles :Matchbox. 2 rubber bands ( l for emergency in case theother shouldbreak in performance), tweezers, key of the padlock (preferably attachedto a key tag onaccount of its small size). a small ornagmentalcandle stick with a red candle, pencil, visiting card. At the back of the tray or stand (approx. 12” X 4+“ X 1” in dimension), a small iedge 2” X threefifths inches should be fixed. This will depend on the tray used. The object of the ledge is to hold the inner portion of the tube just below the edge of the tray for the crucial load of the real note. The attachment of the padlock makes it difficult to position the sliding portion as required otherwise. THE LOAD The faked note is exchanged during the lighting of the candle. As the matchbox is returned to the stand (or tray) after the lighting of the candle i~ is tilted slightly to allow the real note to roll into the sliding portion of the tube just below the surlace of the stand.This movement. of course. t2:kes but a second, but camreshould be exercised to ensure the safe loading of the note. A slight tilt shouldsuffice. The hand covers this move from tileview of the audience. There is a slight risk that the note might roll beyond the tube. This is a reasonwhy the performer folds the note and not the spectator to ensure that the folding is done neatly and compactly. so that an easy load is made possible.
PERFORMANCE, The Performer asks for a 10/- note. He hands the spectator a visiting cardanda pencil and requests him to note down the number of the note and retain the card for future reference. Then taking one of the rubber bands he carefully folds the note under the eyes of the spectator. who sees tha,t everything is fair. Performerthen takes the note with the pair of tweezers with some such remark as “This is a very small object-these tweezers will help to keep it in view.” The left hand is held open so that the audience can see that it is empty, without special attention beingdrawn to this. Thenhe places thenote in the palm of the up-turned (left) hand exclaiming “We’ll just light the candle.”
Performer takes the match-box, lights the candle, blows out the match, and replaces the box on the stand. It is during this procedure that the switch is made, aided by the ledge at the rear of the box. The faked noteis tipped into the palm, and the real note is scoopedup onto the ledge instead. The fakednoteremainsin the palm as the matchbox is replaced on the stand, rolling the real note into the sliding portion of the tube. This rnovement takes but a second, but care should be exercised to ensure safe loading. A little practice wi!l show that only a slight tilt is really necessary. The faked note is removed with the tweezers and ignited from the flame of the candle, whereupon it disappears in a flash. This is very effective and my in experience registers well with an audience. Reaching behind the standthe performer immediately picks up the tube between the thumb and firstfinger of his right hand. The action of picking up and displaying the tube is done with a flourish. (:The piece of card inside the tube ensures that its closing is instantaneous, andthe movementiscovered partly by the sweep of the hand). The spectator is handed the tube with a request to examine itc:osely.When he sees that it isimpossible to open it withoutundoing the padlock the performer hands him the key, and the spectator opens the tube to find the borrowed note inside. The number is checked and the routine is over. FINAL COMMENTS I have found this to be a very effective routine. clean in action and with a minimum of suspicious movement.Whileno great originality isclaimed in the routine I havesmoothed outone or two points which I hadpreviouslyconsideredweaknesses.
I had lelt that the loading of the tube in the pocket inartistic and unsatisfactory. The use of the card inside the tube obviates the danger of the note beingwedgedbetween the edge of the main tube andthe solid end of the sliding portion. 1 recommend that at the conclusion of the effect the performerhimselfremoves thecard using the tweezers. There is a small risk otherwise that the spectator in his examination of the tube might press on the edge of the card and push out the sliding portion.
The routine requires the simplest and most direct patter in orderto keep the mystery clear cut and to sustain interest.
92
THECARD WORK OF CRAHAM ADAMS A CATCH THIS little effect should prove useful for catching unwary conjurers as well as laymen. THE EFFECT
replaced at the break-on the top card. Again make the pass. bringing the pack back to its original position, but with the chosen card now on top.
The cards are shuffled by anyone. The performer then takes the pack and shows the top and bottom cards. A card isselected from the middle of the packand replaced.Again the top and bottom cards are shown unchanged. The performer taps the pack and announces that the chosen card has moved to the top. The top card is shown, but it is the wrong card. However, the performer does not give them the chance to say that it is the wrong card, but takes the top card after tapping the pack, just shows the card and says: “And that brings theexperimenttoa successful conclusion.” The audience then see the correct ca.rd-a moment before the wrong one - is held in the right hand.
THE METHOD Sleightsneeded are : The pass,well done. Thumb counting with the left thumb. The doubleand treble lift. The throw down change. Thetopandbottom cards of the packare shown and noted. When showing the “top” card. make the double lift, so thatit is actually the second card that isshown. Make the pass and hold the break. Have a card sel.ected and have it
lz
Show the “top” and bottom cards again, but this timemakethe treble lift whenshowing the top card. Tap the pack, make the double lift and show the“top”card again, (the spectator will quickly note that it is the wrong card) saying: “And here we havethe selected card”. Immediately make the throw change, as shown in Figures 21 and 22, saying:“Whichof course brings the experiment to a successfulconclusion”,casually showing the card to be the correct one.
ASSEMBLING THE PACK WHEN aperformer
is asked, “Canyou deal a. good Bridge hand?” or “I Eaw a man deal a full of hearts. Could you do it?”, the following routine may beperformed. It requires no pre-arrangedpack,fortheperformer makeshis own arrangements as he goes along.
which suit would he prefer.Suppose
he replies “Hearts”, the performerselects a sporting Nap hand, to be played with three other players. The cards arerunfromonehand to the other, and theperformer throwsfromthe pack, on tothe‘ table, the ace, king. queen, jack and nine of hearts.
THE EFFECT A spectator is asked to shuffle and cut a pack, and he is asked if he can play “Nap”, and if so,
The cards are shown one at atimeand replaced on the pack, which is shuffled and cut by thc performer. Fourhands are dealt. Number
93 it contains the “Nap” hand,
but number 2 hand holds the two, three, four, five and ten of hearts. They are all shuffied into the pack again, and four hands are dealt for Whist. Thefourthhand is shown to consist of all hearts, the others being indifferent cards. The performer “showshow it is done”, and again shows his hand to consist of all hearts. But handnumberoneholdsall the spades; hand number two all the diamonds; hand ‘number three all the clubs! or1
That is the plot, and the whole thing is based the “Milk Build Shuffle” and the Bottom Deal.
THE MILK BUILD SHUFFLE The pack of cards is held in the right hand as for the overhand shuffle. The thumb at one end. the forefingerrests across the side, the second finger atthe other end. The third andfourth fingers act as coverwhen the action takes place. (See figure 23). The right hand makes all the necessary movements, the left hand being as stationary as possible. and the cards mustbeheldloosely duringthe shuffle. In shuffling. the right hand brings the pack well into the left palm (Figure 24) to enable the left forefinger to draw a card from the bottom of the pack at the same time that the left thumb draws one from the top of the pack. (See Figure 25).
You are now ready to commence the routine. First, have the pack shuffled and cut, then ask an assistant which suit he would prefer for his “Nap” hand. We will suppose “hearts” isselected. Run throughthepackto findace,king,queen, jack and nine, which you throw out on to the table. As you do this place the two, three, four, five and ten on the bottom of the pack. Replace the five cards from the table, showing them one at a time a you place them on top of the pack. Remark that with 4 peopleplaying, these five cards would makea sporting “Nap” hand, and while saying this shuffle the pack, first making the “milk”shuffle five times. Then shuffle the remainder of the pack in any way on top of the ten cards. This leaves the ten cards :It the bottom of the pack, placed alternatively for two hands. To Deal Deal four hands of five cards each, one card at a time to ea.ch hand, the cards to hands “two” and “four” being secretly dealt from the bottom of the pack.
Give the last hand to the assistant who first shuffled the pack and give hand number two to another spectator. Ask them to play their hands, calling each card aloud. As they do this replace the other two hands on the pack, and quickly run through the pack, placing the remaining three hearts (six, seven and eight) on the bottom of the pack. After the hands have been played replace the len hearts on thebottom of the pack. Makea falseshuffle anda false cut, and offer to show how “Whist”hands maybe dealt. Deal four hands of thirteen cards, the “fourth” hand being dealt from the bottom.This will, of course, contain a full suit of hearts. Do not espose this hand yet, but giving the remaining 3 handsto 3 members of the audience.asking them to sort them as theywould if theywere playing Bridge or Whist. Take the cards from them and examine each hand,remarkingon its possibilities. This gives an opportunity to get the three suits sorted into completesuits, all the spades together, and the clubs and diamonds.
Whentwo cards are taken as justdescribed thc action is known as “milking” the pack; when the thumb only takes one card from the topof the pack the action is termed “building”. Practise this shuffle onthe lines suggested. altering the positions of the fingers, and the angle at which the cards are held, until you find the positions most suitable to yourself.
You are now prepared for the “Milk Build’’ shuffle. which places the three suits ready for dealing. You mustfirst make thirteen “milk” moves. placing the remaining thirteen cards on the bottom of thosein the left hand.Thenagain shuffle, making one “milk” move and one “build” move alternately, each thirteen times, after whichyou will be ready for the final deal.
94
GRAHAM ADAMS’ CARD WORKS
-- Continued
To give you time to make the above mentioned shuffle, which should be donequite casually, remark on the hands just picked up and that by a strange coincidenceeach hand was short-suited. and would the obliging assistant turn up his cards one at a time very slowly. The hand on the table is thus shown to be a 2 hearts. After hehas done this, takeup the hearts,
place them on the bottom of the pack, and off,er to show how it is done. Falseshuffleand false cut,and deal, the 4th hand again being dealt from the bottom. This timeshow “all hearts’’in the fourth hand.then take up the first hand showing it to be all spades. tilesecond handto bediamonds and the third hand to be clubs. just as the case may be.
A NAP ROUTINE THIS is the patter and general effect, which may be accomplished with a little practice, all the movesbeing found in “TheExpert at theCard Table”. PATTER AND PRESENTATION “Ladiesand Gentlemen. On many occasions, after I havebeen entertaining with a pack of cards, I heartheremark, ‘I wouldn’tplay cards with that fellow at anyprice’. I suppose it is really intended as a compliment, but as a matter of fact I never play cards under any circumstances. Whatdid yousay sir? ‘A good thing too!’ Perhaps you’re right. However, I fear I shouldn’t get much of a run with all you people, for you all have your suspicions awakened to the fact that I am a conjurer,andit wouldbeimpossible to get any advantage with your eyes glued to every move that l shouldbe able to make. The eyeshave it too. I Here’s a little thing that may interest you. shall ask fivegentlemen to select one card each, from this pack which you see is being thoroughly shuffled. (1). I want you to imagine forthe timebeing that 1 am in the hands of five card sharps; will you select your cards? (2) Thaak you. Justa little question. What youldyouterm a good certain Nap hand? The ace, king, queen, jack and ten of one suit! Well I daresay an Aberdonian might risk five with that. What card did you select, sir? The ace of diamonds. and yours‘? The king of diamonds. land yours? The queen of diamonds. and‘? The jack of diamonds. also? The ten of diamonds. “Just to think that I asked you to imagine that I was in the hands of five card sharps! I wonder where the other forty are! “We’ll replace them in the pack and shuffle them again. (3). Willyou cut. I shall deal a couple of Nap hands, like this. (4) and remember please that the cards were shuffled and cut; being the dealer I get this hand whichcontains:The ace of diatmonds. The king of diamonds. The queen of diamonds.
The jack of diamonds. and The ten of diamonds. “Easyisn’t it? We’llshuffle (5) and you can deal. I’llmixthem upas much as I can. Is that enough? It is as well to give them another for luck. 1’11 cut. like this, and you deal four hands. (6). You takethe dealer’s hand. What have you got? The ace of diamonds. The king of diamonds. The queen of diamonds. The jack of diamonds. and The ten of diamonds. “Back they go. (7) and although you imagine that you have seen five particular cards this evening. I have in my pocket :---The ace of diamonds. The king of diamonds. The queen of diamonds. The jack of diamonds. and The ten of diamonds.
THE EXPLANATION. ( l ) The five cards are on the bottom of the pack.whichisgiven a false shuffle, retaining the bottom stock. (2) Force the five cards on the fivemembers of the mdience. (3) Replacethem,one at a time.half-way into the pack. one cardon the other, and bring them to the bottom by the diagonal palm shift, or your favourite method. (4) Dealtwo hands of five cards each, the Nap Hand falling to the dealer by the bottom deal. ( 5 ) Again replace the cards, this time on top, and make a stock shuffle, for four players. (6) The five cards will fall tothe dealer’s (spectator’s) hand. (7) Again replace the cards, as in the first instance, make the diagonal shift palm (or palm the cards out by your favourite method) and produce one at a time from the trouser pocket. Try this effect. practise it, and you will have a series of effectswhichwill be appreciated by any club a(Ud’lence.
95
BOOKS “CardTricksWithout
Skill”, by PaulClive.
(Published by Faber & Faber, price M/-). This is a new edition of a bookoriginally publishedin 1946. This edition is far easier on the eye, having larger pages and a more modern type. (The original wasin Gil Sans). Thereare some264pagescoveringwellover a hundred tricks. Many sources have been tapped to provide this feast of easy to do magic and credit has been given to that source when known. To this edition there has been addedan extra chapter which should bring the new reader up to date; it deals with contemporary books dealing with card magic. The bookwould makea nicepresent to a newcomer to magic. for from its varied contents he would have not only a large number of varied card tricks brought wellwithinhis capabilities, but he wouldbe brought into contact with the better known creators of subtle and sleight free card magic.
In his editingLewis Gansonhas beenwise in taking so many varied treatments of mental effects, and it is because of this that there is something for every conjurer whowishes toadda mental item to his act. Books dealingwith the practical side of mentalism are all too rare, and so, this present publication is all the more welcome. An excellent ‘buy’ which no reader of this paper can afford to miss.
EddieJoseph’s Sensational Subtleties ‘Vacant Vision’ OriginatedandsoldbyEddieJoseph, of 24, Kilburn Priory, N.W.6., price 5/Here is a lovely little trick using three cards, in which the performer proves the lack of observation of his audience. Though a faked card is used the handling which is minutely described in conjunction with a set of some eight photographs completely disguises such a fact, and the buyer has a baffling little mystery at a mostmodestprice.
‘Magic of the Mind’.-Compiled by Lewis Ganson (Published byHarryStanley,Price
20/-)
This is a beautifully produced book of more thanahundred Pagesdealingexclusivelywith mentalmagic. Apartfromthe general make-up of the book it has the distinction of being the first book to becomposedin England on a ‘Monophoto’ Filmsetter. The dedication is to Dr. Jaks,one well deserved for there is certainly nobody better deserving of the compliment. There are some nine sections each dealing with a particular phase of mentalistic technique or artifice. The headings of thesesections are :-. Predictions, Book Tests, Alive or Dead, Mentalism with Playing Cards, Mentalism withSlates,Mentalism by Numbers, Miscellaneous Mysteries, MentalismbyDesign, andAidsfor Mentalists. Whether the reader be new or not to mentalism he willfind the sixtyeffects and subtleties within these sections very much to his liking, in fact he will, if he so troubles, findeffects that can prove sensational, worked in the right manner.
‘TheManual of theThreeShellGame’ by Eddie Joseph (PublishedbyGeorgeArmstrong,price
1216)
With the ever-increasing desire for magicians to add close-upeffects to their repertoire, the present publication dealingwithadvanceddevelopment of the old ‘thimble-ring’ is most welcome. With the usual thoroughness that one associates with Eddie Joseph, he has usedsome thirty large pages of text and illustrations to describe some twenty-odd ‘moves’ and three complete routines. As. well as this hehastaken pains to give his rea,der the necessary information which is so vitallynecessaryin preparing the shells that are to be used. An excellent publication, easy to read, and one whichwithstudy shouldmakethe student expert in this particular phase of close-up magic.
E D DJI O ESEPH-S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic.Youneedknow NOTHING of the subject before purchasing the book, but a fewevenings practice will enableyou to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your own shells, shouldyou prefer the genuine item instead of the present-day plastic variety.
I F YOU MASTERED only half of these moves you would bean acknowledged expert at the Three Shell Game, but thereis no reason at all why youshouldnotmasterthem all. NOTHING is left to the imagination, for in this section alone thereareno less than 60 fine drawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyouhavemasteredthem,but even this is done for you,with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULAR ROUTINE has tenphases of baffling moves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tell an entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there is a move here to deal with it. No matter when or disappearsin the most unlikely places.Another 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECOND TO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
G E OARRG MES T R O N G 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. c
THE MAGIC CIRCLE President:FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,LibraryandMuseum: Hearts of OakBuildings, Euston Road,London,N.W.l. Next CONCERT will be held on February3rd, 1960. Particulars fromHon. Secretary: PETERNEWCOMBE,
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser’s
I
PETER WARLOCK’S
PENTAGRAM
WANTED
is published on )the 24th of each month and can be obtained direct from thepublisher for 1/8 persingle copy. Annual Sub. 18/- post free. Published by GeorgeArmstrong, 62, Wellington Rd., EnfieldMiddx. Manuscripts for publication & books for review should be senttothe Editorial AddressPeterWarlock, 24, Wordsworth Rd., Wallington Surrey.
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many items by C. T. Jordan, U. F. Grant, Grant Rt Menge, Ovette, etc., etc. Only originals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
GEORGE ARMSTRONG 62, WellingtonRd.,Enfield,Middx.
Goods are fully endorsed by this Bulletin
PublishedbytheProprietor.GcorgeArmstrong, 62, Wellington Road, Enfield, Middx. AndPrintedbyCentralPrinting Co. (Chas.Sowden)Ltd., Burnley, Imcs.
*
AN INDIAN FABLE BOBBY BERNARD
BOBBY’S apparatus for this most visual piece of coinchicanery consists of a pennythrough the Centre of which a hole has been bored and a Number 12 size knitting needle. The hole in the penny is sufficiently large to allow it to slip onto and shda along the needle. Taking the needle and holding it by the ‘knobbed endin a vertical position, the penny is rests upon the slid onto the needle so thatit knobbed end. The right hand leaves it there and takes hold of the pointedend.With theIndian Rope Trick as an illustration the needle representing theropeandthe penny the smallboy, the coin, after a magical incantation has been uttered, is seen to rise and slowly travel up the needle until it reaches the top from whence it is removed. The first phase of the effect is concluded. There is moreto come.Holding the penny at the fingertips of the right hand and grasping the centre of the needlewith the left.a spectator is asked totake hold of the ends of the needle. Another magical incantation and the penny vanishes from the right hand and with the removal of the performer’s hand from the centre portion of the needle the coin is found impaled upon it. It is spunby the performer and everything is handed out for examination. The requirements are easy to come by and comprise:1. A Number 12 knitting needle. 2. A pennywith a loose fitting shell. Through both shell and penny a hole measuring in approximately one-eighth of an inch diameter must be bored. 3. A hair approximatelytwenty-two inches in length. 4. Some conjuror’s wax. To prepare for the presentation of the effect. one end of the length of hair is securely fastened to the left-hand side of the performer’s braces at shoulderheight. The freeend is nowtaken and passed through the hole in the shell from the upper side and by means of a minute dab of coniurer’s
wax (too liberal an application may result in the shell sticking the to actual coin), the to underside. The shell is now placed on top of the coin, the wholeassemblythenbeingtucked into the performer’s lower left hand waistcoat pocket. With the knitting needle in the inside right jacket pocket the stage is set for the presentation. First of all the left hand removes the knitting needle from the right hand. pocket and places it
upon the table. Mentioning the fact that he wishes to showhis audience an aspect of the fabulous Indian Rope trick, the right hand now goes to the waistcoat pocket and removesboth penny and shell as one. The peculiarity of the coin, namely the hole in the centre is commented upon. Retaining the coin in the right hand the left hand picks up the needle holding it by the knobbed end. He speaks of the Indian Rope trick instancing the needle as the rope and the penny as the small boy who assists the Indian Sorcerer and adds that with these properties he will showuponaminiature scale what happens in this fabulous feat of magic. Whilst hehas been talking the penny and shell of the havebeenplacedover the pointedend needle and slid down until the knobbed end has been reached. Now a8 the right hand relinquishes its hold on the coin, it comes up to take hold of
~
VOLUME 14 No. 1.
-
1/6
(20 Cents)
~~~~
- OCT., 1959
2 fingertips and with a movementdownwards and away from the needle breaks it away from the hair.
t.he pointed end of the needle the hair is engaged between thumbandhand.(The accomoanying illustration gives a clear picture of the \;ay-thg needle is. held and run of the white thread which . ..._ ~. . forthe purpose of photography has been substihair). for tuted ~~~~~
~~~~~
~~~~~
~~
~
Atthesame time the left hand holds both penny and needle so thatthe real coin cannot be seen. Now the right hand holding the shell penny at the finger-tips uses its little finger to give the pointed end of the needle B casual push so that both the coin upon it and the hand covering it take up a central position, and it is at this point that a spectator is requested to take hold of each end of the needle, the performer maintaining his grip centre. - .around the
~
At thii stage, the p&ormer by extending his arms slightly cam the shell to rise on the needle, pennystill atthe leaving of course theactual knobbed end. Inthe accompanying illustration the shellisshownhalfwayup the needle, and an exposed view of the performer’s left hand allows the position of the real penny to be seen. When the shell rises so that is has reached nearly the top of the needle, the right hand removes it with the
Coming back to the Indian Rope Trick, the performerreminds his audience that he has already been successful in showine them in miniature how the boy. represented by &e penny, climbs up the the rope. Now he .intends to show them how later after he has vanished he returns to the magician.
The shell coin is now slid from the fingertips ontothe fingers of the right hand and well displayed. Now in the action of closing and turning over thehand.the coinissleeved. A muttered, ‘HocusPocus’ and thehand isopenedshowing thatthe coin has vanished andthe left handis opened and lifted from the knitting needle so that the audience can see that thecoin has travelled back to its original resting place. The performer spins the coin upon the needle and with this flourish brings to a conclusion, an Indian Fable. ~
~
.
_ _ ~ ~
.
-__
..___
-~ ~~
~~
__
~
~
STAMP IN TRANSIT BRIAN GLOVER
A
CARD isselected froma shuffled pack and after beingshown to the audience is placed face down in a prominent position on the table.
The performer then runs through the pack and after locating the Joker,.a5ixes a postage stamp to its back. Thii card is placed on the table alongside the selected card,but face-up. The card originally selectedisplacedback on’top of the pack and’ fairly cut intothe centre. After a muttered ‘HocusPocus’, the pack is spread face down to reveal the fact that the selected card has reverseditselfaridisnow face-op. The Jokeris now turned over and the, stamp is found to be missing. Removing the selected faceup card from the pack and turningit over, the missing. stamp is found stuck to its back! The only preparation needed is that TheJoker is placed on top of the face-down pack and that a book of stamps is in the performer’s right hand jacket pocket.
Prodore. The pack. is thoroughly shuffled, the Joker however,being maintained in its original position on top of the pack. Holding the pack face-down in the left hand, invite a spectator to select a card by simply calling ‘Stop!’ whilst your left thumb riffles down the edge of the cards. When this signal is received, you perform the Avis ‘Centre Double Lift’ (see Pentagram Volume 12. No. 10) which at the conclusion will leave the card shown second from the top of the pack with an indifferent card immediately above it. What appears to be the selected card, but in reality the top indifferent card is placed face down on the table. the selected card now being the topmost card with the Joker immediately beneath it. The pack is given a single cut and then with thefaces of the cards towards you the pack is leafed through to find the Joker. On locating it. cut it to the face of the pack and allow everyone to see it.
3 Holding the pack face-up in the left hand the right hand goes tothepocketand removes the book of stamps, then handing it to the selector of the card. This spectator is then asked to remove a stamp of anydenominationhe wishes. As he is doing this your right handapparently helps in squaring the pack in the left hand but actually its main purpose is to secure a break under thesecond cardfromthe face, i.e. the selected card. Attention is once more drawn to the Joker and theright hand takes the two cards as one at.the break and turns them face down on the face up pack. The stamp is now taken with the right hand, moistened and affixed to what is seemingly the back of the Joker, but in reality the back of the selected card. The left hand now turns back uppermost and with the right hand in apparently removing the Joker face upfromwhat isnow thebottom of the pack, theperformer executes the glide, and the selected card with the stamp on its back stays reversed at the bottom of the pack.
The pack is placed down for a moment, still face down. The Jokernow lies face-up on the table alongside the face down card which from the audience’s point ofview is the card originally selected. The latter is takenanddroppedon top of the pack whichin turn isgiven a straight cut. (Because the selected card was glided back and left reversed at the bottom of the pack, it is now reversed at the centre of the pack). The mysticwords aremutteredand then ribbon-spreading the face down cards the selected card is seen to be face-up! The Joker is then taken, turned over and it is seen that the stamphas vanished! Finally, the selected face-up card is removed from the spread and slowly turned over to reveal the missing stamp! Afterthought. At the point where the ‘glide’ is made, the reader mayprefer to use the Bob Hummer move detailed in CyEndfield‘s‘Entertaining Card Magic’ (Card Penetration and Change’).
“LEXICONBRIANHAUNTED PACK GLOVER ”
T H E “Haunted Pack” seems to be a very popular effect with many magicians. to say nothing of their audiences. After usingit onanumber of occasions, I discovered that there is a possibility of the thread being seen when the pack comes in close proximity of the viewersi.e. at the point in the routine where the three spectators eachselect a card. In an attempt to avoidthisweakness and at the same time streamlining it so that it wasjust as suitable forplatform work. 1 hit upon the following presentation:-
The packusedis madeupfroma Lexicon Pack; twenty-six different alphabet cards are sorted out and the remainder ‘threaded’ as in the original marketed effect. The workingdiffersin no way,except that the need for going into the audience is avoided as you simply ask three spectators to eachname a letter of the alphabet. As eachisgivenitisremoved and either placedon display against something. on the table, or alternatively slipped (so that it shows) in the outer breast pocket. The cards after they have beenselected are replaced in the pack andfrom there the cmjuror proceeds as in the original effect.
THE CARD WO!RK OF CRAHAMADAMS GAMBLING ROUTINES A GAIME OF NAP
A
GAME OF NAP isdescribedin Sleight of When oncethe spectator’s cards are known to Hand, by Edwin Sachs. In this theperformer the performerhecan nearlyalways get a“Nap”. forces five cards onto a spectator, who takes the pack and asks the performer to pick out five; or he This routine can be performedwith a1 borrowed maypick out five for the performer. The cards packwhich has beenshuffledby a spectator before M e played andtheperformer gets Napor four. the performer handles it.
4
THE GLIMPSE Glimpsing the cardsis all that counts and itis taken for granted that thereader can memorise five cards quickly, can force a pack and can pass it into the middle of the pack. After the pack has been shuffled, and whilst talking about gambling, hold the pack in the left hand across the fingers and in the fork of the thumb. The left thumb presses on the edge of the topcard while thepack is heldfirmlywith the fingers of the left hand; this pressure outwards causes the top card to bulge at the outer edge and the index may be seen at the topright hand corner. (Figure 26.)
Just before you offer the cards for selection (force), make a break with the right thumb and glimpse the card above the break. (Fig. 27). You now have knowledge of four cards. Force this card first. Make the pass and force the three cards first noted. Then again glimpse the bottom card, bring it to the middle of the pack and force it. You IK)W know all five of the spectator’s cards. Then hand the pack tothe spectator and allow him to fan it while you select five cards; or have him remove five cards for you. Suppose the spectator has:-9H, 4C, AS, 2D, 10D. You have, say:-8C, 3S, 5S, lOH, 2H. You have two hearts and twospades. He has only one spade, but it is high, so could beat one of yours so you must make hearts trumps. It will be necessary to sum up the position quickly as you glance at your own cards, remembering those held by the spectator.
THE ROUTINE
Say:-“Hearts are trumps. I’ll play lOH, you play 9H. I’ll play 2H, you play AS. (It won’t be any use to you). I’llplay8C,youplay4C. I’ll play 5S, you play 2D. I’ll play 3S, you play10D.”
When taking the cards from the spectator after he has shuffled them glimpsethe bottom card; then the twoon top as just described. You then have knowledge of three cards.
In nearly every case you will pull it off, sometimes even getting all five tricks as shownin the above example. Try itout now,withany cards taken at random from the pack.
Glimpse the two cards on top of the pack in this way. Try this first.
HOW TO PLAY NAP T H I S IS another NapHand effect that I have found useful for “Club” work. I have found it an acquisition to be ableto satisfy the usual “Club” and especially thecard playingmembers of a “Club”, that it is the peculiarity of a pack of cards to arrange itself for the benefit of a conjurer when he is playing. The conjurer has nothing to do with it at all, the cards just seem to fall tohim no matter how they are cut or shuffled, or who deals them; there they are and he can’t help it! I have made a practice of this type of experiment, and think with many others that no display of dexterity should be intended, for the whole thing is due to “Magic” and the luck of the conjurer, and when the Nap turns up always to the performer heshould bejust as surprised as anyone in the audience. This used be may complete one as experiment, cr itmaybeused as a preface to the sleight-ofmethod hand already described.
I have not included patter, for it will be somewhat similar tothat already suggested for the sleight-of-hand method. I suggestitbeingin a brisk. racy style.
EFFECT The effectis that a pack of cards is shuffled andcut; three hands of Napare dealt by the performer to himself and two assistants, the performergetting the Nap hand. The cards are replaced and the performer asks the audience if they would care to see it again; the cards are once moreshuffled,then the audience isasked to say whether three, four or five hands shall bedealt. and the performer again gets aNaphand! The performer may invite one of the assistants to make the deal for him.
EXPLANATION Use a pack prearranged in the following
S 1 Queen of Hearts 2 Jack of Hearts 3 Ace of Diamonds 4 Kings of Spades 5 King of Clubs 6 King of Diamonds 7 Queen of Clubs 8 Jack of Spades 9 Queen of Diamonds 10 Four of Diamonds 11 Two of Clubs 12 Jack of Diamonds 13 Queenof Spades 14 Two of Hearts Diamonds 15 Tenof
16 Five of Spades 17 Ace of Spades 18 Seven of Heartsandthe 19 Five of Diamonds and 20 Ace of Hearts 21 Jack of Clubs 22 Six of Hearts 23 Three of Hearts 24 Two of Spades 25 Ace of,Clubs 26 Sevenof Diamonds 27 Three of Clubs 28 Nine of Hearts 29 Six of Spades 30 King of Hearts
The cards as arranged are on top of the pack, anda false shuffle is made. Threehandsare dealt, performer gets the ace, king, queen,jack ten of diamonds. This hand is placed on the bottom of the pack after ithas beenshown,where it will be in readiness for the sleight-of-hand method if desired. Hand number one is placed on hand number two and these are placed on top of the pack. No matter whether the audience make a request for three, four or five handstobe dealt, afteranother false shuffle has been made the performer again getsNap a hand.
BOTTOM DEALING BOTTOM DEALING has been described as the best single accomplishment of the professional card player, and it is a very useful addition to the repertoire of sleights of either the professional or amateur conjurer. It may be brought to perfection, and when perfectly performed it is impossible to saywhether the card was dealt from the top or bottom of the pack. Those who have had the privilege of seeing the close work of Richard Cardini will realise that he is one of the neatest dealers of cards in this or any other generation. He uses a different hold to Erdnase, and his action is necessarilyswift to create an illusion. He deals like lightning, and I envyhimhisperfect technique, but he in turn eubgises the work of two of his New York friends, Messrs. Scott and Dai Vernon. Although the Erdnase method of bottom dealing requires a certain amount of movement if perrorrned as described in The Expert at the Card Table, it gives an illusion when performed at low speed.However. a certain amount of movement can be eliminated. and one should be able to learn to deal in a short time from the following analysis. if the necessary time is devoted to practise. I am told that in America the hold for dealing from the bottom, or for second dealing, is termed the“Key”. and in the followingdescription the same hold is used for both bottom and second dealing. A tip which is worth whi1,e for preliminary practice, is to have made a wood block or placque exactly the same size as the cards to be used. and about the thickness of fifteen to twenty cards; or to glue that number of cards together. The advantage of the wood block is that once made it never wears out or gets soiled sufficiently to throw away. The placque maybeusedwith oneor two loose cards at the top and bottom, and it will save a lot of time in the early stages of learning. We will analyse the bottom deal as follows:-
TO Hold or “Key”. Which embraces the position of the fingers in relation to the pack. The Deal from the Top. The swing of the left forearm, and the action of the right hand. The Deal from the Bottom. The combined action of both hands. The cover. Timing the DeaL The Ha!d, or “Key”. First comes the “hold”, so take either fifteen cards, or one of the devicessuggested, and place them in th’e left hand in this manner:The left-hand bottom corner of the pac;a is placed in the left palm at the base of the thumb. The bestway to find the exact spot is to hold the palm left upwards, the fingers fully extended, andthethumb at right angles to the fingers. If an imaginary line is drawn down the middle of the secondfinger,nearly tothe wrist, and another line is drawn down the thumb across the palm, the point of intersection of the two lines will indicate the place. This will be position number one. (Figures 28 and 29). The right-hand top corner of the pack is held lightly by the middle of the first joint of the second finger. This position is number two. Figures 28 and 29. ’
The righbhand top corner of the pack is held lightly by the middle of the first joint of the second finger. This is positiontwo. (Figures 28 and 29).
6 The middle of the first joint of the little finger then holds the cards about two-thirds of the length fromthetop right-hand corner. This is position number three. (Figure 29). The forefingernextcomes into a perfectly natural position. The left top corner of the cards should reach to about the middle of the third joint of the forefinger, if the forefinger is fullyextended. The whole left side of the cardsis held against the palm by reason of the slight pressure of the second and fourth fingers. Curlthe forefinger along the top edge of the pack, the middle of the first joint will naturally come into position near the second finger. This is position four. (Figure 29). Allare important; get them correct at the, outset for it will make the moves comparatively easy. The dealing of the bottom card is practically all the work of thethird finger, althoughthe thumb plays a part in the r e l w e of the bottom card. When not dealing, the third finger is situated one-third of the distance from the righthand top corner of the pack, the first joint resting on the side of the pack, assisting the other fingers i n keeping thepack inposition. This isposition number five. (Figure 29). The thumb lays diagonally across the pack, the thumb-tip pointing to the right-hand top corner, heldloosely, not rigid. This is position number six. (Figure 29). Practise swinging thethumbbackwardsand forwards from the topleft-hand corner to the third finger position. The left hand should now be holding the pack easily, with no effort and no straining. The actual deal is made with the cards at an angle of about 45 degrees with the table top. Do not grip the cards; realise that they are being held, not strangled. After a little practice it is easy to take the cards from the table with the left hand and assume the hold without any effort.
The Deal from the Top of the Deck. To obtain a perfect illusion in bottom dealing of timing, andtheutmost issimply amatter importance mustbe attached to this. There must be no difference in movementwhen the bottom card is dealt, fromthe dealing of the top card. Therefore practise the deal fromthetop in this manner:With cards in the left hand, held as described. and in front of the body,move the left forearm about eight or nine inches to the left. As this move is made very slowly, the left thumb moves about an inch to the left and pivots the top card to the right until the right handtop corner of the card projects about an inch over the others. (Figure 30).
The left forearm should, by this time,have travelled to the top of its outward swing. It begins its downwardswing to the right hand, M;hich up to the present moment has remained still. As the left hand approaches, the right forefinger and thumb take the top card and make the deal, snapping the card from the left hand when bothhands are about twoinches from the table top. (Figure 31). The left hand again commences the outward swing. Practice the deal slowly at first, speeding up as moreefficiencyis attained, until the wholething is automatic.
The Deal from the Bottom of the Pack. If the above instructions have been followed, and the top cards can be dealt with perfect timing, it will be an easy task to learn to deal the bottom cards. The actioniscovered by:1. The swingof the left forearm. 2. The partly dealt top card. 3. The coverafforded by the three fingers of the right hand as the deal ismade. When the left arm has completed its outward swing, and the topcardhas beenpivoted for dealing. the third finger action takes place. The little finger maintains a grip on the side of the cards. and itsholdisnotremoved at any period. This isvery important as it preventsthe pack slipping, and eliminates as muchmovement as possible under the circumstances. The third finger moves from its position at the side of the pack to a position underneath the bottom card. This is the approximate position at this stage:The secondfinger-tipis protruding over the right-hand corner. Thethumb-tipshouldbe on the rightside of the pack, aboutan inchbelow the corner. The third fingerismid-waybetween the two. The third fingerpresses upwards and outwards, forcing the bottom card out as if on a pivot. The thumb presses downwards and inwards. taking the topcard back to its normal position. (Figure 32).
7
The bottomcard will slide out between the little finger and the cards. At this stage the left handhasapproached the right, which has moved inwards, the right thumb and forefinger take the top corner of the bottom card, the middle, third and fourth fingers o f the right hand acting as cover. The bottom card is dealt, andatthe same moment the left hand ison its backwards swing. (Figure 33). Practice. Practise veryslowly at the outset; the slower this is done.getting thetiming correctly, the better the progress will be and the deal will not be detected. Dealing from a full pack, and dealing cards
from the top and bottom alternatively, should be accomplished comfortably in twenty-five seconds. Now some advice about taking the card with the right finger and thumb. Practise with a penny held in the second, third and fourth fingers of the right hand. When the deal canbemade in this way without effort the coin can be discarded and the fingersmaythen be used as cover for the bottom deal. Another tip. Practise with the assistance of a loudlytickingclock or metranome; I use the latter and count each card as it is dealt. Withhalf -the pack deal six heaps of cards, the bottom cards being dealt to healp number six. When this can bedone, practise dealingsix heaps, but deal the bottom cards at number five. Then do the same deal, but the bottom cards being dealt at two, four and six.
Note Regular practice each day, however short, is much better than a longer period once a month. Don’tuse onemake of cards all the time. Practise with different packs so that it will be easy to workwithanypack that maybe handedup when performing.
MAGIC - GO - ROUND The news of the death of Dr. Jaks on the 3rd of Januarycameas a great shock. Our two memories of him are vivid. First at the lecture he gave under theaegis of Harry Stanley, and secondly in 1958 when he paid a short visit to this country. On that xcasion Vernon was also hereand WC can remembersittingwiththem both in Harry Stanley’s studio talking of magic of the past. (if the greats they had seen, and particularly do we remember Stanley Jaks extolling the merits of a German mental act he had seen in his youth. He had great enthusiasmandawonderful sense of what constituted entertainment value in a mental effect. We remember that he gave us the root idea for the plot which ultimately became a favourite effect,‘DoubleDouble’. He contributed a great deall to magicand his writingswill be found in every worthwhile magical periodical. It was. in the ‘Jinx’, we believe, that his effectsfirst becameknown to magicians. He was agile with pen and pencil and many were the illustrations he preparedforbooksand articles, his two largest tasks in this direction being,‘ClassicSecretsof Magic’ by Bruce Elliott and Bill Simon’s, ‘Effective Card Magic’. The other day we were the guests of Jo and Lewis Ganson, and whilst wit.\ them had an opportunity of seeing the manuscript of the forthcoming
Slydini book. Innumerable first class photogralphs accompany the text, and this book dealing with the practical close-up magic of one of the most outstanding personalities in magic shouldprove a “must” for all whowish tohaveapermanent reminder of his faultless work.Weunderstand that the price will be in the region of 45/-. Though no date has been scheduled for its printing we feel certain that it should be available before the end of the year. Tribute must be paid not only to Lewis Ganson who has been responsible for the writing but also toHarry Stanley,who has onceagain taken on the task of publishing a most costly (from the publisher’sviewpoint)book of outstanding magic. It is a big assignment and because of high costs, and the necessary comparatively low circulation of magic books. largely a labour of1.ove. There’s still time to get a ticket for the British King Dinner, Ball and Cabaret, which is to be held at WashingtonHotel in Curzon Street, W.l. on Sunday.14th February. Modestlypriced at 35/each. they may beobtainedfrom either Bill Stickland at the ‘Wand’, Dudsbury Crescent, Femdown, Dorset, or from Geoffrey Robinson, 14. Bristol House. Southampton Row, W.C.1. Appearing in the cabaret are Frank Brooker with his E1.OoO prize act, Billy McComb and A1 Koran. Barney Colehan will be Guest of Honour.
EDDIE
JOSEPH’S Latest and Greatest Work THE MANUAL OF
THE THREE SHELL WORK
THE MOST COMPREHENSIVE
GAME
EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS.
HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject belore purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THEPRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your own shells, should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would be an acknowledgedexpert at the Three Shell Game, but thereis no reason at all why you should notmasterthem all. NOTHING is left tothe imagination, for in this section alone there are noless than 60 finedrawings by Jack Lamonte to augmentthe text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act will be easywhenyouhavemasteredthem,but even this is done for you, with Three completely baffling and completely different styles of routines that are thoroughly described.
THE REGULARROUTINE has tenphases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG isprobably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work Youtellan entertaining storyand illustrate it and are entirely new to the conjuring profession. with baffiing moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 1216
($2-00)
Postage 6d. From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. I
THE MAGIC CIRCLE President: FrancisWhite, Esq. Vice-Pres.: ClaudeChandler, Esq. Clubroom,Libraryand Museum: Hearts of Oak Buildings, Euston Road,London, N.W.1. Next CONCERT will be held on February 3rd ParticularsfromHon. Secretary: PETER NEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Adver Everv
PETER WARLOCK’S
PENTAGRAM
WANTED
is published on the 24th of each
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still want many items by C. T. Jordan. U. F. Grant, Grant & Menge, Ovette, etc., etc. Only originals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by George Armstrong, 62, Wellington Rd., Enfield Middx. Manuscripts for publication & books for review should be sent tothe Editorial AddressPeter Warlock, 24, Wordsworth Rd., Wallington Surrey.
ser‘s Goods are fullv endorsed
GEORGE ARMSTRONG 62. Wellington Rd., Enfield, Middx. I
by
this Bulletiu
Publishedby the Proprietor. Qeorge Armstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, Lmm.
*
*****
PETER WAR LOCK ‘S
h
R IPETER NCCORD WARLOCK
M A N Y years ago myvery good friend Jack Avis the ring. Secondly the other cord through the ring published in the Pentagram, m effect entitled, andtinallyeachpiece of cord through the other! ‘Loops Entwined‘. Actually it was published He lifts that central part of the handkerchief twice The first time without illustrations and without any repercussion, the second time a couple nearest to him with his left hand and with his right of years later with illustrations andthe result, that hemoves one of the pieces of cord. Hishand with permission, it was reprinted insomehalfacomesaway and picking upthe tiny chianti flask dozen other magazines and later still inthe book and remarking that it contains aremarkable of Bruce Elliott’s ‘Professional Magic Made Easy’.magical solvent, he tilts it and shakes its invisible The effectconcerned the linking of two lengths of contents onto the cord. ‘One cord has nowpassed silk cordand on a number of occasions Jackhas through the ring!’‘Now for the second!’ The right hand comesunder the handkerchiefagain said, ‘What 1 would l i e todo is to link a Jardine and there is some more movement and afterwards Ellis ring and two lengths of cord under similar conditions.’ One plays aboutWithan idea without the chianti flaskcomes into play.‘Twocords doinganything about it andit was duringthelatter through the ring’, says the conjurer. ‘Now to make one cord pass through the other’. The right part of last Summer that I got down to putting in hand goes beneath the handkerchief once more effect, something that had previously onlybeen a fewdoodleson a sheet of paper. The result is and yetagain the chianti flaskserves its turn. ‘I simple in action and makes, from my own point of have now done the three things I hoped to achieve.’ view. a nice addition to any table routine in which The right hand now withdraws the cords and a Jardine Ellis ring is used. ring from under the handkerchiefshowing that The effect is as follows :truly each cord has not only penetrated the ring, The coniuror disdavs two lengths of nvlon but a’so each Other! parachute coid, each mkaiuring aboucthirty iiches The requirements are simple, they are:in length, a Jardine Ellis ring (the Englishtype. which~. is heavv) Jardine Ellis ring. ~. ,,and a oocket handkerchief. Also. not essential but to add tothe effect.a miniature 2.-Two lengths of nylon cord eachmeasuring chianti flask. thirty inches or thereabouts. If eacha is dyed different colour the ultimate effect is enhanced. 3.-A pocket handkerchief. The cords are doubled andlaid on the table with the ring central.Illustrationnumber one 4 , ~ miniaturechianti flask. A~~~~~ going to shows the layout. The handkerchief is then Italy will obtainone of these for you. The unfolded and placed over the centres of the rope one I have is purely a novelty and the top and the ring. In the first illustration the position unscrews to allow a couple of small dice to of the handkerchief is shown with cords and rings fall out. on top. The four ends of the cords are inview throughout the trick. Prepadon. Have the ‘handkerchief folded on the left side of the table. On top of it are coiled the of cord and in the jacket or waistcoat pocket The conjurer tells his audience that he willpieces attempt an effect of triple magical penetration. is the ring. The chiantibottle is on the right hand side of the table. First of all he willpass one piece of cord through ~
~
~~
~~~~~
~
~
~
~-
VOLUME 14 No. 2
-
-. .
.. -
1/6 (20 Cents)
~
-
- ....
NOV. 1959
10 Presentation. Seat yourself atthe table. Take the ring from your pocket, if it is thought necessary, allow it to be examined. Place the ringin the centre of the table and then show the cords. fold them and place them in the position relative to the ring as shown in the first illustration. Unfold the handkerchief and also place this in the position shown in illustration one.
bottle thenbeing tilted. The bottle isgiven a shake and the right hand comes away and replaces the bottle in its original position on the table. The left hand releases its hold on the edge of the handkerchief and moves away. The performer remarks: ‘One cordhas nowpassed through the ring!’ %age Two. The performer, after relaxing for a matter offive or six seconds,goes through the secondprocess. Left hand lifts the handkerchief onceagainwhilst the rlght hand goesbeneath and under the cover affored, the left hand loop is passed throughthe right handloop protruding through the ring so that it takes up the position shownin illustration three. The chianti bottles comes into play again and both hands move away from thehandkerchief as theperformersays :‘Two cords through the ring!’
Not forgetting the useof the chianti bottle the effectis achieved in four main stalges, as follows :-
Stage One. The left hand takes hold of the side of the handkerchief nearest to the performer and raises it about a:couple of inches, just sufficient to allow the performer to see the ring and the centres of the double cords. In this stage with the right hand, he passes the centre loop of the right hand cord under and over the ring so that it occupies the position shown in illustration two.
n
His right hand comes away and picks up. the chianti bottle, the left hand still retaining its hold on the edge of the handkerchief. The right hand approaches the raised part of the handkerchief and a!lows the lip of the bottle to go underneath, the
Stage Three. Another few seconds relaxation and of thenthe third phase. This simplyconsists taking the the left hand loop alittle further through the right hand loop (both hands of course playing their usual parts), and then bringing the outer sides c€ the loops so that position of cords and ring is now as shownin illstration four. The chianti bottle comes into play again and the performer remarks :- ‘I have now done the three things I hoped to achieve!’
3
11 Stage Four. Relaxationand then the right hand comes in under the edge of the handkerchief and takes hold of the twopieces of cord between his thumb and secondfinger at the points X and Y respectively. At the same time as though to steady the handkerchief his left hand second finger drops onto the handkerchief at point A, which is within the loop of the left hand cord. The drop of
this finger should synchronise with the start of the take away of the right hand, which now pulls the cordsbackwardstowards the rear of the table. This has the effect of causing one end of the left handcord to pass through the ring and the latter is threaded in the manner shown in illustration five. The magicianhas truly reached his original objective!
PRECOG FIVE PETER WARLOCK
THIS IS a prediction effectusingtwopacks of cards and little else. It goes like this :The conjurer leafs through a pack of redbacked cards, and withoutallowing the audience to see its face, he removes one card, slips it into an envelope and hands it to a spectator for safe keeping. A blue-backed pack is now taken and offered to another spectator for shuffling.When this has been done the performer requests the spectator to cut off about half of the pack and hand it to him, retaining the other half for his own use.
“h a moment or two”,say the conjurer, “I want you to turn your cards face up, spread them across the table and pick out any calrd you wish. According to the name of the card you choose I will deal off one card at a time from these cards (indicating the half handed to him) for each letter in the name of the card you have chosen. The spectator now chooses any of the cards in front of him, and supposing that it is the ten of clubs. the performer ina most straightforward manner deals a card for each letter of the word, from the face down packet he holds. in this case: T . E .N 0 . F C,. L . U . B . S On reaching the last letter he places this card still face down to one side. He stresses the shuffling of the pack at the beginning and further the complete freedom of choice of the spectator’s indicatorcard. To the spectator with the envelopecontaining the red-backed card, a request is made that for thefirst time hetakesthatcardfromthe envelope and names it’s value and suit. We’ll suppose that it’s the “seven of diamonds”. The spectator is then asked toturn over the card lying face downon the table. It, too, is the seven of diamonds!
The Requirements : I .-One red-backed pack of cards. :.-One blue-backed pack of cards. 3 .-One envelope. 4.-The blue-backed pack contains a corner short which we’ll suppose is the seven of diamonds.
Preparation. Envelope in inner breast pocket. Packs in the cases onthe table. Previous to replacing the blue-backed pack in its case remove five cardsanddrop them intothe right hand trousers pocket, faces nearest the body. Presentation. Tell youraudience that you wish to try an experiment and nothing more . . . . sometimes it works, just depending on the people who are helping . . . . pick up the case containing the red backed cards. Fan them in front of your face, and whenyou see the seven of diamonds,removeit and place it face down on the table. Replace the rema’inderof the red backed cards in their case and slip this into the right hand jacket pocket. Now remove the envelope from your inner breast pocket and without the audience being allowed to see its face slip the redbackedseven of diamonds into the envelope and hand it to a spectator. Ask another spectator to help you. Pickup the case containing the blue backed cards. Remove them from the case and place the case aside. Hand the cards to the spectator asking him to give them a verythoroughshuffle. Thishe does. and you takethe cards back from him. As you. say that you wish him to help you still more, locate the short calrd and casually cut the pack at this point to bring the seven of diamonds to the top of the pack. With your request the spectator has stepped up toyour table. Point outthathe shuffled the cards, and now youwanthim to cut off about half the pack and hand it to you. As you are talkingyouhaveplaced the cards on the talble. #The spectator does as you wish so that you now have approximately half the pack, and the short seven of diamonds on top. Ask the spectator to pick up the remaining cards. Go on to tell him, that in a moment or two, you wish him to turn his packet face up and spread the cards across the table then picking out any card at random, and according to the name of khat card you will spell off a card for each letter from the shufflled heap that he handed to you.“Supposing”, says the performer“your choice fell on the two of clubs; I would count off a cardat altime like this”. To illustrate, the per-
12 tormer counts off ten cards for the letters of the words,‘ten of clubs’. In counting he deals one card face down on top of the other, so at the end of the deal, the sevenof hearts willbe the tenth card from the top. The performerthen picks up this heap of cards and casually drops it on top of the remainder. He then straightens the cards and asks the spectator to proceed. The spectator turns over the cards in his packet, spreads the cards across the table top, and finally chooses one card, which we’ll suppose is the eight OC clubs. As he is making his choice the performer stands relaxed with his right hand in his right hand trousers pocket. Immediately the spectator has fixed on this card, he notes the number of letters forming the name. In this present case it is twelve.Now had it been a ten letter name he would have hadtodo nothing. but in this case two cards have to be added to the pack to bring it to twelfth position, therefore the conjurer separates two of the five cards in his pocket and positions them in his right hand palm. With the words ‘Then your choice isthe 8 of clubs.’ the right handcomes out of the pocket, the left hand taking the pack from the table andpassing it to the right hand, the fingers andthumb of the latter holding the packet by its narrow opposite ends. the two palmed cards still being maintained in that position. With his left hand. the performer gestures emphasising the points he made. “Rememberyou shuffled a pack ofcards-you cut off some handing them to me. from the rernain-
der you chose one card, any card, is that correct? hrow sir, let’s see whether the experiment has been successful”. The cards are passed back to the left hand at this point and in the process the two extra cards palmed are added to the top of the pack so that the seven of diamonds nowlies in twelfth position. All that now remains is for the performer to count, in the mostopenway, to the twelfth card placing it aside while the envelope containing the red backed card is removed and shown. The blue backed card is then turnedover to show that it matches!
Alternative handling. Instead of having a short card, have the seven of diamonds on top of the pack at the beginning, palmingit off before. and adding it to the top of the pack after, shuffling. Instead of adding cards at the end start counting until the tenth card is reached then use a second deal until necessary. The complete fairness of the count until the tenth card is reached. permits ol” use of elementarysecond dealing technique. if however,you area goodsecond dealer, deal secondalll the time. Then the card canstay at the top of the heap all the time, the demonstration necessary for bringing the card to the tenth position being avoided. Alternatively to second dealing isany other type of false deal that willconvincinglyspell out the predicted card on the final letter of the chosen card.
THE CARD WORK OF GRAHAMADAMS SECOND DEALING SECOND DEALING, like Bottom Dealing, requires regular practice to acquire proficiency. It is not so useful to conjurers as bottom dealing. butithasits uses, and once the enthusiast has mastered both bottom and second dealing, separately and in combination, he will be able to make sufficient use of it to have justified the time spent in learning it. Primarily it was intended for use with a marked pack of cards. a very difficult and risky proceeding; but a card may be kept at the’ topof the pack, and dealt when required, without a great amount of practice, and some other useswillbegiven later in this book. To deal seconds. the pack is held exactly as for bottom dealing. so there is no necessity to re-describe it.
The left thumb and third finger again do the work, the third fingerhoweverdoesnotmove; it acts as a check on the cards, and with practice will allow either one or two cards to be dealt at will. To ded two cardsfromthe pack the left thumb-tip is extended about a quarter of an inch over the top edge of the pack, and about an inch from the left hand top corner, the thumb at this point presses downwards, and pulls backwards at the same time. The momentyoufeel it in contact with the second card. the thumb commences to pivot, both cards are moved over the third finger, which will slightly spread the cards; the third finger can feel if more than two cards are being pivoted and can prevent any more than two coming bver. (Fig. 34). The forefinger and thumb of the right hand take the two cards by the right hand top corner, ’
13 theforefingercomes into contact with the under surface of the second cardand pressesupwards, the left thumb pivots the top card from under the right thumb, taking it back to its normal position on top of the pack as the second card is dealt. (Figure 35 ) . I think a snapping action isbestindealing seconds, as in dealing from the bottom. If a continuous second deal is being made, the top card is not pivoted right back, but near enough to enable the right thumb-tip to take the second card, and yet to preserve the illusion of the top card being the only card taken.
DEALING BOTTOM CARDS WITH ONE HAND THE HOLD is exactly the same as that described for bottom and second dealing, and once the method of bottom dealing with two hands has been learned. and practised, theone-handed deal will present no great difficulty and will be found very useful;dealing the cards with onehand would surely convince anyone that trickery is absolutely excluded.
When I make this deal the left hand moves outward from the elbow, covering about a twelveinch arc of a circle. Thethumb pivots the top card on the outward movement, and recovers it as the bottom card is dealt on the downward movement; the bottom cardleaving the pack when about four inches from the table top.
DEALING SECONDS WITH ONE HAND THIS sleight is more difficult to acquire than the one previouslydescribed, but it is wellworth while, if only for one effectdescribed later. 1 refer to. The cards are held in the same way as in the other deals, and the left forearm swings back and forward just as insingle handed bottom dealing. The two top cards are pushed over on the downward stroke. the arm isswung outwards,and during the swingthe topcard ispivoted to its
normal position. The third finger pushes upwards, against the under surface of the second card, this card being lifted about a quarter of an inch from the remainder of the pack. The left arm commences the inward swing,throwing the second card, and continuing the downward stroke. Immediately the second card has been dealt, and on the downward swing, the left thumb again pushes the two cards over, and the whole process is repeated.
JUMPING JACKS M O S T CONJURERS doing card tricks like the ‘self-working’effects. Thisone is almost self-working apartfrom move.namely thatonecardhasto be ‘bottomdealt’ Nomore,no less. The rest of the trick looks after itself. EFFECT. The four jacks are dealt face-up onto the table in a row and then three cards are dealt face-up on each jack. The first jack is taken and laid face down on the left hand. On this jack place the three indifferent cards all face dawn. The next jack is taken and place face-down on the heap in the left hand and this too isfollowedby the three indifferent cards. This is continued until the conjurer has all sixteen cards face down on his left hand. As each jack and three cards are taken, the conjurer repeats.
‘Jack and three cards, the jack is the fourth card down!’ Now deal the cards one at a time onto the table in 4 heaps of 4 counting aloud and saying‘One, two. three, jack’. Squareuptheheapsand turn theinnertwo heaps lengthwise to form a bridge b,etween heaps one and four. From the audiences point of view all the jacks are in heap numberfour. Command the jacks to cross the bridge and turn heap four over showing that it contains only indif€went cards, whilst when heap number oneis turned over it contains the four jacks! THE METHOD. Verysimpleindeed. All that happens is that at the commencement of the deal there is a bottom deal of the bottom card, a jack, andfrom thence on the jacks automatically fall into the first heap as the cards are dealt.
14
A DEALING ROUTINE THE DEALING routine is one of the simplest of many that I have collected; it is also enough to beveryeffectivewith a lay audience. MartinChapender performed an effect in which“Twelve courtcards in a glass changed places withtwelve ordinarycards held in the hand”. My friend, James Wakefield, in his book, Practical Conjuring, (Derby 1911), explained the method used by Martin Chapender, in which only one change takes place. Dai Vernon, in his Clloeup Problems, gives his own excellent version. This version is different fromthat of Dai Vernon, the effect being obtained by bottom dealing. Patter and Presentation. Thirteenblack cards are shown to the spectators and placed face down on a table. Thirteen red cards are shown and placed face down on the black cards. Explain the position to the audience: “Ladies and Gentlemen, youhave seen that the twenty-six cards consist of thirteen black and thirteen red cards; the red cards are on thetop halfof the heap. Let me showyou.” Show thecards by fanning the packet from the left hand to the right. “I shall reverse the position by dealing the cardson the table”’ Turn the packet face down and deal the cards, apparently reversing theirorder. However,they are really dealt alternatively fromthe topand bottom of the pack, until all the cards have been dealt into one heap. “The red cards are now on the bottom, and the black cards are on the top of the pack. We’ll take a look and see if that is so.” Pick up the cards,show the top card andplace it face-up on the table, saying “Black”. Take the next card, show it as red, and place it a. foot to the right of the black card, saying “Red”. Deal the remaining cards in their respective heaps, calling the colour as each card is placed on the table. Place the black cards face up on the red cards. show them to the audience saying, “It’s funny how thathappened. We’ll try again, but thistime I willkeep theheaps away from each other. I’ll deal the red cards on the left of the table, theblack cards on the right. First the red cards (which are on the top half of the pack). One, two, three. four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen. Now forthe black cards (counting as
before).” Deal the cards in this manner:-For the red cards: one from the top, two from the bottom, one from the top, two from the bottom, three from the top. three trom thebottom,and lastly onefrom the top.The bottomdealmg,is, of course, done secretly. Before you deal the black cards, and as you say “Now for the black cards”, casually turn over tne heap in the right hand, showing the black card at the bottom, then deal.; one from thebottom, two from the top, one from the bottom, two from the top, three from the bottom, three from thetop, and the remaining card being counted “Thirteen” and placed on top of the heap. Proceed :‘‘This time we have kept the cards apaxt; the red cards on the left. 1’11 take the top card in my left hand, and would ask you to keep your left eye o n that card. The black cards are on my right and 1 will take the top card of that heap in my right hand, and ask you to keep your right eye on that card. You lookrather uncomfortabledoing that. 1’11 changethem over, that will make it easier for you. Now I have the black caxd in my left hand and the red card in my right hand; now youlookmuch happier. A peculiar thing has happenedthough. The red cards havefollowed this red card, andthe black cards have followed the black card. Look!” Here,you place the single cards face up on the table, between yourself and the packets of cards; or place themin tumblers, goblets or houlettes. (I use two houlettes). The black card being on the left and the red card being on the right. Then pick up a card from each heap simultaneously, placing it with the card of thesame colour. Do this slowly-three times. “Let’s try again”. Place all the cards that havebeenturned up over tothe opposite heap, then turn up three more cards from each heap. “We’ll try once more.” Change over the upturned cards as before. This time turn over two cards. “And again.” Changing again, turn over one card. “Oncemore”.Change and turn overtwo cards. “And again”. Turning over the last card from each heap. Now pick up the thirteen red cards, show them and discard; pick up the black cards and show.
MAGIC GO ROUND (IContinued from Page 15) We’ve also been looking through some of the manuscript of the second Vernon card book, which shouldbeon sale within a’ week or two of the publication of this number. The contents would seem even better than those in the first volume and of outstanding importance to all card menis the chapter on the “Riffle Shuffle” in its many aspects.
The other day we had a call from Mollie Ellis of the “Stage” asking whetherwe would care to run agalina magic column in one of the greatest of all papers relating to showbusiness.Weagreed and in consequence we shall alwaysbeglad of real news items relating to magic and/or magicians. Let’s emphasise that preferably such items should be of general interest. Januazy 23rd, 1960.
15
MISFORTUNE hit the“Pentagram” last year in twoways. Firstthere was the printing strike which delayed production for a couple of months. as though that wasnotbadenough I hadto succumb toanattack of Shingles which affected tny sight for some time. This meant that the May issue cameout inSeptember andthe August numberinDecember (for some the beginning of January!) Wecouldhavestopped putting the name of a month on each issue. but we felt that if this lazy attitude were adopted we’d just never catch up. Therefore it is hoped that by getting an issue out every three weeks instead of every month. we’ll get really straight by the month of May. As these words are written, the September number is beingrun off andtheOctober issue has been proofed. We don’t like going into a lot of explanai:on, but from letters we have received. we felt it necessary to say a few words regarding the cause of what, to the many, must seem unwarranted delay. Not that we are the only magazine falling in arrears. The “New Phoenix” seems to have abandoned publication altogether, much tothe regret of all those wholoved a lessconventional outlook on magic. One of the joys in the pastfewmonthshas been the opportunity of meeting and talking to Marvyn andCaroleRoy. Suchmodestpeople withsuch a great and artistic act. They spoke of their friend Peter Godfrey. who, in the thirties, when he was producing and acting at the “Gate” Theatre, presented such a delightful, magic show. We wonder how many of our readers rcmember it.The presentation was of Victorian magic. good straightforward effects, with the added attribute, possessed by so few conjurers. the ability toact.Later Peter Godfreywent tothe States and into the film industry. During the War however, we believe thathetookoutquite a large An magicshow to entertain the U.S. Forces. actor we should liketo see present magicis Leonard Sachs. His supreme chairmanship at the “Players” Theatre andalso in the B.B.C. T.V. “Old Time Music Hall” series show only too well that he could take the merest conjuring trifle and make it an entertaining trick. Although thinking inDickensian terms. one associates al Winter party withmagic. theT.V. channels didn’t let magic unduly worry their programmesover the Christmas holidays. The two offeringswere those of Percy Press, whoworked
as .though he was pressed for time (and no doubt hewas!) andHaroldTaylor. Bothinafternoon shows, one felt they could have been givena longer spot in their respective programmes. From our friend Ronald Wohl in Switzerland, we hear that there is to be a Swiss Magic Convention at Basle on the 9th, 10th and 11th September. Here’s a chance to see Switzerland and some International Magic - a week to rest and then down to Hastings for the British Ring Convention.Don’t forget toothat there’s a Convention at Bologna (Italy) starting on the 31st March and extending to the 3rd April. This will be sponsored by the Club Magico Italiano, of which that beautiful artiste. Alberto Sitta is President. If you feel like a trip to Bologna write for full details to Prof. Alberto Sitta, Via Lame, 160, Bolognal, Italy. The brochure, as one may well expect, emanating as it does from what is now one of the leading artistic centres of the WesternWorld, is truly attractive. and programme for the convention includes lectures, dealers’displays.Banquet, competitions, private shows. A gift will be given to every participant and apart from the magic. there is a sightseeing tour of this very historical cityand wme special entertainments for ladies. The registration is 4.000 lire. It has the added attraction of Slydini. This, year the Magic Circle changes its venue for its Annual Banquet. It will be heldon 6th April (a Wednesday) at the Cafe Royal. Starting a little later than usual it willgoon until 1 a.m. A little whilebackwe hadthe pleasure of spending a day with Jo and Lewis Ganson. Whilst with them. we had an opportunity of glancing at the manuscript for the forthcoming Slydini book. This should prove a ‘must’ for every reader of this bulletin. In it there is a record of the tricks you saw Slydini perform, all explained with the minutest detail and accompanied with a veritable galaxy of first class photographs. We understand that the selling price should be in the region of 45/which for suchanoutstanding book is a most rnodest charge. Lewis, just as with the Vernon books, has done a wonderful job. In praising him we must once again praise Harry Stanley for taking on the task of publication. Suchbooks are very costly productions and largely a labour of love. It iq rather ironic that both Vernon and Slydini had to come to this country tobe sponsored by a publisher with guts and imagination for the first man-sized books of their lives.
E D D I E JOSEPH’S Latest and Greatest Work THE MANUAL OF
T H E T H R E E SHELL GAME
THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS.
HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINES WITH THE JARDINEELLISRINGand Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic.Youneedknow NOTHING of the subject belore purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised. THE PRlNCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your own shells, should you prefer the genuine item instead of the present-day plastic variety.
IF YOU MASTERED only half of these moves you would be an acknowledged expertat the Three Shell Game, but there is no reason at all why you should not master them all. NOTHING is left tothe imagination, for in this section alone there are no less than 60 finedrawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER is dealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act will be easywhenyouhavemasteredthem,but eventhis is done for you,with Three completely baffiing and completely different styles of routines that are thoroughly described.
THE REGULARROUTINE has tenphases of bafflingmoves, THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG isprobably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tellan entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces.Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE ASA THREE SHELL MAN.
Price 12/6
Postage 6d. From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: Francis White, Esq. Vice-Pres.: Claude Chandler, Esq. Clubroom, Library and Museum: Hearts of Oak Buildings, Euston Road,London, N.W.l. Next CONCERT will be held on February 3rd Particulars from Hon. Secretary: PETER NEWCOMBE.
38, Overdale Ave., New Malden,
*
Surrey.
Every Advertiser‘s
PETER WARLOCK’S
PENTAGRAM
WANTED
is published on (the 24th of each
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still wantmany items by C. T. Jordan. U. F. Grant, Grant &L Menge, Ovette, etc., etc. Only oiginals please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. lS/- post free. Published by George Armstrong, 62, Wellington Rd., Enfield Middx. Manuscripts for publication & books for review should be sent to the Editorial AddressPeter Warlock, 24, Wordsworth Rd., Wallington Surrey.
GEORGE ARMSTRONG 62. WellingtonRd.,
Enfield, Middx.
Goods are fully endorsed by this Bulletin
Published by the Proprietor. George Armstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley,
*
THANKS TO JOSEPHANDJAMES LESLIE MAY The reason fortheaboverather Biblical sounding title is due to the fact that the following effect is a combination of ideas emanating from the fertile brains of Eddie Joseph and Stewart James. I have woven them into a routine that I have used for some time now whenever an impromptu example of mentalism has been requested. The good points I claim inthisroutine are that with the aid of a borrowed pack, and without the use of a sleight or even a preliminary glimpse of a single card, the performer is able to demonstrate telepathy, clairvoyance and the gift of foretellingin the future. My presentation has been as follows:-Using his own cards, or preferably, requesting the loan of a pack. the performer states he wou!d l k e to demonstrate a few of the branches of paranormalism, using cards, as they are an easily recognisable series of symbols, etc. In orderto exercise an absolute freedom of choice of some of these pictorial symbols, he demonstrates various chance selections by taking the pack, lifting a small portion and placing them back reversed.i.e. facing the opposite way to the remainder, the small portion nowbeing face up whilst the bulk of the cards remain face down. Naturally. the identity of the uppermost face-down card remains unknown until shownby the demonstrator.Bringing the pack back, to its normal condition he repeats the example two or three times to ensure thatthe flexibility of selection is impressed upon the onlookers. When he is satisfied that they accept this, he hands the pack out to be thoroughlymixed (not shuffled!!) takes it back face-down on his left hand and requests a spectator to reverse a small portion on the top as previously demonstrated; this having becn done. he raises the pack and fansfaces or bulk towards the assisting spectator. requesting him to
noteand recollect whatwas the first face-down card, performer turning his head aside as this is done. Before closing upthe pack though he quickly glimpses the twoface-up cardsthatlie immediatelyabove the notedface-down one, let us say that they are reading from left to rightl of hearts and 10 of diamonds. He remembers them in this order. So fa,r he does not know the identity of the card noted by the spectator (who we will call S.1). so let us say that this is the 8 of spades. Closing up the pack still with the top portion reversed, he suddenly appears to have an inspiration,and looking at a spectator seated a little distance away,announces thathe can foretell exactly what that gentleman will do a few minutes later, so saying, he takes a p:eceof paper, writes on ii the name of the second noted card, i.e. 10 of diamonds, but elaborating somewhat as follows:--. “I feel absolutely certain that you willselect one cardfrom 52, andthat one will be theTen of He then folds Diamonds, (sgd.) Peter Koran.” the paper and asks the gentleman in question, (who we will designate S.3) to place it in his pocket for the time being. Again picking up the pack and holding it as becore facedown (or at least bulk ofit is facedown) on palm of left hand,he approaches yet another spectator (we’ll call him S.2:-(1 know this may appearout of sequence, butitisn’treally, as you’ll appreciate in a minute, I hope) and asks this person to again cut off about half of the pack, just as they are and replace them reversed on the lower half. This willagain bring about a third of the pack faceup on top of the remainder. Performer again fans pack towards this spectator, t.urning his head aside whilst doing so. and asks him to remove the first face down card he sees and
18 place it in his pocket, without disclosing its identity. Actually this will be the first of the two previously noted cards, the seven of hearis. Care mustbe taken at this point that the face of the next card is not disclosed, as this will be the predicted card, i.e. the 10 of diamonds.When spectator has removed his card, performer in the act of closing thefan, notes and remembers the extreme left handface-upcard, this willbe the eight of spades, the card noted by the first volunteer. Performer closes the fan, lifts up all the faceup cards (care being taken not to disclose the eight of spades) and places them face downunder the remainder of the pack, whichisnawback to its normal state, i.e. all face down, the predicted card, the ten of diamonds, TOP CARD OF THE PACK. Walking up to S.3, the performer asks him to repeat the previousprocedure, i.e. reverse and replace a section of cards, performer holds cards behind his back for this to bedone, turning his backwith thecards so held to the spectator for convenience.When this has beendone, it will bring the predicted ten of diamonds as the lowest face-upcard, withsay-thejack of clubs, the uppermost face-up one, which the spectator in question cannot help but observing, in fact, the moreprominent thecard, i.e. courtcardor ace. the greater the subsequent misdirection, for. turning to th,e assistant for a second to enquire if he had made the necessary reverse. THEPERFORMER. BEHIND HIS BACK. EXECUTES S T E W A RJ T AMES’S DELIGHTFUL ‘NULLIFACTOR SHIFT’ with the result that the ten of diamonds has nowbecome the first facedown card, whilst the jack of clubs still appears face-up on the top, being silent proof that no funny business or‘ any sort has taken place! This spectator isthenasked to remove the firstface-down card, and consequently gets the ten of diamonds, which he is asked to keep face-down for the time belng. and p!ace in his pocket. To re-cap. the position is now as follows. S 1 has noted a card (eight of spades) which is in his mind, the actual card being lost in the pack. S.2 hasacard in hispocket or (alternatively canbe hiddenunder a book or the carpet-thisis quite effective)--thisbeing the seven of hearts. Whilst
S.3 has the ten of diatmonds and a prediction in his pocket. Now for the disclosures, stress is made on S.l that his card is only in the mind, there has been no physical contact, so the performer gathers the identlty of this by telepathy. Turningto S.2 performerannounces he will discover what his card is by clairvoyance, and to ensure that he is not assisted by receiving thoughts telepathically, he askes this spectator to think hard cf the opposite, i.e. if the card was a red one, to think of a black, if it was an odd, to think of an even, or if it was a court card to think of a spot cne, etc. Placing his fingertips against the covering concealing the seven of hearts, hestarts tc name the exact opposite, i.e. this card is black, it is acourtcard, “No, no, I’m sorry, but I’m afraid I was picking up your thoughts, that is whatyouwere thinking isn’t it? I thought so!” (This is a mosteffective bit of business),he then gets his clairvoyant powers to work smoothly, and announces the name of the card as seven of hearts, which is proved correct. Next, he requests S.3 to stand, and emphasises how, at the verycommencement he received this sudderlpremonitionconcerninghim, asks him to readaloud the prediction, performer repeating it after him for effect, then to disclose the card. and again, it is correct. As I stated at the beginning, this is my favourite impromp!ueffect: I admit I canclaimno origina ity for the actual principles used, but I do honestly think I have comblned them into a really cutstanding mental routine, and again, my thanks to Edd’e Joseph and Stewayt James for their ingenious moves.anG I hope theywon’t mind my wholecale appropria1:ion of them for the above. The above is exac:ly as I have been displaying it. I would like to mentionthough that my good friend Roy Scott, who I consider one of the finest sleight of hand men in Great Britain, suggests that before commencing. I should glimpse the 2nd top card of the pack and make out No Three’s predictionbeForeever starting the demonstrations. He is probably right, that it is b,etter, but somehow I prefer it just as I have described. so that the appearance of absolute impromptuness and spontaneity is preserved, butdear Reader, I give you his suggestion-so now it is up to you.
STAMP OF APPROVAL JACK AVIS EFFECT : A card marked by a spectator is used to select two cards. The same two cards are found to have been predicted by the performer. REQUIRED : A double back card to match the deck in use, and two postage stamps.
PREPARATION : Stick one of the stamps in the centre of one side of the double back card. Note the na,mes of the top and bottom cards, these are the cardsyou will later predict. Place the double back card with its unstamped side up on top of the deck. Place the deckin its case.
19 Routine : Remove the deck fromits case and shuffle retaining topandbottom stock. Ribbon spread the deck across the table for the selection of a card. While this is being done, write your prediction, naming the two ca,rdsyou noted at top and bottom of the deck. Square up thedeck and hold it In the left hand. Have the selected card replaced face down on top of the deck. Remove the stamp from yournote-case, which by the way you should have by you on the table, and stick the stamp in the centre of the selected card. With some remark about having everybody present remembering the stamped card, turn theselected card face up on top of the deck. With thecard still face up, turn the left hand palm down, glide back the selected card, and with the right fingers pull out the second card, this is the double back card, but as the stamp now shows on its back all appearsto be fair a,nd square. Place the double back card onto the table. The right hand now returns to the deck and cutsoutthe lower half. The left handdrops its half still face up on to the table, and theright hand packet is dropped on top of the tabled packet. This is in fact a simple cut but done with the cards face up to conceal the selected card until it has been cut to the centre. The stamped selected card is now between the two predicted cards. Spectator is now handed the deck which should be face down, and the stamped card is placed on top of the deck.
Spectator is requested to place the deck behind his back, turn the top stamped card face up, and irsert it anywhere in the deck. He is then to hand you the deck.When youhavethe deckribbon spread it across the table, push forward the faceup card,and the cards tothe left and right of it. Have your prediction read, and reveal the selected cards. Note One : After cutting the deck and just before handing it to the spectator, it is better to shuffle the cards being sure not to disturb the three card set up in the centre. Note Two : If you can do the Buckley second deal, Black Jack method,see CARD CONTROL, page 119. This sleight can take the place of the glide which perhaps gets a little overworked.
Note Three : In place of the stamp idea you can have the spectator initial the face of the selected card which is then switched as before. However the stamp is quite a strong point. Note Four : It could be that you feel the spectator will note one of the predicted cards was the bottom card. As several things happen before the climax it is not likely to be remembered, however you cannote the second cardfromthebottom, then after the cut. hold a break, turn the deck face down, rega,in the break. and side steal the card above the little finger to the top or bottom to lose it.
HUCH SCOm’S “
DOUBLE HOP
”
DESCRIBED BY JACK AVIS EFFECT : A transposition, with a surprise climax. SLEIGHT : The double turnover and a false shuffle. ROUTINE : Shuffle the deck, then apparently turn the top card face up on top of the deck. In fact you maske adouble turnover, and name the cardthat lies face up. Let us assume it is the Ace of Clubs. Turn the top card(s) face down, and deal the top card to your left. False shuffle the deck retaining the top card. Again appear to turn the top card face up, but doubleturnover and name the exposed top card. Let us say this is the Two of Clubs. Turn the top card(s) face down and deal the top card. to your right.
You now say : “lf I place this Ace of Clubs into the centre of the deck, snap the top of the deck and cause the Ace to return to the top, I think you will agree, that is a pretty good trick.” Carryoutthe actions as givenin the above remarks, as you say “good trick”, remove the top card but do not show its face but carry on into the following patter lines. “But this is even better, here is the Ace.” Place the card you are holding face down to your left. “And herewehave the Two.”Point to the card on your right. “ Let’s see if we can make themchange places.”Snap your fingers over the two cards, turn them face upand reveal theyhaveindeed transposed.
20
THE CARD WORK OF GRAHAM ADAMS A USEFUL CARD PALM T H E PALM I shall describe is little known, and hasnot to my knowledge appeared in print, and those who havelearntit tellmetheyhave usemade good of it.
The middle finger of the left hand does most cf the preparatory work by separating thecards that are to be palmed from the remainder of the pack.
The palm is a variation of the Erdnase palm fromthetop of thepack,andit is made while the pack is being transferred from one hand to the other. Hold the pack in the left hand, the thumb on one side, the first, second and third fingers on the opposite side. See figure 36.
It is an easy move, the thumb, first and third fingers hold the pack and the middle finger pushes up the cards to be palmed, making a break. The thumb, middle and third fingersholdthese cards and the thumb and first finger hold the remainder of the pack. See figure 37. This takes only afraction of a second and it is done as the right hand is shown empty. The right hand then takes the pack, the palm of the handcovering the pack, the second and third fingers of the left hand remaining stationary, the thumband forefinger of the left hand moving upwards. The thumband forefinger of the right hand take hold of the remainder of the pack as near to the corners as possible; the palm is made andthe left hand maybeshownempty. See figure 38. Figure 38 shows the right hand taking hold of the pack, while figure 39 shows an exposed view cf the rinht hand movingawaywith the palmed cards and pack. The remaillder of the pack is then taken in the left hand and the cards are produced or disposed of by the right hand as the performer wishes.
A VARIATION IN THE DIAGONAL PALM SHIFT IT' WAS Richard Cardini who drew my attention to this sleight, andhe found this throughmisreading the Diagonal Palm Shift of Erdnase and he, of course, preferred the variation to the origind.Dai Vernonexpressed the opinion that it was good and Cardini has made a perfect sleight of it. Another writer, George de Lawrence, wrote of the same sleight in 1920, in Modem Card Tricks, published by Arthur P. Felsman. Detail is lacking in the book, but up to a point the same description givenin The Expert at the Card Table suits admirably.
The Diagonal Palm Shift is a beautiful sleight which allows the performer to palm the cards in the left hand, after theyhavebeenpushed into the middle of the pack. The variation allows the cards to be pushed into the pack in the sam,e way, but they are palmed in the right hand. In demonstrations of card dealing I make great use of this sleight and palm, and find it a good finish in the Acrobatic Jacks, just as James Thompson has used the variation in his Four Ace Trick Unique. There are a number of possibilitiesin both, and the final handling of the cards in each sleight
21 are my own,differing respective authors.
from h a t givenby
the
THE ERDNASE METHOD The pack is held in the left hand by the sides, between the first joints of thethumb,andthe second, third and little fingers. The first finger is curled up at the bottom of the pack. Figure 40. The spectator inserts the selected cardinto the pack, pushing it home until only about halfan-inch protrudes. Bring the right hand over the pack, with the little finger at the side of the protruding card. Second and third fingers are at the middle of the end and the firstfinger is close to the end corner; the thumb close to the inner end corner of thepack.Figure 41.
The next action is to palm the selected card in the left hand, as the right hand passes the pack to be shuffled. With the left little finger against the side of the card, swing or turn it inwards, using the right thumb as a pivot. Straighten outthe left first, second and third fingers, catching the outer end as it turns, as shown in Figure 44. At the same time slide the packoutwards andtothe right. The left hand turns over and inwards with the palmed cardandthe little finger is slipped totheend, Figure 45 shows the performer’s view as the card is palmed. There should be no force or twist employed, the card running outas freely as thoughdrawn. Thecardand packmustcontinue onthesame plane until quite free of each other. The left little 1ir:ger may press the side of the card very slightly upwards, so that as it is palmed it will bend into, instead of away from the left hand.
i i
The card is apparently punched home; really push the protruding end with the right little finger, about a quarter-of-an-inch to the left, so that the right first finger can push the tilted cornerdown the side of thepack,thecard movingslightly diagondly,andtheopposite corner just grazing the right thumb and protruding about threequarters of an inch. Figure 42 shows the position of thecard. The left andthirdlittle fingers are released sufficiently to allow thecardtoprotrude at the side. The left thumb now takesthe place of the right hand first finger,pushing the cornerflush with the side of the pack. The diagonal position of the selected card is now perfectly concealed, andthe pack is .held in a naturaland regular manner. Figure 43 indicates the position, from above, the right hand not being shown for the sake of clarity.
As the card is being turned by the little finger, the lelt thumb is raised, letting the right thumb with the corner of the pack pass under it, so that the card can lie parallel with, but still above the left palm. As the pack is slid out, the right thumb slides along the side of the card which is not actually pa1,med until the hands are almost free from each other. The whole action may be made as quick as a flash and without a sound,yetwhenperformed quite slowly it is still perfectly deceptive. The left hand may seize the pack by the corner, between the first finger andthumb,asthecard is palmed, leaving the right hand free; but the beauty of the “shift” is thenaturaland simple manner of palming the selected card by the ordinary movement the right hand makes in passing ihe cards to be shuffled. Erdnase thensays:“Wewish to particularly impress our readers with the merits of this palm shift. It isnotdifficult if a properunderstanding of the action is obtained,andit is of great assistance in card tricks.
22
“It dispenses toagreat extent with regular shiftsand blind shuffles, andit can beaccomplished under the very nose of a shrewd spectator without an inkling of what is taking place. “The usual procedure of card handlers is to insert the little finger over the selected card, shift the two packets, and palm the card from the top in the right hand.This process takes time; the shift must be concealed by a partial turn, swing or drop of the hands,and to palm,thepack must be covered at least for an instant. In thepalm shift described the card is placed in its diagonal position with apparently the customary movement of squaring up, and the rest is accomplished, as it were, by handing the pack to be shuffled. “Several cards may be palmed together, when inserted at different points, or from one point, or fromtopor bottom. If thetopcard is tobe shifted, itis slipped into the same diagonal position and held in place by the right little finger being curledontop. The action is the same.When the single palm shift is acquired the rest will come easily.” The above description is given as Erdnase wrote it, s:mply because no better description could be given. It contains a lot of detail, but each detail is important and is an example of good card handling; it is not only a good sleight, but forms a basis of holds for other sleights, for the pass, for putting a crimp into a selected card and, of course, for the variation. THE VARIATION The use of this variation is more for manipulators of cards. James Thompson, in Modem Card Effects,uses this in his “Four Ace Trick
BOOKS D A I VERNON’S Inner Secrets of Card Magic,” Part 1 (compiled and photographed by Lewis Ganson. Publisher, Harry Stanley, price 20/). T’his,the very first book of Dai Vernon devoted exclusively to card magic, contains material valuable to beginner and advanced card worker alike. “
Fortheformer,one effectin chapter one, entitled “EmotionalReaction”, is analmostselfworkingeffect; certainly no skill is required, and this effect alone could make a reputation for any of those with adequate showmanship. I’ll certainly never forget the time at Portland Hall, when Dai in his most charming manner presented this effect and. how, despite Its simplicity it completely fooled the major part of the large aud:ence. “Zock’.ail Cards”, “BentCorner Prediction” and “Colour Separation” make up this first easy to do chapter. The second chapter brings a litt’e ski11 irlto play and among the tricks described, “Repeat
Unique”. The aces are exhibited and inserted at different points in the pack. The pack is fanned and then squared up and the aces are pushed into the pack. Thefour aces are thenproduced in a fan from the arm. u p to a point the procedure is the same as in the Dlagonal Palm Shift. The card, or cards, are pushed into the pack in the same way, but are left protruding at the inner end of the pack, instead o f beingpalmedin the left hand. The right hand may casually be shown empty andthe body turnstothe left. The protruding. cards are held in the crotch of the right thumb and forefinger; the left arm bends upwards, taking the pack but leaving the card or cards in the right hand (Figures 46 and 47), whichthenproduces them from the elbow. Once the Diagonal Palm Shift is understood, there isnodifficultyin the variation. There is no real continuity in it, as in the former, but as a sleight it may be used very effectively. (To beContinued). Do As I Do” and Four of a Kind”, are both very strong and direct ineffect. Chapter three gives some very practical advice regarding the use of hair as a means of motivation when attachedto playing cards. Asusual the Vernon touch turns the trifling trick into a miracle. ln the remaining chapters are many colour changes and many tricks described. It is,however,when one reaches chapter slx, entitled “Dexterous Deception” and the description of Vernon’s method for producing cards with the fingers interlocked that one realises the full stature of Vernon. Here is a method far -superior to anything previously described, and having seen Vernon perform the sleight in a manner, far, far superior to anyone else, one begins to realise that if this chapter done were sold at the price asked for the book, the rcader interested in card manipulationwouldbe gerting a barga’n. We have merely sk:mmed somz c?! the creamfrom the seventy-six pages which make uo this first part. In summing up we could do no better than repeat in editorlal formwhat Vernonwrote in the foreword :-
23 “We would like to thank LewisGanson for his wonderful patience and all the effort he has expended. He explains everything-youcan’t go wrong-andwewould also like tothankHarry Stanley who hasdone so much forthe art-he holds the reins and always arrives at his destination.” And, of course, yours and’our thanksto Vernon.
ters, about hundred a effects, most of them requiring the simplest pieces of apparatus. Many are mere impromptus. All belong to magic in the modern manner. For the most part they have been collected from the “Phoenix” and it is pleasing to find one “Pentagram” effect, Jack Avis’s “Loops Entwined” in the first chapter. There’ll be tricks that you’ve liked and possibly forgotten, like Honeycutt’s “Honeycutter” and Elmsley’s (not ‘Emsley’ as printed in boththe American and this edition!) “Puncture” that you’ll want to do agalin. The book is well produced and apart from the letterpress carries some fifty-seven full page drawings by Arthur Seymour. This is a nice present to buy yourself.
“PROFESSIONALMAGICMADE EASY” by Bruce Elliott (English edition, published by Faber & Faber, price 15/-.) The name of Bruce Elliott is synonymous with the presentation of practical novelties in magic, and ir, this present volume consisting of more than two hundred pages, he describes insome eight chap~~~
~
.. .~
.
~
~~
~
~
-~ ....
____ ~~~
-. .
~~~ ~
~
~.
.
~-
__
“MAGIC G O R O U N D ” We write this on the eighth day of February with the realisation that slowly but surely we’re bringing the Pentagram up to date. Though there don’t seem to be a great number of ma,gicians working in Town, the societies are all working full out.The Circle show onFebruary 3rdmeant that those who attended saw A1 Koran open his act with a delightful three ring linking ring routine whichowedmuch toVernon.His handlingwas superbandone link seemed truly impossible. Whata great revival this grandold classic has had since Vernon came over here and first presented, and then through the medium of Lewis Ganson, published his ownsix ring routine. As a magical effect it would seem that this is in a class of its own, in fact, possibly the greatest of all classics. Certainly the greatest effect of matter through matter. Wesee that Slydini is notonlyvisiting Italy inthe Spring, but also Holland.Inthecurrent issue of “Triks”. mention is made of this with the more important news that Slydini will lecture at Amsterdam. Thedate is April 10th. Rumour has it that Trevor Hall is working on another Bibliography that will take into account publications on magic from 1851-1900. Though taking care of quite a number of books we would bc sorry indeed for those who would attempt more than a short title list of magical publications dating Trevor Hall’s first bibliofrom 1900 to 1960. graphy covered as most of youwillknow the period from 1580 until 1850 andone of the omissions is a detailed description of the 14th edition of Dean’s “Hocus Pocus”, an edition that we were indeed fortunate to see only a little while back. It’s a Scottish edition publishedin181 1. by Napier of Glasgow.. Memories of Hastings’ Convention in1952 and recent visits only tend to strengthen our belief
that this venueshouldprove ideal forthe Silver Jubilee Convention of the British Ring. The White Rock Pavilion has had certain structural improvements added which will make it capable of handlingevery facet of the Convention tothe comfort of all that are there. Just a little more than a year away many will be making plans for attending theInternational Congress in Brussells. We know that one who will travel far is HansTrixer of Rhodesia. So far there seems to be little advance news regarding this outstandingeventbut no doubt some details will be to hand within the next month. Why do some people let speed kill their performance‘? The other evening at a magicalshow wewere watching a very talented fingerflinger. All the time he worked at high speed and though skill was there it was never used to the advantage it shouldenjoy.Whydon’tsome of these boys get round to the idea that to be a first-class artiste in magic like Cardini, Kaps or Pollock, there must be restraint inperformance. This notonly refers to magic but every artform.Those whowatch great magicians are notdebatingonhow a card manipulator can holda number of cards, but rather where on earth the cards come from. Sometime on a Monday evening in April our good friend fromChicago,George 0.etting. is presenting at the Circle a progralmme entitled. “The SphinxSpeaks.” It pays tributetothat great American magical magazine which unfortunately is nomore.Georgeproposesusing certain quotes and has asked about a dozen of us to each performone trick thathasappeared within its pages. Those taking part include Francis Haxton, Alf. and Cis. Gabriel, Harry andMarjorie Fletcher. It should prove a most interesting evening.
E D D I E JOSEPH‘S Latest and Greatest Work THE MANUAL OF
THE T H R E E SHELL GAME
THE MOST COMPREHENSIVE WORK EVER PUBLISHED ON THE GREATEST OF ALL CLOSE-UP CLASSICS. HERE IS another in the series of George Armstrong’s Giant Sized Manuals, uniform in style with John Howie’s ROUTINESWITHTHE JARDINEELLISRING and Peter Warlock’s PATTERNS FOR PSYCHICS. Possession of this new manual will open up for you an entirely newfield of magic. You needknow NOTHING of the subject before purchasing the book, but a few evenings practice will enable you to present some of the most baffling moves and routines ever devised.
IF YOU MASTERED only half of these moves you would be an acknowledged expert at the Three Shell Game, but thereis no reason at all why you should not master themall. NOTHING is left to the imagination. for in this section alone there are noless than 60 fine drawings by Jack Lamonte to augment the text. FRUSTRATING THE CHALLENGER isdealt with in a special chapter, and there are moves and suggestions here that will really tickle your fancy. ROUTINING THE MOVES into a complete act willbeeasywhenyou have mastered them, but even thisis done for you, with Three completely baffiing and completely different styles of routines that are thoroughly described.
THE PRINCIPLESandRUDIMENTS of The Three Shell Game are thoroughly discussed before you learn a single move, and there are even instructions for preparing your ownshells, should you prefer the genuine item instead of the present-day THEREGULARROUTINE has ten phases of plastic variety. bafflingmoves. THE RILER is a routine with a different slant and tons of entertainment value; NO LESS THAN 24 MOVES are then described and THE BOOMERANG is probably the most in the minutest detail. Most of these have never unusual Three Shell Game routine everdevised. seen the light of day before publication of this work You tellan entertaining story and illustrate it and are entirely new to the conjuring profession. with baffling moves as the pea appears and No matter what the circumstances might be, there disappears in the mostunlikelyplaces. Another is a move here to deal with it. No matter when or 26 fine illustrations by Jack Lamonte make everyhow a spectator may challenge you, he can thing is this section quite clear. NEVER win! WITH A SET OF SHELLS IN YOUR POCKET, AND THE KNOWLEDGE GAINED FROM THIS BOOK, YOU CAN ACQUIRE A REPUTATION SECONDTO NONE AS A THREE SHELL MAN.
Price 12/6
Postage 6d.
($2-00)
From the Publisher :
GEORGE ARMSTRONG 62, WELLINGTON ROAD, ENFIELD, MIDDLESEX. THE MAGIC CIRCLE President: Francis White, Esq. ViCe-PreS.: Claude Chandler, Esq. Clubr.oom, Library and Museum: Hearts of Oak Buildings, Euston Road, London, N.W.1. CONCERT,MARCH 12th Particulars from Hon. Secretary: PETER NEWCOMBE, 389
Overdale
*
New Malden, Surrey.
Every Advertiser‘s
I I
PETER WARLOCK’S
-
PENTAGRAM
WANTED
is published on [the 24th of each
MANUSCRIPTS-If you can help me complete my manuscript files I shall be most grateful. I still wantmany items by C. T. Jordan. U. F. Grant, Grant Menge, Ovette, etc., etc. Only origina!s please, and not typed copies. I will allow generous credits in exchange, or buy for cash.
month and can be obtained direct from the publisher for 1/8 per single copy. Annual Sub. 18/- post free. Published by George Armstrong, 62, Wellington Rd., Enfield Middx. Manuscripts for publication & books for review should be sent to the Editorial AddressPeter Warlock, 24, Wordsworth Rd., Wallington
GEORGE ARMSTRONG 62. Wellington Rd., Enfield, Middx.
Goods are fully endorsed b y this Bulletin
Published bythe Proprietor. George Armstrong, 62, Wellington Road, Enfield, Middx. And Printed by Central Printing Co. (Chas. Sowden) Ltd., Burnley, I-ancs.
*
Related Documents
D I G I T A L
February 2021 0
A C T I V I D A D E D E N A T A L
January 2021 1
Z I V O T N A I S P O V I J E D
February 2021 0
Linares Quintana D. Constitucional T I
January 2021 1
T H E . 2 2 S I L E N C E D P I S T O L
January 2021 0
M A N U A L D E D E R E C H O T R I B U T A R I O
January 2021 1More Documents from ""
The52wonders-wilson.pdf
February 2021 0
D I G I T A L
February 2021 0
Drilling Systems
January 2021 1